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618:), which, on one hand oddly foreshadows his famous "mad scenes" - all for women - the works of the mature Donizetti, and on the other hand is echoed particularly in scenes from the masterpieces of the neoclassical theater, where a male character becomes insane by remorse, among them can mentioned the tragedies
695:
Murena has decided to denounce himself for the sake of saving
Septimus. He asks from Argelia the documents that the young man has given her that proves his guilt, but she doesn't want her father to sacrifice his good name, and refuses him with tears. However, Murena's decision is irrevocable, and he
668:
is preceded by an instrumental passage for Oboe solo and followed by a cabaletta in the same key, goes down to the trumpet. This scene was added during the performances at La Scala, Milan on 12 July 12, 1828 for the tenor, Winter, but the original music was lost. There are two versions: one written
564:
Septimus makes one last visit to
Argelia and provides written evidence of the conspiracy of which he is victim and of which his own father is the main inspiration. Argelia is terrified by the news. Murena comes in full of pain because he has just condemned Septimus to death. He implores the latter,
732:
and his duet with
Publius (Act 1, scene 1), the Septimus and Argelia's duet (Act 1, scene 3), the final trio of the act 1, for which the work owes much of its popularity in the nineteenth century, the Murena's mad scene in Act 2 and the duet between Argelia and Murena, also in act 2. The music is
496:
The people of Rome hails
General Publius, who defeated the enemies of the Emperor Tiberius, but the senator Murena did not appear to participate the general exultation. In fact, he has promised his daughter to Publius Argelia, but when he arrives to claim her, he is forced to admit that the young
505:
The reason for
Argelia's disappearance is revealed: The young tribune Septimus, son of one of Murena's benefactor's, that Murena condemned and exiled for political reasons, has returned secretly, risking certain death, to find Argelia, with whom he is in love (cabaletta
259:'s clemency. The final scene in which Argelia rejoices in the happy outcome had also been added to respect the conventions of the time and to help Donizetti who, in accordance with the tradition of the day, wanted the work to end with an aria for the prima donna.
565:
however, not to tell his daughter about it and in return suggests that to save his honor he's ready to make him escape from Rome along with
Argelia. But Septimus refuses and is ready to meet his death. Unusually, Donizetti concludes Act 1 with a remarkable trio (
238:
After the first performances in the nineteenth century, the work was subjected to several changes: among the cuts was the scene in which
Septimus was spared by a lion whose wound he had healed and who recognized him in the
757:(1803). However, the dramatic intensity of the situations, as well as Donizetti's typical use of the flute and the attempt to remove the final prima donna's aria already announced the composer's mature works.
281:. The work was brought to the stage in Madrid, Vienna and London and remained in the repertoire in Italy and abroad until 1869, the year when it was given last performance in the nineteenth century in Naples.
743:
of 1823, although the instrumental passages with the accompaniment of
English horn or bassoon obbligato and extensive scenes altogether often make us think about Donizetti's old master,
716:
The tempo in the middle is introduced by
Publius, who announces the good news: Septimus and Murena were both pardoned. Argelia expresses her joy in the final cabaletta
1837:
300:, Bruce Brewer and John-Paul Bogart, on the initiative of the Donizetti Society. The first performance in modern Italy was at the Teatro Gabriel Chiabrera in
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to honor the composer in 1840: it was directed by
Donizetti's childhood friend, Marco Bones, with a cast that included first class singers such as
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to compose four operas in three years. Fulfilling his obligations on time and shortly after giving the New Theatre the theatrical farce
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A public square surrounded by palaces, temples and monuments. The Arch of Triumph. On the right, the vestibulum of Murena's house
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Outside, Argelia hears the cries of the crowd that wants to see Septimus taken to his execution. The cantabile of his cavatina
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The premiere united an impressive cast such as the tenor Calvari Berardo Winter, the soprano Adelaide Torsi and the bass
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The two lovers' happiness is short-lived: Lucius comes with his soldiers and arrests Septimius immediately.
1025:
Donizetti and the World of Opera in Italy, Paris, and Vienna in the First Half of the Nineteenth Century
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189:(Naples, 1820), which in its turn was based on an opera in three acts by Louis-Charles Caigniez,
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The libretto by Domenico Gilardoni was inspired by the drama of the prosecutor Luigi Marchionni,
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Lucio Murena announces that Septimus is back and that is expected to be judged by the Senate.
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Argelia confesses that she loves Publius Septimius: Publius, nobly, promises to help him.
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still much affected by the opera seria influence, the classic example of which is
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was staged for the first time in the twentieth century on 18 July 1982 at the
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839:(Recording of a performance in the Teatro Chiabrera, Savona, 14 October)
891:, Shaftesbury: Element Books, Ltd (UK); Rockport, MA: Element, Inc.(USA)
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In 1827, Donizetti was hired by the Neapolitan theatrical impresario
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Orchestra Sinfonica di Piacenza and the chorus of the Opera Giocosa
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is introduced and emphasized quite unusually with an English horn.
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for the New Year of 1828, this time in the genre of opera seria as
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In his cell, Septimius awaits his execution. The aria in A major
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Argelia returns love to him too, and has remained faithful (duet
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girl can not be found and he can not fully conceal his concern.
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The opera was immediately taken to other Italian opera houses:
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Murena sinks into madness in a very beautiful scene (aria
193:(Paris, 1804), which later provided the inspiration for
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The Bel Canto Operas of Rossini, Donizetti, and Bellini
728:
The main numbers of the score are Murena's first aria
255:: it was replaced by a much more conventional device,
174:
on 21 November 1827, he presented a new work to the
911:Ashbrook, William (1998), "Donizetti, Gaetano" in
265:was the work chosen by Donizetti's birthplace of
1809:
938:Ashbrook, William and Sarah Hibberd (2001), in
231:in July 1828 and again in Naples with the tenor
994:The New Grove Dictionary of Music and Musicians
921:, Vol. One. London: MacMillan Publishers, Inc.
243:. This was an episode from an anecdote about
1838:Opera world premieres at the Teatro San Carlo
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187:The Exiled Roman, or The Lion of the Caucasus
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304:in October 1986 and it was recorded live.
111:The Exile from Rome, or the Proscribed Man
38:
991:, (Ed.); John Tyrell (Exec. Ed.) (2004),
296:in London, in a concert performance with
148:. It premiered on 1 January 1828 at the
1393:Le convenienze ed inconvenienze teatrali
1289:Le convenienze ed inconvenienze teatrali
673:in the winter of 1828 and the other for
171:Le convenienze ed inconvenienze teatrali
959:Donizetti’s Operas in Naples, 1822—1848
816:Cassette: Charles Handelman, Live Opera
472:Time: The reign of Tiberius, (14-37 AD)
1810:
968:, 2nd edition. Rowman and Littlefield
213:
159:
1085:
1059:
669:for Rubini, who sang the role at the
1345:Elisabetta al castello di Kenilworth
997:. 2nd edition. London: Macmillan.
978:, Portland, Oregon: Amadeus Press.
873:on operadis-opera-discography.org.uk
773:(Argelia, Settimio, Murena, Publio)
106:L'esule di Roma, ossia Il proscritto
1449:Il furioso all'isola di San Domingo
13:
1045:Donizetti Society (London) website
191:Androclès reconnaissant ou le Lion
146:Androclès ou Le lion reconnaissant
14:
1854:
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918:The New Grove Dictionary of Opera
677:on its revival in Bergamo, 1840.
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1792:
1791:
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961:. London: The Donizetti Society.
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809:(Recording of a performance at
642:will mention this scene in his
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1193:Chiara e Serafina, o Il pirata
901:, Cambridge University Press.
862:
680:
481:
1:
1146:I piccioli virtuosi ambulanti
887:Allitt, John Stewart (1991),
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686:The garden of Murena's house.
321:Premiere Cast, 1 January 1828
1566:Betly, o La capanna svizzera
1027:, New York: Pantheon Books.
946:, New York: Penguin Putnam.
706:Tardi, tardi il piè la volgi
7:
1823:Operas by Gaetano Donizetti
1409:La romanziera e l'uomo nero
1023:Weinstock, Herbert (1963),
964:Loewenberg, Alfred (1970).
944:The New Penguin Opera Guide
577:at end of Act 1 (1831) and
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251:, who had attributed it to
10:
1859:
1305:L'eremitaggio di Liverpool
966:Annals of Opera, 1597-1940
778:Opera House and Orchestra
730:Ahi! Che di calma un'ombra
666:S'io finora, Bell'idol mio
227:in Milan with the soprano
16:Opera by Gaetano Donizetti
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1313:Alina, regina di Golconda
1281:Il borgomastro di Saardam
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136:after Luigi Marchionni's
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899:Donizetti and His Operas
803:Pro Opera Orchestra and
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366:Argelia's younger sister
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233:Giovanni Battista Rubini
210:, and it was a triumph.
83:1 January 1828
1818:Italian-language operas
1153:Il falegname di Livonia
285:20th century and beyond
235:in the winter of 1828.
229:Henriette Meric-Lalande
140:, in its turn based on
1779:Donizetti's birthplace
1497:Rosmonda d'Inghilterra
1369:Imelda de' Lambertazzi
954:. pp. 224 – 247.
601:Inside Murena's house.
555:Inside Murena's house.
200:Androcles and the Lion
142:Louis-Charles Caigniez
1843:Operas based on plays
1489:Il diluvio universale
1361:Il diluvio universale
842:Audio CD: Bongiovanni
696:goes to the emperor.
1662:La fille du régiment
1457:Otto mesi in due ore
1425:Ugo, conte di Parigi
1353:I pazzi per progetto
1273:Otto mesi in due ore
1217:L'ajo nell'imbarazzo
1209:Il fortunato inganno
957:Black, John (1982),
811:Queen Elizabeth Hall
294:Queen Elizabeth Hall
138:Il proscritto romano
73:Il proscritto romano
1622:Lucie de Lammermoor
1574:L'assedio di Calais
1537:Lucia di Lammermoor
1441:Sancia di Castiglia
1225:Emilia di Liverpool
835:Massimo de Bernart,
805:Chelsea Opera Group
508:Se ad altri il core
425:Giovanni Campagnoli
214:Performance history
195:George Bernard Shaw
160:Composition history
71:Luigi Marchionni's
1769:Donizetti Monument
1745:Other compositions
1702:Linda di Chamounix
1257:Gabriella di Vergy
1185:La lettera anonima
1169:Zoraida di Granata
1131:Enrico di Borgogna
844:Cat: GB 2045/46-2
832:Armando Ariostini
616:De Stige il flutto
132:wrote the Italian
130:Domenico Gilardoni
124:, in two acts by
54:Domenico Gilardoni
44:The young composer
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1401:Francesca di Foix
1337:Il giovedì grasso
1233:Alahor in Granata
1201:Alfredo il grande
1161:Le nozze in villa
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1003:978-0-19-517067-2
895:Ashbrook, William
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612:Entra nel cirfo!
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323:(Conductor: - )
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1241:Don Gregorio
1239:
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1199:
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801:Leslie Head,
752:
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650:Second scene
643:
629:
619:
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614:, Cabaletta
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550:Second scene
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396:
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347:
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247:reported by
237:
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120:, or heroic
114:
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72:
1828:1828 operas
1670:La favorite
1654:Les martyrs
1377:Anna Bolena
974:, (1994),
818:Cat: 03309
813:in London)
798:John Gibbs
681:Third scene
596:First scene
482:First scene
469:Place: Rome
318:Voice type
1812:Categories
1177:La zingara
1139:Una follia
851:References
776:Conductor,
761:Recordings
754:The Vestal
745:Simon Mayr
740:Semiramide
634:(1786) by
631:Aristodemo
624:(1782) by
567:Ei stesso!
450:Capranica
395:Leontina,
377:Settimio,
116:melodramma
87:1828-01-01
50:Librettist
1550:Belisario
1388:(1828-31)
1118:Olimpiade
1052:(Italian)
1018:419285866
655:In prison
587:of 1844.
415:a general
379:a tribune
346:Argelia,
330:a senator
245:Androcles
1797:Category
1465:Parisina
1329:Il paria
1050:Libretto
1033:63-13703
1020:(eBook).
915:(Ed.),
897:(1982),
646:(1840).
464:Synopsis
420:baritone
413:Publio,
364:Emilia,
328:Murena,
257:Tiberius
225:La Scala
203:(1912).
134:libretto
96:, Naples
79:Premiere
68:Based on
60:Language
1762:Related
1752:Requiem
1606:Poliuto
1540:(1835)
942:(Ed.),
882:Sources
735:Rossini
712:Scene 7
700:Scene 6
660:Scene 3
571:Bellini
560:Scene 7
542:Scene 6
534:Scene 5
526:Scene 4
514:Scene 3
501:Scene 2
492:Scene 1
444:Fulvio
370:silent
353:soprano
267:Bergamo
113:) is a
85: (
63:Italian
1833:Operas
1754:(1835)
1737:(1843)
1729:(1843)
1721:(1843)
1713:(1844)
1705:(1842)
1697:(1841)
1689:(1841)
1681:(1841)
1678:Adelia
1673:(1840)
1665:(1840)
1657:(1840)
1649:(1840)
1641:(1839)
1633:(1839)
1625:(1839)
1617:(1838)
1609:(1838)
1601:(1838)
1593:(1837)
1585:(1837)
1577:(1836)
1569:(1836)
1561:(1836)
1553:(1836)
1532:(1835)
1524:(1834)
1516:(1834)
1508:(1834)
1500:(1834)
1492:(1834)
1484:(1833)
1476:(1833)
1468:(1833)
1460:(1833)
1452:(1833)
1444:(1832)
1436:(1832)
1428:(1832)
1420:(1832)
1417:Fausta
1412:(1831)
1404:(1831)
1396:(1831)
1380:(1830)
1372:(1830)
1364:(1830)
1356:(1830)
1348:(1829)
1340:(1829)
1332:(1829)
1324:(1828)
1316:(1828)
1308:(1828)
1300:(1828)
1292:(1827)
1284:(1827)
1276:(1827)
1268:(1827)
1260:(1826)
1252:(1826)
1249:Elvida
1244:(1826)
1236:(1826)
1228:(1824)
1220:(1824)
1212:(1823)
1204:(1823)
1196:(1822)
1188:(1822)
1180:(1822)
1172:(1822)
1164:(1820)
1156:(1819)
1148:(1819)
1142:(1818)
1134:(1818)
1126:(1817)
1120:(1817)
1114:(1816)
1103:Operas
1031:
1016:
1009:
1001:
982:
950:
932:
925:
905:
807:Chorus
781:Label
644:Sappho
584:Ernani
447:tenor
434:tenor
431:Lucio
302:Savona
154:Naples
118:eroico
856:Notes
823:1986
786:1982
771:Cast
768:Year
724:Music
591:Act 2
579:Verdi
575:Norma
477:Act 1
384:tenor
315:Role
308:Roles
253:Apion
122:opera
28:Opera
1686:Rita
1029:LCCN
1014:OCLC
1007:ISBN
999:ISBN
980:ISBN
948:ISBN
930:ISBN
923:ISBN
903:ISBN
628:and
621:Saul
335:bass
277:and
751:'s
737:'s
581:'s
573:'s
522:).
510:).
197:'s
30:by
1814::
720:.
638:.
273:,
182:.
156:.
152:,
128:.
1079:e
1072:t
1065:v
792:,
109:(
89:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
