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Thread: A Walk with Loge's hidden operatic gems: Edgar

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  1. #1

    A Walk with Loge's hidden operatic gems: Edgar

    “Edgar” is, with "Le Villi", one of the two 'unknown' operas by Puccini. It's also the opera with which the composer suffered the most, during the premiere, the revisions, and other performances.

    There were up to four versions of "Edgar". The different librettos (in Italian) are available at Pisa University's web site, maintained by Federica Di Girolamo:

    Edgar I: Milán, 1889. Libretto:
    Edgar II: Lucca, 1991. Libretto:
    Edgar III: Turín, 1892. Libretto:
    Edgar IV: Buenos Aires, 1905.The last and 'definitive' version. Libretto:

    There is one performance of the first version available complete, in youtube:

    We will review the following points:

    1.- Fontana, the Ripper.
    2.- The years as a galley slave
    3.- Act I: Passion, knife slashs and blood feuds in Flanders.
    4.- Act II: Betwee “La traviata” and “Tannhauser”.
    5.- The Act of Fidelia
    6.- Act IV: A short-lived joy
    7.- Puccini's scissors: from Edgar I to Edgar IV
    8.- The characters
    9.- Edgar is alive!
    10.- Final remarks. Sources.

    Let's start by listening to Renata Scotto (and, briefly, to Vicente Sardinero) in:

    [Video removed by Admin - no longer available]

    (fra sé)
    D'ogni dolor
    Questo è il più gran dolor:
    Insultato veder chi si adorò!
    No, puro Edgar tu sei,
    mio solo amor... Puro tu sei.
    Edgar, mio solo amor,
    Puro tu sei
    Io ti difenderò!

    (con molta semplicità)

    Nel villaggio d'Edgar
    Son nata anch'io
    E lo conobbi.
    Errò... Che importa!
    Pio era il suo cuor,
    Se ardente il suo pensier...
    E della giovinezza
    Il breve error
    Il breve error scontò
    Col sangue suo, col suo valor!

    (fissando Fidelia, fra loro)
    Bella e gentile! Bella e gentile!

    Gentil ell'è davver!

    (indicando la chiesa)
    Or là attender io vo'
    Che spunti il giorno.
    Con me al villaggio ancor
    Ei tornerà!
    Nel nostro cimiter riposerà,
    Finchè con lui nell'ideal soggiorno
    A me, a me la pace
    A me la pace eterna
    La pace eterna
    Il ciel darà!
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:56 AM.

  2. #2
    1.- Fontana, the Ripper

    Fresh from "Le Villi"'s success, Puccini was the top candidate for taking the lead of Italian opera from Verdi. The Ricordi publishing house offered the young composer a contract to write a second opera, with Ferdinando Fontana writing the libretto, the same pairing than in "Le Villi".

    Every opera needs a subject, and Fontana suggested a play by Alfred de Musset, La Coupe et les lèvres (The Cup and the Lips). Musset (1810-1857) was heavily influenced by Schiller and Shakespeare, and he wrote the play some fifty years before the libretto, presenting a rather confused individual, Frank, that wandered thru the piece questioning himself about the nature of the human soul.

    In Musset's play Frank, a young Tyrolean, confides to his friend Gunther his decision to part in search of glory and fortune. He even decides to burn his house, to prove his determination. Then he kills in duel a man called Stranio, and sleeps with his widow, Monna Belcolore, for some time, but then he goes and join the Army. When he returns, a veteran of many battles, he is still wild at heart. Now he mistrust his friends. He feigns his own death to see how they will take the news... Most of them condemn him. He returns to his native village, and plans to marry his childhood's love, Deidamia. However, the vengeful Monna Belcolore killes Deidamia before the wedding takes place.

    This was back in 1832. In 1884, Fontana tries to write an operatic libretto out of the play. He reduces the five acts to four, and strips all the long monologues of Frank, keeping only the ups and downs of the main story line. He also moves the action from the Tyrol to Flanders. The characters receive new names: Belcolore is not Tigrana, Deidamia becomes Fidelia and Frank, Edgar (in the opera, Frank is the name of Fidelia's brother). The complexity and mysticism of Musset's characters are lost in operatic translation.

    Puccini was not happy with the result, but the powerful Ricordi thinks the libretto is fine, with the exotic placement in 14th century Flanders, and the raw passions depicted. It was not something similar to "La Gioconda", after all, a very succesful opera by Puccini's teacher, Ponchielli?.

    [Video removed by Admin - no longer available]

    Giorno di battaglia
    Sarà il domani!... Io pugnerò con voi!
    Di Filippo di Francia sotto il giogo
    Fiandra non passerà!

    Della Fiandra alla santa libertà!

    Della Fiandra alla gloria,
    Alla morte o alla vittoria!
    Del doman la memoria
    In eterno resterà!
    Vivrà in ogni età,
    Vivrá sempre chi domani morirà!
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:57 AM.

  3. #3
    2.- The years as a galley slave

    Puccini was not really buying into the project, but was forced to take it. He was, using the famous Verdi's quote "in his galley years". Also in his personal life the composer was not in the best shape. He was living in Milan with a married woman, Elvira, and her daughter by his husband, Fosca. Many people frowned upon that back in 1884, and the only real support for Puccini was his patron, Ricordi.

    So, a couple living together without the benefit of marriage, and having daily arguments (Elvira was a jealous woman), the death of Puccini's mother, then Elvira's pregnancy... No wonder there were not immediate results. In fact, there weren't even not-so-immediate-results either. After several years working in the opera, finally everything is ready for the premiere:

    Gregorio Gabrielesco as Otello in 1890
    1887: “Edgar”, the piano reduction is done. Now, for the orchestration, that will take the whole 1888. And now, on April, 12st, 1889. Giacomo Puccini, the young rising star of Italian Opera, is ready with his second opera, five years after the first:

    This was the cast of the premiere:

    Gregorio Gabrielesco (Edgar, tenor)
    Aurelia Cattaneo (Fidelia, soprano)
    Romilda Pantaleoni (Tigrana, soprano)
    Antonio Magini-Coletti (Frank, baritone)
    Pio Marini (Gualtiero, bass)
    with Franco Faccio conducting.

    Tigrana was initially written for a mezzo, but the role was revised by Puccini, to accommodate Pantaleoni.

    Romilda Pantaleoni

    [Video removed by Admin - no longer available]

    Qual voce lontana
    Squillò la campana
    E l'ultima stella
    Fulgor più non ha!
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:57 AM.

  4. #4
    3.- Act 1: Passion, knife slashs and blood feuds in Flanders (1)

    1302, a hamlet in Courtray, Flanders. To the right, Edgar's house. Near to the house, a stone bench. Farther, a Church, with its bells calling for the Angelus. To the left, a tavern with some tables and stools on the outside. Behind all this, a hill. On the top of the hill, a flowering almond tree. Edgar is sleeping on the outside of the tavern, while peasants and shepherds are going to attend their jobs.

    Edgar, Act 1 (Turín 2008)

    After a brief singing by the Chorus, enters Fidelia with a pastoral song, “O fior del giorno”. We immediately realize that she is a sweet girl, we are in April and Edgar is now awake. There is a little flirting between Fidelia and Edgar, and she gives him a branch of the almond tree. Tigrana has been a witness to the whole scene and, when Fidelia leaves, she approaches Edgar and start to tease him: "You are now for almond tree branches and pure love?. With me, it was anything but pure". Edgar has decided before to end his ardent relationship with Tigrana but... flesh is flesh and he enters her house once again.

    Enter Frank, the baritone, Fidelia's brother and in love with Tigrana. Unfortunately, Tigrana is not interested in Frank, that sings of his desire for this woman's tornado:

    [Video removed by Admin - no longer available]

    Questo amor, vergogna mia,
    Io spezzar, scordar vorrei;
    Ma d'un' orrida malìa
    Sono schiavi i sensi miei...
    Mille volte al ciel giurai
    Di fuggirla!...
    E a lei tornai!
    Di fuggirla!...
    E a lei tornai!
    Ella ride del mio pianto,
    Ed io, vil, col cuore infranto,
    Ai suoi piedi mi prosterno...
    Ai suoi piedi mi prosterno...
    E lei sola io sogno, io bramo!
    Ah sventura!...
    Io l'amo!... Io l'amo!
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:58 AM.

  5. #5
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    This may not be the right thread to ask, but can you tell me why you think “Edgar” is a hidden gem? I'm not sure why half or more of Puccini's body of work isn't presented more frequently. La Rondine was performed here in DC about 15 years ago and La Fanciulla del West was presented by the New York City Opera when they were still touring here in the late 70s. Other than that, we generally only see a rotation of Tosca and Butterfly plus an occasional Boheme and Turandot. Washington National Opera is staging Manon Lescaut in March with Patricia Racette, which should be interesting.

  6. #6
    Well, this is the list of Puccini's operas by number of performances across the world in the last years:

    2 it (#2) Puccini (#1) La bohème (580)
    5 it (#3) Puccini (#2) Tosca (504)
    7 it (#4) Puccini (#3) Madama Butterfly (469)
    16 it (#9) Puccini (#4) Turandot (266)
    39 it (#21) Puccini (#5) Gianni Schicchi (130)
    52 it (#24) Puccini (#6) Manon Lescaut (107)
    67 it (#26) Puccini (#7) Suor Angelica (74)
    83 it (#31) Puccini (#8) Il Tabarro (54)
    93 it (#36) Puccini (#9) La fanciulla del West (45)
    105 it (#40) Puccini (#10) La rondine (37)
    163 it (#54) Puccini (#11) Le Villi (18)
    373 it (#94) Puccini (#12) Edgar (6)

    As you can see, Edgar is by far the least performed. Why?. In my own view, the main reason is that this one is his worst opera, but...

  7. #7
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    I agree that Edgar is his worst opera. As far as hidden gems go for Puccini, I think Le Villi is a lot nicer than Edgar. I never cared much for Suor Angelica but I'm aware that others find it great. For me his two least appealing operas are Edgar and Suor Angelica. I find the other two components of the Trittico - Il Tabarro and Gianni Schicchi - far superior to Suor Angelica. Certainly Il Tabarro deserves more than 54 performances. It could be coupled with other short operas - for instance, instead of the usual Cav-Pag, I'd love to attend an evening with Cav and Il Tabarro. La Rondine has a messy situation regarding Puccini's uncertainty on how to end it, but might also qualify as a relatively hidden gem. I like it better than Manon Lescaut (which for me suffers from comparison with more successful treatments of the same story). La Fanciulla del West is musically very interesting but less so (for me) dramatically. All his other operas I profoundly like and admire.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  8. #8
    Senior Member Top Contributor Member HarpsichordConcerto's Avatar
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    Quote Originally Posted by Schigolch View Post
    Well, this is the list of Puccini's operas by number of performances across the world in the last years:

    2 it (#2) Puccini (#1) La bohème (580)
    5 it (#3) Puccini (#2) Tosca (504)
    7 it (#4) Puccini (#3) Madama Butterfly (469)
    16 it (#9) Puccini (#4) Turandot (266)
    39 it (#21) Puccini (#5) Gianni Schicchi (130)
    52 it (#24) Puccini (#6) Manon Lescaut (107)
    67 it (#26) Puccini (#7) Suor Angelica (74)
    83 it (#31) Puccini (#8) Il Tabarro (54)
    93 it (#36) Puccini (#9) La fanciulla del West (45)
    105 it (#40) Puccini (#10) La rondine (37)
    163 it (#54) Puccini (#11) Le Villi (18)
    373 it (#94) Puccini (#12) Edgar (6)

    As you can see, Edgar is by far the least performed. Why?. In my own view, the main reason is that this one is his worst opera, but...
    Interesting. I don't see the incredible appeal of La bohème and Madama Butterfly. They are very fine operas that I enjoy but they appear to be so very often performed that they overshadow his other operas. Turandot should be right up the very top, even though the last twenty minutes were not his work but its compositional direction was very different and on a maturity above all the others.

  9. #9
    3.- Act 1: Passion, knife slashs and blood feuds in Flanders (2)

    Franck exits and we have again the chorus of peasants singing something resembling "Tosca"'s Te Deum. Puccini used as inspiration for this scene the Kyrie of his own "Messa a 4 voci con orchestra". Tigrana, in a powerful song with Gypsy reminiscences, makes light of their sanctimoniousness, and the peasants start to feel angry:

    Frank sale y reaparecen los campesinos formando un coro que me recuerda mucho al Te Deum de “Tosca”; sólo falta que, como van a la iglesia, suena el órgano. El coro es un autopréstamo que se hace Puccini del Kyrie de su propia “Misa”. Tigrana, con una potente canción de aire gitano, se burla de su mojigatería. Los

    [Video removed by Admin - no longer available]

    (uscendo processionalmente dalla chiesuola
    e avanzandosi con pio entusiasmo)
    Iddio non benedice
    Che gli umili quaggiù...
    Viver può sol felice
    Chi segue la virtù...
    Ave, Signor! Ave!

    (accompagnandosi col dembal)
    Tu il cuor mi strazii,
    Io muoio!
    Che feci a te, crudel?
    Belava all'avvoltoio
    Nell'agonia l'agnel...
    Agnellin, fai pietà,
    Fai pietà! Ah! Ah! Ah!

    (a Tigrana, con indignazione)
    Dal bieco canto cessa!

    Evvia... Perché?

    (minacciosi, avanzandosi)
    Di qui ten va!
    Lontana di qui ten va!

    Sia per voi l'orazion,
    È per me la canzon!
    Vo' cantar, vo' trillar!
    Chi non vuole ascoltar
    Torni in chiesa a pregar!

    Vanne, sciagurata!
    Serpe, t'allontana!
    Va, scomunicata!
    Vile cortigiana!
    T'allontana! T'allontana!
    Serpe! Serpe, t'allontana!
    Non vogliam la canzon
    Che lo scherno ha nel suon!
    Non trillar, non cantar
    Dove, chini all'altar
    Noi veniamo a pregar!
    Vattene! Va! Va!

    L'ira vostra o il perdon
    Io del par sprezzerò!
    L’aborrita canzon
    Sempre qui canterò!
    Vo' cantar... Vo' trillar!
    Chi non vuole ascoltar
    Torni in chiesa a pregar!

    Cortigiana! Via di qui! Va!
    Vattene! Vattene! Vattene!
    Vil cortigiana, t'allontana!
    Va! Va! Va!
    Via di qui!
    D'ogni sozzura simbolo,
    Fra noi perchè torva la sorte
    Bella e fatal così giunger ti fe'?
    Dei tuoi sorrisi il fascino
    Sol può recar sciagura e morte!
    Pietà, perdon non puoi sperar!
    Pietà, perdon da noi non puoi sperare.

    Tigrana doesn't relent, and the villagers are not intimidated by her knife, so she looks for shelter at Edgar's, that promptly defends her. On the heat of the discussion, he decides to burn his house. Yes, this could be a way to prove he is ready to start a new life, but a little monologue or something explaning his feelings would be welcome, and his actions won't seem to be rather deranged.

    In another rush decision he is going to share his life with Tigrana. Frank shows up. He is happy to let Edgar go, but he wants Tigrana to stay. Tenor and baritone challenge each other with their gleaming knives. Fortunately, Fidelia and his father Gualtiero appear, and in an spectacular 'concertante' a kind of forced reconciliation takes place. Wishful thinking. When Edgar takes Tigrana's hand to leave together, Frank steps in and we have a real fight. Finally, Edgar wounds Frank and flees with Tigrana. “Abbietta creatura, Maledizion! Maledizione a te!” shouts Frank, while the smoke and the flames from Edgar's burned house fill the scene.
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:58 AM.

  10. #10
    4.- Act 2: Between “La traviata” and “Tannhauser” (1)

    Our loving couple has taken refuge in a castle. Edgar will claim later property rights to the castle, even when Tigrana mentions that he has lost everything in the burning of his house, and that “Un mendico sarai lungi da me” (“if you leave me, you will be nothing but a beggar”). So it's not really clear, perhaps the castle was hers. In any case, lights are always on in the inside: a non-stop orgy. In fact, they are just having one, as we can see in this production from Turin, that also resembles "La Traviata":

    “Edgar”, Act 2 (Turín, 2008)

    Edgar is starting to feel a little bit sick of this life full of excesses. We can hear Carlo Bergonzi repudiating the orgy and invoking the simple life and the love of Fidelia:

    [Video removed by Admin - no longer available]

    Chimera dall'occhio vitreo,
    Dal soffio ardente
    Che i sensi incendia,
    Tu a me, dell'alta notte
    Nel glauco mister silente,
    Invan ritorni.

    Non più dai tuoi sguardi,
    Ammaliato sarà il mio cor!
    Nè più m'avvince
    A te la voluttà.
    Ma ho terror,
    Del domani, del domani;
    Un vigliacco terror,
    Che l'onor mio
    Combattere non sa!

    O soave vision
    Di quell'alba d'april,
    O vision, vision gentil
    D'amore e di splendor!
    Nell'abisso fatal,
    Dove caduto io son,
    Rimpianta vision, ah!
    Te il mio pensiero
    Evoca sempre ancor,
    Sempre, sempre ancor!

    (come rammentando)

    Sovra un sereno cielo
    Si disegna il profil,
    Dell'angiol che mi amò...
    Dell'angiol che mi amò!
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:59 AM.

  11. #11
    4.- Act 2: Between “La traviata” and “Tannhauser” (2)

    Tigrana, unlike Edgar, is still herself. Cheered on by the guests she sings a warm praise to drinking. Let's hear Julia Gertseva (2008):

    [Video removed by Admin - no longer available]

    La coppa è immagin della vita
    Essa all'ebbrezza, al gaudio invita!
    Ecco, la stringe già la man
    La coppa è immagin della vita
    Ecco, la stringe già la man
    Ecco, non è il labbro lontan!

    Godiam! Beviam!

    Ma sta il destino in mezzo a lor;
    E forse pria che nel licor
    Si bagni il labbro, quella man
    Coglie di morte il gelo arcan!
    Essa all'ebbrezza, al gaudio invita!

    Godiam! Beviam!

    Pallida morte, bieca sorte,
    Fantasmi orrendi del dolor,
    Stringendo in man la coppa d'ôr,
    Fantasmi orrendi del dolor,
    Voi non ci fate
    Voi non ci fate più terror!
    Pallida morte, fantasmi orrendi
    del dolor,
    Al varco, o sorte, tu invan ci attendi!
    Non ti temiam!

    (indicando la coppa)

    Per te soltanto l'anima è forte!
    Per te la vita ferve nel cuor!
    Con te nel pugno venga la morte!

    Alle procaci labbra tu insegni
    Languori e baci!
    Tu sei la magica arte che dà
    La voluttà

    D'amor tu additi nei vasti regni
    Sogni infiniti!

    Coppa, risponder tu non puoi!
    Dell'avvenir che importa a noi?
    Dell'avvenir più non chiediam
    Se a te libar oggi possiam!
    Suvvia! Godiam! Beviam!
    L'avvenire sfidiam!

    When they are finally alone, Tigrana try to seduce again Edgar into having sex, but to no avail. Some people have tried to compare "Edgar" to Bizet's "Carmen", arguing in both pieces there is a rather confused man torn between the pure love of a village girl, and the voluptuous love of an enchantress. However, Carmen doesn't need to ask for don José's passion, rather the opposite. In "Edgar" is the other way around. It's rather reminds one of Tannhausser, parting from Venus in search of a different kind of love in Elisabeth. In any case, it's clear that Tigrana is not Carmen, neither Edgar is having such an internal fight as Tannhausser.

    Trumpets. A Company of Flemish soldiers passing by the castle, on their way to the war with France:

    “Edgar”: Act 2(Turín, 2008)

    Why not join the army?, thinks Edgar. Maybe this way he can find himself, and forget Tigrana. He invites the soldiers to enter the castle. The captain is none other than Frank. He forgives Edgar and is happy to get him into his Regiment. So Edgar leaves again his house (this time, he doesn't burn it first), and goes with Frank in search of military glory, leaving behind a rather angry Tigrana.
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 10:59 AM.

  12. #12
    5.- The Act of Fidelia (1)

    A terrace near Courtray. We hear an instrumental introduction that was used later by Toscanini during Puccini's funeral, in Milan. Those are some clips from the ceremony in Brussels, the city where the composer died.

    And this is the Prelude to Act3, performed by the orchestra of the Academia de Santa Cecilia, conducted by Alberto Veronesi:

    [Video removed by Admin - no longer available]

    A group of soldiers carry a pallet with a dead knight, in armor. Behind then, we can see Frank and a monk. Also Fidelia, Gualtiero and the citizens of Courtray. The dead knight is Edgar, a fearsome lion while fighthing for Flanders's liberty. (*)

    Howver, the whole thing is a masquerade. Edgar is alive, he is the monk walking besides Frank. This bizarre young man has devised all this, with Frank's complicity, to test the fidelity and the love of his friends. The soldiers praise Edgar's courage. Fidelia is singing this beautiful aria: “Addio, mio dolce amor”.

    [Video removed by Admin - no longer available]

    Addio, mio dolce amore...
    Nell'ombra ove discendi,
    Solenne ed infinita
    Anch'io verrò...
    Dove tu regni, dolor,
    La gioventù non ha più fior!
    Addio, ancora, addio, o Edgar,
    La tua memoria sarà
    Il mio sol pensiero!
    Lassù, nella tua gloria,
    M'attendi, Edgar, lassù!

    While Frank is busy with Edgar's eulogy, he, still posing as a monk, is trying to turn the people against his own memory, by reminding them about his burning of the house, his debauchery and even his suspected murder of people walking by his castle. Soon, everyone is condemning Edgar, except Fidelia, that defends him in another splendid aria, "D'ogni dolor", in this veritable 'Act of Fidelia'.

    (*)This act is taking place two days after the Battle of Courtray (July, 11th, 1302), also known as "the battle of the spurs", or the "day of the jewels". In this battle, the Flemish common people, armed with sticks and sickles, is said to have defeated French calvary, under the orders of the French King himself, unable to move under the weight of their own jewels and armor, over mud.

    Last edited by Ann Lander (sospiro); January 7th, 2018 at 11:00 AM.

  13. #13
    5.- The Act of Fidelia (2)

    After Fidelia's intervention everybody retire, except for Edgar and Frank, that are discussing the young woman's kindness. Then arrives Tigrana, that has been notified about the funeral. She is sorry about Edgar's death, but she knows she is still young, and has a lot of things to experience yet. In her aria there are three parts: dramatic when Tigrana is lamenting her loss; then quick and energetic, remembering the pleasures shared with Edgar in the castle, and finally lyrical and sorrowful, during her final farewell to his lover.

    [Video removed by Admin - no longer available]

    Fu idea stolta la mia
    Di qui venir! Pensai la mia bellezza
    Con un raggio adornar della sua gloria
    Ma tardi io giunsi! Ed or son sola...
    e invano
    Di vincer tento il terror che mi afferra
    E di volger lo sguardo a quella bara!
    Sian per me i baci tuoi,
    Sia per te il mio rimpianto!

    Ah, se scuoter della morte
    Tu potessi il sonno, Edgar,
    Io vorrei, glorioso e forte,
    Forse te soltanto amar!
    Forse, vinta, a te soltanto
    Io vorrei chiedere ancor
    Che cercato ho invan finor!
    Ma tu sei spento! Ed io,
    Io vivo!... Vivo!... E pria
    che della vita mia
    Il soffio abbia a svanir,
    Vo' d'ogni labbro il riso,
    Vo' d'ogni fior l'olir!
    Edgar, per sempre
    Per sempre addio...
    Addio, Edgar!
    Vivo ancor! Ah!
    Io vivo ancor!

    Edgar is not convinced by the tears of Tigrana, and decides to test her real feelings. He flirts with her, and also tempts her with some beautiful jewels, while the music becomes light and casual, in open contrast with the funeral and with Edgar's try to seduce Tigrana, that finally surrenders to the false monk's overtures.

    Then Frank sounds the trumpets to convene again the soldiers and the people from the village. Once everyone (except Fidelia and Gualtiero) is present, the monk accuse Edgar of treason to the fatherland. Tigrana, covered in jewels, agrees. The soldiers get really angry this time, they pretend to throw Edgar's corpse to be devoured by the carrion birds, but... there is no corpse!.

    "Edgar", Act 3, (Turín, 2008)

    Then the monk discover his face shouting; "Edgar is alive!". Then, he starts to curse Tigrana (“O lebbra, o sozzura del mondo!”), he wants to kill her. And to the shamed soldiers, he has also something so say: "I'm dead for you, I'm going back to my home town. I'm redeemed now". Once again, Tigrana has been humiliated and she swears to take vengeance.
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 11:00 AM.

  14. #14
    6.- Acto 4: A short-lived joy (1)

    A beatiful prelude precedes the act. It merges the melody of ‘Qual voce lontana’, sung by the chorus at the beginning of the opera, the sentence ‘Taci demonio, taci’, addressed to Tigrana and fragments from the duet between Edgar and Tigrana in act 2.

    A room in Gualtiero's house in Courtray, with a bed, a table with a small branch from an almond tree, and an open window from which we can see a road. To the left, Fidelia's room and a door to the garden:

    “Edgar”, Act 4, (Turín, 2008)

    Just before dawn, Fidelia recalls her dead lover, buried with his armor. She is crying. Gualtiero prays to God that he can die, so Fidelia is spared. He knows the girl is planning to marry Edgar in Heaven. Another Fidelia's aria (the fourth):

    [Video removed by Admin - no longer available]

    Or ben... lieta son io!...
    Egli in sogno m'apparve
    E così mi parlò:
    Nel regno delle larve
    Oggi t'attenderò!
    Vien, tu sei mia sposa.
    Se un destino crudel
    A me in terra ti tolse
    Uniti saremo in ciel!
    Fanciulle, a me recate
    Il nuzial velo e i fiori
    Prima che il sol tramonti
    Sposa sarò di Edgar
    L'inno santo intonate,
    L'inno santo d'amor
    Lassù... guardate...
    Splende il celeste altar!

    (alcune fanciulle vanno nell'alcôva
    e ne tornano col velo e colla corona nuziale, che Fidelia mostra al padre prendendolo per mano)

    O mio buon padre, ascolta:
    Quand'io morta sarò,
    In questo velo avvolta
    Esser sepolta io vo'!
    Così in mezzo alle larve
    Ei tosto mi vedrà
    Del ciel sovra le soglie
    Incontro a me verrà.

    Il mesto tuo desio
    Il padre adempirà.

    Un'ora almen a te rapir,
    O eternità, allor potrò!
    Sogno ideal, ogni martir
    Per te lassù benedirò!

    (fra loro mentre altre mettono il velo e la corona nuziale a Fidelia)
    Lugubre imen!... Per canto
    Il miserere avrà
    Talamo il camposanto,
    Incenso la pietà.
    Tributo di fior
    Ognun le darà,
    Ma olezzi e color
    Goder non potrà

    (un raggio di sole entra per la finestra del fondo)

    Ecco il sole... Ecco il sol!
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 11:01 AM.

  15. #15
    6.- Act 4: A short-lived joy (2)

    Fidelia looks thru the window to watch the Sun and... she watches Edgar, coming along with Frank and some villagers!. Understandably, she faints and then recovers to get a marriage proposal from Edgar. A battle of flowers between the villagers develop while the two lovers are left alone:

    [Video removed by Admin - no longer available]

    Sia benedetto il giorno in cui sei nata,
    O mio tesor!... Sia benedetto il fior
    Che in quell'alba d'aprile profumata
    Mi rivelò il tuo amor...

    Tu vivi... M'ami... Io ti rivedo ancora...
    O realtà ch'era follia sperar!...
    Ah! questo giorno benedir, quest'ora
    Io so soltanto, Edgar!

    Il poter dell'amor vince la morte,
    Tu lo vedi, mio ben... Quando non desta
    Che ribrezzo il piacer; quando la gloria
    Più non appar che fatuo fuoco; quando
    In abbiezione ogni illusion si muta;
    Più non si vive ormai! su quella bara
    Ove mi difendesti, io non giacea!
    Per conoscer la vita
    Io simulai la morte!

    Io del passato solo rammento
    D'aprile un'alba pura, soave...
    D'immensa gioia soltanto io sento,
    Edgar, quest'oggi battermi il cuor...
    Per sempre uniti ora noi siamo...
    Ogni dolore oggi scorderai...
    Come lontano, spento, ti amai,
    Giuro d'amarti d'eterno amor!

    Santa, ingenua parola... Essa discende
    Qual pia rugiada in me!... Come risplende
    Di luce celestial la tua pupilla!
    Dal tuo sublime amor redento io sono!

    Is that Tigrana, in the door?. Fidelia seems to recognize her shadow, but Edgar can't find anyone. They resume the duet:

    [Video removed by Admin - no longer available]

    O mia Fidelia amata,
    O tenera mia sposa,
    Sopra il mio cuor riposa,
    Io vico sol per te!...

    Spesso l'ho un dì sognata
    Lungi da te quest'ora...
    Parmi sognare ancora
    E sogno il mio non è!

    While Edgar goes to the door, Tigrana appears and stabs Fidelia. The girl is seriously wounded and Tigrana escapes to Fidelia's bedroom. Before Edgar and the villagers, Fidelia points to the bedroom with her last breath and dies. Edgar wants to kill Tigrana on the spot, but Frank insists in getting her executed by the axe of the headsman.
    Last edited by Ann Lander (sospiro); January 7th, 2018 at 11:01 AM.

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