Giovanna Gray is a tragic opera (tragedia lirica) in three acts composed by Nicola Vaccai. The libretto by Carlo Pepoli is based on the last days of the English noblewoman Lady Jane Grey who was executed for treason in 1554. The opera premiered on 23 February 1836 at La Scala, Milan, with Maria Malibran in the title role. It was a failure at its premiere, and the work never entered the repertoire. Malibran's performances in Giovanna Gray were the last time she appeared on the stage of La Scala.
Background
Giovanna Gray marked Vaccai's return to opera composing after a hiatus of almost 8 years. He composed it specifically for
Maria Malibran who had often sung Romeo in his earlier opera (and his only major success),
Giulietta e Romeo. As a vehicle for one of the reigning prima donnas of the day, the tragic story of Lady Jane Grey was an apt one and had been the inspiration for numerous plays, poems, and paintings.
Donizetti had thought of using it when his opera
Maria Stuarda ran into trouble with the censors in Naples and Milan.
[Ives (2011) p. 313] Vaccai's librettist, Carlo Pepoli, based the libretto on Nicholas Rowe's 1715 play
The Tragedy of Lady Jane Grey.
[Legger (2005) p. 11] According to Jean Marsden, a scholar of Restoration and 18th century literature, Rowe's play typified the dramatic subgenre of "she-tragedy", plays which focus on "the suffering and death of a female protagonist, whose protracted 'distress' represents the tragedy's main action."
[Marsden (2002) p. 501] Vaccai's operatic version was no exception. As the critic from
Teatri, arti e letteratura noted, the climax of the second act and the entire third act rested entirely on the shoulders of Malibran.
[ Teatri, arti e letteratura (10 March 1836) p. 9]
Premiere and reception
Giovanna Gray premiered at
La Scala on 23 February 1836 in a production with sets designed by Baldassarre Cavallotti and
Domenico Menozzi and lavish costumes by Giovanni Mondini.
[Archivi di Teatro Napoli; La Moda (25 February 1836) p. 67] The audience applauded Malibran's performance, if not the opera itself, although applause did break out briefly for Vaccai after the orchestral introduction and at the end of the opening chorus.
[ Glissons n'appuyons pas (24 February 1836) p. 96] Malibran herself had not been happy with the opera according to her lover, Charles de Bériot, in a letter written to Auguste de Louvois on the day before the premiere.
[Giazotto (1986) p. 367. Original French: "Maria jouera demain le soir la Giovanna Gray et elle n'est pas contente de l'opéra de Vaccaj et de soi mème." Auguste-Michel-Félicité Le Tellier de Souvré, marquis de Louvois was a close friend of Malibran and Bériot and was one of the witnesses at their wedding in Paris a month after the premiere of Giovanna Gray.] The press reviews of the opening night were scathing.
The critics complained that the opera was over-long and boring and that the four main characters (three of whom are dead by the end) failed to generate much sympathy from the audience. The critic from
Glissons n'appuyons pas noted that Malibran gave her all to a role which was very long and tiring, but in vain. The audience was applauding her effort rather than her success.
The tenor
Domenico Reina (who played Giovanna's husband) was pronounced weak and out of tune and
Ignazio Marini (who played her father) in poor voice and obviously not singing willingly. While there was some praise for the opera's orchestral introduction, described by the critic from
Teatri, arti e letteratura as the most "luminous" piece in the score, the rest of the music was criticized for its lack of imagination and originality.
However, it was Carlo Pepoli's libretto that came in for the worst criticism.
La Moda wrote that "it seems impossible that Maestro Vaccai, who lacks neither intelligence nor experience, would consent to set a mess like this to music."
[ La Moda (25 February 1836) p. 67. Original Italian: Pare impossibile che il Maestro Vaccai, al quale pure non mancano cognizioni, ed esperienza, si sia prestato a coprire di notte un simile imbratto] Teatri, arti e letteratura described the libretto as "in every aspect, one of the most monstrous productions that has ever come from the pen of a
poetaster."
[ Teatri, arti e letteratura (10 March 1836) p. 10. Original Italian: "sotto ogni aspetto, è una delle più mostruose produzioni che uscisse mai dalla penna di un poetastro"]
Shortly after the premiere, Casa Ricordi published several excerpts from the opera as sheet music, including the duet sung by Giovanna's husband and father in Act 2, Volgi il guardo intorno (Look around you), and Giovanna's final cavatina of the opera, "Cara deh! asciuga il pianto" (Dear one! Dry your tears). In April 1836, Teatri, arti e letteratura reported rumours that Giovanna Gray would be performed in London by Malibran at the Theatre Royal, Covent Garden and by Giulia Grisi at the Italian Opera House.[ Teatri, arti e letteratura (21 April 1836) p. 64] In the end, neither performance took place. Malibran's appearances in Giovanna Gray marked her last ones at La Scala.[Appolonia (1990) p. 144. Original Italian: "E siamo così giunti all'ultimo spartito che sia la Malibran sia Reina interpretarono alla Scala: Giovanna Gray, stiracchiato polpettone di Nicola Vaccai su parole di Carlo Pepoli."] She returned to London and created only one more role (Isoline in The Maid of Artois) before her death in September 1836 at the age of 28. Vaccai went on to compose three more operas, but like Giovanna, they soon fell into obscurity.
Roles
|
| Giovanna Gray (Lady Jane Grey) | mezzo-soprano | Maria Malibran |
| Lord Guilford (Lord Guildford Dudley), Giovanna's husband | tenor | Domenico Reina |
| Enrico Gray (Henry Grey), Giovanna's father | bass | Ignazio Marini |
| Giovanni Dudley (John Dudley), Lord Guilford's father | bass | Carlo Marcolini |
| Anna, Giovanna's friend | mezzo-soprano | Felicita de Bayllou-Hilaret |
| Il Lord Cancelliere, the Lord Chancellor | bass | Bartolomeo Mignani |
| Arturo, commandant of the Tower of London | tenor | Napoleone Marconi |
| Peers of the realm, courtiers, soldiers, guards, Giovanna's ladies-in-waiting |
Synopsis
London, 1553-1554 [Synopsis based on Carlo Pepoli's original libretto published in 1836.]
Act 1
Late at night in a courtyard of the King's palace, a chorus of noblemen and peers of the realm sing of the impending death of the young King Edward. Enrico Gray (Giovanna's father) recounts his visit to Edward's death bed. Later, trumpets sound and the doors to the royal apartments open. Lords, heralds, and guards descend the stairs from the apartment, followed by courtiers bearing torches and finally Guilford Dudley (Giovanna's husband) and Giovanni Dudley (his father). The king's death is announced. All lament and proclaim their loyalty to Giovanna, whom Edward has named as his heir.
In Giovanna's apartments her ladies-in-waiting, some of them playing harps, sing praises to her beauty, learning, and virtue. Giovanna and her friend Anna enter. She reflects on the death of the king and her own future with a sense of foreboding. Later, Guilford and his father discuss the threat posed by Edward's half-sister Mary who wants the throne at all costs. In her mother's apartments Giovanna, Guilford, and his father discuss the future. She is reluctant to assume the throne, but is eventually convinced by her husband. Enrico expresses his joy at the turn of events. Giovanni Dudley returns, accompanied by Lords, heralds, and officials bearing the royal regalia. Giovanna is proclaimed Queen as all present sing her praises. She vows to serve virtuously and be worthy of their trust.
Act 2
Giovanna and her court have taken up residence in the royal apartments of the Tower of London. Meanwhile, her rival, Mary, has assembled troops outside the city in an effort to gain the throne. In a vast gallery, the courtiers and privy councilors discuss the news of Giovanni Dudley's defeat in the battle with Mary's supporters and worry about their own fate. They decide to switch sides and proclaim their loyalty to Mary. Enrico laments their betrayal. Guilford enters and joins Enrico in his lament at the betrayal and Mary's impending victory: "Volgi il guardo intorno" (Look around you). He then vows to defend Giovanna with his life. Later, Giovanna seeks out Enrico, followed by her ladies-in-waiting. He appears troubled and she tries to find out why. Enrico attempts to hide the truth. Then Guilford arrives, distraught, to announce that his father has been beheaded and all appears lost. Giovanna, too, becomes distraught.
Outside, a chorus of soldiers who support Mary rejoice at her victory. Giovanna, Guilford, and Enrico reflect on the events and Giovanna insists that she will remain queen. Anna and Giovanna's ladies-in-waiting become terrified at the shouts of the soldiers outside. The Lord Chancellor enters to the sound of drumbeats. He is accompanied by soldiers, led by Arturo, the commandant of the Tower. The Lord Chancellor informs Giovanna that she has been deposed. In a lengthy finale, Giovanna accepts her fate, asks that only she be punished and that her husband and father be spared. She bids them all farewell.
Act 3
Giovanna is imprisoned in the dungeon of the Tower of London. She and her husband Guilford have been tried and sentenced to death for treason. Some of her relatives and the Lord Chancellor are present. Anna is asleep beside her. Giovanna's family deplore her fate. After they leave, the Lord Chancellor asks why Giovanna is dressed all in white. Anna tells him that her friend wishes to be dressed as a bride when she joins her husband in heaven. Giovanna becomes distraught and delusional, mistaking Anna for her mother. Anna bursts into tears. Giovanna recovers her composure and comforts her: "Cara deh! asciuga il pianto" (Dear one! dry your tears). Drums and a funeral march are heard outside the cell door. Guilford is being led to his execution. He and Giovanna bid each other farewell through the closed door as he passes her cell.
In the final scene, the cell door opens to reveal a staircase leading to the castle courtyard. It is lined with soldiers bearing torches. Judges and family members are gathered at the foot of the stairs. Arturo tells Giovanna that the hour of her execution has come. After singing a final prayer and farewell, Giovanna ascends the stairs. All present pray for her. She believes them to be a chorus of angels and sings to her dead husband. Her final words are "I'm coming to you dear bridegroom!" (The curtain falls.)
Musical numbers
Source:
[Based on Carlo Pepoli's original libretto published in 1836.]
Act I
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N. 1 - Introduction Dalla reggia ov'è lutto e terror (Chorus, Enrico, Dudley, Guilford)
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N. 2 - Chorus and Cavatine Chi non vide Giovanna la bella - Delle cetre e dell'arpe il bel suono (Giovanna, Chorus)
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N. 3 - Quartet Voce del Ciel divina (Giovanna, Dudley, Enrico, Guilford)
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N. 4 - Finale Act I Se tu nieghi, ah! Tu ben sai - Figlia, è pur ver? (Guilford, Giovanna, Enrico, Dudley, Chorus)
Act II
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N. 5 - Introduction Ansanti e perplessi gli araldi son spessi! (Chorus, Arturo)
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N. 6 - Duet Volgi, volgi il guardo intorno (Guilford, Enrico)
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N. 7 - Trio Dimmi, s'è ver che m'ami (Giovanna, Enrico, Guilford)
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N. 8 - Chorus Oh patria! Oh popolo! plaudi, ti desta
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N. 9 - Finale Act II Turbato nell'anima (Chancellor, Giovanna, Chorus, Guilford, Enrico, Chorus)
Act III
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N. 10 - Introduction Dormi, infelice, posati (Chorus, Chancellor)
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N. 11 - Chorus and Final Air Ai cantici del duolo - A me, diletto sposo... (Giovanna, Chancellor,, Chorus)
Other operas about Jane Grey
In reporting the poor reviews received by
Giovanna Gray, the
Revue et gazette musicale de Paris expressed astonishment that such an interesting and tragic subject had not been set by a composer capable of making it a dramatic success and suggested Meyerbeer, Rossini, or Halévy as possibilities.
[ Revue et gazette musicale de Paris (1 May 1836) p. 148. Original French: "N'est-il pas étonnant que cette jeune victime de la cruauté de Marie Tudor si intéressante dans l'histoire, n'ait jamais été mise à la scène par un génie capable de donner à son nom la popularité d'un succes dramatique? C'est aux Meyerbeer, aux Rossini, aux Halévy qu'il faudrait demander leurs inspirations musicales pour ce sujet si pathétique."] Several minor composers did subsequently attempt operas about Jane Grey but with little success. Antonio D'Antoni composed a version in 1848 for the opera house in
Trieste, but it was never performed.
's version,
Giovanna Grey, set to a libretto by Giovanni Pennacchi, had a "triumphant" premiere at the Teatro Comunale in
Ferrara in 1853 with
Luigia Abbadia in the title role.
[ La Fama (13 June 1853) p. 186. Original Italian: "il maestro ferrarese ottenne un compiuto trionfo."] It was performed again in
Jesi at the
Teatro Pergolesi the following year, but did not remain in the repertoire. Giuseppe Menghetti's
Giovanna Gray, which re-used Pepoli's libretto and premiered in Trieste during the carnival season of 1859, was soon forgotten.
[See Servizio Bibliotecario Nazionale (Italian National Library Service). Catalogue entry 0036803. Retrieved 20 January 2013 .][Giuseppe Menghetti (1824-1886) was born in Fano. He was the maestro di cappella at the cathedral in Sant'Angelo in Vado in the 1850s and for many years was the director of the music conservatory in Fiume. See Mazzatinti, Giuseppe (1932). Inventari dei manoscritti delle biblioteche d'Italia, Volume 51, p. 189. Leo S. Olschki ] A similar fate befell Henri Büsser's
Jane Grey which premiered in 1891.
tackled the subject with
The Chronicle of Nine, composed in 1984 to a libretto based on the stage play of the same name by Florence Stevenson. Rosner's work received a full recording in February 3 and 4, 2020, at Mechanics Hall in Worcester, Massachusetts, by Odyssey Opera with the soprano Megan Pachecano as Lady Jane Gray and the contralto Stephanie Kacoyanis as Lady Mary, then Queen Mary of England
,more than six years after the composer's death in November 8,2013.
Notes
Sources
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Appolonia, Giorgio (1990). Domenico Reina: biografia di un tenore luganese. Casagrande.
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Archivi di Teatro Napoli. Collezione Ragni: Libretti, Giovanna Gray. Retrieved 18 January 2013 .
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Giazotto, Remo (1986). Maria Malibran (1808–1836): Una vita nei nomi di Rossini e Bellini. ERI
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Glissons n'appuyons pas (24 February 1836). "Cronica teatrale"
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Ives, Eric (2011). Lady Jane Grey: A Tudor Mystery. John Wiley & Sons.
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La Fama (13 June 1853). "Teatri e Spettacoli", pp. 186–187
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La Moda (25 February 1836). "Teatro italiano"
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Legger, Gianni (2005). Drammaturgia musicale italiano: Dizionario dell'italianità nell'opera dalle origini al terzo millennio , p. 11. Fondazione Teatro Regio di Torino
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Marsden, Jean I, (2002). "Sex, Politics, and She-Tragedy: Reconfiguring Lady Jane Grey", SEL: Studies in English Literature 1500–1900, Volume 42, Number 3, Summer 2002, pp. 501–522
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Revue et gazette musicale de Paris (1 May 1836). "Nouvelles", Vol. 3, p. 148
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Rosner, Arnold (2002). Liner notes: Orchestral Music of Arnold Rosner Vol. 1. Albany Records TR548. Retrieved 20 January 2013.
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Teatri, arti e letteratura (10 March 1836) "Emporio teatrale"
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Teatri, arti e letteratura (21 April 1836). "Emporio teatrale"
External links
