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Home , Carolyn Sampson, Il maestro di cappella, La vera costanza, Nicholas McGegan, Orlando paladino

WILLIAM BERGER baritone NICHOLAS McGEGAN conductor SCOTTISH CHAMBER ORCHESTRA

1 Franz l’isola disabitata, hob. 28/9 1. Chi nel cammin d’onore 3:50 le nozze di figaro, k. 492 2. Crudel! perché finora 2:36 3. Hai già vinta la causa!...Vedrò mentr’io sospiro 4:54 SCOTTISH CHAMBER ORCHESTRA Franz Joseph Haydn l’anima del filosofo, hob. xxvii:13 WILLIAM BERGER baritone 4. Il pensier sta negli oggetti 4:12 NICHOLAS McGEGAN conductor , hob. xxviii/12 CAROLYN SAMPSON 5. Teco lo guida al campo 4:03 paladino, hob. 28/11 Recorded at Usher Hall, Edinburgh, UK 6. Quel tuo visetto amabile 3:32 from 23–27 July 2012 Wolfgang Amadeus Mozart Produced and recorded by Philip Hobbs don giovanni, k. 527 Assistant engineering by Robert Cammidge 7. Fin ch’han dal vino 1:30 Post-production by Julia Thomas 8. Deh vieni alla finestra 2:09 Haydn and Mozart scores published by Bärenreiter Verlag, Kassel Franz Joseph Haydn , hob. 28/8 With thanks to Ton Koopman for use 9. Già la morte in manto nero 4:34 of his edition of the Cimorosa score 10. Non sparate…mi disdico… 2:44 Design by Gareth Jones (gazjonesdesign) Session photography by John McBride Wolfgang Amadeus Mozart così fan tutte, k. 588 Album photography by Paul Foster-Williams 11. Rivolgete a lui lo sguardo 5:48 Make-up by Cynthia de la Rosa die zauberflöte, k. 620 12. Bei Männern, welche Liebe fühlen 3:04 Couture by Jacques Azagury 13. Pa-Pa-Pa-Papagena! 2:38 Menswear by Oscar Milo Modelling by Kirsty Mather & Julien Bertherat Shot on location at The Angler Bar, il maestro di cappella South Place Hotel, London, UK 14. Sinfonia 2:42 www.southplacehotel.com 15. Se mi dànno il permesso 12:05 16. Ci sposeremo fra suoni e canti 6:38 2 What I enjoy most about being a singer is that no performance is created truly alone. There is always a need to collaborate, whether with one pianist or an entire company, and I am constantly influenced by the incredibly talented people who surround me. So too it was with this album. Hommage à Trois became the recording that it is as a result of my being fortunate to have so many inspiring friends. It seems only right and proper to thank them publicly, albeit probably too briefly, here:

To Nic McGegan, my musical smiles, patience and ‘magical ears’. To champion and friend: you gave me my all the donors without whose support professional stage debut at twenty-one and encouragement this recording and I have learnt from you ever and many other performances would since. If it weren’t for you, I would never have seen the light of day. To never have discovered Il maestro di my teachers (past and present), vocal cappella. Making music with you coaches, musical colleagues and is pure pleasure. To the Scottish my first operatic home, the English Chamber Orchestra and Carolyn National Opera: a piece of every single Sampson: you made our first-time one of you is captured here. My biggest collaboration feel like a reunion with thanks undoubtedly go to FHH: your familiar musical friends. To Philip support, unwavering belief, guidance Hobbs at Linn: thank you for your and friendship mean the world to me.

3 This recording and much of what I happy time in my life that I currently have achieved in the past few years enjoy as expressed by the Lotharios, would not have been possible without hedonists, lovers and jokers portrayed you being a part of my life. by three of the Classical period’s most popular composers. I hope that you By way of atonement for an enjoy listening to it, even more than I album portraying so many musical enjoyed making it. misogynists, I would like to thank the important women in my life. I dedicate this recording to the To my mother, Arina: you are my memory of my great-aunt ‘Tannie rock and my guiding star and there Enna’, another formidable woman, will never be anyone like you. To who, shortly after her 92nd birthday, my ‘surrogate moms’: Carole Keep, left behind a unique and inspiring life. Jenny Arthur and Judy Donner: thank you for taking care of me when I © william berger, have been far away from home. To london, 2013 the rest of my family, Dad and Lu- Anne: even though you’re far away, your love is also encapsulated here.

Whereas Insomnia: A Nocturnal Voyage in Song was a deeply personal and semi-biographical memoir of my own heartbreak, Hommage à Trois teasingly portrays the fun, jocular and

4 Hommage à Franz Joseph Haydn

Opera played some part in Franz opera season. When the Italian Joseph Haydn’s life for much of his opera house burnt down in 1779, career, but during the years 1776–90 it was rebuilt in two years. it dominated his existence as an employee of the aristocratic Esterházy At Esterháza during the 1780s, family. Esterháza, the family’s seventy-three different received wonderful summer palace situated a total of more than one thousand in the Hungarian countryside about performances. Haydn was responsible fifty miles south-east of , soon for most rehearsals and performances became known as the Hungarian and he composed ten operas himself, Versailles. Haydn was employed by about half of his total output, for the family from 1761 until his death Esterháza. However, he never made in 1809, although his position became a significant impact as an operatic merely nominal after the death of Prince composer and even 100 years after his Nikolaus II in 1790. death this area of his music remained almost unknown. Even now that Prince Nikolaus II’s great love of Haydn’s stage works are rather more music inspired the building of two widely-known, the received opinion opera houses, one for of their shortcomings – most libretti and the other a German marionette undistinguished, lack of dramatic pace, theatre. The Esterháza opera house under-developed characterisation when was completed in 1768, however compared with Mozart’s, etc. – it was eight years later that Prince is stubbornly entrenched. While Nikolaus II established a regular these criticisms are not completely

5 unjustified, they are too general to be writing. Silvia, a child of nature and helpful. One obvious advantage of deeply suspicious of men, sees him recordings is that they minimise any only from a distance, but immediately dramatic shortcomings which would falls in love. normally be obvious in the theatre. Apart from theatrical considerations, Haydn’s very last opera, L’anima del the purely musical merits of Haydn’s filosofo (The Spirit of the Philosopher, operatic works shine through, with subtitled Orfeo ed Eurydice), dates from particular arias, scenes and the the time of his first triumphantly occasional ensemble achieving an successful visit to . Its premiere outstanding quality. Many arias in was scheduled for the King’s Theatre, later operas are enhanced by the Haymarket, London in May 1791, but masterly deployment of sonata-form intense rivalry between the Prince of elements more usually associated with Wales (who supported the King’s Haydn the symphonist. Theatre) and George III (who favoured the Pantheon) led to the invasion of an L’isola disabitata (The Uninhabited early rehearsal by royal emissaries! The Island), one of Haydn’s two eventual premiere – with Maria Callas predominantly serious operas, was and Boris Christoff, conducted by premiered in December 1779. Due to Erich Kleiber – was given in Florence the fire at Esterháza, the marionette in 1951. ‘Il pensier sta negli oggetti’ theatre had to be used. A desert island (Act One), in which King Creonte is the setting in which Enrico, who has gives royal approval to the marriage returned after his escape from pirates, between Orfeo and Eurydice, includes sings ‘Chi nel cammin d’onore’, a a delightful flute obligato. heroic aria with some colourful horn-

6 Armida, first produced in February works, but then suffered total neglect 1784, was the last opera Haydn until a 1982 revival in Vienna. composed for Esterháza and his only Derived from Ariosto’s , full-length opera seria. The plot is this ‘dramma eroicomico’ parodies derived from Tasso’s Crusade epic operatic conventions. ‘Quel tuo visetto Gerusalemme liberata, a subject which amabile’, which became the opera’s inspired well over a hundred operas in most celebrated number, is a comic the Baroque and Classical periods, later love-duet for the tongue-tied Pasquale, works by Dvořák and Brahms, and Orlando’s squire, and Eurilla, his more recently, an opera by Judith Weir. shepherdess girlfriend. This story of the Saracen princess/ sorceress Armida and her lover, the La vera costanza (True Constancy) was Christian knight , highlights premiered at Esterháza in April 1779. the archetypal conflict between love In Act Two the mentally unbalanced and duty. The other, equally timeless Count Errico orders the cowardly theme is East versus West. In Act Two, buffoon Villotto to kill Rosina. His Ubaldo has demanded the release of all own life threatened by this madman, crusaders, but in the aria ‘Teco lo guida Villotto evokes the prospect of death al campo’ (scored with ), in ‘Già la morte in manto nero’ before King Idreno insists that Rinaldo is not finally escaping. ‘Non sparate…mi captive, but is staying at the castle of disdico…’ comes from Act One, this his own free will. scene being the previous occasion on which Villotto finds his life threatened was premiered in by Errico’s pistol. This type of ‘aria of December 1782 and quickly became indecision’ was a popular feature of one of Haydn’s most popular stage many libretti of the period.

7 Hommage à Wolfgang Amadeus Mozart It is often said that Mozart was a was premiered in Vienna on 1 May ‘perfecter’ of established forms, such 1786. The subject matter stirred up a as the piano concerto, rather than famous controversy on account of the an innovator, but in relation to his disturbing social ideas in Beaumarchais’ great comic operas this tells only half original play. In Vienna the play was the story. In Le Nozze di Figaro, Don prohibited and Emperor Joseph II Giovanni and Così fan tutte, Mozart himself insisted that the sharpest completely transcends the conventions passages of political satire must be and stereotyped characters of opera removed from the opera . buffa. Such are the emotional depth, Mozart’s collaboration with Ponte was complexity and understanding of so skilful that they succeeded brilliantly human nature displayed in these comic without completely destroying the operas that the genre was transformed subversive subtleties of the text. In the from mere frivolity and farce into a duet ‘Crudel! perché finora’ from Act more substantial art-form altogether. Three, the eager advances of Count In the words of Spike Hughes, Mozart Almaviva, keen to rendezvous in the created ‘characters great and small, garden, are answered by ’s who moved, thought and breathed coolness. After overhearing a brief musically like human beings.’ Mozart’s exchange between Susanna and Figaro, last four great operas all postdate the Count expresses his anger in ‘Hai Haydn’s final comic opera,Orlando già vinta la causa!’ with trumpets and paladino. Le Nozze di Figaro, the first timpani contributing to the fierce of Mozart’s three brilliantly successful Allegro maestoso of the ensuing aria collaborations with Lorenzo da Ponte, ‘Vedrò mentr’io sospiro’.

8 Don Giovanni was first staged in clarity. ‘Deh vieni alla finestra’, in which October 1787 in Prague, where the Don accompanies himself on the Le Nozze di Figaro had recently created mandolin, is from Act Two. Here, in such a sensation that its melodies disguise after exchanging cloaks with were heard everywhere in the streets. Leporello, he serenades Donna Elvira’s Delighted with his reception by the maid (a silent role). truly appreciative Prague audiences, especially after Figaro’s relatively short- Mozart composed Così fan tutte during lived success in Vienna, Mozart was the latter half of 1789 and the opera immediately commissioned by the was first staged in Vienna on 26 Prague National Theatre to compose January the following year. In February, Don Giovanni for the following Emperor Joseph II died and the winter season. ‘Fin ch’han dal vino’– Burgtheater Wien was closed for two widely-known as the ‘Champagne months. Così was subsequently revived, Aria’ (although the text has ‘vino’, not but lasted only five more performances. specifically champagne) – is sung by In the nineteenth century, while the Don in Act One. In this exuberant Le Nozze di Figaro maintained its aria Don Giovanni instructs his servant position in the repertoire, Così fan tutte Leporello to round up guests for a was deemed to be immoral. Perceived party; ‘some dancing the minuet, others as a connoisseur’s opera, it was the Follia, yet others the Allemande’. He generally misunderstood until as late as boasts that by the morning his catalogue the mid twentieth-century. of female conquests will be extended by a dozen or more. Richly scored – including divided violas – this aria is nevertheless a miracle of orchestral

9 Così fan tutte is in many ways the most Die Zauberflöteis a singspiel and remarkable of Mozart’s operas (Don vehicle for Masonic principles Basilio expresses this same sentiment combining fairy-tale, pantomime in Act One of Le Nozze di Figaro). His and allegory. It was commissioned treatment of an apparently frivolous by Emanuel Schikaneder, proprietor idea – two men depart from their of the Theater auf der Wieden in loved ones then return in disguise Vienna, singer, actor and an old to test their ladies’ faithfulness – is friend of Mozart’s. The premiere transcendently beautiful. At the same was given on 30 September 1791, time the listener may well be confused only nine weeks before Mozart’s between what is sincerely meant and death. At some stage Mozart and what is not. ‘Rivolgete a lui lo sguardo’ Schikaneder decided to emphasise the was originally part of Così fan tutte but Masonic element by means of widely was replaced before the premiere with understood musical symbolism. At a shorter number – ‘Non siate ritrosi’. this time, Austrian political repression Guglielmo (Ponte used the old Italian of any kind of secret society was again name Guilelmo) and his fellow officer gathering strength, but regardless the Ferrando have returned disguised as opera proved to be a great success. Albanian noblemen. Guglielmo, in Die Zauberflöte remained in the love with Fiordiligi, sings these lines repertoire even when the Viennese to her in the first version of Act One, lodges were closed down. Its Masonic Scene III. Apparently Ponte was not element hasn’t hindered the sustained totally convinced of the effectiveness of popularity of an opera which may ‘Rivolgete a lui lo sguardo’ in context, be enjoyed on different levels. Alfred but how difficult it must have been to Einstein described the libretto as ‘one discard this fine aria. of those literary works which delight

10 children and at the same time move the uses sparingly throughout the opera. most experienced men of the world to Pamina’s vocal line becomes more tears, uplift the wisest of men; only the florid at the end and includes a leap of merely learned or the totally barbarian a minor thirteenth from low C to high fail to perceive its message.’ The touching A-flat. ‘Pa-Pa-Pa-Papagena!’ near the duet ‘Bei Männern, welche Liebe end of the opera, is a charming number fühlen’, an ode to love, is sung by for the bird-catcher Papageno and Pamina, the child of nature, and that his sweetheart Papagena. Papageno, equally uncomplicated soul, Papageno. suicidal at having lost his Papagena, has The radiant, unaffected simplicity been urged by the three boys to play of the music itself is typical of Die his magic bells (which he had stupidly Zauberflöte and equally representative overlooked) in order to regain her. In of what proved to be Mozart’s ‘late this breathless duet, the reunited pair style’. The economical scoring here are overcome with happiness and even includes clarinets, which Mozart begin to plan their family.

Hommage à Domenico Cimarosa Domenico Cimarosa composed more opera buffa, composed in his early than eighty operas, but of these, only twenties, enjoyed some success and (The Secret established his reputation across Italy. Marriage, premiered 1792) and At Esterháza in the 1780s Haydn Il maestro di cappella (The Music conducted thirteen of Cimarosa’s Director) have retained their popularity. operas. Cimarosa also composed Cimarosa’s first two examples of a requiem, eighty-eight keyboard

11 sonatas, concertos and a handful of In the one-act operatic intermezzo chamber works. The first definite or comic monologue Il maestro di record of a performance of Il maestro di cappella, which has always been a cappella was July 1793 in Berlin. Both favourite of buffo baritones, the the date of its actual premiere and maestro rehearses his orchestra. the name of the librettist have proved Following a sparkling Sinfonia, elusive to scholars. Cimarosa himself ‘Se mi dànno il permesso’ is an had experienced life as a maestro di extended section of orchestrally cappella in Venice, and later (1787) accompanied recitative. Here the worked in the same capacity at the pompous maestro (‘If you permit St Petersburg court of Catherine II. me …’) insults his players, exhorts When his Republican sympathies them to count accurately, mimics the landed him in trouble in 1799, his various instruments – , double attempts to appease King Ferdinand basses, horns – and finally approves merely exacerbated the situation. (‘Bravi!’). This brilliant send-up of Arrested and detained in prison for four opera buffa conventions, and of the months, he escaped the death sentence potentially fraught relationship between only through the representations of a conductor and his musicians, makes influential friends including Lady one curious about Cimarosa’s numerous Hamilton and two cardinals. other comic operas.

© philip borg-wheeler, 2013

12 William Berger

Described as ‘one of the best of our younger baritones’ (Gramophone), William Berger has distinguished himself as a singer of the highest calibre. His rich timbre and charismatic stage presence have led to performances at renowned festivals, opera houses and concert halls, including the English National Opera, Liceu Barcelona and the Lucerne, Aix-en-Provence and Edinburgh International Festivals.

Berger’s imaginative approach to programming led to the release of his 2012 debut recital disc, Insomnia: A Nocturnal Voyage in Song (Delphian). This sequence of seventeen songs portraying the sleepless night of a man reflecting on the absence of his unnamed lover, was awarded four stars by The Guardian and Berger’s performance was described as ‘sweepingly sensual’, ‘pure gold’ (The Arts Desk) and ‘magnetic’ (The Scotsman). photography by paul foster-williams 13 Recent engagements have included the Berger has received a multitude of prizes title role in Monteverdi’s L’Orfeo for both and awards, including the 2010 Ernst La Nuova Musica and Silent Opera, the Haefliger Competition in Switzerland, role of Papageno at Opéra de Toulon the Kathleen Ferrier Society Bursary for and , Monteverdi’s Young Singers, the Countess of Munster Il combattimento di Tancredi e Clorinda Trust Scholarship, the Musicians with the Early Opera Company Benevolent Fund Grant and the Ernest and Count Almaviva at the Lucerne Oppenheimer Memorial Trust Award. Opera. A specialist in seventeenth- He is a graduate and Associate of and eighteenth-century repertoire, the Royal Academy of Music and a Berger has performed all of the major former member of the Young Singers Mozartian baritone roles, as well as a Programme at English National Opera. wide selection of roles by Monteverdi, Handel, Haydn, Puccini, Janáček and In addition to Insomnia: A Nocturnal Weill. In concert, Berger has performed Voyage in Song, his discography includes at the Royal Albert Hall, Royal Festival Handel’s Alexander’s Feast with Ludus Hall, Wigmore Hall, Sadler’s Wells, Baroque (Delphian), Samson and Birmingham Symphony Hall and Los Dettingen Te Deum (Carus), Poulenc’s Angeles Disney Concert Hall, with Dialogues des Carmélites (Chandos) orchestras and ensembles including the and on DVD, (C Major) and London Philharmonic Orchestra, City L’incoronazione de Poppea (Opus Arte). of Birmingham Symphony Orchestra, Brabants Orkest, Philharmonia Baroque , Cape Town Philharmonic, English Concert and Philharmonie Zuidnederland.

14 Scottish Chamber Orchestra The Scottish Chamber Orchestra is one St Magnus and Aldeburgh Festivals of Scotland’s five National Performing and the BBC Proms. Its busy touring Arts Companies, and is internationally schedule has recently included many recognised as one of the finest chamber European countries as well as India orchestras in the world. Formed in 1974 and the USA. The Orchestra receives with a commitment to serve the Scottish support from the Scottish Government. community, it is also one of Scotland’s foremost cultural ambassadors. Robin Ticciati was appointed to the post of Principal Conductor in 2009 The Orchestra performs throughout and he has recently committed to the Scotland, including annual tours of Orchestra until 2018. Ticciati and the the Scottish Highlands and Islands Orchestra have appeared together at and South of Scotland, and appears the Edinburgh International Festival, regularly at the Edinburgh, East Neuk, have toured to Italy, Germany and

photography by marco borggreve

15 Spain and undertook a further major appointed in 2013. All perform pan-European tour in November regularly with the Orchestra during its 2012. Together they have released concert season, in the recording studio, two recordings, Berlioz’s Symphonie on tour and in festival appearances. Fantastique and Les nuits d’été & La mort de Cléopâtre, both on Linn. The Orchestra enjoys close relationships with many leading composers and has The SCO’s long-standing relationship commissioned more than a hundred with its Conductor Laureate, the late new works, including pieces by Sir Charles Mackerras, resulted in many Composer Laureate Sir Peter Maxwell exceptional performances and recordings, Davies, Mark-Anthony Turnage, Judith including two multi award-winning discs Weir, Sally Beamish, Karin Rehnqvist, of Mozart symphonies (Linn). Lyell Cresswell, Hafliði Hallgrímsson, Einojuhani Rautavaara, Stuart MacRae, The SCO has strong relationships the late Edward Harper and Martin with many eminent guest conductors Suckling, who is now SCO Associate including Conductor Emeritus Joseph Composer. Swensen, Olari Elts, John Storgårds, Louis Langrée, Knussen and The SCO has led the way in music Emmanuel Krivine; soloist/directors education with a unique programme include Christian Zacharias and Piotr of projects. SCO Connect provides Anderszewski. workshops for children and adults across Scotland and has attracted Current SCO Associate Artists include interest and invitations from overseas. conductor/keyboardist and director/violinist Alexander The Orchestra broadcasts regularly Janiczek, appointed in 2011, and and has a discography now exceeding mezzo-soprano Karen Cargill, 150 recordings.

16 Scottish Chamber Orchestra Principal Conductor Robin Ticciati 4 Royal Terrace, Conductor Emeritus Joseph Swensen Edinburgh, EH7 5AB, UK Chief Executive Roy McEwan, obe tel: +44 (0) 131 557 6800 email: [email protected] www.sco.org.uk

1st Violin Viola Flute Horn Jan Bjøranger Jane Atkins Rosie Lock Alec Frank- Ruth Crouch Simon Rawson John Hall Gemmill Lise Aferiat Martin Wiggins Harry Johnstone Lorna McLaren Nicola Boag Carole Howat Robin Williams Cheryl Crockett Cello Rosie Staniforth Peter Franks Amira Bedrush- Donald Gillan Shaun Harrold McDonald Alison Lawrance Clarinet Jacqueline Norrie Louise McMonagle Maximiliano Martín Timpani Christoff Fourie Robert Fairley Matthew Hardy 2nd Violin Aisling O’Dea Harpsichord Liza Johnson Nikita Naumov Peter Whelan Pawel Siwczak Robert McFall Adrian Bornet Alison Green Niamh Lyons Mandolin David Chadwick John Robinson Lorna Geller

17 18 19 Nicholas McGegan

Nicholas McGegan is ‘one of the finest baroque conductors of his generation’ (The Independent) and‘an expert in 18th century style’ (The New Yorker). In his capacity as Music Director of the San Francisco-based Philharmonia Baroque, he has established the group as the leading period band in America.

Active in opera as well as the concert hall, McGegan has been Principal Guest Conductor of Scottish Opera and Principal Conductor of Sweden’s eighteenth-century theatre in Drottingholm, running the annual festival there. He has been a pioneer in the process of exporting historically informed practice beyond the world of period instruments to wider conventional symphonic forces, guest-conducting with orchestras such as the Chicago Symphony, Cleveland, Philadelphia, Houston, Concertgebouw, Royal photography by steve sherman 20 Scottish National, BBC Scottish Mendelssohn). Among his other Symphony, Northern Sinfonia, rediscoveries is the first performance in City of Birmingham Symphony, modern times of Handel’s masterly but Hallé and the symphony orchestras mislaid Gloria. of Toronto, Montreal and Sydney. Opera companies he works with McGegan was born in England and include the Royal Opera House was educated at Cambridge, Oxford Covent Garden, San Francisco, Santa and the , Fe and Washington. He has broken London. His awards include an new ground in experimental dance- honorary professorship at Georg- collaborations with Mark Morris, August University, Göttingen, and most notably at festivals such as the an official Nicholas McGegan Day, Edinburgh International Festival declared by the Mayor of San Francisco and Ravinia. in recognition of two decades’ distinguished work with Philharmonia His discography of over 100 releases Baroque. He was made an OBE in the includes the world premiere recording 2010 Queen’s Birthday Honours List. of Handel’s Susanna, which attracted both a Gramophone Award and Grammy nomination. Recent issues of the same composer’s works include , Samson and Acis and Galatea (a rarity which unearths the little- known version adapted by Felix

21 Carolyn Sampson

Equally at home on the concert and opera stages, Carolyn Sampson has enjoyed notable successes in the UK as well as throughout Europe and the USA. Sampson’s roles for English National Opera have included the title role in and Pamina in Die Zauberflöte. For Glyndebourne Festival Opera she sang various roles in Purcell’s The Fairy Queen, now released on DVD. Internationally she has appeared at Opéra de Paris, Opéra de Lille, Opéra de Montpellier and Opéra National du Rhin. She also sang the title role in Lully’s Psyché for the Boston Early Music Festival, which was released on CD and subsequently nominated for a Grammy in 2008.

Sampson’s numerous concert engagements in the UK have included regular appearances at the BBC Proms and with orchestras including The Orchestra of the Age photography by marco borggreve 22 of Enlightenment, The English and is a regular guest at the Mostly Concert, , Mozart Festival. Manchester Camerata and . She is a frequent guest with Her many recordings with The King’s the Hallé and has performed with Consort (Hyperion) include a highly City of London Sinfonia, Royal acclaimed CD of Mozart sacred music: Liverpool Philharmonic and City of Exsultate, jubilate which was selected as Birmingham Symphony Orchestras. BBC Music Magazine’s ‘Record of the In Europe her many appearances have Month’ and also received an ECHO included concerts with The Royal Award. She recorded a highly-acclaimed Concertgebouw Orchestra, Freiburg CD of Stravinsky’s Les Noces and Baroque Orchestra, Symphony Mass (Harmonia Mundi) and Bach’s Orchestra of the Bayerische Rundfunk, with the Leipzig WDR Symphony Orchestra, Orchestra Gewandhaus Orchestra and Riccardo dell’Accademia Nazionale di Santa Chailly (Decca). Her numerous other Cecilia, Gürzenich Orchestra, recordings appear on the Harmonia Rotterdam Philharmonic and Mundi, BIS, Virgin Classics, DG Leipzig Gewandhaus Orchestra and Archiv, Linn and Vivat labels. a performance of J.C. Bach’s Lucio Silla with the Salzburg Mozarteum Orchestra. In the USA, Sampson has featured as soloist with San Francisco Symphony, Boston Symphony, Detroit Symphony, St Paul Chamber Orchestra

23 24 Libretto & Translations

1. Chi nel cammin d’onore from Haydn’s L’isola disabitata, Hob. 28/9

Chi nel cammin d’onore He who, on the path of honour, Stanca sudando il piede, Grows footsore, perspiring and weary Per riportar mercede In order to earn the reward D’un nobile sudor: Of a noble friend’s gratitude, Non palpita, non langue Is not afraid or hesitant Per lui spargendo il sangue, To shed his blood for him, E cento rischi, e cento And will gladly face Va lieto ad incontrar. Hundreds upon hundreds of risks.

2. Crudel! perché finora from Mozart’s Le Nozze di Figaro, K. 492 il Conte: Count: Crudel! perché finora farmi languir così? Cruel woman! Why until now did you keep me in torment? Susanna: Susanna: Signor, la donna ognora tempo ha dir di sì. My lord, every woman has her time to say yes. il Conte: Count: Dunque, in giardin verrai? Then you’ll come to the garden? Susanna: Susanna: Se piace a voi, verrò. If it pleases you, I’ll come. il Conte: Count: E non mi mancherai? And you won’t fail me? Susanna: Susanna: No, non vi mancherò. No, I won’t fail you.

25 il Conte: Count: Verrai? Will you come? Susanna: Susanna: Sì! Yes! Il Conte: Count: Non mancherai? You won’t fail? Susanna: Susanna: No! No! il Conte: Count: Non mancherai? You won’t fail? Susanna: Susanna: Non mancherò. I will not fail. il Conte: Count: Mi sento dal contento pieno di gioia il cor. My heart is filled with joy and happiness. Susanna: Susanna: (da se) (aside) Scusatemi se mento, Pardon me if I lie, Voi che intendete amor. All you who understand love. il Conte: Count: Dunque, in giardin verrai? Then you’ll come to the garden? Susanna: Susanna: Se piace a voi, verrò. If it pleases you, I’ll come. il Conte: Count: E non mi mancherai? And you won’t fail me? Susanna: Susanna: No, non vi mancherò. No, I won’t fail you. il Conte: Count: Verrai? Will you come? Susanna: Susanna: Sì! Yes! il Conte: Count: Non mancherai? You won’t fail?

26 Susanna: Susanna: No! No! il Conte: Count: Dunque verrai? So will you come? Susanna: Susanna: No! No! il Conte: Count: No! No! Susanna: Susanna: Sì! Se piace a voi, verrò. Yes! If it pleases you, I’ll come. il Conte: Count: Non mancherai? You won’t fail? Susanna: Susanna: No! No! il Conte: Count: Dunque verrai? So will you come? Susanna: Susanna: Sì! Yes! il Conte: Count: Non mancherai? You won’t fail? Susanna: Susanna: Sì! Yes! il Conte: Count: Sì! Yes! Susanna: Susanna: No, non vi mancherò. No, I won’t fail you. il Conte: Count: Mi sento dal contento pieno di gioia il cor. My heart is filled with joy and happiness. Susanna: Susanna: (da se) (aside) Scusatemi se mento, Pardon me if I lie, Voi che intendete amor. All you who understand love.

27 3. Hai già vinta la causa!...Vedrò mentr’io sospiro from Mozart’s Le Nozze di Figaro, K. 492

Hai già vinta la causa! You’ve won the case already! Cosa sento? What do I hear? In qual laccio io cadea? What trap have I fallen into? Perfidi! Io voglio di tal modo punirvi, Scoundrels! I’ll punish you in this way, A piacer mio la sentenza sarà. The decision will be how I want it. Ma s’ei pagasse la vecchia pretendente? But if he pays off the old plaintiff? Pagarla! In qual maniera? Pay her! How? E poi v’è Antonio And then there’s Antonio, Chea un incognito Figaro ricusa Who won’t give his niece in Di dare una nipote in matrimonio. Marriage to the nobody Figaro. Coltivando l’orgoglio di questo mentecatto… To nurture that lamebrain’s pride... Tutto giova a un raggiro... Everything’s useful for the plot... Il colpo è fatto. The deed is done.

Vedrò mentr’io sospiro Shall I, while I’m sighing, Felice un servo mio? See one of my servants happy? E un ben che invan desio, And the good thing I want in vain, Ei posseder dovrà? Shall he have it? Vedrò per man d’amore Shall I see the woman who woke in me Unita a un vile oggetto A feeling she doesn’t have for me Chi in me destò un affetto, United to a vile object Che per me poi non ha? By the hand of love?

Ah no! Lasciarti in pace Ah no! I won’t leave Non vo’ questo contento, This happiness in peace, Tu non nascesti, audace, You weren’t born, rash person, Per dare a me tormento, To torture me, E forse ancor per ridere And maybe to laugh Di mia infelicità. At my unhappiness. Già la speranza sola Now only the hope Delle vendette mie Of the revenges I’ll have 28 Quest’anima consola, Consoles this soul E giubilar mi fa. And makes me rejoice.

4. Il pensier sta negli oggetti from Haydn’s L’anima del filosofo, Hob. XXVII:I 3

Il pensier sta negli oggetti; Our thoughts are concerned with the objects of our affection; Da lor nasce ogni desio. From them spring all our desires. Son tiranni i nostri affetti, Our emotions are tyrannical, E vantiamo libertà. And yet we boast that we are free.

Così augel talor si crede In the same way, a bird sometimes thinks Di spiegar all’aure il volo; That it spreads its wings to fly into the air; E’l meschino, avvinto al piede, And the poor thing, caught by the feet, Serba un laccio, e non lo sa. Is in a snare, and doesn’t know it.

5. Teco lo guida al campo from Haydn’s Armida, Hob. XXVIII/I 2

Teco lo guida al campo: Take him with you to the camp; Chiedi se più ti piace, Ask him, if it pleases you, Torni fra noi la pace, To make peace with us, Rieda un sincero amor. And let a sincere love be reborn.

Della virtude il campo The torch of courage Che in questo sen risplende, That shines in his breast, Amico a voi mi rende, My friend, I give back to you; Fa ch’io v’ammiri ancor. Make me admire you once again.

Teco lo guida… Take him with you... 29 6. Quel tuo visetto amabile from Haydn’s Orlando paladino, Hob. 28/II

Eurilla: Eurilla: Quel tuo visetto amabile propio me fa languir. Your lovely face makes me languish. Sento nel petto un spasimo che non lo so ridir. I feel my heart beating in a way I cannot describe.

Ma tu furbetto sì graziosetto ben lo comprendi; You crafty and fine young fellow, you meglio l’intendi che voglio dir, che voglio dir. understand what I want to say.

Pasquale: Pasquale: Ah! Ah!

Eurilla: Eurilla: Tu sospiri! Do you sigh?

Pasquale: Pasquale: Eh! Eh!

Eurilla: Eurilla: Tu mi miri! You’re looking at me!

Pasquale: Pasquale: Ih! Ih!

Eurilla: Eurilla: Mi vuoi bene? Do you like me?

Pasquale: Pasquale: Oh! Oh!

30 Eurilla: Eurilla: Non tardar. Don’t hesitate then!

Pasquale: Pasquale: Ah! Ah!

Eurilla: Eurilla: Tu sospiri! Do you sigh?

Pasquale: Pasquale: Eh! Eh!

Eurilla: Eurilla: Tu mi miri! You’re looking at me!

Pasquale: Pasquale: Ih! Ih!

Eurilla: Eurilla: Mi vuoi bene? Do you like me?

Pasquale: Pasquale: Uh! Uh!

Eurilla: Eurilla: Non tardar. Don’t hesitate then! Quel tuo visetto amabile proprio mi fa languir. Your lovely face makes me languish.

Pasquale: Pasquale: Ah eh ih oh uh! Ah eh ih oh uh!

Eurilla: Eurilla: Sento nel petto un spasimo che non lo so ridir. I feel my heart beating in a way I cannot describe.

31 Pasquale: Pasquale: Ah eh ih oh uh! Ah eh ih oh uh!

Eurilla: Eurilla: Quel tuo visetto amabile proprio mi fa languir. Your lovely face makes me languish.

Pasquale: Pasquale: Ah! Ah!

Eurilla: Eurilla: To sospiri! Do you sigh?

Pasquale: Pasquale: Eh! Eh!

Eurilla: Eurilla: Tu mi miri! You’re looking at me!

Pasquale: Pasquale: Ih! Ih!

Eurilla: Eurilla: Mi vuoi bene? Do you like me?

Pasquale: Pasquale: Oh! Oh!

Eurilla: Eurilla: Non tardar. Don’t hesitate then!

Pasquale: Pasquale: Ah eh ih oh uh! Ah eh ih oh uh!

32 Eurilla: Eurilla: Non tardar. Don’t hesitate then!

Pasquale: Pasquale: Il cavallo ed il padrone per amore in conclusione The horse and its rider, inflamed with love non si possono frenar, non si possono frenar. cannot be stopped in the end, cannot be stopped.

Eurilla: Eurilla: Per amore in conclusione pìu mi sento ad Love inflames me all the more. infiammar.

7. Fin ch’han dal vino from Mozart’s Don Giovanni, K. 527

Fin ch’han dal vino calda la testa, Till they have got some wine and are hot-headed, Una gran festa fa’ preparar. Let’s prepare a great party. Se trovi in piazza qualche ragazza, If in the piazza you find some girl, Teco ancor quella cerca menar. Try to make her come here with you. Senza alcun ordine la danza sia, Let the dance be wild, Chi’l minuetto chi la follia, A minuet, a folia, Chi l’alemanna farai ballar. And an allemande you shall lead. Ed io frattanto dall’altro canto Meanwhile I shall have my own fun Con questa e quella vo’ amoreggiar. Making love to this or that girl. Ah la mia lista doman mattina Ah, my list tomorrow morning D’ una decina devi aumentar. Shall have at least ten new entries.

33 8. Deh vieni alla finestra from Mozart’s Don Giovanni, K. 527

Deh, vieni alla finestra, o mio tesoro, O, come to the window, beloved; Deh, vieni a consolar il pianto mio. O, come and dispel all my sorrow! Se neghi a me di dar qualche ristoro, If you refuse me some solace, Davanti agli occhi tuoi morir vogl’io! Before you dear eyes I will die. Tu ch’hai la bocca dolce più che il miele Your lips are sweeter than honey, Tu che il zucchero porti in mezzo il core! Your heart is sweetness itself: Non esser, gioia mia, con me crudele! Then be not cruel, my angel, Lasciati almen veder, mio bell’amore! I beg for one glance, my beloved!

9. Già la morte in manto nero from Haydn’s La vera costanza, Hob. 28/8

Già la morte in manto nero Already death in its black cloak Passo passo a me sen viene. Step by step is coming upon me; Fuor del mondo andar conviene, e qui tutto ho I must go from this world and leave behind da lasciar. everything here.

Lascio dunque ai cari amici Thus I leave it to my dear friends Viver anni più felici. To live happily ever after. Item lascio alla mia sposa questo povero mio cor. Firstly: I leave to my bride this poor heart of mine. Item poi…Ma non s’affretti Lascio…Adagio…piano, aspetti. Secondly...but don’t be in a hurry; No signor, un poco ancora favorisca I leave...take it slowly...softly, wait. d’aspettar. No, sir, I beg you to wait a little while longer.

Già non mi guarda, con sé ragiona, Now he’s not looking at me, he’s pondering to Il tempo è proprio, mi vo’ salvar. himself; Ma non s’affretti…pian pian, aspetti. This is the moment, I’ll run away.

34 Signor, adagio, piano, un poco ancora But don’t be in a hurry...softly, softly, wait. favorisca d’aspettar. Sir, take it slowly, softly, I beg you to wait a little while longer.

10. Non sparate…mi disdico… from Haydn’s La vera costanza, Hob. 28/8

(al Conte) (To the Count) Non sparate…mi disdico… Don’t shoot... I take it all back…

(alla Baronessa) (To the Baroness) Mia signora…una parola… Madam...just a word... Se la sposa…oh brutto intrico! If the fiancée...oh, what a terrible tangle!

(Maledetta la pistola, che tremar così mi fa.) (A curse on that pistol, that makes me tremble like this.)

(alla Baronessa) (To the Baroness) Ma sentite il mio pensiero: But listen to what I have in mind: Io doman, signora mia… Tomorrow, madam, I shall...

(al Conte) (To the Count) Nol credete, non è vero, Don’t believe it, it isn’t true, È un pretesto, una bugia, It’s a pretext, a trick, Non la voglio, signor no. I don’t want her, no, sir.

Mia signora…non sparate… Madam...don’t shoot... Io doman…mi disdico… Tomorrow I’ll...I take it all back... Signora mia…oh brutto intrico! Madam...oh, what a terrible tangle!

(Maledetta la pistola, che tremar così mi fa.) (A curse on that pistol, that makes me tremble like this.)

35 Mia signora…ma sentite il mio pensiero: Madam…but listen to what I have in mind: Io doman, signora mia… Tomorrow, madam, I shall... Nol credete, non è vero, Don’t believe it, it isn’t true, È un pretesto, una bugia, It’s a pretext, a trick, Non la voglio, signor no. I don’t want her, no, sir.

Ah! che in mezzo a quello e questa Ah, caught between this man and that woman, Divenuta è la mia testa My head has become Come appunto una girandola, Just like a Catherine-wheel, Che con razzi, botte, e folgori Which with flares, bangs and flashes Super l’aria se ne va. Flies up into the air.

11. Rivolgete a lui lo sguardo from Mozart’s Così fan tutte, K. 588

Rivolgete a lui lo sguardo, Turn your gaze on him E vedrete come sta; And you will see the state he is in; Tutto dice: «Io gelo, io ardo, Everything declares: ‘I freeze, I burn, Idol mio, pietà, pietà.» Beloved, have pity, have pity.’

(a Dorabella) (to Dorabella) E voi, cara, un sol momento And you, my darling, for just a moment Il bel ciglio a me volgete, Turn your lovely eyes to me, E nel mio ritroverete And in mine you will discover Quel che il labbro dir non sa. What my lips cannot utter.

Un An impassioned Orlando Non è niente in mio confronto; Is nothing compared to me; Un Medoro, il sen piagato, Medoro with wounded breast Verso lui per nulla io conto. I count as nothing compared to him. Son di fuoco i miei sospiri, My sighs are flames, Son di bronzo i suoi desiri. His desire is of bronze. 36 Se si parla poi di merto, If we are speaking of merits Certo io sono, ed egli è certo, I am certain, and he is certain Che gli uguali non si trovano That no equals can be found Da Vienna al Canadà. From Vienna to Canada.

Siam due Cresi per ricchezza, In wealth we are both Croesus, Due Narcisi per bellezza; In beauty, both Narcissus; In amor i Marcantoni In love, Mark Antony Verso noi sarian buffoni. Would look foolish compared with us.

Siam più forti d’un Ciclopo, We are stronger than a Cyclops, Letterati al par di Esopo. As men of letters, Aesop’s equals. Se balliamo, un Pich ne cede, When we dance, Monsieur Picq yields to us, Sì gentil e snello è il piede. So graceful and nimble are our steps.

Se cantiam, col trillo solo If we sing, with one single trill Facciam torto all’usignuolo; We put the nightingale to shame; E qualch’altro capital And we have still other assets Abbiam poi che alcun non sa. Which are known to no one.

Bella, bella, tengon sodo, Lovely, lovely, they’re standing firm, Se ne vanno, ed io ne godo! They’re leaving and I’m delighted! Eroine di costanza, Heroines of constancy, Specchi son di fedeltà. They are the very images of faithfulness.

37 12. Bei Männern, welche Liebe fühlen from Mozart’s Die Zauberflöte, K. 620

Pamina: Pamina: Bei Männern, welche Liebe fühlen, In men who feel love, Fehlt auch ein gutes Herze nicht. A good heart, too, is never lacking.

Papageno: Papageno: Die süßen Triebe mitzufühlen, Sharing these sweet urges Ist dann der Weiber erste Pflicht. Is then women’s first duty.

Pamina, Papageno: Pamina, Papageno: Wir wollen uns der Liebe freun, We want to enjoy love; Wir leben durch die Lieb’ allein. It is through love alone that we live.

Pamina: Pamina: Die Lieb’ versüßet jede Plage, Love sweetens every sorrow; Ihr opfert jede Kreatur. Every creature pays homage to it.

Papageno: Papageno: Sie würzet unsre Lebenstage, It gives relish to the days of our life, Sie wirkt im Kreise der Natur. It acts in the cycle of nature.

Pamina, Papageno: Pamina, Papageno: Ihr hoher Zweck zeigt deutlich an, Its high purpose clearly proclaims: Nichts Edlers sei, als Weib und Mann. There is nothing nobler than woman and man. Mann und Weib, und Weib und Mann, Man and woman, and woman and man, Reichen an die Gottheit an. Reach towards the deity.

38 39 13. Pa-Pa-Pa-Papagena! from Mozart’s Die Zauberflöte, K. 620

Papageno, Papagena: Papageno, Papagena: Pa-Pa-Pa-Papagena! / Papageno! Pa-Pa-Pa-Papagena! / Papageno!

Papageno: Papageno: Bist du mir nun ganz gegeben? Are you really all mine now?

Papagena: Papagena: Nun bin ich dir ganz gegeben. Now I really am all yours.

Papageno: Papageno: Nun so sei mein liebes Weibchen! So now be my darling little wife!

Papagena: Papagena: Nun so sei mein Herzenstäubchen! So now be the little dove of my heart!

Papageno, Papagena: Papageno, Papagena: Welche Freude wird das sein, What a pleasure that will be, Wenn die Götter uns bedenken, When the gods remember us, Unsrer Liebe Kinder schenken, Crown our love with children, So liebe kleine Kinderlein. Such dear little children!

Papageno: Papageno: Erst einen kleinen Papageno. First a little Papageno!

Papagena: Papagena: Dann eine kleine Papagena! Then a little Papagena!

Papageno: Papageno: Dann wieder einen Papageno! Then another Papageno!

40 Papagena: Papagena: Dann wieder eine Papagena! Then another Papagena!

Papageno, Papagena: Papageno, Papagena: Papageno! Papagena! Papageno! Papagena! Es ist das höchste der Gefühle, It is the greatest feeling Wenn viele, viele, viele, viele, That many, many Pa-Pa-Pa-geno Pa-Pa-Pa-genos, Pa-Pa-Pa-gena Pa-Pa-Pa-genas, Der Eltern Segen werden sein. May be a blessing to their parents.

15. Se mi dànno il permesso from Cimarosa’s Il maestro di cappella translation by donald maxwell

Se mi dànno il permesso, un’aria canterò; If you’ll allow me, I will sing you an aria. Non sono, no, di quelli che si fanno pregare I’m not one of these modest people you have to e ripregare. ask, or even implore to perform.

Son di quei pochi che della scuola antica ci I’m one of the few remaining artists of the old son restati. school. Ah, dove son andati quei celebri maestri che Ah! Those celebrated old masters who knew so sapevano tanto? much. Where have they all gone?

Canterò dunque un’aria giacché tuttia a Now then, I’ll sing the aria as I see you are all sentirmi pronti qui vedo; eager to hear it, Ma stiano bene attenti chè un’aria canterò But it is worth noting that the aria I’m going to di stil sublime, sing is in the ‘old’ style, Che fece apposta col suo gusto fino il As displayed in the good taste shown by cavalier Scarlatti al Laterino. Scarlatti in all his compositions.

41 Oboe, corni e violette avranno ben a fare. Oboes, horns and violas – please get ready to play.

Violoncello, violini, contrabasso a suo tempo Likewise the cellos, violins and double basses will, faran maggior fracasso. in their turn, add to a marvellous overall effect.

Attenti, o miei signori, con arco ben tenuto. Pay attention now ladies and gentlemen.

Eseguir voi dovete quel che dirò. Bows at the ready, and prepare to follow my instructions.

Questo è il passo dei violini: lai, lai, lai, la. Violins this is your theme: la, la, la, la.

Cosa fate, oboe mio caro? bio, bio, bio, bio. What are you doing my dear oboe? bio, bio, bio, bio.

S’incominci ancor il passo! Once again from the beginning. Maledetto contrabasso, Oh confound you double basses. Confound you. Cosa diavol qui si fa? What the devil are you doing?

Questo è il passo de’ violini: lai, lai, lai, la. Violins here is your theme: lai, lai, lai, la.

Bla, berle, bla, berle, bla berle bla... Bla, berle, bla, berle, bla berle bla... Oh, vi prego, deh, badate e imparate a ben Oh I beg you, pay attention and try to count contar, altrimenti non si va. properly, otherwise the whole effect will be ruined.

Questo è il passo dei violini: lai, lai, lai, la. Violins here is your theme again: lai, lai, lai, la.

Le violette non ancora! Violas, you are too early! Zitto il flauto non ancora! Keep quiet flute, don’t come in yet. Ma che diavol qui si fa? What the devil is going on? Maledetto contrabasso! Cosa diavol qui si fa? Oh no, confound you double basses – what the devil is happening?

42 Qui si manca d’attenzione, If you don’t pay attention No, così, così non va. This piece simply won’t work. Vi scongiuro in ginocchione, I implore you on bended knee. Ah, badate in carità. Please, please take care!

Senza scaldarsi il sangue, e per principio, badate Without getting annoyed, and as a matter of a quel che dico! professional discipline, just listen to me!

Nessun cominci il passo, se pria da me nol senta! No-one should start before I give the cue, Pensate ch’io non sono qui per farvi il buffone! I’m not standing here just as a figure of fun!

Quest’è il passo de’ violini: lai, lai, lai, la. Violins this is your music: lai, lai, lai, la. Oh, bravissimi! Va bene. Marvellous, that’s better.

Quest’è quel delle violette: la, la, la, la... Now violas play your theme: la, la, la, la... Bravi assai, o benedette! Not at all bad.

L’oboe così farà: la, la, la, la…bio, bio, bio, Oboe, you should phrase like this: la, la, la, la… bio… bio, bio, bio, bio… Molto bene in verità. Excellent.

Ora i corni vanno assieme: la, la, la, la…bla The horns together: la, la, la, la…bla berlebla berlebla berlebla berlebla… berlebla berlebla… Son contento, vanno bene: I’m happy. It’s really going rather well! Or adesso unitamente, via, sentiamo come Let’s try everyone together and see how the andrà. whole piece sounds. Bravi! Bene! Bravi assai! Well done. Splendid. Very good! Bravo. Really excellent.

Queste note a punta d’arco, qui staccate, qui Play these notes on the tip of the bow, here legate. staccato, now legato.

43 L’oboe solo. Oboe solo. Le violette. Violas. Flauto solo. Solo flute. Presto i corni! Horns, quickly! Qui fortissimo! Now – fortissimo! Così! That’s it! Just right!

Oh, che armonico fracasso! Oh, che orchestra What a wonderfully harmonious sound from benedetta! this marvellous orchestra. Io mi sento consolar. I am completely reassured.

Queste note a punta d’arco! Play on the tip of the bow. I violini e le violette! Violins and violas! Le violette con i corni! Violas and horns! I violini e il flauto solo! Violins with the solo flute! Oboe, corni con il flauto! Oboe, horns and flute together! I violini! Bravi! Flauto solo! Violins, perfect. Flute, your solo – lovely! Bene! Le violette! Bravi! Violas – splendid! Oboe solo! Bene! Oboe e flauto! Bravi! Solo oboe – great! Flute and oboe – great! Presto i corni! Bravi! Bene! Bravi! Bene! Bravi assai! Horns – quickly please! Great, great, great!

Oh, che armonico fracasso! Oh, che orchestra What a wonderful effect. What a great benedetta! orchestra.

Io mi sento consolar! I am thrilled.

Bravi! Bravissimi! Così va bene! Great, that’s right! That went marvellously!

Son contento dell’assieme che tiene ciascheduno I am happy with the whole ensemble, everyone facendo la sua parte. concentrating on their own part. Perciò, e non vi spiace, If you don’t mind, Bramo provar un pezzo di stil affatto nuovo. I’d therefore now like to try a more modern piece.

44 Voltate ora le carte e s’incominci... Open your music... Un Cantabile Allegro; ciò è di due colori, It begins with a Cantabile Allegro which has Come una salsa che ha vieppiù sapori. two colours rather as a sauce can have several flavours. Li piani e forti vi prego d’osservare. Please observe all the dynamics carefully.

Il contrabasso, non dia quelle strappate che fan Double bass, avoid any ‘scraping’, which will cattivo effetto nell’armonia. ruin the whole harmonic effect. I violette e violoncello s’accordin ben assieme Violas and cellos you’ll enjoy playing in nel passaggio che ho fatto. harmony together!

S’incominci la battuta con forza e calore, When I give the downbeat to begin my ‘gran S’incominci il gran morceau con strepito e vigore. morceau’, play with energy, vigour, passion and a full sound.

16. Ci sposeremo fra suoni e canti from Cimarosa’s Il maestro di cappella translation by donald maxwell

Ci sposeremo fra suoni e canti, It is the wedding of voice and orchestra, Sposi brillanti pieni d’amor. Just like a marriage filled with love.

Voglio i violini. Violins, Voglio il violone. Now the basses, Voglio il fagotto con l’oboe. Then the bassoon with the oboe. No! No! No! No!... No! No! No! No!... Questo strumento non fa per me. That’s not right.

Orsù il flauto colla viola. Flute with the viola. Tutta l’orchestra s’ha da suonar. The whole orchestra plays very well; No, che di meglio si può trovar. You couldn’t hear better playing anywhere! Ci sposeremo fra suoni e canti sposi brillanti It’s a wonderful marriage of instrument and pieni d’amor. voice.

45 Voglio i violini! I’d like to hear the violins, Voglio il violone. Now the basses, Voglio il fagotto coll’oboe. Then the bassoon with the oboe. No! No! No! No!... No! No! No! No!... Questo strumento non fa per me. That’s not right.

Voglio i violini. Violins, Voglio il violone. Now the basses, Le violette! Violas, Ed or il flauto! Flute, Or il fagotto coll’oboe. and oboes. No! No! No! No!... No! No! No! No!... Questo strumento non fa per me. That’s not right.

Tutta I’orchestra s’ha da suonar. The whole orchestra plays very well; No, che di meglio si può trovar. You couldn’t hear better playing anywhere!

Vi ringrarzio, miei signori; Many thanks ladies and gentlemen, proveremo ad altro tempo. Now we’ll try a piece in another tempo.

An Andante, Allegro e Presto, It is an Andante, then Allegro, and finally Presto, Che faravvi stupefar. And the whole effect will strike you dumb! Un Cantabile con moto, It will be Cantabile con moto, Un Larghetto, un Andantino, Larghetto and Andantino, Che un talento sopraffino All displaying my astonishing talent. Non potrà giammai imitar! A talent which can never be imitated, and certainly will never be emulated!

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