Translation of the printed Libretto

The Change of Fortune gained with a Crown, or: ALMIRA, Queen of Castile,

Presented as an Opera at the Grand Theatre in Hamburg in the year 1704.

Persons in the Play:

Almira, Queen of Castile, secretly in love with Fernando. Edilia, a princess of royal blood. Consalvo, Prince of Segovia, Almira’s guardian. Osman, his son. Fernando, Secretary to the Queen, a foundling subsequently recognized to be Consalvo’s youngest son. Raymondo, a king from Mauritania. Bellante, Princess of Aranda. Tabarco, Fernando’s servant.

Grandees of Castile.

The Queen’s bodyguard and her court. Europe, Asia, Africa ‐ with their retinues in a pageant.

Dances.

Of Spanish Knights and Ladies. The Ball after the Assembly. Of Europeans. Asians. Africans. Of Charlatans and Harlequins.

Changes of Scene.

In the First Act.

I. A splendid amphitheater; nearby a platform on which the Queen is to be crowned in the presence of the people. There are balconies on either side of the theater. II. A royal garden with statues and trees dispersed around, and a fountain. III. A ine brightly‐lit hall in the Queen’s palace, with staircases and galleries, where a Ball and an Assembly are held.

In the Second Act.

IV. A magniicent audience chamber with a throne. V. Fernando’s room, with tapestries. VI. A courtyard with buildings of various kinds, and doors in the walls which lead from the Queen’s apartments to others. VII. The Queen’s antechamber.

In the Third Act.

VIII. A colonnade with various galleries. IX. Part of the Queen’s gardens with various bowers; in the distance Almira’s summer‐house. X. An underground prison. XI. A great hall with a throne. Argument.

Alfonso, King of Castile, sent Consalvo to Sicily as his ambassador. He travelled there in the company of his wife, whose name was Almira, and it was there he produced by her a son named Floraldo. On his journey back to Castile his ship was wrecked; Consalvo himself reached land, though not without great danger to his life; but Almira perished, and Floraldo was also thought to be lost as there was no sign of him; he was however caught in his cradle by a isherman and brought up under the name of Fernando. When this boy had grown up, he came to Castile, ignorant of his lineage or rank, and Consalvo, who likewise made no enquiries about his origins, took him into his household out of natural affection, and ensured that nothing was lacking to make him happy; Consalvo eventually brought him with the sons of his irst marriage to court, where he earned the respect of the Crown Princess Almira. In the meantime King Alfonso died, entrusting the administration of the kingdom and the guardianship of his daughter to Consalvo with the proviso that when she should reach her twentieth year he should hand over the government to her, and she on her part should marry one of Consalvo’s sons who were of royal descent, and so forth.

ALMIRA SCENE II The same persons.

Act I Recitativo (Almira) Posterity will engrave in adamant that your loyalty, SCENE I Consalvo, is worthy of the crown, therefore we are The stage represents a splendid amphitheater in the capital city graciously devoted to you, and take your brave son of Valladolid; nearby a magniicent platform on which the Osman as commander‐in‐chief of the army: you yourself Queen is to be crowned by Consalvo in the presence of the shall be next in rank to us, who, like a Nestor, will people. On either side of the stage are balconies on which faithfully administer my country, and who with wise trumpeters and military drummers are ranked. counsel must lighten the burden of ofice: but Fernando Almira, led by Consalvo, Osman and Fernando, who carry the (who has already fathomed the secret depths of my state regalia; the entire household, bodyguard, soldiers and the heart) shall be my Secretary. people. Consalvo: On my knees I acknowledge your favor. Recitativo (Consalvo) Osman: Most serene highness, the sun’s radiant light must make And I prostrate myself at your feet. this unique day worthy of admiration, this day on which Fernando: the years that have smiled upon your head now number Yes, I have long been your diligent slave, take pity on my twenty; and so I will end the guardianship your father feeble powers. entrusted to me; accept the power of the realm, built Almira: upon humility, from my frail hands. I crown you, and Arise, you are fully worthy of favor: your virtue is throw myself as a vassal at your feet, to salute you as rewarded and honored. queen. Aria (Osman) Ah, if you would bind hearts together forever, do not let Aria (Consalvo) the candles of the eyes be ignited: for to feel lames and Almira shall reign, and bear the scepter with joy and the not to cool them is hellish pain. crown with magnanimity. She shall adorn her father (He leaves.) Alfonso’s glorious throne; as all shall be aware. Recitativo (Fernando) Recitativo (Consalvo) Great queen, you raise me to a position of high esteem, I, Now then! ignite the lash of the thundering guns: let who am a foreigner and a foundling, of parentage and drums and trumpets sound and a cheerful ‘Vivat’ echo race wholly unknown to you; what can your deeply‐ all around. indebted servant offer you? Almira: At this a fanfare of trumpets and drums rings out, and amidst (Your virtue and a charming pair of eyes make your the roar of the guns Almira is crowned by Consalvo with all the noble rank suficiently clear to me.) customary ceremony while the people join in with:

Chorus Aria (Fernando) Long live Almira! Long may she live! I know full well that the world does not possess a ruler more worthy than you. My heart shall always be bound After this chorus the Spanish ladies and knights dance. by your great favor. (He leaves.) SCENE III Osman: Almira, Consalvo. (Surely she raves: I must dissemble.)

Recitativo (Consalvo) Aria (Osman) Most serene highness, to fulill properly your father’s You are mistaken, my light, that is not what I mean: I last wishes, I hand over to you this sealed paper, in will love you and my heart remains devoted to you which your eyes can see whom he has chosen as a forever; Forgive the jest. worthy husband for you. Almira: Recitativo (Edilia) I respectfully accept it. I am placated; only give me your right hand as a pledge, (Almira reads.) as a sign that your promise is founded on constancy and sincerity, and your heart is bound to my soul. Aria (Consalvo) Osman: Read with diligence, you sparkling eyes, read that with Yes, but in due time. gracious glances you shall bring joy to one of my kin, (He draws back.) read what my delight already knows. Edilia: (He leaves.) Traitor, may storms, tempest and lightning crash down upon your head, and may Zeus with his thunderbolt Recitativo (Almira) rouse your peridious heart! Ah, what anguish! How should I marry into the house of Consalvo? Bewildered heart, has your hope vanished, Aria (Edilia) where will you ind peace? You already love Fernando, You will learn with what fearful arrows the wrath of a but his lineage is no match for yours, and yet he seems betrayed woman is armed. Nobility seen to be scorned sent to you by heaven in addition to scepter, crown and knows how to take swift revenge. throne. Faithful senses, tell me: what shall I now do? (She leaves.)

Aria (Almira) Recitativo (Osman) I want to clasp tight to my breast the one who pleases Go on venting your venom and your spite; if all your me most. I feel such ire that my heart is always thinking shameless eye can see is Osman striving solely for the of its radiant beloved. crown, then, impetuous woman, may your pride tumble.

SCENE IV Aria (Osman) The scene is the royal garden with statues and trees dispersed Be angry then, may your wounded spirit spit only ire: around, and a magniicent fountain. raging fury will not stop me from obtaining satisfaction. Edilia and afterwards Osman. (He leaves.)

Aria (Edilia) SCENE V Loveliest roses and narcissi, in your wondrous Fernando alone. magniicence let me kiss the image of Osman which has made me fall in love: tall lime trees, coming into leaf, Aria (Fernando) and casting gentle shade, trouble yourselves to show me Beloved woods, shady ields, cool my heart’s in your branches whether the noble lower of hope will unspeakable torment: near‐divine rays of golden ever sweeten my suffering? crowns will lash around me; can I protect myself beneath the innumerable trees? Recitativo (Osman) Is that Edilia? Recitativo (Fernando) Edilia: The queen is the target of my love; oh vain enterprise! Yes, yes! Audacious heart, it is too much, you torture yourself Osman: with fear and futile longing. Yet just as I was plucked I will go away. from the wild seas as an infant, not knowing from whom Edilia: I am descended or whence I came: so it is certain that I (Oh what torment!) My Osman, what has happened to live in the hope that heaven has singled me out to you? Must this place, because of me, be unpleasant to administer the kingdom and the government. If the you? queen were now pleased to guide her lovely foot Osman: through these broad lime trees, their wounded barks (Ah what agony she awakes in me.) should declare my love to her, yet keep concealed the Edilia: object of it; Thus then I carve: I LOVE EVEN HER I DARE What tempestuous waves, what monstrous tides lood NOT NAME. through my spirit! now that Osman, through shameful ickleness, leaves my side! SCENE VI Edilia: Almira, Fernando. Generous man, can I trust you? Consalvo: Aria (Almira) Certainly, rocks can be built on my word. Perfect hands, why will you always be carving, and Edilia: bloodily wounding? Yes, you are bound with no delay to Then it is as you have said, the deceit does indeed heal the torment of my soul, my secret suffering. spring from Osman. (Almira watches him.) Consalvo: Wretched me, what do I hear? Recitativo (Fernando) Edilia: I LOVE E... what’s this, do I not see the light of my own Stand irm, my prince, by the pledge you have given. sun rising? Consalvo: (He stops writing.) Those words which I uttered in haste are not changed Almira: by later repentance. Yet bitter torment, pressing Excess of curiosity impels me to see whether I can read secretly upon me, now stiles the budding hope of the and understand what my beloved has written: crown. (She reads.) Edilia: I LOVE E... Yes, yes! If only I had stayed far away; I His depravity deserves no mercy… realize what it is going to say: I LOVE EDILIA. (My heart Consalvo: is full of torment, and besieged by a secret force.) Go at ...but that it almost burns me up with passion. once, get away from this place, go, you traitor! Fernando: Aria (Consalvo) (What dreadful storm clouds her senses?) Most serene He who for the sake of wealth and advancement breaks highness… plighted troth, and does not intend to keep a sworn Almira: pledge of love, will realize that on earth his hoped‐for What? haven’t you left yet? star of joy can become a comet of fear. Fernando: (He leaves.) Gracious queen… Almira: Recitativo (Edilia) What, will you not be gone? I agree with such words, and let the law rule in my case, ([Fernando] leaves sadly.) for he must be made to keep the promise he once gave He has left me, so as not to see how the hot fruit of me. amorous jealousy burns in my eyes. But ah, my spirit, how you torture me over one who is indeed handsome Aria (Edilia) and yet is called a foundling. No longer do I wish to waver always between Yes and No in this way! My heart can remain no longer amid the Aria (Almira) Syrtes* [of uncertainty] all day and night. The agony of jealousy gnaws at my heart. Do not say that my soul is wicked, for to die of jealousy is the worst SCENE VIII of all deaths. The scene is a ine brightly­lit hall in the queen’s palace, with staircases and galleries, where a ball and an assembly are to be SCENE VII held. In the galleries there is a band of oboes to play the dances. Consalvo, Edilia. Tabarco with dice and playing cards, together with other court servants making preparations for the games. Recitativo (Consalvo) Along these pleasant paths sweet good fortune leads me Recitativo (Tabarco) towards you, noblest Edilia; but why so dreadfully Because the queen has decreed that an assembly is to be changed? I see your eyes are wet with tears. held here, I’ve got to get the stuff together in good time, Edilia: and make everything ready, for cards, dice, boardgames I have before now wanted to see you to explain to your ‐ and what else? ‐ a young wench is now the best past‐ generous nature: how a knight’s maliciousness keeps time at court. neither his oath nor the pledge of his love and, especially, how he seeks to torment me with deceit. Aria (Tabarco) Consalvo: At court to be called ‘galant’ you need: a hand of cards; Lighten your countenance: for even if he were my own to play ombre or make a table at basset is now all the son, believe me, punishment will be the scoundrel’s fashion and a delicious business; however, what I value reward. most are cinq neuf and passe‐dix.

* Dangerous sand‐banks off the coast of North Africa. SCENE IX Fernando: Fernando; later Osman. And what would Edilia like to play? Osman: Recitativo (Fernando) (What torture must my soul endure.) Up now, my heart! If only you can leave behind the Edilia: overwhelming pain, and let the mass of cares fall away, Let it be ombre. you will still perhaps taste sweet honey after bitter gall. Fernando: But only for fun, the game needs three players. Aria (Fernando) Osman: Let Fate lash and blow, let the ediice of my hopes Then I will ask for the liberty to… quake, my love stands fast, if fortune, after many Edilia: anxieties, allows the hoped‐for morning of joy to shine No, Osman, no: you cannot be trusted. at last for me. Osman: (Soon I will pour out my rage.) Am I allowed to pass the Recitativo (Fernando) time with you? Over there Osman will appear; I will hide here to hear (To Bellante) what he says, because his face seems to me to be quite Edilia: bewildered. She also will be joining us. Bellante: Aria (Osman) My prince, forgive me, I must not resist. I curse you, you former lames, forever recede. Royal purple pleases, and brings peace to the noble mind. Aria (Bellante) Under compulsion my mouth says ‘no,’ of its own free SCENE X will my heart says ‘yes;’ let your eyes sparkle more Edilia, Osman. brightly, I am much too close to you.

Recitativo (Edilia) Recitativo (Osman) No, Cupid, no, you must no longer think that I will be (She will drive me to despair.) your slave. No longer will I fret over the faithless man: Tabarco: there he stands, quite discomposed: but what heavy ill‐ By no means; though you’ve been rejected, and scorned humor may yet be pressing upon him? by that carrion, sit down with me and play passe‐dix. Osman: Osman: My ill‐humor and displeasure, enchaining my spirit, is Useless man, you will be ridiculed. that I have to set eyes on Edilia. (He goes over to Consalvo and plays.) Tabarco: Duet (Edilia and Osman) All right, let it be, I shall pass the time all by myself. I wish to know of nothing that would still hold me (He sits down on the ground and plays at dice.) prisoner; farewell; and let yourself be kissed as your pleasure takes you: the bonds that held me are broken, I At this point the chairs and card tables are moved aside, and the wish to know of nothing. ball begins. [Minuet and Rondeau are danced.] SCENE XI Consalvo, Fernando, Osman, Edilia, Bellante, Tabarco, ladies of SCENE XII the court and other state dignitaries who participate in the Almira and the others already mentioned. Fernando, having games. Royal pages and lackeys, various other servants. danced with Edilia, holds a conversation with her.

Recitativo (Consalvo) Recitativo (Almira) Queen Almira commands that you be pleased to be What, am I dreaming, or am I not? Fernando with seated and to amuse yourselves in playing games. Edilia? (I must banish him just from her sight.) You Edilia: faithless scoundrel! You traitor, away from here! (My Then I will choose you, Fernando. heart feels the torment of hell!) Osman: Fernando: (She is already seeking comfort on another’s breast.) Fear almost turns me to stone. Edilia: (He leaves.) Faithless man, yes, I am keen to have revenge on you in Almira: this way. Edilia, it seems your anchor is trying to gain a hold in Osman: quicksand. (My severely oppressed heart will almost burst out of Edilia: my body!) The queen is assuming that she will marry Osman. (She leaves.) Osman: Consalvo: I could almost die of jealousy! Castile’s gracious queen acknowledges with heartfelt Bellante: thanks and esteems the great love and extraordinary My prince, you will please me and your heart, if you will kindness that Mauritania’s gracious ruler displays; his only learn to conquer yourself. praise lifts her deeply indebted soul to the very stars, (Both of them leave.) and leaves her well pleased with all that the Consalvo: ambassador proposes. What storms must I yet see that indicate to me the Raymondo: destruction of Castile? (Happy words, which feed my spirit with the ambrosia (He leaves) of sweet hope.) Almira: (He goes out.) Ah yes, all is lost for me: Fernando remains attracted to Almira: Edilia. What did he say at the end? Consalvo: Aria (Almira) He appears to be a great prince in disguise… Ungrateful, pitiless man, quickly you give me back that Almira: heart which you stole from my breast. No longer do I And my command is to honor him as a prince. wish to leave it with you; I will give it to the Furies, let (She leaves.) them make poison out of it. Fernando: Ah, my love is wrapped in shadows! (He leaves.) Act 2 SCENE III SCENE I Bellante and Consalvo; Tabarco aside. The scene is the Queen’s magniicent audience chamber, with an ornate throne. Aria (Bellante) Fernando, Almira. Who knows, my hope, who knows? After a cloud of grief the Heaven of love will shine more brightly for you one Recitativo (Fernando) day. Most serene highness, from Mauritania, where the pillars of Hercules divide Africa’s land from Europe’s Recitativo (Bellante) borders, an ambassador has come across the Bay of Yet how empty the consolation that rests only on hope, Cádiz, and it is his respectful desire to be heard by your a mere illusion parading in false plumage; love has majesty. brought me only delusion, my heart has long since been Almira: a victim of its fury. He comes at an opportune moment; we are ready Consalvo: graciously to hear him. What, do you sigh? Let my soul lament that your beast is (She sits down on the throne.) as hard as lint! Bellante: SCENE II (Ah, fate, what shall I say?) Raymondo, accompanied by a throng of Mauritanian noblemen Tabarco: (bearing letters of credence) and a stately body of attendants, is (Say that he must be shot!) led in by Consalvo. Consalvo: Almira, Raymondo, Consalvo and Fernando. Around the royal I respect your virtue, fair one. throne stand the dignitaries of the realm and the whole court. Bellante: Recitativo (Raymondo) Your wise old age mocks my youth. Raymondo, who protects the kingdom of the Moors, and Consalvo: scorches the enemy power with arrow and sword, is Perhaps you seek to condemn my age, yet forgive me, highly pleased that the most gracious Almira adorns the for though Etna is covered with white snow, it still throne of her brave father with wisdom and beauty; and burns with lames within. he wishes as much joy to the acquired crown as Flora Bellante: scatters lowers. In accordance with the contents of This riddle is dark and hidden from me. these letters Consalvo: (He hands over the letters of credence.) How can Bellante’s heart disguise its feelings? my king has sent me to this country chiely to establish Bellante: a sacred bond of irm friendship. How Consalvo’s clever wit does joke! (Almira speaks to Consalvo.) Consalvo: Are you not to be won, cruel woman? Then, near to despair, I shall drown in Love’s turbulent waves: Yet let there be mercy. Aria (Consalvo) SCENE V Let only a gentle hand‐clasp delight my breast. Only let Fernando, getting up from his desk and leaving his papers lying your lily‐white cheeks enfold me, ah, then is my desire there. satisied. Osman. Bellante: Recitative (Osman) Vexation and displeasure hold me prisoner, farewell, my I am sorry to have disturbed your work. prince! Fernando: (She leaves.) On the contrary, I am obliged for the honor you show Consalvo: me. She leaves full of rage. Osman: (He leaves.) I know, my friend, that you are discreet, and that I can Tabarco: rely on your loyalty. Help me now in my unbearable This seems to me a rare farce, the old man loves her, but torment. she loves his son. Fernando: Aria (Tabarco) You will see my devotion to you whenever I can show it. Old age matters not to folly; if a hoary old face still Osman: wants to kiss a young girl, he must realize that his hot Then listen: Almira’s wonderful beauty, to which all eyes past‐time will break his body and the thread of life. are drawn, has caused my oppressed heart to burn with passionate love; now, if she lends you a favorable ear, SCENE IV should you gain no favor for me, I must die, perishing in The scene is Fernando’s room, decorated with tapestries. love’s lames. Fernando, Tabarco. Fernando: (How can I avoid his pleas?) Recitativo (Fernando) Osman: I need to be alone in this room, to write about matters Do me this kindness, or I can have no rest; you must of high importance, so let no‐one in. promise to help me. (He sits down at a desk.) Fernando: Tabarco: I will do my best. Here comes Almira. That’s ine! I am well‐trained, there’s no‐one like me in Fernando and Osman: the whole world. The light of my joy appears. Fernando: Osman: Now I should occupy myself diligently with affairs of Here I will hide, to hear how you tell her of my anguish: state, and tear from my mind all thoughts of love. prove yourself a loyal friend. (Knocking.) Tabarco: Aria (Osman) (Be quiet! Fernando is holding secret counsel.) Say a sweet word for me, speak, beg, that I may reach Fernando: the long desired haven. I adore Almira… (He hides behind a tapestry.) (Knocking.) Tabarco: SCENE VI (Easy there! that’s an arrogant fellow.) Almira, Osman (in hiding), Fernando trying to hide what he has Fernando: written. Almira is the object of my love, that is what my uninspired pen would say reverently to her. Recitative (Almira) (Louder knocking.) Do not take this page from my sight. Tabarco: Fernando: (The fellow will break the door in pieces.) It is something incomplete, a mere joke in verse. Almira: Aria (Tabarco) Give it to me, I want to read it. Have patience, no hearing’s being held. We’re engaged (She reads.) in affairs of state. It’s considered grand to make people “Should I in secret nourish the ardor within my beast, wait; to listen at once is not the done thing. and your graciousness not be my nourishment, then, like a magnet, my power will be consumed, and inally Recitative (Fernando) be burnt away with pain.” Tabarco, just let him in. Ah yes, he wants to tell Edilia of his suffering. (What (Osman enters.) secret torment must I endure.) Fernando: Tabarco: Most gracious queen, if my lames are unbearable to Pardon me, it really wasn’t my fault. you, I will quickly quench and curse them. (He leaves.) Aria (Fernando) Recitative (Consalvo) Farewell, fair lames! My hands are bidden no longer to No, Osman must keep the vow he made to Edilia, for scatter incense upon your coals. Heaven will not fail to take revenge if ickleness breaks pledged faith. Recitative (Almira) No, no, Fernando, no! With such a binding law I would Aria (Osman) only put freedom in heavy chains: I only wish that one Scepter and crown remain the reward of generous love; should be careful on the slippery path of love. all must give way if I can obtain angelic beauty with Osman: purple and throne. (What is this conversation about?) Fernando: Recitative (Osman) Pardon these wayward thoughts, which, like Icarus, Never again will my father be able to hold me to broken sometimes go beyond the permitted bounds of love. bonds. Almira: (He comes out of hiding and leaves.) (He will not understand me properly; I must lead him Consalvo: on to other matters.) You know that my faithful realm Is Osman present here? You undutiful son, I’ll surely requires me to marry the irst in the land; who, do you overcome your arrogance. think, is worthy of the throne and scepter and suitable (He leaves.) to rule as king? Should I chose Consalvo’s house? Fernando: SCENE VIII (My heart, what can you say?) The theater shows a courtyard with various buildings and doors Osman: in the walls, leading from the queen’s chamber to other rooms. (Give peace to my soul.) Raymondo, Almira. Almira: Am I not to hear your answer soon? Aria (Raymondo) Fernando: My heart gives me hope of gaining a kingdom. You can I am in duty bound to honor Consalvo’s house; the make me happy, if you wish, oh fate, so do not abandon father has proved himself most worthy, the son nobly me. follows the same path and builds a temple of honor with his bravery. And yet… Recitative (Raymondo) Almira: Almira comes; perhaps there opens a glimpse of the Carry on, say what is in your heart. good fortune that latters me. Osman: Almira: (Faithful friend.) In vain has Raymondo dressed himself in an Almira: ambassador’s garments, yet his task is carried out with Now tell me more, should I then love Osman’s virtue? dignity: I make so bold as to venture to ask the reason Osman: for your coming. (Say yes, and do not hesitate.) Raymondo: Fernando: I am ready to answer, most mighty queen. (Shall I injure myself most terribly?) Most gracious queen, no mortal on earth is worthy to be loved by you. Aria (Raymondo) Almira: The majesty of two eyes which enchants almost all the Enough! world, and weighs down with chains of love, was my Osman: guiding star and magnet. (Accursed dog, how your false words mock me.) Recitative (Almira) SCENE VII And where does such beauty appear here? Consalvo, Almira, Osman (in hiding) Raymondo: Respect makes me keep the place a secret. Recitative (Consalvo) (He leaves.) Most gracious queen, may I beg the favor that Hymen may in chaste marriage shower a noble pair with bliss, and could Edilia…

Aria (Almira) No, no, I do not want her to be enchained yet. Such charming beauty binds, strikes and wounds more than one breast and more than one heart. (She leaves.) SCENE IX Osman: Almira. Come on! Fernando: Accompagnato (Almira) Will you not allow me…? No longer can I burn in silence, and perish without Osman: rescue; I must make known to Fernando himself my Be silent! Take your sword in your hand… long hidden passion; high heaven’s gentle grace has Almira: chosen him alone for the purple robe. I will not allow (I will steal them both.) myself to be parted from his breast. Ah, fate, it has (She takes up the weapons and leaves.) happened! No longer can I burn in silence and perish Osman: without rescue. Can I believe my eyes? Fernando: Aria (Almira) And how can I make sense of it? His steps turn towards ruin, whoever has a blind boy as Osman: a guide. The blindfold boy, as he goes on foot often A woman is the protection and shield of a coward. stumbles, and a lying god * has no constancy. Wretched man, are you afraid to lose your life, and are you protected by some lewd woman? Recitativo (Almira) Fernando: Heaven help me! Osman is coming; what presumptuous I swear I do not know what happened. judgment will his mind secretly pronounce if he sees me Osman: in Fernando’s apartment: I must move aside to hide Make no excuses! Revenge is postponed but can be from him. settled only by your death and destruction; the gods will give me the opportunity. SCENE X (He leaves.) Osman, Fernando, Almira (in hiding). Fernando: Do what you will, I shall not die by threats. Aria (Osman) I shall kill him who wages war on this heart; until he Aria (Fernando) falls at my feet my jealousy will rage in its fury. Though your mouth, like the jaws of hell, spits (Fernando enters.) brimstone, poison and ire, I must laugh at your malice because my sword will show you a lion’s courage and Recitativo (Osman) bravery. (Here comes my rival at this very moment.) I was (He leaves.) looking for you. Fernando: SCENE XI That is an honor for me far beyond what I deserve. The scene is the queen’s antechamber. Osman: Almira, then Consalvo. Far better that your tongue be silent, avoiding false lattery, and that your hand should rather pass your Recitativo (Almira) sword over to me. Happy this day, when I could return life itself to my life. (Fernando gives Osman his sword.) (She puts Osman’s sword on the table.) Fernando: Accursed murder‐weapon, whatever moved you to seek It is ready to serve you. out blood and death? But you, beloved sword, I envy (Osman measures it.) you, for you are worn at Fernando’s side, where I wish Osman: to lie in bliss. They are exactly alike: now I shall also lock the door. Traitor, on guard! I challenge you to combat! Aria (Almira) Fernando: The one who gently opened the wound in my heart will Why? What is my crime that your anger seeks so one day heal it. All agony shall vanish, and torment shall suddenly to avenge? yield to the frenzy of joy. Osman: (Consalvo enters.) I have been so badly hurt by you that only your blood can seal up the wound. Recitativo (Almira to Consalvo) Almira: Raymondo has revealed to me his princely rank and in (How my heart spins, what fear grips me!) conidence has made known to me what he seeks; Fernando: Consalvo, you will ensure that the splendor of the court My blood? Then let me know the cause of your rage, and will entertain him with all proper delight. what I must expiate with my death?

* References to Cupid/Eros, the god of love, traditionally depicted as a winged boy wearing a blindfold. Consalvo: SCENE XIII We shall turn our thoughts to a pageant. Tabarco has all kinds of petitions, patents, sealed letters and the like in a post­bag. SCENE XII Edilia, then Osman. Recitativo (Tabarco) How Tabarco must always be toiling away, what a lot of Recitativo (Edilia) sweat it has already cost him when now he has to drag I have just come here from Almira’s room and the letters along to the post, now carry them to unexpectedly ind it empty. Oh you gods! What do I see Fernando. You tired feet, in walking, running and but false Osman’s shining weapon; he has taken it off, to dashing around, you suffer unmeasurable vexation. conquer the queen unarmed. Cheer up, you tired supports, you must protect my head (Osman enters.) from tripping and stumbling. Oh dear! there’s the Osman: ediice of my body knocked down, My sword, and Edilia! (He falls over.) Edilia: there’s the rubbish scattered all over the place. (Ah false man, come closer, you shall grow pale, the Patience! I must gather it neatly together again, but I’ll badge and mark of shame you bear is here now known take the opportunity to gawp at a letter or two. and plain to see.) (He peeps at a few letters.) Osman: The court is half‐mad with so many love affairs, that’s (Damned impulse of lust! It was she who was in why almost all the letters are full of them. What have I Fernando’s room.) You trollop, conceal your deeds, so got here? The seal shows a shield in which Cupid’s that they won’t betray you later, when one makes bold naked image sits, ishing a heart from stormy waves; the to remove interlopers. writing makes one understand that it was washed away Edilia: on purpose. Insolent man, do not be so stubbornly blind, reason (He reads.) must irst forget precaution if one is not to betray “Yes, rage as you will, you lines written in anger, my oneself when kindling another’s tinder. heart remains unmoved, my soul remains calm, a quiet Osman: spirit stands irm against love’s thunderbolts, and The sword was stolen by a loose woman’s hand. passes swiftly through this rage to its freedom; I kiss Edilia: your hand, which will deliver me all unbidden from the Rather it was left by a loose woman’s hand. chains of love’s slavery.” Osman: But what is hidden in this packet? The writing indicates Foolish woman, in what place? some woman’s hand, so I’ll see if the contents can be Edilia: discovered from this letter: It is obvious to me, false man, that you came after Almira. Aria (Tabarco) Osman: Pretty little skirt with the furbelow, what news have you Yes, just as you were hurrying away from Fernando. got for us? What beauty will be wearing you? Your Osman and Edilia: friendship comes very close. What is your command? I have not seen Almira/Fernando. Shall you, a silent witness, perhaps call for a sought‐ Osman: after “Yes?” She’s raving. Edilia: Recitativo (Tabarco) He’s dreaming. Enough, enough, very soon I must be on my way to the Osman and Edilia: court with my things. What has happened to him/her? (He runs off.) Osman: I’m leaving here. Act 3 Edilia: The thick smoke of lust, the extent of his depravity, in SCENE I vain attempt to blacken the alabaster of virtue. The scene is a colonnade with various galleries, where Almira and Raymondo, on one side, and Edilia and Bellante on the other, are watching the pageant (which presents the three Aria (Edilia) divisions of the world, together with Tabarco as Folly). Heaven will punish your faithless heart, vengeance will Underneath are ranked the queen’s bodyguard and the court. reward hidden malice, confusing, overturning, injuring, Fernando in a Roman garment representing Europe, is pulled in and ravaging your transient fortunes, so that peace and on a gilded, horse­drawn chariot; he holds in his lap a crown, contentment elude you. scepter, orb and prince’s caps. He is preceded by a band of (She leaves.) oboes, together with a retinue of the nations found in this continent. Aria (Fernando) Recitativo (Raymondo) Bow down, globe of the world, and admire my glory; What causes your spirit to be in ill‐humor? Why, justly the garland of victory is placed on my brow. princess, should pearly tears roll from the elysian ields [Dance of Europeans.] of your cheeks? Edilia: SCENE II Virtue is much injured by Vice, for no‐one keeps sworn Osman and those already mentioned. faith any more. Osman appears in Moorish costume as Africa and is carried on Raymondo: by twelve Moors under a beautiful canopy He is preceded by a Sad lady, even as they low from your eyes like a salt band of trumpets and kettledrums and is followed by the lood, I can only draw ire and passion from the crystal chieftains of the African peoples. drops. Edilia: Aria (Osman) My prince, you try to captivate my weary spirit when All must yield to my splendor; to my Nile every river the heavens threaten only with malevolent stars. must offer humble tribute; even the Euphrates and the Raymondo: Tiber must surrender to its lood. Yet when, after a stormy night the fair light of dawn [Dance of Africans.] breaks forth, just let the storm of bitter anguish vanish. SCENE III Edilia: Consalvo and those already mentioned. My prince knows how to unite hearts… Consalvo, in oriental dress as Asia, is drawn on by lions. In his Raymondo: lap are quivers, arrows, maces and the like. He is preceded by a ...and you, most gracious lady, how to inlame them band of cymbals, drums, ifes, together with a retinue of nations. fatally.

Aria (Consalvo) Aria (Raymondo) You proud globe of earth, give to the weight of my Grant me only a glance of compassion after the loods of nobility and to the dignity of my scepter the irst prize tears; let the sun of your delight greet my joy, so often of precedence. longed‐for, with kindly rays. Grant me only a glance of [Dance of Asians.] compassion after the loods of tears.

Recitativo (Raymondo) Recitativo (Raymondo) Does it not please you to praise the African? Decide, is no further consolation open to me? Almira: Edilia: The beauty of Europe vanquishes both other continents. He who truly loves must always be in hope. Raymondo: (The both leave.) (Love prompts that remark.) Edilia, Bellante: SCENE VI My prince, I will pass judgment in favor of Africa. Bellante, later Consalvo.

SCENE IV Accompagnato (Bellante) Tabarco and those already mentioned. Yes, Love, this heart must feel your cruelty without any Tabarco in a ridiculous costume is seated on his horse and relief; when will you cool my lames with the sweet represents Folly. He is preceded by a hurdy­gurdy and bagpipes. medicine of contentment? It is useless; I love empty In his retinue are harlequins, charlatans, etc. shadows, I revere him who lees my love; Bellante seeks to be united with Osman, who instead is drawn to Aria (Tabarco) crown and mitre, whereas Consalvo’s feeble desire Come, magnify the glory of Folly, for the greater part of strives to embrace my already inlamed breast with a the earth is subject to me. This head is full of maggots cold inclination which I must ever hate. and catarrh which torment it every day, that one drags along clowns, and another cannot abide the best of the Aria (Bellante) windmill; he must toil with the dog‐star as his Blind archer, break the unjust points of your arrows. inalienable property; now he turns this way and not What use are your wounds, blind archer, which no that, like the biggest of fools. mortal can cure? [Dance of charlatans.] Recitativo (Consalvo) SCENE V And will your heart still not love me? Edilia, then Raymondo. Bellante: My prince, do not further distress me. Aria (Edilia) (She leaves.) Gush forth, you overlowing tears, give relief to my heart. Aria (Consalvo) Now judge, righteous queen, whether such a man who Ungracious beauty, if you will abandon me I will surely with ignominy scatters forbidden incense for the hate you, false siren. Cyprian goddess† and profanes your citadel with burning lust does not deserve all punishment and SCENE VII fetters. Consalvo, Fernando. Almira: (Jealousy will almost drain away my blood.) Just leave Aria (Fernando) us, we will speak our mind. Noble thoughts soothe away whatever causes (Consalvo leaves.) annoyance and harm. And on the contrary strive by all means to become on earth delighted in sweetest repose. Aria (Almira) You will see, despite yourself, I shall soon make you Recitativo (Consalvo) change your affections, cruel man. Since from the very Fernando, give me your sword. arms of her whom you love I can dislodge you. Fernando: (She leaves.) What should make me do that? Consalvo: SCENE IX Audacious man, still you question me? The scene is part of the royal gardens with various bowers; Fernando: Almira’s summerhouse in the distance. Patience! I will be obedient: Raymondo and Edilia (in hiding). (He gives him his sword.) but what offense have I committed? Aria (Raymondo) Consalvo: Edilia, while you are mine I will never waver; my heart You shall soon ind out. Forward, you trusty troops, take shall be devoted to you, my feelings and thoughts are him away to prison. with you, my angel, Edilia!

Aria (Fernando) Recitativo (Edilia) What is the favor of the court? A mist that swiftly Yes, yes! disperses: a labyrinth of moments that invariably takes Raymondo: us from crown and throne to prison. Is a sweet echo near me? (He is led away by the guard.) Edilia: Yes, yes! My prince, whom do you seek? Recitativo (Consalvo) Raymondo: Go, rash man, remember that lechery indeed makes a Do not ask, princess; I seek my rest in your arms, full of show of Hybla’s honeyed bosom*, but after pleasure is delight, ah, may you have pity on my torment! obtained gives only bitter myrrh: Now let Edilia again Edilia: release you from the chains as then at Osman’s. (It is impossible for me to resist any longer, and withstand his sighs…) Beloved prince, I must give SCENE VIII myself to you. Almira, Consalvo. Raymondo: Happy words! Now I begin to live again, as I see that I Recitativo (Consalvo) am loved. Most serene highness, Fernando is in prison. (They leave.) Almira: Fernando (what, my light, Fernando, my very life?) lies shrouded in the darkness of a prison? Who has done this bold deed, for which certainly no order was issued? Consalvo: He is devoted to Edilia. Almira: (O word that ills my soul with rage and fury.) Consalvo: He loves her with uncommon passion, so that even his room secretly bears witness to the favor granted. Almira: (How my heart is crushed.) Consalvo:

* A mountain in Sicily noted for its sweet‐scented lowers. † Venus/Aphrodite, the goddess of love, said to have been born from the sea near Cyprus. SCENE X Tabarco: Almira If his life is so surely near its end, he should make his will right away. Accompagnato (Almira) (He leaves.) Faithless man, gentle as is my soul, I will yet show you, with axe and sharp sword, in the manner of savage Aria (Almira) cave‐dwellers, my fury and ierce vengeance: My heart Dear script, beloved lines, let me kiss you; Cupid, throbs, it will burst with passion; blood, murder and instead of his arrows, has newly provided you to set my death tear through every part of my body, Castile shall heart racing. be utterly aghast, and, trembling, shake in terror, when I (She leaves.) split your heart, your false heart, asunder, and send you shrieking in terror to Lethe’s waters. SCENE XII Osman holds Edilia, who wants to escape from him. Aria (Almira) Blazing vengeance boils your veins, concentrating the Recitativo (Edilia) lames of Phlegethon* to punish the crime of a wicked Away, leave me. man. Osman: Ah terrible words, have pity on me. SCENE XI Edilia: Osman, Almira, Tabarco. Go, false man, let me go. Osman: Recitativo (Osman) Is then my guilt so great that you would leave me Most serene highness, heaven must worship your forever? beauty, which none can equal; My heart it has… Edilia: Almira: Be gone! Your tinder may, for all I care, catch others’ ire. Enough, be gone, I will not listen to lattery. Osman: Osman: That’s too much! My heart has not burned with passion Farewell then, I will never trouble you again. for another. (Osman leaves.) Edilia: Almira: On the contrary, it is often assailed by ickleness. He would plague me with new love. Osman: Tabarco: More often Love tries to play tricks. Dare I venture, however, to present you with this letter? Edilia: (He hands over a letter.) A trick that’s uncontrolled must stay away from Love. Almira: Osman: From whom? The fault has long since been atoned with tears. Tabarco: Edilia: From Fernando, whom the bounds of prison conine. Yes, the tears which a crocodile also sheds. Almira: Osman: (She opens the letter.) So will you then have nothing more to do with such Perhaps he is trying to cover the enormity of his crimes idelity? with empty words and seeks to go unpunished? Edilia: Tabarco: No, he who snatches at shadows loses the morsel which May I be so bold as to beg an answer for him? he possesses. Almira: Osman: What do I ind here? A heart of rubies which unsettles Love torments you with death in burning jealousy. my thoughts. Edilia: (She reads.) And ickleness, detested issue of Hell, torments you. “Fernando, whom the burden of fetters weighs down, Osman: throws, great queen, a paper at your feet, and wishes Ah, cruel one, you who mock my pain. only to know out of your magnanimity if perhaps this Edilia: gem could be a reason for his misfortune?” Fate reveals False man, it is you who have deserved to be scorned. to me a mysterious affair; what more must I read? “This belongs to Almira.” Innocence’s highest glory can yet cut down all ill‐will, but I will pretend to him. Tabarco, give Fernando only this message, that before the sun in slumber sinks his radiance in Thetis’ watery bosom, the lamp of his life shall already be extinguished.

* A river of hell whose waters burnt with ire. SCENE XIII Almira: Raymondo and the others already mentioned. (Ah, Almira, what can you say? Give peace to his soul at last; come, let your heart, which is full of pity, and Aria (Raymondo) almost breaks in pieces because of love, tearfully bring Those lips of coral you, my scorned rival, shall not kiss, him the message that he shall not die.) no, no. Those waves which engulf you have brought me Fernando: to harbor. Fernando dies yours, he dies yours, Almira… (They [all] leave.) (Almira comes forward.) Almira: SCENE XIV No, no, Fernando, no, I will grant you mercy provided The scene is an underground prison. you unite in marriage with Edilia. Fernando, Tabarco. Fernando: Most serene highness, this mercy only troubles me. Aria (Fernando) Almira: He can laugh amid lightning and thunder, whom the What, are you not in love with Edilia? laurel of his innocence crowns; if though the elements Fernando: roar his courage does not falter. Let all things rage, what My heart declares me free of such an inclination. savors of true virtue can protect him. Almira: But did she not indeed linger secretly in your room? Recitativo (Fernando) Fernando: What comfort does Tabarco bring me? Never. Tabarco: Almira: Master, things are going very badly. The queen sends Then who saved you from being murdered and stole you a sentence of death. your weapon and Osman’s? Fernando: Fernando: What, shall Fernando die? She was not known to me. Tabarco: Almira: Yes indeed. Sir, where is your money? I’d be very glad to But do you not want to know the person who, although inherit after your departure. she has tenderly protected you, you nevertheless (He leaves.) torment with extraordinary pain? Fernando: SCENE XV Who can she be? Fernando, Almira (in hiding). Almira: Almira, your queen. Accompagnato (Fernando) Fernando: Fate, will you then just cut me down, abandoned? Shall (He kneels.) virtue perish, and innocence be oppressed? Why was I, Most serene highness, take my life, but when my blood as a little child, not drowned in Amphitrite’s waves, if by pours forth at your feet, consider each drop to be a your decree the wrath of the stars has determined my witness of my idelity. downfall and irmly settled it? But no. Almira appoints Almira: my cruel end, I shall shed my blood: One word, which I Most charming of men, your suffering shall be ended, must not deny, it would just sweeten the agony of death, arise, I will tear the harsh fetters from your hands if only my mouth, almost void of life, could irst make (She loosens the chains.) known to her my idelity and love and utter that word at and henceforth Almira’s heart will be called your own. my departing: “Fernando dies yours”. Duet (Almira and Fernando) Aria (Fernando) Flirt with me, you sparkling eyes, melt, you lips in dewy Fernando dies yours, he dies yours, Almira, as long as I kisses: speak and jest, laugh and caress, make honey of draw breath I will be your very own. double sweetness, bring forth perfect pleasures.

Almira: SCENE XVI (Speak on, Fernando, your sweet words I will write in The scene is a magniicent state room. my heart, and I too remain yours.) Bellante, Osman. Fernando: I will be called your faithful one, nothing will tear me Aria (Bellante) from you, neither fear nor the agony of death, Fernando Truly I burn without affecting you, your heart remains dies yours. even harder than adamant; you can fan the lames with hot torment and nevertheless preserve the substance without change. Recitativo (Osman) Fernando and Osman: Believe, fair one, that your lovely mouth does me much My brother, let my heart be bound to yours forever. wrong, my heart has long since been wounded and (They embrace.) inlamed by the ire of your eyes. Bellante: Coro (All) Ah, what consolation! Come, Osman, my desire, come, Hope only for good times; though Caurus’s* bitter envy let me embrace you. causes the hail of disaster to fall, yet there will at last be joy when the milder west wind of good fortune scatters Duet (Bellante and Osman) roses of pure grace. Hope only for good times. My griefs must vanish if only you will let me ind in you sweet rest. SCENE XVIII Raymondo, Edilia, Tabarco on his horse, and the persons SCENE XVII already mentioned. Almira, Consalvo, Fernando and the others previously mentioned. Recitativo (Raymondo) Most serene highness, Heaven’s high favor has given me Recitativo (Almira) Edilia in the ardor of chaste love, grant that I may live Fernando has clearly explained that he is not devoted to united with her. Edilia: His heart alone may venture to seek the favor of Osman: the crown. May I not beg the same favor, oh queen? Consalvo: Almira: And thereby makes himself deserve greater Live and be happy, most blessed pair. punishment. Almira and Consalvo: Almira: Venus may evermore shower you with rich blessings. He has sent me this jewel of rubies, displaying my name, Tabarco: which he loves and honors. Now then, my dear old nag, don’t be lazy, be ready as Consalvo: best you can for a good feast: at the same time I will be Oh heavens, how my senses reel! gazing through the window with my mouth watering. Bellante and Osman: (He rides off.) What is the matter with Consalvo? Almira: Consalvo: I must now fulill my father’s last wish in your presence Great queen, allow Fernando to tell me from whom he at this celebration of great joy, and choose you, received this jewel. Fernando, from Consalvo’s sons as my beloved: Castile Almira: shall crown you as her king, and to you I will be Satisfy his desire. married. Fernando: Fernando, Osman and Raymondo: The jewel was tied around my neck, when a isherman My angel… found me in the cradle in a stormy sea. Almira, Edilia and Bellante: Consalvo: My delight… Oh inexpressible delight! My son Floraldo, my beloved All: son, I clasp you lovingly to my breast. I rest in rapture on your best. Almira: Is this the truth, dare one believe it? Coro (All) Consalvo: We hope that Heaven will, after the turmoil, welcome us Most serene highness, I am most certain that I again with joyful glances, will sugar and sweeten the presented this jewel to my wife, who was also called bitter pain, and let the life granted by Love last forever. Almira, as a wedding gift: Immediately after she had given birth to Floraldo, it was hung round the child’s (Translated by Anthony Hicks, with Katherine Boot, Philippe neck; when your father had me travel from Sicily, my St George, Siegfried Flesch and Colin Timms) ship was sunk with her, and I thought this son Floraldo also lost; but now, by this token, quite unexpectedly, I have found him again. Almira and Bellante: Oh most happy this day, on which I see you so delighted. Fernando: My father, let my joy match yours. Consalvo: My son, my sorrows must vanish.

* The north‐west wind, noted for its coldness.