The majority of dramatic composers have tried their hand at opera buffa; besides Nic. Logroscini (17...-1763), Bald. Galuppi (1703-1765), Nic. Piccinni (1728-1800), we may particularly note Pietro Guglielmi (1727-1804), Pasq. Anfossi (1736-1797), Giov. Paisiello (1741-1816), Domen. Cimarosa (1754-1801), all men of prominent parts and thorough musical training. Add to this the innate love of the Italians for beauty of form, and it will be easily comprehensible that in spite of many excrescences opera buffa should have blossomed into a musical art, which in creative genius and intellectual power soared far higher than its elder sister, whom it soon surpassed in the favour of the public.[ 17 ]
The greater freedom of style was of advantage also to the instrumental parts, which took an independent share in the characterisation. Many situations were heightened by the orchestra coming to the foreground—as for instance during the frequently recurring parlando where it falls to the instruments to give the clue to the intended expression.
The instrumental scores which Piccinni was blamed for overloading and making unnecessarily prominent appear to us indescribably poverty-stricken.[ 18 ] But it was thus that the orchestra gradually developed into such an independence as makes it capable of following the rapid emotions of the actors, and of serving at the same time as a firm foundation for the whole artistic organism.
The overture in three movements was not the only one permissible; symphonies in two parts were frequent, as also a somewhat more elaborate allegro movement, which served as an instrumental introduction.
Anfossi's "Finta Giardiniera" had met with great success in Rome in 1774, whilst Piccinni's opera was hissed off the stage. In spite of its miserable text it was produced in 1775 at Vienna,[ 19 ] and in 1778 at Paris;[ 20 ] and at Munich Mozart received the libretto to compose for the Carnival of 1775—
The dramatis persona are as follows:—[See Page Image]
The Marchesa Violante Onesti has been wounded by her lover Conte Belfiore in a fit of jealousy, and he, believing that he has slain her, flees. She sets forth in disguise to seek him, accompanied by a faithful servant, Roberto; they both enter the service of Don Anchise, Podestà of Lagonero, as gardeners, she under the name of Sandrina and he as "LA FINTA GIARDINIERA," 1775. Nardo. The Podestà falls in love with Sandrina and neglects for her the waiting-maid Serpetta, to whom he has been paying his addresses. Nardo strives in vain for Serpetta's favour; the two intruders are equally obnoxious to her. Ramiro, Don Anchise's guest, and the accepted lover of his niece Arminda, is deserted by the latter, who becomes affianced to Belfiore.
At the opening of the opera the inhabitants of Lagonero are busily employed decorating the garden for the reception of the betrothed couple; Ramiro informs the Podestà that an unhappy love torments him, and departs. The Podestà sends Nardo and Serpetta to a distance, in order that he may declare his love to Sandrina; this she seeks to evade, while Serpetta continually contrives to interrupt them, so giving occasion for a comic aria from the Podestà. Thereupon Sandrina announces to Nardo her intention of leaving the place to escape the attentions of the Podestà, and complains of the faithlessness of men; Ramiro entering, bewails the inconstancy of women, and Nardo the cruelty of Serpetta. Arminda, who has just arrived, behaves whimsically to the Podestà and Serpetta; Conte Belfiore enters, greets her as his bride, and comports himself like a vain affected fop, boasting to the Podestà of his nobility, his wealth, his good looks, his conquests, and his love for Arminda.
Serpetta and Nardo having quarrelled, we next find Sandrina busy in the garden. Arminda informs her that she is about to wed Conte Belfiore; upon which Sandrina swoons. Arminda calls Belfiore, and leaves the unconscious Sandrina to his care while she runs for her smell-ing-bottle; when she returns Ramiro enters, and the four lovers recognise each other in extreme confusion; the Podestà, entering, seeks in vain for a solution of the mystery; they all go out, and leave him alone. Before he can recover from his astonishment, Serpetta, to excite his jealousy, relates that she has seen Belfiore and Sandrina holding tender intercourse, and he withdraws in order to watch them. Belfiore tries to extort from Sandrina the confession that she is Violante; at first she denies it, but then forgets herself and reproaches him for his infidelity. As he falls repentant at her feet, Arminda enters with Ramiro, all the rest rush in, overwhelm him and Sandrina with reproaches, and the act closes amid universal confusion.