‘Semiramide’: a Historical Overview and
Analysis
of Grand Duets
By: Rémi Castonguay
Hunter College, City University of New York December 14, 2005
A parallel is often established between Semiramide and one of
Rossini’s earlier creations, Tancredi. Semiramide was indeed born
out of the same collaboration between the composer and the librettist Gaetano
Rossi and the librettos for both opera are based on plays by Voltaire. Rossi
was known for “his boldness in raiding foreign—primarily French—theatre for
source material and for introducing strongly romantic plots to the Italian
opera stage.”[1] Both
characteristics apply to Semiramide. The libretto is indeed abundant in sharp
dramatic situations combining supernatural elements and human induced plot
developments.
Tancredi, was
composed close to the beginning of Rossini’s career and premiered in Venice at
the Teatro La Fenice in 1813. Semiramide was performed at the same
venture ten years later and closes the composer’s Italian career after which,
he moves to Paris. This gap of ten years is filled by the composer’s Neapolitan
career. As Philip Gossett explains, when Rossini composed Semiramide:
“…he was faced with a dilemma: being true to his own artistic needs while
composing for an audience unprepared for Neapolitan style.”[2]
As explained later on, in many ways Semiramide “negates the Neapolitan
experience…”[3]
Rossini and Rossi’s Semiramide was not the first opera to exploit
the legend of the Babylonian queen. In 1729, Pietro Metastasio’s libretto “Semiramide
riconosciuta” was set by Leonardo Vinci in Rome and in a concurrent setting
by Nicola Porpora in Venice.[4]
Voltaire’s play was first the subject of a ballet by Angionili and Gluck in
1765 and was first set as an opera twenty years later by Mortellari to a
libretto by Moretti.[5]
Several other operas based on Voltaire’s play were to be produced through the
18th century and early 19th century. Hence, by the time
of Rossini and Rossi’s collaboration operagoers were familiar with the legend of Semiramide.
A legend is what Semiramide is for most historians. It is unclear if
Semiramide was an actual historical character. Accounts from the Greek
historian Diodorus tell us of a warlike and ambitious queen of Babylon. In any
case Rossini surely “perceived the enormous dramatics potential in the legend
of a woman who wielded power over one of the greatest empires of antiquity.”[6]
Does the opera portray her as such a character? Rossini and his librettist gave
a sense that Semiramide is a strong character but they also conveyed the
feeling that she is victim of unfolding events. As an assassin of her husband
Nino, she then becomes a victim of the gods through their tool Arsace
(alias-Ninia.) Ultimately, she is a victim of herself. In that way, Voltaire’s
play is strongly influenced by classic Greek tragedies. The justice of the gods
(dikè) has to be fulfilled or otherwise the balance of the world is
compromised.
General form
This opera seria is a perfect model of the use of classical operatic
forms. Those are forms that Rossini himself had helped to crystallizing over
the years. The first evidence of this is found in the opera’s typical division
in two acts and its standard overture. Before 1823 most of Rossini’s operas
were divided in two acts, especially the opera seria. Semiramide also presents
a typical overture, a practice that Rossini abandoned during his stay in
Naples. Listening to Semiramide’s overture will convince anybody that he
had not lost his hand at it. The symphonic-sized overture is splendid and has
often been acclaimed as Rossini’s best, only to be equaled by the one to Guillaume
Tell. It contains also themes that Rossini will reuse later on.
However, what makes Semiramide a truly classical work is above
all its formal structure. Each number outlined in Table I and II below is
structured according to the canon of the aria form—scena, cantabile, tempo di
mezzo, and cabaletta (to which is added a tempo d’attaco in case of duets and a
pezzo concertato and stretta in the finale.) As alluded to earlier, Semiramide
leaves aside much of Rossini’s experimentations in Naples. Gossett informs us
that: “Rossini’s Neapolitan works were patently experimental: their formal
content was new; their use of chorus was audacious; they abandoned the
traditional Rossinian overture…”[7]
In addition, during his stay in Naples Rossini made more ample use of ensemble
pieces in numbers during the act (numbers outside of the finale where ensemble
pieces was considered traditional.) All of those experimental elements are left
aside in Semiramide. Nevertheless, the work remains a monumental one
through the use of rich orchestration and chorus.
Table I: Semiramide: Summary of Act II
|
Numbers |
Characters involved |
Plot |
|
1. Duet |
Semiramide-Assur |
Scene of confrontation between Assur and Semiramide. Assur tries to force Semiramide to name him as her consort. The story of the regicide is explained in more details. |
|
2. Solo |
Arsace accompanied by – Oroe and Chorus |
Arsace learns his
true identity, he is Nino’s son, Ninia. He swears vengeance against Assur but
tell of his intention to forgive his mother. |
|
3. Solo |
Idreno accompanied by Mitrane, Azema, chorus |
Idreno overhears
Azema saying that she still loves Arsace. First jealous and angry, he then
sings his love for her. |
|
4. Duet |
Arsace and
Semiramide |
Arsace reveals
his true identity to his mother Semiramide. Devastated she asks him to take
her life. He refuses arguing that he would never kill his mother. Arsace then
leaves to Nino’s grave where the Gods’ will (fate and vengeance) will be accomplished. |
|
5. Solo |
Assur and chorus |
Assur is at the
entrance of Nino’s and he is seized by visions of the dead king’s ghost.
Taking hold of himself he proceeds to enter Nino’s tomb after forecasting his
upcoming triumph. |
|
6. Finale |
Semiramide,
Arsace, Assur, Oroe, and
chorus. |
In the darkness
of Nino’s tomb Arsace and Assur are looking to kill each other. Semiramide
who is there to protect her son is fatally wounded by him who mistook her for
Assur in the dark. Realizing his mistake, Arsace tries to take his life but
is stopped by Oroe. The chorus then invites him to come in triumph to the
palace. |
|
Bold names are the prominent characters of the scene |
||
Table II: Semiramide—Scene Divisions in Act
II.
|
Scene # |
Scena |
Tempo
d’attaco |
Cantabile |
Tempo
di mezzo |
Pezzo
concertato |
Cabaletta (Stretta
for the finale) |
|
|
|
|||||||
|
1. Duet |
“Alla regia d’intorno” |
“Se la vita ancore t’e cara” |
“Quella ricordati, notte di morte!” |
“Ma
implacabile di Nino” |
N/A |
“La
forza primiera” |
|
|
2. Solo |
Chorus “In questo augusto” |
N/A |
“In si Barbara sciagura” |
“Su,
ti scuoti: rammenta schi sei” |
N/A |
“Si
vendicato” (Chorus
and Arsace in alternation) |
|
|
3. Solo |
“Calmati principessa” |
N/A |
“La speranza più soave” |
“Te
mia sposa, a questo seno” |
N/A |
“Sì,
sperar voglio contento” |
|
|
4. Duet |
“No: non ti lascio” |
“Ebben, a te: ferisci” |
“Giorno d’orror” |
“Madre,
addio” |
N/A |
“Tu
serena intanto il ciglio” |
|
|
5. Solo |
“Il dì già cade.” |
N/A |
“Deh! ti ferma…ti placa… perdona” |
“Ah
signore! Assur!” |
N/A |
“Que
Numi furenti” |
|
|
6. Finale |
“Oh! Nero eccesso! In suo furore insano” |
N/A |
“Al mio pregar t’arrendi” |
“Dei
Qual sospiro” |
“L’usato
ardir” |
“Vieni
Arsace, al trionfo, alla reggia” |
|
The second act, as can be said of the opera in general, is dominated by
the characters of Semiramide, Arsace, and Assur, respectively soprano,
contralto, and bass. This concentration makes for a very tense atmosphere where
the operagoer can expect the worse to happen at any moment. There is indeed little
dramatic relief in the act. Significantly, Semiramide appears only in duet or
ensemble settings while Arsace and Assur are each given solo arias. This seems
a symbol of a character entangled in the web of circumstances and completely
unable to escape events.
The only number is which the main characters are not directly involved
is Idreno’s aria in the middle of the act. The subplot that involves Idreno, an
Indian prince, and Azema, a Babylonian princess, is the only major flaw of the
opera. It was unfortunately left unsolved by the librettist. In the making of
this opera, did Rossini insist to be provided with an aria for his tenor? Did
he perhaps feel the need for his other soloists to rest? Those questions remain
unanswered.
The chorus also provides some relief to soloist on a regular basis.
However, although the chorus is fairly active, its role sits mostly besides the
plot in the manner of Greek chorus or as a commentator of unfolding events.
This use of choral forces is again a reminder of the classicism of the work.
The Grand Duet Form
First grand duet: Semiramide – Assur
The section below is devoted to the two duets of the second act and is
an attempt to delve in more details into the composition of this particular
structure.
The act II of Semiramide opens with a typical Rossinian duet
outlined in the table below. All the elements of the duet are readily
identifiable and yet, Rossini succeeds in giving a strong direction to the
entire scene. One of the important cohesion factors in the scene is the use of
intense recitative to convey characters’ emotions. The scena of course, is
where this compositional device can be best observed. The scena starts with a
brief dialogue between Mitrane and Semiramide. The queen worried, asks Mitrane
if Assur has been kept under control since the public announcement of her plans
to marry Arsace. She fears how Assur might react and the music with a tremolo
in the strings conveys Semiramide’s trembling when the name of her foe is
evoked. But cutting short the conversation, Assur enters. At this point starts
a confrontation that will span the rest of the scene.
Table III: Scene #1: Grand duet form – Assur and
Semiramide
For
the convenience of the analysis, I have started bar numbering at the beginning
of Act II:
|
|
Scena |
Tempo d’attacco |
Cantabile |
Tempo di mezzo |
Cabaletta |
|
Bars |
1 – 111 |
112-191 (191-209 are transitory measures) |
211-273 |
274-329 |
330-462 |
|
Tempo |
Allegretto (mm.
1-64; Moderato (mm. 65-111) |
Allegro |
Andantino |
Allegro mm. 274- 293 ; maestoso mm. 294-317
; return to tempo 1 (allegro): mm. 317 |
Allegro |
|
Text incipit |
“Alla regia d’intorno” |
“Se la vita ancore t’e cara” |
“Quella ricordati, notte di morte!” |
“Ma implacabile di Nino” |
“La forza primiera” |
|
Poetic meter |
versi sciolti |
Ottonario doppio |
Quinario dopio |
Ottonario doppio |
Senario doppio |
|
Key scheme |
Aà D à Db à F |
Bb |
G à g à (Bb) à G |
C à F à Eb à Half-cadence on F7 |
Bb à F à (Gb) Bb à F à Bb |
|
Form |
--- |
AB-AB |
AB-AB - C |
--- |
AAB-AAB-C |
First, the scena is extended and we learn some important details about
the regicide and the two protagonists’ role in it. Here, as is the case in many
other moments in the opera, Rossini uses a motive to refer to the ghost of Nino
(mm. 65-72.)
The scena is all about that explication, the role of power in this
history and the memory of Nino’s ghost. The word “throne” (soglio) is mentioned
three times in a short time. Assur’s sole ambition is that throne. Love is
apparently not something that flows in his veins. Semiramide, in contrast, is a
more human character. While she has committed a crime for the sake of power she
now shows that this power is meaningless without love surrounding it. She would
give up that throne she says, to recover her son. Rossini conveys this emotion
with a lyrical moment in F major “A me restava allora” at mm. 92-94.
Following the scena is the tempo d’attaco “Se la vita ancor t’è cara.”
The tempo d’attaco is that necessary moment where the confrontation between the
characters culminates for a first time. The music is set to two straight stanzas
of eight-foot verses in an AB-AB form. Rossini opens that section with an
ascending motif of eighth notes which comes back at m. 153 when Assur responds
to Semiramide and also reappears later on in the tempo di mezzo (m 275-276 and
283-284.) There is nothing fancy about this section but it expresses well the
built-up exacerbation that occurred in the scena.
After a very brief transition comes the cantabile. Rossini’s skill is in
full display here. Interestingly, this cantabile has in many ways a flavor of
parlante as if Rossini had wanted to portray a conversation. The music renders
well this intention by providing a walking bass line (initially melodic)
accompanied by triplets of eighth notes and simple ascending motives in the
strings. At first, the vocal line interacts with this accompaniment in a sparse
way but soon becomes more active. Before becoming a fuller melodic line, it is
rather a speech-like melody where interruptions occur on a frequent basis. As a
result, the beginning has a kind of hesitant pace and then gives way to more
secure intentions.
The cantabile is modeled closely on the poetic structure that Rossi
provided the composer. This structure is outlined in Table III below.
Table IV: Rhyme Scheme of “Quella ricordati notte di
morte!”
|
Assur (stanza
1) |
Semiramide
(stanza 2) |
|
A: Quella ricordati |
C : Notte
terribile! |
|
B: Notte di morte: |
B: Notte di morte! |
|
C: L'ombra terribile |
L: Tre lustri
corsero, |
|
B: Del tuo consorte, |
B: E del consorte |
|
D: Che minaccioso, |
M: L'ombra
sdegnosa, |
|
E: Infra le tenebre, |
E: Infra le tenebre, |
|
D: Il tuo riposo |
M: L'indegna sposa |
|
F: Funesta ognor. |
F: Minaccia ognor! |
|
G: I tuoi spaventi, |
G: I miei
spaventi... |
|
G: I tuoi tormenti, |
G: I miei
tormenti, |
|
H: Le angoscie, i palpiti, |
H: Le angoscie, i
palpiti, |
|
I:
Leggier supplizio |
I: A tuo supplizio |
|
J:
Sono al colpevole |
N: Gli Dei
rivolgano, |
|
K: Tuo ingrato
cor. |
K: Perfido cor. |
As can be seen above, there are many coincidence points between the two
stanzas and Rossini did not overlook those possibilities laid out by Rossi. In
fact, he seems to have taken great care in reflecting that structure in the
music.
In essence he used
a ternary form that can be expressed in the following order:
Section 1: mm. 211-232. This section sang by Assur corresponds to the first stanza of text. It
is mostly in G with a motion to e in mm. 216-222. The section is closed by an
unexpected P.A.C. to g. The surprise allows the piece to continue with
Semiramide’s entrance.
Section 2: mm. 233-251. This section in g is sang by Semiramide and corresponds to the second
stanza of text. Rossini used much of the same music from the first section
here. The I.A.C. at the end of the section allows for a continuation. Assur
also sings in this section but his lines are more of a kind of interjections
type.
Section 3: mm. 251-273. This section is the duet-proper section. It is set in G and employs
mostly lines FGGHI of the text. This section is sustained by frequent I.A.C.s
and closed by a cadenza.
Interesting parallels can be observed when comparing mm. 222-224 to mm.
241-243 for example. Both excerpts share similar text: A. Assur sings
“funesta ognor (rhyme F) – I tuoi spaventi (rhyme G)” ; B. Semiramide
sings “Minnacia ognor (rhyme F) – I miei spaventi (rhyme G.)” Rossini made
those two points coincide with similar harmonic motions—the first is a return
to G while the second exploits the third relation by going to Bb. As
seen in the table above, the parallel in the text continues for a few more
lines. Rossini made sure to emulate this relation in the music by reutilizing
the same melodic materials in both parts.
Rossini took further advantage of the parallels in the text to bring
Semiramide and Assur together in the third section of the cantabile. In what is
essentially a succession of imperfect authentic cadences, Rossini superimposed
the last few verses from both stanzas. This section is itself cut in two parts
elongated by a short coda (mm. 271-273.) Each section culminates with a
secondary dominant leading to ii (V7/ii in G.)
In a very quick tempo di mezzo, Rossini succeeds at changing the mood
completely. An unexpected modulation to Eb corresponds with festive
music heard in the background. This is music of celebration for the new
king-to-be, Arsace. Through that moment Semiramide regains confidence and a
hold of herself. This triggers a typical cabaletta in an AAB—AAB form with both
parts moving from tonic to dominant. To the core of this cabaletta is added
section C that serves as a sort of retransition in its first occurrence and
then as a lead to the coda in its second occurrence.
The A section of the cabaletta fits perfectly the conventions of 16-bar
melodies outlined by Steven Huebner in an article about lyric forms in
Ottocento operas.[8] Section A is
composed of two groups of two four-bar phrases. The first group of two bars is
structured in an antecedent-consequent period. In practical terms, mm. 331-334
is answered by mm. 335-338. This evidently corresponds to the first four lines
of the eight-verse stanza. The second group of two four-bar phrase starts with
what Huebner refers to as a ‘medial’ four bar phrase and is then followed by a
‘return’ of a melodic idea in the tonic key similar to the one used in the
first eight bars. This second group of four-bar phrase of course uses the
remainder four lines of the stanza. In the dominant key of F, Assur then
repeats this structure first uttered by Semiramide.
Second Grand duet: Semiramide – Arsace.
Our attention now turns to the second grand duet of the act, which has even
grander proportions than the first one. This number involves Semiramide and
Arsace. The scena employs again this intense recitative where the orchestra
punctuates the dialogue between characters (often with dotted rhythm—a chord of
sixteenth notes followed a chord of quarter notes.) Here as well the ghost of
Nino is evoked through the same motif (m. 42-43.) Quite remarkable is the
outburst of romanticism corresponding to a parallel evocation of Nino’s memory
(rather than his ghost.) Rossini allowed for a temporary motion to A major and
a complete change of pace to andante maestoso. This wave of loving warmth
however lasts only for five measures after which, there is a return to the
previous agitated mood. The end of the scena corresponds to Semiramide’s realization
that Arsace is her son. Rossini follows perfectly the logical structure of the
plot.
Table V: Scene 4: Grand duet form –Semiramide and
Arsace
For the convenience
of the analysis, I have started bar numbering at the beginning of Act II:
|
|
Scena |
Tempo d’attacco |
Cantabile |
Tempo di mezzo |
Cabaletta |
|
Bars |
1 – 88 |
89 -228 |
229-293 |
294-326 |
327-624 |
|
Tempo |
Allegro agitato
mm.1-41 ; Moderato (mm. 42-60 );
Andante maestoso. mm. 61-65 ; Return to
moderato not written in score |
Allegro agitato |
Andante sostenuto |
Allegro |
Allegro |
|
Text incipit |
“No: non ti
lascio” |
“Ebben, a te: ferisci” |
“Giorno d’orror” |
“Madre, addio” |
“Tu serena intanto il ciglio” |
|
Poetic meter |
versi sciolti |
Settenario |
Quinario dopio |
versi sciolti |
ottonario |
|
Key scheme |
c à Eb à (d) à (f) à A à E |
e à E à E à B |
G |
E à B7 |
E à B à E à Bà E |
|
Form |
--- |
AB-AB-C (aborted Section C) |
AB-coda |
--- |
AB-AB- Coda |
The tempo d’attaco in a traditional fashion brings the characters into a
confrontation. Unmasked by her son, the guilty queen of Babylon asks him to kill
her with no further a due. The allegro agitato conveys well this state of mind
where the characters react in a completely emotional manner. This agitation is
partly diffused through parlante melodico style where swift string melodic
motives responding to each other are accompanied by a constant buzz of
fast-paced repeated chords. Semiramide starts off the aria with a flamboyant
perfect forth to E and gradually ascent from this pitch to F and finally G
hence building gradually the tension. This first phrase covers the first
quatrain of verses. At this point Rossini put forth an unexpected and almost
jolly section in E major that sets the next two verses (punish your guilty
mother.) Perhaps the composer wished to appeal to a sentiment of pity in
Arsace, a sentiment that the audience might have shared. Indeed, the character
of Semiramide is not completely antipathic. Following Semiramide’s stanza,
Arsace sings another stanza moving from the tonic E to the dominant B. The
music is essentially the same as the first time around. To this AB-AB structure
is added an aborted section C that combines some elements of the two sections
and acts as a very quick transition to the cantabile.
In this cantabile are found again the familiar sixteen-bar aria
structure discussed earlier. The first eight-bar structure begins at m.234
(“Giorno d’orrore”) and ends with a half cadence at m. 240 (“in tal momento”).
To this first eight-bars antecedent responds a modulating consequent set of
eight bars starting at m. 246 (“scorda il mio core”) and closing with a phrase
moving to b minor (“Di sua terribile fatalita”) This first sixteen-bar
structure covers the first half of the stanza. A second structure starts off at
m. 250 (“e dolce al misero”) and ends at m. 267 (“Trovar pieta.”) As nothing
works without exceptions, this second structure is actually one bar longer than
the standard sixteen.[9]
Nevertheless, it covers the second half of the stanza. Rossini also added a
third structure covering a second time the last half of the stanza. This last
set starts at m. 267 (“e dolce al misero”) and ends on the downbeat of m. 284
(“Trovar pieta.”) Hence, Rossini emphasized the more loving and less anguishing
part of the text. To this third structure is added a short coda from mm.
284-293 that also emphasizes the loving sentiment of the text (“Trovar pieta.”)
In that manner this cantabile, as opposed to the one of the previous
duet, provides a moment of loving union and a halt from the high anxiety levels
of the plot. There is no question of confrontation here and Rossini portrays
that by having the two characters sing the same melody in thirds throughout the
air. Only the first half of the air provides allusions to the harsh situation
and Rossini made sure to underline this. For example, with the allusion to the
terrible fate of the day “Di sua terribile fatalita” Rossini allowed for a
motion to B minor that also corresponds with a sudden forte dynamic. A few
measures later he then paints the word “misero” with chromaticism. However, the
second part of the cantabile lets us forget about negative emotions through
love-filled lyrical lines.
This tender cantabile makes place for a swift and agitated tempo di
mezzo where Arsace bids farewell to his mother. Anxiety is back in full swing
here as Rossini paints the agitated mood through fast sixteenth-notes motifs in
the string and builds up to the dominant chord of B7.
The duet ends on a cabaletta of almost three hundred measures, a truly
grand scale. Similarly to aria structures discussed above, the cabaletta uses
units of sixteen bars. Rossini cleverly paints the question/answer character of
the text by using a series of antecedent-consequent phrases. For example, while
Arsace tries to reassure his mother in the first eight bars (“Tu serena intato
il ciglio”), Semiramide expresses her worries in a second set of eight bars
(“Ah! Non so di qual periglio”). After this a repeat of this unit of sixteen
bars, the text provides accelerated exchanges between the characters. Rossini
portrayed those rapid exchanges with short phrases of four bars (one verse of
text equaling four bars.) There are six sets of such four-bar units during
which Rossini, to further augment the excitement, uses a typical ground swell
as orchestral accompaniment to the fast-paced eight-notes of the soloists. The
effect literally lifts one up his feet and efficiently conveys the agitated
state of mind of the characters. This section culminates with the soloists
singing simultaneously for the first time (“Dal terribile cimento”). The composer
slowly brings the music to the dominant B7 hence, preparing the
repeat of the first section. After that repeat, the cabaletta ends on a
spectacular coda and the orchestra subtly reminds us of the tempo d’attaco
using similar swift string melodic motives responding to each other (mm.
612-619.)
The two duets analyzed above serve as examples of Rossini’s skill in
making original use of conventional aria structures. As Gossett mentions, the
composer uses that structure as a kind of kaleidoscope where internal details
such as melody, rhythm, and orchestration make the difference. Rossini’s skill
at matching closely the text never makes for a boring result. Transitory
movements during which the plot develops prepare each part of the aria. Despite
this classicism and music that could seem gratuitous to some, Semiramide
works. Rossini does indulge us in pure musical moments where music seems to be
there for the sake of music. This is the excitement of opera, the entertainment
that the average operagoer relishes. Beyond that, all those seemingly separate
numbers come together in one large structure of monumental quality. In a grand
manner, the opera closes the composer’s Italian career and sets a powerful
formal model against which a new generation of composers will be able to
compare.
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