Giuseppe Haydn

13 OPERÆ

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Orlando paladino

Dramma eroicomico

Haydn13

Information about the opera

Original title

ORLANDO PALADINO DRAMMA EROICOMICO IN TRE ATTI. MUSICA DEL CELEBRE SIGR. GIUSEPPE HAIDEN. DA RAPPRESENTARSI NEL TEATRO D' ESTERHAZI. L' ANNO 1782.

Classification
III. period 11. opera / series XXV:11 / Hob. XXVIII:11
Opera type
Dramma eroicomico / Opera semiseria
Number of acts
3
Occasion of composition

The visit of a grand duke and duchess from Russia. However, this did not take place so the premiere took place on the name day of the prince.

Year
1782
World premiere
6 December 1782
Place of world premiere
Prince’s Opera House at Esterháza Palace
Number of performances

Bis zum Oktober 1784 erlebte der Orlando rund 30 Aufführungen und gehört damit ebenfalls zu den meist gespielten Opern am Fürstenhof.

Score

Orlando Paladino - Dramma eroicomico
1. Akt, 1. Teilband und 2. und 3. Akt, 2. Teilband
Editor: Karl Geiringer; Reihe XXV, Band 11;
1972 und 1973, G. Henle Verlag München

Status of score
complete

Persons

Opernkapitel Orlando 1

Persons

Staff of period III
Ensemble of period III
Opera roles
Angelica Regina del Cattai soprano
Rodomonte Re di Barbaria bass
Orlando Paladino tenor
Medoro Amante d' Angelica tenor
Licone Pastore tenor
Eurilla Pastorella soprano
Pasquale Scudiero d’ Orlando tenor
Alcina Maga soprano
Caronte   bass
Cast / Attori
Orchestration
1|2|0|2 – 2|2 – 1 – str.
Orchestra cast
1|2|0|2 – 2|0 – 1 – str.
Number of orchestra musicians
1|2|0|2 – 2|0 – 1 – str.(6|4|2|2|2)
Cast
flute Zacharias Hirsch
oboe Albrecht Schaudig, Anton Mayer
basoon Joseph Steiner, Caspar Peczival oder auch Schiringer
horn Natale Chiesa, Johann Hörmann
timpani Caspar Peczival
violin/viola Luigi Tomasini (cm), Nicolò Mestrino, Franz Menzel, Peter Fux, Joseph Purcksteiner, Joseph Hofmann, Antonio Polzelli, Joseph Dietzl, Franz Pauer, Joseph Oliva, Christian Specht (probably viola), Vito Ungricht (probably viola)
double bass Anton Kraft, Valentin Bertoja
Kontrabass Johann Dietzl, Carl Schiringer

Libretto

Opernkapitel Orlando 2

Libretto

Libretto

The libretto is based on Carlo Francesco Badini’s text for the opera ‘Le patzte d’Orlando’ by Pietro Alessandro Guglielmi (London 1771), which builds on Ludovico Ariosto’s ‘Orlando furioso’ (1516).
Just as with the libretto for Armida later on, this was very well-known opera material and, as the following selection shows, the most famous composers of the time took on this subject – even returning to it several times, as in the case of Handel.

  • 1625 Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina 
  • 1642 Luigi Rossi: Il palazzo incantato 
  • 1685 Jean-Baptiste Lully: Roland
  • 1727 Antonio Vivaldi: Orlando furioso
  • 1733 Georg Friedrich Händel: Orlando
  • 1735 Georg Friedrich Händel: Ariodante 
  • 1735 Georg Friedrich Händel: Alcina
  • 1760 Jean-Philippe Rameau: Les Paladins
  • 1778 Niccolò Piccinni: Roland
Arrangement of libretto

Nunziato Porta arbeitete das Libretto mehrfach um, schon vor Haydn. Als Porta (Dienstantritt 16. Juli 1781) für Haydn das Libretto erstellte, gab er dem Werk schließlich den Titel Orlando paladino. Dabei überarbeitete er vor allem die Rollen der Angelica, die dann Portas Frau Metilda Maria Bologna (Dienstantritt 1. Mai 1781) übernahm, die Rolle des Medoro, übertragen an Prospero Bragetthi (Dienstantritt 1. Juli 1781) und des Pasquale, die Vincenzo Moratti übernahm, der schon in La fedeltà premiata eine wichtige „gestalterische“ Rolle inne hatte.

Mutazione di scene

NELL' ATTO PRIMO
Montuosa nevicata. 
Fondo di antica torre. 
Delizioso giardino, con fon tana nel mezzo. Boschetto.

NELL' ATTO SECONDO
Boschetto. 
Vasta campagna con diversi alberi che si trasmutano in mostri, e scoglio con caverna, che precipita. 
Camera nel castello. 
Grotta d'incanti.

NELL' ATTO TERZO
Bosco ombroso con veduta del fiume Lete, e campi elisi. Boschetto. 
Camera che si trasmuta in un tempio di Venere illuminato.

Opera parts

Opernkapitel Orlando 3

Opera parts

    1. Sinfonia
ATTO PRIMO      
      SCENA I
    2. Introduzione Eurilla, Licone, Rodomonte Il lavorar l'è pur la brutta cosa
    3. Recitativo Rodomonte, Licone, Eurilla Presto rispondi, indegno
    4. Aria Eurilla Ah se dire io vi potessi
      SCENA II
    5. Recitativo Rodomonte, Licone Non perdiamo più tempo
    6. Aria Rodomonte Temerario! senti e trema
      SCENA III
    7. Cavatina Angelica Palpita ad ogni istante
    8. Recitativo Angelica Angelica infelice! E ehe ti giova
    9. Sinfonia
    10. Recitativo Alcina, Angelica Che brami dalla fata?
    11. Aria Alcina Ad un guardo, a un cenno solo
      SCENA IV
    12. Recitativo Angelica, Medoro D 'Alcina i detti
    13. Aria Medoro Parto. Ma, oh dio, non posso
    14. Recitativo Angelica Col mio Medoro accanto
      SCENA V
    15. Cavatina Pasquale La mia bella m'ha detto di no
    16. Recitativo Pasquale, Rodomonte Pasquale disgraziato
      SCENA VI
      (Recitativo) Eurilla, Rodomonte, Pasquale Il conte Orlando
    17. Aria Pasquale Ho viaggiato in Francia, in Spagna
      SCENA VII
    18. Recitativo Angelica, Medoro Si, regina, ho deciso
    19. Aria Angelica Non partir, mia bella face
    20. Recitativo Medoro In odio al mio bel nume
      SCENA VIII
    21. Recitativo accompagnato Orlando Angelica, mio ben
    22. Aria Orlando D'Angelica il nome!
      SCENA IX
    23. Recitativo Rodomonte, Pasquale D'evitare i rumor dicea Catone
      SCENA X
      (Recitativo) Orlando, Pasquale, Eurilla Poltron, tu qui ehe fai?
    24. Finale Orlando, Eurilla, Pasquale Presto rispondi, indegno
      SCENA XI
      (Finale) Angelica, Pasquale, Eurilla Sento nel seno, oh dio
      SCENA XII
      (Finale) Rodomonte, Angelica, Eurilla Dove si cela mai
      SCENA XIII
      (Finale) Orlando, Angelica, Eurilla, Medoro, Pasquale, Alcina, Rodomonte 
Ferma, ferma, Belzebù!
       
ATTO SECONDO      
      SCENA I
    25. Recitativo Orlando, Rodomonte, Eurilla Sempre sempre presente
      SCENA II
      (Recitativo) Rodomonte A gran partito
    26. Aria Rodomonte Mille lampi d' accese faville
      SCENA III
    27. Recitativo Medoro, Eurilla In questo solitario orrido luogo
    28. Aria Medoro Dille ehe un infelice
    29. Recitativo Eurilla Sembra costui Pasquale
      SCENA IV
    30. Cavatina Pasquale Vittoria, vittoria!
    31. Recitativo Pasquale, Eurilla Ch'ardire, che valore!
    32. Duetto Eurilla, Pasquale Quel tuo visetto amabile
      SCENA V
    33. Aria Angelica Aure chete, verdi allori
    34. Recitativo Angelica Ah Medoro, Medoro, anima mia!
      SCENA VI
      (Recitativo) Alcina D' Angelica le smanie
      SCENA VII
    35. Recitativo accompagnato Angelica Fra queste selve
      SCENA IX
      (Recitativo) Angelica, Orlando, Alcina Ah ferma per pietade
      SCENA X
      (Recitativo secco ed accompagnato) Orlando 
E ad Orlando vietato
    38. Aria Orlando Cosa vedo! cosa sento!
      SCENA XI
    39. Recitativo Pasquale, Eurilla Con quest' abito addosso
    40. Aria Pasquale Ecco spiano
      SCENA XIIa
    41. Recitativo Rodomonte, Alcina, Eurilla Angelica dov'è?
      SCENA XIIb
      (Recitativo) Eurilla, Rodomonte Veramente là dentro
      SCENA XIII
    42. Finale Orlando, Pasquale, Alcina Nel solitario speco
       
      (Finale) AngelicaMedoroEurillaRodomontePasqualeAlcinaOrlando 
Per quest'orridi sentieri
       
ATTO TERZO      
      SCENA I
    43. Aria Caronte Ombre insepolte
    44. Recitativo Alcina, Caronte Nella mente d'Orlando
    45. Recitativo accompagnato Orlando Sogno? veglio? Cos'è?
    46. Aria Orlando Miei pensieri, dove siete?
    47. Recitativo accompagnato Caronte, Orlando L'irremeabil onda
      SCENA II
    48. Recitativo Pasquale, Eurilla Eurilla cara, qui si respira
      SCENA III
      (Recitativo) Orlando, Pasquale, Eurilla Segui i miei passi
      SCENA IV
      (Recitativo) Angelica, Medoro, Orlando, Rodomonte, Pasquale 
Temerari fermate!
    49. Combattimento
      SCENA V
    50. Recitativo accompagnato Angelica Implacabili numi!
    51. Aria Angelica Dell' estreme sue voci dolenti
      SCENA VI
    52. Recitativo Alcina, Angelica, Rodomonte, Orlando Non tormentarti più
      SCENA VII
      (Recitativo) Medoro, Angelica, Eurilla, Orlando, Alcina, Pasquale 
Adorato mio ben!
    53. Coro Angelica, Eurilla, Alcina, Medoro, Orlando, Pasquale, Rodomonte 
Son confuso e stupefatto

Synopsis

Opernkapitel Orlando 4

Synopsis

Act 1
Eurilla complains to her father Licone about her arduous life as a shepherdess in the mountains, when suddenly a menacing-looking stranger approaches them. There is no time to escape. It is Rodomonte, who introduces himself as the king of the barbarians and seeks information about the knight Orlando. They don’t know anything about Orlando, but out of fear Eurilla tells him about a couple – Angelica and Medoro – who are hiding in a nearby castle. This arouses Rodomonte’s interest, as he himself is in love with the beautiful princess Angelica. He wants to protect her from the mad knight Orlando, who, unhappy in love and therefore mad with jealousy, is looking for her.
Meanwhile, Angelica, Queen of Cathay, worries about her Medoro. She laments her life in constant fear of the jealous Orlando. With the help of a magic book, she summons the powerful sorceress Alcina and asks her for protection.
Alcina appears and promises Angelica an end to the threat. She orders Angelica only to make sure that she does not let Medoro leave her side. Alcina also promises that Rodomonte will be next to her, even though he is not as skilled in the warrior arts as Orlando.
However, reality quickly catches up with Angelica, as Medoro rushes in breathlessly with the news that Orlando and his squire have ridden past him and are therefore not far from the object of their pursuit. Medoro wants to leave Angelica in order to remove the source of Orlando’s jealousy. Angelica, for her part, tries to hold on to Medoro.
Rodomonte meets Pasquale, Orlando’s boastful but basically cowardly squire. A duel is prevented at the last moment by Eurilla. She tells Rodomonte that Orlando himself is expecting him to fight. This is a welcome opportunity for the barbarian ruler – so he leaves, while Pasquale, left alone with Eurilla, now wants to impress her. He tells her about his great travels and ends each of his stanzas with the words ‘But I swear to you on my word – that I will die of hunger.’
Medoro tells Angelica that he has finally decided to flee and will leave her because he doesn’t want to endanger her any further. Sad and desperate, she asks Medoro to stay or to take her with him.
Meanwhile, Orlando awaits his enemy Rodomonte. He is obsessed with Angelica and will use any means necessary to achieve his desires. He becomes upset when he sees Angelica and Medoro’s names carved into a tree.
When Orlando finds his squire Pasquale again, he asks him to accompany him to the fight, which Pasquale is reluctant to do. Orlando then extorts information from Eurilla, who happens to be nearby, that Angelica and Medoro have been there recently. Orlando swears revenge and wants to see the world burn.
Angelica asks the gods to rid her of the forebodings in which she already has visions of the death of her beloved Medoro. Unexpectedly, Pasquale announces Orlando’s arrival, throwing those present into chaos. While fleeing, Angelica meets Rodomonte, who eagerly awaits the duel with Orlando. However, Alcina warns him about the outcome: he will lose in the fight against the paladin. When Rodomonte, ignoring all of Alcina’s warnings, tries to rush towards Orlando with his sword drawn, a bad outcome is only prevented by Alcina’s magic: Rodomonte freezes. As Orlando rushes forward, thrashing wildly in his frenzy, Alcina quickly imprisons him in an iron cage. Angelica, Eurilla, Medoro, Pasquale and Rodomonte can relax for the time being.

Act 2
Orlando is able to free himself. Always with the image of Angelica in mind, he wanders about in the forest, where Rodomonte confronts him and challenges him to a fight. Once again, nothing comes of it, because Eurilla appears with the news that Angelica has fled with Medoro. Orlando leaves Rodomonte and sets off looking for them. Left alone, Eurilla confesses her love to Rodomonte. The question is whether she actually loves him or only pretends to do so for the sake of peace. In any case, after Eurilla departs, Rodomonte sings about his strengths and sees himself as the winner of the duel.
With Eurilla’s help, the self-pitying Medoro finds sanctuary on a lonely seashore. Eurilla’s words of comfort are no longer able to help him, but he gives her a message for Angelica to take with her. He then hides in a cave.
Pasquale meanwhile sings about his heroic deeds with the use of timpani and trumpets. Amused, Eurilla scares him, but falls more and more in love with Orlando’s comical servant. Through flirtatious behaviour, they become closer.
Angelica desperately looks for Medoro. Alcina appears and confirms again that she wants to help Angelica. However, Angelica decides to put an end to her sad life by throwing herself from a rock into the sea. Standing at the edge of the abyss, she meets her beloved Medoro. After intense declarations of love, the couple decide to flee immediately, but before they do so, Orlando appears, determined to rip his opponent’s heart out. At the last moment, Alcina intervenes again, threatening the raging Orlando once more, thus enabling the lovers to escape – for the time being. To show how serious she is and to scare Orlando away, Alcina makes a monster appear.
Eurilla and Pasquale are now open about their feelings for each other. Pasquale brags to Eurilla about his success with women, which, he says, is due not only to his attractive appearance but also to his musical ability: his singing and skilful playing of the violin.
While searching for Angelica, Rodomonte meets Alcina and asks her whereabouts. Alcina explains that the lovers are under her protection and that the conflict needs to be resolved. She calls everyone involved to her magic grotto.
In front of Alcina’s magic grotto, Orlando and Pasquale, who is trembling with fear, arrive first. The latter wants to settle accounts with Alcina. Orlando tells Alcina to come out of her cave. When he ignores the sorceress’s warnings not to go too close to the cave, Alcina turns him to stone. Pasquale remains scared out of his wits. In the meantime, the other participants also arrive at the grotto. As Pasquale prepares to slip away, Alcina explains what she has done to Orlando – but because Angelica is so merciful, Alcina transforms him back again.
However, as soon as Orlando regains his human form, he falls into a frenzy again and openly threatens not only Alcina but the whole world with annihilation. Alcina lures him into the back part of the grotto and lets it collapse over Orlando. The others can relax once more.

Act 3
With the help of Caronte, the ferryman to the underworld, Alcina wants to free Orlando from madness. The water of the River Lethe, dripped onto the paladin’s forehead, makes him forget his sick love and jealousy. Orlando is healed! Relieved, Eurilla and Pasquale promise each other their hearts, but they have reckoned without Orlando! There is no longer any danger from him, as he can no longer remember anything, but he wants to leave with Pasquale, much to the grief of Eurilla and Pasquale. However, their safety is deceptive. In true Hollywood style – in an unforeseen twist and suspense at the last moment – a horde of wild men suddenly appear and try to kidnap Angelica. Medoro wants to stand in their way but is severely wounded and dies, at least as far as Angelica can tell. The arriving Orlando and Rodomonte finally drive out the savages. Angelica believes she has lost Medoro, sings of her suffering and begs the merciless gods for her death. Again, it is Alcina who powerfully intervenes in events, healing Medoro, thus saving the happiness of love. Orlando bids farewell, but first dismisses Pasquale from his service, paving the way for the latter’s marriage to Eurilla. Angelica and Medoro also promise each other everlasting love.25

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