RAMEAU Le Temple de la Gloire

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JEAN-PHILIPPE RAMEAU

Le Temple de la Gloire (The Temple of Glory)

Opera in three acts with a prologue Libretto by Voltaire Original 1745 Version

TABLE OF CONTENTS: Cast Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Track Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Is Trajan Happy? By Victor Gavenda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Rameau’s Musical Feast By Bruce Lamott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Libretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Biographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 The players and their instruments . . . . . . . . . . . . . 89

JEAN-PHILIPPE RAMEAU

Le Temple de la Gloire (The Temple of Glory)

Opera in three acts with a prologue Libretto by Voltaire Original 1745 Version

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Marc Labonnette, baritone Philippe-Nicolas Martin, baritone Camille Ortiz, soprano Gabrielle Philiponet, soprano Chantal Santon-Jeffery, soprano Artavazd Sargsyan, haute-contre Aaron Sheehan, haute-contre Tonia D’Amelio, soprano Philharmonia Baroque Orchestra & Chorale Nicholas McGegan, music director and conductor Bruce Lamott, chorale director Courtney Beck, executive director New York Baroque Dance Company Brynt Beitman Alexis Silver Caroline Copeland Meggi Sweeney Smith Sarah Edgar Matthew Ting Carly Fox Horton Andrew Trego Olsi Gjeci

Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Cath Brittan, production director Jory Vinikour, repetiteur Patricia Kristof Moy, French language & diction coach BenoĂŽt Dratwicki, musical preparation Julien Dubruque, scholarly advisor

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Recorded live at Zellerbach Hall, Berkeley, CA | April 28, 29 & 30, 2017 Recording production, engineering, editing, and mastering: David v.R.Bowles (Swineshead Productions, LLC) Production assistant: Boby Borisov Recorded in 3D audio, at 192kHz/24-bit resolution Cover and performance photos by Frank Wing from dress rehearsal of Rameau’s Le Temple de la Gloire, April 26, 2017 at Zellerbach Hall, U.C. Berkeley. This recording is made possible with generous support from the Waverley Fund. www.philharmonia.org

JEAN-PHILIPPE RAMEAU (1683–1764)

Le Temple de la Gloire (The Temple of Glory)

CAST (in order of vocal appearance) PROLOGUE (L’ENVIE) L’Envie Marc Labonnette Apollon Aaron Sheehan Chœur des Démons de la Suite de L’Envie, Philharmonia Chorale Chœr des Muses et des Demi-dieux de la Suite, d’Apollon |5|

ACTE PREMIER (BÉLUS) Lydie Chantal Santon-Jeffery Arsine Gabrielle Philiponet

Une Bergère Camille Ortiz Un Berger Marc Labonnette

Bélus Philippe-Nicolas Martin Apollon Aaron Sheehan

Un Autre Berger

Kevin Gibbs

Petit chœr des Bergers et Bergères Jennifer Ashworth, David Kurtenbach, Heidi Waterman Les Muses Jennifer Ashworth, Tonia d’Amelio, Heidi Waterman

Chœur des Bergers et Bergères, Philharmonia Chorale Chœur des Guerriers de la suite de Bélus

ACTE SECOND (BACCHUS)

Une Prêtresse Gabrielle Philiponet Le Grand Prêtre de la Gloire

Marc Labonnette

Un Guerrier Philippe-Nicolas Martin Une Bacchante Chantal Santon-Jeffery

Bacchus Artavazd Sargsyan Érigone Camille Ortiz

Chœur des Prêtres et Prêtresses de la Gloire, Philharmonia Chorale Chœur des Suivans de Bacchus

TROISIÈME ACTE (TRAJAN) Plautine Gabrielle Philiponet Junie Camille Ortiz Fannie Tonia d’Amelio Trajan Aaron Sheehan

La Gloire Chantal Santon-Jeffery Une dame romaine Camille Ortiz Une Bergère Tonia d’Amelio

Les cinq rois Kevin Gibbs, David Kurtenbach, Marc Labonnette, Philippe-Nicolas Martin, Artavazd Sargsyan

Chœur des Prêtres de Mars, Philharmonia Chorale Chœur des Romains et Romaines

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disk one

prologue

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Track 1 Ouverture Track 2 Monologue Track 3 Chœur avec coryphée Track 4 Air Track 5 Air pour les Démons et les Héros Track 6 Récitatif Track 7 Chœur Track 8 Récitatif, ariette Track 9 Air pour les Héros Track 10 Air pour les Muses Track 11 Air pour les Héros (reprise) Track 12 Chœur Track 13 Entracte. Ouverture (reprise)

4:00 3:12 1:18 0:37 2:01 1:30 0:52 2:34 1:46 4:27 1:39 2:08 1:18

acte premier Track 14 Récitatif Track 15 Air Track 16 Musette en rondeau Track 17 Récitatif et chœur Track 18 Gavottes en musette Track 19 Air Track 20 Chœur Track 21 Petit chœur et récitatif Track 22 Récitatif et airs Track 23 Air Track 24 Petit chœur Track 25 Air pour les Bergers et Bergères

3:05 1:05 1:26 2:07 2:00 0:36 0:44 0:40 5:15 0:46 1:11 1:37

Track 26 Ariette Track 27 Gigue en rondeau Track 28 Récitatif, chœur, air et duo Track 29 Petit chœur accompagné Track 30 Tonnerre et air Track 31 Petit chœur et chœur Track 32 Trio et grand chœur

3:29 1:28 3:01 1:49 0:47 1:04 1:58

acte second Track 33 Ritournelle Track 34 Chœur avec coryphées Track 35 Air Track 36 Air pour les Héros et les Prêtresses Track 37 Entrée des Suivans de Bacchus Track 38 Air, chœur avec coryphée Track 39 Air Track 40 Symphonie, air Track 41 Loure pour l’entrée des Faunes

disk one running time:

0:33 1:44 0:44 2:04 0:58 0:56 1:02 1:14 1:55 72:48

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disk two

acte second

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Track 1 Air pour les Suivans de Bacchus Track 2 Airs Track 3 Récitatif Track 4 Air et chœur Track 5 Récitatif Track 6 Air Track 7 Récitatif, air et récitatif Track 8 Récitatif et air Track 9 Récitatif, air et récitatif Track 10 Ariette Track 11 Duo Track 12 Forlane pour les Suivans de Bacchus Track 13 Gavotte en rondeau Track 14 Chœur avec coryphée Track 15 Entracte. Gavotte en rondeau (reprise)

1:43 1:27 2:05 2:58 0:47 1:10 1:36 0:58 1:24 2:22 0:38 1:15 0:29 1:01 0:44

troisiÈme acte Track 16 Monologue Track 17 Récitatif Track 18 Récitatif, duo, récitatif Track 19 Duo, récitatif Track 20 Récitatif Track 21 Chœur Track 22 Air pour les Prêtres et Prêtresses Track 23 Récitatif Track 24 Première et deuxième gavottes Track 25 Chœur, récitatif

3:03 2:33 4:18 1:05 0:45 1:51 1:05 0:55 1:44 1:06

Track 26 Récitatif accompagné Track 27 Chœur avec coryphées Track 28 Récitatif Track 29 Descente de la Gloire. Récitatif et air Track 30 Entrée des Suivants de la Gloire Track 31 Chœur avec coryphée Track 32 Gigue pour les Suivants de la Gloire Track 33 Récitatif, air, récitatif Track 34 Chœur Track 35 Entrée des Seigneurs et des Dames – Passacaille Track 36 Chœur avec coryphée Track 37 Entrée de Bergers et Bergères Track 38 Ariette Track 39 Loure grave pour une entrée brillante Track 40 Air pour les Romains et Romaines Track 41 Chœur avec coryphée Track 42 Entrée de la jeunesse – Passepieds Track 43 Chœur Track 44 Récitatif et air Track 45 Suite de la Passacaille Track 46 Air pour les Romains et Romaines

disk two running time:

0:41 1:29 1:01 2:12 0:46 1:27 2:16 1:46 1:35 2:00 2:09 1:00 1:25 1:50 0:46 1:44 3:08 0:23 1:36 3:04 2:38 74:06

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Portrait of Louis XV by Hyacinthe Rigaud (1659-1743)

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Is Trajan Happy? The Remarkable History of Le Temple de la Gloire by Victor Gavenda The Grande Écurie—the Great Stable—of the palace of Versailles was alive with light, sound, and movement on this frosty November evening in 1745. The temporary theater housed within had just witnessed the premiere of a new opéra-ballet with music by Jean-Philippe Rameau: Le Temple de la Gloire. But leaving the Écurie behind, a tall, spindly figure emerged into the cold and set off across the vast space of the Place d’Armes, making a beeline for the palace itself. The man had written the words for the evening’s entertainment, but his goal had been to provide more than mere diversion. On the surface, the opera was a conventional celebration of King Louis XV’s victory in battle. But because this author was none other than that utterly unconventional philosophe, Voltaire, the opera encoded an allegorical “lesson” for His Majesty. In the work, three kings from antiquity attempt to enter the Temple of Glory, established by Apollo and guarded by the Muses. Two of them fail, but the wise and benevolent Trajan succeeds. Voltaire, eager to learn if his message found its intended recipient, entered the palace and pushed his way into the after-party. Positioning himself near the King, and perhaps with a sly grin, he is reputed to have asked—loud enough for all to hear—“Is Trajan happy?” The silence that followed, and the icy look that Louis shot in Voltaire’s direction, gave him his answer. Among the many valuable treasures housed in the Jean Gray Hargrove Music Library of the University of California at Berkeley is a unique hybrid book. Part manuscript and part print, the second half of the volume consists of the manuscript score of an 18th-century French opera. The first half is the lavishly printed libretto of the same opera, prepared for the first performance of the work, which took place in 1745 at the great palace of Versailles. The two items were bound together in the 18th century, apparently to serve as a souvenir of the event. The work itself is Le Temple de la Gloire (The Temple of Glory) and its creators comprised a dream team of their time: the words were written by the leading light of the French Enlightenment, François-Marie Arouet (1694–1778), better known by the nom de plume Voltaire, and the music was by Jean-Philippe Rameau (1683–1764), 18th-century France’s greatest composer.

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John Shepard, head of the Hargrove Library, is the current custodian of this treasure. Shepard believes it is important not only to protect rare books and scores like this one, but to make sure students and performers have access to them so that the wonders they contain can be shared with the world. He says, “The score was purchased by the library in 1976, and almost immediately people noticed that it included music not found in any other source.” Since then, it has been the subject of investigation by several scholars (the present writer included). Most recently, Julien Dubruque of the Institut de Recherche en Musicologie (Université Paris-Sorbonne) has completed a dissertation on the opera that includes the most comprehensive analysis of the book to date. While mysteries remain, the book’s importance as a source for a better understanding of theater, music, and politics during the reign of Louis XV has become clear.

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The chief value of the book lies in the manuscript portion, which preserves the only known copy of the original version of the music as the work was first performed at Versailles in November 1745. Now Cal Performances hosts the first performances in over 270 years of this version of Le Temple de la Gloire, using a new edition compiled by Dubruque. Nicholas McGegan conducts the Philharmonia Baroque Orchestra & Chorale together with an international cast of soloists and the New York Baroque Dance Company in a lavish world-premiere, period-style production co-produced with Philharmonia and the Centre de musique baroque de Versailles. In a telephone interview, McGegan explained that he has been lobbying for a production of the 1745 version of Le Temple de la Gloire at Berkeley “since the Millennium.” An internationally acclaimed interpreter of Rameau himself, McGegan felt that the opportunity to give a modern premiere of the work on the campus where the manuscript now resides was too good to pass up. Finally, it seems, the “planets have aligned,” and the work will move “from the library shelf to the stage.” He is thrilled to be participating in a bit of “living musicology” and believes that it sends a great message to students. McGegan says Le Temple de la Gloire comes from “Rameau’s best period, the 1740s, when he was at his most cranky and most individual.” It is from the same year, in fact, as the great comic opera, Platée, another masterpiece (which Cal Performances produced with McGegan conducting in 1998 and 2001). The theatrical work enshrined in the book, Le Temple de la Gloire, came to be thanks to a confluence of remarkable events. Among them is the presence of Voltaire, the great gadfly of the French establishment, at Versailles (“but not at court,” he often hastened to add). In the salon culture of 1740s Paris, Voltaire was one of the most sought-after party guests, admired for his sparkling wit and encyclopedic knowledge. He had become a particular favorite of one Madame d’Étiolles, and in 1745 when Louis XV took her as his mistress and ennobled her as the Marquise de Pompadour, Voltaire followed as her circle relocated to Versailles. Mme de Pompadour arranged for Voltaire to be made historiographer of France and he was

assigned housing in the palace. Eventually he was also made gentleman-in-ordinary to the King’s bedchamber. After years of haranguing the government from the outside, Voltaire tried for a time to effect change from within. His opportunity arrived in May of 1745 when French forces defeated an army of Dutch, British, and Hanoverian troops at Fontenoy, in what is now Belgium. Thanks to the presence at the battle of Louis XV and his son, the Dauphin, the King’s popularity reached its peak. (Ironically, this was to be the last occasion a French king would ever lead his troops into battle.) The nation was swept up in a wave of patriotic feeling, and Voltaire was not immune. He tossed off a 350-line poem in honor of Louis and later that summer the Duc de Richelieu, chamberlain to the King and one of Voltaire’s oldest friends, commissioned him (possibly with the support of Mme de Pompadour) to write the words for a new opera commemorating the victory with music to be provided by Rameau. This would not be the first collaboration between the two giants; indeed, several of Voltaire’s previous attempts at writing opera (all abortive) had involved Rameau. Their first joint work was Samson (1734), a biblical epic that displayed its author’s libertarian and anticlerical bias. Plans for a production crumbled even before the work was finished. Voltaire spread the rumor that religious censorship was to blame, but modern scholars suspect the cause was rather the artistic differences between author and composer. Indeed, Rameau never finished the score and the music is lost. The two men enjoyed an awkward relationship. They acknowledged each other’s talents, but they had opposing ideas about opera. Rameau had turned the art form upside down with his dazzling music and innovative approach to the use of dance, but he had left in place the key focus of French opera: love. Voltaire, for his part, brought the same reforming zeal to opera that he had already tried to apply to society. He tried to explain himself in a letter to Rameau (probably from the fall of 1734): Your music is admirable, but even that has made you enemies, and cruel ones at that.… mine are now spreading the slander that there are impious moments in Samson. Now I must also correct the audience’s preconceptions: they will possibly find it difficult to understand an operatic heroine who is not in love at any point in the opera—and whilst my slanderers say that my work is impious, the audience will possibly decide that it is too virtuous and severe. Fast-forward now to 1745, and we find that same aesthetic tension between Voltaire and Rameau plays a role in the curious history of Le Temple de la Gloire. The glittering premiere of the work took place on November 27, 1745 and was repeated on December 4. For all its splendor, the great Château de Versailles had no permanent opera house until 1770 (built for the

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wedding of the future Louis XVI and Marie Antionette). Thus Temple was performed in a temporary theater in the Grande Écurie across the street from the palace. This theater had been put up earlier in the year for the celebrations surrounding the wedding of the Dauphin and a Spanish princess, during which La Princesse de Navarre (play by Voltaire with incidental music by Rameau) and Platée (comic opera by Rameau) also enjoyed their premieres. Contemporary engravings of the theater give us an idea of its grandeur and opulence. After these first two performances, the production was given to the Paris Opera where it was remounted but withdrawn after a handful of performances. Author and composer set to work on the piece, and the revised version had a fresh premiere on April 19, 1746, opening the post-Lenten theater season. Alas, this version had no more success than the first, and was withdrawn in less than a month. So, what happened? Why was the initial version of Le Temple de la Gloire a commercial flop? What did Voltaire and Rameau do to the work to try to salvage it? And why were their efforts in vain?

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For many years, these questions were difficult to answer because our knowledge of the 1745 version was incomplete. The score of neither version was ever printed, and the surviving manuscript copies known until recently transmit only the later 1746 version. All that was known of the 1745 music were the portions of the opera that did not change in the course of revision, as well as a few fragments of the original music that can be found in the “production score” preserved in the Bibliothèque de l’Opéra in Paris. This score was used for rehearsals and performances and contains markings by the conductor (and in this case, a few pages in the hand of the composer himself ). But many copies of the libretto exist, and in the absence of music, the words can tell us much. These were printed and sold to the audience for each performance (for court spectacles they were distributed gratis). The librettos for the Versailles performances, like the one in the Berkeley volume, were beautifully produced, with exquisitely engraved frontispieces for each act. To a typical mid-18th-century Parisian opera-goer, Le Temple de la Gloire belongs to the genre of opéra-ballet. This became popular in the early part of the century, and expresses that age’s rococo taste for lightweight entertainment, as opposed to the ponderous serious operas, the tragédies en musique, of the preceding Louis XIV era. The opéra-ballet was literally “short attention-span theater.” Typically in three or four acts with a prologue, a single plot did not drive the action from beginning to end. The story of each act was independent of the others, but all of the acts shared a common theme—such as a specific aspect of love, perhaps—which was typically set out in an allegorical prologue. What the audience in the Grande Écurie experienced that night in 1745 was very different, however. Instead of a string of diverting love stories, they were treated to three examples of kingship: two bad, and one good. The opening Prologue set the theme: The Muses tend the Temple of Glory on Mount Parnassus,

but the figure of Envy (backed up by an army of demons) tries to gain entry by force. A cohort of heroes led by Apollo repulses the attack, and Envy is subdued. As punishment, he is chained up outside. Apollo proclaims that only those who possess a great heart are worthy of admission to the Temple. Each of the three acts shows the attempt of a king from antiquity to enter the Temple. The first, Bélus, bursts in on a peaceful gathering of pastoral folk, is disgusted by their “softness,” and is rejected from the Temple for being a bloodthirsty conqueror. Bacchus, king No. 2, is turned away because his fame for inventing wine and spreading debauchery does not qualify him; only virtuous deeds can do that. Finally, we meet Trajan. After defeating five rebel kings, he pardons them magnanimously. Glory descends with a crown of laurel and invites Trajan to enter the Temple, but he refuses the offer and asks the gods to transform the Temple of Glory into a Temple of Happiness and to welcome all of humanity. A lengthy sung and danced divertissement closes the opera. The audience hardly knew what to make of this. The music was generally agreed to be excellent, but… the words! Voltaire had used his privileged situation at the heart of royal power to deliver an object-lesson in the proper behavior of an enlightened ruler directly to Louis XV: A great king, worthy of Glory, is not a conqueror or a tyrant, but one who makes his people happy. It’s easy to imagine that the King would not appreciate being lectured by a social inferior (not to mention a trenchant critic of the establishment). Thus the famous—and possibly apocryphal—anecdote of Voltaire’s stage whispered “Is Trajan pleased?” and Louis’ stony silence in response rings true. When the production moved to Paris, the public was even less kind. Wags complained that if they wanted a sermon on ethics, they would go to hear a Latin cantata at a Jesuit college. Rameau and Voltaire withdrew the work from the stage, and set about revamping it. The new version that premiered in April 1746 shows the triumph of Rameau’s musical and theatrical sensibilities over Voltaire’s political agenda. The overall framework of the drama remains the same, but the harsh actions of the main players are softened, and love is allowed a larger role. In spite of the revisions, the work once again failed to catch fire. But bits of the opera did live on, as individual numbers were recycled in operas by Rameau and other composers as well (rather like taking stock pieces of stage sets out of storage). In the end the event was a pivotal moment in the careers of both men. Rameau’s contribution met with favor from the King, and he was rewarded with a court appointment and a royal pension for life. Voltaire, however, finally realized that he was out of his element. After signing over his share of the proceeds from the opera to Rameau, involvement in a fresh scandal soon drove him from Versailles, and years later he wrote of his time as a courtier: “Of all the time that I have wasted in my life, it was this period that I regret the most.”

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The skeletal nature of the Berkeley score, including only the melody and bass parts, implies that it was intended as a model for a printed score (this kind of short score was typical of 18th-century French opera publications, equivalent to today’s piano-vocal score); but plans for publication seem to have been shelved. Then the manuscript disappears from history. We do not know who bound it together with the libretto, nor where it spent the next century and a half or so. In the early 20th century, the great French pianist Alfred Cortot acquired it for his stellar collection of rare musical materials, and after his death in 1962 the early opera scores were purchased by Vincent Duckles for the Berkeley music library. The manuscript has gradually yielded its secrets under close scholarly scrutiny. It now seems clear that it was copied directly from an early state of the "production score" mentioned earlier. The scribes who wrote out the Berkeley score also worked on the "production score," and their number included the principal copyist of the Paris Opera. Even more intriguing, small discrepancies between the two scores seem to indicate that the Berkeley score was copied out while the opera was still in rehearsal, and the musical content was still in flux. Davitt Moroney, Professor of Music at UC Berkeley, has been intimately familiar with the music library’s collections since his days as a graduate student here in the late 1970s. He has long experience helping to bring to light the glories of the collection by publishing, performing, and recording the rarities found within. | 17 |

Moroney, for the last 20 years one of the international team of experts responsible for issuing the new edition of Rameau’s complete works, says of the book in question: “This manuscript is one of the most important documents in the Berkeley music library. It is the only source for a good deal of music by one of the greatest composers of the 18th century. Furthermore, it preserves a record of his collaboration with another of the greatest figures of his time, Voltaire, at a moment when both men are at the peak of their careers and influence.” Cal Performances is proud to join with Philharmonia Baroque Orchestra & Chorale and the Centre de musique baroque de Versailles to bring the music on the pages of this unique volume to life for the first time in almost three centuries, recreating a pivotal event in French Enlightenment culture. Victor Gavenda is a freelance writer and editor living in Albany, CA. In his youth he was a PhD candidate in music history studying the work of Rameau, spending several years attempting to untangle the mysteries of the various sources of Le Temple de la Gloire. Today he is choirmaster at St. Clement’s Episcopal Church in Berkeley, and he tunes the harpsichords at UC Berkeley.

Le temple de la gloire : feste donnée à Versailles, le 27 novembre 1745; etched by Jean Jacques Pasquier (1718–1785) after a design by Pierre-Antoine Baudouin (1723–1769) from the 1745 published libretto bound together with the manuscript score of Rameau’s original version.

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Portrait of Jean-Philippe Rameau attributed to Joseph Aved (1702–1766).

Rameau's Musical Feast Le Temple de la Gloire by Bruce Lamott

Will Rogers once quipped, “If you don’t like the weather in Oklahoma, wait a minute and it’ll change.” The same could be said about Rameau’s operas. Unlike the string-of-pearls alternation of arias and freely sung recitatives found in contemporary Italian opera seria (serious opera) such as those of Handel, Rameau’s opéra-ballets are an unpredictable variety show of dances, choruses, ensembles, and shorter arias interspersed with lyrical recitatives and audacious harmonic surprises. Rameau’s orchestral palette is full of variety as well, launching a French affinity for woodwind timbres that will continue from Berlioz to Debussy to Messiaen. His compositions attest to the serendipitous presence of Jacques-Martin Hotteterre and family, who for woodwind players are what Antonio Stradivari and his Cremona contemporaries are to strings. From the first notes of the Ouverture, two piccolos add striking brilliance to the animated harmonies of the oboes, trumpets, horns, and bassoons. This bombast abates briefly for the graceful minuet for flute duet and strings and two flutes that it frames. Rameau’s orchestration works as musical set design, creating an atmospheric effect before a single note is sung. The Prologue begins in the cavern of Envy with a prominent duet of subterranean bassoons in dialogue with plummeting scales (tirate) in the violins. The bucolic scene for the éntree of the shepherds and shepherdesses in Act I is set by the sound of the musette, a kind of housebroken bagpipe frequently seen in paintings of the Adoration of the Shepherds or pastoral concerts (concerts champêtres). The omnipresence of woodwinds in the French orchestra sets it apart from its Italian contemporaries, in which woodwinds are an occasional additive element used for specific imagery such as birds or the hunt. Another departure from Italian opera seria of the period is the French treatment of the dialogues and monologues (recitatif ) connecting the concerted arias and dances. Unlike the free rapid-fire delivery in the rhythm and speed of the Italian language, French recitative is subject to a pulse and very attentive to the scansion of the poetic lines. Rameau was assiduous in his attention to Voltaire’s text both in the rhythm and meaning of the words. As the author of the century’s most important treatise on harmony, Rameau was particularly sensitive to the effect of chord progressions played by the harpsichord and cello (basso continuo) which underscore the structure and content of the text. Ever-present throughout Italian opera (hence the name continuo), the harpsichord is not included in Rameau’s dance music, and the absence

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of its ubiquitous sparkle focuses our attention on other instrumental colors. Rameau divides the viola section into two separate parts—a characteristic of French string scoring since Lully—in order to augment the harmonies usually supplied by the keyboardist’s right hand. Choruses and ensembles, rarely found in opera seria, abound in this opera. As with French grand opera of the 19th century, there is a large role for an independent choral ensemble which changes characters with the shifting scenarios of the three acts; their various roles—demons, Muses, shepherds and shepherdesses, bacchantes, priests and priestesses, and Romans—require changes in vocal timbre as well as personality. As a major figure of the Enlightenment’s classical humanism, Voltaire was well-versed in Greek drama, and at times the chorus takes on the role of the classical Greek chorus, reflecting the message rather than portraying a role.

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Composers of Italian opera seria such as Handel, Vivaldi, or Alessandro Scarlatti strung arias together on a storyline set up by recitative. Aria texts were most often generic expressions of affect—vengeance, joy, ambition, sorrow—absent content specific to the particular plotline. There was a rigid hierarchy of roles, and leading characters were revealed through a series of contrasting arias in a pageant of passions. Audience demand for virtuosic display created the two-steps-forward-one-step-back form of the da capo aria, in which the first half of the aria is repeated from the top (da capo) as a vehicle for improvised ornamentation and cadenzas. Dramatic convention then dictated that the singer exit the stage, allowing for applause and even encores. Word and phrase repetitions (“Rejoice, rejoice, rejoice greatly”) accommodated elaborate extensions for the purpose of vocalism and formal structure. Not so the French. One of the hallmarks of French Baroque musical theater is the seamless transition between recitative, solo aria, and ensembles of duets, trios, and chorus. Rameau sets Voltaire’s text with careful attention to the rhythmic scansion and rhyme of the libretto reflected in the phrasing, pauses, and cadences of each line. Voltaire’s text is full of grandeur and serious philosophic thought. In the Preface to Le Temple, he states his intention to replace the vapid eroticism with something more serious and moralistic accompanied by grandiose spectacle; the occasion of a military victory—as opposed to a wedding—gave him license. Though the text itself is much more prolific than its Italian contemporaries, it passes with great dispatch absent repetitions and virtuosic extensions. Arias segué seamlessly from the recitatives without lengthy orchestral introductions, and their content relates directly to the dramatic situation at hand. This scrupulous respect for the poetry is further reflected in the uniquely French approach to vocal and instrumental ornamentation called agréments. Unlike the bravura roulades and flights of virtuosic passagework of the Italians, these agréments are concise and fleeting emphases of accented syllables, expressive harmonies, and rhythmic stresses using brief and frequent trills, appoggiaturas (a stepwise “leaning” into dissonance followed by its resolution), and ports de voix, a gentle sliding into a note followed by a brief oscillation. The frequent use of these agréments also make the melodic lines more pliable by cushioning large leaps and tapering phrase endings.

The diverse roles in Le Temple were cast from the resident ensemble of the Académie Royale de Musique, founded by Louis XIV and devoted to the exclusive performance of French opera. It developed under the strict control of Jean-Baptiste Lully (1632-87), whose works continued to performed alongside those of Rameau and Gluck a century later. This respect for the music of previous generations was rare, as opera companies generally discarded works that were not stylistically au courant. The five singers who created the principal roles were the leading artists in this resident company numbering about fifteen singers. Three of the five sang dual roles: Marie-Jeanne Fesch—known to audiences as Mlle. Chevalier—was the premier sujet (prima donna) of the company. As Lydia, she expressed the nobility and pathos for which she was famous, but the role of Plautine gave her the opportunity to show a tender and somewhat amorous side as well. Marie Fel, soon to become a favorite of Rameau, sang the contrasting roles of Érigone and la Gloire, demonstrating both her strengths in comedic acting as well as brilliant vocalism. Pierre Jélyotte (Apollon and Trajan), known for his supple, sonorous tenor, was also described as “a unique singer, but one without acting skills or looks.” Bacchus was sung by François Poirier, noted for his extensive high tenor (or countertenor) range, called haute contre—a voice preferred by the French over the penchant for mezzo-soprano castratos found in Italian opera seria. The alto part in the choruses is also labeled haut-contre, giving it the scoring of soprano and three-part male chorus (haute-contre, tenor, bass) that continued into the nineteenth century. The French penchant for dance is reflected in the nomenclature of this opera as an opéra-ballet, or ballet héroique. The theatrical dances which developed at the court of Louis XIV abound in this work: passepied, gigue, entrée, forlane, gavotte, loure, and, as customary, a concluding passacaille. The character of each dance type reflects the personality of the roles of the dancers, such as the pastoral gigue for the shepherds and shepherdesses, the lusty forlane for the bacchantes, and in the final scene, a series of entrées accompanying the entrances of Roman nobility, shepherds, soldiers, and youths—each appropriate to its social class. It’s quite possible that the engaging charm, lyricism, and spectacle of this operatic rarity will prompt the question: Why don’t we see these works performed more often? Though performances of French Baroque opera are becoming somewhat more frequent, Rameau’s operas have yet to be staged by the major opera companies in America. While Handel’s Italian operas appear now with some regularity, they were created with economy in mind; Handel was an impresario subject to the vagaries of ticket sales and audience taste, and expenditures took their toll on his profit margin. Rameau and Voltaire, on the other hand, had the deep pockets of the Bourbon monarchy at their disposal. Such a large cast, dance troupe, large (in Baroque terms) orchestra, lavish spectacle, and uncertain box office would certainly give modern producers pause. But beyond that lies another challenge: that of historically informed performance. French opera may be the last frontier in Baroque performance practices, requiring a specialized knowledge of period choreography, theatrical practice, and instrumental technique, not to mention a roster of singers who are fluent in the musical language of French declamation and Baroque vocalism. This performance brings these elements together in an unprecedented collaboration in order to give you a rare glimpse of entertainment fit for a king.

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JEAN-PHILIPPE RAMEAU (1683–1764)

Le Temple de la Gloire (The Temple of Glory)

Reconstruction of the original 1745 version Julien Dubruque, editor Edited for the Opera Omnia Rameau by the Société Jean-Philippe Rameau Sylvie Bousseau, general editor | 23 |

Used by arrangement with European American Music Distributors Company, US and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner.

PROLOGUE (L’ENVIE) ACTE PREMIER (BÉLUS) ACTE SECOND (BACCHUS) TROISIÈME ACTE (TRAJAN)

SYNOPSIS The plot centers around admission qualifications to an allegorical Temple of Glory, to which King Louis XV, foremost among the audience, would have anticipated certain entry. However, Apollo and other representatives of peace, happiness, and virtue spurn a succession of applicants from classical antiquity who represent envy, tyranny, militancy, and debauchery. The contrast of these vices with their corresponding virtues invites a panoply of musical styles and characterizations: demons and Muses, shepherds and warriors, priestesses and satyrs. In the end, only the Roman Emperor Trajan is admitted by the goddess Glory to her temple, after he shows magnanimity in freeing his conquered captives. For the French monarch fresh from victory on the battlefield, the opera was a cautionary tale rather than the apotheosis he expected. —Bruce Lamott

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Le Temple de la Gloire (1745) Libretto by Voltaire

english translation by peter lockwood

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Présentation Créé le 25 novembre 1745 à Versailles, théâtre de la Grande-Ecurie, pour célébrer la victoire de Fontenoy. Une partition de la version versaillaise, que l'on croyait perdue, a été découverte à la Music Library de Berkeley. Elle est reliée à un exemplaire du livret édité pour les représentations données à Versailles.

Introduction First performed in the Théâtre de la Grande-Écurie in Versailles on 25 November 1745, to celebrate the victory of Fontenoy. The score of the original Versailles version of the opera was long believed to have been lost, until its discovery in the Music Library of Berkeley. This music has been matched with a copy of the libretto as used in the Versailles version to create this performing edition.

Prologue: La Caverne de l'Envie au fond du temple de la Gloire. Premier acte: Bélus. Le Bocage des Muses. On aperçoiè le temple de la Gloire. Deuxième acte: Bacchus. Même lieu. Troisième acte: Trajan. Une place de la ville d'Artaxabe.

Prologue: Envy’s cavernous dwelling at the rear of the Temple of Glory. Act I: Bélus. The Grove of the Muses. The Temple of Glory in the distance. Act II: Bacchus. The same location as Act I. Act III: Trajan. A square in the city of Artaxaba.

disk one

disk one

Track 1 Ouverture

PROLOGUE – L'ENVIE

Track 1 Overture

PROLOGUE – ENVY

Le théâtre représente la caverne de l'Envie. On voit à travers les ouvertures de la caverne, une partie du temple de la Gloire qui est dans le fond, et les berceaux des Muses, qui sont sur les ailes.

Envy’s cave. A section of the Temple of Glory is visible at the back of the stage through openings in the cave walls, and the vaulted arches of the Muses at the sides.

Scène 1 L’Envie, une torche à la main, Démons de la Suite d l’Envie

Scene 1 Envy, a torch in her hand, Demons in Envy’s service

Track 2 Monologue

Track 2 Monologue

Profonds abîmes du Ténare,

Profound abysses of the underworld,

L’ENVIE

ENVY

Nuit affreuse, éternelle nuit, Dieux de l'oubli, dieux du Tartare, Éclipsez le jour qui me luit. Démons, apportez-moi votre secours barbare Contre le dieu qui me poursuit.

Dreadful and eternal night, Gods of oblivion, gods of Tartarus, Eclipse this day and its light. Demons, lend me your barbarous aid Against the god who pursues me.

Profonds abîmes du Ténare, Nuit affreuse, éternelle nuit, Dieux de l'oubli, dieux du Tartare, Éclipsez le jour qui me luit.

Profound abysses of the underworld, Dreadful and eternal night, Gods of forgetfulness, gods of Tartarus, Eclipse this day and its light.

Les Muses et la Gloire ont élevé leur temple Dans ces paisibles lieux : Qu'avec horreur je les contemple ! Que leur éclat blesse mes yeux !

The Muses and Glory have raised their temple In this peaceful place; I look upon them with horror; Their light blinds my eyes!

Profonds abîmes du Ténare, Nuit affreuse, éternelle nuit, Dieux de l'oubli, dieux du Tartare, Éclipsez le jour qui me luit.

Profound abysses of the underworld, Dreadful and eternal night, Gods of forgetfulness, gods of Tartarus, Eclipse this day and its light.

Track 3 Choeur avec coryphée

Track 3 Chorus with coryphée

Notre gloire est de détruire, Notre sort est de nuire ; Renversons ces affreux monumens. Nos coups redoutables Sont plus inévitables Que la mort et le temps.

Our glory lies in destruction, Our fate is to harm; Let us tear down these hideous monuments. Our dreadful blows Are as inexorable As death and time.

CHOEUR DES DÉMONS DE LA SUITE DE L'ENVIE

CHORUS OF DEMONS IN ENVY’S SERVICE

Track 4 Air

Track 4 Air

Renversez ces affreux monumens. Vos coups redoutables Sont plus inévitables Que la mort et le temps.

Let us tear down these hideous monuments. Your dreadful blows Are as inexorable As death and time.

L’ENVIE

Hâtez-vous, vengez mon outrage ; Des Muses que je hais embrasez le bocage ;

ENVY

Make haste and avenge this outrage; Burn down the grove of the hated Muses,

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Écrasez sous ces fondements, Et la Gloire, et son temple, et ses heureux enfans Que je hais encor davantage. Hâtez-vous, vengez mon outrage, Démons, ennemis des vivans, Donnez ce spectacle à ma rage.

Destroy Glory’s temple, Crush her and her happy children Whom I hate even more, in its ruins. Hasten to avenge this outrage, Demons, enemies of the living, Let my rage witness these events!

Track 5 Air pour les Démons et les Héros Track 5 Air for the Demons and Heroes Les Suivants de l'Envie dansent et forment un ballet figure. Envy’s followers dance.

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Un Héros vient au milieu de ces Démons, étonnées à son approche, il se voit interrompu par les Suivans de l'Envie, qui veulent en vain l'effrayer.

A Hero strides into the midst of the Demons, who are amazed at his arrival. He is challenged by Envy’s followers, who seek to terrify him in vain.

Scène 2 Apollon, l’Envie, Muses et Demi-dieux de la Suite d’Apollon, Démons de la Suite d l’Envie, Héros

Scene 2 Apollo, Envy, Muses and Demigods in Apollo’s service, Demons in Envy’s service, Heroes

Track 6 Récitatif

Track 6 Recitative

Arrêtez, monstres furieux. Fuis mes traits, crains mes feux, implacable furie.

Hold, you furious monsters. Flee from me and fear my fire, implacable Fury.

APOLLON

APOLLO

L’ENVIE

ENVY

APOLLON

APOLLO

L’ENVIE

ENVY

APOLLON

APOLLO

Les héros et les demi-dieux saisissent l'Envie.

The Hero and the Demigods seize Envy.

Non, ni les mortels, ni les Dieux Ne pourront désarmer l'Envie. Oses-tu suivre encore mes pas ? Oses-tu soutenir l'éclat de ma lumière ? J’infecterai plus de climats, Que tu n'en vois dans ta carrière. Muses et demi-dieux, vengez-moi, vengez-vous.

No, for neither mortal man nor the Gods Can make Envy surrender. Do you dare to pursue me now? Do you dare to feel the blaze and burn of my light? My influence will be felt in more lands Than you will ever see during your life. Muses, demigods, avenge us all!

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Aaron Sheehan as Apollo, with members of New York Baroque Dance Co. photo Š frank wing

L’ENVIE

ENVY

APOLLON

APOLLO

L’ENVIE

ENVY

APOLLON

APOLLO

L'antre de l'Envie s'ouvre et Laisse voir le temple de la Gloire ; on l'enchaîne aux pieds du trône de cette déesse.

Envy’s cave opens and reveals the Temple of Glory; Envy is chained to the base of Glory’s throne.

Scène 3 Apollon, Muses et Demi-dieux de la Suite d’Apollon, Héros

Scene 3 Apollo, Muses and Demigods in Apollo’s service, Heroes

Track 7 Choeur

Track 7 Chorus

Ce monstre toujours terrible Sera toujours abattu, Les arts, la gloire, la vertu Nourriront sa rage inflexible.

This monster, always fearsome, Will always be defeated; The arts, glory, and virtue Only feed her unceasing wrath.

Non, c'est en vain que l'on m'arrête. Etouffez ces serpents qui sifflent sur sa tête. Ils renaîtront cent fois pour servir mon courroux. Le ciel ne permet pas que ce monstre périsse, Il est immortel comme nous : Qu'il souffre un éternel supplice. Que du bonheur du monde il soir infortuné ; Qu'auprès de la Gloire il gémisse, Qu'à son trône il soit enchaîné.

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CHOEUR DES MUSES ET DEMI-DIEUX

No, you lay hands on me in vain. Strangle the serpents that hiss upon her head. They will be reborn one hundred times over to serve my wrath. Heaven will not permit this monster to die, for she is as immortal as we: Let her then suffer eternal torture: As happy as the world is, let her be unhappy; Since she longed for Glory, Let her be chained to Glory’s throne.

CHORUS OF MUSES AND DEMIGODS

Track 8 Récitatif, ariette

Track 8 Recitative, arietta

Vous, entre sa caverne horrible Et ce temple superbe à la Gloire élevé, Muses, chantez en paix sur ce coteau paisible, Que les Dieux vous ont reserve.

You Muses, enter her fearful cave And this proud temple dedicated to Glory; Sing, o Muses, on this peaceful slope That the Gods have set aside for you.

APOLLON, aux Muses

APOLLO, to the Muses

La caverne de l'Envie achève de disparoître. On voit les deux coteaux du Parnasse. Des berceaux ornés de guirlandes de fleurs sont à mi-côte et le fond du théâtre est composé de trois arcades de verdure, à travers lesquelles on voit le temple de la Gloire dans le lointain.

Envy’s cave disappears. We see the twin slopes of Parnassus. Arches decorated with flowers are at halfway point; behind we see three stretches of greenery, with the Temple of Glory in the distance.

APOLLON continue

APOLLO continues

Track 9 Air pour les Héros

Track 9 Air for the Heroes

Track 10 Air pour les Muses

Track 10 Air for the Muses

Track 11 Air pour les Héros (reprise)

Track 11 Air for the Heroes (reprise)

Track 12 Choeur

Track 12 Chorus

Nous calmons les alarmes, Nous chantons, nous donnons la paix ; Mais tous les coeurs ne sont pas faits Pour sentir le prix de nos charmes.

We quieten every alarm, We sing, and we bring sweet peace; Not every heart, however, can fully Comprehend the price of our charms.

La Gloire en ce jour memorable Doit couronner le plus grand des vainqueurs, La Gloire et les Muses sont soeurs. Prêtez à ses attraits un charme inalterable.

CHOEUR DES MUSES

Track 13 Entracte. Ouverture (reprise)

Glory, on this memorable day, Must crown the greatest of conquerors. Glory and the Muses are sisters; May her face always be filled with charm.

CHORUS OF THE MUSES

Track 13 Entr’acte. Overture (reprise)

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Chantal Santon-Jeffery as Lydie. photo Š frank wing

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ACTE PREMIERE – BÉLUS

ACT I – BÉLUS

Le théâtre représente le bocage des Muses. Les deux côtés du théâtre sont formés des deux collines du Parnasse. Des berceaux entrelacés de Lauriers et de fleurs, règnent sur le penchant des collines ; au-dessous sont des grottes percées à jour, ornées comme les berceaux, dans lesquelles sont des Bergers et Bergères ; le fond est composé de trois grands berceaux en architecture.

The grove of the Muses. The twin hills of Parnassus form the two sides of the theatre. Vaulted arches decorated with laurel wreaths and flowers are on the slopes of the hills; below these are newly created grottoes decorated with flowers, occupied by shepherds and shepherdesses. Three large architectural arches stand at the rear of the stage.

Scène 1 Lydie, Arcine, Bergers et Bergères

Scene 1 Lydie, Arsine, Shepherds and Shepherdesses

Track 14 Récitatif

Track 14 Recitative

Oui, parmi ces Bergers aux Muses consacrés, Loin d'un tyran superbe et d'un amant volage, Je trouverai la paix, je calmerai l'orage Qui trouble mes sens déchirés.

Yes, amongst these shepherds devoted to the Muses, Far from a proud tyrant and an inconstant lover, I shall find peace; I shall calm the storm That troubles my racked soul.

LYDIE

LYDIE

ARSINE

ARSINE

LYDIE

LYDIE

ARSINE

ARSINE

Dans ces retraites paisibles, Les Muses doivent calmer Les coeurs purs, les coeurs sensibles, Que la cour peut opprimer. Cependant vous pleurez ; votre oeil en vain contemple Ces bois, ces Nymphes, ces Pasteurs ; De leur tranquillité suivez l'heureux exemple. La Gloire a vers ces lieux fait élever son temple, La honte habite dans Mon coeur ! La Gloire en ce jour même, au plus grand roi du monde, Doit donner de ses mains un laurier immortel ; Bélus doit l'obtenir. Votre douleur profonde Redouble à ce nom si cruel.

In these peaceful surroundings, The Muses can calm The pure and sensitive hearts That a Court can oppress. Nonetheless, you weep: in vain you behold These woods, these nymphs, these shepherds. Take their happy and tranquil life as your example. Glory has raised her temple close to here; Shame fills my heart! Glory today, with her own hands, will present The greatest king of the world with a laurel wreath. It will be given to Bélus. Your bitter sorrow is made Twice as bitter by this cruel name.

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LYDIE

LYDIE

ARSINE

ARSINE

LYDIE

LYDIE

ARSINE

ARSINE

Bélus va triompher de l'Asie enchaînée, Mon coeur et mes états sont au rang des vaincus, L'ingrat me promettoit un brillant hyménée : Il me trompait ; du moins il ne me trompe plus ! Il triomphe, je meurs, et meurs abandonee ! Il a trahi vingt rois ; il trahit vos appas, Il ne connaît qu'une aveugle puissance. Mais vers la Gloire il adresse ses pas, Pourra-t’il sans rougir, soutenir ma presence ? Les tyrans ne rougissent pas.

He has betrayed twenty kings and now betrays your charms; Blind power is his only quality. He turns his steps now towards Glory; Will he be able to bear my presence without feeling shame? Tyrants have no shame.

LYDIE

LYDIE

Track 15 Air Ô Muses, soyez mon appui ; Secourez moi contre moi-même, Ne permettez pas que j'aime Un tyran qui n'aime que lui.

Track 15 Air O Muses, lend me your aid; Protect me against myself: Do not allow that I might love A tyrant who only loves himself.

Les Bergers et Bergères, consacrés aux Muses, sortent des antres du Parnasse, au son des instrumens champêtres.

The Shepherds and Shepherdesses who serve the Muses come forth from the caves of Parnassus to the sound of rustic instruments.

Scène 2 Lydie, Arsine, une Bergère, un Berger, un autre Berger, Bergers et Bergères

Scene 2 Lydie, Arsine, A Shepherdess, two Shepherds, other Shepherds and Shepherdesses

Deux musettes, deux hautbois et deux bassons sur le théâtre.

Two bagpipes, two oboes and two bassoons on stage.

Track 16 Musette en rondeau pour l’entrée des Bergers et Bergères

Track 16 Musette en rondeau for the entrance of the Shepherds and Shepherdesses

Track 17 Récitatif et chœur

Track 17 Recitative and chorus

Quoi ! tant de barbarie avec tant de vaillance! | 33 |

Bélus will triumph over fettered Asia, My heart and my emotions are with the conquered. The ungrateful man promised me a splendid wedding: He deceived me; at least he will not deceive me again! He triumphs, while I die, and die abandoned!

LYDIE, aux bergers

Gods! So much barbarity with so much valour!

LYDIE, to the Shepherds

Venez, tendres Bergers, vous qui plaignez mes larmes, Mortels heureux, des Muses inspirés, Dans mon coeur agité répandez tous les charmes De la paix que vous célébrez.

Come, gentle shepherds, you who take pity on my sorrow Happy mortals, inspired by the Muses, Spread the delights of the peace that you celebrate Within my wounded heart.

CHOEUR DES BERGERS ET BERGÈRES

CHORUS OF SHEPHERDS AND SHEPHERDESSES

UNE BERGÈRE

A SHEPHERDESS

LYDIE

LYDIE

CHOEUR DES BERGERS ET BERGÈRES

CHORUS OF SHEPHERDS AND SHEPHERDESSES

Oserons-nous chanter sur nos faibles musettes, Lorsque les horribles trompettes Ont épouvanté les échos ! Que veulent donc tous ces héros ? Pourquoi troublent-ils nos retraites ? Au temple de la Gloire ils cherchent le bonheur. Il est aux lieux où vous êtes, Il est au fond de notre coeur.

How should we dare to sing to our poor pipes When dreadful trumpets Terrify the echoes themselves! What is it that these heroes wish? Why do they disturb our peaceful retreats?

They seek their happiness at the temple of Glory. Happiness dwells where you now find yourself; It dwells in the depths of our hearts.

Track 18 Première et deuxième gavottes en musette pour les Bergers et Bergères

Track 18 First and second gavottes en musette for the Shepherds and Shepherdesses

Track 19 Air

Track 19 Air

Vers ce temple, où la Mémoire Consacre les noms fameux, Nous ne levons point nos yeux, Les Bergers sont assez heureux Pour voir au moins que la Gloire N'est point faite pour eux.

We never raise our glance Towards this temple, where Memory Has sanctified names of renown; Shepherds, at least, are happy enough To understand that Glory Was never intended for them.

UN BERGER

A SHEPHERD

On entend un bruit de timbales et de trompettes.

The noise of drums and a blast of trumpets.

Track 20 Choeur

Track 20 Chorus

La guerre sanglante, La mort, l'épouvante,

Blood-soaked war And terrifying death Are the mark of our fury:

CHOEUR DE GUERRIERS, qu'on ne voit pas encore

CHORUS OF WARRIORS, not yet visible

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Signalent nos fureurs : Livrons-nous un passage, À travers le carnage, Au faîte des grandeurs.

We will create a passage Through this carnage At the height of our greatness.

Track 21 Petit chœur et récitatif

Track 21 Semichorus and recitative

PETIT CHOEUR DE BERGERS ET BERGÈRES

Quels sons affreux ! quel bruit sauvage ! Ô Muses, protégez nos fortunés climats. UN AUTRE BERGER

O Gloire, dont le nom semble avoir tant d'appas, Seroit-ce là votre langage ? Scène 3 Bélus, Lydie, Arsine, une Bergère, un Berger, un autre Berger, Rois captifs et Soldats de la Suite de Bélus, Bergers et Bergères

SMALL CHORUS OF SHEPHERDS AND SHEPHERDESSES

What dreadful sounds and savage noises! O Muses, protect our fortunate lands. ANOTHER SHEPHERD

O Glory, whose name is so alluring, Is this truly your language? Scene 3 Bélus, Lydie, Arsine, a shepherdess, a shepherd, captured kings, warriors in Bélus’ service, shepherds and shepherdesses.

Bélus paroît sous le berceau du milieu, entouré de ses Bélus appears under the central arch at the back of the stage, Guerriers ; il est sur un trône porté par huit Rois enchaînés. surrounded by his Warriors; he is seated on a throne borne aloft by eight kings in fetters. Track 22 Récitatif et airs

Track 22 Recitative and airs

Rois qui portez mon trône, esclaves couronés, Que j'ai daigné choisir pour orner ma victoire, Allez, allez m'ouvrir le temple de la Gloire, Préparez les honneurs qui me sont destinés.

Kings who bear my throne, crowned slaves Whom I deigned to choose to give lustre to my victory, Go now and open the temple of Glory for me. Prepare the honours that are destined for me.

BÉLUS

BÉLUS

Il descend et continue.

He descends from the throne and continues.

Je veux que votre orgueil seconde Les soins de ma grandeur ; La Gloire, en m'élevant au premier rang du monde. Honore assez votre malheur.

My wish is that your pride should Minister to the needs of my greatness; Glory, in raising me to high worldly rank, Thus also honours your misfortune.

Les Rois captifs et la suite de Bélus sortent. On entend une musique douce.

The captive kings and Bélus’ followers leave. Sweet music is heard.

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Philippe-Nicolas Martin as BÊlus. photo Š frank wing

Mais quels accens pleins de mollesse Offensent mon oreille et révoltent mon coeur !

But what sounds, so soft and feeble, Now offend my ear and disgust my heart!

LYDIE

LYDIE

BÉLUS

BÉLUS

LYDIE

LYDIE

L'humanité, grands dieux ! est-elle une faiblesse ? Parjure amant, cruel vainqueur, Mes cris te poursuivront sans cesse. Vos plaintes et vos cris ne peuvent m'arrêter ; La Gloire loin de vous m'appelle ; Si je pouvais vous écouter, Je deviendrais indigne d'elle. Non, la Gloire n'est point barbare, et sans pitié, Non, tu te fais des dieux à toi même semblables ; À leurs autels tu n'as sacrifié Que les pleurs et le sang des mortels misérables. | 37 |

BÉLUS

Ne condamnez point mes exploits ; Quand on se veut rendre le maître, On est malgré soi, quelquefois Plus cruel qu'on ne voudrait être. LYDIE

Que je hais tes exploits heureux ! Que le sort t'a changé ! Que ta grandeur t'égare ! Peut-être es-tu né généreux ; Ton bonheur t'a rendu barbare. BÉLUS

Je suis né pour dompter, pour changer l'univers : Le foible oiseau, dans un bocage Fait entendre ses doux concerts ; L'aigle qui vole en haut des airs, Porte la foudre, et le ravage. Cessez de m'arrêter par des murmures vains, Et laissez-moi remplir mes augustes destins.

Great gods, is humanity such a weakness? Disloyal lover, cruel conqueror, My cries shall follow you without end. Your cries and your moans cannot halt me; Glory now calls me far from you. If I should listen to you, I would be unworthy of her. No, for Glory is neither barbarous nor pitiless. No, for you refashion the Gods in your own image. All that you have sacrificed at their altars Is the blood and the tears of miserable mortals. BÉLUS

You may not condemn my actions: He who will become a ruler is often, Despite himself, required to be More cruel than he might wish. LYDIE

How I hate your fortunate deeds! How fate has changed you! How your grandeur has lessened! Perhaps you were indeed born generous; Your fortune has made you a barbarian. BÉLUS

I was born to rule, to change the universe: A small bird sings its sweet song In a bosky glade; The eagle who flies high above On the wings of thunder brings devastation. Do not delay me further with your vain pleas; Let me fulfil my august destiny.

Bélus sort, pour aller au temple.

Bélus leaves to go to the temple.

Scène 4 Lydie, Arsine, Bergers et Bergères

Scene 4 Lydie, Arsine, Shepherds and Shepherdesses

Track 23 Air

Track 23 Air

O Muses, puissantes déesses, De cet ambitieux fléchissez la fierté ; Secourez-moi contre sa cruauté, Ou du moins contre mes faiblesses.

O Muses, powerful Goddesses, Soften the pride of that ambitious man; Assist me as I fight against his cruelty, Or at least against my own weakness.

LYDIE

LYDIE

Scène 5 Apollon et les Muses descendant dans un char qui repose par les deux bouts sur les collines du Parnasse.

Scene 5 Apollo and the Muses descend in a chariot that comes to rest on the slopes of Parnassus

Track 24 Petit chœur

Track 24 Semichorus

PETIT CHOEUR D’APOLLON ET DES MUSES Ils chantent en choeur

Nous adoucissons Par nos arts aimables, Les coeurs impitoyables, Ou nous les punissons.

APOLLO AND THE MUSES (in chorus)

We soften Hearts that feel no pity Through our kindly arts, Or we punish them.

APOLLON

APOLLO

Bergers, qui dans nos bocages Apprîtes nos chants divins, Vous calmez les monstres sauvages, Fléchissez les cruels humains.

You shepherds, who in our glades Have learnt our celestial songs, Calm the savage monsters, Soften the cruelty of these mortals.

Track 25 Air pour les Bergers et Bergères

Track 25 Air for the Shepherds and Shepherdesses

Track 26 Ariette

Track 26 Arietta

Vole, vole, charmant Amour, Dieu tendre, Dieu paisible, Désarme la fureur.

Fly, fly, charming Cupid, God of tenderness and of peace, disarm their fury.

Prête à nos foibles voix ton pouvoir invincible Qui porte la paix dans un coeur, Viens punir une ame inflexible

Lend our weak voices your invincible power That brings peace into all hearts; Come, punish an unbending soul

UNE BERGÈRE

A SHEPHERDESS

| 38 |

En la comblant de la faveur. Vole, vole, charmant Amour, Dieu tendre, Dieu paisible, Désarme la fureur.

By filling it with your grace. Fly, fly, charming Cupid, God of tenderness and of peace, disarm their fury.

Track 27 Gigue en rondeau pour les Bergers et Bergères

Track 27 Gigue en rondeau for the S hepherds and Shepherdesses

Scène 6 Bélus rentre, suivi de ses Guerriers.

Scene 6 Bélus returns, followed by his Warriors.

Track 28 Récitatif, chœur, air et duo

Track 28 Recitative, chorus, air and duet

BÉLUS

BÉLUS

Quoi! ce temple pour moi ne s'ouvre point encore ? Quoi ! cette Gloire que j'adore, Près de ces lieux prépara mes autels ; Et je ne vois que de foibles mortels, Et de foibles Dieux que j'ignore ? | 39 |

CHOEUR DES BERGERS

C'est assez vous faire craindre, Faites vous enfin chérir ; Ah ! qu'un grand coeur est à plaindre, Quand rien ne peut l'attendrir ! UNE BERGÈRE

D'une beauté tendre et soumise, Si tu trahis les appas, Cruel vainqueur, n'espère pas Que la Gloire te favorise. UN BERGER

Quoi ! vers la Gloire il a porté ses pas, Et son coeur seroit infidelle ? Ah ! parmi nous une honte éternelle Est le supplice des ingrats, Une honte… BÉLUS

Qu'entends-je ! Il est au monde un peuple qui m'offense ?

So, this temple still refuses to open to me? So, I raised altars near this place For this Glory whom I adore, And I see only weak mortals, And feeble Gods unknown to me? CHORUS OF SHEPHERDS

Enough of making yourself feared, Now you must make yourself loved. How much a great heart is to be pitied, When nothing can soften it! A SHEPHERDESS

If you should betray the delights Of a tender and modest beauty, Cruel conqueror, do not hope That Glory will favour you. A SHEPHERD

So! He dares to approach Glory And his heart is untrue? Ah, amongst us, eternal shame Is the punishment for such ingratitude. Shame… BÉLUS

What do I hear? A race in this world that gives me offence?

Quelle est la foible voix qui murmure en ces lieux, Quand la terre tremble en silence ? Soldat, délivrez moi de ce peuple odieux.

What is the weak voice that murmurs here, While the earth trembles in silence? Soldiers, rid me of this hateful race.

Track 29 Petit chœur accompagné

Track 29 Accompanied semichorus

Arrête, respecte les Dieux Qui protègent l'innocence.

Halt, respect the gods Who protect innocence.

PETIT CHOEUR D’APOLLON ET DES MUSES

APOLLO AND THE MUSES

BÉLUS

BÉLUS

PETIT CHOEUR D’APOLLON ET DES MUSES

APOLLO AND THE MUSES

On entend le tonnerre, et des éclairs partent du char où sont les Muses avec Apollon.

Thunder is heard; lightning flashes forth from the chariot containing Apollo and the Muses.

APOLLON

APOLLO

PETIT CHOEUR D’APOLLON ET DES MUSES

APOLLO AND THE MUSES

Track 30 Tonnerre et air

Track 30 Tonnerre and air

Non, je ne tremble point, je brave le tonnerre ; Je méprise ce temple, et je hais les humains ; J'embraserai de mes puissantes mains, Les tristes restes de la terre.

No, I have no fear, I defy the thunder; I despise this temple, and I hate mortals; I will set fire to the sad remains of the earth With my own powerful hands.

Dieux ! oseraient-ils suspendre ma vengeance ? Ciel ! couvrez-vous de feux ; tonnerres, éclatez, Tremble, fuis les Dieux irrités.

Loin du temple de la Gloire, Cours au temple de la Fureur. On gardera de toi l'éternelle mémoire, Avec une éternelle horreur. Ciel ! couvrez-vous de feux ; tonnerres, éclatez, Tremble, fuis les Dieux irrités. BÉLUS

Gods! Would they dare to delay my vengeance? Ye heavens, drape yourselves in fire; burst forth, ye thunders. Tremble, and flee the wrath-filled gods.

Hasten to the temple of Fury, far from that of Glory. You will always be remembered with eternal horror. Ye heavens, drape yourselves in fire; burst forth, ye thunders. Tremble, and flee the wrath-filled gods. BÉLUS

Track 31 Petit chœur et chœur

Track 31 Semichorus and chorus

Coeur implacable, Apprens à trembler,

Implacable heart, Learn to tremble;

CHOEUR

CHORUS

| 40 |

Les Dieux vont immoler Ce fortuné coupable.

The gods will sacrifice This guilty and wealthy man.

Track 32 Trio et grand chœur

Track 32 Trio and large chorus

Toi qui gémis d'un amour déplorable, Éteins ses feux, brise ses traits ; Goûte par nos bienfaits Un calme inalterable, D’un amour déplorable, brise les traits.

You who suffer from this lamentable love, Put out its fires, break its bonds; Thanks to our kindness, you may now Taste eternal calm and peace. Break the bonds of this lamentable love.

TRIO D’APOLLON ET DES MUSES à Lydie

ACTE SECOND – BACCHUS

| 41 |

APOLLO AND THE MUSES to Lydie

ACT II – BACCHUS

Le théâtre représente l'avenue et le frontispice du temple de la Gloire ; Le trône que la Gloire a préparé pour celui qu'elle doit nommer le plus grand des hommes, est vu dans l'arrière-théâtre ; il est supporté par des Vertus, et l'on y monte par plusieurs degrés. Scène 1 Le grand Prêtre de la Gloire, couronné de lauriers, une palme à la main ; entouré d’une Prêtresse, des Prêtres et des Prêtresses de la Gloire, et de Héros

The stage depicts the front façade of the Temple of Glory and the avenue leading towards it. The throne that Glory has prepared for he whom she will declare to be the greatest of men is visible further upstage; it is held up by the Virtues and is ascended by means of several steps. Scene 1 The High Priest of Glory, crowned with laurel, a palm branch in his hand; a Priestess, Priests and Priestesses of Glory; Heroes

Track 33 Ritournelle

Track 33 Ritornello

Track 34 Chœur avec coryphées

Track 34 Chorus with coryphées

Gloire enchanteresse, Superbe maîtresse Des rois, des vainqueurs ; La froide vieillesse, L'ardente jeunesse, Briguent tes faveurs.

Glory, enchantress, Proud mistress Of kings and of conquerors; Frigid old age And ardent youth Both seek your favours.

LE GRAND PRÊTRE

THE HIGH PRIEST

LE CHOEUR

CHORUS

UNE PRÊTRESSE

A PRIESTESS

Gloire enchanteresse, etc. Le prétendu sage Croit avoir brisé

Glory, enchantress, etc. He who claims to be wise Thinks that he has escaped

Ton noble esclavage : Il s'est abuse, C'est un amant méprisé, Et son dépit est un hommage.

Your noble slavery: He is mistaken, He is a despised lover And his pique is homage to you.

LE GRAND PRETRE

THE HIGH PRIEST

Track 36 Air pour les Héros et les Prêtresses de la Gloire

Track 36 Air for the Heroes and the Priestesses of Glory

Déesse des héros, du vrai sage, et des rois, Source noble et féconde Et des vertus et des exploits : Ô Gloire, c'est ici que ta puissante voix Doit nommer par un juste choix Le premier des maîtres du monde. Track 35 Air Venez, venez, accourez tous, Arbitres de la paix, et foudres de la guerre, Vous qui calmez, vous qui domptez la terre, Nous allons couronner le plus digne de vous.

Goddess of heroes, of true wisdom and of kings, Noble and fertile source Of virtues and of deeds: O Glory, here your powerful voice Must name, having chosen fairly, The first amongst the world’s masters. Track 35 Air Let all hasten to come here, Arbiters of peace and bringers of war, You who calm and you who conquer the earth: We shall crown the most worthy of you all.

| 42 |

Scène 2 Scene 2 Les Suivans de Bacchus arrivent, avec des Bacchantes et des The followers of Bacchus arrive, with Bacchantes and Ménades, couronnés de lierre, le thyrse à la main. Maenads crowned with ivy and bearing thyrses. Un Guerrier de la suite de Bacchus, une Bacchante, le grand Prêtre de la Gloire, une Prêtresse, Suivans de Bacchus, Prêtres et Prêtresses de la Gloire, Héros

A Warrior in Bacchus’ train, a Bacchante, the High Priest of Glory, a Priestess, Followers of Bacchus, Priests and Priestesses of Glory, Heroes

Track 37 Entrée des Suivans de Bacchus

Track 37 Entrance of the Followers of Bacchus

Track 38 Air, chœur avec coryphée

Track 38 Air, chorus with coryphée

Bacchus est en tous lieux notre guide invincible, Ce héros fier et bienfaisant, Est toujours aimable et terrible : Préparez le prix qui l'attend.

Bacchus is our invincible leader in all places, This proud and beneficent hero Is always kind and fearsome: Prepare the prize that awaits him.

UN GUERRIER, suivant de Bacchus

A WARRIOR in Bacchus’ train

| 43 |

Carly Fox Horton as Une Bacchante [dancer]. photo Š frank wing

UNE BACCHANTE ET LE CHOEUR

Le dieu des plaisirs va paroître, Nous annonçons notre maître, Ses douces fureurs, Dévorent nos coeurs.

A BACCHANTE AND THE CHORUS

The god of pleasure will appear: We proclaim our master. His sweet fury Devours our hearts.

Pendant ce choeur, le grand Prêtre de la Gloire, la During this chorus the High Priest of Glory, Prêtresse, les Prêtres et Prêtresses de la Gloire et les the Priestess, the Priests and Priestesses of Héros rentrent dans le temple, dont les portes se ferment. Glory and the Heroes retire into the temple; its doors close. Track 39 Air

Track 39 Air

Les tigres enchaînés conduisent sur la terre, Erigone et Bacchus ; Les victorieux, les vaincus, Tous les dieux des plaisirs, tous les dieux de la guerre, Marchent ensemble confondus.

Chained tigers transport Érigone and Bacchus on land; The victorious and the conquered, The gods of pleasure and the gods of war, All march together without distinction.

LE GUERRIER

A WARRIOR

Track 40 Symphonie, air On entend le bruit des trompettes, des hautbois et des flûtes, alternativement.

Track 40 Symphony, air Trumpets, oboes, and flutes play in alternation.

UNE BACCHANTE

A BACCHANTE

Track 41 Loure pour l’entrée des Faunes Bacchus et Érigone paroissent sur un char traîné par des tigres, entouré de Guerriers, de Bacchantes, d'Égipans et de Satyres.

Track 41 Loure for the entrance of the Fauns Bacchus and Érigone appear on a chariot drawn by tigers, surrounded by Warriors, Bacchantes, Aegipans and Satyrs.

Scène 3 Bacchus, Érigone, une Bacchante, un Guerrier de la suite de Bacchus, Suivans de Bacchus

Scene 3 Bacchus, Érigone, a Bacchante, a Warrior in Bacchus’ train, followers of Bacchus

disk two

disk two

Je vois la tendre volupté Sur le char sanglant de Bellone, Je vois l'Amour qui couronne La valeur et la beauté.

Track 1 Air pour les Suivans de Bacchus

I see sweet sensual delight On Bellona’s blood-drenched chariot; I see Love, presenting crowns To valour and beauty.

Track 1 Air for the Followers of Bacchus

| 44 |

Track 2 Airs

Track 2 Airs

Érigone, objet plein de charmes, Objet de ma brûlante ardeur, Je n'ai point inventé dans les horreurs des armes Ce nectar des humains, nécessaire au bonheur, Pour consoler la terre, et pour sécher ses larmes ; C'étoit pour enflammer ton coeur.

Érigone, most charming being, Object of my ardent passion, I never created the nectar that mortals require for happiness From the horrors of warfare To console the earth and to dry its tears. It was to set your heart aflame with passion.

BACCHUS

Bannissons la raison de nos brillantes fêtes. Non, je ne la connus jamais, Dans mes plaisirs, dans mes conquêtes ; Non, je t'adore, et je la hais.

Let us banish all reason from our splendid festivities. For I have never known it, Either in my pleasures or my conquests; No, I adore you and I detest all reason.

Track 3 Récitatif

Track 3 Recitative

Conservez-la plutôt pour augmenter vos feux, Bannissez seulement le bruit et le ravage : Si par vous le monde est heureux, Je vous aimerai davantage.

Keep it rather, to increase your passion; Banish only its noise and devastation. If the world should become happier through you, I will love you all the more.

ÉRIGONE

| 45 |

BACCHUS

BACCHUS

Les foibles sentimens offensent mon amour ; Je veux qu'une éternelle ivresse De gloire, de grandeur, de plaisirs, de tendresse Règne sur mes sens tour à tour. ÉRIGONE

Vous alarmez mon coeur, il tremble de se rendre, De vos emportemens il est épouvanté : Il seroit plus transporté, Si Bacchus étoit plus tendre. BACCHUS

Partagez mes transports divins, Sur mon char de victoire au sein de la mollesse ; Rendez le ciel jaloux, enchaînez les humains, Un Dieu plus fort que moi nous entraîne et nous presse.

ÉRIGONE

BACCHUS

Such weak sentiments offend my love; I would that eternal intoxications Of glory, greatness, pleasure and tenderness Ravish my senses in alternation. ÉRIGONE

You alarm my heart and it trembles at the thought of surrender, It is terrified by your passionate transports: It would be more easily carried away If Bacchus were more gentle. BACCHUS

Share my divine transports of emotion On my triumphal chariot, in the heart of sweet softness; Make heaven jealous and put all mortals under your spell. A god stronger than I has us in hand and urges us onwards.

Track 4 Air et chœur Que le thyrse règne toujours Dans les plaisirs et dans la guerre, Qu'il tienne lieu du tonnerre, Et des flèches des Amours.

Track 4 Air and chorus May the thyrsis reign always In pleasure and in war; May it be a fit replacement for thunder And the arrows of the Cupids.

LE CHOEUR DES SUIVANS DE BACCHUS

CHORUS OF FOLLOWERS OF BACCHUS

Track 5 Récitatif

Track 5 Recitative

Quel dieu de mon ame s'empare ! Quel désordre impétueux ? Il trouble mon coeur, il l'égare. L'amour seul rendroit plus heureux.

What god now seizes hold of my soul, What impetuous chaos? He disturbs my heart and leads it astray. Love alone can make it more happy.

Que le thyrse règne toujours Dans les plaisirs et dans la guerre, Qu'il tienne lieu du tonnerre, Et des flèches des Amours. ÉRIGONE

May the thyrsis reign always In pleasure and in war; May it be a fit replacement for thunder And the arrows of the Cupids. ÉRIGONE

BACCHUS

BACCHUS

Track 6 Air

Track 6 Air

La Gloire est en ces lieux, le seul dieu qu'on adore, Elle doit aujourd'hui placer sur ses autels, Le plus auguste des mortels. Le vainqueur bienfaisant des peuples de l'aurore, Aura ces honneurs solennels.

Glory is the only goddess worshipped in that place, Above her altars she will soon place The most august of mortals. The beneficent conqueror of the Eastern peoples Will be granted these solemn honours.

Mais quel est en ces lieux ce temple solitaire ! Estce à nous qu’il est consacré ? Eston digne ici de me plaire ? Si Bacchus est connu, Bacchus est adoré. UN GUERRIER

But whose temple is this, standing here alone? Is it consecrated to us? Are those here worthy of pleasing me? If Bacchus is known, Bacchus is worshipped. A WARRIOR

Track 7 Récitatif, air et récitatif

Track 7 Recitative, air and recitative

Un si brillant hommage Ne se refuse pas. L'Amour seul me guidoit sur cet heureux rivage ; Mais on peut détourner ses pas, Quand la Gloire est sur le passage.

Such splendid homage May not be refused. Love alone has guided me on this blessed shore, But one can lose the true path When Glory becomes involved.

ÉRIGONE

ÉRIGONE

| 46 |

BACCHUS

BACCHUS

ÉRIGONE

ÉRIGONE

Le temple de la Gloire paroît ouvert.

The temple of Glory opens.

BACCHUS

BACCHUS

Scène 4 Le grand Prêtre de la Gloire, une Prêtresse, Bacchus, Érigone, une Bacchante, un Guerrier, Prêtres et Prêtresses de la Gloire, Suivans de Bacchus

Scene 4 The High Priest of Glory, a Priestess, Bacchus, Érigone, a Bacchante, a Warrior, Priests and Priestesses of Glory, followers of Bacchus

Track 8 Récitatif et air

Track 8 Recitative and air

Téméraire, arrête ! Ce laurier seroit profane, S'il avoit couronné ta tête.

Rash and foolish one, stop, This laurel wreath would be profaned If it were used to crown your head.

Le ciel doit nous placer parmi les plus grands dieux, Mais au moins la Gloire en ces lieux Chez les humains sera ma recompense. Si vous n’aimez que moi, qu’est-il besoin de cieux ?

Le temple s'ouvre, La Gloire se découvre. L'objet de mon ardeur y sera couronné ; Suivez-moi.

| 47 |

LE GRAND PRÊTRE DE LA GLOIRE

Heaven may place us amongst the greatest of the gods, But at least Glory amongst mortals Will be my reward in these regions. If you love only me, what need have you of heaven?

The temple opens, And Glory is revealed. The object of my passion shall be crowned there; Follow me.

THE HIGH PRIEST OF GLORY

Bacchus, qu'on célèbre en tous lieux, N'a point ici la préférence ; Il est une vaste distance Entre les noms connus et les noms glorieux.

Bacchus, who is worshipped everywhere, Cannot be favoured here; There is a vast distance between Names that are familiar and names that are glorious.

Track 9 Récitatif, air et récitatif

Track 9 Recitative, air and recitative

Eh quoi ! des ses présens la Gloire est-elle avare Pour ses plus brillans favoris ?

So then! Is Glory then so miserly with her gifts To the most splendid of her favourites?

ÉRIGONE

BACCHUS

J'ai versé des bienfaits sur l'univers soumis ; Pour qui sont ces lauriers que votre main prepare ?

ÉRIGONE

BACCHUS

I have rained beneficence onto this obedient world; For whom are you preparing these laurel wreaths?

Camille Ortiz as Érigone, Artavazd Sargsyan as Bacchus, and dancer Meggi Sweeney Smith as the Ostrich. photo Š frank wing

| 48 |

LE GRAND PRÊTRE

THE HIGH PRIEST

Contentez-vous, Bacchus, de régner dans vos fêtes, D'y noyer tous les maux que vos fureurs ont faits ; Laissez-nous couronner de plus belles conquêtes, Et de plus grands bienfaits.

Be content, Bacchus, to reign over your feasts, And drown all the evils caused by your passions in them; Let us now crown finer conquests And greater beneficence.

BACCHUS aux Prêtres

BACCHUS (to the Priests)

Track 10 Ariette Venez, troupe aimable, volez, suivez-moi, Venez embellir d'autres lieux. Par la main des Plaisirs, des Amours, et des Jeux, Versez ce nectar délectable, Vainqueur des mortels et des dieux : Venez, troupe aimable, volez, suivez-moi, Venez embellir d'autres lieux.

Track 10 Arietta Fly, then, follow me, my kind friends, Come, for we shall lend splendour to other places. Let the hands of Pleasure, Love and Sport Pour out that delightful nectar That conquers both mortals and gods: Fly, then, follow me, my kind friends, Come, for we shall lend splendour to other places.

Track 11 Duo

Track 11 Duet

Parcourons la terre Au gré de nos désirs, Du temple de la guerre Au temple des Plaisirs.

Let us travel through the world As our fancy takes us, From the temple of war To the temple of Pleasure.

Pour des vertus d'un plus haut prix.

Peuple vain, peuple fier, enfans de la tristesse, Vous ne méritez pas des dons si précieux. Bacchus vous abandonne à la froide sagesse ; Il ne sauroit vous punir mieux:

| 49 |

BACCHUS ET ÉRIGONE

For those who have paid a higher price for their virtue.

Vain and proud people, children of sadness, You do not deserve such precious gifts. Bacchus abandons you now to your cold good sense; He can think of no more fitting punishment.

BACCHUS and ÉRIGONE

Track 12 Forlane pour les Suivans de Bacchus

Track 12 Forlane for the Followers of Bacchus

Track 13 Gavotte en rondeau pour les Suivans de Bacchus

Track 13 Gavotte en rondeau for the Followers of Bacchus

Track 14 Chœur avec coryphée

Track 14 Chorus with coryphée

Bacchus, fier et doux vainqueur, Conduis mes pas, règne en mon coeur, La Gloire promet le bonheur, Mais c'est Bacchus qui nous le donne.

Bacchus, proud and sweet conqueror, Guide my steps, reign in my heart. Glory may promise happiness, But it is Bacchus that grants it.

UNE BACCHANTE, avec le choeur

A BACCHANTE, and the Chorus

Raison, tu n'es qu'une erreur, Et le chagrin t'environne. Plaisir, tu n'es point trompeur, Mon ame à toi s'abandonne.

Reason, you are mistaken, And grief surrounds you. Pleasure, you cannot deceive, My soul abandons itself to you.

Bacchus, fier et doux vainqueur, etc.

Bacchus, proud and sweet conqueror, etc.

Track 15 Entracte. Gavotte en rondeau pour les Suivans de Bacchus (reprise)

Track 15 Entr’acte. Gavotte en rondeau for the Followers of Bacchus (reprise)

TROISIÈME ACTE – TRAJAN

ACT III – TRAJAN

Scène 1 Plautine, Junie, Fannie

Scene 1 Plautine, Junie, Fannie

Le théâtre représente la ville d'Artaxate à demi-ruinée, au milieu de laquelle est une place publique ornée d'arcs de triomphe, chargés de trophées.

The city of Artaxaba, half in ruins; in its centre a public square with triumphal arches laden with trophies.

Track 16 Monologue

Track 16 Monologue

Reviens, divin Trajan, vainqueur doux et terrible, Le monde est mon rival, tous les coeurs sont à toi ; Mais, est-il un coeur plus sensible, Et qui t'adore plus que moi ? Est-il un coeur plus tendre, plus sensible, Et qui t'adore plus que moi ? Les Parthes sont tombés sous ta main foudroyante, Tu punis, tu venges les rois, Rome est heureuse et triomphante, Tes bienfaits passent tes exploits.

Return, o Trajan, sweet yet terrifying conqueror, The world is my rival, for every heart is yours; But was there ever a more sensitive heart than mine, Or one who worships you more than I? Was there ever a more tender, more sensitive heart than mine, Or one who worships you more than I? The Parthians have fallen under your death-dealing hand, You punish and are revenged on their kings, Rome is happy and triumphant, Your benefactions outnumber your battles.

PLAUTINE

PLAUTINE

Track 17 Récitatif

Track 17 Recitative

Dans ce climat barbare, au sein de l'Arménie, Pouvez-vous affronter les horreurs des combats ?

In this barbarous land, in the heart of Armenia, how can you live with the horrors of battle?

JUNIE

JUNIE

| 50 |

PLAUTINE

PLAUTINE

FANNIE

FANNIE

PLAUTINE

PLAUTINE

Quel doux plaisir succède à ma douleur profonde ! Nous allons contempler dans le maître du monde, Le plus aimable des humains.

What sweet delight now follows my deep sorrow! In this master of the world, we shall also behold The kindliest of mortal men.

JUNIE

JUNIE

FANNIE

FANNIE

PLAUTINE

PLAUTINE

Scène 2 Trajan, Plautine, Junie, Fannie

Scene 2 Trajan, Plautine, Junie, Fannie

Track 18 Récitatif, duo, récitatif

Track 18 Recitative, duet, recitative

Nous étions protégés par son puissant génie, Et l'Amour conduisoit mes pas. L'Europe reverra son vengeur et son maître, Sous ces arcs triomphaux, on dit qu'il va paroître. Ils sont élevés par mes mains.

Nos soldats triomphans, enrichis, pleins de gloire, Font voler son nom jusqu'aux cieux. | 51 |

Il se dérobe à leurs chants de victoire, Seul, sans pompe, et sans suite, il vient orner ces lieux.

Il faut à des héros vulgaires La pompe et l'éclat des honneurs. Ces vains appuis sont nécessaires Pour les vaines grandeurs. Trajan seul est suivi de sa gloire immortelle ; On croit voir près de lui l'univers à genoux, Et c'est pour moi qu'il vient ! Ce héros m'est fidèlle ! Grands dieux, vous habitez dans cette ame si belle, Et je la partage avec vous !

PLAUTINE, courant au-devant de Trajan

We were protected by his powerful spirit, And love guided my steps. Europe will once again behold its avenger and its master: They say he will appear under these triumphal arches. They have been raised by my own hands.

Our triumphant soldiers, made rich and filled with glory, Have raised his name to the heights of heaven. He refuses to hear their acclamations of victory, Alone and without ceremony he comes to add splendour to this place. Common heroes require Pomp and glistening honours; Only vain greatness has need of Such vain accessories. Trajan alone is accompanied by his immortal glory, It is as if the world were on its knees before him, And it is to me that he comes! This hero is true to me! Great gods, you dwell in that fine soul, And I share him with you!

PLAUTINE, running towards Trajan

Enfin, je vous revois, le charme de ma vie M'est rendu pour jamais.

At last I behold you again: The charm of my life returns to me for ever.

TRAJAN

TRAJAN

PLAUTINE

PLAUTINE

TRAJAN

TRAJAN

Le ciel me vend cher ses bienfaits, Ma félicité m'est ravie. Je reviens un moment pour m'arracher à vous, Pour m'animer d'une vertu nouvelle, Pour mériter, quand mon devoir m'appelle, D'être empereur de Rome et d'être votre époux. Que dites-vous ? quel mot funeste ! Un moment ! vous, ô ciel ! un seul moment me reste, Quand mes jours dépendoient de vous revoir toujours. Le ciel en tous les temps m'accorda son secours ; Il me rendra bientôt aux charmes que j'adore : C'est pour vous qu'il fait mon Coeur, Je vous ai vue, et je serai vainqueur.

Heaven’s gifts are only given at a price, My happiness has been taken from me. I have returned, and in a moment I must tear myself away And inspire myself with new strength So that I may deserve, when my duty calls, To be emperor of Rome — and your husband. What have I heard? What fatal words are these? You, one moment! O Heaven! Only one moment is left me, when my entire life has hung on seeing you again. Heaven will always and ever grant me its aid; It will soon return me to the charms that I adore. My heart does this for you; I have seen you, and I shall conquer.

PLAUTINE

PLAUTINE

TRAJAN

TRAJAN

PLAUTINE

PLAUTINE

TRAJAN

TRAJAN

Quoi, ne l'êtes-vous pas ? Quoi, seroit-il encore Un roi que votre main n'auroit pas désarmé ? Tout n'est-il pas soumis, du couchant à l'aurore ? L'univers n'est-il pas calmé? On me trahit… Non, je ne puis vous croire, On ne peut vous manquer de foi. Des Parthes terrassés l'inexorable roi S'irrite de sa chute, et brave ma victoire, Cinq rois qu'il a séduits sont armés contre moi ; Ils ont joint l'artifice aux excès de la rage,

What, have you not already done so? Is there still Another king whom you have not yet subjugated? From East to West, do not all bend the knee to you? Is the world not yet quiet? I am betrayed. No, I cannot believe you, Such lack of faith in you cannot be. The inexorable king of the defeated Parthians Chafes at his fall and challenges my victory; Five kings that he has swayed have taken up arms against me. They have added trickery to their overweening wrath

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Gabrielle Philiponet as Plautine and Aaron Sheehan as Trajan. photo Š frank wing

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Ils sont au pieds de ces remparts ; Mais j'ai pour moi les Dieux, les Romains, mon courage, Et mon amour, et vos regards.

And are now at the feet of these very ramparts. The gods, the Romans and my courage are on my side, As is my love and your devotion.

PLAUTINE

PLAUTINE

TRAJAN

TRAJAN

Mes regards vous suivront ; je veux que sur ma tête, Le ciel épuise son courroux ; Je ne suivrai partout, je braverai leurs coups, J'écarterai la mort qu'on vous apprête, Je mourrai du moins près de vous. Ah ! ne m'accablez point, mon coeur est trop sensible ; Ah ! laissez-moi vous mériter ; Vous m'aimez, il suffit, rien ne m'est impossible, Rien ne pourra me resister. PLAUTINE

Cruel, pouvez-vous m'arrêter ? Entendez-vous les cris d'un ennemi perfide ?

My devotion follows you; may Heaven Vent its wrath on my head alone. I will follow you wherever you may go and will brave their blows; I myself will take away the death that they prepare for you And at the least I will die close to you. Ah, do not burden me so, for my heart is too full; Ah, let me deserve you wholly. You love me, and this is enough; nothing is impossible for me, None will be able to stand against me. PLAUTINE

Cruel man, how can you stop me? Do you hear the shouts of that perfidious enemy?

TRAJAN

TRAJAN

Track 19 Duo, récitatif

Track 19 Duet, recitative

Je vais/Allez punir un barbare, Terrasser sous mes/vos coups L'ennemi qui nous sépare, Qui m'arrache un moment à vous.

I go / Go to punish a barbarian Who will fall beneath my / your blows; The enemy that separates us Seizes you from me for a moment.

J'entens la voix de l’honneur qui me guide, Je vole ; demeurez ; la victoire me suit. Je vole, attendez tout de mon peuple intrépide, Et de l'Amour qui me conduit. PLAUTINE ET TRAJAN

PLAUTINE

Il m'abandonne à ma douleur mortelle ! Cher amant, arrêtez ; ah ! détournez les yeux, Voyez encor les miens.

I hear the voice of duty guiding me. I must go; remain, for victory follows me. I must go; expect everything from my intrepid people And from the love that guides my path. PLAUTINE AND TRAJAN

PLAUTINE

He leaves me in mortal despair! Beloved, stop; look back towards me And gaze into my eyes once more.

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TRAJAN, au fond du théâtre

TRAJAN, at the back of the stage

Scène 3

Scene 3

Track 20 Récitatif

Track 20 Recitative

O dieux ! O justes dieux ! Veillez sur l'empire, et sur elle.

PLAUTINE

PLAUTINE

Scène 4

Scene 4

Track 21 Chœur

Track 21 Chorus

Fier Dieu des alarmes, Protège nos armes, Conduis nos étendars.

Proud God of battle, Protect our weapons, Guide our standard-bearers.

Il est déjà loin de ces lieux, Devoir, es-tu content ? Je meurs, et je l'admire. Ministres du Dieu des combats, Prêtresses de Vénus, qui protégez l'empire, Percez le ciel de cris, accompagnez mes pas, Secondez l'amour qui m'inspire.

CHOEUR DES PRÊTRES DE MARS

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O gods, o just gods! Watch over the empire, and watch over her.

CHOEUR DES PRÊTRESSES DE VENUS

Déesse des Grâces, Vole sur ses traces, Enchaîne le Dieu Mars.

He is already far from here – Duty, are you pleased? I die, and I admire him. Ministers of the God of battles, Priestesses of Venus, who protect the Empire, Rend the heavens with your cries, follow me now, And support this love that inspires me.

CHORUS OF THE PRIESTS OF MARS

CHORUS OF THE PRIESTESSES OF VENUS

Goddess of the Graces, Fly, follow his tracks, Join with the God Mars.

Track 22 Air pour les Prêtres de Mars et Prêtresses de Vénus Track 22 Air for the Priests of Mars and Priestesses of Venus Track 23 Récitatif

Track 23 Recitative

Dieux puissans, protégez votre vivante image, Vous étiez autrefois des mortels comme lui, C'est pour avoir régné comme il règne aujourd'hui Que le ciel est votre partage.

Powerful Gods, protect your living image, You were once as mortal as he; It is because you reigned then as he does today That you now rule in heaven.

PLAUTINE

PLAUTINE

Track 24 Première et deuxième gavottes pour les Prêtres de Mars et Prêtresses de Vénus On entend un choeur de Romains qui avancent ensuite sur le théâtre.

Track 24 First and second gavottes for the Priests of Mars and Priestesses of Venus A chorus of Romans is heard in the distance who then appear onstage.

Track 25 Chœur, récitatif

Track 25 Chorus, recitative

Charmant héros, qui pourra croire Des exploits si prompts et si grands ? Tu te fais en peu de temps, La plus durable mémoire.

O wondrous hero, who could believe in Such swift and great exploits? In such a short time you have ensured Yourself the most lasting of memories.

CHOEUR DES ROMAINS ET ROMAINES

CHORUS OF ROMAN MEN AND WOMEN

JUNIE

JUNIE

FANNIE

FANNIE

PLAUTINE

PLAUTINE

Entendez-vous ces cris et ces chants de victoire ? Trajan revient vainqueur. En pouviez-vous douter ?

Do you hear these shouts and songs of victory? Trajan returns as conqueror. How could you have doubted it?

JUNIE

JUNIE

Scène 5 Trajan, entouré des aigles romaines et de faisceaux ; les Rois vaincus sont enchaînés à sa suite, Plautine, Junie, Fannie, Romains et Romaines

Scene 5 Trajan appears, surrounded by Roman eagles and fasces; the conquered kings are chained to his escort. Plautine, Junie, Roman men and women

Track 26 Récitatif accompagné

Track 26 Accompanied recitative

Rois, qui redoutez ma vengeance, Qui craignez les affronts aux vaincus destinés, Soyez désormais enchaînés Par la seule reconnaissance ; Plautine est en ces lieux, il faut qu'en sa presence, Il ne soit point d'infortunés.

Kings, you who dread my vengeance, You who fear the insults meted out to the conquered, You are bound only to accept One simple statement: Plautine is here; in her presence No wretchedness or misfortune may exist.

Je vois les Rois captifs, ornemens de sa gloire, Avant de les punir, il vient les présenter.

TRAJAN

I see the captive kings, ornaments of his glory, He comes to display them before punishing them.

TRAJAN

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Chantal Santon-Jeffery as La Gloire and Aaron Sheehan as Trajan. photo Š frank wing

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Track 27 Chœur avec coryphées

Track 27 Chorus with coryphée

Ô grandeur ! ô clémence ! Vainqueur égal aux Dieux, Vous avez leur puissance, Vous pardonnez comme eux.

O greatness! O clemency! A conqueror who is the Gods’ equal. You possess their power And you forgive as do they.

LES ROIS, se relevant, chantent avec le choeur

THE KINGS rise and sing with the Chorus

Track 28 Récitatif

Track 28 Recitative

Vos vertus ont passé mon espérance même, Mon coeur est plus touché que celui des Rois.

Your virtues go far beyond what I could hope, My heart is moved even more than these kings.

PLAUTINE

TRAJAN

Ah, s'il est des vertus dans ce coeur qui vous aime, Vous savez à qui je les dois ! J'ai voulu des humains mériter le suffrage, Dompter les rois, briser leurs fers, Et ne vous offrir mon hommage, Qu’avec les voeux de l'univers. Ciel ! qu’est-ce que je vois ?

PLAUTINE

TRAJAN

Ah, if there be any virtue in this heart that loves you so, You know to whom I owe it! I have sought to deserve the approval of mortals, To subdue kings and to break their chains, So that I might offer you my homage Together with the vows of the entire world. O Heaven! What do I see?

La Gloire descend d'un vol précipité, une couronne de Laurier à la main.

Glory descends swiftly from the skies, a laurel wreath in her hand.

Scène 6 La Gloire, Trajan, Plautine, Junie, Fannie, les Rois vaincus, Romains et Romaines

Scene 6 Glory, Trajan, Plautine, Junie, Fannie, The conquered kings, Roman men and women

Track 29 Récitatif et air

Track 29 Recitative and air

Tu vois ta récompense, Le prix de tes exploits, surtout de ta clémence ; Mon trône est à tes pieds, tu règnes avec moi.

Behold now your reward, the prize for your deeds, and especially for your clemency; My throne is at your feet, for you shall reign with me.

LA GLOIRE

GLORY

Le théâtre change et représente le temple de la Gloire.

The stage is transformed into the Temple of Glory.

Plus d'un héros, plus d'un grand roi, Jaloux en vain de sa mémoire, Vola toujours après la Gloire, Et la Gloire vole après toi.

More than one hero, more than one great king, Proud of his reputation, Has pursued Glory in vain; It is you that Glory now pursues.

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Track 30 Entrée des Suivants de la Gloire Les Suivans de la Gloire, mêlés aux Romains et aux Romaines, forment de danses.

Track 30 Entrance of the Followers of Glory The followers of Glory mingle with the Roman men and women and dance.

Track 31 Chœur avec coryphée

Track 31 Chorus with coryphée

Le ciel nous seconde, Célébrons son choix : Exemple des rois, Délices du monde, Vivons sous tes lois.

Heaven is in agreement, Let us celebrate its choice: A paragon of kings And of the pleasures of the world, We will live according to your laws.

JUNIE AVEC CHOEUR DES ROMAINS ET ROMAINES

JUNIE

JUNIE

Track 32 Gigue pour les Suivants de la Gloire

Track 32 Gigue for the Followers of Glory

Track 33 Récitatif, air, récitatif

Track 33 Recitative, air, recitative

Des honneurs si brillans, sont trop pour mon partage, Dieux dont j'éprouve la faveur, Dieux de mon peuple, achevez votre ouvrage, Changez ce temple auguste en celui du Bonheur.

Such splendid honours are too great for me to share. Gods, whose favour I enjoy, Gods of my people, finish now your work: Transform this august temple into one of happiness.

Tendre Vénus, à qui Rome est soumise, À nos exploits joins tes tendres appas ; Ordonne à Mars enchanté dans tes bras, Que pour Trajan sa faveur s'éternise.

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JUNIE, CHORUS OF ROMAN MEN AND WOMEN

TRAJAN

Tender Venus, to whom Rome submits, Associate your tender charms with our deeds; Order Mars, as he lies bewitched in your arms, To grant his lifelong favour to Trajan.

TRAJAN

Qu'il serve à jamais aux fêtes Des fortunés humains : Qu'il dure autant que les conquêtes, Et que la gloire des Romains.

May it ever be used for celebrations Given by fortunate mortals; May it last as long as the conquests And the glory of the Roman people.

LA GLOIRE

GLORY

Les dieux ne refusent rien Au héros qui leur ressemble : Volez, Plaisirs que sa vertu rassemble ; Le temple du Bonheur sera toujours le mien.

The Gods can refuse nothing To the hero who is their very image: Fly forth, Pleasures that his virtue has summoned here; The temple of Happiness will always be mine.

Le théâtre change et représente le temple du Bonheur : il est formé de pavillons d’une architecture légère, de péristyles, de jardins, de fontaines, etc. Ce lieu délicieux est rempli de Romains et de Romaines de tous états.

The scene is transformed into the temple of Happiness; we see lightly-constructed pavilions, peristyles, gardens, fountains, etc. This delightful place is filled with Roman men and women of every class.

Scène dernière. Le temple du Bonheur Une dame Romaine, une Bergère, un Romain, Trajan, La Gloire, Les Rois vaincus, Plautine, Junie, Fannie, Romains et Romaines

Final scene. The temple of Happiness A Roman woman, a shepherdess, a Roman man, Glory, Trajan, the conquered kings, Plautine, Junie, Fannie, Roman men and women

Track 34 Chœur

Track 34 Chorus

CHOEUR DES ROMAINS ET ROMAINES

CHORUS OF ROMAN MEN AND WOMEN

Track 35 Entrée des Seigneurs romains et des Dames romaines [premier quadrille] – Passacaille

Track 35 Entrance of the Roman Lords and Roman Ladies [first quadrille] – Passacaille

Track 36 Chœur avec coryphée

Track 36 Chorus with coryphée

Tout rang, tout sexe, tout âge, Doit aspirer au bonheur.

People of every class, sex and age Should aspire to happiness.

Chantons dans ce jour solennel, Et que la terre nous réponde : Un mortel, un seul mortel Fait le bonheur du monde.

UNE DAME ROMAINE

Let us sing on this solemn day, And may the earth give echo: A mortal, one mortal alone, Has created happiness for the world.

A ROMAN WOMAN

LE CHOEUR

CHORUS

UNE DAME ROMAINE

A ROMAN WOMAN

LE CHOEUR

CHORUS

Tout rang, tout sexe, tout âge, Doit aspirer au bonheur. Le printemps volage, L'été plein d'ardeur, L'automne plus sage, Raison, badinage, Retraite, grandeur, Tout rang, tout sexe, tout âge, Doit aspirer au bonheur. Tout rang, etc.

People of every class, sex and age Should aspire to happiness. Fleeting spring, Passionate summer, Wiser autumn, Reason, playfulness, Quietness, greatness, People of every class, sex and age Should aspire to happiness. People of every class, sex and age etc.

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Track 37 Entrée de Bergers et Bergères [deuxième quadrille]

Track 37 Entrance of Shepherds and Shepherdesses [second quadrille]

Track 38 Ariette

Track 38 Arietta

Ici les plus brillantes fleurs N'effacent point les violettes ; Les étendards et les houlettes Sont ornés des mêmes couleurs. Les chants de nos tendres pasteurs Se mêlent au bruit des trompettes ; L'Amour anime en ces retraites Tous les regards et tous les coeurs.

Here the most brilliant flowers Do not outshine the violets; Military standards and shepherds’ staves Are decorated with the same colours. The songs of our sweet shepherds Are blended with the sound of trumpets; Here in these quiet retreats Love enlivens every glance and heart.

UNE BERGÈRE

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A SHEPHERDESS

Track 39 Loure grave pour une entrée brillante [troisième quadrille]

Track 39 Loure grave for a brilliant entry [third quadrille]

Track 40 Air pour les Romains et Romaines Les Seigneurs et les Dames romaines se joignent en dansant, aux Bergers et aux Bergères.

Track 40 Air for the Roman men and women Roman men and women join the shepherds and shepherdesses in the dance.

Track 41 Chœur avec coryphée

Track 41 Chorus with coryphée

Dans un jour si beau, Il n'est point d'alarmes ; Mars est sans armes, L'Amour sans bandeau.

There is no alarm or upset On a day so fine: Mars is without his weapons And Cupid without his blindfold.

UN GUERRIER OU UN ROMAIN

A WARRIOR OR A ROMAN MAN

LE CHOEUR

CHORUS

UN GUERRIER

A WARRIOR

LE CHOEUR

CHORUS

Dans un jour si beau, etc. La Gloire et les Amours en ces lieux n'ont des ailes Que pour voler dans nos bras. La Gloire aux ennemis présentoit nos soldats, Et l'Amour les présente aux belles. Dans un jour si beau, etc.

There is no alarm or upset, etc. Glory and the Cupids here use their wings Simply to fly into our arms. Glory introduced our soldiers to the enemy, Whilst Cupid introduced them to fair women. There is no alarm or upset, etc.

Track 42 Entrée de la jeunesse [quatrième quadrille] – Premier et deuxième passepieds Trajan paroît avec Plautine, et tous les Romains se rangent autour de lui.

Track 42 Entrance of the youth [fourth quadrille] – First and second passepieds Trajan appears with Plautine; all the Romans gather round him.

Track 43 Chœur

Track 43 Chorus

Toi que la victoire Couronne en ce jour, Ta plus belle gloire Vient du tendre Amour.

You, whom Victory Crowns this day, Your finest glory Comes from sweet Love.

CHOEUR

CHORUS

Track 44 Récitatif et air

Track 44 Recitative and air

O peuples de héros qui m'aimez et que j'aime, Vous faites mes grandeurs ; Je veux régner sur vos coeurs,

O ye of heroic descent, who love me and are loved in return, You are the source of my greatness; I wish to reign over your hearts,

TRAJAN

TRAJAN

Montrant Plautine.

Indicates Plautine.

Sur tant d'appas, sur moi-même ; Montez au ciel, encens que je reçois, Retournez vers les dieux, hommages que j'attire : Dieux puissans, protégez ce formidable empire, Inspirez toujours tous ses rois.

Over such charms, and over myself. Let the incense burnt for me ascend to heaven; May the homage paid to me be returned to the gods. Mighty gods, protect this great Empire, Inspire its kings forever.

Track 45 Suite de la Passacaille

Track 45 Suite of the Passacaille

Track 46 Air pour les Romains et Romaines Toutes les différentes troupes recommencent leurs danses autour de Trajan et de Plautine, et terminent la fête par un ballet général.

Track 46 Air for the Roman men and women All resume their dances around Trajan and Plautine; the festivities end with dances in which all are involved.

FIN

END

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photo

Š frank wing

philharmonia baroque orchestra

& chorale

Founded in the Bay Area in 1981 and under the musical direction of Nicholas McGegan since 1985, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historically-informed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early Romantic periods, the Orchestra engages audiences through performance, tours, recordings, commissions, and education of the highest standard. | 64 |

The Orchestra performs an annual subscription season in four venues throughout the Bay Area as well as its alternative concert series, PBO SESSIONS. Each season welcomes eminent guest artists such as mezzo-soprano Susan Graham, countertenor David Daniels, mezzo-soprano Anne-Sofie von Otter, fortepianist Emanuel Ax, and maestro Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group and tours regularly to venues such as Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, and Weill Hall at the Green Music Center.

Among the most recorded orchestras in the world, PBO boasts a discography of over 40 recordings and launched its own label on which it has released ten recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les nuits d’été, and received a GRAMMY® nomination for a recording of Haydn symphonies. The Orchestra recently released its modern North American premiere of Alessandro Scarlatti’s La Gloria di Primavera in 2016. In March 2015, Philharmonia launched its Jews & Music Initiative—a continuing exploration into early Jewish music of 17th century Italy, the significance of Jewish biblical heroes and heroines in Handel’s oratorios and operas, and Jewish musicians throughout the centuries. PBO’s New Music for Old Instruments initiative was launched in 2017 as an effort to commission and perform new works written expressly for period instruments. Past PBO commissions include To Hell and Back, by Guggenheim Fellow Jake Heggie, The Judas Passion by Sally Beamish, and songs for Anne Sofie von Otter and Dominique Labelle by Pulitzer Prize-winning composer Caroline Shaw.

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nicholas m c gegan

Waverley Fund Music Director | Philharmonia Baroque Orchestra & Chorale

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Nicholas McGegan has been music director of California-based Philharmonia Baroque Orchestra & Chorale since 1985. He was Artistic Director of the Göttingen International Handel Festival for 20 years as well as Principal Guest Conductor of Scottish Opera and of the Swedish Court Theatre at Drottningholm. His catalogue of recordings now numbers over a hundred, including Handel operas and oratorios and major works by the Baroque, Classical, and early Romantic masters. The works of Handel dominate his discography with over 50 CDs, including Susanna, which was nominated for a GRAMMY® Award and also won a Gramophone Award, as did Ariodante. His Alessandro Scarlatti recordings include four volumes of Cantatas, as well as The Cecilian Vespers with Susanne Rydén, Dominique Labelle and Michael Slattery, the oratorio, La Giuditta, featuring Drew Minter and Katalin Gémes and La Gloria di Primavera with Diana Moore. Haydn is also well-represented, including a CD of the complete Violin Concertos with Capella Savaria, and with Philharmonia Baroque Orchestra, the GRAMMY®-nominated CD of Haydn Symphonies 88, 101 and 104, and the follow-up recording of Symphonies 57, 67, and 68. A frequent collaborator in concert and on disc was mezzo-soprano Lorraine Hunt Lieberson, who appears on several recordings of Handel, Bach and Berlioz. The rest of McGegan’s extensive catalogue carries both familiar and not so well known works from both J.S. and C.P.E. Bach, Beethoven, Brahms, Corelli, Kraus, Monteverdi, Mozart, Purcell, Rameau, Uccellini, Vivaldi, and others, on Harmonia Mundi USA, Virgin, Decca, RCA, Hungaroton, and other major labels.

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photo

Š rj muna

about philharmonia chorale

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Philharmonia Chorale has been critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text since its founding in 1995. Under the direction of Chorale Director and PBO Scholar-in-Residence Bruce Lamott since 1997, the Chorale was formed to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched that of Philharmonia Baroque Orchestra. Members of the Chorale are professional singers with distinguished solo and ensemble careers. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles. The Chorale’s repertoire has included oratorios by Handel and Bach, masses by Beethoven and Mozart. The singers have appeared on tour with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, and at New York City’s Lincoln Center and Carnegie Hall. The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Beethoven’s Symphony No. 9, and Scarlatti’s La Gloria di Primavera.

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photo

Š frank wing

bruce lamott

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Bruce Lamott has been Director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. In his 30-year tenure with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts. As the founding director of the Sacramento Symphony Chorus, he conducted annual choral concerts of major symphonic choral works and prepared the Symphony Chorus for their subscription seasons. Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford. His teaching career began on the musicology faculty at UC Davis, where he directed the Early Music Ensemble. He recently retired from San Francisco University High School, where he directed the choir and orchestra and taught Western Civilization for 36 years. As a professor of music history at the San Francisco Conservatory of Music since 2001, Dr. Lamott specializes in the vocal and instrumental repertoire of the 18th century. He teaches continuo-playing for the coach-accompanists in the San Francisco Opera’s Merola Opera Program and lectures for the Opera and Opera Guild’s education programs.

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photo

Š frank wing

marc labonnette

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A native of Orléans, France, baritone Marc Labonnette studied first in the conservatory of his native city, before graduating in Paris. He then studied at the Centre de musique baroque de Versailles and pursued his higher education at the Guildhall School of Music & Drama in London. Labonnette also obtained a master’s degree and received a scholarship to study at the Royal Scottish Academy of Music & Drama in Glasgow. He has participated in master classes with Ruben Lifschitz, Graham Johnson, Sir Thomas Allen, Malcolm Martineau, François Le Roux, Christa Ludwig, and Edda Moser. Labonnette is now a sought-after singer in a wide range of repertoire, from Baroque composers such as Lully, Purcell, Handel, and Rameau, to Fauré, Wagner, and Verdi. He performs with conductors including Hervé Niquet, Jean-Claude Malgoire, Marc Minkowski, and Susanna Mälkki, in venues including the Opéra de Paris, the Salle Pleyel, the Théâtre des Champs-Élysées, and the Théâtre de La Monnaie in Brussels, and with the opera companies of Montpellier, Bordeaux, and Toulouse. Labonnette is also devoted to contemporary music and has sung Gérard Pessson’s Pastorale at the Théâtre du Châtelet and, most recently, Luca Francesconi’s Trompe-la-Mort at the Opéra de Paris/Palais Garnier.

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photo

© dk

philippe - nicolas martin

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After graduating from the conservatories of Marseille and Aix-en-Provence, Philippe-Nicolas Martin was trained at the CNIPAL (formerly a postgraduate opera training center) in Marseille. In opera houses in France and Europe, he has sung such roles as Guglielmo (Così fan tutte), Papageno (The Magic Flute), Grégorio (Roméo et Juliette), Il Commissario Imperiale and Yamadori (Madama Butterfly), Marullo (Rigoletto), Sciarrone (Tosca), Belcore (L’Elisir d’Amore), Sganarelle (Le Médecin Malgré Lui), The Forester (The Cunning Little Vixen), Moralès (Carmen), Le Second Commissaire and Le Geôlier (Dialogues des Carmélites), The Clock and The Cat (L’Enfant et les Sortilèges), and Octave (Sauguet’s Les Caprices de Marianne). On the concert stage, he has sung Brahms’ Ein Deutsches Requiem, Fauré’s Requiem, Campra’s Requiem, Berlioz’s Messe Solennelle, Orff ’s Carmina Burana, and Beethoven’s Ninth Symphony, as well as several recitals. Most recently, Martin performed the roles of Der Heerrufer des Königs (Lohengrin), Taddeo (L’Italiana in Algeri), Don Fernando (Fidelio), and The Forester (The Cunning Little Vixen), and made his US debut with this production of Le Temple de la Gloire. He also takes part in concert versions of Proserpine by Saint-Saëns, Les Horaces by Salieri, and Naïs by Rameau.

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photo courtesy blg artist management

camille ortiz

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A native of Vega Baja, Puerto Rico, Camille Ortiz is equally at ease on the opera and concert stage, having performed both in the U.S. and in countries including Italy, Spain, Germany, Greece, Ghana, and Mexico. Ortiz graduated with a DMA in voice performance and pedagogy from the University of North-Texas, where she has been a teaching fellow under the tutelage of Molly Fillmore. Notable performances include Quiteria in Telemann’s Don Quichotte as well as the soprano soloist in Francisco Courcelle’s Ave Maris Stella with Orchestra of New Spain; La Musique in Charpentier’s Les arts florissants with the Dallas Bach Society; and Pamina in Die Zauberflöte and Belinda in Dido and Aeneas with the Fillmore Opera Studio. She also appeared as Night in Dallas Bach Society’s production of Purcell’s The Fairy Queen. In 2014 Ortiz made her Carnegie Hall debut in Dan Forrest’s Requiem for the Living; and appeared in John Rutter’s Mass of the Children under Rutter’s baton, as Gilda (cover) in Rigoletto for the Greek Opera Studio with the Festival of the Aegean in Syros, Greece, and as Musetta in La bohème; she also gave art-song concerts for the Berlin Opera Studio in Germany. She is the winner of the Gerda Lissner Foundation Encouragement Award (2008) and a finalist in both the Liederkranz competition (2009) and the Sergei and Olga Koussevitzky Young Artists Competition (2010). Le Temple de la Gloire marked her debut with PBO.

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photo

Š julianna emanski

gabrilelle philiponet

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Born in Albi France, Gabrielle Philiponet studied as a flutist before beginning to sing. As a member of the Opera Studio of the Chapelle Musicale Reine Elisabeth in Brussels, she was a prize winner at the prestigious Reine Elisabeth Competition. She has performed across Europe, from the opera houses of Marseille, Toulon, Reims, Montpellier, Nancy, Nice, Saint-Etienne, Marseille, Bordeaux, and Toulouse, to the Grand Théâtre de Luxembourg and the Théâtre Royal de la Monnaie in Brussels. She has performed Donna Anna (Don Giovanni) at the Angers Nantes Opera, Fiordiligi (Così fan tutte) at the Rouen Opera, and Violetta (La Traviata) at the New Orleans Opera (US debut). She also debuted as Mimi (La bohème) on tour in Spain. Additional roles include Le pays du sourire (Mi) at the Tours Opera and Faust (Marguerite) at the Saint-Etienne Opera. Her discography includes Scène de Chasse by René Koering (Universal Music), Sémiramis by Catel (Glossa), Un mari à la porte by Offenbach with the Liverpool Philharmonic Orchestra, works by Max d’Ollone, Dimitri by Victorin Joncières, and Adrien by Etienne-Nicolas Méhul. Philiponet currently studies voice with Daniel Ottevaere.

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photo

Š ribalta face studio

chantal santon - jeffery

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Often acclaimed as one of the most accomplished French sopranos of the moment, and praised for her “gloriously smooth, rich textured soprano” (International Record Review), Chantal Santon-Jeffery has embodied numerous roles in opera, from Mozart (Donna Anna, Fiordiligi, the Countess, Sandrina) to contemporary repertoire including Wagner (Senta in Der Fliegende Holländer), Britten ( The Governess in The Turn of the Screw), Campra (Tancrède), Gassman (Opera Seria), and Purcell (Dido and Aeneas, King Arthur). She has been invited to sing with such prestigious ensembles as Le Concert Spirituel, Les Talens Lyriques, Le Cercle de l’armonie, Les Siècles, Opera Fuoco, and the Brussels and Hong Kong philharmonic orchestras. Santon-Jeffery has performed in Théâtre des Champs-Elysées and Salle Pleyel in Paris, in the Royal Opera in Versailles, Avignon Opera, Liège Opera, Bozar in Brussels, and the Konzerthaus in Vienna. Other projects include productions at the Festival de Saint-Denis, Montpellier Opera, the Palace of Arts in Budapest, the Konzerthaus in Vienna, Théâtre des Champs-Elysées, Teatro La Fenice, Versailles Opera, and Bordeaux Opera. Additional projects include Sofia in Rossini’s Il Signor Bruschini at the Théâtre des Champs-Élysées (under Enrique Mazzola). In this venue, she also appeared as Frasquita in Bizet’s Carmen with the Orchestre national de France (Simone Young), alongside Marie-Nicole Lemieux and Michael Spyres.

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photo

© jeffery

artavazd sargsyan

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A graduate of the Conservatory of Lille, Artavazd Sargsyan has studied at the École Normale de Musique de Paris with Daniel Ottevaere, with support from SPEDIDAM. On stage, he has performed the roles of Gérald in Lakmé by Delibes, Nadir in The Pearl Fishers by Bizet, Camille De Coutançon in The Merry Widow, Grenicheux in Les cloches de Corneville by Planquette, Don Ramiro in La Cenerentola, Le Roi Ouf in L’Etoile by Chabrier, Vincent in Mireille by Gounod, and Ferrando in Così fan tutte with the Orchestra of Massay, under the direction of Dominique Ruits. As a member of the La Péniche Opera troupe, he sang in Gluck’s L’ivrogne corrigé with Barokopera Amsterdam. During the summer of 2011, he was Nemorino in L’Elisir d’Amore at the Belle-Île-en-Mer festival and Arthur in Lucia de Lammermoor at the Morlaix Festival. Other roles have included the Witch (Hänsel und Gretel) in Paris and Fontainebleau, Ferrando (Così fan tutte), Henry in Richard Strauss’ Die schweigsame Frau, and Belfiore (Il viaggio a Reims) at Wildbad. Sargsyan sings regularly under the direction of Jean-Claude Casadesus, Bruno Membrey, and Philip Walsh, and frequently performs religious works such as Mozart’s Requiem, Beethoven’s Mass in C Major, Bach’s Magnificat, and Schubert’s Stabat Mater. He is a member of the opera studio of Opéra Bastille in Paris and appears as a soloist in oratorio.

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photo courtesy brussels international artists management

aaron sheehan

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A superb interpreter of the works of Bach, Handel, and Mozart, Aaron Sheehan sang the title role in the Boston Early Music Festival’s (BEMF) Grammy Award-winning recording of Charpentier’s La déscente d’Orphée aux enfers. Other roles with BEMF have included L’Amour and Apollon in Psyché, the title roles in Actéon and Orfeo, Eurimaco in Il ritorno d’Ulisse in patria, Acis in Acis and Galatea, and Liberto/Soldato in L’incoro nazione di Poppea. With Boston Baroque he sang Telemaco in Il ritorno d’Ulisse in patria, Emilio in Partenope, and Damon and Valere in Les Indes Gallantes. He has performed in concert at Tanglewood, the Concertgebouw, the Metropolitan Museum of Art, and Théâtre des Champs-Élysées; at the early music festivals of San Francisco, Vancouver, Washington (DC), Carmel, and Regensburg; and with Orpheus Chamber Orchestra, the Handel and Haydn Society, Tafelmusik, the Seattle and Charlotte symphony orchestras, and Pacific Music Works. Notable past performances include Bach’s Mass in B minor (Calgary Philharmonic and Boston Baroque), Gluck’s Orphée (title role, Pacific Music Works), and performances of Handel’s Messiah, Bach’s St John and St Matthew Passions, and Monteverdi’s Vespers. Staged performances include Orfeo in Le Carnaval de Venise (Campra, BEMF) and Eumete in Il ritorno d’Ulisse in patria (Opera Atelier Toronto). Sheehan’s many recordings include four Grammy nominated operas: Lully’s Thésée and Psyché, Cléarte in Steffani’s Niobe, and Telemaco in Monteverdi’s Il ritorno d’Ulisse in patria.

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photo

Š kevin day

tonia d ' amelio

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Described as “extravagantly charismatic” by the San Francisco Chronicle, and praised by San Francisco Classical Voice for her “beautiful phrasing” and “striking tone,” soprano Tonia d’Amelio has established a reputation as one of the most sought-after solo and ensemble singers in the San Francisco Bay Area. She sang the role of Celia in the world premiere and East Coast revival of Middlemarch in Spring and made several debut performances: as a soloist with Philharmonia Baroque Orchestra & Chorale, as Drusilla in Monteverdi’s L’Incoronazione di Poppea with West Edge Opera, and in recital with the Los Angeles Baroque Players. Other career highlights include liturgical performances of Monteverdi’s Vespers of 1610, Mozart’s Requiem, and J.S. Bach’s St. John Passion, and concert performances of Mendelssohn’s Lobgesang, Mozart’s Great Mass in C Minor, J.S. Bach’s Mass in B Minor, and Handel’s Ode for the Birthday of Queen Anne. She has participated as a guest artist at the William Byrd Festival in Portland, Oregon, and at the Edington Festival of Music within the Liturgy in Edington, Wiltshire, UK.

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photo

Š bryan and vita hewitt photography

PHILHARMONIA BAROQUE ORCHESTRA The Players and Their Instruments VIOLIN Elizabeth Blumenstock, concertmaster

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Egon & Joan von Kaschnitz Concertmaster Chair

Jolianne von Einem

Rowland Ross, Guilford, England, 1979; after A. Stradivari

Lisa Grodin

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

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Katherine Kyme

Carlo Antonio Testore, Milan, Italy, 1720

Tyler Lewis

Anonymous, Italy, c. 1800

Carla Moore

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski

David Tecchler, Rome, Italy, 1733

Linda Quan

Jacob Stainer, Absam, Tyrol, 1655

Sandra Schwarz

Rowland Ross, Portsmouth, England, 1987; after A. Stradivari

Noah Strick

Celia Bridges, Cologne, Germany, 1988

Lisa Weiss â€

Anonymous, London, England; after Testore

Robert Howard

Anonymous, Venice, 1750

Farley Pearce

Antonio Garcias Rosius, Mendocino, California, 1988; after A. Stradivari

Alicia Yang

William Skeen

VIOLA David Daniel Bowes

Tanya Tomkins

Robert Brewer Young, 2011

Richard Duke, London, c. 1780

Maria Ionia Caswell

Anonymous, Mittenwald, Germany, c. 1800

Anthony Martin *

Aegidius Kloz, Mittenwald, Germany, 1790

Ellie Nishi

Anonymous, Germany, 18th century

VIOLONCELLO Phoebe Carrai bc

Anonymous, Italy, c. 1690

Paul Hale

Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Zheng Cao Memorial Cello Chair

Anonymous, Northern Italy, c. 1680 Osher Cello Chair Endowment Lockley Hill, London, England, 1798

DOUBLE BASS Anthony Manzo

Tom Wolf, 2007; after Carlo Ferdinando Landolfi, Tanegia, 1766

Kristin Zoernig *

Joseph Wrent, Rotterdam, Holland, 1648

FLUTE Stephen Schultz *

Martin Wenner, Singen, Germany, 2012; after Carlo Palanca, Turin, Italy, c. 1750

Janet See

Martin Wenner, Singen, Germany, 2012; after Carlo Palanca, Turin, Italy, c. 1740

Mindy Rosenfeld

Martin Wenner, Singen, Germany, 2010; after Carlo Palanca, Turin, Italy, c. 1750

PICCOLO Janet See

Roderick Cameron, Mendocino, California, 1995; after original models

Mindy Rosenfeld

Roderick Cameron, Mendocino, California, 2007; after Robert Claire copy of G. A. Rottenburgh, Brussels, Belgium, c. 1740

OBOE Marc Schachman *

H. A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Gonzalo Ruiz

Joel Robinson, New York, 1990; after Saxon models, c. 1720

David Dickey

Randy Cook, Basel, Switzerland, 2008; after Jonathan Bradbury, London, England, c. 1720

BASSOON Danny Bond *

Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760

Andrew Schwartz

Guntram Wolf, Kronach, Germany, 2008

Katherine van Orden

Peter de Kiningh, Hall, Holland, 1978, after Prudent, Paris, France, c. 1760

HORN R. J. Kelley *

Richard Seraphinoff, Bloomington, Indiana, 2006; after J. C. Hofmaster, London, England, c. 1740

Paul Avril

Richard Seraphinoff, Bloomington, Indiana, 1997; after J. W. Haas, NĂźrnberg, c. 1720

TRUMPET John Thiessen *

Rainer Egger, Basel, Switzerland, 2003; after J. L. Ehe, Nuremburg, Germany, 1746

Fred Holmgren

Fred Holmgren, Massachusetts, 2005; after J. L. Ehe, Nuremburg, Germany, 1746

TIMPANI Allen Biggs

Pete Woods, Aldershot, England, 1996; after 18th century continental, hand tuned

MUSETTE Chris Layer

Rob Gandara, chanter; after drawings by Denis Diderot, c. 1767

HARPSICHORD Jory Vinikour bc

John Phillips, Berkeley, California, 1990; Willard Martin, Bethlehem, Pennsylvania; in the Saxon style [Generously lent by MusicSources]

Hanneke van Proosdij bc

John Phillips, Berkeley, California, 1986; after Delin [Generously lent by Nicholas McGegan]

* Principal †Principal 2nd Violin

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Philharmonia Chorale

Philharmonia Baroque Orchestra Community Fund for Choral Music Bruce Lamott, director Robert & Laura Cory Chorale Director Chair

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SOPRANO

TENOR

Angela Arnold

Kevin Gibbs

Jennifer Ashworth

Corey Head

Tonia d’Amelio

Jimmy Kansau

Barbara Rowland

David Kurtenbach

Helene Zindarsian

Mark Mueller

Angelique Zuluaga

Jonathan Smucker

ALTO

BASS

Natasha Hoehn

Paul Boyce

Katherine McKee

Jeffrey Fields

Laurel Cameron Porter

Sepp Hammer

Casie Walker

Tom Hart

Heidi Waterman

James Monios

Celeste Winant

Chad Runyon

Philharmonia Baroque Orchestra & Chorale is grateful for major support from:

David Low and Dominique Lahaussois The Waverley Fund Mark Perry and Melanie PeĂąa The Bernard Osher Foundation Rebecca Moyle and Tyler Lange PBO gratefully acknowledges its production partners:

Centre de musique baroque de Versailles Cal Performances New York Baroque Dance Company

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photo

Š frank wing

JEAN-PHILIPPE RAMEAU

Le Temple de la Gloire (The Temple of Glory)

Opera in three acts with a prologue Libretto by Voltaire Original 1745 Version

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE nicholas mcgegan, music director and conductor bruce lamott, chorale director marc labonnette,

baritone philippe-nicolas martin, baritone camille ortiz, soprano gabrielle philiponet, soprano chantal santon-jeffery, soprano artavazd sargsyan, haute-contre aaron sheehan, haute-contre tonia d’amelio, soprano Recorded live at Cal Performances, Zellerbach Hall, U.C. Berkeley, CA | April 28, 29 & 30, 2017. Š and 2018 Philharmonia Baroque Productions This recording is made possible with generous support from the Waverley Fund. www.philharmonia.org