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La capricciosa corretta
''La capricciosa corretta'' (The capricious woman reformed) is a comic opera (''commedia per musica'') in two acts composed by Vicente Martín y Soler. The libretto is by Lorenzo Da Ponte and has a plot which has a slight similarity to William Shakespeare's play ''The Taming of the Shrew'', but is not based on it. The story takes place over a 24-hour period and examines the marriage of an older man to his vain and capricious second wife whose antics make her husband, stepchildren, and servants miserable until she is finally brought to heel through the machinations of her husband's major domo. The opera premiered under the title ''La scuola dei maritati'' (The school for spouses) at the King's Theatre in London on 27 January 1795 to considerable success. It was later performed throughout Europe under the alternative titles ''Gli sposi in contrasto'', ''La moglie corretta'', and ''La capricciosa corretta''—the title used by Da Ponte and the one by which it is known today.
==Background==
''La capricciosa corretta'' was the fourth of Martín y Soler's five collaborations with Lorenzo Da Ponte. The first three—''Il burbero di buon cuore'' (1786), ''Una cosa rara'' (1786), and ''L'arbore di Diana'' (1787)—were premiered at the Burgtheater in Vienna, where Da Ponte had been the poet to the imperial theatres of Emperor Joseph II since 1783. After the death of Joseph II in 1790 Da Ponte fell into disfavour, feuded with Salieri, and was replaced as the poet of the Habsburg court theatres. On the advice of Casanova, he moved to London in 1792 and offered his services to the King's Theatre. William Taylor, the theatre's proprietor at the time, initially refused the offer, but in 1793 invited Da Ponte back to London as his advisor and suggested that he also summon Martín y Soler from Russia to collaborate with him on a new opera for the theatre. This was to be ''La capricciosa corretta''. According to Da Ponte, he completed the libretto in three weeks and handed it over to Martín y Soler who was living in Da Ponte's house while he composed the music.〔Rousset, Christophe (2003). ("Introduction" ). ''La capricciosa corretta, o sia, La scuola dei maritati'' (critical edition of the score). Instituto Complutense de Ciencias Musicales. Reprinted with permission on Mundoclasico.com. Retrieved 6 September 2015.〕
Although some older sources have stated that Da Ponte adapted the libretto from Shakespeare's ''The Taming of the Shrew'', this is not the case.〔Fenner, Theodore (1994). (''Opera in London: Views of the Press, 1785-1830'' ), p. 114. Southern Illinois University Press〕 According to Christophe Rousset, while some aspects of the opera's plot bear a superficial similarity to the play, it owes more to Goldoni's classic comedies of manners and to Da Ponte's libretti for Mozart's ''Così fan tutte'' and ''The Marriage of Figaro''. Like ''The Marriage of Figaro'', the action takes place over a 24-hour period, involves a domineering spouse, and ultimately results in a marriage saved through the servants' machinations. Like ''Così fan tutte'', the story is set in a villa in Naples and involves a woman being brought "down to earth" by an oriental impostor (in the case of ''La capricciosa'', a servant in disguise). Rousset also points out that Da Ponte follows Goldoni's practice of giving the characters names which evoke their personal traits. The name of the capricious woman of the title, Ciprigna, is a double word play on "La Ciprigna" (an Italian epithet for Venus) and the word "inciprignire" meaning "to become angry and embittered", while her hapless husband's name, Bonario, evokes goodness. The name of Bonario's confidante and major domo, Fiuta, alludes to "fiutare" meaning "to flatter". The names of the opera's young lovers, Valerio, Isabella, and Lelio, are the standard ones for such characters in ''commedia dell'arte'' plays. Captain Sbaraglia is likewise a ''commedia dell'arte'' character whose name derives from "sbaraglio" meaning "disorder or confusion".〔
The success of ''La capricciosa'' led to another joint commission from the King's Theatre—''L'isola del piacere'' which premiered four months later. However, Martín y Soler and Da Ponte had a serious falling out midway through the writing process. According to Da Ponte, while living in his house Martín y Soler had made Da Ponte's servant girl pregnant and then spread rumours that Da Ponte was the father. Martín y Soler then moved in with Anna Morichelli who had created the role of Ciprigna and was to sing the lead in ''L'isola del piacere''. The opera was a failure and ran for only four performances. Da Ponte blamed both Martín y Soler and Morichelli for the failure. Martín y Soler returned to Russia at the end of the season and never again collaborated with Da Ponte.〔
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