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Donna Diana is a comic opera in three acts by Emil von Reznicek. The libretto, written by the composer, is based on a German translation by Carl August West (Joseph Schreyvogel) titled Donna Diana oder Stolz und Liebe (... or Pride and Love) of the Spanish comedy (Disdain with Disdain) by Agustín Moreto y Cavana.
The opera was revised by the composer twice, in 1908 and in 1933.. Revision of libretto in 1933 was by Julius Kapp, according to IMSLP.
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!Role
!Voice type
!Premiere cast, 16 December 1894 Conductor: | ||
| Leonore Better | ||
| Sarolta von Rettich-Pirk | ||
| Gustav Seidel | ||
| Adolf Perluss | ||
| Lina Carmasini | ||
| Three sounders of fanfares, a herald, knights, court servants, citizens, people | ||
The next scene opens on a brilliant crowd, welcoming the Count Sovereign of Barcelona and his daughter Donna Diana. The Count greets them graciously, and making a sign to the three gallant Princes, Don Cesar of Urgel, Don Louis of Bearne and Gaston Count de Foix, they advance to receive their laurels on bended knee from the Princess, who crowns Cesar with a golden wreath, while the two other princes each win a silver prize. When the ceremony is over, Don Diego turns to his daughter, asking her to choose a husband and give an heir to the country, but Diana declares that love seems like poison to her, and marriage death. Gaston and Louis, nothing daunted, determine to try their luck, and while the father prays to God to soften his daughter's heart, Cesar's courage sinks ever lower. Donna Diana alone is cool and calm, inwardly resolved to keep her hand and heart free. She is envied by her two cousins Fenisa and Laura, who would gladly choose one of the gallant warriors. Perrin now advises the Princes to try their wit and gallantry on the Princess. Gaston begins to plead his cause, declaring, that he will not leave Barcelona without a bride and Louis follows his example; both are greatly admired and applauded by the assistants, but Diana finds their compliments ridiculous and their wit shallow. Cesar without a word retires to the background, and when asked by the Princess why he does not compete with his rivals, answers "Because I will not love, nor ever wish to be loved; I only woo you, to show you my regard." Greatly mortified, Diana resolves to punish his pride.
Furious at being so easily duped she bids him leave her, and when alone resolves to have revenge. She calls Perrin to fetch her cousins, and charges him to let Cesar know that he can hear her sing in the gardens. Adorned with beautiful garments and surrounded by her attendants, she plays and sings sweetly as soon as she hears Don Cesar's steps. But he wanders in the grounds, admiring the plants, to all appearance deaf to beauty and song. Impatiently Diana signals to Floretta to let Cesar know, that he is in the presence of his Princess, at which, as awaking from a dream, Cesar bows to the Princess and excuses himself, leaving Diana in despair.
Diana sees Cesar approaching and determines to try again to in order to humble his pride. She explains that she has resolved to yield to her father, and give her hand to Prince Louis. For a moment Cesar stands petrified, but Perrin whispers not to believe in women's wiles. So he controls himself once more, congratulates her, wishing the same courtesy from the Princess, because, as he calmly adds, he has become betrothed to Donna Laura.
That is the last straw for Diana. Her reserve vanishes when her secret love for the hero, which she has not even admitted to herself, is in danger. She breaks down, and is found by her father, who enters, loudly acknowledging Don Louis as his son-in-law, and sanctioning Don Cesar's choice of Donna Laura. But Cesar begs to receive his bride from Diana's own hands, at which the latter rising slowly, asks her father, if he is still willing to leave to her alone the selection of a husband. Don Diego granting this, she answers: "Then I choose him who conquered pride through pride." "And who may this happy mortal be?" says Cesar. "You ask? It's you, my tyrant," she replies, and sinks into her lover’s arms.
It is one of the few works written in the unusual time signature of 3/16.
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