Opera "Semiramide": content, video, interesting facts, history

D. Rossini opera "Semiramide"

The work, created on the basis of the mythological story about the ancient Assyrian queen, is a landmark in the work of Gioacchino Rossini. Opera has become a significant contribution to the seria genre from the unsurpassed genius of inspired expressive melodies. "The last of the classics," as he called himself exactly Rossiniwith the virtuosity peculiar to him, he managed to make it so that it was not the general style that determined the laws of the genre, but the concrete work would allow us to take a fresh look at the passing era in art. "Semiramide" in many aspects became a mystical Rubicon: for Rossini himself, for his beloved woman, for baroque culture in music.

Summary of the Opera Rossini "Semiramis"and many interesting facts about this work read on our page.

Summary of "Semiramis"

Semiramida is preparing to present her successor to the people, but the imperious and despotic ruler does not intend to yield to the throne. The sovereign intends to become the lawful spouse of the new king, thus retaining influence within her vast kingdom. In addition, according to the predictions of oracles, the new marriage will bring the Queen the long-awaited deliverance from the mental anguish that tormented her conscience after the death of her first husband, King Nin. However, a new sign soon appears: in the temple, during the ceremony of sacrifice to the supreme deity, the fire is extinguished, which the clergy interpret unequivocally: the name of the receiver cannot be called until the people responsible for the death of the king have been punished.

Arsac arrives in Babylon, he is going to meet his beloved Anema sooner, but before that he carries out his father's order: he hands over the box to the priest Oroya. He opens it and discovers secret records, according to which, Arsac's mother is Semiramis. The boy in childhood was stolen from the palace to save him from death during the struggle for power. It turns out that Ning died at the hands of Asshur, whom Semiramis persuaded to poison the king in exchange for favor and privilege. The crown prince was brought up far from the royal chambers by a religious mentor, but now that he grew up and turned into a brave warrior, nothing prevents him from taking revenge. If Arsache's mother intends to forgive and pardon, then there is no reason to feel sorry for Assur: a righteous punishment must overtake a traitor and a traitor.

Semiramis does not suspect who she really is Arsac. She is going to make him his legal spouse and the new ruler of Babylon. The queen does not notice that Arsache is in love with Azem, and she responds to him in return. The fate of the girl is solved: on the orders of the queen she must marry Idreno. Azema humbly and meekly takes part.

Assur expects that Semiramis will lead to his power. In a personal conversation, the prince dares to hint to the queen about the criminal episode, which has firmly tied them in the past. However, Semiramis does not intend to change the decision. Assur, blinded by vanity, yielding to anger, vows revenge on her patroness, who has betrayed him.

Arsache transfers to Semiramide a secret message from a box. The tsarina is heartbroken and begs her son to take her life, to avenge the death of her own father. However, the warrior shows mercy and leaves, intending to visit the crypt, where his father’s ashes lie. Semiramis rushes after her son, knowing that in the Arsache dungeon there will be a treacherous, ruthless Assur.

The mystical tomb of the poisoned king became the place where Semiramis, her son and former favorite turned out to be at the same time. All three roam the gloomy corridors. Suddenly, Arsache is feeling movement in the dark and, having decided that this is the assassin of his father Assur, with a sweep, he strikes with his sword. The victim is the queen. Semiramis falls and slowly dies. The appeared priest informs the people that the killed ruler Ning is avenged. Assur taken into custody. The people welcome the new ruler of Arsac, the heir, who received the name Niniya at birth.

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Interesting Facts

• The prototype of the main character in the content of "Semiramis" is the ruler of the ancient kingdom of Assyria Shammuramat. She is known for leading a huge empire, constantly expanding its borders through successful wars, and establishing sole authority over all conquered and united areas. Numerous myths that are shrouded in an odious person are different versions of how a woman came to power, what she dared to keep her status for 4 decades. In the opera, Semiramis is a woman who committed a crime against her husband, but repented to her son and received forgiveness from him. However, there is an alternative interpretation of ancient sources: for some of them, Niniy killed his mother intentionally, in the struggle for the throne.
• Overture, contrary to the sequence of execution, was created last. In her Rossini used memorable motifs from the main parts. A similar nuance influenced the impossibility of using the overture in the future, even when making changes, in other works: it turned out to be too recognizable later.
• The main role was originally intended to Isabella Kolbran, wife of Rossini. The premiere was decorated with her solo arias and duets with her participation. However, soon the singer began to have serious problems with her voice, gradually the diva stopped performing, and "Semiramis" turned into her swan song on the opera stage.

• "Semiramida" discovers several similarities with the opera "Tancred". The overall can be traced not only in relation to the genre of the plot (both operas have a heroic and mythological basis), but also in terms of the circumstances of the premiere productions. Tancred was also performed for the first time in Venice, on the stage of La Fenice, only ten years earlier. In addition, the literary base in both cases, belonging to the pen of the French enlightener Voltaire, was reworked into the form of the libretto by Gaetano Rossi.
• "Semiramide" is one of the last operas written by the maestro in Italian. The relocation to Paris in 1823 and the need to adapt to the customs, interests and needs of the local public prompted Rossini to create operas in French, the composer seriously worried about the study of the intonational structure used in Paris adverbs.

The best numbers of the opera "Semiramide"

"Eccomi alfine in Babilonia ... Ah! Quel giorno ognor rammento"- Arsache's aria from 1st act, where the commander refuses to support Assyur in court intrigues.

"Eccomi alfine in Babilonia ... Ah! Quel giorno ognor rammento" (listen)

"Bel raggio lusinghier"- Semyramid's aria, 1st act; the queen awaits Arsace, walking in the shadow of her hanging gardens.

"Bel raggio lusinghier" (listen)

"Serbami ognor si fido"- the aria of Semiramis from the 1st act, the ruler asks Arsac to always remain faithful to her both in her heart and in her thoughts.

"Serbami ognor si fido" (listen)

The history of the creation of "Semiramis"

The tragedy of the same name, which formed the basis of the libretto, was written by Voltaire in 1748. In the literary work, the writer presented one of the many versions as to who the mysterious queen of Assyria really was, who ruled the solely large-scale empire.

The composer’s significant contribution to the plot of the opera is the musical “drawing” of the leading character. Rossini revealed to Semiramis, a true woman, prone to sentimental impulses and dreaming, in spite of the warrior hanging over her, about sincere love. Voltaire, on the contrary, focused on political accents, in particular, on exposing despotism and tyranny through the image of an insidious, uncompromising fury, who could not in the end avoid retaliation.

Work on the opera began in October 1822. It was during this period that G. Rossi began writing the libretto. After 33 days, Rossini, with the help of the poet, was able to present the finished version of the new opera for the Venetian theater.

In his new work, "Italian Mozart" turned to the best traditions of the Baroque, with his usual skill he dressed them in a very complicated score. Vocal parts have been endowed with non-trivial passages, difficult transitions that have become technically challenging, even for performers owning a vast range. The Arsache part is written for a low female voice (contralto, but is also available for mezzo-soprano). Rossini deliberately forbade artists to improvise, demanding that the melody be strictly followed in each particular game for voice.

The author abandoned the task to present the final in major colors. In "Semiramis" there are many lyrical digressions, love storylines: the relationship of the characters is closely intertwined, all the characters pursue their personal goals, based on cordial affections. According to the canons of the genre, each situation should find a “radiant” outcome, but Rossini rejected a similar outcome, opting for epic fatality. Such liberty was perceived favorably (especially since it did not conflict with historical legend). Behind her was clearly read the sharp political overtones, relevant for Italian society in the first half of the XIX century. In the final, the high priest utters an infernal prediction over the body of the perishing queen: all tyrants who are at the top of a criminal path must live in fear and expect retribution for sins.

"Semiramide" is a drama that conveys the entire spectrum of human passions with the help of music and the voices of performers against the background of their own non-slumbering vices. Rossini presented a rich musical means of expression for the orchestra and choir. Vocal numbers and for modern opera artists are a difficult test, where the facets of professionalism and talent are revealed. Rossini wrote an opera for the theater La Fenice. The premiere took place on February 3 in 1823, and later, during the same season, the opera was given 28 times.

Productions of the opera "Semiramide"

During the XIX century "Semiramide" more than once appeared in the repertoires of leading European opera houses. In 1825, the opera was presented to the French public in Paris; in 1821, the piece was successfully adopted in Milan, and in 1830 - in Vienna.

In Russia, "Semiramis" gathered listeners in 1849, the production took place in St. Petersburg, the leading part was performed by Julia Grisi. It was this opera diva who was the soloist in “Semiramis” for a long period, beginning in the 1930s, when it became obvious that Kolbran would no longer return to the profession. "Semiramis" was part of the Cincinnati Opera Festival program in 1882. The event did not remain in the shadow: Adeline Patti performed the famous aria of Semiramis as her farewell performance, announcing the end of her stage career.

A kind of rebirth of "Semiramida" can be considered a statement that happened in 1980 during the festival in Aix-en-Provence. The party of the Babylonian queen was performed by the inimitable Montserrat Caballe.

Metropolitan Opera in New York - a theater that did not allow the brilliant work of Rossini to plunge into oblivion. On the stage of the prestigious opera platform "Semiramida" was embodied by outstanding performers in 1892, 1894, 1895. Currently, the opera was included in the repertoire of the season, which opened in November 2017 and ended in June 2018.

"Semiramis"was the last opera that Gioacchino Rossini created in Italy. “The most beautiful, filled with images and meanings, completed to the highest degree,” so famous Italian music critic Rodolfo Chelletti described the opera. The piece acquired the status of a symbolic final chord, which marked the final and, with a light hand of Rossini, a spectacular completion of the Baroque era in the opera genre.