WOLFGANG AMADEUS MOZART (1756-1791) APOLLO ET HYACINTHUS, K.38

Latin intermedium in three parts (1767)

Libretto by RUFINUS WIDL (1731-1798)

OEBALUS King of Laconia ANDREW KENNEDY tenor

MELIA daughter of Oebalus KLARA EK soprano

HYACINTHUS son of Oebalus SOPHIE BEVAN soprano

APOLLO guest of Oebalus LAWRENCE ZAZZO countertenor

ZEPHYRUS friend of Hyacinthus CHRISTOPHER AINSLIE countertenor

TWO PRIESTS OF APOLLO MARCUS FARNSWORTH baritone DAVID SHIPLEY bass

THE MOZARTISTS Leader: Matthew Truscott Continuo: Steven Devine (harpsichord), Joseph Crouch (cello), Cecelia Bruggemeyer (double bass)

IAN PAGE conductor

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PROLOGUS Page 1 Intrada 2’41 23 2 Recitativo: Amice! iam parata sunt omnia (Hyacinthus, Zephyrus, Oebalus, Melia) 2’53 23 3 No. 1, Chorus: Numen o Latonium (Chorus, Oebalus) 4’26 25 4 Recitativo: Heu me! periimus! (Melia, Oebalus, Hyacinthus, Zephyrus) 1’24 26 5 No. 2, Aria: Saepe terrent Numina (Hyacinthus) 7’48 27 6 Recitativo: Ah Nate! vera loqueris (Oebalus, Apollo, Hyacinthus, Melia, Zephyrus) 3’04 27 7 No. 3, Aria: Iam pastor Apollo (Apollo) 3’46 30

CHORUS I 8 Recitativo: Amare numquid Filia (Oebalus, Melia) 1’49 31 9 No. 4, Aria: Laetari, iocari (Melia) 6’39 32 10 Recitativo: Rex! de salute Filii (Zephyrus, Oebalus, Melia) 5’22 33 11 No. 5, Aria: En! duos conspicis (Zephyrus) 3’08 37 12 Recitativo: Heu! Numen! ecce! (Zephyrus, Melia, Apollo) 2’05 37 13 No. 6, Duetto: Discede crudelis! (Melia, Apollo) 6’22 39

CHORUS II 14 Recitativo accompagnato: Non est – Quis ergo Nate! (Hyacinthus, Oebalus) 2’35 40 15 No. 7, Aria: Ut navis in aequore luxuriante (Oebalus) 6’16 41 16 Recitativo: Quocumque me converto (Melia, Oebalus) 2’56 42 17 No. 8, Duetto: Natus cadit, atque Deus (Oebalus, Melia) 5’42 44 18 Recitativo: Rex! me redire cogit (Apollo, Oebalus, Melia) 4’49 45 19 No. 9, Terzetto: Tandem post turbida fulmina (Apollo, Melia, Oebalus) 2’45 48

Total Playing Time: 76’38

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Violin 1 Cello Matthew Truscott (leader) Joseph Crouch (continuo) Iona Davies Andrew Skidmore Catherine Martin Jonathan Byers Huw Daniel Rebecca Livermore Double bass Elizabeth MacCarthy Cecelia Bruggemeyer (continuo) Antonia Bakewell Violin 2 William Thorp Oboe Sophie Barber Mark Baigent Marianna Szücs Hannah McLaughlin Nia Lewis Daniel Edgar Bassoon Hilary Michael Philip Turbett

Viola Horn Katie Heller Roger Montgomery Louise Hogan Nicholas Benz Kate Fawcett Heather Birt Harpsichord Steven Devine (continuo)

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 8 16/04/2019 15:26 Apollo et Hyacinthus – an introduction by Ian Page

Apollo et Hyacinthus, which was commissioned by the grammar school attached to Salzburg University and first performed there on 13 May 1767, was Mozart’s first opera. It was written when he was eleven years old. It is of course truly astonishing that anyone could write an opera of such quality at such an age, but in some ways the achievement is unsurprising, given how extraordinary Mozart’s childhood had already been up to that point.

By the time Mozart returned to Salzburg in November 1766, following his Grand Tour of Germany, Belgium, France, England, the Netherlands and Switzerland, he had already composed numerous symphonies, sonatas and arias. He had also performed at many of the leading courts and theatres in Europe, and equally importantly had been able to hear performances of music by many of the most celebrated composers of the day.

Having spent barely a quarter of the previous five years in Salzburg, Mozart was now to remain there for ten consecutive months, and this period proved to be the most important and prolific to date in the young composer’s burgeoning career. A recitative and aria written to celebrate the Archbishop of Salzburg’s anniversary in December 1766 led to the commission for him to compose the first part of the sacred singspiel Die Schuldigkeit des ersten Gebots, which was performed in the Knights’ Hall of the Archbishop’s Palace on 12 March 1767, and this was soon followed by the remarkable Passion cantata Grabmusik. Such an imposing portfolio must have been increasingly difficult to ignore, and it was presumably a relatively uncontentious step to commission Mozart to write the music for Apollo et Hyacinthus.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 9 16/04/2019 15:26 Background Since 1617 the grammar school attached to Salzburg’s Benedictine University had had a tradition of performing an annual Latin play, and in 1661 a theatre equipped with elaborate stage machinery had been erected adjacent to the university’s Great Hall. In addition to the annual event in August, individual classes sometimes presented their own productions – indeed the five-year-old Mozart, though not attached to the school, had taken part in a Latin school play there in 1761 – and in May 1767 the third year students at the Gymnasium performed a five-act Latin tragedy,Clementia Croesi (‘The Clemency of Croesus’).

This was written by the Professor of Syntax at the university, a Benedictine monk named Rufinus Widl, and was based on a story from Herodotus. King Croesus of Lydia has engaged the exiled Phrygian prince Adrastus to educate his son Atys. In the original story Adrastus kills Atys in a hunting accident and then, overcome by grief, kills himself; Father Widl, though, adapted the plot to suit his pedagogic purposes, and had Adrastus being generously forgiven by Croesus and welcomed into his court.

Over the years it had also become customary for a short musical entertainment or ‘intermedium’ to be interpolated within the main play; this was also in Latin, and provided relief from the high-minded didacticism of the main play while at the same time reinforcing its meaning and message. Thus it was that early in 1767 Mozart was commissioned to write the intermedium which was to accompany Clementia Croesi.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 10 16/04/2019 15:26 The text The libretto was again by Father Widl, and the subject was the mythological story of Apollo and Hyacinth. In the original story, as told by Ovid, Pausanias and others, Apollo is in love with Hyacinth. While the two are playing discus together, Hyacinth is so impressed by the skill and strength of Apollo’s first throw that he enthusiastically runs to pick the discus up as it falls to the ground; as it lands, though, the discus ricochets off a rock and strikes Hyacinth a mortal blow to the head. A grief-stricken Apollo refuses to let Hades claim the boy, and instead creates a flower, the hyacinth, from his spilled blood. Other accounts of the myth add the character of Zephyrus, Apollo’s rival for the affections of Hyacinth. In this version, the jealous Zephyrus deliberately blows Apollo’s discus off course and causes it to strike Hyacinth.

To reinforce the parallels with the themes of Clementia Croesi, and to make the story more palatable to eighteenth century audiences, Father Widl adapted the plot still further, adding the characters of Melia and Oebalus. Melia becomes the object of Apollo’s now heterosexual love, with Zephyrus providing the treachery and deceit which drives the drama forward, while Oebalus is now responsible for banishing the god from his kingdom. In this way the culmination of the opera becomes more about forgiveness and redemption, themes that were to dominate the great operatic masterpieces of Mozart’s maturity.

The work was divided into three parts, which were given suitably classical titles: the Prologue was performed before the play, Chorus I after the second act, and Chorus II before the fifth and final act. The opera does not seem to have been given a name at the time (the first surviving reference to a title is from Mozart’s sister in 1799), and Leopold Mozart described it in his list of his son’s early compositions merely as ‘Music for a Latin Comedy’. Listeners expecting lots of laughs in Apollo et Hyacinthus should remember that such terms are purely relative, and that the work is a ‘comedy’ only in

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 11 16/04/2019 15:26 that it was designed to offset the tendentious moralizing of Clementia Croesi (which actually begins after Atys has been killed, and takes five acts to debate whether or not Croesus should seek retribution).

The first performance The members of the original cast were all older than Mozart, but not by much. Apollo was sung by Johann Ernst and Hyacinthus by Christian Enzinger, both twelve-year-old trebles from the cathedral choir. The fifteen-year-old treble Felix Fuchs sang Melia, the only female role, and the Zephyrus was the seventeen-year- old Joseph Vonderthon. Oebalus, the only principal role written for a broken voice, was taken by Matthias Stadler, who was twenty-three and a student in Moral Theology and Law at the university; he later became a salaried tenor at the Salzburg court. The two priests, who are not specified in the libretto but would have been required to complete the ensemble for the opening chorus, were taken by Joseph Bründl and Jakob Moser, aged eighteen and sixteen respectively.

Rehearsals began early, and the project was clearly taken seriously by the school authorities, for by late April numerous classes were being cancelled ‘because of the forthcoming comedy’. Both opera and play were performed on the afternoon of 13 May 1767, and according to the Gymnasium’s minutes the performance ‘pleased everybody’. After it had finally ended, the young Mozart spent the evening entertaining the assembled company on the harpsichord, ‘giving us notable examples of his musical art’.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 13 16/04/2019 15:26 The music Apollo et Hyacinthus displays remarkable maturity, individuality and virtuosity, and there are constant reminders that the eleven-year-old composer had already written a substantial and impressive body of works. The opera’s orchestral introduction was entitled ‘intrada’ rather than the usual ‘sinfonia’ or ‘overture’, presumably to reflect its brevity and modesty of scale, but its charm and vivacity provide an auspicious start to the composer’s operatic canon. It also features divided violas, a favourite device of the young Mozart which recurs in five of the nine subsequent numbers. The chorus which follows the opening recitative possesses an austere grandeur and formality reminiscent of Gluck, and there is a genuine sense of devotion and sincerity in the music.

Each character has one aria, and even at such a young age Mozart has an unerring ability to create characters with real and heartfelt emotions. The word-painting and use of the orchestra to heighten meaning and atmosphere are already highly accomplished, although this is always achieved with the playfulness of a child discovering a new toy. Thus Hyacinthus’ aria is full of orchestral outbursts illustrating how the gods alternately threaten us and smile on us, while Oebalus’ aria at the beginning of the final act is a wonderfully vivid evocation of the mourning father’s anger and despair, with flashing violin scales magnificently capturing the turbulent sea imagery.

Zephyrus’ aria is admirably sparse and sinister, the string texture reduced to a chromatic unison as he asks Melia which of her two admirers she favours, while in Apollo’s aria Mozart resists the temptation to provide him with vocal pyrotechnics, instead focusing on the character’s pastoral disguise in a number notable for its bucolic elegance and understatement; gods, after all, are not accustomed to having to prove themselves. Meanwhile Melia’s aria, in which she rejoices at the news of her imminent marriage to Apollo, has a vivacious virtuosity not dissimilar to Morgana’s ‘Tornami a vagheggiar’ from Handel’s Alcina – the twelve-year-old who created the role must have been unusually accomplished.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 14 16/04/2019 15:26 No less remarkable is the duet between Melia and Apollo, in which the opposing strands of Melia’s venomous hatred and Apollo’s placating calmness are able to coexist within the same music. But the emotional climax of the score is surely the duet between Oebalus and Melia. Mozart’s fledgling genius is already apparent in the beauty not only of the melody but also of the scoring: muted first violins, lapping violas and pizzicato second violins, cello and bass are gently supported by horns, creating an exquisite texture over which father and daughter lament their plight. It forms the centrepiece of a final act in which we are entirely able to forget that this is the work of an eleven-year-old, and to savour the glories of an opera which would justify occasional revival even if its creator had been four times the age when he wrote it.

Ian Page

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Two specific aspects of interpretation and performance practice featured in this recording of Apollo et Hyacinthus are perhaps worthy of a few words.

The first concerns the pronunciation of the Latin text. We have no record or documentary evidence of how Mozart wanted Latin to be pronounced, but the choice is essentially between Germanic and Italianate. Having consulted a number of scholars and Latin specialists it became a relatively straightforward decision to opt for the latter. With an entirely non-German cast it seemed a rather pedantic and restrictive form of authenticity to perform the whole work with a German accent. Far more important to me, beyond the obvious need for consistency, was to try to convey the beauty and communicative power of the Latin, and to deliver it as if it were still a living language. As well as being the natural successor to Latin, Italian remained the primary language for opera throughout Mozart’s lifetime (this was due not only to opera’s geographical origins but also to the language’s lyrical flow and ‘singability’), and even at the age of eleven he was already steeped in the Italian vocal tradition. It therefore seemed to make sense for us to use this tradition as the basis for our pronunciation.

The second aspect of performance practice relates to the continuo realisation of the recitative. Although it has tended to be ignored in historically informed modern performances, there is in fact plenty of documentary evidence that throughout the late eighteenth and early nineteenth centuries the cello, as well as the harpsichord or fortepiano, played spread chords in recitative, with the double bass providing the bass line (Charles Baudiot’s Méthode pour le violoncelle, which dates from the early nineteenth century, even provides a fascinating musical example of how arpeggiated cello chords should be applied to a recitative from Act Two of Don Giovanni). Our principal cellist, Joseph Crouch, was recently awarded a research

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 16 16/04/2019 15:26 fellowship by the Arts and Humanities Research Council to study this practice of chord-playing in recitative, and we have applied the fruits of his work in several projects now, in operas ranging from Arne’s Artaxerxes to Mozart’s Le nozze di Figaro. It may take the unaccustomed ear a while to acclimatise to this unfamiliar style and sound world, but to my mind the beauties and benefits are compelling.

Ian Page, 2012

For film footage of rehearsal and recording sessions, cast interviews and further information on this recording of Apollo et Hyacinthus, please visit www.classicalopera.co.uk/product/mozart-apollo-et-hyacinthus/

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 17 16/04/2019 15:26 Synopsis

The opera is set in Laconia (Lacemaedonia) in ancient Greece.

Prologue Hyacinthus, with the help of his friend Zephyrus, is making the final preparations for a sacrifice which has been ordered by his father, King Oebalus, in honour of the god Apollo. As storm clouds gather, Oebalus orders the sacrificial fire to be lit, and the people offer their prayers to Apollo.

Their offering is seemingly rejected when lightning destroys the altar and extinguishes the fire, but Hyacinthus, suspecting that the wrath of the gods has in fact been aroused by Zephyrus’ earlier words of disrespect, offers comfort and encouragement to his father. Suddenly, Apollo himself appears, in the guise of a shepherd, having been banished from the heavens after an altercation with Jupiter. Melia is instantly enchanted by him, and the god assures Oebalus that their prayers will be answered.

Chorus I While Apollo, Hyacinthus and Zephyrus are throwing the discus together, Oebalus tells Melia that Apollo wishes to marry her. Melia rejoices in her great fortune and happiness, and rapturously anticipates being treated like a goddess. Zephyrus, though, rushes in to announce that Hyacinthus is dead. He has been killed during the discus game, and Zephyrus, although guilty of the murder himself, blames the crime on Apollo. Astounded, Oebalus goes in search of the god.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 18 16/04/2019 15:26 Zephyrus insists that Apollo is evil, and tries to persuade Melia to marry him instead, but Apollo soon arrives. He punishes Zephyrus for his treachery by transforming him into a wind and having him dragged off to Aeolus’ cave. Still believing Apollo to be the murderer of her brother, Melia sees this act of retribution as further evidence of Apollo’s volatility and wickedness, and the two argue.

Chorus II On the banks of the river Eurotas, Oebalus has discovered his son still alive. With his final words Hyacinthus tells Oebalus that it was Zephyrus, not Apollo, who killed him. Oebalus swears vengeance, his emotions fluctuating turbulently between anger and grief. Melia arrives to report that she has followed her father’s orders and banished Apollo from the kingdom. As they realise the truth, they express their anguish and fear at how they have wronged the god.

Apollo returns, however, and expresses his love for Hyacinthus by transforming the boy’s dead body into a bank of flowers which will bear his name forever. He forgives Oebalus and Melia, and reaffirms his wish to marry Melia and stay with them on earth. After all the storms and sorrows, peace and joy finally reign.

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Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart and his contemporaries, and has emerged as one of the leading exponents in its field. In 2017 it launched a new brand, The Mozartists, enabling it to broaden its ever-expanding concert work while continuing to present recordings and performances of complete operas under the name of Classical Opera. With its own acclaimed period-instrument orchestra, the company has attracted widespread critical and public recognition, not only for the high quality of its performances but also for its imaginative programming and its ability to discover and nurture outstanding young singers. In 2015 it launched MOZART 250, a ground-breaking 27-year project following the chronological trajectory of Mozart’s life, works and influences. Classical Opera has performed regularly at many of London and the UK’s leading venues, including Wigmore Hall, Southbank Centre, Barbican, Sadler’s Wells, Birmingham Town Hall and Bridgewater Hall, Manchester, and on tour in Italy, France, Germany, the Czech Republic and Austria, where it presented a three-concert residency at the 2016 Eisenstadt Haydn Festival. It has mounted staged productions of many of Mozart’s operas, and in 2009 presented The Royal Opera’s new production of Thomas Arne’s Artaxerxes. It has also given the world première of the ‘original’ version of Mozart’s Mitridate, re di Ponto, and the UK premières of Gluck’s La clemenza di Tito, Telemann’s Orpheus, Jommelli’s Il Vologeso, Haydn’s Applausus and Hasse’s Piramo e Tisbe. Classical Opera’s first two recordings – ‘The A-Z of Mozart Opera’ (Sony BMG, 2007, re-released on Signum Classics, 2014) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore Hall Live, 2010) – were both selected for Gramophone magazine’s annual Critic’s Choice. In May 2016 the company released ‘Where’er You Walk’, with tenor Allan Clayton, which was shortlisted for the 2017 International Opera Awards, and this was followed in May 2017 by The Mozartists’ début recording ‘Perfido!’, a programme of Mozart, Haydn and Beethoven concert arias featuring soprano Sophie Bevan.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 22 16/04/2019 15:26 Libretto

PROLOGUS PROLOGUE Oebalus Rex, fulmine aram Apollini King Oebalus, alarmed by lightning which destroys sacrificantis destruente territus, a suis erigitur the altar during a sacrifice to Apollo, is comforted et Apollinem exsulem excipit. by his children and welcomes the exiled Apollo.

1 Intrada Intrada

2 Recitativo Recitative HYACINTHUS: HYACINTHUS: Amice! iam parata sunt omnia. My friend, everything is now prepared! I hope Aderit, ut spero, cum sorore dilecta meus my father, along with my beloved sister, will soon Ad sacra, quae constituit, actutum Pater. be here for the sacred rites that he has appointed.

ZEPHYRUS: ZEPHYRUS: Ni fallor, est Apollo, quem colitis. Unless I’m mistaken, it is Apollo whom you worship.

HYACINTHUS: HYACINTHUS: Hic est. It is.

ZEPHYRUS: ZEPHYRUS: Apollini ergo tanta sacrificia parat Oebalus? So is it for Apollo that Oebalus is preparing so great a An alios nescit in coelis Deos? sacrifice? Doesn’t he know that there are other gods An Semelis ergo natus, an Juno, Venus, in the heavens? Doesn’t the son of Semele, then, or Diana, Mars, Vulcanus, an Superum potens Juno, Venus, Diana, Mars, Vulcan, or the almighty Caput atque Princeps ture nil vestro indigent? Head and King of the gods require your incense as well?

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 23 16/04/2019 15:26 HYACINTHUS: HYACINTHUS: Quibusque consecramus, o Zephyre! Diis We also venerate these gods, Zephyrus! None of them Nullusque nostris vacuus a templis abit: is neglected or absent from our temples; At solus istud Apollo sibi templum suo but Apollo alone lays claim to this temple Vindicat honori. Genitor hunc magnum Deum for his worship. My father venerates this great god, Veneratur, et ego veneror exemplo Patris. and I follow my father in worshipping him.

ZEPHYRUS: ZEPHYRUS: O care! Quam libenter offerrem ilia Dear friend, how willingly I would offer the victim’s Pectusque, si tu Apollo mihi meus fores! heart and entrails if you were my Apollo!

HYACINTHUS: HYACINTHUS: Dilecte quid me Zephyre! Permisces Diis? How fond you are of me, Zephyrus! Do you confuse me Honore non me dignor, at novi bene: with the Gods? I’m unworthy of such esteem, and know Extorsit ista nimius in Hyacinthum amor. your words are prompted by too much love for Hyacinthus.

(Venit Oebalus et Melia.) (Oebalus and Melia approach.)

Sed en! Sorore comite nunc Genitor venit. But look! My father, along with my sister, is coming now.

OEBALUS: OEBALUS: Dic nate! Num parata sacrificio hostia Tell me, my son, are the victim and the fires ready Et ignes? for the sacrifice?

HYACINTHUS: HYACINTHUS: Ecce Genitor! Ad nutum omnia Look, father! Everything is prepared Parata praestolantur adventum tuum. as you commanded, awaiting your arrival.

OEBALUS: OEBALUS: Bene: ergo succendatur a flamine focus, Excellent: then let the priest light the fire, and Et ture plurimo ara praegravis gemat, may the great altar groan with the weight of incense, Fumusque sacrificantis in nubes eat. and the smoke from the sacrifice rise into the clouds.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 24 16/04/2019 15:26 MELIA: MELIA: Heu Genitor! Atra nube tempestas minax Alas, father! A threatening storm menaces us with black Ingruit, et omnis glomerat huc noctem Polus. clouds, and the whole sky gathers darkness around us.

OEBALUS: OEBALUS: Adeste! Longioris impatiens morae Prepare yourselves! Impatient at further delay, Apollo Apollo tus et hostiam a nobis petit. is demanding his incense and sacrificial victim from us. Fugiet ad istas saeva tempestas preces, At our prayers this violent storm will pass swiftly, Et blanda facies solis his iterum plagis and the sun’s kindly face will again smile on this land. Redibit. Agite! Fundite et mecum preces. Come now! Offer up your prayers with me.

3 No. 1, Chorus No. 1, Chorus CHORUS: CHORUS: Numen o Latonium, Mighty god, son of Leto*, Audi vota supplicum, hear the prayers of your supplicants, Qui ter digno Te honore who piously strive to worship Certant sancte colere: you who are ever worthy of homage: Hos benigno Tu favore bless all here present, your subjects, Subditos prosequere. with your gracious favour.

OEBALUS: OEBALUS: O Apollo, creditam O Apollo, always protect and Tibi semper protege deign to cast your holy light Et dignare lumine upon Laconia, the kingdom of Oebalus, Oebali Laconiam. which we entrust to you.

(Fulmen ignem et aram destruit.) (Lightning destroys the altar and its fire.)

* ‘Latonium’ is an adjective meaning ‘of or pertaining to Lato’, or more familiarly ‘Leto’, the mother of Apollo and Diana.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 25 16/04/2019 15:26 4 Recitativo Recitative MELIA: MELIA: Heu me! periimus! Numen heu nostras Alas, we are lost! The god has spurned preces respuit! our prayers!

OEBALUS: OEBALUS: An aliquis forsan ex vobis Deum violavit? Has one of you perhaps affronted the god?

MELIA: MELIA: Haud me Genitor ullius ream I don’t think that I am guilty of any fault, Invenio culpae. father.

HYACINTHUS: HYACINTHUS: Semper hunc colui Deum. I have always shown reverence to this god. (O Zephyre! Quantum timeo ne verbis tuis (O Zephyrus! How fearful I am that the words which Haec ira sit succensa, quae dixisti prius.) you spoke earlier have provoked this blaze of anger!)

ZEPHYRUS: ZEPHYRUS: (Hyacinthe! Si me diligis, cela Patrem, (O Hyacinthus! If you love me, keep quiet and Et verba prolata prius a nobis tace!) hide from your father what I was saying before!)

OEBALUS: OEBALUS: Extinctus ignis, ara subversa, hostia The fire is extinguished, the altar overthrown, and our Contempta nobis grande praesagit malum! sacrifice scorned! This presages disaster for us! Alas, I Heu totus hoc concussus a fulmine tremo! am shaken from head to foot by this lightning bolt!

HYACINTHUS: HYACINTHUS: Erigere mentem Genitor! Insontem geris Be of good cheer, father! Your heart is innocent, so Animum, quid ergo Numine a bono mali what harm do you fear from a well-disposed god? Metuas? Ab isto fulmine es laesus nihil, You have sustained no injury from that lightning, and Nostrumque nemo, quotquot adsumus, ruit. none of us, numerous though we are, has suffered harm. Vivimus, et omnes pristinus vigor beat: We’re still alive, and all blessed with our previous good Hinc terruisse voluit hoc fulmine Deus health; with this lightning the god just wanted to strike Terras, potestas pateat ut mundo magis, fear into his people, so that the world might recognise Maneatque cum fiducia in nobis timor. his power and be filled with fear as well as devotion.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 26 16/04/2019 15:26 5 No. 2, Aria No. 2, Aria HYACINTHUS: HYACINTHUS: Saepe terrent Numina, Often the gods fill us with fear; Surgunt, et minantur, they rise up and threaten us, Fingunt bella, quae nos angunt, they contrive wars to torment us, Mittunt tela, quae non tangent; they launch arrows meant to miss you; At post ficta nubila but after the storm clouds disperse Rident et iocantur. they laugh and make merry.

Et amore Both by love Et tremore and by fear Gentes stringunt subditas: they bind their subjects together; Nunc amando, now by loving, Nunc minando, now by threatening, Salva stat auctoritas. their authority stands firm and intact.

6 Recitativo Recitative OEBALUS: OEBALUS: Ah Nate! vera loqueris: at metuo tamen, Ah, my son, what you say is true, yet I fear Apollo ne fors perdat hoc igne Oebalum. that Apollo may destroy Oebalus with his fire.

(Accedit Apollo.) (Apollo appears.)

APOLLO: APOLLO: Apollo vestras audit, o credite! preces Apollo hears your prayers, believe me, and Suamque pollicetur his terris opem, promises this land his aid, if you are only willing Recipere si velitis hunc modo exsulem to receive as an exile one who abhors the wrath Iramque fulminantis exosum Iovis. of the lightning-wielding Jupiter.

MOZART / APOLLO ET HYACINTHUS 27

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 27 16/04/2019 15:26 OEBALUS: OEBALUS: Quid? Numen hac sub veste pastoris latens What? A god here disguised as a shepherd In nostra praesens regna suscipi cupit? wishes to be welcomed into our kingdom?

HYACINTHUS: HYACINTHUS: En Genitor! ut lusisse nos Superi solent! Look, father, how the gods make playthings of us! Iam tibi medelam saeva post vulnera Deus No sooner do they injure us than a god brings you Adfert, tuamque regiam praesens beat. remedy and blesses your court with his presence.

MELIA: MELIA: O quam beato sidere haec nubila dies O, with how blessed a star does this gloomy day Nos recreat, ipse Apollo dum nostros lares restore us, as Apollo himself, for whom we yearned, Optatus hospes visitat! O quantus decor! visits our home! What great distinction, Quae forma! quanta dignitas! quanta omnibus what beauty, what dignity, what great Gloriaque membris atque Majestas sedet! glory and majesty reside in all his features!

APOLLO: APOLLO: Melia! quid in pastore tam dignum vides Melia, what is it that you see in a shepherd Suspensa quod mirere? which is so worthy of rapt wonder?

MELIA: MELIA: Video – I see...

APOLLO: APOLLO: Et quid vides? And what do you see? Eloquere pulcra! Speak, beautiful girl!

MELIA: MELIA: Video pulcrum Apollinem, I see the beautiful Apollo, to whom, like my father, Cui cum Parente corda iamdudum obtuli. I have offered my heart for a long time past.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 28 16/04/2019 15:26 APOLLO: APOLLO: Quod obtulisti pectus, haud revoca amplius; Never again take back the heart which you offered; Hoc inter orbis dona praeprimis placet. of all the world’s gifts, this pleases me the most.

ZEPHYRUS: ZEPHYRUS: (Hyacinthe! quantum timeo praesentem Deum!) (O Hyacinthus, how much I fear the god’s presence!)

HYACINTHUS: HYACINTHUS: (Me quoque tremenda dignitas timidum facit.) (His awesome dignity makes me fearful, too.)

APOLLO: APOLLO: Hyacinthe! amicum semper addictum tibi O Hyacinthus, you will always have in me Habebis in me, amare si Deum potes. a devoted friend, if you are able to love a god!

HYACINTHUS: HYACINTHUS: O quanta res, diligere si Hyacinthum potes! How great a thing, that you could care for Hyacinthus!

ZEPHYRUS: ZEPHYRUS: (Heu! nunc amatum Apollo mihi puerum rapit!) (Alas, now Apollo is snatching my beloved boy from me!)

OEBALUS: OEBALUS: Beata dies! Numen o sanctum! meos, Blessed day! O sacred god, Manere si dignaris, ingredere Lares, if you deign to stay here and to enter my home, Diuque me rogante nobiscum mane. I entreat you to remain with us for a long time.

APOLLO: APOLLO: Habebis in me, crede, tibi facilem Deum. Believe me, you will find me an easy god to please.

MOZART / APOLLO ET HYACINTHUS 29

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 29 16/04/2019 15:26 7 No. 3, Aria No. 3, Aria APOLLO: APOLLO: Iam pastor Apollo At times I am Apollo the shepherd, Custodio greges, Guarding my flocks, Nixus et baculo leaning on my staff Vigilans sto: and standing guard; Iam pascere nolo but sometimes, not caring to graze my flocks, Et visito reges, I visit kings, Iam medicinas or then again give healing balms Mortalibus do. to mortals.

Moestus levare, To raise the spirits of the sad Aegros iuvare and to help the sick Est sola tangens with my touch is Apollinem res: Apollo’s one concern; Hinc me manente, as long as I remain here Vobis favente, and bestow my favour on you, Rex omni rege you are a king more blessed Beatior es. than any other.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 30 16/04/2019 15:26 CHORUS I CHORUS I Apollo propter necem Hyacintho illatam Oebali Apollo is ordered to leave the court of Oebalus because regia discedere iubetur. he has caused the death of Hyacinthus.

8 Recitativo Recitative OEBALUS: OEBALUS: Amare numquid Filia, haud dubito, Deum, My daughter, I have no doubt that you are able to love Favore qui ter dignus est nostro, potes? a god who is ever worthy of our favour?

MELIA: MELIA: Quid loquere, Pater? Apollo mortalem What are you saying, father? Apollo wants me, a mere Sibi me coniugali cupiat adiungi thoro? mortal, to be joined to him in marriage?

OEBALUS: OEBALUS: Dubitare noli, Apollo te sponsam petit, Have no doubt about it, Apollo wants you for his wife, Meumque, libertate sed Nata utere and I was glad to give my consent, Tua, roganti placidus adsensum dedi. but the choice is yours, my daughter.

MELIA: MELIA: Negare num me, Genitor! adsensum putes? Surely you could not think I would refuse, father? Quae virgo contempsisse divinum virum What girl would want to reject a divine suitor and Tantosque honores, stulta nisi et animi impotens such an honour, or to turn her back on such good Fuerit, et obstitisse fortunae velit? fortune, unless she were a weak-minded fool?

OEBALUS: OEBALUS: Prudenter istud Nata! coniugium eligis; You are wise, my daughter, to choose this union; Sic namque per te Frater et Genitor tuus, for in this way, through you, your brother, father and Sic et Nepotes sorte divina eminent descendants will be elevated by the god’s status, Sic nostra diva efficitur his facibus domus. and our house made divine by these nuptial torches.

MELIA: MELIA: Dic, ubi moratur Apollo? – colloquio illius But tell me, what is delaying Apollo? Would that I O ut liceret optimo actutum frui! could straightaway enjoy his noble conversation!

MOZART / APOLLO ET HYACINTHUS 31

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 31 16/04/2019 15:26 OEBALUS: OEBALUS: Cum Fratre disco ludit et Zephyro simul He’s throwing the discus with your brother and In nemore. At huc redibit, ut spero, citius Zephyrus in the woods. But I hope he will return here Tuumque me praesente consensum petet. Soon to ask for your hand in my presence.

MELIA: MELIA: O petat! habebit omne, quod pectus cupit. Let him ask, and he’ll have everything his heart desires.

9 No. 4, Aria No. 4, Aria MELIA: MELIA: Laetari, iocari O to rejoice, to make merry Fruique divinis and enjoy the honours Honoribus stat, due to a god, Dum Hymen optimus while noble Hymen Taedis et floribus stands by with her torches and garlands, Grata, beata ties the happy, blessed Connubia iungit marriage knot, Et gaudia dat. and grants us joy.

Iam diva vocabor, Now my name will be divine Si Numen amabo; if I love a god; Per astra vagabor I’ll wander among the stars Et nubes calcabo: and walk on clouds; Et urbes, et regna cities and kingdoms Devoveant se, will devote themselves to me, Et Fauni adorent, and fauns and satyrs Et Satyri me. will worship me.

32 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 32 16/04/2019 15:26 10 Recitativo Recitative (Accedit Zephyrus.) (Zephyrus enters.)

ZEPHYRUS: ZEPHYRUS: Rex! de salute Filii est actum; iacet O King, something has happened to your son; Hyacinthus! Hyacinthus is lying dead!

OEBALUS: OEBALUS: Heu me! nuntium o tristem nimis! Woe is me! O too sad news! Qua morte cecidit? How did he die?

ZEPHYRUS: ZEPHYRUS: Ictus a disco ruit. He was struck by a discus, and fell dead.

OEBALUS: OEBALUS: Quis Filium occidisse non timuit meum? Who dared to kill my son?

ZEPHYRUS: ZEPHYRUS: Apollo. Apollo.

OEBALUS: OEBALUS: Contremisco! I start to tremble!

MELIA: MELIA: Superi quid? Deus, Heavens, what’s this? Has the god, who wanted Qui me beare voluit, hic Fratri necem to make me happy, brought about the death of my Sit machinatus? Ista quis credat tibi? brother? Who could believe these things from you?

ZEPHYRUS: ZEPHYRUS: Vera loquor, et testis ego pereuntis fui. I am telling the truth, and witnessed his death. Vix lapsus est Hyacinthus, aufugi, malum Scarcely had Hyacinthus collapsed than I fled, Ne simile feriat forsan et nostrum caput. in case the same fate might strike me down too.

MOZART / APOLLO ET HYACINTHUS 33

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 33 16/04/2019 15:26 OEBALUS: OEBALUS: Sic ergo plectis Numen innocuos? Favor, So this is how you punish the innocent, O divine power? Quo te recepi, morte num Nati unici Surely my kindly welcome didn’t deserve the death Dignus erat? Ergo Meliam et Natam quoque of my only son? Is this how you are also preparing to Surripere Patri, Numen, o falsum paras? steal my daughter Melia from her father, O false one?

MELIA: MELIA: O absit a me Genitor! ut sponsum eligam, Far be it from me, father, that I should choose him for my Deoque, qui cruore Germani madet, husband, and that in marrying I should presume to extend Nuptura porrexisse praesumam manus. my hand to a god who is drenched in my brother’s blood.

ZEPHYRUS: ZEPHYRUS: (Quid audio? an coniugia meditatur Deus? (What’s this I hear? Is the god considering marriage? An Meliam et rapuisse mihi amatam cupit? Is he bent on stealing my beloved Melia from me? Qui rapuit Hyacinthi, anne et istius mihi Will he who stole Hyacinthus also snatch her love Rapiet amorem?) from me?)

OEBALUS: OEBALUS: Zephyre! quae causa improbum Zephyrus! What reason drove the scoundrel Adegit hoc ad facinus? to commit this crime?

ZEPHYRUS: ZEPHYRUS: Haud ullam scio. No reason that I know of. Natus ad amoenum litus Eurotae stetit, Your son was just standing on the pleasant bank of the Discumque metae proximum adspiciens, meus, Eurotas, and seeing his discus lying right by the target, Clamabat, ecce discus est vestro prior, he called, “Look, my discus is nearer than yours,” and Metamque tetigit. Apollo tum discum iacit, touched the target. Then, the words scarcely out of his Loquentis et propellit in Pueri Caput, mouth, Apollo launches his discus and drives it into Quo laesus iste pronus in terram ruit. the boy’s head, so that he falls wounded to the ground. Non dubito, quin extinctus hoc disci impetu I have no doubt that he was killed by this blow Fuerit. from the discus.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 34 16/04/2019 15:26 OEBALUS: OEBALUS: An sic furere non dubitat Deus, Does the god not shrink from raging like this, so that he Ut sibi benignum privet et prole Oebalum? even deprives Oebalus, who’s been kind to him, of his son? Exesse regno Numen invisum mihi I command the god, hateful to me and my people, to leave Meisque iubeo. Zephyre! fac pellas reum, my kingdom. Go, Zephyrus, and drive out the wretch, Maiora ne, vel plura mihi damna inferat. before he inflicts more or worse punishments on me.

ZEPHYRUS: ZEPHYRUS: Rex! regna tua sunt: ipse tu pelle impium. King, it’s your kingdom; you should drive out the villain. Tu morte Nati laesus es. Timeo Deum, You’re the one who’s suffered the death of a son. I’m Qui fulmen hoc torqueret in nostrum caput. afraid the god might bring his lightning down on my head. (Expellat utinam! noster ut possit dolus (If only he expels him, so that my crime can lie hidden; Latere; nam caedis ego sum factae reus!) for I am the one guilty of committing the murder!)

OEBALUS: OEBALUS: Abibo! Vos manete! Si veniat Deus I shall go! You both stay here! If the god comes Ad vos, abire, Nata! crudelem iube. to you, my daughter, order the cruel one to leave! Ad litus Eurotae ibo, num vivat, meum I shall go to the bank of the river Eurotas to see Videre Natum. Forsan occurret mihi if my son is still alive. Perhaps I shall encounter Apollo, regnis Numen exosum meis. Apollo, the god so full of hatred for my kingdom.

(Abit.) (He departs.)

ZEPHYRUS: ZEPHYRUS: (Succedit ad mea vota, succedit dolus, (Everything is going as I wished; my plot is working, Meliaque mea dilecta nunc coniux manet.) and my beloved Melia now remains to be my bride.)

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 35 16/04/2019 15:26 MELIA: MELIA: Non capio, cur Apollo ne laesus quidem I don’t understand why Apollo, who had not even been Necarit unice ante dilectum sibi offended, would have killed Hyacinthus, who was until Hyacinthum. Amare qui Sororem me queat, then so very dear to him. How can he love me, the sister, Si Fratris ante polluat fato manus? if he has just sullied his hands with my brother’s murder?

ZEPHYRUS: ZEPHYRUS: Dilecta! ne mirare, quod tantum scelus My dear, don’t be surprised at such villainy Apollo perpetrarit; haud nosti impium: From Apollo; you don’t know that unholy one: Astutus est, crudelis, inconstans, levis: he is cunning, cruel, faithless and fickle: Hinc exulare iussus est coelis, suo that’s why he’s been banished from the heavens, Furore ne turbaret unanimes Deos. for fear he’d disturb the gods’ harmony with his raging.

MELIA: MELIA: Meliora credidisse de tanto Deo Reason demands that I believe better Mens dictat. (Ast incertus est animus tamen, of so great a god. (And yet my heart is wavering, Timorque, spesque pectore alternant vices.) as fear and hope in turn contend to rule my breast.)

ZEPHYRUS: ZEPHYRUS: Melia! quid animo volvis? Ah, sponsum abjice, Melia, what’s in your thoughts? Dismiss your bridegroom, Cuius cruore dextra fraterno calet, whose hand is still warm with your brother’s blood, Zephyrumque, cuius ipsa sat nosti fidem, and bless Zephyrus, whose loyalty you well know, Amore, quo beatus efficiar, bea. with a love that would make his blessed.

MELIA: MELIA: Nunc fata Fratris cogito, Now I’m thinking of my brother’s fate, haud Zephyri faces. not Zephyrus’s advances.

ZEPHYRUS: ZEPHYRUS: O dura! num sprevisse sic Zephyrum potes? Hard-hearted one! Surely you can’t spurn Zephyrus in this way?

36 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 36 16/04/2019 15:26 11 Aria, No. 5 Aria, No. 5 ZEPHYRUS: ZEPHYRUS: En! duos conspicis: Look! You see two suitors: Amantem et nocentem, one loving and one malign, Iuvantem et furentem; one helping and one raging; Cui manum porrigis? to whom would you offer your hand? Apollo te necabit, Apollo will kill you, At Zephyrus amabit. but Zephyrus will love you. Fraterno qui dexteram He who stained his hand Tinxit cruore, with your brother’s blood Tentabit in tenera will attempt further outrages Plura Sorore: on the delicate sister; Quem prudens eligis? whom, if you are wise, would you choose?

12 Recitativo Recitative ZEPHYRUS: ZEPHYRUS: Heu! Numen! ecce! Numen huc gressum movet; Woe is me! The god! Look! The god’s approaching; Melia quid agimus? indica effugii locum! Melia, what can we do? Show me where I can hide! Timeo ferocem. I fear his ferocity.

MELIA: MELIA: An ergo me solam objicis? Would you leave me alone and unprotected like this? Subsiste! num iactata sic perstat fides? Stay! Surely fidelity stands firm when thus under threat?

ZEPHYRUS: ZEPHYRUS: Ne patere, quaeso, ut noceat insonti Deus! I beg you, don’t let the god harm an innocent man!

(Accedit Apollo.) (Apollo enters.)

APOLLO: APOLLO: Adesne latro! fraudis infandae artifex! Are you here, you rogue? Author of this foul deceit! Hyacinthum amicum rapere non fuerat satis? Was it not enough to rob me of my friend Hyacinthus?

MOZART / APOLLO ET HYACINTHUS 37

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 37 16/04/2019 15:26 Rapuisse sponsam numquid et nostram simul, Must you try to snatch my bride too, you knave? Sceleste, tentas? Crimen et mendax novis Are you planning to compound your crime, you liar, Criminibus auges? Impie! iratum tibi with fresh offences? Scoundrel! Now see Quid possit, experire, iam Numen modo! what an angry god can do to you! Amantis et nocentis, et iuste quidem From one who is ‘loving’ and ‘malign’, now indeed Nocentis experire vindictam Dei! taste the just vengeance of a ‘malign’ god! Irruite, venti! claude sceleratum specu Rush in, winds, and imprison the villain in your cave, Aeole! Aeolus!*

ZEPHYRUS: ZEPHYRUS: Quid! heu me! What’s happening? Woe is me!

(Zephyrus in ventum mutatus abripitur.) (Zephyrus, transformed into a wind, is whirled away.)

MELIA: MELIA: Quid agis, o Numen grave! What are you doing, ruthless god? Funeribus an replere vis regnum Patris? Do you want to fill my father’s kingdom with death? Iam Fratre caeso occidis et Zephyrum simul? Having slain my brother, have you killed Zephyrus too? Tyranne! nunc et Meliam et regem obprimes? Tyrant! Are Melia and the king your next victims?

APOLLO: APOLLO: O cara! O my dear!

MELIA: MELIA: Quid! vocasse me caram audes? What! Do you dare to call me ‘dear’? Cruente! Butcher!

APOLLO: APOLLO: Me percipere si non sit grave – If it wouldn’t pain you to listen to me...

*In Greek mythology, Aeolus was the ruler of the winds.

38 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 38 16/04/2019 15:26 MELIA: MELIA: Est grave, tace! atque nostra, sic Genitor iubet, It would pain me! Silence! Leave our kingdom at once, Illico relinque regna, ne noceas magis! as my father commands, before you cause more harm!

APOLLO: APOLLO: (Ah! pone tandem fulmen o Superum Pater! (Ah, give up at last your thunderbolt, father of the gods! Quousque persequetur hic miserum furor?) For how long will I live a poor victim of your anger?)

13 No. 6, Duetto No. 6, Duet MELIA: MELIA: Discede crudelis! Begone, cruel one! Gaudebo, tyrannus I shall rejoice Si deserit me! that a tyrant deserts me! Vah! insolentem, Ah, shameless one Qui violat iura! who breaks his vows, Discede! discede; begone, begone; Nam metuo te. for you frighten me.

APOLLO: APOLLO: Est, crede! fidelis, It is, trust me, the faithful, Est mitis Apollo, the gentle Apollo Qui deperit te. who is dying from love for you. Quid? innocentem Why, hard-hearted girl, Sic abicis dura! do you cast me aside like this, innocent as I am? Sic perdis amicum, If you reject me thus, Si reicis me. you are losing a friend.

(Quem coeli premunt inopem, (Would she banish an exile from her lands, An terris agat exsulem? a wretch whom the heavens oppress? Manebo! I shall remain! Quousque resederit dira, Until the fierce anger Quae pectora sauciat ira, wounding her heart abates, Latebo.) I shall stay hidden.)

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 39 16/04/2019 15:26 CHORUS II CHORUS II Oebalus, cognita Apollinis innocentia, hunc When Apollo’s innocence is discovered, Oebalus receives benigne recipit, eique Filiam coniugem tradit. him kindly and entrusts his daughter to him as his wife.

14 Recitativo accompagnato Accompanied recitative HYACINTHUS: HYACINTHUS: Non est – It was not he...

OEBALUS: OEBALUS: Quis ergo Nate! dic, si Patrem amas, Who was it then, my son? Tell me, if you love your father, Quis te peremit? who killed you?

HYACINTHUS: HYACINTHUS: Zephyrus; – heu me! – si – Deus – Zephyrus. Woe is me... If only... the god... Adesset! – had been here...

OEBALUS: OEBALUS: Heu, iam moritur! – Alas, now he’s dying...

HYACINTHUS: HYACINTHUS: O Pater! – Pater! Oh father!... Father! Mors – est – acerba! Death... is... bitter!

OEBALUS: OEBALUS: Nate! My son!

HYACINTHUS: HYACINTHUS: Genitor! – Ah! Vale! – Father!... Ah! Farewell!...

(Moritur.) (He dies.)

40 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 40 16/04/2019 15:26 OEBALUS: OEBALUS: Hyacinthe! – Nate! – vixit – exanimis iacet! – Hyacinthus! My son!.. His life is over. He lies dead! Apollo, dixit, innocens est, o Pater! “Apollo is innocent, father!”, he said. “Believe me, Crede mihi, non est; Zephyrus est auctor necis. it was not he; Zephyrus is the author of my death.” Sic ergo mecum Zephyre ter mendax! agis? Is this then how you treat me, ever lying Zephyrus? Sic Numen ipsum sceleris et tanti reum Have you thus accused the god himself of so foul a Arguere, sic me fallere haud Regem times? crime, and do you not fear to deceive me, the King? Cruente! faxim crimen hoc proprio luas Bloodthirsty one! I’ll avenge this crime with your Cruore! – Mortem Filii an inultus feram? own blood! Should I bear a son’s death unavenged?

15 No. 7, Aria No. 7, Aria OEBALUS: OEBALUS: Ut navis in aequore luxuriante Just as a ship on a violent sea is thrown Per montes, per valles undarum iactatur, through the mountains and valleys of the waves, Et iamiam proxima nubibus stat, one moment perching close to the clouds, Et iamiam proxima Tartaro nat: the next plunging close to Tartarus*, Sic bilis a pectore bella minante so the rage from a heart bent on vengeance Per corpus, per venas, per membra grassatur. surges through my body, my veins and my limbs.

Furore sublevor; My fury buoys me up; Dolore deprimor. I sink under my grief; Ira, vindicta conglomerant se, rage and vengeful thoughts intertwine, Atque quassare non desinunt me. and will not let me rest.

*Tartarus was a deep, dank abyss located beneath the underworld, where punished souls were sent after death.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 41 16/04/2019 15:26 16 Recitativo Recitative (Accedit Melia.) (Melia enters.)

MELIA: MELIA: Quocumque me converto, crudelis Dei, Wherever I turn, I see hateful reminders of the Monumenta detestanda conspicio. Prius cruel god. Earlier I saw Zephyrus perish, Perire Zephyrum videram, et Fratrem modo and now I see my innocent brother Video natare sanguine insontem suo. swimming in his own blood.

OEBALUS: OEBALUS: Quid comite nullo Filia huc infers pedem? Why are you coming here unattended, my daughter? An latro iamiam fugit? Has the scoundrel already fled?

MELIA: MELIA: Hunc iussi illico I ordered him at once to leave our kingdom, Vitare nostra regna, nam caedem improbus for the treacherous god has dared Nova gravare caede non timuit Deus. to exacerbate his earlier killing with fresh slaughter.

OEBALUS: OEBALUS: Quid loquere? caedem Nata! quam narras novam? What are you saying? What fresh slaughter do you mean?

MELIA: MELIA: O Rex! amicum rapuit, et Zephyrum quidem, O King! He seized our friend Zephyrus, and before my Ventisque me vidente lacerandum dedit. very eyes caused him to be torn to pieces by the winds.

OEBALUS: OEBALUS: O iustus est Apollo, dum plectit scelus, Oh, Apollo is just, for he has punished the crime which Quod imputavit perfidus et atrox Deo The treacherous and monstrous Zephyrus imputed to Zephyrus! hic auctor, Filia! est factae necis. the god! He was the author, my daughter, of the murder Non est Apollo. that was committed. It was not Apollo. Zephyrus in Fratrem tuum Zephyrus did not hesitate to launch Discum agere non dubitavit. the discus at your brother.

42 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 42 16/04/2019 15:26 MELIA: MELIA: Unde autem Pater! But father! How Haec nosse poteras? could you know these things?

OEBALUS: OEBALUS: Natus haec retulit mihi, Your brother told me, Nam vivus est inventus a nobis. Meis for he was alive when I found him. Extinctus est in manibus. He died in my arms.

MELIA: MELIA: Heu me! quid? Pater! What? Oh father, alas! Why then did you Quid ergo regno exisse iussisti Deum? order the god to be banished from our kingdom?

OEBALUS: OEBALUS: Filia! dolore motus, et Zephyri dolis O daughter! Moved by grief and deluded by the Delusus, id iussisse me memini. Impium trickery of Zephyrus, I remember ordering that. Who Quis tale sibi timuisset a Zephyro scelus? would have suspected Zephyrus of so heinous a crime?

MELIA: MELIA: O Genitor! omnes perditi iamiam sumus! O father! Now we are all lost! Alas, he’s gone, Discessit, heu! discessit a nobis Deus! the god has left us! Believe me, he will not O crede, non inultus id probrum feret. bear such an insult unavenged.

OEBALUS: OEBALUS: Quid? Nata! discessisse iam Numen putas? What, daughter? You think the god has gone already?

MELIA: MELIA: Nil dubito; namque exire de regno tuo I have no doubt, for I myself commanded Apollo Apollinem ipsa, linquere et nostros lares to leave our home and depart your kingdom. Iussi. O ut hunc revocare nunc possem Would that I could now recall Deum! the god!

MOZART / APOLLO ET HYACINTHUS 43

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 43 16/04/2019 15:26 OEBALUS: OEBALUS: Heu! fata quam sinistra nos hodie obruunt! Alas! How hostile are the fates which today undo us!

17 No. 8, Duetto No. 8, Duet OEBALUS: OEBALUS: Natus cadit, My son has perished, Atque Deus and the god, Me nolente, against my will Nesciente and without my knowledge, Laesus abit. has gone away insulted. Regnum sine Numine A kingdom without its god Iam non diu stabit: will not survive for long. Numen! quaeso, flectere, O god, I beg you, change Et ad nos revertere! your mind and come back to us!

MELIA: MELIA: Frater cadit, My brother has perished, Atque meus and my betrothed, Te iubente at your command Me dolente and to my sorrow, Sponsus abit. has gone away. Sponsa sine complice A bride without a husband, Quaeso, quid amabit? whom, I ask, will she love? Noli sponsam plectere, Do not punish your bride, Numen! ah regredere! O god! Ah, come back!

44 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 44 16/04/2019 15:26 18 Recitativo Recitative (Accedit Apollo.) (Apollo approaches.)

APOLLO: APOLLO: Rex! me redire cogit in Hyacinthum amor. O King, love for Hyacinthus compels me to return! Ignosce, quod Numen ego tua regna audeam Excuse me for venturing, as a god, to bless your kingdom Praesens beare! Disce, quid Numen queat! with my presence. Learn what a god can do! Hyacinthe surge! funus et flore aemulo Hyacinthus, arise! May his body be swathed in flowers bearing Nomenque praeferente Defuncti tege. his image, and marked with the dead boy’s name*.

(Subsidens cum funere tellus hyacinthos (The dead body sinks into the earth, and hyacinths bloom flores germinat.) in its place.)

OEBALUS: OEBALUS: Quid video? Surrexisse de Nato meo What am I seeing? Can I see flowers rising Conspicio flores? from my son?

MELIA: MELIA: Numen o nimium potens! O all-powerful god! Pudore me suffusa profiteor ream. Blushing with shame, I confess my guilt. Ad verba Zephyri, Patris ad iussa omnia It was at the words of Zephyrus and the bidding Quae me poenitet, feci. of my father that I did what now shames me.

OEBALUS: OEBALUS: Optime Parce Deus! Ignarus ego, Noble god, forgive me! quis fuerit necis I was blind, and had faith in the monstrous Zephyrus, Auctor patratae, pessimo Zephyro fidem who was the author of the murder that was committed, Habui, meumque credidi Natum tua and I believed my son to have perished by your crime. Periisse fraude. Zephyrus o quanta improbus O how much evil the wicked Zephyrus has brought Induxit in regna mea, ni parcas, mala! upon my kingdom, unless you spare us!

*This refers to the marking on the hyacinth flower, which seemed to show the letters ‘Ai’ – an exclamation of grief in the ancient world.

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 45 16/04/2019 15:26 MELIA: MELIA: O Numen! haud fuisse contemptum putes; O divine Power, don’t think that you have been scorned! Abire quod te iusserim, imprudens fui I ordered you to leave because I was foolish and too Credulaque nimium, et ira mihi verba abstulit, trusting, and my anger wrung from me words which Quae de dolore Fratris occisi meant. were uttered out of grief for my murdered brother.

APOLLO: APOLLO: Confide Rex! Apollo non fugiet tua Rest assured, O King! Apollo will not flee your kingdom. Regna. Manet, et manebit heic tecum, fide He remains, and will continue to stay here with you, Iam stare si promissa demonstres tua. if you now honour your vow to stand firm in your faith.

OEBALUS: OEBALUS: Intelligo. Ecce Nata! te sponsam Deus I understand. Behold, my daughter, how the god Dignatur elegisse. has deigned to choose you as his bride.

MELIA: MELIA: Num credam Deum Can I dare to believe that the god Amare posse Meliam? is able to love Melia?

APOLLO: APOLLO: O crede! ipsemet Believe it! Jupiter himself Jupiter amare saepe mortales solet; has more than once loved a mortal; Amare namque convenit tantum Diis, indeed it is entirely fitting for the gods to love Vobis amari. and to be loved by you.

46 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 46 16/04/2019 15:26 MELIA: MELIA: Numen! en famulam, suo Divine Power! Behold your servant, who offers Quae pro Parente pectus hoc offert tibi. her heart to you in the name of her father.

OEBALUS: OEBALUS: En! Si placere sponsa mortalis potest, Look! If any mortal bride can please you, Apollo! nostra Filiam adductam manu Apollo, receive my daughter from my hand, Accipe, meoque semper in regno mane. and remain in my kingdom forever. Hyacinthus obiit: alter Hyacinthus mihi Hyacinthus is dead: you will be for me another Eris, manere Filia hac factus gener, Hyacinthus, if you deign to remain in our land Regione si digneris in nostra. as husband to my daughter.

APOLLO: APOLLO: Oebale! Oebalus! Accipio laetus Meliae oblatae manum, I joyfully accept your offer of Melia’s hand, and Rebusque semper placidus adsistam tuis. shall stand quietly at your side in all your endeavours.

MELIA: MELIA: Justitia sic tua Deus elucet magis. Thus your justice, O god, glows all the brighter.

OEBALUS: OEBALUS: Sic innocentem debita haud merces fugit. Thus innocence will gain its just deserts.

APOLLO: APOLLO: Sic saecla te futura clementem sonent. Thus future centuries will proclaim your clemency.

MOZART / APOLLO ET HYACINTHUS 47

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 47 16/04/2019 15:26 19 No. 9, Terzetto No. 9, Trio APOLLO: APOLLO: Tandem post turbida At last, after violent Fulmina, nubila, lightning bolts, storm clouds Tonantis murmura, and rumblings of thunder, Pax alma virescit nourishing peace puts forth green buds Et explicat se. and blossoms.

MELIA: MELIA: Post vincla doloris After the bonds of sorrow, Nos iungit amabile the joyful pledge of love Pignus amoris. unites us. Post fata beata After these events decreed by fate, Nos taeda coronet the blessed marriage torch Et erigat te. will crown us and inspire you.

OEBALUS: OEBALUS: Post bella furoris After furious battles, Vos iungit amabile the joyful pledge of love Pignus amoris. unites you. Post fata, optata After these events decreed by fate, Vos taeda coronat the longed-for marriage torch Et excitat me. will crown you and gladden me.

APOLLO: APOLLO: Post monstra pavoris After fearful portents, Nos iungit amabile the joyful pledge of love Pignus amoris. unites us. Post fata, sperata After these events decreed by fate, Nos taeda coronet the hoped-for marriage torch Et erigat te. will crown us and inspire you.

48 MOZART / APOLLO ET HYACINTHUS

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8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 49 16/04/2019 15:26 What the critics said about other recordings in Classical Opera’s Mozart Opera Cycle

“In the hands of conductor Ian Page and his superb line-up of soloists, the work has a freshness and zip which is irresistible, and the Orchestra of Classical Opera plays like a dream.” Sinfini Music (Die Schuldigkeit des ersten Gebots)

“Page’s Classical Opera project goes from strength to strength. The playing in this early Singspiel fizzes with life, the singing is splendid and the work, childlike yet expert, charms.” The Sunday Times (Bastien und Bastienne)

“From the outset, Ian Page nurtures a performance that crackles, beguiles, thrills and moves by turns exactly as Mozart’s opera requires.” Gramophone (Mitridate, re di Ponto)

“Ian Page presides over a charming performance, with well-paced recitatives and appropriate, sometimes extravagant decoration. This is minor Mozart, done supremely well.” Gramophone (Il sogno di Scipione)

“What Signum Classics’ and Classical Opera’s recording of Il re pastore offers is, simply put, an account of the piece that comes as near to perfection as any performance might ever hope to do.” Voix des Arts (Il re pastore)

“Who could fail to be charmed by such gorgeous music, so stylishly executed?” The Daily Telegraph (Zaide)

50 MOZART / APOLLO ET HYACINTHUS

8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 50 16/04/2019 15:26 WOLFGANG AMADEUS MOZART APOLLO ET HYACINTHUS, K. 38 CLASSICAL OPERA Classical Opera / The Mozartists / Ian Page Classical Opera / The Mozartists MOZART: APOLLO ET HYACINTHUS

Oebalus ANDREW KENNEDY tenor Melia KLARA EK soprano Hyacinthus SOPHIE BEVAN soprano ANDREW KENNEDY KLARA EK SOPHIE BEVAN Apollo LAWRENCE ZAZZO countertenor Oebalus Melia Hyacinthus Zephyrus CHRISTOPHER AINSLIE countertenor

The Mozartists

IAN PAGE conductor

“The series of Mozart operas being recorded under the direction of Classical Opera’s director Ian Page has

already established him as one of the most stylishly authoritative interpreters of the composer working today.” APOLLO ET HYACINTHUS OPERA

French, German & Italian translations of the notes and synopsis are available at www.classicalopera.co.uk/shop LAWRENCE ZAZZO CHRISTOPHER AINSLIE IAN PAGE This recording is dedicated to Sherman Lam Apollo Zephyrus Conductor Classical Opera Mozart Cycle in association with Bärenreiter-Verlag, Kassel Total Playing Time: 76’38

LC15723

SIGCD577 CLASSICAL OPERA Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom SIGCD577 ℗ 2012 Classical Opera THE MOZARTISTS © 2019 Signum Records 24 bit digital recording 6 35212 05772 8 www.signumrecords.com IAN PAGE (CONDUCTOR)

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