GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE.

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Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE

MUsiC Francesco Cavalli LibRETTO Giacinto Andrea Cicognini

CAsT Giasone David Hansen Medea Celeste Lazarenko

Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos

Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander ToWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DiRECTOR Chas Rader-Shieber LATITUDE 37 DEsiGNERs Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LiGhTiNG DEsiGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication. HOBART BAROQUE Edition by Erin Helyard. FRI 28 MARCH - SAT 5 APRIL 2014 sPONsORs TIckETS oN SALE NoW! HEROES OF PINCHGUT Hobart Baroque is supported by the Tasmanian Government through VISIT2 HOBARTBAROQUE.COM.AU Events Tasmania. 3

Pinchgut - Giasone Si.indd 3 26/11/13 1:10 PM GIASONE AbOUT ThE ARTisTs

ERiN hELyARD DAViD hANsEN Conductor Giasone Praised as a virtuosic and eloquent soloist as well as an inspired Born in Sydney, David Hansen studied singing with Andrew Dalton and versatile conductor, Erin Helyard is at the forefront of a new at the Sydney Conservatorium of Music, furthering his studies with generation of young musicians who combine the latest musicological James Bowman and David Harper. In 2004, he made his European and historical enquiry with live performance in contemporary culture. debut for the Aix-en-Provence Festival in Purcell’s Dido and Aeneas. Erin graduated in harpsichord performance from the Sydney Other operatic roles include Bertarido in Rodelinda (Teatro Arriaga, Conservatorium of Music with irst-class honours and the University Bilbao), Trinculo in Thomas Adès’ The Tempest (Santa Fe Opera), Medal. He completed his Masters in fortepiano performance in 2005, Handel’s Julius Caesar (Theater an der Wien, Norwegian National studying with Tom Beghin at the Schulich School of Music, McGill Opera, Teatro de la Maestranza in Seville, and Victorian Opera), University, Montreal. Pursuing a passion for the music and culture L’Orfeo (Deutsche Staatsoper Berlin), Athamas in Semele (Théâtre of the 18th century and the ideals of the Enlightenment, he completed a PhD in musicology at the Royal de la Monnaie, Brussels), Nerone in The Coronation of Poppea (Victorian Opera and in Spain same institution in 2011. at Teatro Calderón, Valladolid) and Ottone in Vivaldi’s Griselda (Pinchgut Opera). Erin was named the Westield Concert Scholar on fortepiano for 2009–10, an initiative of the John Concert highlights have included Carmina burana with the Berlin Philharmonic, Solomon with the Ernest Foundation; a highlight of his solo concert tour was a recital on historical instruments in Orchestra of the Age of Enlightenment, and Britten’s Canticles in the Konzerthaus, Vienna. the collection of the Smithsonian Museum. From 2003 to 2011 Erin was a central member of the Purcell: Music for Queen Mary with the Academy of Ancient Music award-winning Montreal-based Ensemble Caprice. In Sydney, Erin is a Co-Artistic Director and David’s recordings include Griselda, recorded on the founder of Pinchgut Opera. and the Choir of King’s College Cambridge (EMI Classics) and Vivaldi’s Pinchgut LIVE label. His debut solo recording, Rivals, was released by Sony in August this year. He has directed acclaimed performances of Purcell’s The Fairy Queen (Montreal Baroque Recent engagements have included a recital for the Hobart Baroque Festival in Tasmania; Festival), Cavalli’s L’Ormindo, Purcell’s Dioclesian and Vivaldi’s Griselda (Pinchgut), and Handel’s Cherubino in The Marriage of Figaro Acis and Galatea (NZ Opera). He is currently Lecturer in Historical Performance Practice at the at the Teatro Verdi in Sassari, Italy; the title role in Hasse’s Piramo e Tisbe Il Paride for the New Zealand School of Music and is Music Director of the newly inaugurated Tasmanian music for the Potsdam Sanssouci Music Festival; the title role in Bontempi’s Montezuma festival, Hobart Baroque. Innsbruck Festival of Early Music; Fernando in Vivaldi’s under Federico Maria Sardelli; Nerone in The Coronation of Poppea for Teatro Villamarta in Cadiz; Prince Go-Go in Ligeti’s Le Erin Helyard appears courtesy of Te Kōkī, New Zealand School of Music. Grand Macabre for Norwegian National Opera; concerts with Nathalie Stutzmann, Roy Goodman, the Brodsky Quartet and Le Concert d’Astrée; and Messiah with the Norwegian Chamber Orchestra under Paul Agnew.

CELEsTE LAZARENKO Medea ChAs RADER-shiEbER Australian soprano Celeste Lazarenko is a graduate of the Sydney Director & Co-Designer Conservatorium Opera School and of the Opera Course of London’s Guildhall School of Music and Drama, with Masters degrees in Stage director Chas Rader-Shieber’s recent work includes new performance from both colleges, as well as a Bachelor of Visual Arts, productions of Lehár’s The Merry Widow for Staatstheater majoring in painting, from The University of Sydney. She was a inalist Darmstadt, Handel’s Tolomeo for Glimmerglass Opera, Tamerlano in the 2005 Kathleen Ferrier Competition. for Washington National Opera and Los Angeles Opera, Rinaldo for Porland Opera, The Abduction from the Seraglio for Lyric Opera of Her roles at Guildhall included The Governess in Britten’s The Turn of Chicago and San Francisco Opera, and Henze’s Elegy for Young the Screw, Barbarina in the English première of Jonathan Dove’s The Lovers for Opera Philadelphia. His work has been seen at the Little Green Swallow, Susanna (The Marriage of Figaro), Rosina (La opera companies of Houston, St Louis, Pittsburgh, Philadelphia, inta semplice) and Nanetta (Falstaff). She also worked with Glyndebourne Chorus, and with Opera Minnesota, Vancouver and Santa Fe, New York City Opera and the North, where she sang the role of Ninfa in L’Orfeo. Spoleto Festival, among others. She has since appeared as Morgana (Alcina) for English Touring Opera, Sandrina (La inta giardiniera) Having made a specialty of 17th- and 18th-century operas, he has directed Mozart’s Idomeneo, for Opéra de Baugé, Celia (Lucio Silla) with Angers-Nantes Opéra and Opéra de Rennes, Mary La clemenza di Tito, The Magic Flute, Don Giovanni, The Marriage of Figaro, Il re pastore, and Così (Vaughan Williams’ Hugh the Drover) for East Sussex Opera Company and as the principal soprano fan tutte, and Handel’s Rinaldo, Julius Caesar, Semele, Ariodante, Acis and Galatea, Imeneo, Alcina, in Phillip Glass’s Hydrogen Jukebox (Angers-Nantes Opéra), as well as performing in The Seasons Xerxes, Partenope, Tolomeo and Flavio, as well as works of Monteverdi, Cavalli, Purcell, Charpentier for Opéra de Dijon. and Gluck. Since returning to Australia in 2011, Celeste’s engagements have included Télaïre (Castor et Upcoming are new productions of The Abduction from the Seraglio for Utah Opera, La traviata for Pollux) with Pinchgut Opera, Pamina (The Magic Flute) for Paciic Opera, Beethoven’s Symphony Boston Lyric Opera, and a revival of his production of Orlando for Hobart Baroque. No. 9 (Willoughby Symphony Orchestra), Mendelssohn’s St Paul (Sydney University Graduate Choir), Mahler’s Symphony No. 4 (Melbourne Symphony Orchestra), and Messiah with both the MSO and Sydney Philharmonia Choirs. This year, she sang the role of Donna Anna (Don Giovanni) for Opera Australia’s OzOpera, appeared in the Verdi Requiem with Sydney University Graduate Choir and in Brahms’ A German Requiem for Sydney Philharmonia Choirs, presented recitals for ArtSong NSW, and performed excerpts from Pergolesi’s Stabat Mater for the Australian Ballet’s Sydney season of Vanguard.

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Pinchgut - Giasone Si.indd 5 26/11/13 1:11 PM GIASONE AbOUT ThE ARTisTs

MiRiAM ALLAN DAViD GRECO Isiile Oreste Born in Newcastle, NSW, Miriam Allan has been based in England David Greco irst appeared as a soloist with Emma Kirkby on her since 2003. She has been a soloist with leading orchestral and choral 2006 Australian tour; in the same season, he sang the role of organisations all over the world: the Monteverdi Choir and English Perichaud in Puccini’s La rondine in a concert performance with the Baroque Soloists, London Baroque, Les Arts Florissants, Auckland Sydney Symphony Orchestra, performed Monteverdi madrigals with Philharmonia, Concerto Copenhagen, Il Fondamento, Gewandhaus Christina Pluhar, and was the bass soloist in Mozart’s Mass in C minor Kammerchor, Leipzig Kammerorchester, Concerto Köln, ChorWerk with the Australian Chamber Orchestra. He then spent the next two Ruhr, Sydney Philharmonia Choirs and the Australian Chamber years (2007–08) as a company member of Opera Australia. Orchestra. She has been fortunate to work with many ine directors, Specialising in the works of the late Italian and German Baroque including Sir John Eliot Gardiner, Lars Ulrik Mortensen, Laurence Agrippina Cummings, William Christie and Roy Goodman. masters, his opera roles include Pallante in Handel’s (Modena, Italy) and The Oracle (Alceste) with the Freiburg Barockorchester at the Aix-en-Provence Recent highlights have included a concert tour of Australia with period-instrument ensemble Festival. For Pinchgut Opera, he has performed roles in Dardanus, David et Jonathas, L’Orfeo and Ironwood for Musica Viva; Purcell’s The Fairy Queen with Glyndebourne Festival Opera, including Idomeneo. tours to Paris, Caen and New York; Israel in Egypt with the Hanoverian Court Orchestra in Germany; Further training saw him based in Europe, where he completed studies in opera and early music several concerts of Monteverdi madrigals with Les Arts Florissants; and the role of Costanza in with Diane Forlano, Peter Kooij and Michael Chance at the Royal Conservatoire in The Hague, Pinchgut Opera’s production of Vivaldi’s Griselda (now available on CD on the Pinchgut LIVE label). Elijah and a tour She made her debut with the Bach Collegium Japan in 2011, and appeared with Emmanuelle The Netherlands. Recent highlights have included the title role in Mendelssohn’s of Bach’s St John Passion with Ton Koopman and the Amsterdam Baroque Orchestra & Choir; a Haïm and Le Concert d’Astrée earlier this year. Miriam has appeared in Handel’s Messiah with the Queensland and Melbourne Symphony Orchestras, and performed music by Bach, Dowland Monteverdi recital with the ensemble Le Nuove Musiche in the Concertgebouw, Amsterdam; and St John and St Matthew Passions throughout Germany and The Netherlands with and Rutter in The Netherlands, Switzerland and the United Kingdom. Later this month she will be tours of Bach’s the Lutheran Bach Ensemble, Groningen. appearing in performances of Messiah with Sydney Philharmonia Choirs and Collegium Musicum, Perth. For the last two years, David has been based in the UK, deputising as a Lay Vicar at Westminster The Fairy Queen and La bohème. He She appears on numerous recordings, including The Wonders of the World with Echo du Danube, Abbey and appearing with Glyndebourne Festival Opera in recently prepared the title role in Handel’s Saul under Richard Egarr at the Britten-Pears Aldeburgh Mozart’s Requiem with the Leipzig Kammerorchester, and for ABC Classics, Handel’s Silete Venti Young Artist Program. and Purcell songs, and Pinchgut Opera’s The Fairy Queen and Dardanus. This production of Giasone marks David’s return to Australia.

ChRisTOPhER sAUNDERs ANDREW GOODWiN Demo Egeo Christopher Saunders is a graduate of the Guildhall School of Music Born in Sydney, Andrew Goodwin moved to Russia in 1999 where he and Drama in London, where he studied with Vera Roza. He was studied voice at the St Petersburg Conservatory under Lev Morozov, also a Samling Scholar, studying with Thomas Allen and Malcolm graduating with a Bachelor of Music degree in 2005. Martineau. While based in Russia, he was a regular soloist with the St Petersburg His opera repertoire is large and diverse, ranging from Mozart (Don Philharmonic Orchestra, and appeared with the Bolshoi Opera Ottavio in Don Giovanni and Ferrando in Così fan tutte) and Handel as Tamino (The Magic Flute), Alfredo (Die Fledermaus) and, at the (Jupiter in Semele) through to Britten (Flute in A Midsummer Night’s Ljubljana Music Festival in Slovenia, La Scala in Milan and the Teatro Dream) and Sondheim (Tobias in Sweeney Todd). He has performed Real in Madrid, as well as in Moscow, as Lensky in Eugene Onegin. leading roles for Glyndebourne Festival Opera, Opera North, English Andrew’s opera engagements have also included the role of Avvakum National Opera, The Classical Opera Company and the Covent Garden Festival. He has appeared in the world premiere of Rodion Shchedrin’s Boyarina Morozova at the Moscow State Conservatory; as Acis in Handel’s Acis and Galatea at Wigmore Hall, and sung Britten’s Serenade for Tenor, Horn Fenton (Falstaff), Belmonte (The Abduction from the Seraglio), Don Ottavio (Don Giovanni), Novice and Strings at the Barbican. Other UK engagements have included the role of Frederic in The (Billy Budd) and Janek (The Makropulos Affair) for Opera Australia; Silvio in Martín y Soler’s L’arbore Pirates of Penzance for the D’Oyly Carte Opera Company, and appearing as tenor soloist before di Diana at the Liceu, Barcelona; Gomatz (Mozart’s Zaide) with The Classical Opera Company, and the Prince of Wales at Gloucester Cathedral; he has also been broadcast on the BBC on numerous Orpheus in Haydn’s L’anima del ilosofo for Pinchgut Opera. occasions, in opera and in concert. Concert highlights have included Beethoven’s Missa solemnis (Sydney Symphony Orchestra), Since returning to Australia, he has perfomed with the Victorian Opera, Opera Queensland, Sydney Handel’s Messiah, Bach’s St John Passion and Britten’s Saint Nicolas (Sydney Philharmonia Choirs), Philharmonia Choirs, the Royal Melbourne Philharmonic and the Tasmanian Symphony Orchestra. Britten’s Serenade for Tenor, Horn and Strings (Adelaide Symphony Orchestra), the title role in He appeared as Gualtiero in Pinchgut Opera’s production of Griselda. Stravinsky’s The Rake’s Progress (Auckland Philharmonia) and Bach’s B minor Mass (The Song With a special interest in lieder and art song, the next few years will see Christopher dedicate more Company). He performs regularly in recital with pianist Daniel de Borah, with whom he has also time to performing and recording repertoire such as Schubert and Ivor Gurney. Already released are recorded Schubert’s Die schöne Müllerin for ABC Classic FM, and has appeared at the Coriole Liederabend, with pianist Berta Brozgul, and Dark Wind Blowing – Songs of Love and Loss with Music Festival, Port Fairy Spring Festival, the Australian String Quartet’s Dunkeld Weekend of Music, Stefan Cassomenos, which was ABC Classic FM’s CD of the Week in September 2012. Canberra International Music Festival and Musica Viva’s Huntington Festival.

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Pinchgut - Giasone Si.indd 6-7 26/11/13 1:11 PM GIASONE ALEXANDRA OOMENs AbOUT ThE ARTisTs Alinda Alexandra Oomens is currently in the honours program of a Bachelors degree in Music Performance at the Sydney Conservatorium of Music, where she holds the Patricia Lucas Music Achievement Scholarship; she has also studied with Louise Callinan in Paris. She has represented the Conservatorium in a masterclass with Håkan Hagegård at the International Congress of Voice Teachers in Brisbane, and at a workshop conducted by Lauris Elms for ArtSong NSW. Engagements this year have included Mozart’s Exsultate, jubilate with the Ryde-Hunters Hill Symphony Orchestra, a recital of Handel and Purcell as part of the City of Sydney’s ‘Late Night Library’ series, and the role of Thisbe in the Renaissance mock opera Pyramus and Thisbe, presented by Pinchgut Opera at its fundraising dinner ADRiAN McENiERy in September. She was the winner of the Intermediate (under 25 years) Oratorio division in this year’s Delfa City of Sydney Eisteddfod, and the youngest inalist in the Intermediate division of the Joan Sutherland Memorial Vocal Scholarship. Adrian McEniery is a graduate of the Queensland Conservatorium of Alexandra sang with Sydney Children’s Choir for ten years, and joined the national children’s choir Music. He has been a member of the Young Artist Program at Victoria Gondwana Voices at the age of 11; in 2008 she was selected as the child soloist for Gianluigi Gelmetti’s State Opera, where he appeared in the title role of Faust and as Don Cantata della Vita, performed with the Sydney Symphony Orchestra. She is now a member of the Ottavio in Don Giovanni. professional chamber choir Cantillation. Adrian has been a regular principal artist for Opera Australia, in roles Alexandra can be heard as the voice on the award-winning commercial Tasmania – Go behind including Edmondo in Manon Lescaut, Pang in Turandot, Andres in the scenery. Berg’s Wozzeck, The Major-Domo in Der Rosenkavalier and Gregor in The Makropulos Affair. He has also appeared for West Australian Opera in the suite of tenor roles Nathanaël, Andrès, Cochenille, Frantz and Pitichinaccio (The Tales of Hoffmann), and for Opera Queensland as Goro in Madama Butterly, The Beadle in Sweeney Todd, in the title role of Mozart’s Lucio Silla, and, for OzOpera, as The Duke and Borsa in Rigoletto and as Tom Rakewell in KATREN WOOD The Rake’s Progress. For Victorian Opera he has appeared as The First Soldier in The Coronation of Poppea and The Dancing Master in Ariadne auf Naxos. Co-Designer Concert engagements have included Britten’s Serenade for Tenor, Horn and Strings with the Katren Wood graduated with a Bachelor of Fine Arts degree from Monash Scottish Chamber Orchestra, Messiah with the Queensland and Adelaide Symphony Orchestras, University in 2009. In 2010 she was accepted into the Design course at Messiah and The Evangelist in Bach’s St John Passion with Sydney Philharmonia Choirs, and Ned the National Institute of Dramatic Art (NIDA), where she received the William Rorem’s Evidence of Things Not Seen in the 2004 Melbourne International Arts Festival. Fletcher Foundation Award for the development of young designers. Since graduating from NIDA in 2013, Katren's theatre credits have included Girl in Tan Boots and Uncanny Valley (Grifin Theatre), and Owen Wingrave (Sydney Chamber Opera). She is currently designing His Music Burns (György Kurtág’s ...pas à pas – nulle part... and George Benjamin’s Into the Little Hill) for Sydney Chamber Opera, in conjunction with Sydney Festival 2014.

NiChOLAs DiNOPOULOs Ercole

Nicholas Dinopoulos studied at The University of Melbourne with bERNiE TAN-hAyEs Merlyn Quaife, and furthered his training at The Opera Studio Melbourne. A proliic concert artist and recitalist, he is frequently Lighting Designer heard in live-to-air broadcasts on ABC Classic FM and 3MBS FM and is a core member of Songmakers Australia. After a two-year hiatus, Bernie Tan-Hayes is very proud this year to be lighting his tenth Pinchgut opera, after nine previous attempts to His operatic roles include Caronte / Plutone (L'Orfeo), Bartolo / tame the City Recital Hall, with Semele, The Fairy Queen, L’Orfeo, Antonio (The Marriage of Figaro), Leporello (Don Giovanni), Martino Dardanus, Idomeneo, Juditha Triumphans, David et Jonathas, (Rossini’s L’occasione fa il ladro), The Apparition / The Doctor L’Ormindo and L’anima del ilosofo. (Macbeth), Mars (Orpheus in the Underworld), The Goldsmith (Philip During his two-year absence, Bernie became Director of the Glass’ The Juniper Tree) and the title role in Cimarosa's Il maestro di cappella. He recently created the role of The Poet in the world première performances of Constantine Koukias’ The Barbarians for architectural lighting and audiovisual practice Point of View Design. In this role he has been responsible for designs across Australia and IHOS Opera / MONA FOMA 2012. around the globe in multiple sectors. Nicholas’ extensive concert repertoire includes Puccini’s Messa di Gloria, the Stabat Mater settings Miracle in Brisbane La bohème and Eugene of Dvořák and Rossini, the Fauré Requiem, Haydn’s Nelson Mass, the Mozart Requiem and C minor Bernie’s other opera credits include: (Brisbane Festival), Mass, several oratorios by Handel, and the St John and St Matthew Passions, Mass in B minor Onegin (New Zealand Opera), Die Fledermaus, Dialogues of the Carmelites and The Pirates of Penzance (Sydney Conservatorium of Music) and, for Opera Australia, the Opening Ceremony of and Magniicat of J.S. Bach. He has also given the world premiere performances of several new Australian works. the Meet in Beijing Arts Festival, Opera in the Bowl, and the Indigenous community event Yarrabah! The Musical. Recent engagements include the roles of El Cantor (Piazzolla’s María de Buenos Aires, for Victorian Opera) and Keeper of the Madhouse (The Rake’s Progress, for Auckland Philharmonia Orchestra), His many theatre credits include Quack, Strange Attractor, October, King Tide, Modern International Dead and Tiger Country Macbeth and Travesties (Sydney Theatre Grainger’s Tribute to Foster with the Melbourne Symphony Orchestra (also recorded for Chandos (Grifin Theatre Company); God of Carnage Records), Schubert’s Schwanengesang for Art Song Canberra, Buxtehude’s Membra Jesu nostri for Company); (Queensland Theatre Company); Are You There?, Brooklyn Boy, Ninety, and The Little Dog Laughed and the Cow Jumped over the Melbourne Festival, a third consecutive invitation to the Peninsula Summer Musical Festival, and The Busy World is Hushed, Derrida in Love recitals with Songmakers Australia at the Art Gallery of NSW and Melbourne Recital Centre. the Moon (Ensemble Theatre Company); Amigos (La Boite, Queensland); Mr BBQ and The Flood (NORPA); Bob Cats Dancing and Charters Towers – The Musical (Queensland Music Festival); The Nargun and the Stars and Gondwana (Erth Visual and Physical); and Steel Magnolias (Black Bird Productions).

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Pinchgut - Giasone Si.indd 8-9 26/11/13 1:11 PM GIASONE GIASONE AbOUT ThE ARTisTs ThE sTORy OF PiNChGUT

ORChEsTRA OF ThE ANTiPODEs Pinchgut Opera was set up by accident. One day in early 2000, Alison Johnston, Anna Cerneaz, Erin Helyard, Anna McDonald and Liz and Ken Nielsen were talking, over coffee, about music. Erin Helyard Music Director This was not unusual. We often did that. Someone wondered if there was a different way of Antony Walker Founding Music Director doing opera. A way of putting the music irst and having the other elements – sets, costumes, Alison Johnston Manager production – support the music but not get in its way. By the second cup of coffee we had agreed to set up an opera company.

Orchestra of the Antipodes has played for Pinchgut for every production since L’Orfeo in 2004, and City Recital Hall Angel Place had recently opened and we thought it would be perfect – a fairly this year celebrates its tenth Pinchgut production. Its members have played in many acclaimed and small space, where the audience would feel close to the musicians, and with a lovely acoustic for admired ensembles in Australia and world wide, including Les Arts Florissants, Orchestra of the voice. Antony Walker, the already well-known conductor, came on board, so we reckoned we had Age of Enlightenment, Academy of Ancient Music, Florilegium, Concerto Copenhagen, Australian all of the artistic and business skills needed to produce and sell an opera. Chamber Orchestra, Amsterdam Baroque Orchestra, The English Concert, the Sydney, Melbourne and Tasmanian Symphony orchestras, Australian Brandenburg Orchestra, Il Giardino Armonico, Les We had no strategic plan, just a rough budget for the irst production. No government grants, just Talens Lyriques and the Venice Baroque Orchestra. conidence that we would ind enough people who wanted to help us. The Orchestra’s debut CD and DVD, Handel’s Messiah, drew widespread critical acclaim; a We wanted to give audiences the chance to hear Australia’s young singers and musicians, many subsequent disc of Bach Arias and Duets with Sara Macliver and Sally-Anne Russell quickly of whom live overseas but are happy to return here to perform. It was not intended that we would Semele in 2002 because we had some became a best seller, and was nominated for an ARIA Award in 2004. The Orchestra’s most recent concentrate on Baroque opera; we started with Handel’s releases on the ABC Classics label are the complete Brandenburg Concertos (nominated for an musicians who were very experienced in playing on period instruments in Baroque style. ARIA Award in 2012), Mozart’s Requiem, Magniicat with Emma Kirkby, and a disc of Baroque That was followed by Purcell’s The Fairy Queen (2003), Monteverdi’s L’Orfeo (2004), Rameau’s choruses performed with Cantillation, Hallelujah!. Rameau’s Castor & Pollux and Vivaldi’s Griselda Dardanus (2005), Mozart’s Idomeneo (2006), Vivaldi’s Juditha Triumphans (2007), Charpentier’s are available on Pinchgut LIVE. David et Jonathas (2008), Cavalli’s L’Ormindo (2009), Haydn’s L’anima del ilosofo (2010), Vivaldi’s Recent projects have included Haydn’s Isola disabitata with the Royal Opera House Covent Garden Griselda (2011) and Rameau’s Castor & Pollux (2012). All our productions have been broadcast by for Hobart Baroque, a recital with David Hansen, also for Hobart Baroque, and Dido and Aeneas ABC Classic FM and all but one recorded for CD – originally by ABC Classics but recently on our and Acis and Galatea for Opera Australia. own label Pinchgut LIVE. In 2014 Orchestra of the Antipodes will be returning to Hobart Baroque for Handel’s Samson and a More operas were composed before 1750 than after. Except perhaps for a few by Handel, very recital with countertenor Xavier Sabata, and taking part in the World Harp Congress in Sydney, as few are performed these days. We think there is a huge treasure trove of marvellous works that well as joining Pinchgut for performances of Salieri’s The Chimney Sweep and Gluck’s Iphigénie Australian audiences have not seen. Cavalli, Vivaldi, Monteverdi, Rameau and Charpentier are en Tauride. almost unheard of, as opera composers, in this country. Other companies do the more familiar operas excellently; we want to help audiences discover something new. Perhaps in the future we will take the Pinchgut approach to works from the 20th or 21st century. Our aims have not changed much since the beginning. We’ve been joined along the way by Violins Theorbo / Guitar Percussion Julia Fredersdorff Simon Martyn-Ellis Brian Nixon Andrew Johnston, John Pitman, Genevieve Lang Huppert and Norman Gillespie. Some of our number have moved on to other pastures: Anna Cerneaz, who left us last year, is now Managing Lorenzo Storioni, Cremona, Theorbo by Jiři Čepelak, Prague, Leima Baroque-styled belt-driven Italy, 1789 Czech Republic, 2004 calfskin-headed copper timpani, Director of WotOpera. Ken Nielsen, who has this year decided to step down from Pinchgut’s Board, will be devoting more time to his recording label Vexations840, supporting new music and Matthew Greco Baroque guitar by Marcus Wesche, Germany, 1999 Bremen, Germany, 2011 Tenor drum, 14" x 10", copy of a living composers, dreaming about his next cycling trip, and keeping ahead of the curve with all David Christian Hopf, Quittenbach, French provincial drum things technological. The time, energy, ideas and support he has given Pinchgut over the past 12 Germany, 1760 James Holland Small calfskin bass drum, years are truly extraordinary and we offer him our heartfelt thanks. Theorbo by Klaus Jacobsen, Violas anonymous, England, 1960s London, UK, 2000, We know that artistically we are working in a very fertile area and achieving very worthwhile John Ma Leima calfskin-headed tambourine after Italian models things. We continue to be extremely grateful to our audience who buy tickets, to all those who Simon Brown, Sydney, Turkish cymbals very generously donate both time and money, and to our sponsors, who have helped us out Australia, 2001 Recorders Early keyboards prepared by enormously. Kamala Bain James Eccles Carey Beebe Ganassi in C by David Coomber, Would you like to become a part of the Pinchgut family and follow the evolution of each year’s Warren J. Nolan-Fordham, New Zealand, c.1980 productions? To ind out more, contact Genevieve Lang Huppert: 0412 559 320 or genevieve@ Melbourne, Australia, 2013, after Ganassi in G by Monika Musch, pinchgutopera.com.au. Gasparo da Salò, Italy, 16th century Freiburg, Germany, c.2000

Cello Pitch Anthea Cottee Keyboards Erin Helyard A440 Peter Walmsley, London, Continuo organ by Henk Klop, England, 1735 Temperament Garderen, The Netherlands, 2007 1/4 comma meantone Gamba / Lirone (courtesy of ABC Classics, Laura Vaughan Cantillation & Pinchgut Opera) Bass viola da gamba by Henner Regal by Henk Klop, Garderen, Harders, Mansfeld, Germany, 2007, The Netherlands, 2007 after Michel Colichon, Paris, Neal Peres Da Costa France, 1691 Italian harpsichord by Carey Beebe, Lira da gamba by Ian Watchorn, Sydney, Australia, 1990, Melbourne, Australia, 2009, after after Carlo Grimaldi, Messina, Giovanni Maria da Brescia, Italy, Italy, 1697 CASTOR 16th century Donald Nicolson

Violone Neapolitan harpsichord by Kirsty McCahon POLLUX Carey Beebe, Sydney, Ernest Francis Lant, Sevenoaks, Australia, 2002, after Kent, UK, 1969, after Giovanni Giovanni Natale Boccalari, Recorded in performance Purchase tonight in the Paolo Maggini, Italy, 17th century CD RELEASE Naples, Italy, 1685 City Recital Hall Angel Place foyer or on iTunes or Nov & Dec 2012 from Fish Fine Music

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Pinchgut - Giasone Si.indd 10-11 26/11/13 1:11 PM GIASONE ARCADiANs V. ARGONAUTs AbOUT ThE OPERA At the dawn of the 18th century, a group of opera-loving intellectuals in Rome decided to gather informally to discuss the future of the genre. They called themselves the ‘Arcadians’ and sought a return – as with all operatic reforms – to classical simplicity. Squarely in their sights for critique was the 17th century’s most performed opera, Cicognini’s Giasone, set to music by Francesco Cavalli. To the Arcadians, Giasone was their worst nightmare. Their spokesperson, Crescimbeni, allowed graciously that ‘it was [the] irst and most perfect drama in existence’ but then went on to outline all the abuses committed by composer and librettist. Crescimbeni deplored the mixture of classes, as well as syNOPsis the impure combination of comedy and tragedy. Just as in Shakespeare – who was similarly criticised The story so far: Giasone (Jason) has been sent by his brother Pelias, King of Thessaly, to the island at the time – Cavalli’s Giasone placed ‘side by side, with a monstrousness never heard before, kings, of Colchis in search of the Golden Fleece. With Ercole and other warriors, he sets sail in the Argo. heroes and other illustrious characters, and buffoons, servants and folk of the lowest extraction.’ On the way, he stops on the island of Lemnos, where he seduces its queen, Isiile, with promises of The Arcadians felt that operas like Giasone epitomised everything that they wanted to expunge from marriage; she bears him twin sons but he abandons her and continues on his quest. The citizens of the operatic tradition: strong female leads, men in drag, and improvised slapstick; even the aria itself, Lemnos rise up against Isiile and she lees the island. which they felt contributed to the overall decay of verisimilitude, was earmarked for expulsion. In fact, the Arcadians wanted to get rid of everything that had contributed to Giasone’s success. When Giasone reaches Colchis, its queen, Medea, is instantly smitten by his beauty, and throws off Giasone her former lover Egeo, king of Athens. However, she refuses to reveal her identity to Giasone. He, was so popular in its day that it inspired a play which existed independently of the opera – a Giasone enjoyed unprecedented revivals enthralled by his mysterious new love, forgets his quest and remains idle for a whole year. very rare phenomenon indeed. From its premiere in 1649, all over Italy for 40 years. Why was it so popular? Seventeenth-century opera expert Ellen Rosand Isiile meanwhile hears a rumour that Giasone has reached Colchis, and sends her conidant Oreste believes it was because Giasone represented an ideal meeting of music and drama. Gone was the to track him down and bring her news of him. stuffy literary atmosphere of earlier Venetian operas – in its place Cicognini developed a new kind of comic luidity to complement the fast-paced (and complex!) action, all the while making sure to draw the serious characters and situations out with virtuosic lyric poetry. PART ONE Cavalli responded to Cicognini with equal skill and imagination. For the irst time in the history of opera, librettist and composer seemed equally responsive to each other. In Giasone, writes Rosand, Ercole worries that Giasone has grown soft; Giasone sings of the delights of love, but Ercole reminds him of his duty: today is the day when Giasone had sworn he would steal the Golden ‘the deinitive separation of aria and recitative was inally achieved; formal distinctions were clariied by dramatic function, with recitative reserved primarily for action and commentary, and arias for formal Fleece. Egeo confronts Medea who admits she no longer loves him; in despair, he begs her to kill songs or moments of intense, relective feeling.’ Certainly the variegated audience in Venice at the time him, but she refuses. Oreste arrives in Colchis and meets Demo, Egeo’s stuttering servant, who – the tourists, aristocrats, merchants, prostitutes, servants and intellectuals – felt that this recipe was a agrees to give him information later on. Medea’s nurse Delfa muses on the power of love, which she success, and that Cicognini and Cavalli had created a new and enduring kind of theatrical experience cannot renounce even at her advanced age. Medea reveals herself as Giasone’s mystery lover and that could be enjoyed by anyone willing to buy a ticket. Giasone is the opera that began it all. the couple pledge themselves to each other. In the countryside Isiile waits, broken-hearted, for news of Giasone. Her companion Alinda tries to cheer her up. Oreste, who secretly is in love with Isiile, returns to ind her asleep; he is tempted to Cavalli began his illustrious career as a talented boy soprano. His sweet singing attracted the ear take advantage of her but she wakes. He tells her of Giasone’s new lover, and points out that once and patronage of the Venetian governor of Crema, Federico Cavalli, from whom the talented young Giasone has the leece, he will have to pass by this very spot on his way home, so Isiile might be able to confront him then. musician (then Caletti) later took his last name in gratitude. Under the governor’s protection, Cavalli entered the famed cappella of San Marco in Venice, then under the direction of Monteverdi. Whether Medea performs an incantation to Pluto, asking him to protect Giasone on his quest. A chorus of the two had a formal pedagogical relationship is unknown, but doubtless the two composer/ spirits respond and give her a magic ring which allows Giasone to defeat the monster guarding the performers had a close association. Traces of Cavalli’s hand can be found in several of Monteverdi’s leece. The deed done, Ercole advises Giasone and Medea to get away quickly; Demo sees them works, and Cavalli probably edited Monteverdi’s posthumously published Messa a 4 voci et salmi boarding the Argo and tells Egeo, who decides to give chase, taking Demo with him. (Venice, 1650). Cavalli won the post of second organist at San Marco in 1639 and his organ playing won high praise; foreigners compared him favourably with the great Frescobaldi. Indeed, in 1655 the chronicler Ziotti observed that ‘truly in Italy [Cavalli] has no equal’ as vocalist, organist and composer. PART TWO Cavalli’s debut as an opera composer occurred in the same year he won his post at San Marco. At irst, he was an impresario and administrator as well as a composer. At Venice’s irst opera house, the Egeo’s boat has come to grief in a storm; he is lost, but Demo is washed up onto shore, where he Teatro San Cassiano, Cavalli formed a company with a librettist, singer and dancing-master. Despite meets Oreste and tells him of Giasone’s light; Oreste runs to tell Isiile of Giasone’s imminent arrival. some initial inancial problems, Cavalli’s troupe began to dominate the nascent opera industry. In the Giasone and Medea, safely on terra irma, rejoice in their love. Alinda meets Ercole and lirts with 1640s, Cavalli began working with a series of great librettists including Giovanni Francesco Busenello, him. Oreste tells Giasone that Isiile wants to speak to him; Giasone reluctantly agrees, explaining then a member of the highly inluential Accademia degli Incogniti, and his long-time collaborator, the to Medea that Isiile is just a harmless madwoman, and once Medea has heard her ‘ravings’, she brilliant Giovanni Faustini. Cavalli’s Egisto (1643) was the irst of a series of runaway successes, being agrees. performed north of the Alps as well as all over the Italian peninsula. More spectacularly successful still was his setting of Cicognini's Giasone, with performances in almost every opera house in Europe. Giasone and Medea stop in a garden to rest, and fall asleep in each other’s arms. Isiile catches up Cavalli’s fame and success led him in the 1660s to Louis XV’s court in Paris, where his work had a with them; she wakes Giasone, and he, terriied that her noisy protestations will awaken Medea, plays along with her, pretending that he is planning to come back to her. Medea, overhearing this, lasting inluence on Lully. He died wealthy and lauded, his vast collection of scores bequeathed to his best student Caliari – luckily still extant today. is furious; she pretends to graciously surrender Giasone to Isiile, but secretly forces him to promise

that he will kill Isiile before he ever sleeps with her again. Erin Helyard © 2013 Giasone delegates the murder to Ercole, telling him to expect a messenger who will ask him if he has carried out Giasone’s orders; on this signal, Ercole is to throw the messenger, whomever it may be, into the sea. Giasone then sends Isiile off with that message, but meanwhile Medea, growing DiRECTOR’s NOTE impatient at the delay, has gone to Ercole herself. When she asks him if Giasone’s order has been carried out, he obediently seizes Medea and hurls her over the cliff. When Isiile arrives soon after Cavalli and Cicognini’s Giasone is essentially a story about idelity and the resilience of the human and asks the same question, Ercole angrily sends her back to Giasone to tell him that he only kills spirit. But it is in the telling of that story that the composer makes the most remarkable choices about one queen per day. how to guide the audience through the startling variety of emotional journeys that take place therein. Waiting in a cave at the foot of the cliff, however, is Egeo, who did not perish in the storm after all. Cavalli and his librettist have managed to mix the lighter, more romantic-comic side of the adventure He rescues Medea, and she, in gratitude, agrees to take him back as her lover – if he will avenge (a conniving Medea and an oversexed Giasone) with the melancholy elements of Isiile’s story (an her by killing Giasone. But his attempt is thwarted by Isiile, who snatches the knife from his hand; abandoned woman, on the verge of madness over her lost husband). The opera becomes by turns in the ensuing uproar and confusion, Egeo escapes and Isiile is caught holding the knife. Giasone a charming and slightly risqué romantic adventure, that holds a bittersweet drama in its very loving is astounded to see her still alive, and accuses Ercole of treachery, but Medea steps forward with embrace. There’s a special kind of electricity and theatricality to the juxtaposition of the drama (and its Egeo and explains what happened. Isiile, in despair, asks Giasone to kill her, but her self-abasing associated element of danger), and the sweetest comedy. lament moves him to tears. Acknowledging the error of his ways, he embraces Isiile as his wife, Nestled within the charm of Cavalli’s opera is a genuineness of emotion; a searching for dignity from all and the opera ends in a celebration of the power of love. of the characters. The royals struggle with love and lust, and how power fades in the throes of thrilling emotion. The world of military structure and honour seems to fall into chaos when beautiful women are within sight. Even those who serve the elite (the assistants, ladies-in-waiting and young sailors) can’t resist the allure of the heart (and the lesh!). Cavalli has created a fascinating and theatrical world of magical battles and well-timed reconciliations, but in a more moving way, it is the battles and reconciliations of the heart that remind us that what we see and hear on stage is not a ‘far away adventure’, but rather an effective and accurate relection of how we live, behave and love today.

Chas Rader-Shieber © 2013

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Pinchgut - Giasone Si.indd 12-13 26/11/13 1:11 PM Dimmi, dimme come t’afidi, Tell me, tell me how someone like you, GIASONE Unlike in Cavalli’s day, it is now the custom for the house snervato dai piaceri, with strength sapped by pleasure lights to be turned down during dramatic performances. pensieroso di donna, and mind ixated on women, TEXT & TRANsLATiON This libretto is provided for future reference. di poter adoprar l’armi e il coraggio? can be expected to bravely take up arms? Posa, posa l’armi, Giason, vesti la gonna, Put the weapons away, Jason, and put on a skirt, o per far di guerrier divien più saggio. or, if you want to be a warrior, show a little more wisdom. PART ONE Giasone Dolor, ahi non m’uccidere; Ah, I could die from this pain! SCENE I così l’alma dal seno, oh Dio, dovrò dividere? God, must I tear my heart from my breast? Non sò per me se meglio sia, I don’t know which would be better for me: Ercole Dal’Oriente porge From the East, the dawn ò la vittoria, ò la caduta mia. victory, or death. l’alba ai mortali il suo dorato lume, brings its golden light to mortals – e tra lascive piume and is Jason still hiding his shame avvilito Giasone ancor non sorge? among the feather cushions of his lustful bed? SCENE Ill Come potrà costui, With his strength spent from nocturnal disanimato dai notturni amplessi, embraces, how is he going to be able to rouse Medea Se dardo pungente If the sharp arrow animarsi agl’assalti, alle battaglie? himself for battle and attack? d’un guardo lucente of a shining glance Donne, coi vostri vezzi che non potete voi? Ladies, is there nothing immune to your il sen mi feri, strikes my breast; Fabricate nei crini charms? se in gioia d’amore if the joys of love laberinti agl’Eroi; With your tresses, you weave si strugge il mio core melt my heart solo una lacrimetta, mazes to ensnare heroes; la notte ed il dì; night and day; che da magiche stelle esca di fuore, Just one little tear se un volto divino if a face of heavenly beauty fassi un Egeo cruccioso, escaped from the enchanted stars of your eyes quest’alma rubò, steals my heart; che sommerge l’ardir, l’alma e’l valore, turns into an Aegean Sea of troubles s’amare è destino, if love is my destiny, e’l vento d’un sospiro, that drowns all courage, spirit and valour. resista chi può. how can I resist? esalato da labbri ingannatori, And the breeze of a sigh dai campi della gloria coming from your deceitful lips Se allor ch’io vi vidi, If whenever I see you, spiantò le palme e disseccò gl’allori. is enough to uproot the palms begl’occhi omicidi, fair, murderous eyes, Sotto vario ascendente and tear apart the laurels of the ields of glory. io persi il vigor, I lose my strength; nasce l’huomo mortale, Mortal man may be born se v’amo e v’adoro, if I love you and adore you, e perciò trà gl’humani evvi il pazzo, il prudente, under many a different star; s’io manco, s’io moro if I faint, if I die il prodigo, l’avaro e’l liberale: which is why one man is foolish, another wise; per nobil ardor, of exalted passion; Giason è bello, ha senza pel la guancia, one is lavish, one niggardly, another generous. se Amor il mio bene if Love sets my dear one è bizzarro e robusto, Jason is handsome, his cheeks are smooth, in ciel stabilì, in heaven, di donar non si stanca; he is amusing and strong, amar mi conviene: I have to love, onde per possederlo he never tires of giving; e forza cosi. that’s just how it is. ogni dama le porte apre, e spalanca! and so in order to possess him, Bellezza, gioventù, oro, occasione? every lady throws her doors wide open! Mà nella regia sala But here is that annoying Aegeus Come può contro tanti fortissimi guerrieri Beauty, youth, gold, opportunity – ecco Egeo l’importuno, coming into the royal hall: contrastar il voler, ò la ragione? how can willpower or reason hold out che pur mi segue, he keeps following me, though I loathe him and Nò, nò, nò, against such mighty warriors? ed io l’aborro e scaccio. drive him away. I must go, to avoid another one non a fè, No, no, no, Partirò, fuggirò l’usato impaccio. of those embarrassing scenes. resister non si può, no, truly I say, credilo à mè! it’s impossible to resist, believe me! SCENE IV Egeo Ferma, Medea, deh ferma Wait, Medea, wait, SCENE II le fuggitive piante. don’t run away from me! Senti, adorata mia, l’ultime voci My beloved, hear the last words Giasone Delizie e contenti che l’alme beate, You delights and pleasures that bring bliss to d’un disperato e moribondo amante. of a desperate, dying lover. fermate, fermate. the soul: stop, stop! Sù questo mio core, Ah, let not a single drop more Medea Se per l’ultima volta If this is the last time deh più, non stillate of the joys of Love dovrò sentirti, Egeo, I have to hear you, Aegeus, le gioie d’Amore. fall on my heart! oh come volentier Medea t’ascolta. I will listen with such pleasure! Delizie mie care, Beloved delights, fermatevi qui. stop right there! Egeo Così l’alma m’involi Thus you steal my heart away, Non so che bramare, I can’t ask for anything more, mia tiranna beltà, my cruel beauty; mi basta così. this is enough for me. oh Dio così consoli ah, God, is this how you console un ch’adorasti già. a man whom once you loved? In grembo agl'amori In the sweet chains Dimmi almen per pietà, Tell me at least, for pity’s sake, fra dolci catene of love’s embrace, O bell’idolo mio, my fair idol, how have I offended you, morir mi conviene; I would be happy to die; In che t’offesi mai, che t’ho fatt’io? what wrong have I done you? dolcezza omicida a murderous sweetness a morte mi guida leads me to my death Medea Egeo, sei Rè, sei grande, Aegeus, you are a king, you are a great man, in braccio al mio bene. in the arms of my love. sei vezzoso, sei vago, you are charming, you are handsome, Dolcezze mie care Dear, sweet pleasures, hai bellezze ammirande, you have beauties worthy of admiration. fermatevi qui: stop right there! adorato, adorante Adored and adoring non so più bramare, I can’t ask for anything more, m’amasti, io pur t’amai, you loved me, and I loved you. mi basta cosi. this is enough for me. ido, saldo e costante Faithful, steadfast and true mi chiamasti il tuo bene, you called me your beloved. Ercole E così ti prepari alla pugna, Giasone? Is this how you prepare for battle, Jason? ma se amor da me sparì, But if love has died in me, Nè temi à far passaggio dall’amoroso al marzial Doesn’t it worry you to go straight from the s’io non posso amarti più, if I cannot love you any more, agone? contests of love to the clash of war? che far poss’io, che ci faresti tu? what can I do? What would you do? Giasone Ercole, Amore è un Dio Hercules, Love is a god far greater than us Egeo Con questo acuto stile, With this sharp dagger che à noi mortali ed ai divin sovrasta. mortals, greater even than the gods. che prostrato a’ tuoi piedi that I make bold to offer you, M’accoglie è mi vezzeggia She takes me in and caresses me, a te presento baldanzoso, umile, prostrate at your feet, in humility: il mio terreno sole. my earthly sun. vieni, bella pietosa, aprimi il petto, come, merciful beauty, lay open my breast! Al mio venir festeggia, She rejoices when I come ch’io di tua man svenato Thus, slain by your hand, e lagrimosa, al mio partir si duole. and weeps with grief when I go. di morte ancora adorerò l’aspetto. I shall adore even the face of death. Quelle feste, quel pianto Such rejoicing, such grief – son di questo mio cor soave incanto. these are a sweet enchantment to my heart. Medea Ah tu sei matto. Ah, you’re mad. [Leaves.]

Ercole Ti si scoperse ancor quella tua diva? Has your goddess revealed herself to you yet? Egeo Si parte e mi deride? Off she goes, laughing at me! Si parte e non m’uccide? Off she goes, without killing me! Giasone Ancor non sò chi sia, I still don’t know who she is; O promesse tradite, Ah, promises betrayed! basta che tutta e mia. it’s enough to know she is all mine. o fera, o empia, o ria, Cruel, pitiless, evil woman, dammi le mie ferite, give me my wounds, Ercole Così senza vedere So you have not seen dammi la morte mia. give me my death! le toccate bellezze the beauty you have touched! ti convien per godere Is that what you call a good time, spender il tempo in brancolar fattezze? trying to decipher her features by braille? SCENE V O Giasone, Giasone, O Jason, Jason! Oreste Cruel love torments the heart, o gran iglio d’Esone, Great son of Aeson, Fiero amor l’alma tormenta, alto nipote à Pelia, noble nephew of Pelias, gran martir di gelosia. jealousy is torture. al Rè che la Tessaglia affrena. the king who holds all Thessaly in check. L’appetito mi spaventa, I fear hunger, e la sete acerba e ria. Non ti bastava in Lenno Wasn’t it enough for you on Lemnos and thirst is bitter. Ma più duro e più pesante But it is a harsher and heavier burden di Toante la iglia alta to get the noble daughter of Thoas, è servire à donna amante. to serve a woman in love. Regina Isiile donzella the virgin Queen Hypsipile, with child, di te gravida e madre and make her the mother Per Isiile bella, For the sake of the fair Hypsipile haver già resa di gemella prole, of your twin sons? a questa reggia esplorator men venni. I have come to this kingdom Qui di Giason vorrei se ancor in Colco divenuto amante And now here in Colchis you’ve become hunting for news of Jason, haver ragguaglio e penetrar novella. di beltà non veduta, the lover of a fair lady you haven’t even seen – searching for information. non davi un nuovo segno doesn’t that just prove again Sospettoso è’l paese, It’s a suspicious land: di troppo molle effeminato ingegno? how weak and womanish your wits are? e chi de’ grandi ricercò gl’affari, enquiring about the doings of important people la vita arrischia a perigliose imprese. is a perilous, sometimes deadly activity. Quest’è il giorgno preisso, oggi tu devi This is the appointed day: today you must Son solo e forestiero affrontar, assalir gl’orridi mostri, face the hideous monsters and attack them, I’m alone and a stranger – e per rapire il custodito vello, break down the castle fortiications mi palesa l’efigie è questo addobbo. my face and clothes give it away. del munito castello and get all the way through to its inmost Pria che servir à donne Rather than serve a woman, vorrei divenir guercio e zoppo e gobbo sbarrar le porte e penetrar i chiostri. chambers to steal the leece. I’d prefer to be cross-eyed, lame and 14 hunchbacked. 15

Pinchgut - Giasone Si.indd 14-15 26/11/13 1:11 PM SCENE Vl SCENE Vlll

Demo Son gobbo, son Demo, son bravo, I’m good old Demo the Hunchback, Giasone Regina, intendo, intendo. My Queen, I understand. il mondo m’è schiavo, the world is my slave, Leggiadro scherzo à fè, It was a little joke, indeed; il diavol non temo. I have no fear of the devil. fà ciò che vuoi. you must do as you please. Son vago, gratioso, lascivo, amoroso. I’m graceful and charming, lustful and loving. Che son favori miei le scherzi tuoi. I count such jests as a token of your favour. S’io ballo, s’io canto, If I dance or sing s’io suono la lira, or play on the lyre, Medea Che scherzi? Che favori? What do you mean, jokes? Favour? ogni dama per me every lady burns for me arde e so – so – so – and dissolves into s – s – s – Giasone Frena questi rigori. There’s no need to be so severe. Io ben tra l’ombre It was in the shadows Oreste E sospira! Into sighs! nei giardini d’Amor colsi le rose, that I plucked the roses in the garden of love, ma al tatto et all’odore but by the feel and the perfume I could tell they Demo Sospira. – into sighs. le riconobbi intatte, e rugiadose. were untouched and fresh with dew. Delfa, di’ tu che sai Delfa, you know the truth, Oreste Linguaggio curioso. What a strange language. qual sia stata trà noi say what has taken place between us: la modestia comune, modesty on both sides. Demo Sei troppo, troppo frettoloso, Don’t be so hasty. di’, di’ se d’amor io ti richiesti mai. Tell me: did I ever ask you for love? e se farai del mio parlar strapazzo If you insult my speech, la mia forte bravura I’m strong and brave enough Delfa Son svanite per me queste fortune. No such happy fortune is left to me. saprà tirer il ca – il ca – to sh – sh – sh – Medea Eh Dio, negl’occhi miei Ah, God, ix your gaze Oreste Ahibò, ahibò. For shame! issa gli sguardi tuoi, on my eyes, issati in questo volto, ix it on my face, Demo Il capo in queste mure. – shove your head against that wall. e scorgerai colei and you will see the woman che nel seno real ti tenne accolto. who welcomed you into her royal breast. Oreste Così si tratta un forestiero in Colco? Is that how strangers are treated in Colchis? Giason, Giason, anima, speme, idolo mio, Jason, Jason, my soul, my hope, my idol: la tua moglie, il tuo ben, quella son io. Your wife, your beloved – I am she! Demo Che fo – fo – forestiero? What do you mean, stra – stra – strangers? O mio core, O my heart, Oreste Conosci tu Giasone? Do you know Jason? Giasone O mio amore! O my love! Demo Che pretendi da – da – da lui? What’s your b – b – business with him? Medea Ardi tù? Are you alame with love? Oreste Bramo saper se si ritrova in Colco. I want to know if he’s here in Colchis. Giasone S’io ardo, oh Dio. Am I alame – O God! Demo Chi ti manda? Who sent you? Medea & Ardi pur, ò mio ben, che ardo anch’io. O my love, we burn with the same ire. Oreste Il mio zelo à me fù sprone. I was spurred on by my own zeal. Giasone Medea Such blessed joys, Demo Vuol ch’io ti dica? Do you want me to tell you? Gioie più fortunate, Giasone Such blissful delights Oreste Dì! Yes, tell me! Delizie più beate Medea & are beyond the reach of the gods above. Demo T’hò per spi – spiripì – spiripì – per spione. I reckon you’re a sp – sp – spy. non han di queste mie li dei la sù. Giasone Non più dolcezze amor, non più. No more sweet words, my love, no more! Oreste Questo è troppo. Now you’ve gone too far. Tu menti, tu menti. You’re lying! SCENE lX Demo Puh! hò tanto furore? Pff! Getting a little angry, are we? Delfa Godi, godi Rejoice, be glad, bella coppia, handsome couple, Oreste Fuori ti rivedrò. I’ll see you outside. che’l diletto tra quei nodi for within that knot, Demo Fermati, senti. Wait, listen. si raddoppia. delights are redoubled. Leggiadra usanza e nuova, It’s a pretty custom, and a new one: Oreste Che vorrai dir? What have you got to say? per ritrovar marito to ind a husband, le fanciulle oggidì si danno a prova. the girls of today give themselves a test run. Demo Tropp’ iracon – co – con – co – con – You’re too qu – qu – qu – Economia graziosa, It’s charmingly economical, politici consigli, and shrewd advice: Oreste Troppo indiscreto sei. You’re too indiscreet. prima che far da sposa before becoming wives, they ind out what it’s san far da madre ed allevar i igli. like to be a mother and look after sons. Demo Iracondo sei. – quick-tempered. Troppo soavi i gusti Too sweet are the pleasures Pa – pa – pa – parlai scherzando I was only j – j – joking... amor promette e dà, that love promises and delivers. in termin troppo angusti Too narrow are the terms Oreste Parlai sul saldo e tù – I was being serious and you – di donzella l’onor racchiuso stà. that lock away a maiden’s honour. Speri dal mar spumante Easier for a man to gather the foaming waves of Demo E pe – pe – perdonarmi. F – f – forgive me. raccoglier l’onde in sen, the sea in his breast, chi vuol tener a fren than to rein in Oreste E tu pentirti dei. You should be ashamed of yourself. femmina amante. a woman in love. Demo Mi pento. I’m sorry. SCENE X Oreste Ti perdono. I forgive you. Isiile Lassa, che far degg’io? Alas, what should I do? Demo E di Giasone giuro na – na – na – And I swear I’ll te – te – te – te – Hò perduto il mio ben, l’idolo mio. I have lost my beloved, my idol. Più sostenermi in vita Hope can no longer Oreste Na – na – na – Te – te – te – la speranza non puote, keep me alive, hò perso il mio tesoro, I have lost my beloved: Demo Giuro narrar à te gl’avvisi interi. – tell you the whole story. infelice, e non moro? how can I be this wretched and not die? Io de qua parto, e tu per altra via, I’ll head off this way, and you go another way, e t’aspetto a far pace, and I’ll meet you for a friendly drink Stillate ò fonti, ò rivi You springs and streams, weep all’hò – allhò – lo – lo – in the tav – tav – in the ta – ta – ta – the ta – lacrime di cordoglio, tears of grief al pianto mio. Oreste Oh for heaven’s sake, that’s enough, I get it! at my lament! Ohime, non più, t’ho inteso. Spirate aure, Blow, your breezes: Verrò, va pur, va via. I’ll see you there, just go now, go! e al suon de’ miei sospiri heave for breath accrescete i respiri, at the sound of my sighs. Demo All’hosteria. – in the tavern. hò perso il mio tesoro, I have lost my beloved: infelice, e non moro? how can I be this wretched and not die? SCENE Vll Ferma, ferma crudele, Stop, stop, cruel one! Delfa Voli il tempo, se sà, Time lies, everyone knows it. ritorno indietro, inido, Come back, faithless one! You runaway ships, rotin gl’anni fugaci al corso loro. The leeting years turn in their course. approdate a quel lido, O fuggitive vele, cast your anchor on this shore! Mi rubi pur l’età Age has stolen the lower from my cheeks quel che con voi portate What you have carried away with you i ior dal volto e dalle chiome l’oro. and the gold from my hair. è il mio cor, le mia vita, il mio desio, is my heart, my life, my desire: Sen vada a tramontar Let my beauty set like a sun è Giason il mio ben lo sposo mio. Jason, my beloved, my husband. la mia bellezza in mar d’eterno oblio, into the sea of eternal oblivion, Fermate, dico. Stop, I tell you! ma che lasci d’amar, but to cease to love – Oh Dio, O God, no’l farò, non à fè, non io. that I swear I shall never, ever do. che vaneggio? what am I raving? A chi parlo, ove mi trovo? Who am I talking to? Where am I? Amor, amor! Ah, love! Son pur queste le spiagge Aren't these just the shores L’amor in gioventù To the young, love su la foce d'Ibero, at the mouth of the Ebro river, è un prurito nascente e non ha possa, is the beginning of an itch, and has no power; è pur questo il sentiero and isn’t this the path ma da i quaranta in giù but after forty, it becomes che mi condusse al paglierecchio albergo that will lead me to the humble straw hut nel cor s’incarna e penetrò nell’ossa; part of your heart, it gets right into your bones. della vecchia Gimena, of old Jimena, who took pity on me and my potrà scemarmi ogn’or Greedy time may sap me of my pride che mi pietosa e i igli miei raccolse? sons and gave us shelter? il tempo avaro, la ierezza e’l brio, and my vivaciousness, Isiile infelice Wretched Hypsipile, ma ch’io rineghi amor, but to renounce love – del bel trono di Lenno ill-starred exile dica pur chi vuol dir, non io. tell me who would do that! Not I. esule sventurata, from the fair throne of Lemnos, regina senza regno, a queen without a kingdom, Ma nelle reggie stanze già comparve Giason. But here’s Giasone in the royal chambers. d’illegittima prole a mother of illegitimate offspring Volo a Medea. I must ly to Medea. madre prima che sposa, rather than a wife, Vieni, vieni signora, vieni diletta, Come, my lady, come, my dear, sposa solo di nome, married only in name, qui parlar le potrai, il passo affretta. be quick, you’ll be able to speak to him here. moglie senza marito, a wife with no husband, 16 17

Pinchgut - Giasone Si.indd 16-17 26/11/13 1:11 PM martire di Fortuna, a martyr of Fortune, O che gentil discorsi! Ah, such fair words! sconsolata vagante, a dejected wanderer Ciascuno i suoi desiri Each of us revealing our desires priva d’ogni ristoro, deprived of all relief, scopre senza vergogna, to the other quite openly serva, seguace amante a servant, a loving disciple né so se più deliri, and I don’t know if this is still delirium, di quel Giason of that Jason o chi veglia o chi sogna. or which of us is dreaming and which awake! ch’a mio dispetto adoro. whom I still adore, despite myself. Vaghi labbri scoloriti, How utterly lovely Non può tardar il mi fedele Oreste It can’t be long until my faithful Orestes bella bocca pallidetta, are her fair, colourless lips, a ritornar di Colco returns from Colchis to bring me – che sei tutta vezzosetta her mouth so pale and beautiful; per dar mi, oh Dio, del mio tiranno amato O God – word of my beloved tyrant, e sognando ai baci inviti. as she lies dreaming, they invite my kisses. o funesti rapporti o avviso grato. be it welcome news or a tale of grief. S’ei non torna, mi moro; If he does not return, I will die; Son risoluto al in, I have made up my mind at last: s’ei ritorna, ohimè, s’inorridisce il core if he does come back, alas, it will ill my heart baciarla voglio. I will kiss her. che d’infauste novelle with horror, for I fear he will be the bearer Chi lo potrà ridire? Who could object? lo teme apportatore. of unlucky tidings. Hor va’ ben destro, Oreste, But be careful, Orestes, Così ad’un tempo istesso And so, at the same time Guarda, non la svelgiare. make sure you don’t wake her. voglio, non voglio, I both want and don’t want him back, Caro volto divino... Dear, heavenly face... bramo e pavento, I long for and fear his return, e sempre accoglio and the torment in my heart Isiile Dove parti, o tiranno? Where are you going, cruel one? maggior tormento grows ever greater, pena più ria the pain more bitter, Oreste Buona notte e buon anno. Good night, and happy new year. e solo intendo al ine until in the end I come to understand ch’è l’istesso martir l’anima mia. that suffering is the very essence of my soul. Isiile Sai pur ch’io mi consumo. I tell you, I’m burning with desire!

Oreste Il bacio è andato in fumo. And the kiss has gone up in smoke! SCENE Xl Non mi vedi, o Signora, Can’t you see me, Lady, non mi conosci più? don’t you recognise me any more? Isiile Oreste ancor non giunge Orestes is not yet returned e pur ogni momento and with every moment Isiile Oreste, sei pur tu? Orestes, is that you? accresce’l mio tormento my torment grows worse Perché non mi svegliasti? Why didn’t you wake me up? e’l cor mi punge. and my heart smarts within me. Vanne, mia ida ancella, My faithful servant: Oreste Tu perché ti destasti? Why did you wake up? vanne al porto vicino, go to the port nearby richiedi ogni nocchier ch’ivi soggiorna, and ask every helmsman you ind there if my Isiile Dimmi che fa Giasone, Tell me about Jason, se ancor da Colco il ido Oreste torna; faithful Orestes has returned yet from Colchis; è vivo o morto, is he alive or dead? io tra’l solingo orrore I shall remain here in my terrible solitude, vuol ch’io attendo or parta? Does he want me to wait here or leave? compagna resterò del mio dolore. with sorrow as my companion. Risponde a bocca o in carta? Will he reply in a letter, or send a messenger?

Alinda Per prova sò I know from experience Oreste Tanti interrogatori? So many questions! che infonde Amor nell’alme aspro veleno that love ills hearts with bitter venom, Per risponder a tutti You’d need a gaggle of doctors ma il duol che m’accorò but the suffering it inlicted on me, I was able to ci vorebbe una mandra di dottori. to be able to answer them all. in breve io seppi licenziar dal seno, banish from my breast in short order. Poche parole, e buone. Let me put it simply and clearly: e con ingegno scaltro, Using my sharp wits, Datti pace, o Signora. Resign yourself, my Lady: s’io persi un vago, mi spassai con l’altro. if I lost one beau, I amused myself with another. Più non t’ama Giasone. Jason doesn’t love you any more. A pena a Colco giunto, Almost as soon as he reached Colchis, Isiile Alinda troppo vana Foolish Alinda di beltà non veduta Jason became the lover seconda il genio e la sua voglia insana. indulges her whims and crazy desires. sol tra l’ombre goduta of a beautiful woman he has never seen, Ohimè, non posso più, Alas, I can bear it no longer, Giason divenne amante. whose delights he enjoys only in darkness. perchè manchin li spirti, my spirits fail, my heart falters in my breast, manca l’amina in seno, Isiile Non hai tu più da dirmi? Is that all you have to tell me? vacilla il piede, e a forza di stanchezza my foot stumbles, and from sheer exhaustion trabocco sul terreno. I tumble to the loor. Oreste E ti par poco? Isn’t that enough for you? Hor odi: Listen, then: Da gl’Argonauti ieri Urged on SCENE Xll stimolato Giasone by the angry Argonauts, stabili questo giorno Jason chose this very day Oreste Io pur ti tocco ò lido, At last I touch you, O shore, per la fatal tenzone, to undertake the deadly combat, io pur ti bacio ò terra, at last I kiss you, O earth! No longer need I fear the awful breath e s’ei conquista la dorata pelle and, if he wins the golden leece, ne temo d’Austro inido per andar a Corinto to reach Corinth, orridi sofi, o procellosa guerra. of the ickle south wind, or its stormy warfare. dovrà per questa foce in a few hours his ship, the Argo, Onde, vi riverisco, Waves, I bid you farewell; will have to pass by this delta. venti, mi raccomando, Winds, I take my leave of you. fra poch’ore passar d’Argo la nave. Parlar tu le potrai, Neptune, God speed, keep well, You’ll be able to speak to him yourself; Nettuno, à Deo, sta’ sano, qui forse avanti sera amici come prima, let us be friends as we used to be, perhaps before nightfall you’ll be able to open seco ti sfogherai, forse chi sà? mà pero da lontano. but from a distance. your heart to him right here – who knows? Spera, signora, spera. In un regno incostante, Never again shall Orestes set foot You can only hope, my lady. in a kingdom that does not stay still, sovr’un suolo ch’ondeggia, O God, what hope can I have in casa che galleggia on ground that moves up and down, Isiile A che sperar poss’io, se dentro a questo seno if within my breast mai più Oreste poserà le piante. or in a loating house. l’anima, o Dio, vien meno. my heart is faltering? Ma temp’è ch’ad Isiile ritorni, But it is time to return to Hypsipile; Speranze, fuggite, Begone, hopes, nella capanna al certo. she will be in her hut. sparite da mè, Ohimè, che veggio? ly far from me. Alas, what am I seeing! My heart is already dead Distesa sù quei mirti There under the myrtle trees il cor, ch’è già morto, del vostro conforto and cannot bear unhappy Hypsipile lies, l’infelice mi sembra capace non è. the comfort you offer. priva di moto e spirti. still and silent. Ma che vaneggio, o misera? But what are these ravings, wretched woman? Morta or viva che sia, Be she dead or alive Che speranze, che morte? I will go to help her. What’s all this about hope and death, m’accosto alla sicura. Che conforti, che core? comfort and the heart? Sento il core che batte, I can feel her heart beating, Che martiri, che affanni What sufferings, what ordeals affannata respira, her laboured breathing; Alla mente reale can threaten to destroy in her dream she struggles e tra l’amore e l’ira minacciano rovina? a royal mind? fantastica combatte. between love and fury. Son disperata sì, ma son Regina. Yes, I am in despair, but I am a Queen. Come, my faithful followers, Isiile Crudel, tu parti, o Dio? O God, are you leaving, cruel one? Su miei idi seguaci, precipitiam gl’indugi, let’s bring the matter to a head. Oreste Son qui da te, cor mio. I am here by your side, my love. Già su l’ali al desio Borne on the wings of desire, verso il nemico suolo hungry for revenge Isiile Da me? By my side? Avida di vendette I go in fury Rovinosa m’invio. to meet my enemy. Oreste Da te. By your side. Già le marine spume The foam is on the sea, my ship will plough the waves. Mi lascerai? Are you going to leave me? io fendo e l’ondo solco, Isiile Mora il perido, mora, a Colco, a Colco! The traitor must die. To Colchis! Oreste Mai, mai. Never. Isiile Se tu mi lasci, io moro. If you leave me, I’ll die. SCENE Xlll Oreste Non dubitar, t’adoro. Have no doubts – I adore you. Medea Dell’antro magico You screeching hinges Accostati se vuoi. Come closer if you want to. stridenti cardini, of the magic cave: Isiile il varco apritemi, open the path to me Oreste Ma s’io ti bacio poi? If I might kiss you? e fra le tenebre and let me pass del negro ospizio among the shadows Isiile O quanto goderei. Oh, how I would like that! lasciate mè. of the black abode.

Oreste Mi tenta pur costei. How she tempts me! Su l’ara orribile On the hideous altar del lago stigio of the Stygian lake Tu torni al mar, crudele. Isiile You are going back to sea, cruel one. i fochi splendino, let the ires burn bright, e insù ne mandino sending up Oreste Sì, sì gonian le vele. Yes, the sails are full. fumi, che turbino smoke to trouble Isiile E l’honor mio, dov’è? And what of my honour? la luce al sol. the light of the sun. Oreste Io no l’hebbi, alla fè. I didn’t touch it, I swear. Dall’abbruciate glebe From your scorched lands, gran monarca dell’ombre intento ascoltami, great monarch of the shadows, heed me well, Isiile Sì, sì, statti con me. Yes, stay here with me. e se dardi d’Amor giammai ti punsero, and if, O King of the underworld, you have ever adempi, ò Re dei sotterranei populi, Oreste Torna a quietarsi. She grows calm again. been pierced by Cupid’s darts, let the amorous 18 19

Pinchgut - Giasone Si.indd 18-19 26/11/13 1:11 PM l’amoroso desio che’l cor mi stimola. longings that excite my heart be fulilled! Giasone Io parto. I must go. E tutto Averno alla bell’opra uniscasi: All Avernus is united in the great work: i mostri formidabili may those fearsome monsters Medea E dove? Where? del bel vello di Frisso that guard Phrixus’ fair leece sentinelle feroci infaticabili, so iercely and tirelessly Giasone A Corinto. To Corinth. per potenza d’abisso today be rendered tame for Jason si rendono a Giason oggi domabili. by the power of the abyss. Medea Ti seguo. I will come with you.

Dall’arsa Dite From the burned city of Dis, Giasone E i nostri igli? What about our children? quante portate come, Furies, serpi alla fronte, all you whose brows Medea Son custoditi a pieno. They are well cared for. Furie, venite, are wreathed with serpents, e di Pluto gli imperii à me svelate. and reveal to me Pluto’s commands. Giasone Che dirà il genitor? What will your father say? Già questa verga io scuoto, I wave my wand già percuoto I make the earth shake Medea Son col marito. I am with my husband. il suol col piè: beneath my feet: horridi demoni, hideous demons, Giasone La patria? Your homeland? spiriti d’Erebo, spirits of Erebus, volate à me. ly to me! Medea Non vi penso. I don’t give it a thought. Così indarno vi chiamo? Do I call to you in vain? Quai strepiti, quai sibili Is this roaring and hissing Giasone Il regno? The kingdom? non lascian penetrar nel cieco baratro preventing my terrible words le mie voci terribili? from reaching into the blind abyss? Medea Non lo curo. I don’t care about it. Dalla sabbia From the sands di Cocito, of the Cocytus, Giasone Vassalli? Your subjects? tutta rabbia in my fury qua v’invito, I summon you here. Medea Non li apprezzo. I think nothing of them. al mio soglio I want you here quà vi voglio, before my throne: Giasone & O mio tesoro! Oh, my treasure! a che si tarda più? why do you tarry still? Medea Numi tartarei sù, sù, sù, sù. Spirits of Tartarus, arise! Medea E se non vengo, io moro. And if I don’t come with you, I will die. Chorus* Le mura si squarcino, Let the walls be torn asunder, le pietre si spezzino, the stones shattered, Giasone Vieni, vieni e vivi, mia vita. Come, my love, come and live! le moli si franghino, let the broken citadel vacillino, cadano, teeter and fall, Medea O felice partita. Oh, happy departure! e tosto si penetri that we may soon enter ove Medea si stà. the place where Medea waits. Giasone Cara fuga soave. Dear, sweet light! Messenger Del gran duce tartareo Your words, O Medea, have met with the Giasone & Alla nave, alla nave! To the ship! Spirit** le tue voci o Medea gl’arbitri legano, approval of the great ruler of Tartarus, Medea e i numi inferni a cenni tuoi si piegano. and the infernal spirits bend to your will. Pluto le tue voci udi. Pluto has heard your voice. In questo cerchio d’or si rachudi il valor This golden ring holds within it the valour SCENE XVl che di Giason il cor armerà questo dì. that will arm Jason’s heart today. Demo Alla nave, alla nave? To the ship? Medea Sì, sì, vincerà Yes, yes, Medea e Giason s’abbracciano? Medea and Jason embracing? il mio Rè, my King will be victorious, E per gir a Co – Co – a Corinto And leaving, leeing, a suo pro deità the gods of the underworld si partono, si fuggono, setting s – s – sail di la giù pugnerà. will ight for him. imbara – ba – bara – ba – s’imbarcano. for Co – Co – Corinth. O sventurato Egeo, O unlucky Aegeus, povero mio signor, misero rè. my poor master, wretched king! SCENE XlV Chi me l’insegna, ohimè, dov’e? Ah, someone tell me where he is!

Medea Ecco il fatal castello, This is the deadly castle, Egeo Mi chiami? Were you calling me? qui ti consegno l’incantato anello here I give you the enchanted ring in cui stassi ristretto in which is conined Demo O signor, sì. My lord! Yes: il guerriero folletto. the warrior sprite. Gran novelle, Signore, Big news, my lord: Sia dell’aurato cerchio With this gold circle Fughe, assassinamenti, armi e rumore. Runaways, murders, arms and uproar. la man sinistra adorna, on your left hand, may you resta, affronta, combatti, uccidi, stand, confront, combat, kill, cast down, defeat, Egeo Di’ tosto, chi fuggì? Tell me quickly, who has run away? atterra,vinci, trionfa, e a questo sen ritorni. triumph, and return to my embrace. Ti lasso, I leave you now, Demo Medea, co – con – Medea, w – with –

Giasone Mi lassi, You are leaving me, Egeo Che? What? Medea & Mia vita gradita, mio amor. My darling, my love. Giasone Demo Medea co – con – Medea, w – with – Giasone Ma parte con te questo spirto But you take with you my spirit Egeo Segui, segui. Go on, go on.

Medea Ma resta con te quest’alma But you keep with you my soul Demo Medea co – con – Medea, she’s run away w – with –

Giasone & e questo cor. And my heart. Egeo O Dio, con chi? Medea For God’s sake, with whom? Giasone Affetti singolari, What strange sensations! Demo Co – con – con Giason si fuggì. W – w – with Jason. favori senza pari. I have been granted favours beyond compare. Queste nuove potenze These new powers Egeo Ohimè. Alas! da Medea riconosco: come from Medea, I can tell: all’armi, all’armi. To arms, to arms! Demo E con fuga soave And as they lee, All’impresa m’accingo, I set myself to the deed van gridando abbracciati: locked in a sweet embrace, they cry: e’l nome di Medea per Nume invoco. and invoke Medea to be my guardian spirit. Alla nave, alla nave. To the ship! O dell’orrido cerchio O monsters and savage beasts who guard del fatal laberinto the hideous circle Egeo E verso dove andranno? And where are they headed? mostri e belve, custodi of the labyrinth: del Tessalo Giason le voci udite. hear the voice of Jason of Thessaly! Demo S’imbarcano per Co – Co – per Co – Co – They’re taking ship for Co – Co – Co – Queste ferrate porte Open these iron gates at my command al mio passaggio obediente aprite, and grant me passage, or I shall tear them open Egeo Per Coimbra? For Coimbra? o ch’io le sbarro e vi disido a morte. and defy you to the death! Fuori, fuori, al cimento, Out! Out! Come and ight! Demo No! Per Co – Co – Co – No! For Co – Co – Co – vostri orriri non pavento. I do not fear your horrors. Egeo Per Coralto? Coralto?

SCENE XV Demo Ohibò, per Co – Co – Co – Ah, no! Co – Co – Co – Medea Sei ferito, mio ben? Are you wounded, my beloved? Egeo Per Cosandro? Cosandra? Giasone No, no, mia vita. No, no, my love. Sotto gl’auspitii tuoi i mostri estinti, Under your protection, I killed the monsters, Demo Né meno, per Co – Co – Co – No, not there either, Co – Co – Co – mi fei signor dell’aureo vello, e vinsi. took possession of the golden leece and was victorious. Egeo Per Corinto? Corinth? Ercole Giason, vincesti il vello, Jason, you have won the leece: Demo Ah, ah, oh bene, bene, Ah, yes, phew! godo del tuo trionfo, I rejoice at your victory, Mi cavasti di pene. Thanks for getting me out of that one. ma già solleva il popolar tumulto but already there is a jealous uproar contro di te un invidioso grido. rising against you in the crowd. Egeo Hor, ecco la cagione So that’s the reason Non è tempo d’indugio, al lido. There is no time to hesitate: to the shore! perché Medea m’abbore: ama Giasone. Medea hates me: she’s in love with Jason. O Dio, son morto. O God, this is killing me! Giasone Medea? Medea? Tu, segui i miei passi You, follow me ed in picciola barca and we’ll get a little boat Medea Giasone? Jason? seguiamo i fuggitivi. and go after the fugitives. Alto decreto eterno Some high eternal decree vuol ch’io segua Medea sin nell’Inferno. demands that I follow Medea, even into Hell. *Alexandra Oomens, Andrew Goodwin, David Greco, Nicholas Dinopoulos 20 **Adrian McEniery 21

Pinchgut - Giasone Si.indd 20-21 26/11/13 1:11 PM Medea Fiera tempesta A wild tempest PART TWO placida appar. is like calm seas. Giasone Il terreno Everywhere the land SCENE I tutto è ameno, is pleasant, Demo Soccorso, aiuto, ò là. Help, help! Medea È divina The view of the coast Io moro, ohimè, piè – piè – piè – pietà. I’m dying, alas, have p – p – pity on me! la marina. is heavenly. Ohimè, son morto, Alas, I’m dead, Ove Giason i raggi suoi diffonde, Wherever Jason’s radiance shines, ohimè me me – me – meschino. woe is m – m – me! Giasone Ove Medea i suoi splendor diffonde, Wherever Medea’s splendour shines, Oreste E chi sei tù? And who are you? Giasone & Vago è’l suol, ride il ciel, brillano l’onde. The land is fair, the heavens laugh, the waves Demo No’l vedi? Can’t you see? Medea sparkle. Son un morto che trema, I’m a trembling dead man, un avanzo di pesci, leftovers from the ishes’ dinner, ombra di Demo. the ghost of Demo. SCENE Ill

Oreste È Demo a fé. Non mi conosci? Well, it is Demo! Don’t you recognise me? Alinda Quanti soldati, o quanti, Look at all the soldiers! allegrezza o donne amanti. What a delight, for ladies inclined to love! Demo No! No. Gradite tempeste, Welcome storm, Oreste Apri ben gl’occhi. Try opening your eyes! procelle adorate beloved tempest, che quà ne spingeste you have driven here Demo E come s’io non gl’hò? How am I supposed to do that when I don’t le merce più grate, the most desired of goods! Un tonno, uno storione have any? A tunaish and a sturgeon just had per vostra pietate mia gioia s’avanza, Your kindness increases my joy, gli mangiaron poc’anzi a colazione. them for breakfast. col vostro tempestar vien l’abbondanza. Your raging brings such plenty! Ma sta – stacco le ciglia, But now that I’ve opened m – my eyelids Quanti soldati... Look at all the soldiers!... e vedo il cielo e queste ville. I can see the sky and those houses – Intatte hò le pu – pupille. My eyes are unharmed! Il tuo mestier, qual è? So what’s your trade? Oreste? Oreste mio? Dove ti veggio? Orestes? Orestes, my friend? What are you doing here? Ercole Soldato io sono. I’m a soldier.

Oreste Ed io, come ti trovo? And how do I come to ind you here? Alinda Tu soldato? Ah, ah, ah, ah! You, a soldier? Ha ha ha ha! Come giungesti qua? How did you get here? Ohimè, questo tuo dir rider mi fà. Ah, you make me laugh, saying that! Ercole Perchè ridi così? Why are you laughing like that? Demo Il re d’Atene, il mio padrone Egeo – The king of Athens, my master Aegeus – che sia pur maledetto – a pox on him – Alinda Tu soldato? You, a soldier? per seguir d’Argo la famosa nave wanted to follow that blasted ship the Argo in picciolo legnetto so he put me in a tiny bunch of sticks Ercole Io sì. Yes, I am! meco si pose a’ suoi deliri intento, to chase after his crazy dreams: il mar, la pioggia, la fo – fo – fo – for – the sea, the rain, f – f – f – Alinda Dov’è il volto sfreggiato? Where are the scars on your face? Dov’hai manco un orecchio? Where’s your missing ear? Oreste E quando mai? How long is this going to take! Dov’è un ianco stroppiato? Where’s your gammy leg? Dov’è una man recisa? Where’s the stump of your missing hand? Demo La fortuna e’l vento Fate and the wind Ohime non lo dir più, scoppio di risa. Oh goodness, don’t say it again, I’m laughing Al fond’hor mi mandava sent me to the bottom it to burst. ed hora insino al ciel mi sol – mi sol – mi sol – and now they have re – re – re Ercole Dunque non ti rassembra So nobody who still has all his limbs Oreste La fa, la fa re mi fa. Doh re mi fa so la ti doh! soldato uno che intere habbia le membra? looks like a soldier to you? O che musica brava. What a lovely tune. Alinda Il bon soldato deve portar A good soldier needs to have Demo Ed hora insino al ciel mi sollevava. – rescued me again. qualche notabil contrasegno. some visible mark. Io mi ridussi al ine So there I was out at sea, Almen un braccio in pezzi, At least an arm cut to ribbons, a glass eye, or a wooden leg. inzu – zu – zu – zuppato nell’acque soaked to the skin, un occhio di cristallo, o un piè di legno. Ma, dove vai? Hey, where are you going? senza remo o timone; with neither oar nor rudder, indi, come al ciel piacque, then, heaven saw it to run the little boat Già che così non pare urtò l’angusta barca in un sco – sco – scoglione. onto an enormous r – r – rock. Ercole Since I don’t look Si ruppe, si spezzò, It broke up, it split apart, ch’io sia stato alla guerra, like I’ve been in the wars, vado a farmi stroppiare. Egeo per l’onde andò, Aegeus went down into the waves, I’m going off to make myself a cripple. s’affondò, s’an – s’an – s’an – he sank, he d – d – d – Alinda Nò, già che tutto sei, No! since you’re whole, Oreste Drowned? tutto ti voglio, I want you whole, S’annegò? ma quanto più ti gradirebbe il core but how much more you would please my heart se tu fussi bon musico cantore. if you were a ine singer and musician! Demo S’annegò. Drowned. Io dall’onde sbbattuto And I, battered by the waves, Musico? l’arte mia Musician? That’s my art – dopo averla be – la be – la be – having drunk to my f – f – f – Ercole è’l canto e l’armonia. singing and harmony! Oreste La bella traditora “To my false lady, heartless queen Alinda Tanto più mi sei grato, Then I like you so much more! ma su qual voce canti, ed in qual tono? But what voice are you, what register do you Demo & who stole my heart and my pride, che m’ha rubato il cor, sing in? Oreste Col guardo mi innamora, With just one glance she took me in but still I wait outside.” e mi fa star di fuor. Ercole Non mi senti parlar? Soprano io sono. Can’t you hear me speaking? I’m a soprano.

Demo Dopo aver la be – be – be – bevuto Having drunk my f – f – ill of their salty brine, Alinda Soprano? A soprano? lo spirito nel mar lasciai disciolto, I gave up my spirit into the sea, poscia su queste arene and now here on the sand Ercole Si, perché? Yes, why? il cadavere mio giunse insepolto. my mortal remains lie unburied. Alinda Non sei castrato già? You’re not a castrato? Oreste Dunque morto tu sei? So you’re dead? Ercole Non sono, a fé. No, I swear! Demo Morte son io. I am. Alinda Non più guerra, non più furore. No more battles, no more ighting. Oreste Gentil humor, sarai sepolto. Very funny... We’ll get you buried, don’t worry. Due cori amanti Let two hearts in love Hor dimmi, partì la nave d’Argo? Now tell me, did the Argo sail away? tra vezzi e canti pass the time dispensino l’ore. in pleasure and singing. Demo Partì con la mal’hora She did, curse her! e Gia – Gia – Giason seco. and with J – J – Jason on board. Alinda & Non più guerra, trioni Amore. No more battles, love has triumphed. Ercole Oreste Già vicina si scopre, There she is, I can see her already: e l’impeto dei venti the rough winds Ercole Non più tromba o tambur, non più rumore. No more trumpets and drums, no more noise. quà la spinge a gran forza, are driving her towards us. In amorose paci Peaceful in love, già questo porto imbocca, she’s already sailing into port, al suono dei baci to the sound of kisses già vi giunge, lo tocca; here she is already, she’s docked; rallegrisi il core. let the heart rejoice. del sospirato arrivo Hypsipile has been waiting eagerly for the boat, a Isiile men volo a dar novelle, so I must ly to tell her it’s arrived. Alinda & Non più tromba o tambur, Amore. No more trumpets and drums, but Love! tu meco vieni, You come with me. Ercole e a ristorar tuoi danni To make up for your ordeal ti darò foco e panni. I’ll get you a ire and some dry clothes. SCENE lV Oreste My lord, you remember Hypsipile from Lemnos... SCENE ll Isiile, Signor, quella che in Lenno... Giasone Ohimè. Oh no. Giasone Scendi, o bella, Come, my fair one, Come down to the harbour. Vieni al porto. Oreste (Tu ben m’intendi.) (You have understood me well.) Ti ricerca, ti prega ...she is looking for you, and asks Medea Cara stella A kindly star che tu l’ascolti, e quà s’invia. that you listen to her; she is coming here. quà n’ha scorto. has escorted us here. Giasone Giasone Non è molestia Ho inteso; I see; There’s nothing to trouble us sì, sì, ci rivedremo, Oreste, addio. yes, yes, goodbye then, Orestes, farewell. l’ira del mar. in the sea’s wrath. Andiam, mia vita. Let’s go, my love. 22 23

Pinchgut - Giasone Si.indd 22-23 26/11/13 1:11 PM Medea Altro non rispondi a costui? Is that all you are going to say to him? Isiile Maschia gemella prole I gave birth to twin boys. in un sol parto alla luci io diedi. Giasone (Che strano incontro.) (What a strange encounter.) Basta così. Partiam ti prego. It’s enough. Please, let’s go. Medea Ed hor che pensi far? And what are your plans now?

Oreste Ah, Sire, sentila per pietà. Ah, sir, please listen to her. Isiile Seguir Giasone. To follow Jason.

Giasone Sì, sì, la sentirò; partiam, regina. Yes, yes, I’ll listen to her. Let’s go, my queen. Medea E lascerai il tuo natio terreno? You’ll leave your native land?

Medea (Gelosia, non m’uccidere.) Giasone, (Jealousy, don’t kill me...) Jason, Isiile Quant’è ch’abbandonai la patria e’l regno. I left my homeland and my throne long ago. se neghi d’ascoltar dama che prega, if you refuse to listen to a lady’s pleading, certo sarai di scortesia notato. you will get a reputation for rudeness. Medea Dunque regina sei? Then you are a queen? Torna alla tua signora [To Orestes:] Go back to your lady e dilli pur che qui Giason l’attende. and tell her Jason is waiting for her here. Isiile Odi novelle. Breaking news.

Oreste Vado, Signore? Shall I go, my lord? Medea Più che pazza è costei. This one’s more than mad.

Giasone Obedisci. Do as she says. Giasone Io già te’l dissi. I told you so!

Oreste Volo. I go with all speed. Medea Mi perdoni, la vostra Maestà: Forgive me, your majesty! venga, Signora mia, passi di quà. Come, my lady, this way. Medea (O Dio, son morta.) (O God, this is going to kill me.) Deh, dimmi, chi è costei So tell me, who is this lady Isiile Giason, son tua, sei mio. Jason, I am yours, you are mine. che così ardita messagier t’invia? who sends to you with such passion? Lassa questa vagante, Leave this wanderer, come back to my ritorna a questo sen, marito e amante. embrace, my husband and my lover! Giasone (Convien prender partito.) (I’d better ind an excuse.) È una matta leggiadra She’s just this crazy woman Medea Così bizzarra? How bizarre! che nel passar a Colco in Lenno io vidi. I saw in Lemnos on my way to Colchis. Partiamo (ohimè che riso) o mio diletto. (Ah, what a joke!) Let’s go, my beloved. Vigilante procura She keeps watch on every lady who reaches d’ogni donna che giunge a questi lidi these shores, studying them closely, how they Isiile Partir, senza di me, coppia nemica? What, are my enemies leaving without me? intender i costumi ed i successi. behave, the events of their lives. Indietro traditor, torna impudica. Out of the way, traitor! Come back, whore! Su quei issa la mente, She thinks about it all obsessively: machina, e crede al ine, she plots and in the end believes that whatever Giasone Raffrenate colei. Restrain her! che gl’accidenti altrui, o buoni o rei, has happened to them, good or bad, Partiamo, o cara. Let’s go, my darling. siano incontrati a lei. has happened to her. Ch’or s’allegra, hor si duole, hor ride, hor So whether she is happy or sad, laughing or Isiile Ancor tentate, Still trying to get away, piange, hor s’umilia, hor s’adira, weeping, grovelling or enraged, it just depends anime scellerate! you villains? conforma alla cagion per cui delira. on what she’s been fantasising about. non sol le vostre forze Not only will I smash your strength, ma d’Erebo i legami spezzerò, svellerò. I will shatter the very chains of Erebus. Medea Gentil follia; vorrò vederne il vero. A delightful folly! I’d like to see the truth of it. Chi non teme di morte One who does not fear death sa da i Tartarei fondi can tear apart the walls of deepest Tartarus sbarrar le mura e diroccar le porte. and pull down its gates. SCENE V SCENE Vl Isiile Oh Dio, ecco Giasone O God, here comes Jason, con la beltà gradita. with the beauty who enjoys his favours. Medea Sotto il tremulo ciel di queste frondi, Beneath the luttering heaven of these Spirti, non mi lasciate, May my senses not desert me! intorno a cui s’aggira branches, where gentle breezes play, simuliamo lo sdegno, Amore aita. Let’s feign scorn. Love, come to my aid! d’aure soavi un odorato nembo, weaving a mist of sweet fragrance, posa, mia vita, alla tua vita in grembo. rest, my love, in the bosom of your love. Medea A te ne vien. She’s coming over to you. Giasone Mira, mio cor, deh mira Look, my darling, see Giasone Vaghi discorsi attendi. You can expect some pretty ravings. come nel bel color di queste foglie how the fresh green of these leaves speme d’amor s’accoglie. speaks of love’s hopes. Isiile Se tra i mesti pallori Perhaps with the sad pallor del funesto sembiante, of my mournful face, Medea Vedi, mio ben, deh vedi Look, my love, see simulacro di morte, the very mask of death, qual palesa il candor di questo iore how the pure whiteness of this lower non riconosci a piano you don’t quite recognise la fedeltà d’un core. mirrors a heart’s faithfulness. la tua diletta amante, your dear beloved, your adored consort? l’adorata consorte, Giasone & Dunque tra iori e frondi So here among the leaves and lowers, in questo pianto almeno At least in these tears Medea simulacri di fede e della speme, symbols of faith and hope, che versan gl’occhi in due dolenti iumi, that pour from my eyes in two rivers of pain, Adorata Medea / Adorato Giason, my beloved Medea / my beloved Jason, you might recognise, Jason, d’Isiile infelice posiamo insieme. let’s lie down together. che abbandonata langue, the soul and the blood of unhappy Hypsipile, who languishes here, abandoned. riconosci, o Giason, l’anima e’l sangue. Medea Dormi, stanco Giasone. Sleep, my weary Jason; E del mio cor, che gl’occhi tuoi rapiro, your eyelids will lock away in a tender prison Giasone Secondiamo l’umore. (Let’s play along with her mood.) sian le palpebre tua cara prigione. the heart that your eyes stole from me. Frena, bella languente, Ah, suffering beauty, frena questi dolori, no more sorrows! Giasone Dormi ch’io dormo, o bella. Sleep while I sleep, my beautiful love! e nel mio seno In my embrace E mentre i sensi miei consegno al sonno, And as I consign my senses to slumber, torna a goder i sospirati amori. enjoy again the love for which you sigh. oggi per te Giason vantar si puole today I can boast that because of you, d’aver l’alma tra l’ombre e in braccio il sole. I have my heart in the shade and the sun in my arms. Isiile O delizie, o tesori. O precious sweetness! Lassa dunque costei? Then you will leave this woman, Medea Mio ben, che sognerai? What will you dream of, my love? E tutto a me ti rendi, anima mia. and give yourself wholly to me, my love? Giasone I tuoi celesti rai. Your heavenly eyes. Medea Lussuriosa pazzia. A lustful folly! E tu, mia vita? And you, my darling? Dimmi, amasti Giasone? Tell me, did you love Jason? Medea Tua bellezza ininita. Your ininite beauty. Isiile Più dell’anima mia. More than my own soul. Medea & Felicissimo sonno, Most blissful sleep, you carry us to heaven Medea Ti corrispose? Did he respond? Giasone che in grembo delle larve al ciel c’invia. in the arms of your visions. Adoriamoci in sogno, anima mia. Dearest, let us love one another in our dreams. Isiile M’adorò. He adored me. Giasone Che ridere. How amusing! SCENE Vll Medea L’amor passò più oltre? Did your love go further? Oreste ‘Adoriamoci in sogno, anima mia’ – ‘Dearest, let us love one another in our dreams’ Gentil discorso è questo, – They are pretty words, but you’d be mad Isiile Al letto giunse. As far as the bed. ma pazzo è ben chi non intende il resto. not to understand what they leave unsaid! Giasone Sopra gl’amori tuoi certo vaneggia. She must be raving, with this talk of love. Qual invidiosa guerra prova l’anima mia! What envy rages in my heart! Veder due soli addormentati in terra, I see two suns asleep on the ground, ed io qui veglio, e senza compagnia. while I remain awake, and alone. Medea Al in godesti, amica? And did he bring you to bliss, my friend? Almen per sfogare If only I too si iero desio could sleep Isiile Giason che’l sa, te’l dica. Jason knows, let him tell you. addormentare and ind some relief Medea Che rispondi, Giason? What do you say to that, Jason? mi potess’anch’io, for my ierce desire! che ben so quanto vaglia Well do I know the power of sweet sleep and the magic of its dreams Giasone Ciò che gl’aggrada. Whatever she likes. fantastica magia d’un sogno grato, a cacciar fuor lo spirto innamorato. to drive away thoughts of love. Non è più bel piacer There is no greater pleasure Forse vero non fù? Oh, you think it might not be true? Isiile quanto in sogno goder than to enjoy in dreams Gravida mi lasciasti. You left me pregnant. chi si desia what you most desire! gioir in fantasia Giasone Sentirai di più bello. You’ll hear crazier than that! To fantasise of tasting love’s delights con l’adorata amica, with one’s beloved Medea E partoristi? And did you have the baby? risparmi a quel che sogna spares the dreamer il peccato, la spesa, e la fatica. the sin, the expense and the hard work. Isiile E quasi. In a manner of speaking! Medea Come dire? What do you mean? 24 25

Pinchgut - Giasone Si.indd 24-25 26/11/13 1:11 PM Non ia possibil mai, I could never do it; SCENE Vlll farò ch’altri l’uccida. I’ll get someone else to kill her.

Isiile Ahimè, che veggio? Oh no, what’s this I see? Medea Chi sarà l’omicida? Who will the killer be? Dormono i traditori. The traitors, asleep! Non più dormir, non più! No more sleeping! Giasone Ercole. Hercules. Risvegliati, sù, sù, Giasone. Wake up! Get up, Jason, get up. Medea Ma quando? But when? Giasone Chi, chi mi sveglia? Who is it? Who’s waking me up? Giasone In questo notte. Tonight. Isiile Svegliati, svegliati, io così voglio. Wake up! I want you to wake up! Medea E dove? And where? Giasone Con tanto orgoglio? So arrogant? E chi sei tu? Who are you? Giasone Nella valle d’Orseno. In the valley of Orseno.

Isiile Non mi conosci più? Don’t you recognise me any more? Medea Hor son contenta a pieno. You ill me with happiness. Regina, ecco lo sposo Queen, behold your husband: Giasone Isiile? Hypsipile? che, sbanditi i rigori, now that his ordeals are over, lieto ritorna a’ tuoi graditi amori. he returns joyfully to your welcome embrace. Isiile Giason! Jason! Isiile Se il tuo pietoso zelo If in your mercy you have laboured Giasone Deh taci, o cara. Oh, quiet, darling! mi rende al primo ardore, to return my irst love to me, a te, nume per me sceso dal Cielo, then to you, O goddess come down from Isiile Io cara? e a chi? ‘Darling’? Me? Whose darling? devo gli spirti miei, l’anima e’l core. heaven, I owe my mind, my heart and my soul. Ma tu, così pensoso? Così dolente? But Jason, why so thoughtful? Why so sad? Giasone A me. Mine. Giasone Anzi gioioso, On the contrary! I’m full of joy, Isiile Menti, spergiuro. You cheating liar! anzi ridente. I’m laughing. Ti pubblicherò moglie. I will pronounce you my wife. Giasone (Se si sveglia Medea, morto son io.) (If Medea wakes up, I’m dead.) Hor tu, prima ch’al mezzo But now, before the night which is already giunga la notte che già copre il cielo, darkening the sky is even halfway gone, Medea (Con la matta Giasone?) (Jason, with the madwoman?) alla valle d’Orsen tacita andrai, go secretly to the vally of Orseno. ivi t’attenderà Ercole il mio ido, My loyal friend Hercules will be waiting for you Giasone Torna all’albergo, ivi m’attendi, Go back to the tavern, wait for me there, Ercole che meco già vedesti in Lenno, there – Hercules, whom you saw with me in e taci. and keep quiet! a lui per parte mia Lemnos. Ask him from me domanderai se ancora if the task Jason imposed on him Isiile Né partir, né tacere, né idarmi I don’t want to leave, or keep quiet, quant’impose Giason resti eseguito, has been carried out. di te, perido, io voglio. or trust you, you evil man. attendi la risposta, e i suoi ragguagli Wait for his reply, and then command your steps Dimmi, non sei tu quello... Tell me: weren’t you the man... per ritrovarmi ai passi tuoi dian legge. to return to me with his report.

Giasone (O quant’io temo!) (I’m scared stiff.) Isiile Fortunato tormento, O happy torment! al in si placa Amore, At last Love is appeased, Isiile Ch’in Lenno m’adorasti. ...who loved me in Lemnos? e nei campi del duol nasce il contento. and happiness is born from the ields of grief.

Giasone Hor che del vello d’oro Now that I have conquered superata ho l’impresa, the golden leece, SCENE lX dopo breve ristoro a te sua sfera after a brief rest, the ire of my burning heart volerà il foco di quest’alma accesa, will ly to you, its true home, Giasone Ercole, hor tu queste mie voci osserva. Hercules, listen closely. e dal core et dal petto and I swear to you, my dearest, Alla valle d’Orsen Go quickly ti giuro, o mia gradita, that I will banish from my heart and my breast all tosto n’andrai, to the valley of Orseno; di licenziar ogni straniero affetto. other loves. ivi un messaggio attendi. wait there for a messenger, Questi, per mio comando, in questo notte who, by my command, this night, will ask you Medea (E pur non sogno?) (Am I dreaming?) ti chiederà se di Giason gl’imperi son eseguiti. if Jason’s orders have been carried out. A sì fatta richiesta sai che risponder dei? Do you know how you must answer? Isiile Partirò se me dai... I will leave, if you give me... Ercole Se non m’avvisi, no. Not unless you tell me, no. Giasone E che? What? Giasone Gettalo in mare. Throw the messenger into the sea. Isiile D’amor un pegno. A token of your love. In mare? Into the sea? Giasone E quale? What will it be? Ercole Giasone In mare si. Un casto abbracciamento maritale. The chaste embrace of a husband. Yes, into the sea. Isiile Maschio o donna che sia, sia pur chi voglia, Be it man or woman, anyone at all, Giasone Giusta richiesta, or prendi. A fair request! Here you are... né stupor né pietade il cor t’assaglia, don’t let your heart be assailed by amazement subito l’imprigiona e in mar la scaglia. or pity: seize them and throw them into the sea. Isiile O caro, o caro, o mio. O my darling! Giasone Hormai t’acquieta. Settle down now. SCENE X

Isiile E pur ti stringo, O dio. I’m holding you in my arms, O God! Egeo Perch’io torni a penar, So that I can suffer yet more, temprò l’ira del mar the fury of the sea cooled the consuming ire Giasone Il pianto affrena. Stop crying. quel foco vorace ch’accolsi nel sen; that was raging in my breast; e’l cor ch’è ripien and my heart, full Isiile Mia gioia sospirata. The joy I longed for. di doglia e spavento, of grief and fear, gode al dispetto mio la libertà. enjoys its freedom in spite of me. Giasone Mia bellezza, mia bellezz’ – My fair one, my fair – Di me più scontento There has never been an unhappier man than Oh tu sei risvegliata? Oh, you’re awake? nel mondo non fù, non è, non sarà. me, nor is there now, nor ever shall be.

Medea No vi turbate, no, coppia felice. Oh, don’t let me disturb the happy couple. Demo Impietosito Oreste Orestes, taking pity on me, Vezziaggiate pur lieti Carry on cuddling, mi donò questa veste. gave me these clothes. in grembo delle grazie e degl’amori, in the bosom of the Graces and the gods of Per queste alpestri grotte, In these mountain caves vostri affetti secreti. love; enjoy your secret love. mal sicura è la notte. it’s not safe at night. Così grati soggiorni I would hate to disturb conturbar non vorrò, such a pleasant interlude. Egeo Oh Dio! Oh God! se bramate ch’io torni If you want me to go back a dormir, tornerò. to sleep, I will. Demo Morto son io. I’m dead!

Giasone Medea... Medea... Egeo Chi parla qua? Chi sei Who’s that speaking there? Who are you, Ch’osservi i detti miei? spying on my words? Medea Bando alli scherzi, No more jokes: troppo so, troppo intesi. I know too much, I understand too much. Demo Io sono un innocente I’m an innocent man Ascolta, traditor: regina, attendi. Hear me, traitor: and you, queen, listen well. che con l’alma atterrita who with terror in his heart Trioni omai, dopo angosciosa guerra The anguish of war is over: now let the buried ti chie – ti chie – ti chieggio in elemosina la vita. b – b – begs you for his life as alms. di reggia dama il seppelito onore, honour of a noble lady triumph. e in unir destra a destra, e core a core, Joined hand to hand and heart to heart, Egeo Volgiti in faccia il lume. Turn your face to the light. nodo ordito nel Ciel stringasi in terra. let the bond ordained by Heaven be tied on earth. Demo. Demo!

Isiile O celesti favor, grazie divine. O heavenly favour, divine graces! Demo Chi ti diss’il mio nome? Who told you my name?

Giasone Dovrò dunque, o Medea? Then Medea, shall I...? Egeo Non riconosci il tuo signore? Don’t you recognise your master?

Medea Senti, e legge ti sia, My darling traitor, listen to my every word Demo Chi? Who? traditor adorato, ogni mio detto. and take them as law. Fa’ che a questi sponsali Straight after the wedding, Egeo Non riconosci Egeo? Don’t you recognise me, Aegeus? la morte di costei tosto succeda, you must make sure that she dies, prima che seco tu accomuni il letto. before you share a bed with her. Demo Egeo appunto è li. Lo sventurato Actually Aegeus is over there. The poor chap fù da’ pesci spolpato. was stripped to the bone by ish. Isiile Certo parla a mio prò, She must be speaking on my behalf; quanto le devo! how grateful I am! Egeo Mira pur s’io son quello. But look, it’s me here.

Giasone Dunque vuoi tu che io sia So you want me to be Demo Ohimè, indietro farfarello! Oh no, get away from me, you evil spirit! marito e micidiale? husband and hitman? 26 27

Pinchgut - Giasone Si.indd 26-27 26/11/13 1:11 PM Egeo Non son spirito, nò. I’m not a spirit! Egeo Medea nell’onde, ah sorte: Medea in the sea? Ah, fate: Porgi la mano a me. Here, take my hand. mi getto a darla vita I must dive in to save the life a una crudel che mi nego la morte. of the cruel women who would not let me die. Demo Non te la po – po – no te la porgo a fé! N – n – no way! Egeo Porgila, dico! Take it, I tell you! SCENE XVl Now I really am in a pickle. Demo Son pur nel brutto intrico! Isiile Ercole, Ercole. Hercules, Hercules! Egeo I tell you, I am Aegeus, alive and not dead. Di’ pur che son Egeo, vivo e non morto. Ercole Chi mi chiama? Who is it? Tu già servo, hor compagno, Once you were my servant; now as my meco ne vieni e porti companion come with me; have pity, come and Isiile Giason a te mi manda acciò gl’avvisi Jason sent me to you to ind out pietoso al mio penar grato conforto. comfort me in my suffering. se fù eseguito ancor quant’ei t’impose. If the orders he gave you have been carried out. Demo Ch’Egeo tu sia non sò, Whether you’re Aegeus or not, I don’t know... Ercole Tardi venisti; torna, You’re too late; go back: spirto, non credo. I don’t think you’re a spirit. che con quest’ambasciate luckily for you, someone else Ma se spirito sei, Though if you are, altri per tua ventura ti prevenne. got here irst with your message. sei di quelli alla moda, you’re one of those trendy ones Torna a Giason e di’ Go back to Jason and tell him senza pel, senza corna e senza coda. without hair or horns or tail. Ch’io solo uccido una regina al dì. that I only kill one queen per day.

Isiile ‘Torna a Giason e di’ ‘Go back to Jason and tell him SCENE Xl Ch’io solo uccido una regina al dì’? that I only kill one queen per day’? Che linguaggi, che cifre What are these cryptic words Isiile Gioite, festosi, Be joyful and merry, mi passan per l’udito I am hearing, miei spirti amorosi. my loving soul. a spaventar l’idea? that ill my mind with fear? Al ciel di contenti Carry my heart away Ercole, Ercole! È sparito. Hercules, Hercules! He’s vanished.` quest’alma rapite. to the heights of happiness. Di doglie e tormenti Flee from sorrows and fugate, sbandite torments, banish i nembi e gl’orrori. storms and horrors. SCENE XVll In questo mio core Here in my heart Giasone Ercole, che portì? Hercules, what news? stillatevi tutte sprinkle all the dal regno d’Amore ininite sweetness Ercole Il comandato scempio. The murder you ordered. dolcezze ininite. of the kingdom of Love. Miei spirti amorosi, gioite, gioite. My loving soul, rejoice, rejoice! Giasone Venne? Did she come?

Ma tempo è ch’io precorra But it’s time for me to go; I must not be late for Ah, purtroppo venne. Yes, alas, she came. l’ora che m’assegnò l’idolo mio, the task my love set for me. Ercole The Orseno valley is steep, and the path into it e che d’Orseno, alla scoscesa valle Giasone Perché sospiri? Why are you sighing? per non trito sentiero omai trascorra. is seldom travelled. Ercole Una regina uccisi. I killed a queen. SCENE Xll Giasone Morì? Is she dead?

Medea Ercole qui non appare, Hercules isn’t here yet, Morì. She’s dead. ed io misera anelo and I wait in my misery, Ercole dal impatienza lagellata e vinta lashed by impatience, breathless, overwhelmed Giasone Che disse? What did she say? saper se sia la mia rivale estinta. with longing to know if my rival is dead. Ercole Traditor mi chiamò, mi maledisse. She called me a traitor, and cursed me. SCENE Xlll Giasone Altro? Anything else?

She soon worked out Perché sospiri, Why do you sigh, Ercole Che fusser dagl’imperii tuoi Delfa sue sventure prodotte that her ill-fortune Medea gelosa, jealous Medea? was by your orders. why do you rage, tosto s’indovinò. perché t’adiri, Poi col tuo nome in bocca Then with your name in her mouth, bella amorosa? amorous beauty? dallo scoglio nel mar precipitò. she fell from the cliff into the sea. Che importa a te What do you care se il tuo diletto if your beloved Giasone Giudice appassionato A judge ruled by passion now serves ad altr’oggetto non proferì giammai giusta sentenza, never issues a fair sentence. serbò già fé? another? il carneice io fui dell’innocenza. I have been the executioner of innocence. Qual hor su queste guancie When these cheeks still iorir le rose e’l brio, bloomed with roses and life, gl’amorosi liquor gustavo anch’io. I too tasted the nectar of love. SCENE XVlll E agl’orli ch’io succhiai, And it never mattered to me non m’importò giammai whether all my friends Medea Non m’afligger così, Don’t torment me like this, se le compagne mie bevvero tutte. were also sipping from that cup. It was enough palesami chi sei. tell me who you are. Mi bastò non restare a labbra asciutte. for me that my lips didn’t go thirsty. Voglio saper per chi I want to know: to whom do I owe È follia It is stupid l’avanzo viverò de’ giorni miei. the rest of my life? fra gl’amori to sow jealousy seminar la gelosia, among lovers, Egeo Medea, tesoro mio, Medea, my treasure, per raccoglier al in rabbie e rancori. only to harvest anger and grudges. chi ti ritolse all’onde it was Aegeus, whom you so despise, Consolar sol si può Only the lover we hold in our arms è il disprezzato Egeo. Egeo son io. who drew you out of the waves. I am Aegeus. quel ben che in sen ci stà. can comfort us. E se fato benigno, And if kind fate La gioia che passò The joys of the past che tu viva per me mi diede in sorte, owes me a debt for having saved you, in fumo, in ombra, in nulla sen’ va. vanish into smoke, shadows, nothingness. altra mercé non chiedo I ask no other reward Chi vuol sbandir dal cor Whoever wants to banish sorrow and hammer- che di tua man la pattuita morte. than to die by your hand, as you promised. doglia e martello blows from their heart, lasci amar, ami ogn’un, goda più bello. should let themselves be loved, love everyone, Medea Chi la vita mi diede è vita mia. The man who gives me life is my life. and enjoy all that is beautiful. E ch’io devo adorarti, I shall adore you, costantissimo Egeo, serva e consorte, most faithful Aegeus, as servant and consort: profetizò poc’anzi it was foretold just now, SCENE XlV nel licenziarsi dal mio sen la morte. when death led from my breast. Egeo Mio cor, mio cor, che senti? My love, my love, what am I hearing? Medea Per intender Giasone, Jason sent me to you in haste Io non invidio, o Dei, vostri contenti. I need not envy even the gods their happiness. se quanto ei comandò resti eseguito, to ind out in fretta a te mi manda. if his orders have been carried out. Medea Ma se re tu nascesti, But if you were born a king, come potrai soffrir che resti in vita how can you allow it quel tiranno crudele, that the cruel tyrant who had me thrown into the SCENE XV che mi fe’ trar nell’onde, e m’ha tradita? sea, who betrayed me, should remain alive? Egeo Qual incognita forza What unknown power Egeo Non più, bella, non più. Enough, my beautiful one, enough: per questi orrori a raggirar mi sforza? drives me to wander in this place of horrors? Dimmi chi ti tradì, dimmi chi fù. tell me who betrayed you, tell me who it was.

Medea Così son mal trattata, Is this how I am to be treated? Medea Giason morte mi diè. It was Jason who ordered my death. Regina imprigionata? A queen, taken prisoner? Egeo O morirà Giasone, o non son re. If Jason does not die, I am no longer king. Egeo Regina imprigionata? A queen, taken prisoner? Medea L’ucciderai? Will you kill him? Medea Ditemi, scelerati, Tell me, villains, di qual colpe son rea, of what crime Egeo Te’l giuro. Questa notte sarà I swear it. This night will be sventurata Medea? is hapless Medea guilty? del Tessalo fellon l’ultimo dì. the Thessalonian traitor’s last. Egeo Medea? Medea? Medea? Medea?

Medea Alcun non mi risponde Will none of you answer me fra così ingiusti guai? in my distress? I am innocent! Mi gettate nell’onde? You’re not going to throw me into the sea? O Giason traditor, ahi ahi. Jason, you traitor! Nooo! 28 29

Pinchgut - Giasone Si.indd 28-29 26/11/13 1:11 PM che se la vita mia since my life SCENE XlX fù, come ben intesi, has been, as is now clear to me, un aborto d’errori, a miscarriage of errors Giasone Ovunque il piè rivolgo Wherever I set my foot, che produce il tuo duolo, that has made you suffer, si spalanca un abisso, an abyss opens up beneath it, vengo a sacriicarla a’ tuoi furori. I am ready to sacriice it to your wrath. e nell’abisso di mortal cordoglio and in the abyss of deadly grief S’io perivo tra l’acque, If I had perished in the waves, in estasi d’amor, l’anima scioglio. my heart dissolves in an ecstasy of love. una morte sì breve such a swift death forse non appagava i tuoi rigori. might not have satisied your harsh nature. Or se viva son io, Since I am now alive, SCENE XX rallegrati, o crudele, you can rejoice, cruel one, that you will be able giacché potrai con replicate morti to quench the fury of your evil desire by killing Egeo Giason qui parla, è solo? Si! I hear Jason’s voice – is he alone? Yes! sfogar del iero cor l’empio desio. me again and again. E qual miglior fortuna What better opportunity Sì, sì, tiranno mio, Yes, my tyrant, per farli vomitar l’anima e’l sangue? to make him vomit up his heart and his soul? ferisci a parte a parte slice off one by one Mora il perido ingrato. The ungrateful traitor shall die. queste membra aborrite, these limbs that you loathe, sbranami a poco a poco tear from me piece by piece queste carni infelici, this unhappy lesh, SCENE XXl anatomizza il seno, dissect my breast, straziami a tuo piacere, torture me as you please, Isiile Tu morrai, scelerato! Die, you scoundrel! martirizzami i sensi, torment my senses, e’l mio lento morire and may my slow death Giasone Io morirò? Ah, traditori. Die? Ah, traitors! prolunghi a me il tormento, a te il gioire. prolong my torment, and your pleasure.

Egeo Ahi fato. Alas, fate! Regina, Egeo, amici, Queen, Aegeus, friends, supplicate per me questo crudele I ask you to plead with this cruel man, Giasone Un con l’armi alla man, l’altro si fugge? One with a dagger in his hand, and the other che nel ferirmi ei lassi that when he strikes me with his sword, Ercole, soldati, o là. runs away? Hercules, soldiers, over here! queste mammelle dai suoi colpi intatte. he should leave these breasts unharmed: Acciò nutrisca almeno il igli miei at least then my sons can have cold milk del morto sen materno un freddo latte. as they suckle at their dead mother’s breast. SCENE XXll Pregatelo pietosi Have pity, and ask him che quegl’angeli infanti to let those infant angels Giasone Ferma quest’assassin, l’altro si segua. Seize this assassin, and go after the other one. assistino ai martiri be present at the torture della madre tradita, of their betrayed mother, Ercole Volgiti a me, chi sei? Turn around and look at me – who are you? e che ad ogni ferita so that with every wound che imprimerà nel mio pudico petto he imprints on my chaste breast, Isiile Io non m’ascondo. I am not running away. bevino quelli il sangue mio stillante, they may drink of the blood that wells up. Non mi conosci più? Don’t you recognise me? acciò ch’ei trapassando In this way, as it passes into their pure veins, it nelle lor pure vene in lor s’incarni, may become part of their lesh, Ercole Mi sembra, ah sei pur tu, I think – ah, but it’s you! onde il lor seno in qualche parte sia and so their bosom may in some way become Isiile è costei. This is Hypsipile. tomba innocente all’innocenza mia. an innocent tomb for my innocence. Figli, v’attendo e moro, My sons, I will wait for you. Now I die, Isiile Isiile son io, I am Hypsipile, e te, Giason, benché homicida, adoro. and Jason, though you are a murderer, I adore oggetto in fausto del destin più rio. caught in the jaws of the most evil fate. you.

Giasone Ercole, Ercole fellone, Hercules, Hercules you traitor: Giasone Non ho più core in petto, I have no heart left in my bosom, hai tradito Giasone. you have betrayed me. scoppia l’alma nel seno, it has burst in my breast. taci, Isiile, taci, Hush, Hypsipile, hush, Ercole Io traditor? Me, a traitor? non mi confonder più, confound me no more, vinto son io. you have defeated me. Figli, moglie, cor mio. My sons, my wife – my love. SCENE XXlll Isiile Mio smarrito tesoro, My lost treasure, now that I have found you again, O God, ‘Torna a Giasone e di’ ‘Go back to Jason and tell him s’io ti racquisto, o Dio, Isiile non ho più che bramare, I can ask for nothing more. ch’io sol uccido una regina al dì.’ that I only kill one queen per day.’ e son le mie dolcezze, and this sweetness quanto stentate più, tanto più care. is all the more precious for having cost so much. Ercole Ecco svelato il tutto. Now it’s all clear. Giasone E Medea come vive And how is it that Medea is alive, Isiile & Quante son le mie gioie, My joys are more numerous se al mar la desti già? if you threw her into the sea? Giasone tante stelle il Ciel non ha. than the stars of heaven. Mia dolcezza, mia bellezza, My sweet one, my beautiful one, nel tuo seno languire, already I feel myself fainting, Ercole Questa non saprei dir, I can’t explain that; ella il dirà. she can tell you herself. morire, mi sento già. dying in your bosom. Che a tanto gioire One heart alone cannot resist so much joy. Medea La costanza ininita The ininite faithfulness un’alma sola resister non sà. di mio sposo real tornommi in vita. of my royal husband brought me back to life. Alinda Fortunati tormenti. Blessed torment! Giasone E lo sposo chi è? And who is that husband? Oreste Impensate allegrezze. Joys unforeseen! Medea Egeo, d’Atene il Re. Aegeus, King of Athens. Delfa Cari amorosi frutti. Dear fruits of love! Giasone Tu, d’altri che di me? What! Not me? Demo Acquietatevi tu – tu – tutti. Be qu – qu – quiet, all of you! Io di queste venturi Medea Giason, frena gli sdegni. That’s enough scorn, Jason. This whole adventure wouldn’t have happened Hor tu, se saggio sei, If you’re wise, fui la prima ca – ca – cagione, without m – m – me: io spinsi Egeo a seguitar it was me who pushed Aegeus a regina sì bella, you’ll give back your faithfulness da cui spero ottener perdono e pace, and your true love to the beautiful queen Gia – Gia – Gia – to chase after Ja – J – J – l’antica fede e’l primo amor riserba. from whom I hope to obtain pardon and peace. Delfa Giasone! Jason! Giasone Ch’io rivolga il pensiero What, I should turn my affections back Demo a chi tento poc’anzi to the woman who just now Gia – Gia – Gia – J – J – J – con qual ferro svenarmi? tried to kill me with that knife? Ah non ia vero. This can’t be true. Alinda Giasone! Jason! Demo Gia – Gia – Gia – J – J – J – Isiile Io ti volsi svenare? Tried to kill you – me? Io che con destra ardita When it was my bold hand ritolsi al fuggitivo that snatched away from the fugitive Ercole & Giasone! Jason! questo che ti dovea privar di vita? the knife that was going to take your life? Oreste

Giasone Chi dunque venne a machinar mia morte? Well then, who was it who came to kill me? Demo A seguitar – To chase after –

All Giasone! Jason!

SCENE XXlV Medea Godi, Isiile, godi. Be happy, Hypsipile.

Egeo Io fui che con quel ferro It was I who took that blade Isiile Godi, Medea, godi. Be happy, Medea. di cui conserva la vagina in seno, – I have the sheath here still in my breast – o barbaro inumano, and set my hand to strike you, and rightly so, Medea Stringa Amor con Giason suoi dolci nodi. May Love bind Jason in his sweet knots. per ferirti a ragion stesi la mano. you barbaric, inhuman creature. Isiile Stringa Amor con Egeo suoi dolci nodi. May Love bind Aegeus in his sweet knots. Giasone Tanto ardisce costui? Such fervour! E chi ti spinse al tradimento indegno? And who pushed you to this unworthy betrayal? Medea, E fra nodi tenaci And with Love’s strong bonds all around, Isiile, rimbombin queste valli al suon dei baci. let these valleys echo with the sound of kisses. Medea Fermati. Be silent. Giasone & Io lo mandai I sent him, to avenge the offences I thought you Egeo per vendicar le mie supposte offese. had done me. Fumma ingannati, Egeo; We were deceived, Aegeus; senza colpa è Giason, per altro è reo. Jason did nothing to us; his guilt lies elsewhere.

Isiile Infelice, ch’ascolto? Wretched me, what am I hearing? Translation © 2013 Natalie Shea Non t’affannar, Giasone, Don’t worry, Jason: 30 31

Pinchgut - Giasone Si.indd 30-31 26/11/13 1:11 PM GIASONE ACKNOWLEDGMENTs

PiNChGUT OPERA LiMiTED siNCERE ThANKs TO Natalie Shea, for her endless supply of time and talent over 12 years; Opera Australia for use of rehearsal space and help; ABC ABN 67 095 974 191 Classics – especially Virginia Read – and ABC Classic FM for PO Box 309 their support and encouragement; all at 102.5 Fine Music; Geoff Edgecliff NSW 2027 Hogbin, Paul Nyul (Advanced Visuals); Emma Johnston and Mark www.pinchgutopera.com.au Probert, Dylan Cooper for his work on the Pinchgut website; Northside Opera Study Group; Annie Whealy ‘Music with a View’; Elisabeth Pidd; Hilary Vallance; Anne Kricker; John Tonkin; Eric Duffy, Scott Fisher and Alex Stuart (Sydney Theatre Company); Robin Monkhouse (NIDA); Daniel Potter and Simon Boyd (Belvoir); Cathy Hunt; Thérèse Cerneaz; Linda Wood; Balmain Rowing Club; PATRON Her Excellency Professor Marie Bashir AC CVO, Justin Way; Richard Alma (Worldwide Printing Alexandria); Anna Governor of New South Wales Cerneaz; Fraser Orford; Gillian McDonald; Daniel Picard; David Johnston; Peter Sullivan; James Sultana (Cactus Imaging); ARTisTiC DiRECTORs Erin Helyard and Antony Walker Alex Aldrich; Kerri Hardman; Dan Walker ARTisTiC ADMiNisTRATOR Alison Johnston GENERAL MANAGER Genevieve Lang Huppert bEqUEsTs Over the years, Pinchgut has been grateful to receive generous OPERATiONs MANAGER Andrew Johnston bequests, though we’re always sad to know that some familiar faces are gone from our audience. If you would like to consider ADMiNisTRATiON AssisTANT Anna McMichael leaving a donation to Pinchgut in your will, please do contact ChAiR Elizabeth Nielsen our Chair, Liz Nielsen ([email protected]) or General Manager Genevieve Lang Huppert (genevieve@pinchgutopera. Norman Gillespie, John Pitman bOARD com.au) or call 02 8007 7153. All conversations will be treated LAWyERs Grinberg Young with conidentiality and care. AUDiTORs Barry Mendel, Frank & Co. hEROEs OF PiNChGUT Pinchgut is grateful to a number of organisations and individuals for their generous support, without which we simply would not be here. Our 2013 Heroes are: FOR GIASONE A. Royale, Gillian Appleton, Bruce Armstrong & Anne Kricker, Janine sTAGE MANAGER Tanya Leach & Humphrey Arundel, Damaris Bairstow, Norma Barne, Kerrie AssisTANT sTAGE MANAGER Kirsty Walker Barwise, Linda Bergin, Meg Breidahl, Neil Burns, J.C. Cardale, Brian NiDA sECONDMENT Carey, Jarrod Carland, Emily Chang, Colleen & Michael Chesterman,

Diane Chisholm, Bob Clarke, Janet Cooke & Mrs Joyce Sproat, hEAD ELECTRiCiAN Len Samperi Christine Cooper, Bronwyn Cozens, the late Moya Jean Crane, AssisTANT hEAD Nicholas Rayment Prue Davenport, Jeremy Davis, Suzanne De Ferranti, Roderick & ELECTRiCiAN Gillian Deane, Charlotte Denison, Rosemary Farrow, Irene & John LANGUAGE COAChiNG Nicole Dorigo Garran, Mindy Green & Steve McDonald, Richard Gubbins, Elliott Gyger & Catherine Playoust, Wendy & Andrew Hamlin, David PROGRAM EDiTiNG Natalie Shea Hartgill, John & Judy Hastings, Elisabeth Hodson & Tom Karplus, & sURTiTLEs Geoff Hogbin, Janet Holmes à Court AC, Felicia Huppert, Mr Alan ADMiNisTRATiON Anna McMichael Hyland, Janina Jancu, Dr Esther Janssen, Elizabeth & Ian Johnston, AssisTANT Mrs W.G. Keighley in memory of Geoffrey, John Lamble AO, sURTiTLE OPERATOR Rob Dyball George Masterman, Tim & Gillian McDonald, Ann McFarlane, Ian & Pam McGaw, Bill McIntosh, Noel & Donna McIntosh, Brendan RECORDiNG PRODUCERs Thomas Grubb, Mark Edwards McPhillips, Betty Meehan, I. Merrick, Nick & Caroline Minogue, RECORDiNG ENGiNEER Patrick Mullins Frances Muecke, Jean Murphy, Margaret Newman, Jan Northam, Leone Oliver, Liz & Pieter Oomens, Jennie & Ivor Orchard, Timothy sET CONsTRUCTiON Simon Boyd & Daniel Farato of Belvoir; curtain painted by Scenograic Studio & Eva Pascoe, Cristina Pender, Jane Peters, Elisabeth Pidd, Ern & Deidre Pope, Keith & Robyn Power, Wilga Pruden, Hugh Richard & COsTUME CONsTRUCTiON Alex Aldrich (bull's head), Thérèse Cerneaz (Delfa's suit) Harriet Richards, Gil Ritchie, Pamela Russell, Kenneth Saxby, David ARTWORK & DEsiGN alphabet studio & Daniela Shannon, Agnes Sinclair, Tony Strachan, Sue Thomson, PROGRAM DEsiGN alphabet studio Greig Tillotson, Hilary Vallance, Kay Vernon, Don & Ilona Walker, A. Watson, G.C. & R. Weir, Robyn Wells, Westpac Group, Annie & PRODUCTiON Keith Saunders Anthony Whealy, Greg Wood, Barbara Woodine, Anonymous x 9 PhOTOGRAPhy

REhEARsAL & ARTisT Bridget Elliot PhOTOGRAPhy AMbAssADORs OF PiNChGUT Our Ambassadors do a wonderful job in spreading the word

about Pinchgut. We’re so thankful for their support and advocacy. ARChiVE DVD AUThOR Patrick Mullins Our 2013 Ambassadors are:

Michael Appleby, Colleen Chesterman, Margaret Easton, Suzanne Gleeson, David Hartgill, Deirdre Mason, Ian & Pam McGaw, Noel & Donna McIntosh, Ern & Deidre Pope

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A City of Sydney Venue City Recital Hall Angel Place General Manager Anne-Marie Heath

City Recital Hall Angel Place is managed by Pegasus Venue Management (AP) PTy LTD

2-12 Angel Place, Sydney, Australia GPO Box 3339, Sydney NSW 2001

Telephone: 02 9231 9000 Box Ofice: 02 8256 2222 or 1300 797 118 Fax: 02 9233 6652 www.cityrecitalhall.com

Clover Moore Lord Mayor Managed by PEGAsUs VENUE MANAGEMENT (AP) PTy LTD Christopher Rix Founder

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