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Didone • Egisto • Ormindo Giasone • Calisto

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Didone • Egisto • Ormindo Giasone • Calisto 557746 bk Cavalli US 14/12/2004 12:46pm Page 28 ATTO III ACT III ScenaVII Scene VII CAVALLI ™ Endimione, Diana: ™ Endymion, Diana: Dolcissimi baci Sweetest of kisses Arias and Duets from un nettare siete you are a nectar che sempre le faci constantly stoking d’amor accrescete. the fire of love. DIDONE • EGISTO • ORMINDO Endimione: Endymion: Il bacio che more A dying kiss... GIASONE • CALISTO Diana: Diana: al bacio dà vita. ...gives life to another. Diana e Endimione: Diana and Endymion: Banditelli • Frisani • Abbondanza • Belfiori Doro • Cecchetti La gioia è infinita: Joy is infinite: ch’indugi e dimore? why linger and delay? Mediterraneo Concento • Sergio Vartolo Il labro Let lips, ch’è fabro who are the makers di tanta dolcezza of such delight, sen vada a baciare; forever kiss; mio ben mio cor mia dolcezza. my love, my heart, my sweet. Scena Ultima Final scene £ Calisto: £ Callisto: Mio Tonante My Thunderer, Giove: Jupiter: vaga Amante, beautiful Lover, Calisto: Callisto: lieta in joy Giove: Jupiter: mesto in sadness Calisto: Callisto: parto. I go. Giove: Jupiter: resto I stay. Mercurio: Mercury: presto il fato v’unirà,. Fate will soon unite you. Calisto: Callisto: Vado o Giove I go, o Jupiter. Giove: Jupiter: Oh bella và. Go, o my love. 8.557746 28 557746 bk Cavalli US 14/12/2004 12:46pm Page 2 Francesco Scena XI Lamento Scene XI Callisto’s lament ) Calisto: ) Callisto: CAVALLI Piangete, sospirate Sigh, weep, (1602-1676) luci dolenti, sorrowful eyes, spirti innocenti, innocent spirits, allettatrici ingrate! whose attractions are unwelcome! Arias and Duets from Le mie bellezze ohimè Alas, my beauty Didone • Egisto • Ormindo • Giasone • Calisto mi son rubelle ed io non so perché! now shames me and I know not why! ATTO II ACT II Scena I Scene I GLORIA BANDITELLI (mezzo-soprano): Didone (1641): Didone • Egisto (1643): Climene • Ormindo (1644): Ormindo ¡ RECITATIVO ¡ RECITATIVE Giasone (1649): Medea • Calisto (1651): Diana Endimione: Endymion: Erme e solinghe cime Lonely, solitary peaks, ch’al cerchio m’accostate tightly encircling me ROSITA FRISANI (soprano): de le luci adorate Endymion secretly Egisto (1643): Clori • Ormindo (1644): Erisbe • Giasone (1649): Isifile • Calisto (1651): Calisto in voi di novo imprime contemplates the traces contemplator secreto of the light he adores, ROBERTO ABBONDANZA (baritone): Endimione l’orme once again reflected on you. Didone (1641): Nettuno • Egisto (1643): Hipparco • Giasone (1649): Oreste • Calisto (1651): Giove le variate forme The diverse forms de la stella d’argento of the silvery star lusingando e baciando with kisses and caresses GIANLUCA BELFIORI DORO (counter-tenor): di chiare notti tra i solinghi [L: sereni] horrori by clear nights, midst desolate [L: serene] wonders, Didone (1641): Jarba • Egisto (1643): Lidio • Giasone (1649): Giasone • Calisto (1651): Linfea, Endimione su la terra e sui sassi i suoi splendori. endow the earth and its rocks with their splendour. ARIA ARIA MARIO CECCHETTI (tenor): Lucidissima face Most shining of lights, Didone (1641): Enea • Egisto (1643): Egisto • Ormindo (1644): Amida • Giasone (1649): Demo di Tessaglia le note may the sounds of Thessaly Calisto (1651): Mercurio non sturbino i tuoi giri e la tua pace. not disturb your peaceful travels. Dagl’Atlantici monti Over the Atlas mountains, traboccando le rote Phoebus, flames spilling over its wheels, MEDITERRANEO CONCENTO: Febo del carro ardente homai tramonti. your blazing chariot now descends. Alberto Stevanin: principal violin • Laura Corolla: violin • Gianni Maraldi: viola Il mio lume nascente My burgeoning light, Barbara Ostini: viola • Marco Testori: cello • Vanni Moretto: violone illuminando il cielo illuminating the sky, Luigi Lupo: transverse flute • Rossella Pozzer: transverse flute più bello a me si mostri e risplendente. you seem brighter and lovelier to me. Luca Marzana, Jonathan Pia: trumpets • Alberto Macchini: percussion Astro mio vago e caro Dear, alluring star, Di [L: a’] tuoi raggi di gelo I discover the flames of a lover’s heart nel petto amante a nutrir fiamme imparo. can be fuelled by your icy beams. SERGIO VARTOLO: conductor and harpsichordist 8.557746 2 27 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 26 E in spazio così breve Have you forgotten so soon DIDONE (1641) le dolcezze scordate the sweetness de le labbra[L: beltà] baciate? of the lips you kissed? 1 Act I/Finale: Passata dell’armata 2:01 Linfea: Lymphea: 2 Act II/5: Sinfonia navale; “Smoderati Insolenti” (Nettuno) 2:51 Impazzita è costei! She’s taken leave of her senses! 3 Act III/6: “Dormi o cara” (Enea) 4:40 Diana: Diana: 4 Act III/11: “Porgetemi la spada” (Didone) 6:34 Che parli tu di speco, What’s this you say of a cave, 5 Act III/Finale: “Son le tue leggi Amore” (Jarba); “Godiam dunque godiamo!” (Jarba, Didone) 2:08 di dolcezze godute, of pleasure enjoyed, di baci dati e resi? of kisses given and returned? EGISTO (1643) Vergine più scorretta io non intesi! I’ve never known a more shameless virgin! Calisto: Callisto: 6 Act II/1: Egisto Lamento: Rec.: “D’Hipparco”; Aria: “(Passacaglia) Lasso io vivo”; Ohimè forse ti schivi Alas, perhaps you feign ignorance Rec.: Ma di chi mi lamento? (Egisto) 5:52 diletta amata Dea my delightful, beloved goddess, 7 Act III/9: “Rendetemi Euridice!” (Egisto, Clori, Climene, Lidio, Hipparco) 10:47 ch’oda e sappi Linfea lest Lymphea hear and discover us, i fruiti piacer perch’anco a lei for then you might also have to share ORMINDO (1644) participar tu dei the fruits of pleasure with her, de la tua bocca i favi the welcome sweetness 8 Act I/8: “Piante fiorite” (Ormindo) 1:19 sì grati e sì soavi? of your honeyed lips. 9 Act I/8: “Fortunato mio cor” (Erisbe) 0:46 Ti prego, non stancare quei celesti rubini I beg you, do not weary those divine rubies 0 Act I/8: “A Dio” (Erisbe, Amida, Ormindo) 0:46 altre labbra in baciare! in kissing other lips! ! Act III/12: “Io moro!” (Erisbe, Ormindo) 1:37 A me serba indefessi i vezzi e i baci! May your kisses and caresses serve me unceasingly! @ Act III/13: “Oh ritrovato padre” (Ormindo) 1:18 Diana: Diana: # Act III/Finale: “D’Amor non si quereli” (Erisbe, Ormindo) 1:28 Taci lasciva taci! Silence, indecent girl, silence! Qual, qual deliro osceno What obscene delirium GIASONE (1649) l’ingegno ti confonde? confuses your mind? Come immodesta, donde How immodest, why $ Act I/2: “Delitie e contenti” (Giasone) 3:32 profanasti quel seno have you profaned this breast % Act I/7: Rec.: “Son qui”; “Son gobbo son Demo”; Rec.: “Linguaggio curioso” (Demo, Oreste) 4:03 con introdur in lui sì sozze brame? by harbouring such lewd fancies? ^ Act II/3: Rec.: “Ecco il fatal castello”; Duo: “Ti lascio” (Medea, Giasone); Rit 2 vv cello cb 2:56 Qual meretrice infame Could any low harlot & Act III/21: Ahi fato avverso (Giasone); Isifile Lamento “Infelice” (Isifile) 9:02 può de’ tuoi, dishonesta, say worse things * Act III/21: “Godi Isifile” (Isifile, Medea) 1:07 formar detti peggiori? than you, dishonest girl? Esci dalla foresta Leave the forest, CALISTO (1651) né più tra casti e virginal miei Chori dare not speak more, wanton hussy, ardisci conversar putta sfrenata, among my chaste and virginal followers, ( Act I/10: “Piacere maggiore” (Calisto, Diana, Linfea) 4:47 dal senso lusinghier contaminata! for your thoughts are riddled with evil lust. ) Act I/11: “Piangete” (Calisto) 1:01 Và, fuggi e nel fuggir del piede alato Go now, run and as you flee on winged foot ¡ Act II/1: Rec.: “Erme e solinghe”; Aria: “Lucidissima face” (Endimione) 3:51 t’accompagni il rossor del tuo peccato! may the shame of your sin go with you! ™ Act III/7: “Dolcissimi baci” (Endimione, Diana) 2:49 £ Act III/Finale: “Mio Tonante” (Calisto, Mercurio, Giove) 1:19 8.557746 26 3 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 4 Francesco Cavalli (1602-1676) Stringa Amor con Giason suoi dolci nodi. May Cupid strengthen your sweet bonds to Jason. Arias and Duets Isifile: Hypsipile: Godi godi Medea godi. Be happy, be happy, Medea, be happy. Although this overview of Cavalli’s music is necessarily and rages expressed with perfect aesthetic and expressive Stringa Amor con Egeo suoi dolci nodi. May Cupid strengthen your sweet bonds to Aegeas. condensed, it nonetheless succeeds in painting a meaningful musical symbiosis in masterly passacaglias. The Lament picture of both the nature of opera as it was developing in can be seen as a kind of condensed version of this artistic CALISTO CALLISTO Venice at the time, and the composer’s own artistic and sensibility, an opera in miniature, and is therefore essential compositional talent. Cavalli was of course influenced by to the history of opera (cf. the three Lamenti Barocchi CDs ATTO I ACT I Monteverdi, yet he imbued his music with his own I have recorded with Naxos). This kind of love lyric, in Sc.X Scene X individual style, in effect setting the artistic seal on the rest which languor alternates with fury, and invective is of the seventeenth century. followed by immediate repentence (“What have I said? ( Calisto Diana Linfea ( Callisto, Diana, Lymphea One particularly distinctive element of Cavalli’s music What unhappy ravings are these?”) drew inspiration from Calisto: Callisto: is its singability (cantabilità), especially evident in his duets both historical and contemporary episodes (Lament of the Piacere A heart and in his expression of the sensuality omnipresent in post- Queen of Sweden, Lament of Cinq-Mars), and then moved maggiore could Renaissance Venetian art and literature. Opera grew out of on to self-mockery in semi-serious laments (such as the havere know the Accademie, forums for artistic and literary debate and Lament of the Castrato - whose details are indelicate in the non può no greater performance, whose members were inspired by the tales of extreme but fascinating in historical terms - or that of the un core pleasure the Roman world (as viewed with considerable moral — Impotent Man).
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