la stellidaura vendicante - i

Transcript

la
stellidaura
ven dicante
FrAncesco ProVenZAle
AcA d e m i A m o n t i s R e gA l i s
AlessAndro de MArchi
J e n n i f e R R i v e R A · c A R lo A l l e m A n o
A d R i A n s t R o o p e R · e n z o c A p u A n o · H A g e n m At z e i t
Stellidaura_Booklet_th0425.indd 1
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F r a n C e s C o P r o v e n z a l e (1624–1704)
la stellidaura
ven dicante
The Revenge of Stellidaura · Die Rache der Stellidaura
Opera in 3 acts
Libretto: Andrea Perrucci (1651–1704)
1
2
3
4
CD 1
Act I
Sinfonia
Ombre care (Orismondo)
Quanto soffre (Armillo, Orismondo)
L’airu chiù d’un cafaruni
5
Vaghe Stelle
6
7
8
9
0
(Giampetro, Orismondo)
(Armidoro, Giampetro, Orismondo)
Qual strepito (Stellidaura,
Armillo, Armidoro, Orismondo)
Partì in casa qual vento
(Armillo, Armidoro, Orismondo)
Crudo scempio
(Stellidaura, Armidoro, Armillo)
1:38
6:05
4:30
9:42
5:06
5:50
1:19
1:01
Ancuora a li ’ncamoghi (Giampetro) 2:31
Non scamperai, tiranno!
4:24
q
Act II
Ecco già sorge dal Gange
3:06
w
Nun haiu fattu pocu
5:01
e
Più finezza d’Amore costante
4:13
r
Amico?
9:23
t
Chi d’Amore lo strale ha in petto
8:50
z
Cui fa lu guagnuni
4:54
u
Si raddoppino le ferite
3:47
(Orismondo)
(Giampetro, Orismondo)
(Armidoro)
(Orismondo, Armidoro, Giampetro)
(Stellidaura, Armillo)
(Giampetro, Armillo)
(Armidoro, Armillo)
(Stellidaura, Giampetro, Armidoro)
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1
CD 2
Benhaia crai
1:03
r
Che farò di quell’empio
0:22
2
A un cor inquieto
5:30
t
Chi buliati, Sagnù?
2:13
3
Che avrà detto
3:15
z
Stelle fiere
2:58
4
Pri la prescia chi m’appi
6:10
u
Dal timor il mio cor
1:01
5
Toglier te la facesti?
2:42
i
Uh tintu, cui nasci
5:06
6
O caratteri funesti
2:16
o
Che mi dici?
7:03
7
Mio bene
0:48
p
Signor, d’infausto annuncio
1:19
8
Ah, ah, iecculu ccà
6:22
a
Nnamurati, nun scamati
1:40
s
Cari marmi
7:01
9
0
Act III
Sinfonia
Se non more Armidoro
1:33
5:43
d
Tra pianti e sospiri
2:44
q
Dormi, o perfido tiranno
f
Misero me
0:47
1:12
w
Ferma, barbaro nemico!
g
Empio, chi ti difende
2:53
1:23
e
Sagnù, sù cca
h
Lu monacu baddiettu
5:55
1:29
(Giampetro, Armillo)
(Stellidaura, Armillo, Giampetro)
(Armidoro, Armillo)
(Giampetro, Armidoro)
(Orismondo, Giampetro)
(Armidoro, Armillo)
(Stellidaura, Armidoro)
(Giampetro, Stellidaura, Armidoro)
(Orismondo)
(Stellidaura)
(Armidoro, Stellidaura, Orismondo)
(Giampetro, Orismondo, Armidoro,
Stellidaura)
(Orismondo, Armidoro)
(Giampetro, Orismondo, Armidoro)
(Stellidaura)
(Armillo, Stellidaura)
(Giampetro, Stellidaura, Armillo)
(Orismondo, Giampetro, Stellidaura)
(Armillo, Armidoro)
(Giampetro)
(Armidoro, Stellidaura)
(Orismondo)
(Orismondo)
(Stellidaura, Orismondo, Armidoro)
(Giampetro, Armillo, Orismondo,
Stellidaura, Armidoro)
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Stellidaura
Orismondo
Armidoro
Giampetro
Armillo
Jennifer rivera mezzo-soprano
Carlo allemano tenor
adrian strooper tenor
enzo Capuano bass
Hagen Matzeit countertenor
academia Montis regalis
alessandro De Marchi cembalo & direction
Academia Montis Regalis
Olivia Centurioni violin, concertmaster
Agnes Kertesz violin
Brigitte Gasser viola da gamba soprano, viola da gamba, lirone
Pierre Pitzl viola da gamba soprano, viola da gamba, colascione, Baroque guitar
Giovanna Barbati violoncello, viola da gamba
Roberto Bevilacqua double bass, viola da gamba
Massimo Carrano percussion
Maria De Martini recorder, bassoon
Rebeca Ferri recorder, violoncello
Aligi Voltan bassoon
Chiara Granata harp
Simone Vallerotonda theorbo, chitarra battente, Baroque guitar, octave mandolin
Josep Maria Martì Duran Italian Baroque lute, colascione basso, theorbo, Baroque guitar
Anna Fontana cembalo, organ
Mariangiola Martello musical assistant
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The fabulous world of stellidaura
“On Sunday 2 September the prince of Cursi Cicinelli arranged for a musical
comedy to be performed in a house that he had rented in Mergellina. He invited
the viceroy to the performance as well as ladies and gentlemen of the court.
Ciulla De Caro was in charge of the play.”
In these few words the contemporary chronicler Innocenzo Fuidoro reports on the first performance of
La Stellidaura vendicante in the late summer of 1674.
In spite of its brevity, his account tells us all that a
17th-century spectator needed to know about the
gala evening. The opera was conceived as a high point
of the social calendar and reflected an ancient custom
in the aristocratic world of the ancien régime, whose
members had increasingly established themselves as
a presence in Naples at a time when the public theatres were subject to ever more rigorous censorship.
Naples at that date was under Spanish rule, and ever
since the 1580s, Madrid had granted the Casa Santa
degli Incurabili the right to half the income from
public performances in the city. The Casa Santa was
a well-respected institution that cared for the sick
and needy, and the measure was initially intended to
justify a theatrical praxis regarded as sinful on both
a theoretical and a moral level. In the course of time
it had in fact resulted in a fruitful merger between
the public sphere, represented by the two theatres
of the San Bartolomeo and the Fiorentini, where
the principal fare was the comedia española, and a
flourishing private network of venues consisting of
palazzos, church institutions and schools, all of which
were keen to commission every conceivable kind of
performance, with a particular interest in promoting
novelty. This also guaranteed additional profits for all
those who were employed in the official theatres and
encouraged ambitious and talented young artists.
As a patron of the arts, Prince Cicinelli hoped
that by organizing the performance of La Stellidaura
vendicante, he would honour the Spanish viceroy,
the Marquis of Astorga. The marquis was famous
for his love of gambling, women and every form of
entertainment and was further related to his host by
marriage, having married the prince’s daughter. La
Stellidaura vendicante proved to be both a demonstration of his power and a token of the aristocracy’s
feudal loyalty, although the festive background to the
performance was due not only to these official aims
but also to entirely mundane factors bound up with
the dynamics of what we might term the Neapolitan
jet set of the age.
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The star of the evening was Giulia (“La Ciulla”) De
Caro. She was born in 1646 in the lower-class quarter of Pignasecca and began her artistic career as an
actress in touring companies. It was here, thanks to
her exceptional beauty, that she first became aware
of her potential as a performer. She went on to study
music and devoted herself to the operatic repertory,
allowing her to gain access to the upper echelons of
society. Her early appearances in public theatres
were coolly received, but she finally managed by
dint of study, persistence and a total lack of prejudice and inhibition to make a name for herself in the
musical life of her times. To judge from the surviving
scores, she was capable of extreme virtuosity as a
singer, and it seems clear that her striking sensuality
found a powerful response in her audiences.
A year before La Stellidaura vendicante was
staged in Mergellina, Giulia De Caro took out a lease
on the Teatro di San Bartolomeo, almost certainly
with the help of one of her well-to-do lovers. Under
her management the theatre flourished as never
before, and Naples was finally able to compete with
Venice and to stage operas capable of rivalling those
seen in La Serenissima.
“actress, singer, diva, whore”
But Giulia De Caro’s abilities as a singer and impresario only partly explain the reputation that she
enjoyed in her lifetime. One contemporary chronicler
describes her as a “commediante cantarinola armonica puttana”, an “actress, singer, diva, whore”,
the phrase covering – in apparently ascending order
– the whole range of her activities in the eyes of her
contemporaries. As a “principessa del bordello” she
was also the butt of a venomous barb, Il bordello
sostenuto (The Subsidized Brothel), pillorying her
amorality and notorious rise in society. The pamphlet
seems to have been an act of vengeance on the part
of a man she had spurned. Rumour has it that when La
Stellidaura vendicante was first performed, she was
the mistress of both the viceroy and his brother-inlaw, Giovanni Cicinelli. If so, then the manager of the
troupe of singers that appeared at the house in Mergellina directly overlooking the sea could lay claim
to a twofold triumph, not only bringing her theatrical
project to fruition but basking in her success in the
presence of the ladies and gentlemen of the court.
Fuidoro’s brief report focuses on the social background and in doing so fails to comment on the
performance itself, implying that apart from the
aristocratic group portrait centred on one particular
woman, the occasion was otherwise unimportant.
There is no mention of the artistic aspects of the
event, even though they were in fact of considerable
significance. It was thanks to the notorious La Ciulla
that the performance of La Stellidaura vendicante
took place at all and that it represented a feat of
extraordinary cooperation. To compose the music
she had engaged the services of the famous maestro
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di cappella Francesco Provenzale, who for decades
had taught at the local conservatories and who had
already written several operas and church dramas by
this date. La Stellidaura vendicante is his final documented composition. Written for the secular theatre,
it is one of the most impressive examples of its kind.
The librettist chosen to provide the text for
this gala evening in the Cicinelli household was
the twenty-three-year-old Andrea Perrucci from
Palermo, who was later to become a leading figure
in seventeenth-century Italy. He was still a child
when he and his family moved to Naples, where he
was taught at a Jesuit school. After completing his
studies in civil and canon law and gaining the title
of Utriusque Juris Doctor, he was appointed advocate
to the Fidelissima Città di Napoli, a post he retained
until his death in 1704, the same year that Provenzale
died. Perrucci remained true to his calling as a lawyer, even though poetry undoubtedly meant more to
him than a mere hobby that he indulged only infrequently.
La Stellidaura vendicante proved to be only the
first in a long line of librettos, opere tragisacre and
poems that were invariably so well received that Perrucci was appointed the “official poet” at the Teatro
di San Bartolomeo. Such a passionate relationship
with the theatre – and with the men and women of
the theatre – was not without its consequences, with
the result that in various prefaces and other texts
Perrucci felt obliged to justify the fact that, however
much he may have indulged his love of the theatre,
he was nonetheless a member of a serious profession. This was a typical problem for many of the intellectuals of this period.
a commedia dell’arte with echoes of classical tragedy
The elderly musician and the promising young poet
thus found themselves working together on the opera
planned by Giulia De Caro. The complexity of its plot
and the elevated level on which the action unfolds
are both the result of Perrucci’s impressive cultural
background, an aspect of his output further demonstrated by his 1699 treatise Dell’arte rappresentativa
premeditata, ed all’improvviso. Quite apart from the
subtleties of the Baroque style that he handles with
virtuoso brilliance, the libretto also reveals a whole
series of elements of a long-standing theatrical tradition: echoes of classical tragedy that culminate in
the final recognition scene, for all that such echoes
result in a number of anachronisms; reminiscences of
the Spanish repertory of the siglo d’oro; the influence
of the Italian Renaissance epic with a warlike heroine
as its protagonist; complications in the plot that recall
famous earlier works – the apparent death of Armidoro and Stellidaura will have reminded audiences
of Romeo and Juliet; and motifs borrowed directly
from the techniques associated with the improvised
theatre, including the argument between the two
servants, the musical tirades of the three lovers and
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the exchange of letters that gives rise to a number
of embarrassing misunderstandings. A more obvious
tribute to the tradition of the commedia dell’arte is
the figure of the Calabrian Giampetro, for whom Perrucci created an artificial language modelled on the
dialects used within the framework of improvised
comedy.
The work that the aristocratic audience saw and
heard in the palazzo at Mergellina in 1674 was a
highly sophisticated product that undoubtedly
benefited from the high expectations placed in it.
And Giulia De Caro’s performance as Stellidaura
must have been outstanding, not least because
the part was written with her particular abilities in
mind. (Unfortunately we do not know the names of
the other performers.) There was a revival in 1675 at
the city’s public opera house, the libretto that was
published on that occasion including a dedication
signed by the manageress. It was not unusual for
works to transfer from a private theatre to the San
Bartolomeo. In this particular case, it presumably
reflects the work’s success with its audiences. More
remarkable is the fact that La Stellidaura vendicante was revived again in 1685, when the original
was reworked, with the addition of a new prologue,
in order to take account of the abilities of its new
cast, whose names were on this occasion included
on the playbill. In spite of these changes, the work’s
essential character remained intact, for it was still
intended as an act of homage, in this case being
designed to honour the new viceroy, the Marchese
del Carpio.
The story of the vengeful yet unknown princess
transcended the boundaries of the southern Italian
Kingdom of Naples, for this period also witnessed
the publication of a prose version of the narrative
in Bologna, where it appeared under the title La
viva sepolta (The Woman Buried Alive). Its author
was Giovanna di Bello, one of Perrucci’s followers.
Here Calabrian is replaced by a Neapolitan dialect,
and the plot appears to have been adapted to conform to the basic rules governing all plays inspired
by the commedia dell’arte tradition. (Among such
instances are the chiusette, lines of rhyming verse
found at the end of several scenes.) It was common
practice at this period for plots originally conceived
as the basis of an opera to be reworked in prose. In
this particular case the practice also reflects the
popularity of the opera and its great success, to
say nothing of its influence on other works of music
in the later 17th century. For today’s audiences, La
Stellidaura vendicante opens up a fabulous world,
revealing a bygone style and a unique approach to
music drama that still has the power to fascinate us
in the 21st century.
Francesco Cotticelli
Translation: Stewart Spencer
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notes on the musical realization of
La Stellidaura vendicante
I first encountered Provenzale’s La Stellidaura
vendicante in 1997, when the then director of La
Monnaie in Brussels, Bernard Foccroulle, asked me
to conduct the opera in Liège (at the Théâtre de la
Place) and Brussels (at the Lunatheater, now the
Kaaitheater). I was immediately struck by how beautiful, and especially how original, this score was.
In terms of its musical idiom, it belongs to the
transitional phase between the style of Cavalli and
that of Alessandro Scarlatti. There is one key distinguishing element about La Stellidaura: when the
servant Giampetro (Giampetru calabrese) sings in
pseudo-Calabrian dialect, Provenzale leaves behind
the typical operatic style and uses that of Neapolitan
folk music. It is possible that this was a style shared
by street musicians, and in the context of an opera,
served, together with the use of dialect, to clearly
define a character belonging to a specific level of
society. It was this very stylistic duality that was at
the basis of my reconstruction of the score.
Held in Rome and Naples, the manuscript scores
that Provenzale has left us are typical of composers of this period in that they show only a single
vocal line and a second instrumental bass line. We
also find three-part instrumental introductions and
ritornellos and, in some cases, instrumental accompaniments for some of the arias (again in three
parts). Throughout the score, aside from clues provided by the instrumental ranges, there is not even
an indication of what the instrumentation is.
Taking as a model the forces employed in the
Neapolitan Royal Chapel (violins, cello, gambas,
harpsichords, plucked instruments, etc.), and adding the typical instruments of Neapolitan folk music
(colascione, chitarra battente, percussion, etc.),
I have managed to assemble a marvellous musical
palette that allows me to underline the dramatic
situation at every point in the opera, in a flurry of
combinations that vary according to the emotions
expressed in both the text and the music. This has
partly been made possible by the fact that, as in late
17th-century Naples, many of my musicians are excellent players of several instruments.
I have revised and adapted the orchestration,
prepared in its essentials for the 1997 performances,
for the new theatrical and dramatic conditions,
naturally keeping in mind the particular gifts of the
Academia Montis Regalis players. I am grateful to
them not only for their beautifully improvised preludes, postludes and transitions, but also for their
many extremely helpful words of advice on the arrangement.
I took the decision to add two internal voices for
the violas da gamba in some of the more dramatic
arias, such as “Cari marmi”, and the division into
two instrumental choirs with echo for the prison aria
“Stelle fiere”.
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The vocal and instrumental improvisation by the
percussionist (CD 2, track 10) following Orismondo’s sleep aria, was inserted for dramatic reasons.
It represents the nightmare in which the prince
dreams of monstrous Saracen pirates, a very real
fear at the time.
In an opera created in Naples under Spanish
rule, there inevitably had to be some references
to Spanish folklore. The attentive listener will undoubtedly pick up some more or less veiled hints
here and there.
In the hope that this marvellous music might
finally enter the repertoire, I wish you happy
listening!
Alessandro De Marchi
Translation: Kenneth Chalmers
synopsis
act I. Prince Orismondo is in love with Stellidaura.
At night, he deceives Stellidaura’s servant Armillo
and obtains a letter written by her. The letter reveals
that the Lady has fallen in love with Armidoro, who
returns her love. When Orismondo meets Armidoro,
he shoots his rival’s arm in a fit of jealousy. Without
being recognized, he challenges the wounded man
to a duel. Stellidaura rushes to the spot and offers
to take her lover’s place in the fight. She goes off in
search of a weapon. Meanwhile, Orismondo agrees
on postponing the duel until Armidoro is fully recovered. When Stellidaura returns, she vents her
anger at Orismondo’s servant, Giampetro, whom
she takes for her lover’s attacker. Stellidaura is held
back by her lover and Armillo. She and Armidoro
are left alone and they reaffirm their love for one
another.
act II. From Giampetro’s account, Armidoro can
guess who injured him. But being a man of honour,
he remains silent. The only thing he tells Orismondo
is that he thinks the culprit acted out of love to a
woman. Both men tell each other that they have each
written a letter in which they express their feelings
for their loved one and they read aloud the letters to
each other. Orismondo gives Giampetro the task of
delivering his letter to Stellidaura, but the servant
loses it during a game of cards with Stellidaura’s
servant Armillo. Armillo then takes the letter and
gives it to Armidoro, who thinks it is the letter he
has lost himself. Meanwhile, Giampetro searches
for the letter he has lost during the game of cards.
When he finds a letter, he does not know that it is in
fact the one Armidoro had lost before. Armillo delivers the letter that in truth is Orismondo’s and Stellidaura sends word to Orismondo that she cannot love
him. Armillo, believing the letter was Armidoro’s,
delivers the answer to him, who is desperately
disappointed. Stellidaura responds to the letter
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Giampetro brings her with a passionate message
of love. This letter of response is intercepted by
Armidoro, who believes that this confession of love
is directed at Orismondo. Giampetro informs Orismondo that Stellidaura’s message was taken away
from him by Armidoro. Orismondo thereupon orders
Giampetro to kill Armidoro. Stellidaura thwarts the
attempt on Armidoro’s life. Armidoro is puzzled as
to why Stellidaura would reject him before and save
his life a moment later. He accuses Stellidaura of
being unfaithful to him and as proof holds up the
love letter that Giampetro had been carrying around
with him. Stellidaura no longer understands the
world: she assures Armidoro that she loves him, but
he rejects her.
Stellidaura is alive; Giampetro gave her a sleeping draught instead of poison. When she regains
consciousness, she sees Armidoro lying beside her
and believes he has passed away. Once again, she
decides to take vengeance upon the prince. In the
meantime, Orismondo discovers that Stellidaura
is his own sister, and was given away as a child to
the ruler of Delos. Armidoro, now conscious again,
saves the prince from another assassination by
Stellidaura. Orismondo then explains the situation.
Armidoro, as a reward for his fidelity, is allowed to
take the woman he loves and who loves him back as
his wife: Stellidaura.
act III. Stellidaura is determined to kill Orismondo
out of revenge because he gave the order to assassinate Armidoro. She dresses up as a man and intends to stab the prince in his sleep. Armidoro, not
recognizing the intruder, holds her back in an act
of chivalry. Stellidaura, still disguised, is promptly
thrown into prison. Armidoro suggests Orismondo
condemn the assassin to death. Giampetro is given
the task of poisoning the prisoner. Armillo discovers
that the prisoner is Stellidaura and tells Armidoro
about it. Stellidaura drinks the poison and becomes
unconscious. Orismondo learns from Giampetro
that the captive is Stellidaura. Armidoro intends to
die alongside his lover and faints at her side. But
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Die fabelhafte Welt der stellidaura
»Am Sonntag, dem 2. September, ließ der Prinz von Cursi Cicinelli in
Mergellina in einem von ihm dort gemieteten Haus eine Musikkomödie
spielen. Dazu lud er den Vizekönig, Ritter und Damen ein. Ciulla De Caro
hatte die Schauspielleitung.«
Mit diesen Worten berichtet ein zeitgenössischer
Chronist, Innocenzo Fuidoro, über die Uraufführung
von La Stellidaura vendicante im Spätsommer des
Jahres 1674. Trotz ihrer lakonischen Kürze enthält
die Nachricht alle wichtigen Informationen über
den festlichen Abend aus der Perspektive eines Zuschauers des 17. Jahrhunderts. Die Oper war als ein
gesellschaftliches Ereignis konzipiert – nach einem
alten Brauch in der adligen Gesellschaft des Ancien
Régime, der sich in Neapel in dem Maße etabliert
hatte, wie die öffentlichen Theater immer strenger
zensiert worden waren. Seit den achtziger Jahren
des 16. Jahrhunderts hatte Madrid (Neapel war damals unter spanischer Herrschaft) der Casa Santa
degli Incurabili, einer anerkannten Institution zur
Kranken- und Armenpflege, das Recht auf die Hälfte
der Einnahmen aus den öffentlichen Aufführungen
zugestanden. Diese Maßnahme hatte ursprünglich
zum Ziel, die theoretisch und moralisch als »sündig«
betrachtete Theaterpraxis zu rechtfertigen, bewirkte
aber im Laufe der Zeit eine fruchtbare Verschmel-
zung zwischen einem öffentlichen Bereich, der sich
auf die Bipolarität des Teatro di San Bartolomeo
und des Teatro de’ Fiorentini (in dem vor allem die
»comedia española« gespielt wurde) stützte, und
einem blühenden privaten Netzwerk, bestehend aus
Adelspalästen, kirchlichen Institutionen und Schulen
– eifrigen Auftraggebern für jede Art von Darbietung,
die vor allem auch Interesse an ständigen Neuerungen hatten. Das garantierte zudem den in den offiziellen Theatern Beschäftigten zusätzlichen Gewinn
und förderte aufstrebende Talente.
Als Mäzen und Organisator von La Stellidaura
vendicante beabsichtigte der Prinz Cicinelli, den
spanischen Vizekönig Marquis von Astorga zu ehren,
der berühmt war für seine Neigung zum Spiel, zu
Frauen und zu jeder Art von Unterhaltung. Mit diesem außerordentlichen Gast war der Prinz zudem
verwandt, denn der Marquis hatte seine Tochter
geheiratet. La Stellidaura vendicante erwies sich
als eine Machtdemonstration und als ein Zeichen der
Loyalität des Adels; der festliche Anlass entstand
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trotzdem nicht nur aus diesen »offiziellen« Absichten, sondern auch aus ganz mondänen Gründen, die
mit der Dynamik des damaligen neapolitanischen
»Jetsets« zusammenhingen.
Star des Abends war Giulia De Caro. »La Ciulla«
wurde 1646 im Stadtviertel Pignasecca geboren, in dem das gemeine Volk lebte. Sie begann
ihre künstlerische Karriere als Schauspielerin in
Wandertruppen, in denen sie – auch Dank ihrer
außerordentlichen Schönheit – ihr Potenzial als
Interpretin erkannte. Sie studierte dann Musik
und widmete sich dem Opernrepertoire, das ihr
den Aufstieg in höhere soziale Schichten ermöglichte. Ihre ersten Auftritte auf öffentlichen Bühnen fanden keinen Beifall, aber schließlich gelang
es ihr, sich mit Lerneifer, Beharrlichkeit und einer
vorurteilslosen Unbefangenheit im musikalischen
Panorama der Zeit durchzusetzen. Nach den erhalten gebliebenen Partituren zu urteilen, konnte sie
extrem virtuos singen, und offenbar stieß auch ihre
starke sinnliche Ausstrahlung beim Publikum auf
großes Interesse …
Ein Jahr vor der Inszenierung der Stellidaura
war sie Pächterin des Teatro di San Bartolomeo geworden, sehr wahrscheinlich mit Hilfe eines ihrer
reichen Liebhaber. Unter ihrer Leitung erreichte das
Opernhaus seine Blütezeit im späten 17. Jahrhundert, und Neapel war endlich imstande, mit Venedig
und dessen Opernproduktionen zu konkurrieren.
»Komödiantin, sängerin, Diva, Dirne«
Aber ihre Tüchtigkeit als Sängerin und Unternehmerin erklärt nur teilweise den Ruhm, den Giulia De
Caro zu Lebzeiten genoss. In einer Chronik wird sie
als »commediante cantarinola armonica puttana«
(Komödiantin, Sängerin, Diva, Dirne) bezeichnet
– eine Steigerung, die aufschlussreich das breite
Spektrum ihrer Aktivitäten in den Augen ihrer Zeitgenossen beschreibt. Gegen diese »Principessa del
bordello« (Bordellprinzessin) wurde dann auch ein
giftiges Pamphlet gereimt, Il bordello sostenuto
(Das geförderte Bordell), das ihre Amoralität und ihr
anrüchiges Emporkommen tadelte – offensichtlich
ein Racheakt eines von ihr verlassenen Mannes. Gerüchten zufolge war sie zur Zeit der Aufführung von
Stellidaura gleichzeitig die Geliebte des Vizekönigs
Astorga und seines Schwagers, Giovanni Cicinelli.
So feierte die Leiterin der Sängertruppe im direkt
am Meer gelegenen Theater in Mergellina einen
doppelten Triumph: Sie brachte ihr Theaterprojekt
dorthin und sonnte sich in ihrem Erfolg in Gegenwart
von vielen höfischen Damen und Rittern.
Im kurzen Bericht Fuidoros verdrängt der Fokus
auf die sozialen Umstände jede Art von Kommentaren
zur Vorstellung an sich – als wäre außer dem adligen
Gruppenbild mit Dame nichts weiter von Bedeutung.
Die künstlerischen Aspekte dieses besonderen
Ereignisses bleiben unerwähnt, obwohl sie doch
wichtig waren. Der berühmt-berüchtigten »Ciulla«
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26.04.13 12:42
ist es jedenfalls zu verdanken, dass mit Stellidaura
eine außerordentliche Kooperation gefördert wurde:
Als Komponist wurde der renommierte Kapellmeister
Francesco Provenzale engagiert, der seit Jahrzehnten
intensive didaktische Arbeit an den lokalen Konservatorien leistete und bereits mehrere Opern und
Kirchendramen vertont hatte. La Stellidaura ist sein
letztes dokumentiertes Werk, das für die weltliche
Bühne bestimmt war, und stellt eine der beeindruckendsten Leistungen in dieser Gattung dar.
Der Librettist für den feierlichen Anlass im Hause
Cicinelli war der 23-jährige, aus Palermo stammende
Andrea Perrucci, der noch zu den bedeutendsten
italienischen Persönlichkeiten des 17. Jahrhunderts
aufsteigen sollte. Er war schon in Kindertagen mit
seiner Familie nach Neapel gezogen und an einer Jesuitenschule unterrichtet worden. Nach der Promotion
in Zivilrecht und Kanonischem Recht übernahm der
»Utriusque Juris Doctor« den Posten als Advokat der
»Fidelissima Città di Napoli« (Treueste Stadt Neapel),
den er bis zu seinem Tod im Jahr 1704, in dem auch
Provenzale starb, behielt. Perrucci blieb seinem Anwaltsberuf treu, obwohl für ihn die Dichtkunst zweifellos mehr war als ein gelegentlich ausgeübtes Hobby.
La Stellidaura vendicante erwies sich als Beginn einer kontinuierlichen Produktion von Libretti,
»Opere tragisacre« und Gedichten, die regelmäßig so große Resonanz fanden, dass ihr Autor zum
»offiziellen Poeten« am Teatro di San Bartolomeo
ernannt wurde. So ein leidenschaftliches Verhältnis
zum Theater (und zu den Theaterleuten) blieb nicht
ohne Konsequenzen: In diversen Vorworten und Texten fühlte Perrucci sich genötigt, zu rechtfertigen,
dass er der Theaterkunst frönte, obwohl er doch eigentlich einem seriösen Beruf nachgehen sollte – ein
typisches Problem der Intellektuellen seiner Zeit.
eine Commedia dell’arte mit anklängen an die klassische Tragödie
So arbeiteten der ältere Musiker und der vielversprechende junge Dichter gemeinsam an der von
Giulia De Caro geplanten Oper. Der hohen kulturellen Bildung Perruccis, bewiesen auch durch sein
Traktat Dell’arte rappresentativa premeditata, ed
all’improvviso (1699), sind die Komplexität des
Plots und das hohe Handlungsniveau zu verdanken.
Abgesehen von der Feinheit des Barockstils, den er
bis zu virtuosen Effekten beherrschte, sind verschiedene Elemente einer langjährigen Theatertradition
zu erkennen: Anklänge an die klassische Tragödie,
die in der finalen Wiedererkennungsszene kulminieren (auch wenn Anachronismen auftauchen), sowie
an das spanische Repertoire des »siglo de oro«;
Einflüsse des italienischen Renaissance-Epos mit
der kämpferischen Frau als Protagonistin; Verwicklungen, die an berühmte frühere Stücke erinnern (für
den Scheintod von Armidoro und Stellidaura sei z. B.
auf Romeo und Julia verwiesen); Motive, die direkt
aus den Techniken des Stegreiftheaters stammen,
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26.04.13 12:42
wie die Auseinandersetzung der beiden Diener, die
musikalischen Tiraden der drei Liebhaber oder die
Briefvertauschung, die peinliche Missverständnisse
verursacht. Ein offensichtlicher Tribut an die Welt
der Commedia dell’arte ist der kalabrische Giampetro, für den Perrucci eine künstliche Sprache nach
dem Vorbild der im Rahmen der improvisierten Komödie verwendeten Dialekte schuf.
Was die Damen und Ritter im Mergellina-Palast
dann sahen, war ein sehr raffiniertes Produkt, das
sicherlich auch von allerlei Erwartungen profitierte.
Und Giulia De Caros Interpretation der Titelpartie
muss ausgezeichnet gewesen sein, denn sie war ihr
auf den Leib komponiert (leider kennen wir die Namen
der anderen Sänger nicht). 1675 fand eine Wiederaufführung im öffentlichen Opernhaus von Neapel statt
(im entsprechenden Libretto steht ein Widmungstext,
unterschrieben von der Sängerin). Diese Migration
von einer Privatbühne an das San Bartolomeo war
nicht ungewöhnlich und zeugt davon, dass das Werk
beim Publikum Erfolg hatte. Bemerkenswert ist, dass
La Stellidaura vendicante 1685 noch einmal wiederaufgenommen wurde. Selbstverständlich wurde die
Originalfassung bearbeitet (z. B. ein Prolog hinzugefügt), um sie der neuen Besetzung, die diesmal angegeben ist, anzupassen. Nur der Huldigungscharakter
blieb unverändert, denn die Oper war dem amtierenden Vizekönig Marchese del Carpio gewidmet.
Die Geschichte von der unerkannten, rachsüchtigen Prinzessin überschritt auch die Grenzen des
süditalienischen Vizekönigreichs. Im selben Zeitraum erschien eine Prosafassung der Stellidaura in
Bologna mit dem Titel La viva sepolta (Die lebendig
Begrabene), verfasst von Giovanna di Bello, einer
Anhängerin Perruccis. Hier wird das Kalabrische
durch das Neapolitanische ersetzt, und die Handlung
scheint den Grundregeln von Stücken zu folgen, die
von der Commedia dell’arte inspiriert waren (exemplarisch sind die »chiusette«, gereimte Verse am
Ende zahlreicher Szenen). Es war zur damaligen Zeit
ungewöhnlich, dass ein ursprünglich als Grundlage
für eine Oper konzipierter Plot zum Thema einer Prosafassung wurde. Daran lassen sich die Resonanz auf
diese Oper und ihr großer Erfolg ablesen – sowie ihr
Vorbildcharakter für die musikalischen Produktionen
des 17. Jahrhunderts. Uns heute offenbart sich mit
La Stellidaura vendicante eine fabelhafte Welt, ein
alter Stil und ein ganz eigener Weg zum Musikdrama,
der immer noch faszinieren kann.
Francesco Cotticelli
anmerkungen zur musikalischen
realisierung der Stellidaura vendicante
Meine erste Begegnung mit La Stellidaura vendicante
(Die Rache der Stellidaura) von Provenzale hatte ich
im Jahr 1997. Bernard Foccroulle, der damalige Intendant der Oper La Monnaie in Brüssel, bat mich, diese
Oper in Lüttich (Théâtre de la Place) und im Brüsseler
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26.04.13 12:42
Lunatheater (heute Kaaitheater) zu dirigieren. Mir
fiel sofort die tiefgründige Schönheit dieser Partitur
und insbesondere ihre Originalität auf.
La Stellidaura ist in einem Musikstil komponiert,
den man in die Übergangsphase zwischen Cavalli
und Alessandro Scarlatti einordnen kann. Aber sie
hat etwas ganz Charakteristisches: Bei den pseudomundartlichen Auftritten des Dieners Giampetro
(kalabrisch: Giampetru) im kalabrischen Dialekt gibt
Provenzale den typischen Opernstil auf und bedient
sich stattdessen der neapolitanischen Volksmusik.
Dieser Stil, der unter Straßenmusikern üblich war,
diente im Kontext einer Opernaufführung und im Zusammenspiel mit dem Dialekt dazu, die Zugehörigkeit
zu einer besonderen Schicht hervorzuheben. Genau
diese stilistische Bipolarität stellte für mich den Ausgangspunkt für die Rekonstruktion der Partitur dar.
In den noch erhaltenen Manuskripten, die sich
heute in Rom und Neapel befinden, hinterlässt uns
Provenzale, wie es für die Komponisten seiner Zeit
üblich war, eine Partitur, in der eine Gesangsstimme
und eine instrumentale Basslinie erscheinen. Zudem
gibt es dreistimmige instrumentale Einleitungen und
Ritornelle; auch einige Arien werden instrumental
begleitet (ebenfalls dreistimmig). In der gesamten
Partitur findet sich jedoch – abgesehen vielleicht von
ein paar Indizien in Bezug auf die Tonumfänge der Instrumente – kein Hinweis auf eine Instrumentierung.
Wenn man von der Besetzung der königlichneapolitanischen Hofkapelle ausgeht (Violinen,
Violoncelli, Gamben, Cembali, Zupfinstrumente
etc.) und die typischen Instrumente der neapolitanischen Volksmusik hinzufügt (Colascione [ital.
Langhalslaute], Chitarra battente [süditalienisches
Lauteninstrument], Schlagwerk etc.), dann bietet
dies eine wunderbare Klangvielfalt. Sie erlaubte mir,
in jedem Moment der Oper die dramatischen Situationen zu betonen und mit einer Vielzahl von Kombinationsmöglichkeiten die Instrumentierung dem
emotionalen Gehalt in Text und Musik anzupassen.
Das war möglich, weil viele meiner Musiker – wie es
auch in Neapel gegen Ende des 17. Jahrhunderts der
Fall war – exzellente Multitalente auf verschiedenen
Instrumenten sind.
Meine Instrumentierung hatte ich größtenteils
schon für die Aufführungen im Jahr 1997 konzipiert.
Nun habe ich sie – natürlich immer unter Berücksichtigung der Charakteristika der Musiker der Academia
Montis Regalis – überarbeitet und den neuen dramaturgischen und szenischen Gegebenheiten angepasst. Ich bin ihnen nicht nur für die Improvisationen
der wunderschönen Vorspiele, Nachspiele und Übergänge dankbar, sondern auch für die unzähligen und
unglaublich wertvollen Ratschläge im Hinblick auf
das Arrangement.
Aus meiner Feder hingegen stammt die Ergänzung
von zwei Gambenstimmen bei einigen der dramatischeren Arien (zum Beispiel »Cari marmi«) sowie die
Teilung in zwei Instrumentenchöre mit Echo für die
Kerkerarie »Stelle fiere«.
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26.04.13 12:42
Die Vokal- und Instrumentalimprovisationen des
Schlagzeugers (CD 2, Track 10), die der Traumarie
des Orismondo folgen, wurden aus dramaturgischen
Gründen eingefügt. Sie beschreiben den Albtraum
des Prinzen, in dem ihm scheußliche sarazenische
Piraten erscheinen – ein realer Schrecken der damaligen Zeit.
In einer Oper, die im Neapel unter spanischer
Besatzung entstanden ist, durften Bezüge zur spanischen Folklore nicht fehlen. Dem aufmerksamen
Zuhörer werden mehr oder weniger direkte Hinweise
nicht entgehen.
In der Hoffnung, dass diese wunderbare Musik
endlich in das Opernrepertoire eingeht, wünsche ich
Ihnen viel Hörvergnügen!
Alessandro De Marchi
Die Handlung
erster akt. Prinz Orismondo ist in Stellidaura verliebt; nächtens überlistet er Armillo, ihren Pagen,
und eignet sich einen von Stellidaura geschriebenen Brief an, wodurch er erfährt, dass die Dame
den ihm freundschaftlich verbundenen Hofritter
Armidoro liebt und dass dieser ihre Liebe erwidert.
Bei einer Begegnung schießt Orismondo aus Eifersucht auf seinen Nebenbuhler und verletzt ihn am
Arm. Ohne von Armidoro erkannt zu werden, fordert
ihn Orismondo zum Duell heraus. Stellidaura läuft
herbei und bietet sich an, anstelle ihres verletzten
Geliebten zu kämpfen, und versucht, sich eine Waffe
zu holen. Orismondo und Armidoro einigen sich darauf, das Duell zu verschieben, bis die Wunde geheilt
ist. Stellidaura kehrt zurück und lässt ihre Wut an
Orismondos Diener Giampetro aus, weil sie glaubt,
dass dieser der Attentäter ist. Sie wird von ihrem Geliebten und von Armillo zurückgehalten und bleibt
dann allein mit Armidoro. Die beiden bekräftigen
einander ihre Liebe.
zweiter akt. Orismondo fragt sich verzweifelt, welch
hohen Preis ihn Stellidaura koste, dass er einen
Freund verlieren müsse, um sie zu besitzen. Armidoro hat aus den Worten Giampetros geschlossen,
wer ihn verletzt hat, aber als Ehrenmann schweigt er
und tritt Orismondo als Freund und Ritter gegenüber.
Orismondo und Armidoro stellen fest, dass jeder von
ihnen einen Brief geschrieben hat, in dem er seine
Gefühle für die Geliebte ausdrückt. Sie lesen die
Briefe einander vor. Orismondo erteilt Giampetro
den Auftrag, seinen Brief Stellidaura zukommen zu
lassen, aber der Diener verliert ihn während eines
Kartenspiels mit Stellidauras Pagen Armillo, der den
Brief an sich nimmt. Auch Armidoro kam sein Brief an
Stellidaura abhanden. Er glaubt, ihn nun bei Armillo
wiedergefunden zu haben. Giampetro wiederum sucht
seinen beim Kartenspiel verlorenen Brief und findet
jenen, den Armidoro verloren hat. Aus der Verwechslung der Briefe entsteht ein heilloses Durcheinander.
Stellidaura erhält aus den Händen Armillos den Brief
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26.04.13 12:42
Orismondos und lässt diesem wütend ausrichten,
dass sie den Brief zerrissen hat. Armillo überbringt
diese Nachricht aber Armidoro, der aus allen Wolken
fällt, dass ihn seine Geliebte plötzlich abweist. Unterdessen hat auch Giampetro den Brief überreicht. Stellidaura liest den glühenden Liebesbrief Armidoros
und schickt ihm ein Antwortschreiben, das Giampetro
aber natürlich seinem Herrn Orismondo überbringen
will. Er wird von Armidoro abgefangen. Dieser liest
das glühende Liebesbekenntnis Stellidauras in der
Annahme, es sei an Giampetros Herrn Orismondo
gerichtet. Als Giampetro seinem Herrn berichtet,
der Brief von Stellidaura sei ihm von Armidoro abgenommen worden, befiehlt Orismondo seinem Diener,
Armidoro umzubringen. Als Giampetro seinen Auftrag
ausführen will, kommt Stellidaura dazu und vereitelt
den Anschlag auf Armidoro. Der versteht die Welt
nicht mehr. Soeben hat er von Armillo eine Liebesabsage Stellidauras mitgeteilt bekommen, und nun
rettet sie ihm das Leben. Er wirft Stellidaura Untreue
vor und legt als »Beweis« ihren Liebesbrief vor, den
Giampetro bei sich hatte. Jetzt versteht Stellidaura
die Welt nicht mehr: Sie versichert Armidoro ihrer
Liebe, und dieser weist sie zurück.
Dritter akt. Stellidaura ist entschlossen, Orismondo
aus Rache zu töten, weil dieser Armidoro aus dem
Weg räumen lassen wollte, damit er ihre Liebe erobern könne. Sie verkleidet sich als Mann, doch als
sie ansetzt, den schlafenden Prinzen zu erdolchen,
wird sie von Armidoro zurückgehalten, der sie in
ihrer Verkleidung nicht erkennt und als ritterlicher
Ehrenmann Orismondo rettet. Die unerkannt gebliebene Stellidaura wird verhaftet und ins Gefängnis
gebracht, aber sie lehnt resolut ab, ihre Identität
preiszugeben. Armidoro empfiehlt Orismondo,
den Angreifer zum Tode zu verurteilen. Giampetro
wird beauftragt, den Gefangenen ein tödliches Gift
trinken zu lassen. Armillo erkennt in dem Verhafteten seine Herrin Stellidaura und berichtet dies
Armidoro. Stellidaura trinkt das Gift und verliert die
Besinnung. Orismondo erfährt von Giampetro, dass
der Verhaftete Stellidaura ist. Orismondo gerät darüber in Verzweiflung, dass Stellidaura als sein Opfer
stirbt, um ihn zu rächen. Er ordnet für die geliebte
Frau ein feierliches Begräbnis in der Königsgruft an.
Armidoro will mit seiner Geliebten sterben und wird
an ihrer Seite ohnmächtig. In Wahrheit lebt Stellidaura, denn Giampetro hat ihr nur ein Schlafmittel zu
trinken gegeben. Sie kommt wieder zu sich, entdeckt
den ohnmächtigen Armidoro und hält nun ihrerseits
diesen für tot. Sie beschließt erneut, sich zu rächen
und den Prinzen zu töten. Inzwischen hat aber Orismondo entdeckt, dass Stellidaura seine Schwester
ist, die als Kind dem Fürsten von Delos anvertraut
wurde. Der wieder aus seiner Ohnmacht erwachte
Armidoro rettet den Prinzen vor dem neuerlichen
Attentat Stellidauras und bekommt von Orismondo,
der alle aufklärt, als Lohn für seine Treue die Frau zur
Gemahlin, die er liebt und die ihn liebt: Stellidaura.
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26.04.13 12:42
1
2
INTERLOCUTORI
orismondo Principe di Claro incognito fratello di
Stellidaura
armidoro Cavalier principale amante di Stellidaura
stellidaura Dama creduta straniera incognita sorella
di Orismondo
Giampetro servo calabrese del Principe
armillo paggio di Stellidaura
La scena si finge in Claro, isola dell’Arcipelago.
CHARACTERS
Orismondo, Prince of Clarus and, unbeknown,
brother of Stellidaura
Armidoro, Knight, lover of Stellidaura
Stellidaura, Noblewoman, believed to be foreign;
unbeknown, sister of Orismondo
Giampetro, the Prince’s Calabrese servant
Armillo, Stellidaura’s footman
The action takes place on the Ionian island of Clarus.
aTTo I
Sinfonia
aCT I
scena I
Orismondo solo
scene 1
Orismondo alone
ORISMONDO
Ombre care, amati orrori,
Deh, scorgetemi, sorgete,
A mirare il mio bel Sol.
Tra l’ombre mi guida
Un Dio ch’è bendato,
Hai scorta mal fida,
O cuore accecato.
O voraggini d’orrori,
Veggio ben che m’attendete,
Per sommergermi nel duol.
Stellidaura mio bene,
Spirto de’ spirti miei, cuor del mio core,
Il tuo divin splendore,
Amoroso baleno,
M’accese l’alma, incenerimmi il seno.
Ecco Elitropio amante:
Il cuor, che senza te viver non vuole,
Viene tra l’ombre a rintracciar un Sole.
Incognita venisti al Regno mio,
Forse a muovermi guerra,
Mentre incogniti i Dei vengono in terra;
Ahi, da qual celeste sfera
Qui Cupido ti portò?
ORISMONDO
Gentle shadows, beloved horrors,
Guide me, oh, guide me
That I may seek out my beautiful Sun.
A blindfolded God,
A guide most untrustworthy,
Is leading my blinded heart
Through this darkness.
I see full well, you abyss of horrors,
That you are lying in wait
To engulf me in affliction.
Stellidaura, my love,
Spirit of my spirits, heart of my heart:
Your divine splendour
Has set my soul ablaze with a flare of love,
And turned my heart to ash.
Behold your loving Heliotrope:
Behold this heart, so unwilling to live without you,
Pushing up through the shadows to seek out its Sun.
You have come to my Kingdom a nameless mortal,
Perchance to engage me in battle –
Yet only Gods descend upon earth in disguise.
Ah, from which celestial sphere
Has Cupid brought you here?
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3
Ben lo so,
Dal terzo Cielo,
Sotto forma d’uman velo,
Di Citera
La Regina ti mandò.
Ahi, da qual, etc.
Occhi cari, bei fulgori,
Che sì vaghi risplendete,
Io da voi la luce ho sol.
Ombre, etc.
Has perhaps
The Queen of Cythera herself
Dispatched you
From the Third Heaven,
Veiled in a human form?
Ah, from which etc.
Beloved eyes, fair effulgence
So exquisitely resplendent:
I can see no light other than yours.
Gentle shadows etc.
scena II
Armillo e detto
scene 2
Armillo and the latter
ARMILLO
Quanto soffre un core amante,
Palesarlo io non so già;
S’è l’Amor spirto folletto,
Io nol voglio nel mio petto;
Ma mi credo,
Mentre vedo
Quest’ognor tra pene tante,
Che gran stenti soffrirà;
Quanto soffre, etc.
Ho fatto esperienza,
In servir una Dama innamorata,
Che d’Amore acciecata,
Ognor mi mand’attorno,
Né differenza fa da notte a giorno.
ARMILLO
How a smitten heart will suffer
Is a thing I can hardly fathom;
I certainly do not want Cupid,
That mischievous sprite, in my heart.
But I can see
That this squire
Is racked by the torment
Of never ending misery.
How a smitten etc.
I can speak as a man who
Serves a love-struck Lady:
Blinded by Love,
She dispatches me hither and thither,
And cannot tell night from day.
ORISMONDO
Questa voce è d’Armillo,
Del mio bene Valletto,
Ahi, dibattermi sento il cor nel petto.
ORISMONDO
That is the voice of Armillo,
My beloved’s page;
Ah, how my heart pounds now.
ARMILLO
Mi manda ad Armidoro,
Che un viglietto li porti,
Mentre ogni notte suole qui venire,
A disfogar tra l’ombre il suo martire.
Chissà fosse venuto;
ARMILLO
She has sent me here
To deliver a letter to Armidoro;
This is the place where he comes every night
To lament his misery to the shadows.
I wonder if he is here.
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4
Voglio darli una voce:
Mio Signore? Armidoro?
I shall call out:
My lord? Armidoro?
ORISMONDO
A questa voce, o Dio, come non moro!
Fingerò d’esser’egli:
Armillo, sono qui.
ORISMONDO
O God, that call is killing me!
I shall pretend to be him:
Armillo, I am here.
ARMILLO
Giungesti a punto,
Che la Padrona mia,
In una col viglietto il cor v’invia.
ARMILLO
Your arrival is timely:
My lady sends you this note,
And with it her heart.
ORISMONDO
Ah, che peste dell’alma è gelosia!
Dilli, che me lo dasti.
ORISMONDO
Ah, how jealousy ravages my soul!
Tell her it is duly delivered.
ARMILLO
S’altro non ho da dire, buona notte,
Buona notte, Signor, vado a dormire.
ARMILLO
If I have nothing further to report, then
Good night, Sir, I shall retire for the night.
ORISMONDO
Ahi, qual gelido furore
Corre l’alma ad infiammar!
D’ira scoppia, e stizzi il cuore,
Né confuso sa che oprar.
Ahi, qual gelido furore, etc.
ORISMONDO
Oh, what a chilling and sudden wrath
Is setting my soul ablaze!
My incensed heart is bursting with rage,
And in its confusion knows not what to do.
Oh, what a chilling wrath etc.
scena III
Giampetro e detto
scene 3
Giampetro and the latter
GIAMPETRO
L’airu chiù d’un cafaruni
Vietti, vietti iesti ’mbrucatu
Pri ssi chianchi, e ssi cantuni
Tintu mia su arrunzulatu.
Cà mpacciuti so l’amanti
L’haiu ’mprisu a spisi mei,
Vann asciandu, ch’un virganti
Ci sparpagna li Catrei.
E amuri chi niesti uervu,
E zica, o coccio non ci po’ mbricari,
L’annuerva pri li fari arrumbulari;
GIAMPETRO
I am rank as a ram
From bounding
Uphill and down dale – and poor old me:
What a tumble I have taken.
That lovers are mad is something
I have learned at my own expense:
They discover that a scythe
Has disembowelled their stomachs
And that when Cupid has it in for you,
There is little medicine to cure that;
Love just goads them on until they roll over.
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Sta picchiusa lumeri,
pri parti di mi fa’ na zica luci,
Chiù mi fa’ cilampari.
This lantern is so tiny
That it hardly gives me any light:
No wonder I keep tripping over.
ORISMONDO
Furie, che deggio face?
ORISMONDO
O Furies, what should I do?
GIAMPETRO
Vhimmeni puviriellu,
Cziertu quavch’ fuliellu
Ncorpu di chistu s’havi ncafugnato.
GIAMPETRO
Poor wretch:
Some sprite must have
Possessed this one.
ORISMONDO
Date morte, o dolori, a un disperato.
Miei furori,
Laceratemi;
Miei dolori,
Laniatemi;
Cure mordaci,
Lupi rapaci,
Fate voi, che di spirto io resti privo;
Stellidaura ama un altro, ed io pur vivo.
Miei tormenti,
Su, uccidetemi.
Pene e stenti,
Trafiggetemi.
Questo seno,
Di veleno
Già colmo, fa che scoppi, o fato amaro:
Si mora, su, poich’il morir m’è caro.
ORISMONDO
Bring death, O suffering, upon a desperate man.
Lacerate me,
O fury.
Tear me apart,
O pain.
Wrest my very spirit,
O biting afflictions,
O ravenous wolves.
Stellidaura loves another, yet I live on.
Come: slay me
O torments.
Pierce through me,
O torture and trudge.
May this heart spilling over with venom
Burst open, O bitter Fate.
Come: let me die,
For death is my dearest friend.
GIAMPETRO
Mi criu ca sarà Lupumannaru.
GIAMPETRO
That is surely a werewolf.
ORISMONDO: O là?
ORISMONDO: Who goes there?
GIAMPETRO
Sagnù, vui siti?
Quant’ha chi vi scaccau’ stu laidu mali?
GIAMPETRO
Is that you, my Lord?
What are you so hideously upset about?
ORISMONDO
Ahi, resisto a tal duolo, e son mortale;
Portami avant’il lume.
ORISMONDO
Ah, I am a mere mortal, yet must endure this agony.
Come closer with that light.
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26.04.13 12:42
GIAMPETRO: Iecculu ccà, vhimmeni.
GIAMPETRO: Here it is, my Lord.
ORISMONDO
Legge.
“Vita di questo cor, dolce mio bene.
Sei vita d’altri, e sei la morte mia.”
ORISMONDO
He reads.
“Life of this heart, dear sweetness of mine.
To another, you bring life; to me, death.”
GIAMPETRO
Mù ci mpacchia lu mali, uh, mamma mia.
GIAMPETRO
Oh, no: this will stir the poor devil.
ORISMONDO
Siegue la lettera.
“Intendo, ch’Orismondo
Venghi di notte intorno a queste mura;
Voi sapete se l’odio, e se vi adoro.
Adorato Armidoro,
È potente il rivale.
Non venite di notte in questa strada,
Date luogo, mio caro,
Alla sua gelosia:
Pende dal viver tuo la vita mia.”
Ch’io rimanga invendicato,
Esser non può.
Già lo sdegno nel mio petto
Non ritrova più ritegno,
Già l’Inferno in sen ricetto,
Il nemico atterrerò.
Ch’io rimanga, etc.
Sì, sì, che per sfogare
L’ardor, che dentro il petto io nutro, e serro,
Saprò con cavo ferro,
Immagine del mio tormento acerbo,
Vomitarli nel sen fiamme di sdegno:
Cada il rivale mio, mora l’indegno.
ORISMONDO
Continues reading the letter
“I hear that Orismondo
Visits these walls at night;
You know well how I abhor him and adore you.
Armidoro, my beloved,
Your rival is a fearsome man.
Do not venture through these streets at night,
And beware, my sweetest,
Of his jealousy.
My life depends on your staying alive.”
I cannot remain unavenged
From this!
The contempt in my breast
Cannot be restrained.
Hell itself has taken root in my heart,
And I must slay my enemy.
I cannot remain etc.
Oh, yes: to vent the rage
Harbouring in my heart, I shall spew
The flames of my contempt into his breast
With the firearm
Of my bitter torment:
May my rival fall, may the villain die.
GIAMPETRO
L’amaricatu vucitia, e ghiastigna.
Cui sà chi ci scumbaca la carigna!
Nnamurati
Chi v’asciati
Cu serviri iuvinceddi,
GIAMPETRO
The bitter fellow is babbling and cursing:
Who knows what is ravaging his wits?
You young lovers
Who let yourselves
Fall into slavery:
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5
Puvirieddi,
Stramuruti,
Ramicati, vui siti mpacciuti?
Si serviti,
Si patiti,
Sù di cianculi li paghi,
Mà li chiaghi,
Sù ’nsanabili,
Mastru Giorgiu v’aspietta à l’ ’Ncurabili.
You poor, wretched,
Pitiful blighters:
Do you not have any sense at all?
If you submit to love
You will only suffer the consequences,
And your reward will be a meager one;
There is no cure for such sores, and
Doctor George will soon welcome you
Into his Hospital for the Incurables.
scena Iv
Armidoro e detti
Appare nel Cielo la Luna.
scene 4
Armidoro and the latter
The moon appears in the sky.
ARMIDORO
Vaghe Stelle, che splendete
Di Zaffiro in chiaro vel,
Deh, cedete alle fiammelle,
Ch’ha nel viso il mio bel Ciel.
Vaghe Stelle, etc.
Deh, cela il tuo splendore,
O vaga Argentea Dea,
Che se del mio bel Sole
Compariranno i rai,
Vinta dal suo splendor t’ecclisserai.
Oh Dio, se il Ciel rimiro,
Il numero vi scorgo
De’ miei dolori, e pene;
Se quante siete voi Stelle splendenti,
Stellidaura ha bellezze, ed io tormenti.
ARMIDORO
Radiant Stars, resplendent with Sapphire
Through the clear veil:
Your own radiance pales before the flames
Of my lady’s face, fairer than the Sky itself.
Radiant Stars etc.
Conceal your splendour,
O Silver Goddess fair;
Even you would be eclipsed
By the rays of my incandescent sun,
And vanquished by her magnificence.
Yet, O God, when I gaze at the Sky
I also sense the extent of my suffering:
If your numbers, resplendent Stars,
Are as boundless as Stellidaura’s beauty,
Then how well they match my torments.
GIAMPETRO
Uuh tintu tia, e cui ti hà mandatu
Pri ristari da chistu sbinnignatu.
GIAMPETRO
You poor wretch: who on earth
Has left you bled dry like this?
ARMIDORO
Ah, che i miei spirti il nome tuo ristaura,
O mio core, o mio ben, mia Stellidaura.
ARMIDORO
Ah, your name alone soothes my spirit,
O my heart, O my love, my very own Stellidaura.
ORISMONDO
E tanto ascolto, o Cielo!
In un medesmo tempo avvampo, e gelo.
ORISMONDO
O Heavens! What I hear
Makes me both flare up and freeze.
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26.04.13 12:42
GIAMPETRO
Mi ti sicca la lingua.
Meghiu t’avissi sciutu da la vucca
Prima lu sciatu, chi chista parola!
Ura lu tripa comu friscarola.
GIAMPETRO
If my tongue were not so dry I would warn him off.
He would have done better to catch a good breath
Rather than utter that name!
He will only get himself shot like a bird.
ARMIDORO
Oh, s’ascoltassi, o caro mio tesoro,
Il tuo fido Armidoro.
ARMIDORO
O my dearest treasure, if only you would listen
To your faithful Armidoro.
ORISMONDO
Se non fulmino l’empio, io scoppio, io moro.
ORISMONDO
Either I shoot the rascal or I burst and die myself.
GIAMPETRO
Cu lu vommica chiummu m’ l’aucidi.
GIAMPETRO
At this rate he will give him a dose of his lead.
ARMIDORO
Son i pensieri miei costanti, e fidi.
ARMIDORO
My feelings are steadfast and true.
ORISMONDO
Su, su, ferro tonante,
Vomita nel suo sen morte volante;
In quel petto, in quel cor fatti la strada;
L’empio Fetonte fulminato cada.
Scarica la Pistola.
ORISMONDO
Come, come now, thundering iron:
Spew into his breast your flying death;
Find your way into that chest and through that heart;
May this thunderbolt strike the insidious Phaeton.
Discharges his pistol
GIAMPETRO
’Nci la fici la botta.
GIAMPETRO
He has been hit!
ARMIDORO
Ah, traditore.
ARMIDORO
Ah, you coward.
ORISMONDO
Già mi vendicai.
ORISMONDO
Thus am I avenged.
GIAMPETRO
Ccà n’ nasci strivicchiu
Mo’ cu na strancalata mi la stricchiu.
GIAMPETRO
I had better leg it with a bolt of my own
Before this little dispute overheats.
ARMIDORO
Ah, che il braccio ferito
Vendicar non mi fa di tanto torto.
ARMIDORO
Ah, if only my wounded arm
Would let me retaliate for this outrage.
ORISMONDO
Sodisfatto mi chiamo.
ORISMONDO
I declare myself satisfied.
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6
ARMIDORO
Ed io son morto!
ARMIDORO
And I dead!
scena v
Stellidaura con lume, Armillo e detti
scene 5
Stellidaura with a lantern, Armillo and the latter
STELLIDAURA
Qual strepito di scoppio
Giunse a ferirmi il core!
Onde forzata da un interno affetto,
Vengo a veder chi sia; Cieli che miro!
O mia vita, mia vita, Armidoro, o mio respiro.
STELLIDAURA
That deafening blow has pierced my heart,
And the trepidation of a woman in love
Brings me to see what has happened.
Heavens: what do I see?
O Armidoro, my very life and breath!
ARMILLO
O povero Signore,
Pur doveste scampar con quel viglietto.
ARMILLO
Oh, poor Sir,
That note should have warned you away.
ARMIDORO
Miri, svenato,
Chi t’offerse il cuore.
ARMIDORO
Behold, slain, the man who offered you his heart
Clasp your sword.
ORISMONDO
E la vendetta ancor del mio furore.
ORISMONDO
And behold the vengeance exacted by my fury.
STELLIDAURA
Or sì, mie pupille,
Che pianger dovete
In lugubri stille,
Il cor, deh, piovete;
Or sì, mie pupille, etc.
STELLIDAURA
Weep, oh, weep, you orbs,
For now weep you must;
And soak my heart, alas,
With tears of mourning;
Weep, oh, weep etc.
ARMIDORO
Non piangere, o bella,
Deh, frena i lamenti,
Trattieni gl’argenti,
Che grondan dagl’occhi,
Sospiri che scocchi;
O vaga mia stella,
Mi dai più tormenti;
Non piangere, etc.
ARMIDORO
Cry not, my dearly beloved,
Oh, stem your lament
And hold back the silver flow
That wells your eyes,
Hold the gasping of your sighs;
O radiant star,
You only exacerbate my agony;
Cry not etc.
ORISMONDO
Furore, dolore,
Uccidimi su,
ORISMONDO
Come, fury and misery,
Slay me:
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Ch’il veda, e non mora,
Il duol non m’accora,
Soffrire
Il martire
Non posso già più;
Furore, etc.
His suffering
Brings me little joy
And I can no longer
Endure
His martyrdom;
Come, fury etc.
STELLIDAURA
Ove fu la ferita?
STELLIDAURA
Where are you wounded?
ARMIDORO
Fu nel braccio, mia vita.
ARMIDORO
In the arm, my beloved.
ORISMONDO
Ma lasso io l’ho nel cor troppo inasprita.
ORISMONDO
And I, alas, in my all too embittered heart.
STELLIDAURA
Per fasciarla, o mio ben, prendi il mio velo.
STELLIDAURA
Take my veil, my love, and bandage it.
ORISMONDO
Non più tormenti, o Cielo.
ORISMONDO
O Heavens, provoke me no further.
ARMIDORO
Venghi, venghi, e di nuovo il traditor m’offenda,
S’alle mie piaghe Amor presta la benda.
ARMIDORO: Come, come, scoundrel:
If my wounds are swathed by Love himself,
You can assault me anew.
ORISMONDO
Forz’è che d’ira, e di furor m’accenda.
Si fa avanti col volto coperto, e li leva il velo.
Lasciami questo velo.
ORISMONDO
I can no longer restrain my anger and fury.
Steps forth with his face covered and snatches the veil
Give me this veil!
ARMIDORO
Temerario.
ARMIDORO
At your peril.
STELLIDAURA
Arrogante.
STELLIDAURA
Ruffian!
ORISMONDO
Compatisci, ti sfido. Io sono amante.
ORISMONDO
Pity me, I beseech you: I am but a man in love.
ARMIDORO
Se impedito non fussi
Dalla cruda ferita,
Involar ti saprei col vel la vita.
ARMIDORO
Were I not hindered
By this barbarous wound, I would gladly
Take both the veil and your life.
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7
STELLIDAURA
Se non puote Armidoro,
Saprà ben Stellidaura
Vibrare contro te fulmineo brando.
Aspettami, o crudo,
Attendimi in campo,
Sperar non puoi scampo,
Aver non puoi scudo.
Aspettami, o crudo.
Cadrai per mano mia con maggior scorno,
Vado a prendere un ferro, e qui ritorno.
STELLIDAURA
If Armidoro cannot do so himself,
Stellidaura will soon
Strike you down with her sword.
Go and wait for me, villain,
Bide your time on the battlefield:
You have no hope of escape,
Nothing can shield you.
Go and wait for me, villain.
By my hand and by my contempt shall you fall;
I shall fetch a sword and return anon.
scena vI
Armillo, Armidoro e Orismondo
scene 6
Armillo, Armidoro and Orismondo
ARMILLO
Partì in casa qual vento.
ARMILLO
She flies faster than the wind.
ARMIDORO
Oh, finezza d’Amore!
ARMIDORO
How noble Love can be!
ORISMONDO
Oh, mio tormento!
ORISMONDO
And how torturous!
ARMIDORO
Cavalier, chiunque siete,
Partitevi di qui, che non conviene
Duellar con donzelle.
ARMIDORO
Whoever you may be, Sir,
Please go away: it is anything but honourable
To duel with a lady.
ORISMONDO
Quanti tormenti, o Stelle!
ORISMONDO
O Stars, how this torments me!
ARMIDORO
Saldata la ferita,
Datemi segno, ch’essere al cimento
Io vi giuro, e prometto.
ARMIDORO
Once my wound has healed,
I swear to take up your challenge:
Just show me the sign.
ORISMONDO
Eccovi il guanto.
ORISMONDO
Here is my glove.
ARMIDORO
Io la disfida accetto.
ARMIDORO
The challenge is accepted.
ARMIDORO
Se trovar maggior costanza
ARMIDORO
Is there a noblewoman
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8
ORISMONDO
Se mirar più stravaganza
ORISMONDO
Is there anything as unheard of
ARMIDORO
Si può mai tra donne frali,
ARMIDORO
With a stronger loyalty than hers,
ORISMONDO
Si potrà tra noi mortali.
ORISMONDO
Among us mortals as this,
ARMIDORO
O in Amore alme fedeli,
ARMIDORO
Or a soul more faithful in Love?
ORISMONDO
O per me troppo crudeli,
ORISMONDO
Or anything quite as tormenting?
ARMIDORO
Confessatelo voi.
ARMIDORO
I defy you to say so.
ORISMONDO
Ditelo, o Cieli.
ORISMONDO
Tell me, O Heavens.
scena vII
Stellidaura col ferro e detti
scene 7
Stellidaura with her sword, and the latter
STELLIDAURA
Crudo scempio
Di quell’empio
Il mio sdegno ha stabilito:
Su, fellone,
Alla tenzone,
Ch’al mio piè cadrai ferito.
Ma dove è il traditor?
STELLIDAURA
My outrage at the callous atrocity
Committed by this rogue
Is intractable:
Come, felon,
To battle!
Wounded at my feet shall you fall.
But where is the knave?
ARMIDORO: Egli è fuggito.
ARMIDORO: He has fled.
STELLIDAURA: Voglio seguirlo.
STELLIDAURA: I shall give chase.
ARMIDORO: Ferma.
ARMIDORO: Halt!
STELLIDAURA: Lasciami, o caro.
STELLIDAURA: Let me be, my cherished one.
ARMIDORO: Aspetta.
ARMIDORO: Wait.
STELLIDAURA
Bramo far la vendetta.
STELLIDAURA
My revenge cannot wait.
ARMILLO
Oh, come sta arrabbiata, e vendicante.
ARMILLO
Hark at that wrath and rancour!
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9
STELLIDAURA
Son sdegnata, son donna, e sono amante.
STELLIDAURA
I am affronted, I am a woman, I am in love.
ARMIDORO
Non potei trattenerla,
Che ’l braccio m’impedì. Sieguimi, Armillo,
Che trattener la voglio.
ARMIDORO
I was not able to hold her back
Because of my arm.
Follow me, Armillo: I want to stop her.
ARMILLO, ARMIDORO
Oh, che donna sdegnosa!
ARMILLO, ARMIDORO
What a frenzied woman;
ARMILLO
Oh, fé di scoglio.
ARMILLO
What rock-solid faith!
ARMIDORO
Oh, grande imbroglio!
ARMIDORO
What a mess!
scena vIII
Giampetro solo
scene 8
Giampetro alone
GIAMPETRO
Ancuora a li ’ncamoghi
Nc’haiu li trimulizzu
E ntra la ricchia nci sientu lu frischu
Di la sparata di lu cacafocu;
Eu saparatu ca mi ndistipai,
Cui sà, chi ntraviniudi à lu Patruni.
Eu bieddu lu chiantai,
E cu nu curazzuni
Di surdati valienti
Fazzu, ch’ogn’homu mpara
Cu li gambi à minà la lupanara.
Nun mi pracinu rummurati
Si nun sulu di pigniati,
Di frissuli, caudari, e tiani,
Ch’a lu cociri secri, baiani.
Si cunfortanu l’affamati.
Nun mi pracinu, etc.
Dà li balli nni stugnu arrassu
Ie prichi fannu fracassu
Garadduozzi si su di vitiedda,
Chi ponnu inchiri la vudiedda
GIAMPETRO
My belly is still quivering
And my ears are still ringing with
The shot from
That fire-farting pipe;
It was a wise move to disappear.
But I wonder what has happened to my Master:
I did perhaps rather leave him to it.
But then I was only doing
What every other man knows:
Even with the heart of the bravest soldier,
If you face a barrel, you do well to leg it.
The only noise I like
Is the crashing of pots and pans,
Cauldrons and kettles:
What other music is supposed
To comfort the hungry?
The only noise etc.
But dancing is not my thing, either:
The footwork makes a deafening din,
And the only trotter I like is the one of veal;
Giampetro would sooner enjoy
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0
À Giampetru dunanu spassu.
Dà li baddi, etc.
Pirchi hai umprumittuto a la natura
Essiri vurvicatu
Cu lu coiru meu sanu, e nun tripatu.
The hop that fills his haunch.
But dancing is not etc.
After all, I have sworn solemnly to Nature
That I would look after my belly,
With a heart that is healthy and not hollow.
scena IX
Stellidaura, Armidoro, Armillo e detto
scene 9
Stellidaura, Armidoro, Armillo and the latter
STELLIDAURA
Non scamperai, tiranno.
STELLIDAURA
There is no escape for you, tyrant.
GIAMPETRO
Chist’ è nautru malannu!
GIAMPETRO
Whatever next?
STELLIDAURA
Poni mano a quel ferro, o traditore.
STELLIDAURA
Clasp your sword, villain.
GIAMPETRO
Scassapirriami ca nun haiu cori.
GIAMPETRO
I am not sure I have the stomach for this.
STELLIDAURA
Codardo, vieni in campo, io ti disfido.
STELLIDAURA
Step into battle, coward: I defy you.
GIAMPETRO
N’haiu nenti cu tìa.
GIAMPETRO
But I have no quarrel with you.
STELLIDAURA
Presto, o t’uccido.
STELLIDAURA
At the double or I’ll kill you right here.
GIAMPETRO
Cacchiamenti à chi trivulu mi trovo.
GIAMPETRO
Oh, crumbs! How did I get into this one?
STELLIDAURA
Codardo, morirai.
STELLIDAURA
Meet your end, coward.
ARMIDORO
Fermati Stellidaura! Ohimè, che fai?
ARMIDORO
Stop, Stellidaura! What are you doing?
STELLIDAURA
Lasciate ch’io l’uccida.
STELLIDAURA
Let me slay him.
GIAMPETRO
Mà eu nun su cuntientu di ssu fattu!
GIAMPETRO
But I am not sure I want that!
STELLIDAURA
Vo’ privarlo di vita.
STELLIDAURA
I want to pluck his life from him.
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ARMIDORO
Ferma, mio ben leale!
ARMIDORO
Stop, my loyal beloved!
GIAMPETRO
E chi piensi ca n’haiu nu vignali?
Aiutami, iè sù chiddu.
GIAMPETRO
Did you think I am armed with a dagger?
Help! I am only poor little me.
ARMIDORO
Se scampi lei, non scamperai d’Armillo.
In che costui t’offese?
ARMIDORO
She may have spared you, but Armillo will not.
What has this fellow done to offend you?
GIAMPETRO
Dà Cavaleru n’haiu fatto nenti.
GIAMPETRO
You tell her, your Knightship: I have done nothing.
STELLIDAURA
Non è questo colui che vi ha ferito.
STELLIDAURA
Is this not the man who wounded you?
GIAMPETRO
Aviti fatt’ erruri,
Ie statu lu Patruni …
GIAMPETRO
You are mistaken:
It was my Lord …
ARMIDORO
Sì, che forse inviotti a qualche affare.
ARMIDORO
Who perhaps sent you on a mission.
GIAMPETRO
La cacafochiata …
GIAMPETRO
That gunshot …
ARMIDORO: Non lo sai?
ARMIDORO: What do you know about it?
GIAMPETRO:
La facienda.
GIAMPETRO:
That business that he …
ARMIDORO
Per la quale t’invia? Non vo’ saperla.
ARMIDORO
Has sent you here on? I do not want to know.
STELLIDAURA
No, lascia che favelli.
STELLIDAURA
No, let him speak.
ARMIDORO
Che vuoi saper, s’egli è un balordo, o bella.
ARMIDORO
What is there to know, my treasure? He is a buffoon.
STELLIDAURA: Caro.
STELLIDAURA: My dearest.
ARMIDORO: Vaga.
ARMIDORO: My beauty.
STELLIDAURA: La tua
STELLIDAURA: Oh, God, your
ARMIDORO: La mia
ARMIDORO: Oh, God, my
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STELLIDAURA, ARMIDORO: Piaga,
q
STELLIDAURA, ARMIDORO: Open wound
STELLIDAURA: Nel mio core, oh Dio, la sento.
STELLIDAURA: So aches in my heart.
ARMIDORO: Più dolermi io non la sento.
ARMIDORO: No longer hurts.
STELLIDAURA, ARMIDORO: Il tormento
STELLIDAURA, ARMIDORO: The agony
STELLIDAURA: Mi trafigge.
STELLIDAURA: Pierces right through me.
ARMIDORO: Non m’affligge.
ARMIDORO: Is now more bearable.
STELLIDAURA: La tua piaga mi dà duolo.
STELLIDAURA: Your wound makes me grieve.
ARMIDORO: Tua beltà mi dà consuolo.
ARMIDORO: Your beauty soothes me.
STELLIDAURA: Oh, mio cuore.
STELLIDAURA: Oh, my heart.
ARMIDORO: Oh, mio contento.
ARMIDORO: Oh, my happiness.
STELLIDAURA: Caro.
STELLIDAURA: My dearest.
ARMIDORO: Vaga, etc.
ARMIDORO: My beauty etc.
STELLIDAURA: Va’ a fasciarti
STELLIDAURA: Go and swathe
ARMIDORO: Va’, riposa
ARMIDORO: Go and rest
STELLIDAURA: Il tuo braccio.
STELLIDAURA: Your arm.
ARMIDORO: I tuoi bei lumi.
ARMIDORO: Your beautiful eyes.
STELLIDAURA, ARMIDORO: Idolo mio.
STELLIDAURA, ARMIDORO: My idol.
ARMIDORO: Stellidaura.
ARMIDORO: Stellidaura.
STELLIDAURA: Armidoro.
ARMIDORO: Addio.
ARMIDORO: Farewell.
STELLIDAURA: Addio.
STELLIDAURA: Farewell.
aTTo II
scena I
Orismondo con boffettino, e ricapito da scrivere
aCT II
scene 1
Orismondo at a writing table
ORISMONDO
Ecco già sorge dal Gange,
Tutto lieto il Dio del giorno,
ma il mio cuor sospira e piange,
S’ha le tenebre d’intorno.
ORISMONDO
Here is the God of Day,
Rising serene from the Ganges;
Yet my heart, wrapped in gloom,
Just weeps with sorrow.
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Stellidaura, mia vita,
Quanto cara mi costi,
Mentre che mi convien, fato nemico,
Per possederti perdere l’amico.
Questo candido foglio,
Simbolo di mia fé, vo’ che t’esprima
Dell’alma i sentimenti;
Forse pietade avrai de’ miei tormenti.
Stellidaura, my life,
What a price I am paying,
O adverse plight,
If, in order to possess you, I must lose a friend.
Let this honest letter
Be the bearer of my devotion
And express the feelings in my soul;
Perhaps then will you take pity on me.
scena II
Giampetro ed Orismondo
scene 2
Giampetro and Orismondo
GIAMPETRO
Nun haiu fattu pocu
A scappari da dui, bonní Sagnuri,
L’aviti fatta bona
Vui pedicucchiastivii et iu mera
Ci’nchiappai a li botti
Chistu vo’ diri lu ghiri di notti.
GIAMPETRO
Escaping from those two
Was no mean feat, my Lord.
You did well to make yourself scarce,
While I nearly ended black, blue and belly up:
That is what happens if you insist on
Being out and about at night.
ORISMONDO
O ben per certo, io te più non mirai.
ORISMONDO
True: I did lose sight of you.
GIAMPETRO
Mera bin’ hai ’a crai
Pri lu cuorpu d’Apuoddu,
Na grandi quantaria mi vinni ’ncuoddu:
La gnura Stiddidaura
Mbirata sicutaumi
Comu Lupa figghiata
Mmanu la firramienta avia arrancata.
GIAMPETRO
By Apollo, did she give me a fright:
I felt the chill running
Right through my bones.
Madam Stiddidaura
Came chasing after me
Like a frenzied she-wolf,
Brandishing her sword in the air.
ORISMONDO
E che facesti tu?
Le scopristi ch’io fui?
ORISMONDO
And what did you do?
Did you let on that it was me?
GIAMPETRO
Nun ci l’haiu ’ngurnó virvisiatu,
Ca nun sù nciutu sciutu, e nturdunatu.
GIAMPETRO
No, my Lord, not a word:
Would I ever do such a silly thing?
ORISMONDO
Fanno guerra nel mio petto,
L’amicizia, e ’l Dio d’Amor;
ORISMONDO
Friendship and the God of Love
Are at war in my heart;
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e
Da due lacci sono astretto,
Né so dove si pieghi il cor.
Fanno guerra, etc.
I am being constricted by two lashes, and
Know not which way my heart should go.
Friendship and the God etc.
GIAMPETRO
Autra guerra nun ami Giampetru,
Si nun chidda chi sent’a a la panza,
Chi la fami ci curri la lanza,
Li stintini si su arrunzunati
Pri li pitti, e bucciddati
Comu nu strumbulu
Sciddicu, arrumbulu,
Moru, e mi spetru
Autra guerra nun ami Giampetru
D’autru sangu pittitu nun haiu,
Chi pri chiddu di lu cuzzirupu,
Pr’iddu arruombulu e mi pirrupu,
Ntrà la gaala nc’haiu chiuritu,
Pri lu viviri sapuritu
Comu virticchiu,
Sciulu, spiticchiu,
Mi veni lu iau,
D’autru sangu etc.
GIAMPETRO
Giampetro wages no war
Other than the one for his belly.
When hunger drives it through with a spear,
When my intestines have all shrivelled up,
I tell you that I would twirl
Like a spinning top
To win my bread and meat;
I would sooner gobble myself up than die hungry.
Giampetro wages no war
And has no thirst for blood
Other than the red wine of Cuzzirupu:
That one drives him wild with delight.
My throat just itches
For the juiciest drinks:
Drown me anytime in verdicchio,
Syrups and spumante;
I get parched just thinking about them.
And has no thirst etc.
scena III
Armidoro solo
scene 3
Armidoro alone
ARMIDORO
Più finezza d’Amore costante,
In cuore di donna giammai non vedrò;
Più costanza d’un’anima amante
Non viddi, né intesi, né scorger saprò.
Da favellar del servo, io ben conobbi,
Ch’Orismondo sol tenta il mio morire,
Ma non lo vo’ scoprire,
Perché amico lo stimo,
E benché giusto sdegno
A castigare il traditor mi spinge,
Taccio. Viver non sa chi ben non finge.
Benché amante, e offeso sia,
Nacqui al mondo Cavalier,
ARMIDORO
I shall never come across finer
Constancy in a woman’s heart;
I have never seen nor heard of finer
Faithfulness in a Lover’s soul, and never will.
From what the servant said, I know well that
It is Orismondo who wants me dead.
But I shall not expose him
Because I value him as a friend;
And although my outrage justly compels me
To punish the traitor, I shall say nothing:
Life often makes a man wear his mask.
Though a lover who has been wronged,
I was born a Knight into this World;
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Vendicar ben mi potria,
Ma non vuol quest’il dover.
Benché amante, etc.
Il mio cuor così l’intende,
Opra da eroe chi l’offensor difende.
I could easily reap my revenge,
But my code of honour forbids it.
Though a lover etc.
In my own heart of hearts, I believe that to defend
Your own offender is truly the deed of a hero.
scena Iv
Orismondo, Armidoro e Giampetro
scene 4
Orismondo, Armidoro and Giampetro
ORISMONDO
Amico?
ORISMONDO
My friend?
ARMIDORO: Prence mio.
ARMIDORO: My Prince.
ORISMONDO
Come ferito?
L’empio, il crudo chi fu, che tanto ardio?
ORISMONDO
You, wounded? Who was the knave,
The rogue, who dared do such a thing?
GIAMPETRO
Comu la fa fiscali; ntrà lu chippu
Si nun favieddu ura mi scattu, e schippu.
GIAMPETRO
The sanctimonious beggar! I will be in stitches
If I hear much more of this.
ARMIDORO
Spalleggiato dall’ombre un traditore
Vomitò contro me globi di piombo.
ARMIDORO
A traitor lurking in the shadows
Discharged his pistol at me.
ORISMONDO: Lo conosceste?
ORISMONDO: Do you know who?
ARMIDORO: No.
ARMIDORO: No.
ORISMONDO: Si può sapere?
ORISMONDO: Could we not find out?
ARMIDORO: Io discoprir nol vo’.
ARMIDORO: I do not want to.
ORISMONDO: Qual fu la causa?
ORISMONDO: What was his motive?
ARMIDORO
Io stimo,
Perché una Dama adoro.
ARMIDORO
On account, I think,
Of a Lady I love.
GIAMPETRO
Ah ah dduocu, è lu’ mbroghiu!
GIAMPETRO
There is the plot for you!
ORISMONDO
Oh Dio, ch’io moro!
ORISMONDO
Oh, God, this is killing me!
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ARMIDORO
Ma udite, o caro amico,
Se finezza maggiore
Vidde il Regno d’Amore:
Per fasciarmi il mio ben mi diede un velo;
L’empio, credo nascosto, il tutto udendo,
Con atto assai villano
Strappommelo da mano,
E fu cotanto ardito
Di chiamarmi a tenzon benché ferito.
Ma l’adorata mia,
Nuova Pantasilea, nuova Tomiri,
Perché nel braccio io mi trovavo offeso,
Agitata da sdegno, e da ragione,
Sfidò l’iniquo a singolar tenzone.
ARMIDORO
But listen to this, my friend,
For The Kingdom of Love
Has never witnessed a finer act of kindness:
My beloved gave me a veil as a bandage;
And the scoundrel, who was hiding,
Became ever more brutish upon hearing this
And snatched it from my hand.
He was then spineless enough
To challenge a wounded man to a duel.
But since my arm was injured, my adored lady,
This new Penthesilea, this new Tomyris,
Compelled by her outrage and just reason,
In turn challenged the ignoble man
To a most singular duel.
ORISMONDO
Ch’ira, che rabbia il suo parlar m’apporta!
ORISMONDO
Oh, the wrath and rage his words incite in me!
ARMIDORO: Che dite, amico?
ARMIDORO: What are you saying, my friend?
ORISMONDO
Un grand’Amor vi porta.
ORISMONDO
That you are driven by an immense Love.
GIAMPETRO
Nci l’ha ’nchiappat’a l’occhi la pantosca.
GIAMPETRO
He must have sand in his eyes.
ORISMONDO
Che ne seguì da poi?
ORISMONDO
And then what happened?
ARMIDORO
La tenzon distornai.
Ma che carta rimiro?
A chi scrivete, amico?
ARMIDORO
I managed to avert the duel.
But tell me: what is that letter?
To whom are you writing, my friend?
ORISMONDO
Discoprire desio
Del cuore i sentimenti all’idol mio.
ORISMONDO
It lays bare my heart’s longing
And feelings to my idol.
ARMIDORO
Oh, come son concordi i nostri cuori!
Espressi in questa carta anch’io gli Amori.
Ascoltate lo stile.
ARMIDORO
Then our hearts speak with one voice!
I too have expressed my Love in a letter;
May I read it to you?
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GIAMPETRO
Sta cittu, ca’ fai peju ntabbaccatu
La facienda nun sa lu nturdunato.
GIAMPETRO
He would do well to muzzle himself:
The halfwit has no idea.
ARMIDORO
Legge la Lettera
“Idolo del mio cor, dolce desio.”
ARMIDORO
He reads the letter.
“Idol of my heart, my sweet desire.”
ORISMONDO
Tormento di quest’alma, e del cor mio.
ORISMONDO
Torment of my heart and soul.
ARMIDORO: Che dite?
ARMIDORO: What did you say?
GIAMPETRO
Uh te ch’imbruoghiu.
GIAMPETRO
What a lovely twist this is.
ORISMONDO
Questo titolo espressi in questo foglio.
ORISMONDO
I used the very same opening in my own letter.
ARMIDORO
“Fu lieve la ferita,
Ch’al braccio ricevei,
Ma troppo è inferocita
Quella che nel mio cuore
Impresse de’ tuoi sguardi il bel fulgore.
Da’ vostri lumi sol spera ristoro
Il fedele Armidoro.”
ARMIDORO
“The wound I have suffered
In my arm is now lighter to bear;
But aching without respite
Are the wounds left in my heart
By the bolts from your radiant eyes.
Oh, that their light would bring solace to
Your faithful Armidoro.”
ORISMONDO
Ascoltate la mia.
– Respirar non mi fa la gelosia. –
“Tormento di quest’alma e del cuor mio,
Quando, o troppo crudele,
S’udiranno da voi le mie querele?
Cruda, ma troppo bella,
Deh, qual maligna stella
Piove sopra il mio capo i suoi malori?
Pietà de’ miei dolori,
O dispietata sì, ma troppo vaga;
È crudele la piaga,
Ma durerà per sin che duri il mondo.
Vostro fedele il Principe Orismondo.”
Olà! Prendi la carta,
ORISMONDO
Listen to mine:
– I can barely breathe from envy. –
“Torment of this soul and heart,
When, O cruel, cruel woman,
When will you take heed of my affliction?
O callous yet comely woman,
Which malevolent star, alas,
Is dripping its venom upon my head?
Take pity on my pain,
O ruthless yet ravishing woman;
As enduring as the world itself
Is the agony from this sore.
Your faithful Prince, Orismondo.”
You there, take this letter and deliver it
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Recala a chi tu sai, ben lo comprendi?
Ma di nascosto, intendi?
To the usual person; do you follow me?
But secretly, understand?
GIAMPETRO
V’haiu ntisu
Zuppica zuppica prissù carrolu
Sciddicu, arruonzulu, arrumbulu, e bolu.
GIAMPETRO
I do, I do, I am no clot:
I’ll spin and leap, I’ll bolt and trot,
And gladly flee this boiling pot.
ARMIDORO
– A chi la carta va, ben lo comprendo. –
ARMIDORO
– I know full well where that letter is going. –
ORISMONDO
Amico, andiamo. (Oh sorte!)
ORISMONDO
Let us go, my Friend. (O fate!)
ARMIDORO
Vi sieguo. (Ah, potess’io darti la morte!)
ARMIDORO
I shall follow you. (Ah, that I could slay you!)
A due
ORISMONDO
Caro, ah, crudo Amore.
ARMIDORO
Fido, ah, traditore.
Both together
ORISMONDO
O beloved, unyielding Love.
ARMIDORO
Ah, loyal traitor.
A due
ORISMONDO
Con le braccia
ARMIDORO
Nel mio core
Both together
ORISMONDO
Let me clasp you
ARMIDORO
Let me hold you
A due
ORISMONDO
Deh, lasciate che v’allaccia.
ARMIDORO
Permettete ch’io vi stringa.
Both together
ORISMONDO
In my arms.
ARMIDORO
In my heart.
ORISMONDO, ARMIDORO
L’odio, lo sdegno, e pur convien che finga.
ORISMONDO, ARMIDORO
I despise him, I scorn him, yet feign I must.
GIAMPETRO
Midulla salata
Ncicogna nun hà,
La facci lavata,
Cui ncurti nun fà.
Chi si grattugna,
GIAMPETRO
The marrow of the humble Stork
Is as sweet as the bird itself, not salty;
But do any of our gentry
Have a clean cheek to show?
Whether they turn to their fair side,
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Chi si ncafugna,
Cui spirliccari,
Poi graccinari,
Darreri nun sa.
Midulla salata, etc.
Curtiscianu nun c’è, chi sia sumeri,
Chi n’ha na faccia ’nanti, e n’autra arreri.
Or stoop and show their backside,
They will still dish the dirt,
Spread a spicy story,
And talk behind your back.
The marrow etc.
But their servants would be truly dim
To show one face this way and another behind.
scena v
Stellidaura e Armillo
scene 5
Stellidaura and Armillo
STELLIDAURA
Chi d’Amore lo strale ha in petto,
Ch’abbi pace mai sarà;
Questo core
Tra l’ardore
Si consuma, et ha diletto,
E l’ardore smorzare non sa.
Chi d’Amore, etc.
STELLIDAURA
The heart of a woman pierced by Cupid’s arrow
Can never be at peace;
This heart
Is both devoured
And delighted by a passion,
She knows not how to quell.
The heart etc.
ARMILLO
A che tanto lagnarvi, o mia Signora?
Troppo il duolo, troppo v’accora,
Poco il male sarà del vostro amante,
A che tra pene tante
Distruggervi volete?
Date un poco al pensier pace, e quiete.
ARMILLO
What makes you grieve so, my Lady?
This distress is breaking your heart.
If your beloved is not in so much pain,
Why consume yourself with such suffering?
Come, bring peace to your mind
And allay your worries.
STELLIDAURA
Ch’io dia tregua a’ pensieri
Esser certo non puote, invan lo speri.
STELLIDAURA
Of that I am certain: I can give no respite to
My thoughts, nor could I hope for any.
ARMILLO
Dunque che far dovremo?
ARMILLO
So what can we do?
STELLIDAURA
Perché, lassa, tant’amo, io perciò temo.
Va’, ritrova il mio bene,
Il mio cuor, la mia vita,
Sappi se grave fu la sua ferita.
STELLIDAURA
I am anxious because, alas, I love him so.
Go and find my beloved man:
He is my heart, my very life;
Find out if his wound is serious.
ARMILLO
Io già ne vado in fretta.
ARMILLO
I shall go right away.
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STELLIDAURA
Il cuor del tuo venir la vita aspetta.
Ferma, arresta, o crudo Arciero,
Di far guerra a questo seno
De’ tuoi strali al colpo fiero
Mi do vinta, e vengo meno;
Ma tu, rio, che di me brami la palma
Pungi il cor, struggi il petto, e strazi l’alma.
STELLIDAURA
My heart and its life await your return.
And you, O spiteful Archer, halt!
Cease your battle against this breast.
I concede defeat and succumb
To your arrows and true aim;
Yet still, Tyrant, must you crown your glory
By ravaging my heart, my breast, my soul.
ARMILLO
Poveri amanti,
Ch’in preda a’ pianti
Vi distruggete,
Voi mi movete
Quest’alma a pietà.
Ma non m’arrischio
Di dar nel vischio
Del cieco crudo
Di fede ignudo.
No, non si vanti,
Che nella rete
Predar non mi sa.
Poveri amanti, etc.
ARMILLO
See, wretched lovers,
How your sobbing
Consumes you:
I feel for you and
My soul reaches out to you.
But I shall not be entrapped
By the blind
And bare Tyrant
Who observes no faith.
He cannot boast on my account,
For he will never ensnare me
In his net.
See, wretched lovers etc.
scena vI
Giampetro e Armillo
scene 6
Giampetro and Armillo
GIAMPETRO
Cui fa lu guagnuni
Riposu mai trovi
Spiranza nun ’ncé;
Pri travagghiari
Mu ’nchianu, mu scindu,
Ma pri lu mangiari
Spiriscu, ’ndi spindu;
Lu Celu, è scasuni
Chi supra mi chiovi
Li cianculi ohimé.
Cui fa lu guagnuni, etc.
GIAMPETRO
If you are a servant
You never have a hope in hell
Of earning a rest.
When I work I am bent double
And can barely catch my breath;
Then, when it comes to eating,
I get so desperate that I fork out all I have.
Oh, that the Heavens above
Would make it rain a glutton’s feast
On to my poor hungry paunch!
If you are a servant etc.
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ARMILLO: Di che ti lagni, amico?
ARMILLO: What are you moaning about, my friend?
GIAMPETRO
Di lu serviri ncurti.
GIAMPETRO
About serving the gentry.
ARMILLO
Non lagnarti, è comun la nostra sorte.
ARMILLO
Spare yourself the trouble: we all do.
GIAMPETRO
Ma lassamu ’sti trivuli da banda,
Cammarata riali
Dimmi comu ti tratta lu gangali?
GIAMPETRO
But grumbling aside,
My right royal mate,
How fares your belly today?
ARMILLO
Ho una fame che scoppio.
ARMILLO
I am so famished it may well burst soon.
GIAMPETRO
Edio mi sientu
Nu pittitu di cani.
GIAMPETRO
And I am as ravenous
As a stray dog.
A due
ARMILLO
O caro amico, diamoci le mani!
GIAMPETRO
O cammarata, dammuci li mani!
Both together
ARMILLO
Let us shake on that, my dear friend!
GIAMPETRO
Let us shake on that, my mate!
GIAMPETRO
Ni’ vulimu iucari, cui si cumpra
Lu biscottu, e lu vinu,
Ca lu cusciali di picciuli è chinu.
GIAMPETRO
How about a little game of cards,
And the winner buys us both biscuits and wine?
After all, our sacks have a shekel or two.
ARMILLO
Non intendo che dici.
ARMILLO
I am not sure I understand.
GIAMPETRO
Manco sai ch’è cusciali?
La muria chi ti scacca,
Cusciali vuole dire la bugiacca.
GIAMPETRO
Have you never heard of a sack of shekels?
Thundering mackerel!
A sack is a pod.
ARMILLO
Credo scampar Cariddi, ed urto in Scilla.
ARMILLO
This feels like sailing between Scylla and Charybdis.
GIAMPETRO
Mancu ntindisti? Si si nu fraschietta!
Cusciali, buggia, id este la sacchetta.
GIAMPETRO
Do you not get that, either? Worse than a princess,
You are! Sack, pod, poke: means a pocket. Of shekels.
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ARMILLO
Or mi trovi di vena.
Teco questa moneta io giocar voglio.
ARMILLO
Now I get you.
I am game for that: here is my money.
A due
GIAMPETRO
Cu sti carti singati ti lu mbrogiu.
ARMILLO
Con la moneta falsa or te l’imbroglio.
Both together
GIAMPETRO
I will soon fleece you with this marked deck.
ARMILLO
I will soon have you with my forged coins.
GIAMPETRO
Vaia ali tri primeri nu carrinu.
GIAMPETRO
First to get all the sevens wins a carlino.
ARMILLO: Voglio.
ARMILLO: Count me in.
A due
GIAMPETRO
Ie comu stà paratu lu vurpinu.
ARMILLO
Adesso ce l’intoppo, il poverino.
Both together
GIAMPETRO
He thinks he can fox me out.
ARMILLO
I will have the scamp in no time.
GIAMPETRO
Primera già n’haiu una.
GIAMPETRO
There are my sevens.
ARMILLO
Sempre contro mi va l’empia fortuna!
ARMILLO
Trust my luck!
GIAMPETRO: Scartu.
GIAMPETRO: Pass.
ARMILLO: E ancor io; Primiera!
ARMILLO: And there are my sevens!
GIAMPETRO
Cà nci vinni nu fruscu, fussi ducisu.
GIAMPETRO
Confounded codpiece, I wish he would drop dead.
A due
GIAMPETRO
Comu lu nchicchiu schippu di lu risu!
ARMILLO
Quando siamo al pagar scoppio del riso!
Both together
GIAMPETRO
I will split my sides laughing when you fall for it!
ARMILLO
I will be in stitches once we count our points!
GIAMPETRO: Fa carti.
GIAMPETRO: You deal the cards.
ARMILLO: Prendi.
ARMILLO: There.
GIAMPETRO: Si nci veni na carta.
GIAMPETRO: This had better be a good hand.
ARMILLO: Mi son posto a Primiera.
ARMILLO: I should be fine for sevens.
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GIAMPETRO
Vieccu cinquantacincu.
GIAMPETRO
There are my fifty-five points!
ARMILLO
Oh, mio fiero Destino!
ARMILLO
Ah, blasted luck!
GIAMPETRO
Mintici pinna, t’haiu nu carrinu.
GIAMPETRO
Come on, I want my carlino.
ARMILLO
Dammi il resto.
ARMILLO
And I want my change.
GIAMPETRO
Non buò iucari?
GIAMPETRO
Will you not play anymore?
ARMILLO
No.
ARMILLO
No.
Mentre piglia i denari,
li cade la lettera d’Orismondo.
As he collects the coins,
Giampetro drops Orismondo’s letter.
GIAMPETRO
Chista ccà è na mpatacchia
Pighia uqattu carrini, ch’è lu riestu.
GIAMPETRO
These carlini look rather suspect.
You can have them back: there is your change.
ARMILLO
Pari già stiamo.
ARMILLO
I think we can call it quits.
GIAMPETRO
Scavu.
GIAMPETRO
I will be off.
ARMIDORO
Addio; qui resto;
Rimasto è ingannato.
ARMIDORO
Farewell; I am staying.
I had him hoodwinked.
GIAMPETRO
Nci l’haiu nchiunchiatu.
GIAMPETRO
I had him diddledumbed.
ARMILLO: L’inganno fu bello.
ARMILLO: A neat little trick that was.
GIAMPETRO: Lu puvirieddu.
GIAMPETRO: Poor oaf.
ARMILLO: Riuscì molto bene.
ARMILLO: Very neat indeed.
GIAMPETRO: Chi risu mi veni.
GIAMPETRO: I had better not snigger.
ARMILLO: Com’è bestiale.
ARMILLO: The brains of a beast!
GIAMPETRO: Uh comu è paddali!
GIAMPETRO: The wit of a watermelon!
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u
ARMILLO: Melenso, insensato.
ARMILLO: Country bumpkin.
GIAMPETRO: Cusciati, ’ntumato.
GIAMPETRO: The miser is as tight as his pockets.
ARMILLO: Rimasto è ingannato.
ARMILLO: I had him hoodwinked.
GIAMPETRO
Nci l’haiu nchiunchiatu.
GIAMPETRO
I had him diddledumbed.
ARMILLO
Rubato un beccafico oggi ha un falcone.
ARMILLO
The warbler made easy pickings for the falcon.
GIAMPETRO
Dipinnai sienza l’acqua stu picciuni.
GIAMPETRO
I needed no water to pluck that pigeon.
scena vII
Armidoro e Armillo
scene 7
Armidoro and Armillo
ARMIDORO
Si raddoppino le ferite
Nel mio braccio, e nel mio cuor,
Non mi son, se non gradite
Per cagion del mio tesor.
Si raddoppino le ferite, etc.
ARMIDORO
I would gladly suffer once again
The wounds in my arm and in my heart,
For I can only cherish
What my love for my treasure brings upon me.
I would gladly etc.
ARMILLO
Appunto, mio Signore,
Io ricercavo voi; la mia Padrona
Della vostra ferita
Ne sta molto inquieta.
(Il negozio ei non sa della moneta.)
ARMILLO
I was just looking for you, Sir:
My Lady
Is very concerned
About your wound.
(He knows nothing about the coins.)
ARMIDORO
Il periglio fu lieve:
Sol perché da una vena uscì gran sangue,
Mi rese il braccio esangue.
ARMIDORO
It is not serious:
I lost some blood from this arm,
But only from a small vein.
ARMILLO
Sia pur lodato il Cielo
Che fu poca l’offesa.
ARMILLO
Thank Heavens
That the injury was not serious.
ARMIDORO
Appunto avevo un foglio
Da inviare al mio bene, ah, lo perdei!
Scoprivo in esso i sentimenti miei.
ARMIDORO
I had a letter with me
To send to my beloved – ah, I have lost it! –
In which I opened my heart to her.
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ARMILLO
Ecco una carta; adesso
Credo v’era cascata.
ARMILLO
Here is a letter; I think
You dropped it just now.
ARMIDORO
Questa fia per appunto.
Non dice a Stellidaura?
ARMIDORO
Yes, that is the one.
It is addressed to Stellidaura, is it not?
ARMILLO: Sì, Signore.
ARMILLO: It is, my Lord.
ARMIDORO
Alla tua man l’ha riportata Amore;
Recala a Stellidaura, all’idol mio.
ARMIDORO
Cupid himself has handed it to you;
Take it to my idol, Stellidaura.
ARMILLO: Vi servirò, Signore.
ARMILLO: Certainly, my Lord.
ARMIDORO: Armillo, addio.
ARMIDORO: Farewell, Armillo.
CD 2
1
scena vIII
Giampetro, e dopo Armillo
scene 8
Giampetro, then Armillo
GIAMPETRO
Benhaia crai ca m’era discappata
Sta ianca pintaneura sopra di,
Currivi la staffietta, supra di la buffietta,
E mancu mali, cà ’nci l’hai aasciatu,
Pri’ghi a la mplessa a cara pena iatu.
GIAMPETRO
There I was thinking I had lost for good
The letter I was supposed to deliver.
So I flew back brisk as a bolt,
My poor lungs a-puffing and heart a-pounding;
But thank God that it was right by the table.
ARMILLO: Che v’è di nuovo?
ARMILLO: We meet again.
GIAMPETRO: Amicu.
GIAMPETRO: Greetings, my friend.
ARMILLO
Credo che già scoverto abbia l’intrico.
ARMILLO
Something tells me he has discovered my trick.
GIAMPETRO
Criumi ca scummighiatu haia lu ntricu.
GIAMPETRO
Something tells me the penny has dropped.
ARMILLO
Dimmi, che vai facendo?
ARMILLO
Tell me, what are you up to?
GIAMPETRO
Su fattu pustigghiuni
A la Patruna tua
GIAMPETRO
I am playing postman
To your Lady:
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2
Stu fogghiettuu ci manda lu Patruni.
I have a note for her from my master.
ARMILLO
Un altro ne port’io,
Vedrem chi avrà la mancia.
ARMILLO
And I am delivering one myself:
Shall we see who gets a tip out of it?
GIAMPETRO
Ieu ndi la scippu.
GIAMPETRO
I will soon relieve you of that.
ARMILLO
Grattati la pancia.
ARMILLO
I will soon be patting my paunch.
scena IX
Stellidaura e detti
scene 9
Stellidaura and both the latter
STELLIDAURA
A un cor inquieto
Li sembra il momento
Ch’un secolo sia.
Lo sa l’alma mia,
Che vive in tormenti.
A un cuore, etc.
STELLIDAURA
A fleeting moment
Feels like a century
To the apprehensive heart.
How well my soul knows this,
Living through such torments.
A fleeting moment etc.
ARMILLO: Mia Signora?
ARMILLO: My Lady?
STELLIDAURA: Mio caro?
STELLIDAURA: My dear?
ARMILLO: Una carta vi porto.
ARMILLO: I bring you a letter.
STELLIDAURA
Il mio cor da’ tormenti è già risorto.
STELLIDAURA
My agonizing heart feels comforted already.
GIAMPETRO: Signura n’haiu n’autra.
GIAMPETRO: I have one too, my Lady.
STELLIDAURA:
Un poco aspetta.
STELLIDAURA
Just a moment, please.
ARMILLO
Lascia legger la mia, ch’hai tu gran fretta?
ARMILLO
Let her read mine first – why all the hurry?
Stellidaura legge la lettera d’Armillo sotto voce.
Stellidaura reads Armillo’s letter quietly to herself.
STELLIDAURA
Temerario! Ed ardisti
Portarmi questo foglio?
Non sai tu, ch’io non voglio,
Che sue carte ricevi?
STELLIDAURA
Impudent fellow! How dare you
Bring me this letter?
Do you not know that I will not have you receive
Any correspondence from him?
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Questa sia la risposta,
Che recar li potrai,
Ch’amar nol posso, e il foglio suo squarciai.
Well, this is the reply you can take back:
“I cannot love him
And I have torn up his letter.”
GIAMPETRO
Biedda strina t’ha data,
Eu schippu di la mbidia cammarata.
GIAMPETRO
That is a fine tip you have earned,
My dear mate: I am dying of envy.
ARMILLO
Oh, che gran stravaganza!
Delle donne sorella è l’incostanza.
ARMILLO
What bizarre behaviour!
Fickleness is every woman’s sister.
STELLIDAURA
Dammi quel foglio tu.
STELLIDAURA
Let me have your letter, now.
GIAMPETRO
Pighiati alquantu
Ni vi scurdati di lu paraguantu.
GIAMPETRO
All yours, my Lady – and a poor lad,
Of course, never says no to a coin or two.
Stellidaura legge fra sé la lettera.
Stellidaura reads the letter to herself.
STELLIDAURA
Sì, che vo’ premiarti,
Devo remunerarti;
Sieguimi in casa, ch’io
La risposta far voglio all’idol mio.
STELLIDAURA
Yes, you deserve something for this
And I would like to reward you;
Follow me indoors and I shall give you
My answer to my idol.
GIAMPETRO
Pacenzia, cammarata.
Nun fari murmurizzu,
Pighiati pri li denti nu palizzu.
GIAMPETRO
Never you mind, matey.
Rather than muttering curses,
You can always bite into a toothpick.
ARMILLO
Fermezza
In bellezza
Chi spera è insensato,
Lo scorgo assai ben;
Chi crede,
Che fede
Ha donna,
Trasonna,
Rimane ingannato,
Deluso ne vien.
Fermezza, etc.
ARMILLO
The man who yearns for
Loyalty from his lady
Deludes himself.
I can see it all too well:
The man who believes
That his beloved one
Can be steadfast,
Is a dreamer;
He only stands to be duped
And gains nothing but blighted hope.
The man etc.
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scena X
Armidoro e detto
scene 10
ARMIDORO
Che avrà detto il mio bene?
Certo m’avrà risposto.
Spero beato possederla un dì.
Ecco l’araldo delle gioie mie.
Armillo?
ARMIDORO
I wonder what my beloved has said:
She must surely have replied.
How I yearn for her to be mine one day!
Here comes the bearer of my joy.
Armillo?
ARMILLO
Mio Padrone,
Appunto avea in pensiero
Quella risposta, che dovea recarvi.
ARMILLO
My Lord,
I carry in my head
The answer you asked for.
ARMIDORO
Dov’è la carta?
ARMIDORO
Where is her letter?
ARMILLO
L’udirete a bocca.
Mi disse: “T’ho pur detto,
Che sue carte non voglio,
Ch’amar nol posso”, e lacerò quel foglio.
ARMILLO
You will hear it in my own words.
She told me: “I had told you clearly,
That I will not correspond with him,
And that I cannot love him,” and tore it up.
ARMIDORO: Che dici?
ARMIDORO: What are you telling me?
ARMILLO
Questo è nulla:
Del Principe Orismondo
Ebbe cara la carta.
ARMILLO
That is nothing:
She was then delighted to receive
Prince Orismondo’s own letter.
ARMIDORO: E tu il vedesti?
ARMIDORO: Did you see him?
ARMILLO
Anzi il servo è in sua casa.
ARMILLO
She took his servant indoors with her.
ARMIDORO: Ah, m’uccidesti.
ARMIDORO: Ah, this is killing me.
ARMILLO: Abbiatevi pazienza.
ARMILLO: This calls for great fortitude, my Lord.
ARMIDORO: A me far questo torto?
ARMIDORO: Such an affront – to me!
ARMILLO
Di donna è questa usanza.
ARMILLO
Women will be women.
ARMIDORO
Ah, ch’io son morto.
ARMIDORO
Ah, I am dead.
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4
Così son labili,
Caduche, e instabili
Le mie speranze, ohimè:
Tal mercé
Dunque avrà,
Crudo Amor, mia fedeltà.
Disprezzata mia fede,
Diroccata costanza,
Abbattuta speranza,
È questa la mercede?
Donna avvezza a tradire
Del sviscerato mio fido servire?
Con la pena, e col duol, lasso, combatto:
Chi si fida di donna, ah, ch’egli è matto.
How evanescent,
How short-lived and precarious,
Alas, my hopes are:
Is this, cruel Cupid,
The compassion
My fidelity has earned from you?
My faith despised,
Her constancy crumbled,
My hope struck down:
Is this your compassion?
To make my beloved so readily betray
The unconditional loyalty of a wretched man?
How feebly I fight through such pain and misery:
Deranged, alas, is the man who trusts a woman.
scena XI
Giampetro e Armidoro
scene 11
Giampetro and Armidoro
GIAMPETRO
Pri la prescia che m’appi
Sdiminticata s’ha la suprascritta.
GIAMPETRO
She was so keen in writing this letter,
That she almost forgot to give it to me.
ARMIDORO
A che tanto ti crucci, anima afflitta?
Ecco del mio rivale il servo, oh Dio,
Reca in man la risposta.
Ah, non posso soffrirlo,
Per forza sì gliela torrò di mano:
Lascia, lascia il foglio, villano.
ARMIDORO
Must you rack yourself so, O tortured soul?
But here comes my rival’s servant
Carrying her reply to him – O Heavens!
Ah, I cannot bear this:
I will have to take it from him.
Here, you knave: let go of this letter.
GIAMPETRO
Eilà Patruni miu,
Chi m’asciasti ccà sulu?
La pintaneura vadi a lu Patruni.
GIAMPETRO
Master, O master: why did you
Forsake me in my hour of need?
But this letter is for my own master!
ARMIDORO
Digli, ch’io te la tolsi.
ARMIDORO
Well, tell him that I have taken it off you.
GIAMPETRO
Mirati, ecch’i rasciuni.
GIAMPETRO
And what, may I ask, would be the reason for that?
ARMIDORO
Deggio tanto soffrire, o fato infido?
ARMIDORO
Must I suffer the fool as well as the felon, O bitter fate?
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GIAMPETRO
Voi mi la duni?
GIAMPETRO
So, do I get it back?
ARMIDORO
Olà, parti, o t’uccido.
ARMIDORO
Shoo! Fly or you are a dead man.
GIAMPETRO
Mu’ nci lu vaiu à diri,
L’haviti fattu bieddu!
Facisti forza cu nu gaiarieddu.
GIAMPETRO
I swear I will tell my master
That you exerted proper brute force
On a defenceless young man.
ARMIDORO
O cruda sorte!
Questa carta m’intima oggi la morte.
Legge.
“Adorato tesoro.”
– Come non mori, o misero Armidoro? –
“E quale del mio Amore
Volete maggior segno,
Se il cor vi diedi in pegno?”
– E non basta ad uccidermi lo sdegno? –
“Sì, caro, vi sarà sempre costante
La vostra fida Stellidaura amante.”
Come non spiro, o Dio, tra pene tante?
Tra tanti martiri
Se l’alma non spiri,
O cor, sei di sasso.
Le pene, i tormenti,
L’affanni, li stenti
Non posso soffrire.
Su, presto, al morire
Affrettisi il passo.
Tra tanti martiri, etc.
ARMIDORO
O cruel destiny! This letter surely
Decrees my death for this very day.
He reads.
“My beloved treasure.”
– Are you still alive, wretched Armidoro? –
“What greater token of my Love
Could you wish for, if the pledge
I have given you is my very heart?”
– Will the injustice of this not kill me? –
“Thus, to my beloved shall I for ever be true,
Your faithful love, Stellidaura.”
How do I not succumb, O God, to such pangs?
If you do not yield your soul
Under such martyrdom, then, my good heart,
You are truly made of stone.
I can no longer bear
The suffering nor the torments,
The anxiety nor the strife.
Come, Death,
And quicken your step.
If you do not yield etc.
scena XII
Orismondo e Giampetro
scene 12
Orismondo and Giampetro
ORISMONDO
Toglier te la facesti?
ORISMONDO
You let him take it from you?
GIAMPETRO
E chi potiaci fari?
GIAMPETRO
And what was I supposed to do?
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ORISMONDO
Taci, sciocco che sei, non ti scusare.
ORISMONDO
Hold your tongue, you clot – there is no excuse.
GIAMPETRO
Chi putìa struzzularmi cu chiddu?
GIAMPETRO
Was I supposed to fight off a brute of the sort?
ORISMONDO
Su, vendetta, all’armi, all’armi!
Troppo grave è quest’offesa,
Sdegno, rabbia, alla contesa,
Del fellon vo’ vendicarmi.
Su, vendetta, etc.
Era carta amorosa?
ORISMONDO
Come, revenge: to arms, to arms!
This offence is far too heinous,
The affront outrages and incenses me.
I shall reap my revenge against the Villain.
Come, revenge etc.
Was it a love letter?
GIAMPETRO
’Gnuri sì, quando la fici stava ’nchienchia.
GIAMPETRO
Come on, my Lord, she was more than chipper.
ORISMONDO
Che dici?
ORISMONDO
What was that?
GIAMPETRO
Stava biedda di ticchia.
GIAMPETRO
Chirpier than a chiffchaff, she was.
ORISMONDO
Or via, così risolvo:
L’istessa man, che fe’ involarsi il foglio,
Che sia dell’ira mia ministra io voglio.
ORISMONDO
Whatever the case, my decision is this:
I want the very same hand that had the letter
Stolen from it to be the minister of my wrath.
GIAMPETRO
Di mia nun di faciti capitali
Ca manc’ à lu puddia sazzu fa mali.
GIAMPETRO
A waste of time that is, my Lord:
I could not harm a spring chick.
ORISMONDO
Acciò che nella corte
Non si sussurri, che un amico uccisi,
Voglio che ti travesti,
E che dalla tua mano ucciso resti.
ORISMONDO
In order to avoid any suspicion at court
That I might have killed a friend,
I want you to go there in disguise and
Slay him by your own hand.
GIAMPETRO
E cui havi tanto cori?
GIAMPETRO
And who would be foolish enough to do that?
ORISMONDO
Non andar replicando:
Seguimi, ed ubbidisci, io tel comando.
ORISMONDO
Do not answer back:
Follow me and obey me – I order you.
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GIAMPETRO
Cui mi menti à si mpacci?
Da hura mi viniu lu frivulazzu,
Quandu mai sugnu statu valintazzu?
GIAMPETRO
How on earth did I get into this mess?
How am I supposed to have the stomach for that,
When all I can feel in my belly is butterflies?
scena XIII
Armidoro, e dopo Armillo
scene 13
Armidoro, then Armillo
ARMIDORO
O caratteri funesti,
Ch’esprimete il mio martir,
Cruda mano, ch’imprimesti
Note, oh Dio, del mio morir.
ARMIDORO
How truly, O baleful words,
You express my martyrdom;
How precisely, O ruthless hand, O God,
You compose my swansong.
ARMILLO
Signor, la mia Padrona
Brama di favellarvi.
ARMILLO
My Lord,
My Lady wishes to speak to you.
ARMIDORO
Vuol di nuovo ingannare un infelice.
Digli, so molto ben, ch’è traditrice.
ARMIDORO
That she may once again dupe a poor wretch?
Tell her that I know too well how she deceives.
ARMILLO: Parlarli non volete?
ARMILLO: Will you not speak to her?
ARMIDORO: No.
ARMIDORO: No.
ARMILLO: Li dirò così?
ARMILLO: Should I tell her so?
ARMIDORO: Ferma, dico di sì.
ARMIDORO: Wait: I accept.
ARMILLO: Vado?
ARMILLO: May I go, then?
ARMIDORO: Torna.
ARMIDORO: Come back.
ARMILLO: Che dite?
ARMILLO: What should I tell her?
ARMIDORO
Che bramo favellarli.
ARMIDORO
That I very much want to speak to her.
ARMILLO
Che strani sentimenti!
ARMILLO
What strange behaviour!
ARMIDORO
Solo per rinfacciarli i mancamenti.
Che dirà la crudele?
Che scusa può trovare?
Ah, che le colpe sue son troppo chiare!
ARMIDORO
If only to make her face her wrongdoing.
Then what will the cruel woman say?
Then what excuse will she find?
Ah, her guilt is all too obvious!
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8
scena XIv
Stellidaura e Armidoro
scene 14
Stellidaura and Armidoro
STELLIDAURA
Mio bene.
STELLIDAURA
My beloved.
ARMIDORO: Ah, mancatrice.
ARMIDORO: Ah, betrayer.
STELLIDAURA: Mio tesor.
STELLIDAURA: My treasure.
ARMIDORO: Traditrice.
ARMIDORO: Traitor.
STELLIDAURA: In che ho fallato?
STELLIDAURA: How have I failed you?
ARMIDORO
Sallo il mio cuor, che fu da te ingannato.
ARMIDORO
The heart you have double-crossed can tell you that.
STELLIDAURA: Mio bene, deh, senti.
STELLIDAURA: My beloved, alas, hear me.
ARMIDORO: Sirena omicida.
ARMIDORO: Murderous siren.
STELLIDAURA: Son fida.
STELLIDAURA: I am nothing but loyal.
ARMIDORO: Ne menti.
ARMIDORO: Nothing but a liar.
STELLIDAURA: Ti giura.
STELLIDAURA: No, I swear.
ARMIDORO: Spergiura.
ARMIDORO: No, you forswear.
STELLIDAURA: Quest’alma sincera
STELLIDAURA: This true soul
ARMIDORO: Crudele, empia, e fiera
ARMIDORO: This cruel soul, so unfaithful and false
STELLIDAURA: Che vive in tormenti.
STELLIDAURA: Is living in torment.
ARMIDORO: Sirena omicida.
ARMIDORO: Murderous siren.
STELLIDAURA: Son fida.
STELLIDAURA: I am nothing but loyal.
ARMIDORO: Ne menti.
ARMIDORO*: Nothing but a liar.
scena Xv
Giampetro e detti
scene 15
GIAMPETRO
Ah, ah, iecculu ccà, je m’indispagnu.
GIAMPETRO
Oh, here he is – perhaps not this time, Giampetro.
STELLIDAURA
Scoprimi in che t’offesi?
STELLIDAURA
Will you not say how I have offended you?
ARMIDORO
I tradimenti tuoi mi son palesi.
ARMIDORO
Your betrayal is all too blatant to me.
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GIAMPETRO
Troppo putruni
Nu cori d’asinu
Mi dici firmati;
Ma di Liuni
Poi nu grand’animu
Mi dici tripalu.
GIAMPETRO
The wavering half
Of a donkey’s heart
Would tell me to halt my hand;
But the bolder half
Of my lion’s heart
Urges me to tear out his tripe.
ARMIDORO
Dimmi, perché in oblio
Ponesti la mia fede?
Perché d’un fido Amor rompesti, o fiera,
Il laccio più leale?
ARMIDORO
Tell me why you have dispatched
Our vows to oblivion.
Why, pitiless woman, did you break
The loyal bind of our true Love?
GIAMPETRO
Ura lu nfilu comu ficatali.
GIAMPETRO
Perhaps I should skewer him right now after all.
ARMIDORO
Rispondi, o troppo cruda,
Alma di fede ignuda!
ARMIDORO
Answer me, you cruel, cruel woman:
Is your soul so devoid of any faith?
GIAMPETRO
Animu cori miu,
Come ricotta mù lu trituliu.
GIAMPETRO
Come, lionheart,
Let us curdle him into ricotta.
STELLIDAURA
Ferma, crudo assassino.
STELLIDAURA
Stop, you barbarous murderer!
GIAMPETRO
Uhi tintu mia.
GIAMPETRO
Oh, woe is me!
STELLIDAURA
Tu assalire il mio bene?
STELLIDAURA
Are you here to attack my beloved?
ARMIDORO
Che stravaganza è questa!
ARMIDORO
This is quite out of the ordinary!
STELLIDAURA
Lo stesso stil vo’ ch’ad un tempo sia
Il tuo castigo, e la vendetta mia.
STELLIDAURA
Then may this blade be at once
Your scourge and my revenge.
GIAMPETRO: Aiutu, ca m’aucidi!
GIAMPETRO: Help – she is slaughtering me!
ARMIDORO: Ferma il braccio, crudele.
ARMIDORO: Hold your hand, callous woman!
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STELLIDAURA
Perché difender brami uom che t’offende?
STELLIDAURA
Why defend the very man who offends you?
ARMIDORO
Nella scuola d’onor questo s’apprende.
Tu fuggi, presto! E tu lascia quel ferro.
ARMIDORO
Because our school of honour teaches us so.
You, fly hence! And you, hand me your dagger.
GIAMPETRO
Chiù di Marti haiu fattu si la sfierru.
GIAMPETRO
I may be as brave as Mars, but perhaps I ought to go.
ARMIDORO
A che mi dai la vita,
Forse per riserbarla a peggior morte?
O dispietata sorte,
Così cruda che sei, con fatti infidi,
Il corpo salvi, e poi l’anima uccidi.
ARMIDORO
To what avail do you grant me my life?
To sever it, perhaps, with an even worse death?
O ruthless fortune,
Such is your cruelty that through your iniquity
You will spare the body, yet slay the soul.
STELLIDAURA
Deh, palesami almeno in che peccai!
STELLIDAURA
Alack, reveal at least how I have wronged you!
ARMIDORO
Infida, che dirai?
Tuo carattere è questo?
ARMIDORO
Let us hear you, then, woman of little faith:
Is this not your handwriting?
STELLIDAURA
Lo confesso.
STELLIDAURA
It is, I do confess.
ARMIDORO
Dunque l’errore tuo già scorgi espresso.
ARMIDORO
Then behold the very proof of your offence.
STELLIDAURA
Cupido,
Se fido
Fu sempre il mio cuore,
Se mai fece errore,
Accertalo tu.
Palesa
Se offesa
Ho mai quella fede,
che l’alma li diede,
Che stabil li fu.
Cupido, etc.
STELLIDAURA
Be my witness yourself,
O Cupid,
To the unwavering
Constancy of my heart,
A heart that not once did stray.
Reveal to all
Whether I have ever betrayed
The faithfulness
Offered him by my soul,
A soul that to him alone remains true.
Be now my witness etc.
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q
aTTo III
Sinfonia
aCT III
scena I
Orismondo solo
scene 1
Orismondo alone
ORISMONDO
Se non more Armidoro,
Per rabbia scoppio e per invidia io moro.
Credo ch’il servo già
Ubbidito m’avrà;
Morto il rivale mio,
Saprò, saprò ben io
Di Stellidaura mia placare il cuore:
Nasce in morire Amore un altro Amore.
Ma qual sonno improvviso
Va lusingando i sensi?
Seppellisco le cure in dolce oblio,
Sonno dà tregua in parte al dolor mio.
Fantasmi amorosi,
O larve adorate,
Fra questi riposi,
Deh, voi figurate,
Recate all’idea
La bella imago, oh Dio, della mia Dea.
ORISMONDO
If Armidoro does not die,
I shall burst with rage and die of envy.
I am certain that my footman
Has executed my order by now;
With my rival dead,
I can soon placate
My Stellidaura’s heart:
From the death of one Love stems another.
But what is this sudden drowsiness
Overcoming my senses?
I shall consign my cares to sweet oblivion and
Let sleep grant some comfort to my suffering.
O Spirits of Love,
O ghosts beloved,
Manifest yourselves,
Come, enter my dreams;
In my fantasy conjure up, O God,
The image of my fair Goddess.
scena II
Stellidaura mascherata con ferro
e detto, che dorme.
scene 2
While he sleeps, Stellidaura appears,
masked and brandishing a sword.
STELLIDAURA
Dormi, o perfido tiranno,
ch’a tuo danno
Veglia armato il rio Destin.
Inumano
Spirerai!
Per mia mano
Morirai;
I tuoi fasti caderanno
Per trofeo d’un Dio Bambin.
Dormi, o perfido tiranno, etc.
STELLIDAURA
Sleep, perfidious tyrant,
While your Fate stirs awake,
Armed and ruthless.
Inhuman
Shall you perish,
By my hand
Shall you die!
May your fallen glory serve
As a trophy to Cupid, the Infant God.
Sleep, perfidious tyrant etc.
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Della sua morte è questo il dì prefisso,
Passi dal dolce sonno al tetro abisso.
On this very day assigned to his death, may he
Slide from sweet slumber into an abyss of blackness.
scena III
Armidoro e detto
scene 3
ARMIDORO
Trattenendo Stellidaura
Ferma, barbaro nemico!
Che se dorme costui, veglia l’amico.
ARMIDORO
Holding back Stellidaura
Halt, barbarous fiend! This man may be asleep,
But his friend watches over him.
STELLIDAURA
Lasciami.
STELLIDAURA
Let go of me!
ARMIDORO
In vano aspiri
A scampar, traditore!
ARMIDORO
There is no escape
For you, coward!
STELLIDAURA
– A che m’induci, o dispietato Amore! –
STELLIDAURA
– Why do you subject me to this, O pitiless Cupid! –
ORISMONDO
Chi mi desta dal sonno? Olà, chi siete,
Che ardiste disturbare la mia quiete?
ORISMONDO
Who stirs me from my sleep? Ho there: Who are you?
How dare you disturb my peace?
ARMIDORO
Tentò l’alma involarti
Quest’empio traditor con cuor ferino.
ARMIDORO
This cowardly villain with the heart of a savage
Just tried to snatch your soul.
ORISMONDO
Io dormo, e a danno mio veglia il Destino.
ORISMONDO
Does my Destiny double-cross me even in my sleep?
STELLIDAURA
Sì che tentai, nol niego,
Di rapirti la vita.
STELLIDAURA
Yes, I do not deny
That I was about to take your life from you.
ORISMONDO: Ah, traditore.
ORISMONDO: Ah, traitor.
ARMIDORO: E chi ti spinse a ciò?
ARMIDORO: And who has spurred you to do so?
STELLIDAURA: Rabbia, e furore.
STELLIDAURA: Rage and passion.
ORISMONDO: Chi sei?
ORISMONDO: Who are you?
STELLIDAURA: Son forestiero.
STELLIDAURA: I am a stranger.
ARMIDORO: Chi a far questo t’invia?
ARMIDORO: Who dispatches you to carry this out?
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STELLIDAURA
Odio, sdegno, vendetta, e l’ira mia.
STELLIDAURA
Loathing, outrage, vengeance and my own wrath.
ORISMONDO
Scopriti il volto.
ORISMONDO
Show your face.
STELLIDAURA
Nol farò giammai;
Più tosto vo’ morir.
STELLIDAURA
No, never;
I would sooner die.
ARMIDORO, ORISMONDO
Dunque morrai.
ARMIDORO, ORISMONDO
Then die you shall.
STELLIDAURA
Sol mi dispiace non averti ucciso,
Che del morir non teme animo forte!
STELLIDAURA
A resolute spirit does not fear death:
My only regret is that I did not kill you first!
ARMIDORO, ORISMONDO
Sì, sì: se morte brami, avrai la morte!
ARMIDORO, ORISMONDO
So be it: if you want death, death you shall have!
ORISMONDO
Olà?
ORISMONDO
You there!
scena Iv
Giampetro e detti
scene 4
GIAMPETRO
Sagnù, sù ccà, chi cumannati?
GIAMPETRO
Here I am, my Lord: what can I do for you?
ORISMONDO
Nella prigion quest’empio or or recate.
ORISMONDO
Take this rogue to the dungeons right away.
GIAMPETRO
Bieddu titulu zietu haiu avanzatu,
Da Guagnuni su Sbirru addivintatu.
GIAMPETRO
From henchman to flatfoot:
I am certainly climbing through the ranks!
ORISMONDO
Stravaganza inaudita:
Tramai la morte a chi mi dà la vita!
ORISMONDO
How incredibly absurd: I had plotted the death
Of the man who has just saved my life!
ARMIDORO
Stravaganti vicende:
Son forzato a dar vita a chi m’offende!
ARMIDORO
How absurd this is: I have been compelled
To save my own aggressor’s life!
STELLIDAURA
Oh, fortuna crudele!
STELLIDAURA
Oh, bitter fate!
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t
Sarà cagione della morte mia
Colui, che vendicar l’alma desia.
The very man whose soul I strive to avenge
Shall bring about my own death.
GIAMPETRO
A la gaggia mpacchiatu ci sì
Comu secula, o perria
Nci ncappasti ie tintu tia,
Mù t’attaccu cu sta sciaula,
Veni, veni à fa la ciaula,
Uppila, cittu, tù sai pirchì.
A la gaggia etc.
GIAMPETRO
Well, you poor old beggar:
This is a fine net you have flown into,
So let me stuff you good and proper
And tie you up tight like a succulent little bird.
Come come, no good playing the fool with me:
You can keep it shut, and you know why.
Well, you poor old etc.
scena v
Orismondo e Armidoro
scene 5
Orismondo and Armidoro
ORISMONDO
Che farò di quell’empio,
Ch’immergermi tentò l’acciar nel seno?
ORISMONDO
How should I deal with this villain
Who tried to strike me through the heart?
ARMIDORO
Con letale veleno
Il suo stame vital resti reciso;
Chi uccidervi tentò, rimanga ucciso.
ARMIDORO
His lifeline should be severed
With some deadly poison: let the man
Who tried to slay you meet his own death.
ORISMONDO: Olà.
ORISMONDO: You there!
scena vI
Giampetro e detti
scene 6
GIAMPETRO
Chi buliati, Sagnù? L’havimu missu,
Pri stari ni la guardia chiù sicura,
Dintru ’na catacumba la chiù scura.
GIAMPETRO
Here I am, my Lord.
I have banged him up in a pitch black cell,
Where we can keep a good eye on him.
ORISMONDO
Non si volle scoprire?
ORISMONDO
Did he say who he is?
GIAMPETRO
Dissi ch’avanti illu volia muriri.
GIAMPETRO
He said he would sooner die.
ORISMONDO
To’, prendi questa chiave.
Nel gabinetto mio dentro il forziero
V’è di veleno un nappo.
Recalo al prigioniero,
ORISMONDO
Here, take this key.
There is a safe in my private study;
Inside you will find a phial of poison.
Take it to the prisoner and tell him to drink it;
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Di’ che prenda il velen, se pur non vuole,
Che ministro crudel li toglia il Sole.
And should he refuse,
A less humane end awaits him.
ARMIDORO
S’egli di rabbia e sdegno ha ingombro il seno,
Il velen del suo cuor merta il veleno.
ARMIDORO
If his breast is overflowing with rage and wrath,
The venom in his heart deserves the poison.
GIAMPETRO
Dà quali banna stanni?
GIAMPETRO
Where exactly is the phial?
ORISMONDO
Quel della parte destra, avverti bene.
ORISMONDO
On the right-hand side – do you understand?
GIAMPETRO
Mù vaiu zumpulandu; amaricatu
Comu surici mori appuzzunatu.
GIAMPETRO
I am on my way – though I do feel sorry
For the wretch: fancy ending belly up like a rat.
ORISMONDO, ARMIDORO
Fortuna crudele
Può farmi di più?
ORISMONDO, ARMIDORO
Could a crueler Fate
Ever befall me?
A due
ORISMONDO
Che vita mi dia,
ARMIDORO
Che vita li dia,
Together
ORISMONDO
He may have saved my life,
ARMIDORO
I may have saved his life,
ORISMONDO, ARMIDORO
E pur l’alma mia
ORISMONDO, ARMIDORO
Yet my soul
A due
ORISMONDO
L’aborre,
ARMIDORO
Lo sdegna.
Together
ORISMONDO
Abhors him.
ARMIDORO
Is outraged by him.
A due
ORISMONDO
M’incita
ARMIDORO
M’impegna
ORISMONDO
A torli la vita sua rara virtù.
Together
ORISMONDO
His honour is so exemplary
ARMIDORO
Chivalry and honour
ORISMONDO
That it goads me to take his life.
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ARMIDORO
A darli la vita valore, e virtù.
ARMIDORO
Impel me to grant him his life.
ORISMONDO, ARMIDORO
Fortuna crudele, etc.
ORISMONDO, ARMIDORO
Could a crueler Fate etc.
scena vII
Carceri. Stellidaura prigione.
scene 7
Stellidaura’s cell in the dungeons
STELLIDAURA
Stelle fiere,
Che severe,
Contro me v’armate ognor,
Deh, fermate,
Deh, cessate
D’influir tanto rigor.
STELLIDAURA
How pitilessly you take arms
Against me,
Brutish Stars:
Ah, that you would desist,
Ah, that you would cease
To inflict such torture upon me.
scena vIII
Armillo e detta
scene 8
Armillo and the latter
ARMILLO
Dal timor il mio cor si scorge oppresso,
Par che nuncio mi sia di rio successo.
ARMILLO
My heart is heavy with anxiety,
As if prepared for certain failure.
STELLIDAURA: Armillo.
STELLIDAURA: Armillo.
ARMILLO: Mia Signora!
ARMILLO: My Lady!
STELLIDAURA
Taci, non mi svelar.
STELLIDAURA
Hush – do not give me away.
ARMILLO
Come in prigione?
ARMILLO
Thus imprisoned?
STELLIDAURA
Quel ch’adorava il cor ne fu cagione.
STELLIDAURA
The very man my heart adores has put me here.
ARMILLO: Chi fu l’empio?
ARMILLO: Who was this rogue?
ARMILLO
E voi l’amate ancora?
ARMILLO
And do you still love him?
STELLIDAURA: Anzi l’adoro.
STELLIDAURA: More than that: I adore him.
ARMILLO
Che non fa, che non opra un core amante!
ARMILLO
Is there anything a heart in love will not do?
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scena IX
Giampetro col veleno e detti
scene 9
Giampetro with the poison, and the latter
GIAMPETRO
Uh tintu, cui nasci
Cu mala vintura!
Cui è natu,
Nigricatu,
Divintari divirria,
Pri nun farri lu campari,
Susti, e sciali, panni, e fasci,
E la naca silitura.
Uh tintu, etc.
Custa mbroghia ccà dintu,
St’ammaricatu hà da ristari aucisi,
Ed iu, ch’era scuntientu,
Guagnuni, e Sbirru, Boia hura addivientu.
GIAMPETRO
Spare a thought for the blighter
Brought into this world under an ill-crossed star.
If you are born
Star-crossed,
You can forget
Clean nappies, sheets and blankets:
What awaits you is a cot of sawdust
And then a life on the breadline.
Wretched is the man etc.
This concoction in my hand
Is supposed to bump the beggar off.
Well, I should not grumble: I have been promoted
From henchman to flatfoot, and now to executioner.
STELLIDAURA
Che novella mi porti?
STELLIDAURA
What news do you bring me?
GIAMPETRO
Nova bona, apparicchiami la strina.
GIAMPETRO
Good tidings: shall I sing them to you?
STELLIDAURA
Sbrigala, ch’hai da dirmi?
STELLIDAURA
Cut to the quick and tell me what you must.
GIAMPETRO
Lù Su Principi miù;
Pirch statu tù si nu tradituri,
Voli ti purghi dili mali umuri.
GIAMPETRO
My Lord his Princeship demands
That since you have been rather treacherous,
You should purge yourself of any bad humours.
ARMILLO: Ohimè, Cieli, ch’ascolto?
ARMILLO: Alas, Heavens above: what do I hear?
STELLIDAURA: Il veleno m’invia?
STELLIDAURA: Is he providing me with poison?
GIAMPETRO
Lu puzzuni gnursì criumi chi sia.
GIAMPETRO
Yes, my Lord: this is the potion.
ARMILLO: Signor …
ARMILLO: My Lord …
STELLIDAURA
Taci, non favellar, al tutto attendi.
Quanto vedesti, Armillo,
Riferisci al mio bene,
STELLIDAURA
Spare your words and go attend to matters.
Refer to my beloved, Armillo,
What you have just witnessed,
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E che per vendicarlo, a lui riporta,
Vittima sua già Stellidaura è morta.
And explain that in order to avenge him,
His victim Stellidaura lies dead.
GIAMPETRO
Guah chistu è n’autru mbroghiu!
La Gnura Stiddidaura? Uh chi sgarruni,
Curr à diri ogni cusa à lu Patruni.
GIAMPETRO
Well, there is a fine twist to the plot!
Madam Stiddidaura? Oh, my, what a mess:
Better go and explain that to my master.
STELLIDAURA
Se m’ami, o fido mio,
Va’, ritrova il mio bene, e dilli il tutto.
STELLIDAURA
If you love me, my loyal friend, go and find
My beloved man, and tell him everything.
ARMILLO
Solo per obbedirvi io parto, io volo:
Cuore non ho, se non m’uccide il duolo.
ARMILLO
I shall leave, but only to obey you:
Call me heartless if the despair does not kill me.
STELLIDAURA
Ahi, dolente già sento alle vene
Serpeggiarmi di morte il veleno;
Armidoro mio cor, per te solo
Stimo poco l’affanno, et il duolo,
Se Cupido per te, caro bene,
Maggior tosco stillommi nel seno.
Ahi, dolente già sento alle vene, etc.
STELLIDAURA
Ah, I can already feel the pain of the
Deadly venom slithering through my veins;
Armidoro, my heart:
Even if Cupid had envenomed my breast with
A more pernicious poison than this, for you alone
I would gladly bear all the grief and the suffering.
Ah, I can already feel the pain etc.
scena X
Orismondo, Giampetro e detta
scene 10
Orismondo, Giampetro and the latter
ORISMONDO
Che mi dici? Infelice! E fia pur vero?
ORISMONDO
What are you saying? Woe is me! Can this be true?
GIAMPETRO
Viditivilla vui, eccula ddocu.
GIAMPETRO
See for yourself: here she is.
ORISMONDO
O mio leggiadro foco!
Se tu t’estinguerai, son’anche estinto.
Stellidaura, mio cuore! Il duol m’ha vinto!
ORISMONDO
O my fairest flame!
If you are being extinguished, I shall be too.
Stellidaura, my heart: I am overcome with grief!
STELLIDAURA
Orismondo, tentasti
Dar la morte a colui, che ti difese
Con generose imprese; et io ho tentato,
Con darti morte vendicar l’amato.
STELLIDAURA
You, Orismondo, attempted to slay my beloved,
A man of such outstanding chivalry,
That when I tried to kill you in revenge,
He came to your defence.
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ORISMONDO
Recatela qui fuori, o fidi miei.
Tanta beltà, deh, soccorrete, o Dei!
Oh Dio! Deh, perché, o bella,
Ardisti di tentar con voglia ria
Nelle ruine tue la morte mia?
ORISMONDO
Release her this instant, my loyal subjects,
And you, O Gods, come to the aid of this woman!
Why, my beauty, why in the name of God
Did you venture to drag me into the ruins of death
With such treacherous determination?
STELLIDAURA
Prence, non è più tempo
Di discorrer, che già sento sui labbri
L’anima fuggitiva;
Sempre con voglia schiva
T’aborrii, ti sdegnai,
Perché il caro Armidoro, ah, troppo amai.
S’io moro, ah, che non moro:
Nel petto d’Armidoro
L’anima mia rimane.
Tu con voglie inumane
Non l’offendere, o Dio,
Ch’offendi, ahi lassa, in lui lo spirito mio.
Moro per sua cagione,
Eppur contenta moro!
L’alma ti lascio, addio, caro Armidoro.
Sviene.
STELLIDAURA
There is no time for reasoning, my Prince,
For I can already feel my soul
Leaving my lips;
But if I abhored you and scorned you,
I always did so against my will:
I loved my dear Armidoro, ah, far too much,
And was resolute that if I should die,
Then my soul at least should survive
And live on in the heart of Armidoro.
Harm him not, O God, with your divine wrath;
For by hurting him, alas,
You would hurt my own spirit.
I die for him, but I die a contented woman!
To you, dear Armidoro, I leave my soul.
Farewell.
Faints
GIAMPETRO
Si ndi fiù la tint’idda,
Al’autru mundu pedicucchiau,
Scunchiu, spiriu di sì, ’ndi la sticchiau.
GIAMPETRO
Well, the poor lass wasted no time in bolting it;
Fingers crossed that she makes more sense
When she babbles away in the next world.
ORISMONDO
Bella, benché tentasti il mio morire,
Perché t’amo anche estinta,
Nel sepolcro real de’ miei antenati
Il bel corpo si rechi,
E alla memoria sua,
Sol per trofeo d’Amore,
Il mausoleo l’innalzerà il mio core.
Ah, Stellidaura! O Dio!
Bench’estinta, sarai l’idolo mio.
ORISMONDO
Though you endeavoured to kill me, my beauty,
Even in your death, I still love you.
I shall therefore have you borne
To the Royal Cemetery of my ancestors;
And to her memory,
My heart shall raise a mausoleum:
A trophy to Love itself.
Ah, Stellidaura! O God!
Even in your death, I still worship you.
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GIAMPETRO
Amanti chiangiti,
Faciti
Uh! Uh!
Trivulati,
Gurgugliati,
Cà d’Amuri
Lu sciuri
È cadutu,
E spiddutu
Nun campa chiù.
Amanti chiangiti, etc.
GIAMPETRO
Hark at these lovers wailing
And all going
Boo hoo!
They sob
And gurgle,
All because Cupid’s
Flower of love
Has withered,
Dropped,
Vanished.
Hark at these lovers etc.
scena XI
Armillo, e dopo Armidoro
scene 11
Armillo, then Armidoro
ARMILLO
Signor, d’infausto annuncio
A voi messo ne vengo.
ARMILLO
My Lord, I come
Bearing sad news.
ARMIDORO
Dimmi ciò che tu vuoi,
Che tormento non prezzo;
Mentr’alli infausti annunci ho il cuore avvezzo.
ARMIDORO
Tell me what you will:
My heart is so accustomed to bad tidings
That it I am immune to further dismay.
ARMILLO
Quello che voi fermaste,
Che tentava dar morte ad Orismondo,
Quell’era Stellidaura.
ARMILLO
The man you thwarted
As he was about to slay Orismondo:
That was Stellidaura.
ARMIDORO: Ohimè, che dici?
ARMIDORO: Alack! What are you saying?
ARMILLO
Con abito maschile
Tentava far in lui vostra vendetta.
ARMILLO
Dressed as a man,
She was trying to avenge you.
ARMIDORO
Oh Dio, ch’ogni tuo accento è una saetta.
ARMIDORO
Oh, God, your words are piecing me like arrows.
ARMILLO
Per ordin del tiranno ha già bevuta
La bevanda letale.
ARMILLO
By order of the tyrant, she has already
Taken the lethal potion.
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s
ARMIDORO
Ah Ciel! Che colpo al viver mio fatale!
ARMIDORO
Ah Heavens! This is the final blow to my life!
ARMILLO
E pria del suo morire,
Volle ch’il tutto io vi venissi a dire.
ARMILLO
And her wish, before dying,
Was that I should come and relate it you.
ARMIDORO
Ahi, che pena, ahi, che duolo, ahi, che martire!
ARMIDORO
Oh, the pain, oh, the pang, oh, the martyrdom!
scena XII
Orismondo, Giampetro
scene 12
Orismondo, Giampetro
GIAMPETRO
Nnamurati,
Nun scamati
Si pirditi
Li lindori,
Si ndi mori
Pri fortuna
Quarchid’una,
Schighianu,
Nascinu
Pri da tormentu
Ndi pirditi una, e ndi truvati centu.
GIAMPETRO
Save your wailing,
You Love Buds:
If your sweetheart
Slips through your fingers
Or dies,
Then, thank God,
Another bud
Will blossom
And bloom.
It may hurt a little, but for every loss,
You will enjoy a hundred gains.
scena XIII
Armidoro, Stellidaura svenuta
scene 13
Armidoro, Stellidaura unconscious
ARMIDORO
Cari marmi, che chiudete
Il perduto mio tesor;
Per pietà, deh, ricevete
Un cadavere d’Amor.
Sviene.
ARMIDORO
Beloved marble,
Screen of my lost treasure;
Oh, that you would guard this body too,
As it succumbs to Cupid.
Faints
STELLIDAURA
Torna in sé.
Qual amica Deitade
Con bontade infinita
Mi richiama alla vita?
Lassa me, dove sono?
Ahi, che questa è una tomba,
STELLIDAURA
Regains consciousness
Who is this friendly deity
Who, with infinite benevolence,
Recalls me to life?
Woe is me: where am I?
Ah, this must be the tomb in which
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Ove sepolta io fui; ma, oh Dio, che veggio!
Del mio caro Armidoro
Sono i lumi già spenti!
Risorgo per dar vita a’ miei tormenti.
Perché morte non mi dasti,
Cruda Parca, oh Dio, perché?
Perché in vita mi chiamasti
Per uccidermi di nuovo?
Ahi, quai provo
A danno mio,
Fato rio,
I tuoi colpi, ahi lassa me.
Perché morte, etc.
Ah, ch’il crudo Orismondo,
Per non mirarlo vivo,
Dopo la morte mia morte l’ha dato.
Contro l’empio spietato
Farò le mie vendette, all’armi, all’armi!
Sorgo da morte sol per vendicarmi!
I was laid to rest; but what, O God, do I see?
My beloved Armidoro’s eyes
Are already shut!
I am brought to life so that my torments may live.
Why, O cruelest Parcae – why, O God,
Have you not granted me my death?
Why have you recalled me to life
If only to slay me again?
Ah what bitter blows, woe is me,
What adversity
You make me endure,
O brutal Fortune.
Why, O cruelest Parcae etc.
Ah, the inhumanity of Orismondo:
To put Armidoro to death so that I,
Alive once again, could see him slain.
But I shall wreak my vengeance on
The brutal malefactor: to arms! To arms!
From my death I rise to reap my revenge!
ARMIDORO
Torna in sé.
E ritorno alla vita? Ahi, crudo Amore,
Forse immortal mi rese il mio dolore?
E tu bella … Oh Destino!
Chi mi involò la vaga estinta mia?
E qual sperar poss’io lasso conforto,
Se mi si niega il bene ancorché morto.
ARMIDORO
Regains consciousness
Am I returning to life? Ah, perverse Cupid:
Did the depth of my suffering render me immortal?
And you, my beauty? … O Fate!
Who has spirited away the body of my fair lady?
Alas! What comfort could I possibly hope for
If, even in her death, my beloved is denied to me?
scena XIv
Orismondo solo con libro
scene 14
Orismondo alone, with a book
ORISMONDO
Tra pianti e sospiri,
tra pene e martiri
consumati, o cor.
Miei lumi, piangete,
Perduto se avete
il vago mio ben.
O crudo veleno,
se tu l’uccidesti,
ORISMONDO
How my sobbing and sighing,
How this pain and martyrdom
Are consuming my heart.
You may well cry,
Wretched eyes,
For you have lost my beautiful beloved woman.
O cruel, cruel poison,
By taking her life,
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f
g
più fiero rendesti
dell’alma il dolor.
Tra pianti e sospiri, etc.
Misero me, che leggo!
Eridano, mio padre,
Pria che venisse al mondo, ebbe una figlia
Di nome Stellidaura;
Che da civil tumulto,
Acciò fosse salvata,
Di Delo al Prence ad allevar fu data.
Ma come sin ad or ciò non sepp’io?
Ahi, fato iniquo e rio!
Perché fanciul restai,
Né tal libro osservai,
Il tutto mi fu ignoto;
Temo che Stellidaura,
Oh Dio, non sia la stessa,
Che dal velen io fei restare oppressa.
You have made the agony in my soul
All the more unbearable.
How my sobbing and sighing etc.
But what, woe me, do I read here?
My father, Eridanus, before I was born,
Had a daughter by the name of Stellidaura;
In order to safeguard her
From a civil uprising, however,
She was entrusted to the Prince of Delos,
Where she was raised.
But how come I knew nothing of this until now?
Ah, iniquitous and abysmal Fate!
I must have remained in the dark
Because as a child
I paid no attention to this book;
I baulk at the thought that this Stellidaura
Could be, God forbid, the very same
I have just had poisoned.
scena Xv
Stellidaura, Armidoro e detti
scene 15
Stellidaura, Armidoro and the latter
STELLIDAURA
Empio, chi ti difende or che non hai,
Trofeo di questa man morto cadrai!
STELLIDAURA
Now, villain, that no one is here to defend you,
By my own hand shall you fall and be my trophy.
ORISMONDO
Un’ombra darmi la morte
Anche pretende?
ORISMONDO
Even a shadow, now,
Sees fit to put me to death!
ARMIDORO
Fermati, che v’è ben chi lo difende!
Dunque estinta non sei?
ARMIDORO
Halt: there is yet someone prepared to defend him!
So you are not dead after all?
STELLIDAURA
Mi serbaro da morte i sommi Dei;
E tu nemmen moristi?
STELLIDAURA
The Gods above have spared me from my death;
And you too? Are you not dead?
ARMIDORO
No, mio ben, non son morto.
ARMIDORO
No, my love: I am allive.
STELLIDAURA
Che gioia inaspettata!
STELLIDAURA
Oh, wondrous joy!
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ARMIDORO: Oh, che conforto!
ARMIDORO: Oh, astounding relief!
ORISMONDO: Che? Vive Stellidaura?
ORISMONDO: What? Stellidaura lives?
STELLIDAURA
Sì, perfido tiranno,
Vivo sol per tuo danno.
STELLIDAURA
Yes, perfidious tyrant:
I live that I may punish you.
ORISMONDO
Pria che chieggia perdono,
Una grazia da voi domando in dono.
ORISMONDO
Before I beseech forgiveness,
I beg that you may grant me one wish.
STELLIDAURA
Che bramate, Orismondo?
STELLIDAURA
Speak out, Orismondo.
ORISMONDO
Voglio, che mi scopriate
Ove avesti i natali.
ORISMONDO
I wish to know
Whence you came.
STELLIDAURA
So che furon reali;
Quasi figlia allevommi
Il Principe di Delo,
Né il genitor mi volle mai scoprire;
Poiché con gl’anni miei
Avanzava al suo cuor fuoco d’Amore,
Celò sotto le nevi Etna d’ardore…
STELLIDAURA
I was, I know, born into a royal family;
The Prince of Delos
Raised me as his own daughter.
Yet, he never revealed who my parents were,
For, as I matured, so too within his heart
Grew a passionate fire of Love –
A volcano barely contained by its cap of snow …
ORISMONDO
Sorella Stellidaura,
Perdonatemi, oh Dio, se v’ho oltraggiata;
Voi da Eridano nata,
Anche mio padre, al Prencipe di Delo
Foste data a nutrire:
Qui espresso è il vostro nome.
Cieli! Fortuna! E come
Tante grazie piovete?
Oggi, propizia stella,
Un amico m’acquisto, e una sorella.
ORISMONDO
Stellidaura, my sister:
Forgive me, O God, if I have affronted you.
You are the daughter of Eridanus, my own father,
And were entrusted to the Prince of Delos,
There to be raised:
Your name appears written here.
O Heavens! O sweetest Fate!
How much benevolence you now shower upon us!
On this day, an auspicious star bequeaths me
Not only a friend, but a sister too.
STELLIDAURA
O gradito germano,
Tra le braccia vi stringo;
Voi perdonate me, giacché tentai
STELLIDAURA
Oh, dear brother,
Let me hold you in my arms.
And may you forgive me:
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h
Sfogar, con darvi morte, il mio furore.
Colpa ai delitti miei furia d’Amore.
Such was my vengeful wrath, that I tried to slay you.
The passion of Love is to blame for my crime.
ORISMONDO
Amico, e voi tacete?
ORISMONDO
And you, my friend: what have you to say?
ARMIDORO
Questo sommo contento
Non so s’è vero, o se mi burla il Cielo;
Son fatto sasso, e divenuto un gelo.
ARMIDORO
I know not whether this blissful happiness is true,
Or whether Heaven is mocking me:
I feel frozen into stone.
scena XvI
Giampetro, Armillo e detti
scene 16
Giampetro, Armillo and the latter
GIAMPETRO
Lu monacu baddiettu, arraffusia,
Vattinni à ripusari, anima biedda,
Ccà ti fazzu cantà la tarantiedda.
GIAMPETRO
A demonic sprite! Begone, begone!
Return to your resting places, sweet souls!
Let me just dance a tarantella to see them off.
ARMILLO
Ohimè, lasso, che veggio!
ARMILLO
Woe me, what do I see?
GIAMPETRO
Ahimè, lu trimulizzu mo’ m’afferra.
GIAMPETRO
Oh, hell’s bells: here come my jitters again.
ARMILLO
Tornano i morti ad albergar in terra.
ARMILLO
The dead have returned to roam the earth.
ORISMONDO
Sciocchi, di che temete?
Vivono per gioire
I fortunati amanti.
ORISMONDO
What are you alarmed about, you fools?
These lovers most fortunate
Are alive and well, and jubilant with it.
STELLIDAURA, ARMIDORO
Ecco, già dona Amor termine ai pianti.
STELLIDAURA, ARMIDORO
See how Cupid has dried our tears.
ORISMONDO
Ma come, o Stellidaura,
Il velen non v’offese?
ORISMONDO
But how can it be, Stellidaura,
That the poison did not kill you?
STELLIDAURA
Forse mi tenne in vita il Ciel cortese.
STELLIDAURA
Perhaps the kindly Heavens kept me alive.
ORISMONDO
Dimmi tu, quale vaso a lei recasti?
ORISMONDO
You, tell me: which phial did you give her?
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GIAMPETRO
M’havia sdiminticatu pri la via,
S’era la manu manca, ò sì la dritta.
GIAMPETRO
On my way I forgot whether I was supposed
To fetch the one on the left or the one on the right.
ORISMONDO
Non fu quel della destra?
ORISMONDO
Did you not fetch the one on the right?
GIAMPETRO
Cu ssà parola mi sù mpidugghiatu,
Chiddu di manu manca nc’haiu datu.
GIAMPETRO
I get all muddled up with left and right,
So I think I gave her the one on the unright side.
ORISMONDO
Oh, che felice errore!
Li porgesti il sonnifero liquore.
ORISMONDO
Oh, blessed mistake:
You must have given her the sleeping potion!
ARMIDORO
Ma dimmi, o bella mia,
Perché inviasti l’amoroso foglio
Al Prencipe, cagion del mio cordoglio?
ARMIDORO
But tell me, my beloved,
Why did you send the Prince that love letter
Which caused me such distress?
STELLIDAURA
Quello che mi mostrasti, o mio diletto,
Era a te sol diretto.
STELLIDAURA
The letter you showed me, my treasure,
Was addressed to none other than you.
ARMIDORO
Già scoverto è l’errore.
ARMIDORO
Hence the error.
ARMIDORO, STELLIDAURA
Son i sdegni leggieri esca all’Amore.
ARMIDORO, STELLIDAURA
How hurtful to lovers the slightest slip can be.
ORISMONDO
Sorella, in ricompensa,
Che più volte Armidoro
La vita m’ha donata,
Con destra generosa,
Io vi destino, e già siete sua sposa.
ORISMONDO
My sister: since Armidoro
Has saved my life more than once
I wish to reward you both
With a gesture from my heart:
You have my blessing to be his bride.
GIAMPETRO
O veramienti nc’ha nu gran vantaggiu
Cà ssù pisu ci dai pri viviraggiu.
GIAMPETRO
Well, someone has done nicely out of it:
Tips seldom come fatter than that.
ARMIDORO: Alma mia,
ARMIDORO: My soul.
STELLIDAURA: Mio dolce Amor,
STELLIDAURA: My sweetest Love.
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ARMIDORO
Già le pene il cuore oblia.
ARMIDORO
How easily my heart has forgotten its suffering.
STELLIDAURA
Già festeggia, e ride il cuor.
STELLIDAURA
How readily my heart is celebrating with laughter.
ARMIDORO
L’orgoglio del fato,
ARMIDORO
The arrogance of fate
STELLIDAURA
Tempeste stridenti,
STELLIDAURA
The deafening tempests
ARMIDORO
Già veggio placato.
ARMIDORO
Have been quelled.
STELLIDAURA
Son tutti contenti.
STELLIDAURA
Have been hushed.
ARMIDORO: Finito è il martire.
ARMIDORO: Our martyrdom is over.
STELLIDAURA: Placato è il dolor.
STELLIDAURA: Our pain has been relieved.
ARMIDORO: Alma mia, etc.
ARMIDORO: My soul etc.
ORISMONDO
Chi l’offensor difese,
Pur vinse al fin nell’amorose imprese.
ORISMONDO
The man who defended the offender
Finally triumphs with his deeds of love.
ARMIDORO
Già gode lieta amante
Stellidaura adirata, e vendicante.
ARMIDORO
See how Stellidaura, once frenzied and vengeful,
Now luxuriates in blissful love.
GIAMPETRO
Li riepiti, e li trivuli vattuti
Nchienchia, e di ticchia sunnu mò spidduti.
GIAMPETRO
Let tears turn to nectar and sobs into brew,
While left and right lovers get all in a stew.
TUTTI
Sì, sì, dal patire
Sol nasce il gioire,
Da spine pungenti
Le rose ridenti,
Da fiere procelle
Le calme più belle.
E dopo il dolore,
Soave è il laccio, e più gradito è Amore.
TUTTI
From adversity
Blossoms jubilation,
From thorny boughs
A smiling rose,
From violent storms
A sky serene.
How obliging our Cherub is,
After all the affliction, how sweet his bonds.
Translation: Fabio Perselli, 2013
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26.04.13 12:42
ALSO AVAILABLE
Handel:
Germanico
88697860452
A co-production with
Innsbrucker Festwochen
der Alten Musik
Handel - Caldara:
Carmelite Vesper 1709
88691926042
Recording: August 8, 10 & 12, 2012
Recorded at Tiroler Landestheater,
Innsbruck, Austria
Executive Producer: Anselm Cybinski
Sound Engineer/Mastering:
Peter Ghirardini for realsound.it
Recording Producer/Digital Editing:
Julian Schwenkner for realsound.it
Artwork: WAPS, Hamburg
Photo: akg-images / Erich Lessing
This recording was generously supported by:
Telemann:
Flavius Bertaridus
88691926052
Pergolesi:
L’Olimpiade
88697807712
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26.04.13 12:42

la stellidaura vendicante - i

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