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IL VERO OMAGGIO

CANTATA

Offerta in umile e giusta riconoscenza
A SUA SACRA I. R. A. MAESTÀ
FRANCESCO I.
DALLA
R. CAMERA DI COMMERCIO
ARTI E MANIFATTURE
DELLA R. CITTÀ E PROVINCIA DI VERONA
DA ESEGUIRSI
NEL TEATRO FILARMONICO

CANTATA
Offered in humble and deserved gratitude
TO HIS HOLY I. R. A. MAJESTY
FRANCIS I.
BY THE
R. CHAMBER OF COMMERCE
ARTS AND CRAFTS
OF THE R. CITY AND PROVINCE OF VERONA
TO BE PERFORMED
IN THE TEATRO FILARMONICO

Poetry by
GIULIO GENOINO and GAETANO ROSSI

First performance:
Verona – Teatro Filarmonico
3 December 1822

Critical Edition by
PATRICIA B. BRAUNER

FONDAZIONE ROSSINI 2003

CHARACTERS:
IL GENIO DELL'AUSTRIA [The Spirit of Austria], tenor
ALCEO, castrato
ELPINO, bass
FILENO, tenor
ARGENE, soprano
Mixed chorus of shepherds, farmers, shepherdesses
Clemency, Faith, Justice, Valor, youths and maidens, silent

The scene represents a pleasant countryside on the banks of the Adige

Instrumentation: 2 Flutes/Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns*, 2 Trumpets, 3 Trombones, Timpani, Harp, Strings. Stage Band*: 1 Flute, 4 Clarinets, 2 Bassoons and Harp.

*(The second pair of horns and the stage band are used only in the Chorus, N. 8)

In creating Il vero omaggio, Rossini used the first six numbers of La riconoscenza (omitting only the finale), adopting some without change, but revising others and adding four new numbers. The first Aria for Argene was modified for the new character Alceo, sung by the famous castrato Giovanni Battista Velluti. Fileno's aria was rewritten for the bass, Elpino, and choral parts were added the the instrumental "concerto pastorale" following the trio. All the new numbers were added following the pieces from La riconoscenza: a new aria for Argene, a chorus, an aria with chorus for the Spirit of Austria, and a "Quintetto Grande Finale." Although Rossini kept the autographs of the two new arias with the score of La riconoscenza, no musical sources are known for the new chorus and finale, nor for the choral parts added to the instrumental movement, although these numbers are attested to in the libretto printed for the sole performance. Documentary evidence and knowledge of Rossini's compositional practice have enabled the editor to reconstruct these pieces for the critical edition.

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