In this article we will explore the topic of Rosinda from various perspectives, with the aim of offering a comprehensive and detailed vision that allows the reader to thoroughly understand this issue. We will analyze its impact in different areas, its evolution over time, the debates it raises and the possible solutions or approaches to address it. Through data collection, expert opinions and critical analysis, we aim to shed light on Rosinda and contribute to knowledge and reflection on this topic.
Rosinda, also known as La Rosinda, is an opera in three acts and a prologue by the Italian composer Francesco Cavalli with a libretto by Giovanni Faustini. It was first performed at the Teatro Sant'Apollinare, Venice in 1651-02 during Carnival. It appears to have been better received than La Calisto, which was also premiered that year, and was revived in Naples and/or Florence in 1653 under the title Le magie amorose.
Its first revival in modern times was in a performing version by Jane Glover for the Oxford University Opera Club with the libretto translated into English by Anne Ridler.[1] Glover conducted the production at the Oxford Playhouse in 1973. The opera was performed in 2008 in Germany (Potsdam and Bayreuth) with Francesca Lombardi Mazzulli in the title role.
Role | Voice type | Premiere Cast, 1651-02 (Conductor: – ) |
---|---|---|
Aurilla | soprano | |
Cillena | soprano | |
Clitofonte | tenor | |
Meandro | bass | |
Nerea | soprano | |
Plutone | bass | |
Proserpina | soprano | |
Rosinda | soprano | |
Rudione | bass | |
Thisandro | bass | |
Vafrillo | soprano |
Cavalli's autograph score is preserved in the Biblioteca Marciana.[1]