In the middle of Gluck’s years as musical director of a travelling company (1746–1752), an event occurred which decisively influenced his later career: his debut as an opera composer in Vienna. The date – 14 May 1748. The day before had seen the celebration of the young Empress Maria Theresa’s birthday. A gala performance for which the ”imperial and royal court theatre next to the castle” had been extensively renovated. And no expense had been spared for the gala opera either in the production – stage sets, costumes, props – or in engaging participating artists; a company comprising ”the best voices which could be found” had been sought out, and from Italy, ”on account of her dramatic skills, the most renowned Tesi with a few other virtuosi” were engaged for the orchestra. Four of the six soloists who appeared had previously sung in Italy or London under Gluck’s direction, thus making the group a tried and tested ”Gluck ensemble”.
For the thirty-three year old Gluck, the commission from the imperial city represented an honour and a challenge in equal measure. The choice of libretto for the gala opera was made entirely as a mark of the Empress’s birthday. Metastasio’s dramma per musica La Semiramide riconosciuta had already been set to music as a gala opera expressly for the imperial coronation of Maria Theresa in 1743 in Prague, in reference to the ”Pragmatic Sanction” (the female succession in the Habsburg dynasty). Now, in spring 1748, Metastasio’s dramatic plot about Semiramis, ruling Babylon dressed as the male ”King Ninus”, had an even clearer, indeed highly topical link with the political situation. The peace negotiations taking place at the same time in Aachen were concerned with the recognition of Maria Theresa as Empress by the European powers, particularly by France and Prussia. Those familiar with this explosively problematic situation understood very well the double meaning of the chosen opera title: ”riconosciuta” can mean both ”recognized” and ”acknowledged”.
The history and plot of the opera, which were printed in the libretto, are constructed in a multifaceted and complex way. Separated siblings, old friends, rivals and intriguers meet each other again – at first unrecognized – after a long time, at the court of the Babylonian King Ninus (alias Semiramide), as the Princess Tamiri, who lives at court, is to choose a consort from the suitors hurrying by. The royal palace, the legendary hanging gardens of Semiramis and a picturesque port ambience form the backdrop. An assorted bunch of protagonists from Africa, Asia and the Orient ensure a colourful appearance with their entourage. The action includes duel, abduction and a poisoned chalice until the disentanglement of the plot.
By skilful use of solo instruments, incidental music for ’istromenti barbari’, a dance scene and the chorus at the end of the opera, Gluck was able to create a score of rich tonal variety. Interestingly, the main role of Semiramis is an alto part with a relatively low tessitura. The role of Scitalce (soprano) most closely corresponds to the type of the virtuoso castrato part, whilst that of Ircano portrays an energetic character. The tenor role of Mirteo has mainly moderate tempi and is similarly lyrical to that of the much-courted Tamiri. Pietro Metastasio’s remark – ”una musica arcivandalica insopportabile” – may have referred to some instances where the melodic writing deviated from Italian taste and to Gluck’s boldness in his treatment of the orchestra; Gluck limited himself neither to agile coloratura numbers or to pleasant orchestral writing. He omitted the orchestral introduction to some arias and sometimes refrained from using the da capo form. Far ahead of his time, he had the combined effect of all the theatrical arts in view, and left behind him the narrow constraints of Italian virtuoso singing opera. After the success of the opera, even the critical Metastasio must have admitted that ”Semiramide reaches for the stars”.
Gerhard Croll / Thomas Hauschka
(translation: Elizabeth Robinson)
(from takte 2-2008)
„La Semiramide riconosciuta”. Gluck's first opera for Vienna
Christoph Willibald Gluck
La Semiramide riconosciuta. Dramma per musica in three acts. Libretto by Pietro Metastasio
Ed. Gerhard Croll and Thomas Hauschka
Complete Works, Vol III/12. Bärenreiter-Verlag
Performance material available on hire
18.10.2008: Staatstheater Mainz, conductor: Michael Millard, production, stage sets and costumes: Peer Boysen
Cast: Semiramide (alto), Mirteo (tenor), Ircano (soprano), Scitalce (soprano), Tamiri (soprano), Sibari (soprano)
Orchestra: 2 flutes, 2 oboes, 2 bassoons – 2 horns, 2 trumpets – timpani – strings – harpsichord – stage band of ”istromenti barbari”