Graciela Oddone, soprano Lorenzo Regazzo, bass-baritone

Ensemble Arcadia

Pablo Valetti, concertmaster and solo violin Olivia Centurioni, Lorenzo Colitto, Luca Ronconi, David Plantier, Amandine Beyer, Alessandro Ciccolini, Riccardo Minasi, violin Alessandro Santucci, Judith Földes, viola Gaetano Nasillo, Giovanna Barbati, cello Carlo Pellicione, double bass Thomas Müller, Patrik Gasser, horn Massimiliano Toni, Attilio Cremonesi, harpsichord Attilio Cremonesi, direction Johann Adolph Hasse (1699-1783) Michele Mascitti (1664-1760)

La Contadina Concerto op. 7 nº 3 a sei stromenti (1727. G major) Intermezzi in musica (Naples, 1728) – Libretto attributed to Bernardo Saddumene 21 Vivace 3:55 22 Largo 2:44 23 Allegro 1:54 1 Sinfonia: Overture from Astarto (1727) 2:27 24 Largo 2:26 25 Allegro 2:49 Intermezzo primo 2 Cavatina: Alla vita, al portamento (Tabarano) 2:26 3 Recitativo: Tieni lo specchio in tasca? (Tabarano) 1:38 A production of the Schola Cantorum Basiliensis – Hochschule für Alte Musik at the University 4 Aria: Sul verde praticello (Scintilla) 2:00 of Applied Sciences and Arts Northwestern Switzerland ( fhnw ) / Musik-Akademie Basel 5 Recitativo: È qui Don Tabarano (Scintilla, Tabarano) 6:44 Recorded at Schweizer Radio drs 2, Zürich, Switzerland, in November 1998 6 Aria: Più viver non voglio (Scintilla) 4:34 Engineered and produced by Pere Casulleras | Noise (Corbo): Louis van Niekerk 7 Recitativo: Eh! Va via, pesso d’asino (Tabarano, Scintilla) 2:37 Executive producer (Schweizer Radio drs 2): Christiane Nicolet 8 Duetto: Vorrei, o Dio, ma vedo (Scintilla, Tabarano) 3:44 Executive producer & editorial director ( scb ): Thomas Drescher Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Intermezzo secondo Design: oficinatresminutos.com | Editorial assistance: María Díaz 9 Recitativo: Ti dico che qui voglio (Tabarano) 1:18 All texts and translations © 2013 Schola Cantorum Basiliensis 10 Ballo da Turco 2:26 © 2013 note 1 music gmbh 11 Recitativo: Cos’è? Vengono? Presto! (Tabarano, Scintilla) 4:46 12 Aria: Strappami il core, ô barbaro (Scintilla) 5:00 Illustrations: 13 Recitativo: A poco amor scaccia lo sdegno (Tabarano, Scintilla) 3:17 p.2: Printed libretto (title page) of performances in Florence, 1735 (Milan, Bibl. Naz. Braidense) 14 Aria: Star allegra, brava, brava (Tabarano, Scintilla) 3:51 p.10: Last page of Balli, ms. (Rome, Bibl. Casanatense) 15 Recitativo: Decir: conoscer bene ti (Tabarano, Scintilla) 1:43 p. 15/20: Beginning of Scintilla’s aria “Più viver non voglio”, ms. (Montecassino, Bibl. dell’Abbazia) 16 Duetto: Deh, ti placa (Scintilla, Tabarano) 3:12 5 17 Recitativo: Cos’è, Corbo? (Tabarano, Scintilla) 1:57 18 Tempo di minuetto 1:21 Schola Cantorum Basiliensis – Hochschule für Alte Musik at the University 19 Ballo di Villano 0:35 of Applied Sciences and Arts Northwestern Switzerland ( fhnw ) 20 Minuetto da capo 0:53 www.scb-basel.ch

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scores preserved in the Conservatories of Parma, tainly a great success. After a decade of productions Neapolitan style are virtuosity, naturalness, and graph - Florence, and Brussels; and thirdly, an alteration to exclusively in Italy, a series of performances in ic imagery. As is generally known, the Neapolitans these very sources, substituting Pergolesi’s immense - German-speaking lands followed, as documented by effected a radical simplification of contrapuntal struc - ly famous “Per te ho io nel core” for the final duet. the numerous libretti with German title pages. ture at the beginning of the 1720s. The three- to four- When Caffarelli – the most famous castrato of the Most intermezzi of the 1720s and 1730s have part style of writing usual until then gave way to a two- eighteenth century, aside from Farinelli – set to work their cultural roots in the comic plays of the French part style, as a result of which the violins played in uni - sorting out Pergolesi’s complete works, he also classics. (Correspondingly, the tragic dramas of son with one another as well as with the singer, and Johann Adolph Hasse ascribed La Contadina to his compatriot. Thus veri - Racine, Thomas and Pierre Corneille, and Campis- the violas in octaves with the bass. For those elements fied by an authority and, to top it all, attributed to tron, among others, form the basis of numerous of the story that were to receive special emphasis, all La Contadina Nicola Porpora in yet another source, it took a while opere serie .) In contrast to many similar texts, La the parts were written in unison – in intermezzi this before the intermezzo found its way back to its actual Contadina is apparently not an adaption of a French was employed above all for the accentuation of the composer. The false attribution, however, undoubted - model. Nevertheless, one cannot help but see the comic aspects. This simplification, which at first Johann Adolph Hasse was twenty-nine years old and ly served to boost the work’s popularity. Bourgeois gentilhomme in the demeanour of the rich glance might seem like an impoverishment of expres - on his first visit to Italy when he wrote La Contadina Even today it is not entirely certain who wrote farmer Don Tabarano with his “extremely ridiculous sion, had a surprising effect: It lent the music the abil - in Naples. The music of the intermezzo, which the libretto. Two names are found in the sources: attire”, who in the first aria praises his own dancing ity to follow the text flexibly, and to imitate it in the sparkles with wit and temperament, enjoyed such a Bernardo Saddumene (in a libretto from 1728 pre - skills. And the feint in the second intermezzo – the smallest details. The declamation acquires great great success that a total of thirty-eight productions served in the Naples Conservatory) and Andrea masquerade as Turkish pirates to stage a mock importance and is no longer hemmed in by contra - in major European opera houses can be documented Belmuro (mentioned by Allacci in the Drammaturgia , abduction – is also to be found in Les Fourberies de puntal constraints such as fugal style, imitative struc - between 1728 and 1769. La Contadin a was one of the and by Algarotti in the Catalogo dei drammi musicali Scapin . The subsequent and somewhat precipitate tures, and complicated harmonies. A further charac - hits of the eighteenth century. fatti a Venezia 1637-1778 ). The oldest known libretto dénouement of the dramatic entanglement is cer - teristic of Neapolitan music that Hasse employed Ironically, the fame of this work has at least to a treating this subject-matter is associated with a per - tainly the least successful part of the story. That this extensively is its metrical structure. The arias often certain extent been traditionally linked to another formance that took place in Trieste in 1721. was also perceived by Hasse’s contemporaries is contrast slow and fast motion, or alternate between illustrious composer personality of the same period, In 1728 Hasse’s version was staged in Naples in shown by the large number of scores in which pre - periods of two and three measures. In addition, fer - Giovanni Battista Pergolesi, to whom one readily the Teatro S. Bartolomeo as the entr’acte for the cisely this finale has been altered. matas are used very frequently to bring the music to a attributed successful compositions of the epoch. In opera Clitarco, ossia il più fedel amico by Pietro Scarlatti. Hasse’s music fit well into the Neapolitan tradi - standstill, so to speak. The final duet of the first inter - the case of La Contadina , there were above all three Its placement in the two intermissions of the “main tion, which had developed quickly during the first half mezzo is a good example for the thrilling effect of this factors responsible for this: First, the similarity of the work” explains why the two parts of La Contadina are of the eighteenth century. This tradition was so compositional style. title to that of an intermezzo that was in fact by labeled “Intermezzo primo” and “Intermezzo secon - strongly present in Europe’s cultural panorama that it The recitatives, finally, give the singers the Pergolesi, namely La Contadina astuta (“The cunning do,” respectively, although they really belong together. decisively influenced the course of Italian opera – at greatest possible latitude for their acting abilities peasant girl)”; secondly, the fact that La Contadina is To judge by the large number of reports about this that time practically synonymous with Neapolitan through two constructions that are used alternately. expressly attributed to Pergolesi in the manuscript premiere that have come down to us, they were cer - opera. The most prominent characteristics of the The first is distinguished by its simplicity: Rhythms

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and harmonies merely follow the natural declama - synopsis ty she does not love him (“Like a cat loves salad”). her debut at the Teatro Colón, and gave her Europe debut in tion of the text, underscoring it in such a way that the Tabarano then discloses his identity and threatens to 1997 in Schwetzingen and Berlin as Despina in Mozart’s Così singer speaks it, as it were, with all the freedom Intermezzo primo turn her over to the authorities. After she learns that fan tutte under the direction of René Jacobs, with whom she allowed or even demanded of him by the declama - The wealthy, foppish farmer Don Tabarano and his Lucindo has flown and left her sitting, she finally collaborated in further productions. Although her repertoire tion. The second sort grows out of the accompagna - obstreperous, mute servant Corbo meet the peasant- assents – not entirely of her own free will – to a liai - extends to the music of the twentieth century, the main focus mento misurato . Here, the orchestra answers the girl Scintilla in the garden. For Tabarano it is love at son with Tabarano, who is overjoyed at having her, is on the seventeenth and eighteenth centuries. In the mean - singer, expressing in its own way the salient – usually first sight. He asserts his love to her in monologues in through her own doing, “under control”. Both dance time, she has made guest appearances at numerous opera comical – point of the situation. In this manner, it which the high-flown metaphors unerringly lead to as the piece comes to an end. houses and festivals in Europe and America under conductors offers a commentary to the recited text. The same erotic allusions. Scintilla senses a chance to reap such as Nello Santi, Ivor Bolton, Gabriel Garrido, Philippe principle is met in the recitativo accompagnato , the financial gain. She claims that her whole fortune was Herreweghe, Bruno d’Astoli and Franz Paul Decker. accompanied recitative, which is lacking in these stolen by thieves the previous night. Tabarano, intermezzi, and was employed more frequently start - appalled, offers her full restitution from his own Attilio Cremonesi studied piano, organ and composition in Lorenzo Regazzo , a native of Venice, studied voice, piano and ing only in the 1730s. pocket. With the promise of her love, she relieves Piacenza and harpsichord at the Schola Cantorum Basiliensis. composition. A prizewinner at several international competi - All these elements are characteristics of the him of money and valuables so that she can flee with In addition, he took private instruction in conducting. He was tions, he made his debut in 1994 at the Rossini Opera Festival later “Classical” style, which in decisive moments her lover Lucindo. Corbo sees through her game, yet prizewinner at several international competitions. He worked in Pesaro. He has subsequently made a name for himself with took recourse to the Neapolitan opera style. Only in cannot protect his master from his own foolishness. for a longer period as René Jacobs’ musical assistant. With his character roles of the bel canto repertoire and as an inter - the confrontation with works from the same period When Scintilla also demands the house and the farm, own ensemble, Arcadia, he has dedicated himself to the redis - preter of Baroque music. Guest appearances have led him to does this modernity become audible. The Concerto in but at the same time refusing to give Tabarano proof covery of little-known operas of the Baroque and Classical opera houses such as London’s Royal Opera House Covent G minor composed in 1727 by the Neapolitan compos - of her love, he, too, becomes suspicious. periods and made guest appearances at prominent venues in Garden, La Monnaie in Brussels, Teatro La Fenice in Venice, the er Michele Mascitti displays the established charac - Europe and South America. His CD recordings have received Bavarian State Opera in Munich, Milan’s La Scala, the Vienna teristics of the concerto grosso in the style of Corelli, Intermezzo secondo important international awards. A sought-after conductor, his State Opera and the Teatro Real in Madrid, as well as to the and yet it can in no way be considered old-fashioned. Tabarano, Corbo, and other helpers are disguised as engagements have meanwhile led him to renowned opera Salzburg Festival, where he sang the role of Figaro in Mozart’s The future, however, is manifest in Johann Adolph Turkish pirates. They seize Scintilla and Lucindo just houses and concert halls as well as to well-known festivals. A Le nozze di Figaro , a role he also recorded under the direction Hasse’s score. He thereby numbered among the first as the couple is about to board ship. Tabarano particular success was Henry Purcell’s Dido and Aeneas in the of René Jacobs, and that of Leporello in Don Giovanni . to take up and to decisively influence these new ten - threatens them, in a gibberish of Turkish and staging by Sasha Waltz, a co-production of the opera houses dencies. La Contadina shows one of the great com - Neapolitan dialect, with enslavement and death. of Luxembourg and Montpellier and the Berlin State Opera. 9 posers of the eighteenth century on the threshold of Scintilla offers a deal for their freedom: She will lead a brilliant career. the pirates to a rich farmer – Tabarano – from whom Graciela Oddone is of Argentinian-Italian origin and was born Since its creation in 1933, the Schola Cantorum Basiliensis they can extort a lot of money and possessions. in Buenos Aires, where she received her vocal training at the (SCB) and its working philosophy have lost nothing of their Alessandro Bares Tabarano, still in disguise, questions Scintilla about Conservatorio Nacional de Música and with Ana Sirulnik at the topicality. Founded by Paul Sacher and close colleagues in Translation: Howard Weiner her relationship to this man and learns that in reali - Instituto Superior de Arte del Teatro Colón. In 1991 she made Basel, Switzerland, this University of Early Music (since 2008

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part of the University of Applied Sciences Northwestern particular approach which explores the historical context of Conservatoires de Parme, Florence et Bruxelles. Switzerland) remains to this day unique in numerous past musical production to create musical interpretations Enfin, une modification de ces sources substitue le respects. From the very beginning, musicians gathered here that inspire the listener today – often combined with a fasci - célébrissime Per te ho io nel core de Pergolèse au duo who decisively influenced the course of historical perform - nation for the previously unknown. The CD productions play final. Lorsque Caffarelli, le plus célèbre castrat du ance practice. The scope of activities at the SCB ranges from their part in bringing important projects and performers at xviii e siècle avec Farinelli, entreprit un classement the early Middle Ages to the 19th century. And as a result of the SCB to a wider audience. Around 80 such recordings have des œuvres complètes de Pergolèse, il attribua égale - the close co-operation between performers and scholars, a been produced on different labels since 1980. From 2010 the Johann Adolph Hasse ment La Contadina à son compatriote. Ainsi certifié dynamic interaction exists between research, professional CD productions of the SCB have appeared on Glossa. par une telle sommité, attribué ensuite à Nicolas training, concerts, and publications. In all of this, the SCB [www.scb-basel.ch] La Contadina Porpora dans une autre source, l’intermède dut atten - operates with a broad definition of music. This arises from a dre encore longtemps avant de retrouver son vérita - ble géniteur – même si ces erreurs d’attribution servi - À l’âge de vingt-neuf ans, Johann Adolph Hasse en est rent paradoxalement à accroître sa popularité. à son premier séjour en Italie lorsqu’il écrit La Aujourd’hui encore, l’auteur du libretto n’appa - Contadina à Naples. La musique de l’intermède, toute raît pas avec certitude. Deux noms figurent dans les d’humour et de caractère, rencontra un tel succès sources : Bernardo Saddumene (dans un livret de 1728 qu’au total trente-huit productions ont pu être recen - conservé au Conservatoire de Naples) et Andrea sées dans les principaux opéras en Europe entre 1728 Belmuro (cité par Allacci dans Drammaturgia et par et 1769 – ce qui fait de La Contadina l’un des « hits » Algarotti dans son Catalogo dei drammi musicali fatti a incontestables du xviii e siècle. Venezia 1637-1778 ). Le plus ancien livret consacré à ce Ironie de l’Histoire, il se trouve que la réputa - sujet qui nous est parvenu nous renvoie à une repré - tion de cette œuvre en vint à être dans une certaine sentation à Trieste (1721). Sept ans plus tard, la version mesure rattachée à un autre compositeur illustre de de Hasse fut interprétée au Théâtre San Bartolomeo la même période, Giovanni Battista Pergolesi, à qui de Naples en tant qu’intermède de l’opéra Clitarco, l’on a attribuait assez facilement toutes les œuvres à ossia il più fedel amico de Pietro Scarlatti. Son exécu - succès de l’époque ! Dans le cas de La Contadina , trois tion lors des deux entractes de l’œuvre « principale » facteurs peuvent être à l’origine de cette erreur : tout explique pourquoi les deux parties de La Contadina d’abord la similarité du titre avec celui d’un inter - sont respectivement titrées « Intermezzo primo » et mède composé par Pergolèse, La Contadina astuta « Intermezzo secondo », même si les deux sont vrai - (« La Campagnarde astucieuse »). Ensuite, le fait que ment indissociables. A en juger par le grand nombre La Contadina ait été expressément attribué à Pergolèse de compte-rendus qui firent écho à cette première, dans les partitions manuscrites conservées dans les l’œuvre fut certainement un grand succès. Après dix

10 11 Français Français ans de productions exclusivement italiennes une tuaient ses atouts. Comme on le sait, les Napolitains Quant aux récitatifs, ils offrent aux chanteurs la l’un des grands compositeurs du xviii e siècle à l’aube série de représentations fut entreprise dans les pays menèrent une simplification radicale de la texture plus grande latitude pour montrer leur virtuosité d’une brillante carrière. germanophones, comme en témoignent de nom - contrapuntique au début des années 1720. Les écri - grâce à deux systèmes alternatifs. Le premier se dis - breux livrets comportant une page-titre en allemand. tures à trois ou quatre voix, fréquentes jusqu’alors, lais - tingue par sa simplicité : rythmes et harmonies se bor - Alessandro Bares La plupart des intermèdes des années 1720-30 sèrent place à un style à deux voix, avec comme résul - nent à suivre la déclamation naturelle du texte, le sou - Traduction : Harmonia Mundi prenaient leurs racines culturelles dans les comédies tat tous les violons jouant à l’unisson entre eux et avec lignant de telle manière que le chanteur peut s’expri - françaises – de même que les tragédies de Racine, le chanteur d’un côté, les altos jouant à l’octave des mer avec toute la liberté qui lui est accordée ou qui est synopsis Thomas et Pierre Corneille, Campistron et autres basses de l’autre. Les moments de l’intrigue les plus attendue de lui. Le second système relève de l’ accompa - sont à l’origine de nombreux opere serie . Pourtant, La marquants faisaient même l’objet d’un traitement spé - gnamento misurato . Ici, l’orchestre répond au chanteur, Intermezzo primo Contadina ne paraît pas avoir été adaptée d’un modèle cial : toutes les parties jouaient alors à l’unisson – ces marquant à sa manière le point saillant, souvent Le riche et prétentieux fermier Don Tabarano et son français précis. Certes, on ne peut s’empêcher de pratiques contribuant avant tout, dans les intermèdes, comique, de la situation. De cette façon il apporte un domestique aussi muet que malicieux Corbo rencon - penser au Bourgeois gentilhomme devant l’attitude du à souligner les aspects comiques de l’action. Cette sim - commentaire au texte recité. Le même principe sera trent la fille de ferme Scintilla dans un jardin. Pour riche fermier Don Tabarano vêtu d’« atours parfaite - plification, qui de prime abord pourrait paraître rencontré dans le recitativo accompagnato , le récitatif Tabarano, c’est le coup de foudre. Il l’assure de son ment ridicules », qui dans son premier air fanfaronne comme un appauvrissement de l’expression, conduit accompagné employé plus fréquemment à partir des amour dans un monologue dont les métaphores pour sur ses dons de danseur. De même, le simulacre du pourtant à une qualité surprenante : elle laisse à la années 1730. le moins fleuries trahissent des allusions bien peu second intermezzo – le faux enlèvement par des musique la possibilité de suivre le texte avec souplesse Tous ces éléments deviendront caractéristiques chastes... Scintilla entrevoit une chance d’en tirer des pirates turcs – existe déjà dans Les Fourberies de Scapin . et de l’imiter dans ses détails les plus infimes. La décla - du « style classique » à venir, lorsque celui-ci, dans les bénéfices financiers, et affirme que tous ses biens lui Le dénouement final et quelque peu précipité de cet mation prend alors toute son importance et n’est plus moments décisifs, aura recours aux bonnes vieilles res - ont été dérobés la nuit précédente. Tabarano, boule - imbroglio est certainement la partie la moins aboutie cernée par des contraintes contrapuntiques telles sources de l’opéra napolitain. Ces modernisations ne versé, lui offre de la dédommager intégralement avec de l’ouvrage. Que cela ait aussi été ressenti par les qu’un style fugué, des structures en imitation ou des sont cependant perceptibles que lorsqu’on les ses propres deniers ; après avoir dépouillé le candide contemporains de Hasse est attesté par le grand harmonies complexes. La mise en perspective des confronte à des œuvres qui leur sont contemporaines. en lui promettant son cœur, elle s’enfuit avec son nombre de partitions dans lesquelles le final fut pré - métriques les plus diverses constitue une autre des A cet égard, le Concerto en sol mineur composé en 1727 amant Lucindo. Corbo voit clair dans son jeu mais ne cisément modifié. caractéristiques de la musique napolitaine à laquelle par le Napolitain Michele Mascitti présente les carac - parvient pas à détourner son maître de sa propre folie. La musique de Hasse s’inscrit admirablement Hasse fit très souvent appel. Dans ses arias, il s’amuse téristiques traditionnelles du concerto grosso de Cependant, lorsque Scintilla lui demandera également dans cette tradition napolitaine qui avait connu un à opposer mouvements lents et rapides, ou bien à Corelli, et de ce fait ne peut être considéré comme sa maison et sa ferme, tout en refusant de lui donner rapide essor durant la première moitié du xviii e siècle. alterner des périodes de deux et de trois mesures. De passé de mode. cette fois une preuve de son amour, Tabarano com - Cette tradition était si fortement présente dans le pay - plus, la présence fréquente de points d’orgue permet - En comparaison, le regard vers l’avant est cepen - mence à entretenir quelques doutes. sage culturel européen qu’elle exerça une influence tait de suspendre la musique et de la laisser respirer, si dant bien perceptible dans la partition de Johann décisive sur le développement de l’opéra italien, quasi - l’on peut dire. Le duo final du premier intermède Adolph Hasse, qui fut parmi les premiers à adopter et Intermezzo secondo ment synonyme à cette époque d’opéra napolitain. La apporte à ce égard un exemple pour le moins palpitant à imprimer sa marque de façon décisive sur son déve - Tabarano, Corbo et quelques complices se sont virtuosité, le naturel, la simplicité descriptive consti - propre à ce style de composition. loppement. Assurément, La Contadina nous dévoile déguisés en pirates turcs. Ils empoignent Scintilla et

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Lucindo à l’instant même où le couple monte à bord un succès particulier avec Dido and Aeneas d’Henry Purcell ainsi qu’aux Salzburger Festspiele, où il incarnait le rôle-titre la pratique musicale historique. Ses domaines de compétence d’une embarcation. Dans un charabia mêlant le turc dans la mise en scène de Sasha Waltz, une coproduction des dans Le nozze di Figaro de Mozart – un rôle qu’il a aussi chanté s’étendent du début du Moyen Age jusqu’au XIX e siècle. et le napolitain, Tabarano les menace d’asservisse - opéras du Luxembourg, de Montpellier et de la Staatsoper de sous la direction de René Jacobs dans son enregistrement Grâce à l’étroite collaboration entre musiciens et musico - ment et de mort. Scintilla monnaye leur liberté : elle Berlin. couronné de prix, tout comme le Leporello dans Don Giovanni. logues, la recherche, la formation pratique, les concerts et les les conduira vers un riche fermier – Tabarano – publications y sont toujours très étroitement liés. La SCB tient auquel ils pourront extorquer quantité d’argent et Graciela Oddone est d’origine argentino-italienne et est née 9 à définir le terme musique dans un sens large. La façon dont de biens. Tabarano, toujours déguisé, interroge à Buenos Aires, où elle a suivi une formation de chant au la musique est abordée dans son contexte historique et est Scintilla sur ses liens avec cet homme et apprend Conservatorio Nacional de Música et à l’Instituto Superior de Depuis ses débuts en 1933, la Schola Cantorum Basiliensis interprétée selon les plus récentes découvertes et en relation ainsi qu’en réalité elle l’aime « autant qu’un chat Arte del Teatro Colón chez Ana Sirulnik. Elle fait son début au (SCB) et son concept n’ont rien perdu de leur actualité. avec la curiosité envers ce qui reste à découvrir y joue un rôle aime la salade » ! Tabarano dévoile alors son identité Teatro Colón en 1991 et se produit pour la première fois en Fondée par Paul Sacher et quelques confrères, cette Haute crucial. La production de CDs doit contribuer à faire connaître et menace de la livrer aux autorités. Après avoir Europe en 1997, à Schwetzingen et à Berlin comme Despina École de Musique Ancienne bâloise, faisant partie depuis à un public plus large les importants projets ou les membres appris que Luciano est parti et l’a abandonnée, elle dans Così fan tutte de Mozart sous la direction de René Jacobs, 2008 de la Haute École Spécialisée de la Suisse du Nord- de la SCB. Depuis 1980 ont été réalisés environ 80 enregistre - se résout finalement – un peu sous la contrainte – à chef avec qui elle a travaillé dans d’autres productions. Si son Ouest, demeure jusqu’à nos jours singulière à beaucoup ments sous différents labels. Depuis 2010 les productions dis - une liaison avec Tabarano, qui est ravi de l’avoir, de répertoire s’étend jusqu’à la musique du XX e siècle, elle se d’égards. S’y rencontrent encore aujourd’hui des musiciens cographiques paraissent aux éditions Glossa. son propre fait, « sous contrôle ». La pièce s’achève consacre particulièrement aux XVII e et XVIII e siècles. Elle se qui mettent un accent particulièrement fort sur l’histoire de [www.scb-basel.ch] para la danse du couple. produit dans de nombreuses salles d’opéra et dans des festi - vals en Europe et en Amérique, sous la direction de chefs comme Nello Santi, Ivor Bolton, Gabriel Garrido, Philippe Herreweghe, Bruno d’Astoli et Franz Paul Decker. Attilio Cremonesi a étudié le piano, l’orgue et la composition à Plaisance (Italie) puis le clavecin à la Schola Cantorum Lorenzo Regazzo est né à Venise et a étudié le chant, le piano Basiliensis et a suivi une formation privée de chef d’orchestre. et la composition. Lauréat de plusieurs concours interna - Il est lauréat de plusieurs concours internationaux. Pendant tionaux, il a fait son début en 1994 au Rossini Opera Festival plusieurs années, il a travaillé comme assistant musical de de Pesaro. Par la suite, cette basse s’est fait un nom dans les René Jacobs. Avec son propre ensemble Arcadia, il se consacre principales parties de Mozart écrites pour sa tessiture, mais à la redécouverte d’opéras baroques et classiques peu connus surtout dans les rôles de caractère du répertoire bel canto et et se produit lors de tournées en Europe et en Amérique du comme interprète de musique baroque. Il s’est produit dans Sud. Ses enregistrements CD ont reçu d’importantes distinc - des opéras tels que le Royal Opera House Covent Garden de tions internationales. Chef d’orchestre très demandé, ses Londres, le Théâtre de la Monnaie de Bruxelles, le Teatro La engagements le mènent dans des salles de concert et des Fenice de Venise, la Bayerische Staatsoper de Munich, la Scala opéras de renom ainsi que dans les grands festivals. Il a connu de Milan, la Staatsoper de Vienne et le Teatro Real de Madrid

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vatorien von Parma, Florenz und Brüssel befinden, zusammen gehören. Sie hatten mit Sicherheit großen 18. Jahrhunderts eine rasche Entwicklung durchlief. ausdrücklich Pergolesi zugeschrieben wird, und drit - Erfolg, nach der Menge der uns überlieferten Zeug- Sie war im kulturellen Panorama Europas so stark tens eine Änderung in eben diesen Quellen, in denen nisse dieser Premiere zu urteilen. Nach einem Jahr- präsent, dass sie die Geschmacksrichtung der italie - das Schlussduett durch das hochberühmte Per te ho io zehnt von Produktionen auschließlich auf italieni - nischen Oper – zu jener Zeit fast gleichbedeutend nel core von Pergolesi ersetzt worden war. Als schem Boden, folgte eine Reihe in deutschsprachi - mit der neapolitanischen Oper – entscheidend beein - Caffarelli, der – neben Farinelli – berühmteste Kastrat gen Ländern, wie sich an zahlreichen Libretti ablesen flusste. Die hervorstechendsten Merkmale des nea - Johann Adolph Hasse des 18. Jahrhunderts, daran ging, Pergolesis Gesamt- lässt, die eine Titelseite mit deutschem Text besitzen. politanischen Stils sind Virtuosität, Natürlichkeit werk zu sichten, ordnete er auch La Contadina seinem Ihre kulturellen Wurzeln haben die meisten und plastische Anschaulichkeit. Bekanntlich nahmen La Contadina Landsmann zu. Auf diese Weise von einer Autorität Intermezzi aus den 1720er und 1730er Jahren in den die Neapolitaner zu Beginn der zwanziger Jahre des abgesegnet und in einer vereinzelten Quelle zu allem Komödien der französischen Klassik (auf analoge 18. Jahrhunderts eine radikale Vereinfachung des Überfluss noch Nicola Porpora zugeschrieben, dauer - Weise bilden die Tragödien von Racine, Thomas und kontrapunktischen Gewebes vor. Die bis dahin übli - Johann Adolph Hasse war auf seiner ersten italieni - te es einige Zeit, bis das Intermezzo zu seinem ur- Pierre Corneille, Campistron u .a. die Basis zahlrei - che drei- bis vierstimmige Schreibweise wich einer schen Reise und 29 Jahre alt, als er La Contadina in sprünglichen Komponisten zurück fand. Die falsche cher Opere serie). Im Gegensatz zu vielen ähnlichen zweistimmigen, was zur Folge hatte, dass die Vio- Neapel schrieb. Die Musik des Intermezzos sprüht Zuschreibung hat die Popularität des Werkes aber Texten handelt es sich aber bei La Contadina offen - linen miteinander und zusammen mit dem Sänger vor Witz und Temperament und hatte so großen eher noch gesteigert. sichtlich nicht um die Bearbeitung einer französi - unisono und die Violas im Oktavabstand mit dem Erfolg, dass von 1728 bis 1769 insgesamt 38 Inszenie- Bis heute ist allerdings nicht ganz sicher, wer das schen Vorlage. Dennoch kommt man nur schwer Bass geführt wurden. Für Momente der Handlung, rungen in allen größeren Opernhäusern Europas Libretto verfasst hat. Zwei Namen werden in den umhin, im Auftreten des reichen Bauern Don die besonders hervorgehoben werden sollten – bei nachzuweisen sind. La Contadina war ein Erfolgs- Quellen angeführt: Bernardo Saddumene (in einem Tabarano mit seinem »äußerst lächerlichen Aufzug«, Intermezzi ging es vor allem um das Betonen der stück des 18. Jahrhunderts. im Konservatorium Neapel aufbewahrten Libretto der sich in der ersten Arie seiner Tanzkunst rühmt, komischen Züge – schrieb man sämtliche Stimmen Ironischerweise verband sich der Ruhm des von 1728 genannt) und Andrea Belmuro (von Allacci in nicht den Bourgeois gentilhomme zu sehen. Und das im Unisono. Diese Wandlung, die auf den ersten Werkes in der Überlieferung wenigstens teilweise mit der Drammaturgia und von Algarotti im Catalogo dei Täuschungsmanöver im zweiten Intermezzo – die Blick wie eine Verarmung im Ausdruck anmuten einer anderen strahlenden Komponistenpersönlich- drammi musicali fatti a Venezia 1637-1778 erwähnt). Das Verkleidung als türkischer Korsar, um eine Entfüh- könnte, hat einen überraschenden Effekt: Sie ver - keit derselben Zeit, Giovanni Battista Pergolesi, dem älteste bekannte Libretto des Stoffes bezieht sich auf rung vorzuspiegeln – findet man auch in den Four- leiht der Musik die Fähigkeit, dem Text flexibel zu gerne erfolgreiche Kompositionen seiner Epoche eine 1721 in Triest stattgefundene Aufführung. beries de Scapin . Die anschließend etwas überstürzte folgen und ihn bis in die kleinsten Einzelheiten nach - zugeschrieben worden sind. Im Falle von La Contadina 1728 kam Hasses Version in Neapel im Teatro S. Auflösung der dramatischen Verwicklung ist sicher - zuzeichnen. Die Deklamation erlangt größte Bedeu- waren vor allem drei Faktoren dafür verantwortlich: Bartolomeo als Zwischenakte zur Oper Clitarco, ossia lich der am wenigsten gelungene Teil der Geschichte. tung und ist nicht mehr eingeengt in kontrapunkti - einmal die Ähnlichkeit des Titels zu einem Inter- il più fedel amico von Pietro Scarlatti auf die Bühne. Dass dies auch von den Zeitgenossen so empfunden sche Zwänge wie den fugierten Stil, Imitations- mezzo, das tatsächlich von Pergolesi stammt, nämlich Die Verteilung auf zwei Unterbrechungen des wurde, bezeugt die große Anzahl von Partituren, in strukturen, komplizierte Harmonisierungen u .a. La Contadina astuta (»Das schlaue Bauernmädchen«), »Hauptwerks« erklärt, warum beide Teile von La denen eben dieses Ende geändert worden ist. Ein weiteres Charakteristikum der neapolitani - zum anderen die Tatsache, dass La Contadina in den Contadina als »Intermezzo primo« und »Intermezzo Die Musik von Hasse fügt sich gut in die neapo - schen Musik, das Hasse ausgiebig nutzte, ist ihr handschriftlichen Partituren, die sich in den Konser- secondo« bezeichnet werden, obwohl sie natürlich litanische Tradition ein, die in der ersten Hälfte des metrisches Gefüge. Oft werden in den Arien langsa -

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me und schnelle Bewegung gegenüber gestellt, oder Das auf dieser cd beigefügte Concerto in g-Moll des Dummheiten bewahren. Als Scintilla auch Haus und Mit seinem eigenen Ensemble Arcadia widmet er sich der zweitaktige Perioden wechseln mit dreitaktigen; Neapolitaners Michele Mascitti aus dem Jahr 1727 Hof fordert, gleichzeitig aber Beweise ihrer Liebe zu Wiederentdeckung von wenig bekannten Opern aus Barock darüber hinaus wird sehr häufig von Fermaten zeigt die etablierten Merkmale des Concerto grosso Tabarano verweigert, wird dieser jedoch misstrauisch. und Klassik und gastierte an prominenten Orten in Europa Gebrauch gemacht, um die Musik gewissermaßen im Stil Corellis und ist damit noch längst nicht alt - und Südamerika. Seine CD-Aufnahmen erhielten wichtige anzuhalten. Das Abschlussduett des ersten Inter- modisch zu nennen. Die Zukunft steckt aber in Intermezzo secondo internationale Auszeichnungen. Als gefragter Dirigent führen mezzos ist ein gutes Beispiel für die unwiderstehliche Johann Adolph Hasses Partitur. Er gehört damit zu Tabarano, Corbo und weitere Helfer sind als türkische ihn seine Engagements inzwischen an renommierte Opern- Wirkung dieser Kompositionsweise. den ersten, die die neuen Tendenzen aufnahmen und Korsaren verkleidet. Sie nehmen Scintilla und Lucin- und Konzerthäuser sowie zu bekannten Festivals. Zu besonde - Die Rezitative schließlich geben den Sängern entscheidend beeinflussten. La Contadina zeigt einen do gefangen, als sich beide gerade einschiffen wollen. rem Erfolg gelangte er mit Henry Purcells Dido and Aeneas in größten Spielraum für ihre darstellerischen Fähigkei- der großen Komponisten des 18. Jahrhunderts am Tabarano droht in türkisch/neapolitanischem Kau- der Inszenierung von Sasha Waltz als Koproduktion der ten durch zwei Gestaltungsweisen, die abwechselnd Beginn einer glänzenden Karriere. derwelsch mit Versklavung und Tod. Scintilla bietet Opernhäuser Luxemburg, Montpellier und der Berliner zur Anwendung kommen. Die erste zeichnet sich für ihre Freiheit einen Handel an: Sie möchte die Staatsoper. durch ihre Einfachheit aus: Rhythmen und Harmoni- Alessandro Bares Korsaren zu einem reichen Bauern – Tabarano – füh - sierungen beschränken sich darauf, dem natürlichen Übersetzung: Liesel B. Sayre ren, von dem sie viel Geld und Gut erpressen könn - Graciela Oddone ist argentinisch-italienischer Herkunft und Vortrag des Textes zu folgen und ihn zu unterstreichen, ten. Tabarano als Korsar fragt Scintilla über ihr Ver- in Buenos Aires geboren, wo sie ihre sängerische Ausbildung dergestalt, dass der Sänger ihn quasi spricht, mit allen synopsis hältnis zu diesem Mann aus und erfährt, dass sie ihn in am Conservatorio Nacional de Música sowie am Instituto Freiheiten, die ihm die Deklamation gestattet und Wirklichkeit gar nicht liebt (»Wie eine Katze den Superior de Arte del Teatro Colón bei Ana Sirulnik erhielt. sogar vorschreibt. Die zweite Art erwächst aus dem Intermezzo primo Salat«). Daraufhin gibt sich Tabarano zu erkennen und 1991 debütierte sie am Teatro Colón und gab 1997 ihr accompagnamento misurato . Darin antwortet das Or- Der reiche, geckenhafte Bauer Don Tabarano und sein droht, Scintilla dem Gericht zu übergeben. Als diese Europa-Debut in Schwetzingen und Berlin als Despina in chester dem Sänger und drückt auf seine eigene Weise unbotmäßiger stummer Diener Corbo treffen das erfährt, dass Lucindo geflohen ist und sie im Stich Mozarts Così fan tutte unter René Jacobs, mit dem sie auch in das Entscheidende der Situation – hier meist das Bauernmädchen Scintilla im Garten. Tabarano ist gelassen hat, willigt sie schließlich – nicht ganz frei - weiteren Produktionen verbunden war. Obwohl ihr Komische – aus. Es liefert solcherart einen Kommen- sofort bis über beide Ohren in sie verliebt und versi - willig – in eine Verbindung zu Tabarano ein, der nun Repertoire bis zur Musik des 20. Jahrhunderts reicht, liegt ein tar zum vorgetragenen Text. Dasselbe Prinzip kommt chert ihr das in Reden, bei denen die gewählten hohen hocherfreut ist, sie durch ihre Vergehen »im Griff« zu Schwerpunkt auf dem 17. und 18. Jahrhundert. Mittlerweile im recitativo accompagnato vor , dem begleiteten Rezi- Metaphern meist zielsicher in erotische Anspielun- haben. Zum Ausklang des Stückes tanzen beide. gastierte sie an zahlreichen grossen Opernhäusern und tativ, das in diesen Intermezzi fehlt und erst ab den gen münden. Scintilla wittert eine Chance, um zu Festivals in Europa und Amerika und unter Dirigenten wie dreißiger Jahren des 18. Jahrhunderts häufiger einge - Geld zu kommen. Sie gibt vor, dass letzte Nacht ihr Nello Santi, Ivor Bolton, Gabriel Garrido, Philippe Herreweghe, setzt wird. ganzes Vermögen von Dieben gestohlen worden sei. Bruno d’Astoli oder Franz Paul Decker. Alle diese Elemente sind Kennzeichen des spä - Der entsetzte Tabarano bietet ihr vollen Ersatz aus Attilio Cremonesi studierte Klavier, Orgel und Komposition in teren »klassischen« Stils, der sich in entscheidenden seinen Mitteln an. Sie knöpft ihm für das Versprechen Piacenza sowie Cembalo an der Schola Cantorum Basiliensis Lorenzo Regazzo , geboren in Venedig, studierte Gesang, Momenten auf die neapolitanische Opernpraxis ihrer Liebe Geld und Wertsachen ab, damit sie mit und hat sich außerdem privat als Dirigent weiter gebildet. Er Klavier und Komposition. Der Gewinner mehrerer internatio - stützt. Erst in der Konfrontation mit Werken der ihrem Liebhaber Lucindo fliehen kann. Corbo durch - war Gewinner mehrerer internationaler Wettbewerbe. Längere naler Wettbewerbe debütierte 1994 beim Rossini- gleichen Zeit wird diese Modernität auch hörbar. schaut ihr Spiel, kann aber seinen Herrn nicht vor den Zeit arbeitete er als musikalischer Assistent von René Jacobs. Opernfestival in Pesaro. In Folge machte sich der Bassist

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Intermezzo primo First intermezzo neben den wichtigen Mozartpartien seines Fachs vor allem vielfacher Hinsicht singulär geblieben. Seit den Anfängen fin - (Giardino) (Garden) mit Charakterrollen des Belcantorepertoires sowie als den sich an ihr Musiker zusammen, die in der Geschichte der Barockinterpret einen Namen. Gastspiele führten ihn an historischen Musikpraxis starke Akzente setzen. Das Arbeits- 01 Overture Ouverture Häuser wie das Royal Opera House Covent Garden in London, gebiet reicht vom frühen Mittelalter bis ins 19. Jahrhundert. Don Tabarano in abito di gentiluomo sciocchissimo, Corbo suo servo, Don Tabarano, foppishly dressed, and his servant Corbo, then das La Monnaie in Brüssel, das Teatro La Fenice in Venedig, Aufgrund der engen Zusammenarbeit von Musikern und e poi Scintilla contadina cogliendo fiori per il viale del giardino. Scintilla, a peasant girl gathering flowers along a path in the garden. die Bayerische Staatsoper in München, die Mailänder Scala, Wissenschaftlern sind Forschung, praktische Ausbildung, Wiener Staatsoper und das Teatro Real in Madrid sowie zu Konzert und Publikationen stets eng aufeinander bezogen. 02 Tabarano Tabarano Alla vita, al portamento From my waist, from my deportment den Salzburger Festspielen, wo er die Titelpartie in Mozarts Die SCB hält an einem weit definierten Musikbegriff fest. sembro giusto un ballarino. I really look like a dancer: Le nozze di Figaro verkörperte, eine Rolle, die er auch in der Entscheidend ist dafür die Art des Zugangs, Musik in ihrem Ha, ha, ta, ra, la, Ha, ha, ta, ra, la. preisgekrönten Einspielung unter René Jacobs sang, wie historischen Kontext zu begreifen und sie gegenwartsbezo - questo vezzo, quest’inchino This grace, this bow; è un incanto! uno spavento! it’s a delight! It’s a fright! ebenso den Leporello in Don Giovanni . gen zu interpretieren, verbunden mit der Neugier auf bisher Ah, che passo di minuè! Ah, what a Minuet step! Unentdecktes. Die CD-Produktionen sollen dazu beitragen, Seit ihren Anfängen im Jahr 1933 haben die Schola wesentliche SCB-Projekte oder Mitglieder der Hochschule 03 Tabarano Tabarano Cantorum Basiliensis (SCB) und ihr Arbeitskonzept nichts an einem größeren Publikum bekannt zu machen. Seit 1980 sind (a Corbo) (to Corbo) Tieni lo specchio in tasca? Do you have a mirror in your pocket? Aktualität eingebüßt. Gegründet von Paul Sacher und einigen ca. 80 Einspielungen bei verschiedenen Labels entstanden. Ab Eh! Porgilo. (si mira) Ah! che bel volto! Give me it. Ah! (looking at himself) What a handsome face! Mitstreitern, ist diese Basler Hochschule für Alte Musik (seit 2010 erscheinen die Produktionen beim Label Glossa. (Corbo gira lo specchio in maniera ch’esso (Corbo turns the mirror in such a way that Tabarano 2008 Teil der Fachhochschule Nordwestschweiz) bis heute in [www.scb-basel.ch] non può mirarsi bene.) can’t see himself well.) Più in qua. Più in là. Che fistolo tu fai? A bit this way. A bit that way. Bestion da carro! Tu ti lascieresti What the devil are you doing, you stupid beast? fuggire i pesci cotti dalle mani! You would let cooked fish escape from your hands! Mettiti qua. Così, bassa un tantino. Come here: like that, down a little. (Corbo s’abbassa soverchio.) (Corbo lowers it too much.) Oh! non tanto, diavolo, più alto. Oh! Not so much, you devil, a bit higher. (Corbo lo alza assai, ed esso accorgendosi (Corbo lifts it high, and Tabarano, realizing that he che lo burla, dice:) is being made a fool of, says:) Ah! forca! forca! tu vuoi farmi perdere la flemma, Ah! Impertinent wretch! You want to make me lose ed io ti manderò alle forche! my self-control, I shall send you to the gallows! Ma non è questa Scintillina? Oh Dio! But is that not little Scintilla? Oh God! Che fattezze! Che spirito! Che brio! What looks! What spirit! What vivacity! Che bocconcin da re! What a noble mouth! (s’appoggia a Corbo come svenisse) (leans on Corbo as if fainting) Scinti... Scinti... sei..., Corbo, io moro, ohimè! Scinti... Scinti... Corbo, I am dying, alas!

20 21 04 Scintilla Scintilla Tabarano Tabarano (cogliendo fiori per il viale del giardino) (plucking flowers along the garden path) (come sopra) Cara! (as above) Dearest! Sul verde praticello On the green field coi fiori, e con l’erbetta the breeze plays Scintilla Scintilla scherzando va l’auretta, with the flowers and grass Che leggiadria, bel cavaliere! What grace, handsome gentleman! e m’empie di piacer. and fills me with pleasure. Tabarano Tabarano Tabarano Tabarano Ah! Cara, in mirar le tue vaghe candele... Dearest, seeing your two lovely candles... S’io fossi il venticello, If I was the wind, e tu la molle erbetta, and you the soft grass, Scintilla Scintilla Scintilla mia diletta, my beloved Scintilla, «Vaghi lumi» vuol dire? You do mean to say “lovely light of my eyes”? sarebbe un bel piacer. it would be a beautiful pleasure. Tabarano Tabarano 05 Scintilla (da sé) Scintilla (aside) Ah, ah, lumi e candele Ah, lights and candles. È qui Don Tabarano; Don Tabarano is here; parmi che sia tutt’uno: è vero Corbo? But they’re one and the same; is that not so, Corbo? fingerò ben d’amarlo al maggior segno, I shall pretend to love him madly, (Corbo accenna di sì, inchinandosi profondamente.) (Corbo nods in agreement, bowing deeply.) che i vezzi di costui as his money potran molto giovare al mio disegno. will greatly help my plan. Scintilla (a sé) Scintilla (aside) Come l’adula ben, quel pistonaccio! How he toadies to him, that jerk! Tabarano Tabarano (a Corbo) Dunque va bene? (to Corbo) Is it good so? Oh mia, ... mia... Oh mine! ... Mine... (Corbo accenna di sì, e Tabarano, additando Corbo, (Corbo nods in agreement, and Tabarano, pointing to Corbo, Oh mia... Oh mine... dice a Scintilla così:) says to Scintilla:)

Scintilla Scintilla Tabarano Tabarano To! To! Take this! And that! Oh, l’approvò il Boccaccio! Oh! The dolthead approves! (piano a Corbo) (softly to Corbo) Tabarano Tabarano La lodoletta allo specchietto or cala. The unsuspecting prey is approaching to the snare. Buondì a Vossignoria. Good day, your ladyship. Scintilla Scintilla Scintilla Scintilla Oh, che bel viso adorno! Oh, what a handsome face! Con inchino profondo With deep bow mi umilio al mio signore, I humble myself before my lord, Tabarano (come sopra) Tabarano (softly to Corbo) gioia, piacer del mondo, e del mio core. my joy, pleasure of the world and of my heart. Corbo! Son già del forno, in su la pala. Corbo, I’m ready for the oven; up with the shovel! (Fa un profondissimo inchino.) (Makes a very deep bow.) Senti, mio nume alato, Listen, my winged goddess! tu sei quel caldo sole al di cui raggio You are the warm sun whose rays Tabarano Tabarano si rasciuga il bucato dry the laundry (smaniando) Cara! (enraptured) Dearest! dell’amor mio. of my love.

Scintilla Scintilla Scintilla Scintilla Che gentilezza! Ah, che maniere! What politeness! Ah, what manners! Signor, muti linguaggio Sir, change your language,

22 23 ch’io non merito tanto. for I do not merit so much. (Corbo ride, e Scintilla dice, accennando Corbo:) (Corbo laughs, and Scintilla says pointing to him: ) Ella vuol farmi con tal lode credere With such praise you want to make me believe Scintilla Scintilla che il morbo è sanità. Ma prende abbaglio that disease is health; but you are wrong, Ei ride d’un altra volta. He’s laughing again. ch’io so il fico distinguere dall’aglio. for I can tell figs from garlic. Tabarano Tabarano Tabarano Tabarano Ah! Figlio d’un beccaio, Ah! You son of a butcher, No, no, ti giuro, o mio mortal martoro, No, no, I swear to you, oh my mortal martyrdom, io vo’ cavarti le budella fuora... I’ll tear out your guts... che per te moro, anzi per te son morto: that I die for you... indeed have already died for you: che tu, o cara, che tu sei di quest’alma for you, oh dearest, are to this soul the sweet calm, (Mentre sta cavando la spada, Scintilla per un braccio lo trattiene, (As he unsheathes his sword, Scintilla holds him by an arm, la dolce calma, il rio naufragio e il porto. the stream in which I founder, and the harbour. ed in atto supplichevole gli dice:) and imploringly says to him:)

(Corbo ride, e Scintilla dice a Tabarano:) (Corbo laughs, and Scintilla says to Tabarano:) Scintilla Scintilla Scintilla Scintilla Ah, no, in mercé d’un alma che l’adora, Ah! No! For the sake of a soul who adores you, Sir, E colui se ne ride. He is laughing. non faccia qui, signore, un tal macello. do not cause such bloodshed here.

Tabarano (a Corbo) Tabarano (to Corbo) (Tabarano pensa e poi dice a corbo:) (Thinks it over and then says to Corbo:) A chi? Birbone, forca, manigoldone, At whom? You rascal, good-for-nothing, scoundrel, Tabarano Tabarano sai tu che sulle spalle ti sciverò do you know that l’ll play you your wages Vivi, poltron. You shall live, sluggard. il salario, col bastone? on your back – with a stick? (a Scintilla) Mia vita! (to Scintilla) My life! Famigliaccio, Stupid servant, No, nulla si niega a intercessor sì bello. No, nothing can be denied to such a beautiful intercessor. asinaccio, jackass, (Qui ripone la spada nella fodera.) (He puts his sword back in the scabbard again.) capestraccio... gallows-bird... corpo di... di... Body of... of... Scintilla (a sé) Scintilla (aside) vo’ romperti il mostaccio. I’ll bash your ugly face in. Or via, leviam le pecore dal sole. Come on now, let’s get the sheep out of the sun. (a Tabarano) Oh, me infelice! (to Tabarano ) Ah! unhappy me. Scintilla Scintilla Eh, via, lo lasci andare. Come on, leave him alone. Tabarano Tabarano Ninfa, che ti duole? My nymph, what troubles you? Tabarano Tabarano Baron! Rascal! Scintilla (guardando il cielo) Scintilla (looks up into the sky) (a Scintilla) Che te ne par, lo fo tremare? (to Scintilla) What do you think, shall I make him tremble? Quante me ne può far! How much he can still do to me. Da quelle tue candele To those eyes of yours ti dico dunque che il mio cor fedele I say that my faithful heart Tabarano Tabarano nella sua fedeltà sempre costante, is constantly faithful to you; Chi mai? Who is that? qual pellegrino errante, like a wandering pilgrim, o nave in mezzo all’onde, or a ship amidst the waves, Scintilla Scintilla di qua, di là, si turba, si confonde, here... and there... agitated, confused M’ammazza He murders me si gira, basta! In conclusione, o cara, turning round... that’s enough! In conclusion, oh dearest, ogni momento! every moment. io t’amo assai. I love you very much. (a Corbo) Bextia con l’«x», impara, osserva... (to Corbo) Take a lesson, you beaxt with an “x”, watch...

24 25 Tabarano Tabarano Scintilla Scintilla Ah, povera ragazza! Oh, poor girl! Lasci. Leave me. Chi è costui? Parla. Who is he? Speak! Tabarano Tabarano Scintilla Scintilla Vien qua. Come here. Il barbaro mio fato. My barbarous fate. Scintilla Scintilla Tabarano Tabarano Vó terminar mia vita. I want to put an end to my life. Ah, fato scellerato, mascalzone! Ah, wicked fate, scoundrel! E tu ardisci oltraggiare And you dare to beset somebody Tabarano Tabarano chi stà sotto la mia protezione? under my pretection? Che vita? Vuoi tu robba, vuoi quadrini? What life? Do you want belongings? Do you want money? Poter del... By the power of... Chiedi, Scintilla mia, che tutto avrai... Ask, my Scintilla, and you will have everything. Ed ecco che... And here is... Scintilla Scintilla (Mentre Tabarano si pone la mano in tasca per dare (As Tabarano puts his hand into his pocket to give Che vuol far? What do you want to do? la borsa a Scintilla, Corbo lo tira forte per il braccio.) his purse to Scintilla, Corbo pulls strongly on his arm.) Tu che diavol mai... You, what the devil... Tabarano Tabarano Lo voglio far morir sotto un bastone. I want to beat it to death with a cudgel. Scintilla (a Corbo, adirata, e piano) Scintilla (angrily and quietly to Corbo) Ma che t’avenne? But what happened? Ah! Viso d’impiccato. Ah! Face of a hanged man.

Scintilla Scintilla (Corbo avverte il padrone che Scintilla l’ingiuria, quello si volta a (Corbo warns his master that Scintilla is insulting him. Tabarano I ladri, Thieves, mirarla, e vedendola che piange, dice a Corbo:) turns to look at her, and seeing her crying, says to Corbo:) nella passata notte (o sorte rea!) last night (oh, cruel fate!), Tabarano Tabarano via mi portaro un abito, stole a dress, Tu oggi ti sei certo ubriacato! You must be drunk today! l’oro, l’argento e tutto il ben ch’avea. gold, silver and all the possessions I had. (Scintilla piange.) (Scintilla weeps.) Scintilla (a sé) Scintilla (aside) Con quello che a costui potrò scroccare, With what I can scrounge from him Tabarano Tabarano io fuggirò col mio Lucindo amato, I shall flee with my beloved Lucindo, Ah, poveretta! Ah, poor thing! che ha promesso sposarmi: who has promised to marry me: Amor seconda la mia retta intenzione! Amor, be favourable to my just intention! Scintilla Scintilla Or voglio Now I want Tabarano (a Corbo) Tabarano (to Corbo) dalla cima d’un monte to throw myself Oh! Che ti possa pettinar Plutone Oh! may Pluto comb you precipitarmi. from the top of a mountain. con il forcon di ferro! with an iron pitchfork! (Tabarano la prende per un braccio.) (Tabarano takes her by the arm.) Eh, va in malora, ché tu m’hai morto. Hey, go to the devil, because you’re killing me.

Tabarano Tabarano Scintilla (a Tabarano) Scintilla (to Tabarano) Eh, che tu sei impazzita! Hey! You’re mad. Ah! Che il dolor m’accora. Ah! The pain breaks my heart.

26 27 06 Scintilla Scintilla Tabarano Tabarano Più viver non voglio, I no longer want to live, Colici, o comici, Colic or comic, destino spietato! pitiless destiny: egli par che sia punto da un vespaio. he seems to have been stung by a wasps’ nest. M’uccide il cordoglio, The sorrow is killing me... Mi man... ca già il fia... to. My bre... ath is already fai... ling. Scintilla (mostrando la borsa a Corbo, da dietro a Tabarano) Scintilla (shows the purse behind Tabarano’s back to Corbo) Osserva, pista l’acqua nel mortaio! You see, you’re beating the air! (Qui piange Tabarano, ed essa da parte dice:) (Tabarano weeps and she says aside:) Ei piange! Vò in poppa. He’s weeping! Everything is going fine. Tabarano (a Corbo) Tabarano (to Corbo) Che gusto! What fun! Non più; se tu pretendi toglier No more: lf you expect (a Corbo) (to Corbo) da questo core Scintilla, to expel Scintilla from this heart, E tu schioppa! And you can burst! insegni all’asino la zolfa. you may as well teach an ass to sing.

(Corbo avverte il padrone che Scintilla lo burla; (Corbo tells his master that Scintilla is making a fool of him. Scintilla (in atto di partire) Scintilla (making to leave) esso si volta a mirarla, e quella piangendo dice:) Tabarano turns to look at her. Scintilla says, weeping:) Orsù mi dia licenza... Come on, please excuse me... Mi sento morir! I feel that I’m dying! Obbligata al signor Don Tabarano! Much obliged to Lord Don Tabarano. (a Corbo) (to Corbo) Sì, rodeti il core! Eat your heart out! Tabarano Tabarano (Corbo fa come sopra, e Scintilla segue così:) (Corbo warns his master again, and Scintilla continues:) Come, come? E la borsa? E l’amore? What? What? And the purse? And the love? Che acerbo dolore! What bitter pain, Che fiero martir! What cruel martyrdom! Scintilla Scintilla Soffrir più nol posso, no, no, non posso, I can suffer no longer, no, no, A suo tempo, signore. All in good time, Sir. che fiero martir! I cannot, what cruel martyrdom! Tabarano Tabarano 07 Tabarano (a Corbo) Tabarano (to Corbo) No! Promettimi adesso d’esser mia. No! Promise now to be mine! Eh! Va via, pezzo d’asino. Hey, go away, you ass. (dà la borsa a Scintilla) (gives the purse to Scintilla) Scintilla Scintilla To’, prendi, rimedia a casi tuoi. Here, take this. Bring your affairs in order. Prometto (a sé) di non far mai tal pazzia. I promise (aside) to never do something so foolish. Non son io qui giunto per te in tempo? Did I not arrive here just in time for you? Tabarano Tabarano Scintilla (prendendo la borsa) Scintilla (taking the purse) Qua, dunque, a me la mano. Here then, give me your hand. Oh! più in tempo d’una primiera Oh! More in time in sul cinquantaquattro. than a winning hand at cards. Scintilla Scintilla Eccola. Here it is. Tabarano Tabarano E costui si scontorce, And he twists and turns Tabarano Tabarano (accennando Corbo che si dispera) (calls attention to Corbo, who betrays despair) Cara! O morbidetta mano! Oh, mano! Dearest! Oh, soft little hand! Oh, hand! che par toccato da dolori comici. as if he was touched by a comic. Scintilla Scintilla Scintilla Scintilla Basta, via! Come on, that’s enough! «Colici» vorrà dir. You mean a “colic”.

28 29 Tabarano Tabarano 08 Scintilla Scintilla Come basta? Ah, ah, tu credi What do you mean enough? Ah, ah, you believe Vorrei, o Dio, ma vedo I would like, oh God, but I see ch’io già delle mie brame that I have already reached ch’è troppo quel che chiedo. that what I ask is too much. sia giunto alla deserta, e l’hai sbagliata the dessert of my desires, che questa è l’insalata. well you’re wrong! This is just the salad. Tabarano Tabarano (toccandole la mano) Alfin, dove siam noi? (touching her hand) So, where are we? No, non importa. Troppo. No, it does not matter. Too much!

Scintilla Scintilla Scintilla Scintilla In un orto. Nol vede? In a garden. Can’t you see? Vorrei quel rubino. I would like that beautiful ruby.

Tabarano Tabarano Tabarano (le dà l’anello) Tabarano (gives her the ring) Di ciò son persuaso. I am sure of that. Questo rubino. Troppo! That ruby. Too much! (a sé) Oh, orto! Da quest’orto (aside) Oh, garden! From this garden i miei soldi passaron all’occaso! my money disappears. Scintilla Scintilla (a Scintilla) Ma io non posso più. Vorrei... (to Scintilla) But I can no longer, I would like... Quella repetizione. That watch.

Scintilla Scintilla Tabarano (a sé) Tabarano Che cosa vuole? What do you want? Ah, questa poi! Oh, then this! (a Scintilla) (to Scintilla) Tabarano Tabarano Troppo! Too much! Vorrei da que’ begl’ occhi... From these beautiful eyes I would like... Scintilla Scintilla Scintilla Scintilla La casa ed il giardino. The house and the garden. Oh, di grazia, non tocchi! Oh, please don’t touch! Tabarano Tabarano Tabarano Tabarano Poter di Dio Baccone! Mighty god Bacchus! Anzi, da quella bocca... Or better still, from this mouth... Oh questo è troppo! Oh, this is too much!

Scintilla Scintilla Scintilla Scintilla Non tocchi l’onestà! Do not touch my virtue! Non c’è toppo? Is it not accepted?

Tabarano Tabarano Tabarano Tabarano E chi mai, per pietà, chi tela tocca? But who is touching it, for pity’s sake? Nix toppo, oh! Not accepted, Quest’è troppo. this is too much! Scintilla Scintilla Eh, s’io sapessi ch’ella Now if I knew that you would give me... Scintilla Scintilla mi dasse... Basta... Chi lo sà se poi... Enough! ... but then perhaps... Oh, bell’innamorato! Oh, what a wonderful beau!

Tabarano Tabarano Tutto darò; ma pur, cos’è che vuoi? Everything I would give; but what do you want?

30 31 Tabarano Tabarano Subito, che vediamo Scintillina As soon as we see Scintilla Ma poi, che t’avrò dato But after I have given you the house che alla spiaggia vicina approaching the nearby shore la casa e il podere, and the farm, si viene ad imbarcar col suo Lucindo, to embark with her Lucindo, cos’avrò mai da te? what do I get from you? noi ci faremo avanti. Oh tu ti chiami, we appear. Oh! Your name is Sciami, Sciamì, tu Cornualaleh; ed io... come? your’s Cornualaleh! And I’m... what? Scintilla Scintilla Sciarabba... ah, sì, sì, Sciarabalah! Sciarabba... Ah yes, yes, Sciarabalah! Sarà mio cavaliere, You will be my gallant. farà l’amor con me. You will make love with me. 10 Ballo da Turco Ballo da Turco

Tabarano Tabarano (Corbo accenna che viene Scintilla.) (Corbo signals that Scintilla is coming.) Cara, sei troppo cara! Dearest! You are too dear! 11 Tabarano Tabarano Cos’è? Vengono? Presto! What is it? Are they coming? Quick! Scintilla Scintilla Qua il mustaccio. Give me the moustache. Caro, sei troppo avaro! Dearest! You are too miserly! (Dicendo queste parole turche si finisce di vestire.) (Speaking the following Turkish words, he finishes dressing.). Uttan Mass, Ah, Hairret, Arriet. Messen Hassis. Ultan Mass, Ah, Hairret, Arriet, Messen Hassis! À due Both Qua il turbante. Give me the turban. La cosa non mi và... I don’t like the looks of this... (da sé) Là va da re. (aside) Fits me like a crown.

Fine del primo intermezzo. End of the first intermezzo. Scintilla Scintilla Ah! Ho l’alma in sen tremante. Ah! The soul trembles in my breast. * * * * * * Caro Lucindo, pensa che Dear Lucindo, just think * per esser tua sposa that to be your wife, Intermezzo secondo Second intermezzo ed aderire a tuoi modesti ardori, and assent to your modest ardour, (Bosco) (Forest) lascio (che pena!) e patria e genitori. I am leaving (what pain!) country and parents. È vicina la riva? ls the shore near? Tabarano in abito di corsaro, con Corbo, ed altri, vestiti della stessa Tabarano dressed as a Turkish pirate, with Corbo, and others, maniera, portando il mostaccio e ’l turbante per Tabarano in mano. dressed in the same manner carrying a moustache and turban for Tabarano (da s é) Tabarano (aside) Poi Scintilla, con un giovanetto, che vengono ad imbarcarsi ad Tabarano. Then Scintilla with Lucindo who are on their way to Non saprei s’è più bella, o più cattiva. I don’t know if she is more beautiful or more wicked. marina vicina per fuggirsene. embark at the nearby port. Scintilla Scintilla 09 Tabarano (a Corbo) Tabarano (to Corbo) Lucindo mio, più caminar non posso. My Lucindo, I can’t walk any farther. Ti dico che qui voglio I tell you I want Sostienmi. Support me. finirmi di vestir, testa di sellaro! to finish dressing myself here, numbskul l! Oh, tu credi esser più dotto delle regole, Eh, you think you know more than everyone else, Tabarano (a sé) Tabarano (aside) e non sai dove tien la coda l’asino. and you don’t know where a donkey has its tail. Ah, indegna! Ah, wretched woman! Così portar si dee questa invenzione. So we had to resort to this trick. Via, dategli adosso. Come on, grab them! Ma repetiamo intanto la lezione. But in the meantime, let’s go over the plan. (Li compagni di Tabarano strappano Scintilla di mano a Lucindo, la (Tabarano’s companions wrench Scintilla from Lucindo’s hands and Noi fingeremo d’essere Corsari We pretend to be pirates danno in mano a Tabarano stesso il quale l’incatena, mentre tra give her to Tabarano, who puts her in irons. Meanwhile, a short qui calati a far acqua. landed here to take on water. Lucindo e li sudetti finti corsari segue piccola zuffa, dopo la quale è fight ensues between Lucindo and the abovementioned false pirates, (a Corbo) Non è vero? (to Corbo) Isn’t that so? incatenato Lucindo.) after which Lucindo is also put in irons.)

32 33 Scintilla Scintilla Scintilla Scintilla Ohimè! Chi son costoro? Alas! Who are they! No! No! Caro Lucindo, io moro. Dearest Lucindo, I am dying. Ohimè! Pietà! Alas! Have mercy! Tabarano Tabarano Suss Ihelaghe. Quick, kill! Tabarano Tabarano (a Scintilla) Ti già star sclava mia. (to Scintilla) You be already my slave. Tacir, ciaurra, o viva scorticar. Silence, deceiver! Or skinned alive. (Con gravità li porge la mano per farsela baciare.) (He solemnly proffers his hand to be kissed.)

Scintilla Scintilla Scintilla Scintilla Strana sciagurra! Strange misfortune! Nol niego. I do not deny it.

Tabarano (a Lucindo) Tabarano (to Lucindo ) Tabarano Tabarano Ah! Nasnasit! Ah! Infidel! Baciar mano. Kiss hand! (ai Corsari) (to the pirates) Presto, mettir catena, ed a barca portar. Quick, put chain, and take to boat. Scintilla (a sé) Scintilla (aside) Ahi, sorta ria! Oh, what a disgrace! Scintilla (a sé) Scintilla (aside) Baciar la mano a un turco! To kiss the hand of a Turk. Cieli, che pena! Heavens, what suffering (ai corsari che portano via Lucindo) (to the pirates who are leading Lucindo away) Tabarano Tabarano Ah, perfidi, fermate, Ah, fiends, stop. Che? Non volir baciar? What? Not wanting to kiss? o con Lucindo ancora me legate. Or tie me to Lucindo again. Scintilla Scintilla Tabarano Tabarano Pria vo’ morire! I would rather die. No, mi non legare il can con le salcicce: No, no, I not tie the dog to the sausages: Chi star colui? Who is he? Tabarano (a Corbo) Tabarano (to Corbo) Alò, sclavo ammazzar! Hey, kill slave! Scintilla Scintilla Colui star mio fratello. He is my brother. Scintilla Scintilla Ah, no, no! Che son pronta. Ah! No, no! I’ll do it. Tabarano Tabarano (si cala e li bacia la mano) (bends down and kisses his hand) Ah, Nasnasit! Non star vero. Ah! Infidel! Not be true! Tabarano Tabarano Scintilla Scintilla Ah, Varriet! Varriet! Ah, bastinado! Bastinado! Credir per questo pianto Believe these tears che le tue piante innaffia. that waler your feet. Scintilla (a sé) Scintilla (aside) Che duolo acerbo! What bitter pain!

Tabarano Tabarano Tabarano (a sé) Tabarano (aside) Ti star bugiarda più d’un epitaffia: You more liar than epitaph. Ah, perfida, ci sei! Ah, perfidious woman, there you are! Star amoroso tuo. He your lover. (a Scintilla) Star così un altro mese. (to Scintilla) Stay like that for another month.

34 35 Scintilla (a sé) Scintilla (aside) Tabarano Tabarano Ingiusti dei! Unjust Gods! Hisch, non star pietà. Silence, not have mercy.

Tabarano Tabarano Scintilla Scintilla Inginocchiar! Kneel! Compassione! Compassion.

Scintilla Scintilla Tabarano Tabarano Oh, questo... Oh, this... Marciar, ti star briccuna. March, you be deceiver.

Tabarano (a Corbo) Tabarano (to Corbo ) Scintilla Scintilla Alò, alò! Hey, hey! Deh, almeno... For pity’s sake, at least...

Scintilla Scintilla Tabarano Tabarano Sì, signor, lo farò. Yes, Sir, I shall do it. Hultan Mass! Impudent one! (Scintilla s’inginocchia.) (Scintilla kneels down.) Scintilla (a sé) Scintilla (aside) Tabarano Tabarano Che rea fortuna! What evil fortune! Inginocchiar, pregar! Kneel, beg. 12 (a Tabarano) (to Tabarano) Scintilla Scintilla Strappami il core, ô barbaro. Tear out my heart, oh barbarian, Pietà, signore. Have mercy, Sir, Beviti il sangue mio. drink my blood. Di un’infelice! on an unhappy woman! Ma con Lucindo, ô Dio. But with Lucindo, Oh God, Non tanta crudeltà. don’t be so cruel. Tabarano Tabarano Perché svenar lo vuoi? Why do you want to kill him? Alzar. Parlar d’amore. Stand, speak of love. Eccomi a’ piedi tuoi. Here I am at your feet. Ti movan queste lagrime. Let these tears move you. Scintilla Scintilla Pietà, signor, pietà! Have mercy, Sir, have mercy. Che amor? Signor, di questo star lontana. Why love? Sir, stay far away from it. Star ragazza innocente. Be innocent girl, 13 Tabarano (a sé) Tabarano (aside) Senza vizi. free of vices. A poco amor scaccia lo sdegno. Little by little love drives away contempt.

Tabarano (a sé) Tabarano (aside) Scintilla (a sé) Scintilla (aside) Qual mula castigliana. Like a Castilian mule. Già ch’il pianto non giova, Since tears did not work, (a Scintilla) Eh, Hassiss, Hassiss, occhia tua dicira (to Scintilla) Hey! Hassis, Hassis, your eyes say alziam l’ingegno. let’s try ingenuity. star maestra all’arte: ti fuggira you mistress of art: you flee Pria di ripor le trombe: Before I pack up the trumpet: con amoroso. Varriet! Mi volir with your lover. Bastinado, me want Chi sà che mi riuscisse Who knows, maybe I’ll be able or amante ammazzar. to kill lover now. prender con una fava due colombe. to kill two birds with one stone. (a Tabarano) Sentir, sentir signore. (to Tabarano) Listen, listen Sir. Scintilla Scintilla Pietà, signore! Have mercy, Sir.

36 37 Tabarano Tabarano Non so chi mi trattien che non l’affoghi. I don’t know what stops me from drowning her. Cosa volir? What you want? Vatti fida’a donne! Go and trust women!

Scintilla Scintilla Scintilla Scintilla Qui presso è il mio paese. My village is near here. Egli in questa collina On this hill Se noi da te la libertade abbiamo If you free us, tenir pecora e capra a precipizio. he keep a large quantity of sheep and goats. il modo vi darem da farvi ricco. we have a way to make you rich. Rubarceli sarebbe un gran servizio. Stealing them would be a nice piece of work.

Tabarano Tabarano Tabarano (a sé) Tabarano (aside) E come? And how? Ah, cagna rinnegata! Ah, renegade bitch! (a Scintilla) E ti non volir parte (to Scintilla) And you not want part Scintilla Scintilla a tanta robba? of so much booty? In questa villa In that villa è un certo galant’uomo is a certain gentleman Scintilla Scintilla che ha doble, oro, argento in quantità. who has lots of doubloons, gold and silver. No, buon prò vi faccia. No, you’re welcome to it. Io, col favor dell’ombra, Under the cover of darkness, vi guiderò colà. Chiamo il predetto. I will guide you there. Then I’ll call him. Tabarano Tabarano Esso, che m’ama assai, verrà ad aprire. He, who loves me very much, will come to open. Ma star paisana tua. But you poor peasant girl. Voi entrerete e, lui facendo schiavo, You will enter; and, by making him a slave, vi potrete del suo tutti arricchire. can take all his possessions for yourselves. Scintilla Scintilla Mi dispiace s’è vero. Unfortunately true. Tabarano (a sé) Tabarano (aside) Ah, infamissima donna! Ah, wretched woman! Tabarano (a sé) Tabarano (aside) E a chi vorrà mai far tal tradimento? Now, who would she wish to betray in such a way? Ah, ribaldaccia! Ah, rogue! (a Scintilla) Cume chiamar codesta gentiloma? (to Scintilla) How called this gentleman? (a Scintilla) Avir lui mai per ti donato niente? (to Scintilla) He have ever given you nothing?

Scintilla Scintilla Scintilla Scintilla Chiamar signor Don Tabarano. Called Lord Don Tabarano. Mai niente. Never anything.

Tabarano (a sé) Tabarano (aside) Tabarano Tabarano Canchero! Damn! Niente, niente? Nothing, nothing? A me vien questa lettera! This letter is addressed to me! (a Scintilla) Per ti Don Tabarana (to Scintilla) For you Don Tabarana Scintilla Scintilla donque sclavo noi far. we slave make. Niente. Nothing.

Scintilla Scintilla Tabarano (a sé) Tabarano (aside) Appunto. Exactly. Ah, scellerata! Ah, wicked woman! (a Scintilla) Ti volir bene a lui? (to Scintilla ) You loving him? Tabarano (a sé) Tabarano (aside) Ah, indegna! Ah, wretch!

38 39 Scintilla Scintilla Scintilla Scintilla Appunto, come il gatto all’insalata. Like a cat loves salad. Lara lara lara là! La-ra, la-ra la-ra-la!

Tabarano Tabarano Tabarano (a sé) Tabarano (aside) Ah, ah, ah, ah, ah! Ah, ah, ah, ah, ah! Che comedia che sarà! What a comedy this will be! (a sé) Ah, razza maledetta! (aside ) Ah, damned race! Non posso più, ma fingere conviene. I’ve had enough, but it is better to keep pretending. 15 (a Scintilla) (to Scintilla) Decir: conoscer bene ti Say: You know well Scintilla Scintilla Don Tabarana? Don Tabarana? Decir: voler venir? Say, you want to come? Scintilla Scintilla Tabarano Tabarano Par che il vegga adesso. I think I see him now. Sì, bene, bene. Yes, good, good. Per ti mi Tabarana sclavo far. For you, me make Tabarana slave. Tabarano Tabarano E ti e compagna libertà dunar. And you and friend freedom give. Non sbagliar. Do not be mistaken.

Scintilla Scintilla Scintilla Scintilla Ah, sorte amica! Ah, che vederti possa, Oh! Blessed fortune! Oh, I would like, Che sbagliar? Why mistaken? Signor, sempre felice! Sir, to see you always happy. Mi voglio baciar mano. Me want to kiss hand. Tabarano (si leva il mostaccio) Tabarano (removes the moustache) Vedi: son d’esso! Behold, I am he! Tabarano (a sé) Tabarano (aside) Ah, traditrice! Ah, traitress! Scintilla Scintilla Ohimè, tapina me! Che veggio! Alas, wretched me! What do I see? 14 (a Scintilla) (to Scintilla) Star allegra, brava, brava Be happy, well done, well done; Tabarano Tabarano Tabarana facir sclava, Tabarana make slave, Ah, barbara! Ah, barbarous woman! e ti avir la libertà. and you have freedom. A me far schiavo, a me rubare? Io sciocco? Make me a slave, rob me? Me stupid? Io villano? Io... Me a villain? Me... Scintilla Scintilla Lara lara lara là! La-ra, la-ra la-ra-la! Scintilla Scintilla Uh, uh, vorrei morire. Oh, oh, I wish I could die. Tabarano (a sé) Tabarano (aside) Vuoi star fresca in verità! You are really audacious! Tabarano Tabarano (a Scintilla) (to Scintilla) Or dar vi voglio Now I have the desire Via, scenoll, cantar, ballar. Come on, you hussy, sing, dance. in man della giustizia. to turn you over to the law. Tabarana incatenar, Tabarana put in chains, Fuggir con l’amoroso? Oh, pudicizia! Flee with your lover? Oh, such modesty! Tabarana sclava far, Tabarana make slave, e avir dubla in quantità. and have many doubloons. Scintilla Scintilla Mi diè fede di sposo. He promised to marry me.

40 41 Tabarano Tabarano Tabarano Tabarano Ciò non basta That’s not enough to save you, Avaro, eh! I am stingy! a salvarti, ribalda! E che dirai scoundrel! And what will you say avanti al Podestà che dirai quando (o rossore) before the bench, when (oh, disgrace!) Scintilla Scintilla ta colpe ti saranno rinfacciate? you are confronted with your offences? Sei signore. You are a gentleman.

Scintilla Scintilla Tabarano Tabarano Che alfin son colpe umane, e colpe usate. That they are, after all, human and common offences. Son sciocco, eh! I am foolish!

Tabarano Tabarano Scintilla Scintilla Sì bene, bene: il verso è ben composto. Yes, good, good: this verse is well formulated. Ah, che pena! Ah, what suffering! Ma a render te innocente But it will take more than Tasso and Ariosto ci vuol altro che il Tasso e l’Ariosto! to make you innocent. Tabarano (a sé) Tabarano (aside) Comincio a languir. I’m beginning to weaken. 16 Scintilla Scintilla Deh, ti placa. For pity’s sake, calm down. Scintilla Scintilla Senti, almeno... At least listen... Tabarano Tabarano Placarmi non voglio. I don’t want to calm down. Tabarano Tabarano Non voglio sentir. No! I don’t want to listen. Scintilla Scintilla Vuoi ch’io mora? Do you want me to die? Scintilla Scintilla Tu sei bello. You are handsome. Tabarano Tabarano Tu sei caro. You are dear. Scongiuri uno scoglio. You’re beseeching a rock. Deh, ti placa. For pity’s sake, calm down.

Scintilla Scintilla Tabarano Tabarano Deh, mio bene, dolce anima mia! For pity’s sake, my love, my sweet soul. Non voglio placarmi. I don’t want to calm down. Scongiuri uno scoglio. You’re beseeching a rock. Tabarano Tabarano Son villano, va’ via, va’ via! I am a villain, go away, go away! Scintilla Scintilla Deh, mio bene, dolce anima mia! For pity’s sake, my love, my sweet soul! Scintilla Scintilla Vuoi ch’io mora? Do you want me to die? Tu sei bello. You are handsome. Tabarano Tabarano Tabarano Tabarano Mori! Si. Die? Yes. Son brutto, eh! I am ugly! Scintilla Scintilla Scintilla Scintilla Caro! Dearest! Tu sei caro. You are dear.

42 43 Tabarano Tabarano Tabarano Tabarano Caro? Dearest? Che fia? What’s wrong?

Scintilla Scintilla Scintilla Scintilla Bello! Handsome! Che sarà mai? What is it?

Tabarano Tabarano Tabarano Tabarano Bello? Handsome? Lucindo dove sta? Where is Lucindo? Si, son brutto! Yes, I am ugly! Si, son villano! Yes, I am a peasant! Scintilla Scintilla Oh, son sciocco! Oh, I am foolish! Rispondi, Corbo. Answer Corbo. Oh, son avaro! Oh, I am stingy! (Corbo fa segno ch’è fuggito.) (Corbo indicates that Lucindo has escaped.) Si? Yes? Tabarano Tabarano Scintilla Scintilla È fuggito? He has escaped? Ah, che pena! Ah, what suffering! Scintilla Scintilla Tabarano (a s é) Tabarano (aside) Fuggì! He has fled! Comincio a languir. I’m beginning to weaken. Tabarano (a Corbo) Tabarano (to Corbo) Scintilla Scintilla Ti venga il morbo. A plague on you. Almeno senti... Listen, at least... (a Scintilla) Sola tu dunque andrai (to Scintilla) So only you will be in man della giustizia? handed over to the law? Tabarano Tabarano Non voglio sentir. No! I don’t want to listen. No! Scintilla (a sé) Scintilla (aside) Infelice Scintilla, e che farai? Unfortunate Scintilla, what will I do? (Vien Corbo, disperandosi, per la scena; (Corbo enters the scene, in despair, Tabarano e Scintilla lo mettono in mezzo.) and is caught between Tabarano and Scintilla.) Tabarano Tabarano Or vedi se ingannarti Now you see how your Lucindo 17 Tabarano Tabarano voleva il tuo Lucindo, intended to deceive you, Cos’è, Corbo? What is it, Corbo? che se n’è andato via senza sposarti. he has left without marrying you.

Scintilla Scintilla Scintilla Scintilla Che avvenne? What’s happened? Ahi, troppo è ver! Alas! lt is too true!

Tabarano Tabarano Tabarano Tabarano Fermati! Stop. Andiamo. Let’s go.

Scintilla Scintilla Scintilla Scintilla Dove vai? Where are you going? Ah, Tabarano, Ah! Tabarano.

44 45 già che l’empio Lucindo Since cruel Lucindo m’abbandonò son tua! has abandoned me, I am yours. Also available on the SCB series...

Tabarano Tabarano Dammi la mano. Give me your hand. William Hayes: The Passions Giuseppe Antonio Brescianello Scintilla Scintilla An Ode for Music (Oxford, 1750) Concerti, Sinfonie, Ouverture Eccola. Here it is. La Cetra Barockorchester Basel / A. Rooley La Cetra Barockorchester Basel / D. Plantier, V. Luks Glossa gcd 922501 (rec. 2008) Glossa gcd 922506 (rec. 2002) Tabarano Tabarano Cara, e sei tu mia? Dearest, and you are mine? Odi Euterpe Franz Benda: Violin Sonatas Scintilla (a sé) Scintilla (aside) Italian monody from the early 17th century Ornamented versions from a Berlin manuscript Per voler del mio destino severo. Yes, through the will of my harsh destiny. R. Domínguez, M. Pustilnik, D. Costoyas Leila Schayegh, Václav Luks, Felix Knecht Tabarano Tabarano Glossa gcd 922502 (rec. 2008) Glossa gcd 922507 (rec. 2011) Oh, «accidit in puncto Oh, “it came to pass in one moment, quod non succedit» in un anno intiero. that which did not succeed” in an entire year! Music and Poetry in St Gallen Indian Ragas & Medieval Song Ecco, ti scioglio, e in segno d’allegria Here, I free you and, as a sign of happiness, Sequences and tropes (9th century) Modal melodies from East to West vò far teco un balletto. I shall dance with you. Ensemble Gilles Binchois / D. Vellard Dominique Vellard, Ken Zuckerman et al. Scintilla Scintilla Glossa gcd 922503 (rec. 1996) Glossa gcd 922508 (rec. 2007) Come tu vuoi. As you wish.

Tabarano Tabarano Piano e Forte Cavalli: Vespro della Beata Vergine Via, scenoll, questo è diletto! Come on, you hussy. This is a delight. Music on Cristofori’s early pianoforte (c. 1730) Musiche sacre (Venice, 1656) (Ballano, Tabarano alla turca. Scintilla alla villana.) (They dance: Tabarano like a Turk, and Scintilla like a peasant-girl.) M.C. Kiehr. E. Torbianelli, C. Banchini et al. Concerto Palatino / Bruce Dickey, Charles Toet Glossa gcd 922504 (rec. 2009) Glossa gcd 922509. 2 cds (rec. 1994) 18 Tempo di minuetto Tempo di minuetto

19 Ballo di Villano Ballo di Villano Crux Hayes: Six Cantatas - Orpheus & Euridice Parisian Easter music from the 13th & 14th centuries (Oxford, 1735 & 1748) 20 Minuetto da capo Minuetto da capo Ensemble Peregrina / A. Budzi n´ska-Bennett The SCB Hayes Players / A. Rooley Fine del secondo intermezzo. End of the second intermezzo. Glossa gcd 922505 (rec. 2010) Glossa gcd 922510. 2 cds (rec. 2012)

Adjustment of the libretto: Liesel B. Sayre Translation © Bongiovanni, revised by Howard Weiner

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