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DIDO and AENEAS Opera in Tre Atti Libretto Di Nahum Tate

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Henry Purcell DIDO AND AENEAS Opera in tre atti Libretto di Nahum Tate Traduzione Italiana di Olimpio Cescatti PERSONAGGI Didone (Elissa), regina di Cartagine mezzosoprano Belinda, sua sorella soprano Seconda Donna mezzosoprano Maga mezzosoprano Prima strega mezzosoprano Seconda strega mezzosoprano Spirito soprano Enea, principe troiano tenore/baritono Marinaio tenore Coro (con danzatori) di cortigiani, streghe etc. Prima rappresentazione Londra, Collegio di Josias Priest, (?) ottobre 1689 Purcell: Dido & Aeneas - atto primo [Ouverture] ATTO PRIMO Scena I° Il Palazzo. Entrano Didone, Belinda e seguito. BELINDA BELINDA Scuoti la nube dal tuo ciglio, Shake the cloud from off your brow, Il fato adempie i tuoi voti: fate your wishes does allow. S’estende l’impero, abbondano i piaceri, Empire growing,pleasures flowing, La fortuna sorride, e tu pure dovresti. fortune smiles and so should you. CORO CHORUS Bandisci la tristezza, Banish sorrow, bandisci l’affanno banish care, Mai dovrebbe il dolore grief should ne’er appressarsi alla beltà. approach the fair. DIDONE DIDO Ah! Belinda, sono oppressa Ah! Belinda, I am press’d Da un tormento with torment che non so confessare. not to be confess’d, La pace è ormai peace and I straniera per me. are strangers grown. Languisco fin che I languish till nota sia la mia angoscia my grief is known, Eppure non vorrei si indovinasse. yet would not have it guess’d. [Ritornello] BELINDA BELINDA L’angoscia si accresce Grief increases by dissimulandola; concealing. DIDONE DIDO La mia non vuol Mine admits of no che si riveli. revealing. BELINDA BELINDA Ma lasciami parlare: Then let me speak; l’ospite troiano the Trojan guest È penetrato into your tender nei tuoi soavi pensieri. thoughts has press’d; SECONDA DONNA SECOND WOMAN La più lieta sorte the greatest blessing che il fato può concedere Fate can give Per rafforzar Cartagine, our Carthage to secure 1 Purcell: Dido & Aeneas - atto primo e far riviver Troia. and Troy revive. CORO CHORUS Quando i sovrani si alleano, When monarchs unite, qual felicità per i loro stati; how happy their state, Trionfano insieme they triumph at once o’er sui loro nemici e sul loro destino. their foes and their fate. DIDONE DIDO Donde potè nascere Whence could so tanta virtù? much virtue spring? Quali tempeste, What storms, quali battaglie non ci cantò? what battles did he sing? Il valore di Anchise misto Anchises’ valour mix’d alle grazie di Venere: with Venus’ Charms, Sì soave in pace, how soft in peace, eppur and yet sì fiero in armi! how fierce in arms! BELINDA BELINDA Un racconto sì possente A tale so strong e colmo di sventure and full of woe Fonderebbe le rocce, might melt the rocks e anche te. as well as you. SECONDA DONNA SECOND WOMAN Qual cuore ostinato What stubborn heart assisterebbe impassibile unmov’d could see A tanta pena, such distress, a tanta pietà? such piety? DIDONE DIDO Il mio, oppresso Mine with storms dalle tempeste del fato, of case oppress’d Apprese ad avere pietà is taught to pity della miseria; the distress’d. Il dolore dei miseri Mean wretches’ infelici sa toccare grief can touch, Con sì tenera, so soft, intensa forza il mio petto, so sensible my breast, Ma, ah!, But ah! temo di aver troppa pietà del suo. I fear, I pity his too much. BELINDA E SECONDA DONNA BELINDA, SECOND WOMAN Non temer pericoli nel conquistarlo, Fear no danger to ensue, L’eroe ama come tu ami. the hero loves as well as you, Sempre gentile, sempre sorridente, ever gentle, ever smiling, Dominando gli affanni della vita. and the cares of life beguiling, Cupìdo cosparse i tuoi sentieri con fiori Cupid strew your path with flowers Raccolti nei luoghi ombrosi d’Eliso. Gather’d from Elysian bowers. 2 Purcell: Dido & Aeneas - atto primo CORO CHORUS Non temer pericoli nel conquistarlo, Fear no danger to ensue, L’eroe ama come tu ami. the hero loves as well as you, Sempre gentile, sempre sorridente, ever gentle, ever smiling, Dominando gli affanni della vita. and the cares of life beguiling, Cupìdo cosparse i tuoi sentieri con fiori Cupid strew your path with flowers Raccolti nei luoghi ombrosi d’Eliso. Gather’d from Elysian bowers. (Entra Enea col seguito) BELINDA BELINDA Ecco, compare il tuo ospite regale; See, your royal guest appears, La sua bellezza how godlike is è quella di un dio! the form he bears! ENEA AENEAS Quando, bellezza regale, When, royal fair, sarò felice, shall I be bless’d Afflitto qual sono da affanni with cares of love d’amore e di stato? and state distress’d? DIDONE DIDO Lo vieta il fato Fate forbids quel che tu cerchi. what you pursue. ENEA AENEAS Enea non ha altro destino Aeneas has no fate che te! but you! Se Didone sorride, io sfiderò Let Dido smile and I’ll defy L’iniquo colpo del destino. the feeble stroke of Destiny. CORO CHORUS Solo Cupido lancia frecce Cupid only throws the dart Terribili that’s dreadful al cuor d’un guerriero, to a warrior’s heart, E sol chi ferisce, and she that wounds can può lenire only cure il dolore. the smart. ENEA AENEAS Se non per me, almen per l’impero, If not for mine, for Empire’s sake, Abbi un po’ di pietà del tuo amante: some pity on your lover take; Ah! non far piombare Ah! make not, un disperato ardore in a hopeless fire, Un eroe, a hero fall, e Troia morire ancora una volta. and Troy once more expire. BELINDA BELINDA Prosegui nella tua conquista, Amore – Pursue thy conquest, Love; i suoi occhi confessan la fiamma, her eyes confess the flame che la sua lingua nega. her tongue denies. 3 Purcell: Dido & Aeneas - atto primo [Una danza: Ciaccona di chitarre] CORO CHORUS Fra colline a valli, To the hills and the vales, to the fra rocce e montagne, rocks and the mountains, Fra boschetti risonanti to the musical groves and the cool e fonti fredde ombrose shady fountains. Si compiano i trionfi d’amore Let the triumphs of love and of e di beltà; beauty be shown. Tripudiate, o Amori; Go revel, ye Cupids, il giorno è vostro. the day is your own. [La danza trionfale] 4 Purcell: Dido & Aeneas - atto secondo ATTO SECONDO Scena I° La grotta Entra la maga [Preludio delle streghe] MAGA SORCERESS Indocili sorelle, Wayward sisters, voi che atterrite you that fright Il solitario viandante nella notte, the lonely traveller by night. Voi che, Who, urlando come lugubri corvi, like dismal ravens crying, battete alle finestre beat the windows del morente, of the dying, apparite al mio comando Appear! Appear at my call, and e condividete la gloria share in the fame d’un misfatto che of a mischief shall make brucerà tutta Cartagine. all Carthage flame. Apparite! Apparite! Appear! (Entrano le streghe) PRIMA STREGA FIRST WITCH Di’, Megera, di’, Say, Beldam, qual’è il tuo volere? say what’s thy will. CORO CHORUS Il male è la nostra gioia, Harm’s our delight il misfatto tutta la nostra arte. and mischief all our skill. MAGA SORCERESS La regina di Cartagine The Queen of Carthage, che detestiamo, whom we hate, al par di chi abbia fortuna o potenza, as we do all in prosp’rous state, prima del tramonto ere sunset, piomberà nella sventura, shall most wretched prove, priva di gloria, depriv’d of fame, di vita of life e amore. and love! CORO CHORUS Ho ho ho! Ho, ho, ho, ho, ho, ho! PRIMA STREGA FIRST WITCH Perduta prima del tramonto del sole? Ruin’d ere the set of sun? PRIMA E SECONDA STREGA TWO WITCHES Di’ su, Tell us, come avverrà tutto questo? how shall this be done? 5 Purcell: Dido & Aeneas - atto secondo MAGA SORCERESS Il principe troiano, The Trojan Prince, sapete, è costretto you know, is bound Dal fato a cercare by Fate to seek l’Italo suolo; Italian ground; La regina e l’eroe The Queen and he ora sono a caccia. are now in chase. PRIMA STREGA FIRST WITCH Senti! Hark! Hark! giunge da presso il grido! the cry comes on apace. MAGA SORCERESS Ma quando torneranno alla reggia, But, when they’ve done, il mio fido folletto, my trusty Elf, Nelle sembianze di Mercurio in form of Mercury himself, Inviato da Giove, as sent from Jove lo accuserà dell’indugio, shall chide his stay, E lo costringerà and charge him a salpare stanotte sail tonight con tutta la flotta! with all his fleet away. CORO CHORUS Ho ho ho! Ho, ho, ho, ho, ho, ho! PRIMA E SECONDA STREGA TWO WITCHES Ma But prima di compiere questo, ere we this perform, evocheremo una tempesta we’ll conjure for a storm che guasti to mar loro la caccia, their hunting sport e li spinga di nuovo alla corte. and drive ‘em back to court. CORO CHORUS (al modo di un’eco) Nella nostra grotta profonda, In our deep vaulted cell l’incantesimo prepareremo, the charm we’ll prepare, Un rito troppo orribile too dreadful a practice per questi luoghi ameni. for this open air. [Danza ad eco di Furie] (Tuoni e lampi, musica terribile. le Furie sprofondano nella grotta. gli altri si involano) 6 Purcell: Dido & Aeneas - atto secondo Scena II° Il boschetto [Ritornello] Entrano Enea, Didone, Belinda e il loro seguito BELINDA BELINDA Grazie a queste valli solitarie, Thanks to these lonesome vales, A questi deserti these desert colle e anfratti hills and dales, Buona è la caccia, so fair the game, copiosi i piaceri; so rich the sport, Diana stessa frequenterebbe Diana’s self might questi boschi. to these woods resort.
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  • Dido and Aeneas

    Dido and Aeneas

    Dido and Aeneas Overview Dido and Aeneas is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell. One of the earliest English operas, ‘Dido and Aeneas’ tells the tale of the legendary Queen of Carthage, Dido, and the Trojan refugee prince, Aeneas. When Aeneas and his crew become shipwrecked in Carthage, he and the Queen fall in love. In the meantime, witches plot Dido's destruction. The Sorceress has one of her coven impersonate Mercury who tells Aeneas he must leave Dido and found the new Troy (Rome). Forced to choose between passion and duty, Aeneas and his sailors prepare to leave, much to the witches' delight. Dido, who cannot live without him, is absolutely heartbroken and awaits death. Blog If you have further questions about the story, like “why are there witches?” or if you want to know more about the backstory of Dido’s companion(s), check out the following site, which is created by Swarthmore's Department of Music and Dance, US and has some good interpretations on the story line. http://didoandaeneas.swarthmore.edu/new-blog/2016/4/10/are-dido-and-aeneas-married Photos The costumes of the actors can vary from richly textured costumes to very simple and plain outfits. Here are some ideas for the costumes and set up. http://www.operamemphis.org/dido-and-aeneas-costumes https://www.behance.net/gallery/7667861/Dido-Aeneas-Set-Design Youtube Links Here you can watch an interview of Making of Dido and Aeneas by established and emerging artists in York University's Faculty of Fine Arts.
  • Sir Colin Davis Discography

    Sir Colin Davis Discography

    1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1.