''Parisina'' is a ''tragedia lirica'', or
opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librett ...
, in four acts by
Pietro Mascagni
Pietro Mascagni (7 December 1863 – 2 August 1945) was an Italian composer primarily known for his operas. His 1890 masterpiece ''Cavalleria rusticana'' caused one of the greatest sensations in opera history and single-handedly ushered in the ' ...
.
Gabriele D'Annunzio wrote the Italian
libretto
A libretto (Italian for "booklet") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or Musical theatre, musical. The term ''libretto'' is also sometimes used to refer to the t ...
after
Byron
George Gordon Byron, 6th Baron Byron (22 January 1788 – 19 April 1824), known simply as Lord Byron, was an English romantic poet and peer. He was one of the leading figures of the Romantic movement, and has been regarded as among the ...
's poem ''
Parisina
''Parisina'' is a 586-line poem written by Lord Byron. It was probably written between 1812 and 1815, and published on 13 February 1816.
It is based on a story related by Edward Gibbon in his '' Miscellaneous Works'' (1796) about Niccolò III d ...
'' of 1816.
It was first performed at the
Teatro alla Scala in Milan on 15 December 1913.
Mascagni's career
Mascagni (b. Livorno, 7 Dec 1863; d. Rome, 2 Aug 1945) achieved success early on in his compositional life with one of his most famous operas, ''
Cavalleria Rusticana
''Cavalleria rusticana'' (; Italian for "rustic chivalry") is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from an 1880 short story of the same name and subsequent play b ...
''. With this opera he overcame at least 70 rival composers to win the Sonzogno competition in 1888. The ensuing fame encouraged a prolific career remembered for the vibrant melodies first heard in ''Cavalleria''. Indeed, Mascagni was also well known abroad. In England he conducted his own operas in the
Royal Opera House
The Royal Opera House (ROH) is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply Covent Garden, after a previous use of the site. It is the home of The Royal Op ...
's 1892 Italian season n London.
He also embarked on a tour of North America in 1902 returning the following year. His prolific compositional career seemed to exhaust his inventiveness a little and several of his premieres were widely criticised by the public and critics alike. Most notably ''
Le maschere
''Le maschere'' (''The Masks'') is an opera in a Prologue and three acts by Pietro Mascagni to an Italian libretto by Luigi Illica.
The work was Mascagni's homage to Rossini and to the Italian opera buffa and commedia dell'arte traditions. It ...
'' which was premiered simultaneously in seven theatres across Italy, the only success being in Rome where Mascagni himself was conducting.
Composition history
In a bid to regain his previous success Mascagni produced ''Parisina'' with the help of the librettist
Gabriele D’Annunzio who adapted
Byron
George Gordon Byron, 6th Baron Byron (22 January 1788 – 19 April 1824), known simply as Lord Byron, was an English romantic poet and peer. He was one of the leading figures of the Romantic movement, and has been regarded as among the ...
's 1816 poem of the same title. The composer was drawn to the libretto, which was initially meant to be the second part of a trilogy. The first was ''Francesca da Rimini'' and the third was to be ''Sigismondo'', which was never even started. The powerful tragic atmosphere and the brilliance of D’Annunzio to create convincing characters was what appealed to Mascagni.
Within a month of D’Annunzio finishing the libretto Mascagni had begun composing the opera, such was his enthusiasm for the project. His only expressed concern was that of the length of the work. He adored the "transparent simplicity" of the "ringing, melodious verses" which "set his mind on fire" and made his "pulses throb." The creative juices were somewhat stifled when his wife found out about an affair with Anna Lolli and forced him to leave. On his return though he made great progress and finished the opera at the beginning of February 1913 (just 11 months after the libretto was completed). The roles created in ''Parisina'' were very demanding both vocally and emotionally. The sweeping phrases are dramatic and accompanied often by equally emotive accompaniment in the orchestra. The swift changes of mood and character are effective and the ''declamato-arioso'' style is achieved with brilliance.
Reception
Mascagni’s fear of the length of the opera was well founded. The opera, in four acts, lasted 3 hours and 40 minutes, which was far too long for the Italian public and critics. The length was condemned by
Giovanni Pozza, the most influential Italian critic, in his comment on the first performance. After mentioning the numerous qualities in the work he wrote:
:Inordinate length: if this flaw is not set to rights, it could only weigh down on Parisina’s sound. Independent of any judgement on the intrinsic value of the new opera, the Maestro’s most fanatic advocate must express one hope: cut, cut, cut!
This last statement has subsequently been indefinitely linked with ''Parisina'', which is rarely revived but when it is, the fourth act, which (according to Stivender and others) contains the best music, is generally restored.
Roles
Synopsis (three-act version)
Act 1
''In the villa of Marquis Nicolo d’Este.''
The Marquis' son, Ugo, is interrupted by his mother Stella dell’Assassino in the middle of an archery session. Stella, who has recently been replaced by Parisina Malatesta as the matriarch in the family home, is out for vengeance. Assuming that her son is in the same mindset she urges him to do her dirty work.
Act 2
''In the Loreto sanctuary.''
Devotional songs are heard from the sanctuary and from sailors on the Adriatic. Parisina prepares to offer the Virgin her most elegant piece of clothing.
A friend of Ugo d’Este (Aldobrandino) appears to declare that Ugo is close to a victory over the Esclavons. On his return, his stepmother leads him to the sanctuary to kneel together. Ugo gives his sword as an offering to the Virgin. Ugo, bloody and exhausted from battle, stains Parisina’s tunic during an embrace. Overjoyed from his victory, he is carried away by his emotions and they kiss amidst the songs of devotion heard before his arrival.
Act 3
''In the Belfiore palace.''
Parisina becomes mad with worry after confusing the book she is reading with reality. In the book,
Francesca da Rimini is discovered with another man, by her husband. Ugo enters and the couple greet each other. Suddenly Parisina’s maid La Verde bursts in to announce the return of Nicolo d’Este from his hunting trip. The Marquis discovers his own son in flagrante with his mistress and condemns them both to be beheaded.
References
{{Authority control
Italian-language operas
Operas by Pietro Mascagni
Operas
Opera world premieres at La Scala
Adaptations of works by Lord Byron
Music based on poems
Works by Gabriele D'Annunzio
Cultural depictions of Parisina Malatesta