157:
Siroe's letter. Medarse also comes into the room. Cosroe reads the letter to him, warning of a traitor who is one of his best friends. Medarse now claims that he wrote the letter himself and that the traitor was none other than Siroe, who he says wanted his help to murder their father. Siroe leaves his hiding place and accuses
Medarse of lying. Finally, Emira/Idaspe also comes in and learns about the content of the letter. Siroe continues to refuse to name the traitor and is now accused by Emira/Idaspe. Siroe complains that he cannot prove his innocence and leaves the room. Cosroe is unsure whether he can trust Idaspe. Medarse and Laodice express disappointment at Siroe's behavior. Unexpectedly, Emira/Idaspe now defends it. Laodice is confused about Emira's/Idaspe's behavior, but Medarse believes that his intrigues will soon lead to his achieving his goal.
188:
tries everything possible to get Siroe to talk. He is ready to forgive him for wanting to seduce
Laodice, seeking Idaspe's death and planning an uprising if only he will divulge the name of the traitor. Only when he declares that he also wants to forgive the traitor too does Siroe begin to speak but he is interrupted by Emira/Idaspe. Cosroe now offers Siroe to marry him to Laodice, but Siroe declares his revulsion for her. Now Cosroe thinks Siroe wants his death and asks him to kill him – but Siroe does not wish to do that either. Cosroe now has Laodice brought and gives Siroe an ultimatum: if he tells Idaspe the traitor's name, he will be named heir and have Laodice. Otherwise, a dungeon awaits him. After Cosroe leaves, Emira/Idaspe mocks Siroe's planned union with Laodice. Siroe replies that Idaspe should decide for him and leaves.
25:
175:
sword to kill himself. At that moment, Cosroe arrives and mistakenly thinks Siroe has drawn his sword against Idaspe. Siroe declares himself guilty of this and asks his father to end his life. When Emira/Idaspe points out that he has not yet disclosed the name of the conspirator, Siroe explains that it might even be Idaspe himself. However, Cosroe doesn't believe him and has him led away. With Cosroe now lost in thought about his son, Emira sees an opportunity to attack him and pulls out her own sword. However, she is interrupted by
Medarse and talks herself out of the situation by laying her sword at Cosroe's feet. Cosroe feels honored and asks Emira/Idaspe to take the sword back and look for the traitor. She leaves.
144:
however, refuses and accuses his father of preferring
Medarse. As expected, Medarse is appointed heir. Emira arrives, disguised as Idaspe. In order to speak to Siroe alone, she sends Medarse away. Then she advises Siroe to call the people for support. In addition, as the price of her love, she demands that he assist her in killing his father. Cosroe's mistress arrives - Laodice, who is secretly in love with Siroe. After Emira/Idaspe leaves the temple, Laodice asks Siroe to finally confess his love. However, he points to her relationship with Cosroe and indicates that there is another obstacle that he cannot yet reveal. Finally, he confesses to being in love with another and advises her to forget him.
17:
223:
Medarse wants to see the body. Emira decides to trick him and offers to help. Siroe then appears. Medarse draws the sword, but is filled with remorse and hands the weapon to Emira/Idaspe to kill Siroe. She however hands it to Siroe and reveals to
Medarse her identity as Emira. Arasse arrives with his guards and reports that the people have chosen Siroe as king. He leaves and Emira follows him. With no supporters left, Medarse finally gives up. Siroe, however, generously forgives his brother and returns his weapon. Medarse, left alone, reflects on the value of virtue.
33:
232:
happy to see his son alive again. Medarse and
Laodice ask Cosroe to punish them for their offenses. Siroe explains that he is not angry with anyone and also asks Emira to forget her hatred. Only on these terms can he accept her as a lover. Emira eventually gives up her revenge and Cosroe gives her to Siroe in marriage, declaring him king. The opera ends with a chorus.
205:
Cosroe orders Arasse to kill Siroe. Arasse tries to change his mind, not believing that this will pacify the people. However, Cosroe is determined and Arasse finally agrees to carry out the order. Laodice tells Cosroe that the people are asking for Siroe. Cosroe tells her about the order to kill him.
156:
Siroe wants to warn his father about Emira/Idaspe's revenge plan, but in order not to reveal his lover's identity, he writes an anonymous letter. As Cosroe arrives, he hides. Laodice also arrives and complains to Cosroe that Siroe has forced his attentions on her. Outraged, Cosroe sits down and finds
174:
Now Emira comes and accuses Siroe of infidelity and cowardice for not telling his father about her plan. She thinks that as children of enemies they should also be enemies. He should therefore have warned his father about her. Since she does not want to renounce her planned revenge, he pulls out his
147:
Laodice feels scorned and swears vengeance on Siroe. She decides to ask for help from her brother Arasse, a friend of Siroe's. Arasse tells her about the impending popular uprising over the choice of
Medarse as heir. He asks Laodice to speak to Cosroe on Siroe's behalf. She refuses but Arasse is not
122:
The plot concerns the
Persian king Cosroe, who wants to appoint his second son Medarse as his successor instead of his first-born son Siroe and thus arouses popular anger. The background to these events is that Cosroe had previously defeated his opponent Asbite, king of Cambaia, and had his family
187:
Arasse urges Siroe to act but he refuses to do so. Arasse in any case swears allegiance to him and leaves. Cosroe and Emira/Idaspe come into the room. Cosroe wants to talk to Siroe alone. He has the room locked and sends Emira/Idaspe away, who nevertheless eavesdrops on their conversation. Cosroe
231:
The royal guard has been defeated in a final battle against the rebels. Cosroe, Emira and Siroe enter one after the other, followed by Arasse and the people. Cosroe is still defending himself against some of the conspirators. Emira tries to take her revenge on him, but Siroe stops her. Cosroe is
209:
Emira/Idaspe also begs Cosroe for mercy for Siroe and reminds him that Siroe was always an exemplary son. Her appeal succeeds and Cosroe gives her his seal as a sign of authority to stop the killing. Arasse returns and announces that Siroe is already dead. Emira/Idaspe reproaches Cosroe and now
222:
Medarse enters the dungeon and finds Emira there. Because he does not yet know her true identity, she shows him the royal seal as proof of the king's trust in her. When
Medarse explains that he wants to kill Siroe, Emira/Idaspe tells him that he is already dead. In order to be certain however,
143:
Cosroe has called his sons to the temple of the sun to appoint his successor. Before he announces his choice, he extracts an oath from both of them to recognize his decision and keep the peace. His younger son
Medarse is convinced that the choice will fall on him and immediately obeys. Siroe,
178:
Medarse reports to Cosroe that Siroe has already drawn the people to his side. The only solution now is to kill him. Since Cosroe rejects this, Medarse suggests that Siroe be appointed king in his place. Cosroe no longer doubts Siroe's guilt, but also cannot bring himself to punish him.
191:
Emira/Idaspe then declares to Laodice that she/he is in love with her. Laodice asks Idaspe to change Siroe's mind as a sign of love. Emira/Idaspe refuses, and Laodice angrily leaves the room. Emira vacillates between her desire for revenge and her love for Siroe.
123:
murdered. Only Asbite's daughter Emira survived to plan her revenge. For this purpose, she has disguised herself as a man and found her way into Cosroe's court under the assumed name of Idaspe. Only her lover, Cosroe's son Siroe, knows her true identity.
218:
Emira asks Arasse to kill her, but he confesses to her that he has only faked the death of Siroe, who is still alive. He asks Emira to hide for a while until he has called the people together, when Siroe will be hers. He then leaves.
170:
Laodice regrets her actions, apologizes to Siroe and promises to speak to Cosroe to retract her false accusations. Siroe rejects this because it would only arouse suspicion. He just wants her to stop loving him. She leaves.
2746:
206:
Laodice now admits that she wrongly accused Siroe of attempting to rape her because he did not return her love. She asks him to keep Siroe alive, but Cosroe will not change his mind.
661:
1743, Theater im Ballhaus Also on 14 December 1743 at the Oper am Gänsemarkt in Hamburg; Carnival 1744 at the Nuovo Teatro in Prague and 1749 at the Kongelige Teater in Copenhagen.
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December 2000 and January 2001: Performances in the Scuola Grande de San Giovanni Evangelista in Venice, Venice Baroque Orchestra.
1144:
February and April 2004: Performances in Berkeley and in the Brooklyn Academy of Music Harvey Theater, Venice Baroque Orchestra.
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11 February 1727, Teatro delle Dame Also in 1733 in Perugia; Carnival 1738 at the Teatro dell’Accademia dei Remoti in Faenza
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735; Also summer 1738 at the Teatro La Fenice in Ancona and Carnival 1739 at the Teatro Bonacossi in Ferrara
210:
reveals himself as Emira, surrendering her sword to Arasse. As she is led away, Cosroe remains inconsolable.
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296:(1721). The latter follows a similar plot, although its action takes place a generation earlier in the
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Carnival 1740, Teatro delle Dame Also at the June fair 1753 at the Teatro degli Obizzi in Padua
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June 2010: Performance from the Händel-Festspiele Halle at the Goethe-Theater Bad Lauchstädt.
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2 May 1733, Teatro Malvezzi first version; many other productions in other Italian cities.
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3 July 1726, Teatro Cocomero Also on 26 December 1726 at the Teatro Regio Ducale in Milan.
28:
Johann Adolph Hasse - Siroe re di Persia - Italian titlepage of the libretto - Dresden 1763
2926:
2918:
1278:
1002:
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319:(“Nicolini“) as Siroe. (They were the same two stars who had previously led the cast of
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57:, Venice. It was subsequently set to music at least 35 times by different composers.
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Also Carnival 1747 at the Teatro San Sebastiano in Livorno; Carnival 1750 at the
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285:
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2483:"Metastasio [Trapassi], Pietro (opera) (Antonio Domenico Bonaventura)"
332:
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732:
126:
The following plot summary is based on the second version of the setting by
66:
1833:
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1527:
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1751, Teatro de la Santa Cruz Other productions by anonymous composers, or
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September 2008: Performance at St. Giles Church in London, Ensemble Serse.
240:
The historical basis for the drama is the deposition of the Persian king
2862:
2788:
1966:
1675:
1604:
297:
245:
87:
280:. Contemporary sources available to Metastasio may also have included
347:
The following composers used this libretto as the basis for an opera:
2762:
1517:, pp. 50861ff, Bärenreiter-Verlag, 1986 Digitale Bibliothek vol. 60.
1184:
June 2009: Performance at the Savile Club in London, Ensemble Serse.
464:
31:
23:
15:
2232:
1127:
May 2003: Performances at the Grace Episcopal Church in Chicago.
680:
2835:
1121:
September 1989: CD recording, Brewer Baroque Chamber Orchestra.
20:
Metastasio - Siroe re di Persia - Herissant Vol.03 - Paris 1780
1478:"Siroe re di Persia [Siroe]('Siroes, King of Persia')"
379:
Also at Carnival 1728 at the Teatro su la via Nuova in Verona
1130:
May 2003: Performances in Cologne (CD recording available),
975:
also 26 December 1764 at the Teatro Regio Ducale in Mailan
1829:
1827:
1207:
Various full text versions (Italian) of the libretto at
1141:
Paris and the Arsenal de Metz, Venice Baroque Orchestra.
876:
1759 adapted by Giuseppe Brunetti 15 August 1759 at the
1825:
1823:
1821:
1819:
1817:
1815:
1813:
1811:
1809:
1807:
106:, lover of Siroe disguised in men's clothing as Idaspe
1962:
1960:
1958:
1956:
1158:
October 2009: Performance at the Stadttheater Neuburg
349:
1240:
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1236:
1234:
1232:
1230:
1228:
1226:
1224:
1111:
December 1925: German language performance in Gera.
53:, it was first performed on 2 February 1726 at the
936:second version; composed winter 1762/63 in Warsaw
303:The first setting of Metastasio's libretto was by
834:Also Carnival 1759 at the Teatro Omodeo in Pavia
2707:, Stanford University, accessed 11 January 2020.
2468:, Stanford University, accessed 11 January 2020.
2293:, Stanford University, accessed 11 January 2020.
2170:, Stanford University, accessed 11 January 2020.
2125:, Stanford University, accessed 11 January 2020
1929:
1927:
1164:May 2013: Performance (Available on CD) at the
1428:Museo internazionale e biblioteca della musica
1394:Museo internazionale e biblioteca della musica
1361:Italian/Spanish libretto of Conforto's setting
1336:Museo internazionale e biblioteca della musica
1318:Museo internazionale e biblioteca della musica
1300:Museo internazionale e biblioteca della musica
1266:Museo internazionale e biblioteca della musica
264:(Ibn al-’Amid) and the eleventh volume of the
148:willing to forfeit his friendship with Siroe.
2847:
2705:Opening Night! Opera & Oratorio Premieres
2476:
2474:
2466:Opening Night! Opera & Oratorio Premieres
2291:Opening Night! Opera & Oratorio Premieres
2168:Opening Night! Opera & Oratorio Premieres
2123:Opening Night! Opera & Oratorio Premieres
8:
2743:Cyclopedia of music and musicians (Volume 3)
1389:Italian libretto of the setting by Guglielmi
1187:November 2014: CD recording, Armonia Atenea.
311:in Venice. The principal roles were sung by
2718:Dictionnaire lyrique ou Histoire des opéras
2854:
2840:
2832:
1245:Italian/German libretto of Hasse's setting
1147:October/November 2007: Productions at the
1137:January 2004: Concert performances at the
778:30 May 1752, Real Teatro del Buen Retiro
477:24; Also at the summer fair 1730 at the
307:, which premiered on 2 February 1726 at
2802:Johann Adolf Hasse: Sireo, Re di Persia
1471:
1469:
1467:
1465:
1463:
1459:
1220:
411:25 January 1727, Teatro San Bartolomeo
1407:Italian/German libretto of the setting
1295:Italian libretto of Pescetti's setting
739:in Venice and 13 December 1763 at the
315:(known as “La Romanina“) as Emira and
1515:Die Musik in Geschichte und Gegenwart
1423:Italian libretto of Franchi's setting
1373:Italian libretto of Galuppi's setting
1331:Italian libretto of Mazzoni's setting
1313:Italian libretto of Latilla's setting
1261:Italian libretto of Porpora's setting
544:4 February 1732, Theater im Ballhaus
528:Libretto adapted by Giovanni Boldini
69:in the year 628. The characters are:
7:
1349:Italian/Spanish libretto (anonymous)
1279:Italian libretto of Händel's setting
1118:, Orchester des Landestheaters Halle
248:, recounted in the fourth volume of
2716:Félix Clément und Pierre Larousse:
1190:December 2017: Performances at the
1114:1962 and 1963: Performances at the
331:'s 1740 setting, the singers were
139:A large temple dedicated to the Sun
1194:, Oldenburgisches Staatsorchester.
1100:Modern performances and recordings
677:2 July 1746, Teatro della Fortuna
214:Locked prison cell in the fortress
112:, lover of Siroe, sister of Arasse
14:
2783:Händel: Siroe – Laurence Cummings
2408:"Siroe re di Persia (Errichelli)"
2382:"Siroe re di Persia (Lampugnani)"
2091:"Siroe re di Persia (Scalabrini)"
272:. These in turn are based on the
260:by the Christian Arab historian
2903:L'impresario delle Isole Canarie
2543:"Siroe re di Persia (Guglielmi)"
2233:"Siroe re di Persia (anonymous)"
2207:"Siroe re di Persia (anonymous)"
2039:"Siroe re di Persia (Scarlatti)"
256:as well as in the first book of
130:, performed in Dresden in 1763.
36:Portrait of Metastasio by Batoni
3090:18th-century Italian literature
2304:"Siroe re di Persia (Conforto)"
1880:"Siroe re di Persia (Pescetti)"
1441:Italian libretto of the setting
1168:, FestspielOrchester Göttingen.
443:29 April 1727, Teatro Pubblico
45:is a libretto in three acts by
2621:"Siroe re di Persia (Franchi)"
2595:"Siroe re di Persia (Traetta)"
2434:"Siroe re di Persia (Piccini)"
2356:"Siroe re di Persia (Galuppi)"
2330:"Siroe re di Persia (Zilioli)"
2136:"Siroe re di Persia (Mazzoni)"
1987:"Siroe re di Persia (Latilla)"
1741:"Siroe re di Persia (Vivaldi)"
1696:"Siroe re di Persia (Porpora)"
1166:de:Deutsches Theater Göttingen
735:versions on 4 May 1759 at the
716:Teatro San Giovanni Crisostomo
644:Teatro San Giovanni Crisostomo
526:Teatro San Giovanni Crisostomo
377:Teatro San Giovanni Crisostomo
309:Teatro San Giovanni Crisostomo
55:Teatro San Giovanni Grisostomo
1:
2647:"Siroe re di Persia (Borghi)"
2517:"Siroe re di Persia (Boroni)"
2259:"Siroe re di Persia (Uttini)"
2181:"Siroe re di Persia (Cocchi)"
1786:"Siroe re di Persia (Handel)"
1192:Oldenburgisches Staatstheater
327:sang the role of Medarse. In
118:, General and friend of Siroe
2673:"Siroe re di Persia (Sarti)"
2569:"Siroe re di Persia (Tozzi)"
2065:"Siroe re di Persia (Manna)"
2013:"Siroe re di Persia (Perez)"
1935:"Siroe re di Persia (Hasse)"
1906:"Siroe re di Persia (Bioni)"
1854:"Siroe re di Persia (Fiorè)"
1651:"Siroe re di Persia (Sarto)"
1625:"Siroe re di Persia (Porta)"
1580:"Siroe re di Persia (Vinci)"
1554:"Siroe re di Persia (Perez)"
1528:"Siroe re di Persia (Vinci)"
826:Giovanni Battista Lampugnani
2772:, accessed 10 January 2020.
2462:(Hermann Friedrich Raupach)
2164:(Georg Christoph Wagenseil)
1976:, accessed 10 January 2020.
1843:, accessed 10 January 2020.
1775:, accessed 10 January 2020.
1730:, accessed 10 January 2020.
1685:, accessed 10 January 2020.
1614:, accessed 10 January 2020.
1036:de:Giovanni Battista Borghi
967:Pietro Alessandro Guglielmi
907:Giovanni Battista Cedronio
472:King's Theatre am Haymarket
252:by the Byzantine historian
3106:
2943:La passione di GesĂą Cristo
2791:, accessed 10 January 2020
2287:(Francesco Antonio Uttini)
1445:Munich Digitization Center
1411:Munich Digitization Center
1283:Munich Digitization Center
1249:Staatsbibliothek zu Berlin
1149:Teo Otto Theater Remscheid
1139:Théâtre des Champs-Élysées
1007:Carnival 1767, Hoftheater
789:Francesco Poncini Zilioli
512:Giovanni Battista Pescetti
2873:
2806:accessed 10 January 2020.
1076:1783, Collegio Vescovile
892:Hermann Friedrich Raupach
691:Georg Christoph Wagenseil
361:
355:
1153:Schauspielhaus Wuppertal
755:Francesco Antonio Uttini
288:(1649) and the libretto
227:Large square in Seleukia
2741:John Denison Champlin:
2679:. University of Bologna
2653:. University of Bologna
2627:. University of Bologna
2601:. University of Bologna
2575:. University of Bologna
2549:. University of Bologna
2523:. University of Bologna
2493:Oxford University Press
2440:. University of Bologna
2414:. University of Bologna
2388:. University of Bologna
2362:. University of Bologna
2336:. University of Bologna
2310:. University of Bologna
2265:. University of Bologna
2239:. University of Bologna
2213:. University of Bologna
2187:. University of Bologna
2142:. University of Bologna
2097:. University of Bologna
2071:. University of Bologna
2045:. University of Bologna
2019:. University of Bologna
1993:. University of Bologna
1941:. University of Bologna
1912:. University of Bologna
1886:. University of Bologna
1860:. University of Bologna
1792:. University of Bologna
1747:. University of Bologna
1702:. University of Bologna
1657:. University of Bologna
1631:. University of Bologna
1586:. University of Bologna
1560:. University of Bologna
1534:. University of Bologna
1488:Oxford University Press
1116:Händel-Festspiele Halle
493:de:Andrea Stefano Fiorè
323:in 1724.) The castrato
3075:Libretti by Metastasio
2701:(Luigi Guido Beltrami)
2481:Neville, Don (2002) .
1476:Neville, Don (2002) .
1209:progettometastasio.it.
1106:Georg Friedrich Händel
459:Georg Friedrich Händel
423:Nicola Antonio Porpora
37:
29:
21:
2935:Alessandro nell’Indie
2887:Siface, re di Numidia
1073:Luigi Guido Beltrami
673:Antonio Maria Mazzoni
266:Annales ecclesiastici
65:The action is set in
35:
27:
19:
3047:Il trionfo di Clelia
2825:February 2018, p.45.
2817:Mit doppeltem Boden.
1042:Teatro San Benedetto
973:Teatro della Pergola
954:Teatro San Salvatore
878:Teatro della Pergola
620:Teatro della Pergola
3080:1720s in literature
2999:La clemenza di Tito
2720:, Paris 1876–1881,
2699:Siroe, re di Persia
2460:Siroe, re di Persia
2285:Siroe, re di Persia
2162:Siroe, re di Persia
2117:Siroe, re di Persia
1606:Siroe, re di Persia
1176:Johann Adolph Hasse
1132:Capella Coloniensis
921:Johann Adolph Hasse
846:Pasquale Errichelli
657:de:Paolo Scalabrini
556:Johann Adolph Hasse
313:Marianna Bulgarelli
258:Historia saracenica
183:A room near the zoo
152:Cosroe's inner room
128:Johann Adolph Hasse
2911:Siroe re di Persia
2895:Didone abbandonata
2488:Grove Music Online
2119:(Paolo Scalabrini)
1968:Siroe re di Persia
1767:Siroe re di Persia
1722:Siroe re di Persia
1677:Siroe re di Persia
1511:Metastasio, Pietro
1483:Grove Music Online
1409:by Traetta at the
1059:26 December 1779,
1021:13 February 1770,
971:5 September 1764,
857:26 December 1758,
852:Siroe (Errichelli)
811:10 February 1754,
807:Baldassare Galuppi
761:Oper am Gänsemarkt
737:Teatro San Samuele
714:26 December 1749,
614:Giuseppe Scarlatti
516:Baldassare Galuppi
497:26 December 1729,
470:17 February 1728,
325:Giovanni Carestini
321:Didone abbandonata
49:. Set to music by
42:Siroe re di Persia
38:
30:
22:
3070:1726 compositions
3057:
3056:
3023:Ciro riconosciuto
3007:Gioas re di Giuda
2879:Gli orti esperidi
2867:Pietro Metastasio
2502:978-1-56159-263-0
1497:978-1-56159-263-0
1097:
1096:
899:Sankt Petersburg
896:1760, Hoftheater
830:14 January 1755,
710:Gioacchino Cocchi
642:9 February 1743,
599:4 November 1740,
524:27 January 1731,
375:2 February 1726,
343:Settings to music
337:Giovanni Manzuoli
250:Epitome Historion
90:), his oldest son
80:), King of Persia
47:Pietro Metastasio
3097:
3015:Achille in Sciro
2991:Betulia liberata
2975:Adriano in Siria
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2491:(8th ed.).
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1486:(8th ed.).
1473:
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1377:Internet Archive
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1216:Digital versions
1023:Teatro Argentina
910:presumably 1760
872:Niccolò Piccinni
859:Teatro San Carlo
813:Teatro Argentina
695:4 October 1748,
601:Teatro San Carlo
362:First performed
350:
254:Johannes Zonaras
201:Palace courtyard
96:, his second son
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1003:Tommaso Traetta
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618:24 April 1742,
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934:Hoftheater
746:Barcelona
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479:Hoftheater
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