Stuttgarter kammerorchester fabio biondi, conductor
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Angelo – Monica Piccinini, soprano
Eresia – Roberta Mameli, soprano
San Francesco – Delphine Galou, alto
Inganno – Luca Tittoto, bass
stuttgarter kammerorchester
fabio biondi , conductor
nm
Recorded in Stuttgart (Stiftskirche), Germany, in April 2017
Engineered and produced by Peter Laenger (Tritonus, Stuttgart) | Assisted by Lukas Kowalski
Producer, Glossa: Carlos Céster | Producer, Stuttgarter Kammerorchester: Markus Korselt
Editorial director: Carlos Céster
Editorial assistance: Andrea Friggi, María Díaz, Mark Wiggins
Cover photographs: Anna de Labra
English translation of the libretto: Sasha Zamler-Carhart
Die Aufnahme wurde ermöglicht durch die großzügige Unterstützung
von Lydia Drexler-Nanz und Regina Chur.
© 2018 note 1 music gmbhfrancesco feo (16 91-1761)
San Francesco di Sales
Oratorio. Bologna, 1734
cd i Parte prima [75:11] cd ii Parte seconda [62:41]
01 Sinfonia 4:17 01 Recitativo: Padre, ravvisi come di Francesco (Eresia, Inganno) 1:13
02 Recitativo: Eccoci giunti al fin (Angelo, San Francesco) 3:04 02 Aria: Tutte dell’Erebo (Inganno) 5:38
03 Aria: Nel verno più severo (Angelo) 7:22 03 Recitativo: Se già disperi, oh Dio (Eresia, Inganno, Angelo) 2:01
04 Recitativo: Colla celeste guida, Signor (San Francesco) 0:56 04 Aria: Serbi l’ardire istesso (Angelo) 5:44
05 Aria: Queste dolanti lagrime (San Francesco) 6:10 05 Recitativo: O Dio delle vendette (San Francesco) 1:06
06 Recitativo: E quai pensier funesti (Inganno, Eresia) 1:16 06 Aria: Sommo Dio, dal ciel discenda (San Francesco) 6:38
07 Aria: Già colla pallid’ ombra (Eresia) 5:15 07 Recitativo: Oh come lieto (Angelo, San Francesco) 1:29
08 Recitativo: E puoi temer (Inganno) 1:05 08 Aria: Con la virtude istessa (Angelo) 5:30
09 Aria: Questo che spirano (Inganno) 6:32 09 Recitativo: Ch’il crederebbe mai (Inganno, San Francesco) 1:39
10 Recitativo: Vedi, Francesco (Angelo, San Francesco, Eresia, Inganno) 2:10 10 Aria: Pallid’ognora in volto (Eresia) 7:18
11 Aria: Deponi un tanto orgoglio (Angelo) 7:38 11 Recitativo: Empii, conosco il vostro reo (San Francesco, Eresia) 2:48
12 Recitativo: E tu, che fai (San Francesco) 0:35 12 Aria: Intendi i sensi miei (San Francesco) 6:06
13 Aria: Tu serbi accolto (San Francesco) 3:51 13 Recitativo: Tu colle fole tue (Inganno) 0:29
14 Recitativo: E chi sei tu (Eresia, San Francesco, Inganno) 1:45 14 Aria: Come stridente fulmine (Inganno) 4:57
15 Aria: Se dalla chara fonte (Eresia) 5:31 15 Recitativo: Quale imrovvisa luce (Eresia, Inganno, Angelo) 1:43
16 Recitativo: Se che gli stessi (San Francesco) 0:47 16 Aria: Voi dell’eterno pianto (Angelo) 6:25
17 Aria: Tu sei la nube impura (San Francesco) 5:02 17 Recitativo: Noi fuggiremo (Inganno, San Francesco) 0:49
18 Recitativo: E qualia noi d’avante (San Francesco, Angelo) 0:49 18 Coro: Già l’Eresia (Coro) 0:57
19 Aria: Quando più s’alza (Angelo) 7:14
20 Recitativo, a4, Coro: Tu me paventa intanto
(Inganno, Eresia, San Francesco, Angelo) 3:42
4 5© Emile Ashley
Monica Piccinini Roberta Mameli
© Armin Bardel
© di armonicafilm
Delphine Galou Luca Tittoto
6 7© Reiner Pfisterer
stuttgarter kammerorchester
fabio biondi , conductor
violins i flutes
Fabio Biondi Julie Stewart-Lafin
Yu Zhuang Amanda Chominsky
Piotr Szabat
Luca Bognár oboes
Wolfgang Kussmaul Andreas Vogel
Elisabeth Wieland
violins ii
Klaus von Niswandt horns
Małgorzata Keitel Gabriel Stiehler
Dorothea Knell Paul Pitzek
Onur Kestel
harpsichord & organ
violas Jens Wollenschläger
Manuel Hofer
Kamila Mayer-Masłowska theorbo
Iiro Rajakoski Giangiacomo Pinardi
Emanuel Wieck
cellos
György Bognár
Nikolaus von Bülow
Ulrike Eickenbusch
double bass
Renger Woelderink
8 9english english
was full and not exempt from earthly pleasures, a love which from an aesthetic point of view was connected death, the composer and music critic Johann Friedrich
for work and a sense of dedication removed from all to the life of the court, was then at its apogee. It was Reichardt was continuing to regard him as one of the
sanctimoniousness. The deep spiritual friendship which characterized by a succession of recitatives and arias as greatest European composers, placing him on the same
linked him to the Baroness Jeanne-Françoise de Chantal well as by an emphasis on a bel canto style of a great vir- level as Johann Sebastian Bach and Handel. But after
francesco feo led to the founding of the Ordre de la Visitation de tuosity. The musical forms found in opera seria can also that, the greater part of Feo’s output sank into neglect.
Sainte-Marie, which is still in existence today. François be encountered in the oratorio, owing to the “porous-
San Francesco di Sales de Sales also became engaged in a number of diplomatic ness” of the barriers between stage and church music. nm
missions involving the Duchy of Savoy and the Kingdom Furthermore, Neapolitan musicians did not hesitate to
of France, albeit only as intermediary, given that he introduce harmonic innovations – such as the The first performance of the oratorio San Francesco di
rejected the notion that a bishop should become entan- “Neapolitan sixth chord” – and were to exert great Sales, Apostolo del Chablais took place on January 24,
Born in the Duchy of Savoy, François de Sales (1567 - gled in political affairs. Despite all the efforts on his influence on such important composers as Handel, 1734 in Bologna, in the Chiesa di Filippini Madonna
1622) – Doctor of the Church, mystical writer and part, he was unsuccessful in convincing Cardinal Gluck and Mozart. A determining factor in such a blos- di Galliera e Filippo Neri. Some sources mention the
fonder of religious communities – studied law and the- Richelieu to give up his political activities. His canon- soming was the support provided by patrons and reli- year 1746 and a church in Venice for the first perform-
ology in the Universities of Paris and Padua before ization took place in 1665. In 1922, Pope Pius XI pro- gious orders to the Neapolitan conservatories (access ance of this work but this looks very much like a revival
receiving Holy Orders in 1593. In the Chablais region, claimed him the Patron Saint of Catholic writers and to these was for the most part free), which can be con- – in any event, both the score and the text have been
to the south of Lake Geneva, he led a large sector of of the Catholic press. sidered as the first higher musical schools in the modern conserved in a library in Venice. The scoring, for four
the Calvinist population back to Roman Catholicism. Francesco Feo was one of the leading composers sense of the term. solo voices (Angelo/soprano, Francesco/alto, Inganno/
He was later to be consecrated Bishop of Geneva but, from the Neapolitan school which exercised a great Feo, son of an ordinary Neapolitan tailor, revealed bass, Eresia/tenor), a small chorus and an orchestra
being unable to take up residence in this Calvinist influence, as much in the rest of Europe as in Italy, a substantial flair for music from an early age. He consisting of trumpets, oboe, strings and continuo,
stronghold, he remained in Annecy. The success of his during an extensive period stretching from 1650-1800. studied in Naples, making his debut as an opera com- was consistent not only with practices of the time but
missionary ministry came as a result of innovative pro- Naples, heart of the Kingdom of the Two Sicilies, was poser in 1713; within the space of another year he had also with the place for which the work was conceived
cedures, including the printing of great quantities of one of the principal cultural centres of Europe. “In the produced his first oratorio. In the succeeding decades, (an oratory or small chapel). The missionary activity
leaflets to be distributed among the people. The most eighteenth century, among the Italian cities, only Venice he became one of the foremost composers in the city of the Saint (who was perhaps the composer’s patron
significant work by this important author, the and Rome could rival Naples in the realm of music”, – from among his sixteen operas, Siface, Re di Numidia saint) lies at the centre of the work, which consists of
Introduction à la vie dévote, is still read today. An important commented the director, organist and music scholar (1723), to a text by Pietro Metastasio, was the one which reflections and imagery more than it does of “action”.
concept which he developed relates to the harmony Lorenzo Ghielmi in his programme notes for the Passio brought him the greatest success. He also composed Inganno (Deceit) and Eresia (Heresy) are allegorical
between a vocation in life and religion. A bishop, he secundum Joannem by Francesco Feo (which has also works to commissions from Madrid and Prague, but figures against which are opposed Francesco and the
argued, should not live the solitary life of a Carthusian been rediscovered in recent times). “From all over remained loyal to his native land throughout his life. Angelo. Whilst the author of the libretto for this ora-
monk, nor an artisan spend all day in church like a Europe young musicians hurried to these centres to During his final years Feo devoted his time almost torio remains unknown the music is of a great harmonic
Capuchin friar. With the Bible as his point of departure, complete their studies and to meet the greatest living exclusively to sacred music. Even on the eve of the mastery and of a high level of melodic inspiration, all
he advocated a fruitful balance between a life which composers”. Baroque musical drama, termed opera seria, nineteenth century, approaching forty years after Feo’s very consistent with its time.
10 11english français
The composer and guitarist Manuel de Roo has qui le liait à la baronne Jeanne-Françoise de Chantal
been responsible for drawing up – following two years aboutit à la fondation de l’Ordre de la Visitation de
of intensive work – the musical materials for this recre- Sainte-Marie, existant encore aujourd’hui. François de
ation of Feo’s oratorio. “The manuscript score”, notes Sales fut aussi chargé de certaines missions diploma-
de Roo, “contains a surprising quantity of notes written francesco feo tiques au service de la France, mais seulement comme
down carelessly and almost illegibly. Nonetheless, we intermédiaire car, étant évêque il ne voulait pas avoir
have found clear solutions for nearly all the problem San Francesco di Sales d’implication politique. Par contre, malgré tous ses
passages by means of the harmonic context”. Any efforts, il ne réussit pas à convaincre le cardinal Richelieu
remaining doubts were cleared up with the assistance de renoncer à la politique ! Sa canonisation eut lieu en
of Fabio Biondi. De Roo continues, “The variety of the 1665. En 1922, le pape Pie XI le proclama Patron des
melodic phrasing and of rhythmic figuration can be Né en Savoie, François de Sales (1567-1622), docteur de écrivains et des journalistes catholiques.
appreciated form the beginning to the end of the work. l’Église, mystique et fondateur de congrégations reli- Francesco Feo était l’un des compositeurs les plus
This richness is highlighted clearly by the instrumen- gieuses, étudia le droit et la théologie dans les universités importants de l’école napolitaine qui eut une grande
tation which avoids any unnecessary or showy com- de Paris et de Padoue avant d’être ordonné prêtre en influence, en Italie comme dans toute l’Europe, durant
plexity. On the other hand, the harmony evolves 1593. Dans le Chablais, au sud du Lac Léman, il recon- une longue période s’étendant environ de 1650 à 1800.
throughout the oratorio, from simple cadential devel- duisit un ample secteur de la population calviniste vers Naples, cœur du royaume des Deux-Siciles, fut l’un
opments at the beginning to a variety of increasingly le catholicisme. Il devint ensuite évêque de Genève des principaux foyers culturels d’Europe. « Dans l’Italie
richer colours in the arias.” mais, ne pouvant prendre possession de son siège dans du xviiie siècle, seules Venise et Rome pouvaient riva-
la « Rome des calvinistes », resta en résidence à Annecy. liser, d’un point de vue musical, avec Naples », commente
Gottfried Franz Kasparek Le succès de son œuvre missionnaire se devait à des le directeur, organiste et musicologue Lorenzo Ghielmi
translated by Mark Wiggins procédés novateurs, entre autres, l’impression de grandes dans ses notes sur la Passion selon Saint Jean de Francesco
quantités de brochures que l’on distribuait parmi le Feo, que l’on vient également de redécouvrir. « Ces
peuple. L’œuvre la plus significative de cet auteur impor- centres musicaux attiraient des jeunes musiciens de
tant, L’Introduction à la vie dévote, se lit encore aujourd’hui. toute l’Europe, venant parfaire leurs études et voulant
L’un des points sur lequel il insistait était « l’union de entrer en contact avec les meilleurs compositeurs
la profession et de la religion». Un évêque ne devait pas vivants. » Lié esthétiquement à la cour, le drame musical
vivre comme un moine, ni un artisan comme un capucin. baroque, dit opera seria, caractérisé par une succession
Se basant sur la Bible, il prônait un équilibre « fruc- de récitatifs et d’arias ainsi que par un style belcantiste
tueux » entre une vie pleine et non exempte de plaisirs d’une grande virtuosité, atteignait alors son apogée.
terrestres, l’amour pour le travail et une dévotion éloi- Les formes de l’opera seria se retrouvent aussi dans
gnée de toute pruderie. L’amitié spirituelle profonde l’oratorio, étant donnée la perméabilité des frontières
12 13français français
entre la musique pour le théâtre et pour l’église. De La création de l’oratorio San Francesco di Sales, Apostolo évidentes pour pratiquement tous les passages problé-
plus, les musiciens napolitains n’hésitèrent pas à intro- del Chablais [Saint François de Sales, Apôtre du Chablais] matiques ». Les derniers doutes ont été éclaircis avec
duire des innovations harmoniques – entre autres, l’ac- eut lieu le 24 janvier 1734 à Bologne, dans l’Oratoire l’aide de Fabio Biondi. De Roo poursuit : « La variété
cord de sixte napolitaine ! – et eurent une grande Filippino della Madonna di Galliera. Certaines sources du phrasé mélodique et des figures rythmiques s’ap-
influence sur des compositeurs aussi importants que mentionnent l’année 1746 et une église vénitienne pour précient du début à la fin de l’œuvre. Cette richesse
Handel, Gluck ou Mozart. Une telle floraison se devait la création de cet oratorio, mais il semble bien qu’il est mise en relief par l’instrumentation qui fuit toute
entre autres aux mécènes et aux ordres religieux qui s’agit d’une reprise – quoi qu’il en soit, la partition et complexité inutile ainsi que toute opulence. D’autre
soutenaient les conservatoires napolitains – dont l’accès le livret sont conservés dans une bibliothèque de Venise. part, l’harmonie évolue, tout au long de l’oratorio, les
était libre pour la plupart – et que l’on peut considérer L’effectif, quatre voix solistes (L’Ange/soprano, simples développements cadentiels du début se trans-
comme les premières institutions de formation musicale François/alto, Le Mensonge/basse, L’Hérésie/ténor), formant en une variété de couleurs de plus en plus
supérieure dans le sens moderne du terme. petit chœur et orchestre (trompettes, hautbois, cordes riches dans les arias. »
Feo, fils d’un simple tailleur napolitain, révéla très et continuo) correspondait non seulement aux coutumes
tôt un grand talent musical. Il étudia dans sa ville natale de l’époque mais encore au lieu pour lequel l’œuvre Gottfried Franz Kasparek
et débuta comme compositeur d’opéra en 1713 et, un an était conçue (oratoire ou petite chapelle). L’activité traduit par Pierre Élie Mamou
plus tard, composa son premier oratorio. Puis, après missionnaire du Saint (qui était peut-être le patron du
quelques décennies, il devint l’un des compositeurs les compositeur) est le thème principal de l’œuvre qui,
plus célèbres de la ville – parmi ses 16 opéras, Siface, Re plus que d’une « action », se compose de réflexions et
di Numidia (1723), sur un texte de Pietro Metastasio, fut d’images. Le Mensonge (Inganno) et L’Hérésie (Eresia)
celui qui remporta le succès le plus immense. Feo composa sont les figures allégoriques auxquelles s’opposent
aussi des œuvres commandées par Madrid et Prague, François et L’Ange. Nous ignorons encore le nom de
tout en restant fidèle à sa patrie au long de sa vie. Durant l’auteur du livret de cet oratorio d’une grande maîtrise
ses dernières années, Feo se consacra presque exclusive- harmonique et d’une haute inspiration mélodique qui
ment à la musique sacrée. Même à l’orée du xixe siècle, le situent au niveau des plus grandes réalisations de
environ un demi-siècle après la mort de Feo, le compo- son temps.
siteur et critique musical Johann Friedrich Reichardt le Le compositeur et guitariste Manuel de Roo a été
considérait toujours comme l’un des plus grands com- chargé d’élaborer, au cours de deux années d’intense
positeurs européens, et n’hésitait pas à le comparer à labeur, les matériaux pour cette recréation de l’oratorio
Johann Sebastian Bach ou à Handel. Mais ensuite, la plu- de Feo. « La partition manuscrite », commente de Roo,
part de l’œuvre de Feo sombra dans l’oubli. « contient une quantité surprenante de notes écrites
d’une façon négligée et presque illisible mais le contexte
nm harmonique nous a néanmoins fourni des solutions
14 15deutsch deutsch
Arbeit und Frömmigkeit, nicht um Frömmelei. Seine buffa. Die Formen der ernsten Oper finden sich auch Feos Oratorium San Francesco di Sales, Apostolo del Chablais
tiefe geistige Freundschaft mit der Baronin Jeanne von im Oratorium, ja die Grenzen zwischen Bühnen- und wurde am 24. Januar 1734 im Oratorio Filippino della
Chantal führte zur Gründung des bis heute bestehenden Kirchenwerken sind mitunter fließend. Die Musiker Madonna di Galliera in Bologna uraufgeführt. Andere
Ordens der Salesianerinnen. Er war auch als Diplomat Neapels waren um harmonische Innovationen nicht Quellen nennen 1746 und eine Kirche in Venedig als
im Dienste Frankreichs tätig, allerdings nur als verlegen – man denke nur an den »Neapolitanischen Zeit und Ort der ersten Aufführung – dabei scheint es
francesco feo Vermittler, da er die Vermischung von Bischofsamt und Sextakkord« – und übten einen bedeutenden Einfluss sich jedoch um eine Wiederaufnahme gehandelt zu
Politik ablehnte. Sein Versuch, den Kardinal Richelieu auf ihre Zeitgenossen und Überwinder Händel, Gluck haben. Jedenfalls blieben die Partitur und das Libretto
San Francesco di Sales von einer politischen Karriere abzubringen, misslang und Mozart aus. Eine Grundvoraussetzung für diese in einer Bibliothek in der Lagunenstadt erhalten. Die
ihm. Seine Heiligsprechung erfolgte 1665. Im Jahr 1922 Blütezeit waren die von christlichen Wohltätern und Besetzung mit vierstimmigem Chor, vier Solostimmen
ernannte ihn Papst Pius XI. zum Patron der katholischen Orden gestifteten, meist frei zugänglichen Konservato- (Engel/Sopran, Francesco/Alto, Inganno/Bass, Eresia/
Schriftsteller und Journalisten. rien Neapels, die als erste »Musikhochschulen« in moder- Tenor) und einem kleinen Orchester (Trompeten,
Francesco Feo gehört zu den führenden Kompo- nem Sinn gelten dürfen. Oboen, Streicher, Continuo) entspricht der Zeit und
Der aus Savoyen stammende, adelige Ordensgründer, nisten der neapolitanischen Schule, die ab etwa 1650 Feo, der musikalisch begabte Sohn eines einfachen insbesondere dem Ort, einem Betsaal (ital. Oratorio)
Mystiker und Kirchenlehrer Franz von Sales (1567-1622) bis gegen 1800 nicht nur in Italien tonangebend war. Schneiders, studierte in seiner Geburtsstadt Neapel in einer Kirche. Die missionarische Tätigkeit des
studierte in Paris und vor allem Rechtswissenschaften Neapel war als Residenzstadt des Königreichs »beider und debütierte 1713 als Opern-, im Jahr darauf als Orato- Heiligen und vielleicht sogar Namenspatrons des
und Theologie in Padua, erhielt 1593 die Priesterweihe Sizilien« ein kulturelles Zentrum Europas. »Im 18. rienkomponist. In den folgenden Jahrzehnten zählte er Komponisten bildet den Mittelpunkt des Oratoriums,
und führte calvinistisch gewordene Menschen im Jahrhundert reichten unter den italienischen Städten zu den bekanntesten Musikern seiner Heimat. Von sei- welches weniger Handlung im eigentlichen Sinn, son-
Chablais, der Landschaft südlich des Genfer Sees, mit nur Venedig und Rom in musikalischer Hinsicht an nen 16 Opern war vor allem Siface, Re di Numidia (1723) dern mehr Reflexionen und Bilder enthält. Inganno
eher sanfter Hand zum Katholizismus zurück. Später Neapel heran«, so schreibt der italienische Dirigent auf einen Text von Pietro Metastasio erfolgreich. Feo (Betrug) und Eresia (Häresie, Ketzerei) sind allegorische
wurde er Fürstbischof von Genf mit Sitz in Annecy. und Musikwissenschaftler Lorenzo Ghielmi in einem schrieb auch Auftragswerke für Madrid und Prag, blieb Figuren, die von Francesco und dem Engel in die
Sein Erfolg als Missionar beruhte auf zukunftsweisenden Programmartikel zu Feos ebenfalls wieder entdeckter jedoch seiner Heimat sein Leben lang treu. Ab 1729 Schranken gewiesen werden. Ein Autor des 1746 in
Methoden. Zum Beispiel ließ er große Mengen von Johannespassion. »In diese Musikzentren strömten die unterrichtete er selbst an den Konservatorien Neapels. Venedig gedruckten Librettos ist nicht überliefert. Die
Flugblättern drucken und unters Volk bringen. Franz jungen Musiker aus ganz Europa, um ihr Studium abzu- In den letzten Jahren seines Lebens widmete er sich Musik dazu ist harmonisch meisterhaft, melodisch
von Sales war ein bedeutender christlicher Autor und schließen, die Gesangskunst zu studieren und die größ- nahezu ausschließlich der geistlichen Musik. Noch um inspiriert und auf der Höhe ihrer Zeit.
Mystiker, sein Hauptwerk Philothea. Anleitung zum from- ten lebenden Komponisten kennen zu lernen.« Die 1800 zählte ihn der deutsche Tondichter und Musik- Der Komponist und Gitarrist Manuel de Roo hat
men Leben wird bis heute gerne gelesen. Wichtig war barocke, höfisch geprägte Opera seria mit ihrem festen, kritiker Johann Friedrich Reichardt zu den größten ita- für diese Aufführung des Feo-Oratoriums in zweijähriger
ihm eine »Einheit zwischen Beruf und Religion«. Ein ja starren Schema von Arie und Rezitativ und ihrer lienischen Komponisten und stellte ihn gar an die Seite Arbeit das Material erstellt. »Die handschriftliche
Bischof soll nicht leben wie ein Mönch, ein Handwerker Betonung des hoch virtuosen Belcantostils mit vielen Johann Sebastian Bachs und Händels. In späteren Zeiten Partitur«, erzählt er, »enthält eine überraschend große
nicht wie ein Kapuziner. Es ging ihm um eine im bib- Auszierungen erlebte ihren Höhepunkt. Aus den geriet sein Werk großteils in Vergessenheit. Menge an schlampig geschriebenen und schwer erkenn-
lischen Sinn »fruchtbringende« Verbindung zwischen ursprünglich in die Seria-Opern eingelegten komischen baren Noten. Ein Blick auf den harmonischen
durchaus auch sinnlich erfülltem Leben, Freude an der Intermezzi entwickelte sich die volkstümliche Opera nm Zusammenhang brachte jedoch an fast allen Stellen
16 17deutsch
Klarheit.« Fabio Biondi hat das erste Ergebnis kritisch Parte prima First part
durchgesehen und »bei der Beseitigung einiger noch
verbliebener Unklarheiten enorm geholfen.« Weiter cd i
schreibt de Roo: »Vom Anfang bis zum Ende des Werks
spürt man die Vielseitigkeit der melodischen Phrasen 01
und rhythmischen Gestalten. Diese Vielfalt kommt Sinfonia Sinfonia
durch den Verzicht auf komplizierte oder gar opulente
Instrumentierung umso schöner zu Gehör. Dem gegen- 02 02
über entwickelt sich die Harmonik im Laufe des gesam- Angelo Angel
ten Werks von einfachsten kadenziellen Verläufen bis Eccoci giunti al fin: la terra è questa, Here we are finally: this is the land,
zu einer immer farbenreicheren Vielfalt in den Arien.« la terra sventurata the unfortunate land
ch’entro gl’inganni suoi that blind Heresy deceitfully
Gottfried Franz Kasparek cieca Eresia ravvolse e dentro il seno, enshrouds in its bosom,
bevendo l’acque dell’impura fonte, where – drinking the waters of a foul spring –
tutto raccolse il suo mortal veleno all absorb her mortal venom.
onde la religion mesta dal cielo, The land whence doleful religion from the sky
per non vederla in tanti errori immersa, withdrew its eyes and veiled them in white,
i lumi ricoprì col bianco velo; so as not see it steeped in so much error,
ed io dell’empie mura and the sight of whose wicked walls
fuggii l’aspetto e abbandonai la cura. I fled, forsaking their care.
San Francesco St. Francis
Terra, infelice terra! All’atro orrore O wretched land! Under this stifling
che ti ricopre e serra io ti ravviso mantle of tenebrous dread, I see you
non più candida e bella no longer pure and bright
qual dalla man del tuo fattore uscisti, as you once sprang from your maker’s hand,
ma vile dell’errore infame ancella. but now a vile servant of loathsome Error.
Fede ne fanno agli occhi miei dagli empii Burning crosses and crumbling churches
arse le croci e diroccati i tempii. bear witness to the heathens’ misdeeds.
18 19Angelo Angel sempre la notte e il giorno night and day ever,
Innanzi al trono dell’eterno Dio, Before the throne of God eternal, compagno a te sarò. I will be your companion.
Che a lei sdegnato gli voltò le spalle, who has turned his back to this country in disdain,
per placar l’ira sua I offered ceaseless entreaties E dal sudor cadente And as sweat stings your eyes
e mille e mille voti offersi ognora: to assuage His wrath: a te per l’erto monte through steep ascents
misericordia al fin dalla divina at last from His right hand nella stagione ardente in the scorch of summer
destra ritolse la saetta ultrice mercy released the avenging arrow la fronte asciugherò. I will wipe your brow.
e te Francesco elesse and chose you, Francis,
riparator della comune ruina. to restore it from collective ruin. 04
Per te risplenda la bellezza antica May it regain for you its ancient beauty San Francesco St. Francis
e torni l’empia al suo Signore amica. and return, unholy no more, to the Lord. Colla celeste guida, With celestial guidance,
Signor, nel nome tuo grande e possente Lord, in your great and powerful name,
San Francesco St. Francis calco la terra infida. I will tread paynim ground.
Già per la grande impresa Already I feel my heart Per me l’iniqua gente Through me the iniquitous
io sento il cor di nuova fiamma acceso, ablaze with the new flame of this great mission, il tuono udrà della divina voce shall hear the thunder of God’s voice
ma fra tanti perigli but amidst such great perils e sulle sacre torri and I will once more raise the cross
forza non ho da sostenere il peso. I lack the strength to bear its weight. ad innalzare io tornerò la croce. on the sacred steeples.
Ah nel vederla, oh Dio, Ah, God, as I survey this land,
Angelo Angel senz’are, senza tempii e senza il santo bereft of altars, of churches and of the holy
So che armati a tuo danno I know that a hundred perils coro de’ sacerdoti choir of your priests,
cento perigli ognora armed for your downfall io più non posso trattenere il pianto. I cannot hold back my tears.
intorno a te staranno: will surround you at every moment:
Ma non temer ché del periglio a fronte but fear not, for even with danger ahead 05
e ne’ travagli tuoi giammai non stanco and travails all around, you will always have me, Queste dolenti lagrime Behold my mournful tears,
sempre m’avrai scorta fedele al fianco. indefatigable and steadfast, at your side. mira pietoso, oh Dio, O merciful God,
e plachi il pianto mio and may my sorrow
03 il giusto tuo furor. soothe your righteous anger.
Angelo Angel
Nel verno più severo, In the harshest of winters, E come nel deserto And as you drew water
sparso di neve intorno, amid heavy snow, l’acque dal sasso fuora, from a rock in the desert,
per l’orrido sentiero on the harrowing path, traggi degli empi ancora, draw now tears of pain
20 21dall’indurato petto from the hardened breast tutto m’ingombra clutches my heart
lagrime di dolor. of the ungodly. il petto il gelido timor. within my breast.
06 Serpendo per le vene Gliding up my veins
Inganno Deceit m’agghiaccia intorno il sangue it freezes my blood
E quai pensier funesti What somber thoughts e pinge il volto esangue and tinges my bloodless face
ingombran la tua mente, amata figlia, clutter your mind, my dear daughter, di pallido color. a pallid wan.
or che più lieta in volto when you should breathe with joy
dal lungo affanno respirar dovresti? at being relieved from your lengthy misery? 08
Già debellata e vinta Our beloved noble country Inganno Deceit
e di rossor dipinta, has seen religion decamp, E puoi temer quando l’inganno è teco? What can you fear when Deceit is with you?
da questo a noi diletto, almo paese eradicated, vanquished, Forse non sai ch’io son l’istesso ancora Perhaps you forget that I am the selfsame Deceit
la religion partìo and crimson with shame. che in dispregio di Dio who, in contempt of God,
e degli alteri tempii Of its vain temples feci in Giuda adorar l’aureo vitello had the golden calf venerated by Juda,
qualche avanzo fra l’erba e fra l’arena, a few scraps remain among the grass and the sand, e sei che innanzi a lui, till even mothers made their infant sons
ne’ rotti sassi, vi rimaneva appena. between broken boulders. riverente additando il dio novello, bow their head before it
chinar facesse il ciglio in worship,
Eresia Heresy la genitrice al pargoletto figlio? And acclaim it as the new godhead?
Tu vuoi ch’io scherzi e rida? E non ravvisi Do you want me to jest and laugh? Do you not see E poi ridendo vidi The same Deceit who watched, laughing,
che lieto e baldanzoso a noi ritorna returning to us, brash and eager, the angel il suo duce Mosè sceso dal monte as their leader Moses, descending from the Mount,
l’angel che il cielo alla custodia elesse chosen by heaven to watch over this land spezzar le leggi e lacerar le vesti shattered the laws and tore his clothes
di questa terra e seco and together with him al nuovo rito del vitello a fronte? at the sight of the new liturgy of the calf?
ha per compagno un uom di sacro aspetto a man of holy mien Ed or con nuova e memorabil opra And now, with new and memorable deeds,
che anchor da lungi desta who arouses esteem and fear far che tutto il mio poter si scopra. let all my power be revealed.
riverenza e timor dentro il mio petto? in my breast, even from afar?
09
07 Questo che spirano, I will teem down
Eresia Heresy mortal veleno, upon these wretched sons
Già colla pallid’ ombra Already gelid fear gli angui che serpono the mortal venom
dentro il mio sen ristretto with its pale shadow sopra il mio seno secreted by the adders
sui figli miseri io verserò. that slither upon my breast.
22 23E col piacevole With the pleasant Inganno Deceit
leggiadro aspetto and graceful appearance Un vil timore e cieco A vile and blind fear
de’ vezzi morbidi of sweet charms invan t’ingombra il seno: in vain encumbers your heart.
e del diletto, and pleasures, non paventar, quando l’Inganno è teco. Fear not, when Deceit is with you.
fin giù nell’Erebo I will lead them down
li guiderò. into the Underworld. Angelo Angel
Chi siete voi che ardite Who are ye, so bold as to
10 in questa terra di fermar le piante? settle in this land?
Angelo Angel
Vedi, Francesco, i mostri rei che stanno Behold, Francis, the monstrous felons Inganno Deceit
a custodir le porte: guarding the gates: Non mi ravvisi? Il tuo passato scorno Do you not know me? Have you
l’uno è l’empia Eresia, l’altro è l’Inganno. one is unholy Heresy, the other is Deceit. quando te discacciai da queste arene so soon forgotten your humiliation of yore,
così presto obbliasti? Il mio potere when I drove you away from these sands?
San Francesco St. Francis non vedi in fronte impresso? Do you not see my power imprinted in my brow?
Misero, oh Dio, chi crede Wretched, O God, he who Io son l’Inganno e sono ancor l’istesso. I am Deceit, and I am the same as ever.
al biondo crine, al lusinghiero viso, trusts these blond locks and beguiling air,
e folle non s’avvede, and foolishly fails to discern Angelo Angel
che sotto il vago riso that under the handsome smile Non gir tanto fastoso Give up your vainglory,
nasconde odio e livore. lurk spite and envy. che giunto è il fin de’ vani tuoi trofei. for now comes an end to your futile trophies.
Per punirti, o superbo, Arrogant one: the fatal arrow of vengeance
Angelo Angel dell’irata di Dio giusta vendetta with which God’s righteous ire will punish you
Constante serba Steel your heart già sta sull’arco la fatal saetta. is ready nocked on His bow.
ad ogn’insulto il core, against all affronts,
ché a te la gran vittoria il ciel riserba. for heaven has ordained a great victory for you. 11
Deponi un tanto orgoglio, Relinquish your pride,
Eresia Heresy perfido mostro indegno: treacherous evil fiend:
Or che s’appressa a noi I shudder now that this haughty twosome del giusto Dio lo sdegno the wrath of God’s justice
l’altera coppia, io tremo: is approaching us, sul capo tuo cadrà. will thunder upon your head.
par che parlar non possa it seems as though I cannot speak
e correr sento un freddo gel per l’ossa. and I feel an icy quiver course through my bones. E allor l’empia Eresia, Then wicked Heresy
per suo tormento eterno, will tumble quaking
24 25giù nel penoso inferno down into bitter hell 14
fremendo tornerà. and find eternal torment. Eresia Heresy
E chi sei tu che puoi And who are you to penetrate
12 del mio sapere penetrar gli arcani? the secrets of my knowledge?
San Francesco St. Francis Io co’ precetti miei With my teachings I offer others
E tu, che fai, che tenti? And you, what do you seek? rendo facile altrui la via del cielo an easier path to heaven
Del folle genitor figlia peggiore, Meanest daughter of a mad father, e a contemplare la beltà del vero and let them behold the beauty of truth
nata per danno dell’umane menti, born for the ruin of human minds, tolgo dell’ignoranza agli occhi il velo. by removing from their eyes the veil of ignorance.
nutrita a vizii in seno, breastfed on the milk of vice,
e di lascivia e d’ignoranza amica, friend of lust and ignorance, San Francesco St. Francis
che qual fetid’ Arpia con tuoi funesti you fetid foul-breathed venomous harpy Ingannata che sei! Tu contro a Dio How you are mistaken! You take up arms
aliti velenosi e l’aria e ’l suolo, infesting air and earth, and l’armi rivolgi, i tuoi seguaci infetti against God. You poison your devotees
l’alma e gli affetti de’ mortali infesti! the souls and senses of men! dell’impuro piacer col rio veleno with the evil venom of impure lust
e lor conduci ognora and lead them unremittingly
13 lungi dal buon sentiero: away from the true path:
Tu serbi accolto Your breast is the e così scopri la beltà del vero? is that how you reveal the beauty of truth?
l’odio nel seno. abode of hatred.
Mostri nel volto As soon as the evil poison Eresia Heresy
il rio veleno shows in your face Gl’insegnamenti miei My teachings are drawn
e tutto infetto anything tainted io traggo fuori dalle sagre carte, from the sacred scriptures,
resta per te. succumbs to you. viva di verità perenne fonte: eternal fount of living truth:
o quelle son mendaci if I am deceived,
Gli occhi e la fronte, Your eyes and your brow se ingannata son io… then the scriptures are a lie.
spiran livore: ooze envy:
torbido il fonte, the turbid spring, San Francesco St. Francis
languido il fiore the delicate flower Perfida taci. Silence, scoundrel.
impallidisce sotto al tuo piè. blanches under your step. O tu cieca non vedi Or are you blind to the bright light
il chiaro lume che da lor sfavilla, that sparks from them?
o stolta non comprendi Or are you a dolt whom
de’ gran misteri il senso e lo confondi. the great mysteries baffle and stump?
26 27Inganno Deceit se va tra i fiori e l’erba: so long as it gambols amidst flowers and grass:
Figlia non t’avvilir: parla, rispondi. My daughter, do not sulk: speak, respond. ma se resta nel limo il puro umore, but if it lingers in the silt,
perde la sua bellezza e il suo splendore. it loses its glory and its sheen.
Eresia Heresy
Se dalla fonte istessa If my wisdom and yours 17
nascono i sensi miei, li sensi tuoi, are born of the same spring, Tu sei la nube impura You are the sooty billow
com’esser mai potranno i tuoi veraci how could yours be right esposta innanzi al Sole, that hovers before the sun
e menzogneri i miei? and mine untrue? che d’oscurar proccura and attempts to conceal
il vivo suo splendor. its living radiance.
San Francesco St. Francis
Perfida taci. Silence, scoundrel. Egli però non perde Still, the sun is not deprived
la sua virtù primiera of its original virtue
15 e al fin co’ rai disperde and its rays eventually scatter
Eresia Heresy l’opposto atro vapor. the hostile dark haze.
Se dalla chiara fonte If the same clear spring
nascono due ruscelli begets two brooks, 18
limpidi, puri e belli, both clear, pure, and fair, E quali a noi d’avante But lo, what tigers and lions
hanno l’istesso umor. they are of the same water. appressarsi vegg’ io tigri e leoni of ferocious aspect
con feroce sembiante! do I see approaching us?
S’uno in bagnar seconda As one brings life to
il molle e verde prato, the soft and green meadow, Angelo Angel
così dell’altro l’onda so the other one’s water Non paventar, ché queste Fear not, for these are but
feconda il prato ancor. fecundates the meadow, too. son vane larve che l’Inganno finge futile phantoms fabricated by Deceit
per dilungarti con sì strani modi to distract you in fanciful ways
16 dall’opra grande. from your great venture.
San Francesco St. Francis Incantator malvagio, Wicked warlock:
So che gli stessi e sempre belli sono I know that the teachings of sacred scripture punirà le tue frodi God almighty will punish your wiles,
gl’insegnamenti delle sacre carte, are ever steadfast and beautiful, quel Dio possente, che punì l’orgoglio as he punished the pride of the one
ma in te s’offusca il lor natio splendore. but in you their innate luster is tarnished. di lui che altero d’innalzar credea who once vainly presumed to raise his throne
Così qual ebbe dalla fonte, serba The handsome brook carries with it sopra le penne d’Aquilone il soglio. aloft on the feathers of the North wind.
la primiera beltà vago ruscello, the native beauty bestowed upon it by the spring
28 2919 San Francesco St. Francis
Quando più s’alza When an evil thought Non temi, ingannatore? Charlatan, you remain undaunted?
pensier malvaggio, rises ever so high,
un divin raggio a divine ray of light Angelo Angel
l’accieca e sbalza blinds it and hurls it down Paventa, o mostro infido. Be afraid, faithless monster!
nel cupo fondo into the gloomy pit
del proprio error. of its own error. Inganno Deceit
Disprezzo il tuo furore. I scorn your outrage.
Vedrai schernito Your brazen impudence
l’audace ardire will be disgraced Eresia Heresy
e al fin punito and your villainous endeavor Del tuo poter mi rido. I sneer at your power.
quel reo fallire: will be punished in the end:
al cielo, al mondo it will be an abomination San Francesco, Angelo St. Francis, Angel
sarà d’orror. to heaven and earth. Voi non temete, o perfidi? You are not afraid, scoundrels?
Il ciel vi punirà. Heaven will punish you.
20
Inganno Deceit Inganno, Eresia Deceit, Heresy
Tu me paventa intanto, in questa terra You had better be frightened: L’ira del cielo impavido Our indomitable heart cannot fear
tuo nemico sarò. I will be your enemy in this land. temere il cor non sa. the wrath of heavens
Eresia Heresy Angelo, San Francesco Angel, St. Francis
Col mio sapere With my knowledge Che mostro reo, che furia, What evil monster, what fury,
farotti orribil guerra. I will wage a ruthless war against you. Che barbara empietà! what barbarous impiety!
San Francesco St. Francis Angelo Angel
Empii tacete. Silence, scoundrels. Perfido mostro insano! Treacherous mad fiend!
Tornerete a sfogare, oppressi e vinti, May you return, crushed and vanquished
Con vostro scorno eterno, in eternal ignominy, San Francesco St. Francis
l’interna rabbia nel penoso Inferno. and vent your rage down in bitter hell. Fuggi da questo loco. Flee from this place.
30 31Inganno, Eresia Deceit, Heresy Parte seconda Second part
Tu mi discacci in vano You chase me to no avail.
01
Coro Chorus Eresia Heresy
Si scorgerà fra poco Soon we shall descry Padre, ravvisi come Father, see how
Di noi chi vincerà. which of us is to prevail. di Francesco all’aspetto, al vivo lume, at Francis’ aspect, his bright gaze,
al dolce impero, alla temuta voce his soft dominion, his awesome voice,
cangia l’amica gente il rio costume our disciples change their wicked ways
e torna altera ad adornar la croce? and dare once more venerate the cross?
Vedi se il mio timore See now whether my fear
fu vano e menzognero: was pointless and incorrect:
già vicino a cader è il nostro impero. nay, our empire is near its downfall!
Inganno Deceit
All’annunzio funesto, io gelo e tremo. I quiver and tremble at these baleful tidings.
Spargono nel mio seno The flustering furies bestrew
le furie agitatrici il lor veleno. my breast with their bane.
Già mi lacera il cuore Rage and envy
la rabbia ed il livore slit my heart
e mi fa guerra ogni contrario affetto. and every clashing temper wars in me.
Ah! Di quello ch’io sento, Ah, hell has no greater torment
nell’inferno non v’è maggior tormento. than the present wrangle.
02
Tutte dell’Erebo All the stinging pangs
chiudo nel petto of the netherworld
le pene orribili: jab and pierce me:
Megera e Aletto Megaera and Alecto
la face scuotono scowl and glower
dentro il mio sen. within me.
32 33Per non soffrire To end the anguish del ministro di Dio, minister of God,
dell’empie Furie of the hateful Furies’ quai son l’imprese? Il vincitor son io. celestial spirit? I am the victor.
gli oltraggi e l’ire wrath and rage
finir di vivere how I wish my life Angelo Angel
potessi almen. could come to an end. Signore, e sino a quando How long, my Lordship,
tu degli empii vorrai soffrir l’orgoglio? Will you suffer the pride of the wicked?
03 Perché non fai, Signore, Why not, my Lordship,
Eresia Heresy che stringa la mia mano Grasp this hand of mine,
Se già disperi, oh Dio, If you despair already, oh God, della giustitia eterna This naked avenger
misera, che farò? Dispero anch’io. what shall I do? Also despair? l’ignuda spada ultrice, onde punire Of eternal justice, and punish
possa de’ mostri rei l’insano ardire? The raging temerity of these ruthless felons?
Inganno Deceit
Non disperar, ché l’ira Do not despair, for anger 04
a ritornar m’invita al gran cimento: stirs me back to the great quarrel: Serbi l’ardire istesso, If you sustain this pride,
tutte raccolte le mie forze insieme I will muster all my might, l’inganno tuo non vedi, do you not see your own deceit,
non ho perduta ancor tutta la speme. I have yet to lose all hope. non ti rimiri oppresso, do you not see yourself oppressed,
ti credi vincitor? do you believe yourself the victor?
Angelo Angel Che barbaro furor, What barbarous folly,
E tanto ardir serbate, Do you harbor such audacity che folle inganno. what mad pretense.
che ancor depressi e vinti that, even downtrodden and vanquished,
a me davante ritornare osate? you dare present yourselves before me? Tu stolta scherzi e ridi You jest and laugh daftly
Così tosto obbliaste Do you forget so soon in braccio dell’error in the embrace of error,
lo scorno avuto nel fatal cimento? the disgrace you suffered in that fateful battle? e misera ti fidi and you trust, fool,
E con sicura fronte un’altra volta And with a haughty brow again d’un empio ingannator, an ungodly impostor,
il vincitor a provocar tornate? you return to goad your victor? d’un rio tiranno. a vicious tyrant.
Perfido ingannatore, anima stolta! Wicked scoundrel, foolish soul!
05
Inganno Deceit San Francesco St. Francis
Sogni o vaneggi? E quali Are you dreaming or raving? O Dio delle vendette alto e possente, O high and mighty God of vengeance,
son le perdite mie, le tue vittorie? Where are my losses and your victories? tu desti a’ detti miei forza e vigore you have lent my words the strength and power
Di te, spirto celeste, What are your achievements, di penetrare il core to penetrate the heart
34 35dell’indurata gente. of these hardened people. San Francesco St. Francis
Come desti potere al braccio inerme Just as you granted Parte alcuna in quelle My valor has no part
del pastorello ebreo David’s feeble arm il mio valor non ebbe, in these triumphs,
per far cader estinto the power to topple and slay a me lo spirto il gran fattore accese, the Maker is the one who lit the spirit in me
l’altero Filisteo the vain Philistine in me vigore accrebbe, and granted me strength.
nella valle fatal di Terebinto, in the fateful vale of Terebinth, E de trionfi miei And you, immortal spirit,
or fa’ che l’eresia confusa resti. now let Heresy stand confounded. parte maggior spirto are the capital part
E ti rammenta, o Dio, che quello sei, And remember, o God, that you are the one immortal tu sei. of my victories.
che di Susanna un dì già confondesti who confounded whilom
gl’accusator mendaci Susan’s mendacious accusers Angelo Angel
e del fiero Nembrotte ai figli audaci and garbled the tongues Dell’eccelsa vittoria, Of the lofty victory,
cangiasti le favelle, of Nimrod’s prideful sons dell’opra illustre e grande, of the great and illustrious venture,
dentro la scellerata empia Babelle. in the vain and wicked Babel. di te tutto è l’onor, tutta la gloria. all the honor, all the glory is yours.
Io per tuo scampo a lato For your defense I stood by your side
06 ti stetti ognor di forte usbergo armato incessantly as a sturdy hauberk
Sommo Dio, dal ciel discenda Highest God, let a fiery ray of your light coll’invisibil scudo and an invisible shield
di tua luce un raggio ardente, descend from heaven, a debili occhi de mortali ignoto. unseen by feeble mortal eyes.
che dell’empia illustri e accenda that it may brighten and enkindle Ecco torna Lo, Deceit and Heresy return
e la mente the mind, soul, and heart l’Inganno e l’Eresia a farti guerra to wage war on you!
e l’alma e il cor. of wicked Heresy. e perché il lor furore And since their furor
In mirar quel lume intenta As she beholds this gleam, a te non rechi offesa, is unscathed,
dell’inganno suo s’avveda let her perceive her deception qui nascoso starò per tua difesa. I will stand here hidden to defend you.
e si penta and repent
dell’error. her error. 08
Con la virtude istessa With virtue itself
07 nel tuo bel core impressa Imprinted in your noble heart
Angelo Angel più forte pugnerai You will fight harder
Oh come lieto ad abbracciarti io torno Oh how I gladly return to embrace you e innanzi a te vedrai And you will see Deceit
dopo si grand’ imprese, after such great ordeals, l’Inganno impallidir. Pale before you.
Francesco invitto! unvanquished Francis!
36 37E della tua vittoria, And I shall see per ogni macchia lieve: at the slightest blemish:
la religion, la fede Religion and faith e per seguire, oh Dio, are you not afraid, by God,
nella celeste sede On the celestial throne inutilmente la sognata impresa, that innocence will wince,
liete vedrò gioir. Gladly rejoice at your victory. nulla temi che resti besmirched by a foul stain,
da macchia vile l’innocenza offesa? for having vainly pursued this fanciful adventure?
09
Inganno Deceit 10
Ch’il crederebbe mai! L’iniqua gente Who would believe it! The sinful people, Eresia Heresy
sorda a’ consigli tuoi deaf to your counsel, Pallid’ognora in volto, Your father shudders
sen giace immersa negli antichi errori: slump steeped in their old errors: pensando al rio periglio ever pallid and wan
così spargesti in vano, in vain, wretched Francis, dell’ingannato figlio, at the thought of his deceived son’s
sventurato Francesco, i tuoi sudori. did you drudge and sweat. paventa il genitor. mortal peril.
San Francesco St. Francis E tu con lieta fronte And you,
Ah mostro ingannatore! Io ben ravviso Ah deceitful fiend! I see through di conservar non curi, spreading slander and obloquy,
quel finto favellare e so che lieto your contrived prattle, and I know sprezzando ingiurie ed onte, blithely spurn the wardship
non servi il core come mostri il viso. your heart is not as glad as your face pretends. degli avi tuoi l’onor. of your forebears’ honor.
È ver ch’io nulla oprai: di Dio la voce It is true, I have done nothing: God’s voice
fu la forza dell’eterno vero has been the only force of eternal truth 11
che richiamò gli erranti that recalled the wandering San Francesco St. Francis
dalla perduta via nel buon sentiero. from the false road to the true path. Empii, conosco il vostro reo pensiero. Miscreants, I know your wicked guile.
In cento ordite frodi. You plot your wiles by the hundreds.
Inganno Deceit Vorreste voi che in sul fiorir primiero In prevision of your impending misdeeds,
Ingannato che sei! How you are mistaken! io la cura lasciassi you would have me leave
Ma… resta pure nel tuo folle errore: But… bask in your foolish error: di maturar di mie fatiche il frutto, the care of seeing the fruit of my labor
l’iniqua gente intanto the corrupt people, meanwhile, prevedendo vicini i vostri danni: to its full ripening:
t’accusa reo di mille colpe e mille accuse you, villain, of thousands and thousands of ma lo sperate in vano. but your hope is vain.
al gran signor che a questa terra impera. offenses against the great lord who rules this land.
Già sai, che l’innocenza, You already know that innocence, Eresia Heresy
come candida neve, like white snow, Quanto t’inganni. How you are mistaken!
perde la sua bellezza loses its beauty
38 39San Francesco St. Francis Non la fiorita faccia, Neither its florid aspect,
Proferir non potresti You would not utter né il vano onor della frondosa chioma nor the hollow glory of its leafy fronds
i temerarii accenti, such audacious words rende pago il suo sguardo, justifies its appearance,
se giungessi a capir l’altra figura, if you could understand the other allegory, ma perché più non beva unless it no longer drinks
sotto il velo di cui l’eterno Dio underneath whose veil God eternal l’umor che usurpa alle vicine piante moisture usurped from neighboring plants
copri sì gran mistero. concealed such great mystery. da quali vien produtto that grow the desired
Solo salvar si puote Only one who dwells within the bosom grato e soave il frutto. sweet fruit.
chi vive in sen della Romana Chiesa, of the Roman Church can be saved, Fa che si schianti dal primiero loco Indeed the master uproots it from its bed
come allor quando la giustizia eterna just as when eternal justice e vuol che serva d’alimento al foco. and would rather feed it to the fire.
tutta la terra fe’ perir nell’acque: made the whole earth perish in the flood,
serbar solo la vita coloro, onde fu carca safeguarding only those who were borne by Noah’s 12
la vasta di Noè mirabil arca. vast and wondrous ark. Intendi i sensi miei? Do you follow my thoughts?
Comprendi il mio pensiero? Do you understand my reflection?
Eresia Heresy La pianta rea tu sei You are the wicked plant
Questa co’ suoi precetti That figure, with its teachings, che in foglie that disperses itself
rende la via del ciel troppo spinosa: makes the path to heaven far too thorny: si discioglie, in leaves
da suoi seguaci chiede it requires from its followers e frutto mai non fa. but never bears fruit.
col ben oprar la fede good deeds as well as faith,
e per salvezza nostra, and for our salvation, Ah se non fia produtto Ah, if there be no beloved
e perché faccia a noi l’alto fattore since the Maker grants us da te l’amato frutto, fruit borne from you,
della sua gloria dono, the gift of his Glory, di te che sarà mai! may the same fate befall you!
necessarie così l’opre non sono. good deeds are unnecessary. Il foco t’arderà. The fire will consume you.
San Francesco St. Francis 13
Per comprendere appieno To understand fully Inganno Deceit
quanto folle tu sei, how foolish you are, Tu colle fole tue ne prendi a scherno, You blather shamefully and jest
leggi, deh leggi nelle sagre carte, read, yea, read in the sacred scriptures i santi dogmi suoi deridi ognora and incessantly disparage the holy teachings,
quando il divin maestro how the divine master e il mio furore non paventi ancora? are you not yet afraid of my fury?
si ferma innanzi all’infeconda pianta, stoops to the fruitless plant: Troppo sin or soffersi: I have endured too much now:
che il buono umor, cui dalla terra coglie the good liquor it gathers from the ground sopra il tuo capo indegno all the wrath of my arm
non cangia in frutti, ma converte in foglie. does not put forth fruits, but sprouts leaves. tutto del braccio mio cadrà lo sdegno. will come down on your ignoble head.
40 4114 Angelo Angel
Come stridente fulmine Like screeching bolts of lightning È giunto al fine il memorabil giorno The day has come at last
che dalle nubi scende, flashing down from the clouds, della vendetta dell’offeso Dio. when God affronted metes out retribution.
come sdegnato turbine like furious squalls Questa è la spada ultrice This is the sword of vengeance
che al suol le piante stende, uprooting trees, che a Lucifero in ciel ruppe l’orgoglio that shattered Lucifer’s pride in the sky
io recherò spavento I will drill fear e che sdegnata balenò su gli occhi and descended in anger upon the eyes
nel generoso cor. into your noble heart. e impallidir fe’ il viso of the original parents
de’ primi genitori, quando scacciati and made their front pale
Non sempre invendicata You shall not always remain furo dal paradiso. when they were cast out of paradise.
così tu resterai: unvanquished: Fuggite, o mostri infidi, Flee, ye faithless monsters,
tu vittima cadrai you shall fall victim ite d’Averno a rivedere i lidi. return to behold the strands of the Netherworld.
del giusto mio furor. to my righteous anger.
16
15 Voi dell’eterno pianto Down in the realm of gloom
Eresia Heresy nel tenebroso regno you shall swell the din of
Quale improvvisa luce What unexpected effulgence – accrescerete in tanto eternal wailing
più terribil di quella, more frightful yet than that one – col vostro orrendo sdegno with your heinous anger
che in compagnia del gelido spavento flares before my eyes, la pena ed il timore, your pain and your fear,
precede innanzi all’orrida saetta preceding the dreadful arrow orrore horror
su gli occhi miei sfavilla? with icy terror? e crudeltà. and cruelty.
M’agghiaccia il sangue intorno, It freezes my blood,
M’offusca il guardo e mi nasconde il giorno. clouds my sight and outshines the light of day. Ritornerà fra noi Among us shall return
la carità, la speme; Charity and hope.
Inganno Deceit s’abbraccieranno insieme Faith and piety
Che luce è questa? What is this light? la fede e la pietà. Shall band and embrace.
Eresia Heresy 17
Chi è colui che appare Who is this apparition, Inganno Deceit
terribile all’aspetto frightful to behold, Noi fuggiremo, sì, noi fuggiremo. We will flee, yes, we will flee.
e tien la destra armata holding in his armed right hand Né molto lungi dall’ingrata terra But we will rest our steps
d’ignuda spada d’atre fiamme accesa? a naked sword burning with black flames? il passo fermeremo not far from this ungrateful country
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