David Hansen Robin Johannsen Jenny Högström Silke Gäng Francesca Ascioti Luca Tittoto

La Cetra Barockorchester & Vokalensemble Basel

Andrea Marcon 1 (1685 – 1759) 18 “Del nume Lieo” - Marte 3. 13 , per gli sponsali di Teti e Peleo HWV 73 19 Aria “Sciolga dunque al ballo” - 2. 58 20 Coro e Soli “S’accenda pur di festa il cor’’ 2. 41 CD 1 21 Coro “Replicati al ballo” 1. 02

1 Ouverture 3. 40 Total playing time CD 1: 44. 12

Parte Prima CD 2 2 Aria ‘’Verginelle dotte e belle“ - 2. 36 3 Coro “Corriamo pronti ad ubbidir“ 0. 48 Parte Seconda 4 Recitativo “Germane, figlio amato” 1. 18 1 Soli e Coro „Nel petto sento un certo ardor“ 3. 03 5 Solo e Coro “Deh! cantate un bell’amor” - Apollo 2. 49 2 Recitativo “Qual tetra nube” - Apollo 0. 12 6 Recitativo “Ma prima che s’avanzi” - Apollo 0. 20 3 Aria “Torni pure un bel splendore” - Apollo 4. 11 7 Aria “Spira al sen celeste ardore’’ - Orfeo 4. 16 4 Recitativo “Ognun mi siegua” - Clio 0. 10 8 Aria “Gran Tonante” - Apollo 4. 23 5 Aria “Nel spiegar sua voce al canto” - Clio 8. 19 9 Coro ‘’Già vien da lui il nostro ben’’ 1. 32 6 Recitativo “E non s’udiran mai” - Cloride 0. 25 10 Recitativo “Spettacolo gradito” - Clio 0. 48 7 Coro “Oh quanto bella ” 2. 51 11 Aria “Con un vezzo lusinghiero” - Clio 1. 34 8 Aria “Tra sentier di amene selve” - Cloride 4. 40 12 Recitativo ”Rimembranza gradita” - Apollo 0. 19 9 Coro “Oh quanto bella gloria” 1. 05 13 Duetto “Sin le grazie nel bel volto” - Apollo, Clio 2. 48 10 Recitativo “Che mai facesti, Orfeo?” - 0. 27 14 Recitativo “Ma di sì belle fiamme” - Clio 0. 36 11 Aria “Già le furie vedo ancor” - Calliope 1. 46 15 Aria ‘’Quanto breve è il godimento“ - Clio 4. 14 12 Accompagnato “Dopo d’aver perduto” - Orfeo 0. 51 16 Recitativo “Vada in oblio memoria” - Apollo 0. 42 13 Aria e Coro “Ho perso il caro ben” - Orfeo 7. 23 17 Coro “Cantiamo a Bacco” 1. 22 14 Recitativo “Figlio, diletto Orfeo” - Apollo 0. 35

2 3 15 Duetto “Cangia in gioia il tuo dolor” - Apollo, Clio 5. 15 David Hansen, 16 Recitativo “Di Nettuno seguaci” - Apollo 0. 29 Apollo, God of music, Orfeo’s father 17 Coro “Coralli e perle” 1. 48 Robin Johannsen, Parte Terza Clio, Muse of history 18 Sinfonia 0. 40 19 Recitativo “Io che degli avi eccelsi” - Marte 0. 27 Kangmin Justin Kim, Countertenor 20 Coro e Solo “Si parli ancor di trionfar” - Marte 2. 42 Orfeo, Singer and poet 21 Recitativo “Oh! stirpe gloriosa” - Orfeo 0. 16 22 Aria “Da sorgente rilucente” - Orfeo 2. 51 Jenny Högström, Soprano 23 Recitativo “Dall’opre illustri” - Calliope 0. 13 Calliope, Muse of epic poetry, Orfeo’s mother 24 Aria “Sempre aspira eccelso core” - Calliope 1. 57 25 Recitativo “Delle dotte germane” - Apollo 0. 40 Silke Gäng, Mezzosoprano 26 Aria e Coro “Non tardate, fauni, ancora” - Apollo 5. 56 Cloride, a huntress 27 Recitativo “Sia degli eccelsi sposi” - Clio 0. 14 28 Aria “Circondin lor vite le grazie fiorite” - Clio 4. 25 Francesca Ascioti, 29 Recitativo “Con un spirto divoto” - 0. 17 Euterpe, Muse of lyric poetry and the flute 30 Aria “Han mente eroica” - Euterpe 3. 59 31 Recitativo “Di virtù, di valor” - Apollo 0. 24 Luca Tittoto, 32 Solo e Coro “Lunga serie d’alti eroi” - Apollo 3. 36 Marte, God of war

Total playing time CD 2: 72. 23 Barockorchester & Vokalensemble Basel Carlos Federico Sepúlveda, Chorus Master Conducted by

4 5 La Cetra Barockorchester & Vokalensemble Basel Conducted by Andrea Marcon

First Violin Violoncello Horn Chorus Master Katharina Heutjer, leader Jonathan Pešek, principal Denabian Carlos Federico Sepúlveda Johannes Frisch Daniel Rosin Elisa Bognetti Christoph Rudolf Amélie Chemin Cecilie Valter Trumpet Alice Borciani Matthias Deger Sonoko Asabuki Violone Andreas Lackner Annie Dufresne Dan Dunkelblum Fred Uhlig, principal Thomas Steinbrucker Jenny Högström Tiago Pinheiro de Oliveira Second Violin Marco Lo Cicero Lia Andres Raphael Höhn Eva Saladin, principal Timpani Agnes Waibel Akinobu Ono Petra Melicharek Traverso Philip Tarr Lina Marcela Lopez Ildikó Sajgó Sarah Giger Katya Polin Natalia Herden Lute Basses Daniele Caminiti Silke Gäng Ismael Arróniz, Solo Viola Josias Rodriguez Gandara Dina König Carlos Federico Sepúlveda Joanna Bilger, principal Janine Jonker David Feldman Francesc Marti Ortega Sarah Giger Natalia Herden Harpsichord Tobias Knaus Csongor Szántó Michèle Party Andrea Marcon Guglielmo Buonsanti Joan Boronat Sanz Breno Quinderé Giulia Genini Letizia Viola Organ Andrea Buccarella

6 7 La Cetra Barockorchester & Vokalensemble Basel Andrea Marcon 8 9 George Frideric Handel The wedding of the King’s eldest Peleus. There is one standing Scene the bridegroom. Although most of his Parnasso in festa, per gli daughter with William of Orange was which is Mount Parnassus, on which company of singers had moved over to originally intended to take place in the sit Apollo and the , assisted with the rival undertaking, the „ of the sponsali di Teti e Peleo autumn of 1733, but had to be deferred other proper Characters emblematically Nobility“, Handel succeeded in engaging HWV 73 because of continuing delays and a dress’d, the whole Appearance being for the occasion new top-class singers. longer illness of the Prince. While the extreamly magnificent; nor is the The word-book lists the cast of the On 14 March 1734 the wedding took place anthem This is the day had already Musick less entertaining, being contriv’d premiere of Parnasso in festa: between Princess Anne (1707–1759), the been rehearsed in the presence of the with so great a Variety, that all sorts Princess Royal, and the Dutch Prince royal family in November 1733, Handel of Musick are properly introduc’d in Apollo , mezzo-soprano () William IV of Orange (1711–1751). Handel probably did not compose Parnasso in single Songs, Duettos, &c. intermix’d contributed music for the marriage festa until the beginning of 1734, when with Chorus’s something in the Stile of Clio del Pò, soprano ceremony in the French Chapel in he decided to celebrate the royal couple Oratorios. People have been waiting with St James’s Palace and also for the public with a festa teatrale. On 11 March 1734 Impatience for this Piece, the celebrated Orfeo Carlo Scalzi, soprano (castrato) celebrations. For the marriage ceremony The Daily Advertiser advertised the Mr Handel having exerted his utmost he composed the anthem This is the day premiere of the Italian serenata: Skill in it. Calliope which the Lord has made, HWV 262, and , alto for the theatre on the eve of the ceremony We hear, amongst other publick According to this information the Cloride the serenata Parnasso in festa per gli Diversions that are prepar’d for the premiere on Wednesday 13 March 1734 Maria Caterina Negri, alto sponsali di Teti e Peleo, HWV 73. In both Solemnity of the approaching Nuptials, in the King’s Theatre in the Haymarket Euterpe works the music was mostly derived from there is to be perform’d, at the Opera- took place semi-staged, that is in front Rosa Negri, mezzo-soprano the English oratorio , HWV 52, which house in the Hay-Market, on Wednesday of a single set with little action on the Marte had been performed in Oxford on 10 July next, a Serenata, call’d, Parnasso in stage. The performance was attended Gustavus Waltz, bass 1733, and at the time of the royal marriage Festa: The Fable is Apollo and the Muses by the King and Queen, the engaged had not yet been heard in . celebrating the Marriage of and couple and the brothers and sisters of

English 11 The serenata was well received by the which a new text was underlaid. Only first part of the serenata Handel used and , HWV 10, of 1713). The poet public – possibly one reason why Handel nine of the total of 33 numbers plus movements from Athalia (nos. 1–11); was probably , who took over several movements into his the overture were newly composed, from no. 12 he alternated systematically since 1710 had worked several times for opera , HWV 8c, which was namely the A-section of the overture, between newly-composed movements Handel (, HWV 7a, Il pastor fido, revived and performed a little later. The and nos. 12, 14, 16, 18, 20, 22, 26 and and borrowings. This characteristic is HWV 8a, Silla, HWV 10), and certainly Daily Advertiser reported the next day: 30. Handel borrowed 20 of the 33 reflected in the principal sources: there reworked in 1731 the text for the revival numbers (nos. 1–11, 15, 17, 21, 23–25, is no complete composition autograph, of Rinaldo, HWV 7b. Last Night Mr. Handell’s new Serenata 27, 29, 31) from his English-language but there are composition autographs [...] was received with the greatest oratorio Athalia, which was performed for three of the new movements. The Unlike Handel’s there is no Applause; the Piece containing the for the first time in the Sheldonian performing score in the Staats- und plot in Parnasso in festa: it consists most exquisite Harmony ever furnish’d Theatre in Oxford on 10 July 1733, on Universitätsbibliothek in is of reflective dialogues, rich in images from the Stage, and the Disposition of the occasion of the ceremonies of the a joint operation by Handel and his taken from nature, which appeal to the Performers being contrived in a very “Public Act”, the award of academic principal copyist, John Christopher morality and virtue, which are expressed grand and magnificent Manner. honours by the University, and in March Smith Sr. (1683–1763), who had followed in the mythological couple, and so are 1734 had not yet been heard in London. him to London from Germany in 1717. relevant to the real-life historical couple. Parnasso in festa is on the whole not It is an example of Handel’s usual Smith prepared the performing score The plot of the three-part work takes a new composition, but a collection pragmatism that he took over most of where he had a source, and Handel place against the background of the of movements from various works by the music from a work still unknown completed the rest. relationship between Peleus, King of Handel which he had already to hand to the London public in another genre. the Myrmidons of Phthia in Thessaly, in 1733/34, and were now more or Perhaps also Princess Anne wished to The word-text of Parnasso in festa is an and the Nereid Thetis, daughter of the less heavily reworked (Athalia, HWV hear some of the music from his latest original composition (among Handel’s sea-god Nereus. The Greco-Roman 52, , HWV 12a, Il trionfo del oratorio – as she had done in 1732 with Italian stage-works there are only two myth of the sea-nymph, who sought to Tempo e del Disinganno, HWV 46a, , HWV 50b – before she travelled other compositions without a confirmed escape from the attentions of Peleus by and Delirio amoroso, HWV 99), to to Holland after her wedding. For the source-text: , HWV 6, of 1709, transforming herself, eventually gave

12 13 way with a sigh and conceived her son Mount (nymphs, fauns and shepherds) 2. and Eurydice were a loving the virtue of Apollo and Orpheus: their Achilles, was described among others by to honour the bridal pair. There is also married couple. When Eurydice died constancy in love. Ovid (43 B.C.–17 A.D.) in the 11th book, a mention of the best-known love from a snake-bite her husband’s grief lines 221–65, of his Metamorphoses. stories of mythology, the tragedies of was so great that he went down into In that season Parnasso in festa had The consequent wedding, to which Apollo and and of Orpheus and the underworld to persuade its ruler three more performances, on 16, 19 the Gods of Olympus were invited, Eurydice: with his singing and his lute-playing into and 23 March, on each occasion in was described by Catullus (c. 84–c. giving Eurydice back to him. Orpheus’s the presence of members of the Royal 54 B.C.) in his carmen 64, an Epyllion 1. The myth of Apollo and Daphne art led to him being granted his request, Family. As an occasional work the (small epic). In Handel’s serenata the relates that the god of the arts once but on condition that on the way out serenata had very few revivals, yet wedding takes place on the Greek mocked the god of love Cupid as being he should go in front and must not three years later it served, with its two Mount Parnassus, which in mythology is a bad marksman. Cupid took revenge turn round. Overwhelmed by doubt and performances on 9 and 11 March 1737 the home of Apollo and the nine muses by shooting a love-arrow with a golden desire for his beloved since he could not in the Covent Garden Theatre, as a (Clio, Melpomene, Terpsichore, Thalia, tip at Apollo, and an arrow with a hear her footsteps, he turned round, reminder of the original event. On 8 Euterpe, Erato, Urania, Polyhymnia, leaden tip at the nymph Daphne. Apollo and Eurydice, who was indeed following November 1740 Handel opened the Calliope). Here there are gathered the had undying love for Daphne, but she, him, had to return to the underworld. season with it in Lincoln’s Inn Fields following characters: Apollo, the muses struck by the arrow with precisely the Theatre. The most important date was, Clio (muse of history), Calliope (muse of opposite effect, remained impervious to Both stories had a tragic end, yet however, the last performance of the epic and mother of Orpheus), Euterpe Apollo’s love. Apollo pestered the nymph Handel needed the emotions of sorrow, work in the composer’s lifetime, on 14 (muse of lyric poetry and flute-playing), so strongly that she could not find any complaint and comfort in order to March 1741, again at its original location, and Orfeo (Orpheus, son of Apollo), escape other than to transform herself create a work with varied musical the King’s Theatre, with the original Marte (Mars, god of war) and the into a laurel tree. Thereafter Apollo effects; the textual connection with a stage-set and costumes, which had huntress Cloride (Chloris). Apollo is the wore a laurel wreath, or carried a lyre happy event, on the occasion of the been preserved at the theatre. It was host of the feast, and invites other gods, bedecked with laurel. celebration on Parnassus, enabled him the occasion of a benefit performance demi-gods and the inhabitants of the to illustrate at the end of an episode for poor musicians and their families

14 15 (“Support of Decay’d Musicians or Georg Friedrich Händel Zeitpunkt der königlichen Hochzeit noch their Families”), to whose funds Handel Parnasso in festa, per gli nicht in London erklungen war. donated the takings of one of his regular performances from 1738 to 1741. sponsali di Teti e Peleo Die Vermählung der ältesten Tochter HWV 73 des Königs Georg II. mit Wilhelm von Oranien sollte ursprünglich bereits im Am 14. März 1734 fand in London die Herbst 1733 stattfinden, musste jedoch Hochzeit zwischen Prinzessin Anne wegen anhaltender Verzögerungen und (1709–1759), der Princess Royal, und dem einer längeren Erkrankung des Prinzen niederländischen Prinzen Wilhelm IV. von immer wieder verschoben werden. Oranien (1711–1751) statt. Händel leistete Während das Anthem This is the day Beiträge sowohl zur Trauzeremonie in der schon im November 1733 in einer Probe French Chapel von St. James’s Palace als vor der Königsfamilie erklungen war, auch zu den öffentlichen Feierlichkeiten. komponierte Händel Parnasso in festa Für den Gottesdienst komponierte er vermutlich erst Anfang 1734, als er sich das Anthem This is the day which the entschloss, dem königlichen Brautpaar Lord has made, HWV 262, und für das mit einer Festa teatrale im Theater zu Theater am Vorabend der Trauung huldigen. Am 11. März 1734 kündigte The die Serenata Parnasso in festa per gli Daily Advertiser die Uraufführung der sponsali di Teti e Peleo, HWV 73. Beide italienischen Serenata an: Werke sind zum großen Teil aus dem englischsprachigen Oratorium Athalia, Wir hören, dass neben weiteren HWV 52, entlehnt, das am 10. Juli 1733 öffentlichen Unterhaltungen, die für Fresco of a mythological scene Villa Borghese’s hall, XCII century in Oxford uraufgeführt worden und zum die Feier der bevorstehenden Hochzeit

Deutsch vorbereitet wurden, im Opernhaus am King’s Theatre am Haymarket Cloride Parnasso in festa ist größtenteils Teil Haymarket am nächsten Mittwoch eine halbszenisch statt, d. h. vor einem Maria Caterina Negri, Alt keine neue Komposition, sondern eine Serenata unter dem Titel Parnasso in einzigen Bühnenbild ohne große Euterpe Zusammenstellung von 1733/34 bereits Festa aufgeführt werden soll. Das Werk Schauspielaktion. Die Vorstellung Rosa Negri, Mezzosopran vorhandenen, mehr oder weniger stark handelt von Apollo und den Musen, wurde vom Königspaar, dem Brautpaar Marte bearbeiteten Stücken aus verschiedenen die die Hochzeit von Thetis und Peleus und den Geschwistern der Braut Gustavus Waltz, Bass Werken Händels (Athalia, HWV 52, feiern. Es gibt nur ein Bühnenbild, den besucht. Obwohl fast seine gesamte Radamisto, HWV 12a, Il trionfo del Berg Parnassus, auf dem Apollo und die Sängertruppe zum neu gegründeten Die Serenata wurde vom Publikum gut Tempo e del Disinganno, HWV 46a, und Musen versammelt sind, umgeben von Konkurrenzunternehmen der „Opera aufgenommen – möglicherweise ein Delirio amoroso, HWV 99), denen ein weiteren passenden und symbolisch of the Nobility“ („Adelsoper“) Grund, weshalb Händel etliche Sätze in neuer Text unterlegt wurde. Nur neun gekleideten Figuren; die gesamte übergelaufen war, gelang es Händel seine nur kurze Zeit später überarbeitete der insgesamt 33 Gesangsnummern Szenerie ist überaus prächtig. Die rechtzeitig, neue hochkarätige Sänger Oper Il pastor fido, HWV 8c, zuzüglich der Ouvertüre komponierte Musik ist nicht weniger unterhaltsam. und Sängerinnen zu verpflichten. Das übernommen hat. The Daily Advertiser Händel völlig neu, nämlich den A-Teil Sie ist in solcher Vielfalt ausgedacht, zugehörige Textbuch listet die Besetzung berichtete am folgenden Tag: der Ouvertüre, Nr. 12, 14, 16, 18, 20, 22, dass alle Arten von Musik vortrefflich in der Erstaufführung von Parnasso in 26 und 30. 20 der 33 Nummern (Nr. einzelnen Arien, Duetten usw. umgesetzt festa: Gestern Abend wurde Herrn Händels 1–11, 15, 17, 21, 23–25, 27, 29, 31) entlehnte wurden, teilweise vermischt mit Chören neue Serenata [...] mit größtem Beifall er aus seinem englischsprachigen Apollo im Stile der Oratorien. Das Publikum Giovanni Carestini, Mezzosopran (Kastrat) aufgenommen; das Werk weist den Oratorium Athalia, das am 10. Juli erwartet das Stück mit Ungeduld, da der angenehmsten Wohlklang auf, der 1733 am Sheldonian Theatre in Oxford Clio gefeierte Herr Händel hier seine größte Anna Maria Strada del Pò, Sopran jemals von der Bühne zu hören war, anlässlich der Feierlichkeiten zur Kunstfertigkeit einsetzte. und das Können der Ausführenden kam Verleihung der akademischen Ehren Orfeo Carlo Scalzi, Sopran (Kastrat) in großartiger und herrlicher Weise zur erstaufgeführt worden und im März Nach dieser Anzeige fand die Geltung. 1734 in London noch nicht erklungen Uraufführung am 13. März im Calliope war. Es entspricht dem von Händel Margherita Durastanti, Alt 18 19 gewohnten Pragmatismus, dass er Gemeinschaftsarbeit von Händel und gesponnen, sondern in reflektierenden (Kleinepos), beschrieben. In Händels die meiste Musik eines dem Londoner seinem Hauptkopisten John Christopher Dialogen, reich an Bildern aus der Serenata findet das Hochzeitsfest auf Publikum noch unbekannten Werkes Smith senior (1683–1763), der ihm Natur, zu Moral und Tugendhaftigkeit dem griechischen Berg Parnass statt, in ein Werk eines anderen Genres bereits 1717 aus Deutschland nach aufgerufen, die ihre Verkörperung im der in der Mythologie Heimstätte des übernahm. Vielleicht wünschte aber London gefolgt war. Smith fertigte mythologischen Brautpaar finden Apoll und der neun Musen ist (Klio, auch Prinzessin Anne – ähnlich wie 1732 die Direktionspartitur, soweit er eine und damit auf das reale Brautpaar Melpomene, Terpsichore, Thalia, Euterpe, bei Esther, HWV 50b –, etwas von der Vorlage hatte, an, alles Weitere ergänzte zu übertragen sind. Die Handlung Erato, Urania, Polyhymnia, Kalliope). Musik seines neuesten Oratoriums zu schließlich Händel. des dreiteiligen Werkes spielt vor dem Hier versammeln sich nun folgende hören, ehe sie nach der Hochzeit in die Hintergrund der Verbindung von Peleus, Charaktere: Apollo, die Musen Clio Niederlande reiste. Den ersten Teil der Der Text von Parnasso in festa ist eine dem König der Myrmidonen von Phthia (Muse der Geschichtsschreibung), Serenata füllte Händel fast vollständig Neudichtung (daneben gibt es unter in Thessalien, mit der Nereide Thetis, Calliope (Muse der Epik und Mutter mit Sätzen aus Athalia (Nr. 1–11), ab Händels italienischen Bühnenwerken einer Tochter der Meeresgottheit Nereus. des Orpheus) und Euterpe (Muse der Nr. 12 wechselte er dann ziemlich nur zwei weitere Werke ohne einen Den griechischen/römischen Mythos Lyrik und des Flötenspiels) sowie Orfeo regelmäßig zwischen neukomponierten konkreten Vorlagetext: Agrippina, HWV der Meeresnymphe, die sich durch (Orpheus, Sohn des Apoll), Marte (Mars, Stücken und Entlehnungen. Dieser 6, von 1709 und Silla, HWV 10, von Verwandlungen der Werbung Peleus’ zu Gott des Krieges) und die Jägerin Cloride Werkcharakter spiegelt sich in der Lage 1713). Als Verfasser ist Giacomo Rossi entziehen versuchte, schließlich seufzend (Chloris). Apollo ist Gastgeber des Festes der Hauptquellen wider: Es existiert wahrscheinlich, der seit 1710 etliche nachgab und ihren Sohn Achill empfing, und lädt nacheinander weitere Götter, keine vollständige Kompositionspartitur Male für Händel gedichtet (Rinaldo, erzählte u. a. Ovid (43 v. Chr. bis 17 n. Halbgötter und die Bewohner des Berges von Händel, sondern es liegen nur die HWV 7a, Il pastor fido, HWV 8a, Silla, Chr.) im XI. Buch, Vers 221–265, seiner (Nymphen, Faune und Hirten) ein, dem Kompositionsautographe zu drei der HWV 10) und zuletzt gesichert 1731 Metamorphosen. Die anschließende Brautpaar zu huldigen. Dabei erinnert neuen Stücke vor. Die Direktionspartitur den Text zur Wiederaufnahme von Hochzeit, zu der die olympischen man sich an zwei der bekanntesten (Dirigierpartitur), die in der Hamburger Rinaldo, HWV 7b, überarbeitet hatte. Götter geladen waren, wurde von Liebesgeschichten der Mythologie, an Staats- und Universitätsbibliothek Anders als in Händels Opern werden Catull (um 84 bis um 54 v. Chr.) in die Tragödie von Apollo und Daphne aufbewahrt wird, ist dagegen eine in Parnasso in festa keine Intrigen seinem carmen 64, einem Epyllion sowie von Orpheus und Eurydike:

20 21 1. Der Mythos von Apollo und Daphne er in die Unterwelt hinabstieg, um die Orpheus und ihre Vorbildfunktion darin Kulisse und den originalen Kostümen, besagt, dass der Gott der Künste einst dortigen Herrscher mit seinem Gesang verwies: ihre Beständigkeit in der Liebe. die das Theater aufbewahrt hatte. den Liebesgott Amor als schlechten und Saitenspiel zu erweichen, ihm Es handelte sich hierbei um eine Schützen verspottete. Amor rächte Eurydike wiederzugeben. Orpheus’ Kunst In jener Spielzeit erfuhr Parnasso Benefizveranstaltung für verarmte sich, indem er einen Liebespfeil mit ließ die Bitte gewähren, allerdings unter in festa noch drei Wiederholungen, Musiker und ihre Familien („Support of goldener Spitze auf Apollo und einen der Bedingung, dass er beim Aufstieg am 16., 19. und 23. März, jedes Mal Decay’d Musicians or their Families“), Pfeil mit bleierner Spitze auf die Nymphe in die Oberwelt vorangehen und sich in Anwesenheit von Mitgliedern der deren Fonds Händel von 1738 bis 1741 Daphne abschoss. Apollo verliebte sich nicht umschauen dürfte. Von Zweifel Königsfamilie. Als Gelegenheitswerk einmal jährlich die Einnahmen einer unsterblich in Daphne, sie dagegen, und Sehnsucht nach seiner Geliebten erfuhr die Serenata insgesamt nicht seiner regulären Veranstaltungen die von dem genau das Gegenteil getrieben, da er ihre Schritte nicht sehr viele Wiederaufführungen, doch spendete. bewirkenden Pfeil getroffen wurde, hörte, sah er sich um, und Eurydike, die diente sie drei Jahre später mit ihren blieb für Liebe unempfänglich. ihm tatsächlich folgte, musste in die zwei Vorstellungen am 9. und 11. März Apollo bedrängte die Nymphe so sehr, Unterwelt zurückgehen. 1737 im Covent Garden Theatre der dass sie keinen anderen Ausweg mehr Erinnerung an das königliche Ereignis. wusste, als sich in einen Lorbeerbaum Beide Geschichten fanden ein tragisches Am 8. November 1740 eröffnete Händel zu verwandeln. Seitdem trug Apollo Ende, doch Händel benötigte die Affekte mit ihr die neue Spielzeit am Lincoln’s zum Gedenken an Daphne einen des Leidens, Klagens und Trostes, um Inn Fields Theatre. Das bedeutendste Lorbeerkranz bzw. eine mit Lorbeer ein musikalisch abwechslungsreiches Datum hat jedoch die letzte zu Händels geschmückte Leier. Werk gestalten zu können. Die Lebzeiten stattfindende Aufführung textliche Überleitung zum freudigen des Werkes. Diese fand unmittelbar am 2. Orpheus und Eurydike waren ein sich Gegenwartsgeschehen, dem Anlass des 7. Hochzeitstag von Prinzessin Anne liebendes Ehepaar. Als Eurydike durch Festes auf dem Parnass, gelang ihm statt, dem 14. März 1741, nun wieder einen Schlangenbiss starb, war der dadurch, dass er jeweils am Ende einer am ursprünglichen Aufführungsort, Schmerz ihres Gatten so groß, dass Episode auf die Tugend von Apollo und dem King’s Theatre, mit der originalen

22 23 La Cetra Barockorchester & Vokalensemble Basel is one of the & Vokalensemble Basel few ensembles worldwide to boast both an orchestra and a vocal Founded in 1999 La Cetra ensemble. Barockorchester Basel is recognized today as one of the world’s leading early La Cetra’s repertoire extends from the music ensembles. The name La Cetra late Renaissance through the Baroque refers to the ancient lyre or zither and is and into the early classical periods. drawn from the title of ’s It’s approach to the music is fresh and collection of 12 violin op. 9 dynamic and always in the context first published in Amsterdam in 1727. of historically informed performance practice, whether in concert, opera or La Cetra Vokalensemble Basel was in music-theatre. Repertoire and the established in 2012 at the initiative of occasion determine the size of the Andrea Marcon and Johannes Keller. As orchestra and the vocal ensemble going with the orchestra, it’s members are for from a smaller Consort to full-fledged the most part graduates of the Schola orchestra, chorus and soloists. Cantorum Basiliensis, one of the world’s foremost institutions for early music Artistic Director of La Cetra studies. The Vokalensemble performs Barockorchester & Vokalensemble regularly with the orchestra in opera since 2009 is the Italian conductor, and oratorio as well as in its own right. harpsichordist and organist Andrea The Chorus Master is Carlos Federico Marcon. Over the years La Cetra has

Sepúlveda. La Cetra Barockorchester worked regularly with some of the La Cetra Barockorchester & Vokalensemble Basel Andrea Marcon Biographies 25 world’s leading conductors such as Jordi of Monteverdi’s L’incoronazione di Savall, René Jacobs, Attilio Cremonesi or Poppea, the title-role in Handel’s Giulio Gustav Leonhardt and soloists Andreas Cesare under Alessandro De Marchi for Scholl, , Magdalena Semperoper Dresden, Mozart’s Mitridate, Kožená, , Franco re di Ponto under for Fagioli, Nicola Benedetti or Giuliano Théâtre Royal de la Monnaie, the title-role Carmignola, to name a few. in Handel’s under Jean-Christophe Spinosi and the title-role in Gluck’s Orfeo David Hansen ed Euridice under Rinaldo Alessandrini for Countertenor Den Norske Opera.

David Hansen was born in Sydney, Concert highlights include Carmina Australia. He studied singing with Andrew Burana with the Berliner Philharmoniker Dalton at the Sydney Conservatorium under Sir Simon Rattle, the title-role of Music and furthered his studies with in Handel’s with René Jacobs James Bowman and David Harper. and the Orchestra of the Age of Enlightenment, Bach’s Johannes-Passion In 2004, he made his European debut at with Grenoble the Aix-en-Provence Festival in Purcell’s under and Handel’s Dido and Aeneas. under .

Recent engagements include Handel’s Forthcoming engagements include under Nikolaus Harnoncourt, Nerone the role of in Monteverdi’s in Boston Early Music Festival’s production Il ritorno d’Ulisse in patria under De David Hansen 26 27 Marchi for the Innsbruck Festival of Early Emma und Eginhard under René Music, in Handel’s for Jacobs; Venere/Giuturna in Amor vien the Bolshoi Theater, dal destino; her debut with Musikfest and Händel-Festspiele Karlsruhe, Ligeti’s Bremen as Konstanze in Mozart’s Die Le Grand Macabre for Opernhaus Zürich Entführung aus dem Serail; the title under Fabio Luisi and his Wigmore role in at the Hamburgische Hall début with the Baroque Staatsoper; and debuts at Théâtre Orchestra and Andrea Marcon. Royal de la Monnaie in Gassmann’s L’ and at Teatro Regio Robin Johannsen Torino in Haydn’s Die Schöpfung. In Soprano 2015, she debuted the role of Adina in L’elisir d’amore with the Hamburgische American soprano Robin Johannsen Staatsoper and appeared at the came to Europe as a young artist with Innsbruck Festival of Early Music in the Deutsche Oper and joined Jommeli’s Don Trastullo. Additionally, the company soon after as a soloist. she appeared as Pamina in Mozart’s In 2008, following two years with Oper Die Zauberflöte and Amital in a staged Leipzig, she began her freelance career production of his lesser known Betulia with a special affinity for the baroque liberata. and classical repertoires. Robin Johannsen has been a frequent Highlights of Robin Johannsen’s recent guest with many of the major seasons include her acclaimed debut in festivals, orchestras and opera houses the title role of ’s throughout Europe and North America. Robin Johannsen 28 29 She has collaborated with conductors conductors as Sir , such as René Jacobs, Alessandro De Mark Minkowski, Andrea Marcon and Marchi, Andrea Marcon, Antonello Michael Hofstetter. Manacorda, Attilio Cremonesi, Helmuth Rilling, Ottavio Dantone, Celso Antunes, Career highlights include Nerone Lukasz Borowicz, Christian Thielemann, in L’incoronazione di Poppea and Rafael Frühbeck de Burgos, Marin Alsop, Speranza in Monteverdi’s Orfeo at the and Robert Page. , the Philharmonie in , the Edinburgh Festival, the Kangmin Justin Kim Luzern Festival, the Berliner Festspiele Countertenor and New York’s Lincoln Center under under the direction of Sir John Eliot The Korean-American countertenor Gardiner, Cesare in Vivaldi’s Catone in Kangmin Justin Kim was born in South Utica at the Oper Köln and Orfeo in Korea and grew up in Chicago. He Handel’s Parnasso in festa in Basel and studied voice, opera, and musical at the Concertgebouw Amsterdam theater at Northwestern University in with Andrea Marcon, his debut at the Evanston and at the Royal Academy of Teatro San Carlo of in Britten’s Music, London. Canticles, Prince Orlofsky in Die Fledermaus for his Paris debut at the In just a few years Kangmin Justin Opéra Comique conducted by Marc Kim has established himself as one of Minkowski, in La belle Hélène at the most sought-after , the Théâtre du Chatelet in Paris, Sesto in having already collaborated with such La clemenza di Tito in Montpellier, Enea Kangmin Justin Kim 30 31 in Didone abbandonata at the Handel Silke Gäng has performed on tour in Festival in Halle and a Gala concert at Europe and the United States with the the Styriate in Graz. Venice Baroque Orchestra under the direction of Andrea Marcon singing Abra For his interpretation of the title role of in Vivaldi’s . She has Pym he received nominations as “Best appeared with Andrea Marcon and La Singer” of the 2015/16 season for the Cetra Barockorchester & Vokalensem- German theatre award DER FAUST 2016 ble in Basel, Schwetzingen and in Halle and from the magazine Opernwelt as (Saale) as well as in the Concertgebouw “Singer of the year 2016”. Amsterdam. In 2011, she appeared at the Lucerne Festival and in the Gare du Nord Silke Gäng in Basel in the Hölderlin opera Nacht by Mezzo-Soprano G.F. Haas. Further, Silke Gäng has sang under Ton Koopman in Carnegie Hall, German Mezzo-soprano Silke Gäng was New York, at the Theater Basel (Dido and born in Freiburg i. Breisgau and studied Aeneas), the Staatstheater Stuttgart and voice at the Musik-Akademie in Basel at the Salzburg Festival. with Verena Schweizer. She has partici- pated in Masterclasses with Vesselina In the Theater Basel Silke Gäng has Kasarova, , Elisa- performed in Charpentier’s Médée as well beth Glauser and Kurt Widmer and is as in the title role in the Ballett Basel pro- a prize-winner of the 5th International duction of Vivaldi’s Juditha Triumphans. Ernst Haefliger Voice Competition in 2014. She has been invited to the Theater Freiburg and has been heard as Annio in Silke Gäng 32 33 Mozart’s La Clemenza di Tito and Messa- Nissa, and worked as well with Carmela giero/Prosperina in Monteverdi’s Orfeo. Remigio, Luciana Serra, Leone Magiera and Angelo Gabrielli. In addition, Lied recitals have taken her to the Francesca Ascioti has participated in Lucerne Festival and to the Heidelberger masterclasses with . Frühling, among others. Francesca Ascioti made her stage debut Silke Gäng’s concert repertoire includes in the role of Cherubino in Mozart’s Le the Oratorios of J.S. Bach, Vivaldi’s Stabat Nozze di Figaro in Sulmona and has Mater, Gloria, , Händel’s since gone on to perform such roles as Messiah and more. Maddalena in Rigoletto at the Teatro Troiano of Civitavecchia and Flora in Francesca Ascioti La Traviata at the Teatro Dell’Opera of Alt Rome. In 2013 she was heard as Dame Quickly in Falstaff at the Teatro Verdi in Francesca Ascioti began her vocal studies Busseto where she shared the stage with with M° Walter Alberti and graduated Renato Bruson in the title role. from the conservatory in Brescia. From there she went on to study with the Francesca Ascioti was a finalist in the Bernadette Manca di Nissa. “Marcello Giordani Vocal Competition” which gave her the opportunity to debut In 2010 she attended the Ateneo music in the role of Mamma Lucia in Cavalleria accademy in Sulmona where she further Rusticana in January 2014 at the Vero pursued her studies with Ms Manca di Beach Opera Festival in Florida. Francesca Ascioti 34 35 Concert engagements have included Jenny Högström Beethoven’s 9th Symphony at the Soprano Teatro Massimo Bellini in Catania and numerous engagements with Andrea Jenny Högström was born in Luleå, Marcon and La Cetra Barockorchester Sweden where she started playing the Basel ( and Catone in Utica clarinet at the age of 9 and later the of Vivaldi) as well as with the Venice piano. Voice studies began at 16 with the Baroque Orchestra with whom she made soprano Gunilla Niska. She completed her Carnegie Hall and Barbican debuts her Bachelor in Music at the College of in Vivaldi’s Juditha triumphans in 2017; Music in Piteå, Sweden, and went on on the opera stage she has appeared to pursue advanced studies at Schola as Zita in Giacomo Puccini’s Gianni Cantorum Basiliensis, Basel where she Schicchi in Piacenza and as the Baroness earned a Master of Arts in Historical of Champigny in the Cappello di Paglia Performance with honors and in 2014 di Firenze by Nino Rota at the Teatro completed a Master in Music Pedagogy. Petruzzelli in Bari. She has participated in vocal Master Classes with Andreas Scholl, Margreet Honig, Alessandro de Marchi, Andrew Laurence- King, Anthony Rooley, Birgitta Svendén and Barbro Marklund to name a few.

Jenny Högström appears regularly as a soloist in concert, oratorio, song Jenny Högström 36 37 recital and chamber music programmes Marienvesper at King’s College Chapel with baroque ensembles that include in its Summer Music Festival, in Händel’s La Cetra Barockorchester Basel, Il Messiah and as Vagaus in Vivaldi’s Profondo, Ensemble Musikalischer Juditha Triumphans both in Basel. Garten, Alia Mens and Ensemble Odyssee. She is a member of various Luca Tittoto professional vocal groups including La Bass Cetra Vokalensemble, the Zürcher Sing- Akademie, Origen Ensemble Vocal and Luca Tittoto was born in Asolo and English Voices. Jenny has worked with studied with Beniamino Prior. His first such renowned conductors as Andrea breakthrough came in 2006 when Marcon, Hervé Niquet, René Jacobs and he won the Giuseppe di Stefano Michael Form. Competition in Trapani with his interpretation of Don Alfonso. In 2007 Highlights of her solo engagements he made his debut at the Monteverdi include Theater Basel’s productions of Festival in Cremona and at the Aix- Charpentier’s Medée and in the role of en-Provence Festival as Plutone in Abra in Vivaldi’s Juditha Triumphans. She Monteverdi’s Orfeo. The core of his has given recitals at the Konzerthaus repertoire is in baroque opera and the Berlin during the Berliner Tage für Alte operas of Mozart with which he has Musik, at the festival Jeunes Talents in appeared in numerous European opera Paris and as “Singer in Residence” at the festivals and opera houses, including Festival Trigonale in Austria. As a soloist Salzburg, Venice, Naples, Munich, she has been heard in Monteverdi’s Florence, Paris, and Madrid. Luca Tittoto 38 39 His repertoire has expanded to include conductors as Lorin Maazel, Myung belcanto operas such as Lucia di Wung Chung, Fabio Luisi, Andrea Marcon Lammermoor, Cenerentola, Norma or and René Jacobs, to name a few. Guillaume Tell, which he has performed at the major houses as well Andrea Marcon as at the Rossini Festival in Pesaro. He Conductor has won both critical and public acclaim for his interpretations of such roles as Andrea Marcon was born in Treviso, . Giove in Cavalli’s La Calisto, Gessler in He studied at the Schola Cantorum in Guillaume Tell, Mozart’s Don Alfonso and Basel with Jean-Claude Zehnder as well as Leporello, Creon in Charpentier’s Medée with Luigi Ferdinando Tagliavini, Hans van and the King of Scotland in Handel’s Nieuwkoop, Jesper Christensen, Harald which he sang in Basel, Aix- Vogel, and Ton Koopman. In 1986, he won en-Provence and Amsterdam under 1st Prize at the Paul Hofhaimer Organ the direction of Andrea Marcon. With Competiton in Innsbruck, in 1991 1st Andrea Marcon he also created the role Prize at the at the Bologna Harpsichord of Saturno in the modern premiere of Competition. In addition, he was a Caldara’s La Concordia de’ pianeti at the prize-winner at the 1985 Bach-Händel Konzerthaus in Dortmund. His concert Competition in Bruges. repertoire includes all of the principal solo bass parts from Handel’s Messiah Andrea Marcon has been the artistic to the Bach Passions, and from early director of La Cetra Barockorchester baroque to contemporary music. He has since 2009 but his long-standing ties sung under the baton of such eminent with the orchestra date back to the Andrea Marcon © Marco Borggreve 40 41 very first concert in 1999. Early projects appeared at the Royal Albert Hall (Proms) Andrea Marcon has over 50 recordings Carlos Federico Sepúlveda included productions in the Theater Basel and the Barbican in London, the Théâtre to his name, whether as a soloist or as Chorus Master with the Schola Cantorum Basiliensis - des Champs-Elisée and Théâtre du musical director, many of which have Monteverdi’s Orfeo and Vivaldi’s Châtelet in Paris, at the Festival d’Aix-en- been awarded prizes (Edison Award, Carlos Federico Sepúlveda was born in furioso. Since then he has been closely Provence, Amsterdam’s Concertgebouw, ECHO-Klassik, Diapason d’Or) or have Medellin, Columbia. After completing associated with the Theatre where he has Berlin’s Philharmonie, the Zurich Tonhalle, received special recognition (two studies with honors in Choral and lead numerous productions with La Cetra, the Palau de la Musica in Barcelona, Grammy nominations). Orchestral conducting in Vienna, he from Cavalli’s La Calisto to Charpentier’s the Musikverein and the Konzerthaus in went on in 2005 to pursue further studies Médée with Magdalena Kožená in the Vienna, Lincoln Center und Carnegie Hall Andrea Marcon has taught as guest in Early Music Theory at the Schola title role to Mozart’s and most in New York, Los Angeles’s Disney Hall, professor at conservatories and Cantorum Basiliensis. He stayed on to recently Händel’s Alcina, as well as ballet Boston’s Jordan Hall, and Opera City Hall universities in Amsterdam, Copenhagen, become a lecturer in Music Theory as well productions of Purcell’s Fairy Queen and und Kyoi Hall in Tokyo, to name a few. Göteborg, Lyon, Hamburg, Salzburg, as Dean of Students and since the Fall Vivaldi’s Juditha Triumphans with Ballett London, Seoul, and Tokyo, and is Professor of 2016 Assistant Director of the Schola Basel. In addition to his commitment to La for harpsichord and organ at the Schola Cantorum Basiliensis. In addition, he Cetra Barockorchester & Vokalensemble Cantorum Basiliensis. is Artistic Director for the educational Today Andrea Marcon is recognized one Basel, Andrea Marcon is regularly invited project Música Antigua para Nuestro of the world’s preeminent conductors of to conduct major symphony orchestras, Tiempo, Colombia - Schola Cantorum Baroque and Classical repertoire. Well- among them the Berlin Philharmonic, the Basiliensis, Advisor to the Music known soloists with whom he regularly Berlin Radio Orchestra, Danish National Department of the Universidad Central works include Magdalena Kožená, Anna Orchestra, Bavarian Radio Symphony in Bogotá (Columbia) as well as guest Prohaska, , Patricia Petibon, Orchestra. In the summer of 2015 he conductor with various ensembles and , Nicola Benedetti, returned to the Aix-en-Provence Festival Director of the La Cetra Vokalensemble , Viktoria Mullova, for a production of Händel’s Alcina. Basel. and Katia and Marielle Labèque. He has

42 43 La Cetra Barockorchester Andrea Marcon 44 45 Parnasso in festa per gli sponsali di Teti e Peleo, HWV 73 Apollo Apollo Apollo 4 Germane, figlio amato, Schwestern, geliebter Sohn Sisters, dear son, and you Monte Parnasso con fonti, Der Berg Parnass mit Quellen, Mount Parnassus, fountains, e voi, ninfe e pastori, und ihr, Nymphen und Hirten, the nymphs and swains, boschetti, ruscelli, grotte ecc. Hainen, Bächen, Grotten usw. groves, streams, grottos, etc. sciogliete in questo dì erhebt an diesem Tage die prepare today your most Apollo circondato dalle muse e Apollo umgeben von den Apollo surrounded by the le voci al canto! Stimmen zum Gesang! Lasst harmonious strains, da Orfeo, ninfe e pastori Musen und von Orfeo, Muses, Orpheus, Mars, Diam lode a un santo affetto uns eine heilige Liebe preisen, the god of wedded love and ecc. Nymphen, Hirten usw. nymphs and shepherds. che la fé coniugal die eheliche Treue im Herzen faith to praise, forma nel petto! schafft! today with cheerful hearts Ouverture Ouverture Overture 1 Celebriam l’ Feiern wir die Hochzeit von your voices raise. di Tetide e Peleo Thetis und Peleus, welche die Thetis and Peleus’ hymeneals Parte prima Erster Teil Part One che riempisce di gloria Welt wieder mit Ruhm und sing, e speme il mondo! Hoffnung erfüllt! which to the world new 1. Aria (Clio) 1. Aria (Clio) 1. Aria (Clio) 2 hopes and blessings bring. Verginelle dotte e belle, Ihr klugen und schönen Hear, ye virgins, qui vi chiama il biondo Dio. Jungfrauen, euch ruft der learn’d and fair, Clio Clio Clio blonde Gott. the god of light Io trattar molli affetti? Soll ich zarte Gefühle I sing of hymeneals? and learning hear. besingen?

2. Coro 2. Chor 2. Chorus 3 Calliope Calliope Calliope Corriamo pronti ad ubbidir, Beeilen wir uns, ihm zu His summons we attend Io dolci amori? Ich die süße Liebe? I of love? sia nostro pregio a lui servir. gehorchen, without delay, es sei unser Stolz, ihm zu and be it our reward that we Orfeo Orpheus Orpheus dienen. obey. Alle figlie di Giove Den Töchtern Jupiters The first honour should be è il primo onor dovuto. gebührt der Vorzug. yours, daughters of Jove.

Libretto 47 Cloride Chloride Chloris spieghi a noi chiaro Es scheint, dass sogar desire. Perché cantar d’amor? Warum von Liebe singen? Of love why must we sing? il suo bel. der Himmel sich freut Whilst the heavens around und uns seine strahlende display Euterpe Euterpe Euterpe Schönheit entfaltet. their brightest splendour on Godo. Ich freue mich. [What theme more sweet this happy day. What subject for a muse more fit] Coro Chor Chorus Ecco, ne dà stimolo l’onor, Seht, die Ehre spornt uns an, Lo, by honour we’re excited; Marte Mars Mars ecco, avvampa il nostro cor! seht, unser Herz entflammt! lo, with joy we are united. Son muto. Ich schweige. I’m silent and submit. Cetra ch’ha vita Die Lyra, vom Himmel zum The lyre that life from Heaven dal ciel spieghi Leben erweckt, receives, Apollo Apollo Apollo a noi chiaro offenbare uns ihre Herrlichkeit! life, to all that hear it, gives. Né si comincia ancor? Und warum beginnt man Not yet the song begun? il suo bel! Questa mia reggia noch nicht? Mein Palast Be this the palace of the Sun conversa sia di puro amor sei verwandelt in einen to love’s pure temple Apollo Apollo Apollo 6 nel tempio; Tempel der reinen Liebe; chang’d; Ma prima che s’avanzi Doch bevor wir fortschreiten But e’er we start alla vostra virtù eurer Tugend sei mein Beispiel and now your duty, by my nella dotta carriera, auf dem ehrenvollen Wege, in this career, sprone è ’l mio essempio. Ansporn. great example, know. porgiam grazie ferventi lasst uns inbrünstig mit let’s thank the Thund’rer con un’anima amante liebender Seele noch dem Jove, with heart sincere, 3. Solo e Coro 3. Solo und Chor 3. Solo and Chorus 5 e lode ancor al genitor donnernden Vater danken and fill, with joyful praise, Apollo Apollo Apollo tonante! und ihn loben! our fervent prayer. Deh! cantate un bell’ amor, Auf! besingt eine schöne Come and sing love’s holy il più puro e casto ardor! Liebe, das reinste und fire 4. Aria (Orfeo) 4. Aria (Orpheus) 4. Aria (Orpheus) 7 Par che lieto sino il ciel keuscheste Feuer! faithful vows and chaste Spira al sen celeste ardore Es brennt in der Brust ein A heavenly flame our breast

48 49 per cantar nobile amore, himmlisches Feuer, um edle inspires of noble love to sing; Clio Clio Clio 10 e le lodi fian di te. Liebe zu besingen, und der and we thy own, with Hymen’s Spettacolo gradito Ein erfreulicher Anblick war es, Fair was Daphne to the sight, Lobpreis soll dir gelten. fires, era quel, bella Dafne, schöne Daphne, anzusehen, fresh as the rose, and as the will to remembrance bring. di rimirar che tra’ ligustri e rose wie sich zwischen den lily white; amidst the lily and del tuo bel volto avea fisso il Ligustern und Rosen deines the rose, 5. Aria (Apollo) 5. Aria (Apollo) 5. Aria (Apollo) 8 suo trono Amore; schönen Antlitzes die Liebe Love his seat of empire chose. Gran Tonante, Giove Großer Donnergott, Thee, Thund’rer Jove, who in Il biondo Dio mira, contempla, ihren Sitz gewählt hatte. Apollo gazing on her eyes, immenso, gewaltiger Jupiter, thy hand holds heaven and ammira nel tuo bel viso Der blonde Gott sieht, with equal pleasure and scuoti il ciel, la terra, il mar. du erschütterst den Himmel, earth, and sea and land, un paradiso accolto, betrachtet und bewundert in surprise, Tu con mano onnipotente die Erde, das Meer. whose power, as bounteous quando amor scocca un deinem lieblichen Gesicht ein thought heaven was there; grazie e folgori dispensi, Mit allmächtiger Hand teilst as immense, does blessings dardo vollkommenes Paradies, and Love into his heart sono immensi du Gnade und Blitze aus, dein to the world dispense: dal tuo vezzoso lume e als die Liebe einen Pfeil aus shot from thence his killing i tuoi pregi, ed ogni gente Verdienst ist unermesslich, und thee, should the world both stampa forte deinen anmutigen Augen dart. ti dee pur temer e amar. ein jeder muss dich fürchten fear and love, piaga al cor del nume. abschießt und das Herz des und lieben. almighty, and all-giving Jove. Gottes tief verwundet.

6. Coro 6. Chor 6. Chorus 9 7. Aria (Clio) 7. Aria (Clio) 7. Aria (Clio) 11 Già vien da lui il nostro ben, Schon tut er uns Gutes und From him we all our goods Con un vezzo lusinghiero Mit einer schmeichelnden Beauty charms us when it ne fa spirar un ciel seren, haucht uns einen heiteren obtain; vago volto impiaga il cor; Liebkosung verwundet ein smiles; dà gregge, grani, frutta e fior Himmel aus, er gibt Herden, the balmy air we breathe; uno sguardo ch’è severo liebliches Antlitz das Herz; when it frowns, that beauty per consolar il mesto cor. Korn, Frucht und Blumen, the grain, the flocks and non può dar un pronto ein ernster Blick kann keine kills. um das traurige Herz zu herds, the fruits and flowers, amor; sofortige Liebe bewirken; bei When once love inflames the trösten. from him all comforts that are con cambievole piacer wechselseitigem Gefallen breast, ours. brama ognuno di goder. ersehnt ein jeder den Genuss. every lover would be blessed.

50 51 Apollo Apollo Apollo 12 Clio Clio Clio 14 Rimembranza gradita, Teure Erinnerung, Pleasant ’tis Ma di sì belle fiamme ah! Aber, ach! verhängnisvolle But ah! what pain! to call to Dafne, mio caro ben, Daphne, mein geliebter to call to mind, memoria funesta! Erinnerung! welch neidvolles mind! mia dolce vita! Schatz, mein süßes Leben! Daphne, fairest Invido fato spegner volea Geschick wollte den Glanz how fate was to thy charms of her kind. il splendore; der wunderschönen Flammen unkind; ti cangia in un istante vernichten; es verwandelt destroyed them all at once, 8. Duetto (Apollo, Clio) 8. Duett (Apollo, Clio) 8. Duet (Apollo, Clio) 13 in lauro, oh! Dei! dich augenblicklich in einen and she Apollo Apollo Apollo E di ninfa gloriosa Lorbeerbaum, oh Götter! und a nymph this moment, is the Sin le grazie nel bel volto Selbst der Liebreiz in deinem The graces in thy lovely face solo pianta gloriosa statt einer glorreichen next a tree. hanno in te novo splendor; schönen Antlitz become still brighter oggi tu sei. Nymphe bist du heute nur A glorious tree, the laurel, tutto il vago è in te raccolto bekommt neuen Glanz; by the place; noch eine wunderschöne ever green, per far lieto amante cor. alle Anmut ist in dir vereint, um whate’er is charming in the Pflanze. as she a glorious nymph had das liebende Herz zu erfreuen. three shines collected all in been. thee. 9. Aria (Clio) 9. Aria (Clio) 9. Aria (Clio) 15 Clio Clio Clio Quanto breve Wie kurz ist der Genuss, How fast do our enjoyments Non portò mai il cor Niemals fühlte sich einsam im None e’er thy golden locks è il godimento, wenn sich die Freude plötzlich fly, disciolto, Herzen, wer dein goldenes could see, and keep from se la gioia in un momento in argen Schmerz verwandelt. in the same moment they are chi mirò il tuo crine d’or; Haar sah; wer sich dir love his bosom free; none cangia in rigido dolor. Der Mensch ist nur zum Leid born and die: chi sarà ver te rivolto zuwendet, wird das liebende e’er beheld thy charms, but Nacque l’uom geboren, lang währt das how fast our joys to sorrow farà lieto amante cor. Herz erfreuen. found a wounded heart, sol per le pene, Schlechte und kurz das Gute, turn, and blessed the wound. lungo il male noch im Vergnügen wird er this moment we rejoice, the e corto è il bene, erschüttert. next we mourn. nel piacer s’agita ancor. The good’s soon gone, the

52 53 evil long remains, 10. Coro 10. Chor 10. Chorus 17 and e’en our dearest pleasures Cantiamo a Bacco Lasst uns an diesem Let’s sing to Bacchus have their pains. in sì lieto dì Freudentag zu Bacchus on this joyful day poich’il dolor in noi singen, denn unser Schmerz ist and he’ll our songs Apollo Apollo Apollo 16 già sen svanì! bereits vergangen! with gladdened hearts Vada in oblio memoria Die schmerzliche Erinnerung Lose all remembrance now repay. sì funesta, sei vergessen, of ill, calma, gioia Ruhe und Freude mögen dem and all your hearts with 11. Aria (Marte) 11. Aria (Mars) 11. Aria (Mars) 18 succeda a ria tempesta. schlimmen Sturme folgen. gladness fill; Del nume Lieo Dieser heilige Trank The liquor Lyaeus prepares Amor, pace, contento, Liebe, Frieden, Glück, Tugend, let gentle calm succeed the quel sacro liquor des Gottes Lyäos ist Ruhm und for his sons is their glory, their virtù, le grazie, il riso Anmut und Fröhlichkeit sollen stormy seas, è gloria e trofeo Trophäe jeder Seele, jedes trophy, their fame. nell’alma di quei sposi im Herzen dieses Brautpaars gay love, and sweet content, d’ogn’alma, ogni cor. Herzens. And while through their veins formino un paradiso. ein Paradies erschaffen. and peace. Se fiera tempesta Wenn uns schwerer Sturm it cheerfully runs, it fills, with its Noi per ciò lieti intanto Daher lasst uns, die wir uns The virtues, graces, and the ne guida al martir, zu Qualen führt, erweckt er warmth, their whole frame. cantiam di Bacco indessen freuen, Bacchus mit smiles combine ei sol calma desta, allein die Stille und bringt uns Whene’er we on trouble le gran lodi e ’l vanto! Lobgesängen preisen und to form a paradise divine ne mena al gioir. Freude. by tempests are thrown, ehren! in the pure breast of those he leads us to calms, whom love and Hymen join. and our joy is his own. Let us to Bacchus then our voices raise, 12. Aria (Apollo) 12. Aria (Apollo) 12. Aria (Apollo) 19 and to this boasted act Sciolga dunque So erhebe heute ein jeder die Let everyone adapt our lays. al ballo, al canto Stimme und den Fuß with song and dance oggi ognun zum Tanz und zum Gesang! Ihr this helpful power appease, la voce e il piè! brachtet Lob dem heiligen who does their joys

54 55 Lodi feste al nume santo Gott, der allen Labung so much advance, Calliope Calliope Calliope che ristoro a tutti diè. reichte. and always gives them ease. Sento in loco del martir Ich fühle anstatt der Qual I feel in my heart, gaudio, festa, brio, gioir. Freude, Vergnügen, to grief no more a prey, 13. Coro e Soli 13. Chor und Soli 13. Chorus and Solos 20 Munterkeit und Lebenslust. to mirth, festivity Coro Chor Chorus and joy give way. S’accenda pur Das Herz entzünde sich am Let us gladden then our di festa il cor, Feste und die Seele erhebe souls Apollo Apollo Apollo si versi l’alma a far onor! sich ihm zur Ehre! with reveling and cheerful Sento sol ch’il mio voler Ich fühle nur mein Verlangen, I feel my soul can now no Già Bacco Bacchus triumphierte bereits bowls; corre al canto zum Gesang und zu einem thought employ in noi pur trionfò in uns und erfüllte jedes Herz of Bacchus be our song, e a un bel goder. schönen Feste zu eilen. on anything but songs and e in ogni cor gioia portò. mit Freude. Bacchus ever gay and joy. young; he by whom we are Coro Chor Chorus possessed, Sù, dunque alziam Auf, lasst uns nun die Stimmen Let’s to Heaven and every heart so filled is le voti al ciel! gen Himmel richten! Er lädt our [pray’rs now] raise, blessed. Ne invita lieto uns mit seiner Herrlichkeit then Heaven con il suo bel, freudig ein und vereint sich will inspire our lays; s’unisce a noi per esultar mit uns, um das Fest zu with its serenity Clio Clio Clio la festa anch’ei bejubeln, das auch er feiern invite to mirth, Sento già brillar Ich spüre das Herz schon I feel his influence vuol celebrar. will. and in the feast unite. il cor lieto, grato e tutto ardor. springen, freudig, dankbar in my breast, und voller Leidenschaft. I’m joyous, all inspired and 14. Coro 14. Chor 14. Chorus 21 pleased. Replicati al ballo, Wendet euch wieder dem Let everyone al canto, Tanz, dem Gesang zu, ein with song and dance

56 57 sciolga ognun la voce jeder erhebe die Stimme und this helpful power appease, versetzen konnte, draw the dancing woods. e il piè! den Fuß! who does their joys Lodi feste al nume santo, Ihr brachtet Lob dem heiligen so much advance, Clio Clio Clio che ristoro a tutti diè. Gott, der allen Labung and always gives them ease. chi seppe il Tartaro placar, der den Tartarus zu erweichen He who can please Hell’s reichte. sa il nostro canto meritar … wusste, weiß unseren Gesang gloomy powers zu schätzen ... and touch their hearts, must Parte seconda Zweiter Teil Part Two sure touch ours ...

15. Soli e Coro 15. Soli und Chor 15. Solos and Chorus 1 Coro Chor Chorus Calliope Calliope Calliope …sa il nostro canto meritar. ... er weiß unseren Gesang zu ... and touch their hearts, Nel petto sento un certo In meiner Brust fühle ich ein I feel within my breast a Puoté Anfion ben fabricar schätzen. must sure touch ours. ardor starkes Feuer, das zu Ehren certain fire novelle mura al suo cantar, Amphion konnte einst durch Amphion once the walls of che splender vuole d’Orfeo Orfeos leuchten will. to sing of Orpheus and his Orfeo li monti fé marciar sein Lied neue Mauern Thebes did raise, all’onor. heavenly lyre. che san tal’ mura superar. errichten, and stones replace in order Orfeo aber ließ die Berge sich by his lays; Euterpe Euterpe Euterpe in Bewegung setzen, high mountains follow when Qual cor potria mai ricusar Welches Herz könnte sich je What tender heart, what die solche Mauern überragen Orpheus calls, sue belle lodi a celebrar? weigern, seine schönen sister muse konnten. and to high mountains what Gesänge zu rühmen? to sing his praises can refuse? are humble walls?

Cloride Chloride Chloris Apollo Apollo Apollo 2 Chi col suo canto fé stupir Der mit seinem Gesang einen Who with his notes can stop Qual tetra nube, Orfeo, Welche dunkle Wolke, Orfeo, But why that cloud upon your rio, belve, e monti Bach und die wilden Tiere the rolling floods, oscura il bel sereno bedeckt die schöne Reinheit brow? assoggettir, bezaubern und Berge can move huge rocks, and della tua fronte? deiner Stirn? Orpheus, forget all sorrow now.

58 59 16. Aria (Apollo) 16. Aria (Apollo) 16. Aria (Apollo) 3 Leben auszuströmen. sound. Torni pure un bel splendore Es kehre doch wieder ein Let nothing in your look Torni pure un bel sereno schöner Glanz und erhelle das serene, Cloride Chloride Chloris 6 e rischiari il mesto sen! traurige Herz! but what is glad and gay be E non s’udiran mai Und wird man stets solche But in Apollo’s palace shall Vada in bando ogni dolore, Jeder Schmerz verschwinde seen. che effeminati accenti besänftigenden Töne in we ne’er no sounds goda l’alma un bel seren! und die Seele erfreue sich Of grief let every breast be nella reggia d’Apollo? Apollos Palast hören? but softening accents hear? einer schönen Ruhe! clear, Io di Diana vo seguendo Ich folge dem Beispiel Dianas; The example of Diana and joy in every face l’essempio; chi è divoto per wer ihr fromm ergeben ist, I pursue as all who are to her appear. lei, segua il suo tempio. folge ihrem Kult. devoted do.

Clio Clio Clio 4 18. Coro 18. Chor 18. Chorus 7 Ognun mi siegua e godi Ein jeder folge mir und freue [All follow me, and all Oh quanto bella gloria Oh wie schön What glory does the hunter cantar d’Orfeo le lodi! sich, ein Loblied auf Orfeo rejoice, è quella del cacciator! ist der Ruhm des Jägers! gain, anzustimmen! let praise of Orpheus fill each Ha sempre la vittoria, Er trägt immer den Sieg his chase pursuing o’er the voice!] né vinto è dall’amor. davon, selbst die Liebe kann plain? ihn nicht besiegen. With victory he’s always 17. Aria (Clio) 17. Aria (Clio) 17. Aria (Clio) 5 crowned; Nel spiegar sua voce al Wenn er seine Stimme zum While he sings the feathered and ne’er feels love’s canto Gesang erhob, throng tormenting wound. gli augelletti e l’aure intanto blieben die Vöglein und die And listening winds admire stavan cheti ad ammirar. Lüfte bewundernd still. his song. 19. Aria (Cloride) 19. Aria (Chloride) 19. Aria (Chloris) 8 Da’ suoi grati e dolci accenti Von seinen lieblichen und While he sings, the air Tra sentier di amene selve Inmitten der Pfade der Among the windings of the imparavan gli elementi süßen Klängen lernten die around fo guerra colle belve, lieblichen Wälder führe ich woods gioia e brio solo spirar. Elemente einzig Freude und gathers the sweetness of the e pur la cara pace ho Krieg gegen die wilden Tiere, I chase wild beasts, and ever

60 61 sempre al core. und doch habe ich immer is my heart at ease; 21. Arioso (Calliope) 21. Arioso (Calliope) 21. Arioso (Calliope) 11 Corro di lido in lido, den teuren Frieden im Herzen. from hill to hill I run, from Già le furie vedo ancor Schon wieder sehe ich die Still by the furies you’re il monte, il pian m’è fido, Ich ziehe von einem Strand grove to grove, ch’ora tormentano Furien, die dein Herz quälen, possessed, né l’insidie temer so zum andern, der Berg und die fearless of danger from the il tuo sen, doch jetzt ist jeder Schmerz I see them in your tortured dell’amore. Ebene sind mir vertraut, und snares of love. ma adesso è vano vergeblich. breast: ich fürchte auch nicht die ogni dolor. Vergiss doch die schöne but now all sorrow is in vain, Verlockungen der Liebe. Scordati pur del caro ben! Geliebte! remembrance but augments Ah! Se impazienti furo i rai, Ach! wenn die Augen the pain: 20. Coro 20. Chor 20. Chorus 9 perché paziente il cor non ungeduldig waren, fearing from the fair to part. Oh quanto bella gloria Oh wie schön What glory does the hunter hai? warum ist dein Herz nicht Impatient were your eyes, è quella del cacciator! ist der Ruhm des Jägers! gain, besonnen? but patient be your heart. his chase pursuing o’er the plain? 22. Accompagnato 22. Accompagnato 22. Accompanied 12 (Orfeo) (Orpheus) (Orpheus) Calliope Calliope Calliope 10 Dopo d’aver perduto il caro Nach dem Verlust der My love for ever lost to me, Che mai facesti, Orfeo? Was hast du nur getan, Why turned you back your bene saria grande il schönen Geliebten wäre es at least some comfort Perché non por il freno Orfeo? greedy eyes, conforto, se si perdesse ein großer Trost, wenn man it would be, could I the sad alle avide tue luci? Warum bezähmtest du nicht Orpheus, when from Hell you ancora la memoria funesta; auch die traurige Erinnerung remembrance lose; Non sapevi che a canto deine habgierigen Augen? came? ma oh Dei! Questa pur resta, verloren hätte; aber oh but that, alas! my soul della tua gioia Wusstest du nicht, dass neben Did you not know that to e chi fu nell’amor sì ortunato Götter! diese bleibt, und wer pursues. To one so wretched stava pronto il pianto? deiner Freude despise non può agli Elisi ancor esser in der Liebe so glücklich in his love, Elysium would no schon die Tränen the Gods command would beato. gewesen ist, kann auch im pleasure prove. bereitstanden? lose the dame? Elysium nicht mehr glücklich werden.

62 63 23. Aria e Coro 23. Aria und Chor 23. Aria and Chorus 13 tu sei quel raro essempio du bist ein seltenes Beispiel für pleased, and so appear, Orfeo Orpheus Orpheus di fede coniugal, di amante eheliche Treue, that you by cheerfulness may Ho perso il caro ben, Ich habe die teure Geliebte I’ve lost my fair, e sposo. einen Liebenden und einen others cheer: son l’ombre il mio seren; verloren, Ruhe finde ich nur my only dear, Gatten. since all may by your rare pietà del mio dolor! noch in den Schatten; habt and never will example see S’unisca al mio martir Mitleid mit meinem Schmerz! my sky be clear; what lovers, and what il vostro bel soffrir; Euer aufrichtiges Mitgefühl have pity on my grief: husbands ought to be. soccorso a questo cor vereinige sich mit meiner kindly in my sufferings join, occorso al mio dolor! Qual; steht mir in meinem mix your moving plaints with 24. Duetto 24. Duett 24. Duet 15 Schmerz bei! mine, and give my soul relief. Apollo Apollo Apollo Cangia in gioia Verwandle deinen Schmerz in Your grief to gladness turn: Coro Chor Chorus il tuo dolor, Freude, lass doch von den cease, Orpheus, cease to S’unisce al tuo martir Mitleid, Schmerz, Mitgefühl We kindly in thy sufferings cessa pur di lacrimar! Tränen ab! mourn; pietà, dolor, soffrir; vereinigen sich mit deiner join, Il tuo bello e casto amor Deine schöne und reine Liebe your love’s so chaste and conforta il mesto cor! Qual; tröste dein trauriges and mix our moving plaints seppe in Dite trionfar. wusste in der Hölle zu pure a flame Herz! with thine, triumphieren. as will the fury of infernals and give thy soul relief. tame.

Apollo Apollo Apollo 14 Clio Clio Clio Figlio, diletto Orfeo, Mein Sohn, geliebter Orfeo, Orpheus, dearest of my sons, Chi fedel più del tuo cor Welches Herz, treuer als das What heart, more faithful quel sovenir funesto jene unheilvolle Erinnerung soll forbear, diede norma a un vero deine, gab einer wahren than your own, non renda il tuo cor mesto! dein Herz nicht betrüben! drive from your soul this killing amar? Liebe ihr Maß vor? a proof of truer love has Anzi più che mai lieto Vielmehr sollst du mehr denn care; A te lodi, gloria, onor Lobgesänge, Ruhm und Ehre shown? esser devi e glorioso; je glücklich und strahlend sein; you rather should be deve ognun lieto portar. soll dir ein jeder fröhlich Glory and honour are your

64 65 darbieten. due, vogliamo offrir, darbieten und den Wellen bring, and all should thankful be fedel nell’onde getreu einen schönen Zephir. and zephyrs flying with a to you. un bel zefir; Das Meer, das Land, der gentle wing. applauda il mar, Himmel sollen einer so Heaven, earth and sea, and A due Beide Both la terra, il ciel glanzvollen und schönen land Imiteran tanta virtù Das Brautpaar, The wedded pair, who owe to all’imeneo sì Hochzeit Beifall spenden! will join, to praise a union so li sposi scesi di là sù. herabgestiegen von dort heaven their birth, illustre e bel! divine. oben, wird einer solchen will with like virtues bless the Tugend nacheifern. joyful earth. Parte terza Dritter Teil Part Three

Apollo Apollo Apollo 16 26. Sinfonia 26. Sinfonia 26. Sinfonia 18 Di Nettuno seguaci, Gefolge Neptuns, Ye Tritons who on Neptune tritoni amici, colle vostre befreundete Tritonen, eilt nun wait, Marte Mars Mars 19 trombe mit euren Hörnern herbei, um your trumpets found to Io che degli avi eccelsi Ich, der ich der Schutzgott der I above all the tutelary ormai pronti accorrete mit uns die edle Hochzeit von celebrate di questi illustri sposi edlen Ahnen dieses powers, adored by this high a celebrar con noi gli alti Thetis und Peleus zu feiern! the illustrious hymeneal day fui il nume tutelar, ora ne glanzvollen Brautpaares pair’s great ancestors, sponsali Solch teure Erinnerungen of Thetis and Peleus. vengo gewesen bin, komme nun von my willing tribute come to di Tetide e Peleo! soll das Meer nicht ehrfürchtig The dear remembrance to a tributar sì gloriosa prole dort, um den glorreichen pay to their loved offspring Memorie così care verschweigen. their kindred sea, a spiegarne gli eventi. Nachkommen die Ehre zu on their nuptial day, their non dee tacer or should always honoured, Ma precedano pria erweisen, die Geschehnisse zu future glory to declare. rispettoso il mare. always grateful be. guerrieri accenti! erklären. Doch zuvor sollen But first let’s martial sounds kriegerische Klänge ertönen! prepare. 25. Coro 25. Chor 25. Chorus 17 Coralli e perle Korallen und Perlen wollen wir Pearl and coral we will

66 67 27. Coro e Solo 27. Chor und Solo 27. Chorus and Solo 20 Coro Chor Chorus Coro Chor Chorus Si parli ancor di trionfar, Lasst uns noch von Siegen Let’s speak their triumphs, Si parli ancor di trionfar, Lasst uns noch von Siegen Let’s speak their triumphs, gloria ed amor del par! reden, Ruhm und Liebe and proclaim gloria ed amor iran del par! reden, Ruhm und Liebe and proclaim werden sie stets begleiten! their glory and their love the werden sie stets begleiten! their glory and their love the same. same. Orfeo Orpheus Orpheus 21 Marte Mars Mars Oh! Stirpe gloriosa, O ruhmreiches Geschlecht, O glorious race by heaven Il lor destin vuo’ publicar Ich will ihr Schicksal kundtun, I’ll to the joyful world relate in cui le sue speranze il auf das die Welt ihre designed che i sposi eccelsi vuol bear; dass die edlen Brautleute what blessings are reserved mondo posa! Hoffnungen setzt! to bless the hopes of all è già prefisso colà sù beglücken will; dort oben for them by fate; mankind. che li accompagni wurde bereits estgeschrieben, in its eternal book we see sol virtù. dass allein die Tugend sie virtue will always their 28. Aria (Orfeo) 28. Aria (Orpheus) 28. Aria (Orpheus) 22 begleiten wird. companion be. Da sorgente rilucente Von einer schimmernden A lovely riv’let from its spring un bel rio trae lo splendor. Quelle zieht ein schöner Bach does all its silver brightness Coro Chor Chorus Pianta aprica, ognor ridente seinen Glanz. Die besonnte bring. Gloria ed amor iran del par! Ruhm und Liebe werden sie Their glory and their love the dà i più vaghi e lieti fior. und jederzeit lächelnde A plant, that opens to the stets begleiten! same. Pflanze zeitigt die anmutigsten sun, und freundlichsten Blüten. still yields the fairest flowers Marte Marte Mars that paint the vernal fields. Prole d’eroi sapranno dar Sie werden ein Helden- A race of heroes they will e tutto ’l mondo consolar. geschlecht zeugen und der give Calliope Calliope Calliope 23 ganzen Welt Trost bringen. and nations in distress relieve. Dall’opre illustri Die glanzvollen Taten der The glorious memory of dei genitor Eltern dienen dem edlen heroic sires

68 69 trae chiari essempi Herzen als leuchtende a thirst of glory in their race lays nobile cor. Beispiele. inspires. this hymeneal day to praise?

29. Aria (Calliope) 29. Aria (Calliope) 29. Aria (Calliope) 24 30. Aria e Coro 30. Aria und Chor 30. Solo and Chorus 26 Sempre aspira eccelso core Das edle Herz strebt stets A noble soul, in noble deeds Apollo Apollo Apollo l’altrui gloria ad avanzar; danach, den Ruhm anderer all others would out-do; Non tardate, fauni, ancora Zögert nicht, ihr Faune, And you, ye fauns gli avi sol per farli onore zu übertreffen; th’example of his fathers to frutta e fiori a tributar! Früchte und Blumen that haunt the lawns, si contenta d’emular. nur um die Ahnen zu ehren, pursue, Un bell’iri e vaga aurora darzubringen! of fruits and fragrant flowers begnügt es sich damit, ihnen is all he in the chase of glory v’accompagna a Ein schöner Regenbogen und prepare an offering, to this nachzueifern. needs. festeggiar. anmutige Morgenröte happy pair; fair Iris you, and begleiten euch zum Feste. ever-fair Aurora too come, Apollo Apollo Apollo 25 come away to celebrate this Delle dotte germane, Schon hörte ich die Töne der I’ve heard my learned sisters, nuptial day. del mio diletto figlio, klugen Schwestern, meines my dear son del Dio guerrier ancor udii gli geliebten Sohnes und des I’ve heard and Mars’s warlike Coro Chor Chorus accenti. Gotts des Krieges. song is done Accorriam senza dimora Wir eilen ohne Zaudern We come, we run Ma voi pastorelle, ninfe, Aber ihr Hirtenmädchen, but have not heard the lieti e pronti a festeggiar! freudig und gerüstet zum without delay pastor, perché taciti siete? Nymphen, Schäfer, warum nymphs and swains: Feste! to celebrate Sù, cantate con noi, e fia un schweigt ihr? why hear I not your tuneful this nuptial day. trofeo Auf, singt mit uns, und es strains? per voi di celebrar l’alto gereiche euch zur Ehre die Sing then; with us your voices Clio Clio Clio 27 imeneo! edle Verbindung zu feiern! join to celebrate the feast Sia degli eccelsi sposi eterno Das edle Brautpaar möge Let this illustrious pair, divine: il viver, ewig leben und zum Trost der the world to bless, what honour to your sylvan sempre mai giocondo Welt stets voller Freude sein! live in lasting happiness.

70 71 per conforto del mondo! tutti l’ammirano, In ihrer Jugend bewundern sie win. degli avi aspirano alle, sie streben danach, dem Happy in their youthful days, 31. Aria (Clio) 31. Aria (Clio) 31. Aria (Clio) 28 gloria a emular. Ruhm ihrer Ahnen in universal love and praise, Circondin lor vite Blumengeschmückte Grazien May they be nachzueifern. in glory they would rise so le grazie fiorite, mögen euer Leben umgeben, the graces’ care, high di parca quel tel stia lontan. das Netz des Todes bleibe their thread of life as their fathers to outvie. Essempi di gloria, fern. the fatal sisters spare; d’eterna memoria, Zu jeder Zeit werden sie mit whose virtue to Apollo Apollo Apollo 31 ognor con virtute daran. ihrer Tugend Beispiele des the world shall give Di virtù, di valor, Das so glorreiche Paar A pair for virtue so Ruhmes und der ewigen examples that pietà e clemenza wird die edle Quelle der renowned, Erinnerung geben. as long will live. coppia sì gloriosa Tugend, der Tapferkeit, with valour, piety and d’esser bella sorgente avrà des Mitleids und der Milde goodness crowned; Euterpe Euterpe Euterpe 29 la gloria, sein und ewig wird es in and of such origin divine will Con un spirto divoto Mit andächtigem Geist Let everyone with heart e eterna renderà Erinnerung bleiben. in fame’s annals through all a così illustri sposi weihe ein jeder dem so sincere offer with me to la sua memoria. ages shine. porga pur meco ognun il glanzvollen Brautpaar das heaven a prayer for this core in voto. Herz. illustrious pair. 33. Solo e Coro 33. Solo und Chor 33. Solo and Chorus 32 Apollo Apollo Apollo 32. Aria (Euterpe) 32. Aria (Euterpe) 32. Aria (Euterpe) 30 Lunga serie d’alti eroi Ein dauerndes Geschlecht Succeeding heroes to the Han mente eroica, Sie haben eine heroische Great as their heroic race, da quei sposi sortirà. edler Helden end of time, han volto amabile, Gesinnung, ein reizendes Lovely both in mind and Giove il vuole, wird dieses Paar shall from this pair descend. han modo affabile Aussehen und ein freundliches face, in eterno fiorirà hervorbringen. ’Tis Jove’s decree that they per farsi amar. Gebaren, affable in words and mien, Es ist Jupiters Wille, dass es shall ever happy be. In età giovine weshalb sie geliebt werden. they all hearts delight and ewig blühe.

72 73 Coro Chor Chorus Coro Chor Chorus Giove il vuole, Es ist Jupiters Wille, ’Tis Jove’s decree No, quella prole Nein, solche Geschlechter No, no more, in eterno fiorirà. dass es ewig blühe. that they shall ever happy oggi il mondo più non ha. gibt es heute nicht mehr auf that stock’s no more. be. der Welt.

Apollo Apollo Apollo Apollo Apollo Apollo Dall’occaso ai lidi eoi Vom Westen bis zu den From west to east their fame Ma alla stirpe di Peleo Aber dem Stamm des Peleus But on the race of Peleus, la sua fama spargerà. östlichen Stränden wird sich shall fly, un supremo fato arride, lächelt ein großes Schicksal Jove Propitious will for ever sein Ruhm verbreiten. spread o’er the world and Giove il vuole, entgegen, prove reach the sky. in eterno fiorirà. Es ist Jupiters Wille, ‘Tis Jove’s decree that they dass er ewig blühe. shall ever happy be. Coro Chor Chorus Giove il vuole, Es ist Jupiters Wille, ’Tis Jove’s decree that they Coro Chor Chorus in eterno fiorirà. dass es ewig blühe. shall ever happy be. Giove il vuole. Es ist Jupiters Wille. ‘Tis Jove’s decree Alla stirpe di Peleo Dem Stamm des Peleus that they shall ever happy Apollo Apollo Apollo un supremo fato arride; lächelt ein großes Schicksal be. On the race of Peleus, S’atterrò mostri , Solche Geschlechter wie das If Theseus monsters did to Giove il vuole, entgegen; Jove Propitious will for ever s’abbattette l’Idra Alcide, von Theseus, der die death pursue, in eterno fiorirà. Es ist Jupiters Wille, prove. ‘Tis Jove’s decree quella prole Ungeheuer niederschlug, if the dreadful Hydra dass er ewig blühe. that they shall ever happy oggi il mondo più non ha. und von Herakles, der die slew, be. Hydra umbrachte, gibt es that stock’s no more. heute nicht mehr auf der Gran Coro Gran Chor Welt. Un supremo fato arride Das Schicksal alla stirpe di Peleo, lächelt dem Stamm des

74 75 in eterno fiorirà; Peleus zu, Giove il vuole, ewig wird er blühen; in eterno fiorirà. Es ist Jupiters Wille, dass er ewig blühe.

German Translation Teresa Ramer-Wünsche

English Text Mr. George Oldmixon (c.1712-1779) from the London Workbook of 1734

76 77 Acknowledgments Premium Sound

PRODUCTION TEAM and Outstanding Executive producer Renaud Loranger | Recording producer & editor Markus Artists Heiland | Co-producer La Cetra | Balance engineer Andreas Ruge | Recording company Tritonus PENTATONE. Today’s music is evolving Together with our talented artists, LA CETRA TEAM and forever changing, but classical we take pride in our work, providing Managing director Chandler Cudlipp | Project manager Stefan Burkhardt music remains true in creating harmony an impeccable means of experiencing Personnel manager Christina Hess | Project assistant Alice Borciani among the instruments. Classical music classical music. For all their diversity, is as time-honoured as it is timeless. our artists have one thing in common. Liner notes Teresa Ramer-Wünsche | English translation Terence Best And so also should the experience be. They all put their heart and soul into Concert Photos (19 October 2016) Martin Chiang | Design Joost de Boo We take listening to classical music the music, drawing on every last drop Product management Max Tiel to a whole new level, using the best of creativity, skill, and determination technology to produce a high-quality to perfect their contribution. This album was in part recorded live at the Martinskirche Basel in October 2016. recording, in whichever format it may come, in whichever format it may be Find out more: released. www.pentatonemusic.com

PENTATONE TEAM Andrea Marcon and La Cetra Barockorchester & Vokalensemble Basel are grateful to the Hallische Vice President A&R Renaud Loranger | Managing Director Dirk Jan Vink Händel-Ausgabe and Bärenreiter-Verlag Kassel for the permission to make use of the latest Director Product, Marketing & Distribution Simon M. Eder | A&R Manager Kate research from the critical edition of the Parnasso in festa, edited by Teresa Ramer-Wünsche. Rockett | Marketing & PR Silvia Pietrosanti | Distribution Veronica Neo Sit back and enjoy