L'inganno felice
Encyclopedia
L'inganno felice is an opera
in one act by Gioachino Rossini with a libretto
by Giuseppe Maria Foppa. Foppa reworked the libretto which Giuseppe Palomba had written for an opera of the same name by Paisiello (1798).
Rossini called his opera a farsa
, although as Richard Osborne explains: "Its designation as a farsa is misleading in the light of its semiseria
status as a romantic melodrama with buffo elements." The work has much in common with French Revolution
ary operas such as Cherubini's Les deux journées
.
It was first performed at the Teatro San Moisè
, Venice
on January 8, 1812 and was an instant success. By the end of the decade it had been heard in theatres throughout Italy as well as in Paris and London. Following this triumph, Rossini was commissioned to write three more operas by the manager of the Teatro San Moisè.
The villainous Ormondo was in love with Isabella, who was happily married to Duke Bertrando. When she rejected his advances, Ormondo spread vicious rumours about her reputation and bribed Batone into casting her adrift in a boat on the sea. But she was rescued by a local miner, Tarabotto, who then disguised her as his niece, Nisa.
The opera begins ten years later: Duke Bertrando is due to visit the mines. Isabella, who is still in love with her husband, finally reveals her true identity to Tarabotto who promises to help her. The duke arrives with Ormondo and Batone. The duke is still in love with his wife even though he believes the rumours that she was unfaithful to him. Batone catches sight of "Nisa" and realises she is Isabella in disguise. He plots with Ormondo to abduct her that night but Tarabotto overhears their plan. The two villains are unmasked before they can kidnap Isabella, whose true story is revealed when she shows everyone her duchess' clothes and a portrait of the duke she has kept with her. Bertrando and Isabella are reunited.
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
in one act by Gioachino Rossini with a libretto
Libretto
A libretto is the text used in an extended musical work such as an opera, operetta, masque, oratorio, cantata, or musical. The term "libretto" is also sometimes used to refer to the text of major liturgical works, such as mass, requiem, and sacred cantata, or even the story line of a...
by Giuseppe Maria Foppa. Foppa reworked the libretto which Giuseppe Palomba had written for an opera of the same name by Paisiello (1798).
Rossini called his opera a farsa
Farsa
Farsa is a genre of opera, associated with Venice in the late 18th and early 19th centuries. It is also sometimes called farsetta....
, although as Richard Osborne explains: "Its designation as a farsa is misleading in the light of its semiseria
Opera semiseria
Opera semiseria is an Italian genre of opera, popular in the early and middle 19th century.Related to the opera buffa, opera semiseria contains elements of comedy but also of pathos, sometimes with a pastoral setting. It can usually be distinguished from tragic operas or melodramas by the presence...
status as a romantic melodrama with buffo elements." The work has much in common with French Revolution
French Revolution
The French Revolution , sometimes distinguished as the 'Great French Revolution' , was a period of radical social and political upheaval in France and Europe. The absolute monarchy that had ruled France for centuries collapsed in three years...
ary operas such as Cherubini's Les deux journées
Les deux journées
Les deux journées, ou Le porteur d'eau is an opera in three acts by Luigi Cherubini with a libretto by Jean-Nicolas Bouilly. It takes the form of an opéra comique, meaning not that the subject matter is humorous, but that the piece is a mixture of spoken dialogue and musical numbers...
.
It was first performed at the Teatro San Moisè
Teatro San Moisè
The Teatro San Moisè was an opera house in Venice, active from 1640 to 1818. It was in a prominent location near the Palazzo Giustinian and the church of San Moisè at the entrance to the Grand Canal....
, Venice
Venice
Venice is a city in northern Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region...
on January 8, 1812 and was an instant success. By the end of the decade it had been heard in theatres throughout Italy as well as in Paris and London. Following this triumph, Rossini was commissioned to write three more operas by the manager of the Teatro San Moisè.
Roles
| Role | Voice type | Premiere Cast, January 8 , 1812 (Conductor: - ) |
|---|---|---|
| Isabella | soprano Soprano A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody... |
Teresa Giorgi-Belloc |
| Duca Bertrando | tenor Tenor The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2... |
Raffaele Monelli |
| Batone | bass (or baritone Baritone Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C Baritone (or... ) |
Filippo Galli Filippo Galli (bass) Filippo Galli was an Italian opera singer who began his career as a tenor in 1801 but went on to become one of the most acclaimed basses of the Bel Canto era, with a voice known for its wide range, extreme agility, and expressivity, and a remarkable gift for acting-Early life:Born in Rome, Galli... |
| Tarabotto | bass | Luigi Raffanelli |
| Ormondo | bass (or baritone) | Vincenzo Venturi |
Synopsis
Time: The distant past- Place: A seaside mining village in Italy
The villainous Ormondo was in love with Isabella, who was happily married to Duke Bertrando. When she rejected his advances, Ormondo spread vicious rumours about her reputation and bribed Batone into casting her adrift in a boat on the sea. But she was rescued by a local miner, Tarabotto, who then disguised her as his niece, Nisa.
The opera begins ten years later: Duke Bertrando is due to visit the mines. Isabella, who is still in love with her husband, finally reveals her true identity to Tarabotto who promises to help her. The duke arrives with Ormondo and Batone. The duke is still in love with his wife even though he believes the rumours that she was unfaithful to him. Batone catches sight of "Nisa" and realises she is Isabella in disguise. He plots with Ormondo to abduct her that night but Tarabotto overhears their plan. The two villains are unmasked before they can kidnap Isabella, whose true story is revealed when she shows everyone her duchess' clothes and a portrait of the duke she has kept with her. Bertrando and Isabella are reunited.
Recordings
| Year | Cast: Isabella, Bertrando, Batone, Tarabotto |
Conductor, Opera House and Orchestra |
Label |
|---|---|---|---|
| 1996 | René Massis, Raúl Giménez, Rodney Gilfry, Pietro Spagnoli |
Mark Minkowski, Le Concert des Tuileries Orchestra (Recorded at performances in the Théâtre de Poissy, 12-17 June) |
Audio CD: ERATO Cat: 0630 17579-2 |
| 2005 | Corinna Mologni, Kenneth Tarver, Marco Vinco, Lorenzo Regazzo |
Alberto Zedda, Brno Chamber Soloists (Recorded at concert performances in the Kurtheater, Wildbad, July) |
Audio CD: Naxos Cat: 8.660233-34 |