5MBS

Saverio Mercadante was born in Altamura, near Bari, in 1795 and was a pupil of Zingarelli at the Naples conservatory. His first opera (Apoteosi d'Ercole) was premiered in 1819 at the Teatro San Carlo in Naples and his last (Virginia) in 1866. By the time he wrote 'Donna Caritea' in 1826, he had bidden farewell to the Rossini style that he had hitherto favoured. The vocal lines were beginning to become less florid, and the dramatic aspect was correspondingly emphasised.

In 1837 'II Giuramento', the opera generally deemed to be his masterpiece, was premiered in Milan. All in all Mercadante composed some sixty operas, yet, despite the attempts to resuscitate some of his operas at the time of the centenary of the composer's death in 1870, only 12 have been performed or recorded since. 'II Giuramento', represents something of a turning point in Italian opera. The influence on Verdi is immediately apparent and it virtually marks the end of a stylistic epoch. No longer was the virtuosity of one singer the crux of public success. Henceforth every role was to be of equal importance. Mercadante insisted that the characters should not be mere cardboard vocalisers of emotion - they were to be true to life personages.

Now there was no solo scene for the soprano and there are virtually no opportunities for meretricious display. He described his reform plans in a letter as follows: "Varied forms, trivial cabalettas banned, crescendos banished, short-woven lines, few repeats, some novelty in the cadenzas, care for the dramatic aspects, orchestra rich but not swamping the voices, no long solos in the ensembles while the other parts mark time and the progress of the action is spoilt. Not much bass drum, much less brass." It is perhaps this paucity of virtuoso display that makes the operas less than ideal for our present-day super-star Prima Donna, without whom a revival of barely known 19th century operas is difficult to bring about. The success of "II Giuramento" was to no small extent enhanced by a superb, albeit somewhat involved, libretto by Gaetano Rossi. It is based on Victor Hugo's 'Angelo' a story Boito later used for Ponchielli's 'La Gioconda'.

BACKGROUND

Many years before the action of the opera takes place, Bianca, the young daughter of a Spanish nobleman, had saved the life of a French officer, the father of Elaisa. Elaisa gave Bianca a medallion and swore an oath (un giuramento) of eternal gratitude to her. They were subsequently separated for many years. Later Elaisa fell in love with the young Viscardo, last scion of the Dukes of Benevento. He, however, was already in love with Bianca, who, at the insistence of the father, married Manfredo, Count of Syracuse. Broken-hearted, Viscardo was unable to return Elaisa's affection. Furthermore, Brunoro, the Count's treacherous secretary, who also loved Bianca and was rejected by her, discovered the identity of Viscardo's beloved and vowed to take revenge on Bianca. As the action begins, Elaisa is living in Syracuse. She is the darling of local society. She enchants even Manfredo. She, however, continues to love only Viscardo, who is also living in Syracuse under an assumed name.

ACT I, SCENE I

Elaisa's palazzo in Syracuse. An evening party is in progress.

As the dancing and festivities heighten, the guests sing the praises of Elaisa. Viscardo, however, mourns his loss of Bianca. Manfredo arrives in search of Elaisa. She appears and the guests remark on Manfredo's infatuation with her, while he notices her devotion to Viscardo. Elaisa tells her friends the story of the gentle girl who saved her father and expresses her hope that they will meet again. Manfredo receives a mysterious letter implying that his wife, Bianca, is betraying him. He turns to Elaisa for consolation, but she is preoccupied with fears of losing Viscardo. Viscardo enters with Brunoro. Unaware of Brunoro's evil intention, he asks Brunoro for help in finding his lost love. Brunoro promises that Viscardo will see her again within an hour. Viscardo leaves and Brunoro taunts Elaisa with Viscardo's love for another woman She is furious and vows vengeance.

ACT I, SCENE 2

Bianca's rooms in Manfredo's palazzo. Later the same evening.

Bianca's gentlewomen sing happily of young love but Bianca recalls bygone days with Viscardo. She confides to Isaura her unhappiness and her hopes of seeing him again. Isaura leaves and Bianca tries to pray but instead recalls a song Viscardo used to sing to her. Viscardo enters.The lovers are overjoyed at being reunited. But they discover that Brunoro, on leaving them alone, has left behind a note for Bianca on which is written, 'Disdained love will be avenged.' Terrified, Bianca hides Viscardo. Elaisa, also brought to Bianca 's chambers by Brunoro, enters to discover Bianca alone, pretending to be asleep. She guesses that Viscardo is hidden behind a locked door and accuses Bianca of adultery. Bianca protests her innocence and Viscardo emerges from his hiding place to defend her. Elaisa is about to run in search of Manfredo when Bianca, on hearing Viscardo address Elaisa, recognises her by name and produces the medallion Elaisa gave her years before. Elaisa realises that her rival is the girl to whom she swore the oath. Manfredo bursts in, having also been summoned by Brunoro, and is astonished to find Elaisa with the supposed lovers. Elaisa, determined to keep her oath, intercedes to explain that she and Viscardo have come to warn Manfredo of a plot against his life. Outside the palazzo an alarm is heard; enemy forces are attacking Syracuse.

ACT II SCENE 1

The square before Manfredo's palazzo. A few days later.

The people of Syracuse are celebrating their victory over the enemy. Viscardo enters, reflecting on the violent death of Brunoro and expresses his hope of seeing Bianca again. Suddenly songs of mourning are heard and grieving women tell Viscardo that word has been received of Bianca's death. He is griefstricken and vows to avenge her.

ACT II, SCENE 2

A walled garden near Manfredo's palazzo where his ancestors are entombed. That night.

Manfredo, still convinced of Bianca's infidelity, is tortured by his lost honour and the guilt of his intent to murder her. Bianca is, in fact, still alive; she awaits him, imprisoned in one of the tombs. Already the choir in the cathedral prays for her eternal rest. Manfredo's thoughts are interrupted by his troops who recall him to his military duties. Elaisa enters and opens the tomb where Bianca is waiting. She has convinced Manfredo that poison is the best remedy for faithless wives and, assuring Bianca that she will save her, gives her a potion, which will induce a sleep so profound that she will appear to be dead. Elaisa tells Bianca that, since Viscardo loves her, she must live, while Elaisa chooses to die. Their emotional scene is interrupted by Manfredo who demands to know the name of Bianca's lover. She refuses to tell him, swallows the potion and collapses.ip Elaisa's arms. Manfredo is triumphant.

ACT III

Elaisa's private apartments. Shortly after.

Elaisa has brought the still unconscious Bianca to her own palazzo. She is desolate at the loss of Viscardo's love and resolves to die. Viscardo arrives; distraught and convinced that Elaisa has poisoned Bianca. She does not tell him what has actually occurred, saying only that she wished to die now that she has seen him again. In his mounting desperation Viscardo stabs her. At this moment, Bianca begins to revive and Viscardo learns that Elaisa has, in fact, saved his beloved's life. Elaisa tells the guiltstricken Viscardo not to mourn, blesses the lovers and dies in Viscardo's arms.