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''Il furioso all'isola di San Domingo'' ''(The Madman on the Island of San Domingo)'' is a "romantic melodramma"〔Ashbrook 1998, ''New Grove'', p. 316: In the Grove article, Ashbrook makes a specific point of declaring that the opera is not ''semiseria'' because Cardenio is not a figure of fun but one of pathos due to his delusions. He also notes that the term "Romantic melodramma" is the description found in the original score.〕 in two〔Ashbrook 1998, p. 316: Ashbrook notes 2 acts, Osborne says 3, but the Rizzi recording uses 2 acts〕 acts by the composer Gaetano Donizetti. Jacopo Ferretti, who since 1821 had written five libretti for Donizetti and two for Rossini (including ''La cenerentola''), had proposed the unusual subject〔Battaglia, p. 11〕 and he was contracted to write the Italian libretto based on a five-act play of the same title by an unknown author in 1820, which "had been given in the same theatre () and which Donizetti had immediately loved".〔 However, as has been noted by Charles Osborne, the "ultimate derivation of both play and libretto is an episode in part 1 of ''Don Quixote'' by Miguel de Cervantes's published in 1605" which is the story of Cardenio and Lucinda.〔 The opera was premiered at the Teatro Valle in Rome, Italy, on 2 January 1833 and was very successful throughout Europe—being staged in over 100 locations—but it disappeared after 1889, not to be seen again until 1958.〔 ==Composition history== After completing ''L'elisir d'amore'' for Milan and being present for its first performance on 12 May 1832 where it was immediately successful, Donizetti and his wife, Virginia, left for Rome. Within a few weeks of his arrival, he had signed a contract to write ''Parisina'' for Florence and, for Rome, ''Il furioso'' with the librettist to be Ferretti. As Battaglia notes, for the composer: :It was the protagonist's drama that actually intrigued him: a man at last, after so many sorrowful female images on the brink of madness as innocent victims of the prejudices and cruelty of people. Now (was ) a man".〔Battaglia, p. 12〕 Then the couple moved on to a busy schedule in Naples, which included the preparation for what became ''Sancia di Castiglia'' for a November premiere. The first installment of ''Il furioso'' 's libretto arrived in August and the process of composition and modification began.〔Ashbrook 1982, pp. 73 - 76〕 With performances of ''Sancia'' over, the composer left for Rome with ''Furiosos first act and part of the second act completed. Much of the "discussion" between Donizetti and Ferretti had taken place by means of letters during the previous months (an unusual procedure for this composer, since he usually worked with the librettist present).〔Ashbrook 1982, Note #69, p. 623. Donizetti's typical method of working is seen in an example when he and Cammarano were working on ''Roberto Devereaux'' in 1837. The librettist sent a note saying that when they meet "we'll read it together: four eyes are better than two."〕 Significantly, as Ashbrook points out, the composer "coins a maxim for Ferretti's benefit: "The good consists of making things small and beautiful, and not in singing a lot and being boring".〔 In the composition of this opera, one thing stands out: the power of the baritone, the 23-year-old Georgio Ronconi for whom the two men were writing the role of Cardenio. ''Furioso'' is the first opera in which Donizetti has a baritone as the hero. 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「Il furioso all'isola di San Domingo」の詳細全文を読む スポンサード リンク
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