Il Ritorno D'Ulisse

While the story of Ulysses remained well-known beyond Claudio Monteverdi on the opera stage in Venice in the 17th century, it seemed to have largely gone out of fashion in the following century. Mayr’s Il ritorno d’Ulisse, following the opera seria works Saffo and Telemaco, contributed to a revival of Greek material and ancient mythology on the Venetian stage. On July 2, 1808 Mayr received an offer from the Teatro La Fenice to write a new grand opera for the 1809 carnival – including for the tenor Giacomo David, a superstar at the time. In addition to the atmosphere of the period, Mayr’s own direction is also recognizable in his composition: The use of concert instruments as well as the chorus would set a trend for his future operas.
This is the first critical edition based on the autograph of the full score from the Biblioteca Civica Angelo Mai, Bergamo. The opera is an example of Mayr’s tendency to dismantle the number opera. Act 1 is organized in the traditional numerical-recitative manner, while Act 2 displays an unexpected free flow in the musical-dramatic plot. From Act 2, Scene 5, the recitativo seccos lose their importance, and a mixture of accompagnati and composed music dominates.In a break from traditional orchestration, Mayr uses strings and winds both as solos as well as mixed ensembles (Finale, Act 2).