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Belfagor (premiere 26 April 1923) is an Italian-language opera by the composer Ottorino Respighi to a libretto by Claudio Guastalla (1880–1948) based on the comedy Belfagor of Ercole Luigi Morselli (1882–1921), itself loosely based on the novella Belfagor arcidiavolo by Niccolò Machiavelli. It was premiered in 1923 at La Scala in Milan, under the baton of Antonio Guarnieri, since Toscanini was unavailable. The cast featured Irish soprano Margaret Burke Sheridan as Candida, tenor Francesco Merli as her lover Baldo, and baritone Mariano Stabile as the titular Belfagor, an (Archdemon) who tries t

Wikidata facts

Genre
opera
Country of origin
Italy
Image
La piazzetta di un piccolo paese del litorale toscano, bozzetto di Cesare Fratino per Belfagor (1923) - Archivio Storico Ricordi ICON009515.jpg
Show 5 more facts
language of work or name
Italian
date of first performance
1923-04-26
form of creative work
opera
location of first performance
La Scala
Commons category
Belfagor
Sources (1)

via Wikidata · CC0

~5 min read

Encyclopedic overview

10 sections
Contents
  • Roles
  • Instrumentation
  • Synopsis
  • Prologue
  • Act 1
  • Act 2
  • Epilogue
  • Recordings
  • References
  • External links

Belfagor (premiere 26 April 1923) is an Italian-language opera by the composer Ottorino Respighi to a libretto by Claudio Guastalla (1880–1948) based on the comedy Belfagor of Ercole Luigi Morselli (1882–1921), itself loosely based on the novella Belfagor arcidiavolo by Niccolò Machiavelli. It was premiered in 1923 at La Scala in Milan, under the baton of Antonio Guarnieri, since Toscanini was unavailable. The cast featured Irish soprano Margaret Burke Sheridan as Candida, tenor Francesco Merli as her lover Baldo, and baritone Mariano Stabile as the titular Belfagor, an (Archdemon) who tries to marry a human maiden while in disguise as a nobleman, using gifts of money to her father.

The première obtained a "full and warm" approval, with several curtain calls for the composer, but the opinion of the critics was divided, ranging from the enthusiasm of Marinetti, enchanted by the futuristic aspects of the opera, and of the music critic S. A. Lucani, to those who judged the opera and libretto absolutely not enjoyable. wrote that this work looked like an attempt, not fully accomplished, to merge in a comic opera "the fabolous and the clownish, the miraculous and the sentimental" and that the comic expressivity was damaged by the absence of "assertiveness of the melodic plan and its capacity to develop rapidly".

Excerpted from Wikipedia’s “Belfagor” article, available under the CC BY-SA 4.0 licence.

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