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Orphée Et Euridice

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Orphée Et Euridice Orphée et Euridice Tragédie-opéra (Drame héroïque) en trois actes Livret de Pierre-Louis Moline d’après Ranieri de’ Calzabigi Musique de Christoph Willibald Gluck PERSONNAGES Orphée ténor1 Euridice soprano L’Amour soprano Chœur de Bergers et de Bergères, de Nymphes, de Démons et de Furies, d’Ombres heureuses, de Héros et de Héroïnes. Première représentation: Version livret italienne Calzabigi: 5 Octobre 1762, Burgtheater, Vienne. Version livret française Moline/Calzabigi: 2 Août 1774, Académie Royale, Paris. 1 Tenore acuto, o haute-contre come veniva definito all’epoca in Francia. La parte fu assegnata al famoso tenore Joseph Le Gros (o Legros, 1739-1793) per la rappresentazione all’Académie Royale de la Musique di Parigi nel 1774. Orfeo ed Euridice Azione teatrale per musica in tre atti Libretto di Pierre-Louis Moline da Ranieri de’ Calzabigi Musica di Christoph Willibald Gluck PERSONAGGI Orfeo tenore Euridice soprano Amore soprano Coro di Pastori e Pastorelle, di Ninfe, di Demoni e Furie, di Spiriti beati, di Eroi ed Eroine. Prima rappresentazione: Versione libretto italiano di Ranieri de’ Calzabigi: 5 ottobre 1762, Burgtheater, Vienna. Versione libretto francese di Pierre-Louis Moline da Calzabigi: 2 agosto 1774, Académie Royale, Parigi. Prima rappresentazione al Teatro alla Scala nella versione francese Legenda dei colori utilizzati nel libretto della presente edizione: Nero: testo di Ranieri de’ Calzabigi - Marrone: testo da libretti ottocenteschi - Grigio: traduzioni nuove (Versione Parigi 1774, elaborazione critica a cura di Ludwig Finscher. Copyright ed edizione Alkor-Bärenreiter, Kassel, 1967; rappresentante per l’Italia Casa Musicale Sonzogno di Pietro Ostali, Milano) Tiziano Vecellio. Orfeo ed Euridice. Olio su tavola, 1508 ca. (Bergamo, Accademia Carrara). 6 ARGUMENT … te dulcis coniunx, te solo in litore secum te veniente die, te decedente canebat. Virg. Georg. IV, vv. 465-66 La Fable d’Orphée et d’Euridice est assés connüe pour ne pas entrer dans un long detail à cet objet. Le Poëtes nous ont appris qu’Euridice mourut dans le Campagnes de Thrace de la morsure d’un Ser- pent quelques jours après son mariage avec Orphée. Pour conserver l’unité de lieu dans ce Poëme, on suppose qu’elle est morte et ensevelie dans une Champagne voisine du Lac d’Averne qui conduit à l’entrée des Enfers. Les Dieux touchés du déses- poir d’Orphée lui permettent de pénétrer dans le Champs Elisées pour en retirer Euridice à condition qu’il ne la regarderoit point qu’il ne soit de retour sur la terre. Orphée avant de sortir des Enfers pressé par la violence de son Amour oublie la loy qui lui est imposée et donne la Mort à Euridice en osant la regarder. Pour adapter cette Fable à notre Scene on a été obligé de changer la catastrophe, et d’y ajouter l’épisode de l’Amour qui reunit les Epoux. Ovide rapporte ce sujet dans le X. livre de ses Metamorphoses: Virgile en fait mention dans le quatrieme chant de ses Georgiques, et dans le sixieme de son Eneïde. M. Calzabigi est l’auteur du Poëme italien. On a suivi aussi litteralement qu’il étoit possible l’original dans la traduction: ce foible ouvrage semble éxiger plus d’indulgence qu’aucun autre par l’extrême difficulté d’adapter la Poësie françoise à la Musique expressive d’un Opera, qui a dejà été représenté avec succès sur les principaux théâtres de l’Europe. ARGOMENTO … te dulcis coniunx, te solo in litore secum te veniente die, te decedente canebat. Virg. Georg. IV, vv. 465-66 È noto Orfeo, e celebre il suo lungo dolore nell’immatura morte della sua sposa Euridice. Morì ella nella Tracia; io per comodo dell’unità del luogo la suppongo morta nella campagna felice presso al lago d’Averno, in vicinanza del quale finsero i poeti trovarsi una spelonca, che apriva il cammino al- l’Inferno. L’infelice amante mosse a pietà gli Dei, che gli concessero di penetrar negli Elisi per ripi- gliarsi la sua diletta, col patto però di non guardarla finché non fosse tornato sulla terra. Non seppe il tenero sposo frenar tanto gli affetti, ed avendo contravvenuto al divieto perdé per sempre Euridice. Per adattar la favola alle nostre scene ho dovuto cambiar la catastrofe. Leggasi Virgilio al libro IV del- le Georgiche, al VI dell’Eneide. Il Signor Calzabigi è l’autore del testo poetico italiano. Abbiamo dunque seguito letteralmente il suo testo per quanto è stato possibile nella nostra traduzione: questo semplice lavoro sembra esigere in- dulgenza più di qualsiasi altro, per l’estrema difficoltà di adattare il testo francese all’espressività del- la musica di un’opera che è già stata rappresentata con successo nei principali teatri d’Europa. 7 [Ouverture] [Ouverture] ACTE PREMIER ATTO PRIMO Le théâtre représente un bosquet agréable, mais La scena rappresenta un ameno, ma solitario solitaire, où on découvre le tombeau d’Euridice, boschetto di allori e cipressi, che ad arte dirada- au milieu d’une allée de cyprès et de lauriers. La to racchiude in un piccolo piano la tomba d’Eu- scène est occupée par une troupe de Bergers et ridice. de Bergères, et de Nymphes de la suite d’Or- All’alzarsi della tenda al suono di mesta sinfo- phée et d’Euridice. Les uns portent des guir- nia, si vede occupata la scena da uno stuolo di landes de myrte et des vases antiques dont on Pastori e Ninfe seguaci di Orfeo, che portano se servait dans les cérémonies funèbres, et les serti di fiori e ghirlande di mirto; e mentre una autres sont occupés à répandre des parfums, et parte di loro arder fa dei profumi, incorona il à couvrir de fleurs le tombeau sur lequel l’Hy- marmo, e sparge fuori intorno alla tomba, in- men est appuyé, ayant son flambeau éteint. Or- tuona l’altra il seguente Coro, interrotto da’ la- phée est assis sur un côté du théâtre, contre un menti d’Orfeo che disteso sul davanti sopra arbre, où il a suspendu son casque et sa lyre; en- d’un sasso, va di tempo in tempo replicando tièrement livré à sa douleur, il ne fait que répé- appassionatamente il nome di Euridice. ter à tout moment le nom d’Euridice. SCÈNE I SCENA I Orphée, troupe de Bergers et de Bergères, Orfeo, gruppo di Pastori e Pastorelle, [Ninfe del [Nymphes de la suite d’Euridice]. seguito di Euridice]. [Chœur] [Coro] Bergers et Bergères Pastori e Pastorelle Ah! dans ce bois tranquille et sombre, Ah! se intorno a quest’urna funesta, Euridice! si ton ombre Euridice, ombra bella nous entend… t’aggiri… Orphée Orfeo Euridice! Euridice! Bergers et Bergères Pastori e Pastorelle Sois sensible à nos alarmes, Odi i pianti, vois nos peines, vois les larmes i lamenti, i sospiri que pour toi l'on répand! che dolenti si spargon per te! Orphée Orfeo Euridice! Euridice! Bergers et Bergères Pastori e Pastorelle Ah! prends pitié du malheureux Orphée! Ed ascolta il tuo sposo infelice, (soli) (soli) Il soupire, il gémit… che piangendo ti chiama… Orphée Orfeo Euridice! Euridice! Bergers et Bergères Pastori e Pastorelle Il plaint sa destinée; E si lagna. (tutti) (tutti) l'amoureuse tourterelle, Come quando la dolce compagna toujours tendre, toujours fidèle, tortorella amorosa perdè. ainsi soupire et meurt de douleur. 8 [Récitatif] [Recitativo] Orphée Orfeo Vos plaintes, vos regrets, augmentent mon sup- Amici, quel lamento plice! aggrava il mio dolore! Aux mânes sacrés d'Euridice All’ombra pietosa d’Euridice rendez les suprêmes honneurs, rendete omai gli estremi onori et couvrez son tombeau de fleurs. e il marmo ne inghirlandate. [Pantomime] [Pantomima] [Ballet-Pantomime des Nymphes et des Bergers] [Balletto-Pantomima delle Ninfe e dei Pastori] [Chœur] [Coro] Bergers et Bergères Pastori e Pastorelle Ah! dans ce bois tranquille et sombre, Ah, se intorno a quest’urna funesta, Euridice! si ton ombre Euridice! ombra bella nous entend, t’aggiri, sois sensible à nos alarmes, odi i pianti, vois nos peines, vois les larmes i lamenti, i sospiri que pour toi l'on répand. che dolenti si spargon per te. [Récitatif] [Recitativo] Orphée Orfeo Eloignez-vous! ce lieu convient à mes malheurs, Amici miei, deh mi lasciate solo et je veux sans témoins y répandre des pleurs. in braccia al pianto, al duolo. (la suite d’Orphée se retire avec le Nymphes, et (il seguito di Orfeo si ritira con le Ninfe, e tutti si ils se dispersent dans le bois.) disperdono nel bosco.) [Ritournelle] [Ritornello] SCÈNE II SCENA II Orphée seul. Orfeo solo. [Air] [Aria] Orphée Orfeo Objet de mon amour! Chiamo il mio ben così, Je te demande au jour quando si mostra il dì, avant l'aurore; quando s’asconde. (Orchestre II derrière le théatre) (Orchestra II dietro il teatro) et quand le jour s'en fuit, Ma, oh vano mio dolor! ma voix pendant la nuit l’idolo del mio cor t'appelle encore! non mi risponde. [Récitatif] [Recitativo] Euridice! Euridice! Euridice! Euridice! Ombre chère! ah! dans quels lieux es-tu? Ombra cara, ove sei? Piange il tuo sposo, Ton époux gémissant, interdit, éperdu, ti domanda agli Dei, te demande sans cesse à la nature entière: a’ mortali ti chiede e sparse a’ venti Les vents, hélas! emportent sa prière. son le lagrime sue, i suoi lamenti. 9 [Air] [Aria] Accablé de regrets Sopraffatto dai rimpianti je parcours des forêts delle foreste percorro la vaste enceinte. i vasti spazi. Touché de mon destin Ma sola al mio dolor, Echo répète en vain perché conobbe amor, ma triste plainte. l’Eco risponde. [Récitatif] [Recitativo] Euridice! Euridice! de ce doux nom Euridice! Euridice! Ah, questo nome tout retentit, ces bois, ces rochers, ce vallon, san le spiagge e le selve sur les troncs dépouillés, sur l'écorce naissante l’appresero da me.
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