Donizetti's Unsung Melody: The Story of Rita
An academic exploration of Gaetano Donizetti's charming one-act opera, covering its composition, performance history, roles, synopsis, and recordings.
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Overview
A Comic Masterpiece
Gaetano Donizetti's Rita, originally titled Deux Hommes et une femme (Two Men and a Woman), is a delightful opéra comique in a single act. Composed in 1841, it features a witty domestic comedy narrative woven through eight musical numbers interspersed with spoken dialogue.[1] Despite its completion during Donizetti's prolific career, the opera remained unperformed during his lifetime.
Posthumous Premiere
Rita eventually premiered twelve years after Donizetti's death, on May 7, 1860, at the prestigious Opéra-Comique in Paris.[2] While initially met with modest success and performed sporadically, the opera has experienced a significant revival in modern times, becoming one of Donizetti's more frequently staged works.
Global Reach and Editions
The opera's journey included an intended performance in Naples with an Italian translation, which also did not materialize during Donizetti's life.[3] A significant development occurred in 2008 with the publication of a new critical edition by Casa Ricordi, meticulously restoring the original French dialogue and incorporating Donizetti's annotations, thereby presenting the work as the composer likely intended.[3]
Composition History
Awaiting Inspiration
In 1841, while residing in Paris and awaiting the libretto for a commission from La Scala, Donizetti sought a project to occupy his time. He reconnected with Gustave Vaëz, a librettist for some of his earlier works, including the French versions of Lucia di Lammermoor and La favorite. Vaëz swiftly provided the libretto for Deux hommes et une femme, a comic piece designed for a single act with eight musical numbers and spoken dialogue. Reports suggest Donizetti completed the score with remarkable speed, possibly within eight days.[1]
Unfulfilled Premieres
The Opéra-Comique in Paris initially rejected the work. Subsequently, Donizetti arranged for the libretto to be translated into Italian for a planned performance at the Teatro del Fondo in Naples. However, following the demise of the theatre's impresario, Domenico Barbaja, this Neapolitan production also failed to materialize. The completed score remained unperformed and was discovered among Donizetti's effects after his death in 1848.[1]
Performance History
The Parisian Debut
The opera finally saw its premiere on May 7, 1860, at the Opéra-Comique in Paris, under the title Rita, ou Le mari battu (Rita, or The Beaten Husband).[2] This debut occurred twelve years after the composer's passing.
Modern Revivals
Following its initial limited run, Rita experienced infrequent performances for approximately a century. However, its fortunes changed with a revival in Rome in 1955, followed by a notable production at the Piccola Scala in Milan in 1965. In the subsequent fifty years, Rita, in both its original French and Italian versions, has become a staple in the Donizetti repertoire.[2]
Contemporary Presentations
More recent stagings include a semi-staged presentation of the French version by the Berliner Operngruppe in September 2021.[5] Concert performances have also been featured, such as those by the New Century Chamber Orchestra and San Francisco Opera's Adler Fellows in February 2014.[4]
Principal Roles
Rita
Role: Landlady of the inn
Voice Type: Soprano
Premiere Cast: Constance-Caroline Faure-Lefèvre
Beppe
Role: Rita's husband
Voice Type: Tenor
Premiere Cast: Victor Warot
Gaspar
Role: Rita's former husband
Voice Type: Baritone
Premiere Cast: Barielle
Bortolo
Role: A servant
Voice Type: Spoken Role
Premiere Cast: Jean-Baptiste Faure
Synopsis
Setting and Premise
Time: 18th century
Place: An inn on the road between Genoa and Turin.
The opera centers on Rita, the domineering wife of the timid innkeeper, Peppe. Their lives are disrupted by the unexpected return of Gaspar, Rita's first husband, who was presumed lost at sea. Gaspar had actually absconded to Canada and has returned seeking Rita's death certificate to facilitate his remarriage.
A Game of Wits
Upon encountering each other, Gaspar attempts to flee, but Peppe sees an opportunity to escape Rita's abusive treatment, as Gaspar is her legal husband. The two men devise a plan: they will engage in a game of chance, with the winner being obligated to remain with Rita, thereby freeing the loser. Both men, however, deliberately attempt to lose the game.
Resolution
Gaspar ultimately wins the game. However, Rita, having endured Gaspar's cruelty in the past, refuses to resume their marriage. In a clever turn, Gaspar, feigning defeat, persuades Peppe to profess his love for Rita and commit to remaining her husband. With his objective achieved, Gaspar departs, leaving the couple reconciled.
Notable Recordings
Early Recordings
1991: Features Adelina Scarabelli (Rita), Pietro Ballo (Peppe), and Alessandro Corbelli (Gaspar), conducted by Federico Amendola with the Orchestra da Camera Siciliana. Released on Nuova Era.[7]
2001: Stars Teresa di Bari (Rita), Walter Omaggio (Peppe), and Paolo Bordogna (Gaspar), under Carlo Palleschi with the Orchestra della Fondazione I.C.O. «Tito Schipa» di Lecce. Released on Kicco Classic.[8]
Critical Edition Recording
2014: A significant release by Opera Rara features Katarina Karnéus as Rita, Barry Banks as Peppe, and Christopher Maltman as Gaspar. Conducted by Sir Mark Elder with The Hallé, this recording utilizes the restored critical edition of the score.[7]
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References
References
- New Century Chamber Orchestra's website
- Source for recordings: operadis-opera-discography.org.uk
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Important Notice for Learners
This document has been generated by an AI model for educational purposes, drawing upon publicly available data from Wikipedia. While efforts have been made to ensure accuracy and comprehensiveness, the content is based on a specific snapshot of information and may not encompass all nuances or the most current developments.
This is not professional artistic or musicological advice. The information provided herein should not substitute consultation with qualified music historians, opera scholars, or performance practitioners. Always refer to primary sources and expert analyses for in-depth study.
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