sign in sign up
<<
Home , Melissa (sorceress), Oreste, Roland (Piccinni)

Francesca Caccini

La Liberazione di dall’isola d’

Translation © 2013 Anne Graf / Selene Mills FRANCESCA CACCINI music for women’s voices, for herself and her (1587 to post-1641) pupils, and contributed to many court entertainments, but this is her only surviving ‘La Liberazione di Ruggiero dall’isola . d’Alcina’ (1625): The opera: ‘La liberazione di Ruggiero Commedia in musica: Prologue and 4 Scenes dall’isola d’Alcina ’ was commissioned by Florence’s Regent Archduchess, Maria Introduction, Dramatis Personae & List of Magdalena of Austria (hence her honorific Scenes, Synopsis, and Translation mention in the opera’s concluding ballet stage (the last with much help from Selene Mills): directions). It was published under her auspices for the state occasion of the visit to Anne Graf 2010 / rev. 2013 Carnival by a Polish prince, Wladislas Sigismund. It celebrates his recent victory Sources over the Turks (symbolised in the opera by the Edition by Brian Clark 2006, pub. Prima la wicked sorceress Alcina). The first Musica! 3 Hamilton St, Arbroath, DD11 5JA performance was in Florence in the Villa (http://www.primalamusica.com), with Notes Poggia Imperiale on 3 February 1625, and it therein; and separate text of the by was revived in Warsaw in 1628. Ferdinand Saracinelli; -with additional information from the article The music: Francesca set the libretto as a on Francesca Caccini by Suzanne G. Cusick ‘Balletto in Musica ’, part opera, part ballet, in ‘The New Grove Dictionary of Music and lasting about 2 hours, with music, drama and Musicians’ ed. S. Sadie 1980, 2 nd edn.2001, dance, concluding with a grand ‘Cavalry vol.4 pp775-777; Ballet’on horseback ( balletto a cavallo ) such -and from the English translation of ‘ as was popular in Florence from the mid- Furioso ’ by Guido Waldmann 1974, Oxford 1610’s onwards. The opera is in the tradition World’s Classics, OUP 1974 & 1983, of the previous century’s ‘ Intermedii’ , with Introduction and Cantos 6-8. choruses, solo and . The latter resembles Francesca’s father’s in style, while Another edition has been published in the arias mainly have tuneful melodies in triple America, ed.D.Silbert, 1945, Smith College time, in the new operatic style. ‘Seconda Music Archives vol.7, Northampton, Mass. prattica’ devices such as unprepared (not consulted). dissonances and chromaticism are employed, reliance being placed also on subtle phrasing I am most grateful to Selene Mills for her kind and ornamentation, and tonal planning. help in correcting my translation of the Italian. Francesca skilfully respects the Italian speech Any remaining errors are of course my own. rhythms and the spirit of the words, as she explores the relationship to power of the two INTRODUCTION main female sorceress characters and the hero knight Ruggiero. Alcina resorts to emotional The composer : Francesca Caccini (1587- appeals and outright threats, to reason post-1641) was the elder daughter of Giulio and morality. The once-besotted Ruggiero is Caccini (Romano) and was the first woman recalled by her influence to his senses, to his opera composer. She was a singer, a guitar, chivalric commitment to arms and to his harp and keyboard player, and a poet in Italian previous love. Melissa, the ‘good’ witch, has and Latin. She had earlier performed in her music in through-composed ‘ stile recitativo ’ father’s productions, and was then employed mainly in the ‘natural’ hexachord, though in her own right as their highest-paid musician notated in the ‘mollis’; whilst Alcina, her evil by the Medici in Florence, Tuscany from opponent, embarks on varying tonal excursions 1607-1627, returning 1633-1641.. Francesca to far points in both ‘durus’ and ‘mollis’ was married twice, and had a daughter and a hexachords. Francesca employs many genres, son by her first and second husbands such as canzonettas for 3 , respectively. She is described as ‘fierce and reminiscent of the ‘concerto delle donne’; restless’, ‘gracious and generous’, and ‘a rare ornamented strophic arias for the hero’s initial wit’, and is known to have opposed the court happiness, but serious unornamented recitative poet for his alleged seduction of young singers, after his liberation; and multi-part madrigals her pupils, to whom she taught singing, for the Chorus of Enchanted Plants. instrumental performance and composition. Francesca Caccini wrote much vocal chamber

2 INTRODUCTION contd: DRAMATIS PERSONAE & LIST OF Background to the story: The verse libretto SCENES of ‘ Ruggiero ’ by Ferdinand Saracinelli marks a shift away from the mythological subjects of Sinfonia : bars 1-40: Score pages 2-3 early Florentine opera, to themes from epic poetry. It is based on Cantos 6 to 8 of the epic Prologo : [At Sea]: p.4-11 : chivalric romance ‘ ’ by b.41-105: Neptune (1474-1533), a story also b.106-137: River Vistula later set to music by Vivaldi and Handel. b.138-189: Chorus of Water Deities b.190-235: Neptune, Chorus of Water Deities The plot: The heroic Saracen champion Ruggiero (Roger) is freed from the enchantments of the wicked sorceress Alcina Scene I : [At Sea]: p.12-14: through the power of Melissa, another enchantress, working on behalf of his beloved, b.236-255: Sinfonia the Christian warrior maiden , a b.256-316: Melissa, on a Dolphin, approaches member of ’s army. Melissa also the island of Alcina. liberates Alcina’s former lovers (with some of their formerly-beloved damsels), now turned Scene II: [On Alcina’s Island]: p.14-48: into plants and trees as she tired of them. These include , another of b.317-569: Alcina & Ruggiero, with Chorus Charlemagne’s knights, who is an English of 6 Damsels prince, cousin to Bradamante and to Orlando b.570-660: [Libretto: While Alcina departs]: (), eponymous hero of the epic. Damsels, Ruggiero b.661-766: A Shepherd & Ruggiero The legends: This rich medley of plots and b.767-853: A Siren & Ruggiero characters forms part of the legendary b.854-962: Melissa & Ruggiero narrative of the adventures of the knights of b.963-1115: Enchanted Plants, Ruggiero & Charlemagne against the Moors, in Spain and Melissa . in other, often mythical, parts of the world. In b.1116-1214: [Alcina returns].The Chorus of 778 AD Charlemagne was withdrawing across Damsels & Alcina. the Pyrenees when his rearguard, led by his b.1215-1314: Oreste (Messenger), Alcina & nephew Roland (Orlando), was ambushed as a Damsels result of treachery and cut to pieces at the Pass b.1315-1584: Alcina, Damsels & Ruggiero of Roncevalles. Stories and legends about b.1585-1630: Ruggiero & Melissa these lost heroes grew and circulated widely over the succeeding centuries, especially in Scene III: [On Alcina’s Island]: p.48-53: France and Italy, some eventually even involving the knights of King Arthur’s Round ‘Here the scene changes, the sea is on fire, and Table. Alcina comes in a monstrous boat woven of whalebones, with a Chorus of Monsters’. Ariosto became obsessed with these legends and worked on his own version for over 25 b.1631-1691: Alcina, Chorus of Monsters years, publishing it in 46 sections or ‘ cantos ’ b.1692-1750: Astolfo, Melissa & Alcina in 1532, the autumn before he died, with much witty parody of the medieval Romances and Scene IV: [On Alcina’s Island]: p.53-59: with a clear sense of the absurd. He was a cultivated poet, playwright and satirist, ‘Here Alcina in the boat, which turns into a sea employed in the service of the Este family at monster with wings, takes flight and flees, and their court in Ferrara in the Po valley, a centre the whole Scene transforms into rocky cliffs’. of Renaissance culture and learning. Ruggiero and Bradamante are portrayed by Ariosto as b.1751-1593: Melissa destined, once re-united, to become glorious b.1794-1869: A formerly-Enchanted Lady; founders of the Este dynasty, an elegant Melissa gesture of tribute to his patrons and employers. b.1870-1882: Chorus of newly-liberated Knights ooo000ooo b.1883-1917: Tutti.

ooo000ooo

3 SYNOPSIS Alcina goes to attend to her kingdom, leaving Ruggiero to enjoy his surroundings until she Sinfonia: bars 1-40: Score pages 2-3 returns. b.661-766: A shepherd tells of his love. Prologo: bars 41-235; p.4-11: [At Sea] b.767-853: A Siren rises from the waves and also sings to Ruggiero of the delights of love. Neptune , god of the sea, summons other water Ruggiero falls asleep. deities to sing in praise of the visiting Polish b.854-962: Melissa , disguised as Atlas, royal guest, Prince Wladislas Sigismund. awakens Ruggiero , bids him feel ashamed of The Spirit of the River Vistula and a loving ‘a filthy sorceress’ [ sozza Maga ] and Chorus of Other Water Deities call on summons him to return to his warrior calling. Phoebus Apollo to help in this praise; then He resolves to go with her and leave Alcina. Neptune introduces the story of Ruggiero. b.963-1115: Chorus of Enchanted Plants entreat Ruggiero not to leave them to the Scene I: b. 236-316; p.12-14: [At Sea] tender mercies of an angry Alcina. Melissa promises to ensure their safety. They cringe as Melissa , an enchantress, riding on a dolphin, Alcina returns. approaches Alcina’s island. She has visited b.1116-1214: Chorus of Alcina’s Damsels, & Merlin to learn from him, and was informed by Alcina, who has forebodings of her doom. him of Bradamante and Ruggiero’s destiny to b.1215-1314: The lady Oreste, a Messenger, become founders of the Este dynasty. She describes seeing with Ruggiero a white-haired therefore resolved to help Bradamante in her old man, who is then revealed as the majestic quest to be re-united with her lover, and sets lady [ maestevol donna ] Melissa, and how off to rescue Ruggiero from Alcina’s Ruggiero now recalls his love for Bradamante enchantments. To approach Ruggiero in and is resolved to leave Alcina. acceptable and authoritative fashion, and b.1315-1584: Alcina & her Damsels plead in reveal to him Alcina’s true nature, she resolves vain with Ruggiero to stay. She goes off with to take on the appearance of Atlas , an ancient her Damsels, furiously angry. African sorcerer who had lovingly brought up b. 1585-1630: Ruggiero expresses his joy at Ruggiero and who (knowing of a prophecy of his freedom to Melissa , and reminds her to free Ruggiero’s early death as a baptised Christian, Astolfo and the other Enchanted Plants before treacherously slain) tried to keep him from the leaving the island. dangers of battle by setting his magical flying hippogryph to carry Ruggiero off instead to Scene III: b.1631 – 1750: p.48-53: ‘Here the Alcina’s island, where he has since been held a scene changes, the sea is on fire, and Alcina willing captive, though on false pretences, by enters in a monstrous boat woven of his hostess. whalebones, with a Chorus of Monsters’.

Scene II: b.317-1630: p.14-48 [On Alcina’s b.1631–1691: Alcina threatens Ruggiero with Island] the anger of a woman scorned. The Chorus of Monsters call for vengeance on b.316-660 : Alcina , an ancient sorceress, sister her behalf. of Morgana the supposed sister of King b.1692–1750: Astolfo , son of the king of Arthur, by magic appears young and beautiful, , a knight of Charlemagne, & cousin and has enchanted Ruggiero. When tired of of Orlando (Roland) and Bradamante, freed by her numerous previous lovers she has turned Melissa from Alcina’s spell which turned him them (and some of their formerly-beloved into a myrtle, wonders how they can now damsels) into trees and plants around her escape Alcina, the fiery sea and the monsters. palace on the island. Melissa reassures him that they will all fly Ruggiero (Roger), a descendant of Hector of away with her help. Her power is far stronger Troy, and future ancestor of the House of Este, than Alcina’s, and she bids the monsters and is a Saracen champion, but in love with, and Alcina depart. loved by, Bradamante, a Christian warrior Alcina concedes defeat, since fate is against maiden in Charlemagne’s army, though he has her. seen her only once. Now, forgetting her through Alcina’s spells, he is enchanted and Scene IV: b.1751 – 1917: p.53-59: ‘Here happily enslaved by Alcina. Alcina, in the boat which turns into a Sea Chorus of 6 Damsels, attendant upon Alcina Monster with wings, takes flight and flees, and the whole Scene transforms into rocky cliffs’.

4

SYNOPSIS contd : ‘When the Ballet on Horseback is finished, the Sc.IV contd: following Madrigal is sung to end the whole celebration’ [Libretto : in praise of the most b.1751–1793: Melissa points the lesson of dire beautiful Tuscan Ladies ]: consequences if mortals do not control unruly unsuitable passions: all the seeming beauties b.1883–1917 : Madrigal: Sadness is over, so of the island are now seen to be but show – laugh and rejoice. just rocks, ruins and caves. ooo000ooo ‘Here comes the Dance of the 8 Ladies of the Most Serene Archduchess with 8 principal Nobles, and they execute a most distinguished Ballo’. [Libretto Here the Ladies, coming forth from a certain grotto, dance. When the dance is finished, one of the freed Damsels sings] [Bars 1623-1630 suggest some of the Enchanted Plants were noble damsels who gave liberty to their beloved by themselves remaining enchanted in their place,] b.1794–1869: A Lady Formerly Enchanted sadly longs for the return of their Enchanted Knights. Melissa summons the Knights to come dance with their Ladies and rejoice.

‘Here the Knights are freed, acknowledge their Ladies, and follow the dance’[Libretto: with their Ladies. When the dance is finished, they proceed into the theatre to perform the Ballet on Horseback.] b.1870–1882: Chorus of Freed Knights which sings of their joy and happiness immediately the dance of the Ladies and Knights is finished.

‘Here follows the Ballet on Horseback’. [Libretto : Words performed to the accompaniment of music, sung while the Knights on Horseback dance:

‘The witch’s cruelty has been ended thanks to Ruggiero’s virtue. Virtue brings enduring joy, so let us now rejoice.’

In the middle of the Ballet on Horseback Melissa enters on a chariot pulled by Centaurs, and sings the following:

‘Empty earthly desires bring no satisfaction; climb instead the steep path to virtue.’]

5 TRANSLATION Prologue contd. That he may satisfy your desires This is deliberately rather literal to aid With his fine singing. interpretation of individual words, and retains b.138: Chorus of Water Deities: where possible the line structure of the Italian Golden-haired god of fair Parnassus verse, so at times may read somewhat Set in motion rich [reverberations] awkwardly in English. [Of] a most sweet sound from [your] golden Editorial insertions are in square brackets, strings, translated extracts from the Libretto in italics. And let the harmony consonant Additional punctuation has been inserted, and Always be further setting and stage directions deduced To the valour of [this] most brave king. from the text.. b.154: Duo: For [his] ardour, for the toil of Bellona Sinfonia : bars 1-40; score p.2-3 [Goddess of war, sister of Mars] Weave for [his] hair a fair garland. Prologue : b.41-235; p.4-11 [At Sea] Make audible, O kindly Deity, b.41: Neptune: The wonderful sound of his glory. Not because the African and chorus, b.172: Trio: conspiring together Do so none the less, Against famous Aeneas, arm themselves From your fair breast with anger; While is silent Not because Jove comes to my great kingdom The fierce trumpet in happy peace. Changed for the sake of gentle Europa into a b.180: and Sopranos: bull; Make audible, o kindly Deity, b.54: Ritornello The wonderful sound of his glory. b.58: But to marvel that, within the Tuscan b.190: Neptune: shores After sky and sea today decree Among Flora’s fair suns, the bright Son Equal sway to thy great valour, Of the great Sarmatian King opens his eyes, May it please you to hear how Ruggiero Do I, Monarch of the Sea, come out of the Abandoned the love of evil Alcina. waves.. b.202: Ritornello b.71: Ritornello b.206: Through the ardour of his betrothed b.75: Come with me, and with sonorous for her faithful lover voices, He spurned the evil sorceress’s base deceits. Spirits of the Waters, honour in peace The brave-hearted courage of the loving Him who defeated in war the Moscovite prince And the Thracian, and beat the fierce Creates a joyful sight for [her] royal heart. Tartars. b.220: Chorus of Water Deities: b.88: Ritornello Golden-haired god of fair Parnassus b.92: Sovereign irrigator of [my] noble Set in motion rich [reverberations] kingdom, [Of] a most sweet sound from [your] golden Faithful tributary to me, it is fitting for you, strings, Vistula, to sing the immense praises And let the harmony consonant Which gladly the Tuscan kingdom celebrates. Always be b.106: River Vistula: To the valour of [this] most brave king. O [thou], of the watery kingdom The revered Lord, to utter the praises [Libretto: The end of the Prologue ] Of these glorious kings These waters have not the trumpets. [Scene I : bar 236-316: Score p.12-14] Although the heart blazes with deep desire to Melissa, on a dolphin, approaches the island do so. of Alcina. b.116: It is [thus] silent and sighs for it. Only the lyre of Phoebus b.236: Sinfonia For this unconquered Mars Whom all admire b.256: Melissa: Thus, wicked Alcina, Can utter [even] a part of [his] glories With the lying beauty b.126: And fill pages with [his] immortal Of [your] deceitful face fame.. Do you trust to hold buried through your We, to the sound of these waves, wicked passion Will beg him in the meantime This flower of all chivalry,

6 Sc. I contd: Sc.II contd: b.267: This unconquered Ruggiero, b.350 Another Damsel Destined to bring back such bright laurels? Amongst these plants Thus will you hold [him], so that in vain Thy charming lover May be the promises made by me, You hold with a thousand knots A noble maiden; b.362 Ritornello And from [that] glorious and fine race b.367 Two Damsels: b.277: Shall there not issue the destined Noble Ruggiero heroes? Warrior of Love No, no; if I am Melissa, Well can you be called happy. I will fully satisfy, b.375 Three Damsels: O faithful Bradamante, your desires. A slave of Love, b.288: I will simulate the appearance He passes the hours Of African Atlas. Beside your [i.e. Alcina’s] fine Sun. His wicked lover’s b.383 All the Chorus: Face and art I will make known to Ruggiero; He passes the hours I will bring about what he wants himself, Beside your fine Sun. To follow the honoured works of Mars. b.393: Ruggiero: Prayers and sighs in the meantime Just as much as, by my sweet & blessed fate b.308: The deceitful and murderous sorceress I adore thee, my soul, so much I owe you, [Will] pour out, and rivers of tears, Although I live wounded to death by you. So that a spirit fired with rays of But you, my heart, do not perceive glory b.403: What sufferings & what torments [Her] treacherous beauty will entice, in vain. The wanton Archer shoots from your eyes; Every glance is a wound. [Scene II : bar 317-1630: Score p.14-48]: My life is wretched If these delights, and [your] beloved and [On Alcina’s Island, near her palace by the beautiful eyes, divine stars, seashore, beneath adjacent mountain cliffs b.413: Cause of my languishing, with cool caves and grottoes, in a grassy Do not know how to heal just as to wound. meadow, with scented flowers including b.418 : Alcina : lilies and violets. The air is filled with Ah, do not make fun birdsong. The scene is on the banks of a Most noble lover, stream with trickling waterfalls, by a lake Of one who for you consumes herself in a with swans, surrounded by woods of living fire. cypress, myrtles and other ivy-clad trees, This appearance [of mine] does not play which are Alcina’s former lovers and some A part, except merely to allure you to sigh of their formerly-beloved damsels, [for me]. transformed into trees. On one is hung b.429 : [Let] my mirror speak, there where Ruggiero’s abandoned sword, shield and imprinted, armour.] [Though] deprived of all beauty, I have a custom of looking at myself. Alcina and Ruggiero, with a Chorus of 6 b.437: Ruggiero: Damsels. [Ruggiero is bedecked with Be silent, for only in the jewelled torc and armlets, the gifts of sky, Alcina.] In the sun and in the stars b.317 Chorus of Damsels : Can be contemplated your beautiful Here it can be said appearance. That of joy But if you take delight Love places [his] seat. In looking here below at what you are, The God of day, [i.e. the sun,] b.448 Leave the lying glass, lay open my b.316 Revolving [all] around breast; Does not behold a similar couple [i.e.to My passions will speak it; Ruggiero and Alcina]. Your face will speak therein, b.337 Ritornello . Which I carry in my bosom, a welcome b.342 A Damsel : Paradise. Powerful Alcina b.457: Alcina: Queen of us [all] Conquer, Signor, your natural chivalry. Triumphs and delights in love. Inasmuch as I am pleasing to you, I am

7 Sc.II contd: The hot rays of the sun. b.570 : Two Damsels [Libretto : while Alcina beautiful still. departs ]: Provided that the torch of Love Flying breezes, Burning still reigns in your heart, Singing birds, b.468 : Provided that faith, that peace Trickling fountains, So live eternally in your heart, Graces and Loves I will be whichever pleases you more, b.582 : From [all] around [this place] Either star or sun, or a loving goddess. You make the sun brighter, the day happier. b.478: Ruggiero: b.599 : Ritornello My beloved, by your beauty b.604 : Three Damsels : I will be inflamed while I live. Frosty caves, Deprived of life, I will burn as a bare spirit, Brilliant sun, b.485 : My darling, by your beauty. Grassy meadows, As a model of loyalty and of constant fervour Lilies and violets Behold [my] right hand, and in [my] right From [all] around [this place] right hand, my heart You make the sun brighter, the day happier. b.493: Alcina: b.637 : Ruggiero : Then with equal fire may eternally O how sweet it is to love compassionate Burn our desire, beauty. For one cannot be sad Love has its own talent; Who halts the quiver-bearing God by loving. Another’s however causes only war. b.503: One Damsel of the Chorus [v. 1]: [Love] will not ever give torment If in the beloved compassion is firmly joined. [Omitted text from Libretto, which fits the b.648 : I, who in rare beauty music of b.503-528 if repeated: see Score Found beautiful compassion, Endnote ‘List of Amendments]: Enjoy the rose of Love without thorns. O how sweet it is to love compassionate [When Love wishes to draw his bow beauty. No woman can prevail. b.661 : Ritornello, played with 3 ‘flauti’ A heart of stone in the hardest bosom b. 672 : A Shepherd, who tells of his love : b.513 :Who wishes to defend herself from Him, For the most charming and Feels the arrow, beautiful earthly star, For which she pours out most bitter tears.] Which today obscures the golden rays of [Another Damsel : v.2]: Phoebus, b.503: They were wise to yield at once b.682 : My heart burned. Their hearts Love smiled, To the looks which pierce. Eager to see again my suffering. b.513 : Enjoy now among the myrtle and ivy b.703 : Ritornello, with ‘ flauti’ as above . Your loves, b.714 : There follows the same Shepherd : While the air and the brook entice you. But to have scorned me b.529: Alcina: [She was] soon repentan; Remain, o my lord, With her compassion my heart is healed, On these pleasant shores, b.724 : Whence I know faith While I go (if you do not take it amiss) To whoever does not believe it, To [attend to] the cares of [my] kingdom. That Love alone is the God of all delight. b.538 : You will have a thousand delights: b.745 : Ritornello, with ‘ flauti’ as above . Here with charming little birds b.756 : Ruggiero : The countryside is filled, O happy Shepherd, Here of nymphs and shepherd [He] who at your song does not feel Are heard the happy loves, The flame of Love renew in [his]bosom And of swans and sirens Indeed has a heart of ice and of stone. The sweet songs, which perforce put Argus to b.767 : A Siren, who rises from the waves : sleep. [You] who, in the flower of youth, b.555 : Ruggiero : Wish to enjoy kindly sweetness, Go then, go, happy queen of Love, Follow Love, Through the scented flowers Which dispels Of this pleasant meadow. All harm, all pain. Your return will be desired by me b.776 : Follow Love, follow Love, Just as the cold shore soils [long for] [You] who in the flower of youth

8 Sc,II contd: Which made you so famous? b.897 : Contemplate, with what scribbles, Wish to enjoy kindly sweetness. With what profane songs b.786 : Ruggiero : You have stained these weapons. Ah, in the beautiful waves, with what, Ruggiero, the victorious, O most sweet Siren, Dedicates his heart to Alcina, Heavenly harmony do you curb the senses? His weapons to Love. O mountains, o shores, o woods, b.907 : Take off, mad that you are, b.796 : O soaring birds and wild beasts, From your warrior’s arms, Listen to [these] sweet tones. And from your manly neck, the jewels and Be silent, fountains, and you [too] be silent, o necklaces, winds. Leave the wicked sorceress b.803 : The Siren : [Ruggiero slowly falls And move to confront the enemy ranks, asleep ] If your fine spirit is still desirous of glory. Whoever desires with charming laughter b.921: Ruggiero : To make cheerful and happy his face, Woe is me, for only too well Make a plaything I recognise my failings, Of this fire But I do not wish to look at them without Which sweetly inflames a heart. dying. b.813 : Follow Love, follow Love, [O] most fierce grief, most bitter torment, Whoever desires with charming laughter, Which from here [all] round in [my] heart To make cheerful and happy his face. Increase my shame and my repentance, b.823 Ritornello b.932 : Wage war upon me always, b.828 : The Siren : Shake me, you, so much that I die. Whoever in the course of his life [Takes off Alcina’s gifts of jewellery & Always wants pleasant peace, throws them to the ground] Should enjoy himself and keep silent Be off with you, scattered on the ground, Nor should it displease him [You] empty displays of Love; encircle my To pass [every] day and hour in loving. arm b.838 : Follow Love, follow Love, Anew, [my] bright shield, Whoever in the course of his life b.941 : And [my] strongest armour, adorn Always wants pleasant peace. my breast. b.849 : Ritornello Pardon, [o] pardon my unworthy fault, b.854 : Melissa, the Enchantress, in the form O my guardian and father, of Atlas, who wakens Ruggiero, put to sleep b.950 : No more do I burn with love; I burn by the Siren’s song : with anger, Behold the hour, behold the moment [has And I long to assail warrior squadrons. come] b.957 : Melissa : To draw from servitude the noble warrior. Let us go quickly to arms, Behold the fatal day which has now arrived. Where if one runs towards glory Arise, arise, Ruggiero ! Great honour can abolish [this] brief delay. b.864 : Ruggiero : b.963 : One of the Enchanted Plants : What importunate voice disturbs my rest? Ruggiero, on the harsh injuries b.867 : Melissa : Of these mournful plants, Atlas [it is who]comes to you Ah, do feel pity in your heart. To learn what madness b. 970 : We will remain most sad Drives you to disgrace yourself on these And weakened in all hope sand[y shores]. If your power departs. Of my long efforts b.978 : Chorus of the Enchanted Plants , Do I gather these fruits? together with 5 ‘ violas ’, an ‘arciviolata’, 4 b.876 : In military passion trombones, chamber organ and a plucked All the earth blazes up, instrument: All Libya and all Europe goes to war, O what merit, what great Every braver mind Praise you will have, if our weeping is Scorns the risks of death, assuaged. b.886 : And do you, badly advised, b.988 : Ritornello, played by 4 ‘ violas ’ 4 Like to be loved by a filthy sorceress? trombones, chamber organ and a plucked Shameless Ruggiero, instrument: Where is your unconquered sword, b.995 : Ruggiero : Where the bright steel, O pitiful life!

9 Sc.II contd: b.1116 : The Chorus of Damsels : O fine thoughts, fly If suffering is virtue, To the beauty which enchants Heaven. You well deserve infinite praise. There, look, the grass is decked more prettily b.1003 : Another of the Enchanted Plants: with flowers; What wretched havoc There await her. Will the horrid wild beast wreak b.1145 : Lively desires, run, On this unhappy day. Say that gladly we come, singing. Her implacable anger There, look, drifting in sweet harmony All will fall terrifyingly The winds sport. On us wretched ones here. b.1174 : Alcina : b.1018: Another of the Enchanted Plants : Here I left my Life [i.e. Ruggiero], Make [us] remove from here, But where he hides now, And let the feet be released Which of you, branch or leaf, Of [us] who will praise thee. Which of you, pretty fountains, will tell me? The bark he can remove b.1183 : Alas, why do I see on the ground And untie the harsh knots Lying abandoned With which she has bound others. All my gifts, so dear to my fine Sun? [i.e. b.1032 : Chorus of the Enchanted Plants , Ruggiero] together with the same instruments as specified Alas, that in these spoils above : I perceive another’s trickery. O what merit, what great I foresee my grieving and my death. Praise you will have if our weeping is b.1196 : A Damsel : assuaged. Do not mourn, o queen. b.1042 : Ritornello, played by the same Perhaps with such fine art instruments as specified above . Here amongst [these]dense branches b.1049 : Melissa : Your Ruggiero wishes to test if you love him. Be comforted, o plants, b.1205 : But what’s this, woe is me, do I see Who greatly languish or fear. (Sign of a bad omen) Revive today your heart’s dead hope. Coming towards you your faithful Oreste. For your safety, against wicked Alcina With [her] fair cheeks pale and sad? Today our valour will fight. b.1215 : Lady Messenger [Libretto: Oreste ]: b.1062 : Chorus of the Enchanted Plants , I do not know which is greater, together with the same above-named [My] fear or my sorrow instruments : That for you, my queen, Go [hence] happily Overshadows my breast and transfixes my While we here, heart. Solitary and silent, You hear of a strange event. Will pass the day b.1226 : Just now, there where Praying continuously By the cypress fountain That the hour may arrive Hang the famous weapons of your fine Sun, Of [our] liberty. (i.e. Ruggiero) b.1080 : Ritornello Amongst those shady plants b.1084 : There follows the same Chorus: I saw Ruggiero, and with him On [this] lowly ground b. 1235 :A man of white-haired appearance We will move [our] feet, Who admonished the young man; Placing the restraint Then he counselled [him] On the one who gave it To noble warlike exploits. Singing happily b.1244 : But listen, (0 marvel!) And treating with contempt I saw in an instant [The one] who betrayed [us]. That severe appearance b.1102 : One of the Enchanted Plants : Transform into a majestic lady Alas, what atrocious sight Who said ‘I am Melissa, Shows itself to my eyes. b.1254 :Even though to your eyes there Behold the cruel and fierce appeared Atlas. Pitiless hag; behold her Hither Bradamante desired Who made us unhappy. That I should come flying to you, Be silent with me now, faithful friends. To recall to you alone [Libretto: Alcina returns, with the Chorus of Her love, her loyalty. her Damsels .] b.1263 : And that you ought not, submerged in

10 Sc.II contd: Listen to my most justified complaints. b.1377 : Stop, stop cruel [one], and these eyes, cheap pleasure, Which just now [you were] proclaiming [to be] To scorn her, who gives you her own heart’. both stars and suns, b.1269 : Alcina : Behold how they are turned by you into rivers; What did Ruggiero say then? Reflected in this face, Alas, that by a thousand proofs b.1386 : Where joy and laughter had their seat. I [should] know how fickle is human thought! You will see your failure and my loyalty b.1276: Lady Messenger : And that, through pain and sorrows, All happy and smiling, All the sadness in the world is there gathered. As appropriate to his mother, b.1397 : Ruggiero : To her he quickly bowed, pays his respects, Alcina, control your weeping, Then with such lively affection And if sorrow rules you, b.1285 : He asked for news of his Bradamante Weep for your own betrayals and my mistakes. That it was clear [that] in that breast b.1406 : Alcina : For that charming beauty Alas, if you do not take pity on my languishing Was enclosed in that instant a sea of fire; Let your own failing move you. b.1294 : But of you, who even now Only realise, what an inextinguishable Were his very own heart and his life, dishonour would be That unfaithful one then said nothing else Treachery, for a noble knight. But that he wanted to make a break with you: b.1417 : Ruggiero, my darling, b.1303 : I, being hidden by branches, I fear greatly for thee, greatly for myself, [And] not seen by them, heard it all. If you deny me help in such great anxieties. When I saw him absorbed b.1427 : Alas, how, without [any] fault on my In wishing to escape part, from you I came here in a moment, Do I see every shadow of pity has vanished? So that you might prevent his departure. Life of my life, b.1315 : Alcina : If [your] own honour Alas, Melissa, Melissa, b.1437 : And the last words of my speech I recognise that all my misfortune comes only Cannot bring it about that your severity is from you. stopped, Malicious one, am I not yet safe Ah, at least, remember From you within my own home? What sweet embraces b.1324 : Ever insolent and harsh, b.1446 : In peaceful love you enjoyed with me Do you disturb my kingdom and my peace? And may such a sweet memory hold back your But an audacious spirit does not always steps. triumph. b.1454 : Another Damsel [Libretto: The I will go to find this cruel one [ i.e.Ruggiero], Messenger Oreste] : b.1335 : And with sweet notes O ferocity of a tiger, o heart of stone, And with moist cheeks To a supplicating lady, a loving lady, I will soften [his] proud heart. The most faithful and constant From [my] grieving eyes I will send forth b.1463 : Who ever indeed spilled out sighs or Most sweet flames and lively arrows prayers, b.1346 : Which will cut off the wings of Do . you still deny pity and deny peace? his new desire. b 1471: Alcina : b.1350 : A damsel (Libretto: of Alcina’s ]: Tell me, o you Heavens, since he is silent, Behold, beautiful queen, Ruggiero [comes] Which is the greater, his stubborn will or my to us. grief, Now we will see how much power Which gains nothing from the heart of this Divine beauty [has], with sweet tears. cruel man? b.1358 : Alcina [Libretto: on seeing Ruggiero ]: b.1482 : Another Damsel : Stop, stop, cruel [one]. O ferocity of a tiger, o heart of stone. Where are you going, pitiless, from here, b.1487 : Alcina : Where you ungrateful[ly] leave me a prey to Thus do you season, ungrateful [one], weeping? With most bitter poison, At least rein in such great All [our] sweetness, all [our] past joy? Rush to depart For this your faithful [lady], b.1368 : For immense grief is killing my Who gave you her heart and kingdom soul. b.1496 : Do you make no sign of love, and Look at my tears, hear my shrill cries, deny [her] peace?

11 Sc.II contd: bewitched here, Remove with me the plants on this bank, What [is] such severity and such anger for? Where lies grieving [O] Love, you see, [o] Love, One related by blood to my beautiful goddess How greatly are despised [i.e. Bradamante] b.1506 : Chivalrous acts and [your] immortal Within a leafy myrtle, quiver. A noble famous warrior. O ferocity of a tiger, o heart of stone. b. 1617 : Melissa : b.1515 : Ruggiero : Not only the illustrious Astolfo, Oh, be silent now, you too-much friend of But all who were wicked Alcina’s [former] love, lovers Annoying to my eyes more than death. Today will be happy, Oh [you] cruel enemy of loyalty and of pity, [And] happy also will be the noble damsels On these bare sands Who to give liberty to a dear beloved b.1525 : As a fitting punishment b.1628 : Remained enchanted amongst these In [well-]deserved tears plants. Remain grieving for me for ever. [She frees Astolfo and the other Plants from b.1532 : Alcina : Alcina’s transforming spell ]. Alas, that I [should] ask [him] in vain. Ah, why do I not prevent him [Scene III : bar 1631 – 1750: Score p.28-53]: From leaving here by force? Ah, why into hard tree-bark Here the scene changes; the sea [is] on fire, Do I not now change his cruel appearance? and Alcina enters in a monstrous boat b.1544 : [O] Furies, who, down in the city of woven of whalebones, with a Chorus of Pluto Monsters. [Are] always at the disposal of every wish of b.1631 : Alcina : mine, What rash heart Come to me to my usual abode. At the sight of these Through you may the terrible waves Black storms rippling with fire b.1553 : Burn in living fire Will not feel death’s And from the deep black abyss Cold fear? May frightful orcas and whales come forth, b.1641 : What spirit so strong Such that from these sands Will be able to look at Alcina’s All paths for departure may close. Enraged appearance? [To Ruggiero ]: O badly-advised lover, b.1562 : Come on, flee now, flee if you can! Since you have scorned my heart and my May the power of my spell bring about kingdom, What [my] prayers and tears attempted in vain. You will experience how great [is] the power b.1571 : Another Damsel [Libretto: of Alcina’s ] Of a betrayed beauty’s anger and wrath. [To Ruggiero ] Ah, cruel one, ah, discourteous! b.1655 : Chorus of Monsters : Such burning [passion], such insults He will experience cruelty You will repay with death. Greater than which has been none, [To Alcina] It [your heart] will open its gates Nor ever will be. To anger, to fury; b.1663 : One of the Monsters : Your heart will know how to hate, as much as Proud monsters, it knew how to love. On the wicked goddess [i.e.Melissa] [They go off ] Make assault. b.1585 : Ruggiero : [To Melissa ]: Demonstrate Now that troublesome face [That] to punish Is removed from my sight Your anger knows how, May my face speak to you, Someone who does not have faith. For I do not know how to recount b.1670 : Chorus of Monsters : The infinite joy He will experience cruelty Of a heart free and released; Greater than which has been none b.1594 : May my face speak to you, Nor ever will be. From whom [my]heart learned b1678 : One of the Monsters : The desire for glory and for a chaste love. Proud monsters, But, kind mother, For you awaits Before giving liberty Vengeance. b.1604 : To the [other]wretched people Kill !

12 Sc.III contd: Sc.IV contd:

To him who is harmful, See, o brave champion, Serious retribution How the pomps and comforts Alcina gives. Of the proud palaces, b.1684 : Chorus of Monsters : How the prettiest fountains, He will experience cruelty b.1771 : The crystalline lakes, Greater than which has been none The verdant meadows, Nor ever will be. The scented gardens, b.1692 Astolfo [previously freed by Melissa ]: The palms, the sceptres, the kingdoms and the And how, alas, from [this] hateful kingdom crowns Shall we get away, through the living burning Will in the end be nought else flames? But caves, rocks and ruins. With the witch do not cruel monsters and b.1782 : Whence you, who pass portents In the horrible caves Stand guard over these enchanted sands? Troubled days in shady night, b.1704 : Melissa : Make return to us Calm your hearts. Happy hearts and serene days. High flight in the sky And my motherly zeal Here comes the Dance of 8 Ladies of the Will draw you free from these horrors. Most Serene Archduchess with 8 principal b.1713 : [To Alcina ]: Knights, and they execute a most O treacherous one, do you still have faith in distinguished Ballo. [Libretto: Here the your deceitful spells? ladies, coming forth from a certain grotto, In your lascivious control dance. When the dance is finished, one of the Do you still boast of holding the handsome [newly-] freed damsels sings]. Ruggiero? b.1794 : A Lady formerly Enchanted : Your lofty seat [of power] will fall. Pour out, [o] eyes, pour out b.1724 : Heaven does not long suffer [such] a Most bitter tears, wicked one. Unless Heaven grant us My strength too greatly exceeds yours. [Our] longed-for imprisoned lovers, Your lofty seat will fall; infernal monsters, b.1804 : Thus to gain another reward b.1734 : Get you hence to [your] black For [our] most sweet song. cloisters. We, in most sad weeping Flee, flee now, [o] wicked siren, Which through [our] eyes distils Flee, and take hence with you Love and loyalty, Hatred, anger and fury, b.1813 : Will perhaps one day find again The inseparable companions of [your] heart. devotion. b.1746 : Alcina : Therefore pour out, [o] eyes, I’ll flee, I’ll flee; Pour out bitter tears, Since fate b.1822 : Unless Heaven grants us Implacable [Our] longed-for imprisoned lovers. Cannot be withstood, b.1827 : Melissa : I’ll flee, I’ll flee. No more, no more lamenting. Let [your] sad weeping and complaints cease. Here Alcina, in the boat, which turns into a The wicked cruel one flees, sea monster with wings, takes flight and And with her goes the sea of bitter torment. flees, and the whole scene transforms into b.1838 : No more, no more.lamenting. rocky cliffs. Calm now, [Scene IV : bar 1751 – 1917: Score p.54-59]: Charming damsels, your tearful looks. b.1846 : There follows the same formerly- b.1751 : Melissa : Enchanted Lady: O wretched mortals Our breasts are not able See what great anxieties, To comprehend joys and delights What great, great evils Before love gives back In the passing of the years To our hearts, our heart. The human life runs through b.1854 : Melissa : Of those who in their own breasts Up, therefore, noble warriors, b1760 : Do not know how to rein in the Come forth to console [your] beautiful too-bold affections; lovers.

13 Sc.IV contd: In the middle of the Ballet on Horseback Melissa enters on a chariot pulled by Dance happily with them, Centaurs, and sings the following poem: Then when it is time, To the sound of noble harmony If man, who was born in Heaven, has b.1865 : Upon your skilful horses sufferings on earth, Renew the dancing. It comes from empty desires and ignoble relaxations. Here the Knights are freed, acknowledge Fly therefore, o famous knights, their Ladies, and follow the dance [Libretto: [From] the wicked cause which erodes your ... with their ladies. When the dance is finished, glory. they proceed into the theatre to perform the Short-lived is the pride of earthly importance. Ballet on Horseback.] If a warlike trumpet does not excite a heart, Then his [own] reputation arrests the neglect, b.1870 : Chorus of freed Knights , which sings Nor does the earth know how to enjoy one immediately the dance of the Ladies and serene day. Knights is finished: There where gleams the fine path more steeply To delights, to rejoicing! To seats of virtue quickly climb Whoever was sad, And with [your] noble worth open up the way. Let him speak no more There, look, by dying, He gives life to another Of his languishing. who deserves [it]. To delights and rejoicing! When the Ballet on Horseback is finished, Here follows the Ballet on Horseback. the following Madrigal is sung to end the [Libretto: Words performed to the whole celebration [Libretto: in praise of the accompaniment of music, sung while the most beautiful Tuscan ladies]: Knights on Horseback dance:] b.1883 : O Tuscan ladies, most beautiful under [See Appendix {below} for Italian text of Ballo the sun, a Cavallo] Who at the sad weeping Of the noble ladies He who shuts up Love in [his] heart b.1893 : Moistened the serene stars, Often in tears will pass the days, Laugh now with their singing Nor will he know what delight is, And if you wish to redouble [their] joy, If he does not have a discreet heart. Learn loyalty from their noble devotion. The cruel witch in [her] base pretence Wicked[ly] wounded our hearts. ooo000ooo It was [by] the virtue of the royal lover [i.e. Ruggiero, prompted by Melissa] Anne Graf, If now we happily enjoy the day. with much assistance from Selene Mills. May Virtue, fine, kindly and heavenly, 2010 / rev. 2013 Which always desires to keep faith, Arm your heart with honourable desires Nor ever part from you. [Than] enjoying true joy Heaven does not have a finer gift; One who follows you [i.e. virtue], and appreciates you Will never see himself perish. Now let us enjoy [ourselves] in songs and dances. [She] who bound us has already fled; Up, swift and fine horses, She cannot follow us. As [her] spells are ended, As the wicked witch has fled, Let us redouble our songs. Let him be glad, who most languished.

14 Appendix:

Libretto of Accompaniment to the Ballo a Cavallo:

Parole fatte all’obligo della Musica Cantata mentre ballano i Cavalieri à Cavallo.

Chi racchiude Amor nel petto, Spesso in pianti i dì trarrà, Nè saprà, che sia diletto, Se pudico il Cor non hà. Cruda Maga in vil sembiante Nostri Cori empia ferì. Fù virtù di regio Amante S'or godiamo allegri il dì. Virtù bella, alma, e celeste Chi serbar vuol sempre fè, Armi'l sen di voglie oneste Ne si parta omai da tè. Per goder vera allegrezza Più bel dono il Ciel non hà. Chi ti segue, e chi t'apprezza Mai perir non si vedrà. Or godiamo in canti, e in balli. Già fuggi, che ne legò; Sù, veloci e bei cavalli, Noi seguire elle non può. Se finiti son gl'incanti, Se la Maga empia fuggì Raddoppiamo i nostri canti. Lieto sia, chi più languì.

A mezzo il Balletto à Cavallo viene Melissa sopra un Carro, tirato da’ Centauri, e canta i seguenti quadernarii.

Se l'huom, che nacque al Cielo, ha pene in terra, Nasce da van desiri,e vil riposi. Fuggite dunque, ö Cavalier famosi, L'empia cagion, che vostre glorie atterra. Caduco è'l vanto di valor terreno. Se bellicosa tromba un Cor non desta, Così sua fama il neghitto arresta, Nè sà godere il terra un dì sereno. Là dove splende il bel cammin più erto A' seggi di virtù pronti salite, E con l'alto valor la strada aprite. Là vè morendo, altrui dà vita al merto.

[Finito il Ballo a Cavallo, si canta il...Madrigale…]

ooo000ooo

15

Specialists in Urtext performing editions of Renaissance, Baroque and early Classical music

http://www.primalamusica.com/