Didone • Egisto • Ormindo Giasone • Calisto

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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.

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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

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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

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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). ch’in [L: s’in] Cielo than my soul has enjoyed, and historical — licence), and by Greek mythology (also All this is to be found in Cavalli’s operas. Self-mockery andasse though I know not what it is, revisited in such a way as to draw in and even titillate is often given an outlet in his more humorous characters: volasse were it to fly Venetian audiences). stammering servants, elderly besotted old maids, lustful di quel on wings The tales told by these early operas had a lot in servant girls, satyrs ever ready for love, and so on. The che l’alma mia gustò, up to heaven. common with our soap story-lines. Heroes undergo the Calisto libretto in particular is extremely liberal in religious ma cosa sia non so. unlikeliest of hardships, become involved in unrestrained and sexual terms, with its explicit scenes of lesbian love Diana: Diana: love affairs, get caught out in embarrassing situations, and between Calisto and Jupiter (who has taken on Diana’s Onde cotanto allegra Why so happy, so on, only for everything to be rapidly unravelled for an form, becoming in the process a soprano rather than a bass) regia mia verginella? my little royal virgin? unambiguously happy ending, removing all concerns from and the reflections of Mercury who, having openly Ardita nella selva Have you bloodied a dart or arrow the minds of a rapt audience (the operatic star system had procured Calisto for his master, then reproaches Jupiter for in aspra e fiera belva hunting some wild beast not yet established itself at this point). There was a sense of having created free will. insanguinasti il Dardo o la Quadrella? in the forest? liberation from the purely aural allusiveness of the madrigal The synopses which follow include all of the above. It Calisto: Callisto: form, as well as from the compositional and performance is also worth mentioning that the plot summaries of the Giubilo immenso e caro Your sweet lips distilled difficulties also associated with it, and an increasing interest original librettos make particular reference to events le dolci labbra tue such wonderful, dear joy in the visual impact of the sets and costumes that were soon prefiguring the action covered by the opera, as will be seen nel petto mi stillaro. on my bosom. to become the norm. Madrigal quartets, quintets and sextets in the synopsis Faustini himself wrote for Egisto, which I Fur pure oh Dio soavi And, o god, those kisses you gave me, were on their way out, seen as music for an aesthetic elite, have transcribed for this edition. quei baci che mi desti o Dea cortese! o gentle goddess, were so tender! to be replaced by the more approachable duets. Ma la mia bocca il guiderdon ti rese! Yet my own mouth recompensed you likewise! There is perhaps an analogy to be drawn with our own I would like to thank Mr Roccatagliati of the University of Diana: Diana: times, in which the spoken and written word are being Ferrara and Mr Macchioni of the library of the same E quando ti baciai? And when did I kiss you? replaced by a TV videocracy, whose power is taking hold in university, who kindly gave me the opportunity to consult Calisto: Callisto: the same way as opera did in the seventeenth century. By the Cavalli microfilms of the late professor Thomas Quando? Lucidi rai, When? Beauteous eyes, happy coincidence, however, Cavalli was born at precisely Walker’s collection. hor hor lasciaste meco, you left the cave with me the right time and place, and his genius was translated into nel primo horror, lo speco! just now, in that first wonderment! intricate, convoluted love stories and impetuous passions Sergio Vartolo 8.557746 4 25 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 24

Se legge di natura If Nature’s laws The extracts featured on this CD are given in bold, with dock on the Carthaginian shore in order to repair the obbliga agl’alimenti anco le fiere oblige even wild beasts to feed their young, track numbers in parentheses. damage caused by the storm. Dido receives his ambassador fa che mano pietosa may your merciful hand and his son, Ascanius, although in fact this is Cupid who, gli somministri almen vitto mendico give them at least some scraps of food DIDONE with the help of his mother Venus, has assumed the child’s e non soffrir ch’i tuoi scettrati figli and suffer not that your royal children Manuscript score and libretto held at the Biblioteca appearance. His darts strike the queen, causing her to fall in per la fame languenti starve to death and Marciana, Venice love with Aeneas as soon as she sees him. As Act Two spirin l’alme innocenti! give up their innocent souls! score press-mark: It. IV 355 (=9879), libretto press-mark: comes to an end, Iarbas flees, crazed with jealousy. Regina, Egeo, amici Queen, Aegeus, friends, Dramm. 908.4. Two copies of the libretto exist: one only At the beginning of Act Three, Dido confides in her supplicate per me questo crudele for my sake beg this cruel man contains the synopsis (1641, Pietro Miloco), the other is sister Anna, telling her of her love for Aeneas. Anna advises che nel ferir mi lasci to leave my chest unharmed complete (1656, Andrea Giuliani) her to forget Sychaeus and to allow ‘a new and precious queste mammelle da’ suoi colpi intatte when he strikes me down, bud/into [her] secret garden’ (‘novo inesto peregrino/nel acciò nutrisca almeno i figli miei thus shall I still be able to feed my children Opera in musica, by Giovanni Francesco Busenello, first segreto tuo giardino’). To this end, she suggests that Dido del morto sen materno un freddo latte. with cold milk from a dead mother’s breast. performed at the Teatro San Cassiano, Venice, 1641. organize a hunt during which she will be able ‘to transform Pregatelo pietosi Take pity and beg him herself with joy and delight/deep within a cavern/with the che quegl’Angeli infanti that these angelic infants Characters Trojan hero’ (‘nel sen d’un cavo speco/con l’Heroe troiano assistino ai martiri della madre tradita be present at the death of their betrayed mother Iris (Prologue) teco/trasformar in gioie i guai’). In the meantime, two e ch’ad ogni ferita and that from every wound Dido, queen of Carthage / Aeneas, a Trojan maidens who have perceived Dido’s passion and hope ch’imprimerà nel mio pudico seno [L: petto] that he makes in my chaste breast leader / Anchises, Aeneas’s father / Ascanius, Aeneas’s themselves to enjoy Cupid’s pleasures, invite Iarbas to bevino quelli il sangue mio stillante they drink my pouring blood, son / Creusa, Aeneas’s wife / Iarbas, king of frolic with them in a grotto. A storm breaks during the hunt acciò che[L: ch’ei] trapassando thus will it enter their veins Gaetulia / Anna, Dido’s sister / Cassandra, princess of and Dido and Aeneas take refuge in a cave. Jupiter sends nelle lor pure vene in lor s’incarni and become part of them, Troy / Sychaeus, Dido’s husband (a shade) / Pyrrhus, a Mercury to Aeneas, by now Dido’s lover, to spur him on to ond’il lor seno in qualche parte sia and wherever they may be, their breast Greek leader / Chorebus / Sinon, a Greek / Illionius, his higher destiny. Aeneas calls together his followers and tomba innocente all’innocenza mia! will be an innocent tomb for my innocence! Aeneas’s ambassador and companion / Achates, Aeneas’s departs, but not before singing a farewell lament to the Addio Terra, addio Sole, Farewell earth, farewell sun, faithful companion / Hecuba, elderly wife of King sleeping Dido [3]. When Dido awakes, the shade of addio Regina amica, amico[L: amici] addio. farewell my queen and friend, friends, farewell. Priam / Jupiter / Juno / Mercury / Venus / Sychaeus appears before her. Iarbas has meanwhile been Addio scettri, addio Patria, addio mia prole. Farewell crown, farewell country, farewell my children. Cupid / Neptune / Aeolus / Fortune / The Graces / Chorus returned to sanity by Mercury. In a powerful lament, Dido Sciolta la madre vostra Loosed from her earthly veil, of Carthaginian maidens / Chorus of hunters / Chorus of prepares to stab herself [4]. Iarbas steps in to save her and dal terrestre suo velo your mother Trojans / Chorus of sea nymphs is about to kill himself when Dido in turn prevents him, attenderà di ricondurvi al[L: rivedervi in] Cielo. will wait to lead you into heaven. finally yielding to his love. The opera ends with an aria Venite homai venite Come now, come, Synopsis for Iarbas and a duet for him and Dido [5]. figli miei, cari pegni my children, dear legacy, Following the Prologue, in which Juno’s maidservant Iris temp’è ch’io vi consegni it is time for me to hand you declares the fall of Troy to be fit vengeance for Paris’s EGISTO all’adorato mostro to this beloved monster, insulting behaviour towards her mistress, Act One describes Manuscript score and libretto held at the Biblioteca ch’è carnefice mio e Padre vostro. my executioner, your father. the burning of Troy and Aeneas’s flight with his father Marciana, Venice Figli v’attendo e moro, Children, I cherish you, I die, Anchises and his young son Ascanius. Act One ends as the score press-mark: It. IV 411 (=9935), libretto press-mark: e te Giason benchè omicida adoro! and you, Jason, though you kill me, I love you! Trojan army sets sail [1]. Dramm.911.5 (1641, Pietro Miloco) Act Two opens in the city of Carthage where Iarbas has Sc XXI Scene XXI come to propose marriage to Queen Dido, whom he loves Favola dramatica musicale, by Giovanni Faustini, first passionately. She rejects him, however, as the memory of performed at the Teatro San Cassiano, Venice, 1643. In a * Duo Isifile Medea * Duet: Hypsipile, Medea her first husband, Sychaeus, still burns within her. prologue and three acts. Medea: Medea: Meanwhile, Juno asks Aeolus to raise a tempest to destroy Godi godi Isifile godi. Be happy, be happy, Hypsipile, be happy. the Trojan fleet. Neptune intervenes though, rebuking Characters the winds and calming the elements [2]. Aeneas’s ships Prologue: Night, as the sun sets, and Dawn, as it rises. 8.557746 24 5 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 6

Lydius, who loves Chloris / Chloris, who loves Lydius has been sent to the Underworld by Venus in order to do gradita, my life, / Aegisthus, who also loves Chloris / Clymene, Aegisthus harm, but has himself been rescued by Apollo mio amor, my love, who loves Lydius / Hipparchus, Clymene’s from a sombre myrtle grove where he was in great danger ma parte ma parte con te but this spirit and this heart brother / Voluptuousness / Beauty / Cupid / Venus / [from the Ovidian heroines, Semele, Phaedra, Dido and questo spirto e questo cor go, yes go with you. Semele / Phaedra / Dido / Hero / Cinea, Hipparchus’s Hero, determined to wreak their vengeance upon Cupid], on servant / Apollo / 4 Hours, ministers of Apollo / The condition that he solemnly swear to return Chloris to Atto III Act III Graces / Chorus of cupids, Venus’s retinue (silent) / Chorus Aegisthus. Cupid emerges into daylight as Clymene is Sc XXI Scene XXI of the Heroides, who died for love / Chorus of Hipparchus’s contemplating death; he revives Lydius’s love for her and servants / Chorus of Clymene’s servants the latter prevents the unhappy girl from stabbing herself, & Giasone: & Jason: The story takes place on the island of Zakynthos, in the lovingly declaring he is hers once more. Aegisthus, Ahi fato avverso, ahi sorte! Alas, hostile fate, alas, destiny! Ionian Sea, in springtime knowing himself betrayed by his beloved, becomes more La vita di costei fu la mia morte! Her life was the death of me! and more delirious and finally goes mad [7]. As he raves, Isifile Lamento: Hypsipile’s Lament: Faustini’s original synopsis Cupid takes the opportunity to use his weapons of mercy on Infelice che ascolto? Unhappy woman, what do I hear? Night and Dawn perform the prologue. Chloris, and her love for Aegisthus is reawakened. Apollo’s Non t’affannar Giasone Worry not, Jason, Aegisthus, born in Delos and a descendant of Apollo, ministers, the hours, return Aegisthus to his senses, and bear che se la vita mia for if my life was in love with Chloris, and she with him. Venus, the two lovers through the air from Zakynthos to Delos on fu, come ben intesi, was, as well I understand, however, as part of a dispute with Apollo, had them Dawn’s chariot, thus triumphing over Venus’s anger. un aborto d’errori a monstruous error captured by pirates, and when the spoils were divided che produsse[L: che produce] il tuo duolo that caused you pain, Chloris was given to Miciades, and Aegisthus to Callia. ORMINDO vengo a sacrificarla ai tuoi furori! I now sacrifice myself to your fury! Miciades sold Chloris to Alchisthenes, a noble from Manuscript score and libretto held at the Biblioteca S’io perivo tra l’acque Had I perished beneath the waves, Zakynthos, while Callia kept Aegisthus in slavery. Once on Marciana, Venice una morte sì breve my death would perhaps have been Zakynthos, Chloris forgot her former love and became score press-mark: It. IV 368 (=9892), libretto press-mark: forse non appagava i tuoi rigori! too quick to appease your anger! enamoured of Lydius, ruler of the island, who in turn loved Dramm. 912.4 (1644, Francis Miloco) Ma [L: Or] se viva son io But I still live, her more than he loved himself. A year later, Aegisthus rallegrati oh crudele so rejoice o cruel one, escaped from his bonds, along with a young noblewoman of Favola Regia per musica, by Giovanni Faustini, first già che potrai con replicate morti for I shall be able with a second death Zakynthos, Clymene, who had been captured on the same performed at the Teatro San Cassiano, Venice, 1644. sfogar del fiero cor l’empio desio. to soothe the wicked desires of your savage heart. day as him, by the same pirates, and who was herself to Sì sì tiranno mio Yes, yes, my tyrant, have married Lydius. Filled with pity at her cruel fate, Characters ferisci a parte a parte you wound to the core Aegisthus promised to return her to her homeland. Thus he Harmony, who performs the Prologue / Ormindo, queste membra aborrite, this body you abhor, and Clymene set sail for Zakynthos and reach its shores Hariadano’s long-lost son / Amida, prince of sbranami[L: straziami] a poco a poco little by little you are tearing safely, only for Aegisthus to find Chloris in love with Tremisene / Nerillo, Amida’s page / (In disguise) Sicle, queste carni infelici, this wretched flesh to pieces, Lydius [6], and Clymene to find Lydius in love with princess of Susio [Scotland]; Melide, her lady-in-waiting; anatomizza il seno, dissecting my breast, Chloris. Chloris accuses Aegisthus of being a madman, Erice, her nurse / Erisbe, wife of Hariadeno / Mirinda, her straziami a tuo piacere, torturing me for your pleasure, while Lydius simply rejects Clymene, who pours out her confidante / Hariadeno, king of Morocco and martirizzami i sensi tormenting my senses; grief to her brother Hipparchus. He then swears vengeance Fez / Destiny / Cupid / Fortune / The Winds / Osman, e’l mio lento morire may my slow death and, having surprised Lydius with his new lover, attacks Hariadeno’s captain / Guard of the arsenal at prolunghi a me’l tormento a te’l gioire. prolong my pain and your joy. him, ties him to a tree, and gives Clymene his sword in Ansa / Messenger / Chorus of Ormindo’s soldiers / Chorus Ma se d’esser marito Yet, though you have lost order to avenge her honour, then leaves. of Amida’s soldiers / Chorus of Mauritanian l’adorate memorie alfin perdesti the happy memories of marriage, Clymene is filled with anger against the treacherous soldiers / Chorus of Erisbe’s ladies-in-waiting fa ch’il nome di padre may the name of father Lydius, and wants to plunge the sword into his breast, yet fra le tue crudeltadi intatto resti. remain intact even in your cruelty. her love for him outweighs her bitterness, and she stops Synopsis Non ti scordar Giason che padre sei Forget not, Jason, that you are a father herself. Rather than injure him, and unable to live without In Act One we meet Ormindo, a Mauritanian warrior in e che son di te parte i parti miei. and that my children are your children. him, in desperation she prepares to die. Cupid meanwhile, love with Erisbe, and his fellow soldier Amida, who also 8.557746 6 23 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 22

Son vago grazioso I’m graceful and handsome, loves her. Erisbe is still young, but is married to the elderly them a sleeping potion. The two lovers awake and lascivo amoroso. a lusty lover. Hariadeno, king of Morocco. The two men agree to Ormindo begs his father’s forgiveness [12]. Final duet S’io ballo s’io canto When I dance or sing, present themselves in turn to Erisbe and leave her to between Ormindo and Erisbe [13]. s’io suono la lira or I play the lyre, make her choice [8]. She is delighted by their ogni dama per me arde e so so so so ard’e so all the ladies long for me and de, de, de, de... declarations but unable to choose between them [9]. The GIASONE Oreste: Orestes: two suitors take their leave of Erisbe [10]. The page Manuscript score and libretto held at the Biblioteca e sospira! ...and desire you! Nerillo laments the fact that love makes fools of men. Enter Marciana, Venice RECITATIVO RECITATIVE Sicle, dressed in gipsy clothes, in search of her lover, score press-mark: It. IV 363 (=9887), libretto press-mark: Oreste: Orestes: Amida, and accompanied by her nurse, Erice. They offer to Dramm. 916.3 (1649,50,54, Giacomo Batti) Linguaggio curioso! What a strange language! read Nerillo’s palm. Erisbe meanwhile is bemoaning her Demo: Demos: fate as the wife of an old man who can only offer her Drama per musica, by Giacinto Andrea Cicognini, first Sei troppo, troppo, troppo frettoloso! You are too, too, too much in a hurry! ‘insipid kisses’ (‘sciapiti baci’). Her lady-in-waiting performed at the Teatro San Cassiano, Venice, 1649 and E se farai del mio parlar strapazzo And if you make fun of the way I speak, Mirinda declares ‘truly it is not right/to join golden tresses 1666. In three acts. La mia forte bravura my great intelligence, to silver locks’ (‘[non] si conviene in vero/congiunger Saprà spezzarti il ca..il ca… I shall break your sk, sk, sk... treccia d’oro a crin d’argento’). The act closes with Characters Oreste: Orestes: Destiny’s order to Cupid to reunite Amida and Sicle. Jason, leader of the Argonauts / Hercules, one of the Ohimè! Dear me! Act Two opens with a love scene between Amida and Argonauts / Bessus, captain of Jason’s guard / Hypsipyle, Demo: Demos: Erisbe. Still disguised, Sicle, Erice and Melide appear and queen of Lemnos / Orestes, her confidant / Alinda, il capo in queste mura! ... skull against this wall! offer to tell their fortunes, before reading first Amida’s and lady-in-waiting / Medea, queen of Colchis / Delpha, then Erisbe’s palm. Erice convinces Amida to meet her in a her nurse / Rosmina, a gardener / Aegeus, king Atto II Act II cave where she will carry out a magical fortune-telling of Athens / Demos, a servant / Apollo / Cupid / Scena III. Scene III ceremony. Meanwhile Ormindo announces that he is Jupiter / Aeolus / Zephyr / Chorus of gods / Chorus of leaving, having received a letter from his mother asking for winds / Chorus of spirits / Volano, a spirit / Chorus of ^ Medea e Giasone ^ Medea and Jason his help to fight the king of Algeria who is besieging Tunis. Argonauts / Chorus of soldiers / Chorus of sailors Medea: Medea: Erisbe decides to run away with him. Fortune then The action takes place in part on the island of Colchis Ecco il fatal castello: This is the fateful castle: commands the Winds to turn back the ships of the fleeing and in part on the shores of the Black Sea qui ti consegno l’incantato anello here I give you the enchanted ring lovers. in cui stassi ristretto in which is kept captive At the beginning of Act Three, Sicle, Melide and Erice Synopsis il guerriero folletto. a warlike spirit. prepare the cave for the magic rites promised to Amida, Prologue: Apollo and Cupid. Sia dell’aurato cerchio Place the golden ring with the intention of revealing their true identity to him. As Act One opens, Jason tells of the joy and pleasure la man sinistra adorna. on your left hand. During the ceremony, Sicle appears before Amida and he feels because of his nightly assignations with an Resta, affronta, combatti, uccidi, atterra, Stay, confront, fight, kill, fell, exhorts him to touch her to see that she is real, and not a unknown lover [14]. Hercules reproaches him for vinci, trionfa e a questo sen ritorna defeat, triumph and return to me. spirit. The two are reconciled. In the meantime, Hariadeno neglecting his task of finding the golden fleece. Medea, a Medea: Medea: has commanded his captain Osman to follow Erisbe and sorceress, rejects the advances of Aegeus, who leaves in Ti lascio Happily Ormindo. A messenger arrives, bearing the news that they dejection. Enter Orestes, sent by Hypsipyle to find her mia vita I leave you have been captured. In a faltering voice, the king declares husband Jason, by whom she has twin sons. He is gradita, my life, that they are to be poisoned. Osman is charged with the task intercepted by the servant Demos who, stuttering, mio amor, my love, of killing them but Mirinda promises to marry him if he challenges him to combat [15]. There follows an ma resta ma resta con te but this soul and this heart replaces the poison with a sleeping draught. Ormindo and intermezzo for Delpha, Medea’s elderly maidservant, who quest’alma e questo cor. stay, yes stay with you. Erisbe drink the potion and feel themselves gradually dreams of finding a lover. Medea and Jason meet, and she Giasone: Jason: being overtaken by sleep [11]. Hariadeno then receives a convinces him that his secret lover is Delpha, before Mi lasci Happily letter which reveals that Ormindo is his long-lost son, and is revealing that she herself is the woman in question. mia vita you leave me filled with remorse, until Osman reveals that he only gave Hypsipile now arrives on the shores of Colchis, and the act 8.557746 22 7 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 8

ends with a magical incantation by Medea. Moon) / Diana, in love with Endymion / Lymphea, one of fermatevi qui stop now, As Act Two begins, Orestes comes to meet Hypsipile Diana’s followers / A satyr / Pan, god of non so più bramare, I have naught to yearn for, who, having just landed with her servant Alinda, is now shepherds / Silvanus, god of the woods / Juno / The mi basta così! I have all I need! asleep and dreaming of Jason’s kisses. Orestes tries to take Furies / Chorus of celestial spirits / Chorus of advantage of her while she sleeps but she awakes in time. nymphs / Diana’s archers Sc. VII Scene VII Meanwhile, Medea gives Jason a ring containing the The action takes place in Pelasgia, in the Peloponnese, ‘warlike spirit’ (‘guerriero folletto’) that will help him later called Arcadia by Arcas, son of Jupiter and Callisto. % Demo, Oreste % Demos, Orestes defeat the bull who guards the golden fleece. They sing a RECITATIVO RECITATIVE love duet [16]. Jason fights the bull and returns victorious. Synopsis Demo: Demos: Demos discovers the intrigue between Medea and Jason The Prologue features Nature, Eternity and Destiny. Son qui son qui che che chiedi? I’m here, I’m here, what what do you want? and tells Aegeus about it. In the meantime, Orestes tells As Act One opens, Jupiter has come to earth with Oreste: Orestes: Jason of Hypsipile’s arrival, and Jason then calms Medea’s Mercury to see for himself the damage done by the fire In Colco io più non fui, I have never been to Colchis before, jealousy by telling her that Hypsipile is a madwoman. The caused by Phaeton’s fall to earth. He sees Callisto and alcun qui non conosco. I know no one here. two women meet and argue. becomes infatuated with her, but the nymph resists his Demo: Demos: Act Three opens with a comic duet between Orestes advances. Mercury suggests that he take on the form of his Non mi risponde? Ah non m’inte te te te te ah non m’intese! No answer? Ah, he did, did, did, ah, didn’t hear me! and Delpha. Medea then asks Jason to murder Hypsipile daughter, Diana (thereby becoming a soprano rather than a [L: m’intende!] and he charges Bessus with this task. In the valley of bass). He is thus able to retire with Callisto into a cave in the Oreste: Orestes: Orseno, Besso comes across Medea, whom he mistakes for depths of the forest. Meanwhile, Diana is travelling through a me te te te te?Oh dissonanze strane! Did, did, did, did? What strange sounds! Hypsipile. Instead of killing her outright, however, he the forest with Lymphea, expressing regret that the wild Io mi credea che tu chiamassi un cane! I thought you were calling a dog! throws her into the sea, from where she is rescued by her animals are still in hiding, terrified by the fire, when she Demo: Demos: rejected suitor Aegeus. Jason is angry with Bessus for the sees Endymion who declares that he is in love. Before he Anzi tu me chiamasti! But you called me! mistake made. While he sleeps, Aegeus tries to kill him, but can reveal that Diana is the object of his desires, however, Oreste: Orestes: is stopped by Hypsipile only for Jason to assume that she Lymphea chases him away, much to Diana’s Io te? You? was trying to kill him. He inveighs against her and in disappointment, as she loves him too. Callisto now finds Demo: Demos: return she sings a moving lament, offering herself up as Diana and begs her for more kisses and caresses, but Tu me! Me! his victim [17]. Moved, Jason is reconciled with Hypsipile, Diana, unaware that Jupiter has assumed her Oreste: Orestes: while Medea and Aegeus are also reunited. There follows a appearance, angrily sends Callisto away [19]. The E chi sei tu? And who are you? final duet between Hypsipile and Medea, wishing one nymph then sings a lament [20]. Lymphea, left alone on Demo: Demos: another future happiness [18]. stage, declares that she does not want to die a virgin and that Se ben mi guarderai If you look at me, ‘a man is a sweet thing’ (‘l’huomo è una dolce cosa’). A da rovescio e da dritto closely, from in front and behind, CALISTO satyr appears, offering to console her, but Lymphea refuses, su le mie spalle il nome mio sta scritto. my name is written on my back. Manuscript score and libretto held at the Biblioteca telling him to go ‘and find love with the herd (‘ne le mandre Hor mi conosci tu? Now do you know me? Marciana, Venice ad amar va’’). The act ends with a satyr trio: Pan, lamenting Oreste: Orestes: score press-mark: It. IV 353 (=9877), libretto press-mark: Diana’s indifference to him, is consoled by Silvanus and the Per gobbo io ti conosco. I know you are a hunchback. Dramm. 918.5 (Giuliani, dedicated to The Most Illustrious other satyr, who promises to spie on her for him. There Demo: Demos: Signor Marc’Angelo Corraro) follows a ballet for six bears. E gobbo io sono! A hunchback I am indeed! Drama per musica, by Giovanni Faustini, Favola Decima, In Act Two Endymion has climbed Mount Lycaeum ARIA ARIA first performed at the Teatro San Apollinare, Venice, 1651 to contemplate the rising moon (Diana) and sing a Demo: Demos: lament [21]. There he is suddenly overcome by sleep. Son gobbo son Demo I’m Demos, I’m a hunchback, Characters Diana, who has spied him while out hunting, now [L: Son bello] son bravo I’m a brave man, Nature / Eternity / Destiny / Jupiter / Mercury / Callisto, one approaches. Still asleep, Endymion embraces her and she il mondo m’è schiavo the world’s my slave, of Diana’s virgins, daughter of Lycaon, king of remains motionless so as not to wake him. He does finally del diavol non temo! the devil doesn’t scare me. Pelasgia / Endymion, a shepherd in love with Diana (the awake, and the two declare their love for one another. 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Scena XIII Scene XIII satyr has witnessed this scene and runs to tell all to Pan. In Endymion. Lymphea too appears and the satyr tries to the meantime Juno is searching for Jupiter on the plain of capture her. As she calls for help, four nymphs appear and @ Ormindo solo accompagnato: @ Ormindo, accompanied solo: Erymanthus and comes across Callisto who tells how she the act ends with a fight between the nymphs and the satyrs. Oh ritrovato padre O father, I have found you again has been chased away by Diana after having been kissed Act Three opens with a lament from Callisto: Juno has ne’ miei novi natali! and am born anew! and treated as though she were ‘the beloved spouse’ (‘come called on the Furies to turn her into a bear. Jupiter, no longer Oh genitore offeso O father sinned against se stata fossi il vago, il sposo’). Juno asks if anything other disguised, enters with Mercury and, although he cannot dalla perfidia mia! by my perfidy! than kissing took place and Callisto replies that there was ‘a undo Juno’s work, he consoles Callisto by raising her into Perdona, alle mie colpe Forgive me my crimes, certain sweetness, which [she] could not describe’ (‘un the sky before she is transformed to see the beauties of the [P: manca: Scusa alle mie colpe!] certo dolce che dir non tel saprei’). Juno immediately place where she will ultimately live. Meanwhile, Diana [L: In te destando i spiriti dementi]: [L: arousing in you demented spirits] realises that Jupiter has deceived her by assuming the guise frees Endymion and the two sing a love duet [22]. The mi suggerì Cupido i tradimenti! Cupid exhorted me to treachery. of Diana to seduce Callisto. She reproaches Mercury, then opera ends with Callisto’s descent to serve her earthly pretends to believe that Jupiter has returned to Olympus and sentence as a bear, protected by Mercury who will Scena ultima Final scene that it is the true Diana who stands before her. As she watch over her until the time comes for her to return to leaves, Endymion enters: he too is fooled and believes he is the heavens as a constellation [23]. # Erisbe con Ormindo: # Erisbe and Ormindo: with Diana. Now the satyrs enter, and Pan jealously attacks Sergio Vartolo D’amor non si quereli Let not the sorrowing heart quel cor che vive in pene! Egli usa a suoi fedeli complain about Love! He makes use of his followers, arrecar pria tormenti first causing them pain, per rendere [L: per render poi] più dolci i lor contenti only to make their happiness even sweeter.

GIASONE GIASONE Gloria Banditelli ATTO I ACT I The Italian mezzo-soprano Gloria Banditelli was born in Assisi and studied singing at the Conservatory of Perugia. Sc.II Scene II She has sung in some of the most important Italian and European theatres, including La Scala, La Fenice, the Teatro Comunale di Bologna, the Rome Teatro dell’Opera, San Carlo in Naples, the Regio in Turin, Massimo in Palermo, $ Giasone: $ Jason: the Maggio Musicale Fiorentino, the Vienna State Opera, the Gran Teatre del Liceu in Barcelona, the Théâtre des Delitie e contenti che l’alma beate Delight and contentment, Champs Elysées and the Théâtre du Châtelet in Paris, the Musikverein in Vienna and the Concertgebouw in fermate you blessings on my soul, Amsterdam, collaborating with conductors of the greatest distinction. She has made a number of important su questo mio core stop, recordings, and enjoys a career in the concert-hall as well as in the theatre, in the latter appearing in repertoire that deh più non stillate ah, sprinkle the joys of love ranges from Monteverdi to Rossini and Verdi. le gioie d’amore! no more on my heart! Delizie mie care My beloved delight, fermatevi qui, stop now, Rosita Frisani non so più bramare, I have naught to yearn for, A graduate in singing under the guidance of Serafina Tuzzi, the soprano Rosita Frisani completed her studies in mi basta così! I have all I need! Vocal Chamber Music at the Verdi Conservatory in Milan with distinction, continuing to work thereafter with a In grembo agli amori I am happy to die number of highly distinguished teachers and coaches. She has triumphed in a number of national and international fra dolci catene in love’s grasp, competitions, including the Belvedere in Vienna, the F.Viñas in Barcelona, and Conegliano Veneto. In 1988 she morir mi conviene. bound by its gentle chains. made her début as Oscar in Un ballo in maschera, appearing in Holland, Switzerland, Norway, England and Dolcezza homicida Murderous sweetness, Austria. Her subsequent career has brought performances throughout Europe, most notably in Baroque repertoire, a morte mi guida lead me to death some marking the first modern revival, but extending also to Mozart and Rossini. in braccio al mio bene. in the arms of my love. Dolcezze mie care My beloved sweetness, 8.557746 20 9 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 10

Roberto Abbondanza ORMINDO ORMINDO The baritone Roberto Abbondanza was born in Rome and studied with the soprano Isabel Gentile and at the Salzburg Mozarteum, as well as at the Cologne Musikhochschule with Hartmut Höll. He has specialised in the Atto I Act I performance of early music, appearing under the direction of musicians such as Jordi Savall, Simon Preston, Sir Sc. VIII Scene VIII Charles Mackerras, Rinaldo Alessandrini and Fabio Bondi in this repertoire in the concert-hall, opera-house and recording studio. He has added to this a wide experience of modern and contemporary repertoire. Roberto 8 Ormindo: 8 Ormindo: Abbondanza has furthered his international reputation with appearances throughout Europe, in America and in the Piante fiorite Rejoice with me Far East. For Naxos he has collaborated on a number of occasions with Sergio Vartolo. meco gioite flowering plants, e se tra vostre fronde and if an envious man is hiding qualch’invido s’asconde midst your fronds, Gianluca Belfiori Doro invido del mio bene jealous of my love, Born in Cagliari, Gianluca Belfiori Doro studied singing at the Conservatory in the capital of the island, followed by tra sue angosce si strugga may he be consumed by his anguish training under the guidance of Renata Scotto, Raina Kabaivanska, Giusy Devinu and Bernadette Manca di Nissa. He e tra sue pene! and his suffering! made his début in 1997 at the Teatro Garibaldi in Palermo in Handel’s Agrippina under Malgloire. A busy career has followed, both in Italy and abroad, throughout Europe, in Africa and in Mexico. He has taken leading rôles in Sc. VIII Scene VIII operas from Handel and Vivaldi to Cherubini, and collaborated in oratorio performances. In recital he includes music of the twentieth century by composers such as Poulenc, Ravel, Debussy, Manuel de Falla, and Granados. 9 Erisbe: 9 Erisbe: Fortunato mio cor, My fortunate heart — con diluvii di gioie gentle Cupid, quench your flames Mario Cecchetti tempra l’incendio tuo benigno Amor with floods of joy. Mario Cecchetti graduated in cello at the Academy of Music in Perugia and collaborated with many chamber groups, with performances in Italy and abroad. After study at the Academy of Music in Pesaro, he turned, in 1977, to singing Sc. VIII Scene VIII as a member of the Ottetto Vocale di Perugia. After further study with Lajos Kozma he now enjoys a career as a solo singer, specialising in Baroque repertoire. He has appeared in opera-houses and concert-halls throughout the world, 0 Erisbe Amida Ormindo: 0 Erisbe, Amida, Ormindo: from Tokyo and South Korea to the Châtelet in Paris, the Musikverein in Vienna, and Carnegie Hall in New York. He A dio o tiranna mia bella o destin mio Farewell o my beautiful tyrant, o my destiny. has also been seen widely in Italy in theatres ranging from La Scala and La Fenice to the Teatro Massimo of Palermo. Atto III Act III Scena XII Erisbe e Ormindo Scene XII Erisbe and Ormindo Mediterraneo Concento For some thirty years Sergio Vartolo has directed instrumental ensembles, including the Gruppo Cameristico di ! Erisbe: ! Erisbe: Bologna, the Cappella Musicale di S. Petronio, and now their successor, the newly named Mediterraneo Concento. Io moro! De la Parca I die! I can no longer escape Based in Verona and of varying size, according to the demands of repertoire, the ensemble appears throughout l’acciaro trattener più non poss’io: the sword of the goddess of Fate: Europe, specialising in Italian Baroque opera, using original instruments. Negl’Elisi t’attendo. Ormindo a Dio! I shall await you in Elysium. Farewell, Ormindo! Ormindo: Ormindo: Erisbe aspetta Stay, Erisbe, Sergio Vartolo io vengo! Di già prende I am coming! My loving spirit Sergio Vartolo studied music, organ and harpsichord at the Conservatorio di Bologna and graduated from the lo mio spirito amante is already taking its leave University of the same city in Letters. Since 1970 he has performed throughout Europe as harpsichordist, organist, le licenze del [L: dal] corpo angonizante. of my dying body. conductor, stage director and singer. His recordings as a soloist and as a conductor, of which there are now some sixty, have been awarded the Preis der Deutschen Schallplattenkritik (Frescobaldi Toccatas), Choc du Monde de la Musique (Frescobaldi Capriccios), and Diapason d’Or (Luzzaschi Madrigals), among other honours. For fourteen years, until 1998, he held the post of Maestro di Cappella at the Basilica of S. Petronio in Bologna. He currently teaches harpsichord at the Conservatorio di musica in Verona, and is an academician of the Filarmonico Bolognese. 8.557746 10 19 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 18

più di mia ferità meco m’adiro. the deeper my wound pains me. N.B.: tra parentesi [ ] le varianti tra libretto L e partitura P N.B.: The words in square brackets in the Italian are Egisto: Aegisthus: variants found in the libretto (L) or score (P). Oh più di questa ruota Oh, Chloris you are more inconstant Translations of these have been included only where the che raggira Ission, Clori incostante! than Ixion’s ever-turning wheel! meaning is significantly different. Oh del sasso di Sisifo più dura Oh, you are harder than the rock of Sisyphus t’amai per mia sventura! and my misfortune was to love you. DIDONE DIDONE Clori: Chloris: Ohimè che stolto egli discerne [L: discorre] il vero! Alas, in his madness he discerns the truth! Atto II Act II Climene: Clymene: Sc.V Scene V In sé riviene [L: rinviene] He is coming to his senses. Hipparco: Hipparcus: 2 Nettuno: 2 Neptune: Queste sono scintille del perduto seno These are sparks of his lost wits. Smoderati insolenti Impertinent, immoderate [L: scintille sono del perduto senno] nembi turbini venti! hordes of whirling winds! Clori: Chloris: A chi dich’io? Io vi farò!!! Chi turba To whom do I speak? I shall tame you!!! Who dares Egisto mio! My Aegisthus! del tranquillo elemento disturb the delightful serenity Egisto: Aegisthus: della placida calma of this tranquil element, Ah ti conosco: mai Ah, I know you: today senza gl’imperi miei la bella pace? this place of gentle calm, without my leave? hoggi creduto havrei I never would have believed Perché tanta licenza? Wherefore such effrontery? di dovermi incontrar nella bugia! I should have to find myself in falsehoods! Sgombrate da’ miei regni Quit my kingdom Lungi da questa ria Let us go away, far from famiglia violenta violent family, compagni incauti andiamo! this evil woman, my rash companions! superbi esecutori proud emissaries Lungi da lei tosto fuggiamo! Let us fly from her immediately! di cieco imperio e di volere insano! of blind dominion and tempestuous will! Clori: Chloris: Fuggite homai fuggite Fly now, fly, Ahi che giusta cagione ha da fuggirmi! Alas, he has just cause to fly from me! satelliti malnati wretched satellites Hipparco: Hipparcus: della plebe di Dei of the rabble of gods, Ritenetelo e addotto Take hold of him and let schiera troppo oltraggiosa a’ regni miei! you mob offensive to my realms! nella cittade ei sia him be carried to the city Voi maritime Ninfe You, sea nymphs, in cui medico dotto where a learned doctor voi dell’ondoso mondo amici [P: e ] Numi you friends and gods of the kingdom of waves, risanarlo potrà da la pazzia. will be able to cure his madness. rimovete da scogli e sollevate rescue from the rocks the wretched shipwrecks Egisto: Aegisthus: le naufraganti e misere Carine and bring them to safety, Adaggio, e che chiedete? Wait, what do you want? chè tardi non fur mai grazie divine! for divine grace was never too late! Oro non ho che possa I have not the gold that could satollarvi la sete. slake your thirst. Atto III Act III Serica veste non m’adorna e poi I have no silken shirt and even Sc.VI Scene VI s’io fossi tutto gioie e tutto bisso were I clothed in byssus and adorned with jewels mi lascereste voi? would you let me be? 3 Enea: 3 Aeneas: Lidio: Lydius: Dormi o cara Didone Sleep, beloved Dido, Furibondo egli tenta In fury he tries il Ciel cortese may kind heaven libero uscir dalle tenaci mani! to free himself from our resolute grip! non ti faccia sognar l’andata mia. not let you dream of my departure. Hipparco: Hipparcus: Il corpo in nave e l’alma a te s’inchina[L: s’invia]. My body is on board ship, yet my soul bows [L: flies] to you. Afferratelo in modo Bind him so that Non fian mai spente le mie voglie accese. Let my burning passion never be spent. ch’infruttuoso sia l’impeto insano! his insane attempt will not succeed! Ite sotto il guancial del mio tesoro Fly, o sighs, to my beloved’s pillow,

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oh miei sospiri e dite ch’io mi moro. and tell her that I am dying. vò mascherato! in disguise! Peregrin moriente il piede movo As a pilgrim facing death, I move my feet onwards, L’arco dorato I bear the golden bow ma vivace amator il cor ho fermo but as a lover facing life, I keep my heart steadfast, porto nel ciglio. in my eyes. dal voler degli dei non trovo schermo I have no shield from the will of the gods, Io son vermiglio I am scarlet, ma in ubidir al Ciel l’Inferno provo. but in obeying heaven feel the pain of hell. non mi vedete? can you not see me? Se svegliata vedrai lunge mie vele If, when you awake, you see my distant sails, Per vagheggiarmi Women come running bella Didon non mi chiamar crudele do not call me cruel, beautiful Dido, donne correte! to gaze lovingly on me! perché fiero destin colà mi vuole for heartless destiny bids me go there Oh Dio non è da credere O God, you cannot believe ove spargendo bellicosi semi where, scattering bellicose seed, quanto mi fa- (risata: Ah ah ah ah!) mi fate ridere! how (Ah ah ah ah!) you make me laugh! corrà frutti di scettri e diademi the children promised me by the gods Ohimè fuggiamo ohimè Alas, we must flee, alas, la mia dal Ciel predestinata prole. shall run, the fruit of sceptres and diadems. egli viene di là! he is coming from over there! Già‘l vento spira, il Ciel mi chiama o Dido! Already the wind is gusting, heaven is calling me, o Dido! No no fermate il piè! No, no, stay! A Dio, parto e veleggio ad altro lido. Farewell, I leave, setting sail for another shore. Siete pur sciocchi! (risata: Ah ah ah ah!) What fools you are! (Ah ah ah ah!) Climene: Clymene: Sc.XI Scene XI Egli è di capo scemo He’s halfwitted, ma noi seco al sicuro impazziremo! but we shall surely go mad along with him! 4 Didone Lamento: 4 Dido’s Lament: Clori: Chloris: Porgetemi la spada Give me the sword Il pentimento mio nulla mi [L: ti] giova My repentence is of no use to me [L: you], del semideo troiano of the Trojan demigod, oh riamato Egisto! o Aegisthus, beloved once more! ritiratevi tutte o fide ancelle and retire, my faithful serving girls, Egisto: Aegisthus: appartatevi o servi! leave, o servants! Io vò narrarvi un caso: I shall tell you a story: Io regina, io Didone? I queen, I Dido? l’inganno per cammino perfidy met fidelity Né Didon né regina Neither Dido, nor queen s’incontrò nella fede along the road, io son più ma un portento am I now, but a portent qual svaleggiata fu dall’assassino. and the scoundrel robbed her. di sorte disperata e di tormento! of desperate fate and of torment! Ei della veste candida rubata He then dressed himself Vilipesa dai vivi, Vilified by the living, si ricoprì le membra in the stolen snow-white gown minacciata dai morti threatened by the dead, onde a molti la fede egli rassembra! and so took on fidelity’s appearance! in scherno[L: ludibrio] uguale agl’huomini ed all’ombre! held in derision by both men and shades! Ve ne vò dir un altro I shall tell you another, Purtroppo io t’ho tradito Alas, I betrayed you, che nell’orbe stellato è intervenuto: one that took place in the starry vault: o infelice marito! o unhappy husband! il Leone Nemeo, dal Cancro è stato morso Leo was bitten by Cancer Purtroppo di [L: da] miei falli Alas, royal dignity ond’ei co’ suoi ruggiti and so with his roars la dignità real resta macchiata. is now tarnished by my sins. pose tanto terror nell’inimico filled his enemy with such terror Dishonorata adunque Dishonoured, how then che nel fuggir retrogrado ch’ei fece that as he ran away come respiro, come can I breathe, how can I fe’ cader i Gemelli, he knocked over Gemini, movo il piè, movo il capo? walk, hold up my head? con il Toro il Montone a terra pose sending them to earth with Taurus and Aries, Anima mia sei dunque un’alma indegna[L: infame] My soul, you are unworthy e nel vicin triangolo s’ascose. before hiding in the next triangle of stars. se presti il tuo vigore if you give your support Hipparco: Hipparcus: a chi non ha più honore! to one without honour! Maravigliosi avvisi! Wonderful stories! M’additeranno i sudditi per vile My subjects will point at me Lidio: Lydius: concubina d’Enea as Aeneas’s lowly concubine, Curiosi ragguagli! Curious stories! mormoreran le genti the people will speak Clori: Chloris: la mia dissolutezza. of my dissolute conduct. Più che l’ascolto e miro The more I see and hear him,

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Egisto: Aegisthus: Ma se fusser pur anco Yet even if Ribellate si sono al sol le stelle The stars have rebelled against the sun le genti senza lingua, they had no tongues, né vogliono seguire and will no longer follow le penne senza inchiostri, their pens had no ink, più da l’orto a l’occaso il mobil primo. the great mobile from sunrise to sunset. muta la fama e i secoli venturi rumour were mute and the coming centuries L’aere fa guerra al foco, The air is at war with fire, senza notizia degl’obbrobri miei knew nothing of my shame, congiurato con l’acqua e con la Luna conspiring with water and with the moon basta la mia coscienza my own conscience would be enough a discacciarlo dal suo proprio loco to oust it from its rightful place, che sempre alza i patiboli al mio fallo! to raise a scaffold for my wrongdoing! né dipender dal Ciel vuol più Fortuna. and Fortune will no longer obey heaven. Ho soddisfatto al senso, I have satisfied my senses, S’armino i Briarei, Let Briareus, alla ragione si soddisfi ancora let reason satisfy itself gl’Encelidi e i Tifei. Enceladus and Typhon take up arms. e se me stessa offesi and if I have offended myself, Via che s’indugia che? Tu menti a dire Come, why delay, why? You lie if you say hor vendico me stessa: now do I also take vengeance on myself. che de l’Orco i secretti that I come to uncover Ferro passami il core Blade, pierce my heart, io venga a discoprire. the secrets of Orcus. e se trovi nel mezzo al core istesso and if in its very core you find Tremendi Numi io vi pretesto e dico Powerful gods, I protest and say to you del tuo padrone il nome the name of your master, che della luce io son fiero nemico! that I am the light’s fierce enemy! nol punger, non l’offender wound him not, injure him not, Clori: Chloris: ma ferisci il mio cor solo e nella strage mia touch my heart alone, and as I die Qual ardente pietade What flame of pity esca il sangue e lo spirto [L: sgorghi il sangue, esca il fiato] let my blood and my spirit [L: breath] leave me, al gelido mio core brings warmth resti ogni membro lacerato e offeso, let my limbs be bloodied and broken, somministra calore? to my frozen heart? ma il bel nome d’Enea but let the dear name of Aeneas, Climene: Clymene: per cui finir convengo i giorni afflitti for whom I call to an end my tortured life, Mira quai frutti acerbi See what bitter fruit vada impunito pur de’ suoi delitti. remain unpunished even for his own crimes. ha la tua crudeltà Clori prodotti. your cruelty has borne, Chloris. Cartagine ti lascio! Carthage, I leave you! Hipparco: Hipparcus: Spada vanne coll’elsa e’l pomo in terra Sword, plunge your hilt and pommel to the ground Amico, Egisto dunque un huom sì saggio Dear Aegisthus, how can a man as wise as you e nel giudizio della morte mia and in judgement of my death come [L: qual]sei sì vaneggia? In te rivieni! wander thus? Return to your senses! chiami [L: chiama]ogn’ombra infernal fuor degli abissi! call every infernal shade up from the abyss! Egisto: Aegisthus: E tu punta cortese And you, gentle blade, Pensato e ripensato Considered and reconsidered, svena l’angosce mie, let my anguish bleed away, pur di nuovo ripenso, and reconsidered once more, finisci i miei tormenti, bring an end to my suffering, ho stabilito e ancora I have decided and again manda il mio spirto al tenebroso rio. send my spirit to the river of darkness. stabilisco, ratifico e confermo: decide, ratify and confirm: Empio Enea cara luce io moro a Dio! Cruel Aeneas, beloved light, I die, farewell! che lo dica? Il vuò dire should I say it? He means che se io taccio io moro that if I say nothing I shall die, Sc. Ultima Final scene che tu se’ il becco da le corna d’oro! that you are the goat with the golden horns! Lidio: Lydius: 5 Duetto finale Jarba e Didone 5 Final duet between Iarbas and Dido Pronostici non lieti A madman’s prophecies Jarba: Iarbas: alle mie nozze profetizza un pazzo! augur badly for my marriage. Son le tue leggi Amore Your laws, Cupid, are Clori: Chloris: troppo ignote e profonde! too profound and too obscure! Da la pietade in me risorge e nasce Inopportune love Nel tuo martir maggiore Joy is concealed Amore intempestivo! from pity is born and surges within me! la gioia si nasconde! in your worst torture! Egisto: Aegisthus: Dalle perdite sai cavar la palma, From losses you bring forth victory, Io son Cupido I am Cupid, dalle procelle tue nasce la calma! from your tempests is born calm! che per la terra walking the earth

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Jarba e Didone: Iarbas and Dido: la sua destra un giorno, un giorno one day, one inconstant day, Godiam dunque godiamo Let us enjoy, therefore, enjoy incostante its right hand will punish sereni i dì e ridenti days of peace and laughter, punirà tue colpe tante. your many faults. né pur pronunziamo with never a mention RECITATIVO RECITATIVE il nome di tormenti. of the name of suffering. Ma di chi mi lamento? But for whom am I lamenting? Jarba son tua Iarbas, I am yours, Con qual ragion di Clori io mi querelo? What quarrel have I with Chloris? Didon t’ho al cor scolpita. Dido, you are engraved on my heart. Credendo che di vita io fossi spento Believing that my life was over, Ben Beloved... havrà di nova fiamma acceso il core her heart must have burned with a new flame, Gioia Joy... chè non può star beltà priva d’Amore. for beauty cannot be deprived of love. Cor Heart... Hor scorgendomi vivo Now, realising that I live, speranza anima [L: unica] e vita! Hope, spirit and life! tosto ravviverà gl’estinti ardori. her former passion will soon be revived. Via si ricerchi e si ritrovi Clori. I must go back and find Chloris.

EGISTO EGISTO ATTO III ACT III Sc.IX Scene IX ATTO II ACT II Sc.I Egisto Lamento Scene I Aegisthus’s Lament 7 Egisto pazzo Clori Climene Lidio Hipparco 7 Aegisthus (raving), Chloris, Clymene, Lydius, Hipparcus Egisto: Aegisthus: 6 RECITATIVO 6 RECITATIVE Rendetemi Euridice! Return Eurydice to me! D’Hipparco e di Climene hospiti miei I flee the warm welcome Orfeo son io I am Orpheus fuggo l’alte accoglienze e quivi solo of my hosts Hipparcus and Clymene and ch’il vostro rio who crossed your river, vengo per disfogare il mio gran duolo. come here alone to vent my terrible grief. passai, d’ogn’ombra ever more wretched ARIA ARIA che Stigie ingombra than any of the shades Lasso io vivo e non ho vita. Weary, I live yet have no life. vieppiù infelice. who fill these infernal regions. Clori oh Dio non è più mia. Chloris, o God, is no longer mine. Rendetemi Euridice! Return Eurydice to me! Invaghita d’altr’oggetto She loves another man, Clori: Chloris: oh tormento. oh, torment. Per amar l’incostanza With my inconstant love Rotto ha il nodo e il foco spento. Our bond is broken, the fire is out. il misero ho tradito! I have betrayed the poor wretch! (Passacaglia) (Passacaglia) Egli per mia cagion va forsennato. Because of me he has lost his reason. Mai credei mirar rubelli I never thought those shining stars Egisto: Aegisthus: di mia fè gli astri lucenti, would rebel against my fidelity, Hor ch’è’l mondo è in scompiglio Now that the world is in confusion, di dui lumi innamorati those two loving eyes o popoli di Dite o people of Dite, che pietosi that with compassion di guerreggiar con Giove io vi consiglio: I counsel you to wage war with Jupiter: m’influivano i riposi. watched over my rest. fatevi in giro, udite look around you, listen to (Passacaglia) (Passacaglia) ragguagli di lassù the news from above, Dimm’ingrata e disleale Tell me, ungrateful and faithless girl, fatevi in giro e non badate più! look around you and waste no more time! sono questi i giuramenti such are your oaths, Lidio: Lydius: oh spergiura e le promesse o treacherous one, and promises, Accostiamoci a lui Let us go to him sconoscente thankless girl, e secondiam la sua pazzia per gioco. and for a joke add to his madness. d’adorarmi eternamente? to love me forever? Hipparco: Hipparcus: (Passacaglia) (Passacaglia) Non si derida le miserie [L: la miseria] altrui! Mock not the suffering of others! Odi il Cielo anco ha saette You hear heaven still has arrows per ch’infida inganna amanti, for those who betray and deceive their lovers, 8.557746 14 15 8.557746 557746 bk Cavalli US 14/12/2004 12:46pm Page 14

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Scena Ultima Final scene

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AXOS This overview of Cavalli’s operatic music paints a picture of both the nature of opera as it was AXOS developing in Venice at the time, and the composer’s own artistic and compositional talent. Although influenced by Monteverdi, Cavalli imbued his music with his own individual style, in particular the quality of cantabilità (singability), which is especially evident in this selection of arias and duets from five early operas. DDD CAVALLI: CAVALLI: Francesco 8.557746 CAVALLI Playing Time (1602-1676) 76:34 Arias and Duets Arias and Duets DIDONE (1641) @ Act III: Oh ritrovato padre 1:18 Arias and Duets 1 Act I: Passata dell’armata 2:01 # Act III: D’Amor non si quereli 1:28 2 Act II: Smoderati Insolenti 2:51 3 Act III: Dormi o cara 4:40 GIASONE (1649) 4 Act III: Porgetemi la spada 6:34 $ Act I: Delitie e contenti 3:32 5 Act III: Son le tue leggi Amore / % Act I: Son qui / Son gobbo son Demo / Godiam dunque godiamo! 2:08 Linguaggio curioso 4:03 EGISTO (1643) ^ Act II: Ecco il fatal castello / Ti lascio 2:56 & Act III: Infelice 9:02 6 Act II: D’Hipparco / Lasso io vivo / * Act III: Godi Isifile 1:07

Di chi mi lamento? 5:52 www.naxos.com Made in Canada Sung texts included Booklet notes and synopsis in English h 7 Act III: Rendetemi Euridice! 10:47 CALISTO (1651) &

ORMINDO (1644) ( Act I: Piacere maggiore 4:47 g 8 Act I: Piante fiorite 1:19 ) Act I: Piangete 1:01 2005 Naxos Rights International Ltd. 9 Act I: Fortunato mio cor 0:46 ¡ Act II: Erme e solinghe / Lucidissima face 3:51 0 Act I: A Dio 0:46 ™ Act III: Dolcissimi baci 2:49 ! Act III: Io moro 1:37 £ Act III: Mio Tonante 1:19 Gloria Banditelli, Mezzo-soprano • Rosita Frisani, Soprano Roberto Abbondanza, Baritone • Gianluca Belfiori Doro, Counter-tenor Mario Cecchetti, Tenor • Mediterraneo Concento • Sergio Vartolo Recorded at Chiesa Vecchia di San Zeno, Cavalo, Verona, Italy, from 1st to 4th November, 2003 Producer and engineer: Michael Seberich • Musical Assistance: Antonio Scavuzzo 8.557746 8.557746 Editor: Corrado Ruzza • Mixing and mastering: Michael Seberich • Booklet notes: Sergio Vartolo English translations: Susannah Howe • A full track list can be found on page 3 of the booklet Cover image: The Death of Dido (oil on canvas) by Andrea Sacchi (1599-1661) (Musée des Beaux-Arts, Caen, France / Giraudon / Bridgeman Art Library)