La pravità castigata
La pravità castigata ("Depravity Punished") is a 1730
Composition and performance history
The origins of La pravità castigata lie in the struggles of the impresario of the Sporck theater,
The libretto Denzio wrote for his Don Juan opera is unusual for its time in mixing comic and serious scenes into the main fabric of the drama. His designation for the work, a rappresentazione morale ("morality play") is probably unique for an opera of this era. After the libretto "reform" of the turn of the 18th century, it was not customary to mix serious and comic action in opera librettos. If comic action were to be included in an evening's entertainment, it would usually be confined to comic
No score for the opera survives. Its music was a pasticcio of arias borrowed from other operas. Most of them were taken from works by Antonio Caldara, as indicated by Denzio in the preface to his libretto. Caldara is not named directly, rather he is merely hinted at. It is possible that Denzio concealed the borrowings due to Caldara's position in the musical establishment of Holy Roman Emperor Charles VI in Vienna, which could have put Caldara in a position to retaliate for the unauthorized use of his music (Prague at that time was under the authority of Charles VI, who held the title King of Bohemia). From the texts preserved in surviving copies of the libretto, it has been possible to identify a few of the Caldara arias used in La pravità castigata (at least one other aria appears to have been borrowed from an opera by Antonio Vivaldi).[5] The recitative used in the production was likely composed by Matteo Luchini, a minor composer attached to the Denzio company who also appeared in the production as a singer, indeed as Don Giovanni in this production. No reaction is recorded over Denzio's ironic decision to cast a castrato singer as the world's greatest seducer.
In spite of the unfamiliar setting in
Almost nothing is known about the reception of Denzio's highly innovative operatic production. One of the surviving copies of the librettos does record a mildly positive reaction to the opera, but the best measure of its success is the revival of the libretto with new music in Brno four years after its premiere.
Roles
Role | Voice type | Premiere cast, Lent 1730, Sporck Theater, Prague |
---|---|---|
Manfredi, king of Naples | uncertain | Filippo Galletti |
Don Alvaro, Commendatore of Sant'Iago and minister of the king | tenor | Antonio Denzio |
Donna Isabella, his daughter, promised in marriage to the duke of Chiarenza | soprano | Girolama Madonis |
Don Garzia, a royal counselor | uncertain | anonymous ("il Sig. N.N.") |
Donna Beatrice, a court lady | soprano | Anna Cosimi |
Don Ottavio, duke of Chiarenza, betrothed to Donna Isabella | soprano | Margherita Flora (in a breeches role) |
Don Giovanni, a foreigner in Naples | tenor | Matteo Luchini |
Rosalba, a fishergirl who lives on the beach near Naples | soprano | Cecilia Monti |
Bognolo, Venetian servant of the duke of Chiarenza | uncertain | anonymous ("il Sig. N.N.") |
Malorco | bass | Bartolomeo Cajo |
References
- ^ A complete appraisal of the genesis of the first production of this opera and its significance as a dramatic interpretation of the Don Juan legend is found in Daniel E. Freeman, "Newly-Found Roots of the Don Juan Tradition in Opera: Antonio Denzio and Antonio Caldara's La pravità castigata," Studi musicali 21 (1992): 115-57.
- ^ One earlier opera, L'empio punito ("The Impious One Punished") (Rome, 1669), incorporates elements of the Don Juan legend, but it is set in ancient Greece and uses classical names for all of its characters.
- ^ See Charles C. Russell, The Don Juan Legend Before Mozart (Ann Arbor: University of Michigan Press, 1993).
- ^ The history and operation of the Sporck theater is detailed in full in Daniel E. Freeman, The Opera Theater of Count Franz Anton von Sporck in Prague (Stuyvesant, N.Y.: Pendragon Press, 1992).
- ^ One of the Caldara arias, "Piange è ver l'usignol," is transcribed and edited in Freeman, "Newly-Found Roots," 154-57.