Handel Rodelinda

MENU Handel Rodelinda

THE ENGLISH CONCERT HARRY BICKET LUCY CROWE | IESTYN DAVIES JOSHUA ELLICOTT | TIM MEAD BRANDON CEDEL | JESS DANDY 1 Credits Tracklist Notes from Harry Bicket Synopsis Programme note Sung texts Handel Rodelinda Biographies

THE ENGLISH CONCERT HARRY BICKET LUCY CROWE | IESTYN DAVIES JOSHUA ELLICOTT | TIM MEAD BRANDON CEDEL | JESS DANDY MENU

Recorded in St John’s Smith Square, London, Post-production Cover Image UK, Julia Thomas ‘Impossibility’ by on 16–21 September 2020 Francisco Andriani (b. 1989), Italian Language Coach reworked by Recording Producer & Engineer Matteo Dalle Fratte stoempstudio.com Philip Hobbs Design Assistant Engineer stoempstudio.com Rodrigo Leal del Ojo 3 George Frideric Handel (1685–1759) MENU Rodelinda, regina de’ Longobardi, HWV 19

THE ENGLISH CONCERT HARRY BICKET director/harpsichord

RODELINDA LUCY CROWE soprano BERTARIDO IESTYN DAVIES countertenor GRIMOALDO JOSHUA ELLICOTT tenor GARIBALDO BRANDON CEDEL bass EDUIGE JESS DANDY contralto UNULFO TIM MEAD countertenor

4 MENU

ACT I

1 — Ouverture 4:10 2 — Menuet 1:56

Scene 1 3 — Aria Ho perduto il caro sposo (Rodelinda) 5:38 4 — Recitative Regina! (Grimoaldo, Rodelinda) 0:59 5 — Aria L’empio rigor del fato (Rodelinda) 4:33

Scenes 2 & 3 6 — Recitative Duca, vedesti mai (Grimoaldo, Garibaldo, Eduige) 1:27

Scene 3 7 — Aria Io già t’amai (Grimoaldo) 3:34

Scene 4 8 — Recitative E tu dici d’amarmi? (Eduige, Garibaldo) 0:39 9 — Aria Lo farò (Eduige) 3:41

Scene 5 10 — Recitative Eduige, t’inganni (Garibaldo) 0:24 11 — Aria Di Cupido impiego i vanni (Garibaldo) 5:06

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Scene 6 12 — Sinfonia Pompe vane di morte (Bertarido) 2:19 & Accompagnato 13 — Aria Dove sei, amato bene? (Bertarido) 5:05 14 — Recitative Ma giunge Unulfo (Bertarido, Unulfo) 2:08

Scene 7 15 — Aria & Recitative Ombre, piante, urne funeste (Rodelinda, Bertarido, Unulfo) 6:05

Scene 8 16 — Recitative Baci inutili e vani (Garibaldo, Bertarido, Unulfo, Rodelinda) 1:54 17 — Aria Morrai, sì (Rodelinda) 4:23

Scene 9 18 — Recitative E ben, duca, poss’io (Grimoaldo, Garibaldo) 0:41 19 — Aria Se per te giungo a godere (Grimoaldo) 3:56

Scene 10 20 — Recitative Unulfo, oh Dio! (Bertarido, Unulfo) 0:51 21 — Aria Sono i colpi della sorte (Unulfo) 4:18

Scene 11 22 — Recitative Sì, l’infida consorte (Bertarido) 0:23 23 — Aria Confusa si miri (Bertarido) 4:41

6 MENU

ACT II

Scenes 1 & 2 24 — Recitative Già perdesti, o signora (Garibaldo, Eduige, Rodelinda) 2:10

Scene 2 25 — Aria De’ miei scherni (Eduige) 4:53

Scene 3 26 — Recitative Rodelinda, è pur ver …? (Grimoaldo, Rodelinda, Unulfo, Garibaldo) 2:00 27 — Aria Spietati, io vi giurai (Rodelinda) 4:53

Scene 4 28 — Recitative Unulfo, Garibaldo, in questo seno (Grimoaldo, Unulfo, Garibaldo) 1:05 29 — Aria Prigioniera ho l’alma in pena (Grimoaldo) 6:40 30 — Recitative Massime così indegne (Unulfo, Garibaldo) 0:39 31 — Aria Tirannia gli diede il regno (Garibaldo) 3:08 32 — Recitative Sì, sì, fellon (Unulfo) 0:35 33 — Aria Fra tempeste funeste (Unulfo) 5:12

7 MENU

Scene 5 34 — Aria & Recitative Con rauco mormorio (Bertarido, Eduige) 6:31 35 — Recitative Ah no, che non m’inganna (Eduige, Bertarido, Unulfo) 3:02 36 — Aria Scacciata dal suo nido (Bertarido) 5:06

Scene 6 37 — Recitative Vive il mio sposo? (Rodelinda, Unulfo) 1:01 38 — Aria Ritorna, o caro (Rodelinda) 4:24

Scene 7 39 — Recitative Ah, sì! Ecco lo sposo (Rodelinda, Bertarido, Grimoaldo) 2:58 40 — Aria Tuo drudo è mio rivale (Grimoaldo) 3:18 41 — Recitative Non ti bastò, consorte (Rodelinda, Bertarido) 0:54 42 — Duet Io t’abbraccio, e più che morte (Rodelinda, Bertarido) 7:37

8 MENU

ACT III

Scene 1 43 — Recitative Del german nel periglio (Eduige, Unulfo) 1:40 44 — Aria Un zeffiro spirò (Unulfo) 5:36 45 — Recitative Con opra giusta (Eduige) 0:22 46 — Aria Quanto più fiera (Eduige) 3:51

Scene 2 47 — Recitative O falso è Bertarido (Garibaldo, Grimoaldo) 1:25 48 — Aria Tra sospetti (Grimoaldo) 4:26

Scene 3 49 — Aria, Chi di voi fu più infedele (Bertarido, Unulfo) 6:04 Accompagnato & Recitative

Scene 4 50 — Recitative Non temere (Eduige, Rodelinda) 1:52 51 — Aria Se ’l mio duol non è sì forte (Rodelinda) 6:54

Scene 5 52 — Recitative Amico, ah!, che a me duole (Bertarido, Unulfo) 1:03 53 — Aria Se fiera belva ha cinto (Bertarido) 4:22

9 MENU

Scene 6 54 — Accompagnato Fatto inferno è il mio petto (Grimoaldo) 2:58 55 — Aria Pastorello d’un povero armento (Grimoaldo) 5:29

Scenes 7 & 8 56 — Recitative Che miro? (Garibaldo, Grimoaldo, Bertarido, Rodelinda) 1:14

Scene 8 57 — Aria Vivi, tiranno (Bertarido) 5:23

Scene 8 & Final Scene 58 — Recitative Dunque sei Bertarido? (Grimoaldo, Rodelinda, Unulfo, Eduige, Bertarido) 1:37

Final Scene 59 — Aria Mio caro, caro bene (Rodelinda) 4:01 60 — Recitative Sposa, figlio (Bertarido) 0:33 61 — Duet & Chorus D’ogni crudel martir (Rodelinda, Bertarido, Coro) 6:05

10 Notes from Harry Bicket MENU

Rodelinda is an opera that has been part of my life for many years; firstly at Glyndebourne in the late 1990s when I conducted many performances at the Festival and also on tour, and then from 2004 when the Metropolitan Opera in New York staged their first ever complete Handel opera with Renée Fleming in the title role, a production that is still in their repertoire.

The renewed interest in Handel’s operas comes from a number of sources: a thirst for ‘new’ repertoire; a revolution in the way in which stage directors have contrived to stage opera seria with its formal structure and da capo arias; a plethora of sensational Handel singers (it is said that it is easier in the twenty-first century to cast a Handel opera well than a Verdi opera); and a happy rediscovery of the emotional directness of Handel’s musical language which seems to speak to our times.

In Rodelinda, there is also a fine libretto which gives the characters (especially Grimoaldo) an emotional arc that is not always found in eighteenth-century opera, and Rodelinda’s dignified resistance in a male dominated society comes across as unexpect- edly modern.

The English Concert performs a Handel opera every year at Carnegie Hall, an event that is now sold out months in advance. 2020 was an unprecedented year of course and all performances were cancelled, but we decided that we should find a way to record the piece. The challenges were huge; all performers had to be two

11 MENU metres away from each other, which for an orchestra is like trying to juggle with one hand tied behind one’s back. The English Concert is a listening orchestra, and not being able to hear a stand partner, let alone other instruments or singers, is a big challenge. However, we were determined to find a way, and for all of us the imperative was that we play together again after six month’s hiatus in the most joyful way we could. Gradually it became clear we needed to adjust our ears and sharpen other antennae in order to cohere in such a spread-out environment. But ultimately cohesion comes, as it always does, from a common vision and a passion for performing, something that has been at the heart of The English Concert since its founding almost fifty years ago.

12 MENU Synopsis

Aripert, king of Lombardy, left his domains to his three children, Bertarido, Gundeberto and Eduige. Gundeberto sent his adviser Garibaldo to invite Grimoaldo, Duke of Benevento, to help him to get more than his share, in return for the hand of Eduige, now Queen of Pavia. In the ensuing war, Gundeberto was killed treacherously and Bertarido went missing, presumed dead, leaving behind his wife Rodelinda and their young son Flavio. Grimoaldo usurped Bertarido’s kingdom of Milan.

ACT I In the royal palace in Milan, Rodelinda laments the loss of her husband Bertarido (‘Ho perduto’). Grimoaldo declares his long-hidden passion for her, but she indignantly spurns him and his offer of the throne that is rightfully hers (‘L’empio rigor’). Grimoaldo com- plains to Garibaldo of Rodelinda’s disdain and the demands on him of Bertarido’s sister, Eduige, to whom he was pledged. Garibaldo suggests he play the women off against each other. Grimoaldo ‘hasn’t the heart’, but tells Eduige that as she once spurned him, he now spurns her (‘Io già t’amai’). The jilted Eduige promises Garibaldo to return the love he pro- fesses for her once she has achieved Grimoaldo’s humiliation (‘Lo farò’). Alone, Garibaldo reveals his ambition to gain a throne for himself by pretending love (‘Di Cupido’).

In fact, Bertarido is alive; he has given out word of his death in order to be able to return in secret and carry away his wife and son. Among the royal tombs, in dis- guise, he bitterly resents the inscription on the monument erected to him, longing

13 MENU for comfort from his beloved wife (‘Dove sei’). He is discovered by Unulfo, his loyal advisor. Pretending to serve the current regime, Unulfo has kept Bertarido’s exis- tence secret even from Rodelinda, and when she comes with Flavio to mourn at the tomb he restrains Bertarido from rushing into her arms. Bertarido and Unulfo over- hear her weeping for her husband’s fate (‘Ombre, piante’). Garibaldo interrupts her with an ultimatum from Grimoaldo: if Rodelinda will not marry him, her son will die. Rodelinda, apparently defeated, consents, but vows to have Garibaldo’s death as her price (‘Morrai, sì’). Garibaldo reports his success to Grimoaldo, who promises to protect him from Rodelinda: he is king and can set the terms of justice to suit himself (‘Se per te’). Bertarido is aghast at Rodelinda’s acquiescence. Unulfo urges him to let Rodelinda know he is alive and to take heart (‘Sono i colpi’), but Bertarido would rather she be humili- ated as an unwitting bigamist and rages that he will make sure she suffers (‘Confusa’).

ACT II Garibaldo taunts Eduige with her loss of Grimoaldo, hoping she will marry him instead, but he sees through her prevarications. Eduige satirically congratulates Rodelinda on having both throne and husband within her reach, and vows vengeance on Grimoaldo (‘De’ miei scherni’). Grimoaldo enters with Garibaldo and Unulfo. Rodelinda lays down her terms: she will marry Grimoaldo only if he first kills her son with his own hand before her eyes. Grimoaldo recoils, but Rodelinda reiterates that she can never be mother to the rightful king while embracing the usurper. She leaves Grimoaldo dumbfounded. Unulfo and Garibaldo tussle for Grimoaldo’s soul, Unulfo urging him to behave nobly, Garibaldo telling him to call Rodelinda’s bluff. Grimoaldo declares that he would rather remain a prisoner of his heart than conquer his obsession

14 MENU (‘Prigioniera’). When the two advisers are alone, Unulfo draws from Garibaldo his credo of tyrannical villainy (‘Tirannia’). Unulfo resolves to reassure Bertarido of his wife’s fide- lity (‘Fra tempeste’).

Eduige overhears Bertarido lamenting his fate (‘Con rauco mormorio’) and recognizes his voice as her brother’s. Unulfo brings word of Rodelinda’s fidelity, which is gratifying news for Eduige as well. She promises to help Bertarido rescue his wife and son, calling on hope to sustain her. Unulfo goes to tell Rodelinda of Bertarido’s survival, and Bertarido rejoices in the prospect of reunion (‘Scacciata’).

Unulfo tells Rodelinda of Bertarido’s return; she trembles with anxiety, relief and joy (‘Ritorna’). Reunited with her, Bertarido begs her forgiveness for his unfounded sus- picions. They embrace, only to be discovered by Grimoaldo, who, failing to recognize Bertarido, denounces Rodelinda’s hypocrisy in proclaiming her fidelity but harbou- ring a lover. To save her honour, Bertarido reveals his identity, but Rodelinda, ready to sacrifice her virtuous reputation for his life, denies it. Grimoaldo, threatening that his rival will die whatever his identity (‘Tuo drudo’), leaves them to embrace for the last time (‘Io t’abbraccio’).

ACT III Eduige and Unulfo plan Bertarido’s escape from prison. Unulfo, full of hope, departs to put the plan into practice (‘Un zeffiro spirò’), and Eduige determines to gain peace from remorse with this righteous deed (‘Quanto più fiera’). Garibaldo counsels Grimoaldo to put the stranger – whoever he is – to death. Grimoaldo is racked by jealousy, passion and fear (‘Tra sospetti’).

15 MENU The imprisoned Bertarido upbraids cruel fate, but then a sword is thrown (by a con- cealed Eduige) into his cell. When Unulfo enters to rescue him, Bertarido, taking him for an executioner, stabs his loyal servant, but the wounded Unulfo manages to lead the way to the secret escape route opened for them by Eduige. Eduige meanwhile guides Rodelinda and Flavio into the now empty cell, where the recent bloodstains from Unulfo’s wound cause Rodelinda to believe that Bertarido has been executed. She is overcome with despair (Se ’l mio duol).

In the garden Bertarido binds Unulfo’s wound and waits concealed and ready to strike while Unulfo goes to find Rodelinda (‘Se fiera belva’). Grimoaldo, tormented by remorse, seeks solace in sleep in the garden (‘Pastorello’). Garibaldo, finding him there unpro- tected, seizes his sword to kill him, but Bertarido leaps from hiding and drives off the would-be assassin. Having dispatched Garibaldo, Bertarido returns Grimoaldo’s sword, scornfully offering himself for death (‘Vivi, tiranno’). Rodelinda, Unulfo and Eduige, declaring themselves Bertarido’s supporters, receive assurance from Grimoaldo that he has had a change of heart. At last pledging himself to Eduige, Grimoaldo asks to reign in Pavia as her husband, and relinquishes the throne of Milan to Bertarido, who accepts it once he is assured that wife and son will be restored to him. Rodelinda rejoices in their restored fortunes (Mio caro, caro bene). Bertarido joins her in bidding farewell to their sorrows (‘D’ogni crudel martir’), and all hail a brighter future (‘Dopo la notte’).

© Ruth Smith, 2020

16 MENU Rodelinda

History brought to life

In 1725, the year of Rodelinda’s premiere, Giuseppe Riva, an Italian opera insider, warned an aspiring librettist that London would never tolerate an opera based on Lombard history. He was disproved by enthusiastic audiences, then and now, for Handel’s thrilling and intense Rodelinda, Queen of Lombardy, product of the annus mira- bilis in which Handel premiered three masterpieces for London’s Royal Academy opera company at the King’s Theatre in the Haymarket. The two others had been drawn from the two main source traditions of baroque opera: Giulio Cesare from the carnivalesque Venetian style, Tamerlano from the severe French classical tradition. Rodelinda comes from the latter stable. Handel completed the draft score on 20 January, and first per- formed it only weeks later, on 13 February.

Paul the Deacon’s eighth-century chronicle of dynastic history in seventh- century Lombardy (Italy) provided the plot and characters for a tragedy by the seventeenth-century French master dramatist Pierre Corneille. His Pertharite, roi des Lombards (1652) was such a flop that he gave up playwriting for seven years, but at the start of the eighteenth century it was successfully refashioned by the librettist Antonio Salvi. From Corneille’s play Salvi stripped out much of the politics, concentrating on personal emotions, and his libretto, originally for Giacomo Antonio Perti’s Rodelinda (Pratolino, 1710), became a popular opera source, with six adaptations by 1741, inclu- ding Nicola Haym’s for Handel.

17 MENU Constructing the drama

No adapter of Salvi was as thorough-going as Haym, principal dramaturg (and cellist) of the Royal Academy opera, who was also the librettist of Giulio Cesare and Tamerlano. Haym’s and Handel’s cuts and substitutions radically tightened the action, and made married love the centre of the opera.

Haym omitted eight of Salvi’s scenes and ran several of them together, giving a sense of momentum and shape. Though working within the opera seria formula of recitative-aria-exit, he was not strait-jacketed by it, and generated some extended interactions. A striking instance is the second half of Act I, at Bertarido’s monument: one continuous scene lasting around 40 minutes, involving six of the seven characters in different combinations, and incorporating action, confrontation, suspense and sur- prise (symmetry, too: it ends with a mirror image of its beginning, Bertarido alone and in angry despair).

The screw of the action keeps tightening, alternating hopefulness and shock. The moments of optimism created when Eduige changes for the better, when Eduige and Unulfo join forces, and when Bertarido accepts that Rodelinda is faithful, are overturned when Grimoaldo collapses into fury on finding Rodelinda with Bertarido, when husband and wife are torn apart, when Bertarido is almost unhinged by imprisonment, and when Rodelinda for the first time is driven to total despair (by Bertarido’s apparent death) – all exploding in an attempted assassination and a death within ten minutes of the end.

18 MENU As so often in Handel’s operas, similes, metaphors, platitudes and gene- ralizations in the source libretto are almost all replaced with direct expressions of emotion, sometimes at Handel’s initiative. A famous example is Rodelinda’s ‘Spietati’. As Andrew Jones detailed in Music & Letters (2007), her magnificent condemnation of Garibaldo and Grimoaldo replaced a text by Haym in which she compared herself to a snake in the grass (unsuitable!), itself replacing a text by Salvi referencing an episode of child-eating in Greek mythology (very unsuitable!), and, unlike its predecessors, gave Handel a strong opening word with which to launch his heroine’s defiance.

Handel’s audience expected to be able to learn from serious art, and liked to tease out lessons by comparing and contrasting behaviour. The characters in Rodelinda offered splendid material. We are shown a calibrated scale of virtue descending from Rodelinda through Unulfo, Bertarido, Eduige and Grimoaldo down to Garibaldo, and a proliferation of instructive parallels. Garibaldo, wicked counsel- lor; Unulfo, good counsellor. Garibaldo, a real villain; Grimoaldo, trying to be a villain. Eduige and Bertarido (siblings) both too impulsive for their own good. Queen Eduige, ambitious for herself but with no strategy; Queen Rodelinda, ambitious to do her duty by her son and husband, thinking ahead. Rodelinda and Bertarido: she is the stronger, the more single-minded in fulfilment of the obligation her role has given her – especially by contrast with Bertarido, who is born to be king, but is indifferent to his kingdom. Haym and Handel show a wonderful freedom from convention in their rank- ing of their characters in a moral hierarchy. The two noblest characters, Rodelinda and Unulfo, are at opposite ends of the social spectrum.

19 MENU A drama of real people

In cutting over half of Salvi’s 1222 lines of recitative, and removing swathes of exposition and explanation, Haym and Handel not only heightened the drama but created images of real life. Salvi lays out facts about previous events and motives in due order. But in Handel’s opera we are not told most of them, they emerge during the course of the action. Bertarido learns of Grimoaldo’s passion for Rodelinda not through the loyal Unulfo’s report but by seeing it acted out, a far more horrible twist of the knife for him (and us). In her first aria Eduige gives vent to her fury at being jilted by Grimoaldo. Not till a whole act later do we learn that she helped Grimoaldo to gain the throne he now occupies, and we realize that in her opening aria she was resenting more than a snub to her vanity. And only within minutes of the end do we discover that, under his attempt at nonchalant cruelty, Grimoaldo has all along been tormented by guilty remorse for his part in the murder of Bertarido’s and Eduige’s brother and Bertarido’s ‘disappearance’. This is like meeting new people in real life: they seldom open up completely at first, we learn only gradually about their past, and only then properly understand their behaviour. And because the characters – unlike, for instance, those of Giulio Cesare – were unfa- miliar to Handel’s audience, and are to us, they appear without the weight of history and centuries of interpretation round their shoulders. We are unimpeded from identifying with them.

Handel’s audience – many of them courtiers or public servants – knew that in the corridors of power complete candour is unwise, and Rodelinda is full of instances when people conceal their true intentions. Garibaldo conceals his ambitions from Grimoaldo, but he is not the consummate Machiavel he likes to think he is. Unulfo is able to draw his real motives out of him by manifesting pretended astonishment at

20 MENU his daring; as so often with second-rate villains, Garibaldo’s vanity gets the better of him. He should have armed himself with some of Unulfo’s well-judged reticence.

Because the story is unfamiliar, we too sometimes have no way of knowing how sincere or honest the characters are being: again like real life. When Rodelinda agrees to marry Grimoaldo, to save her son, we are as appalled as her overhearing husband, not yet understanding the depth of her fidelity. So when later he begs her for- giveness, we too feel compunction for having doubted her.

Handel’s operas give us convincing pictures of conflicted motivation. They explore clashes between a sense of responsibility, selfish ambition (usually for power), and passion (usually love). In Rodelinda most of the major characters are trying to gain or regain status through a shift in relationships. The people who have the power – Grimoaldo, Eduige, and Garibaldo – abuse it. Their ambition is complicated by passion – their own or other people’s or both – and they try to exploit other people’s passion to their own ends. The person who rightfully has power, Bertarido, is uninterested in doing anything to assert it, because he is overmastered by his passionate love for his wife.

The clarity of purpose of Rodelinda and Unulfo shines in contrast. As so often in Handel, the most admirable person is a woman. The beleaguered but strong woman was a favourite form of heroine in the early eighteenth century, but Handel invests Rodelinda with matchless tenderness and warmth as well as courage and ingenuity. Again only gradually revealing her to us, he saves the full avowal of her love for Bertarido to late in Act II, in the radiant ‘Ritorna, o caro’, an aria that he and Haym inserted into Salvi’s text, replacing one for Unulfo.

21 MENU Again as in real life, people change and develop, and can bring about change in each other. Rodelinda’s exemplary spirit transforms Bertarido. At the end of Act I we see him meanly determined to hurt Rodelinda, but in the denouement of Act II, when he is found embracing her, the reason why he reveals his identity to Grimoaldo is to save Rodelinda’s honour, even if it means his death. She has ennobled him by her example. Generosity of spirit, learned from her, gives him new insight. Hitherto he misread her deception of Grimoaldo, now he recognizes it for what it is, understanding that she is lying about his identity to save him and because she values his life even more than her honour.

Musical characterizing

Handel’s music signals the twists and turns in his characters’ relationships, for example at the crucial moment when Grimoaldo finds Rodelinda in the arms of, so he thinks, a casual lover. Grimoaldo’s hold over Rodelinda is that he has the motive and power to kill her son. Her hold over him has been that he is in love with her, and her fidelity to her supposedly dead husband makes her especially desirable to him. Now he turns against her with a frightening aria of righteous indignation, in G minor. The choice of key (as Katie Hawks has pointed out) expresses a double dramatic point. It is the key which Rodelinda herself used to repudiate Grimoaldo, with righteous indignation, in the opera’s first scene. Rodelinda is still faithful, so Grimoaldo has no more right to her key, and its righteous indignation, than he has to her.

22 MENU By changing Salvi’s order of arias at the end of Act I, Haym and Handel do more than give their primo uomo his expected act-end prime slot. They show us Unulfo setting Bertarido a good example of proactivity and Bertarido not following it, but rai- ling against his (supposedly faithless but actually loyal) wife, although he has just seen her trying to save their son. But we sympathize, because we have heard in ‘Dove sei’ how much he loves her; and this too is one of several instances of Handel inserting a new aria into Salvi’s text, to enormous dramatic gain. Without it, we would see only cruelty and anger in Bertarido, but ‘Dove sei’ prepares for his union with Rodelinda in their peerless duet. We can see Handel working this out: ‘Dove sei’ was an afterthought, inserted after he had composed the scene without it.

An equally felicitous afterthought was ‘Vivi, tiranno’, added at the first revival. We need this blaze of assertiveness from Bertarido. For the first time he is able to speak out as himself, instead of skulking in the shadows. The aria was written for the singer who portrayed Bertarido in both runs, Senesino (Francesco Bernardi), and he must have been satisfied (not always the case) that Handel had done him justice, as well as being pleased with his own performance, since he chose to have his portrait painted as Bertarido. His Rodelinda was Francesca Cuzzoni, who overturned fashion trends with her gown for the occasion (brown silk with silver trimmings) and, more importantly, had proved to Handel, in her recent creation of his Cleopatra, the variety and intensity of emotion she could express. Handel wrote the part of Grimoaldo for the creator of his Bajazet, Francesco Borosini, who was both a commanding and a subtle actor-singer, and was sufficiently virtuoso to overcome London’s indifference to tenors.

23 MENU No wonder the opera was a success, receiving fourteen performances in its first season and eight in each of its two revivals under Handel. After being unheard for nearly 200 years, Rodelinda famously inaugurated the modern rediscovery of Handel’s operas, at Göttingen in 1920.

© Ruth Smith, 2020

24 MENU Rodelinda Rodelinda

1 — Ouverture 1 — Ouverture

2 — Menuet 2 — Menuet

ATTO I ACT I

SCENA I SCENE 1

Appartamenti di Rodelinda. The apartments of Rodelinda. Si vede Rodelinda Rodelinda appears seated a sedere piangente; in a mournful posture and weeping; e poi Grimoaldo enter afterwards Grimoaldo e Garibaldo con guardie and Garibaldo with guards

3 — Aria 3 — Aria Rodelinda Ho perduto il caro sposo, Rodelinda I have lost my dear husband, e qui sola alle sventure and here, alone in misfortune, vie più cresce il mio penar. my distress increases. Che farò? Morir non oso, What shall I do? I dare not die, ché a me resta ancor il figlio, while I still have my child with me, e periglio è lo sperar. and it is dangerous to hope.

4 — Recitativo 4 — Recitative Grimoaldo Regina! Grimoaldo My Queen! Rodelinda Grimoaldo, Rodelinda Grimoaldo, nel mio presente stato, ingiurioso in my present state to be called

25 MENU m’è il nome di regina ‘queen’ by you is an insult, you, who da te, che m’involasti e regno e sposo. have robbed me of throne and husband. Grimoaldo E sposo e regno appunto Grimoaldo It is to give husband and throne a renderti vengh’io. back to you that I’ve come. Rodelinda (si leva da sedere) Come? Rodelinda (getting up from her seat) What? Grimoaldo Fin tanto Grimoaldo While Bertarido, che visse Bertarido, il tuo consorte, your husband, was alive, ti celai, Rodelinda, il foco mio; I hid, Rodelinda, my love from you; or, che la di lui morte now that his death giustificò le mie speranze, aperte has justified my hopes, vedi le fiamme mie. you can see my passion in the open. Rodelinda Che sento? A te non basta Rodelinda What do I hear? Isn’t it enough regno e sposo involarmi? Insidi ancora, for you to steal throne and husband from me, perfido, la mia gloria? but now, villain, you want my honour? No, Grimoaldo, io già rifiuto il dono, No, Grimoaldo, I refuse the offer, lasciami la mia gloria, leave me my good name, e tienti il trono. and keep the throne.

5 — Aria 5 — Aria Rodelinda L’empio rigor del fato Rodelinda The cruel blows of fate vile non potrà farmi, will not make me base, se misera mi fé. even though they make me wretched. E tu, crudo tiranno, And you, cruel tyrant, in van tenti placarmi, in vain you try to appease me, se m’hai legato il pié. you, who have imprisoned me. (parte) (exit)

SCENA II SCENE 2

Grimoaldo e Garibaldo Grimoaldo and Garibaldo

26 6 — Recitativo 6 — Recitative MENU Grimoaldo Duca, vedesti Grimoaldo Duke, did you ever see mai più bel disprezzo? such fair disdain? Garibaldo Io della tua non vidi, Garibaldo I’ve never seen, o mio signore, my lord, sofferenza maggior. anyone as long-suffering as you. Grimoaldo Temo irritarla: Grimoaldo I’m frightened to upset her: la pace del mio seno both Eduige and Rodelinda are Eduige combatte, e Rodelinda; waging war on the peace of my heart; questa con l’odio e quella con l’amore. one with hate, the other with love. Garibaldo L’una e l’altra Garibaldo You could dominate domar puoi col rigore. them both with strictness. Grimoaldo Come? Grimoaldo How? Garibaldo Il noioso affetto Garibaldo Reject Eduige’s disprezza d’Eduige; e Rodelinda boring affection; and make Rodelinda ti paventi e ti adori a suo dispetto. fear and love you in spite of herself. Grimoaldo Io non ho tanto core. Grimoaldo I haven’t the heart. Garibaldo A me l’impresa Garibaldo Leave the business to me, ne lascia, e in breve spera and in a short time di vederla men fiera. you’ll see her less proud. Grimoaldo Ecco Eduige. Grimoaldo Here comes Eduige. Garibaldo Da lei comincia intanto Garibaldo Start putting my advice a porre in opra il mio consiglio. into practice with her.

SCENA III SCENE 3

Eduige, e detti Eduige and the aforesaid

Eduige E tanto Eduige How proud you’ve become, da che sei re, sei divenuto altiero, now that you’re king, infido Grimoaldo? treacherous Grimoaldo. Grimoaldo Da che son re, Grimoaldo Now that I’m king,

27 MENU son divenuto infido I’ve become treacherous per esser giusto. in order to be just. T’offersi la mia mano, e la sdegnasti; I offered you my hand and you spurned it; m’offri adesso la destra, e la rifiuto: now you offer me yours, and I refuse it: ora soffrilo in pace, now suffer in silence, al trono io vuò chiamar I’ll call to the throne chi più mi piace. someone who pleases me more.

7 — Aria 7 — Aria Grimoaldo Io già t’amai, ritrosa. Grimoaldo I loved you, you were reluctant. Sdegnasti esser mia sposa, You disdained to become my wife, sempre dicesti: no. you always said no. Or ch’io son re, non voglio Now I’m king, I don’t want compagna nel mio soglio to have as a companion on my throne aver chi mi sprezzò. someone who rejected me. (parte) (exit)

SCENA IV SCENE 4

Eduige e Garibaldo Eduige and Garibaldo

8 — Recitativo 8 — Recitative Eduige E tu dici d’amarmi? Eduige And you, you say you love me? Hai core, hai brando You’ve courage, you’ve a sword e intanto odi e sopporti and yet you listen to, and put up with i miei scherni, i miei torti? my being scorned and wronged? Garibaldo Signora, in questo istante Garibaldo My lady, at once io volo ad ubbidirti, e la vendetta I’ll fly to obey you, and take revenge col teschio del fellon … on the head of that villain … (vuol partire) (he makes to go) Eduige No, ferma, aspetta. Eduige No, stop, wait. Supplichevole in atto a me davanti I want him before me as a supplicant,

28 MENU chieda il perdono, begging my forgiveness, e non l’ottenga mai. but not obtaining it. Garibaldo E pensi di poterlo? Garibaldo Do you think you can, E lo farai? and will do it?

9 — Aria 9 — Aria Eduige Lo farò; dirò: spietato, Eduige I’ll do it; I’ll say: pitiless man, porta altrove un cor sì ingrato, take a heart that’s so ungrateful, sì spergiuro e traditor. so deceitful and treacherous elsewhere. Ed a te rivolta poi, And then I’ll turn to you ti dirò su gli occhi suoi: and say in front of his eyes, tu sei ’l core del mio cor. that you are my true love. (parte) (exit)

SCENA V SCENE 5

Garibaldo solo Garibaldo alone

10 — Recitativo 10 — Recitative Garibaldo Eduige, t’inganni; Garibaldo Eduige, you’re fooling yourself: io della tua corona amante sono, I’m in love only with your crown, e sol con le tue nozze and in marrying you I seek cerco un pretesto per salire al trono. only a pretext to mount the throne.

11 — Aria 11 — Aria Garibaldo Di Cupido impiego i vanni Garibaldo On Cupid’s wings I fly per salire al regal soglio, to mount the royal throne, mentr’ei solo alletta il cor. while only he charms her heart. Copro amor d’ascosti inganni, I use love as a cover to my deceit, perché a me sarebbe scoglio for any affection ogni affetto adulator. would be just an obstacle for me. (parte) (exit)

29 MENU SCENA VI SCENE 6

Bosco di cipressi, in cui si vedono A cypress grove, in which are seen the i sepolcri de’ Re de’ Longobardi, monuments of the Kings of Lombardy; e tra essi ultimamente and among them, erretta l’urna di Bertarido the urn newly erected to Bertarido

12 — Sinfonia ed Accompagnato 12 — Sinfonia and Accompagnato Bertarido Pompe vane di morte, Bertarido Hollow pomp of death, menzogne di dolor, che riserbate sham of grief, which bears il mio volto e ’l mio nome, ed adulate my image and my name, and flatters del vincitor superbo il genio altiero, the pride of the haughty victor: voi dite ch’io son morto, you say that I am dead, ma risponde il mio duol che non è vero. but my sorrow replies that it is not true. (legge l’iscrizione) (reads the inscription) “Bertarido fu re; ‘Bertarido was king; da Grimoaldo defeated by Grimoaldo, vinto fuggì, presso degli Unni giace. he fled, now he lies among the Huns. Abbia l’alma riposo e ’l cener pace.” May his soul have rest, his ashes peace.’ Pace al cenere mio? Astri tiranni! Peace to my ashes? Cruel stars! Dunque finch’avrò vita So, must I, to my life’s end, guerra avrò con gli stenti, battle against hardship e con gli affanni? and distress?

13 — Aria 13 — Aria Bertarido Dove sei, amato bene? Bertarido Where are you, my beloved? Vieni l’alma a consolar; Come to console my soul; sono oppresso da tormenti, I am oppressed by torments, ed i crudi miei lamenti and my cruel anguish sol con te posso bear. can I soothe only when with you.

30 14 — Recitativo 14 — Recitative MENU Bertarido Ma giunge Unulfo, oh Dio! Bertarido But here comes Unulfo; O God! Deh!, mio fedel, consenti Ah! my true friend, let (vuol abbracciarlo) (would embrace him) che queste braccia avventi … this embrace … Unulfo (non lo permette) Unulfo (will not allow him) Ah, mio signore! Ah, my lord! Se del fato il rigore Even if cruel fate has robbed you of a te rapì lo scettro, a me non tolse your sceptre, it has not taken from me quel rispetto che deve that respect which a faithful subject un suddito fedele al suo sovrano; owes to his sovereign; ferma, e sol mi concedi stop, and permit me only, che pegno del mio ossequio as a mark of my respect, in questa mano to place a humble kiss un umil bacio imprima, on this hand, (gli bacia la mano) (he kisses his hand) e l’antica mia fede and may it express e ’l mio nuovo servaggio my former loyalty in esso esprima. and my new service. Bertarido Se un sì fedele amico Bertarido If I can find such a faithful trovo tra le sventure, friend in my misadventures, l’istesse mie sciagure io benedico. then I bless my misfortunes. Ma dimmi: la mia sposa, But tell me: my wife Rodelinda, che fa? Che fa il mio figlio? Rodelinda, how is she? How is my son? Unulfo Ciò che sorte sdegnosa Unulfo What indifferent fate could non puoté mai, puoté del suo bel ciglio never do, the false report of your trar due rivi di pianto death has achieved, causing two il falso avviso di tua morte. rivers of tears to flow from her eyes. Bertarido Oh, Dio! Bertarido O God! Then you have Né le scopristi, Unulfo, il viver mio? not revealed to her, Unulfo, that I live? Unulfo Io vuò che ’l suo dolore Unulfo I want her grief to accrediti l’inganno; e a te conviene give credibility to the lie; and you must

31 MENU celarti ancora. remain in hiding still. Bertarido Amante cor, che pene! Bertarido Loving heart, such pains! Ma che vegg’io? but what do I see? Unulfo, ecco la sposa e ’l figlio mio. Unulfo, there’s my wife and son. Lascia, amico, ch’io stringa … My friend, let me clasp … Unulfo Oh, Dio! Signore, Unulfo O God! My lord, non voler ch’il tuo amore don’t let your passion tradisca la tua sorte. ruin your future. Bertarido Ah!, lascia almeno, Bertarido Ah! at least let me, dopo sì lungo esiglio, after so long in exile, lascia che a questo seno let me clasp stringa la sposa, my wife to this breast, e porga un bacio al figlio. and kiss my son. Unulfo Per goderli un momento, Unulfo To enjoy them for a moment, vuoi perderli per sempre? do you want to lose them for ever? Bertarido Ah!, che tormento! Bertarido Ah, such torment! Unulfo Ritirati, mio re! Unulfo Withdraw, my king! Bertarido Tu vuoi ch’io mora. Bertarido You want me to die. Unulfo No; ti nascondi, Unulfo No, hide yourself, e soffri un poco ancora. and endure a little longer. (si ritirano) (they retire)

SCENA VII SCENE 7

Rodelinda, che tiene per mano Flavio, Rodelinda, leading Flavio by the hand, e detti in disparte and the aforesaid apart

15 — Aria e Recitativo 15 — Aria and Recitative Rodelinda Ombre, piante, urne funeste, Rodelinda Shades, groves, funerary urns, voi sareste you would be le delizie del mio sen; the delight of my heart; se trovassi in voi raccolto, if I could find in you,

32 MENU come il volto as well as the image, anco il cener del mio ben. the ashes of my beloved.

Rodelinda Ombra del mio bel sol, Rodelinda Shade of my beloved, che qui d’intorno who here may still all’immagine sua forse t’aggiri, hover about his image, della sposa e del figlio see the faithful tears of his wife and son, mira il pianto fedel, odi i sospiri … hear the sighs … Bertarido (Più resister non so.) Bertarido (I can bear this no longer.) Unulfo (Frena l’amore!) Unulfo (Control your feelings!) Rodelinda Raccogli i nostri baci. Rodelinda Receive our kisses. (bacia l’urna e la fa baciare al figlio) (kisses the urn, and makes her son kiss it) Bertarido (Deh, lascia!) Bertarido (Ah, let me!) Unulfo (No, signore, osserva, e taci.) Unulfo (No, sire, watch, and stay silent.)

SCENA VIII SCENE 8

Detti, e Garibaldo The aforesaid and Garibaldo con parte delle guardie with a party of the guards

16 — Recitativo 16 — Recitative Garibaldo Baci inutili e vani Garibaldo You bring useless, vain kisses porgi alle tombe, o Rodelinda, e pure to the tombs, Rodelinda, and yet tu puoi con essi ricomprarti il regno. you could regain the kingdom with them. Bertarido (Garibaldo, il fellon?) Bertarido (Garibaldo, the villain?) Unulfo (Frena lo sdegno!) Unulfo (Control your anger!) Rodelinda Hai delle mie sventure, Rodelinda Do you have the audacity, perfido, tanto ardir favellarmi? traitor, to speak to me of my misfortunes? Garibaldo Grimoaldo ti chiede Garibaldo Grimoaldo asks of you pronta obbedienza, instant obedience, e non contrasto; o stringi not opposition; either embrace con le sue nozze il crine alla tua sorte, your destiny and marry him,

33 MENU o ti prepara … or prepare yourself … Rodelinda A che? Forse alla morte? Rodelinda For what? Death, perhaps? Non ho più che temer, né che sperare. I’ve nothing more to fear, nor to hope for. Garibaldo Non hai più che temer? Garibaldo You’ve nothing more to fear? Lascia quel figlio! Let go off your son! (le toglie il fanciullo) (he seizes the boy) Bertarido (Ah, scellerato!) Bertarido (Ah, villain!) Unulfo (Ferma.) Unulfo (Stop.) Garibaldo E ’l suo periglio Garibaldo His danger may make ti renda men superba, e più prudente. you less haughty, and more careful. Grimoaldo consente Grimoaldo agrees di riporre in tua mano or la tua sorte. to put your fate in your own hands. Pensa, ed in breve eleggi Think about it, and quickly choose either o ’l trono pel tuo figlio, o pur la morte. the throne for your son, or else death. Rodelinda Perfido, sì, t’intendo: Rodelinda Traitor, yes, I understand you: questo è sol tuo consiglio; this is all on your advice; or via rendimi il figlio. now give me my son. (si ripiglia il fanciullo) (she takes back the boy) Ritorna al tuo signor; di’ ch’io mi rendo, Go back to your lord; say, I submit, and e ch’io con le sue nozze accetto il soglio. that with his marriage I accept the throne. (parte Garibaldo) (exit Garibaldo) Bertarido (Misero, ohimè, son morto.) Bertarido (Wretched me, alas! I’m lost.) Unulfo (Oh, ciel! Che sento!) Unulfo (O heavens! What do I hear!) Rodelinda Ma tu, per lo spavento Rodelinda But you, tremble with terror, trema, vil consiglier, ministro indegno: vile counsellor, contemptible servant! me delle colpe tue giudice avrai; I shall have justice for your crimes; io regnerò, fellon, ma tu morrai! I will reign, villain, but you will die!

34 17 — Aria 17 — Aria MENU Rodelinda Morrai, sì; l’empia tua testa Rodelinda You will die, yes; your evil head già m’appresta will provide me with un gradin per gire il trono. a step to climb the throne. Ché dal mio sposo novello, For from my new husband, né più bello a better gift so bramar, né più gran dono. I cannot ask for. (parte) (exit)

SCENA IX SCENE 9

Bertarido e Unulfo nascosti. Bertarido and Unulfo hidden. Garibaldo, Grimoaldo, e guardie Garibaldo, Grimoaldo and guards

18 — Recitativo 18 — Recitative Grimoaldo E ben, duca, poss’io Grimoaldo Ah well, duke, can I hope all’ardor del cor mio that your deeds will bring sperar dall’opra tua qualche conforto? some consolation to my heart? Garibaldo Sì, Rodelinda è tua. Garibaldo Yes, Rodelinda is yours. Grimoaldo Mi narri il vero? Grimoaldo Are you telling me the truth? Garibaldo Tu sei felice, ed io, Garibaldo You are happy, and I, signor, son morto. sire, am dead. Grimoaldo Morto? Perché? Grimoaldo Dead? Why? Garibaldo S’ella racquista il regno, Garibaldo If she regains the throne, giurò tutto il suo sdegno she has sworn to unleash scagliar contro di me. all her anger on me. Grimoaldo Scaccia il timore, Grimoaldo Banish fear, ché questo lauro mio for this my crown will be sarà in difesa tua, contro il più crudo in your defence, against the harshest fulmine del suo sdegno, un forte scudo. blows of her anger, a strong shield.

35 19 — Aria 19 — Aria MENU Grimoaldo Se per te giungo a godere, Grimoaldo If through you I come puoi temer? to happiness, can you be afraid? Di chi? Di che? Of whom? Of what? Io d’Astrea do moto al brando, I wield the sword of the goddess of justice, io comando, io sono re. I command, I’m the king. (parte con Garibaldo) (exit with Garibaldo)

SCENA X SCENE 10

Bertarido ed Unulfo Bertarido and Unulfo

20 — Recitativo 20 — Recitative Bertarido Unulfo, oh Dio! Bertarido Unulfo, O God! Quella è costanza? E vivo? This is constancy? And I live? Misero, e quella è fede? Wretched me, and this is faithfulness? Alle prime minacce, At the first threats, at the first attack al primo assalto ella si rende, e cede? she surrenders and submits? Unulfo Converrà farle noto, Unulfo You must let her know, signor, che vivo sei. my lord, that you are alive. Bertarido No, no. Bertarido No, no. Unulfo Dunque vuoi tu …? Unulfo Then you wish …? Bertarido No, che costanza in lei Bertarido No, for then constancy in her è allor necessità, non è virtù. would be just necessity, not virtue. Unulfo Ah, signor, ti confesso, Unulfo Ah my lord, I confess ch’io son fuor di me stesso: that I’m beside myself: spera conforto; e intanto hope for consolation! and meanwhile lascia ch’io vada così mesto e solo let me go, sad and lonely, a procurar conforto al tuo gran duolo. to find comfort for your great sorrow.

36 21 — Aria 21 — Aria MENU Unulfo Sono i colpi della sorte Unulfo The blows of fate per un’alma invitta e forte for an unswerving, strong heart aspri, sì, ma non mortali. are severe, but not fatal. Ma se poi gli avventa amore, But when love strikes them, quanto è più nobile il core, the more noble a heart is, più le piaghe son fatali. the deadlier are its wounds. (parte) (exit)

SCENA XI SCENE 11

Bertarido solo Bertarido alone

22 — Recitativo 22 — Recitative Bertarido Sì, l’infida consorte Bertarido Yes, let my unfaithful wife mi creda estinto ancora; still believe me to be dead; porga al novello sposo may she bring to her new husband the faith la fé che a me serbò, she once gave to me, lieve qual fronda, like a leaf in the wind, e sappia allor ch’io vivo, then let her find I’m alive, e si confonda. and be thrown into confusion.

23 — Aria 23 — Aria Bertarido Confusa si miri Bertarido Let her be seen in confusion, l’infida consorte, my faithless wife, che in faccia di morte who, when faced with death, così mi deride. thus derides me. Con finti sospiri With false sighs e s’agita, e s’ange, she frets, she tortures herself, e morto mi piange, when I’m dead, she weeps for me, e vivo m’uccide. when I’m alive, she kills me.

37 MENU ATTO II ACT II

SCENA I SCENE 1

Sala A great hall Eduige e Garibaldo Eduige and Garibaldo

24 — Recitativo 24 — Recitative Garibaldo Già perdesti, o signora, Garibaldo You’ve already lost, my lady, il nome di regina e quel di sposa. the name of queen and of wife. Eduige Non più, ché il mio cordoglio Eduige No more, for my sorrow troppo s’avanza, oh Dio! Ma tu per me is too great, O God! But you, what will che fai? Che pensi? you do for me? What are you thinking of? Garibaldo Eduige, assicura Garibaldo Eduige, give reassurance le mie speranze, e l’amor mio ti giura to my hopes, and my love swears to you di sostener le tue ragioni al soglio. to support your rights to the throne. Eduige Prometto d’esser tua. Eduige I promise to be yours. Garibaldo A me la fede Garibaldo Give me now the fidelity porgi di sposa, e … of a wife, and … Eduige Come? Eduige What? Dunque pria di servir, vuoi la mercede? You want the reward before the service? Garibaldo Con titolo sì bello, Garibaldo With such a noble title, perdo di traditore e di rubello I would lose the infamous taint of traitor l’infame taccia; or via, risolvi? and rebel; come now, are you resolved? Eduige Oh Dio! Eduige O God! Se vedessi il cuor mio … If you could see my heart … Garibaldo Lo vedo, ingrata; Garibaldo I see it, ingrate, you love ami chi ti tradì, alma spietata. him who betrayed you, unfeeling heart. (parte) (exit)

38 MENU SCENA II SCENE 2

Eduige, Rodelinda e Flavio Eduige, Rodelinda and Flavio

Eduige Rodelinda, sì mesta Eduige Rodelinda, are you so sad ritorni a posseder talamo e trono? to return to marriage and the throne? Rodelinda O mesta, o lieta, io sono Rodelinda Whether sad or happy, I am tua regina, se ’l voglio. your queen, if I want it. Eduige E credi a Grimoaldo? Eduige And do you believe Grimoaldo? E credi a quello Do you believe him, che spergiuro e rubello traitor and rebel, mancò di fede a Gundeberto, e a me? who betrayed Gundeberto and me? Rodelinda Grimoaldo era duca, Rodelinda Then Grimoaldo was a duke, ed ora è re. but now he is a king. Eduige Io, che gliel diedi, Eduige And I, who made, io saprò torgli il regno. can soon unmake that king. Sovra quel capo indegno I’ll hurl the bolt of vengeance, il fulmine vedrai del mio cordoglio flaming hot at his perfidious head, cangiar nel tempo istesso soon will he find his laurels, il suo lauro in cipresso, by my thunder, become a cypress, in tomba il soglio. and his throne a tomb.

25 — Aria 25 — Aria Eduige De’ miei scherni per far le vendette Eduige To avenge his derision il mio amore in furor cangerò. I shall change my love to fury. Ed accesi gli sguardi in saette And with eyes like flaming arrows fiero scempio dell’empio farò. I shall wreak destruction on the villain. (parte) (exit)

39 MENU SCENA III SCENE 3

Rodelinda e Flavio, Grimoaldo, Rodelinda and Flavio, Grimoaldo, Unulfo, Garibaldo e guardie Unulfo, Garibaldo and guards

26 — Recitativo 26 — Recitative Grimoaldo Rodelinda, è pur ver …? Grimoaldo Rodelinda, is it really true …? Rodelinda Sì, Grimoaldo, Rodelinda Yes, Grimoaldo, sì ch’io mi rendo. I submit myself to you. Unulfo (Oh, ciel!) Unulfo (O heavens!) Rodelinda Tu pria m’osserva Rodelinda You must first observe un patto solo, e poi one condition only, and then I’ll be sarò qual più mi vuoi, o sposa, o serva. whatever you want, whether wife or servant. Garibaldo (a Grimoaldo) Garibaldo (to Grimoaldo) Ella vuol la mia testa. She wants my head. Grimoaldo Il tutto chiedi, Grimoaldo Ask anything, fuor che la morte di … except for the death of … Rodelinda Di Garibaldo? Rodelinda Of Garibaldo? Grimoaldo Appunto. Grimoaldo Exactly. Rodelinda Alma sì vile Rodelinda A soul so base del mio nobile sdegno in van paventa. need not fear my noble wrath. Grimoaldo Compisci dunque, Grimoaldo Then complete, o cara, i miei contenti; my dearest, my happiness; giuro tutto eseguir. I swear I shall do anything. Rodelinda Vuò che tu prenda Rodelinda I want you to take nome di scellerato, e d’inumano; the name of villain and monster; che sveni di tua mano and to kill my son with sugli occhi miei questo mio figlio; your own hands before my eyes; e resti sepolta in un delitto and may this crime bury tutta la gloria tua. all your reputation. Unulfo (Che ascolto!) Unulfo (What do I hear?) Grimoaldo E questi …? Grimoaldo And these …?

40 MENU Rodelinda Sì, questi sono i sentimenti miei. Rodelinda Yes, these are my wishes. Grimoaldo Tu scherzi? Grimoaldo You’re joking? Rodelinda No, non scherzo, Rodelinda No, I’m not joking, e non t’inganno: and I’m not deceiving you; io non potrei essere madre in un tempo I cannot at the same time be mother to del legittimo re, moglie al tiranno; the legitimate king, and wife to the tyrant; e a questo sen pudico and to this chaste breast stringere insieme il figlio, e ’l suo nemico. clasp both my son and his enemy. Grimoaldo Ah! Duca, in questa guisa Grimoaldo Ah! Duke, in this way divien mia Rodelinda? is Rodelinda to become mine? Rodelinda A questo patto Rodelinda On this condition io t’offro la mia man; pensaci, e vedi I offer you my hand; think on it, and see ch’essendo tu mio sposo, that your being my husband, io tua consorte, I your consort, io sposo la vendetta, e tu la morte. I marry vengeance, and you death. Unulfo (Quanto accorta e fedel oggi è costei!) Unulfo (How shrewd and faithful she is today!) Garibaldo (Quanto s’oppone Garibaldo (How much this goes a’ gran disegni miei!) against my grand designs!)

27 — Aria 27 — Aria Rodelinda Spietati, io vi giurai, Rodelinda Heartless men, I swore to you se al mio figlio il cor donai that while I gave my son my heart, di serbarvi e duolo e affanno. I would save grief and torment for you. Non potrebbe la mia mano My hand cannot stringer mai quell’inumano ever clasp that monster ch’è cagion d’ogni mio danno. who is the reason for all my woes. (parte con Flavio) (exit with Flavio)

41 MENU SCENA IV SCENE 4

Grimoaldo, Unulfo, Garibaldo e guardie Grimoaldo, Unulfo, Garibaldo and guards

28 — Recitativo 28 — Recitative Grimoaldo Unulfo, Garibaldo, in questo seno Grimoaldo Unulfo, Garibaldo, in this breast muor la speranza, ch’alimenta amore, hope that nourishes love has died, e seco amor non muore, e non vien meno. but love has not died, nor does it grow less. Unulfo In difesa del cuore, Unulfo To defend your heart, deh, richiama, signor, la tua virtude. ah, remember, sire, your virtue. Grimoaldo Ah! La gran fedeltà, Grimoaldo Ah! The great faithfulness, che in lei risplende, which shines forth in her, enchants più m’innamora, Unulfo, e più m’accende. me more, Unulfo, and enflames me more. Unulfo Ama dunque in colei Unulfo Love in her then dell’alma la beltà, non del sembiante. the beauty of her soul, not of her face. Grimoaldo Che far di più poss’io? Grimoaldo What more can I do? Garibaldo Non ti stupire Garibaldo Don’t be fooled d’una vana apparenza; accetta il patto, by appearances; accept the condition e la vedrai disdire! and you’ll see her withdraw it! Unulfo E col sangue reale d’un fanciullo Unulfo And do you want to bear the stain innocente macchiar vorrai …? of the royal blood of an innocent child …? Grimoaldo Non più! Grimoaldo No more! Le voci di virtù A loving heart does not heed the voice non cura amante cor, o pur non sente. of virtue, or at least doesn’t hear it.

29 — Aria 29 — Aria Grimoaldo Prigioniera ho l’alma in pena, Grimoaldo My suffering heart is imprisoned, ma sì bella è la catena, but the chains are so fair che non cerca libertà. that it does not look for freedom. Mesto, infermo, il cor sen giace, My sad, injured heart is laid low, ma il suo mal così gli piace, but its sickness pleases it so much che bramar pace non sa. that it does not want to ask for peace. (parte) (exit)

42 30 — Recitativo 30 — Recitative MENU Unulfo Massime così indegne, Unulfo Such shameful maxims, such evil consigli così rei tu porgi, o duca, counsels how can you offer, O duke, a chi sostien la maestà reale? to him who bears royal majesty? Garibaldo Lascia che Garibaldo Let a tyrant chi è tiranno opri da tale. act like a tyrant. Unulfo Vorrai …? Unulfo Do you want …? Garibaldo Sì, che spergiuro Garibaldo Yes, he who broke an oath tradisca la sua fé. to betray his own word. Unulfo Vorrai …? Unulfo Do you want …? Garibaldo Che impuro Garibaldo That ignobly insidi l’onestà. he should undermine her virtue. Unulfo Vorrai …? Unulfo Do you want …? Garibaldo Che crudo, Garibaldo That cruelly, con massime spietate, with merciless, ingiuste ed empie … injust and evil principles … Unulfo Sparga il sangue reale? Unulfo He should spill royal blood? Garibaldo Così d’usurpatore Garibaldo Thus will he deserve il nome adempie. the name of usurper.

31 — Aria 31 — Aria Garibaldo Tirannia gli diede il regno, Garibaldo Tyranny brought him the throne, gliel consevi crudeltà. let him keep it with cruelty. Del regnar base e sostegno The basis and support of power è il rigor, non la pietà. is harshness, not pity. (parte) (exit)

32 — Recitativo 32 — Recitative Unulfo Sì, sì, fellon, t’intendo, Unulfo Yes, yes, villain, I understand you, e non m’inganno. and you don’t fool me. Come al tuo vero re fosti rubello, Just as you were a rebel against your true così cerchi tradire anche il tiranno. king, so you seek to betray the tyrant also. Perché consoli intanto And to console

43 MENU l’afflitto mio signor l’anima amante, the sorrows of my lord’s loving heart, intenda quanto sia let him understand fida la sposa sua, quanto costante. how faithful his wife is, how constant.

33 — Aria 33 — Aria Unulfo Fra tempeste funeste Unulfo Amidst the storms a quest’alma bearing grief to that heart, foriera di calma as a harbinger of calm già spunta una stella. a star is already rising. E disgombra ogn’ombra di pene And the faithfulness of his beloved la fé del suo bene, clears away every shadow of sorrow, che splende più bella. and shines all the brighter. (parte) (exit)

SCENA V SCENE 5

Luogo delizioso. Bertarido, A delightful prospect. Bertarido, poi Eduige, e poi Unulfo then Eduige, and afterwards Unulfo

34 — Aria e Recitativo 34 — Aria and Recitative Bertarido Con rauco mormorio Bertarido With husky murmurs piangono al pianto mio rills and streams ruscelli e fonti. weep at my plaint. E in tronchi e mesti accenti And in broken, sad sounds fann’eco a’ miei lamenti caves and mountains e gli antri, e i monti. make echo to my lamenting.

Eduige Dell’estinto germano Eduige That seems to me to be mi sembrano gli accenti, the voice of my dead brother, se ’l desio non m’inganna. if hopes do not deceive me.

Bertarido Con rauco … Bertarido With husky murmurs …

44 35 — Recitativo 35 — Recitative MENU Eduige Ah no, che non m’inganna Eduige Ah, no; I’m not fooled by the voice la voce e ’l volto; oh ciel! Vive il fratello and face; O heavens! My brother is alive, sotto spoglie straniere, ed esso è quello. disguised in foreign clothes, and this is he. Bertarido Son scoperto! Bertarido I’m discovered! Eduige Germano! Oh, Dio! Che miro? Eduige Brother! Oh, God! What do I see? Tu vivi? You’re alive! Bertarido E la mia vita Bertarido And my being alive già ti costa un sospiro? draws a sigh from you? Ma no, non sospirar, quello non sono; But no, don’t sigh, I’m not he; Bertarido ebbe il trono, Bertarido had the throne, he had ebbe amici e vassalli; ebbe congiunti, friends and vassals; he had relatives, ebbe una sposa, oh Dio!, he had a wife, O God!, idea di fedeltade e di costanza; the ideal of faithfulness and constancy; e a me di tutto ciò rimasta è solo, and of me all that is left, per giunta del mio duol, la rimembranza. to add to my misery, is a memory. Eduige Accidentale sdegno Eduige Unintended anger can rallentar può, ma non disciorre i nodi weaken, but not break the strong ties che tenaci formò natura in noi; that nature formed in us; pur s’io ti tolsi il regno, although I took the throne from you, vendicò Rodelinda i danni tuoi. Rodelinda has avenged your wrongs. Bertarido Non è, sorella, il regno Bertarido The throne, sister, is not the l’oggetto di mie brame e del mio inganno; object of my desires and my deceptions; mi finsi estinto, e fu sol mio disegno I pretended to be dead, and it was d’involare al tiranno my sole design to steal from the tyrant i pegni a me più cari, e sposa e figlio, those dearest to me, my wife and son, e delle mie sventure and to take them away from my condurli a parte in un penoso esiglio. misfortunes into a painful exile. Unulfo (Pur lo trovai … Unulfo (Now I’ve found him … ma che vegg’io? Tradito but what do I see? è già l’arcano; egli è scoperto.) The secret’s out, he is discovered.)

45 MENU Bertarido E pure Bertarido And yet ancor questo contento even this happiness mi niega invida sorte; is denied me by jealous fate; misero io torno, e sento I return wretched, and I hear che l’infida consorte that my faithless consort tradisce la mia fé. has betrayed my faith. Unulfo Questo è un inganno; Unulfo You are deceived; Rodelinda è fedel. Rodelinda is faithful. Bertarido Che dici? Unulfo, Bertarido What are you saying? Unulfo, mi narri il ver? are you telling me the truth? Eduige (Respira, anima amante.) Eduige (Breathe again, loving heart.) Unulfo No, che bramar non puoi Unulfo No, for you cannot wish for a di lei più fida sposa, e più costante. more faithful and constant wife than she. Eduige Liberar Rodelinda, e Flavio seco, Eduige To free Rodelinda, and Flavio dunque è l’unico tuo giusto desio? with her, is then your only wish? Bertarido Non altro. Bertarido None other. Eduige Or io m’impegno Eduige Now I shall take it upon myself to di rendere al tuo cor la pace, e al mio. bring peace to your heart, and to mine. (parte) (exit) Unulfo Vieni, signor, Unulfo Come, sire, non è più tempo adesso the time has passed di celar che tu vivi to hide from your faithful wife alla fedel tua sposa. that you are alive. Bertarido Vengo; Bertarido I come; ché in te questo mio cor riposa. I place my trust in you. (parte Unulfo) (exit Unulfo) Sfoga gli sdegni tuoi, Pour out your anger, take from me, toglimi, irato ciel, vassalli e trono, angry heaven, vassals and throne, rendi a’ miei casti affetti give back to my pure love faithful Rodelinda fedele, e ti perdono. Rodelinda, and I shall forgive you.

46 36 — Aria 36 — Aria MENU Bertarido Scacciata dal suo nido Bertarido The swallow, sen vola in altro lido, chased from its nest, né sparge mai querele flies to another shore, la rondinella. and does not complain. Del fato non si lagna, He doesn’t rail at fate, se ha seco la compagna if he has with him the companion chi gli è sempre fedele who is ever faithful to him, e sempre è bella. and ever fair. (parte) (exit)

SCENA VI SCENE 6

Galleria nell’appartamento di Rodelinda A gallery in Rodelinda’s apartment Rodelinda ed Unulfo Rodelinda and Unulfo

37 — Recitativo 37 — Recitative Rodelinda Vive il mio sposo? Rodelinda My husband is alive? Unulfo Sì, vive, o regina, Unulfo Yes, he lives, my queen, ansioso d’abbracciarti. desperate to embrace you. Rodelinda A tanta sorte Rodelinda At such good fortune per la gioia dovria mancarmi il core; I feel that my heart should fail; e pure, Unulfo, io sento … and yet, Unulfo, I feel … Unulfo Importuno timore Unulfo Untimely fear invidia al tuo bel sen … invades your heart’s … Rodelinda Deh!, non tardare Rodelinda Ah! don’t make me wait a’ miei sguardi il contento, for happiness to appear before my eyes, ed al cor mio; and come to my heart; venga a me Bertarido. fetch Bertarido to me. Unulfo Or te l’invio. Unulfo I shall bring him now. (parte) (exit) Rodelinda Con quai risalti, oh Dio! Rodelinda With what results, O God!

47 MENU dentro del petto mio palpita il core, my heart trembles within me, non so se per la gioa, o pel dolore. I don’t know if it’s for joy, or sorrow.

38 — Aria 38 — Aria Rodelinda Ritorna, Rodelinda Come back, o caro e dolce mio tesoro, my dearest and sweetest 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 peace to my heart, se refrigerio sei d’ogni dolor. you are the solace for every sorrow.

SCENA VII SCENE 7

Rodelinda, poi Bertarido, Rodelinda, then Bertarido, e poi Grimoaldo con guardie then Grimoaldo with guards

39 — Recitativo 39 — Recitative Rodelinda Ah, sì! Ecco lo sposo. Rodelinda Ah, yes! Here is my husband. Ah, caro pegno! Ah, dear sight! Mio tesoro! Mio ben! My treasure! My love! (va per abbracciarlo) (goes to embrace him) Bertarido (l’arresta) Bertarido (stops her) Ferma, ché degno Stop, for I am not yet worthy de’ tuoi pudichi amplessi ancor non sono, of your chaste embraces, se potei dubitar della tua fede. if I could doubt your fidelity. (s’inginocchia) (kneels) Lascia pria ch’al tuo piede First, at your feet, de’ falsi miei sospetti umil perdono I ask humble forgiveness io ti domandi almeno; for my false suspicions; m’assolvi, o cara, absolve me, my dearest, e poi mi stringi al seno. then clasp me to your breast. Rodelinda De’ nostri affetti Rodelinda Cold jealousy a intepidir l’ardore was not enough to cool the ardour di fredda gelosia il giel non basta; of our love;

48 MENU se l’alma mia tu sei … if you are my love … (l’abbraccia) (embraces him) Grimoaldo Che vedete, occhi miei? Grimoaldo My eyes, what do you see? Questa è la casta? This is the chaste? Bertarido (Oh, cieli!) Bertarido (O heaven!) Rodelinda (Oh, ingiusta sorte!) Rodelinda (O unjust fate!) Grimoaldo Questa è la fé costante Grimoaldo This is the constant faith che all’estinto consorte that you kept for your dead husband, tu serbi, o Rodelinda? E un rege amante, Rodelinda? And a royal lover, who offered che t’offre col suo cor la destra, e ’l regno, you, with his heart, hand and throne, you orgogliosa disprezzi e prendi a sdegno? proudly scorned and treated with disdain? Rodelinda (Non sa che sia lo sposo; Rodelinda (He doesn’t know it’s my husband; o amore, aita; O god of love, help; si salvi la sua vita, save his life, e a torto l’onestà rimanga offesa.) and let my honour be wrongly insulted.) Grimoaldo Impudica, non parli? Grimoaldo Shameless woman, you don’t speak? E qual difesa And what defence e qual scusa rivolgi entro al pensiero? and what excuse are you thinking up? Porgi a drudo straniero, You take a foreign lover, forse ignobile e vile, perhaps ignoble and base, ciò che ricusi ad un monarca? while you refuse a king? Rodelinda È vero. Rodelinda It’s true. Bertarido (E soffrirò che per timor servile Bertarido (And shall I allow, because of base fear, resti offeso il candore the purity of her fair honesty di sua bella onestà? Ah, no, si muora to be offended? Ah no, let me die pur che viva l’onore.) to save her honour.) No, Grimoaldo, a torto No, Grimoaldo, you’re wrong si taccia d’impudico un cor sì fido; to accuse such a faithful heart of impropriety; casti fur quegli amplessi; those embraces were chaste; il consorte abbracciò, son Bertarido. she embraced her husband, I am Bertarido. Grimoaldo Bertarido? Grimoaldo Bertarido? Rodelinda È mendace. Rodelinda He’s lying.

49 MENU Grimoaldo Bertarido morì. Grimoaldo Bertarido’s dead. Rodelinda Per salvar l’onor Rodelinda To save my honour, mio finge così. he is pretending. Bertarido Per prova che non fingo, Bertarido To prove that I’m not pretending, e che son io, and that I am he, vedi come a lei preme see, how she values my life più dell’onestà propria il viver mio? more than her honesty! Grimoaldo Costui si custodisca; e tu m’ascolta; Grimoaldo Arrest this man; and you, hear me; e tuo drudo, o tuo sposo, anco una volta whether your lover or your husband, lo stringi al sen, te lo consento anch’io. once more embrace him, this I allow you. Sien legittimi o no, Whether legitimate or no, gli dian gli amplessi tuoi l’ultimo addio. let these embraces be your last goodbye.

40 — Aria 40 — Aria Grimoaldo (a Rodelinda) Grimoaldo (to Rodelinda) Tuo drudo è mio rivale, Your lover is my rival, tuo sposo è mio nemico, your husband is my enemy, e morte avrà. and shall have death. (a Bertarido) (to Bertarido) L’amplesso tuo fatale, Your fatal embrace, legittimo o impudico, legitimate or improper, or reo ti fa. now makes you guilty. (parte) (exit)

41 — Recitativo 41 — Recitative Rodelinda Non ti bastò, consorte, Rodelinda Wasn’t it enough for you, trafiggermi da lungi husband, to wound me from afar con l’avviso crudel della tua morte; with the cruel report of your death; se per dar al mio sen pena maggiore, but to cause greater pain in my heart, non ti guidava amore did love bring you here a morir su’ miei lumi? to die before my eyes? Bertarido Ah, sposa, e pure Bertarido Ah, my wife, and now son tra mie sventure or sì contento, I am so happy in my suffering,

50 MENU che, dal destin tradito, that, betrayed by destiny, mi giunge anche gradito il tradimento. I even welcome that betrayal.

42 — Duetto 42 — Duet Rodelinda e Bertarido Rodelinda and Bertarido Io t’abbraccio, e più che morte I embrace you, and more cruel and bitter aspro e forte è pel cor mio than death is, to my heart, quest’addio, this goodbye che il tuo sen dal mio divide. which divides my heart from yours. Bertarido Ah, mia vita! Bertarido Ah, my live! Rodelinda Ah, mio tesoro! Rodelinda Ah, my treasure! Rodelinda e Bertarido Rodelinda and Bertarido Se non moro, è più tiranno Should I not die, then this distress quell’affanno, is crueller, che dà morte, e non uccide. which gives death, but does not kill.

ATTO III ACT III

SCENA I SCENE 1

Galleria A gallery Eduige ed Unulfo Eduige and Unulfo

43 — Recitativo 43 — Recitative Eduige Del german nel periglio Eduige My brother’s danger has ritorna a naufragar ogni mia speme; shipwrecked all my hopes once more; sangue, amor, gelosia, cieli: consiglio. blood, love, jealousy, heavens: advise me. Unulfo L’ostinato furor di Grimoaldo Unulfo Grimoaldo’s stubborn fury condanna Bertarido, e vuol ch’ei mora. has condemned Bertarido to death.

51 MENU Eduige Al suo fato involarlo, e alle ritorte, Eduige Can your zeal not save him non sa il tuo zelo? from his fate and his chains? Unulfo E come? Unulfo And how? Eduige Alla tua fede Eduige The prisoner è il prigionier commesso. has been placed in your charge. Unulfo Libero Grimoaldo a me concede Unulfo Grimoaldo has allowed me nel carcere l’ingresso, free access to the prison, è vero; ma che prò? it’s true, but what then? Eduige (gli dà una chiave) Eduige (gives him a key) Questa è la chiave This is the key che nel carcer disserra which in the prison will unlock la via, che per sotterra the secret underground path guida nascosta entro al real giardino; that leads into the royal garden; là ne verrò con Rodelinda anch’io: I’ll too go there with Rodelinda: per quel cieco cammino by that dark path we’ll quivi lo scorgeremo, e fia mia cura lead him there, and it will be my care che trovi aperto il varco, that you find the way open, per libero sortir fuor delle mura. freely to go outside the walls. Unulfo Col tuo aiuto e consiglio, Unulfo Your help and advice non difficil si rende a me l’impresa; make the task easy for me; a morte il sottrarrà quest’alma ardita, boldly I will rescue him from death, e fia troppo ben spesa, and my life will be a fair exchange per salvarla al mio re, questa mia vita. to rescue my king.

44 — Aria 44 — Aria Unulfo Un zeffiro spirò Unulfo A breeze has blown che serenò quest’alma, to ease this heart e calma vi portò. and has brought it peace. S’io salvo il mio signore If I save my lord, altro non brama il core, my heart will ask for no more, e pace allor avrò. and will then have peace. (parte) (exit)

52 45 — Recitativo 45 — Recitative MENU Eduige Con opra giusta Eduige With this just act io cancellar disegno I mean to cancel out l’enormità del fallo the enormity of a crime, which a cui mi spinse cieco amor di regno; blind lust for power led me to commit; e di salvar confido and I am confident of saving Rodelinda, il suo figlio, e Bertarido. Rodelinda, her son, and Bertarido.

46 — Aria 46 — Aria Eduige Quanto più fiera Eduige The more fiercely tempesta freme, the storm rages, tanto più speme the more hope prendendo io vo. I feel. Già lusinghiera It already promises, per mio conforto for my consolation, dice che in porto that in safe haven io giungerò. I shall arrive. (parte) (exit)

SCENA II SCENE 2

Grimoaldo, Garibaldo e guardie Grimoaldo, Garibaldo and guards

47 — Recitativo 47 — Recitative Garibaldo O falso è Bertarido, Garibaldo Either this Bertarido is false, o fu mendace or the letter del re de gli Unni il foglio; from the king of the Huns was a lie; chiede la morte sua the security of the throne la gelosia del soglio. requires his death. Grimoaldo Agitato è il cor mio; Grimoaldo My heart is troubled; muove il pensiero my thoughts are swayed or sospetto, or amore, now by suspicion, now by love,

53 MENU or speranza, or timore, now by hope, now by fear, or bella gloria, or gelosia d’impero. now by fair glory, now by love of power. Garibaldo Questa, ad ogni altro affetto, Garibaldo Above all others let the last questa prevaglia; o siasi finto, o vero, prevail; and be he false or true, uccidi in Bertarido il tuo sospetto. kill Bertarido and kill your suspicion. Grimoaldo Ma sia vero, o mendace, Grimoaldo But whether he’s true or false, se Bertarido uccido, e come spero if I kill Bertarido, how can I ever hope d’ottener mai da Rodelinda pace? to make my peace with Rodelinda? Garibaldo E come averla puoi, Garibaldo And how can you have it, vivo il consorte, o sia mendace, o vero? if her consort lives, whether false, or true? Grimoaldo Oh, Dio! Grimoaldo O God! Garibaldo Sospiri? E delli scherni tuoi Garibaldo Do you sigh? And can’t you see pur ancor non t’avvedi? yet that you are being mocked? Rodelinda, Eduige, Rodelinda, Eduige, uniscono a’ tuoi danni il loro sdegno; add their anger to your afflictions; o dài morte al fellone, either put the villain to death, o perdi un regno. or lose a kingdom. (parte) (exit)

48 — Aria 48 — Aria Grimoaldo Tra sospetti, Grimoaldo Between suspicion, affetti, e timori love and fear sento il seno ripieno d’affanni; I feel my heart full of cares; or mi rendo, or m’accendo in furori now I submit, now I burn with anger, or mi pento, or pavento d’inganni. now I repent, now I fear deceit. (parte) (exit)

SCENA III SCENE 3

Carcere oscurissima A very dark dungeon Bertarido, e poi Unulfo Bertarido, and afterwards Unulfo

54 49 — Aria, Accompagnato e Recitativo 49 — Aria, Accompagnato and Recitative MENU Bertarido Chi di voi fu più infedele: Bertarido Which of you was more unfaithful: cieco amor, sorte crudele; blind love, cruel fate; chi di voi più m’ingannò? which of you has deceived me more? Mi scacciò spietata sorte First pitiless fate drove me pria dal soglio, e alle ritorte from the throne, then into chains crudo amor poi mi guidò. cruel love led me.

(cade nella prigione (a sword thrown una spada gettatavi da Eduige) by Eduige falls into the prison)

Ma non so che But I don’t know what has fallen dal remoto balcon mi cade al piè. at my feet from that distant balcony. Qui l’aere oscuro e fosco Here the thick darkness vieta ogni oggetto al guardo … hides everything from sight … (cerca col tatto per terra) (he feels along the ground) … pur lo trovai … now I’ve found it … da mano amica … from a friendly hand certo mi viene il ferro, surely this sword has come, e par che dica: and seems to say: “Son teco in ogni impresa, ‘I am with you in every enterprise, stringimi in tua difesa, hold me in your defence, da ogni incontro funesto from every deadly encounter ti sottrarrò se vuoi, I will deliver you, if you wish, lascia agli amici tuoi cura del resto.” let your friends take care of the rest!’ (snuda la spada) (draws the sword) Dunque ti stringo, o caro, Now I draw you, dear, faithful steel, d’amico più fedel, fedele acciaro. from a yet more faithful friend. Ma già s’apron le porte But they’re already opening the doors del carcere fatale; ecco di morte of the deadly prison; here is the il ministro crudel; giusti furori cruel bringer of death; righteous anger già m’accendono il sen. Perfido, muori! inflames my breast. Traitor, die!

55 MENU (tira un colpo, e ferisce Unulfo, (aims a blow and wounds Unulfo, che era appunto entrato) who was just entering)

Unulfo Bertarido? mio re … Unulfo Bertarido? My king … Bertarido Che feci? Unulfo? Ohimè! Bertarido What have I done? Unulfo? Alas! Unulfo Ben poco il sen t’accende Unulfo The wish for freedom must burn desio di libertade, o mio signore, weakly in your heart, my lord, se ferisci la man, che a te la rende. if you wound the hand that brings it to you. Bertarido Ah, destra scellerata! Bertarido Ah wicked hand! Ah, insano core! Ah, foolish heart! Ah, caro amico! Ah, Bertarido ingrato! Ah, dear friend! Ah, ungrateful Bertarido! Ciechi orrori e funesti! Blind, dreadful horrors! E tu, ferro mal nato, And you, cursed sword, merciless, in mal punto, spietato, a me giungesti. you come to me at the wrong time. (getta la spada) (throws away the sword) Unulfo Non più, questi momenti Unulfo No more, these moments troppo, ah, troppo son cari are too, too precious per spenderli in lamenti; to waste in lamenting; più della mia ferita more important than my wound preme la tua salvezza, e la tua vita. are your rescue and your life. (gli fa lasciar la sopraveste) (makes him take off his cloak) Queste già note spoglie Lay aside these well-known clothes, abbandona, signor, e a miglior’uopo my lord, and to a better use (gli ripone la spada in mano) (puts the sword back in his hand) ripiglia il brando; ah, molto take the sword again; ah, any esserci può fatale ogni dimora, delay could be fatal to us, andiamo. let’s go. Bertarido Amico, allora Bertarido My friend, now che più son reo, that I am more guilty, mi vuoi da’ lacci sciolto? do you still wish me free? Unulfo Oh, Dio! Parmi udir gente; Unulfo O God! I hear people, ah, partiam, pria ah, let’s go, before

56 MENU che il geloso custode the watchful guard s’accorga della frode. notices the deceit. Bertarido Ohimè, che tanto Bertarido Alas, my steps will è spietato il mio piè be as pitiless as my hand quanto fu contro te la man; se questa was against you; if my hand spilt il tuo sangue versò, quello il calpesta. your blood, my steps will trample him. (partono per una via segreta della prigione) (they leave the prison by a secret way)

SCENA IV SCENE 4

Eduige che guida per la mano Eduige, who leads Rodelinda Rodelinda, e Flavio by the hand, and Flavio

50 — Recitativo 50 — Recitative Eduige Non temere. Signore? Eduige Do not fear. My lord? Germano? Alcun non sento; Brother? I hear no one; oscuro è il luogo. the place is dark. Rodelinda Ah!, che a ragion pavento. Rodelinda Ah, I was right to be afraid. Eduige (sorte della prigione) Eduige (going out of the prison) Prendo una luce … I’ll fetch a light … Rodelinda Oh, Dio! Rodelinda O God! Bertarido? Cor mio? Tu non rispondi? Bertarido? My heart? You don’t answer? Dormi forse? Dove sei? Are you perhaps asleep? Where are you? Dove t’ascondi? Where are you hiding? Eduige (torna con una luce) Eduige (returning with a light) Germano! Brother! Rodelinda Ah!, fui presaga; Rodelinda Ah, I had a foreboding: ecco le spoglie, here are his clothes, ecco di fresco sangue asperso il suolo. here is fresh blood spilt on the ground. Che più cerco, infelice? What more can I look for, wretched one? Questo sangue m’addita, This blood tells me, e questo manto, and this cloak,

57 MENU che il caro sposo mio… that my dear husband … Ah!, che più dir non mi consente il pianto! Ah! my tears will not let me speak any more! (piange) (weeps) Eduige Ah, Rodelinda! Oh, Dio! Eduige Ah, Rodelinda! O God! E qual conforto And what comfort può darti il mio dolor? can my sorrow give you? Rodelinda Eduige, è morto Rodelinda Eduige, your brother il tuo german; è morto, orfano figlio, is dead; he’s dead, orphaned son, (s’inginocchia ed abbraccia il figlio) (she kneels and embraces her son) il re, tuo genitore, il mio consorte. the king, your father, my husband. Eduige Ah!, tarda mia pietà, Eduige Ah, my pity was late, che in van d’acciaro and in vain provvedesti sua mano! I put a sword in his hand! Rodelinda (si leva) Rodelinda (gets up) Or chi mi rende Now who will give me il freddo busto almeno, his cold corpse at least, onde in quel caro seno so that I can place a kiss un bacio imprima, on that dear breast e sul corpo adorato, and on that beloved body; prevenendo il mio fato, and weep myself to death, il duol m’opprima. facing my fate.

51 — Aria 51 — Aria Rodelinda Se ’l mio duol non è si forte, Rodelinda If my grief is not great enough, chi trafigge, oh Dio!, chi svena who, O God! will have pity, per pietà questo mio cor? who will pierce this my heart? Ah!, che un duol peggior di morte Ah, to rob a grieving heart involare a un sen che pena, of a sorrow worse than death è pietà, non è rigor. is pity, not cruelty. (partono) (exeunt)

58 MENU SCENA V SCENE 5

Giardino reale A royal garden Bertarido, che va Bertarido, who supports sostenendo Unulfo ferito Unulfo wounded

52 — Recitativo 52 — Recitative Bertarido Amico, ah!, che a me duole Bertarido My friend, your wound più che la sorte mia la tua ferita. pains me more than my fate. Unulfo Signor, la destra solo Unulfo My lord, my right arm alone was the fu scopo al tuo valor; lieve è la piaga. target for your valour; the wound is light. Bertarido (si toglie una benda, Bertarido (takes a piece of cloth, e fascia il braccio di Unulfo) and binds Unulfo’s arm) Lascia che man pietosa Allow my shameful hand chiuda al sangue la strada. to stop the flow of blood. Unulfo Mio re, confuso io sono. Unulfo My lord, I blush. Ormai convien ch’io vada Now I must go in traccia di tua sposa e del tuo figlio. in search of your wife and son. Là, tra quelli virgulti, There, among those bushes, cèlati, fin ch’io torni, al tuo periglio. hide from danger, until my return. (parte) (exit) Bertarido Mi celerò; Bertarido I shall hide myself; ma questo cor non teme but this heart no longer fears più d’un tiranno il perfido comando; the treacherous rule of a tyrant; già che pietoso il ciel sciolto mi rende, now that merciful heaven has altro più non domando; released me I ask no more; ch’or dal mio braccio il fato dipende. my fate depends on my arm alone.

53 — Aria 53 — Aria Bertarido Se fiera belva ha cinto Bertarido If a wild beast fra le catene il piede, finds its foot chained, col fremito richiede trembling it begs

59 MENU la tolta libertà. to be set free. Ma poi da’ lacci sciolta But when it is released in fuga ogn’un rivolta, everyone takes flight, ché, offesa, tosto apprende for when wounded, it soon learns a non usar pietà. not to show pity. (parte) (exit)

SCENA VI SCENE 6

Grimoaldo solo Grimoaldo alone

54 — Accompagnato 54 — Accompagnato Grimoaldo Fatto inferno è il mio petto; Grimoaldo My breast has become a hell; di più flagelli armate ho dentro il core I’ve three furies armed with many whips tre furie: gelosia, sdegno ed amore. in my heart: jealousy, disdain and love. E da più gole io sento, And from the depths I hear, quasi mastin crudele, like a cruel hound, il rimorso latrar per mio tormento, remorse howling to torment me, chiamandomi infedele, calling me faithless, spergiuro, usurpator, empio e tiranno. perjurer, usurper, villain and tyrant. Ma pur voi lusingate But yet, console le stanche mie pupille my tired eyes ad un breve riposo, aure tranquille! with a brief repose, O gentle breezes! Sì, dormi Grimoaldo, e se ritrovi Yes, sleep, Grimoaldo, and if you find pace tra i fonti e l’erbe, again peace among the streams delle regie superbe and meadows, leave the unsteady le mal sicure soglie in abbandono throne of proud kingdoms, lascia; ché prezioso for a peaceful heart è dell’alma riposo al par del trono. is as precious as the throne.

60 55 — Aria 55 — Aria MENU Grimoaldo Pastorello Grimoaldo The shepherd d’un povero armento of a poor flock pur dorme contento may sleep content sotto l’ombra d’un faggio o d’alloro; beneath the shade of a beech or laurel; io, d’un regno monarca fastoso, I, king of a magnificent realm, non trovo riposo can find no peace sotto l’ombra di porpora e d’oro. under the shade of purple and gold. (seguitando la sinfonia, si addormenta) (following the sinfonia, he sleeps)

SCENA VII SCENE 7

Grimoaldo, che dorme, e Garibaldo Grimoaldo asleep, and Garibaldo

56 — Recitativo 56 — Recitative Garibaldo Che miro? Amica sorte Garibaldo What do I see? Friendly fate seconda i miei disegni. favours my plans. Con la propria sua spada, With his own sword, per questa istessa mano by this same hand which has che già lo coronò, per questa or cada. already crowned him, by this he falls. (toglie a Grimoaldo la spada del fianco, (takes the sword from Grimoaldo’s side, e Grimoaldo svegliandosi dice:) and Grimoaldo, waking, says:) Grimoaldo Quali insidie …? Grimoaldo What traps …? Garibaldo (Si desta.) Garibaldo (He wakes.) Grimoaldo E quale inganno … Grimoaldo And what deception … Chi ’l ferro m’involò? Who has taken my sword? Garibaldo Muori, tiranno! Garibaldo Die, tyrant!

SCENA VIII SCENE 8

Grimoaldo, Garibaldo, Bertarido, Grimoaldo, Garibaldo, Bertarido, poi guardie, poi Rodelinda afterwards guards, and after them con Flavio per la mano Rodelinda leading Flavio by the hand

61 MENU Bertarido Tu morrai, traditor. Bertarido You will die, traitor. Muori, rubello! Die, rebel! (incalzando Garibaldo nella scena) (chases Garibaldo offstage) Grimoaldo Oh, ciel! Soldati, olà …? Grimoaldo O heaven! Soldiers, hey there …? Chi mi difese? Oh, Dio …! Who defended me? O God …! Chi mai fu quello? Whoever was it? Fu Bertarido? Was it Bertarido? (vengono le guardie) (the guards enter) Rodelinda Sì, fu Bertarido, Rodelinda Yes, it was Bertarido, colui che tu svenasti, o core indegno. whom you murdered, base spirit. Bertarido (torna) Bertarido (returning) Grimoaldo, ecco il ferro! Grimoaldo, here’s your sword! (getta la spada a piè di Grimoaldo) (throws the sword at Grimoaldo’s feet) Rodelinda Oh, ciel! Che miro? Rodelinda O heaven! What do I see? Veglio, sogno, o deliro? Am I awake, dreaming or delirious? Bertarido Miralo, egli è macchiato Bertarido Behold it, it is stained del sangue d’un tuo caro; with the blood of someone dear to you; cadde trafitto, esangue, he fell, run through, dead, who chi a te fu traditore, a me rubello: was a traitor to you, and a rebel to me; vendica il sangue suo let his blood be avenged pur col mio sangue. with mine.

57 — Aria 57— Aria Bertarido Vivi, tiranno, Bertarido You are alive, tyrant, io t’ho scampato; I’ve saved you; svenami, ingrato, kill me, ingrate, sfoga il furor! unleash your rage! Volli salvarti I wished to save you sol per mostrarti only to show you ch’ò di mia sorte that my courage is greater più grande ’l cor. than my fate.

62 58 — Recitativo 58 — Recitative MENU Grimoaldo Dunque sei Bertarido? Grimoaldo Then you’re Bertarido? Rodelinda E qual maggiore Rodelinda And what greater proof do prova ne vuoi di quell’invitto core? you want of that unconquered heart? Grimoaldo Ma chi dalle ritorte Grimoaldo But who released you ti sciolse il piede? from your chains?

SCENA ULTIMA FINAL SCENE

Unulfo, poi Eduige, e detti Unulfo, then Eduige, and the aforesaid

Unulfo Eccoti innanzi il reo. Unulfo See the guilty one before you. Eduige Rimirar senz’orrore Eduige I could not, anch’io non seppi without horror, languire il mio german così tra ceppi. see my brother thus in chains. Grimoaldo Se amici siete a Bertarido, Grimoaldo If you are friends to Bertarido, anch’io per amici vi accolgo, I too will greet you as friends, ché a lui deggio la vita. for I owe my life to him. Eduige, mia sposa, Eduige, my bride, al sen ti stringo, I clasp you to my breast, e di Pavia sul trono a te dovuto, and reigning on the throne of Pavia, regnando, which I owe to you, ogn’altro regno ormai rifiuto. I refuse all other thrones. (prendendo Bertarido per mano) (taking Bertarido by the hand) Milano, ecco il tuo re, rendi gli omaggi Milan, here is your king, render homage al tuo primo signor. to your sovereign. Bertarido No, Grimoaldo, Bertarido No, Grimoaldo, altro da te non voglio … I want nothing more from you … Grimoaldo Prendi il figlio, la sposa, Grimoaldo Take your son, your wife, e prendi il soglio. and the throne. Bertarido Cara, fuori siam di periglio. Bertarido Dearest, we are out of danger. Rodelinda Sposo, ti stringo al sen, Rodelinda My husband, I clasp you abbraccia al figlio. to my heart, embrace your son.

63 59 — Aria 59 — Aria MENU Rodelinda Mio caro, caro bene, Rodelinda My dearest beloved, non ho più affanni e pene, I have no more anguish and pain, non ho più pene al cor. I have no more pain in my heart. Vedendoti contento, Seeing you happy, nel seno mio già sento in my heart I already feel che sol vi alberga amor. only love making its home.

60 — Recitativo 60 — Recitative Bertarido Sposa, figlio, Bertarido Wife, son, sorella, amici, oh Dio! sister, friends, O God! Vi stringo al seno; oh, quanto I clasp you to my breast; oh, how much a tutti, a tutti voi deve il cor mio! my heart owes to all, to all of you! Si festeggi fra tanto Let there be celebrations di questo regno in ogni parte, e sia in every part of this kingdom, and may al passato martìre, our rejoicing in such a happy day in sì felice dì pari il gioire. be as great as our past torment.

61 — Duetto e Coro 61 — Duet and Chorus Rodelinda e Bertarido Rodelinda and Bertarido D’ogni crudel martir Let the grim memories il torbido pensier of every cruel torment s’immerga nel piacer, be dissolved in pleasure, e sol felicità brilli nell’alma. and only happiness shine in our hearts. Cangiano al fin le sorti At last the fortunes dell’alme forti, e sorgono of the brave are changed, and they arise al par che oppressa palma. out of the depths of oppression.

(tutti senza Garibaldo) (all except Garibaldo) Dopo la notte oscura, After the dark night, più lucido, più chiaro, brighter, clearer,

64 MENU più amabile, più caro lovelier, dearer ne spunta il sol quaggiù; appears the sun here below; tal dopo ria sventura, after such terrible misfortune, figlio d’un bel soffrire, lasting joy, the child of endurance, più stabile gioire comes forth, nasce dalla virtù. born of virtue.

Nicola Francesco Haym (1678–1729), Translation © Peter Jones, 2020 after Antonio Salvi (1664–1724)

65 MENU The English Concert

The English Concert is an outstanding orchestra: exceptional, in the world- renowned quality, ambition and variety of its live and recorded output; unique, in the zeal of its players for working and performing together; unwavering, in its desire to con- nect with its audience throughout the world.

Under the artistic direction of Harry Bicket and principal guest Kristian Bezuidenhout, The English Concert has earned a reputation for combining urgency, passion and fire with precision, delicacy and beauty.

The artistic partners the orchestra collaborates with reflect and enhance its pursuit for new ways to bring music to life. Joyce DiDonato, Dame Sarah Connolly, Iestyn Davies, Alison Balsom, Trevor Pinnock, Dominic Dromgoole, Tom Morris and many more have not only brought their extraordinary skills to individual projects but continue to help the ensemble to shape the way it performs.

One cornerstone of the orchestra’s annual cycle is its international Handel Opera tour. Blossoming from an ongoing relationship with Carnegie Hall, the itiner- ary now regularly takes in the Theater an der Wien, Théâtre des Champs-Élysées, the Elbphilharmonie and Barbican Hall, and the roster of great halls continues to grow. Meanwhile, the orchestra’s regular London series allows it to explore a radically differ- ent path, presenting programmes to its home audience that challenge and inspire. The English Concert is associate orchestra at Garsington Opera.

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© Dario Acosta

FACEBOOK.COM/THEENGLISHCONCERT WWW.ENGLISHCONCERT.CO.UK TWITTER.COM/ENGLISHCONCERT

67 MENU Harry Bicket director/harpsichord

Internationally renowned as an opera and concert conductor of distinction, Harry Bicket is especially noted for his interpretation of Baroque and Classical repertoire, and since 2007 has been Artistic Director of The English Concert, one of Europe’s finest period orchestras. In 2013, following regular guest appearances for Santa Fe Opera, he became their Chief Conductor and in 2018 assumed the music directorship. In Santa Fe, he has led productions of Fidelio, La finta giardiniera, Roméo et Juliette, Alcina, Candide and Così fan tutte, as well as concert performances of Strauss’s Four Last Songs with Renée Fleming. Born in Liverpool, he studied at the Royal College of Music, London, and Oxford University.

Some of the many highlights with The English Concert have included interna- tional tours of Handel’s Alcina, Ariodante, Theodora, Hercules, Semele, Orlando, Rinaldo and Radamisto; as well as televised performances of Bach’s Mass in B minor and Handel’s Samson for the BBC Proms. More recent projects have included a series of highly suc- cessful live-streamed concerts from historic venues in the London area; a staged version of Handel’s Messiah for the Bristol Old Vic directed by Tom Morris, Bach’s Cantatas for Advent and Wayne Eagling’s Remembrance ballet, set to Handel’s Ode for St Cecilia’s Day.

Recordings to date with The English Concert include releases for Virgin Classics, Chandos and Harmonia Mundi featuring Elizabeth Watts, David Daniels, Lucy Crowe, Dame Sarah Connolly and Rosemary Joshua as well as a concerto album

68 MENU released on Signum. His discography also includes five recordings with the Orchestra of the Age of Enlightenment, among them a collection of Handel opera arias with Renée Fleming (Decca) and Ian Bostridge (EMI), as well as selections from Handel’s Theodora, Serse, and the cantata La Lucrezia with Lorraine Hunt Lieberson (Avie Records), which was nominated for a Grammy Award. His Gramophone Award-nominated albums also include Sento Amor with David Daniels featuring arias by Gluck, Handel and Mozart (Erato Veritas) and Il tenero momento with Susan Graham featuring arias by Mozart and Gluck (Erato). © Dario Acosta

69 MENU Lucy Crowe soprano

Born in Staffordshire, Lucy Crowe studied at the Royal Academy of Music, London, where she is now a Fellow.

With repertoire ranging from Purcell, Handel and Mozart to Donizetti’s Adina, Verdi’s Gilda and Janáček’s Vixen, she has sung with opera companies throughout the world, including the Royal Opera House, Covent Garden, Glyndebourne Festival, English National Opera, Teatro Real, Madrid, Deutsche Oper Berlin, Bayerische Staatsoper and Metropolitan Opera, New York.

In concert, Crowe has performed with many of the world’s finest orchestras and conductors including City of Birmingham Symphony Orchestra with Emmanuelle Haïm, Sakari Oramo and Andris Nelsons, Berliner Philharmoniker with Daniel Harding and Nelsons, Wiener Philharmoniker with Nelsons, Orchestra of the Age of Enlightenment with Richard Egarr, Scottish Chamber Orchestra with Yannick Nézet-Séguin, Monteverdi Choir & Orchestra with Sir John Eliot Gardiner, Orchestra dell’Accademia Nazionale di Santa Cecilia with Sir Antonio Pappano and London Symphony Orchestra with Sir Simon Rattle.

A committed recitalist she has appeared at the Royal Concertgebouw, Amsterdam, Carnegie Hall, New York, and the Aldeburgh, Edinburgh, Mostly Mozart and Salzburg Festivals. She is a regular guest at the BBC Proms and Wigmore Hall, London.

70 MENU Iestyn Davies countertenor

After graduating in Archaeology and Anthropology from St John’s College, Cambridge, Iestyn Davies studied singing at the Royal Academy of Music, London. An esteemed Handelian, he has delighted audiences globally with his vocal agility in roles such as Orlando, Rinaldo, Ottone (Agrippina) and David (Saul). His intelligent and con- sidered interpretations have led to fruitful collaborations with Thomas Adès, Sir George Benjamin and Nico Muhly.

Davies received an Olivier Award nomination for singing the role of Farinelli in Farinelli and the King opposite Mark Rylance at the Shakespeare’s Globe. The produc- tion was subsequently performed in the West End and on New York’s Broadway.

On the opera stage Davies has appeared at the Royal Opera House, Covent Garden, Glyndebourne Festival, English National Opera, Teatro alla Scala, Milan, Metropolitan Opera, New York, Lyric Opera of Chicago and Salzburger Festspiele. In concert, his appearances have included Teatro alla Scala, the Royal Concertgebouw in Amsterdam, Tonhalle in Zurich, Théâtre des Champs-Élysées in Paris, Barbican in London, Lincoln Center for the Performing Arts in New York and BBC Proms.

Among his accolades are a Grammy Award, three Gramophone Awards for solo recital recordings, the Royal Philharmonic Society Young Artist of the Year and the 2013 Critics’ Circle Awards for Exceptional Young Talent (Singer). In 2017 Davies was awarded an MBE by the Queen for his services to music.

71 MENU Joshua Ellicott tenor

Joshua Ellicott’s sweet-toned, flexible yet powerful lyric tenor voice and ver- satile musicianship are apparent in the wide range of repertoire in which he excels, from song to opera to concert. In the field of early music he has worked with conductors such as Nikolaus Harnoncourt, Sir Roger Norrington, Harry Christophers, Paul McCreesh, and has developed a particular affinity with the works of Bach, Handel and Monteverdi. He also enjoys performing later repertoire and has been privileged to work with such lumi- naries as Sir Mark Elder, Daniel Harding and Esa-Pekka Salonen.

Highlights include the role of Tempo in Il trionfo del tempo e del disin- ganno at the Royal Danish Opera, the UK premiere of George Walker’s Lilacs with the BBC Philharmonic, the Evangelist in a staged production of Bach’s St John Passion at Teatro Arriaga in Spain, a new work by Stuart MacRae and Britten’s Canticle No. 5 at the Lammermuir Festival, Patrick Hawes’ The Great War Symphony at Classic FM Live, Britten’s Serenade with the Royal Northern Sinfonia, Handel’s Judas Maccabaeus with Capella Cracoviensis, Handel’s Messiah with the New York Philharmonic and Bach’s Christmas Oratorio with Latvijas Koncerti.

72 MENU Brandon Cedel bass-baritone

American bass-baritone Brandon Cedel studied at the Curtis Institute of Music, Philadelphia. He was a Grand Finals winner at the Metropolitan Opera’s 2013 National Council Auditions and subsequently joined the Met’s Lindemann Young Artist Development Program.

His engagements on the opera stage include Masetto in Don Giovanni for the Metropolitan Opera, New York, and the Lyric Opera of Chicago; Leporello in Don Giovanni and Argante in Rinaldo for the Glyndebourne Festival; Collatinus in The Rape of Lucretia for the Boston Lyric Opera; the title role in Le nozze di Figaro for Opera Philadelphia and the Staatsoper Stuttgart; and Colline in La bohème and Basilio in Il barbiere di Siviglia for the Canadian Opera Company.

In concert Cedel has appeared under the baton of conductors such as Charles Dutoit, Vladimir Jurowski, James Gaffigan and Gustavo Dudamel. He is the recipient of many awards from, among others, the Richard Tucker Foundation, the George London Foundation, the Gerda Lissner Foundation and the Licia Albanese-Puccini Foundation.

73 MENU Jess Dandy contralto

From Cumbria, Jess Dandy has appeared on the concert platform with the Orchestre Révolutionnaire et Romantique, The English Concert, Florilegium, BBC National Orchestra of Wales, Academy of Ancient Music, Dunedin Consort, BBC Symphony Orchestra and Les Arts Florissants. She has collaborated with conductors including Sir John Eliot Gardiner, Trevor Pinnock, John Butt, William Christie, Kristian Bezuidenhout and Stephen Layton.

74 MENU Tim Mead countertenor

Countertenor Tim Mead is praised for his ‘alluring’ and ‘consistently excel- lent’ interpretations (New York Times). On both the operatic and concert platform, he has performed Goffredo in Handel’s Rinaldo at Glyndebourne Festival, Athamas in Handel’s Semele for Opera Philadelphia, Ulisse in Corselli’s Achille in Sciro at the Teatro Real, Madrid, Didymus in Handel’s Theodora with Arcangelo and Jonathan Cohen at the Wiener Konzerthaus, Endimione in Cavalli’s La Calisto for Teatro Real, Bertarido in Handel’s Rodelinda for Opéra de Lille, Oberon in Britten’s A Midsummer Night’s Dream for Opera Philadelphia, Glyndebourne Festival and Bergen National Opera, Hamor in Handel’s Jephtha for the Opéra National de Paris, the title role in Philip Glass’s Akhnaten and Ottone in Handel’s Agrippina at Opera Ballet Vlaanderen, and the role of Boy/Angel in Sir George Benjamin’s Written on Skin at the Bolshoi, Moscow.

Mead’s substantial discography includes Bach’s St Matthew Passion and Mass in B minor, Handel’s oratorios and operas Messiah, Saul, Solomon, Israel in Egypt, The Triumph of Time and Truth, Admeto, Flavio, Riccardo Primo and Rinaldo, and Monteverdi’s L’incoronazione di Poppea.

75 The English Concert MENU Harry Bicket director/harpsichord

violin 1 violoncello bassoon Nadja Zwiener leader Joseph Crouch Katrin Lazar Alice Evans Jonathan Byers Joe Qiu Julia Kuhn Sarah McMahon Huw Daniel horn Henry Tong double bass Ursula Paludan Monberg Michael Gurevich Christine Sticher Martin Lawrence violin 2 flute theorbo Tuomo Suni Lisa Beznosiuk William Carter Kinga Ujszászi Toby Carr Elizabeth MacCarthy recorder Annie Gard Katrin Lazar harpsichord Ada Witczyk Hannah McLaughlin Tom Foster Katharina Spreckelsen viola Alfonso Leal del Ojo oboe Jordan Bowron Katharina Spreckelsen Harpsichords provided Louise Hogan Hannah McLaughlin and tuned by Simon Neal.

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Lucy Crowe © Victoria Cadisch Iestyn Davies © Chris Sorensen Joshua Ellicott © Jonathan Oakes

Tim Mead © Andy Staples Jess Dandy © Clare Park Brandon Cedel © Dario Acosta

77 MENU The English Concert would like to acknowledge with grateful thanks the support of the following Trust and Foundations and individuals whose generosity enabled this recording:

The English Concert in America Howard and Sarah D. Solomon Foundation The Kathleen Hannay Memorial Charity The Reed Foundation (The Big Give 2019) Sir John Fisher Foundation

Robin and Justina Binks David Rendell and Ali Smith George and Daphne Burnett Kimiko Shimoda Sean Williams and Meli Costopoulos Joe and Lucy Smouha Audrey de Nazelle Anne Straton Pierson Dr Richard Golding Uwe Thormählen Alan and Seema Harley Hugh and Helene Tilney Greta Hemus-Cools Mr & Mrs Simon Weil Colin Kirkpatrick Claire Wrathall Adrian Osborn Patricia Yeiser John and Sally Reeve James Kyoon Yun

And a number of other anonymous donors.

To learn more about our plans and support our next Handel opera recording, please visit : www.englishconcert.co.uk/recording-fund

78 To be released in 2022 MENU

Handel Tamerlano

THE ENGLISH CONCERT HARRY BICKET

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