Хор `St. Anthony Singers`

Части:
1. Ария (бас): Ich will den Kreuzstab gerne tragen
2. Речитатив (бас): Mein Wandel auf der Welt
3. Ария (бас): Endlich, endlich wird mein Joch
4. Речитатив (бас): Ich stehe fertig und...Читать дальше

Части:
1. Ария (бас): Ich will den Kreuzstab gerne tragen
2. Речитатив (бас): Mein Wandel auf der Welt
3. Ария (бас): Endlich, endlich wird mein Joch
4. Речитатив (бас): Ich stehe fertig und bereit
5. Хорал: Komm, o Tod, du Schlafes Bruder

Первое исполнение: 27 октября 1726.
Назначение: 19-е воскресенье после Троицы.

Х Свернуть

Части:
1. Ариозо (Иисус) и Речитатив (Душа): Sehet
2. Ария mit Хорал (Sopraan, альт): Ich folge dir nach
3. Речитатив (тенор): Nun will ich mich
4. Ария (бас): Es ist vollbracht
5. Хорал: Jesu,...Читать дальше

Части:
1. Ариозо (Иисус) и Речитатив (Душа): Sehet
2. Ария mit Хорал (Sopraan, альт): Ich folge dir nach
3. Речитатив (тенор): Nun will ich mich
4. Ария (бас): Es ist vollbracht
5. Хорал: Jesu, deine Passion

Солисты: альт, тенор, бас; Four-part chorus (for the final chorale)
Оркестр: гобой, 2 скрипки, альт, бассо континуо (+ фагот)

Первое исполнение: 27 февраля 1729?.

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Части:
1. Хор: Magnificat anima mea Dominum
2. Ария (сопрано): Et exsultavit spiritus meus in Deo
3. Ария (сопрано), Хор: Quia respexit humilitatem
4. Хор: omnes generationes.
5. Ария (бас): Quia...Читать дальше

Части:
1. Хор: Magnificat anima mea Dominum
2. Ария (сопрано): Et exsultavit spiritus meus in Deo
3. Ария (сопрано), Хор: Quia respexit humilitatem
4. Хор: omnes generationes.
5. Ария (бас): Quia fecit mihi magna qui potens est
6. Дуэт (альт, tenore): Et misericordia ejus a progenie
7. Хор: Fecit potentiam in brachio suo
8. Ария (tenore): Deposuit potentes de sede
9. Ария (альт): Esurientes implevit
10. Терцет (soprani, альт): Suscepit Israel puerum
11. Хор: Sicut locutus est ad patres nostros
12. Хор: Gloria Patri et Filio

Первое исполнение: 25 декабря 1723 / 2 июля 1733.

Датировка неоднозначна: наряду с 1732-1735 встречается 1723-1733. Эти сведения могут относиться к разным стадиям создания или редакциям.

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Слова Виктора Гюго. Первая версия относится к 1834 году. Берлиоз затем перерабатывал исполнительский состав.

1834, rev. 1850

На слова В. Гюго

L’ENFANCE DU CHRІST (`Сон Ирода`, `Бегство в Египет`, `Прибытие в Саис`)

Действующие лица:
- рассказчик (тенор)
- Дева Мария (меццо-сопрано)
- праведный Иосиф (баритон)
- царь Ирод (бас)
- отец...Читать дальше

L’ENFANCE DU CHRІST (`Сон Ирода`, `Бегство в Египет`, `Прибытие в Саис`)

Действующие лица:
- рассказчик (тенор)
- Дева Мария (меццо-сопрано)
- праведный Иосиф (баритон)
- царь Ирод (бас)
- отец семейства измаильтян (бас)
- Полидор (бас)
- центурион (тенор)

ЧАСТЬ I: Le songe d`Herode (Сон Ирода)
1. Рассказчик: `Dans la creche` (`В колыбели...`)
2. Сцена 1: Une rue de Jerusalem (на улице Иерусалима - центурион, Полидор)
3. Сцена 2: L’interieur du palais d’Herode (во дворце Ирода - Ирод)
4. Сцена 3: (Полидор, Ирод)
5. Сцена 4: Les devins entrent (прибытие прорицателей - Ирод, прорицатели)
6. Сцена 5: L’etable de Bethleem (пещера в Вифлееме - Мария, Иосиф)
7. Сцена 6: (хор незримых ангелов, Мария, Иосиф)

ЧАСТЬ II: La fuite en Egypte (Бегство в Египет)
1. Увертюра
2. L`adieu des bergers (Прощание пастухов со Святым Семейством) - хор пастухов
3. Le repos de la sainte famille (отдых Святого Семейства) - рассказчик, хор ангелов

ЧАСТЬ III: L`arrivee a Sais (Прибытие в Саис)
1. Рассказчик: `Depuis trois jours...` (`Три дня...`)
2. Сцена 1: L’interieur de la ville de Sais (в городе Саисе - Мария, Иосиф, хор римлян и египтян)
3. Сцена 2: L’interieur de la maison des Ismaelites (в доме измаильтян - отец семейства, Иосиф, хор измаильтян)
4. Trio pour deux flutes et harpe, execute par les jeunes Ismaelites (Трио для 2-х флейт и арфы, играют юные измаильтяне)
5. `Vous pleurez, jeune mere` (`Вы плачете, юная мать...` - Мария, Иосиф, отец семейства, хор измаильтян)
6. Сцена 3 (Эпилог): `O mon ame` (`O душа моя...` - Рассказчик и мистический хор)

Х Свернуть

Опера-комик в двух действиях. Либретто Берлиоза по комедии Шекспира «Много шума из ничего». Премьера состоялась в Баден-Бадене в 1862 году.

Béatrice et Bénédict.
Опера в 2-х...Читать дальше

Опера-комик в двух действиях. Либретто Берлиоза по комедии Шекспира «Много шума из ничего». Премьера состоялась в Баден-Бадене в 1862 году.

Béatrice et Bénédict.
Опера в 2-х действиях. Либретто композитора по мотивам комедии У.Шекспира «Много шуму из ничего».

Главные персонажи: Беатриче (сопрано), Бенедикт (тенор), Геро (сопрано), Урсула (меццо-сопрано), Клавдио (баритон), Дон Педро (бас).

1 акт.
В парке у дворца губернатора Мессины Леонато горожане встречают возвращающегося с победой полководца Дона Педро. Здесь сам Леонато, его дочь Геро с наперсницей Урсулой и племянница Беатриче. Геро ждет с войны своего жениха Клавдио, а гордячка Беатриче никого не ждет – ей мужчины безразличны! Она даже подсмеивается над одним из воинов, Бенедиктом, который парирует ее колкости. Друзья шутя предрекают ему, что не далее как сегодняшней ночью он женится. Обескураженный Бенедикт прячется в кустарнике парка. Шутники Дон Педро и Клавдио, заметив это, начинают нарочито громко разговаривать между собой, ненароком намекая, что Беатриче, якобы, страстно влюблена в Бенедикта. Более того, Геро с Урсулой, став соучастницами дружеского «заговора», сообщают Беатриче то же самое про Бенедикта.

2 акт.
В большом зале дворца музыканты под руководством капельмейстера Сомароне репетируют праздничную кантату к свадьбе Геро и Клавдио. Подкрепившись яствами и вином, они решают прогуляться в парке. Входит Беатриче. Она в зале одна. Ее обуревают новые чувства – ей кажется, что она влюбилась! Появляются Геро с Урсулой. Геро вся сияет от счастья перед предстоящей свадьбой и говорит об этом Беатриче. Но та все еще пытается сопротивляться своему нахлынувшему чувству. Нет! Уж она не выйдет замуж. Лучше отправиться в монастырь!
Начинается подготовка к свадебной церемонии. Геро с Урсулой уходят. Беатриче вновь остается одна, тут ее находит Бенедикт и зовет на праздник. Видно, что он увлечен девушкой. Их объяснение прерывает пышный праздничный кортеж. Видя перед собой счастливых Геро и Клавдио, пример которых заразителен, Беатриче и Бенедикт объясняются друг другу в своих чувствах и решают пожениться. Теперь нотариусу предстоит скрепить сразу два брачных контракта. Все славят новую пару. Наши герои счастливы!

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Сборник включает «Религиозное размышление», «Смерть Офелии» и траурный марш к заключительной сцене «Гамлета».

1. Méditation religieuse, H 56B (G major)
2. La mort d’Ophélie, ballade, H...Читать дальше

Сборник включает «Религиозное размышление», «Смерть Офелии» и траурный марш к заключительной сцене «Гамлета».

1. Méditation religieuse, H 56B (G major)
2. La mort d’Ophélie, ballade, H 92B (A♭ major)
3. Marche funèbre pour la dernière scène d’Hamlet, H 103 (A minor)

Х Свернуть

Светская музыкальная драма на английское либретто Уильяма Конгрива. Написана в 1743 году и впервые исполнена в 1744-м.

Сочинение для смешанного хора, двух гобоев, двух фаготов, двух валторн,...Читать дальше

Светская музыкальная драма на английское либретто Уильяма Конгрива. Написана в 1743 году и впервые исполнена в 1744-м.

Сочинение для смешанного хора, двух гобоев, двух фаготов, двух валторн, двух труб, литавр, трёх скрипок, альта, двух виолончелей, органа и бассо континуо.

`Opera after the manner of an Oratorio` *
Либретто Уильяма Конгрива по `Метаморфозам` Овидия
1 действие
Кадм, король Фив, готовится к свадьбе своей дочери Семелы и Афаманта. Приглашенные гости просят в храме Юноны благословения для молодых. Но бракосочетание омрачено конфликтами – невеста любит другого, бога Юпитера, который тайно с ней сблизился. Отец умоляет её, Афамант упрашивает, а Ино в отчаянии от тайной любви к жениху сестры. Семела умоляет Юпитера помочь ей. Разгневанный бог прерывает церемонию ужасной грозой, гости бросаются прочь. Ино признается Афаманту в своих чувствах. Кадмис приносит известие о том, что Юпитер в образе орла похитил Семелу. Она наслаждается бесконечным блаженством рядом со своим возлюбленным.
2 Действие
Юнона, супруга Юпитера, вне себя от очередной измены мужа. Ирис сообщает, что Юпитер построил для Семелы новый дворец, где все служит для исполнения её желаний. Юнона, охваченная безграничной ревностью, клянётся уничтожить возлюбленную мужа. Сомн, бог сна, должен ей помочь в этом.
Семела скучает, пока Юпитер занят своими делами. Даже сон (которому не нужен свой бог) не приносит ей успокоения, а лишь показывает ей, что она смертна. Она упрекает Юпитера в том, что они не равны в их союзе. Обеспокоенный опаснысм признаками недовольства, Юпитер пускает в ход все средства Аркадии, чтобы отвлечь Семелу. Он переносит к Семеле сестру Ино и бросает к ногам возлюбленной все развлечения мира. Втайне он радуется успеху своего предприятия.
3 действие
Юнона будит Сонма от его вечного сна для осуществления мести. Она приказывает ему погрузить Юпитера в глубокий любовный сон. Теперь путь свободен. Юнона принимает образ Ино и предстает перед соперницей, которая вновь предаётся самобичеванию. Юнона коварно показывает в зеркале одинокой влюблённой обманчивый образ бессмертия – Семела сможет стать равной Юпитеру, если он предстанет перед ней не как любовник, а как равный, в своей истинной божественной сущности. Семела погибает – никто их смертных не может выдержать божественных грома и молний.

Оригинальный вокальный текст

ACT ONE
1. Overture
Scene 1
Cadmus, Athamas, Semele, Ino and Chorus of Priests.
The scene is the temple of Juno.
Near the altar is a golden image of the goddess.
The Priests are in their solemnities, as after a sacrifice newly offered:
flames arise from the altar and the statue of Juno is seen to bow..
2. Accompagnato
Priest
Behold! Auspicious flashes rise,
Juno accepts our sacrifice;
The grateful odour swift ascends,
And see, the golden image bends!
3. Chorus of Priests
Lucky omens bless our rites,
And sure success shall crown your loves;
Peaceful days and fruitful nights
Attend the pair that she approves.
4. Recitative, arioso and duet
Cadmus
Daughter, obey,
Hear and obey!
With kind consenting
Ease a parent's care;
Invent no new delay,
On this auspicious day.
Athamas
Oh, hear a faithful lover's prayer!
On this auspicious day
Invent no new delay.
5. Accompagnato
Semele
(apart)
Ah me!
What refuge now is left me?
How various, how tormenting
Are my miseries!
O Jove, assist me!
Can Semele forego thy love,
And to a mortal's passion yield?
Thy vengeance will o'ertake such perfidy.
If I deny, my father's wrath I fear.
6. Air
Semele
O Jove! In pity teach me which to choose,
Incline me to comply, or help me to refuse!
Teach me which to choose,
Or help me to refuse!
7. Air
Semele
The morning lark to mine accords his note,
And tunes to my distress his warbling throat.
Each setting and each rising sun I mourn,
Wailing alike his absence and return.
The morning lark. . . da capo
8. Recitative
Athamas
See, she blushing turns her eyes;
See, with sighs her bosom panting!
If from love those sighs arise,
Nothing to my bliss is wanting.
9. Air
Athamas
Hymen, haste, thy torch prepare,
Love already his has lighted!
One soft sigh has cur'd despair,
And more than my past pains requited.
Hymen, haste. . . da capo
10. Recitative
Ino
Alas, she yields,
And has undone me!
I cannot longer hide my passion,
It must have vent,
Or inward burning
Will consume me.
O Athamas,
I cannot utter it!
Athamas
On me fair Ino calls
With mournful accent,
Her colour fading,
And her eyes o'erflowing!
Ino
O Semele!
Semele
On me she calls,
Yet seems to shun me!
What would my sister?
Speak!
Ino
Thou hast undone me!
11. Quartet
Cadmus
Why dost thou thus untimely grieve,
And all our solemn rites profane?
Can he, or she thy woes relieve,
Or I? Of whom dost thou complain?
Ino
Of all! But all, I fear, in vain.
Athamas
Can I thy woes relieve?
Semele
Can I assuage thy pain?
Cadmus, Athamas, Semele
Of whom dost thou complain?
Ino
Of all! but all, I fear, in vain.
Thunder is heard at a distance
and the fire is extinguished on the altar.
12. Chorus of Priests
Avert these omens, all ye pow'rs!
Some god averse our holy rites controls;
O'erwhelm'd with sudden night the day expires,
Ill-boding thunder on the right hand rolls,
And Jove himself descends in show'rs
To quench our late propitious fires.
Flames are rekindled on the altar.
13. Accompagnato
Cadmus
Again auspicious flashes rise,
Juno accepts our sacrifice.
The fire is again extinguished.
Again the sickly flame decaying dies:
Juno assents, but angry Jove denies.
14. Recitative
Athamas
Thy aid, pronubial Juno, Athamas implores!
Semele
(apart)
Thee, Jove, and thee alone, thy Semele adores!
A loud clap of thunder; the altar sinks.
15. Chorus of Priests
Cease, cease your vows, 'tis impious to proceed,
Begone, and fly this holy place with speed!
This dreadful conflict is of dire presage,
Begone, and fly from Jove's impending rage!
Exeunt
Scene 2
Athamas and Ino
16. Recitative
Athamas
O Athamas, what torture hast thou borne,
And oh, what hast thou yet to bear?
From love, from hope, from near possession torn,
And plung'd at once in deep despair!
17. Air
Ino
Turn, hopeless lover, turn thy eyes,
And see a maid bemoan,
In flowing tears and aching sighs,
Thy woes too like her own.
Turn, hopeless lover. . . da capo
18. Recitative
Athamas
She weeps!
The gentle maid, in tender pity,
Weeps to behold my misery!
So Semele would melt
To see another mourn.
19. Air
Athamas
Your tuneful voice my tale would tell,
In pity of my sad despair;
And with sweet melody compel
Attention from the flying fair.
Your tuneful voice. . . da capo
20. Recitative
Ino
Too well I see,
Thou wilt not understand me.
Whence could proceed such tenderness?
Whence such compassion?
Insensible, ingrate,
Ah no, I cannot blame thee!
For by effects, unknown before,
Who could the hidden cause explore,
Or think that love could act so strange a part,
To plead for pity in a rival's heart?
Athamas
Ah me, what have I heard,
She does her passion own!
21. Duet
Ino
You've undone me,
Look not on me!
Guilt upbraiding,
Shame invading,
You've undone me,
Look not on me!
Athamas
With my life I would atone
Pains you've borne,
To me unknown.
Cease to shun me.
Both
Love alone
Has both undone!
Scene 3
To them Enter Cadmus, attended.
22. Recitative
Cadmus
Ah, wretched prince, doom'd to disastrous love!
Ah me, of parents most forlorn!
Prepare, O Athamas, to prove
The sharpest pangs that e'er were borne,
Prepare with me our common loss to mourn!
Athamas
Can fate, or Semele, invent
Another, yet another punishment?
23. Accompagnato
Cadmus
Wing'd with our fears and pious haste,
From Juno's fane we fled.
Scarce we the brazen gates had pass'd,
When Semele around her head
With azure flames was grac'd,
Whose lambent glories in her tresses play'd.
While this we saw with dread surprise,
Swifter than lightning downward tending,
An eagle stoop'd, of mighty size,
On purple wings descending,
Like gold his beak, like stars shone forth his eyes,
His silver plumy breast with snow contending.
Sudden he snatch'd the trembling maid,
And soaring from our sight convey'd,
Diffusing ever as he less'ning flew
Celestial odour and ambrosial dew.
24. Recitative
Athamas
Oh prodigy, to me of dire portent!
Ino
To me I hope, of fortunate event!
Scene 4
Enter to them Chorus of Priests and Augurs.
Cadmus
See, see, Jove's Priests and holy Augurs come,
Speak, speak of Semele, and me declare the doom!
25. Chorus of Priests and Augurs
Hail Cadmus, hail!
Jove salutes the Theban king!
Cease your mourning,
Joys returning,
Songs of mirth and triumph sing!
Hail Cadmus, hail!
26. Air and Chorus
Semele
Endless pleasure, endless love,
Semele enjoys above!
On her bosom Jove reclining,
Useless now his thunder lies;
To her arms his bolts resigning,
And his lightning to her eyes.
Priests and Augurs
Endless pleasure, endless love
Semele enjoys above!
ACT TWO
27. Symphony
Scene 1
A pleasant country, the prospect terminated
by a beautiful mountain adorn'd with woods and waterfalls.
Juno and Iris descend in different machines.
Juno in a chariot drawn by peacocks;
Iris on a rainbow; they alight and meet.
28. Recitative
Juno
Iris, impatient of thy stay,
From Samos have I wing'd my way
To meet thy slow return.
Iris
With all his speed not yet the sun
Through half his race has run,
Since I, to execute thy dread command,
Have thrice encompass'd sea and land.
Juno
Say, where is Semele's abode?
Iris
Look, where Cithaeron proudly stands,
Bœotia parting from Cecropian lands.
High on the summit of that hill,
Beyond the reach of mortal eyes,
By Jove's command and Vulcan's skill,
Behold a new-erected palace rise!
29. Air
Iris
There, from mortal cares retiring,
She resides in sweet retreat.
On her pleasure, Jove requiring,
All the Loves and Graces wait.
There. . . da capo
30. Recitative
Juno
No more, I'll hear no more!
31. Accompagnato
Juno
Awake, Saturnia, from thy lethargy!
Seize, destroy the cursed Semele!
Scale proud Cithaeron's top,
Snatch her, tear her in thy fury,
And down to the flood of Acheron
Let her fall, let her fall, fall, fall,
Rolling down the depths of night,
Never more to behold the light.
If I th'imperial scepter sway, I swear
By hell!
(Tremble, thou universe, this oath to hear!)
Not one of curst Agenor's race to spare.
32. Recitative
Iris
Hear, mighty queen, while I recount
What obstacles you must surmount.
33. Accompagnato
Iris
With adamant the gates are barr'd,
Whose entrance two fierce dragons guard.
At each approach they lash their forky stings
And clap their brazen wings;
And as their scaly horrors rise,
They all at once disclose
A thousand fiery eyes
Which never know repose.
34. Air
Juno
Hence, Iris, hence away,
Far from the realms of day!
O'er Scythian hills to the Maeotian lake
A speedy flight we'll take!
There Somnus I'll compel
His downy bed to leave, and silent cell;
With noise and light I will his peace molest,
Nor shall he sink again to pleasing rest,
Till to my vow'd revenge he grants supplies,
And seals with sleep the wakeful dragons' eyes.
Hence. . . da capo
Exeunt
Scene 2
An apartment in the palace of Semele.
She is sleeping, Loves and Zephyrs waiting.
Air
Cupid
Come, Zephyrs, come, while Cupid sings,
Fan her with your silky wings!
New desire I'll inspire,
And revive the dying flames.
Dance around her
While I wound her,
And with pleasure
Fill her dreams.
Come, Zephyrs, come. . . da capo
Semele awakes and rises.
35. Air
Semele
O sleep, why dost thou leave me,
Why thy visionary joys remove?
O sleep, again deceive me,
To my arms restore my wand'ring love!
Scene 3
To them Enter Jupiter.
36. Recitative
Semele
Let me not another moment
Bear the pangs of absence;
Since you have form'd my soul for loving,
No more afflict me
With doubts and fears and cruel jealousy!
37. Air
Jupiter
Lay your doubts and fears aside,
And for joys alone provide.
Though this human form I wear,
Think not I man's falsehood bear.
Lay your doubts. . . da capo
38. Recitative
Jupiter
You are mortal and require
Time to rest and to repose.
I was not absent,
While Love was with thee
I was present:
Love and I are one.
39. Air
Semele
With fond desiring,
With bliss expiring,
Panting,
Fainting,
If this be Love, not you alone,
But Love and I are one.
Causeless doubting,
Or despairing,
Rashly trusting,
Idly fearing,
If this be Love, not you alone,
But Love and I are one
With fond. . . da capo
40. Chorus of Loves and Zephyrs
How engaging, how endearing,
Is a lover's pain and care!
And what joy the nymph's appearing
After absence or despair!
How engaging. . . da capo
41. Recitative
Semele
Ah me!
Jupiter
Why sighs my Semele?
What gentle sorrow
Swells thy soft bosom?
Why tremble those fair eyes
With interrupted light,
Where hov'ring for a vent,
Amidst their humid fires,
Some new-form'd wish appears?
Speak, and obtain!
Semele
At my own happiness
I sigh and tremble,
For I am mortal,
Still a woman;
And ever when you leave me,
Though compass'd round with deities
Of Loves and Graces,
A fear invades me,
And conscious of a nature
Far inferior,
I seek for solitude
And shun society.
Jupiter
(apart)
Too well I read her meaning,
But must not understand her:
Aiming at immortality
With dangerous ambition.
42. Air
Jupiter
I must with speed amuse her
Lest she too much explain.
It gives the lover double pain
Who hears his nymph complain,
And hearing, must refuse her.
I must. . . da capo
43. Chorus of Loves and Zephyrs
Now Love that everlasting boy invites
To revel while you may in soft delights.
44. Recitative
Jupiter
By my command
Now at this instant
Two winged Zephyrs
From her downy bed
Thy much lov'd Ino bear,
And both together
Waft her hither,
Through the balmy air.
Semele
Shall I my sister see,
The dear companion
Of my tender years?
Jupiter
See, she appears,
But sees not me;
For I am visible
Alone to thee.
While I retire, rise and meet her,
And with welcomes greet her.
Now all this scene shall to Arcadia turn,
The seat of happy nymphs and swains;
There without the rage of jealousy they burn,
And taste the sweets of love without its pains.
45. Air
Jupiter
Where'er you walk, cool gales shall fan the glade;
Trees, where you sit, shall crowd into a shade.
Where'er you tread, the blushing flow'rs shall rise,
And all things flourish where'er you turn your eyes.
Where'er. . . da capo
Exit.
Scene 4
Semele and Ino meet and embrace.
Chorus of Nymphs and Swains.
46. Recitative
Semele
Dear sister, how was your passage hither?
Ino
O'er many states and peopled towns we pass'd,
O'er hills and valleys, and o'er deserts waste;
O'er barren moors, and o'er unwholesome fens,
And woods where beasts inhabit dreadful dens.
Through all which pathless way our speed was such,
We stopp'd not once the face of earth to touch.
Meantime they told me, while through air we fled,
That Jove did thus ordain.
47. Air
Ino
But hark, the heav'nly sphere turns round,
And silence now is drown'd
In ecstasy of sound.
How on a sudden the still air is charm'd
As if all harmony were just alarm'd!
And ev'ry soul with transport fill'd,
Alternately is thaw'd and chill'd.
48. Duet
Semele and Ino
Prepare then, ye immortal choir,
Each sacred minstrel tune his lyre,
And all in chorus join!
49. Chorus of Nymphs and Swains
Bless the glad earth with heav'nly lays,
And to that pitch th'eternal accents raise,
That all appear divine!
ACT THREE
Scene 1
The Cave of Sleep. The God of Sleep lying on his bed.
Juno and Iris appear.
50. Symphony
51. Accompagnato
Juno
Somnus, awake,
Raise thy reclining head!
Iris
Thyself forsake,
And lift up thy heavy lids of lead!
52. Air
Somnus
(waking)
Leave me, loathsome light,
Receive me, silent night!
Lethe, why does thy ling'ring current cease?
Oh, murmur, murmur me again to peace!
Sleeps again.
53. Recitative
Iris
Dull God, canst thou attend the water's fall,
And not hear Saturnia call?
Juno
Peace, Iris, peace! I know how to charm him:
Pasithea's name alone can warm him.
(To Somnus)
Somnus, arise!
Disclose thy tender eyes;
For Pasithea's sight
Endure the light.
Somnus, arise!
54. Air
Somnus
More sweet is that name
Than a soft purling stream.
With pleasure repose I'll forsake,
If you'll grant me but her to soothe me awake.
More sweet. . . da capo
55. Recitative
Juno
My will obey,
She shall be thine.
Thou, with thy softer pow'rs,
First Jove shalt captivate.
To Morpheus then give order,
Thy various minister,
That with a dream in shape of Semele,
But far more beautiful
And more alluring,
He may invade the sleeping deity;
And more to agitate his kindling fire
Still let the phantom seem to fly before him,
That he may wake impetuous, furious in desire,
Unable to refuse whatever boon
Her coyness shall require.
Somnus
I tremble to comply.
Juno
To me thy leaden rod resign,
To charm the sentinels
On mount Cithaeron.
Then cast a sleep on mortal Ino,
That I may seem her form to wear,
When I to Semele appear.
56. Duet
Juno
Obey my will, thy rod resign,
And Pasithea shall be thine.
Somnus
All I must grant, for all is due
To Pasithea, love and you.
Exeunt
Scene 2
An Apartment. Semele alone.
57. Air
Semele
My racking thoughts by no kind slumbers freed,
But painful nights to joyful days succeed.
Scene 3
To her Enter Juno as Ino, with a mirror in her hand.
58. Recitative
Juno
(apart)
Thus shap'd like Ino,
With ease I shall deceive her,
And in this mirror she shall see
Herself as much transform'd as me.
(To Semele)
Do I some goddess see,
Or is it Semele!
Semele
Dear sister, speak,
Whence this astonishment?
Juno
Your charms improving
To divine perfection,
Show you were late admitted
Amongst celestial beauties.
Has Jove consented,
And are you made immortal?
Semele
Ah no! I still am mortal;
Nor am I sensible
Of any change or new perfection.
59. Air
Juno
(giving her the glass)
Behold in this mirror
Whence comes my surprise!
Such lustre and terror
Unite in your eyes,
That mine cannot fix on a radiance so bright,
'Tis unsafe for the sense and too slipp'ry for sight.
60. Recitative
Semele
Oh, ecstasy of happiness!
Celestial graces
I discover in each feature!
61. Air
Semele
Myself I shall adore,
If I persist in gazing.
No object sure before
Was ever half so pleasing.
Myself. . . da capo
62. Recitative
Juno
Be wise, as you are beautiful,
Nor lose this opportunity.
When Jove appears,
All ardent with desire,
Refuse his proffer'd flame
Till you obtain a boon without a name.
Semele
Can that avail me? But how shall I attain
To immortality?
63. Accompagnato
Juno
Conjure him by his oath
Not to approach your bed
In likeness of a mortal,
But like himself, the mighty thunderer,
In pomp of majesty
And heav'nly attire,
As when he proud Saturnia charms,
And with ineffable delights
Fills her encircling arms,
And pays the nuptial rites.
You shall partake then of immortality,
And thenceforth leave this mortal state
To reign above,
Ador'd by Jove,
In spite of jealous Juno's hate.
64. Air
Semele
Thus let my thanks be paid,
Thus let my arms embrace thee,
And when I'm a goddess made,
With charms like mine I'll grace thee.
65. Recitative
Juno
Rich odours fill the fragrant air,
And Jove's approach declare.
I must retire.
Semele
Adieu, your counsel I'll pursue.
Juno (apart)
And sure destruction will ensue,
Vain wretched fool, adieu!
Exit.
Scene 4
Jupiter enters, offers to embrace Semele;
she looks kindly on him, but retires a little from him.
66. Air
Jupiter
Come to my arms, my lovely fair,
Soothe my uneasy care.
In my dream late I woo'd thee,
And in vain I pursued thee,
For you fled from my prayer,
And bid me despair.
Come to my arms, my lovely fair.
67. Recitative
Jupiter
O Semele!
Why art thou thus insensible?
68. Air
Semele
I ever am granting,
You always complain.
I always am wanting,
Yet never obtain.
I ever am granting,
You always complain.
69. Recitative
Jupiter
Speak, speak your desire,
Say what you require,
I'll grant it.
Semele
Swear by the Stygian lake!
70. Accompagnato
Jupiter
By that tremendous flood, I swear.
Ye Stygian waters, hear,
And thou, Olympus, shake,
In witness to the oath I take!
Thunder is heard at a distance and underneath.
71. Recitative
Semele
You'll grant what I require?
Jupiter
I'll grant what you require.
72. Accompagnato
Semele
Then cast off this human shape which you wear,
And Jove since you are, like Jove too appear!
73. Air
Jupiter
Ah, take heed what you press,
For, beyond all redress,
Should I grant your request, I shall harm you.
74. Air
Semele
No, no, I'll take no less,
Than all in full excess!
Your oath it may alarm you.
Yet haste and prepare,
For I'll know what you are,
With all your powers arm you.
No, no. . . da capo
Exit.
Scene 5
75. Accompagnato
Jupiter
(pensive and dejected)
Ah, whither is she gone! unhappy fair?
Why did she wish, why did I rashly swear?
'Tis past, 'tis past recall,
She must a victim fall.
Anon when I appear
The mighty thunderer,
Arm'd with inevitable fire,
She needs must instantly expire.
'Tis past, 'tis past recall,
She must a victim fall.
My softest lightning yet I'll try,
And mildest melting bolt apply;
In vain, for she was fram'd to prove
None but the lambent flames of love.
'Tis past, 'tis past recall,
She must a victim fall.
Scene 6
Juno, alone.
76. Air
Juno
Above measure
Is the pleasure,
Which my revenge supplies.
Love's a bubble,
Gain'd with trouble,
And in possessing dies.
With what joy shall I mount to my heav'n again,
At once from my rival and jealousy freed!
The sweets of revenge make it worth while to reign,
And heav'n will hereafter be heav'n indeed.
Above measure. . . da capo
Scene 7
The scene discovers Semele under a canopy,
leaning pensively, while a mournful symphony is playing.
She looks up and sees Jupiter descending in a cloud;
flashes of lightning issue from either side,
and thunder is heard grumbling in the air.
77. Accompagnato
Semele
Ah me! Too late I now repent
My pride and impious vanity.
He comes! Far off his lightnings scorch me,
Ah, I feel my life consuming:
I burn, I burn, I faint, for pity I implore,
Oh help, oh help, I can no more!
She dies. The cloud bursts,
and Semele with the palace instantly disappears.
Scene 8
Cadmus, Athamas, Ino and Chorus of Priests.
78. Recitative
Ino
Of my ill-boding dream
Behold the dire event!
79. Chorus of Priests
Oh, terror and astonishment!
Nature to each allots his proper sphere,
But that forsaken we like meteors err:
Toss'd through the void, by some rude shock we're broke,
And all our boasted fire is lost in smoke.
80. Recitative
Ino
How I was hence remov'd,
Or hither how return'd, I know not:
So long a trance withheld me.
But Hermes in a vision told me,
As I have now related,
The fate of Semele;
And added, as from me he fled,
That Jove ordain'd I Athamas should wed.
Cadmus
Be Jove in ev'rything obey'd.
Joins their hands.
Athamas
Unworthy of your charms myself I yield,
Be Jove's commands and yours fulfill'd.
81. Air
Athamas
Despair no more shall wound me,
Since you so kind do prove.
All joy and bliss surround me,
My soul is tun'd to love.
Despair no more. . . da capo
82. Recitative
Cadmus
See from above the bellying clouds descend,
And big with some new wonder this way tend.
Scene the Last
A bright cloud descends and rests upon Mount Cithaeron,
which, opening, discovers Apollo seated in it
as the God of Prophecy.
83. Symphony
84. Accompagnato
Apollo
Apollo comes, to relieve your care,
And future happiness declare.
From Semele's ashes a phœnix shall rise,
The joy of this earth, and delight of the skies:
A God he shall prove
More mighty than Love,
And sighing and sorrow for ever prevent.
85. Chorus of Priests
Happy, happy shall we be,
Free from care, from sorrow free.
Guiltless pleasures we'll enjoy,
Virtuous love will never cloy;
All that's good and just we'll prove,
And Bacchus crown the joys of love.

Х Свернуть

Сочинение для сопрано, контральто, тенора, баса, смешанного хора, двух поперечных флейт, двух гобоев, двух фаготов, валторны, двух труб, литавр, карильона, скрипки, трёх скрипок, альта, органа и...Читать дальше

Сочинение для сопрано, контральто, тенора, баса, смешанного хора, двух поперечных флейт, двух гобоев, двух фаготов, валторны, двух труб, литавр, карильона, скрипки, трёх скрипок, альта, органа и бассо континуо.

L`Allegro, il Pensieroso ed il Moderato - буквальный перевод итальянского названия может выглядеть как `Радостный, задумчивый и умеренный` - речь идет о различных человеческих темпераментах.

Х Свернуть

Англоязычная пасторальная маска, написанная для Каннонса в 1718 году на сюжет из «Метаморфоз» Овидия. В 1739 году Гендель возобновил её в двухчастной редакции. Итальянско-английская серенада 1732...Читать дальше

Англоязычная пасторальная маска, написанная для Каннонса в 1718 году на сюжет из «Метаморфоз» Овидия. В 1739 году Гендель возобновил её в двухчастной редакции. Итальянско-английская серенада 1732 года имеет отдельный номер HWV 49b.

Сочинение для смешанного хора, малой блокфлейты (flautino), двух блокфлейт, двух гобоев, двух скрипок, альта, виолончели и бассо континуо.

Английское либретто двухчастной редакции

PARTE
PRIMA

1.
Sinfonia

2.
Coro

O the pleasure of the plains!

Happy nymphs and happy swains,

Harmless, merry, free and gay,

Dance and sport the hours away.

For us the zephyr blows,

For us distills the dew,

For us unfolds the rose,

And flow'rs display their hue.

For us the winters rain,

For us the summers shine,

Spring swells for us the grain,

And autumn bleeds the vine.

3.
Recitativo (Galatea)

Ye verdant plains and woody mountains,

Purling streams and bubbling fountains,

Ye painted glories of the field,

Vain are the pleasures which we yield;

Too thin the shadow of the grove,

Too faint the gales, too cool my love.

4.
Aria (Galatea)

Hush, ye pretty warbling choir!

Your thrilling strains

Awake my pains,

And kindle fierce desire.

Cease your song, and take your flight,

Bring back my Acis to my sight!

5.
Aria (Aci)

Where shall I seek the charming fair?

Direct the way, kind genius of the mountains!

O tell me, if you saw my dear,

Seeks she the groves, or bathes in crystal fountains?

6.
Recitativo (Damone)

Stay, shepherd, stay!

See, how thy flocks in yonder valley stray!

What means this melancholy air?

No more thy tuneful pipe we hear.

7.
Aria (Damone)

Shepherd, what art thou pursuing?

Heedless running to thy ruin;

Share our joy, our pleasure share!

Leave thy passion till tomorrow,

Let the day be free from sorrow,

Free from love, and free from care!

8.
Recitativo (Aci)

Lo! here my love! Turn Galatea, hither turn thine eyes;

See, at thy feet the longing Acis lies!

9.
Aria (Aci)

Love in her eyes sits playing,

And sheds delicious death;

Love on her lips is straying

And warbling in her breath!

Love on her breast sits panting

And swells with soft desire;

No grace, no charm is wanting,

To set the heart on fire.

10.
Recitativo (Galatea)

Oh! didst thou know the pains of absent love,

Acis would ne'er from Galatea rove.

11.
Aria (Galatea)

As when the dove

Laments her love,

All on the naked spray;

When he returns,

No more she mourns,

But loves the live-long day.

Billing, cooing,

Panting, wooing,

Melting murmurs fill the grove,

Melting murmurs, lasting love.

12.
Duetto (Galatea e Aci) e Coro

Happy we!

What joys I feel!

What charms I see!

Of all youth, thou dearest boy!

Of all nymphs, thou brightest fair!

Thou all my bliss, thou all my joy!

Happy we!

PARTE
SECONDA

13.
Coro

Wretched lovers! Fate has past

This sad decree: no joy shall last.

Wretched lovers, quit your dream!

Behold the monster Polypheme!

See what ample strides he takes!

The mountains nods, the forest shakes;

The waves run frightened to the shores;

Hark, how the thund'ring giant roars!

14.
Recitativo (Polifemo)

I rage, I melt, I burn!

The feeble god has stabb'd me to the heart.

Thou, trusty pine,

Prop of my god-like steps, I lay thee by!

Bring me a hundred reeds of decent growth,

To make a pipe for my capacious mouth;

In soft enchanting accents let me breathe

Sweet Galatea's beauty, and my love.

15.
Aria (Polifemo)

O ruddier than the cherry,

O sweeter than the berry,

O nymph more bright

Than moonshine night,

Like kidlings blithe and merry!

Ripe as the melting cluster,

No lily has such lustre;

Yet hard to tame

As raging flame,

And fierce as storms that bluster!

16.
Recitativo (Polifemo, Galatea)

Polifemo

Whither, fairest, art thou running,

Still my warm embraces shunning?

Galatea

The lion calls not to his prey,

Nor bids the wolf the lambkin stay.

Polifemo

Thee, Polyphemus, great as Jove,

Calls to empire and to love,

To his palace in the rock,

To his dairy, to his flock,

To the grape of purple hue,

To the plum of glossy blue,

Wildings, which expecting stand,

Proud to be gather'd by thy hand.

Galatea

Of infant limbs to make my food,

And swill full draughts of human blood

Go, monster! bid some other guest:

I loathe the host, I loathe the feast!

17.
Aria (Polifemo)

Cease to beauty to be suing,

Ever whining love disdaining.

Let the brave their aims pursuing,

Still be conq'ring, not complaining.

18.
Recitativo (Aci)

His hideous love provokes my rage;

Weak as I am, I must engage!

Inspir'd with thy victorious charms,

The god of love will lend his arms.

19.
Aria (Aci)

Love sounds th'alarm,

And fear is a flying!

When beauty's the prize,

What mortal fears dying?

In defence of my treasure,

I'd bleed at each vein;

Without her no pleasure

For life is a pain.

20.
Aria (Damone)

Consider, fond shepherd,

How fleeting's the pleasure,

That flatters our hopes

In pursuit of the fair!

The joys that attend it,

By moments we measure,

But life is too little

To measure our care.

21.
Recitativo (Galatea)

Cease, o cease, thou gentle youth,

Trust my constancy and truth,

Trust my truth, and pow'rs above,

The pow'rs propitious still to love!

22.
Terzetto {Galatea, Aci e Polifemo)

Galatea,
Aci

The flocks shall leave the mountains,

The woods the turtle dove,

The nymphs forsake the fountains,

Ere I forsake my love!

Polifemo

Torture! fury! rage! despair!

I cannot, cannot bear!

Galatea,
Aci

Not show'rs to larks so pleasing,

Not sunshine to the bee,

Not sleep to toil so easing,

As these dear smiles to me.

Polifemo

Fly swift, thou massy ruin, fly!

Die, presumptuous Acis, die!

23.
Recitativo (Aci)

Help, Galatea! help ye parent gods!

And take me dying to your deep abodes.

24.
Coro

Mourn, all ye Muses! weep all ye swains!

Tune your reeds to doleful strains!

Groans, cries and howlings fill the neighb'ring shore:

Ah, the gentle Acis is no more!

25.
Solo (Galatea) e Coro

Galatea

Must I my Acis still bemoan,

Inglorious crush'd beneath that stone?

Coro

Cease, Galatea, cease to grieve!

Bewail not whom thou canst reliev.

Galatea

Must the lovely charming youth

Die for his constancy and truth?

Coro

Call forth thy pow'r, employ thy art,

The goddess soon can heal thy smart.

Galatea

Say what comfort you can find?

For dark despair o'erclouds my mind.

26.
Recitativo (Galatea)

'Tis done: thus I exert my pow'r divine;

Be thou immortal, tho' thou art not mine

27.
Aria (Galatea)

Heart, the seat of soft delight,

Be thou now a fountain bright!

Purple be no more thy blood,

Glide thou like a crystal flood.

Rock, thy hollow womb disclose!

The bubbling fountain, lo! it flows;

Through the plains he joys to rove,

Murm'ring still his gentle love.

28.
Coro

Galatea, dry thy tears,

Acis now a god appears!

See how he rears him from his bed,

See the wreath that binds his head.

Hail thou gentle murm'ring stream,

Shepherds pleasure, muses' theme!

Through the plains still joy to rove,

Murm'ring still thy gentle love.

Х Свернуть

Музыкальная трагедия в пяти актах с прологом. Первая версия поставлена в 1733 году. Редакции 1742 и 1757 годов.

Tragédie en musique `Hippolyte et Aricle` (1733, rev. 1742)

На стихи английских анонимных авторов XV–XVI веков.

Для сопрано, тенора, женского хора и малого инструментального ансамбля

1. A lyke-wake dirge. Versus I. Prelude: This ae nighte
2. Ricercar I....Читать дальше

На стихи английских анонимных авторов XV–XVI веков.

Для сопрано, тенора, женского хора и малого инструментального ансамбля

1. A lyke-wake dirge. Versus I. Prelude: This ae nighte
2. Ricercar I. The maidens came
3. A lyke-wake dirge. Versus II. First interlude: If ever thou gav`st hos`n and shoon
4. Ricercar II. Sacred History: To-morrow shall be my dancing day
5. A lyke-wake dirge. Versus III. Second interlude: From Whinnymuir when thou may`st pass
6. Westron Wind
7. A lyke-wake dirge. Versus IV. Postlude: If ever thou gav`st meat or drink

Х Свернуть

1.Kyrie - 2.Gloria - 3.Credo - 4.Sanctus - 5.Agnus Dei

Премьера: 27 октября 1948, Милан. Исполнители: хор и оркестр театра «Ла Скала» под управлением Э. Ансерме.