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Il Xerse
Price:
$432.00
Description:
Francesco Cavalli" s "oeXerse" (Venice, 1655) was one of the most successful operas of the seventeenth century. Among its numerous revivals, the one prepared for the Parisian court on the occasion of the wedding festivities of Louis XIV in 1660 stands out in particular; aside from a printed scenario, this version is documented through a copy of the score. This reveals extensive dramaturgical alterations that can be linked to a French context of reception, such as the division into five acts (instead of three), each followed, like the prologue, by ballets composed by the French composer Jean-Baptiste Lully. In connection with this, the opera was heavily shortened, and the role of the title hero""originally written for an alto castrato""was transposed into the bass-baritone register in order to meet contemporary French expectations of appropriate stage representation.
The plot of "oeXerse" is dedicated to the Persian king of the fifth century BC, who""as reported by the ancient historian Herodotus""attempted to conquer Greece. In the opera, this is combined with an intrigue structure borrowed from a play by the Spanish poet Lope de Vega (1562""1635). Xerxes, although betrothed to the princess Amastre, who is his social equal, falls in love with Romilda, who is of lower status; she, however, is mutually in love with Xerse" s brother Arsamene. In his courtship, jealousy, and tyrannical behaviour, the Persian king acts as inappropriately as possible""only to finally consent to his marriage with Amastre at the very end, thus bringing about the happy ending. Whereas this could be understood in the city-state of Venice as a critical and humorous engagement with the monarchical system, in Paris it was more likely perceived as an admonition to the French king to behave in accordance with his rank.
No libretto has survived, so it had to be reconstructed from the score""an editorial challenge for the Paris version. At the same time, it was necessary to extract from this not entirely error-free source the characteristics specific to the Paris adaptation: for example, accelerated recitatives and the shortening of coloraturas. A comparison with the scenario shows that the performed version featured far more cuts of entire scenes than the score alone suggests. Thus, it is now possible to bring the authentic Parisian version of "oeXerse" back to the stage.
Table of Contents:
Francesco Cavalli" s "oeXerse" (Venice, 1655) was one of the most successful operas of the seventeenth century. Among its numerous revivals, the one prepared for the Parisian court on the occasion of the wedding festivities of Louis XIV in 1660 stands out in particular; aside from a printed scenario, this version is documented through a copy of the score. This reveals extensive dramaturgical alterations that can be linked to a French context of reception, such as the division into five acts (instead of three), each followed, like the prologue, by ballets composed by the French composer Jean-Baptiste Lully. In connection with this, the opera was heavily shortened, and the role of the title hero""originally written for an alto castrato""was transposed into the bass-baritone register in order to meet contemporary French expectations of appropriate stage representation.
The plot of "oeXerse" is dedicated to the Persian king of the fifth century BC, who""as reported by the ancient historian Herodotus""attempted to conquer Greece. In the opera, this is combined with an intrigue structure borrowed from a play by the Spanish poet Lope de Vega (1562""1635). Xerxes, although betrothed to the princess Amastre, who is his social equal, falls in love with Romilda, who is of lower status; she, however, is mutually in love with Xerse" s brother Arsamene. In his courtship, jealousy, and tyrannical behaviour, the Persian king acts as inappropriately as possible""only to finally consent to his marriage with Amastre at the very end, thus bringing about the happy ending. Whereas this could be understood in the city-state of Venice as a critical and humorous engagement with the monarchical system, in Paris it was more likely perceived as an admonition to the French king to behave in accordance with his rank.
No libretto has survived, so it had to be reconstructed from the score""an editorial challenge for the Paris version. At the same time, it was necessary to extract from this not entirely error-free source the characteristics specific to the Paris adaptation: for example, accelerated recitatives and the shortening of coloraturas. A comparison with the scenario shows that the performed version featured far more cuts of entire scenes than the score alone suggests. Thus, it is now possible to bring the authentic Parisian version of "oeXerse" back to the stage.
| Catalog: | KGABA08914-01 |
| Publisher: | Baerenreiter |
| Composer: | Cavalli, Francesco / Lully, Jean-Baptiste |
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BA08914-01