WOLFGANG AMADEUS MOZART
PINCHGUT OPERA
TUCKER
CAMPBELL
GRIMSON
MILLS
McMAHON
WEYMARK
FRÉDÉRIC
CANTILLATION
ORCHESTRA OF
THE ANTIPODES
WALKER
IDOMENEO
ANTIPODES is a sub-label of ABC Classics
devoted to the historically informed
performance of music from the Renaissance,
Baroque and Classical periods.
476 6350
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IDOMENEOMUSIC BY WOLFGANG AMADEUS MOZART 1756-1791
LIBRETTO BY GIAMBATTISTA VARESCO
Idomeneo was first performed at the Cuvilliés-Theater, Munich on 29 January 1781.
Mark Tucker Idomeneo, king of Crete
Fiona Campbell Idamante, his son
Martene Grimson Ilia, Trojan princess, daugher of Priam
Penelope Mills Elettra, princess, daughter of Agamemnon, King of Argos
Paul McMahon Arbace, confidant of the king
Brett Weymark High Priest of Neptune
Didier Frédéric Voice (Oracle)
Nicole Thomson First Cretan Woman
Natalie Shea Second Cretan Woman
Philip Chu First Trojan Man / First Cretan Man
David Greco Second Trojan Man / Second Cretan Man
Cantillation
Orchestra of the Antipodes on Classical instruments
Antony Walker conductor
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54
Scene 6
@ Estinto è Idomeneo? 1’43Elettra
£ Tutte nel cor vi sento 3’21Elettra
Scene 7
$ Pietà! Numi, pietà! 1’05Chorus
Scene 8
% Eccoci salvi alfin 0’53Idomeneo
Scene 9
^ Oh voi, di Marte e di Nettuno 2’08Idomeneo
& Vedrommi intorno l’ombra dolente 3’40Idomeneo
* Cieli! che veggo? 0’20Idomeneo
Scene 10
( Spiagge romite 3’56Idamante, Idomeneo
) Ah qual gelido orror m’ingombra i sensi 0’47Idamante
¡ Il padre adorato 2’48Idamante
Scene 11
™ March 2’02
# Nettuno s’onori 3’30Chorus
CD1 [51’29]
1 Overture 4’30
ACT ONE
Scene 1
2 Quando avran fine omai l’aspre sventure mie? 3’39Ilia
3 Padre, germani, addio! 3’18Ilia
4 Ecco Idamante, ahime! se’n vien 0’17Ilia
Scene 2
5 Radunate I Troiani, ite 2’17Idamante, Ilia
6 Non ho colpa 5’46Idamante
7 Ecco il misero resto de’ Troiani 0’19Ilia, Idamante
Scene 3
8 Scingete le catene 0’43 Idamante
9 Godiam la pace, trionfi Amore 2’17Chorus
Scene 4
0 Prence, signor 0’24Elettra, Idamante
Scene 5
! Ma quel piante che annunzia? 1’48Idamante, Arbace, Ilia
6 7
CD2 [42’08]
ACT TWO
Scene 1
1 Tutto m’è noto 1’48Arbace, Idomeneo
2 Se il tuo duol 4’41Arbace
Scene 2
3 Se mai pomposo apparse 1’03Ilia, Idomeneo
4 Se il padre perdei 5’35Ilia
Scene 3
5 Qual mi conturba i sensi equivoca favella 1’51Idomeneo
6 Fuor del mar 6’02Idomeneo
Scene 4
7 Chi mai del mio provò piacer più dolce? 1’28Elettra
8 Idol mio 5’36Elettra
Scene 5
9 Sidonie sponde! 0’46Elettra
0 Placido è il mar, andiamo 3’54Chorus, Elettra
Scene 6
! Vattene, prence 0’33Idomeneo, Idamante
@ Pria di partir 4’03Idamante, Elettra, Idomeneo
£ Qual nuovo terrore! 1’27Chorus
$ Eccoti in me, barbaro Nume! il reo 1’44Idomeneo
% Corriamo, fuggiamo 1’38Chorus
CD3 [62’14]
ACT THREE
Scene 1
1 Solitudini amiche 0’54Ilia
2 Zeffiretti lusinghieri 5’29Ilia
Scene 2
3 Principessa, a’ tuoi sguardi 3’42Idamante, Ilia
4 S’io non moro 2’52Idamante, Ilia
Scene 9
% Padre, mio caro padre 2’22Idamante
^ O figlio! oh caro figlio! 2’11Idomeneo, Idamante
& Ma se in mia vece 1’17Idamante
* Ma che più tardi? 0’58Idamante, Idomeneo
Scene 10
( Ferma, oh sire, che fai? 1’13Ilia, Idomeneo, High Priest, Elettra
) Ha vinto Amore 2’41Voice (Oracle)
¡ Oh ciel pietoso! 0’16Idomeneo, Idamante, Ilia, Arbace
™ Oh smania! oh furie! 2’31Elettra
# D’Oreste, d’Aiace 3’02Elettra
Scene 11
¢ Popoli, a voi l’ultima legge impone Idomeneo 5’30Idomeneo
∞ Scenda Amor, scenda Imeneo 1’48Chorus
Total Playing Time 155’51
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Scene 3
5 Cieli! che vedo? 2’11Idomeneo, Ilia, Idamante, Elettra
6 Andrò ramingo e solo 5’11Idamante, Ilia, Elettra, Idomeneo
Scene 4
7 Sire, alla reggia tua 0’36Arbace, Idomeneo, Ilia, Elettra
Scene 5
8 Sventurata Sidon! 3’04Arbace
Scene 6
9 Volgi intorno lo sguardo, oh sire 4’23High Priest, Idomeneo
0 Oh voto tremendo! 5’05Chorus
Scene 7
! March 0’42
@ Accogli, oh re del mar, i nostri voti 3’10Idomeneo
£ Stupenda vittoria! 0’15Chorus, Idomeneo
Scene 8
$ Sire, il prence, Idamante l’eroe 0’50Arbace, Idomeneo
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definitive statements in the cultural history ofthat movement, but the more traditional form ofIdomeneo has militated against its beingconsidered in the same category.
Idomeneo also departs from opera seria in itsstructure, owing far more to the French tragédielyrique. For a start, its libretto was inspired bythat for the French opera Idoménée, written byAndré Campra and premiered in 1712 in the finalyears of the reign of Louis XIV. It is highlyprobable that the Elector was familiar withCampra’s opera, was taken with the subjectmatter, and, as was not unusual withcommissions, that he chose Mozart’s subjectmatter. With more decisiveness than insight, hehanded the job of translating and adapting thelibretto over to his court chaplain Varesco,someone who was not conversant either withsingers or with the demands of the lyric stage.The happy irony of this is that it meant thatMozart had a profound involvement in theshaping of the libretto, as he was veryunsatisfied with Varesco’s contribution. We also,unusually, have a comprehensive record of this,as much of their collaboration was carried out bycorrespondence, with Leopold Mozart acting asan intermediary.
The fact that the origins of the drama comefrom the French is significant. Nor should it bedoubted that the origins are French rather thanclassically Greek – the figure of Idomeneus, the
king of Crete, is mentioned several times in theIliad, in dispatches, as it were, but beyond thatthere is no canonical information. He could notbe called a great Greek mythical figure – noAchilles, still less an Orpheus, around whom abody of ready-made myth has accumulated.Ciphers such as Idomeneus nevertheless havetheir purposes. They arbitrarily attract themeswhich a society needs to explore, and the figureof Idomeneus attracted a particularly interestingone. Like Jephtha in the Bible, Idomeneus makesa promise to a god that upon his deliverance hewill offer up the first living being he sees as asacrifice. As with Jephtha, fate dictates that thebeing is his offspring – his son Idamante, asopposed to Jephtha’s daughter – and he is facedwith a terrible choice of being oath-breaker orfilicide. Moral dilemmas of this sort, which in theworks of Racine or Corneille are induced by asequence of conventionally honourable intentionsand individually laudable actions, are a feature ofFrench drama. The principal characters look for away to reconcile their conflicting duties, oftenfinding themselves unable to do so without divineintervention, the deus ex machina which canresolve the irresolvable.
Again, Idomeneo appears at first sight tocorrespond to this format – but even here it hassurprises in store. Idomeneo’s intentions areconventionally honourable in the senseunderstood by the French, but the purpose ofarticulating them is not to explore the extent of
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KINGS, HEROES AND CITIZENS
The most painful and difficult employment in theworld, in my opinion, is worthily to discharge theoffice of a king. I excuse more of their mistakesthan men commonly do, in consideration of theintolerable weight of their function, whichastounds me. – Michel de Montaigne, Essays(1580), Chapter VII
Mozart was 24 years old when in 1780 he wascommissioned by the Elector Karl Theodor ofBavaria to write an opera for the court inMunich. Karl Theodor had been, until shortlybefore, the Prince Palatine and ruler ofMannheim in the Rhineland. Although he madehimself rather unpopular in Munich by spendingmuch of his reign in Bavaria trying to swap partsof his lands for a crown in the Netherlands, henevertheless made great contributions to thetown planning and architecture of Munich, andhe was a great patron of the arts. Idomeneopremiered the following year, 1781, at theCuvilliés Theatre in Munich, and was warmlyreceived, the Elector himself commenting: ‘Nomusic has ever made such an impression onme. It is magnificent.’
Nevertheless, because Idomeneo is a seriousopera, unlike any of Mozart’s mature worksexcept the equally neglected La clemenza diTito, it has a form and idiom very different fromthe operas on which his reputation rests today.Idomeneo is a work that for many years has
been regarded as a relict, an opera seria carriedover into a world whose circumstances were nolonger those which had caused the genre tocome into being, like a wool clipper plying theCape of Good Hope in an age when steamfreighters took the Suez Canal. In much thesame way, it has been treated with a certainsentimental respect – the respect due to anexcellently constructed and presentedthrowback. Nevertheless, it has been regardedas somehow qualitatively belonging to adifferent age.
Certainly it seems to inhabit a different worldfrom that of the da Ponte operas, or even that ofits immediate successor, The Abduction fromthe Seraglio. There are certain distinctivefeatures to it which would give that initialimpression. The combination of a classical Greeksetting, the serious subject matter, thesupernatural influences, and the characters tornbetween love and duty sets it apart fromanything else in Mozart’s output. At first sight,these elements also look like the stuff of thetraditional opera seria, an entertainmentconceived in Italy and enjoying the support ofthe nobility from London to Budapest. Idomeneodoes indeed inhabit a different world, but it isnot the world of the Italian opera seria.Thematically, Idomeneo is an opera which is astandard-bearer for the Enlightenment. Mozart’slater operas, particularly The Marriage of Figaroand The Magic Flute, are recognised as
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In short, he must deny all of those duties whichthe civic-minded monarch would consider to bethe sine qua non of kingship.
The opera shows that the very human impulseof trying to find a way out of his dilemma is, inthis circumstance, not a very royal one. In otherwords, in behaving like a father he is refusing tobehave like a monarch, and vice versa. This isthe sort of quandary beloved of the Frenchtragedy – but the parameters of this quandaryare very new territory. The notion that the livesof a king’s subject were not his personalproperty is in itself a quite extraordinaryideological development and certainly does notbelong to classical Greece or even Louis XIV’sFrance. Instead it is very tightly connected toideas of the rights of man, equality before God,and the social contract which binds even theking. A king bound by a social contract is only asgood as his word, and it is here that Idomeneo’ssituation becomes particularly pitiable. For it isby his word – his oath to Neptune – that he hascaused the catastrophic situation in the firstplace. The suffering of the people of Crete underthe ravages of an irate Neptune makesIdomeneo’s obligations very clear to him – bybeing their king he is responsible for the welfareof the many, no matter what it may cost himpersonally. This is based very firmly on anEnlightened view of the nature of his monarchy– Homeric virtues are no longer valued in thisworld. Civic virtues are what the state needs.
The profound social responsibilities of kingshipare thrown into relief by the characters of Ilia,the Trojan princess, and the Greek princessElettra. Both Ilia and Elettra are themselvesroyalty, but have been forcibly absolved of theirroyal and personal responsibilities. Ilia, as shearticulates in her opening aria, has lost herfamily, her home and her position. Elettra is arefugee from the domestic catastrophe whichemerged from the return of her fatherAgamemnon and his subsequent murder. Elettra– Electra – is as an audience familiar with Greekdramas would know her, but the surprise is thatshe is the nearest that the opera comes to avillain. She is a character out of place in anEnlightened age – refusing to moderate herselfor act out of consideration for others, and notembracing a social role. Instead, she expectssociety to adapt itself to her, and when it doesnot, she seeks to absent herself from it. Bycontrast, Ilia, the ‘enemy’ captive, refuses to puther own desires before the state necessitieswhich drive her lover Idamante. Furthermore,she seeks to integrate herself into her newsociety – seeking a new family and home inCrete. In doing so she has acknowledged thesignificance of those social ties and displayed anawareness that nobility is earned bycomportment and not simply by blood.
All of the characters end up revolving aroundIdamante, the intended sacrificial victim, thelover of Ilia, the unrequiting beloved of Elettra,
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his honour, but to question the conventions. Hisactions are individually laudable, perhaps, butsocially questionable, and it is his social selfwhich is critiqued by them, not his individualself. The notion that a monarch should have asocial self which is distinct from an individualself is in itself radical. The saying attributed toLouis XIV, ‘L’état, c’est moi’ (I am the state), isalmost certainly apocryphal, but it does neatlyexpress the unity of the monarch’s social andindividual self. The opera Idomeneo expresses avery different idea of kingship and divine order.In the traditional tragédie lyrique, monarchy wasdepicted in the role of the deus ex machina: thegod of deliverance is by convention a thinlydisguised avatar of the monarch. The king attainsa truly divine status (albeit by proxy). It is aconvenient dramatic device, and it goes hand inglove with an unassailable belief in the divineright of kings, because it presupposes a varietyof ultimate benevolence and purpose to theuniverse which, once admitted, must embrace adivine hierarchy.
Idomeneo is not himself this sort of monarch,nor is the deity of the opera a depiction of one.Idomeneo’s god inhabits a universe wherepower is unhitched from benevolence or greaterpurpose. In fact, both Idomeneo and his god arethrowbacks to the Homeric tradition, in whichgods and heroes are answerable only to theirown quest for glory and power. The purpose of
the opera is to show that these gods and theseheroes are not what it takes to rule a happy andprosperous state – that civic virtues andHomeric virtues are incompatible and that ifIdomeneo’s god is proxy for a monarch, then it isa monarch engaged in the blatant exercise ofself-bolstering authority at the expense of hissubjects.
We are not to pray that all things may go as wewould have them, but as most concurrent withprudence. – Montaigne, Essays, Chapter LVI
Idomeneo is not thereby exonerated. Mozartwould have been very aware of the Enlightenmentview – espoused by Montaigne, among others –that to invoke a god for one’s own purpose isblasphemous. That is to say, if God in his wisdomhas seen fit to inflict misfortune upon you, it isincumbent upon you to accept that misfortune asbeing part of the purpose of the higher power.Idomeneo, facing death as his ship founders in araging sea, does not accept his misfortune, buttries to bargain. Furthermore, he responds to anunjust god with an unjust promise. Idomeneo haspromised something which does not belong tohim – another person’s life. Having made an oathwhich he realises belatedly is invidious, he tries tofind a way out of it. The result is an ‘unnatural’sequence of events – he must repudiate his son,deceive his people, permit suffering, andultimately accept the prospect of sacrificing hisson, and his own and everyone else’s happiness.
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CD1
ATTO PRIMO ACT ONE
Scena Prima Scene 1
1 Overture
ILIA ILIA2 Quando avran fine omai l’aspre sventure When will there be an end to my bitter
mie? Ilia infelice! Di tempesta crudel misfortunes? Wretched Ilia! Sad flotsammisero avanzo, del genitor, e de’ germani of a cruel storm, bereft of father andpriva, del barbaro nemico misto col sangue brothers – their blood, shed so freely,il sangue vittime generose, mingled with the blood of their savage enemy:a qual sorte più rea what more evil fateti riserbano i Numi?... do the gods hold in store for you?Pur vendicaste voi di Priamo, e di Troia And yet, have the suffering and the shamei danni, e l’onte? inflicted upon Priam and Troy been avenged?Perì la flotta Argiva, e Idomeneo The Argive fleet perished, and Idomeneopasto forse sarà d’orca vorace... may yet be food for a ravenous sea monster…Ma che mi giova, oh ciel! But what comfort is that to me, O heaven!se al primo aspetto di quel prode if at the first sight of brave Idamante,Idamante, che all’onde mi rapì, who snatched me from the waves,l’odio deposi, I abandoned my hatred,e pria fu schiavo il cor, and my heart was enslavedche m’accorgessi d’essere prigioniera. before I even realised I was a prisoner?Ah qual contrasto, oh Dio! Ah, God, what a clash of warring emotionsd’opposti affetti mi destate nel sen you have stirred in my heart,odio, ed amore! loathing and love!Vendetta deggio I owe vengeancea chi mi diè la vita, to him who first gave me life,gratitudine a chi vita mi rende... and gratitude to him who has restored it…Oh Ilia! oh genitor! oh prence! oh sorte! O Ilia! O father! O prince! O fate!Oh vita sventurata! oh dolce morte! O wretched life! O sweet death!Ma che? m’ama Idamante?... ah no; But does Idamante love me? Ah no:l’ingrato per Elettra sospira, the ingrate sighs for Electra,e quell’ Elettra meschina principessa, and that same Electra, unhappy princess,esule d’Argo, exiled from Argos,d’Oreste alle sciagure a queste arene who fled the torments of Orestes to roam
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the king-in-waiting. By trying to defend Cretefrom the monster sent by Neptune, and then byaccepting that the needs of the peoplesupersede those of any individual, he proveshimself worthy where his father has failed.When Neptune decrees Idomeneo’s abdicationand Idamante’s accession, it is a vindication ofselfless and enlightened monarchy, and of amonarch who seeks to resolve ancient hatredsby marrying a Trojan princess. The events of theopera mark the passing of the age of Homericheroes like Idomeneus and Electra, who areindividuals who put their own interests first, andthe dawn of a civic age of Idamante and Ilia,who understand that leadership is first andforemost about unity and responsibility.
When Idomeneo is regarded in this light, it’svery easy to see that the Mozart who wrote itwas very much the same Mozart who would goon to write operas extolling the virtues offorgiveness (in The Abduction from the Seraglio),integrity (The Marriage of Figaro), self-discipline(Don Giovanni ), self-knowledge (Così fan tutte),wisdom (The Magic Flute) and clemency (Laclemenza di Tito). Mozart was nothing if not aman with an agenda – but what makes thisaspect of his output so palatable is that his wasthe most enlightened, humane and positive ofagendas. The music adds a dignity andemotional clarity which make it hard to resist,even if we wanted to.
Antony Ernst
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IDAMANTE IDAMANTEDel fato de’ Troian più non dolerti. Grieve no more over the fate of the Trojans.Farà il figlio per lor quanto farrebbe The son will do for them as much as wouldil genitor, e ogn’altro vincitor generoso. the father, or any other generous victor.Ecco: abbian fine, principessa, i lor guai: See, princess, their woes are ended:rendo lor libertade, e omai fra noi I give them their freedom.sol prigioniero fia, sol fia, che porta There remains among us only one prisoner,chi tua beltà legò care ritorte. bound in precious chains by your beauty.
ILIA ILIAChe dici? What are you saying?
IDAMANTE IDAMANTESì, di Citerea il figlio incogniti tormenti Yes, Cytherea’s son has set in my breaststillommi in petto; torments I had never known;a te pianto, e scompiglio Marte portò, to you, Mars brought tears and turmoil;cercò vendetta Amore in me de’ mali tuoi, Love, seeking to avenge your sufferings on me,quei vaghi rai, quei tuoi vezzi adoprò... made use of your lovely eyes, your charms…ma all’amor mio But my love makes youd’ira e rossor tu avvampi? flush with anger and shame?
ILIA ILIAIn questi accenti mal soffro I find it hard to bearun temerario ardir. the reckless ardour of these words.Deh pensa, pensa Idamante, oh Dio! Ah, think, Idamante: think – O God! –il padre tuo qual è, qual era il mio. who your father is, and who mine was.
IDAMANTE IDAMANTE6 Non ho colpa, e mi condanni I am blameless; you condemn me,
Idol mio, perché t’adoro. my idol, because I adore you.Colpa è vostra, oh Dei tiranni, The fault is yours, O tyrant Gods;E di pena afflitto io moro and I am dying of the torment inflicted on meD’un error, che mio non è. for a crime I did not commit.
Se tu il brami, al tuo impero If you ask it, at your commandAprirommi questo seno, I will lay open this breast of mine;Ne’ tuoi lumi il leggo, è vero, I read it in your eyes, it’s true,Ma me’l dica il labbro almeno, but at least tell me with your lips,E non chiedo altra mercé. and I will ask no other mercy.
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fuggitiva, raminga, è mia rivale. these shores – she is my rival.Quanti mi siete intorno carnefici I am surrounded by so many pitilessspietati?... executioners…Orsù sbranate vendetta, Come on, then, tear it apart: vengeance,gelosia, odio, ed amore, jealousy, hatred and love,sbranate sì quest’infelice core! tear this unhappy heart in pieces.
3 Padre, germani, addio! Father, brothers, farewell!Voi foste, io vi perdei. You are no more, I have lost you.Grecia, cagion tu sei. Greece, you are the cause;E un greco adorerò? and shall I love a Greek?D’ingrata al sangue mio I know I would be guiltySo che la colpa avrei; of betraying my own blood;Ma quel sembiante, oh Dei! but that face, O God!Odiare ancor non so. I cannot bring myself to hate.
4 Ecco Idamante, ahimè! se’n vien. Here comes Idamante, alas!Misero core, tu palpiti, e paventi. Wretched heart, trembling with passion and fear!Deh cessate per poco, oh miei tormenti! Ah, give me a moment of relief from my torment!
Scena II Scene 2
IDAMANTE IDAMANTE5 Radunate i Troiani, ite, Go, call the Trojans together,
e la corte sia pronta and let the court be readyquesto giorno a celebrar. to celebrate this day!Di dolce speme a un raggio scema il mio duol. My grief is lessened by one ray of sweet hope.Minerva della Grecia protettrice involò Minerva, the protector of Greece, has pluckedal furor dell’onde il padre mio; my father from the fury of the waves;in mar di qui non lunge comparser his ships have been sighted at seale sue navi; not far from here;indaga Arbace il sito, che a noi toglie Arbace is searching for the place which hidesl’augusto aspetto. his august face from us.
ILIA ILIANon temer: Have no fear:difesa da Minerva è la Grecia, Greece is under Minerva’s protection;e tutta ormai scoppiò all the anger of the Godssovra i Troian l’ira de’ Numi. has burst upon the Trojans.
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Scena IV Scene 4
ELETTRA ELECTRA0 Prence, signor, tutta la Grecia oltraggi; Lord Prince, all of Greece is outraged:
tu proteggi il nemico. you are protecting the enemy.
IDAMANTE IDAMANTEVeder basti alla Grecia Let Greece be satisfiedvinto il nemico. with having seen its enemy defeated.Opra di me più degna Prepare yourself, princess, to see a deeda mirar s’apparecchi, oh principessa: more worthy of me:vegga il vinto felice. the vanquished made happy.Arbace viene. Here comes Arbace.
Scena V Scene 5
IDAMANTE IDAMANTE! Ma quel piante che annunzia? But what is the meaning of these tears?
ARBACE ARBACEMio signore, de’ mali il più terribil... My lord, of all sorrows the most terrible…
IDAMANTE IDAMANTEPiù non vive il genitor? My father is no longer alive?
ARBACE ARBACENon vive: No longer.quel, che Marte far non poté finor, What Mars had not yet managed to achieve,fece Nettuno, l’inesorabil Nume, Neptune, that inexorable God, has done:e degl’eroi il più degno, the most worthy of heroes,ora il riseppi, presso a straniera sponda I now learn, has drowned,affogato morì! on a foreign shore.
IDAMANTE IDAMANTEIlia, de’ viventi Ilia, of all living meneccoti il più meschin. you see before you the most wretched.Or sì dal cielo soddisfatta sarai... Now indeed you are avenged by heaven…Barbaro fato!... Corrasi al lido... Cruel fate!... Quickly, to the shore!…Ahimè! son disperato! Alas! I am in despair!
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ILIA ILIA7 Ecco il misero resto de’ Troiani, See, here is the sad remnant of the Trojans,
dal nemico furor salvi. saved from the enemy’s fury.
IDAMANTE IDAMANTEOr quei ceppi io romperò, Now I shall break these fetters; this very moment,vuo’ consolarli adesso. let there be an end to their suffering.(Ahi! perché tanto far non so a me stesso!) (Ah! why can I not do as much for myself?)
Scena III Scene 3
IDAMANTE IDAMANTE8 Scingete le catene, ed oggi il mondo, Undo the chains, and today,
oh fedele Sidon suddita nostra, O faithful citizens of Kydonia, let the world seevegga due gloriosi popoli in dolce nodo avvinti, two glorious peoples bound togethere stretti di perfetta amistà. in the sweet bonds of perfect friendship.Elena armò la Grecia, e l’Asia, Helen armed Greece and Asia;ed ora disarma, e riunisce, now the two nations are disarmed, and ed Asia, e Grecia eroina novella, reunited, by a new heroine:principessa più amabile, e più bella. a princess more gracious and more lovely.
CORO DE’ TROIANI E CRETESI CHORUS OF TROJANS AND CRETANS9 Godiam la pace, Let us enjoy peace,
Trionfi Amore: let Love triumph;Ora ogni core now every heartGiubilerà. will rejoice.
DUE CRETESI TWO CRETAN WOMENGrazie a chi estinse Thanks be to him who extinguishedFace di guerra: the torches of war.Or sì la terra Now indeed the landRiposo avrà. will have peace.
DUE TROIANI TWO TROJAN MENA voi dobbiamo Our freedomPietosi Numi! we owe to you,E a quei bei lumi merciful Gods,La libertà. and to those fair eyes.
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Scena VII Scene 7
CORO CHORUS OF SAILORS$ Pietà! Numi, pietà! Pity! Ye Gods, have pity!
Aiuto oh giusti Numi! Help us, O just Gods!A noi volgete i lumi. Turn your eyes to us.Il ciel, il mare, il vento The heavens, the sea, the windsCi opprimon di spavento. are overwhelming us with terror.In braccio a cruda morte Into the arms of harsh deathCi spinge l’empia sorte. we are thrust by cruel fate.Pietà! Have mercy!
Scena VIII Scene 8
IDOMENEO IDOMENEO% Eccoci salvi alfin. Here we are, safe at last.
Scena IX Scene 9
IDOMENEO IDOMENEO^ Oh voi, di Marte e di Nettuno You who followed me faithfully,
all’ire, alle vittorie, ai stenti braving the fury of Mars and Neptune,fidi seguaci miei, in victory and in hardship,lasciatemi per poco leave me here alone for a momentqui solo respirar, to catch my breath,e al ciel natio confidar and to confide to my native skiesil passato affanno mio. the suffering I have endured.
Tranquillo è il mar, Calm is the sea,aura soave spira di dolce calma, a gentle breeze breathes sweet peace,e le cerulee sponde and the waves, blue as the sky,il biondo Dio indora, are touched with gold by the blond God;ovunque io miro, wherever I look, everything rejoices,tutto di pace in sen riposa, e gode. at rest in the bosom of peace.Io sol, io sol su queste aride spiagge Only I, I alone, on these barren shores,d’affanno, e da disagio estenuato exhausted by suffering and hardship,quella calma, oh Nettuno, in me non provo, do not feel that calmche al tuo regno impetrai. for which I begged in your kingdom, O Neptune.Oh voto insano, atroce! Giuramento crudel! O insane, dreadful vow! Cruel oath!ah qual de’ Numi mi serba ancora in vita, Ah, whichever God now preserves my life,oh qual di voi mi porge almen aita? will you not come to my aid?
ILIA ILIADell’Asia i danni ancora Even now I feel all too keenlytroppo risento, the wrongs suffered by Asia,e pur d’un grand’eroe al nome, al caso, and yet at the name, at the fate of a greatil cor parmi commosso, hero, it seems my heart is moved,e negargli i sospir, ah no, non posso. and ah, I cannot deny him my sighs.
Scena VI Scene 6
ELETTRA ELECTRA@ Estinto è Idomeneo?… Idomeneo is dead?…
Tutto a’ miei danni, tutto congiura il ciel. Heaven conspires against me at every turn!Può a suo talento Idamante Idamante can please himselfdisporre d’un impero, e del cor, in disposing of an empire, and of his heart;e a me non resta ombra di speme? does no shadow of hope remain to me?A mio dispetto, ahi lassa! vedrò, Despite my efforts, alas! I shall see,vedrà la Grecia a suo gran scorno, and Greece shall see, to its great shame,una schiava Troiana di quel soglio, a Trojan slave share the throne,e del talamo a parte… and the bridal bed…In vano Elettra ami l’ingrato… In vain Electra loves the ingrate…e soffre una figlia d’un re, and shall a king’s daughter,ch’ha re vassalli, who has kings for vassals,ch’una vil schiava suffer a mean slaveaspiri al grand’acquisto?… to aspire to so great a prize?Oh sdegno! oh smanie! oh duol!… O contempt! O fury! O grief!più non resisto. I can bear no more.
£ Tutte nel cor vi sento In my heart I feel you all,Furie del crudo Averno you Furies of rude hell.Lunge a sì gran tormento Far from such great tormentAmor, mercé, pietà. be love, mercy or pity.
Chi mi rubò quel core, Let the one who stole that heart,Quel, che tradito ha il mio, the heart that betrayed my own,Provin dal mio furore let her know the vengeance and crueltyVendetta e crudeltà. born of my fury.
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Sgombra, oh guerrier, Warrior, whoever you are, qual tu ti sia, il timore; put aside your fear.eccoti pronto a tuo soccorso Here beside you, ready to help you, quello che in questo clima stands the one man in this land offrir te ‘l può. with the power to do so.
IDOMENEO IDOMENEO(Più il guardo, (The more I look at him, più mi strugge il dolor.) the more I am consumed by grief.)De’ giorni miei il resto a te dovrò. I will be in your debt for the rest of my days.Tu quale avrai premio da me? What reward would you have from me?
IDAMANTE IDAMANTEPremio al mio cor sarà The satisfaction of having L’esser pago d’averti saved and protected you Sollevato, difeso: is all the reward my heart desires:ahi troppo, amico, Ah, friend, my own sorrows Dalle miserie mie instrutto io fui have taught me all too well:A intenerirmi alle miserie altrui. I cannot remain unmoved at the sufferings of others.
IDOMENEO IDOMENEO(Qual voce, qual pietà il mio sen trafigge!) (Such a voice, such pity pierces my heart!)Misero tu? che dici? You, wretched? What do you mean? ti son conte le tue sventure appien? Is the sum of your woes really so great?
IDAMANTE IDAMANTEDell’amor mio, cielo! il più caro oggetto, The dearest object of my love, O heaven!in quelli abissi spinto lies dead, hurled into these depths:giace l’eroe Idomeneo estinto. the hero Idomeneo.Ma tu sospiri, e piangi? But you are sighing, and weeping?T’è noto Idomeneo? Ah, ch’egli è il padre... Did you know Idomeneo? Ah, he is father to…
IDOMENEO IDOMENEOOh Dio! Parla: di chi è egli padre? O God! Speak: father to whom?
IDAMANTE IDAMANTEÈ il padre mio. Father to me.
IDOMENEO IDOMENEO(Spietatissimi Dei!) (Most merciless Gods!)
& Vedrommi intorno I shall see myself hauntedL’ombra dolente, day and nightChe notte e giorno: by a mournful shade:Sono innocente ‘I am innocent!’M’accennerà. it will gesture to me.
Nel sen trafitto, The blood poured outNel corpo esangue from that pierced breast,Il mio delitto, from that pale corpse,Lo sparso sangue will pointM’additerà. to my crime.
Qual spavento, What terror,Qual dolore! what grief!Di tormento How many timesQuesto core will my heartQuante volte dieMorirà! of this torment?
* Cieli! che veggo? Heavens! What do I see? Ecco, la sventurata vittima, ahimè! s’appressa... Look, the hapless victim, alas! draws near… E queste mani le ministre saran?... And shall these hands do the deed? Mani esecrande! Loathsome hands!Barbari, ingiusti Numi! Are nefande! Savage, unjust Gods! Foul altars!
Scena X Scene 10
IDAMANTE IDAMANTE( Spiagge romite, e voi scoscese rupi Lonely shores, and you rugged cliffs,
testimoni al mio duol siate, bear witness to my grief, e cortesi di questo vostro albergo and of your courtesy offer your shelter a un agitato cor... to a heart in turmoil. Quanto spiegate di mia sorte How your desolate horrors mirror il rigor solinghi orrori!... the harshness of my fate!Vedo fra quelli avanzi Among the carcasses di fracassate navi su quel lido of wrecked ships on the shore, sconosciuto guerrier... I see a stranger, a warrior… voglio ascoltarlo, vuo’ confortarlo, e voglio I would hear his tale, offer him comfort, in letizia cangiar quel suo cordoglio. and transform his grief to joy.
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Scena XI Scene 11
™ Marcia March
CORO CHORUS OF CRETAN CITIZENS# Nettuno s’onori, All honour to Neptune!
Quel nome risuoni, Let his name ring forth,Quel Nume s’adori let the God be adored,Sovrano del mar; ruler of the sea.Con danze e con suoni It is fitting that we should celebrateConvien festeggiar. with dancing and music.
PARTE DEL CORO SEMICHORUSDa lunge ei mira From afar he seesDi Giove l’ira, the fury of Jove,E in un baleno and in an instantVa all’Eghe in seno, he plunges to the heart of the Aegean;Da regal sede from his royal seatTosto provvede, he makes ready with all speed,Fa i generosi swiftly harnessingDestrier squamosi his massive,Ratto accoppiar. scaly steeds.
Dall’onde fuore Rising from the waves,Suonan sonore herald Tritons,Tritoni araldi sturdy and bold,Robusti e baldi sound forthBuccine intorno. their trumpets.Già riede il giorno, Already the daylight returns,Che il gran tridente for his great tridentIl mar furente has the power to tameSeppe domar. the raging sea.
TUTTI CHORUSOr suonin le trombe, Now let the trumpets sound,Solenne ecatombe let us go and prepareAndiam preparar. for rivers of blood to flow in solemn sacrifice.
IDAMANTE IDAMANTEMeco compiangi del padre mio il destin? Do you weep with me at my father’s fate?
IDOMENEO IDOMENEOAh figlio!... Oh, my son!
IDAMANTE IDAMANTEAh padre!... ah Numi! Dove son io?... My father! Ah, Gods! Where am I?oh qual trasporto!... Oh, what delight!Soffri, genitor adorato, che al tuo seno... Beloved father, let me come to your arms…E che un amplesso... And in an embrace…Ahimè! perché ti sdegni? Alas! why do you scorn me?Disperato mi fuggi?... You fly from me in despair?Ah dove, ah dove? Where, ah, where are you going?
IDOMENEO IDOMENEONon mi seguir, te ‘l vieto: Do not follow me, I forbid it!meglio per te saria It would have been better for youil non avermi veduto or qui. not to have seen me here.Paventa il rivedermi. If you should see me again, beware!
IDAMANTE IDAMANTE) Ah qual gelido orror m’ingombra i sensi!... Ah, what icy horror invades my senses!
Lo vedo appena, il riconosco, I barely see him and recognise him,e a miei teneri accenti when at my loving wordsin un balen s’invola. he is gone in an instant!Misero! in che l’offesi, Alas! How did I offend him,e come mai quel sdegno io meritai, how have I deserved such scorn,quelle minacce?... such threats?Vuo’ seguirlo e veder, oh sorte dura! I will follow him and see, O harsh fate!Qual mi sovrasti ancor più rea sventura. what more cruel misfortune still awaits me.
¡ Il padre adorato My beloved father,Ritrovo, e lo perdo. found and lost.Mi fugge sdegnato He flees from me in anger,Fremendo d’orror. trembling with sorrow.Morire credei I thought I was going to dieDi gioia e d’amore: of joy and love:Or, barbari Dei! now, savage Gods!M’uccide il dolor. it is grief which kills me.
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ARBACE ARBACETrovisi in altro clima altro soggiorno. Let him go abroad for a while. As long as he Purché al popol si celi. keeps himself hidden from the people…Per altra via intanto Meanwhile, Neptune will be placatedNettun si placherà, by some other means;qualche altro Nume di lui cura n’avrà. some other God will care for him.
IDOMENEO IDOMENEOBen dici, è vero... That’s true, you’re right…Ilia s’apressa, ahimè!... Here comes Ilia, alas!...In Argo ei vada, e sul paterno soglio Let him go to Argos, and take Electra backrimetta Elettra... to the land of her father…or vanne a lei, e al figlio, Go to her now, and to my son,fa che sian pronti; bid them get ready;il tutto sollecito disponi. let everything be prepared quickly.Custodisci l’arcano. I’m trusting you to keep the secret;A te mi fido, a te dovranno, O dear, faithful Arbace,oh caro, oh fido Arbace, I shall owe youla vita il figlio, e il genitor la pace. the life of a son, and a father’s peace.
ARBACE ARBACE2 Se il tuo duol, se il mio desio If your grief were as keen
Sen volassero del pari, as my wish to do your will,A ubbidirti qual son io, grief would be as quick to leave youSaria il duol pronto a fuggir. as I am to obey you.Quali al trono sian compagni, He who stands near to the throneChi l’ambisce or veda e impari: and aspires to it, let him see and learn:Stia lontan, o non si lagni, either keep away, or never complainSe non trova che martir. when suffering is all he finds there.
Scena II Scene 2
ILIA ILIA3 Se mai pomposo apparse sull’Argivo If ever the God of Delos appeared
orizzonte il Dio di Delo, in splendour on the Argive horizon,eccolo in questo giorno, oh sire, he does so today, my lord;in cui l’augusta tua presenza i tuoi diletti the day your august presence restores lifesudditi torna in vita, e lor pupille, to your beloved people, and comfort to the eyesche ti piansero estinto, or rasserena. which wept to think you dead.
CD2
ATTO SECONDO ACT II
Scena Prima Scene 1
ARBACE ARBACE1 Tutto m’è noto. I know everything.
IDOMENEO IDOMENEOGonfio di tante imprese Full of pride at such mighty deeds,al varco alfin m’attese I found wild Neptune waiting for meil fier Nettuno… as I put out to sea…
ARBACE ARBACEE so che a’ danni tuoi And I know that, to your misfortune,ad Eolo unito, e a Giove in league with Aeolus and Joveil suo regno sconvolse... he threw his realm into chaos…
IDOMENEO IDOMENEOSì, che m’estorse in voto Yes, he wrung from me the promiseumana vittima. of a human sacrifice.
ARBACE ARBACEDi chi? Of whom?
IDOMENEO IDOMENEODel primo, che sulla spiaggia incauto a me Of the first unwary person to approach mes’appressi. on the shore.
ARBACE ARBACEOr dimmi: chi primo tu incontrasti? So tell me: who was the first person you met?
IDOMENEO IDOMENEOInorridisci: il mio figlio... You will shudder to hear: my own son…
ARBACE ARBACEIdamante... io vengo meno... Idamante… I’m going to faint…
IDOMENEO IDOMENEODammi Arbace il consiglio, Give me some word of wisdom, Arbace,salvami per pietà, salvami il figlio. for pity’s sake, save my son for me!
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da egual dolor afflitte, suffering the same agony,una dal ferro, e due dal duol trafitte. one pierced by the knife, and two by grief.
6 Fuor del mar ho un mar in seno, Having escaped from the sea, a sea ragesChe del primo è più funesto, in my breast, more deadly than the first.E Nettuno ancor in questo And in this one too, it is NeptuneMai non cessa minacciar. who threatens me still.Fiero Nume! dimmi almeno: Cruel God! Tell me at least:Se al naufragio è sì vicino if my heart is so near to foundering,Il mio cor, qual rio destino what terrible fateOr gli vieta il naufragar? now keeps it afloat?
Scena IV Scene 4
ELETTRA ELECTRA7 Chi mai del mio provò piacer Who has ever tasted pleasure
più dolce? sweeter than mine?Parto, e l’unico oggetto, I am leaving, and the one,che amo, ed adoro, the only one I love and adore,oh Dei! meco sen vien? O God! is he coming with me?Ah troppo angusto è il mio cor a tanta gioia! Ah, my heart cannot contain such joy!Lunge dalla rivale farò ben io con vezzi, Far from my rival, my charms and flatterye con lusinghe, che quel fuoco, will at last be able to extinguish the fireche pria spegnere non potei, aroused by her eyes,a quei lumi s’estingua, e avvampi ai miei. and kindle a new passion taking fire from mine.
8 Idol mio, se ritroso My idol, if another loverAltra amante a me ti rende, yields you up to me reluctantly,Non m’offende rigoroso, far from offending me with its harshness,Più m’alletta austero amor. so austere a love attracts me all the more.Scaccierà vicino ardore A passion near at hand will driveDal tuo sen l’ardor lontano; the distant passion from your breast;Più la mano può d’amore, the hand of love has greater powerS’è vicin l’amante cor. when the loving heart is close by.
Odo da lunge armonioso suono, I can hear sweet music in the distance,che mi chiama all’imbarco, orsù si vada. calling me to take ship; it is time to go.
IDOMENEO IDOMENEOPrincipessa gentil, il bel sereno Noble princess, let lovely serenityAnche alle tue pupille omai ritorni. now return to your eyes also. Let the sorrowIl lungo duol dilegua. which so long afflicted you now pass away.Di me, de’ miei tesori, Ilia, disponi, I and all my treasures are at your disposal, Ilia,e mia cura sarà dartene chiare prove and I shall make it my responsibilitydell’amicizia mia. to give you clear proof of my friendship.
ILIA ILIASon certa, e un dubbio in me colpa sarìa. I am sure of it; to doubt would be a sin for me.
4 Se il padre perdei, Though I have lost my father,La patria, il riposo, my native land, my tranquillity,Tu padre mi sei, you are my father,Soggiorno amoroso and my days in Crete are for meÈ Creta per me. a time of love.
Or più non rammento No longer do I recallL’angoscie, gli affanni the anguish, the suffering;Or gioia e contento, now heaven gives meCompenso a miei danni joy and happinessIl cielo mi diè. as recompense for my misfortune.
Scena III Scene 3
IDOMENEO IDOMENEO5 Qual mi conturba i sensi equivoca favella?... How puzzling are her ambiguous words!
ne’ suoi casi qual mostra a un tratto In her situation, why would the Phrygian princessintempestiva gioia la Frigia principessa?... suddenly show such untimely joy?Quei, ch’esprime teneri sentimenti per il prence, These tender feelings she is expressingsarebber forse... ahimè! ... towards the prince, could they be… alas!...sentimenti d’amor, gioia di speme?... feelings of love, the joy of hope?...Non m’inganno. Reciproco è l’amore. I am not mistaken. Their love is mutual.Troppo, Idamante, a scior quelle catene Idamante, you were too quicksollecito tu fosti... to sever those chains…ecco il delitto, This was the crimeche in te punisce il ciel... for which heaven is punishing you…Sì, sì, a Nettuno il figlio, il padre, ed Ilia, Yes, Neptune will have three victimstre vittime saran sull’ara istessa on the one altar: father, son and Ilia,
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ora incomincia a renderti begin now by making yourselfde’ miseri il sostegno, the support of those in need,del padre, e di te stesso ognor più degno. ever more worthy of your father, and of yourself.
IDAMANTE IDAMANTE@ Pria di partir, oh Dio! soffri, Before I leave, O God! allow me
che un bacio imprima sulla paterna man. to kiss my father’s hand.
ELETTRA ELECTRASoffri, che un grato addio sul labbro Permit my lips to express the grateful farewellil cor esprima: Addio degno sovran! of my heart: Farewell, worthy sovereign!
IDOMENEO IDOMENEO(a Elettra) Vanne, sarai felice. (To Electra) Go then, happiness awaits you.(a Idamante) Figlio! tua sorte è questa. (To Idamante) My son, this is your destiny.
IDOMENEO, IDAMANTE, ELETTRA IDOMENEO, IDAMANTE, ELECTRASeconda i voti, o ciel! Heaven grant our prayers!
ELETTRA ELECTRAQuanto sperar mi lice! I dare hope so much!
IDAMANTE IDAMANTEVado! (E il mio cor qui resta.) I leave you, then. (And my heart remains here.)
IDOMENEO, IDAMANTE, ELETTRA IDOMENEO, IDAMANTE, ELECTRAAddio! Farewell!
IDOMENEO, IDAMANTE IDOMENEO, IDAMANTE(Destin crudel!) (Cruel fate!)
IDAMANTE IDAMANTE(Oh Ilia!) (O Ilia!)
IDOMENEO IDOMENEO(Oh figlio!) (O my son!)
IDAMANTE IDAMANTEOh padre! oh partenza! O father! To have to part!
ELETTRA ELECTRAOh Dei! che sarà? O Gods! What will happen?
Scena V Scene 5
ELETTRA ELECTRA9 Sidonie sponde! Shores of Kydonia!
o voi per me di pianto, You were for me the cruel havene duol, d’amor nemico crudo ricetto, of tears and sorrow, of thwarted love;or ch’astro più clemente a voi mi toglie, now that a more kindly star is taking me from you,io vi perdono, I pardon you, and take my leave of you at last,e in pace al lieto partir mio alfin vi lascio, my heart calm at the prospect of my joyful departure.e dò l’estremo addio! I bid you a final farewell!
CORO CHORUS0 Placido è il mar, andiamo; The sea is calm, let us be off;
Tutto ci rassicura. everything is here to reassure us.Felice avrem ventura, We shall have good fortune,Su su, partiamo or or. come, let’s away!
ELETTRA ELECTRASoavi zeffiri Let nothing butSoli spirate, gentle breezes blow,Del freddo borea calming the angerL’ira calmate. of the cold north wind.D’aura piacevole May we be blessedCortesi siate, with pleasant breezesSe da voi spargesi that sow lovePer tutto amor. everywhere.
Scena VI Scene 6
IDOMENEO IDOMENEO! Vattene, prence. Go then, prince.
IDAMANTE IDAMANTEOh ciel! O heaven!
IDOMENEO IDOMENEOTroppo t’arresti. You delay too long.Parti, e non dubbia fama di mille eroiche Go, and let the undisputed fame of aimprese il tuo ritorno prevenga. thousand heroic deeds herald your return.Di regnare se l’arte apprender vuoi, If you wish to learn the art of kingship,
CD3
ATTO TERZO ACT THREE
Scena Prima Scene 1
ILIA ILIA1 Solitudini amiche, aure amorose, Friendly solitude, loving breezes,
piante fiorite, e fiori vaghi, flowers in bloom and fair blossoms,udite d’una infelice amante i lamenti, hear the laments of an unhappy lover,che a voi lassa confido. who pours out her weary heart to you.Quanto il tacer How much it costs my suffering heartpresso al mio vincitore, to keep silent and dissemble,quanto il finger ti costa afflitto core! when I am near the man who conquered it!
2 Zeffiretti lusinghieri, Flattering breezes,Deh volate al mio tesoro: ah, fly to my love:E gli dite, ch’io l’adoro, and tell him that I adore him,Che mi serbi il cor fedel. and that his heart should remain true to me.
E voi piante, e fior sinceri, And you plants, and honest flowers,Che ora innaffia il pianto amaro, watered now by my bitter tears,Dite a lui, che amor più raro tell him that you have never seenMai vedeste sotto al ciel. such a love anywhere beneath the sky.
Ei stesso vien… oh Dei!… It’s him, he is coming… O Gods!mi spiego, o taccio?… Do I speak or stay silent?Resto?… parto?… o m’ascondo?… Do I stay? Go? Or hide?...Ah risolver non posso, ah mi confondo! Ah, I can’t decide, I’m all confused!
Scena II Scene 2
IDAMANTE IDAMANTE3 Principessa, a’ tuoi sguardi Princess, if I still dare
se offrirmi ardisco ancor, to offer myself to your sight,più non mi guida un temerario affetto; it is no longer a bold affection that leads me;altro or non cerco, now I seek nothingche appagarti, e morir. but to fulfil your desire, and die.
ILIA ILIAMorir? tu, prence? Die? You, prince?
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IDOMENEO, IDAMANTE, ELETTRA IDOMENEO, IDAMENTE, ELECTRADeh cessi il scompiglio; Ah, no more of this confusion!Del ciel la clemenza Heaven will stretch out over usSua man porgerà. the hand of kindness.
CORO CHORUS OF SAILORS£ Qual nuovo terrore! What new terror is this?
Qual rauco muggito! What is this raucous howling?De’ Numi il furore The fury of the GodsHa il mare infierito. has whipped up the sea.Nettuno, mercé! Neptune, have mercy!
Qual odio, qual ira What hatred, what rageNettuno ci mostra! Neptune shows us!Se il cielo s’adira, What sin have we committed,Qual colpa è la nostra? that Heaven unleashes its fury?Il reo qual è? Who is the guilty one?
IDOMENEO IDOMENEO$ Eccoti in me, barbaro Nume! Here he is, you savage Gods!
il reo! I am the guilty man!Io solo errai, me sol punisci, I alone have sinned; punish me alone,e cada sopra di me il tuo sdegno. and let your wrath fall on me.La mia morte ti sazi alfin; May my death at last satisfy you;ma se altra aver pretendi vittima al fallo mio, but if you claim another victim in my place,una innocente darti io non posso, I cannot give you an innocent man;e se pur tu la vuoi, if that is what you seek,ingiusto sei, pretenderla non puoi. you are unjust, you may not claim such a victim!
CORO SAILORS% Corriamo, fuggiamo Let us run, let us flee
Quel mostro spietato. from this pitiless monster.Ah preda già siamo! Ah, we are already its prey!Chi, perfido fato! Treacherous fate,Più crudo è di te? who is more cruel than you?
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IDAMANTE IDAMANTEOh Dei! che ascolto? O Gods! what am I hearing?Principessa adorata!... Adored princess!...
ILIA ILIAIl cor turbato a te mal custodì The turmoil of my heart barely hidla debolezza mia; my weakness from you;pur troppo amore e tema alas, in my breast love and fearindivisi ho nel sen. are inseparable.
IDAMANTE IDAMANTEOdo? Am I really hearing this?o sol quel che brama Or is my hearing playing tricks,finge l’udito, imagining what it longs to hear?o pure il grand’ardore m’agita i sensi, Or are my senses stirred by my great passion,e il cor lusinga oppresso and my oppressed heart flatteredun dolce sogno? by a sweet dream?
ILIA ILIAAh! perché pria non arsi, Ah, why did I not let my flame consume me,che scoprir la mia fiamma? before revealing it?mille io sento rimorsi all’alma! My soul reproaches itself a thousand times!Il sacro mio dovere, la mia gloria, la patria, My sacred duty, my honour, my fatherland,il sangue de’ miei ancor fumante, the blood of my family, still steaming,oh quanto al core oh, how many voices in my heartrimproverano il mio ribelle amore!… reproach my rebellious love!Ma al fin, che fo?… But in the end, what can I do?Già che in periglio estremo ti vedo, oh caro, Now that I see you in grave danger,e trarti sola io posso, from which only I can save you,odimi, io te ‘l ridico: listen to me, my dearest, as I tell you once more:T’amo, t’adoro, I love you, I adore you,e se morir tu vuoi, and if you seek death,pria, che m’uccida il duol morir non puoi. I shall die of grief before you.
IDAMANTE IDAMANTE4 S’io non moro a questi accenti, If I do not die at these words,
Non è ver, che amor uccida, then it is not true that love can kill,Che la gioia opprima un cor. and that a heart can be overwhelmed by joy.
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IDAMANTE IDAMANTEPiù teco io resto, The longer I stay with you,più di te m’accendo, the more I burn for you,e s’aggrava mia colpa, and my guilt increases;a che il castigo più allunga differir? why delay the punishment?
ILIA ILIAMa quel cagione morte a cercar t’induce? But what makes you seek death?
IDAMANTE IDAMANTEIl genitore pien di smania e furore My father, full of rage and fury,torvo mi guarda, e fugge, looks at me grimly and flees,e il motivo mi cela. and I have no idea why.Da tue catene avvinto, Bound as I am in chains of your making,il tuo rigore I have no defence against the new woundsa nuovi guai m’espone. inflicted by your harshness.Un fiero mostra fa dappertutto A wild monster is wreaking bloody destructionorrida strage. far and wide.Or questo a combatter si vada, Either I go to fight it,e vincerlo si tenti, and try to defeat it,o finisca la morte i miei tormenti. or death shall end my torments.
ILIA ILIACalma, o prence, un trasporto sì funesto; O prince, calm this deadly passion;rammenta, che tu sei d’un grand’impero remember, you are the sole hopel’unica speme. of a great empire.
IDAMANTE IDAMANTEPrivo del tuo amore, privo, Ilia, di te, Without your love, without you, Ilia,nulla mi cale. nothing matters to me.
ILIA ILIAMisera me!... Wretched me! …deh serba i giorni tuoi. Ah, do not throw your life away.
IDAMANTE IDAMANTEIl mio fato crudel seguir degg’io. I must follow my cruel destiny.
ILIA ILIAVivi. Ilia te ‘l chiede. Live – Ilia begs you.
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IDOMENEO IDOMENEOParla. Speak.
ELETTRA ELECTRA(Che dirà?) (What is he going to say?)
IDAMANTE IDAMANTEIn che t’offesi mai? How have I offended you?perché mi fuggi, m’odi, e aborrisci? Why did you flee from me, hate me, abhor me?
ILIA ILIA(Io tremo.) (I tremble.)
ELETTRA ELECTRA(Io te ‘l direi.) (I could tell you.)
IDOMENEO IDOMENEOFiglio: contro di me Nettuno irato My son: Neptune’s fury against megelommi il cor, has frozen my heart.ogni tua tenerezza l’affanno mio raddoppia, Your every tenderness redoubles my torment;il tuo dolore tutto sul cor mi piomba, all your sorrow weighs on my heart like lead,e rimirarti senza ribrezzo, and I cannot look at youorror non posso. without horror and loathing.
ILIA ILIA(Oh Dio!) (O God!)
IDAMANTE IDAMANTEForse per colpa mia Nettun sdegnossi? Perhaps Neptune is enraged at someMa la colpa qual è? offence of mine? But what is the offence?
IDOMENEO IDOMENEOAh placarlo potessi senza di te! Ah, if only I could placate him without you!
ELETTRA ELECTRA(Ah potessi i torti miei or vendicar!) (Ah, if only I could now avenge my wrongs!)
IDOMENEO IDOMENEOParti, te lo comando, fuggi il paterno lido, Go, I order you, flee the shore of your homeland,e cerca altrove sicuro asilo. and seek a safe haven elsewhere.
ILIA ILIAAhimè! Pietosa principessa, ah mi conforta! Alas! Kind princess, ah, comfort me!
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ILIA ILIANon più duol, non più lamenti; No more grief, no more lamenting;Io ti son costante e fida, I am constant and faithful to you,Tu sei il solo mio tesor. you will be my only treasure.
IDAMANTE IDAMANTETu sarai... You shall be…
ILIA ILIAQual tu mi vuoi. Whatever you want me to be.
IDAMANTE IDAMANTELa mia sposa... My wife…
ILIA ILIALo sposo mio sarai tu. You will be my husband.
IDAMANTE, ILIA IDAMANTE, ILIALo dica amor. Let Love declare it.
Ah! il gioir sorpassa in noi il sofferto Ah, our joy surpasses the pain we have suffered.affanno rio, tutto vince il nostro ardor! Let our passion conquer all!
Scena III Scene 3
IDOMENEO IDOMENEO5 (Cieli! che vedo?) (Heavens! What am I seeing?)
ILIA ILIAAh siam scoperti, oh caro. Ah, we are discovered, dearest.
IDAMANTE IDAMANTENon temer, idol mio. Don’t be afraid, my love.
ELETTRA ELECTRA(Ecco l’ingrato.) (Here is the ungrateful wretch!)
IDOMENEO IDOMENEO(Io ben m’apposi al ver. Ah crudo fato!) (My suspicions were well-founded. Ah, cruel fate!)
IDAMANTE IDAMANTESignor, già più non oso Padre chiamarti; My lord – already I dare no longer call you Father –a un suddito infelice, deh, questa almen ah, if only you will grant an unhappy subjectconcedi unica grazia. this one favour.
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Pena maggiore a more cruel fate,Nissun provò. a greater pain.
Scena IV Scene 4
ARBACE ARBACE7 Sire, alla reggia tua immensa turba My lord, there is a huge crowd outside your palace,
di popolo affollato ad alta voce parlarti chiede. a screaming mob, wanting to talk to you.
ILIA ILIA(A qualche nuovo affanno (O my heart, prepare yourselfpreparati mio cor.) for some new suffering.)
IDOMENEO IDOMENEO(Perduto è il figlio.) (My son is lost.)
ARBACE ARBACEDel Dio de’ mari il sommo sacerdote lo guida. The high priest of the Sea God is at their head.
IDOMENEO IDOMENEO(Ahi troppo disperato è il caso!...) (Ah, there is no hope!...)Intesi, Arbace. I understand, Arbace.
ELETTRA ELECTRA(Qual nuovo disastro?) (What new disaster is this?)
ILIA ILIA(Il popol sollevato...) (The people in an uproar…)
IDOMENEO IDOMENEOOr vado ad ascoltarla. I will go and hear them.
ELETTRA ELECTRATi seguirò! I will follow you!
ILIA ILIAVoglio seguirti anch’io. And so will I.
Scena V Scene 5
ARBACE ARBACE8 Sventurata Sidon! Unlucky Kydonia!
in te quai miro di morte, stragi, What scenes of death, slaughtere orror lugubri aspetti? and dismal horror do I see in you?Ah Sidon più non sei, Ah, you are no longer Kydonia:
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ELETTRA ELECTRACh’io ti conforti? e come?... I, comfort you? And how?…(Ancor m’insulta l’indegna.) (Again the contemptible woman insults me!)
IDAMANTE IDAMANTEDunque io me n’andrò... ma dove?... Then I must go… but where?Oh Ilia!... oh genitor! O Ilia!... O father!
ILIA ILIAO seguirti, o morir, mio ben, vogl’io. My love, I will follow you, or die.
IDAMANTE IDAMANTEDeh resta, oh cara, e vivi in pace. Addio! Ah, stay here, dearest, and live in peace. Farewell!
6 Andrò ramingo e solo I will go, wandering alone,Morte cercando altrove seeking death everywhereFin che la incontrerò. until I find it.
ILIA ILIAM’avrai compagna al duolo, I shall be your companion in griefDove sarai, e dove wherever you go, and wherever Tu moia, io morirò. you die, I shall die.
IDAMANTE IDAMANTEAh no! Ah no!
IDOMENEO IDOMENEONettun spietato! Merciless Neptune!Chi per pietà m’uccide? Who will take pity and kill me?
ELETTRA ELECTRA(Quando vendetta avrò?) (When will I have my revenge?)
IDAMANTE, ILIA IDAMANTE, ILIA(a Idomeneo) Serena il ciglio irato. (To Idomeneo) Calm your troubled brow.
IDOMENEO, IDAMANTE, ILIA IDOMENEO, IDAMANTE, ILIAAh il cor mi si divide! Ah, my heart is breaking!
TUTTI ALLSoffrir più non si può. No-one can suffer more than this.Peggio è di morte Grief like thisSì gran dolore: is worse than death:Più fiera sorte, no-one has ever felt
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Qual’è, dov’è la vittima?... Who is the victim? Where is the victim?a Nettuno rendi quello ch’è suo. Render unto Neptune that which is Neptune’s.
IDOMENEO IDOMENEONon più. Sacro ministro, e voi popoli, udite: No more. Holy priest, and you people, listen:la vittima è Idamante, the victim is Idamante,e or or vedrete, ah Numi! con qual ciglio! and now, O Gods! you can watch the face of a fathersvenar il genitor il proprio figlio. as he lays open the veins of his own son.
POPOLO PEOPLE0 Oh voto tremendo! O dreadful vow!
Spettacolo orrendo! O hideous sight!Già regna la morte, Already death reigns here,D’abisso le porte throwing open the gatesSpalanca crudel. of the cruel abyss.
GRAN SACERDOTE HIGH PRIESTOh cielo clemente! O merciful heaven!Il figlio è innocente, The son is innocent,Il voto è inumano; the vow is inhuman;Arresta la mano stay the handDel padre fedel. of the faithful father.
Scena VII Scene 7
! Marcia March
IDOMENEO IDOMENEO, PRIESTS@ Accogli, oh re del mar, i nostri voti, Receiving our offering, O king of the sea;
Placa lo sdegno tuo, il tuo rigor! let your remorseless anger be appeased!
IDOMENEO IDOMENEOTornino a lor spelonche gl’Euri, i Noti, Let the east and south winds return to their caves,Torni Zeffiro al mar, cessi il furor. let the breezes return to the sea and the fury cease.Il pentimento, e il cor de’ tuoi devoti Accept the repentance and the hearts of yourAccetta, e a noi concedi il tuo favor! devotees, and grant us your favour!
CORO CHORUS OF CRETAN CITIZENS£ Stupenda vittoria! Resounding victory!
Eterna è tua gloria; Your glory endures for ever;Trionfa oh signor! victory shall be yours, Sire!
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sei la città del pianto, you are the city of tears,e questa reggia quella del duol!... and this palace, the palace of grief!…Dunque è per noi dal cielo sbandita Has heaven then forbidden usogni pietà?... Chi sa? io spero ancora, any mercy?… Who knows? I hope stillche qualche Nume amico si plachi that some friendly God will be appeaseda tanto sangue; un Nume solo by so much blood; just onebasta tutti a piegar; would be enough to calm all the others;alla clemenza il rigor cederà... cruelty will give way to clemency.ma ancor non scorgo But as yet I cannot tellqual ci miri pietoso... which god might look on us with pity…Ah sordo è il cielo! Ah, heaven is deaf!Ah Creta tutta io vedo Ah, I see all the glory of Cretefinir sua gloria coming to an end,sotto alte rovine! buried under a mountain of ruins.No, sue miserie pria non avran fine. No, only then will her miseries be over.
Scena VI Scene 6
GRAN SACERDOTE HIGH PRIEST9 Volgi intorno lo sguardo, oh sire, Look around you, my lord,
e vedi qual strage orrenda nel tuo and see what terrible devastation is being inflictednobil regno fa il crudo mostro. on your noble kingdom by the cruel monster.Ah mira allagate di sangue quelle Ah, look at the city streets,pubbliche vie. awash with blood.Ad ogni passo vedrai chi geme, At every step you will see someone groaning,e l’alma gonfia d’atro velen their body swollen with black poison,dal corpo esala. their life slipping away.Mille, e mille in quell’ampio, I myself have seene sozzo ventre pria sepolti thousands upon thousands perish,che morti perire io stesso vidi. swallowed alive into that foul, cavernous belly.Sempre di sangue lorde son quelle fauci, That maw is always filthy with blood,e son sempre più ingorde. and grows ever more greedy.Da te solo dipende il ripiego, Our salvation lies with you alone:da morte trar tu puoi you have the power to snatch from the jaws ofil resto del tuo popolo, death what remains of your people.ch’esclama sbigottito, They cry out to you in their distress,e da te l’aiuto implora, e indugi ancor?... begging your help, and yet you still hesitate?…Al tempio, sire, al tempio! To the temple, my lord, to the temple!
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e dal cielo la sua that heaven may in return in cambio impetra, grant him his own, ed impetra costante a’ suoi la pace, with lasting peace for his people, e de’ Numi l’amor sacro, e verace! and the sacred, true love of the Gods.
IDOMENEO IDOMENEO^ Oh figlio! oh caro figlio!... O my son! my dear son!
Perdona; Forgive me; il crudo uffizio in me scelta non è, I did not choose this cruel task, pena è del fato... it is the punishment of fate… Barbaro, iniquo fato!... Savage, unjust fate!... Ah no, non posso contro un figlio innocente Ah no, I cannot raise the brutal axe alzar l’aspra bipenne... against an innocent son! da ogni fibra già se’n fuggon le forze, The strength ebbs from every fibre of my being, e gl’occhi miei torbida notte ingombra... and thick night clouds my eyes. oh figlio!... O my son!
IDAMANTE IDAMANTEOh padre!... O father! Ah non t’arresti inutile pietà, Ah, do not let useless pity stop you, né vana ti lusinghi tenerezza d’amor. nor the vain tenderness of love beguile you. Deh vibra un colpo, Oh, strike the blow che ambi tolga d’affanno. that will deliver us both from our pain.
IDOMENEO IDOMENEOAh, che natura me’l contrasta, e ripugna. Ah, nature opposes me, and abhors this.
IDAMANTE IDAMANTECeda natura al suo autor; Nature must yield to her creator;di Giove questo è l’alto voler. that is Jove’s sublime will.Rammenta il tuo dover. Remember your duty.Se un figlio perdi, Though you lose a son,cento avrai, Numi amici. you gain the friendship of a hundred gods.Figli tuoi i tuoi popoli sono. Your people are your sons.
& Ma se in mia vece brami But if in my place you seek chi t’ubbidisca, ed ami, one who will obey you and love you,chi ti sia accanto, who will be near youe di tue cure il peso teco ne porti, and carry the burden of your cares,Ilia ti raccomando; I commend Ilia to you;
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IDOMENEO IDOMENEOQual risuona qui intorno applauso di vittoria? What are these sounds of triumph I hear?
Scena VIII Scene 8
ARBACE ARBACE$ Sire, il prence, Idamante l’eroe, My lord, the prince, Idamante the hero,
di morte in traccia disperato correndo hastening in despair to seek his own death,il trionfo trovò. has found triumph.Su l’empio mostro scagliossi furibondo, In fury he hurled himself on the evil monster;il vinse, e uccise: he overcame it and destroyed it:eccoci salvi al fin. we are saved at last.
IDOMENEO IDOMENEOAhimè! Nettuno di nuovo sdegno acceso Alas! Neptune’s anger will blaze against ussarà contro di noi... with new vehemence…or or, Arbace, con tuo dolor vedrai, Now, Arbace, you will see to your sorrowche Idamante trovò quel che cercava, that Idamante found what he was seeking,e di morte egli stesso and he himself will be the spoilsil trionfo sarà. in death’s victory parade.
ARBACE ARBACEChe vedo?... oh Numi! What am I seeing?… O Gods!
Scena IX Scene 9
IDAMANTE IDAMANTE% Padre, mio caro padre, Father, my dear father –
ah dolce nome! ah, it is sweet to call you so!Eccomi a’ piedi tuoi; Here I am at your feet; in questo estremo periodo fatal, in this last, fatal hour, su questa destra, che il varco allow me to kiss your right hand, al sangue tuo nelle mie vene aprir dovrà, the hand that must open my veins gl’ultimi baci accetta. to pour out your own blood. Ora comprendo, che il tuo turbamento Now I understand that your agitation sdegno non era già, ma amor paterno. was not anger, but fatherly love. Oh mille volte, e mille A thousand thousand times blessed fortunato Idamante, is Idamante: se chi vita ti dié vita ti toglie, he who gave me life takes it from me, e togliendola a te la rende al cielo, and in the taking offers it to heaven,
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ILIA ILIAIn vano quella scure In vain that axe seeksaltro petto tenta ferir. to strike another’s breast.Eccoti, sire, il mio, la vittima io son. Here is mine, my lord: I am your victim.
ELETTRA ELECTRA(Oh qual contrasto!) What an unexpected turn of events!
ILIA ILIAInnocente è Idamante, è figlio tuo, Idamante is innocent, he is your son,e del regno è la speme, the future of the kingdom;tiranni i Dei non son, fallaci sieti the Gods are not tyrants, you must haveinterpreti voi tutti del divino voler. misinterpreted the divine will!Vuol sgombra il cielo de’ nemici la Grecia, Heaven seeks to rid Greece of her enemies,e non de’ figli. not of her sons!Benchè innocente anch’io, Though I too am innocent,benchè ora amica, though I am now a friend,di Priamo son figlia, I am the daughter of Priam;e Frigia io nacqui Phrygian, I was bornper natura nemico al greco nome. to be an enemy to the name of Greece.Orsù mi svena. Come, kill me.
LA VOCE VOICE) Ha vinto Amore... Love has triumphed…
Idomeneo cessi esser re... Let Idomeneo be king no longer…Lo sia Idamante... Idamante shall be king,ed Ilia a lui sia sposa, and Ilia shall be his wife.e fia pago Nettuno, contento il ciel, Let Neptune be satisfied and heaven contentpremiata l’innocenza. with innocence rewarded.
IDOMENEO IDOMENEO¡ Oh ciel pietoso!... O merciful heaven!
IDAMANTE IDAMANTEIlia... Ilia…
ILIA ILIAIdamante, udisti? Idamante, did you hear?
ARBACE ARBACEOh gioia! oh amor, oh Numi! O joy! O love, O Gods!
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deh un figlio tu esaudisci ah, hear the prayer of your son,che moribondo supplica, e consiglia: who stands on the threshold of death:s’ella sposa non m’è, if she cannot be my wife,deh siati figlia. let her be your daughter.
* Ma che più tardi? But why do you delay?Eccomi pronto, Here I stand ready:adempi il sacrifizio, il voto. carry out the sacrifice, fulfil your vow.
IDOMENEO IDOMENEOOh qual mi sento Oh, how can it be that I feelin ogni vena insolito vigor?... unwelcome strength coursing through my veins?Or risoluto io son... Now I am resolved.L’ultimo amplesso ricevi... e mori. Receive my last embrace… and die.
IDAMANTE IDAMANTEOh padre!... O father!
IDOMENEO IDOMENEOOh figlio!... O my son!
IDAMANTE, IDOMENEO IDAMANTE, IDOMENEOOh Dio!... O God!
IDAMANTE IDAMANTE(Oh Ilia... ahimè!) (Oh Ilia… alas!)Vivi felice, Be happy,
IDAMANTE, IDOMENEO IDAMANTE, IDOMENEOAddio. Farewell.
Scena X Scene 10
ILIA ILIA( Ferma, oh sire, che fai? Stop, my lord, what are you doing?
IDOMENEO IDOMENEOLa vittima io sveno, che promisi a Nettuno. I am sacrificing the victim I promised to Neptune.
IDAMANTE IDAMANTEIlia, t’accheta... Hush, Ilia…
GRAN SACERDOTE HIGH PRIESTDeh non turbar il sacrifizio... Do not disturb the sacrifice!
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Nettuno, e tutti Numi Neptune and all the Godsa questo regno amici son. are friends to this kingdom.Resta, che al cenno loro It remains for IdomeneoIdomeneo ora ubbidisca. to obey their bidding.Oh quanto, oh sommi Dei, O great Gods,quanto m’è grato il cenno! how welcome that bidding is to me!Eccovi un altro re, Behold a new king,un altro me stesso: the pattern of my very self:a Idamante mio figlio, al caro figlio to Idamante my son, my beloved son,cedo il soglio di Creta, I surrender the throne of Cretee tutto insieme il sovrano poter. and all its sovereign power.I suoi comandi rispettate, Respect his commands,eseguite ubbidienti, follow them obediently,come i miei eseguiste, e rispettaste; as you respected and followed my own;onde grato io vi son: for this I am grateful to you.questa è la legge. This is the law.Eccovi la real sposa. Here is the royal bride.Mirate in questa bella coppia Look on this fair coupleun don del cielo serbato a voi. as a gift bestowed on you by heaven.Quanto a sperar vi lice! How much you have to hope for!Oh Creta fortunata! Oh me felice! How blessed is Crete! How happy am I!
CORO CHORUS OF CRETAN CITIZENS∞ Scenda Amor, scenda Imeneo, Let Love descend, and Hymen,
E Giunone ai regi sposi, and let Juno, the goddess of marriage,D’alma pace omai li posi now bring sweet peace to the heartsLa Dea pronuba nel sen. of the royal couple!
Translation: Natalie Shea
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ELETTRA ELECTRA™ Oh smania! oh furie... O rage! O fury…
Oh disperata Elettra! O Electra, plunged into despair!Addio amor, addio speme! Farewell love, farewell hope!Ah, il cor nel seno già m’ardono Already in my breast the pitiless Furiesl’Eumenidi spietate. are setting my heart aflame.Misera, misera, Wretched, wretched woman:a che m’arresto? what am I waiting for?Sarò in queste contrade della gioia Shall I stay here, to witness in my sorrowe trionfi spettatrice dolente? their joy and triumph?Vedrò Idamante alla rivale in braccio, Shall I see Idamante in the arms of my rival,e dall’uno e dall’altra with both of themmostrarmi a dito? pointing the finger at me?Ah no; il germano Oreste Ah no; brother Orestes,ne’ cupi abissi io vuo’ seguir. I will follow you into the dark abysses.Ombra infelice! Unhappy shade!Lo spirto mio accogli, Bid my spirit welcome;or or compagna m’avrai là now you shall have menell’inferno as your companion in hell,a sempiterni guai, al pianto eterno. in eternal woe, weeping for ever.
# D’Oreste, d’Aiace I carry in my breastHo in seno i tormenti, the torments of Orestes and Ajax;D’Aletto la face Alecto’s torchGià morte mi dà. already brings me my death.
Squarciatemi il cuore Tear out my heart,Ceraste, serpenti, you horned vipers and serpents,O un ferro il dolore or else a dagger shall bringin me finirà. my pain to an end.
Scena Ultima Final Scene
IDOMENEO IDOMENEO¢ Popoli, a voi l’ultima legge impone Ye people, Idomeneo gives you
Idomeneo, qual re. his last command as king.Pace v’annunzio, I proclaim to you peace.Compiuto è il sacrifizio, The sacrifice is completed,e sciolto il voto, the vow fulfilled;
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Piccolo by Jan de Winne,Belgium, 1996, after GodfridusAdrianus Rottenburgh
Melissa FarrowRudolf Tutz, Innsbruck, Austria, 2004, after JohannHeinrich Grenser
Oboe
Geoffrey BurgessJoel Robinson and GeoffreyBurgess, New York, USA, 2006,after Christophe Delusse, Paris,France, c. 1790
Jane DownerTwo-keyed Classical oboe by Paul Hailperin, Zell-in-Wiesental,Germany, c. 1990, after AugustGrenser, c. 1760
Clarinet
Craig HillClarinet in A by Joel Robinson,New York, USA, 1995, afterJohann Heinrich Grenser,Dresden, Germany, c. 1800Clarinet in C by Joel Robinson,New York, USA, 1993, afterJohann Heinrich Grenser,Dresden, Germany, c. 1800Clarinet in B-flat by Peter van derPoel, Bunnik, The Netherlands,2006, after Johann HeinrichGrenser, Dresden, Germany, c. 1800
Ashley SutherlandClarinets in A, B-flat and C by
Joel Robinson, New York, USA,1997-2001, after Johann HeinrichGrenser, Dresden, Germany, c. 1800
Bassoon
Simon RickardFive-key bassoon by MathewDart, London, England, 2000, afterJakob Friedrich Grundmann, 1792
Lisa GoldbergSimion, Lyon, France, c. 1820
Horn
Darryl PoulsenWebb/Halstead, London, UK,1993, after Stohr, Vienna, Austria, c. 1800Darryl Poulsen appears courtesyof the University of WesternAustralia.
James McCrowWebb/Halstead, London, UK,1992, after Franz Stohr, Prague,Bohemia, c. 1800
Michael DixonWebb/Halstead, London, UK,1993, after Stohr, Vienna, Austria, c. 1800
Lisa Wynne-AllenWebb/Halstead, London, UK,1993, after Stohr, Vienna, Austria, c. 1800
Trumpet
Leanne SullivanRainer Egger, Basel, Switzerland,
bell after Johann Leonhard Ehe II(1664-1724), Nuremburg, Germany
Helen GillRainer Egger, Basel, Switzerland,bell after Johann Leonhard Ehe II(1664-1724), Nuremburg,Germany
Trombone
Warwick TyrrellJohn Webb, Wiltshire, UK, 1995,after sackbut by Starck, c. 1640
Nigel CrockerTenor trombone in B-flat byRainer Egger, Basel, Switzerland, 2006
Brett PageBass trombone in F by RainerEgger, Basel, Switzerland, 2006
Timpani
Richard GleesonLefima belt timpani, Kalfo Supercalfskin heads, Germany, 2000,adapted from historic instruments
Fortepiano
Neal Peres Da CostaD. Jacques Way and PaulMcNulty, after Anton Walter,Vienna, c. 1780 Used courtesy of Neal Peres Da Costa
Tuning a’= 430Temperament = Valotti
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Cantillation
Antony Walker, Music Director
Alison Johnston, Manager
Soprano
Anna FraserBelinda MontgomeryAlison MorganJane SheldonNicole Thomson
Altos
Jo BurtonAnne FarrellJudy HerskovitsNatalie SheaHelen Sherman
Tenors
Philip ChuJohn PitmanDan WalkerBrett WeymarkRaff Wilson
Basses
Daniel BeerCorin BoneCraig EveringhamDavid GrecoDavid Russell
Orchestra of the Antipodes
Antony Walker, Music Director
Alison Johnston, Manager
Violin 1
Anna McDonaldSimon Brown, Sydney, Australia,2006, after Guarnerius
Alice EvansSebastian Klotz, Mittenwald,Germany, c.1750
Julia FredersdorffAnonymous, Mittenwald,Germany, early 18th century
Elizabeth PogsonAnonymous, after Sebastian Klotz
Matthew BruceMark Pengilly, Melbourne,Australia, 1986, after GiovanniPaolo Maggini
Violin 2
Rachael BeesleyFranz Geissenhof, Vienna,Austria, 1813
Myee ClohessyAnonymous, Mittenwald,Germany, c. 1790
Dominic GlynnSimon Brown, Sydney, Australia,2005, after Guarnerius
Matthew GrecoCarlo G. Testore, Milan, Italy, 1756.Used courtesy of Amati Music
Leigh MiddenwayPeter Wamsley, London, England, c. 1750
Viola
Nicole Forsyth Tenor viola by Ian Clarke,Biddeston, Australia, 1998,
after Giovanni Paolo Maggini,‘Dumas’, c. 1680
Nicole DivallVanna So, Chicago, USA, 1996
Valmai CogginsAdele Beardsmore and AlanCoggins, Blackheath, Australia,1995, after the GibsonStradivarius, 1734
Heather LloydIan Clarke, Biddeston, Australia,1998, after Andrea Guarneri,Cremona, Italy
Cello
Daniel YeadonMichael Watson, England, 1991,after Guarnerius
Anthea CotteePeter Walmsley, London,England, c. 1735
James Beck Nathaniel Cross, London,England, 1719. Used courtesy of Amati Music
Double Bass
Kirsty McCahonGiuseppe Abbati, Modena, Italy, c. 1750
Flute
Kate ClarkMartin Wenner, Singen,Germany, 2005, after JohannHeinrich Grenser
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Executive Producers Robert Patterson, Martin Buzacott, Lyle ChanRecording Producer, Editing and Mastering
Virginia ReadRecording Engineer Andrew DixonEditorial and Production Manager Hilary ShrubbPublications Editor Natalie SheaBooklet Design Imagecorp Pty LtdCover Photo Kamil Vojnar/Photonica Inc/PhotolibraryBack Cover Map Image Johannes Van Keulen, Oost Indien (detail), c.1689Photography Artist portraits by Brett Leigh Dicks(Antony Walker), Ed Hughes (Philip Chu) and BridgetElliot. Production shots by Simon Hodgson.
Recorded live on 6, 8, 9 and 10 December 2006 atCity Recital Hall Angel Place, Sydney.
The New Mozart Edition (Neue Mozart-Ausgabe) ofIdomeneo published by Bärenreiter is performed byarrangement with Faber Music Ltd, London.
ABC Classsics thanks Alexandra Alewood andMelissa Kennedy.
� 2007 Australian Broadcasting Corporation. © 2007 Australian Broadcasting Corporation. Distributed inAustralia and New Zealand by Universal Music Group, underexclusive licence. Made in Australia. All rights of the owner ofcopyright reserved. Any copying, renting, lending, diffusion,public performance or broadcast of this record without theauthority of the copyright owner is prohibited.
For Pinchgut Opera’s production of Idomeneo
Director Lindy HumeRepetiteurs Sharolyn Kimmorley and Neal Peres Da CostaScenic Designer Dan PotraCostume Designer Hamish PetersLighting Designer Bernie Tan-HayesProduction Manager Andrew JohnstonStage Manager Tamsin MartinAssistant Stage Manager Josh SherrinProduction Assistant Chris Childs-MaidmentSet Master Dick WeightProduction Electrician Neil FisherLanguage Coach Nicole DorigoFortepiano Tuning and Maintenance Terry Harper
For Pinchgut Opera
Artistic Directors Erin Helyard and Antony WalkerArtistic Administrator Alison JohnstonMarketing Manager Anna CerneazChair Elizabeth NielsenPinchgut Opera thanks This Is Real Art.
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Mark Tucker Fiona Campbell Martene Grimson Penelope Mills
Paul McMahon Brett Weymark Didier Frédéric Nicole Thomson
Natalie Shea Philip Chu David Greco Antony Walker
