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90-515: Considered by Stendhal , Rossini's earliest biographer, to be "high amongst the composer's masterworks", and describing it as "a genuine thunderbolt out of a clear, blue sky for the Italian lyric theatre," his librettist Gaetano Rossi notes that, with it, "Rossini rose to glory". Richard Osborne proclaims it to be "his fully fledged opera seria and it established him, more or less instantly, as Italy's leading composer of contemporary opera." Although

180-453: A character who contemplates suicide after being jilted, speaks about his attitude towards his home country: "To make this course of action clear to my French readers, I must explain that in Italy, a country very far away from us, people are still driven to despair by love." Stendhal identified with the nascent liberalism and his sojourn in Italy convinced him that Romanticism was essentially

270-559: A duel in defense of Amenaide's honor and life, and throws down his gauntlet . Throughout the interchange, Amenaide urges Tancredi to prove that she is innocent. Orbazzano embraces the unknown knight, seeking to know his identity as does Argirio who, in a duet with Tancredi, pleads: Ah! se de'mali miei / "Ah! If you have pity in your heart for my sufferings, At least reveal to me who you are. Comfort me in my pain". In return, Tancredi declares "Heaven has been my enemy since my childhood. You will know who I am one day, But do not hate me..." before

360-647: A fifth opera for that house. This was Il Signor Bruschino , which was presented on 27 January 1813 and which the composer wrote more-or-less parallel to preparing Tancredi , a commission for this opera having been accepted from Venice's most prestigious house, La Fenice, the previous autumn. Other treatments of the Tancredi story had been prepared, the most recent being that of Stefano Pavesi in 1812. However, many of Rossini's formal inventions, seen in his earlier one-act operas, are here incorporated with great effect and formalism. As Gossett notes: "The opera established

450-401: A garden close to the seashore, Roggiero, Tancredi's squire, then Tancredi and his men, disembark. Not having received Amenaide's letter, he pledges to help defend the city against the invaders and to seek out his beloved: Aria: Oh patria! dolce, e ingrata patria / O my country, dear, thankless native land". Roggiero is dispatched with a message for Amenaide, and he sends his followers to spread

540-460: A great figure. His ideas are often forceful and inspired, but they are erratic, arbitrarily advanced, and, despite all their show of boldness, lacking in inward certainty and continuity. There is something unsettled about his whole nature: his fluctuation between realistic candor in general and silly mystification in particulars, between cold self-control, rapturous abandonment to sensual pleasures, and insecure and sometimes sentimental vaingloriousness,

630-562: A letter to Pauline, he described her as the woman of his dreams and wrote that he would have discovered happiness if he became her husband. This fusion of, and tension between, clear-headed analysis and romantic feeling is typical of Stendhal's great novels; he could be considered a Romantic realist. Stendhal suffered miserable physical disabilities in his final years as he continued to produce some of his most famous work. He contracted syphilis in December 1808. As he noted in his journal, he

720-423: A letter without signing a false name." Stendhal's Journal and autobiographical writings include many comments on masks and the pleasures of "feeling alive in many versions." "Look upon life as a masked ball," is the advice that Stendhal gives himself in his diary for 1814. In Memoirs of an Egotist he writes: "Will I be believed if I say I'd wear a mask with pleasure and be delighted to change my name?...for me

810-413: A man. Even Stendhal's autobiographical works, such as The Life of Henry Brulard or Memoirs of an Egotist , are "far more closely, essentially, and concretely connected with the politics, sociology, and economics of the period than are, for example, the corresponding works of Rousseau or Goethe ; one feels that the great events of contemporary history affected Stendhal much more directly than they did

900-616: A most accurate and detailed knowledge of the political situation, the social stratification, and the economic circumstances of a perfectly definite historical moment, namely, that in which France found itself just before the July Revolution." In Auerbach's view, in Stendhal's novels "characters, attitudes, and relationships of the dramatis personæ , then, are very closely connected with contemporary historical circumstances; contemporary political and social conditions are woven into

990-417: A new formal synthesis, new compositional models, with, through, and in spite of which Italian composers were to operate." The revised ending for Ferrara, March, 1813 This revised version of the opera, presented a month after its Venice premiere, incorporates Voltaire's original ending. The music for this ending was withdrawn, it disappeared, and was not discovered until 1976. According to Richard Osborne,

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1080-671: A new production of Tancredi for the Rossini Opera Festival in Pesaro in 1982 which originally utilised both the tragic and happy endings – the former being interpolated as a "dream sequence" for Amenaide. He also designed both costumes and scenery. The production was conducted by Gianluigi Gelmetti and featured Lucia Valentini Terrani in the title role, as well as Dalmacio Gonzales as Argirio, Katia Ricciarelli as Amenaide, Giancarlo Luccardi as Orbazzano and, as Isaura, Bernadette Manca di Nissa – who later went on to perform

1170-454: A reference to Canto 11 of Lord Byron 's Don Juan , which refers to "the thousand happy few" who enjoy high society, or to the "we few, we happy few, we band of brothers" line of William Shakespeare 's Henry V , but Stendhal's use more likely refers to The Vicar of Wakefield by Oliver Goldsmith , parts of which he had memorized in the course of teaching himself English. In The Vicar of Wakefield , "the happy few" refers ironically to

1260-407: A roar announces Tancredi's victory, while she declares: "In this moment I see it, I feel it." Stendhal Marie-Henri Beyle ( French: [maʁi ɑ̃ʁi bɛl] ; 23 January 1783 – 23 March 1842), better known by his pen name Stendhal ( UK : / ˈ s t ɒ̃ d ɑː l / , US : / s t ɛ n ˈ d ɑː l , s t æ n ˈ -/ , French: [stɛ̃dal, stɑ̃dal] ),

1350-526: A way which no one had done before him. Vladimir Nabokov was dismissive of Stendhal, in Strong Opinions calling him "that pet of all those who like their French plain". In the notes to his translation of Eugene Onegin , he asserts that Le Rouge et le Noir is "much overrated", and that Stendhal has a "paltry style". In Pnin Nabokov wrote satirically, "Literary departments still labored under

1440-440: A woman as just a woman and simply a human being. Citing Stendhal's rebellious heroines, she maintained that he was a feminist writer. One of his early works is On Love , a rational analysis of romantic passion that was based on his unrequited love for Mathilde, Countess Dembowska, whom he met while living at Milan . Later, he would also suffer "restlessness in spirit" when one of his childhood friends, Victorine got married. In

1530-626: Is Solamir, the Moorish general. Argirio's daughter, Amenaide, is secretly in love with Tancredi. Prior to the beginning of the opera, she has sent him a letter (without naming him in it), and it is this letter which complicates proceedings. Overture Scene 1: A gallery in Argirio's palace Warring nobles Argirio, leader of the Senate in Syracuse, and Orbazzano and their men celebrate a truce and

1620-590: Is an opera house in Bologna , Italy. Typically, it presents eight operas with six performances during its November to April season. While there had been various theatres presenting opera in Bologna since the early 17th century, they had either fallen into disuse or burnt down. However, from the early 18th century, the Teatro Marsigli-Rossi had been presenting operatic works by popular composers of

1710-419: Is both so profoundly romantic and so decidedly feminist; feminists are usually rational minds that adopt a universal point of view in all things; but it is not only in the name of freedom in general but also in the name of individual happiness that Stendhal calls for women's emancipation." Yet, Beauvoir criticises Stendhal for, although wanting a woman to be his equal, her only destiny he envisions for her remains

1800-583: Is given "an entirely new rondo in lieu of the more elaborate gran scena of the original score after Tancredi learns from Argirio that her letter was written for him, and not for Solamir (rather than there being a denial from Solamir). 19th century Tancredi premiered in February 1813 at La Fenice in Venice with Adelaide Malanotte in the title role. The first two performances suffered because of vocal problems from its two female principals, but its success

1890-411: Is mortally wounded, and only then does he learn that Amenaide never betrayed him. Argirio marries the lovers in time for Tancredi to die in his wife's arms. As has been stated by Philip Gossett and Patricia Brauner, it was the rediscovery of the score of this ending in 1974 (although elsewhere Gossett provides evidence that it was 1976) that resulted in the version which is usually performed today. By

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1980-439: Is not always easy to put up with; his literary style is very impressive and unmistakably original, but it is short-winded, not uniformly successful, and only seldom wholly takes possession of and fixes the subject. But, such as he was, he offered himself to the moment; circumstances seized him, tossed him about, and laid upon him a unique and unexpected destiny; they formed him so that he was compelled to come to terms with reality in

2070-444: Is not so terrible to me if I die for love". In the end, she believes that he will learn the truth and "he will know the constancy of my heart". Into the prison come Orbazzano and his followers, determined to see the execution carried out. He asks if there is anyone willing to defend the traitor. Tancredi, although he still believes that his love has been betrayed and that Amenaide is a traitor, steps forward. He challenges Orbazzano to

2160-517: Is our imagination inclined to overrate their worth. In a word, in Bologna "crystallization" has not yet begun. When the journey begins, love departs. One leaves Bologna, climbs the Apennines , and takes the road to Rome. The departure, according to Stendhal, has nothing to do with one's will; it is an instinctive moment. This transformative process actuates in terms of four steps along a journey: This journey or crystallization process (shown above)

2250-528: Is said to have sought the best treatment in Paris, Vienna and Rome. Stendhal died on 23 March 1842, a few hours after collapsing with a seizure in the street in Paris. He is interred in the Cimetière de Montmartre . Before settling on the pen name Stendhal, he published under many pen names , including "Louis Alexandre Bombet" and "Anastasius Serpière". The only book that Stendhal published under his own name

2340-907: The Canadian Opera Company (2005), the Caramoor International Music Festival (2006), the Teatro Real (2007), and Opera Boston (2009) among others. She also recorded the role in 1995. Bulgarian mezzo-soprano Vesselina Kasarova has also been praised in the role, singing it at the Salzburg Festival (1992), with the Opera Orchestra of New York (1997), and on a 1996 recording with the Bavarian Radio Chorus and Munich Radio Orchestra. Pier Luigi Pizzi staged

2430-625: The Park Theatre in New York City using the revised Ferrara version by Lechi. The Paris Opéra mounted the work for the first time with Maria Malibran in the title role on 30 March 1829. After an 1833 revival at the Teatro Comunale di Bologna, Tancredi was not mounted again until almost 120 years later. 20th century and beyond The Maggio Musicale Fiorentino revived the work on 17 May 1952 with Giulietta Simionato in

2520-881: The Teatro Comunale di Bologna in 1814 and the Naples premiere given at the Teatro del Fondo in 1816 and again in 1818. However, Heather Hadlock notes that it was the Milanese version of December 1813 which became "something like a definitive form, and in this form it took Italy by storm". Other Italian houses presented the Venice version, including the Teatro Apollo in Rome (1814), the Teatro Regio di Torino (1814 and 1829), La Fenice again (1815, 1823 and 1833), and

2610-545: The Teatro San Moisè in Venice in March 1816 when, in another revision, it is the dying Solamir who professes Amenaide's innocence, and Tancredi returns home in triumph. Philip Gossett's research in 1971 states that "until about 1825 the musical text was rather fluid. The first Ricordi edition (1829), which differs significantly from the later ones, corresponds to the Milanese version", but many other Italian cities saw

2700-419: The "birth of love", in which the love object is 'crystallized' in the mind, as being a process similar or analogous to a trip to Rome. In the analogy, the city of Bologna represents indifference and Rome represents perfect love : When we are in Bologna, we are entirely indifferent; we are not concerned to admire in any particular way the person with whom we shall perhaps one day be madly in love; even less

2790-405: The "unhappy" Ferrara ending, but incorporated many of the changes and reversions found in the December 1813 version for Milan. In 2018 Teatro Nuovo presented alternating performances of the original Venetian score (including the portions that have been replaced in most modern productions) and a version they called Tancredi rifatto , incorporating every known substitute piece by Rossini (including

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2880-616: The 1813 re-workings for Ferrara were not a success and "Rossini withdrew the revision and, as was his habit, redistributed some of the music in later work". In Divas and Scholars , musicologist Philip Gossett recounts how this ending was rediscovered: Following the discovery, the preparation of the critical edition for the Fondazione Rossini by Philip Gossett and others at the University of Chicago began in 1976. December 1813 revision for Milan In addition to restoring

2970-538: The Black , Stendhal refers to a novel as a mirror being carried in a basket. The metaphor of the realistic novel as a mirror of contemporary reality, accessible to the narrator, has certain limitations, which the artist is aware of. A valuable realistic work exceeds the Platonic meaning of art as a copy of reality. A mirror does not reflect reality in its entirety, nor is the artist's aim to document it fully. In The Red and

3060-478: The Black , the writer emphasizes the significance of selection when it comes to describing reality, with a view to realizing the cognitive function of a work of art, achieved through the categories of unity, coherence and typicality". Stendhal was an admirer of Napoleon and his novel Le Rouge et le Noir is considered his literary tribute to the emperor. Today, Stendhal's works attract attention for their irony and psychological and historical dimensions. Stendhal

3150-523: The Italian premiere of Wagner's Lohengrin , dominated the theatre's repertoire as the century progressed. In fact, Bologna became the location for several other Wagner opera premieres in Italy, notably with the composer present for his Rienzi and the Parsifal premiere on 1 January 1914. Another major figure associated with the Teatro Comunale from 1894 onwards was Arturo Toscanini , who conducted Verdi's Falstaff in that year and conducted with

3240-509: The Novel as such was capable of being regarded as a means of profoundly serious and many-sided discussion and therefore as a medium of profoundly serious investigation into the human case." Erich Auerbach considers modern "serious realism" to have begun with Stendhal and Balzac . In Mimesis , he remarks of a scene in The Red and the Black that "it would be almost incomprehensible without

3330-555: The Senate has condemned him to death as a traitor. He forcibly reminds Amenaide that she owes to be obedient to her father's wishes and marry Orbazzano without delay. Argirio's aria: Pensa che sei mia figlia / "Think that you are my daughter". As Argirio leaves, Amenaide immediately regrets that she has indirectly involved Tancredi by writing to him: Che feci! incauta! / "What have I done! Thoughtless woman!". Tancredi then appears and Amenaide tells him that he must immediately escape. Coldly, she rejects his claims of loving her, although

3420-402: The accompanying followers that they are invited to the wedding which will take place that noon. The young woman pleads for more time, but is told that the ceremony must take place right away. Argirio continues by informing all that the enemy leader, Solamir, has surrounded the city, and has asked for Amenaide's hand in marriage. He also tells Amenaide that Tancredi has returned to Messina, and that

3510-496: The action in a manner more detailed and more real than had been exhibited in any earlier novel, and indeed in any works of literary art except those expressly purporting to be politico-satirical tracts." Simone de Beauvoir uses Stendhal as an example of a feminist author. In The Second Sex de Beauvoir writes "Stendhal never describes his heroines as a function of his heroes: he provides them with their own destinies." She furthermore points out that it "is remarkable that Stendhal

3600-663: The administration of the Kingdom of Westphalia , one of Napoleon's client states in Germany. From 1807 to 1808, Beyle lived in Braunschweig (Brunswick), where he fell in love with Wilhelmine von Griesheim, whom he called Minette, and for whose sake he remained in the city. "I have no inclination, now, except for Minette, for this blonde and charming Minette, this soul of the north, such as I have never seen in France or Italy." He

3690-635: The aria written to replace "Di tanti palpiti"). Background Syracuse has recently experienced competition and war with the Byzantine empire (with which it has an unstable truce) and the Saracen armies headed by Solamir, but exhausted, has internal conflicts, too. The soldier, Tancredi, and his family have been stripped of their lands and wealth, and he himself has been banished since his youth. Two noble families, headed by Argirio and Orbazzano, have been warring for years but begin to reconcile. Also present

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3780-563: The assembled forces against a possible greater threat, that from the banished Tancredi, a statement which disturbs Isaura. Argirio then summons his daughter, Amenaide, to appear. She joins in the general songs of triumph by the assembly, but is disturbed because her secret beloved, Tancredi, has not rejoined her although she has written to him asking him to do so as she knows that he is returning in disguise. The Senate has given Tancredi and his family's confiscated estates to Orbazzano and Argirio offers him Amenaide's hand in marriage to help solidify

3870-606: The backstage facilities which would allow for the presentations of operas were unfinished and only completed due to competition from another theatre in 1805. It was to be the first major opera house to be constructed with public funds and owned by the municipality. Although 35 of its 99 boxes were sold for private use, the terms of ownership were also unique in that they have been described as being limited to "the right to rent in perpetuity" rather than outright ownership and control. Various renovations were undertaken between 1818 and 1820 and also in 1853/54. After fire destroyed much of

3960-713: The city. [In reality, it is the letter which Amedaide had sent to Tancredi, deliberately omitting his name for his protection, and which had never reached him]. The assembled crowd is horrified: "Die in disgrace, woman!" they proclaim. Amenaide swears that she is innocent, but her father denounces her, as does Tancredi. She is dragged off to prison to await death as all except her faithful Isaura proclaim: Quale infausto orrendo giorno! / "A day of disaster, what an ill-starred day...a day of disasters and terrors." Scene 1: A gallery in Argirio's castle An angry Orbazzano reflects on Amenaide's apparent treachery and her contempt of him: Vedesti? L'indegna! / "You have seen? She spurns me,

4050-494: The company until the Second World War . Premieres at the house have included Alessandro Solbiati 's Il suono giallo , based on Wassily Kandinsky 's experimental play The Yellow Sound on 13 June 2015. The orchestra of the company was established on a stable foundation in 1956. Sergiu Celibidache was the first principal conductor under this new regime, from 1956 to 1973. The most recent principal conductor of

4140-432: The company was Michele Mariotti , from 2008 to 2018, and he also held the title of music director from 2014 to 2018. In March 2021, Oksana Lyniv made her first guest-conducting appearance with the company, in a streamed quarantine concert without an audience. She returned for an additional guest-conducting appearance in a May 2021 concert with an audience present. In October 2021, the Teatro Comunale di Bologna announced

4230-531: The couple, in spite of their differences, then laments the dangerous situation in which they find themselves: Duet: L'aura che interno spiri / "The air you breathe brings mortal danger". Scene 3: A public square close to the cathedral People are gathered in the square for the wedding ceremony. Argirio assures all that the new-found unity between the two factions will be strengthened by the marriage. In disguise, Tancredi appears and offers his services. Privately, he feels that Amenaide has betrayed him by accepting

4320-552: The cultural richness of Florence he encountered when he first visited the Tuscan city. As he described in his book Naples and Florence: A Journey from Milan to Reggio : As I emerged from the porch of Santa Croce, I was seized with a fierce palpitation of the heart (that same symptom which, in Berlin, is referred to as an attack of the nerves); the well-spring of life was dried up within me, and I walked in constant fear of falling to

4410-520: The day including Vivaldi , Gluck , and Niccolò Piccinni . The Teatro Malvezzi , built in 1651, burned down in February 1745 and this event prompted the construction of a new public theatre, the Nuovo Teatro Pubblico , as the Teatro Comunale was first called when it opened on 14 May 1763. Despite opposition from other competitors, the architect Antonio Galli Bibiena won the theatre design contract. The theatre's inaugural performance

4500-492: The death warrant. All but Isaura and Orbazzano leave. She reproaches him for his cruel and barbarous behaviour, and, alone after he leaves, pleads for divine aid for Amenaide: Aria: Tu che i miseri conforti / "You who console the miserable, give her endurance". Scene 2: Inside the prison In chains, Amenaide enters: Aria: Di mia vita infelice / "Here I am at the end of my unhappy life". She cries out to Tancredi "I die for you!": Aria: No, che il morir non è / "No, death

4590-473: The end of a civil war: Chorus: Pace, onore, fede, amore / "Peace, honour, faith, love / Rule now". Along with Isaura, Amenaide's friend, and her ladies, Argirio proclaims that this unity reinforces a new security for the city against the Moorish forces led by Solamir: Se amistà verace, è pura / "If you keep in your heart true friendship". He names Orbazzano as the leader against the Moors. However, Argirio warns

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4680-587: The ground. The condition was diagnosed and named in 1979 by Italian psychiatrist Graziella Magherini , who had noticed similar psychosomatic conditions (racing heart beat, nausea and dizziness ) amongst first-time visitors to the city. In homage to Stendhal, Trenitalia named their overnight train service from Paris to Venice the Stendhal Express, though there is no physical distress connected to it. [REDACTED] Category Teatro Comunale di Bologna The Teatro Comunale di Bologna

4770-531: The happy ending convincing". Indeed, most of the recordings of this opera today use the Ferrara conclusion, while some include the Venice finale as an extra track. Horne's triumphant performances as Tancredi in Houston soon led to invitations from other opera houses to sing the role, and it is largely through her efforts that the opera enjoyed a surge of revivals during the latter half of the 20th century. She sang

4860-532: The happy ending, by the end of 1813 and in time for the Milan premiere in December at the new Teatro Ré, Rossini had also restored the cut second duet and had re-written and restored Argirio's cut aria. Other changes included Roggiero becoming a tenor with a new aria Torni d'amor la face , two different arias being composed for Argirio, and both duets for Tancredi and Amenaide being restored to their original locations. While Tancredi and Amenaide are happily reunited, he

4950-420: The impression that Stendhal, Galsworthy , Dreiser , and Mann were great writers." Michael Dirda considers Stendhal "the greatest all round French writer – author of two of the top 20 French novels, author of a highly original autobiography ( Vie de Henry Brulard ), a superb travel writer, and as inimitable a presence on the page as any writer you'll ever meet." In 1817 Stendhal was reportedly overcome by

5040-578: The literary counterpart of liberalism in politics. When Stendhal was appointed to a consular post in Trieste in 1830, Metternich refused his exequatur on account of Stendhal's liberalism and anti-clericalism. Stendhal was a dandy and wit about town in Paris, as well as an obsessive womaniser. His genuine empathy towards women is evident in his books; Simone de Beauvoir spoke highly of him in The Second Sex . She credited him for perceiving

5130-409: The marriage but, when she refuses to go ahead with it, an angry Orbazzano enters. Publicly, he denounces her and, having overheard the prior conversation, declares that the marriage will not take place. Immediately, he produces a letter, which he assumes was intended for Solamir and which appears to implicate her in a treasonous plot to overthrow Syracuse by calling upon the recipient to come and capture

5220-934: The name in honour of Winckelmann or simply knew the place as a centre of communications between Berlin and Hanover. Stendhal added an additional "H" to make the Germanic pronunciation more clear. Stendhal used many aliases in his autobiographical writings and correspondence, and often assigned pseudonyms to friends, some of whom adopted the names for themselves. Stendhal used more than a hundred pseudonyms, which were astonishingly diverse. Some he used no more than once, while others he returned to throughout his life. "Dominique" and "Salviati" served as intimate pet names. He coins comic names "that make him even more bourgeois than he really is: Cotonnet, Bombet, Chamier." He uses many ridiculous names: "Don phlegm", " Giorgio Vasari ", "William Crocodile", "Poverino", "Baron de Cutendre". One of his correspondents, Prosper Mérimée , said: "He never wrote

5310-643: The opera, including Florence (in 1814, 1816, and 1825), Padua (1814), Livorno (1815), Vicenza (1816), Macerata (1817), Camerino (1828), Viterbo (1828), Milan (1829), and Trieste (1830). Outside of Italy, it was given in Corfù (1822), Lisbon (as Tacredo ) (1826), and Geneva (1828). The opera was first performed in England at the King's Theatre in London on 4 May 1820 with Fanny Corri-Paltoni as Amenaide. Its French premiere

5400-457: The original version had a happy ending (as required by the opera seria tradition), soon after the Venice premiere, Rossini—who was more of a Neo-classicist than a Romantic , notes Servadio—had the poet Luigi Lechi rework the libretto to emulate the original tragic ending by Voltaire. In this new ending, presented at the Teatro Comunale in Ferrara on 21 March 1813, Tancredi wins the battle but

5490-463: The other two; Rousseau did not live to see them, and Goethe had managed to keep aloof from them." Auerbach goes on to say: We may ask ourselves how it came about that modern consciousness of reality began to find literary form for the first time precisely in Henri Beyle of Grenoble. Beyle-Stendhal was a man of keen intelligence, quick and alive, mentally independent and courageous, but not quite

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5580-760: The part for performances at the Teatro dell'Opera di Roma (1977), the San Francisco Opera (1979), the Aix-en-Provence Festival (1981), La Fenice (1981, 1983), and the Lyric Opera of Chicago (1989) among others. Contralto Ewa Podleś achieved recognition in the title role, performing it at the Vlaamse Opera (1991), La Scala (1993), the Berlin State Opera (1996), Polish National Opera at Warsaw (2000),

5670-617: The production went to Rome and Florence (where it was filmed for DVD with Daniela Barcellona in the title role), and then it was presented by the Deutsche Oper Berlin in 2011, with Alberto Zedda conducting. Barcellona sang Tancredi again in a new staging of the opera at the Teatro Regio di Torino in November 2009 after reprising the part in February 2009 at the Teatro de la Maestranza . The Theater an der Wien mounted

5760-539: The retreat from Moscow. After the 1814 Treaty of Fontainebleau , he left for Italy, where he settled in Milan . In 1830, he was appointed as French consul at Trieste and Civitavecchia. He formed a particular attachment to Italy, where he spent much of the remainder of his career. His novel The Charterhouse of Parma , written in 52 days, is set in Italy, which he considered a more sincere and passionate country than Restoration France. An aside in that novel, referring to

5850-597: The returning army. He crossed the Berezina River by finding a usable ford rather than the overwhelmed pontoon bridge, which probably saved his life and those of his companions. He arrived in Paris in 1813, largely unaware of the general fiasco that the retreat had become. Stendhal became known, during the Russian campaign, for keeping his wits about him, and maintaining his "sang-froid and clear-headedness." He also maintained his daily routine, shaving each day during

5940-565: The small number of people who read the title character's obscure and pedantic treatise on monogamy. As a literary critic, such as in Racine and Shakespeare , Stendhal championed the Romantic aesthetic by unfavorably comparing the rules and strictures of Jean Racine 's classicism to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose. According to the literary theorist Kornelije Kvas: "In his novel The Red and

6030-411: The stage area in 1931, the theatre was closed, and it did not re-open until 14 November 1935. By that date, the original bell-shaped auditorium had given way to a horseshoe-shaped one seating 1,034 people. The 19th century saw the presentation of twenty operas by Gioachino Rossini , while seven of Vincenzo Bellini 's ten operas were presented in the 1830s. Works by Giuseppe Verdi and, later in 1871,

6120-569: The supreme happiness would be to change into a lanky, blonde German and to walk about like that in Paris." Contemporary readers did not fully appreciate Stendhal's realistic style during the Romantic period in which he lived . He was not fully appreciated until the beginning of the 20th century. He dedicated his writing to "the Happy Few" (in English in the original). This can be interpreted as

6210-554: The time he was twenty years old, Rossini's reputation had grown such that he was regarded as "'a maestro di cartello', a composer whose name alone guarantees a public". Success with La pietra del paragone for Milan in September was great, but delays caused him to be late in Venice for his next commission at the Teatro San Moisè, L'occasione fa il ladro . Other comedies had preceded L'occasione , but its success ensured

6300-549: The title role for the 1992 live DVD recording. The production was also revived at Pesaro in 1991, 1999, and 2004. Tancredi was staged at 2003 at Polish National Opera at Warsaw , in the performance directed by Tomasz Konina and conducted by Alberto Zedda , the title role was sung by Ewa Podleś , with original tragic ending. The second production in Poland took place in Warsaw Chamber Opera in 2008. In 2005

6390-661: The title role, Teresa Stich-Randall as Amenaide, Francesco Albanese as Argirio, Mario Petri as Orbazzano, and Tullio Serafin conducting. The opera was given at the Collegiate Theatre as part of the Camden Festival in April 1971 by the Basilica Opera. With the discovery of the long-lost music for the March 1813 Ferrara revision and the resulting preparation and completion of the critical edition,

6480-471: The truce. He wishes the ceremony to be performed immediately, and although Amenaide dutifully consents to the marriage, she pleads with her father to postpone it until the following day. All leave except Isaura who laments upon the situation in which Amenaide is now placed: Amenaide sventurata! / "Unhappy Amenaide, what a dreadful day for you". Scene 2: A garden in the Palace In the early morning, near

6570-468: The trumpet sounds, signaling the start of the contest. Before heading for the duelling site, he proclaims "To the field; I burn with glory and with fury". Elsewhere in the prison, Amenaide learns what has transpired and prays for protection for Tancredi, begging him to return to her a victor: Aria: Gran Dio! Deh! tu proteggi / "Just God whom I humbly adore, You can read in my heart, You know whether I am guilty, And for whom I ask your favour". From outside,

6660-491: The unworthy woman". Aside, Isaura pities Amenaide's fate, reminding Argirio that Amenaide is his daughter: È tua figlia! / "She is your own daughter". The assembled knights are divided in their emotions, with some of the group of knights pleading for mercy, others supporting his decision, but while Argirio expresses his sorrow at the turn of events, (Aria: Oh Dio! Crudel! qual nome caro e fatal or mi rammenti / "You remind me of that name both dear and fatal"), he reluctantly signs

6750-884: The various implausibilities of the novels and Stendhal's clear authorial intervention. The German philosopher Friedrich Nietzsche refers to Stendhal as "France's last great psychologist" in Beyond Good and Evil (1886). He also mentions Stendhal in the Twilight of the Idols (1889) during a discussion of Dostoevsky as a psychologist, saying that encountering Dostoevsky was "the most beautiful accident of my life, more so than even my discovery of Stendhal". Ford Madox Ford , in The English Novel , asserts that to Diderot and Stendhal "the Novel owes its next great step forward...At that point it became suddenly evident that

6840-419: The word that an unknown knight has arrived to help save the city. His thoughts turn to Amenaide: Tu che accendi questo core / "You who set aflame this heart", and then to how much pain he has caused her: Di tanti palpiti, di tante pene / "After such beating of the heart, such torment". When all have left, Tancredi sees Argirio and his daughter enter the garden. He hides, but can overhear them. Argirio informs

6930-609: The work for the first time in October 2009 with Vivica Genaux in the title role and René Jacobs conducting. Tancredi was presented in concert by the Théâtre des Champs-Élysées in Paris in December 2009 with Nora Gubisch as Tancredi. In addition, as part of its Rossini revivals series, it presented a fully staged production in May 2014 with Marie-Nicole Lemieux in the title role and Patrizia Ciofi as Amenaide. The production used

7020-498: The work was revived when mezzo-soprano Marilyn Horne , who had expressed interest as early as 1972 in performing the Ferrara edition if it ever came to light took on the title role at the Houston Grand Opera on 13 October 1977. Horne, who quickly became strongly associated with that role, insisted on the tragic Ferrara ending, citing that it is more consistent with the overall tone of the opera and that she "did not find

7110-412: Was Gluck 's Il trionfo di Clelia , an opera which Gluck had composed for the occasion. A bell-shaped auditorium consisting of four tiers of boxes plus a royal box and small gallery with a ceiling decorated as if open to the sky, was built primarily of masonry as a protection against fire. However, much work remained unfinished, the facade in particular which was not completed until 1936. Also, many of

7200-453: Was The History of Painting (1817). From the publication of Rome, Naples, Florence (September 1817) onwards, he published his works under the pseudonym "M. de Stendhal, officier de cavalerie ". He borrowed this pen name from the German city of Stendal , birthplace of Johann Joachim Winckelmann , an art historian and archaeologist famous at the time. However, it is not clear whether he chose

7290-430: Was a French writer. Best known for the novels Le Rouge et le Noir ( The Red and the Black , 1830) and La Chartreuse de Parme ( The Charterhouse of Parma , 1839), he is highly regarded for the acute analysis of his characters' psychology and considered one of the early and foremost practitioners of realism . A self-proclaimed egotist, he coined the same characteristic in his characters' "Beylism". Marie-Henri Beyle

7380-625: Was an avid fan of music, particularly the works of the composers Domenico Cimarosa , Wolfgang Amadeus Mozart and Gioacchino Rossini . He wrote a biography of Rossini, Vie de Rossini (1824), now more valued for its wide-ranging musical criticism than for its historical content. He also idealized aristocracy, noting its antiegalitarianism but appreciating how it is liberal in its love of liberty. In his works, Stendhal reprised excerpts appropriated from Giuseppe Carpani , Théophile Frédéric Winckler , Sismondi and others. Stendhal's brief memoir, Souvenirs d'Égotisme ( Memoirs of an Egotist ),

7470-474: Was assured over six performances into the following month. It was quickly re-mounted in a revised version in Ferrara in March of that year which reverted to Voltaire's tragic ending, but audiences disliked it and subsequent performances there reverted to the Venice ending, with a further revision appearing in Milan in December. Gossett established in 1971 that, later, Rossini also participated in other revisions for performances elsewhere in Italy, including those at

7560-585: Was born in Grenoble, Isère, on 23 January 1783, into the family of the advocate and landowner Chérubin Beyle and his wife Henriette Gagnon. He was an unhappy child, disliking his "unimaginative" father and mourning his mother, whom he loved fervently, and who died in childbirth in 1790, when he was seven. He spent "the happiest years of his life" at the Beyle country house in Claix near Grenoble. His closest friend

7650-578: Was detailed by Stendhal on the back of a playing card while speaking to Madame Gherardi, during his trip to the Salzburg salt mine. Hippolyte Taine considered the psychological portraits of Stendhal's characters to be "real, because they are complex, many-sided, particular and original, like living human beings." Émile Zola concurred with Taine's assessment of Stendhal's skills as a "psychologist", and although emphatic in his praise of Stendhal's psychological accuracy and rejection of convention, he deplored

7740-664: Was given by the Théâtre-Lyrique Italien at the Salle Louvois in Paris on 23 April 1822 with Giuditta Pasta in the title role. It was seen in Portugal for the first time at the Teatro Nacional de São Carlos on 18 September 1822 (as Tancredo ) and was given its La Scala premiere on 8 November 1823 with Brigida Lorenzani as Tancredi. The United States premiere occurred on 31 December 1825 at

7830-657: Was his younger sister, Pauline, with whom he maintained a steady correspondence throughout the first decade of the 19th century. His family was part of the bourgeois class of the Ancien Regime , which explains his ambiguous attitude toward Napoleon , the Bourbon Restoration , and the monarchy later on. The military and theatrical worlds of the First French Empire were a revelation to Beyle. As an assistant war commissioner, he served in

7920-644: Was named an auditor with the Conseil d'État on 3 August 1810, and thereafter took part in the French administration and in the Napoleonic wars in Italy. He travelled extensively in Germany and was part of Napoleon 's army in the 1812 invasion of Russia. Upon arriving, Stendhal witnessed the burning of Moscow from just outside the city as well as the army's winter retreat. He was appointed Commissioner of War Supplies and sent to Smolensk to prepare provisions for

8010-524: Was published posthumously in 1892. Also published was a more extended autobiographical work, thinly disguised as the Life of Henry Brulard . His other works include short stories, journalism, travel books ( A Roman Journal ), a famous collection of essays on Italian painting, and biographies of several prominent figures of his time, including Napoleon , Haydn , Mozart , Rossini and Metastasio . In Stendhal's 1822 classic On Love he describes or compares

8100-402: Was taking iodide of potassium and quicksilver to treat his sexual disease, resulting in swollen armpits, difficulty swallowing, pains in his shrunken testicles, sleeplessness, giddiness, roaring in the ears, racing pulse and "tremors so bad he could scarcely hold a fork or a pen". Modern medicine has shown that his health problems were more attributable to his treatment than to his syphilis. He

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