Un giorno di regno
Encyclopedia
Un giorno di regno, ossia il finto Stanislao (A One-Day Reign, or The Pretend Stanislaus, but often translated into English as King for a Day) is an opera
tic melodramma giocoso in two acts by Giuseppe Verdi
to an Italian libretto
by Felice Romani
, based on the play
Le faux Stanislas by Alexandre Vincent Pineu-Duval. Un giorno di regno was Verdi's first attempt at comic opera.
The first performance was at Teatro alla Scala, Milan
, September 5, 1840. The premiere was a failure, and the composer was actually seated in the orchestra pit during the first performance, and thus heard the audience reaction directly. Verdi himself and the critics acknowledged that the failure was partly due to the composer's own personal circumstances, as his two chldren and then his first wife Margherita Barezzi died during its composition between 1838 and 1840. La Scala cancelled the remaining scheduled performances, and did not revive the work until 2001.
Other productions during Verdi's lifetime in Italy were given in Venice in 1845, in Rome in 1846, and Naples in 1859. Verdi would not attempt another operatic comedy until the end of his career with Falstaff
.
's June 1981 "Verdi Festival". Along with Oberto and other early Verdi operas, it opened the New York Grand Opera Company’s "Viva Verdi!" 1994-2007 presentation of all Verdi's operas in chronological order under Vincent La Selva
.
The Bronx Opera Company (NYC) has performed it twice, in 1983 and 1994. It has yet to be included in the Sarasota Opera
's "Verdi Cycle".
In 2008, Opera della Luna
toured a version of the opera in the UK. In director Jeff Clarke's broad English-language adaptation, the story is moved to post-war Italy around the reign of Umberto II, infused with elements of organized crime, and political humour is added. One reviewer commented that the production "makes up for what it lacks in bel canto elegance by being a riotously funny, enormously enjoyable evening's entertainment".
Belfiore, impersonating the Polish king Stanislaus, is a guest at the home of Baron Kelbar and he comments to himself on his change of fortune: Compagnoni di Parigi...Verrà purtroppo il giorno / "If only my old comrades in Paris could see me now, the most dissolute officer in the regiment turned philosopher king." The Baron has recently arranged a political alliance by betrothing his daughter, Giulietta, to La Rocca, the Brittany Treasurer, but Giulietta prefers La Rocca's nephew, Edoardo. Another undesired marriage involves the Baron's niece, the Marchesa del Poggio, a young widow who is in love with Belfiore. She has become engaged to the Count of Ivrea because Belfiore has been unable to commit himself to marrying her, in spite of the fact that he does love her.
Knowing of the Marchesa's imminent arrival and concerned that she might reveal his false identity as the King, Belfiore writes to Stanislaw and asks to be released from his commitment. Edoardo reveals his predicament to the "King" and begs to be taken to Poland with him in order to forget about the woman he loves. In addition, when the Marchesa arrives and, upon being introduced to Belfiore as "the King", she pretends not to recognize him. Likewise, he pretends not to recognize her, but she is determined to test him by proclaiming her love for the Count: Grave a core innamorato...Se dee cader la vedova / " ".
Scene 2: the Garden of Kelbar's castle
Giulietta is alone with her attendants and expresses unhappioness in having to marry an old man: ’Non san quant'io nel petto...Non vo' quel vecchio / " “. When the Count and La Rocca arrive, followed in succession by Belfiore and Edoardo and then the Marchesa (who was planning to help the lovers), Belfiore draws the Count and La Rocca away on the pretext of discussing state business, leaving the young lovers alone with the Marchesa.
Scene 3: the gallery of Kelbar’s castle
Maintaining his role as the King, Belfiore makes the Treasurer an offer of advancement which would include marriage to a rich widow. By accepting, he agrees not to marry Giulietta. When the treasurer tells the Baron that he refuses to marry his daughter, the Baron is affronted and challenges him to a duel. To add to the confusion all around, the Marchesa immediately proposes that Giulietta and Edoardo be married immediately. However, the false King returns and proposes that he will decide on a solution that will satisfy everyone.
Following the "King's" pronouncement, the servants are mystified and they sing a carefree chorus which leads to Edoardo seeking their support and announcing his hope of still be able to marry Giulietta: Pietoso al lungo pianto...Deh lasciate a un alma amante / " ".
Belfiore, the Treasurer, and Giulietta enter discussing the reasons for the Baron's opposition to his daughter's marriage to Eduardo. Giulietta explains that the young man's poverty is the main objection and so Belfiore immediately rules that the Treasurer must give up one of his castles and give over a sum of money to the young man, and then all will be well. The latter is somewhat reluctant to disobey his sovereign, but seeks a way out of his duel with the Baron.
Scene 2: a veranda overlooking the castle gardens
Belfiore and the Marchesa meet on the veranda, the former still unable to reveal who he really is. This incenses the lady, who boldly states that it is her intention to marry the Count of Ivrea. However, she cannot understand why Belfiore is taking so long to reveal himself and still hopes for his change of heart: (andante) Si mostri a chi l'adora... / " ". When Count Ivrea is announced, she takes a defiant stand (cabaletta): Si, scordar saprò l'infido / " ".
Since Eduardo has pledged to join the "King" when he goes to Poland, Giulietta is determined to get the King to rescind the commitment. The Count enters and the Marchesa once again states that she will marry the Count. However, Belfiore immediately forbids the marriage for 'reasons of state' and announces that he and the Count must leave for Poland to deal with state business.
All express their feelings, but things come to a halt when a letter arrives for Belfiore. It is from King Stanislaw announcing his safe arrival in Warsaw and releasing Belfiore from his task of impersonating him. In return, the king has created him Marshall of France. Before dropping the disguise, the "King" proclaims that Giulietta and Eduardo are to be married and, having received the Baron's consent, reads the true king's letter and reveals his true rank. He expresses his love for the Marchesa and all ends happily with the prospect of two weddings.
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...
tic melodramma giocoso in two acts by Giuseppe Verdi
Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century...
to an Italian 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 Felice Romani
Felice Romani
Felice Romani was an Italian poet and scholar of literature and mythology who wrote many librettos for the opera composers Donizetti and Bellini. Romani was considered the finest Italian librettist between Metastasio and Boito.-Biography:Born Giuseppe Felice Romani to a bourgeois family in Genoa,...
, based on the play
Play (theatre)
A play is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading. There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed...
Le faux Stanislas by Alexandre Vincent Pineu-Duval. Un giorno di regno was Verdi's first attempt at comic opera.
The first performance was at Teatro alla Scala, Milan
Milan
Milan is the second-largest city in Italy and the capital city of the region of Lombardy and of the province of Milan. The city proper has a population of about 1.3 million, while its urban area, roughly coinciding with its administrative province and the bordering Province of Monza and Brianza ,...
, September 5, 1840. The premiere was a failure, and the composer was actually seated in the orchestra pit during the first performance, and thus heard the audience reaction directly. Verdi himself and the critics acknowledged that the failure was partly due to the composer's own personal circumstances, as his two chldren and then his first wife Margherita Barezzi died during its composition between 1838 and 1840. La Scala cancelled the remaining scheduled performances, and did not revive the work until 2001.
Other productions during Verdi's lifetime in Italy were given in Venice in 1845, in Rome in 1846, and Naples in 1859. Verdi would not attempt another operatic comedy until the end of his career with Falstaff
Falstaff (opera)
Falstaff is an operatic commedia lirica in three acts by Giuseppe Verdi, adapted by Arrigo Boito from Shakespeare's plays The Merry Wives of Windsor and scenes from Henry IV. It was Verdi's last opera, written in the composer's ninth decade, and only the second of his 26 operas to be a comedy...
.
Performance history
The opera is very rarely performed. In the U.S., it received its premiere on 18 June 1960, while in the UK, the premiere took place on 21 March 1961. It was part of the San Diego OperaSan Diego Opera
The San Diego Opera Association is a professional opera company located in the city of San Diego, California and is a member of OPERA America. It was founded in 1950 to present productions by San Francisco Opera in the San Diego area...
's June 1981 "Verdi Festival". Along with Oberto and other early Verdi operas, it opened the New York Grand Opera Company’s "Viva Verdi!" 1994-2007 presentation of all Verdi's operas in chronological order under Vincent La Selva
Vincent La Selva
Vincent La Selva is an American conductor. Born in Cleveland, Ohio, he began performing at the age of 8, and by the age of 12, he was conducting student performances. He received his bachelor's degree from the Juilliard School, where he has served on the faculty since 1969...
.
The Bronx Opera Company (NYC) has performed it twice, in 1983 and 1994. It has yet to be included in the Sarasota Opera
Sarasota Opera
Sarasota Opera is a professional opera company in Sarasota, Florida, USA, which owns and performs in the now-renovated 1,119-seat Sarasota Opera House. The 2011-2012 season is currently featuring Puccini’s Madama Butterfly in the fall...
's "Verdi Cycle".
In 2008, Opera della Luna
Opera della Luna
Opera della Luna, founded in 1994, is a British touring theatre troupe of actor-singers focusing on comic works. Led by artistic director Jeff Clarke, it takes its name from Haydn's operatic setting of Goldoni's farce Il mondo della luna...
toured a version of the opera in the UK. In director Jeff Clarke's broad English-language adaptation, the story is moved to post-war Italy around the reign of Umberto II, infused with elements of organized crime, and political humour is added. One reviewer commented that the production "makes up for what it lacks in bel canto elegance by being a riotously funny, enormously enjoyable evening's entertainment".
Roles
| Role | Voice type | Premiere Cast, 5 September 1840 (Conductor: - Eugenio Cavallini Eugenio Cavallini Eugenio Cavallini was an Italian conductor, composer, violinist, and violist. In 1833 he became first violinist of the orchestra at La Scala, a post he held through 1855... ) |
|---|---|---|
| Cavaliere di Belfiore, a French officer impersonating Stanislao of Poland |
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... |
Raffaele Ferlotti Raffaele Ferlotti Raffaele Ferlotti was an Italian operatic baritone who had an active international career from the 1830s through the 1860s. He was a regular performer in Italy's leading opera houses, especially La Scala, and created roles in several world premieres... |
| Barone di Kelbar, the usurper | bass | Raffaele Scalese Raffaele Scalese Raffaele Scalese was an Italian operatic bass who specialized in the opera buffa repertoire. He was active in Italy's major opera houses from the mid 1820s up into the 1860s. He also appeared internationally in opera houses in Austria, Portugal, and France... |
| The Marchesa del Poggio, a young widow, the Baron's niece, in love with Belfiore |
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... |
Antonietta Marini-Rainieri Antonietta Marini-Rainieri Antonietta Marini-Rainieri was an Italian operatic soprano active during the first half of the 19th century. She was married to lauded operatic bass Ignazio Marini and often appeared on stage with him. In 1835 she portrayed Giulietta opposite Amalia Schütz Oldosi as Romeo in the Teatro Regio di... |
| Giulietta di Kelbar, the Baron's daughter | mezzo-soprano Mezzo-soprano A mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above... |
Luigia Abbadia Luigia Abbadia Luigia Abbadia was an Italian operatic mezzo-soprano known for her fine voice, secure technique, and a strong temperament. Possessing an uncommonly wide range, Abbadia sang several roles traditionally portrayed by sopranos in addition to roles from the mezzo-soprano repertoire.-Biography:Abbadia... |
| Edoardo di Sanval, a young official, la Rocca's nephew |
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... |
Lorenzo Salvi Lorenzo Salvi Lorenzo Salvi was an Italian operatic tenor who had a major international opera career during the nineteenth century... |
| La Rocca, Treasurer to the Estates of Brittany |
bass | Agostino Rovere Agostino Rovere Agostino Rovere was an Italian operatic bass. After studying singing in Milan, he made his professional opera debut in 1826 at the opera house in Pavia. In 1828 he portrayed Clemente in the world premiere of Vincenzo Bellini's Bianca e Fernando at the Teatro Carlo Felice in Genoa... |
| Count Ivrea, Commandant of Brest, engaged to the Marchesa |
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... |
Giuseppe Vaschetti |
| Delmonte, esquire to the false Stanislao | bass | Napoleone Marconi |
| Servants, chambermaids, vassals of the Baron | ||
Synopsis
[The Polish monarch, King Stanisław Leszczyński, an historical figure during the War of Succession, lost his throne after the Saxon invasion at the Battle of Poltav in 1709. He regained it in 1733, but was again deposed in 1736 and went into exile in France. The opera is set in 1733 when Stanislaw returned to Poland leaving a French officer, the Cavaliere di Belfiore, to impersonate him in France.]- Time: 1733
- Place: Baron Kelbar's castle near Brest, France
Act 1
Scene 1: A gallery in the home of Baron KelbarBelfiore, impersonating the Polish king Stanislaus, is a guest at the home of Baron Kelbar and he comments to himself on his change of fortune: Compagnoni di Parigi...Verrà purtroppo il giorno / "If only my old comrades in Paris could see me now, the most dissolute officer in the regiment turned philosopher king." The Baron has recently arranged a political alliance by betrothing his daughter, Giulietta, to La Rocca, the Brittany Treasurer, but Giulietta prefers La Rocca's nephew, Edoardo. Another undesired marriage involves the Baron's niece, the Marchesa del Poggio, a young widow who is in love with Belfiore. She has become engaged to the Count of Ivrea because Belfiore has been unable to commit himself to marrying her, in spite of the fact that he does love her.
Knowing of the Marchesa's imminent arrival and concerned that she might reveal his false identity as the King, Belfiore writes to Stanislaw and asks to be released from his commitment. Edoardo reveals his predicament to the "King" and begs to be taken to Poland with him in order to forget about the woman he loves. In addition, when the Marchesa arrives and, upon being introduced to Belfiore as "the King", she pretends not to recognize him. Likewise, he pretends not to recognize her, but she is determined to test him by proclaiming her love for the Count: Grave a core innamorato...Se dee cader la vedova / " ".
Scene 2: the Garden of Kelbar's castle
Giulietta is alone with her attendants and expresses unhappioness in having to marry an old man: ’Non san quant'io nel petto...Non vo' quel vecchio / " “. When the Count and La Rocca arrive, followed in succession by Belfiore and Edoardo and then the Marchesa (who was planning to help the lovers), Belfiore draws the Count and La Rocca away on the pretext of discussing state business, leaving the young lovers alone with the Marchesa.
Scene 3: the gallery of Kelbar’s castle
Maintaining his role as the King, Belfiore makes the Treasurer an offer of advancement which would include marriage to a rich widow. By accepting, he agrees not to marry Giulietta. When the treasurer tells the Baron that he refuses to marry his daughter, the Baron is affronted and challenges him to a duel. To add to the confusion all around, the Marchesa immediately proposes that Giulietta and Edoardo be married immediately. However, the false King returns and proposes that he will decide on a solution that will satisfy everyone.
Act 2
Scene 1: the gallery of Kelbar’s castleFollowing the "King's" pronouncement, the servants are mystified and they sing a carefree chorus which leads to Edoardo seeking their support and announcing his hope of still be able to marry Giulietta: Pietoso al lungo pianto...Deh lasciate a un alma amante / " ".
Belfiore, the Treasurer, and Giulietta enter discussing the reasons for the Baron's opposition to his daughter's marriage to Eduardo. Giulietta explains that the young man's poverty is the main objection and so Belfiore immediately rules that the Treasurer must give up one of his castles and give over a sum of money to the young man, and then all will be well. The latter is somewhat reluctant to disobey his sovereign, but seeks a way out of his duel with the Baron.
Scene 2: a veranda overlooking the castle gardens
Belfiore and the Marchesa meet on the veranda, the former still unable to reveal who he really is. This incenses the lady, who boldly states that it is her intention to marry the Count of Ivrea. However, she cannot understand why Belfiore is taking so long to reveal himself and still hopes for his change of heart: (andante) Si mostri a chi l'adora... / " ". When Count Ivrea is announced, she takes a defiant stand (cabaletta): Si, scordar saprò l'infido / " ".
Since Eduardo has pledged to join the "King" when he goes to Poland, Giulietta is determined to get the King to rescind the commitment. The Count enters and the Marchesa once again states that she will marry the Count. However, Belfiore immediately forbids the marriage for 'reasons of state' and announces that he and the Count must leave for Poland to deal with state business.
All express their feelings, but things come to a halt when a letter arrives for Belfiore. It is from King Stanislaw announcing his safe arrival in Warsaw and releasing Belfiore from his task of impersonating him. In return, the king has created him Marshall of France. Before dropping the disguise, the "King" proclaims that Giulietta and Eduardo are to be married and, having received the Baron's consent, reads the true king's letter and reveals his true rank. He expresses his love for the Marchesa and all ends happily with the prospect of two weddings.
Recordings
| Year | Cast (Di Belfiore, Kelbar, Marchesa, Edoardo) |
Conductor, Opera House and Orchestra |
Label |
|---|---|---|---|
| 1951 | Renato Capecchi Renato Capecchi Renato Capecchi was an Italian baritone, actor, and opera director.He sang in the Italian premiere of Shostakovich's The Nose and Prokofiev's War and Peace, and in the world premieres of Gian Francesco Malipiero's La donna è mobile, Giorgio Federico Ghedini's Billy Budd and Lord Inferno, and... , Sesto Bruscantini Sesto Bruscantini Sesto Bruscantini was an Italian baritone, one of the greatest buffo singers of the post-war era, especially renowned in Mozart and Rossini.... , Lina Pagliughi Lina Pagliughi Lina Pagliughi was an Italian-American opera singer. Based in Italy for the majority of her career, she made a number of recordings and established herself as one of the world's finest lyric coloratura sopranos of the 1930s and '40s.-Career:Pagliughi was born in Brooklyn, New York, to Italian... , Juan Oncina Juan Oncina Juan Oncina was a Spanish tenor, particularly associated with Rossini and light Donizetti roles, one of the leading tenore di grazia of the 1950s.- Life and career :... |
Alfredo Simonetto, Orchestra Lirica e Coro della RAI Milano |
Audio CD: Warner-Fonit Cat: 8573-82664-2 |
| 1973 | Ingvar Wixell Ingvar Wixell Ingvar Wixell was a Swedish baritone who had an active international career in operas and concerts from 1955-2003. He mostly sang roles from the Italian repertory, and, according to The New York Times, "was best known for his steady-toned, riveting portrayals of the major baritone roles of... , Jessye Norman Jessye Norman Jessye Norman is an American opera singer. Norman is a well-known contemporary opera singer and recitalist, and is one of the highest paid performers in classical music... , Fiorenza Cossotto Fiorenza Cossotto Fiorenza Cossotto is an Italian mezzo soprano. She is considered by many to be one of the great mezzo-sopranos of the 20th century.-Life and career:... , José Carreras José Carreras Josep Maria Carreras i Coll , better known as José Carreras , is a Spanish Catalan tenor particularly known for his performances in the operas of Verdi and Puccini... |
Lamberto Gardelli Lamberto Gardelli Lamberto Gardelli was an Italian conductor, particularly associated with the Italian opera repertory, especially the works of Giuseppe Verdi.... , Royal Philharmonic Orchestra Royal Philharmonic Orchestra The Royal Philharmonic Orchestra is a British orchestra based in London. It tours widely, and is sometimes referred to as "Britain's national orchestra"... and the Ambrosian Singers Ambrosian Singers The Ambrosian Singers are one of the best-known London choral groups, particularly appreciated for its great variety of recorded repertory.They were founded after World War II in England... |
Audio CD: Philips Philips Koninklijke Philips Electronics N.V. , more commonly known as Philips, is a multinational Dutch electronics company.... Cat: 422429 |