MEYERBEER

Il Crociato in EgittoORC 10

in association with

Box cover and CD inlays Set design by Alessandro Sanquirico for1826 production at La Scala, Milan. Arrival of the crusader into the

Port of Damiette (akg-images/Pietro Baguzzi)Booklet cover Velluti as Armando, London 1825, watercolour by Chalon

(Opera Rara archive)Opposite Giacomo Meyerbeer (Opera Rara archive)

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GIACOMO MEYERBEER IL CROCIATO IN EGITTO

Heroic melodrama in two acts

Libretto by Gaetano Rossi

Aladino, Sultan of Damietta................................................................Ian PlattAdriano di Montfort, Grand Master of the Knights of Rhodes.............Bruce FordArmando D’Orville, a Knight of Rhodes..................................Diana MontaguePalmide, daughter of the Sultan...................................................Yvonne KennyFelicia, in the attire of a Knight........................................................Della JonesAlma, confidante of Palmide........................................................Linda KitchenOsmino, the Grand Vizier..............................................................Ugo Benelli

Geoffrey Mitchell ChoirChorus master: Geoffrey Mitchell

Royal Philharmonic Orchestra

Conductor: David Parry

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Managing Director: Stephen Revell

Producer: Patric Schmid

Performing edition for this recording prepared by Robert Roberts

Assistant conductors: Paul McGrath, Peter LipariRépétiteur and recitatives: Rosemary Barnes

Italian coach: Gabriella Bullock

English libretto: Gwyn MorrisArticle: Don White

Recording engineer: Bob Auger

Recorded at CTS Studios, Wembley, LondonDecember 1990, February, March and June 1991

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CONTENTS

Meyerbeer in Italy by Don White..........................................................Page 10

The Story.............................................................................................Page 73

Résumé................................................................................................Page 75

Die Handlung.....................................................................................Page 77

La Trama..............................................................................................Page 79

Libretto...............................................................................................Page 82

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CD 1 66’24

Dur Page ACT ONE

[1] Patria amata! (chorus) 10’09 82[2] I doni d’Elmireno

(aria Palmide) 3’15 84[3] Il contento ch’io provo

(duet Aladino/Palmide) 3’25 85[4] Vincitor a questo petto 3’05 86[5] Ah! Si: tutti miei voti (recit) 3’05 86[6] Urridi vezzose (chorus) 4’05 89[7] Cessi o miei fidi (Armando) 1’07 92[8] O figlio dell’amore 2’54 92[9] E Palmide! … ella sola (duet) 4’55 94[10] Ah! Non ti son più cara 2’56 97[11] Non v’è per noi più speme 4’47 98[12] Palmide sventurata (recit) 0’37 99[13] Vedi il legno (chorus) 4’41 99[14] Popoli dell’Egitto

(aria Felicia) 0’53 101[15] Pace io reco 4’33 101[16] Ah! Più sorridere 3’35 102[17] Tu, degli illustri Cavalier 1’28 102

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Dur Page [18] Tutto d’intorno (Adriano) 5’09 105[19] L’anguistia mia

(duet Armando/Adriano 5’32 105

CD 2 75’38

[1] Và: già varcasti (duetArmando/Adriano 5’09 110

[2] Non sai quale incanto 5’32 111[3] Il brando invitto 4’19 114[4] Oh! Come tutto intorno (recit) 1’45 114[5] Armando d’Orville! (scene) 4’08 116[6] Giovinetti Cavalier (trio

Palmide/Armando/Felicia) 11’56 120[7] Armando!... Armando! (recit) 1’55 125[8] Adriano! Egli stesso! (recit) 1’21 129[9] Gran Profeta (chorus) 5’29 131[10] Invitto, illustre Gran Maestro 8’10 132[11] Sogni e ridenti (canon) 5’16 137[12] Ite, superbi 3’02 137[13] All’armi vi/ci chiama 3’51 140

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Dur Page ACT TWO

[14] Udiste–raccogliete (recit) 2’13 142 [15] Ove, incauta, m’inoltre?

(aria Felicia) 2’09 145[16] Ah! Ch’io l’adoro ancor 5’07 146[17] Come dolce a lusingarmi 4’03 147

CD 3 70’44

[1] Quanti al gran piano (recit) 0’32 148[2] O solinghi recessi! (aria 2’28 148[3] Tutto quì parla ognor 3’53 150[4] Ma, ciel! S’ei mai perì! 2’21 150[5] D’una madre disperata 2’28 152[6] Deh! Mira l’angelo 4’32 152[7] Con qual gioja 2’47 154[8] Di natura’e d’amista (recit) 3’26 154[9] Nel silenzio (chorus) 4’22 161[10] Dove mi guidi tu? (recit) 1’10 163[11] In sen del nostro 4’12 165[12] O cielo clemente (quartet) 7’06 169[13] Che miro? (quintet) 3’17 170

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Dur Page [14] Ah! Questo è l’ultimo 4’01 172[15] Aladino troppo ardente (recit) 0’47 174[16] Tutto è finito (aria Adriano) 7’21 175[17] Suona funerea 6’54 177[18] Guidati que’perfidi 3’05 178[19] Ecco, I nostri acciari 1’28 180[20] Or de’martiri la palma 4’21 181

CD 4 71’13

[1] Or perduto è Aladino (recit) 0’33 181[2] O tu, divina fè (aria Armando) 2’51 182[3] Il dì rinascerà 3’05 184[4] Sollecita, pietosa (recit) 0’34 184[5] Udite or alto arcano (chorus) 1’43 185[6] Primiero sul tiranno (recit) 0’59 187[7] Ah! Che fate? (aria Armando) 2’15 188[8] Rapito io sento il cor 2’19 189[9] Verrai meco di Provenza 3’38 190

APPENDIX [10] Eccome alfine (Armando) 3’00 191[11] Cara mano dell’amore 4’55 193[12] Popoli dell’Egitto (aria Adriano) 1’30 195

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Dur Page [13] Queste destre 2’21 196[14] Palpitò dolente 3’46 196[15] Rassicurata da suoi tiranno 3’48 197[16] Miseri noi! (recit) 0’46 198[17] D’un genio (aria Alma) 3’31 199[18] Eccomi giunto omai (aria Armando) 2’50 200[19] Ah, come rapido 3’26 202[20] L’aspetto adorabile 2’45 202[21] Guidati sian que’perfidi 3’06 203[22] Ecco, i nostri acciari 1’21 205[23] La gloria celeste 2’56 206[24] Primiero sul tiranno (scena) 2’13 207[25] Ravvisa qual’alma (duet Palmide/Armando) 3’14 208[26] Il tenero affetto 4’48 209[27] Da queste istante 2’46 210

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MEYERBEER IN ITALY By Don White

JAKOB LIEBMANN MEYERBEER was born in Berlin, 5 September 1791. His father owned sugar refineries in Berlin and Gorizia. His grandfather was a respected elder of the Jewish community, and a wealthy banker to boot. His home was a meeting place of the cultural and musical elite. It was hardly surprising, in such stimulating surroundings, that the young Meyerbeer should aspire to become as famed as the scientists, writers and musicians who dandled him on their knees. The chosen stage for his prodigious talents was to be the piano, which, by the age of four, he could play by ear. The music teacher of the Prussian Royal Family gave him his first official piano lessons. At eleven, he made his first concert appearance, and he was soon hailed as one of the foremost pianists in Berlin, so technically proficient that the great Clementi himself came out of retirement to teach him. He studied composition with Weber’s brother. None less than the revered Abbé Vogler taught the young man theory at Darmstadt, where he struck up a close friendship with a fellow student, Carl Maria von Weber. By the time he was 18 his first theatrical composition, a divertissement, Der Fischer und das Milkmädchen was given at Berlin’s Royal Theatre on 10 March 1810. In the following 12 months works flowed from his pen: hymns, psalms, religious works, and a grand oratorio, Gott und die Natur, for the Berlin Singakademie (May, 1811).

Meyerbeer had attained such great heights by the time he was 20 that it seemed like tempting fate to hope that his success could continue unbroken.

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And indeed, his first opera, Jephta’s Gelübde (Munich, 1812), was coldly received. ‘More science than melody… an oratorio more than an opera.’ Turning to comic opera, he fared no better with Wirth und Gast at Stuttgart in January 1813.

German opera, it was obvious, was not to be the young composer’s metier and, accordingly, he moved to Vienna where, obstinately, he presented a revised version of Wirth und Gast as Alimelek or Die Beiden Kalifen (October 1814). Its new titles helped not a bit. Once again it failed.

One of the composer’s earliest biographers, Herman Mendel (Giacomo Meyerbeer, Berlin, 1868) describes the 23-year-old in these days in Vienna as uncertain, tormented by doubt over his abilities, and close to giving up all idea of a musical career. Generously, the veteran composer Salieri gave him consolation and comfort, and suggested that perhaps the young man would benefit from a visit to Italy, where he could better study the art of writing for the voice.

Despite this advice, Meyerbeer first travelled to Munich and then to Paris, then considered the musical centre of Europe, on a visit that he later regarded as a most important stage of his musical-dramatic development. As a virtuoso of the piano, he was lionised in the salons of the French capital; Ignaz Moscheles found his playing ‘unsurpassed’. He stayed long enough to compose in 1815 a French opera, Le Bachelier de Salamanque; but its hoped-for production at the Théâtre Feydeau was not to be realised. He travelled to

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London to hear JB Cramer play, and it was not until early in 1816 that he finally arrived in Italy.

This was to be the turning point of his career. In Venice, Jakob – now Giacomo – Meyerbeer heard for the first time Rossini’s Tancredi and was, as the Harmonicon expressed it, ‘transported’. Forty years later he still talked of the lasting influence both Italy and Rossini had on him. Writing in 1856 to the German biographer Dr Jean F Schucht, he recalled:

At that time, all Italy was feasting in sweet ecstasy. The whole country had finally found, it seems, a long hoped-for Paradise. All that was needed to complete their happiness was the music of Rossini. In spite of myself, I – like all the rest – was caught up in this gossamer web of sound. It was (as) if I were bewitched in a magic garden. I did not want to go into it, but I could not help myself. All my feelings, all my thoughts were of Italy. After having lived there for a year, I felt as if I were a real Italian. I thought as an Italian, felt and experienced like an Italian. Obviously such a complete transformation of my inner life would have an effect upon my style of music. I did not want, as so many suppose, to imitate Rossini or to write in the Italian manner, but I had to compose in the style which my state of mind compelled me to adopt.

He now dedicated himself totally to ‘the Italian style’ and was given an opportunity to compose a new opera for the Teatro San Benedetto, Venice.

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Meyerbeer had agreed to do this without fee, but when the impresario asked him to contribute 100 louis towards the cost of the production, he withdrew completely and went to Padua. There, on 19 July 1817, Italy saw the first results of his dedication, Romilda e Costanza. Set to a text by the veteran librettist Gaetano Rossi, the opera’s blend of Geman harmony and Italian melody – already familiar to Italian opera-goers through the works of Mayr, Paer and Winter – made it an immediate success. The first night was dogged by disasters, oppressive heat, weary singers, instruments coming in bars before their time – yet, despite all this, the applause was ‘never-ending’. The public clamoured for more.

Meyerbeer had learned his lesson well. He refused to be hurried, and made the world wait. It was almost two years before his next opera, Semiramide (Turin, 1819). The libretto was taken from Metastasio. Heinz Becker suggests that it was refashioned by Gaetano Rossi, but the librettist’s name does not appear on any of the published librettos or vocal music, nor in contemporary reviews of the work. The Gazzetta di Milano described the music as ‘bellissima’ and predicted that the score would be placed among the finest of Italian music, ‘notwithstanding the fact that the author is not Italian’. Three months later, Meyerbeer’s second collaboration with Rossi, Emma di Resburgo, was an even more ‘clamorous success’ than its predecessors, establishing his fame not only in Italy, but even beyond the Alps, in his native Germany. It was, too, the opera which brought him directly into contact with Rossini, for it was given at the Teatro San Benedetto in Venice, in the same spring season that saw Rossini’s dashed-off pastiche Edoardo e Cristina. Both operas triumphed, and a cordial

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friendship was struck up between the two composers. (Andrew Everett suggests, in The Donizetti Society Journal 6, London, 1988, that Meyerbeer and Rossini may have first met in Rome in December 1817, when Rossini was preparing for the prima of his Cenerentola at the Teatro Valle the following month. One imagines, however, that if a meeting with his idol had taken place it surely would have featured in Meyerbeer’s correspondence at that time).

Flushed with his Italian successes, Meyerbeer returned home to Germany where Emma was being given both in Italian (Dresden, 1820, conducted by Weber) and in German with its original title, and also as Emma von Leicester in Berlin, Stuttgart, Frankfurt, Munich and Vienna. No welcome awaited him. In Berlin he was accused of prostituting the art he had learned in his homeland. In Vienna he was called ‘a second-rate Rossini’. A revival of Alimelek did little to change these opinions.

Hurt and disappointed, he returned to Italy, and to his first major international success, Margherita d’Anjou, written to a libretto by Felice Romani, and performed first at La Scala (November 1820), and throughout Italy, and then in Munich, Dresden, Barcelona, Paris, London, Lisbon and Budapest.

The illness of the famous singing actress, Carolina Bassi, who had already created his Semiramide, prevented him from completing a third collaboration with Rossi, L’Almanzorre, for the carnival season of 1821, at the Teatro Argentina in Rome. But by this time his reputation was such that his name was

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spoken in the same breath as Rossini’s. He consolidated the opinion of the Italian public and critics with a second opera for La Scala, L’Esule di Granata, again to a text by Romani (surprisingly, for the libretto appears to be based on the same source as the unproduced L’Almanzorre), and performed by three of the greatest singers of the day: Luigi Lablache, Rosamunda Pisaroni and Adelaide Tosi.

But his next work was destined to eclipse all its predecessors and to be his Italian swansong. Venice had asked him for an opera for the 1824 carnival season, and on March 7, the audience at La Fenice rapturously applauded his sixth, last and most successful Italian opera, Il Crociato in Egitto.

It was a pivotal work for the 33-year-old German composer and, at the same time, a turning point in Italian opera. While nearly 170 years later it may appear upon first hearing to be traditionally Rossinian in form, it was, at the time, the opera that broke Rossini’s monopoly of the Italian operatic stage.

The libretto by Gaetano Rossi, who had also written the text for Rossini’s last Italian opera, Semiramide, the year before, provided Meyerbeer with dramatic situations, pomp and glitter – elements that would increase even more in importance and come to fruition a few years later in the genre of French Grand Opéra. The melodramatically romantic plot is of its time, but the musical style, while seeming to be modelled on Rossini is, upon examination, far from imitative. In Il Crociato Meyerbeer began to find his own voice. A contemporary London critic in the Harmonican observed in 1825:

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As I am of the opinion that Der Freischütz is the first modern German music, so Il Crociato in Egitto is the first of the modern Italian: or rather I would correct myself and say, that of all living composers, Meyerbeer is the one who most happily combines the easy, flowing and expressive melodies of Italy, with the severer beauties, the grander accompaniments of the German school.

While Il Crociato marked a transition from Rossini to middle-period Romanticism, it still retained elements of the older, Classical school. Meyerbeer reverted, surprisingly, to keyboard-accompanied recitative. More importantly, it was the last major opera in which the principal role would be written for a castrato, indeed for the last of the great castrati, Giovanni Battista Velluti, for whom Rossini, 11 years earlier, had written Aureliano in Palmira. Roles specifically written for the castrato voice were very soon taken over by men sopranos, but the actual writing – that is for a male rather than a female protagonist – was considerably different. The part, as constructed by Meyerbeer for Velluti, lies uncomfortably for a mezzo voice, and explains why so much of the original Velluti music was to disappear so soon.

The Palmide of that first performance was Enrichetta Méric-Lalande, Donizetti’s first Lucrezia Borgia, Bellini’s first Alaide in La Straniera and Imogene in Il Pirata, with Brigida Lorenzani as Felicia and Gaetano Crivelli as Adriano.

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On 11 March the critic of the Gazetta Privilegiata di Venezia wrote a remarkable review, reproduced here almost in its entirety. Its analysis of the new opera gives an unusual insight into the strict musical disciplines that were expected to be met by the composers of the day, and helps in some small way to explain why the work was considered of such an original nature when it was first given. It also shows us what the singers of the early 19th century had to contend with, for the opera, we are told, was first given on four consecutive nights.

This opera was first performed last Sunday, and was produced again on the following Monday, Tuesday and Wednesday with some abridgements as it has seemed too long on the first evening. The outcome was most successful and the composer’s triumph quite complete. The first performance, and those that followed, saw him called out and feted on countless occasions, and with him the singers, all of whom expended every effort so that it turned out well. The settings and furnishings came up to the demands of those hardest to please. Il Crociato has no overture; some say that it was because the Maestro did not have the time to write it; others say the majestic introduction is well able to take its place and would have been, in fact, prejudiced as to its effect by an overture. Whatever may be the truth, the fact is, if in overtures it is the habit to sum up the most characteristic and happy passages of the opera, that which the Maestro might have written could not have come out more beautifully, his work being so abundant in inspired felicities that it leaves nothing but an embarrassment of choice.

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GAETANO CRIVELLI Adriano in the first production, 1824 at

La Fenice, Venice

After the majestic introduction comes a chorus of slaves, grave, expressive, full of novelties and perfectly suited to the situation. You may well know that the cavatinas for the two ladies are the selfsame that Meyerbeer wrote earlier for L’Esule di Granata [Felicia’s ‘Pace io reco’ and Palmide’s ‘Tutto qui parla ognor’]. With a romanza, written in the simple style and blending appropriately with the words, Meyerbeer has composed a trio that the public seemed to esteem above every other piece in the first act. The melody could not have been more pleasing and ingratiating; and the ladies, Signora Lorenzani and Signora Lalande were completing nobly and skilfully to make it admired for all its beauty. Unfortunately when the third voice enters (it is Velluti who sings off stage), some words, delivered in the manner of recitative by the two ladies, unhappily interrupt the song, breaking it up and lessening the emotion generated by the romanza. It would be worthwhile Meyerbeer’s while to harmonise the ending of this opening better, so rendering this very beautiful piece perfect. The young Signorina Paessler on the harp, her father with the cor anglais, clarinettist Cimetta, Scapolo flute, Zifra French horn, Campioni cello, and Camerra playing violin, together made a delightful accompaniment.

In the finale, a quintet in canon, after the chorus, claims the listener’s attention. The theme is short, easy, broadly melodious, but perhaps one could desire the last phrase to be simpler. [The writer at this point goes into a lengthy explanation of what was obviously at that time

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considered unusual harmonic integration, finding its novelty did not fall immediately easily upon the ear.] Knowing him [Meyerbeer] to be an admirer of the pure but simple melodies of our Italian song, we regret the number of occasions it seems we notice him disposed to the fault that we have so much censured in other German composers, of making the human voice ‘play’ as an instrument.

The end of the finale has been written in the grandest style, in the midst of the clamour produced by numerous choruses, by a very full orchestra and by two on-stage bands one of which is made up of a dozen trumpets (the other using eight clarinets); the sound of the voices is beautiful when heard on the words ‘all’armi vi chiama’, expressed with as much brio and fire as one could ever wish. Each evening after the finale the composer has been called on stage to receive the customary signs of approval from the audience.

The aria for Signora Lorenzani is the first piece of Act 2. The first section is cantabile, melodic and of a pure style. The second no less so; though not everyone was able wholly to appreciate the seriousness of its character. Signora Lorenzani received prolonged applause for it.

The rondo for Signora Lalande, nobly and exquisitely fashioned, follows. The composer has sought to test to the full the ability of this outstanding singer. True, sweet lines distinguished the first section, accompanied by a pure, serviceable instrumentation which rather gives

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prominence to the violin and flute. Because of that one perhaps would prefer more economy in the use of the trill. The fast section is pure bravura, not lacking in the semitone scales of which Signora Lalande must be wearied. Generally one could apply to this rondo many of those observations made on the quintet from Act 1.

The chorus of Emirs in Scene XIII confirms the view that in the matter of choruses Meyerbeer is second to none. This one is so beautiful and so well performed that the Chorus, directed by the highly regarded Signore Carcano, were called out.

The art of Meyerbeer is especially revealed in the grand concerted numbers: it shines through in all its splendour in the prayer for four voices, which then concludes in a sextet. The quartet written in the style of a canon is treated in the most scientific manner and is a rich work, but rather long, as the theme has no less than 40 measures. The chorus ‘Ah no, signor’ is perfect: and though rather long, the ending of the sextet is magnificent. Every evening the two ladies, Velluti and Crivelli all earn for themselves the most enthusiastic applause; and well they deserve it.

After the sextet there are two further rondos for Crivelli and Velluti. The first was not heard other than at the first performance, Crivelli’s indisposition not allowing him to repeat it. It seemed however a wholly perfect piece and was much applauded. The second, which brings the

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ENRICHETTA MÉRIC-LALANDE, Palmide in the first production, 1824 at La Fenice, Venice

performance to an end, and consists properly of a theme and variations, in conjunction with the Chorus, was also left out after three performances for the same regrettable reasons, and was not as happily received as the first rondo.

And so we end the analysis of this opera which will finally establish the supremacy of its author’s position, assuming that there was any need to. The gentle reproof we have allowed ourselves was madeonly to highlight more fully its beautiful. A shame then that Signore Meyerbeer is not a full time Maestro! We would beseech nothing more from the management than that they secure him in advance for a whole year in the future.

The critic of Il Nuovo Osservatore Veneziano, writing on 13 March, approached the new opera in less analytical fashion:

When one announces the premiere of an opera by Meyerbeer, any proclamation of success may be dispensed with because, judging from the experience to date of his other compositions for Italy, success is the expected outcome. If then Costanza e Romilda at Padua, Emma at Venice, Semiramide at Turin, Margherita d’Anjou and L’Esule di Granata at Milan were all widely applauded with such rapture, by what strange combination of events could it (possibly) be otherwise with this new and sublime work presented for the first time at La Fenice on the 7th of this month?

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The esteemed Maestro gained admiration even when very young and continues to do so as his brilliant career comes to full fruition; now it seems he surpasses himself with this opera, better than he, and only he, could have done. The extremely talented performers, many of whom already know how to sustain works of little worth, were engaged to reveal to us as clearly as possible the unusual beauty of this work; the Venetian public who have clearly proved their rare insight in judging the value of musical works, was obliged to welcome with enthusiasm one of such obvious and special excellence. In fact at the first performance, Il Crociato by Meyerbeer, sung by Signore Lalande and Lorenzani and Signori Velluti and Crivelli, was received with clamorous approval by an overwhelmed concourse of spectators, and even more emphatically, convincingly and delightedly on the following evenings, since not one hearing, not two hearings, but only many hearings are sufficient adequate to evaluate and enjoy as a whole and in all its parts such valuable music. Given such a spontaneous, widespread and repeated vote of approval, this opera has already attained a pre-eminence which assures the composer, if he had not already achieved it, a clear and permanent celebrity. None allowed their attention to waver at all throughout the performance, the numbers nevertheless that cast a particular spell and were listened to with extra interest were the Introduction, the duet of Velluti and Crivelli, the trio for the two ladies and Velluti, the great finale to Act I and the quartet that ends as a sextet, to say nothing of half a dozen choruses displaying marvellous development and effect.

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The distinctive character of Meyerbeer’s music is to offer a constantly melodious harmony; and as his harmonies are wrought with great ingenuity and the melodies fashioned with much taste he achieves the true purpose of his art, that is to arouse an extraordinary delight in both informed and ignorant listeners. To enable him to reach this highest level of musical perfection nature has endowed him with much good judgement and an equal abundance of fantasy, and profiting then from these gifts our esteemed Maestro made it his study to make reason mistress of the imagination and good taste the counsellor of his learning. The employment of these gifts in this way is why Il Crociato and his other operas so far have pleased and why Meyerbeer’s work in the future will also please. For an infinite number of fortuitous causes so often prove to have an adverse influence on operatic productions, an even greater number of probabilities will always militate in favour of this composer.

[Having lauded the composer, the critic is profuse with compliments for the singers. Of Velluti:] Absolute master of his voice, he knows instinctively how to constrain it, to shade it, to let it spread or diminish with wondrous art, so that he always gives an effecting delicacy to his expression; and in the duet with the tenor, in the canon in the finale of Act I, and in the prayer of the quartet, this delicacy of expression which we have remarked is generally observed by the whole of the applauding public. [Of Crivelli:] He compels his beautiful and perfect voice to ring out to the satisfaction of all the audience. His majestic declamatory

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timbre and the energy of his expression are never unworthy of this outstanding singer. [Of Lalande:] Always animated by her usual commitment, she retains that affection she was able so deservedly to win on her first appearance. The freshness of her voice, the ease of her decorations, the precision of her execution coupled with her spirit, the decorum of her acting, all these add to her merits and secure for her an ever growing reputation in Italy. [Of Lorenzani:] Honoured by universal approval, she shows that she is making herself increasingly deserving of it, and she herself should readily perceive that she is applauded in this opera with every increasing generosity.

The reviewer of Cenni Storici Intorno alle Lettere Invensioni Arti Commercio writing on 15 April had little left to add:

Never (was) an opera (produced) under more unpromising circumstances, (yet) few operas boast of a more glorious, more brilliant success. Meyerbeer surpasses himself; to the more grandiose, austere images he showed how to unite the tenderness, the beauty and the grace of enjoyable melodies, that remind us of the old Italian bel canto; one could not say which are the more favoured pieces. The first act is full of originality and beauty. The second act is similarly successful.

The scenery is of extraordinary magnificence, and the management has supported with all pomp the ideas of the librettist. The dances introduced into the various choruses, the numerous beautiful sets by

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Signore Bagnara, the four changes of very rich wardrobe, two bands, two hundred participants on stage, well directed in their respective groupings, all presented a spectacle that surprised and interested. Our Carnival has started in Lent. Why didn’t Il Crociato come a month earlier?

It is easy to understand why Il Crociato-mania spread through Italy like wildfire. Eight weeks after the Venetian premiere, Meyerbeer re-produced the opera in Florence. Cenni Storici Intorno alle Lettere Arti Commercio reported on 18 June.

One is unable to decide in which of the two cities it has been better received or more welcomed. Who knows where one will have the chance to hear it in this same form third time, having regard to the accursed habit, that normally results from the limited abilities of singers, of disfiguring compositions, that is to say of grafting extraneous pieces onto them with might and main. (No mention was made of Meyerbeer’s own changes to the work).

The music is moving, harmonious, profound, original and expressive so that it serves the verse admirably, and for that reason raises Meyerbeer above many contemporary composers.

The singers were again applauded. Only Velluti retained his original role. The new Palmide was Adelaide Tosi, with Domenico Reina as Adriano and Caroline Biagelli as Felicia. Its success was such that, unusually, it was revived

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ADELAIDE TOSI, Palmide in the

1824 production at Teatro della Pergola,

Florence

that October. A month later Meyerbeer supervised a production in Trieste. Il Nuovo Osservatore Veneziano reported:

This superb work was crowned with incessant, unanimous and, one might say, almost frenetic applause. An admirable example of harmonic beauty, that penetrates in every part, and everywhere triumphs! After so many frequently repeated examples by Meyerbeer and Rossini, who now will ever again brand as fables the ancient achievements of Orpheus and Amphion, the former able to move animals, the latter stones. Just as the magic of this music created a great impression at Venice and Florence, so it did at Trieste, in fact producing a greater and even more clamorous effect. Right from the first piece the applause was let loose con furore, and the enthusiasm continued growing to such a degree that, even after the performance had ended, it could not be calmed down until 4 o’clock in the morning. The cheering spread through the streets, numbers of torches were lit, the sounds of the military band rang out, and with this colourful attendance the composer was accompanied to the casino and his hotel.

The Trieste critic for the London Harmonicon told his readers:

‘From the more exalted loungers in the casino, to the ragged idlers on the quays, nothing is talked of, but Meyerbeer and the Crociato; favourite pieces of the music are hummed in every direction, and the favourite romance (‘Giovinetto Cavalier’ which was also published in the same issue of the magazine) is in every mouth’.

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CATERINA CANZI Palmide in the

1824 production at Teatro Grande, Trieste

Importantly, for the first time, the role of Armando was taken be a mezzo soprano, in this case Carolina Bassi, who ‘excelled herself ’. There was praise, too for the Adriano, Nicola Tacchinardi. Caterina Canzi, the Palmide, gave ‘an inferior performance... but so great was their (Bassi and Tacchinardi’s) incomparable vigour, that the audience did not have time to realise this’. The Felicia, Signora Villa, was also considered of inferior quality, but we should realise that in those early days of the 19th century, any opera containing leading roles for a castrato and a mezzo soprano posed a major problem when the castrato role was later taken by another mezzo soprano. Understandably, in these instances the role of Felicia virtually disappeared. In the Trieste performance Signora Villa lost both her arias. She was given a short section of recitative with Adriano before the Adriano/Armando duet, which served to explain who she was and why she was there, and apart from the trio ‘Giovinetto Cavalier’, sang only in the ensembles.

Carolina Bassi was also the Armando of Meyerbeer’s re-production of the opera in Padua in July 1825.

Il Crociato received two further productions of such importance in terms of musical history that they deserve specific mention. On 30 June 1825, the opera was given in London, supervised, with Meyerbeer’s blessing, by Velluti. The musical press of the country had already written in detail of the success of the opera in Italy. The critic of the Harmonicon had written:

‘A triumph of music, of a very unusual kind, has recently been obtained at Florence; a work not composed of a motley collection of

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fragments, but forming an entire and connected whole; one of those effusions of genius which appear rarely in an age. It is considered as a happy amalgamation of the German and Italian schools; as full of well-digested and profound harmonies, blended with a spirited and expressive melody.’ Again commenting on the manner in which Meyerbeer’s music seemed so revolutionary for its time, he wrote: ‘We sometimes meet with very uncommon phrases, which may not at once be either relished or understood’ but when heard often, they enchant by their novelty and beauty, and strongly rivet the attention. It must be acknowledged by all, that the compositions of this master not only pleased the ear, but also express a language that speaks directly to the heart.’

While the news that Il Crociato was to be given in London excited much enthusiasm amongst opera lovers, opinion was divided on Velluti himself. A castrato had not been heard on the London stage for more than 30 years, and – unheard – he was quite viciously attacked in the pages of the musical press.

John Ebers, then manager of the King’s Theatre in Haymarket, described the mounting of the opera in detail in his memoirs (Seven Years of the King’s Theatre, London, 1828).

The curiosity excited by the announcement of a Musico was vivid in the extreme. Very few were known to exist at the time. The getting up of the music [was left] almost wholly in his hands, and he exerted

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NICOLA TACCHIARDI Adriano in the 1824 production at Theatre Grande, Trieste

himself with the greatest zeal in producing it, in a manner worthy of the composer and of the countru to which is was now to be first introduced. Mademoiselle Garcia (Maria Malibran), then a young singer, had a complete course of instructions from him on this occasion, to enable her to fill the part allotted to her [the role of Felicia; Velluti re-instated the aria ‘Pace io reco’ specially for her], in a manner correspondent to his own. He also brought with him, from Florence, designs for the scenery, dresses &c.

The friends of Velluti did not fail to attend his debut. The Duke of Wellington, with a party who had dined at Apsley House, attended the Opera, as did most of the people of distinction in town. The old amateurs came to compare the new singer with those of their early recollections; and those who were of more recent date than the days of Pacchierotti and his contemporaries came to hear so rare a novelty. Some came to oppose him, and some out of a feeling that he had been harshly treated by the press, and by a portion of the public. Various motives conspired to draw together an overflowing house. But the event was left uninfluenced by any artificial means of securing applause.

Velluti’s demeanour on entering the stage was at once graceful and dignified; he was in look and action the son of chivalry he represented. His appearance was received with mingled applause and disapprobation; but the scanty symptoms of the latter were instantly overwhelmed. Every one of the many who were there must remember the effect produced on the audience by the first notes he uttered. There

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was something of a preternatural harshness about them, which jarred even more strongly on the imagination than on the ear. But, as he proceeded, the sweetness and flexibility of those of his tones which yet remained unimpaired by time, were fully perceived and felt.

The personal appearance of Velluti added much to the effect of his debut. He is tall and of a slender make, his countenance pale and suffused with a melancholy expression, which gives way, when the singer is excited, to one of vivid imagination. Fraught by nature with excessive sensibility, his features speak every subtle shade of emotion by which the performer is supposed to be, and in Velluti’s performances really is, actuated. With these expressive powers, there reigns, throughout all he does, a chaste and simple style, both in singing and acting, undestroyed by needless ornaments and misplaced efforts at display. Maintaining a true command over his powers he rarely, if ever, lets them get the better of his discretion.

From what has been said, it may be concluded that Velluti’s countenance is an interesting one; it is, indeed, so much so, that a late artist said, ‘that without a single feature which one should select as beautiful, Velluti had the finest face he had ever seen’.

The effect of Velluti’s assistance in getting up the opera was fully manifest in the perfection of all the singers in their respective parts.

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MARIA MALIBRAN Felicia in the 1825 London production

Remorini [Aladino], Curioni [Adriano], Mademoiselle Garcia [Felicia], excelled themselves, and Caradori ]Palmide] exhibited a degree of excellence which even those who had best appreciated her powers had not anticipated. Her duet with Velluti ‘Il tenero effetto’, is well remembered, and with delight.

The favourable reception of Velluti on his first night completely put an end to any effective opposition; and the uneasiness he had sustained in consequence of the attacks made upon him, and to which his susceptible temperament rendered him peculiarly open, was compensated by the numerous testimonies he received, of support and regard.

It is agreeable to be able to say that, high as Velluti now stood with the public, his professional excellence fell short of the goodness of his private character. As a man of kind and benevolent disposition, and equally gentlemanly feeling and deportment, he is known to many who duly appreciate and respect him.

His private habits are of the most simple and inoffensive kind. In society he never fails to interest; and the apparent melancholy of his disposition is exchanged for a lively and almost playful exuberance of good humour – a feature of character not unusual with persons of much sensibility. Velluti is sparing in the pleasures of the table; a cup

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of coffee and a little dry toast form his breakfast, and his others meals are in proportion. His chief amusement is in billiard-playing, or whist, which, though no gamester, he is very fond of.

The Harmonicon reported that both the opera and Velluti were received with the most unanimous and enthusiastic applause, though adding: ‘No small share of the debutant’s triumph must be ascribed to the fierceness of the attack made on him, previously to his appearance, in a leading daily paper, which brought to his support all the friends that his letters had procured him, persons who otherwise would not have exhibited the same activity and energy.’ It was also reported, with some amazement: ‘The opening chorus of the opera was encored, a circumstance we believe unprecedented, and tended to prove that the house contained a discerning audience.’

The great success of Il Crociato in Egitto gave Meyerbeer the opportunity at last to confront Paris with confidence as a composer of recognised stature.

Following Velluti’s London production, Meyerbeer, at the invitation of Rossini, re-produced the work at the Théâtre-Italien. The opera was to undergo one more change. For the first time the role of Armando was taken by a soprano, Giuditta Pasta, who would be Bellini’s first Norma and Donizetti’s first Anna Bolena. (Surprisingly, although she created a furore in the role, it would seem that Pasta sang the role only one more time, in March 1828 in London.)

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RANIERO REMORINI Aladino in the 1825 London production

The opera was a brilliant success – Ebers remarked that Meyerbeer had spent nine months ensuring that the production would be the best it could possibly be. The result was one of the most brilliant successes the Paris public had ever witnessed. Overnight, Meyerbeer was turned into a composer of true European standing.

Wherever it was given, it seemed that Il Crociato could not fail. Within 12 years it was given in every major, and minor, opera house in Italy – Parma, Padua, Genoa, Milan – at La Scala and the Canobbiana theatres, Reggio, Modena, Sinigaglia, Brescia (with a soprano Armando, Francesca Festa-Maffei, in 1826, and again in 1829 with Velluti repeating his original role), Lugo, Naples, Bologna, Turin, Messina, Lucca, Verona, Ferrara, Mantua, Livorno, Palermo, Bergamo, Pavia, Siena and Rome, Venice again in 1827, and Florence again in 1833 with Velluti singing his last Armando. Outside Italy it was seen in London, Paris, Munich, Barcelona, Dresden, Cadiz, Oporto, Graz, Madrid, Lisbon, Vienna, Leipzig, Hamburg, Berlin, Corfu, Constantinople, Havana, Mexico and Rio where, in 1831, Dom Pedro II, the Emperor of Brazil, was so overwhelmed by the music that he awarded its composer the order of the Southern Star. It was heard in German in Munich, Dresden, Bratislava, Budapest, Prague, Stuttgart, Vienna, Berlin, Strasbourg, Bucharest, Konigsberg and Kassel, and in Russian in St Petersburg.

But which Il Crociato did they see? Within only 18 months of its composition, the opera already existed in four composer-approved versions: the original Venice version (recorded here) which, basically, was never again

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given in that form after the first night; the revised Florence version, still with a castrato Armando; the Trieste version for a mezzo-soprano Armando; and, finally, the Paris version for a soprano Armando. Nor were the changes effected minimal.

For the first Venice production, Meyerbeer had given Felicia one of the most breathtaking entrances in Italian opera. As the chorus announced the arrival of the Knights of Rhodes, a ship in full sail, complete with on-board band, arrived in Damietta harbour. Felicia – the hero’s betrayed betrothed, disguised in male attire – stepped forward to greet the people of Egypt in a brilliant aria and cabaletta. By the time Il Crociato reached Florence, eight weeks later, the chorus, ship in full sail, and band, were still very much in evidence, but it was no longer Felicia who stepped forward to greet the people of Egypt; it was Armando, back from the wars, who now disembarked to deliver a brilliant, newly composed aria and cabaletta, ‘Cara mano dell’amore’. Obviously Velluti considered such an entrance too good to waste on a seconda donna. Other revisions included an aria at the beginning of Act II for the comprimaria, Alma (not a lot of work – Meyerbeer simply adapted it from his Semiramide). A final duet for Armando and Palmide now brought the opera to a close in place of the original rondo.

When Carolina Bassi undertook the role of Armando in Trieste, a new aria was introduced for her, an adaptation of ‘Ah come rapido’, from Meyerbeer’s earlier L’Esule di Granata. Signora Bassi also declined to share a final duet or to sing Velluti’s original aria finale. Thus the opera closed with the rondo and

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variations originally written for her in Semiramide five years earlier in Turin. (This rondo with variations has been recorded by Opera Rara on ORHC103, 100 Years of Italian Opera 1810–1820.) The role of Adriano, Grand Master of the Knights of Rhodes, was comprehensively revised for the veteran tenor Nicola Tacchinardi. As well as a heavily amended (and abbreviated) ‘Suona funerea’, a new aria with banda, ‘Queste destre’, was added.

In Paris, Meyerbeer made revisions to the opera for Giuditta Pasta, most notably in the aria ‘Ah come rapido’, first introduced in Trieste for Carolina Bassi. Now it was given a brilliant cabaletta, ‘L’aspetto adorabile’. (Iinterestingly in some existing manuscripts and printed scores, this cabaletta is ascribed not to Meyerbeer, but to Nicolini.)

An examination of the libretti of the multitudinous performances of the opera, both in and out of Italy, shows that no two audiences ever saw exactly the same work. As well as Meyerbeer’s own revisions, it was becoming – as the early Italian critic had feared – an opera of arie da baulle (literally, ‘baggage arias’: arias that singers carried around with them and interpolated at will into whichever opera they were singing).

Sometimes it was neither Felicio nor Armando who stepped from the boat in Damietta harbour, but Adriano (which at least, textually, had a certain amount of logic). At a performance in Reggio in 1826, Armando stepped from the stip to sing ‘Ah! Quel giorno’ from Rossini’s Semiramide; in place of the most successful piece in the opera, the trio ‘Giovinetto Cavalier’, Palmide

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interpolated an aria by Pacini, ‘Dal duolo oppressa e vinta’; Felicia opened the second act with an unidentified aria, ‘L’amo; sebben ingrato’; and as the opera reached its climax, Palmide brought the action to a halt to sing the rondo finale of Donizetti’s Emilia di Liverpool (recorded complete by Opera Rara on ORC8)! And still it succeeded.

Meyerbeer’s final production of the work in Paris was historic in more ways than one. As Herbert Weinstock writes: ‘It was to initiate what would unroll as the most brilliant career ever made in Paris by an operatic composer.’

Meyerbeer turned his back on Italy and, for five full years, assimilated French art, history and character before unveiling his first French opera, Robert le Diable (Paris, 1831). William L Crosten observed:

In the entire history of the lyric stage there is hardly a parallel to the fabulous success enjoyed by Meyerbeer and his associates at the Paris Opéra beginning in 1831. Carrying all before them the created a type of lyric drama which not only won a local triumph but left its mark wherever opera was played. Former favourites were shunted aside and even Wagner, himself, was unable to halt the conquest.

His success was such, indeed, that Heine was inspired to write (a little tongue in cheek, no doubt) that the ‘mother of Meyerbeer was the second woman in history to see her son accepted as divine’.

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�

After Robert le Diable came Les Huguenots (1836), Le Prophète (1849) and Meyerbeer’s last Grand Opera, L’Africaine (1865).

Meyerbeer had now attained success in Italy and in France. But the success he most craved continued to elude him – success in Germany. His last attempt was in Berlin in 1847 with Ein Feldlager in Schlesien written for, but not finally performed by, Jenny Lind. Disappointed by its lukewarm reception, he adapted it, once again in German, for Vienna as Vielka. On this occasion it was indeed sung by Jenny Lind. But it was not until Meyerbeer turned it into a French opéra comique, as L’Etoile du Nord (1854), that the work was received with the kind of acclamation that he had come to expect.

Between L’Etoile du Nord and L’Africaine, he composed only one other opera – a delightful pastoral originally entitled Le Pardon de Ploërmel which very quickly became known as Dinorah. It was perhaps the most enduring of all of the composer’s operas, remaining in the international repertoire until the 1930s (Dinorah has also been recored by Opera Rara on ORC5).

For its time, Il Crociato in Egitto is an opera of quite original cast. Philip Gossett, in his introduction to the Garland reproduction of the Venice manuscript, points out that the orchestra of the opera is unusually striking for 1824. It is considerably larger than any Rossini had even used in Italy. Meyerbeer uses the orchestra in quite a different way to Rossini, too. While the

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‘bando sul palco’ was well established by 1824, Meyerbeer’s use adds a spatialelement to the on-stage drama. In the introduzione, six trumpets arepositioned in four stage towers (1,1, 2 and 2) with two additional trumpets inthe orchestra. The banda, in fact, is used more comprehensively than in anyprevious Italian opera. Indeed, for the finale primo Meyerbeer introduces notjust one band, but two. The first, that of the Crusaders, consists mainly ofregular brass instruments: trumpets, horns and trombones. The second band,that of the Egyptians, features high, shrill wind instruments like the quartinoand the piccolo clarinetto. Also on stage are four separate snare drums, and inthe pit a gong. It must have been overwhelming for 1824, and youngcomposers, who till then, had been writing in the style of Rossini, quicklychanged tack and began to produce operas in the style of Meyerbeer(Mercadante’s I Normanni a Parigi and Pacini’s I Cavalieri di Valenza closelyfollow the Meyerbeer format). Years later, Meyerbeer was to go one better toquite striking effect in L’Etoile du Nord, with three stage bands.

In Il Crociato, Meyerbeer begins to expand the Rossini conventions. Thesinfonia is a long way from the conventional overture. Gossett describes it asan orchestral composition expressing the feelings and accompanying thelabours of the captured Crusaders, now slaves of the Pasha, Aladino.(Meyerbeer uses a male chorus only in the opera.) It is played with the curtainraised, and a pantomima (so labelled in the Ricordi piano-vocal score) ismimed by the chorus.

Costume design forGiuditta Pasta (Armando)in the 1825 Parisproduction

at the Théâtre Italien.

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The sinfonia leads into the introduzione, a choral introduction followed bya primo tempo for Palmide. Then, instead of the traditional concludingcabaletta, Palmide sings one verse of a cabaletta (‘Soave immagine di quelmomento’) which is quickly followed by new material (‘Il contento ch’ioprovo’) sung by her father, Aladino, which is practially a florid primo tempoof his own. Then, together, they return to the cabaletta theme. Meyerbeer doesnot let it end there, however. Six trumpets sound from the four corners of thefortress to announce the arrival of the vessel carrying the Knights of Rhodes.The chorus and soloists prepare to greet them, and this leads to a secondstretta-like cabaletta, ‘Vincitor a questo petto’.

It is a continuation of the style of multi-movement introduzione thatMeyerbeer had begun to develop with L’Esule di Granata in 1822. And,indeed, far from Meyerbeer imitating Rossini, it was Rossini who imitatedMeyerbeer. Gaetano Rossi, the librettist, had written to Meyerbeer on 28October 1823, when he was involved with Rossini on the score of Semiramide,to report:

He (Rossini) has written an Introduzione alla Meyerbeer – evenColbran (the singer Isabella Colbran, prima donna and Rossini’s wife)appears in the Introduzione. Great pomp, an impressive scene …

Gossett points out that other pieces differ from Rossinian models in otherways: the many lovely and simple cavatinas, for example, with delicateorchestral accompaniments reminiscent of pre-Rossinian operatic practice.

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One of the most famous pieces in the opera, ‘Giovinetto Cavalier’ a trio forArmando, Palmide and Felicia, is essentially strophic – much like a Frenchromance, a form rarely used by Rossini. Its orchestration calls for a solo violin,solo clarinet, English horn, French horn, solo cello, and solo contrabass. Mayrhad used a similar combination of solo instruments for the romanza of Alfredoin his Alfredo il Grande (Bergamo, 1819 – it can be heard on ORHC103, 100Years of Italian Opera 1810–1820). The closest approximation in a Rossiniopera is, perhaps, the duet for Zelmira and Emma in Act II of Zelmira, whichRossini scores for harp and cor anglais alone (recorded on ORH104, 100 Yearsof Italian Opera 1820–1830).

In the second act, the scena, Inno di Morte, ed aria for Adriano is anuncommonly vast apotheotic musical fresco. Its prophecies, with a harpaccompaniment, choral-solo interchanges, and visions of martyrdom, all pointto the great prophetic scene written by Rossini for Le Siège de Corinthe (1826),his first French opera. Though this work is a revision of the Italian MaomettoII (Naples, 1820), the prophetic scene is new to Paris. Gossett suggests that thesuccess of Meyerbeer’s opera impelled Rossini to write this equivalent scenetwo years later.

A series of letters from the librettist, Rossi, to Meyerbeer about Il Crociatoin Egitto (Giacomo Meyerbeer Briefwechsel und Tagebücher, Vol. I, edited byHeinz Becker, Berlin, 1985) give a fascinating and rare insight into thecreation of the work (Meyerbeer’s responses are unfortunately unknown), andrepresent the single most important series of letters about the creation of an

Costume design forGiuditta Pasta(Armando)

in the 1825 Parisproduction

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Italian opera of the 19th century before Verdi. They allow us to enter everyaspect of the making of the libretto, analysing dramatic and musical problems,carefully weighing each decision. They refer, of course, to the first text/version,ie: a text that is used in the stages of first formulation. Without a very detailedknowledge of that text it is often difficult to grasp the full significance andforce of many of Rossi’s remarks. To overcome some of these difficulties,the music to which he refers has been listed, along with its page numberin the libretto.

The first of Rossi’s letters, giving some indication of the amount of timeMeyerbeer dedicated to his composition, was 18 months before the premierethat was originally to have taken place in Trieste. At this time the working titleof the opera was Il Cavaliere di Rodi. This was from Verona, 26 September1822. Five weeks later, Rossi was writing from Bologna (where he was workingon the text of Rossini’s Semiramide), enquiring if Meyerbeer had received theverses he had sent.

Back in Verona, a letter was received by Adolfo Bassi, the impresario of theTeatro Comunale, Trieste, who had apparently asked the composer for ‘aspectacle superior to any other in Italy’. Rossi, writing presumably atMeyerbeer’s behest, informed Bassi that the composer would not write forTrieste until the third protagonist had been finalised. Velluti and EmiliaBonini had already been cast, and he now suggested the bass Filippo Galli andthe Bergamasque tenor Giovanni Davide, and entreated the impresario topersuade Barbaja (impresario of the royal Naples theatres) to release atleast one of them.

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In February, from Gorizia, Rossi was answering Meyerbeer placatingly. Itseems that the maestro did not care for the author’s second act. Rossiapologised for his tardiness and his lack of inspiration. On 30 March 1823,Rossi wrote from Verona to complain that ‘the Inno di Morte [page 183] isdriving me crazy: I have not yet a thought in my wardrobe’. Three days laterhe told Meyerbeer that there were no replies from anyone and suggested thatif Davide was not available perhaps (Domenico) Donzelli or (Berardo) Wintershould be considered. Two days later he believed there was still a chance thatDavide would sing the role of Adriano.

By 8 April Rossi was able to pen: ‘Apart from the Inno di Morte everythingis completed, and I will send it to you all together. But this Inno is truly of myMorte! I’ll write soon to Bassi about the bass, Pio Botticelli or (Antonio)Tamburini. Winter (the tenor) is not available as he is in Florence appearingwith Velluti. (Luciano) Bianchi (who eventually did take the role of Aladino)is hesitant about accepting the offer. At the Teatro Goldoni (the tenor)Tacchinardi is appearing with (Brigida) Lorenzani in Tebaldo e Isolina. Galli issigned up at La Scala for the next two years.’

Velluti was obviously involved in the casting, for the next day Rossi wrote totell Meyerbeer that he did not agree with the castrato’s opinion of Winter.

One of the few Meyerbeer letters extant that pertain to the opera was writtenfrom Venice, 21 May 1823, to the bass Prosper Levasseur in Paris, remindinghim of his success inMargherita d’Anjou¸ and ‘desiring to profit one more time

Costume design forEster Mombelli(Palmide)

in the 1825 Parisproduction

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Meyerbeer was not so easy to convince. 17 July, Rossi was writing: ‘Are younot persuaded of the part of Felicia in I Cavalieri for Lorenzani? In Vespri shehas a beautiful duet with Velluti, but not a particularly good role. Beautiful,but no situation is as interesting or as touching or as new as that in Cavalieri.I Vespri has no scene for a Gran Maestro, no trio of benediction. No sublimefirst act duet for the Gran Maestro and Armando. Note that in I Vespri Vellutidoes not sing with Crivelli. There are no situations as terrible or as tender asin I Cavalieri. What else could we do? Revise Almanzorre, or Tito, I’ll doanything you want. But remember, you have not been heard for two years, youneed a triumph... No occasion more luminous than this will turn up. So thinkCavalieri… your Cavalieri triumph will be your greatest triumph.’

Six days later, he was still cajoling the adamant composer. ‘There will be notrio for ‘white’ voices in the opera I am writing for Maestro Morlacchi…loyalty would not permit me to assign such a trio to Vespri. [He is referring tothe trio ‘Giovinetto Cavalier’ [page 125,] which he believed would cause afurore in Il Crociato]. In the old sketches, I had considered uniting threecavatinas for three major parts, the musico, tenor, prima donna…

Another six days passed, and Rossi was still at his most persuasive. As well asno trio in the Morlacchi opera, ‘there is no Crivelli-Velluti duet’.

By 5 August, Meyerbeer had obviously capitulated. ‘You have the first act ofCavalieri, of the second I have no more than a sketch of the lyric pieces withthe changes that have been made.

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from your grand talent. The occasion perhaps presents itself at this moment.The management of La Fenice have invited me to compose a new opera seriafor the next carnival. I know they have not yet engaged the bass’. He concludedby giving the dates, 26 December to 20 March, ‘but the singers will have to bein Venice by 1 December for rehearsals’. (This new opera was not originallydestined to be Il Crociato, which was at this time still slated for Trieste, but acomplete different work.)

Another letter from Rossi informs Meyerbeer that Conte Boldu, thePresident of La Fenice, strongly recommends the tenor Gaetano Crivelli forthis new opera.

The librettist’s letter of 22 June tells the composer that he has now heardfrom Adolfo Bassi in Trieste, to the effect that everything has gone wrong atthis time, and postponing the production of Il Crociato (its working title nowpluralized to I Cavalieri di Rodi) to autumn 1824, when he expects a furore.In autumn too, Meyerbeer can have Crivelli as Adriano and Carolina Bassi asArmando; Rossi adds: ‘Think what a great duet this could be.’

By 6 July, the company for the opera in Venice was Velluti, Crivelli orTacchinardi, Méric-Lalande, Lorenzani and the bass Zuccoli. Rossi suggests anumber of subjects, Matilde (Malek Adel) or I Vespri, about ‘the invasion byWilliam the Conqueror in 1066 who at the Battle of Hastings became padroneof England and in 1072 invaded Scotland’. Rossi was also aware that themanagement of La Fenice did not especially want him to write the text forMeyerbeer’s opera, and had assigned him the second opera of the season, to be

Costume design forBianca Schiasetti

(Felicia)in the 1825 Parisproduction

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composed by Francesco Morlacchi. (This became Ilda d’Avenel, which receivedits first performance on 20 January.)

Within the next four days Meyerbeer decided that I Cavalieri di Rodi shouldbe the new opera for La Fenice, rather than for Trieste in autumn 1824, forRossi points out that ‘you have at La Fenice (Brigida) Lorenzani for whom Icannot find a part in our book’.

Three days later he had solved the problem. ‘Thinking of our Cavalieri, forwhich there was no part to be found for Lorenzani. Bright idea. We could haveFelicia, a young lady betrothed to Armando, now in the dress of a man in thecompany of the Gran Maestro – now Cavalieri is adapted for the company.With the addition of interest, passion, and a contrast to Armando. Greatentrance with the tenor. Duet with (Velluti), a superb one with the donna. Anaria if you wish one. Added interest in the finale. I’ve found a way for you togive our Cavalieri. It will be sublime.’ As an afterthought, he added: ‘andbecause it is also a religious opera, indeed the triumph of religion, it can bedone in Lent!’ (In the end Felicia had no duet with Velluti, and her duet withthe prima donna became the first section of the trio ‘Giovinetto Cavalier’ [page120]. Rossi also suggested that he could offer Vespri to Morlacchi. ‘It won’t becompetition, because it doesn’t have two musicos, a great tenor role or a bass.’I Cavalieri will triumph above all! Yes, by God! A better plot than Pavesi’s[whose Egilda di Provenza, text by Romani, opened the carnival season on 26December], more beautiful than I Vespri, I Cavalieri is superior by cause of itsnovelty and its passion: Cavalieri, Cavalieri and... Triumph!’

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Regarding Felicia… I suggest an entrance duet with Crivelli in thefirst act would be most natural. And what an arietta at the first sight ofthe child! In the second act a duet with the donna, giving an effect ofcontrast and reciprocated passion. What about a quartet ofbenediction? And a grand quintet instead of an aria for the bass? [In thefirst performance, Felicia had no scene with Adriano. In subsequentperformances, after Adriano sang ‘Queste destre’ [page 207] as anentrance from the boat, Felicia appeared with him in a brief recitativebefore Adriano and Armando sang ‘Và: già varcasti’. The first sight ofthe baby also ended up in recitative, with the opportunity for an ariettabeing transferred to the opening of ‘Giovinetto Cavalier’ [page 125].The quartet of benediction is ‘O cielo clemente’ [page 177]. Aladino’srage, instead of coming in aria form, is expressed in the concludingsection of the quartet, ‘Che miro?’ [page 178] at which point itbecomes a quintet. There was also no duet with Palmide in thesecond act].

‘This month you will have from me the pieces of the first act that youagree to. I have finished, I hope, the first act for Morlacchi.’

28 August. ‘I am very pleased that you found beautiful and theatricalthe idea of the child, making use of your idea of a real Provençalromance. The trio (‘Giovinetto Cavalier’), in the opinion of this oldtheatre person, is the finest piece of the opera, for the impression it willmake on the public, a completely original music-theatre situation –

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first a romance for the contralto, then a duet… then here comes Vellutiangry, the two ladies uniting à deux: ‘Oh momento di contento’ [herehe is referring to the suggested sentiment rather than actual text], andthen Velluti, regretting his anger, then the tenderness of the ladies andvariations consoling all unhappiness, as you suggested. Everyone inVenice – in Europe – will be talking about the novelty of three whitevoices united in this matter... A triumph!’

31 August. ‘Oh, how happy I am. The romances of the two ladies [heis referring to the individual verses for Palmide and Felicia in the trio‘Giovinetto Cavalier’]: they have character and ingenuity. I feel surethat the scene of the recitative [Armando!... Armando!’ [page 130]following these verses] will please and interest you, eh? There is passionand effect. There remains to do the couplet of Velluti, (still referring tothe trio) which will not be difficult, and the variations. After tomorrowI hope to have everything ready to send to you.’

2 September. ‘Here is the trio… here is the piece of the opera. Itseemed to me that I was inspired… struck by your idea which youpresented to me in your letter of the 25th. Here is a true romance ofChloe and the knight. In the beginning Felicia tells of her innamorato– the style and the text seem to me to be both tender and analogous(the mediaeval romance echoing the situation that Felicia and Palmidefind themselves in). Next Palmide tells of Saide and Valmir, remaining

Costume design forNicholas ProspèrLevasseur (Aladino)in the 1825 Parisproduction

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in the genre (instead she repeats Felicia’s couplet because it is the songthat Armando always sings). Then goodbye to the hero of the romanceand in comes Velluti … their reunion I have kept sottovoce. The metreand verses are of the same measure of your favourite, introduced for thefirst time in Almanzorre.

‘I have created something wonderful for the second tempo. Here wehave all three voices together following Armando’s remorse anddesperation, with double the number of verses, as you wanted. Thensuspend the song of the ladies and calm Armando with the verses,‘Calma omai per noi pel figlio’, and after this, reprise the variations,‘Fede! Amore! Speme! Amistà!’ And instead of repeating the verses, addan apostrophe of virtuous friendship – it can serve for one or for all,whichever pleases you. [These lines finally did not appear in the operaand would seem to be a section of the trio that was never scored. Thesentiment of the trio, in its final version, is slightly different].

5 September. [Discussing the use of the stage band in Morlacchi’sopera] ‘Only once, in the chorus of Velluti’s entrance, does the bandcome in. Maestro Morlacchi does not believe in using it – it doesn’tappear in any other pieces in the first act – it may come in again in thesecond act, but I cannot see any reason for using it there.’

6 September. ‘Let’s talk of the cavatina on the boat, [‘Pace io reco’,page 105]: I think it is better for Lorenzani than Crivelli, and thenhaving sung she goes to look for the tomb of Armando [in the scene

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that precedes the trio]. I am pleased with the words of Crivelli’scavatina (keeping them always in the style of an ambassador). Crivelli’scavatina, ‘Tutto d’intorno’, [page 109,] was made into an ariettafollowing Felicia’s aria from the boat. It then ran smoothly into theduet with Armando, ‘Và: già varcasti’, [page 114].

‘If Felicia sings before the trio, then she cannot be at the tomb ofArmando, because it is necessary to get to the palace gardens to meetthe child and Palmide – but it is a moment of passion, and so needsmore than a single tempo, as you say.

‘Reconsider my idea for Velluti’s scene following the trio – regardingyour doubts concerning the situation, remember the aria for Galliwhich I wrote for [Rossini’s] Semiramide – but I find this one grander,more unified, and no more to sing but a duettino with Palmide, simplyfour verses. [It would seem that he is referring to the first draft of ‘Ocielo clemente’, when it was a trio of benediction, since the scene thatfollows is an aria for Velluti, ‘Il dì rinascerà’, [page 192]. PossiblyPalmide was to have been included in this scene, since she disappearsfrom the stage after ‘O cielo clemente’]. You talk of the second tempoof Velluti’s cavatina [the aria finale ‘Ah che fate’, page 197]: I reply thatI am working on the verses to your idea.

‘With regard to the verses in the Finale for Lorenzani [fitting Feliciainto the plot to accommodate Lorenzani was a constant problem forRossi. The first act finale virtually comes to a standstill when, to save

Costume design forDomenico Donzelli

(Adriano)in the 1825 Parisproduction

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him from the wrath of Aladino, Felicia declares that Armando is herbrother: ‘T’arresta!.. e il mio fratel!’], let me think about it and finishthe trio. I await your thoughts on the terzettino and fittingLorenzani into the finale, and your decision on the cavatina ofLorenzani on the boat.’

Through September and October, the correspondence continued toflow – if only we had Meyerbeer’s replies to Rossi, although it is easy,from what Rossi writes, to reconstruct the composers worries anddemands.

22 September. ‘More verses for Felicia’s entrance [‘Pace io reco’, page105]. Should she accompany the tenor in the Inno di Morte? I haveincluded her in the third strophe.’ [She does not appear with Adrianoin the Inno di Morte, although logically she should. The only peoplewho know she is a woman are Palmide, Armando and Adriano.Meyerbeer realised that her voice type prevented her from beingincluded with the rest of the knights. Rossi, possibly rememberingVelluti’s request for ‘quality not quantity’ also has Armando absentfrom this scene.]

25 September. ‘Still working on the first act finale.’

29 September. ‘Working on the strettas for the duet ‘Và: già varcasti’,and the aria of Palmide.’ [‘Con qual gioia’, page 162]. This letter also

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includes a lengthy discussion of the most suitable metre for the aria.4 October. ‘… the new scene before the trio/quartet [the accompaniedrecitative ‘In sen del nostro possente nume’, page 172, which explainsthat Palmide has converted to Christianity.]’

8 October. ‘… the first act duet for Palmide and Armando.’ [‘Ah,non ti son più cara’, page 99. Rossi writes also that he has sent the bookof the first act to Crivelli.]

That same day Velluti wrote to Meyerbeer: ‘The first act that you have sentto me, how beautiful this thing will be. Tell Rossi, for pity’s sake, not to haveme appearing on stage all the time; I like the quality, but not the quantity. Ileave it to him, he knows me well and the convention of my kind of singing.I much prefer the sentimental kind of role, which requires soul, and which isso much to the taste of both Italians and those ‘across the mountains’.

A letter dated 28 October was spent relieving Meyerbeer’s worries aboutthe new scene for the second-act quartet (‘O cielo clemente’). ‘I havebegun the copy for the censor – the impresario has already asked for a copy ofthe scene between Crivelli and Velluti for the censor (presumably before thesecret marriage of Palmide and Armando had been written)’.

29 October. ‘I have changed the old scene of the trio now tointroduce Felicia. [The trio of the benediction that now became thequartet ‘O cielo clemente’, page 177].

Costume design for the child Mirvaand Giovanola (Osmino)in the 1825 Paris production

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Obviously, the censor had certain problems with the test, for on 23November, Rossi writes ‘… the book has been prohibited… Failoni writes thatit is not so bad, and nothing that cannot be remedied.’

Rossi, 22 November. ‘Here at last are the two additions to the firstact, all completed. The recitative that comes before the arrival of theboat [‘Palmide sventurata’, page 102], and the new scene after theromanza [presumably referring again to ‘Giovinetto Cavalier’], whichseems to me more interesting and which will have greater impact. Haveyou received the new stretta of the duet and the variants in the romanza– how do you find them? I like your new idea for the Gran Scena forVelluti [‘O tu divina fé’, page 191], – I hope to send it tomorrow.’

He must have been working all hours, for on the same day he wrote again.‘Dear, dear Giacomo, I am most struck by your ideas for the magic scene ofthe romanza – here with new recitatives. Also the revised stretta of theArmando-Adriano duet [‘Và: già varcasti’, page 114].

29 November. ‘It is the second act which makes the censor nervous,because of the scandal of the illegitimate child presented in the first act.

‘Velluti is very pleased with his music. The cafés and casinos are alltalk of the suspension of our book. I have an appointment with thecensor and hope that with some small amendments to the words, allwill be alleviated and the book remain intact. The scene of the

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Romanze [‘Giovinetto Cavalier’] surprises all, also the scene of thebenediction [‘O cielo clemente’]. Crivelli is here, Lorenzani will be thelast to arrive.

‘Coming to the session with Sig. Brasil, primo censore. He hasreturned the book to me with an observation on the scene in Act Iwhere the text refers to the wedding… to accentuate the matter of theirsecret marriage. The rest requires only minimum alteration to thesituations and the words.’

2 December. ‘Sig. Campligi wants to know how you want the postersprinted. The title will be I Cavalieri di Rodi or L’Ambasciata in Egitto.’

6 December. ‘I will carry the words to the censor and pray the licencewill be granted. Lorenzani has not yet arrived, nor the bass, which isaffecting the first opera (Pavesi’s Egilda di Provenza).’

Meyerbeer, we know, liked to devote a generous amount of time to thecomposition of an opera, and we may be sure that during these months, at theend of 1823 and the beginning of 1824, he had his hands full preparingIl Crociato in Egitto, as it was finally titled, for its first appearance on 7 March.Yet, surprisingly, at the end of December 1823, we find him signing a contractwith Joseph Glossop, the English impresario who was for a time active in Italy,for an opera to be staged at the Teatro San Carolo, Naples, in the autumn of1824, again to a book by Rossi. Meyerbeer’s agreeing to enter into such a

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contract becomes even more surprising when we remember that he was alreadycommitted to reproducing Il Crociato in Trieste in the autumn. Accordingto the contract, the first act of the opera for Naples was to be delivered by1 April, the second by 1 May. The contract also included an obligation for thelessor of the royal theatres of Milan and Naples to reproduce Margheritad’Anjou – also in Autumn 1824 – at La Scala; this would require Meyerbeer torevise the soprano role of Margherita to accommodate the contraltoRosmonda Pisaroni, and also the role of Laverenne. Romani was to provide anamended text by May.

The Naples opera, although planned, did not eventuate. A text does exist inRossi’s hand, which was likely to have been the opera planned for Naples. Themanuscript is titled Ines de Castro o sia Pietro di Portogallo, MelodrammaTragico for Teatro S. Carlo, Naples, 1825. The planned cast includedGiuseppina Fodor as Ines, Lablache and Davide. Nor was the revised versionof Margherita d’Anjou given at La Scala.

The present recording has been prepared from the copyist manuscript heldin the archives of the Teatro La Fenice, Venice, the only surviving copy of thework as it was performed on 7 March 1824; the first time the opera has beenpresented in its original form since that date.

�

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The appendices contain nearly all the alterations, revisions and additionalmusic known to have been sanctioned by Meyerbeer in Florence, Trieste andParis, from manuscripts in conservatories and libraries in Milan, Rome, Parisand London. These items appear in the sequence in which they would havebeen given in the opera. Arias which were left out are now included in full. Inthe 1824 Florence production of the opera, Palmide’s Act II aria, ‘D’una madredisperata’, was modified for Adelaide Tosi. While this included a new middlesection, ‘Deh, lo mira’, the aria remains substantially the same. For CaterinaCanzi, the Palmide in the autumn 1824 Trieste production of the opera,Meyerbeer appears to have written a completely new scena, ‘Perchè maisedurmi, amore’, replacing ‘Tutto qui parl’ognor’ and ‘D’una madre disperata’.We have been unable to locate the music for this new scene. The CarolinaBassi Trieste finale, ‘Il piacer la gioja scende’, has not been included here, as itis available on a previous Opera Rara recording (ORHC103).

By 1860, Il Crociato in Egitto had disappeared from the regular repertoire.At La Scala in 1859, it was given a lavish revival featuring Barbara Marchisioin the role of Armando. A year later it was staged at the Théâtre-Italien, Paris,with Rosina Penco – Verdi’s first Leonora in Il Trovatore – as Palmide, andAdelaide Borghi-Mamo as Armando. Once again, it was a brilliant success. Itis surprising, therefore, to read in the Revue et Gazette Musical de Paris of1 April 1860: ‘What an excellent idea it was to restage one of the greatest scoresof the Italian repertory, and Meyerbeer was alone perhaps the only one whodid not desire it.’

�

Costume design fora member of theEgyptian Bandin the 1825 Parisproduction

After this Il Crociato in Egitto would seem to have disappeared for more than100 years. It received its first modern performance at the Queen ElizabethHall, London, on 30 January 1972, given in concert by Opera Rara. PatriciaKern sang Armando, Janet Price was Palmide, Enid Hartle was Felicia,William McKinney (valiantly standing in at two days’ notice for theindisposed John Brecknock) was Adriano, with Christian du Plessis as Aladino.Roderick Brydon conducted.

On 28 March 1979, again in concert, Il Crociato in Egitto was heard for thefirst time in the United States, at Carnegie Hall, presented by the Sacred MusicSociety of America. Felicity Palmer sang Armando, with Yvonne Kennymaking her American debut as Palmide. Justino Diaz sang the role of Aladino,and Rockwell Blake appeared as Adriano. Rockwell Blake sang Adrianoagain in the next concert revival, in Montpellier, France, in 1990, withMartine Dupuy as Armando. The opera was most recently performed inDresden in 1991.

© Don White

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Detail from aposter for thefirst Dresdenproduction ofIl Crociato1827

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THE STORY

Reproduced from the libretto of the 1825 London production

In an expedition to the coast of Egypt, which took place in the Sixth Crusade,in the neighbourhood of Damietta, a band of the Knights of Rhodes,commanded by Esmengarde de Beaumont, was surprised, betrayed, and aftera most heroic resistance, overpowered, by the superior numbers of the enemy.

Armand d’Orville, a young Knight of Provence, was one of this valiant band.Fainting from loss of blood, he had remained among the slain. He returned tohimself; night came on, and he saw no other means of escaping from thedisgrace of slavery than by concealing himself among the spoils of an Egyptianwarrior who had fallen on the field. He hoped, by mingling with the enemy,to discover their plans, and to find a favourable moment for escape.

Armand, under the assumed name of Elmireno, found an opportunity ofdemonstrating his valour, and of saving the life of Aladin, Sultan of Damietta.

The supposed young soldier of fortune, by means of his superior valour andgentle manners, won the affections of the Sultan, who became his friend, andreceived him into the bosom of his family. The Sultan had a daughter namedPalmide, who was regarded as the flower of the Egyptian maidens. She saw thesupposed Elmireno, and a mutual passion transpired. Far from his country,

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with scarcely a hope of ever returning to it again, young, and of an ardentmind, Armand forgot himself, his duties and the faith he had plighted toFelicia, a noble maiden of Provence, and yielded to the love of Palmide. Heinstructed her by stealth in the mysteries of his faith; they were secretly united,and the product of this union was a son. But the call of honour, the love ofcountry, and sense of a dereliction of duty, were ever present to Armand’smind, and threw a gloom over his happiness. Aladin observed the mutualattachment of Armand and his daughter, and only waited the return ofElmireno from a glorious campaign in order to unite their hands. Meanwhile,overtures were made to the Sultan by the Knights of Rhodes, for an exchangeof prisoners: terms of peace were also offered, and an embassy from themarrived at Damietta.

The action commences at the arrival of this embassy.

RESUME

Extrait du livret paru à l’occasion de la représentation donnée à Londres en1825.

Lors d’une expédition en direction de la côte égyptienne durant la SixièmeCroisade, une troupe de chevaliers commandée par Esmengarde de Beaumontest surprise dans une embuscade à proximité de Damiata, à la suite d’unetrahison. Malgré une résistance héroïque, elle succombe bientôt à l’ennemi ennombre supérieur.

Armand d’Orville, jeune chevalier de Rhodes originaire de Provence, faitpartie de cette vaillante troupe. Ayant perdu beaucoup de sang, il s’est évanoui.Laissé pour mort parmi les cadavres, il reprend connaissance à la tombée de lanuit et, ne voyant pas d’autre moyen d’échapper à un esclavage humiliant,revêt la tenue d’un guerrier égyptien tombé au combat. En se mêlant àl’ennemi, il espère pouvoir découvrir ses plans et, au moment propice, prendrela fuite.

Sous son nouveau nom d’Elmireno, Armand se distingue par sa bravoure etsauve la vie du sultan de Damiata, Aladin.

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Son courage et ses manières insignes lui valent l’affection du sultan, quidevient son ami et l’accueille au sein de sa famille. Le sultan a une fillenommée Palmide, qui passe pour la fleur des jeunes filles de son pays. À la suited’une rencontre, Palmide et le soi-disant Elmireno s’éprennent l’un de l’autre.Loin de son pays, sans grand espoir de jamais y retourner, le jeune hommeplein d’ardeur oublie tout – son devoir, le serment d’amour qu’il a fait à unejeune fille de la noblesse provençale, Felicia – et s’abandonne à l’amour dePalmide. En secret, il lui enseigne les principes de la foi chrétienne puisl’épouse, et un fils naît de cette union. Mais le sens de l’honneur, l’amour deson pays et le sentiment d’avoir manqué au devoir ne le quittent jamais etassombrissent son bonheur. Conscient de l’attachement des jeunes gens l’unpour l’autre, Aladin n’attend que le retour d’Elmireno d’une campagneglorieuse, pour les unir. Cependant, les Chevaliers de Rhodes ont ouvert desnégociations pour un échange de prisonniers avec le sultan : ils ont proposé unaccord de paix et envoyé une délégation diplomatique à Damiata.

L’opéra débute avec l’arrivée de cette délégation.

Traduction: Mireille Ribière.

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DIE HANDLUNG

Reproduktion aus dem Libretto der Londoner Inszenierung von 1825.

Während des sechsten Kreuzzugs wurde eine Gruppe von Rittern desJohanniterordens unter dem Oberbefehl von Esmengarde de Beaumont beieiner Expedition an die ägyptische Küste, in die Nähe von Damiata,überrascht, verraten und nach heldenhaftem Widerstand durch die feindlicheÜbermacht bezwungen.

Zu der kühnen Schar gehörte auch Armand d’Orville, ein junger Ritter ausder Provence. Geschwächt vom Blutverlust, hatte er ohnmächtig zwischen denToten des Schlachtfeldes gelegen. Er kam wieder zu Sinnen, die Nacht brachherein, und er sah keine andere Möglichkeit, der schändlichen Sklaverei zuentkommen, als in die Kleidung eines gefallenen ägyptischen Kriegers zuschlüpfen. Er hoffte, sich unter die Feinde mischen und dabei ihre Pläneentdecken zu können und gleichzeitig einen günstigen Moment zur Flucht zufinden.

Unter dem angenommenen Namen Elmireno fand Armand Gelegenheit,seine Tapferkeit unter Beweis zu stellen und das Leben Aladins, Sultan vonDamiata, zu retten.

Der angebliche junge Glücksritter gewann dank seines außerordentlichenHeldenmuts und seiner erlesenen Sitten die Zuneigung des Sultans, der ihm

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zum Freund wurde und ihn in den Schoß der Familie aufnahm. Der Sultanhatte eine Tochter namens Palmide, die als die Blüte der ägyptischenWeiblichkeit galt. Kaum erblickten sie und Elmireno sich, entbrannten sie ingegenseitiger Leidenschaft. Fern der Heimat und fast ohne Hoffnung, siejemals wiederzusehen, in seiner Jugend und seinem Feuereifer vergaß sichArmand, vergaß seine Pflicht, den Eid, den er Felicia geleistet hatte, eineredlen Maid aus der Provence, und gab sich der Liebe Palmidens hin. Heimlichweihte er sie in die Geheimnisse seines Glaubens ein, heimlich verbanden siesich, und die Frucht dieser Verbindung war ein Sohn. Doch die Ehre, die Liebezu seiner Heimat und das Gefühl, seine Pflicht verabsäumt zu haben, warenihm stets bewußt und verdüsterten sein Glück. Aladin bemerkte diegegenseitige Zuneigung Armands und seiner Tochter und wartete lediglich dieRückkehr Elmirenos von einem glorreichen Feldzug ab, um das Band ihrerEhe zu knüpfen. In derselben Zeit machten die Ritter des Johanniterordensdem Sultan ein Friedensangebot. Sie schlugen einen Gefangenenaustausch vor,Friedensbedingungen wurden genannt, und eine Abordnung der Ritter reistenach Damiata.

Die Handlung setzt beim Eintreffen dieser Abordnung ein.

Übersetzt von Ursula Wulfekamp.

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LA TRAMA

Riprodotta dal libretto dell’allestimento londinese del 1825.

Durante la sesta Crociata, un manipolo di Cavalieri di Rodi, capitanati daEsmengarde de Beaumont, viene sorpreso in un agguato nelle vicinanze diDamiata e, nonostante l’eroica resistenza, è sopraffatto dal più numerosogruppo dei nemici.

Armando d’Orville, giovane cavaliere di Provenza che fa parte del coraggiosogruppo di cristiani, è rimasto tra i caduti, privo di conoscenza, dopo aver persomolto sangue. Riavutosi durante la notte, non trova altra soluzione per sfuggirealla schiavitù che quella di assumere le spoglie di un guerriero egiziano cadutosul campo di battaglia. Aggiungendosi alle schiere dei nemici, spera di venire aconoscenza dei loro piani e trovare un momento favorevole per la fuga.

Assunto il falso nome di Elmireno, Armando si fa notare per il suo valore esalva la vita di Aladino, sultano di Damiata.

Con il suo straordinario coraggio e i suoi modi gentili, il giovane si conquistal’affetto e l’amicizia del Sultano, che lo accoglie in seno alla propria famiglia.Il Sultano ha una figlia di nome Palmide, considerata il fiore delle verginiegiziane. Dopo aver visto Elmireno, la fanciulla se ne innamora e viene

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ricambiata. Lontano dal proprio paese, quasi senza speranza di farvi ritorno, ilgiovane e impetuoso Armand dimentica se stesso, i propri doveri, la fedegiurata a Felicia, nobile fanciulla di Provenza, e si abbandona all’amore perPalmide. La istruisce di nascosto nei misteri della propria fede; la sposasegretamente e ha un figlio da lei. Ma riesce a far tacere il richiamo dell’onore,l’amore di patria e il senso di colpa per aver abbandonato il proprio dovere che,onnipresenti nella sua mente, gettano un’ombra sulla sua felicità. Avendonotato l’affetto corrisposto tra Elmireno e sua figlia, Aladino attende solo ilritorno del giovane da una gloriosa campagna per unirli entrambi. Nelfrattempo i Cavalieri di Rodi propongono al Sultano uno scambio diprigionieri, offrono condizioni di pace e inviano un’ambasciata a Damiata.

La vicenda inizia all’arrivo di questa ambasciata.

Traduzione: Emanuela Guastella.

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IL CROCIATO IN EGITTOHeroic melodrama in two actsLibretto by Gaetano Rossi

First performance 7 March 1824Teatro La Fenice, Venice

Aladino, Sultan of Damietta ........…………….............….....Luciano BianchiAdriano di Montfort, Grand Masterof the Knights of Rhodes......……....…………....…….......Gaetano CrivelliArmando D’Orville, a Knight of Rhodes.....….....…Giovanni Battista VellutiPalmide, daughter of the Sultan……....................…Enrichetta Méric-LalandeFelicia, in the attire of a Knight…………….....………........Brigida LorenzaniAlma, confidante of Palmide……………..........……........(Signora) BramatiOsmino, the Grand Vizier……………………................(Signor) Boccaccio

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ACT ONE[1] SCENE IA spacious enclosure in the Palace of the Sultan. On the right, the residence of the EuropeanSlaves. Part of the Palace and gardens on the left.

All is hushed in the silence of night. Dawn begins to break.The sound of trumpets is heard,and a general movement within the residence of the slaves. Keepers open the gates; the slavesemerge, their respective dress identifying the European country to which they belong. Theysalute and embrace one another and prepare for their labours. The greater part are employedin the construction of a small temple. All is action. A youth supports the chains of his agedfather; a slave takes a portrait from his dress, gazes at it, kisses it, and hastily conceals itagain, for fear of being discovered; another reads a letter, which he kisses, and presses to hisheart; there are other groups, variously employed, some of whom express their vows and thefeelings of their hearts.

SLAVESPatria amata! Oh! tu il primiero Beloved country! Oh! You the firstDe’ miei fervidi desiri, Among my fervent desires,Fra catene, fra sospiri, In chains, sighing,A te vola il mio pensier. My thoughts fly to youA te anela il mesto cor, My sad heart yearns for youFier destin ci rese schiavi, Cruel destiny has made us slaves,Mare immenso ci separa – An immense sea separates us –Ma tu ognor mi sei più cara, But you are always dearer to me,Tu mi sei presente ognor. You are always with me.

CD1 66’24

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SOME OF THE SLAVESCari oggetti del mio core, Dear objects of my heart,Più vedervi non potrò? Shall I ever see you again?

OTHER SLAVESFra i sospir d’un tristo amor Sighing with unhappy loveQui penar, languir/morir dovrò? Must I suffer, languish/die here?

A SLAVEAh sposa! Ah my wife!

ANOTHER SLAVEAh figli! Ah, my children!

OTHER SLAVESPatria! Amici! Country! Friends!..Più vedervi non potrò! I shall never be able to see you again!Da voi lungi morirò!... I shall die far away from you!...

ALLCessi omai sì acerba vita, Now may such a bitter life end,Cangi omai sì orribil sorte, May relentless fate change soon,O pietosa tronchi morte, Or compassionate deathCosì/Questo barbaro dolor. Release me from such/this cruel

suffering.

SCENE IISlaves come from the palace, bearing baskets filled with various gifts. Afterwards Emirs; thenPalmide with Alma, and slavegirls.The Europeans rejoice and pay homage to Palmide.

SLAVESMa già di Palmide gli schiavi But see Palmide’s slavesavanzano... approach...

–84–

La regal vergine a noi già recasi, The royal maiden is coming to us,Brillante raggio in sua beltà. Resplendent in her beauty.Consolatrice, benefattrice de’ nostri Benefactress, consoler of ourmali, misfortunes,

Vieni, o bell’angelo della pietà. Come, beauteous angel of pity.[2] PALMIDEI doni d’Elmireno I present Elmireno’s giftsIo vi presento, amici: To you, my friends:Con lui per gli infelici I share his compassionDivido la pietà. For the unhappy.(Per me or forse in seno (Even now, perhaps, LoveAmor gli parlerà. Whispers of me in his heart.Soave immagine di quel momento Sweet image of that momentA te sorridere il core io sento.) I feel my heart yearn at the thought.)

PALMIDE/SLAVESAccenti e palpiti, sospiri e giubilo, Our tender love is a mixture ofL’amor più tenero confonderà. Words and breathless signs and joy.

SCENE IIIPalace guards, Osmino, then Aladino and Emirs enter

OSMINOIl Soldano – Prostratevi... The Sultan – prostrate yourselves...

SLAVESProstriamoci... We prostrate ourselves...

PALMIDE(to Aladino)

Oh padre! Oh father!

–85–

[3] ALADINOIl contento ch’io provo nel seno, Daughter, share with meMeco, o figlia, dividi in tal giorno; The happiness I feel in my heart

today;Vincitore a me riede Elmireno Elmireno returns to be in triumph,Più nemici il mio regno non ha. My kingdom has no more enemies.Trionfo apprestisi al vincitore: A triumphal celebration shall greet

the victor:Mercede merita la fé, il valore: His loyalty and courage deserve

reward:Dalla tua mano d’alloro il serto The laurel wreath from your handBen più gradito a lui sarà. Will be more acceptable to him.

(Trumpets sound in the distance)

ALLDalle torri lontano il segnale! A distant signal from the towers!Un segnal più vicino risponde... Nearer, another signal replies...Un vascello s’avanza sull’onde... A ship is sailing in...Dalla torre del porto una tromba! A trumpet sounds from the harbour

tower!Altro suono dal forte rimbomba... Another call answers from the fort...Già l’insegna si scorge di Rodi... Now we can see the flag of Rhodes...

ALADINOAh! Di Rodi s’onorino i prodi, Ah! All honour to the brave men of

Rhodes,Che a ben degno rival nel suo regno, Who come to offer peacePace vengon ad offrir. To a most worthy rival in his

kingdom.

–86–

SLAVESPace! Oh speme! Pur vero sarà? Peace! Oh hope! Can it really be

true?ALL

Concenti bellici all’aure echeggino: Let battle cries echo in the wind:L’eroe festeggino, il vincitor: To welcome the conquering hero:S’alternin inni d’amor. Alternating with hymns of love.[4] PALMIDE/ALADINOVincitor a questo petto I shall clasp to my heartStringerò l’eroe diletto/l’amato The victor, the beloved hero/myoggetto! beloved!

Ah! Maggior di quel ch’io sento Ah! There can be no greater joyUn contento non si dà. Than that which I now feel.[5] ALADINOAh! Sì: tutti i miei voti Ah! Yes: on such a lovely day at lastIn sì bel dì vedrò compiuti omai: I shall see all my wishes granted.E saran paghi, o figlia, i tuoi. And yours too, daughter, shall beL’affetto fulfilled.

Puro, innocente che tu serbi The pure, innocent affection youin petto hold in your heart

Per Elmireno... For Elmireno...PALMIDE

(Oh Dio!) (Oh Heavens!)ALADINO

Non arrossir, io già conobbi. In mio Do not blush, I already knew itCore ne giubilai: And rejoiced in my heart:E già il nodo felice io destinai. Already I had planned your happy

union.

–87–

PALMIDE(more agitated)

Io?... D’Elmireno!... (Oh Cielo! I?... To Elmireno!... (Oh Heavens!Quale terribil velo I see that terrible veilSi squarcia a’ sguardi miei!) is torn away)!

ALADINOSì! Il valoroso Yes! The valiant soldierChe salvò i giorni miei sarà tuo sposo. Who saved my life shall be your

husband.L’amico del mio core My dearest friendDiverrà pur mio figlio, e in lui ben Will also become my son, anddegno my kingdom

E amato successore avrà il mio regno. Will have in him a worthy andbeloved successor.

OSMINO(E soffrirlo io potrò! (Must I put up with this? It wouldPalmide e trono meanIo perderei così!) Losing Palmide and the throne!)

PALMIDEMa... (Come tremo!...) But... (How I tremble!...)Padre... (Che dir?) Oh mio Father... (What can I say?) Oh myDiletto padre! (Ah! Ch’io Beloved father! (Ah! But IL’ho già tradito.) Have already betrayed him.)

ALADINOAl seno stringimi, o figlia! Embrace me, daughter!Va... Tu gemi? E quale Come now... Sobbing?Ora triste emozion! Why so sad!

–88–

PALMIDEIo! No – ma sappi... Me! No – but you know...Confuso, oppresso il cor... My heart is confused, overwrought...

ALADINOAd Elmireno annunzierai You yourself shall informTu stessa il lieto evento. Of the happy event.

PALMIDE(emphatically)

Tutto ei saprà, sì (Già morir He shall know all, yes (I feel Imi sento.) could die.)

(She leaves with her attendants)

SCENE IV

ALADINOE meco esulta, o fido Osmin. Felice Rejoice with me, o faithful Osmin.Sarò appieno in tal dì. Now I shall be completely happy.Questi famosi These famedCavalieri di Rodi, generosi Knights of Rhodes, generousFin co’ nemici, m’offrir pace, e pegno My enemies, are here to offer peaceDi loro lealtà, d’onore in segno And as a token of their good faith,

and aL’illustre loro Gran Maestro, i primi Sign of honour, their illustrious

Grand MasterDi quell’ordine insigne Sends the first ambassadorsAmbasciatori, alla mia reggia invia. Of the distinguished order.

–89–

OSMINO(emphatically)

E credi tu che sia la pace il solo And do you believe that peace is theOggetto che lí guida a questo suolo? Only purpose that brings them to

this land?ALADINO

Lunge sospetto che li offenda: or Banish any suspicion which mayvanne; offend them:

D’inusitata regal pompa adorna Now go; see that the Sultan’s shipis decorated

La nave de’ Soldani incontri, accolga with special royal splendour toreceive

Gli eroi di Rodi: aperta The heroes of Rhodes: My palace isSia ad essi la mia reggia; e a loro To be thrown open to them; and inonore, their honour,

E a celebrar sì lieti eventi, appresta Let preparations be made at once forIvi d’Imene, e del piacer la festa. The nuptial rites and the joyful

festivities.

SCENE VA part of the Sultan’s gardens adjacent to Palmide’s apartments.On a bed of flowers lies Mirva, Palmide’s little son by Armando. Alma is near him. As hesleeps, slavegirls fan him. Guards and favourite slaves are scattered in various groups.

[6] SLAVESUrridi vezzose, Pretty slavegirlsLeggiere, scherzose, Lightly, playfully,Intorno aleggiate Flutter around

–90–

Al figlio d’amor: The child of love:Tranquillo serbate Keep him peacefullyQuel dolce sopor. In sweet slumber.

(Mirva stirs restlessly)Si scuote, si desta: He stirs, he wakes:Già s’alza. T’arresta! He rises. Stay!(Se fuori del recesso (If he were to be discoveredScoperto veduto! Seen outside the hiding place!Perduto è quel figlio... The child would be lost...Di lui che sarà?) What will become of him?)Frena l’ardor omai... Be quiet now...

(The child tries to run away)Non ti scostar da noi. Don’t leave us.Qui ferma il piè. Be still.

(Dancing around him)Di baci amorosi, With loving kisses,Di doni graziosi, With pretty gifts,La tenera madre Your loving motherMercé ti darà. Will reward you.A lei che t’è cara To her, who is dear to you,Tu cambio prepara Give in exchangeDi doni, di baci, Gifts and kisses,Che tanto amerà. Which she will love so much.

–92–

SCENE VIArmando, under the name of Elmireno and richly dressed as a Saracen, enters cautiously.

[7] ARMANDOCessi, o miei fidi, la sorpresa. My faithful followers, do not be

surprised.Io torno di nuovi allori adorno I have returned wreathed in new

laurelsDal campo della Gloria. Ma precedo From the field of glory. But I have

arrivedGli invitti miei guerrieri, Before my indomitable troopsA sperati piaceri to enjoy long hoped for pleasureFra i più teneri oggetti. Among my loved ones.Qui mi chiamava il cor. Sol qui My heart urged me to come here.poss’io Can I be really happy only here?

Veramente felice? Ah! il figlio mio! Ah, my son!Ah Mirva caro! Ah beloved Mirva!

(Mirva runs to Armando, who kisses and embraces him)[8]O figlio dell’amore, Oh, child of love,Dal tenero sorriso, With your tender smile,In dolce calma al core Your father clasps youTi stringe il genitor. Gently to his breast.Nel più soave errore Meanwhile, my eyesS’illude intanto il ciglio: Are most sweetly deceived:E bacio in te, mio figlio, And in you, my son,La madre dell’amor. I kiss the mother of my love.Oh teneri amplessi! Oh tender embraces!

Diana Montague (Armando)

–94–

Oh! Vezzi innocenti! Oh! Innocent charms!Fra tanti contenti Amid so much blissGià langue il mio cor! My heart swoons![9]E Palmide! Ella sola And Palmide! She aloneOr manca al mio contento. Remains to complete my happiness.

SCENE VIIPalmide enters from her apartments

PALMIDE(tenderly, but with sadness)

E tu consola Comfort yourPalmide tua... se il puoi. Palmide... If you can.

ARMANDO(sweetly)

Quando io torno, Now that I am back,Quando tu stringi al seno e sposo, Now you clasp both husbande figlio, and son to your heart,

Tu gemi? Spunta il pianto sul tuo You mourn! Tears in your eyes!ciglio!

PALMIDE(with feeling)

Gemo per te, per questo I mourn for you, for thisDel nostro amor tenero pegno – Tender token of our love –Orrenda A horribleSu noi pende sciagura. Calamity hovers above us

–95–

ARMANDOMi fai tremar. You make me tremble.

PALMIDEIl mio My dear fatherBuon padre sposo a me ti scelse. Has chosen you for my husband.

ARMANDO(thunderstruck)

Oh Dio! Oh God!Che intendo! What do I hear!

PALMIDEGià s’appresta Already the ceremony is being

preparedIn profan tempio d’Imeneo la festa... In the profane temple of Hymen...Ed io son già tua sposa... di tua fede, But I am already your wife...

I have belongedChe da un lustro abbracciai, coi To your faith for five years andsacri riti we were

Noi già in segreto uniti! Secretly married!ARMANDO

Ecco arrivato That fatal momentQuell’istante fatal che ognor temei. I have always feared is here.Odiami: io t’ingannai: Hate me: I deceived you:La mia patria, il mio culto io ti svelai, My homeland, my religion I revealed

to you,Ma tu per anco ignori But you still do not knowCh’io sono un Cavaliere, That I am a Knight,Iniziato di Rodi... Initiate of Rhodes...

–96–

PALMIDEE già di Rodi And envoysGiunge di Cavalieri From the Knights of RhodesUn’ ambasciata ad Aladino. Have already arrived to meet Aladino.

ARMANDO(thunderstruck)

Che dici? What are you saying?Qual fulmine! E se mai How dreadful! A relative, a friend

may beUn congiunto, un amico! E n’è mio With them. And my uncle isZio il gran Maestro; Grand Master.

E se mai noto ch’io If it were ever knownLe divise portai That I wore the uniformDe’ Saraceni! – E che per lor pugnai! Of the Saracens! – And fought for them!Oh! Infamia! E s’ei mi chiede Oh! The shame of it! And if he calls meConto di quella fede To account for my promiseChe a Felicia promisi! To marry Felicia!

PALMIDEFelicia! E questa! Oh cielo! Felicia! Her! Oh Heavens!

ARMANDOGiovinetta As a young noble girlIllustre figlia meco già educata She was brought up with meE a me destinata sposa. And chosen to be my bride.

PALMIDEChe scopro! E come! E adesso! I see! Now what can we do!

ARMANDO(desperately)

Abborrimi: me stesso io già detesto. Loathe me: I already hate myself.

–97–

Qui Aladino ingannato Here I have deceived AladinoLà mio zio fremente. There enraged my uncle.Felicia... I Cavalieri... Traditor Felicia... The Knights... I am a traitorDell’onore, del dover. Morte può solo To both honour and duty. OnlyTogliermi a tanta infamia. Lunge io death can cleanse me of

volo such shameDa te a spirar, a terminar l’orrore Now I must fly far from you to endDi vita sì funesta. The horror of such a lamentable life.

(He goes to leave)PALMIDE(passionately)

Deh! Per pietà, t’arresta. For pity’s sake, stay.[10]Ah! non ti son più cara, Ah, I am no longer dear to you,Se mi puoi dir così. If you can speak in this way.

ARMANDOMai fosti a me più cara, Never were you more dear to me,E mai t’amai così. And never have I loved you as much.

PALMIDE(tenderly)

E dunque a me vicino, Then stay beside me,Resta, mio dolce amor. My sweet love.

ARMANDODel mio crudel destino The horror of my cruel fateSi dée compir l’orror. Must be fulfilled.

PALMIDEAl pianto mio arrenditi... Yield to my tears...

–98–

ARMANDODeh! Per pietà, nascondilo. Ah, for pity’s sake, hide your tears.

PALMIDEBarbaro! – E il figlio! Cruel man! – What about your son!Guardalo – Look at him –

(She takes Mirva and pushes him before Armando)

ARMANDOAh! Tu mi strappi l’anima... Ah! You are breaking my heart...

PALMIDEEi ti domanda un padre! And he needs a father!

ARMANDOEd io non moro ancor! I can no longer die!

PALMIDEE tu resisti ancor? And you still resist me?

ARMANDOLasciami! Let me be!

PALMIDEBarbaro! Barbarian![11] PALMIDE/ARMANDONon v’è per noi più speme: There is no longer hope for us:Amor, piacer, addio. Love, joy, farewell.In un momento, oh Dio! In a moment, oh God!Tutto per me cangiò. Everything will change for me.Lontan da te, ben mio, Far from you, beloved,Languir, morir dovrò. I must languish and die.

(They exit in separate directions)

–99–

SCENE VIII

[12] ALMAPalmide sventurata! A’ suoi bei voti Unhappy Palmide! Fate seemed toMostrava già sorridere il destino: Smile upon her vows of love:Parea di sua felicità vicino The happiness she longed forIl sospirato istante! E il suo contento Seemed so near! And thenCome lampo sparisce! Io per lei gemo: Disappeared in a flash! I weep for her:Per Elmireno, e pel suo figlio io And for Elmireno and his son,tremo. I tremble.

SCENE IX

Port of Damietta. Magnificent buildings abound. Ships of various nations with their flagsflying. Ships of the Sultan, magnificently adorned.The people run to the landing as the royal vessel approaches. Small Egyptian boats precedeand circle it. Osmino stands with Emirs and the Sultan’s guards. Soldiers stand on parade.A bans waits to greet the arriving knights. Alma watches. The people of Damietta sing anddance.

[13] PEOPLEVedi il legno, che al cielo ridente Behold the ship, whichMollemente sul Nilo s’avanza! Advances gently on the Nile!Ci porta la pace. She brings us peace.Spira un’aura leggiera, soave... A soft, sweet breeze is blowing...È l’aura di pace. It is the breath of peace.L’onda mormora placida, e cheta, The waters murmur placidly and

silently,

Yvonne Kenny (Palmide)

–101–

Lieta bacia, accarezza la nave... Joyfully kissing, caressing the ship...Che porta la pace. She brings peace.

(The vessel comes nearer the shore)Echeggi d’intorno Let the words of peaceDi pace l’accento; Echo everywhere;Di gioja concento And hymns of joy

(The Knights can be seen at the bow of the ship)Festeggi tal dì: Hail this day:E lieto sull’onda And let the wavesRisponda così. Joyfully carry the sound.

FELICIA(In the dress of a Herald and bearing an olive branch disembarks from the ship)

[14]Popoli dell’Egitto, People of Egypt,Valorosi guerrieri, Valiant warriors,Sul Nilo ecco di Rodi i Cavalieri Behold the Knights of Rhodes on the

NileNon più vostri nemici. No longer your enemies. They have

comePace vengono a offrir – eccone il To offer peace. Here is the pledge.pegno.

[15]Pace io reco, a noi più grata Peace I bring, more welcome to us allDelle palme di vittoria. Than the palms of victory.E la patria consolata And the comforted homelandLieta omai respirerà. Will at last breathe happily.

–102–

Ben più cara d’ogni gloria For more cherished than any gloryÈ la sua felicità. Is happiness.

(Felicia disembarks with various Knights)KNIGHTS/EGYPTIANS

Vieni: e il sacro della pace Come: let us exchange the sacredCon noi cangia amato pegno. Cherished pledge of peace.La tua patria al nostro regno Let your country joinFida unisca l’amistà. In loyal friendship with ours.

FELICIA(Caro ben, tu qui peristi, (Beloved, you perished here,E per me pace il cor non v’ha. And my heart knows peace no more.[16]Ah! Più sorridere, labbro d’amore, Ah, I shall never again see the lovingFra dolci palpiti, non ti vedrò. Smile on your lips as you tremble

tenderly.Mai, cara immagine, ti scorderò. I shall never forget your dear face.Oh cielo, arrenditi, a’ voti miei: Oh Heaven, grant my wishes:Pietoso uniscimi al mio tesor... Have mercy and take me to my

darling...Consola un tenero ardente cor. Console a tender, ardent heart.

KNIGHTS/EGYPTIANSAh sì! Ah yes!Torni la patria felice ancor. Make our land happy once more.[17] OSMINOTu, degli illustri Cavalier di Rodi Herald of the illustrious Knights ofAraldo, lor dirai che d’Aladino Rhodes, tell them that Aldino’s palaceSchiusa è ad essi la reggia Is opened to them,

–104–

Che là v’attende il mio signore; That there my noble lord awaits youE questa d’inusitato onore, And this unusual honour is noble proofDi fiducia, e lealtà, prova sublime, Of the trust and honesty he extends

to you,Ch’egli vi porge, il suo gran core And reveals his generous heart.esprime.

FELICIAE apprezzarla sapranno And the Knights of RhodesDi Rodi i Cavalieri. A lui verranno: Appreciate it. They will come to him.Onor a lui fia reso He will receive the honourQual si merta, e lealtà And loyalty he deserves.

OSMINO(leaving)

(Superbi!) (What arrogance!)(Osmino leaves, the Emirs accompany the Knights)

FELICIAOmai, appagar, o Felicia, tu potrai Now, Felicia, you can realiseGli ardenti voti tuoi. D’intorno a Your passionate desires. Toquesto wander

Funesto suol vagando Around this dismal landCercar di lui che qui spirò, d’Armando, In search of he who dies here, Armando,Del primo e solo amico del mio core The first and only friend of my heart.Le sue ceneri a me tu addita, amore. Love, point out his ashes to me.

(She leaves)

–105–

SCENE XAdriano, dressed as a simple Knight, descends from the ship, accompanied by a Knight.

[18] ADRIANOTutto d’intorno tace omai: All around is silence now: the shoreDeserta è già la spiaggia – In questa Is deserted. In thisDi rodian Cavalier spoglia modesta Simple attire as a Knight of RhodesInosservato vuò inoltrar. I intend to wander unobserved.Io premo I am walkingIl fatal lido. Oh Dio! The fatal shore. Oh God!Egli qui cadde il mio My dear nephew fell here –Dolce nipote – L’ultimo sospiro... His last sigh...Forse a me volto, ei qui esalò dal seno: Perhaps he uttered to me:Ah! La sua tomba ritrovassi almeno! Ah! If I could at least find his grave!Sarebbe a me sì caro It would mean so much to meBagnarla del mio pianto! To bathe it with my tears!Baciarla, e sacra pace intanto Kiss it, and pray for divine peaceAl cener implorar! For his ashes!

(He stands in deep concentration)

ARMANDO[19] (from a distance)L’angustia mia, My anguish,Questa smania è insoffribile. This frenzy of mind is unbearable.Son quelli due Cavalier. Two Knights.Ad essi (ardir!) si parli. (Courage!) Let me speak to them.

Della Jones (Felicia)

–107–

ADRIANO(pulling himself together)

Ei vien, cerchiamo... Let’s see who this is...ARMANDO

(approaching them)A voi salute, illustri Cavalieri... Greetings, noble knights...

ADRIANO(struck by the voice)

Gran Dio! Questa voce! Great God! That voice!ARMANDO

(reaching and recognising them)Chi veggo! Who do I see!

ADRIANO(with joy)

Egli! It is he!ARMANDO

Mio zio! (Ciel! Qual fulmine!) Uncle! (What a blow!)ADRIANO

Caro Armando! Dolce nipote! Dear Armando! Beloved nephew!E tu vivi? And you are alive?

(about to embrace him; but seeing his Saracen dress, indignantly withdraws)Ohimé! Che miro? Che festi! Alas! What do I see? What have you

done!In quali spoglie! In those clothes!

ARMANDO(Apriti, o terra!) (Open up, earth!)

ADRIANOIl figlio di mia sorella! My sister’s son!

–108–

Un Cavalieri di Rodi! A Knight of Rhodes!Che orror! Perfido! Parla, e come? What horror! Traitor! Speak, why

this?ARMANDO

Il caso This is the workE la necessità. Io, là sul campo, of dire necessity. There on the field,

alone,Ferito, semivivo, Wounded, half-dead,Rimasto sol de’ miei compagni estinti All of my companions perishedLe indossai per salvarmi. I put on these garments to save myself.

ADRIANO(sternly)

E abbandonasti And so you abandonedLe auguste insegne dell’onor! The majestic standards of honour!Sapevi You knowCh’era viltà, delitto! That it was cowardice, a crime!

ARMANDOIo ne serbai fido ognor la spada. I always kept my sword true.

ADRIANO(sternly)

Porgila. Give it to me.ARMANDO(uncertain)

Ma... But...ADRIANO

Obbedisci. Obey me.

ARMANDO(reluctantly handing over his sword)

Eccola. Take it.ADRIANO(sternly)

In nome In the nameDel nostr’ordine augusto, io, Gran Of our august order, I, GrandMaestro, Master,

Riprendo da a te, Armando, Take back from you,questa spada Armando, this swordChe tu disonorasti, Which you have dishonoured,E... la spezzo. And... I break it.

(He goes to break the sword)ARMANDO(overwhelmed)

Ah! Ah!(with eagerness)

Mi rendi, Give me back,Rendi a me quell’acciaro. Give me back that sword.

ADRIANOE che pretendi? And what do you expect?

–109–

[1] ADRIANOVa’: già varcasti, indegno, Go: unworthy man, you haveDella perfidia il segno: Already exceeded the limits of

treachery.Tradisti, patria, onore, You have betrayed your country your

honourScordasti la tua fé... You have forgotten your faith...Ti lascio al tuo rossore, I leave you to your shame,Fremo d’orror per te. I shudder with horror for you.

ARMANDOAh! Dai rimorsi oppresso Ah! Stricken with remorseOrrore ho di me stesso: I feel a horror of myself:Perdona, oh Dio! l’errore, Pardon, oh God, my crime,Abbi pietà di me. Have pity on me.M’avvampa ancor nel core The flame of honour, of faithFiamma d’onor, di fé. Is still alive in my heart.

ADRIANOVuoi meritar perdono? Do you wish to earn forgiveness?

ARMANDOPosso aspirarvi? – Imponi. Can I hope to? – Tell me what to do.

ADRIANOLe insegne ree deponi: Cast aside that evil insignia:Sappia Aladino qual sei. Tell Aladino who you are.Meco partir poi dei Afterwards you must depart with me

ARMANDOPartire! (Oh ciel! E Palmide!) Leave (Oh heavens! And Palmide!)

–110–

CD 2 75’38

ADRIANOSposo a Felicia omai... Now you will marry Felicia...

ARMANDOIo, sposo di Felicia!... Marry Felicia!...

ADRIANOTu fremi? Ohimé! Se mai!... You tremble? Alas! Could it be!...Trema... I tuoi giuri! Beware... Remember your vows!

ARMANDOSvenami: Io tradii tutto. Kill me: I have betrayed everything.

ADRIANOPerfido! E per chi mai!... Traitor! And for whom then!...

ARMANDOOdi... qual nuovo orror! There is a new horror to hear!

ADRIANOTaci... qual nuovo orror! Tell me of no new horror![2] ARMANDONon sai quale incanto You do not know what a spellQuest’alma sorprese: Was cast over my soul:Colei che m’accese She who set me aflameMortale non è. Is more than mortal.Di grazie, e candore O heavenly combinationComplesso celeste Of grace and innocenceNel solo mio core She found understandingTrovava mercé... In my heart alone...La misera or muore... Now the unhappy one will die...E muore per me. And dies for me.

–111–

ADRIANONel duolo, nel pianto In grief and anguishTua madre gemeva: Your mother mourned:Io seco piangeva, I wept with her,Ingrato, per te. Ingrate, for you.E in seno all’amore But you meanwhileTu intanto languivi! Languished in your loving dalliance!Tradivi l’onore! You betrayed your honour,I voti, la fé!... Your vows, your faith!...Tua madre or muore... Your mother is dying now...E muore per te! And dies for you!Scegli dunque – Un cieco amore! Choose then – A blind passion!

ARMANDO(Emphatically)

Vincerò. I shall conquer it.ADRIANO

Virtude... Onore! Or virtue... Honour!ARMANDO

Seguirò. I will follow you.ADRIANO

(drawing his sword)Su questa spada... Upon this sword...Fu la spada di tuo padre, Which belonged to your father,Or lo giura. Now swear it.

ARMANDOAh! Porgi: ch’io Ah! Give it to me: thusOr la baci – Padre mio! Fervently I kiss it – Father!

–112–

Bruce Ford (Adriano)

–114–

Io te invoco... per te giuro, I invoke you... by you I swear,Di te degno tornerò. I shall be worthy of you again.[3] ARMANDO/ADRIANOIl brando invitto The invincible swordDel genitore Of my/your fatherIl mio/tuo valore My/your valourAccenderà. Will awaken.D’ogni nemico, Over every foe,D’ogni periglio, Over every danger,Con esso il figlio With it your sonTrionferà. Will triumph.

(they leave)

SCENE XIA pleasant spot in the gardens. Felicia slowly advances.

[4] FELICIAOh! Come tutto intorno Oh! How everything aroundNovelli, vaghi, interessanti oggetti Presents to my view new, lovely,S’offrono a’ sguardi miei! – Cielo, And interesting things! – The sky,natura, the earth,

Arti, costumi, in queste Arts, customs, all in this landSpiaggie un dì sì famose – e sì funeste Once so renowned – and so fatalA tanti eroi – Qual rimembranze To so many heroes – Whatamare bitter,

Lagrimevoli! Il mio Sorrowful memories! Here too

–115–

Diletto Armando qui perdetti anch’io. I lost my beloved Armando.Ah! Non dovea più rivederlo! Ah! I shall never see him again!

(She sits, lost in her thoughts)

SCENE XIIAlma enters with Mirva, followed by Palmide

ALMAVieni, Come,Mirva gentil... Tu alla gran festa – Dearest Mirva... Come to the feast –oh cielo! Oh heavens!

Qui lo straniero! The stranger here!FELICIA

(seeing the child)Oh caro, Oh dear,Amabile fanciullo! – E quai sembianze! Attractive child! – And those looks!Quel sorriso! Quel ciglio! That smile! Those eyes!E... dolce illusion! And... sweet illusion!

(Kisses and embraces him joyfully)PALMIDE

(agitated at seeing Mirva in the arms of Felicia)Alma!... (Oh periglio!) Alma!... (Oh, there is danger here!)

ALMALo stranier mel trattenne, The stranger took him from me, ande vedi come see how

Lo contempla, lo bacia: e stringe al He gazes at him, kisses himpetto! and clasps him.

–116–

PALMIDEE se... Mirva! And should... Mirva!

(calls him, he runs to her)FELICIA

Un instante! Principessa... One moment! Princess...Quel figlio... That child...

PALMIDE(confused)

È’... Is...ALMA

Sì vezzoso! So pretty!FELICIA

Ei m’interessa... He interests me...Non sai quanto! Ei ricorda a me You don’t know how much!sembianze... His features remind

Le più adorate. Me of someone I loved.PALMIDE(with interest)

E di chi mai? Of whom?FELICIA

Del mio Of myCaro... fratel. Beloved... brother.

PALMIDE[5] (earnestly)Armando d’Orville!... Armando d’Orville!...

–117–

FELICIA(struck and agitated)

Gran Dio! Great God!Lo conoscesti? Did you know him?

PALMIDE(passionately)

E quanto! Ah, how well!FELICIA

Lo piangeremo dunque insieme. Then we will mourn him together.PALMIDE

E tanto And wasDunque a te caro Armando? Armando so dear to you?

FELICIAAh! Dato avrei Ah, I would willingly haveVolontier per salvarlo i giorni miei. Given my life for his.

PALMIDE(hesitatingly)

E... s’egli?... Alma, nessun qui ci And... if he?... Alma, no onesorprenda. must disturb us here.

(Alma withdraws)E se Armando vivesse? And if Armando were still alive?

FELICIAVuoi lusingarmi! You deceive me!

PALMIDE(shyly)

E se questo fanciullo!... And if this child!...FELICIA

(Ciel!... Io già tremo.) Ebben... (Heavens!... How I tremble.) Well...

–118–

PALMIDEGiura il segreto. Swear secrecy.

FELICIA(anxiously)

Tel giuro. Or... quel fanciul... I swear. Now... that child...PALMIDE

Figlio è d’Armando. Is Armando’s son.FELICIA

(with great agitation)E... sua madre? And... his mother?

PALMIDE(bends and kisses Mirva)

Lo bacia. She is kissing him.FELICIA

(with grief and strong feeling)Oh! Sventurata Felicia! Oh! Unhappy Felicia!

PALMIDE(struck)

Tu Felicia! Destinata You are Felicia? The brideGià ad Armando consorte? Already chosen for Armando?Oh! Noi miseri! Oh figlio! Oh, wretched we are! Oh son!Infamia... morte, Disgrace... death,Ecco il nostro destin. That is our fate.

(Haughtily she prepares to leave)FELICIA

Ferma, infelice. Stay, unhappy one.Tu sei madre: sperar, viver ti lice. You are a mother; it is your right to

hope, to live.

–119–

PALMIDE(bitterly)

Sperar? Hope?FELICIA

Sì – quel fanciullo Yes – that childSciolse i miei nodi, e strinse i tuoi. Has dissolved my bonds, and

strengthened yours.PALMIDE

Potrai You couldTu a me cedere Armando? Give up Armando to me?Scordarlo? Forget him?

FELICIA(sighing)

Io potrò cederlo – scordarlo... Could I give him up – forget him...Oh Dio! Nol so. L’ingrato Oh God! I don’t know! The ingrateMe obliò, l’amor nostro, fede, Forgot me, our love, his faith,tutto. everything.

E dell’ingrato, ohimé! Per mio And yet, alas, I torture myself,tormento remembering

Sembianze, voce, amor, tutto His face, voice, love,rammento. everything about that ingrate.

PALMIDEDimenticarlo io pur non saprei mai. I too could never forget him.

FELICIANon conosci, non sai You do not know, cannot imagineL’arti di quest’amabil seduttore! The wiles of this loveable deceiver!Giovinetta, col cuor dell’innocenza, I was a young innocent-hearted girl,

–120–

Sotto il bel ciel della natia Provenza, Beneath the fair sky of my nativeProvence,

Tenero trovatore, al raggio amico He a tender troubadour, in thefriendly rays

D’argentea luna... L’ispirava amore... Of a silvery moon... He awakenedmy love...

Odi com’ei parlava a questo core. Hear how he spoke to my heart.[6]Giovinetto Cavalier, A young Knight,Di bel giorno al tramontar, As twilight fell one beautiful day,Colla Dea de’ suoi pensier With the Goddess of his thoughtsSotto un salcio s’arrestar. Rested beneath a willow tree.Tacque un po’ – su lei fissò He was silent for a while –Poi lo sguardo, e sospirò. Then gazed at her and sighed.La sua mano portò al cor... He placed his hand upon his heart...E qui, disse, qui v’è amor... And here, he said, here is love...Non fidarti, o giovin cor, Do not trust, o youthful heart,Dell’accento dell’amor. Words of love.

PALMIDE(with melancholy expression)

Oh! Conosco, conosco quest’accenti... Oh, I know, I know those words...Quel canto seduttor – Sotto le mura That seductive song – Beneath the wallsDel mio remoto harem così cantava, Of my secluded harem he sang them,Così chiedeva amor... Io già l’amava. Thus he sued her for love... I already

loved him.Cloe d’età nel bell’april Chloe, in the fair April of her yearsEra giglio di candor; Was a lily of innocence;

–121–

Sorrideva al suo gentil, She smiled upon her gentle suitor,In un tenero languor. Tenderly dreaming.Ma balzar quel cor sentì, But she felt her heart leap,E il suo tutto s’agitò. And her whole being stirred.Un sospiro le sfuggì A sigh escaped herEi l’intese... e l’abbracciò... He heard it... and embraced her...Non fidarti, o giovin cor, Do not trust, o youthful heart,Dei sospiri dell’amor. The sighs of love.

(the voice of Armando from the nearby grove repeats the song)

PALMIDEAh! La sua voce! – Oh cielo! Ah! his voice! – Oh Heavens!

FELICIAChe fai? What are you doing?Oh Palmide... Oh Palmide...

PALMIDE(very agitated)

Ah! Quel suo canto Ah! His songForse esprime l’addio Perhaps it expresses the farewellDel Cavalier... ed io! the Knight must bid me... and I!

FELICIACalmati, attendi... Calm yourself, wait...

PALMIDEArmando! Armando! Armando! Armando!

FELICIAPer pietà, attendi. For pity’s sake, wait.

David Parry(conductor)

–123–

THE VOICE OF ARMANDO(from the distance)

Tutto armato a lei venir... One day she saw her beloved...PALMIDE

Odi! Listen!ARMANDO

Mirò un giorno il suo tesor: Come to her in full armour:PALMIDE

Qual momento! What a moment!FELICIA

Fier cimento! What a dreadful situation!ARMANDO

Cara, addio, con un sospir, Dearest, adieu, said he, with a sigh,Son Crociato, ei disse, ohimé!... I am a Crusader, alas!...

PALMIDEOh dolor! Oh misery!

FELICIAOh martir! Oh anguish!

ARMANDOCloe gelarsi il cor sentì... Chloe felt her heart freeze...

FELICIACosì Felicia... So Felicia must suffer...

PALMIDEL’istessa pena... The same pain I feel...

ARMANDOQuasi estinta al suol piombò: Half dead she sank to the ground:

–124–

PALMIDEIo reggo appena... I can hardly bear it...

FELICIAStato crudele... What a cruel situation...

(Felicia moves away, showing a strong disquietude)ARMANDO

Ei la fredda man baciò... He kissed her cold hand...PALMIDE

S’ei mi lascia... If he leaves me...ARMANDO

Su lei pianse, e... disparì. Wept over her, and... went his way.(entering, he runs to Palmide’s arms)ARMANDO/PALMIDE/FELICIA

Mai provar, o giovin cor, Oh, may your young heart neverexperience

I martiri dell’amor. The pangs of love.ARMANDO

(he moves away from Palmide, as if struck by some melancholy thought)Ma... Il dover!... Un sacro onor!... But... Duty!... Sacred honour!...Ah! Che l’addio sul labbro muor, Ah! How farewell dies on my lips,E mai partir da lei potrò. I shall never be able to leave her.

PALMIDE(looking at Felicia in anguish)

Essa è là! Un dì l’amò... If he should see her there! Once heloved her...

Può amarla ancor! Che far’allor? He may still love her! What shall Ido then?

Mi gela il cor crudo timor. Cruel fears chill my timorous heart.

–125–

FELICIA(overwhelmed and distracted)

Ah d’avanzar ardir non ho... Ah, I haven’t the courage to comeforward...

D’un’altra in sen chi un dì l’amò! He I once loved in the heart ofanother!

Questo è soffrir! Questo è dolor!... This suffering! This is grief!...ARMANDO/PALMIDE.FELICIA

No, non provar i martiri dell’amor. No, do not suffer the pangs of love.(Armando returns to Palmide and embraces her, then tears himself

away from her, and flees)[7] PALMIDE

(Following him)Armando! Armando!

FELICIAArmando! Armando!

PALMIDEFerma... Stop...

FELICIASenti... Listen...

SCENE XIIIAs they leave the gardens, Alma enters with Mirva

ALMAÈ’ l’ora It is time now for theGià della festa, e Palmide s’oblìa Celebration, and Palmide, in her rightful

–126–

In suo giusto dolor. Di te che fia, Grief, has forgotten. What willbecome of you,

Sventurato fanciul! Unhappy child!ARMANDO

(cries out from the distance)Felicia! Felicia!

FELICIA(also from the distance)

Arresta... Stop...ALMA

Qual grido! E quale mai scena That cry! Was there ever a more terriblefunesta! situation!

ARMANDO(overcoming his desperation)

Ove salvarmi? Qui Felicia! Where can I fly to? FeliciaOh Dio! here! Oh God!

Qual nuovo orror? What new horror awaits me?FELICIA(returning)

Armando! Armando!ARMANDO

E non poss’ìo Is there no way for me toNé fuggir, né morir! Quel brando Escape, or die? That sword at least,almeno,

Che in mia disperazione Which in my desperationOr mi togliesti, al seno, Was taken away from me

–127–

Tu vibrami – ti vendica. Punisci Plunge into my heart. Take yourrevenge. Punish

Un empio... un traditor. An evil man... a traitor.PALMIDE(tenderly)

Oh! Sposo mio! Oh! My husband!FELICIA

(pointedly to Armando)L’odi tu! Guarda quel fanciullo – Listen to her! Look at that child –

ARMANDO(overcome)

Oh Dio! Oh God!FELICIA

E parli di morir? And you speak of dying?ARMANDO

Ma se tu sai? But then you know?FELICIA

Tutto – sì... e ti perdono. Everything – yes... and I forgive you.ARMANDO

A me giammai But neverIo perdonar saprei. Can I forgive myself.O sventurata, i tradimenti miei. Oh unhappy women, what of my

betrayals.FELICIA

Tutto espiar ancor potrai: tuo zio... You can still atone for them: youruncle...

–128–

ARMANDOMio zio! Raggio celeste a quel gran My uncle! That great namenome bathes me in a

Mi rischiara, m’accende, mi richiama Heavenly light, sets me aflame,recalls me

Al dover, all’onor. Dammi quel To duty and honour. Give mebrando... that sword...

FELICIA(emphatically)

Io l’affido ad Armando. I entrust it to Armando.ARMANDO

Palmide! Figlio mio!... Palmide! My son!...Felicia! Felicia!

(He prepares to leave)PALMIDE

Parti! Io moro... You are leaving! This is death to me...FELICIA

Spera... Have hope...ARMANDO

Addio! Farewell!(He leaves)

FELICIA/PALMIDEOh Dio! Oh God!

(They embrace and withdraw)

–129–

SCENE XIVA magnificent salon in the palace, surrounded by gardens: in the distance a superb mosque,its doors closed. A throne on one side, richly cushioned, for Aladino and Palmide. On theopposite side are cushions for the Knights, and a separate one for the Grand Master.

[8] ALADINOAdriano! Egli stesso! Il Gran Adriano! In person! The GrandMaestro Master

Dei Cavalier di Rodi! Quel vantato Of the Knights of Rhodes! Thatextolled

Eroe de’ Franchi! Il Saggio venerato Hero of the Franks! The veneratedsage

Della pietà, delle virtù sen viene Of pity and virtue comesAd’ offrir pace sulle Egizie arene? To offer peace on Egyptian shores?

OSMINOTal n’ebbi avviso or da un’araldo. So I was now informed by a herald.

ALADINOA lui, Let himQuale ad alto Califfo onor si renda: Be honoured like a high-ranking

Caliph:Quanto Aladino lo pregia, e ammira Let him see how Aladino esteemsapprenda. and admires him.

OSMINOCompirò i cenni tuoi. I shall carry out your orders.

ALADINOLieta succeda poi Then let the wedding ceremonyLa nuzial festa. Happily proceed.

–131–

OSMINOÈ’pronta già... All is ready...Senti i giulivi concenti. Listen to the joyful acclamations.In regal pompa, In regal stateIn fra suoi Cavalieri, Surrounded by his knights,Adriano s’avanza. Adriano advances

ALADINOEcco mia figlia, Here is my daughter,Compiuti i voti miei saranno appieno. Now my wishes shall be fulfilled.

OSMINO(Geloso mio furor, celati in seno!) (I must hide my jealous fury in my

heart)

SCENE XVA grand march. Emirs, guards, Palmide with Alma, who leads Mirva by the hand, follwedby slaves. Imams carry the nuptial veil. Aladino and Palmide, leading the cortege, ascendthe thrones.

[9] IMAMSGran Profeta, ognor dal cielo Great Prophet, forever from the

heavensSplendi ai riti protettor. Protect our rites.Questo sacro argenteo velo Let this sacred silvery veilSimbol sia del tuo favor. Be a symbol of your favour.From the opposite side the Sultan’s guards of honour precede the Heralds of the Knightsof Rhodes, the armour-bearers, and guards of the Grand Master, followed by theknights and Adriano, in the uniform of Grand Master, with his pages and squires,

among them Felicia.

–132–

KNIGHTSDegli eroi sul gran sentier Along that great pathway of heroesGuida a noi son fede, e onor. We are guide to faith and honour.Bella gloria n’arde in cor, Great glory burns in our hearts,A noi sacra è l’amistà. Friendship is sacred to us.L’innocenza oppressa, offesa Innocence, oppressed and attackedTrova ognor in noi difesa. Always finds us there to defend.Nostra insegna sarà ognora Our standard will always beGloria, fede, ed amistà. Glory, faith and friendship.At a sign from Aladino, who rises to present himself to Adriano, the Knights take theirseats. Mirva and other children present crowns of olive leaves to Adriano and the Knights.Adriano, receiving his, regards Mirva with interest and caresses him. Palmide and Felicia

anxiously watch Adriano’s actions. The march and ceremony end.

[10] ALADINOInvitto, illustre Gran Maestro, Unconquered, illustrious GrandOh prodi Cavalieri di Rodi, Master, oh gallant Knights ofvoi generosi, Rhodes, generous men,

Pace ad offrirmi, ed amistà veniste. To offer me peace and friendship.Io pace accetto. I accept peace.

ADRIANONemico ancor, noi t’ammirammo. We admired you although our

enemy. AlwaysOgnora fra generosi cor si pregia, Valour and virtue will be prized andSi onora valore, e lealtà. Honoured by generous hearts.

ALADINODa questo istante From this momentI Franchi, schiavi miei, liberi sono. The Franks, my slaves, are free.

–133–

ADRIANOTutti? All of them?

ALADINOSì: tutti Yes, all of them.

FELICIA(Ah! Io comprendo.) (Ah! I understand.)

ADRIANO(emphatically)

Questo This dayFia gran giorno pe’ Franchi. Will be a bright one for the Franks.

PALMIDE(E a me funesto.) (And a fatal one for me.)

ALADINOFia pur gran giorno It will be a memorable day for mypel mio regno. Sposo a kingdom also today I give as

Palmide mia figlia il valoroso husband to my daughter, Palmide,Elmireno oggi rendo, The valiant Elmireno,Un giovine guerrier ch’è già da A young warrior who for five yearsun lustro,

Del mio trono sostegno, Has been the support of my throne,L’amico del mio core: The friend of my heart:Ei fia mio successore. He shall succeed me.

(to Osmino)Venga Elmireno. Summon Elmireno.

–134–

SCENE XVIArmando enters dressed as a Knight of Rhodes

ARMANDO(With dignity)

Più Elmireno non v’è – Mio zio! I am no longer Elmireno – Uncle!(He prostrates himself before Adriano)

ALL(with amazement)

Ciel! Che miro? Heavens! What do I see?Ed è pur vero! Can this really be true!Oh ciel! Io spiro/spira! Oh heavens! I am dying!

ALADINO(furiously)

Ah tradimento! Ah, traitor!Elmireno! Elmireno!

ARMANDOMe di Rodi Know me nowCavalier conosci omai: As a Knight of Rhodes:A’ tuoi sguardi mi celai, I hid my real self from your eyes,Schiavo reo di cieco amor, A guilty slave of blind passion,Alla voce mi destai Now I have woken to the voiceDel dovere e dell’onor. Of duty and honour

ALADINOAdriano! Adriano!

ADRIANOA me nipote My nephewD’eroi sangue ha nelle vene. Has the blood of heroes in his veins.

–135–

Spento già su queste arene For five years I have mourned himIo da un lustro il piansi ognor. As dead upon these shores.Sciolto omai da sue catene Free at last from his chainsDi me degno il trovo ancor. I find him worthy of me again.

ALADINO(to Palmide)

Ah! Chi amasti? Ah! Who have you loved?PALMIDE

Ebben l’ingrato Too well the ingrate knowsSa di quanto amor l’amai. How much I loved him.Ei scordar non potrà mai He can never forgetCome vinse questo cor. The way he won this heart.Questo cor che a lui donai, This heart I gave him, andChe abbandona nel dolor. Which he abandons to its anguish.

ALADINOEd è ver? Tu traditore Can it be true? You a traitor?Tu! Il mio amico! Oh! Ti difendi, You! My friend! Oh! defend yourself,Elmireno a me, deh, rendi: Bring Elmireno back to me:Perdonarti io posso ancor. I can still forgive you.Sul mio trono meco ascendi, Mount the throne with me,Sposo a lei, per man d’amor. As her husband, by the hand of love.

ARMANDO(deliberately)

No: decisi. No: I have decided.PALMIDE(griefstricken)

E potrai?... How can you do this?...

–136–

ARMANDOIl debbo. It is my duty.

ALADINO(sternly)

Pensa... Reflect...ARMANDO(emphatically)

Giurai. I have sworn.ALADINO(furiously)

Tu non sai! You do not know!ARMANDO

So il dover mio. I know my duty.ALADINO

(hardly able to contain himself )Scegli ancora... o miei furori... Still choose... or my fury...

ARMANDO(steadfastly)

So morire... I know how to die...ALADINO

(drawing his dagger)Perfido! – E mori... Traitor! – Die then...

FELICIA(who has watched Aladino’s actions, dashes forward and places herself firmly in front

of Armando)T’arresta... Stay...Se di sangue hai tu desio If you thirst for bloodTutto il mio si verserà. Let all of mine be shed.

–137–

E per lui ch’è a me sì caro And it will be sweet death for meDolce morte a me sarà. To save him who is dear to me.

ALADINO(surprised)

Egli! He!FELICIA

E’ il mio… fratel. He is... my brother.ALADINO(about to strike)

Che muoja. Let him die.(Felicia draws her sword and holds Aladino back)

ALLChe fai? Oh ciel! What are you doing? Oh heavens!Ah! Qual orror! Ah! What horror![11] PALMIDE/FELICIA/ARMANDO/ADRIANO/ALADINOSogni, e ridenti Sweet dreams of peaceDi pace, amore and loveFuro i contenti Were the joysDi questo cor. Of this heart of mine.Non v’è più pace/fede There is no longer peace/faithNon v’è più amor/onor. There is no longer love/honour.[12] ALADINOIte, superbi. Osmino, Go, arrogant men. Osmino,Guidali, al lor soggiorno: See them to their quarters:All’ire mie s’involino, Before the break of day they must bePria che risorga il giorno incapable of making me angrier.Quell’empio in atro carcere Cast that villain into a dark dungeon.Si serbi al mio furor. To await my angry verdict.

–138–

FELICIA(impetuously)

E l’oserai?... And you would dare to do this?...ADRIANO(to Aladino)

Son questi Are theseDunque i tuoi cenni estremi? Then your last commands?

ALADINOSì – chi m’insulta tremi. Yes – let those who insult me

tremble.ADRIANO

Di noi tu trema! You shall tremble before us!ALADINO

Audace! Audacious man!ADRIANO

Dunque guerra! Then it is war!ALADINO/OSMINO/AMAMS

Sì, guerra! Yes, war!ADRIANO

Vendetta! Vengeance!ALADINO/OSMINO/IMAMS

Vendetta! Vengeance!ADRIANO

Orrore! Horror!ALADINO/OSMINO/EMIRS

Orrore! Horror!

–139–

ALADINO(to an Imam who goes to the mosque and opens the door)

Va, tuoni omai dal tempio. Go to the mosque, strikeQuel bronzo formidabile, That terrifying gong,Il di cui suon terribile. Whose menacing soundSegno è di guerra ognor. Is always the signal of war.(two Imams take down the Grand Banner and wave it in front of the Mosque entrance)

E voi spiegate il fulgido And you unfurl that shining standardVessillo de’ credenti, Of the Believers,Segnale ognor di gloria, Forever the emblem of glory,De’ perfidi terror. The terror of all infidels.

ADRIANO(the knights wave the banner of Rhodes)

Più sacra di vittoria, A holier, truerPiù certa insegna è questa: Standard of victory is this:Già a fulminar s’appresta Ready to strike downChi fede e onor tradì. Those who have betrayed faith and

honour.ARMANDO

(tearing himself away from Palmide and Felicia with anguish)Così lasciarti! This is the way I must leave you!

ADRIANOPaventa... Dread...

PALMIDECosì ti perdo! I must lose you!

–140–

FELICIA(embracing Armando and Palmide)

Così lasciarvi!... Must I leave you like this!...KNIGHTS/IMAMS

Guai se tuona quel bronzo tremendo Woe if that terrifying gongChe diffonde il segnale di guerra! Should sound the declaration of war!Guai se il brando si snuda del forte! Woe if the brave unsheath their swords!Guai se spiega l’insegna di morte! Woe if the banner of death is

unfurled!Allo scoppio di fulmine orrendo When the horrible thunderbolt is

unleashedLe sue furie l’averno disserra... Hell lets loose its furies...E già mille in sì atroce momento And in such a dreadful moment

ALLAh! Crude smanie sento nel cor! Ah! I feel a thousand cruel agonies

in my heart!A general movement. The Knights gather round Adriano. Osmino and the Emirs surroundAladino.The drums of the Egyptians and the Crusaders signal battle as the gong is sounded.

[13] ADRIANO/ARMANDO/ALADINO/OSMINO/KNIGHTS/EMIRS/IMAMS/SLAVES

All’armi vi/ci chiama Glory and faithLa gloria, la fede! Summon us to arms!Vendetta vi/ci chiede Our country and honourLa patria, l’onor. Call us to vengeance.Marciamo alla gloria. We march to glory.Trionfi il valor. Let valour triumph.

Ian Platt (Aladino)

–142–

PALMIDE/FELICIA/ALMADeh, cedi a chi t’ama! Ah, yield to the one who loves you!Rammenta la fede! Remember your faith!Pietade ti chiede Nature and loveNatura, ed amor. Both plead for your mercy.Oh! Barbara gloria! Oh! Barbarous glory!Funesto valor! Fatal valour!

ADRIANO/ALADINO/OSMINOSì punirvi, superbi, sapremo Yes, you will be punished, arrogant

men,Recheremo la morte. You know that you are seeking your

deaths.PALMIDE/ARMANDO/FELICIA/ALMA

Mille furie mi sento al cor! I feel a thousand furies in my heart!

ACT TWO

SCENE IThe same scene as at the end of Act I. Osmino is addressing various Emirs.

[14] OSMINOUdiste – raccogliete Listen – assembleI nostri fidi, e cauti diffondete Our followers, and cautiously spreadLe sedizion – lontano il momento Sedition – the momentAncor non è del fortunato evento - That is right for us is not far off.

(the Emirs leave)Cadrà il tiranno. E Palmide! – L’ingrata The tyrant shall fall. And so shall

Palmide

–143–

Che i miei voti sprezzò, che That ungrateful girl who scorneduno straniero my vows, who prefers

A me antepose, un infedele... A foreigner, an infidel to me.

SCENE IIAlma enters.

ALMA(earnestly)

Osmino! – Osmino! –Degli schiavi il destino? What will happen to the slaves?

OSMINOCangiò – a’ lor ceppi ritornaro: e forse All has changed. They are in chains

again.Già complici in segreto d’Elmireno. In case they are secret accomplices

of Elmireno.ALMA(anxiously)

Ed egli!... And he!...OSMINO

In atro carcere il suo fato In a dark dungeon he awaits the fateAttende da Aladino. Aladino has in store for him.

ALMASventurato!... Unhappy man!...Ma Aladino potria calmarsi ancora. But Aladino may yet be appeased.Palmide... Palmide...

OSMINOInvano ella pregò sinora. So far she has begged in vain.

–144–

Cadde oppressa dal duolo, ed She collapsed with griefin periglio

Sembravano i suoi dì. And her life itself seemed in danger.ALMA

(distressed, inadvertently)Cielo! – E suo figlio!... Heavens! – And her son!...

OSMINOSuo figlio! – Ecco deciso omai Her son! – Behold, the secret isl’arcano revealed

Di quel fanciul che a me cercasti... Of that child whom you have triedinvano, in vain

Suppor tuo figlio. To pass off as your own son.ALMA(confused)

Ma... But...OSMINO

Fida servisti You have servedL’amica tua. (Nel core Your friend faithfully. (In Aladino’sD’Aladino accendiam nuovo furore.) Heart I shall kindle new rage.)

SCENE III

ALMAMiseri noi! – Perduti siamo. Osmino How wretched we are! – We are lost.

Osmino will tell the SultanTutto al Soldan paleserà – strappato everything – the child may wellAl segreto recesso ov’è educato be taken from the secret refuge

–145–

Esser potrà il fanciullo – e allora! – Where he has been raised – andIntanto then what!

Rendasi al seno della madre il figlio: First I will return the boy to hismother:

Le porgerà, a salvarlo, il ciel consiglio. Heaven will tell her how to savehim.

(she leaves)

SCENE IVFelicia enters uncertainly, agitated.

[15] FELICIAOve, incauta, m’inoltro?... Where am I going so rashly?...Chi m’addita il destin del caro bene? Who will tell me the fate of my

beloved?Misero!... Fra catene Unhappy man!... In chains,Nell’orror d’atro carcere, diviso In the horror of a dark dungeon,

awayDa quanto ha di più caro, From all he loves most,Ei gemerà; piangerà forse... e un solo He’ll moan; perhaps weep... and not

oneDi que’ sospir, di pianto Of those sighs, not a tear...Una stilla... un pensiero Nor a thoughtNon sarà per Felicia! – Sventurata! Will be for Felicia! – Woe is me!Ed io pur l’amo ognora! Per salvarlo And yet I’ll always love him!Tutt’oso cimentar. I giorni miei I’ll dare anything to save him.

I would happilyPer l’amato infedel lieta darei. Give my life for my faithless love.

–146–

[16]Ah! Ch’io l’adoro ancor, Ah! I adore him still,Scordar nol so: I cannot forget him:Ei vive in questo cor, He lives in this heart of mine,Che ognor l’amò That has always loved him.E vittima d’amore And as a victim of that loveDunque penar dovrà My heart is doomedQuesto mio cor così to suffer in this waySenza sperar pietà! Without a hope of pity!

SCENE VVarious Emirs enter

EMIRSIn questa reggia, stranier, che vuoi? What are you doing in this palace,

stranger?Periglio corrono i giorni tuoi: Your life is in danger:Va’: d’Aladino sfuggi al rigor. Go: flee from Aladino’s cruelty.

FELICIAAh! del Soldano al piè vorrei Ah! I wish to beg for mercyPel mio germano cercar pietà For my brother at the Sultan’s feet.

EMIRSSalvo Elmireno dunque tu brami! So you long to see Elmireno free! ..

FELICIAAh! Tu non sai quanto ch’io l’ami? Ah! You do not know how much I

love him?

–147–

EMIRSForse porrai salvarlo ancor. You may be able to save him yet.

FELICIASpiegati omai: favella, imponi. Explain yourself: speak, tell me what

to do.EMIRS

I tuoi compagni cauto disponi Cautiously urge your companionsNostri disegni a secondar. To go along with your plans.To lo potrai, forse salvar. Maybe you will be able to save him.

FELICIAIo lo potrei dunque salvar? Then I could save him?[17]Come dolce a lusingarmi, How sweet to believe so,Bella speme, torni al core! Fair hope return to my heart!Si dilegua il mio timore, My fear fades away,E comincio a respirar. And I begin to breathe again.Pur che viva il caro bene, As long as my beloved lives,Per lui tutto si cimenti: I will attempt anything for him:E felice un dì rammenti And one happy day let him

rememberQuanto lo seppi amar. How much I loved him.

EMIRSSe perigli non paventi If you have no fear of dangerDi salvarlo puoi sperar. You can hope to save him.

(Felicia exits)

–148–

SCENE VIOsmino enters

[1] OSMINOQuanti al gran piano s’offrono mezzi, Skilfully I intend to use everytutti

Accorto, io vuò afferar. Dei Cavalieri, Possible means to further my greatplan.

Contro Aladino di giust’ira accesi, The help of the knights, rightlyenraged

Giovar mi può l’aita: By Aladino, can be useful to me:La fortuna è propizia a un’alma ardita. Fortune favours a bold heart.

(Exits)

SCENE VIIA pleasant spot in the gardens

[2] PALMIDE(sad and lost in thought)

O solinghi recessi! Ombre gradite, Oh solitary nooks! Pleasant shadows,Placid’aure – soggiorno Gentle breezes – abodeDella gioja e d’amor... Ah! come Of the joys of love... Ah! howintorno everything

Tutto parmi si triste, muto! Around me seems so sad, silent!Ei non v’è più: non v’è chi di mia vita He is no longer here: he who made

CD3 70’44

Patric Schmid (left),producer, andRobert Auger,

recording engineer

–150–

L’ore, fra voi, rendea sì liete e serene: The hours here so happy and serenehas gone:

Non v’è più l’idol mio – manca il My idol is no longer here – I missmio bene. my beloved.

[3]Tutto qui parla ognor Everything about me speaks continuallyDel mio felice amor: Of my happy love:L’immago del piacer The image of those joysA me presenta. is ever present.Una sol volta ancor If just once moreCh’ei torni a questo cor! He would return to this heart!Lo sposo mio vedere, If I could see my husband once again,Ah! Morrei contenta. Ah! I could die content.[4]Ma, ciel! – S’ei mai perì! – But Heavens! – What if he is dead! –Se il genitore l’immolò al suo furor! What if my father has sacrificed himS’io lo perdei? To his fury? What if I have lostPer che vivere omai? him? What is there to live for?

ALMA(with Mirva)

Guarda a chi déi Here is what you haveConservarti. To live for.

–151–

SCENE VIIIAladino, Osmino and Emirs enters

OSMINO(pointing out Mirva to Aladino)

Lo vedi? Do you see him?Non tel dissi? Did I not tell you so?

PALMIDE(embracing Mirva)

Ah mio figlio! Figlio mio! Ah my son! My son!ALADINO

Tuo figlio! – Mora. Your son! – Then let him die.(he rushes towards her)

PALMIDEOh Dio! Oh God!Ferma! Crudel! Non sai! Stop! Cruel Man! You do not know!

ALADINO(furiously)

Parla – un accento – omai Speak – one word – orIl mio giusto furor su te, su lui... My just fury shall fall upon you,

upon him...Quel sangue... That blood...

PALMIDEÈ sangue tuo... barbaro! Sangue Is your blood... cruel one! It isÈ di quell’Elmireno. The blood of Elmireno.

ALADINOPerfido! That traitor!

–152–

PALMIDEEppure tu l’amavi – degno Yes, you loved him – you offered

him to meDella man di tua figlia, del tuo regno As worthy of your dauther’s hand,A me l’offristi – ed io and of your kingdom – and IGià l’adorava. Amore Already loved him. LovePrevenne i voti tuoi – Forestalled your wishes –Or se vendetta vuoi, Now if you want revenge,Se vuoi punir un infelice affetto, If you want to punish an unhappy

love,Sfogati nel mio sangue, eccoti il petto. Let it be in my blood, here is my

breast.[5]D’una madre disperata Come, plunge that steel into the

breastVibra omai quel ferro al seno: Of a desperate mother.Su me sola sfoga almeno, Let your unhuman furyDisumano, il tuo furor. Fall on me alone.Scorda quanto a te fu cara, Forget how dear I was to you,Amistà, natura oblìa – Forget friendship, nature –Basti a te la morte mia; Be satisfied with my death;Salva i pegni del mio cor. But save the tokens of my love.

(observing Aladino’s emotions, she takes Mirva and presents him to Aladino)

[6]Deh! Mira l’angelo But see how the angelDell’innocenza of innocence

–153–

A te sorridere Smiles at youNel suo candor. In his purity.Le braccia stendeti, He stretches out his arms to you,Chiede clemenza Begs for clemencyPer l’infelice For his unhappySua genitrice; Mother;Perdono al misero Pardon for his unhappySuo genitor. Father.

ALMA/ATTENDANTSA’ suoi prieghi, a’ suoi pianti, Ah! Calm your furyDeh! Si calmi il tuo furor. At her pleas, at her tears.

ALADINO(yielding, and with affection)

Come si può resistere? How can I resist?Venite a questo seno. Come to me.

PALMIDE(exultantly)

Stringi il mio figlio! He is embracing my son!Ah! Dell’affanno il palpito Ah! The pangs of anguishAh! Tutto in piacer cangiò. Ah! Have changed into joy.E dove? Ah, dov’è Elmireno? And where? Ah, where is Elmirono?

ALADINO(to an Emir)

Tosto Adriano inviami. Send Adriano to me at once.(to Palmide)

Attendi qui lo sposo. Wait here for your husband.

–154–

PALMIDELe sue catene a sciogliere I myself will run toIo stessa volerò. Loosen his chains.

ATTENDANTSCome repente in giubilo How suddenly your sufferingLa pena tua cangiò. Is turned into joy.[7] PALMIDECon qual gioja le catene With what joy shall I loosenDel mio bene – io scioglierò. My beloved’s chains.Altri lacci, più soavi, Other, sweeter bonds,Casti abbracci – io recherò. Chaste embraces – I shall bring

him.Al mio petto (qual diletto!) (What delight!) I shall clasp bothSposo, e figlio io stringerò My husband and my son to my

breastA sì caro e bel momento, At such a happy and wonderful

momentDi contento – morirò. I shall die of contentment.

(she leaves with Alma and Mirva, followed by her attendants)

SCENE IX

[8] ALADINODi natura, e d’amistà teneri moti, Oh, how sweet it is to hear tenderOh, come dolce è l’ascoltarvi! – Expressions of friendship andIo torno humanity!

Ugo Benelli (Osmino)

–156–

A sentirne i contenti. Ecco Adriano: Once more I feel those joys. Here isAdriano:

Ciel! – Seconda i miei voti. Heaven! – Support my wishes.ADRIANO

A che mi chiami? Why have you sent for me?A nuovi oltraggi? Omai To endure new outrages? I wantPronto a lasciar d’un Only to quit the territoriesDespota l’impero... Of a despot as fast as I can...

ALADINOTu rimarrai... Io spero. It is my hope you will remain.

ADRIANOA chi onor sente e fede Those who respect honour and faithRimaner più non lice, ove, a talento Can no longer remain where, at theD’un barbaro, s’arrestan prigionieri whim of a barbarian, peace loving knights

can beAmici cavalieri. Arrested and cast into prison.

ALADINOTutti liberi sono. They are all free.

ADRIANO(surprised)

Mio nipote? My nephew?ALADINO

Elmireno. Elmireno.Eccolo. Here he is.

–157–

SCENE XArmando enters

ADRIANO(joyfully)

Il mio nipote! My nephew!ARMANDO

(running to Adriano)È nel tuo seno. Is here near your heart.

ADRIANOEd è ver? – Di contento Can it be true? – A ray of happinessUn raggio ancor! Shines again!

ALADINO(pointedly)

Son io Am I stillAncor despota, e barbaro? Tu, il mio A despot, a barbarian? Now let your

heart beTenero cor imita. Deh! Perdona As tender as mine. Ah! forgiveAl tuo nipote. Your nephew.

ADRIANOA lui già perdonai. I have already forgiven him.

ALADINOMa... tu allor non sapevi... But... then you did not know...

ARMANDO(agitated)

(Ciel!) (Heavens!)ADRIANO

Che mai!... Know what!...

–158–

ALADINO(with emotion)

Or or soltanto il seppi anch’io... I have only now learned it myself...Io vidi... I saw...

M’intenerì. Tu stesso lo vedesti I was moved. You yourself saw himGià a quella festa. At the celebrations.

ADRIANOE chi? Who ?

ARMANDO(greatly agitated)

(Tremo) (I tremble)ALADINO

Quel figlio That childChe abbracciasti, e baciavi... You embraced and kissed...

ADRIANO(disturbed)

Ebben!... Quel figlio! Well then!... That child!ARMANDO(with emotion)

(Io più non reggo.) – è mio. (I can bear it no longer.) – is mine.ADRIANO

Tuo! Yours!ARMANDO(emphatically)

Sì – figlio di Palmide. Yes – the son of Palmide.ADRIANO(enraged)

Gran Dio! Great God!Tu! Yours!

–159–

ARMANDOPerdono... pietà. Forgive me... take pity on me.

ADRIANOTaci – rossore Be silent – you are a disgrace toDella patria, de’ tristi giorni miei... Your country, the shame of my

unhappy life...Più Cavalier, più sangue mio non sei. You are no longer a Knight, no longer

of my blood.(he exits)

SCENE XI

ALADINOSventurato! – Confortati. Unhappy man! – Take comfort.

ARMANDO(distractedly)

Perduto Can IAvrò tutto così? Have lost everything?

ALADINOConsorte, e figlio You still have your wife,Ti rimangono ancora... Your son...E un amico. Riprendi And a friend. Take heartIn questo sen coraggio. Once again.

ARMANDO(as if inspired)

Ciel!... Potrei! Heavens!... If only I could!ALADINO

Qui patria avrai... Your home shall be here...

–160–

ARMANDOGià a nostra fé... Qual raggio! Already of our faith... A ray of hope!Ah! – sì. Ah! – yes.

ALADINOChe pensi? What are you thinking about?

ARMANDOIo mi lusingo ancora I still have a chance toDi placar Adriano. Placate Adriano.

ALADINOE come? How?

ARMANDOLascia ch’io Palmide, e il figlio Let me take Palmide and my sonA lui dinnazi guidi ancora. To him once more.

ALADINOE speri? What do you hope to gain?

ARMANDOA me noto è quel cor. Fidati. I know his heart. Trust me.

ALADINOVanne. Go.Fausta arrida la sorte a’ tuoi disegni. May fate smile favourably upon your

plansARMANDO

Ciel! Tu lo sai, se d’un bel cor Heaven! You know if I am worthy ofson degni. that fair heart.

(he leaves)

–161–

SCENE XII

ALADINOChe mai volge in pensiero! What is he planning to do!Lusingarmi io non so. Troppo severo I cannot deceive myselfIo conobbi Adriano I know Adriano to be too severeNon fia ch’ei ceda, e lo sperar sia He will not yield, and to hope is invano. vain.

SCENE XIIIA remote part of the shore. The Nile in the distance, and the Knights’ ship. The hospice ofthe Knights, a small temple beside it. Palms, ruins and ancient monuments. A group ofEmirs advance cautiously.

[9] EMIRSNel silenzio, fra l’orror Silently, amidst these gloomy

surroundingsCircondiamo il traditor. Let us surround the traitor.I disegni di reo core Let us thwartAndiam cheti ad impedir. The designs of his guilty heart.Ebro d’amor, Drunk with love,Qui in securtà Here in safety,Con Palmide verrà. He will come with Palmide.S’assalirà, We will attack him,S’arresterà! We will arrest him!Osmino allor Then OsminoEsulterà! Will exult!

–163–

Del suo rival He will triumphTrionferà. Over his rival.

(they hide amongst the ruins. Armando, Palmide enter with Mirva)

[10] PALMIDEDove mi guidi tu? Parmi che adesso Where are you taking me? It seemsTutto d’intorno a me sorrida. Al mio That everything smiles at me.Tenero sen ti rende My father, pacified, has restored youIl genitor placato... e questo caro to my tender embraces...Pegno del nostro amore, And can it be true that at lastÈ dunque ver che alfin, senza timore, I can safely call thisFiglio il potrò chiamar? Token of our love, son?

ARMANDO(pointedly, and with affection)

Da te dipende. That depends on you.PALMIDE

Da me? Come? Il potrei? On me? How? What could I do?ARMANDO

Ti senti il core Is your heart strong enoughD’altro sforzo capace? To make yet one more effort?Pronto a gran sacrifizio? Ready to make a great sacrifice?

PALMIDE(tenderly)

E forse tutto And have I notNon ti sacrificai? Sacrificed everything for you?Parla, che resta? Tell me, what is left?

ARMANDOFar palese omai To finally inform

Linda Kitchen (Alma)

–165–

A mio zio, ai Cavalieri il nostro nodo, My uncle, the Knights of our union,La tua novella fede. Of your new faith.

PALMIDE(timidly)

E il padre mio? And what about my father?ARMANDO

Fuggir – e tutto già apprestai. We must escape – I have arrangedeverything.

PALMIDEFuggirlo? Escape?E come? E dove? Oh Dio! How? And where to? Oh God!Fuggirò al suo dolore, To escape from his griefA’ miei rimorsi, al giusto suo furore, From my remorse, from his just fury,A una maledizion! From a curse![11] ARMANDOIn sen del nostro Under the protectionPossente nume – forza a lui domanda Of our almighty God – ask Him for

strengthE l’otterrai. And you will obtain it.

PALMIDEMa... or tremo But... now I fearD’esserne indegna... e fremo... I shall be unworthy of it.… And IIn questo core shudder

Quel Dio ha un rival... Mio padre! God has a rival in this heart...My father!

–166–

ARMANDOTu sei già sposa, e madre – lascerai You are a wife and a mother – will

you leaveE sposo, e figlio! Both husband and son!

PALMIDEChe? Lasciarvi? Ah! mai... What? Leave you? Ah! never...

ARMANDOEbben – vieni. In quel tempio Come then. In the church of theDe’ nostri Cavalieri... Knights...Se n’apre appunto Which is openLa veneranda soglia We will meet him...Ei stesso... Ecco l’istante. This is the moment.

SCENE XIVAdriano, Felicia and Knights enter

PALMIDECielo! Heavens!

ARMANDOSignor! My Lord!

ADRIANO(angrily)

Ed osi! How dare youFELICIA(to Palmide)

Amica! My friend!

–167–

PALMIDE(to Adriano)

Arresta... Stay...FELICIA

Odili. Listen to them.PALMIDE

Deh! Signor... I beg you! My Lord...FELICIA

A lor pietoso... Be merciful to them...ADRIANO(to Felicia)

E tu implori per lor? And you plead on their behalf?PALMIDE

Calmati. Rendi Calm yourself. Love him againA lui l’amor, e con lui n’ama. Apprendi And with him, me. KnowCh’io son credente. That I am a believer.

ADRIANO(with surprise and joy)

Ciel! Fia ver? Heavens! Is it true?ARMANDO

Da un lustro Five years agoElla abbracciò in segreto il nostro She secretly embraced our religion,culto,

E divenne mia sposa. And became my wife.ADRIANO

Io morirei Then shall IDunque felice ancora? Even yet, die happy?

FELICIAIn te dunque una suora Shall I then findIo troverò? A sister in you?

ADRIANOCompi ora l’opra, e giura Now let the work be fulfilled, and

swearSulla tua nuova fé, giura a quel Dio On your new faith, swear to that GodChe t’ispirò d’abbandonar un empio Who inspired you, to abandon an evil

soilA lui nemico suol, ove a credente That is hostile to Him, where no

believerRimaner più non lice. Can be permitted any longer to

remain.PALMIDE

Ma vi lascio mio padre... Ed infelice But I leave my father there... And I amIo lo lascio. Unhappy to leave him.

ADRIANOIl tuo Dio prima. Decidi. Put your God first. Decide.

FELICIAIl tuo sposo, il tuo figlio! Think of your husband, your son!

ARMANDO(O cor sublime!) (What a noble heart!)

PALMIDEIl mio sposo! Il mio figlio! E My husband! My child! And whatquale sposa wife

Resistere potrà? Could any longer resist?

–168–

ADRIANOGià s’apre il cielo Already heaven is openingPer udire i tuoi voti, i giuri tuoi... To hear your prayers, your vows...

PALMIDEIl tutto giuro... Adoro Here, before all, I swear... I worshipIl nostro nume. Our Deity.

ADRIANOEd io per voi l’imploro. And I will pray to Him for you.

(Armando and Palmide kneel. Mirva is between them, Adriano behind them,his eyes raised to heaven, and with his hands placed on their heads.Felicia is overcome with deep emotion – the Knights pray.)

[12] PALMIDE/FELICIA/ARMANDO/ADRIANOO cielo clemente O merciful heavenChe in seno mi leggi, That sees into my heart,Accogli, proteggi Receive and grantIl voto innocente: This innocent’s vows:T’adora, t’implora Nature and loveNatura, ed amor. Implore and venerate you.Quel nodo, quei giuri, This unions, these vowsDeh, tu benedici, Ah! Bless,Tu rendi felici, Make happy,Consacra, o Signor, Consecrate, o LordT’adora, t’implora Nature and loveNatura, ed amor. Implore and venerate you.

–169–

SCENE XVAladino, Osmino, Emirs and Guards enter.

[13] ALADINO(coming forward)

Che miro? Oh cielo! What do I see? O heavens!PALMIDE/ARMANDO

Oh! Istante! Oh terrible moment!ALADINO

E Palmide! – Tu? Palmide! – You here?PALMIDE

Oh periglio. What peril!ADRIANO(with dignity)

Palmide, unita al figlio Palmide, together with her son,Al nume del suo sposo Has joined her husbandI loro voti han porto In making her vows to his God.Già n’abbracciar la fé. They now embrace the same faith.

ALADINO(to Palmide)

E chi poté, spergiura! Ah, what made you do this, perjurer!PALMIDE

Il cielo, amor, natura... Heaven, love, nature...ALADINO(to Adriano)

Tu fosti, o seduttore... This was your doing, o seducer...FELICIA

Deh! Scusa in esso l’amor. Ah! Let love be their excuse.

–170–

ALADINOTutto tradì l’ingrato. The ingrate has betrayed everything.

ARMANDOPrimo di nobil alma The first and most sacred giftE sacro vanto è amore: Of a noble soul is love:Così serbarlo a un figlio It is this that a fatherDoveva un genitor. Should cherish for a child.

PALMIDEOh padre! O father!

ALADINOTi scosta – involati, Away – run from me,Indegna, a’ sguardi miei. Unworthy one, leave my sight.A tutti voi la morte My fury decreesRiserba il mio furor. Death to you all.

ARMANDOAh! No... Ah! No...

ADRIANOPaventa! Dread!

ALADINOAudace! Audacious man!

PALMIDE/ARMANDODeh! Calmati signor! Ah, be calm, my lord!

OSMINO/EMIRS/GUARDSAh! No, signor. Non cedere: Ah! No, sire. Do not yield:Punisci annienta i perfidi Punish, annihilate the infidelsSu gli empi piombi il fulmine Let the thunderbolt of your rageDel giusto tuo rigor. Fall upon the wicked.

(the principals together)

–171–

ALADINOA tutti voi la morte My fury decreesRiserba il mio furor. Death to you all.

ADRIANOTiranno! Tyrant!

ARMANDO/FELICIAPaventa! Dread!

ALADINOChiuso a pietade ho il cor. I have a heart closed to pity.[14] PALMIDEAh! Questo è l’ultimo, Ah! This is the lastCrudele addio! Cruel farewell!Ti deggio perdere, I must love you,Dolce amor mio. My sweetest love.Ma teco Palmide But PalmideMorir dovrà – Must die with you –Così la vita Without youOrror mi fa. Life would be too horrible.

ARMANDOFrena le lagrime, Restrain your tears,Mio dolce amore. My sweetest love.Vivi a quel tenero Live for this tenderPegno d’amore. Token of our love.Cedi a una barbara Yield to a barbarousFatalità – Fatality –E consolarti And heaven will grant youIl ciel saprà. Consolation.

–172–

ADRIANOEsulta, o barbaro Exult, barbarian.Sfoga il tuo core. Vent what is in your heart.Tutto puoi struggere You may destroy everythingNel tuo furore: In your fury:Ma a te quest’anima But this heartMai cederà. will never yield to you.Il tuo rigor It will defySfidar saprà. Your rage.

FELICIAPer me non palpito It is not for myselfIn tal momento: That I tremble at a moment like this:Per lor quest’anima It is for themIo gemer sento. That my heart laments.Piango a sì barbara I weep at so barbarousFatalità. A fatality.Per essi è vano It is all in vainSperar pietà. To hope for mercy for them.

ALADINOMirate esempio Behold an exampleDel mio furore. Of my fury.Tremate, o perfidi, Tremble, o infidels,Nel vostro core. To your very hearts.Paga quest’anima At last this soulAlfin sarà. Will be avenged.

–173–

I traditori It will be ablePunir saprà. To punish the traitors.(the Emirs and guards lead away Adriano, Armando, Felicia and the Knights. Aladino

leaves, taking Palmide with him)

SCENE XVI

[15] OSMINOAladin troppo ardente, Aladino, over-passionate,Cieco ne’ suoi furori, Blind with furyS’abbandona ai trasporti, e incauto Loses control and rashly forgetsoblìa

Ch’esser gli può fatal d’Europa al That the death of the Knightsguardo

Dei Cavalier la morte. Could condemn him in Europe’seyes.

Così ognor più la sorte So fate increasingly favours my plansSeconda i miei disegni. I Cavalieri I must win the Knights to my side...Traggansi al mio partito... Then they will owe their lives to me.Debbano a me la vita. Del tiranno They must punish and destroyChe estinti li volea The pride of the tyrantTronchino i dì, puniscano l’orgoglio; Who sought their death.E il lor liberator guidino al soglio. And lead their liberator to the throne.

(he exits)

–174–

SCENE XVIIA prison

[16] ADRIANOTutto è finito. Ancor per It is all over. A few more moments,Pochi istanti, e poi morte. Ebben, And then death. Very well, I mustsi mora. die.

Non m’è grave il morir: gemo Dying is not hard for me: I onlysoltanto mourn

A veder spento il fior di tanti prodi To see the end of the flower of somany

Giovini illustri eroi Gallant young men, noble heroes,Belle speranze della patria. E il mio White hopes of their homeland. And myDolce nipote! – Oh Dio! Di pianto Dear nephew – oh God! I feelio sento

Umido il ciglio, intenerito il core My eyes wet with tears; my heart,moved,

Cede a natura, al giusto suo dolor. Yields to natural grief.Ma stridon già le ferree porte. But the iron gates already creak open.Ogni debole affetto in petto Every feeling of weaknessTaccia omai. In my heart must be silenced now.A miei compagni, in questi In these last moments may my constancyMomenti estremi, a illustre morte sia Be an example, a guideEsempio e guida la costanza mia. To a noble death for my companions.(a door is opened, Knights, Felicia amongst them, are led in by guards who then leave,

closing the door)Cavalieri!... Knights!...

–175–

FELICIAAdriano!... Gran Maestro! Adriano!... Grand Master!

KNIGHTSSignor! Lord!

ADRIANOIl cielo ancora, Heaven reunites us again,Pria di morte, ci ruinisce, e al cielo And to heaven we raise our minds

and hearts,Alziam le menti, e il cor. Degni di noi, Worthily, intrepidly, noblyIntrepidi, devoti prepariamoci a morir. Let us prepare to die.Gli estremi voti porgansi al nume, We make our last vowsEd intoniamo intanto To the Lord, and meanwhileIl sacro della morte ultimo canto. Sing the last sacred hymn of death.

KNIGHTSEd intoniamo intanto And meanwhile we singIl sacro della morte il canto. The sacred hymn of death.[17] ADRIANO/KNIGHTSSuona funerea The hour of deathL’ora di morte. Sounds dismally.Dell’uom la sorte The fate of manSi compie già. Is already decided.Incomprensibile, Eternity,Fra auguste tenebre Veiled in venerable darknessAll’uom presentasi, Seems to usL’eternità. Incomprehensible.Quale per noi, In you, LordGran Dio, sarà! We will place our hopes.Speriamo in te, Signore, Have mercy upon us,

–177–

De’ figli tuoi pietà. Your children.Al formidabile To your formidableDivin tuo trono Divine throneL’estremo suono The final trumpetCi chiamerà. Will call us.Tremar dee il perfido The wicked shall trembleFra smanie, e angosce... In frenzied anguish...Del giusto l’anima The soul of the righteousCalma sarà. Will be calm.Speriamo in te, Signore, We place our hopes in you, Lord,De’ figli tuoi pietà. Have mercy upon us, your children.

SCENE XVIIIAladino, Osmino and guards enter the prison

[18] ALADINOGuidati sian que’ perfidi Take those traitors awayOsmino al lor supplizio: Osmino, to their execution:Sia la lor morte esempio Let their death be aTremendo ai traditor: Terrible example to traitors.A paventar apprendan’ Let the infidels learnGli infidi i miei furor: To fear my fury:Le vostre spade a noi Hand over your swords to us,Cedete, alteri, omai. Haughty men.

ADRIANO/KNIGHTSLe nostre spade? O Ciel! Our swords? – O Heavens!

ADRIANOL’acciar della fede You ask brave men

–178–

Ai prodi si chiede? For their swords of the faith?Noi ceder? E osate? You dare expect usSuperbi!... E sperate!... To give them up.Ah! come lasciarlo? You arrogant men?Ne freme il mio core. It makes my heart tremble.E come salvarlo? And how can it be saved?Se vano è il valore? Is courage all in vain?In mani infedeli To leave the sword of honourL’acciar dell’onore!... In infidel hands!...Che angosce crudeli! What cruel agony!Che smanie!... Che orror! What torture!... What horror!

(as if struck with inspiration)Ma un raggio celeste But a heavenly ray of lightM’ispira, m’accende. Inspires me, fires me.Il cielo difende Heaven will defendDi Rodi l’onor. The honour of Rhodes.

KNIGHTSQual raggio celeste That heavenly ray of lightLo ispira, lo accende! Inspires him, fires him!Ah! Il cielo difende Ah! Heaven will defendDi Rodi l’onor. The honour of Rhodes.

ADRIANOCavalieri, all’ore estreme Knights, in our last hoursTrionfiamo ancora insieme: Let us triumph together once more.Cavalieri, me imitate. Knights, do as I do.

(he draws his sword)

–179–

FELICIA/KNIGHTSSì! Yes!(they unsheath their swords Adriano breaks his sword in two: Felicia and the Knights also

break their swords)ALADINO/OSMINO

(astonished)Che fate? What are you doing?

ADRIANO[19] (with dignity, he throws the pieces of his sword at their feet)Ecco i nostri acciari a voi: Here are our swords for you:Così cedono gli eroi. That is how heroes yield.E presso alla morte And near deathUn’anima forte A strong heartDel vostro furore Triumphs thusTrionfa così. Over your fury.

ALADINO/OSMINOVedrem forse in faccia a morte Maybe we shall see such prideTanto orgoglio vacillar. Waver when faced by death.

KNIGHTSMille volte in campo armati A thousand times armed in the battle fieldNe sapremo trionfar We know only victoryE presso alla morte And near deathUn’anima forte A strong heartDel vostro furore Triumphs thusTrionfa così. Over your fury.

ALADINO/OSMINOTremate! Cadrete superbi! Tremble! You imperious men are beaten!Quel fasto cessate omai. This display is over.

–180–

[20] ADRIANO/KNIGHTSOr de’ martiri la palma Now let us go with cheerLieti andiamo a meritar. To earn the martyrs’ palm.E nel ciel soave calma And among the chosenFra gli eletti a respirar: Breathe sweet calm in heaven:Della fede tra gli eroi Among such heroes of the faithIo vi guido a trionfar. Will I lead you to victory.Ma del nostro Dio tremendo But the vengeance of our awesome

GodLa vendetta su voi piomba. Will hurtle down on you.Di sterminio in atra tomba He will transform this kingdomQuesto regno ei cangerà. Into a black tomb of slaughter.

Eroi della fede, Heroes of the faith,Per noi la morte è gloria For us there is glory in death,Andiamo a trionfar We go to findAll’immortalità. Triumph in immortality.

(he and the knights leave surrounded by guards, followed byAladino and the Emirs)

SCENE XIX

[1] OSMINOOr perduto è Aladino: Aladino is lost now:Egli stesso va incontro al suo destino. He himself must meet his destiny.

–181–

CD4 71’13

S’armino i Cavalieri: I shall arm the Knights,Sciolgansi i lor guerrieri - Release their warriors.Palmide io perderò, ma se l’ingrata I shall lose Palmide, but if I leaveA un rivale abbandono The heartless girl to a rival, I shall at

least –Salirò almeno... E son contento, And that is enough – be happy toal trono. mount the throne.

(he exits)SCENE XXGrand square at Damietta: exterior of the Sultan’s Palace. Mosques, gardens.An Emir and guards lead in Armando.

[2] ARMANDOO tu, divina fé, de’ padri miei, O you, holy faith of my fathers,Sacro onor, tu che sei guida agli Sacred honour, who are the guide of

eroi, heroes,Deh, reggetemi voi. Fiero è il cimento, Strengthen me now. The danger is

fierce,Terribile è il momento. The moment terrible.All’occaso tu volgi, o sole, i rai, Sun, you turn your rays to the west,Ma tu risorgerai nel tuo splendor, But you will rise again in splendour,Ed io polve sarò. Teneri oggetti And I shall be dust. Tender objectsDe’ miei più cari affetti, Of my dearest affections,L’ultima volta dunque io v’abbracciai! Have I embraced them then for the

last time!Tutto perder cosi! And so everything is lost!Oh sposa mia! – Di te che sarà mai? Oh, my wife! – what will become of you?

–182–

[3]Il dì rinascerà Day will break again,E primo suo pensier And her first thoughtSarà l’amato ben. Will be for her beloved.Ma invan m’attenderà But she will await me in vainFra i sogni del piacer, Amid dreams of pleasure,E dell’amor nel sen. And with love in her heart.Mi chiamerà... She will call me...Sospirerà... Sigh for me...A te d’intorno almen As a loving shadeOmbra amorosa If only I couldPotessi consolar Be around youL’acerbo tuo dolor, To console your bitter grief,Povera sposa! Poor wife![4]Sollecita, pietosa or tronchi morte Quickly, mercifully, now let deathCosì misera vita. Ecco, infelici, Cut short such a wretched life.I miei compagni – Felicia!... Mio zio? Here are my companions – Felicia!...

My uncle?(Adriano, Felicia and Knights enter surrounded by guards, led by Osmino and Emirs)

FELICIAArmando! Armando!

ARMANDOE tu per me?… You, a victim because of me?...

ADRIANOMorte s’avanza: Death draws nigh:Voi cavalieri: ardir, fede, costanza. Brother Knights: courage, faith,

constancy.

–184–

(Osmino and Emirs approach the Knights with an air of mystery)[5] SARACENSUdite or alto arcano... Hear now a dark secret...

KNIGHTSCon noi qual alto arcano? What dark secret do you have for us?

SARACENSFien salvi i vostri dì. Your lives can be saved.

KNIGHTSFien salvi i nostri dì? Our lives can be saved?

SARACENSArride già il destino... Even now destiny smiles upon you...

KNIGHTSE qual per noi destino? And what is to be our fate?

SARACENSCadrà chi n’avvilì. Let him who has degraded you

perish.KNIGHTS

Cadrà chi n’avvilì? Will he who degraded us perish?SARACENS

Vendetta avremo ancor... We yet shall be revenged...KNIGHTS

Vendetta avremo ancor... We yet shall be revenged...SARACENS

Cadrà Aladino. Aladino will fall.KNIGHTS

Cadrà Aladino? Aladino will fall?SARACENS

Tenete or questi brandi... Now take these weapons...

–185–

KNIGHTSVoi ci porgete i brandi? You present us with swords?

SARACENSCelateli per or: Hide them for now:

KNIGHTSLi celerem per or... We will conceal them for now...

SARACENSNon manchi l’alta impresa... Do not let the noble deed fail...

KNIGHTSNon mancherà l’impresa. The deed will not fail.

SARACENSMai di lui schiavi ancor... But you are still his slaves...

KNIGHTSMai di lui schiavi ancor. But we are still his slaves.

SARACENSEi puniria l’offesa... He would punish such an affront...

KNIGHTSEi puniria l’offesa... He would punish such an affront...

SARACENSDi noi qual scempio allor! Then what an example he will make

of us!KNIGHTS

De’ rei qual scempio allor! Then what an example of the guiltyhe will make!

SARACENS/KNIGHTSAh! Pria che tale orror Ah! Rather than face such horrorL’indegno pera. Let the wretch perish.

–186–

Or dividiamoci, Let us go our separate ways now,L’istante attendasi. Await the right moment.Valor, furor, Valour, fury,Morte, terror, Death, terror,Ardir, silenzio, Boldness, silence,E fedeltà... And fidelity...[6] OSMINOPrimiero sul tiranno I shall be the firstIo piomberò. To fall upon the tyrant.

ADRIANO(emphatically)

Quest’armi puniranno These arms shall punishI traditor. The traitors.

OSMINOEi viene. He is coming.

SCENE XXIAladino and Palmide enter.

ALADINOCavalieri, un istante ancor vi resta: Knights, you have still a moment left:Spingere al punto estremo I will stretch my offer of clemencyLa mia clemenza ancor io To the utmost. Choose…vuò. Scegliete...

ADRIANOMorte e gloria! Death and glory!

–187–

ALADINOSuperbi! Ingrati! E il vostro You haughty ingrates! Then meet

yourFiero destin compiasi omai: Tremate Violent fate right now: TrembleDe’ giusti miei furori, At my righteous indignation,Muojano, Osmin... Osmin, let them die...

OSMINO(leading the Emirs, he rushes towards Aladino)

Tu cadi intanto, e mori. You yourself shall be the first to die.[7] ARMANDO

(drawing his sword, he takes his stand at Aladino’s side)Ah! Che fate! V’arrestate! Ah! What are you doing! Stop!Alme ree, di me tremate: Guilty ones, tremble before me.Io difendo un re tradito, I will defend a betrayed king,Io fo scudo all’amistà. I will be his shield of friendship.

OSMINODi salvarlo in van tu speri. You hope in vain to save him.

ARMANDOTrema! Tremble!

OSMINOMora! Die then!

ARMANDOCavalieri! Knights!(the Knights unsheath their swords, advance upon the Emirs and overpower them)

Aladino si difenda, We must defend Aladino,Si punisca il traditor. And punish the traitor.

–188–

ARMANDO(he overpowers Osmino, and despatches him with one sword thrust)

Così noi ci vendichiamo, So we avenge ourselves,(to Aladino)

Tu, se il puoi, ci abborri ancor. You may loathe us, if you are still able.ALADINO(with emotion)

Ah! Son vinto. M’abbracciate. Ah! I am won over. Embrace me.ARMANDO

Dunque tu? So you?ALADINO

(uniting Armando with Palmide)Siate felici. Be happy.I miei prodi, e fidi amici And the Knights of RhodesFien di Rodi i Cavalier. Shall be my brave and faithful friends.

KNIGHTSTuoi leali e fidi amici The Knights of RhodesFien di Rodi i Cavalier. Will be your loyal and true friends.

ARMANDOSposa! Figlio! Zio! My wife! My son! Uncle!Quale eccesso di piacer! I am overcome with joy![8]Rapito io sento il cor I feel my heart enrapturedA tanto mio piacer. By so much pleasure.Un sogno lusinghier Am I still dreamingLo credo ancor. An unbelievable dream.Venite a questo sen: Come to my heart:

–189–

Gioite omai con me. Now rejoice with me.Io son felice appien, I am joyously happy,O cara, sol con te. O beloved, with you.

KNIGHTSEsultate, respirate, Breathe the air of delight,Amorosi, fidi sposi. Truly loving bridal pair.Della gioja abbandonate Abandon your heartsAi trasporti il vostro cor. To the transports of joy.Quanti a voi, felici amanti, Happy lovers, love hasLieti istanti appresta amor! So many blissful moments in store

for you.[9] ARMANDOVerrai meco di Provenza You will come with meAlle belle amiche sponde: to the beautiful friendly shores

of Provence:L’aura, il ciel, la terra, e l’onde: The breeze, the sky, the earth and

the waves:Tutto a voi sorriderà. All will smile upon you.Ah! Di tanti miei contenti Ah, the mere thought of such delightGià l’idea brillar mi fa. Makes me shine with happiness.

KNIGHTSA voi nuovi ognor contenti Your love will grant youApprestar amor saprà. With ever renewed pleasures.

THE END

–190–

APPENDIX

ACT ONE

CARA MANO DELL’AMOREFirst performance, spring 1824, Teatro della Pergola, Florence

Armando – Giovanni Battista VellutiPalmide – Adelaide Tosi Aladino – Luigi Biondini

Armando – Della JonesPalmide – Yvonne Kenny Aladino – Ian PlattKnights, Emirs – Geoffrey Mitchell Choir

SCENE VIIFor the Florence production eight weeks after the Venice premiere, the chorus ‘Vedi il legno’now referred to the royal ship entering Damietta Harbour bearing the victorious Armando.The vessel of the Knights of Rhodes made no appearance; Adriano and Felicia werediscovered at the Hospice of the Knights on the banks of the Nile. Felicia had now lost herimpressive entrance and aria. It was now Armando (again Velluti) who sailed intoDamietta harbour. The Florence revision was the most drastic of Meyerbeer’s rifacimentisince it omitted all three of Armando’s original Venice arias, replacing them with ‘Caramano’ as his only solo.

[10] ARMANDOEccomi alfine, ecco ritorno a voi: Finally, behold me returned amongst

you:Sono qui vincitrici those valiant bands, O Sire,

–191–

Quelle schiere, o Signor, che a me Which you entrusted to me, returnfidaste. victorious

Tutto, de’ prodi tuoi, cesse al valore; All has yielded to the valour of yourwarriors;

E distrutti, dispersi, And routed, dispersed,I nemici spareir come la polve our enemies have disappeared

forever.De’ lor deserti. Omai Gone like dust in the desert. They

have allChinar la fronte audace. Humbled their haughty brows.Pace imploraron; io lor dettai la pace. They have sued for peace:

I dictated the terms.E fortunato il vincitor si tiene, And happy may that conqueror

esteem himselfSe di favor un sorriso ottiene. Who obtains the smile of your favour.

ALADINO(descending from the throne to greet Elmireno)

Vieni, giovine eroe, Come, o youthful hero,Al seno d’amistà. Tutti compiesti To the bosom of friendship. You have

fulfilledI miei cenni, i miei voti. All my commands, my wishes.In sì bel giorno On a day like thisTutto sperar si lice. You may hope everything.

ARMANDOAh signore... Ah sire...

PALMIDE(Oh mio cor, reggi!) (Oh my heart, be still!)

–192–

ALADINO(embracing Elmireno)

Felice io ti bramo: It is my wish to see you happy:ora vien, coroni intanto Now come, let love’s own handLa man d’amor la fedeltà, il valore. Crown your valour and fidelity.

(indicating Palmide on the throne. Armando prostrates himself at the feet ofPalmide, who receives the crown of laurels from Alma, which she places onArmando’s brow. She takes his hand, kisses it, then places it on her heart)

CHORUSFortunato vincitore O fortunate conquerorGodi il premio del valore. Enjoy the reward of your courage.[11] ARMANDOCara mano dell’amore Dear hand of loveIo ti bacio, e son felice; I kiss you, and I am happy;Cara mano Dear handIo ti bacio, e son contento. I kiss you, and I am content.Se mercé sperar mi lice, If I am allowed to hope for a reward,Io la spero dall’amor. I hope it is from love.

CHORUS(they dance)

Fortunato vincitore O fortunate conquerorGodi il premio del valore; Enjoy the reward of your courage;Porge allori a te la Gloria, Glory presents her laurels to you,

ARMANDOGloria! Glory!

CHORUSMirti e rose t’ offre amor. And love offers you myrtles and roses.

–193–

ARMANDO(to Aladino)

Regna all’ombra degli allori, May he reign beneath the laurel’sshade,

E de’ figli tuoi nel core: And in the heart of your sons:A te sacro è il mio valore, To you is devoted my valour,Di mia fede il bel candor. And the pure feelings of fidelity.

CHORUS(repeat their previous lines accompanied by dances)

ARMANDO(to the populace)

Ah non v’è, non v’è trionfo Ah! there is no triumphAl mio cor più lusinghiero, More flattering to my heart,D’un ardor così sincero, Than an ardour so sincere,Del sorriso dell’amor. Than the gentle smile of love.

CHORUS(repeat their previous lines accompanied by dances)

–194–

QUESTE DESTRE L’ACCIARO DI MORTEFirst performance, autumn 1824, Teatro Grande, Trieste

Adriano – Nicola Tacchinardi

Adriano – Bruce FordKnights – Geoffrey Mitchell Choir

For the production in Trieste, the third in less than a year supervised by Meyerbeer, the roleof Armando was taken for the first time by a mezzo-soprano, Caroline Bassi. Armando’sentrance is now a very subdued affair; both the Venice aria ‘O figlio dell’amore’ and theFlorence rondo ‘Cara mano’ have gone and, instead Armando is given only a simplerecitative leading to the duet ‘Ah non ti son più cara’ with Palmide. Now, when the boatsails into Damietta Harbour, it is neither Felicia (as in Venice) nor Armando (as inFlorence) who enters so magnificently, but Adriano, accompanied by the band of the Knightsof Rhodes, with a suitably stirring entrance aria.

[12] ADRIANOPopoli dell’Egitto, People of Egypt,Valorosi guerrieri Valliant warriors,Sul Nilo ecco di Rodi i Cavalieri, Behold the Knights of Rhodes on

the Nile,Non più vostri nemici. Assai finora, No longer your enemies. On the

terrain beyondGià sull’opposta terra A stubborn war has long sinceUn’ostinata guerra Brought slaughter to each sideAlternò stragi, e versò terror – le voci And spread terror – now voices

–195–

Alzano or pace, e umanità. Gli eroi Invoke pace and humanity.Our heroes

L’udir mai sempre e pace al Always heeded it, and now we comevostro regno to offer peace

Noi veniamo ad offrir: To your kingdom:eccone il pegno. here is the pledge.

(Adriano disembarks, followed by Felicia, with various Knights. Felicia presents the peacetreaty to Osmino)

[13]Queste destre l’acciaro di morte These terrifying hands once wieldedContro voi già brandiro tremende: The sword of death against you.Già di Marte fra l’aspre vicende In harsh fortunes of war, palms and

laurelsDividemmo le palme, gli allor. Were equally divided.Questa destra amistade vi stende: This hand now proffers friendship:Della pace all’invito si ceda. Yield to the offer of peace.Agli orrori la calma succeda, Let serenity follow the horrors,E di Marte omai cessi il furor. And Mars finally quell his fury.

KNIGHTSQueste destre l’acciaro di morte These terrifying hands once wieldedContro noi già brandiro tremende. The sword of death against you.Or le nostre amistade vi stende: Now our hands offer friendship:E di Marte omai cessi furor. And let Mars finally quell his fury.[14] ADRIANOPalpitò dolente sposa The unhappy wife trembledDel consorte al fier periglio: At the dire peril of her husband:E tremò pel caro figlio And the mournful mother trembledMesta madre nel timor. With fears for her dear son.

–196–

ADRIANO/KNIGHTSBella pace renda omai May wonderful peace now restoreSposa, e figlio al sen d’amor. Wife and son to the loving breast.

ADRIANOGeme ancora, e freme il core The heart still laments andAl pensier di tanti orror. Shudders at the thought of such

horror.[15]Rassicurata dai suoi timori, Reassured from its fear,Non più turbata da tanti orrori No longer troubled by such horrorsLa terra omai respirerà. The land will breathe again.Vedrà rinascere quei dì felici, it will see the return of those happy

days,Che uniano i popoli in nodi amici When people were joined in friendly

unionsPace, concordia, e fedeltà. Of peace, harmony and loyalty.

KNIGHTSDa suoi timori, da tanti orrori Free from such fears, from such

horrorsLieta la terra respirerà. The land will breathe happily once

more.

–197–

ACT TWO

D’UN GENIO CHE L’ISPIRAFirst performance, spring 1824, Teatro della Pergola, Florence

Alma – Teresa Ruggeri

Alma – Linda Kitchen

The production in Florence was the only time Meyerbeer gave an aria to the comprimaria,Alma. Teresa Ruggeri was one of the most noted comprimarii of her day. After thisproduction, at the beginning of her career, she went on to create minor roles in Pacini’sAmaxilia and Gli Arabi nelle Gallie, Mercadante’s Il Montanaro and La Gioventù diEnrico V, and Verdi’s Nabucco and I Lombardi. The most important role she performedwas the Marchesa in the Italian premiere of Donizetti’s La Figlia del Reggimento at LaScala, Milan, in 1840. From a study of libretti of the opera, this appears to be the onlyproduction in which the aria was ever sung. The text of the aria is similar to that of Tamiri’scavatina in Semiramide (Turin, 1819), but the music is quite different.

[16] ALMAMiseri noi! Or al Soldano, Osmino How wretched we are! Now Osmino

will tellTutto farà palese. Incauta amica! The Sultan everything. Rash friend!A quanti affanni ascoso amor How many trials a secret love hasti trasse! brought you!

Perché non consigliasti Why not listen to reason and duty?La ragione, il dover? Ma che mai But what have I said? Experiencesdissi? teaches

–198–

L’esperienza insegna That where reason rules,Che ove impera ragione amor Love has no power.non regna.

[17]D’un genio che c’ispira, Who can give a reasonChi mai ragion può dar? For a spirit which inspires us?Si piange, si sospira, We weep, we sigh,Ma quei sospiri, e pianti But still we go to meetAndiamo ad incontrar. Those sighs, those tears.D’un amoroso fuoco Whoever seeks a reasonChi la ragion richiede, For a loving passion,O lo conosce poco, Either knows little about it,O indovinar si crede Or believes he can imagineCiò che non può indagar. What he has never experienced.

AH, COME RAPIDAFirst performance, 25 September 1825, Thèâtre-Italien, Paris

Armando – Giuditta Pasta

Armando – Yvonne Kenny

For Meyerbeer’s last personal production of the opera, in Paris, the Armando was sung forthe first time by a soprano, Giuditta Pasta. The provenance of Armando’s new entrance aria,however, is uncertain. In Trieste in 1824, Carolina Bassi had already been given thecavatina ‘Oh! Come rapida’. Which here became a direct replacement for Armando’s VeniceAct II aria ‘Il dì rinascerà’ using the same recitative ‘O tu, divina fé de’padri miei’. This wasnot new music, for Meyerbeer had borrowed it from his L’esule di Granata (Milan, 1821),

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which he had written for Rosmunda Pisaroni. By the time it reached Paris, however, it hadbeen given a new recitative, ‘Eccomi giunto omai’, a cabaletta, ‘L’aspetto adorabile’, and anew position. Still in the second act, it was now sung after the chorus ‘Nel silenzio’ andbefore the recitative and scene leading into the canon ‘O cielo clemente’. An additional, andas yet unsolved, mystery remains: the origins of Pasta’s cabaletta ‘L’aspetto adorabile’. In anumber of contemporary publications, this is attributed to Giuseppe Nicolini. It does notexplain why a composer making his Paris debut would permit the work of another composerto be interpolated in a production that he himself was supervising – although MadamePasta is known to have been a force to be reckoned with, and if she had demanded theinclusion of the cabaletta, Meyerbeer would have been hard pressed to refuse.

[18] ARMANDOEccomi giunto omai At last I have comeAl solitario amico asil. Qui ascoso, To that one friendly hiding place,Sta l’innocente amato figlio, Where so innocently breathes the sonA cui nomar non lice il genitore. Forbidden to call me father.Oh Dio! Di duol, di gioja, Oh God! With grief, with joy, mypalpita il cor mio. heart beats now.

Vincitore dal campo io qui ritorno, I come from the field a conquerorDi novelli favori Weighed down with new favoursMi colmerà Aladin. Da ognun By Aladdin. Everyone believescreduto, sarò felice appieno, me to be the happiest of men,

E da pena mortal oppresso ho il core. While truly I am loaded with mortalgrief.

Oh Palmide, infelice io son l’autore Oh Palmide, I am the wretched causeDe’ mali tuoi, sospinto Of all your woes, led onDa forsennato ardor io t’ingannai, By maddening passion I have

betrayed you,

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Robert Roberts, musicologist (left) and David Parry, conductor

E per me sventurata ognor sarai. And because of me you will bewretched forever.

[19]Ah, come rapida Ah, how quicklyFuggì la speme, Every hope flies away,Ah, sempre piangere Ah, ever wretchedIl cor dovrà. My heart must be.Per me risplendere Will fate ever allowUn raggio sereno, The tranquil rayDi pace amabile Of peaceful loveMai si vedrà? To shine on me?Ma il figlio ancor non vedo! But yet I do not see my son!Pur ascoso ei qui resta? Where is he hidden?Qui speravo stringerlo al core, I had hoped to find him here to hold

him toE conforto qui trovare al mio dolore. My heart, to find comfort amid my

grief.[20]L’aspetto adorabile The adorable faceD’un tenero oggetto of that beloved beingOh quanto all’anima Will bring delightDarà diletto. To my soul.Oh cielo clemente, O bountiful heaven,Deh fa che presto Grant that I may soon hold himStringerlo And clasp himIo posso al sen. To my heart.Oh caro figlio, ansioso Oh dear son, my heart

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T’attende il cor. Anxiously awaits you.Deh vola rapido, Then hurry to bless me,Ah, non tardar. Ah, wait no more.Di gioja i palpiti Feelings of joyRidesta in sen. Once more awake my soul.

L’ACCIAR DELLA FEDE + LA GLORIA CELESTEFirst performance, autumn 1824, Teatro Grande, Trieste

Adriano – Nicola TacchinardiAladino – Luciano Bianchi Osmino – (Luciano?) Biondi

Adriano – Bruce FordAladino – Ian Platt Osmino – Ugo Benelli

Knights – Geoffrey Mitchell Choir

For the Trieste production, Meyerbeer tightened the scene of the breaking of the swords. Theveteran tenor Nicola Tacchinardi now had to sing only one verse of ‘Suona funerea’, but wasgiven a higher ending to ‘L’acciar della fede’ with a new, but more traditional cabaletta, ‘Lagloria celeste’.

[21] ALADINOGuidati sian que’ perfidi Take those traitors away,Osmino, al lor supplizio: Osmino, to their execution:Sia la lor morte esempio Let their death be aTremendo ai traditor. Terrible example to traitors.A paventar apprendano Let the infidels learnGl’infidi i miei furor. To fear my rage.

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Le vostre spade a noi Haughty men,Cedete alteri, omai. Hand over your swords to us.

ADRIANO/KNIGHTSLe nostre spade? Oh ciel! Our swords? Oh heaven!

ADRIANO/KNIGHTS(nobly but fiercely)

L’acciar della fede You ask brave menAi prodi si chiede? For their swords of the faith?Noi ceder? osate? You dare to expect usSuperbi! E sperate! to give them up,Ah! Come lasciarlo? You arrogant men?Ne freme il mio core. It makes my heart tremble.E come salvarlo? And how can it be saved?Se vano è il valore? Is courage all in vain?In mani infedeli To leave the sword of honourL’acciar dell’onore! In infidel hands!Che angoscia crudele! What cruel agony!Che smania! Che orror! What torture! What horror!

(then as if struck by inspiration)Ah! Ma un raggio celeste Ah! But a heavenly ray of lightM’ispira, m’accende: Inspires me, fires me:Il cielo difende Heaven will defendDi Rodi l’onor. The honour of Rhodes.

KNIGHTSQual raggio celeste That heavenly ray of lightLo ispira, l’accende! Inspires him, fires him!Il cielo difende Heaven will defendDi Rodi l’onor. The honour of Rhodes.

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ADRIANOCavaliere: me imitate. Knights: do as I do.

(unsheathing their swords)KNIGHTS

Sì. Yes.(Adriano breaks his sword in half, the Knights do the same)

ALADINO/OSMINO(with astonishment)

Che fate? What are you doing?[22] ADRIANO

(with dignity, he throws the pieces of the sword at their feet)Ecco i nostri acciar a voi: Here are our swords for you:

(trumpets are heard in the distance)ALADINO/OSMINO

Udite, son queste Listen, those areLe trombe funeste, the baleful trumpetsChe segnano l’ore Which signal the hourDel vostro morir. Of your death.Repressi vedremo We shall see yourIl fasto, l’ardir. Bombastic impudence crushed.

ADRIANOE in faccia alla morte And in the face of deathUn’anima forte A soul without fearDel vostro furore So triumphsTrionfa così. Over your fury.

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[23]La gloria celeste, Heavenly gloryCompagni, n’attende Awaits us, comrades.Allori immortali Our faith holds outCi stende la fé: Laurels of immortality to us:Trionfo più degno, There is no greater,Più grande non v’è. Nor better deserved triumph.

(the Knights repeat his words)(Adriano exits amongst the Knights, Guards. Aladino follows with the Emirs)

RAVVISA QUAL’ALMAFirst performance, spring 1824, Teatro della Pergola, Florence

Armando – Giovanni Battista Velluti Palmide – Adelaide TossiAladino – Luigi Biondini Adriano – Domenico Reina

Osmino – Giuseppe VisanettiArmando – Della Jones Palmide – Yvonne Kenny

Aladino – Ian Platt Adriano – Bruce Ford Osmino – Ugo BenelliKnights, Emirs – Geoffrey Mitchell Choir

Meyerbeer had thoroughly reworked the opera for its second production. In Venice, the lasthalf of the second act had been dominated by Armando. After the ensemble ‘O cieloclemente’, Palmide had had virtually nothing to do. Now Meyerbeer replaced Armando’saria finale with a new duet, and – apart from the times when Carolina Bassi sang the roleof Armando, interpolating the Semiramide rondo with variations – this became thestandard ending of the opera.

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[24] OSMINOPrimiero sul tiranno I shall be the firstIo piomberò. To fall upon the tyrant.

ADRIANO(emphatically)

Quest’armi puniranno These arms shall punishIl traditor. The traitor.

OSMINOEgli viene. He is coming.

ALADINOCavalieri, un istante ancor vi resta: Knights, you have still a moment left:Spingere al punto estremo I will stretch my offer of clemencyLa mia clemenza ancor io vuò. To the utmost.Scegliete... Choose...

ADRIANO/KNIGHTSMorte e gloria! Death and glory!

ALADINOSuperbi! Ingrati! Il vostro You haughty ingrates! Then meet yourFiero destin compiasi omai. Tremate Violent fate right now – TrembleDe’ giusti miei furori. At my righteous indignation.Muoiano, Osmino... Osmino, let them die...

OSMINO(leading the Emirs, he rushes towards Aladino)

Tu cadi intanto, e mori. You yourself shall be the first to die.ARMANDO

(drawing his sword, he takes his stand at Aladino’s side)Ah! – Che fate, alme indegne! Ah! – What you are doing, you cowards!

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Un re tradito, amici, si difenda Friends, let us defend a Kingbetrayed,

E il suo dover da me ciascun apprenda! And let everyone learn what duty is!ALADINO

E come potesti! But how could you do this!Ch’esempio della virtù più rara? Was there even an example of such

rare valour?ADRIANO

A tuoi pié questo brando Sire, again I layChe ti salvò signor, la vita e il trono At your feet this swordTorno a depor. Which saved your life and your throne.Tuo prigionier io sono. I am your prisoner.[25] PALMIDERavvisa quell’alma Behold what soulsRacchiudon gli eroi! Heroes can boast!E nega, se puoi And, if you can, refuseClemenza, pietà. Clemency and pity.

(almost in tears)Superbo d’amarlo Who would not be proudChi mai non sarà? Of a hero like Armando?

ARMANDODisarmi il tuo sdegno Let anguish like thisSì barbara pena, Disarm your wrath,O nuova catena Or let fresh fettersPrepara al mio pié: Be prepared for me:

(indicating Palmide)Che viva s’io moro That she should live if I diePossibil non è. Is not possible.

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[26] PALMIDE/ARMANDOIl tenero affetto The tender affectionNell’alma ristretto: That sways this soul:Tu stesso svegliasti, You yourself awakened,Tu stesso bramasti. You yourself cherished.Strapparlo, domarlo, To check, to subdue it,Non posso, non so. I am unable, I don’t know how.

CHORUSSe in petto non serba Unless the heart within his breastUn core di smalto, Is as hard as metal,A simil assalto There is no way he canResister non può. Resist such an appeal.

ALADINOVenite al mio seno, Come to this bosom,Miei figli diletti; My beloved children;Il legno s’affretti Hasten the vessel,Le vele sciogliete. Unfurl the sails.

(to Adriano and Knights)Tranquilli vivete, May your days be tranquil,Cessato è il rigor. For all my rage has ceased to last.

(to Palmide and Armando)Ma un padre vi resta But you have still a fatherImpresso nel cor. Let him be imprinted on your hearts.

EMIRS/KNIGHTSMomenti son questi How sweet, how blessed,Soavi felici! Are moments like these!Degli astri nemici The malignant starsCessato è il rigor. Have ceased their rage.

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[27] PALMIDE/ARMANDOPadre! Sposo/a! Caro/a! Father! Husband! Beloved!Da questo istante, fino a quell’ora From this moment, till the hourChe la mia vita deve troncar, When my life is ended,Delle nostr’anime – un’alma sola Both our souls shall be but one –Costante vincolo – saprà formar United by one constant bond.A te vicino – When I am near you,Accanto a te, When I am by your side,Chi più felice – sarà di me? Who could be happier than I?Chi mai può esprimere No other could equal theIl mio contento. Happiness I express.

EMIRS/KNIGHTSVi sien propizie amiche stelle, May friendly stars shine propitiously,Alme sì belle, protegga amor! And love watch over hearts like yours!

For the Trieste production, in which the role of Armando was taken by Carolina Bassi,neither Velluti’s original rondo finale nor the Florence duet (above) were performed. Bassiinterpolated the rondo with variations ‘Col piacer, la pace scende’ which Meyerbeer hadoriginally composed for Bassi to sing in Semiramide (Turin, 1819). For the finale of IlCrociato the words were considerably amended to refer to Armando’s marriage to Palmide(in the original, Semiramide – also in male attire – is celebrating the forthcoming nuptialsof Scitalce and the Assyrian princess Tamiri, the latter being unaware that the wine she isabout to drink has been poisoned by Scitalc e’s jealous rival, Sibari.) In the Triesteproduction, then, the finale of the opera became larger- scale. The final scene commenced,as before, with the recitative ‘O tu divina fé’ followed by the aria for Armando ‘Oh comerapido’ (without the Paris cabaletta), the chorus ‘Udite or alto arcano’, scena ‘Primiero sul

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tiranno’, ‘Ah che fate’ and ‘Col piacer, la pace scende’. The aria has not been included in thisappendix; it can be heard in its original form – sung by Yvonne Kenny – as the rondo withvariations from Semiramide, on the Opera Rara recording A Hundred Years of ItalianOpera 1810–1820 (ORHC103).

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Acknowledgements:CD face 1 Costume design for Ester Mombelli (Palmide)CD face 2 Costume design for Bianca Shiasetti (Felicia)CD face 3 Costume design for Nicholas Prospèr Levasseur (Aladino)CD face 4 Costume design for Domenico Donzelli (Adriano)

Costume designs by Hippolyte Lecomte for the 1825 Paris production at theThéàtre Italien, reproduced by kind permission of Bibliothèque Nationale de France.

Pages 46, 49, 52, 55, 59, 62, 65 and 70

Set designs by Alessandro Sanquirico for the 1826 production at La Scala, Milan,reproduced by kind permission of Museo Teatrale alla Scala, Milan, as followsPage 91: Act 1 scene V. Page 103: Act 1 scene IX. Page 130: Act 1 scene XIV.

Page 162: Act 2 scene XIII. Page 176: Act 2 scene XVII. Page 183: Act 2 scene XX.

19th-century prints, pages 18, 22, 28, 30, 33, 36, 39 and 72: Opera Rara Archive

Sir Peter Moores