ⓘ La Nitteti

                                     

ⓘ La Nitteti

La Nitteti is an 18th-century Italian opera in 3 acts by the Czech composer Josef Myslivecek. It was composed to a libretto by the Italian poet Metastasio that was first performed in 1756, one of the newer of the Metastasian librettos in Mysliveceks day. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. This opera contains more substitutions of original aria texts than any other Myslivecek setting of a Metastasian libretto. The cuts and changes in the text made for the 1770 performance of Mysliveceks opera are not attributable. All of Mysliveceks operas are of the serious type in Italian language referred to as opera seria.

                                     

1. Performance history

The opera was first performed at the Teatro Nuovo Pubblico in Bologna on 29 April 1770, a month after Myslivecek first made the acquaintance of Wolfgang Amadeus Mozart and his father Leopold the previous month in the same city. From the correspondence of the Mozart family, it is known that the singer Caterina Gabrielli was engaged originally to be the prima donna for the production, but she did not come up from Palermo as planned, to the disappointment of the Bolognese. Her replacement, Clementina Spagnuoli, was a much less distinguished singer. Another notable singer, the castrato Tommaso Guarducci, met Myslivecek for the first time during the course of the preparations for this production, then became close professional associates for several years afterward. The production was a success. It was revived for the carnival operatic season of 1777 for the Teatro Nuovo in Pavia, the same theater that first opened in 1773 with a performance of Mysliveceks first setting of Metastasios libretto Demetrio. Two arias from Nitteti, "Povero cor, tu palpiti," and "Se la cagion saprete" received modern premieres at a concert of the Mozartists, with Ian Page conducting, at Cadogan Hall in London on 7 March 2020.

                                     

2. Connection with Mozart

During the summer of 1770, the young Mozart was staying with his father in Bologna and working on his first opera for Italy, Mitridate, re di Ponto, which was supposed to be performed in Milan later that year. Myslivecek was also staying in Bologna that summer and was a frequent visitor to the Mozart household according to letters of Mozarts father. There is no question that Wolfgang studied Mysliveceks score for La Nitteti closely and picked up compositional expertise and musical motives as a result. The use of Mysliveceks musical motives is seen most clearly seen from a comparison of the overture and opening arias of each work.

                                     

3. Vocal set pieces

Act I, scene 1 – Accompanied recitative for Amenofi and Sammete, "E Sammete non torna" Act I, scene 1 – Aria of Sammete, "Sono in mar" Act I, scene 2 – Aria of Amenofi, "Se il labbro nol dice" Act I, scene 3 – Aria of Nitteti, "Tu sai che amante io sono" Act I, scene 4 – Aria of Sammete, "Care luci nel mirarvi tal dolcezza" Act III, scene 5 – Aria of Beroe, "Bramai di salvarti" Act III, scene 7 – Aria of Sammete, "Se consolarmi"

                                     

4. Recording

One aria from Mysliveceks La Nitteti is available in a collection recorded by the Czech soprano Zdena Kloubova: "Ah, non temer ben mio." The recording is Panton 81 1044–2231 1992 with the Benda Chamber Orchestra, Miroslav Hrdlicka, conductor.

                                     
  • rest of his life. After a visit to Italy in 1764 5 he set Metastasio s La Nitteti his only opera performed in Salzburg 1767 and in 1767 he collaborated
  • nel sacco 1772 Le finte zingarelle 1774 Il finto cavaliere 1777 La Nitteti 1777 L amore artigiano 1778 Le virtuose bizzarre 1778 Il marchese
  • Capuana in Naples. In 1766 his setting of Metastasio s operatic libretto La Nitteti was performed in Rome. The following year, he joined the Irmandade de
  • Metastasio, who elaborated on the significance of the event in his preface to La Nitteti set by Nicola Conforto and sent to Farinelli for its premiere at Madrid
  • Lucca, 1778 Armida in Armida by Josef Myslivecek Milan, 1780 Beroe in La Nitteti by Pasquale Anfossi Venice, 1780 Semiri in Arbace by Giovanni Battista
  • La Didone abbandonata 1750 Siface 1752 Alessandro nell Indie 1752 Il Ciro riconosciuto 1753 Il Demetrio 1753 Lucio Vero 1756 La Nitteti 1758
  • worked with Farinelli in painting stage sets for Pietro Metastasio s La Nitteti in 1758. Battaglioli s veduta were engraved by Francisco Zucchi and used
  • 1768, Siena Faloppa mercante Gli sponsali di Faloppa 1769, Florence La Nitteti to the libretto of Pietro Metastasio, 1770, Modena L amor per rigiro
  • Padua, 1765 Dircea in the pasticcio Demofoonte Lucca, 1765 Beroe in La Nitteti by Brizio Petrucci Mantua, 1766 Cleofide in the pasticcio Alessandro
  • La Circe is an opera in three acts by Josef Myslivecek set to a libretto by Domenico Perelli that is based on Greek legends about the sorceress Circe.
  • recently demonstrated that it was composed with close reference to the opera La Nitteti by Josef Myslivecek. The latter was the opera being prepared for production