Gods and Mortals Program November 2023

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MUSIC OF THE FRENCH BAROQUE

Patrick Dupre Quigley, conductor

November 2-5, 2023

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Conductor’s Note Seraphic Fire’s November program is focused on two French composers, JeanPhilippe Rameau and Jean-Joseph de Mondonville, whose ascendency and recognition as two of the leading composers of the day roughly tracks with the 58-year reign of Louis XV of France. The two works from the 1730s on our program tonight, Mondonville’s grand motet Dominus regnavit (1734) and Rameau’s opera Castor et Pollux (1737) exhibit the harmonic, rhythmic, and textural vitality that came to define France’s 18th-century musical output.

The grand motet was a uniquely French form that was primarily associated with the Chapelle royale at Versailles. A multi-movement work on a sacred text set for large forces (soloists, small ensembles, chorus, and orchestra), the grand motet was an ecclesial aural spectacle more closely related to the conventions of opera than that of motets by Palestrina. In Dominus regnavit, images of divine power and majesty reign supreme. Note the regal dotted rhythms of the first movement and the powerful illustration of rising flood waters in the fourth movement.

Rameau’s Castor et Pollux, upon its revival in 1754, would be recognized as, perhaps, his finest work. In 1737, however, Rameau was new to the operatic form (Castor was only his third opera), and his revolutions in harmony and drama were seen as a challenging affront to the musical conventions of Jean-Baptiste Lully, the father of French opera under Louis XIV. In Castor et Pollux, the divine Pollux, in order to rescue his mortal twin brother Castor from the underworld, agrees to exchange his immortality with his brother so that Castor might be reunited with his love Télaïre (for whom Pollux pines, but his feelings are not returned). In the original 1737 version, the opera begins with a thematically unrelated Prologue celebrating the end of the War of Polish Succession and, by proxy, France’s Polish-born queen, Marie Leczinska. A delightful mix of marches, airs, and dances, the occasion-specific Prologue was removed from the 1754 revival, as the subject matter was no longer timely.

Today we have assembled an all-star American early music cast to perform this seldom-heard musical gem, along with scenes from the main body of the opera.

We hope you enjoy this concert.

Patrick Dupre Quigley Artistic Director

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Castor et Pollux a masterful example of orchestration and harmony French media proclaimed Rameau ‘the god of harmony’

by Beth Braswell a new Act One created to set the story’s background and introduce the love triangle between the twin mythological brothers, which is the driver of the plot.

In its new form, the public was united in agreement that the work was a piece of genius. Later, the great French Romantic composer and conductor Louis-Hector Berlioz would contend that the aria in Act One, Tristes apprêts, was “the sublimest conceptions of dramatic music.”

Nearing the ripe age of 50, Jean-Philippe Rameau, who had served as an organist in provincial cathedrals for most of his life, began writing operas. Rameau’s in-depth understanding and adroit application of harmony characterized his work and shook the denizens of Paris, creating a near insurrection. While many recognized his prowess and visionary acuity, others dismissed his work as ‘a lot of noise.’

Therefore, it is not surprising that Rameau’s third opera, Castor et Pollux, was met with animosity from conservative critics when it debuted in 1737. His work was revolutionary for the time as he tested the limits of tragédie lyrique, exploring various subject matters, displaying deep emotions, and utilizing dissonant harmonies.

Outside of France, there are few performances of Castor et Pollux, and the majority that are presented reflect the 1754 version. Seraphic Fire will enable their audience to experience the rarelyperformed original arrangement from 1737, which many consider to be the more daring of the two compositions.

Seraphic Fire co-founder and artistic director, Patrick Dupre Quigley describes the extensive planning process: “We’re creating our own parts and score for this performance. Deep appreciation goes to our conducting fellow from the University of Miami, P. Wesley Roy, who researched the earliest public editions of this work to create this performance edition for Seraphic Fire. This is a five-act opera

In the early 1750s, Parisians were debating and comparing the merits of French opera versus Italian opera; specifically, a new Italian touring company that was the current rage. Rameau revised and unveiled the new Castor et Pollux in 1754, adding three new Italianate ariettes.

This 1754 version is also much shorter, eliminating the prologue and featuring

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instead of war, and they sing about the glory. The chorus is prominent in this opera and represents a broad spectrum of voices: from demons to mourners to the good spirits of the Elysian Fields.

It’s illustrative music that is both homophonic and contrapuntal. His work makes significant technical demands on the performers. Our audience will find that the sound of French music is very different from Italian or English.

with a prologue that we are cutting 40 minutes.”

Quigley went on to describe what the audience will experience: “We are performing the prologue from the early version; it’s bright and cheery, although it’s unrelated to the story. Instead, it celebrates the end of the War of the Polish Succession, in which France had been involved. Venus, Cupid, and Minerva are able to convince Mars to adopt peace

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GODS and MORTALS Thu, Nov 2, 2023 | 7:30 pm | St. Sophia Greek Orthodox, Miami Fri, Nov 3, 2023 | 8:00 pm | Church of the Little Flower, Coral Gables Sat, Nov 4, 2023 | 7:30 pm | All Saints Episcopal, Ft. Lauderdale Sun, Nov 5, 2023 | 4:00 pm | Kravis Center, West Palm Beach Dominus regnavit I. Dominus regnavit II.

Jean-Joseph de Mondonville (1711-1782)

Etenim firmavit

III. Parata sedes IV. Elevaverunt flumina V.

Testimonia tua

VI. Gloria Patri

Castor et Pollux (1737) Prologue

Jean-Philippe Rameau (1683–1764)*

INTERMISSION Act 1, Scene 1 Act 1, Scene 3 Act 1, Scene 4 Act 3, Scene 4 Act 4, Scene 1 Act 4, Scene 2 Act 4, Scene 3 Act 5, Scene 7 *Performing edition of Castor et Pollux edited by P. Wesley Roy.

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Dominus Regnavit

Jean-Joseph de Mondonville (1711-1782) Trans. Simon Allatt Dominus regnavit, decorem indutus est: Indutus est Dominus fortitudinem, et præcinxit se.

The Lord has reigned, He is robed in majesty.

The Lord is clothed in strength, and has girded himself.

Etenim firmavit orbem terræ, qui non commovebitur.

Indeed, He stands firm and cannot be shaken.

Parata sedes tua ex tunc; a sæculo tu es.

His throne is established of old; He is everlasting.

Elevaverunt flumina, Domine, elevaverunt flumina vocem suam; elevaverunt flumina fluctus suos, a vocibus aquarum multarum.

The floods have risen up, O Lord.

The floods have lifted their voice, The floods have lifted their waves, With the noise of mighty waters;

Mirabiles elationes maris; mirabilis in altis Dominus.

The rising of the waters is mighty, but the Lord of heaven is mightier.

Testimonia tua credibilia facta sunt nimis; Your testimonies, O Lord, stand firm: Domum tuam, decet sanctitudo, Domine, in holiness adorns Your house for eternity. longitudinem dierum.

Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper, et in sæcula sæculorum, amen.

Glory be to the Father and to the Son and to the Holy Ghost, As it was in the beginning, is now, and will be forever. Amen.

Castor et Pollux (1737 ed.)

Jean-Phillipe Rameau (1683–1764) Text by Pierre-Joseph-Justin Bernard Trans. Derek Yeld OUVERTURE

OVERTURE

SCÈNE PREMIÈRE MINERVE, L’AMOUR, CHŒUR DES ARTS, CHŒUR DES PLAISIRS

SCENE 1 MINERVA, LOVE, CHORUS OF THE ARTS, CHORUS OF THE PLEASURES

CHŒUR DES ARTS et DES PLAISIRS Vénus, ô Vénus, c’est à toi D’enchaîner le Dieu de la guerre;

CHORUS OF THE ARTS AND THE PLEASURES Venus, O Venus, it is for you To subdue the god of war:

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Il rend le calme à la terre Quand il repose sous ta loi.

He will bring peace to the world When he reposes under your rule.

LES PLAISIRS Dieu des Plaisirs,

THE PLEASURES God of Pleasures.

LES ARTS Divinité des Arts,

THE ARTS Divinity of the Arts.

ENSEMBLE Nous languissons à vos regards.

TOGETHER We yearn for your sight.

MINERVE, à L’AMOUR Implore, Amour, le secours de ta Mère; On détruit mes Autels, on t’insulte à Cythère; Lance tes traits vainqueurs sur un Dieu redouté, C’est à Vénus d’écarter nos alarmes: Qu’elle éprouve aujourd’hui le pouvoir de ces charmes Qui lui donnent sur moi le prix de la beauté.

MINERVA to LOVE Implore, Love, the assistance of your Mother; They destroy my altars, they insult you in Cythera; Launch your conquering darts at a fearful god, It is for Venus to dispel our alarms: Let her today put her charms to the proof, She whose beauty surpasses my powers.

L’AMOUR Toi, par qui l’Univers reconnaît mon empire, Qui soumets les mortels, qui règnes sur les Dieux; Toi, qui sortis des mers pour embellir les Cieux, Reine de tout ce qui respire, Si j’ai fait tes plaisirs, si j’ai mis dans tes yeux Ce charme éternel qui m’attire, Unis dans tes regards tous les feux que j’inspire; Rends le tyran du monde, esclave dans ma Cour; Tout terrible qu’il est, qu’il aime, qu’il soupire, Qu’il adore Vénus, et respecte l’Amour.

LOVE You, through whom the universe acknowledges my rule, Who subjects mortals, who reigns o’er the gods; You who rose from the sea to embellish the heavens, Queen of all that breathes, If I have pleased you, if in your eyes I have placed That eternal charm that lures me, Then gather in your eyes all the fires that I inspire; Make the tyrant of the world a slave in my Court; Terrible as he is, let him love, let him sigh, Let him worship Venus and venerate Love.

MINERVE Vénus, que ta gloire réponde

MINERVA Venus, let your glory answer

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A l’espoir qui nous a flattés: Triomphe, c’est à la Beauté De faire le bonheur du monde.

The hope that has beguiled us: Triumph: it is for Beauty To bring happiness to the world.

MINERVE, L’AMOUR, ET LE CHŒUR Vénus! ô Vénus c’est à toi D’enchaîner le Dieu de la guerre: Il rend le calme à la terre, Quand il repose sous ta loi.

MINERVA, LOVE AND THE CHORUS Venus, O Venus, it is for you To subdue the god of war: He will bring peace to the world When he reposes under your rule.

L’AMOUR Ranimez-vous, Plaisirs, Vénus descend des Cieux, La paix va descendre avec elle.

LOVE Revive yourselves, Pleasures, Venus descends from the heavens, Peace will descend with her.

LES PLAISIRS ET LES ARTS Ranimons-nous, Vénus descend des Cieux, La paix va descendre avec elle.

THE PLEASURES AND THE ARTS Let us revive ourselves, Venus descends from the heavens, Peace will descend with her.

L’AMOUR La nature se renouvelle, Un pur éclat se répand dans ces lieux; Ces sons mélodieux Font taire enfin la trompette rebelle: Vénus descend des Cieux.

LOVE Nature is renewed, A pure light shines upon this haunt; These melodious strains Will finally silence the rebellious trumpet: Venus descends from the heavens.

SCÈNE II MINERVE, L’AMOUR, VÉNUS, MARS; Suìte de MINERVE, Suìte de L’AMOUR, Suìte de VÉNUS

SCENE 2 MINERVA, LOVE, VENUS, MARS, attendants of MINERVA, attendants of LOVE, attendants of VENUS

MARS, à VÉNUS Je vous revois, belle Déesse, La terre n’a plus d’ennemis; Ce qui charme mon cœur doit calmer mes esprits; Le trait dont votre fils me blesse, A fait tomber tous ceux qui partaient de mes mains; Pour l’empire du cœur que votre amour me laisse, Je cède au Dieu de la tendresse, L’empire des humains.

MARS to VENUS Once more I behold you, fair goddess, Earth has no more enemies; What charms my heart must calm my spirits; The arrow with which your son has wounded me Has caused everyone to fall from my hands; For the heart’s empire that your love grants me, I surrender to the god of gentleness The empire of man.

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VÉNUS, MARS ET L’AMOUR Ne formons que des jeux, ne suivons que les ris.

VENUS, MARS AND LOVE Let us now take our places for revelry, give ourselves to mirth.

L’AMOUR Cent peuples ont assez appris Que Mars enchaîne la victoire.

LOVE A hundred peoples have learnt enough Whom Mars has victoriously enchained.

ENSEMBLE (avec le CHŒUR) Dans les bras de l’Amour jouissez de la gloire De les avoir soumis: Ne formons que des jeux, ne suivons que les ris.

TOGETHER (with the CHOIR) In the arms of Love rejoice in the fame Of having subjected them: Let us now take our places for revelry, give ourselves to mirth.

L’AMOUR Renais Plus brillante, Paix charmante, Sois constante, Tu fais mon attente; Les Amours font tes beaux jours.

O paix!

Règne à jamais; Tu me rends d’heureux loisirs, Et je te rends les plaisirs.

Renais, etc.

LOVE Revive More brilliantly, Delightful peace, Be constant, You fulfill my desires; Loves shall fill you with joy.

O peace!

Rule for ever: You fill me with happiness, And I shall fill you with pleasures.

Revive, etc.

L’AMOUR, alternativement avec le CHŒUR Naissez, dons de Flore, La paix doit vous ranimer; Naissez, c’est le temps d’éclore; Pour nous, c’est le temps d’aimer.

Jeune zéphir, Vole et suis le plaisir, Verse les fleurs; Les cœurs vont en faire à tous moments Les nœuds les plus charmants: Prêtons nos ailes [Prêtez vos ailes] aux belles, Pour rendre heureux plus d’amants.

LOVE, alternating with the CHORUS Blossom, you gifts of Flora, Peace will give you new life; Blossom, it is time to break forth; And for us it is time to love.

Young zephyr, Blow and follow pleasure, Shed the flowers; Hearts will make of them The most charming wreaths: Lend your wings to the fair ones, To make more lovers happy.

MINERVE D’un spectacle nouveau que la pompe s’apprête, Minerve à l’Amour va s’unir;

MINERVA Let pomp prepare itself for a new celebration, Minerva will unite herself with Love;

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The Arts will prepare the festivities, Love will adorn it.

Les Arts vont préparer la fête, L’Amour va l’embellir.

INTERMISSION ACTE PREMIER

ACT ONE

SCÈNE PREMIÈRE TROUPE DE SPARTIATES

SCENE 1 A TROOP OF SPARTANS

CHŒUR Que tout gémisse, Que tout s’unisse: Préparons, élevons d’éternels monuments Au plus malheureux des amants: Que jamais notre amour ni son nom ne périsse; Que tout s’unisse, Que tout gémisse.

CHORUS Let all lament, Let all unite: Let us prepare to raise eternal monuments To the unhappiest of lovers: Never perish our love nor his name: Let all unite, Let all lament.

SCÈNE III

SCENE 3

TÉLAÏRE Tristes apprêts, pâles flambeaux, Jour plus affreux que les ténèbres, Astres lugubres des tombeaux, Non, je ne verrai plus que vos clartés funèbres.

Toi, qui vois mon cœur éperdu, Père du jour! ô Soleil! ô mon Père!

Je ne veux plus d’un bien que Castor a perdu, Et je renonce à ta lumière.

Tristes apprêts, etc.

TELAIRA Mournful solemnities, pale torches, Day more fearful than darkness, Lugubrious stars of tombs, No, I shall see no more than your funereal lights.

You who see my distraught heart, Father of the day! O sun! O my father!

I no longer want any gift but what Castor has lost, And I renounce your light.

Mournful solemnities, etc.

SCÈNE IV POLLUX, TÉLAÏRE, Troupes de SPARTIATES, D’ATHLÈTES, et de Combattants

SCENE 4 POLLUX, TELAIRA, troops of SPARTANS, ATHLETES and Combattants

TÉLAÏRE Mais, d’où partent ces cris nouveaux?

TELAIRA But where do these new shouts come from?

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CHŒURS D’ATHLÈTES Triomphe, vengeance!

CHORUS OF ATHLETES Triumph, vengeance!

TÉLAÏRE C’est lui, c’est Pollux qui s’avance.

TELAIRA It is he, it is Pollux who is coming.

POLLUX, au Peuple Votre amour pour mon frère est assez signalé; Non, ce n’est plus des pleurs que ses mânes demandent, C’est du sang qu’ils attendent, Et ce sang fatal a coulé; Lincée est immolé.

POLLUX to the people Your love for my brother has been well proven; No, it is no longer tears that his shades demand, It is blood they expect, And this fateful blood has flown: Lynceus has been slain.

CHŒUR Que l’Enfer applaudisse A ce nouveau revers!

Qu’une ombre plaintive en jouisse, Le cri de la vengeance est le chant des Enfers.

CHORUS Let Hell applaud This new turn!

Let a mournful shade rejoice in it; The cry of revenge is the song of Hell.

ACTE TROISIÈME

ACT THREE

SCÈNE IV POLLUX, TÉLAÏRE, PHÉBÉ, DÉMONS

SCENE 4 POLLUX, TELAIRA, PHOEBE, DEMONS

PHÉBÉ Sortez, sortez d’esclavage, Combattez, Démons furieux.

PHOEBE Come, come out of slavery, Fight, you fearful demons.

POLLUX, ET TÉLAÏRE Tombez, rentrez dans l’esclavage, Arrêtez, Démons furieux.

POLLUX AND TELAIRA Fall, return to slavery, Stop, you fearful demons.

PHÉBÉ Fermez-lui cet affreux passage.

POLLUX Livrez-moi cet affreux passage.

PHOEBE Bar this horrible passage to him.

POLLUX Free this horrible passage to me.

TÉLAÏRE Livrez-lui cet affreux passage.

—-----------------------

TELAIRA Free this horrible passage to him.

—------------------------

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PHOEBE And fear the son of the most mighty of the gods.

PHÉBÉ Et redoutez le Fils du plus puissant des Dieux.

POLLUX, TÉLAÏRE Et respectez le Fils du plus puissant des Dieux.

—---------------------CHŒUR des DÉMONS Sortons d’esclavage, Fermons-lui cet affreux passage, etc.

POLLUX, TELAIRA And respect the son of the most powerful of the gods.

—-----------------------CHORUS OF DEMONS Let us come out of slavery, Let us bar this horrible passage to him, etc.

POLLUX, TÉLAÏRE Tombez, rentrez, livrez-lui/moi cet affreux passage, etc.

POLLUX, TELAIRA Fall, return/free this horrible passage to him/me, etc.

PHÉBÉ Sortez d’esclavage, fermez-lui cet affreux passage, etc.

PHOEBE Come out of slavery, bar this horrible passage to him, etc.

CHŒUR DES DÉMONS Brisons tous nos fers, Ebranlons la terre [Embrasons les airs] Qu’aux feux du Tonnerre Le feux des Enfers Déclare la guerre.

Jupiter lui-même Doit être soumis Au pouvoir suprême Des Enfers unis; Ce Dieu téméraire Veut-il pour son fils Détrôner son frère?

CHORUS of the DEMONS Let us break our fetters, Let us shake the earth (Let us set fire to the skies) On the fires of thunder, Let the fires of Hell Declare war.

Jupiter himself Shall be subjected To the supreme might Of Hell united: Will this rash god Dethrone his brother For his son?

ACTE QUATRIÈME

ACT FOUR

SCÈNE PREMIÈRE CASTOR Séjour de l’éternelle paix, Ne calmerez-vous point mon âme impatiente?

SCENE 1 CASTOR Abode of eternal peace, Will you not soothe my impatient soul?

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SCÈNE II CHŒUR des OMBRES HEUREUSES Qu’il soit heureux comme nous; Des biens que nous goûtons sur cet heureux rivage, Nos cœurs ne sont point jaloux; Il les voit, qu’il les partage, Qu’il soit heureux comme nous.

SCENE 2 CHORUS OF HAPPY SPIRITS May he be as happy as we are; The joys we savour in these delectable fields Arouse no jealousy in our hearts; He sees them, let him share them, May he be as happy as we are.

SCÈNE III CHŒUR DES OMBRES Revenez, revenez sur les rivages sombres, Habitez tous deux parmi nous; Et vous rendrez les Dieux jaloux De la félicité des Ombres.

SCENE 3 CHORUS OF THE SPIRITS Return, return from the dark shores, Both of you live among us; And render the gods envious Of the felicity of the spirits.

ACTE CINQUIÈME

ACT FIVE

SCÈNE VII ET DERNIÈRE LES ASTRES, LES PLANÈTES, LES SATELLITES, LES DIEUX, et les Acteurs de la Scène précédente

SCENE 7 THE STARS, THE PLANETS, THE SATELLITES, THE GODS, and the actors of the preceding scene

CHŒURS Que les Cieux, que la Terre et l’Onde Brillent de mille feux divers.

C’est l’ordre du Maître du monde, C’est la fête de l’Univers.

CHORUS Let the heavens, let the earth and the sea Sparkle with a thousand different fires.

It is the command of the master of the world, It is the festival of the universe.

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Used with permission from harmonia mundi

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Administration Executive

Michael M. Kaiser, Interim Executive Director Matthew Kacergis, Interim Managing Director

Artistic

Patrick Dupre Quigley, Artistic Director Andrea Leon-Moreno, Artistic Operations Manager Alexis Aimé, Artist Contractor

Finance & Operations

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Suzanne Floyd, Director of Education Alexandra Colaizzi, Education Coordinator Cameron Elliott, Choral Education Liaison

Board of Directors Diane Ashley, Chair

Joanne N. Schulte, Founding Chair Robert “Bob” Brinker, Treasurer Daniel Perron, Vice Chair Karen S. Fuller Veloz, Vice Chair Matthew Anderson Misty Bermudez Nirupa Chaudhari David Foerster Alaina Fotiu-Wojtowicz Marilyn Horowitz Megan Kelly Ana Marmol John Martin Margaret “Peggy” Rolando Mel VanderBrug Edmundo Pérez-de Cobos, Director Emeritus Michael M. Kaiser, Interim Executive Director, ex-officio Matthew Kacergis, Interim Managing Director, ex-officio Patrick Dupre Quigley, Artistic Director, ex-officio Nola Richardson, Artist Representative, ex-officio John Buffett, Artist Representative, ex-officio

18

CELEBRATING

40 YEARS OF THE ARTS

Watch anytime with PBS Passport

MI O C

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UP

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Enjoy angelic carols by candlelight James K. Bass, conductor

Dec 4-17, 2023

A Seraphic Fire Christmas 19

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Seraphic Fire recognizes its season sponsors, national sponsors, and institutional partners.

FOUNDER’S CIRCLE SPONSORS Anonymous

NATIONAL SPONSORS Robert R. Brinker & Nancy S. Fleischman Nirupa Chaudhari & Steve Roper Martha R. Davis & Alix Ritchie Meredyth Anne Dasburg Foundation Jane Hurt Mel VanderBrug

Seraphic Fire programming is made possible thanks to our institutional sponsors.

Seraphic Fire is sponsored by the Miami-Dade County Tourist Development Council, Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; John S. and James L. Knight Foundation; the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council; the City of Coral Gables; Coral Gables Community Foundation; The Dunspaugh-Dalton Foundation; Funding Arts Network; Funding Arts Broward; The Kirk Foundation, Peacock Foundation, Inc; Quest Foundation; and Citizens Interested in Arts; the State of Florida, Department of State, Division of Arts and Culture, and the Florida Council on Arts and Culture, and the National Endowment for the Arts.

Seraphic Fire is funded by The Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County. Programs in Broward County are made possible with the support of the Broward County Cultural Division.