Lucio Silla premiered on 26 December 1772 in Milan at the Teatro Regio Ducale. Its UK premiere was produced by Camden Town Hall in London in 1967. Its US premiere followed in 1968 with a performance in Baltimore.[1]
Among other performances, Lucio Silla was given by the Santa Fe Opera in 2005[2] and in Warsaw in 2011 and by The Classical Opera Company in London in 2012.[3] In 2013 the Gran Teatre del Liceu produced the opera in Barcelona[4] and it was performed at both the Mozartwoche Salzburg and Salzburg Festival.[5]Chicago Opera Theater presented the piece in 2015 at the Harris Theater for Music and Dance under the direction of then-General Director Andreas Mitisek. Lucio Silla was staged at Madrid's Teatro Real in 2017 as part of the program for its bicentennial celebration.[6] In November 2017, La Monnaie in Belgium produced and performed the opera in a contemporary setting.[7]
Aufidio (Aufidius), tribune and friend of Lucio Silla
tenor
Giuseppe Onofrio
Guards, nobles, senators, people (chorus)
Synopsis
The story concerns the Roman dictator Lucio Silla (Lucius Sulla) who lusts after Giunia, the daughter of his enemy Gaius Marius. Giunia, on the other hand, loves the exiled senator Cecilio.
Act 1
Scene 1: A secluded spot on the banks of the Tiber'
The exiled Senator Cecilio meets his friend Cinna who tells him his betrothed Giunia mourns his death, a lie by the dictator Silla so that he can win her for himself. Cinna advises Cecilio to meet Giunia by the tomb of her father (murdered hero Gaius Marius). Cecilio is filled with joy at the idea and Cinna shares his joy and predicts the freedom of Rome (aria: "Vieni ov' amor t' inita").
Scene 2
Cecilio excited at the prospect of meeting his betrothed sings of his love (aria: "Il tenero momento").
Scene 3: Giunia's apartments
Silla seeks the advice of his sister Celia on his approach with Giunia and she advises subtlety and kindness (aria: "Se lusinghiera speme").
Scene 4
On Silla's approach, Giunia declares her love for Cecilio and her hate for Silla, her father's enemy (aria: "Dalla sponda tenebrosa").
Scene 5
Alone, Silla, insulted, decides to behave as a tyrant (aria: "Il desìo di vendetta, e di morte").
Scene 6
Cecilio waits by the tomb for Giunia.
Scene 7
Giunia arrives (chorus and ariosa: "Fuor di queste urne dolente").
Act 2
An archway decorated with military trophies
Silla is joined by Celia to whom he tells of his plans to wed Giunia and for Celia to wed her beloved Cinna on this day.
Scene 3
Cinna restrains Cecilio who has his sword drawn trying to follow Silla, believing he has been instructed by the spirit of Gaius Marius to seek revenge. Cinna tells him to consider Giunia and his rage is controlled (aria: "Quest' improvviso trèmito").
Scene 4[??]
Giunia consults with Cinna who suggests she accept Silla's proposal and then murder him in their wedding bed. Giunia refuses, stating that vengeance is for Heaven alone to consider. She asks Cinna to make sure that Cecilio stays hidden from danger (aria: "Ah se il crudel periglio").
Scene 5
Cinna resolves to kill Silla himself (aria: "Nel fortunato istante").
Scene 6, Hanging gardens
Silla's love for Giunia starts to bring out his compassion.
Scene 7
Giunia's hateful face angers him again and he threatens her with death but not to die alone (aria: "D' ogni pieta mi spoglio").
Scene 8
With Cecilio, Giunia worries about Silla's words and they part.
Scene 9
Celia asks Giunia to accept Silla's proposal for the sake of happiness saying she is also to be married to Cinna (aria: "Quando sugl' arsi campi").
Scene 10
Giunia ponders her wretchedness.
Scene 11, the Capitol
Silla asks the Senate and the people of Rome to reward him as a hero of Rome with the marriage to Giunia.
Scene 12
When Cecilio appears, there is confrontation (trio: "Quell' orgoglioso sdegno").
Act 3
Scene 1: Entrance to the dungeons
Cecilio has been imprisoned. Cinna and Celia has gained access and Cinna asks Celia to convince Cecilio to repent and forget his love. Cinna promises to marry Celia if she is successful, for which she is hopeful (aria: "Strider sento la procella").
Scene 2
Whilst Cecilio accepts his fate Cinna tells him not to worry, Silla's heart over his head will bring about his own downfall (aria: "De' più superbi il core").
Scene 3
Silla has allowed Giunia one last visit to Cecilio and they say their farewells (aria: "Pupille amate").
Scene 4
Giunia alone with her thoughts of Cecilio's impending death thinks of her own (aria: "Frà I pensier più funesti di morte").
Scene 5: The audience chamber
Before the Senators and the people of Rome, to everybody's surprise, Silla declares that he wishes Cecilio to live and marry Giunia. When questioned on his silence, Cinna declares his hatred of Silla and his intention of killing him. Silla issues his "punishment" to Cinna that he should marry his beloved Celia. He further declares that he will step down as dictator and restore liberty to Rome. He explains that he has seen proof that innocence and a virtuous heart is triumphant over power and glory. The people of Rome celebrate liberty and the greatness of Silla.
1980 – Júlia Várady (Cecilio), Arleen Augér (Giunia), Helen Donath (Celia), Peter Schreier (Lucio Silla), Werner Krenn (Aufidio), Edith Mathis (Lucio Cinna) – Salzburger Rundfunkchor, Mozarteum-Orchester Salzburg, Leopold Hager (Deutsche Grammophon). Recorded in 1980 for Deutsche Grammophon, it was later reissued in 1991 as part of the Complete Mozart Edition on Philips (Vol. 32), and then again in 2000 as part of the Complete Mozart Compact Edition, where it was included in Box 13 (Early Italian Operas), with no libretto and stripped down booklets. The original 1991 release included an extensive booklet consisting of the complete libretto in Italian, English, German and French, as well as notes by Gottfried Kraus, and paintings and illustrations. It's still regarded as the most complete recording, and is now the reference version of the opera.
1989 – Cecilia Bartoli (Cecilio), Edita Gruberová (Giunia), Dawn Upshaw (Celia), Peter Schreier (Lucio Silla), Yvonne Kenny (Lucio Cinna) – Arnold Schoenberg Chor, Concentus Musicus Wien, Nikolaus Harnoncourt (Teldec). Recorded between June and September of 1989, it was the first recording of the opera on period instruments, and Harnoncourt chose to add some of his own touches. He removed the minor character of Aufidio altogether, as well as cutting some irrelevant numbers, making it shorter than Hager's 1980 recording. This is also due to the sometimes overly-fast paces that Harnoncourt chooses to apply, which is often disliked or criticized by music critics.
