May 23, 2009: 'Il Matrimonio Segreto (The Secret Marriage)' by Domenico Cimarosa

melodramma giocoso (comic opera) in two acts, by Domenico Cimarosa to a libretto by Giovanni Bertati after the comedy The Clandestine Marriage (1766) by George Colman and David Garrick; premiered Vienna, Burgtheater, February 7, 1792.

Cast:

Geronimo, a wealthy and ambitious merchant (bass) -- Carlos Feller
Elisetta, oldest daughter of Geronimo (mezzo-soprano) -- Barbara Daniels
Carolina, youngest daughter of Geronimo, secretly married to Paolino (soprano) -- Georgine Resick
Paolino, young clerk to Geronimo (tenor) -- David Kuebler
Fidalma, Geronimo's sister, a wealthy widow (contralto) -- Marta Szirmay
Count Robinson, Paolino's patron (bass) -- Claudio Nicolai

From Grove Music Online:

Act 1

The musical world of Mozart has already been re-created in the Largo of the overture with three initial D major chords. The brilliant orchestration of flutes, oboes, clarinets, horns, trumpets, timpani and strings not only provides a festive atmosphere but shows a melodic effusiveness and inventiveness full of verve, vitality and exuberance. The light, whirling string figures that open the Allegro moderato sections recall the beginning of the overture to Le nozze di Figaro.

As the curtain rises Paolino and Carolina, who have been secretly married for several months, are discussing how they will break their news to her father without antagonizing him too much. They hope that Geronimo, who aspires to join the ranks of the nobility, will be appeased through the wedding of his elder daughter, Elisetta, to Count Robinson. Paolino has arranged this match in the hope that when Geronimo learns of the secret wedding of Paolino and Carolina, he will forgive them. The duet ‘Cara non dubitar’, followed by a recitative and the duet ‘Io ti lascio’, present a continuous opening scene, unified by the recurrence of the initial string figures of the overture which are combined with witty interjections for solo oboe. It is a remarkably tender and touching love duet.

Paolino delivers the Count’s letter to Geronimo, whose deafness is a source of humour. Once he realizes that the Count is asking for Elisetta’s hand, Geronimo rejoices at the prospect of his daughter becoming a countess in the aria ‘Udite tutti, udite’; it begins Andante maestoso, but changes to an Allegro of unbridled enthusiasm, with dotted rhythms and leaps in the orchestral parts depicting Geronimo’s joy at the words ‘Che saltino i dinari’. The aria is a wonderful portrayal of the varying moods of the dramatic situation, ranging from sections in rapid parlando to a slower pacing at Geronimo’s realization that Elisetta does not share his joy, and a sudden recovery of the original joyful mood (with a shift in tonality from A major to B major), with a più mosso ending at ‘La festa si prepara’. This was one of the most popular numbers at the opera’s première.

Elisetta, quickly assuming the airs of a countess, accuses her younger sister of treating her with disrespect. The ensuing agitated trio for Carolina, Elisetta and Fidalma, ‘Le faccio un inchino’, another highlight of the opera, is an excellent characterization of the verbal aggression between the sisters: Carolina ridicules Elisetta in a parlando line, and Fidalma attempts to act as peacemaker. Despite Fidalma’s good life with her brother, her state of widowhood does not please her; she too has nuptial intentions, and the object of her affections is Paolino.

The plot is complicated by the Count’s pompous entrance and his attempt to identify his bride. He approaches Carolina, then Fidalma and, when he finds out that the least attractive, Elisetta, is to be his spouse, he is shocked and disappointed. The ensuing quartet, ‘Sento in petto un freddo gelo’, for Carolina, Fidalma, Elisetta and the Count, is an excellent depiction of four disparate sets of thoughts and sentiments. The situation is now quite out of hand for Carolina and Paolino; not only will the Count have nothing to do with Elisetta but he wants to marry Carolina instead. Pandemonium breaks out in the Act 1 finale as Elisetta accuses her younger sister of seducing the Count, while Geronimo’s deafness prevents him from hearing or understanding the commotion.

Act 2

A duet for Geronimo and the Count, ‘Se fiato in corpo avete’, cleverly depicts their differences, as the Count tells Geronimo that he will not marry Elisetta, while Geronimo insists that he will. There is a complete change in the character of the music when the Count’s proposal to marry Carolina for only half the original dowry is met with enthusiasm. The young lovers’ misfortune worsens with Fidalma’s declaration of love for Paolino. In a beautiful bel canto aria with clarinet solo (‘Pria che spunti in ciel aurora’) Paolino decides that he and Carolina must run away. The finale is a nocturnal scene, in which each character emerges from his or her bedroom and catches the lovers in the act of escaping. Paolino and Carolina admit that they are married; the Count, in a quick about-face, decides to marry Elisetta; and Geronimo accepts and forgives.

Gordana Lazarevich. "Matrimonio segreto, Il." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 9 Sep. 2008 .