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

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Tenor

Mezzo-soprano

Contralto

Countertenor

Soprano

Baritone

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Continuo

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, lau 23 mar 2019, Frá (2019/2019), Leikstýrt af Davide Garattini Raimondi,, Hljómsveitarstjóri Giovanni Battista Rigon, Teatro Malibran, Venice, Italy

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