Domenico Cimarosa’s most successful opera, The Secret Marriage, was composed on a libretto written by Giovanni Bertati, a Venetian employed as court poet in Vienna, on a subject very popular at the time. The story was in fact at the centre of a series of 6 paintings by William Hogarth, the Marriage in Fashion, le Mariage à la Mode, published in London between 1743 and 1745, depicting the bad consequences of a wedding between a penniless aristocrat and a rich bourgeois. Bertati the librettist turns the social satire into a mockery of bourgeois, eager to ennoble but happy to save half of the dowry when the opportunity arises.
The Neapolitan school and the trumph of the classical style Domenico Cimarosa’s successes are a prove of the fact that the revolutionary charge of Mozart’s operas wasn’t fully understood by his contemporaries. The secret marriage is regarded as the masterpiece of the comic Neapolitan School and has been almost constantly performed since its composition; yet its characters don’t have a naturalness or a psychological definition comparable to that of Mozart’s. An unmatched reputation as a composer Cimarosa was however the best of his time for his ability of setting into fine music ordinary-life stories. He gave voice to real people with their passions and anxieties, reveiling their true heart. Through the refined melodies of his arias, his characters describe their actions and emotions with freshness and effectiveness. Cimarosa wrote a total of 99 operas filled with delightful pages, graceful melodies and funny and profoundly human characters. In the last years of his life and before Rossini became famous, his reputation as a composer was unmatched. Cimarosa, a brief biography Domenico Cimarosa was born in Aversa, nearby Caserta on the 17th December 1749. Just a few days after his birth his family moved to Naples, as his father was hired for the construction of […]
The compelling power of Zandonai’s best opera Francesca da Rimini is the best known of Riccardo Zandonai’s opera, a work of musical richness and compelling dramatic power. D’Annunzio’s play, written in the years of his obsession for Wagner, has many parallels with Tristan und Isolde, as for instance the minstrel account of Isolde’s story at the beginning of the opera and the “goblet scene” in act two. The epitome of a tragic love The first act takes place in Ravenna: Francesca da Polenta, daughter of the lord of the city, is about to marry Guido Malatesta, called Gianciotto because of his deformity (he’s crippled): she’s led to believe that the groom to be is the handsome Paolo, Gianciotto’s brother. In the second act, the following winter, the Guelphs Malatesta, at war with the Ghibellines, are besieging their castle in Rimini. Francesca meets Paolo in the castle and blames him for deceiving her into marriage. Gianciotto arrives followed by their brother Malatestino, who is wounded. In act three, a few months later, Francesca is in her room reading when Paolo, back from a long journey, enters. After confessing each other their love, they go back to the reading which features the […]
The protagonists of romantic operas live love differently than those of the eighteenth-century repertoire. For them love is a complete emotional enrapture. They share this incontrollable passion with a public who generally has a more ordinary life and now, through this new music drama, can experience a total emotional involvement.