Opera Simplified #6: I Lombardi alla prima crociata
I Lombardi alla prima crociata (The Lombards at the First Crusade)
Opera Simplified #6
The Basics:
Music: Giuseppe Verdi
Libretto: Temistocle Solera
Premiere: February 11, 1843; Teatro alla Scala, Milan.
Based on: Tommaso Grossi’s epic poem of the same name, available here in Italian.
Setting: Milan, Antioch, and various locations in the desert near Jerusalem; 1095-1099 CE.
Characters:
Arvino, a nobleman, one of the two sons of Lord Folco of Rò—tenor
Viclinda, his wife—soprano
Pagano, his brother—bass
Giselda, Arvino and Viclinda’s daughter—soprano
Pirro, Arvino’s squire—bass
Acciano, Governor of Antioch—bass
Sofia, his wife—soprano
Oronte, their son—tenor
A Prior of the City of Milan—tenor
Recommended Audio Recordings: if you can get over the presence of The Tenor Turned Baritone Who Shall Not Be Named [yours truly opts to skip over the parts featuring That Singer, as luckily there are not many such parts], this 1971 recording also starring Cristina Deutekom and Ruggero Raimondi is quite good (YouTube; Spotify). Another quite good recording, with That One Conductor From The Met Who Shall Not Be Named, June Anderson, Samuel Ramey, Luciano Pavarotti, Richard Leech, and young Patricia Racette and Ildebrando d’Arcangelo in supporting roles is this nice 1996 take (YouTube; Spotify). A third is this live recording from Parma in 2009 (YouTube; Spotify).
Recommended Video Recordings: The Met 1993 production, which has [unfortunately] the same conductor as the 1996 recording but also Ramey, Pavarotti, and the delightful Lauren Flanigan, is great (and also the source of the vast majority of the featured video clips). The 2009 Parma production is pretty good too, as is this 1999 Santiago production (Part I; Part II).
The Opera, Very Simplified: After one of the Folco brothers returns from exile to (allegedly) reconcile with his brother, who himself has been named leader of the Lombard forces for the First Crusade, things could not look more rosy. But when the brother just returned from exile horribly botches an attempt to murder the other brother, that combined with the family’s imminent departure for the Crusade throws the family into chaos, especially when the heiress to the family is captured by the enemy and summarily falls in love with a local prince...and who is the mysterious hermit helping the Lombards at every turn anyway?
A couple more things:
Here’s some quick geographical/historical context going in, courtesy of your history and European studies dual-degree student and series author.
DISCLAIMER: the author of this Opera Simplified would like to make explicitly clear that she roundly condemns both the Islamophobic nature of the Crusades and the Islamophobic sentiments that certain characters in this opera voice. At the same time, she has also written about how this opera was not intended to be Islamophobic, although there are certain potentially uncomfy aspects to the drama on account of the subject matter.
With that in mind,
THE OPERA:
Prelude (note: as written, this goes directly into the first act)
ACT I: La vendetta (Revenge) **
Scene 1:
Outside the Church of Sant’Ambrogio in Milan, 1095. Joyful music can be heard coming from the church. A bunch of men come out of the church into the square.
Some Men: THIS IS SO WONDERFUL
Other Men: I know, right? Everyone looked so happy!
Some Men: Yeah, well, everyone except Pagano. He still looks like he’s filled with terror.
All the Men: YEAH HIS EYES ARE STILL HOLLOW AND HE STILL LOOKS LIKE HE’S TORMENTED LIKE ALL THOSE YEARS AGO
I mean, we’re not saying it’s impossible to change, but really: it’s very rare for fury like a wolf’s to turn into peace like a lamb’s.
*A bunch of women run in.*
Women: Hey, it’s dark out, so out of curiosity, what’s going on in the church? Why does it sound so festive in there?
Men: Oh, haven’t you heard? It’s a ceremony of forgiveness and reconciliation between Pagano and his family. Pagano had to agree to it before his exile was allowed to be lifted.
Women: Exile? For what? Tell us!
Men: ...How do none of you know this story?
Women: Well, we do, but the audience doesn’t.
Men: *heavy collective sigh*...Fine.
So y’all know Viclinda, right?
Women: Yup! Great gal.
Men: Right. She was this young woman, very beautiful, very gentle and kind. So of course all the most eligible young bachelors in Milan wanted desperately to marry her. And two of those bachelors were Arvino and Pagano, the two sons of Lord Folco. And of course, Viclinda and Arvino fell head over heels for each other, and she picked him to be her husband.
Women: And now they’re such a wonderful couple!
Men: But that’s not all. Pagano couldn’t get over the rejection, so he swore revenge, and one day when Arvino and Viclinda were going to church, he tried to ambush and murder Arvino! Thank God it failed, but Pagano was sent into exile in the Holy Land so he could pray at all the holy places and repent of his sins. He’s been away for many years now, he’s done that, and now he’s been allowed to come back.
...You got that, audience?
Women: They can’t talk to you. That would be violating the commonly-accepted rules of operatic theatricality.
Men: SO WHY DID YOU HAVE US TELL THAT ENTIRE STORY IF WE CAN’T EVEN TELL WHETHER OR NOT THEY UNDERSTAND
Women: Because if you didn’t, they definitely wouldn’t. Now they have...a chance.
Men: Can’t they just read their program books?
Women: When has anyone ever read the program book? ***
Men: Touché.
Is there going to be any more of this quasi-metatheatrical, break-the-fourth-wall exposition-type thing?
Women: As far as we know, no.
Men: Good.
Women: HERE THE FAMILY COMES NOW THEY ALL LOOK SO HAPPY
Men: BUT PAGANO STILL LOOKS LIKE HE’S FILLED WITH TERROR
Everyone: YEAH HIS EYES ARE STILL HOLLOW AND HE STILL LOOKS LIKE HE’S TORMENTED LIKE ALL THOSE YEARS AGO
I mean, we’re not saying it’s impossible to change, but really: it’s very rare for fury like a wolf’s to turn into peace like a lamb’s.
*Pagano, Arvino, Viclinda, Giselda, and Pirro appear, preceded by Priors of the City of Milan and servants with torches. Pagano kneels.*
Pagano: Because this is the scene of my attempted crime, it is only fitting that this is the place where I, humble and repentant, ask forgiveness of all of you, the world, and God.
Arvino: Come here! Let me seal your forgiveness with a kiss.
*They kiss each other on the cheek and embrace.*
People: LONG LIVE ARVINO HE’S SUCH A GREAT PERSON
Viclinda, Giselda, Pirro, and People: And now, let there be peace!
Pagano: (What shame I feel!)
Giselda: Dad, are you alright? What’s the matter? You’re shaking, you’re turning pale...this should be a happy moment! I’m so happy our whole family is finally back together for the first time in my life; are you not happy too?
Arvino: (For a moment, I trusted him, I could have shared anything with him, but one look at the fury in his eyes and my whole heart froze up and now I’m suspicious...)
Pagano: (Pirro, you understand me. Not even Heaven itself will protect them from me! They dared to hurt me when I loved her all those years ago, and now they want me to play nice and make peace with them! Not happening!)
Pirro: (Pagano, whatever order you give me will be exactly what I do. I know a lot of people who would be more than happy to assist you; we can all meet up tonight to plan.)
Viclinda: I’m just happy that things seem to be looking up...my love, are you not happy too?
People: THEY’VE RECONCILED BUT STILL LET’S ALL HOPE THIS ISN’T LIKE THE KISS WITH WHICH JUDAS BETRAYED JESUS BECAUSE WE ALL STILL HAVE A LITTLE BIT OF A BAD FEELING ABOUT THIS
*One of the Priors of the City of Milan steps forward.*
The Prior: AND NOW FOR AN ANNOUNCEMENT
People: ooh we like announcements
The Prior: PETER THE HERMIT HAS BEEN GETTING EVERYONE SUPER-EXCITED ABOUT THE FIRST CRUSADE AND WELL LONG STORY SHORT THE PEOPLE OF THE CITY HAVE DECIDED THAT ARVINO WILL COMMAND THE LOMBARD CRUSADERS ****
Everyone: HOORAY
Arvino: I accept this challenge and I look forward to fulfilling my task even to bloodshed and beyond.
Pagano, today just got even better! Let’s vow to remain faithful to one another forever!
Arvino and Pagano: LET’S FORGET ALL THE HATRED BETWEEN US AND FIGHT TOGETHER AGAINST THE ENEMY
Everyone Else: MAY SHAME AND DISHONOR STRIKE ANYONE WHO BREAKS THEIR SACRED OATH AND IF ANYONE KILLS ANYONE ELSE MAY THE KILLER NEVER KNOW A MOMENT OF PEACE ON THIS EARTH
*Everyone leaves. A chorus of nuns begins to sing from offstage.* *****
Nuns: THE NIGHT IS DARK AND FULL OF TERRORS SO HYMN TIME
Dear God, please let us have sweet dreams and bring peace to the world and foil the plots of those who want to violate their sacred word and betray others...and in return, we will sing even more joyfully tomorrow!
*Pagano and Pirro enter.*
Pagano: hahahahahahahaha that’s hilarious that you really think that your prayers will be heeded because I myself about to do the exact thing y’all are praying won’t happen and I am not going to fuck it up
Pirro, I need you to understand something: I’m not inherently a bad person; IT’S LOVE’S FAULT I’M LIKE THIS BECAUSE LOVE COULD HAVE EITHER MADE ME THE BEST AND MOST PIOUS PERSON ALIVE OR MADE ME ACT LIKE THIS AND LOOK WHAT IT PICKED
Nuns: Bring peace to the world...
Pagano: And as for you, Viclinda, did you really believe I could forget you? While you’ve been off being happy, I’ve only been hurting because MY LOVE FOR YOU HAS ONLY GROWN WITH TIME IT’S LIKE A VOLCANO
I’M NEVER GONNA GIVE YOU UP NEVER GONNA LET YOU DOWN NEVER GONNA RUN AROUND OR DESERT YOOOOOOOOOOOOOOOOOU
Pirro: Hey, I’ve gotten a bunch of men together. You can rely on them to help you, just say the word.
Pagano: Let me see them.
*Pirro points to some nearby bushes, where the hired assassins are hidden.*
They need to set the palace on fire.
*The assassins come out of the bushes.*
It’s a very dangerous job I’m asking you to do: Arvino has lots of servants and guards. However, anyone who does their job well will be richly rewarded for their efforts.
Assassins: WE’RE NOT AFRAID WE DO THIS ALL THE TIME AND WE’RE REALLY GOOD AT OUR JOB AND WE LOVE IT LIKE WE CAN JUST GO KILL SOMEONE AND THEN GRAB A BITE TO EAT RIGHT AFTERWARDS IT’S GREAT
Nuns: Foil the plots of those who want to violate their sacred word and betray others...
Pagano: AT LAST MY REVENGE IS WITHIN SIGHT AFTER SO MANY YEARS OF BEING OBSESSIVELY IN LOVE AND OBSESSED WITH GETTING THIS ONE WOMAN AT ALL COSTS I DON’T CARE ABOUT ANYTHING ELSE JUST THAT ONCE UPON OF TIME I WOULD HAVE EVEN GLADLY SPILLED MY BLOOD IF IT MEANT WINNING HER BUT NOW I’LL WIN HER AND THE ONLY PERSON SPILLING BLOOD WILL BE ARVINO
Pirro and Assassins: JUST TELL US WHAT TO DO AND WE WILL DO IT
*They all leave.*
Scene 2:
A large passageway in the Folco family’s palace, which leads to Arvino’s rooms on the left and another set of rooms on the right. A single lamp lights the way. Viclinda enters, visibly worried.
Viclinda: I’m trembling all over, even in the depths of my soul...no. I don’t think he’s truly sorry for what he tried to do to Arvino and me. His face...that was a look of anger, not of repentance.
*Giselda enters.*
There you are, Giselda! Come here. This whole situation, it just feels so dangerous, and I’m willing to do just about anything to keep that danger away...so you and I, let us make a vow right here before God: if He protects Arvino tonight, you and I will go barefoot to the Holy Sepulchre and pray there. ******
*Arvino emerges from his rooms.*
Arvino: Viclinda, dear, take Giselda with you and go into my rooms, but do not go to bed just yet.
Giselda: Oh God! What’s happening? I don’t understand, what’s this danger everyone’s afraid of?
Arvino: My father will be staying with you two in my rooms for the night. I’ll go investigate—I think I hear people running around, here, in the middle of the night! To be fair, it could just be me being paranoid what with Pagano being back and all, but it never hurt anyone to check and make sure everything’s okay. You two, turn in for the night.
*He leaves.*
Giselda: Holy Virgin, hear my prayer...
*Giselda and Viclinda kneel.*
Hail Mary, full of grace, the Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Virgin, Mother of God, pray for us sinners, that He may look upon us in mercy at the hour of our death. Amen.
*They rise and go into Arvino’s rooms, leaving the passageway empty. After a few moments, Pagano and Pirro enter.*
Pirro: Come, the time is right: the coast is clear, and a servant told me that Arvino is already sound asleep in his room.
Pagano: Excellent! Put out that lamp. In just a minute, there will be plenty of light because THE FLAMES WILL BE LIT TO SIGNAL THE TRIUMPH OF MY VENGEANCE
Anyway, wait here.
*He cautiously enters Arvino’s rooms. Moments later, fire appears elsewhere in the palace.*
Pirro: THE HIRED MEN ARE SETTING EVERYTHING ON FIRE AND ALSO I HEAR SWORDS LET’S GO
*He draws his sword and runs off. Giselda runs out of Arvino’s rooms and off to find her father. Shortly after this Pagano enters, holding Viclinda at dagger point.*
Viclinda: OH MY GOD PAGANO YOU HORRIBLE MAN ARVINO HELP ME
Pagano: ASKING ME AT DAGGER POINT TO RELEASE YOU DOES NOT MAKE IT ANY MORE LIKELY THAT I WILL RELEASE YOU SO SHUT UP AND COME WITH ME
Viclinda: I WOULD RATHER DIE AT YOUR FEET
Pagano: WELL I’M NOT GOING TO LET YOU DIE BECAUSE I WANT YOU OH AND WHO EXACTLY IS GOING TO SAVE YOU FROM ME???
NO ONE WILL FREE YOU FROM ME AND THE ONLY PEOPLE WHO WILL ANSWER YOUR CRIES AND YOUR SCREAMING ARE MY HIRED ASSASSINS SO DON’T YOU EVEN THINK ABOUT RESISTING
*The fire within the palace is extinguished.*
ONCE AGAIN THERE IS NO ONE TO HEAR YOU
*Enter Arvino with Giselda, Pirro, servants, and other people.*
Arvino: ACTUALLY I’M HERE AND I HEAR HER
Pagano: (WHAT?! ARVINO?!?! HE’S SUPPOSED TO BE DEAD!!!)
Arvino: Well, I’m still very much alive and unharmed, thank you. ALSO WHAT THE FUCK ARE YOU DOING
Pagano: Wait...but I stabbed someone...I thought I killed you...and my sword is covered in blood...
So if I didn’t stab you at all, let alone kill you...then who did I kill?
Giselda and Viclinda: THAT WAS YOUR FATHER
Pagano: I KILLED WHO NOW?!?!?!?!
Everyone Else: WAIT OH MY GOD WHAT THE FUCK
*Pagano drops his dagger.*
Everyone Except Pagano: PAGANO YOU ARE A MONSTER FROM HELL AND WHY CAN’T THE EARTH JUST SWALLOW YOU UP OR GOD STRIKE YOU DOWN WITH LIGHTNING RIGHT NOW BECAUSE HEAVEN RECOILS FROM YOU IN HORROR
Pagano: CAN THE EARTH JUST SWALLOW ME UP OR GOD STRIKE ME DOWN WITH LIGHTNING RIGHT NOW BECAUSE THIS WENT REALLY, REALLY WRONG AND NOW HEAVEN RECOILS FROM ME IN HORROR
Arvino: MOTHERFUCKER YOU MURDERED YOUR OWN FATHER SO NOW I’M GOING TO MURDER YOU BECAUSE FAIR IS FAIR AND THIS IS DEFINITELY NOT HYPOCRITICAL AT ALL AND YOU’LL DIE UPON THE CORPSE OF THE FATHER YOU MURDERED
*He makes to stab Pagano but Giselda intervenes.*
Giselda: EVERYONE PLEASE STOP TRYING TO MURDER EACH OTHER BECAUSE TWO WRONGS DON’T MAKE A RIGHT AND ALSO IT’S NOT GOING TO RESOLVE ANYTHING IT’LL JUST MAKE EVERYTHING WORSE
Pagano: OH SO ARVINO NOW YOU’RE HESITATING??? LOOK I’LL JUST TAKE MY OWN LIFE THEN SO ALL’S AVENGED
*He grabs his sword and attempts to kill himself, but the guards prevent him.*
The People: YOUR PUNISHMENT WILL BE TO LIVE WITH YOUR GUILT IN EXILE BECAUSE THAT’LL BE MORE OF A TORMENT TO YOU THAN DEATH
Pagano: GOD HAS STRUCK ME WITH THE MARK OF CAIN BECAUSE I ACCIDENTALLY KILLED MY OWN FATHER AND NOW I’LL HAVE TO LIVE WITH MY TERROR UNTIL I DIE AND NO MATTER WHERE I GO I WILL NEVER KNOW ANY PEACE BECAUSE MY DEMONS WILL ALWAYS BE THERE
Everyone Else: GOD HAS STRUCK YOU WITH THE MARK OF CAIN AND TERROR WILL CONSUME YOU EVEN MORE THAN ALL THE TORMENTS OF HELL AND NO MATTER WHERE YOU GO YOU WILL NEVER KNOW ANY PEACE BECAUSE YOUR DEMONS WILL ALWAYS BE THERE
Notes
ACT II: L’uomo della caverna (The Man of the Cave)
Because Solera apparently thought it would be a great idea to scatter a bunch of exposition in a rather confusing manner throughout Act II, here’s a roundup of most of the major stuff that happened in between acts.
Scene 1:
A hall in Acciano’s palace in Antioch, 1098. Acciano is seated on his throne; before him stand ambassadors, soldiers, and people.
Ambassadors: SO ALL OF THESE THINGS YOU’RE SAYING ARE TRUE?!?!
Acciano: ...Yup. I saw them and their weapons with my own two eyeballs.
Ambassadors: THE SHEER AUDACITY THEY HAVE TO THINK THAT THEY CAN JUST UP AND LEAVE THEIR HOMES AND RUN ALL OVER OURS BUT THEY WILL BE STRUCK DOWN BY THE PROPHET MOHAMMED’S THUNDERBOLTS
Acciano: They’re cruel and mean and ruthless! All they do is rape and pillage and murder and all they leave behind is destruction!
Everyone: ALLAH WE ARE UNDER ATTACK SO COME DOWN AND HELP FIGHT FOR US AND PUNISH THE ENEMY AND THAT WILL MAKE US EVEN BRAVER
WE SWEAR TO PUT ASIDE OUR DIFFERENCES AND RIVALRIES SO WE CAN RISE AS ONE AND DO OUR BEST SO WITH YOUR HELP THEY WON’T BE ABLE TO ESCAPE
*They exit. Oronte and Sofia, the latter veiled, meet up.*
Oronte: Mom, what’s Giselda doing? How is she?
Sofia: The bad news: she’s still pretty much the same—she’s still sighing, weeping, crying out for her family...poor girl. The good news: she loves you.
Oronte: YAAAAAAAAAAAAAAAAAAAY THERE IS NO ONE ON EARTH HAPPIER THAN ME BECAUSE I LOVE HER SO MUCH
Sofia: (Dear God, please let this be a way to touch my son’s mind and heart!)
Oronte: If only I could make her as happy as I am! If only I could use my love to make the universe even more harmonious and beautiful, especially for her! If only we could go to Heaven together and fly where no other mortals can go and try to keep us apart!
Sofia: About that last thing you said...You do know that you cannot marry her if one of you doesn’t convert, and it would be better if you were the one to convert to her faith.
Oronte: Oh, I completely agree with you!
Sofia: Thank God!
Oronte: You know, I keep thinking that she must be right and that her God must be the true God!
I mean, think about it: how could Heaven create such a wonderful, lovely angel of a woman and not grant her divine truth? Please, take me to her, let me see her, let me find comfort for my mind and heart with her!
Sofia: AN ANGEL HAS GRANTED YOU THIS LOVE IN ORDER TO SAVE YOU
Oronte: HOW COULD SHE BE WRONG LET ME SEE HER AND FIND COMFORT WITH HER
*They leave.*
Scene 2:
A mountain overhang outside of Antioch, which has the opening to a cave; June 2, 1098. A hermit emerges from the cave. **
The Hermit: Still nothing...absolutely nothing! WHEN WILL THE CRUSADERS EVER GET HERE??? WILL I NEVER GET THE CHANCE TO REDEEM MYSELF BY FIGHTING AGAINST THOSE WICKED MUSLIMS???
Still nothing...absolutely nothing! When will I ever have peace? But really, that is folly to even think about—I do not deserve peace. But God alone is just, and may He bless grief and suffering.
And yet...when I hear the Crusaders cry “God wills it!”, when I see their crosses shine...MY HEART WILL COME ALIVE AND I’LL TAKE MY SWORD AND FIGHT AND WIN FORGIVENESS
*He sees a figure in the distance.*
Wait, who’s coming here?...He’s dressed in Muslim garb; I need to get inside my refuge!
*He turns to retreat into the cave as Pirro enters.*
Pirro: DON’T LEAVE HAVE MERCY ON ME EVERYONE’S SAYING YOU’RE THE ONE TO COME TO WITH SPIRITUAL MATTERS AND SUCH BECAUSE YOU’RE SO HOLY AND I NEED ABSOLUTION
*He kneels before the Hermit.*
Okay, so: my name is Pirro. I’m originally from Lombardy but I assisted in what turned out to be a patricide, so I fled here and renounced my faith, but I feel HORRIBLE about that so PLEASE FORGIVE ME
The Hermit: Get up! Take heart! It’s not too late for you.
Pirro: If it's relevant at all, I’m also in charge of the gates of Antioch.
*Loud noises and military music can be heard in the distance.*
The Hermit: What’s that noise?
Pirro: Those are the Crusaders.
The Hermit: DID YOU SAY THOSE ARE THE CRUSADERS ARE YOU TELLING ME THE TRUTH
*Pirro nods.*
WELL THEN WE CAN BOTH FIND FORGIVENESS WITH THE CRUSADE THANKS BE TO GOD THERE IS NO LIMIT TO HIS MERCY
Pirro, I will grant you full forgiveness of your sins if you open the gates of that wicked city to the Crusaders and let them in and give the city over to Heaven!
*The military music is now much closer.*
Pirro: I SWEAR THAT I MYSELF WILL OPEN THE GATES OF ANTIOCH TO THE CRUSADERS TONIGHT
The Hermit: THEY’RE ALMOST HERE HALLELUJAH
*The Crusaders begin to arrive at the hermitage.*
OH MY GOD THEY’RE LOMBARDS
Pirro: AND I’M STILL IN HOT WATER WITH THEM
The Hermit: Go, claim sanctuary in my cave.
*The two of them go into the cave. The Hermit quickly reemerges with a sword and donning a helmet as the Lombard Crusaders, led by Arvino, enter.*
NOW I CAN USE YOU AND BE A WARRIOR AGAIN MY WONDERFUL SWORD AND HELMET
Arvino: Are you the hermit who lives here?
The Hermit: Yes, that would be me. What do you ask of me?
Arvino: Your prayers, so we do not have any chance of being struck with God’s wrath. You’re the only one who can intercede with God to prevent that!
The Hermit: ...Do you know who I am?
Arvino: YEAH YOU’RE THE SUPER-EFFECTIVE HERMIT EVERYONE IN THE AREA TOLD US ABOUT THEY SAID THAT GOD HIMSELF APPEARS TO YOU
Anyway, I have a bit of a problem on my hands: my daughter Giselda was kidnapped by a band of Muslims. I tried to pursue them and get her back, but they were too fast for us, so as far as I know she’s being held prisoner in Antioch. And also this is definitely the only thing I’m worried about right now and her safety and well-being are definitely my top priority and this is definitely the only reason we’re trying to get into Antioch.
The Hermit: Tell me one thing: do you have a large and strong army?
Arvino: Yes.
The Hermit: Alright, then you should be seeing your beloved daughter very soon.
Arvino: I’m just going to completely ignore you saying that and instead show you the AMAZING army we’ve put together!
*He leads the Hermit to a lookout point.*
See that? That’s all of Europe right there, all gathered under Godfrey of Bouillon and ready to strike! ***
The Hermit: THAT’S THE MOST BEAUTIFUL THING I’VE EVER SEEN IN MY LIFE but anyway it’s starting to get dark so we need to get a move on
FOLLOW ME BECAUSE I SWEAR TO YOU THAT TONIGHT YOU WILL BE WITHIN THE WALLS OF ANTIOCH AND THIS IS DEFINITELY DIVINE INTERVENTION AND MY SUPER-STRONG FAITH AND I’M NOT SAYING THAT BECAUSE I JUST GOT INTEL OR ANYTHING
Arvino: YOU’VE CALLED US TO GLORY AND WE ARE BURNING WITH HOLY ZEAL READY TO FIGHT
Everyone: STUPID ALLAH OUR WRATH WILL FALL UPON YOU AND WE WILL WIPE ISLAM OFF THE FACE OF THE EARTH SO THE HOLY WORD OF OUR GOD WILL RESOUND EVERYWHERE
THE CROSS IS ALREADY SHINING WITH LIGHT THAT LOOKS LIKE THE BLOOD WE’LL SHED WHEN WE TRIUMPH OVER THE BARBARIC INFIDELS AND KILL THEM ****
*They all leave.*
Scene 3:
Inside the harem of Acciano’s palace in Antioch, later the same day. Giselda is dejectedly sitting on a sofa; the other women of the harem are scattered around the room, gossiping about her.
Women: LOOK AT THE BEAUTIFUL FOREIGN GIRL WHO CAPTURES EVERYONE’S HEARTS LET’S ALL DANCE AROUND HER
Why is she always crying when she has the best of everything and Oronte only loves her? Hmm, why did you leave your family and your home behind? Was it perhaps because you couldn’t find a lover to suit your whims and thought you’d have better luck here?
Look at those splendid eyes...oh, what does the foreign beauty desire? We’ll definitely do it for her! Such a foolish and proud girl—she’ll soon see her family and people be beaten and die!
Alright, let’s go, she’s too depressed, perhaps she wants to be alone and pray again...what a strange girl, this foreign beauty!
*They run off, leaving Giselda alone.*
Giselda: MOM I KNOW YOU’RE NOT HERE ANYMORE BUT PLEASE I NEED YOU MY PEACE IS GONE AND I’M SUFFERING
Why did you leave me? Now I’m here, alone, in a strange land trying to figure my life out for the first time...and I’m in love with someone my faith says I should not love, which only makes me feel worse...PLEASE HELP ME
I’ve prayed that you will miraculously be returned to me, but if such prayers are useless and you cannot come back from Heaven, then let me die and join you! All I can see in my future is endless suffering...why can I not just die? Let me die and see you again!
Women: *from offstage* WHO WILL SAVE US
Giselda: WHAT’S GOING ON
Women: *still offstage* EVERYONE OUT RUN FOR YOUR LIVES
Crusaders: *also offstage* KILL THEM ALL
*Turkish soldiers, Crusaders, and women of the harem all run onstage in confusion.*
Women: WHO WILL SAVE US FROM THESE BARBARIANS IF THE PROPHET HAS ABANDONED US
Giselda: THE CRUSADERS ARE HERE?!?!
*Sofia runs onstage in a state of panic.*
Sofia: GISELDA A TRAITOR OPENED THE GATES TO THE CRUSADERS AND NOW THEY’RE MASSACRING AND PILLAGING EVERYONE AND EVERYTHING AND ALSO THEY KILLED BOTH MY HUSBAND AND MY SON
Giselda: WAIT WHAT THE FUCK
*Arvino enters with the Hermit and more Crusaders. Sofia points to him.*
Sofia: THERE’S THE MAN WHO KILLED THEM BOTH
Giselda: MY FATHER?!?!?!?! MY OWN FATHER?!?!?!?!?!?!
The Hermit: *pointing to Giselda* As promised, here she is, safe and sound.
Arvino: GISELDA LET ME EMBRACE YOU AGAIN
Giselda: *recoiling from him* ABSOLUTELY FUCKING NOT YOU ARE COVERED IN HUMAN BLOOD
Sofia: What grief I feel...
Giselda: No!...No!
IT IS NOT THE JUST CAUSE OF GOD TO DROWN THE EARTH IN HUMAN BLOOD THIS IS INSANITY AND YOU ALL JUST WANT THE WEALTH OF THE MUSLIMS AND YOU’RE USING RELIGION AS A COVER BECAUSE HEAVEN NEVER WANTED THIS
No! God does not will it. GOD DOES NOT WILL IT
Arvino and the Crusaders: WHAT AM I HEARING?!?!?!?!?!?!
The Hermit and Sofia: (Oh, poor girl!)
Giselda: GOD HAS LIFTED THE BLINDFOLD FROM MY EYES THE VANQUISHED WILL RISE AND THEY WILL HAVE THEIR REVENGE AND IT WILL BE TERRIBLE AND NONE OF YOU WILL DIE IN YOUR HOMELAND
YOU HAVE SLAUGHTERED INNOCENT HUMAN BEINGS AND SUCH SLAUGHTER HAS ALWAYS OFFENDED GOD BECAUSE HE CARES ABOUT ALL HUMANKIND
Arvino: YOU ARE COMMITTING BLASPHEMY AND SACRILEGE
Giselda: YOUR HEADS WILL BECOME THE PLAYTHINGS OF THE WIND AND WHAT YOU HAVE DONE TO THE PEOPLE OF THIS REGION THE PEOPLE OF THIS REGION WILL DO TO ALL EUROPE BECAUSE IT WAS NEVER THE WORD OF GOD FOR HUMAN BLOOD TO BE SHED LIKE THIS
NO GOD DOES NOT WILL THIS HE ONLY CAME DOWN TO EARTH TO SPEAK OF PEACE HE DOES NOT WILL THIS
The Hermit: (GISELDA SHUT UP YOU’RE BEING RASH AND THIS WILL NOT GO OVER WELL FOR YOU)
Arvino: *drawing his dagger* MAY YOUR DEATH WIPE THOSE BLASPHEMOUS OBSCENE WORDS FROM YOUR LIPS
Giselda: STRIKE ME AND KILL ME THEN I DON’T FUCKING CARE ANYMORE IF ANYTHING IT WILL ONLY PROVE MY POINT
*Arvino attempts to stab Giselda but is stopped by the Hermit.*
The Hermit, Sofia, the Crusaders, and the Women: WHAT THE ACTUAL FUCK ARE YOU DOING CAN’T YOU SEE THAT SHE’S LOST HER MIND
Arvino: FIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIINE I GUESS THAT’S FAIR
Giselda: I HAVEN’T LOST MY MIND STRIKE ME DOWN I DON’T FUCKING CARE ANYMORE
*The scene descends into mass confusion.*
Notes
ACT III: La conversione (The Conversion)
Scene 1:
The Kidron Valley, in which are scattered several hills, of which the most important is the Mount of Olives. Jerusalem can be seen in the distance; an unspecified but presumably significant amount of time (although no more than a year) after the previous act. Crusaders and pilgrims cross the scene. **
Crusaders and Pilgrims: JERUSALEM THE PROMISED CITY WE ARE ALMOST THERE WE’VE SHED SO MUCH BLOOD ALREADY IN THE NAME OF GOD AND OUR PALM GARLANDS ARE READY FOR WHEN WE ARRIVE
Women: WE LOVE SEEING THESE HOLY PLACES AND WEEPING AT THEM AND WE HOPE TO BE ABLE TO DIE HERE AND THEN OUR SOULS WILL FLY TO GOD
Men: HERE ARE ALL THE HOLY PLACES OF CHRIST’S FINAL DAYS AND DEATH AND RESURRECTION
Crusaders and Pilgrims: WE HOPE TO BE ABLE TO DIE HERE AND THEN OUR SOULS WILL FLY TO GOD
THIS LAND IS SUCH A BEAUTIFUL AND SACRED PLACE AND THE LIVING GOD WILL COME HERE AND BE TERROR TO THE INFIDELS
*They go out singing.*
JERUSALEM!!!...Jerusalem...
*Giselda wanders in.*
Giselda: I’m wandering alone...where am I? I had to get out of there, I felt like I was being suffocated in my father’s tent...I need air, free air; here everything is open, free desert...there’s no sounds, not even song...
My mind cannot bring itself to think about God...I can think of nothing but love...
*During these last words, Oronte, still very much alive, enters.*
Oronte: GISELDA IT’S YOU
Giselda: *seeing him* OH MY GOD I MUST BE LOSING MY MARBLES
Oronte: NO YOU’RE NOT I’M HERE WITH YOU YOU’RE IN MY ARMS
Giselda: No...this has to be a dream...
*She starts sobbing.*
But my tears are bathing your forehead, so this must be real...
Oronte: GISELDA YOU DIDN’T FORGET ME
Giselda: OF COURSE NOT I’VE SPENT ALL MY TIME MOURNING YOU BECAUSE I THOUGHT YOU WERE DEAD
Oronte: Well, when the Crusaders attacked, I was just thrown down and hurt. I wanted to see you again more than anything, so I fled and I’ve been wandering around here ever since, trying to find you...I found these garments that look a little more like what your people wear and put them on, just so I might have a better chance of seeing you one more time...that’s all I wanted: to see you one more time and then die!
Giselda: NO YOU WON’T DIE
Oronte: I’ve lost everything: my family, my home, my throne, my friends, and any chance at life with you!
Giselda: YOU HAVEN’T LOST THAT CHANCE I WILL RUN AWAY WITH YOU
Oronte: Giselda, you really want to do that?
Giselda: YES I LOVE YOU
Oronte: Giselda, I love you too and that’s exactly why I would encourage you to not do that.
Listen: my life is cursed—I have virtually nothing to offer you. Like I said, I’ve lost everything and now I live by wandering. I shelter in caves when I can but sometimes I simply must face storms all alone in the open. If we were to somehow marry, your wedding bed would be the desert sands and you would only have the hyenas to sing to you. This poor life and my love are all I can offer you. Are you sure you would be willing to live like this?
Giselda: WHAT ARE WE WAITING FOR LET’S GO WE DON’T HAVE MUCH TIME
Oronte: Are you sure about this?
Giselda: I LOVE YOU AND THAT’S WHAT MATTERS
Oronte: I LOVE YOU TOO LET US DEFY EVERYTHING ON EARTH TOGETHER
Giselda: YOU’RE EVERYTHING TO ME
Oronte: YOU ARE WORTH MORE THAN THE KINGDOM I LOST
Giselda: Wait! One more look. Goodbye. Goodbye world. Goodbye, Lombard tents. Goodbye to breezes like the ones from home....and everything I’ve ever known. Something better and more beautiful and more divine is waiting for me. Mother up in Heaven, forgive me...this is such a great love, and it will redeem us...
Oronte: You’re leaving your entire world behind for me...and I am for you...we will weep together and love each other like we have one heart! And the God you worship—I will worship the very same God!
Crusaders: *nearby* TO ARMS
Oronte: WHAT’S THAT NOISE
Giselda: The Lombards...their camp is nearby...they’re probably going to pursue us...I’m afraid for you...
Crusaders: TO ARMS
Giselda and Oronte: ALRIGHT LET’S GO NOTHING IN HEAVEN OR ON EARTH CAN DIVIDE US EXCEPT DEATH
Crusaders: TO ARMS TO ARMS TO ARMS
*Giselda and Oronte run off together.*
Scene 2:
Arvino’s tent in the Lombards’ camp, near the Kidron Valley. Arvino is alone.
Arvino: WHAT THE ACTUAL HELL DID I JUST SEE?!?!?!?!
So horrible, so disgraceful—I am simply paralyzed with rage and terror...to review: my daughter ran off with a Muslim prince, a man DAMNED BY GOD—I CANNOT BELIEVE IT!!!!!!!!!!!!!!!
At least the Hermit and a bunch of my men went chasing after them, I guess.
GISELDA YOU WICKED IMPIOUS DISGRACEFUL WHORE AND DISHONOR TO MY NAME I WISH YOU HAD DIED IN YOUR CRADLE BECAUSE THAT WOULD HAVE BEEN BETTER THAN YOU GROWING UP TO BE A SACRILIGEOUS WICKED EVIL WOMAN AND I ALSO WISH THAT YOU HAD NEVER BEEN BORN AT ALL
*Several Crusaders enter.*
What’s going on?
Crusaders: There have been multiple confirmed sightings of Pagano lurking around our tents—
Arvino: OH MY GOD YOU HAVE GOT TO BE KIDDING ME
Crusaders: WHY IS HE HERE OBVIOUSLY THIS HAS SOMETHING TO DO WITH THE WRATH OF GOD STRIKING US WITH SO MANY MISFORTUNES SO WE ALL NEED TO GET TOGETHER AND PUNISH HIM BECAUSE HE CANNOT ESCAPE ALL OF US
Arvino: WELL OBVIOUSLY HEAVEN AND I HAVE BOTH MADE A MISTAKE BY NOT PUNISHING HIM BUT I AM ALREADY SO READY TO KILL THAT WICKED BASTARD AND EVEN IF HE WERE HIDDEN IN HELL ITSELF HE COULDN’T ESCAPE ME
*They all leave together.*
Scene 3:
This scene begins with a mini violin concerto because why not. It’s gorgeous.
The interior of a grotto. Through an opening in the rear can be seen the banks of the Jordan River. Giselda enters, supporting Oronte, who has been mortally wounded.
Giselda: Here...rest here...
*She lays him down on a boulder.*
What a horrible wound those cruel men gave you!
Oronte: Giselda...I’m dying...
Giselda: (I am disgusted, I am revolted, I dedicate my entire life to our Lord and Savior Jesus Christ, and this is the thanks I get?!)
Oronte: GISELDA I’M DYING
Giselda: I KNOW FOR MERCY’S SAKE I LOVE YOU AND PLEASE BE QUIET BECAUSE SHOUTING WILL ONLY MAKE IT WORSE
You’ll recover...you have to...I’ve already bound up and closed your wound...
Oronte: Giselda, you are so kind, but it’s useless...
Giselda: ALRIGHT GOD MY FAMILY AND I HAVE ALL WORSHIPPED YOU BUT I HAVE SOME CHOICE WORDS TO SAY TO YOU
YOU TOOK MY MOM FROM ME AND LEFT ME ON EARTH IN MY SORROW AND THEN I FOUND TRUE LOVE AND NOW YOU’RE TAKING HIM FROM ME TOO BECAUSE YOU ARE CRUEL AND—
*The Hermit enters.*
The Hermit: WHO HERE IS BLASPHEMING AND CHALLENGING GOD
*He takes one look at Giselda and Oronte.*
This love is a sinful one.
Giselda: ...Why do I suddenly feel really awful?
The Hermit: That’s Catholic guilt for you.
Oronte: Who are you?
The Hermit: I am a man who can bring you new life if you turn to our faith.
Giselda: God inspires him...
Oronte: Giselda, at last, you’ve really done it...I’ve wished for this many times that it would be able to happen...and now, thanks to you, it is...sir, you are a man of God...come here...
The Hermit: You do not call upon Heaven in vain—in this moment, it shows you its glories!
*He retrieves some water from a spring in the cave connected to the Jordan.*
May the holy waters of the River Jordan grant you new life. While you are at the point of death, I baptize you in the name of the Father, and of the Son, and of the Holy Spirit. Amen.
*And as such, he baptizes Oronte.*
Giselda: Now no one, not even Heaven itself, can honestly say our love is a sin...
ORONTE I’M BEGGING YOU PLEASE LIVE
Oronte: I suddenly feel new vigor, new life flowing through me...through all my veins...and it feels so wonderful...help me, Giselda! I can barely see you anymore!
Giselda: No...Oronte, please don’t die...wait for me...we’ve lived through so much together already, so it’s only fair that we should die together...not have it be like this...
The Hermit: He’s dying; take this moment seriously. Both of you, turn your heads and fix your gazes, your whole beings upon God!
Giselda: Why are you leaving me behind when I love you so much? Why won’t the angels let me go to Heaven with you right now?
The Hermit: Young lady, your love here on earth may have been rewarded with nothing but sorrow, but take heart! One day, among the angels, your love will be rewarded with bliss! Have hope!
Oronte: Giselda...come here...let me feel your tears...
You have opened Heaven up to me, Giselda, and I will wait for you...I’m dying...I will wait for you in Heaven!
*He dies.*
ACT IV: Il Santo Sepolcro (The Holy Sepulchre)
Scene 1:
A cave near Jerusalem. Giselda is sleeping alone inside when she begins to have a vision of celestial spirits. Summer 1099.
Celestial Spirits: GISELDA REJOICE THANKS TO YOU A SOUL HAS BEEN REDEEMED AND IS COMING INTO PARADISE AND YOU DESERVE SOME OF THAT HEAVENLY JOY SO COME...COME!!!
*Giselda rises, but is still dreaming.*
Giselda: The cave is shining with these ethereal spirits...yes! yes! I beg you, let me die, let me see the eternal dawn, let me join those I love in Heaven...
Oronte? Are you there among the angels? Why aren’t you saying anything? LET ME SEE HIM LET HIM TALK TO ME
*Her prayer is summarily granted and Oronte’s soul appears.*
Oronte: Thanks to you, Giselda, I’m in Heaven and God has already accepted my prayers...I must tell you something.
Giselda, your people are dying of thirst in the desert and they are losing all hope. Run to them, tell them to have hope, and tell them that the fountain of Siloam will be gushing fresh water for them! ***
Oronte and the Celestial Spirits: Come, Giselda, for your share of heavenly joy...come...
*The vision disappears and Giselda fully awakens.*
Giselda: A miracle...a cave changed into Heaven and then back again...no, it must have been a dream! But suddenly I feel so much strength in my heart...no, it was not a dream!
IT WASN’T A DREAM I CAN STILL HEAR HIS VOICE AND SEE THAT VISION OF HIM HOLDING THE PALM LEAVES OF THE BLESSED SOULS SO I’LL GO TELL THEM ABOUT THE FOUNTAIN LET’S GO EVERYONE THE WATER WILL REVIVE YOU
*She runs off.*
Scene 2:
The Lombard camp, in the desert near the tomb of Rachel outside of Bethlehem; July 15, 1099. The Crusaders and pilgrims are exhausted and dehydrated. ****
Crusaders and Pilgrims: Dear God, we have followed Your will here on this Crusade, but we’re fighting a losing battle, we’re exhausted, we’re on the brink of death by thirst...O Lord, do not let us become fodder for mockery by the enemy!
Lombardy is such a beautiful place...don’t you remember the breezes and waters and vineyards of home? GREAT NOW THAT THOUGHT JUST MAKES OUR CURRENT CONDITIONS SEEM EVEN WORSE AND ALSO WE’RE MASSIVELY HOMESICK NOW
Giselda, Arvino, and the Hermit: *in the distance* EVERYONE GO TO THE FOUNTAIN OF SILOAM
Crusaders and Pilgrims: WHAT IS IT
*Giselda, Arvino, and the Hermit run in.*
Giselda: HEAVEN HAS HEARD YOUR PRAYERS THE FOUNTAIN OF SILOAM IS GUSHING FRESH WATER
Crusaders and Pilgrims: THIS IS THE BEST NEWS EVER
Arvino: ALRIGHT EVERYONE LAST TIME Y’ALL ABANDONED THE PROJECT BECAUSE YOU WERE EXHAUSTED COWARDS BUT I KNOW THAT NOW YOU HAVE WATER YOU WON’T FUCK THIS UP AGAIN SO LET’S GO STRIKE DOWN SOME INFIDELS
Y’ALL HEAR THOSE TRUMPETS GODFREY OF BOUILLON IS GIVING US THE SIGNAL AND TODAY THE HOLY LAND WILL BE OURS
Everyone: IT’S WARTIME EVERYONE LET’S GO
Arvino and the Hermit: OUR HOLY BANNERS ARE GLEAMING WITH BLOOD AND TERROR AND WE WILL HAVE VICTORY
Everyone: LET’S FLY LIKE THE WIND LET’S GO TO WAR
*Everyone rushes off.*
*In between scenes, the Crusaders capture the city of Jerusalem. In the process, the Hermit is mortally wounded. This scene is normally just implied during the interlude, but it is sometimes staged, as in the video linked here.*
Scene 3:
The Lombard camp, in the desert outside of Jerusalem. Early morning, July 16, 1099. The Hermit enters, supported by Giselda and Arvino on either side.
Arvino: Here’s my tent; you can rest here. But why aren’t you talking?
Giselda: He’s horribly wounded! He was the first man to scale the walls.
Arvino: ...That didn’t answer my question.
The Hermit: GO AWAY actually wait who are you?
Arvino: Don’t you know me? We’ve met and fought together before. I’m the commander of the Lombard forces, Arvino.
The Hermit: *looking at his hands* ARVINO?!?!?!?! NO BE QUIET I HAVE YOUR BLOOD ON MY HANDS HELL OPEN BENEATH ME I AM COVERED IN OUR FATHER’S BLOOD
Arvino: Wait, what?
Giselda: Be calm...you’re safe here...near me. Remember me? You saved my life once.
The Hermit: That voice...it feels like my heart is opening...you’re an angel...an angel of forgiveness!
Arvino: Wait...who are you?
The Hermit: I am Pagano!
Giselda and Arvino: WAIT WHAT
Pagano: I’m going to die...I only have a little time left, I can feel it...
Arvino, my brother, my soul is about to appear before God! I HAVE DONE WHAT I CAN TO ATONE AND REDEEM MYSELF PLEASE DO NOT CONDEMN ME
Giselda: Father, he really has done what he could...God has forgiven him, so forgive him too...
Pagano: My brother, forgive me...
Arvino: *embracing him* Very well, you’ve won...
Giselda and Arvino: The rest of us will all forgive you too.
Pagano: I’m so happy...now grant me...before I die...one last look...at Jerusalem!
*The sun rises, revealing Jerusalem in the distance.*
Crusaders: O LORD WE PRAISE YOU FOR VICTORY AND SALVATION AND GLORY
Pagano: Thanks be to God that I was able to live long enough to see this moment come...and that in my last moments He has mercy on me and remembers this man the world once recoiled from in horror!
Arvino: As I forgive you, intercede with God for me so my sins may be forgiven...
Giselda: Go in peace! You will join my mother and my true love in Heaven...when you get there, all three of you, pray to God that I will be allowed to die soon and join you!
Everyone: O LORD WE PRAISE YOU FOR VICTORY AND SALVATION AND GLORY AMEN
I Lombardi alla prima crociata (Liège, 2023): Reactions, Part II
and we’re back!
no it is NOT a just cause (but nevertheless this is still one of the best early verdi choruses)
ah yes, a map of the old city in the background. real subtle.
i think somebody (giselda) might have missed their entrance. either that or this is the world’s most awkwardly placed pause.
mood
RUMORS OF ORONTE’S DEATH HAVE BEEN GREATLY EXAGGERATED
he just wants her to have a good life and doesn’t think he can give it to her 😭
PROTECT THEM
the choices we have to make and the things we have to leave behind…
shit shit shit
giselda i have some bad news for you about the rest of this act
pagano: on my way to cockblock my niece (also love the all too conveniently placed staircase)
ARVINO YOU ARE LITCHRALLY THE WORST
but this tenor ain’t half-bad actually!
and now it’s time for Violin Concertos With Verdi, the part of the show where verdi decides to write a mini violin concerto into the opera because he can
and the loudest applause thus far goes to…the violinist!
nooooooooooooo oronte
giselda has a weapon what will she do
oh honey
how about you shut the fuck up, pagano
what, did you just wave your arms and make water appear
this scene is really beautiful tho
was it ever, really?
please just let them be together :(
NOOOOOOOOOOOOOO
okay that’s just CRUEL
wait there’s an organ part in this scene???
well at least she’s got that going for her
Area Soprano Still Wants To Die (honestly, understandable)
AWWWWWWWWWWWWWWW
Area Soprano Now Has To Save Her People (and inexplicably, switch sides AGAIN, which is a massive fail)
nobody cares about your problems
“what is GISELDA doing back here???”
welp
it litchrally took him IDENTIFYING HIMSELF BY NAME for his own family to know who he was
I Lombardi alla prima crociata (Liège, 2023): Reactions, Part I
please for the love of everything holy let this be a production that actually does something interesting in a good way with this messy-ass opera
oh?
OH PLEASE LET THIS BE BABY GISELDA THAT WOULD BE SO FUCKIN CUTE
backstory: unlocked
and here are all the usual suspects
fakers gonna fake fake fake fake fake
why do they look anemic
pirro out here having an existential crisis (probably about why the makeup/hair designer gave him that godawful look)
who DOESN’T love a big verdi ensemble where everyone sings about their conflicting feelings *chef’s kiss*
pagano: *makes classic villain faces*
um. about that.
director: how do we get everyone to understand this line about blood-tinged light
lighting designer: hear me out
lighting designer: we make the light go RED
director: awesome!
anyone in the mood for some scene change nuns?
spoken like a true incel
what the hell are these cloaks lmao
also why is the priest getting in on the murder action
Area Man Feels Catholic Guilt
but that doesn’t stop him from going on with his Evil Scheming (also this singer is quite good!)
mother-daughter bonding time! 🥺
lovely aria, lovely soprano, lovely simple bedroom set
you gotta imagine though. this is a teenage girl who’s likely never personally encountered death but is facing that real danger for the first time. she’s probably scared out of her fuckin mind
tfw you meant to kill your brother but you accidentally killed your dad instead
i get it but also that’s kinda hypocritical of you there
THANK YOU GISELDA
this one’s on you buddy
the conductor just gave up on getting the first page unstuck from the cover lmaooooooo
yup! definitely sounds like the crusades!
ramon vargas still going strong after all these years!!!
wuv twue wuv (also hey possible baby giselda is back)
aww sofia and giselda just being cute in the back
this is oronte. he is a tenor who drinks his respecting women juice. more tenors should be like oronte.
i…don’t think that’s how that works
awwwwwwwwwwww good moms don’t get enough operatic representation
why does he look the EXACT SAME
okay but this is low key a mood
nice to dream but i still don’t think murdering other people is the solution you think it is
(“savannah you’re ignoring the thought processes of the people in the crusades” no i’m saying that that thought process is WRONG)
somehow this is a glow DOWN
yeah because God’s going to be mad at you for killing innocent people
ARVINO YOU DUM DUM THAT IS LITCHRALLY OBVIOUSLY YOUR BROTHER
islamophobia: the chorus
verdi’s answer to every high school girly clique bullying sitch
she’s just a little creative type!
okay that’s genuinely uncalled for
these are the WORST attempts at hijab i have EVER seen. like somehow this is worse than not trying at all
rip viclinda
Area Soprano Wants To Die, so what’s new
giselda look DIRECTLY behind you
oh NO
tfw your dad apparently killed your boyfriend because he (your dad) is a racist islamophobic shithead
YES GISELDA GO THE FUCK OFF
pot calling the kettle black (when the kettle wasn’t black in the first place)
litchrally and figuratively on a different level than everyone
ARVINO WHAT THE ACTUAL FUCK IS WRONG WITH YOU THAT IS LITCHRALLY YOUR DAUGHTER
in conclusion: giselda is so fuckin brave and right and she must be protected at all costs
so everyone, I HAVE to tell you about this egregiously (and utterly hilariously) bad production of Verdi’s I Lombardi alla prima crociata from 2006 in Obersaxen, Switzerland.
“WHERE???” you ask.
Obersaxen, Switzerland, a town with about 800 people. let’s just say there is a reason that this is not an opera hub. nevertheless, there is an opera company in Obersaxen called Opera Viva, and in 2006 the company decided to stage a production of I Lombardi alla prima crociata. and...well, the rest is under the cut because in order to explain how egregiously and hilariously bad it is, it’s gonna take a while:
let us start with the opening.
(for the record, you can watch this whole trainwreck for FREE on YouTube.)
“I don’t remember characters named Elvira or Alvaro in this opera,” you say. and you would be right! (”Abate” just means “abbot”, and that’s what this production calls the Prior of the City of Milan) they just. add two characters named Elvira and Alvaro. anyway.
so here we have Pagano (in blue, and yes he has a manbun), then Arvino (the guy with the yellow cloak), and then on the right with the orange-ish cloak we have Alvaro, who apparently is a Third Brother added for the purposes of...idk, more roles to go around and more voices for parts.
and here is Pirro on the left with Elvira on the right. it will later turn out (thanks to some reassigning of lines) that Elvira is Pirro’s daughter. they sing all of the exposition with the mixed chorus (originally it’s the male chorus telling the female chorus the exposition). this is the beginning of extensive and egregious line reassignment.
courtroom time lol
Giselda (center) and Viclinda (right). for some reason they double up a lot of lines.
here is Pirro auditioning to be the flag-waver in Les Mis
and here is Pirro immediately after bonking the flag into the wall of the set
guys being dudes
Pagano harassing Viclinda while singing his aria. meanwhile Viclinda is staring into the void
in which the assassins are hit with Catholic Guilt
reassigning lines so Giselda tells her mom to go to bed
there is a child dressed as an angel for some reason
they moved the Jerusalem chorus from Act III to here for some reason
Arvino apparently missed his cue to come in here after Pagano thinks he killed him
Alvaro is Here
so the Act I finale is interrupted by a band of Syrian bandits breaking in, holding everyone at arrowpoint, and throwing a net over the 3 girls and dragging them off
reminder: this is still Act I and we are still in Milan. why are these people from Antioch in Milan
we randomly switched the choruses at the beginnings of Scenes 1 and 3 of Act II because why not also there is one (1) belly dancer also they gave a bunch of random people small solos apparently
Viclinda is still very much alive
Oronte and Sofia, lads
random a cappella singing not in the score as scene change music
so the Pagano/Pirro scene goes as normal here but then Pirro comes back 30 seconds later and sings Arvino’s part even though Pirro is a bass and Arvino is a tenor
can’t tell if they changed the words here or if everyone’s diction is just that bad lol
“‘kay everyone time for the lead soprano to sing her big solo number where she’s supposed to be alone onstage so...everyone just pretend like you’re asleep or something idk”
“except Sofia ig”
they reassigned “No, non giusta causa” to SOFIA WHY??? also she only sings like a fourth of it lol and then they just cut to Act III
at this point I’m starting to think they just assigned lines at random because none of this makes sense
not even sure what happened here they just need to get a way to get everyone who isn’t Giselda or Oronte offstage
they cut the scene where Arvino yells at everyone for a while and here during the violin prelude the Crusaders are having a picnic
purple light means heaven
OH THIS IS THE FUCKING FUNNIEST PART
so the directors decided, in their infinite wisdom, to have a bunch of angels bear Oronte’s soul away to heaven by dressing up three little kids as angels and giving them a net and telling them to drag Oronte away
and the kids. are. STRUGGLING:
so they send out two more kids:
one of whom has just very clearly had it with this whole godforsaken idea:
meanwhile, Sofia is here for some reason:
and they turned Giselda’s solo here into a quartet
AND THEN ONE OF THE KIDS’ WINGS FELL OFF:
angel kids are now taking a break:
someone then proceeded to give the kids ropes to tie onto the net blanket thing and pull those to get Oronte offstage:
which did not work either:
and then finally it was time for Oronte’s solo from the afterlife, so Oronte just fucking GOT UP and the kids, presumably exasperated by this point, noped right out of there:
but then they came back:
and then Oronte waved the kids off and they went off in opposite directions:
whoever cast this must have really liked their Pirro because they gave all of Giselda’s lines here to Pirro for some reason (also they cut Giselda’s cabaletta after Oronte left):
Elvira and Viclinda are here for some reason, still very much alive:
also somehow Sofia and Oronte are here:
annnnnnnnnnnnnnnnnnnnnnnd...THE END!!!
yup. egregiously and hilariously bad. not even sure I hit all the big points lol
thinking about how it may be love to die for someone you love but it’s another kind of love entirely to not die for them, but live for them, especially after they’re gone
okay so, as promised in the liveblog today, the post about why Lombardi as “trying to make a point” doesn’t really work:
it’s because while I don’t really like saying “oh the creators would have wanted this” or something like that, I will go ahead and say this: I think Verdi and Solera were trying to do two different things that are...not necessarily incompatible, but in this case they were.
number one: they were trying to create a Risorgimento allegory
number two: they were trying to make a point about why religious violence is not very cash money
unfortunately, they used the Crusades for the purposes of the former, and they thought they could somehow maneuver to also do the second, but it didn’t really work at all.
Verdi and Solera had had an absolutely massive triumph with Nabucco, and they tried to do more of the same here. however, unlike in Nabucco, this time they made the oppressors—the Catholic Lombards and other associated Crusaders—their stand-ins, with the concept of leading a difficult, underdog-esque movement of “liberation”. now, though I am a scholar of history, I am not a medievalist nor do I have a specialist’s level of understanding about intercontinental relations during the time period. however, I can tell you two things:
number one: it is fundamentally unacceptable to invade a place that isn’t yours and murder and rape and pillage the inhabitants already living there.
number two: tragically, religion that is designed to be a source of love and hope and all things good in the world is often twisted into an instrument of hate. the Crusades were no exception.
Verdi, as many of you know, had...extremely complicated feelings about religion, a perception which I share. and he was also intensely anticlerical, which comes through in many of his operas, including this one. it is to Verdi’s credit, however, that his operas portray exceptionally nuanced portrayals of people wrestling with religion. take Don Carlos, for example, which portrays religion both at its best—the welcoming of the auto-da-fé victims into heaven in spite of what men may say, the solace characters seek—and its worst (the Grand Inquisitor, the auto-da-fé itself). and Verdi is always sure to make it clear when he is roundly condemning the worst of it.
even Lombardi gets in on this action: Giselda wrestles with her faith and comes to the brink of losing it completely, Pagano strives to find redemption through becoming a hermit (though his subsequent actions are...questionable at best).
so it no doubt comes as a bit of a shock when there is a chorus with the opening words “Stolto Allhà!” (literally “Stupid Allah”) or that Act IV in particular portrays the Crusaders’ victory in a positive manner. the former, I believe, is not intended to portray the Crusaders in a good light: this is just how they are.
I’ll come back to the latter in a bit.
there is plenty of that wholehearted condemnation of the worst of religion in this opera, most notably in one of my absolute favorite moments of the opera, the Act II finale. Giselda’s grand cabaletta leaves no stone unturned, blunts absolutely no edges. here’s my translation:
GISELDA
No! To flood the earth with human blood is not the just cause of God!
It is because of vile insanity, not pious direction, that now you are driven to seize the Muslims’ gold!
This was not the word of heaven...no, God does not will it!
... (other characters cut in)
A divine force has torn the dark cloth from my eyes!
The vanquished people arise—soon, horrible revenge from the shadows!
None of your souls will be granted the right to die on your native soul!
The God of humanity always scorned the evil slaughter of human bodies!
... (other characters cut in again)
I already see your heads hanging by their hair, the playthings of the wind;
I see barbarians rising up in torrents...barbarians who conquer Europe and enslave its people!
These were never the words of God, to let waves of blood flow!
No! God does not will it!
He only came down to earth to speak of peace!
(the original libretto)
so we can say pretty well confidently that Verdi and Solera did not really condone the horrors of the Crusades, least of all the religious justification for them.
but if they do not condone it...then what? why does Giselda suddenly rejoin the Crusaders in Act IV? and what about the “liberation” Risorgimento narrative?
for the former, there are two possible explanations: Solera’s libretto includes a passage seemingly cut and unused by Verdi at the beginning of Act IV in which Pagano rescues Giselda, who is now otherwise alone in the world, from certain death by dehydration and exposure and returns her to her father, convincing Arvino (her father) to forgive her. however, as is, Giselda has a clear motive for rejoining her people: she has a vision informing her that her people are on the brink of death by dehydration and since the vision also tells her of a magical water source, she is the only person who is able to save them. and because Giselda is a fundamentally decent human being, she rejoins them, gives them the news, and saves them all. however, her joining in in the Crusaders’ chorus at the end of Act IV, Scene 2, is not clear. perhaps it is that she simply has no one else left in the world besides these people she’s known all her life.
but the wrench is in the nature of using the Crusades as a Risorgimento allegory, particularly in light of all this. the liberation/unification of Italy, which is definitely something to be celebrated, I believe, is equated to the “liberation” of Jerusalem, which is obviously much more problematic. we are expected to root for the accomplishment of this goal. however, this fails to account for the very real human side of the equation and the whole “maybe genocide isn’t good” factor, which as just discussed, is itself a major point in the opera.
ergo, particularly as we in the 21st century are beginning to look at history with a much more critical eye that relies less on “great man/event” history and traditionally dominant forces (such as those that drove the Christian side of the Crusades), this duality makes the work feel far too fractured and uneven. it was really just a bad choice of historical allegory: I fully believe that had Verdi and Solera picked a different sort of conflict, or hell, had even taken a different angle with the Crusades, this could have been much more consistent and successful in its messages. however, things are as they are, and so it is not.
