Tales from Ovid

Home , Apollo et Hyacinthus, Meliae, Melia (mythology)

Monday 20 May 2013, 7.30pm

The Mozartists

Tales from Ovid

Carl Ditters von Dittersdorf (1739–1799) Symphony in F major, ‘The Rescue of Andromeda by Perseus’

Christoph Willibald Gluck (1714–1787) Scene from Act Three of Orfeo ed Euridice

Interval

Franz Joseph Haydn (1732–1809) Scene from Philemon und Baucis

Wolfgang Amadeus Mozart (1756–1791) Part Three of Apollo et Hyacinthus

Anna Devin (soprano) Christopher Ainslie (countertenor) Benjamin Hulett (tenor)

The Mozartists (leader, Matthew Truscott)

Ian Page (conductor)

Tales from Ovid (May 2013) 1 Notes © Ian Page, 2013 Dittersdorf Symphony in F major, ‘The Rescue of Andromeda by Perseus’ 1. Adagio non molto 2. Presto 3. Larghetto 4. Vivace – Tempo di Minuetto

The Roman poet known as Ovid (his full name was Publius Ovidius Naso) was born in 43 BC, the year after the death of Julius Caesar, and he died in AD 17. Alongside his contemporaries Horace and Virgil he ranks among the greatest Latin poets, and his works include Heroides, Amores, Ars Amatoria and – most famous and influential of all – Metamorphoses. In AD 8 he was exiled to the shores of the Black Sea at the express command of the Emperor Augustus, perhaps because his Ars Amatoria advocated and celebrated adultery at a time when the Emperor was seeking to promote monogamous marriage. In exile he wrote Tristia and Epistulae ex Ponto.

Metamorphoses is an immense, fifteen-book narrative poem which chronicles the history of the world from its creation right up until Ovid’s own day. It incorporates some 250 stories from Classical Greek and Roman mythology, all of which culminate in some form of magical transformation, and is considered one of the most important works in Western literature. It inspired such authors as Chaucer, Shakespeare, Dante and Boccaccio, and many of the earliest operas were based on stories from it, despite the inherent difficulties in representing transformation scenes on stage. Each of the four works featured in this evening’s concert evoke stories featured in Metamorphoses, and further tales and characters which were to form the basis of operas include Acis and Galatea, Ariadne, Daphne, Echo and Narcissus, Venus and Adonis, Semele and Medea.

In the 1780s the colourful and splendidly named Viennese Although the reflective slow movement with which composer Carl Ditters von Dittersdorf (he was actually Dittersdorf ’s symphony begins has no prescribed narrative, it ennobled by Empress Maria Theresia in 1773; before seems to portray Perseus flying high above the world, content in then he was plain Carl Ditters) wrote a series of twelve the satisfaction of his triumph over the Gorgon, as an ethereal programmatic symphonies inspired by specific tales from oboe solo hovers serenely over gentle sonorities provided Ovid’s Metamorphoses, of which six have survived. These by muted strings and horns. The lively second movement is include depictions of the Lycian Peasants being transformed headed by a quotation from Ovid – “motis talaribus aera findit” into frogs and Actaeon into a stag, and the fourth of these (“he cuts a path through the air on his fluttering anklets”); symphonies is titled ‘The Rescue of Andromeda by Perseus’. as Perseus looks down and sees Andromeda, his excitement at her beauty is matched by his anxiety at the danger she Perseus was a Greek demi-god, the son of Zeus and Danaë, is in. There follows a soulful larghetto in F minor, which famed for having slain the Gorgon Medusa. Medusa, who is again has no superscription but is redolent of Andromeda’s described as having a hideous female face with live venomous grief and despair at her plight, while the finale is headed by snakes instead of hair, turned all who looked at her to stone; another quotation from Ovid, “gaudent generumque salutant” but aided by gifts of winged sandals (with which to fly) from (“they rejoice and welcome the son-in-law”). This begins in a Hermes and a polished shield from Athena, Perseus cut her vivacious D minor before rather surprisingly subsiding into head off with his sword by viewing her reflection in his shield a more introspective minuet, perhaps reflecting the privacy while she slept. and intimacy of the wedding party after the clamour of public celebration following the slaying of the sea-monster. The ensuing story of Perseus’ rescue of Andromeda comes from Book IV of Metamorphoses. Andromeda is the daughter Dittersdorf, whose father was a costumier in Vienna’s imperial of King Cepheus of Ethiopia, and her mother, Queen court and theatre, was a remarkably prolific composer, and Cassiopeia, has provoked the anger of the gods by claiming enjoyed considerable success in his day. His compositions herself to be more beautiful than the cherished sea-nymphs, include some 120 symphonies, 40 solo concertos – including the Nereids. The gods have responded by sending a terrifying ones for flute, oboe, viola, cello and double bass – and sea-monster which can only be placated by the sacrifice of numerous oratorios and operas. He was also an accomplished Andromeda. When Perseus flies past he sees Andromeda tied violinist, and at a house-concert in Vienna in 1784 he played to a rock and vows to save her on condition that if he succeeds in what can well claim to have been the most distinguished he can marry her. The King and Queen gladly consent, Perseus string quartet ever assembled – Haydn was the other violinist, slays the monster, and he and Andromeda are joyfully united. Mozart played the viola and Vanhal the cello.

Tales from Ovid (May 2013) 2 Notes © Ian Page, 2013 Gluck Scene from Act Three of Orfeo ed Euridice Anna Devin (Euridice), Christopher Ainslie (Orfeo)

The story of Orpheus, and his descent into Hades to rescue The story of how Orpheus is allowed to rescue his beloved his beloved Eurydice, has inspired composers throughout the Eurydice from the underworld on condition that he does not history of opera, from Jacopo Peri (1600), Giuseppe Caccini look at her reaches its climax in the third act of Gluck’s opera. (1602) and Claudio Monteverdi (1607) to Hans Werner Disorientated by her return towards the mortal world and Henze (1978), Harrison Birtwistle (1986) and Philip Glass bemused by Orpheus’ failure to help or even make eye contact (1993). Rameau and Debussy both worked extensively on with her, Eurydice is in a state of such agitation that Orpheus Orpheus projects which they failed to complete, and the briefly forgets the decree and turns to face his wife, thereby dozens of eighteenth century settings of the story included consigning her to a second death. Haydn’s final opera,L’anima del filosofo, written in London in 1791 but not performed until 1951. Gluck and Calzabigi’s reforms were in fact not entirely new, and in many respects involved adopting existing French Orfeo ed Euridice was the first of the three so-called ‘reform’ models rather than Italian ones. These included giving priority operas that Gluck wrote in collaboration with the poet to the concept of the scene, rather than individual numbers, Raniero Calzabigi, and it is generally considered to be one the rejection of the ‘da capo’ arias beloved by Italian ‘opera of the most important works in the history of opera. It was seria’, the use of the orchestra throughout (rather than having premièred at the Burgtheater in Vienna on 5 October 1762, recitatives accompanied solely by the continuo section), and and the following day the six-year-old Mozart arrived in the rejection of empty virtuosity in the vocal writing. The one the Austrian capital for the very first time. This coincidence important Italian tradition which still won the day, however, seems curiously symbolic, and it was certainly bold of Gluck was the need for a happy ending – in this version of the myth, to choose for his new opera the subject of mythology’s greatest Cupid is eventually victorious, and Orpheus and Eurydice are musician, requiring him as it did to create music that could reunited for a second time. convincingly depict Paradise and placate the Furies.

RECITATIVO ACCOMPAGNATO ACCOMPANIED RECITATIVE ORFEO: Vieni, segui i miei passi, ORPHEUS: Come, follow my steps, Unico, amato oggetto sole, beloved object Del fedele amor mio! of my faithful love.

EURIDICE: Sei tu? M’inganno? EURYDICE: Is it you? Am I deceived? Sogno? Veglio? O deliro? Am I dreaming? Am I awake? Or am I raving?

ORFEO: Amata sposa, ORPHEUS: Beloved wife, Orfeo son io, e vivo ancor! I am Orpheus, and am still alive! Ti venni fin negli Elisi a ricercar. I have come even as far as Elysium to find you. Fra poco il nostro cielo, In a short while our own sky, Il nostro sole, il mondo our sun and our world Di bel nuovo vedrai! you will see beautifully anew!

EURIDICE: Tu vivi? Io vivo? EURYDICE: Are you alive? Am I alive? Come? Ma con qual arte? Ma per qual via? How come? Through what means? In what way?

ORFEO: Saprai tutto da me. ORPHEUS: You will learn all about it from me. Per ora non chieder più! For the time being ask no more! Meco t’affretta, Hasten with me, E il vano importuno timor dall’alma sgombra! and banish the foolish, untimely fear in your soul! Ombra tu più non sei, You are no longer a phantom; Io non son ombra. I am not a phantom.

Tales from Ovid (May 2013) 3 Notes © Ian Page, 2013 EURIDICE: Che ascolto? E sarà ver? EURYDICE: What do I hear! And can it be true? Pietosi Numi, Merciful Heavens, Qual contento è mai questo! what happiness indeed is this! Io dunque in braccio all’idol mio Will I then in the arms of my beloved, Fra’ più soave lacci within the sweetest chains D’Amore e d’Imeneo of Love and Marriage, Nuova vita vivrò! live a new life?

ORFEO: Sì, mia speranza! ORPHEUS: Yes, my hope! Ma tronchiam le dimore, But let us stop delaying; Ma seguiamo il cammin. let us follow the path. Tanto è crudele la fortuna con me, So cruel is Fortune to me Che appena io credo di possederti, that I scarcely believe that I have you, Appena so dar fede a me stesso. I scarcely know how to believe myself.

EURIDICE: E un dolce sfogo del tenero amor mio EURYDICE: And a sweet token of my tender love Nel primo istante che tu ritrovi me, at the first moment that you find me again, Ch’io ti riveggo, and that I see you again, T’annoia, Orfeo! annoys you, Orpheus?

ORFEO: Ah, non è ver, ma... ORPHEUS: Ah, it’s not true! Sappi... senti... But know... Listen... (Oh legge crudel!) (Oh, cruel decree!) Bella Euridice, Beautiful Eurydice, Inoltra i passi tuoi! quicken your steps.

EURIDICE: Che mai t’affanna EURYDICE: Whatever can be troubling you In sì lieto momento? at such a happy moment?

ORFEO: (Che dirò? ORPHEUS: (What can I say? Lo preveddi! I foresaw it. Ecco il cimento!) Here’s the rub!)

EURIDICE: Non m’abbracci? Non parli? EURYDICE: Will you not embrace me? Do you Guardami almen. not speak to me? Look at me, at least. Dimmi, son bella ancora, Tell me, am I beautiful still, Qual era un dì? as I once used to be? Vedi, che forse è spento Do you see that the colour in my cheeks Il roseo del mio volto? has perhaps faded? Odi, che forse s’oscurò Do you sense that perhaps has been dimmed Quel che amasti, that which you used to love E soave chiamasti, and called sweet – Splendor de’ sguardi miei? the splendour of my eyes?

ORFEO: (Più che l’ascolto, ORPHEUS: (The more that I hear, Meno resisto. the less I can resist. Orfeo, coraggio!) Orpheus, have courage!) Andiamo, mia diletta Euridice! Let’s go, my darling Eurydice! Or non è tempo Now is not the time Di queste tenerezze, for these endearments; Ogni dimora è fatale per noi. every delay is fatal for us.

Tales from Ovid (May 2013) 4 Notes © Ian Page, 2013 EURIDICE: Ma... un sguardo solo... EURYDICE: But... one single look...

ORFEO: È sventura il mirarti. ORPHEUS: Looking at you would be disastrous.

EURIDICE: Ah, infido! EURYDICE: Ah, faithless man! E queste son l’accoglienze tue! And these are your reassurances? Mi nieghi un sguardo, You deny me a glance, Quando dal caro amante when from my dear lover E dal tenero sposo and tender husband Aspettarmi io dovea I might have expected Gli amplessi e i baci! hugs and kisses?

ORFEO: (Che barbaro martir!) ORPHEUS: (What excrutiating torture!) Ma vieni e taci! But come, and keep quiet.

EURIDICE: Ch’io taccia! E questo ancora EURYDICE: Keep quiet? And this too Mi restava a soffrir? I have to endure? Dunque hai perduto Have you then lost La memoria, l’amore, memory, love, La costanza, la fede? constancy, faith? E a che svegliarmi dal mio dolce riposo, And why do you waken me from my sweet repose, Or ch’hai pur spente now that you have indeed extinguished Quelle a entrambi sì care d’Amore those chaste torches so dear E d’Imeneo pudiche faci! to both Love and Marriage? Rispondi, traditor! Answer, traitor!

ORFEO: Ma vieni, e taci! ORPHEUS: But come, and keep quiet.

DUETTO DUET ORFEO: Vieni, appaga il tuo consorte! ORPHEUS: Come, appease your husband!

EURIDICE: No, più cara è a me la morte, EURYDICE: No, more dear to me is death Che di vivere con te! than to live with you.

ORFEO: Ah, crudel! ORPHEUS: Ah, cruel woman!

EURIDICE: Lasciami in pace! EURYDICE: Leave me in peace.

ORFEO: No, mia vita, ombra seguace ORPHEUS: No, my treasure, as a loyal phantom Verrò sempre intorno a te! I shall always hover around you.

EURIDICE: Ma perché sei sì tiranno? EURYDICE: But why are you being so cruel?

ORFEO: Ben potrò morir d’affanno, ORPHEUS: I could well die of grief, Ma giammai dirò perché! but never will I tell why.

EURIDICE, ORFEO: EURYDICE, ORPHEUS: Grande, o Numi, è il dono vostro! Great is your gift, o Gods! Lo conosco e grata/grato io sono! I know it and am grateful! Ma il dolor che unite al dono But the grief which is attached to the gift È insoffribile per me. is insufferable for me.

Tales from Ovid (May 2013) 5 Notes © Ian Page, 2013 RECITATIVO ACCOMPAGNATO ACCOMPANIED RECITATIVE EURIDICE: Qual’ vita è questa mai EURYDICE: What life is this che a vivere incomincio! that I am starting to live? E qual funesto, terribile segreto And what dreadful, terrible secret Orfeo m’asconde! is Orpheus hiding from me? Perché piange, e s’affligge? Why does he weep and look so troubled? Ah, non ancora troppo avvezza Ah, I am not yet reaccustomed agli affanni, che soffrono i viventi; to the pangs which the living suffer; a sì gran colpo manca la mia costanza; at such a great blow my constancy fails me; agli occhi miei si smarrisce la luce, the light fades in front of my eyes, oppresso in seno mi diventa and trapped in my breast affannoso il respirar. my breath becomes short. Tremo, vacillo e sento I tremble, I sway, and I feel fra l’angoscia e il terrore my heart vibrating with bitter palpitations da un palpito crudel vibrarmi il core. of anguish and terror.

ARIA ARIA EURIDICE: Che fiero momento! EURYDICE: What cruel moment, Che barbara sorte! what wretched fate! Passar dalla morte To pass from death a tanto dolor! to such sorrow! Avvezzo al contento Accustomed to the contentment d’un placido oblio, of calm oblivion, fra queste tempeste, my heart is lost si perde il mio cor! among these storms. Vacillo, tremo... I sway, I tremble...

RECITATIVO ACCOMPAGNATO ACCOMPANIED RECITATIVE ORFEO: Ecco un nuovo tormento! ORPHEUS: Here is a new torment!

EURIDICE: Amato sposo, EURYDICE: Beloved husband, m’abbandoni così? you abandon me like this? Mi struggo in pianto; I am consumed with grief, non mi consoli? and you do not console me? Il duol m’opprime i sensi; Sorrow overwhelms my senses, non mi soccorri? and you do not help me? Un’altra volta, oh stelle, Must I then die dunque morir degg’io a second time, oh heavens, senza un amplesso tuo, without your embrace, senza un addio? without a farewell?

ORFEO: Più frenarmi non posso, ORPHEUS: I can’t restrain myself any longer. a poco a poco la ragion m’abbandona, Little by little my reason leaves me; oblio la legge, Euridice e me stesso! E... I forget the decree, Eurydice, even myself! And…

EURIDICE: Orfeo, consorte! EURYDICE: Orpheus, husband! Ah... mi sento... languir. Ah… I feel myself… dying.

ORFEO: No, sposa! Ascolta! Se sapessi... ORPHEUS: No, my wife! Listen! If you knew… Ah che fo? Ma fino a quando Ah, what am I doing? For how long in questo orrido inferno dovrò penar? must I suffer in this dreadful hell?

Tales from Ovid (May 2013) 6 Notes © Ian Page, 2013 EURIDICE: Ben mio, ricordati... di... me! EURYDICE: My beloved, remember me!

ORFEO: Che affanno! ORPHEUS: What torment! Oh, come mi si lacera il cor! Oh, how it tears my heart! Più non resisto... Smanio... I can withstand it no longer. I rant… fremo... deliro... Ah! Mio tesoro! I tremble… I am delirious… Ah, my treasure!

EURIDICE: Giusti Dei, che m’avvenne? EURYDICE: Just Gods, what is happening to Io manco, io moro. me? I faint… I die.

ORFEO: Ahimè! Dove trascorsi? ORPHEUS: Alas! What have I done? Ove mi spinse un delirio d’amor? To where has love’s frenzy driven me? Sposa! Euridice! Consorte! Wife! Eurydice! My consort! Ah più non vive, la chiamo invan! Ah, she no longer lives, I call her in vain. Misero me! La perdo, e di nuovo e per sempre! Woe is me! I have lost her again, and for ever! Oh legge! Oh morte! Oh ricordo crudel! Oh cruel decree! Oh death! Oh bitter reminder! Non ho soccorso, non m’avanza consiglio! There is no help, no advice for me. Io veggo solo – ah, fiera vista! – I see only – oh cruel sight! – il luttuoso aspetto dell’orrido mio stato! the mournful aspect of my wretched state. Saziati, sorte rea! Son disperato! Be satisfied, ghastly fate! I am driven to despair.

ARIA ARIA ORFEO: Che farò senza Euridice? ORFEO: What shall I do without Eurydice? Dove andrò senza il mio ben? Where shall I go without my beloved? Euridice! Euridice! Eurydice! Eurydice! Oh Dio! Rispondi! Oh God! Answer! Io son pure il tuo fedel. I am still your faithful love. Ah! Non m’avanza Ah, there is left to me più soccorso, più speranza, no more help, no more hope, né dal mondo, né dal ciel! either on earth or in heaven!

Interval

Tales from Ovid (May 2013) 7 Notes © Ian Page, 2013 Haydn Overture and Scene from Philemon und Baucis

Anna Devin (Baucis, Narcissa), Benjamin Hulett (Aret)

On 1 May 1761 the twenty-nine-year old Franz Joseph later a new marionette theatre was completed. It was for this Haydn was appointed Vice-Kapellmeister to Prince Paul theatre that Haydn wrote Philemon und Baucis, which received Anton Esterházy. Thus began one of the most important its first performance on 2 September during a visit from the and productive master/servant relationships in the history of Empress Maria Theresia. The work, which is set in a small music, for although the Prince died within a year of Haydn’s village in ancient Phrygia, is subtitled ‘Jupiter’s journey to the appointment, he was succeeded by his brother Nikolaus, who Earth’, and as with Haydn’s other marionette operas the text over the next twenty-eight years was to be an extraordinarily is in German. The score for this original setting was soon lost, enlightened and inspirational benefactor for Haydn. The but the work was adapted and revived as a singspiel (without Esterházys, whose main residence was their palace in puppets) in 1780, and a manuscript of the singspiel version Eisenstadt, a small town 26 miles south-east of Vienna, were has survived. the wealthiest and most influential family of the Hungarian nobility, and Prince Nikolaus had bold ambitions for the Jupiter and Mercury (both spoken roles) have come down to physical and artistic development of his court, quickly earning earth disguised as pilgrims, but are appalled that their requests the soubriquet ‘Nikolaus the Magnificent’. for sustenance and lodging have been rejected by everyone they have approached. They finally arrive at the small hut of The greatest of all his projects was the transformation of his Philemon and Baucis, an elderly couple who are mourning the modest hunting lodge in the reclaimed swampland east of Lake recent death of their only son, Aret, and his fiancée Narcissa. Neusiedl into the splendid new summer palace Esterháza. Despite their grief and their poverty they do all they can to help This was ready for occupation by 1766 – the same year that the visitors. Baucis prepares a hot bath and a modest meal, but Haydn assumed the role of main Kapellmeister following the laments the fact that she cannot do more for them. Left alone death of the elderly Gregor Werner – and Haydn and his she bemoans her fate, and the failure of the other villagers musicians were to spend an increasing amount of their time to help, in an aria whose tender simplicity and unadorned there. In 1768 the new opera house at Esterháza opened with sincerity reflects both her kind-heartedness and the modesty the première of Haydn’s comic opera Lo speziale, and five years of her social status.

BAUCIS: Heut’ fühl ich der Armut Schwere, BAUCIS: Today I feel the hardship of poverty, Dieser kleinen Hütte Leere, the emptiness of this tiny hut, Weil ich niemand helfen kann, because I am unable to help anyone. Ihr Erhöhten dieser Erden! You exalted ones of this earth, Ihr könnt Göttern ähnlich werden. you can become like gods. Nehmt euch nur des Niedern an! All you need to do is to look after the lowly.

Moved by their generosity, Jupiter determines to reward but from a parody opera called Alceste by Carlo d’Ordonez Philemon and Baucis with a gift far more valuable to them (1734-1786), which was frequently performed at Esterháza. than wealth, fame or status. He transforms the funeral urns of Aret and Narcissa into an arbour of roses, inside which the Undoubtedly by Haydn, though, is Aret’s ensuing aria, “Wenn young couple sit and gradually return to life. The surviving am weiten Firmamente”, in which he sings – amid a luscious manuscript score of the singspiel version of the opera includes texture of oboe solo, muted 2nd violin triplets and pizzicato a short orchestral interlude at this moment in the drama, 1st violins and bass – of his dawning realisation and wonder at although this music has been identified as not being by Haydn the miracle that has just occurred.

ARET: Wenn am weiten Firmamente ARET: If from the furthest heavens nur die kleinste Sonne brennte, only the smallest ray of sun shone through, blieb es doch ein Wunderbau. it is still a miracle. Myriaden Sonnenglänzen Myriad sun rays gleam in des Äthers ewigen Grenzen in the everlasting borders of the ether, zur Bewundrung, nicht zur Schau. to wonder at, not to observe.

Tales from Ovid (May 2013) 8 Notes © Ian Page, 2013 As Aret and Narcissa are reunited, they pledge their devotion and undying love to one another in a charming and jubilant duet.

ARET: Entflohn ist nun der Schlummer, ARET: The slumber has now departed, Narcissa, der uns so reizend schien. which seemed so delightful to us, Narcissa. Ich seh es ohne Kummer: I behold it without grief: Wo du bist, Narcissa, where you are, Narcissa, da muß mein Glücke blühn. there must my joy blossom.

NARCISSA: Mit lust erfülltem Herzen, NARCISSA: With a heart filled with joy, Aret, kehrt sich mein Blick nach dir. Aret, my gaze settles on you. Vor dir fliehn Gram und Schmerzen, May grief and torments flee from you, Aret, du bist mir die höchste wonne. Aret, you are my greatest bliss.

BEIDE: Es trenn’ uns nie BOTH: We shall never be separated des Schicksals mächtges Wort. by Fate’s mighty word.

ARET: Ich wünsche nichts, ARET: I wish for nothing, als dich beglückt zu wissen. except to know that you are happy.

NARCISSA: Ich will kein Glück, NARCISSA: I want no happiness, als nur mit dir genießen. unless I can share it with you.

BEIDE: Und immer sind wir neidenswert, BOTH: And we are always to be envied, nur dieser Wunsch sei uns gewährt. if this wish is granted to us.

Tales from Ovid (May 2013) 9 Notes © Ian Page, 2013 Mozart Part Three of Apollo et Hyacinthus Anna Devin (Melia), Christopher Ainslie (Apollo), Benjamin Hulett (Oebalus)

Apollo et Hyacinthus was Mozart’s first opera, written and first The libretto of the opera sought to make the story more performed when the composer was just eleven years old. The palatable to eighteenth-century audiences by adding the grammar school attached to Salzburg’s Benedictine University characters of Melia and Oebalus. Melia becomes the object of had had a tradition since 1617 of performing an annual Latin Apollo’s now heterosexual love, with Oebalus sharing her grief play, and in 1661 a theatre equipped with elaborate stage at Hyacinth’s death, while Zephyrus provides the treachery machinery had been erected adjacent to the university’s Great and deceit which drives the drama forward. In this way the Hall. In addition to the annual event in August, individual culmination of the opera becomes more about forgiveness and classes at the grammar school sometimes presented their redemption, themes that were to dominate the great operatic own productions – indeed the five-year-old Mozart, though masterpieces of Mozart’s maturity. not attached to the school, had taken part in a Latin school play there in 1761 – and in May 1767 the third year students The music of Apollo et Hyacinthus displays remarkable maturity, performed a five-act Latin tragedy, Clementia Croesi (‘The individuality and virtuosity, particularly in the third and final Clemency of Croesus’). The three parts ofApollo et Hyacinthus section of the work. Oebalus’ aria is a wonderfully visceral were originally performed between the acts of this play. evocation of the mourning father’s anger and despair, with flashing violin scales and huge melodic leaps magnificently In the original story of Apollo and Hyacinth as told by Ovid, capturing the turbulent sea imagery, but the emotional climax Apollo is in love with Hyacinthus. While the two are playing of the score is surely the duet between Oebalus and Melia. discus together, Hyacinth is so impressed by the skill and Mozart’s fledgling genius is already apparent in the beauty not strength of Apollo’s first throw that he avidly runs to pick only of the melody but also of the scoring: muted first violins, the discus up as it lands on the ground; the discus, however, lapping violas and pizzicato second violins, cello and bass are ricochets off a rock as it lands and gives Hyacinth a mortal gently supported by horns, creating an exquisite texture over blow to the head. A grief-stricken Apollo refuses to let Hades which father and daughter lament their plight. Their despair claim the boy, and instead creates a flower, the hyacinth, from is resolved with the return and forgiveness of Apollo, and the his spilled blood. Other accounts of the myth add the character work ends with a delightfully effervescent and reconciliatory of Zephyrus, Apollo’s rival for the affections of Hyacinth. In trio for the surviving protagonists. this version, the jealous Zephyrus deliberately blows Apollo’s discus off course and causes it to strike Hyacinth.

RECITATIVE ACCOMPAGNATO ACCOMPANIED RECITATIVE OEBALUS: OEBALUS: Hyacinthe! – Nate! – vixit – exanimis iacet! – Hyacinthus! My son!.. His life is over. He lies dead! Apollo, dixit, innocens est, o Pater! “Apollo is innocent, father!”, he said. “Believe me, Crede mihi, non est; Zephyrus est auctor necis. it was not he; Zephyrus is the author of my death.” Sic ergo mecum Zephyre ter mendax! agis? Is this then how you treat me, ever lying Zephyrus? Sic Numen ipsum sceleris et tanti reum Have you thus accused the god himself of so foul a Arguere, sic me fallere haud Regem times? crime, and do you not fear to deceive me, the King? Cruente! faxim crimen hoc proprio luas Bloodthirsty one! I’ll avenge this crime with your Cruore! – Mortem Filii an inultus feram? own blood! Should I bear a son’s death unavenged?

ARIA ARIA OEBALUS: OEBALUS: Ut navis in aequore luxuriante Just as a ship on a violent sea is thrown Per montes, per valles undarum iactatur, through the mountains and valleys of the waves, Et iamiam proxima nubibus stat, one moment perching close to the clouds, Et iamiam proxima Tartaro nat: the next plunging close to Tartarus, Sic bilis a pectore bella minante so the rage from a heart bent on vengeance Per corpus, per venas, per membra grassatur. surges through my body, my veins and my limbs. Furore sublevor; My fury buoys me up; Dolore deprimor. I sink under my grief; Ira, vindicta conglomerant se, rage and vengeful thoughts intertwine, Atque quassare non desinunt me. and will not let me rest.

Tales from Ovid (May 2013) 10 Notes © Ian Page, 2013 RECITATIVO RECITATIVE (Accedit Melia.) (Melia enters.) MELIA: MELIA: Quocumque me converto, crudelis Dei, Wherever I turn, I see hateful reminders of the Monumenta detestanda conspicio. Prius cruel god. Earlier I saw Zephyrus perish, Perire Zephyrum videram, et Fratrem modo and now I see my innocent brother Video natare sanguine insontem suo. swimming in his own blood.

OEBALUS: OEBALUS: Quid comite nullo Filia huc infers pedem? Why are you coming here unattended, my An latro iamiam fugit? daughter? Has the scoundrel already fled?

MELIA: MELIA: Hunc iussi illico I ordered him at once to leave our kingdom, Vitare nostra regna, nam caedem improbus for the treacherous god has dared Nova gravare caede non timuit Deus. to exacerbate his earlier killing with fresh slaughter.

OEBALUS: OEBALUS: Quid loquere? caedem Nata! quam narras What are you saying? What fresh slaughter do you novam? mean?

MELIA: MELIA: O Rex! amicum rapuit, et Zephyrum quidem, O King! He seized our friend Zephyrus, and before my Ventisque me vidente lacerandum dedit. very eyes caused him to be torn to pieces by the winds.

OEBALUS: OEBALUS: O iustus est Apollo, dum plectit scelus, Oh, Apollo is just, for he has punished the crime Quod imputavit perfidus et atrox Deo which the treacherous and monstrous Zephyrus Zephyrus! hic auctor, Filia! est factae necis. imputed to the god! He was the author, my Non est Apollo. daughter, of the murder that was committed. It Zephyrus in Fratrem tuum was not Apollo.Zephyrus did not hesitate Discum agere non dubitavit. to launch the discus at your brother.

MELIA: MELIA: Unde autem Pater! But father! How Haec nosse poteras? could you know these things?

OEBALUS: OEBALUS: Natus haec retulit mihi, Your brother told me, Nam vivus est inventus a nobis. Meis for he was alive when I found him. Extinctus est in manibus. He died in my arms.

MELIA: MELIA: Heu me! quid? Pater! What? Oh father, alas! Why then did you Quid ergo regno exisse iussisti Deum? order the god to be banished from our kingdom?

OEBALUS: OEBALUS: Filia! dolore motus, et Zephyri dolis O daughter! Moved by grief and deluded by the Delusus, id iussisse me memini. Impium trickery of Zephyrus, I remember ordering that. Who Quis tale sibi timuisset a Zephyro scelus? would have suspected Zephyrus of so heinous a crime?

MELIA: MELIA: O Genitor! omnes perditi iamiam sumus! O father! Now we are all lost! Alas, he’s gone, Discessit, heu! discessit a nobis Deus! the god has left us! Believe me, he will not O crede, non inultus id probrum feret. bear such an insult unavenged.

Tales from Ovid (May 2013) 11 11 Notes © Ian Page, 2013 OEBALUS: OEBALUS: Quid? Nata! discessisse iam Numen putas? What, daughter? You think the god has gone already?

MELIA: MELIA: Nil dubito; namque exire de regno tuo I have no doubt, for I myself commanded Apollo Apollinem ipsa, linquere et nostros lares to leave our home and depart your kingdom. Iussi. O ut hunc revocare nunc possem Deum! Would that I could now recall the god!

OEBALUS: OEBALUS: Heu! fata quam sinistra nos hodie obruunt! Alas! How hostile are the fates which today undo us!

DUETTO DUET OEBALUS: OEBALUS: Natus cadit, My son has perished, Atque Deus and the god, Me nolente, against my will Nesciente and without my knowledge, Laesus abit. has gone away insulted. Regnum sine Numine A kingdom without its god Iam non diu stabit: will not survive for long. Numen! quaeso, flectere, O god, I beg you, change Et ad nos revertere! your mind and come back to us!

MELIA: MELIA: Frater cadit, My brother has perished, Atque meus and my betrothed, Te iubente at your command Me dolente and to my sorrow, Sponsus abit. has gone away. Sponsa sine complice A bride without a husband, Quaeso, quid amabit? whom, I ask, will she love? Noli sponsam plectere, Do not punish your bride, Numen! ah regredere! O god! Ah, come back!

RECITATIVO RECITATIVE (Accedit Apollo.) (Apollo approaches.)

APOLLO: APOLLO: Rex! me redire cogit in Hyacinthum amor. O King, love for Hyacinthus compels me to return! Ignosce, quod Numen ego tua regna audeam Excuse me for venturing, as a god, to bless your Praesens beare! Disce, quid Numen queat! kingdom with my presence. Learn what a god can do! Hyacinthe surge! funus et flore aemulo Hyacinthus, arise! May his body be swathed in Nomenque praeferente Defuncti tege. flowers bearing his image, and marked with the dead boy’s name*. (Subsidens cum funere tellus hyacinthos (The dead body sinks into the earth, and flores germinat.) hyacinths bloom in its place.)

OEBALUS: OEBALUS: Quid video? Surrexisse de Nato meo What am I seeing? Can I see flowers rising from Conspicio flores? my son?

* This refers to the marking on the hyacinth flower, which seemed to show the letters ‘Ai’ – an exclamation of grief in the ancient world.

TalesTales fromfrom OvidOvid (May(May 2013)2013) 1212 NotesNotes ©© IanIan Page,Page, 20132013 MELIA: MELIA: Numen o nimium potens! O all-powerful god! Pudore me suffusa profi teor ream. Blushing with shame, I confess my guilt. Ad verba Zephyri, Patris ad iussa omnia It was at the words of Zephyrus and the bidding Quae me poenitet, feci. of my father that I did what now shames me.

OEBALUS: OEBALUS: Optime Parce Deus! Ignarus ego, Noble god, forgive me! quis fuerit necis I was blind, and had faith in the monstrous Auctor patratae, pessimo Zephyro fidem Zephyrus, who was the author of the murder that Habui, meumque credidi Natum tua was committed, and I believed my son to have perished Periisse fraude. Zephyrus o quanta improbus by your crime.O how much evil the wicked Zephyrus Induxit in regna mea, ni parcas, mala! has brought upon my kingdom, unless you spare us!

MELIA: MELIA: O Numen! haud fuisse contemptum putes; O divine Power, don’t think that you have been scorned! Abire quod te iusserim, imprudens fui I ordered you to leave because I was foolish and too Credulaque nimium, et ira mihi verba abstulit, trusting, and my anger wrung from me words which Quae de dolore Fratris occisi meant. were uttered out of grief for my murdered brother.

APOLLO: APOLLO: Confide Rex! Apollo non fugiet tua Rest assured, O King! Apollo will not flee your kingdom. Regna. Manet, et manebit heic tecum, fide He remains, and will continue to stay here with you, if Iam stare si promissa demonstres tua. you now honour your vow to stand firm in your faith.

OEBALUS: OEBALUS: Intelligo. Ecce Nata! te sponsam Deus I understand. Behold, my daughter, how the god Dignatur elegisse. has deigned to choose you as his bride.

MELIA: MELIA: Num credam Deum Can I dare to believe that the god Amare posse Meliam? is able to love Melia?

APOLLO: APOLLO: O crede! ipsemet Believe it! Jupiter himself Jupiter amare saepe mortales solet; has more than once loved a mortal; Amare namque convenit tantum Diis, indeed it is entirely fitting for the gods to love Vobis amari. and to be loved by you.

MELIA: MELIA: Numen! en famulam, suo Divine Power! Behold your servant, who offers Quae pro Parente pectus hoc offert tibi. her heart to you in the name of her father.

OEBALUS: OEBALUS: En! Si placere sponsa mortalis potest, Look! If any mortal bride can please you, Apollo! nostra Filiam adductam manu Apollo, receive my daughter from my hand, Accipe, meoque semper in regno mane. and remain in my kingdom forever. Hyacinthus obiit: alter Hyacinthus mihi Hyacinthus is dead: you will be for me another Eris, manere Filia hac factus gener, Hyacinthus, if you deign to remain in our land Regione si digneris in nostra. as husband to my daughter.

TalesTales fromfrom OvidOvid (May(May 2013)2013) 13 13 NotesNotes ©© IanIan Page,Page, 20132013 APOLLO: APOLLO: Oebale! Oebalus! Accipio laetus Meliae oblatae manum, I joyfully accept your offer of Melia’s hand, and Rebusque semper placidus adsistam tuis. shall stand quietly at your side in all your endeavours.

MELIA: MELIA: Justitia sic tua Deus elucet magis. Thus your justice, O god, glows all the brighter.

OEBALUS: OEBALUS: Sic innocentem debita haud merces fugit. Thus innocence will gain its just deserts.

APOLLO: APOLLO: Sic saecla te futura clementem sonent. Thus future centuries will proclaim your clemency.

TERZETTO TRIO APOLLO: APOLLO: Tandem post turbida At last, after violent Fulmina, nubila, lightning bolts, storm clouds Tonantis murmura, and rumblings of thunder, Pax alma virescit nourishing peace puts forth green buds Et explicat se. and blossoms.

MELIA: MELIA: Post vincla doloris After the bonds of sorrow, Nos iungit amabile the joyful pledge of love Pignus amoris. unites us. Post fata beata After these events decreed by fate, Nos taeda coronet the blessed marriage torch Et erigat te. will crown us and inspire you.

OEBALUS: OEBALUS: Post bella furoris After furious battles, Vos iungit amabile the joyful pledge of love Pignus amoris. unites you. Post fata, optata After these events decreed by fate, Vos taeda coronat the longed-for marriage torch Et excitat me. will crown you and gladden me.

APOLLO: APOLLO: Post monstra pavoris After fearful portents, Nos iungit amabile the joyful pledge of love Pignus amoris. unites us. Post fata, sperata After these events decreed by fate, Nos taeda coronet the hoped-for marriage torch Et erigat te. will crown us and inspire you.

Violin 1 Matthew Truscott (Leader) Oboe James Eastaway Catherine Martin Rachel Chaplin Andrew Roberts Julia Kuhn Bassoon Zoe Shevlin

Violin 2 Jill Samuel Camilla Scarlett Horn Gavin Edwards Kristin Deeken Nick Benz

Viola Simone Jandl Harpsichord Steven Devine Louise Hogan

Cello Aoife Nic Athlaioch Sally Woods

Bass Timothy Amherst