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BARD BAROQUE ENSEMBLE Renée Anne Louprette, director GRADUATE VOCAL ARTS PROGRAM Stephanie Blythe, artistic director Kayo Iwama, associate director HANDEL ARIA PROJECT Caesar placing Cleopatra back on the throne of Egypt – Pierre de Cortone (1596-1669) Rodelinda | Giulio Cesare | Organ Concerto Op. 4, No. 4 Friday, May 14, 2021 | 8:00 PM https://www.youtube.com/watch?v=J9W-nKdpxhA BARD BAROQUE ENSEMBLE GRADUATE VOCAL ARTS PROGRAM present HANDEL ARIA PROJECT Friday, May 14, 2021 | 8:00 PM Recorded in the László Z. Bitó Conservatory Performance Space Bard College, Annandale-on-Hudson, New York PROGRAM Works by George Frideric Handel (1685-1759) OVERTURE Organ Concerto in F major, Op. 4, No. 4 I. Allegro Mary Douglas, ’23, organist ACT I: Excerpts from Rodelinda, regina de’ Longobardi, HWV 19 Ho perduto il caro sposo Jardena Gertler-Jaffe, ’21, soprano L’empio rigor del fato Kirby Burgess, ’22, soprano Lo farò; dirò: spietato Pauline Tan, ’21, mezzo-soprano Ritorna, oh caro e dolce mio tesoro Lucy Fitz Gibbon, ‘15, soprano, VAP faculty Io t’abbraccio Jardena Gertler-Jaffe, soprano, and Micah Gleason, ’22, mezzo-soprano Fatto inferno è il mio petto… Pastorello d’un povero armento Maximillian Jansen, ’21, tenor ENTR’ACTE Trio Sonata in F major, Op. 2, No. 4 I. Larghetto II. Allegro Isabela Cruz-Vespa, ’22, flute Clare Herzog, ’22, oboe Lily Moerschel, ’22, cello Renée Anne Louprette, ’19, harpsichord ACT II: Excerpts from Giulio Cesare in Egitto, HWV 17 Vani sono i lamenti… Svegliatevi nel core Sarah Rauch, ’22, mezzo-soprano Non disperar, chi sa? Samantha Martin, ’22, soprano Cara speme, questo core Joanne Evans, ’22, mezzo-soprano Se in fiorito ameno prato Chuanyuan Liu, ’21, countertenor Laura Pérez Rangel, ’23, violin L’angue offeso mai riposa Melanie Dubil, ’22, mezzo-soprano Piangerò la sorte mia Alexis Seminario, ’22, soprano Dall’ondoso periglio… Aure, deh, per pietà Stephanie Blythe, mezzo-soprano, VAP Artistic Director FINALE Organ Concerto, Op. 4, No. 4 IV. Allegro Caleb Carman, ‘22, organist BARD BAROQUE ENSEMBLE Renée Anne Louprette, Director Violin Flute Ana Aparicio, concertmaster Isabela Cruz-Vespa Laura Pérez Rangel Ella Menees Oboe Dávid Bánóczi-Ruof Clare Herzog * Viola Lute & Guitar Rowan Swain Matt Macari Mikhal Terentiev Harpsichord & Organ Cello Caleb Carman Lily Moerschel Mary Douglas Nick Scheel Renée Anne Louprette Bass * Ensemble Teaching Assistant Rowan Puig Davis + Member of The Orchestra Now Luke Stence + GRADUATE VOCAL ARTS PROGRAM Stephanie Blythe, Artistic Director Kayo Iwama, Associate Director Lucy Fitz Gibbon, Undergraduate and Graduate Voice, Core Seminar III Lisa Krueger, Graduate Program Coordinator Verbal program notes by Maximillian Jansen and Sarah Rauch AUDIO & VISUAL PRODUCTION Marc Mancus, Productor Coordinator, Bard College Conservatory of Music Christopher Conner, Audio Visual Technician, Bard College TEXTS & TRANSLATIONS Rodelinda, regina de’ Longobardi Ho perduto il caro sposo (Rodelinda) Ho perduto il caro sposo, I lost my dear spouse, e quì sola alle sventure And here alone among the paths of misfortune vie più cresce il mio penar. My suffering grows. L’empio rigor del fato (Rodelinda) L'empio rigor del fato The wicked cruelty of fate vile non potrà farmi, May make me miserable se misera mi fè; But it cannot make me cowardly; E tu, crudo tiranno, And you, cruel tyrant, in van tenti placarmi, Though you hold me captive, se m'hai legato il piè. You try in vain to placate me. Lo farò; dirò: spietato (Eduige) Lo farò; dirò: spietato, I will do it; I will say: ruthless man, porta altrove un cor sì ingrato Take your heart, so ungrateful, sì spergiuro e traditor. So deceitful and traitorous, somewhere else. Ed a te rivolta poi And turned then to you, ti dirò su gli occhi suoi: I will say as he watches: tu sei l core del mio cor. You are the heart of my heart. Ritorna, oh caro e dolce mio tesoro (Rodelinda) Ritorna, oh caro e dolce mio tesoro, Return, oh my dear sweet treasure, a dar conforto e speme a questo cor! To give comfort and hope to this heart! Tu renderai al seno mio la calma, You will bring calm to my breast, se refrigerio sei d’ogni dolor. As a respite from all pain. Io t’abbraccio (Rodelinda & Bertarido) Io t’abbraccio I embrace you E più che morte, aspro e forte, And this farewell, which separates your heart from mine, è pe l cor mio questo addio, Is harsher and stronger than death itself che il tuo sen dal mio divide. For my heart. Ah mia vita! Oh my life! Ah mio tesoro! Oh my treasure! se non moro, If I do not die, è più tiranno quell’affanno, That grief is more of a tyrant che dà morte, e non uccide. That gives death, and does not kill. Fatto inferno è il mio petto (Grimoaldo) Fatto inferno è il mio petto; My breast is made a hell; di più flagelli armate I have in my heart three furies: ho dentro il core tre furie: Jealousy, disdain, and love, gelosia, sdegno ed amore; armed with many whips; e da più gole io sento, And from many throats I hear quasi mastin crudele, Remorse barking as my torment, il rimorso latrar per mio tormento, Almost like a cruel Cerberus, chiamandomi infedele, Calling me unfaithful, spergiuro, usurpator, empio, e tiranno. Liar, usurper, unholy, and tyrant. Ma pur voi lusingate Yet you, calm breezes, le stanche mie pupille Tempt my tired eyes ad un breve riposo, aure tranquille! With a brief repose! Sì, dormi Grimoaldo, e se ritrovi Yes, sleep, Grimoaldo, and if you find again pace trà i fonti e l’erbe, Peace among the fountains and grasses, delle regie superbe le mal sicure soglie Abandon the unsafe thresholds in abbandono lascia; Of the haughty palaces; che prezioso è dell’alma Since a peaceful soul is as precious riposo al par del trono. As the throne. Pastorello d’un povero armento (Grimoaldo) Pastorello d’un povero armento A shepherd of a humble flock Pur dorme contento, Still sleeps contented sotto l’ombra d’un faggio o d’alloro. Under the shade of a laurel branch. Io, d’un regno monarca fastoso, But I, magnificent monarch of my kingdom, non trovo riposo, Find no rest sotto l’ombra di porpora e d’oro. Under the shade of purple and gold. Giulio Cesare in Egitto Vani sono i lamenti (Sesto) Vani sono i lamenti; Laments are useless; è tempo, o Sesto, ormai It is now time, oh Sesto, di vendicar il padre; To vindicate your father; si svegli alla vendetta May your sluggish spirit, l'anima neghittosa, Which, offended by a tyrant, rests in vain, che offesa da un tiranno invan riposa. Awake to vengeance. Svegliatevi nel core (Sesto) Svegliatevi nel core, Awake in my heart, furie d'un alma offesa, Furies of an offended soul, a far d'un traditor To take harsh revenge aspra vendetta! On a traitor! L'ombra del genitore My father’s spirit accorre a mia difesa, Comes to my defense, e dice: a te il rigor, And says: I await your ferocity, Figlio si aspetta. My son. Non disperar, chi sa? (Cleopatra) Non disperar, chi sa? Do not despair, who knows? se al regno non l'avrai, If you will not have luck in your kingdom, avrai sorte in amor. You will have it in love. Mirando una beltà Admiring a beauty in essa troverai In her you will find a consolar un cor. Consolation for your heart. Cara speme, questo core (Sesto) Cara speme, questo core Dear hope, this heart tu cominci a lusingar. You begin to flatter. Par che il ciel presti favore It seems as if the heavens lend favor i miei torti a vendicar. To vindicate my wrongs. Se in fiorito ameno prato (Giulio Cesare) Se in fiorito ameno prato If the little bird hides l'augellin tra fiori e fronde Among flowers and fronds si nasconde, In the pleasant, flowering field, fa più grato il suo cantar. It makes its song more inviting. Se così Lidia vezzosa If thus charming Lidia spiega ancor notti canore, Still sings her nightly songs, più graziosa Ever more graciously fa ogni core innamorar. She makes every heart fall in love. L’angue offeso mai riposa (Sesto) L'angue offeso mai riposa, The offended serpent never rests, se il veleno pria non spande Until its venom spreads dentro il sangue all'offensor. Through the blood of its offender. Così l'alma mia non osa Thus my spirit does not dare di mostrarsi altera e grande, To show itself haughty and great, se non svelle l'empio cor. Until it tears out the villain’s heart. Piangerò la sorte mia (Cleopatra) Piangerò la sorte mia, I will lament my fate, sì crudele e tanto ria, So cruel and so wicked, finché vita in petto avrò. As long as I have life in my breast. Ma poi morta d'ogn'intorno But then, when I am dead, as a ghost il tiranno e notte e giorno I will torment the tyrant fatta spettro agiterò. Day and night, everywhere. Dall’ondoso periglio (Giulio Cesare) Dall'ondoso periglio From the turbulent peril salvo mi porta al lido My propitious lot il mio propizio fato. Bears me safe to the shore. Qui la celeste Parca Here divine Fate non tronca ancor lo stame alla mia vita! Does not yet clip the thread of my life! Ma dove andrò? e chi mi porge aita? But where will I go? And who offers me succor? Solo in queste erme arene Is it right for the monarch of the world al monarca del mondo errar conviene? To wander on these solitary shores? Aure, deh, per pietà (Giulio Cesare) Aure, deh, per pietà Breezes, I pray thee, spirate al petto mio, Please breathe into my chest, per dar conforto, oh dio! To give me comfort, oh God! al mio dolor.
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  • NEWSLETTER of the American Handel Society

    NEWSLETTER of the American Handel Society

    NEWSLETTER of The American Handel Society Volume XVI, Number 1 April 2001 HANDEL’S SCIPIONE AND THE NEUTRALIZATION OF POLITICS1 This is an essay about possibilities, an observation of what Handel and his librettist wrote rather than what was finally performed. Handel composed his opera Scipione in 1726 for a text by Paolo Rolli, who adapted a libretto by Antonio Salvi written for a Medici performance in Livorno in 1704.2 Handel’s and Rolli’s version was performed at the King’s Theater in the Haymarket for the Royal Academy of Music.3 The opera has suffered in critical esteem not so much from its own failings as from its proximity in time to the great productions of Giulio Cesare, Tamerlano and Rodelinda which preceeded it. I would like to argue, however, that even in this opera Handel and Rolli were working on an interesting idea: a presentation of Roman historical material in ways that anticipated the ethical discussions that we now associate with the oratorios. If that potential was undermined by what was finally put on stage, it is nevertheless interesting to observe what might have been. Narrative material from the Roman republic was potentially difficult on the English stage of the early eighteenth century. The conquering heroes of the late Roman republic particularly—Sulla, Pompey, and especially Caesar—might most easily be associated with the monarch; but these historical figures were also tainted by the fact that they could be identified as tyrants responsible for demolishing republican freedom. Addison’s Cato had caused a virtual riot in the theatre in 1713, as Whigs and Tories vied to distance themselves from the (unseen) villain Caesar and claim the play’s stoic hero Cato as their own.
  • Christophe Rousset and Les Talens Lyriques Unearth the Impropriety of the Gods in a Staging of Legrenzi’S La Divisione Del Mondo

    Christophe Rousset and Les Talens Lyriques Unearth the Impropriety of the Gods in a Staging of Legrenzi’S La Divisione Del Mondo

    Christophe Rousset and Les Talens Lyriques unearth the impropriety of the Gods in a staging of Legrenzi’s La Divisione del Mondo 8-16 February 1, 3 March 9 March Strasbourg Mulhouse Colmar 20-27 March Legrenzi La 13, 14 April Nancy Divisione del Mondo Versailles “La Divisione del Mondo shows us a most complicated and modern dysfunctional family - the Roman Gods seem to offer a hilarious mirror of our human misconduct and failures.” - Jetske Mijnssen Christophe Rousset and Les Talens Lyriques tour Giovanni Legrenzi’s rarely-performed La Divisione del Mondo in France from 8 February to 14 April. Directed by Jetske Mijnssen, fifteen performances will be given from Strasbourg to Versailles, via Mulhouse, Colmar, and Nancy, in a co-production with the Opéra national du Rhin and the Opéra national de Lorraine. Seen in its first modern staging in France, the revival of La Divisione del Mondo forms part of Les Talens Lyriques’ season theme, The Temptation of Italy, tracking Italian influences on French writing. Venetian opera had influenced French operatic tradition since its inception, and the only surviving score for La Divisione del Mondo is found in the Bibliothèque nationale de Paris. First performed in a lavish staging with great success at the Venetian Teatro San Salvador in 1675, La Divisione del Mondo depicts the division of the world following the victory of the Olympian gods over the Titan deities: the world inhabited by Madeline Miller’s novel Circe, recently a runaway best-seller in both the New York Times and The Sunday Times. Far from being a banal tale of morals and virtues, instead it unearths dreadful impropriety, with the goddess Venus leading all the other gods (with the exception of Saturn) through a series of moral temptations into debauchery.
  • Il Complesso Barocco Edition

    Il Complesso Barocco Edition

    Handel: ADMETO (1726) Full score and piano-vocal Vivaldi: ERCOLE SUL TERMODONTE (1723) Full score and piano-vocal ISMN 979-0-2025-3382-6 Alan Curtis’ 1977 performance in Amsterdam‘s Concertgebouw, This important opera, performed in Rome a year earlier than DVD recorded by EMI with René Jacobs singing the title role, has now itself Il Giustino, was long thought to be lost. Nearly all the arias have Stains / Nesi / Cherici / become historical. Curtis has gone over the work and its sources again however been found, some missing their orchestral accompaniments, Dordolo / Bartoli / Scotting / and come up with new conclusions. Although the opera is published in various locations, and the lost recitatives and other missing parts Il Complesso Barocco / complete, he suggests ways to emend, cut, or compensate for the have been composed by Alessandro Ciccolini. Alan Curtis / directed by weaknesses of the outmoded libretto and restore Admeto to the John Pascoe (Spoleto position it deserves, as musically one of Handel’s greatest operas. Festival, 2006) Dynamic (2007) D. Scarlatti: TOLOMEO E ALESSANDRO (1711) Full score and piano-vocal Universally admired for his keyboard music, the vocal music of CD Domenico Scarlatti has until very recently been largely ignored. Hallenberg / Ek / Tolomeo e Alessandro was known only from a manuscript of Act I Invernizzi / Baka / Milanesi / in a private collection in Milan. Recently the entire opera turned up Nesi / Il Complesso Traetta: BUOVO D’ANTONA (1758) Full score and piano-vocal NEW in England and surprisingly revealed that Domenico was after all Barocco / Alan Curtis A charmingly light-hearted libretto by the well-known Venetian CD a very fi ne dramatic composer, perhaps even more appealingly so Universal Music Spain / playwright Carlo Goldoni, was set to music by the as-yet- Trogu-Röhrich / Russo- than his father Alessandro.