35823 BEMF Festival Book 2015_09FestBrochure 5/28/15 10:59 AM Page 241 FESTIVAL OPERA Orfeo Orfeo in Boston | Evening Performance: Saturday, June 13, 2015 at 8pm New England Conservatory’s Jordan Hall, 30 Gainsborough Street, Boston, Massachusetts Orfeo in the Berkshires | Matinée Performance: Sunday, June 21, 2015 at 3pm The Mahaiwe Performing Arts Center, 14 Castle Street, Great Barrington, Massachusetts Paul O’Dette and Stephen Stubbs, Musical Directors Gilbert Blin, Stage Director Robert Mealy, Concertmaster Anna Watkins, Costume Designer & Supervisor Gilbert Blin, Set Designer Lenore Doxsee, Lighting Designer Kathleen Fay, Executive Producer Melinda Sullivan, Choreographer Glenn A. KnicKrehm and Constellation Center Sponsors of The Monteverdi Trilogy The Barrington Foundation Sponsor of Orfeo in Great Barrington Bernice K. and Ted Chen Sponsors of Gilbert Blin, Stage Director & Set Designer Lois and Butler Lampson Sponsors of Aaron Sheehan, performing the role of Orfeo Diane and John Paul Britton Sponsors of Anna Watkins, Costume Designer & Supervisor Constance and Donald Goldstein Sponsors of Melinda Sullivan, Choreographer of Orfeo Miles Morgan Sponsor of Orfeo Lighting Designs 35823 BEMF Festival Book 2015_09FestBrochure 5/28/15 10:59 AM Page 242 Orfeo cast in order of appearance PART I Prologue Mireille Asselin Charles Blandy, Matthew Brook, Marco Bussi, Jason McStoots, Nathan Medley, Shannon Mercer, Aaron Sheehan & Teresa Wakim Carlos Fittante La Musica (Music) The company The jester Act I Aaron Sheehan Orfeo (Orpheus) Nymphs: Mireille Asselin Euridice (Eurydice) Teresa Wakim 1st Nymph Shannon Mercer A Nymph Shepherds: Nathan Medley 1st Shepherd Jason McStoots 2nd Shepherd Charles Blandy 3rd Shepherd Matthew Brook 4th Shepherd Marco Bussi A Shepherd Carlos Fittante Hymen, God of Marriage Act II Aaron Sheehan Orfeo (Orpheus) Nymphs: Shannon Mercer Silvia, the Messenger Teresa Wakim A Nymph Mireille Asselin Euridice (Eurydice) Shepherds: Nathan Medley 1st Shepherd Jason McStoots 2nd Shepherd Charles Blandy 3rd Shepherd Matthew Brook 4th Shepherd Marco Bussi A Shepherd Carlos Fittante Pan, God of Shepherds 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:55 AM Page 243 PART II Act III Orfeo (Orpheus) Speranza (Hope) Caronte (Charon) Proserpina (Persephone) Aaron Sheehan Nathan Medley Matthew Brook Teresa Wakim Marco Bussi Plutone (Pluto) Mireille Asselin Euridice (Eurydice) Infernal Spirits: Nathan Medley 1st Spirit Jason McStoots 2nd Spirit Charles Blandy 3rd Spirit Carlos Fittante Thanatos, God of Death Act IV Aaron Sheehan Orfeo (Orpheus) Matthew Brook Caronte (Charon) Teresa Wakim Proserpina (Persephone) Marco Bussi Plutone (Pluto) Mireille Asselin Euridice (Eurydice) Infernal Spirits: Nathan Medley 1st Spirit Jason McStoots 2nd Spirit Charles Blandy 3rd Spirit Carlos Fittante Amor, God of love Act V Orfeo (Orpheus) Apollo Harpocrates, God of Silence Aaron Sheehan Jason McStoots Carlos Fittante Epilogue Mireille Asselin, Charles Blandy, Matthew Brook, Marco Bussi, Jason McStoots, Nathan Medley, Shannon Mercer, Aaron Sheehan & Teresa Wakim 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:55 AM Page 244 Boston Early Music Festival Vocal Ensemble Mireille Asselin Charles Blandy Matthew Brook Marco Bussi Jason McStoots Nathan Medley Shannon Mercer Aaron Sheehan Teresa Wakim Boston Early Music Festival Chamber Ensemble Robert Mealy, concertmaster Julie Andrijeski, violin Laura Jeppesen, viola Phoebe Carrai, violoncello Avi Stein, harpsichord & organ Alessandro Quarta, harpsichord, organ & regal Paul O’Dette, chitarrone Stephen Stubbs, chitarrone Maxine Eilander, Baroque harp Erin Headley, viola da gamba & lirone Dark Horse Consort Alexandra Opsahl, cornetto & recorder Kiri Tollaksen, cornetto Greg Ingles, trombone & trumpet Liza Malamut, trombone Catherine Motuz, trombone & trumpet Erik Schmalz, trombone Mack Ramsey, trombone Timothy Will, guest solo trumpet Boston Early Music Festival Dance Ensemble Melinda Sullivan, Ballet Mistress Carlos Fittante, first dancer 35823 BEMF Festival Book 2015_09FestBrochure 5/28/15 10:59 AM Page 245 The Power of Music Tomorrow evening the Most Serene Lord the Prince is to sponsor a play in the main room in the apartments which the Most Serene Lady of Ferrara had the use of. It should be most unusual, since all the actors are to sing their parts; it is said on all sides that it will be a great success. No doubt I shall be driven to attend out of sheer curiosity, unless I am prevented from getting in by the lack of space. Carlo Magno’s 1607 letter to his brother, excerpted above, explains why it is hard for us to hear Monteverdi’s L’Orfeo in the same way as its original audience did. For us, Orfeo stands at the head of the long history of opera; it is in a tradition that includes Handel, Steffani, Lully, Mattheson, Mozart, Verdi, Wagner, and Strauss. And in that context it stands up for itself very well indeed; it is full of beautiful music, it requires passionate, lyrical, and florid singing, and it can make us weep with the best of them. And yet it’s not an opera at all. There was no such thing in 1607. It’s a play; and for its creators it’s an attempt to recreate the power of Classical Greek tragedy. Orfeo tells a Classical tale, and in a time in which Classical literature was being rediscovered and newly valued, scholars and intellectuals wanted to know what it was that gave such affective power to Classical theater. Part of the effect, they surmised, was that Classical Greek actors sang their parts, to the accompaniment of the ancient kithara, a plucked string instrument. So if we have our actors sing, and accompany them on, say, a souped-up version of the chitarra (as we’d say in Italian), a big one, a chitarrone, we might well hope to achieve the effect that Greek tragedy had on its own audiences. So Orfeo at its origin was a species of early-music performance, an attempt to recapture the sounds and the effects of the distant past. How appropriate that it should be presented by the Boston Early Music Festival! We are evoking a performance of 400 years ago that itself sought to evoke a performance more than a millennium earlier still. As spectators, we would be expecting a play. But the novelty about this play is that, as Carlo Magno says, all the actors sing their parts. We have a word for plays in which everybody sings—we call it opera; but that didn’t really exist. What a novelty it must have seemed! The singing was something added to a poetic libretto full of charm and literary delight, telling a story that we already know, but in newly created elevated language. Monteverdi’s job is to figure out how to make that singing contribute to the depth, the expressiveness, the power of the drama. And he is the perfect person for the job, in the perfect place to accomplish it. First off, Monteverdi adopts the new stile recitativo, the reciting style, employed by some musical experimenters down in Florence in the last few years. This is a means of delivering words in spoken rhythm, at about the speed an actor would speak them, but with a melodic line and a simple chordal accompaniment; it was a Florentine invention, but Monteverdi turned it to spectacularly effective use, here and elsewhere. There’s a risk that we will find recitative tedious— especially if we expect Mozart arias or Verdi heroines. But in the context of a play, it’s a magical addition, and Monteverdi is able to inflect it with amazing variety and skill, using harmony, dissonance, melody, rhythm—to make it always new and interesting. Another way to avoid tedium is to have songs. And there are lots of songs, and dances, and instrumental pieces, in the course of Orfeo. The story is laid out to make this possible. k What better subject for a fable told in music than the story of Orpheus? He is, after all, the semi-god who is the greatest musician who ever lived, the son of Apollo, god of the sun, of music, of balance; a story about Orpheus will give plenty of occasion for music and singing. It is set in that mythical Arcadia where nymphs and shepherds frolic, sing, dance, without any concern for keeping watch over their flocks.… So there is plenty of occasion for song as well as speech, and this presents Monteverdi with a challenge and an opportunity. Because if this is a play in which the actors sing their parts, we are to understand that what is happening on stage is the way things work: when people sing in that world, they are speaking. Fine: and if we like it, we stay. But what happens when, in a world in which people are already singing, somebody on stage says “Orfeo, sing us a song!” How can this happen, if everybody is already singing? This is, of course, one of the major challenges of opera, and one of the major challenges of music with words. Words require one kind of delivery, and music generally requires another. 35823 BEMF Festival Book 2015_09FestBrochure 5/28/15 10:59 AM Page 246 Monteverdi rises to this challenge beautifully; musically there is a whole range of singing, from absolutely syllabic speech-declamation through the most ornate and virtuosic musical lyricism. Even though the room is small, the resources are princely. Monteverdi was able to make full use of the musical personnel of the Court of Mantua; he was its chief musician, he hired and fired, and he knew to the tiniest detail the abilities of his colleagues. The Rubini brothers, expert violinists, get their opportunities to show off, as do superstar cornetto players and an extraordinary double harpist—they all get solo turns in the play’s central moment: Orfeo’s passionate, and virtuosic, appeal to Caronte, the gatekeeper of Hell, to allow him passage to the land of the dead, ruled over by Pluto. k The myth of Orpheus has been told for a long time and in many ways. It continues to be told, and will surely be told for a long time to come. Like so many myths, it survives because it reminds us of a universal truth. Orpheus falls in love with the mortal Euridice; she dies (in this telling, from a venomous snakebite), and Orpheus does what no mortal can, and pursues her to the realm of the dead, where Pluto agrees to release Euridice to him, but on one condition (we all know this story): as he leads her out of Hades, he must not look back to see whether she is following. And of course he does; who wouldn’t? The story of Orpheus is a human story reenacted by every human every day: my heart tells me to look back, my head reminds me that I must not, what shall I do? (Do I really have to get up and go to work this morning? Couldn’t I just sleep a few minutes more?) After the passionate scene in which Orfeo loses Euridice for ever and is ejected from the lower world, he wanders through the lands he used to love but which now remind him of the lost Euridice; he sings a long and very beautiful soliloquy, in which he begins to speak to the echo that returns to him from the distant mountains. It is a mad scene—he begins by singing the praises of Euridice, he compares her to other women, he loses all control and despises all of womankind as hateful. That is the point where Ovid—and the printed poem we were holding in our hands, if we were at the first performance—calls for a band of wild women, worshippers of Bacchus, to tear him limb from limb in revenge for his hatred of women. But a miracle happens! Just at the point where Orfeo has lost his reason, Apollo appears overhead in a cloud—a deus ex machina—and comes to calm his demented son. He takes him up to heaven, where he can be together forever with Euridice among the stars. A mighty duet, a chorus of amazement, and a final dance conclude this fable in music. What a surprise ending! The whole story is also an expression of Renaissance neoPlatonist philosophy, surely appealing to the learned members of the Mantuan Academy for whom this play was meant. We exist in a world between two worlds—that of Apollo overhead, where light and rationality and balance pervade all, and that of Pluto below, where passion overwhelms everything else. It is in these three worlds that this story takes place, and when Orfeo gets out of balance, when his passion overpowers his reason, it calls forth divine intervention from the god of balance in all things. The neoPlatonists of Renaissance Italy would have recognized, perhaps better than we, the extent to which this entertainment is a reflection of the thinking of its time. Even in our time, though, the story is resonant, and the music is beautiful. We are in a room (Jordan Hall) in a palace (The New England Conservatory), before a small and elite audience (you), and we have a story to tell, a fable in music. Don’t look back. u —Thomas Forrest Kelly 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 247 Orfeo, from narrowness to Universality Although considered by many as the first true opera, Orfeo by Claudio Monteverdi was not written for the theatrical building that would soon be synonymous with the genre it came to shelter. Although little is known about the actual material context of the first performance of Orfeo, it has been established with certainty that the premiere on February 24, 1607, did not take place in a theater but in a simple room of the ducal palace in Mantua, and in this way Orfeo, if not perhaps the very first opera, can be considered an early chamber opera par excellence. The palace room that housed the performance has been the subject of many theories, but we know for sure, thanks to eyewitnesses of the time, that it was a small chamber with a narrow stage, not the large salon commonly used for musical entertainments. Furthermore, in these modest conditions, Orfeo was first presented in front of a select audience: the members of the Accademia degli Invaghiti. This “Academy of the enamored”—longing for knowledge—was a society of gentlemen who discussed the arts and studied the Roman and Greek classics during their meetings. The distinguished society could pride itself for being under the active patronage of the heir to the Mantuan throne, Francesco Gonzaga, the prince who sponsored Orfeo. Not conceived as a grand court festivity, like the first attempts to create full-length musical dramas, and far from the idea of entertainment, Orfeo was an experimental work, free from political message, diplomatic influence, and circumstantial superficiality. The Gonzaga family received thanks for its support when Alessandro Striggio paid tribute to them in the first lines of the prologue of his libretto for Orfeo. Striggio, a member of the Accademia and clearly inspired by the works of Ovid and Virgil, may also have conceived his piece as an homage to a famous play, Poliziano’s La favola d’Orfeo, performed more than one hundred years earlier in Mantua for the 1490 wedding of Francesco II Gonzaga, the ancestor of his patron Francesco. Striggio’s Orfeo follows the outline of Poliziano’s: a prologue gives the subject of the tale—Orpheus’s travails—and then a succession of scenes are presented, conceived as pictures. But by omitting the character of Aristeo, the other suitor for Euridice, Striggio concentrates on the figure of Orfeo, and his favola exhibits some common points with the morality plays of the fifteenth century, in which the protagonist is met by personifications of various moral values before his fate is decided. Orfeo may have been seen by Striggio and his fellow academics as a kind of vanitas, a moral allegory about the meaninglessness of earthly life and the transient nature of all earthly attachments and pursuits, including musical eloquence. Nevertheless, Striggio’s libretto is titled La Favola d’Orfeo rappresentata in musica. This title can be read as an esthetic program: It is a tale with different episodes; it is not yet a “drama” as there is a distance from the subject created by the narrative chorus. The subject is taken from Greek mythology, and this antique story is “represented,” that is, performed in music. In short, the title is: The Tale of Orpheus represented in music. Such an idea was still experimental in 1607, and would undoubtedly stimulate a poet musician, and indeed Striggio, the son of a renowned Mantuan madrigalist, was himself a distinguished viol player. But it is, of course, the creator of the music who gives the project its full scope. Monteverdi, in his printed score, goes even further than Striggio, as his Orfeo is subtitled Favola in Musica: not only is music the subject of the story of Orfeo, but has become the object of the whole performance itself, its nature. The musical setting of Monteverdi merges the Renaissance intermezzi, the short musical and allegorical sequences which framed the acts of spoken dramas, with the linearity of an intimate human tale. The story of Orpheus had already proven a good choice for such an enterprise. The action does not fit in a realistic context, which already helps to give the characters a symbolic status. This is obvious in the case of allegorical characters that are intended to represent an idea or to convey a moral message. The gods, although subjected to passions, embody various forms of power and are also part of a symbolic framework. The humans are the characters of the fable that have to comply with the laws of fate, determined by the forces of nature. Orfeo, whose semidivine origin as the son of the god Apollo makes him the receptacle of all conceptual, godlike, and human traits, is at the work’s center as the supreme musician he was. What does this speculation mean for the possible staging of this academic abstraction? We know that it was presented on a narrow stage area in a small palace room, but there are no surviving visual documents about that first performance. From a letter written by Francesco Gonzaga, we know at least that there were not many performers, as they had to take multiple roles, and that they were performing their roles from memory. But the text was in the possession of the audience, as Francesco Gonzaga had librettos of the opera printed, so that everyone could have a copy to follow while the performance was in progress. So even if we don’t know much about the shape of this production, we can get a sense of direction from this very point: the few singers would declaim their role for an 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 248 audience who were reading the verse, their eyes moving between actors and text. By doing so, they were merely checking “what was happening”: the story of Orpheus was as well known then as it is today. But the audience would have judged and enjoyed the invention with which Striggio and Monteverdi “depicted” the story of the legendary poet musician. Orfeo is a work that calls for an active involvement of the orchestra, as Monteverdi’s score is quite precise in terms of instruments and instrumentation. In the small room and next to the narrow stage, the varied instruments of the sizable orchestra would have constituted a major visual element. The instrumentalists, Striggio and Monteverdi likely among them, would have been aware of the strong relationship between their playing and the emotions that the score, music and text, was supposed to create in the audience. It is probable that the performance, like the music, was neither solely illustrative nor purely descriptive but mostly evocative. This first “tryout” was a complete success, and preparations for subsequent performances were immediately underway. A second performance was organized for the “ladies of the town” of Mantua, and a third performance for the planned visit of the Duke of Savoy was also in preparation. It is probably for one of these “public” performances that the finale of Act V was changed, and the scene where Apollo leads Orfeo to immortality replaced the deadly Bacchanal initially written by Striggio. The poet and the composer were infinitely practical and adjusted their productions according to the circumstances. The whole production may have gained another dimension if it left the narrow stage to go into the ducal theater, equipped with flying machines. Our performance is inspired and informed by the original Palazzo Ducale performance, but includes the surviving music and the information in the published score. Monteverdi, in the dedication of his 1609 score to Prince Francesco, launches Orfeo from a narrow stage, “sopra angusta Scena,” into the Theater of the Universe, “nel gran Teatro dell’Universo.” The metaphor proves to be a prophecy for the unexpected destiny of this masterpiece. u —Gilbert Blin 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 249 Synopsis of Orfeo PART I Prologue A Room in a Palace Music personified thanks the generosity of her noble patrons who have made her presence possible. She affirms that she can soothe, through sound, every troubled heart and move all minds. She sings a further paean to her great power to elevate the mortal soul, and announces her intent to present the tale of the demigod Orfeo, whose playing on the lyre could tame wild animals and whose songs even had power over Hell. Before she begins the story, Music asks for total silence from Nature. Act I The Fields of Thrace A shepherd announces that Euridice has consented to marry Orfeo. He invites the nymphs and shepherds to celebrate the wedding, which is to be held that day. They all invoke the god of marriage, Hymen, to preside over the festivities. A Nymph invites all the Muses to inspire the harmony of the songs of the shepherds. All compare their joyful dances to the movements of the stars. Prompted by a shepherd to sing and play his lyre, Orfeo invokes the Sun, his father Apollo, as witness to his happiness at being accepted by Euridice. The bride answers modestly that her heart is now Orfeo’s. Nymphs and shepherds prepare for the wedding ceremony in the temple and reflect on how Orfeo has reached a state of complete happiness and how sorrow can quickly change to contentment. Act II The Fields of Thrace The shepherds praise the beauty of the groves, which are even favored by the god Pan, and ask Orfeo to honor them with a song. The demigod sings of his previous torments of love, which moved even the rocks to pity. A nymph, Silvia, arrives and tells Orfeo that Euridice is dead. She recounts how, while picking flowers, Euridice was bitten by a poisonous snake, and despite the efforts of all the nymphs, she died in the messenger’s arms. Nymphs and shepherds express their anguish while Silvia castigates herself as the bearer of bad tidings. Orfeo declares his intention to descend to the Underworld to persuade its king to allow Euridice to return to life. The shepherds depart to lay Euridice’s body to rest, lamenting on the severity of Fate. PART II Act III The Underworld Orfeo is led by Hope to the entrance of the Underworld. After reminding Orfeo of the words inscribed on the gate of Hell—“Abandon hope, all ye who enter here”—Hope leaves. Caronte, the ferryman who carries the souls of the dead across the River Styx into Hades, harshly refuses to take Orfeo, as Death has not yet claimed him. Orfeo tries to persuade him by singing a flattering song, but the ferryman is unmoved. However, when he allows his true feelings for his lost wife to inspire his pleading, the bereft husband charms Caronte into peaceful slumbers with his song, and is then able to cross the river of death unimpeded. The spirits of Hades confess their admiration for the resilience of mankind. Act Iv The Underworld Ravished by Orfeo’s pleas, Proserpina, Queen of Hades, begs her husband to allow Euridice to leave with Orpheus. Plutone agrees, but as a condition, the King of the Dead demands that as Orfeo leads Euridice toward the light, he must not look back at her. Proserpina expresses her gratitude to her husband for his acquiescence, and for her good fortune in having been abducted by him from the earth and brought to his underworld kingdom. As Orfeo sets off, exhilarated by the power of his lyre, he begins to doubt whether his beloved Euridice is really following him. When he hears a mysterious noise he can no longer resist the call of Love and turns his head. He sees 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 250 Euridice’s shade, but she immediately vanishes amidst the night. Orfeo attempts to follow her, but he is pulled away by an unseen force and forced to return alone to the light of the upper world. unworthy, and resolves that his heart will never again be pierced by Love’s arrow. The infernal spirits moralize about Orfeo, who, having overcome Hades, was in turn overcome by his passions: eternal glory is reserved for the man who learns to master his emotions. The sun god Apollo appears and eases Orfeo’s sorrow for Euridice, reminding him that nothing lasts on earth. The god invites his son to leave the world and join him in the heavens, where he will contemplate Euridice’s likeness in the stars. Orfeo follows the wise counsel of his father, and together they ascend into eternity. Act v The Fields of Thrace Epilogue A Room in a Palace Orfeo has returned to Thrace and laments the permanent loss of Euridice. An Echo offers words of sympathy by repeating the final syllables of each of his phrases. But Orfeo abandons himself to his solitary grief, and consecrates his lyre to the memory of Euridice. Having lost Euridice, he condemns all other women as hateful and All celebrate the immortality of Orfeo and conclude that human suffering on earth shall turn into celestial grace. u —Gilbert Blin 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 251 LIBRETTO ORFEO FAVOLA IN MUSICA A Tale in Music by Claudio Monteverdi (1567–1643) Libretto by Alessandro Striggio (ca. 1573–1630) English Translation by Gilbert Blin First Performance: Mantua, Palazzo Ducale, February 24, 1607 PERSONAGGI CHARACTERS La Musica Music Orfeo Euridice Ninfe e Pastori Speranza Caronte Spiriti Infernali Proserpina Plutone Apollo Orfeo (Orpheus) Euridice (Eurydice) Nymphs and Shepherds Hope Caronte (Charon) Infernal Spirits Proserpina Plutone (Pluto) Apollo PART I PROLOGO PROlOGuE La Musica Dal mio Permesso amato à voi ne vegno, Incliti Eroi, sangue gentil de’ Regi, Di cui narra la Fama eccelsi pregi, Nè giunge al ver, perch’è tropp’ alto il segno. Music From my beloved Permessus I come to you, Glorious Heroes, noble descendents of Kings, Of whom Fame proclaims high praise, Yet without attaining the truth because it is beyond description. Io la Musica son, ch’a i dolci accenti, Sò far tranquillo ogni turbato core, Ed hor di nobil ira, & hor d’amore Posso infiammar le più gelate menti. Io sù Cetera d’or cantando soglio Mortal orecchio lusingar talhora, E in questa guisa a l’armonia sonora De la lira del Ciel più l’alme invoglio; Quinci à dirvi d’ORFEO desio mi sprona, D’ORFEO che trasse al suo cantar le fere, I am Music, who in sweet accents, Knows how to quiet every troubled heart, And now with noble anger, now with love, Can inflame the coldest minds. Singing with my golden Lyre, I like To charm, now and then, mortal ears, And in this way, to the sounding harmony Of the lyre of Heaven, I make their souls aspire; Hence desire spurs me to tell you of ORFEO: Of ORFEO who tamed wild beasts with his song 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 252 E servo fè l’Inferno a sue preghiere, Gloria immortal di Pindo e d’Elicona. And made Hades answer his prayers, To the immortal glory of Pindus and Helicon. Hor mentre i canti alterno hor lieti, hor mesti, Non si mova augellin fra queste piante, Nè s’oda in queste rive onda sonante, Ed ogni auretta in suo cammin s’arresti. While I vary my songs, now happy, now sad, No small bird shall move among these bushes, Nor on these banks a sounding wave be heard, And every breeze shall be halted in its course. ATTO PRIMO ACT I Pastore In questo lieto e fortunato giorno, C’hà posto fine à gli amorosi affanni Del nostro Semideo, cantiam Pastori, In sì soavi accenti, Che sian degni d’ORFEO nostri concenti. Shepherd On this happy and auspicious day Which ends the amorous torments Of our Demigod, let us sing, Shepherds, In such sweet accents, That our singing may be worthy of ORFEO. Oggi fatt’è pietosa L’alma già si sdegnosa De la bella EURIDICE. Oggi fatt’è felice ORFEO nel sen di lei, per cui già tanto Per queste selve hà sospirato, e pianto. Today the formerly disdainful soul Of fair EURIDICE Has become merciful. Today ORFEO is made happy In the bosom of her for whom he once Sighed and wept throughout these woods. Dunque in si lieto e fortunato giorno Ch’ha posto fine a gli amorosi affanni Del nostro Semideo, cantiam Pastori, In si soavi accenti, Che sian degni d’ORFEO nostri concenti. Therefore, on such a happy and auspicious day Which ends the amorous torments Of our Demigod, let us sing, Shepherds, In such sweet accents, That our singing may be worthy of ORFEO. Choro Vieni, Imeneo, deh, vieni, E la tua face ardente Sia quasi un Sol nascente Ch’apporti à questi amanti i dì sereni, E lunge homai disgombre Degli affanni e del duol gli orrori e l’ombre. Chorus Come, Hymen, oh come, And may your ardent torch Be like a rising Sun That brings these lovers peaceful days And forever banish The horrors and shadows of torments and grief. Ninfa Muse, honor di Parnaso, amor del Cielo, Gentil conforto à sconsolato core, Vostre cetre sonore Squarcino d’ogni nube il fosco velo; E mentre oggi propizio al nostro ORFEO Invochiam Imeneo Sù ben temprate corde, Sia il vostro canto al nostro suon concorde. nymph Muses, glory of Parnassus, beloved of Heaven, Gentle comfort to the disconsolate heart, The music of your lyres Rends the dark veil of every cloud: And while today, to favor our ORFEO, We call to Hymen With well-tempered strings, Let our music accord with your song. Choro Lasciate i monti, Lasciate i fonti, Ninfe vezzos’e liete, E in questi prati A i balli usati Vago il bel piè rendete. Chorus Leave the mountains, Leave the fountains, Lovely and joyful Nymphs. And in these meadows To the traditional dances Let your fair feet rejoice. 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 253 Qui miri il Sole Vostre carole, Più vaghe assai di quelle, Ond’à la Luna, La notte bruna, Danzano in Ciel le stelle. Here the Sun beholds Your dancing, More lovely than When, for the moon In the dark night, The stars themselves dance in Heaven. Lasciate i monti, Lasciate i fonti, Ninfe vezzos’e liete, E in questi prati A i balli usati Vago il bel piè rendete. Leave the mountains, Leave the fountains, Lovely and joyful Nymphs. And in these meadows To the traditional dances Let your fair feet rejoice. Poi di bei fiori Per voi s’honori Di questi amanti il crine, C’hor de i martiri De i lor desiri Godon beati al fine. Then with fine flowers Be ready to honor These lovers’ heads, That after suffering They may happily Enjoy their desires at last. Pastore Ma tu gentil cantor s’à tuoi lamenti Già festi lagrimar queste campagne, Perc’hor al suon della famosa cetra Non fai teco gioir le valli e i poggi? Sia testimon del core Qualche lieta canzon che detti Amore. Shepherd But you, gentle singer, whose laments Once made these fields weep, Why not now, to the sound of your famous lyre, Make the valleys and hills rejoice? Let some happy song inspired by Love Stand witness to your heart. Orfeo Rosa del Ciel, vita del mondo, e degna Prole di lui che l’Universo affrena. Sol che’l tutto circondi e’l tutto miri, Dagli stellanti giri, Dimmi, vedestù mai Di me più lieto e fortunato amante? Fù ben felice il giorno, Mio ben, che pria ti vidi, E più felice l’ora Che per te sospirai, Poich’al mio sospirar tu sospirasti: Felicissimo il punto Che la candida mano, Pegno di pura fede à me porgesti. Se tanti Cori havessi Quant’ occh’hà il Ciel eterno, e quante chiome Han questi Colli ameni il verde maggio, Tutti colmi sarieno e traboccanti Di quel piacer ch’oggi mi fà contento. Orfeo Rose of heaven, life of the world, and worthy Heir of he who holds the Universe in sway: O Sun, who encircles all and sees all From your starry orbits, Tell me, have you ever seen A happier and more fortunate lover than I? Happy was the day, My love, when first I saw you, And happier yet the hour When I sighed for you, Because at my sighs you sighed: But happiest of all was the moment When your white hand, In pledge of fidelity, you gave to me. If I had as many Hearts As eternal Heaven has eyes and as these Lovely Hills in green May have leaves, They would all be brimming and overflowing With that pleasure that today makes me contented. Euridice Io non dirò qual sia Nel tuo gioire ORFEO la gioia mia, Che non hò meco il core, Ma teco stassi in compagnia d’Amore; Euridice I cannot say, ORFEO, How I rejoice in your joy, For no longer do I possess my own heart. It is with you in the company of Love; 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 254 Chiedilo dunque à lui, s’intender brami Quanto lieta gioisca, e quanto t’ami. Ask of it, then, if you want to know How greatly it rejoices, and how much it loves you. Choro Lasciate i monti, Lasciate i fonti, Ninfe vezzos’e liete, E in questi prati A i balli usati Vago il bel piè rendete. Chorus Leave the mountains, Leave the fountains, Lovely and joyful Nymphs. And in these meadows To the traditional dances Let your fair feet rejoice. Qui miri il Sole Vostre carole, Più vaghe assai di quelle, Ond’à la Luna, La notte bruna, Danzano in Ciel le stelle. Here the Sun beholds Your dancing, More lovely than When, for the moon In the dark night, The stars themselves dance in Heaven. Vieni, Imeneo, deh, vieni, E la tua face ardente Sia quasi un sol nascente Ch’apporti a questi amanti i dì sereni, E lunge homai disgombre Degli affanni e del duol gli orrori e l’ombre. Come, Hymen, oh come, And may your ardent torch Be like a rising sun That brings these lovers peaceful days And forever banish The horrors and shadows of torments and grief. Pastore Ma s’il nostro gioir dal Ciel deriva Com’è dal Ciel ciò che qua giù n’incontra, Giusto è ben che devoti Gli offriam incensi e voti. Dunque al Tempio ciascun rivolga i passi A pregar lui nella cui destra è il Mondo, Che lungamente il nostro ben conservi. Shepherd But if our joy derives from Heaven, As from Heaven comes all that happens down here, It is right and fair that we should devoutly Offer incense and prayers. So to the Temple let us turn our steps To pray to him in whose right hand is the World, That he may long keep us well. Due Pastori Alcun non sia che disperato in preda Si doni al duol, benchè talhor n’assaglia Possente sì che nostra vita inforsa. Two Shepherds Let none be victim of despair Or sorrow, though both assail us And so strongly threaten our lives. Ninfa e Due Pastori Che poiche nembo rio gravido il seno D’atra tempesta inorridito hà il Mondo, Dispiega il Sol più chiaro i rai lucenti. nymph and Two Shepherds For, after the sudden storm and great flood At the heart of a black tempest that has terrified the World, The Sun more brightly displays its luminous rays. Due Pastori E dopò l’aspro gel del Verno ignudo Veste di fior la Primavera i campi. Two Shepherds And after the harsh frost of naked Winter Spring clothes the meadows with flowers. Choro Ecco ORFEO, cui pur dianzi Furon cibo i sospir, bevanda il pianto. Oggi felice è tanto Che nulla è più che da bramar gli avanzi. Chorus Here is ORFEO, for whom Sighs had been his food, and the tears his drink. Today he is so happy That there is nothing more for him to wish for. Il fine del primo Atto. The end of the first Act. 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 255 ATTO SECONDO ACT II Orfeo Ecco pur ch’à voi ritorno, Care selve e piagge amate, Da quel Sol fatte beate Per cui sol mie notti han giorno. Orfeo Here I return to you, Dear forests and beloved meadows, Blessed by that very Sun Through whom alone my nights are day. Pastore Mira ch’à se n’alletta L’ombra ORFEO di que’ faggi, Or che infocati raggi Febo dal Ciel saetta. Sù quelle erbose sponde Posianci, e in varii modi Ciascun sua voce snodi Al mormorio de l’onde. Shepherd See, how here we are enticed by The shade, ORFEO, of these beech trees, Now that Phoebus shoots his burning rays Down from Heaven. On these grassy banks Let us sit, and in various modes Each free his voice To the murmuring of the waters. Due Pastori In questo prato adorno Ogni selvaggio Nume Sovente hà per costume Di far lieto soggiorno. Two Shepherds In this flowery meadow Every woodland God Oftentimes, by custom, Makes his merry sojourn. Qui Pan Dio de’ Pastori, S’udì talor dolente Rimembrar dolcemente Suoi sventurati amori. Here Pan, God of Shepherds, Is sometimes heard sorrowing Remembering sweetly His unlucky loves. Qui le Napèe vezzose, (Schiera sempre fiorita) Con le candide dita Fur viste à coglier rose. Here charming wood Nymphs (Always adorned with flowers) With white fingers Were seen picking roses. Choro Dunque fà degni, ORFEO, Del suon de la tua lira Questi campi, ove spira Aura d’odor sabèo. Chorus Then, ORFEO, honor With the sound of your lyre These fields where breezes Waft exotic perfumes. Orfeo Vi ricorda ò boschi ombrosi De’ miei lunghi aspri tormenti, Quando i sassi à’ miei lamenti Rispondean fatti pietosi? Dite: allhor non vi sembrai Più d’ogni altro sconsolato? Hor fortuna hà stil cangiato Ed hà volti in festa i guai. Vissi già mesto e dolente; Or gioisco, e quegli affanni Che sofferti hò per tant’anni Fan più caro il ben presente. Sol per tè, bella EURIDICE, Benedico il mio tormento; Orfeo Do you remember, O shady groves, My long and harsh torments, When, at my laments, the rocks Were moved to pity? Say: did I not seem to you More wretched than any other? Now fortune has changed her course And has turned woes into joy. I lived then in sadness and sorrow, Now I rejoice, and those torments That I suffered for so long Make my present happiness much dearer. Only for you, fair EURIDICE, I bless my torment; 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:56 AM Page 256 Dopo il duol viè più contento, Dopo il mal viè più felice. After sorrow one is even more content, After woe, one is even happier. Pastore Mira, deh mira, ORFEO, che d’ogni intorno Ride il bosco e ride il prato, Segui pur co’l plettro aurato D’addolcir l’aria in sì beato giorno. Shepherd See, ah see, ORFEO, how at every turn The woods laugh and the meadow laughs; Continue with your plectrum of gold To sweeten the air of such a blessed day. Messaggiera Ahi caso acerbo, ahi fato empio e crudele, Ahi stelle ingiuriose, ahi Cielo avaro. Messenger Ah bitter fate, ah wicked and cruel destiny, Ah hurtful stars, ah avaricious Heaven. Pastore Qual suon dolente il lieto dì perturba? Shepherd What mournful sound disturbs the happy day? Messaggiera Lassa, dunque debb’io, Mentre ORFEO con sue note il Ciel consola, Con le parole mie passargli il core? Messenger Alas, then must I, While ORFEO with his music comforts Heaven, Pierce his heart with my words? Pastore Questa è Silvia gentile, Dolcissima compagna De la bella EURIDICE: ò quanto è in vista Dolorosa: hor che fia? deh sommi Dei, Non torcete da noi benigno il guardo. Shepherd This one is gentle Silvia, Sweetest companion Of fair EURIDICE: oh, how sad she looks: What has happened? Ah, Gods above, Do not turn your kind eyes away from us. Messaggiera Pastor, lasciate il canto, Ch’ogni nostra allegrezza in doglia è volta. Messenger Shepherds, leave your singing, For all our rejoicing is turned to grief. Orfeo Donde vieni? ove vai? Ninfa che porti? Orfeo Where do you come from? Where are you going? Nymph, what do you bring? Messaggiera A te ne vengo ORFEO, Messaggiera infelice Di caso più infelice e più funesto. La tua bella EURIDICE… Messenger To you I come, ORFEO, Unhappy messenger With tidings more unhappy and more baleful. Your fair EURIDICE… Orfeo Ohimè che odo? Orfeo Alas, what do I hear? Messaggiera La tua diletta sposa è morta. Messenger Your beloved spouse is dead. Orfeo Ohimè. Orfeo Alas. Messaggiera In un fiorito prato Con l’altre sue compagne Giva cogliendo fiori Messenger In a flowery meadow With her other companions She went picking flowers 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 257 Per farne una ghirlanda alle sue chiome, Quand’angue insidioso, Ch’era fra l’erbe ascoso, Le punse un piè con velenoso dente, Ed ecco immantinente Scolorirsi il bel viso e ne’ suoi lumi Sparir que’ lampi, ond’ella al Sol fea scorno. Allor, noi tutte sbigottite e meste Le fummo intorno, richiamar tentando Gli spirti in lei smarriti Con l’onda fresca e co’ possenti carmi; Ma nulla valse, ahi lassa, Ch’ella i languidi lumi alquanto aprendo E tè chiamando, ORFEO, Dopò un grave sospiro Spirò frà queste braccia; ed io rimasi Piena il cor di pietade e di spavento. To make a garland for her hair, When a deceitful snake That was hidden in the grass, Bit her foot with poisoned fangs, And immediately Her fair face grew pale and in her eyes That light that outshone the Sun faded. Then we all, appalled and distressed, Gathered around her, trying to call back The spirits that grew faint in her, With fresh water and with powerful charms, But to no avail, alas, For she opened her failing eyes a little, And calling for you, ORFEO, After a deep sigh, She died in these arms; and I was left, My heart filled with pity and horror. Pastore Ahi, caso acerbo, ahi fato empio e crudele, Ahi stelle ingiuriose, ahi Cielo avaro. Shepherd Ah bitter fate, ah wicked and cruel destiny, Ah hurtful stars, ah avaricious Heaven. Pastore A l’amara novella Rassembra l’infelice un muto sasso Che per troppo dolor non può dolersi. Shepherd At the bitter news The unhappy man seems like a speechless statue Who with too much grief cannot grieve. Pastore Ahi ben havrebbe un cor di Tigre o d’Orsa Chi non sentisse del tuo mal pietade Privo d’ogni tuo ben, misero amante. Shepherd Ah, he would have the heart of a Tiger or a Bear Who did not feel pity at your misfortune, Deprived of your beloved, wretched lover. Orfeo Tu se’ morta, mia vita, ed io respiro? Tu se’ da me partita Per mai più non tornare, ed io rimango? Nò, che se i versi alcuna cosa ponno, N’andrò sicuro a’ più profondi abissi, E, intenerito il cor del Ré de l’ombre, Meco trarròtti a riveder le stelle: O, se ciò negherammi empio destino, Rimarrò teco in compagnia di morte. À dio, terra, à dio Cielo, e Sole à dio. Orfeo You are dead, my life, and I still breathe? You are gone from me Never to return, and I should remain? No, for if verses can do anything, I will go fearlessly to the deepest abysses, And having softened the heart of the King of shades, I will bring you back with me to see the stars again: Oh, if wicked destiny refuses me this, I will stay with you, in the company of death. Farewell earth, farewell Heaven and Sun, farewell. Choro Ahi caso acerbo, ahi fato empio e crudele. Ahi stelle ingiuriose, ahi Cielo avaro. Non si fidi huom mortale Di ben caduco e frale, Che tosto fugge, e spesso A gran salita il precipizio è presso. Chorus Ah bitter fate, ah wicked and cruel destiny, Ah hurtful stars, ah avaricious Heaven. Let no mortal man trust Fleeting and frail happiness, That soon vanishes, and often After a great ascent a precipice is near. Messaggiera Ma io ch’ in questa lingua Hò portato il coltello C’hà svenata d’ORFEO l’anima amante, Messenger But I who with these words Have brought the knife That has slain the loving soul of ORFEO, 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 258 Odiosa à i Pastori & à le Ninfe, Odiosa à me stessa, ove m’ascondo? Nottola infausta il Sole Fuggirò sempre, e in solitario speco Menerò vita al mio dolor conforme. Hateful to the Shepherds and to the Nymphs, Hateful to myself, where may I hide? Like an ill-omened bat, I will forever flee the Sun, and in a lonely cavern Will lead a life that matches my grief. Duoi Pastori Chi ne consola ahi lassi? O pur, chi ne concede Negli occhi un vivo fonte Da poter lagrimar come conviensi In questo mesto giorno, Quanto più lieto già tant’hor più mesto? Oggi turbo crudele I due lumi maggiori Di queste nostre selve, EURIDICE, & ORFEO, L’una punta da l’angue L’altro dal duol trafitto, ahi, lassi, hà spenti. Two Shepherds Who will console us, alas? Or rather, who will grant In our eyes a living fountain That we may cry as we should On this most mournful day, All the more mournful because once so happy? Today a cruel darkness The two greatest lights Of these our woods— EURIDICE and ORFEO, One bitten by a snake, The other pierced by grief—alas, has extinguished. Choro Ahi caso acerbo, ahi fato empio e crudele, Ahi stelle ingiuriose, ahi Cielo avaro. Chorus Ah bitter fate, ah wicked and cruel destiny, Ah hurtful stars, ah avaricious Heaven. Duoi Pastori Ma dove, ah dove hor sono De la misera Ninfa Le belle e fredde membra, Dove suo degno albergo Quella bell’alma elesse, Ch’oggi è partita in su’l fiorir de’ giorni? Andiam Pastori andiamo Pietosi a ritrovarle, E di lagrime amare Il dovuto tributo Per noi si paghi almeno al corpo esangue. Two Shepherds But where, ah, where now are The wretched Nymph’s Lovely, cold limbs, Where is the worthy dwelling That her fair soul chose, Who today has departed in the flower of her days? Let us go, Shepherds, let us go With compassion to find her And with bitter tears The rightful tribute Shall at least be paid to her lifeless body. Choro Ahi caso acerbo, ahi fato empio e crudele, Ahi stelle ingiuriose, ahi Cielo avaro. Chorus Ah bitter fate, ah wicked and cruel destiny, Ah hurtful stars, ah avaricious Heaven. Qui si muta la Scena. Here the set is changed. Il fine del secondo Atto. The end of the second Act. PART II ATTO TERZO ACT III Orfeo Scorto da te, mio Nume Speranza unico bene De gli afflitti mortali, omai son giunto A questi mesti e tenebrosi regni, Orfeo Escorted by you, my Deity Hope, the only solace Given afflicted mortals, I have now arrived At these mournful and dark realms 35823 BEMF Festival Book 2015_09FestBrochure 5/28/15 10:59 AM Page 259 Ove raggio di Sol giamai non giunse. Tu, mia compagna e duce In così strane e sconosciute vie, Reggesti il passo debole e tremante, Ond’oggi ancora spero Di riveder quelle beate luci Che sol’à gli occhi miei portano il giorno. Where a Sun’s ray can find no entrance. You, my companion and guide On paths so strange and unknown Have directed my feeble, trembling steps, Where today I still hope To see once more those blessed eyes That alone can bring light to mine. Speranza Ecco l’atra palude, ecco il nocchiero Che trahe gl’ignudi spirti a l’altra riva, Dove hà Pluton de l’ombre il vasto impero. Oltre quel nero stagno, oltre quel fiume, In quei campi di pianto e di dolori, Destin crudele ogni tuo ben t’asconde. Or d’uopo è d’un gran core e d’un bel canto. Io sin qui t’hò condotto, or più non lice Teco venir, ch’amara legge il vieta, Legge scritta co’l ferro in duro sasso De l’ima reggia in sù l’orribil soglia, Ch’in queste note il fiero senso esprime: LASCIATE OGNI SPERANZA O VOI CH’ENTRATE Dunque, se stabilito hai pur nel core Di porre il piè nella Città dolente, Da te me’n fuggo e torno A l’usato soggiorno. Hope Here is the dark marsh, here the boatman Who ferries naked souls to the other bank, Where Plutone rules his vast empire of shades. Beyond that black swamp, beyond that river, In those fields of tears and sorrows, Cruel destiny hides your beloved. You now need a brave heart and a fair song. I have brought you here, but further I may not Come with you, for harsh law forbids it, A law written with iron on hard stone At the dreaded entrance to the kingdom below, That in these words conveys its terrible meaning: ABANDON HOPE, ALL YE WHO ENTER HERE. Therefore, as your heart is determined To set foot in the City of grief, I must flee from you and return To my accustomed abode. Orfeo Dove, ah, dove te’n vai, Unico del mio cor dolce conforto? Poichè non lunge homai Del mio lungo camin si scopre il porto, Perchè ti parti e m’abbandoni, ahi lasso, Sul periglioso passo? Qual bene hor più m’avanza Se fuggi tù, dolcissima Speranza? Orfeo Where, ah, where are you going, Sole sweet comfort of my heart? Now that, at last, The destination of my long journey appears nearby, Why do you leave and abandon me, alas, On this perilous path? What good now remains for me If you flee, sweetest Hope? Caronte O tu ch’innanzi morte a queste rive Temerario te’n vieni, arresta i passi: Solcar quest’onde ad huom mortal non dassi, Nè può co’morti albergo aver chi vive. Che? Voi forse, nemico al mio Signore, Cerbero trar dalle Tartaree porte? O rapir brami sua cara consorte D’impudico desire acceso il core? Pon freno al folle ardir, ch’ entr’ al mio legno Non accorrò più mai corporea salma, Sì de gli antichi oltraggi ancor ne l’alma Serbo acerba memoria e giusto sdegno. Caronte O you who, before death, rashly come To these shores, halt your steps: To cross these waves is not granted to mortal man, Nor can he who lives dwell with the dead. What? Perhaps you, as enemy to my Lord, Want to drag Cerberus from the Tartarean gates? Or wish to ravish his dear consort, Your heart on fire with lewd desire? Restrain your foolish audacity, for into my boat Shall a living body never again enter: Of the ancient outrages still in my soul I keep a bitter memory and righteous anger. Orfeo Possente Spirto, e formidabil Nume, Senza cui far passaggio à l’altra riva Alma da corpo sciolta in van presume; Orfeo Powerful Spirit and fear-inspiring God, Without whom to make passage to the other bank A soul, freed from the body, presumes in vain: 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 260 Non viv’ io, nò, che poi di vita è priva Mia cara sposa, il cor non è più meco E senza cor com’ esser può ch’io viva? A lei volt’ ho il camin per l’aer cieco, A l’Inferno non già, ch’ovunque stassi Tanta bellezza, il Paradiso ha seco. ORFEO son io, che d’EURIDICE i passi Seguo per queste tenebrose arene, Ove giamai per huom mortal non vassi. O delle luci mie luci serene, S’un vostro sguardo può tornarmi in vita, Ahi, chi niega il conforto à le mie pene? Sol tu, nobile Dio, puoi darmi aita, Nè temer dei, che sopra una aurea Cetra Sol di corde soavi armo il dita Contra cui rigid’ alma in van s’impetra. I do not live, no; since my dear spouse Was deprived of life, my heart is no longer with me, And without a heart how can it be that I live? For her I have made my way through the blind air, Not yet to Hades, for wherever there is Such beauty there is Paradise in her company. ORFEO am I, who follows EURIDICE’s steps On these dark sands, Where never mortal man has gone. O serene light of my eyes, If one look of yours can return me to life, Ah, who denies comfort to my afflictions? You alone, noble God, can help me, Nor should you fear, since on a golden Lyre My fingers are only armed with sweet strings, Against which the merciless soul tries in vain to resist. Caronte Ben mi lusinga alquanto Dilettandomi il core, Sconsolato Cantore, Il tuo pianto e ’l tuo canto. Ma lunge, ah lunge sia da questo petto Pietà, di mio valor non degno effetto. Caronte Indeed you charm me, Appeasing my heart, Disconsolate Singer, With your plaints and your song. But far, ah, far from this breast Lies pity, an emotion unworthy of my valor. Orfeo Ahi sventurato amante, Sperar dunque non lice Ch’odan miei prieghi i Cittadin d’Averno? Onde qual’ ombra errante D’insepolto cadavero e infelice, Privo sarò del Cielo e de l’Inferno? Così vuol empia sorte Ch’in quest’ orror di morte Da te cor mio lontano Chiami tuo nome invano, E pregando, e piangendo io mi consumi? Rendetemi’l mio ben, Tartarei Numi. Orfeo Alas, unhappy lover, Then may I not hope That the Denizens of Avernus may hear my prayers? Then must I, like an errant shade Of an unhappy, unburied body, Be reft of Heaven and of Hell? So does wicked fate desire That in this horror of death, My heart, I should from afar Call your name in vain, And praying and weeping wear myself away? Give me back what is mine, Gods of Tartarus. Ei dorme, e la mia cetra Se pietà non impetra Ne l’indurato core, almen il sonno Fuggir al mio cantar gli occhi non ponno. Sù dunque, à che più tardo? Tempo è ben d’approdar su l’altra sponda, S’alcun non è ch’il neghi. Vaglia l’ardir se foran vani i prieghi. E’ vago fior del Tempo L’occasion, ch’esser dee colta à tempo. He sleeps and my lyre, If it cannot engrave pity In that hardened heart, at least His eyes cannot escape slumber from my singing. So, then, why wait any longer? It is time to approach the other bank, If there is no one to forbid it. Let courage prevail as my prayers were in vain. A fleeting flower of Time is The opportunity that must be plucked on time. Qui entra nella barca e passa cantando Here he enters the boat and crosses over, singing Mentre versan quest’ occhi amari fiumi, Rendetemi’l mio ben, Tartarei Numi. So long as these eyes pour out bitter streams of tears, Give me back what is mine, Gods of Tartarus. 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 261 Choro di Spiriti Infernali Nulla impresa per uom si tenta invano Nè contro a lui più sa natura armarse. Ei de l’instabil piano Arò gli ondosi campi, e ’l seme sparse Di sue fatiche, ond’ aurea messe accolse. Quinci, perchè memoria Vivesse di sua gloria, La Fama à dir di lui sua lingua sciolse, Ch’ei pose freno al Mar con fragil Legno Che sprezzò d’Austro e d’Aquilon lo sdegno. Chorus of Infernal Spirits No undertaking by man is attempted in vain, Nor against him can Nature further arm herself. And of the unstable plains He has ploughed the wavy fields, and scattered the seeds Of his labors, whence he has gathered golden harvests. Thus, as memory Might live of his glory, Fame, to speak of him, has loosened her tongue, He who restrained the Sea while in a fragile Barque, Who disdained the wrath of the South and North Winds. Il fine del terzo Atto The end of the third Act. ATTO QUARTO ACT Iv Proserpina Signor, quell’infelice Che per queste di morte ampie campagne Và chiamando EURIDICE, Ch’udito hai tù pur dianzi Così soavemente lamentarsi, Moss’hà tanta pietà dentro al mio core Ch’un’altra volta io torno a porger preghi Perchè il tuo Nume al suo pregar si pieghi. Deh se da queste luci Amorosa dolcezza unqua trahesti, Se ti piacque il seren di questa fronte Che tu chiami tuo Cielo, onde mi giuri Di non invidiar sua sorte à Giove, Pregoti per quel foco Con cui già la grand’alma Amor t’accese. Fa ch’EURIDICE torni A goder di quei giorni Che trar solea vivend’ infeste e in canto, E del miser’ ORFEO consola il pianto. Proserpina Lord, that unfortunate man, Who through these vast fields of death Goes calling for EURIDICE, Whom you have just heard So sweetly lamenting, Has moved my heart to such pity That once more I turn to pray That your spirit will yield to his pleading. Ah, if from these eyes You have ever taken loving sweetness, If the fairness of this brow has pleased you That you call your Heaven, on which you swear to me Not to envy Jove his lot, I beg you, by that fire With which Love kindled your great soul. Let EURIDICE return To enjoy those days Which she used to pass, living in festivities and in song, And console the weeping of wretched ORFEO. Plutone Benchè severo & immutabil fato Contrasti amata sposa i tuoi desiri, Pur nulla homai si nieghi A tal beltà, congiunta a tanti prieghi. La sua cara EURIDICE Contra l’ordin fatale ORFEO ricovri, Ma pria che tragga il piè da questi abissi, Non mai volga ver lei gli avidi lumi, Che di perdita eterna Gli sia certa cagion un solo sguardo. Io così stabilisco. Hor nel mio Regno Fate, ò Ministri, il mio voler palese, Sì che l’intenda ORFEO E l’intenda EURIDICE Ne di cangiar l’altrui sperar più lice. Plutone Although severe and immutable fate Is against your desires, beloved wife, Nothing ever can be refused Such beauty, together with such prayers. His dear EURIDICE, Against the command of fate, ORFEO may recover. But before he draws away from these abysses He must never turn his desirous eyes to see her, Since her eternal loss Will be caused by a single glance. So I do command. Now in my Kingdom, Officers, make known my will, So that ORFEO may understand it And EURIDICE understand it, Nor may anyone hope to change the decree. 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 262 Uno Spirito O de gli habitator de l’ombre eterne Possente Rè, legge ne fia tuo cenno, Che ricercar altre cagioni interne Di tuo voler nostri pensier non denno. A Spirit For those dwellers in eternal shadows, Powerful King, let your order be law, Our thoughts must not seek Other inmost reasons for your will. Un altro Spirito Trarrà da queste orribili caverne Sua sposa ORFEO, s’adoprerà suo ingegno Si che no’l vinca giovenil desio, Ne i gravi imperi suoi sparga d’oblio. Another Spirit While through these terrible caverns ORFEO will lead his bride, he will use his discretion If he is not overcome by youthful desire, Nor forgets his solemn imperial orders. Proserpina Quali grazie ti rendo, Hor che si nobil dono Concedi à’ preghi miei signor cortese? Sia benedetto il dì che pria ti piacqui, Benedetta la preda e’l dolce inganno, Poiche per mia ventura, Feci acquisto di tè prendendo Sole. Proserpina What thanks may I give you, Now that so noble a boon You grant to my prayers, courteous lord? Blessed be the day that first I pleased you, Blessed my abduction and the sweet trickery, Since, to my good fortune, I won you, losing the Sun. Plutone Tue soavi parole D’Amor l’antica piaga Rinfrescan nel mio core; Così l’anima tua non sia più vaga Di celeste diletto, Sì ch’abbandoni il marital tuo letto. Plutone Your sweet words Love’s ancient wound Revives in my heart. Let your soul no more long For heavenly delight, Thus to abandon your marriage bed. Choro di Spiriti Pietade oggi & Amore Trionfan ne l’Inferno. Chorus of Spirits Pity today, and Love, Both triumph in Hades. Spirito Ecco il gentil cantore Che sua sposa conduce al Ciel superno. Spirit Here is the gentle singer, Who leads his bride to the Skies above. Orfeo Qual honor di te fia degno, Mia cetra onnipotente, S’hai nel Tartareo Regno Piegar potuto ogni indurata mente? Luogo havrai fra le più belle Imagini celesti, Ond’al tuo suon le stelle Danzeranno co’ giri hor tardi hor presti. Io per te felice à pieno Vedrò l’amato volto, E nel candido seno De la mia Donna oggi sarò raccolto. Ma mentre io canto (ohimè) chi m’assicura Ch’ella mi segua? Ohimè, chi mi nasconde De l’amate pupille il dolce lume? Forse d’invidia punte Le Deità d’Averno, Orfeo What honor is worthy of you, My all-powerful lyre, For you have, in the Kingdom of Tartarus, Been able to make yield every hardened heart? A place shall you have among the fairest Images of heaven, Where at your sound the stars Shall dance and twirl, now slowly, now quickly. I, through you, happy at last, Shall see the beloved face, And in the white bosom Of my Lady today I will rest. But while I sing, alas, who can assure me That she follows me? Alas, who hides from me The sweet light of her beloved eyes? Perhaps, spurred on by envy, The Gods of Avernus, 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 263 Perch’io non sia qua giù felice à pieno, Mi tolgono il mirarvi, Luci beate e liete, Che sol col sguardo altrui bear potete? Ma che temi, mio core? Ciò che vieta Pluton comanda Amore. A Nume più possente Che vince huomini e Dei Ben ubbidir dovrei. So that I should not be happy here below, Prevent me looking at you, Blessed and joyful eyes, That only with a look can bless others? But what do you fear, my heart? What Plutone forbids, Love commands. A mighty God Who conquers men and Gods I must obey. Qui si fa strepito dietro alla Scena. There is a noise behind the set. Ma che odo ohime lasso? S’arman forse à miei danni Con tal furor le furie innamorate, Per rapirmi il mio ben, ed io ’l consento? But what do I hear, oh alas? Perhaps arming themselves with fury, to my detriment, Are the enamored furies, To take from me what is mine, and I allow it? Qui si volta Here he turns O dolcissimi lumi io pur vi veggio, Io pur: ma qual Eclissi ohimè v’oscura? O sweetest eyes, I see you now, I see: But what eclipse, alas, obscures you? Uno Spirito Rott’ hai la legge, e se’ di grazia indegno. A Spirit You have broken the law, and are unworthy of grace. Euridice Ahi vista troppo dolce e troppo amara: Così per troppo amor dunque mi perdi? Ed io misera perdo Il poter più godere E di luce e di vista, e perdo insieme Tè d’ogni ben più caro, ò mio Consorte. Euridice Ah, too sweet and too bitter a vision: So, through too much love, then, do you lose me? And I, wretched, lose The power to enjoy more Light and vision, and with them lose You, dearer than all, O my Consort. Uno Spirito Torna à l’ombre di morte, Infelice EURIDICE, Nè più sperar di riveder le Stelle, C’homai fia sordo à’ preghi tuoi l’Inferno. A Spirit Return to the shades of death, Unfortunate EURIDICE, Nor can you hope to see again the Stars, For from this moment Hades is deaf to your prayers. Orfeo Dove te’n vai, mia vita? ecco, io ti seguo, Ma chi me ’l niega, ohime: sogno o vaneggio? Qual occulto poter di questi orrori, Da questi amati orrori Mal mio grado mi tragge e mi conduce A l’odiosa luce? Orfeo Where are you going, my life? Lo, I follow you— But, who stops me, alas: do I dream or rave? What hidden power of these horrors, Draws me from these beloved horrors Against my will, and conducts me To the hateful light? Choro di Spiriti È la virtute un raggio Di celeste bellezza, Pregio de l’alma ond’ella sol s’apprezza: Questa di Tempo oltraggio Non teme, anzi maggiore Nell’ huom rendono gli anni il suo splendore. ORFEO vinse l’Inferno, e vinto poi Fù da gli affetti suoi. Chorus of Spirits Virtue is a ray Of celestial beauty, Prize of the soul, where alone it is valued: The ravages of Time It does not fear, rather In man do the years restore its greater splendor. ORFEO conquered Hades and then was conquered By his emotions. 35823 BEMF Festival Book 2015_09FestBrochure 5/28/15 10:59 AM Page 264 Degno d’eterna gloria Fia sol colui c’havrà di sè vittoria. Worthy of eternal glory Is the one who will have mastery over himself. Qui di nuovo si volge la Scena. Here the set changes again. Il fine del quarto Atto. The end of the fourth Act. ATTO QUINTO ACT V Orfeo Questi i campi di Tracia, e quest’è il loco Dove passommi il core Per l’amara novella il mio dolore. Poiche non hò più spene Di ricovrar pregando, Piangendo e sospirando, Il perduto mio bene, Che posso io più? se non volgermi à voi, Selve soavi, un tempo Conforto a’ miei martir, mentre al ciel piacque Per farvi per pietà meco languire Al mio languire. Orfeo These are the fields of Thrace, and this is the place where my heart was pierced By grief at the bitter tidings. Since I have no further hope To recover through pleading, Weeping and sighing, My lost beloved, What more can I do, if I turn not to you, Sweet woods, once Comfort to my suffering, while it pleased heaven To make you languish with me in your compassion At my languishing? Voi vi doleste, ò Monti, e lagrimaste Voi sassi al dipartir del nostro Sole, Ed io con voi lagrimerò mai sempre E mai sempre dorròmmi, ahi doglia, ahi pianto! You grieved, O Mountains, and you cried, Rocks, at the leaving of our Sun, And I will always weep with you And always yield myself to grief, as you wept! Eco Hai pianto. Echo You wept. Orfeo Cortese Eco amorosa, Che sconsolata sei E consolarmi voi ne’ dolor miei, Benchè queste mie luci Sien già per lagrimar fatte due fonti, In così grave mia fera sventura Non hò pianto però tanto che basti. Orfeo Gentle, loving Echo, You who are disconsolate And would console me in my grief, Although these my eyes Through tears become two fountains, So grievous is my misfortune That I still do not have tears enough. Eco Basti. Echo Enough. Orfeo Se gli occhi d’Argo havessi E spandessero tutti un Mar di pianto, Non fora il duol conforme à tanti guai. Orfeo If I had the eyes of Argus, And all poured out a Sea of weeping. Their grief would not match such woe. Eco Ahi. Echo Oh. Orfeo S’hai del mio mal pietade, Io ti ringrazio di tua benignitade. Ma mentr’io mi querelo, Orfeo If you have compassion for my misfortune, I thank you for your benevolence. But while I lament, 358XX BEMF Festival Book 2015_09FestBrochure 5/26/15 9:57 AM Page 265 Deh perchè mi rispondi Sol con gli ultimi accenti? Rendimi tutti integri i miei lamenti. Why do you answer me Only with my final words? Give me back all of my laments. Ma tu, anima mia, se mai ritorna La tua fredd’ombra à queste amiche piaggie, Prendi da me queste tue lodi estreme. C’hor à te sacro la mia cetra e ’l canto. Come à te già sopra l’altar del core Lo spirto acceso in sacrifizio offersi. Tu bella fusti e saggia, e in te ripose Tutte le grazie sue cortese il Cielo, Mentre ad ogni altra de suoi don fù scarso. D’ogni lingua ogni lode à te conviensi, Ch’albergasti in bel corpo alma più bella, Fastosa men quanto d’onor più degna. Or l’altre Donne son superbe e perfide, Ver chi le adora dispietate instabili, Prive di senno e d’ogni pensier nobile, Ond’à ragion opra di lor non lodansi, Quinci non fia giamai che per vil femina Amor con aureo strale il cor trafiggami. But you, my soul, if ever your cold shade Should return to these friendly meadows, Take from me these last praises, Since now my lyre and song are sacred to you only, As on the altar of my heart I offered you my ardent spirit in sacrifice. You were beautiful and wise, and in you Kind Heaven rested all its graces, While it was sparing in its gifts to every other woman. In every tongue every praise is due to you, For in your fair body you sheltered a fairer soul, Lesser in pride, thus the more worthy of honor. Now other Women are haughty and fickle, Pitiless and changeable to their adorers, Without judgment and noble thoughts, Whence rightly their behavior is not praised. Therefore may it never be that, for a worthless woman, Love with his golden arrow pierces my heart. Apollo (descende in una nuvola cantando) Perch’ a lo sdegno e al dolor in preda Così ti doni ò figlio? Non è consiglio Di generoso petto Servir al proprio affetto; Quinci biasmo e periglio Già sovrastar ti veggio, Onde movo dal ciel per darti aita. Hor tu m’ascolta e n’havrai lode e vita. Apollo (descending on a cloud, singing) Why do you give yourself so freely To anger and grief, O son? It is not the wisdom Of a generous heart To serve its own affliction. Since with blame and danger Already I see you overcome, I come from heaven to give you aid. Listen to me now and you shall have glory and life. Orfeo Padre cortese, al maggior uopo arrivi, Ch’a disperato fine Con estremo dolore M’avean condotto già sdegno ed Amore. Eccomi dunque attento a tue ragioni, Celeste padre; hor ciò che vuoi m’imponi. Orfeo Kind father, you come when I am in need, When to a desperate end With extreme grief Anger and Love has already brought me. Here I am then, attentive to your counsels, Heavenly father, now command me as you want. Apollo Troppo, troppo gioisti Di tua lieta ventura; Hor troppo piagni Tua sorte acerba e dura. Ancor non sai Come nulla qua giù diletta e dura? Dunque se goder brami immortal vita, Vientene meco al Ciel, ch’a sè t’invita. Apollo You rejoiced too much In your happy fate, Now you weep too much At your bitter, hard fortune. Do you still not know How nothing that delights down here will last? Therefore, if you want to enjoy immortal life, Come with me to Heaven, which invites you. Orfeo Si non vedrò più mai De l’amata EURIDICE i dolci rai? Orfeo Shall I never again see The sweet eyes of my beloved EURIDICE? 35823 BEMF Festival Book 2015_09FestBrochure 5/26/15 11:17 AM Page 266 Apollo Nel Sole e nelle stelle Vagheggerai le sue sembianze belle. Apollo In the Sun and in the stars You shall gaze at her fair image. Orfeo Ben di cotanto Padre sarei non degno figlio Se non seguisci il tuo fedel consiglio. Orfeo Of such a good Father I would not be a worthy son If I did not follow your trustworthy advice. Apollo ed Orfeo (assende al Cielo cantando) Saliam cantando al Cielo, Dove ha virtù verace Degno premio di sè, diletto e pace. Apollo and Orfeo (ascending to Heaven, singing) Let us rise, singing, to Heaven, Where true virtue Has the due reward of delight and peace. Il fino del quinto Atto. The end of the fifth Act. Choro Vanne, ORFEO, felice a pieno A goder celeste honore La ve ben non mai vien meno. La ve mai non fu dolore, Mentr’altari, incensi e voti Noi t’offriam lieti e devoti. Chorus Go, ORFEO, happy at last, To enjoy celestial honor Where good never lessens, Where grief is unknown, While altars, incense and prayers We offer to you, happy and devoted. Così va chi non s’arretra Al chiamar di Nume eterno, Così grazia in ciel impetra Chi qua giù provò l’inferno E chi semina fra doglie D’ogni grazia il frutto coglie. u So goes one who does not retreat At the call of the eternal Deity, So he obtains grace in heaven Who down here has braved Hell And he who sows in sorrow Reaps the fruit of all grace. u —Translation © 2012 by Gilbert Blin
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