Giuseppe Haydn

13 OPERÆ

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Kultur Niederösterreich, Haydn Stiftung

Il mondo della luna

Dramma giocoso

Haydn13

Information about the opera

Original title

IL MONDO DELLA LUNA. DRAMMA GIOCOSO IN TRE ATTI. RAPPRESENTATO SUL TEATRO D’ESTERHÁZ, ALL’ OCCASIONE DEGLI FELICI SPONSALI DEL SIGNORE NICOLO, CONTE ESTERHAZY DI GALANTHA, FIGLIO DI S. A. S. E LA SIGNORA CONTESSA MARIA ANNA WEISSENWOLF. L’ ESTATE DELL ANNO 1777.

Classification
II. period 7. opera / series XXV:7 / Hob. XXVIII:7
Opera type
Dramma giocoso / Opera semiseria with a strong tendency towards opera buffa
Number of acts
3
Occasion of composition

The wedding of Count Nicolaus Esterházy, second son of Prince Nicolaus and his wife, Countess Maria Anna Weißenwolf (niece of the wife of Prince Nicolaus ‘Lover of Splendour’, Princess Maria Elisabeth, née Countess Weißenwolf).

Year
1777
World premiere
3 August 1777
Place of world premiere
Prince’s Opera House at Esterháza Palace
Number of performances

Es wird über 3 weitere Aufführungen im 3. Quartal des Jahres 1777 gemutmaßt. Allein gesichert ist das nicht. Und es ist auch sehr unwahrscheinlich.

Score

Il mondo della luna - Dramma giocoso
1. Akt, 1. Teilband, 2. und 3. Akt, 2. Teilband
Editor: Günter Thomas; Reihe XXV, Band 7;
1979, 1981 und 1982, G. Henle Verlag München

Status of score
complete
Information about score

Autographen und Abschriften existieren mehrerer Fassungen. 
Leider gibt es keine durchgängigen Fassungen etwa eine 1. oder 2. Fassung. Es gibt immer nur mehrere Fassungen einzelner Nummern oder Abschnitte, nicht jedoch der gesamten Partitur. Man weiß also nicht, welche der Fassungen bei der Premiere verwendet wurde. 
In Prinzip können drei Fassungen ausgemacht werden: Die beiden Urfassungen, die gleich im Anschluss erklärt werden und nachträgliche Bearbeitungen, als 3. Fassung bezeichnet. Die erhältliche „Henle-Partitur“ basiert auf der Fassung, die Haydn als Partitur abschrieben ließ. Sie wird auch bei Henle als die „verbreitete“ Fassung bezeichnet. Als „neue“ weist die „Henle-Partitur“ jene Fassungen aus, die als Autograph auch vorliegen und von Haydn nach seiner Abschrift angefertigt wurden. In den drei Bänden dieser „Henle-Partitur“ geht der Verlag auf alle Fassungen genau ein. Was die Aufführungspraxis anbelangt, darf und kann von Stück zu Stück entschieden werden, welche Fassung letztendlich gewählt wird. Der Einfachheit halber wurde für die Analyse jeweils die „Neue Fassung“ herangezogen. Auch wenn es schwer fiel, denn manche „verbreitete Fassung“ scheint dann doch raffinierter zu sein! 
An der Rollenverteilung erkennt man, dass Haydn während der Komposition Umbesetzungen vornahm. Offensichtlich „musste“ Haydn bei seiner Konzeption zu dieser Oper wohl umdisponieren und einen Kastraten berücksichtigen, der ja am 1. Februar 1776 engagiert wurde: Pietro Gherardi. Doch auch dessen erste zugedachte Rolle Ecclitico wurde es dann nicht. Letztlich wurde Gherardi mit der Rolle des Ernesto betraut.
Dafür gibt es eine spektakuläre Erklärung, die aber zu einem späteren Zeitpunkt publiziert wird.
Ecclitico, Ernesto und Lisetta sind in verschiedenen Stimmlagen überliefert.
Es gibt also eine frühere und eine spätere Rollenverteilung12:

Die frühere:

Ecclitico - Alt
Ernesto - Tenor
Lisetta - Sopran

Die spätere:

Ecclitico - Tenor
Ernesto - Alt
Lisetta - Alt

Persons

Opernkapitel Mondo 1

Persons

Staff of period II
Ensemble of period II
Opera roles
Ecclitico Finto Astrologo  tenor
Ernesto Cavaliere altus
Bonafede   bass
Clarice Figlia, di Bonafede soprano
Flaminia Altra figlia di Bonafede soprano
Lisetta Cameriera, di Bonafede alto
Cecco Servitore di Ernesto tenor
Cast / Personaggi
Orchestration
2|2|0|2 – 2|2 – 1 – str.
Orchestra cast
2|2|0|2 – 2|(2) – 1 – str.
Number of orchestra musicians
2|2|0|2 – 2|(2) – 1 – str. (4|3|2|1|2)
Cast
oboe Zacharias Hirsch und einer der Oboisten
basoon Albrecht Schaudig, Anton Poschwa oder Zacharias Pohl
horn Johann Hinterberger, Ignaz Drobney oder aber auch Caspar Peczival
Pauke Caspar Peczival
violin/viola Luigi Tomasini (cm), Antonio Rossetti, Joseph Purcksteiner, Joseph Hofmann, Joseph Dietzl, Franz Pauer, Joseph Oliva, Vito Ungricht (wohl Viola), Christian Specht (probalby viola)
violoncello Xavier Marteau
double bass Johann Dietzl, Carl Schiringer

Libretto

Opernkapitel Mondo 2

Libretto

Libretto

The libretto of the same name by Carlo Goldoni was first set to music by Baldassare Galuppi at the Venice Carnival in 1750. In addition to Galuppi, this libretto was also set to music, among others, by Gennaro Astarita in 1775. A certain tenor Guglielmo Jermoli was already performing it at the Teatro San Moisè. It was probably he who brought this libretto to Eisenstadt. Compared to Astarita’s version, some of the aria texts had already been replaced and the finales were combined into a larger multi-part finale. Up to the end of the second act, Haydn still largely followed Goldoni’s original libretto. Only from this point does the libretto, with the exception of the final chorus, follow the version set to music by Gennaro Astarita.13

Arrangement of libretto
Unbekannt
Mutazione di scene

NELL' ATTO PRIMO
Terazzo sopra la casa di Ecclitico.
Camera in Casa di Bonafede.

ATTO SECONDO
Giardin delizioso, raffigurato nel mondo della luna.

ATTO TERZO
Sala in casa d'Ecclitico.

Opera parts

Opernkapitel Mondo 3

Opera parts

    1. Sinfonia
ATTO PRIMO      
      SCENA I
    2a. Coro Ecclitico, Gli Scolari O luna lucente
    2b. Recitativo Ecclitico Basta, basta, discepoli
    2c. Coro Gli Scolari Prendiamo, fratelli
    3 Recitativo Ecclitico Oh le gran belle cose
      SCENA II
      (Recitativo) Bonafede, Ecclitico Si puol entrar?
      SCENA III
    4. (Coro) Ecclitico, Gli Scolari, Bonafede Servitor obbligato
    5. Recitativo Ecclitico Olà, Claudio, Pasquino
    6a. Instrumentales Zwischenspiel
    6b. Recitativo Ecclitico, Bonafede Il signor Bonafede
    6c. Cavatina Bonafede Ho veduto una ragazza
    6d. Recitativo Ecclitico Se una ragazza
    6e. Instrumentales Zwischenspiel
    6f. Recitativo Bonafede, Ecclitico Ho veduto, ho veduto
    6g. Cavatina Bonafede Ho veduto un buon marito
    6h. Recitativo Ecclitico Volesse il ciel
    6i. Instrumentales Zwischenspiel
    6j. Recitativo Bonafede, Ecclitico Oh questa assai mi piace!
    6k. Cavatina Bonafede Ho veduto dall'amante
    7. Recitativo Ecclitico, Bonafede E qui ancora si useria
    8. Aria Bonafede La ragazza col vecchione
      SCENA IV
    9. Recitativo Ecclitico, Ernesto, Cecco Io la caccia
    10. Aria Ecclitico Un poco di denaro
      SCENA V
    11. Recitativo Cecco, Ernesto Costui dovrebbe al certo
    12. Aria Ernesto Begli occhi vezzosi
      SCENA VI
    13. Recitativo Cecco Qualche volta il padron
    14. Aria Cecco Mi fanno ridere
      SCENA VII
    15. Recitativo Clarice, Flaminia Eh venite, germana
    16. Aria Flaminia Ragion nell'alma siede
      SCENA VIII
    17. Recitativo Bonafede, Clarice Brava, signora figlia!
    18. Aria Clarice Son fanciulla da marito
      SCENA IX
    19. Recitativo Bonafede, Lisetta Se mandarla potessi
    20. Aria Lisetta Una donna come me
      SCENA X
    21. Recitativo secco ed accompagnato Bonafede, Ecclitico 
È poi la mia Lisetta
    22. Finale Clarice, Lisetta, Ecclitico, Bonafede 
Vado, vado; volo, volo
       
ATTO SECONDO      
    23. Sinfonia
      SCENA I
    24. Recitativo Ecclitico, Ernesto Ecco qui Bonafede
      SCENA II
      (Recitativo) Ecclitico, Bonafede Bonafede ancor dorme
    25. Instrumentale Zwischenmusik
    26. Recitativo Bonafede, Ecclitico Bravi, bravissimi!
    27. Balletto
    28. Recitativo Bonafede, Ecclitico Oh ehe ninfe gentili!
      SCENA III
    29. Coro Ecclitico, Bonafede, 4 Cavalieri Uomo felice
    30. Recitativo Bonafede, Ecclitico Come avrò a contenermi?
    31. Aria Ecclitico Voi lo sapete
      SCENA IV
    32. Recitativo Bonafede Parmi ehe dica il vero
      SCENA V
    33. Instrumentale Zwischenmusik
    34. Recitativo Bonafede, Cecco, Ernesto Umilmente m'inchino
    35. Aria Cecco Un avaro suda e pena
      SCENA VI
    36. Recitativo Ernesto, Bonafede Voi avete due figlie?
    37. Aria Ernesto Qualche volta non fa male
      SCENA VII
    38. Recitativo Bonafede, Echo Io resto stupefatto
    39. Aria Bonafede Che mondo amabile
      SCENA VIII
    40. Recitativo Lisetta, Ecclitico Dove mi conducete?
      SCENA IX
      (Recitativo) Lisetta, Bonafede Quello é il padrone?
    41. Duetto Lisetta, Bonafede Non aver di me sospetto
      SCENA X
    42a. Recitativo Cecco, Bonafede, Lisetta Olà, presto, fermate
    42b. Recitativo accompagnato Lisetta, Cecco Lei è mio
    42c. Aria Lisetta, Cecco Se lo comanda
    43. Recitativo Bonafede, Cecco Eccelso imperator
      SCENA XI
    44. Instrumentale Zwischenmusik
    45. Recitativo Bonafede, Flaminia, Clarice, Cecco, Ernesto 
Figlie, mie care figlie
    46. Aria Flaminia Se la mia stella
      SCENA XII
    47. Recitativo Clarice, Cecco, Ecclitico, Bonafede Mia sorella sta bene
    48. Aria Clarice Quanta gente ehe sospira
      SCENA XIII
    49. Recitativo Lisetta, Cecco, Bonafede Ed io son stata qui
      SCENA XIV
      (Recitativo) Ecclitico Ecco già preparato
      SCENA XV
    50. Finale Lisetta, Ernesto, Ecclitico, Cecco, Bonafede 
Al comando tuo lunatico
      SCENA XVI
      (Finale) Clarice, Flaminia, Lisetta, Ernesto, Ecclitico, Cecco, Bonafede 
A questa coppia amabile
       
ATTO TERZO      
    51. Sinfonia
      SCENA I
    52. Recitativo Bonafede, Ecclitico, Ernesto, Cecco Voglio sortir, cospetto!
      SCENA II
      (Recitativo) Clarice, Ecclitico Sposino
    53. Duetto Clarice, Ecclitico Un certo ruscelletto
      SCENA ULTIMA
    54. Recitativo Bonafede, Clarice, Flaminia, Cecco, Ernesto, Ecclitico, Lisetta 
Vien qui, figlia, m’abbraccia
    55. Finale Clarice, Flaminia, Lisetta, Ernesto, Ecclitico, Cecco, Bonafede 
Dal Mondo della Luna
       
       

Synopsis

Opernkapitel Mondo 4

Synopsis

Act 1
Claiming to be an astrologer, the wily Ecclitico seeks to gain advantage at the expense of human narrow-mindedness and credulity. But this time he is less concerned with material wealth than with the hand of one of the daughters of the rich but simple-minded and domineering Bonafede. For this purpose, he constructs a device which makes a world on the moon appear to unsuspecting observers looking through a telescope. This device is mounted in front of the lens of the telescope and is illuminated from within. Several figures can be seen moving in it. Ecclitico grants the curious Bonafede a look through the telescope and thus secures him as a willing victim. Bonafede is full of enthusiasm about his observation of the world on the moon, where what is so difficult to achieve on earth and yet which corresponds entirely to his secret wishes, takes place. Ecclitico, together with his friend Ernesto and his servant Cecco, now decides to use the desire of his new follower to seduce the simple old man’s daughters and maid away from him without forgoing a splendid dowry. Since Ernesto is in love with Flaminia, and Cecco with the maid Lisetta, nothing stands in the way of Ecclitico’s prospect of obtaining Clarice.
Meanwhile, in Bonafede’s house, the two daughters are making marriage plans. Their primary motive is by no means love but a desire to escape from their father’s constraints. Bonafede tells his maid Lisetta of his experience and promises to let her look through Ecclitico’s telescope if she gives herself up to him. In his stupidity, he doesn’t realise that Lisetta only wants his money. Just as Bonafede is praising his maid’s supposed innocence, Ecclitico enters with the news that the Emperor of the Moon has unexpectedly invited him to accept lunar citizenship. Bonafede is immediately willing to accompany the astrologer on this journey. After some secrecy about the magic potion necessary for this flight, Ecclitico puts Bonafede, already intoxicated by the prospect of walking on the moon, to sleep with an elixir that is said to enable flight. While Clarice and Lisetta, who unsuspectingly believe that he passed out, get smelling salts to revive him, Ecclitico has him taken to the garden of his house, where a fantastic lunar landscape has in the meantime been created. 

Act 2
Ecclitico now stages the bizarre ‘world on the moon’. He informs Bonafede’s daughters of the fraud but not the maid Lisetta. With smelling salts, he wakes up Bonafede, who is immediately amazed by the beauty of the lunar world. He does not realise that the Emperor of the Moon’s master of ceremonies is the astrologer Ecclitico, and that the Emperor of the Moon’s triumphal procession and entourage comprises Ecclitico’s friend Ernesto (as the evening star Hesperos) and his servant Cecco (as the Emperor of the Moon). He is informed that he is standing in front of a kind of mirror image of the earthly constellations known to him. Ecclitico even announces that Bonafede’s daughters and maid will appear, but this favour will of course only be granted to him on the condition that Lisetta is at the emperor’s disposal. Blindfolded, the unsuspecting woman is led to the masquerade, which seems silly to her, and she does not believe that she has gone to the moon in her sleep when the blindfold is removed from her eyes. However, she immediately plays along with the game with quick-wittedness when she recognises her beloved Cecco in the role of the Emperor of the Moon, who generously promotes her to the position of empress once Bonafede has recognised the emperor’s rights over her. A flying machine brings Flaminia and Clarice; they are immediately married by the Emperor of the Moon to ‘Hesperos’ and the ‘master of ceremonies’. Ecclitico’s plan has worked. To obtain the dowry, the key of his safe is skilfully stolen from the still unsuspecting Bonafede, and the comedy is declared over. The realisation that he has been duped comes too late for him.

Act 3
Bonafede is kept in Ecclitico’s house to force him to comply with the astrologer’s wishes. The price of his release is the dowry. Bonafede reluctantly asks them to give him the key to his safe back and realises that he is the victim of his own narrow-mindedness and gullibility. He finally puts on a good face and agrees to the three marriages. He accepts his lesson and realises that he has been too strict a father.14

Libretto

1757

1. Periode
Hob.I:1

1757/1758

1. Periode
Hob.I:37

1757-1759

1. Periode
Hob.I:18
Hob.I:2

1757-1760

1. Periode
Hob.I:4
Hob.I:27

1758-1760

1. Periode
Hob.I:10
Hob.I:20

1761/1762

1. Periode
Hob.I:36
Hob.I:33

1766

4. Periode

1771

4. Periode
Hob.I:52
Hob.I:42

1774/1775

5. Periode
Hob.I:68

1776

5. Periode
Hob.I:61

1777/1778

5. Periode
Hob.I:53 "L'Impériale"

1778/1779

5. Periode
Hob.I:71

1780

5. Periode
Hob.I:74
Hob.I:62

1781

5. Periode
Hob.I:73 "La chasse"

1787

8. Periode
Hob.I:89

-1788

8. Periode
Hob.I:88

1788

8. Periode
Hob.I:90
Hob.I:91

1789

8. Periode
Hob.I:92 "Oxford"

1793

10. Periode
Hob.I:99

1794

10. Periode
Hob.I:102

1796

1799

1801

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I. Periode
Acide
 
I. Periode
 
I. Periode
 
I. Periode
La canterina
I. Periode
 
I. Periode
Lo speziale
 
I. Periode
 
I. Periode
Le pescatrici
 
I. Periode
 
I. Periode
 
II. Periode
 
II. Periode
 
II. Periode
 
II. Periode
Il mondo della luna
 
II. Periode
 
III. Periode
 
III. Periode
La fedeltà premiata
 
III. Periode
Orlando paladino
 
III. Periode
Armida
 
III. Periode
La vera costanza II