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Delirio amoroso Cantata for soprano solo and instruments HWV 99

Georg Frideric Handel (b. 1685 - d. 1759)

Anna Devin

Anna Devin

Composer
Georg Frideric Handel (b. 1685 - d. 1759)
Composition Year
1685 - 1759
Work Movements
1. Introduzione
2. Recitativo: Da quell giorno fatale
3. Aria: Un piensiero voli in ciel
4. Recitativo: Ma fermati, pensier
5. Aria per te lesciai la luce
6. Recitativo: Non ti bastava, ingrate
7. Aria: Lascia omai le brune vele
8. Recitativo: Ma siamo giunti in Lete
9. Entrée
10. Minuet: In questa amene
11. Recitativo: Si disse Clori
12. Minuet
Artists
Anna Devin [soprano], Peter Spissky [violin], Camerata Øresund (Ida Lorenzen [violin], Tinne Albrechtsen [violin], Alison Luthmers [vioin], Rastko Roknic [viola], Hanna Loftsdóttir [cello], Joakim Peterson [double bass], Dohyo Sol [lute], Magdalena Karolak [oboe], Marcus Mohlin [harpsicord]) [baroque ensemble]

Programme Note Writer:
© Ian Fox

Cardinal Benedetto Pamphili  [1653-1730] was a leading figure in Roman culture, composing operas and cantatas as well as providing libretti for such composers as Scarlatti, Bononcini, and Melani.  He held high Vatican offices, including librarian of the Biblioteca Apostolica Vaticana and archivist of the Archivio Segreto Vaticano. He was also a generous patron of the arts and became a friend of Handel during the composer’s Roman sojourn from 1706 to 1710 and they maintained a lively correspondence in later years.   He provided the texts for this Cantata and for Handel’s first oratorio, Il trionfio del Tempo e del Disinganno, both works were performed in early 1707 at one of the Cardinal’s palaces.  This was the era when opera was banned in Rome and cantatas were used to circumnavigate the papal law. The presence of dance movements in the score suggests that some kind of staging may have been undertaken in private. The score requires a chamber orchestra and virtuoso soloists: oboe, violin and cello.

 

Arcadian and ancient mythological themes were fashionable at the time and the Cardinal creates a tale along the lines of the Orpheus legend but with a twist. The soloist switches between narrator and the heroine Chloris herself.  After a charming little overture in D major featuring the oboe, the plot is explained in a recitative: Thyrsis has died and his beloved Chloris is distraught. She enunciates her grief in a lively coloratura aria Let my thought fly up to heaven with an exacting solo violin part.  In the ensuing recitative she decides to go to Hades and rescue him. She thinks she sees his shade but it vanishes and she appeals to him not to flee in a moving lament:  I left the light for you.  In the following recitative Chloris loses her cool and accuses Thyrsis of mocking her; however, she then resolves to be kind and will take him from Hades to the Elysian Fields. In her third aria she commands a breeze to steer their ship there Abandon your dark sails.  An orchestral interlude follows for which Handel borrowed four lines of a piece by Reinhard Keiser, followed by music from his own opera “Almira”. To conclude Chloris sings a charming minuet:  Oh these delightful and serene shores .  The narrator then returns to round off the tale: perhaps all this had happened in Chloris’ mind. A short, sprightly orchestral minuet closes proceedings.


Introduzione Instrumental

 

Recitativo: Da quell giorno fatale

Da quell giorno fatale

Ever since that fateful day

Che tolse morte

When death took

Il crudo Tirsi a Clori

Untamed Tirsi from Clori,

Ella per duolo immense,

In her boundless grief,

Sciolto il crin, torvo il guardo,

Her hair dishevelled, her gaze dulled,

Incerto il piede, par ch’abbia

Her footsteps faltering, she seems to harbour

In sé due volantà, due cori:

Two passions, two emotions:

E del chiaro intelletto,

And with the clarity of her mind

Per gran fiamma d’amor, tubato il raggio,

Disturbed by her feverish love,

Ora s’adorna, ora del crin negletto

Now he adorns herself, now she spitefully ravages

Fa dispettoso oltraggio,

Her unkempt locks,

E varia nel pensier, ma sempre bella,

Her mind wanders, but beautiful as ever,

Agitate, cosi seco favela:

Tormented, she talks thus to herself:


Aria: Un pensiero voli in ciel

Un pensiero voli in ciel,

Let a thought fly to heaven,

Se in cielo è quella

If in heaven is that

Alma bella

Fair spirit

Che la pace m’involò.

Which robbed me of peace.

Se in Averno è condannata

If he has been condemned to hell

Per avermi disprezzata,

For having scorned me,

Io dal regno delle pene

Then from the realm of grief

Il mio bene rapiro.

I shall steal back my love.

 

Recitativo: Ma fermata pensier

Ma fermata pensier,

Stay, my thought;

Pur troppo è vero che fra l’ombre

That he truly has been condemned

D’Averno è condannato

To the shades of hell

Per giusta pena, e per crudel mio fato.

As due punishment is my cruel fate.

Si, si, rapida io scendo

Yes, I hasten down

A rapir il mio bene

To steal my love

Dell’arsa Dite

From the flames of hell,

Alle infocate arene.

From the burning sands.

Ma che veggio?

But what do I see?

Rimira il mio sembiante

Gazing mockingly at my features,

Dispettosa, poi fugge, un’ombra errante.

Then fleeing: a wandering shade.

Tirsi, ah Tirsi, ah! Crudele!

Tirsi, ah Tirsi, ah, how cruel!

 

Aria: Per te lasciai la luce

Per te lasciai la luce,

For you I left the light,

Ed or che mi conduce

And now that love leads me

Amor per rivederti,

To see you once more,

Tu vuoi partir da me.

You wish to run from me.

Deh! Ferma I passi incerti,

Ah, stay your wavering steps,

O pur se vuoi fuggir, dimmi, perché?

Or if you would still shun me, tell me, why?


Recitativo: Non ti bastava, ingrate

Non ti bastava, ingrate,

Was it not enough, thankless man,

D’avermi in vita lacerate il core?

To have torn my heart in two?

Dopo l’ultimo fato

After death

Siegui ad esser per me furia d’amor;

You continue to be a torment of love to me;

Anzi, ti prendi a scherno

Indeed, you mock me

Ch’io venga teco ad abitar l’inferno.

For coming to love with you in the underworld.

Ma pietà per rigore ti render.

But I shall repay your coldness with mercy.

Su, vieni al dolce oblio di Lete;

Come to the sweet oblivion of Lethe;

Indi daranno pace

There Elysium will bring peace

Gli Elisi al già sofferto affanno.

To the distress we have suffered.

 

Aria: Lascia omai le brune vele

Lascia omai le brune vele,

Leave the dark sails,

Negro pin di Flegetonte.

The black ship of Phlegethon.

Io farò che unzeffiretto,

I shall make a breeze

Per diletto,

Take pleasure

Spiri intorno a te fedele,

In wafting faithfully around you

E che mova i bianchi lini

To steer the white sails

Pellegrini in Acheronte.

Towards th Acheron.

 

Recitativo: Ma siamo giunti in Lete

Ma siamo giunti in Lete;

But we have arrived at the Lethe;

Odi il suono soave degli Elisi beati

Hear the gentle sound of blessed Elysium

 

Entrée Instrumental


Minuet: In queste amene

In queste amene

On these pleasant,

Piagge serene

Tranquil shores

Da sé ridente

Every smiling flower

Nasce ogni fior.

Springs up from another.

Tra suoni e canti

Amid music and song

Sempre clemente

Lovers breathe

Spiran gli amanti

An ever clement

Aura d’amor.

Air of love.

 

Recitativo: Si, disse Clori

Si, disse Clori,

Yes, said Clori,

E se d’un sole estinto

And if she no longer saw the fair light

Più non vide il bel lume,

Of a sun that had gone out,

Io vide almen per fantasia dipinto.

She saw it at least in her dreams.

 

Minuet Instrumental

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Delirio amoroso Cantata for soprano solo and instruments HWV 99

Composer: Georg Frideric Handel (b. 1685 - d. 1759)
Performance date: Sunday 7th July 2019
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Georg Frideric Handel (b. 1685 - d. 1759)
Work Title Delirio amoroso Cantata for soprano solo and instruments HWV 99
Composition Year 1685 - 1759
Work Movements 1. Introduzione
2. Recitativo: Da quell giorno fatale
3. Aria: Un piensiero voli in ciel
4. Recitativo: Ma fermati, pensier
5. Aria per te lesciai la luce
6. Recitativo: Non ti bastava, ingrate
7. Aria: Lascia omai le brune vele
8. Recitativo: Ma siamo giunti in Lete
9. Entrée
10. Minuet: In questa amene
11. Recitativo: Si disse Clori
12. Minuet
Language Italian
Artist(s) Anna Devin [soprano], Peter Spissky [violin], Camerata Øresund (Ida Lorenzen [violin], Tinne Albrechtsen [violin], Alison Luthmers [vioin], Rastko Roknic [viola], Hanna Loftsdóttir [cello], Joakim Peterson [double bass], Dohyo Sol [lute], Magdalena Karolak [oboe], Marcus Mohlin [harpsicord]) [baroque ensemble]
Performance Date Sunday 7th July 2019
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:31:16
Recording Engineer Ciaran Cullen, RTÉ
Instrumentation Category Baroque Ensemble
Instrumentation S-solo, 2vn, va, vc, lu, hpd
Programme Note Writer © Ian Fox

Cardinal Benedetto Pamphili  [1653-1730] was a leading figure in Roman culture, composing operas and cantatas as well as providing libretti for such composers as Scarlatti, Bononcini, and Melani.  He held high Vatican offices, including librarian of the Biblioteca Apostolica Vaticana and archivist of the Archivio Segreto Vaticano. He was also a generous patron of the arts and became a friend of Handel during the composer’s Roman sojourn from 1706 to 1710 and they maintained a lively correspondence in later years.   He provided the texts for this Cantata and for Handel’s first oratorio, Il trionfio del Tempo e del Disinganno, both works were performed in early 1707 at one of the Cardinal’s palaces.  This was the era when opera was banned in Rome and cantatas were used to circumnavigate the papal law. The presence of dance movements in the score suggests that some kind of staging may have been undertaken in private. The score requires a chamber orchestra and virtuoso soloists: oboe, violin and cello.

 

Arcadian and ancient mythological themes were fashionable at the time and the Cardinal creates a tale along the lines of the Orpheus legend but with a twist. The soloist switches between narrator and the heroine Chloris herself.  After a charming little overture in D major featuring the oboe, the plot is explained in a recitative: Thyrsis has died and his beloved Chloris is distraught. She enunciates her grief in a lively coloratura aria Let my thought fly up to heaven with an exacting solo violin part.  In the ensuing recitative she decides to go to Hades and rescue him. She thinks she sees his shade but it vanishes and she appeals to him not to flee in a moving lament:  I left the light for you.  In the following recitative Chloris loses her cool and accuses Thyrsis of mocking her; however, she then resolves to be kind and will take him from Hades to the Elysian Fields. In her third aria she commands a breeze to steer their ship there Abandon your dark sails.  An orchestral interlude follows for which Handel borrowed four lines of a piece by Reinhard Keiser, followed by music from his own opera “Almira”. To conclude Chloris sings a charming minuet:  Oh these delightful and serene shores .  The narrator then returns to round off the tale: perhaps all this had happened in Chloris’ mind. A short, sprightly orchestral minuet closes proceedings.


Introduzione Instrumental

 

Recitativo: Da quell giorno fatale

Da quell giorno fatale

Ever since that fateful day

Che tolse morte

When death took

Il crudo Tirsi a Clori

Untamed Tirsi from Clori,

Ella per duolo immense,

In her boundless grief,

Sciolto il crin, torvo il guardo,

Her hair dishevelled, her gaze dulled,

Incerto il piede, par ch’abbia

Her footsteps faltering, she seems to harbour

In sé due volantà, due cori:

Two passions, two emotions:

E del chiaro intelletto,

And with the clarity of her mind

Per gran fiamma d’amor, tubato il raggio,

Disturbed by her feverish love,

Ora s’adorna, ora del crin negletto

Now he adorns herself, now she spitefully ravages

Fa dispettoso oltraggio,

Her unkempt locks,

E varia nel pensier, ma sempre bella,

Her mind wanders, but beautiful as ever,

Agitate, cosi seco favela:

Tormented, she talks thus to herself:


Aria: Un pensiero voli in ciel

Un pensiero voli in ciel,

Let a thought fly to heaven,

Se in cielo è quella

If in heaven is that

Alma bella

Fair spirit

Che la pace m’involò.

Which robbed me of peace.

Se in Averno è condannata

If he has been condemned to hell

Per avermi disprezzata,

For having scorned me,

Io dal regno delle pene

Then from the realm of grief

Il mio bene rapiro.

I shall steal back my love.

 

Recitativo: Ma fermata pensier

Ma fermata pensier,

Stay, my thought;

Pur troppo è vero che fra l’ombre

That he truly has been condemned

D’Averno è condannato

To the shades of hell

Per giusta pena, e per crudel mio fato.

As due punishment is my cruel fate.

Si, si, rapida io scendo

Yes, I hasten down

A rapir il mio bene

To steal my love

Dell’arsa Dite

From the flames of hell,

Alle infocate arene.

From the burning sands.

Ma che veggio?

But what do I see?

Rimira il mio sembiante

Gazing mockingly at my features,

Dispettosa, poi fugge, un’ombra errante.

Then fleeing: a wandering shade.

Tirsi, ah Tirsi, ah! Crudele!

Tirsi, ah Tirsi, ah, how cruel!

 

Aria: Per te lasciai la luce

Per te lasciai la luce,

For you I left the light,

Ed or che mi conduce

And now that love leads me

Amor per rivederti,

To see you once more,

Tu vuoi partir da me.

You wish to run from me.

Deh! Ferma I passi incerti,

Ah, stay your wavering steps,

O pur se vuoi fuggir, dimmi, perché?

Or if you would still shun me, tell me, why?


Recitativo: Non ti bastava, ingrate

Non ti bastava, ingrate,

Was it not enough, thankless man,

D’avermi in vita lacerate il core?

To have torn my heart in two?

Dopo l’ultimo fato

After death

Siegui ad esser per me furia d’amor;

You continue to be a torment of love to me;

Anzi, ti prendi a scherno

Indeed, you mock me

Ch’io venga teco ad abitar l’inferno.

For coming to love with you in the underworld.

Ma pietà per rigore ti render.

But I shall repay your coldness with mercy.

Su, vieni al dolce oblio di Lete;

Come to the sweet oblivion of Lethe;

Indi daranno pace

There Elysium will bring peace

Gli Elisi al già sofferto affanno.

To the distress we have suffered.

 

Aria: Lascia omai le brune vele

Lascia omai le brune vele,

Leave the dark sails,

Negro pin di Flegetonte.

The black ship of Phlegethon.

Io farò che unzeffiretto,

I shall make a breeze

Per diletto,

Take pleasure

Spiri intorno a te fedele,

In wafting faithfully around you

E che mova i bianchi lini

To steer the white sails

Pellegrini in Acheronte.

Towards th Acheron.

 

Recitativo: Ma siamo giunti in Lete

Ma siamo giunti in Lete;

But we have arrived at the Lethe;

Odi il suono soave degli Elisi beati

Hear the gentle sound of blessed Elysium

 

Entrée Instrumental


Minuet: In queste amene

In queste amene

On these pleasant,

Piagge serene

Tranquil shores

Da sé ridente

Every smiling flower

Nasce ogni fior.

Springs up from another.

Tra suoni e canti

Amid music and song

Sempre clemente

Lovers breathe

Spiran gli amanti

An ever clement

Aura d’amor.

Air of love.

 

Recitativo: Si, disse Clori

Si, disse Clori,

Yes, said Clori,

E se d’un sole estinto

And if she no longer saw the fair light

Più non vide il bel lume,

Of a sun that had gone out,

Io vide almen per fantasia dipinto.

She saw it at least in her dreams.

 

Minuet Instrumental