Organization

Singer

Soprano

Narcisa Brumar

Serpina

Bass

George Proca

Uberto

Silent

Cristian Rudic

Vespone

Stage director

Silviu Purcărete

Conductor

Mihnea Ignat

Set designer

Dragoș Buhagiar

Technical Direction

Hellen Ganser

Musical training

Rares Paltineanu

Traian Moldovan

Opera Nationala Romana Timisoara

Orchestra

Romanian National Opera of Timisoara Orchestra

italia

La serva padrona -  (The Maid Turned Mistress)

Timișoara

Romania

La serva padrona Pergolesi

Public

The Maid Turned Mistress

romania

englanti

Approved

Giovanni Battista Pergolesi, endowed with a brilliant musical-dramatic intuition, would of course have become one of the most important Italian masters of the eighteenth century if he had not died at the age of 26 - the age until which many of the great artists of mankind they had produced none of their masterpieces.

 

The nephew of a shoemaker in the Italian town of Pergola, Giovanni Battista began studying music seriously at the age of sixteen at the "Conservatory of the Poor" in Naples, so his entire creation took place in a very short time, but with an intensity of living torch, close to Mozart's. Author of five "serious works" - of which the best (Sallust and the Olympics) seem to contain admirable pages - Pergolesi gained his great fame due to the small comic intermediaries interspersed between their acts.

 

The famous puppet opera La serva padrona was performed for the first time on the stage of the "San Bartolomeo" theater in Naples on August 28, 1733, as an intermediate of the opera The Proud Prisoner series. The success of Servei was one of the great events in the history of music, and the brilliant career of this brilliant young Neapolitan artist after the composer's death contributed not only to the triumph of the buffa opera throughout Europe, but also to his entire artistic life. of other countries and first of all of France.

 

How does La serva padrona justify this lightning effect on the conscience of contemporaries? Precisely through the simplicity and clarity of the design, which throws overboard the whole arsenal of snoring allegories of the opera series, through the wonderful freshness of inspiration, fertilized by the sap of Neapolitan folk song, through the light and transparent color of the music, animated by an elusive verve. The libretto, by Gennaro Antonio Federico, is as simple as can be. Old Uberto is carried away by the will of the agile and capricious Serpina - his own maid - who in the end, supposedly to save her from the hands of the naughty valet Vespone, he will take as his wife. The merit of Pergolesi is that he found the musical language of a perfect naturalness, adapted to the dialogue of the only two characters (because Vespone is a dumb role) and to have given back to the musical theater itself the lively and changing rhythm of life, which it lacked like air and water. Musical ideas become more supple, more lively, coagulating from the capricious play of short motifs, which is chained with the speed of lightning. Uberto is not a simple jester, but a man with ridiculous sides and weaknesses, still a man, and Serpina, this cunning and quick woman like living silver, sings and lyrical passages in which she convinces us almost that she is really in love with the old man her partner. So, in the frivolous, farcical atmosphere of the first comic interludes, Pergolesi introduces the real human feeling and thus creates the first masterpiece of the comic genre. which he lacked like air and water. Musical ideas become more supple, more lively, coagulating from the capricious play of short motifs, which is chained with the speed of lightning. Uberto is not a simple jester, but a man with ridiculous sides and weaknesses, still a man, and Serpina, this cunning and quick woman like living silver, sings and lyrical passages in which she convinces us almost that she is really in love with the old man her partner. So, in the frivolous, farcical atmosphere of the first comic interludes, Pergolesi introduces the real human feeling and thus creates the first masterpiece of the comic genre. which he lacked like air and water. Musical ideas become more supple, more lively, coagulating from the capricious play of short motifs, which is chained with the speed of lightning. Uberto is not a simple jester, but a man with ridiculous sides and weaknesses, still a man, and Serpina, this cunning and quick woman like living silver, sings and lyrical passages in which she convinces us almost that she is really in love with the old man her partner. So, in the frivolous, farcical atmosphere of the first comic interludes, Pergolesi introduces the real human feeling and thus creates the first masterpiece of the comic genre. this cunning little woman, as fast as living silver, sings and lyrical passages in which she almost convinces us that she is really in love with her elderly partner. So, in the frivolous, farcical atmosphere of the first comic interludes, Pergolesi introduces the real human feeling and thus creates the first masterpiece of the comic genre. this cunning little woman, as fast as living silver, sings and lyrical passages in which she almost convinces us that she is really in love with her elderly partner. So, in the frivolous, farcical atmosphere of the first comic interludes, Pergolesi introduces the real human feeling and thus creates the first masterpiece of the comic genre.

English

Giovanni Battista Pergolesi, înzestrat cu o genială intuiție muzical-dramatică, ar fi ajuns desigur unul dintre cei mai de seamă maeștri italieni ai veacului XVIII daca n-ar fi murit la 26 de ani – vârsta până la care mulți dintre marii artiști ai omenirii nu produseseră nici una dintre lucrările lor capitale.

 

Nepot al unui cizmar din orășelul italian Pergola, Giovanni Battista a început să studieze serios muzica abia la șaisprezece ani la „Conservatorul săracilor” din Neapole, astfel ca întreaga lui creație s-a desfășurat într-un interval de timp foarte scurt, dar cu o intensitate de torță vie, apropiată de cea a lui Mozart. Autor a cinci „opere serioase”,- dintre care cele mai bune (Salustia și Olimpiade) cuprind, se pare, pagini admirabile – Pergolesi a obținut marea sa faimă datorită micilor intermedii comice intercalate între actele acestora.

 

Însăși celebra operă bufă La serva padrona a fost reprezentată pentru prima oară pe scena teatrului „San Bartolomeo” din Neapole la 28 august 1733, ca un intermediu al operei seria Prizonierul mândru. Succesul Servei a fost unul din marile evenimente ale istoriei muzicii și cariera strălucită pe care a făcut-o această genială creație a tânărului napolitan după moartea compozitorului a contribuit în chip esențial nu numai la triumful operei buffa în întreaga Europa, dar a înrâurit întreaga viață artistică a altor țări și în primul rând al Franței.

 

Prin ce justifică La serva padrona acest efect de trăsnet asupra conștiinței contemporanilor? Tocmai prin simplitatea și claritatea concepției, care arunca peste bord tot arsenalul de alegorii sforăitoare ale operei seria, prin minunata prospețime a inspirației, fertilizata de seva cântecului popular napolitan, prin coloritul deschis și transparent al muzicii, animata de o vervă scăpărătoare. Libretul, datorat lui Gennaro Antonio Federico, este cât se poate de simplu. Bătrânelul Uberto se lasă dus în voia agerei și capricioasei Serpina – propria sa slujnică – pe care până la urmă, chipurile pentru a o salva din mâinile netrebnicului valet Vespone, o va lua de soție. Meritul lui Pergolesi este acela de a fi găsit limbajul muzical de o perfectă naturalețe, adaptat dialogului celor numai doua personaje (căci Vespone este un rol mut) și de a fi redat teatrului muzical însuși ritmul viu și schimbător al vieții, care îi lipsea ca aerul și apa. Ideile muzicale devin mai suple, mai vioaie, închegându-se din jocul capricios al motivelor scurte, ce se înlănțuie cu iuțeala fulgerului. Uberto nu este un simplu bufon, ci un om cu laturi ridicole și slăbiciuni, totuși om, iar Serpina, aceasta femeiușca vicleană și iute ca argintul viu, cânta și pasaje lirice în care ne convinge aproape și pe noi că este cu adevărat îndrăgostită de vârstnicul ei partener. Deci, în atmosfera frivolă, de farsă, a primelor intermezzi comice, Pergolesi introduce autentica simțire omenească și astfel creează cea dintâi capodopera a genului comic.

română

The Maid Turned Mistress by Pergolesi, Alkaen (2021/2022), Ohjannut Silviu Purcărete,, Musiikinjohto Mihnea Ignat, Opera Nationala Romana Timisoara, Timișoara, Romania

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