Il Trittico Libretto

[Colette]

Around 1904, Puccini first began planning a set of one-act operas, largely because of the success of Pietro Mascagni's Cavalleria rusticana.[1] Originally, he planned to write each opera to reflect one of the parts of Dante's Divine Comedy. However, he eventually based only Gianni Schicchi on Dante's epic poem.[2] The link in the final work is that each opera deals with the concealment of a death.

The operas premiered at the Metropolitan Opera on 14 December 1918. The critical reviews for Il trittico were mixed; most critics agreed that Gianni Schicchi was the best of the three operas.[4]

Il trittico premiered in Rome on 11 January 1919. Puccini, who had not been present for the New York premiere, attended the production at the Rome Opera House. The Rome production, especially Gianni Schicchi, received positive reviews. Later that year, the triptych was staged at the Teatro Coln in Buenos Aires (25 June) with Tullio Serafin conducting and in Chicago (6 December). After these initial premieres, most opera companies began to perform the operas separately; Gianni Schicchi would eventually become the most frequently performed of the set.[5]

A critically acclaimed production at the Metropolitan Opera opened on 20 April 2007, directed by Jack O'Brien and was broadcast on television by PBS's Great Performances at the Met series.[6] In this production Il tabarro was moved from 1910 to 1927, Suor Angelica was moved from the 17th century to 1938, and Gianni Schicchi was moved from 1299 to 1959.[7]

Il tabarro : (da 'La Houppelande' di Didier Gold) / libretto di Giuseppe Adami (p. [3]) -- Suor Angelica / libretto di Gioachino Forzano (p. [33]) -- Gianni Schicchi / libretto di Gioachino Forzano (p. [59]).

Three different stories that form a programme together. The idea of Il trittico is easy to describe, but the underlying thought is all the more complex. Around 1900, Giacomo Puccini was attracted by the idea of developing a triptych from three one-act operas and wanted them to be linked by a complex dramaturgical thread. Rather than the plots themselves, the decisive element was to be the dominant emotional colours. A drama of moods.

Even though Puccini's one-act operas, especially Gianni Schicchi, are ensemble pieces, in the course of performance history individual solo scenes were extracted from the through-composed works, mostly for portrait albums and concerts: The two tenor solos from Il Tabarro and Gianni Schicchi, Michele's monologue (also heard in the alternate version on our playlist), Giorgetta's dream of a better life, Angelica's monologue Senza mamma and her suicide scene. The most prominent example, however, is Lauretta's O mio babbino caro - which, unfortunately, is often given in concerts divorced from its context, as a popular encore where one can once again show off one's beautiful voice. The Callas recording, however, leaves no doubt about what is at stake here: a daughter who wants to marry triggers her father with emotional blackmail (If my love should be in vain, I will go to the Ponte Vecchio and throw myself into the Arno!).

The soundscape is gorgeous. Written for female voices alone, the opera juxtaposes ethereal choruses, delicate notes of church bells and birdsong, along with the kind of intense, over-the-top emotion only opera can convey. In this work, serenity and anguish are never far apart.

Puccini is much kinder to Schicchi than Dante and gives the last word to his hero, who speaks directly to the audience at the end of the opera, telling us that he really ought to be forgiven for his crime.

Stagings of Il trittico in its entirety are rare. But the opera represents Puccini at his finest, and it is surprising that it has been staged only once before in Canada. That was in 1971 at the short-lived Opra du Qubec (not the present day Opra de Qubec).

The artistic director at the time was Lopold Simoneau, who would later move to Victoria and found Canada Opera Piccola. The role of Michele in Il tabarro was performed by Bernard Turgeon, an operatic legend, admired pedagogue, and, in his later years, an Elk Lake asparagus farmer. Bernard performed internationally over a stellar 57-year career, created the role of Louis Riel for the Canadian Opera Company, and performed in multiple Pacific Opera productions during the 1980s and 1990s.

Puccini often visited his sister, a nun, in her convent, and so absorbed the quiet simplicity of the life of the order. Notice how he gives each of the nuns with solo lines her own tiny profile, yet conveys the discipline each has assumed despite small ripples of rebellion.

Giacomo Puccini composed his Il trittico as a trio of one-act operas, the first evoking horror, the second sadness and the third laughter. Now for the first time, the three short operas are being performed together by Dutch National Opera. This concludes the Puccini cycle that conductor Lorenzo Viotti and stage director Barrie Kosky have produced over three seasons.

The three one-act operas are very different in character, setting and subject matter, but they share one key feature: death. In Il tabarro (The cloak), a sailor and his wife have lost their only child and have become fatally estranged in the aftermath. The main character in Suor Angelica was banished to a convent after giving birth to an illegitimate baby. There, seven years later, she learns that her son has died. In desperation, she commits suicide but as she dies she is forgiven by the Virgin Mary in a vision. In Gianni Schicchi, a rich old man dies. His greedy family try to get their hands on the inheritance with the help of the cunning farmer Schicchi.

The role of Suor Angelica, a character whose tragedy never fails to move, will be sung by soprano Elena Stikhina, who previously gave a stunning performance in the title role of Madama Butterfly at DNO.

This production was created in accordance with the Green Deal as one of the first in a series. We are learning all we can from our experiences, and this will help us adapt our approach next season.

To offset the unavoidable emissions resulting from this performance, Dutch National Opera & Ballet is partnering with Trees For All, a charity recognised by the Netherlands Fundraising Regulator. Trees For All plants trees in the Netherlands and abroad for a better climate, more biodiversity and a healthier living environment.

Audiences attending this performance are being offered the opportunity to make an extra contribution to two forest sustainability projects: new loam-soil woodland in the Groene Woud nature area in Brabant (Netherlands) and the restoration of the tropical rainforest and habitat of the orang-utan in Borneo.

You too can contribute to these forest sustainability projects. If you buy tickets online for Il trittico, you will get the option during the payment process to add an extra amount. Your contribution goes directly to Trees For All.

Along with the printed programme book, we also offer online programme information for this performance. The online programme will take you behind the scenes with in-depth stories, articles, and interviews with the creators and cast.

The Netherlands Philharmonic Orchestra and Netherlands Chamber Orchestra have been the main orchestral partners of Dutch National Opera for over thirty years. They are regarded as among the best opera orchestras in the world. The Concertgebouw in Amsterdam is the main regular stage for their concerts.

In addition to the programmes with chief conductor Lorenzo Viotti and Gordan Nicolić (musical leader of the Netherlands Chamber Orchestra), the orchestras collaborate with both internationally acclaimed guest conductors and soloists and top-class musicians from the up-and-coming generation.

In the 2023/2024 season, the Netherlands Philharmonic Orchestra will be playing the operas Aufstieg und Fall der Stadt Mahagonny, Lohengrin, Il trittico and Oedipus Rex / Antigone. The Netherlands Chamber Orchestra can be heard in Die Zauberflte and Roberto Devereux.

Il trittico (The Triptych) is the title of a collection of three one-act operas, Il tabarro, Suor Angelica, and Gianni Schicchi, by Giacomo Puccini. The work received its world premiere at the Metropolitan Opera on 14 December 1918. The Taormina production is a cooperation between Taormina Arte and Opra-Thatre de Metz (France) and Fondazione Luciano Pavarotti.

The stevedores depart except for Luigi, who asks Michele to dismiss him and let him off in Rouen, but Michele convinces him against this, saying there is not enough work in Rouen. When they are alone, Giorgetta asks Luigi why he requested to be dismissed; the pair acknowledge their love. They plan to meet later that evening upon the signal of a match being lit on board. By now Luigi seems determined to kill Michele and flee with Giorgetta.

Michele later reminisces with Giorgetta of the days before their child died and how he could cover the two of them under his cloak. He is distressed about being twice her age; she comforts him but she still will not kiss him, and goes off.

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Il trittico ist das Ergebnis der Bemhungen Puccinis, ein tragisches (Il tabarro), ein lyrisches (Suor Angelica) und ein heiteres Stck (Gianni Schicchi) an einem Abend zur Auffhrung zu bringen.[1] Obwohl es Puccini und seinen Librettisten gelang, die drei Teile dramaturgisch und musikalisch gut aufeinander abzustimmen, wird Il trittico bis heute eher selten als Gesamtwerk gespielt. Hufiger sind Einzelauffhrungen des komdiantischen letzten Teils, Gianni Schicchi. Dieser Einakter wurde schon nach den ersten Auffhrungen zum beliebtesten Teil des Tritticos, nicht zuletzt wegen der darin enthaltenen Arie der Lauretta: O mio babbino caro.

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