RIENZI (Wagner) Toulouse 2013

RIENZI by Richard Wagner
Théâtre du Capitole Toulouse, France
2013

CAST

Torsten Kerl — Rienzi
Marika Schönberg — Irène
Richard Wiegold — Steffano Colonna
Daniela Sindram — Adriano
Stefan Heidemann — Paolo Orsini
Robert Bork — Cardinal Orvieto
Marc Heller — Baroncelli
Leonardo Neiva — Cecco del Vecchio
Jennifer O’Loughlin — The Messenger of Peace
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Pinchas Steinberg — Conductor
Orchestre National du Capitole de Toulouse
Chœur du Capitole de Toulouse
Coro dell’Accademia Teatro alla Scala
Alfonso Caiani — Chorus master
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Jorge Lavelli — Stage director
Ricardo Sanchez Cuerda — Set designer
Francesco Zito — Costumes
Roberto Trafferi — Lighting
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Rienzi, der letzte der Tribunen (Rienzi, the last of the tribunes; WWV 49) is an 1842 opera by Richard Wagner in five acts, with the libretto written by the composer after Edward Bulwer-Lytton’s novel of the same name (1835). The title is commonly shortened to Rienzi [ˈrjɛntsi]. Written between July 1838 and November 1840, it was first performed at the Königliches Hoftheater Dresden, on 20 October 1842, and was the composer’s first success.

The opera is set in Rome and is based on the life of Cola di Rienzo (1313–1354), a late medieval Italian populist figure who succeeds in outwitting and then defeating the nobles and their followers and in raising the power of the people. Magnanimous at first, he is forced by events to crush the nobles’ rebellion against the people’s power, but popular opinion changes and even the Church, which had urged him to assert himself, turns against him. In the end the populace burns the Capitol, in which Rienzi and a few adherents have made a last stand.

The opera opens with a substantial overture which begins with a trumpet call (which in act 3 we learn is the war call of the Colonna family) and features the melody of Rienzi’s prayer at the start of act 5, which became the opera’s best-known aria. The overture ends with a military march.

Outside Rienzi’s house

The patrician Orsini and his cronies attempt to kidnap Rienzi’s sister Irene. Stefano Colonna, also a patrician but inclined to support Rienzi, prevents them. Raimondo appeals to the parties in the name of the Church to stop their fighting; Rienzi’s eventual appearance (marked by a dramatic key shift, from D to E flat) quells the riot. The Roman people support Rienzi’s condemnation of the nobles. Irene and Adriano realise their mutual attraction (duet “Ja, eine Welt voll Leiden” – Yes, a world of sorrows). A gathering crowd of plebeians, inspired by Rienzi’s speeches, offers Rienzi the crown; he demurs, insisting that he wishes only to be a Tribune of the Roman people.

A hall in the Capitol

The patricians plot the death of Rienzi; Adriano is horrified when he learns of this. Rienzi greets a group of ambassadors for whom an entertainment is laid on (a lengthy ballet). Orsini attempts to stab Rienzi, who however is protected by a vest of chain mail. Adriano pleads with Rienzi for mercy to the nobles, which Rienzi grants.

The act 2 ballet is noteworthy as Wagner made a clear attempt to make it relevant to the action of the opera (whereas in most Grand Operas the ballet was simply an entertaining diversion). The Rienzi ballet was intended to tell the tale of the ‘Rape of Lucretia‘. This storyline (in which Tarquinius, the last king of Rome, attempts to rape the virtuous Lucretia), parallels both the action of Rienzi (Orsini’s attempt on Irene) and its background (patricians versus the people).^[24] In its original form the ballet lasts for over half an hour – in modern performances and recordings it is generally drastically cut.

The Roman Forum

The patricians have recruited an army to march on Rome. The people are alarmed. Adriano begs Rienzi to stop the war, offering his own life to avoid bloodshed, but is ignored. Rienzi rouses the people and leads them to victory over the nobles, in the course of which Adriano’s father Stefano is killed. Adriano swears revenge, but Rienzi dismisses him.

Before the Lateran Church

Cecco and other citizens discuss the negotiations of the patricians with the Pope and with the Emperor of Germany. Adriano’s intention to kill Rienzi wavers when Rienzi arrives together with Irene. Raimondo now announces that the Pope has laid a papal ban on Rienzi, and that his associates risk excommunication. Despite Adriano’s urgings, Irene resolves to stay with Rienzi.

Scene 1: A room in the Capitol

Rienzi in his prayer “Allmächt’ger Vater” (Almighty Father!) asserts his faith in the people of Rome. He suggests to Irene that she seek safety with Adriano, but she demurs. An apologetic Adriano enters and tells the pair that the Capitol is to be burnt and they are at risk.

Scene 2: The Capitol is ablaze

Rienzi’s attempts to speak are met with stones and insults from the fickle crowd. Adriano, in trying to rescue Rienzi and Irene, is killed with them as the building collapses.

In the original performances, Rienzi’s final words are bitter and pessimistic: “May the town be accursed and destroyed! Disintegrate and wither, Rome! Your degenerate people wish it so.” However, for the 1847 Berlin performance Wagner substituted a more upbeat rhetoric: “Ever while the seven hills of Rome remain, ever while the eternal city stands, you will see Rienzi’s return!”.

Quoted from Wikipedia