Il Re Pastore

Background

On 16 December 1771, Salzburg's Prince-Archbishop, Sigismund von Schrattenbach, died; he was succeeded by Hieronymus, Count Colloredo, who was installed as the new Prince-Archbishop of Salzburg on 29 April 1772. Schrattenbach had not only been very supportive of the young Mozart, arranging the first performance of La Finta Semplice, for example, after the work had been cruelly sabotaged in Vienna, but he had also recognised Mozart's importance and usefulness as an ambassador for Salzburg.

It was for this reason that Mozart's father Leopold had been given extended paid leave of absence to show off his prodigiously gifted children to the most prestigious courts in Europe; indeed, Mozart, who was only 15 years old when the Archbishop died, had spent a total of only 30 months in Salzburg during the last ten years of Schrattenbach's life.

Archbishop Colloredo's attitude, however, was quite different - Mozart and his father were his employees (Wolfgang was promoted to the position of Konzertmeister in August 1772), and as such they were required to carry out their respective duties as court musicians.

Nonetheless, he composed prolifically during these first years back in Salzburg - symphonies, serenades, concertos, masses and various chamber works - and several of his earliest masterpieces date from this period. But opera was Mozart's greatest passion, and his primary frustration was that Salzburg had no theatre. As long as he remained there, he would not be able to concentrate his energies on writing operas.

The Composition of II Re Pastore

Mozart was, however, required to write one opera during these years in Salzburg. The Archduke Maximilian Franz, the youngest son

Domenico Fischietti was to set Metastasio's text Gli orti esperidi for the opening celebrations, while for the following evening Mozart was to set the same librettist's II Re Pastore. Both works were given at the Archbishop's Palace, where, under Schrattenbach's jurisdiction, La Finta Semplice had been premiered six years earlier, but because the Palace had no proper theatre they were on this occasion given in concert performances. It is for this reason that Mozart's II Re Pastore is described on its title page as a 'serenata' rather than an opera.

Both Fischietti and Mozart's new works were written for a cast of five - one soprano castrato, two sopranos and two tenors - and two leading artists from the Munich Court Opera were engaged for the occasion. The castrato Tommaso Consoli had sung the role of Ramiro in the first performances of Mozart's La Finta Giardiniera three months earlier, and he had already portrayed the role of Elisa in Munich the previous year, in a setting of II Re Pastore by the

composer Pietro Alessandro Guglielmi; for Mozart's setting, rather more sensibly,Consoli was to perform the role of Aminta. The other visiting artist from Munich was the leading flautist, Johann Baptist Becke, whose presence was perhaps more necessary for Fischietti's work, for Mozart's opera includes only one number with virtuosic flute parts.

Archduke Maximilian arrived in Salzburg on 22 April, and Fischietti's Gli orti esperidi was performed that evening; Il Re Pastore received its first performance the following evening. That Consoli (who was taking the leading role in both works) and Becke had only arrived in Salzburg on 19 April gives us a fair indication of how little rehearsal time was considered necessary.

The Text

Metastasio's original text for II Re Pastore had been written in1751 to celebrate the birthday of the Empress Maria Theresa, and it was first performed in the theatre of Schönbrunn Palacewith the five roles taken by Maria Theresa's five children; the part of Alexander the Great was played by the future Emperor Joseph II, who was aged 14 at the time, but Maximilian Franz, who was the same age as Mozart, had not yet been born.

Metastasio, as court poet in Vienna, had already been required to write plays for these birthday celebrations for the previous twenty years or so, and the parameters were clearly defined - not only must the plays glorify monarchy and imbue the performers with enlightened aesthetic values, but in addition no villains or evil actions were allowed to be portrayed, as this would reflect discredit on the royal children who were acting out the roles!

The music for this first royal performance was written by the Viennese court composer Giuseppe Bonno, and by the time Mozart received his commission the text had already been set by a further 13 composers, including Hasse, Gluck, Jommelli and Piccinni. When Mozart had been in London as a nine-year-old he had attended a setting of the opera by Felice Giardini at the King's Theatre, Haymarket, while the text he adopted for his own setting was based on the abbreviated two-act version which Guglielmi had used in Munich the previous year.

This reduction of Metastasio's original three acts casts an interesting light on Mozart's operatic development and sensibility. He did not keep faith entirely with the Munich libretto, or indeed with

Metastasio's original, but hanged or adapted a number of passages with the help of Salzburg's court chaplain, Giambattista Varesco. Furthermore, on two occasions - Aminta's aria 'Aer tranquillo' and the final quintet - entirely new text was created (Pvletastasio's final chorus was presumably too short to provide a suitable homage to the visiting archduke).

Mozart's final text, combined with the music he composed for it, is much more fluid and dramatic than the rather portentous stereotype of opera seria, and already we can recognise his genius for capturing real and truthful human emotions. On the title page of his last opera La Clemenza di Tito, another setting of Metastasio, Mozart changed the poet's nomenclature of opera seria ('serious, or grave, opera') to

opera vera ('true opera'). Had Il Re Pastore been able to receive a full staging in Salzburg, he may well have made the same distinction 16 years earlier.

The Music

By 1775 Mozart had already composed such celebrated works as the Exultate Jubilate and the 25th and 29th symphonies, so it should come as no surprise that the music for II Re Pastore is of a consistently high quality; what is particularly noticeable about this score, though, is the way in which, perhaps for the first time in Mozart opera, it evokes its own specific (though of course definitively Mozartian) sound world.

In the rhythmic energy and drive of the overture it is not hard to imagine Alexander the Great's army laying siege to foreign lands, but as soon as we encounter the shepherd Aminta we enter an entirely different world. The music throughout is somehow quintessentially 'outdoor' in feeling, though not in a traditionally pastoral manner, and there is always a sense that these are real people expressing real feelings. Perhaps the most remarkable achievement of the first act is that each aria is an expression of joy and contentment, and yet Mozart still manages to create enormous variety and contrast within this framework.

Alexander's first aria contains extraordinary evocations of storms and rainfall, and the string writing in all his arias incorporates hints, however brief, of falling rain. Aminta's music, too, is often suggestive of water, but in his case the lapping semiquavers of second violins are more suggestive of running streams.

This subtle water imagery, which Mozart was to develop in Idomeneo to evoke powerful images of the sea, serves to underline the contrasts as well as the similarities between Alexander and Aminta, whose music at the same time shares a wonderful 'fresh air' quality with Elisa's first aria.

The climate gradually changes in the second act, as the repercussions of Alexander's misconceived plan to marry Tamiri to Aminta kick in, and the music is now able to have a much wider emotional range, from Elisa's opening pain at being separated from Aminta to the shepherd's own expression of love, 'L'amerò, sarò, costante', the most magical and famous number in the piece, scored for violin solo, flutes, cors anglais, bassoons, horns and muted strings.

Agenore, having had to control his feelings while each character in turn sings an aria to (or in some cases at) him, finally gives vent to his anguish in an aria that is echt-Sturm und Drang, but by the final quintet, which contains some miraculous moments reminiscent of the very greatest of Mozart's works, the irrepressible high spirits and vivacity of the first act is restored.

The Story

Among the most illustrious actions of Alexander the Macedonian was that of having liberated the kingdom of Sidon from its tyrant, and then, instead of retaining the dominion, of having reseated on that throne the only descendant of the legitimate royal family, who, unaware of his true identity, was leading a poor, rustic life in the nearby countryside [Sources: Curzio, book 4, chapter 3; Giustino, book 2, chapter 10]. How this historical event came to pass is seen in the course of this drama.

Sidon, Phoenicia. For many years, Sidon has been ruled by the tyrannical Strato, who had come to the throne by overthrowing the rightful king. Alexander the Great (Alessandro), however, has just conquered Sidon, causing Strato to commit suicide and Strato's daughter Tamiri to go into hiding.

Act One
The shepherd Aminta is pining for his beloved Elisa, ('Intendo amico rio') but when she suddenly arrives he fears for her safety, as the area is full of Macedonian troops. Elisa explains that the troops

are there to protect them, that Alessandro, having liberated Sidon, is now trying to find the legitimate heir, and that, more to the point, her mother is finally supportive of their marriage. Aminta expresses dismay that Elisa will have to give up her riches to be with him, but she tells him that she cares nothing for them, and wants only to be with Aminta (Aria,'Alla selva, al prate, al fonte').

Aminta declares his happiness to the gods, overheard by Alessandro and Agenore. Agenore has claimed that Aminta is the unknown heir they are looking for, and when Alessandro questions the shepherd he

is impressed by his candour and nobility. Aminta extols the pleasures of his simple life (Aria,'Aer tranquillo e di sereni') before departing to tend to his flock.
Alessandro is convinced that Aminta is the man they seek, and asserts that it is the greatest pleasure of the gods to relieve the oppressed and reward virtue. Storm clouds may seem menacing, but when rain falls the soil is enriched and the landscape transformed (Aria, 'Si spande al sole in faccia').

Tamiri appears disguised as a shepherdess and prevents Agenore from following Alessandro; when he recognises her he is overjoyed. She tells him she is looking for an opportunity to flee the country

me rispondete'). Tamiri thanks the gods for not having deserted her completely, and rejoices at how Agenore's declaration of love has dispelled all her troubles (Aria, 'Di tante sue procelle').

Elisa returns, and tells Aminta that her father has consented to their marriage, but Agenore suddenly arrives and makes obeisance to Aminta, bearing gifts and calling him king. He tells him that his name is really Abdolonimo, the heir to the throne of Sidon, and that before being overthrown by Strato, Aminta's father had entrusted him to the care of Agenore's father, who had subsequently died himself, leaving Aminta to be brought up in obscurity by the shepherd Alceo.

Elisa and Aminta discuss the extraordinary news. Elisa feels that Aminta must go straight to Alessandro to accept his exciting destiny, but Aminta, whose priority remains his love for Elisa, insists that his first duty is to go to her father.

They renew their vows of love to each other, and yet both are secretly afraid that their relationship may now be changed forever (Duet, Iranca reguar ben mio').

Act Two
Scene 1
Elisa comes to the Greek camp in search of Aminta, but Agenore tells her that she cannot see him, as the duties of kingship must take precedence over those of love. He promises to bring Aminta to her later, but Elisa wonders how she can trust him when he has not even thought of Tamiri. Agenore, wounded, insists that he plans to plead Tamiri's case with Alessandro as soon as possible. Elisa agrees to leave, but accuses Agenore of heartlessness as she curses the gods for separating her from her beloved (Aria, 'Barbaro,

oh Die').

As Agenore steels himself to speak to Alessandro about Tamiri, Aminta rushes out in pursuit of Elisa. Agenore stops him and tells him that now he is king, he must put his own desires aside and act in the common good.

Alessandro approaches, and asks why the King of Sidon is still dressed in rags. Aminta expresses concern at his new role and asks how a shepherd can make a good king, but Alessandro tells him that he has all the makings of a great ruler.Agenore's chance to speak to Alessandro about Tamiri is undermined when Alessandro himself brings up the subject. He feels that his reputation will be blemished if Tamiri remains a fugitive, and worries about what people will think of him.

Agenore tells him that Tamiri is nearby, and that he will be able to exercise his clemency on her. Alessandro orders Agenore to fetch her, but before he can leave Alessandro has the brilliant idea of marrying Tamiri to Aminta, thereby ensuring peace and removing a possible stain on his honour. Not realising how distraught Agenore has suddenly become, Alessandro celebrates the joys of making people happy by victories and wise policies (Aria, 'Se vicendo vi rendo felici').

Scene 2
Aminta is still unresolved as to whether to accept the throne, but

when Agenore arrives, he finally declares that he is ready to o his duty. For Aminta, this duty involves renouncing the throne and remaining true to Elisa, but Agenore assumes that he has decided to become king, and to take Tamiri's hand. He urges Aminta to take good care of his new bride, but Aminta is bemused, believing Agenore to be talking about Elisa. He says that of course he will always love her and be a faithful husband to her (Aria, L'amerò, sarò costante'), which unwittingly adds to Agenore's despair.
The arrival of Elisa prevents Agenore from giving vent to his feelings; she has heard ridiculous rumours that Aminta is to marry Tamiri. Agenore tells her that they are true, but Elisa refuses to believe it. She leaves in a state of high agitation, vowing to seek justice from Alessandro himself.

Tamiri now interrupts Agenore. She has received news that she is to be the new queen. Agenore tries to leave, saying that it is too painful for him to speak to her, but Tamiri tells him that, as her loyal subject, she wants him present at her wedding. When Agenore accuses her of cruelty, she asks him why she is the cruel one, when she is clearly the one who has been abandoned by him (Aria, 'Se to di me fai dono').

Finally alone, Agenore breaks down and expresses his torment (Aria, 'Sol pub dir come si trova').

Scene 3
Alessandro asks the gods to look favourably on his designs (Aria, 'Voi che fausti ognor donate'). It is time for the coronation but Aminta is nowhere to be seen. Tamiri asks him to decide whether she should value the rank of queen above her happiness with Agenore, and Elisa then bursts in accusing Alessandro of having destroyed her happiness; Alessandro is impressed by their courage and constancy.

Aminta arrives, still dressed in his shepherd clothing. He declares that he would rather be Aminta the Shepherd than Abdolonimo the King, and that he would rather have Elisa than the kingdom.
Alessandro is moved to reward such virtue and devotion; he places Aminta and Elisa on the throne, promising Agenore and Tamiri that they will rule over the next kingdom which he conquers.

All ends happily (Finale, 'Viva I'invitto duce!').