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

Organization

Cantante

Jae Hun Jeong

Pimpinone

Nabila Dandara

Vespetta

Veronica Heltai

mimi

Paolo Lavana

Direzione d'orchestra

Giovanni Battista Rigon

Regia

Davide Garattini Raimondi

Scenografia

Paolo Vitale

Costumi

Giada Masi

Luci

Teatro La Fenice

Orchestra

Orchestra del Conservatorio Benedetto Marcello di Venezia

Venezia

Italia

Teatro Malibran

Public

Approvato

Basso

Instrumentalist

Pianoforte

Violinista

Cellist

Violista

Suonatore di flauto

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 Gambist

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composizione

Libretto

Coreografia

Ballerino/a

Recitazione

Direzione del coro

Video

Drammaturgia

Traduzione

Sound designer

Maestro accompagnatore

Trucco

Produzione esecutiva

Parrucco

Altro

Stage Manager

Coro

Poeta

Docente di canto

Insegnante

Fotografia

Emittente radiotelevisiva

Scrittura

Scrittura ed esecuzione

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Mezzosoprano

Singer

Basso-baritono

Soprano

Contralto

Baritono

Controtenore

Tenore

Verbale

Voce bianca

Silenzioso

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, sab 23 mar 2019, Da (2019/2019), Diretto da Davide Garattini Raimondi,, Direttore d'orchestra Giovanni Battista Rigon, Teatro Malibran, Venezia, Italia

Crediti di rappresentazione (Cast e team di produzione )

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Team creativo

Ensemble

Programma, informazioni e sinossi

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