Sonia Prina , contralto : Silla Martina Belli , mezzo-soprano : Claudio Sunhae Im , soprano : Metella Vivica Genaux , mezzo-soprano : Lepido Roberta Invernizzi , sopran o: Flavia Francesca Lombardi Mazzulli , sopran o: Celia Luca Tittoto , bass : Il Dio Europa Galante Fabio Biondi , violin & direction

Fabio Ravasi, Elin Gabrielsson, Carla Marotta, violins 1 Andrea Rognoni, Luca Giardini, Silvia Falavigna, Rossella Borsoni, violins 2 Pablo de Pedro, Barbara Palma, violas Alessandro Andriani, Perikli Pite, cellos Patxi Montero, violone Marta Graziolino, harp Paola Poncet, harpsichord Giangiacomo Pinardi, theorbo Recorded in Vienna (Konzerthaus, Großer Saal), Austria, on 28-30 January 2017 Emiliano Rodolfi, Priska Comploi, oboes & recorders Produced by Moritz Bergfeld | Engineered by Olaf Mielke | Edited by Aaron Holloway-Nahum Ivan Calestani, bassoon Executive producer & editorial director: Carlos Céster | Editorial assistance: María Díaz Luca Marzana, trumpet Translations: Pierre Élie Mamou (essay, fra ), Susanne Lowien (essay, deu ), Andrea Friggi (libretto, eng ) Cover photographs: Anne de Labra | Concert/session photographs: Bernhard Trebuch Charlie Fischer, timpani © 2017 note 1 music gmbh george frideric handel Atto Secondo (168 5- 1759 ) 17 Recitativo: Flavia! (Silla, Flavia) 0:59 18 Aria: Qual scoglio in mezzo all’onde (Flavia) 2:14 Silla 19 Recitativo: T’arresta, altera (Silla) 0:21 20 Aria: Dolce nume de’ mortali (Silla) 2:26 (‘Lucio Cornelio Silla’, hwv 10) 21 Aria: Guerra, stragi e furor (Il Dio) 1:48 Probably premiered in London in 1713 22 Scena: Guerra, stragi e furor (Silla) 0:15 23 Recitativo: Silla! Ove ti guida (Lepido, Silla) 1:15 24 Aria: È tempo, oh luci belle (Silla) 3:49 cd i [59:54] 25 Recitativo: Mio diletto, che pensi (Flavia, Lepido) 0:57 26 Duetto: Sol per te, bell’idol mio (Flavia, Lepido) 6:12 01 Ouverture 3:42 02 Marche 1:22 cd ii [53:06]

Atto Primo 01 Recitativo: Bella, lascia i sospiri (Claudio, Celia) 1:08 02 Aria: Mi brilla nel seno (Claudio) 2:51 03 Recitativo: Silla, s’oggi resplende (Metella, Lepido) 1:02 03 Recitativo: Mio bel nume, t’arresta (Silla, Metella) 0:40 04 Aria: Alza il volo la mia fama (Silla) 3:11 04 Aria: Hai due vaghe pupilette (Metella) 2:33 05 Recitativo: S’ecclissa la mia gioia (Metella, Lepido) 0:40 05 Recitativo: Che miro, oh Dei (Flavia, Silla) 1:14 06 Aria: Fuggon l’aure in me di vita (Metella) 4:34 06 Recitativo: Tanto ardisci (Lepido, Silla) 0:32 07 Recitativo: Cieli, numi (Lepido, Flavia) 0:35 07 Duetto: Ti lascio, idolo mio (Flavia, Lepido) 1:27 08 Aria: Se ben tuona il ciel irato (Lepido) 2:59 08 Recitativo: Anima mia (Claudio, Celia, Silla) 1:22 09 Recitativo: Sin con lingua di foco (Celia, Flavia) 0:21 09 Recitativo: Scabro! Lepido sia (Silla) 0:21 10 Aria: Un sol raggio di speranza (Flavia) 5:15 10 Aria: La vendetta è un cibo al cor (Silla) 2:04 11 Recitativo: Sino su li occhi miei (Celia, Claudio) 1:25 11 Recitativo: Oh! Perfido consorte (Metella) 0:30 12 Aria: Senti, bell’idol mio (Claudio) 4:53 12 Aria: Se’l mio mal da voi dipende (Claudio) 1:50 13 Recitativo: Sì, t’amo, oh caro (Celia) 0:17 13 Recitativo: Sì, questi son trofei (Silla) 0:24 14 Aria: Se la speranza nudrisce il mio cor (Celia) 2:50 14 Recitativo: Deh! Corri al tuo signore (Metella, Silla) 0:21 15 Recitativo: Silla, dov’è la gloria (Claudio, Silla) 1:24 15 Recitativo: T’affretta, oh Scabro (Metella) 0:19 16 Aria: Con tromba guerriera (Claudio) 4:56 16 Aria: Secondate, oh giusti dei (Metella) 2:10

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17 Recitativo: Quanto devo, oh Metella (Lepido, Metella) 0:47 18 Recitativo: Dunque partir deve (Metella, Lepido) 0:48 19 Aria: Io non ti chiedo più (Metella) 3:17 20 Recitativo: A tua fedeltade (Lepido) 0:27 21 Aria: Già respira in petto il core (Lepido) 2:36 22 Recitativo: L’imperio quanto è più vasto (Silla) 0:43 23 Recitativo: Placasti, oh bella diva (Silla, Celia) 1:04 24 Aria: Sei già morto, idolo mio (Celia) 3:51 25 Recitativo: Rimembranze funeste (Celia, Claudio) 1:32 26 Aria: Luci belle (Claudio) 2:44 27 Aria: Stelle rubelle (Flavia) 3:47 28 Recitativo: Al fin, del mio rigore (Silla, Flavia) 1:09 Sonia Prina Martina Belli Sunhae Im Vivica Genaux 29 Aria (da capo): Ma infelice sarie vivere (Flavia) 0:59 30 Recitativo: Spirto adorato, oh Dio! (Flavia, Lepido) 1:00 31 Brano strumentale 0:48 32 Recitativo: Metella, oh Dio! (Silla, Metella) 1:02 33 Recitativo: Propizio arrida il cielo (Metella) 0:10 34 Sinfonia & Recitativo: Assistete, soccorrete (Metella) 1:18 35 Marche 1:15 36 Recitativo: Pera la feritade (Lepido, Claudio, Tutti) 0:08 37 Marche 0:48 38 Recitativo: De’ miei falli pentito (Silla) 1:00 39 Coro: Chi si trova tra procella (Tutti) 1:48

Roberta Invernizzi Francesca Lombardi Mazzulli Luca Tittoto

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of Italian opera in London, can be identified as the avarice, were extremely modest in comparison with Handel’s operas the three women, all soprano roles, almost certain venue for such a production, it being those of Silla, such an interpretation has no greater are treated with considerable sympathy. Celia, the g.f. handel the only theatre then capable of meeting the complex credibility than other less likely theories. (1) youngest, is a spirited young woman who finds herself staging demands of the third act. Yet problems remain Apart from the topic, the quality and sense of the in love with a man opposed to her father’s leader, her Silla unresolved. D’Aumont was a high-profile figure in libretto have also attracted heavy criticism. Indeed conflict between love and honour expressed in lively London life at this time, so it seems highly unlikely Winton Dean, the great commentator on Handel’s terms (“Se la speranza”, act 1), while “Sei già morto” that such an initiative would have gone unnoticed in operas describes Rossi’s book as “the worst libretto (act 3) expresses her grief in tortured, fragmented utter - No Handel opera is as enigmatic as Silla . His fourth London’s press or indeed that D’Aumont himself would Handel ever set”. (2) Dean believes that it must have ances after Silla has cruelly told her Claudio is dead. London opera, it was composed in 1713 to a libretto by not have recorded the event in his own writings. Was been clumsily adapted from an earlier libretto, a pos - The two married women are both characterised by Giacomo Rossi, also the librettist of the composer’s Silla performed in 1713? The verdict must remain open. sibility given Handel’s fondness for adapting from their love and devotion to their husbands. Flavia’s three first great London triumph Rinaldo (1711). And that is Further questions arise when it comes to the opera earlier books, though no source has been identified up arias are well contrasted. The first, “Un sol raggio” is a just about the extent of any certainty on the subject. itself, in particular the choice of subject matter. It is one to now. He is scarcely more complimentary about the beautiful invocation to Jove not to desert her following The autograph and manuscript scores are incomplete, of Handel’s few historical operas, being concerned with music, yet as another notable Handel scholar, Anthony her vision, the second “Qual scoglio” (act 2) is her while no contemporary performance was known. Early Plutarch’s account of the latter part of the life of Lucius Hicks has rightly observed it is often delightful, at Fiordiligi-like defiance in the face of Silla’s attempt to Handel scholars were left casting around for explana - Cornelius Sulla, who after taking Rome became a tyran - times incongruously so. (3) It draws significantly on the seduce her, while the first part of “Stelle rubelle”, the tions, the general consensus being Silla was written for nical despot who murders his opponents, before suddenly composer’s early Italian cantatas and it is interesting final set-piece in the opera is a magnificent coloratura private performance at the home of his then patron, – and unconvincingly – retiring to his country estate to to note that stylistically the music to some extent harks display of outrage inspired by her impending death, the the Earl of Burlington. A theory that it was composed enjoy his leisure. Rossi’s libretto makes few concessions, back to Handel’s previous historical opera, Agrippina passion starkly contrasted to the haunting beauty of for amateur performance would not have convinced depicting Silla as one of the nastiest pieces of work in (Venice 1709). Although conforming to da capo form, the central section in which she welcomes the oppor - anyone who had examined the score. Then in 1969 opera, a man who orders a massacre of refugees and is arias tend to be brief and a considerable number are tunity to join her husband in the Elysian fields. Handel came the discovery of a printed wordbook dated 2 June moreover a sexual predator who during the opera makes still continuo arias with orchestral ritornellos, a type demonstrates his burgeoning dramatic genius a few 1713, settling a possible date for a first performance. no fewer than seven advances, one blatantly in front of that harks back to the later 17th century. pages further on when he has Flavia repeat this central The inclusion of an extravagant dedication to the Duke his wife, Metella. How this scenario fits in with an opera The disposition of arias suggests that Claudio (a section after Silla has thrown Lepido’s blood-stained D’Aumont, recently appointed French Ambassador to that appears to have been a celebratory piéce d’occasion castrato role), not Silla (another castrato part) was the garment at her feet, in so doing creating the dramatic the court of Queen Anne in the wake of the cessation of some kind is difficult to imagine and it has also left leading character vocally, if not dramatically. Of his five climax of the opera. Her husband’s two arias are more of hostilities in the War of Spanish Succession, suggests scholars scrambling for answers, leading some to attempt arias the most spectacular is “Con tromba guerriera”, conventional, “Se ben tuona”, a coloratura aria in which the possibility of a performance mounted by or for the to discover an allegorical context. The most popular the rousing call to arms with obbligato trumpet that he tries to calm Flavia’s fears. Metella’s love for Silla is Duke. This may explain not only the lack of an English sees Silla as an allegory for the Duke of Marlborough, concludes act 1. Both “Mi brilla” (act 2) and “Luci belle” noble indeed, a woman who will set off in a small boat translation in the wordbook, uniquely among Handel’s a link inspired by an attack on the Whig hero by (act 3) celebrate Claudio’s pleasure and joy in Celia’s to rescue her husband in stormy seas. Her concern for London operas, but also the comparative brevity of the D’Aumont or his Tory opponents. However, as Thomas love for him, although the central section of the former him is sensitively established in the opera with the opera. The Queen’s (later King’s) Theatre, the home McGeary has noted, given the Duke’s sins, notably introduces a more introspective mood. As so often in flowing continuo aria “Fuggon l’aure” (act 1), her profound

8 9 english english distress at his cruelty in leaving so suddenly in the barely Synopsis act two contained emotions of “Io non ti” (act 3). Silla’s numbers are also well contrasted, his opening “Alza il volo” a act one Set in countryside with a temple of Cybele, where many martial display that establishes him as a vainglorious are taking refuge and praying to the goddess. Overcome braggart. The brief cavatina “Dolce nume” (act 2) is a A square in Rome, in the centre of which is a triumphal by desire in the presence of Flavia’s beauty, Silla attempts typical, if especially lovely “sleep” number. The opening arch. A chariot carrying the victorious consul Silla forms to seduce her, but is firmly rebuffed. Disappointed, part of “È tempo” (act 2) finds him rhapsodising on the the centrepiece of a procession onto stage. He dismounts Silla seeks consolation in sleep. A god appears to demand pleasure he expects from Flavia after he has commanded to be greeted by his wife Metella and the tribune Lepido of him that to emphasize his power he should embark Lepido to cede her, though his bullying nature reasserts (Lepidus). Receiving their congratulations, he tells them on a reign of terror in Rome. The dictator awakes, itself in the contrasting central section. There are two he is about to assume dictatorship of Rome. Metella and immediately calling on his followers to slaughter the extant duets (a third for Silla and Metella was not set Lepido are horrified by Silla’s naked ambition, the latter refugees at prayer in the temple. A horrified Lepido by Handel), significantly both expressions of devotion suggesting that perhaps his wife will be able to curb it. enters, demanding from Silla an explanation for his for the married couple, Flavia and Lepido. After Metella leaves, Lepido is joined by his wife profane brutality. Silla arrogantly reminds Lepido he While the absurdities of the libretto leave Silla an Flavia, who fearfully describes her vision of the country can do as he likes, proving the point by commanding unlikely candidate to regain a place in the repertoire, it reduced to ashes at the hands of a monster. Her husband Lepido to cede his wife to him. contains more than enough thoroughly rewarding music. seeks to pacify her, but Flavia can only foresee the ful - Silla departs, leaving Lepido to be joined by his It is also worth recalling that Handel obviously had a filment of her vision as a thunderbolt destroys a part Flavia. He tells her of Silla’s command, which she sufficiently high regard for Silla to utilize a significant of the triumphal arch just as Celia, the daughter of rejects out of hand. They leave the stage to a weeping proportion of it in his next opera, Amadigi di Gaula . Silla’s lieutenant Catulus enters. Celia and Claudio. She tells the enraged Claudio that Celia is now joined by the knight Claudio it is Silla’s lasciviousness that is the cause of her distress Brian Robins (Claudius). They are in love, though she has yet to and confesses her love for him alone. Celia is joined admit to hers. Celia is enraged when she finds Claudio, by Metella and Silla, who notwithstanding his wife’s an opponent of Silla, has a portrait of the dead Marius, presence makes yet another attempt on Celia. the leader overthrown by Silla. They argue, but left Excoriated by Metella he leaves in a rage. The scene notes alone Celia confesses her love for Claudio. changes to the garden of Lepido’s palace, where Silla (1) Thomas McGeary, The Politics of Opera in Handel’s Britain, The scene changes to a garden, in which are found makes further attempts to seduce Flavia, but is thwarted Cambridge 2013, pp. 35-7. Claudio and Silla. Celia is hidden. Claudio boldly chal - by Lepido. Silla summons his soldiers to arrest husband (2) Winton Dean & John Merrill Knapp, Handel’s Operas 1704- lenges Silla’s right to dictatorship, which revives a long and wife. 1726 , Oxford 1987, p. 263. abolished form of rule. The terrified Celia steps forward Celia and Claudio’s celebration of their love is (3) Anthony Hicks, Notes for recording of Silla (sommcd 277- to distract Silla, but when Claudio threatens him the interrupted by a furious Silla, who has Claudio arrested 8, 2000). dictator storms off in a rage. and Celia confined to her room. Silla calls on Metella’s

10 11 english confidant Scabro to arrange the deaths of Claudio and square. Silla too drops to his knees, renouncing all his Lepido. Metella, outraged by her husband’s behaviour, titles and stating his intention to retire with his wife. persuades Scabro to help her. Scabro brings Silla a blood stained garment, presumed to be that of Lepido, while ––––– Metella arrives to say that an uprising against Silla is underway. act three

A corridor leading to Metella’s apartments. Lepido thanks her for saving him, but she upbraids him for threatening to kill her husband. Scabro brings Metella a letter in which Silla tells her he is leaving Rome immi - nently on a mission. Silla reflects on the burdens of duty that are sending him to Sicily when he’d rather be pursuing Celia and Flavia. Before leaving he makes a final abortive attempt on Celia, telling her Claudio is dead, but her distress is soon dissipated by the appear - ance of her lover. Silla appears to the incarcerated Flavia, who awaits death. His advances are again rebuffed. Enraged, he hurls Lepido’s blood-stained garment at her feet. Scabro leads Lepido to the prison, where he is joyfully reunited with his wife. On the seashore Metella and Silla exchange loving sentiments before the latter embarks. Metella sees Silla’s departing vessel shaken by a violent storm. It is wrecked, the consul being forced to swim for a rock from which he is rescued by his wife. In Rome Lepido and Claudio call for freedom. A cloud descends, opening to reveal Mars in all his glory. As all fall to their knees Metella and Silla arrive in the

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saire, fait unique s’agissant des opéras londoniens de contexte allégorique. Selon la thèse la plus populaire, La disposition des arias suggère que Claudio (chanté Handel, mais encore la brièveté relative de l’œuvre. Silla serait une allégorie du duc de Marlborough, par un castrat) était le protagoniste vocal, sinon dra - g.f. handel Une production de cette envergure a très probablement connexion s’inspirant d’une attaque contre le héros du matique, déplaçant ainsi Silla (aussi un rôle pour castrat). eu lieu au Queen’s (puis King’s) Theatre, foyer de l’opéra parti Whig menée par D’Aumont ou ses adversaires du De ses cinq arias, Con tromba guerriera est la plus spec - Silla italien à Londres, seul théâtre capable de satisfaire aux parti Tory. Cependant, comme l’a souligné Thomas taculaire, un vibrant appel aux armes avec trompette exigences complexes de la mise en scène du troisième McGeary, les péchés du duc, notamment l’avarice, obbligato qui conclut le premier acte. Mi brilla (Acte II) acte. Mais certains problèmes demeurent non résolus. étaient extrêmement modestes par rapport à ceux de et Luci belle (Acte III) célèbrent toutes deux le plaisir Aucun opéra de Handel n’est aussi énigmatique que D’Aumont étant une personnalité de la vie londonienne, Silla ; cette interprétation n’est pas plus crédible que et la joie de Claudio aimé par Celia, bien que la section Silla . Ce quatrième opéra londonien, composé en 1713, il semble très peu probable qu’une telle initiative aurait d’autres théories moins probables. centrale de la première aria crée un climat plus intros - se base sur le livret de Giacomo Rossi, qui avait aussi été ignorée par la presse de Londres ou oubliée par Outre le thème, la qualité et le sens du livret ont pectif. Comme si souvent dans les opéras de Handel, signé celui de Rinaldo , le premier triomphe du compo - D’Aumont dans ses propres écrits. Silla a-t- il été joué aussi fait l’objet de critiques virulentes. Par exemple, les trois personnages féminins, des sopranos, sont trai - siteur à Londres (1711). Et c’est là où s’arrête toute cer - en 1713 ? Le verdict ne doit pas encore être rendu. Winton Dean, le grand commentateur des opéras de tées avec la plus grande sympathie. Celia, la cadette, titude sur le sujet ! L’autographe et les partitions D’autres questions se posent quand il s’agit de Handel décrit le texte de Rossi comme étant « le pire est une jeune femme pleine d’entrain, amoureuse d’un manuscrites sont incomplètes et nous n’avons pas d’in - l’opéra proprement dit, en particulier sur le choix du des livrets que Handel a mis en musique ». Dean pense homme opposé au chef de son père ; elle exprime son formation sur une quelconque représentation contem - sujet. C’est en effet l’un des rares opéras historiques de qu’il s’agirait d’une mouture maladroite d’un livret anté - conflit entre l’amour et l’honneur d’une façon animée poraine. Les premiers spécialistes de Handel tentèrent Handel concerné par la fin de la vie de Lucius Cornelius rieur, ce qui est probable étant donné le penchant de (Se la speranza , Acte I), tandis que Sei già morto (Acte de trouver une explication et partagèrent finalement Sulla relatée par Plutarque : s’étant emparé de Rome, Handel pour l’adaptation d’ouvrages antérieurs, mais III) reflète sa peine dans phrases hachées, torturées, l’avis que Silla avait été écrit pour une représentation ce consul devenu despote absolu assassina ses adversaires aucune source n’a été identifiée à ce jour. Si Dean est quand Silla lui annonce d’une manière cruelle la mort privée chez le comte de Burlington qui était alors le avant de se retirer aussi soudainement qu’invraisem - à peine plus flatteur à l’égard de la musique, un autre de Claudio. mécène du compositeur. L’hypothèse d’une œuvre blablement dans sa villa de campagne pour se dédier à éminent spécialiste de Handel, Anthony Hicks a observé Les deux femmes mariées se caractérisent par leur conçue pour une interprétation d’amateurs n’aurait pu ses loisirs. Le livret de Rossi fait quelques concessions à juste titre qu’elle est souvent exquise mais parfois amour et leur dévotion pour leurs maris. Les trois arias se soutenir après examen de la partition. Puis, en 1969, en décrivant Silla comme l’un des pires personnages de incongrue. Elle s’inspire significativement des cantates de Flavia sont bien contrastées. La première, Un sol la découverte d’un glossaire imprimé le 2 juin 1713 établit tout l’opéra : un homme donnant l’ordre de massacrer italiennes de la jeunesse du compositeur et il est inté - raggio , est une belle invocation à Jupiter, Flavia lui la date possible d’une première représentation. des refugiés, étant de surcroît un prédateur sexuel qui, ressant de souligner que, du point de vue du style, la demandant de ne pas l’abandonner à la suite de sa vision L’inclusion d’une extravagante dédicace au duc dans l’opéra, ne fait pas moins de sept avances, dont musique remonte dans une certaine mesure à son opéra tandis que dans la seconde, Qual scoglio (Acte II), à la D’Aumont, ambassadeur de France récemment nommé l’une, d’une façon éhontée, en présence de son épouse, historique antérieur, Agrippina (Venise 1709). Tout en façon de Fiordiligi, elle résiste à Silla cherchant à la à la cour de la reine Anne à la suite de l’arrêt des Metella. Il est difficile d’imaginer que cette trame puisse se conformant à la forme da capo , les arias tendent vers séduire. La première partie de Stelle rubelle – morceau hostilités liées à la Guerre de Succession d’Espagne, convenir à un opéra probablement pensé comme une la brièveté et un nombre considérable de numéros sont de bravoure final de l’opéra – est un déploiement splen - suggère la possibilité d’une représentation organisée pièce d’occasion commémorative d’un évènement quel - encore des arias avec continuo arias comprenant des dide de coloratures exprimant l’outrage fait à l’héroïne par ou pour le duc. Ce qui pourrait expliquer non seu - conque : les spécialistes se sont démenés pour trouver ritornellos orchestraux, un modèle remontant au xvii e face à sa mort imminente, la passion contrastant crûment lement l’absence d’une traduction anglaise dans le glos - des réponses et certains tentèrent de découvrir un siècle. avec la beauté envoutante de la section centrale où elle

14 15 français français se réjouit de pouvoir rejoindre son époux à l’Élysée. ayant de profondes qualités. Il convient aussi de rappeler sentiments. Celia est furieuse de trouver que Claudio, absolument amoureuse de lui. Entrent en scène Metella Handel démontre l’éclosion de son génie théâtral, que Handel avait manifestement une haute estime pour un adversaire de Silla, possède un portrait du défunt et Silla qui, sans le moindre égard pour son épouse, fait quelques pages plus tard, quand Flavia répète cette sec - Silla , suffisante en tous cas pour en utiliser une part Marius, consul renversé par Silla. Ils se disputent puis, de nouvelles avances à Celia. Rendu furieux par les tion centrale après que Silla ait jeté à ses pieds le vête - importante dans l’opéra suivant, Amadigi di Gaula . une fois seule, Celia avoue son amour pour Claudio. graves reproches de Metella, il quitte la scène. Le décor ment ensanglanté de Lepido, créant ainsi l’apogée La scène change et représente un jardin où se trou - change et représente le palais de Lepido où Silla renou - dramatique de l’œuvre. Les deux arias de son époux Brian Robins vent Claudio et Silla. Celia est cachée. Claudio conteste velle ses tentatives de séduire Flavia qui sont contre - sont plus conventionnelles : Se ben tuona est une aria audacieusement le droit de Silla à la dictature, qui fait carrées par Lepido. Silla ordonne à ses soldats d’arrêter colorature où Lepido tente d’apaiser les craintes de ––––– revivre un système de gouvernement aboli depuis long - les époux. Flavia. L’amour de Metella pour Silla est vraiment temps. Celia, terrifiée, s’avance pour distraire Silla qui, La célébration de l’amour de Celia et Claudio est noble : bravant la mer en furie, elle n’hésite pas à Synopsis menacé par Claudio, sort en trombe, fou de rage. interrompue par un Silla furieux qui emprisonne l’un prendre une petite embarcation pour secourir son et confine l’autre dans sa chambre. Silla convoque époux. Son souci pour lui se traduit avec sensibilité par acte premier acte deuxième Scabro, confident de Metella, afin d’organiser l’assassinat le continuo fluide de l’aria Fuggon l’aure (Acte I), et sa de Claudio et de Lepido. Outrée par la conduite de son détresse profonde face à la cruauté de son départ pré - Une place à Rome, en son centre se dresse un arc de À la campagne, un temple de Cybèle où de nombreuses époux, Metella persuade Scabro de l’aider. Scabro cipité se reflète dans les sentiments à peine contenus triomphe. Sur un char, Silla, consul victorieux, forme personnes viennent se refugier et prier. Consumé de apporte à Silla un vêtement ensanglanté, appartenant de Io non ti (Acte III). Les interventions de Silla sont le cœur du défilé qui se déroule sur la scène. Silla met désir par la beauté de Flavia, Silla tente de la séduire supposément à Lepido, tandis que Metella vient annon - elles aussi très bien contrastées : son aria d’entrée, Alza pied à terre pour recevoir l’accueil de son épouse, mais est repoussé avec fermeté. Déçu, Silla essaie de cer qu’un soulèvement contre Silla est en cours. il volo , un déploiement martial, le présente comme un Metella, et du tribun Lepido (Lepidus). Ayant accepté trouver une consolation dans le sommeil. Un dieu appa - vantard prétentieux. La brève cavatine Dolce nume (Acte leurs félicitations, il leur fait part de sa décision d’ins - raît en lui exigeant de faire régner la terreur à Rome acte troisième II) est un ‘sommeil’ typique mais particulièrement char - taurer la dictature à Rome. Metella et Lepido sont hor - afin d’emphatiser son pouvoir. Le dictateur se réveille mant. Le début de È tempo (Acte II) le présente s’exta - rifiés par l’ambition flagrante de Silla, mais le tribun et demande immédiatement à ses partisans de massacrer Un couloir conduisant aux appartements de Metella. siant sur le plaisir qu’il attend de Flavia après avoir suggère que sa femme sera capable d’y mettre un frein. les réfugiés priant dans le temple. Horrifié, Lepido Lepido la remercie de l’avoir sauvé, mais elle lui reproche ordonné à Lepido de la lui céder, bien que sa nature Au départ de Metella, Lepido rencontre son épouse, vient exiger à Silla une explication de cette brutalité ses menaces de mort sur son époux. Scabro apporte à tyrannique se réaffirme dans la section centrale contras - Flavia, qui lui décrit avec effroi sa vision du pays réduit impie. Silla rappelle arrogamment à Lepido qu’il peut Metella une lettre de Silla la prévenant qu’il quitte tée. Deux duos (un troisième, pour Silla et Metella, en cendres par un monstre. Lepido tente de l’apaiser faire ce qui lui plaît, et le démontre en ordonnant à Rome pour accomplir une mission. Silla réfléchit sur n’est pas de Handel) pour les époux Flavia et Lepido mais Flavia ne peut que prévoir la réalisation de sa Lepido de lui céder sa femme. les charges du devoir le conduisant en Sicile alors qu’il ont survécus et expriment clairement leur dévotion vision alors qu’un éclair détruit une partie de l’arc de Silla s’en va tandis que Lepido retrouve Flavia. Il aurait préféré poursuivre Celia et Flavia. Avant son mutuelle. triomphe au moment entre où Celia, fille de Catulus, lui fait part des ordres de Silla qu’elle repousse sur le départ, il fait une dernière tentative, manquée, de Bien que les absurdités du livret en fassent un can - le lieutenant de Silla. champ. Ils laissent la scène à Claudio et à Celia en séduire Celia en lui annonçant la mort de Claudio. La didat peu susceptible de recouvrer une place dans le Celia retrouve le chevalier Claudio (Claudius). Ils larmes. Elle apprend à Claudio, fou de rage, que la las - détresse que ressent la jeune femme est bientôt dissipée répertoire, Silla contient suffisamment de musique sont amoureux mais elle n’a pas encore admis ses propres civité de Silla est la cause de sa détresse et qu’elle est quand apparaît son amant.

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Silla se rend dans la cellule de Flavia qui attend la Herzogs im Rahmen der Möglichkeiten. Dies würde mort. Les avances du dictateur sont une fois encore nicht nur das Fehlen einer englischen Übersetzung im repoussées. Furieux, il jette à ses pieds le vêtement g.f. handel Textbuch erklären, was für Händels Londoner Opern ensanglanté de Lepido. Scabro conduit Lepido dans la einmalig ist, sondern ebenfalls den relativ geringen prison afin qu’il ait la joie de rejoindre son épouse. Sur Silla Umfang der Oper. Das Queen’s Theatre (später King’s le rivage, Metella et Silla se disent des mots d’amour Theatre), die Heimat der italienischen Oper in London, avant l’embarquement. Metella voit que le vaisseau de Keine andere Oper von Georg Friedrich Händel ist so liegt als wahrscheinlichster Ort der Uraufführung einer Silla, agité par une violente tempête, sombre ; le consul enigmatisch wie Silla . Sie ist seine vierte Londoner solchen Opernproduktion nahe, denn dieses Theater arrive à nager jusqu’à un rocher d’où son épouse peut Oper und wurde im Jahr 1713 über ein Libretto von ist das einzige, in dem die komplizierten Bühnenanwei- le sauver. Giacomo Rossi komponiert, der auch der Librettist zu sungen des dritten Aktes zu dieser Zeit umgesetzt wer - À Rome, Lepido et Claudio font entendre un appel Händels erstem großen Londoner Triumph Rinaldo den konnten. Dennoch gibt es ungelöste Fragestellun- à la liberté. Un nuage descend et s’ouvre en révélant (1711) gewesen war. Damit erschöpft sich schon alles, gen. D’Aumont war zu diesem Zeitpunkt eine äußerst Mars dans toute sa gloire. Pendant que tous s’agenouil - was mit Sicherheit zu diesem Thema bekannt ist. Das prominente Figur des Londoner Gesellschaftslebens, lent, Metella et Silla arrivent sur la place. Silla tombe Autograph und die handschriftlichen Partituren sind und so scheint es sehr unwahrscheinlich, dass ein solches lui aussi à genoux et renonce à tous ses titres en déclarant unvollständig, und es gibt keine Belege über eine his - Unterfangen keinerlei Niederschlag in der Londoner son intention de se retirer avec son épouse. torische Aufführung. Frühen Händelforschern blieb Presse oder in den Aufzeichnungen aus D’Aumonts nichts anderes übrig, als nach Erklärungen zu suchen, eigener Hand gefunden haben sollte. Wurde Silla im ––––– wobei die allgemeine Übereinkunft dahin ging, Silla sei Jahr 1713 überhaupt aufgeführt? Diese Frage lässt sich wohl für eine private Aufführung bei Händels damaligem nicht beantworten. Mäzen, dem Earl of Burlington, entstanden. Die Weitere Rätsel ergeben sich, wenn man sich mit Theorie, die Oper könne auch für eine Laienaufführung der Oper selbst beschäftigt, insbesondere mit der Wahl entstanden sein, kann niemanden überzeugen, der einen ihres Sujets. Sie ist eine der wenigen Opern Händels Blick in die Partitur geworfen hat. Im Jahr 1969 wurde mit einem historischen Thema und beruht auf Plutarchs ein gedrucktes Textbuch entdeckt, das auf den 2. Juni Bericht über den späteren Abschnitt im Leben des 1713 datiert ist und so ein mögliches Datum für die Lucius Cornelius Sulla, der nach seiner Einnahme Roms Uraufführung festsetzt. Das Buch enthält eine extra - zu einem Gewaltherrscher wurde. Er ermordete seine vagante Widmung an Louis-Marie, Duc D’Aumont, Widersacher, ehe er sich plötzlich – und wenig über - den gerade erst ernannten französischen Botschafter zeugend – auf seinen Landsitz zurückzog, um sich dem am Hof von Queen Anne. Als Folge des Endes der Müßiggang hinzugeben. In Rossis Libretto gibt es weni - Feindseligkeiten in Zusammenhang mit dem Spanischen ge Zugeständnisse: Silla wird als eine der abstoßendsten Erbfolgekrieg liegt eine Aufführung zu Ehren des Opernfiguren überhaupt gezeichnet, ein Mann, der die

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Ermordung Schutzsuchender anordnet und sexuelle Händelforscher Anthony Hicks hat dagegen unlängst zum Ausdruck (1. Akt), während sie ihrem Kummer in ihm liegt, wird durch die fließende Continuo-Arie Übergriffe begeht – im Verlauf der Oper unternimmt zurecht angemerkt, dass die Musik häufig sehr reizvoll gequälten, fragmentierten Ausrufen Ausdruck verleiht, Fuggon l’aure (1. Akt) auf einfühlsame Weise dargestellt. er nicht weniger als sieben Verführungsversuche, einen ist, wenn auch gelegentlich auf unpassende Weise. nachdem Silla ihr auf grausame Weise mitgeteilt hat, Ihre tiefe Verzweiflung über die Grausamkeit, mit der davon in Anwesenheit seiner Gattin Metella. Es fällt Händel greift sehr stark auf seine frühen italienischen Claudio sei tot. er sie so überstürzt verlässt, findet in den kaum gezü - schwer sich vorzustellen, wie das zu einer wie auch Kantaten zurück, und interessanterweise kann man Die beiden verheirateten Frauen zeichnen sich gelten Emotionen der Arie Io non ti (3. Akt) ihren immer gearteten feierlichen pièce d’occasion passen soll. anmerken, dass die Musik stilistisch in gewisser Weise durch ihre Liebe und ihre Hingabe zu ihren Ehegatten Niederschlag. Auch Sillas Nummern sind sehr vielseitig. Auch den Forschern blieb nichts anderes übrig, als mit seiner früheren historischen Oper Agrippina aus. Die drei Arien der Flavia heben sich ausgewogen Seine Auftrittsarie Alza il volo ist eine martialische nach Antworten zu stochern, was einige zu der Annahme (Venedig, 1709) in Zusammenhang steht. Obwohl die voneinander ab. Die erste ( Un sol raggio ) ist ein schönes Zurschaustellung, in der er als prahlerischer Angeber eines allegorischen Kontextes bewegte. In der popu - Arien den Konventionen der Da-Capo-Form entspre - Bittgebet an Jupiter, ihr dabei zu helfen, treu zu ihrer etabliert wird. Die kurze Cavatine Dolce nume (2. Akt) lärsten Theorie gilt Silla als Allegorie des Duke of chen, sind sie eher kurz, und eine ganze Reihe von Vision zu stehen. In der zweiten Arie Qual scoglio (2. Akt) hat auf typische und besonders reizvolle Art das Thema Marlborough, ein Zusammenhang, der durch einen Nummern sind noch Continuo-Arien mit Orchester- kommt ihr trotziger Widerstand gegenüber Sillas des Schlafs zum Inhalt. Im einleitenden Teil der Arie È Angriff auf diesen Helden der Whigs durch D’Aumont ritornellen – ein Typus, der im späteren 17. Jahrhundert Verführungsversuchen zum Ausdruck, der an Fiordiligi tempo (2. Akt) schwärmt er von den Wonnen, die er sich oder seine Tory-Widersacher inspiriert sein könnte. verbreitet war. erinnert. Im ersten Abschnitt von Stelle rubelle – dem von Flavia erhofft, nachdem er Lepido befohlen hat, sie Dennoch sind – wie Thomas McGeary angemerkt hat – Die Abfolge der Arien legt es nahe, das Claudio letzten Bravourstück der Oper – wird Flavias Empörung im Stich zu lassen, wenn auch sein tyrannischer Charakter die Sünden des Duke of Marlborough trotz aller seiner (eine Kastratenrolle) und nicht Silla (ebenfalls für einen über ihren drohenden Tod mit großartigen Koloraturen sich im kontrastierenden Mittelteil wieder durchsetzt. Laster (insbesondere Habsucht) äußerst bescheiden im Kastraten geschrieben) die Figur war, die stimmlich, zur Schau gestellt. Dieser Ausbruch von Leidenschaft Außerdem gibt es zwei Duette (ein weiteres für Silla Vergleich zu denjenigen Sillas, was diese Interpretation wenn nicht gar dramatisch die Hauptrolle spielte. Die steht in einem schroffen Kontrast zur eindringlichen und Metella wurde von Händel nicht vertont), in denen genauso unglaubwürdig erscheinen lässt wie andere spektakulärste seiner fünf Arien ist Con tromba guerriera Schönheit des Mittelteils, in dem Flavia die Möglichkeit bezeichnenderweise die innige Zuneigung des verhei - eher unwahrscheinliche Theorien. mit obligater Trompete, der mitreißende Ruf zu den willkommen heißt, in den Elysischen Gefilden mit rateten Paares Flavia und Lepido zum Ausdruck kommt. Abgesehen vom Sujet gaben auch Qualität und Waffen am Ende des ersten Aktes. In den Arien Mi ihrem Gatten wiedervereint zu werden. Händel stellt Auch wenn die Absurdität des Librettos es unwahr - mangelnde Sinnhaftigkeit des Librettos immer wieder brilla (2. Akt) und Luci belle (3. Akt) kommt Claudios sein aufkeimendes dramatisches Genie wenige scheinlich macht, dass Silla jemals wieder einen festen Anlass zu heftiger Kritik. Winton Dean, der bedeutende Entzücken und Freude über Celias Liebe zu ihm zum Partiturseiten später unter Beweis: Er lässt Flavia diesen Platz im Opernrepertoire einnehmen wird, so enthält Untersuchungen zu Händels Opern veröffentlicht hat, Ausdruck, obwohl im Mittelteil der erstgenannten Arie Mittelteil wiederholen, nachdem Silla Lepidos blutge - das Werk doch eine mehr als ausreichende Menge geht sogar soweit, Rossis Text als »das schlechteste eine eher introvertierte Stimmung aufkommt. Wie so tränktes Gewand vor ihre Füße geschmettert hat, und außerordentlich lohnender Musik. Es ist auch ange - Libretto, das Händel jemals vertont hat« zu bezeichnen. oft in Händels Opern werden die drei Frauenrollen schafft so den dramatischen Höhepunkt der Oper. Die messen, darauf hinzuweisen, dass Händel selbst wohl Er geht davon aus, dass es eine ungeschickte Bearbeitung (alle für die Sopranlage geschrieben) mit beträchtlicher beiden Arien Lepidos sind konventioneller, wobei Se eine so hohe Meinung über dieses Werk hatte, dass er eines früheren Librettos ist, eine Annahme, die durch Anteilnahme behandelt. Die jüngste Figur Celia ist ben tuona eine Koloraturarie ist, in der er versucht, einen nicht unbeträchtlichen Anteil in seiner nächsten Händels Schwäche für Adaptionen früherer Texte eine temperamentvolle junge Frau, die sich verliebt in Flavias Ängste zu besänftigen. Metellas Liebe zu Silla Oper Amadigi di Gaula wiederverwendete. gestützt wird, obwohl bisher keine Quelle identifiziert einen Mann wiederfindet, der sich dem militärischen ist von wahrhaft hehrer Natur; sie ist eine Frau, die in werden konnte. Dean äußert sich kaum schmeichel - Führer ihres Vaters widersetzt. Ihr Konflikt zwischen einem kleinen Nachen in See sticht, um ihren Gatten Brian Robins hafter über die Musik. Der ebenfalls bedeutende Liebe und Ehre kommt in der Arie Se la speranza lebhaft vor den stürmischen Wellen zu retten. Wie viel ihr an

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Handlung Die Bühne verwandelt sich in einen Garten, in Claudio. Diese erzählt dem wutentbrannten Claudio, nach Sizilien führt, obwohl er es vorziehen würde, Celia dem sich Claudio und Silla befinden. Celia versteckt dass die Lüsternheit Sillas der Grund ihrer Verzweiflung und Flavia nachzustellen. Ehe er die Stadt verlässt, erster akt sich. Claudio stellt kühn in Frage, ob Silla ein Recht ist und dass sie ausschließlich Claudio liebt. Metella unternimmt er einen weiteren vergeblichen Verführungs- auf seine Gewaltherrschaft hat, durch die eine lange und Silla kommen zu Celia, wobei letzterer Trotz der versuch bei Celia, der er mitteilt, ihr Claudio sei tot. Ein Platz in Rom, in dessen Mitte ein Triumphbogen überwundene Regierungsform wieder auflebt. Die ver - Anwesenheit seiner Gattin einen Versuch unternimmt, Ihr Kummer wird jedoch schnell durch die Ankunft steht. Ein Streitwagen mit dem siegreichen Konsul ängstigte Celia tritt hervor, um Silla abzulenken, aber Celia für sich zu gewinnen. Metella bringt ihre Abscheu ihres Geliebten zerstreut. Silla bildet das Zentrum einer Parade, die sich auf die als Claudio ihn bedroht, stürmt der Diktator wutent - zum Ausdruck, und Silla verlässt die Bühne im Zorn. Silla erscheint bei der eingekerkerten Flavia, die Bühne bewegt. Er steigt herab, um sich von seiner brannt davon. Nach einem Szenenwechsel unternimmt Silla im Garten ihren Tod erwartet. Seine Avancen werden abermals Gattin Metella und dem Tribun Lepido (Lepidus) begrü - von Lepidos Palast weitere Versuche, Flavia zu verführen, zurückgewiesen. Erzürnt wirft er Lepidos blutbeflecktes ßen zu lassen. Als er ihre Glückwünsche entgegennimmt, zweiter akt die jedoch von Lepido vereitelt werden. Silla ruft seine Gewand vor ihre Füße. Scabro führt Lepido zum gibt er ihnen zu verstehen, dass er im Begriff steht, die Soldaten herbei, um das Ehepaar gefangen zu nehmen. Gefängnis, wo er voll Freude mit seiner Gattin wie - absolute Herrschaft über Rom für sich zu beanspruchen. Die Handlung spielt auf dem Land, wo in einem Tempel Celia und Claudio erfreuen sich an ihrer Liebe, dervereint wird. Am Meeresufer tauschen Metella und Metella und Lepido sind entsetzt über diesen unver - der Cybele zahlreiche Menschen Zuflucht suchen und werden jedoch von dem rasenden Silla unterbrochen, Silla Liebesschwüre aus, ehe sein Schiff ablegt. Metella hohlenen Ehrgeiz, und letzterer äußert die Hoffnung, diese Gottheit anbeten. Flavias Schönheit löst in Silla der Claudio festnehmen und Celia in ihren Gemächern beobachtet, wie es von einem heftigen Sturm erfasst dass seine Frau ihn vielleicht dazu bewegen könne, die - überwältigendes Begehren aus. Er versucht, sie zu ver - einsperren lässt. Silla ruft Scabro, den Vertrauten wird und untergeht. Der Konsul muss zu einem Felsen sen zu zügeln. führen, wird aber entschieden zurückgewiesen. Der Metellas herbei, um die Ermordung von Claudio und schwimmen, von dem er durch seine Gattin gerettet Nachdem Metella abgegangen ist, tritt Lepidos enttäuschte Silla sucht Trost im Schlaf. Ihm erscheint Lepido zu veranlassen. Metella ist über Sillas Verhalten wird. Frau Flavia zu ihm. Sie beschreibt voller Furcht ihre ein Gott, der von ihm fordert, zur Bekräftigung seiner empört und bewegt Scabro dazu, ihr zu helfen. Scabro In Rom rufen Lepido und Claudio zur Freiheit Vision des Landes, das durch ein Ungeheuer in Schutt Macht eine Schreckensherrschaft in Rom zu errichten. überbringt Silla blutgetränkte Kleidungsstücke, die auf. Eine Wolke kommt herab und öffnet sich, um Mars und Asche gelegt wird. Ihr Gatte versucht sie zu beru - Der Diktator erwacht und fordert sein Gefolge sofort angeblich Lepido gehören, während Metella hinzu - in all seiner Pracht zum Vorschein zu bringen. Als alle higen, aber auf Flavia wirkt es wie die Erfüllung ihrer dazu auf, die im Tempel betenden Schutzsuchenden kommt, um über einen Aufstand zu berichten, der sich auf die Knie fallen, erscheinen auch Metella und Silla Vision, als ein Blitzschlag genau in dem Augenblick einen niederzumetzeln. Der entsetzte Lepido tritt hinzu und gegen Silla erhoben hat. auf dem Platz. Silla kniet ebenfalls nieder, legt alle Teil des Triumphbogens zerstört, in dem Celia, die Toch- fordert von Silla eine Erklärung für diese ruchlose seine Ansprüche ab und verkündet, dass er sich mit sei - ter von Sillas Leutnant Catulus, diesen durchschreitet. Grausamkeit. Silla gibt Lepido hochmütig zu verstehen, dritter akt ner Frau [aufs Land] zurückziehen werde. Nun kommt der Ritter Claudio zu Celia. Die bei - dass er alles tun kann, wonach ihm der Sinn steht. Er den lieben einander, was Celia jedoch noch nicht zuge - beweist dies, indem er Lepido befiehlt, ihm seine Ein Gang, der zu Metellas Gemächern führt. Lepido ––––– geben hat. Sie ist erzürnt, als sie herausfindet, dass Ehefrau zu überlassen. dankt ihr für seine Rettung, aber sie tadelt ihn für den Claudio, ein Widersacher Sillas, das Portrait des toten Silla geht ab und lässt Lepido alleine zurück, zu Versuch, ihren Gatten zu töten. Scabro überbringt Mario (ein von Silla besiegter Konsul) bei sich hat. Sie dem seine Frau Flavia hinzutritt. Er berichtet ihr von Metella einen Brief Sillas, in dem er ihr mitteilt, dass streiten miteinander, aber sobald Celia allein ist, gesteht Sillas Befehl, dem sie sich ohne zu zögern verweigert. er Rom augenblicklich in einer Mission verlassen muss. sie sich ihre Liebe zu Claudio ein. Sie überlassen die Bühne der weinenden Celia und Silla denkt über die Bürden der Pflicht nach, die ihn

22 23 24 25 cd i che incatenati al Tebro that I have dragged in chains here on the Tiber, quivi traggo, e di Mario, che col suo capo altero and for Marius, who with his proud head 01 forma base al mio piede, forms a support for my feet, Ouverture Overture Roma sola ne fia degna mercede; only Rome will be a worthy reward. quindi’l Lazio s’appresti May Latium therefore prepare 02 obbedir le mie leggi, e in Campidoglio to obey my laws, and may Rome bend Marcia March pieghi Roma a miei cenni il proprio orgoglio. its pride to my commands at the Capitol.

04 Atto Primo First Act Silla Sulla Alza il volo la mia fama My fame is flying high Scena 1 Scene 1 sin nell’etra a festeggiar. and rejoicing even in the air. Gran piazza di Roma, nel mezzo di cui s’innalza un arco Big square in Rome, triumphal arch in the middle. Sulla Vinto Mario, e serva Roma, Marius is defeated and Rome is my servant: tri onfale. Silla sedendo sopra un carro tirato da sei schiavi enters sitting on a chariot dragged by six black slaves and is doppio alloro alla mia chioma I now see a double laurel negri, e preceduto da’ littori co’fasci ed insegne consolari preceded by bodyguards with fasces and political flags. He or mi vedo a scintillar. gleaming on my head. s’avanza, e passa sotto il sudetto arco al suono di stromenti passes through the arch with military music. As soon as he (Silla parte col suo seguito, restando Metella e Lepido sospesi.) (Sulla leaves with his suite. Metella and Lepidus stay.) militari, e nel discendere dal carro viene incontrato da descends from the chariot, Metella and Lepidus approach Metella, e da Lepid o. him. Scena 2 Scene 2 Metella e Lepido. Metella and Lepidus. 03 Metella Metella 05 Silla, s’oggi risplende Sulla, if the Roman sky Metella Metella per te più chiaro di Quirino il cielo, shines brighter for you today, S’ecclissa la mia gioia! My joy is fading! qual sarà del mio cor l’alto fulgore how brilliantly will my heart gleam, since it burns s’arde per te di gloria, e in un d’amore? both for your glory and your love? Lepido Lepidus Il cor ne freme. My heart is in pain. Lepido Lepidus Quanto deve la patria al tuo valore! Our fatherland owes your valour so much! Metella Metella Patria infelice! Miserable fatherland! Silla Sulla De’ regni servi, For the wretched empires

26 27 Lepido Lepidus Lepido Lepidus Ah! sventurato evento! Alas! Such an unfortunate event! Oh dei, che fia? O Gods, what has happened?

Metella Metella Flavia Flavia Oh consorte superbo! O prideful husband! Fantasmi portentosi Terrible ghosts turbano i miei riposi. disturb my sleep. Lepido Lepidus Amico infido! Treacherous friend! Lepido Lepidus Ma tu, Metella, in generoso core, But you, Metella, go and try to stop E che vedesti? What did you see? corri a temprar quell’ambizioso affetto. those ambitious wishes with your good heart. Flavia Flavia Metella Metella La patria incenerita The fatherland burnt to ashes at Tanto devo alla patria, in ciò m’affretto. It is my duty to the fatherland: I will hurry. per man d’orrido mostro. the hands of a horrid monster.

06 Lepido Lepidus Metella Metella Cara, t’acquieta, che non sempre al fine, My dear, calm down. The heavens do not always Fuggon l’aure in me di vita, My vital breath vanishes benchè minaccia il Ciel, porta rovine. carry out what they threaten. se la patria, oh Dio, è tradita, if our fatherland is betrayed, O God, e lo sposo è’l traditor. and my husband is the traitor. 08 Sposo ingrato, dispietato, Ungrateful, merciless husband, Lepido Lepidus cessa omai tanto rigor, stop this fury. Se ben tuona il ciel irato Though the heavens angrily thunder, Fuggon, ecc. My vital breath vanishes, etc. sempre i fulgori non scaglia they do not always send lightning (Parte.) (She leaves.) ma dimostra il suo splendor. but rather show their power. Di costanza un core armato A heart full of faith Scena 3 Scene 3 a un sol lampo non s’abbaglia, is not blinded by a stroke of lightning Lepido e Flavia, ch’esce spaventata. Lepidus and Flavia, who enters fearfully. né ricetto apre al timor. nor affected by fear. Se ben tuona, ecc. Though the heavens angrily thunder, etc. 07 (Parte.) (He leaves.) Flavia Flavia Cieli, numi! che vidi? Heaven, Gods! What did I see?

28 29 Scena 4 Scene 4 (Gli strappa con furia il ritratto della mani e (She furiously grabs the portrait from his hands and Flavia e Celia. Mentre Celia esce, cade un fulmine che Flavia and Celia. As Celia enters, lighting destroys most of [vedendo esser quella di Mario] la getta a terra con [realizing it is Marius’s portrait] throws it on the ground atterra una gran parte dell’arco trionfale. the triumphal arch. disprezzo.) with scorn.) Ad un spento tiranno Do you still have feeling 09 ancor serbi l’affetto? toward a dead tyrant? Celia Celia Sin con lingua di foco Does heaven now confirm my fears Claudio Claudius conferma il ciel ora i spaventi miei? with tongues of fire? Idolo mio! per te sola My beloved, my love is only for you: è’l mio amor, quello è rispetto. it is just respect that I feel towards him. Flavia Flavia Ah, non fu sogno il mio; v’intendo, oh Dei! Ah, then it was not a dream. I understand you, O gods! Celia Celia D’amor parli, e non sai... You talk about love, yet you do not know… 10 Flavia Claudio Claudius Un sol raggio di speranza O Jupiter, do not deny So che sei l’alma mia. … I just know that you are my very soul. non negare, oh Giove, al seno. my heart a mere ray of hope. Che fra l’ombre del timore la costanza Faith is losing its peace Celia Celia va perdendo il bel sereno. in the shadows of fear. … che sostegno di Silla… … that I support Sulla’s… Un sol raggio, ecc. O Jupiter, do not deny, etc. Claudio Claudius Scena 5 Scene 5 Quella, ch’un dì saprai, gran tirannia. Tyranny! You will soon realize that. Celia e Claudio. Claudio esce tenendo nelle mani il ritratto Celia and Claudius. Claudius enters holding at a portrait del morto Mario, quale sta contemplando attentamente . of the late Marius and staring at it. Celia Celia Vanne, ardito, da me! Away from me, you reckless man 11 Celia Celia Claudio Claudius Sino su li occhi miei Even before my very eyes Bella, concedi che la mia fedeltà... My beautiful one, allow my faithfulness… vagheggia altra beltade? he wishes for another’s beauty? No, non soffrire, oh core! No, do not suffer, my heart! Celia Celia Ma ’l mio onor? Che risolvo? But what about my honour? What shall I do? Da me, che chiedi? What do you want from me? Eh, vinca amore. May my love win!

30 31 Claudio Claudius Scena 6 Scene 6 Il tuo amor... Your love! Celia sola. Celia alone.

Celia Celia 13 Di ’l mio sdegno. My anger rather! Celia Celia Si, t’amo, oh caro, e pur io son costretta Yes, I do love you, my dear, yet I am forced Claudio Claudius celar in sen gli affetti to hide my feelings in my breast La tua pietà... Your pity! per quei crudi d’onor vani rispetti. out of duty to cruel and vain honour.

Celia Celia 14 Di Silla An enemy of Sulla Celia Celia un nemico n’è indegno. is not worthy of it. Se la speranza nudrisce il mio cor, If hope nurtures my heart anco tacendo felice è’l mio amor. my love rejoices in being silent. Claudio Claudius È pure desio contento maggior, Desire is a greater joy Amabile rigore! O lovely harshness! ma non lo vuole rispetto d’onor. but honourable respect forbids it. Se la speranza, ecc. If hope nurtures my heart, etc. Celia Celia (Parte.) (She leaves.) (Amor! Onor! deh, mi squarciate il core!) (Love! Honour! You are tearing my heart apart!) Scena 7 Scene 7 12 Giardino delizioso. Silla e Claudio; Celia osservandoli in Delightful garden. Sulla and Claudius; Celia watches them Claudio Claudius dis parte. from the side. Senti, bell’idol mio! Hear, my beautiful idol! sarà per te ’l desio fedele ogn’ora My desire will always be faithful to you. 15 e solo la costanza And my faithfulness alone Claudio Claudius nudrir vuol la speranza wants to nurture the hope Silla, dov’è la gloria Sulla, where is now the glory of the Tiber? del fermo e fido amor di chi t’adora. of the true and faithful love of one who adores you. del Tebro omai? Ché se tu usurpi, insano, Madman, if you so wrongfully Senti, ecc. Hear, my beautiful idol! Etc. un ingiusto poter, non sei Romano. usurp power, you are not a Roman! (Parte.) (He leaves.) Silla Sulla Anzi del Lazio è figlio On the contrary, one who undertakes such a daring chi tenta un ardua impresa. endeavour, is a true son of Latium.

32 33 Claudio Claudius Celia Celia Chi ha sol di virtù l’anima accesa, ma tu... If his soul is burning with virtue, but you… Scrive egli ormai delle guerriere squadre. He writes about the army.

Silla Sulla Silla Sulla Taci, superbo! Be quiet, arrogant man! Ch’io sosterrò ver te veci di padre. That I will be like a father to you.

Claudio Claudius (Celia seguita a leggere.) (Celia keeps reading.) … la commun libertà calpesti intento. … deliberately restrict public freedom. Claudio Claudius Silla Sulla (verso Celia) (to Celia) Premio del mio valor. My valour’s just reward. Reprimer ben saprò… I will know how to restrain…

Celia Celia Silla Sulla (Quanto pavento!) (I am so afraid!) Meglio consiglia! Think twice! (Si presenta in fretta a Silla.) (She quickly steps up to Sulla.) Signor, del genitore Sir, do you have any news Celia Celia qual nove arrecchi? of my father? (Li interrompe di nuovo.) (She interrupts them again.) Ti sarò, sì signor, e ancella, e figlia. My lord, I will be your daughter and servant. Silla Sulla Oh Celia, al sen t’accoglio; Celia, I embrace you on my breast. (Parte Silla [sdegnato] e Celia [lo seguita].) (Sulla leaves [angrily] and Celia follows him.) leggerai li suoi cenni su questo foglio. You will read his words on this paper. (Le dà una lettera [che Celia legge].) (He gives her a letter. [Celia reads it.]) 16 Claudio Claudius Claudio Claudius Con tromba guerriera, With a warlike trumpet E credi forse, oh Silla, And do you think, Sulla, m’invita la fama fame invites me che questo acciar... that this sword… l’orgoglio a pugnar. to fight against pride. D’un alma severa I will know Silla Sulla gloriosa vittoria how to wrest a glorious victory Cotanto...? So much…? saprò riportar. from a stubborn soul.

(Celia li interrompe.) (Celia interrupts them.)

34 35 Atto Secondo Second Act Flavia Flavia Nel mio sposo ha mercè. I have mercy upon my husband. Scena 1 Scene 1 Campagna con tempio di Berecintia nel fondo, ove si Countryside with a temple of Berecyntian Cybele in the Silla Sulla rifuggono molti uomini e donne, raccomandandosi alla Dea. background. Several men and women seeking refuge there Più nel mio core. Rather upon me. Silla e Flavia. and worshipping the goddess. Sulla and Flavia. Flavia Flavia 17 (Accenti non graditi!) (Those words are unwelcome!) Silla Sulla Flavia! Flavia! Silla Sulla Ascolta, oh cara, Listen, dear, Flavia Flavia trionfi di quest’alma you triumph over this soul Signor, la tua grandezza ammira My lord, the whole world is astonished con quel vago sembiante. with such a beautiful face. stupido il mond’omai... admiring your greatness… Flavia Flavia Silla Sulla Sdegna moglie Latina arti d’amanti. A Latin wife ignores a lover’s clever talk. (Quanto è vaga! mi serpe ardor vicino.) (How fair she is! I feel a fire inside me.) 18 Flavia Flavia Flavia Flavia … Quindi anch’io la tua gloria umile inchino. … therefore I, too, humbly bow before your glory. Qual scoglio in mezzo all’onde My heart will always be sarà sempre il mio cor, like a rock among the waves, Silla Sulla ai turbini d’amor always faithful Anzi la tua bellezza... On the contrary, your beauty... sempre costante. amidst Love’s swirls: Qual aspe sordo ogn’or, deaf like a snake, Flavia Flavia qual face crudo ancor insensible like a torch Se virtù non l’adorna, è vile il dono. If virtue does not adorn it, it is a worthless gift. verso ogni amante. toward any lover. Qual scoglio, ecc. My heart will always be, etc. Silla Sulla (Parte.) (She leaves.) … merta gloria maggior. … deserves a greater glory.

36 37 Scena 2 Scene 2 Scena 4 Scene 4 Silla solo. Sulla alone. Il Dio sparisce con tutte le Furie rischiarandosi il cielo, e The god disappears with the furies and the sky clears up. Silla si risveglia, infuriato replicando «Guerra». Sulla wakes up and screams furiously: “War!” 19 Silla Sulla 22 T’arresta, altera! Ma pietoso Amore Stop, arrogant one! Now merciful Love Silla Sulla vuol temprare col sonno il mio dolore. wants to dampen my pain with some sleep. Guerra, stragi e furor! War, slaughter, rage! (Silla chiama li sicarii, che vengono colla spada alla mano.) (Sulla calls the zealots, who arrive sword in hand.) 20 Miei fidi, ivi accorrete, My trusted men, come here, Silla Sulla abbattete, uccidete! kill, slaughter! Dolce nume de’ mortali, Sweet god of mortals, nel mio sen dispiega l’ali. spread your wings over me. (Li sicarii entrano nel tempio e fanno strage di quella gente (The zealots enter the temple and kill whoever is inside. (Dorme.) (He sleeps.) ivi rifuggiata; esce Lepido.) Lepidus enters.)

Scena 3 Scene 3 Scena 5 Scene 5 Silla, che dorme. Il Dio sopra un carro, tirato da due dragoni, Sulla sleeps. The god enters with a chariot pulled by two Lepido e Silla. Lepidus and Sulla. e circondato dalle Furie con faci accese allo mano, che vanno dragons and surrounded by the Furies with lit torches in girando attorno di Silla; oscurandosi allora il cielo. their hands, buzzing around Sulla. 23 Lepido Lepidus 21 Silla! ove ti guida Sulla! Where is this blind fury Il Dio The God cieco furor? leading you? Guerra, stragi e furor! War, slaughter, rage! Vo’ che Roma sommessa I want Rome quietly Silla Sulla il tuo poter adori, to worship your power Ciò a la mia gloria affida. It is what my glory demands. e innaffii col suo sangue a te gl’allori. and to bathe your laurels with its blood. Guerra, stragi e furor! War, slaughter, rage! Lepido Lepidus Sino noi sacri asili profanar... Desecrating such a holy place?

Silla Sulla E che forse Should I allow pretendono qui in terra the gods to share my power

38 39 divider seco il mio poter i numi? with them here on earth? Tu proverai la forza, You will see the force che’l poter coll’amor sempre rinforza. that power and love strengthen together. Lepido Lepidus Empio, che parli? Blasphemer, what are you talking about? 24 Silla Sulla Silla Sulla È tempo, oh luci belle, It is time, beautiful eyes, Irriverente, taci! O che... Arrogant one, be quiet or... di consolarmi un dì. for me to console myself. Che se’l foco del mio amore If the fire of my love Lepido Lepidus trova ostacolo, il terrore meets an obstacle, terror Tanto presumi? Do you really think so? struggerà chi lo impedì. will destroy whatever is in the way. (Parte.) (He leaves.) Silla Sulla Porterai del tuo ardir la pena, insano! … be punished for your boldness, fool! Scena 6 Scene 6 Flavia, e Lepido sospeso. Flavia and a restless Lepidus. Lepido Lepidus Le minacce non teme un cor Romano. A Roman heart does not fear such threats. 25 Flavia Flavia Silla Sulla Mio diletto, che pensi? My beloved, what are you thinking? Non sai che sono... Do you not know that I am... Lepido Lepidus Lepido Lepidus Alla vendetta! Revenge! Usurpator del soglio! … a usurper of power! Flavia Flavia Silla Sulla E chi t’accende? Who makes you so full of fire? E posso ciò che voglio. ... and that I can do whatever I want. Ti commando di Flavia I demand that you release Flavia’s bond Lepido Lepidus scioglier il laccio, affinch’io possa a pieno so that I can rightfully bind her to my breast Un barbaro tiranno, A barbarous tyrant, col nodo marital stringerla al seno. with a marital knot. Silla crudele, che pretende, oh Dio! cruel Sulla, who wants – oh God! – svellerti dal mio sen, idolo mio! to take you away from my breast, my beloved! Lepido Lepidus Ciò non fia mai. That will never happen.

40 41 Flavia Flavia cd ii Pria morirò. I will die first! Scena 7 Scene 7 Lepido Lepidus Celia piangendo, e Claudio. Celia, crying, and Claudius. Sensi di nobil alma! What a noble soul you are! 01 Flavia Flavia Claudio Claudius Sol per te vive il core. My hearts lives for you alone. Bella, lascia i sospiri! My beautiful one, stop sighing!

Flavia e Lepido Flavia and Lepidus Celia Celia Eterno fia nelle tue braccia amore. My love will be eternal in your arms. Claudio, lasciami piangere. Claudius, let me cry.

26 Claudio Claudius Flavia e Lepido Flavia and Lepidus Ah, che per te me sento il cor a frangere! Ah, I feel my heart breaking for you! Sol per te, bell’idol mio, Only for you, my beautiful love, Ma qual n’è la cagione? But what is the reason? il mio cor ha gioia e pace. does my heart have joy and peace. Chi tentar vorrà il mio petto If someone opposes my feelings, Celia Celia proverà di cruda Aletto he will see cruel Fury’s La lascivia di Silla. Sulla’s lust. l’ardente face. burning fire. Sol per te, ecc. Only for you, etc. Claudio Claudius (Partono.) (They leave.) Oh dei, che ascolto? Oh gods, what do I hear? Barbaro! e ancor non sai che sola è questa Barbarian, you still do not know that l’anima mia? Vendetta! she alone is my soul? Revenge! (Corre infuriato, ma Celia lo ferma.) (He runs away enraged but Celia stops him.)

Celia Celia Oh dei! t’arresta! Oh gods! Stop!

Claudio Claudius Celia, benchè non senti Celia, though you may not have pietà di me, di vendicarti io bramo. mercy upon me, I wish to avenge you.

42 43 Celia Celia Metella Metella Taci, caro mi sei, Be quiet. You are dear to me; Il ciel, lo sdegno mio nulla paventi? Do you not fear heaven, my rage, anything? pur troppo io t’amo. I even love you too much. (Silla vuol abbracciar Celia [ma Mettella lo impedisce].) (Sulla wants to kiss Celia [but Mettella prevents him].) 02 Claudio Claudius Silla Sulla Mi brilla nel seno A certain peace Scostati, over... Stay away, or... un certo seren shines in my breast ch’invece di noia contento mi dà. giving me joy rather than grief. Metella Metella E pur l’alma a pieno non gode quel ben, Yet the soul cannot entirely relish this peace Ti trarrò prima il core. I will first rip out your heart. ch’unito alla gioia timore sen và. since fear is mixed with joy. Mi brilla, ecc. A certain peace, etc. Silla Sulla Superba, lo saprai. You will see, foolish woman. (Celia parte. Nel partire si rincontra in Silla che la (Celia leaves. As she is leaving, she runs into Sulla, who (Parte infuriato.) (He leaves enraged.) trattiene.) grabs her.) Metella Metella Scena 8 Scene 8 Forza d’amore! The power of Love! Silla, Metella, e Celia che vuol partire. Sulla, Metella, and Celia who wants to leave. 04 03 Metella Metella Silla Sulla (verso Celia) (towards Celia) Mio bel nume, t’arresta! My beautiful goddess, stop! Hai due vaghe pupillette, You have two beautiful eyes Non mi lasciar del caro volto privo. Do not deprive me of your dear face. che son scorta al Dio d’amor. that summon the god of Love. Ride il brio nel tuo sembiante, Joy shines through your face (Metella gliela strappa dalle mani.) (Metella wrests her away from his hands.) ed a se tragge ogni cor. and attracts every heart. Hai due vaghe, ecc. You have two, etc. Metella Metella Non oltraggiar l’altrui onestà, lascivo! Do not insult another’s modesty, pervert! (Partono.) (They leave.)

Silla Sulla Ancor tu, ardita, tenti di turbarlo mie gioie? You too, fool, try to impede my joy?

44 45 Scena 9 Scene 9 Flavia Flavia Giardino con palazzo di Lepido nel fondo, in mezzo di cui Garden with Lepidus’s palace in the background, a statue Parti! Leave! s’innalza la statua di Silla. Flavia e Silla con soldati, che fa of Sulla in the middle. Flavia and Sulla with soldiers. ritirare. Sulla asks the soldiers to leave. Silla Sulla Non posso. I cannot. 05 Flavia Flavia Flavia Flavia Che miro, oh Dei? Qui Silla? What do I see, O gods? Sulla here? Oh dio! O god!

Silla Sulla Silla Sulla Son io, Flavia; che temi? It is me, Flavia. What do you fear? Il duce sì temuto Do you scorn the feared ruler Egro d’amor, ricerco I am eager for love, and I seek dell’imperio latin così disprezzi? of the Latin empire? al disperato mal rimedi estremi. extreme remedies to such a desperate disease. (Vuol abbracciarla, ed ella s’inginocchia.) (He wants to kiss her. She kneels.) Flavia Flavia Così ’l mio onor apprezzi? Is this how you value my honor? Flavia Flavia Supplice alle tue piante, I beseech you at your feet, (Mentre Silla vuoi abbracciarla di nuovo, calano quattri (While Sulla tries to kiss her again, four ghosts arrive. signor... my lord... spett ri, che girano attorno la statua di Silla, la quale si They swirl around Sulla’s statue, which disappears; instead profonda, sorgendo invece di quella un cipresso, albero of it, a cypress, a sinister tree, appears.) Silla Sulla funesto.) Bella, risorgi; Beautiful one, arise; t’offro la man di sposo, e in un d’amante. I give you my hand as a husband and lover. Flavia Flavia Mira, tiran, ch’il ciel Look, tyrant. Heaven Flavia Flavia ti minaccia rovine. is threatening your ruin. Vana ogni speranza There is no hope di vincer il mio cor. that you will conquer my heart. Silla Sulla Or la mia imago My statue is now crowned Silla Sulla va negli Elisi a coronarsi il crine. in the Elysian Fields. Avrò costanza, idolo mio. I will keep trying, my beloved. (Tenta ancor d’abbracciarla.) (He tries again to kiss her.)

46 47 Flavia Flavia Scena 11 Scene 11 Cieli! chi mi soccorre? Heavens! Who will help me? Celia, Claudio; Silla con Scabro e soldati osservandoli in Celia, Claudius; Sulla with Scabrus and soldiers looking dis parte. from afar. (Esce Lepido colla spada allo mano.) (Lepidus enters with a sword in his hand.) 08 Scena 10 Scene 10 Claudio Claudius Lepido, e li sudetti. Lepidus and the former. Anima mia! My soul!

06 Celia Celia Lepido Lepidus Mio caro! My dear! Tanto ardisci? Will you dare such a thing? Claudio Claudius Silla Sulla Al fine la mia fede Finally my faith Il tuo tetto Your house is now ha per premio il tuo amor. gets your love as a reward. è de’ ribelli miei fatto ricetto. full of enemies of mine! (Silla chiama i suoi soldati.) (Sulla calls for his soldiers.) Celia Celia Giusta mercede! A just reward! Silla Sulla Olà! ch’ambo costor sian custoditi You there! Put these two Claudio Claudius in due carceri orrendi. in two horrible jails. Oh! dolci accenti! Oh! Sweet words! (Silla parte. Mentre li soldati vogliono prender la spada a (Sulla leaves. The soldiers try to take Lepidus’s sword; he Le pido, egli si mette in difesa, ma lo impedisce Flavia.) tries to defend himself, but Flavia stops him.) Celia Celia Oh! punto sospirato! Oh! Long awaited moment! Flavia Flavia Ma se Silla inumano... But if cruel Sulla... Cedi, o caro, e dal soccorso attendi. Let go, my dear, and just wait for help. Claudio Claudius 07 Difenderti saprò con questa mano. I will know how to protect you with this hand. Flavia e Lepido Flavia and Lepidus Ti lascio, idolo mio, I leave you, my dear, (Silla s’avanza ed i soldati circondano Claudio, (Sulla comes forward. The soldiers surround Claudius and ma teco resta il cor. but my heart stays with you. prendendo li la spada.) take his sword.) (Partono custoditi da soldati.) (They leave, taken by the soldiers.)

48 49 Silla Sulla Scena 12 Scene 12 Troncherò il vostro nodo! I will cut the knot between you! Silla e Scabro. Sulla and Scabrus.

Claudio Claudius 09 Ah! crudo mostro! Ah! Cruel monster! Silla Sulla Scabro! Lepido sia da’ stral traffitto, Scabrus! Have Lepidus pierced by arrows; Celia Celia Claudio cibo alle fere; have Claudius given to wild animals as a meal. Signor, pietate, aita! My lord, mercy, help! tanto esequisci. Ora trionfa Amore, Make all of this happen. Love will now triumph Claudio sol... Please, let Claudius at least... se gli offre due olocausti ’l mio furore. if my fury offers it two such holocausts.

Silla Sulla 10 Morirà. Die. Silla Sulla La vendetta è un cibo al cor. Revenge is food for the heart Celia Celia Se la chiede offeso Amor. if Love offended asks for it. Dagli la vita! Live! E chi vuole ben goder One who wants to rejoice offra vittime al piacer. should offer victims to pleasure. Claudio Claudius La vendetta, ecc. Revenge, etc. Ha de’ fulmini il cielo! Heaven has its thunders! (Parte, restando Scabro.) (He leaves, Scabrus stays.)

Celia Celia Scena 13 Scene 13 Lanci pur contro te Giove il suo telo! May Jupiter send his spear against you! Metella e Scabro. Metella and Scabrus.

Silla Sulla 11 Costui vada tra marmi; e Celia intanto Let him go into the grave, and let Celia Metella Metella purghi il suo error col pianto make up for her mistake with tears Oh! perfido consorte, Oh! Evil spouse, ne’ alberghi custodita. while she is kept in custody. grida al trono d’Astrea sangue innocente. innocent blood asks for justice. Che farò, Scabro, oh Dio? al fin da morte What shall I do, Scabrus, oh god? Heaven Celia e Claudio Celia and Claudius per sottrarli farammi il ciel possente. help me at least save their life. Addio, cara mia vita. Farewell, my dear life. (Metella prende per la mano Scabro, e parte in fretta.) (Metella takes Scabrus’s hand and leaves quickly.) (Partono.) (They leave.)

50 51 Scena 14 Scene 14 (Scabro corre verso Silla, e questo va affrettato verso (Scabrus runs toward Sulla, who quickly approaches Cortile che corrisponde al serraglio delle fere [ove si vedono Den used as an enclosure for wild animals [where lions can Metella.) Metella.) a camminare li leoni]. Claudio alla finestra d’una torre in be seen pacing]. Claudius is at the window of a tower. He atto d’esser gettato nel serraglio. is going to be thrown into the den. Silla Sulla Qual furore ti trae? What fury brings you here? 12 Claudio Claudius Metella Metella Se’l mio mal da voi dipende, If my pain depends on you, La tua salvezza! Your salvation! perchè, oh dei, non lo impedite? why, O gods, do you not prevent it? Silla Sulla Scena 15 Scene 15 Come? What? Silla e Scabro, che getta a’ piedi di Silla una veste forata ed Sulla and Scabrus, who throws a shredded and bloodied insanguinata, creduta di Lepido . gown at Sulla’s feet. The gown is believed to be Lepidus’s. Metella Metella Di Mario insorge empia fazione An evil intrigue by Marius’s followers, planning to 13 contro di te. kill you. Silla Sulla Sì, questi son trofei, però imperfetti Yes, this is a trophy (though not yet complete) Silla Sulla del mio amor, di mia gloria, of my love, of my glory. Now, my trusted one, (dimostrandogli Claudio) (pointing at Claudius) vanne, mio fido, e me presente let Claudius be eaten by the animals La morte dell’indegno Scabrus, take care of his death! Claudio tra le fere, mi dia piena vittoria. in front of me and be my complete victory. Scabro eseguisci! Io corro I run to kill this new monster a recider col fer l’idra proterva. with my sword. (Mentre Scabro vuol partire, si rincontra Metella (Scabrus wants to leave but encounters Metella, who (Parte infuriato.) (He leaves furiously.) affrettata, che lo trattiene.) abruptly stops him.) Scena 17 Scene 17 Scena 16 Scene 16 Metella, Scabro, poi Lepido e Claudio. Metella, Scabrus, then Lepidus and Claudius. Metella, Silla e Scabro. Metella, Sulla, and Scabrus. 15 14 Metella Metella Metella Metella T’affretta, oh Scabro, ed ambedue Hurry, Scabrus, and bring Deh! corri al tuo signore! Ah! Run back to your lord! gli innocenti a me conduci. Il celo those two innocent ones to me. I see that heaven vedo arrider pietoso al mio gran zelo. is mercifully smiling at my zeal.

52 53 16 Metella Metella Metella Metella Taci! alfin son moglie. Be quiet! I am still his wife. Secondate, oh giusti dei O rightful gods, keep l’innocenza a sollevar helping innocence Lepido Lepidus che qual fiamma i voti miei so that my vows can E di Flavia mio ben, nera consorte, And tell me, unfortunate wife, ponno in voi centro trovar. come to you like a flame. qual è il destin? what will happen to my beloved Flavia?

(Scabro conduce in fretta Lepido e Claudio, che presi per la (Scabrus quickly leads Lepidus and Claudius in. She holds Metella Metella mano da Metella, ella conduce via seco frettolosamente.) their hands and whisks them away.) Avrà felice sorte. She will be fine.

Scena 2 Scene 2 Scabro, Metella e Lepido. Scabro dà una lettera a Metella, Scabrus, Metella, and Lepidus. Scabrus gives Metella a Atto Terzo Third Act che la legge. letter. She reads it.

Scena 1 Scene 1 18 Metella e Lepido. Corridore che corrisponde agli Metella and Lepidus. Corridor from Metella’s chambers. Metella Metella appartamen ti di Metella. Dunque partir deve il mio sposo ingrato? So, does my ungrateful husband have to leave?

17 Lepido Lepidus Lepido Lepidus Oh sorte inaspettata! Oh unexpected fate! Quanto devo, oh Metella, al tuo cor generoso. How much I owe your generous heart, Metella. Metella Metella Metella Metella Ah! crudo fato! Ah! Cruel destiny! Dovea impedir la tirannia d’un sposo. I had to stop my husband’s tyranny. Scabro, allora che Silla Scabrus, now that Sulla volge i piè dalle mura, is approaching the walls, Lepido Lepidus nel carcere di Flavia lead Lepidus to Or che per te respiro Now that, thanks to you, Lepido scorta; ed indi Flavia’s jail; and e vita e libertà, lascia ch’io sciolga I can enjoy life and freedom, let me della sua libertà prendine cura. arrange for her freedom. colla morte di Silla set Rome free da’ lacci Roma. by killing him. Lepido Lepidus Si strugge per la gioia il petto mio! My breast explodes with joy!

54 Metella Metella al piacer mi destinò. has destined me to pleasure. Mi desse almen quel crudo May that cruel one give me at least Già respira, ecc. My heart breathes, etc. un dolce addio. one sweet farewell. (Partono.) (They leave.) 19 Metella Metella Scena 4 Scene 4 Io non ti chiedo più, o sposo amato, All I ask of you, beloved husband, Silla. Sulla. prima del tuo partir ch’un dolce addio. is one sweet farewell. Che se ver me d’ognor tu fosti ingrato If you were always thankless to me 22 li falli tuoi pietosa adesso oblio. I now mercifully forget your mistakes. Silla Sulla Io non ti chiedo, ecc. All I ask of you, etc. L’imperio quanto è più vasto e più pesante The larger the kingdom, the heavier it is. (Parte.) (She leaves.) e dà noie al pensier, gioie in sembiante. It gives trouble when you think of it, Or che dovrei bearmi, but also joy when you look at it. Now that I should be Scena 3 Scene 3 e di Celia, e di Flavia in dolci amplessi, enjoying both Celia and Flavia with sweet hugs, Lepido e Scabro. Lepidus and Scabrus. devo in Trinacria tacito portarmi. I need to rush to Sicily in silence. Ma l’amor... But love… 20 (Pensa un poco.) (He thinks for a while.) Lepido Lepidus no, la gloria... no, glory... A tua fedeltade, o caro animo, I will always be indebted to your kindness, dear soul. (Pensa, ma poi risoluto:) (He thinks, but then he firmly says:) fia eterno i mio dover. Quanto comparte How can my heart thank Sì, olà! Quì Celia venga, Yes, you there! Let Celia come here, grazie al Ciel, se mi serba Heaven, since my heart is already e parte del mio ardor prima si spenga. but let me first calm down. Flavia, ch’è del mio cor la miglior parte? owned by Flavia? Scena 5 Scene 5 21 Celia e Silla . Celia and Sulla. Lepido Lepidus Già respira in petto il core My heart breathes in my breast, 23 se l’amore since love has Silla Sulla tutto in gioia lo cangiò. turned it all into joy, Placasti, oh bella diva, Did you dampen your stubbornness, E con iride sereno and with a serene eye, il tuo rigore? my beautiful goddess? doppo tenebre moleste, after unpleasant darkness, or placate le tempeste now that the storm is over,

56 57 Celia Celia Celia Celia Silla, solo per Claudio io sento amore. Sulla, I love only Claudius. Claudio, cor mio! Claudius, my love!

Silla Sulla Silla Sulla Ma, il mio affetto…? And what about my feelings? Claudio, superba, è morto. Claudius is dead, you arrogant woman. (Parte [in collera] correndogli dietro Celia.) (He leaves [in anger]. Celia runs after him.) Celia Celia Non curo. I do not care. Celia Celia È morto? ah! dispietato Is he dead? Ah, cruel merciless Silla Sulla crudel; ma più dite, barbaro Fato! monster! But fate is even more cruel than you! La mia grandezza? My greatness? 24 Celia Celia Celia Celia È vana. It is vain. Sei già morto, idolo mio, You are already dead, my love, per far vivo il mio dolor. to make my pain even sharper. Silla Sulla Pur dovrò seguirti anch’io I will also have to follow you, Il mio poter? My power? se con te partì il mio cor. since my heart departed with you. Sei già morto, ecc. You are already dead, etc. Celia Celia (Resta penosa.) (She remains, thoughtful.) Non temo. I do not fear it. Scena 6 Scene 6 Silla Sulla Celia, e Claudio in disparte. Celia, and Claudius hidden. Pensa... Think that… 25 Celia Celia Celia Celia … che sei tiranno. … you are a tyrant. Rimembranze funeste Dark memories dell’estinto mio Claudio! of my dead Claudius! Silla Sulla Dono a merti del padre I give the comfort of revenge Claudio Claudius di vendetta il conforto. that a father deserves. Claudio! Claudius!

58 59 Celia Celia Celia Celia (Si volge spaventata [non osservando Claudio].) (She turns frightened [without noticing Claudius].) Ombra adorata, oh Dei! Beloved shadow, oh gods! Tu ancora, Eco crudele, Again you, cruel echo, con quel nome adorato by pronouncing that beloved name, Claudio Claudius ora le peno mie fai redivive? make my pain alive. Ah, mia bella, son io, scaccia il timore My beloved, it is me. Fear not. Metella mi salvò. Metella saved me. Claudio Claudius (Celia gli si accosta pian piano.) (Celia slowly comes closer.) Vive! Alive! Celia Celia Celia Celia Celia, fa core; Celia, be strong: Vive, sì, in questo cor sempre costante. Yes, he is alive in this heart forever! deggio creder al lumi? should I believe my eyes?

Claudio Claudius Claudio Claudius Costante! Forever! Anima mia, stringimi al sen. My love, embrace me.

Celia Celia Celia Celia Ah, perchè non potei, idolo mio, Ah, why could I not, my dear, Il cor più non desia. My hearts desires nothing more. renderti dal tiranno allor sicuro? from that tyrant, keep you safe? 26 Claudio Claudius Claudio Claudius Sicuro! Safe! Luci belle, Beautiful eyes, serene stelle, clear stars, Celia Celia del mio cor tiranno amate, beloved of my tyrant heart, E vivrò in sì infelice secolo? So nothing for me is left? voi sol date you are the only one who gives vita o spirto all’alma mia. my soul life and spirit. Claudio Claudius Da voi solo pende il mio fato, My fate depends on you alone, Eccolo! On the left! ne agli Elisi ancor beato and, even in the Elysian Fields, senza voi giammai saria. I would not be happy without you. (Claudio si presenta a Celia, ed ella si ritira (Claudius shows himself to Celia but she moves aside Luci belle, ecc. Beautiful eyes, etc. spaventata.) frightened.) (Partono.) (They leave.)

60 61 Scena 7 Scene 7 Flavia Flavia Prigione ove sta Flavia. Flavia’s jail. Sol di vendetta io ardo. I just wish for revenge. Barbaro, del mio sposo You barbarian, what did you do 27 rendi ragione. to my husband? Flavia Flavia Stelle rubelle, Outrageous stars, Silla Sulla a torto morirò. I will die innocent. Egli ha dolce riposo. He is having a sweet rest right now. Ma infelice seria il vivere Living would be in vain anyway se l’amato mio consorte if my beloved, Flavia Flavia colla morte with his death, Forse là negli Elisi? Maybe in the Elysian Fields? agli Elisi showed me the path i sentiero mi additò. to the Elysian Fields. Silla Sulla Stelle rubelle, ecc. Outrageous stars, etc. Dove irai, Where you will also go, se non plachi un tanto orgoglio. if you do not restrain your pride. Scena 8 Scene 8 Flavia e Silla con un soldato che porta un bacile coperto, Flavia and Sulla with a soldier who brings a covered Flavia Flavia sopra di cui vi è la veste lacera ed insanguinata creduta basket, on which there is a shredded and bloodied gown, Avrò sempre per te petto di scoglio. My breast will always be like a stone toward you. di Lepido. believed to be Lepidus’s. Su via, tiran, recidi Come on, tyrant, cut short questa misera vita, e fa che l’alma this miserable life, let this soul 28 si congionga al mio bene. join my beloved’s. Silla Sulla Al fin, del mio rigore, At last, my beautiful one, I repent Silla Sulla bella, pentito, ora risveglia amore. for my harshness: awaken your love toward me! Il tuo fato, orsù, là si contiene. You destiny rests there.

Flavia Flavia (Silla le getta a’ piedi la veste di Lepido, (Sulla throws Lepidus’s gown at her feet Vanne, lascivo! Away, pervert! e parte sdegnato.) and leaves with disdain.)

Silla Sulla 29 Un sguardo Do not deny me Flavia Flavia non mi negar. one little glance. Ma infelice saria vivere Living would be in vain anyway se l’amato mio consorte colla morte if my beloved showed me the path

62 63 agli Elisi to the Elysian Fileds Lepido Lepidus il sentiero mi additò. with his death. Sì, mio cor. It is true, my dear.

Scena 9 Scene 9 Flavia Flavia Scabro, che conduce Lepido in prigione, e Flavia, Scabrus, who leads Lepidus to jail, and Flavia, who Altro non chieggio. I do not wish for more. credendolo un fantasma, corre con tutto ciò ad abbracciarlo. believes he is a ghost and yet runs to embrace him. (Partono.) (They leave.) 30 Flavia Flavia 31 Spirto adorato, oh Dio! Beloved soul, oh god! Brano strumentale Instrumental piece Vieni per consolare il duolo mio? Do you come to console my pain? Scena 10 Scene 10 Lepido Lepidus Silla, Metella. Notte, con luna in cielo. Spiaggia di mare Sulla, Metella. Night, with the moon in the sky. Seashore I fantasmi funesti Leave the dark shadows, [con un scoglio nel mezzo], con piccolo vascello e barchetta [with a rock in middle of the sea]. A small ship and a raft lascia, mia cara, il tuo consorte è questi. my dear, this is your husband. al lido. on the coast.

Flavia Flavia 32 Ah, lusinghe d’amor! Ah, love’s illusions! Silla Sulla Metella, oh Dio! Qual sento Metella, oh god! What pain Lepido Lepidus affanno nel lasciarti. I feel leaving you. Fugga i sospetti; Forget your suspicions; Lepido son. this is Lepidus. Metella Metella Ed io tormento. And I feel torment. Flavia Flavia Ah, che del nostro amore si ravviva la fiamma. Ah, the flame of our love is getting stronger! Ah, fantasia d’affetti! Ah, inventions of my feelings! Silla Sulla Lepido Lepidus E strugge il core. And the heart is in pain. Metella mi salvò Metella saved me. Dura necessità. Hard necessity.

Flavia Flavia Metella Metella Sogno, o vaneggio? Ed è ver? Am I dreaming or insane? Is this true? Partenza atroce! Painful departure!

64 65 Silla Sulla 34 Mi divide da te! It takes you away from me! Sinfonia Symphony

Metella Metella Metella Metella Destin feroce! Cruel fate! Assistete, soccorrete, sommi Dei, Assist, help, great gods, esaudite i voti mei. fulfill my vows. Silla Sulla (Entra risoluta nella barchetta, e vogando arriva allo (She enters the raft resolutely and reaches for the rock. She Sposa amata, perdona il mio rigore. Beloved wife, forgive my harshness. scoglio, ove prende Silla, conducendolo via seco.) takes Sulla with her and they go away.)

Metella e Silla Metella and Sulla 35 Sempre è più forte doppo i sdegni amore. Love is always stronger after pain. Marche March

(Silla s’imbarca, vedendosi il vascello ad entrare in alto (Sulla enters the ship, which is seen sailing off.) Scena 12 Scene 12 mare.) Piazza di Roma, ove nel fondo alla sommità d’una grande A square in Rome. At the end of a big staircase the Capitol scalinata si vede il Campidoglio. Lepido, Flavia, Claudio, can be seen. Lepidus, Flavia, Claudius, Celia, senators and Scena 11 Scene 11 Ce lia, senatori e popolo, poi Silla e Metella. crowd, then Sulla and Metella. Metella sola. Metella alone. 36 33 Lepido Lepidus Metella Metella Pera la feritade! Death to violence! Propizio arrida il cielo May heaven favor all’amato mio sposo. Oh dei, che miro? My beloved husband. Oh gods, what do I see? Claudio Claudius Cessi la crudeltade! End the cruelty! (Metella si volge a guardar il mare, e vede il vascello (Metella looks out to sea and sees the ship torn apart by a agitato da un gran borasca. Essendosi oscurata la luna, in great storm. The moon is darkened and instead of it a Tutti Tutti cui vece comparisce una gran cometa, con tuoni, lampi e comet appears with thunders and lightning. The ship is Libertà, libertade! Freedom, freedom! fulmini; e finalmente il vascello fa naufraggio, vedendosi destroyed and Sulla escapes by swimming to the rock. Silla a salvarsi nuotando sopra lo sco glio. [Metella agitata [Metella runs around the scene in great agitation.]) 37 corre per la scena.]) Marche March

66 67 (Vi scende un nube che copre il Campidoglio, ed aprendosi (A cloud comes down and covers the Capitol. Mars appears Silla Sulla poi [a poco] comparisce Marte nella sua gloria. Tutti si in his glory. Everybody kneels to worship the god and at Sì, di te degno consorte. Yes, your worthy husband. mettono in ginocchioni per odorare quel nume, ed in questo that moment Metella enters with Sulla. He kneels, then punto entra Metella con Silla che, mettendosi in gi nocchione rises to give Mars his sword and renounces all his duties Claudio Claudius poi rilevato, rassegna la spada e rinonzia a tutte le dignità [in the Republic], asking Mars for forgiveness for all his Cara, ti stringo al seno. My dear, I embrace you on my breast. [nella Republica], dimandando perdono (a Marte ad alla mistakes.) patria di tutti gli errori da lui commessi.]) Tutti Everybody Doppo tante tempeste è ’l ciel sereno. After so many storms, the sky is clear. 38 Silla Sulla 39 De’ miei falli pentito, I beg for forgiveness for my mistakes Coro Choir al tuo nume, alla patria, before your divinity, before Chi si trova tra procelle When one is amidst storms, chiedo perdon; e più presente il Cielo the fatherland, and before Heaven, sol dal Ciel speri conforto. he can only hope for help from heaven: il popolo, il senato, the people, the senate. Che non san negar le stelle the stars do not deny a faithful heart depongo il fer, le dignità, gli onori, I put down the sword, the dignity, the honors, a un cor fermo e calma e porto. peace and safe harbour. per trar colla consorte i dì migliori. to spend the rest of my life with my wife.

(Tutti si levano, e Silla discende, abbracciando Metella.) (Everybody arise, Sulla descends, embracing Metella.)

Lepido Lepidus Giorno felice! Happy day!

Flavia Flavia Ah! venturosa sorte! Ah! Thrilling fate!

Celia Celia (verso Silla) (to Sulla) Signor, se mi permetti, My lord, if you allow me, Claudio fia... Claudius will be…

68 69 Fabio Biondi & Europa Galante

il diario di chiara george frideric handel Music from La Pietà in Venice in the 18th century imeneo Glossa gcd 923401 Glossa gcd 923405. 2 cds (rec. 2013) (rec. 2015) antonio vivaldi georg philipp telemann i concerti dell’addio 12 fantasias for solo violin Glossa gcd 923402 Glossa gcd 923406 (rec. 2014) (rec. 2015) antonio caldara jean-marie leclair morte e sepoltura di christo violin concertos glossa with the Stavanger Symphony Orchestra Glossa gcd 923407 produced by Glossa gcd 923403. 2 cds (rec. 2016) Carlos Céster in San Lorenzo de El Escorial, Spain (rec. 2014) george frideric handel for vincenzo bellini silla note 1 music gmbh i capuleti e i montecchi Glossa gcd 923408. 2 cds Carl-Benz-Straße, 1 Glossa gcd 923404. 2 cds (rec. 2017) 69115 Heidelberg (rec. 2014) Germany [email protected] / note1-music.com

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