ATDTDA (21): Public hygiene, 584-585

[robinlandseadel at comcast.net]

A listing from "Answers.Com" on Rossini's "Tancredi":

Tancredi marks a turning point in Rossini's career, as well as in the 
evolution of nineteenth century opera. In it the essentially static 
and segmented forms of eighteenth century opera seria are 
infused with a more expansive, less structured lyricism, and the 
dramatic content is brought more into agreement with the 
romantic spirit of nineteenth century Europe. It is also the opera 
that clinched Rossini's already rising fame in his native Italy and 
abroad.

Tancredi is a melodrama in two acts to a libretto by Gaetano 
Rossi. The story, taken from Voltaire's play Tancrède (1760), 
is filled with sympathy for the ideals of the French revolution -- 
a revolution which Rossini lived through (Rossini's own father 
had been a sympathizer with French Republican views and had 
been imprisoned for it). Patriotic ideals of liberty are espoused 
everywhere throughout the opera. Tancredi is the story of two 
young lovers, Tancredi and Amenaide, who struggle to realize 
their affections against a backdrop of political and family conflict, 
somewhat alà Romeo and Juliet. Although the music provides
 for plenty of vocal display, Tancredi has a strong dramatic 
purpose; it is a credible drama with vivid, vibrant characters, 
full of strong human emotions and motivations. Opera seria 
conventions are dispensed with in favor of a more supple 
drama with broader appeal.

Rossini composed two distinct version of Tancredi. The 
original version which premiered at the Teatro La Fenice in 
Venice, on February 6, 1813, was extremely well received by 
the public. This version, although filled with lyrical beauty and 
formal innovations, was not as revolutionary as its later version. 
Instead of the tragic ending written by Voltaire, Rossini and 
Rossi chose to alter the ending. They changed the plot so 
that Tancredi could live and marry the woman he loves. 
However, for the Ferrara revival one month later, Rossini 
reinstated Voltaire's original ending and supplied entirely 
new music. This version, now with a tragic arioso scena 
during which Tancredi dies of his wounds and Amenaide 
protests her innocence and love, proved a bit much for the 
Italian public, which was not prepared for such a formal and 
artistic innovation. In deference to taste, Rossini eventually 
returned to his original, more conventional ending.

Some of the highlights of Tancredi include two love duets for 
Amenaide and Tancredi and two solo scenes for each of the 
main protagonists. In Act Two, Amenaide has a prison scene, 
orchestrated with exquisite care and sensitivity. Here, the 
instrumental music is just as moving as the song in which 
Amenaide expresses her resolve to die rather than betray 
her love. In Tancredi's solo scene, he is given beautiful melodies 
and florid passagework as he expresses his resolve to win his 
battle against Solamir.

Semiramide can be seen as the direct descendent of the 
experimentations begun in Tancredi. Although the innovations 
in Tancredi were greatly expanded upon in Semiramide, the 
later work is missing the youthful vigor and ingenuity of its 
predecessor and it has not achieved the same lasting 
presence on operatic stages. ~ All Music Guide 

http://www.answers.com/topic/tancredi-opera

 -------------- Original message ----------------------
From: "Paul Nightingale" <isread at btinternet.com>
> Hunter again leads Dally, this time to Andrea Tancredi, who opens the
> narrative out by introducing modernist aesthetics, throwing in a political
> manifesto for good measure: "The new religion will be public hygiene ..."