"La Serva Padrona," or "The Maid Made a Lover," is an intermezzo composed by Giovanni Battista Pergolesi in 1733. The opera features Serpina, a cunning and resourceful maid who deftly reverses the power dynamics in the household, convincing her master, Uberto , to marry her.
La Serva Padrona, opera in two acts (intermezzi) by Giovanni Battista Pergolesi
Libretto by Antonio Federico Gennaro from a theatre work of the same name by Jacopo Angelo Nelli
Performances
8 September - 21h00
10 September - 19h00
Artistic profile
Carlos Antunes, staging
António Carrilho, musical direction
Natacha Costa Pereira, set design
Nuno Braz de Oliveira, costumes
Nuno Esteves (Blue), stage costume designer
Zeca Iglésias, lighting design
Fátima Sousa, characterisation
Ana Paula Menezes, stage direction
Cast
Serpina - Carla Caramujo, soprano
Uberto - Luís Rodrigues, baritone
Vespone - João Merino, baritone
José Carlos Araújo, harpsichord
La Nave Va Orchestra
António Carrilho, musical direction
SYNOPSIS
Composed by Giovanni Battista Pergolesi in 1733, La Serva Padrona was presented as a surprising intermezzo for the opera Il Prigionier Superbo. Since its premiere at the Teatro San Bartolomeo in Naples, this work, intended to be a secondary element of the show, has grown in popularity to such an extent that it has overshadowed the main opera that housed it.
The success of La Serva Padrona can be explained by the prodigious fusion of artistic innovation and social resonance. Its narrative simplicity, set against the denser operas of the time, offered audiences a story they could identify with, punctuated by lively melodies and infectious rhythms that differed significantly from traditional compositions. But it wasn't just its musical character that catapulted it to success. Her intrinsic humour and the way she openly challenged social conventions, inverting traditional hierarchical roles, made her particularly attractive at a time of latent social discontent. And although deeply Italian in essence, the universal themes of social aspiration, power dynamics and seduction ensured its acclaim across borders.
At the heart of the story is Serpina, the shrewd maid (servant) who, with a lot of cunning and the precious help of her faithful Vespone, manipulates Uberto (the boss) to the point where he admits that he might love her. Serpina thus manages to marry Uberto, making her the mistress (padrona) of the house.
At a time when women were often marginalised, Serpina's story resonates as a call to action. More than just a servant, Serpina is a symbol of will, manipulating social conventions and challenging the status quo. On the other hand, Uberto is portrayed as caricatured and easily manipulated, challenging the male archetype of the time.
For all these reasons, it's not unreasonable to think of commedia dell'arte when we hear La Serva Padrona, especially if we consider the use of stereotypical characters and caricatured situations. Serpina's wit reminds us of characters like Colombina, while Uberto has traces of Old Pantalone. Both exploit humour to satirise social conventions.
In short, La Serva Padrona was not only a manifestation of Pergolesi's genius, but also an acute reflection of the sensitivities and anxieties of his time.
ABOUT THE FESTIVAL
Resurgence of the FOO
The Óbidos Opera Festival, which marked a whole generation of professionals and music lovers, has been inactive in recent years. ABA - Banda de Alcobaça, Associação de Artes, in its application for Sustained Support from the Directorate-General for the Arts for the period 2023-2026, stated that one of its objectives was to revive this festival, establishing a strategic partnership with the Municipality of Óbidos to this end. The aim of this partnership is to breathe new life into the Óbidos Opera Festival by providing it with the conditions it needs to aspire to a sustainable future with the capacity to grow, helping to place Portugal on the global opera circuit.
Relevance
The Óbidos Opera Festival aims to position Portugal on the global opera circuit through strategic national and international partnerships and the participation of renowned artists. Our ambition is to turn Óbidos into a laboratory for creative ideas in the fields of staging, musical interpretation and connecting with audiences, as well as a space for the discovery and affirmation of talent, endowing this Festival with an international ambition that should be projected into its future, making Portugal a centre for the production and circulation of opera with global reach, attracting an international audience and boosting cultural tourism, leaving an indelible mark on the opera scene.
The Festival's activities run from August, still in Lisbon and Porto, where rehearsals and preparation work for the operas will take place, until mid-September, when the shows will be presented.
Quinta das Janelas
The venue chosen to host the activities of the Óbidos Opera Festival is Quinta das Janelas. Located in Vale das Flores and just a few metres from the Convent of São Miguel, its construction dates back to the early 16th century and incorporates the old Quinta das Flores (where Queen Leonor stayed when she travelled to Caldas). A magical place full of history, it includes a 16th century palace, a set of wine presses, cellars, a riding arena and a fountain. On this estate we can also see the Chapel of Nossa Sra. do Desterro and a sulphurous water spring (formerly known as Caldas das Gaeyras) which is used in a simple vaulted house with a tank inside.