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''Tancredi'' is a ''melodramma eroico'' (opera seria or 'heroic' opera) in two acts by composer Gioachino Rossini and librettist Gaetano Rossi (who was also to write ''Semiramide'' ten years later), based on Voltaire's play ''Tancrède'' (1760). The opera made its first appearance at the Teatro La Fenice in Venice on 6 February 1813, and because ''Il signor Bruschino'' premiered in late January, the composer must have completed ''Tancredi'' in less than a month. The overture, borrowed from ''La pietra del paragone'', is a popular example of Rossini's characteristic style and is regularly performed in concert and recorded. 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,"〔Osborne, Charles 1994, p. 34〕 his librettist Gaetano Rossi notes that, with it, "Rossini rose to glory".〔Rossi, in Osborne, Richard 2007, p. 199〕 Richard Osborne proclaims it to be "his fully fledged ''opera seria'' and it established him, more of less instantly, as Italy's leading composer of contemporary opera."〔 Although 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 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)〔Gossett 2006, p. 149〕 that resulted in the version which is usually performed today.〔Gossett and Brauner 2001, in Holden, pp. 770-771〕 ==Composition history== By the time he was twenty, Rossini's reputation was beginning to grow, and he was now regarded as "'a maestro di cartello', a composer whose name alone guarantees a public"〔Osborne, Richard 2007, p. 21〕 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 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 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.〔Corinne Polycarpe (trans. Keith Anderson), "''Tancredi''", in booklet accompanying the Naxos recording, p. 2.〕〔Osborne, Richard 1998, pp. 644—645〕 The music for this ending was withdrawn, it disappeared, and was not discovered until 1976. :''Act 1'': The duet ''L'aura che interno spiri'' / "The air you breathe brings mortal danger" from act 1 (the first encounter between the couple) was removed and replaced with ''Lasciami: non t'ascolto'' from act 2, something which Richard Osborne regards "as introducing a not entirely plausible note of confrontation into the lovers' first encounter".〔 :''Act 2 finale'': Having come to find Tancredi, the knights of Syracuse enter along with Argirio and Amenaide. Angrilly, Tancredi orders Amenaide to go to Solamir's camp, upset that she has come to disturb him. He leaves to go into battle, and shortly Argirio returns to report that the Syracusans have been victorious but that Tancredi has been severely wounded. He is carried in and learns from Argirio the truth about Amenaide just in time for Argirio to marry them. He then dies in her arms.〔Synopsis taken from Gossett and Brauner 2001, in Holden, pp. 771—772〕 According to Richard Osborne, 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".〔Osborne, Charles 1994, p. 24〕 In ''Divas and Scholars'', musicologist Philip Gossett recounts how this ending was rediscovered: :Until the mid-1970s, no musical score was known to exist..()..The late Count Giacomo Lechi of Brecia ...(predecessor was the writer Luigi Lechi who had prepared the text for Ferrara )...was reviewing the family's papers in 1976, came across several musical manuscripts (of which ) bore the ..()..attestation (Rossini ): ''"I declare (and not without shame) that this is an autograph of mine from 1813!!"'' (It was dated 22 November 1867).〔Gossett 2006, pp. 149—151〕 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.〔Gossett 2006, "A Happy Ending to the Tragic Finale of ''Tancredi''", pp. 148–152〕 December 1813 revision for Milan In addition to restoring 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.〔Budden, Julian, ''Rossini, Gioachino, ''Tancredi'' ed. Philip Gossett'', in ''Music & Letters'', Vol. 68, No. 1 (Jan., 1987), pp. 95-97〕 While Tancredi and Amenaide are happily reunited, he 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). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tancredi」の詳細全文を読む スポンサード リンク
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