FULL L’impresario delle Isole Canarie (Sarro) Trieste 2021 Soldo Barreca
Information on the Performance
- Work Title: L'impresario delle Isole Canarie or L'impresario delle Canarie or Dorina e Nibbio
- Composer: Sarro Domenico
- Libretto: Metastasio Libretto Text, Libretto Index
- Venue & Opera Company: Sala Bartoli, Ridotto del Teatro Rossetti, Trieste, Italy
- Recorded: October 16, 2021
- Type: Staged Opera Live
- Singers: Michele Soldo, Martina Barreca
- Conductor: Donatella Busetto
- Orchestra: Instrumental Ensemble
- Stage Director:
- Stage Designer: Cesare Scarton
- Costume Designer:
Information about the Recording
- Published by: BAROCCOEUROPEO
- Date Published: 2021
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
L’impresario delle Isole Canarie (The impresario from the Canary Islands), also known as L’impresario delle Canarie or Dorina e Nibbio, is a satirical opera intermezzo libretto attributed to Metastasio (Pietro Antonio Domenico Trapassi), written in 1724 to be performed between the acts of Metastasio’s opera seria Didone abbandonata. The first performance of the work was on February 1, 1724, in Naples, Italy, at Teatro San Bartolomeo. The first composer to set this libretto to music was Domenico Sarro, also known by the name Sarri, who also revised the work in 1730. The role of Dorina was first sung by the contralto Santa Marchesini, and Nibbio by the basso buffo singer Gioacchino Corrado. Later versions of this libretto appear with the titles L’impresario, L’impresario e la cantante and others.
Plot
The following is the plot as in the 1724 libretto. Later versions are different but all maintain the basic comic situation.
Persons: Dorina, an opera singer; Nibbio, an impresario from the Canary Islands; maids, wardrobe assistants
Part I (Dorina’s House) to be performed between the first and second act of the opera Didone abbandonata.
Dorina waits impatiently for the visit of a foreign impresario. She vents her frustration at her maid at not finding the appropriate audition piece which is modern enough and embellishes every word with ornamentation. Nibbio enters, and proves to be interested more in a conquest than in art. He tries to convince the reluctant Dorina to sing for him. Nibbio forces Dorina to listen to a self-composed Cantata, proving Nibbio to be a dilettante. Dorina, feigning another appointment, escapes.
Part II (A dressing room of a theatre) to be performed between the second and third act of the opera Didone abbandonata.
Dorina is trying on a costume and upbraids her sloppy wardrobe assistants. Nibbio arrives. Dorina laments the hardships of performing before a harsh audience. Nibbio convinces Dorina to sing an excerpt from Cleopatra. While he applauds her performance, Nibbio is disappointed that the dramatic recitative sung by Dorina is not followed by an ‘exit aria’, such as the typically flashy ‘butterfly’ or ‘ship’ arias of the time. He promptly provides a live example of such an aria. Dorina hopes to get rid of Nibbio by listing preposterous demands for her contract (always leading roles of Prima Donna, librettos written by friends, a permanent supply of ice cream, coffee, chocolate and at least two presents weekly). She is even more suspicious of Nibbio’s intentions when he accepts all her demands readily. The intermezzo ends without Nibbio having achieved his goal.
Quoted from Wikipedia