TE DEI Pintos – Wikipedia

The three pintos (Jähn’s list of works 5) is an opera by Carl Maria von Weber and bears the name: Joking opera in three elevators . The text comes from Theodor Hell after the novella The bridal fight By Carl Seidel. The opera remained unfinished and was later edited postally and completed by Gustav Mahler.

first act [ Edit | Edit the source text ]

Don Pantaleone and his friend Don Anselmo Fonseca want to marry their two children Clarissa and Don Pinto. Don Pinto does not know Clarissa and therefore drives to Madrid to get to know her. On the way there, Don Pinto passes a restaurant where he puts a rest. The farewell of the student Gaston is currently being celebrated in the restaurant. Don Pinto takes part in the feast and, after a while, lies drunk under a table and sleeps out his intoxication. Gaston has spent all his money and decides to steal the drunk Don Pinto. In addition to the money, he also takes his papers and travels to Don Pinto’s job to Madrid.

Second act [ Edit | Edit the source text ]

Don Pantaleon gathered with his relatives and friends in the ancestral hall of his castle. You wait for Don Pinto to welcome him. Clarissa is sad. She secretly loves Don Gomez de Freisros and does not want to marry Don Pinto. Clarissa’s maid Laura knows about her love for Don Gomez and consoles Clarissa.

Third act [ Edit | Edit the source text ]

In the meantime, “Don Pinto”, who is actually Gaston, has arrived at the castle and is reported. Before this can occur, Don Gomez intercepted that the Gaston explains that Clarissa is actually his bride. Gaston no longer wants to marry Clarissa and advises himself with Don Gomez how to proceed. It is decided that Don Gomez should spend on pinto. This is warmly welcomed by the assembled guests as “Don Pinto”.

Meanwhile, the real Don Pinto arrives. He steps into a fat and is immediately thrown out of the hall. When the truth about the “three pintos” finally comes to light, it is already too late. Don Gomez and Clarissa have already said yes.

Whether Weber’s manuscript of the entire opera was stolen by one of the funeral guests from Weber’s home in London in 1826, as the English music writer John Warrack suspects in his Weber biography, can no longer be demonstrated. What is certain is that Weber has left a total, very detailed composition plan of the three-act opera.

Weber started the composition in 1820, and his last work on it is dated September 20, 1824. Only seven musical numbers of the opera come from Weber’s hand. After his death, Weber’s wife initially handed Giacomo Meyerbeer the score sketches for processing and completion. But this lacked the manuscripts for twenty years. In 1847 she got Weber’s son Max Maria back. The composer’s grandson, Captain Carl von Weber, inherited these manuscripts. At that time he was in Garrison in Leipzig, where he got to know the young Gustav Mahler. Mahler, who was very interested in Ms. Carl von Webers, received the opera sketches from him and a self-made text revision of the libretto. The young composer set up a new plan for the three acts of the opera and composed the entire opera, largely in the interests of the composer on Weber’s motifs and topics from other compositions, in the summer of 1887. The premiere took place on January 20, 1888 in the new city theater in Leipzig, in which Emanuel Christian Hedmondt also in the role of Don Gaston de Viratos and Therese Rothauser sang. ^[first]

The libretto was already perceived as problematic by contemporaries, also in the revised version: “The substance borrowed from a novella would be suitable for an intrigue lust, but is not particularly created for a comic opera; Because he lacks the subtlety that is so attractive in Mozart’s ‘wedding of the Figaro’; It is more of a sway -like man’sity. (…) Perhaps the processors could have given the text new spice if they hadn’t kept too pious to Weber’s relics: the increase is missing; The second act is dramatically contentless and contains only lyrical numbers, so his success was far matter than that of the first act; The whole tolerate the finer link and more quick -witted humor. ” ^[2]

The music of Weber, as well as the processing, received the undivided applause of the audience: “The musical relics from Weber’s date from the time when he had composed the ‘Freischütz’, therefore belong to an era of fresh and joyful upswing. This applies in particular to the songs and the Terzett of the first act; But also the third act’s third act and the song of the Ambrosio may now come from Weber or have composed it, are of gracid attitude and a winning freshness. The aria of the Clarissa and the song of Laura in the second act are reminiscent of the hearts of Agathe and Aennchen: Both are composed according to other non -published topics of the master. Mahler is very cleverly compiled the introduction for the second act, how the entire facility appears as a respectable test of the young composer. The melodies themselves are said to be taken from Weber’s estate if they were not composed for the three pinto’s. ” ^[2]

• Total recording: Gary Bertini; Munich Philharmonic, Lucia Popp, Kurt Moll, Heinz Kruse, Werner Hollweg, Franz Grundheber, Hermann Prey and a.; Label: RCA Classic (1976) / Sony BGM (1995).
• Total recording: Paolo Arrivabeni; National Philharmonic Orchestra of Belarus; Peter Furlong, Robert Holzer, Sophie Marilley, Stewart Kempster, Sinead Campell, Ales Jenis and a.; Label: Naxos 2004 (recorded in Theater Royal, Wexford, Ireland; October 2003).

• “The three pinto’s” . In: The gazebo . Heft 6, 1888, S. 100 ( Full text [Wikisource]).
• Eveline Bartlitz and Frank Ziegler: “With the Pintos it is a special thing …”. The fate of Carl Maria von Weber’s unfinished opera from 1826 to 1852 from the perspective of his family from 1826 to 1852 , in: Weberiana. Messages from the International Carl-Maria-von-Weber-Gesellschaft e. V., Issue 27 (2017), pp. 43–92.

1. ↑ Karl-Josefly Kutch Chells, Leo Romienses: Large singer lexicon . Third edition, Berlin 2000, p. 2084
2. ↑ ^{a b} “The three pinto’s” . In: The gazebo . Heft 6, 1888, S. 100 ( Full text [Wikisource]).