Wolfgang Amadeus Mozart (1756-1791) 7 Voi avete un cor fedele, KV 217 6. 59 Ombra Compagna – Concert Arias Aria (Possibly an insertion aria for the opera Le nozze di Dorina by Baldassare 1 A Berenice – Sol nascente, KV 70 12. 05 Galuppi, libretto after Carlo Goldoni) Recitative and Aria (Licenza) 8 Ah, lo previdi, KV 272 13. 16 (Composed to celebrate the birthday of Archbishop Sigismund von Scene Schrattenbach, probably performed directly after the opera Vologeso by (Scene from Andromeda, a libretto by Vittorio Amadeo Cigna-Santi, Giuseppe Sarti) previously set to music by several composers including Giovanni Paisiello) 2 Alcandro, lo confesso – Non so d’onde viene, KV 294 9. 44 9 Vado ma dove? oh Dei!, KV 583 4. 11 Recitative and Aria Aria (Text from Pietro Metastasio’s L’olimpiade) (Insertion aria for the opera Il burbero di buon cuore by Vicente Martín y Soler, 3 Bella mia fiamma – Resta, oh cara, KV 528 9. 49 text by Lorenzo Da Ponte) Recitative and Aria 10 Ah se in ciel, benigne stelle, KV 538 7. 38 (Text from Cerere placata, festa teatrale by Niccolò Jommelli, Aria libretto by Michele Sarcone) (Text from Pietro Metastasio’s L’eroe cinese) 4 Vorrei spiegarvi, oh Dio!, KV 418 7. 00 Aria (Insertion aria for the opera Il curioso indiscreto by Pasquale Anfossi) Total playing time: 81. 30 5 Chi sà, chi sà, qual sia, KV 582 3. 15 Aria Lisette Oropesa, Soprano (Insertion aria for the opera Il burbero di buon cuore by Vicente Martín y Soler, text by Lorenzo Da Ponte) il pomo d’oro 6 Misera, dove son!, KV 369 7. 27 Concert Master: Zefira Valova Scene (Text from Pietro Metastasio’s Ezio) Conducted by Antonello Manacorda Mozart has always been my favorite composer. I think I started to feel this strong connection to his music when I studied his concertos as a young flautist. I had to learn the language of the virtuosic writing he is so famous for, and be able to color and create musical phrases without the use of text. Many of Mozart’s concert arias are written in a similar way as his instrumental music, requiring a huge skill set of virtues and demanding extremes of range, breath control, dynamics, and stamina. As a former instrumentalist, I approach this special repertoire the same way with my voice as I did with my flute. The difference now is, as a grown woman, I feel that I have a deeper connection to his musical language. Because the human voice is an organic instrument, it responds (sometimes involuntarily!) to even the subtlest of emotional triggers. And there is text, often a very emotionally driven one, sometimes descriptive of the most heartbreaking of situations, that points to the direction of the ideal execution of this music. Even though Mozart’s music is, with my humble abilities, impossible to truly master, I still enjoy every moment I spend letting it live in me and bringing it to the world in all its complexity.

The emotional center of the album for me is the aria "Ah, lo previdi" which is a journey within itself, and the most sublime music accompanies the journey between life and death, as the spirit of a loved one slips away. Though we may wish to follow them into the next life, we must stay behind. So to be an "Ombra compagna," to be with someone in spirit, when we say that, it is a comforting yet heartbreaking testament of love.

– Lisette Oropesa

5 Declarations of love and works for solo voice and orchestral say in the choice of text. The replacement Duschek was two years older than friendship: Mozart’s concert accompaniment. We often refer to these arias are usually shorter than concert Mozart. Quite unusually for the time, arias for soprano works, which include some of Mozart’s arias. They usually lack recitative, because she specialized in the performance of finest vocal music, as concert arias. The Mozart assumed that recitative by the concert arias; she rarely if ever appeared Passionately interested in the theater from term is convenient, but a bit misleading, opera’s composer would precede the aria on the operatic stage. She lived in Prague childhood, Mozart found in opera a highly because several of these pieces were not in performance. throughout her life, but she had relatives in congenial medium of artistic expression. actually written for concerts but rather Salzburg. It was during a visit to that city Among its singers he found mentors, for performance in operas, usually as For this recording Lisette Oropesa has in 1777 that she met Mozart, who wrote for professional colleagues, personal friends, replacements for existing arias. chosen both kinds of arias, and one her “Ah, lo previdi,” KV 272. They renewed and—in the case of Aloysia Weber—his aria that does not fit perfectly within their personal and professional contacts a beloved. He established his credentials as The works differ according to their original either category. Mozart wrote these decade later when Mozart was in Prague an opera composer in his teens with the function. The true concert arias tend to be works from his childhood in Salzburg to to complete and rehearse Don Giovanni, successful productions in Milan of Mitridate longer and to include substantial amounts his last years in Vienna. Whatever their and it was on that occasion that he wrote (1770), Ascanio in Alba (1771), and Lucio of orchestrally-accompanied recitative. original function, they all demonstrate his “Bella mia fiamma, addio,” KV 528. Silla (1772). But during the rest of his life They are more like operatic scenes; indeed brilliance as a composer for soprano and opera commissions came his way only Mozart sometimes referred to them with orchestra. Aloysia Weber was about seventeen years sporadically, leaving him with plenty of the Italian word scena. Presumably in old when Mozart met her in Mannheim in time for other musical genres, instrumental consultation with the singer for whom Of the singers for whom he wrote these 1777. The twenty-one year old composer as well as vocal. he was writing, he chose the text; he arias, two stand out for the important fell in love with the promising soprano, conceived each scena as a complete work, roles they played in his life and works: whom he dreamed of accompanying on a When Mozart was not busy composing, as self-sufficient (both dramatically and Josepha Duschek (née Hambacher) trip to Italy, where he would write operas rehearsing, and conducting operas, musically) as one of his piano concertos. and Aloysia Weber. Both inspired him to in which she would be the star. The dream he satisfied his desire to write operatic He conceived each replacement aria, in write music of extraordinary beauty and never came true, except in the form of the music and to interact with opera singers contrast, for its effect within the opera for dramatic power. arias he wrote for her, including the concert by writing a wide variety of secular which he wrote it. In most cases he had no scena “Alcandro, lo confesso” – “Non so

6 7 donde viene,” KV 294 and the replacement gender of the singer vis-a-vis the gender aria “Vorrei spiegarvi, oh Dio!”, KV 418. of the character portrayed. To be more specific: a female singer could freely 1. A Berenice – Sol nascente, KV 70 portray a male character. Mozart took full This rarely performed piece is neither a advantage of this flexibility when writing concert aria nor a replacement aria but for Aloysia Weber. In this first aria for her, rather a licenza: an aria that, in operas she was Clistene, a Greek king; in his last, performed at court, served as a kind of “Ah se in ciel, benigne stelle”, KV 538, she epilogue in which elements of the drama was Siveno, a Chinese prince. were recast as a tribute to the ruler who paid for the opera. Mozart probably wrote Mozart took the text from a libretto by it for performance after Giuseppe Sarti’s Pietro Metastasio, the most celebrated opera Vologeso, performed in Salzburg librettist of opera seria. L’olimpiade takes in 1769 (in which Queen Berenice is a place during the Olympic Games. King character). The aria, beginning with a Clistene has sentenced a young man depiction of the rising sun, evokes grandeur to death, unaware that he is his long and majesty, as appropriate for such a lost son. He explains to Alcandro, his tribute. It shows that Mozart, already at confidant, the unfamiliar feeling that the age of thirteen, had full command of comes over him when he sees the youth. the musical resources of his time. The unpredictable changes of tempo in the aria help to convey the king’s uncertainty 2. Alcandro, lo confesso – Non so d’onde and emotional distress, while occasional viene, KV 294 coloratura runs show Mozart exploring The concert aria gave composers and for the first time the intoxicating upper performers flexibility in regard to the reaches of Aloysia’s voice. Antonello Manacorda © Nikolaj Lund 9 3. Bella mia fiamma, addio – Resta, oh 4. Vorrei spiegarvi, oh Dio!, KV 418 put into collaboration with an equally Idomeneo, for Countess Maria Josepha von cara, KV 528 Although Aloysia Weber did not return spectacular oboe solo. Paumgarten. Only eighteen years old, she In the catalogue of his own works that he Mozart’s love, she certainly benefited was part of the aristocratic circle in which started to compile in 1784, Mozart entered from it, in the form of the glorious music 5. Chi sà, chi sà, qual sia, KV 582 Mozart socialized and made music during this piece immediately after Don Giovanni; he wrote for her. In 1783 both were In 1789 Luisa Villeneuve, who was later his residence in Munich. If she performed he called it “Scena for Madame Duschek.” living in Vienna: Aloysia a singer in the to create the role of Dorabella in Così “Misera, dove son!” it was presumably as Composed during the opera’s first run of court theater and the wife of an actor, fan tutte, portrayed Lucilla in a revival of part of a private concert, with an audience performances, the music shares with Don Wolfgang a busy freelance musician and Vicente Martín y Soler’s Il burbero di buon consisting of family and friends. Mozart Giovanni a dark, even menacing emotional the husband of Constanze, Aloysia’s sister. cuore, on a text by Lorenzo Da Ponte. kept a copy of the aria, and later had it landscape, conveyed through an emphasis He wrote two replacement arias for his Mozart replaced Lucilla’s two arias with performed in concert in Vienna—but sung on chromatic harmony and the minor sister-in-law to sing in Pasquale Anfossi’s Il new settings of the same texts, tailored to by a tenor. mode. curioso indiscreto. Villeneuve’s voice and stage personality. Mozart took the text from Metastasio’s Mozart took the text from Cerere placata, The title character is Marquis Calandrano. In act 1 Lucilla’s husband Giocondo treats Ezio. Fulvia, a Roman noblewoman, loves performed in Naples in 1772 with music His curiosity leads him to wonder about her with inexplicable hostility, refusing to Ezio, a military hero. But Ezio is imprisoned by the celebrated Niccolò Jommelli. the fidelity of his fiancée Clorinda; his engage in reasoned conversation. After on the basis of false testimony, and faces Inspired by Greek mythology, the plot indiscretion leads him (anticipating the he leaves in a rage, she shares with the death. In this scena Fulvia expresses her revolves around the love of the goddess plot of Così fan tutte) to persuade his audience her confusion about the source helplessness and despair. Proserpina and the mortal Titano. Cerere, friend the count to try to seduce her. of his anger. Mozart embellished her Proserpina’s mother, has forbidden their Clorinda rejects the count’s advances, but short aria with beautiful parts for pairs of 7. Voi avete un cor fedele, KV 217 marriage and sentenced Titano to death. the experience does not leave her entirely clarinets and bassoons. Mozart probably wrote this music as a The hero, portrayed in Jommelli’s opera by unmoved. In the aria she reveals to him replacement aria for Le nozze di Dorina, the famous castrato Giuseppe Aprile, bids (and us) the depth and ambiguity of her 6. Misera, dove son!, KV 369 a comic opera by Baldassare Galuppi, farewell to his beloved and accepts death feelings. The music takes full advantage Mozart wrote this concert scena in Munich performed in Salzburg by a visiting opera as preferable to life without Proserpina. of Weber’s high, agile voice, which Mozart in March 1781, shortly after the premiere of troupe in 1775. The opening sounds tender

10 11 and sincere: Dorina, a chambermaid, verging on madness. It leads straight into praises the man courting her. But a the aria without a break. More recitative change of tempo and musical character follows the aria; and the scene culminates reveals that she was being sarcastic. Now in a ravishing slow movement with an she tells him what she really thinks: she oboe solo (“Deh, non varcar quell’onda”) has no intention of trusting him and all he in which Andromeda imagines she sees deserves is to be made fun of. the ghost of her beloved and begs to accompany him to the underworld. 8. Ah, lo previdi, KV 272 For his first concert aria for Josepha 9. Vado, ma dove? oh Dei!, KV 583 Duschek, Mozart chose a scene from Here is the second aria that Mozart wrote Andromeda, a libretto by Vittorio Amadeo for Luisa Villeneuve to sing in Martín Cigna-Santi that had been set to music by y Soler’s Il burbero di buon cuore. Like Giovanni Paisiello. Andromeda, engaged “Chi sà, chi sà, qual sia,” this aria has to Euristeo but in love with Perseo, believes elaborate parts for clarinets and bassoons, her beloved has killed himself. She blames which Mozart evidently hoped listeners Euristeo, and her first response is rage would come to associate with Lucilla, the against him; only later does she feel grief. character portrayed by Villeneuve. In the Taking cues from Cigna-Santi’s poetry, recitative that precedes this aria, Lucilla Mozart avoided a simple progression learns that her husband Giocondo is in from recitative to aria in favor of a more debt and is about to be arrested and complex interaction of these two kinds imprisoned. Distraught, she declares her of music. The opening recitative uses intention of going to his aid, and in the abundant chromaticism in the orchestra aria she asks the god of love to guide her to express Andromeda’s emotional state, steps.

12 10. Ah se in ciel, benigne stelle, KV 538 before the plot has thickened and the il pomo d’oro Apparently Mozart started this aria in emotional temperature has risen; so it is Mannheim in 1777, when he met and perhaps appropriate that Mozart’s music 1st Violin Traverso fell in love with the very young Aloysia emphasizes princely grandeur and heroism Zefira Valova, Dimitry Lepekhov, Marcello Gatti, Eva Ivanova Weber. By the time he finished it, a rather than the suffering that Siveno will Daniela Nuzzoli, Isabella Bison, decade later, everything had changed— undergo later in the opera. Emily Deans, Ulrike Cramer-Hoeck, Oboe except, perhaps, for his feelings for his Petra Eckhardt Thomas Meraner, Claire Sirjacobs sister-in-law. This last aria for Aloysia is John A. Rice also the most brilliant and difficult. Why 2nd Violin Clarinet Mozart finished it, and what function it Stefano Rossi, Naomi Dumas, Francesco Spendolini, Sebastian Kürzl might have served in Vienna in 1788, are Elena Abbati, Veronica Boehm, unknown. On the one hand, the absence Lathika Vithanage, Waleska Sieczkowska Bassoon of a recitative is untypical of an aria meant Alessandro Nasello, Karin Gemeinhardt for performance in a concert; on the other Viola hand, it is hard to imagine a comic opera Ernest Braucher, Giulio D’Alessio, Horn (the only kind of opera being performed Giulia Panzeri, Marina Momeny Michael Pescolderung, Egon Lardschneider in Vienna in the late 1780s) in which this great aria, decked out with magnificent Cello Harpsichord strands of coloratura, would easily fit. Ludovico Minasi, Cristina Vidoni, Olga Watts Anderson Fiorelli, Kristìna Chalmovská Mozart took the text from Metastasio. In L’eroe cinese, the titular hero Siveno, a Double Bass Chinese prince, fears that he is about to Nicola Dal Maso, Barbara Fischer be separated from his beloved Lisinga. This aria is from early in the opera,

14 15 il pomo d’oro iI pomo d’oro © Nicola Dal Maso, Ribalta Luce Studio Lyrics Ma non bastante anche essa But she, as well, was unable to answer a soddisfar le mie richieste ansiose, my anxious requests sufficiently 1 in questi pochi accenti a me rispose: and replied to me in these few words: A Berenice – Sol nascente, KV 70 virtù, che di lodare il ciel istesso heavens retain to themselves the right la cura ed il potere a sé ritiene, to praise the care and power of virtue, A Berenice e Vologeso sposi For the bridal pair Berenice and Vologeso solo ammirar tacendo a noi conviene. whereas for us it is only appropriate to apparve al fin aurora the dawn of happiness and peace admire it in silence. di contentezza e pace. has broken at last. Luce assai più festiva e più vivace, A more festive and brighter light, Sol nascente in questo giorno, Sun rising on this day, ch’oggi nacque di nuovo, which today was born anew, deh! perdona al tenue ingegno, o, forgive my feeble spirit, a me si rappresenta is shown to me e ammirarti io vo’ tacendo, and I will admire you in silence in Sigismondo prence in Prince Sigismund e ammirando io tacerò. and admiring you I will remain silent. e mi rammenta iI mio dover and reminds me of my duty di raccontar le lodi to praise Del tuo lustro chiaro e degno, I can’t conceive the greatness of your di questo dì solenne. this festive day. di virtù sì rare adorno, bright and worthy splendor, la grandezza io non comprendo, decorated with rare virtue, Io lo previdi, I foresaw it, e a dover spiegar non so. and I don’t know how to explain. e volendo formar il mio concetto, and though I wanted to shape my deboli troppo i sensi miei trovai. thoughts, 2 Confuso dunque e in fretta io mi portai I found my senses too weak. Alcandro, lo confesso – Non so d’onde viene, KV 294 del Pegaso su le ale Confused thus and in a hurry, I betook sin alla etrusca sponda myself on the wings of Pegasus Clistene Clistene da quella Musa celebre e faconda, to the Etruscan shore Alcandro, lo confesso, Alcandro, I confess it, a domandar soccorso. to ask that famous and fecund Muse stupisca di me stesso. II volto, il ciglio, astonished by myself. His face, his for help. la voce di costui nel cor mi desta expression, his voice—they awaken

18 19 un palpito improvviso, a sudden tremble in my heart quel purissimo nodo, is that holy knot che lo risente in ogni fibra il sangue. which the blood repulses through my veins. che strinsero fra lor gli animi nostri which bound our spirits together Fra tutti i miei pensieri I try to find the reason in all my thoughts, con il solo voler. in a single will. la cagion ne ricerco, e non la trovo. but I can’t find it. Vivi! Cedi al destin, cedi al dovere. Live! Yield to fate, yield to duty! Che sarà, giusti Dei, questo ch’io provo? Good Gods, what is it that I feel? Della giurata fede My death will absolve you Non so d’onde viene I don’t know where this tender la mia morte t’assolve. from the faith you pledged; quel tenero affetto, feeling comes from, A più degno consorte... oh pene! unita united to a worthier consort—o grief!— quel moto che ignoto this unknown emotion vivi più lieta e più felice vita. live a happier and more carefree life. mi nasce nel petto, that is born in my breast, Ricordati di me, ma non mai turbi Remember me, but never let quel gel, che le vene this chill that runs d’un infelice sposo the occasional memory of an unfortunate scorrendo mi va. through my veins. la rara rimembranza il tuo riposo. betrothed disturb your peace.

Nel seno a destarmi Pity alone Regina, io vado ad ubbidirti. Queen, in obedience to you I go. sì fieri contrasti is not sufficient to cause Ah, tutto finisca il mio furor col morir mio. Ah, may all your fury end with my death. non parmi che basti those strongly opposed feelings Cerere, Alfeo, diletta sposa, addio! Ceres, Alpheo, beloved spouse, farewell! la sola pietà. in my breast. a Proserpina to Proserpina 3 Resta, oh cara, acerba morte Stay, my dearest: bitter death Bella mia fiamma – Resta, oh cara, KV 528 mi separa, oh Dio, da te! parts me, o God, from you.

Titano Titano a Cerere to Ceres Bella mia fiamma, addio! My dearest love, farewell! Prendi cura di sua sorte, Care for her lot, Non piacque al cielo di renderci felici. It did not please heaven to make us happy. consolarla almen procura. try at least to console her. Ecco reciso, prima d’esser compito, Lo, severed before yet completed

20 21 ad Alfeo to Alfeo e fa che cruda io sembri, and a bitter duty Vado… ahi lasso! I go... alas! un barbaro dover. makes me seem cruel. Addio per sempre… Farewell for ever… Quest’affanno, questo passo This torment, this step Ah, Conte, partite, Ah, go, Count, è terribile per me. is terrible to me. correte, fuggite leave me, fly Ah! Dov’è il tempio, dov’è l’ara? Ah! Where is the temple, where the altar? lontano da me. far from me. La vostra diletta Your beloved a Cerere to Ceres Emilia v’aspetta, Emilia awaits you; Vieni, affretta la vendetta! Come quickly, hasten vengeance! languir non la fate, do not cause her to pine. Questa vita così amara So bitter a life as this è degna d’amor. She is worthy of your love. Più soffribile non è! I can no longer bear. Ah, stelle spietate! O pitiless stars! a Proserpina to Proserpina Nemiche mi siete. You are my foes. Oh cara, addio per sempre! My dearest, farewell for ever! Mi perdo s’ei resta, oh Dio! I am lost if he remains, oh heaven!

4 Partite, correte, Go, go in haste; Vorrei spiegarvi, oh Dio!, KV 418 d’amor non parlate, do not speak of love; è vostro il suo cor. yours is her heart. Clorinda Clorinda Vorrei spiegarvi, oh Dio! O heaven! I would like to tell you 5 qual è l’affanno mio; the reason for my anguish, Chi sà, chi sà, qual sia, KV 582 ma mi condanna il fato but fate condemns me a piangere e tacer. to weep in silence. Madama Lucilla Madama Lucilla Arder non può il mio core My heart cannot burn Chi sà, chi sà, qual sia Who knows, who knows what it may be per chi vorrebbe amore for one who would love me, l’affanno del mio bene, that torments my beloved?

22 23 se sdegno, gelosia, Is it anger, jealousy, qua la colpa m’agghiaccia: of a treacherous father chills me; timor, sospetto, amor? fear, suspicion or love? e lo sposo innocente and my innocent husband ho sempre in faccia. haunts me forever. Voi che sapete, oh Dei, O Gods, Ye who know Oh immagini funeste! O fearful thoughts! i puri affetti miei, the purity of my affection, Oh memorie! Oh martiro! O memories! O torture! voi questo dubbio amaro dispel this bitter doubt Ed io parlo, infelice, ed io respiro? And is it I, unhappy I, toglietemi dal cor. from my heart. who breathe and speak?

6 Ah, no! Ah, no! Misera, dove son!, KV 369 Ah! non son io che parlo, Ah, it is not I who speak, è il barbaro dolore but the cruel grief Fulvia Fulvia che mi divide il core, which rends my heart Misera, dove son! Alas, where am I? che delirar mi fa. and causes me to rave. L’aure del Tebro Is this the air of the Tiber Non cura il ciel tiranno Tyrannous heaven does not heed son queste ch’io respiro? that I breathe? l’affanno, in cui mi vedo: the torment I suffer; Per le strade m’aggiro Do I wander in the streets un fulmine gli chiedo, I ask it for a thunderbolt, di Tebe e d’Argo? of Thebes or Argos? e un fulmine non ha. but no thunderbolt falls. O dalle greche sponde, Or did the native furies come di tragedie feconde, to these shores 7 le domestiche furie from the shores of Greece, Voi avete un cor fedele, KV 217 vennero a questi lidi, ridden with the tragedies della prole di Cadmo e degli Atridi? of the seed of Cadmus or of the Atrides? Dorina Dorina Là, d’un monarca ingiusto There the heartless cruelty Voi avete un cor fedele You have a loyal heart l’ingrata crudeltà m’empie d’orrore, of an unjust monarch fills me with horror; come amante appassionato: as passionate lover: d’un padre traditore here the crime ma mio sposo dichiarato, but, when you will be my bridegroom,

24 25 che farete? Cangerete? what will you do? Will you change? Ah, t’invola agl’occhi miei, Ah, fly from my sight, Dite, allora che sarà? Tell me, what will happen? alma vile, ingrato cor! vile being, ungrateful heart! Manterrete fedeltà? Will you remain faithful? La cagione, oh Dio, tu sei You are the cause, o God, del mio barbaro dolor. of my bitter sorrow. Ah! non credo. Già prevedo, Ah, I don’t think so. I already foresee Va, crudele! Va, spietato! Go, cruel one! Go, pitiless one! mi potreste corbellar. that you could cheat on me. Va, tra le fiere ad abitar. Go and dwell among the wild beasts. Non ancora, non per ora, Not yet, not for the moment – non mi vuò di voi fidar. I do not want to trust you yet. Misera! Invan m’adiro, Woe is me! In vain I rage, e nel suo sangue intanto and meanwhile my beloved 8 nuota già l’idol mio. welters in his own blood. Ah, lo previdi, KV 272 Con quell’acciaro, ah Perseo, che facesti? With this sword, Perseus, what have you Mi salvasti poc’anzi, or m’uccidesti. done? Andromeda Andromeda You saved me a while ago, now you kill me. Ah, lo previdi. Ah, I forsaw it. Povero Prence, con quel ferro istesso Poor Prince, with this same sword Col sangue, ahi, la bell’alma, Alas, see how his dear spirit has gushed che me salvò, ti lacerasti il petto. that saved me, you pierced your breast. ecco, già uscì dallo squarciato seno. forth with the blood from his wounded Me infelice! breast! Unhappy that I am! ad Euristeo to Euristeo Si oscura il giorno agli occhi miei, The day darkens to my eyes, Ma tu sì fiero scempio perchè non impedir? But why did you not prevent such savage e nel barbaro affanno il cor vien meno. and in bitter torment my heart falters. Come, oh crudele, slaughter? How, cruel one, d’un misero a pietà non ti movesti? were you not moved to pity an Ah, non partir, ombra diletta, Ah, do not go, beloved shade, Qual tigre, ti nodrì? unfortunate man? io voglio unirmi a te. I wish to be united with you. Dove nascesti? What tiger nurtured you? Sul grado estremo, Until grief kills me, Where were you born? intanto che m’uccide il dolor, tarry awhile fermati alquanto! at the final step!

26 27 10 Deh, non varcar quell’onda, Ah, do not cross those waters, Ah se in ciel, benigne stelle, KV 538 anima del cor mio. soul of my heart! Di Lete all’altra sponda, To the further shore of Lethe, Ah se in ciel, benigne stelle, Ah, if pity has not vanished from heaven, ombra compagna anch’io I too, a companion spirit, la pietà non è smarrita, gracious stars, voglio venir con te. wish to come with you. o toglietemi la vita, either take my life o lasciatemi il mio ben! or leave me my lover! 9 Vado, ma dove? oh Dei!, KV 583 Voi, che ardete ognor si belle You who always shine in beauty del mio ben nel dolce aspetto, in my lover’s sweet face, Madama Lucilla Madama Lucilla proteggete il puro affetto protect the pure affection Vado, ma dove? oh Dei! I go, but whither, Ye Gods? che ispirate a questo sen. you inspire in my breast. Se de’ tormenti suoi, If heaven feels no pity se de’ sospiri miei for his torments non sente il ciel pietà! and for my sighs!

Tu che mi parli al core, Love, you who speak to my heart, guida i miei passi, amore; guide my steps; tu quel ritegno or togli dispel the misgivings che dubitar mi fà. that cause me to doubt.

English translation Track 1, 2, 7: Christina Gembaczka & Kate Rockett Track 3-6, 8-10: Lionel Salter

28 29 Also available on PENTATONE

PTC 5186 646 PTC 5186 678 PTC 5186 837 PTC 5186 889 Acknowledgements

PRODUCTION TEAM Producer Job Maarse (San Francisco Classical Recording Company) Production manager Christina Gembaczka (for San Francisco Classical Recording What we stand for: Company) Balance engineer Jean-Marie Geijsen (Polyhymnia International B.V.) Recording engineer and editing Erdo Groot (Polyhymnia International B.V.) The Power of Classical Music Liner notes John A. Rice PENTATONE believes in the power of classical music and is invested in the Design Marjolein Coenrady philosophy behind it: we are convinced that refined music is one of the most Product management Kasper van Kooten important wellsprings of culture and essential to human development. Product coordination Christina Gembaczka True Artistic Expression Photography Lisette Oropesa Steven Harris (Mordent Media) We hold the acoustic tastes and musical preferences of our artists in high regard, and these play a central role from the start to the end of every recording project. This album was recorded at the Himmelfahrtskirche, Munich-Sendling, Germany This ranges from repertoire selection and recording technology to choosing cover in August 2020. art and other visual assets for the booklet.

A San Francisco Classical Recording Company Production Sound Excellence PENTATONE stands for premium quality. The musical interpretations delivered PENTATONE TEAM by our artists reach new standards in our recordings. Recorded with the most Vice President A&R Renaud Loranger | Managing Director Simon M. Eder powerful and nuanced audio technologies, they are presented to you in the most A&R Manager Kate Rockett | Product Manager Kasper van Kooten luxurious, elegant products. Head of Marketing, PR & Sales Silvia Pietrosanti © Steven Harris (Mordent Media) Sit back and enjoy