Le convenienze ed inconvenienze teatrali
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Le convenienze ed inconvenienze teatrali (Conventions and Inconveniences of the Stage) is a dramma giocoso, or opera, in two acts by Gaetano Donizetti. The Italian libretto was written by Domenico Gilardoni, adapted from Antonio Simone Sografi's plays Le convenienze teatrali (1794) and Le inconvenienze teatrali (1800).
The title refers to the convenienze, which were the rules relating to the ranking of singers (primo, secondo, comprimario) in 19th-century Italian opera, and the number of scenes, arias etc. that they were entitled to expect.
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[edit] Performance history
The opera was originally a one act farsa based on Le convenienze teatrali; this version premiered at the Teatro Nuovo, Naples on November 21, 1827. Donizetti revised it and added recitatives and material from Le inconvenienze teatrali; this final version premiered at the Teatro Cannobiana, Milan on April 20, 1831. The opera had its first major modern revival in 1963, and has subsequently appeared in a number of translations and under various titles, most notably as Viva la mamma - including a 2004 production at the Opera of Monte Carlo starring June Anderson.
[edit] Roles
| Role | Voice type | Premiere Cast, Final revision April 20, 1827 (Conductor: - ) |
|---|---|---|
| Daria Garbinati, prima donna | soprano | Fanny Corri Paltoni |
| Procolo, her husband | bass | |
| Biscroma Strappaviscere, conductor, (literally, bowel ripper) |
baritone | |
| Donna Agata Scanagalli, Luigia's mother, a Neapolitan |
baritone | Giuseppe Frezzolini |
| Luiga Castragatti, seconda donna, (literally, cat castrator) |
soprano | |
| Guglielmo Antolstoinoff, primo tenore, German |
tenor | Giuseppe Giordano |
| Cesare Salzapariglia, druggist and poet |
baritone | |
| Impresario | bass | |
| Director of the Theatre | bass | |
| Soldiers, servants, workmen | ||
[edit] Synopsis
A regional operatic troupe is rehearsing a new work -- "Romulus and Ersilia" -- and faces numerous obstacles. The prima donna repeatedly makes impossible demands. The Russian tenor cannot master either the lyrics or meldodies. In the midst of much quarrelling, various singers threaten to walk out. The situation turns more dire with the arrival of Mamma Agatha (baritone role), the mother of one of the female performers. She insists on a solo for her daughter and even issues detailed demands on the musical arrangement of the aria. When the star tenor refuses to go on, he is replaced by the prima donna's agent. Finally, a loss of financing almosts brings the production to a hault. In the end, all problems are solved and the show goes on.
[edit] Selected recordings
[edit] External links
- Libretto (two act version) (Italian)
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