Il crociato in Egitto | |
---|---|
Opera by Giacomo Meyerbeer | |
![]() Set design for Act 1 Scene 3, La Scala, Milan, 1826 by Alessandro Sanquirico | |
Librettist | Gaetano Rossi |
Language | Italian |
Premiere |
Il crociato in Egitto (The Crusader in Egypt) is an opera in two acts by Giacomo Meyerbeer, with a libretto by Gaetano Rossi. It was first performed at La Fenice theatre, Venice on 7 March 1824. The part of Armando was sung by the famous castrato, Giovanni Battista Velluti; the opera was probably the last written to feature a castrato. It is the last of Meyerbeer's series of operas in Italian, and became the foundation of the composer's international success.
After its successful Venetian premiere, Il Crociato was staged at the Teatro della Pergola in Florence (7 May 1824), Trieste (winter 1824–1825), Padua (summer 1825), and at His Majesty's Theatre in London (3 June 1825, the first of Meyerbeer's operas to be performed in England, also with Velluti in the cast). This encouraged Rossini, who was then managing the Théâtre-Italien, to arrange for its performance in Paris (25 September 1825), where the role of Armando was taken by the mezzo-soprano Giuditta Pasta and Aladino by Nicolas Levasseur. For each of these productions Meyerbeer revised the work and composed new music for parts of it. [1] Over the next twenty to thirty years the opera was performed in almost every major opera house in Europe, and even in Mexico City, Havana and Constantinople.
The opera formed the basis for the composer's future great success. As remarked by the critic of the London magazine, The Harmonicon, in a review of the 1825 production in Trieste:
Of all living composers, Meyerbeer is the one who most happily combines the easy, flowing and expressive melodies of Italy with the severer beauties, the grander accomplishments, of the German school. [2]
This formula of combining the strengths of both operatic schools, as well as of dramatic stage spectacle and flexible and imaginative use of the orchestra, whilst fully displayed in Il crociato in Egitto, was to produce maximum effect with Meyerbeer's series of Grand Operas, commencing with Robert le diable in 1831.
While it has not been staged complete in the 20th century there have been concert performances in both London and New York City which were recorded on LP. A staged revival was held in Venice in 2007 featuring a natural male soprano Michael Maniaci.
After Rossini left for Paris, composers then active in Italy began to take important steps away from Rossini's style in a series of operas which bridged the gap between Rossini and the later "bel canto" style, which was marked by less florid singing and more emphasis on the dramatic side. One of the earliest of these operas is Meyerbeer's Il crociato in Egitto. It has much in common with Rossini, but, on closer examination, some significant innovations become apparent. One is the even greater complexity of the finale to the first act, especially the use of two contrasting stage bands, which is a precursor of the three bands in L'étoile du nord . This was a direction opposite to that eventually taken by Bellini and Donizetti, who concentrated more on the lyrical lines of singers than on orchestral handling and larger-scale dramatic form; it marks the experience of Meyerbeer's German training and his association with early German romantic opera, including the work of Carl Maria von Weber. In Adriano's "Suono funereo" there is what may well be one of the earliest cases of that strain of lyrical pathos which was to be such a dominant factor in later bel canto works. Another example is Palmide's big aria in Act 2: "D'una madre sventurata" in which the desperation of the young mother comes through in the music.
Role | Voice type [3] | Premiere Cast, 7 March 1824 (Conductor: Antonio Cammera) |
---|---|---|
Aladino, Sultan of Damietta | bass | Luciano Bianchi |
Palmide, his daughter, secretly married to | soprano | Henriette Méric-Lalande |
Armando, a Knight of Rhodes, in the guise of Elmireno | soprano castrato | Giovanni Battista Velluti |
Felicia, his betrothed, in disguise as a Knight of Rhodes | contralto | Brigida Lorenzani |
Adriano, Grand Master of the Knights of Rhodes | tenor | Gaetano Crivelli |
Alma, Palmide’s confidante | soprano | Marietta Bramati |
Osmino, Grand Vizier of Damietta | tenor | Giovanni Boccaccio [4] |
Mirva, Palmide's son | silent role | |
Chorus: Christian slaves and knights, Egyptians, imams and emirs |
Before the opera begins, Armando, missing presumed dead in fighting, has become confidante to the Sultan Aladino, under an assumed name. He has fallen in love with Aladino's daughter, who has borne him a son, and has secretly converted her to Christianity.
Adriano arrives at the Sultan's palace to negotiate a truce. There he recognises Armando, as does Felicia, who has disguised herself as a knight to find her betrothed. Armando and the other Christian prisoners are thereupon sentenced to imprisonment and death. The ambitious Osmino arms the prisoners under Armando with the intention of killing the Sultan, but Armando exposes his treachery to the Sultan and instead kills Osmino. The Sultan relents, peace is agreed with the Knights and Armando and Palmide are reunited.
Gioachino Antonio Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity.
Giacomo Meyerbeer was a German opera composer of Jewish birth, "the most frequently performed opera composer during the nineteenth century, linking Mozart and Wagner". With his 1831 opera Robert le diable and its successors, he gave the genre of grand opera 'decisive character'. Meyerbeer's grand opera style was achieved by his merging of German orchestra style with Italian vocal tradition. These were employed in the context of sensational and melodramatic libretti created by Eugène Scribe and were enhanced by the up-to-date theatre technology of the Paris Opéra. They set a standard which helped to maintain Paris as the opera capital of the nineteenth century.
Giovanni Battista Velluti, colloquially "Giambattista", was an Italian castrato. Considered "the last great castrato", he had a reputation of being something of a diva, with some singers refusing to appear with him.
Patrizia Ciofi is an Italian operatic coloratura soprano.
L'Africaine is an 1865 French grand opéra in five acts with music by Giacomo Meyerbeer and a libretto by Eugène Scribe. Meyerbeer and Scribe began working on the opera in 1837, using the title L'Africaine, but around 1852 changed the plot to portray fictitious events in the life of the Portuguese explorer Vasco da Gama and introduced the working title Vasco de Gama, the French version of his name.
Ein Feldlager in Schlesien is a Singspiel in three acts by Giacomo Meyerbeer with a German-language libretto by Ludwig Rellstab after Eugène Scribe's Le camp de Silésie. It was first performed at the Hofoper, Berlin, on 7 December 1844; a version with a revised libretto by Charlotte Birch-Pfeiffer, titled Vielka, opened in Vienna on 18 February 1847. Much material from the opera was later reused for Meyerbeer's opéra comique L'étoile du nord (1854).
Giuseppe Farinelli was an Italian composer active at the end of the 18th century and the beginning of the 19th century who excelled in writing opera buffas. Considered the successor and most successful imitator of Domenico Cimarosa, the greatest of his roughly 60 operas include I riti d'Efeso, La contadina bizzarra and Ginevra degli Almieri. More than 2/3 of his operas were produced between 1800-1810 at the height of his popularity. With the arrival of Gioachino Rossini his operas became less desirable with the public, and by 1817 his operas were no longer performed. His other compositions include 3 piano forte sonatas, 3 oratorios, 11 cantatas, 5 masses, 2 Te Deums, a Stabat mater, a Salve regina, a Tantum ergo, numerous motets, and several other sacred works.
Comédie-Italienne or Théâtre-Italien are French names which have been used to refer to Italian-language theatre and opera when performed in France.
Andrea Leone Tottola was a prolific Italian librettist, best known for his work with Gaetano Donizetti and Gioachino Rossini.
Emmanuel Villaume is a French orchestra conductor. He is currently music director of the Dallas Opera and chief conductor of the Prague Philharmonia.
Michael Maniaci is an American opera singer. Possessing a male soprano voice, Maniaci is noted for his claim to be able to sing into the upper soprano range without resorting to falsetto, an otherwise common phonation for men who sing in high registers, such as countertenors. Although this was possible for castrati because of the hormonal imbalance following castration, Maniaci claims that, for some unknown reason, his larynx did not develop and lengthen completely during puberty, causing his voice not to "break" in the usual manner. Maniaci claims that this physical particularity has given him the ability to sing in the soprano register without sounding like a typical countertenor or a female singer. There are, however, critics who claim that Maniaci actually sings in falsetto.
Gaetano Rossi was an Italian opera librettist for several of the well-known bel canto-era composers including Gioachino Rossini, Gaetano Donizetti, and Saverio Mercadante in Italy and Giacomo Meyerbeer in one of his early Italian successes. Other composers with whom he worked included Simon Mayr, a composer and Donizetti's teacher, as well as the prolific Giovanni Pacini.
Dinorah, originally Le pardon de Ploërmel, is an 1859 French opéra comique in three acts with music by Giacomo Meyerbeer and a libretto by Jules Barbier and Michel Carré. The story takes place near the rural town of Ploërmel and is based on two Breton tales by Émile Souvestre, "La Chasse aux trésors" and "Le Kacouss de l'Armor", both published separately in 1850 in the Revue des deux mondes.
Gaetano Crivelli was a celebrated Italian tenor.
Elisa Orlandi (1811–1834) was an Italian opera singer who was active at major opera houses in Italy from 1829 until her sudden death in 1834. Possessing a wide vocal range with a significant amount of coloratura facility, she tackled roles from both the mezzo-soprano and soprano repertoires. She is best remembered today for portraying the role of Giovanna Seymour in the world premiere of Gaetano Donizetti's Anna Bolena in 1830.
Elisabetta Manfredini-Guarmani was an Italian opera singer best known for having created the leading soprano roles in four of Rossini's operas, roles which he wrote specifically for her voice. She was born Antonia Elisabetta Manfredini in Bologna and was the daughter of the composer and music theorist Vincenzo Manfredini. After her stage debut in 1810 when she sang in the premiere of Stefano Pavesi's Il trionfo di Gedeone at Bologna's Teatro del Corso, she went on to perform at La Fenice, La Scala, Teatro Regio di Torino, Rome's Teatro Argentina and several other opera houses, primarily in Northern Italy. In addition to the roles she created in Rossini's operas, she also sang in the world premieres of operas by several composers who are lesser known today, including Pietro Raimondi, Simon Mayr, and Ferdinando Paër. Her last known appearance was in 1828 after which there is no further trace of her. The date and place of her death are unknown.
Maria Caterina Rosalbina Caradori-Allan was a French operatic soprano.
Maria Ester Mombelli was an Italian opera singer particularly known for her performances in operas by Rossini and Donizetti. She sang both soprano and mezzo-soprano roles, and often sang with her younger sister Anna.
Claudio Bonoldi was an Italian tenor.
Notes
Sources
![]() | Wikimedia Commons has media related to Il crociato in Egitto . |