Pergolesi, La Serva Padrona

At the beginning of the eighteenth century, opera staged in the main European cities had for some time been oriented almost exclusively towards bringing to the stage, using elaborate productions, the great passions and memorable events of classical antiquity. This was accompanied by the emergence of certain idolatry for tenors and castrati, as well as an incipient divismo practiced by the prima donnas.

Intermezzi
But, apparently, the public had begun to tire of so much artifice, and of course, also of the tragic theme. Therefore, it was necessary to begin to include, in the middle of the "serious" operas, some brief pieces, called intermezzi, with a deliberately cheerful and even carefree character, destined to distract of so much tragedy to a public also new, the bourgeoisie.

Simple heroes
These intermissions were a respite from the mythological themes, the preening heroes and sublime sacrifices, showing completely opposite characters, born of the simplest of human vices and defects. Then, flirtatious females, jealous husbands, the cunning of young lovers and, by the way, the rages and outbursts of deceived tutors enter the scene.

Pergolesi and "La Serva Padrona" 

Giovanni Batista Pergolesi
(1710-1736)

Some of these intermezzi were transformed over time into true masterpieces. The best example of this is the two-act work La Serva Padrona (The Maid Turned Mistress) which, according to scholars, implanted the germ of the new opera or comic opera. The new work was born from the inventiveness of the Italian composer Giovanni Battista Draghi, also surnamed Pergolesi as his family came from the city of Pergola.

An autonomous work, until today
The piece, written in 1733 as an intermezzo to another "serious" work by the same composer, was so successful as a refreshing interlude that a few years later it was performed as an autonomous work, becoming a comic opera in its own right. Although with modest periodicity, it continues to be performed to this day, and its author is still remembered for it, as well as for his notable contribution in the field of sacred music, where a famous Stabat Mater stands out.

Unfortunately, Giovanni Battista Pergolesi did not live long. He died in the city of Pozzuoli at the age of 26, probably from tuberculosis.

The characters
There are only three: Uberto, an old bachelor, his maid Serpina who has ruled over the patron's house, and a mute actor, Uberto's servant. In the scene of Act I presented here, the arrogant Serpina informs her employer, Uberto, that he is forbidden to leave the house and that from now on she will be the one giving orders.

After the usual entanglements, Uberto discovers that he has always been in love with Serpina, so he ends up marrying her. Thus, Serpina truly becomes the mistress of the house, the padrona.

Serpina: the Italian soprano Patricia Biccire.