Written 1941 | First performance 5 May 1946 | |
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Native title Обручение в монастыре; Obrucheniye v monastïre) Premiere 3 November 1946 (1946-11-03)Kirov Theatre, Saint Petersburg Similar War and Peace, The Gambler, Semyon Kotko, The Fiery Angel, The Love for Three Oranges | ||
Betrothal in a monastery 1998 gergiev netrebko act1 1
Betrothal in a Monastery (original Russian title Обручение в монастыре; Obrucheniye v monastïre), Op. 86 is an Opera by Sergei Prokofiev, his sixth with an opus number. The libretto, in Russian, was by the composer and Mira Mendelson (his companion in later life), after Richard Brinsley Sheridan's ballad opera libretto for Thomas Linley the younger's The Duenna.
Contents
- Betrothal in a monastery 1998 gergiev netrebko act1 1
- Anna netrebko betrothal in a monastery
- Performance history
- Act 1
- Act 2
- Act 3
- Act 4
- Recordings
- Summer Night
- Movements
- References
Prokofiev began the work in 1940, and it was in rehearsal that year, but World War II halted production of the opera. The composer revised the score in Almaty in 1943. The first performance did not occur until 3 November 1946 at the Kirov Theatre with Boris Khaikin conducting. The producer was I. Shlepianov.
Commentators have noted that, given the context of its creation in the 1940s in the Soviet Union, this opera lacks any particular political or social comment, except perhaps for a scene involving drunken monks.
Anna netrebko betrothal in a monastery
Performance history
In recent years, the opera has been performed in 1989 at the Wexford Festival, in 2006 at the Glyndebourne Festival and at the Palau de les Arts in Valencia, Spain in 2008.
Act 1
Don Jerome intends his daughter Louisa to marry the vain, wealthy and ugly fish merchant Mendoza. However, she loves instead Antonio, who is poor, though noble in spirit. Furthermore, Don Ferdinand, son of Don Jerome and prone to fits of jealousy, wants to marry Clara d'Almanza, who is a virtual prisoner of her stepmother.
Act 2
Don Jerome locks up Louisa in her room to force her to marry Mendoza. Louisa's nurse (the Duenna) provokes the fury of Don Jerome by pretending to be a messenger between Antonio and Louisa. Jerome dismisses her - but the Duenna exchanges clothes with Louisa who makes her escape in this disguise.
By the quayside - where fisherwomen are praising the quality of the fish caught in Mendoza's boats - Louisa encounters her friend Clara, who has also run away from home and intends to seek sanctuary at the monastery. Louisa asks to borrow Clara's name for a day - Clara assents. Enter Mendoza and his courtly friend Don Carlos. Mendoza is recognized by Louisa but he has never seen her. She therefore approaches Mendoza claiming to be Clara and asks him to take her under his protection and find Antonio with whom she is in love. Mendoza is attracted by this idea as a means to rid himself of his rival Antonio by marrying him off to 'Clara'. Don Carlos escorts 'Clara' to Mendoza's house.
Mendoza visits the house of Don Jerome to meet 'Louisa' (the Duenna in disguise); whilst 'Louisa' is not as young and beautiful as Mendoza had been led to believe, her dowry is sufficient attraction. they agree to elope that evening.
Act 3
The mystified Antonio arrives at Mendoza's house; while he is offstage meeting 'Clara', Mendoza and don Carlos congratulate themselves on their cunning. Still unwitting, they agree to help the pair get married.
Don Jerome is rehearsing some amateur musicians (A trio of trumpet, clarinet and bass drum). He receives two messages- one from Mendoza saying he has eloped with Louisa, which delights him, and another from the real Louisa, which he does not read carefully, asking for his blessing on her marriage. He sends back his consent with both messengers and arranges for a great feat later that evening to celebrate.
At the monastery, Clara meets with Antonio and Luisa and laments her apparent loss of Ferdinand. Enter Ferdinand, who mistaking Clara for a nun exclaims that he is chasing his false friend Antonio who has run off with his beloved Clara. Clara is secretly overjoyed at this demonstration of Ferdinand's passion.
Act 4
The act opens with a drinking song for the monks in the monastery where the marriages are to be performed. The monks then switch to a hymn that extols fasting and abstinence, to a tune that is a slower variant of the earlier drinking song. Enter Mendoza and Antonio who by lavish bribery gain the monks consent to marry them to their loves. Enter Ferdinand who challenges Antonio to a duel, but the genuine Clara arrives and Ferdinand now understands the true situation. The three marriages are agreed.
At Don Jerome's feast, the host is increasingly amazed, exasperated and infuriated as the successive arrival of the newly-weds makes it clear that his plans have gone completely awry. He is slightly compensated by the likely size of Clara's dowry. He sings a drinking song, accompanying himself on a set of tuned glasses.
Recordings
Recordings include:
Summer Night
Summer Night (Op. 123) is an orchestral suite with music drawn from Betrothal in a Monastery.
Movements
The suite, lasting around 20 minutes, consists of five movements:
- Introduction: Moderato, ma con brio
- Serenade: Adagio
- Minuet
- Dreams (Nocturne): Andante tranquillo
- Dance: Allegretto
Recordings
Recent recordings include: