Name: Pimpinone
Start: 2019-03-21T00:00:00.000Z
End: 2019-03-23T00:00:00.000Z
Location: Teatro Malibran

Organization

Singer

Jae Hun Jeong

Pimpinone

Nabila Dandara

Vespetta

Veronica Heltai

mimi

Paolo Lavana

Conductor

Giovanni Battista Rigon

Stage director

Davide Garattini Raimondi

Set designer

Paolo Vitale

Costume designer

Giada Masi

Lighting designer

Teatro La Fenice

Orchestra

Orchestra del Conservatorio Benedetto Marcello di Venezia

Venice

Italy

Teatro Malibran

Public

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass

Bass-baritone

Contralto

Tenor

Baritone

Mezzo-soprano

Countertenor

Soprano

Alto

Child vocalist

Continuo

Silent

Spoken

In the early years of the eighteenth century, Apostolo Zeno and other dramatic poets began reforming the way serious operas were presented. It had been common practice to include comic scenes within a serious opera and to provide lavish entertainments known as intermedi between the acts. With the reforms, opera librettos were purged of comic scenes or characters, and extraneous spectacle was discouraged.

However, the tradition of interweaving the acts of a smaller work of a contrasting genre between the acts of a larger, more serious work persisted, and the result was the emergence of the comic intermezzo. Albinoni’s setting of Pimpinone is one of the earliest of the Venetian intermezzi to survive from this time period. It consists of three intermezzi with a linking plot. The first two were performed after the first and second acts, while the third was placed somewhere within the final act of the serious opera, as a respite during a scene change.

The librettist of Pimpinone was Pietro Pariati. His text sparkles with wit, humor, repartee, and comic wrangling. The story contrasts two stock characters of Italian comedy, the guileful young female servant girl and the gullible old member of the Italian nobility. The themes are of social conflict between the classes, and the comedy satirizes everyday Venetian life.

Albinoni’s setting is marked by brief arias and duets, delightful, simple melodies, playful counterpoint, and a parlando style that looks forward to the buffo writing that emerged later in the century. The original performance of Pimpinone was given at the premiere of Astarto, a serious opera by Albinoni, at the Teatro S. Cassiano of Venice, in 1708.

Pimpinone quickly became a standard work in the operatic repertoire and was performed internationally, as far away as Moscow and Ljubljana. Performance traditions grew up around pairs of players, such as Rosa Ungarelli and Antonio Ristorini, who specialized in comic roles and took the intermezzi from city to city and from theater to theater as they traveled.

English

Pimpinone by Albinoni, Nuo (2019/2019), Režisierius Davide Garattini Raimondi,, Dirigentas Giovanni Battista Rigon, Teatro Malibran, Venice, Italy

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