Maria & Maddalena Francesca Aspromonte - I BAROCCHISTI DIEGO FASOLIS - eClassical
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Maria & Maddalena
Francesca Aspromonte
I BAROCCHISTI · DIEGO FASOLIS
Giovanni Lorenzo Lulier (1662-1700): Oratorio à 6 per la Nascità del Redentore Giacomo Antonio Perti (1661-1756): La sepoltura di Cristo
1 “Di quei lampi che vanta l’aurora” (Maria Vergine) 3. 27 10 “Del Nazareno non era in seno” (Maria Vergine) * 3. 11
Giovanni Battista Bononcini (1670-1747): La conversione di Maddalena Antonio Caldara: La Maddalena ai piedi di Cristo
2 “Del favellar divino…Sinché ridon le rose” (Maddalena) * 3. 12 11 “Deh, s’un tempo percossa…In lagrime stemprato” (Maddalena) 4. 10
Leopoldo I d’Asburgo (1640-1705): Il Crocefisso per Grazia Giacomo Antonio Perti: Gesù al Sepolcro
composed by Antonio Draghi (1634-1700) 12 “Giovanni, ah tu del Figlio…Del campo il bel fiore” (Maria Vergine) * 3. 13
3 “Ecco qui l’incomprensibile” (Maria Vergine) * 3. 25
George Frideric Handel (1685-1759): La Resurrezione
4 Antonio Caldara (1670-1736): La Maddalena ai piedi di Cristo: Sinfonia 2. 08 13 Overture 2. 10
14 “Se Maria dunque spera…Ho un non so che nel cor” (Maddalena) 3. 40
Giovanni Battista Bononcini: La conversione di Maddalena 15 “Se impassibile, immortale” (Maddalena) 3. 15
5 “Cor imbelle a due nemici” * 3. 16
Alessandro Scarlatti (1660-1725): La Santissima Annunziata
Antonio Caldara: La Maddalena ai piedi di Cristo 16 “Stesa a pie’ del tronco amaro…Mortali a voi consegno… 8. 51
6 “Omai spezza quel nodo…Pompe inutili” (Maddalena) 7. 10 Nella patria dei contenti” (Maria Vergine)
Total playing time: 62. 09
Giovanni Battista Bononcini: La conversione di Maddalena * Critical edition by Francesco Lora
7 “Sì sì, risolvo col mio dolore” * 3. 11
Francesca Aspromonte, soprano, concept & repertoire selection
Giovanni Lorenzo Lulier: Oratorio à 6 per la Nascità del Redentore Boris Begelman, solo violin (Tracks 5, 8 & 10)
8 “Tu dormi o Figlio…Figlio mio, se nel pensiero” (Maria Vergine) 4. 10
I Barocchisti
9 Giovanni Battista Bononcini: La conversione di Maddalena: Sinfonia * 2. 50 Diego Fasolis, conductor
Day and night, brunette and blonde, sacred and profane love, old and young... mother and
prostitute: the Virgin Mary and Mary Magdalene.
We grow up certain of their differences, comforted by that ancient story so familiar to us, of
which we know every detail and every character. But if we listened to their story through music,
we could discover what makes them similar. Two women. Two women described as beautiful
and strong, two women who were both young and who turned their lives upside down by
making a choice: the choice to abandon themselves completely to an ideal, to their faith. Have
you ever thought of a Magdalene who remains a slave to earthly pleasures? Could we ever
imagine the Virgin graciously refusing the fulfilment of the prophecy of the angel Gabriel?
"No, thanks... I'm good!"
The symbolic sacrifice of these two women is so deeply rooted in the imagination of all of us,
whatever our religious denomination, that we almost leave it in the background, taking it for
granted. And yet in song, even if rarely together on the same stage, they tell us about that
choice, their fear, as well as the suffering and joy of their journey. Interpreting the Virgin means
to experience at the same time the immeasurable joy of motherhood and the excruciating
pain of her Son's foreboding death, with a lump in the throat and a broken voice; to sing
Magdalene is to feel the tremor, the ecstasy of the soul that wants to free itself from the
chains of sin even through suffering, in the joyful certainty of reaching a higher pleasure.
To be both is to be a woman who writes her own destiny accepting the consequences, living
all the emotions without repentance, without regrets, with pride.
To be both is a teardrop of freedom.
– Francesca Aspromonte
5
Maria & Maddalena with him — when almost all the others have a single performance, destined, however, to to become a character in a drama. This
fled in fear, and all the men, except for one be remembered through chronicles, printed situation benefited those closest to Jesus,
Two characters. On the one hand the — to weep together under his cross. librettos and calligraphic scores preserved that is, those in whom the mysteries of the
Virgin Mary, mother of Jesus and the or distributed, for propaganda, among the Incarnation, Salvation and Resurrection
Mother of God, the woman — the only The oratorio is a musical genre, widespread learned and powerful. were best realised: first and foremost, the
woman — conceived immaculately, the in the Catholic world, a genre that is neither Two Marys.
greatest custodian of the mystery of the profane nor sacred, but devotional, in The stories around the Virgin Mary and
divine Incarnation, from the Annunciation other words: an expression of the religious, Mary Magdalene, told in music, have their From a musical and poetic point of view,
to Pentecost, and the first advocate of moral and often political concerns of a natural home in the oratorio, especially despite the characteristic recourse to duets
mankind to God, who is her father and son. community. It is not a Bible for the poor, during the golden age straddling the 17th and madrigals, the cornerstone forms of the
On the other, we have Mary Magdalene, no elementary catechesis of the people: in and 18th centuries, and in artistic capitals Catholic oratorio are the recitative and the
torn between heavenly love and earthly its highest expression — the one captured of the Catholic world such as Bologna, aria. Following convention, the affections
love, the sinful woman, Jesus' faithful on this recording — it is instead a product Modena, Rome and Vienna, but also and circumstances of the Virgin Mary and
disciple, the true penitent, the synthesis of for the ruling class, which educates itself, Mantua, Naples, Palermo and Venice. From Mary Magdalene are mostly expressed in
all the forgiven characters that populate enjoys itself, questions itself and reflects on a dramatic point of view, oratorios usually recitatives and especially in arias. But two
the New Testament, the first eyewitness itself. As a rule, it is created by a librettist focus on subjects taken from the biblical aspects are striking. Firstly, in the oratorio
and the first announcer of the Resurrection. with a solid theological background and Old Testament, inspired by the lives of saints genre, unlike opera and its conventions, the
They are two cardinal female figures in a composer who is called upon to express or built around moral or historical allegories: same character usually sings two or even
the Gospel, as well as in Christian thought the best of himself. The performance all this was serving the doctrine of the three arias in a row, creating an extensive
in general, although they are as opposed is presented by renowned singers, not Counter-Reformation. Subjects from the monologue with a wide contrast of affects.
to each other as fire to water, incense to distracted by the heat of opera seasons, New Testament were much rarer, a group of Secondly, the oratorio genre was extremely
sulphur or angels to sirens. They follow and attended by an attentive, prepared texts that in the Catholic world, respectfully open to musical, theatrical and rhetorical
different paths in their moral premises and selected audience. It is a product but paradoxically, were usually shrouded in experimentation, so that conventional
and in their earthly destiny, but they meet of a refined and ephemeral nature: its prurient inaccessibility: it was considered structures could be accommodated, but
around the preaching Christ, and remain meticulous production often is restricted to inappropriate for the figure of God the Son also challenged, giving musicians ample
6 7
room to demonstrate their refined skills to a opponent of the Lutheran Reformation.
competent audience. The project presented One Christmas night, the Virgin Mary,
here is therefore an excursus on the figures supreme intermediary between God and
of the Two Marys, but also an essay on the man, appears to him to place the new-
language of the oratorio and the formal born Jesus in his arms, and to sing an aria
shapes of the aria in the decisive years that offers a lesson on the divine as well as
around 1700. human nature of God the Son, “Ecco qui
l’incomprensibile”, a piece that presents
The oldest of the arias on the programme, both the astonished pride of the mother
written in 1691, is dedicated to the Virgin and the majesty of the Queen of Heaven.
Mary. From a dramaturgical, cultural and
historical point of view, it is perhaps also Remarkable about this aria is that it
the most suitable piece to illustrate the is clearly intended to be a part of one
breadth of scope of the phenomenon of Draghi's oratorios, but was actually
in question. It is a passage from the composed by another composer who was
Crocifisso per Grazia (Crucifixion for Grace) only involved in this specific piece. And that
by Antonio Draghi and Niccolò Minato, composer is none other than the dedicatee
respectively the choirmaster and poet at himself: the devoutly Catholic Leopold
the Viennese imperial court of Leopold I of I, an excellent musician. The song of the
Habsburg. In defiance of Aristotelian unity, Mother of God thus springs from the pen
the oratorio traces, from the conception of the Holy Roman Emperor, God's highest
to the last breath, and not without temporal representative on earth. Another
comic passages, the entire life of Saint feature, unique in this programme, should
Gaetano (Cajetan) Thiene, founder of the be highlighted: this is a strophic aria, a
religious order of the Theatines and proud typical form of the 17th century that died
8
out during that same century. In each of the he had composed two years earlier, and previously would have been constantly that Perti had written in 1685. His original
two stanzas — with different words, but the also contains a psychological journey of the present, sometimes falls silent and leaves setting of the text 'Del campo il bel fiore'
same music — the singing is supported only Virgin Mary around the birth of Jesus. First, the other parts unsupported. had a simple, dance-like character, and
by the basso continuo; after each strophe she sings the festive aria “Di quei lampi che portrayed the sweet and moving exultation
there is an instrumental refrain with a more vanta l'aurora”, inviting the angels to join in The new formal characteristics become of the Virgin Mary before the dead body of
complex contrapuntal elaboration. On the her exultation. Further on, she foreshadows even bolder, exaggerated to the point of Jesus. On the same poetic text, eighteen
contrary, all the other pieces presented on the sufferings of Christ scourged, crowned ridicule, and mocking the expectations of years later, Perti composed an aria in which
this album belong to the first decade of the with thorns and crucified, and through the the audience, in Giacomo Antonio Perti’s the A section is accompanied in unison by
18th century, and adhere to the da capo sight of the blissful sleep of the infant God aria “Del campo il bel fiore”. Perti was violins and violas, in an assertive, mobile
aria form (consisting of a tonally closed A she already witnesses the dead body of Wolfgang Amadeus Mozart's teacher, and dry manner, without basso continuo.
section, a contrasting and open B section, Jesus laid in the tomb. The son's sorrows composed for no less than eighty years, An energetic but very short instrumental
and then a reprise of the A section). are those of the mother, who sings a lullaby hardly ever left Bologna, was idolised in refrain acts as a bridge to the B section.
in an undulating ternary metre, which theatres, academies and churches and was This section continues in the style of
Giovanni Lorenzo Lulier was one of the most becomes restless due to frequent and admired by princes, popes and emperors. section A. Just when one would expect
talented and versatile musicians active excruciating rhythmic imbalances. He devoted himself almost entirely to nothing more than a repetition of the
in Rome in the last quarter of the 17th vocal, operatic, chamber and sacred music, first section, one hears a dazzling full-
century; a cellist and a composer, working In Lulier's two arias, one can hear and avoided instrumental music, which orchestra accompaniment instead, in the
closely together with Arcangelo Corelli, and innovations that had matured by the end he preferred to delegate to pupils and style of the refrain between section A and
a protégé of cardinal-patrons Benedetto of the 17th century and were ready to break specialised collaborators such as Giuseppe section B. Within this passage, the vocal
Pamphili and Pietro Ottoboni. He died in the through in the new century. The orchestra, Torelli: hence the paradoxical oblivion into part stretches out its superb melodic line
spring of 1700. One of his oratorios, Per la for example, is reduced to a single, brilliant which he eventually fell. even more proudly, more virtuosic, moving
nascità del Redentore (For the Birth of the part of unison violins, leaving out the violas; through its entire range with complex triplet
Redeemer), was performed posthumously the solo instrument — in this case a violin The aria concerned belongs to Gesù al figurations.
around Christmas the same year. It is — alternates with the tutti and competes sepolcro (Jesus at the Tomb, 1703), an
possible that it was a reworking of a piece with the voice; the basso continuo, which incisive reworking of a Passion Oratorio
10 11
Some mystery surrounds the oratorio La Perti's legendary rival was his contemporary
Sepultura di Cristo (The Burial of Christ), Alessandro Scarlatti. They competed mainly
which belonged to Perti’s library and has at the court of Ferdinando de' Medici,
a manuscript that is partly autograph. In Prince of Tuscany, but kept their respective
truth, however, it seems to be a reworking, “fiefdoms” separate: Bologna and Florence
carried out by several composers after 1704, for the former, Naples and Rome for the
of a lost score by Giacomo Cesare Predieri. latter. In the papal city, in 1700 or 1703,
A copyist has transcribed the exquisite Scarlatti composed an oratorio to a libretto
aria “Del Nazareno non era in seno”, by Ottoboni, La Santissima Annunziata
entirely accompanied by a solo violin. The (The Most Blessed Virgin Announced). It
violin is granted an instrumental prelude recounts Mary's astonishment and anguish
(Adagio) of six poignant bars before the about, and her adherence to, the mystery
actual da capo aria takes place. We do not of the Incarnation and her awareness of
know who the author is: the manuscript the Passion and Resurrection. The finale
recognises Perti's hand in the addition of of the oratorio is one of the composer's
three indications, but the piece could be highest peaks of expression, and consists
by Predieri or may well have been provided of a structure spanning two contrasting
by Giuseppe Torelli, an excellent violinist, arias linked by a recitative. The first aria,
who often contributed tacitly to Perti's “Stesa a piè del tronco amaro”, has a
compositions. One may wonder why the meditative character: the instrumental
Virgin Mary intones such a lively piece accompaniment, apparently incorporeal,
near the dead body of Jesus? It serves to actually boils with pungent harmonic
decisively assure the Apostle John that subtleties. The second aria, “Nella patria de'
those wounds are the human being's open contenti”, accompanied by lashing, dotted-
gateways to God. rhythm figurations, instead focuses on the
Diego Fasolis
© Daniel Vass
12determined self-election of the Virgin Mary path to conversion, with the voice and the an extended concertante part for the cello appearing in oratorios and delegated the to become the mother of the suffering. concertante violin competing with each — the instrument played by the composer soprano and contralto parts to castrated According to a certain tradition, two other other. The concluding, voluptuous and himself — and a striking contrast between singers, the part of Mary Magdalene was Gospel figures converge in the character pressing “Sì, sì risolvo col mio dolore”, finally the sorrowful A section and the impetuous created for Margherita Durastanti. After the of Mary Magdalene: the sister of the expresses the determination to live a new B section. An obsessive dactylic rhythm Holy See had issued a warning, however, same name of Martha and Lazarus and life turned towards Heaven. and the warm accompaniment of violas, she had to be replaced at the performances the woman who anoints Jesus' feet with without violins, defines the hypnotic aria “In by a certain Pippo. This great virtuoso and precious spikenard oil. La conversione In 1690, Bononcini had already composed lagrime stemprato il cor qui cade“, in which actress, Händel's Italian muse, inspired di Maddalena (The Conversion of Mary an oratorio on the same character — Mary Magdalene comes to the Pharisee's several of his arias, including the incisive Magdalene) by Giovanni Bononcini was La Maddalena a' piedi di Cristo (Mary house to meet Jesus. “Ho un non so che nel cor” (brazenly sung sung in 1701 at the court of Leopold I. Magdalene at the Feet of Christ) — for in unison with the violins and performed It focuses on the inner conflict of Mary the court of Francesco II d'Este, Duke of The most authentic Magdalene, however, is again during the 1709-10 Venice carnival in Magdalene who, spurred on by Martha Modena, arguably the most important the one at the foot of the Cross, together the opera Agrippina) and the sumptuous towards divine love, breaks free from centre for the development of the oratorio with the Virgin Mary, the Magdalene who “Se impassibile, immortale” (with violin and profane love and comes closer to God. in seventeenth-century Europe. The is the first to meet Jesus on the morning viola da gamba solos and a pair of oboes). The psychological journey unfolds through libretto tells the story of the woman who after the Sabbath and the first to announce a musical discourse that demonstrates anoints Jesus' feet. In revised form (with the Resurrection to the other disciples. She Francesco Lora the fabulous wealth of expressive means the addition of Martha's part), it became is presented in her announcing role in the (Translation: Calvin B. Cooper) of this young composer, who had already the basis of a score by Antonio Caldara, Oratorio per la resurrezione di nostro signor gained experience in Bologna, Rome, Naples composed in 1699 for Mantua and now Giesù Cristo (Oratoria of the Resurrection and Venice. The aria “Sinché ridon le rose known in the version that was presented of our Lord Jesus Christ), the masterpiece odorose”, with its sure-footed gait, is again in Vienna in 1713. The aria “Pompe inutili, that Georg Frideric Handel presented in a confident declaration of love towards che 'l pompo animate” contemplates Rome, at the Palazzo Ruspoli, on Easter Day worldly passions; “Cor imbelle a duo [sic] the repentance of the protagonist, who 1708. In spite of common decency, which nemici” reflects the personal battle on the decides to turn towards Jesus. It features forbade women virtually everywhere from 14 15
I Barocchisti
First violins: Fiorenza De Donatis Rognoni (leader), Carlo Lazzaroni, Andrea Rognoni
Second violins: Alberto Stevanin (prima parte), Daniela Beltraminelli Krebs, Elisa
Imbalzano, Àgnes Kertész,
Viola: Giovanni De Rosa, Fiorenza De Donatis Rognoni *, Carlo Lazzaroni *, Alberto
Stevanin *, Daniela Beltraminelli Krebs *, Elisa Imbalzano *
Violoncello: Mauro Valli
Viola da gamba: Cristiano Contadin
Double Bass: Vanni Moretto
Oboe: Pier Luigi Fabretti (1), Guido Campana (2)
Bassoon: Giulia Caterina Genini
Trumpet: Matteo Frigè, Matteo Macchia
Theorbe: Giangiacomo Pinardi
Organ & Harpsichord: Andrea Marchiol
* on track 11 only
17Lyrics Con sì rigida legge la senil gravità sol viene Only grave maturity is constrained with
1 astretta, such rigid laws,
G. L. Lulier: Oratorio à 6 per la Nascità del Redentore ma l’età giovenil non è soggetta. but the age of youth is not subject to them.
“Di quei lampi che vanta l’aurora” (Maria Vergine)
Aria Aria
Di quei lampi che vanta l’aurora Of those flashes that the dawn boasts Sinché ridon le rose odorose As long as fragrant roses laugh
di quel sol che fra gl’astri indora of that sun which among the stars does sulla fronte di vaga beltà, on desirous beauty’s brow,
oggi un’alma più vaga sarà. indorse s’infiori, s’onori decorate and honour
E seguace di scorta novella today a soul shall be more vague. quel tempo sereno that serene period
che la rende più lieta, più bella And follower of the new escort di calma ripieno full of tranquillity,
nuova luce alle sfere darà. that makes it more joyful, more beautiful, che gioie sol dà. which only happiness gives.
will give new light to the spheres.
3
2 Leopoldo I d’Asburgo. Fragment from Antonio Draghi's “Il Crocefisso per Grazia”
G. Bononcini: La conversione di Maddalena "Ecco qui l 'incomprensibile" (Maria Vergine)
“Del favellar divino…Sinché ridon le rose” (Maddalena)
Ecco qui l’incomprensibile Here is the incomprehensible
Recitativo Recitative che da me compreso fu That was grasped by me
Del favellar divino I still nurture the ecco DIO reso passibile Here is GOD made passable
serbo pur anco impieni sensations of divine speech VERBO in cielo e qui GIESU’. WORD in heaven and JESUS on earth.
nell’alma i sensi impressed in my soul,
e nell’orecchio il suono. and the sound in my ear; Brevi fasce circuiscono Short bands encircle
Ma ch’io sul fior degli anni but should I mark with tears fatto umano chi è divin made human who is divine
deggia del viver mio la miglior parte and trample underfoot gli ampi Cieli nol capiscono the wide heavens do not understand
segnar col pianto e calpestar col piede. the prime years of my life? ivi Immenso, qui Bambin. Immense over there, on earth a Child.
18 195 Tu là corri e al Suo piede that benefit the mortals, have become
Giovanni Battista Bononcini: La conversione di Maddalena mesta de tuoi deliri renowned.
“Cor imbelle a due nemici” offran lagrime gli occhi e’l cor Hasten there, and at his feet,
e il cor sospiri. contrived by your transgressions
let your eyes offer tears,
Cor imbelle a due nemici How will a weak heart ever withstand and your heart offer sighs.
come mai resisterà? these two nemeses?
Nel duolo instabile In the volatile grief, Aria Aria
ch’il cor m’esanima this soul does not know Pompe inutili che il fasto animate Useless pomp that adds to splendour,
non sa quest’anima what leaves the heart lifeless, non sperate di dar più tormento al cor. do not hope to torment my heart any more.
gioire, languire non sa. it neither knows joy, nor languishing. Ite a terra vili immagini d’error! Down to the dirt, vile images of failure!
6 7
Antonio Caldara: La Maddalena ai piedi di Cristo Giovanni Battista Bononcini: La conversione di Maddalena
“Omai spezza quel nodo…Pompe inutili” (Maddalena) “Sì sì, risolvo col mio dolore”
Recitativo Recitative Sì sì, risolvo col mio dolore Yes, yes, I am resolved to heal
Omai spezza quel nodo Now break that tie sanar del core l’infedeltà. The unfaithful heart with my pain.
che, benché sembri caro, that, though it seems precious, Pupille amanti stillate in pianti Loving eyes, distil the freedom
è pur catena! is still a chain. de’ vostri sguardi la libertà. of your gaze in tears.
Non più vivi rubella a quella Mente eterna Live no longer in opposition to that eternal
che tante in tuo favor grazie diffonde. mind,
Questi son pur quei giorni that showers so many graces on you.
in cui del Nazaren gli alti portenti These are indeed the days
danno, à pro’ de’ mortal, volo alla fama. in which the Nazarene’s great miracles
20 218 quando tu, dal tronco altero, when, from the wood of the cross,
Giovanni Lorenzo Lulier: Oratorio à 6 per la Nascità del Redentore mi dirai “Mia genitrice, you say to me, "My mother,
“Tu dormi o Figlio…Figlio mio, se nel pensiero” (Maria Vergine) cangia figlio or che il tuo more!” Change your son, now that his death is
coming!”
Recitativo Recitative
Tu dormi, o Figlio, You sleep, my Son, 10
e forse saranno i sogni tuoi and perhaps your dreams will be Giacomo Antonio Perti (1661-1756): La sepoltura di Cristo
sogni di pene. dreams of sorrow. “Del Nazareno non era in seno” (Maria Vergine)
Vedrai, benché da lungi, You shall see, though from afar,
mentre al ciglio d’un Dio tutt’è presente, while at the eye of a God all is present, Del Nazareno The Nazarene
Gerosolima ingrata Ungrateful Jerusalem non era in seno cor da ferir. had no heart in his chest to wound.
prepararti flagelli e spine e croci. Prepare yourself for scourges and thorns Lo fece dono di pentimento He offered it as a gift of repentance
Saran larve feroci, and crosses. ma, non contento, but, not contented with it,
fra i tuoi riposi, There will be ferocious larvae un empio volle quel fianco aprir. an impious one wished to open his side.
la sembianza orrenda della tua morte, among your resting places,
che Giudea sospira. the hideous aspect of your death, 11
E colmo d’odio e d’ira which Judea desires. Antonio Caldara: La Maddalena ai piedi di Cristo
il rimirare il popolo spietato And filled with hatred and wrath “Deh, s’un tempo percossa…In lagrime stemprato” (Maddalena)
aspettar che Tu dia l’ultimo fiato. you will gaze upon the merciless crowd
waiting for You to give Your last breath. Recitativo Recitative
Deh, s’un tempo, Ah, though once
Aria Aria percossa dall’amor del mio Dio the burning zeal of Christ
Figlio mio, se nel pensiero My Son, if in thought che sua mi vuole, once seemed to me a hard rock amid the
così fiero pur mi sembra il tuo dolore, your sorrow seems to me so proud, duro scoglio sembrava in mezzo all’onde, waves
che farò, madre infelice, what shall I do, unhappy mother, l’ardente zel di Cristo I was struck by the love of my God,
22 23che venne a sparger foco in ogni seno who wants me to be his. Aria Aria
così m’arde e consuma He came to spread fire in every chest, Del campo il bel fiore sfrondato è, perché? Of the field the beautiful flower is plucked,
che, fatto un altro cor da quel di prima and it burns and consumes me, Sì tenero giglio but why?
l’effigie in lui dell’amor suo s’imprima. so that, having made a new heart from the già reso vermiglio Such a tender lily
previous one, tra spine moleste already made vermilion
the image of his love is stamped upon it. tra siepi sì infeste among thorns so troublesome
più giglio non è! among hedges so infesting
Aria Aria is no longer a lily!
In lagrime stemprato il cor qui cade. Dissolved in tears, here my heart gives way.
Già s’elesse Already it has chosen to follow 14
l’orme impresse the tracks left George Frideric Handel 1685-1759): La Resurrezione
del suo piè di seguir, by His feet, “Se Maria dunque spera…Ho un non so che nel cor” (Maddalena)
di seguir del Ciel le strade. to follow the paths of Heaven.
Recitativo Recitative
12 Se Maria dunque spera If Mary then hopes,
Giacomo Antonio Perti: Gesù al Sepolcro e spera ancor Giovanni and John still hopes,
“Giovanni, ah tu del Figlio…Del campo il bel fiore” (Maria Vergine) anch’io dar voglio I, with such well-founded hope,
con sì giusta speme will also allow
Recitativo Recitative qualche tregua agli affanni. some rest to my distress;
Giovanni, ah, tu del Figlio John, ah, you are the closest Ma pure, chi ben ama sempre teme but those who truly love always fear,
discepolo più caro e più gradito! and most appreciated disciple of the Son! e nell’amante mio misero core, and from my poor, loving heart,
Di’ s’in lui più ravvisi la primiera beltà, Tell me if you discern the beauty of life in him, benché speranza regni, though hope now rules,
se più il conosci. as you know him best. bandir non può il timore. fear cannot be banned.
Or, degli opposti affetti Now which of these opposing feelings
a chi debba dar fede I should trust
24 25vedrò volgendo il piede I shall discover as I turn my steps 16
all’adorato speco to the beloved cave, Alessandro Scarlatti (1660-1725): La Santissima Annunziata
tomba del mio Giesù. the tomb of my Jesus; “Stesa a pie’ del tronco amaro…Mortali a voi consegno…Nella patria dei contenti”
Vada Giovanni a consolar Maria, let John go to comfort Mary, (Maria Vergine)
Cleofe sia meco! Cleophas, stay with me.
Aria Aria
Aria Aria Stesa a pie’ del tronco amaro Lying at the foot of the bitter trunk
Ho un non so che nel cor I have something in my heart, sovra il sangue amato e caro Over the beloved and dear blood
ch’invece di dolor that instead of pain, dalle misere pupille from my wretched eyes
gioia mi chiede. asks me for joy. calde stille io versarò. I will pour warm spills.
Ma il core uso a temer But my heart, so used to fear, Ma l’estremo mio tormento, But I shall suffer courageously
le voci del piacer, either cannot understand col pensare all’uom redento, my extreme torment,
o non l’intende ancor the voices of pleasure coraggiosa soffrirò. thinking of redeemed mankind.
o inganni del pensier or perhaps believes them to be
forse le crede. an illusion of thought. Recitativo Recitative
Mortali, a voi consegno Mortals, to you I deliver
15 tutta la speme d’ogni mio conforto! all the hope of all my comfort!
George Frideric Handel 1685-1759): La Resurrezione Vedrò dal sacro legno I shall see from the sacred wood
“Se impassibile, immortale” (Maddalena) il Frutto del mio sen pendente e morto! the fruit of my heart, dead and hanging!
Sarò vedova madre, eppur non voglio I shall be a widowed mother, and yet I do
Se impassibile, immortale If immovable and immortal destar in voi pietà del mio cordoglio. not wish
sei risorto o Sole amato, you are risen, oh beloved Sun, Dono le piaghe del mio Figlio a voi, To arouse in you pity for my grief.
deh fa ancor ch’ogni mortale ah, let all mortals rise with you a voi le pene e la sua morte io dono I give the wounds of my Son to you,
teco sorga dal peccato. out of their sinful state. se, chiedendo perdono di vostre colpe, To you I give the pains and his death.
inutile non fia If, asking for mercy for your sins,
26 27quanto daranno a voi Gesù e Maria. it will not be in vain
What Jesus and Mary will give you.
Aria Aria
Nella patria dei contenti In the land of contentment
quando un giorno io poserò, when one day I shall rest,
sarò asilo ai rei viventi I shall be a refuge to the living kings
s’il lor pianto io sentirò. Once I will hear their cries.
In loving memory of
Fabrizio Maria Olivi (1955-2020)Acknowledgements Also available
on PENTATONE
PRODUCTION TEAM
Executive producers Renaud Loranger (PENTATONE) & Giovanni Conti (RSI)
Recording producer, recording engineer, editing & mixing engineer Ulrich Ruscher (RSI)
Production coordination I Barocchisti Claudio Bianchessi
Concept & repertoire selection Francesca Aspromonte
Liner notes Francesco Lora | English translation liner notes Calvin B. Cooper
Lyrics translation Tommaso Rocchi & Kasper van Kooten
Design Marjolein Coenrady
Product management Kasper van Kooten
Photography Francesca Aspromonte Nicola dal Maso
This
stampa album
offset was
su carta recorded
patinata at RSI Studios in Lugano, Switzerland, in July 2020, in
(coated)
0-090-000 / GRIGIO: 000-000-000-080
collaboration with RSI Rete Due, Lugano.
dimensione minima 8,92 mm
PENTATONE TEAM
Vice President A&R Renaud Loranger | Managing Director Simon M. Eder
a 6 mm dimensione minima 4 mm
A&R Manager Kate Rockett | Product Manager Kasper van Kooten PTC 5186 646
Head of Marketing, PR & Sales Silvia Pietrosanti
stampa offset su carta offset (uncoated)
0-095-000 / GRIGIO: 000-000-000-080Sit back and enjoy
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