MERCADANTE EMMA D’ANTIOCHIA ORC 26

in association with

Slipcase : Destiny, 1900 (oil on canvas) by John William Waterhouse (1849-1917). Towneley Hall Art Gallery and Museum, Burnley, Lancashire/Bridgeman Art Library Booklet cover : , Mercadante’s first Emma Opposite :

–1– Saverio Mercadante EMMA D’ANTIOCHIA Tragedia lirica in three acts Libretto by

Emma, Princess of Antioch ...... Nelly Miricioiu Corrado di Monferrato, Count of Tyre ...... Roberto Servile Ruggiero, his nephew ...... Bruce Ford , the daughter of Corrado, betrothed to Ruggerio ...... Maria Costanza Nocentini Aladino, a young Muslim slave belonging to Emma ...... Colin Lee Odetta, lady-in-waiting of Adelia ...... Rebecca von Lipinski

The Geoffrey Mitchell Choir Knights, crusaders, ladies and maidens, troubadours, soldiers, pages, squires and minstrels

The London Philharmonic Orchestra Pieter Schoeman, leader

David Parry, conductor

The clarinet solo in Act II is played by Richard Addison

–2– David Parry Producer and Artistic Director: Patric Schmid

Managing Director: Stephen Revell

Assistant Producer: Jacqui Compton Assistant Conductor: Robin Newton Répétiteur: Stuart Wild Italian coach: Maria Cleva Assistant to the Artistic Director: Marco Impallomeni

Article, synopsis and libretto: Jeremy Commons

Recording Engineer: Chris Braclik Assistant Sound Engineer: Chris Bowman

Editing: Patric Schmid and Chris Braclik

The performing edition for this recording was prepared by Ian Schofield

Recorded at Henry Wood Hall, London October 2003

–4– CONTENTS

Emma d’Antiochia by Jeremy Commons...... Page 10

Performance History by Tom Kaufman...... Page 46

Synopsis...... Page 50

Résumé de l’intrigue...... Page 54

Die Handlung...... Page 58

Argomento...... Page 63

Libretto...... Page 67

–5– CD 1 77’29

Dur Page [1] Sinfonia 7’20 69 ACT ONE Introduzione – Adelia, Odetta, Ruggiero, Corrado, Coro [2] Coro – ‘Della Sidonia porpora’ 5’27 69 [3] Duetto – ‘I tuoi sospetti, Adelia’ 4’02 73 [4] Coro – ‘Quai lieti suoni?’ 1’55 75 [5] Stretta – ‘Vieni e per noi cominciano’ 2’43 76 [6] Recitative – ‘Son ne’ miei Lari!... ch’io t’abbracci ancora’ 2’31 77 [7] – ‘Il mio cuore, il cor paterno’ 3’06 79 [8] – ‘Se una madre io diedi a voi’ 3’44 80 Scena – Corrado, Adelia, Ruggiero, Aladino, Coro [9] ‘Or che di tanto evento’ 1’14 81 Scena e Cavatina – Emma [10] Recitative – ‘Ah! sì, mi abbraccia’ 1’29 83 [11] Aria – ‘Ah! se commossa io sono’ 3’30 85 [12] Cabaletta – ‘Nobil signor perdonami’ 5’36 86 Scena ed aria – Ruggiero [13] Scena – ‘Nel mio cuore lacerato’ 0’53 87 [14] Aria – ‘Io soffrir: mortale in terra’ 3’45 89 [15] Cabaletta – ‘Partirò: dell’empia sorte’ 3’50 91 Scena e duetto – Emma, Ruggiero [16] Scena – ‘Sola son’io’ 8’17 91 –6– Dur Page [17] Duetto – ‘Amai quell’alma ingenua’ 4’25 98 [18] Andante – ‘Emma!… Ruggier!’ 2’52 99 Finale Primo – All [19] Scena – ‘Ciel! qual suon? Ah!’ 3’06 100 [20] Quartetto – ‘Ei qui dianzi… a me… l’amante’ 3’33 104 [21] Coro – ‘Al tempio! 1’04 106 [22] Stretta – ‘Ah! nel tuo volto splendere’ 3’07 108

CD 2 29’24

ACT TWO Introduzione – Aladino, Coro [1] Introduzione – Banda sul palco 1’14 111 [2] Recitative – ‘Oh! qual disegno in mente’ 1’14 113 [3] Coro – ‘Addio!… Le stelle ascondono’ 3’59 114 [4] Scena – ‘Sei tu? Son io’ 7’01 116 Finale Secondo – All [5] Scena – ‘Salva è ancora – Io non mi sento’ 3’29 118 [6] Duetto – ‘Fuggi meco’ 2’09 121 [7] Trio – Cielo! sei tu che il vindice’ 3’39 122 [8] Scena – ‘Ov’è Corrado?... Accorrasi’ 2’18 124 [9] Stretta – ‘La vittima vostra’ 4’21 126

–7– CD 3 56’16

Page Dur ACT THREE Introduzione – Coro [1] ‘Ella a ciascuno involasi…’ 3’02 128 Scena ed aria – Corrado, (Ruggiero) [2] Recitative – ‘A me Ruggiero’ 4’42 130 [3] Aria – ‘Non sai tu che il mondo intero’ 3’55 134 [4] Cabaletta – ‘Ah! non fia che maledetto’ 4’10 135 Scena e duetto – Ruggiero, Emma [5] Scena – ‘Viver promisi… Ebben vivrò…’ 0’59 137 [6] Duetto – ‘Emma! Tu qui?’ 4’19 138 [7] Andante – ‘Il cor, il cor che svegliasi’ 2’59 139 [8] Scena – ‘Or va: – comincia a sorgere’ 2’05 139 [9] Cabaletta – ‘Se mai piangente e supplice’ 3’56 141 Recitativo – Emma, Aladino [10] ‘Al più difficil punto, al più tremendo’ 2’39 141 Finale Ultimo – Emma, Adelia, Corrado, Coro [11] Scena – ‘Emma... t’affretta’ 3’42 145 [12] Aria – ‘In quest’ora fatale e temuta’ 4’03 146 [13] Cabaletta – ‘Parta, parta. – Ed io pure, ed io pure’ 3’39 148 [14] Duetto – ‘Mi lasciate!… Empia donna!’ 4’24 148 [15] Lento – ‘Ah! perdona al duol estremo’ 7’42 151

–8– Giuditta Pasta Many important roles were written for this soprano, one of the great singing actresses of the 19th century.

She was Mercadante’s first Emma. She also created Donizetti’s , Coccia’s Maria Stuart , Pacini’s Niobe and Bellini’s EMMA D’ANTIOCHIA

Uman core! oh! come è presto, Come industre a tormentarsi!

O the human heart! How ready it is, How industrious to torment itself!

EARLY IN 1831 , when Saverio Mercadante returned to Italy after several years in Spain and Portugal, audiences were quickly aware that he had matured in the time he had been away. They perceived a stronger and more individual personality at work, for the most part stemming from greater attention to unusual instrumentation and harmony, from cultivation of flowing, sonorous and expressive melody, and from the use of this melody in broadly proportioned, surging ensembles. He was also one of a number of composers who were uncomfortably aware of the tendency of the cabaletta – the final fast movement of arias and duets – to degenerate into the commonplace and trivial. So, though he never followed through his wish to banish the cabaletta – that was left for an even stronger personality, – he at least strove to bring to the form unexpectedly springy rhythms and arresting melodies.

The result of this increasing awareness of his craft was a succession of interesting leading up to a full flowering of his powers in the work which is generally accounted his masterpiece, (Milan, 1837).

–10– And one of the more noteworthy landmarks in this succession of developing operas was the present work, Emma d’Antiochia , first seen at the Teatro in Venice on 8 March 1834.

Not, let it be admitted, that it was greeted with great enthusiasm at its premiere. The story struck both audience and critics alike as extravagant in the extreme, an illustration of the worst excesses of romanticism. And their appreciation of the work as a whole was not helped by the manifest indisposition of the prima donna, the reigning diva Giuditta Pasta, who was so unwell that at the first two performances the could be performed only in severely mutilated form. Nevertheless, with Pasta’s recovery and the presentation of the work in its entirety at the third performance the tide changed: the strengths of the work were recognised and its reputation established, so that it soon went the rounds of the theatres of Italy.

But let us start, where those original audiences began, with the story and its extravagances. The libretto was the work of Felice Romani, the greatest author of operatic texts at the time, already renowned as the author of such works as Mayr’s Medea in Corinto (, 1813); Donizetti’s Anna Bolena (Milan, 1830), L’elisir d’amore (Milan, 1832), Parisina (, 1833) and (Milan, 1833); and Bellini’s (Milan, 1827), (Venice, 1830), (Milan, 1831), Norma (Milan, 1831) and Beatrice di Tenda (Venice, 1833). Mercadante had already set no fewer than ten of his libretti, including Amleto (Milan, 1822), La testa di bronzo (Lisbon, 1827), Zaira (Naples, 1831 – originally written for Bellini in 1829) and I Normanni a Parigi (Turin, 1832). –11– Felice Romani

The librettist of Emma d’Antiochia.

His wonderful collaboration with Bellini and Giuditta Pasta yielded Norma , La Sonnambula and Beatrice di Tenda .

A projected , with Pasta in the title role, was never completed. The source from which Romani drew the plot of Emma d’Antiochia has never yet, it would seem, been identified; but for an author who claimed to be more at home with classical rather than with romantic literature and ways of thought, it was certainly a strange, not to say perverse, choice. Reduced to its simplest, it tells of Corrado di Monferrato, Count of Tiro (Tyre), one of the prime movers in the Third Crusade of 1189-1192, and of his second wife, Emma di Antiochia (Antioch). Returning home after their marriage, Emma meets her husband’s nephew, Ruggiero, only to recognise in him a previous lover of her own. Ruggiero, after five years’ aimless wandering and lamenting his loss of Emma, has now found solace in the arms of Adelia, Corrado’s daughter by his first marriage, and, despite the reappearance of Emma on the eve of his wedding, duly goes through with the ceremony. But the flames of old love rekindle and refuse to be suppressed. Swept away by renewed passion, ‘aunt’ and ‘nephew’ determine to elope. They find their path, however, obstructed by an irate Corrado. Ruggiero is banished to sail away upon a Venetian vessel which is about to leave the harbour. And Emma, with no prospect of finding a peaceful haven either upon earth or in heaven, ends her life by taking poison. She expires, off-stage, upon the body of Aladino, a faithful Muslim slave who has acted as her go-between in all her amorous dealings, and who has stabbed himself rather than outlive his mistress. In the words of the Gazzetta privilegiata di Venezia of 11 March 1834, ‘Thus, with two good suicides, an adulterous love, a betrayed etc. etc., the libretto ends, and that is how the theatre nowadays castigat mores !’ Just about the only detail of the plot which still reflects the ideals and conventions of 18th century classical drama is the concession whereby Emma is allowed to expire off-stage

–13– rather than in the presence of the audience. For the rest, the libretto is a prime demonstration of the disasters that occur when towering passions are allowed to rage beyond the control of reason. Another journal of the day, L’Apatista , proved quite as uncomplimentary as the Gazzetta privilegiata di Venezia while at the same time isolating and emphasising even more clearly the contrasts the plot presented with the ideals of classicism. ‘The love of Emma,’ it declared, ‘is a frenzied love which feels all the influence of passion, without for a single moment finding a place for reason, and so deserving of scorn rather than of compassion.’ ‘ Corrado ,’ this same journal added, ‘feels his age, and seems a very reasonable man; hence he finds it easy to pardon his nephew, and to be almost insensible to the death of Emma ’.

The excesses of the libretto will be evident even from the short account we have so far given, but the Gazzetta privilegiata di Venezia carried its criticism even further, implicitly taking Romani to task for the manner in which he allowed the characters to gloss over any explicit account of past events with high-sounding but meaningless verbiage. In an account of the plot that is much more extended than our own, the critic ridiculed the text by quoting a liberal selection of such exaggerated and vaguely uninformative statements. Corrado, we are told, has married Emma in obedience to ‘a supreme wish, the voice of Sion’, and in doing so has given himself ‘to Sion and to Heaven’. Emma has been divided from Ruggiero by ‘an inexorable law’ which ‘forcibly gave her to another’. Ruggiero, in his turn, is one moment asking Adelia ‘In what love can one believe, if this be not love?’, and the next assuring Emma that ‘he only imagined that he could love Adelia’, and that Emma alone is ‘the arbiter of his heart’. And so the account in the Gazzetta goes on… –14– When one reads the libretto today, one can see clearly enough what Romani was doing – and so come to his defence. He was more interested in present passion than in detailing the reasons and motives that, in time gone by, gave rise to the situations in which his characters find themselves. Emma and Ruggiero are in the grip of present feelings. They are the victims of their passions, of emotions that drive them to extremes, and eventually to their fates. Their concern is not with understanding the processes by which they have arrived here, but with the tribulations that assail them in the here and now. Corrado, speaking while he is as yet oblivious of the passions that are drawing his wife and nephew together, unwittingly hits the nail on the head when, towards the end of Act I, he utters the lines which we have chosen to put at the head of this introduction as our ‘motto’:

Uman core! oh! come è presto, Come industre a tormentarsi!

O the human heart! How ready it is, How industrious to torment itself!

Emma d’Antiochia is a text-book illustration of the way in which the theories of romanticism work: of the way in which the emotions, escaping the trammels of reason, can rage out of control, resulting either in an ecstasy of bliss or in a holocaust of destruction and despair. Consequently, if Romani’s characters, pouring forth the anguish of their overburdened hearts, have occasion to refer to past events, they do so in cryptic and essentially emotive

–15– and suggestive terms. To us it is a psychological pattern that makes sense, but we may well appreciate that the original audiences, seeking to understand the ins and outs of a complicated plot, must have found the references to ‘supreme wishes’ and ‘inexorable laws’ more than a little perplexing and irritating.

* * * *

If excesses of plot caused the first audiences to scoff at Emma d’Antiochia , the truncated form in which the opera was presented at the first two performances was even more detrimental to its success. Giuditta Pasta, the first Emma, was the greatest singer-actress of her age, as important in the 19th century as in the 20th. A singer who had been slow to come to a full realisation of her powers, she had, as a student at the Conservatorium of Milan, contended with a voice which was ‘heavy’, ‘unequal’ and ‘rebellious’. Even following her debut about the year 1815, her progress was slow, and it was not until the end of the decade that she began to attract general attention for the manner in which, as an actress quite as much as a singer, she managed to capture qualities that gave every one of her characterisations its own individuality and distinction. Famous in such operas as Rossini’s and and Mayr’s Medea in Corinto , she was also responsible for a number of remarkable creations, ranging from the gentle and sentimental (as in Bellini’s La sonnambula ) to the noble, fiery and highly dramatic (as in the same composer’s Norma and Beatrice di Tenda , and Donizetti’s Anna Bolena ). It is with operas of this latter variety that her name is especially associated: operas

–16– Domenico Donzelli

Mercadante’s first Ruggiero. where she was called upon to delineate characters pushed to the limits of emotional endurance, characters whose roles not infrequently culminated in some gran scena in which, ‘ fuori di se ’ – ‘out of her mind’ or ‘beyond the limits of self-control’ – she was required to depict extreme mental distress or insanity. Emma d’Antiochia , with its final scene of distress and despair leading to suicide, was an opera tailor-made to illustrate her powers. Venice eagerly anticipated the premiere, relishing reports of the rehearsals, and of the triumph she was expected to score. Yet sudden and unexpected illness seriously jeopardised her performance, and, with it, the entire reception accorded the opera. On the first night, we are told, she had to omit ‘the aria with the prayer’ – her aria at the beginning of the final scene – while on the second evening she was forced to make even more disfiguring cuts and was heard only in concerted items. This second evening can have been little more than a travesty of a performance. Not a note of Emma’s final aria – the item which was eventually to become the jewel in Pasta’s crown – was heard until the third performance.

At both the first two performances, moreover, we are told that her indisposition threw a mantle of despondency over her colleagues, all of them valiant singers from whom good performances might otherwise have been expected. Singing opposite her as Ruggiero was Domenico Donzelli (Bellini’s first Pollione in Norma ), a long-experienced for whom Mercadante had already written roles in five operas, including Elisa e Claudio (Milan, 1821), and Donna Caritea (Venice, 1826). The part of Corrado was being created by a singer of nearly equal note, the Orazio Cartagenova (Donizetti’s

–18– Eugenia Tadolini

In 1834, when she created the role of Adelia, she was at the start of a brilliant career.

For Donizetti she created (1838) (1842) (1843) first Conte di Vergy in ), whom Mercadante had already encountered in Lisbon (where in 1828 he had been a member of the first cast of Adriano in Siria ), and in Turin (where in 1832 he had taken part in the premiere of I Normanni a Parigi ). The youngest member of the cast was Eugenia Tadolini (Adelia), later a favourite soprano of Donizetti (his first Linda in Linda di Chamounix , Maria in Maria di Rohan , and Paolina in Poliuto when the opera was given in its original form in Naples in 1848). She had made her debut just five years earlier, in 1829, but in those five years she had already sung to acclaim in Paris as well as in Italy. Four singers of wide repute and proven ability, therefore – yet, in the words of the critic of the Gazzetta privilegiata di Venezia , ‘although Pasta alone may have been indisposed, her illness appeared to discourage all the others, knowing full well as they did that the happy outcome of the opera depended principally upon her’.

This judgement actually appeared some days later, on 20 March, following the third performance. Reporting earlier, on 11 March, following the first two nights, this same critic had found himself obliged ‘to confess that the work of Maestro Mercadante was far from succeeding as we would have wished, and as certain persons before its production were already predicting – persons who have done more harm than good to the author’. Although ready enough to acknowledge that the score contained some well-crafted items, he could not conceal his disappointment that there was not more sign of imagination and inspiration. He ascribed this absence of imaginative fire to ‘the influence of the illness which, at a time when the composer had already begun to write,

–20– Giacomo Roppa

Mercadante’s first Aladino exposed his life to grave peril’ – a clear reference to the fact that Mercadante had been suffering from acute eye inflammation which threatened to leave him blind, and which did, in fact, completely deprive him of the sight of one eye.

With this anything but enthusiastic judgement as his exordium, the critic of the Gazzetta privilegiata proceeded to give an item by item account of the chequered fortunes of the first performance:

The opera begins with an overture which is most beautiful in its effect, on account of a touching concert of trombones and a certain new introduction of the military band upon the stage. The public was struck by it, applauded, and was, from such happy beginnings, already prepared for great things. But alas! here comes the Introduction – silence; the duet for Tadolini [Adelia] and Donzelli [Ruggiero] – silence; the arias of Cartagenova [Corrado] and Pasta – silence; it was enough to wring your heart; but in the end a quartet, and the finale of the first act and that of the second act struck the public to some extent, and the composer was even called on to the stage with all the singers at the end of both the first and second acts on the first evening, and at the end of just the second act on the second. The third act, the last in order, was also the last in honour, and except for a duet between Donzelli and Pasta ended as coldly as it had begun; so that a curtain never fell in the midst of a greater hush.

–22– And the final irony? We are told that ‘the enthusiasm which the composer had failed to arouse in the theatre, he found afterwards outside, where for whatever reason he was met with torches and military band, and conducted with such an escort home to his house.’

It was clearly a disconcerting and dispiriting evening, and all the more so since the rehearsals had given rise to expectations of a great success. But let us end this account more cheerfully. As Pasta recovered, so did the fortunes of the opera. By the third performance it was clear that the tide had turned, and the Gazzetta privilegiata , in its second review on 20 March, was prompt to acknowledge that on this third evening, ‘The applause for both the composer and the singers was universal and continuous, both the one and the others being called repeatedly upon the stage to receive the ovations.’

At this point the Gazzetta also paid generous credit to the all-important part which Pasta played in this change of fortune. ‘Everywhere in the opera,’ it declared, ‘Pasta, [once more] the equal of herself, showed that she could still sustain the name of first actress-singer in Europe; but where she [particularly] aroused enthusiasm [...] was in the Romanza in the last act [i.e. the Prayer], where, uniting all those merits of voice and action which elevate the musical phrase and enchant and ravish the hearts of the audience, she makes the music of Mercadante appear in its most favourable light.’

This same review – with what justification we do not know – spoke of Cartagenova as Mercadante’s ‘pupil’, and stressed the debt which the pupil

–23– Corrado Naples 1835 This baritone was Verdi’s first Nabucco but he is better remembered for the six operas written for him by Donizetti: Il furioso all isola di San Domingo, Torquato Tasso, Pia de’ Tolomei, , and Maria de Rohan owed his master – a master who, ‘fully acquainted with the gifts of his pupil, was both willing to adapt his part for him, and knew how to do it, so that his merit stands out to the full’. The critic of the Gazzetta was not slow, on the other hand, to take both Mercadante and Romani to task for what he saw as the less-than-generous manner in which they had treated Donzelli, failing to ‘profit from the immense bravura of this major artist, who has everywhere been recognised as great in his art.’ And what of Eugenia Tadolini? Here the critic was warm in his praise:

‘This young singer, who from the moment of her first debut at the Théâtre-Italien in Paris won a fame which was justly confirmed in the great theatres of and the Fenice, for freshness, strength and perfect intonation of voice, for a fine method and agility in her singing, gives promise that she will soon arrive at that zenith which it has been given to few to attain. Who, in fact, did not admire these merits in her in the finales of Acts I and II, the great effect of which is principally owing to the rare qualities with which she is endowed?’

The reviewer’s final and crowning tribute was to describe the opera as ‘this classical composition [which is] truly worthy of the author of Caritea and of the Normanni a Parigi .’

And he was not alone in documenting his enthusiasm for posterity. Towards the end of March Girolamo Viezzoli, a long-standing friend and

–25– Amalia Schütz-Oldosi Five years after its premiere Emma d’Antiochia was again heard at La Fenice with this soprano in the title role. correspondent of the composer Nicola Vaccaj, reported that the opera had ‘obtained a most fortunate outcome’. It is also clear that, as time went on, he remembered it with affection, for when it was revived, with a cast which he found infinitely inferior 1, in the carnival of 1840, he deplored in the strongest possible language that such a ‘ bellissima ’ opera should be so maltreated as to be no longer recognisable.

* * * *

Mercadante, as has been mentioned, was noted for his innovations in harmony and instrumentation. There are numerous pages in this score which reveal a richness that is remarkable for a date as early as 1834, but for the sake of brevity we mention but one salient and striking example: the prelude to the second tableau of Act I, introducing Emma alone in her apartments. After four introductory bars (in which the same orchestral figure is heard four times – but each time with a change of harmony), we suddenly have a most unusual phrase for two oboes, clarinet and bassoon, which is then repeated but with the addition of four horns, a trumpet and a cimbasso 2. As if this choice of instruments does not already give sufficiently unusual sound textures, a further (and different) phrase retains the added brass instruments, but ______1 Amalia Schütz (Emma), Adelaide Moltini (Adelia), Francesco Pedrazzi (Ruggiero) and Pietro Balzar (Corrado). A review which appeared in the Gazzetta Privilegiata di Venezia confirms that only one singer met with unanimous approval: the very young Adelaide Moltini.

2 A brass instrument closely related to the bass trombone.

–27– Francesco Pedrazzi Ruggiero in the 1839 revival of Emma d’Antiochia at the Teatro La Fenice replaces the original woodwind with flute and clarinet. The total effect is adventurous to the point of being disconcerting, but there is no denying that it is also rich and arresting. We may also mention, under this heading of instrumentation, the frequent use in the score of the harp (in the opening chorus, in Emma’s cavatina, and in her aria at the end of the opera). And there are innumerable brief phrases scattered throughout the opera which are striking and memorable for the colour they derive from their orchestration: the phrase that introduces Ruggiero’s Act I scena and aria (for oboe, two clarinets, glicibarifono 3, two bassoons, two horns, cimbasso and strings) immediately springs to mind.

We have also mentioned that the composer became noted for his use in his ensembles of the motivo spiegato – that broad variety of melody, generally doubled in the orchestra, which appears to ‘unfurl’ as we listen to it. Two fine examples will be found here: in the quartetto in the finale of Act I, from Adelia’s entry with the words ‘O Ruggier, se mai tuttora’ onwards; and in the stretta to the finale of Act II, with the entry of Emma, Adelia, Ruggiero and the chorus after Corrado’s introductory solo.

As a single example of the harmonic richness he brings to the score, we would draw attention to the abundant modulations which distinguish Emma’s Act I cavatina. ______3 This wind instrument was a new invention of the day, unfortunately of ephemeral existence (see later on in this present article for further details). On this recording the part is played by its present-day equivalent, a bass clarinet.

–29– But beyond all this, Emma d’Antiochia is, we believe, remarkable for the manner in which it allows us to see Mercadante seeking ways of driving the action forward, and giving it a continuing advancing texture – of minimising, in a word, the stop-and-start pattern imposed by the recitative and aria/ensemble construction of the day. Act I is particularly interesting in this respect. It contains very few items which could be lifted out of context and performed in concert – ‘anthologised’ – since time and again their final cadences would have to be doctored and rewritten. One after another they end in unexpected manner, with final pages and cadences which are designed, not to bring the music to a halt, but to carry us onwards into the action that follows. The opening chorus, indeed, goes even further than this. It begins as a typically pretty and graceful chorus for female attendants – a chorus of a kind which abounds in the operas of Rossini and Donizetti. But from the moment that Adelia begins to voice her doubts about Ruggiero, the music begins to change, until, with her declaration that she cannot believe that he loves her, the change becomes obvious and inescapable. It is now impossible that the chorus should end as it began – it has developed and changed in accordance with the on-going dramatic situation. It ends, moreover, with an unexpected cadence which leads us into the following recitative. In no sense is this opening chorus a self-contained independent item.

Comparable procedures are encountered in Adelia’s ensuing duet with Ruggiero. The opening movement comes to an exceedingly abrupt close, interrupted by the sounds of the off-stage banda, while the second movement, the stretta, ends with an extended postlude for the banda, which is designed

–30– Adelaide Moltini

Adelia in the 1839 performances of Emma d’Antiochia at the Teatro La Fenice. to give the chorus time to leave the stage and return with Corrado and his troops. This postlude itself ends, moreover, with a regular V – I cadence – but this is immediately followed by a totally unexpected chord which, at least as the listener registers it, negates the cadence just heard and precipitates us forward, once again, into the next recitative. The duet, it should also be pointed out, is in two parts, separated by a tempo di mezzo for the chorus. But this does not mean that it consists of a slow section followed by a fast section. Rather it is as if Mercadante has written the first introductory section and the final allegro section of a three -part duet, but has deliberately sought to increase dramatic pace and tension by omitting the central slow section – the moment of poise and repose. He is clearly trying not only to overcome the ‘full stops’ of the aria-and-recitative construction, but also to move his dramatic action along at high speed, so that his entire scene has the feeling of a single on-going and emotion-filled movement.

It is in this context that we should also consider his troubles with the cabaletta form. The in this first act were clearly moments of discomfort for him. Corrado’s is functional rather than distinguished. Emma’s – fortunately – is not sung to the bouncy and banal melody of its introductory banda ritornello. And the proof that we are right in sensing his dissatisfaction with the cabaletta form and his finding it difficult to come up with satisfactory ideas is to be found in a letter he wrote from Turin some years earlier, on 23 November 1831, to Francesco Florimo, the librarian of the Naples Conservatorium of Music. There, as he was composing I Normanni a Parigi , he had said:

–32– I Normanni a Parigi has me very busy, and in my usual fashion I am never happy with myself. In some ways it would be more bearable if I had you beside me, and had your advice to help me; but instead here I am at my own mercy, and everything seems to me as bad as possible. If you should have some beautiful and new Cabaletta to send me, you would give me much pleasure, for I can find the first [introductory] movement and the adagio, but that accursed Cappaletta [sic]: it ruins everything for me, and the more I strive to make it new, the more I’m aware that [the results] are old-hat –

There is, of course, a fatal flaw at the heart of this request. Vocal melody should grow out of the words – the words of the libretto. If a composer seeks a vocal melody independent of the words, he is inviting his music to degenerate into trivial tune: into tune which is devoid of verbal emphasis and emotion. Donizetti – not that his cabalettas are always above reproach either! – shows much greater acumen in the address he delivered in January 1843 upon his election to the French Academy:

Music is nothing but declamation accentuated by musical sounds, and for that reason every composer must divine intuitively and create a vocal melody from the accent of the declamation of the words. If a composer cannot do this, or does it badly, he will never write anything but music devoid of feeling.

–33– Before we leave Act I, the present writer would like to voice his disagreement with the critic of the Gazzetta di Milano concerning the composer’s treatment of Donzelli. Expectation would suggest that Ruggiero should be a major weakness in the opera: a spineless creature who succumbs to the pressures of the present moment, betraying Adelia throughout the action and Emma at the end. Yet Mercadante turns his anguish and confusion of conflicting impulses to remarkable advantage, giving him some of the score’s most eloquent music. His cavatina in this first act, with its pertichini for Aladino, is especially noteworthy, its melodic lines really and truly derived from the rhythms, inflections and emotions of the text, and its cabaletta quite the most vigorous and convincing such solo movement of the three so far heard. Let us note, too, that in his following duet with Emma, Mercadante this time writes the introductory and central sections of a three-part duet, but not the final cabaletta. The inclusion of a central slow section is particularly appropriate at this point, for it enables the composer to probe all the distress of two lovers who realise that they must part for ever. These items – Ruggiero’s solo and the following duet – are strongly recommended to the listener’s attention: though perhaps less immediately striking than Emma’s final scene in Act III, they nevertheless represent Mercadante at his finest.

If Act I is thus of varying quality but extreme interest, Act II stands out as the most concentrated ‘sustained essay’ in the score. It was, we must recognise, tailor-made for the composer, allowing him within a short space to do all that he could do best, and presenting him with none of the difficulties he had had to face in Act I. There are, in the first place, no solo arias requiring cabalettas.

–34– Instead he could be brief, and could create what is virtually a single great crescendo – a growing wave – of excitement. If we leave out of account recitatives and introductory scenas, there are only four items: after the chorus of wedding revellers have taken their leave (in a chorus which would not be out of place in the festive scenes of Verdi’s ), the stage is left deserted and a mood of false and ominous calm is set by a gorgeous solo for ‘glicibarifono’ or bass clarinet (of which we shall have more to say very soon). But this apparently empty stage is, in fact, haunted by the ill at ease and the guilty of conscience. An ever-watchful and apprehensive Aladino encounters a restless Emma, tormented by sexual frustration and guilt, and she in turn waylays a cowardly and equally tormented Ruggiero, set upon seeking relief in flight. The passionate despair and urgency of the duet for Emma and Ruggiero is heightened (as in the Act I duet for Adelia and Ruggiero) by the omission of any central slow section, and the final allegro ends with an interrupted cadence to precipitate the lovers’ falling into the hands of Corrado. This final climactic confrontation leads into a trio – the concertato or slow section of the finale – and the act concludes with a stretta which is all the more effective since it begins slowly, with Corrado voicing his reproaches in an andante mosso , before the other voices launch into their surging motivo spiegato .

This superlative four-item sequence was a difficult act to follow, and the only serious lapse in the opera – at least in the opinion of the present writer – comes at the beginning of Act III, with the chorus ‘Ella a ciascuno involasi’. After an imposing-enough 18-bar ritornello , the entry of the chorus brings music which is simply too cheerful for the situation: it is in the major rather –35– than the minor, and is at jarring odds with the words. Far from being in a court where the ruler’s wife has just been apprehended as she was about to elope with his nephew, we might as well be among the wedding guests at Lammermoor before Raimondo announces Lucia’s madness and her slaying of Arturo. It is, moreover, a lapse which casts an unfortunately long shadow. The succeeding recitative for Corrado and Ruggiero is surprisingly sparse in its chordal accompaniment, and in Corrado’s aria Mercadante still seems to be at a loss for inspiration – to be coasting by with familiar formulae. The most interesting feature of the first movement is the instrumentation of the opening and closing ritornelli ; the cabaletta illustrates only too clearly his continuing unease with the form. It is not until Emma’s entry, and her duet with Ruggiero, that many of us will be able to dismiss the unfortunate beginning of the act from mind, and surrender ourselves to the by-now- prevailing feeling of sadness and regret for the inevitable with which the two singers face their future apart.

Complete recovery – and indeed Mercadante’s crowning achievement in the opera – comes with the prodigious final scene. Everything about this scene is noteworthy, and much unexpected, for example the decision taken by either Romani or Mercadante – there is no way of knowing which – that Emma’s final aria should precede her duet with Adelia. In anticipation one fears that this ordering of events will prove an anti-climax, but in practice our fears are dispelled.

–36– Enrichetta Meric-Lalande

This distinguished soprano created operas for Meyerbeer, Donizetti, Pacini, Mercadante and Bellini.

She sang Emma in Trieste in 1835 Interest is aroused from the moment the scene opens, as we notice the way the composer alternates expressive recitative with melting arioso. We may note also, at the words ‘Addio speranze e sogni’, the way in which he anticipates Emma’s approaching prayer by introducing the harp which is to accompany it, and gaining most translucent and beautiful effects through combining its sounds with those of solo flute, clarinet and horn. And then, when we find that the prayer itself, ‘In quest’ora fatale e temuta’, is accompanied by harp, horn and ’cello, we appreciate the care with which he is fusing recitative to aria, ensuring a continuity of sound texture between the two so that one will seem to evolve from the other.

Up to this point the scene is a sustained flight of ever-developing lyricism. But nothing is allowed to outstay its welcome. The entry of the off-stage chorus brusquely changes mood and tempo, sweeping us headlong into the cabaletta, ‘Parta, parta’. Here again Mercadante shows an assured touch, opening with the pounding rhythm which, above all others, we associate with cabalettas of this period – but very soon varying the pattern by switching to a passage in which onward drive is secured through the use of syncopation. Even when the verse builds towards its conclusion in a series of roulades, each new phrase starts on an accented second beat of the bar: in other words syncopation is still the driving and informing force at work.

An even more important point about this cabaletta is that, though the words may include a reference to ‘purer realms’ and a wish that Ruggiero may find a ‘peaceful haven’ upon earth, Emma’s mind is now set upon suicide, and

–38– this is, therefore, a cabaletta that springs from despair . She is distraught – overwrought – she has ‘no confidence’ of finding a haven in Heaven – and the music as a result is coloured with anticipations of violence to come.

A further sudden change – this time sombre brass chords over tremolo strings – accompanies the drinking of the poison. But now Mercadante allows no pause: Adelia enters, struggling to free herself from her women, and we move straight into her declamatory denunciation of Emma’s iniquity. The score defines what follows as a ‘duet’, but, at first anyway, there is no formal structure to justify such a description. Instead it is now the rapidly developing dramatic situation that dictates the onward movement, each advance in the dialogue being marked by a change in ostinato figure in the accompaniment. It is not until the dying Emma is manifestly in a state of collapse, and declares that Adelia has the revenge she desires – not until Adelia is shocked into seeking pardon for her bitter hostility – that the pace relents; and not until they speak of mingling their tears together that, at long last, the two voices are allowed to join in sympathetic (but still breathless and staccato) thirds, and end the ‘duet’ together. Then, as Emma staggers away to die off-stage, the entire scene is rounded off – with admirable concision – in a single crescendo of unmitigated horror. From its elegiac opening to its devastating ending, this scene, like Act II, has been a single flight of inspiration, a single growing essay in ever-mounting dramatic tension.

* * * *

–39– Antonio Poggi Ruggiero Teatro alla Scala, Milan 1835 One of the features which gave the premiere a touch of extra interest and colour was the inclusion in the orchestra of a new instrument, a ‘glicibarifono’ (corrupted by at least one journal of the day into ‘glicibaritono’), played by its inventor, a clarinet-maker by the name of Catterino Catterini. The name of the instrument, derived from Greek, means ‘sweet and weighty of sound’, and would seem a highly accurate description since it was a type of bass clarinet, combining the notes and tones of a clarinet and a bassoon. According to the New Grove Dictionary of Musical Instruments , Signor Catterini first performed upon his instrument in Modena on 12 February 1838. In Modena, indeed, this may have been true, but – fascinatingly – here in Venice we have him, almost a full four years earlier, both performing upon it and earning for himself warm public recognition. In Act II Mercadante wrote him an extended solo, on this recording played by the glicibarifono’s modern equivalent, a bass clarinet. It occurs early in the act, after the chorus, having sung their valedictory chorus to the now-wed Ruggiero and Adelia, leave the stage empty and in darkness – ready for the encounter between Emma and Ruggiero, their decision to elope together and their apprehension by Corrado. It is a moment of transition, therefore – a moment which depicts the sudden solitude and deceptive calm of a Mediterranean night, setting a sombre tone for the dramatic and darkly passionate events to follow. Strangely it is not used as we might expect – as a prelude which then provides phrases to punctuate and bind together the following recitative – but stands as a self- contained and independent item, 40 bars in length. And since the stage at this point is in darkness, there was nothing, at the premiere of the opera, to distract the attention of the audience from Catterini’s performance. The

–41– Napoleone Moriani

A great actor as well as a fine singer, this tenor sang Ruggiero at the Teatro San Carlo, Naples in 1835 Gazzetta privilegiata tells us that he ‘received much applause, both for his invention and for the skill with which he played it’; while L’Apatista declared that ‘The power, the sweetness in the high notes, and the modulations that can be obtained with this instrument merit for its inventor the most distinguished compliments’.

When a composer ‘showcases’ a new and exotic instrument, as Mercadante does here with the glicibarifono, we would normally expect it to make but one single appearance. So it is perhaps important to add that, in addition to this major solo, the glicibarifono participates in no fewer than four other items (Ruggiero’s aria and cabaletta in Act I; the stretta of the finale of Act I; the chorus, ‘Addio! le stelle ascondono’ in Act II; and the opening chorus of Act III). In these items it is almost invariably heard in combination with other wind instruments (oboe, clarinets, flute), playing at pitches where we should nowadays expect a bass clarinet or a bassoon.

* * * *

One of the more interesting criticisms levelled against the score in the days immediately following the less-than-successful first two performances, was that, ‘The music is in general very studied, excellent where the accompaniment of the instruments is concerned; but it is not music to give pleasure’ ( L’Omnibus , Naples, 22 March 1834). While this criticism was, doubtless, an attempt to explain why, on these first two nights, the opera had not had a more positive impact – an outcome which, with the aid of

–43– hindsight, we have accounted for in very different ways – it is, we believe, worthy of respect and consideration. Studied music? Yes, undoubtedly so. Music where the accompaniments – the use of the orchestra – is particularly noteworthy and commendable? Again, yes. But if the score appeared studied, academic, perhaps even cerebral to those first audiences, by the same token it may well appear more interesting to us – to modern-day listeners who, accustomed to later music that is more sophisticated and more evolved and complex in terms of harmony and form, look for just those studied qualities to give extra and lasting interest to music from earlier ages such as this. These studied qualities are always used, moreover, to telling dramatic effect: they create, maintain and intensify mood and excitement. There were, indeed, few 19th-century Italian composers who could match Mercadante in his ability to create and sustain a level of dramatic intensity. And if ever his music is to make an extensive comeback upon the stages of the world, we believe it will be precisely because of these rich effects and the dramatic ends for which he used them. They above all else constitute, we believe, his claim to challenge and withstand comparison with the composer who, in the judgement of history, eclipsed him: Giuseppe Verdi.

© Jeremy Commons – 2004

–44– Giuseppina Ronzi de Begnis

A great exponent of tragic parts in the 1830s, this excellent soprano sang Emma at the Teatro San Carlo, Naples in 1835 EMMA D’ANTIOCHIA PERFORMANCE HISTORY

WITH 26 KNOWN stagings in the 19th century, Emma d’Antiochia is neither a great rarity like Carlo di Borgogna , nor a near-repertory work like Rossini’s Otello . Even though it was created by Pasta and Donzelli, neither of them made it into one of their favourite works, although she repeated it in Milan, and he in Trieste. Of the four creators, only Orazio Cartagenova sang it more often, doing so in Venice, Milan, Trieste and Padua.

The opera was performed almost yearly into the mid 1840s, then disappeared for about six years, had a brief flurry of revivals, and was finally performed in Malta in spring 1861.

Since it was not in the repertory of any major artists, it makes sense to list all the performances (except seasonal repeats) in chronological order.

© Tom Kaufman, 2004

Date City and Theatre Emma Adelia Ruggiero Corrado 8-3-1834 Venice-La Fenice Pasta Tadolini Donzelli Cartagenova 6-1-1835 Milan-La Scala Pasta Bottrigari Poggi Cartagenova 19-4-1835 Naples-San Carlo Ronzi de Begnis Moriani Ronconi Aut. 1835 Trieste-Grande Meric-Lalande Ferrari Donzelli Cartagenova 4-4-1836 Genoa- Spech L. Linari- Salvi Linari-Bellini Carlo Felice Bellini ..-7-1837 Padua-Nuovo Palazzesi Wanderer Milesi Cartagenova 20-11-1837 Lisbon-Sao Carlos Belloli Lewis Regoli Coletti 15-5-1838 Barcelona-Principal Micciarelli-Sbriscia De Gattis Antoldi -46- Amalia Mattioli

She sang Emma in Pesaro in 1844 Date City and Theatre Emma Adelia Ruggiero Corrado Spring 1839 Florence-Alfieri Vittadini Gallieni Corelli Meini 15-8-1839 Lisbon Sao Carlos 26-12-1839 Venice-La Fenice Schutz-Oldosi Moltini Pedrazzi Balzar 19-8-1840 Macerata-Condomini Griffini Borioni Linari-Bellini ..-10-1840 Assisi-Metastasio Griffini Borioni Linari-Bellini 26-12-1840 Modena-Comunale Riva-Giunti Pellizoni Vitali Giunti 27-1-1841 Novara-Nuovo T. Brambilla Leon Borioni L. Valli Spring 1841 Piacenza-Municipale Griffini Storti Alberti 26-12-1841 Ancona-Muse 1 Parepa- Calvori Bignami Righi Archibugi 3-5-1843 Chieti- Parepa- Bianchini Nerozzi Archibugi San Ferdinando Archibugi 26-12-1844 Pesaro-Del Sole Mattioli De Zuccato Sansoni ..-10-1846 Treviso-Onigo Gariboldi-Bassi Pardini Morelli-Ponti 26-6-1847 Trento-Sociale Boldrini Mecksa Colmenghi 26-12-1853 Bergamo-Sociale Peruzzi Sacchero C. Ferri Carn. 1853-54 Sassari-Civico Marescalchi Ferrari Ippolito ..-1-1854 Padua-Concordi Gordosa Scola Seller 21-1-1854 Verona-Filarmonico Lotti della Santa Bettini Della Santa 9?-.4-1861 Malta-Manoel Peroni Vinco Oliva Sterbini -Pavani 22-10-2003 London- Miricioiu Nocentini Ford Servile Royal Festival Hall

______1 Aladino was sung by the famous Lodovico Graziani at the outset of his career.

-48- Adelina Salvi-Speck

She sang Emma at the in Genoa in 1836.

In these performances her husband, the tenor Lorenzo Salvi, sang Ruggiero THE STORY

ACT ONE

We are in Syria, in the city of Tyre, in the twelfth century. Adelia, the daughter of Corrado di Monferrato, the Count of Tyre, ostensibly has double reason to rejoice: she is soon to marry her cousin, Ruggiero, and this very day her father is expected home from a campaign against the Saracens. She is, however, despondent and apprehensive, for she knows that Ruggiero once loved – and lost – another woman, and she suspects that he still pines for this former love. Ruggiero overhears her voicing her fears, and seeks to reassure her that his heart is now hers alone. The arrival of the expected vessel in the port is greeted with general rejoicing, and Corrado disembarks. He announces that, to seal an alliance between Tyre and Antioch, he has entered into a second marriage. But when his bride, Emma, appears, both she and Ruggiero are taken aback to recognise each other. For Emma is none other than Ruggiero’s former love. Their struggle to control themselves is apparent to all, but Emma defuses the situation by saying that Ruggiero bears a striking resemblance to her dead brother. She forces herself to express joy at the prospect of his marriage to Adelia. Left alone with Aladino, Emma’s faithful slave, Ruggiero begs him to help him see Emma one last time. He will then, he declares, flee from Tyre and seek his death in distant lands.

–50– A tearful and unhappy Emma receives Ruggiero’s visit. Each confesses to five years’ misery since they were torn apart, and Ruggiero declares that, though he had thought he could love Adelia, it has needed only Emma’s return to show him the full extent of his error. Though each is alive to the impossibility of the present situation, they find the idea of never seeing each other again unbearable… They are interrupted by the arrival of Corrado and Adelia. At Adelia’s urging, Corrado has agreed to bring the marriage forward. Ruggiero’s evident dismay reawakens all her fears and suspicions, but Emma seeks to pass off his reaction as an excess of joy at the approach of such long-awaited bliss. Knights and ladies enter to escort the bride and groom to church, and Ruggiero finds himself dragged, bewildered, to the altar.

ACT TWO The wedding is over, and knights and ladies, having danced the evening away, take leave of the married couple outside the nuptial chamber. In the darkness that descends upon the palace, an agitated and dismayed Emma appears. Up till this point, she has managed to play her role of wife and mother, but now her moral forces are exhausted. As Aladino tries to lead her back to her chambers, Ruggiero appears, ordering a squire to bring his arms and a horse to the gates. Rather than consummate the marriage, he has determined to leave Tyre. At the sight of Emma’s growing desperation he urges her to flee with him, but they find their way barred by an outraged Corrado. As if this is not crisis enough, the air is rent with cries of horror, and a pale, dishevelled Adelia appears. Realising that

–51– she is deserted, she swoons in her father’s arms, and the act ends as all the characters give vent to either recrimination or self-reproach.

ACT THREE Desolation reigns. Emma has been shut – or has shut herself – in her apartments; Corrado has been cast into prison. Corrado, however, has him brought before him, and tells him that, rather than exact a bloody revenge, he has decided to place him on board a Venetian vessel and send him into exile. Ruggiero is sufficiently guilt-stricken and remorseful to see the wisdom of this decision, and agrees to go. Emma manages to see him one last time, and they bid each other farewell. Then, with no prospect of finding a peaceful haven either upon earth or in heaven, Emma, in resigned despair, appeals to Aladino to help her end her life. He has at his disposal poison and a dagger. He gives her the poison, but, unwilling to live without her, reserves the dagger for himself. Emma prays that, at the end of her ordeal, she may at least come before an understanding God, and then, as she hears the sounds of Ruggiero’s vessel departing, drinks the poison. But her suffering is not over yet. Adelia appears, denouncing her as the cause of all her woes. It is not until Emma actually begins to falter and collapse that the two women, the one dying and the other appalled, are finally reconciled. Emma totters away to die upon the body of Aladino, while Corrado and Adelia are left, forgiving rather than condemning, to offer each other what consolation they can.

© Jeremy Commons

–52– Rehearsal at Henry Wood Hall RÉSUMÉ DE L’INTRIGUE

ACTE I

La scène se passe en Syrie, dans la ville de Tyr, au XIIe siècle. Adelia dont le père, Corrado di Monferrato, est comte de Tyr, a manifestement deux raisons de se réjouir : elle doit prochainement épouser son cousin Ruggiero et attend, le jour même, l’arrivée de son père, de retour d’une campagne contre les Sarrasins. Elle n’en est pas moins abattue et appréhensive : elle sait que Ruggiero a aimé une autre femme avant elle et le soupçonne de languir après celle qu’il a perdue. Ruggiero, l’entendant exprimer ses craintes, lui assure que son cœur n’appartient désormais plus qu’à elle. L’entrée au port du vaisseau tant attendu est saluée par une foule en liesse. Corrado débarque. Il annonce que, pour sceller l’alliance entre Tyr et Antioche, il vient de se remarier. Lorsqu’Emma, son épouse, fait son entrée, elle sursaute à la vue de Ruggiero, qu’elle reconnaît et qui, de même, la reconnaît. Emma n’est nulle autre que celle que Ruggiero a aimée. Leur émoi est manifeste malgré tous leurs efforts pour le maîtriser. Emma désamorce cependant la situation en déclarant que Ruggiero ressemble de manière frappante à son frère décédé. Elle s’oblige à exprimer de la joie à la perspective de l’union prochaine de Ruggiero et d’Adelia. Laissé seul en présence d’Aladino, le fidèle serviteur d’Emma, Ruggiero le supplie de l’aider à revoir Emma une dernière fois, avant qu’il ne fuie Tyr pour des terres lointaines où il ira chercher la mort.

–54– C’est une Emma affligée et en larmes qui accueille Ruggiero. Les cinq années écoulées depuis leur brutale séparation ont été malheureuses pour l’un comme pour l’autre. Ruggiero confie à Emma que son retour a suffit à lui montrer combien il se trompait en croyant pouvoir aimer Adelia. Tout en sachant qu’ils se trouvent dans une situation sans issue, ils ne peuvent supporter l’idée de ne plus jamais se revoir… Ils sont interrompus par l’arrivée de Corrado et d’Adelia. A la demande pressante d’Adelia, Corrado a accepté d’avancer la date de son mariage. La détresse manifeste de Ruggiero ravive ses craintes et ses soupçons, mais Emma essaie de se leurrer en attribuant la réaction de son cousin à l’immense joie qu’il éprouve à la perspective de leur félicité prochaine. Les chevaliers et leur dame escortent les futurs époux jusqu’à l’église et Ruggiero désorienté est entraîné vers l’autel.

ACTE II Les noces ont eu lieu. A l’issue des festivités, les chevaliers et leur dame accompagnent le couple jusqu’à la chambre nuptiale et prennent congé. Alors que l’obscurité descend sur le palais, une Emma agitée et épouvantée fait son apparition. Jusque là, elle a réussi à jouer son rôle de femme et de mère, mais c’est désormais au-dessus de ses forces. Alors qu’Aladino essaie de la ramener à ses appartements, Ruggiero apparaît. Il ordonne à un écuyer de lui amener un cheval aux portes de la ville. Plutôt que de consommer son mariage, il a, en effet, décidé de quitter Tyr. Devant le désespoir d’Emma, il lui enjoint de s’enfuir avec lui, mais voilà que Corrado, furieux, leur barre le chemin. La situation atteint son comble avec

–55– l’arrivée d’Adelia, pâle et échevelée, dont les cris déchirent la nuit. Se voyant abandonnée, elle s’évanouit dans les bras de son père. L’acte s’achève sur une scène montrant tous les personnages en train de s’incriminer les uns les autres quand ils ne se noircissent pas eux-mêmes.

ACTE III La désolation règne. Emma est enfermée – ou s’est enfermée elle-même – dans ses appartements ; Ruggiero est en prison. Corrado le fait toutefois comparaître devant lui pour lui annoncer qu’il a renoncé à se venger de lui par le sang et décidé, au contraire, de l’exiler en le faisant embarquer sur un navire vénitien. Ruggiero se sent suffisamment coupable et éprouve assez de remords pour comprendre la sagesse de cette décision : il accepte de partir. Emma réussit à le voir une dernière fois, et ils se disent adieu. Ayant perdu tout espoir de trouver la paix ici-bas ou au Ciel, et résignée à sa perte, Emma demande à Aladino de l’aider à mettre fin à ses jours. Aladino, qui possède du poison et un poignard, donne le poison à sa maîtresse et, incapable de vivre sans elle, se réserve le poignard. Emma prie pour que Dieu, devant son malheur, fasse preuve de miséricorde, et au moment où elle entend le navire de Ruggiero quitter le port, avale le poison. Mais ses souffrances ne sont pas encore finies. Adelia vient l’accuser d’être la cause de tous ses malheurs. Il faudra qu’Emma chancelle puis s’effondre pour que les deux femmes, l’une agonisante, l’autre horrifiée, se réconcilient enfin. Emma, en titubant, va s’effondrer sur le corps d’Aladino, tandis que Corrado et Adelia, restés seuls et prêts à pardonner plutôt qu’à réprouver, cherchent auprès l’un de l’autre quelque consolation.

–56– Stage Band with Robin Newton (assistant conductor) DIE HANDLUNG

ERSTER AKT

Schauplatz ist die syrische Stadt Tyros im 12. Jahrhundert. Adelia, die Tochter des Grafen von Tyros Corrado di Monferrato, hat scheinbar doppelten Grund zur Freude: Sie wird demnächst ihren Cousin Ruggiero heiraten, und am heutigen Tag wird ihr Vater von einem Feldzug gegen die Sarazenen zurückerwartet. Sie ist jedoch verzagt und besorgt, weiß sie doch, dass Ruggiero früher einmal eine andere Frau liebte – und verlor –, und sie vermutet, dass er sich noch immer nach seiner früheren Liebe sehnt. Ruggiero hört zufällig, wie sie ihren Ängsten Ausdruck verleiht, und versichert ihr nochmals, dass sein Herz nun ihr allein gehöre. Unter allgemeinem Jubel trifft das erwartete Schiff im Hafen ein, und Corrado geht an Land. Er verkündet, dass er, um ein Bündnis zwischen Tyros und Antiochia zu besiegeln, eine zweite Ehe eingegangen ist. Doch als seine Braut Emma erscheint, erkennen sie und Ruggiero sich zu ihrer großen Verblüffung gegenseitig wieder. Emma nämlich ist niemand anderes als Ruggieros ehemalige Geliebte. Für alle Anwesenden ist offenkundig, wie sehr sie um Selbstbeherrschung ringen, doch Emma entschärft die Situation mit der Bemerkung, Ruggiero habe eine auffallende Ähnlichkeit mit ihrem toten Bruder. Sie zwingt sich, ihre Freude über seine bevorstehende Heirat mit Adelia zum Ausdruck zu bringen. Unter vier Augen bittet Ruggiero Emmas ergebenen Sklaven Aladino, ihm behilflich zu sein, Emma noch ein letztes Mal zu sehen. Dann will er nach

–58– eigenen Worten aus Tyros fliehen, um in fernen Landen den Tod zu suchen. In Tränen aufgelöst und unglücklich empfängt Emma Ruggiero. Beide gestehen sich, dass die fünf Jahre, seitdem sie gewaltsam getrennt wurden, eine einzige Trübsal für sie waren. Ruggiero erklärt, er habe zwar geglaubt, Adelia lieben zu können, doch Emmas Rückkehr habe genügt, um ihm das volle Ausmaß seines Irrtums zu zeigen. Obwohl sich beide der Unmöglichkeit der gegenwärtigen Situation bewusst sind, empfinden sie die Vorstellung, sich nie wieder zu sehen, als unerträglich... Sie werden durch die Ankunft Corridos und Adelias unterbrochen. Auf Adelias Drängen hin hat Corrado eingewilligt, die Vermählung vorzuziehen. Ruggieros offensichtliche Bestürzung weckt sämtliche Befürchtungen und allen Argwohn aufs neue in ihr, doch Emma versucht, seine Reaktion als übermäßige Freude über das Nahen eines so lang erwarteten Glücks hinzustellen. Ritter und Damen treten ein, um Braut und Bräutigam zur Kirche zu geleiten, und Ruggiero kann nichts anderes tun, als sich verwirrt zum Altar zerren zu lassen.

ZWEITER AKT Die Trauung ist vorüber, und Ritter und Damen verabschieden sich, nachdem sie den ganzen Abend über getanzt haben, vor dem Hochzeitsgemach vom Brautpaar. In der Dunkelheit, die sich über den Palast legt, erscheint Emma in hellem Aufruhr. Bis hierher war es ihr gelungen, ihre Rolle als Frau und Mutter zu spielen, doch jetzt sind ihre moralischen Kräfte erschöpft. Als Aladino sie zu ihren Gemächern zurückzugeleiten versucht, tritt Ruggiero auf und befiehlt einem Knappen, ihm seine Waffen und ein Pferd –59– ans Tor zu bringen. Er hat beschlossen, lieber aus Tyros fortzugehen als die Ehe zu vollziehen. Angesichts Emmas wachsender Verzweiflung drängt er sie, mit ihm zu fliehen, als der empörte Corrado hinzukommt und sich ihnen in den Weg stellt. Doch die Situation wird noch kritischer: Schreie zerreißen die Luft, und Adelia erscheint, bleich und in völlig aufgelöstem Zustand. Als ihr klar wird, dass sie verlassen ist, bricht sie in den Armen ihres Vaters ohnmächtig zusammen, und der Akt endet damit, dass sämtliche Figuren sich in gegenseitigen Schuldzuweisungen oder Selbstvorwürfen ergehen.

DRITTER AKT Allgemeine Trostlosigkeit. Emma ist – oder hat sich selbst – in ihren Gemächern eingeschlossen; Ruggiero sitzt im Kerker gefangen. Corrado lässt ihn jedoch vor sich kommen und sagt ihm, er wolle keine blutige Vergeltung üben, sondern habe beschlossen, ihn auf einem venezianischen Schiff in die Verbannung zu schicken. Ruggiero ist schuldbewusst und reumütig genug, um die Weisheit dieser Entscheidung zu erkennen, und fügt sich in sein Schicksal. Emma gelingt es, Ruggiero ein allerletztes Mal zu sehen, und beide nehmen Abschied voneinander. Die Aussicht, weder auf Erden noch im Himmel eine friedliche Zuflucht erwarten zu dürfen, macht Emma so resigniert und verzweifelt, dass sie Aladino bittet, ihr zu helfen, ihr Leben zu beenden. Er besorgt sich Gift und einen Dolch. Das Gift gibt er ihr, doch den Dolch spart er für sich auf, denn ohne sie will auch er nicht weiterleben. Emma betet, dass sie am Ende ihrer Qualen wenigstens einen verständnisvollen Gott finden möge, und als sie Ruggieros Schiff abfahren

–60– hört, trinkt sie das Gift. Doch ihr Leiden hat noch kein Ende. Adelia erscheint und brandmarkt sie als Urheberin all ihres Kummers. Erst als Emma zu taumeln beginnt und zusammenbricht, versöhnen sich beide Frauen miteinander, sterbend die eine, die andere erschüttert. Emma schleppt sich fort, um auf dem Leichnam Aladinos ihr Leben auszuhauchen. Zurück bleiben Corrado und Adelia, die sich verzeihen, anstatt sich anzuklagen, und sich gegenseitig trösten, so gut sie können.

–61–

ARGOMENTO

ATTO I

Siamo a Tiro, in Siria, nel XII secolo. Adelia, figlia di Corrado di Monferrato, conte di Tiro, ha due ragioni per rallegrarsi: sta per sposare il cugino Ruggiero e proprio oggi attende il padre, di ritorno da una campagna contro i Saraceni. La donna invece è triste e inquieta: sa che Ruggiero un tempo era stato innamorato di un’altra donna che aveva perduto e sospetta che soffra ancora per questo. Ruggiero la sente esprimere i suoi timori e cerca di rassicurarla: il suo cuore oggi appartiene solo a lei. Nel porto arriva l’attesa nave, salutata dalla gioia generale. Ne sbarca Corrado e annuncia di essersi risposato, per suggellare un’alleanza tra Tiro e Antiochia. Ma al suo ingresso, la sposa Emma e Ruggiero rimangono impietriti. Infatti Emma non è altri che l’innamorata perduta di Ruggiero. Entrambi cercano visibilmente di controllarsi, ma Emma alleggerisce la situazione dicendo che Ruggiero somiglia moltissimo al fratello che ha perduto e si sforza di esprimere gioia alla prospettiva del suo matrimonio con Adelia. Rimasto solo con Aladino, fedele schiavo di Emma, Ruggiero lo supplica di aiutarlo a rivedere la sua innamorata un’ultima volta. Poi fuggirà da Tiro per cercare la morte in terre lontane. L’infelice Emma riceve Ruggiero tra le lacrime. Ciascuno dei due confessa di essere stato infelice dal momento della separazione avvenuta cinque anni prima e Ruggiero dichiara che, nonostante pensasse di poter amare Adelia, è

–63– bastato il ritorno di Emma a rivelargli il suo errore. Entrambi si rendono conto dell’impossibilità della situazione presente, ma non sopportano l’idea di non rivedersi mai più. Vengono interrotti dall’arrivo di Corrado e Adelia. Sollecitato dalla figlia, Corrado ha accettato di anticipare le nozze. L’evidente sconforto di Ruggiero riaccende tutti i timori e i sospetti della donna, ma Emma cerca di far passare la sua reazione per un eccesso di gioia all’avvicinarsi di questa felicità tanto attesa. Cavalieri e dame entrano per scortare gli sposi fino alla chiesa e Ruggiero, sconcertato, viene trascinato all’altare.

ATTO II. Le nozze si sono concluse. Dopo aver danzato tutta la notte, i cavalieri e le dame si accomiatano dalla coppia di sposi davanti alla camera nuziale. Nell’oscurità che scende sul palazzo, compare Emma agitata e costernata. Fino a questo punto è riuscita a interpretare il proprio ruolo di moglie e madre, ma adesso le sue forze morali sono esaurite. Mentre Aladino cerca di riaccompagnarla nei suoi appartamenti, compare Ruggiero e ordina a uno scudiero di portare le sue armi e un cavallo alla porta. Piuttosto che consumare il matrimonio ha deciso di lasciare Tiro. Alla vista della crescente disperazione di Emma, le chiede di fuggire con lui, ma Corrado, indignato, sbarra loro la strada. E come se questo non bastasse, l’aria viene lacerata da grida d’orrore e compare Adelia, pallida e scarmigliata. Rendendosi conto di essere stata abbandonata, la donna sviene tra le braccia del padre. L’atto si conclude mentre tutti i personaggi danno sfogo a recriminazioni o si rimproverano.

–64– ATTO III La desolazione è sovrana. Emma si è chiusa o è stata chiusa nei propri appartamenti, Ruggiero è stato gettato in prigione. Corrado, tuttavia, lo fa condurre alla propria presenza e gli dice che, anziché vendicare l’affronto con il sangue, ha deciso di farlo imbarcare su una nave diretta a Venezia e inviarlo in esilio. In preda a sentimenti di colpevolezza e al rimorso, Ruggiero comprende che si tratta di una saggia decisione e accetta di partire. Emma riesce a vederlo un’ultima volta ed entrambi si dicono addio. Avendo perso ogni speranza di trovare pace in cielo o in terra, con rassegnata disperazione la donna si rivolge ad Aladino e gli chiede di aiutarla a mettere fine ai propri giorni. Il servitore, che ha a disposizione del veleno e un pugnale, le consegna il veleno ma, non volendo vivere senza di lei, riserva per sé il pugnale. Emma prega: dopo tante sofferenze si augura almeno di trovarsi al cospetto di un Dio comprensivo e poi, mentre sente partire la nave che porta con sé Ruggiero, beve il veleno. Ma le sue sofferenze non sono ancora finite. Compare Adelia e la accusa di essere la causa di tutti i suoi dolori. Solo quando Emma comincia a vacillare e cadere le due donne, una morente e l’altra terrorizzata, si riconciliano finalmente. Emma si allontana barcollando per morire sul corpo di Aladino, mentre Corrado e Adelia decidono di perdonare anziché condannare e rimangono a consolarsi come possono.

–65– David Parry (conductor) EMMA D’ANTIOCHIA Tragedia lirica in three acts Libretto by Felice Romani First performance 8 March 1834 Teatro la Fenice, Venice

CHARACTERS

Corrado di Monferrato, Conte di Tiro...... Orazio Cartagenova Ruggiero, his nephew...... Domenico Donzelli Emma, Princess of Antioch...... Giuditta Pasta Adelia, the daughter of Corrado, betrothed to Ruggiero...... Eugenia Tadolini Aladino, a young Muslim slave belonging to Emma…...... Giacomo Roppa Odetta, lady-in-waiting of Adelia…………………………...Giuditta Saglio

Knights, Crusaders, Ladies and Maidens, Troubadours, Soldiers, Pages, Squires and Minstrels.

The action takes place in the city of Tyre in Syria, in the 12th century.

Passages in the following text which are placed within double quotation marks (“…..”) formed part of Romani’s original libretto, but were not set by Mercadante.

–67– Rebecca von Lipinski CD1 77’29

[1] SINFONIA ACT ONE

SCENE I

A hall in Corrado’s palace. At the rear a magnificent gallery leading to rich apartments.

Adelia is seated at a small table, surrounded by Odetta and other maidens who have brought her various ornaments.

[2] MAIDENS Della Sidonia porpora Do you like the lively colour Ami il color vivace; Of the purple of Sidon? O di Damasco il fulgido Or do you wish to wear Bisso vuoi tu vestir? The brilliant byssus of Damascus? ODETTA Ella pur tace. She still says nothing. MAIDENS Parla: di gemme candide Speak: does a becoming circlet Serto gentil t’alletta; Of dazzling gems tempt you? Vezzo o monil più giovati Or does a necklace or bracelet of oriental D’oriental zaffir? Sapphire appeal to you more? ODETTA arousing her Adelia! Adelia!

–69– ADELIA embracing her Odetta! Odetta! ODETTA & MAIDENS Piangi? Are you in tears? In sì lieto giorno, Upon such a joyful day, Che il genitor diletto When your beloved father Fa da Sion ritorno Is coming back from Sion Tuoi nodi a benedir; To bless your nuptials, Or che del tuo Ruggiero Now when you are to reward Dei coronar l’affetto, The affection of your Ruggiero, Qual puoi tu pensiero What misgiving – what fear – Qual timor nutrir? Can you entertain? ADELIA Un rio sospetto. A gnawing suspicion. ODETTA & MAIDENS Oh! che mai dici? Oh! whatever are you saying? ADELIA A voi fedeli ancelle To you, my faithful maidens, Nudo offrir posso il cor... Quant’io vorrei... I can unburden my heart... However much I might wish it… Quanto in pria lo sperai... However much in the past I hoped Ruggier non m’ama. for it... Ruggiero does not love me. ODETTA & MAIDENS Come? e tua man non brama? What’s this? Does he not wish your hand?

–70– Maria Costanza Nocentini “E non la chiese al padre?” “Did he not ask your father for it?” E a te di sangue And is he not Non è congiunto? Related to you by blood? ADELIA Oh! lo foss’ei di cuore. – Oh! would he were linked to me in his heart. Nè il solo io sono, nè il suo primo amore. But I am neither his only love, nor his first. ODETTA & MAIDENS D’onde il sai tu? Parla! How do you know that? Tell us! ADELIA “Qui... dianzi...” “I heard it here... a short time since...” Dal labbro suo... Di Baldovino in corte From his own lips... In Baldovino’s court Di nobil donna egli arse: alta cagione, His heart took fire for a noble lady: a weighty reason, Ch’io non saprei ridir, lei trasse altrove Exactly what I would not know, took her elsewhere, E fu per sempre da Ruggier partita; And she was separated from Ruggiero for ever; Ma nel suo cor scolpita But she remained engraved in his heart… Ella rimase, e vi è tuttor... mel dice She is there still... His dejection which, despite La sua mestizia che malgrado ei cela, His efforts, he so ill conceals tells me so,

–72– E il continuo aspirar a ciel straniero... And his continual wish to visit foreign climes... No: non m’ama. No: he loves me not.

SCENE II

Ruggiero enters from the rear of the stage.

RUGGIERO having overheard Io non t’amo? I do not love you? ADELIA Oh! ciel! Ruggiero! Oh! heavens! Ruggiero! [3] RUGGIERO I tuoi sospetti, Adelia, I had thought, Adelia, that your suspicions Io mi credea sgombrati; Had been swept away; Schiusa io t’avea quest’anima... I revealed this soul of mine to you... I mali miei svelati... Told you of my woes... A te siccome ad angelo Opened my thoughts to you Aperti i miei pensier. As one would do to an angel. Fa core: ancor sei libera Take heart: you are free yet Se puoi di me temer. If you can still harbour fears about me. ADELIA Non ti sdegnar, perdonami Do not take offence – forgive me Queste dubbiezze estreme: These extreme doubts: Cor di donzella è debole, The heart of a maiden is weak,

–73– Bruce Ford Amor d’ogni ombra teme, Love takes fright at every shadow... Ruggiero mi è luce ed anima, Ruggiero for me is light and soul, Tutto è per me Ruggier. Ruggiero is everything for me. Che m’ami ancor ripetimi Tell me again that you love me Nè più mi udrai doler. And no more will you hear me complain. RUGGIERO T’amo; sì t’amo... e sembrami I love you; yes, I love you... but a heart seems Poco ad amarti un cor. Too slight a thing to love you with. ADELIA O mio Ruggier! O my Ruggier! RUGGIERO E rendemi This love of mine Quest’amor mio migliore: Makes a better man of me: Mi par, mi par risorgere In my love for you I seem… I seem Come Fenice in te. To be born again like the Phoenix. ADELIA In quale amor più credere In what love can one place greater credence Se questo amor non è? If this be not love? (Sounds of military music are heard from afar.)

[4] ALL Quai lieti suoni? What joyful sounds are these?

–75– SCENE III

A number of knights enter.

KNIGHTS Affrettati, Make haste... Giunto è Corrado in porto... Corrado has arrived in port... ADELIA, ODETTA, RUGGIERO & MAIDENS Oh gioja! Oh what joy! Vadasi! Let us go to meet him! KNIGHTS De’ collegati principi He is escorted by a great flotilla Da gran naviglio è scorto; Of allied princes; Odi di trombe e timpani Hear all the shore resounding Tutta suonar la riva: With trumpets and drums: Odi eccheggiar gli evviva Hear the cheering Del popolo fedel. Of the faithful people echoing. ADELIA, RUGGIERO, ODETTA & MAIDENS Ah! Lo invia a noi sollecito Ah! Heaven sends him to us A’ nostri/vostri nodi il ciel. With all prompt speed for our/your nuptials. [5] ADELIA & RUGGIERO Vieni e per noi cominciano Come: days of the greatest Giorni di sommo bene: Prosperity are dawning for us: Come di sogno imagine Like a vision in a dream Fugge il passato e sviene; The past flies away and dissolves; A noi sereno e lucido For us the future Sorride l’avvenir. Smiles serene and bright.

–76– KNIGHTS & MAIDENS “Ei vien: le prime insegne “He comes: the first banners “Si veggono apparir.” “Can be seen appearing.” (All depart.)

SCENE IV

A military band leads in a procession of Knights, Squires and Soldiers.

After the procession, Corrado enters between Adelia and Ruggiero.

[6] CORRADO Son ne’ miei Lari!... ch’io t’abbracci ancora I am back in my own halls!... Let me embrace Tenera Adelia! E tu Ruggier, tu dolce You anew, my dear Adelia! And you, Ruggiero, Immagin d’un fratel, vieni al mio seno. Sweet likeness of my brother, come to my arms. Ah! non v’ha dì sereno Ah! no day is more calm and reassuring Come il dì del ritorno in mezzo ai suoi Than the day one returns to the bosom of one’s family Dopo i corsi perigli. After encountering perils. ADELIA & RUGGIERO Non ne partir mai più! May you never more depart from it! CORRADO Lo spero, o figli. That, my children, is my hope.

–77– Roberto Servile Io de’ Latini il regno I have strengthened the kingdom of the Italians In Solima fermai: per me concordi In Solima; united through my efforts, I Prenci di Soria spiegano ancora The Princes of Syria unfurl once more Oltre il Giordano la vermiglia croce: The crimson Cross beyond the Jordan: E la rispetta il Saracen feroce. And the fierce Saracen accords it his respect. ALL Oh! vero eroe! Oh! true hero! CORRADO Pegno di stabil pace As a pledge of stable peace Fra Tiro ed Antiochia, o Cavalieri, Between Tyre and Antioch, O Knights, Nella mia reggia io reco I bring back to my palace Augusta donna, a voi sovrana e madre, A noble lady – for you a sovereign and a mother, A me consorte. For me, my wife. ALL A te consorte! Your wife! ADELIA O padre! O father! [7] CORRADO to Adelia Il mio cuore, il cor paterno My heart – the heart of a father – Rifuggia da nuovo imene, Shrank from a new marriage, Ogni gioia ed ogni bene Every joy and every blessing

–79– Io poneva, e pongo in te. I looked for – and look for – in you. Ma parlò voler supremo, But I heard a decree from on high – Di Sion parlò la voce, The voice of Sion spoke – E il guerriero della croce And the soldier of the Cross A Sionne e al ciel si diè. Delivered himself to Sion and to Heaven. KNIGHTS, SQUIRES & SOLDIERS, etc Generoso! Great-hearted man! Fian felici i figli tuoi May your children be happy Della tua felicità. For your happiness. ADELIA Ah tolga il cielo Ah! Heaven forbid Ch’io mi attenti alzar lamento! That I should venture to voice regrets! RUGGIERO Paghi Iddio tuo nobil zelo, May God reward your noble zeal Di venture, e di contento! With good fortune and with happiness! [8] CORRADO Se una madre io diedi a voi If I have given you a mother, Altro voto il cor non ha. My heart has nothing else to wish for. Io tal voto, io tal preghiera Such was the vow, such the prayer Porsi a Lei dell’ara al piede: That I offered to her at the foot of the altar: Ella a me giurando fede And she, in swearing faith to me, A’ miei figli amor giurò. Swore to give her love to my children. Quando fia che giunga a sera When it must be that the fleeting day Di mia vita il dì fugace, Of my life approaches its evening,

–80– Chiuderò quest’occhi in pace I shall close these eyes of mine in peace Poi che a lei vi lascierò. Since I shall be leaving you in her care. ALL Manterrà sua fede intera The man who has deigned to make himself Chi un eroe di sè degnò. A hero will maintain his faith to the letter. [9] CORRADO Or che di tanto evento Now that I have made you acquainted Consci vi resi, ogni mia nube ha sgombra With this momentous event, your love Il vostro amor. Has dispersed every cloud from my mind. ADELIA A lei ne guida, o padre, Lead us to her, father, Guidane a lei; poichè tu l’ami, io l’amo, Lead us to her; since you love her, I love her, E in lei trovar verace madre io credo. And I believe I shall find a true mother in her.

–81– SCENE V

Aladino enters, followed by Emma with pages, squires, etc.

ALADINO from the entrance way La Sovrana! The Sovereign Lady! RUGGIERO (Chi vedo? (Whom do I see? Aladino!) Aladino!) ALADINO (Ruggiero!) (Ruggiero!) CORRADO Il più fedele The most faithful of her De’ suoi servi l’annunzia. Ella s’appressa. Servants announces her. She approaches. KNIGHTS, SQUIRES, SOLDIERS, etc Viva l’augusta donna! Long live the noble dame! (All draw themselves up in welcoming ranks: Emma makes her entry: Ruggiero is thunderstruck.)

RUGGIERO “E’ dessa… è dessa.” “’Tis she... ’tis she.” CORRADO to Emma Vieni: la figlia mia Come: first of all Stringi primiera al sen. Clasp my daughter to your breast.

–82– [10] EMMA Ah! sì, mi abbraccia Ah! yes, embrace me, Giovin leggiadra. Charming child. ADELIA A te diletta sempre May I ever be as dear to you Esser io possa quanto a me già sei. As you already are to me. CORRADO to Emma Auspice giungi a lei You come as a good omen to her Di fauste nozze. Il giovin prode accogli For a happy marriage. Welcome the young hero Mia dolce speme, ed amor suo primiero. Who is my fond hope, and her first love. Ti avvicina Ruggier. Approach, Ruggiero. (He takes Ruggiero by the hand and leads him to Emma.)

ALADINO (Cielo!) (Heavens!) EMMA shaken to hear his name Ruggiero! Ruggiero! Desso! lo sposo!... il genero… He!... the bridegroom!... your son-in-law... Sogno!... delirio è il mio! I’m dreaming!... This is some delirium! CORRADO Desso! Yes, he!

–83– Nelly Miricioiu ALL Onde tanto attonita? But why so astonished? RUGGIERO (Tremo.) (I tremble.) ALADINO (Che fia gran Dio!) (Good God! what is happening?) [11] EMMA regaining control of herself Ah! se commossa io sono Ah! if I am overcome, Cerco da voi perdono: I ask you to forgive me: Esso al pensier m’ha finto He has brought to my mind Un caro oggetto... estinto... Someone dear to me... someone who is dead... L’amor de’ miei prim’anni... The love of my youthful years... L’unico mio – fratel. My one and only – brother. Ah! Povero cor t’inganni... But ah! poor heart, you are deceived... Me l’ha rapito il ciel. Heaven has taken my brother from me. RUGGIERO (Respiro.) (I breathe again.) CORRADO Ah! del magnanimo Ah! one and all we bewail Tutti piangemmo il fato. The fate of the noble-minded youth. EMMA (Emma coraggio!) (Emma, take courage!) ADELIA, KNIGHTS, SQUIRES, etc. Or quetati: Now calm yourself.

–85– Spirto è lassù beato, He is now a blessed spirit up above, E in questo dì felice And upon this happy day Non vuol da te sospir. He does not wish for sighs from you. EMMA “E’ ver: turbar non lice “True: it is not right to disturb “Il vostro... il suo gioir.” “Your joy... and his.” [12] (forcing herself to comply with what is expected of her: to Corrado:) Nobil signor perdonami, Noble sir, forgive me, A me le braccia stendi, Extend your arms to me, Tu da sì tristi immagini And protect my mind L’anima mia difendi. From such sad imaginings. Ah! sì: per te dimentico Ah! yes: through you I forget Ogni mio danno antico; All my former woes; Padre, fratello, amico Father, brother, friend – Tutto ritrovo in te. All of them I find again in you. La patria tua mi è patria, Your homeland is a homeland for me, I figli tuoi son miei... Your children are my children... Ch’io ne ritardi il giubilo You must not fear that I Tu paventar non dei... Should inhibit your joy... L’ara per essi accendasi, The fire is lit upon the altar for them, Il tempio a lor s’infiori, The church is decked with flowers for them, Pronuba al loro amor May they find in me a propitious Si abbian propizia in me. Matron-of-honour for their love. CORRADO, ADELIA & CHORUS “Sensi amorosi e teneri “These are loving, tender sentiments “Degni di te son questi, “That well become you,

–86– “Traccia di tua mestizia “Let no trace of your despondency “Negli occhi tuoi non resti;” “Linger in your eyes;” Alma non v’ha serena No soul here can be serene Se appien la tua non l’è. Unless your soul is fully at peace. RUGGIERO & ALADINO “(Cielo io respiro appena; “(Heavens! but I can scarcely breathe; “Mal mi sorregge il piè.)” “My feet but ill support me.)” (Emma departs, between Adelia and Corrado. All follow, except Ruggiero and Aladino.)

SCENE VI

Ruggiero and Aladino .

[13] RUGGIERO after a moment’s silence Nel mio cuore lacerato Can you read within Leggi tu? My lacerated heart? ALADINO Come nel mio. As within my own. RUGGIERO Chi di me più sventurato? Who was ever more unfortunate than I? ALADINO Ogni cuore i suoi martir. Every heart has its torments. RUGGIERO Oh Aladin!... che far degg’io? Oh Aladin!... what must I do? ALADINO Che far dei? tacer, soffrir. What must you do? Remain silent, and suffer. –87– Bruce Ford [14] RUGGIERO Io soffrir: mortale in terra Suffer? No mortal upon earth Non potria soffrir cotanto: Could suffer so much; Il destin che mi fa guerra The destiny that takes up arms against me Non è pago del mio pianto... Is not to be appeased by my tears... A’ miei piè l’abisso schiude It opens an abyss at my feet... Mi vi spinge – io vi cadrò. It thrusts me towards it – there I shall fall. ALADINO “Ah non io, non io virtude “Ah! it is not for me, not for me, a powerless “Debil servo a te darò.” “Slave, to give you moral fortitude.” RUGGIERO Ami tu la tua Signora? Do you love your mistress? ALADINO Io... se l’amo?.. più che mai... I... you ask if I love her?... more than ever... RUGGIERO Le sei tu fedele ancora? Are you still faithful to her? ALADINO Come al ciel che il sol mi diè. As to the heaven that gave me the sun. RUGGIERO E un segreto serberai? And can you keep a secret? ALADINO Un segreto!... è dubbio in te? A secret!... can you doubt it? Corre un lustro, un lustro intiero For the last five years, full five years,

–89– Che nel cor un tal ne celo, I have concealed just such a secret in my heart, Cui non giunge uman pensier A secret beyond the reach of human thought... Ch’io perfin nascondo al cielo... A secret which I hide even from heaven... Se il mio cor temessi infido If I were to fear my heart unfaithful, Io saprei strapparmi il cor. I would tear it out from my chest. RUGGIERO Sì, lo credo: in te mi fido Yes, I believe it: I put my trust in you: Uno scampo io trovo ancor. I still see one way out of this predicament. Odi... ad Emma andiamo insieme... Listen... let us go to Emma together... Ch’io la vegga oprar tu dei. You must manage matters so that I may see her. ALADINO Stolto!... e speri?... Rash man!... what hope have you?... RUGGIERO Io non ho speme: I have no hope: Vo’ vederla, e poi partir. I wish to see her, and then depart. ALADINO Del tuo cor ben certo sei? Are you so certain of your heart? RUGGIERO Sì lontan saprò morir. Yes, I shall know how to die in distant parts. ALADINO Vieni, vieni, “o sventurato, Come, come, “unhappy man, “Di servirti io non ricuso: “I do not refuse to serve you:

–90– “Dall’abisso a te dischiuso “From the abyss that has opened before you “Non ti scampa che il fuggir. “There is but one escape – through flight. [15] RUGGIERO Partirò: dell’empia sorte I shall away: I give myself Al potere io m’abbandono: Into the power of my evil destiny: Pago assai, contento io sono I shall be sufficiently satisfied and happy S’ella intende il mio martire. If the news of my fate reaches her. Dolce almen mi fia la morte Death will at least be sweet to me Se le costa un sol sospir. If it costs her a single sigh. ALADINO Ah! un amore disperato Ah! a love that’s reduced to desperation Più non può desio nutrir. Can no longer entertain hope. (They leave.)

SCENE VII

Apartments.

Emma, alone. She enters, lost in thought, and sinks into a chair.

[16] EMMA Sola son’io – pianger non vista io posso… I am alone – I am able to weep unseen...

–91– Colin Lee Pianger d’amor – un Dio nemico, un Dio To weep for love – an alien God, a God Che vuol perduti entrambi, Who wishes us both destroyed, Mi conduce Ruggier in questi lidi. Brings Ruggiero to me upon these shores. Oh! quale ti rividi? Oh! how you struck me when I saw you again! Quale ti ritrovai? Come in un punto When I found you again! How in a flash Tutte si ridestar, le fiamme All the flames, which have lain dormant Che sopite giacean da un lustro intero! Full five years, reawakened! Chi giunge? Who comes?

SCENE VIII

Aladino enters; then Ruggiero.

EMMA Che vuoi tu? What do you want? ALADINO Vidi Ruggier. I have seen Ruggiero. EMMA Ebben? Well, then? ALADINO Gli favellai... I spoke to him... Promisi a te guidarlo. I promised to bring him to you.

–93– EMMA Incauto! Rash man! ALADINO E’ forza It is imperative Che tu lo ascolti – l’ultimo congedo That you hear him – he comes to take Ei da te prende. His final leave of you. EMMA Oh! fugga pur... S’involi... Oh! yes, let him flee... let him steal away… Fuggir potessi anch’io!... celarmi al giorno, Would that I might flee, too!... hide myself from the light of day, A me stessa celarmi in tanta ambascia. Hide myself from myself in time of such distress. RUGGIERO appearing unexpectedly Mai nol potresti a me. You would never be able to hide yourself from me. EMMA Cielo! Heavens! RUGGIERO to Aladino Mi lascia. Leave me. (Aladino withdraws.)

–94– SCENE IX

Emma and Ruggiero.

RUGGIERO Emma! Emma! EMMA Ruggier!... qual volgi Ruggiero!... what design Disegno in mente? Have you in mind? RUGGIERO Nissun disegno. Io son No design. My feelings are Privo di core... d’intelletto ricco. Stifled ... but my mind ferments. EMMA Non sai?... Do you not know...? RUGGIERO So che son teco... I know that I am with you... Ch’io ti veggo... ti ascolto... That I see you... that I hear you... EMMA E dove siamo, And where we are, Chi sei tu... chi son’io... Who you are... who I am... Obbliar tu potresti? Could you forget these things? RUGGIERO Io nulla obblio. I forget nothing. Tutti ho schierati innanzi I have all ranged before me in my mind I corti dì... la nostra gioja uniti, Our short days... our joy when we were united,

–95– Il nostro duol disgiunti... oh! il tuo fu breve Our grief when separated... oh! but yours Fugace, passeggiero. Was brief and transient. EMMA E il tuo crudele! And yours was cruel! Io delle mie querele I wearied both earth and heaven with my Stancai la terra e il ciel dal dì fatale Lamentations from the fatal day I was taken Che a te fui tolta, e inesorabil legge From you, and an inexorable law forcibly Me debil donna diede in forza altrui. Gave me, a weak woman, to another. E tu? And you? RUGGIERO Ingannato, disperato io fui. I was deceived, I was desperate. Te mi dicea la fama Report told me that you were joyful Lieta di nuovo amor... triste io varcava In your new love... sadly I traversed E terre, e mari; ma per mari e terre Lands and seas; but across lands and seas Mi seguiva lo stral che mi ha ferito. I was pursued by the shaft that had wounded me. Qui mi credei guarito, Here I thought that I was cured, Qui più che mai son egro. But instead here I am more afflicted than ever. EMMA interrupting him with the greatest impetuosity E Adelia, ingrato! And Adelia, you ungrateful man!

–96– Bruce Ford and Nelly Miricioiu Non ami Adelia? non la guidi all’ara? Do you not love Adelia? Are you not leading her to the altar? RUGGIERO Adelia!... Adelia!... oh! rimembranza amara. Adelia!... Adelia!... Oh! bitter memory. [17] Amai quell’alma ingenua I loved that ingenuous nature of hers – Poterla amar mi parve; I believed I could love her; Ma ti rividi... ahi misero! But I saw you again.. alas, wretched that I am! E l’amor mio disparve... And my love for her vanished... Tu del mio cor sei l’arbitra You are the mistress of my heart, Tu nuovo ardor v’accendi... You set me alight with new ardour... Oh! quell’amor mi rendi, Oh! release me from your love O mia ritorna ancor. Or be mine once more. EMMA E tu crudel, tu rendimi And you, cruel man, give me back La libertà smarrita... The liberty I have lost... Qual fui, qual fui ritornami Restore me to what I was – All’alba della vita... What I was at the dawn of life... Ah! non è possibile Ah! it is not possible Franger la mia catena... To break my chain... Oh! l’amor mio mi è pena Oh! my love is torture to me, Poichè è delitto amor. Since such love is a crime.

–98– RUGGIERO Delitto... è ver... non restami A crime?... that is true... there is nothing left Fuor che lontan morir. For me except to die in distant parts. EMMA E a me Ruggier!... qui vivere And for me, Ruggier!... to live here Di lungo e rio martir. In long and cruel torment. RUGGIERO Addio... Farewell... in despair ... per sempre! ... for ever! EMMA Oh! questo Oh! bid me not Non darmi addio funesto... This fateful farewell... Per sempre!... ahi! cruda immagine For ever!... alas! it is a cruel thought Ch’io sostener non so. That I know not how to bear. [18] RUGGIERO Emma! Emma! EMMA Ruggier! Ruggiero! RUGGIERO Dividersi!... To part for ever!... EMMA Più non vedersi!... Never to see each other again!... TOGETHER Ah! no. Ah! no. Restiam... restiam... quest’anima Let us stay, stay together... this soul Non può da te partirsi: Is not capable of being severed from you: –99– Nel ciel, nel sol, nell’aere In heaven, wherever sunlight and breezes reach, Teco verrebbe a unirsi... My soul would come to be united with yours... Ah! nè morir nè vivere Ah! without yours, my soul Senza la tua non può! Can neither live nor die. (Joyful music is heard approaching from afar.)

[19] EMMA Ciel! qual suon? Ah! Heavens! what sound is that? Ah! RUGGIERO Festivo suon: A sound of festivity... EMMA Giunge alcun... Someone comes... RUGGIERO Andiam... si eviti. Let us go... let us avoid any encounter. EMMA Resta. E’ tardi. Stay. It is too late.

SCENE X

Corrado and Adelia enter.

CORRADO Lieto io sono I am overjoyed Di trovarvi insieme uniti. To find you in each other’s company. Appressate. Approach.

–100– Maria Costanza Nocentini, Roberto Servile, Bruce Ford EMMA & RUGGIERO (Ahi! quale istante!) (Alack! what a moment!) CORRADO Al desío d’Adelia amante At the wish of my love-smitten Adelia Affrettai l’augusto rito I have hastened the solemn ceremony Che a Ruggiero unir la dè. That must unite her to Ruggiero. Vieni, o sposa: il nodo ordito Come, wife: the match we have arranged Lieto auspicio da te avrà. Will receive its happy augury from you. EMMA (Lieto auspicio!) (Its happy augury!) ADELIA to Ruggiero O sposo mio! O my husband! Grazie a lui con me ne rendi. Come join with me in thanking him. RUGGIERO (Me infelice!) (Unhappy me!) ADELIA Che vegg’io? But what do I see? Taci... e gli occhi al suolo intendi? You are silent... you turn your eyes to the ground? RUGGIERO Io... I... ADELIA Favella... Speak...

–102– Nelly Miricioiu CORRADO In dì sì lieto Upon such a joyful day Quale hai tu martir segreto? What secret sorrow is this you suffer? RUGGIERO (Oh supplizio!) (Oh torture!) EMMA coming between Ruggiero and Adelia E in voi qual tema! And in you – what fear is this? Niun segreto, niun martir. There is no secret here, no sorrow. Turba il cor letizia estrema Extreme joy unsettles the heart Quanto il duol... Quite as much as grief... to Ruggiero (Mi vuoi tradir?) (Do you wish to betray me?)

ALL FOUR TOGETHER

[20] EMMA with forced lightness of heart Ei qui dianzi… a me… l’amante Just now... to me... he was revealing Alma sua svelava intera... All his loving heart... De’ suoi nodi il dolce istante He was beseeching me to hasten D’affrettar mi fea preghiera... The sweet moment of his union... Or vicino al fin bramato But now, with the desired end in sight, Par confuso... par turbato... He appears confused... he appears disturbed... Ah! l’eccesso del contento Ah! overflowing happiness Ha l’aspetto del dolor. Wears the appearance of grief.

–104– RUGGIERO forcing himself to play his part Sì, cotanto io son commosso Yes, I am so moved... Tanti in seno affetti io provo, In my heart I feel so many emotions, Che spiegarlo a me non posso That I cannot explain it to myself, Che me stesso in me non trovo... That I cannot recognise myself in myself... Ah! non mai creduto avrei Ah! I would never have believed Sì compressi i sensi miei... My feelings so complicated... Nè vicino a tal momento Nor, when I’m close to such a moment, Così debole il mio cor. My heart so faint. ADELIA O Ruggier, se mai tuttora O Ruggiero, if you should still Fossi incerto del tuo cuore, Be uncertain of your heart, Dillo, ah! dillo... è tempo ancora, Tell me, ah! tell me... there’s yet time, Mi saria minor dolore: And it would be less painful for me. Ah! perdona, o mio Ruggiero, Ah! forgive me, my Ruggiero, “Il timor del mio pensiero,” “For my timorous thoughts,” Ah! tu sai che il mio lamento Ah! you know that my lament E’ sol figlio dell’amor. Is born solely of my love. CORRADO Uman core! oh! come è presto, O the human heart! how hasty it is, Come industre a tormentarsi! How busy to torment itself! Di che temi? un cuore onesto What are you afraid of? How ever could Come mai potria cambiarsi? An honest heart be capable of change?

–105– “Ah! non io, non io Ruggiero “Ah! I for one cannot believe Ruggiero “Creder posso menzognero!...” “Capable of breaking his word!...” Un inganno, un tradimento Deception and betrayal are things Ne’ miei lari è ignoto ancor. As yet unknown within my walls.

SCENE XI

Joyful music is heard in the distance, and applauding voices. Knights, ladies, pages and squires approach, all in festive and happy mood .

[21] DISTANT VOICES Al tempio! To church! CORRADO Udite! Listen! EMMA, CORRADO & ADELIA Il nuzial corteggio! The wedding procession! ADELIA O mio Ruggier! O my Ruggiero! EMMA in resolute tones, as she stands between them Venite. Come. RUGGIERO Ciel! che risolver deggio? Heavens! what should I do? EMMA to Ruggiero (Perder mi vuoi?) (Do you wish to be the undoing of me?)

–106– Nelly Miricioiu and Maria Costanza Nocentini CORRADO Seguitemi. Follow me. ALL FOUR TOGETHER Andiam. Let us go. RUGGIERO (Son fuor di me.) (I am beside myself.) CHORUS by now on stage Al tempio! al tempio! Affoltasi To church! to church! The people Il popolo alle porte. Are crowding to the doors. De’ Trovatori ai cantici The vast courtyard echoes Eccheggia l’ampia corte: To the songs of the Troubadours: Per la città diffondesi Unparalleled joy Gioia cui par non è. Is spreading through the city. EMMA & CORRADO Non più timore. No more fears. RUGGIERO to Emma (Oh! barbara! (Oh! barbarous woman! Almen morrò con te.) At least I shall die here with you.)

ENSEMBLE

[22] ADELIA to Ruggiero Ah! nel tuo volto splendere Ah! let me see a smile Fa che un sorriso io veda, Lighting up your face,

–108– Un di que’ rai, che m’erano One of those beaming smiles that brought Luce e letizia al cor. Light and joy to my heart. Se vuoi, se vuoi che Adelia If you wish – if you wish that Adelia Felice appien si creda, Should believe her happiness complete, I labbri tuoi l’affidano Let your lips impart to her Che sei felice ancor. That you are happy, too. EMMA & CORRADO to Adelia Dolci parole e tenere, Sweet words and tender – Sensi d’amor comprendi. Hear his expressions of love. Tranquilla in lui riposati: Be calm and put your trust in him: Un’ombra è il tuo timor. Your fear is but a figment of imagination. Vedi l’altar che infiorasi... See the altar is decked with flowers... Gl’inni d’Imene intendi... Hear Hymen’s anthems... Vieni; e fidanza e giubilo Come; and let confidence and joy Passi da core a cor. Pass from heart to heart. RUGGIERO to Adelia Ah! per sedare i palpiti Ah! to calm the palpitations Onde quest’alma è scossa, With which this soul of mine is shaken, Sì dolce ognor favellami Speak to me ever in such sweet fashion Aggiungi amor a amor. And add one expression of love to another.

–109– Fa che il mio cor confondere Enable me to merge and fuse my heart Col tuo bel core io possa, With your fair heart, Tutto m’innonda e avvampami Completely overwhelm me and consume me Del tuo pudico ardor. With your chaste ardour. CHORUS Al tempio, al tempio, pronubo To church, to church, Love’s propitious Astro d’amor risplendi, Star is shining; Notte del dì più limpida Love, bring to this bridal couple Guida agli sposi, amor. A night that is more untroubled than day. EMMA & RUGGIERO “(Me tragge, me fa vittima “(A fate more powerful than I “Fato di me maggior.)” “Hales me away, and binds me victim.)” (Emma takes Adelia and Ruggiero by the hand, and they begin their walk to church.)

END OF ACT ONE

–110– CD 2 29’24

ACT TWO

SCENE I

An internal atrium in the palace of Corrado, with great arches and columns across the front of the stage. Through these can be seen an imposing staircase leading to practicable galleries, which in turn lead to apartments lit from within. There are also two lateral staircases, giving access to other parts of the palace. It is night. There are sounds of festive music.

[1] Introduzione – Banda sul palco

Aladino comes down the great central staircase.

ALADINO “Compiuto è il rito!... Io l’altar vidi, “The rite is completed!... Did I see o inganno the altar? “Fu de’ miei sensi? – Oh! non fu inganno... “Or did my senses delude me? – Oh! ancora it was no delusion... still “Per le frequenti sale eccheggian gl’inni “The sound of the songs and dances echoes “E il fragor delle danze... ancor d’intorno “Through the crowded halls... still all about me “Arder profumi e splender faci io veggo... “I see incense burning and torches flaming… “Quella gioia m’uccide... io più non reggo.’ “Such rejoicing kills me... I can bear up no longer.”

–111– Colin Lee with repétitéur Stuart Wild (He throws himself down upon a seat. Little by little the off-stage music dies away and the lights are extinguished.) [2] Oh! qual disegno in mente Oh! I do not dare to ask myself Emma rivolge!... Interrogar me stesso What plan it is that Emma is revolving Io non ardisco... Quelle infauste pompe In her mind!... O night, hide these ill-omened Mi ascondi, o notte... quel gioir m’adombra. Celebrations from me... conceal this rejoicing from me in your shadows. Ma taccion l’arpe... e sgombra But the harps fall silent... and the crowd quits Atrii e sale la turba... Ecco i cantori The courtyards and the halls... Here come the singers I taciti occupar portici estremi... To occupy the furthest silent porticos... Usciam – Fibra non ho che non mi tremi. Let me retire – There’s not a fibre in me that does not tremble. (He retires.)

–113– SCENE II

Knights, Ladies, Troubadours and Minstrels descend the central staircase. They gather in the atrium and sing the following valediction to the bridal couple.

CHORUS I “Addio! – Le faci svengono “Farewell! – The torches burn low “Con tremulo splendore “With fluttering flame; “Coll’ali sue le sventola “Love impatiently “Impaziente amore. “Fans them with his wings. “Viva soltanto ai talami “He wishes his torch to remain alight “La sua facella ei vuol.” “Only within the nuptial chamber.” [3] Addio! – Le stelle ascondono Farewell! – the stars conceal Il lor virgineo viso. Their virginal faces. L’astro diletto a Venere Only the star that’s dear to Venus Scioglie soltanto un riso, Breaks into smiles – L’astro a’ bei riti pronubo The star, propitious to wedding rites, Cui porta invidia il Sol. ’Gainst which the Sun directs her jealousy. II Ite – La notte placida Go – the peaceful night Il sonno a voi non guida Brings you no sleep: Essa vi reca il tacito She brings you the hushed Mister che amor affida, Mystery that Love confers, Reca il desio che vigila She brings the desire that wakes and watches

–114– Nelly Miricioiu E che posar non suol. And is not wont to rest. “Ite – Cogliete i labili “Go – Seize the unstable “Istanti del contento; “Moments of happiness; “Sfugge di gioja il calice “The cup of joy falls from the hands “A chi in vuotarlo è lento, “Of him who is slow to quaff it, “E di quest’ore è rapido, “And the flight of these hours “E fuggitivo il vol.” “Is rapid and fleeting.” (by now from afar) Addio. Farewell. (All depart, their voices audible in the distance as they bid each other goodnight. The stage remains in darkness.) SCENE III

Emma descends the left-hand staircase. She paces about the stage, agitated and lost. Aladino returns and follows her about with the greatest disquiet. Emma finds herself face to face with him.

[4] EMMA Sei tu? Is that you? ALADINO Son io. Chi puote It is I. Who can Vegliar per te fuor che Aladin? Keep watch for you if not Aladin? EMMA Mi reggi... Support me... Io son perduta... qual nociva belva I am lost... like a dangerous wild animal Io m’aggiro fra l’ombre; e cose tento... I prowl in the shadows; and I meditate things...

–116– Nefande cose. Io mi credea capace Dreadful things. I thought I was capable Di vincere il mio cor... Io stessa all’ara Of overcoming my heart... I myself led Ruggiero Guidai Ruggiero, e sento in me che colpa To the altar, yet I feel that in myself Aggiungo a colpa. I but add crime to crime. ALADINO Alle tue stanze riedi... Go back to your apartments... EMMA Alle mie stanze! – E credi To my apartments! – and do you think Che vi sia pace? Peace is to be found there? ALADINO Avvi il rimorso. There you will find remorse. EMMA Ah! vana Ah! the power E’ la potenza sua… strazia e non sana. Of remorse is vain... it lacerates but does not heal. ALADINO Vieni: potria qualcuno Come: someone may Vederti, udirti. – Di Corrado io scorsi See you, hear you. – I perceived Corrado’s eyes Gli occhi in te fissi – In nobil core è tardo, Intent upon you – In a noble heart suspicion is Ma tenace il sospetto – Odi? furtivo Slow to take root, but tenacious – Do you hear? Risuona calpestio. A sound of furtive steps. (He drags her with him to the rear of the stage.)

–117– SCENE IV

Ruggiero descends the left-hand staircase, preceded by a squire. He is wrapped in an ample mantle.

RUGGIERO Vola, e all’ingresso Make haste, bring me arms Sollecito mi reca armi e destriero. And a steed quickly to the gates. (The squire departs.)

EMMA approaching Destriero! A steed! RUGGIERO Oh! chi favella? – Emma! Ah! who speaks? – Emma! EMMA breaking free from Aladino and running to him Ruggiero! Ruggiero! Dove corri? Where are you going? ALADINO (Oh rio cimento!) (Dire moment of crisis!) RUGGIERO Fuggo. I am fleeing. EMMA Fuggi? e Adelia?... Parla. Fleeing? and Adelia?... Speak. [5] RUGGIERO Salva è ancora – Io non mi sento She is still safe – I do not feel

–118– Bruce Ford Cor capace d’ingannarla, That my heart is capable of deceiving her, Dal suo letto immacolato An irate God thrusts me back Mi respinge un nume irato... From her unsullied bed... Abbastanza sventurata She will arise tomorrow morning Essa all’alba sorgerà. With sufficient misfortune to face. EMMA Fuggi... Sì... de’ tuoi rimorsi Flee... Yes... I do not wish Soffocar non vo’ la voce, To stifle the voice of your remorse. Giusto è ben s’io più trascorsi It is indeed just if I have continued to endure, Che a me tocchi il duol più atroce, For suffering such atrocious woe is my lot, In me sola vendicata So much guilt will be revenged Tanta colpa in me sarà. Upon me, upon me alone. RUGGIERO Emma! Deh! ti calma. Emma! Ah! calm yourself. EMMA in growing desperation Io sola I on my own Sosterrò qui lunga morte. Shall here endure a protracted death. Mi fia strale ogni parola Every word, every look from my husband Ogni sguardo del consorte... Will wound me like an arrow. RUGGIERO Emma! Emma! Deh! cessa. Emma! Emma! Ah! stop.

–120– EMMA striking her brow E allor che scritto And when he comes to read Ei qui legga il mio delitto... My crime, here inscribed upon my brow... Ch’io sostenga del suo volto Let me sustain his gaze Il disprezzo ed il furor. Of scorn and fury. RUGGIERO “Emma!!” Odi... ah! no. “Emma!!” Hear me... ah! no. ALADINO “O ciel!” Rumore ascolto... “O heavens!” I hear sounds... RUGGIERO Ah! tu mi spezzi il cor. Ah! you break my heart. [6] Fuggi meco, fuggi meco Fly with me, fly with me Al rio fato che paventi, From the cruel fate you fear. Il deserto avrà uno speco The desert will have a cave Che ci asconda o vivi o spenti; That may conceal us, dead or alive; Un asilo nel suo seno, The ocean in its depths Un abisso il mare avrà. Will find us an asylum, an abyss. EMMA Sì, ti seguo... io m’abbandono Yes, I follow you... I abandon myself Al destin che mi strascina, To the destiny that sweeps me away; Se a perir rapita io sono If I am to be snatched into the jaws of death Perir voglio a te vicina... I wish to die close to you... La mia tomba ignota almeno At least my unknown tomb Maledetta non sarà. Will not be visited by curses.

–121– (At the very moment she throws herself into Ruggiero’s arms, Corrado appears.)

ALADINO trying to separate them Forsennati! e qual v’ha freno You are out of your minds! What way is there Che v’arresti?... Of curbing you and stopping you?...

SCENE V

Corrado advances into their midst, and interposes in a thunderous voice:

CORRADO Io, perfidi. Perfidious pair, I am that curb! EMMA, RUGGIERO & ALADINO turning towards him with a cry Ah! Ah! (Emma and Ruggiero remain confused and taken by surprise. Corrado places his hand on the hilt of his sword, but then stops. Aladino, to one side, has a dagger in his hand.)

ENSEMBLE

[7] CORRADO Cielo! sei tu che il vindice O Heaven! it is you who now holds back Braccio mi arresti adesso! My revengeful arm! Nero, inaudito, orribile It is you who wish to spare me a black,

–122– Vuoi risparmiarmi eccesso! Unheard-of, horrendous crime! Tuona tu almeno e vendica At least release your thunder, and avenge Un padre ed un marito A father and a husband Nell’amor suo tradito, Who is betrayed in his love, Offeso nell’onor. And offended in his honour. EMMA & RUGGIERO Notte non hai tu tenebre Night, have you no depths of darkness Per addensarmi in fronte? To wrap about my brow? Vuoi tu del ciel, degli uomini Do you wish to preserve and expose me Serbarmi all’ire e all’onte? To the wrath and contempt of God and men? falling at Corrado’s feet Oh! tu d’un colpo toglimi Oh! with a blow release me A disperato duolo, From this hopeless grief, Conscio finor tu solo You who, alone so far, are aware Del mio nefando error. Of my iniquitous error. ALADINO “(Sorte, se vuoi tu vittime, “(Fate, if you are in want of victims, “Una non basta, il sai.. “One, you know, is not enough... “Correr col suo vedrai “You will yet see all my blood “Tutto il mio sangue ancor.)” “Flowing with hers.)” (From afar a growing noise of trampling feet and clamorous cries is heard in every part of the palace. Torches are seen passing on all sides, and people come running.)

–123– [8] DISTANT VOICES Ov’è Corrado?... Accorrasi. Where is Corrado?... Come quickly. CORRADO Qual suon? What is that sound? VOICES Adelia… Adelia... CORRADO Ah! intendo. Ah! I comprehend. SCENE VI

Maidens, Squires and Knights come running from every direction. Then Adelia enters, pale and wandering bewilderedly, her dress and her hair in disarray. Little by little the stage fills with spectators.

CHORUS Vola: smarrita Adelia Hasten: a lost and tearful Adelia Chiede di te piangendo. Is calling for you. CORRADO Correte... trattenetela Run... hold her back... Ch’ella non venga a me!... Let her not approach me!... CHORUS Non è più tempo. Mirala. There’s no time. Behold her. ADELIA running to Corrado and abandoning herself in his arms Padre!... Ruggier!! Ahimè! Father!... Ruggiero!! Alas! (She faints.)

–124– Roberto Servile ALL THE OTHERS Che avvenne! oh! sventura! What has happened? Oh! misfortune! Che orribile evento! What a terrible thing to occur! EMMA & RUGGIERO Oh! pena!... oh! supplizio! Oh! painful crisis!... Oh! torture! ALADINO Che penso? Che tento? What am I thinking? attempting to do? ALL Oh! pena! Oh! terrible crisis! [9] CORRADO to Emma and Ruggiero La vittima vostra, iniqui, mirate... Evil creatures, behold your victim... Compite il misfatto, il cor le squarciate. Complete your misdeeds and break her heart. Oh! figlia infelice! tradita! rejetta! Oh! my unhappy daughter! betrayed! rejected! Qual degna vendetta giurarti potrò? What suitable vengeance can I swear to exact for you? ALL Ah! Ah! CORRADO to the bystanders Fremete d’orrore – sul crine canuto Shudder with horror – disgrace has descended D’un prence, d’un padre l’obbrobrio Upon the white hairs of a prince, of a è caduto father.

–126– “L’antica mia casa è svelta dal fondo,” “My ancient house is uprooted from its base,” Figlia infelice, figlia infelice! Unhappy daughter, unhappy daughter! Lo scherno del mondo, lo spregio sarò. I shall be the scorn and the derision of the world. ADELIA coming to Ah! padre, perdona, com’io gli perdono! Ah! father, pardon him as I pardon him! Morendo ti chiedo quest’ultimo dono... As I die, I ask you this final boon... Ch’io fossi felice non era nel fato... It was not written in the book of fate that I should be happy... Ei solo è spietato – ei solo m’ingannò. ’Tis fate alone that is merciless – fate alone that has played me false. RUGGIERO & EMMA at Adelia’s feet Rivoca, rivoca, sì nobili accenti... Call back, call back those noble words... E’ giusto il suo sdegno, la folgore avventi!... His wrath is just, let him cast his bolt!... Sottrammi all’orrore che l’alma mi preme; Rescue me from the horror that burdens my soul; Più brama, più speme di vita non ho. I have no further wish, no further hope, to live. CHORUS (Qual genio malvagio, qual furia crudele, (What evil genius – what implacable fury

–127– In lutto, querele – la gioia cangiò...) Has changed our joy to grieving and lament?...) ALADINO to one side (Perduta è la misera – con lei morirò.) (The wretched creature is lost – I shall die with her.)

END OF ACT TWO

CD 3 56’16 ACT THREE

SCENE I

A gallery in the palace. At the rear great windows which are closed, but which will later be opened, giving a view of the port of Tyre and the sea beyond. On either side there are apartments. It is dawn.

Maidens and Squires coming and going from the various apartments. Knights and Ladies who are talking in low tones amongst themselves.

[1] LADIES Ella a ciascuno involasi… She has stolen away from everyone… Nelle sue stanze è chiusa; Shut herself up in her private rooms; Né un sospir, né un gemito Not a sigh, not a groan Il suo soffrire accusa. Bears witness to her suffering.

–128– KNIGHTS Ben più Corrado è misero, Corrado is a great deal more miserable, Adelia più infelice; More unhappy even than Adelia; Il fremer suo lo dice, His shuddering declares it, Il suo mortal pallor. His mortal pallor. LADIES Tutti del par son miseri... All are equally wretched... Tutti – e Ruggier? All – and Ruggier? KNIGHTS Ruggier! Ruggier! Sguardo non v’ha che legger There is no scrutiny that may read Possa nel suo pensiero. His thoughts. Cupo, accigliato e mutolo, Despondent, frowning and unspeaking, L’armi ei gittava a terra... He threw his arms to the ground... Nel carcer che lo serra In the cell where he is imprisoned Muto, accigliato è ancor. He still remains silent and sullen. ALL Oh! qual formar presagio Oh! what omen should we draw Di sì funesto evento? From such an inauspicious event? Il ciel lo sa – Qui regnano Heavens knows! – Here mourning, Lutto, pietà, spavento. Sorrow and fear hold sway. Una tragedia orribile A horrible tragedy, Qual non fu mai qui vista Such as never was seen here before, Preme ogni mente, attrista Oppresses every mind, and saddens Anco ai più fermi il cor. The hearts of even the most sanguine.

–129– SCENE II

Corrado enters.

[2] CORRADO A me Ruggiero. – Bring Ruggiero to me. (All withdraw. Corrado sits down in deep thought.)

Ho risoluto – un solo I have decided – there was only V’era consiglio, e il presi – ardo One line of conduct, and I – una fiamma have taken it – I burn – I am utterly Tutto quanto m’avvampa. Consumed by this fire. (He opens the windows.) Hai tu mattino Dawn, have you Per refrigerio un’aura? Hai raggio, o sole, A breeze to cool me? O sun, have you a ray Che in questa ottenebrata alma discenda? That may fall upon my clouded soul? Non avvi – è troppo orrenda No, there’s none – it is too awful, Cotesta notte in cui perduto io vado – This night in which I have lost my way – Ei giunge... Oh! vista! But he comes... Oh! sorry sight!

SCENE III

Ruggiero enters.

RUGGIERO Eccomi a te, Corrado – Behold me, Corrado –

–130– Bruce Ford and Roberto Servile Non ti stupir – darti non so, né deggio, Do not be amazed – I have no right, no ability, Più caro nome – sul tuo volto scritta To address you by a dearer name – I see my sentence Veggo la mia condanna... e pure è mite, Writ upon your brow... and yet it is mild, Minor di quella che dal cielo impreco. Much less than that which I implore from heaven. CORRADO Il ciel fia giusto – Io teco Heaven will be just – I wish Più clemente esser voglio. To be more merciful with you. RUGGIERO Oh! sii più tosto Oh! rather be Qual esser devi, inesorabil, fero What you must be: an inexorable, severe Giudice, punitor. And punishing judge. CORRADO Odi... Ruggiero. Hear me... Ruggiero. Ov’io punir dovessi, Where I ought to inflict penalty upon you, Punir potrei... non da maggior, da eguale, I could punish you... not as your superior, but as an equal, Da cavalier... poiché v’ha tali oltraggi As knight to knight... since there are certain offences Ch’uom levar debbe di sua man soltanto. Which a man ought to cancel out with his own hand alone. Né a me scemato han tanto Nor have the years so abated my vigour

–132– Gli anni il vigor che nel tuo cor iniquo... That, as a warrior, in the field, before all the world, Da prode, in campo, innanzi all’universo I might not have plunged this sword Già non avessi questo acciaro immerso. In your black heart... Ma inorridir natura But I shall not make nature shudder... Io non farò... fuggi... a salpare è pronta Fly... a Venetian vessel is ready Veneta nave... ch’io mai più non oda To up anchor... May I never hear again Il nome tuo! sia maledetto il primo Your name! Cursed be the first Che proferirlo innanzi a me s’attenti! Who dares to utter it before me! Separiamci per sempre. Let us take leave of each other for ever. RUGGIERO Ah! ferma... Ah! senti, Ah! stop... Ah! hear me, Ch’io parta e viva!! oh! nol pensar. Non sono Do not think that I should depart and live! I am Né sì vil, né sì reo perch’io non abbia Neither so vile nor so guilty that I do not have Coraggio di morir... Lascia ch’io trovi The courage to die... Let me find In queste mura lunga morte e orrenda! A lingering and awful death within these walls! Che giorno e notte intenda Let me hear – night and day – L’anatema d’un padre!... A father’s curse!... CORRADO E Adelia intanto And meanwhile Adelia... would you Ognor te vegga! Le si figga in petto Have her ever beholding you! Would you fix

–133– Più, e più lo strale, e fino al fondo vuoti More and more firmly in her breast the shaf†t, Il nappo amaro che le hai tu temprato! And drain deeper and deeper to the dregs the bitter cup that you have mixed for her? Questo, questo vuoi tu? Parla, spietato! Is this, this what you wish? Speak, cruel man! (Ruggiero remains motionless and horrified. Corrado continues.) [3] Non sai tu che il mondo intero, Do you not realise that this whole world, Quanto è vasto, quanto è immenso, No matter how vast, how immense, Poco io stimo, angusto io penso Is in my estimation but small – is, I believe, too narrow – Per dividerla da te? To separate her from you? Non sai tu, fatal Ruggiero, Do you not realise, fatal Ruggiero, Che quell’alma è assai ferita! That her soul has been wounded enough already! Che mia vita è la sua vita, That my life is her life, Che sua morte è morte a me? That her death is death to me? RUGGIERO Giusto ciel! Great Heavens! CORRADO Nol sai? Do you not know all this? RUGGIERO Deh! cessa... Ah! stop... CORRADO No, nol sai. No, it is beyond your comprehension.

–134– RUGGIERO Lo so, lo sento. I know it, I feel it. Partirò... mai più con essa I shall go... never more shall I be with her, Non sarò vivente, o spento. Either in life or in death. CORRADO Lo prometti? You promise it? RUGGIERO Lo giuro. I swear it. CORRADO Addio. Goodbye. RUGGIERO Crudo addio! l’estremo è. A cruel goodbye! It is the last. CORRADO Sì, l’estremo. Yes, the last. RUGGIERO Eterno obblio May eternal oblivion Mi ricopra... Overtake me… (He is about to leave.) CORRADO Ascolta… Listen… (overcome with emotion) Ahimè! Alas! [4] Ah! non fia che maledetto Ah! let it not be that I see you go, Dal mio labbro andar ti vegga – Cursed by my lips – Dio ti guidi, e ti protegga May God guide you and protect you Nell’esiglio, e nel dolor. In exile, and in sorrow.

–135– Roberto Servile Vivi; e ovunque avrai ricetto, Live; and wherever you find haven, Non ti tolga il ciel clemente May kindly Heaven not deprive you Quel rimorso ch’ei consente Of that remorse which it grants A chi vuol far salvo ancor. To those it yet would see saved. RUGGIERO Padre!... ah! padre! al sen m’hai stretto. Father!... ah! father! you have gathered me in your embrace. Io vivrò!... ne ho forza in cor. I shall live!.. I have the strength in my heart to do so. (Ruggiero falls at Corrado’s feet. Corrado, though deeply moved, breaks from him and rapidly departs.)

SCENE IV

Emma enters, at first unseen by Ruggiero.

[5] RUGGIERO Viver promisi… Ebben vivrò… Ma quale I have promised to live... Well, live I shall... Avrai tu vita, tu infelice donna, But what sort of life will you have, unhappy woman, Tu sciagurata ch’io nomar non oso! You, wretched creature whom I dare not name! Avrai tu pace un giorno? Will you one day find peace? EMMA coming forward Avrò riposo. I shall find rest.

–137– [6] RUGGIERO taken by surprise Emma! Tu qui? Emma! You here? EMMA indicating to him to be silent, and speaking beneath her breath L’anatema I heard Io di Corrado intesi. Corrado’s curse. RUGGIERO E il suo perdono – Ahi perfido! And his pardon – Alas, traitor that I am, Qual generoso offesi? What a generous man have I offended! Ah! fuggi, va... nascondimi Ah! fly, go... hide from me Quel tuo pallor, quel volto... That pallor of yours, that face... Se più ti vedo e ascolto If I see and hear you more, Sviene la mia virtù. My virtue will evaporate. EMMA Non paventar: di lagrime Fear not: you see that my eyes Vedi il mio ciglio asciutto. Are dry of tears. Parti... affrettati... non paventar: Depart... make haste... do not fear: Or che perduto è tutto Now that all is lost, E’ vano il pianger più. It is useless to weep further. RUGGIERO Or che far pensi? And what do you intend to do now? EMMA L’ultimo Take Prender da te congedo. My final leave of you.

–138– RUGGIERO E poi?... And then?... EMMA Di più non chiedere... Ask no more... Che fia di te non chiedo. I do not ask what will become of you. RUGGIERO Lo puoi, lo puoi comprendere... You may, you may deduce it... Dal mio... dal tuo soffrir. From my suffering... and yours. [7] TOGETHER Il cor, il cor che svegliasi The heart, the heart that awakens Da sogno sì fallace, From such a false dream, and finds itself In ira al ciel, agli uomini, Subject to the wrath of heaven and men, Chiuso a speranza e pace, Cut off from hope and peace, Non può, cotanto è misero, Can neither, so great is its misery, Né viver, né morir. Live nor die. [8] EMMA Or va: – comincia a sorgere Now go: – Eternity begins to Eternità fra noi... Arise between us... RUGGIERO La man concedimi... tenerezza alterna, Of mutual tenderness, Avria più peso, o misero, Would more weigh down Sulla bilancia eterna The eternal scales, wretched man, Di quanti error commettere Than all the sins that the most guilty Il cor più reo mai può. Heart can ever commit. RUGGIERO

–139– Nelly Miricioiu and Bruce Ford E’ vero, è ver... lasciamoci... It is true, it is true... let us part... Un solo addio ti dò. I give you but a single farewell. [9] TOGETHER Se mai piangente e supplice If ever, in tears and supplication, Fin che tu parli a Dio, You speak to God, Prega per me, che origine Pray for me, who am the cause De’ mali tuoi son io... Of all your ills... Dal ciel tu grazia implorami... Implore grace from Heaven for me... E grazia in ciel avrò. And grace in Heaven I shall have. (Ruggiero withdraws. Emma abandons herself upon a seat in desolation.)

SCENE V

Emma alone, then Aladino.

[10] EMMA Al più difficil punto, al più tremendo I found strength for the most difficult, Ebbi vigor. – Nulla io più temo The most terrible crisis of all. – Nothing more have I to fear, E animosa al torrente io m’abbandono. And boldly I abandon myself to the torrent. (She sees Aladino.) Io ti attendea. I was expecting you. ALADINO Qui sono: I am here: Mai ti venne Aladin meno una volta? Did Aladin ever once fail you?

–141– EMMA Unico amico! My only friend! ALADINO In vita e in morte. In life and in death. EMMA Ascolta, Listen, Hai tu pensato mai Have you ever thought Che in suol straniero, abbandonato e privo That on some foreign soil, abandoned and bereft D’ogni conforto, di rimedio estremo Of every comfort, you might have need Uopo ti fora? Of some extreme remedy? ALADINO Io lo pensai. I have had the thought. EMMA Mi addita Tell me Quale scegliesti, e quale What remedy you chose, and what you have Hai tu pronto. Ready at your disposal. ALADINO Un veleno ed un pugnale. A poison and a dagger. EMMA Dividiam, Aladin. Let us share them, Aladin. ALADINO Ogni speranza Every hope E’ morta dunque! (ed il codardo fugge, Is dead, then! (and the coward flies T’abbandona!) And deserts you!) EMMA

–142– Che di’ tu? What are you saying? ALADINO Che l’uom That the man, whoever he may be – Qualunque ei sia, l’uom che ti perde e t’ama, The man who loses you yet loves you – Dee di ferro perir, se non d’ambascia... Must perish by steel, if not from despair… Ecco il velen. Here is the poison. (He gives her a ring.)

EMMA Mi lascia: Leave me: Nelle mie stanze attendi… Io qui per poco Wait in my rooms... For a little I must Pregar degg’io. Pray here. ALADINO Pregar per due tu dei. You must pray for two. EMMA Per due!... Sì... va... mio salvator tu sei. For two!.. Yes... go... you are my saviour. (Aladino departs.)

SCENE VI

Emma, alone .

[11] Give me y our hand.. .

–143– Nelly Miricioiu and David Parry L’ultima volta... il puoi. For the last time... you may. E††††††e offended old man Ti chiami il veglio offeso – Io non ho core Summons you to his presence. I do not have the courage Per sostenerne il guardo. Il tuo mi fora To sustain his gaze. Your scrutiny, Eternal Judge, Giudice eterno, men severo, e bieco. Will be less severe and ominous than his. Di un core infermo e cieco You witnessed the strife within my Tu vedesti la pugna... e sai ch’ei fece Insecure blind heart... and you know that my heart Quanto potea per superar se stesso... Did its best to overcome itself... Ne avrai pietade se rimase oppresso – If it succumbed, you will have mercy. Addio, speranze e sogni Farewell, hopes and dreams Di lieti giorni... addio paterne mura, Of happy days... Farewell, paternal walls, Limpido ciel natio, ridenti sponde Limpid skies that saw my birth, smiling strands Che spargeste di fior mia vergin cuna. That strewed with flowers my virgin cradle. Addio gioja, addio vita, amor addio!... Farewell joy, farewell life, love farewell!... Amor!... che dissi?... ah! non mi udir Love!... What did I say?... Ah! hear gran Dio! me not, great God! (She kneels) [12] In quest’ora fatale e temuta In this fatal, fearful hour,

–145– Che l’estremo mio sol declina, When my last sun is declining, In quest’ora che a te m’avvicina In this hour that brings me before you, Il tuo guardo non torcer da me. Turn not your eyes away from me. Tu governa, tu tempra, tu muta But govern, temper, transform Il mio spirto, il mio cor, la mia mente, My soul, my heart, my mind, Fa che almen, s’io non posso innocente, Make me come before your feet less guilty, Men colpevole io venga al tuo piè. Even if I may not in innocence. DISTANT VOICES Alla riva! alla riva! To the shore! To the shore! EMMA Quai gridi! What shouts are these? DISTANT VOICES Desto il vento... si spieghin le vele. The wind is rising... let the sails be unfurled. (Emma runs to the window, then returns.) EMMA Che vidi? What have I seen? Egli parte... oh! momento crudel! He is leaving... Oh! cruel moment! DISTANT VOICES Alla riva! alla riva! To the shore! To the shore! [13] EMMA Parta, parta. – Ed io pure, ed io pure Let him go, let him go. – I too, I too Fuggo, volo a regioni più pure... Flee, take flight to purer realms... Trovi in terra quel placido porto May he find upon earth that peaceful haven

–146– Maria Costanza Nocentini Che nel cielo non fido trovar. Which I have no confidence of finding in Heaven. Questo voto d’un core già morto This prayer of a heart that is already dead... Questo sol non è colpa formar. It is not a fault to form this one and only wish. (As she drinks the poison, Adelia enters, accompanied by maidens who try to hold her back.)

[14] ADELIA Mi lasciate. Let me go. MAIDENS Oh! il passo arresta! Oh! stop! EMMA Ciel! Adelia! Heavens! Adelia! ADELIA in horror Oh! chi vegg’io? Oh! whom do I see? MAIDENS Adelia! Adelia! Adelia! Adelia! ADELIA Oh! chi vegg’io? Oh! whom do I see? Empia donna a me funesta Wicked woman who bringest me nothing but evil, Tu pur t’offri al guardo mio! Do you, too, present yourself to my sight?! Vieni, appressa, e gli occhi Come, approach, and feast your eyes

–148– Maria Costanza Nocentini and Nelly Miricioiu Pasci del mio dolor. – Upon my grief. – Tutto, tutto mi togliesti... All, all you have taken from me... Non mi puoi di più rapir. You cannot steal anything further from me. (Emma sits upon a chair.) EMMA (Ciel serbarmi ancor volesti (Heaven, have you wished to keep me alive A quest’ultimo martir?) For this final torture?) MAIDENS to Adelia Deh!... esci... la sua sventura Come away, then!... For pity’s sake Per pietà rispetta almeno. At least respect her misfortune. ADELIA E la mia fors’è men dura? And is mine any less severe? Men di lei mi struggo e peno? Is my affliction and suffering any less than hers? EMMA breathing with difficulty Più non reggo... io manco... I am no longer in command of myself... I am collapsing... MAIDENS Oh! mira. Oh! look. ADELIA moved, and approaching Emma Emma!!... Emma!!... deh! Emma!!... Emma!!... ah! EMMA Adelia! or vana è l’ira. Adelia! now anger is vain.

–150– Fosti appieno vendicata... You have been revenged to the full... Pena estrema il ciel mi diè. Heaven has dealt me my final blow. ADELIA Che mai festi, sciagurata! Whatever have you done, wretched woman? MAIDENS Oh! Qual pallor! Oh! How pale she is! EMMA Di morte egli è. It is the pallor of death. [15] ADELIA Ah! perdona a duol estremo Ah! forgive my bitter and cruel words, Questi amari e crudi accenti; Ascribe them to my extreme grief; Io non t’odio, e teco gemo, I do not hate you – I groan with you, Giungo i miei co’ tuoi lamenti. I add my lamentations to yours. Infelici entrambe siamo... We are both unhappy... E tu forse più di me. You perhaps more than me. Sorgi, sorgi, e insiem piangiamo, Rise, rise, and let us weep together, Se sperar più non si dee. If we must no longer hope. EMMA Si, mesciamo i pianti nostri... Yes, let us mingle our tears... Mai non fur più amari pianti, Never were there more bitter tears, La pietà che a me dimostri The compassion that you show me Già m’assolve a Dio d’innanti; Already absolves me in the sight of God; Odi l’ultima preghiera Hear the last prayer Ch’io morendo innalzo a te... That, as I die, I ask of you... Ti consola, vivi... spera... Take comfort, live... hope...

–151– Di tue pene avrai mercè. You will find reward for your sufferings. (Emma breaks away from Adelia, and departs unsteadily.)

ADELIA Odi ancor... mi fugge, Hear me yet... she flees from me, Si regge appena. She can scarcely stand. to her maidens Oh! la seguite. Oh! follow her. (The maidens depart, in obedience to her order, and at the same moment Corrado appears.)

ADELIA to Corrado Accorri... Run... Emma vid’io... Tremo per lei... lasciommi I have seen Emma... I tremble for her... As she left me Quasi morente. It was as if she was dying. Ah! si vada... si soccorri... Ah! go... help her... (The maidens return. The stage fills with people who come running.)

CHORUS Orribil vista... è vano Horrific sight... All aid Ogni soccorso... Avvelenata ell’era – Is in vain... Poisoned, she died Morta è sul corpo d’Aladin trafitto. Upon the body of Aladino, who had stabbed himself. ALL Oh sventura! oh delitto! Oh tragedy! O fatal crime!

–152– Roberto Servile ADELIA abandoning herself in Corrado’s arms Inorridita io sono. I am appalled. CORRADO Ciel mi serba la figlia... e a lei... Heaven has preserved my daughter for me... All we can do for Emma... ALL Perdono. ... is to pardon her.

END OF OPERA

–154– Sir Peter Moores