Rare Opera Company - Adelaida

Posted on Mon Jan 22nd, 2024 @ 2:53pm by Captain Samuel Woolheater

Mission: Back Home
Location: Alpha Quadrant - Federation Space - Planets of Fontalis and Navicella
Timeline: MD05 - MIDDAY
4797 words - 9.6 OF Standard Post Measure

[ON: “Adelaide”]


“Welcome to FNN presents. I’m your host Anibala Fabra. Tonight, we catch up with soprano Maria Beneghi and the rest of the Rare Opera Company. We’re on the planet Navicella, a mostly water world know for it’s hundreds of kilometers of sandy white beaches, posh resorts, swimsuit competitions, relaxation and playtime and oh yes, the sigining of the Treaty of Concordia in 1457. Widely regarded as the founding of what we know today as Fontalis and the Fontalan network of worlds. Twenty-three ninety eight marks the three-hundredth anniversary of first contact between Fontalis and the United Federation of Planets.”

While Anibala continues with her introductory monologue, the viewer is presented with images of the setup of festivities on Navicella. Including the rehearsal and prep work for a historic performance. The monologue continues,

“For such an auspicious event, the Rare Opera Company was asked to participate and perform what many are calling a love letter to the stars. Of course, I am talking about what most experts and everyday people consider to be the most famous, the most beloved operatic work from that period, Metastasio’s Adelaida. Itself a masterpiece of that peculiar and captivating musical style but also containing perhaps the most beloved opera aria of all time, “Da mondi e popoli ancora”.

There is video footage here of Maria Beneghi rehearsing the famous opera aria on stage near the Concordia monument on Navicella. The stage is set inland, away from the shore in rougt the center of the national park. A large stage has bee erected that will serve to host not only three performances of Metastasio’s Adelaida but also the rest of the month long party. The view now switches to the FNN host, Anibala and the cast of Adelaida with Maria in the first row.

“Joining us, is the cast of Adelaida together with the music director, the conductor, the cultural exchange director and the Ambassador from the Federation to our friends on Fontalis. Let me ask all of you, what makes this opera so special that is is the headline for the three-hundredth anniversary of First Contact with the Federation?”

There is a general moment of “wow” as the cast, which is about a dozen players, look at each other. They look to the music director who answers, “I think it’s because, Adelaida is a story, is the story of Fontalis itself. And it is through the struggles of this girl who grows up to become this strong, insightful, radiant woman who later becomes the first empress of Fontalis that resonates with so many people. Both on and off world. It’s also the story of who we are as a people and what we were longing for then and now. Really since the earliest records going all the way back to Origenio.”

The video here cuts to an onsite visit back to Fontalis where a visit to the National Archive and Museum takes place. Walking up the many steps to the large columns and then the grand entrance, the museum itself was once just another palace. Today, it is know as the ‘Palace of the People’ and houses and showcases some of the treasures of this world.

“I met up with historian, Marco Imperigo, Archivist for the Museum’s historical documents section.”

Seated now, the interviewer asks, “Tell us what you know about Adelaida and the composer. We’re on a quest to discover why this opera has fascinated so many and is beloved generation after generation. What is it about this work?”

The older man says, “It’s the story of us. Of Fontalis. But, it is also the story of anybody, anywhere who has risen from the ashes of ignorance and embraced a larger truth. A more profound truth. A cosmos that includes a space for ‘the other’.”

Anibala smiles and asks, “Am I speaking with a fan?”

Marco nods,”Most definitely. Without a doubt. Yes” he says and smiles back. “First, we must start with the story.”

The voice over of the interviewer continues as we see images of manuscripts and the music, ”Adelaida is roughly based on the real life of the maiden girl, Matildaya, a poor girl who has a noble heritage but does not know it. She was the rightful queen of the Pamphato but, her family was killed and her relatives exiled. She is left beind and is set adrift in life. Through many toils and a little bit of recognizing good people she makes alliances with people who help her. And a kind of mutual helping network is built. As time goes on, she has to face ignorance and fear, bigotry and abuse. She befriends an Astronomer, Lodizione and he basically teaches her the scientific method.”

“Now, one must remember that at this time, even though the society was egalitarian, poor people did not generally associate with people of the upper class. So, while men and women were generally regarded as equal in rights and learning and…opportunities. Not everyone had access to an education. If you were poor, you could not rise above that without someone to help you. Now, of course, we’re not like that but there was a time. So, its through these struggles that she rises above. Okay? Betters herself with the help of others. Nobody in Adelaida….uh…..uh….uh…..how do the Humans say……ah…..’pull up by your own bootstraps’. OK? No. Matildaya is always helping and being helped. And that is the way forward with this myth – this ancient story.”

Marco continues while images of the music are viewed and picturs of the composer, “So, Metastasio. Now we come to him. He is born into a upper class family and his father wants him to become a lawyer. But, he does not. Lucky for us. Defying his father and his heritage, he leaves that life and strikes out on his own heading to his Uncle’s home in Serse. He learns his craft there, again making these many connections to other people and learning, learning, learning. All the time. In 1424, he writes Adelaida. And…it is not an immediate success.”

The view switches back to the cast on Navicella. The interviewer continues, “We met with Marco Imperigo at the Archives. He told us that this work, this beloved work was not…immediately recognized as something good, right?”

The conductor answers, “That is correct. In fact, I can share with you, only because it’s my job to know…that we almost never got Adelaida. We were this close – to it never happening. And the world owes a sincere, bottom of our hearts debt to Aemaelia, Metastasio’s wife.”

There is an image of Metastasio’s wife Aemaelia having her portrait painted. And the conductor continues as we see images of Fontalis four hundred years ago. “In 1424, early that year, the Pillazese music publisher Edoardo Sonzagni announced a competition open to all young Fontalan composers who had not yet had an opera performed on stage. They were invited to submit a one-act opera which would be judged by a jury of five prominent music critics and composers. The best three would be staged in Serse at Sonzagni's expense.”

“Metastasio heard about the competition only two months before the closing date and asked his friend Giovanni Nozzetti, a poet and professor of literature at the Fontalan Royal Naval Academy in Prenno, to provide a libretto. Nozzetti chose Adelaida, a popular short story (and play) by Magisterium Verga, as the basis for the opera. He and his colleague Memnon Ammanni set about composing the libretto, sending it to Metastasio in fragments, sometimes only a few verses at a time on the back of a postcard. As Metastasio believed that the work was hastily written and not reflective of his best efforts, his courage deserted him and he placed the draft in a drawer, from where his wife, Aemaelia "Lina" Metastasio, removed it and submitted it on the last day that entries would be accepted. In all, 73 operas were submitted, and on 5 Marcio 1426, the judges selected the final three: Niccola’s Lavinia, Ferroni’s Rudello, and Metastasio’s Adelaida.”

The FNN interviewer is surprised and Anibala says, “So he wasn’t even goin to submit the work at all?”

The conductor and almost all of the cast who knew this story nodded, “Yes. He really would have blown it. We owe so much to her support. Because, without romantisizing it too much, I think that she believed in him ad she knew that this was something really, really good. She knew. Before anybody else. And, her contribution is really overlooked and we don’t really thank her enough.”

One of the tenors speaks and says, “I feel that…her part in his story…is what makes the opera so special to many people”

“How so? Why do you think that?” Anibala asks.

“Because, I feel that, the story is about strong woman. About a strong female lead when, at that time, most of the contemporary work was looking back. Back in our history to the gods, the generals…I mean….how many more operas were about Origenio, or Radamio or Possiamo? This was and maybe I’m wrong about this…?” he paused and looked at the others who were supportive and nodded and encouragedhim to continue, “…well, I just think that this stands out to me because it is looking forward. To a new day. To looking at the world through a scientific method and not through a religious or historical lens. Yes, its based on a past person, but this pewrson actually lived and is well documented. It’s kind of like, for th first time, we lifted up our eyes to th skies. To the stars an wondered if anybody else was out there? And we had been in space travel for a hundred years or more. But we still thought we were it. We were alone. Just like she did. Just like Adelaida.”

The interviewer turns her attention to the soprano. To Maria Beneghi and all eyes are on her, “Maria? I’ve been dancing around the room trying not to call on you too soon.” There is a general laughter and playfulness in the air. She is a very beautiful person and she radiates warmth and beauty. She smiles back and says, “Awww….you can ask me anything you want. I know this is important.”

The interviewer says, “How does it feel…because many people watching this will want to know, how does it feel to play this part?”

She smiles back and reddens sweetly. She tucks her long, dark hair behind her right ear, “I never though that I would ever get this far. And it is the dream, it’s every soprano’s dream to really get any part in one of Metastasio’s work. But exceedingly rare to be offered to play Adelaida. It’s amazing.”

“Frightening? Are you at all scared?” the FNN interviwer asks.

“Oh! Of course! I’m terrified, I’m thrilled, I’m excited….I feel dizzy sometimes. But I have all of my friends here on stage and in the orchestra and all those people, you know, they are with me. Either they really are, because in that aria so many are on stage with m, but also throughout the rest of the work. Everyone is very supportive because this is their work too. It’s their opera too. I just get to sing for Adelaida.”

The picture changes to an older performance. One that was done a decade ago but very, very famous and well regarded. One that was done by the great soprano, Vera Farrandi. Everyone knows what’s coming and the audience starts a massive applause as soon as she appears on stage in the dungeon. The applause lasts for several more seconds and people get to their feet. The conductor waits as long as he can and then gives the downbeat for the recitative,

(In Fontalan)
“Pensa, Adelaida, al passato, e poi
Rivolgi la tua attenzione al tuo destino presente;
Guarda cosa eri e cosa sei diventato adesso,
Una regina conquistata e anche una prigioniera.

(In Standard)
Think, Adelaida, on the past, and then
Turn your Attention to your present Fate ;
See what you were, and what you're now become,
A Queen that's conquer'd, and a Captive too.”

As the recitative ends with a classic V-7-I chord. The music for the beloved aria starts:

(In Fontalan)
“Da mondi e popoli ancora sconosciuti,
da amici al di là del golfo dello spazio,
benvenuti su questa spiaggia agitata dalla tempesta.
Qui troverete riposo e bellezza senza paragoni.

(In Standard)
From worlds and peoples yet unknown,
from friends across the gulf of space,
welcome to this tempest tossed shore.
Here you will find rest and beauty beyond compare.”


The music is thrilling to the ear. It’s excitement at meeting visitors from another world is exhuberant. It can hardly contain itself. As it plays, the people in the audience sing. And when it is over the place erupts with thunderous applause. Bouquets of flowers and garlands of roses are tossed onto the stage with such a roar. The soprano, surrounded by people in early Starfleet uniforms, stands next to a bust of Metastasio and graciously accepts the thunderous applause and acclaim. Her performance captivated millions of people.

The interviewer says, “For people watching this interview, they will have seen, just as we showed you, the historic, incredible performance of Vera Farrandi.

Eveyone nods in agreement.

“Tell us, Maria, are you being compared to her unfairly?”

“No, I don’t think so. Everyone who gets to sing this role brings themselvs, heir whole being to it. It’s such an honor to sing this role and that’s what singers don’t want to mess up.”

“Is it technically difficult?” FNN asks.

“It has a dynamic range, but it is well within the range of a decent soprano. Metastasio doesn’t make it very…..too demanding. Remember, that this closes the one act opera. So, people have been there for about one hundred and ten minutes. Almost two-hours and we’ve been treated to really lovely arias from all the main characters. It is challenging, because,everyone knows the words and the music. So, you don’t want to botch that. But, I don’t think people are listening to, ‘Oh…Vera sang it so much better’ No. Everyone is behind Adelaida, Queen Adelaida because this is the start of our meeting the Federation.”

The interviewer asks the cast, “Does anybody have any toughts about being onstage for the 5 minutes average time where you are all kind of…background?”

A bass speaks up, “Not at all. We don’t feel like – I at least – do not feellike I should have any of the….stage. You know. This is all about the young girl, who despite everything and all the setbacks…remains true. Is strong and keeps looking up. This was at least one-hundred years before we met anybody else in space.”

Everyone agreed with that assesment.

“I want to read you something that Marco at the archives dug out for us. Two things. Two really important events that I want to hear your thoughts on. Number one is that, Adelaida received only three performances. Only three. And was not played or heard again for seventy years. It was revived by a group of mothers who were protesting another war that their sons and daughters were being sent to. And in particular, they chose this aria and in so doing they changed the course of history.” The FNN interviewer stopped and the conductor spoke up.

“It is really quite an amazing thing. These mothers were part of a ligh opera society. So they had access to a lot of music. And these were very smart people. They knew the power of art to change hearts and to change the way people thought about the constant state of war that Fontalis was heading towards. So, yeah, the go to Navicella and close by, near by, nobody knows exzactly where, but closeby to where the monument sits today, they convince the Rare Opera Company to perform Adelaida. And it profoundly changes people’s attitudes towards the wars. It is that moment when people, society on the whole, realized….quite remarkably….that we were committing a kind of cultural suicide. We were bankrupting our world in more ways than just our money. The best of us, our youth, the mantle of our world were dying for nothing but conquest. Nothing but ancient legends.”

The interviewer’s voice over continues as some horriffic battlefield images are shown. Then, images of that mother’s group on the shores of Navicella and the first revival performance. Then another image of the same group performing the opera again back on Fontalis and then, a year later, in the concert hall.

“There is this wonderful account of what happened whe the King heard it. I don’t think I’ll ever forget it. Remember that we had conquered a dozen worlds by now. And the King was at the height of his power. But that all changed in three weeks.” The music director says.

The FNN interviewer shows this section of a video to the cast. It begins with voice over narration of a scene at the Temple of Possimo. That day, was a day of remembrance for all those fallen in war.

What the King did not know is that this mother’s opera group, together with the Rare Opera Company performed the aria “Da mondi e popoli ancora” for the first time for the King. The account goes as follows from an eye witness:


“About ten o’clock the people began to collect by land, and also by water, – in riverboats sent by General Sessone for the purpose; and from that time all the avenues of approach to the Temple were thronged. The multitude were chiefly alien, captured and conquered women, with handkerchiefs, so brightly colored and vivid on their heads, and a sprinkling of men, with that peculiarly respectable look which conquered people always have on festivals and holidays. The King having heard that music the day before made a proclamation. He ordered that it be read to all people everywhere within the empire of his domain. There were many noble visitors also, – ladies on horseback and in carriages, superintendents and teachers, officers, and military-men. Our armed forces arrayed in companies were marched to the neighborhood of the platform, and allowed to sit or stand, as at the Sunday services; the temple platform was occupied by ladies and dignitaries, and by the band of the Rare Opera Company, which kindly volunteered for the occasion; the captives people of all the worlds we had taken filled up all the vacant openings in the beautiful grove around. The splendor of Possiamo’s temple was ever thus and there was a cordon of mounted visitors beyond. Above, the great live-oak branches and their trailing moss; beyond the people, a glimpse of the blue river and the Sersan harbor beyond.

The Kings proclamation was to be read at half past eleven o’clock, with prayer by the Temple clerics of every sect to preceed it. After the invocation, the King’s Proclamation was read by Dr. Lavarra, from the University, a thing infinitely appropriate, a Navicellen himself addressing all these captive people from every corner of the realm; for he was reared among those very islands on Navicella, and here long since sought to free us from the bondage of war and the scourge of keeping captive conquered people. Th proclamation, having been read, all were silent a moment. The King had ended the wars on every battlefield, in every place within and without of Fontalan space. And, with immediate effect, all persons being captive,, or forced into captivity or any kind of oppression were free.

Then the Royal standard was lowered. It was blessed and prayers in humble supplication and requests for forgiveness were made. Having been cleansed from this great evil, the standard was raised again and, in humble manner, were presented to the clerics. All this was according to the programme. Then followed an incident so simple, so touching, so utterly unexpected and startling, that I can scarcely believe it on recalling, though it gave the key-note to the whole day. The very moment the speaker had ceased reading the proclomation, and just as I took and lowered our battle flags, which now for the first time meant anything to these poor people, there suddenly arose, close beside the platform, a strong male voice (but rather cracked and elderly), into which two women’s voices instantly blended, singing, as if by an impulse that could no more be repressed than the morning note of the song-sparrow:

(In Fontalan)
“Da mondi e popoli ancora sconosciuti,
da amici al di là del golfo dello spazio,
benvenuti su questa spiaggia agitata dalla tempesta.
Qui troverete riposo e bellezza senza paragoni.

(In Standard)
From worlds and peoples yet unknown,
from friends across the gulf of space,
welcome to this tempest tossed shore.
Here you will find rest and beauty beyond compare.”


People looked at each other, and then at us on the platform, to see whence came this interruption, not set down in the bills. Firmly and irrepressibly the quavering voices sang on, verse after verse in repetition of this ‘ere forgotten work by the great Metastasio; others of the captive people joined in; some nobles and military men on the platform began.

I never saw anything so electric; it made all other words cheap; it seemed the choked voice of a race at last unloosed.

Nothing could be more wonderfully unconscious; art could not have dreamed of a tribute to the day of jubilee that should be so affecting; history will not believe it; and when I came to speak of it, after it was ended, tears were everywhere. If you could have heard how quaint and innocent it was! From a poor girl to a noble Queen and we her heirs and children might have sung it; and close before me was a little alien-boy, who seemed to belong to the party, and even he must join in. Just think of it I – the first day they had ever had their truest freedom restored. It was never ours to take, the first King they had ever seen which promised anything to their people, and here, while mere spectators stood in silence, waiting for my stupid words, these simple souls burst out in their lay, as if they were by their own hearths at home.”

The historic images from that day faded and were replaced by the cast and the interviewer. There were only a few dry eyes. “Powerful images and powerful words. All because these ladies, these mothers had had enough. They changed the course of history.” Anibala, th FNN interviewer then asked, “Tell us what you’re thinking now?”

The soprano, Maria, wiping a tear said, “I had not seen that before. I did not know that had happened or that this…this music…that we perform meant that – so much to people.” A member of the orchestra puts his arm around her as the moment impacts them all. Each member of the cast feeling the moment around them.

Anibala let the moment pass and then she shifted just a bit, “In every modern performance of this opera that we were able to review, there is always a bust of Metastasio. And that is not in th opera. And neither are the Starfleet uniforms for the last scene. Why do those exist?”

The stage director and Federation Ambassador answered, “I’ll go first. That’s part of the staging. The bust of the composer. Metastasio and Aemaelia died impoverished. They worked on a royal charter and when th King removed his favor, they lost everthing. No more performances. But here’s what gets people. Despite them having nothing, the gave away all of their proceedings, except what to buy food and live, to charities and sufferage groups. They had no children but they allowed hospitals and homes to get the monies from the performances. In the end, when they had nothing left, they were buried somewhere out of the city in unmarked graves. She died first and then he did a week later. And after th revival, seventy years later, thanks to the many groups, his music was rediscovered and appreciated. And, the bust was really started my the mother’s group. Because nobody knew who Metastasio was and who this opera was about. And it came a kind of tradition and, I think, a way to say, you know…thank you. We didn’t appreciate you when you were here. But let us do it now. Because we love you.”

The FNN interviewer asks, “Should there also be one for Aemaelia there too?”

The stage director nods, “There should. I’ll look into making that happen.”

The Federation Ambassador speaks, "The Federation and our first contact efforts, which went exceedingly well, we became associated with the rest of the cast. Members of that first mission to Fontalis and then the Concordia Treaty we were fortunate to be of some service. To be incorporated into such a beloved work is, well, overwhelming."



PACIFICA – THE PRESENT DAY – THE PARENTS WOOLHEATER RESIDENCE

The viewscreen is now clearly inside the Woolheater residence and Emma Woolheater, Samuel’s mother, is watching the program on her video screen. She is seated on the couch. The interview is wrapping up. The FNN interview is back at the FNN studios at the Fontalis Bureau Desk.

“In just a few day’s time, the Rare Opera Company will be adding their part their chapter to the rich history of this celebration of First Contact. Before we go, we thought our viewers would like to know what was the inspiration for this beautiful aria that has garnered so much attention. The Director of the Archives shared with us, in the composer’s own words, the answer.

An image of a letter written to a friend when Metastasio learned that Adelaida had won the composition contest and would be staged. He wrote,

“We (Aemaelia) and I were staying at the hotel in the town of Ponne, I had gone to bed early and I shortly thereafter, awoke from a spectacular dream. That day, I had heard a new regiment of militia singing on parade. And had fallen asleep with the song, “Scherza in Mar” ringing in my head. Now, in the dark, I got up and scribbled out a new song, as if I were merely taking dictation from an Tallis (an angel), with a pencil stub. I went back to sleep and the next morning, I thought it was an acceptable tune. I would use it in my new opera.”

The viewscreen fills with the image of the cover sheet for Adelaida.

“That ‘acceptable tune’ became ‘Da mondi e popoli ancora’. The anthem of freedom.”

“I’m Anibala Fabra, thank you for joining us, from all of us at FNN, thank you and good night.”

As the program ended, Emma shut off the monitor. She sat there a moment trembling. Then she relaxed. As if she had reached a decision. She stood up and went to the home communication panel and sat down in front of a monitor to place a call. She touched the button on the screen and spoke to the computer, “Computer? I’d like to place a call to the Federation Embassy on Fontalis.”

After a brief moment, the call was placed, and the smiling face of a diplomatic aide came on the screen. After a short greeting was exchanged, Emma Woolheater said, “I want to talk to the Ambassador. I need your help. I want to talk to the people at the Rare Opera Company. My Marine son is missing. And so are a lot of other people. I want Starfleet to do something about it. I want the Federation to do something about it. And I think those people at the opera can help create the pressure and the press I need to make it happen. Will you help me?”


[OFF:]

Captain Samuel Woolheater
“Saepius Exertus, Semper Fidelis, Frater Infinitas”
Division VI, MARDET 62nd Company "Spartans", 1st Platoon CO
=/\= USS ELYSIUM - NCC-89000 =/\=