La Capella Reial de Catalunya - Streaming Premiere - Thursday, June 3, 2021, 7pm
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Streaming Premiere – Thursday, June 3, 2021, 7pm
La Capella Reial de Catalunya
Le Concert des Nations
Jordi Savall, director
Filmed exclusively for Cal Performances
at the Romanesque Church of Sant Vicenç in Cardona, Catalonia, Spain
on March 8, 2021.
Soloists of
LA CAPELLA REIAL DE CATALUNYA
Monica Piccinini, soprano I
María Cristina Kiehr, soprano II
Alessandro Giangrande, countertenor
Raffaele Giordani, tenor I
Lluís Vilamajó, tenor II
Furio Zanasi, baritone
Salvo Vitale, bass
LE CONCERT DES NATIONS
Manfredo Kraemer, violin I
Guadalupe del Moral, violin II
Jordi Savall, alto & bass viol
Imke David, bass viol & lirone
Balázs Máté, bass violin
Xavier Puertas, violone
Andrew Lawrence-King, arpa doppia
Josep Maria Martí, theorbo & guitar
Luca Guglielmi, harpsichord
Jordi Savall, director
1CLAUDIO MONTEVERDI
(1567–1643)
Madrigali guerrieri et amorosi
Libro Ottavo (1638)
SINFONIA A CINQUE
(From Tempro la cetra, SV 117,
Settimo libro de madrigali, 1619)
ALTRI CANTI DI MARTE
(Canto Amoroso, SV 155)
Altri canti di Marte
Due belli occhi
• • •
[SINFONIA DA GUERRA]:
SEGUE LA LOTTA
(From Il Ritorno di Ulisse in Patria, SV 325, 1640)
GIRA IL NEMICO
(Canto Guerriero, SV 148)
Gira il nemico
Nol lasciamo accostar
Armi false non son
Vuol degl’occhi
Non è più tempo
Cor mio, non val fuggir
Raffaele Giordani and Lluís Vilamajó, tenors & Salvo Vitale, bass
• • •
BALLO:
VOLGENDO IL CIEL – MOVETE AL MIO BEL SUON
(Canto Guerriero, SV 154)
Introduzione al ballo: Volgendo il ciel
Ballo: Movete al mio bel suon
Ciaccona (Andrea Falconieri, 1585–1656)
Seconda parte del ballo: Ei l’armi cinse e su destrier alato
Raffaele Giordani, tenor
ALTRI CANTI D’AMOR
(Canto Guerriero, SV 146)
Sinfonia
Altri canti d’Amor
Tu cui tessuta han di Cesare alloro
Che mentre guerre canta e guerre sona
Salvo Vitale, bass
Opposite: Jordi Savall. Photo by Toni Peñarroya.
3COMBATTIMENTO DI TANCREDI E CLORINDA
(Canto Guerriero, SV 153)
NARRATOR: Furio Zanasi
CLORINDA: María Cristina Kiehr
TANCREDI: Lluís Vilamajó
• • •
SINFONIA A CINQUE
(From L’Orfeo, SV 318, 1607, Atto II)
LAMENTO DELLA NINFA
(Canto Amoroso, SV 163)
Non havea Febo ancora
Lamento della ninfa: Amor, dov’è la fe’
Si tra sdegnosi pianti
NYMPH: Monica Piccinini
Raffaele Giordani, Lluís Vilamajó, tenors & Salvo Vitale, bass
• • •
SINFONIA A SEI
(Cantate Domino, SV 293, 1620)
HOR CHE’L CIEL, E LA TERRA
(Canto Guerriero, SV 147)
Hor che’l ciel e la terra
Cosi sol d’una chiara fonte viva
With the support of the Departament de Cultura of the Generalitat de Catalunya
and the Direction Régionale des Affaires Culturelles Occitanie.
All participants (singers, musicians, technician, director, and staff) provided a negative COVID-19 test
before the production’s start. All technical staff wore protective masks during rehearsals and the concert.
The Cal Performances at Home Spring 2021 season
is dedicated to Gail and Dan Rubinfeld, leading supporters of Cal Performances
and the well-being of our artists for almost 30 years.
Note: following its premiere, the video recording of this concert
will be available on demand through September 1, 2021.
4PROGRAM NOTES
mong the eight books of madrigals same note. Monteverdi regulated rhythm and
A published by Monteverdi between 1587
and l638, the last collection occupies a
very special place. This collection—printed
tremolos of this repeated sound according to
the pyrrhics danced by the ancient Greek war-
riors in arms. He considered this content as
when the art of the madrigal, generally in five identical to the “genere da guerra” already
voices, which had indisputably reigned during widely used to illustrate war themes.
at least one century over Italy and also north of In the first madrigal of the collection, Altri
the Alps, had finally relinquished its prominent canti d’Amor, he demonstrates the contrasting
position to lighter genres such as duets and can- effects which can be obtained by the “genere
tatas—seems to be a farewell to the past; with its concitato”: voices, violins and even continuo ex-
innovative phrasing grounded in philosophical press through the rapid repetition of the same
views, it clears the way for a musical language notes the irruption of “Marte Furioso” (Furious
focusing on the emotions that was to put its Mars) in the opening romance. As soon as a
stamp on musical creation for a very long time. “battle” or a “war” is mentioned in the text, the
It pays a final tribute to the magnificence of “genere concitato” dominates the composition.
Italian literature, while already reflecting The second part, which is very dense, is writ-
through sumptuous and imposing compositions ten for six singers and six strings in order to im-
the musical taste of the Viennese Imperial court. itate the tumult of war and obviously constitutes
This eighth book is dedicated to the a homage to Emperor Ferdinand.
Emperor, even if, given its troubled genesis, we “Ferdinand’s Feats” are the very focus of the
still cannot be sure to which Emperor exactly. “Ballo” that ends the first part of the eighth
Monteverdi intended at first to dedicate his madrigal book, entitled Madrigali Guerrieri
madrigal collection to Emperor Ferdinand the (War Madrigals) The Court Ballets charmed the
Second, leader of the Catholic league during the courtiers with their light allegorical stories. The
Thirty Years’ War. When the monarch died in genre appeared first at the Court of France and
1637, while the work was still in press, his son the Ballo’s librettist, Ottavio Renucci, composed
succeeded him as Ferdinand the Third. Conse- this poem for the French King Henry the
quently, Monteverdi changed his previous ded- Fourth more than 30 years earlier.
ication, placing as he explained in the foreword, As homages to monarchs did not refer to
“at the son’s feet a present initially intended for concrete and real events, they lent themselves
the father.” easily to transposition.
Many compositions are dedicated to Ferdi- Thus, the nymphs of the Seine turn into the
nand the Second or Ferdinand the Third. This nymphs of the Danube and perform at the
approach illustrates the composer’s views both poet’s invitation a range of dances in honor of
at the musical and the philosophical level. the Emperor. Monteverdi also used the “genere
Monteverdi entitled his eighth book of concitato” for less obvious purposes than a
madrigals Madrigali Guerrieri et Amorosi (War homage to a war leader. In the great madrigal
and Love Madrigals), and wrote beside his ded- in two parts composed on a sonnet written by
ication a foreword explaining his artistic views. Petrarch (“Hor che il ciel e la terra e’l vento
In his view, anger, reserve, and humility are the tace”), the violins illustrate the despairing at-
main emotions of the human soul, which the mosphere—described as a “war full of rage and
composer must express by a now violent, now pain”—of the lyric theme whose inner fever vi-
restrained, now flowing writing. Many expres- olently contrasts with the serenity of evening
sive means already existed that aimed to imitate nature, previously described in a masterly way.
reserve and humility. After thoroughly study- Monteverdi probably intended to illustrate in
ing the Ancients’ philosophy and also classic this madrigal the three steps of emotion—the
metrics, Monteverdi invented a specific musi- “genere molle” in the slow and soft repetitions
cal language, the “genere concitato,” which ex- of the beginning, the “genere concitato” by the
presses anger by a rapid hammering out of the term “guerra” (war), and finally the “genere
5PROGRAM NOTES
temperato” at the end of the second part, for in- Marino, Monteverdi picks up the thread he had
stance, when the melody unfolds, based on the used in the opening sonnet of the first part of
word “lunge” (far) through a declamation that Altri Canti d’Amor. A battle is indeed described,
always starts with the same note. but now the weapons are two beautiful eyes,
In Gira il nemico insidioso amore, a work in and bitter tears flow instead of streams of blood.
six parts for one to three voices, which defies all In an almost identical composition, in which,
classification, Monteverdi explores with deli- however, the bass strings employed for the
cacy and wit the concept of “genere concitato”. homage to the Emperor are missing, Monte-
The enemy, who must be fought before he wins verdi shows how love calms the tumult of war
an absolute victory, is the god of love, who con- and turns it into a love song.
quers the heart’s fortress with his fatal arrows. The work by Monteverdi that had the great-
Book 8 closes with a series of pieces “in rep- est influence on his successors—although none
resentative genre,” including Il combattimento of them achieved a comparable emotional in-
di Tancredi e Clorinda, which had previously tensity—belongs to the Madrigali Amorosi and
been performed at the palace of the nobleman to the figurative pieces that intersperse the arias
Girolamo Mocenigo. The inspiration for the li- like so many small episodes and that Monte-
bretto came from Torquato Tasso’s epic poem verdi mentioned in the title of Book 8: “Opus-
Gerusalemme Liberata (Jerusalem Delivered) on coli in genere rappresentativo che saranno per
the theme of the First Crusade (a topic that brevi episodi fra i canti senza gesto.”
could hardly be more appropriate to the story For this Lamento della Ninfa, in which a
of Venice!) in which a narrator relates the ac- nymph accompanied by a trio of male voices
tion and the two protagonists express their feel- laments the loss of her unfaithful lover,
ings in song. In this work, Monteverdi used the Monteverdi models the tempo on the inner
stile concitato (“agitated style”) for the first time, rhythm of the suffering soul rather than using a
thus putting Plato’s vision into practice: the regular beat. Above a bass quartet ostinato—
music, Monteverdi wrote, should use pyrrhic which for Bach, Schubert, and Mozart was to
metre, with a rapid succession of repeated notes, remain the true expression of complain—the
and the voices and instruments should “depict” nymph sings her sorrow, surrounded by two
the sounds of battle: martial fanfares, galloping trios that tell her story.
horses, and clashing swords. In this work, Monteverdi, who claimed the
After leaving Mantua, Monteverdi became authorship of the “genere concitato,” found a
maestro di cappella at St Mark’s. He transformed new form of musical expression in the realm of
the traditional Renaissance choral composition, the emotions, creating a relationship between
involving separate choirs singing in alternation, voice and instruments that refers composers to
into a “concertante” style typical of the so-called a long line of noble examples: music as the true
Baroque age. In his mature years, Monteverdi language of love.
enthusiastically embarked on the adventure of
public opera houses. Where better than an SILKE LEOPOLD
opera house to stage a symbolic transposition Translated by Marie Costa
of the world of war by marshalling the workers Alia Vox, Ref. AVSA 9884 A+B
and skills of the nearby Arsenal?
In the Madrigali Amorosi (Love Madrigals), SYLVIE MAMY
the second part of the eighth book of madrigals, Paris, 13. August 2017
Monteverdi uses softer sonorities. Altri canti di Translated by Jacqueline Minett
Marte: with this poem written by Gianbattista Alia Vox, Ref. AVSA 9925
6ABOUT THE ARTISTS
JORDI SAVALL da Silva Award; and the prestigious Léonie
For more than 50 years, Jordi Savall, one of the Sonning Prize, which is considered the Nobel
most versatile musical personalities of his gen- Prize of the music world. “Jordi Savall testifies to
eration, has rescued musical gems from the ob- a common cultural inheritance of infinite vari-
scurity of neglect and oblivion and given them ety. He is a man for our time” (The Guardian,
back for all to enjoy. A tireless researcher into 2011).
early music, he interprets and performs the
repertory both as a gambist and a conductor. LA CAPELLA REIAL DE CATALUNYA
His activities as a concert performer, teacher, Following the model of the famous Medieval
researcher and creator of new musical and cul- “royal chapels” for which the great masterpieces
tural projects have made him a leading figure of both religious and secular music were com-
in the reappraisal of historical music. Together posed on the Iberian Peninsula, in 1987,
with Montserrat Figueras, he founded the en- Montserrat Figueras and Jordi Savall founded
sembles Hespèrion XXI (1974), La Capella La Capella Reial, one of the first vocal groups
Reial de Catalunya (1987), and Le Concert des devoted to the performance of Golden Age
Nations (1989), with whom he explores and music on historical principles and consisting ex-
creates a world of emotion and beauty shared clusively of Hispanic and Latin voices. In 1990,
with millions of early-music enthusiasts around when the ensemble received the regular patron-
the world. age of the Generalitat of Catalonia, it changed
Savall has recorded and released more than its name to La Capella Reial de Catalunya.
230 discs covering the Medieval, Renaissance, The newly formed ensemble specialized in
Baroque, and Classical music repertories, with the recovery and performance on historical
a special focus on the Hispanic and Mediter- principles of the polyphonic and vocal music of
ranean musical heritage, receiving awards and Spain and Europe from the Middle Ages and
distinctions including the Midem Classical Golden Age up to the 19th century. La Capella
Award, the International Classical Music Reial de Catalunya shares with Hespèrion XXI
Award, and the Grammy Award. His concert the same artistic outlook and goals, rooted in
programs have made music an instrument of respect for the profoundly spiritual and artistic
mediation to achieve understanding and peace dimension of each work, combining quality and
between different and sometimes warring peo- authenticity regarding the style of the period
ples and cultures. Accordingly, guest artists ap- with a careful attention to the declamation and
pearing with his ensembles include Arab, expressive projection of the poetic text.
Israeli, Turkish, Greek, Armenian, Afghan, The ensemble’s extensive repertory ranges
Mexican and North American musicians. In from the Medieval music of the various cultures
2008, Savall was appointed European Union of the Mediterranean to the great masters of the
Ambassador for intercultural dialogue and was Renaissance and the Baroque. The group has
named “Artist for Peace” under the UNESCO distinguished itself in various Baroque and
“Good Will Ambassadors” program. Classical opera repertories, as well as in con-
Jordi Savall’s prolific musical career has temporary works by Arvo Pärt.
brought him the highest national and interna- The Capella Reial de Catalunya can be heard
tional distinctions, including honorary doctor- on de Jacques Rivette’s soundtrack of the film
ates from the universities of Evora (Portugal), Jeanne La Pucelle (1993) on the life of Joan of
Barcelona (Catalonia), Louvain (Belgium), and Arc. The group made its opera debut in 1992,
Basel (Switzerland); the order of Chevalier de accompanying all the performances of Le
la Légion d’Honneur (France); the Praetorius Concert des Nations, and it has received vari-
Music Prize awarded by the Ministry of Culture ous awards and distinctions in recognition of
and Science of Lower Saxony; the Gold Medal its more than 40 CDs. Under the direction of
of the Generalitat of Catalonia; the Helena Vaz Jordi Savall, La Capella Reial de Catalunya pur-
7ABOUT THE ARTISTS
sues an intense program of concerts and In 1992, Le Concert des Nations made its
recordings all over the world, and since the en- opera debut with a production of Martín i
semble’s creation, it has regularly performed at Soler’s Una Cosa Rara staged at the Théatre des
the major international early-music festivals. Champs Élysées in Paris, the Gran Teatre del
Liceu in Barcelona, and the Auditorio Nacional
LE CONCERT DES NATIONS in Madrid. The group subsequently performed
Founded in 1989 by Jordi Savall and Montserrat in Claudio Monteverdi’s L’Orfeo at the Gran
Figueras during the preparation of their project Teatre del Liceu, the Teatro Real in Madrid, the
on Marc-Antoine Charpentier’s Canticum Konzerthaus in Vienna, the Arsenal in Metz,
Beatae Virginis, the orchestra Le Concert des and the Teatro Regio in Turin. In 2002, the pro-
Nations was born out of the need for an or- duction returned to the re-opened Teatre del
chestra of period instruments capable of per- Liceu in Barcelona, where it was recorded for a
forming a repertory spanning from the BBC-Opus Arte DVD. It was subsequently also
Baroque to the Romantic period (1600–1850). staged at the Palais des Arts in Brussels, the
Its name comes from François Couperin’s work Grand-Théâtre in Bordeaux, and the Piccolo
Les Nations, a concept that represents the com- Teatro in Milan during the Mito Festival. In
ing together of musical tastes and the idea that 1995, the orchestra performed another opera
art in Europe would always bear its own partic- by Martín i Soler, Il Burbero di Buon Cuore, in
ular stamp, that of the Age of Enlightenment. Montpeller, followed in 2000 by Juan Hidalgo
Le Concert des Nations, under the direction and Calderón de la Barca’s Celos aun del Ayre
of Jordi Savall, was the first orchestra to be com- matan, staged in a concert version in Barcelona
posed of a majority of musicians from Latin and Vienna. Recent productions have included
countries (Spain, Latin America, France, Italy, Vivaldi’s Farnace, staged at the Teatro de la Zar-
Portugal, etc.), all leading international special- zuela in Madrid, and Vivaldi’s Il Teuzzone, per-
ists in the performance of early music using formed in a semi-concert version at the Òpera
original period instruments on historical prin- Royal at Versailles.
ciples. From the outset, the group’s manifest aim Le Concert des Nations’ numerous record-
has been to raise audiences’ awareness of an his- ings have won various awards and distinctions,
torical repertory of great quality by combining including the Midem Classical Award and the
rigorous respect for the original spirit of each International Classical Music Awards. The
work with a revitalizing approach to their per- group’s productions, recordings, and perform-
formance, as is apparent from their recordings ances in the major cities and music festivals
of works by Charpentier, J. S. Bach, Haydn, around the world have earned them recogni-
Mozart, Handel, Marais, Arriaga, Beethoven, tion as one of the best orchestras specializing
Purcell, Dumanoir, Lully, Biber, Boccherini, in performance using period instruments, with
Rameau, and Vivaldi. an eclectic, diverse repertory ranging from
the earliest music composed for orchestra to the
masterpieces of the Romantic and Classical
periods.
8TEXTS & TRANSLATIONS
CLAUDIO MONTEVERDI (1567–1643)
MADRIGALI GUERRIERI ET AMOROSI MADRIGALS OF WAR AND LOVE
LIBRO OTTAVO (1638) BOOK EIGHT
ALTRI CANTI DI MARTE
Canto Amoroso, SV 155
Sonetto di Gian Battista Marino (1569–1625)
Altri canti di Marte Let others sing of Mars
Altri canti di Marte e di sua schiera Let others sing of Mars and of his host,
gli arditi assalti e l’honorate imprese, the brave attacks and the honored gestures,
le sanguigne vittorie e le contese, the bloody victories and the disputes,
i trionfi di morte horrida e fera. the triumphs of cruel and fierce death.
Io canto, Amor, di questa tua guerriera I sing, Love, of the many mortal offenses
quant’hebbi a sostener mortali offese, I bore of this your warrior,
com’un guardo mi vinse, un crin mi prese, how a look conquered me and a tress
ensnared me,
historia miserabile ma vera. a wretched story, but true.
Due belli occhi Two beautiful eyes
Due belli occhi fur l’armi onde traffitta Two beautiful eyes were the weapons
that pierced,
giacque, e di sangue invece amaro pianto and, instead of blood, a tormented soul
sparse lunga stagion l’anima affitta. shed bitter tears for a long season.
Tu per lo cui valor la palma e’l vanto You, who in the name of victory and glory
hebbe di me la mia nemica invitta, Defeated me by my invincible enemy,
se desti morte al cor, dà vita al canto. dealt a deathblow to the heart, give life
to the song.
GIRA IL NEMICO CIRCLING AROUND THE ENEMY
INSIDIOUS LOVE
Canto Guerriero, SV 148
Canzonetta di Giulio Strozzi (1583–1660)
Gira il nemico The insidious enemy
Gira il nemico The insidious enemy,
insidioso Amore Love, encircles
la rocca del mio core the fortress of my heart.
Su presto ch’egli Hasten, because he is
qui poco lontano, not far from here,
armi alla mano! Weapons in hand!
9TEXTS & TRANSLATIONS Nol lasciamo accostar Let him not approach Nol lasciamo accostar, Let him not approach, ch’egli non saglia nor let him scale sulla fiacca muraglia, the feeble walls, ma facciam fuor but let us make una sortita bella, a glorious sortie; butta la sella! saddle your horses! Armi false non son His weapons are not false Armi false non son, His weapons are not false, ch’ei s’avvicina he is coming closer col grosso la cortina. to the outworks with his army. Su presto, ch’egli Make haste, he is here, qui poco discosto he is not far away. tutti al suo posto! every man to his post! Vuol degl’occhi He means to attack the bastion Vuol degl’occhi He means to attack the bastion attaccar il baloardo of my eyes with a spirited assault. con impeto gagliardo. Su presto ch’egli Make haste! For he is here, qui senz’alcun fallo make no mistake. tutti a cavallo! Every man on his horse! Non è più tempo It is too late, alas Non è più tempo, It is too late, alas, ohimè, ch’egli ad un tratto for all at once he has made himself del cor padron s’è fatto. the master of my heart. A gambe, a salvo On your feet and run! chi si può salvare Save yourselves, if you can, all’andare! by fleeing! Cor mio, non va1 fuggir Oh my heart, running is futile Cor mio, non va1 fuggir, Oh my heart, running is futile; sei morto e servo you are the dead slave d’un tiranno protervo, of an arrogant tyrant. ch’el vincitor, ch’è già For the victor who is already dentro alla piazza, within the courtyard grida: Foco, ammazza! cries “Burn, kill!” 10
TEXTS & TRANSLATIONS
BALLO: VOLGENDO IL CIEL DANCE: TURNING AROUND THE SKY
MOVETE AL MIO BEL SUON MOVE TO MY MELODIOUS SOUND
Canto Guerriero, SV 154
Sonetto di Ottavio Rinuccini (1562–1621)
Introduzione al ballo: Volgendo il ciel Opening before the dance: While Heaven
Entrata & Innanzi al ballo Opening before the dance
Voce sola. Poeta fermato così dice A solo. The Poet so says:
Volgendo il ciel per l’immortal sentiero While Heaven in the immortal path turns
le ruote de la luce alma e serena, the wheels of the serene and peaceful light,
un secolo di pace il Sol rimena the Sun brings back a century of peace
sotto il Re novo del Romano Impero. under the new King of the Roman Empire.
Entrata et passeggio Opening and parade
Poeta solo fermato Poet alone and still:
Su, mi si rechi omai dei grand’Ibero Come, bring me now the deep cup
profonda tazza inghilandata e piena, of great Iberus full and crowned with a garland,
che, correndomi al cor di vena in vena, which, coursing through each vein straight to
my heart,
sgombra da l’alma ogni mortal pensiero. shall free my soul from every mortal thought.
Entrata et passeggio Opening and parade
Poeta solo fermato Poet alone and still
Venga la nobil cetra. Come the noble lyre.
Ricevuto il chitarrone de la Ninfa si volta verso Receiving the chitarrone from the Nymph
l’altra & così gli parla he turns to the other and speaks thus:
I crin di fiori Crown me with flowers, oh Phyllis
cingi mio, o Filli.
Qui gli pone la Ninfa la ghirlanda, The Nymph does as told,
poi parla il Poeta come segue then the Poet says as follows:
Io ferirò le stelle I will touch the stars,
cantando del mio Re gli eccelsi allori. singing of the marvellous victories of my King.
Qui nel chitarrone da lui sonata cosi segue Here on the chitarrone he plays as follows:
E voi che per beltà, donne e donzelle, And you, who for your beauty, ladies and
maidens,
gite superbe d’immortali honori, go invested with immortal honors,
movete al mio bel suon le piante snelle, move your dainty feet to my melodious sound,
sparso di rose il crin leggiadro e biondo. your lovely fair locks crowned with roses.
11TEXTS & TRANSLATIONS
Qui alzando la voce con più forza invita le Ninfe Here his voice strongly rising, he bids the Nymphs
dell’Istro a danzar anch’elle of Istrus to dance, too.
E lasciato dell’Istro il ricco fondo, And, leaving the rich depths of Istrus,
vengan l’umide ninfe al ballo anch’elle. let the water nymphs also join the dance.
Entrata come di sopra, et le Ninfe dell’Istro Opening as above, the Nymphs of Istrus
Escono al tempo di essa entrata come le prime, come out at the same tempo as the others and,
e gionte al loro determinato loco, tutte le Ninfe arriving at their predetermined place, all the
insieme danzano il seguente ballo. Nymphs dance together the following dance.
Ballo: Movete al mio bel suon Dance: Move to my melodious sound
Movete al mio bel suon le piante snelle, Move to my melodious sound your slender feet.
sparso di rose il crin leggiadro e biondo. Your blond and lively locks garlanded with
roses.
E, lasciato dell’Istro il ricco fondo, And, leaving the rich depths of Istrus,
vengan l’umide ninfe al balla anch’elle. come the water nymphs to the dance.
Fuggano in sì bel dì nembi e procelle; On such a beautiful day the storm clouds flee
d’aure odorate el mormorar giocondo. the gay murmur of scented breezes.
[de l’onde]
Fat’eco al mio cantar. Rimbombi il mondo Echo my singing, resound throughout the
world,
L’opre di Ferdinando eccelse e belle. the magnificent, beautiful deeds of Ferdinand.
Qui in questo loco finita la presente prima Here ends the first part. There is then a
parte si fa un canario, ò passo e mezzo ò Canario or a Passamezzo or another ballet,
d’altro balletto, à beneplacito senza canto as an instrumental. After that, it returns
poi si ritorna sopra la prima aria come segue to the first air with some changes.
cangiando mutanze.
Ciaccona
Andrea Falconieri (1585–1656)
Seconda parte del ballo: Second part of the ballet:
Ei l’armi cinse e su destrier alato Clad in armour, on a winged charger
Ei l’armi cinse e su destrier alato Clad in armour, on a winged charger,
corse le piagge, e su la terra dura he rode across the rough land and the shore,
la testa riposo sul braccio armato. resting his head on his shielded arm.
Le torri eccelse e le superbe mura The lofty towers and the majestic walls
al vento sparse e fe’ vermiglio il prato, blew to the wind and the meadow reddened,
lasciando ogni altra gloria al mondo oscura. eclipsing all other glories in the world.
12TEXTS & TRANSLATIONS
ALTRI CANTI D’AMOR LET OTHERS SING OF LOVE
Canto Guerriero, SV 146 Canto Guerriero, SV 146
Sonetto anonimo Sonnet anonymous
Sinfonia
Altri canti d’Amor Let others sing of Love
Altri canti d’Amor, tenero arciero, Let others sing of Love, the tender Archer
i dolci vezzi e i sospirati baci, of sweet charms, and sighing kisses,
narri gli sdegni e le bramate paci let others tell of quarrels and delightful
making up,
quand’unisce due alme un sol pensiero. when a single thought unites two souls.
Di Marte io canto furibondo e fiero I sing of fierce and raging Mars,
i duri incontri e le battaglie audacia. of bitter duels and audacious battles,
Strider le spade e bombeggiar le faci of clashing swords and the darting lances,
fo nel mio canto bellicoso e fiero. in my proud and warlike song.
Tu cui tessuta han di Cesare alloro You for whom a Cesar’s immortal crown
Tu cui tessuta han di Cesare alloro You for whom a Cesar’s immortal crown
la corona immortal Marte e Bellona, of laurels was wrought by Mars and Bellona,
gradisci il verde ancor novo lavoro, accept this new and verdant work,
Che mentre guerre canta e guerre sona Great Ferdinand, which, while of wars
Che mentre guerre canta e guerre sona Great Ferdinand, which, while of wars
oh gran Fernando, l’orgoglioso the proud chorus plays and sings,
del tuo sommo valor canta e ragiona. of your sublime valor it sings and speaks.
COMBATTIMENTO DI THE BATTLE BETWEEN
TANCREDI E CLORINDA TANCREDI AND CLORINDA
Canto Guerriero, SV 153
Parole del Signor Torquato Tasso (1544–1595) Lyrics by Torquato Tasso (1544–1595)
TESTO: NARRATOR:
Tancredi che Clorinda un homo stima Tancredi, believing Clorinda to be a man,
vol ne l’armi provarla al paragone. Challenges her to a fight.
Motto del Cavallo
Va girando colei l’alpestre cima She seeks another route around a hill,
ver altra porta ove d’entrar dispone. To enter the city by another gate.
Segue egli impetuoso, onde assai prima Impetuously he gives chase;
che giunga, in guisa avvien che d’armi suone, The noisy rattling of his armour
che d’armi che d’armi che d’armi suone Giving early warning of his approach.
ch’ella si volge e grida: She stops and calls out:
13TEXTS & TRANSLATIONS
CLORINDA: CLORINDA:
O tu che porte, correndo si? What brings you here in such a hurry?
TESTO: NARRATOR:
Rispose He answers:
TANCREDI: TANCREDI:
E guerra e morte. War and death!
CLORINDA: CLORINDA:
Guerra e mort’avrai War and death you shall have!
TESTO: NARRATOR:
Disse Says she,
CLORINDA: CLORINDA:
Io no rifiuto darlati, se la cerchi I’ll not deny you what you seek,
e fermo attendi. Resolutely I await you here.
TESTO: NARRATOR:
Non vol Tancredi ch’ebbe a piè veduto Tancredi, seeing that his enemy is on foot,
il suo nemico usar cavallo e scende. Dispenses with his horse and dismounts.
E impugna l’un l’altro il ferro acuto Spurring on their pride and fury,
e aguzza l’orgoglio e l’ira accende Both seize their gleaming swords;
e vansi incontro a passi tardi e lenti With slow, measured steps they approach
each other,
quai due tori gelosi e d’ira ardenti. Like two bulls burning with jealousy and anger.
Sinfonia
TESTO: NARRATOR:
Notte che nel profondo oscuro seno Night, who in your darkness
chiudeste e nell’oblio fatto si grande And oblivion hid a deed so great
degno d’un chiaro Sol degno d’un pieno That it was worthy of the brilliant light of day,
teatro opre sarian si memorande. Or a theater packed to the rafters,
Thus to be remembered.
Passeggio
TESTO: NARRATOR:
Piacciati ch’indi il tragga e’n bel sereno Let me do what you have failed to do
alle future età lo spieghi e mande. And shine a light for posterity.
Viva la fama lor, e tra lor gloria Long live their fame, and bathed in glory
Splende dal fosco tuo l’alta memoria. May their memory saved from darkness ever
blaze.
Principio della guerra The battle begins
14TEXTS & TRANSLATIONS
TESTO: NARRATOR:
Non schivar non parar non pur ritrari They do not parry the blows nor shy away,
si voglion costor ne qui destrezza ha parte. Nor do they care for deft displays;
Non dannoi colpi hor finti hor pieni hor scarsi; And the blows between them are not feigned;
toglie l’ombra e’l furor l’uso dell’arte. Their prowess is lessened by their fury and
the shadows.
Odi le spade orribilmente urtarsi Listen to the clashing of their blades!
a mezzo il ferro e’l piè d’orma non parte Neither retreats a single pace.
sempre il piè fermo e la man sempre in moto With feet planted firm as they wield their arms,
ne scende taglio in van ne punta a voto. Seldom do they deal a blow or thrust in vain.
L’onta irrita lo sdegno alla vendetta Shame quickens their anger to revenge,
e la vendetta poi l’onta rinova. Revenge in turn renews their shame.
On de sempre al ferir sempre alla fretta Strengthening their will to fight.
stimol novo s’aggiunge piaga nova. The two opponents close in on each other,
D’hor in hor più si mesce e più ristetta The battle grows fiercer and swords are useless:
si fa la pugna e spada oprar non giova: They attack each other pitilessly
dansi con pomi e infeloniti e crudi. Clashing pommels, helmets and shields.
Cozzan con gli elmi insieme e congli scudi.
Tre volte il cavalier dona stringe Three times the knight seizes the woman
con le robuste braccia e altre tante With his powerful arm, and each time
poi da quei nodi tenaci ella si scinge, She tears herself away from his grasp,
nodi fier nemico e non d’amante. An enemy’s embrace, not that of a lover.
Tornano al ferro, e l’un e l’altro il tinge Again their swords are brandished, and again
di molto sangue: e stanco e anelante Blood runs along their blades until, exhausted,
e questi e quegli al fin pur si ritira They finally pause to catch their breath
e dopo lungo faticar respira. And, after their lengthy struggle, rest.
L’un l’altro guarda, e del suo corpo essangue They look at each other’s bloodied bodies,
Su’l pomo della spada appoggia il peso. Leaning on the hilts of their swords.
Già de l’ultima stella il raggio langue The light of the last star gradually fades
sul primo albor ch’è in oriente acceso. As dawn’s first light appears in the east.
Vede Tancredi in maggior copia il sangue Tancredi sees the blood gush from his enemy,
del suo nemico e se non tanto offeso While his wounds are less grave.
ne gode e in superbisce. O nostra folle He is overcome with pride and joy.
How foolishly
mente ch’ogni aura di fortuna estolle! We lose our heads at the slightest hint
of fortune!
Misero di che godi? O quanto mesti Miserable wretch, why do you rejoice?
siano i trionfi e infelice il vanto! How bitter your triumphs, how fatal your pride!
Gli occhi tuoi pagheran (se in vita resti) For every drop of blood, your eyes will shed
di quel sangue ogni stilla un mar di pianto. (If you should live) a sea of tears.
Così tacendo e rimirando questi Watching each other in silence,
sanguinosi guerrier cessaro alquanto. The two bloodied warriors take a moment’s rest.
Ruppe il silenzio al fin Tancredi e disse Tancredi finally breaks the silence
perchè il suo nome l’un l’altro scoprisse? And asks his enemy to reveal his name:
15TEXTS & TRANSLATIONS
TANCREDI: TANCREDI:
Nostra sventura ben che qui s’impieghi It is unjust that we should fight
tanto valor, dove silenzio il copra. So bravely here, and our efforts go unsung.
Ma poi che sorte ria vien che ci nieghi But fate decrees no witness should see our
battle,
e lode e testimon degni de l’opra, Nor anyone proclaim our fame;
pregoti (se fra l’armi han loco i preghi) I beg you (if this request in battle may be made)
che’l tuo nome e’l tuo stato a me tu scopra To reveal to me your name and rank
acciò ch’io sappia o vinto o vincitore That I may know, in victory or defeat,
chi la mia morte o vittoria honore. To whom my life or death is owed.
TESTO: NARRATOR:
Rispose la feroce. Fiercely she answers:
CLORINDA: CLORINDA:
Indarno chiedi In vain you ask me
quel ch’ho per uso di non far palese What I have never yet disclosed.
ma chiunque io misia, tu innanzi vedi But, whoever I am, you see before you
un di quei duo che la gran torre accese. One of the two who set the great tower on fire.
TESTO: NARRATOR:
Arse di sdegno a quel parlar Tancredi. At these words Tancredi flies into a rage:
TANCREDI: TANCREDI:
E in mal punto il dicesti You will rue the day you told me this!
e’l tuo dir e’l tacer di par m’alletta Your words as much as your silence
barbaro discortese alla vendetta. Incite me to revenge, you barbarian.
Guerra
TESTO: NARRATOR:
Torna l’ira nei cori e li trasporta Anger rises in their hearts and hurls them,
Benchè deboli, in guerra a fiera pugna. Despite their weakness, into battle again.
U’l’arte in bando u’già la forza è morta Their art and strength exhausted,
Ove, invece d’entrambi il furor pugna. Now only anger spurs them on.
O che sanguigna e spaziosa porta Oh what deep and bloody cuts
fa l’una e l’altra spada ovunque giugna Are inflicted by both swords
nell’armi e nelle carni! E se la vita On their armour and flesh! If life still lingers,
no esce sdegno tienla al petto unita. It is anger that stirs it in their breast.
16TEXTS & TRANSLATIONS
Ma ecco omai l’ora fatal è giunta But behold! The fatal moment approaches,
che’l viver di Clorinda al suo fin deve. Clorinda’s life is drawing to a close.
Spinge egli il ferro nel bel sen di punta He thrusts the sword into her fair breast;
che vi s’immerge e’l sangue avido beve; It plunges deep and greedily drinks her blood;
E la veste che d’or vago trapunta The tunic woven through with gold
le mamelle stringea tenere e lieve, That gently enfolds her breasts
l’empie d’un caldo fiume. Ella già sente Is drenched in her hot blood. She senses
morirsi, e’l piè le manca egro languente The approach of Death, her feet give way.
Segue egli la vittoria me la trafitta Seizing his advantage, he presses for victory,
Vergine minaciando incalza e preme. Threatening the wounded maid, his prey.
Ella mentre cadea la voce afflitta She falls, and in her affliction
movendo, disse le parole estreme, Utters her last words:
parole ch’a lei novo spirto addita, Words that a new spirit inspires in her,
spirto di fè, di carità, di speme A spirit of faith, of charity, of hope
virtù che Dio l’infonde e se rubella That comes from a God-given strength,
in vita fu la vuole in morte ancella. And though rebellious while she lived,
She becomes His servant in death.
CLORINDA: CLORINDA:
Amico hai vinto io ti perdon… perdona Friend, you have won: I forgive you…
tu ancora al corpo, che nulla pave Forgive me too, though not my fearless body,
all’alma si: Deh! per lei prega, e dona But my soul. Oh, pray for it and give me
batesmo a me ch’ogni mia colpa lave. Baptism to wash away my sins.
TESTO: NARRATOR:
In queste voci languide risuona Her languid voice sounded so sweet and sad
un non so che di flebile e soave That it moved his heart
ch’al cor gli scende e ogni sdegno ammorza And, melting all his anger,
e gli occhi a lagrimar l’invoglia e sforza. Filled his eyes with tears.
Poco quindi lontan nel sen d’un monte Nearby, nestling in the hills,
scaturia mormorando un picciol rio. He heard the murmuring of a brook.
Egli v’accorse e l’elmo empiè nel fonte, He rushed to it and filled his helmet
e tornò mesto al grande ufficio e pio. And sadly returned to perform the sacred rite.
Tremar sentir la man, mentre la fronte His hand trembled as he uncovered the
non conosciuta ancor sciolse e scoprio. Stranger’s face. Motionless, speechless,
La vide la vide e la conobbe: e restò senza He looked and stared and realized.
e voce e moto. Ahi vitta ahi conoscenza. How horrible the sight! He recognized her!
Non mori già che sue virtuti accolse He did not die; summoning all his strength
Tutte in quel punto e in guardia il cor le mise; He pulled himself together and rallied his heart.
e premendo il suo affanno a darsi volse He did his best with water to restore to life
vita con l’acqua a chi col ferro uccise. The one his sword had put to death.
Mentre egli il suon de Sacri detti sciolse, At the sound of the holy words he spoke,
Colei di gioia trasmutossi e rise, Her face was transformed with joy. She smiled,
e in atto di morir lieta e vivace And dying, happy and radiant, seemed to say:
dir parea:
CLORINDA: CLORINDA:
S’apre il ciel: io vado in pace. The gates of heaven are open; I go in peace.
17TEXTS & TRANSLATIONS
LAMENTO DELLA NINFA A NYMPH’S LAMENT
Canto Amoroso, SV 163 Canto Amoroso, SV 163
Testo di Ottavio Rinuccini (1562-1621) Text by Ottavio Rinuccini (1562-1621)
Non havea Febo ancora Phoebus had not yet
Non havea Febo ancora Phoebus had not yet
recato al monda il dì brought morning to the world
ch’una donzella fuora when a young girl stepped forth
del proprio albergo uscì. from her abode.
Sul pallidetto volto scorgeasi Sorrow was visible
il suo dolor, on her pale face,
spesso gli venia sciolto and often a deep sigh
un gran sospir dal cor. rose from her heart.
Si calpestando fiori So, trampling flowers
errava hor qua hor là, she wandered hither and thither,
I suoi perduti amori her lost loves lamenting
così piangendo va: as she went.
Lamento della ninfa A nymph’s lament
“Amor, dov’è la fe’ “Love”, she said, standing still
che’l traditor giurò? and looking toward the sky,
Amor”, dicea il ciel “where is the faith
mirando, il piè fermò. that the traitor swore to me?”
(O miserable young maid)
Fa che ritorni il mio “Let him come back to me
amor com’ei pur fu, as he used to be,
o tu m’ancidi ch’io or kill me so that
non mi tormenti più. I shall not suffer anymore.
Non vò più ch’ei sospiri I don’t want him to sigh any more
se non lontan da me; unless he is far from me;
no, no che i suoi martiri no, no, nor that he should suffer
più non dirammi affè. if not to woo me.
Perchè di lui mi struggo Because I languish for him
tutt’orgoglioso sta he is full of pride,
che sì, che sì, se’l fuggo but perhaps if I leave
ancor mi pregherà. he will pursue me.
Se ciglio ha più sereno If another woman’s eyes
colei ch’el mio non è, are more serene than mine,
già non richiude in seno, love, it is because a less pure faith
amor, sì bella fe’! is harbored in her breast!
18TEXTS & TRANSLATIONS
Nè mai sì dolci baci Such sweet kisses
da quella bocca havrà, her mouth will never give you,
né più soavi –ah, taci, nor softer. Oh, say no more,
taci, che troppo il sa. no more, he knows this all too well!
(Miserella! ah più no, no, (Poor me, oh, no, no,
tanto gel sofrir non può.) I cannot bear this coldness.)
Sì tra sdegnosi pianti Thus, amid disdainful tears
Sì tra sdegnosi pianti Thus, amid disdainful tears
spargea le voci al ciel, she raised her cries to the sky;
così ne’ cori amanti and so, in lovers’ hearts
mesce amor fiamma e gel. Love mixes fire and ice.
HOR CHE’L CIEL E LA TERRA NOW THAT THE SKY
Canto Guerriero, SV 147 Canto Guerriero, SV 147
Sonetto di Francesco Petrarca (1304–1374) Sonnet of Francesco Petrarca (Petrarch)
(1304–1374)
Hor che’l ciel e la terra Now that the sky and earth
Hor che’l ciel e la terra e’l vento tace Now that the sky and earth and wind are
hushed,
e le fere e gli augelli il sonno affrena, and birds and beasts are stilled by sleep,
notte il carro stellato in giro mena night circles in its starry chariot round
e nel suo letto il mar senz’onda giace, and the sea lies waveless in the deep,
veglio, penso, ardo, piango e chi mi sface I lie awake, I think, I burn, I weep; and she,
my ruin,
sempre m’è innanzi per mia dolce pena. is ever present in my sweet suffering.
Guerra è il mio stato, d’ira e di duol piena, I am in a state of war, full of anger and sorrow,
e sol di lei pensando ho qualche pace. and only in thinking of her do I find some
peace.
Così sol d’una chiara fonte viva Thus, from a single clear and living spring
Così sol d’una chiara fonte viva Thus, from a single clear and living spring
move il dolce e l’amaro ond’io mi pasco. flow the sweetness and the bitterness on
which I feed.
Una man sola mi risana e punge. A single hand both heals and pierces me.
E perchè il mio martir non giunga a riva, And since my torment never ends,
mille volte il dì moro e mille nasco. a thousand times a day
tanto dalla salute mia son lunge. I die and am reborn,
and always far from my salvation.
—Translated by Jacqueline Minett
19CREDITS
A production of the Fundació Centre Internacio- For Cal Performances at Home
nal de Música Antiga Tiffani Snow, Producer
Jeremy Little, Technical Director
Recording Team Jeremy Robins, Executive Video Producer
Xavi Bové, Video Director
Pietro d’Agostino, Assistant Director For Future Tense Media
Pau Baiges, Musical Assistant Jesse Yang, Creative Director
Eva Parra, Control Camera
Marc Duran, Camera
Jordi Farré, Camera For Cal Performances
Becho Knubovetz, Camera EXECUTIVE OFFICE
Xavi Mitjans, Camera Jeremy Geffen, Executive and Artistic Director
Nacho Saladrigas, Head of Technical Kelly Brown, Executive Assistant to the Director
Marc Arisa, Technical Assistant
Pau Segalés, Technical Assistant ADMINISTRATION
Manuel Mohino, Sound Engineer Andy Kraus, Director of Strategy and
Patrícia Vàzquez, Executive Production Administration
Marilyn Stanley, Finance Specialist
Lighting Team Gawain Lavers, Applications Programmer
Xavi Valls, Lighting Designer Ingrid Williams, IT Support Analyst
Jep Vergés, Lighting Assistant Sean Nittner, Systems Administrator
NOUTRES produccions, Technical Lighting
Production ARTISTIC PLANNING
Katy Tucker, Director of Artistic Planning
Fundació Centre Internacional Robin Pomerance, Artistic Administrator
de Música Antiga
Jordi Savall, Artistic Director DEVELOPMENT
Maria Bartels, Personal, Artistic, Taun Miller Wright, Chief Development Officer
and Literary Advisor Elizabeth Meyer, Director of Institutional Giving
Francina Medina, General Coordination and Jennifer Sime, Associate Director of
Executive Secretariat Development, Individual Giving
Sergi Grau, Development, Historical Research Jamie McClave, Individual Giving
and Projects and Special Events Officer
Joan Carles Arean, Accounting and Jocelyn Aptowitz, Major Gifts Associate
Administration
Elisenda Martínez, Musicians’ Engagements EDUCATION AND COMMUNITY PROGRAMS
and Travel Schedule Rica Anderson, Interim Director, Artistic Literacy
Montse Santiago, Secretariat Production and
Administration HUMAN RESOURCES
Sergio Martínez, Musicology and Musical Judy Hatch, Human Resources Director
Archive Shan Whitney, Human Resources Generalist
Daniel Vidal-Barraquer, Communication
and Diffusion MARKETING AND COMMUNICATIONS
Raimon Casinos and David Galán, Technical Jenny Reik, Director of Marketing and
Production and Tour Managers Communications
Agnès Prunés, Editorial Production Ron Foster-Smith, Associate Director
Vassa Dementyeva and Charlotte Conesa, of Marketing
Accounting Assistants Mark Van Oss, Communications Editor
Oriol Fages and Berta Coromina, Technical and Louisa Spier, Public Relations Manager
Logistic Assistants Cheryl Games, Web and Digital Marketing
Toni Figueras, External Logistics Consultant Manager
20CREDITS
Jeanette Peach, Public Relations Senior Associate STUDENT MUSICAL ACTIVITIES
Elise Chen, Email Production Associate Mark Sumner, Director, UC Choral Ensembles
Lynn Zummo, New Technology Coordinator Bill Ganz, Associate Director,
Terri Washington, Social Media and Digital UC Choral Ensembles
Content Specialist Matthew Sadowski, Director of Bands/
Interim Department Manager
OPERATIONS Ted Moore, Director, UC Jazz Ensembles
Jeremy Little, Production Manager Brittney Nguyen, SMA Coordinator
Alan Herro, Production Admin Manager
Kevin Riggall, Head Carpenter TICKET OFFICE
Matt Norman, Head Electrician Liz Baqir, Ticket Services Manager
Tom Craft, Audio/Video Department Head Gordon Young, Assistant Ticket Office Manager
Jo Parks, Video Engineer Sherice Jones, Assistant Ticket Office Manager
Tiffani Snow, Event Manager Jeffrey Mason, Patron Services Associate
Ginarose Perino, Rental Business Manager
Rob Bean, Event Operations Manager
Opening Cal Performances at Home fanfare used
STAGE CREW by permission from Jordi Savall from his 2015
Charles Clear, Senior Scene Technician recording of Monteverdi's L'Orfeo on Alia Vox.
David Ambrose, Senior Scene Technician
Jacob Heule, Senior Scene Technician Major support for the Cal Performances
Jorg Peter “Winter” Sichelschmidt, Digital Classroom is provided by Wells Fargo.
Senior Scene Technician
Joseph Swails, Senior Scene Technician Major support for Beyond the Stage is provided
Mark Mensch, Senior Scene Technician by Bank of America.
Mathison Ott, Senior Scene Technician calperformances.org
Mike Bragg, Senior Scene Technician
Ricky Artis, Senior Scene Technician © 2021 Regents of the University of California
Robert Haycock, Senior Scene Technician
21You can also read
