Program Note ... ... .. ... ... . .. .. .... . ..........$I h Ostendorf Deidamia (pronounced "Day-ee-da-mee- ah") was George Frideric Handel's last opera. He began work on it in October 1740, at the same time he was completing its companion work, Imeneo, begun two years earlier.

On November 8, Handel inaugurated his London winter season-with some new works, some revivals-and for this purpose had engaged the Theatre Royal at Lincoln's Inn Fields. Opening night saw a semi- staged version of the serenata I1 Parnasso in festa; later in the month came the premiere of Imeneo. Despite a superb score and fine cast, the production was a failure and was offered only once again in early December.

The fact is that opera-Italian opera- was passe' in London by this time. The public had turned to other musical de- Deidamia in early February 1741: "The lights-stage works in English of a more eminent skill of the opera composers here, the frivolous nature than Handel's offerings. extraordinary quality of the voices, the rivalry in For serious entertainment, the sacred performancedl1 this has made London the oratorio, also given in the native tongue, centre of the musical world. But today it seems was becoming increasingly popular. Conse- that Euterpe has abandoned the shores of Albion quently, the true merits of Handel's last two and we have nothing left but oratorio, that is a operas were ignored at their premieres: kind of sacred concert which Mr. Hendel [sic] Imeneo and Deidamia really never had a occasionally puts on himself." chance. Handel scholar Otto Deutsch For the libretto for Deidamia, Handel quotes a visitor from the continent, Baron turned to his long-time collaborator (and Bielfeld, posted to London. He comments sometime Nemesis) Paolo Antonio Rolli, in a letter to a friend during the run of who devised a "dramatic skeleton" for

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the composer of the Ulysses-Achilles- Deidamia story. Peleus, father of young Achilles ("Achille" in Italian) has sought to avoid having his son conscripted for the coming Trojan War and has hidden him on an Ionian island. Here, Princess Deidamia and her friend Nerea disguise Achille. Ulysses ("Ulisse") under the assumed name of "Antiloco" and a delegation of Greeks, led by Fenice, come to the island and accuse Deidamia's father King Lycomede of concealing the young warrior. It has been foretold that Greece will have victory against the Trojans only if Achille joins their efforts, though it will, it has also been foretold, cost him his life. Romantic complications ensue: Deidamia and Achille are passionate, combative lovers. Ulisse/ Antiloco makes passes, of varying sincerity, at Princess Deidamia, Princess Nerea and finally at Achille himself, disguised as the maiden "Pirra." Fenice and Nerea hook up as well. In the end, though, Ulisse appeals to Achille's patriotism and Pirra reveals him/herself. The young wamor promises to lead the Greeks into the coming battle, despite Deidamia's protests. All are aware of his fate at Troy, clouding an otherwise satisfactory conclusion.

As entertaining as Rolli's plot sounds, Deidamia met the same fate as Imeneo at the new opera's opening on January 10, 1741. The local Daily Post had a ~ o u n ~ e d that day "At the Theatre-Royal in Lincoln's Inn Fields, this Day, will be perform'd a New Opera, call'd DEIDAMIA to begin at Half an Hour

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after Six O'clock." So indifferent was the ~ublic that the vroduction onlv ran twice &ore (January i7 and ~ e b & 10). Thereafter Handel substituted more sure- fire oratorios. Soon after the premiere, Handel's publisher, Walsh, offered a "Collection of Songs from Deidarnia" (the overture and Act One) and a few weeks later, a publication of the entire score, but the response from subscribers was as disappointing as the opera's initial reception had been.

Handel was discouraged by the failurr of his new stage works. Whether or not he would have attempted a further London season or ever written another Italian opera (he didn't) was decided by the extraordi- nary success in Dublin later that same year of a new English-language work he presented to the world. Messiah changed the course of his life. Its reception gave George Frideric Handel another two decades of celebrity and began a particu- larly fertile period of his composition. Indeed, some of his most magnificent scores-Samson, Joshua, Semele, Judas Maccabeus among them--emerged from this rebirth. Deidamia fell by the wayside.

A word on the cast of Deidamia. The vocal assignments are interesting, but as always with this composer, were deter- mined principally by whom he had in his employ at the time. The score offers roles of roughly equal size for two basses (Imeneo does as well). One went to young

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the gifts of soprano Julianne Baird. Ms. Baird, mezzo WAnna Fortunato and I collaborated with conductor Rudolph Palmer at the inception of our Handel opera recording serie-me 13 years ago-to produce the first complete recording of Imeneo. For that work I sang the title role, but these days happily turn the bass honors over to long-time colleague and friend John Cheek, who handsomely dispatches King Lycomede's two airs here.

Achille the composer gave to a young English soprano, Miss Edwards. Maestro Palmer here has WAnna Fortunato portray the youth, impetuous both in and out of his Pirra disguise. An Italian castrate, Signor Andreoni, was cast as Ulisse, a role described by Handel as a "contralto," but notated by

pa010 Antonio Rolli him in the same G-clef as the other high- Handel's first Deidamia Librettist voice female roles. Its range is no lower than William Savage who had sewed Handel, Deidamia's or Nerea's, actually lies a bit first as a boy soprano, later as a tenor. By higher than Achille's part; it is both florid 1740, he was a lyric bass, cast as Ulisse's and heroic, as befits the great Greek hero. sidekick Fenice-in our recording sung by Brenda Hams, whom I first encountered baritone Peter Castaldi. The other bass role, singing the title role in a Washington Opera King Lycomede, was taken by Thomas production of Agrippina, is in every way Reinhold, a veteran German basso who up to the part's challenges. had performed for Handel many seasons. Perhaps the most curious assignment in The title role was fashioned for Elisabeth Deidamia, however, is the sixth role. For Duparc, dubbed 'Za Francesina" for the Imeneo, Handel had created the part of obvious reason that she was French. She Tirinto for the soon-to-amve Italian mezzo had sung principal roles in Handel's Maria Monza. Handel was relying on her operas since 1738 and was to remain with and La Francesina's chemistry to ignite the him long into the oratorio period of the production and so he had composed a spate 1740s and beyond. The role of Deidamia of complex, beautiful arias for her. The singer is a feast for a singer and particularly suits didn't make it to England for rehearsals and

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as the premiere drew near, the composer panicked. He hastily prepared a set of alternate, simpler songs for a "back-up" artist, in the event that Monza would not make it. She didn't. And a male so-prano, Signor Andreoni, learned the substitute arias in a matter of a few days and went on as T i t o .

Monza breezed into London nearly six weeks late, after Handel had prepared- again for the same reason-two sets of airs

throughout the score Handel uses brass (and even timpani) for brief choruses, hunting calls and an Ad I opening march. Contrary to the claims of several biographers, there is no "lute" in this score.

Handel had described Imeneo as an "operetta." This may have been a half- hearted attempt to cater to current London fashion-the success of John Gay's musical The Beggar's Opera in the previous decade had, after all, dealt Italian opera a serious

for her next role, the Princess Nerea in Deidamia. One of the finest tunes, first assigned to Monza for Tirinto, was now recycled note-for-note for Nerea, once the diva was safely in London. This is the glamorous Act I1 soprano air "D'amor nei primi istanti," sung here by MQire O'Brie

Much was made about Signora Monza's tardy amval, some of it not flattering. One Handel fan, Mrs. Pendar- ves, wrote--well, gossiped-to her sister about the comings and goings surrounding the composer's latest project. "Mr. Handel has a new singerfvom Italy. Monza's voice is between Cuzzoni's and Strada's [two popular divas who had sung principal soprano roles in earlier seasonslstrong, but not harsh. But her person is miserably bad, being very low and excessively crooked."

The Deidamia score features, in standard Handel fashion, mostly four-part strings with continuo. Occasionally a pair of oboes doubles the violins, and there are one or two solo passages for them and for solo bassoon as well. In several instances

blow. Deidamia was paired with it as another "lighf' work. This has been misleading. To be sure, both operas concentrate on the love inhigues of young protagonists. And unlike Giulio Cesare, Radamisto and Siroe, there are no assassination attempts, no patricides, regicides or suicides, etc. In both of these last operas, male characters dress up as females to avoid detection. Princess Deidamia's deception of Ulisse by disguising Achille as the maiden Pirra is central to the plot here: it is the story. Its implications-that Achille is destined to die if he goes off to war sound a sober note in the final act, and give rise to some glor- ious, dramatic songs. But neither music nor plot is frivolous.

The two staged productions I have seen of this opera (both with young casts, modem-instrument orchestras and no real emphasis on baroque musical style) shared our particularly American embarrassment with cross-dressing (an operatic feature comfortable for 18th-century audiences). These Deidamia were given more as farce for belly laughs. Ulisse's flirtations with Pirra was played for guffaws. The even more sophisticated notion that Ulisse, actually sensing that this is a young boy in disguise, is still attracted--despite the ever- faithful Penelope waiting-knitting?- back homethis subtlety was steamrolled over by sly winks and low plays to the audience, more in the spirit of a TV sitcom

than the work of a librettist and composer at the height of their powers. Handel did not do farce; it was neither his nature nor his calling. His soloists were gifted vocal artists and the musical and virtuosic demands of baroque da capo arias still very much inform this late score. The hunting metaphors, both literal and amorous, inspired glorious music.

Handel's Achille is a passionate char- acter, a reckless young man with ardent, challenging music to deliver, not a clown in a dress. Under Rudolph Palmer's direction, we have tried to present the work in a straightforward, stvlish fashion allowing its glo&us melodies &d Rolli's charmingplot to reveal themselves. Free of the obligations of staging and the "point of view" of the contemporary mise-en-sche, we hope the score speaks for itself.

ACT ONE tE)verttr~uct?/F~~gue CD ONE, TRACK I

march TRACK 2 (The Greek legation m ' w s at the shore of King Lycomerle's i s h 4

Reci%a%lve TRACK 3 ULISSE (d@isedas the Creek emissmy, Atztdom)

Per vendicar di Menelab I'offga cui Paride Trojan, To avenge the crimes done agajnst King Menelaus by di Priamo un figlio, tradi I'ospizio santo, ed in F'riam's son, Paris of Troy, who betrayed our sacred

Micene g2 rapi la consolte Elena bella; tutta la hospitality by abducting the beautXul H e l e n 4 Greece Grecia b in anni per I'eccidio di Troja Ate I'invia il is armed for the destruction of Troy. The ldng of hgs,

R& de' Regi, Agamenone. Ei brama che Iycomede, Ri. Agamemnon, sends me to you. He wishes Lycomede, di Scyro, sia a parte ancor della commun vendetta; of Scyro, to participate in our shared revenge; and that

e le tue navi all' alto impresa aspetta. your ships make r w , awaiting this great adventure. LYCOMEDE

Sessanta dele mie navi guerriere portino a nostra Sixty of our fighting vessels will sail with our antica, emula gente l'alta vendetta ancient ally, and my men will join to avenge

del commune oltraggio. this mutual outrage. FENICE (coming f m r d to thank Lpoma%)

Degna virtu de' Regi, oh generosili This virtue befits kings; so generous a response rara nel mondo! is rare in this world!

ULISSE Ma non b questo sol cib che ti chide la Grecia mtta But this is not all G m e asks of you. The famous Il celebre Calcante, cui I'avenir fanno palese i numi, seer, to whom the future is revealed by the Gods,

disse, che senn Achille, Troja espugnar non Life. predicts that without Achilles Troy cannot be conquered. A molti b noto, che timoroso, il genitor Peleo, deUa AU h o w that the father Peleus, f e d of the

mom del figlio, ate il mandasse per occultarlo. death of his son, has sent him here for you to hide. LYCOMEDE

In ran dame il bmate: verso la pahia sua You waste your time looking for him with me: the very la stessa nave che il port0 qul lo ricondusse. ship that brought him here now returns him home.

WNICE (dubiorcs) E in m nascosto h. GE& la wol. And in vain he hides. h e m wants him\

ULISSE @inte&, to Lycund?) S'ei vive in tuo poter, pen% che Greco xi, e che Should he be here, remember that you are a Greek, that

destin Trojano, per voler degli Dei, giace in tua mano. Troy's fate and thewill of the Gods are in your hand.!

Avf oso TRACK 4 ULlSSE

Grecia tu offendi, Troja difendi, You offend Greece if you defend aOy Se Achille woi sah... and if you harbor Achilles...

Quelche di Giove dal dglio move You know that Jove cannot he igoored, nor Sai che non pub mancar.. moved to pity. ..

CoIpo di Fato quand'altri ha speme, Although others may hope he can he spared, he who Che sia m p a t o allor lo rime ad incontrar. tries to let him escape will meet the blows of Fate.

FaecSaa tive TRACK 5 LYCOMEDE (to the Gmk)

Falsa 6- la voce che in mia & avesse luneo So. the voice of the vounn Achilles. who for so lone " . soggiorno il giovane Pelide: zei tornasse, or found a h a m in 4 ldng-dom, is &loyal: well, sh;;uld he

troveria n e w l'asilo in tutto il regno. Cerchisi in return, he'll he denied haven in our land Seek him any- o d lato, io vel permetto. che wol si pih? where, 1 will allow it. What else do you ask?

FENICE Pensar chi ardisce mai, da magnaoimo cor negato il Who would dare from so generous a heart & the

vero? Ma per senizio del commune onore truth? But to sene our mutual honor, please accettisi l'offerta accept our help.

LYCOMEDE Il regno mi0 vostm sari, My ldngdom is yours L che il restar v'aggrada so long as it pleases you to remain.

FENICE Ja generosa ospital gloria L. queh che le Creche The glory of such generous hospitality dis!jnguishes

distingue dalle barbare genti e violato li us G& from the badmian peoples: let the l'ospizio dal reo Paride ingrato. treacherous Paris never how such a welome.

Aria TRACK c FENICE

Al tardar della vendetta If vengeance he delayed 0 la scorda, o non l'aspeaa, or forgotten, or if1 do not await it,

E sen ride l'offensor. then our enemy will ridicule us. A h l'empio scorger suole, And should the villain reach t hm shores,

Che in esempio il Ciel lo mole it is Heaven's will Gastipato dell'ermr. that he h d punishment for his crime.

Altardar. .. Ifout..

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Reccigative TRACK 7 LYCOMEDE (alone a@ the C m k depmt)

0 d'amicizia sante leggi, voi dell'amico Peleo sentir 0 sacred bonds of friendship, you renew in me loyalty to mi fate piQ al vivo le paterne tenerezze. Gli oracoli my friend and his father. The oracle predicts certain predetto han certa morte ad Achille, se a Tmja ei death for Achilles should he raise his am against Troy.

wlge I'armi. Sou padre, amico son: romper tai nodi, I am both father and friend: to betray my vows, for a father di natura nemico pub chi padre non 6, chi non 1! amico. to behave so &, I'd d no true friend. Yes,

Si, viva occulto il giovinetto Achille nella mia m a : young Achilles will remain hidden in my kingdom: the il voglion salvo i Numi se gli minacdan morte quand' Gods will spare him, though they threaten his death

ei tenti espugnar d'llio le porte. if he breach the gates of Troy.

Arla TRACK 8 LYCOMEDE

Nelle nubi intorno a1 Fato In the clouds that surround Fate A' m o d non 1! dato con lo sguardo a penetrar. mortals are not afforded a comprehensible new.

DeUo scunpo e deUa morte chi predir sentila sorte He who believes he can predict Fate AUo scampo ha da pensar. had better be prepared for exile and dath.

NeUe nubi ... In the clou ds...

ResitativelAiv TRACK 9 DEIDAMUI

(laq wi'th N m and attenrlrmts in the palacegadens) Ecco il mio ben. I t t i momenti, ahi lam! che quel My lover comes. Every instant, alas, that happy, lively vivace e vigomso spirtn dame lontano il trae. Pena boy is away from me makes me anxious. Pain

e timore combattono quest' alma; male porta al and fear struggle in my breast; but when he comes back ritorno e gioja, e calma again, he brings me joy and serenity.

Due hell' alme innamorate, care, fide, Two beautilid trusting, caring hearts, Amanti amate, sono sole I'idea del dil etta... doting lovers, are the hue expression of delight..

Aria TRACK 10 NEREA (advising Deiciamia)

Di lusinghe, di d o l m non Euica non a s p m Never let delight and sweet happiness Run bitter, Sorte amica alla belta. friendly Fate, for my lovely friend.

Nasce questa a molli aEetti, For what begins as simple affection

E a temprar ne' fieri petti la crudel ferocita can harden into cruel passion in proud hearts. Di lusinghe ... Never let delight ...

Avios@ TRACK I I ACHILCE (mters in hunter's@)

Seguir di s e h in s e h la fuspitiva belva To pursue through the forest his fleeing prey Diletto egual non ha is the hunter's greatest pleasure.

I'appresso, e lancio fl dado rapido come il guardo, I stalk it and in the tlick of an eye let loose my arrow, Che molte al h le di and hally kill it.

Seguir... To pursue ...

fPecirtatIve TRACK 12 ACHILLE (CenderJy teasing LMhhfiz)

E semore fisse vi ritrovo a aueste oore d'ozio: soRete I h d vou ever bed on the oursuit of leisure. Come. al be1 matino, segue lucido @orno: e fresca aur& a get udwith me at dawn, foUbw the rising sun: in the'

ben pih dilettose opre ne alletta Pesh breeze you'll thrill to the most delightful endeavors. DEIDAMIA (hguidy)

Nell'ameno giardino itene a Evvi adorno No, come into my pleasant gardens, so I can festoon il nine e il sen di fiori. your brow with flowers.

ACHILLE Altre al benaglio o vibri il dardo, o le Your arrows fly wide of their target

saette smchi: altre in corn si reggiano. and they fall harmlessly. DElDAMlA (to Nerea and the others, who then discreet& depart)

(Partite, vi sieguo ... ) E tu, mio ben ... (Go now, I'll follow later. ..) Now you, love ... ACHlLLE

Pochi momenti, deh! lasciami bear ne' tuoi bqli occhi. For a moment let me bask in the glow of your eyes. DEIDAMlA

Queste tue troppo rigide fatiche ti h o . Your strenuous sports make you insensitive scordar le tenerezze de' noshi occulti amori, to the sweet intimacies of our secret love.

ACHlLLE Anima mia, l'ozio fa l'alme vik le generose Dear one, idleness can spoil one's soul: generous solo nascono al dolce ardor un amor vero. hearts will allow true love to remain unspoken.

DElDAMlA E m'amerai, cor mio? Wii you love me, dear heart?

ACHILLE Si, fino, a mane. Yes, until death.

DErnAMIA (to beme% &4, (AM! temo pih che spero.) (I fear more than 1 hope)

TRACK 13 Aria DEIDAMIA (to AcbiUe)

Quando accendem quel petto When that breast of yours glows I trasporti del valor a me pensa, with the pride of great deeds,

0 caro, allor. then think of me, dear, E a quel car che tuo non 6. to whom that heart redly belongs.

Le promesse deU' affetto, idol mio, My darling, do not forget your pledge of affection Deh! non scordar, alma awaza a bene amare to a heart that relies ou tender love

I?, costante nella fe. and eternal fidelity. Quando accen &ran... When that breast ...

Wed%ativc; TRACK 14 ACHILLE

AUa delizia del car mio, diletta, sempre fido sad, Beloved, I'U be ever him to my heart's delight, sempre amomso, ma questi dolci aEetti aman troppo always loving, but this affection of ours seems passive.

il riposo: nb, non arrestin corso ad altri bei diletti, No, 1'11 not d e the chance for other challenges, for e poscia a quelle dame aspeaate opre d'onor pih belle. you may expect yet greater deeds of honor from me.

Aria TRACK IS ACHlLLB

Se pensi amor tu solo per vazo e per bela If you beliew that only the love of cuesses and beauty Regnare in questo sen, amor, t'inganni. reigns in this breast, dear one, you are mistaken. Non perde mai del volo augel la liberta, The bird never loses his freedom by flying, Che spesso al cam ben rivolge i vanni. so he may wing his way back to his mate.

Se pensi amoc.. If you be lieve...

Recl%ative TRACK 16 NSREA @er; outs& thepakzce with lkhhmia)

I'uno 6 Fenice Argo, l'altm 6 Nestore Pilio, One emissary is Prince Fenice of Argus, a second e Antiloco suo figlio lio il terzo. King Nestor of Greece, the third his son Prince Antiloco.

DEIDAMIA (looking offin the distance) h questi inchiesta a Lycomede far d'Achille intendesti? Are they here to interrogate Lycomede about Achilles?

N E W Rtta la Grecia occnlto seco il crede, AU Greece believes he is hidden here, and they

e minacdosa il chiede. search for him aggressively. DBIDAMIA

(Oh, qua1 periglio comte affetti miei!) (What feelings of danger course through me!) Vana richiesta! A vain request!

NEREA Viene Antiloco: io parto. Antilm appmaches; I'll withdraw.

DEIDAMIA (stops her) Deh, tutto a parte ad ascoltar ttarresta No, stay and listen from a distance.

Principgs& mi sei fedel? DL m'ami? Princess Nwea, are you loyal? Tell me: do you love me? NEREA

Quanto a me stgsa As I do myselt DEIDAMIA

Prow vedrb. I'll see if that's me. N E W

Vedrai che bramo quelche brami. You shall see your wishes are my own.

Aria TRACK 17 NEREA

Si, che desio quel che tn brami Yes, my desire to do your bidding, Maggior legami amor non L binds me to you more than love can.

Quel del cor mio 6 onor perfetto, What is in my heart is completely honorable, Non ha diletto se il tuo non l'ha 1 feel no pleasure if you do not as well.

Si, che desio ... Yes, my desire ... Rc?ci%ati~r~? TRACK 18

UWSE (enters, a s A n t i h ) In wno, o prindpessa, qni di Peleo venni a m e 1 have come in vain, Princess, to Eind Peleus' son il figlio, ma di speme delusa alto cornpenso h del Achille. But this thwarted objective may perhaps be

tuo padre real I'aiuto offerto e i gran pregi ammirar amaged by your father's offer of armistice and my own di Deidamia. high hopes to woo Deidamia

DEIDAMIA (pmzuy) Grata d'illustri principi l'arrivo e sempre a queste We are ahvap honored by the arrival to our shorn of

soglie. D'Elena dunque il raao vuol such distinguished princes. Does Greece look to avenge Greda vendicar? the abduction of Helen?

ULlSSE Vuole il suo sdegno che al Tmjano ostinato costino Our offended pride does seek the overthrow of the

la per6dia ed il rifiuto la r o w &I regno. kingdom of the treacherous Trojans. DEIDAMIA

Resti rea donna a1 suo rimorso in preda vil And the guilty Helen d shamefully remains in Tmjan parmi la cagion di tanta guem hand., fostering this warfare?

uLlSSE (with meuning, to Deiuhia) Ma in la bilancia dell'onor si pesa pih ch'ii fallo, But the offence of her abduction outweighs any crime

I'offesa Pedita poi maggiore non v'b dalla bellem of hers. Love, source of all true pleasure, can suffer fonte &I sol piacer, ch'b p e l d'amore. great loss because of beauly's allure.

Aria TRACK 19 ULrssE ( W x to Deiuhia)

Perdere il hene amato che il fato e amor ti die To lose a beloved with whom Fortune and love have L'estsemo -5 del dolor. blessed you, can be the greatest sorrow.

Ma del verderla ancor ad un r ide in braccio But to 6nd her again in the arms of another Morte peggior non 6. is a fate worse than death.

Furore disperato t'agita I'alma allor, Then a despemte fury seizes one's heart Ogn'un dovrehbe armato teco punk I'error, and evety friend must arm himself to avenge the crime, PercE l'istesso a8tanno deve temer per se. for he should wony this same misfortune will b d him.

Perkre ... To lo se...

Recr"%ative TRACK 20 DEIDAMlA (alone, as Antiloco depmts)

Da questi scaltri ospiti Greci -5 d'uopo lunge tener For as long as possible we must keep these crafty G& quanta possibii fia il tmestito Achille I'amata anima away from the disguised Achilles, my dear lover. mia. In dolce corrisposto detto ascoso chi b dime Who could be happier than I now am with our secret love.

p l felice? Soccorri i tuoi seguaci, Amor pietoso! Merciful Love, guard his steps!

Aria TRACK 21 DEIDAMU.

Nasconde l'usignol' in alti rami il nido High up in the branches the lark hides her n& from the Al serpe e al cacdator, mail volo spesso b fido snakes and other predators, so she may tly free wherever

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Dove lo po17a amor; che il pub balk non sk love directs her, yet remain ever r i g h t . Lontano, si, ma in pene, quest' aJma dal suo bene When far from the nest, though it pains her, she knows

Pih I'arte ingannd how to dissemble prettily, for her true love's sake. Nasconde ... High up in the branches ...

END ACT ONE I END CD ONE

ACT TWO Siinfarrla CD TWO, TRACK j

RecC%af lve TRACK 2 ACHILLE (in the myalptiem)

Deidamia qni veggo appressarsi, e un guerrier seco: I see Deidamia approach with a warrior whom chi mai qni non veduto ancor, fia questo? I have never seen before. Who can he be? How

Oh quanto vago i. quel bianco e tremulo cimiero nobly his white helmet ornament trembles on his brow s i quel dorato elmeno! Ben segli assem il fho usbergo! and how handsomely he carries his metal armor, e pende leggiadro in ver dal podemso fianco il brando and from his mighty flanks how brilliantly hangs his

decisor d'impegni! in quella siepe ascondomi sword, the decisive arbiter! I'll hide behind those bushes a udir quel ch'ei favela to hear what he says to her.

ULISSE (stillas Antiloco, e n t a ' q with Deiuhrnia as Achille bides) Esser non pub mortale, chi sia di te piu bella. A woman more beautiful than you, Princess, cannot be

Se il @do Trojan, pria che a Micene approdato a mortal. If only the vile Paris had not disembarked at qni fosse, d'Elena la bellem or non porrebbe Mycenae and thrown all of Greece and Asia Minor into

la Grecia e I'Asia in guerra ... war over the beautiful Helen, I mi ght... DEIDAMIA ( i n w t i n g him)

Dolce i. I'ascoltar la rneritata lode; ma It is sweet to listen to your noble words, sir; but they do questa tal non 8: m e al tuo labbro dal cor not seem quite sincere to me: they come from your Lips

gentile e dal cortese sguardo. as courtly politeness. ULISSE

Venne dal core, I. vem: dal car che i primi tuoi They truly come from my heart: from a heart smitten by its sguardi vezosi ferito han si, che risanarlo soli k t sight of you, which can only be healed by y o u r sguardi potran dolci amorosi. Non mi rispoodi? E reciprocating glances. You do not respond? And your

di venniglia rosa spargi le guande delicate? Un d o delicate red cheek is flushed? It is an honorable love amor dettb quel ch'ora il labbro dice. which these lips speak.

DEIDAMIA (demurely) Riposta dar, qua1 brami, a me non lice. It is not seemly for me to answer you.

W 14 E

ULISSE Ma pria di speme date sol dipende. But all my hope depends upon it. Does your emhams-

Sdegnoso forse 6 il vago tuo rossore? Rispondimi. ment mean rejection? Please m e r me. DEIDAMUI.

Nan -0. I must not ULISSE

T'offende l'amor mio? Does my affection so offend you? DEIDAMl.4

Lo penso onore. No, l believe it honorable. ULISSE

Ah! che se hen sincero, Antiloco ti spiace? Then it is Antiloco's sincerity which displeases you? DEIDAMU

Piace chi s'ama, k vero, ma non s'ama per Truly, a suitor may be pleasing, hut she who hds him so questo ogn'un che piace. may not always be able to reciprocate.

ULlSSE Deh! un guard0 alletti almen la mia speranza, Ah, with a single glance you q t u r e all my hope, my

costanza e amor; vogliono pur, ch'io speri. faith and my love. These give me hope. DEID- ( w b j

Molto possouo uniti, amor, costanza Love and hope, when united, can accomplish much.

Aria TRACK 3 ULrSSE (intimate&, .% t o l a j

Un guardo solo, pupille amate, conform a1 duolo, A single glance, beloved eyes, can comfort all pain. Deh! nou negate: ma un guardo, o care, Do not deny it: that sole glance, o dear one,

In cui s id l e d'amor la face. can make you sparkle with love. Ogn'altro sguardo che a me volgete, Anyone else's eyes on me

E fredd0 e tardo, deh! mi rendete pietose, renders me cold and unmoved. Ah, show pity on me, Vmose a1 car la pace. give my h m some peace.

Un sguardo solo ... A single glance ...

Recltaf iive TRACK 4 DEIDAMIA (ruatchng Ulisse w ) j

Oh! che impommi affetti! Ma dw P il caro Achille? Ah, what an annoying display of affection. But where can Son pur soletla, e com'ei suol, non viene? my beloved Achilles he? I am alone; he should be here,

Perch5 tal lontananza? yet he is not. Why this separation?

@ 15%

A m (springing outm MS bidingplace, angry) "Molto possono uniti, amor, costanza.." "Iave and hope can do mu ch..."

DEIDAMIA Quivi nascosto ... You were hiding here ....

ACHILLE U tntto intesi. Oh quanto ti d i l e m n di belth le lodi! I heard it all. Oh, how you delighted in his hlteq!

TI piacquero p,li affetti ed i sospiri! Soon his affections and his sighs will win you oved Avresti 6n al tramontar ciel @omo, s'ei non p&va, He'll have you by sundown; if he hadn't left just now,

udito il nuovo amante. he'd have had a new lover already. DEIDAMlA

Ma non dovm io @,.. But I could hardly have ... ACHILLE (not lkh ing)

Tad, incostante! Premer lo sdegno io Silence, mtiithful one! Beware the fiuy that bums in mi sentia nel core. my heart

DEIDAMIA Ma non t'offesi, o caro. But I did not offend you, dear one.

ACHILLE &ti%?@ quoting her ulonis to Antiloco) "Non m'offende il tuo amor; lo penso onore." "Your love does not offend me. 1 think it honorable."

Quando ti commincih parlar d'affeno, When he m e d speaking of affection, your eyes compor di serieth dovRi il volto, e dir, took on a look of genuine sincerity. Speak to me of

parlami d'altro, o non t'ascolto. something else or I'U not listen. DElDAMlA

Rimpmveri crudeli a un'innocente. Cruel scorn towards an innocent heart ACHILLE

Nb, che non b fedele a un solo oggeao, No, one cannot be f a i W to one man while chi gli affetti e i sospir d'un altn, sente. one entertains the suit and sighs of another.

DEIDAMlA Pace, bell' idol mio, sai che costante solo a te ... Calm yourself, dear, you h o w I'm faiW only to you...

ACHILLE Ka, infedele, a1 nuovo amante! Go off, traitor, to you new lover!

Ariaso TRACK s ACHll lE

Iasciami. l sei fedel? W e me. You ... faithful? Vattene. III sei costante? Ah, lasdami, infedele! Be gone. You ... constant? Ah, go, you wretch,

@I61

NEREA h g o se'l gode chi man@ con me il suo piacere. He will long delight who guides his pleaurn skillfully.

Aria TRACK 7 NEREA (m'th a smile)

D'amor nei primi istanti hcili son gh amanti In the h t flush of romance, it is easy for young lovers A farsi lusingar solo per vanit i to be beguiled merely by their own vanity.

Del merto lor I'den0 credono quell' affem, Carried away by the effeds of their own words, E il vanto voglion dar, pih a se che alla belk they think more of themselves than of their lovers.

D'amor. .. In the first flush ...

Recitative TRACK 8 DEIDAMIA

Lusinghe alletmici son queste, si, ma son lusinghe These are auly seductive wiles, yes, but mere sole. Raro, hen si rannoda laccio d'amor, che dallo tlirtation. One barely renews love's pledges when a sdegno 6 sciolto, speme allettarmi mole, e pur sol new, pretty quarrel causes them to be broken again.

del timor le voci ascolto. Forse Achille ricopre di Still, all I hear are the voices of anxiety. Perhaps Achilles, sdegnoso color, nuovo pensiero d'abbandonanui. driven by his anger, will rekindle his intention to desert

Oh Dei! come viver potrb, se questo k vero? me. Oh gods! Should this be true, how could I survive?

Aria TRACK 9 DEIDMllA

Se il timore il ver mi dice, infelice, abbandonata, Were these fears to prove true, then I, miserable and Sorte ingrata io morirb. abandoned. would die of my pitiless fate.

Ma diletta a mia costanza la speranza a dir mi viene, But hope still comes, delightful to my sod, Che il mio bene io placherb. hope that 1 can assuage my dear one's anger.

Se il timore ... Were these fears...

Recitative TRACK 10 LYCOMEDE (1~1'thAntiMIisse and his nrmpany)

Della caccia i diporti deliziosi ha il regno mio. AU my subjeds delight in the hunt The countryside la reggia side a specchio dell' onde, e qnegli ameni ghstening with lakes and exquisite fields and forested hills

campi e ombrosi cob li fanno verde an6teatm intorno. provide the festivities with an immense green arena ULISSE

Degno Regal riposo d'inclito m e , che pien di This is a kingdom worthy of a great hero, one rich in gloria ed anni godesi un meritato almo soggiorno. history and glory, offeeling haven to a worthy sod.

LYCOMEDE In queue piage, o in quelle annose selve sian ogi Along the beaches and in the deep forests, let the

vostra dillettevol preda le fugitive helve. wild beasts serve as your exciting prey. M'appagherb del sol racconto. Un tempo la corsa I will gladly enjoy hear teU of it. At one time, the

e il dado erano i miei diletti le fatiche pib grate. Il pi6 the awow provided my most happy exertions. But now non puote pib il commando eseguir dei desir miei, ma these legs will not do my bidding. So, in happy retirement in tranquilla wcchima ozio felice anche mi dan i Dei. and pleasurable old age, the gods make me content

Avla TRACK 11 LYCOMEDE

Nel riposo e nel contento godo e sento In rest and contentment I delight, and Liwe il peso dell' etB I hear my old age lightly.

E la vita mia contenta lieta e lenta Happily, contentedly, my life AUa meta se ne v i . moves gently toward its end

Nel riposo ... The yeus...

C ~ O V U S TRACK 12 HURTERS, HUNTRESSES and ULISSE

Della guerra la cacda ha semhianza The hunt is wy much like warfare. Sono scuola di Marte le selve. The forests are Mars* haale acidmy V'6 coraggio, fatica e costanza Here courage, effort, penistence are quired

In seguir e in cambatter le belve. in chasing and conquering one's prey. DEIDAMIA (enters), then OlliERS

E poi dopa I'affanno e il dipom, Yet after the day's exeaion and enteriainment Son amore riposo il conforto. one h d s rest and refreshment.

ALL, ULISSE DeUa guerra ... The hunt is like ...

Recir%aEiwe TRACK 13 FENICE (to Ulisse)

Insegnito da'veltri rapido cervo di ramose coma From afar one can see huge, antlered deer purmed venir da lunge mim Vanne a quel m: io resto se by sleek greyhounds. They are headed this way 1 shall

il tratto manchi ad aspettarlo in questo. wait here and head them off. NEREA

Teco sarb, mail prima colpo io bramo. I'U go with you; hut let me strike the first blow. PENICE

Bo, ninfa heh, sia ne pur I'onore. $2 di tna mano Lovely maiden, yours shall be that honor. If yow hand

E8 19 %

il dado, come quel del tuo sguardo all'alma mia; be an m w that strikes as boldly as your beauty does lanciato il colpo, inevitabiI fia my soul, that blow will surely h d its target.

NEREA Di gentil cortesia M ~ O concelto! ma non di vero aEetto. A W r i n g conceit, handsomely put, but surely not sincere.

Forse, qua1 d'Argo alla bela mi fai morose parole e Perhaps you woo me with courtly words and sweet Greek dolci VE@ poi nel cor te ne ridi, e mi disprezzi. phrases, but in your heart you mock and scorn me.

FENICE Dalle 6amme d'amore libero lhche qui giunsi, Until I arrived here, my heart was free of love's tlame, ebbi'l seno, perch6 in Argo non vidi bellem a because back in Argus I never saw a beauty like the

quella ugual, cui parlo e vedo. one whom I now address and gaze upon. NEREA

Men I'eroe veggo in te, ch'il cacciatore. Giunger In you I see less the gentleman and more the hunta. You la preda vuoi per non cumme poi. Nb, non ti credo. stalk your prey to no good end No, 1 do not believe you.

Aria TRACK 14 NEREA

Non ti credo, non mi fido, l do not believe or trust you, Maggior prova al ver si vuole, More respect for truth is needed,

Non sospiri, non parole bastan I'alma incatena. and neither sighs nor words can capture this heart. I'U lo concedo ch'un infido disinvolto B nel momento, admit an insincere one may at first have the upper hand,

Ma disciolto, suol qua1 vento col momento poi cangiar. but the wind may blow at any moment and change thing.. Non ti credo ... I do not ...

Recitative TRACK 15 ULISSE (watching Nerea huny ofl

N i da noi non vista ancor, veloce segd a quel The maiden, barely out of sight, hastily pursues a deer. cervo, lo ngiunse, e il dado ben d'appresso vibrb, She's caught up with it and boldly lets fly an mow.

colpi, I'estinse; poi rinselvossi, altm a inseguir. Fenice, Struck, it dies; now she's off into the forest after another. credi tu sciolta d'amoroso laccio Deidamia? Fenice, do you think Deidamia free of loving obligation?

m I C E Quell' innocente aspetto tal idea ne comparte: Her naive demeanor may give that impression:

un'arte B forse. I think it an act. ULISSE

6 c m e n t e un' arte. Presa B d'amor. It is most certainly an actShe is totally in love. FENICE

Chi B dunque I'amato? Un di noi forse B quello. But who then is the lover? Perhaps one of our men?

1201

ULlSSE (den'sv4,) W, mail giovinefto Achille in vesta fernminil. No, it is the young Achilles now disguised as a girl.

Quel colpo, a1 certo, lanciata fb da destra di viril This insult has been perpevated by a man's hand surely, forza, e nel ferir maestra Vg sull' awiso, osserva but the wound is inllicted by a woman's. Beware. Watch

i moti e i guardi. their words, their every glance. FENICE

Oh quanro scaltro sei? Nella cacda, pih che di h e , Oh, how craliy you are. Our hunt will ensnare more than an& d'khille in W a the b e , Achilles will also he our prey.

Arga TRACK 16 FENICE

Presso ad occhi epwj giil The nervous lover Nei ministri dell'amor will he obsewed by the sawy and

Sia guardingo amante cor, watchful eyes of love's e t e r s . Che sue fiamme vuol celar. Let him try to conceal his passion.

Quando L. solo la belP When alone, his love will L'accarazi e ammiri allor, caress and fondle him,

Un sol sguardo ed un mssor, every glance, every blush Un sospir le pub svelar. every sigh he will try to conceal.

Presso ad occhi ... The nervous lover. ..

Recitative ULlSSE (as Pirra enters)

Pochi momenti a me, ninfa vezosa... Lovely maid, a few moments ... ACHaLE

Ja cacda forse non t'aggrada? Do you not enjoy our hunt? ULISSE

AUettami la cacdatrice piu I enjoy the h u n m e s more. ACHILLE

Dimmi potrei saper chi pih frh noi Can you tell me which one among us par bella a gli occhi tuoi? is most pleasing to youreye?

ULISSE Quella tu sei. That would be you.

ACHlLLB Pme a tune perb che Deidamia pria It seemed to us all that Deidamia most 6red

@ 21 @

TRACK 17

t'accendesse il sen. your senses. ULISSE

Te vista ancora io non avea D'amor nemica e quella: I had not yet seen you. She is an adversary of love. tu no'l sei forse; e f o m ancor pia b e h you surely are not, and you are probably prettier.

ACHlLLB Valomso e sagace. apposto in parte tu sei. Wo~lhy, wise man, you seem of huo minds.

Non son nemica io degli amanti, ma nemica d'amor: I do not oppose the lovers, but I do spurn love: n'amo il corteggio; ma impeto sul mio cor mai I admire conciship: but it will never have the power non a m o . Spergiuri ed infedeli, vantan fede to move me. Pledges of faith and atfection are to me hut

ed a5& sol per conquista del presente oggetto. lies and treachely, offered to ensnare the prey at hand. Ma perdo il mio piacer. .. But I compromise my appeal...

ULISSE (us firm starts togo) Deh! pih dimora. Spirto maggior del feminil Wait, don't leave yet. 1 sease in you a nature greater

costume scorgo in te. than your girlish garb. ACHILLE flirting)

Smltro sei: ben c o n m t i ch'amo la lode; You are terrible! You h o w I love compliments! e Insingar mi sai. and you h o w how to entice me.

ULISSE Ma pia m a r ben poss'io. Deh, vazoso idol mio, But I can still hope. Here, charming, idyllic one, I offer mia fe, mia destra accogli. Amor disdolta lascii you my love, my hand. Such a beauty as you could not

non pub tanta belti. l\l ridi? reject my love. But you are laughing? ACHlLLE (us Dekkmia, wbo has e n d , d h e &

Rido di te; Deidamia t'ascolta. I laugh at you; Deidamia is listening to you.

Avla TRACK 18 UllSSE @st dress 'ng DaXmia, then Plm?)

N6, nb, nb, quella belti non amo, No, I m o t love a beauty Che l'amor mio sp&. who spurns my love.

(AdAchiUe) 3, si, bella, te sola io bramo; (to AchiUes) Yes, lovely one, you alone I desire; Quel guard0 mi piagb, e quel mi saned Your glances strike me, then they will heal me.

A questa orgogliosetta, mio ben, My dear, forget your Non sii fedele. allegiance to this haughty woman.

Esser ogn'or cmdele solo t'insegned. Though I be totally cruel, I shall pursue only you. No ... No ...

22 1

Recitative TRACK 19 DEIDAMU &ne and tirrhis. mtb Achille)

Questa 6 la caccia ch'arhi tanto? h i s is the hunt that sodelights you? And this is how you Questo 6 seguimi? Crudel, meco placato, woo me? Cruel one, this is how you k m your

mi promettgti, ingrate, d'e\itar queiti Greci promise, you wretch, to hide frdm these creeks who come che a tua ruina sol vennero. here looking to destroy you.

ACHlLLB (kmstic) Cam, tralasa'ar non potei si he1 dileno d'udir Dear, how could I endanger myself listening to a wise hero

un saggio eroe, serio amante m'offrir fede ed affeao. offering me, as a serious lover, his trust and affections. DEIDAMU

Ti scopriranno al h e . Ah, che non m'ami, quel In the end they will unmask you. Ah, you cannot love me, ch'io bramo, non brami. Povera Deidamia! you do not desii what I desire. Poor Deidamia! On

dove fan& gli affetti e le speranze! what are my affections and my hopes founded? Misera e abbandonata sad. In the end I shall be miserable and abandoned.

ACHlLLB (~Jtening) Anima mii vano 6 il timore. Dear heart, these fears are foolish.

DElDAMlA va! Go!

Aria TRACK 2 0 DEIDAMIA @dous, turns on Mm)

Vi, periido! p e l car mi tmM, ah! barbaro, Go, villain., you'll betray my heart. Ah, wretch, Nb, che non sei fedel, nb, che non m'ami. no, you are unbithhl, you do not love me.

Ah, misera quest'alma rested Ah, this miserable soul will remain behind. Ma libera la mom mi W crudel, lo brami. At last death d set me fret, cruel one, you seek it.

Va.. Go...

Recitaltfve TRACK 2 1 ACHILLE (as D e i h i a departs)

h mia di)& Caw corrente vien, I will soon h o w how to calm my b e l d Wndeer voglio a quel varco lanciale il dardo. are running. I'U soon stop them with my arrows.

PENICE (hrrying in) Aspetla. Wait!

ACHILLE Deh, mi lasua! No, leave me!

FENICE Deh, bella t'b piii caro di belve Eu preda; che d'amanti? Beauty, are not suitors more handsome to you than deer?

A C H U Sempre awem ai diporti delle selve, The pleasures of the forest are always delightful; I con amor liberta cangiar non bramo. shall never want to exchange my freedom for love.

PENICE To& un alma costante e d'Argo il soglio. 1 offer you a faithful heart and a Greek throne.

ACHlLLE Non mi mancar grandezze, e amor non voglio. I don't lack for wealth andl do not want love.

Aria TRACK 22 ACHILLB

9, m'appaga, si m'detta quella vaga collinetta Yes, 1 am satisfied by the little hills Pii che tanti foUi amanti, more than by endless lovers,

o d'un sol la fedelti or the promises of loyalty of one of them. Sprezzo amore; piii mi piace di cervetta timidetta I despise love; 1 much prefer to follow the

Seguir l'orme si fugace. fleet footsteps of the timid deer Che le gioie piu dilette ch'ei promette than to depend on most delightful promises obred

E poi non da and then withheld. Si, m'appaga Yes, I am satided ...

RecfZatiive TRACK 23 FENICE (fuatcbing AchiUes depmt)

Nb, che ninfa non b. Ma 9 6nito 1! il diporto. No, that is no young girl. But the hunt's almost done. (hunting horn are bead in the diskma?)

A1 ritomo chiama I'oricalco i cacdatori. The horns re-summon the huntem. Meglior consiglio in cone condud nostro senno I shall need an excellent stntegy to bring our plans a lieto h e . Malgrado a sorte inllda, molto sostien, to happy fruition. Even in the face of bad luck, thoughtful

quando pmdenza l. guida planning can accomplish much.

Charus of Hunters TRACK 24 L'alto Giove a1 travaglio penoso Mighty Jove, after strenuous exertions,

Per seguace il riposo fonnb, offers rest to his followers, Come appresso di Marte alla face as holding aloft the torches of Mars,

24 %%

E la gloria e la pace mandb. he bestows honor and pace. Calto Giove ... Mighty Jove ...

END ACT TWO I END CD TWO

ACT TI-I REE Sivafarria CD THREE, TRACK I

Recitative TRACK 2 FENICE (arguing witb Nerea)

Assai gioco di me, Nerea prendesti alla accia e alla Nerea, you have ridiculed me enough, both at the hunt mensa; pria nel ri6uto di sin& aEetti, e in and at table; lh you reject my sincere aEection, then

motkgpmu poi ch'alvui gll offersi. you mock me in front of others. NBREA

Sol ti diss' io, che vai mutando oggetti? Is not all I said to you that men are fickle? PENICE

Ma profferita mi s p m t i . So, what I offer you refuse? NEREA

E'in Argo l'amoroso costume una sol volta ol%% And is it your custom hack in Argus to proffer your dunque il suo core? lgnota quivi 6 certo la costam in heart only a single time? You clearly are ignorant of

amore. Pirra, non men di me H le compagne, riso the endurance of love. Pirra, no less than I and our a d forse deUa suo conquista Guerre di lungo other women friends, laughs at your conquest. Love's

assedio son I'amorose, e tempo tu non hai se battles require lengthy assaults, and you don't have all'iiprese dell'Asia in breve andrai. enough time if you're going to conquer all Asia

WMCE Quanto p a d'un amato sen p a r W contento, e dopo With how tranquil a heart a lover could depart, if after il gran dmento se tornasi con lauri al CM di gloria; great trials he could return witb glory's laurels on his brow piu i riposi godrei della tittoria Pensa, se G m sei, Victory would sweeten his rest all the more. Think, if you

ch'ozioso amator p r a m non dei. were Greek, your annoying love ploys would not please us.

Avfa TRACK 3 FENICE

Degno pih di tua belti quato cor ritomeri More worthy of your beauty, this heart will Dalle prove del valor. return from the trials of combat.

Lo sprezrante tuo piafer Those pleasures which you spurn, Perch'bo l'animo merrier. because l have a soldier's heart, k a te d'onta a m;d'onor. embarrass you hut to me are honorable.

Degno pih ... More worthy. .. 125 E3

R@cl&iaXi~l~l TRACK 4 NEREA (alone, as Fenice depmts)

Molto dagli altri amanti differiscon gli eroi. Heroes are so different from all other lovers. Con impeto e valore non con lusinghe ed arte fan le With boasts and valor, not with charm and delight, they

geste d'amore come queue di Marte, e se lor non make the declarations of lwe like Mars does, and if she for succede qneUa per cui mwesi I'alma mesa, non whom their hearts bum doesn't succumb, they waste no

perdon tempo, e m o ad altra imprga time hurrying off to yet another victim.

Aria NEREA

TRACK 5 ~

Quanto ingannata 8 qneUa, mal consigliata bela, How mistaken is the misguided female who in Che offerto dall'amante I ' i t e oerder& offerina herself to a lover instantly loses all.

Se piace il primo sguardo stringasi il nodo allora, If she lets his b t glance tighten the h o t , AUontanato dardo il colpo mai non fh. the blow from love's mws cannot be far behind

Quanto ingannata ... How mistak en...

FZecSlarlve TRACK c PBMCE (reentering with Uisse)

Tutto k gih pronto. Ev-g is ready. ULISSE

Lycomede or giace dopo l d b o nel solito Lycomede is now in a deep sleep after the feast. sopore. Pin;l v e d ? Wii Pins come here?

FENICE De' nostri doni &so giunger le fed; e ne I made the women aware of o w p m t s ; they

mostrb vaghem Vengono. seemed delighted. Here they come. ULISSB (the young mmen of the mrt begin to enter)

Ma M lor Pirra non veggio. Delusa k questa m a But I don't see Pirra with them. Our plan is foiled. FENICE (&resses t h )

IIlW belle, s'alle c o m i e nobii accoglienze questi Lovely ladies, if these gifts do not serve as recompense doni non Ban cornpenso uguale; saranlo in pme for your noble, elegant hospitality, then they may at least

degno, come di nostra gcatitudin segno. serve as a gesture of our m t u d e . ULISSE

Varie bell' opre d ' d c i o i n b vi piaceran. These Mlious lovely handcrafted trinkets will p lme yon. ACHlLLE (entering, still as Pim)

Vengone a parte anch' io. I am also here for my part

D26D

ULISSE Apri, Fenice, quella arca aurata, Fenice, open that gold chest and

e tributi abbia ogni b e h let every beauty here take some tribute. DElDAML4 (uncomfortable)

Troppo in ver, generosa cortesia! This generosity is really too much! ULlSSE

Deidamia, tu prima scegli. Deidamia, you shall chose 6rst. DElDAMlA

Pirra bramo che scelga pria. I want Pirra to have 6rst choice. ACHILLB ( m i n i n g the treanrres, to t o i a )

Bissi, b r a , e nastri e tanti altri omamenti, Gold cloth, brocades, ribbons and so many other jewels, wgbi ate grati son piu scegli, more lovely for you than for me. You pick

DEIDAMIA E che mai bramato m t i ? What would you like to have?

ACHULE (begins to reveal his hue nature) Una fare@ un'arco, e ben libmti dardi A quiver, a bow, and well-tooled arruws

da lanciasi alle bebe. for shooting wild prey. ULISSE

Anche alla caccia pawto abbiam? hfim hewe e Still thinking of the hunt? look here: quiver and arrows strali, scudo, elmo, brando ... a helmet, sheath and sword...

DElDAMlA (nervorr) Strani doni! Pirra che fai? Odd gifts! Pirra, what are you doing?

ACHILLB Ben d m al crin I'elmo guerriero specchio lo scudo fia: Such a he-fitting warrior's helmet, a sparlding shield: mgo omamento fa col suo tremolar, bianco il cimiero. this white helmet's jeweled crest shimmers when it moves.

DElDAMlA (Soccorso, o Numi! ei si discopre.) (Help, God., be is m&g him&?)

Jawla, Pirra, i guerrieri arnesi: e m un be1 nastro. Pirra, leave these militaty thing. Here's a pretty ribbon. ACHlLLE

Lucido, forte, lieve e acuto & il brando, e d'ambe This sword is shin) weighty and sharp; both sides i lati l. ben trinciante il taglio. of the blade are wonderfully sharp.

(the sound of martial trumpets is bemd in tbe diskme) Che k ub? What can that mean?

W S S E Di masnada nemica a& stupendo With shmning boldness, our men are auacking

B27B

assaltan0 la Reggia the palace. ACHULE

lo la difendo. I shall defend it! ULISSE (turning on AchiUes)

Nan 8 pih tempo di schem. l sei d'un timoroso No more time for joking. You are the valorous son of a padre il figlio ardito. mna la Greda si prepara all' fearful father. AU Greece now prepares for war to avenge

armi per vendimi della grande offesa, e all'ouorata a great wrong, and the old men and young heroes bum impresa i veterani e i giovineni emi ardono del desio with the desire for gloty in the worthy struggle. di nobil gloria Vuole un vem do r , morte o vittoria Each seeks true honor in either death or victory. k navi approdan gii d'Ilio all'arene, sbarca il Greco Our ships already near the shores of Hylas, and outraged animoso, e Troja assale. Ecco di Priamo il pih feroce Greece now disembarks to attack Tmy. Here is Priam's

figlio Ettore, e innand all' asta sua fatale (a difesa, fearsome son Hector, and evelywhere Fate's lottery, to ahi! chi lien del Greco onore!) fuggono mille nostre defend Greek honor, looses thousands upon thousands

sguadre e mille. of troops. ACHIUE (tearing ofhis di&pise)

Cbe fuggir? Fugga Ettore. Ecco, ecw Achille. What? They are leaving. Hector g06. Here then is Afles!

Aria TRACK 7 ACHILLE (bmdishRF Ulysssq' sluord)

Ai Greci questa spada sow i nemici estinti For all Greeb, this sword shall open the path to Apra d'onor la strada, e Troia perirk glory over the bodies of our enemies and Troy will fall.

11 fato di quel regno dipende dal mio sdegno, The fate of that kingdom depends on my own rage, Per me, qui fu gih Troja, il pellegrin d i d for me the itinerant historian will speak of what was Troy

Ai Greci ... For all Gree ks...

Recitative TRACK 8 DEIDAMIA

Che pi3 giova celarlo, estremo i il male. Portate What good in hiding him further; grave danger is here. lunge dal mio guard0 queste ministre di furor spoglie Take this deadly tribute, these awful weapons from my

fun&! Oh giorno a me fatale, perduta pace mid sight! Oh, how fatal this day is to me! My peace is lost. ULISSE (quiet&, to LMdamia)

Deh, ti confom. Please, be wmforted. DEIDAMlA (agr& turning on Ulisse)

Che conforto? Ah, spietato! tu la mortale mia What comfort? You villain, you bring me deadly sdagura porti; e hl poi mi conforti? news; and then you hy to offer me comfort?

Aria TRACK 9 DEIDAMU

M'ai resa infelice; che vanto n'ami? You have left me wretched; how you can boast of it. Oppresi, dirai, un alma fedel. You've crushed a faithful heart

Le vele se dirai de' tlutti al sen0 infido, If you speak to an unfaithful heart of sailing over the waves, Sconvolga o&i vento I'istabii elemento then let the volatile elements unleash a hideous wind,

E innanzi al patrio lido sommergati, crudel. and as you reach your home shore, may you drown, villain. M'ai resa infelice ... You have left me wretched ...

Recita%ive TRACK 10 ULlSSE (alone, a@ Deidhia depmts)

V a o al gran fine dell' eroiche geste, rompansi le Toward the greater end of heroic deeds, homelife must be dimore, in van dato I'onore ed Ulisse non h, di &ced; and not in vain has the honor been granted to scoprir I'arte del vecchio Lycomede e di Peleo, Ulysses to uncover the plot of Lycomede and Peleus,

e di condurre Achille all'alta impresa Fisso ho in and lo bring Achilles to the m e d battlelield. I am con- pensier, che quasi tutta mia la g l o ~ sia di vinced that virmally all my destiny is bound up in this

questa gran contm great mission.

Aria TRACK 11 ULISSE

Come aJl'urto aggressor dun tomte Like the migbty crush of a tidal wave Rovinosa alta mole cadente, like a moving mountain,

Sotto al braccio del Greco guerriero at the band of the waniors of Greece fino &Asia l'impero cad& the entire kingdom of Asia shall fall.

Ma il valor, come beha feroce But such heroism, like a raging beast, Senza il senno a se stesso pur nuoce. must be withaul consdence.

Sarb guida degli altri al furore, I shall lead the others into furious battle E il mio vanto maggiore s* and that shall be my gloly.

Come all'urto ... Like the mighty...

RecZtattwe TRACK 12 LYCOMEDE (in OeiClamMs chmnbers)

Dal destino dipendono gli menti per dover &amid%, My obligation of allegiance will depend on Fate si I'occultai, ma per dover che al Greco onor mi leg& You sought to hide him, but my duty to Greek

la scoperta all' almi sen0 lasciai. honor forced me to d him to the others. DElDAhlM (kneeling)

Padre, al tuo pi& m'accogli. Father, see me al your feet.

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LYCOMEDE Ergiti, o figlia, che t'aEanna? Daughter, you tremble; what troubles you?

DEIDAMlA Il timore del tuo sdegno. I fear your anger.

LYCOMEDE In che mai errar puoi, dolce figlia? How have you erred, sweet child?

DEIDAMIA Ah! forse errai. Oh, I have erred...

LYCOMEDE lo ti perdono gik parla I forgive you in advance. TeU me.

DEIDAMIA D'amore ... It is about love ...

LYCOMEDE Non temer... ti conrien ... lieve b I'errore. You need not fear... the crime is a minor one.

DElDAhtIA Pria che il c d d o Greco Achille discoprisse ... Before the heartless Greek unmasked Achilles...

LYCOMEDE Amor I'avea scoperto agli occhi tuoi. S'io non credea ... love had already revealed his identity to your eyes. If I'd

degne al tuo nobii petIo di tale amor le splendide not thought the bright fire of this love worthy o f y faville, lunge date sarehbe stato Achille. heart, I'd have sent Achilles off long ago.

DEIDAMlA E tu consentirai che m'abbandoni? And yet you let him leave me now?

LYCOMEDE All' amor tuo vorresti ch'ei I'onor postponesse? For your love, would you want him to compromise his L'onor dell' armi? Corrisposto Petto sia pur tra own honor? The honor of battle? You have contlicting

voi, ma sia pria ch'egli paria sol. feelings, but 6rst he must go off alone. DElDMlA

Perch6 sol pria? Why first? LYCOMEDE

Questo ti basti. Th~s you must accept. DEIDAhtIA

Ah, non tacermi, o cam, dolce mio genitor. .. Kind, dear father, do not prevent me... LYCOMEDE (as he hpmts)

k grandi e forti alme a1 di sopra stan d'awerse sorti. The most noble, the strongest heart must bend before Nell'assedio Tmjano il Ciel predice, sad fate. Heaven has decreed that in the siege of Troy

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che dee perir Achille. Achilles must die. DEIDAMIA

Ah, me infelice! Ah, I am miserahle! ACHILLE (enters, dmsed now as a waM)

Tacita, mesta, sospirosa ... You are silent, sad and sighing ... DEIDAMIA (amh of unp)

Ah! ingrato, v% gia pmnta 6 la nave. Iasciami preda Go, ingrate, your ship is already waiting. leave me, a1 mia mortal tormento: udrai la mom mix victim to my deadly torments: you will hear of my

sarai contento. death and be satisfied. ACHILLB (gent&)

Nb, cara anima mia; tempo v'b ancora ch'io par t No, my sweethe, there is sJI time before I go where dove onore mi forza, e dado w b tun0 ad amore. honor takes me; l want to spend it all on low. Summoned

Al Regal Lycomede richiesta, mia dolce meta sarai. by King Lycomede, I am happy with my lot DEIDAMlA

Poi W perigli bellicosi andrai. You then go off to the perils of b d e . ACHILLE

Non b degno di te cuor timomso. A fearful heart is not worthy of you. DEIDAMIA

Vorrai dunque partir? Do you really wish to go? ACHILLE

Si; ma tuo sposo. Yes, but as your husband. DEIDAMlA (angry)

S'inganna il tuo pensiem. Non 6 degno di me cuor Your thinking is wrong. So haughty a heart is not worthy cosi fiero. Nan mi piacan guerrieri: e te oon amo. of me. I do not like soldiers, and do not low you. I

Finsi amar per W, ecco chi hramo. pretended to love you to betray you; here's the man I want ACHILLE

Antiloco, p r t u n o or qui piungestl. Deidamia Antiloco, your arrival is timely Deidamia wane you; she ti brama; pensi, all'offerta del tuo core, e t'ama has determined to accept your offer and loves you, hut if Ma se intendi acquistar gloria W I'anni celare il you mean to h d honor on the baalefield, hide your gran pensiem, o tradito sarai: t'ho detto il vero. intentions or you'll be betrayed; I tell you the huth.

ULlSSE (as AchiUe stmfs to h) Figlio di Teti, m t a il pib. Gii noto m'b il vostro Wait, proud son of Greece. I already knew of your noble

affetto degno, momentanea in amor vita P lo sdegno. affections; love can suddenly turn to scorn. Antiloco io non son: I'Itaco Ulisse in me tu vedi. l am not Antiloco. You see before you Ulyssff of Ithaca. 10 per il Greco onore, di Penelope bella lascio il For the sake of Greece, I left behind the tender love of my

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tenem amore, la timid'arte di Peleo per trarti da beautiful Penelope; you have been easily misled by the soguato periglio facilmente ingannai, perche in te cowardly charade of Peleus, but in you I find lless

ritrovai men di Pelen, che d e b Grecia un figlio. your father and more a son of Greece. Deh! fortunati amanti, uguale a1 nostro, il vosw You are lucky lovers, let your own love be worthy of ours.

amor pur sia. Did la Greca istoriz Achille e The story of Greece shall say that Achilles and Deidamia Deidamia del par che i dolci affetti amar la gloria. loved its glory as much as their own sweet affections.

Aria TRACK 13 ULISSE

Or pensate, amanti con, che le gioie pih soavi Now consider, adoring hearts, that love's flowering is Quelle son de' primi amori sul be1 Bore dell' e!A sweetm for the young than the old.

Ai momenti dilenosi sieguon poi le cure gravi, After moments of rapture, more sober concerns follow, E i contenti de'riposi sono gioie d ' d and they sleep contented who know the joys of friendship.

Or pens ate... Now consider. ..

Recitative TRACK 14 ACHILLB (refm'ng to Ulisse who Ilepurts)

Spmne ad affetti, e al mio partir conferto, tanto Does not such an example merely spur on my own affec- esempio non W Achille e Deidamia nella gloria e tions in the face of my departure? Achilles and Deidamia's

in amore saran men che Penelope ed Ulisse? love will be no less glorious than Ulysses' and Penelope's. DEIDAMIA (sadly)

Darmi conforto non pub quel ch'ei disse. What he says cannot comfort me. ACHILLE

Perch6 woi dubitar di mia costanza? Why would you doubt my faithfulness? DEIDAMIA

Perch& se parti, o cam, perdo del rivedad ogni Because if you leave, love, I lose all hope of seeing you speranza; me infelice! di morte (iancabil oracolo again; I am wretched. Death's scythe (the unalterable ora-

il predisse) la fake incontrerai d'Ilio alle porte. cle has predicted it) awaits you at the gates of Troy. AU'ombratua dunque sam costante. I shall therefore he faithful to your shadow.

ACHlLLE ~ - - ---- -

I'oracol parla quel che wol Calcante. Ignoto k The oracle says what it wishes to say. The future I'avenir. Godersi importa quel ben che la presente cannot be known. It is important that we well eniov the

ora ti porta 6an I'amor e la horia le gioie Ae: date present, which brings youlove, glory and my own ' dipende I'una, I'altra da me. Son nomi imaginati sol, happiness: the one depends on you, the other on me.

Fato e Fortuna. Fate and Fortune are only made-up words.

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Aria TRACK 15 DElDAMIA

Consolami se brami ch'io viva in te mio ben. Comfort me, if you wish me to live in you, my darling. Confortami se m'ami, pensa che nel tuo sen Comfon me if you love me, how that this soul will

Quest' anima ven$ blend into your heart. Come& I'affeao, ricordati ch'aspeao, Save your faith for this, remember, I wait for it,

Chi renderla d a d you must return it to me. Consolami ... Comfort me...

6fBecftative TRACK 16 NEREA (back ai thepalace ruitb Penice)

Scoperte son le mire de' politid amori. Per involar un AU the intentions of love's politics are d e d . To steal cor da un alma fida, veniste a offrime i vostri falsi the heart of a Eiithhl soul, you come offering your

con. AU'eroismo ogni vilti disdice. own Mse one. For heroism any villany is justjfied. wmm

Per l'ooor, per la pahia il tutto lice. Ma l'accusa For honor, for one's counhy, anythhg is j d e d But the m'offende 6 in me l'amor costante delle pih h e accusation otfends me for I feel true love to the vety fiber tempre: t'amai dal prima istante, e t'amerb per of my being: 1 loved you from the first insant and will

sempre. T ' o h il legame del verace &do; in Argo, forever love you. I offer to wed you in true sincerity back e in me, regna se woi. in Greece and to rule with me if you choose.

NEREA (-1 L'acceno. 1 accept!

Arf a TRACK 17 NEREA

Nan wb perdere I'istante; senza creder all' amante, I don't want to lose this moment; unless one believes Non si prom fedelti. in one's lover, one will not uphold trust.

Se t'accendan il desio la tua gloria, If the wish for glory excites you with desire, L'amor mio, gloria e amor m'accenderi my own love enflames me with glory and atfection.

Nan mb ... I don't want...

RecitaQlve TRACK 18 LYCOMEDE (outs& thepalace, unwith dassembW

Itaco Prence, testimon sarai, che all' amisti col Greek Prince, you shall have proof that I will not fail in my genitor d'Achille, e a1 dover verso Grecia io non allegiance with Achilles' father nor to that which I owe to

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mancai. la grave & f o d all'ozio. Questo, credi, Greece. Old age will keep me back home. Believe this, l. il primier momento che spron dinvidia io sento. I feel enyr for the v q I% time

ULISSE Invidia generosa, e di te degna! Kindly q, and worthy of you.

LYCOhlEDE (to Ulisse) la destra tua, di Deidamia d'Achille string il nodo Your right hand joins Deidamia and Achilles

amomso. Arrida poi I'arbitra Dea del mondo agli in love's bond Let the Goddess of Earth shower them auguri di lor goria e riposo. with the rewards of glory and contentment.

Dm@% TRACK 19 DEIDAMIA, ULlSSE (to AcMUe)

Ama nell'armi, e nell'amar, let us love in the face of battle and love. You are woahy Puoi degno in te mostrar l'eme e l'amante. to reveal both the hero and the lover in yourself.

Premio del tuo valor sad di questo cor, The reward for your valor will be this heart, Camor costante. and faithful love.

Nell' armi... Let us love ...

Chorus TRACK 20 Non trascurate, amanti, gl'istanti del piacer. lovers, do not take for granted the instants of pleasure

Volan per non tornar. for they fly away, never to return. Se son le belle ingrate, cangiate di pensier, If the lovers are &d, they should change their minds,

FoUe chi vuol penar for he who would cause pain is foolish. Non trascurate... Do not take for granted ....

END ACT THREE I END CD THREE

Translation: John Ostendorf, Peter Castaldi

Pallmer Singers SOPRANO: Robii longshay Elizabeth Robart, Kathy lltakis

ALTO: Mary Jean Dux, Madeline Rogers, Annette Wuerth TENOR: Anin Barton, David Ezer, Douglas Riccardi

BASS: George Aronson, Benjamin DeBiuUo, Nick Titakis

is recognized internationally as a composer of choral, orchestral and chamber music, and as a conductor whose numerous performances and recordings of rarely performed masterpieces of the baroque opera repertoire have won him acclaim as one of the best of the current generation of baroque opera conductors.

Deidamia is the most recent recording in a series of premiere pressings of Handel operas and oratorios on original instruments, including: Alexander Balus, Siroe, Muzio Scevola, Faramondo, Berenice, Imeneo (nominated for Ovation magazine's "Mumm's Opera Recording of the Year"), and Joshua (critics' "Best recording" lists in both Gramophone and Fanfare magazines). Palmer's other recordings include Alessandro Scarlatti's Ishmael ("Agar ed Ismaele esuliti"), Haydn's La Canterina. Telemann's Pimainone and Per~olesiS La

setva padrona (named best recording in the early music magakine Alte ~ u s i k o ~ k t u e l l ) . Rudolph Palmer's compositional output comprises numerous works for large symphonic and choral forces as well as chamber pieces. His recorded works include "0 Magnum Mysterium" for mezzo-soprano, chorus and harp with D'Anna Fortunato, as well as "Laudate Dominum," a festival anthem for brass ensemble and choir, commissioned by the Bucknell University's Rooke Chapel Choir and Solid Brass of Philadelphia.

Rudolph Palmer is on the conducting and composition faculty at the Mannes College of Music and is director of The Palmer Singers.