Ad Dardanus

Music by Libretto by Jean-Philippe Rameau Antoine Le Clerc de La Bruère

Paul Agnew Anna Fraser Dardanus Une Phrygienne

Paul Whelan David Greco Anténor Un Phrygien

Kathryn McCusker Daniel Walker Iphise Un Songe

Stephen Bennett Corin Bone Teucer Un Songe

Damian Whiteley Cantillation Isménor

Penelope Mills Orchestra of the Antipodes Vénus

Miriam Allan Une Phrygienne, Un Songe

Antony Walker Bernie Tan Conductor Lighting Designer

Justin Way Edith Podesta Director Choreographer

Hamish Peters Designer

30 November and There will be one interval of 20 minutes Our production is based on Rameau’s 3, 4 and 5 December 2005 at the conclusion of Act II. 1739 version, with some material from the 1744 version. City Recital Hall Angel Place The performance will finish at approximately 10.15pm on Wednesday, Dardanus is being recorded for CD Saturday and Monday, and 7.45pm release by ABC Classics, and is being on Sunday. broadcast live on ABC Classic FM on Saturday 3 December. Dardanus was first performed on 19 November 1739 at Paris Opéra.

Pinchgut Opera Ltd

Sydney’s Chamber Opera Company Pinchgut was set up in 2001 to give funds on the artists. We plan to build Australian audiences a different the company primarily on revenue from experience of opera. box office, sponsorship and individual donations. We present works that are not frequently produced but deserve to be Dardanus is our fourth production, better known. We use more intimate following Semele (2002), The Fairy spaces – like City Recital Hall Angel Queen (2003) and L’Orfeo (2004). All Place – where the audience can be have been recorded by ABC Classics closer and more involved than is and released on CD. Future plans possible in a conventional opera include a second (mid-year) production, theatre. The orchestra is visible and and touring. We also hope to develop part of the show. a program working with students and artists just starting professional careers. The music is the foundation of our productions. We believe that opera is Why Pinchgut Opera? Pinchgut was primarily a musical art form, so we the convicts’ name for Fort Denison in will always make the music as good Sydney Harbour. We chose it because and authentic to the period as we we wanted a name that is recognisably possibly can. Sydney, easy to remember and as a reminder of our humble beginnings and We work mostly with Australian singers, tight budgets. players, directors and designers, many of whom are young artists building their careers in Australia or overseas. We want to give Australian audiences the opportunity to see and hear Australian artists now living overseas. We operate on a lean cost structure and aim to spend as much as possible of our Antony Walker Paul Whelan

Antony Walker studied at the University Antony recently conducted concerts New Zealand-born Paul Whelan studied of Figaro), Olivier (Capriccio), Silvio of Sydney and has been an Opera in Sydney and Melbourne with Emma in Wellington and at the Royal Northern (Pagliacci), Ned Keene (Peter Grimes), Australia Young Artist. He established Kirkby, Cantillation and Orchestra of the College of Music in Manchester. In 1993 Demetrius (A Midsummer Night’s the Contemporary Singers and, at 22, Antipodes for Musica Viva. he won the Lieder Prize in the Cardiff Dream), Tarquinius (The Rape of became Musical Director of Sydney Singer of the World Competition. Career Lucretia), Belcore and Dulcamara (The Philharmonia Choirs. In 1997 he became Recently-released CDs include The highlights include performances at Elixir of Love), Escamillo (Carmen), the Chorusmaster and staff conductor Fairy Queen (Pinchgut Opera), a disc of Covent Garden, Netherlands Opera, Four Villains (The Tales of Hoffmann), at Welsh National Opera. In 2001 Christmas carols entitled Silent Night, Metropolitan Opera New York, Welsh Méphistophélès (The Damnation with Alison Johnston he formed the Baroque Duets with Sara Macliver National Opera, Scottish Opera, English of Faust) and the title roles in Don professional chorus Cantillation and the and Sally-Anne Russell (nominated National Opera, Opera Australia, NBR Giovanni and Eugene Onegin. Concert chamber orchestras Sinfonia Australis for a 2005 ARIA award and winner of New Zealand Opera and Opéra repertoire includes Bach’s St John and Orchestra of the Antipodes, all the ABC Classic FM Listener’s Choice Bastille in Paris. In concert he has Passion, Mozart’s Requiem, Elgar’s The of which have since made numerous Award), and Teddy Tahu Rhodes – The appeared with the Budapest, London Apostles, Schoenberg’s Gurrelieder and recordings for ABC Classics. Voice, winner of the 2004 ARIA Award and City of Birmingham Symphony Delius’ Sea Drift. for Best Classical Album. Orchestras, Bolshoi Theatre, Santa Bridget Elliot Bridget Brett Leigh Dicks In 2002 Antony was appointed Artistic Cecilia Orchestra, Scottish and English Paul performed in several concerts Conductor Director and Conductor of Washington Recent awards include the Richard Anténor Chamber Orchestras, BBC Philharmonic at the 2005 Perth International Arts Concert Opera. Recent engagements F. Gold Debut Artist Award from New and Scottish Symphony Orchestras Festival including Bach’s St Matthew include The Handmaid’s Tale and City Opera, and the American DVD and at the Edinburgh, Dresden and New Passion, Mussorgsky’s Songs and Nixon in China (Minnesota Opera), Association’s Award for Music DVD Zealand Festivals under conductors Dances of Death and Mahler’s Handel’s Orlando (New York City Excellence for his recording including Rattle, Bertini, Nagano, Hickox, Des Knaben Wunderhorn. Future Opera), Così fan tutte (Hawaii Opera of Beethoven’s Emperor Piano Gergiev, Willcocks, Runnicles and Santi. engagements include Amfortas Theatre), Il ritorno d’Ulisse in patria Concerto with Gerard Willems and He has appeared in recital at Wigmore (Parsifal) with the New Zealand (Pittsburgh Opera), La Cenerentola Sinfonia Australis. Hall, St David’s Hall in Cardiff, the International Arts Festival. CDs include (Sugar Creek Festival), L’Orfeo Cheltenham Festival and the Châtelet A Midsummer Night’s Dream with (Pinchgut Opera) and, for Washington Future engagements include Tosca for Theatre in Paris. the LSO under Colin Davis, Kurt Weill’s Concert Opera, Il tabarro, Cavalleria Hawaii Opera Theatre, the American Der Silbersee under Markus Stenz and rusticana, Esclarmonde, Béatrice et premiere of Petitgerard’s The Elephant Paul’s operatic repertoire includes recordings with the BBC Philharmonic Bénédict, Stiffelio, Roberto Devereux Man for Minnesota Opera and Tancredi Marcello (La bohème), Guglielmo (Così and Scottish Symphony Orchestras. and La donna del lago. In Australia for Washington Concert Opera. fan tutte), The Count (The Marriage Justin Way Kathryn McCusker

A graduate of the University of Sydney for Bernard Haitink’s farewell gala and Kathryn McCusker studied for her Now based in London, engagements and NIDA, Justin Way has been a Macbeth and La traviata for ROH’s Bachelor of Music degree at the West have included Donna Elvira (Don Staff Director at the Royal Opera Education Department. He has worked Australian Conservatorium of Music. Giovanni, Holland Park Opera and House (ROH), Covent Garden since it on new productions of The Queen of She has been the winner of the ABC Glyndebourne Festival Opera), Tirsi reopened, directing revivals of Madama Spades, Duke Bluebeard’s Castle, Young Performers’ Award and the Remy (Handel’s Clori, Tirsi e Fileno, Covent Butterfl y, The Barber of Seville and La Faust, Rigoletto, Wozzeck, Falstaff and Martin Opera Australia Award. Garden Festival), Isotta (Die schweigsame Cenerentola. Don Giovanni, among others. Frau) and Rosalia (Rossini’s L’equivoco As a principal soprano with Opera stravagante) for Garsington Opera and At home he has directed Semele and Since The Fairy Queen Justin has Australia (1994-99), her roles included Ginevra (Ariodante, Freiburg Opera). In The Fairy Queen for Pinchgut Opera, directed a revival of La Cenerentola Pamina (The Magic Flute), Ilia the 2001/02 season, covering the role and Juno and the Paycock and The for Washington National Opera at the (Idomeneo), Lauretta (Gianni Schicchi), of Ginevra for English National Opera, Surgeon of Honour as part of Sydney Kennedy Center, travelled to Rome Marzelline (Fidelio), Susanna (The she appeared in the final performance Theatre Company’s Directory project. Opera as associate director on Il Marriage of Figaro), Zerlina (Don and was immediately invited to work trovatore at the Baths of Caracalla, Giovanni), the title role in Iphigénie en on a new opera by Ian Wilson for the Justin’s own productions include Bizet’s co-revived the Czech premiere of Tauride and Tytania (A Midsummer ENO Studio. Other contemporary works Bridget Elliot Bridget Djamileh (Festival Les Azuriales in Martinu’s Greek Passion in Brno Shambhala Night’s Dream, performed at the 1994 include the lead role in Rendezvous by Director France and Linbury Theatre, London) and been assistant director on Der Iphise Edinburgh Festival). She also performed Australian composer Lindsay Vickery and two productions of The Marriage of Troubadour on the floating stage in the roles of Romilda (Xerxes, Victoria and Marie de Nostradame in Figaro – for Tuscany’s Opera Theatre of Bregenz, Austria. State Opera) and The Countess Nostradamus for West Australian Opera. Lucca, and for Diva Opera’s 1999 tour of (The Marriage of Figaro, West France and Switzerland. He co-founded Highlights of the coming season Australian Opera). Kathryn has appeared with the Sydney, Oper@Fontainebleau in France where include directing a revival of Madama Melbourne and West Australian he devised Odalisque and directed Butterfl y at the Teatro Liceu Barcelona, Winner of Opera Foundation Australia’s Symphony Orchestras. UK concert Mozart’s The Impresario. completing the current ROH Ring cycle 1999 Vienna State Opera Award, she performances have included Messiah, on which he is assisting, and directing a spent four months working as a Handel’s Belshazzar at the Dartington Highlights at the ROH have included new production of The Abduction from company principal with the Vienna State International Summer School, Handel working with Zeffirelli on Pagliacci with the Seraglio for Chicago Opera Theatre Opera. In early 2000 she appeared as arias with the London Chamber Placido Domingo and on Caurier and with the creative team who designed Antonia (The Tales of Hoffmann) for Orchestra and Handel’s Dixit Dominus Leiser’s Il turco in Italia with Cecilia The Fairy Queen. Opéra de Massy. and Vivaldi’s Magnifi cat in Bath Abbey. Bartoli. He staged an act of Don Carlo Paul Agnew Stephen Bennett

Paul Agnew was born in Glasgow and the Amsterdam Concertgebouw Sydney-born lyric bass Stephen Bennett Motorcycle Cop/First Guard in Jake read music as a Choral Scholar at and Handel’s La resurrezione with began his professional career in 1978 Heggie’s Dead Man Walking for State Magdalen College, Oxford. He works the City of Birmingham Symphony as a concert and recital singer. He was Opera of South Australia. For Pinchgut regularly with the world’s leading early Orchestra and the Frankfurt Radio a member of the Leonine Consort and Opera he has appeared in The Fairy music groups and conductors including Symphony Orchestra under the baton of The Song Company. Queen and Semele. William Christie, Marc Minkowski, Ton Emmanuelle Haïm. Koopman, John Eliot Gardiner and Roles for Opera Australia include Recent concert engagements have Philippe Herreweghe. Paul Agnew’s discography includes Sarastro and The Speaker in The Magic included Elgar’s The Dream of Beethoven Lieder, L’Enfance du Flute, Guglielmo in Così fan tutte, Gerontius, Stravinsky’s Pulcinella, Regarded as the leading interpreter of Christ with La Chapelle Royale under Leporello, Masetto and the title role in Haydn’s Nelson Mass and Handel’s the French Baroque haute-contre roles, Herreweghe, Mozart’s Coronation Mass Don Giovanni, Achilla in Julius Caesar, Messiah. He has also given many Paul made his Paris opera debut singing and Bach cantatas with the Amsterdam Figaro in The Marriage of Figaro, Publio song recitals including Schubert’s Die the title role in Rameau’s Hippolyte Baroque Orchestra under Koopman, in La clemenza di Tito, Trulove in The Winterreise and Schwanengesang, et Aricie at the Palais Garnier with Monteverdi’s Vespers, Charpentier’s Rake’s Progress, John Claggart in Billy Brahms’ Four Serious Songs and Les Arts Florissants. He has returned La Descente d’Orphée aux enfers and Budd (for which he won the 2000 VAC Poulenc’s Chansons gaillardes. Bridget Elliot Bridget to Opéra National de Paris to give Rameau’s Grands Motets with Les Arts Ed Hughes Green Room Award for Best Operatic Dardanus performances of Rameau’s Platée, Les Florissants under Christie, and Sally Teucer Artist in a Featured Role), Alidoro in La In 2005, Stephen has sung the role Boréades and Les Indes galantes. He Beamish’s In Dreaming with Fretwork. Cenerentola, Colline in La bohème, of Colline in La bohème for State has also appeared for Opéra de Lyon His performances as Abaris (Les Melisso in Alcina, Count Ribbing in Opera of South Australia, appeared as and Zurich Opera. Boréades), Valère (Les Indes galantes) A Masked Ball and Hermann Ortel in bass soloist in Sydney Philharmonia’s and Platée are available on DVD. The Mastersingers of Nuremburg. extensive series of Bach cantata Paul was Lufthansa Festival of concerts Immortal Bach, and Baroque Music Artist in Residence Highlights in the 2005/06 season include Other operatic engagements have performed Bach’s St Matthew Passion in 2004 and performs regularly Davidde penitente with Royal Liverpool included Colline in La bohème, Prince with The Queensland Choir. at the Edinburgh Festival. Other Philharmonic Orchestra, Il re pastore Gremin in Eugene Onegin and Doctor concert appearances have included and a program of Mozart arias, both Kolenatý in Janacék’s The Makropoulos Stephen Bennett appears courtesy of Berlioz’s L’Enfance du Christ with with Les Folies Françoises, Haydn’s Affair with Scottish Opera, the School of Music, National Institute the orchestra of Komische Oper L’anima fi losofo with the Radio France Méphistophélès in Faust for Canterbury of the Arts at the Australian National Berlin, Mozart’s Davidde penitente Philharmonic Orchestra and Platée at Opera in New Zealand, Sparafucile in University. at Konzerthaus Vienna, Alceste at the Palais Garnier. Rigoletto for New Zealand Opera and Damian Whiteley Anna Fraser

Damian Whiteley has studied with the subsequently on tour in Europe Anna Fraser holds a Bachelor of Music Ensemble including a performance of late Maureen Callinan in Sydney, Yvonne and Japan. in Vocal Performance from the Sydney Berio’s Sequenza III. In 2002, Anna Minton in London, Patrick McGuigan Conservatorium and a Graduate attended the Britten-Pears Young and Neil Howlett at the Royal Northern From 1999 to 2004 Damian was a Diploma in Vocal Performance from Artist Program in the UK and was a College of Music in Manchester, and member of the International Opera New England Conservatory in Boston. soloist in Handel’s Dixit Dominus and Denis Hall in Switzerland. He appeared Studio at the Zurich Opera House, She has been a recipient of a Queen’s the masque Acis and Galatea at the in early Mozart operas for the Mostly where he sang the title role in Lortzing’s Trust Grant for Young Australians, Aldeburgh Festival. Mozart festival at the Sydney Opera Der Wildschütz and Luka in Walton’s the Foundation for Young Australians House, Rossini bicentenary productions The Bear; he has also worked for the Centenary Scholarship and the Recent performance highlights in of Il Signor Bruschino and The Thieving company as a repetiteur and in 2004 Australian Elizabethan Theatre Trust Sydney include the role of Speranza Magpie and Handel’s Tamerlano with made his conducting debut there with Scholarship, which facilitated her study in Pinchgut Opera’s 2004 production University of New South Wales Opera. Rossini’s La pietra del paragone as in the United States. of L’Orfeo and a recital program well as performing in Don Carlo. In for ABC Classic FM; she has also In 1996 Damian joined British Youth 2000 he made his German debut in While in Boston, Anna performed recorded numerous concerts with Opera for a season of Albert Herring the title role of Salieri’s Falstaff for numerous roles in staged opera the Sydney Symphony for broadcast. Simon Hodgson Ed Hughes and The Magic Flute. In 1997 he Konstanz Kammeroper, returning to scenes including the title roles in Anna frequently appears in recital with Isménor appeared in Jonathan Miller’s Opera appear as Pasquariello in Gazzaniga’s Une Phrygienne The Daughter of the Regiment and the Baroque vocal ensemble The Tall Works TV series and with Broomhill Don Giovanni (2003) and Bartolo in Handel’s Alcina, Musetta (La bohème), Poppeas, and performs extensively with Opera in Rossini’s Il turco in Italia; Paisiello’s The Barber of Seville (2005). Elettra (Idomeneo) and Eurydice Cantillation. he has since sung with the company (Orphée aux enfers). She also sang in Kurt Weill’s Der Silbersee and Damian made his Australian professional with the Conservatory’s Contemporary Kurt Schwertsik’s Fanferlieschen debut last year in the roles of Caronte Schönefußchen. He has also appeared and Plutone in Pinchgut Opera’s with Schloß Rheinsberg Chamber production of Monteverdi’s L’Orfeo. Opera as Achilla in Carl Graun’s Cesare David Greco e Cleopatra. As a member of the Académie européenne de musique, Damian took part in the Peter Brook David Greco completed his Bachelor Australian Brandenburg Orchestra’s production of Don Giovanni at the of Music degree in 2003 at the Sydney Bach Coronation season led to a return Festival of Aix-en-Provence, and Conservatorium and has since worked invitation to appear in their Noël Noël with Sydney’s finest musical ensembles. Christmas concerts; next year he He is a member of Cantillation and appears with the Orchestra in Mozart’s Pinchgut Opera, having performed in Coronation Mass. Penelope Mills The Fairy Queen and L’Orfeo, in which he also appeared as Third Shepherd Recent engagements include Sydney and Second Spirit. He made his operatic Phillharmonia Choirs’ Bach cantata Penelope Mills holds a Master of Music in concert as a song recitalist and role debut in 2003 as Papageno in The project Immortal Bach, Britten with degree in Operatic Performance has made numerous television and Magic Flute with Pacific Opera, shortly the Tasmanian Symphony Orchestra, from the Royal Northern College of radio appearances. A frequent after being involved with the Sydney Bach Cantata No.147 with Willoughby Music (RNCM) in Manchester and a guest performer with the Sydney Conservatorium’s production of The Symphony Orchestra and Handel’s Bachelor of Music Education degree Concert Orchestra, SBS Youth Marriage of Figaro. Alexander’s Feast with Collegium with Honours from the Sydney Orchestra and Willoughby Symphony Musicum at the University of NSW.

Conservatorium. She has been awarded Orchestra, Penelope’s recent concert Ed Hughes David’s concert engagements have In August he toured as a member of both an AMusA and an LTCL in Vocal engagements in Australia and the UK Un Phrygien included the role of Christus in Bach’s Cantillation and soloist with Emma Performance. While in the UK, she include Bach’s B Minor Mass, Handel’s St John Passion, Fauré’s Requiem with Kirkby on her recent Musica Viva won the D’Oyly Carte Charitable Trust Messiah, the Requiems of Rutter and Willoughby Symphony Orchestra and concerts in Australia. Scholarship and the RNCM’s Stuart Fauré, Vaughan Williams’ Pilgrim’s Handel’s Te Deum with the Australia Grey Scholarship and was a finalist in Journey and Dona nobis pacem, Ensemble. His performance in the the Elizabeth Harwood Prize. Mozart’s Mass in C, C.P.E. Bach’s Magnifi cat, Pergolesi’s Stabat mater, In 2004, Penelope made her Pinchgut Vivaldi’s Gloria and Beethoven’s Ninth Bridget Elliot Bridget Opera debut, as Euridice in Monteverdi’s Symphony and Choral Fantasia. Daniel Walker Vénus L’Orfeo. That year she also performed the role of Gretel in Hansel and Gretel Engagements in 2005 have included for Pacific Opera and Opera Australia. Poulenc’s Gloria and Beethoven’s Composer, arranger and performer of Advance Australia Fair written Other recent operatic roles include Symphony No.9 in the Sydney Opera Daniel Walker has had works for the official Darling Harbour 2005 First Lady (The Magic Flute, Pacific House Concert Hall with the Sydney commissioned and performed by Australia Day celebrations. Opera) and Tatyana (Eugene Onegin, Concert Orchestra, Immortal Bach ensembles such as the Sydney Stowe Opera, UK). For RNCM she has and Carmina burana with Sydney Symphony Orchestra, Gondwana As a tenor Dan has performed with appeared as Second Lady (The Magic Philharmonia Choirs, the Australian Voices, Queensland Youth Choir, Pinchgut Opera in their 2004 production Flute), Susanna (The Marriage of premiere performance of works by The Australian Voices and Sydney of L’Orfeo, with The Song Company Figaro), Nedda (Pagliacci) and Zerlina the Finnish composer Kaija Saariaho Philharmonia Choirs. and as part of the 2003 Rugby World (Don Giovanni). with The Seymour Group, and the role Choir. He is a regular member of of Fiordiligi in Pacific Opera’s Così fan In 2003 Dan was the Sydney Childrens Cantillation and Sydney Chamber Choir. Winner of several lieder and recital tutte. Next weekend she performs Choir composer-in-residence; that prizes, Penelope performs regularly Messiah with Willoughby Symphony. year he also created new choral arrangements of the national anthems for the Rugby World Cup. Recent work includes The Arafura, written Miriam Allan Ed Hughes specifically for Gondwana Voices and Un Songe premiered in Mexico City as part of the 2004 Songbridge festival, various Miriam Allan was Head Chorister at Choir, Il Fondamento, Leipzig’s orchestral and choral arrangements for Christ Church Cathedral, Newcastle Gewandhaus Chamber Choir, London ABC Classics and a new arrangement and a soloist on national radio while Handel Orchestra, Leipzig Chamber still at school. She has been a soloist Orchestra, Batzdorfer Hofkapelle, with Sydney Philharmonia Choirs, Concerto Köln and ChorWerk Ruhr. She the Australian Chamber Orchestra, performs regularly with The Sixteen Chacona, Coro Innominata and and Polyphony in performance and for Corin Bone Arcadia. In 2003 she appeared in recordings. In 2004 Miriam made her Andrée Greenwell’s music theatre debut at the Leipzig Gewandhaus in work Dreaming Transportation at the performances of Bach’s B Minor Mass Corin Bone graduated from the Music performed in many concerts. Corin has Sydney Festival, subsequently recorded and was the soprano soloist in Messiah Department of the University of been a member of the chorus in each and broadcast on ABC Classic FM. at the Handel Festival in Halle, Germany. Sydney in 1999, and since then has of the Pinchgut productions – Semele, Miriam has performed as a soloist become increasingly busy as a soloist The Fairy Queen and L’Orfeo – and and ensemble member for numerous Recent engagements have included and ensemble singer. Recent solo performed a solo part as one of the two Australian recordings including Semele a solo recital in the London Handel appearances have included the baritone Young Lovers in The Fairy Queen.

Bridget Elliot Bridget and The Fairy Queen with Pinchgut Festival, concerts in the Barossa solos in the Requiem masses of Fauré Une Phrygienne, Un Songe Opera, Olimpia – The Secular Cantatas Festival, tours with The Sixteen in Spain and Duruflé, Handel’s Messiah, Mozart’s of Alessandro Scarlatti (ABC Classics), and the USA and concert performances Great Mass in C minor and Coronation Prayer Dances (Move Records), Handel in Germany. Recent recordings include Mass, the Magnifi cats of Pergolesi and Italian Cantatas (Tall Poppies) and the Mozart’s Requiem with the Gewandhaus Mendelssohn, Schubert’s Mass in G, feature film The Man Who Sued God. Chamber Choir, Handel’s Belshazzar and Absalon fi li mi by Schütz. In 2005 with the Hanover Hofkapelle and, for Corin toured extensively in country Since moving to London, Miriam has ABC Classics, Elliott Gyger’s The NSW with both The Song Company and been appointed to teach singing Service of Clouds. the Baroque opera group Sounds

at the Westminster Under School Ed Hughes Baroque, as part of the Musica Viva In and has appeared as a soloist with Un Songe Schools program. many leading orchestras and choirs in the United Kingdom and Europe, Corin appears regularly with including Concerto Copenhagen, Cantillation, with whom he has sung on Estonian Philharmonic Chamber many CD releases for ABC Classics and Neal Peres Da Costa Edith Podesta

Neal Peres Da Costa was born in Ensemble, Salut! Baroque, The Song Edith Podesta is a NIDA graduate in Le Mariage forcé (Lycée Condorcet Bahrain (UAE) and his ancestry is Company, Sinfonia Australis, Orchestra both acting (2000) and movement and Bread and Butter Theatre), To Goan. He holds degrees from the of the Antipodes and the Australian (2004). Her movement direction and the Green Fields Beyond (Tamarama University of Sydney, Guildhall School Brandenburg Orchestra. His recordings choreography credits include The Rock Surfers Theatre Company) of Music, City University in London and include numerous CDs with Florilegium Flats (PACT Theatre), Così fan tutte and President Wilson in Paris (HIT the University of Leeds (PhD). Neal on the Dutch label Channel Classics and (Sydney Conservatorium), Animal Productions), as well as the MTV specialises in performance on historical a CD of 19th-century music for clarinet Farm (Aha! Productions), The Fairy Australia Video Music Awards. keyboard instruments of the 17th, 18th and fortepiano with Colin Lawson. Queen (Pinchgut Opera) and, for NIDA – and 19th centuries. He has performed Plasticine, Big Love, The Winter’s Tale As an actor, Edith’s engagements have around the world with Florilegium, Neal has taught at the Royal Academy and Icarus on the Floor of Heaven. She included Blue Italian, The Flats, 91% the internationally renowned period of Music, Trinity College and the also devised and directed Underbelly, Are Happy, The Eumenides, Naked instrument ensemble which he University of Leeds, and at international Left Side Numb and 78/60. with a Blue Light (Short and Sweet co-founded in 1991. programs in Barcelona and Urbino, Italy. Festival), Women of Troy (Belvoir Currently he is Lecturer in Musicology This year Edith has been movement Downstairs) and, most recently, Death Neal has performed with Emma Kirkby, and Early Keyboards and Director of director/choreographer on Three in Venice for Opera Australia. Her

Bridget Elliot Bridget Nancy Argenta, James Bowman, Derek the Early Music Ensemble at the Sydney Elliot Bridget Furies: Scenes from the Life of Francis television credits include All Saints, Harpsichord and Repetiteur Lee Ragin, Michael Chance and Pieter Conservatorium of Music. Choreographer Bacon (Sydney Festival), Troy’s House Blue Heelers, Fire Flies, Love My Way Wispelwey, the Orchestra of the Age (La Mama at the Carlton Courthouse), and Headland. of Enlightenment, Academy of Ancient Neal Peres Da Costa appears courtesy Music, Australian Chamber Orchestra, of the Sydney Conservatorium of Music. Sydney Symphony, Australian Bach Andrew Johnston

Kate Golla Dardanus is Andrew Johnston’s Theatre School, Andrew has worked second Pinchgut opera as Production in the arts in many guises: as an actor, Manager, after L’Orfeo in 2004. He script supervisor for television, script Kate Golla graduated from the Sydney was the pianist for the 2002 Lorin was also Production Assistant on The assessor, score reader and in numerous Conservatorium in 2000 with a Maazel Conducting Competition, Fairy Queen and Semele. Originally arts administration roles. Bachelor of Music majoring in piano and frequently works with guest trained as an actor at the Bristol Old Vic accompaniment, having studied with conductors in Hobart and Sydney as Elizabeth Powell and David Miller. part of Symphony Australia’s conductor She has worked as an accompanist development program. and repetiteur for all the major arts

organisations in Sydney, including the Kate is also a very active chamber Elliot Bridget Sydney Symphony, Opera Australia musician, and is a member of the newly Production Manager and Sydney Philharmonia Choirs, and formed Sydney Omega Ensemble, been on the Conservatorium staff as an consisting of members of the Sydney accompanist for the vocal unit. Symphony and the Australian Opera and Ballet Orchestra. She has recorded Ali Aitken Kate has just returned from Europe, for ABC Classic FM and 2MBS-FM. where she played for a production Kate is the 2005 recipient of the

Bridget Elliot Bridget of Tippett’s The Knot Garden at the Bayreuth Scholarship awarded jointly Ali Aitken’s stage management credits She has also spent a fair amount of time Repetiteur Montepulciano Festival. She was by the German Government and Opera range from Così fan tutte and Hansel playing up on stage and in front of a awarded the prize for Best Accompanist Foundation Australia. and Gretel (Pacific Opera) to regional camera, most notably in The Wizard of at the 2005 Anglo Czechoslovak Trust NSW tours of The Prospectors Oz, Journey to the West, The Rival, The Music Festival, leading to a performance (MonkeyBaa) and The Tempest Women, Wind in the Willows, My Fair in Prague in November this year. She (ACTT), an international production Lady, Beauty and the Beast, Annie and of Peter Pan in Hong Kong, Death The King and I. Variations (East Coast Theatre Co/B Sharp), two sell-out seasons of Myth, Her production credits include Anything Hamish Peters Propaganda and Disaster in Nazi Goes, Red Hot and Cole and Snow White. Germany and Contemporary America (Griffin Theatre/Tangent Productions), Hamish Peters is a graduate of the How Much Is Your Iron (Brook Blood Brothers, The Importance of Design course at NIDA, where he Webb), Zoo Story and Ghetto for The Being Earnest, La Cage aux Folles, designed costumes for The Duchess Cranbrook School and Loveplay for Rhinoceros, Contagion and The of Malfi and sets for Nick Enright’s Ride On and B Sharp. He has designed Elliot Bridget Opposite Sex. Ali worked as Assistant Country Music, the inaugural Beatrice for atyp, Mother Teresa Is Stage Manager Stage Manager on L’Orfeo. production in the New Parade Theatre. Dead and The Women of Lockerbie for Cumulus Productions and Elegies Film credits include Kings Caravan for Angels, Punks and Raging Queens (costume design) for Myacamus Films, for the Gay Games, and was Assistant Cantillation Wishing You Were Here and Cake with Costume Designer on The Fairy Queen director Briony Dunn, and Come Here and Semele for Pinchgut Opera, Leon, The Trees and Afterlife for Dynasty: Behind the Scenes and the Antony Walker Cantillation is a chorus of professional Renaissance, Fauré’s Requiem, Orff’s the Australian Film Television and mini-series Farscape. Music Director singers – an ensemble of fine voices Carmina burana, a collection of Radio School. with the speed, agility and flexibility of a contemplative 20th-century sacred Hamish also works as a Dresser for Alison Johnston chamber orchestra. Formed in 2001 by works entitled Prayer for Peace, Bridget Elliot Bridget His work in the theatre includes Rent Opera Australia; he designed the set Manager Antony Walker and Alison Johnston, it Handel’s Messiah and a Christmas Designer (director: Danielle O’Keefe), Fuddy for the company’s 2005 production has since been busy in the concert hall, disc, Silent Night. Future CDs include Meers (Morgan Smallbone), Lawrence of Roméo et Juliette, directed by Soprano opera theatre and the recording studio. folksongs and works by Grainger, and and Holloman (Ed Wightman), Le Stuart Maunder. Anna Fraser* the choral works of Ross Edwards. Mariage forcé (Clarence Dany), Mina Kanaridis Performances have included Adams’ Sleeping Around (Katy Alexander), Belinda Montgomery Harmonium and On the Transmigration As well as appearances for Pinchgut Josie Ryan* of Souls, Ross Edwards’ Symphony Opera, Cantillation has sung for the Jane Sheldon No.4 Star Chant, Haydn’s Nelson Mass Dalai Lama, recorded all the anthems for and Jonathan Mills’ Sandakan Threnody the Rugby World Cup (and performed Bernie Tan Mezzo-Soprano/Haute-Contre (all with the Sydney Symphony), at the opening ceremony) and recorded Anne Farrell concerts with Andrea Bocelli and, soundtracks for several movies, Eric Peterson* most recently, touring in regional including Christopher Gordon’s Emmy- In recent years Bernie Tan has lit and Opera, Dialogues of the Carmelites and Natalie Shea NSW, concerts with Emma Kirkby and nominated soundtrack for Salem’s Lot. toured many productions, including The Pirates of Penzance for the Sydney Daniel Walker* Orchestra of the Antipodes in Sydney Cantillation’s performance of Allegri’s The Admiral’s Odyssey (Action Theatre Conservatorium, and Così fan tutte for and Melbourne (both for Musica Miserere was used by Bangarra Singapore), Amigos (La Boite Theatre Pacific Opera. Tenor Viva), and performing in the Sydney Dance in Clan, seen around Australia Company), Dreaming Transportation Philip Chu Symphony’s Shock of the in 2004. In 2006 Cantillation will be (Performing Lines), The Flood, The In association with Nick Schlieper John Pitman New program. singing with the Sydney Symphony in Seed and Mr BBQ (NORPA), Story Bernie has worked on the Ring Brett Weymark* Rachmaninov’s The Bells, and recording Time and Write Now 2001 (The Naked cycle and Parsifal for State Opera of Raff Wilson Recordings for ABC Classics include the Mozart Requiem and a disc of vocal Theatre Company), Bob Cats Dancing, South Australia, Two Brothers, Great great choral masterpieces of the transcriptions. Bob Cat Magic and Charters Towers Expectations, Inheritance and The Bass – The Musical (The Queensland Music Visit for Melbourne Theatre Company, Daniel Beer Festival), Knives in Hens (B Sharp), School for Scandal for Sydney Theatre Corin Bone Borderlines (Griffin Theatre Company), Company and Twinkle Twinkle Little Craig Everingham Angle City, Mary Stewart and Freak Fish for Windmill Performing Arts. David Greco Winds (Tamarama Rock Surfers), David Russell

Ed Hughes Hamlet (Pork Chop Productions) and He has toured and re-lit Copenhagen Lighting Designer A Couple of Blaguards (Ensemble (Nigel Levings), Stones in His Pockets *Trio soloists Theatre Company). (Gavan Swift) and The Christian Brothers (Brett Graham) for STC and His opera credits include Semele, The Small Poppies (Steven Hawker) for

Fairy Queen and L’Orfeo for Pinchgut Company B. Hugh Hamilton Production Credits Andrew Johnston Natalie Shea Orchestra of the Production Manager Program Editor Ali Aitken Natalie Shea and Alison Johnston Antipodes Stage Manager Surtitles Brigitte Jonas Leonie Cambage Assistant Stage Manager Surtitle Operator Orchestra of the Antipodes…are clearly Initially formed as the Baroque arm Orchestra of the Antipodes recorded and Production Assistant a band of virtuosos. The bass line, in of Sinfonia Australis, Orchestra of the complete Brandenburg Concertos, Kym Stendhal particular, is firmly etched, rich and the Antipodes has rapidly developed to be released in 2006. Most recently Frank Kovac Hair and Makeup Supervisor warm, and nicely reinforced by lutes, a thriving life of its own. Formed of released are Pinchgut Opera’s Set construction theorbo and audible guitar. Australia’s best early music players performances of Students from including Erin Helyard, Neal Peres Purcell’s The Fairy Queen and Neal Peres Da Costa and Kate Golla Makeup Glamour Technicians (International Record Review, May 2005) Da Costa, Daniel Yeadon and Anna Monteverdi’s L’Orfeo, and a CD of Repetiteurs Makeup Assistants McDonald, Orchestra of the Antipodes Baroque duets featuring the Pergolesi takes its place amongst fine period Stabat mater, winner of the ABC Neil Fisher Benedict Ernst instrument ensembles. Classic FM Listener’s Choice Award Production Electrician Plant construction in 2005. Its debut CD – Handel’s Messiah (also Brent Forstrum-Jones Matt Butcher, Ben Slade released on DVD) – drew widespread Projects this year have included Assistant Production Electrician and Peter Bertoni critical acclaim, and a subsequent disc appearances at the Art Gallery of NSW Soldiers of Bach arias and duets with soprano and concerts, recording and a tour This Is Real Art Sara Macliver and mezzo-soprano with English soprano Emma Kirkby. In Artwork, poster and program design Sally-Anne Russell quickly became 2006 Orchestra of the Antipodes will a best-seller, and was nominated for be working on several CDs including Nicole Dorigo an ARIA award in 2004. Also in 2004, Mozart, Purcell and a disc of Bach with Language Coach Teddy Tahu Rhodes. Antony Walker Violin 1 Double Bass Music Director Rachael Beesley* Kirsty McCahon Jean-Philippe Alison Johnston Franz Geissenhof, Vienna, Austria, 1813 Giuseppe Abbati, Modena, Italy, c.1750 Manager Stephen Freeman B.J. Boussu, Brussels, Belgium, 1759 Traverso Flute/Piccolo** Rameau Julia Fredersdorff Anonymous, Mittenwald, Germany, early Melissa Farrow 18th century Flute by Fritjof Aurin, Düsseldorf, Jean-Philippe Rameau lived a long life. Born in Dijon in 1683, Matthew Bruce Germany, 1999, after J. Denner, c.1720 Anonymous, Germany, 18th century, Piccolo by Rudolf Tutz, Innsbruck, he died at age 81 in Paris on 12 September 1764. His life after Stradivarius Austria, 2005 overlapped those of Bach (1685-1750), Handel (1685-1759), Elizabeth Pogson Matthew Ridley Domenico Scarlatti (1685-1757) and Telemann (1681-1767). Anonymous, after Sebastian Klotz, bow Flute by Simon Polak, The Netherlands, courtesy of Australian Brandenburg after Tassi, Paris, c.1750 Orchestra Piccolo by Rudolf Tutz, Innsbruck, Rameau has been described by a contemporary as having ‘a Austria, 2005 sharp chin, no stomach, flutes for legs’. He was extremely tall Violin 2 Oboe and thin; ‘more like a ghost than a man,’ recorded another. His Sophie Gent father was an organist in Dijon, his mother a member of the Arthur Robinson, Perth, Australia, 1998, Kirsten Barry lesser nobility. after Amati Mary Kirkpatrick, Ithaca NY, United Myee Clohessy States, 2005, after Naust, France, late Anonymous, Mittenwald, Germany, 17th century Not much is known about Rameau’s early life. At 18 (1702) he c.1790 Geoffrey Burgess Pastel by Maurice-Quentin Delatour was sent to Italy to study music but got no further than Milan. Dominic Glynn Mary Kirkpatrick, Ithaca NY, United (1704-1788), thought to be of What he did there is not known but it seems he returned Simon Brown, Sydney, Australia, 2005, States, 2005, after Naust, France, late Jean-Philippe Rameau. Reproduced after Guarnerius 17th century courtesy of Musée Antoine Lécuyer, to France within a few months. Church records show him Hannah Sless Saint-Quentin, France popping up in several places in France over the next 20 years, Lockey Hill, London, England, c.1770 Bassoon Leigh Middenway mostly as an organist on short-term contracts. The next Peter Wamsley, London, England, c.1750 Simon Rickard confirmed sighting was in 1709 where he succeeded his father Olivier Cottet, Prouais, France, 1999 at Notre Dame Cathedral but he was gone from there by 1713 Viola 1 Lisa Goldberg Olivier Cottet, Prouais, France, 1999 because in that year the city of Lyon was about to celebrate Valmai Coggins Bassoons used courtesy of the the Treaty of Utrecht: Jean-Philippe Rameau was appointed Adele Beardsmore and Alan Coggins, Orchestra of the Age of Enlightenment Musical Director for the ceremonies but the musical element Blackheath, Australia, 1995, after the Gibson Stradivarius, 1734 Harpsichord was cancelled and the money given to the poor. Amelia Peachment Perry and Wilkinson, England, 1790 Neal Peres Da Costa*** Rameau continued his nomadic wanderings between 1713 French double-manual harpsichord by Viola 2 Andrew Garlick, Somerset, England, and the early 1720s. He appeared in Dijon, Clermont and after Jean Goujon, 18th century, used Lyon, sometimes signing long-term contracts as an organist Nicole Forsyth courtesy of Neal Peres Da Costa and failing to honour them. A story about his escape from a Tenor viola by Ian Clarke, Biddeston, Australia, 1998, after Giovanni Paolo Percussion contract at Clermont Cathedral has him composing a mass Maggini, ‘Dumas’, c.1680 so awful that the chapter conceded that they could not keep John Ma Brian Nixon a composer who wanted to leave. In this period, though, he Simon Brown, Sydney, Australia, 2001 French Renaissance long drum with goatskin head, gut snares and wrote his Traité de l’harmonie and Nouveau système de Cello rope tension by Ben Harms, New musique théorique. There are published keyboard works Marborough, USA, 2005, used courtesy and cantatas from this time but he became known as a Daniel Yeadon of the Australian Brandenburg Orchestra Michael Watson, England, 1991, after theoretician before he was recognised as a composer. Guarnerius Tapan (Middle-Eastern double-headed Jamie Hey drum) with goatskin head and rope By 1724 he was in Paris and, it seems, he never left. The Five-string cello by Warren Nolan- tension, anonymous, 1960s Fordham, Melbourne, Australia, 1986, following year two Louisiana Indians were ‘displayed’ in a after Peregrino Zanetto, Brescia, Italy, Small calfskin bass drum, anonymous, theatre and Rameau wrote music to accompany their c.1581 England, 1960s dances: Les Sauvages. Rosemary Quinn Anonymous, Germany, early Tuning: a’ = 392 19th century Temperament: Valotti In 1726, at age 42, Rameau married Marie-Louise Mangot. She was 19 and the daughter of a family of musicians, originally * Rachael Beesley sponsored by Grosvenor Financial Services from Lyon. It seems to have been a happy marriage and produced four children, of whom one boy and one girl survived their father. Rameau continued his theoretical writings and worked as a jobbing organist – there is no record of any fixed ** Piccolos sponsored by appointment anywhere – and teacher. Holman Webb Lawyers Opera appears in his résumé in the early 1730s. The first work

*** Neal Peres Da Costa sponsored by composed was Samson – a tragédie en musique for which John Lamble AO the libretto (still in existence) was written by Voltaire. The Dardanus

music can be dated at 1733 but was unpublished, censored, Jean-Philippe Rameau is generally considered to be one of unperformed and lost. Somewhere around then Rameau the most significant French composers of the high Baroque met Le Riche de la Pouplinière, a wealthy man who was to era. He is remembered above all for his many theoretical become his patron. Hippolyte et Aricie was the first product and polemical writings as well as his richly innovative of this patronage. It was performed privately in 1733 in La compositions, some of which were the focus of heated debate Pouplinière’s house with his singers and orchestra, and on during his life time. His output earned him an unsurpassed 1 October that year, just after Rameau’s 50th birthday, the level of honour and praise, and has left an indelible mark in the opera was performed at the Paris Opera. The work created a history of music. storm. Lully was the gold standard for French opera and the Lullists were very unhappy about any departure from his rules. Perhaps one of the most striking facts about Rameau is In 1749 Rameau wrote Naïs, a pastorale héroïque to celebrate that he only made a name for himself relatively late in life. It the Peace of Aix-la-Chapelle (ending the War of the Austrian was his stage works, described variously as tragédies en Succession). In England Handel was composing the Royal musique, opéras, opéra-ballets or comédie-ballets, that Fireworks Music for similar celebrations. were to catapult him to fame and notoriety. His first tragédie en musique, Hippolyte et Aricie, was first performed in Rameau continued to live as part of La Pouplinière’s household 1733 and was followed by several other successful large- and for several periods he and his family lived in apartments scale works including Les Indes galantes (1735), Castor et in his patron’s house. He continued to compose operas and Pollux (1737), Les Fêtes d’Hébé (1739), and Dardanus (1739). opera-ballets and to write musicological works. During this relatively productive period Rameau gained the financial support of influential patrons including the Prince of Dardanus was the product of 1738-39. At the first Carignan and the extremely wealthy tax collector Alexandre- performances (there were 26 initially) the reception was Jean-Joseph Le Riche de la Pouplinière in whose employ he cool. The reservations were not, it seems, about the music remained until 1753. La Pouplinière’s social events provided but the plot and poetry. Rameau sought help from another Rameau with opportunities to meet other musicians, artists, poet and a revised version was presented in 1744. This was aristocrats and important philosophers, writers and infamous better received. (Our production is an amalgam of the best figures including Voltaire, Rousseau and Casanova, some of parts, musically, from the two versions.) It was revived in 1760 whom also generously supported him. and again, after Rameau’s death, in 1768 and 1771. After that, performances were few and infrequent. The French public fell Rameau’s overwhelming popularity led, in 1745, to the award of for Italian opera buffa and all but forgot their own geniuses for an annual pension by Louis XV King of France, and this honour a couple of hundred years. and security must surely have inspired Rameau to his greatest productivity and success; he produced at least eleven more More operas and opera-ballets by Rameau followed dramatic works by 1749 including Platée (1745), Pygmalion after Dardanus: Platée (1745), Zoroastre (1749) and Les (1748) and Zoroastre (1749). Between the ages of 50 and 66 Paladins (1760). All were well received, except by the Lullist (quite elderly by 18th-century standards) Rameau witnessed traditionalists. Rameau also continued theoretical writings. He at least 25 of his operas and ballets performed, a staggering wanted to be famous for these, more than for his music. Late achievement that could not be boasted by any other French in life he said he regretted the time spent composing, as that composer of the era. The success of his stage works can be had taken time he could have spent writing. measured by the numerous revivals they received throughout the 18th century. This was the Age of Reason and Rameau, a friend of Rousseau, believed harmony could be reduced to Yet it was Rameau’s stage works, particularly his opéras and mathematical rules. He sent one of his papers to Johann tragédies produced in the 1730s, that created a two-way split Bernoulli (a Swiss mathematician, brother of the more famous among the musical cognoscenti in Paris. One side supported Jacob Bernoulli, whose theories on fluid dynamics became Rameau; the other derided his compositions, accusing him the basis of the aerofoil), seeking and receiving his seal of of breaking with the sacrosanct tradition of French opera scientific approval. established by Jean-Baptiste Lully (1632-1687). Lully’s influence and hold on operatic tradition was established during the Towards the end of his life Rameau found his creative golden reign of Louis XV’s great-grandfather, Louis XIV ‘the powers weakening but his reasoning powers remained. He Sun King’. At his Paris palace (the Louvre), and his country continued to write and just four months before his death he palace at Versailles, Louis XIV established, during the second was ennobled by the Emperor. He seems to have had good half of the 17th century, a distinctive genre known as the ‘court health throughout his life until the fever from which he died on ballet’. This was a fairly large-scale staged musical-dramatic 12 September 1764. He was buried in St Eustache, near Les work with elaborate costumes and scenery and featuring Halles. The precise site in the church is unknown though there members of the court aristocracy (an ingenious way of is a fairly modern plaque to his memory in one of the chapels. keeping the more dangerous members of his court occupied and under his control) together with professional dancers. By this time, Rameau’s fame ensured a send-off with great Louis XIV himself took part in such productions and was ceremony. Three memorial services were held in Paris and known as a talented dancer. He also established a hierarchical others throughout France. His widow lived until 1785 but system of music-making at court. His 200-odd musicians nothing is known of his descendants. were divided into three institutions, namely ‘The Music of the Royal Chapel’, ‘The Music of the Chamber’ and ‘The Music Some described Rameau as mean, bad tempered, of the Great Stable’, all with varying functions and producing unapproachable and unsociable. But he had enemies and string and wind players and instrument makers of the highest perhaps these were judgments coloured by disagreements. calibre. Already under Louis XIV’s predecessor Louis XIII, a One story perhaps gives greater insight into his character. large string ensemble known as the Vingt-quatre Violons du Michel-Paul-Gui de Chabanon, a young friend (later a member Roi (Twenty-Four Violins of the King) had been established. of Académie Française, occupying the seat subsequently Further to this, Louis XIV established in 1648 the Petits Violons taken by Victor Hugo), saw him at a performance of his (Small Violin Ensemble) and the two groups accompanied all Castor et Pollux at Fontainebleau not long before his death. sorts of entertainments including ballets, balls and so on. Chabanon records: Such was the state of music-making when Lully became ‘I ran towards him to embrace him; he started abruptly to one of Louis XIV’s favourite musicians. With royal support, take flight and came back only on hearing my name. Then, Lully was able to purchase in 1672 the exclusive right to excusing the weirdness of his welcome, he said he avoided produce sung drama and created the institution known as the

compliments because they embarrassed him and he never Académie Royale de Musique. By this time, Lully had learned © Ken Nielsen 2005 knew how to reply.’ and absorbed operatic styles of both France and Italy and had The choice of which version to use for a revival of Dardanus also produced successful comédies-ballets, combining opera is not simple. Certainly, in the 1744 version there is an increase and ballet. But in order to produce full-scale opera he had in dramatic suspense and emotion between the main to take into consideration the expectations of the extremely protagonists, but in order to achieve that, other features are influential French literary movement, which demanded that suppressed. Ironically, a contemporary criticism of the 1739 poetry and drama play a major role, if not the major role, on version indirectly points to its great value. One journalist noted stage. The other imperative was the already existing ballet that ‘people were struck by the harmonic richness but there is tradition. With the help of librettist Jean-Philippe Quinault, Lully so much music that in three whole hours the orchestra didn’t devised the new form of opera known as tragédie en musique have time so much as to sneeze.’ No doubt Rameau took this and later tragédie lyrique that successfully brought together to heart because the 1744 version omits some of the most all these elements. outstanding movements and modifies and reduces others, to the extent that the music suffers greatly. As historian Quinault’s tragédies were set in five acts and combined Graham Sadler has put it, ‘The fact remains that the original ancient tales or myths with lighter entertainments or 1739 version of Dardanus is, in purely musical terms, one of divertissements which contained elaborate and colourful Rameau’s most powerful and inspired creations.’ dances and choral singing, often with no real link to the plot. These divertissements were meant for the amusement of Pinchgut Opera’s production (the first in Australia) of the public. Lully’s supreme talent lay in his ability to represent Dardanus is based primarily on the original 1739 version with the grandeur of Louis XIV’s court and reign in the music, some additions from the 1744 version, notably the superb through the French overture with its two distinct sections, and unforgettable prison scene ‘Lieux funestes’ in Act IV the ballet music, spectacular choruses, the adaptation of scene 1. This is written in the form of a monologue, to which popular Italian recitative to French style, and the invention of Rameau added an extraordinary bassoon obbligato. The piece the lyrical and simple air. He skilfully created dramatic focus also contains sequences of chromatic harmonies and bitter by his idiosyncratic mixture of recitative, air and instrumental dissonances that cannot be found in his other works. And to music. Here, emotions were conveyed by simple means. The safeguard against an overly lengthy modern revival, Pinchgut type of vocal fireworks that so dominated Italian opera was has made one other significant change: the original Prologue, eradicated and the music became tuneful with simple and which largely sets a scene unrelated to the main plot, has understated ornamentation. The drama and declamation of been omitted. the words came to be emphasised, while spectacle and sheer entertainment were achieved through the ballets, staging Dardanus contains many memorable scenes and music and costumes. including two ceremonial divertissements in Acts I and II. Here, airs, choruses and dances are arranged according to the Well into the 18th century, many composers emulated Lully’s custom in France at the time. But unlike other contemporary operatic framework, occasionally adding to it with Italian- operas, these and other divertissements relate to and extend style arias, or expanding on the entertainments, the harmonic the plot. In the Act III celebrations after Dardanus has been complexity and so on. Rameau was certainly no exception, captured, Rameau includes several inventive movements however while preserving the essence of Lully’s form, he including a reworking for duet and chorus of his fabulously made many changes. Some of these went hand in hand with bubbly harpsichord piece Les Niais de Sologne (1724). This his theory of harmony; melodies took particular shapes based is shockingly contrasted with the appearance of the sea on the relationship and movement between triads in his newly monster, a sudden twist in the plot which was the type of developed tonal system. And he used a veritable painter’s standard rhetorical device used by French librettists of the palette of chords and progressions which were extremely rich era. Act IV produces the sublime dream sequence with the and thick in texture and helped create drama and suspense trio and chorus ‘Par un sommeil agréable’. The memorably through continual emphasis of dissonance and its release haunting nature of this scene has led the English Rameau in consonance. specialist Cuthbert Girdlestone to remark that it is ‘at once an inducement to sleep, a berceuse and an impression of the It was such elements that upset Lully’s supporters, who state of sleep’. In other vocal numbers Rameau creates high initially found Rameau’s music unnecessarily complicated, tension and tortured feelings with anguished dissonances and difficult to understand, unnatural, rough and even grotesque. falling or sighing appoggiatura-like figures. In his defence, Rameau made it known in the preface to Les Indes galantes that he had ‘sought to imitate Lully, not The ballet music in Dardanus is also stunning. There are some as a servile copyist, but in taking, like him, nature herself thirty dance movements, all rich with harmonic invention, – so beautiful and so simple – as a model.’ The dispute extraordinary melodies and masterful orchestration. The intensified with the production of each new Rameau opera Menuets, Tambourins and particularly the Act V Chaconne during the 1730s, but by the 1750s the tide turned and those demonstrate Rameau’s supreme resourcefulness as who had once rejected Rameau, fearing that his style would a composer. overshadow the music of their revered Lully, came to regard Rameau as the greatest contemporary French composer. Rameau was described by many of his contemporaries as ‘the composer of Dardanus’. Yet in modern times Dardanus Rameau’s tragédie en musique Dardanus was produced at the has rarely been performed. Girdlestone was of the opinion height of the dispute, in 1739, and there were many differing that ‘Dardanus is a musician’s opera, and operas that appeal opinions as to the value of the work. Most of them, it seems, only to musicians remain within their scores where not even were negative. The work was performed 26 times in its first musicians often seek them out.’ There may be some truth run but achieved only luke-warm praise and success despite in this, however, the sheer freshness and inventiveness of the enthusiastic actions of Rameau’s supporters who sought Rameau’s score cannot but appeal to modern audiences to extend the run by attending in large numbers (about 1000) who have been starved of this wonderfully suave French every night. It would seem that there were indeed some style. Rameau’s music, and Dardanus in particular, provides deficiencies in the original version because for its revival in a special glimpse of the 18th century which cannot be 1744, Rameau and librettist Le Clerc de La Bruère reworked © Neal Peres Da Costa 2005 viewed elsewhere. the plot and the opera as a whole. In fact an entirely new plot was devised for the last three acts and the 1744 edition described the work as a new ‘tragédie’. There is little to inform of the work’s success in the revised form but by 1760, when Dardanus was revived yet again, it was generally considered to be among the finest of Rameau’s stage works. Pinchgut Opera Year 5, 2006 Dardanus “We must decide what to do next year … Is now the time to leave the Baroque? Unlike in Rameau’s day, it is now the custom for the house lights to be turned down during dramatic performances. There are still so many great works to do … This libretto is provided for later reference. Jan Brown really wants us to do Vivaldi’s Farnace … But there are so many wonderful works after the Baroque that we could be doing! ACT I Scène 1 And we can always come back. Well – what shall we do then? Iphise Iphise

Next year will be Mozart’s 250th birthday. Now there’s an opportunity … Cessé, cruel Amour, de régner sur mon âme; Cruel Love, rule my soul no longer; But lots of people do Mozart operas. Ou choisis d’autres traits pour te rendre vainqueur. or choose some other arrow to establish your victory. There are some gems that aren’t often done though, and we could do it with Où m’entraîne une aveugle ardeur? Where is blind passion dragging me? Un ennemi fatal est l’objet de ma flâme; A deadly enemy is the object of my desire; instruments of the early Classical era and in an authentic way. Dardanus a soumis mon cœur. Dardanus has my heart under his control. Did you know Idomeneo was Mozart’s favourite opera? Manes infortunez, que sur le sombre rive O unfortunate spirits of my ancestors, cast onto the dark What a terrific quartet, and so much glorious music – okay you’re on … Précipita son bras victorieux, shore by his victorious arm: Rappellez dans mon cœur la raison fugitive. reason has deserted my heart – compel it to return! Du fond de ces tombeaux, que votre voix plaintive May your sad voices rise up from the depths of these tombs, S’éleve, et condamne mes feux… and condemn my passion… Ladies and Gentlemen, for the 250th anniversary of Hélas! votre ennemi remporte la victoire! Alas! your enemy is the victor! Vous irritez ma flâme, et n’offrez à mes yeux You fan the flames my passion, and offer my eyes Mozart’s birth, Pinchgut Opera is proud to present Que le spectacle de sa gloire. only the spectacle of his glory.

his masterpiece of opera seria, Idomeneo. ACT I Scène 2

We’ll need another great tenor … Ah, I know just the person and I’m pretty Teucer Teucer sure he’s available …” Ma fille, enfin le ciel seconde mon courroux. My daughter, at last heaven comes to the aid of my wrath. Anténor en ce jour vient servir ma vengeance. Antenor comes this very day to serve my vengeance. For the rest of the story, please read our C’en est fait, Dardanus va tomber sous nos coups. It is done: Dardanus will fall beneath our blows. L’éclat de nos exploits rejaillira sur vous. And you too will gain from the glory of our exploits: newsletters in the New Year. Mon vaillant défenseur ne veut pour récompense my valiant defender seeks no reward If you are not on the newsletter list, email Que le titre de votre epoux. but the right to call himself your husband. [email protected] or write to us at Iphise Iphise PO Box 239 Westgate 2048 Je frémis… I feel myself shudder…

Teucer Teucer City Recital Hall Angel Place Le prince s’avance. The prince draws near. December 2006

ACT I Scène 3

Anténor Antenor

Princesse, après l’espoir dont j’ose me flatter, Princess, led by the hope with which I dare flatter myself, Je réponds des exploits que je vais entreprendre: I here commit to undertake great deeds: Je combattrai pour vous défendre, I shall fight to defend you Let us focus on your Et pour vous mériter. and to be worthy of you. Iphise Iphise

financial health D’un héros tel que vous, nous devons tout attendre; A hero like you surely will not disappoint our hopes! Mais… Dardanus est fils du souverain des cieux: But… Dardanus is the son of the ruler of the heavens: Ce dieu semble veiller au succès de ses armes. that god, it seems, guarantees him success in battle.

Anténor Antenor

S’il est protégé par les dieux, He may be protected by the gods, Je suis animé par vos charmes. but I am inspired by your charms.

Teucer Teucer

Par des nœuds solemnels, By solemn ties Rendons notre union plus sainte et plus certaine. let us sanctify and strengthen the bond between us. Pour recevoir nos sermens mutuels, Let these tombs serve as altars Que ces tombeaux servent d’autels: to receive our vows, one to another: Ils sont plus sacrés pour ma haine, the hatred I bear makes them holier Que les temples des immortels. than the temples of the immortal gods.

Anténor et Teucer Antenor and Teucer

Manes plaintifs, tristes victimes, Sorrowful spirits of our fathers, wretched victims, Nous jurons d’immoler votre fatal vainqueur. we swear to slay your deadly conqueror. Dieux qui nous écoutez, qui punissez les crimes, You listening gods, you who punish crimes, C’est vous qu’atteste ici notre juste fureur. you are witnesses here to our just fury. Grands dieux! de mille maux accablez le coupable Great gods, bury beneath a thousand ills the guilty man Qui trahira ses sermens; who would betray his vows; Et dans son cœur, pour comble de tourmens, and to crown his torments, Faites tonner la voix impitoyable let the pitiless voice of gnawing remorse Des remords dévorans. thunder in his heart. Par des jeux éclatans, consacrez la mémoire With brilliant games, consecrate the memory Du jour qui voit former ces nœuds. of the day that sees these bonds sealed. Grosvenor specialises in wealth creation and management for Peuples, chantez le jour heureux Sing, you people, of the happy day professionals and those of a similar profile, carefully adapting the best Qui va réparer votre gloire. which is about to restore your glory. available legal structures and tax and investment strategies to meet Chœur des Peuples et des Guerriers phrygiens Chorus of Phrygian people and warriors

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Allez jeune guerrier, courez à la victoire, Go, young warrior, run to victory; Je l’ai sçu; j’ai volé; j’ai devancé ses pas. I know; I flew to get here before her. Le prix le plus charmant vous attend au retour. the most charming prize awaits you on your return. Souffrez-moi dans ces lieux: j’y verrai ses appas. Permit me to stay here, where I shall see her charms: Que votre sort est doux! vous volez à la gloire, How sweet is your fate! You fly to glory C’est un charme suprême a higher magic Sur les ailes du tendre Amour. on the wings of tender Love. Qui suspendra mon tourment. that will relieve my torment. Eh! quel bien vaut pour un amant Ah! What is more precious to a lover Anténor et Chœur Antenor and Chorus Le plaisir de voir ce qu’il aime! Than the pleasure of seeing the one he loves!

Mars, Bellone, guidez nos coups; Mars, Bellona, guide our arms as they strike; Isménor Ismenor Dieux des combats, protégez-nous. gods of battle, protect us. Prince, étouffez plutôt d’inutiles désirs. Prince, rather stifle vain desires. Anténor Antenor Quand Iphise à vos feux pourroit être sensible, While Iphise might be susceptible to your passion, Vous connoissez Teucer, et sa haine infléxible; you know Teucer, and his immovable hatred. Guerriers, je remplirai bientôt votre espérance; Warriors, I will soon fulfil your hopes; Croyez-vous qu’il voulût couronner vos soupirs? Do you think he would crown your sighs? Il faut vous occuper de soins plus importants, you must take care of more important matters. Allez vous préparer pour ces heureux instans Go and make ready for the happy moments Dardanus Dardanus Qui doivent couronner la gloire et la vengeance. which must crown glory and vengeance. Si je croyois qu’Iphise approuvât ma tendresse, If I thought Iphise might favour my tenderness, Anténor, Teucer et Chœur Antenor, Teucer and Chorus Abandonnant mes droits, tout vainqueur que je suis, then, abandoning my rights, conqueror though I am, De Teucer aisément, j’obtiendrois ma princesse; I would easily obtain my princess from Teucer, Mars, Bellone… Mars, Bellona… Et l’hymen couronnant le beau feu qui me presse, and marriage, crowning the fair flame that drives me on, Deviendroit de la paix et le gage et le prix. would become both pledge and prize of peace. Iphise Iphise Isménor Ismenor Je cède au trouble affreux qui dévore mon cœur, I cannot resist the dreadful upheaval devouring my heart. De mes sens égarés puis-je guérir l’erreur? Can I cure the error of my wayward senses? C’en est fait, l’amitié m’entraîne; It is done, friendship has won me over. Consultons Isménor, ce mortel respectable I will consult Ismenor: that worthy mortal Je cède à vos vœux empressez: I surrender to your fervent desires. Perce de l’avenir les nuages épais. can pierce the thick clouds of the future. Mais de vos ennemis il faut tromper la haine. But your enemies’ hatred must be confounded. Heureuse, s’il pouvait par son art secourable How happy I will be, if he by his saving art Rappeler dans mon cœur l’innocence et la paix. can restore innocence and peace to my heart. ACT II Scène 3

ACT II Scène 1 Isménor Ismenor

Isménor Ismenor Entendez ma voix souveraine, Hear my sovereign voice: Ministres de mon art, hâtez-vous, paroissez. Ministers of my art, make haste and appear. Tout l’avenir est présent à mes yeux. The whole future lies open to my eyes. Hâtez-vous; commençons nos terribles mysteres; Make haste; let us begin our terrible mysteries, Une suprême intelligence A supreme intelligence Et que vos magiques concerts, and let the strains of your magical chorus Me soumet les enfers, et la terre, et les cieux. places within my power hell, earth and the heavens. Du sein de ces lieux solitaires, resound from this lonely place L’univers étonné se tait en ma présence. The universe, astounded, falls silent in my presence. Retentissent jusqu’aux enfers. to the depths of hell. Mon art m’égale aux dieux. My art makes me the equal of the gods. Cet art mystérieux This mysterious art Chœur des Ministres d’Isménor Chorus of the Servants of Ismenor Est un rayon de leur toute-puissance. is one ray of their omnipotence. Hâtons-nous; commençons nos terribles mysteres; Let us make haste; let us begin our terrible mysteries, Et que nos magiques concerts, and may the strains of our magical chorus ACT II Scène 2 Du sein de ces lieux solitaires, resound from this lonely place Retentissent jusqu’aux enfers. to the depths of hell.

Isménor Ismenor Isménor Ismenor

On vient… c’est Dardanus. Someone is coming… It’s Dardanus! Suspens ta brillante carriere, Stay for a moment your shining path, Est-ce vous que je vois? Is this you I see? Soleil, cache à nos yeux tes feux étincelans. O Sun: hide your flashing fire from our eyes, Dans ces lieux ennemis, quel dessein vous amene? What brings you here, into enemy territory? Qu’à l’univers, troublé par nos enchantemens, that the universe, disturbed by our enchantments, Du barbare Teucer, tout suit ici les loix: The laws of barbarous Teucer are all-powerful here: L’astre seul de la nuit dispense la lumiere. may be lit by the star of night alone. Fuyez! Pourquoi chercher une perte certaine. flee! Why seek certain ruin? Nos cris ont pénétré jusqu’au sombre séjour. Our cries have penetrated to the dark abode. Dardanus Dardanus Pour nous mieux obéïr, les déitez cruelles The better to obey us, the cruel deities Cessent de tourmenter les ombres criminelles: cease their torment of the shades of criminals: Non, vos conseils sont vains. No, your counsels are in vain. Je les vois, à nos vœux, être à regret fidelles, I see them forced against their will to be faithful to our Un intérêt trop cher auprès de vous m’entraîne. Something too precious brings me to you. Et frémir de servir l’Amour. wishes, shuddering to serve Love. Mon repos, mon bonheur, ma vie est dans vos mains. My peace, my happiness, my life is in your hands. C’en est fait; le succès passe mon espérance. It is done; more successful than I had hoped. Prenez ce don mystérieux. Take this magical gift. Isménor Ismenor Vous allez, sous mes traits, abuser tous les yeux; All eyes will be tricked into thinking you are me; Mais le destin a borné ma puissance: but destiny has set a limit to my power: Vous trouverez en moi l’ami le plus fidelle. You will find in me your most faithful friend. Si vous l’osez quitter, n’esperez plus en moi. if you dare to set it aside, trust in me no more. Dans les horreurs d’une guerre cruelle, Through the horrors of a cruel war Le charme cesse, et le péril commence. The spell will cease, and the danger will begin. Vous avez respecté ce tranquille séjour; you respected this tranquil abode, Telle est du sort l’irrévocable loi. Such is the irrevocable law of fate. Azile heureux, qu’a consacré mon zéle this happy refuge, which in my zeal I consecrated Au dieu puissant dont vous tenez le jour! to the powerful god who gave you birth! Chœur des Ministres d’Isménor Chorus of the Servants of Ismenor

À remplir vos vœux tout m’engage, Everything urges me to fulfil Obéïs aux lois des enfers, Obey the laws of hell, Le sang dont vous sortez, l’éclat de vos travaux: your desires: your bloodline, the glory of your deeds. Ou ta perte est certaine. or your ruin is certain. C’est au dieu que je sers offrir un double hommage: It would be an act of double homage to the god I serve, Songe que sous les fleurs où le plaisir t’entraîne, Think on this: below the flowers to which pleasure leads you, Que secourir son fils, et servir un héros. to aid his son, and serve a hero. Des gouffres profonds sont ouverts. deep chasms gape.

Dardanus Dardanus ACT II Scène 4 Un malheureux amour me trouble et me dévore: I am troubled by an ill-starred love that is consuming me: La fille de Teucer est l’objet que j’adore. the daughter of Teucer is the object of my adoration. Anténor Antenor Isménor Ismenor Je viens vous confier le trouble de mon cœur. I have come to confide in you: my heart is in a whirl. Ô ciel! Dans quelle chaîne êtes-vous arrêté? O heaven! What chain is this that traps you? Peut-être, je devrois rougir de ma foiblesse: Perhaps I should blush at my weakness: Mais je suis entraîné par un charme vainqueur. but an enchantment has defeated me, and I am swept away. Dardanus Dardanus J’aime Iphise. I am in love with Iphise. À mes feux son pere est favorable: Her father approves of my passion: Vous la vîtes soumise au pouvoir de mes armes; You saw how, victorious in battle, I had her in my power. Bientôt je serai son epoux. I shall soon be her husband. Je lui rendis la liberté. I set her free. L’Amour parloit en vain; je bravai tous ses charmes, Love spoke in vain; I braved all his charms, Dardanus, sous les traits d’Isménor Dardanus, in the likeness of Ismenor Je cachai les transports dont j’étois agité. I concealed the passions that shook me. D’un amant empressé lui parler le langage, To speak to her in the language of an eager lover L’hymen doit vous unir!... Marriage shall unite you!... C’étoit me prévaloir du titre de vainqueur; would have been to profit from the title of conqueror; (Ô sort impitoyable!) (O pitiless fate!) Et je ne veux, pour obtenir son cœur, and to gain her heart, I would Employer d’autre avantage exploit no advantage Anténor Antenor Que l’excès de mon ardeur. but my overflowing ardour. Pour obtenir du roi l’aveu d’un bien si doux, To obtain from the king his promise of so sweet a gift, Isménor Ismenor Je viens de m’engager à servir son courroux I have just committed myself to serve his anger Contre l’ennemi qui l’accable: against the enemy who is overwhelming him: Iphise doit bientôt venir dans ce bocage. Iphise is soon to come into this grove. J’espere voir bientôt ce guerrier redoutable I hope to soon see this fearsome warrior Périr et tomber sous mes coups. perish, struck down by my blows. Dardanus Dardanus Iphise Iphise

(J’ai peine à retenir les transports qu’il m’inspire.) (I can barely contain the emotions he stirs up in me.) Lui-même. The same. Le sort que je puis vous prédire… The fate I can foretell for you… D’un penchant si fatal rien n’a pû me guérir. Nothing has been able to cure me of such a fatal fondness. Anténor Antenor Jugez à quel excès je l’aime, You will appreciate how excessively I love him En voyant à quel point je devrois le haïr. when you see how much I ought to hate him. Je ne veux point prévoir le succès qui m’attend. I have no desire to foresee the success which awaits me. Arrachez de mon cœur un trait qui le déchire. Pull from my heart the arrow which is tearing it apart. Ce n’est pas ce dessein qui près de vous me guide. That is not what has brought me to you. Je sens que ma foiblesse augmente chaque jour. I can feel my weakness growingevery day. Un esprit curieux marque une âme timide; A curious mind is the sign of a timid soul; De ma triste raison rétablissez l’empire; Let Reason, so poor and weak within me, rule me once more Et j’apprendrai mon sort en combatant. and I shall learn my fate as I fight. Et rendez-lui ses droits usurpez par l’amour. and restore to him the rights usurped by Love. Si je suis allarmé, ce n’est que pour ma flâme. If I am worried, it is only because of my love. La princesse a paru peu sensible à mes feux; The princess seems little moved by my passion; Dardanus Dardanus Par votre art aisément vous lirez dans son âme. by your art you can easily read within her soul. Serois-je traversé par un rival heureux? Could it be that a lucky rival stands in my way? Dieux! qu’exigez-vous de mon zéle? Gods! What are you asking of my devotion? Ah! si de votre cœur je pouvois disposer, Ah! If I could direct your heart, Dardanus Dardanus J’atteste de l’Amour la puissance immortelle, I affirm the immortal power of Love: Je voudrois reserrer une chaîne si belle, I would draw so fair a chain even tighter, Elle aime! À qui son cœur céde-t’il la victoire? She is in love! To whom will her heart grant the victory? Loin de songer à la briser. far from thinking to break it! Sur quoi fondez-vous ces soupçons? What grounds do you have for these suspicions? Iphise Iphise Anténor Antenor Ciel! Heaven! Je le crains assez pour le croire. I fear it enough to believe it. L’Amour, pour s’allarmer, manque-t’il de raisons? Does Love lack reasons to worry? Dardanus Dardanus

Dardanus Dardanus Pourquoi balancer encore? Why hesitate any longer? Quelles barbares lois se prescrit votre cœur? What barbarous laws does your heart set itself? Je veux observer tout avec un soin extrême. I would like to observe the whole situation with great care. Que Dardanus est loin d’une si triste erreur. For Dardanus is far from making such a sad mistake. Si vos feux sont troublez par un heureux rival, If your flame is threatened by a successful rival, Voulez-vous le haïr? Ingrate, il vous adore. Would you hate him? Ungrateful woman, he adores you. Croyez qu’à pénétrer ce mystère fatal, believe me, I am just as keen as you Je prends un intérêt aussi grand que vous-même. to get to the bottom of this fatal mystery. Iphise Iphise

Qu’entends-je! What am I hearing! ACT II Scène 5 Dardanus Dardanus

Dardanus Dardanus Oui, vous régnez sur son cœur. Yes, you are the ruler of his heart. Que ne puis je exprimer tout l’amour qui l’anime? How can I put into words all the love he lives and breathes? (Je la vois. Quels transports ont passé dans mon âme! (There she is! What a wave of emotion has stirred my soul! Loin de vous reprocher l’excès de votre ardeur, Far from reproaching yourself for loving to excess, you would Contraignons, s’il se peut, mes regards amoureux: I must try, if I can, to restrain my loving gaze: D’aimer si foiblement vous vous feriez un crime. be committing a crime against yourself to love so feebly. Malgré l’enchantement qui me cache à ses yeux, despite the spell which hides me from her eyes, Ils trahiroient le secret de ma flâme!) that would betray my secret passion!) Iphise Iphise Princesse, quel dessein vous conduit dans ces lieux? Princess, what brings you to this place? Quels funestes conseils osez-vous m’adresser? What disastrous advice is this, that you dare offer me? Iphise Iphise Voulez-vous, ministre infidelle, Faithless minister, are you trying Envenimer le trait que je veux repousser? to add venom to the very dart I am trying to repel? Hélas! Alas! Fuyons. I’m going.

Dardanus Dardanus Dardanus Dardanus

Vous soupirez? You are sighing? Où courez-vous, cruelle? Where are you running to, cruel one? Ah! connoissez du moins celui que vous fuyez. Ah! At least know whom it is you are fleeing. Iphise Iphise Arrêtez; voyez à vos pieds… Wait; see, at your feet…

Que viens-je vous apprendre? What have I come to tell you? Iphise Iphise Ah! si je vous ouvre mon cœur, Ah! If I open my heart to you, Vour me verrez avec horreur: you will look on me with horror, Que vois-je? Dardanus!… What am I seeing? Dardanus!… Et vous frémirez de m’entendre. and shudder to hear me. Dardanus Dardanus Dardanus Dardanus Vous fuyez, inhumaine? Would you flee from me, brutal one? Où tend de ce discours le sens mystérieux? Mysterious words! What are you trying to say? Et la voix d’un amant ne peut vous arrêter? And the voice of a lover cannot stop you?

Iphise Iphise Iphise Iphise

Il faut donc révéler ce secret odieux. Then I must reveal this odious secret. C’est un crime pour moi que de vous écouter. It’s a crime for me to listen to you. Par l’effort de votre art terrible, By the power of your terrible art, Vous ouvrez le tombeaux, vous armez les enfers; you open tombs and arm hell; Dardanus Dardanus Vous pouvez, d’un seul mot, ébranler l’univers. with a single word, you can shake the universe. À cet art tout-puissant, n’est-il rien d’impossible? Is there nothing this all-powerful art cannot achieve? Quel mélange cruel de tendresse et de haine. What a cruel mixture of tenderness and hate. Et… s’il étoit un cœur… trop foible… trop sensible… And…if there were a heart…too weak…too susceptible… Dans de funestes nœuds… malgré lui, retenu… caught, in spite of itself…in deadly knots… Iphise Iphise Pourriez-vous?… could you?... Quelle haine, grands dieux! Such hatred, great gods! Dardanus Dardanus Dardanus Dardanus Vous aimez? Ô ciel! Qu’ai je entendu! You are in love? O heaven! What am I hearing! Vous voulez me quitter? Would you leave me? Iphise Iphise Croirai-je que l’Amour ait pû toucher votre âme? Shall I believe Love has been able to touch your soul?

Si vous êtes surpris, en apprenant ma flâme, If you are surprised to learn of my passion, Iphise Iphise De quelle horreur serez-vous prévenu, what horror will come upon you Quand vous sçaurez l’objet qui règne sur mon âme? when you learn who it is who reigns over my soul? Vous triomphez en vain d’avoir connu ma flâme; Your triumph in knowing of my passion is in vain; C’est un motif de plus pour la dompter. it’s just one more reason to tame it. Dardanus Dardanus Dardanus Dardanus (Je tremble… je frémis…) Quel est votre vainqueur? (I’m trembling, I’m shivering…) Who has conquered you? Arrêtez… Stop… Iphise Iphise

Le croirez-vous? Ce héros redoutable, Will you believe it? This fearsome hero, ACT II Scène 6 Ce guerrier, qu’à jamais la haine impitoyable this warrior who should forever be driven Devoit éloigner de mon cœur… far from my heart by pitiless hatred… Dardanus Dardanus Dardanus Dardanus Elle fuit!… Mais j’ai vû sa tendresse: She has fled!… But I have seen her tenderness: Achevez… Dardanus? Say it!... Dardanus? Mon sort a trop d’appas. my fate is too full of delights. Quittons ces lieux, l’amour n’y retient plus mes pas; I shall leave this place, love no longer holds me here; Et le péril renaît, lorsque le charme cesse. and the danger is reborn when the spell ceases. Mais dussai-je périr, j’ai connu sa tendresse, But if I should have to perish, I have known her tenderness: Mon sort a trop d’appas. my fate is too full of delights. Interval

ACT III Scène 1 ACT III Scène 3

Iphise Iphise Chœur Chorus

Ô jour affreux! O terrible day! Que l’on chante, que l’on s’empresse; Let there be singing! Make haste! Le ciel met le comble à mes maux; Heaven puts the crowning touch on my miseries: Quel triomphe! quel jour heureux! What a triumph! What a glad day! Dardanus est captif! Dieux, Dardanus has been taken captive! Gods, Qu’avec la paix l’amour renaisse; As peace returns, let love be born anew; Dieux, sa perte est certaine. gods, his ruin is certain. Que tous les deux fassent sans cesse and the two together ordain La vengeance et la haine Vengeance and hatred Régner les plaisirs et les jeux. an unending reign of games and pleasures. Vont seules ordonner du sort de ce héros. alone will determine the fate of this hero. Que mon destin est déplorable! How lamentable is my fate! Un Phrygien et une Phrygienne A Phrygian Man and Woman C’étoit peu que l’Amour, d’un trait inévitable, It was only just now that Love, with his inescapable dart, M’eût pour mon ennemi contrainte à m’enflamer; forced me to burn with love for my enemy; Paix favorable, Kindly peace, Je me trouve à la fois malheureuse et coupable; I feel wretched and guilty at the same time; Paix adorable, adorable peace, Et le sort cruel qui m’accable, and the cruel fate which overwhelms me Viens, descend des cieux; come down from the heavens; Joint l’horreur de le perdre au remords de l’aimer. adds to the guilt of loving him the horror of losing him. Ramene des jours plus heureux. bring back happier days. Paix favorable, Kindly peace, Paix adorable, adorable peace, ACT III Scène 2 Viens par ton retour come, and as you return Ranime les jeux et l’amour. breathe new life into our games and our love.

Anténor Antenor Chœur Chorus

Princesse, enfin la paix va combler mon attente: Princess, at last peace rewards my long wait: Paix favorable… Kindly peace… Elle engage Teucer à répondre à mes vœux; she commits Teucer to respond to my vows; Il consent qu’un hymen heureux he consents that happy marriage Un Phrygien et une Phrygienne A Phrygian Man and Woman Couronne, dès ce jour, ma flâme impatiente. shall this day crown my impatient passion. Fuis, dieu des armes, Begone, god of weapons, Iphise Iphise Dieu des allarmes; god of blaring trumpets; Cherche d’autres cœurs seek other hearts (Quel hymen!) (What a marriage!) Pour applaudir à tes fureurs. to applaud your rage. Dans quel temps affreux Are you thinking to tie this knot Qu’un dieu plus doux May a gentler god Songez-vous à former ces nœuds? in these dreadful times? Règne à jamais sur nous; reign over us for ever; Du sang de l’ennemi qu’il tient en sa puissance, The king intends to flood this unfortunate place Vole, Amour, que tes traits fly, Love, and may your arrows Le roi veut inonder ce malheureux séjour. with the blood of the enemy he holds in his power. Nous offrent des biens plus parfaits. offer us more perfect gifts. C’est aujourd’hui le jour de la vengeance. Today is the day of vengeance. Pour être heureux, que sert l’éclat de la victoire? What use is victory’s glamour in the search for happiness? Ce jour triste et terrible, est-il fait pour l’amour? Is this sad, terrible day made for love? Non; nous laissons aux guerriers No: we leave the warriors Leurs lauriers. their laurels. Anténor Antenor Le plaisir vaut bien la gloire. Pleasure is easily the equal of glory.

Vos peuples vont chanter la fin de leurs allarmes: Your people are about to rejoice at the end of their fears: Chœur Chorus Ils triomphent de leur vainqueur. they have triumphed over their conqueror. Quel jour conviendroit mieux, pour chanter mon bonheur, What day would be better suited to acclaim my happiness Paix favorable… Kindly peace… Et le triomphe de vos charmes? and the triumph of your charms? Un Phrygien et une Phrygienne A Phrygian Man and Woman Iphise Iphise Bellone fuit. Bellona is fleeing. Quoi! vous, que j’ai crû généreux, What! I believed you to be noble of heart, Nos craintes cessent. Our fears are over. Vous semblez insulter à son destin funeste? but you seem to mock his dreadful fate? Un beau jour luit. A fair day is shining. Les jeux renaissent. The games begin anew. Anténor Antenor Mais ce beau jour But this beautiful day N’est pas pour des cœurs sans amour; is not for loveless hearts. Non; de ce triste objet je détourne les yeux. No; from this sad object I avert my eyes. Nos fêtes et nos jeux Our festivities and our games Je le plaindrois en vain. Nul espoir ne lui reste. I would be pitying him in vain. No hope remains for him. Sont froids et languissans pour eux. are cold and dull for them. Le roi vient de jurer de l’immoler aux dieux. The king has just sworn to sacrifice him to the gods. Leur prix charmant, Their charming prize, Leur douceur, leur plaisir suprême their sweetness, their supreme pleasure Iphise Iphise Est senti par l’amant is tasted by the lover Qui vient y chercher ce qu’il aime. who comes in search of his beloved. Et j’irois vous promettre une ardeur éternele And I should promise you eternal love Aux pieds de ces autels arrosez de son sang? at the feet of this altar watered with his blood? Chœur Chorus Non; que plutôt cent fois la mort la plus cruelle… No. I would rather the cruellest death a hundred times… Paix favorable… Kindly peace… Anténor Antenor Une Phrygienne A Phryrian Woman D’où naît en sa faveur ce tendre mouvement? Why are you so moved by his fate? Le croirois-je? grands dieux! quelle horreur m’environne! Can I believe it? Great gods! What horror surrounds me! Volez, Plaisirs, volez. Fly, Pleasures, fly. Vous tremblez pour ses jours! notre hymen vous étonne! You are trembling for his life! Our marriage shocks you! Amour, prête-leur tes charmes; Love, lend them your charms; Je vois couler des pleurs que vous voulez cacher! I can see tears flowing, that you are trying to hide! Répare les allarmes make amends for the alarms Qui nous ont troublez. which left us in fear and confusion. Iphise Iphise Que ton empire est doux! How sweet your empire is! Viens, viens, nous voulons tous Come, come, we all wish Juste ciel! O heaven! Sentir tes coups. to feel your arrows. Enchaîne-nous. Put us in chains. Anténor Antenor Mais, But Ne lance plus que ces traits shoot only those arrows L’amour seul peut vous les arracher. Love alone could tear them out of you. Qui rendent contens which bring happiness Ingrate, à mes soupirs vous étiez infléxible. Ungrateful woman, you wouldn’t bend to my sighs! Les amans. to lovers. Eh! la simple pitié pourroit-elle toucher Ah! can simple pity touch Un cœur qu’un tendre amant n’a pû rendre sensible? a heart that a gentle lover could not move to tenderness? ACT III Scène 4 Iphise Iphise

Ah! cruel, arrêtez. Quels soupçons odieux! Ah! Cruel one, stop. What hateful suspicions! Teucer Teucer

Chœur des Phrygiens Chorus of Phrygians Cessez vos jeux; les dieux redoublent leur courroux: Stop your games; the gods have redoubled their anger. Tout espoir est perdu pour nous. All hope is lost for us. Que l’on chante, que l’on s’empresse; Let there be singing! Make haste! Du fond de ses grottes profondes From the bottom of his deep caverns Quel triomphe! quel jour heureux! What a triumph! What a glad day! Neptune a soulevé les flots impétueux. Neptune has roused the impetuous waves. Un monstre redoutable, un dragon furieux, A fearsome monster, a furious dragon, Anténor Antenor Pour désoler ces lieux, has sprung forth from the breast of the waves S’est élancé du sein des ondes. to wreak devastation on this place. Entendez ces chants d’allégresse: Listen to these songs of joy: Ils condamnent vos feux. they condemn your love. Anténor Antenor

Iphise Iphise Quel prodige! What a dread omen!

Non, non, je ne verrai point de si funestes jeux. No, no, I will not watch these deadly games. (Fuyons; cachons à tous les yeux (I must be gone, and hide from all these eyes Le trouble qui me presse.) the distress that oppresses me.) Teucer Teucer Trio des Songes et Chœur Trio of Dreams and Chorus

Triton paroissant sur les mers, Triton, appearing on the waves, Il est temps de courir aux armes; It is time to hasten to arms; Nous a, des dieux cruels, annoncé la vengeance. has announced the vengeance of the cruel gods. Hâtez-vous généreux guerrier, make haste, noble-hearted warrior, Le fils de Jupiter, retenu dans nos fers, The son of Jupiter, bound in our irons, Hâtez-vous, aux armes. make haste, to arms. Arme contre nous leur puissance. arms their power against us. Allez, au milieu des allarmes, Go, and amid the trumpets of war, Mais ils tonnent, ces dieux, sans m’inspirer d’effroi. But the thundering of these gods strikes no fear into me. Cueillir un immortel laurier. win laurels that will last for ever. Dussai-je être accablé par le monstre funeste, Were I to be overcome by the dread monster, L’ennemi qu’il protége, et que mon cœur déteste, the enemy it protects, the enemy my heart loathes, Périra du moins avant moi. will at least perish before me. ACT IV Scène 3

Anténor Antenor Dardanus Dardanus Contre l’objet de votre haine, I have sworn to lend you my arm J’avois juré de vous prêter mon bras: against the object of your hatred: Où suis-je! dans ces lieux quel dieu m’a transporté! Where am I? What god has carried me to this place? Un monstre pour briser sa chaîne, a monster has broken free of his chain and comes M’a-t’on rendu la liberté? Have I been set free? Vient ravager ces climats; to ravage these lands. Le sort cruel, enfin, va-t’il tarir mes larmes? Is cruel fate at last to dry my tears? Mais malgré sa fureur, la même ardeur m’anime. but despite his fury, the fire of my soul burns constant. Mais je n’en doute plus, à l’aspect de ces lieux, But I doubt no longer: from the look of this place, Mes sermens sont plus forts que les dieux en courroux: My oaths are stronger than the gods in their rage: Ces Songes séduisans, qui charmoient mes allarmes, these seductive Dreams who charmed away my fears Ces dieux ne font que changer la victime these gods have but changed the victim Etoient les oracles des dieux. were oracles of the gods. Qui devoit tomber sous mes coups. who must fall beneath my blows. Hâtons-nous; courons à la gloire, I must make haste; I must run to glory, Cherchons le monstre affreux qui ravage ces bords. seeking the hideous monster which is ravaging these shores. Chœur des Phrygiens Chorus of Phrygians Vole, Amour, à mon bras assure la victoire, Fly to me, Love, guarantee my arm the victory, Vole, vole, seconde mes efforts. fly, fly, help me in my struggles. Allez, et remportez une illustre victoire; Go, and bring back an illustrious victory; Triomphez, héros généreux. conquer, noble-hearted hero. ACT IV Scène 4

ACT IV Scène 1 Anténor Antenor

Dardanus Dardanus Voici les tristes lieux que le monstre ravage. Here are the sad lands ravaged by the monster. Hélas! si pour moi seul je craignois sa fureur, Alas! If it were only for myself that I feared his fury, Lieux funestes, où tout respire O dread abode, where everything breathes Je l’attendrois sur ce rivage I would await him on this shore La honte et la douleur, shame and suffering, Pour être sa victime, et non pas son vainqueur. to be his victim, not his vanquisher. Du désespoir sombre et cruel empire, dark and cruel empire of despair, Monstre affreux, monstre redoutable, Dread monster, fearsome monster, L’horreur que votre aspect inspire the horror I feel at the sight of you Ah! que le sort me seroit favorable, ah, how kind fate would be to me Est le moindre des maux qui déchirent mon cœur. is the least of the evils that tears my heart apart. S’il ne m’exposoit qu’à vos coups! if he exposed me to no blows but yours! L’objet de tant d’amour, la beauté qui m’engage, The object of so much love, the beauty to which I am bound, Monstre affreux, monstre redoutable, Dread monster, fearsome monster, Le sceptre que je perds, ce prix de mes travaux, the sceptre I am losing, this prize of my labours, Ah! l’Amour est encor plus terrible que vous. ah, Love is much more terrible than you. Tout va de mon rival devenir le partage, everything will fall to my rival, Contre votre fureur il est du moins des armes: At least against your fury there are weapons: Tandis que dans les fers je n’ai que mon courage while I, in irons, have only my courage, Mais contre ses allarmes, but against his attacks Qui suffit à peine à mes maux. which is barely enough to meet my ills. Vainement on cherche un appui; one looks in vain for support; Il renaît des efforts qu’on fait pour le détruire; all efforts to destroy him only give him new life; Vénus Venus Et le cœur même qu’il déchire and the very heart he tears apart Est d’intelligence avec lui. is in league with him. Malgré le dieu des mers, et son pouvoir suprême Despite the god of the seas and his supreme power, Quel bruit! quelle tempête horrible! What a noise! What a horrible storm! Dardanus subissoit un trépas rigoureux, Dardanus was about to suffer a harsh death Les flots s’élevent jusqu`aux cieux; The waves rise up to the heavens; Quand le maître des dieux, when the ruler of the gods, Du tonnerre vengeur j’entends la voix terrible; I hear the terrible voice of vengeful thunder; Pour délivrer un fils qu’il aime, to set free a beloved son, La nuit d’un voile épais, environne ces lieux! night wraps this place in a thick veil. M’a fait voler du haut des cieux. commanded me to fly from the heights of heaven. Sortez, sortez de vos grottes profondes, Come forth from your deep caverns, Venez Songes flatteurs, venez calmer sa peine; Come, flattering Dreams, come and ease his pain; Monstre cruel, sortez; que votre aspect affreux cruel monster, come forth; let your hideous face Enchantez un héros dont les dieux sont l’appui; cast your spell on a hero who has the gods on his side; Augmente encor l’horreur qui règne sur les ondes. add to the horror that reigns over these waves. Montrez-lui les desseins que ces dieux ont sur lui, show him the designs these gods have for him Rien ne peut effrayer un amant malheureux. Nothing can daunt an unhappy lover. Quand ils me font briser sa chaîne. in making me break his chain. Je vois ce monstre formidable. Allons… I see this fearsome monster. Come then...

ACT IV Scène 2 ACT IV Scène 5

Trio et Chœur des Songes Trio and Chorus of Dreams Dardanus Dardanus

Par un sommeil agréable Let blissful slumber Mon rival va périr; volons à son secours. My rival is about to perish; I must fly to help him. Que tous vos sens soient charmez! charm all your senses! Est-il de plus noble vengeance? Is there any more noble revenge? Dormez, dormez. Sleep, sleep. Par cet enchanteur aimable, This kindly caster of spells Le monstre est abbatu; reprenons l’espérance. The monster is dead; let us take hope again. Tous les chagrins sont calmez. eases all griefs. Dormez, dormez. Sleep, sleep. Anténor Antenor Les plaisirs sont ranimez. Pleasures are reawakened. Le tendre Amour est pour vous. Tender Love is to be yours. Ô ciel!… mais dans ces lieux la nuit règne toujours: O heaven! … but night reigns here yet: Quel sort plus doux! Sweetest of fates! Quel est donc le héros qui conserve mes jours? Who then is the hero who has preserved my life? Bravez les destins jaloux. Stand firm against jealous fates. Vous me quittez! You’re leaving! Le tendre Amour est pour vous. Tender Love is to be yours. La Gloire et l’Amour vous donnent Glory and Love are giving you Dardanus Dardanus Et le myrthe et le laurier. both the myrtle of Venus and the laurel of victory. Heureux guerrier, Happy warrior, Un jour tu le sçauras peut-être: One day, perhaps, you will know: Ces dieux vous couronnent: these gods crown you: Il n’est pas temps encor de me faire connoître. it is not yet time for me to reveal myself. Ils triomphent tour à tour. they triumph one after the other. Mais le grand jour But tender love Anténor Antenor Est celui du tendre Amour. carries the day. Prenez du moins ce fer. At least take this sword. Un Songe (Isménor) A Dream (Ismenor) Puisse ce gage heureux May this happy pledge M’offrir bientôt l’objet de ma reconnoissance! soon show me the object of my gratitude! Un monstre furieux désole ce rivage. A raging monster is devastating this shore. Vous pouvez disposer de toute ma puissance; All my power is at your command; L’objet que vous aimez peut éprouver sa rage; Your beloved may feel its fury; Et vos désirs pour moi, sont les décrets des dieux. and your desires are for me the decrees of the gods. Courez, volez, allez combattre, et le domptez. run, fly, hasten to the fight and subdue it. J’en atteste le dieu qui lance le tonnerre: I call as witness the god who hurls the thunderbolts: C’est un plaisir bien doux d’obtenir ce qu’on aime: To obtain what one loves is indeed a sweet pleasure: Si mon cœur est ingrat, que ce dieu tout-puissant If my heart is ungrateful, may that all-powerful god Mais un héros n’y doit trouver le bien suprême, but a hero should not achieve this supreme bliss Retire loin de moi le bras toujours présent take far from me his eternal arm Qu’après l’avoir sçû mériter. until he has been able to show himself worthy. Qui conserve et qui peut anéantir la terre! which both preserves the earth and has the power to destroy it!

Un Songe A Dream Dardanus Dardanus

Ah! que votre sort est charmant; Ah! how delightful is your fate! Peut-être tes sermens… Perhaps your oaths… L’Amour même a formé vos chaînes. Love himself has wrought your chains. En attendant l’heureux moment, As you await the happy moment, Anténor Antenor Vous sçavez qu’on vous aime; un si doux sentiment you know yourself beloved; so sweet a sentiment Aide à supporter bien des peines. can help in the enduring of many pains. Non, soyez-en certain: No, you can be sure of them: Que votre crainte cesse! cease your fears! Qu’exigez-vous? What is your command? Dardanus Dardanus Teucer Teucer

Il faut laisser à la princesse You must allow the princess Ciel! mais, c’est Dardanus; ma surprise est extrême. Heaven! but this is Dardanus; how on earth…? La liberté de refuser ta main. the freedom to refuse your hand. Anténor Antenor Anténor Antenor A-t’il brisé ses fers? Has he broken his chains? Ô dieux! Non, je ne puis; prenez plutôt ma vie. O gods! No, I cannot do it; take my life rather. Iphise Iphise Dardanus Dardanus Sauvez-le, justes Dieux! Save him, ye Gods! Tu l’as juré! l’Amour t’entraîne en vain: You swore an oath! Love tugs at you in vain: Un nœud sacré te lie. a sacred tie binds you. ACT V Scène 2 Anténor Antenor

Arrache-moi le jour, ou rends moi mon serment! Tear the life from me, or set me free from my oath! Dardanus Dardanus Il me fuit! Quel espoir me reste? He runs from me! What hope is left for me? Triste combat! Fatal engagement! Unhappy combat! Disastrous engagement! N’en doute point; c’est Dardanus lui-même. Have no doubt: I am indeed Dardanus. Jour affreux, qui détruit par un revers funeste Terrible day, which in a tragic reversal of fortune Frappe; délivre toi d’un rival odieux; Strike: rid yourself of a hateful rival. La gloire du guerrier et l’espoir de l’amant! destroys the warrior’s glory and the lover’s hope! Tu m’empêche de vivre auprès de ce que j’aime; You prevent me from spending my life with the one I love; Il faudra déclarer la perte de ma gloire, I shall have to openly declare the loss of my glory, Souffre du moins que je meurs à ses yeux. at least allow me to die in her presence. Il faudra renoncer à l’objet de mes vœux. I shall have to renounce the object of my vows. Dieux cruels! Vous deviez être moins rigoureux, Cruel gods! You should be less harsh, Anténor Antenor Et m’accorder la mort, en m’ôtant la victoire. and grant me death as you strip me of victory. Quel soupçon! Could it be…

ACT V Scène 1 Dardanus Dardanus

Qu’attends tu? faut-il t’offrir des armes? What are you waiting for? Do I have to give you the weapon? Chœur des Phrygiens Chorus of Phrygians Eh bien! prends ce fer vengeur. Well then! Take this avenging sword.

Anténor est victorieux: Antenor is victorious: Iphise Iphise Célébrons à jamais son triomphe et sa gloire. let us celebrate for ever his triumph and his glory. Arrêtez. Stop! Teucer Teucer Anténor Antenor Triomphez, héros généreux; You have triumphed, noble hero; Entendez ces chants de victoire. listen to the songs of victory. C’est lui-même; Ô mortelles allarmes! It’s him! O deadly terror! Oui, donne-moi ce fer pour en percer mon cœur. Yes, give me this sword, to pierce my heart. Chœur Chorus Teucer Teucer Anténor est victorieux. Antenor is victorious. Que faites-vous? quelle fureur! What are you doing? What is this madness? Anténor Antenor Anténor Antenor Hélas! quels concerts odieux! Alas! What hateful choruses! Grands dieux! je te dois donc le jour que je respire. Great gods! So it is to you that I owe my life. Teucer Teucer L’Amour, et mes sermens, contre moi tout conspire. Love and my oaths – everything is conspiring against me. Il faut t’immoler tout. Quel sacrifice affreux! I must sacrifice everything to you. What a terrible forfeit! Vous frémissez! vous répandez des larmes! You’re trembling! You’re weeping! N’importe, en vain l’amour murmure. It’s no use, love murmurs in vain. Eh! ne serois-je pas encor plus malheureux Ah! Would I not be even more wretched Anténor Antenor Si j’étois ingrat et parjure? if I denied my debt of gratitude, and perjured myself? Vous voyez le vainqueur du monstre furieux; You see before you the killer of the furious monster: Comment lui découvrir ma honte et mes douleurs? How can I reveal to him my shame and my suffering? C’est lui dont la valeur a délivré ces lieux; it is he whose valour liberated these shores; Ah! si la mort du monstre a fini vos malheurs, Ah! If the monster’s death has put an end to your sorrows, C’est à lui que les dieux destinent la princesse; it is to him that the gods have ordained the princess shall go; Elle cause à mon cœur les plus vives alarmes. it has given rise in my heart to the keenest fears. C’est à lui que mon cœur immole sa tendresse. it is to him that my heart sacrifices its tender feelings. Il aime; il est aimé: cédez à votre tour; He loves, he is loved: you too must give in; Teucer Teucer Imitez ma reconnoissance. Accept it as I have done. Est-il plus malaisé d’étouffer la vengeance, Is it more difficult to suppress vengeance Ne craignez plus les Dieux vengeurs! Fear no more the avenging Gods! Que d’éteindre l’amour. than to vanquish love? Ils ne s’offensent point du succès de vos armes. They take no offence at your success in battle. À Iphise To Iphise Pour fléchir le Dieu des eaux, To appease the God of the waters, Je vous fuis; je n’ai point d’assez puissantes armes I must flee from you; I do not have weapons powerful enough Lorsque vous combattiez sur ce triste rivage, while you were fighting on this unhappy shore, Pour combattre à la fois et l’amour et vos charmes. to fight both love and your charms. Aux pieds de ses autels j’ai porté mon hommage; I carried my homage to the foot of his altars; Il a reçu mes vœux, il va finir nos maux. he received my vows, he will put an end to our ills. Teucer Teucer Par un oracle irrévocable By an irrevocable oracle Neptune a déclaré qu’il calme son courroux, Neptune has declared that he will stay his fury J’éprouve tour à tour mille troubles divers. I feel a thousand different emotions, one after the other. Si de ma fille, enfin, vous devenez l’époux. if you take my daughter as your spouse.

Iphise Iphise ACT V Scène 3

Juste ciel! O heaven! Teucer Teucer Anténor Antenor Mais un nouvel éclat embellit l’univers, But a new radiance graces the universe, Que m’apprenez-vous? What are you telling me? Et ranime les feux du dieu qui nous éclaire. and rekindles the fire of the god who shines upon us. Des sons mélodieux font retentir les airs. The air rings with the sounds of melody. Teucer Teucer Mon cœur, qui malgré lui, sent calmer sa colere, My heart, despite itself, feels its anger calmed; M’annonce mieux que ces concerts, this, even more clearly than the music, tells me Il la donne au vainqueur du monstre redoutable He gives her to the conqueror of the fearsome monster La reine de Cythère. that Cythera’s queen draws near. Qui vient d’expirer sous vos coups. which has just breathed its last beneath your blows. Vénus descend du ciel. Venus descends from heaven. Anténor Antenor Vénus Venus Qu’entends-je? What am I hearing? Ah! malheureux, quel coup affreux m’accable! Ah! What a terrible blow, overwhelming me in my misery! Teucer, bannissez pour jamais la vengeance et la haine: Teucer, banish for ever vengeance and hatred: Pour arrêter ses traits, to put a stop to their powers, Teucer Teucer Du haut des cieux Vénus amene from the highest heavens Venus brings Et l’Hymen et la Paix. both Hymen [God of Marriage] and Peace. Que dites-vous? et quel est ce transport? What are you saying? And what is this wild emotion? Les Dieux ne pouvaient pas être plus favorables. The Gods couldn’t be more favourable! Teucer Teucer

Anténor Antenor Dieux! quel charme vient me surprendre, Ye gods! What is this charm which comes upon me unawares Et séduit, malgré moi, mes esprits prévenus? and seduces my thoughts from the path I had fixed for them? Non, non, connaissez mieux mon sort, No, no, you don’t know my fate: Déesse, couronnez les feux de Dardanus. Goddess, crown the passions of Dardanus. Les Dieux ne pouvaient pas être plus implacables, The Gods could not be harsher, Eh! qui pourroit ne pas se rendre Ah! Who could refuse to surrender to the decrees of fate, Et ce funeste oracle est l’arrêt de ma mort. and this dreadful oracle is my death warrant. Aux arrêts du destin, annoncés par Vénus! announced by Venus!

Dardanus paraît. Dardanus appears. Pinchgut Opera Ltd

Iphise et Dardanus Iphise and Dardanus ABN 67 095 974 191

Des biens que Vénus nous dispense, What incense, what altars could repay the price PO Box 239 Quel encens, quels autels, acquiteroient le prix. of the gifts which Venus grants us? Westgate NSW 2048 C’est en nous soumettant au pouvoir de son fils It is in submitting ourselves to the power of her son www.pinchgutopera.com.au Qu’il nous faut lui marquer notre reconnoissance. that we must show her our gratitude. Lance tes traits, Amour, épuise ton carquois O Love, shoot your arrows, exhaust your quiver Sur des cœurs livrez à tes flâmes, on hearts given over to your flames. Kenneth W. Tribe AC, Elizabeth Nielsen Triomphe, règne sur nos âmes, Triumph and reign over our souls: Moya Henderson AM Chair Nous te jurons de vivre à jamais sous tes loix. we swear to you that we will live under your laws forever. Patrons Chœur des Amours Chorus of Cupids Grinberg Young Erin Helyard and Lawyers Nous quittons des Plaisirs la demeure chérie: We have abandoned the beloved dwelling of the Pleasures: Antony Walker Tout Cythère, à ta voix, s’est ici transporté. all Cythera is transported here, at the sound of your voice. Les Amours trouvent leur patrie The gods of love are in their native land Artistic Directors Barry Mendel, Frank & Co. Dans tous les lieux où l’on voit la beauté. wherever beauty is seen. Auditors Alison Johnston Vénus Venus Artistic Administrator Pour la fête où l’on vous appelle, For the festival to which you are called, Au tendre Amour, Hymen, unissez-vous: Hymen, make yourself one with tender Love. Anna Cerneaz Ne la rendez point infidelle: Let this celebration not be false: Qu’il ne vous rende point jaloux. let Love not make you jealous. Marketing Manager Les cœurs de ces amans ne sont pas la conquête, Hymen; The hearts of these lovers are not your conquest, Hymen; Ce n’est pas toi qui combles leurs désirs: you are not the one to crown their desires: Andrew Johnston Tu n’es que le dieu de la fête; you are only the god of the celebration; L’Amour est le dieu des plaisirs. Love is the god of pleasures. Production Manager

Translation © Natalie Shea 2005 Sincere thanks to

Opera Australia, especially Age of Enlightenment for the Stuart Maunder, Ruth loan of two French Baroque Thomas, Lynn Heal and Chris bassoons; Derek Coutts and Yates, for use of rehearsal the Sydney Symphony for the space, and for help with use of their harpsichord for props and costumes; Robert rehearsals; Carey Beebe for Patterson, Lyle Chan and the use of his harpsichord Virginia Read at ABC Classics for rehearsals; Terry Harper, for recording the sampler CD, harpsichord tuner; the L’Orfeo and the past Pinchgut Australian Brandenburg operas, and for their ongoing Orchestra for the loan of support and encouragement percussion instruments; for Pinchgut; Simon Hodgson Bridget Elliot for rehearsal for photography of Dardanus; and artist photography; Elaine Aimée Paret for help with Townshend, Cash Palace; This publicity; Erin Helyard for is Real Art; Andrew Hays and his constant support; Kim Kimm Kovac for assistance Witman and Wolf Trap with printing; Moira Blacken, Opera for the orchestral Jan Brown, Samantha Paxton, materials; Jan Brown, Dmitri Jennifer Gardiner and “With money in your pocket, Carroll and Ildiko Dauda at Gwyneth Morgan for help with 2MBS-FM; Brenna Hobson costumes; David Peters and (Bangarra Dance Theatre); Edward Nielsen for help with you are wise and you are John Preston, Scott Fisher, painting; Jeannette Peters Paul Harrison, Brett O’Donnell for assistance with sewing; and Eric Duffy (Sydney Leta Keens for helping with handsome and you Theatre Company); Trevor accommodation; David Ahearn and Judy Tanner Johnston for the use of his (Company B); John Pitman laptop; Sarah Nielsen for her sing well too” and A. Royale & Co. for help work on the Pinchgut website; with costume supplies; Paul Elizabeth Johnston for the – Yiddish Proverb Nyul (Advanced Visuals); loan of a sewing machine; and P Jill Downer of Early Music the return of Dance Captain Enterprises, Canberra and Antony Walker. Annie Whealy of Music with GU 452.00 a View; Philippa Brownsword Individually Managed Account SpecialistsPH and the Orchestra of the T 32.23 30 September 2005 8 A$743 million fundsPEB under32.23 management FGR 69.06 452.00

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Pinchgut Opera wants to thank all its ‘Heroes of Pinchgut’ who have generously donated to the Pinchgut Opera Public Fund this year:

Sheryl Barry, Sandra Beesley, Mairead and David Browne, Neil Burns, Emily Chang, Joan Connery, Janet Cooke and Mrs Joyce Sproat, Moya Crane, Rowena Danziger, Margo Doust, Kristen Durran, Margaret Easton, Barbara Fisher, Mrs Auret Flower, Dr H.P. Greenberg, Katherine Grinberg, Richard Gubbins, John and Judy Hastings, Judith Hatten, Norma Hawkins, Janet Holmes à Court, Maria Karlsson-Lewis, The late Hon. and Mrs W.G. Keighley, John Lamble AO, Mary Jane Lawrie, Richard Letts, George Masterman, Tim and Gillian McDonald, Barbara McNulty, Nick and Caroline Minogue, Marilyn Moulton, Ilma Peters, Ern and Deirdre Pope, Ted and Jean Rofe, Sue Taylor, Ken and Joan Tribe, Mary Turner, Don and Ilona Walker, Barbara Woodfine.

And all the others who wish to remain anonymous – thank you all – you are all truly Heroes.

If you would like to join the Heroes of Pinchgut and help assure Pinchgut Opera’s future, your donation would be greatly appreciated. Donations over $2 are tax deductible and can be sent to:

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