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''Gli Orazi e i Curiazi'' is an opera in three acts (''azione tragica'') composed by Domenico Cimarosa to a libretto by Antonio Simeone Sografi, based on Pierre Corneille's tragedy ''Horace''. ==History== The opera was first staged on 26 December 1796 at the Teatro La Fenice in Venice, Italy . The première was so unsuccessful that Cimarosa, disappointed, decided to leave the town immediately. The run of the following performances, however, turned into a big success, as would happen twenty years later with Rossini’s ''The Barber of Seville''.〔Francesco Florimo, 2nd volume, quoted in Toscano, pp. 80–81〕 At least 49 performances were held throughout the season〔indeed, Morelli (p. 27) lists in detail 51 dates from the première to 28 February 1797, but two of them (27 and 28 February) are reported twice〕 and the opera was later staged in the major European theatres, including Teatro La Scala in Milan and Napoleon’s imperial court in Paris.〔Morelli, ''passim''; (Del Teatro ); Toscano, p. 80〕 In Europe during the 18th century Italian operas did not normally endure very long in theatres, hardly ever getting through one season. ''Gli Orazi e i Curiazi'', however, kept running for several decades, even after the death of Cimarosa. In Venice, for example, the opera had four further runs during the six years following the première〔Gualerzi, p. 91〕 and "more than 130 performances" altogether were staged in the same period.〔Lazarevich, p. 718. Indeed Morelli (pp. 27-28) lists precisely 138 dates, but four of them (the two reported above, 21 November 1798 and 2 March 1802) are repeated twice〕 The opera had several re-adaptations, among which Marcos António Portugal’s staged in 1798 is specially notable,〔Lazarevich, p. 718; Morelli, p. 26〕 and was also employed as the object of the parody ''La prima prova dell'opera "Gli Orazi e i Curiazi"'' by Francesco Gnecco on Giulio Artusi’s libretto – later to be renamed ''La prova di un'opera seria'' – which was also staged in Venice in 1803.〔(''Del Teatro'' )〕 ''Gli Orazi e i Curiazi'' was very dear to Napoleon, especially in the Parisian performances of the singer Giuseppina Grassini who was for some time a lover of the Emperor, and of the castrato Girolamo Crescentini — both of whom had been the original creators of the major roles of ''Horatia'' and ''Curiatius'' in 1796. Grassini would almost always interpolate arias different from the original ones, mostly drawn from Portugal’s version.〔above all, two scenes and arias of Horatia: "''Lascia almen ch’io riprenda ...''" and "''Frenar vorrei le lacrime ...''" in Act One; "''Popoli amici ...''" and "''Ah, pietà del pianto mio...''" in Act Two (cf: Morelli-Surian, pp. 41 e 42)〕 The opera has been a matter of renewed interest in modern times with several stagings beginning from the Genoese Teatro dell’Opera Giocosa’s in 1983, which was also the first world recording, with Curiatius played by the soprano Daniela Dessì.〔Marinelli, p. 93.〕 Another notable revival took place at the ''Teatro dell'Opera di Roma'' in 1989 with the conductor Alan Curtis, Gianna Rolandi as Curiatius and Anna Caterina Antonacci as Horatia. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gli Orazi e i Curiazi」の詳細全文を読む スポンサード リンク
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