artemisia, by laura schwendinger version 1/27/2017...

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ARTEMISIA, by Laura Schwendinger Version 1/27/2017 Libretto by Ginger Strand Artemisia: In this performance half of the opera was performed excluding some short orchestral interludes (5/8 scenes 45/90 min) Cast Artemisia Gentileschi: mezzo soprano Tomasso, her painting assistant: high tenor Susanna: from Artemisia’s Susanna and the Elders-and the “Young Artemisia”: Soprano Elder 1, from the “Tableau Vivant” of Susanna and the Elders, and as Agostino Tassi, the painter who raped Artemisia: Baritone Elder 2, from the “Tableau Vivant” Susanna and the Elders, and a duel role as Cosimo II de' Medici: Low baritone Oculist: a light baritone Soprano in Barbra Strozzi’s aria Che si può Fare? Not in these scenes, but heard in other “Tableau Vivant” Orsazio Gentileschi, Artemisia’s father Tuzia: Orazio’s houskeeper

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ARTEMISIA, by Laura Schwendinger Version 1/27/2017

Libretto by Ginger Strand Artemisia: In this performance half of the opera was performed excluding some short orchestral interludes (5/8 scenes 45/90 min)

Cast

Artemisia Gentileschi: mezzo soprano

Tomasso, her painting assistant: high tenor

Susanna: from Artemisia’s Susanna and the Elders-and the “Young Artemisia”: Soprano

Elder 1, from the “Tableau Vivant” of Susanna and the Elders, and as Agostino Tassi, the painter who raped Artemisia: Baritone

Elder 2, from the “Tableau Vivant” Susanna and the Elders, and a duel role as Cosimo II de' Medici: Low baritone

Oculist: a light baritone

Soprano in Barbra Strozzi’s aria Che si può Fare?

Not in these scenes, but heard in other “Tableau Vivant”

Orsazio Gentileschi, Artemisia’s father

Tuzia: Orazio’s houskeeper

Five Scenes in Two Acts (when in full performance, 8 scenes in Two Acts)

Scene 1 Artemisia Gentileschi Tomasso, her assistant

Artemisia’s painting studio in Naples, 1649. Enter Artemisia and her assistant, Tommaso. She is 51, well-dressed, self-controlled, occasionally imperious, occasionally flirtatious. She is losing her sight, which slowly becomes clear throughout the performance.

(Artemisia is dictating a letter to Don Antonio Ruffo, Tomasso repeats after Artemisia as he writes, sometimes he responds with in his own voice and responses)

Artemisia: Most illustrious sir

Tomasso: Most illustrious sir

Artemisia: And my master

Tomasso: And my master

Artemisia: Don Antonio Ruffo

Tomasso: Don Antonio Ruffo

Artemisia: By God’s will your illustrious lordship Has now received my painting of Galatea. I feared that before you saw itYou must have thought me arrogant

Tomasso: Must have thought me arrogant . . . surely, madam, he did not.

Artemisia: But I hope to God now that you have seen it You agree I was not out of line In fact if I were not so affectionate

Tomasso: …If I were not so affectionate

Artemisia: I should never have given it up forOne hundred and sixty ducats Since my usual rate is one hundred scudi per figure.

This is true in Florence And in Venice and Rome and even in Naples When there was more money here.

Tomasso: When there was more money here...

(to Artemisia) Alas, my lady, it is true.

Artemisia: Your illustrious lordship must pity me For a woman’s name raises doubt Until her work is seen. Forgive me, for God’s sake, If you thought I was greedy.

Tomasso: Surely not my lady.

Artemsia: But if you like the painting I shall serve you again This time with greater perfection And will send you my portrait To hang in your gallery

Tomasso: To hang in your gallery. . .

Artemisia: As the other Princes do.

…No, no don’t write that. Finish the letter like this: I close by paying my most humble reverence

Tomasso: By paying my most humble reverence

Artemisia: To your most Illustrious lordship With assurances that as long as I live I should obey your every command. Your most humble servantEtceteraArtemisia Gentileschi

Tomasso: To you most illustrious lordship

That as long as I liveI should obey every command Your most humble

EtceteraNaples, January thirtieth Sixteen forty nine. Artemisia: Naples, Sixteen forty nine

(Artemisia and Tomasso start to move around the studio in a hurry as they talk about what needs to be done, and what works need to be painted. They tap about the painting of Galatea, that Artemisia has finished and now sent to Don Ruffo)

Artemisia (to Tomasso): Galatea has gone to Messina To hang in Don Ruffo’s fine hall. The seascape you drew for my Galatea Will hang with works by GuercinoReni, Poussin, Ribera, Van Dyke And the Dutchman Rembrandt van Rijn This is good for usGood for me For Don Ruffo has plenty of moneyAnd as you know I am bankrupt.and my daughter must wed. I have already sold everything so that I can To afford her dowry.

(Tomasso tries to pull Artemisia back to work)

Tomasso: The canvas is stretched and ready. I prepared it last night.

Artemisia: And sketched in the balustrade?

Tomasso: Yes, my lady.

Artemisia: I hope the Sicilians are wealthy For money is scarce here in Naples The marchese, the prior, the bishop All of them want paintings But they don’t want to pay enough.

Tomasso: Shall I mix the paints, madam?

Artemisia: They all want Bathshebas, Tomasso Dianas for the less pious.They all want beauties in baths, in baths! I need better models.

I must work on the next Another woman at her bath.

( Tomasso again tries to pull Artemisia back to work, as she obsesses on her models and payment)

Tomasso: The canvas is stretched and ready I prepared it last night Averardo da’ Medici wants a Susanna

Artemisia: I need better models Tomasso.

Tomasso: Yes my Lady

Artemisia: These Neopolitan sluts won’t do!

Tomasso: There are three women coming today I think one of them might be all right.

Artemisia: Trust me Tomasso Don Ruffo will get us through these hard times. You know my health is not perfect But my Galatea was good. If he likes it, you mark my words He will want a Diana next.

Tomasso: You are probably right

Artemisia: He will want Diana.

Tomasso: Yes my lady

Artemisia: I paint all scenes well Tomasso

Tomasso: I’m sure you do, madam.

Artemisia: No one is better than me at setting a scene.

Tomasso: That is why I came here to serve you

And learn the ways of your art.

Artemisia: There are three kinds of painting, Tomasso Three ways to make great artThey are not all equal any more than artists have equal skill.

Third in line is the painting Made from the pure imagination alone

Gives birth to the image we see.

Better than that is the painting That bursts forth from the world itself The painter’s eye finds beauty in nature And captures her with a brush.

But the highest form of painterly art Is the synthesis of the two Where the high idea and the world of the real

Are brought into unity.

When the manner born in the mind

Meets the matter of all that’s real The resulting marriage of truth and ideal

Makes an art that is truly rare. When the manner born in the mind

Meets the matter of all that’s real The resulting marriage of truth and ideal Makes an art that is truly rare.

Artemisia and Tomasso: Born in the mind meets the matter of

All that’s real Of all that’s real Truly rareAn artAn art that is truly rare

Tomasso: Your Susanna, madam.

Artemisia: Susanna. Everyone wants me to paint Susanna. You know why. You know why Tomasso?

Tomasso: It must be because Your Susannas are divine.

Artemisia: My first Susanna was divine, Tomasso. I was just a girl.

Tomasso: You have said you were but seventeen. Shall I mix the brown or the blue?

Artemisia: Many refused to believe it They said my father painted it. He had taught me to make art, that part is true. But the composition was mine.

Tomasso: Susanna was in the foreground?

Artemisia: Fully two-thirds of the canvas Was filled with Susanna’s form And her pose left the viewer no doubt About how she felt.How she felt.

Tomasso: How she felt… (realizing the meaning for Artemisia)

Artemisia: Still the highest form of painterly art

Is the synthesis of the two Where the highest idea And the world of the real are brought into unity

When the manner born in the mind The matter of all that’s real The resulting marriage of truth and ideal

Artemisia and Tomasso:

Makes an art that’s truly rare Makes an art that’s truly rare That is truly rare That is truly rare

Born in the mind meets the matter of All that’s real Of all that’s real Truly rareAn artArt that is truly rare That is truly rare

Scene 2 Susanna and Elders: A Tableau Vivant of the painting by Artemisia Gentileschi Susanna is in her garden bathing nude while two elderly men threaten her from the edge of her garden

Susanna, then Susanna becomes the “Young Artemisia”

Elder 1, Elder 1 becomes Agostina Tassi

Elder 2, Elder 2 becomes Cosimo II de' Medici

Susanna: My name is SusannaI am wife to Joachim I have sent my handmaids backTo fetch oil and clothes It is hot and I want to bathe Here in the garden that my husband Had made for my pleasure, my pleasure, my pleasure

How I love the low hum of the bees And the wind’s delicate caress

Elder 1:Susanna don’t be scaredWe hid here to talk to you Susanna you are so lovely

And you want us to see you or else why would you Walk in the garden each day

(Susanna tries to ignore them and lose herself in the beauty sanctity of private garden, surrounded by “humming bees and the winds delicate caress”)

Susanna:My name is Susanna I am wife to Joachim I have sent my handmaids back To fetch oil and clothes

Elder 1:Tell her what will happen if she doesn’t give in to our need

Tell her what we will say

Susanna: Leave me be if you pleaseI am here for the hum of the bees

And the winds delicate caress

Elder 1, 2: Susanna do as we sayWe love you; lie with us Or we will disgrace youSusanna give us or we will say you’re a whore

We’ll tell them you’ll meant any man Who asks in the garden

Susanna: I have sent my handmaids back to fetch oil and clothes

If I do this thing, It is death unto me

If I don’t, it isDeath at your hands

(The elder Artemisia enters the “Tableau Vivant” and explains the seven and then tries to comfort Susanna who slowly becomes the “Young Artemsia”)

Artemisia: Most painters paint these two as old men Make them grizzled bald and sagging But you don’t have to be ugly to have a hideous heart

Elder 1: Susanna do as we sayIf she doesn’t give in to our need

Tell her what we will say

Susanna: Leave me be if you pleaseI am here for the hum of the bees

And the winds delicate caress

Elders 1 and 2: Susanna do as we say We love you; lie with us Or we will bring shame on your name Susanna give in We will tell the world you sent your handmaids away and met a young man here

Lie with us now

Susanna: My name is SusannaI am wife to Joachim I have sent my handmaids back

To fetch oil and clothes It is better for me to refuse you And put myself at your mercy Than to sin in the sight of the Lord

(The elder Artemisia in the “Tableau Vivant” now showing the creases in her painting to Tomasso)

Artemisia: Do you see how her waist creases like real flesh On the left as she leans away?It may sound proud but I got that right. Though the red cape of the older man Is what took me longest to paint. Making those soft folds fall like real cloth, And red is expensive, too.

Elder 2: Joachim!

Elder 1: Servants! All you in the house!

Elders 1 and 2: An intruder is in the garden with Susanna!

Elder 2: A young man stronger than we!

Elder 1: He opened the door and ran out!

Elders 1 and 2: But we saw him embracing Susanna Wicked, wicked SusannaAs the two of us were walking Susanna came with her maids She shut the garden doors and sent them out.

Elder 1: Then a young man came out from hiding to lie with her

Elders 1 and 2: in the garden and seeing this crime we cried out.

Susanna: O God, you know all my secretsYou know they have bore false witness And behold, I must die, even though I never did what they say

It is better for me to refuse you And put myself at your mercy Than to sin in the sight of the Lord.

Artemisia: Susanna you must stay strong and resist Keep turning these scoundrels away For they are bound to be caught in their lies And you will be proved innocent

Susanna: Oh please let this be so

Artemisia: Susanna think no more about these men

They don’t have the power they claim The truth is stronger than their lies if you hold it fast

Susanna: It is true. It is true

Artemisia: Susanna think no more about these men Close your ears to their babble They bear false witness and they will pay for it They made their own misfortune

Scene 3 Artemisia’s studio is now a courtroom.

Susanna, then Susanna becomes the “Young Artemisia”

Elder 1 is now Agostina Tassi

Elder 2 is now Cosimo II de' Medici

Artemisia is now the “inquisitor”

Elder 1: My name is Agostino Tassi, And I am a painter I was arrested on the Via della Lungara It was around ten p.m.And I was alone.

Artemisia (as inquisitor): What is your place of origin?

Elder 1 (as Tassi): I am told I was born in Borgo But now live in Rome.

Artemisia (as inquisitor): And are you married?

Tassi: My wife is dead.

Artemisia (as inquisitor): When and where and under what circumstances Did she die?

Tassi: Your lordship I cannot say, because I left her behind in Luca when I came to Rome. She stole from me so I let her go to hell.

Elder 2 (becoming Cosimo): Listen to me your friend Cosimo.

You left one whore behind Why would you take on another?

Artemisia (as inquisitor): And have you been to the home of Artemisia Gentilleschi?

Tassi: I have been many times. Orazio took me there to show me some paintings.

Artemisia (as inquisitor): And were you there when Orazio was not?

Tassi: Too many times to remember.

Artemisia (as inquisitor): And why did you go there when Orazio was not?

Tassi: I went there at his request To teach his daughter Artemisia About perspective.

Cosimo: You just got rid of your wife with a couple of thugs and a knife Why would you tie yourself down with another just like her? When you want to be married You will have better choices than this.

Artemisia (as inquisitor): And were Artemisia’s brothers there when you spoke with her

Tassi: There was a woman Madam Tuzia. Orazio brought her home.

Artemisia (as inquisitor):For what reason?

Susanna re-enters the scene as the “Young Artemisia” and is questioned by the “Older Artemisia”

Susanna: Oh God you know all my secretsAnd you know all things before they be You know Agostino Tassi lies just as he lied to me

Artemisia (as inquisitor): Do you know the reason we have brought you here?

Susanna (as the young Artemisia): I am here because my father had Tuzia arrested, For she plotted to betray me and have me disgraced.

Artemisia (as inquisitor): And how were you betrayed by this Tuzia?

Susanna (as the young Artemisia): She intrigued to have me deflowered by the painter Agostino Tassi. He was a friend of my father’s, and Tuzia said he was kind and well mannered, a gentleman with women she said. She said I should speak with him alone. I said it was not proper but she let him into the house Along with that vile man Cosimo

Artemisia (as inquisitor): That orderly of the Pope?

Susanna (as the young Artemisia): Yes, Cosimo told me I should be nice to him.Oh God you know all my secrets. And you know all things before they be. You know Agostino Tassi lies just as he lied to me.

Cosimo (was Elder 2): You have given it to so many, why not give it to Tassi as well?

Susanna (as the young Artemisia): I told them both to leave me alone.The next day Agostino came backAnd Tuzia again let him in. I wanted to make myself clear so I said (holding up finger and pointing to ring) The man who wants me must give me this. The man who wants me must give me this.

…Susanna recounts the rape

After lunch on a rainy dayAgostino came to my houseI was in my studio painting Tuzia’s son.

Cosimo: Not so much painting! Not so much painting!

Susanna (as the young Artemisia): We were walking around the houseAnd he kept on passing the bed room Then pushed me inside and locked the door. He shoved me down on the bed With his knee between my thighs And that’s where he raped me.It hurt very much and I screamedI scratched his face but I couldn’t stop him. I called for Tuzia but would not come.

Susanna (as the young Artemisia): Tuzia!

Tassi: Don’t fight me.

Cosimo: Give in to him.

Artemisia, now remembering as ARTEMISIA: Tuzia! Help me, Tuzia!

Cosimo: Stay away Tuzia.

Susanna (as you Artemisia): I’d like to kill youFor you have dishonored me!

Tassi: Go ahead and kill me then. Here I am.

Susanna (as you Artemisia): I threw the knife at him and wounded his chest. Then he put on his coat to go. I was crying

and he took my hand.

Tassi: Give me your hand. I promise to marry you As soon as I get out of the labyrinth I am in.

Susanna (as you Artemisia): After that many times he convinced me many times to yield to him as a wife. I did not know he was married For he promised to marry me.I believed him because when others came To win my hand

Artemisia (as inquisitor): Is there more?

Susanna (as you Artemisia): He made sure they were all sent away.

Artemisia (as inquisitor): Anything else?

Susanna (as you Artemisia): That is all that has happened Between Agostino Tassi and me. That is allThat is all that happened between Augustino Tassi and me.

Artemisia (at canvas and having had enough of her memories for one day):Enough! (gives brush to Tomasso) Enough!Enough!Enough!

Tomasso: Is the figure complete, madam?

Artemisia: Susanna. Everyone wants me to paint Susanna. Enough of Susanna today.

Tomasso: Would you like me to work on the sky?

Artemisia: I must rest my eyes.

Tomasso (taking over): Good night.

Artemisia: Good night. Good night (exits)

Later in Artemisia’s Painting Studio, in Scene 6, Act 2

Scene 6, Act 2

Artemisia: Signor Oculist, thank you for coming. You were highly recommended by a friend

Oculist (setting down his bag and removing a hand lens.): I am happy to come, madam.Now tell how it is with your eyes.

Artemisia: It’s as if there is not enough light when I know there is. The edges of things grow indistinct.

Oculist: If you could look over here towards this light. (He peers into her eyes with a hand lens.)

Artemisia (turning on the charm and referencing her storied, celebrity past): This Light?

My friend Galileo Galilei Has a glass like that that he uses to spy on the stars.

Oculist (engaged in his task): Can you please just look this way.

Artemisia: He was the court mathematician You know, to the Grand Duke Of Florence Cosimo da MediciWhen I lived there.

Oculist: Head higher please.

Artemisia: He aimed his lens at the moon And saw the moon in shadow and part in light. What will happen to my sight?

Oculist (abruptly putting lens away): I’m afraid you will lose your sight

Artemisia: Lose my sight?

Oculist: Unless something is done.

Artemisia: But what can be done?

Oculist: Surgery on the eye. We push the blockage back into the humor and let the light back in.

Artemisia: The light in...

Tomasso: The light back in The light back in

Artemisia, Oculist and Tomasso, in TRIO: A light that is truly rare Of truth and idealA light that makes an art that’s truly rare Makes an art that’s truly rareAn art that is truly rare That is truly rare

Tomasso: All that’s rare Of all that’s rare Truly rare

An artAn art that is truly rare That is truly rare

Artemisia: How much? How much does it cost?How much?Oculist: One thousand ducats. And I warn you that the surgery is dangerous

Artemisia: One thousand ducats!

Oculist: I cannot do it for less. The surgery must be done right Or it can lead to blindness or death

Artemisia: I see and thank you sir.You will hear from me by letter.

Oculist: Good day to you madam.

Artemisia: Good day.

Scene 8

Artemisia:You have been a great comfort to me, Tomasso.

You have been a great comfort to me, Tomasso. Tomasso.

(back to dictating her letter to Tomasso)

Most illustrious sir, most respected master,

Tomasso: Most illustrious sir...

Artemisia: I hope your illustrious lordship Your illustrious lordship received my last letter

Sending you Holiday greetings And rejoicing in your good health. I myself spent Christmas day in bed As I have been ill and still convalescing.

Tomasso: in bed convalescingSurely Madam, he must know

But as I told your illustrious Lordship Your Diana is finished and is in the hands Of your nephew, the Prior.

Therefore, to take care of a problem of mine

Tomasso: ...Problem of yours?

Artemisia: (shaking her head yes) Problem of mine

Tomasso: ...Problem of yours

Artemisia: I must ask you to send me One hundred ducats in advance. I ask you to send a prompt reply For I must have a medical treatment By means of the money.

Tomasso:...by means of the money

Artemisa: ...money

Tomasso: ...money

(realizing the extent of the problem) Alas my lady Is it so dire?

Artemisia: As always I close by paying my most humble reverence And at the service of your Illustrious LordshipWith assurances that as long as I liveI should obey your every command.

Tomasso: ...paying my most humble reverence and at the service To your most illustrious To your most illustrious Lordship That as long as I liveI should obey every commandYour humble servant Et cetera

Artemisia: Artemisia Gentileschi.

Tomasso: Artemisia Gentileschi

Artemisia: Good bye.