Giuseppe Haydn

13 OPERÆ

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Kultur Niederösterreich, Haydn Stiftung

L'isola disabitata

Azione teatrale

Haydn13

Information about the opera

Original title

L' ISOLA DISABITATA AZIONE TEATRALE IN DUE PARTI PER MUSICA DEL CELEBRE SIGNOR ABBATE PIETRO METASTASIO POETA CESAREO DA RAPPRESSENTARSI IN OCCASIONE DEL GLORIOSISSIMO NOME DI S. A. IL PRINCIPE NICOLO ESTERHAZI DI GALANTHA. L'ANNO 1779.

Classification
II. period 9. opera / series XXV:9 / Hob. XXVIII:9
Opera type
Azione teatrale / Opera seria
Number of acts
2
Occasion of composition

The prince’s name day

Year
1779
World premiere
6 December 1779
Place of world premiere
Probably the prince’s puppet theatre at Esterház Palace, since the theatre had caught fire and burned down on 18 November 1779 during preparations for a festival. Although this had been only eight days before, the opera was nevertheless staged!
Number of performances

Ein zweites Mal am 12. März 1780.

Score

L'isola disabitata - Azione teatrale
Editor: Christine Siegert, Günter Thomas, Ulrich Wilker; Reihe XXV, Band 9;
2009, G. Henle Verlag München

Status of score
complete
Information about score

Autograph bis auf die ersten Seiten verloren. Es existieren aber drei von Haydn durchgesehene Abschriften. 1802 überarbeitete Haydn die Oper für eine geplante Herausgabe bei Breitkopf & Härtel in Leipzig. Was bei dieser Überarbeitung aber ins Auge sticht, ist die Uminstrumentierung. Üblicherweise wählt man bei den Produktionen dann immer die letzte Fassung des Komponisten. Mit dem Argument, dass ein solcher Eingriff nicht unbegründet stattfand. Tat es auch nicht. Blickt man auf Haydns Ensemble zurück, nimmt es nicht Wunder, dass ein Rezitativ des Gernando sein begleitendes Violinsolo verlor oder die ursprüngliche Fassung des Schlussquartetts die den Rollen zugeordneten Charakterinstrumente: Costanza – Solovioline; Silvia – Flöte; Gernando – Solovioloncello – Enrico – Fagott. Haydn traute den damaligen „fremden“ Orchestern seine kompositorischen Herausforderungen einfach nicht zu. Da war kein Luigi Tomasini, Haydns Freund und Konzertmeister, kein Anton Kraft, laut erster Gehaltsliste schon als Virtuose am Violoncello eingestuft aufgenommen, kein Zacharias Hirsch, seines Zeichens Flötist, und kein Caspar Peczival, der Fagottist. Und Haydn selbst soll ja nach der Fertigstellung der Bearbeitung gesagt haben, „... es sey ein Werkchen, das sich in seiner jetzigen Gestalt auf jedem Privattheater aufführen lasse“17. Nun, man kann diese Qualifikation deuten wie man will! Ähnliches ist Jahre später in der Oper La fedeltà premiata mit einem gestrichenen Hornsolo zu beobachten. 
Auch wenn sich in dieser Oper besetzungstechnisch doch „alles“ um Haydns komplizierte Liebe zu Luigia Polzelli dreht, so gilt die künstlerische Aufmerksamkeit doch zwei anderen Charakteren: Zu allererst natürlich der von Haydn wirklich geschätzten Barbara Ripamonti und im Weiteren auch Andrea Totti. Nach dem wohl traurigen und vor allem verfrühten Ausscheiden Ripamontis am 10. April 1780 verschwand dieses faszinierende Kammerspiel vom Spielplan. Selbst bei der Rückkehr der Sängerin wurde L'isola disabitata anders als La vera costanza nie wieder aufgenommen. Das mag daran liegen, dass auch Totti nicht mehr zugegen war, als die Ripamonti zurückkehrte...

Persons

Opernkapitel Isola 1

Persons

Staff of period II
Ensemble of period II
Opera roles
Costanza Moglie die Gernando soprano
Silvia Sua minor sorella  soprano
Gernando Consorte di Costanza tenor
Enrico Compagno die Gernando tenor
Cast / Attori
Orchestration
1|2|0|1 – 2|0 – 1 – str.
Orchestra cast
1|2|0|1 – 2|0 – 1 – str.
Number of orchestra musicians
1|2|0|1 – 2|0 – 1 – str.(4|4|2|1|2)
Cast
flute Zacharias Hirsch
oboe Vittorino Colombazzo, Zacharias Pohl
basoon Caspar Peczival
horn Johann Hollerrieder, Martin Rupp
timpani Caspar Peczival
violin/viola Luigi Tomasini (cm), Antonio Rossetti, Joseph Purcksteiner, Joseph Hofmann, Francesco Ripamonti, Antonio Polzelli, Joseph Dietzl, Franz Pauer, Joseph Oliva, Christian Specht (viola), Vito Ungricht (viola)
violoncello Anton Kraft
double bass Johann Dietzl, Carl Schiringer

Libretto

Opernkapitel Isola 2

Libretto

Libretto

The libretto was originally created by Pietro Metastasio for Giuseppe Bonno (1753) and was set to music several times in the years that followed. Haydn obviously used the version that Luigi Bologna had used in his opera composition. Both librettos have the same changes.18 The same opera had been performed a few years earlier in Vienna with Matilda Bologna, the singer who years later would become the permanent and essential pillar of Haydn’s ensemble of singers.

Arrangement of libretto
Vermutlich durch Nunziato Porta
Argomento

Navigava il giovane Gernando colla sua giovanetta sposa Costanza con la picciola Silvia ancora infante, di lei sorella, per raggiungere nell'lndie Occidentali il suo genitore, a cui era commesso il governo di una parte di quelle; quando da una lunga e pericolosa tempesta fu costretto a discendere in un'isola disabitata per dar agio alla bambina ed alla sposa di ristorarsi in terra dalle agitazioni del mare. Mentre queste placidamente riposavano in una nascosta grotta, che loro offerse comodo ed opportuno ricetto, l'infelice Gernando con alcuni de' suoi seguaci fu sorpreso, rapito e fatto schiavo da una numerosa schiera di pirati barbari, che ivi sventuratamente capitarono. I suoi compagni, che videro dalla nave confusamente il tumulto, e crederono rapite con Gernando la bambina e la sposa, si diedero ad inseguire i predatori; ma, perduta in poco tempo la traccia, ripresero sconsolati il loro interrotto cammino. Desta la sventurata Costanza, dopo aver cercato lungamente in vano il suo sposo e la nave che l'avea colà condotta, si credé, come Arianna, tradita ed abbandonata dal suo Gernando. Quando i primi impeti del suo disperato dolore cominciarono a dar luogo al naturale amor della vita, si rivolse ella, come saggia, a cercar le vie di conservarsi in quella abbandonata segregazion de' viventi; ed ivi dell'erbe e delle frutte, onde abbondava il terreno, si andò lunghissimo tempo sostenendo con la picciola Silvia, ed inspirando l'odio e l'orrore da lei concepito contro tutti gli uomini all'innocente che non gli conosceva. Dopo tredici anni di schiavitù, riuscì a Gernando di liberarsi. La prima sua cura fu di ritornare a quell'isola, dove avea involontariamente abbandonata Costanza, benché senza alcuna speranza di ritrovarla in vita. 

L'inaspettato incontro de' teneri sposi è l'azione che si rappresenta.

Opera parts

Opernkapitel Isola 3

Opera parts

    1. Sinfonia
PARTE PRIMA      
       
    2. Recitativo Costanza Qual contrasto non vince
      SCENA  II
      (Recitativo) Silvia, Costanza Ah germana!
    3. Aria Costanza Se non piange un'infelice
      SCENA III
    4. Recitativo Silvia Che ostinato dolor!
      SCENA IV
      (Recitativo) Enrico, Gernando, Silvia Ma sarà poi, Gernando
      SCENA V
      (Recitativo) Silvia, Enrico Nulla intender poss 'io
    5. Aria Enrico Chi nel cammin d'onore
      SCENA VI
    6. Recitativo Silvia Che fu mai quel ch 'io vidi!
    7. Aria Silvia Fra un dolce deliro
       
PARTE SECONDA      
      SCENA I
    8. Recitativo Gernando, Enrico Ah presaga fu l'alma
    9. Aria Gernando Non turbar quand 'io mi lagno
      SCENA II
    10. Recitativo Enrico Non s'irriti fra' primi impeti
      SCENA III
      (Recitativo) Silvia, Enrico Dov'è Costanza?
      SCENA IV
      (Recitativo) Silvia Che mai m'avvenne!
    11. Aria Silvia Come il vapor s'accende
      SCENA V
    12. Aria Costanza Ah, che in van per me pietoso
    13. Recitativo Costanza Giacchè da me lontana
    14. Cavatina e Recitativo Gernando, Costanza 
Giacchè il pietoso amico
      SCENA VI
      (Recitativo) Enrico, Costanza lgnora il caro amico
      SCENA ULTIMA
      (Recitativo) Silvia, Costanza, Enrico, Gernando 
Costanza, Costanza?
    15. Quartetto Costanza, Silvia, Gernando, Enrico 
Sono contenta appieno

Synopsis

Opernkapitel Isola 4

Synopsis

‘Young Gernando goes to sea with his young wife Costanza and her sister, who is still a child, to visit his father in the West Indies (he is governor of a part of them), and is forced by a prolonged and dangerous storm to land on an uninhabited island in order to give his wife and her sister the chance to rest on land following the discomfort of the voyage. While they enjoy a rest in a hidden grotto, which offers them a comfortable and convenient shelter, the unfortunate Gernando, together with some of his entourage, is attacked, kidnapped and enslaved by a band of savage pirates who have unfortunately landed there. His companions, who see the group from the ship, albeit indistinctly, believe that his wife and the child have been taken along with Gernando. They follow the pirates but soon lose sight of them. Sad and inconsolable, they continue their interrupted journey. The unfortunate Costanza awakes and searches in vain for her husband and the ship that has brought them there. She thus believes herself – like Ariadne – to have been betrayed and abandoned by her Gernando. When the first waves of her hopeless grief begin to give way to a natural love of life, she prudently decides to eke out an existence on this desolate island devoid of all living things by any means. She sustains herself and her sister for a long time on the herbs and fruit that the land yields, channelling all the hate and disgust she feels for men into her innocent little sister, who has never even met one. After thirteen years of slavery, Gernando manages to free himself. His first concern is to return to the island where he had left his Constanza against his will, though without any hope of finding her alive.’19

First part
Costanza has finished with her life. She carves an inscription into the rock with Gernando’s broken sword, saying aloud.

‘Dal traditor Gernando Costanza abbandonata, i giorni suoi in questo terminò lido straniero. Amico passeggiero, se una tigre non sei, o vendica o compiangi ...’ i casi miei.

‘Betrayed and abandoned by her husband Gernando, Costanza ended her days on these distant shores. If you, who are passing by, do not have the heart of a tiger, either avenge me or weep over my fate’20.
At the last three words ‘over my fate’, she pauses, holding off on completing the inscription, saying fate may yet wait.  
Silvia interrupts this sad scene with her childish joy at having found a deer as a playmate. Costanza painfully comments on her sister’s naïve joy. She has long since given up hope of returning to her homeland. It’s been thirteen years since they were stranded here. Silvia doesn’t understand her at all. After all, the cruel men, about whom Costanza always tells her such terrible things, live there.
Silvia sees a ship coming across the sea. Of course, she doesn’t know what it is. She analyses the situation:
‘But what bizarre structure appears there on the sea? It’s not a rock; a stone cannot change its position. How could a giant monster move so easily? Foaming, the water splits behind it! On its way, it almost flees from view; it has wings on its back, it swims and flies too!’21 
It’s Gernando and Enrico, who are looking for Costanza. Silvia can now finally catch a glimpse of Enrico’s face from her secret hiding place. It’s an image that evokes unknown emotions in her. We learn from Enrico that Gernando freed him from captivity and that he wants to show his gratitude by undertaking this hazardous journey.
Silvia increasingly takes a liking to Enrico, but she can’t really classify what he is. Of course, it can’t be a man, because she would recognise one by his ‘tyrannical face’. It’s not a woman either, as it doesn’t wear a skirt.

Second part
inscription carved in the rock and is now completely convinced that his dear wife is no longer alive. At this moment, Enrico appears and also reads the inscription, pointing out that it is incomplete. For Gernando, this is merely proof of how suddenly death had overtaken her. He now asks Enrico to let him rest a little and leaves.
Now, Silvia and the ‘creature’ that calls himself Enrico meet for the first time.
Although Silvia asks him to keep his distance out of fear of him, she nevertheless agrees to talk to him. In this conversation, which is a rather delicate way of making advances, Enrico casually blurts out the fact that he is a man, which completely frightens Silvia. Enrico manages to calm her down and she stays because she likes this man so much. Furthermore, Enrico learns that Costanza is still alive and reports that Gernando is also on the island. They decide to bring the others to an agreed meeting point.  When Silvia is alone, she admits a feeling of love for the first time.
In the following scene, Costanza again laments her sad fate and decides to finish the inscription on the rock. Then Gernando comes along without noticing Costanza. They meet for the first time after such a long period and Costanza faints, but not without first insulting him as a traitor. Gernando rushes off to fetch water. Meanwhile, Enrico returns, finds Costanza, and explains to her what has happened in the past thirteen years. Costanza now realises that she was wrong to call Gernando a traitor.
One thing remains: Costanza now has to convince Silvia that the men she has scolded aren’t that bad after all.22

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