Majo, Piccinni, Sala per il Regolo di Jommelli (Napoli, 1761)

Abstract

This article explores the revival of Niccolò Jommelli’s Attilio Regolo (Rome, 1753) staged at Teatro di San Carlo on 23rd March 1761 under the dir-ection of Nicola Sala. It was a joint revision by Sala, Francesco De Majo and Niccolò Piccinni, mostly based on theatrical considerations or on the singer’s abilities. The names of all composers appear in one of the two manuscripts held by the Library of Ajuda. Their roles are examined with regards to some of the most controversial issues. I discuss the complex relationship between Metastasio’s libretto, Jommelli’s music, and the Neapolitan revival, in order to address the questions of revision and of the creation of a new dramatic balance. A major adjustment is the addition of Domenico Alberti’s aria, «Ah! frenate il pianto imbelle», from Metastasio’s Temistocle, for the final chorus. This was probably suggested by the singer Anton Raaf, who loved this type of aria. Metastasio expressed objections on the hiring of Raaf in his correspondence with the princess of Belmonte, patroness of the reknown tenor. The letters highlight the poet’s expectations for the main character, Regolo. These letters prove particularly useful, especially when they are compared with the avvertimenti sent in a letter to Hasse in 1749. Finally, I explore in greater detail the arias given to Regolo, which I believe are especially relevant in the way they offer an opportunity to highlight the role of music in theatrical expression and representation.