ORC 3

in association with

Box cover : ‘ Eleonore, Queen of Portugal’ by Joos van Cleve, 1530 (akg-images/Erich Lessing) Booklet cover : The duel, a scene from Gioja’s ballet , La Scala, Milan, 1826 Opposite : Gaetano Donizetti CD faces: Elizabeth Vestris as Gabrielle de Vergy in Pierre de Belloy’s tragedy, Paris, 1818

–1– Gaetano Donizetti GABRIELLA DI VERGY Tragedia lirica in three acts

Gabriella...... Ludmilla Andrew Fayel, Count of Vergy...... Raoul de Coucy...... Maurice Arthur Filippo II, King of France...... Almeide, Fayel’s sister...... Joan Davies Armando, a gentleman of the household...... John Winfield

Knights, nobles, ladies, servants, soldiers Geoffrey Mitchell Choir

APPENDIX Scenes from Gabriella di Vergy (1826) Gabriella...... Eiddwen Harrhy Raoul de Coucy...... Della Jones

Royal Philharmonic Orchestra

Conductor: Alun Francis

–2– Managing director: Stephen Revell

Producer: Patric Schmid

Assistant conductor: David Parry Consultant musicologist: Robert Roberts

Article and synopsis: Don White English : Brian Thornton

Recording engineer: Robert Auger

Recorded at Henry Wood Hall, London September and October 1979

19th-century prints, pages 11, 12, 17, 18, 19, 20, 23, 26, 27, 32 and 39: Rara Archive

–3– CONTENTS

Donizetti and the three Gabriellas by Don White ...... Page 8

1826 Bergamo autograph...... Page 40

1869 manuscript...... Page 42

1838 Sterling Library (London) manuscript...... Page 44

The story...... Page 47

Résumé de l’intrigue...... Page 52

Inhalt...... Page 57

La trama...... Page 62

Libretto...... Page 67

–4– CD 1 65’03

GABRIELLA DI VERGY Dur Page

ACT I [1] Preludio ed introduzione – preghiera 3’54 67 [2] Giovin, leggiadra, amabile – cavatina: Fayel 4’00 69 [3] Ah! Si, corra andiam 3’44 70 [4] Si mai pietoso cielo – cavatina: Gabriella 2’21 72 [5] Delle nostr’anime 5’02 73 [6] Ah talor in mezzo al duolo 4’01 74 [7] E dessa! – duetto: Raoul, Gabriella 1’48 74 [8] In notte oscura e tacita 3’43 76 [9] Deh! Pensa ai dì beati 2’33 78 [10] Voi che al fianco – cavatina: Filippo, Coro 3’33 79 [11] O miei fidi 4’30 80 [12] Questi ardenti ingenui voti 6’18 82 [13] Quanti in un punto aduna – 3’23 84 duetto: Gabriella, Fayel [14] Ch’io lieto ritorni? 5’09 85 [15] Paventa o perfida 2’13 87

–5– Dur Page ACT II [16] Il liquor fervido – coro 2’13 88 [17] Si compia il sacrificio! – scena ed aria: Raoul 2’25 88 [18] Io l’amai nell’etade primiera 3’30 89 [19] Questo raggio lusinghiero 2’25 90 CD 2 51’45 [1] Giorno di nozze! – finale Act II 7’22 90 [2] Rea non sono; il giuro a Dio 4’44 97 [3] Il tuo delitto 2’57 100

ACT III

[4] Qual ti veggo – duetto: Raoul, Fayel 4’45 101 [5] Io tremar? 3’09 103 [6] Quell’aspetto, quegl’accenti 4’00 104 [7] Oh qual m’ingombra il petto 2’28 105 [8] Sarà Fayel il vincitor? 2’09 106 [9] Intrepidi entrambi – coro 2’59 109 [10] Quale orror mi circonda! 6’22 110 [11] L’amai... sì... come un angelo 3’46 112 [12] Ah! Vanne togliti 6’10 113

–6– Dur Page APPENDIX [13] Respiro alfin – aria: Raoul 2’53 118 [14] A te sola 2’55 120 [15] Ah, che fra palpiti 3’12 121 [16] Minacciosa perché me sgridi – 2’38 121 duetto: Gabriella, Raoul [17] Oh instante felice! 4’59 124 [18] Tormenti crudeli 2’44 126 [19] Ah fermate! – aria: Gabriella 8’11 127

–7– DONIZETTI AND THE THREE GABRIELLAS by DON WHITE In a musicologist’s dream he stands in the dusty library of a music conservatory, somewhere in or France and, pulling a shabby, untitled manuscript from the bookshelf, recognises it instantly as the lost work of a major composer – Verdi’s Rocester , Rossini’s Ugo Re d’Italia . For Patric Schmid and me, dream became reality not on any foreign shore, but a mere two thousand yards from our own front door, in the Sterling Library of the University of London. For more than 20 years the Library has housed a manuscript copy of Donizetti’s Gabriella di Vergy – at first sight, not the most exciting of discoveries. In musical encyclopaedias it is quickly dismissed as a work written in 1826 during Donizetti’s early career in Naples. It was never performed during his lifetime and, when finally given in 1869, the score had been so tampered with that it was no longer the opera Donizetti had written at all. Our examination of the Sterling Library score was to determine which of the two Gabriellas it was: the 1826 original or the 1869 revision. It is neither. What the Library has held, unwittingly, all these years is in fact a totally new version of the opera, written when Donizetti was at the peak of his creative maturity – a work alluded to by his first major biographer but otherwise, until now, completely forgotten. The mysteries surrounding these various versions of Gabriella are manifold, and we cannot claim to have straightened them all out yet. The following, therefore, is an attempt to present the various versions, mysteries and all, as we now understand them. –8– GABRIELLA 1

In 1826, Donizetti was still a relatively unknown composer. Rossini’s continued to dominate the Italian stage, although their author had already deserted Italy for Paris. Bellini’s star was beginning to rise with and Bianca e Fernando . Operas by Pucitta, Paer, Pavesi, Guglielmi and Generali were receiving their last rites. The romantic movement that had begun to blossom barely more than a decade before would not fully flower for another year with Il Pirata . In eight years, Donizetti had already composed 14 operas. Only one had enjoyed a major success, L’Ajo nell’Imbarazzo (Rome, 1824). What reputation he had rested chiefly on his work as resident composer of the Neapolitan Theatres. In February 1826, Donizetti had completed a highly unpleasant year of harassment and frustration as maestro di capella and musical director of the Teatro Carolino, Palermo. He had returned to Naples to supervise the first performances there of L’Ajo and (which had received its premiere in Palermo in January of that year). He was also contracted to provide a dramma per musica for the birthday gala of Queen Maria Isabella at the San Carlo on 6 July. It was one of the busiest years of Donizetti’s career and yet on, 15 June, he was writing to his teacher, Giovanni Simone Mayr: “Dearest Maestro, to amuse myself I am writing the Gabriella of Carafa. His music is beautiful, I know, but what I am doing, I am doing to please myself”.

–9– A busman’s holiday, indeed. For a hard-worked composer to write an opera for his own diversion without a contract and without expectation of production was unheard of. What, then, was the point of such an exercise? Perhaps this 1826 Gabriella di Vergy was the chrysalis from which the Donizetti of would emerge: a first tragic work written to prove, if only to himself, that he was capable of writing an opera that would satisfy a Donizetti that Italian audiences had not yet encountered – the tragic Donizetti who would rise to the heights of , and . Carafa’s Gabriella di Vergy , the work that had so inspired Donizetti, had first been given at the San Carlo, Naples, in 1816 with Isabella Colbran as the tragic heroine. It had been one of Carafa’s most successful works, and pieces of the opera had been published in Naples and Vienna. [The final scene can be heard on ’s 100 Years of Italian Opera – 1810–1820 (ORCH103).] The gory libretto by was based on an 18th-century drama by Pierre de Belloy, which was based in turn on a confused marriage of two medieval French legends, Le Chatelain de Coucy et la Dame de Fayel and Roman de la Chastelaine de Vergy . This gruesome tale had been kept alive through the centuries by Boccaccio, Bandello, D’Arnaud and Gozzi. It had reached its widest audience in 1733 with the publication of Anecdotes de la Cour de Philippe Auguste by Mlle de Lussan. It was she, too, who bestowed upon the anonymous ‘Dame de Fayel’ the name Gabrielle de Vergy. The story is set in the 13th-century. In the Castle of Autrei in Burgundy, Gabrielle – forced by her father to marry the cruel Fayel, Comte de Vergy –

–10– Composer of Gabriella di Vergy , premiered at the San Carlo, Naples, 1816 and the inspiration for Donizetti’s opera. mourns the man she loved and whom she believes dead, Raoul de Coucy. Raoul, however, is very much alive. He has been held prisoner by Fayel’s henchmen. He escapes and, on his way back to Autrei, saves the life of King Philippe II, who wishes to reward him with the hand of Fayel’s sister, Almeide. Fayel, discovering Gabrielle and Raoul together, accuses them of betraying him and, despite Gabrielle’s protestations of their innocence, kills Raoul in a duel. In the tower where he has imprisoned her, Gabrielle is presented by Fayel with an urn containing the still-warm heart of Raoul. Stricken by this horrible sight, Gabrielle dies. (In the original legend Fayel stews Raoul’s heart and has it served to Gabrielle. When she learns what she has eaten she starves herself to death. In 1790, the anonymous English translator of Mlle de Lussan’s story introduces the heart in the urn, ending with a footnote that the eating sequence has been omitted because ‘the idea of hashing and eating the heart of Coucy is both unnatural and disgusting’). In the introduction to the novel, the same translator took time out to acquaint the reader with his characters – three thumbnail sketches, pointed and well worth quoting. [The punctuation is the translator’s.]

‘Reynard de Fayel was the son of Albert de Fayel who lived in 1180; he was of an ancient and honourable house and allied to the principal nobility of his country. Reynard from earliest infancy gave strong indications of the badness of his dispositions, which as he grew up, rendered him odious to, and detested by all who knew him. His dark suspicious temper, prompted him to hatred and revenge for supposed crimes, and the black melancholy which constantly possessed him rendered him extremely cruel. –12– ISABELLA COLBRAN Gabriella in the first performance of Carafa’s opera at the Teatro San Carlo, Naples, 1816. ‘In Gabrielle de Vergy we meet with everything to excite our pity and admiration: her passion had for its object, a person every way worthy of it. When sacrificed to her father’s ambition and resentment she strove to conquer her passion for Coucy, but found it unconquerable; she resolved whatever she suffered, to see him no more, nor did she ever see him, with her own consent. Her virtue is stamped with dignity and grandeur.

‘Raoul de Coucy equally excites our pity, but not so much our admiration. With all his amiable virtues and accomplishments, one considers him a character far less perfect than Gabrielle – to his imprudence in suffering his passion to lead him twice to a place from which he ought to have fled, and at last the destruction of them both: with respect to himself, his imprudence was his punishment.

The original 1826 version of Gabriella di Vergy remained unperformed, but Donizetti did not allow it to go to waste. Over the next four years he borrowed its unheard music for Otto Mesi in Due Ore (Naples, 1827), L’Esule di Roma (Naples, 1828), (Naples, 1829) and Anna Bolena (Milan, 1830). (See table, pages 40 and 41.) A ballet, a aria and an aria for Almeide may also have found their way into later Donizetti operas or, possibly, were never set at all, which could explain why they are missing from Donizetti’s autograph score of Gabriella di Vergy in the Museo Donizettiano in Bergamo.

–14– MARCELLINA LOTTI DELLA SANTA Gabriella in the 1869 production of Gabriella di Vergy at the Teatro San Carlo, Naples. GABRIELLA 2

On 29 November 1869, 24 years after Donizetti’s death, Gabriella (the di Vergy omitted most likely to avoid confusion with the composer’s ) was given at the Teatro San Carlo, Naples. While it has been described by biographers as a rifacimento of the 1826 work, a study of the manuscript in the library of San Pietro a Maiella, Naples, reveals it to be, in fact, little more than a pastiche. The libretto, by an anonymous poet, bears only a nodding relationship to Tottola’s text. Raoul, originally a contralto, has become a . The orchestration has not been reinforced (as with the 1865 revival of ) but almost completely rewritten. The perpetrators of this posthumous Gabriella were Giuseppe Puzone and Paolo Serrao, co-musical directors of the San Carlo at this time. Puzone had studied with Donizetti in Naples and, between 1839 and 1852, had written four operas. He had also held the position of maestro di partimento ed armonia at San Pietro a Maiella. His co-director, Serrao, had studied composition at the same conservatory, but with Mercadante, and was at that time professor of counterpoint there. Between 1852 and 1868, four of Serrao’s operas had been staged in Naples. Contemporary accounts lead us to believe that Puzone played the greater part in the production of Gabriella , and it is his attestation that appears on the title page of the manuscript: ‘I declare that this score of the opera, Gabriella , edited and corrected, is the same one from which I conducted last November, as affirmed by my signature herewith, Naples, 19 April, 1870, director of music and of the orchestra, Giuseppe Puzone’.

–16– GIUSEPPE VALLANI Fayel in the 1869 production of Gabriella di Vergy at the Teatro San Carlo, Naples. Gabriella received four performances, greeted without enthusiasm by the public and with some surprise by the critics, who did not hesitate to question the authenticity of the score. The critic of the Neapolitan journal L’Omnibus , writing on 30 November said:

‘Apart from some vocal phrases and the aria of the soprano in the first act, the whole of the rest of this act and the other two consisted of nothing but an insufferable heap of ancient and well-worn motifs, with the usual antiquated, tasteless cadenzas, the customary repeats and the horrid style of yesterday’s instrumentation…’ [So much for Puzone as orchestrator!] ‘We are told that Signor Puzone, a maestro who has a certain merit, and a discreet musical knowledge, has had a hand in this so-called unpublished work of Donizetti; but, if this is so, we do not know how to forgive him for consenting to the performance of an opera-aborto like that given last night.’

The role of Gabriella was taken by Marcellina Lotti della Santa, Verdi’s first Mina in Aroldo and Mercadante’s first . Giuseppe Villani sang Fayel, Gottardo Aldighieri who was Ponchielli’s first Barnaba in La Gioconda , sang Raoul, and that San Carlo stalwart sang Filippo. Gabriella was never given again. But if the music was not taken completely from Donizetti’s 1826 Gabriella di Vergy , where did it all come from? Puzone does not identify his sources and, in fact, none of the non-1826 music is taken from any published work of Donizetti’s. It would appear that Puzone, realising that the semi-Rossinian

–18– GOTTARDO ALDIGHIERI Raoul in the 1869 production of Gabriella di Vergy at the Teatro San Carlo, Naples. style of the 1826 original would not please an audience brought up on the ‘new style’ – that is, Verdi – raided the library of San Pietro a Maiella for Donizetti works that were unlikely ever to see the light of day again: the cantatas, and operas that had fallen out of favour – Il Fausto Ritorno (Naples, 1830), Cristoforo Colombo (Naples, 1838) and Pia de Tolomei (Venice, 1837). Only seven pieces of the original 1826 version were retained, and two pieces – Gabriella’s Act I aria and the cabaletta of her aria finale – remain unidentified. It has been suggested that Puzone and Serrao themselves composed a certain amount of the music used for the 1869 production, and these unidentified sections and some linking recitatives may well be by their hands. It is at this point that Donizetti’s biographers have written finis to the riddle of Gabriella di Vergy . It is really the opening chapter of an even greater mystery.

–20– MARCO ARATI Filippo in the 1869 production of Gabriella di Vergy at the Teatro San Carlo, Naples. GABRIELLA 3

Four sections of the 1869 Gabriella are undoubtedly the work of Donizetti but have, until now, remained unidentifiable: the cabaletta of the Gabriella–Raoul duet in Act I; the drinking chorus that begins Act II; the prelude to Act III and the Raoul–Fayel scene and duet that follows it. These do not exist in the 1826 autograph manuscript. They can be found, however, in the Sterling Library Gabriella di Vergy , proving that Puzone and Serrao had access to a second version of the opera by Donizetti. But what occasioned Donizetti to rewrite his youthful work, when could it have been done, and why has no one been previously aware of such a revision? Still smarting over the fiasco of (Venice, 1838) and the cruel satires it had provoked, Donizetti left Venice in February 1838 for Naples, where he had been contracted by the impresario Domenico Barbaja to compose a new work for the Teatro San Carlo between May and November of that year. It was now that his thoughts returned to Gabriella di Vergy and, by no later than the first week of May, he had already composed five new numbers, for his plan was not to revise his youthful work, but to write a completely new opera on the same subject. This fact, which appears to have been overlooked for more than a century, is found in the earliest biography of Donizetti, Filippo Cicconetti’s Vita di Gaetano Donizetti (Rome, 1864). By May, Donizetti would certainly have been aware that the new opera was required for the opening of the Teatro San Carlo season in September. Also in May, the Adolphe Nourrit was contracted for the theatre with the intention that he should make his debut there in the new work. It was this

–22– ADOLPHE NOURRIT The proposed Raoul in Donizetti’s reworked version of Gabriella di Vergy , Naples, 1838. This version was never performed. factor, perhaps, that persuaded Donizetti to lay aside Gabriella (in which the tenor is the least important of the three main characters) and take up a new project, Corneille’s Polyeucte – . Certainly by 15 May Nourrit was writing: ‘Our opera is going well. Donizetti has already written the introduction and has already had me sing a prayer which I am to sing at the moment I become a Christian.’ ‘Our’ opera is obviously Poliuto , and Donizetti continued to work on it until the middle of July. ‘ Poliuto is almost finished. The censorship makes sour faces saying it is too sacred.’ Three weeks later, in a reply to Barbaja who was threatening legal proceedings to have the libretto returned, the soprintendente de teatri e spettacoli was able to say that he had just been assured by the censor, Signor Royer, that he had already sent the libretto off to the Minister of Internal Affairs with, on his part, ‘an affirmative opinion’. Signor Royer’s opinion apparently carried little weight, for on 11 August the minister wrote: ‘When the report of the Commission of Censorship was delivered to His Majesty, together with the lyric tragedy Poliuto for the Royal Theatre San Carlo, His Majesty deigned to declare, in his own sacred handwriting, that the sacred deeds of the martyrs are venerated in church, and are not placed on the public stage.’ With Poliuto thus prohibited, Donizetti was left with only one month to provide a new opera for the Teatro San Carlo. Obviously there was no time to compose a brand–new opera. Four years earlier, when Maria Stuarda had been banned at the same theatre, Donizetti had been able to transform the music into Buondelmonte . This time he was less fortunate. Cammarano rewrote the libretto of Poliuto as I Guebri , but this libretto, too, was rejected

–24– by the censors. They next proposed Elisa da Fosco – that is to say, Lucrezia Borgia , which had already been disapproved in various guises and on various occasions from 1834 onwards, but had no more luck with this. At this point a number of hypotheses can be put forward. Had Donizetti, fearing the inevitable prohibition of Poliuto , already completed Gabriella by this time? Or was it after I Guebri and Elisa da Fosco had also been refused the censor’s blessing that he finished it? Certainly, by 7 September it had been decided that the work should be not a new opera at all, but Pia de’Tolomei , first given the previous year in Venice. Even so, Donizetti was forced to make, in his own words, ‘ridiculous changes’, giving the tragic work a happy ending. Nourrit withdrew, and was replaced by Giovanni Basadonna (who had been Donizetti’s first Roberto Devereux the year before). The story does not end there. Cicconetti tells us that Barbaja now threatened Donizetti with legal action. He had contracted for a new work, and nothing less than a new work would satisfy him. Donizetti was also concerned. He wrote at this time to the lawyer Aniello Benevento for legal advice, asking whether he could be forced to provide a new opera, and whether he ran the risk of being legally prevented from leaving Naples. We do not know Benevento’s answer, but it was obviously not what Donizetti wanted to hear, for Cicconetti goes on to say that, ‘determined to appease the impresario, Donizetti took up “ Gabriella di Vergy’ ”. Cicconetti’s dates are suspect, but if this was after Pia in September, the composer had very little time before he sailed for France to complete the opera he had laid aside in May. It would seem more likely that Gabriella was completed between mid-July and the end of August and rejected for

–25– GIUSEPPINA RONZI DE BEGNIS The proposed Gabriella in Donizetti’s reworked version of Gabriella di Vergy , Naples, 1838. This version was never performed. performance on the basis of its tragic ending. Although Pia de’Tolomei suffered from the changes the composer was forced to make, some sense could still be made from it. Gabriella could not possibly have been given a happy ending. At whatever time Donizetti completed the work, it presented him with a considerable task. There was no way in which he could adapt the Gabriella of 1826, which had been conceived for a soprano, a mezzo Raoul and a tenor Fayel. When he began to recompose the opera, it was for Giuseppina Ronzi de Begnis as Gabriella, the baritone Paolo Barroilhet as Fayel, and Adolphe Nourrit as Raoul. It was also obvious that an opera written in the style of 1826 would not satisfy an audience who were now accustomed to the Donizetti of Lucia and Roberto Devereux . There was nothing, however, to prevent him borrowing music from operas that had never been heard in Naples – Ugo Conte di Parigi (Milan 1832), Rosmonda d’Inghilterra (, 1834) and Maria de Rudenz (Venice, 1838). No poet is credited with the libretto of Gabriella di Vergy , but it is possible that the first act was written by Cammarano. In a letter to Barbaja on 16 June, 1838, when he was working on the text of Poliuto , he writes: ‘By now my libretto for Signor Donizetti would have been already finished, but you must remember that one condition that you laid down required only a small part for the tenor, and then when Signor Nourrit was engaged matters changed entirely, and I found myself forced to look for a new subject.’ To confuse even this issue, however, we discover that the words of Fayel’s aria in the Act I introduction, ‘Giovin leggiadra amabile’ are identical to the text of the Act I introduction aria of La Duchessa in Mercadante’s Il Conte

–27– PAOLO BARROILHET The proposed Fayel in Donizetti’s unperformed version of Gabriella di Vergy , Naples, 1838. d’Essex (Milan, 1833) – by Romani! However, this same text was set once before by Donizetti, for tradition has it that the libretto was originally written for him by Romani, and only after he had set the Act I introduction, including the aria for Sara, did he relinquish the libretto to Mercadante. Or did he simply recall these particular lines when beginning to re-compose Gabriella di Vergy ? There was obviously no way in which Cammarano could complete Gabriella , for after Poliuto’s prohibition he was busy revamping it as I Guebri . It is likely that Donizetti charged one of the Teatro San Carlo house poets with revising Tottola’s hoary libretto. Dr John Black has pointed out the similarity in textual style of the 1838 Gabriella libretto with texts by Giuseppe Bardari and Pietro Salatino, who had provided Donizetti with the words for Maria Stuarda and Buondelmonte respectively. A study of the table on pages 44 and 45 shows how much work Donizetti had to put into his task of completing the opera. The five new pieces referred to by Cicconetti possibly relate to the first act. To these he added the prelude from Maria de Rudenz and the double chorus from the 1826 original; and, as well as using the bridge section between Gabriella and Fayel that closes the act, he took the orchestral introduction, again, from Maria de Rudenz , and reconstructed the andantino and allegro sections of the Maria–Corrado and Corrado–Enrico duets from the same opera. The cabaletta is new. The drinking chorus at the beginning of Act II and the aria for Raoul that follows it are newly composed. The scene that leads into the Act II finale uses the introduction to Act II of Rosmonda d’Inghilterra , and, whereas the introduction, andante and stretta of the Act II finale are new, the allegro section after the andante is based on a similar

–29– passage in Pia de’Tolomei . Donizetti composed two new pieces for the third act: the prelude and the cavatina of Gabriella’s aria finale. A chorus was lifted bodily from Ugo Conte di Parigi , and from this opera he also borrowed the introduction to Gabriella’s aria finale. The cabaletta is similar in construction to the final cabaletta of Maria de Rudenz . The duet for Fayel and Raoul in Act III has an interesting history. For the first Naples production of Alahor in Granata in 1826, Donizetti had composed a considerable amount of new music, including a duet for Alahor and Alamar, which finally remained unperformed. In 1838, he decided to transfer this duet to Gabriella di Vergy , but adding the adagio section of the (mezzo-tenor) Raoul–Fayel duet from the original 1826 version of the opera. With Gabriella completed, Donizetti was allowed to leave for Paris, although not without having to pay a fine to Barbaja of 300 scudi (presumably because Pia was not a new work, and Gabriella was yet to be staged). Donizetti obviously had hopes that it would be heard later in the season, but finally, his hard work on Gabriella di Vergy went for nothing. It was rejected once again, this time not by the king or the censors but, apparently, by a Signora Monticelli, a singer described by Nourrit as being ‘without youth, without talent’. In a letter written by Barbaja on 22 November, 1838, to the Duca di Laurino, he states ‘Signora Monticelli has decided not to make her debut in and instead will be happy to appear in the opera Gabriella di Vergy of Maestro Mercadante’. Barbaja’s letter goes on to discuss the un-named work by Donizetti that will be given in place of Poliuto , and then adds: ‘I am sure the subscribers will prefer it [Mercadante’s Gabriella di Vergy ] to that of

–30– Donizetti.’ Although the wording is ambiguous, it hardly seems likely that Barbaja would be referring to Parisina , one of the most popular operas of its day, as a work that subscribers would eschew in favour of a 10-year-old work by Mercadante, which even that composer, it is said, had attempted to dissuade the directors of the Teatro San Carlo from producing. Perhaps, too, it was a tactful way of suggesting that it would be easier to prepare a work with the composer at hand. Barbaja’s letter, however, raises as many questions as it answers, providing that we are interpreting it correctly. Why was Mercadante’s opera on the same subject, complete with tragic ending, permissible, if Donizetti’s was not? In the event, Mercadante’s opera was finally the one chosen, though the debutante was not Signora Monticelli after all, but the soprano Francilla Pixis, who would also be Pacini’s first . Like its 1826 forebear, the 1838 Gabriella was not allowed to go to waste. The bridge section between the cavatina and the cabaletta of Fayel’s Act I aria and the cabaletta itself went into (Rome, 1841) as did Gabriella’s Act I cavatina, the duet for Gabriella and Raoul, and the allegro following the cavatina of Raoul’s second-act aria. Donizetti also retained the text of the cabaletta of this aria, although with new music. It seems unlikely that after both Adelia and Maria de Rudenz (by now a popular repertoire work) had established themselves on the Italian stage that Donizetti would have considered offering the new, but musically plundered Gabriella di Vergy for production, and so it was permanently shelved. As one would expect of an opera written eight months after Roberto Devereux and at the same time as Poliuto, Gabriella di Vergy is rich in melody.

–31– FRANCILLA PIXIS as Gabriella in Mercadante’s Gabriella di Vergy at the Teatro San Carlo, Naples, 1839. But it is melody underscored by an almost psychological dramatic tension that gives an added depth to even the formal arias – those for Gabriella and Raoul, in particular. There is innovation and development, too: the unison singing of baritone and chorus in the cabaletta of Fayel’s aria in Act I is familiar from Verdi and late Mercadante, but is unexpected in Donizetti. Gabriella’s entrance in the first act gives us an early example of the ‘half-aria’ with which Donizetti would interrupt recitatives in so many of his later works. And the combination of parlando-cantado that he used with such effectiveness in Parisina five years earlier is taken to new emotional heights in the scenes between Gabriella and Raoul in Act I and Act II. Donizetti gives us a new economy as well, allowing the plot to move on within the set pieces, never allowing his melodic inspiration to become self- indulgent. In the Gabriella–Fayel duet that ends the first act, the beautiful larghetto section is never permitted to remain static, and Donizetti firmly indicates a continually increasing tempo to underline Fayel’s growing anger. The music that accompanies Raoul’s demands on Gabriella’s emotions has a frantic, agitated quality quite different from the accompaniment to Fayel’s subsequent discovery of them, and yet the tension continues to build at a staggering rate, finding temporary release in the ensemble that follows. It is surprising that Donizetti never again used this beautiful and insinuating melody with its effective harmonic changes. Its stretta, too, is notable for the musical portrayal of Fayel’s ferocity, not only in the vocal writing for the baritone but also in the rushing figures of the strings beneath him. Duets in thirds and sixths for tenor and baritone are rare in the 19th- century repertoire, and yet in Donizetti’s hands this essentially old-fashioned –33– convention is made to work as part of the totality of the opera. Its strength is the unusual reflective adagio section which makes the intensity of the two men’s emotions even stronger. There is no loss of energy – rather it concentrates the emotional output of the characters, while musically it permits a smoother transition into the discipline of the quasi-military cabaletta that follows. Gabriella’s final scene is more than the usual aria finale for the prima donna, a requisite in works of this period. With the entrance of Fayel, it becomes almost a duet, and instead of the typical invocation to heaven or to the fates, Gabriella’s two big arias are directed to Fayel. The death of Gabriella itself is the development of an idea used successfully three years earlier, with the death of Edgardo in Lucia , where suddenly the singer is silent and the melody is given to the orchestra. Gabriella di Vergy is no lost masterpiece perhaps, but it gives us an insight into Donizetti’s development at the richest period of his creative powers. It is important, too – accepting that the opera was probably completed after Poliuto – as the last work of Donizetti’s Neapolitan period. His inclination towards economy of orchestration could not flower in Paris, where he was required to use the larger forces of the Opéra for , and Dom Sebastien . His last Italian works – , , , even – make the maximum use of the orchestral forces at his command.

* * * * * * *

–34– In 1844 Donizetti presented his friend Teodoro Chezzi with the autograph score of Poliuto and it is possible that at this time that he also gave him the score of Gabriella di Vergy , for Cicconetti mentions both works being in Ghezzi’s hands in 1869. In 1848, the year of Donizetti’s death, the publisher, Francesco Luzza, approached Ghezzi for permission to perform Poliuto . Its success probably inspired him in 1850 to approach Ghezzi once again, this time for permission to give the first performance of the new Gabriella di Vergy with the baritone Achille de Bassini taking the role of Fayel. William Ashbrook has drawn my attention to a letter from de Bassini to Lucca, in the Museo alla Scala, Milan, dated 9 January, 1851: ‘As of Thursday, the 9th instant, the contract for Gabriella cannot be extended… there are still two difficulties. Firstly, that Ghezzi does not intend to give up the original of Donizetti’s Gabriella , in case the same thing might happen as did with Poliuto , and because of what happened previously he will only discuss copies, not originals. It is his intention to have the contract in his name alone as he is selling it [the score] and wants to secure himself against any eventualities. I was speaking to my lawyer who is of the same opinion you came to and, insomuch, he will have everything drawn up ready for signature.’ Perhaps because of Ghezzi’s excessive caution, the performances did not take place. Gabriella was not forgotten, however, and in 1868 it seems that Lucca once again tried to mount a production of the opera. This time matters must have proceeded further, for in November that year Lucca actually published a libretto of the opera matching the text of the Sterling Library manuscript. (A second Lucca libretto, undated, also exists in which the only

–35– two of the 1826 pieces that Donizetti had retained – the Act I chorus and the slow section of the Raoul–Fayel duet – have now been replaced. For good measure an extra male chorus has also been added. The music for these pieces has yet to be found). The Lucca performances once again did not take place, and a year later the Puzone–Serrao rifacimento , and the public and critical reaction to it, probably put out of Lucca’s mind the idea of any further attempts to stage the work, although around this time he did publish three pieces of Gabriella di Vergy : a cavatina, ‘Tronca pure’; a second cavatina, ‘A te sola’; and its cabaletta, ‘Oh dolce speme’. The first, ‘Tronca pure’, would seem to be the Act I cavatina of Raoul ‘borrowed’ for the 1869 pastiche from the cantata Cristoforo Colombo . ‘A te sola’ is Raoul’s cavatina from the 1826 Gabriella , which you can hear on the appendix of this recording. ‘Oh dolce speme’ creates an additional mystery, for it does not appear in the 1826, 1838 or 1869 Gabriellas !

* * * * * * *

The Sterling Library manuscript was donated to London University by Sir Louis Sterling in 1954. Unfortunately its prior history is unknown. Ghezzi’s manuscript (the autograph?) is mentioned as being still in his possession in a letter published in the Gazzetta Musicale di Milano , 9 October, 1881. In his monumental work on Donizetti, Zavadini refers to a manuscript ‘lying in the Archives of the Casa Ricordi which is more than likely genuine despite severe alteration…’ According to Ricordi, this manuscript was lost or destroyed during World War II. This was perhaps the Lucca copy obtained from Ghezzi,

–36– and would have come into Ricordi’s possession when the firm took over the Lucca publishing house. Is it possibly this same manuscript that found its way into the collection of Sir Louis Sterling?

* * * * * * *

While this recording marked, at long last, the world premiere of the 1838 Gabriella di Vergy , it received its premiere performance in concert at the Belfast Festival at Queen’s University on 9 November, 1978. Two sections of the Sterling Library are incomplete – Scene 7 of Act I and the repeat of the cabaletta of Filippo’s Act I aria. As so much of Gabriella went into Adelia , it is from this opera that Patric Schmid borrowed music to fill the missing gaps. Fifteen bars of the introduction and 16 bars following the larghetto of the Act I finale complete the first of these gaps, the missing Scene 7, using the text of the Lucca libretto. The second gap was filled from the same source; Filippo’s cabaletta, which merely needed a bridge passage to join the two verses, was completed by borrowing eight bars taken from the stretta of the Act II trio of Adelia . Also missing from the London manuscript are the chorus lines in Gabriella’s aria finale. These were completed from the aria finale of Maria de Rudenz which has a similar construction to the Gabriella finale. The Belfast Festival cast included La Verne Williams (Gabriella), Christian du Plessis (Fayel), Maurice Arthur (Raoul), Roderick Earle (Filippo), Joan Davies (Almeide) and Julian Farrell (Armando), with the Ulster Orchestra and Chorus of the Northern Ireland Opera Trust, conducted by Alun Francis.

–37– The opera’s stage premiere was given by Dorset Opera at Sherborne School on 31 August, 1985, with a second performance on 1 September. The role of Gabriella was taken by Marie Slorach, with Peter Savidge as Fayel, Justin Lavender as Raoul, and David Gwynne as Filippo. The performances were conducted by Patrick Shelley.

© Don White

Acknowledgements The author would like to thank Jeremy Commons for his invaluable assistance, and for providing documents, letters and reviews relating to the performance of Gabriella in 1869 and the abortive Poliuto in 1838. I would also like to thank William Ashbrook, Tom Kaufman and Dr John Black for their help and interest, and the Director of the Central Library Services and the Goldsmith’s Librarian, K Garside, for making a copy of the Sterling Library manuscript available to Opera Rara.

–38– ELIZABETH VESTRIS as Gabrielle in Pierre de Belloy’s tragedy, Gabrielle de Vergy , performed in Paris, 1818. This drama was the basis of Tottola’s libretto for Carafa’s Gabriella di Vergy . GABRIELLA 1 The 1826 Bergamo Autograph

Act I 1. Sinfonia 2. Introduzione 3. Fayel aria: O nume tiranno Cavatina into 1869 version. 4. Raoul aria: A te sola Cabaletta into Il Paria (Naples, 1829) as cabaletta of Idamore’s aria. 5. Raoul–Gabriella duet: Introduction into Anna Bolena (Milan, O istante felice 1830) as introduction to Anna–Percy duet Act I. Scene and amended first section into 1869 version. 6. Coro: Voi che al fianco Into L’Esule di Roma (Naples, 1828) re-used in Gabriella 1838 and 1869. 7. Coro: Alla trombe Re-used as bridge section between cavatina-cabaletta, Filippo’s aria, 1838. 8. Ballo Missing from autograph. 9. Quintet: Ciel che ascolto The principal melody of ‘Di gioja di pace’ scena into Otto Mesi in Due Ore (Naples, 1827) as Potoski’s Benedizione; stretta to Anna Bolena Act I, also used as finale primo 1869.

–40– 10. Almeide aria Missing from the autograph. 11. Raoul–Gabriella duet: Into 1869 version. Introduction ‘Quant’in Cedi e vanne un punto aduna’ missing from autograph but appears in 1869 manuscript. Andante first used in Act I finale (Naples, 1823), used in reworked form as Act I quintet Anna Bolena .

Act II 12. Raoul–Fayel duet: Reworked for Alahor in Granata in Naples, Traditor paventa 1826, without adagio section. This was reused in the 1838 version. Bridge section and final pages of the cabaletta are missing from the autograph. 13. Coro: Ah! cadde il perfido 14. Aria Fayel Missing from the autograph. 15. Aria finale: Introduction, scena and cavatina into 1869 Perche non chiusi al di version, transposed up a half tone.

–41– GABRIELLA 2 The 1869 Naples Manuscript

Act I 1. Preludio From the 1826 original – introduction to the aria finale. 2. Coro: Ah deroi From the cantata Il Fausto Ritorno (Naples, 1830). Also used in the ensemble ‘Viva il madera’, Lucrezia Borgia (Milan, 1833). 3. Fayel aria: Tiranno dei mortali Cavatina – the 1826 original. Cabaletta of the aria of Genio Guerriero, Il Fausto Ritorno . Also used in the Bianca–Adelia– Ugo trio, Ugo Conte di Parigi (Milan, 1832) 4. Raoul aria: Ma che dissi Introduction, 1826. Cavatina from the cantata Cristoforo Colombo (Naples, 1838). 5. Gabriella aria: Tronca pure Unidentified. 6. Gabriella–Raoul duet: Tal rimorso Introduction and amended first section, 1826. ‘M’abbandona’ cabaletta from 1838 version. 7. Coro: Voi che al fianco 1826 and 1838. Also used in L’Esule di Roma (Naples, 1828). 8. Finale primo: Sorgete, o miei diletti The introduction is a reworking of the Il Fausto Ritorno chorus (No. l2). The rest of the finale from 1826. Also used in Anna Bolena .

-42- Act II 9. Coro: Liquor si fervido 1838 10. Raoul aria: Si ferisci il sangue mio From Cristoforo Colombo 11. Coro: O bella Almeide From Il Fausto Ritorno 12. Gabriella–Raoul duet: Cedi e vanne 1826 13. Finale secondo: Ah! Perfida indegna! The andante and moderato sections are from 1826. The andante also appears in Anna Bolena . The stretta is from the Act I finale of Pia de’ Tolomei (Venice, 1837).

Act III 14. Preludio 1838 15. Raoul–Fayel scena and duet: 1838, omitting 1826 adagio section. Tremar, Giammai non so 16. Aria finale: Introduction, scena and cavatina from Perchè non chiusi al di 1826, transposed up a half tone. The cabaletta is unidentified.

-43- GABRIELLA 3 The 1838 Manuscript, Sterling Library, University of London

Act I 1. Preludio From Maria de Rudenz (Venice, 1838). 2. Introduzione New. 3. Fayel aria: Giovin leggiadra amabile Bridge section and cabaletta into Adelia (Rome, 1841). 4. Gabriella aria: Delle nostr’anime Cavatina into Adelia . 5. Gabriella–Raoul duet: In notte oscura e tacita Reworked into Adelia . 6. Coro: Voi che al fianco From 1826, also L’Esule di Roma , re-used in 1869 version. 7. Filippo aria: The choral bridge section between the O miei fidi il vostro accenti cavatina and cabaletta is from 1826. 8. Gabriella–Fayel duet: Orchestral introduction is the introduction Ch’io lieta ritorni? to Maria’s entrance aria in Maria de Rudenz . The andantino and allegro sections are similar in construction to sections of the Maria–Corrado and Corrado–Enrico duets from the same Opera. The cabaletta also appears in the 1869 version.

–44– Act II 9. Coro: Il liquor fervido New. Into 1869 version. 10. Raoul aria: New. Bridge section between the cavatina Io l’amai nell’etade primiera and cabaletta and ritornelli into the cabaletta from Adelia . 11. Finale secondo: Rea non sono Introduction from Act II of Rosmonda d’Inghilterra (Florence, 1834), andante and stretta new. Final section of the allegro is based on a similar passage in Pia de’Tolomei (Venice, 1837).

Act III 12. Preludio New. Re-used in 1869 version. 13. Raoul–Fayel duet: The 1826 duet reworked for Alahor in Ebben, che attendi? Granata in Naples, 1826, but not performed. The adagio section is wholly from the 1826 Gabriella , and the duet appears in the 1869 version. 14. Coro: Intrepidi entrambi valenti Ladies chorus from Act II of Ugo Conte di Parigi (Milan, 1832). 15. Aria finale: Io l’amai… si… come un’angelo The introduction is also the introduction to the final scene of Ugo Conte di Parigi . The cavatina is new, and the cabaletta is similar in construction to the final cabaletta of Maria de Rudenz .

–45– THE STORY ACT I

In the chapel of the Castle Autrei, Gabriella and her ladies are praying. Fayel, listening, longs to see into Gabriella’s heart, to know who her prayers are for – does she still love the now-dead Raoul? He remembers the beautiful, gentle creature she was when he first saw and fell in love with her. Voices are heard calling to Fayel to bring his sword to save the life of Filippo, the king, who has been ambushed on the road to the Castle. Fayel leads his men off to battle. Gabriella is lost in the memory of Raoul and the love they shared, and asks God why her memories of Raoul must always be strongest when Fayel holds her in his arms. Her ladies tell her that the king is coming and she should smile again. Their words comfort her and she assures them that today she is happy and at peace with herself. A knight enters and speaks. Gabriella cannot believe the voice she hears. Can it be Raoul, alive? He tells her that the story of his death on a faraway battlefield was false, and how on his way along the coast he was set upon and found himself in a hovel where he was kept prisoner for ten months, until he finally escaped. But the bitterest blow, he tells her, was to discover that she had been unfaithful to him and had become the wife of another man, his rival. Gabriella tells him he is wrong to accuse her, that it was her father who forced her into a marriage that is miserable and unhappy. Then tell me you still love me, he demands. Gabriella begs him to leave her and never see her again.

–46– The entrance to the castle has been magnificently decorated for Filippo’s arrival. Fayel’s squires welcome Filippo’s guards and, finally, Filippo himself, who enters surrounded by his knights, Raoul among them. The king addresses his followers, thanking them for their words, which bring peace to his heart. He proclaims the dawning of a new day of peace and love, and dedicates his life to his subjects. Gabriella, Fayel and his sister, Almeide, kneel before the king. He asks them to take to their hearts the gallant knight who saved his life. It is Raoul. The king asks Fayel, as a reward for Raoul’s valour, to give him the hand of Almeide in marriage. Fayel has no option but to agree, and Filippo asks that the ceremony take place that day so that he himself may witness it. Raoul, Gabriella and Fayel express their conflicting emotions. In Gabriella’s apartments Fayel comments on how unhappy she seems on a day that resounds with merriment and joy. He begs her, if only for an hour, to be the Gabriella she used to be. She reminds him of the way in which she was brought to the altar. Angrily he tells her to beware, that love can turn to rage. He understands the reason for her sorrow… it is Almeide’s wedding. Gabriella tells him he is wrong, that it is not love that makes him suspicious, but guilt and terror. Angered by her boldness, he threatens her. She tells him that it is he who should fear the wrath of heaven.

–47– ACT II

In the castle courtyard, soldiers drink to peace. Raoul enters, deep in thought – all hope lost, his dreams shattered. He recalls how he loved Gabriella in his youth and how he loves her still. Armando brings him a message to attend Gabriella in her rooms. This news raises new hope in Raoul’s heart. In Gabriella’s apartments Almeide asks Armando if he has given Raoul Gabriella’s message. Gabriella enters and asks what message has been sent in her name. To Gabriella’s horror, Almeide tells her that she has sent for Raoul and begs Gabriella to speak to him on her behalf. As Raoul enters, Gabriella tells him that it was not she who sent for him but Almeide. She begs him to love Almeide with the love that once made her so happy, then asks him to leave. He refuses and begs her to allow him a few moments in the radiance of her beauty. Almeide, overhearing them, cannot believe her ears and hurries away to fetch Fayel. Gabriella warns Raoul that his life is in peril and begs him to go. Only if you will tell me that you love me, he replies. Gabriella, helpless, confesses she still loves him, but advises him that her words may cost them dearly. Fayel enters with Almeide, Filippo and his courtiers, and accuses Gabriella of betraying him. She pleads innocence, but Fayel’s honour has been outraged and only Raoul’s death will avenge it. He calls his guards to arrest him. Filippo reminds Fayel that he alone has the right to punish Raoul, and that if Gabriella and Raoul are guilty, he will be their judge. As Raoul is led away, the courtiers lament the bitterness that has soured a joyful day.

–48– ACT III

In the castle courtyard Raoul protests to the king that his only crime has been to love Gabriella, whom Fayel has taken from him by force. Fayel demands justice, and Filippo bids them to settle their differences in a duel. Raoul and Fayel argue bitterly and then, calling for two swords, prepare to leave for the field of honour. Raoul asks only one thing – that if he should fall, Gabriella at least should be spared – but Fayel will not even promise him this. Angrily they leave for the duel, followed by guards. From the gateway of the castle Armando watches the duel. Almeide, too afraid to watch, asks him who is winning. The courtiers hurry back to report that both men were brave and skilful but that at last Fayel sank his blade deep into Raoul’s breast, who fell like a hero with Gabriella’s name on his lips. In a dungeon in the castle tower where Gabriella is imprisoned, she laments the horror that now surrounds her. A distant sound alarms her… the duel! Who was defeated, who the victor? Fayel suddenly appears at the entrance to the dungeon. She asks him where Raoul is. Would I be here if he lived, he replies. He accuses her of loving Raoul. She tells him that her love for Raoul knows no bounds. Very well, says Fayel, then Raoul’s last wish shall be granted. He calls a servant who enters with an urn covered by a cloth, followed by the courtiers.

–49– Gabriella at first believes it is poison with which her life is to be ended. Taking the cloth from the vase she gives a cry – what is it she sees? Fayel tells her: it is the heart of Raoul. Grief-stricken, Gabriella calls down the wrath of God on Fayel’s head, and begs him to leave her alone. The courtiers plead with Fayel to have pity on the dying woman, but he is unmoved by her grief and refuses to forgive her. With her last breath she once more affirms her love for Raoul.

© Don White

–50– RÉSUMÉ DE L’INTRIGUE ACTE I

L’intérieur de la chapelle du château d’Autrei, où Gabriella et ses dames de compagnie sont venues prier. Fayel tend l’oreille pour mieux connaître le cœur de Gabriella et savoir pour qui elle prie – aime-t-elle toujours Raoul bien qu’il soit mort? Fayel se souvient de la belle et douce créature dont il est tombé amoureux à leur première rencontre. Des voix appellent Fayel à prendre les armes pour se porter au secours du roi Filippo, tombé dans une embuscade sur le chemin du château. Fayel part se battre à la tête de ses hommes. Gabriella est perdue dans ses souvenirs. Elle pense à Raoul et à l’amour qu’ils avaient l’un pour l’autre, et demande à Dieu pourquoi le souvenir de Raoul se ravive toujours quand Fayel la prend dans ses bras. Ses dames de compagnie lui annoncent l’arrivée du roi et l’exhortent à retrouver le sourire. Réconfortée par leurs paroles, elle leur assure qu’elle est heureuse et en paix avec elle-même. Un chevalier fait son entrée et s’adresse à Gabriella. Le son de sa voix la laisse d’abord incrédule. Raoul serait-il encore en vie? Oui, il lui raconte que les nouvelles de sa mort sur un lointain champ de bataille étaient fausses et qu’il a été attaqué sur le littoral et emprisonné pendant dix mois dans une masure jusqu’à son évasion. Mais le plus dur, ajoute-t-il, a été de découvrir qu’elle lui a été infidèle et a épousé un autre homme, son rival. Gabriella lui répond qu’il a tort de l’accuser ainsi et qu’elle a été contrainte à ce triste et malheureux mariage par son père. Alors dis-moi que tu m’aimes toujours, lui enjoint-il. Gabriella le supplie de partir et de ne jamais la revoir. –51– L’entrée du château arbore de superbes décorations en l’honneur de Filippo. Les hommes de Fayel souhaitent la bienvenue aux gardes de Filippo et le roi lui-même fait enfin son entrée, entouré de ses chevaliers. Raoul est parmi eux. Le roi s’adresse à ses partisans en les remerciant de leur accueil qui lui va droit au cœur. Il proclame l’avènement d’un jour de paix et d’amour, et promet de consacrer sa vie à ses sujets. Gabriella, Fayel et sa sœur, Almeide, s’agenouillent devant le roi. Celui-ci les presse d’accueillir en leur sein le vaillant chevalier qui lui a sauvé la vie, Raoul. Le roi demande à Fayel de récompenser Raoul pour son courage en lui accordant la main d’Almeide. Fayel ne peut que se soumettre à la volonté de Filippo, qui insiste pour que le mariage soit célébré le jour même afin de pouvoir y assister en personne. Raoul, Gabriella et Fayel sont la proie de sentiments contradictoires. Dans les appartements de Gabriella, Fayel dit la trouver bien triste malgré les festivités et la joie générales. Il la supplie, ne serait-ce qu’une heure durant, de redevenir celle qu’il a connue. Elle lui rappelle qu’elle a été conduite de force à l’autel. Pris de colère, il la prévient que l’amour peut tourner à la rage. Il comprend les raisons de sa peine… ce sont les noces prochaines d’Almeide. Gabriella lui affirme qu’il se trompe, que ce n’est pas l’amour qui le rend soupçonneux, mais la culpabilité et la terreur. Furieux de tant d’audace, il la menace. Elle lui répond que c’est lui qui doit craindre la foudre des cieux.

–52– ACTE II

Dans la cour du château, les soldats boivent à la paix. Raoul entre, perdu dans ses pensées – il a perdu tout espoir et ses rêves sont anéantis. Il évoque l’amour qu’il portait à Gabriella dans sa jeunesse et qu’il lui porte encore. Armando lui apporte un message l’invitant à se rendre chez Gabriella. Raoul sent alors l’espoir renaître dans son cœur. Dans les appartements de Gabriella, Almeide demande à Armando s’il a bien livré à Raoul le message de Gabriella. Gabriella entre alors et demande de quel message il s’agit. A la stupéfaction de Gabriella, Almeide avoue que c’est elle qui a invité Raoul et supplie Gabriella de lui parler pour elle. Lorsqu’apparaît Raoul, Gabriella lui annonce que ce n’est pas elle qui l’a fait venir mais Almeide. Elle le supplie de reporter sur Almeide l’amour qui naguère a fait son propre bonheur puis lui demande de prendre congé. Il refuse et la supplie de le laisser jouir de l’éclat de sa beauté quelques instants encore. Almeide, qui a entendu la conversation, en est bouleversée et s’empresse d’aller chercher Fayel. Gabriella prévient Raoul du péril qui le menace et le supplie de partir. Pas avant que tu ne m’aies dit que tu m’aimes, répond-il. Désemparée, Gabriella lui avoue l’aimer toujours mais en l’avertissant que ces paroles risquent de leur coûter cher. Fayel entre, suivi d’Almeide, de Filippo et de ses courtisans. Il accuse Gabriella de trahison. Elle plaide l’innocence. Fayel outragé réclame la mort de Raoul qui seule pourra venger son honneur. Il appelle ses gardes pour le faire arrêter. Filippo rappelle alors à Fayel que lui seul a le droit de punir Raoul, et que si Gabriella et Raoul sont coupables, c’est à lui de les juger.

–53– Raoul est emmené tandis que les courtisans déplorent la manière dont la rancœur a succédé en une seule journée à la joie.

ACTE III

Dans la cour du château, Raoul proteste de son innocence au roi: son seul crime est d’avoir aimé Gabriella, que Fayel lui a enlevée de force. Fayel demande justice, et Filippo les invite à régler leur différend par un duel. Raoul et Fayel s’adressent d’amers reproches puis, l’épée à la main, s’apprêtent à aller se battre. Raoul ne demande qu’une chose: que, si c’est lui qui tombe, Gabriella soit au moins épargnée, mais Fayel lui refuse même cela. Furieux, ils quittent la scène, suivis d’hommes en armes. Du portail du château, Armando suit de loin le duel. Almeide, qui a trop peur pour regarder, veut savoir qui gagne. Les courtisans reviennent précipitamment pour annoncer que les deux hommes ont combattu brillamment et courageusement, mais que pour finir Fayel a plongé sa lame dans la poitrine de Raoul, qui est tombé comme un héros, le nom de Gabriella aux lèvres. Dans un donjon à l’intérieur du château, Gabriella emprisonnée est horrifiée par la situation dans laquelle elle se trouve. Elle entend un son au loin… le duel! Qui perdra, qui en sortira vainqueur? Fayel apparaît soudain à l’entrée du donjon. Elle lui demande où est Raoul? Serai-je ici s’il était vivant, lui répond-il? Il l’accuse d’aimer Raoul. Elle lui répond que son amour pour Raoul est infini. Très bien, déclare alors Fayel, le dernier vœu de Raoul sera donc réalisé. Il appelle un serviteur qui revient, suivi des courtisans, en portant une urne recouverte d’un linge. –54– Gabriella croit d’abord qu’on lui apporte un poison pour mettre fin à ses jours. Otant le linge du vase, elle pousse un cri – que voit-elle? Fayel lui explique que c’est le cœur de Raoul. Terrassée par le chagrin, Gabriella en appelle à la foudre divine pour qu’elle s’abatte sur Fayel puis supplie celui-ci de la laisser seule. Les courtisans implorent Fayel d’avoir pitié de cette femme qui se meurt, mais insensible à sa douleur, il refuse de la pardonner. De son dernier souffle, elle réaffirme son amour pour Raoul.

© Don White Traduction: Mireille Ribière

–55– INHALT

I. AKT

In der Kapelle der Burg Autrei sind Gabriella und ihre Damen im Gebet vertieft. Fayel lauscht ihnen und wünscht, er könnte in Gabriellas Herz blicken und erfahren, wem ihre Gebete gelten – liebt sie noch immer den toten Raoul? Er erinnert sich der wunderschönen, sanften jungen Frau, als die er sie kennen lernte und in die er sich verliebte. Da rufen laute Stimmen, Fayel möge mit seinem Schwert das Leben Filippos, des Königs, verteidigen, der auf dem Weg zur Burg in einen Hinterhalt geraten sei. Fayel zieht mit seinen Männern ins Gefecht. Gabriella überlässt sich der Erinnerung an Raoul und ihre gemeinsame Liebe und fragt Gott, warum sie immer am meisten an ihn denken müsse, wenn sie in Fayels Armen liege. Ihre Damen reißen sie aus ihrer Träumerei und sagen ihr, der König komme, sie müsse wieder lächeln. Diese Worte trösten Gabriella, sie versichert ihren Damen, dass sie an diesem Tage glücklich und mit sich selbst in Frieden sei. Ein Ritter tritt ein und spricht. Gabriella kann nicht glauben, welche Stimme sie da hört – sollte es wirklich Raoul sein, der doch noch am Leben ist? Er erzählt ihr, dass die Geschichte, er sei auf einem fernen Schlachtfeld gefallen, falsch ist, dass er auf seinem Weg entlang der Küste überfallen und in eine Kate verschleppt wurde, wo er zehn Monate lang gefangengehalten wurde, ehe ihm schließlich die Flucht gelang. Der herbste Schlag, so sagt er ihr, sei allerdings gewesen, erfahren zu müssen, dass sie ihm untreu geworden

–56– sei und einen anderen Mann, seinen Rivalen, geheiratet habe. Gabriella widerspricht, er dürfe ihr keine Vorwürfe machen, denn ihr Vater habe sie zu dieser Ehe gezwungen, die unglücklich und freudlos sei. Dann sag mir, dass du mich noch liebst, verlangt er. Daraufhin beschwört Gabriella ihn, sie zu verlassen und nie wieder zu sehen. Der Eingang zur Burg wurde für die Ankunft Filippos aufs Prächtigste geschmückt. Fayels Knappen begrüßen Filippos Wachen und schließlich Filippo selbst, der im Kreis seiner Ritter, zu denen auch Raoul gehört, die Burg betritt. Der König spricht zu seinen Gefolgsleuten und dankt ihnen für ihre Worte, die seinem Herzen Frieden bringen. Er erklärt, ein neuer Tag des Friedens und der Liebe breche an, er werde sein Leben seinen Untertanen widmen. Gabriella, Fayel und seine Schwester Almeide knien vor dem König nieder. Er legt ihnen den tapferen Ritter ans Herz, der ihm das Leben rettete – kein anderer als Raoul – und bittet Fayel, Raoul zum Lohn für seinen Mut Almeide zur Gemahlin zu geben. Fayel sieht sich gezwungen einzuwilligen und auch dem Wunsch Filippos nachzugeben, dass die Trauung noch am selben Tage stattfinde, damit der König selbst Zeuge sein kann. Raoul, Gabriella und Fayel bringen ihre jeweiligen Gefühle zum Ausdruck. In Gabriellas Gemächern fragt Fayel sie, warum sie an diesem Tag, der doch nur Freude und Fröhlichkeit beschere, so unglücklich wirke, und bittet sie, wenn auch nur eine Stunde lang, wieder die Gabriella von einst zu sein. Sie erinnert ihn daran, auf welche Art sie zum Altar geführt wurde. Argerlich warnt er sie, dass Liebe sich zu Zorn verkehren könne, er kenne ja den Grund für ihren Kummer – Almeides Hochzeit. Gabriella erwidert, er täusche sich,

–57– nicht Liebe mache ihn misstrauisch, sondern Schuldgefühle und Angst. Verärgert ob ihrer Kühnheit, stößt er Drohungen aus, woraufhin sie erklärt, er sei derjenige, der sich vor dem Zorn des Himmels hüten müsse.

II. AKT

Im Burghof trinken die Soldaten auf den Frieden. Raoul kommt hinzu, tief in Gedanken versunken; all seine Hoffnungen und Träume sind zerronnen. Er denkt zurück, wie sehr er Gabriella als junger Mann liebte und wie sehr er sie immer noch liebt. Armando überbringt ihm die Nachricht, er möge Gabriella in ihren Gemächern aufsuchen. Neue Hoffnung keimt in ihm auf. In Gabriellas Gemächern fragt Almeide Armando, ob er Raoul Gabriellas Botschaft ausgerichtet habe. In diesem Moment kommt Gabriella hinzu und erkundigt sich, welche Botschaft in ihrem Namen übermittelt worden sei. Zu ihrem Entsetzen antwortet Almeide, dass sie nach Raoul geschickt habe, und beschwört Gabriella, sich für sie bei ihm einzusetzen. Als Raoul eintritt, erklärt Gabriella ihm, dass nicht sie ihn habe rufen lassen, sondern Almeide, und bittet ihn, seiner künftigen Gemahlin mit derselben Liebe zu begegnen, die er ihr schenkte und die sie so glücklich machte; dann fleht sie ihn an zu gehen. Er weigert sich und beharrt, noch einige Momente im Schein ihrer Schönheit verbringen zu dürfen. Almeide hat das Gespräch mitgehört und eilt nun entsetzt davon, um Fayel zu holen. Gabriella warnt Raoul, dass er sein Leben aufs Spiel setze, und beschwört ihn zu gehen. Nur, wenn du mir sagst, dass du mich noch liebst, erwidert er. Hilflos gesteht Gabriella, dass sie

–58– ihn in der Tat noch liebt, sagt aber auch, dass diese Worte sie beide teuer zu stehen kommen könnten. Fayel tritt ein, gefolgt von Almeide, Filippo und seinen Höflingen, und wirft Gabriella vor, ihn hintergangen zu haben. Sie beteuert ihre Unschuld, doch Fayel fühlt sich in seiner Ehre gekränkt und fordert als Rache für diese Beleidigung Raouls Tod. Er ruft nach seinen Wachen und lässt seinen Rivalen festnehmen. Filippo ermahnt Fayel, nur er habe das Recht, Raoul zu bestrafen und über ihn und Gabriella zu richten, wenn die beiden tatsächlich schuldig seien. Während Raoul abgeführt wird, beklagt der Hof das Unglück, das über diesen Freudentag gekommen ist.

III. AKT

Im Burghof beteuert Raoul dem König, seine einzige Schuld bestehe in seiner Liebe zu Gabriella, die Fayel ihm mit Gewalt geraubt habe. Fayel verlangt Gerechtigkeit, und Filippo fordert sie auf, ihren Streit mit einem Duell beizulegen. Raoul und Fayel wechseln erbitterte Worte, rufen nach zwei Schwertern und bereiten sich darauf vor, zum Feld der Ehre aufzubrechen. Raoul bittet lediglich darum, dass, sollte er fallen, Gabriellas Leben verschont werde, doch selbst das will Fayel ihm nicht versprechen. Wütend machen sie sich auf, gefolgt von Wachleuten. Armando verfolgt das Duell vom Burgtor aus. Almeide, die angstvoll den Kopf abwendet, fragt ihn, wer gewinne. Die Höflinge kehren zurück und berichten, dass beide Männer sich tapfer und gewandt geschlagen hätten, dass

–59– zum Schluss aber Fayel sein Schwert in Raouls Brust stieß und dieser wie ein Held gestorben sei, mit Gabriellas Namen auf den Lippen. Im Kerker des Burgturms, in den Gabriella gebracht wurde, beklagt sie das Grauen, das sie umgibt. Ferne Geräusche schrecken sie auf – das Duell! Wer wurde geschlagen, wer hat gewonnen? Da erscheint Fayel im Eingang des Kerkers. Sie fragt ihn, wo Raoul sei. Wäre ich hier, wenn er lebte, erwidert er und beschuldigt sie, Raoul zu lieben. Sie bestätigt, dass ihre Liebe zu Raoul grenzenlos sei. Nun gut, erklärt Fayel, in dem Fall werde er Raouls letzten Wunsch erfüllen. Er ruft nach einem Diener, der eine mit einem Tuch verhüllte Urne hereinträgt, gefolgt von den Höflingen. Zunächst glaubt Gabriella, ihrem Leben solle mit Gift ein Ende bereitet werden. Als sie das Tuch von der Urne zieht, schreit sie auf – was sehe sie da? Fayel antwortet, es sei das Herz Raouls. Von Trauer überwältigt, ruft Gabriella den Zorn Gottes auf Fayel herab und bittet ihn, sie allein zu lassen. Die Höflinge bedrängen Fayel, sich der Sterbenden zu erbarmen, doch er lässt sich von ihrem Kummer nicht erweichen und weigert sich, ihr zu vergeben. Mit dem letzten Atemzug beteuert Gabriella noch einmal ihre Liebe zu Raoul.

© Don White Übersetzt von Ursula Wulfekamp

–60– LA TRAMA ATTO I

Nella cappella del castello di Autrei, Gabriella e le sue dame sono raccolte in preghiera. Fayel è in ascolto. Desidera conoscere i sentimenti di Gabriella, sapere per chi prega: ama ancora il defunto Raoul? Ricorda la bella, gentile creatura che era quando lui l’aveva vista per la prima volta e se n’era innamorato. Alcune voci chiamano Fayel perché vada in soccorso di re Filippo, rimasto vittima di un’imboscata mentre si dirigeva al castello. Fayel esce portando con sé i suoi uomini. Gabriella si perde nel ricordo del suo amore per Raoul e chiede a Dio come mai i suoi ricordi dell’innamorato siano sempre più vividi quando Fayel la tiene tra le braccia. Le dame le annunciano l’arrivo del re: deve ritrovare il sorriso. Confortata dalle loro parole, la donna le rassicura: oggi è felice e in pace con se stessa. Entra un cavaliere e le parla. Gabriella non riesce a capacitarsi al suono della sua voce. E possibile che Raoul sia ancora vivo? Il cavaliere le rivela che la storia della sua morte su un lontano campo di battaglia era falsa: mentre viaggiava lungo la costa era stato attaccato e si era ritrovato in una stamberga dove era stato tenuto prigioniero per dieci mesi, finché non era riuscito a fuggire. Ma il colpo più duro è stato la scoperta dell’infedeltà della donna, che ha sposato il suo rivale. Gabriella gli dice che ha torto ad accusarla: l’infelice matrimonio le è stato imposto dal padre. Raoul pretende una dichiarazione d’amore, ma Gabriella lo supplica di lasciarla e non rivederla mai più.

–61– L’ingresso del castello è stato sfarzosamente decorato per l’arrivo di Filippo. I cavalieri di Fayel accolgono le guardie del re e, alla fine, entra Filippo in persona, circondato dai suoi cavalieri, tra cui si trova Raoul. Rivolgendosi ai suoi seguaci, il re li ringrazia per le loro parole che portano pace al suo cuore. Proclama l’alba di un nuovo giorno di pace e d’amore, e dedica la propria vita ai suoi sudditi. Gabriella, Fayel e sua sorella Almeide si inginocchiano davanti al re, il quale affida alle loro cure il coraggioso cavaliere che gli ha salvato la vita. Si tratta di Raoul. Il re chiede a Fayel di ricompensare il valore di Raoul concedendogli la mano di Almeide. Fayel è costretto ad accettare e Filippo chiede che la cerimonia si svolga quello stesso giorno per poterne essere testimone di persona. Raoul, Gabriella e Fayel esprimono i loro sentimenti contrastanti. Nelle stanze di Gabriella, Fayel sottolinea l’aspetto infelice della moglie in un giorno che dovrebbe essere di allegria e di gioia. La supplica di tornare la Gabriella di un tempo, anche solo per un’ora. La donna gli ricorda in che modo è stata condotta all’altare. Il marito l’ammonisce minacciosamente: l’amore può trasformarsi in ira e lui è consapevole della vera ragione del dolore di lei… le nozze di Almeide. Gabriella gli dice che si sbaglia: i suoi sospetti non nascono dall’amore, ma dalla colpa e dal terrore. Furibondo all’audacia della moglie, Fayel la minaccia, ma lei risponde che è lui a dover temere l’ira celeste.

–62– ATTO II

Nel cortile del castello, i soldati brindano alla pace. Entra Raoul, immerso nei propri pensieri: ha perso ogni speranza, i suoi sogni sono infranti. Ricorda il suo amore giovanile per Gabriella: l’ama ancora. Armando gli porta un messaggio che lo convoca nelle stanze di Gabriella e riaccende le sue segrete speranze. Nelle stanze di Gabriella, Almeide chiede ad Armando se ha portato il messaggio a Raoul. Entra Gabriella e chiede spiegazione di queste parole. Con orrore, apprende dalla cognata che è stata lei a convocare Raoul perché desidera che Gabriella interceda per lei. Entra Raoul e Gabriella gli rivela che non è stata lei a convocarlo, bensì Almeide. Lo supplica di dedicare ad Almeide l’amore che un tempo aveva reso lei tanto felice, poi gli chiede di andarsene. L’uomo rifiuta e la supplica di concedergli ancora qualche istante per consolarsi davanti alla sua radiosa bellezza. Incredula e inorridita Almeide, che è rimasta in ascolto, si affretta a chiamare Fayel. Gabriella avverte Raoul che la sua vita è in pericolo e lo supplica di andarsene, ma l’uomo desidera che lei ammetta di amarlo. Disorientata, Gabriella confessa di amarlo ancora, ma lo avverte che le sue parole possono costare care ad entrambi. Entrano Fayel con Almeide, Filippo e i suoi cortigiani e Fayel accusa Gabriella di tradimento. La donna protesta la propria innocenza, ma l’onore di Fayel è stato offeso e solo la morte di Raoul può vendicarlo. L’uomo chiama le sue guardie perché arrestino il rivale. Filippo ricorda a Fayel che solo lui ha il diritto di punire Raoul: se Gabriella e Raoul sono colpevoli sarà lui a giudicarli. Mentre Raoul viene condotto via, i cortigiani deplorano l’amarezza che ha rovinato una giornata di gioia. –63– ATTO III

Nel giardino del castello Raoul protesta con il re che la sua unica colpa è quella di amare Gabriella, che Fayel gli ha rubato con la forza. Fayel chiede giustizia e Filippo ordina ai due di risolvere la questione con un duello. Raoul e Fayel litigano duramente e, chiedendo due spade, si preparano ad allontanarsi per combattere. Raoul chiede solo che Gabriella venga risparmiata se lui dovesse morire, ma Fayel non gli promette nemmeno questo. I due nemici si allontanano per il duello, seguiti da alcune guardie. Dalla porta del castello, Armando osserva il duello. Almeide, che ha paura di guardare, gli chiede qual è l’esito. I cortigiani tornano in fretta per riferire che i due uomini hanno dimostrato coraggio e abilità ma che alla fine Fayel ha immerso la spada nel petto di Raoul. Quest’ultimo è caduto da eroe, con il nome di Gabriella sulle labbra. In una prigione sotterranea nella torre del castello dove è rinchiusa, Gabriella è oppressa dall’orrore che adesso la circonda. Un suono in lontananza la spaventa… il duello! Chi sarà stato sconfitto, chi sarà il vincitore? All’improvviso all’ingresso della prigione appare Fayel. Lei gli chiede dov’è Raoul. Sarebbe qui se fosse vivo, ribatte lui e l’accusa di amare Raoul. La donna risponde che il suo amore per Raoul è infinito. Ebbene, replica Fayel, allora l’ultimo desiderio di Raoul sarà esaudito. Chiama un servitore che entra con un’urna coperta da un panno, seguito dai cortigiani.

–64– Sulle prime Gabriella crede che si tratti di un veleno per metter fine ai suoi giorni. Solleva il panno e si lascia sfuggire un grido: l’urna contiene il cuore di Raoul. Distrutta dal dolore , Gabriella invoca l’ira di Dio su Fayel e lo supplica di lasciarla sola. I cortigiani chiedono a Fayel di aver pietà della donna morente, ma l’uomo è irremovibile e rifiuta di perdonarla. Con il suo ultimo respiro, Gabriella dichiara ancora una volta il proprio amore per Raoul.

© Don White Traduzione: Emanuela Guastella

–65– ‘A te sola’: Raoul’s aria – the 1826 Bergamo Autograph CD1 65’03

ACT ONE

The action takes place in the Castle of Autrei, Burgundy, in the 13th century.

SCENE I A ground-floor room in the castle. To the rear, an imposing door with windows leads to the park. To one side, a chapel. It is dawn.

In the chapel, Gabriella and her ladies are praying. Fayel enters, restless.

[1] LADIES Ah! Signor, volgi placato Ah! dear Lord, look peacefully Il tuo sguardo a noi tapini. On us poor wretches. A tuoi santi arcani fini In your holy wonderful ways Guida tu nostr’alme, Signor. Guide our souls, oh Lord. GABRIELLA Il tuo sguardo voli a noi! Look upon us! FAYEL Ella prega! She is praying! GABRIELLA/LADIES Ah! E a tuoi santi arcani fini Ah! In your holy wonderful ways Guida tu nostr’alme ognor, Forever guide our souls, Signor, Signor! Dear Lord! FAYEL Oh! Potessi Oh! If I could

–67– Ludmilla Andrew, Gabriella Legger nel suo cor… saper quai voti Only read her heart… to know what prayers Rivolge al cielo! Ignoti She offers to heaven! Are they hidden Essi forse mi son? La sua mestizia From me, perhaps? Her sadness E il sospirar suo lungo… e il suo And her endless sighs… the way she fuggirmi shuns me. Non dicon forse, che ancor sente in petto Do they not show, perhaps, that she Per l’estinto Raoul, l’antico affetto? Still loves the dead Raoul? GABRIELLA Tu che versi sul creato You who blessed creation Tanta pompa di splendori. With such displays of splendour. LADIES Ah! Non voler ne’ nostri cuori Ah! Forbid transgression Le tenebre dell’error! To live in our hearts! FAYEL Oh! Sposa mia, le tenebre Oh, my wife, you alone can Da questo cor tu puoi sgombrar Free this heart from shadow! soltanto! Al mio cocente amore Respond to the great love I have for you, Rispondi, o cara, e mi farai migliore! My dearest, and you will make me well again! [2] Giovin, leggiadra, amabile Young, pretty, graceful Ti vidi e t’adorai. Was how I saw you and adored you. Né di domar quel palpito There was no way that I Concesso a me fu mai, Could overcome my feelings, Non ha più senso l’anima My mind has no thought

–69– Che non aspiri a te. That is not of you. Tu del mio cor sei l’arbitra You are mistress of my heart, Il ciel tu sei per me. You are my heaven.

SCENE II The Count’s men are heard outside, then enter hurriedly.

MEN Signor! Signor! Sire! Sire! Ah! Signor… la spada impugna Ah! Sire... take your sword, Chiama all’armi i fidi tuoi, Call your faithful followers to arms, Vola al campo, ancor tu puoi Hurry to the battlefield, there is still time Di Filippo i dì salvar. To save Filippo’s life. FAYEL Che mai dite? What are you saying? MEN Dalla pugna Victory Già n’usciva vincitore Was almost in his grasp Quando oscuro traditore When a mysterious traitor Con un’orda l’assalì. And his horde attacked him. Di Filippo i messagieri Messengers from Filippo Tal novella ci recar. Brought us the news. Ah! Signor, vola al campo! Ah! Sire, quickly to the battlefield! [3] FAYEL Ah! Si corra, andiam da forti Ah! Come on, let us bravely Ci gettiamo nel conflitto. Throw ourselves into the fight. Non sia giorno quell’invitto The hero shall never be defeated

–70– Christian du Plessis, Fayel Di codardi insidiator! By cowardly ambush Ah! Un alloro al piè deporti Ah! If I could at least place a Un alloro almen potessi, Laurel at your feet, Ah! Forse cari allor gli amplessi Ah! Then, perhaps, you would welcome Ti sarian del vincitor. The victor’s embrace.

SCENE III Gabriella enters from the chapel. Fayel goes towards her and embraces her.

FAYEL Addio, mia sposa, addio. Goodbye, my beloved. (he exits) [4] GABRIELLA Sì mai pietoso cielo, Merciful heaven, Mai non potrò la tenerezza sua Will I never be able to return his love Pagar di tenerezza? E d’un estinto With tenderness? Will a dead man La memoria, dovrà più viva sempre Always come to life in my memory In me destarsi, allor che di Fayello When I am in the embrace Mi stringono gli amplessi? Of Fayel? Oh, mio Raoul! Sapessi Oh, my Raoul! If I knew Qual terra ti ricopre, i miei sospiri Where your body lay, I could A te rivolgere! Questo, sol questo Direct my sighs to you there! Conforto io chiedo, al mio destin This one comfort is all I ask my funesto! tragic destiny!

–72– [5] Delle nostr’anime Our two souls Cresciute insieme, Grew up together, Un’era l’estasi One was the ecstasy Una la speme. One was the hope. Liete correvano Joyfully our souls L’egual sentiero, Followed one path, D’un sol pascendosi Nurtured one Caro pensiero. Dear thought. Ma un fato barbarao But a cruel destiny Quel nodo infranto Separated us E amaro pianto And bitter tears Sol mi restò, ah! Are all that is left to me, ah!

SCENE IV The ladies enter.

Perché così sollecite Why such concern, Che mi recate voi? What have you to tell me? LADIES Liete novelle. Allegrati, Good news. Be joyful, Qui giunge il re co’ suoi. The king, with his followers, is coming here. Le labbra tue s’atteggino Let a happy smile Ad ilare sorriso, Light upon your lips, Sul pallido tuo viso Call back the roses Chiama le rose ancor, To your pale cheeks,

–73– I vezzi tuoi s’avvivano And bring back to life the charms Del primo lor splendor. You used to have. [6] GABRIELLA I vostri accenti, un balsamo Your words are a balm Son che il mio spirito acqueta: That soothe my mind: Quest’oggi appien son lieta, Today I shall be completely happy, Calmo e sereno il cor. My heart serene and calm. (Ah! Talor in mezzo al duolo (Ah! Sometimes in the midst of sadness Mi sorride una speranza Hope smiles down on me E col cuor fidente io volo And with a trusting heart I fly Alla vita che m’avanza To the life that is left me Alla cara età fuggita. And my thoughts return in dreams Torna illuso il mio pensier… To the happy days now gone… Sin la gioia a me rapita Finding pleasure in a happiness Parmi ancora di goder.) I no longer have.) (The ladies leave. Gabriella follows them slowly.)

SCENE V Raoul enters and carefully watches Gabriella.

[7] RAOUL È dessa! Oh! Gabriella, It’s her! Oh, Gabriella Arresta!.. Wait!.. GABRIELLA Oh! Ciel… qual voce! Oh! heavens… that voice! Tu qui... vivo. You here… alive. Raoul? Delirio è il mio? Raoul? Have I gone mad?

–74– Maurice Arthur, Raoul RAOUL Ti rassicura. Reassure yourself. Vivo per mia sciagura. It is my misfortune to be alive. GABRIELLA Dunque mentia la fama, che te disse Then the news that said you died In lontana region spento sul campo… On some faraway battlefield was wrong… Dunque falso il racconto che Fayel And the story Fayel told me Di tua morte mi fea – Of your death was false – RAOUL Falso! It was! GABRIELLA Oh sciagurato! Oh wretched man! Né m’inviasti un foglio? Why didn’t you send me a letter? Un messo? A message? RAOUL Tolta mi fu la libertà… I was not free to do so… GABRIELLA Che narri? What are you saying? RAOUL Ascolta! Listen! [8] In notte oscura e tacita One dark and silent night Io lungo il mar traeva, I was making way along the coast, Assorto nell’imagine Lost in the thoughts of you Che in cuor di te m’aveva, I carried in my heart, Quando, improvviso e rapido When, swiftly and unexpectedly Un ferro mi colpì! I was struck down by a sword!

–76– GABRIELLA Cielo! Ed era… Narrami… Heavens! And it was… Tell me… RAOUL Cercai saperlo invano. I tried to identify him, but it was no use. Quel traditor, la man The traitor drew back his hand Ritrasse, e disparì. And disappeared. GABRIELLA Cielo! Heavens! RAOUL Raccolto in un tugurio I was taken to a hovel Ma qual prigion venia, That became my prison, E dieci lune volsero And for ten months Che ancor colà languia… I languished there… Fuggii, ma il ciel serbavami I escaped, but heaven saved me A strazio più crudel. For an even crueller torment. Te seppi a me spergiura I learned you had betrayed me, Te seppi a me infedel. That you were no longer faithful. GABRIELLA Ah, no! Nol credere! Ah, no! Do not believe it! RAOUL Stanco di vivere Tired of living Morte cercai fra l’armi; I sought death in battle; Ma invan! L’amaro calice But in vain! I must drain the bitter cup Tutto degg’io vuotar. To the last drop. Spergiura! Va! Betrayer! Leave me!

–77– GABRIELLA Ah! no! nol credere! Ah, no! It isn’t true! Empia così non farmi… How can you think me so evil… Vita infelice e misera You see me living Me vedi trascinar! A wretched and unhappy existence. RAOUL E di squallor, di tenebre And haven’t you clouded my life La mia tu non copristi? With depression and gloom? A orrenda eterna ambascia Haven’t you condemned me Non mi dannasti tu? To a fearful, everlasting anguish? GABRIELLA Non più, non più, compiangimi No more, no more, share my tears, Dal maledir desisti… Curse me no more… Al padre inesorabile I was forced to submit to the will Forza mi fu piegar. Of an inflexible father. RAOUL M’ami tu dunque? Ah! Dimmelo! You still love me then? Ah! Tell me! M’ami tu ancor? Do you love me still? GABRIELLA Cessa! Stop! Non più me stessa, I no longer dare to ask myself Non oso interrogar! That question! [9] Deh! Pensa ai dì beati Come! Think of the wonderful days Del primo nostro amore, When we were first in love, Ai cari sogni aurati Of those golden dreams Ch’eran delizia al core… In which our hearts delighted…

–78– Se brevi fûr, saranno If they were short lived, how much shorter Pur brevi i dì d’affanno! Will be the comfortless days ahead! Ah! In cielo, ogni dolore Ah! In heaven every sorrow Compenso eterno avrà. Will receive eternal solace. RAOUL Ignoto affetto or muove Your voice arouses La voce tua nell’alma; An unfamiliar feeling inside me; E in essa, arcana piove And on my spirit falls Una serena calma, A strange and calm serenity, Co’tuoi pietosi accenti Your compassionate words Lenisici i miei tormenti. Soothe away my pain. Ah! Mi scopri del dolore Ah! you reveal that sorrow L’arcana voluttà. Can be sweet. (they leave)

SCENE VI A great enclosure in the castle, superbly decorated for the arrival of Filippo Augusto. In the middle stands a throne. Armando and Fayel’s men greet the guards preceding Filippo, who is surrounded by nobles, among them Raoul. Festive music is heard.

[10] NOBLEMEN Voi che al fianco d’eroe così grande You who won your laurels Coronaste la fronte d’allori, At the side of so great a hero, Riposate, che i vostri sudori Rest awhile, and let a friendly hand Mano amica qui terger saprà. Wipe away the sweat of your labours.

–79– GUARDS Sì, seguaci del forte, del grande Yes, followers of the conqueror, of the hero Che a noi cinse la fronte d’allori Who placed such honours on our heads. Riposiamo dei nostri sudori Let us rest here from our labours Mano amica qui terger saprà. For friendly hands to wipe our brows. ALL Dolce frutto di vostro/nostro accento Sweet reward for your/our victories Bella pace per noi/voi brillerà. Glorious peace will reign for us/you. [11] FILIPPO Oh! Miei fidi, il vostro accento Faithful followers, your acclaim Dolce scende nel mio core; Gladdens my heart; Io non posso il mio contento I cannot express La mia gioia palesar. My joy and satisfaction. Della pace e dell’amore Together we shall see the dawn Noi vedremo il dì spuntar. Of peace and love. NOBLEMEN/GUARDS Alla tromba che festosa To the trumpets that joyfully Di tua gloria, ah, sparse il grido; Brought news of your glory; Prode Augusto, umile e fido Mighty Augustus, humbly and faithfully Or risponde il nostro cor. Now our hearts respond Ah! Giammai per noi Ah! Never may there be Cada un dì beato tanto A happier day for us Se il più grande fra gli eroi If the greatest of all heros Ci ricopre di splendor. Covers us with splendour.

–80– John Tomlinson, Filippo II [12] FILIPPO Questi ardenti ingenui voti Your ardent and spontaneous vows Son mia gioia, son mio vanto. Are my glory, are my boast. Per voi solo, o miei devoti For you alone, my devoted subjects. Per voi palpita il mio cor. For you my heart is beating.

SCENE V11 Gabriella, Fayel and Almeide approach and kneel before the King.

FAYEL Signor! Sire! GABRIELLA/ALMEIDE De’voti nostri… Accept our vows… FILIPPO Sorgete, o fidi amici, e al vostro seno Arise my faithful friends, and as you press Meco il prode stringete Me to your hearts, embrace also Che i giorni miei salvò… The gallant knight who saved my life… GABRIELLA (Ciel! Raoul!) (Heavens! Raoul!) RAOUL Mio sire! My liege! FAYEL (Il mio rivale! Ei vive ancor?) (My rival! Still alive?) GABRIELLA (Ti frena, o povero mio cor.) (Be still, poor heart.)

–82– FILIPPO Conte, la mano Count, I ask D’Almeide per lui ti chiedo… For the hand of Alomeide on his behalf… RAOUL (Ah, no!) (Ah, no!) FILIPPO Questa mercede ei s’abbia al suo valore. Let him have this reward for his valour. RAOUL Sire, di tal favore… Sire, of such a favour… FILIPPO (to Fayel) Che mi rispondi? What is your answer? FAYEL Si, io lieto son, Yes, I am happy to agree, E la sorella affido al nobile cor… I entrust my sister to the noble heart… Il core di Raoul. The heart of Raoul. FILIPPO A queste nozze assister voglio io stesso… I myself wish to witness this marriage… Oggi si compia il rito. Let the ceremony be effected today. GABRIELLA (Ciel, che dice!) (Heavens, what is he saying!) RAOUL (Oh! Mio sperar tradito.) (Oh! Shattered hopes.)

–83– ALMEIDE (Oh! Me felice!) (Oh! How happy I am!) FAYEL Oggi sarà compito! It will be settled today! (they leave)

SCENE VIII Gabriella’s apartments. She is deep in thought. Fayel joins her.

[13] GABRIELLA Quanti in un punto aduna How many strange happenings Strani eventi per me, l’empia fortuna! Merciless fate assembles for me at one time! Ei… stesso – il mio Raoul che piansi He… himself – my Raoul whom estinto, I mourned as dead Io vidi ancora! Ma, non sì tosto il vidi I have seen again! And no sooner did I see him Che nuova in cor m’aperse una ferita! Than he broke my heart again! FAYEL Mesta ti veggo, I find you unhappy, O sposa; mesta oltre l’usato. My love; unhappier than usual. Eppur d’allegri canti, e di festose Yet today my castle resounds Grida, quest’oggi il mio castel risuona. With merry voices, with joyful songs. Tutti son lieti… e tu… sola in lagrime, Everyone is happy… but you… alone and in tears, Ti struggerai la vita? Are you going to pine your life away?

–84– GABRIELLA E mesta forse, Haven’t I Non mi vedesti ognora? Always done so? FAYEL Oh! Gabriella! Un’ora, Oh! Gabriella! For one hour, Ah! Per un’ora almen torna qual eri Ah! For just one hour be as you used to be Nella magion paterna! Back at home with your parents! Ah! Riedi Ah! Be again Come a que’giorni ancora… As you were in those days… GABRIELLA Oh! Che mi chiedi! Oh! What are you asking me! [14] Ch’io lieta ritorni? È vano desio, To be happy again? It is no use, La gioia per sempre, fuggi dal cor mio Joy has left my heart forever E l’anima stanca, sol regge il pensier And my weary soul is ruled by one thought alone, Che il triste viaggio, può il cielo troncar. That heaven can bring my tribulations to an end. E puoi tu, Fayello, parlarmi d’amor? And can you, Fayel, speak to me of love? E puoi tu scordarti qual venni all’altar? Can you forget how I came to the altar? FAYEL Un giuocco ben crudo, tu fai del mio cor, You make a cruel joke of my love, Ma trema! L’amore può in ira cangiar. But be careful! Love can turn to anger.

–85– GABRIELLA Rammenta qual venni all’altar. Remember how I came to marry you. FAYEL La cagion del tuo dolore The reason for your unhappiness Ben m’è nota – e di celarla Is well known to me – and it is Or ti studii invano... Useless to try to hide it... GABRIELLA Signor, qualè dessa? Sir, what is it then? FAYEL Quale? What is it? GABRIELLA Parla… Tell me… FAYEL Son le nozze d’Almeide! It is Almeide’s wedding! GABRIELLA Che t’induce in tal sospetto? What leads you to harbour such suspicion? Ah! Non è… non è l’amor Ah! It is not… no, not love A te il suscita nel petto That instils it deep inside you, Il rimorso… ed il terror… It is guilt… and terror… FAYEL Dianzi mesta e conturbata, A while ago so sad and distressed, D’onde adesso un tanto ardir? Whence now such boldness? GABRIELLA Tu il domandi? Da quest’ira mia, You ask that? From that anger. Che in te più non ha confine… Which you can control no longer…

–86– Dal pensier che avrà pur fine From the thought that my long and bitter Il mio lungo e rio martir. Suffering even yet may end. [15] FAYEL Paventa, o perfida, quest’ira mia, Beware, faithless woman, this fury of mine, Può trari a sorte funesta e ria! It can bring you a grievous and evil destiny! Quest’amor mio, che spregi tanto This love of mine, which you so despise, Eterno pianto – ti può costar. Can bring you – eternal weeping. GABRIELLA Ah! Tu paventa del ciel lo sdegno Ah! Fear the wrath of heaven Che ognor de’miseri si fa sostegno; Which always comforts those who are unfortunate; Che ascolta e numera i lor lamenti Which hears and records their laments. Che i lor tormenti sa vendicar. Which avenges their torments. (They leave by opposite sides)

–87– ACT TWO

SCENE I A courtyard within the enclosure of Autrei Castle. Some soldiers are drinking.

[16] SOLDIERS Il liquor fervido a ber torniam, Let us get back to our tippling, A lunghi sorsi beviam, beviam. Let us swill it down and drink. Del nostro principe sempre così May the glorious reign of our prince Tranquilli scorrano beati i dì. Always be a reign of peace. (they leave)

SCENE II Raoul enters, deep in thought.

[17] RAOUL Si compia il sacrificio! Let the sacrifice be completed! Perduta ogni speranza a che la vita When every hope is lost, to what end am I to drag Trascinerò, fra l’ire e l’amarezza? On through life, between anger and bitterness? Oh! Di mia giovinezza Oh! Beautiful dreams Beati sogni… dileguaste tutti! Of my youth… you have all faded away! Si compia il sacrificio! Let the sacrifice be completed! A sopportar del mio destin l’orrore I can no longer bear the horrors fate has

–88– Non reggo più, più non mi basta il core. In store for me, my heart can take no more. [18] Io l’amai nell’etade primiera I loved her in the first flush of youth, Come l’opra più bella di Dio; The most beautiful thing in God’s creation; L’amo ancor con intenso desio I love her still with an intense longing L’amo ancor come s’ama nel ciel. I love her still as one loves in heaven. Quest’affetto che nel seno m’impera This feeling that reigns in my breast Che sol ebbe mercè di dolor, With sorrow as its only recompense, Ah! Non posso strapparlo dal core Ah! I cannot free myself from it El con me scenderà nell’avel! And I will take it to the tomb with me! Ah! Si muoja! Alcun s’appressa? Ah! Yes, let me die! Who is coming?

SCENE III Armando joins him, warily.

Che mi rechi? What news do you bring? ARMANDO Gabriella di parlarvi ha d’uopo… Gabriella wishes to speak with you... RAOUL Dessa? She herself? ARMANDO Dessa… sì… Yes… herself…

–89– RAOUL Ah! Dì, favella, non m’inganni? Ah! Really, are you telling me the truth? ARMANDO Essa v’attende nelle stanze sue… She is waiting for you in her room... RAOUL Verrò! I will come! (Armando leaves) [19] Questo raggio lusinghiero This encouraging sign Alla speme ancor m’invita, Raises my hopes once more, E ridente al mio pensiero, And smiling upon my thoughts, Torna a rendermi la vita. Restores life to me. Tal conforto al mio martirio Such consolation was, perhaps, Forse il cielo m’apprestò, Prepared by heaven for my anguish, Così forse un reo delirio To save my soul Dalla mente ei mi strappò. From madness.

CD2 51’45

SCENE IV Gabriella’s apartments.

[1] ARMANDO Giorno di nozze! Eppure A wedding day! Yet no one here Nessun qui ne gioisce. A tutti in volto Rejoices. On every face is only La tristezza è dipinta, e la mestizia. Sorrow and unhappiness.

–90– John Winfield, Armando ALMEIDE Armando, ebben, Raoul vedesti? Well, Armando, did you see Raoul? ARMANDO Il vidi. I saw him. ALMEIDE E gli dicesti? And what did you tell him? ARMANDO Ciò che m’ordinasti gli dissi! What you instructed me to tell him! ALMEIDE E qui verrà? And is he coming? ARMANDO Promessa ei me ne fece! He promised me he would! ALMEIDE E a lui dicesti pure che il volea Gabriella? And you told him Gabriella wanted him? ARMANDO Sì. Yes. GABRIELLA (who has overheard) Chi mai, Who Chiamasti a nome mio… Did you send for in my name… Chiu mai? Who? ALMEIDE Perdona, Raoul! Forgive me, Raoul! GABRIELLA Raoul dicesti?… E a che? Did you say Raoul?… But why? ALMEIDE Pregarti volea… I wanted to ask you…

–92– GABRIELLA Pregarmi? To ask me? ALMEIDE Ah! Sì, che a lui parlassi Ah! Yes, to tell him of Dell’amor mio… del crudo palpitar My love… of the cruel pain A cui mi danna la freddezza sua… To which his coldness condemns me… Sì, tu il decidi, e toglimi Yes, convince him, and free me Di tanto affanno… From this suffering… GABRIELLA Ah! Che mai festi, incauta! Ah! What have you done, rash girl! ALMEIDE Il vien… Con lui ti lascio He is coming… I leave you with him Tu soltanto la mia felicità You alone can make my happiness puoi far compita. complete. Ah! Per me parla, Ah! Speak for me, and I shall owe e ti dovrò la vita. my life to you. (Almeide leaves with Armando)

SCENE V Raoul enters.

GABRIELLA Che fece mai? Si eviti. What has she done? I must avoid him. RAOUL E che? Mi fuggi? Me non chiamasti? What’s this? Leaving? Didn’t you send for me?

–93– GABRIELLA Io? No… t’inganni. Me? No… you are mistaken. RAOUL Armando d’un tuo cenno parlò! Armando gave me your message! GABRIELLA Non era mio quel cenno! It was not from me! RAOUL E di chi dunque? Then from whom? GABRIELLA D’Almeide From Almeide Che la tua man sospira! Who sighs for your love! Ah! L’ama, l’ama Ah! Love her, love her Di quel amor che un dì, me fea beata… With that love which once made me happy… (Che dissi… Oh! Sciagurata!) (What have I said… Oh! Wretched woman!) Vanne… t’affretta… Now go… quickly… RAOUL Oh! Gabriella… Oh, Gabriella!… GABRIELLA Fuggi… Go… RAOUL Oh! Gabriella!… Lascia almen ch’io possa Oh, Gabriella!... At least allow Bëar lo stanco spirto My weary soul to rejoice Per pochi istanti ancor, nel raggio puro For a few moments in the radiance Di tua beltà celeste… E che il mio cor Of your heavenly beauty… Let my heart once more

–94– Ancor consoli l’armonia soave Be soothed by the sweet sound Di tue parole… Of your voice… ALMEIDE (who has overheard) Cielo… che sento! Heavens… what do I hear! (she leaves) GABRIELLA Ah! Vanne! Ah! Go! RAOUL Non posso. Ov’è l’infame che un tal bene I cannot. Where is the scoundrel A me rapiva? who stole Such a blessing from me? Ah! Vieni, o traditor, Ah! Come, traitor, Sì, ch’io possa farti a brani il cor. Yes, so that I may tear your heart to pieces. GABRIELLA Ah! Frena l’impeto de’ tuoi trasporti. Ah! Control these outbursts. RAOUL Nê possa tôrti strapparti al perfido… Can’t you leave the evil man… GABRIELLA Folle, deliri? You fool, are you mad? Va… va… pericolo di vita è qui. Go… go… your life is in danger here. RAOUL Dimmi che m’ami… poi partirò. Tell me you love me… then I’ll go. GABRIELLA Che chiedi?… Vanne… What are you asking?… Go…

–95– RAOUL Dimmi che m’ami. Tell me you love me. GABRIELLA Ben cara… Dearly… Questa parola costar ci può. This word may cost us dearly. RAOUL Dimmelo! Tell me! GABRIELLA T’amo! I love you! RAOUL Oh! Contento! Oh! What happiness! Tu m’ami? Oh gioia! You love me? Oh what joy! Oh! Qual momento! Oh! What a moment Celeste un’estasi m’invade i sensi A heavenly ecstasy overcomes my senses Ah! Tu mi compensi – d’ogni soffrir. Ah! You repay me – for all I suffer. (he kneels before Gabriella)

SCENE VI Fayel enters with Almeide, Filippo, Armando and courtiers.

FAYEL V’ho côlti, o perfidi! I have caught you, you traitors! GABRIELLA Cielo! Heavens! RAOUL Qual fulmine! What a blow!

–96– FAYEL Alfin v’ho côlti… Sui vostri volti I have caught you at last… On your faces Leggo il delitto… Tremate! I read your guilt… Now tremble! Come il mertate vi vo’ punir. I will punish you as you deserve. GABRIELLA Ah! Rea non credermi… Ah! Do not believe me guilty… FAYEL Invano! It is no use! Me non può smuovere potere umano! No human force can deter me! Sarà terribile la mia vendetta. My revenge will be a terrible one. Va! Maledetta… Go, cursed woman… ALL Signor! Sire! [2] GABRIELLA Ah! No! Rea non sono; il giuro a Dio Ah! No! I am not guilty, I swear it before God Rea non sono… pur d’un accento. I am not guilty… of even a single word Vedi… vedi… io non pavento Look… see… I am not afraid Il tuo sguardo… il tuo furor! Of your look… or your fury! Dell’avverso destin mio Do not make my cruel destiny Non accrescere il rigor. More harsh than it already is. RAOUL Non v’ha… non v’ha di questo Never has there been… never Più funesto… e rio cimento. A more grievous and evil suffering than this.

–97– Un più barbaro tormento A more barbarous torment Mai non strinse umano cor. Has never seized a human heart. FAYEL No! Non giurar! Il cielo istesso No! Spare your oaths! Heaven itself Qui t’accusa, o sconsigliata. Accuses you, ill-advised woman. ALMEIDE Alle gioie dell’amor I thought the joys Io vicina mi credei! Of love were in my grasp! Infelici affetti miei I must empty my heart Debbo svellervi dal cor! Of my unfortunate affections! FILIPPO Oh! Che apprendo! Quale orror! Oh! What do I hear! How dreadful! Il mio cuore appena il crede! I can scarcely believe it! In chi mai ripor più fede In whom could I trust Se Raoul è un traditor? If Raoul should be a traitor? ARMANDO/COURTIERS Quello sdegno, quel pallor His rage, the paleness of his face Di sciagura son forieri. Can only mean disaster. Ah! De’negri suoi pensieri Ah! May heaven appease Sii tu ciel mitigator. His evil thoughts. FAYEL Vendetta… vendetta… la morte. Revenge… revenge… death. L’oltraggiato l’offeso onor mio. My honour is offended, outraged. GABRIELLA Ah! Ti calma… Innocente son io, Ah! Calm yourself… I am innocent, Tel ripeto prostrata al tuo piè. Prostrate at your feet I repeat it. FAYEL Va! Mi sei nota; scopro in te sola Go! I know you; I see that

–98– La menzogna celarsi nel pianto; You hide only lies in your tears; Vanne, vanne ogni nodo è già infranto. Go, go, there is nothing between us now. Il tuo sposo Fayel più non è. Fayel is no longer your husband. RAOUL Oh! Rammenta – che qui menzognero Oh! Bear in mind – there is only one liar here, Sei tu solo… You… FAYEL Che dici? What did you say? RAOUL Dice il vero! Ti rammenta la frode The truth! Remember the deception Ch’adoprasti per trarla all’altar! By which you brought her to the altar! Ti rammenta… Remember… FAYEL Non più! Prigioniero No more! You are a prisoner Tu sei qui! – Guardie… Here! – Guards… FILIPPO Cessa… ti basti! Stop… that is enough! Che a me spetta punir obbliasti? Have you forgotten the right of punishment is mine? Che qui regno, puoi forse scordar? Perhaps you forget that here my word is law!

–99– [3] FAYEL Il tuo delitto, o perfida, In vain, faithless woman, Celarmi invan ti sforzi. You try to conceal your crime. Non puoi sperar You have no hope Che l’ira in me si smorzi. Of soothing away my rage. Tremar tu dei! L’infamia You should tremble! I will cleanse Nel sangue io laverò. Away this infamy with blood! RAOUL/GABRIELLA Un ferro, un ferro datemi A sword, give me a sword Se a morte mi serbate. If I am to die. Quest’agonia terribile Do not prolong Di più non prolungate. This terrible agony. A così crudel strazio I do not know how to stand Resister io più non sò. Such cruel torment any longer. FILIPPO No più Fayello – affidati. Enough, Fayel – trust me. Pon freno a’degni tuoi; Curb your wrath; Inesorabil giudice I shall be their inexorable judge, Di lor sarò, qual vuoi, As you want, Se entrambi son colpevoli If both are guilty Entrambi io punirò. I shall punish both. COURTIERS Giorno fatal! La gioia Fearful day! Joy In lutto si cangiò. Has changed to mourning.

–100– ACT THREE

SCENE I The castle courtyard . Raoul, disarmed, is under guard.

[4] FILIPPO Qual ti veggo Raoul, diverso ahi! quanto Alas, Raoul, how changed you are, no longer Dal guerrier che ammirai, The warrior that I admired, Dall’uom cui pria No more the man Sedea nel cor virtù. In whose heart virtue presided. RAOUL L’offeso io fui, It is I who have been offended, A me che l’adorai, tolse Gabriella The count took the one I adored, La violenza del conte. Took Gabriella from me by force. FAYEL Indegno! You are contemptible! FILIPPO Accheta i tuoi trasporti. Control your outbursts. FAYEL Io non ne son capace. I cannot Signor, tu fosti e sei custode Sire, you are and always have been delle leggi the custodian of the laws. Io le reclamo. I demand justice. FILIPPO Sì, della patria legge Yes, it is not in my power to withhold

–101– L’uso negar non me concesso, in campo The application of this country’s laws Tu scenderai, Raoul, fatal certame On the field of honour, Raoul, you will duel D’ambo il destin decida. Till death decides the destiny of you both. (he leaves)

SCENE II

RAOUL Ebben… che attendi? Well... what are you waiting for? Ov’è la spada? Where is my sword? Il campo ancor pronto non è? Is the field not ready yet? FAYEL Audace! Gabriella… Imprudent! Gabriella… RAOUL (emphatically) Donna infelice e degna An unhappy woman worthy Di miglior sorte. Of a happier fate. FAYEL (about to rush him, his dagger raised) Vil traditore! Vile deceiver! O quei detti sospendi o a piedi mici… Hold your tongue or at my feet… RAOUL Contro un inerme?... Against an unarmed man?… E cavalier... tu sei? And you… a knight?

–102– FAYEL (Ove l’ira mi trasse?) (Where has my anger led me?) Olà... due spade. Hey… two swords. Trema, o vil traditore. Tremble, vile traitor. (a courtier brings two swords) [5] RAOUL Io tremar? T’inganni, in campo I, tremble? You are mistaken. On the field Paventar giammai non so. I have never known what it means to tremble. RAOUL/FAYEL Al campo! Let’s go! RAOUL L’ira che il sen m’accende The fury that burns within me Alla vendetta io serbo, I will save for my revenge, A morte quel superbo Will it be this haughty man O morte io stesso avrò? Or myself who embraces death? FAYEL Traditor, paventa. Traitor, tremble. Al campo vendicar On the field I will avenge L’onor sapraò. My honour. Da quest’acciar dipende Now our fate Omai la nostra sorte. Depends upon the blade. Spinger quell’empio a morte I will not rest until Almen respirerò. This evil man is dead. RAOUL Superbo! So arrogant!

–103– FAYEL Non schernirmi, e vieni. Do not taunt me, let’s go. RAOUL Andiamo! Come on! FAYEL Sangue io bramo. I shall have your blood. RAOUL Invoco io morte. I would gladly die. FAYEL Tu cadrai. You shall. RAOUL Sì, ma da forte Yes, but with bravery. Non sa il cor che sia viltà. My heart does not know what cowardice is. [6] RAOUL/FAYEL Quell’aspetto, quegl’accenti His words, his look Fan più grave il mio dolore; Only make my suffering greater; Soffro, o Dio! De’miei tormenti Oh God, in my torment I suffer La più atroce crudeltà. The most cruel anguish! FAYEL Si schiuda il campo. Olà! The field awaits us. Come on! RAOUL Ah! Pria m’ascolta. Ah! First let me speak. FAYEL Dì, che vuoi? Speak, what do you want? RAOUL Risparmia i giorni almeno di Gabriella Your promise at least to spare Gabriella.

–104– FAYEL Taci! Silence! RAOUL Ah! Vita così bella!… Ah! So beautiful a life!… FAYEL Taci! Ella pur morrà. Be silent! She too will die. RAOUL Furente! What frenzy! FAYEL Sì, il mio sdegno tutto su lei cadrà. Yes, all my wrath will descend upon her. RAOUL Vile! Vile man! FAYEL Già pende sul tuo capo acuto ferro. My sword is waiting for you. RAOUL Ah! Vile! Ah! Evil man! FAYEL Andiam! Come on! RAOUL Mi segui! Follow me! RAOUL/FAYEL Si schiuda il campo, andiam! The battlefield is waiting, come on! [7] Oh, qual m’ingombra il petto Oh, how the flame of rage D’ira, di rabbia il fuoco, And passion consumes me, Nel sangue tuo fra poco A flame that soon I shall be able to Saziar io mi potrò. Extinguish with your blood.

–105– RAOUL L’ira che il sen m’accende The fury that burns within me Alla vendetta io serbo, I will save for my revenge, A morte quel superbo Will it be this haughty man O morte io stesso avrò? Or myself who embraces death? FAYEL Da quest’acciar dipende Now our fate Omai la nostra sorte. Depends upon the blade. Spinger quell’empio a morte I will not rest until Almen respirerò. This evil man is dead. RAOUL/FAYEL Al suol cadrà inulto, He will fall unavenged, Al suol cadrà! Andiam! All’armi! He will fall! Come on! To the fight! (they leave, followed by guards)

SCENE III Almeide enters, followed by Armando.

[8] ALMEIDE Sarà Fayel il vincitor? E quale, Will Fayel be the victor? And what, Quale sarà di Raoul il destino? What will happen to Raoul? E Gabriella ov’è? Ah! Vieni And where is Gabriella? Ah! Come, Armando, Armando, Mi narra… Tell me… ARMANDO Essi si battono… They are fighting…

–106– Joan Davies, Almeide ALMEIDE Ma dimmi, But tell me, what is Gabriella doing Gabriella che fa che non accorre?… That she does not come running?… ARMANDO Misera! Nella torre essa è rinchiusa! Unhappy girl! She has been locked in the tower! ALMEIDE Oh! Cielo! Oh! Heavens! ARMANDO Il vero io narro! Assoluto, severo It’s true! The count’s orders Del conte fu il voler. Were severe and unquestionable. ALMEIDE Osserva, parmi un calpestio d’udir… Look, I think I hear someone coming… ARMANDO Son gli scudieri It is the courtiers Che qui volgono il passo… Coming this way… ALMEIDE (moving to the gateway) Oh! V’affrettate! Oh! Hurry! ARMANDO Che avvenne? What’s happened? ALMEIDE Ov’è… Fayel?… Narrate! Where is… Fayel?… Tell me!

–108– SCENE IV The courtiers enter, followed by the ladies of the court.

[9] COURTIERS Intrepidi entrambi, entrambi valenti Both brave, both skilful La lotta fu dubbia per lunghi momenti, The outcome was in doubt for a long time, Ma in fine Fayello, al fier giovinetto But Fayel, at last, sank his blade deep into Profonda ferita nel petto gli aprì. The brave youth’s breast. Ei cadde da prode… He fell like a hero… Non diede un lamento, Without a word A lei ch’adorava rivolse un accento, Except the name of the one he loved, Poi nuova ferita nel seno s’aperse, Then another wound opened in his breast, Di sangue s’immerse, ricadde e morì. Covered in blood, he fell again and died. ALL Al misero spirto perdoni il Signor! May the Lord pardon his unfortunate soul! Gli valga il dolore, che in terra soffrì. May the grief he suffered here on earth weigh in his favour.

–109– SCENE V A dungeon in the castle tower . Gabriella is alone.

[10] GABRIELLA Quale orror mi circonda! What horror surrounds me! Lassa! Non sempre è limpido mattino Alas! Bright dawn does not always Forriero di sereno giorno. Herald a calm day. Oh! Padre mio! Oh! Father! Troppo da me volesti. Tu che vedi You who see my plight from heaven, Dal ciel lo strazio mio! You asked too much of me! Ah! Tu m’impetra da Dio Ah! Ask God to give me strength Virtù che basti a sopportarlo. Un suono To withstand it. I seem to hear Parmi udir lontano… Ed un lamento! A distant sound… And a lament! Quale mi stringe il cor, fiero sgomento! What dire dismay seizes my heart? Nella tenzon… Chi soccombeva? The duel… Who was defeated? Chi mai ne usciva? And who remains unscathed? Che temer deggio What should I fear... E che sperar? And what should I hope? Oh, ciel! Forse, forse… Oh, heavens! Perhaps, perhaps… Oh! Quale illusion gradita… Oh! Dare I hope… Oh! Qual raggio! Cielo! Oh! A shaft of light! Heavens!

–110– SCENE VI Fayel appears at the entrance to the dungeon.

Tu, Fayello, tu… vivi… qui! You, Fayel, you… here… alive! FAYEL Io stesso. It is! GABRIELLA Misera me! I am lost! FAYEL Sì, io stesso. Yes, it is I. GABRIELLA Tutto comprendo adesso! Ebben! Ov’è? I see it all! Well, where is he? Rispondimi, ov’è Raoul? Answer me, where is Raoul? FAYEL Mel chiedi? Della sua sorte dubiti Why ask? Do you doubt his fate, Se, vivo, me qui vedi? Would I be here if he were alive? GABRIELLA Dunque? Well? FAYEL Dunque l’improvvido Well, the imprudent youth Scontato ha il suo delitto! Has paid for his crime! Sotto il mio ferro vindice Beneath my avenging blade Ei cadde al suol traffitto. He fell, mortally wounded. GABRIELLA (in despair) Oh! Ciel… Quest’empio Oh! Lord… This evil Tu non punisci ancor? Still goes unpunished?

–111– FAYEL Tanto l’amasti, o perfida? You loved him so much, you faithless woman? GABRIELLA L’amai… d’immenso amor! I loved him… with an unbounded love! FAYEL Perfida! Betrayer! [11] GABRIELLA L’amai… sì… come un angelo, I loved him… yes… like an angel, Che tale a me parea; For such he seemed to me; L’amai… d’amor ch’esprimere I loved him… with a love Non puote umana idea. No human idea could conceivably express. E l’amo ancor… sappilo And I love him still… I tell you Per lui m’avvampa il cor. My heart pounds for him. Morrò… ma in lui quest’anima I will die… but my soul Sarà rapita ancor! Will be part of his forever! FAYEL Ebben… attendi! L’ultimo Well then… wait! His last wish Suo voto fia compito. Olà! Shall be granted. Hey there!

–112– SCENE VII At a sign from Fayel, a servant enters bearing a vase covered by a cloth. The courtiers follow.

GABRIELLA Un velen recatemi You bring me poison E tutto fia finito. And everything will be ended. A me... Let me… (she takes the cloth off the vase and lets out a cry) Che veggo… Oh! Cielo!… What do I see... Oh! Heavens! FAYEL Miralo! Del tuo Raoul è il cor! Look at it! It is the heart of your Raoul! [12] GABRIELLA Ah! Vanne… togliti dal guardo mio. Ah! Go… get out of my sight. Frenarmi, o perfido, più non poss’io: Traitor, I can no longer restrain myself: Funesta smania m’assale e accende A fatal frenzy consumes me Ebbra mi rende – d’ira e furor! And intoxicates me – with rage and fury! Paventa iniquo, paventa insano, Beware, you monster, beware, you madman, È presta a coglierti di Dio la mano; The hand of God is reaching out for you; Sull’esecrabile tuo capo piombi May it fall upon your abominable head E ti circondi d’odio e di squallor. And overcome you with hatred and squalor.

–113– FAYEL L’ira mia non cessa. My anger does not cease. No! In faccia al suo dolor! No! Not even in the face of her grief! Perdon per lei non v’è. There is no forgiveness for her. No! Lasciatemi! No! Get away from me! COURTIERS Da tanta angoscia oppressa Overcome by so much anguish Soccombe al suo dolor. She is dying of sorrow. Pietà di lei ti prenda. Take pity on her. Perdona al suo dolor. Forgive her. GABRIELLA (sobbing) Io moio… I am dying… (words fail her) Io manco… Io moro… I am going… I am dying… Ma in lui… quest’anima… rapito… But my soul… is his… è ancor. forever. COURTIERS Oh! Ciel! La misera d’affanno Oh! Heavens! Sorrow has claimed muor! the unhappy woman!

END OF THE OPERA

–114– Alun Francis, conductor David Parry, assistant conductor Geoffrey Mitchell, chorus master APPENDIX GABRIELLA DI VERGY, 1826

ACT ONE

SCENE I A room in the castle of Autrei. A knight has delivered a message to Fayel, announcing that Filippo is on his way to the Castle. Fayel instructs the knight to wait, and exits followed by Armando and Almeide. The knight raises his visor, revealing that he is Raoul.

[13] RAOUL Respiro alfin! Oh fortunato inganno, I breathe again! Oh, lucky deception, how much Quanto ti debbo! A reveder colei I owe to you! You provide me with the means Ch’è de’pensieri miei tormento, e meta, Of seeing her again, she who Tu mi apri il varco; tortures my mind, and the object Oh Gabriella! of my desire. Oh Gabriella! Oh cara So dear to my heart even All’alma mia, benché spergiura! E puoi though you have deceived me! Viver tranquilla al mio rivale in seno? Yet how can you live so tranquilly in the arms of my rival? Obbliasti così quei dolci istanti, Have you forgotten those sweet moments Quando nostr’alme in più tenaci nodi When the god of love bound our hearts together Per sempre avvinse il dio d’amor?.. With knots that could not be Ah! In vita untied?… I survived

–118– Della Jones, Raoul Sol fra tanti perigli io mi serbai A thousand dangers just to see you again, Per rivederti, e i tradimenti tuoi And to reproach you with your treachery, Rinfacciarti o crudel! Cruel woman! I want to see you Voglio al mio aspetto grow pale at the Vederti impallidir… tremar… languire… Sight of me… to tremble… to faint… I want Chiamarti infida… e a’ piedi tuoi morire. To call you faithless… and then die at your feet. [14] A te sola, ognor serbai For you alone, my heart stayed Pura fè, costante amore; Ever faithful, ever constant; Ah! Tu fosti, e tu sarai Ah! You always were, you always will be Dolce fiamma del mio cor! The sweet flame of my heart! Pura fè, costante amore; Ever faithful, ever constant; Ah! Tu fosti, e tu sarai Ah! you always were, you always will be Dolce fiamma del mio cor! The sweet flame of my heart! Ma che dissi? E dove mai But what have I said? Where are Tu mi traggi o idea fallace? My deceiving thoughts leading me? Arse l’empia ad altra face, The wicked woman responded to another man’s Spento è in lei l’antico ardor. Ardour, the feelings she had for me are dead.

–120– [15] Ah, che fra palpiti – quest’alma geme! Ah, how my soul suffers amid these tribulations! Dolente, e misera – non ha più speme! Unhappy, forlorn – without hope! Pace, ristoro – non più non ha! Peace and comfort my soul no longer knows! Ah! Chi mi rende – l’amato bene? Ah! Who can restore to me the one I love? Chi le mie pene – calmar potrà? Who has the power to soothe away my pain?

SCENE III Gabriella enters.

[16] GABRIELLA Minacciosa perché mi sgridi ognora Why must the voice of duty forever chide Voce del mio dover? Sanguigne faci And threaten me? O cruel fates Non più agitate o Eumenidi crudeli! Shake your bloody torches no more! Basta il rimorso atroce; Let my terrible remorse suffice; Che mi rampogna, e che rammenta... It haunts me and forever reminds ahi! Sempre! me... alas! La debolezza mia! Of my weakness! RAOUL Sì… mancatrice! Yes… perjurer! You should

–121– Eiddwen Harrhy, Gabriella Prima morir che darti altrui. Rather have died than give yourself to another. (he advances towards her) GABRIELLA Che miro! Raoul! No... il suo fantasma! What sight is this! Raoul! No... his ghost! Ah, torna! Ah vanne ne’regni dell’oblio... Oh, away! Go back to the realms of oblivion... RAOUL No, spergiura! No, traitress! Vive Raoul, ma sol per tua sciagura… Raoul lives, but only to see you wretched… GABRIELLA Tu vivi! Oh stelle! E di tua morte Alive! Oh heavens! But they said il grido? you were dead… RAOUL Falso il recò la fama… The story was false… GABRIELLA E sei… And you are… RAOUL Qui giunto Here A rivederti, a vendicarmi… To see you again, to be avenged… GABRIELLA Oh Dio! Oh God! Raoul! Raoul! Tu vivi! Raoul! Raoul! Alive! È un sogno il mio! I am dreaming!

–123– [17] Oh istante felice! Oh happy moment! Oh gioja! Oh contento! Oh joy! Oh happiness! Tacere mi sento The pain, the sadness La pena, il dolor! In my heart is over! RAOUL Per te i giorni miei It was for you I lived Fra l’armi serbai; Through battle; Ma tu mia non sei, But you are no longer mine, Ma infido lè quel cor. Your heart betrayed me. GABRIELLA Oh Dio! Che rammenti! Oh heavens! What are you reminding me of! RAOUL I tuoi giuramenti! The vows you swore! GABRIELLA Ah! Rea non son io… Ah! I am not guilty… RAOUL La fede in obblio! Those vows forgotten! GABRIELLA Son vittima… I am a victim… RAOUL Ah taci! Ah, be silent! GABRIELLA Mel credi… A mio danno… Believe me… To my doom… RAOUL Che barbaro affanno! What terrible anguish!

–124– GABRIELLA Che abisso di orror! What depths of horror! RAOUL Infida! Faithless! GABRIELLA Un padre severo A strict father Mi trasse all’altare… Forced me to the altar… Qual lacrime amare Despite the bitter tears Non sparsi al suo piè. I shed at his feet. RAOUL Un voto abborrito, Heaven does not accept Il ciel non accoglie… Such a hateful vow… Quel cor chi a me toglie He who takes your heart from me Cadrà innanzi a me. Shall fall before me. GABRIELLA Che tenti! Al mio sposo What do you mean? Leave me forever Per sempre mi lascia… To my husband… RAOUL Che smania! Che ambascia! What madness! What anguish! GABRIELLA Ah, fuggi! Parlarti Ah, leave me! It is not right A me non conviene… That I should speak to you… RAOUL Lasciarti, mio bene? Leave you, my beloved? Ah! Prima la morte… Ah! I would die first…

–125– GABRIELLA (authoritatively) Ch’io son la consorte You must realise I am now D’un altro ah non sai! Another man’s wife! Deh, vanne… So, go… RAOUL No… mai… No… never… GABRIELLA Ti scosta… Withdraw… RAOUL Idol mio! Beloved! GABRIELLA (drawing away from him) Nemmeno un addio… Don’t even say goodbye… RAOUL Va! Cuore tiranno! Go! Heartless woman! GABRIELLA Che barbaro affanno! What terrible anguish! GABRIELLA/RAOUL Che abisso d’orror! What depths of horror! [18] Tormenti crudeli Cruel torments Non più mi straziate! Torture me no more! Oh stelle, cessate Oh heavens, let Dal vostro furor! Your fury cease!

–126– ACT TWO

SCENE III A dungeon. Gabriella is seated on a rock. Half-dreaming, she believes she sees Fayel and Raoul. Falteringly she calls out to them.

[19] GABRIELLA Ah fermate!… Raoul!… Fayel!… Fermate! Ah stop… Raoul!… Fayel!… Stop! Io sola… vo’morire… I alone… die… (she wakes in fright) Ma sogno… Oh ciel! m’illuse il rio It was a dream… Oh heavens! my martire! cruel suffering deceived me. Perché non chiusi al dì Why have I not yet closed Le stanche luci ancor? My weary eyes to the light of day? Farmi penar così, Does it please you so much, oh Love, Tanto ti piace o Amor! To make me suffer like this!

END OF THE OPERA

–127– Sir Peter Moores