IL SOGNO DI SCIPIONE

CLASSICAL OPERA IAN PAGE (CONDUCTOR)

7834_CO_Scipione_BOOKLET_FINAL_COVER.indd 1 27/06/2017 11:20 WOLFGANG AMADEUS MOZART (1756 - 1791) IL SOGNO DI SCIPIONE, K.126

Libretto by Pietro Metastasio (1698 - 1782)

Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag SCIPIONE STUART JACKSON tenor Kassel · Basel · London · New York · Praha COSTANZA KLARA EK soprano Recorded at the Church of St. Augustine, Kilburn, London, UK from 16 to 19 October 2016 FORTUNA SORAYA MAFI soprano Produced and engineered by Andrew Mellor Assistant engineers: Robin Hawkins and Chris Kalcov Editing: Claire Hay and Andrew Mellor PUBLIO KRYSTIAN ADAM tenor Mix & Mastering: Andrew Mellor Design by Toucari Live and Classical Opera EMILIO ROBERT MURRAY tenor Cover image by Debbie Coates Photographs by Benjamin Ealovega www.signumrecords.com LICENZA CHIARA SKERATH soprano Italian language coach: Matteo Dalle Fratte Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Harpsichord technician: Malcolm Greenhalgh Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. THELicences CHOIR for OF public CLASSICAL performances OPERA or broadcasting may be obtained from Phonographic Performance Ltd. Orchestra playing on period instruments at A = 430 Hz All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior We are extremely grateful to George and Efthalia Koukis for making this recording possible. THE ORCHESTRA OF CLASSICALpermission OPERA from Signum Records Ltd. Leader: Daniel Edgar We are also grateful to the following individuals and companies for their support: Sir Vernon and Lady Ellis, Continuo: Christopher℗ 2017 BucknallThe copyright (harpsichord), in this recording Luise is owned Buchberger by Classical (cello), Opera. © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. and John Warrillow and Pamela Parker, Kevin Lavery, Kate Bingham and Jesse Norman, Pearce and Beaujolais Cecelia Bruggemeyer (double bass) Rood, and Rusada. Classical Opera.

Special thanks to Rob Spence and Dogleap Films, Jeff and Jennifer Eldredge, Jeanette Grohe, Martin IAN PAGE conductorSignum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD Lawrence, Nigel Short and Glyn Williams. Tel: +44 (0) 20 8997 4000 Email: [email protected]

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Sogno CD booklet.Ian 13 June.indd 2 26/06/2017 13:28:15 SognoSogno CD CD booklet.Ian booklet.Ian 13 13June.indd June.indd 3 47 26/06/201726/06/2017 13:28:15 13:28:28 7834_CO_Scipione_BOOKLET_FINAL_COVER.indd 2 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 1 27/06/201727/06/2017 11:21 11:20 IL SOGNO DI SCIPIONE, K.126 CD 2 (49’57) Page 1 Recitativo: “Publio, padre” (Scipione, Fortuna, Costanza, Publio, Emilio) 1’49 35 CD 1 (58’17) Page 2 No. 7, Aria: “Quercia annosa su l’erte pendici” (Publio) 3’17 36 1 Overtura 5’23 22 3 Recitativo: “Giacchè al voler” (Scipione, Costanza, Fortuna, Publio, Emilio) 2’50 36 2 Recitativo: “Vieni e siegui i miei passi” (Fortuna, Costanza, Scipione) 2’16 22 4 No. 8, Aria: “A chi serena io miro” (Fortuna) 6’53 38 3 No. 1, Aria: “Risolver non osa” (Scipione) 6’46 25 5 Recitativo: “E a sì enorme possanza” (Scipione, Costanza) 2’16 39 4 Recitativo: “Giusta è la tua richiesta” (Costanza, Fortuna) 0’29 25 6 No. 9, Aria: “Biancheggia in mar lo scoglio” (Costanza) 7’10 40 5 No. 2, Aria: “Lieve sono al par del vento” (Fortuna) 7’09 26 7 Recitativo: “Non più. Bella Costanza” (Scipione, Fortuna) 0’40 40 6 Recitativo: “Dunque ove son?” (Scipione, Costanza, Fortuna) 2’40 26 8 No. 10, Aria: “Dì’ che sei l’arbitra del mondo intero” (Scipione) 7’15 41 7 No. 3, Aria: “Ciglio che al sol si gira” (Costanza) 8’04 28 9 Recitativo accompagnato: “E v’è mortal che ardisca” (Fortuna, Scipione) 3’33 42 8 Recitativo: “E quali abitatori” (Scipione, Fortuna, Costanza) 0’28 28 LICENZA 9 No. 4, Coro: “Germe di cento eroi” (Coro d’Eroi) 2’39 29 10 Recitativo: “Non è Scipio, o signore” 0’35 43 10 Recitativo: “Numi, è vero o m’inganno?” (Scipione, Publio) 2’43 29 11 No. 11, Aria: “Ah, perchè cercar degg’io” (final version) 8’30 43 11 No. 5, Aria: “Se vuoi che te raccolgano” (Publio) 7’24 31 12 No. 12, Coro: “Cento volte con lieto sembiante” 1’38 44 12 Recitativo: “Se qui vivon gli eroi” (Scipione, Fortuna, Costanza, Publio, Emilio) 3’59 31 APPENDIX 13 No. 6, Aria: “Voi colaggiù ridete” (Emilio) 8’17 34 13 No. 11, Aria: “Ah, perchè cercar degg’io” (original version) 3’31 44

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Sogno CD booklet.Ian 13 June.indd 4 26/06/2017 13:28:15 Sogno CD booklet.Ian 13 June.indd 5 26/06/2017 13:28:15 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 2-3 27/06/2017 11:22 The Orchestra of Classical Opera

Violin 1 Double bass Daniel Edgar (leader) Cecelia Bruggemeyer (continuo) Hannah Tibell Timothy Amherst Julia Kuhn Nia Lewis Flute James Toll Katy Bircher Kristin Deeken Eva Caballero Davina Clarke Oboe Violin 2 James Eastaway Liz McCarthy Rachel Chaplin Sophie Barber Bassoon Marianna Szücs Zoe Shevlin Kirsten Klingels Inga Maria Klauke Emilia Benjamin Naomi Burrell Horn Mark Seow Gavin Edwards Nick Benz Viola Lisa Cochrane Trumpet Oliver Wilson Paul Sharp Mark Braithwaite Philip Bainbridge Louise Hogan Timpani Cello Scott Bywater Luise Buchberger (continuo) Harpsichord Jonathan Rees Christopher Bucknall (continuo) Alex Rolton

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Soprano Tenor Sophie Gallagher Benjamin Alden Rosemary Galton Peter Davoren Laura Oldfield Nicholas Madden Bethany Partridge Amy Wood Bass Stephen Kennedy Alto Oliver Hunt Amy Lyddon Andrew Mahon Martha McLorinan Eleanor Minney

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Sogno CD booklet.Ian 13 June.indd 9 26/06/2017 13:28:20 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 6-7 27/06/2017 11:22 Il sogno di Scipione – an introduction by Ian Page

Mozart’s Il sogno di Scipione was composed in 1771 as a celebratory homage to Prince Archbishop Sigismund Schrattenbach of Salzburg, but the Archbishop died before the piece could be performed. In the spring of 1772 Mozart amended the work so that it could be used in honour of Schrattenbach’s successor, Hieronymus Colloredo – the only necessary change was to alter the name of the dedicatee in the final recitative, although Mozart also took the opportunity to compose a new, extended setting of the final aria. It seems likely that the piece was eventually presented as part of the celebrations for Archbishop Colloredo’s investiture, but there is no categorical proof that it was performed either then or at any other point in Mozart’s lifetime. Indeed, it is possible that its première might have been as recently as 20 January 1979, when it was performed as part of the Salzburg Mozartwoche.

Background Following the triumphant première of Mitridate, re di Ponto in Milan on 26 December 1770, the fourteen-year-old Mozart and his father had remained in Italy for a further three months, incorporating a two-week visit to Turin and a month in Venice, as well as short stays in Brescia, Verona, Vicenza and Padua. By the time they left the country Leopold Mozart had secured four further commissions for his son. Two of these were for Milan again – a wedding ‘serenata’ (which would be Ascanio in Alba) for the festivities surrounding the marriage of the Habsburg Empress Maria Theresa’s fourth son, Archduke Ferdinand, to Beatrice d’Este, Princess of Modena, and another carnival opera (Lucio Silla) to open in December 1772 – while the third was for an opera for Venice, which in the event did not materialise because its dates clashed directly with the second Milan commission. The final contract was for an oratorio for Padua (this became La Betulia liberata, although no performance was forthcoming).

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Sogno CD booklet.Ian 13 June.indd 11 26/06/2017 13:28:22 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 8-9 27/06/2017 11:22 Mozart and his father arrived back home in Salzburg on Maundy Thursday, 28 March Stefano Arteaga described him as “the favourite author of the century, whose name is 1771, and Wolfgang was soon working on a fifth commission, this one for his home heard gloriously from Cadiz to the Ukraine, and from Copenhagen to Brazil” – and it town. This was to be a serenata in honour of Archbishop Schrattenbach, and the resulting was to his work that Mozart turned when he arrived home in Salzburg in March 1771. work was Il sogno di Scipione. No record or details of the commission survive, and the He had already composed several concert arias to Metastasio texts (K.77, 78, 79, 82, occasion for which the work was intended is not precisely clear. Each year the court 83, 88), and for his new Salzburg commission he chose (doubtless in collaboration with celebrated the anniversary of the Archbishop’s consecration on 21 December and his his father) Metastasio’s Il sogno di Scipione, which had been penned in 1735 for the birthday on 28 February, but the most likely pretext for the commission was the fiftieth birthday celebrations of Habsburg Emperor Karl VI (it was originally set by the Bolognese anniversary of Schrattenbach’s ordination into the church, which would have occurred on composer Luca Antonio Predieri). 10 January 1772. Metastasio’s prime source was Cicero’s Somnium Scipionis (‘Scipio’s Dream’), from Book The licenza (literally ‘licence’ or ‘liberty’) was a regular part of courtly life in the eighteenth VI of his De Republica, although he also drew on a story told in Book XV of Silius Italicus’ century, and Mozart had already composed two licenza arias for Archbishop Schrattenbach: Punica, in which Scipio is forced to decide whether his life should be governed by Virtus “Or che il dover… Tali e cotante sono”, K.36 in December 1766 and “A Berenice e (Virtue) or Voluptas (Pleasure). The Scipio of the title is the Roman general Scipio Aemilianus Vologeso sposi… Sol nascente in questo giorno”, K.70 in either 1767 or 1769. A licenza (also known as Scipio Africanus the Younger), who was the second son of the Roman was a tribute inserted at the end of an opera, play or other entertainment to honour the consul and general Lucius Aemilius Paulus Macedonicus (Emilio in the opera). Scipio had anniversary of a patron’s birth, wedding or investiture. Often they were conceived as a been adopted in childhood by his cousin, Publius Cornelius Scipio, whose own father, separate but climactic homage, but occasionally they formed an integral part of the work Publius Cornelius Scipio Africanus, was the celebrated military commander who had they followed, as in Il sogno di Scipione. They usually consisted of a solo recitative and defeated Hannibal in the Second Punic War; there appears to be some uncertainty aria, sometimes followed by a celebratory chorus. among biographers and commentators as to which of these Publiuses is featured in Il sogno di Scipione, but the dramatis personae of Metastasio’s libretto makes clear that The libretto it was Scipio’s adoptive grandfather, Scipio Africanus. The fictional story of Scipio’s dream During Mozart’s time in Italy he had been befriended and supported by the governor- takes place in 148 BC, two years before Scipio led the destruction of Carthage in the general of Lombardy, Count Karl Joseph Firmian, whose brother was high steward at the Third Punic War. Salzburg court. Firmian, who was described by Charles Burney as “a sort of King of Milan”, had been responsible for securing the commission for Mitridate, and on Wolfgang’s Composition and re-dedication initial departure from Milan he had presented the young composer with a beautifully Mozart very probably composed Il sogno di Scipione during April and May 1771, bound nine-volume set of the complete works (to date) of Metastasio. Pietro Metastasio followed by a second Metastasio setting, La Betulia liberata (in response to his Padua (1698-1782) was the most celebrated and prolific opera librettist of the day – the theorist commission), while he was still awaiting confirmation of which libretto he was required

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Sogno CD booklet.Ian 13 June.indd 12 26/06/2017 13:28:22 Sogno CD booklet.Ian 13 June.indd 13 26/06/2017 13:28:22 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 10-11 27/06/2017 11:22 to set for the Milan wedding serenata. He presumably knew that time would be extremely also wrote a new version of the final licenza aria – the original setting (included as an tight when he returned from Milan, and that he therefore needed to complete the appendix on this recording) was considerably shorter than all but one of the work’s other Schrattenbach commission before he left. In the event he and his father departed for their arias, possibly as a result of the work having been completed in a hurry – and this was second trip to Italy on 13 August, arriving in Milan on 21 August. Here he began not a task that he would have undertaken without the expectation of a performance. composing Ascanio in Alba, and by 21 September he reported that he only had two more arias to compose. The work was premièred on 17 October, like Mitridate at the Colloredo inherited extensive debts from his predecessor, and his rule was to be Teatro Regio Ducale, and received four further performances before the end of the month characterised by austerity and thrift. Some biographers have taken this, in combination as the wedding festivities continued unabated. Leopold Mozart decided that they should with the lack of firm evidence, to suggest that any planned performance of Il sogno di stay in Milan for a further month in the hope of securing a musical position for Wolfgang Scipione in 1772 failed to materialise, but written reports of the celebrations attached to in the court of the newly married Archduke Ferdinand, but no offer was forthcoming. They the Archbishop’s investiture on 29 April 1772 – the date that he took up residence in eventually left Milan on 5 December, arriving back in Salzburg on 15 December. The Salzburg – refer to the performance of a cantata at a grand dinner for 160 held in the very next day, any plans for the imminent performance of Il sogno di Scipione were Residenz palace that evening. It is entirely plausible – likely, even – that the work in suddenly thrown into confusion by the death of Archbishop Schrattenbach. question was Il sogno di Scipione.

The selection of a successor was a tortuous and controversial one, with the Imperial court Mozart’s relationship with the new Archbishop was to prove a difficult and ultimately in Vienna applying political pressure on the election process, and in the end – and after acrimonious one, but it began promisingly. Colloredo had met the six-year-old Mozart in no fewer than thirteen ballots – the appointment went to Hieronymus Joseph Franz de Vienna in 1762 and heard him perform there, and ten years later one of his first acts as Paula, the Count of Colloredo. He had been born into a distinguished aristocratic family Archbishop was to incorporate Wolfgang formally into court employment, granting him in Vienna in 1732, and was educated there and in Rome. He had been made a canon a salary for the first time (his 150 gulden a year was one-third the size of his father’s at Salzburg Cathedral at the age of fifteen, and had acquired several further ecclesiastical salary). Again, it seems plausible, though unproven, that this recognition might have been titles in Austria and Germany by the time he was officially appointed Prince Archbishop prompted by gratitude for the serenata offered in his honour. of Salzburg on 14 March 1772. The music It was a straightforward and politic move to re-dedicate Il sogno di Scipione to the new In Mozart’s early operas he already demonstrates an unerring ability to match the scale Archbishop – Mozart had already changed Metastasio’s original dedicatory reference and ambition of the music to the widely differing circumstances for which each work was in the final recitative from ‘Carlo’ (Karl VI) to ‘Sigismondo’ (Schrattenbach), and in the written. Apollo et Hyacinthus, La finta semplice, Bastien und Bastienne and Mitridate, autograph manuscript he subsequently crossed out ‘Sigismondo’ and replaced it with re di Ponto were all conceived for highly contrasting conditions, venues, audiences and ‘Girolamo’, the Italian equivalent of Hieronymus (Colloredo). In the spring of 1772 he performers, and it is important to bear this in mind when assessing their relative merits. Il

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Sogno CD booklet.Ian 13 June.indd 14 26/06/2017 13:28:22 Sogno CD booklet.Ian 13 June.indd 15 26/06/2017 13:28:22 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 12-13 27/06/2017 11:22 sogno di Scipione represented yet another new set of circumstances: an extremely formal lacking in the music of his adoptive grandfather Publio. Perhaps the finest aria of all, and obsequious presentation designed as a homage to the Archbishop of Salzburg. though, is the final version of the concluding licenza aria, whose melodic charm and yearning pathos anticipate the wonders of Mozart’s maturity. At face value Metastasio’s libretto presented a significant challenge. It is almost entirely devoid of plot, character development or dramatic action of any kind, and the sequence Mozart’s writing for the orchestra is consistently accomplished and vibrant. In Fortuna’s of prototype ‘opera seria’ arias and recitatives is broken only by two short choruses, the first aria, and again in Costanza’s second aria, a relentlessly scurrying undertow of second second of which concludes the work. Mozart’s score, therefore, needed to create its own violin semiquavers depicts the tempestuous weather conditions that are being evoked, musical flow and momentum, and to enhance the contemplative nature of much of the while in Publio’s first aria high-lying B flat alto horns bring a distinctive brightness, libretto with music of virtuosity, vigour and panache. The influence of his recent fifteen- simultaneously ethereal and military, to the music. As in his other early operas, Mozart month trip to Italy is readily apparent, but whereas Mitridate had been able to draw on frequently enriches the string texture by writing two separate viola parts, and another the operatic reforms and experiments of composers such as Gluck, Jommelli and Traetta, recurring device he uses to great effect is to have first and second violins doubling a Il sogno di Scipione needed to revert to a less fluid, altogether more reflective and static melodic line an octave apart. He underlines the work’s festive provenance by adding pace of utterance. trumpets and timpani to the standard orchestration of oboes, horns, basson and strings for the opening movement of the overture and for both choruses, and the addition of flutes Aside from the linking recitative, the main body of the story features nine arias (two for for the second movement of the overture and for Emilio’s aria creates an exquisitely each character except Emilio, who has one) and a chorus. Scipio’s lyrical opening aria autumnal hue which is all the more effective for being so sparingly used. reveals a character who is benignly bemused by Fortune and Constancy’s insistence that he must commit to following one of them and rejecting the other, and any sense of In a piece that has so little plot and narrative content, though, it is arguably the two confusion or unease inherent in Metastasio’s text is reserved for the palpitating middle framing devices which he uses to set the story up that reveal Mozart’s dramatic genius section, in which the orchestra’s pizzicato bass line and fluttering off-beat accents underpin most tellingly, firstly when the overture gradually subsides into an unresolved hush which the briefly animated vocal part. By the time of his second aria, however, Scipio has depicts Scipio falling into a deep sleep, and secondly with the remarkable accompanied already resolved to choose Constancy, and the music now assumes a majesty and virtuosity recitative in which Scipio eventually stirs from his dream. After much music that fulfils its which elevates the character to the heroic status of his ancestors. function effectively and attractively without quite firing the depths of Mozart’s nascent imagination, here at last we encounter music whose sublime beauty and haunting The allegorical figures of Costanza and Fortuna are characterised more as sparring sisters otherworldliness is suddenly worthy and evocative of Pythagarus’ imagined ‘music of the than as polar opposites, and their arias similarly combine lyrical warmth with virtuosic spheres’. vivacity. Mozart seems to devote more attention to distinguishing between Scipio’s two forefathers, the aria of his natural father Emilio possessing a radiance and compassion Ian Page

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The story of Scipio’s Dream takes place in c.148 BC, while the celebrated Roman Scipio wishes to remain in Elysium, but Fortuna and Costanza insist that this is not yet general is a guest in the palace of his ally Massinissa, King of Numidia (in modern permitted. Publio and Emilio remind him that he still has plenty to accomplish on earth day Tunisia). As Scipio falls into a deep sleep, he dreams that the allegorical figures of for the good of his people, and that he has not yet fulfilled his destiny and earned his Fortuna (Fortune) and Costanza (Constancy) appear to him in Elysium and demand that place in heaven. he should choose one of them to follow for the rest of his days. Scipio feels that he needs more information to be able to make his decision, but Fortuna in particular is reluctant to The time has come for Scipio to choose between Fortuna and Costanza, but when allow him further time, acknowledging that she is as changeable and capricious as the he turns to Publio and Emilio for advice they tell him that he must make up his own wind. As Scipio admires the astonishing beauty of his surroundings, Costanza explains mind. One after the other Fortuna and Costanza press their claims for support, Fortuna to him that on earth we are incapable of recognising such wonders, in the same way asserting that every human life is at her mercy while Constanza claims that she alone is that we have to turn away when we try to look into the sun. capable of withstanding Fortuna and rewarding virtue and merit.

Scipio enquires about the inhabitants of Elysium, and is immediately visited by a chorus Scipio finally makes his decision. He will ignore the threats and vicissitudes of Fortuna of dead heroes who include among their number his father Emilio (Lucius Aemilius) and and devote himself to Costanza. Fortuna is livid and unleashes her fury, but Scipio his adoptive grandfather Publio (Publius Cornelius Scipio Africanus), both of whom have remains steadfast and fearless. He wakes up to realise that everything has been a died heroically in military combat while serving their country. Publio explains that only dream, but he recognises the omen and resolves to commit his allegiance to constancy their mortal bodies are dead, and he urges Scipio to live a life of virtue so that he in rather than fortune, as he has done in his dream. time can also live among the immortal heroes. In the closing licenza, the muse declares that this was not so much a story about Scipio Scipio is perturbed that his father Emilio does not seem happy to see him, but Emilio as about Archbishop Colloredo. She sings his praises and a final chorus pays homage explains that in heaven happiness is a much calmer and less demonstrative emotion. to him, wishing him long life and prosperity. From their vantage point the world appears like a tiny dot, and all the anxieties and agitations that we endure on earth now seem absurd and insignificant.

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Sogno CD booklet.Ian 13 June.indd 18 26/06/2017 13:28:22 Sogno CD booklet.Ian 13 June.indd 19 26/06/2017 13:28:22 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 16-17 27/06/2017 11:22 Classical Opera

Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart and his contemporaries, and has emerged as one of the leading exponents in its field. In 2017 it launched a new brand, The Mozartists, enabling it to broaden its ever-expanding concert work while continuing to present recordings and performances of complete operas under the name of Classical Opera. With its own acclaimed period-instrument orchestra, the company has attracted widespread critical and public recognition, not only for the high quality of its performances but also for its imaginative programming and its ability to discover and nurture outstanding young singers. In 2015 it launched MOZART 250, a ground-breaking 27-year project following the chronological trajectory of Mozart’s life, works and influences. Classical Opera has performed regularly at many of London and the UK’s leading venues, including Wigmore Hall, the Barbican, Sadler’s Wells, Birmingham Town Hall and Bridgewater Hall, Manchester, and on tour in Italy, France, Germany and Austria, where it enjoyed a three-concert residency at the 2016 Eisenstadt Haydn Festival. It has mounted staged productions of many of Mozart’s operas, and in 2009 presented The Royal Opera’s new production of Thomas Arne’s Artaxerxes. It has also given the world première of the ‘original’ version of Mozart’s Mitridate, re di Ponto, and the UK premières of Gluck’s La clemenza di Tito, Telemann’s Orpheus and Jommelli’s Il Vologeso. Classical Opera’s first two recordings – ‘The A-Z of Mozart Opera’ (Sony BMG, 2007, re- released on Signum Classics, 2014) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore Hall Live, 2010) – were both selected for Gramophone magazine’s annual Critic’s Choice. In May 2016 the company released ‘Where’er You Walk’, with tenor Allan Clayton, which was shortlisted for the 2017 International Opera Awards, and this was followed in May 2017 by The Mozartists’ début recording ‘Perfido!’, a programme of Mozart, Haydn and Beethoven concert arias featuring soprano Sophie Bevan. Il sogno di Scipione is the sixth release in Classical Opera’s complete recording cycle of Mozart’s operas.

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Sogno CD booklet.Ian 13 June.indd 21 26/06/2017 13:28:24 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 18-19 27/06/2017 11:22 Libretto COSTANZA: CONSTANCY: Guardami in volto. Look me in the face. CD 1 SCIPIONE: SCIPIO: Scipione dormendo, la Costanza e la Fortuna. Scipio sleeping, Constancy and Fortune. Oh Dei! Oh gods, Quale abisso di luce! what an abyss of light! 1 Overtura Overture Quale ignota armonia! quali sembianze What unfamiliar harmony! What Allegro moderato – [Andante] Allegro moderato – [Andante] Son queste mai sì luminose e liete! radiant and joyful features are these? E in qual parte mi trovo? E voi chi siete? But where am I? And who are you? 2 Recitativo Recitative FORTUNA: FORTUNE: COSTANZA: CONSTANCY: Vieni e siegui i miei passi, Come and follow in my footsteps, Nutrice degli Eroi. The nurturer of heroes. O gran figlio d’Emilio. great son of Aemilius. FORTUNA: FORTUNE: COSTANZA: CONSTANCY: Dispensatrice The dispenser of all the well-being I passi miei, Come and follow Di tutto il ben, che l’universo aduna. that the universe can gather together. Vieni e siegui, o Scipion. in my footsteps, Scipio. COSTANZA: CONSTANCY: SCIPIONE: SCIPIO: Scipio, io son la Costanza. Scipio, I am Constancy. Chi è mai l’audace, Who is the audacious person Che turba il mio riposo? that is disturbing my sleep? FORTUNA: FORTUNE: Io la Fortuna. I am Fortune. FORTUNA: FORTUNE: Io son. It is I. SCIPIONE: SCIPIO: E da me che si vuol? And what do you want from me? COSTANZA: CONSTANCY: Son io: It is I; COSTANZA: CONSTANCY: E sdegnar non ti dei. and you must not worry yourself. Che una fra noi That you choose one of us Nel cammin della vita as your companion FORTUNA: FORTUNE: Tu per compagna elegga. along life’s path. Volgiti a me. Turn towards me.

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Sogno CD booklet.Ian 13 June.indd 22 26/06/2017 13:28:24 Sogno CD booklet.Ian 13 June.indd 23 26/06/2017 13:28:24 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 20-21 27/06/2017 11:22 FORTUNA: FORTUNE: SCIPIONE: SCIPIO: Entrambe offriamo We both offer E come? But how? Di renderti felice. to make you happy. Se volete ch’io parli, If you wish me to speak, Se risolver degg’io, lasciate all’alma if I must decide, allow my soul COSTANZA: CONSTANCY: Tempo da respirar, spazio onde possa time to breathe, space in which it can E decider tu dèi And you have to decide Riconoscer se stessa. gather itself. Se a me più credi, o se più credi a lei. whether you believe more in me or in her. Ditemi, dove son, chi qua mi trasse, Tell me where I am, who brought me here, Se vero è quel ch’io veggio, if what I see is real, if I’m dreaming, SCIPIONE: SCIPIO: Se sogno, se son desto, o se vaneggio. if I’m awake, or if this is a delusion. Io? Ma Dee... Che dirò? I? But goddesses… What can I say? 3 No.1, Aria No.1, Aria FORTUNA: FORTUNE: SCIPIONE: SCIPIO: Dubiti! Do you hesitate? Risolver non osa My confused mind Confusa la mente, does not dare to decide, Che oppressa si sente for it feels burdened COSTANZA: CONSTANCY: Da tanto stupor. by so much amazement. Incerto Can you remain undecided Un momento esser puoi! even for one moment? Delira dubbiosa, Every soul that wavers Incerta vaneggia in the beatings of its heart FORTUNA: FORTUNE: Ogn’ alma che ondeggia is delirious with doubt, Ti porgo il crine, I bring you the crown, and yet Fra’ moti del cor. raving with uncertainty. E a me non t’abbandoni? you do not abandon yourself to me? 4 Recitativo Recitative COSTANZA: CONSTANCY: COSTANZA: CONSTANCY: Odi il mio nome, You hear my name, Giusta è la tua richiesta: a parte, a parte Your request is reasonable, so ask Nè vieni a me? and yet you do not come to me? Chiedi pur e saprai your questions one by one and you Quanto brami saper. will learn whatever you want to know. FORTUNA: FORTUNE: Parla. Speak! FORTUNA: FORTUNE: Sì; ma sian brevi, Yes, but make your questions brief, COSTANZA: CONSTANCY: Scipio, le tue richieste. Intollerante Scipio. I do not like Risolvi. Decide! Di riposo son io. Loco ed aspetto to be kept waiting. It is my pleasure Andar sempre cangiando è mio diletto. always to change my location and appearance.

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Sogno CD booklet.Ian 13 June.indd 24 26/06/2017 13:28:24 Sogno CD booklet.Ian 13 June.indd 25 26/06/2017 13:28:24 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 22-23 27/06/2017 11:22 5 No. 2, Aria No. 2, Aria SCIPIONE: SCIPIO: FORTUNA: FORTUNE: E chi mai tra le sfere, oh Dee, produce And who, o goddesses, creates from the spheres Lieve sono al par del vento; I am as capricious as the wind; Un concento sì armonico e sonoro? such a melodious and sonorous harmony? Vario ho il volto, il piè fugace; my face is changeable, my foot fleeting; Or m’adiro, e in un momento one moment I’m enraged, but the next moment COSTANZA: CONSTANCY: Or mi torno a serenar. I return to being calm. L’istessa ch’è fra loro That same inequality of proportion Di moto e di misura which exists between them Sollevar le moli oppresse Firstly it delights me to raise up Proporzionata ineguaglianza. Insieme in movement and in size. Together Pria m’alletta, e poi mi piace ruined buildings, and then it gives me pleasure Urtansi nel girar; rende ciascuna they collide in their orbit; each gives out D’atterrar le moli istesse to demolish those same buildings Suon dall’altre distinto; a different sound from the next, Che ho sudato a sollevar. that I have toiled to erect. E si forma di tutti un suon concorde. and from all of them a harmonious sound is formed. Varie così le corde The strings of a lyre are likewise different, 6 Recitativo Recitative Son d’una cetra; e pur ne tempra in guisa and yet in the same way both ear and hand SCIPIONE: SCIPIO: E l’orecchio e la man l’acuto e’l grave, moderate the treble and the bass, Dunque ove son? La reggia Then where am I? This is certainly Che dan, percosse, un’armonia soave. producing, when struck, a sweet harmony. Di Massinissa, ove poc’ anzi i lumi not Massinissa’s palace, Questo mirabil nodo, This miraculous combination, Al sonno abbandonai, where a short time ago Questa ragione arcana this mysterious ratio Certo questa non é. I surrendered my eyes to sleep. Che i dissimili accorda, that unites dissimilar things, Proporzion s’appella, ordine e norma is called proportion, the order COSTANZA: CONSTANCY: Universal delle create cose. and universal principle of all creation. No: lungi assai No. Africa is a very long way Questa è quel che nascose, This is what lay hidden, È l’Africa da noi. Sei nell’immenso away from us. You are in D’alto saper misterioso raggio, the mysterious ray of a higher knowledge, Tempio del ciel. the immense temple of heaven. Entro i numeri suoi di Samo il Saggio. within the numbers of the sage of Samos.1

FORTUNA: FORTUNE: Non lo conosci a tante Can you not recognise it Che ti splendono intorno from so many radiant stars that shine 1.This is a reference to the famous philosopher, astronomer and mathematician Pythagoras, who was born on the island Lucidissime stelle? A quel che ascolti around you, from the unaccustomed harmony of Samos in c.570 BC. Pythagoras observed that on the Greek seven-string lyre harmonious notes sounded when Insolito concento of the moving spheres that you can hear, the lengths of those strings were proportional to whole numbers, e.g. 2:1, 3:2, 4:3. He then extended this notion to Delle mobili sfere? A quel che vedi from that great globe the so-called ‘harmony of the spheres’, the theory that the movement of planets and stars corresponded to the same Di lucido zaffiro of gleaming sapphire that you can see, mathematical equations that governed musical harmony. Orbe maggior, che le rapisce in giro? which forces them into orbit?

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Sogno CD booklet.Ian 13 June.indd 26 26/06/2017 13:28:24 Sogno CD booklet.Ian 13 June.indd 27 26/06/2017 13:28:24 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 24-25 27/06/2017 11:22 SCIPIONE: SCIPIO: COSTANZA: CONSTANCY: Ma un armonia sì grande But why does such a glorious harmony Ne han molti e vari in varie parti. They have many, and different ones in different Perchè non giunge a noi? Perchè non l’ode not reach us? Why is it not heard parts. Chi vive là nella terrestre sede? by those living in the realm of earth? SCIPIONE: SCIPIO: COSTANZA: CONSTANCY: In questa, In this one, where we are, Troppo il poter de’ vostri sensi eccede. It too far exceeds the scope of your senses. Ove noi siam, chi si raccoglie mai? who are gathered together?

FORTUNA: 7 No. 3, Aria No. 3, Aria FORTUNE: Guarda sol chi s’appressa, e lo saprai. Just look who is approaching, and you will find out. COSTANZA: CONSTANCY: Ciglio che al sol si gira, The eye that turns to the sun Non vede il sol che mira, cannot see the sun at which it gazes, Publio, coro d’Eroi, indi Emilio e detti. Confuso in quell’ istesso dazzled by that same Publius, a chorus of Heroes and then Eccesso di splendor. excess of splendour. Aemilius enter.

9 No. 4, Coro No. 4, Chorus Chi là del Nil cadente He who lives by the shores CORO D’EROI: CHORUS OF HEROES: Vive alle sponde appresso, of the cascading waters of the Nile Germe di cento eroi, Come, seed of a hundred heroes, Lo strepito non sente does not notice the noise Di Roma onor primiero, Rome’s foremost glory, Del rovinoso umor. of the ruinous torrent. Vieni, che in ciel straniero come, so that your name may not 8 Recitativo Recitative Il nome tuo non è. be entered in a foreign heaven. SCIPIONE: SCIPIO: E quali abitatori... And which inhabitants… Mille trovar tu puoi You can find a thousand Orme degli avi tuoi, footprints of your ancestors FORTUNA: FORTUNE: Nel lucido sentiero, in the resplendent pathway Assai chiedesti: You’ve asked enough; Ove inoltrasti il piè. on which you have set foot. Eleggi al fin. choose, once and for all. 10 Recitativo Recitative SCIPIONE: SCIPIO: SCIPIONE: SCIPIO: Soffri un istante. E quali Bear with me a moment. And what Numi! è vero, o m’inganno? Il mio grand’avo, Heavens, is it true, or am I deluding myself? Abitatori han queste sedi eterne? inhabitants do these eternal realms have? Il domator dell’African rubello Is that not my great ancestor, Quegli non è? who tamed the African rebellion?

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Sogno CD booklet.Ian 13 June.indd 28 26/06/2017 13:28:24 Sogno CD booklet.Ian 13 June.indd 29 26/06/2017 13:28:24 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 26-27 27/06/2017 11:22 PUBLIO: PUBLIUS: No, Scipion: la perfetta No, Scipio; the most perfect Non dubitar, son quello. Do not doubt it; I am he. D’ogni cagion, prima cagione ingiusta of all causes, the prime cause Esser così non può. V’è dopo il rogo, cannot be so unjust. Beyond the funeral pyre SCIPIONE: SCIPIO: V’è mercè da sperar. Quelle che vedi there is the mercy of hope. Those radiant Gelo d’orror! Dunque gli estinti?... I freeze with horror! Then the dead…? Lucide eterne sedi eternal realms that you see are reserved Serbansi al merto: e la più bella è questa, for merit; and the most beautiful is this one, PUBLIO: PUBLIUS: In cui vive con me qualunque in terra in which live with me whoever on earth Estinto, I am La patria amò, qualunque offri pietoso loved their country, whoever piously devoted Scipio, io non son. not dead, Scipio. Al pubblico riposo i giorni suoi, their life to the public well-being, and Chi sparse il sangue a benefizio altrui. who shed their blood for the good of others. SCIPIONE: SCIPIO: Ma in cenere disciolto But it is already a long time ago 11 No. 5, Aria No. 5, Aria Tra le funebri faci, that Rome mourned you, PUBLIO: PUBLIUS: Gran tempo è già, Roma ti pianse. reduced to ashes among the funeral torches. Se vuoi che te raccolgano If you wish these realms Questi soggiorni un dì, to welcome you one day, PUBLIO: PUBLIUS: Degli avi tuoi rammentati, remember your ancestors, Ah taci: Ah, be silent! Non ti scordar di me. do not forget me. Poco sei noto a te. Dunque tu credi You little know yourself. So do you believe Che quella man, quel volto, that that hand, that face, Mai non cessò di vivere Those who have died like us Quelle fragili membra, onde vai cinto, those frail limbs in which you are encircled Chi come noi morì: have never ceased to live; Siano Scipione? Ah non è ver. Son queste constitute Scipio? Ah, it is not true. These are Non meritò di nascere but he who lives only for himself Solo una veste tua. Quel, che le avviva, merely your outer cloak. That pure, immortal Chi vive sol per sè. did not deserve to be born. Puro raggio immortal, che non ha parti, spark which brings them to life, which has E scioglier non si può che vuol, che intende, no parts, and which cannot choose what it 12 Recitativo Recitative Che rammenta, che pensa, wishes, what it intends, what it remembers, SCIPIONE: SCIPIO: Che non perde con gli anni il suo vigore, what it thinks, which does not lose its vitality Se qui vivon gli eroi… If the heroes live here… Quello, quello è Scipione: e quel non muore. with the years: that, that is Scipio; and that Troppo iniquo il destino does not die. The fate of the virtuous would FORTUNA: FORTUNE: Saria della virtù, s’oltre la tomba be too harsh if nothing of us were to remain Se paga ancora If your wish is not yet fulfilled, Nulla di noi restasse; e s’altri beni beyond the tomb, and if there were no delights La tua brama non è, Scipio, è già stanca Scipio, my patience is already exhausted. Non vi fosser di quei for you other than those La tolleranza mia. Decidi... Decide… Che in terra per lo più toccano a’ rei. which on earth fall mostly to the wicked.

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Sogno CD booklet.Ian 13 June.indd 30 26/06/2017 13:28:24 Sogno CD booklet.Ian 13 June.indd 31 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 28-29 27/06/2017 11:23 COSTANZA: CONSTANCY: EMILIO: AEMILIUS: Eh lascia Oh, let him ask what he wants. Figlio, il contento My son, happiness among us in heaven Ch’ei chieda a voglia sua. Ciò ch’egli apprende, What he learns will enable him Fra noi serba nel Cielo altro tenore. takes another form. Here it is not a matter Atto lo rende a giudicar fra noi. to choose between us. Qui non giunge all’affanno, ed è maggiore. of agitation, and it is all the better for it.

SCIPIONE: SCIPIO: SCIPIONE: SCIPIO: Se qui vivon gli eroi If the heroes who serve their country Son fuor di me. Tutto quassù m’è nuovo, I am beside myself. Everything up here Che alla patria giovar, tra queste sedi live here, why do I not see Tutto stupir mi fa. is new, everything amazes me. Perchè non miro il genitor guerriero? my warrior father in these realms? EMILIO: AEMILIUS: PUBLIO: PUBLIUS: Depor non puoi You cannot lay aside the false beliefs L’hai su gli occhi, e nol vedi? You have him before your very eyes and do Le false idee che ti formasti in terra, that you formed on earth, and that you E ne stai sì lontano. Abbassa il ciglio: not see him? are so far away from. Lower your glance: Vedi laggiù d’impure nebbie avvolto do you see down there, enveloped in polluted SCIPIONE: SCIPIO: Quel picciol globo, anzi quel punto? clouds, that tiny globe, or rather that dot? È vero, è vero. It’s true, it’s true. Perdona, errai, gran genitor; ma colpa Forgive me, I was mistaken, great father; SCIPIONE: SCIPIO: Delle attonite ciglia but the blame for my delayed senses lies Oh stelle! Oh heavens! È il mio tardo veder, non della mente, in my astonished eyes, not in my mind, È la terra? Is that the earth? Che l’immagine tua sempre ha presente. which always holds your image present. Ah sei tu! Già ritrovo Ah, it is you! Already I find again EMILIO: AEMILIUS: L’antica in quella fronte in that brow the paternal grandeur of old. Il dicesti. It is as you say. Paterna maestà. Già nel mirarti Already, on seeing you again, Risento i moti al core I feel emotions of respect and love SCIPIONE: SCIPIO: Di rispetto e d’amore. Oh fausti numi! within my heart. Oh propitious gods! E tanti mari, With so many seas, Oh caro padre! Oh lieto dì! Ma come Oh beloved father! Oh happy day! But why E tanti fiumi e tante selve e tante so many rivers and so many woods, so many Si tranquillo m’accogli? Il tuo sembiante do you receive me in so muted a fashion? Vastissime province, opposti regni, vast provinces, opposing kingdoms and Sereno è ben, ma non commosso. Ah dunque Your face is very peaceful, but not stirred. Popoli differenti? E il Tebro? E Roma?... different tribes? And the Tiber? And Rome?… Non provi in rivedermi Ah, so do you not feel a happiness Contento eguale al mio! equal to mine in seeing me again? EMILIO: AEMILIUS: Tutto è chiuso in quel punto. Everything is enclosed within that dot.

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Sogno CD booklet.Ian 13 June.indd 32 26/06/2017 13:28:25 Sogno CD booklet.Ian 13 June.indd 33 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 30-31 27/06/2017 11:23 SCIPIONE: SCIPIO: CD 2 Ah, padre amato, Ah, beloved father, Che picciolo, che vano, what a miniscule, vain and wretched stage 1 Recitativo Recitative Che misero teatro ha il fasto umano! does human pride occupy! SCIPIONE: SCIPIO: Publio, padre, ah lasciate Publius, father, ah let me stay EMILIO: AEMILIUS: Ch’io rimanga con voi. Lieto abbandono with you. I gladly relinquish Oh se di quel teatro Oh, if you could examine Quel soggiorno laggiù troppo infelice. my too unhappy sojourn down there. Potessi, o figlio, esaminar gli attori; the actors on that stage, my son, Se le follie, gli errori, if you could observe their follies, their mistakes, FORTUNA: FORTUNE: I sogni lor veder potessi, e quale their dreams, and see what cause, Ancor non è permesso. That is not yet permitted. Di riso per lo più degna cagione derisory for the most part, Gli agita, gli scompone, is enough to agitate, disturb, COSTANZA: CONSTANCY: Gli rallegra, gli affligge o gl’innamora, delight, afflict or enchant them, Ancor non lice. That is not yet allowed. Quanto più vil ti sembrerebbe ancora! how much more contemptible still would it seem to you! PUBLIO: PUBLIUS: Molto a viver ti resta. You still have much life left to live. 13 No. 6, Aria No. 6, Aria EMILIO: AEMILIUS: SCIPIONE: SCIPIO: Voi colaggiù ridete Down there you laugh Io vissi assai; I have lived for a long time; D’un fanciullin che piange, at a little boy who is crying, Basta, basta per me. it is enough, enough for me. Che la cagion vedete for you see the cause Del folle suo dolor. of his foolish sorrow. EMILIO: AEMILIUS: Si, ma non basta Yes, but it is not enough Quassù di voi si ride, Up here we laugh at you, A’ disegni del fato, al ben di Roma, for the designs of Fate, for the good of Rome, Che dell’età sul fine, for at the end of your days, Al mondo, al ciel. for the world, for heaven. Tutti canuti il crine, when your hair is all white, Siete fanciulli ancor. you are still children. PUBLIO: PUBLIUS: Molto facesti, e molto You have done much, and much more Di più si vuol da te. Senza mistero is wanted from you. To speak plainly, Non vai, Scipione, altero Scipio, you have not yet attained your ancestors’ E degli aviti e de’ paterni allori. glory and your father’s laurels.

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Sogno CD booklet.Ian 13 June.indd 34 26/06/2017 13:28:25 Sogno CD booklet.Ian 13 June.indd 35 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 32-33 27/06/2017 11:23 I gloriosi tuoi primi sudori Not by chance did you expend FORTUNA: FORTUNE: Per le campagne ibere your first glorious exertions Istrutto or sei; Now you are informed: A caso non spargesti; e non a caso in the Iberian campaigns, and not by chance Puoi giudicar fra noi. you must choose between us. Porti quel nome in fronte do you wear on your brow that name Che all’Africa è fatale. A me fu dato which is fatal to Africa. It was my task SCIPIONE: SCIPIO: Il soggiogar sì gran nemica; e tocca to subdue such a great enemy, Publio, si vuole Publius, it is required Il distruggerla a te. Va, ma prepara and it falls to you to destroy it. Ch’una di queste dèe... that one of these goddesses… Non meno alle sventure Go, but prepare your heart for reverses Che a’ trionfi il tuo petto. In ogni sorte as much as for triumphs. The virtue is the same PUBLIO: PUBLIUS: L’istessa è la virtù. L’agita, è vero, in either eventuality. It is true that adverse destiny Tutto m’è noto. I know everything. Il nemico destin, ma non l’opprime; can stir it up, but it does not suppress it; Eleggi a voglia tua. Choose according to your wish. E quando è men felice, è più sublime. and when it is less fortunate it is more sublime. SCIPIONE: SCIPIO: 2 No. 7, Aria No. 7, Aria Deh mi consiglia, Oh advise me, Gran genitor! great father! PUBLIO: PUBLIUS: Quercia annosa su l’erte pendici The aged oak tree on the vertiginous slopes EMILIO: AEMILIUS: Fra’l contrasto de’ venti nemici makes itself more secure, more steadfast, Ti usurperebbe, o figlio, My advice would usurp Più sicura, più salda si fa. against the onslaught of hostile winds. La gloria della scelta il mio consiglio. the glory of your choice, my son.

Che se ’l verno le chiome le sfronda, For if winter denudes it of foliage FORTUNA: FORTUNE: Più nel suolo col piè si profonda; it digs its feet further into the ground; Se brami esser felice, If you want to be happy, Forza acquista, se perde beltà. it acquires strength, even if it loses beauty. Scipio, non mi stancar: prendi il momento Scipio, do not tire me: seize the moment In cui t’offro il crin. in which I offer you the crown. 3 Recitativo Recitative SCIPIONE: SCIPIO: SCIPIONE: SCIPIO: Giacchè al voler de’ Fati Since it is useless to oppose Ma tu che tanto But tell me, you who are L’opporsi è vano, ubbidirò. the will of the Fates, I shall obey. Importuna mi sei, di’: qual ragione so persistent with me: what motive Tuo seguace mi vuol? Perchè degg’io would impel me to follow you? Why should I COSTANZA: CONSTANCY: Sceglier più che l’altra? Scipione, Scipio, choose you rather than the other? Or di scegliere è tempo. it is now time to choose.

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Sogno CD booklet.Ian 13 June.indd 36 26/06/2017 13:28:25 Sogno CD booklet.Ian 13 June.indd 37 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 34-35 27/06/2017 11:23 FORTUNA: FORTUNE: Ma se a taluno io giro But if I turn on such a person E che farai, s’io non secondo amica And what will you do if I do not benevolently support Torbido il guardo e fosco, with a gloomy and scowling glance, L’imprese tue? Sai quel ch’io posso? Io sono your undertakings? Do you know what I can do? Fronde gli niega il bosco, the wood denies him foliage, D’ogni mal, d’ogni bene I am the arbiter of all that is bad or good Onde non trova in mar. and he finds no waves at sea. L’arbitra collagiù. Questa è la mano down on earth. This is the hand Che sparge a suo talento e gioie e pene, that bestows, at its whim, both joys and sorrows, 5 Recitativo Recitative Ed oltraggi ed onori, both affronts and honours, SCIPIONE: SCIPIO: E miserie e tesori. Io son colei both poverty and wealth. I am the one E a sì enorme possanza And is there no one Che fabbrica, che strugge, who builds, who destroys, Chi s’opponga non v’è? who can oppose such enormous power? Che rinnova gl’imperi: Io, se mi piace, who renews empires. If it pleases me, In soglio una capanna, io, quando voglio, I change a hovel into a throne, or, when I wish to, COSTANZA: CONSTANCY: Cangio in capanna un soglio. A me soggetti a throne into a hovel. The gales Sì, la Costanza. Yes, Constancy. Sono i turbini in cielo, in the sky and the storms at sea Io, Scipio, io sol prescrivo I, Scipio, I alone impose Son le tempeste in mar. Delle battaglie are subject to me. I determine Limiti e leggi al suo temuto impero. limits and laws on her dreaded empire. Io regolo il destin. Se fausta io sono, the outcome of battles. If I feel kindly disposed Dove son io non giunge Wherever I am, the unstable cannot succeed Dalle perdite istesse I can make victory spring up L’instabile a regnar; che in faccia mia in ruling; for in my presence Fo germogliar le palme: e s’io m’adiro, even from routs, while if I am enraged Non han luce i suoi doni, her gifts hold no splendour, Svelgo di man gli allori I can snatch the laurels away from the victors Nè orror le sue minacce. È ver che oltraggio her threats no horror. It is true that sometimes Sul compir la vittoria ai vincitori. right at the moment of conquest. Soffron talor da lei valour and virtue Che più? Dal regno mio What else? Neither courage nor virtue Il valor, la virtù; ma le bell’opre, suffer wrong from her, but time reveals Non va esente il valore, are impervious to my rule, Vindice de’ miei torti, il tempo scopre. the good deeds which avenge my wrongs. Non la virtù; che quando vuol la sorte, for when Fate wills it, Son io, non è costei, It is I, not she, Sembra forte il più vil, vile il più forte: the basest thing seems mighty, the mightiest base; Che conservo gl’imperi: e gli avi tuoi, who preserves empires; and your ancestors, E a dispetto d’Astrea and in defiance of Justice La tua Roma lo sa. Crolla ristretta your Rome, know it. Roman liberty, it is true, La colpa è giusta e l’innocenza è rea. guilt is good and innocence is evil. Da Brenno, è ver, la libertà latina was restricted and left tottering by Brennus on Nell’angusto Tarpeo, ma non ruina. the narrow Tarpeian rock, but was not broken.2 4 No. 8, Aria No. 8, Aria FORTUNA: FORTUNE: 2 The Tarpeian Rock was a steep cliff on the southern peak of the Capitoline Hill in Ancient Rome, used as an execution site. The A chi serena io miro To someone on whom I look down favourably Gallic chieftain Brennus defeated the Romans in the Battle of Allia on 18 July 390 BC and entered Rome, the only time the city Chiaro è di notte il cielo; the night sky is clear; was occupied by foreigners before its fall to the Goths in 410 AD. The Roman consul Marcus Manlius became a hero, defying Torna per lui nel gelo for him the earth returns from being frozen Brennus for several months. He subsequently led a programme of social reform, relieving the poor and accusing the Roman La terra a germogliar. to blossom again. Senate of embezzling public money. They sentenced him to death, and he was thrown from the Tarpeian Rock in 384 BC.

38 MOZART / IL SOGNO DI SCIPIONE MOZART / IL SOGNO DI SCIPIONE 39

Sogno CD booklet.Ian 13 June.indd 38 26/06/2017 13:28:25 Sogno CD booklet.Ian 13 June.indd 39 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 36-37 27/06/2017 11:23 Dell’Aufido alle sponde On the banks of the river Aufidus FORTUNA: FORTUNE: Si vede, è ver, miseramente intorno all the military youth, it is true, E i doni miei? And my gifts? Tutta perir la gioventù guerriera was wretchedly seen to perish around the Il Console roman, ma non dispera. Roman consul, but there was no despair. SCIPIONE: SCIPIO: Annibale s’affretta Hannibal hurried to secure Non bramo e non ricuso. I neither desire nor renounce them. Di Roma ad ottener l’ultimo vanto, the ultimate trophy of Rome, and with his E co’ vessilli suoi quasi l’adombra; standard-bearers he almost reached it; FORTUNA: FORTUNE: Ma trova in Roma intanto but meanwhile in Rome the terrain assumed E mio furore? And my fury? Prezzo il terren che vincitore ingombra. a price that humiliated the conqueror. Son mie prove sì belle; e a queste prove These are great tests of my power; and Fortune SCIPIONE: SCIPIO: Non resiste Fortuna. Ella si stanca; cannot withstand these tests. She grows tired, Non sfido e non pavento. I neither defy nor fear it. E al fin cangiando aspetto, and eventually changing aspect, Mia suddita diventa suo dispetto. she becomes my subject despite herself. FORTUNA: FORTUNE: In van potresti, If one day you repent, Scipio, 6 No. 9, Aria No. 9, Aria Scipio, pentirti un dì. Guardami in viso: it will be in vain. Look me in the eye: COSTANZA: CONSTANCY: Pensaci, e poi decidi. consider, and then decide. Biancheggia in mar lo scoglio, The rock turns white in the sea, Par che vacilli, e pare seeming to vacillate, and it seems SCIPIONE: SCIPIO: Che lo sommerga il mare that the sea, towering above it, Ho già deciso. I have already decided. Fatto maggior di sè. is submerging it. 8 No.10, Aria No.10, Aria Ma dura a tanto orgoglio But that battered stone SCIPIONE: SCIPIO: Quel combattuto sasso; endures with so much pride, Dì’ che sei l’arbitra You say you are the arbiter E’l mar tranquillo e basso and the sea, becalmed and low, Del mondo intero, of the entire world, Poi gli lambisce il piè. then laps at its feet. Ma non pretendere but do not as a result of this Perciò l’impero claim mastery 7 Recitativo Recitative D’un’alma intrepida, of a fearless soul, SCIPIONE: SCIPIO: D’un nobil cor. of a noble heart. Non più. Bella Costanza, No more. Fair Constancy, Guidami dove vuoi. D’altri non curo; lead me wherever you wish. I heed no others; Eccomi tuo seguace. here I am as your disciple.

40 MOZART / IL SOGNO DI SCIPIONE MOZART / IL SOGNO DI SCIPIONE 41

Sogno CD booklet.Ian 13 June.indd 40 26/06/2017 13:28:25 Sogno CD booklet.Ian 13 June.indd 41 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 38-39 27/06/2017 11:23 Te vili adorino, Let the faint-hearted worship you, Con chi parlo? Ove son? Di Massinissa With whom am I talking? Where am I? This Nume tiranno, tyrannical goddess, Questo è pure il soggiorno. E Publio? E il padre? is indeed Massinissa’s palace. And Publius? Quei che non prezzano, those who prize and E gli astri? E il ciel? Tutto sparì. Fu sogno And my father? And the stars? And heaven? Quei che non hanno have nothing Tutto ciò ch’io mirai? No, la Costanza All have vanished. Was everything I saw Che il basso merito but the lowly reward Sogno non fu: meco rimase. Io sento a dream then? No, Constancy was not a Del tuo favor. of your favour. Il nume suo che mi riempie il petto. dream; she has stayed with me. I feel her V’intendo, amici dei: l ‘augurio accetto. divinity filling my breast. I understand you, 9 Recitativo accompagnato Accompanied recitative friendly gods: I acknowledge the portent. FORTUNA: FORTUNE: E v’è mortal che ardisca And is there a mortal who dares Negarmi i voti suoi? che il favor mio to deny me his allegiance, who does not 10 LICENZA LICENZA Non procuri ottener? try to secure my favour? Recitativo Recitative SCIPIONE: SCIPIO: Non è Scipio, o signore (ah chi potrebbe It is not Scipio, my lord (ah, who could tell Sì, vi son io. Yes, I am he. Mentir dinanzi a te!) non è l’oggetto a lie in front of you?), Scipio is not the subject Scipio de’ versi miei. Di te ragiono, of my verses. I am thinking of you FORTUNA: FORTUNE: Quando parlo di lui. Quel nome illustre when I speak of him. His illustrious name E ben, provami avversa. Olà, venite, Alright, then recognise me as your adversary! È un vel di cui si copre is a veil which covers my suitably respectful Orribili disastri, atre sventure, Ahoy, come, horrible disasters, hideous Il rispettoso mio giusto timore. awe of you. But while my lips Ministre del mio sdegno: misfortunes, ministers of my fury; overwhelm Ma Scipio esalta il labbro, e di Girolamo il core. exalt Scipio, my heart exalts Hieronymus. Quell’audace opprimete; io vel consegno. this rash man; I consign him to you. 11 No.11, Aria No.11, Aria SCIPIONE: SCIPIO: Ah perchè cercar degg’io Ah why should I search Stelle, che fia? Quel sanguinosa luce! Heavens, what is happening? What bloody Fra gli avanzi dell’oblio among the relics of the past Che nembi! che tempeste! light? What blasts? What storms? Ciò che in te ne dona il ciel! for that which heaven has granted us in you? Che tenebre son queste? Ah qual rimbomba What darknesses are these? Ah, what fearful Per le sconvolte sfere din resounds through the upturned spheres? A Di virtù chi prove chiede, He who seeks proof of virtue can Terribile fragor! Cento saette hundred lightning flashes dart through my hair, L’ode in quelli, in te le vede: hear it in these lines and can see it in you; Mi striscian fra le chiome; e par che tutto and it seems the whole of heaven is being E l’orecchio ognor del guardo and the ear is always slower Vada sossopra il ciel. No, non pavento, overturned. No, I am not afraid, cruel Fortune; È più tardo e men fedel. and less reliable than the eye. Empia Fortuna: invan minacci; invano in vain you threaten; in vain, treacherous, Perfida, ingiusta Dea... Ma chi mi scuote? unjust goddess… But who is agitating me?

42 MOZART / IL SOGNO DI SCIPIONE MOZART / IL SOGNO DI SCIPIONE 43

Sogno CD booklet.Ian 13 June.indd 42 26/06/2017 13:28:25 Sogno CD booklet.Ian 13 June.indd 43 26/06/2017 13:28:25 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 40-41 27/06/2017 11:23 12 No.12, Coro No.12, Chorus Cento volte con lieto sembiante, May the dawn of so happy a day, Prence eccelso, dall’onde marine exalted prince, return a hundred times Torni l’alba d’un dì sì seren. with a smiling face from the ocean’s waves.

E rispetti la diva incostante And may the inconstant goddess respect Quella mitra che porti sul crine, the mitre that you wear on your brow and the L ‘alma grande che chiudi nel sen. magnificent soul enclosed within your breast.

APPENDIX APPENDIX

13 No.11, Aria (versione originale) No.11, Aria (original version) Ah perchè cercar degg’io Ah why should I search Fra gli avanzi dell’oblio among the relics of the past Ciò che in te ne dona il ciel! for that which heaven has granted us in you?

Di virtù chi prove chiede, He who seeks proof of virtue can L’ode in quelli, in te le vede: hear it in these lines and can see it in you; E l’orecchio ognor del guardo and the ear is always slower È più tardo e men fedel. and less reliable than the eye.

44 MOZART / IL SOGNO DI SCIPIONE

Sogno CD booklet.Ian 13 June.indd 44 26/06/2017 13:28:26 7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 42-43 27/06/2017 11:23 What the critics said about Classical Opera’s previous recordings

“A remarkable evening of arias sung with passion, urgency and drama… This is a terrific, unmissable disc.” PerformanceGramophone material: (Blessed New Mozart Spirit Edition– a Gluck (NMA) retrospective) By kind permission of Bärenreiter-Verlag Kassel · Basel · London · New York · Praha “This excellent Handel album, essentially as good as it gets in this repertoire... really is Recordeda delight, at theand Church I cannot of St. Augustine,recommend Kilburn, it too London, highly.” UK from 16 to 19 October 2016 Classic FM (Where’er You Walk) Produced and engineered by Andrew Mellor Assistant engineers: Robin Hawkins and Chris Kalcov Editing:“Ian Page Claire conducts Hay and Andrew an excellent Mellor orchestra with an ideal combination of elegant poise Mixand & Mastering:mercurial Andrewsparkle… Mellor who could fail to be charmed by such gorgeous music, so Designstylishly by Toucariexecuted.” Live and Classical Opera CoverThe Dailyimage Telegraphby Debbie Coates (Mozart: Zaide) Photographs by Benjamin Ealovega www.signumrecords.com

ItalianWhat language Signum coach: Classics’ Matteo and Dalle Classical Fratte Opera’s recording of Il re pastore offers is, simply Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Harpsichordput, an account technician: of theMalcolm piece Greenhalgh that comes as near to perfection as any performance might Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. ever hope to do.” Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. Orchestra playing on period instruments at A = 430 Hz All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted Voix des Arts (Mozart: Il re pastore) in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior We are extremely grateful to George and Efthalia Koukis for making this recording possible. permission from Signum Records Ltd. “The series of Mozart operas being recorded under the direction of Classical Opera’s Wedirector are also Ian grateful Page to hasthe following already individuals established and companieshim as one for theirof the support: most Sir stylishly Vernon andauthoritative Lady Ellis, ℗ 2017 The copyright in this recording is owned by Classical Opera. John Warrillow and Pamela Parker, Kevin Lavery, Kate Bingham and Jesse Norman, Pearce and Beaujolais © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. and interpreters of the composer working today.” Classical Opera. Rood,Opera and Rusada. Special thanks to Rob Spence and Dogleap Films, Jeff and Jennifer Eldredge, Jeanette Grohe, Martin Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD Lawrence, Nigel Short and Glyn Williams. Tel: +44 (0) 20 8997 4000 Email: [email protected]

246 MOZARTMOZART // ILIL SOGNOSOGNO DIDI SCIPIONESCIPIONE MOZART / IL SOGNO DI SCIPIONE 47

SognoSogno CD CD booklet.Ian booklet.Ian 13 13 June.indd June.indd 2 46 26/06/201726/06/2017 13:28:15 13:28:28 Sogno CD booklet.Ian 13 June.indd 47 26/06/2017 13:28:28 7834_CO_Scipione_BOOKLET_FINAL_COVER.indd7834_CO_Scipione_BOOKLET_FINAL_TEXT.indd 244 27/06/2017 11:21 27/06/2017 11:20 2 CD WOLFGANG AMADEUS MOZART 2 CD SET

SIGCD499 IL SOGNO DI SCIPIONE, K.126 CLASSICAL OPERA MOZART: IL SOGNO DI SCIPIONE

Scipione STUART JACKSON tenor Costanza KLARA EK soprano Fortuna SORAYA MAFI soprano STUART JACKSON KLARA EK SORAYA MAFI KRYSTIAN ADAM Publio KRYSTIAN ADAM tenor Scipione Costanza Fortuna Publio Emilio ROBERT MURRAY tenor

Classical Opera / Ian Page Licenza CHIARA SKERATH soprano

The Choir and Orchestra of Classical Opera

IAN PAGE conductor Classical Opera / Ian Page IL SOGNO DI SCIPIONE French, German & Italian translations of the notes and synopsis are available on www.classicalopera.co.uk/shop

ROBERT MURRAY CHIARA SKERATH IAN PAGE This recording was generously sponsored by George & Efthalia Koukis 2 CD SET Emilio Licenza Conductor Classical Opera Mozart Cycle in association with Bärenreiter-Verlag, Kassel Total Playing Time: 108’14 MOZART: IL SOGNO DI SCIPIONE MOZART:

LC15723 SIGCD499 Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom SIGCD499 ℗ 2017 Classical Opera CLASSICAL OPERA

© 2017 Signum Records 2 CD www.signumrecords.com 24 bit digital recording 6 35212 04992 1 IAN PAGE (CONDUCTOR)