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predicament by seeking fortune in war. The Count advises him that love and war require similar boldness. Rosina tells
Lisetta of her misfortune, that five years ago, she met and married the Count. Villotto, inspired by the Count’s warlike talk resumes his attentions toward Rosina. Rosina appeals to the Baroness for death rather than a forced marriage with Villotto, Masino adds his voice, but the Baroness silences them both. A quarrel between Villotto and Masino is averted by Lisetta, who warns them that the Count and Ernesto are on their way. When Rosina begs for death, the Count embraces her; surprised by the Baroness the Count is shown a portrait of the woman she wishes him to marry. When he admires it Rosina fears that she has lost his love.
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Rosina declares that death would be welcome for her were it not for her son, and she decides to flee. The Count infuriated by her apparent infidelity commands
Villotto to pursue and kill her and her brother. Lisetta understands everyone’s mistake over what Ernesto said to Rosina, and comes to the Count saying that Rosina is indeed faithful to him and loves him. The Count, delirious and horrified at the thought of the murderous orders he has given Villotto, imagines himself to be Orpheus in search of his wife, rushes off to find her.
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embarrassment and reluctance are taken by the
Baroness to be just modesty, but Rosina is actually already secretly married to the Count who abandoned her, and by whom she has a young son. Villotto is delighted by the idea of marrying Rosina but her brother Masino tries to convince him that he has no chance of winning her.
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In despair, Rosina hides in the tower with her young son. Masino, exhausted from searching for her falls asleep. Villotto finds him, draws his sword but is stopped from killing him by
Lisetta, who then meets the Baroness and Ernesto. She tries to explain Rosina’s innocence but they fail to understand
414:
To separate Rosina and the Count, the
Baroness has sent each a forged letter (supposedly written by the other) breaking off the relationship. Although at first angry each soon sees through the deception and swear love to each other. The Count acknowledges his wife and son to the Baroness and Ernesto
380:
A small boat has been driven ashore in a storm, and inhabitants of the fishing village help the four passengers to safety. The
Baroness Irene, the local landowner, her maid Lisetta, Marquis Ernesto (who is hoping to marry the Baroness), and a wealthy fop, Villotto are offered shelter in the cottage
400:
Masino and
Villotto are both bewildered by the circumstances. Ernesto pleads with Rosina to accept Villotto, explaining that he will then be able to marry the Baroness. This is overheard and misunderstood by the Baroness and the Count, who turn on Rosina. Villotto and Lisetta also reject her, and
423:
The overture leads directly to the opening 'shipwreck' sextet. Haydn's finales for Acts 1 and 2 aspire to the
Mozartian ideal in their attention to details of textual structure, characterization, location and stage events, pointing to Haydn’s capable dramatic technique. Other highlights are the
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Villotto, after Errico’s threats, becomes more reluctant, much to the
Baroness’s disgust. Lisetta adds to Masino’s confusion by declaring her love for him, and Errico decides to test Rosina’s constancy. He speaks to her scornfully and offers her to Villotto, who has decided to escape from his
383:
The
Baroness has heard rumours of an unsuitable entanglement between Rosina and her headstrong nephew Errico. To prevent this alliance she has decided that Rosina must be married off immediately to the foolish Villotto. She explains to Rosina the advantages of such a rich marriage. Rosina’s
386:
Count Errico arrives and threatens to shoot Villotto unless he abandons Rosina. Masino is then threatened by Ernesto; the Baroness has said that she will not marry him until her nephew is married, so it is in his interest for Rosina to accept Villotto
408:
and go in search of Rosina. The Count enters, sees a crying child (his own son) and the boy leads him to Rosina. The Count repents and as the couple embrace they are found by all the other characters, and defy the rage of the Baroness and Ernesto.
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court and was first performed on 25 April 1779. It was revived there in April 1785 when Haydn apparently had to re-create much of the opera from memory, the original having been largely lost. It was given in
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as Rosina. Since 1980 the opera has revived on stage in Lyons (1980), Assisi (1982) Vienna (1982) Amsterdam (1990) and more recently, Reggio (2010) and London (2012).
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and Rosina asks for forgiveness from the Baroness, who accepts defeat and promises to marry Ernesto. All sing praise to constancy and virtue.
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four-part aria with horns and timpani for the Count “A trionfar t’invita”, Rosina’s laments “Dove fuggo” and “Care spiagge”.
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The opera is scored for one (or two) flutes, two oboes, two bassoons, two horns, timpani, strings, continuo.
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given in Rome in 1776. The story explores the troubles of a sentimental heroine abandoned by a mad lover.
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Clark C. La Vera costanza. In The New Grove Dictionary of Opera. Macmillan, London and New York, 1997.
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was only available in the US) and had earned international fame as a Haydn conductor.
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in 2020 (as a studio performance) and in 2024 in a new translation by Simon Rees.
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was a shortened version of the one by Francesco Puttini set by
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ed Wyn Jones D. Oxford, Oxford University Press, 2002.
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Scene 2 Rosina’s cottage and a partly ruined tower.
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222:gave performances in 2004, in English, as did
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183:. The Vienna performance was directed by
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198:The opera was recorded in May 1976 by
179:between 1786 and 1792 under the title
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543:Macmillan, London and New York, 1997.
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541:The New Grove Dictionary of Opera.
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504:Haydn (Oxford Composer Companion)
463:Orchestre de Chambre de Lausanne
502:Rice J A. La vera costanza, in
344:a wealthy but doltish gentleman
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539:Clark C. La Vera costanza. In
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212:Caramoor Summer Music Festival
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572:, ed. Stanley Sadie (London)
569:New Grove Dictionary of Opera
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397:Scene 1 The Baroness’s castle
191:in 1791, it was performed as
158:The work was written for the
521:"Notes: Picnics at Caramoor"
243:Premiere Cast, 25 April 1779
48:Portrait of the composer by
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181:Der flatterhafte Liebhaber
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185:Wolfgang Amadeus Mozart
90:25 April 1779
780:Operas by Joseph Haydn
148:opera of the same name
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673:L'incontro improvviso
459:Anthony Rolfe Johnson
16:Opera by Joseph Haydn
737:L'anima del filosofo
449:(Villotto Villano),
447:Wladimiro Ganzarolli
377:A village by the sea
204:Radio Suisse Romande
713:La fedeltĂ premiata
689:Il mondo della luna
681:Philemon und Baucis
298:the baroness's maid
284:Count Errico's aunt
154:Performance history
705:L'isola disabitata
665:L'infedeltĂ delusa
526:The New York Times
519:(April 27, 1980).
481:'s cycle with the
479:Ernst Märzendorfer
451:Domenico Trimarchi
353:Benedetto Bianchi
291:Catharina Poschva
277:Barbara Ripamonti
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51:Thomas Hardy
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649:Lo speziale
455:Kari Lövaas
441:(Lisetta),
240:Voice type
216:Kathryn Day
60:Translation
754:Categories
490:References
453:(Masino),
445:(Errico),
437:(Rosina),
428:Recordings
342:Villotto,
165:Bratislava
160:Eszterházy
101:Eszterháza
94:1779-04-25
70:Librettist
469:– 2 CDs (
457:(Irene),
326:fisherman
296:Lisetta,
54:, in 1791
368:Synopsis
324:Masino,
302:soprano
288:soprano
266:Rosina,
193:Laurette
169:Budapest
146:for the
140:libretto
129:operatic
86:Premiere
78:Language
560:Sources
433:1977 –
373:Act One
273:soprano
200:Philips
92: (
81:Italian
760:Operas
740:(1791)
732:(1784)
729:Armida
724:(1782)
716:(1781)
708:(1779)
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692:(1777)
684:(1776)
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668:(1773)
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652:(1768)
644:(1766)
636:(1753)
625:Operas
614:Operas
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334:tenor
316:tenor
206:&
173:Vienna
419:Music
411:Act 3
393:Act 2
257:tenor
237:Role
230:Roles
214:with
189:Paris
187:. In
574:ISBN
567:The
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177:Brno
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134:by
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