FRANCESCO CAVALLI L'Ipermestra - La Sfera Armoniosa Mike Fentross conductor - New-art
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FRANCESCO CAVALLI
L’Ipermestra
La Sfera Armoniosa
Mike Fentross conductor
Li v
r e co r e
di ng
1FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Ipermestra - Elena Monti soprano Linceo - Emanuela Galli mezzo soprano Elisa - Gaëlle Le Roi soprano Berenice - Marcel Beekman tenor Danao - Sergio Foresti bass Arbante - Mark Tucker tenor
CD 1
FRANCESCO CAVALLI (1602-1676)
L’Ipermestra (1654-1658)
Atto Primo
[1] Sinfonia from opera “Doriclea” 1645 by Franceso Cavalli 1:23
[2] Scena 1 Linceo, Ipermestra - Cortile regio 8:13
Elena Monti
[3] Scena 2 Arbante 1:11
[4] Scena 3 Arbante, Elisa 3:58
[5] Scena 4 Elisa 1:17
[6] Scena 5 Elisa, Berenice 2:53
[7] Scena 6 Berenice 0:31
Gaëlle Le Roi
[8] Scena 7 Danao, Ipermestra 8:24
[9] Scena 8 Ipermestra 5:18
[10] Scena 9 Linceo 2:58
[11] Scena 11 Linceo, Ipermestra 9:39
[12] Scena 12 Ipermestra 3:24
[13] Scena 13 Ipermestra, Berenice 0:52
[14]
Scena 14 Ipermestra, Danao, Berenice sotto una portiera 7:15
[15] Scena 15 Berenice 3:54
total time 61:18
Emanuela Galli
4 Elena Monti 5CD 2 CD 3
Atto Secondo Atto Terzo
[1] Scena 1 Ipermestra, Elisa - Prigione 9:12 [1] Scena 1 instrumental 1:40
[2] Scena 2 Ipermestra, Berenice 4:30 [2] Scena 2 Ipermestra, Campagna della Torre 0:18
[3] Scena 3 Ipermestra 1:29 [3] Scena 3 Ipermestra 1:09
[4] Scena 4 Ipermestra, Arbante ch’osserva 4:53 [4] Scena 4 Ipermestra, Elisa 4:11
[5] Scena 5 Arbante, Elisa 1:23 [5] Scena 5 Arbante 3:12
[6] Scena 6 Arbante, Elisa, Danao 1:50 [6] Scena 7 Linceo 3:40
[7] Scena 7 Danao, Arbante 2:31 [7] Scena 8 Linceo, Elisa, Berenice 7:19
[8] Scena 8 Danao 2:28 [8] Scena 9 Elisa, Berenice 0:45
[9] Scena 9 Danao, Ipermestra 2:20 [9] Scena 10 Berenice 2:45
[10] Scena 10 Ipermestra 2:36 [10] Scena 11 Ipermestra sopra la Torre 6:03
[11] Scena 11 Ipermestra, Elisa, Berenice 5:11 [11]
Scena 12 Ipermestra e Berenice sopra la Torre; Linceo in strada 1:00
[12] Scena 12 Ipermestra 1:38 [12] Scena 13 Berenice, Elisa 2:21
[13] Scena 21 Linceo 2:40 [13] Scena 15 Linceo, Ipermestra 0:46
[14] Scena 22 Linceo, Arbante 4:51 [14] Scena 16 Linceo, Ipermestra, Arbante 3:14
[15] Scena 23 Linceo 2:12 [15] Scena 17 Linceo, Ipermestra, Arbante, Elisa, Berenice 8:58
[16] Scena 24 Linceo, Elisa 0:41
[17] Scena 25 Linceo, Elisa, Berenice 1:10 total time 47:29
[18] Scena 26 Danao - Città d’Argo che abbrucia 1:36
[19] “Battalla de Barabaso yerno de Satana” 1650 by Andrea Falconieri 3:58
For booklet with Dutch translations of the libretto and extended biographies
total time 57:22 please go to www.challengerecords.com/booklets/cc72774
6 7L’Ipermestra
The over 350 year-old manuscript of the opera L’Ipermestra was handed to me time. However, the main patron of this sign of alliance with the Spanish crown
on a red velvet pillow in 2003 - the time during which there were hardly any was not the grand duke Ferdinand II de’ Medici, but his notorius brother, cardinal
manuscripts on the internet and you still had to visit a library to see one... I was Giovan Carlo de’ Medici: relentless operagoer and patron of singers, musicians,
in the manuscript room of the Venetian Marciana Library, one of the oldest and and academies. L’Ipermestra was one of his most important projects, and its origins,
most beautiful libraries in the world. I was there pursuing both mine and Jan van hidden for centuries, has only recently come to light.
den Bossche’s (former General director of the Utrecht Early Music Festival) dream
to build a fully staged opera production from an old forgotten manuscript, buried An account of the opera printed in 1658 on the occasion of the performances
in the cellars of an old Italian library. Gazing upon the handwriting belonging to reports that the cardinal asked for a scenic battle (abbattimento) to celebrate
one of the most important 17th century Italian opera composers was as exciting, the Spanish prince’s birth. Moreover, since this battle had to be justified within
as conducting the premiere of the production three years later. After our 2006 a dramatic context, the account states that he hastily commissioned the court
production other conductors also found their way to the Cavalli treasures in the physician and poet Giovanni Andrea Moniglia (1624-1700) to write a play that would
Marciana Library and other record labels recognised the beauty and importance of be appropriate for the occasion and would fit the abbattimento. The account reports
his operas. I am very proud of all the singers and instrumentalists that performed that the poet wrote L’Ipermestra in a few days, after carefully choosing the “right”
so well that night, that we were able to produce this cd from ONE SINGLE TAKE OF story for the occasion. Nevertheless, although the publicity for the 1658 premiere
THE PREMIERE WITHOUT CORRECTIONS and add it to the wonderful collection of was so convincing that everyone believed the opera had been written just for that
Cavalli’s opera cds that‘s been released up and until now... occasion, we have proof of the existence of Ipermestra already in 1654 – four years
Mike Fentross prior to the Spanish prince’s birth.
L’Ipermestra by Francesco Cavalli: A number of letters reveal that in that same year, between August and November,
the love of a princess as a portrait of a grand duchess (Florence 1654-1658) Francesco Cavalli (1602- 1676) was in contact with his Florentine patrons, and,
act after act, sent the opera to the grand-ducal court. Furthermore, the only extant
In 1658, on the occasion of the recent birth of King Philip IV of Spain’s first son musical source of this opera, the composer’s autograph held in Venice, documents
(prince Felipe Próspero), the Grand Duchy of Tuscany celebrated the royal event the compositional process, and in its final folios shows a sign of the opera’s earlier
with one of the most magnificent operas ever staged in Florence: L’Ipermestra by conception. Instead of the prince’s name “Filippo,” which we find in the libretto
Giovanni Andrea Moniglia and Francesco Cavalli. printed in Florence in 1658, the score contains a particularly meaningful female
name. The opera was dedicated to “Vittoria,” clearly referring to the most important
This opera originated from an unusual mix of court culture and the fashionable woman in the Grand Duchy of Tuscany at the time: the grand duchess Vittoria
“opera alla veneziana,” one of the most in-vogue entertainments in Europe at the della Rovere.
8 9Her name also appears in a manuscript libretto for L’Ipermestra, held in Rome, After being asked to kill her beloved husband Linceo (soprano) at the beginning
that contains an early version of the opera close to Cavalli’s score. Its prologue of the first act (CD 1),1 Ipermestra comments on her father’s cruel request in
(music lost) presents some lines that reveal the primary aim of this work: to celebrate a beautiful lament scene that ends with the aria “Piangete, occhi, piangete”
the 33rd birthday of the queen of Florence (“della regina dell’Arno il gran natale”). (Track 09). She finally decides to save her love, and reveals her father’s plan to him.
Moreover, together with the concomitant 1655 Carnival, the celebration perfectly Linceo, in his bewilderment, leaves, and she, alone on the stage, releases her pain
fit with another project of the cardinal de’ Medici: the inauguration of the newly in the heartbreaking aria “Già che non ode il cielo” (Track 12). In a dynamic and
built Teatro della Pergola, at the hands of the Accademia degli Immobili. He had theatrical scene Danao discovers his daughter’s betrayal and shows her his rage
deployed all of his forces to build an up-to-date theater in which to stage modern (track 14). The first act ends with a comic scene by Ipermestra’s nanny Berenice (alto)
operas with modern machinery and spectacular scene changes. However, due to who complains about Danao’s request, and finally foreshadows a happy ending
delays in the building process, he postponed its opening until 1657, with a less (Track 15).
complex dramma per musica, Il potestà di Colognole by Moniglia and the composer
from Pistoia, Jacopo Melani. The Ipermestra project was revived around the end of At the beginning of the second act (CD 2), the lady-in-waiting Elisa (soprano) visits
that year, when the cardinal activated a well-studied ‘recycling process’ after the Ipermestra in the prison where Danao has locked her up. She pines for her beloved
birth of the Spanish prince, and thus the opera could finally be staged in 1658. Arbante (tenor), who felt in love with Ipermestra, but the princess soothes her:
she will never love her own lady-in-waiting’s beloved. Ipermestra then sings
Echoing the birth of a son to the Spanish king Philip IV after a long wait, which would sorrowfully about Linceo’s distance in a grieving passage starting with the words
save the royal bloodline, L’Ipermestra tells the story of a royal lineage in danger, “Nel mar de’ miei tormenti” (Track 3). Arbante soon arrives at the prison to try
eventually saved thanks to Divine Providence. However, the real center of the opera’s to seduce her, but she remains adamantly steadfast. At that moment, Elisa sees
plot is the moral poignancy of the protagonist: Ipermestra (soprano) is the character Arbante in the jail cell and decides to reveal his love for Ipermestra to Danao, but
around whom the story revolves. is unable to betray him and leaves in silence (Track 6). Then the king commands
Arbante to ask Linceo for peace: he is coming with his army to destroy Argos and
Just before becoming king, Ipermestra’s father Danao (bass) was banished from Danao wishes to stop the impending massacre. After singing the aria “Affetti, pietà,
the kingdom of Egypt by his brother Egitto. He then sought fortune in Greece and / partite da me”, in a furious scene the king meets his daughter and lashes out at her,
became king of the city of Argos. Egitto sent to Argos his army to conquer the city, blaming her for the imminent ruin (Tracks 8-9). Ipermestra, therefore, sends Elisa and
but Danao, having been told by an oracle that he would be killed by a son of his Berenice to the battlefield to ask Linceo for peace in memory of her love, closing the
brother, decided to offer his fifty daughters’ hands in marriage to Egitto’s fifty sons, scene with the aria “Durissime catene” (Track 12). In the meantime, in the war camp,
and to ask the girls to kill their husbands during the first night of their marriage. This Linceo is corroded by doubt about Ipermestra’s faith, and, after the aria “A questo
attempt to prevent the prophecy from coming true is the starting point of the opera,
whose plot has a slightly unpredictable evolution. 1.
Since Cavalli’s score does not present any opening sinfonia, this recording of Ipermestra has been
supplemented by the instrumental opening from the opera Doriclea by the same composer, with text by
Giovanni Faustini (premiere, Venice 1645).
10 11Mark Tucker
mio core / fan guerra mortale” (Track 13), he meets Arbante. The latter tells him
that the princess married someone else during his absence, and Linceo, in
great anger, sends him back to Danao declaring war on Argos (Track 15). Upon
Elisa’s arrival in Linceo’s camp, he recalls how much he loved her before meeting
Ipermestra, and renews his love for the lady-in-waiting. However, the time for
battle has arrived, and the servant Vafrino reports that Argos is under attack. In the
following scene the king Danao expresses his grief while Argos burns, and resolves
to enter the fray and die, while the abbattimento takes place onstage (tracks 18-19).2
At the beginning of the third act (CD 3), Argos is destroyed and Ipermestra’s
despair is heard in her aria “Cara la vita a me, se morte adoro?” (Track 3). During her
encounter with Elisa, the princess discovers that Linceo does not love her anymore.
A scene change brings Arbante onstage, who realizes the gravity of his lie, singing
Sergio Foresti
the excruciating lament of repentance “Disperato cor mio, dimmi: che fai?” (Track 5).
When Linceo comes back onstage he shows his love for Elisa with the aria “Il primo
ardor” (Track 6), and finds her in the following scene. However, she does not accept
his advances and reveals to him that Ipermestra has always been faithful to him.
The princess, in the grips of sorrow after a last beautiful lament “Come viver poss’io”
(Track 10), while Linceo looks on, decides to throw herself from a tower. Venus,
however, as a token of appreciation for her constancy in love, sends a peacock
to save the princess, and Linceo finally returns her love once again (Track 14).
Ipermestra’s forgiveness of Arbante and his renewed love for Elisa complete the plot,
and, after the duet for Ipermestra and Linceo “O mia vita, o mio core”, the opera
ends with the final chorus “a 4,” joined by Elisa and Arbante, “Così d’amor le pene”
(Track 15).
Nicola Usula
Marcel Beekman
2. The music for this battle scene was written by the Neapolitan composer Andrea Falconieri (1585-1656).
It is titled Batalla de Barabaso yerno de Satanas, and was printed in Naples in 1650, as part of Falconieri’s
Il primo libro di canzoni, sinfonie, fantasie, capricci, brandi, correnti, gagliarde, alemane, volte per violini
e viole, overo altro stromento a uno, due e tre con il basso continuo (Naples, P. Paolini and G. Ricci, 1650).
12 13Mike Fentross conductor & lutenist La Sfera Armoniosa
Conductor/lutenist Mike Fentross has largely earned his credits as an early music Is founded in 1992, is a Dutch Baroque ensemble and orchestra specialized in the
specialist. He is working all over Europe as a conductor, soloist and basso continuo performance of music from the seventeenth and eighteenth century. Artistic director
player and he is professor of lute and basso continuo at the Royal Conservatory and conductor is Mike Fentross. In addition to the music of famous composers
The Hague. In 2006 he founded the baroque orchestra La Sfera Armoniosa. such as Monteverdi, Haendel and Vivaldi, the ensemble undertakes research into
the manuscripts and printed works of the European libraries in order to provide a
About the opening concert of the Musica Antiqua Festival in Brugge the press rich spectrum of music from lesser known composers. The English music magazine
wrote: He is a true conductor, not only in his movements, but also and especially in Gramophone wrote about their first cd: “How soon will we hear the enchanting
his musical thought, developed and original, which distinguishes him from many of La Sfera Armoniosa again, and what fresh buried treasure will they unearth?”
his colleagues who are considered to be ‘primus inter pares’. Besides a technically
perfect performance of his orchestra, his lecture of ‘Membra Jesu Nostri” is tempting La Sfera Armoniosa is known and praised for it’s lively and colourful sound and for
for its intensity and its theatricality: Fentross increases the contrasts, uses rubati rarely its groundbreaking programmes. They created in 2004 a Schoenberg/Monteverdi
heard in this repertoire and builds powerful nuances which brings to the music a programme that they performed with great success in the Utrecht Early Music Festival
supplementary dimension of sound. and they performed modern world premiers from three almost forgotten opera’s: La
Rosinda, L’Ipermestra and Granida. In 2012 the Concertgebouw asked
Ton Koopman said in an interview with the German music magazine Concerto: I have La Sfera to design and perform a special program, the Amsterdam musical life before
found in Mike Fentross an incredibly gifted basso continuo player. I don’t know any the concerthall was build, for their 125th anniversary.
one that plays as musical and intelligent continuo as him.
La Sfera Armoniosa performed in main festivals and concert halls such as: Festival
Mike Fentross conducted in many festivals and concerthalls like the Concert- van Vlaanderen, Festival d’Ambronay, Festival Oude Muziek Utrecht, Music Center
gebouw in Amsterdam. the Festival van Vlaanderen, Festival d’Ambronay, Vredenburg, Musikfestspiele Potsdam Sanssouci, Monteverdi festival Cremona,
Festival Oude Muziek Utrecht, Musikfestspiele Potsdam Sanssouci, Paradiso Festival de Musica Portico de Zamora, Festival Musica Antiqua Bruges, and the
Amsterdam, Monteverdi Festival Cremona, Festival de Musica Portico de Zamora, Concertgebouw of Amsterdam.
Festival Musica Antiqua Brugge, Vantaa Early Music Festival, Bayreuth Barock and
Muziekcentrum Vredenburg in Utrecht. For two times he had the honour to conduct in About their performance of the opera La Rosinda from Francesco Cavalli in
the presence of Queen Beatrix of Holland. Musikfestspiele Potsdam Sanssouci the press wrote: ‘Das Orchester stellt an diesem
Abend unter Beweis, dass es zu den führenden Barock-Orchestern gehört. Und was
About his first time conducting the Dutch Chamber Choir in 2010 in the für Zwischentöne auch aus dem Orchestergraben kamen, werde ich so schnell nicht
Concertgebouw the press wrote: Conductor Mike Fentross rivalled Caravaggio wieder vergessen. Große Kunst war das. Nicht mehr und nicht weniger’.
with the score of the Maria Vespers. His first time conducting the Nederlands
Kamerkoor was a resounding success.
14 15Elena Monti soprano Mahler’s IV Symphony in Trieste, Vivaldi’s Gloria, Bach’s Magnificat and Beethoven’s
Born in Milano, Elena graduates with honors and honorable mention at the Missa solemnis in Malaga, Milan and at the Teatro Regio di Parma.
Conservatorio Verdi in Milan under the guide of Giovanna Canetti and specializes
at the Accademia del Teatro alla Scala, also taking part at the productions of Die She has been directed by important conductors including: Gerd Albrecht, Rinaldo
Zauberflöte, L’Elisir d’Amore as Adina and Gluck’s Armide directed by Maestro Muti. Alessandrini, Giovanni Antonini, Aldo Ceccato, Dantone, Daniele Gatti, Djasung
Kakhidze, Riccardo Muti, Jeffey Tate, Nello Santi, Robin Ticciati, and Massimo Zanetti.
During the following years she’s regularly invited by important theaters such as:
Teatro di San Carlo in Naples in Cimarosa’s Il marito disperato, Ravel’s L’Enfant et les Among her recent engagements: Così fan tutte (Fiordiligi) in Bari conducted by
sortilèges; Opernhaus in Zürich in Verdi’s Falstaff; Teatro del Maggio Fiorentino in Peer Roberto Abbado, La Traviata at Teatro La Fenice in Venice, her debut at Opera di
Gynt; Teatro Verdi in Trieste playing Britten’s Peter Grimes and Donizetti’s Rita; Teatro Firenze in Così fan tutte (Fiordiligi) and again Fiordiligi at Bolshoi Theatre in Moscow
Lirico in Cagliari for Schubert’s Alfonso und Estrella and Verdi’s Un ballo in maschera;
Teatro della Maestranza in Seville for Massenet’s Manon; Teatro Comunale di Bologna Emanuela Galli mezzo soprano
in Boris Godunov conducted by Daniele Gatti; Teatro alla Scala in Le Nozze di Figaro; The Italian soprano, Emanuela Galli, received her diploma in singing at the
the Salzburg Pentecost Festival in Hasse’s I pellegrini al Sepolcro di Nostro Signore, Conservatory of Music of Mântua.
conducted by Riccardo Muti.
Emanuela Galli has collaborated with some ensembles and orchestras of Baroque
In recent seasons she sings Mimì in La Bohème, Donna Anna in Don Giovanni, music, such as the Cappella della Pietà dei Turchini, La Risonanza, La Venexiana
Fiordiligi in Così fan tutte at Teatro La Fenice in Venice, Handel’s Partenope in Ferrara (Director: Claudio Cavina), Pian&Forte and La Fenice. She has participated in festivals
and Modena, Orlando Paladino at the Concertgebouw in Amsterdam, La Bohème in and performed in the major Italian cities and abroad, among which are ‘’Música e
Liege, Midsummer night’s dream at La Fenice in Venice and Parma, conducted by Yuri Poesia’’ of S. Maurizio in Milan, Festival Barroco of Pontoise, the Festival of Beaune,
Temirkanov, Peer Gynt at Teatro Filarmonico in Verona and Così fan tutte in Saint- the Festival of Bruges, the Festival of Utrecht and the Festivals of Freiburg and
Etienne and Nurnberg. Lugano. Beyond that, she has appeared at Theatre la Fenice in Venice, in Santiago de
Compostela, in Barcelona, at the Konzerthaus of Vienna, the Konzerthaus of Berlin, and
Particular interesting is the production of Mozart’s La Clemenza di Tito (Servilia), with Lisbon at Fundação Calouste Gulbenkian.
Jeffrey Tate at Teatro di San Carlo in Naples, her debut in Violetta in La Traviata first
at Teatro Sociale in Como then in Tokyo and Madrid in concert form and New Year’s Emanuela Galli has interpreted various roles of the repertoire of the Italian Baroque
concert in 2015 at the Teatro Real in Madrid. opera, being distinguished Erosmina in La Finta Cameriera by Gaetano Latilla, for the
Teatro Petruzzelli in Bari, Cupido and Maria Madre in La Colomba Ferita by Francesco
Also her concert activity is intense; Mozart’s Requiem, Brahms’ Ein Deutsches Requiem, Provenzale, at the Theater San Carlo of Naples, Belluccia Mariano in Li Zite’n Galera by
Mozart’s Konzertarien in Jerusalem and Graz, Mozart’s Messa dell’Incoronazione, Leonardo Vinci, directed for Antonio Florio, and Alcina and Sirena in the opera-ballet
16 17of Francesco Caccini La Liberazione di Ruggiero dall’Isola di Alcinasob directed by Gaële Le Roi has been fortunate enough to perform in concert under the baton of
Gabriel Garrido. In Teatro Massimo of Palermo she also particpated, as a soloist, in such conductors as Michel Corboz (Elijah, Mendelssohn), Jean-Claude Malgoire (Die
Vespro della Beata Vergine by Claude Monteverdi. Schöpfung, Haydn), Marek Janowski (Daphné, Strauss), Myung Wung Chung (Die
Schöpfung, Haydn), Esa Pekka Salonen (Le martyre de Saint-Sébastien, Debussy), Sir
Emanuela Galli has already participated in some recordings for various labels, as well Yehudi Menuhin (Mass in C minor and Exultate jubilate, Mozart), Emmanuelle Haïm
as radio and TV broadcasts. (Madrigali amorosi e guerrieri, Monteverdi), Ryan Brown (Hippolyte et Aricie, Rameau
; Alceste, Lully), Emmanuel Krivine (Requiem, Fauré) and Michel Plasson (Dialogues
Gaëlle Le Roi soprano des carmélites and Les Mamelles de Tirésias, Poulenc).
After debuting at the Opéra de Lyon, Gaële Le Roi was immediately noticed by
Peter Sellars, who asked her to sing Yniold (Pelléas et Mélisande) at the Nederlandse Ms Le Roi appeared on the opera stage with many illustrious conductors, including
Opera-DNO d’Amsterdam and at the Los Angeles Music Center. She reprised the Sir Simon Rattle, John Eliot Gardiner, René Jacobs, Christophe Rousset, Kent
role with the Teatro della Fenice di Venezia as well as at the Opéra National de Paris, Nagano, Sylvain Cambreling, Armin Jordan, Alain Lombard, James Conlon, Marc
then debuted the role of Mélisande in 2002 at the Opéra de Massy. Minkowski and Lorin Maazel.
During her career, Gaële Le Roi has performed regularly at DNO of Amsterdam Gaële le Roi has performed at numerous festivals, such as Aix-en-Provence, the
(L’incoronazione di Poppea, Damigella and Amor ; Jenufa by Janáček, Jano), the Festival de la Chaise-Dieu, the Festival de Beaune, the Montpellier Festival de Radio
Opéra de Lyon (Dialogues des carmélites, sœur Constance), the Opéra National France, the Chorégies d’Orange, the Salzburg Festival, the Innsbruck Festival, the
de Paris-Garnier (L’enfant et les sortilèges, l’enfant ; Die Zauberflöte, Papagena Utrecht Early Music Festival and the Boston Early Music Festival.
; Les Indes galantes, Zaïre), the Opéra National de Paris-Bastille (Die Zauberflöte,
Papagena ; Boris Godounov, Fiodor ; From the House of the Dead by Janáček, Alieia; She has worked under directors such as Pierre Audi, Richard Jones, Bob Swaim,
Juliette ou la clefs des songes by Martinù, Le petit arabe ; Les Troyens, Ascagne). At Herbert Wernicke, Graham Vick, Stephen Lawless, Klaus Michael Gruber, Benno
the Teatro Real de Madrid she once again performed From the House of the Dead Besson, Patrice Caurrier/Moshe Leiser and Bob Wilson.
by Janáček. At the Brooklyn Academy of Music in New York she sang again the roles
of Amor and Damigella in L’incoronazione di Poppea. She appeared at the Théâtre Since 2009 Gaële Le Roi has been travelling between Europe and the United States,
du Châtelet (Carmen, Frasquita ; Peter Pan by Patrick Burgan, la fée Clochette where she now lives. She recently appeared at the Kennedy center and at Carnegie
; Le Vervügbar aux Enfers by Germaine Tillon, Rosine et Marguerite, two world Hall with a concert program of works from 17th- century France and Italy, pairing her
premières), at the Théâtre des Champs-Elysées ( Die Zauberflöte, die erste Dame) with French tenor Jean-Paul Fouchécourt and Opera Lafayette (Ryan Brown).
as well as at the Teatro Lirico di Cagliari (Œdipe by Enesco, Antigone). She also
appeared at the Théâtre de la Monnaie de Bruxelles for the première of Frühlings
Erwachen by Benoît Mernier in the role of Ilse.
18 19Marcel Beekman tenor Operatic repertoire includes Berenice L’Ipermestra Cavalli, the title role in Platée, the
“This performance had an unforgettable Platée in the Dutch tenor Marcel Beekman” title role in Pygmalion and Valère, Damon, Don Carlos Les Indes GalantesRameau,
wrote The New York Times after his international break-through with the title role Maître de Musique and Maître de Chant Les Fêtes Vénitiennes Campra, Nurse Granida
in Rameau’s opera. Described by Süddeutsche Zeitung as “the master singer who P.C. Hooft, Arnalta and Nutrice L’Incoronazione di Poppea, Eumete Il ritorno d’Ulisse
achieves miracles” and praised by Wiener Zeitung for a performance that “was in patria and the title role in Orfeo Monteverdi, Lope Don Chisciotte in Sierra Morena
snazzy…even defied gravity”, Amsterdam based Marcel Beekman is reknowned for Conti, Germanico Arminio Biber, Pedrillo Die Entführung aus dem Serail, Basilio and
his interpretation of operatic character roles as well as early and contemporary music Don Curzio Le Nozze di Figaro Mozart, Skrjagin Skupoy Pashkevich, Prince Nilski
performances. Igrok Prokofiev, Adrian Der Sturm Martin, 1., 2. and 4. Jude SalomeStrauss [“…the
well-executed quintet of bickering Jews was dominated by Marcel Beekman’s lacerant
Marcel Beekman has performed the great German, French and Italian baroque tenor…”], Le Cabaretier Benvenuto Cellini Berlioz, Ulrich Eisslinger Die Meistersinger
repertoire all over Europe, the United States, Middle East, South Africa and Japan von Nürnberg Wagner, Mime Das Rheingold and Siegfried Wagner, Hauptmann
in major concert venues and festivals with specialized conductors such as William and Narr Wozzeck Alban Berg, Primo Sacerdote Il PrigionieroDallapiccola, Pégase,
Christie, Frans Brüggen, Christophe Rousset, Richard Egarr and Reinhard Goebel. He Sénéchal and Prêtre L’écume des jours Edison Denisov [International Diaghilev Award
has performed later repertoire as well with Sir Simon Rattle, Daniele Gatti, Sir Mark 2013], the title role in Jonah the Naysayer Willem Breuker, Arthur Rimbaud Nuit de
Elder, Iván Fischer, Claus Peter Flor, Ariane Matiakh, Steven Sloane and Ed Spanjaard, l’enfer Roderik de Man, Laki Topalovic Maratonci Isidora Zebeljan, Zamar Legende
with orchestras including the Royal Concertgebouw Orchestra, Berliner Philharmoniker, Peter-Jan Wagemans, Ricardo Laika Martijn Padding, Casella La Commedia and Pope
Los Angeles Philharmonic, Orchestra of the 18th Century, Les Arts Florissants, Innocenzo XI Theatre of the World Louis Andriessen. Dutch national press unanimously
ASKO|Schönberg and Orchestra Sinfonica di Milano Giuseppe Verdi. applauded him for this latter role, being “a distinctively formidable Pope, touching
and brilliant”. Los Angeles Philharmonic released a double CD of the production on
Marcel is also known for his outstanding ability in more avant-garde repertoire. He has the Nonesuch label in autumn 2017 which was nominated for the BBC Music Magazine
worked extensively with conductors such as Reinbert de Leeuw, Sylvain Cambreling, Awards 2018 in the category opera.
John Adams, Marc Albrecht, Avner Biron and Jonathan Stockhammer in works by Igor
Stravinsky, Alban Berg, Benjamin Britten, Nicolas Obouchov, Pascal Dusapin, Edison Marcel Beekman has worked at Dutch National Opera, Theater an der Wien, Opéra
Denisov, Mauricio Kagel, Witold Lutoslawski, Joseph Bardanashvili, Gottfried von Comique de Paris, Théâtre du Capitole Toulouse, Staatstheater Stuttgart, Salzburger
Einem and György Kurtág. Marcel has given many world premières that have been Festspiele, Bregenzer Festspiele, Holland Festival, Brooklyn Academy of Music,
specially composed for his voice: Calliope Tsoupaki, Martijn Padding, Roderik de Lincoln Center and Carnegie Hall New York with directors Robert Carsen, Pierre
Man, Micha Hamel, Elmer Schönberger, Jacques Bank, António Chagas Rosa and Jeff Audi, Ivo van Hove, Claus Guth, Stefan Herheim, Tatjana Gürbaca [the press referred
Hamburg have written specifically for him, as have the younger generation of Dutch to Beekman’s Mime in her Vienna Ring-Trilogie of 2017 as “ausgezeichnet“, “mit
composers such as Reza Namavar, Joost Kleppe, Anke Brouwer, Bart Visman and schnarrendem Tenor ein genial winselnder Mime“, “ungemein wortdeutlich“, “ein
Matthias Kadar. köstlich-keifender Mime“ and “il flessuosissimo tenore olandese Marcel Beekman
20 21risplende in una parte più che controversa, indossando la kippah“], Hal Hartley, Nicola Orleanskaja Deva, Escamillo in Bizet’s Carmen (on Tour in Netherland and Belgium),
Raab, Jan Lauwers, Marcel Sijm and Krzysztof Warlikowski. The latter staged DNO’s Giorgio Germont in Verdi’s La traviata (Staatoper Szeged in Hungary) and Ford in
2017 production of Wozzeck in which Beekman’s interpretation of Der Hauptmann was Verdi’s Falstaff (on Tour in Netherland). In 2014 he sang as Leporello in Don Giovanni
described internationally as excellent and outstanding; sadistic and maniacal as well as with Festival in Alden Biesen and Shaunard in La Bohème on Tour in Netherland. In
“eccezionale” and “absolument unique”. The TV-registration of this production will be September he sang with the Orchestra Sinfonica di Sanremo in Brahms Ein deutsches
released on DVD. Requiem.
The 2018/19 season kicked off with L’Incoronazione di Poppea in the Salzburg Festival Sergio Foresti has worked with stage directors such as Luca Ronconi, David McVickar,
where Marcel Beekman performed the roles of Nutrice and Famigliare I. A CD and Vincent Boussard, Graham Vick, Toni Servillo and Robert Wilson and conductors such
DVD-release of this production is planned for autumn 2019. Engagements for the near René Jacobs, Rinaldo Alessandrini, Ottavio Dantone, Jordi Savall, Fabio Biondi, René
future include the roles of Nurse in Francesco Sacrati’s La finta pazza in Dijon, Kraków Clemencic, Giovanni Antonini and Enrico Gatti.
and Versailles and Tanzmeister in Richard Strauss’ Ariadne auf Naxos at Théâtre des
Champs-Élysées in Paris. Concert performances will take him to Stavanger, Vilnius, Tel Sergio Foresti made his debut in 1998 in L’Olimpiade by Antonio Vivaldi at the
Aviv, Hamburg, Rome, Genève and Helsinki, besides scheduled projects with several Teatro Rendano di Cosenza. From then on, he started to appear in some of the most
leading orchestras in The Netherlands. important festivals and theatres throughout Europe. After taking part in the Wexford
Opera Festival and in the Opera Barga Festival, he sang as Plutone in Monteverdi’s
Sergio Foresti bass Orfeo at the Festival of Stiria in Graz. In Bassano del Grappa he portrayed the role
Sergio Foresti studied singing and piano in Modena and in Florence. of Leporello, at the Teatro di San Carlo di Napoli he sang in Cimarosa’s Il marito
disperato, followed by a new production of L’incoronazione di Poppea at the Teatro
Multi-talented musician and singer, has gone through different repertoires from Comunale di Bologna in the 2001-2002 season.
Monteverdi to Verdi and Puccini singing in theatres such as Staatsoper Berlin,
Bayerische Staatsoper, Teatro alla Scala, Teatro San Carlo di Napoli, Theater an der After an initial activity as chorus singer in several theatrical institutions, Sergio Foresti’s
Wien, Teatro Real Madrid and Théâtre Royal de La Monnaie and in festivals such particular interest in Medieval, Renaissance and Baroque music brought him to perform
as Mafestival Brügge, Festival OudeMuziek Utrecht, Styriarte Graz and Innsbrucker with numerous ancient music ensembles: among them, Concerto Italiano (Director:
Festwochen der Alten Musik. Rinaldo Alessandrini), Reverdie, Il Giardino Armonico, Europa Galante, Sonatori della
Gioiosa Marca, Accademia degli Invaghiti, Cappella Ducale di Venezia, Accademia
His repertoire include: Conte di Almaviva in Le nozze di Figaro (Wexford Opera Bizantina, Clemencic Consort, Athestis Chorus, La Capella Reial de Catalunya,
Festival), Leporello in Carlos Sauras Film Io, Don Giovanni and Publio in La Clemenza Ensemble a Sei Voci. In this period he had the chance to sing under the baton of
di Tito (on CD conducted by René Jacobs), Cimarosa’s Il marito disperato, Tchaikovsky’s Rinaldo Alessandrini, Fabio Biondi, René Clemencic, Enrico Gatti, Jordi Savall.
22 23Sergio Foresti collaborated as soloist with the Cappella di San Petronio di Bologna, Mark Tucker performed for BBC Radio 3 in Peter Schmoll by Weber and the premiere
Accademia Chigiana di Siena, Accademia Nazionale di S. Cecilia di Roma, Ravenna of Scarlatti’s Una villa di Tuscolo. He also appeared in Granada TV’s Man and Music
Festival, Rossini Opera Festival, RAI, Radio France, RTSI, WDR. series. He gave recitals with Nigel North and David Mason. In 1990-1991 season
he sang in Die Entführung at the Newbury and Spitalfields Festivals, and Bach’s St
Sergio Foresti’s discography includes recording for Virgin, Opus 111, Tactus, Matthew Passion (BWV 244) in Aarhus, Denmark, conducted by Richard Hickox. Further
Bongiovanni, Stradivarius, Arcana, Frequenz, Accord, Dynamic, Chandos, Divox. operatic roles include Cavalli’s Egisto, Alcide in Rameau’s Les Fetes de Polymnie,
Eurimaco in Monteverdi’s Ulisse, and Mozart’s Bastien, Belmonte and Tamino. He has
Mark Tucker tenor sung in concert performances of Rameau’s Pygmalion in Stuttgart, Rouen and Utrecht,
The English tenor, Mark Tucker, studied at Cambridge and the Guildhall School of conducted by Sigiswald Kuijken. Later repertoire includes Nicolai’s Fenton and Igor
Music and Drama. Stravinsky’s Oedipus.
Mark Tucker’s appearances in opera, concert and Lieder have been widely acclaimed,
and he is now established as one of the foremost tenors of his generation. An
outstanding interpreter in the baroque and classical repertoire, he has performed
throughout Europe and recorded under leading conductors, such as Michel Corboz,
John Eliot Gardiner, Nikolaus Harnoncourt, René Jacobs, Ton Koopman, Roger
Norrington and Sigiswald Kuijken. He has appeared at the festivals of Aix-en-Provence,
Beaune, Florence, Flanders and Utrecht. He sang the Evangelist in J.S. Bach’s St
Matthew Passion (BWV 244) at the Maltings, Snape, and in St John Passion (BWV
245) with the King’s College Choir Cambridge under Stephen Cleobury, Monteverdi’s
Vespers at St Mark’s Venice conducted by John Eliot Gardiner with the Monteverdi
Choir. Other ensembles with which he has worked include the Amsterdam Baroque
Orchestra, The Sixteen, City of London Sinfonia, the Netherlands Bach Choir, the
Northern Sinfonia and the Taverner Choir. He appeared at Bruges Festival in 1984 as
Monteverdi’s Orfeo. He made his London recital debut in 1984 at the Purcell Room
and his Festival Hall debut in Messiah in 1984. He contributed to European Music Year
1985 with Peri’s Orfeo under Philippe Herreweghe in Florence. Other highlights include
Monteverdi’s Vespers of 1610 at the Salzburg Festival, L’incoronazione di Poppea in
Amsterdam, New York and on tour in Italy, and many of the Mozart tenor roles.
24 25CD 1: Atto Primo CD 1: Eerste Akte ov’era il mio soggiorno, waar mijn woning was,
quante volte chiedei hoe vaak vroeg ik daar Amor niet om vleugels
Scena Prima Scene 1 l’ali ad Amor per fare a te ritorno? om naar jou terug te keren?
Linceo, Ipermestra Linceo, Ipermestra Che pargoletto ancora, Ik wist toen al dat elke zeldzame schoonheid
Cortile Regio Koninklijk Hof quando nel tuo sembiante fissai lo sguardo, met jou vergeefs probeerde te wedijveren.
e che di lui compresi Bij het goud van die krullen vallen
Linceo Linceo essere i vaghi raggi al cor saette: alle oorlogsschatten van Indus in het niet.
Qual mai benigna Stella Welke goedgezinde Ster heeft in conobbi allor’, che ’n vano En bij de bloesem van jouw gelaat
girò nel Ciel d’Amor gli aspetti suoi; Amors hemel de stralen zo gebogen teco gareggia ogni beltà più rara; verbleken de aprilvelden van Flora.
che s’adeguasse a quella, dat ze gelijkgezind all’oro delle chiome En toch stond de vriendelijke Hemel
che lieta comparti gl’influssi a noi? ons lot zo gunstig hebben beïnvloed? cedon l’Indiche arene i suoi tesori mij dit zo begeerde goed toe.
Non mai con più bel nodo Met geen mooiere verbintenis, e del tuo volto ai fiori Ik toch de jouwe, jij toch de mijne:
sì giocondo Imeneo due cori avvinse dan die mij vandaag aan jou bindt, mijn Heldin, cedon di Flora in sull’ Aprile i campi. meer nog zou ik willen zeggen,
di quel ch’a te (mia Diva) oggi mi strinse. won Imeneo ooit zo speels twee harten. Pur sì bramato bene mocht ik nog meer kunnen willen dan
Ipermestra Ipermestra posseder mi concede amico Cielo; de jouwe te zijn en jij de mijne.
Non è fra tanti Sposi, Er is tussen al die Aanstaanden pur son tuo; pur sei mia: più dir vorrei,
ond’altera sen va d’Argo la Reggia, waarmee het Rijk van Argos zich verheft, se più d’esser io tuo,
coppia di noi più fortunata; oh quanto, geen koppel dat gelukkiger is. d’esser tu mia potessero
adorato mio bene, Ach, mijn liefste, hoe keken wij voler gli spirti miei.
sospirammo in bramar giorno sì grato. zuchtend van verlangen uit naar deze gezegende dag. Ipermestra Ipermestra
Ben mille volte uniti Wel duizend keer verenigden zich Belle porpore vezzose, Schone, lieftallige purpers
al tenor del mio pianto i tuoi lamenti, jouw klachten met de klank van mijn geween; ond’Amor i labri inostra, waarmee Amor de lippen kleurt,
che non portasse il termine beato, de zon noemden we lui, de momenten traag, pur son vostra: ik behoor aan jou.
chiamaron pigro il Sol, di tardi momenti. omdat ze het gezegende moment niet brachten. di Rubini almo tesoro, Kostbare ziel van Robijnen,
Ecco, che pur ei giunse; Zie hoe het zich nu dan toch aandient. mio ristoro, Idolo mio, mijn vuur, mijn liefste,
pur son tua; pur sei mio: più dir vorrei, Ik toch de jouwe, jij toch de mijne: meer nog zou ik e che più bramar degg’io? wat méér mag ik me wensen?
se più d’essere io tua, d’esser tu mio willen zeggen, mocht ik nog meer kunnen willen dan Linceo Linceo
potessero voler gli spirti miei. de jouwe te zijn en jij de mijne. Lucidissime pupille, Aller stralendste ogen
Linceo Linceo a cui porta invidia il giorno; waar de dag jaloers op is,
Sulle rive del Nilo Aan de oevers van de Nijl, pur ritorno ik keer terug
26 27a goder vostro splendore: om te genieten van jullie schittering: Scena Seconda Scene 2
o, mio core, Idolo mio, oh mijn hart, mijn aanbedene, Arbante Arbante
e che pur bramar degg’io? wat méér mag ik me wensen? Mia sventura vuol così. Dit is de wil van mijn noodlot.
Ma vedi omai, ch’alla vicina notte Maar je ziet al dat de komende nacht Cieco Amore e pur è vero! Amor blind? En of het waar is!
cedono impalliditi i raggi d’oro; de gouden stralen verbleekt zullen wijken. Stral non hai più crudo, e fero, Er is geen pijl wreder of heftiger
deh sferza, o biondo Dio Kom, blonde Godheid, gesel dello stral che mi ferì. dan de pijl die mij verwondde.
i fervidi destrieri; uw krachtige paarden. Per te, bella Ipermestra, ard’ il cor mio, Voor jou, schone Ipermestra, brandt mijn hart.
s’amoroso desio chiudesti in seno, Laat hun rasse tred, tra gelosi sospetti Temidden van jaloerse verdenkingen
non sia veloce meno met dit verlangen naar liefde opgesloten in mijn borst temei del Sole, e paventai dell’ombre; vreesde ik het licht en was ik bang voor de schemer.
il presto corso lor, de’miei pensieri. niet minder snel zijn dan mijn gedachten. ed hor potrò, mia vita, (empio martire!) En nu zal ik, mijn leven, (hoe wreed) moeten
Ipermestra/Linceo Ipermestra/Linceo vederti in grembo ad’altri, e non morire? zien in andermans schoot zonder zelf te sterven?
Graditi orrori Zoete verschrikkingen, Che fate, aure vitali a starmi in seno, Levensvonken, wat doen jullie in mijn borst,
coprite il dì, verduister de dag en se già langue, e vien meno als iedere droevige geest er reeds verkommert en
ammantate si l ‘Eterea mole, bedek het hemelgewelf ogni spirto dolente? Empio martire! wegkwijnt? Wat een wrede marteling
se fra l’ombre deggío godere il Sole. als ik in de schaduw van de zon moet genieten. Perder la vita, e non poter morire. het leven verliezen en niet te mogen sterven!
Ipermestra Ipermestra
Vanne Linceo, mio genitor t’aspetta. Ga Linceo, mijn vader wacht op je. Scena Terza Scene 3
Linceo Linceo Arbante, Elisa Arbante, Elisa
Dolente parto. Met pijn vertrek ik.
Ipermestra Ipermestra Elisa Elisa
Il tuo ritorno affretta. Des te sneller keer je terug. Adorato Tiranno Aanbeden Tiran,
Linceo Linceo mia Deità severa, mijn strenge Godheid,
Ti lascio il proprio cor. Bij jou laat ik mijn hart. colma d’immenso affann vloed van immense zorgen,
Ipermestra Ipermestra pur ritorna a pregarti Alma sincera. keer toch terug om te bidden voor een zuivere ziel.
Ti segue il mio. Het mijne zal jou volgen. A questi accenti fidi Bij deze klanken van trouw
Linceo Linceo volgi pietoso il guardo, e poi m’uccidi: kijk je me vol medelijden aan om me vervolgens
Ipermestra, mia vita, addio. Ipermestra, mijn leven, vaarwel! crudel, pur questa io sono, om te brengen. Wreedaard, toch was ik ooit
Ipermestra Ipermestra ch’un tempo visse a tuoi desir gradita; het geliefde object van je verlangens;
Linceo, mia speme, addio. Linceo, mijn hoop, vaarwel! la mia fede tradita mijn bedrogen trouw
chiede all’Idolo suo giusta pietade vraagt aan haar liefste om oprechte meelij.
28 29e troppa feritade; En je stralen van verachting Vuol negandomi (o Dio) salute, e morte, Terwijl hij me (mijn God) gezondheid en dood ontzegt,
(non chiude alma gentil tanto rigore) slaan veel te veel wonden ch’amando viva, e che pietà non speri. wil hij dat ik in liefde leef zonder uitzicht op genade.
vibrar dardi di sdegno (kan een goedaardige ziel zoveel strengheid kennen) Se m’ami dunque, non amata apprendi Als je dus van me houdt, neem dan onbemind
a chi ti porge incatenato il core. bij wie aan jou haar geketende hart aanreikt. d’un disperato amore mijn pijn op in jouw marteling
Arbante Arbante nel tuo proprio tormento il mio dolore. van wanhopige liefde.
Elisa, allor, ch’io vissi Elisa, indertijd, toen ik leefde
con gli spirti d’Arbante, met het gemoed van Arbante Scena Quarta Scene 4
qual ti giurai, qual dissi was ik altijd standvastig in Elisa Elisa
d’esser, ti fui costante; mijn gevoelens voor jou en wie ik was. Qual deità d’Abisso Welke Godheid uit de afgrond
ma poichè volle il faretrato Dio Maar vervolgens wenste de God met de pijlen cotanto inesorabile si rende, toont zich toch zo onvermurwbaar
ch’io non fussi più mio, tutti ripose dat ik niet meer mezelf zou zijn, en hij richtte che sempre più s’adiri dat hij steeds bozer wordt op degene
nella bella Ipermestra i miei desiri; al mijn verlangens op de mooie Ipermestra. con chi le porge incensi, e fuochi accende? die voor hem wierook brandt en vuren ontsteekt?
se spira a’ suoi respiri Als het haar adem is waarvoor mijn hart zucht, Tu solo Arbante, solo, Jij, Arbante, jij alleen, terwijl ik je offers aanbied,
lo spirto del mio core, als in mijn leven de uren alleen tellen mentre vittime t’offro, e l’alma, e ’l core; en ook mijn ziel en hijn hart.
se della vita mia om te leven voor haar, idolo di furore, Razende man,
sol nel viver di lei vivono l’hore, als ik niet je minnaar ben, sprezzi l’ossequio, e incrudelisci a’voti, je minacht het respect en ergert je aan de geloften.
s’io non ti sono amante, geef Ipermestra daarvan dan e se puri, e devoti En als mijn diepste wezen zich
incolpane Ipermestra, e non Arbante. de schuld en niet Arbante. volan gli spirti ad impetrar mercede, puur en devoot roert om te smeken om genade,
Elisa Elisa vilipesa la fede wordt de trouw beledigd en stort ze,
La speranza (o mio caro) Hoop (oh mijn lieve) is de basis destrutta cade al tradimento in seno; door verraad gevallen, neer in mijn hart.
è la base d’Amor; folle, che speri van liefde; idioot, wat verwacht je oh delle mie sventure ultimo segno, Oh, ultiem teken van al mijn rampspoed,
mentre Ipermestra è di Linceo consorte? nu Ipermestra de partner is van Linceo? se dagl’affetti miei nasce il tuo sdegno! als mijn genegenheid de oorzaak is van jouw verachting!
Se caduta è la speme, Amor vacilla; Als de hoop ter aarde stort,
dunque tornato Arbante, wankelt ook de liefde. Scena Quinta Scene 5
ritorna ancor qual già mi fusti amante. Laat dus met de terugkeer van Arbante Elisa, Berenice Elisa, Berenice
Arbante ook hem terugkeren die eens mijn minnaar was.
Quanto più cruda legge Arbante Berenice Berenice
all’Impero d’Amor l’alme soggetta? Hoeveel wreder is de wet voor de ziel Per fare onore alle Reali spose Ter ere van de koninklijke huwelijken
Per tormentarmi elegge die onderworpen is aan het Rijk van Amor? in giorno si gradito krijg ik op
i più barbari modi, e più severi. Om mij te martelen kiest het de meest barbaarse mi sento un appetito zo’n aangename dag
en meest strenge middelen.
30 31di ripigliare anch’io zin om zelf weer Elisa Elisa il settimo marito; een nieuwe echtgenoot te nemen: Misera, e qual degg’io Ellende, hoe zou ik voor mijn bittere zorgen ma poi, che quest’età non lo concede maar aangezien mijn leeftijd dat niet meer toelaat, all’aspro affanno mio sperar conforto? troost kunnen verwachten? di tal gioir immenso brengt de herinnering aan die immense genoegens Termini il mio penar col pianto solo Als mijn pijn erger wordt als je me troost, la memoria commuove ogni mio senso. al mijn zinnen in beroering. se’l consolarmi ancor m’accresce il duolo. laat mijn pijn dan maar in tranen ten onder gaan. Che sontuose nozze! Wat een groots huwelijk! Si fan gli Sposi a filze Zullen de vijftig dochters van de Koning op rij Scena Sesta Scene 6 del Re cinquanta figlie het jawoord geven Berenice Berenice con altrettanti Maschi aan even zoveel zonen Chi non sa quanta sia Wie niet weet del Suo frattello Egitto? Io ben prevedo, van zijn broer Egitto? Ik zie het al gebeuren: l’ardente frenesia hoe een vrouwenhart kan branden se sia, che s’assomiglie mocht ieder van hen nel sen di Donna di piar marito van verlangen om te trouwen, ciascuno al Padre in rendersi fecondo, net zo vruchtbaar zijn als hun vader, non intende die heeft geen weet che debba? In pochi Mesi dat dan in enkele maanden de wereld zich ne comprende en begrijpt evenmin d’un parentado solo empiersi il Mondo. al kan vullen met hun nakomelingen. come per lieve affanno or le trabocchi hoe door de kleinste zorg in een tijd van vreugde Ma tu come pensosa! Maar jij, waarom zo treurig? nella stagion del riso il pianto agli’occhi. de ogen kunnen overlopen van verdriet. Lascia, ch’io ben ti miri, Laat me eens zien, come si lagrimosa? waarom huil je zo? Scena Settima Scene 7 Folle, perchè sospiri? Gekke meid, waarom zucht je zo? Danao, Ipermestra Danao, Ipermestra Io ben m’accorgo, intendo il tuo pensiero; Ik zie het al en ik weet al wat je denkt: colle cinquanta spose bij die vijftig bruiden Danao Danao all’ultimo sollazzo zou jij je (als ik me niet vergis) Figlia, diletta figlia, Dochter, geliefde dochter, vorresti (s’io non erro) entrar nel mazzo. als laatste gelukkige aan willen sluiten. delle viscere mie parte più cara de meest dierbare van mijn bloed, Verrà bensì, credilo a me, Geloof me, delizie del mio core, a cui prepara vreugde van mijn hart voor wie anco per te questo bramato dì, er komt absoluut serti di gloria omai d’Argo l’Impero. het Rijk van Argos erekransen voorbereidt, vedrai bensì. ook voor jou, deze zo begeerde dag, Al mesto Genitore schenk aan deze trieste vader behalve Asciuga il pianto, droog je tranen en hoop ondertussen op porgi al par dell’orecchie intento il core. het luisterend oor ook de intentie van je hart. e spera intanto een knappe bruidegom, net zo mooi als jij. Celati nel mio seno In mijn borst schuilt een zeer groot geheim, leggiadro Sposo eguale a tua beltà De wond die Amor je middels hem toebracht altissimo segreto, dat ik je zou moeten vertellen en openbaren, risanerà quella parte, ch’Amor per lui ferì. zal dan genezen zijn, ch’a te ridire, e palesar dovrei, aan jou alleen, dochter, omdat je als je wilt, Verrà bensì. geloof me maar. a te sola, che puoi een kwaadaardig lot kunt keren. 32 33
rompere un rio destin, figlia, se vuoi, Maar ik durf je niet de waarheid involar mi dovesse, e regno, e vita dat het geslacht van Egitto
ma non osa la lingua te onthullen over een ongehoord verraad, degli Oracoli, oh Dio, fur le risposte, mij zowel het rijk als het leven af zou nemen.
aprirti il ver d’un tradimento insano, dat een kwade hand voor mijn ondergang heeft nè gran tempo trascorse, Het duurde niet lang
che contro me disegna iniqua mano, uitgetekend. Wanneer je mij niet zweert met che di Licea sulle vicine arene of de vlakte nabij Lircea
se con invita fede a me non giuri onoverwinnelijke trouw om onvermurwbaar je dal mio crudel Germano zag zwart van wapens en tenten
osar con petto forte taak uit te voeren, dan zal hij die je het leven gaf d’armi, e di tende fu sgombrato il piano; van mijn wrede broer.
che chi diè vita a te si tolga a morte. zelf de dood vinden. quindi per evitar l’alte ruine Om de grote ondergang te voorkomen,
Ipermestra Ipermestra con simulata pace maskeerde ik het angstige gezicht
Padre qual dura sorte Vader, welk wreed lot verstoort di Marte estinsi la temuta face, met geveinsde vrede van Mars
turba il seren di sì beato giorno? de rust van zo’n gezegende dag? e per velar l’inganno en om het bedrog te versluieren
Chiuderà le mie nozze infausto fine? Schuilt er in mijn huwelijk een noodlottige afloop? (o mie dilette figlie ) verbond ik jullie , mijn geliefde dochters
Ahi quanto è vero, ahi quanto, Oh, hoe waar, hoe ontzettend waar is het toch, ad arte in nodo marital vi strinsi door een huwelijk
che l’estremo del riso assaggia il pianto! dat in het directe verlengde van de lach tranen schuilen! co’ barbari Nipoti; aan zijn barbaarse nakomelingen.
Padre, deh non temer, vivi sicuro, Vader, vrees niet, je leven is zeker. ma perch’ il mondo apprenda, En opdat de wereld leert,
per gli alti Numi il giuro, Ik zweer het voor de hoge Goden: che Maestade offesa dat beledigde keizerstrots
porgerò col mio sangue a te lo scampo, met mijn bloed verschaf ik je redding. sol si placa col sangue, e con la morte alleen met bloed en dood wordt bevredigd
e se schermo miglior, Padre, non trovi, En mocht je, vader, geen beter schild vinden, e ch’in destra senile, en dat wanneer in de rechterhand
questo mio seno ignudo dan zal mijn naakte borst se langue il ferro, e trema, door ouderdom het ijzer verslapt en trilt;
contro l’armi omicide a te sia scudo. voor jou een schild zijn tegen moordwapens. non vacilla, e non langue weet dat dan het gulden diadeem op het witte hoofd
Danao Danao sovra canuta fronte aureo Diadema; allerminst wankelt of verslapt.
Oh come lieto ascolto, Oh, hoe aangenaam klinken d’Astrea sotto la spada De heiligschenners uit Astrea zullen
il grato suon de’ generosi accenti! die edelmoedige woorden! la sacrilega stirpe estinta cada: onder het zwaard vallen.
Ti stringo al sen; tu di pietade accesa, Ik druk je aan mijn borst, jij, vervuld van medelijden, da te figlia s’appresti Mijn dochter, van jou hangt mijn redding af
se dai bando al timor, vinta è l’impresa; als jij je vrees weet uit te bannen, is de zaak gewonnen. lo scampo a me dall’augurata morte. van de mij toegewenste dood.
del Tempio là su riveriti Altari, Het was ginds bij de tempel bij de vereerde Altaren, Già pronta ogn’altra figlia a me promise Al mijn andere dochters hebben zich al bereid verklaard
(appunto hor volge l’anno) nu precies een jaar geleden, troncare a mia difesa om ter mijn verdediging bij hun bruidegom
che dal desio portato, dat ik, door verlangen gedreven allo sposo fatal di vita il filo: de levensdraad door te snijden:
chiesi al gran Dio di Delo aan de grote god van Delos vroeg tu che saggia il giurasti, wijs heb je gezworen, laat je vóór alles leiden
quel che contro di me racchiuda il fato: wat het lot voor mij in petto had. vi è più di sdegno, che d’Amore ardente, door verachting in plaats van brandende liefde.
che d’Egitto la prole Het antwoord van het orakel was, mentre in grembo al piacer dorme Linceo, Terwijl Linceo slaapt in de schoot van het genot,
per salvar l’innocente uccidi’l reo. dood dan de schuldige om de onschuldige te redden.
34 35Ipermestra Ipermestra di quanto vider mai raggio di Sole: dan ooit het zonlicht heeft gezien. Lassa, ch’ ascolto? Ohimè, Hemel wat hoor ik? Mijn God, se per tua mano ucciso Als Linceo niet snel door jouw hand zal sterven, mio Genitor, mio Re! mijn vader, mijn koning! non sia tosto Linceo, non sei mia prole. ben jij geen kind van mij. Danao Danao Parla, dì: che rispondi? Zeg op, wat is je antwoord? Tu sola e pure, Ipermestra Jij alleen, echt jij Ipermestra, Ipermestra Ipermestra sei tu: tu sol fra tante, als enige van allen, Che son di Danao figlia. Dat ik de dochter ben van Danao. tu sola a questo dir solle paventi? reageert zo verschrikt? Danao Danao Timida, e questi sono Zo terughoudend; zijn dit nou de hoogste deugden Mora dunque Linceo. Dus sterft Linceo. delle Greche donzelle i pregi alteri? van de Griekse jongedames? Ipermestra Ipermestra Avviliti pensieri Schuilen er soms in die koninklijke hoofden È tuo comando. Dat is uw bevel. chiudon le Regie menti? onterende gedachten? Danao Danao Ipermestra Ipermestra Come giusto l’impongo. Door mij rechtvaardig opgelegd. E come (o Padre,) e come En hoe, o Vader, maar hoe; Ipermestra Ipermestra in quel petto innocente? in die onschuldige borst? E giusto il credo. En door mij rechtvaardig gerespecteerd. Danao Danao Danao Danao Ancor contrasti? Nog steeds spreek je me tegen? Opra da saggia, al mio voler t’appiglia. Een wijs besluit, laat mijn wil je houvast bieden. Ne paterno comando Ik beveel je als vader om mij te helpen overleven; Ipermestra Ipermestra diretto al viver mio fuga il timore, dat zou alle vrees bij je weg moeten nemen. Mora dunque Linceo. Dus sterft Linceo. che degenere a me chiudi nel core? Wat voor ontaarding tegen mij zit er in je hart? Danao Danao Vorrai dunque soffrire, Wil jij het lijden, Or sei mia figlia. Zo ken ik mijn dochter. che ti sgridano imbelle dat je onverschrokken zussen le tue prodi sorelle? je met verwensingen te lijf gaan? Scena Ottava Scene 8 Crudel, più nel tuo seno Wreedaard, zit er in je borst, Ipermestra Ipermestra possono (il dirò pur) lascivi affetti, ik zeg het toch, meer zinnelijke lust E qual dolente stato Welk lijden ch’amor di figlia? Ahi cruda! E per l’amante, dan dochtersliefde? Oh wreedheid! Voor je liefje fu mai simile al mio? was ooit gelijk aan het mijne? non per lo genitor pietade annidi? koester je meelij en niet voor je Vader? Oh Padre, oh Sposo, oh Dio! O vader, o bruidegom, o God! Non mentiscon gli Dei. De Goden liegen niet. Ingiustissimo Cielo, Meest onrechtvaardige Hemel, La vita di Linceo sia la mia morte, Als Linceo leeft, zal Linceo mijn dood zijn. per me ricetti sol Numi di sdegno, aan mij schonk je slechts Goden vol verachting, tu micidial, tu parricida sei. Jij bent dodelijk, een vadermoordenares, tiranni iniqui dell’Etereo Regno. onverbiddelijke tirannen van het eeuwige Rijk. Oh più spietata Tigre oh, meedogenlozer roofdier Vieni infelice Sposo, Kom ongelukkige bruidegom, 36 37
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