Ippolito ed Aricia

"Ippolito ed Aricia" is a "" in five acts by Tommaso Traetta with an Italian libretto by Carlo Innocenzo Frugoni. The opera is based upon Abbé Simon-Joseph Pellegrin's libretto for Rameau's earlier opera "Hippolyte et Aricie", which was in turn based on Racine's tragedy "Phèdre". The opera premiered at the Teatro Ducale in Parma on May 9, 1759 and is still occasionally performed by opera companies today. [ [http://www.operatoday.com/content/2008/01/traetta_ippolit.php Opera Today : TRAETTA: Ippolito ed Aricia ] ] [ [http://www.answers.com/topic/tommaso-traetta?cat=entertainment Tommaso Traetta: Information and Much More from Answers.com ] ]

Background and musical analysis

"Ippolito ed Aricia" was commissioned by Guillaume du Tillot, a minister for Philip, Duke of Parma, on behalf of the duke and his wife Princess Louise-Élisabeth of France in 1759. At that time, both France and Spain thought of Parma as a strategic point of interest and subsidized the court heavily. The duke and his wife were particularly fond of French opera and Tillot promoted all forms of French musical theater at the court. However, Tillot decided that he wanted to commission an opera for the court that would merge Italian musical idioms, such as beautiful melodies and virtuosic coloratura display, with French dramatic forms like choruses, ballet, and supernatural elements.He approached Carlo Innocenzo Frugoni, court poet of Parma, with the idea of creating such an opera using the Italian text of Rameau's "Hippolyte et Aricie". He agreed, and Tillot proceeded to recruit Tommaso Traetta to compose the music and Count Francesco Algarotti to assist Frugoni with the libretto.

The resulting work is a rare successful blend of Italian opera seria elements and the French tragédie lyrique. The opera has virtuosic exit arias in the opera seria tradition of Metastasio but is organized into five acts, as in French opera. There are 12 characters in the drama, four prominent instrumental sinfonias, elaborate choruses, and 26 dances, most of which are organized into suites. The instrumentation is highly creative and often employs solo or independent viola writing. Obbligato recitative is used for moments of extreme drama, and here the orchestral accompaniment is elaborate and complex. Choral movements are large and often involve solo passages for various members of the cast. Du Tillot advertised the performance extensively. The production was lavish and brilliant and the opera a huge success, for nothing like it had ever been tried before. [ [http://www.answers.com/topic/ipplito-ed-aricia-opera-in-5-acts?cat=entertainment Ipplito ed Aricia, opera in 5 acts: Information and Much More from Answers.com ] ]

Major roles

ynopsis

Act I

Hippolytus, a prince of Athens, is secretly in love with Aricia, the only survivor of the royal family who formerly ruled Athens. However, Theseus, the king of Athens, has forbidden his son to marry her. Theseus leaves on an expedition, instructing Hippolytus to stay at court with his stepmother Phaedra who persecutes Hippolytus. When Theseus does not return as expected, Hippolytus decides to use his disappearance as an excuse to leave the court of Athens in order to avoid the charms of Aricia. Before he leaves, Oenone, Phaedra's nurse, informs Hippolytus that his stepmother wants to see him. Wishing to avoid an unpleasant encounter, Hippolytus leaves in haste. Phaedra enters and proceeds to confide in Oenone her incestuous love for Hippolytus. Horrified by such forbidden love, Phaedra proclaims her wish for death. However, Phaedra becomes more optimistic when news arrives that Theseus has died, leaving her free to pursue Hippolytus. She gives up her suicide plan in order to arrange an alliance with Hippolytus against Aricia, which would also preserve her own son's right to the throne of Athens.

Act II

Aricia's friend, Ismene, informs her of the death of Theseus. She also tells Aricia that she believes Hippolytus is in love with her. Aricia hopes that what Ismene says is true, for she loves Hippolytus. Hippolytus shortly confirms Ismene's speculation in a tender but awkward confession. Aricia starts to return his affections but is interrupted by the announcement of Phaedra's arrival. Phaedra begins by pleading for her son but eventually in a fit of passion reveals her secret love to Hippolytus. He spurns her causing Phaedra to take his sword in an attempt to kill herself. As she rushes out, Theramenes comes in with a shocking rumor: Theseus may still be alive. Hippolytus decides to investigate the rumor and to fight against Phaedra's claim to the throne and in defense of Aricia's rights.

Act III

Although Phaedra feels humiliated, she is also hopeful that she will eventually win over Hippolytus. She convinces a reluctant Oenone to plead her case with Hippolytus. However the situation changes drastically when Theseus returns to the court. Phaedra panics and threatens suicide once again. Oenone comes to her rescue by devising a scheme to accuse Hippolytus of attempting to seduce her. When Theseus comes in, Phaedra cryptically hints to him about Hippolytus' supposed seductive behavior. When questioned by his father, Hippolytus answers with a lame excuse.

Act IV

Oenone convinces Theseus that Hippolytus tried to seduce his wife. When Hippolytus appears, Theseus greets him with harsh accusations that culminate in a prayer to Neptune for revenge. Hippolytus defends himself by pointing out his reputation for virtue and by confessing his love for Aricia. Theseus remains unconvinced.

Meanwhile, Phaedra, overcome with remorse, goes to see Theseus to plead for Hippolytus. However, she changes her mind when Theseus unwittingly reveals to her that Hippolytus loves Aricia. She becomes hysterical with jealously and rage. Finally, she repents and reveals to Theseus that Oenone has deceived him. Theseus, however, does not believe her and refuses to forgive his son.

Act V

Hippolytus decides to flee from his father's wrath, but before leaving, arranges a secret wedding with Aricia. Immediately after his departure Theseus abruptly appears. In spite of her embarrassment, Aricia stands up to him and defends Hippolytus' innocence with such conviction that the king's certainty is shaken. He calls for Oenone and is even more deeply disturbed when a servant reveals Oenone's suicide and Phaedra's irrational behavior. Theseus, at last, is willing to reconsider his belief in his son's guilt, but it is too late. Theramenes comes in with the harrowing tale of Hippolytus' death. Phaedra arrives and clears Hippolytus, then dies of the effects of a poison she has taken earlier. Grief-stricken, Theseus vows to make full amends to his son's memory and to treat Aricia as his daughter. Diana restores Hippolytus to life and reunites the couple.

Recordings

*"Ippolito ed Aricia" with conductor David Golub, the Orchestra Internazionale d'Italia, and the Bratislava Chamber Choir. The cast includes Angelo Manzotti (Hippolytus), Patrizia Ciofi (Aricia), Elena Lopéz (Phaedra), Simon Edwards (Theseus), Maria Miccoli (Oenone), Stefania Donzelli (Diana), Luca Grassi (Plutone), Monica Sesto (Tisifone), Saverio Fiore (Mercurio), Sara Allagretta (High priestess), Angela Masi (Una Marinajna), Rossana Potenza (Una Cacciatrice), and Loredana Cinieri (Le Parche Madia Todisco). Recorded live in 1999 and released in 2000. [ [http://www.tp4.rub.de/~ak/disc/ama/dyn257.html Tp4 website] ]

References

* [http://www.amadeusonline.net/almanacco.php?Start=0&Giorno=9&Mese=05&Anno=1759&Giornata=&Testo=&Parola=Stringa Amadeus Almanac, accessed 12 September 2008]