Le convenienze ed inconvenienze teatrali

  • Corilla Sartinecchi, the Prima Donna (soprano )
  • Stefano, her husband ( bass)
  • Luigia Boschi, the second singer (soprano )
  • Mamma Agata, Luigia mother (baritone )
  • Dorothea Caccini, the contralto ( alto)
  • Guglielmo Antolstoinolonoff, the Russian tenor (tenor )
  • Vincenzo Biscroma, the composer ( bass)
  • Orazio Prospero, the librettist (Tenor)
  • The impresario ( bass)
  • The Mayor ( bass)
  • The garment department
  • A prompter
  • A stage manager
  • Türschließerin
  • Makeup girl
  • Charwoman
  • Other members of the opera troupe, guard, audience (chorus and supernumeraries )

Viva la Mamma! ( Original title: Le convenienze ed inconvenienze teatrali to German: manners and bad habits of the people from the theater ) is an opera buffa in two acts by Gaetano Donizetti. The libretto was written by the composer, based on the two one-act plays Le convenienze teatrali and Le inconvenienze teatrali by Antonio Simone Sografi. Maybe Donizetti was assisted in this task by Domenico Gilardoni, the librettist of some of his earlier operas. Backed this is not. The opera was first performed on April 20, 1831 at the Teatro Canobbiana in Milan.


Place and time

The opera takes place in a theater in the Italian province at the time of the premiere, so in the 1830s.

Act I

The spectators are in the middle of a sample of opera seria " Romulus and Ersilia ". The actors constantly argue about which of them probably has the more important role. Even the composer and the librettist often have different ideas about how their work could be brought out more effectively to the stage. Mamma Agata, the mother of the second singer Luigia, the prima donna treated extremely harshly, to which the latter refuses to stand with Luigia together on stage. Dorotea, the actress of Romulus, also has to suspend all a bit mad and leaves the theater. Fortunately, the resolute Agata looks quickly one way out: you 'll even take on the role orphaned. Although all know that for her voice is too thin and also much too deep, but the main thing, the role is filled. Now bursts also the Russian tenor Antolstoinolonoff the collar. He follows Dorotea, and another role is already released. For him immediately jumps a bassist Stefano, the husband of the prima donna. As an ensemble member, he can always make better use for the interests of his wife.

Despite everything will continue to spark debate. The debate culminated in the establishment without a resounding name in the ensemble, the premiere was doomed to failure. Nobody has weiterzuproben tired. The time is ripe for a big break!

Second Act

Mamma Agata feels like a new star in Italian opera heaven. They therefore believe they can demand from a powerful impresario advance. This shows, however, by no means inclined to fulfill the desire. Agata cares so little. She just wanted to see how far they can go. Quickly she is again included in the samples of the opera troupe. The fact that show the two new appointments to extremely poor performance is obvious. Only they themselves do not realize it. Suddenly bursts also still in the news, the city demanded of the opera company a security deposit; otherwise, the game operation will be prohibited. Well good advice; because all those responsible do not see themselves in the position to pay the sum demanded. As it turns out to be very fortunate to have Mamma Agata brought into the ensemble. She quickly shifted her old family jewelry and helps the troops out of trouble. Viva la Mamma!


Viva la Mamma was originally a one-act farsa who was raised under the title Le convenienze teatrali on November 21, 1827 at the Teatro Nuovo in Naples from the baptism. Three years later, she expanded Donizetti to a full-length opera. In German-speaking countries, the plant will usually listed in a German translation, because otherwise many gags this parody not set fire to the opera business. The action is often shifted to the present, where local features into account and individual figures be renamed. For the performance of the Württemberg State Theatre in Stuttgart in the season 1981/1982 of director Ernst Poettgen noticed in the program: To ensure that this event is not too impersonal in a " distant Italy a long time ago " takes place, I have a pivot found ... that it possible to transfer the action precisely on this evening and it is in this theater.