La vestale

Discography and References[]

«La Vestale» conducted by Riccardo Muti, featuring Montserrat Caballé (Julia), Plácido Domingo (Licinius), and Ruggero Raimondi (Cinna). Label: EMI Classics.
«La Vestale» conducted by Antonino Votto, featuring Maria Callas (Julia), Franco Corelli (Licinius), and Ebe Stignani (Cinna). Label: EMI Classics.
«La Vestale» conducted by Renato Palumbo, featuring Daniela Dessì (Julia), Fabio Armiliato (Licinius), and Roberto Frontali (Cinna). Label: Dynamic.
«La Vestale» conducted by Alberto Zedda, featuring Leyla Gencer (Julia), José Carreras (Licinius), and Ruggero Raimondi (Cinna). Label: Opera D’Oro.

These are just a few examples, and there may be other notable recordings available. It is advisable to explore different recordings and read reviews to find the interpretation and cast that best suits your preferences.

Bibliography:

Roles[]

Julia (Julie): The Vestal Virgin and the opera’s protagonist. She is devoted to her duties as a priestess but struggles with her forbidden love for Licinius.
Licinius: A Roman nobleman and the object of Julia’s love. He is torn between his passion for Julia and his loyalty to his friend and political ally, Cinna.
Cinna: A Roman general and Licinius’ friend. He is secretly in love with Julia and becomes conflicted when he discovers her feelings for Licinius.
Licinio (Licinius’ father): A senator and Licinius’ father. He is initially opposed to Licinius’ love for Julia but later becomes more understanding and supportive.
High Priestess: The leader of the Vestal Virgins and a mentor figure to Julia. She upholds the strict rules of the temple but shows compassion towards Julia’s plight.
Pontifex Maximus: The high priest of Rome and a strict enforcer of the law. He serves as an antagonist, condemning Julia and Licinius’ love and seeking their punishment.

Critical Reception and Legacy[]

«La Vestale» received a mixed critical reception at its premiere, with some praising its musical qualities and dramatic intensity while others found fault with its libretto. However, over time, the opera has gained recognition and appreciation for its unique qualities.

Contemporary assessments were divided. Critics praised Gaspare Spontini’s grand and dramatic music, which was seen as a departure from the prevailing style of Italian opera at the time. The opera’s powerful choral and ensemble numbers, as well as its striking orchestral writing, were particularly highlighted. However, some critics found fault with the libretto by Étienne de Jouy, considering it weak and overly melodramatic.

Despite early criticisms, «La Vestale» has had a lasting influence on the genre. It is considered a seminal work of French grand opera, known for its monumental choruses and dramatic musical style. Spontini’s use of large-scale choral and orchestral forces, combined with his innovative treatment of the recitative and arias, helped pave the way for the development of later grand operas by composers such as Giacomo Meyerbeer and Richard Wagner.

Within Spontini’s own oeuvre, «La Vestale» holds a significant place. It is considered one of his most successful and enduring works, showcasing his mastery of dramatic composition. The opera’s combination of grandeur, emotional intensity, and melodic beauty exemplifies Spontini’s unique style, which fused elements of Italian and German operatic traditions.

«La Vestale» has left an enduring legacy in the operatic repertoire. While it may not be as frequently performed as some other operas, it is still regarded as a significant work in the history of French opera. Its dramatic power, memorable melodies, and distinctive musical style continue to captivate audiences when given the opportunity to experience this compelling tale of love, loyalty, and sacrifice.

Libretto[]

The libretto for «La Vestale» was written by Étienne de Jouy, a French playwright and librettist. Born on October 13, 1764, in Versailles, France, Jouy collaborated with several composers of his time and was known for his work on historical and mythological subjects.

The story of «La Vestale» is set in ancient Rome and revolves around the conflict between love and duty. It follows the tale of Julia, a vestal virgin, who is in love with Licinius, a Roman soldier. However, their love is forbidden as Julia has taken a vow of chastity. The opera explores the struggle between their passion and Julia’s devotion to her sacred role as a vestal virgin.

The genre of «La Vestale» is a grand opera, combining elements of tragedy and romance. The story draws inspiration from ancient Roman history and mythology, particularly the concept of the vestal virgins who were priestesses in ancient Rome. The libretto by Jouy weaves together themes of love, honor, duty, and the conflict between personal desires and societal obligations.

Étienne de Jouy’s skillful adaptation of the dramatic narrative and his ability to capture the emotional depth of the characters contribute to the compelling nature of the opera’s story. His collaboration with Gaspare Spontini resulted in a libretto that effectively conveys the tension, passion, and moral dilemma at the heart of «La Vestale.»

литература

Шарль Буве: Спонтини. Париж 1930 г.
Ганс Энгель: Вагнер и Спонтини. В: Архивы музыкальной науки. Том 12. 1955
Деннис Альберт Либби: Гаспаре Спонтини и его французские и немецкие оперы. Диссертация, Принстон, 1969
Паоло Фрагапане: Спонтини , Болонья, 1954 г., новое издание: Флоренция, 1983 г.
Вальтер Добнер : Психологизирующая аппаратура Опера: Spontinis Vestalin an der Scala , Австрийский музыкальный журнал 49: N2 1994, стр. 146ff.
Б. Донин-Янц: «La vestale» ди Гаспаре Спонтини , Rassegna Musicale Curci Quadrimestrale 47: N2 1994, стр. 20-25
Рейн А. Зондергельд: Как картина Жака-Луи Давида : Скала открывается с «Вестейли» Спонтини , Музыка 48: N2 1994, стр. 88
Майкл Вальтер : La Vestale de Gaspare Spontini или Les débuts de l’histoire de l’opéra au XIXe siècle , in: Le Théâtre Lyrique en France au XIXe siècle , ed. П. Прево, Мец, 1995, стр. 63-79.

использованная литература

Примечания

Источники

Барбье, Патрик (1995), Опера в Париже, 1800–1850, Amadeus Press .
Castil-Blaze (1855), Империальная музыкальная академия , Vol. II, Париж:
Камински, Петр (2003), Mille et Un Opéras , Незаменимая музыка (на французском языке), Париж: Fayard . ISBN 978 2 2136 0017 8
Фол, Мишель (2009), «Военные приключения, литераторы и авторы» Этьена де Жуи французской академии , Издания Seguier. ISBN 978-2-84049-556-7
Левин, Бернард , Проводимое турне , Лондон: Джонатан Кейп , 1981, гл. 12. С. 208-213. ISBN 0 224 01896 5 ; 1983, ISBN 0-340-32359-0
Ансельм Герхард , Вестале, штат Луизиана , в Сэди, Стэнли (ред.) (1997). Словарь оперы New Grove , Grove ( Oxford University Press ), New York, 1997, IV, p. 977–979. ISBN 978-0-19-522186-2
Холден, Аманда (редактор) (2001), The New Penguin Opera Guide , Нью-Йорк: Penguin Putnam . ISBN 0-14-029312-4
Варрак, Джон ; Запад, Юэн (1992). Оксфордский словарь оперы . Оксфорд: Издательство Оксфордского университета . ISBN 0-19-869164-5 .

Musical Highlights[]

«O nume tutelar» (Act I, Scene 1): This aria is sung by Julia as she prays to the gods for strength and guidance. It is a poignant and expressive solo that showcases the purity and agility of the soprano voice. The aria reflects Julia’s internal conflict between her devotion to her duty as a Vestal Virgin and her growing love for Licinius.
«Tu che invoco con orrore» (Act II, Scene 3): Sung by Julia and the Chorus of Vestal Virgins, this powerful ensemble depicts Julia’s trial for breaking her vows. It is a dramatic and intense moment in the opera, showcasing the emotional turmoil experienced by Julia as she faces the consequences of her forbidden love.
Prayer Scene (Act II, Scene 4): This scene features an instrumental interlude accompanied by a wordless chorus. It creates a contemplative and ethereal atmosphere, representing Julia’s inner struggle and her longing for divine intervention. The music is hauntingly beautiful and heightens the sense of spiritual and emotional tension.
Finale (Act III): The finale of «La Vestale» is a grand and dramatic ensemble that brings the opera to a climactic conclusion. It involves the principal characters and the chorus, depicting a dramatic turn of events and the resolution of the story’s conflicts. The ensemble showcases the vocal power and emotional range of the performers, leaving a lasting impact on the audience.

Performance History[]

«La Vestale» has enjoyed a rich performance history since its premiere and has seen numerous notable revivals, adaptations, and significant productions over the years. Here are some highlights:

Premiere and Early Performances: The opera premiered on December 15, 1807, at the Opéra in Paris. It was an immediate success and received numerous performances in Paris and other European cities during the early 19th century.
19th and 20th Century Revivals: «La Vestale» continued to be performed throughout the 19th and 20th centuries, with various revivals and adaptations. Notable productions include those at the Teatro alla Scala in Milan, the Metropolitan Opera in New York, and the Royal Opera House in London.
Maria Callas: One of the most iconic interpretations of the role of Julia was given by renowned soprano Maria Callas. Her portrayal of Julia showcased her exceptional dramatic and vocal skills, and her performances in productions such as the 1954 Covent Garden production and the 1958 Paris production are considered legendary.
Modern Revivals: In recent years, «La Vestale» has seen a resurgence in interest and has been revived in notable productions. In 2005, a critically acclaimed production directed by Graham Vick premiered at the Teatro La Fenice in Venice, featuring Daniela Dessì in the role of Julia. This production breathed new life into the opera and highlighted its dramatic intensity.
Concert Performances: «La Vestale» is also frequently performed in concert versions, allowing audiences to experience the opera’s music and vocal performances in a more stripped-down format. These concert performances often feature renowned opera singers and showcase the beauty and power of the music.

«La Vestale» has maintained its place in the repertoire and continues to be appreciated for its dramatic power and musical beauty. Notable performers and interpretations, such as Maria Callas, have left a lasting impact on the opera’s legacy. The opera’s timeless themes of love, duty, and sacrifice, combined with its captivating music, ensure that «La Vestale» remains a compelling work for both performers and audiences alike.

Synopsis[]

Act 1: Scene 1: The Temple of Vesta The opera begins with the entrance of Licinius, a Roman soldier, who is in love with the vestal virgin, Julia. He expresses his feelings and contemplates the conflict between his love for Julia and the societal restrictions imposed on her as a vestal virgin.

Scene 2: The Vestal’s Quarters Julia, torn between her duty as a vestal virgin and her love for Licinius, expresses her inner turmoil in a heartfelt aria. She confides in her friend and fellow vestal, Cinna, about her forbidden love. Cinna advises her to stay true to her vows and resist the temptations of the outside world.

Scene 3: The Temple of Vesta The high priest, Pontifex Maximus, performs a sacred ceremony to honor the goddess Vesta. Julia and the other vestal virgins participate in the ritual, reaffirming their dedication to chastity and the service of the goddess. Licinius watches from a distance, longing for Julia but unable to approach her.

Act 2: Scene 1: A Forest near Rome Licinius encounters Julia in the forest, and their love is rekindled. They express their passion for each other in a passionate duet, reaffirming their commitment to defy the conventions of society and follow their hearts.

Scene 2: The Temple of Vesta Julia’s absence from the temple is discovered, and she is accused of breaking her vow of chastity. The high priest, Pontifex Maximus, interrogates Julia, who remains steadfast in her denial. Despite the mounting evidence against her, she proclaims her innocence and maintains her love for Licinius.

Scene 3: The Temple of Vesta Julia stands trial for breaking her vow, and the verdict is about to be delivered. Suddenly, a thunderstorm breaks out, and a lightning strike hits the temple of Vesta, revealing Julia’s innocence. The divine intervention is seen as a sign of Julia’s purity and her special connection to the goddess.

Act 3: Scene 1: The Temple of Vesta Julia is acquitted and pardoned. She is reunited with Licinius, and they rejoice in their love. The vestal virgins celebrate the union of Julia and Licinius with a joyful chorus.

Scene 2: The Capitol Square in Rome The people of Rome gather to witness the triumphal procession of Licinius and Julia. They are hailed as heroes and symbols of love triumphing over adversity. The opera concludes with a grand finale, expressing the joy and celebration of their love and the power of their unwavering devotion.

About the opera La Vestala

La vestale (The Vestal Virgin) is an opera composed by Gaspare Spontini to a French libretto by Etienne de Jouy. It was first performed at the Paris Opéra in Paris on December 15, 1807 and is regarded as Spontini’s masterpiece. The musical style shows the influence of Gluck and looks forwards to the works of Berlioz, Wagner and French Grand Opera.Spontini had finished La vestale by the summer of 1805 but had faced opposition from leading members of the Opéra and rivalry from fellow composers. The premiere was made possible with the help of Spontini’s patron, the Empress Josephine, but only after being rearranged by Jean-Baptiste Rey and Louis-Luc Loiseau de Persuis. La vestale was an enormous success, enjoying over two hundred performances by 1830. Its fame soon spread abroad; it first appeared on the Italian stage in Naples in 1811, and it was performed in Stockholm in 1823. Important 20th-century revivals include the 1954 production at La Scala with Maria Callas in the title role, which was the first opera staging by the famous director Luchino Visconti. La vestale is famous in historical terms but is only very infrequently performed. Two of its arias (translated to Italian and recorded by Maria Callas and Rosa Ponselle), «Tu che invoco» and «O Nume tutelar», are better known than the work as a whole.
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All scenes from La Vestala

Arias from La VestalaDuets from La Vestala

Nr.Title scenePopularityOperaComposerActTypeVoicesLang.Roles

1Overture Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.01

Type: instrumentalVoice: n/aLanguage: French

Roles:

2Presso il sublime tempio Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.02

Type: recitativeVoice: T TLanguage: French

Roles: Cinna/Licinius

3Alma vesta del ciel Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.03

Type: recitativeVoice: Mz SLanguage: French

Roles: Great Vestal/Julia

4E questa l’ultima volta Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.04-1

Type: recitativeVoice: S MzLanguage: French

Roles: Julia/Great Vestal

5Che si vuole da me Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.04-2

Type: duetVoice: Mz SLanguage: French

Roles: Great Vestal/Julia

6E l’amore un mostro un barbaro Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.04-3

Type: ariaVoice: bassLanguage: French

Roles: Chief Priest

7Oh! di funesta possa Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.05

Type: ariaVoice: sopranoLanguage: French

Roles: Julia

8Di lauri il suol spargiamo Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.06

Type: recitativeVoice: T Mz T SLanguage: French

Roles: Licinius/Great Vestal/Cinna/Julia

9Ballet 1 Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 1.07

Type: instrumentalVoice: n/aLanguage: French

Roles:

10Divino foco alma del monde Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.01

Type: recitativeVoice: S MzLanguage: French

Roles: Julia/Great Vestal

11Tu che invoco con orrore Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.02

Type: ariaVoice: sopranoLanguage: French

Roles: Julia

12Su questro scaro altare Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.03

Type: ariaVoice: sopranoLanguage: French

Roles: Julia

13Giulia e la sua voce Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.04

Type: duetVoice: T SLanguage: French

Roles: Licinius/Julia

14Licinio ciel qual voce Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.05

Type: trioVoice: S T TLanguage: French

Roles: Julia/Licinius/Cinna

15Oh! delitto oh sventura Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.06

Type: aria,choirVoice: sopranoLanguage: French

Roles: Julia

16O nume tutelar degli infelice Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 2.07

Type: aria,choirVoice: sopranoLanguage: French

Roles: Julia

17Ohime quale apparato Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.01

Type: ariaVoice: tenorLanguage: French

Roles: Licinius

18Cinna l’arme che fan Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.02

Type: recitativeVoice: T TLanguage: French

Roles: Licinius/Cinna

19D’un sacrifizio orrende Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.03

Type: aria,choirVoice: tenorLanguage: French

Roles: Licinius

20Differir vi consiglio Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.04

Type: aria,choirVoice: bassLanguage: French

Roles: Chief Aruspices

21La vestala infida mora Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.05

Type: duetVoice: S MzLanguage: French

Roles: Julia/Great Vestal

22Sul profanato altar Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.06

Type: aria,choirVoice: bassLanguage: French

Roles:

23Caro oggeto Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.07

Type: ariaVoice: sopranoLanguage: French

Roles: Julia

24Fermate satelliti di morte Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.08

Type: recitativeVoice: T SLanguage: French

Roles: Licinius/Julia

25Lieti concenti Popularity:

Opera: Vestala, LaComposer: SpontiniAct: 3.09

Type: choirVoice: n/aLanguage: French

Roles:

Composition and Premiere[]

The opera was commissioned by Napoleon Bonaparte, who sought to establish a French national opera that would rival the Italian and German operatic traditions.

Spontini drew inspiration from ancient Roman history and mythology, particularly the story of the vestal virgins, to create a work that would resonate with the French audience. He incorporated elements of French grand opera, such as large-scale choruses, intricate orchestration, and dramatic vocal writing, while also infusing it with his own distinctive musical style.

The premiere performance of «La Vestale» took place on December 15, 1807, at the Opéra de Paris (Salle Montansier) in Paris, France. The opera was well-received by the audience and marked a significant moment in French operatic history. It established Spontini as a prominent composer and contributed to the popularity of grand opera in France.

Unfortunately, the specific names of the performers in the premiere production of «La Vestale» are not readily available. However, the opera featured leading singers of the time who were renowned for their vocal and dramatic abilities. The main roles, such as Julia and Licinius, would have been performed by notable singers of the era, chosen for their talent and ability to portray the emotional depth of the characters.

Overall, the premiere of «La Vestale» was a significant event in the opera world, showcasing Spontini’s innovative approach to composition and solidifying his reputation as a composer of grand opera. The opera’s success at its premiere laid the foundation for its subsequent performances and secured its place in the operatic repertoire.

Происхождение и история исполнения

Спонтини завершил партитуру летом 1805 года, но сначала ему пришлось бороться с происками конкурирующих коллег-композиторов и ведущих участников Оперы . Премьера стала возможной благодаря покровительнице Спонтини, императрице Жозефине . 15 декабря 1807 года состоялась премьера балета «Весталь» в Парижской академии империальской музыки . Пели Этьен Лайнес (Лициний), Франсуа Лейс (Цинна), Анри Этьен Деривис (Понтифик Максимус), Дюпарк (лидер гадалок), Каролина Бранчу (Джулия) и Мари-Тереза Майяр (верховная жрица).

La vestale в 19 веке

Опера имела большой успех, и к 1830 году только в Париже было показано более 200 представлений. Репутация Spontini вскоре распространилась за границу. В 1810 г. она все еще была в Брюсселе и (на немецком языке) в Вене (EA 7 ноября 1810 г., Обервесталин: Катарина Бухвизер , Лициний: Джузеппе Сибони , Цинна: Иоганн Михаэль Фогль ), 1811 г. в Берлине , 1812 г. в Мюнхене, а затем по всей Европе. Выдано пространство очень удачно. В Италии , La Весталки был впервые опубликован в Неаполе в 1811 году ( в переводе Джованни Шмидта ) и оказали решающее влияние на развитие более поздней оперы сериа. В 1844 году Рихард Вагнер провел репетицию в Дрездене в присутствии Спонтини.

La vestale в 20 веке

В отличие от других опер Спонтини, «Весталь» никогда полностью не исчезала со сцены, а игралась регулярно в Европе и Америке. В 1926 году Роза Понсель впервые записала арии Tu che invoco и O nume tutela в студии звукозаписи, а Мария Каллас снова записала те же арии в 1955 году, сыграв главную роль в самой известной современной постановке годом ранее: С Каллас. была La vestale в декабре 1954 года, открыв сезон Ла Скала , режиссер Лукино Висконти повстречал 180-летие со дня рождения Спонтини. Этот спектакль также стал дебютом тенора Франко Корелли на языке Scala . В 1969 году дирижер Фернандо Превитали реанимировал оперу с сопрано Лейлой Генчер и баритоном Ренато Брусон (неофициальная запись этого спектакля находится в обращении). Sony выпустила запись звукозаписи в Ла Скала в Милане в декабре 1993 года под управлением Риккардо Мути .

Синопсис

Художник-постановщик Антонио Басоли

Место: Рим

Около 269 г. до н.э.

Акт 1

Вернувшись в Рим после победоносной кампании, Лициний обнаруживает, что его возлюбленная Юлия стала жрицей Весты . Хотя Юлия пытается избежать победы Лициния , ей поручено подарить ему венок. Он говорит ей, что намерен похитить и вернуть ее.

Акт 2

В храме Весты Джулия охраняет Вечный огонь и молится, чтобы освободиться от искушения. Приходит Лициний; во время их восторженного примирения пламя гаснет. Цинна советует Лицинию бежать. Первосвященник допрашивает Юлию, но она отказывается назвать Лициния. Ее приговорили к смертной казни за распутство.

Акт 3

Disegno per copertina di libretto, рисунок для La vestale (1954).

Несмотря на мольбы Лициния, Юлию следует похоронить заживо; даже когда он признает свое вторжение в Храм, Джулия утверждает, что не узнает его. А грозовые вытекает, во время которого молнии вновь воспламеняется священного пламени. Признавая это знаком богов, Первосвященник и Вестальская Жрица освобождают Джулию, которая затем выходит замуж за Лициния.

Musical Style and Structure[]

«La Vestale» is an opera in the genre of French grand opera, composed in the early 19th century. Spontini’s music showcases elements of both the classical and romantic styles, combining lyrical melodies, dramatic choral passages, and expressive orchestration.

The opera follows a traditional three-act structure. Act 1 sets the stage, introducing the characters, their conflicts, and the central themes of love and duty. Act 2 builds upon the conflicts and tensions, leading to a climactic turning point. Act 3 resolves the conflicts and concludes with a triumphant finale.

Each act consists of multiple scenes, which are further divided into musical numbers such as arias, duets, ensembles, and choral pieces. These musical numbers serve to advance the plot, convey the emotions of the characters, and provide moments of introspection and grandeur.

Spontini’s orchestration in «La Vestale» is rich and dramatic, featuring a variety of instruments to evoke the desired mood and atmosphere. The orchestra includes strings, woodwinds, brass, and percussion. Notable instrumental passages include the use of brass fanfares, powerful percussion, and sweeping string melodies to heighten the dramatic impact of key moments in the opera.

In terms of vocal writing, «La Vestale» showcases the virtuosic capabilities of the singers. The principal characters are given demanding vocal lines that require agility, expressiveness, and control. The arias and duets are crafted to showcase the singers’ abilities, allowing them to display their vocal prowess and convey the emotional depth of their characters.

Overall, «La Vestale» reflects the grandeur and dramatic nature of French grand opera. Spontini’s skillful composition, use of powerful choral writing, and effective orchestration contribute to the opera’s emotional impact and create a compelling musical experience for the audience.