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RO Handel W, WY V4 Highlights

SIDE ONE Alcina, one of Handel’s later operas, was written ambience, brought into being by Alcina’s magic arts, ACT |} for London in 1735 and first produced at Covent will presently revert to its original repellent aspect XN E gelosia....Monica Sinclair Garden Theatre in April of that year. The libretto, (Verdi prati, selve amene). by Antonio Marchi (with alterations by Rolli), is Morgana (who was attracted to Bradamante in her Vo cercando....Bramo di trionfar....Jeresa Berganza based on some thirty stanzas of the celebrated epic soldier’s disguise) is wooing her former lover Oronte Tiranna gelosia. .. .Tornami a vagheggiar poem Orlando Furioso by the 16th century Italian (the Commander-in-Chief) who in turn is repulsing her ..Joan Sutherland writer Ludovico Ariosto. It is a story of magic and advances. Protesting that she still loves him, the ACT I fantasy, and is full of elaborate scenic effects. jilted Morgana begs for his pity and forgiveness Alcina is an enchantress who changes her lovers into (Credete al mio dolore), but she is obliged to retire, Tra speme e timore....Mirella Freni monsters and who, when her power has deserted her, helpless, before Oronte’s unrelenting mien. However, once she has gone, the poor Commander admits rue- Ah! mio cor! schernito sei!....Joan Sutherland is exposed as a hideous old woman. ; Bradamante, disguised as a soldier, is searching fully that he loves her still and that, in love, one for her lover, Ruggiero, who has suddenly transferred moment of happiness instantly wipes out and obliter- SIDE TWO his affections to Alcina. Oronte, the commander of ates all memory of unpleasantness and pain (Un Alcina’s forces is incensed at the sudden deflection momento di contento). Act Il : of his mistress Morgana to the disguised Bradamante. Rather awkwardly for him, Ruggiero encounters He threatens the supposed youth with drawn sword Alcina, who has recourse to both pleading wiles and Verdi prati.... Teresa Berganza when Morgana appears to defend her new love. blunt reproach without effect. Finally, goaded beyond endurance, she prophesies that he will return to her in ACT Ill Bradamante explains that they are all three in the grip of love and jealousy and are accordingly un- chains, but need expect no quarter then (Ma quando Credete al mio dolore... .Graziella Sciutti ‘reasonable (E gelosia). tornerai), though towards the end of her aria, she does seem to relent, for she suggests hopefully he M’inganna, me n’aveggo... . Un momento In the Anti-chamber to Alcina’s private apartments, the erring lover, Ruggiero, who is completely cap- might like to plead with her for forgiveness (Ancor di contente... Luigi Alva tivated by the enchantress, ruminates upon his placar tu puoi). Ma quando tornerai....Joan Sutherland unsatisifed longing (Vo cercando...Bramo di trionfar). Bradamante and Ruggiero have miraculously Alcina is hurt and surprised when Ruggiero, vanquished Alcina and her forces, but instead of Non é amor, né gelosia. . suspecting her of being infatuated by the supposed using their success to make good their escape, they Prendi e vivi... . dal? orror soldier, Bradamante, reproaches her with fickleness. now threaten the island. The conclusion of the opera Alcina laments MRuggiero’s' senseless’ jealousy takes place in the grounds outside Alcina’s palace. di notte cieca... The Cast (Tiranna gelosia dell’amato Ruggiero). In the aria Tall trees shade her menagerie, where many wild j which follows (Tornami a vagheggiar), she calls upon beasts pace their cages restlessly. The urn which CAST him to woo her once more, for her own part vowing. enshrines her magic power occupies a prominent unalterable affection. position in the centre of the clearing. The victorious ALCINA - Joan Setiieciant Oberto and his father Astolfo were shipwrecked on Ruggiero appears with Bradamante, who is warning the shores of Alcina’s territory, and hospitably her lover to beware of the enchantress’s deceiving : 4 RUGGIERO - Teresa Berganza blandishments. In the ensuing trio, whilst Alcina i received in her palace, but Astolfo has now vanished, i) supposedly transformed by the enchantress. Alcina protests her benevolent disposition and kindly intent | BRADAMANTE - Monica Sinclair : finds the boy deaf to all consolation and makes him a (Non e amor, ne gelosia), the two lovers express their ORONTE - Luigi Alva promise that he shall see his father again shortly. The distrust of the enchantress’s false show of concem. youth, hardly knowing what to think, voices his relief They will show her neither pity nor mercy. MORGANA - Graziella Sciutti in the aria Tra speme e timore. Ruggiero turns next to the defeated general, > Ruggiero, repenting his digression from Bradamante, Oronte, and returns his sword to him in sign of pardon OBERTO - Mirella Freni plans to escape to safety and start a new life. The and friendship (Prendi e vivi). Ruggiero then smashes MELISSO-Ezio Flagello Commander-in-Chief, Oronte, informs Alcina of _ the urn, repository of Alcina’s magic arts, whereupon Ruggiero’s treachery, and the enchantress, torn the entire enchanted landscape is swallowed up by between her love and the realization of her betrayal, the ocean, leaving a desolate shore and a subterranean LONDON SYMPHONY gives vent to her feelings in the aria Ah! mio cor! cave, where many rocks and boulders are changing by -schernito sei. She then recollects her magic powers back into men. Those now so happily liberated sing ORCHESTRA conducted and hastens away to do her utmost to repair the of the wonder and joy of regaining their human shape RICHARD BONYNGE damage. and condition after so many weary days spent as Ruggiero and Bradamante are eee together, stone, wild beast, bush or wave of the sea (Dall’orror Continuo - 3 still with the threat of Alcina’s dread revenge hanging di notte cieca). Dancing and rejoicing bring the opera George Malcolm (harpsichord ) over them. Ruggiero sings of how the enchanting to triumphant conclusion.

© 1963, The Decca Record Company Limited, London. Exclusive U.S. Agents, London Records inc., New York 1, N.Y.

PRINTED IN U.S.A.

OS 25874 (also available in Mono, 5874) __. PLAY THIS RECORD ONLY ON STEREOPHONIC EQUIPMENT OS 25874 ALCINA a7 7 Ah! mio cor! schemito sei! Oh, my heart, you are scored! Stelle! Dei! Oh you stars! Oh ye gods! Deity of love! BRADAMANTE Nume d’amore! (to the enraged Oronte) traditore! Traitor! I love you so; a t?amo tanto; E gelosia, It is jealousy, puoi lasciarmi sola in pianto, and you can leave me thus alone in tears, (to the bellicose Morgana) oh Dei! puoi lasciarmi, oh heavens! You can leave me, oh Dei! perché? ecc. oh gods! Why? etc. .y the power of love, forza e d’amore, Ah! mio cor! schermito sei, ecc. Oh, my heart, you are scorned, etc. (to Oronte) Ma, che fa gemendo Alcina? But what is Alcina about, complaining? ch’il sen t’affanna, that vexes your breast, Son reina, € tempo ancora: I am a queen and there is yet time. (to Morgana) resti o mora, Stay or die! peni sempre, o torni a me, ecc. Suffer eternally, or return to me, etc. che senti al core, that you feel in your heart, But what is Alcina about, etc. (to Oronte) Ma, che fa gemendo, ecc. ma quest’é Me ancora la pena mia, . but I suffer from it, too, (to Morgana) Ah! mio cor! schernito sei, ecc. Oh, my heart, you are scorned, etc. ma pur tiranna la provo in sen. I, too feel its tyranny within my breast.

X E gelosia, ecc. It is jealousy, etc. RUGGIERO (to Oronte) Verdi prati, selve amene, Green meadows, pleasant woods, Per un bel volto, For a lovely face, perderete la belta. you will lose your beauty. che ne vien tolto, which has been snatched from you, Verdi prati, ecc. Green meadows, etc. you sadly sigh; tu mesto gemi; Vaghi fior, correnti rivi, Pretty flowers, purling brooks, (to Morgana) la vaghezza, la bellezza, your charm and loveliness noi ci sdegnamo we are full of anger, presto in voi si cangera. will soon be changed. e tutti amiamo we are all in love Verdi prati, selve amene, Verdant meadows, pleasant woods, senza merce. x and know not pity. perderete la belta. you will lose your loveliness. . And, the charming prospect re-transformed, E gelosia, ecc. It is jealousy, etc. E cCangiato il vago oggetto, all’orror del primo aspetto all things will take on again tutto in voi ritomer&. the horror of their former aspect. RUGGIERO Verdi prati, ecc. Verdant meadows, etc. Vo cercando la bella cagion delle mie I go in search of the lovely cause of all pene; my woes; vieni, deh! vieni a me, caro mio bene! come, oh come to me, my dearest dear!

Bramo di trionfar I long to triumph AeA Hl sol per piacer d’amor, only for the pleasure of love, ma non contento ancor but all unsatisfied yet m’agita l’alma. my heart aches within me. Bramo di trionfar, ecc. I long to triumph, etc. MORGANA Suol gloria accompagnar Glory should attend Credete al mio dolore, Believe in my unhappiness, un generoso ardor, a noble passion, luci tiranne e care! dear tyrant eyes! ma senza amor il cor but, lacking love, my heart languo per voi d’amore, I pine for love of you, non pud aver calma. cannot rest in peace. bramo da voi pieta. I crave your pity. Bramo di trionfar, ecc. I long to triumph, etc. Credete al mio dolore, ecc. Believe in my unhappiness, etc. La cerco invano, e la crudel non torna. I seek her in vain, and the cruel woman (She departs.) does not return.

ALCINA ORONTE Tyrant jealousy torments my beloved Tiranna gelosia dell’amato Ruggier M’inganna, me n’avveggo, e pur ancor She is deceiving me, I am aware of it; Ruggiero’s heart, and yet it is for his . ‘ . tormenta il core, e pur solo per lui l’adoro. Se ben mi fu crudel, é ’1 mio yet though she has been unkind to me, sake alone that I am consumed with mi strugge amore. tesoro. she is still my adored. love. (to Ruggiero, who returns at this moment) One moment of happiness Oh, woo me once again, Un momento di contento Tomami a vagheggiar, dolce rende a un fido amante makes up to a faithful lover you alone would te solo vuol amar tutto il pianto che verso. for all the tears he has shed. ‘my true heart love, quest’anima fedel, Un momento di contento, ecc. One moment of happiness, etc. caro mio bene, caro! ecc. my treasure, my dear one! etc. Love is wont to draw from suffering Oh, woo me once again, etc. Suole amore dal dolore tirar Tomami a vagheggiar, ecc. a balm for every hurt, to heal him, I have given you my heart once already; balsamo alle pene, a sanar, Gia ti donai il mio cor; chi pria piags. whom previously 1t wounded. my love will be true fido sara il mio amor; Un momento di contento, ecc. One moment of happiness, etc. mai ti sard crudel, and I shall never prove unkind, caro mio spene, ecc. my dearest love, etc. Oh, woo me once again, etc. Tomami a vagheggiar, ecc. ALCINA Ma quando tomerai But when you return, di lacci avvinti il pié, your feet bound in fetters, attendi pur da me expect of me then et tt rigore e crudelta. harshness and unkindness. Ma quando tomerai, ecc. But when you return, etc. E pur, perché t’amai, And yet, because I have loved you, OBERTO ho ancor di te pieta. I still feel pity for you. You can appease me still, Tra speme e timore Betwixt hope and fear Ancor placar mi puoi, my love, my dearest heart; do you not mi palpita il core my heart is beating, mio ben, cor mio; non vuoi? wish to? ne so ben ancora, I do not well know yet, s’@ gioia o dolor. whether from joy or sorrow. Mi lascia, infido, e va! Leave me, false wretch, and go! Tra speme e timor, ecc. Betwixt hope and fear, etc. Ma quando tornerai, ecc. But when you return, etc.

INSERT FOR OS 25874/5874 ALCINA ALCINA Non ay é amor, ne ’ gelosia, . It is neither love nor jealousy, Ed io lo faro. And I will give it them. pieta,... it is pity,... BRADAMAN TE BRADAMANTE Non fidarti: lascia che faccia il colpo il Do not trust her—let my arm deal the Che ascose frodi! What underhand impostures! braccio mio. blow. ALCINA ALCINA ‘ . » . . . ees PICta, «+ « s..itis pity, iis Misera, ah no! Unfortunate that | am—oh no! BRADAMAN TE (As Bradamante goes to deal the blow, Morgana suddenly Che ascose frodi! What underhand impostures! appears and prevents her.) ALCINA MORGANA ...e desio, che lieta godi. ...andI wish you to be happy. (to Bradamante) RUGGIERO Per quella vita, che ti serbai, lascia... By that life which I have saved for you, Che fallaci infidi accenti! What false lying words! leave... ALCINA MELISSO Non t’offendo,... I do not intend you harm, ... A che tardi? Struggi l’infame nido: rendi What are you waiting for? Destroy the nest RUGGIERO altrui la salute! of infamy! Give others back their health Indegna, taci! Base woman, be silent! and happiness. ALCINA RUGGIERO ...non t’inganno! ...l am not deceiving you! Si. Yes. BRADAMANTE ORON TE Iniqua, menti! Wicked woman, you lie! Si. Yes, ALCINA BRADAMANTE, MELISSO Crida donna! rio tiranno! Unkind woman! Wicked tyrant! Spezza, Ruggiero. Break it, Ruggiero. . . ‘ non vogl’io da voi merceé,... I desire neither pity nor mercy of you, ... ALCINA, MORGANA RUGGIERO (as they hastily withdraw) Non sperar da noi merce, Do not hope for pity of us. O noi perdute! Alas, we are lost! BRADAMANTE (Ruggiero smashes the urn, whereupon the entire scene Non sperar da... Do not look... disappears, swallowed up in the ocean, which can be seen from a vast subterranean cave, where many rocks ...moi . merce! & ecc, ... for mercy of us! etc. now change back into men, among whom Astolfo, who ALCINA, RUGGIERO immediately embraces Oberto.) Non merce! . ecc. Not mercy, no! etc. CHORUS Dall’orror di notte cieca, From the blind horror of night chi ne reca colla vita who is it has returned to us (They continue in the same strain.) la smarrita liberta? our lost freedom with our lives? Dall’orror, ecc. From the blind horror, etc. ONE BRADAMANTE Caro sposo! Dear husband! Io fui belva. I was a wild beast. ANOTHER RUGGIERO And I a stone. Anima mia! My soul! Io sasso. A THIRD

ALCINA Io fronda. I was a bush. Solo affanni, e solo pene Anxieties and care alone A FOURTH premio fian di vostra fé. will be the reward of your plighted troth. Io qui sciolto erravo in onda. Here I wandered aimlessly to and fro as RUGGIERO a wave in the sea. Solo gioie, e solo bene... Happiness and good alone... ALL Chi ne ha resa umana voglia? Who has given back human feelings and emotions to us? ...premio fian di nostra fe, ecc. ... will be the reward of our plighted troth, Chi ne spoglia Who has taken away etc. la gia appresa ferita? our recently-acquired bestial nature? BRADAMANTE (Dancing follows.) Solo gioie, e solo bene, ecc. Happiness and good alone, etc. Tamburino CHORUS ALCINA Dopo tante amare pene After so many trials and tribulations . x . Non e amor, né gelosia, ecc. It is neither love nor jealousy, etc. gia proviam conforto all’alma; our hearts now experience relief; (All continue as before.) ogni mal si cangia in bene, every ill is changed to good, (The scene now fills.) ed alfin trionfa amor. and love is triumphant at last. RUGGIERO Fortunato 6 questo giomo, Happy is this day, (returning his sword to the defeated Oronte) che ne rese bella calma; that gives us back sweet peace; dell’inganno e insidie a scorno contemptuous of deceits and snares Prendi e vivi. Ruggiero vuol la tua Take it and live. Ruggiero desires your gia festeggia il nostro cor, ecc. our hearts now celebrate, etc. libert&, non il tuo sangue. liberty, not your blood. ORON TE Signor, m’é grato il dono. Sir, I am grateful for the gift. RUGGIERO Or l’urna infame si spezzi. Now let the infamous um be shattered. ORON TE Eroico oprar. A heroic undertaking. (English translation by Peggie Cochrane) RUGGIERO Va, se paventi; io basto solo. Go; if you are afraid—I can do it alone. ALCINA Ah, mio Ruggier, che tenti? Oh my Ruggiero, what are you about? RUGGIERO Voglio la libertade degl’infelici, che I want freedom for the poor unfortunates qui chiudi. whom you keep here incarcerated. PRINTED IN U.S.A. MADE IN ENGLAND

2 ALCINA—Highlights (Handel) S Act 1. E gelosia; Vo cercando . . . Bramo di trionfar; ‘ z Tiranna gelosia . . . Tornami a vagheggiar 2 %, Act 2. Tra speme e timore; Ah! mio cor! schernito sei! Monica SINCLAIR, Teresa BERGANZA, Joan SUTHERLAND, Mirella FRENI with the LONDON SYMPHONY ORCHESTRA conducted by RICHARD BONYNGE Continuo—George Malcolm (Harpsichord)

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ALCINA—Highlights (Handel) Act 2. Verdi prati Act 3. Credete al mio dolore . . . M’inganna, me n’avveggo .. . Un momento di contento; Ma quando tornerai; Non e amor, ne gelosia. . . Prendi i e vivi . . . dall’orror di notte cieca Teresa BERGANZA, Graziella SCIUTTI, Luigi ALVA, Joan SUTHERLAND, Monica SINCLAIR, Ezio FLAGELLO with the LONDON SYMPHONY ORCHESTRA AND CHORUS conducted by RICHARD BONYNGE Continuo—George Malcolm (Harpsichord) Sa ee

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