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After a long war, Soliman, the Turkish emperor, and Tamasse, the Persian sophi, decide to seal the peace between their two countries and, to this end, exchange hostages. The preliminary treaty stipulates that, in order to make this alliance more solid, Tamasse will wed Zanaida, Soliman's daughter. Meanwhile, the sophi falls in love with Osira, a Persian hostage sent by the emperor.
The future Turkish bride arrives in Isfahan with a magnificent retinue. This is where the action of this opera begins, the plot skilfully mixing Tamasse's infidelity, Zanaida's magnanimity, the ambition of Roselane and Osira, and Mustafa's honesty. A particularly appealing opera by the fourth and last of Johann Sebastian's sons whose life was atypical for a Bach, carrying out his career not in Germany but in Italy and England.
Bach, J C: Zanaida
Sinfonia. Allegro
Andante
Allegro Di Molto
Acte I. Récit Scène I
Aria Osira
Récit Scène II
Aria Roselane
Récit Scène III
Marche Et Choeur
Dopo Il Coro. Récit
Aria Tamasse
Récit Scène IV
Aria Mustafa
Récit Scène V
Aria Zanaida
Récit Scène VI
Aria Cisseo
Récit Scène VII
Quartetto
Récit Scène I
Aria Roselane
Récit Scène II
Aria Osira
Récit Scène III
Aria Cisseo
Récit Scène IV
Aria Tamasse
Act II Scene 5: Cavata: Mentre volgo intorno il piede (Zanaida)
Act II Scene 5: Dopo la cavata: Ah, Zanaida! (Aglatida, Gianguir, Silvera, Zanaida, Mustafa)
Act II Scene 5: Aria: Ah! L'impresa scellerata (Mustafa)
Act II Scene 6: Recitative: Stupida io son! (Silvera, Aglatida)
Act II Scene 6: Aria: Compagni d'amore (Aglatida)
Act II Scene 7: Recitative: Se di Cisseo nel petto costanza (Silvera)
Act II Scene 7: Aria: Se potesse ognun per giuoco (Silvera)
Act II Scene 8: Recitative: Sì, Mustafa, m’insidia Zanaida e la vita (Tamasse, Roselane, Mustafa, Zanaida, Aglatida, Gianguir, Cisseo, Silvera, Osira)
Act II Scene 8: Aria: Parto, addio. Io vado a morte (Zanaida)
Act II Scene 9: Recitative: Sommi Dei proteggete l’innocenza ch'e (Aglatida, Gianguir)
Act II Scene 9: Chorus: Voi del cielo eterni De (Roselane, Mustafa, Osira, Cisseo, Aglatida, Silvera, Gianguir)
Act III Scene 1: Recitative: Mustafa con prudenza seppe dissimular (Gianguir, Cisseo)
Act III Scene 1: Aria: A un cor fuerte (Gianguir)
Act III Scene 2: Recitative: Voi, della Persia deita (Cisseo, Silvera)
Act III Scene 2: Aria: Se dell'anime fedeli (Silvera)
Act III Scene 3: Recitative: Tetri oggetti di morte (Zanaida, Cisseo)
Act III Scene 3: Aria: Chi pieta non sente al core (Zanaida)
Act III Scene 4: Recitative: Scellerata, cosi dunque ti scordi le leggi (Mustafa, Osira)
Act III Scene 4: Aria: Pensa che sei mia figlia (Mustafa)
Act III Scene 5: Recitative: Vedo ben che la sorte mi comincia a tradir (Osira, Tamasse, Gianguir)
Act III Scene 5: Aria: Pupille amabili del caro bene (Tamasse)
Act III Scene 6: Recitative: Lusinghiera speranza, a consolarmi il cor tornar ti vedo (Osira, Roselane)
Act III Scene 6: Aria: Chiudo in petto un cor altero (Roselane)
Act III Scene 7: Recitative: Pensa, signor, che il volgo ingiusto non (Cisseo, Tamasse, Aglatida, Zanaida, Silvera, Mustafa, Gianguir)
Act III Scene 7: Chorus: Ecco al fine, o Regi amanti
Cavata. Scène V
Dopo La Cavata
Aria Mustafa
Récit Scène VI
Aria Aglatida
Récit Scène VII
Aria Silvera
Récit Scène VIII
Aria Zanaida
Récit Scène IX
Choeur
Acte III. Récit Scène I
Aria Gianguir
Récit Scène II
Aria Silvera
Récit Scène III
Aria Zanaida
Récit Scène IV
Aria Mustafa
Récit Scène V
Aria Tamasse
Récit Scène VI
Aria Roselane
Récit Scène VII
Choeur
February 2013
***
“While the story is one of passion, deception and power, the score is characterised by control, clarity and grace...Stern drives a high-energy performance from Opera Fuoco, with spirited orchestral playing and brisk if rather unyielding tempos accenting the work's exuberance. The cast of young singers is well balanced, though some of the more virtuosic arias present quite a challenge.”
February 2013
“if you treat Zanaida as a vocal concert and forget the drama, there is plenty to enjoy here, not least the colourful, sensuous writing for woodwind...while there are no outstanding voices (and words are too often vague), all sing with spirit and a fair sense of style...Stern paces the opera convincingly and gets some lively, pointed playing from his cosmopolitan period band.”
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Sinfonia. Allegro
