La vedova scaltra

Last updated
La vedova scaltra
Opera by Ermanno Wolf-Ferrari
Ermanno Wolf-Ferrari 1906.jpg
The composer in 1906
TranslationThe Cunning Widow
LibrettistMario Ghisalberti
LanguageItalian
Based onLa vedova scaltra
by Carlo Goldoni
Premiere
5 March 1931 (1931-03-05)
Teatro Reale dell'Opera, Rome

La vedova scaltra (English: The Cunning Widow) is an updated opera-buffa in three acts by Ermanno Wolf-Ferrari to a text by Mario Ghisalberti, after Carlo Goldoni's original play (also called La vedova scaltra) first given in 1748.

Contents

Performance history

It was first performed at the Teatro Reale dell'Opera in Rome on 5 March 1931, Director Gino Marinuzzi and opera director Marcello Govoni. It was revived in Venice, in celebration of the 300th anniversary of the birth of Carlo Goldoni, in February 2007. This performance, with Anne-Lise Sollied, Maurizo Muraro and Emanuele D'Aguanno as the main soloists, has been recorded (see below).

Roles

RoleVoice typePremiere Cast,
5 March 1931
(Conductor: Gino Marinuzzi)
Rosaura, a widow soprano Adelaide Saraceni
Monsieur Le Beau, a Frenchman tenor Alessio De Paolis
Conte di Bosco Nero, an ItaliantenorAlessandro Ziliani
Milord Runebif, an Englishman baritone Giulio Cirino
Don Alvaro di Castiglia, a Spaniardbaritone Giacomo Vaghi
MarionettesopranoRina De Ferrari
FollettotenorAdelio Zagonara
ArlecchinobaritoneEmilio Ghirardini
Birif bass Mario Bianchi
MajordomobassPierantonio Prodi

Synopsis

The story is a comedy about a young widow courted by four suitors of different nationalities.

Act I

Four noblemen, Monsieur Le Bleau, Don Alvaro di Castiglia, Milord Runebif and Il Conte di Bosco Nero are seated around a table of a café in the town square, enjoying a glass of wine. Talk turns to the vivacious and rich widow they had met at a ball in Venice. Each of them believes they are the right man to win her hand in marriage. Milord’s opening gambit is to send Arlecchino, who works at the inn, to the widow’s apartment with the gift of a ring and a generous offer – he will deign to stop by and drink hot chocolate with her. Arlecchino arrives just as the widow Rosaura, whose flirty maid Marionette has been offering her tips on make-up and the advantages of a French husband, finishes her dressing. Rasaura rejects Milord’s ring and Milord is immediately at her door, begging her to accept his gift. Marionette is serving hot chocolate when the Count arrives; Marionette distracts Milord by leading him off to another room to view some etchings, allowing the Count enough time to declare his love for Rosaura, but the Count shows his jealousy on finding the Englishman is already in her apartment – jealousy that Rosaura finds rather tiresome! Both men take their leave but not before Milord has arranged another meeting with her, making the Count even more furious. No Monsieur Le Bleau arrives and finding Marionette alone the pair reminisce about the pleasures of Paris, before Le Bleau remembers his mission and asks where he will find Rosaura. Pointed to the gardens beside a lake, Le Bleau hides in the shrubbery and begins his seduction by playing the flute; having attracted her attention he flatters her beauty and her style before floridly declaring his love for her. She turns him down and he leaves, but as soon as he is gone she is again disturbed, this time by the sound of guitars and mandolins, as Don Alvaro crosses the lake toward her, in a gondola. This day really is shaping up to be a tiresome one for the widow, and she asks Marionette to meet him and tell him to wait – she has had quite enough of suitors for a day.

Act II

In the same café as opened Act I, Le Bleau accosts Arlecchino, giving him a portrait and a poem he has written and asking him to deliver the portrait and recite the poem to Rosaura. The Count now arrives, and presses a letter for Rosaura into the hands of his manservant Folletto. Milord hands his manservant Birif diamonds, also destined for Rosaura. Arlecchino is trying to understand the poem he has been given to read to Rosaura when he is interrupted by Don Alvaro who tells Arlecchino to take Rosaura a document demonstrating his impressive genealogy. Arlecchino, arrives at Rosaura’s house in the disguise of a French valet as she is singing an antique air. Just behind him are Folletto and Birif, and the three of them present Rosaura with Le Bleau’s portrait, the Count’s passionate love-letter and Runebif’s diamonds. Arlecchino, following a quick change into the clothes of a Spanish valet reappears with Don Alvaro’s family tree. Amused by all the attention, Rosaura tells Marionette that each of the men seem suitable so, spoilt for choice, she can afford to take her time. Back at the café, each of the men receive via their lackeys, signs of encouragement from Rosaura, though Arlecchino mistakenly mixes up the letters for Don Alvaro and Le Bleau. Stiffed by Don Alvaro and by Le Bleau with no trinket for his efforts Arlecchino vows he will have vengeance on the miserly Spaniard and the self-centred Frenchman but not before Marionette who thinks Arlecchino has made a tidy sum serving these nobles and wants a cut, chases him out of the square.

Act III

A glimpse of Rosaura’s dressing room is visible, including a table at which Rosaura is writing the last of many letters of invitation to a ball: she explains to Marionette who is sealing the envelopes that before the ball she will meet each of the men, disguised in a costume appropriate to the country each suitor hails from; she will flirt with each, to test their fidelity. Back at the café on the square Don Alvaro and Le Bleau are reading the letters from Rosaura that Arlecchino had mixed up the previous day. Arlecchino, still angry that neither man paid for his service walks up to the table and, saying “with your permission, gentlemen” takes the two letters and gives each to its correct recipient before bowing and retreating. The two noblemen now realise they are rivals for Rosaura and challenge each other to a duel but while Don Alvaro marches off, sword drawn, Le Bleau stays behind, distracted by a gaggle of pretty maids one of whom he follows out of the square. Now Milord and the Count appear on the terrace of the café – swords already drawn for they know they are rivals. Milord wounds the Count who withdraws and Milord sits at a table. Rosaura in disguise now meets each man in turn, insinuating that she will be their lover that evening and demanding a token of affection from each. Milord, Don Alvaro, Le Bleau all indicate that they are very interested in the proposal. Only the wounded Count resists the masked woman’s advances. We are now at the ball. An entertainment featuring Arcadian shepherds and nymphs is underway when Rosaura stops the festivities with an announcement – “Choosing a husband is a serious matter” she says. Then, pointing to the four men she reveals the duplicity of Milord, Le Bleau and Don Alvaro, returning publicly to each, the token they had given her, before declaring she will marry The Count. When The Count boasts that he has won her heart because he is faultless she corrects him - "You may not be faultless but you are a compatriot which is a very important thing and besides, who can command one's heart?" Arlecchino has the final say – addressing the audience he declares that "this opera is faultless, the love of Goldoni is a very important thing and nobody can command the heart."

Recordings


Related Research Articles

<span class="mw-page-title-main">Carlo Goldoni</span> Italian playwright (1707–1783)

Carlo Osvaldo Goldoni was an Italian playwright and librettist from the Republic of Venice. His works include some of Italy's most famous and best-loved plays. Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty. His plays offered his contemporaries images of themselves, often dramatizing the lives, values, and conflicts of the emerging middle classes. Though he wrote in French and Italian, his plays make rich use of the Venetian language, regional vernacular, and colloquialisms. Goldoni also wrote under the pen name and title Polisseno Fegeio, Pastor Arcade, which he claimed in his memoirs the "Arcadians of Rome" bestowed on him.

<span class="mw-page-title-main">Carlo Gozzi</span> Italian playwright (1720–1806)

Carlo, Count Gozzi was an Italian (Venetian) playwright and champion of Commedia dell'arte.

<i>Pagliacci</i> Opera by Ruggero Leoncavallo

Pagliacci is an Italian opera in a prologue and two acts, with music and libretto by Ruggero Leoncavallo. The opera tells the tale of Canio, actor and leader of a commedia dell'arte theatrical company, who murders his wife Nedda and her lover Silvio on stage during a performance. Pagliacci premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini, with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Soon after its Italian premiere, the opera played in London and in New York. Pagliacci is the composer's only opera that is still widely performed.

<i>La forza del destino</i> Opera by Giuseppe Verdi

La forza del destino is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 29 November 1862 O.S..

<i>The Merry Widow</i> Operetta by Franz Lehár

The Merry Widow is an operetta by the Austro-Hungarian composer Franz Lehár. The librettists, Viktor Léon and Leo Stein, based the story – concerning a rich widow, and her countrymen's attempt to keep her money in the principality by finding her the right husband – on an 1861 comedy play, L'attaché d'ambassade by Henri Meilhac.

<i>La fille mal gardée</i> 1789 comic ballet by Jean Dauberval

La Fille mal gardée is a comic ballet presented in two acts, inspired by Pierre-Antoine Baudouin's 1765 painting, La réprimande/Une jeune fille querellée par sa mère. The ballet was originally choreographed by the Ballet Master Jean Dauberval to a pastiche of music based on fifty-five popular French airs. The ballet was premiered on 1 July 1789 at the Grand Théâtre de Bordeaux in Bordeaux, France under the title Le ballet de la paille, ou Il n'est qu'un pas du mal au bien.

<i>Life Is a Dream</i> Spanish-language play by Pedro Calderón de la Barca

Life Is a Dream is a Spanish-language play by Pedro Calderón de la Barca. First published in 1636, in two different editions, the first in Madrid and a second one in Zaragoza. Don W. Cruickshank and a number of other critics believe that the play can be dated around 1630, thus making Calderón's most famous work a rather early composition. It is a philosophical allegory regarding the human situation and the mystery of life. The play has been described as "the supreme example of Spanish Golden Age drama". The story focuses on the fictional Segismundo, Prince of Poland, who has been imprisoned in a tower by his father, King Basilio, following a dire prophecy that the prince would bring disaster to the country and death to the King. Basilio briefly frees Segismundo, but when the prince goes on a rampage, the king imprisons him again, persuading him that it was all a dream.

<i>Arlecchino</i> (opera)

Arlecchino, oder Die Fenster is a one-act opera with spoken dialog by Ferruccio Busoni, with a libretto in German, composed in 1913. He completed the music for the opera while living in Zurich in 1916. It is a number opera written in neo-classical style and includes ironic allusions to operatic conventions and situations typical of the late 18th and early 19th centuries. It even includes a parody of a duel.

<i>Il viaggio a Reims</i> Opera by Gioachino Rossini

Il viaggio a Reims, ossia L'albergo del giglio d'oro is an operatic dramma giocoso, originally performed in three acts, by Gioachino Rossini to an Italian libretto by Luigi Balocchi, based in part on Corinne ou l'Italie by Germaine de Staël.

<i>The Liar</i> (Goldoni play)

The Liar is a comedy by Carlo Goldoni. It was written as part of Goldoni's fulfilment of a boast that he had inserted into the epilogue to one of his plays that for the next season he would write sixteen comedies. The Liar, along with the fifteen other comedies, was staged in the 1750-51 season at the Teatro San Angelo in Venice. It draws on commedia dell'arte conventions and stock characters.

<i>Turandot</i> (Busoni)

Turandot(BV 273) is a 1917 opera with spoken dialogue and in two acts by Ferruccio Busoni. Busoni prepared his own libretto, in German, based on the play by Count Carlo Gozzi. The music for Busoni's opera is based on the incidental music, and the associated Turandot Suite, which Busoni had written in 1905 for a production of Gozzi's play. The opera is often performed as part of a double bill with Busoni's earlier one-act opera Arlecchino.

<i>The Antiquarians Family</i>

The Antiquarian's Family, or The Mother-in-law and the Daughter is a comedy by Venetian author Carlo Goldoni, first published in 1749.

L'Orfeide is an opera composed by Gian Francesco Malipiero who also wrote the Italian libretto, partly based on the myth of Orpheus and incorporating texts by Italian Renaissance poets. The work consists of three parts – La morte delle maschere, Sette canzoni, and Orfeo, ovvero L'ottava canzone. It received its first complete performance on 5 November 1925 at the Stadttheater in Düsseldorf.

Marcello Bernardini was an Italian composer and librettist. Little is known of him, save that he wrote 37 operas in his career. His father was most likely the composer Rinaldo di Capua.

Evgueniy Alexiev is a French operatic baritone. He has lived in Bordeaux since 1992.

<i>The Widow</i> (1955 film) 1955 film by Lewis Milestone

The Widow is a 1955 romantic drama film directed by Lewis Milestone and written by Milestone and Louis Stevens, based on the novel La Vedova by Susan York. The film had a theatrical release in Italy in 1955, limited release in the United States in 1957, and was released in France on 4 June 1959 under the title La Veuve. This was the last Milestone film involving his own writing.

La fille mal gardée, Frederick Ashton's Royal Ballet production, began in 1959 when British choreographer Frederick Ashton created a new version of La fille mal gardée for the Royal Ballet of London. This production premiered on 28 January 1960, with Nadia Nerina as Lise, David Blair as Colas, Stanley Holden as the Widow Simone, and Alexander Grant as Alain. Since its inception Ashton's staging has become a celebrated classic of the ballet repertory.

<span class="mw-page-title-main">Fabrizio Clerici</span> Italian painter (1913–1993)

Fabrizio Clerici was an Italian painter.

Morir para vivir is a Mexican telenovela produced by Ana Martín for Televisa in 1989.

References