Ferruccio Busoni (1866–1924) Arlecchino Op. 50 K 270
A Theatrical Caprice in One Act Duration: 60' Text: Ferruccio Busoni
solos: Sp MezT2BarB – 2(picc).2(cor ang).2(Bkl).2(dble bsn) – 126.96.36.199 – timp.perc.(2) – Cel – str – stage music: 2trp.timp.perc
In the appendix, EB 9433 contains the later composed aria “Wer siegt? Wer fällt?".
If necessary, you can change the order quantity after having added the selected article to your shopping cart.
Text by the composer
Translation: engl. (E. J. Dent), ital. (V. Levi), port. (G. de Medeiros)
Place and time: Bergamo, around the 18th century.
Characters: Sèr Matteò del Sarto, master tailor (baritone) - Abbate Cospicuo (baritone) - Dottore Bombasto (bass) - Leandro, Cavaliere (tenor) - Arlecchino (speaking part) - Colombina, Arlecchino’s wife (mezzo-soprano) - Annunziata, Matteo’s wife - Zwei Sbirren - Ein Kärrner - a Donkey - People at the windows (silent parts)
The idea behind this work was to combine a major speaking role with a part for a female singer and orchestra in the spirit of the opera buffa. The overall tone is pacifistic and anti-bourgeois. Busoni’s inspiration was that of an opera-play in the style of Italian improvised comedy; he wanted types and characters on stage whose varying typology would provide the source of conflict ... "The title hero absconds with the young wife of the Dante-reading tailor Matteo. He returns as a false barbarian commander, as a husband who engages in a duel with the suitor Count Leandro, and as a conqueror who announces the moral of the story in the epilogue: how to be able to bow in rags and still retain one’s dignity and rights. The piece takes a turn for the absurd when the Abbate, at the sight of Leandro, who is presumed dead, begins to sing a chorale-like song of praise to the donkey of Providence who comes trotting in at that moment. This introduces the most musically refined number in the piece, the quartet, in which Leandro’s love aria and his duet with Columbina satirize the attitudes prevalent in Italian opera from Scarlatti to Verdi. Musically, Busoni uses throughout the entire work an idiom of dance-like, blissfully transparent comedy and hides harmonic audacities behind touches of lightness. The orchestral sound radiates an incomparable brightness and buoyant elegance.” (Hans Heinz Stuckenschmidt, 1967)
|Ein Schaupiel ist's für Kinder nicht, noch Götter (Arlecchino)||(In Front of the Curtain)|
|1. Introduction, Scene and Arietta: Es bleibt doch die schönste (Matteo)||(Movement No. 1: Arlecchino as Rogue)|
|2. Duet: Und noch hab ich euch zu danken (Abbate)||(Movement No. 1: Arlecchino as Rogue)|
|3. Trio: Nichts? (Matteo) - Von was? (Abbate, Dottore)||(Movement No. 1: Arlecchino as Rogue)|
|4. March and Scene: Den Schlüssel ließ ich mir nachfertigen (Arlecchino)||(Movement No. 2: Arlecchino as Warrior)|
|5a. Scene and Aria: Herr Kapitän, um Vergebung (Colombina)||(Movement No. 3: Arlecchino as Husband)|
|5b. Arietta: Wo ist ihr Schlaf, Madame? (Arlecchino)||(Movement No. 3: Arlecchino as Husband)|
|6. Scene for Two, Then Three Characters: Mit dem Schwerte, mit der Laute (Voce di Leandro)||(Movement No. 3: Arlecchino as Husband)|
|7. Scene, Quartet and Melodrama: Es ist schon ganz finster (Dottore)||(Movement No. 4: Arlecchino as Conqueror)|
|8. Monologue: Wahrlich, ich weiß nicht mehr aus noch ein! (Matteo)||(Movement No. 4: Arlecchino as Conqueror)|
|9. Finale: Procession and Dance||(Movement No. 4: Arlecchino as Conqueror)|
|10. Appendix "Variant" (Aria): Wer siegt, wer fällt? (Arlecchino)|