Adelheit von Veltheim
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| Achmet, former Bassa of Tunis || Example | | Achmet, former Bassa of Tunis || Example | ||
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| Adelheit von Veltheim, a German woman || Example | | Adelheit von Veltheim, ''a German woman'' || Example | ||
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| Donna Velaska, a Spanish woman || Example | | Donna Velaska, ''a Spanish woman'' || Example | ||
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| La Feuquiere, a French woman || Example | | La Feuquiere, ''a French woman'' || Example | ||
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| Miss Flovr, an English woman || Example | | Miss Flovr, ''an English woman'' || Example | ||
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| Donna Olivia, an Italian woman || Example | | Donna Olivia, ''an Italian woman'' || Example | ||
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| Franz von Veltheim || Example | | Franz von Veltheim || Example | ||
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| Karl von Bingen, under the name Osman || Example | | Karl von Bingen, ''under the name Osman'' || Example | ||
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| Mehmet, | | Mehmet, ''overseer of the Seraglio'' || Example | ||
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| Slaves, Black People, Eunuchs || | | Slaves, Black People, Eunuchs || | ||
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The libretto is often compared to Christoph Friedrich Bretzner's contemporaneous ''Belmont und Constanze'', which Mozart set as ''Die Entführung aus dem Serail'' two years later. Both deal with abducted European | The libretto is often compared to Christoph Friedrich Bretzner's contemporaneous ''Belmont und Constanze'', which Mozart set as ''Die Entführung aus dem Serail'' two years later. Both deal with abducted European women held captive in Middle Eastern harems, who then are saved by their European fiancés. Großmann's libretto, however, deals explicitly with noblewomen, and includes several other abductees of various European backgrounds – and the stereotypical personality traits to match: the delicate and haughty La Feuquiere, the stoic and caustic Donna Velaska, the spirited and bossy Donna Olivia, and the proper and diplomatic Miss Flovr. | ||
==Sources== | ==Sources== | ||
Revision as of 19:25, 30 June 2023
SeiN 10
Schauspiel mit Gesang, premiered in Frankfurt am Main, 23 September 1780
Libretto by Gustav Friedrich Wilhelm Großmann
Overview
Neefe and Großmann wrote this extensive four-act Singspiel for their troupe's second guest season at the 1780 Autumn Fair at Frankfurt's Theater in der Junghof, their second short residence that year. In its first performance at the Bonn court a few weeks later, Adelheit was given pride of place on 11 October during the pomp around Archduke Maximilian Franz's election as Coadjutor (i.e. Maximilian Friedrich's successor as Elector of Cologne). The Archduke was duly impressed, and "honored Großmann with a precious gold watch and 50 new Louis d'or to divide among the company."(footnote: [1])
The dramatis personae, and the actors and singers from Großmann's company who created the roles, are as follows:
| Role | Performer |
|---|---|
| Achmet, former Bassa of Tunis | Example |
| Adelheit von Veltheim, a German woman | Example |
| Donna Velaska, a Spanish woman | Example |
| La Feuquiere, a French woman | Example |
| Miss Flovr, an English woman | Example |
| Donna Olivia, an Italian woman | Example |
| Franz von Veltheim | Example |
| Karl von Bingen, under the name Osman | Example |
| Mehmet, overseer of the Seraglio | Example |
| Slaves, Black People, Eunuchs |
The libretto is often compared to Christoph Friedrich Bretzner's contemporaneous Belmont und Constanze, which Mozart set as Die Entführung aus dem Serail two years later. Both deal with abducted European women held captive in Middle Eastern harems, who then are saved by their European fiancés. Großmann's libretto, however, deals explicitly with noblewomen, and includes several other abductees of various European backgrounds – and the stereotypical personality traits to match: the delicate and haughty La Feuquiere, the stoic and caustic Donna Velaska, the spirited and bossy Donna Olivia, and the proper and diplomatic Miss Flovr.
Sources
Libretto:
- Leipzig: Dyck, 1781: Munich, Bayerische Staatsbibliothek, Slg.Her 1825; and Washington, Library of Congress, ML 48 S7068
- Cologne: Imhof, 1784: Munich, Bayerische Staatsbibliothek, P.o.germ. 524
Further Reading
Notes
- ↑ Theater-Journal für Deutschland, no. 20, p. 16