#dorilla in tempe

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Forever unskippable

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Autumn scenes from Antonio Vivaldi’s opera Dorilla in Tempe performed at the Teatro La Fenice. Set designs by Massimo Checchetto.

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Dorilla in Tempe, RV 709, Act I, Scene 2: La speranza ch’in me sento (Ar...

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Dorilla in Tempe (Wexford, 2019): Reactions (from half-watching it)

holy shit that overture was so gay. gay yearning personified.

It’s “Spring”!

pwetty

Baroque just bops. it has so much life in it. it’s so...light-filled and tangy.

let me move here and have these tea parties please

Nomio is so cute

I want Admeto’s outfit DESPERATELY

clever way of showing the python

these singers are all really great

and this chorus is so sad but so pretty

poor Dorilla

I want EVERYONE’S costumes

the whole shtick with the bird over the conductor’s head lolol

personally I thought the python-killing would be cooler and not set to recitative but yay Dorilla’s okay 

Act II:

this sounds so languid-- early draft for “Summer”??? (not sure about the dates)

you go Dorilla

omg this SCENE the GAY

SERIOUSLY

I am Feeling Things

oh Elmiro

NOMIO NO

the synchronized leaf-waving lol

excellent clapback Dorilla

EUDAMIA NO

Filindo deserves better

ADMETO NO

oh Nomio

I love Nomio’s look

Vivaldi just bops y’all

this is just so pretty. slow Baroque has its own vibe.

you go Filindo tell her what’s what

just the overall aesthetic

party time!!!

this bops

Act III:

so much “Four Seasons” stuff I love it

you go Elmiro and Dorilla

Filindo I love you but whyyyyyyyyyyyyyyyy

Nomio NO

nooooooooooooooooo don’t kill Elmiro

we love a good Baroque rage aria

Eudamia please

Dorilla deserves better

DORILLA NO

poor Elmiro

nice tableau!

deus ex machina :)

Nomio (Apollo) ships Eudamia and Filindo

happiness!!! gayness!!! this was lovely :)

[debs972]

Berena and musical foreshadowing: the possible significance of the use of the Allegro from Spring in Vivaldi’s Four Seasons in S18E32 and subsequent parallels with the Berena storyline and the opera ‘Dorilla in Tempe’ aka the random ponderings of a musician with an interest in musical symbolism who is way too emotionally invested in fictional lesbian medics

A year on from the first on-screen appearance of Berena, and the slow-burn romance of surgeons Serena Campbell and Bernie Wolfe has seen a rollercoaster of emotions and dramatic storyline developments. Revisiting ‘Running Out’ (Series 18, Episode 32), the episode where Serena and Bernie agree to co-lead AAU (and therefore establishing a closer on-screen relationship between the two characters), I was intrigued by significance of the use of the short excerpt from the Allegro from the Spring section of Vivaldi’s Four Seasons as part of Bernie’s ‘in case of emergencies’ gift to Serena. On further consideration, it is possible to suggest that this short excerpt possibly foreshadows key events from the Berena storyline up to the present moment.

It is possible of course to read the use of ‘spring’ in a more generic way of being symbolic of a new beginning/growth between the two characters, but deeper consideration of subsequent uses of themes from Spring by Vivaldi reveals some interesting parallels with the direction of the Berena plotline. The the Allegro in question was later rescored by Vivaldi as part of the musical score for an opera titled ‘Dorilla in Tempe’, which premiered in 1726 (4:09 from this video https://www.youtube.com/watch?v=JfSImeA_bOM). An examination of some of the themes and characters of the opera presents some really interesting parallels with the on-going lambs/lions/shepherds metaphor established since ‘Of Lions and Lambs’ (Series 19, Episode 17).

A brief summary of the plot from Dorilla in Tempe:

“The story takes place in Tempe. Like the music, the plot intertwines pastoral and heroic elements and centres on the shepherd Nomio, who is in fact Apollo in disguise. Nomio falls in love with Dorilla, the daughter of Admeto, King of Thessaly, who is herself in love with the shepherd Elmiro. Admeto is forced by the gods to save his kingdom by offering his daughter as a sacrifice to the sea-serpent Pitone, but she is rescued just in time by Nomio. Nomio claims the hand of Dorilla as his reward, but she remains reluctant and escapes with Elmiro. The pair are captured, and Elmiro is sentenced to death. Finally, however, the intervention of Nomio, revealing his divine identity, saves the situation and Dorilla and Elmiro are reunited.”

Some observations:

1.Firstly, the character of Dorilla is of royal bloodline, and there is a well-established tradition in heraldry and the arts of royalty being represented by the lion (the metaphorical personality type that Serena represents).

2.   Dorilla is in love with Elmiro, a shepherd (the metaphorical type ascribed to Bernie). What is interesting is that the role of Elmiro is deliberately written for soprano voice (a ‘breeches’ role in opera, whereby a female singer would portray a male character), and Elmiro was originally performed by Maria Maddalena Pieri to Angela Capuano’s Dorilla in the premier performance. Although intended in the original storyline to be a male/female relationship, the idea of two females, one a ‘shepherd’, the other a ‘lion’, represented in a romantic performance against the themes of death, adversity and struggle is certainly more than reminiscent of Serena and Bernie.

3.   A daughter figure is offered as a sacrifice, and a death sentence is placed upon Elmiro. The Holby version of events deviates slightly from this, but Elinor’s death could be suggested to be a variation upon the themes suggested by this plotline. Another reading of the death sentence/sacrificial themes could refer to the punishing mentoring of Jasmine (the sacrificial lamb) who is pushed to breaking point by a grieving Serena- signposted by the ‘even if it kills them’ quote from the end of S19E17.

4.   The character of Nomio (who is revealed to be none other than the Greek god Apollo) saves the situation and reunites lovers Dorilla and Elmiro. It is possible to suggest that ‘Nomio/Apollo’ is somehow broadly representative of the interventions of different characters from the Holby cast, including Bernie and Morven, however given the superiority of Apollo as a mythical figure, this could possibly be seen to imply that Hanssen (the most superior figure at Holby and therefore established in a godlike/omnipotent metaphor) is ultimately involved with a form of intervention that sees the restoration of stability to Serena and Bernie and a happy ending for Berena, despite the dark and turbulent times that they face along the way.

Of course, all of this is mere speculation and not grounded in any solid facts/knowledge of Holby script writing, but it is interesting to see how certain parallels can be shown between the plotline of the opera and the current developments in the Berena storyline. The significance of the Vivaldi Four Seasons soundbite from Bernie’s gift appears at the beginning of a closer relationship between Serena and Bernie (it is after all in this episode that Serena learns of Bernie’s intentions to ‘have her back’ when placed on supervisory duty, and then declares them to be equals and suggests to Hanssen that they both co-lead AAU). The same piece of music also establishes the opening scenes of the opera (which, as shown above, appears to bear some similarities to the direction of the Holby Berena storyline).

The sound excerpt from the Allegro is heard twice in the episode and also appears twice in the opera score: once in the sinfonia (before the opera story commences, and, in parallel, before Serena approaches Hanssen with the suggestion of co-leading AAU) and again in the opening chorus of the opera (Serena and Bernie celebrating at Albie’s and preparing to work together as co-leads, which is the start or ‘opening chorus’ of their closer working relationship together, which preludes their romance).

If the Holby storyline is to follow in the vague direction of the opera plot, then it is possible to tentatively suggest that a) there will be an intervention staged of some sort and b) that although Berena will face dark times, ultimately they will end up reunited and together. Any thoughts? I’d love to know what other people think about this :)  I may have gone completely barmy, but as a musician, this possible plot parallel is too good to ignore!

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Apollo’s various romantic (?) exploits

[operaeoperanews]

#Repost @teatrolafenice • • • • • • 🎭 La prova generale di ‘Dorilla in Tempe’ è andata. Da domani Vivaldi torna a Venezia e noi gli riserveremo un bel posto d’onore al Teatro Malibran! 🎭 . 🎭 The rehearsals are finished. From tomorrow night the rare Vivaldi’s Opera ‘Dorilla in Tempe’ that was premiered in Venice in 1726 at Teatro Sant’Angelo is ready to go on stage once again! . #teatrolafenice#teatromalibran#antoniovivaldi#diegofasolis#volgovenezia#volgoveneto#volgoarte#volgoitalia#baroqueopera https://www.instagram.com/p/BwjY1hrBL7y/?utm_source=ig_tumblr_share&igshid=1tsm9half5bkq

[earlrmerrill]

Wexford Opera Festival Changes 2019 Program ‘For Financial Reasons’

The fall festival on the Irish coast, known for presenting rarities, has removed Weber’s Der Freischütz from its schedule, replacing it with Vivaldi’s Dorilla in Tempe. The Weber opera, which is on the fringes of the mainstream standard repertory, requires 12 soloists, a chorus, and a relatively large orchestra; the Vivaldi requires 6 soloists and a much smaller pit band. — Irish Times

Article source here:Arts Journal

[musicazca]

New Releases in Historical Periods #4: Vivaldi: Dorilla in Tempe ~ I Barocchisti, Other... https://t.co/QjxFy1zyIY #Classical https://t.co/aACvKSE3Gv

New Releases in Historical Periods #4: Vivaldi: Dorilla in Tempe ~ I Barocchisti, Other... https://t.co/QjxFy1zyIY #Classical pic.twitter.com/aACvKSE3Gv

— MusicAzCA.bot (@MusicAzCA) January 25, 2018

via Twitter https://twitter.com/MusicAzCA January 24, 2018 at 08:57PM

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(vía https://open.spotify.com/track/38v4JIHudQPiF2v8LalQ1x)

[musikazde-blog]

Neuerscheinungen in Oper, Operette & Lied #9: Dorilla in Tempe ~ Romina Basso, Other... https://t.co/fh9qMZTZoH… https://t.co/IwACnArk6x

Neuerscheinungen in Oper, Operette & Lied #9: Dorilla in Tempe ~ Romina Basso, Other... https://t.co/fh9qMZTZoH #Klassik #Oper #Operette #Lied pic.twitter.com/RVYdhci7cO

— MusikAzDE.bot (@MusikAzDE) November 15, 2017

via Twitter https://twitter.com/MusikAzDE November 15, 2017 at 05:21PM

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Essential track on today's cleaning playlist

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What were your top favorite gay operas for this month?

Didn't watch as many as I wanted to, sadly, but Dorilla in Tempe was just so fantastically gay and I ADORED that Clemenza film I've been meaning to watch for practically forever