Martin Pearlman

Claudio Monteverdi

Il Ritorno dUlisse
in patria
Fernando Guimares as Ulisse
Jennifer Rivera as Penelope
New performing version by Martin Pearlman

Claudio Monteverdi (15671643)

Il Ritorno dUlisse in patria

Opera in a prologue and three acts Libretto by Giacomo Badoaro (16021654)
A new performing version by Martin Pearlman

Disc 1
q Prologue: LHumana Fragilit, Il Tempo, La Fortuna, Amore. ........................................ 8:41
Act I
w Scene 1: Penelope, Ericlea. Di misera Regina ............................................................ 10:03
e Scene 2: Melanto, Eurimaco. Duri e penosi ............................................................... 10:09
Scene 3: Missing in score
r Scene 4: Sinfonia (the sleeping Ulisse carried on shore) ............................................... 0:14
t Scene 5: Nettuno, Giove. Superbo lhuom ................................................................ 6:08
y Scene 6: Coro di Feaci, Nettuno. In questo basso mondo .......................................... 2:02
u Scene 7: Ulisse. Dormo ancora .................................................................................... 4:38
i Scene 8: Minerva, Ulisse. Cara e lieta giovent .......................................................... 11:48
o Scene 9: Minerva, Ulisse. Tu, dAretusa al fonte .......................................................... 2:09
a Scene 10: Penelope, Melanto. Donata un giorno ......................................................... 8:33
s Scene 11: Eumete. Oh come mal si salva ...................................................................... 1:40
d Scene 12: Iro, Eumete. Pastor darmenti pu ................................................................ 1:44
f Scene 13: Eumete, Ulisse. Ulisse generoso! ................................................................. 3:18

Disc 2
Act II
q Scene 1: Telemaco, Minerva. Lieto cammino ............................................................... 2:34
w Scene 2: Eumete, Ulisse. O gran figlio dUlisse ............................................................ 5:06
e Scene 3: Telemaco, Ulisse. Che veggio, ohim, che miro? ........................................... 7:33
r Scene 4: Melanto, Eurimaco. Eurimaco, la donna insomma ........................................ 3:02
t Scene 5: Antinoo, Anfinomo, Pisandro, Penelope. Sono laltre Regine ......................... 7:50
Scene 6: No music in score
y Scene 7: Eumete, Penelope. Apportator dalte novelle ................................................ 1:06
u Scene 8: Antinoo, Anfinomo, Pisandro, Eurimaco. Compagni, udiste .......................... 6:34
i Scene 9: Ulisse, Minerva. Perir non pu ...................................................................... 3:36
o Scene 10: Eumete, Ulisse. Io vidi, o pellegrin ................................................................ 1:56
a Scene 11: Telemaco, Penelope. Del mio lungo viaggio ................................................. 5:16
s Scene 12: Antinoo, Eumete, Iro, Ulisse, Telemaco. Sempre villano Eumete ................. 4:55
d Scene 12 cont.:
Antinoo, Penelope, Pisandro, Anfinomo, Telemaco. Tu vincitor .................................... 7:12
f Scene 12 cont.:
Penelope, Pisandro, Anfinomo, Antinoo, Ulisse. Ecco larco dUlisse ......................... 10:11

Disc 3
Act III
q Scene 1: Iro. O dolor, o martir ....................................................................................... 6:14
Scene 2: Missing in score
w Scene 3: Melanto, Penelope. E quai nuovi rumori ......................................................... 2:11
e Scene 4: Eumete, Penelope. Forza docculto affetto ................................................... 2:29
r Scene 5: Telemaco, Penelope, Eumete. saggio Eumete ............................................ 2:41
t Scene 6: Minerva, Giunone. Fiamma lira, o gran Dea .............................................. 3:32
y Scene 7:
Giunone, Giove, Nettuno, Minerva, Coro in cielo, Coro marittimo. Gran Giove ............ 6:40
u Scene 8: Ericlea. Ericlea, che vuoi far .......................................................................... 3:30
i Scene 9: Penelope, Telemaco, Eumete. Ogni nostra ragion ......................................... 0:47
o Scene 10: Ulisse, Penelope, Ericlea. O delle mie fatiche ........................................... 10:08
Total Running Time: 176 minutes
This recording is part of the Norma Jean Calderwood recording series.
Hear musical director Martin Pearlman discuss this new performing version
at http://lin.mn/BBUlisse
4

Recorded at
Mechanics Hall, Worcester,
Massachusetts, USA
2730 April 2014

Assistant engineering by
Ian Dobie
Post-production by
Five/Four Productions, Ltd

Produced and edited by

Thomas C. Moore

Cover image by
Daniel M. Nagy

Recorded and mixed by

Robert Friedrich
Five/Four Productions, Ltd

Performance photography by
Clive Grainger

Surround mix engineering by

Robert Friedrich and Michael Bishop
Five/Four Productions, Ltd

Design by
gmtoucari.com

Mastered by
Michael Bishop using
Five/Four Reveal SDM technology

Prologue
LHumana Fragilit (Human Frailty) .........................
Il Tempo (Time) .........................................................
La Fortuna (Fortune) ................................................
Amore (Cupid) ...........................................................
Drama
Ulisse (Ulysses) ........................................................
Penelope, wife of Ulysses ........................................
Telemaco (Telemachus), son of Ulysses ................
Minerva ......................................................................
Nettuno (Neptune) ....................................................
Giove (Jupiter) ...........................................................
Giunone (Juno) .........................................................
Ericlea (Eurycleia), Penelopes old nurse ...............
Melanto (Melantho), Penelopes young maid ........
Eurimaco (Eurymachus), Melanthos lover ............
Eumete (Eumaeus), a loyal swineherd ....................
Iro (Irus), a parasite ..................................................
Anfinomo (Amphinomus) .........................................
Penelopes
Pisandro (Peisander) ................................................
suitors
Antinoo (Antinous) ....................................................
Phaeacian sailors .....................................................

Christopher Lowrey
Joo Fernandes
Sonja DuToit Tengblad
Sara Heaton

Fernando Guimares
Jennifer Rivera
Aaron Sheehan
Leah Wool
Joo Fernandes
Owen McIntosh
Sonja DuToit Tengblad
Krista River
Abigail Nims
Daniel Shirley
Daniel Auchincloss
Marc Molomot
Jonas Budris
Owen McIntosh
Ulysses Thomas
J onas Budris, Christopher Lowrey,
Ulysses Thomas
Coro in Cielo (Choir in Heaven) ............................... Sara Heaton, Sonja DuToit Tengblad,
Marc Molomot, Daniel Shirley
Coro Marittimo (Choir of the Sea) ........................... C
 hristopher Lowrey, Jonas Budris,
Daniel Auchincloss, Ulysses Thomas

Boston Baroque
playing on period instruments
Martin Pearlman music director
CONTINUO

ENSEMBLE

Theorbo
Michael Leopold
David Walker

1st Violin
Christina Day Martinson
Jesse Irons
Lena Wong

Guitar
Michael Leopold
Cello
Jennifer Morsches

2nd Violin
Julia McKenzie
Guiomar Turgeon
Laura Gulley

Harpsichord
Martin Pearlman
Peter Sykes

Viola
Laura Jeppesen
Barbara Wright

Organ
Peter Sykes

Violoncello
Sarah Freiberg
Jennifer Morsches

Violone
Douglas Balliett
Viola da gamba
Laura Jeppesen
Adrienne Hartzell
Recorder
Aldo Abreu
Roy Sansom
Cornetto
Michael Collver
Paul Perfetti

Il Ritorno dUlisse in patria

Only three operas by Claudio Monteverdi
have come down to us. LOrfeo (1607),
his very first, is generally acknowledged to
be the earliest great opera. Then, after a
gap of 33 years, during which Monteverdi
wrote operas that are tragically now lost,
we have two masterpieces from near the
end of his life: Il Ritorno dUlisse (1640)
and LIncoronazione di Poppea (1642).
Il Ritorno dUlisse is based on the story
told in books 1323 of Homers Odyssey,
in which Ulysses returns home from the
Trojan War after an absence of 20 years
and slays his wifes suitors, who have
taken over his palace. The 73-year-old
Monteverdis setting of Giacomo Badoaros
libretto was premiered in 1640 during the
carnival season in Venice, to such acclaim
that it was revived the following season, an
unusual distinction for an opera of the time.
The first performances took place at one of
the citys new public opera houses, where,
not only were production budgets severely
limited, but where writing for a broader public

affected the kinds of stories that were set to

music. The story of Ulysses was familiar to
the audience, and its abundance of blood
and gore was a far cry from the nymphs and
shepherds in the earlier Orfeo, which had
been written for the Mantuan court. Not long
after the premiere, Ulisse dropped from view
until late in the nineteenth century, when
a manuscript was rediscovered in Vienna,
which appears to be a copy made for a later
revival in that city. Initially there were doubts
as to whether the newly discovered work
was a genuine lost opera of Monteverdi.
But by the mid-twentieth century, further
documents were found which removed
any doubts about the works authenticity.
Il Ritorno dUlisse is certainly the least
well known and least performed of the
three surviving operas, and that may
have something to do with its relatively
recent discovery and even more recent
authentication. But another reason perhaps
lies in the libretto itself, which some have
suggested makes the work more difficult to
8

put across than Monteverdis other late opera.

Whereas Poppea is filled with brilliant dialogue
between fascinating and deeply flawed
historical characters, Ulisse is of necessity
somewhat more formal in its portrayal of gods
and heroes. The final act, which is largely
devoted to the convincing of a reluctant
Penelope that her husband has truly returned
home, has been called anticlimactic by some
critics; and some scenes digress, such as the
one in Act II (often cut) where Telemachus tells
his mother about the beauty of Helen, whom
he has seen in his travels. But Monteverdis
music transcends these difficulties, and
of course later composers would conjure
great works from less than perfect librettos.
Il Ritorno dUlisse is unquestionably one
of the three pillars that place Monteverdi
among the greatest of opera composers.

sometimes carelessly written, probably after

the composers death. It lacks many details
(some of which may have been explained to
the performers in rehearsal), it is incomplete in
places and it has numerous small errors. This
was clearly a rough working copy made for
a particular production. Several scenes from
the libretto are missing: either lost, cut from
the production in question, or perhaps never
set to music in the first place. A performance
therefore requires many decisions to fill in
the gaps in what the manuscript tells us.
For Boston Baroques production, I have
checked every note and word of the surviving
manuscript, a process that led to countless
small adjustments plus a few major ones
to what we find in modern editions. In
many places, the manuscript is incomplete
or unclear and a variety of interpretative
decisions must be made. In Scene 4 of ActI,
for example, there is a written instruction
that the orchestra play a brief sinfonia while
the sleeping Ulysses is carried in. We are
instructed that So as not to wake him, the
sinfonia should be played quietly and be
limited to only one chord (i.e. one unchanging
harmony). However, no music is provided,
only a bass C to tell us what the unchanging
harmony should be. We must therefore create

Our performing version

But perhaps the greatest reason that Ulisse
is not heard more often has to do with the
difficulties presented by the surviving material.
The music survives in only one manuscript,
although a number of manuscript copies
of the libretto have been found. There is
nothing in Monteverdis own hand, and the
copyists score that does survive is hastily and
9

a brief introduction, or sinfonia, on a C major

chord to lead into the scene with Neptune
that follows. In its static harmony, this number
is reminiscent of the opening sinfonia of
Orfeo, which is a fanfare on one chord.
In other places, only a bass line is given
for an instrumental piece, and one must
devise upper parts. An unusual example of
this occurs at the end of Act II Scene 5. The
scene concludes with a celebratory trio for
the three suitors (Allallegrezze), after which
the score has just seven quick bass notes
and the word ritornello. We have taken these
notes as a phrase for repetition: we play them
four times and add instrumental upper parts
to round out the suitors trio and the scene.
One important revelation in the manuscript
occurs at the point where Ulysses slays
the suitors (end of Act II Scene 12). Just
where the instrumental ensemble begins to
build momentum for that climactic moment,
most editions and performances have
Ulysses interrupt with a prayer to Minerva
in recitative before the rhythmic music
resumes. The effect is always to weaken the
drama, but a look at the manuscript reveals
that this extra line of music is a footnote
at the bottom of the page; it appears to
have been added later and is probably not

original. Our performance therefore omits the

insertion, so that the rhythmic momentum
continues to build to the end of the scene.
Instrumentation
The score does not specify the instruments
that should be used. The five-part ritornelli,
or musical interludes, are almost certainly
intended for strings, although a few other
instruments may be added at times for
colour. For most of the opera, however, the
music is on just two staves: a vocal line plus
instrumental bass. It is left to the performers
to decide how to harmonize the bass line
and to decide which instruments should
play it. The use of a variety of continuo
instruments, allows the palette to be varied
according to the dramatic situation.
Probably the greatest difference among
performing versions of Ulisse is in the matter
of orchestral accompaniments. In the original
score, the orchestra plays very little, mostly
just extremely short instrumental interludes
(some as brief as ten seconds). Beyond that,
it accompanies singers in just three places:
in the brief fight between Irus and Ulysses
(middle of Act II Scene 12), at the moment
when Ulysses slays the suitors (end of Act II
Scene 12) and in Penelopes song of joy in
10

the final scene of the opera. All of this comes

to less than 15 minutes out of a full-length
opera, the rest of the score has the singers
accompanied only by a continuo bass line.
The question then is whether the
manuscript score is complete, or whether
instruments were meant to accompany
singers in passages where there is no
music specified for them. Every production
must address this issue. Some composers
notably Dallapiccola and Henze have
orchestrated the work throughout, giving it
something closer to a nineteenth-century
operatic sound. In skilled hands, this can be
attractive, to some tastes; but it changes
the basic character of Monteverdis work,
making it impossible for the singers to be
rhythmically free in declaiming their text. It
also restricts the ability of the continuo players
to improvise and to interact with the singers
as they are meant to do in this music. At the
other extreme are performances that limit
themselves strictly to the written notes, so
that the orchestra plays very little and almost
never accompanies singers. To me, this
last choice seems unnecessarily austere, of
questionable authenticity and perhaps even
somewhat timid: to have the ensemble sit
silent for over 90% of the opera would have

been as artistically and financially wasteful

in the seventeenth century as it is in the
twenty-first. Other performances, of course,
fall somewhere between these two extremes.
My version for Boston Baroque occupies
that middle ground, my approach being
somewhat conservative as to how much
instrumental music was to be added. I have
composed orchestral parts to accompany
the singers at certain moments of heightened
drama, where a character breaks out of
recitative into song. For the most part, these
are simple accompaniments, designed not to
interfere with the singers, although sometimes
the instruments interact contrapuntally with
the voice. Certainly there are plenty of hints to
support this approach. Some other operas of
the time offer models in the form of writtenout parts for instruments to accompany
singers. There are even some operas that
give instructions for an aria to be played
withviolins or with all the instruments, even
though no instrumental parts are shown in
the score. In the manuscript of Ulisse, we
find a few interpolated notes that appear
to be cues for instruments to play, even
though there is no music written for them.
In Melanthos little song in Act I Scene10,
Ama dunque, there are melodic notes
11

written between her phrases, which implies

instrumental accompaniment throughout
the song. I have supplied music for four
solo string instruments here, their parts
incorporating the inserted notes in those
bars where they appear in the score.
Overall, the sound of this opera is striking
for its concentration of voices in the middle
range: Monteverdi uses a remarkable
assortment of various types of tenor and
mezzo. The sonority of the accompanying
parts I have supplied varies according to the
dramatic context. Only low strings are heard
in Penelopes lament in the opening scene of
Act I and in some of the music for the suitors.
Bright solo violins accompany Fortunes
aria in the Prologue, and solo violins lend a
transparent accompaniment to the beautiful
Dolce speme duet of Eumaeus and Ulysses
in Act II Scene 2, as well as to Ulysses
Vanne alle madre at the end of Act II Scene
3. In a number of places, the full five-part
string ensemble is used. Perhaps the densest
instance of this is the accompaniment I have
given to the great aria with which Eumaeus
opens Scene 2 of Act II (O gran figlio).
Occasionally I have also added recorders or
cornetti to brighten the sonority, while cornetti
alone accompany the gods in Act III Scene 7.

Orchestral accompaniments like these

can heighten moments of true song. But the
core of this music resides in the freer speech
patterns of continuo-accompanied recitative.
For the human characters, these speech
patterns tend to be relatively simple and
straightforward. But the speech of the gods is
often full of florid ornamentation, an unnatural
speech that lends an aura of the superhuman.
The libretto vs. the musical score
There are many places in the opera where
the libretto differs from the surviving musical
score. Most notably, the book divides the
drama into five acts while the score has three;
and they have entirely different Prologues.
Sometimes the words differ between libretto
and score, sometimes an entire scene in the
libretto is missing in the musical manuscript.
One must decide whether to follow the
libretto as a guide to what the score was
meant to be, or whether to follow the score
as we have it. For the missing scenes,
have we lost music, or did Monteverdi
never set them to music in the first place?
I have chosen to follow the musical score
wherever possible. Librettos of the time did
not always reflect the finished opera: authors
often considered their work to be independent
12

poems and sometimes retained their original

material, even after a composer had altered or
omitted some of it in his opera. A libretto can
sometimes help clarify details, but following
the score means that we are using the one
source that was actually designed to be used
in performance. Monteverdi may well never
have set to music the missing choruses
of nereids, sirens, underworld shades, etc.
His main interest, as he wrote in his letters,
was to portray the gamut of emotions, and
he may well have felt that scenes such as
these would have been a distraction from
his purpose. There was, too, a possible
practical consideration, since choruses were
not a common feature in the cash-strapped
public opera houses of Venice at the time.
Martin Pearlman, 2015

13

Synopsis
y Neptune satisfies himself by turning the

Disc 1

Phaeacians and their ship to stone, and

leaves Ulysses in peace. u Ulysses awakes
abandoned and confused; i the goddess
Minerva, disguised as a shepherd boy, tells
him that he has landed in Ithaca. She then
reveals herself as the goddess and offers
him guidance. He is to be disguised as an
old beggar and go to his palace, where
he will find Penelope beleaguered by her
suitors. o But first he is to wait for Minerva
in the company of his faithful swineherd
Eumaeus. a At the palace, Melantho tries
unsuccessfully to convince Penelope to
give up her mourning and marry one of the
suitors. s In the countryside, the swineherd
Eumaeus is enjoying the pastoral life when
d he is pestered by the boorish glutton Irus,
a toady of the suitors. As he chases Irus off,
fhe encounters Ulysses disguised as an old
beggar. The beggar informs Eumaeus that
his master will soon return from the war.

Prologue
q In an allegorical prologue, Human Frailty
is subject to the heartless taunts of Time,
Fortune and Cupid.
Act I
The setting is Ithaca, an island in the Ionian Sea.

w Penelope, the wife of Ulysses, laments

the absence of her husband, who left for the
Trojan War twenty years earlier and has not
returned. Her nurse Eurycleia tries to console
her. e Meanwhile, Penelopes young maid
Melantho and Eurymachus sing of their love.
They are in league with the suitors and hope
to convince Penelope to take a lover.
r In another part of the island, Phaeacian
sailors bring the sleeping Ulysses to the shore
of Ithaca, his homeland. t Neptune, angry
that Ulysses blinded his son, the Cyclops
Polyphemus, had kept the hero from his
homeland for ten years, but now Jupiter
convinces him to allow Ulysses return.
14

and they are fearful. They plan to murder

Telemachus and to offer gifts to Penelope
to hurry her decision, but an eagle flies
overhead, a sign that the gods disapprove.
i In the forest, Minerva promises Ulysses
her protection: she will influence Penelope to
propose a contest that will give Ulysses the
opportunity to destroy the suitors.
o Eumaeus reports to Ulysses that the
suitors are terrified at the prospect of his
return. a Telemachus tells his mother about
the divinely beautiful Helen, whom he visited
on his travels, and of Helens prophecy that
Ulysses would return home and slay the
suitors. s The suitors rebuke Eumaeus for
bringing the beggar into the palace. The
obnoxious Irus provokes the beggar to a
wrestling match but loses to the old man.
dPenelope, taking pity on the beggar, offers
him her hospitality. Each of the suitors in turn
courts Penelope, offering her his treasures.
Finally, Penelope appears to soften and,
under the invisible influence of Minerva,
proposes a contest in which whoever can
most easily string Ulysses bow will win both
her hand and the kingdom. f Each of the
brash suitors attempts to string the bow but
cannot bend it. Then the old beggar comes
forward, asking not for the prize but for a

Disc 2
Act II
q Guided by Minerva, Ulysses son
Telemachus returns from a voyage in search
of his father. w Eumaeus rejoices at his
safe homecoming and relates the beggars
prophecy that his father will soon return.
Eumaeus then departs to tell the news
to Penelope. Left alone with the beggar,
Telemachus sees the earth suddenly swallow
him up; he views it as an omen that his
father has died. e However, Ulysses soon
reappears in his true form, and father and
son are joyfully reunited. Ulysses sends
Telemachus to Penelope and will resume
his disguise. r In the palace, Melantho
complains to Eurymachus that Penelope is
inflexible and refuses to accept any suitor.
They then sing of their love for each other.
t The three suitors, Amphinomus, Peisander
and Antinous, court Penelope but cannot
break down her resistance. To cheer her
up, they decide to entertain her with song
and dance. y Eumaeus tells Penelope that
her son has returned and that her husband
is alive and will also soon return, but she is
sceptical. u The suitors hear of the return of
Telemachus and of Ulysses imminent return,
15

chance to try the bow. To the amazement of

everyone, he easily strings it; he then shoots
the suitors dead.

i Eumaeus and Telemachus are still unable

to convince Penelope that Ulysses has
returned. o Ulysses enters in his true form,
but others have also claimed to be the hero,
and she is worried that sorcery could make
him look like Ulysses. Even when Eurycleia
reveals that she has seen his old scar,
Penelope still doubts. But when Ulysses
describes the silken cover that used to be on
their bed, something which no one else has
seen, those doubts are laid to rest. She sings
an aria of rejoicing, and husband and wife are
at last reunited.

Disc 3
Act III
q Irus is in despair. The suitors have been
slain, and there is no one to feed him and
provide for his needs. He wants to kill himself.
w As Melantho bemoans the loss of the
suitors, a dispirited Penelope feels that
every love for her is fatal. e r Eumaeus
and Telemachus try to convince her that the
old man who slew the suitors was in reality
Ulysses, but she does not believe it and
considers them merely gullible. t At the sea,
Minerva asks Juno to intercede with Jupiter
to allow Ulysses to live in peace. y Jupiter
persuades his brother Neptune to end his
persecution, and, as Neptune agrees, we
hear a choir from heaven and a choir from the
sea extolling the mercy of the gods. Jupiter
then asks Minerva to quell the uprising of the
Achaeans, who are angered at the death of
the suitors, their rulers. u The nurse Eurycleia
has recognized Ulysses, but he has bidden
her keep the secret. She does not know
whether to tell or be silent.
16

libretto
Disc 1

q PROLOGUE
LHumana Fragilit

Human Frailty

Mortal cosa son io, fattura humana:

I am mortal, created in human form:

tutto mi turba, un soffio sol mabbatte;

everything distresses me, a puff of wind alone

can destroy me;

il tempo che mi crea, quel mi combatte.

time who created me also fights against me.

Il Tempo Time
Salvo niente Nothing is safe
dal mio dente.

from my tooth.

Ei rode,

It gnaws

ei gode.

and enjoys.

Non fuggite o mortali,

Flee not, mortals!

che se ben zoppo ho lali.

I limp, but I have wings.

LHumana Fragilit

Human Frailty

Mortal cosa son io, fattura humana:

I am mortal, created in human form:

senza periglio invan ricerco loco,

in vain do I seek a place safe from dangers,

che frale vita di fortuna un gioco.

for frail life is a plaything of fortune.

17

La Fortuna

Fortune

Mia vita son voglie,

Wishes are my life,

le gioie, le doglie.

the joys, the sorrows.

Son cieca, son sorda,

Im blind, Im deaf,

non vedo, non odo;

I see not, I hear not;

ricchezze, grandezze

riches and greatness

dispenso a mio modo.

I distribute according to my fancy.

LHumana Fragilit

Human Frailty

Mortal cosa son io, fattura humana:

I am mortal, created in human form:

al tiranno damor serva sen piace

to the tyrant love are sacrificed

la mia fiorita et verde e fugace.

my green and fleeting years of flowering.

Amore

Cupid

Dio, de Dei feritor

God, thou wounder of gods,

mi dice il mondo Amor.

the world calls me, Cupid.

Cieco saettator alato ignudo, A blind, winged, nude marksman,

contro il mio stral non val difesa o scudo.

no defence or shield is of any avail against my arrow.

LHumana Fragilit

Human Frailty

Misera son ben io, fattura humana:

Wretched I am indeed, created in human form:

credere a ciechi e zoppi cosa vana.

to believe the blind and the lame is a vain thing.

Il Tempo, La Fortuna, Amore Time, Fortune, Cupid

Per me fragile questhuom sar. Through me, this man will be frail.
Per me misero questhuom sar. Through me, this man will be wretched.
Per me torbido questhuom sar. Through me, this man will be distressed.
Il Tempo chaffretta pietate non ha. Time, who hurries away, has no pity.
Fortuna challetta pietate non ha.

Fortune, who entices, has no pity.

18

Amor che saette pietate non ha.

Cupid, who shoots his arrows, has no pity.

Fragile, misero, torbido questhuom sar.

Frail, wretched, distressed will this man be.

ACT I

w Scene 1
Reggia

The palace

Penelope

Penelope

Di misera Regina non terminati mai dolenti affanni! Sorrow and trouble never end for me, miserable queen!
Laspettato non giunge e pur fuggono gli anni; The awaited one does not return, and the years pass by;
la serie del penar lunga ahi troppo,

the time of torment is, alas, too long;

a chi vive in angoscie il tempo zoppo.

time is lame for whoever lives in anguish.

Fallacissima speme, speranze non pi verdi

Most false hope, hope no longer green but hoary,

ma canute,
allinvecchiato male non promettete pi pace

you no longer promise peace nor healing to the old pain.

o salute.
Scorsero quattro lustri dal memorabil giorno Two decades have passed since the day
in cui con sue rapine

when, through the abduction,

il superbo Trojano chiam lalta sua patria

the proud Trojan plunged his illustrious

alle rovine.

homeland into ruin.

A ragion arse Troja, Troy burned justly,

poich lAmor impuro, ch un delitto di foco,

for impure love, which is a crime of re,

si purga con le fiamme;

is purged by re;

ma ben contro ragione

but most unjustly,

per laltrui fallo condannata innocente

while innocent, I am condemned

dallaltrui colpe io sono lafflita penitente.

to suffer the punishment of others.

Ulisse accorto e saggio, Shrewd, wise Ulysses,

tu che punir gli adulteri ti vanti,

who boasts of punishing adultery,

19

aguzzi larmi e susciti le fiamme

you sharpen your weapons and fan the ames

per vendicar gli errori duna profuga greca,

to avenge the misdeeds of a faithless Greek woman,

e n tanto lasci la tua casta consorte;

and at the same time leave your chaste wife

fra nemici rivali

among hostile rivals,

in dubbio De lhonor, in forse a morte.

her honour, perhaps her life, at stake.

Ogni partenza attende desiato ritorno, Every departure longingly awaits a return,
tu sol del tuo tornar perdesti il giorno.

you alone have lost your day of returning.

Ericlea Eurycleia
Infelice Ericlea, nutrice sconsolata,

Unhappy Eurycleia, inconsolable nurse,

compiangi il duol della Regina amata.

you share the grief of your beloved queen.

Penelope

Penelope

Non dunque per me varia la sorte?

Is there then no alteration in my fate?

Cangi forse Fortuna la volubile ruota Did Fortune perhaps change the ever turning wheel
in stabil seggio? E la sua pronta vela

for a stationary one? And her quick sail

chogni human caso porta

that bears every human cause

fra lincostanza a volo,

through continual changes,

sol per me non raccoglie un fiato solo?

gathers no breath of wind for me?

Cangian per altri pur aspetto in cielo Yet for others the pattern in the sky
le stelle erranti e fisse.

of the wandering and fixed stars changes.

Torna, deh torna, Ulisse!

Return, oh return, Ulysses!

Deh torna Ulisse, Penelope taspetta, Oh, return, Ulysses, Penelope awaits you
linnocenta sospira,

the innocent one sighs,

piange loffesa e contro il tenace offensor

the offended one weeps, and yet harbours no

n pur sadira:

anger against the stubborn offender:

allanima affannata

the distressed soul

porto le tue discolpe

I pardon

20

acci non resti di crudelt macchiato,

and do not call cruel,

ma falso de miei danni incolpo il fato.

but cruel I call fate.

Cos per tua difesa col destino, col cielo Thus in your defence
fomento guerre e stabilisco risse;

I take issue with destiny, with heaven;

torna, deh torna, Ulisse!

return, oh return, Ulysses!

Ericlea Eurycleia
Partir senza ritorno non pu stella influir, Parting without returning cannot be the will of the stars;
non partir, ahi, che non partir.

alas, this is not parting.

Penelope

Penelope

Torna il tranquillo al mare,

Calm returns over the sea,

torna il zeffiro al prato,

the zephyr returns over the meadow,

laurora mentre al sol fa dolce invito

the dawn meanwhile sweetly invites the sun

un ritorno del d ch pria partito.

to a return of the day which had departed.

Tornan le brine in terra, The waters return to the earth,

tornano al centro i sassi,

the stones return to the centre,

e con lubrici passi

and with gliding steps

torna alloceano il rivo.

the river returns to the ocean.

Lhuomo qua gi ch vivo

Man, who lives down here

lunge da suoi principi

far away from his origins,

porta unalma celeste e un corpo frale;

bears a celestial soul and a frail body;

tosto more il mortale

soon the mortal dies

e torna lalma in cielo

and the soul returns to heaven

e torna il corpo in polve

and the body returns to dust

dopo breve soggiorno;

after a brief sojourn;

tu sol del tuo tornar perdesti il giorno.

you alone have missed the day of our return.

Torna, che mentre porti empie dimore

Return, for while you

21

al mio fiero dolore,

cause me cruel grief,

veggio del morir mio lhore prefisse.

I see the preordained hour of my death.

Torna, deh torna, Ulisse!

Return, oh return, Ulysses!

e Scene 2
Melanto Melantho
Duri e penosi

Bitter are the torments

son gli amorosi

that the lover suffers

fieri desir;

in his desire;

ma alfin son cari,

but at last, the harsh sufferings,

se prima amari,

though bitter at first,

gli aspri martir;

are cherished;

che sarde un core

if a heart is burning

dallegrezza il foco,

it is a fire of joy,

n mai perde in amor

and he never loses

chi compie il gioco.

who plays the game of love.

Chi pria saccende

Whoever is first inflamed

procelle attende

by a white bosom

da un bianco sen,

can expect storms,

ma corseggiando

but riding them out

trova in amando

he finds in loving

porto seren.

a serene harbour.

Si piange pria,

First, there is weeping,

ma alfin la gioia ha loco,

but at last joy takes its place,

n mai perde in amor

he never loses

chi compie il gioco.

who plays the game of love.

22

Eurimaco Eurymachus
Bella Melanto mia, graziosa Melanto,

My beautiful Melantho, delightful Melantho,

il tuo canto un incanto

your song is enchantment,

il tuo volto magia.

your face is magic.

Bella Melanto mia!

My beautiful Melantho!

tutto laccio in te ci chaltri ammaga, Everything in you is captivating

ci che laccio non fa tutto piaga.

and holds him slave whom you inflame.

Melanto

Melantho

Vezzoso garruletto, Loquacious flatterer,

o come ben tu sai

oh how well you know

ingemmar le bellezze,

how to sing of beauty,

illustrar a tuo pro

to describe to your own advantage

dun volto i rai.

the radiance of a face.

Lieto vezzeggia pur Yet your gentle lies

con glorie mie

sweetly flatter me

le tue dolci bugie.

with my glories.

Eurimaco Eurymachus
Bugia sarebbe

It would be lies

sio lodando non tamassi,

if I, praising, did not love you,

che il negar dadorar

for refusing to adore

confessata deit

an acknowledged deity

bugia dempiet.

is an impious lie.

Melanto, Eurimaco

Melantho, Eurymachus

De nostri amor concordi

May the flame of our mutual love

sia pur la fiamma accesa,

rise upward;

che amato il non amando arreca offesa

for lovers not to love is an offense,

23

chamato il non amar arreca offesa,

love not returned is an offense,

n con ragion soffende

but it is not fitting

colui che per offese amor ti rende.

to reward love with offences.

Melanto Melantho
Sio non tamo, cor mio, che sia di gelo lalma

If I do not love you, my heart, my soul

chho in sen a tuoi begli occhi avante.

shall turn to ice before your eyes.

Eurimaco Eurymachus
Se in adorarti cor non ho costante,

If my heart is not constant in its devotion,

non mi sia stanza il mondo o tetto il cielo.

the world shall no longer be a place or the sky a roof for me.

Melanto, Eurimaco

Melantho, Eurymachus

Dolce mia vita sei, You are the sweetness of my life,

lieto mio ben sarai,

happy shall you be, my love,

nodo s bel non si disciolga mai.

may such a beautiful knot never be dissolved.

Melanto

Melantho

Come, oh, come il desio minvoglia, Oh, how the wish inspires me,
Eurimaco, mia vita, Eurymachus, my life,
senza fren, senza morso

to fulfil without any regret or restraint

dar nel tuo sen alle mie gioie il corso!

my dream of love with you!

Eurimaco Eurymachus
Come, oh, come volentieri Oh how gladly I would exchange
cangerei questa in un deserto

this place for a desert,

ove occhio curioso a veder

where curious eyes

non giungesse i nostri errori.

could not pursue us.

24

Melanto, Eurimaco

Melantho, Eurymachus

Che ad un focoso petto

For a fiery bosom

il rispetto dispetto.

despises every obstacle.

Eurimaco Eurymachus
Tu dunque taffatica, So try again now
suscita in lei la fiamma!

to kindle her re of love!

Melanto

Melantho

Ritenter quellalma pertinace ostinata,

I will tempt again that obstinate soul,

ritoccher quel core

touch again that heart

chindiamanta lhonore.

which is a temple of chastity.

Melanto, Eurimaco

Melantho, Eurymachus

Dolce mia vita sei, You are my sweet life,

lieto mio ben sarai,

you will be my greatest happiness,

nodo s bel non si disciolga mai.

may such a beautiful knot never be loosened.

[Scene 3 Maritime scene with nereids and sirens, missing in score.]

r Scene 4
Qui esce la barca de Feaci che conduce Ulisse

Here the boat of the Phaeacians appears bearing

che dorme e perch non si desti si fa la

the sleeping Ulysses, and, so as not to wake him,

seguente sinfonia toccata souvemente sempre

the following sinfonia is played always softly and

su una corda.

on one chord.

25

t Scene 5
Nettuno sorge dal mare

Neptune rises from the sea

Nettuno Neptune
Superbo lhuom ed del suo peccato

Man is proud, and is the cause of his own guilt

cagion, bench lontana: il ciel cortese

though remotely; kind heaven

facile ahi troppo in perdonar loffese.

is only too willing to pardon the offence.

Fa guerra col destin, pugna col fato,

Human freedom wages war against Destiny,

tuttosa, tutto ardisce lhumana libertate,

fights with fate, dares all, risks all,

indomita si rende,

makes itself indomitable,

e larbitrio de lhuom col ciel contende.

and the will of man struggles against heaven.

Ma se Giove benigno

But if benign Jupiter

i trascorsi de lhuom troppo perdona,

pardons too readily the transgressions of man,

tenga egli a voglia sua nella gran destra

he holds at his will the idle lightning

il fulmine ozioso. Tengalo invendicato,

in his mighty right hand. Unavenged he holds it,

ma non soffra Nettuno

but Neptune does not suffer

col proprio dishonor lhuman peccato!

his honour to be stained by human guilt.

Giove

Jupiter

Gran Dio de salsi flutti,

Great god of the salty billows,

che mormori e vaneggi

what murmurings and vanities

contro lalta bont del Dio sovrano?

against the sublime bounty of the sovereign god?

Mi stabil per Giove As Jupiter I show

la mente mia pietosa

my merciful spirit

pi charmata la mano.

rather than arm my hand.

Questo fulmine atterra, This thunderbolt terrifies,

la piet persuade,

pity persuades,

fa adorar la pietade;

and lets mercy be worshipped;

ma non adora pi che cade a terra.

but it no longer worships what falls to the ground.

26

Ma qual giusto desio daspra vendetta

But what just desire for harsh vengeance

furioso ti move

furiously moves you

ad accusar lalta bont di Giove?

to accuse the sublime bounty of Jupiter?

Nettuno Neptune
Hanno i Feaci arditi The daring Phaeacians have,
contro lalto voler del mio decreto

against the high will of my decree,

han Ulisse condotto in Itaca sua patria,

led Ulysses to his homeland Ithaca,

onde rimane da lhuman ardimento

whereby human boldness

de loffesa Deitade ingannato lintento.

intended to offend the gods by deceit.

Vergogna e non pietade, Shame, not pride,

comanda il perdonar fatti s rei.

commands the pardoning of such guilty deeds.

Cos di nome solo Thus in name alone

son divini gli Dei.

are the gods divine.

Giove

Jupiter

Non fien discare al ciel le tue vendette, Your vengeance will not be rejected by heaven,
che comune ragion ci tiene uniti.

for common reasoning will keep us united.

Puoi da te stesso castigar gli arditi. You can punish the bold ones yourself.
Nettuno Neptune
Hor gi che non dissente il tuo divin volere, Now that your divine will does not dissent,
dar castigo al temerario orgoglio:

I shall castigate their shameless pride:

la nave loro andante far immobile scoglio.

their moving ship I shall turn into an immobile rock.

Giove

Jupiter

Facciasi il tuo comando, Your command be executed,

veggansi lalte prove,

may your power be felt,

abbian londe il suo Giove;

the waves have their Jupiter;

27

e chi andando pecc

and he who sinned in moving

pera restando.

be punished in immobility.

y Scene 6
Coro di Feaci

Chorus of Phaeacians

In questo basso mondo

In this base world

lhuomo puol quanto vuol.

man can do as much as he wants.

Tutto fa, tutto fa,

He does everything, he does everything,

che l ciel del nostro oprar

for heaven has no thought

pensier non ha.

for our activity.

Nettuno Neptune
Ricche dun nuovo scoglio

Richer by a new rock

sien questonde fugaci.

be these fleeting waters.

(Doppo mutata la nave.)

(After transforming the ship into a rock.)

Imperino i Faeci in questo giorno

May the Phaeacians learn on this day

che lhumano viaggio

that the human journey,

quandha contrario il ciel non ha ritorno.

when made against the will of heaven, has no return.

u Scene 7
Ulisse Ulysses
Dormo ancora o son desto? Am I still asleep, or am I awake?
Che contrade rimiro?

What countryside surrounds me?

Qual aria vi respiro?

What air do I breathe?

E che terren calpesto? On what soil do I tread?

28

Dormo ancora o son desto? Am I still asleep, or am I awake?

Chi fece in me

Who has changed

il sempre dolce e lusinghevol sonno

ever sweet and enticing sleep

ministro de tormenti,

into a tormentor in me,

chi cangi il mio riposo in ria sventura?

who has changed my repose into misadventure?

Qual deit de dormienti ha cura?

What deity of sleepers was responsible?

O sonno, o mortal sonno! Oh sleep, oh mortal sleep!

Fratello della morte altri ti chiama. Others call you the brother of death.
Solingo trasportato, deluso et ingannato, Lonely, deserted, deluded and deceived,
ti conosco ben io, padre derrori,

I know you well, father of errors,

pur degli errori miei son io la colpa!

though for my errors I am guilty!

Che se lombra del sonno

For the shadow is

sorella o pur campagna;

the sister or the partner of sleep;

chi si confida allombra

he who confides in the shadow

perduto alfin contro ragion si lagna.

complains without reason if he is ultimately lost.

O Dei sempre sdegnati, Oh, ever angry gods,

Numi non mai placati,

never placated gods,

contro Ulisse che dorme anco severi,

severe even to the sleeping Ulysses,

vostri divini imperi

let your divine decrees

contro lhuman voler sien fermi e forti,

be firm and strong against human will,

ma non tolgano ohim la pace ai morti.

but alas, let the dead have their peace.

Feaci ingannatori! Deceitful Phaeacians!

Voi pur mi prometteste You promised me
di ricondurmi salvo in Itaca mia patria

you would take me safely back to my country Ithaca

con le ricchezze miei, co miei tesori.

with my spoils, with my treasures.

Feaci mancatori! Phaeacians, you breakers of promises!

Hor non so comingrati mi lasciaste

Why have you now left me

in questa riva asperta,

on this exposed shore,

su spiaggia erma e deserta,

on this wild, empty coast,

29

misero, abbandonato;

disconsolate and abandoned?

e vi porta fastosi e laure e per londe And you travel carefree through the breezes and waves
cos enorme peccato!

burdened with such cruel guilt!

Se puniti non son s gravi errori,

If such grave crimes go unpunished,

lascia, Giove, deh lascia de fulmini la cura,

leave, Jupiter, your charge of the lightning,

che la legge del caso pi sicura.

for the law of chance is surer.

Sia delle vostre vele, To your sails,

falsissimi Feaci,

you most base Phaeacians,

sempre Borea inimico;

may the wind be hostile;

e sian qual piuma al vento o scoglio in mare

and like a feather in the wind or a rock in the sea

le vostre infide navi:

be your faithless ships:

leggiere agli Aquiloni, allaure gravid!

light in the storm, and heavy on the breeze!

i Scene 8
Minerva (in abito da pastorello) Minerva (in the guise of a shepherd boy)
Cara e lieta giovent Dear and joyful time of youth
che disprezza empio desir,

that despises impious desire,

non d a lei noia o martir

what is to come and what has been

ci che viene e ci che fu.

cannot be vexing or tormenting.

Cara e lieta giovent. Dear and joyful time of youth.

Ulisse (fra s parla e dice) Ulysses (aside)
Sempre lhuman bisogno il ciel soccorre.

Heaven always succours human need.

Quel giovinetto tenero negli anni, That youth of tender years,

mal pratico dinganni,

inexperienced in deceit,

forse chel mio pensier far contento:

can perhaps put my mind at rest:

che non ha frode in seno

for he can have no dishonesty in his heart

chi non ha pelo al mento.

who has no hair on his chin.

30

Minerva

Minerva

Giovanezza un bel tesor Youth is a lovely treasure

che fa ricco in gioia un sen.

that makes a breast rich in joy.

Per lei zoppo il tempo vien, Time only limps in youth,

per lei vola alato Amor.

winged Cupid flies around it.

Giovanezza un bel tesor. Youth is a lovely treasure.

Ulisse Ulysses
Vezzoso pastorello,

Gentle shepherd boy,

deh sovvieni un perduto

oh help one who is lost

di consiglio e daiuto,

with counsel and with aid,

e dimmi, dimmi pria

and tell me, tell me first of all

di questa spiaggia e questo porto il nome.

the name of this coast and this harbour.

Minerva Minerva
Itaca questa in sen di questo mare, This is Ithaca, in the bosom of this sea,
porto famoso e spiaggia felice avventurata.

famous harbour and shore of happy fortunes.

Faccia gioconda e grata You make a smiling and grateful face

a s bel nome fai.

at such a fair name.

Ma tu come venisti e dove vai?

But how did you come here and whither go you?

Ulisse Ulysses
Io greco sono et hor di Creta io vengo

I am a Greek and have come from Crete

per fuggir il castigo dhomicidio eseguito;

to flee the punishment of a murder I committed;

malccosero i Feaci e mhan promesso

the Phaeacians received me and promised

in Elide condurmi,

to take me to Elis,

ma dal cruccioso mar dal vento infido

but we were dashed with force by the angry sea

fummo a forza cacciati in questo lido.

and the faithless wind on to this shore.

Sin qui, pastor, hebbi nemico il caso.

Fate, shepherd, has been hostile to me.

31

Ma sbarcato al riposo,

When I disembarked to rest,

per veder quieto il mar secondi i venti,

to see the sea calming itself after the wind,

col maddormentai s dolcemente,

I fell asleep so sweetly

chio non udii n vidi

that I neither saw nor heard

de Feaci crudeli la furtiva partenza,

the furtive departure of the cruel Phaeacians,

ondio rimasi con le mie spoglie

and I remained with my spoils

in su larena ignuda isconosciuto e solo,

upon the bare sand, unknown and alone,

el sonno che part lasciommi il duolo.

and the sleep that has departed has left me with grief.

Minerva Minerva
Ben lungamente addormentato fosti You have indeed slept long
chancor ombre racconti e sogni narri.

that you still speak of shadows and narrate dreams.

ben accorto Ulisse, ma pi saggia Minerva. Shrewd indeed is Ulysses, but wiser is Minerva.
Tu dunque, Ulisse, i miei precetti osserva! So you, Ulysses, follow my commandments!
Ulisse Ulysses
Chi crederebbe mai!

Whoever would have believed it!

Le deit vestite in human velo! The deity clothed in human garb!

Chi crederebbe mai!

Whoever would have believed it!

Si fanno queste mascherate in cielo? Are there such masquerades in heaven?

Grazie ti rendo, o protettrice Dea:

I give you thanks, O protecting goddess:

ben so che per tuo amore

I well know that through your love

furon senza periglio i miei pensieri.

my thoughts have been free from danger.

Hor consolato seguo i tuoi saggi consigli. Now, being comforted, I follow your wise counsels.
Minerva Minerva
Incognito sarai, non conosciuto andrai You will be unrecognized, will pass unknown,
sinch tu vegga dei Proci tuoi rivali

until you see the shameless pride

la sfacciata baldanza.

of your rivals.

32

Ulisse Ulysses
O fortunato Ulisse! Oh fortunate Ulysses!
Minerva Minerva
Di Penelope casta limmutabil costanza. The unchanging constancy of chaste Penelope.
Ulisse Ulysses
O fortunato Ulisse! Oh fortunate Ulysses!
Minerva Minerva
Hor tadacqua la fronte Now wet your brow
nella vicina fonte,

at the nearby spring,

chanderai sconosciuto

so that you will be unknown to others

in sembiante canuto.

in the hoary guise of an old man.

Ulisse Ulysses
Ad obbedirti vado, indi ritorno.

I shall obey you, and then return.

Minerva Minerva
Io vidi per vendetta

I saw Troy

incenerisi Troja;

burning as vengeance;

hora mi resta

it now remains for me

Ulisse ricondur in patria in regno:

to lead Ulysses back to his homeland, to his kingdom;

dunoltraggiata Dea questo lo sdegno.

this is the anger of an offended goddess.

Quinci imparate voi stolti mortali Learn here, you foolish mortals,
al litigio divin non poner bocca:

not to interfere in divine disputes:

il giudicio del ciel a voi non tocca,

it is not fitting for you to judge heaven,

che son di terra i vostri tribunali.

for your courts are of the earth.

33

Ulisse Ulysses
Eccomi, saggia Dea.

Here I am, wise goddess.

Questi peli che guardi These hairs that you see

sono di mia vecchiaia

are lying testimony

testimoni bugiardi.

to my old age.

Minerva Minerva
Hor poniamo in sicuro Now we shall bring to safety
queste tue spoglie amate

these beloved spoils of yours

entro quellantro oscuro

within that dark cave

delle Najadi, Ninfe al ciel sacrate.

of the nereids, nymphs consecrated to heaven.

Minerva, Ulisse

Minerva, Ulysses

Ninfe serbate le gemme e gl ori, Nymphs, guard the gems and the gold,
spoglie e tesori, tutto serbate,

spoils and treasure, guard all,

Ninfe secrate.

consecrated nymphs.

o Scene 9
Minerva Minerva
Tu dAretusa al fonte intanto vanne

Go you meanwhile to the spring of Arethusa

ove il pastor Eumete, tuo fido antico servo,

where the shepherd Eumaeus, your faithful old servant,

custodisce la gregge. Ivi mattendi

watches over the herds. Wait for me there

in sin che pria di Sparta

until I first bring to you from Sparta

io ti conduca Telemaco tuo figlio;

your son, Telemachus;

poi deseguir tappresta il mio consiglio.

then, carry out my advice.

34

Ulisse Ulysses
O fortunato Ulisse! Oh fortunate Ulysses!
Fuggi del tuo dolor lantico error. The grief from your old misdeeds flies away.
Lascia il pianto, dolce canto

Weep no more; let the sweet song

del tuo cor lieto disserra.

of your heart make you happy.

Non si disperi pi mortale in terra! No more shall mortals despair on earth!

O fortunato Ulisse! Oh fortunate Ulysses!
Cara vicenda si pu soffrir

Happy fate, inconstant sufferings,

hor diletto hor martir,

now delight, now torment,

hor pace hor guerra.

now peace, now war.

Non si disperi pi mortale in terra! No more shall mortals despair on earth!

a Scene 10
Reggia

The palace

Penelope Penelope
Donata un giorno, o Dei,

Give one day, O gods,

contento a desir miei.

satisfaction to my desire.

Melanto Melantho
Cara amata Regina, Dear beloved queen,
avveduta e prudente

wisdom and prudence

per tuo sol danno sei:

are only hurting you:

men saggia io ti vorrei.

I would see you less wise.

A che sprezzi gli ardori

Why do you disdain the fire

de viventi amatori

of living lovers

per attender conforti

in order to expect comfort

dal cenere de morti?

from the ashes of the dead?

Non fa torto chi gode a chi sepolto.

Whoever enjoys herself does no wrong to him who is buried.

35

Lossa del tuo marito The bones of your husband

estinto, incenerito,

who is dead, turned to ashes,

del tuo dolor non san poco n molto;

know neither little nor much of your grief;

e chi attende piet da morti stolto.

and whoever expects pity from a dead man is foolish.

La fede e la costanza

Faith and constancy

son preclare virt;

are sublime virtues;

le stima amante vivo

a living lover esteems them

e non lapprezza, perch de sensi privo,

and, deprived of his senses,

un huom che fu.

a man who is dead does not appreciate them.

Duna memoria grata The dead are honoured

sappagano i defunti,

by a grateful memory,

stanno i vivi coi vivi

but the living remain

in un congiunti.

united with the living.

Un bel viso fa guerra, A face marked by inner struggle

il guerriero costume al morto spiace,

displeases the dead,

che con cercan gli estinti altro che pace.

for those who have expired seek only peace.

Langue sotto i rigori

Under the rigours

de tuoi sciapiti amori

of your renunciation

la pi fiorita et,

the time of your greatest bloom languishes;

ma vedova belt

your beauty

de te si duole,

suffers in widowhood,

che dentro ai lunghi pianti

for through continual weeping,

mostri sempre in acquario un s bel sole.

you show a lovely sun behind a veil of water.

Ama dunque, che dAmore So love; for Cupids

dolce amica la belt.

sweet companion is beauty.

Dal piacer il tuo dolore

In pleasure will your grief

saettato cader.

fall before his arrows.

36

Penelope Penelope
Amor un idol vano,

Cupid is a vain idol,

Amor un vagabondo Nume,

Cupid is a vagabond god,

Amor allincostanze sue non mancan piume,

Cupid, whose inconstancy is known,

del suo dolce sereno

whose times of sweetness

misura il baleno.

last only as long as the lightning.

Un giorno solo cangia One single day can

il piacer in duolo.

turn joy into grief.

Sono i casi amorosi Love stories are often

di Tesei e di Giasoni ohim son pieni.

like those of Theseus and Jason:

Incostanza e rigore,

inconstancy and punishment,

pene e morte e dolore.

torment and death and grief.

Dellamoroso ciel splendori fissi The splendours of an amorous heaven

san cangiar in Giason anche gli Ulissi.

could even transform a Ulysses into a Jason.

Melanto Melantho
Perch Aquilone infido

Just because the winds treacherously

turbi una volta il mar

disturb the sea at times,

distaccarsi dal lido

should the bold seaman

animoso nocchier non dee lasciar?

never again leave harbour?

Sempre non guarda in ciel torva una stella, Not always will he see a menacing star in the sky;
ha calma ogni procella.

every storm is calmed.

Ama dunque, che dAmore So love; for Cupids

dolce amica la belt.

sweet companion is beauty;

Dal piacer il tuo dolore

in pleasure will your grief

saettato cader.

fall before his arrows.

37

Penelope Penelope
Non dee di nuovo amar Never again can anyone love
chi misera pen:

who has suffered so bitterly:

torna stolta a penar

a fool returns to suffering

chi prima err.

after having once erred.

s Scene 11
Boschereccia

A woody grove

Eumete Eumaeus
Oh come mal si salva un Regio amante Oh how badly can a loving king save himself
da sventure e da mali!

from misadventure and evil!

Meglio i scettri regali Tears sooner bedew royal sceptres

che i dardi de pastor imperla il pianto.

than the staffs of the shepherds.

Seta vestano ed ori Silk and gold

i travagli maggiori.

clothe the greatest troubles.

vita pi sicura And more secure

della ricca et illustre

than the rich and illustrious life

la povera et oscura.

is the poor and obscure one.

Colli, campagne e bosci,

Hills, fields and woods,

se stato human felicit contiene,

if the human state contains happiness,

in voi sannida il sospirato bene.

it is in you that it makes its nest.

Herbosi prati, in voi nasce il fior del diletto,

Grassy meadows, in you the flower of delight is born,

frutto di libertade in voi si coglie,

the fruit of liberty is gathered in you,

son delizie dellhuom le vostre foglie.

your leaves are the delight of man.

38

d Scene 12
Iro Irus
Pastor darmenti pu prati e boschi lodar, A keeper of cattle can well praise meadows and woods,
avvezzo mandre a conversar.

for he is used to talking to the herds.

Questherbe che tu nomini These grasses you have mentioned

sono cibo di bestie, pastor, e non degli huomini.

are fodder for the cattle, and not for man.

Col tra Regi io sto,

I live there among kings,

tu fra gli armenti qui.

you here among the cattle.

Tu godi e tu conversi tutto il di You cultivate and converse in woodland

amicizie selvatiche,

friendships the whole day,

io mangio i tuoi compagni, pastor, e le tue pratiche! I eat your companions, herdsman, and your work!
Eumete Eumaeus
Iro, gran mangiatore,

Irus, you big eater,

Iro, divoratore

Irus, you glutton,

Iro, loquace!

Irus, you windbag!

Mio pace non perturbar. Do not disturb my peace.

Corri a mangiar! a crepar!

Run away to eat! To die!

f Scene 13
Eumete Eumaeus
Ulisse generoso! Fu nobile intrapresa

Generous Ulysses! You undertook noble deeds

lo spopolar, lincenerir cittadi;

depopulating and burning down cities;

ma forse il ciel irato nella caduta de

but perhaps heaven, enraged at the fall of the

Trojano regno, Trojan kingdom

volle la vita tua per vittima al suo sdegno.

demands your life as a sacrifice for its anger.

39

Ulisse (in sembianza di vecchio) Ulysses (in the guise of an old man)
Se del nomato Ulisse tu vegga in questo giorno

If today you wish

desiato il ritorno,

the return of the said Ulysses,

accogli questo vecchio povero

receive this poor old man

chha perduto ogni mortal aiuto

who has lost all mortal aid

nella cadente et, nellaspra sorte;

in the age of decline, in bitter fortune;

le sia la tua piet scorta alla morte.

may your pity escort him to his death.

Eumete Eumaeus
Hospite mio sarai, You will be my guest,
cortese albergo avrai.

you will have a courteous lodging.

Sono i mendici The beggars are

favoriti del ciel, di Giove amici.

favourites of heaven, friends of Jupiter.

Ulisse Ulysses
Ulisse vivo! La patria lo vedr,

Ulysses is alive! His fatherland will see him,

Penelope lhavr; Penelope will embrace him;

che il fato non fu mai daffetto privo,

for fate was never without feeling,

maturano il destin le sue dimore;

and time can change much;

credilo a me pastore!

believe me this, shepherd!

Eumete Eumaeus
Come lieto taccoglio, mendica deit!

How happily I welcome you, mendicant deity!

Il mio lungo cordoglio da te vinto cadr.

My long sorrow falls vanquished by you.

Seguimi amico pur, Now follow me, friend;

riposo havrai sicur.

you will rest in safety.

40

Disc 2
ACT II

q Scene 1
In Minervas chariot
Telemaco Telemachus
Lieto cammino, Delightful passage,
dolce viaggio,

sweet journey,

passa il carro divino

the divine chariot passes

come che fosse un raggio.

as if it were a ray of light.

Minerva, Telemaco

Minerva, Telemachus

Gli Dei possenti The mighty gods

navigan laure, solcano i venti.

sail on the breezes, plow the winds.

Minerva Minerva
Eccoti giunto alle paterne ville,

Here you are, united with your fathers domains,

Telemaco prudente.

wise Telemachus.

Non ti scordar gi mai de miei consigli, Never forget my counsels,

che se dal buon sentier travia la mente

when your mind errs from the right path

incontrerai perigli.

you will meet with dangers.

Telemaco Telemachus
Periglio invan mi sgrida Danger will try in vain to oppress me
se tua bont maffida.

if you grant me your bounty.

41

w Scene 2
Boschereccia

A woody grove

Eumete Eumaeus
O gran figlio dUlisse, O great son of Ulysses,
pur ver che tu torni

you have indeed returned

a serenar della tua madre i giorni.

to render happy your mothers days.

O gran figlio dUlisse, O great son of Ulysses,

pur sei giunto alfine

you are indeed united at last

di tua casa cadente

with your fallen house,

a riparar laltissime ruine.

to repair the noble ruins.

Fugga il cordoglio e cessi il pianto. Sorrow flees and lament comes to an end.
Facciamo, o peregrino, Let us, O wanderer,
allallagrezze nostre honor col canto.

do honour to our happiness in song.

Eumete, Ulisse Eumaeus, Ulysses

Verdi spiagge al lieto giorno,

Green coasts on the happy day,

rabbellite herbette e fiori!

readorned grasses and flowers!

Scherzin laure con gli amori, The breezes play with the cupids,
ride il ciel al bel ritorno.

heaven smiles at the joyful return.

Telemaco Telemachus
Vostri cortesi auspici a me son grati. Your auspicious friendliness makes me grateful.
Manchevole piacer per malletta,

But it is an incomplete pleasure that charms me,

chesser paga non puote alma chaspetta.

for a soul that is waiting cannot be satisfied.

Eumete Eumaeus
Questo che tu qui miri This man whom you see here,
sovra gli homeri stanchi portar gran peso danni

bearing a great weight of years on his weary shoulders,

42

e mal involto da ben laceri panni,

and poorly clad in torn garments,

egli maccerta che dUlisse il ritorno

he has assured me that the return of Ulysses

fia di poco lontan da questo giorno.

is not distant on this day.

Ulisse Ulysses
Pastor, se nol fia ver, chal tardo passo Shepherd, should this not be true, let the first
si trasformi in sepolcro il primo sasso,

stone be turned into a tomb for my slow steps,

e la morte che meco amoreggia dintorno

and death, who is courting me within,

hora porti ai miei d lultimo giorno.

now bring my life its last day.

Eumete, Ulisse Eumaeus, Ulysses

Dolce speme i cor lusinga, Sweet hope flatters the heart,
lieto annuzio ogni alma alletta,

happy news charms every soul,

sesser paga non pote

yet contentment is impossible

alma chaspetta.

for a soul that is waiting.

Telemaco Telemachus
Vanne pur tu veloce, Then go you quickly,
vanne, Eumete, alla reggia

go, Eumaeus, to the palace,

e del mio arrivo fa chavvisata sia

and see that my arrival is made known

la genitrice mia.

to my mother.

e Scene 3
Scende dal cielo un raggio de fuoco,

A ray of fire comes down from the sky,

sopra il capo dUlisse, sapre la terra

over the head of Ulysses; the earth opens,

e Ulisse si profonda.

and Ulysses disappears into it.

Telemaco Telemachus
Che veggio, ohim, che miro?

What do I see, alas, what do I behold?

43

Questa terra vorace i vivi inghiotte, This voracious earth devours the living,
apre bocche e caverne dhumano sangue ingorde, it opens mouths and caverns, greedy for human blood,
e pi non soffre del viator il passo,

and no longer suffers the step of the wayfarer,

ma la carne dellhuom tranghiotte il sasso.

but the stone swallows the flesh of man.

Che prodigi son questi?

What wonders are these?

Dunque, Patria, apprendesti Did you then learn, O fatherland,

a divorar le genti?

to devour people?

Cos dunque Minerva alla patria mi doni, Do you then deliver me, Minerva, to my fatherland,
questa patria comune se di questo ragioni?

this common fatherland, for reasons like this?

Ma se presta ho la lingua ho la memoria pigra.

But if I have a quick tongue, my memory is dull.

Quel pelegrin chor hora This wanderer who just now,

per dar fede a menzogne

to give credibility to lies,

chiam sepolcri et invit la morte

invoked tombs and invited death,

dal giusto ciel punito

is now punished by a just heaven

rest qui seppellito.

and lies buried here.

Ah caro padre! Dunque in modo s strano Ah, beloved father! Thus, in such a strange manner,
mavvisa il tuo morire il ciel di propria mano?

does heaven itself advise me of your death?

Ahi che per farmi guerra Ah, in order to fight against me

fa stupori e miracoli la terra!

earth performs wonders and miracles!

(Qui risorge Ulisse in sua propria forma.)

(Here Ulysses rises again in his true form.)

Ma che nuovi portenti oihm rimiro?

But what new portents, alas, do I behold again?

Fa cambio, fa permuta con la morte la vita! Death is exchanged with, transformed into life!
Non sia pi che chiami questa caduta amara, No more shall this fall be called bitter,
se col morir ringiovanir simpara.

if in dying one can be rejuvenated.

44

Ulisse Ulysses
Telemaco, Telemachus,
convienti congiar le meraviglie in allegrezze,

it is fitting that your wonder changes to joy,

che se perdi il mendico il padre acquisti.

for he who has lost a beggar has found a father.

Telemaco Telemachus
Bench Ulisse si vanti Although Ulysses boasted
di prosapia celeste

of heavenly prescience,

trasformarsi non puote huomo mortale;

mortal man is unable to transform himself;

tanto Ulisse non vale.

Ulysses is not so powerful.

O scherzano gli Dei, Either the gods are playing tricks,

o pur mago tu sei!

or you are a magician!

Ulisse Ulysses
Ulisse sono! Testimonio Minerva,

I am Ulysses! The witness is Minerva,

quella che te port per laria a volo.

she who carried you, flying, through the air.

La forma cangi a me come le aggrada She changed my form as she pleased

perch sicuro e sconosciuto vada.

that I might go safe and unrecognized.

Telemaco, Ulisse Telemachus, Ulysses

O padre sospirato! O father whom I have sighed for!
O figlio desiato! O son whom I have longed for!
Genitore glorioso!

Glorious parent!

Pegno dolce amoroso! Sweet pledge of love!

Tinchino. Ti stringo.

I bow before you. I press you to me.

O mio diletto! Oh my joy!

Figliale dolcezza a lagrimar mi sforza.

Filial tenderness brings me to tears.

Paterna tenerezza il pianto in me rinforza. Paternal tenderness makes me weep.

Mortal tutto confida e tutto spera, A mortal trusts all and hopes all,

45

che quando il ciel protegge

for when heaven protects you,

natura non ha legge;

nature has no jurisdiction;

limpossibile ancor spesso savverra.

the impossible can still often come true.

Ulisse Ulysses
Vanne alle madre, va!

Go to your mother, go!

Porta alla reggia il pi!

Make haste to the royal palace!

Sar tosto con te,

I will soon be with you,

ma pria canuto il pi ritorner.

but first I must become an old man again.

r Scene 4
Reggia

The palace

Melanto Melantho
Eurimaco, la donna insomma ha un cor di sasso. Eurymachus, the lady has a heart of stone.
Parola non la muove;

Words do not move her;

priego invan la combatte;

imploring with her is in vain;

dentro del mal damore

within her lovesickness

sempre tenace ha lalma;

she has an ever tenacious soul;

o di fede o dorgoglio

whether through faithfulness or through pride

in ogni modo scoglio.

she is like a rock in every way.

Nemica o pur amante As an enemy or as a lover

non ha di cera il cor

she has a heart not of wax

ma di diamante.

but of diamond.

Eurimaco Eurymachus
E pur udii sovente la poetica schiera And yet countless poets are often heard
cantar donna volubile e leggiera.

singing of changeable and flighty woman.

46

Melanto Melantho
Ho speso invan parole, indarno prieghi

In vain I have spent words, uttered prayers

per condur la Regina a nuovi amori.

to guide the queen to new loves.

Limpresa disperata: The case is hopeless:

odia non che lamor lesser amata.

she now hates love and being loved.

Eurimaco Eurymachus
Peni chi brama, stenti chi vuol, Pains that are longed for, troubles wished for,
goda fra lombre chi ha in odio il sol.

those who hate the sun enjoy the shadows.

Melanto Melantho
Penelope trionfa nella doglia e nel pianto, Penelope triumphs in grief and weeping,
fra martiri contenta.

is contented with her martyrdom.

Vive lieta Melanto.

Melantho lives happily.

Ella in pene si nutre, She nourishes herself with pain,

io fra diletti amando mi giocondo;

I amuse myself in the delights of love

fra si vari pensier pi bello il mondo.

among such thoughts the world is more beautiful.

Melanto, Eurimaco

Melantho, Eurymachus

Godendo, ridendo si lacera il duol. Enjoying, laughing, sorrow is destroyed.

Amiamo, godiamo e dica chi vuol. Let us love, let us enjoy, whatever others say.

t Scene 5
Antinoo Antinous
Sono laltre Regine Other queens are
coronate di servi e tu damanti.

surrounded by servants and you by lovers.

Tributan questi Regi These kings pay tribute

al mar di tua bellezza un mar di pianti.

to the sea of your beauty with a sea of tears.

47

Antinoo, Pisandro, Anfinomo

Antinous, Peisander, Amphinomus

Ama dunque, s, s, dunque riama un d. Love then, yes, yes, love again one day.
Penelope Penelope
Non voglio amar, no,

I do not want to love, no,

chamando pener.

for love is torment.

Antinoo, Pisandro, Anfinomo

Antinous, Peisander, Amphinomus

Ama dunque, s, s, dunque riama un d. Love then, yes, yes, love again one day.
Penelope Penelope
Cari tanto mi siete You are as dear to me
quanto pi ardenti ardete;

as you ardently burn;

ma non mappresso allamoroso gioco,

but do not approach me in the game of love,

che lunge bel pi che vicino il foco.

for the fire is more beautiful when distant than when near.

Non voglio amar, no,

I do not want to love, no,

chamando pener.

for love is torment.

Pisandro Peisander
La pampinosa vite, se non sabbraccia al faggio, The leafy vine, if it does not embrace the tree,
lautun non frutta e non fiorisce il maggio,

will not bear fruit in autumn or flower in May,

e se fiorir non resta

and if it no longer flowers

ogni mano la coglie,

every hand will gather it,

ogni pi la calpesta.

every foot will trample it.

Anfinomo Amphinomus
Il bel cedro odoroso The beautiful, fragrant cedar
vive, se non sincalma,

is, if not grafted,

senza frutto, spinoso;

barren and thorny;

48

ma se sinnesta poi

but when grafted

figliano frutti e fior gli spini suoi.

its thorns bring forth fruit and flowers.

Antinoo Antinous
Ledera che verdeggia ad onta anco del verno The ivy that is green even in winter
dun bel smeraldo eterno

with a beautiful, eternal emerald green,

se non sappoggia perde

if not supported, will lose

fra lherbose rovine il suo bel verde.

its beautiful green amidst the grassy ruins.

Antinoo, Pisandro, Anfinomo

Antinous, Peisander, Amphinomus

Ama dunque, s, s, dunque riama un d! Love then, yes, yes, love again one day!
Penelope Penelope
Non voglio amar, non voglio!

I will not love any more, no!

Come sta in dubbio un ferro Like a piece of iron

se fra due calamite

which, between two magnets,

da due parti diverse egli chiamato,

inclines itself and is attracted,

cos sta in forse il core

my heart cannot decide

nel tripartito amore.

among three lovers.

Ma non pu amar

But nobody can love

chi non sa, chi non pu

who knows nothing

che pianger e penar.

but anxiety and sorrow.

Mestizia e dolor Affliction and grief

son crudeli nemici damor.

are the worst enemies of love.

Antinoo, Pisandro, Anfinomo

Antinous, Peisander, Amphinomus

Allallegrezze dunque, al ballo, al canto! Then to enjoyment, to the dance, to song!

Rallegriam la Regina. Let us make the queen happy again.
Lieto cor ad amar tosto sinchina. A gay heart falls in love easily.

49

[Scene 6 Ballet of Moors, missing in score.]

y Scene 7
Eumete Eumaeus
Apportator dalte novelle vengo:

I come as bearer of important tidings:

gionto, o gran Regina, Telemaco tuo glio Telemachus your son, great queen, has just

returned home,

e forse non fia vana la speme chio tarreco:

and perhaps it is no empty hope that I announce:

Ulisse, il nostro Rege, il tuo consorte, vivo,

Ulysses our king, your husband, is alive,

e speriam non lontano il suo bramato arrivo!

and his longed-for return is not far off!

Penelope Penelope
Per s dubbie novelle Such uncertain tidings
o si addoppia il mio male

will either make my grief stronger

o si cangia il tenor delle mie stelle.

or change the course of my stars.

u Scene 8
Antinoo Antinous
Compagni, udiste: il vostro vicin rischio mortale

Friends, listen: your impending mortal danger

vi chiama a grandi e risolute imprese.

must spur you to great and decisive deeds!

Telemaco ritorna, e forse Ulisse.

Telemachus is coming home and perhaps Ulysses himself.

Questa reggia da voi violata e offesa This palace, violated and mistreated by you,
dal suo signor aspetta

expects from its lord

tarda bens, ma prossima vendetta.

a vengeance, delayed but imminent.

Chi doltraggiar fu ardito

He who was eager to offend

neghittoso non resti

will now not hesitate

in compir il delitto.

to complete the crime.

51

In sin ad hora fu il peccato dolcezza;

Up to now the sin was sweet;

hora il vostro peccar fia sicurezza,

now your sinning must save you,

che lo sperar favori gran pazzia

for it is great foolishness to hope for favour

da chi soffese pria.

from one who has been offended.

Anfinomo, Pisandro Amphinomus, Peisander

Han fatto lopre nostre Our deeds have made us
inimici dUlisse.

enemies of Ulysses.

Loltraggiar linimico Offence to the enemy

unqua disdisse.

cannot be undone.

Antinoo Antinous
Dunque lardir saccresca, Then let our daring increase,
e pria ch Ulisse arrivi

and before Ulysses arrives

Telemaco vicin togliam dai vivi!

let us kill the approaching Telemachus!

Anfinomo, Pisandro, Antinoo Amphinomus, Peisander, Antinous

S, s, de grandi amori Yes, yes, great loves
sono figli i gran sdegni,

engender great anger,

quel fere i cori

the former wound the heart,

e questabbatte i regni.

the latter destroys kingdoms.

(Qui vola sopra il capo dei proci unaquila.)

(Here an eagle flies over the suitors heads.)

Eurimaco Eurymachus
Chi dallalto nascolta

He who hears it from on high

hor ne risponde, amici!

now gives answer, friends!

Mute lingue del ciel son gli auspici. The omens are mute messages of heaven.
Mirate, ohim mirate

Behold, alas, behold

52

del gran Giove laugello,

the eagle of great Jupiter,

ne predice rovine, ne promette flagello!

it predicts ruin, it promises punishment!

Muova al delitto il piede Turn your steps towards crime

chi giusto il ciel non crede.

only if you do not believe that heaven is just.

Anfinomo, Pisandro, Antinoo Amphinomus, Peisander, Antinous

Crediam al minacciar del ciel irato,

We believe the threats of irate heaven,

che chi non teme il cielo

for whoever does not fear heaven

raddoppia il suo peccato.

doubles his sin.

Antinoo Antinous
Dunque prima che gionga il filial soccorso, Therefore, before her son arrives to help her,
per abbatter quel core

let us, in order to win this heart,

facciam ai doni almen grato ricorso,

at least appeal to her with gifts,

perch ha la punta dor lo stral dAmore.

for the arrow of Cupid has a tip of gold.

Eurimaco Eurymachus
Loro sol sia Let gold alone be
lamorosa magia.

the magic of love.

Ogni cor feminil se fosse piet Every womans heart, even of stone,
tocco dallor si spetra.

melts when touched by gold.

Anfinomo, Pisandro, Antinoo Amphinomus, Peisander, Antinous

Amor unarmonia, Love is a harmony,
sono canti i sospiri,

sighs are the melody,

ma non si canta ben se lor non suona:

but one does not sing well if gold does not resound:

non ama chi non dona.

he does not love who does not give presents.

53

i Scene 9
Boschereccia

A woody grove

Ulisse Ulysses
Perir non pu chi tien per scorta il cielo,

He cannot perish who is guided by heaven,

chi ha per compagno un Dio.

who has a god as his companion.

A grandimprese, ver, volto son io.

I am indeed chosen for great things.

Ma fa peccato grave

But he commits a grave sin who,

chi difeso dal ciel il mondo pave.

when defended by heaven, fears the world.

Minerva Minerva
O coraggioso Ulisse, O brave Ulysses,
Io far che proponga

I shall arrange that

la tua casta consorte giuoco

your chaste consort proposes the game

che a te fia gloria

which will bring you glory

e sicurezza vittoria

and sure victory

e a Proci morte.

and the death of the suitors.

Allor che larco tuo ti giunge in mano

When you take your bow in hand

e strepitoso tuon fiero tinvita,

and a loud, fierce thunder invites you,

saetta pur, che la tua destra ardita

then shoot, so that your bold right hand

tutti conficcher gli estinti al piano.

pins all the dead to the ground.

Io star teco e con celeste lampo

I will remain with you and, with celestial lightning,

atterrer lhumanit soggetto:

will vanquish subject humanity:

cadran vittime tutti alla vendetta,

they will all fall victim to your vengeance

che i flagelli del ciel non hanno scampo!

for they have not escaped the wrath of heaven!

Ulisse Ulysses
Sempre cieco il mortale, The mortal is always blind,
ma allor si dee pi cieco

but now he is obliged to be more blind

54

chil precetto divin devoto osserva.

that he may devoutly observe divine precepts.

Io ti seguo, Minerva!

I follow you, Minerva!

o Scene 10
Eumete Eumaeus
Io vidi, o pellegrin, de Proci amanti

I saw, O wanderer, the amorous suitors

lardir infermarsi,

losing their boldness,

lardore gelar negli occhi tremanti,

the ardour freezing in their trembling eyes,

il cor palpitar:

their hearts palpitating:

il nome sol dUlisse

alone the name of Ulysses

questalme ree trafisse.

transfixed these guilty souls.

Ulisse Ulysses
Godo anchio, n so,

I too rejoice to know it;

come rido, n so perch.

how I laugh, not knowing why.

Tutto gioisco,

I am quite overjoyed,

ringiovanisco

rejuvenated

ben lieto aff.

by such happiness.

Eumete Eumaeus
Tosto chavrem con povera sostanza As soon as we have fortified
i corpi invigoriti, andrem veloci.

our bodies with a frugal meal, we shall make haste.

Vedrai di quei feroci You will see the impudent, corrupt

fieri i costumi, i gesti

morals and behaviour

impudente, inonesti.

of those fierce, ferocious suitors.

Ulisse Ulysses
Non vive eterna larroganza in terra, Arrogance will not live forever on earth;

55

la superbia mortal tosto sabbatte,

mortal pride is soon struck down

che il fulmine del ciel gli Olimpi atterra.

by the thunderbolts of the Olympians in heaven.

a Scene 11
Reggia

The palace

Telemaco Telemachus
Del mio lungo viaggio i torti errori The tortuous wanderings of my long journey
gi vi narrai, Regina.

I have already told you, O queen.

Hora tacer non posso della veduta Greca Now I can no longer be silent
la bellezza divina.

about the divine beauty of the Greek woman I saw.

Maccolse Helena bella;

Beautiful Helen received me;

io mirando stupii, dentro a quei raggi immerso

I gazed at her wondering, as I was immersed in those eyes,

che di Paridi pieno non fosse luniverso;

that the whole universe was not full of Parises;

alla figlia di Leda

one Paris alone, I said,

un sol Paride, dissi, poca preda.

is but little prey for Ledas daughter.

Povere fur le stragi, Poor was the havoc,

furon lievi gli incendi a tanto foco,

mild was the burning with so much fire;

che se non arde un mondo il resto poco.

unless the whole world burns for her, the rest is too little.

Io vidi in que beglocchi

I saw in those beautiful eyes

dellincendio Trojano le nascenti scintille,

the nascent sparks of burning Troy,

le bambine favile;

the kindling flames;

e ben pria potea astrologo amoroso

and long ago, an astrologer, enamoured

da quei giri di foco

of those orbs of fire,

profetar fiamme e indovinar ardori

prophesied flames and foresaw heat

da incenerir citt non men che cori.

that would burn cities, as well as hearts.

Paride, ver, mor, Paris died, it is true,

Paride ancor gio.

yet Paris knew joy.

56

Con la vita pagar convenne lonta,

With his life he fittingly paid for the shame,

ma cos gran piacere una morte non sconta.

but such great pleasure is not paid for by one death alone.

Si perdoni a quellalma il grave fallo: Let that soul be pardoned its grave offence:
la bella Greca porta nel suo volto beato

the beautiful Greek woman carries in her blissful face

tutte le scuse del Trojan peccato.

all the excuses for the Trojan crime.

Penelope Penelope
Belt troppo funesta, ardor iniquo Too fatal beauty, iniquitous passion
di rimembranze indegno,

unworthy of remembrance,

ti semin lo sdegno

anger sowed you

non tra i fiori dun volto,

not among the flowers of a face,

ma fra i strisci dun angue;

but among the coils of a serpent;

che mostro quelamor che nuota in sangue.

what a monster is that love which swims in blood.

Memoria cos trista disperda pur loblio, Let such a tragic memory be dispelled by oblivion,
vaneggia la tua mente, folleggia il tuo desio!

your mind speaks vanities, your emotions are folly!

Telemaco Telemachus
Non per vana follia Helena ti nomai, Not for vain folly did I mention Helen to you,
ma perch essendo nella famosa Sparta

but because, while in famous Sparta,

circondato improvviso

there flew circling above

dal volo dun augel destro e felice,

a propitious bird;

Helena ch maestra

Helen, who is well versed

dellindovine scienze e degli auguri

in occult science and in omens,

tuttallegra mi disse

told me rejoicing

chera vicino Ulisse

that Ulysses was near

e che dovea dar morte ai Proci

and that he would bring death to the suitors

e stabilirsi il regno.

and restore his kingdom.

57

s Scene 12
Antinoo Antinous
Sempre villano Eumete, sempre tingegni Ever villainous Eumaeus, you always seek
di perturbar la pace, dintorbidir la gioia,

to disturb our peace, to spoil our pleasure,

oggetto di dolore, ritrovator di noia,

miserable object, troublemaker,

hai qui condotto un infesto mendico,

you have brought here an infested beggar,

un noioso importuno

an annoying importuner

che con sue voglie ingorde

who, with his greedy desires,

non far che guastar le mente liete.

will do nothing but ruin our happy mood.

Eumete Eumaeus
Lha condotto Fortuna

Fortune has led him

alle case dUlisse ove piet saduna.

to the house of Ulysses, where he can receive compassion.

Antinoo Antinous
Rimanga ei teco a custodir la gregge Let him remain with you to guard the herds
e qui non venga

and not come here,

dove civile nobilit comanda e regge.

where civilized nobility rules.

Eumete Eumaeus
Civile nobilit non crudele,

Civilized nobility is not cruel;

n puote anima grande sdegnar piet

a great soul cannot scorn compassion,

che nasce de Regi tra le fasce.

with which kings are born.

Antinoo Antinous
Arrogante plebeo! Insegnar opre eccelse Arrogant plebeian! To teach of noble deeds
a te vil huom non tocca,

is not for a base man like you;

n dee parlar di re villana bocca.

a peasants mouth should not talk of kings.

58

E tu, povero indegno, And you, unworthy pauper,

fuggi da questo regno!

depart from this kingdom!

Iro Irus
Partiti, partiti, movi il pi! Leave, leave, move your feet!
Se sei qui per mangiar

If you are here in order to eat,

son pria di te.

I was here before you.

Ulisse Ulysses
Huomo di grosso taglio, O man of the big waist,
di larga prospettiva,

of large bulk,

bench canuto et invecchiato sia

although hoary and aged

non vile per lanima mia.

my soul is yet not base.

Se tanto mi concede lalta bont regale

If high royal goodness allows me,

trarr il corpaccio tuo sotto il mio piede,

I shall trample your gross body under my feet,

mostruoso animale!

you monstrous animal!

Iro Irus
E che s, rimbambito guerriero, And you, warrior in your dotage,
vecchio importuno, e che s,

old troublemaker, what if

che ti strappo i peli della barba ad uno ad uno!

I pluck out the hairs of your beard one by one!

Ulisse Ulysses
Voglio perder la vita

I shall give up my life

se di forza e di vaglia

if in strength and valour

io non ti vinco or sacco di paglia!

I do not defeat you now, you sack of straw!

59

Antinoo Antinous
Vediam, Regina, in questa bella coppia

We shall see, O queen, in this handsome couple

duna lotta di braccia stravagante duello.

a grotesque wrestling match.

Telemaco Telemachus
Il campo io tassicuro, The eld I shall leave open to you,
pelegrin sconosciuto.

unknown wanderer.

Iro Irus
Anchio ti d franchigia, And I give you leave,
combattitor barbuto.

bearded fighter.

Ulisse Ulysses
La gran disfida accetto, cavaliero panciuto!

I accept the great challenge, knight of the paunch!

Iro Irus
(Che fa alla lotta.)

(Preparing to wrestle.)

Su dunque! Su, su! Now then!

Alla ciuffa, alla lotta! To the fight, lets wrestle!
(Segue la lotta.)

(The fight ensues.)

Son vinto, ohim!

I am beaten, alas!

60

d Scene 12, continued

Antinoo Antinous
Tu vincitor perdona

Victor, be kind

a chi si chiama vinto.

to the vanquished.

Iro puoi ben mangiar,

Irus, you are a mighty eater,

ma non lottar.

but not a fighter.

Penelope Penelope
Valoroso mendico, Oh, brave beggar,
in corte resta

remain at the court

honorato e sicuro.

in honour and safety.

Che non sempre vile A man is not always a coward

chi veste manto povero et oscuro.

who is clad in tattered clothes and humble.

Pisandro Peisander
Generosa Regina, Sublime queen,
Pisandro a te sinchina,

Peisander bows before you,

e ci che diede larga e prodiga sorte

and what generous, lavish fate has given me

dona a te, per te aduna sua novella fortuna.

I give to you to join a new fortune to yours.

Questa regal corona che di comando segno This royal crown, symbol of sovereignty,
ti lascia in testimon di ci che dona.

I give you as a token of all my gifts.

Dopo il dono del core After the gift of my heart

non ha dono maggiore.

I have no greater possession!

Penelope Penelope
Anima generosa, prodigo cavaliere,

Generous soul, liberal nobleman,

ben sei dimpero degno,

you indeed deserve a kingdom,

che non merita men chi dona un regno.

for he who gives a kingdom deserves no less.

61

Anfinomo Amphinomus
Se tinvoglia il desio

If at last you are inclined

daccettar regni in dono

to accept a kingdom as a gift,

ben so donar anchio

then I too can give

et anchio Rege sono.

for I also am a king.

Queste pompose spoglie, These splendid robes,

questi regali ammanti

this regal jewelry,

confessano superbi

bear witness to you

i miei ossequi i tuoi canti.

of my adoration.

Penelope Penelope
Nobil contesa e generosa gara A noble contest, an honest competition arises
ove amator discreto

from which prudent admirers

larte del ben amar donando impara.

can learn the art of love in giving gifts.

Antinoo Antinous
Il mio cor che tadora

My heart, that adores you,

non ti vuol sua Regina;

does not want you as its queen;

lanima che sinchina ad adorarti

the soul which bows to worship you

deit vuol chiamarti,

would call you a deity

e come Dea tincensa coi sospiri,

and, as to a goddess, offers incense with sighs

fa vittime i desiri

and desires as a sacrifice,

e con questori

and with this gold

toffre voti ed honori.

offers you vows and honours.

Penelope Penelope
Non andran senza premio They will not be unrewarded,
opre cotanto eccelse,

such excellent offerings,

che donna quando dona

for when a woman is given presents

62

se non prima accesa allor saccende,

if not at first in love, she comes to love;

e donna quando toglie

and when a woman accepts a gift,

se non prima resa al cor sarrende.

her heart yields, even if she resists at first.

Hor taffretta Melanto e qui marreca Now hurry, Melantho and bring here
larco del forte Ulisse e la faretra:

the bow and quiver of the mighty Ulysses.

e chi sar di voi And whoever of you

con larco poderoso

can most proudly shoot an arrow

saettator pi fiero

with the powerful bow

havr dUlisse e la moglie e limpero.

will win Ulysses wife and kingdom.

Telemaco Telemachus
Ulisse, e dove sei?

Ulysses, where are you?

Che fai che non ripari le tue perdite

What are you doing, that you do not repair your losses,

e in un gli affanni miei?

and at the same time my distress?

Penelope Penelope
Ma che promise bocca facile

But why does the mouth lightly promise

ahi troppo discordante dal core?

that which is, alas, so at odds with the heart?

Numi, numi del cielo! Sio l dissi

Gods, gods of heaven! If I said it,

snodaste voi la lingua, apriste i detti,

it was you released my tongue, formed the words,

saran tutti del cielo e delle stelle

they are all wondrous effects

prodigiosi effetti.

of heaven and the stars.

Anfinomo, Pisandro, Antinoo Amphinomus, Peisander, Antinous

Lieta, soave gloria,

Happy, sweet glory,

grata e dolce vittoria!

gracious and pleasant victory!

Cari pianti degli amanti, The dear tears of lovers,

cor fedele, costante sen

a faithful heart, a constant breast

cangia il torbido in seren.

change trouble to peace.

63

f Scene 12, continued

Penelope Penelope
Ecco larco dUlisse, This is Ulysses bow,
anzi larco dAmor

or rather the bow of Cupid

che dee passarmi il cor.

that must pierce my heart.

Pisandro, a te lo porgo: Peisander, I hand it to you:

chi fu il primo a donar

he who was the first to give

sia il primo a saettar.

shall be the first to shoot.

Pisandro Peisander
Amor, se fosti arciero in saettarmi

Cupid, if you were the archer who pierced me,

hor d forza a questarmi,

now give strength to this arm

che vincendo dir:

that I may say in conquering:

sun arco mi fer

if one bow has wounded me,

un arco mi san.

another will heal me.

(Pisandro sappareccha di caricar larco

(Peisander braces himself to bend the bow

e non pu.)

but cannot do it.)

Il braccio non vi giunge,

My arm cannot do it,

il polso non varriva.

my wrist cannot handle it.

Ceda la vinta forza,

My strength fails me;

col non poter anche il desio sammorza.

with my weakness, even my desire fades.

Anfinomo Amphinomus
Amor, picciolo nume

Cupid, the little god,

non sa di saettar:

knows not how to shoot:

se trafigge i mortali

when he pierces mortals,

64

son le saette sue

what he shoots

sguardi, non strali,

are only glances, not arrows.

cha nume pargoletto The weapons of Mars refuse

negano dobbedir larme di Marte.

to obey a little child.

Tu, fiero Dio, le mie vittorie affretta, You, fierce god, hasten my victory;
il trionfo di Marte a te saspetta!

the triumph of Mars will be yours!

(Qui finge di caricar larco, e non pu.)

(He attempts to bend the bow but cannot.)

Comintrattabile, comindomabile

How unyielding, how hard to tame

larco si fa!

is this bow!

Quel petto frigido That cold heart

protervo e rigido

will remain defiant

per me sar.

and unyielding to me.

Antinoo Antinous
Ceda Marte et Amore

Mars and Cupid yield

ove impera belt.

where beauty reigns.

Chi non vince in honor non vincer.

He who fails to win in honour does not win at all.

Penelope, maccingo Penelope, I gird myself for the supreme test

in virt del tuo bello allalta prova,

with the virtue of your beauty;

virt, valor non giova.

virtue and bravery alone will be of no avail.

(Saffatica caricare larco e non pu.)

(He tries to bend the bow but cannot.)

65

Forse forza dincanto Perhaps the power of a spell

contende il dolce vanto.

fights against the gentle boast.

Ah chegli vero chogni cosa Ah, it may be true that everything

fedele ad Ulisse si rende,

proves faithful to Ulysses,

e sin larco dUlisse

and even Ulysses bow

Ulisse attende!

waits for Ulysses!

Penelope Penelope
Son vani, oscuri pregi

Vain and empty

i titoli de Regi;

are the titles of kings;

senza valor il sangue ornamento regale

without valour, lineage and trappings of royalty

illustri scettri a sostener non vale.

are of no avail in supporting illustrious sceptres.

Chi simile ad Ulisse

He who does not possess

virtute non possiede

virtues like Ulysses

de tesori dUlisse

is an unworthy heir

indegno erede.

to Ulysses treasures.

Ulisse Ulysses
Gioventute superba Proud youthfulness
sempre valor non serba,

does not always store bravery,

come vecchiezza humile

just as humble old age

ad ognor non vile.

is not always base.

Regina! In queste membra O queen! In these limbs

tengo unalma s ardita

I keep a soul so bold

challa prova minvita.

that it invites me to the contest.

Il giusto non eccedo:

I will not exceed what is legitimate:

rinunzio il premio e la fatica io chiedo.

I renounce the prize and I invoke the effort.

66

Penelope Penelope
Concedasi al mendico Let the beggar be allowed
la prova faticosa!

the strenuous trial!

Contesa gloriosa contro petti virili A glorious contest of an aged frame

un fianco antico che tra rossori involti

against virile hearts would

dar l foco damor vergogna ai volti.

turn the re of love into blushes of shame.

Ulisse Ulysses
Questa mia destra humile This, my humble right hand,
sarma a tuo conto, o cielo!

arms itself on your behalf, O heaven!

Le vittorie apprestate, o sommi dei, Prepare my victory, O mighty gods,

sa voi son cari i sacrifizi miei!

if my sacrifices are dear to you!

(Carica larco.)

(Bends the bow.)

Anfinomo, Pisandro, Antinoo Amphinomus, Peisander, Antinous

Meraviglie, stupori,

Wonder, astonishment,

prodigi estremi!

miraculous in the extreme!

Ulisse Ulysses
Giove nel suo tuonar grida vendetta!

Jupiter in his thunder cries for vengeance!

Cos larco saetta. This is how the bow shoots.

Alle morti, alle stragi, alle ruine! To death, to havoc, to ruin!

67

Disc 3
ACT III

q Scene 1
Iro Irus
O dolor, o martir che lalma attrista! Oh grief, oh torment that depresses the soul!
O mesta rimembranza di dolorosa vista! Oh woeful remembrance of a dismal sight!
Io vidi i proci estinti:

I saw the suitors dead:

i proci, i proci furo uccisi.

the suitors were slain.

Ah, chio perdei le delizie del ventre e della gola!

Alas, I have lost the delights of the stomach and of the gullet!

Chi succorre il digiun, chi lo consola?

Who will help the hungry one, who will console him?

O flebile parola! Oh for a gentle word!

I proci, Iro, perdesti The suitors you have lost, Irus,
i proci, i padri tuoi.

the suitors, your fathers.

Sgorga pur quanto vuoi Pour forth as much as you will,

lagrime amare e meste,

bitter and woeful tears,

che padre chi ti ciba e chi ti veste.

for your father is he who feeds and clothes you.

Chi pi della tua fame

Who will ever again

satoller le brame?

satisfy your hunger?

Non troverai chi goda You will not find anyone who enjoys
empir del vasto ventre

filling the hungry caverns

laffamate caverne;

of a vast belly;

non troverai chi rida

you will not find anyone who laughs

del ghiotto trionfar della tua gola.

at the glorious gluttony of your gullet.

Chi succorre il digiun, chi lo consola?

Who will aid the hungry one, who console him?

Infausto giorno a mie ruine armato:

Unhappy day, bent on my ruin:

poco dianzi mi vinse un vecchio ardito

just now, a bold old man vanquished me,

68

hor mabbatte la fame, dal cibo abbandonato.

and now, deprived of food, hunger lays me low.

Lhebbi gi per nemica,

It was already an enemy,

lho distrutta, lho vinta;

I destroyed it, I overcame it;

hor troppo fora vederla vincitrice.

now it is too much to see it victorious.

Voglio uccider me stesso e non vo mai

I want to kill myself, and never allow it

chella porti di me trionfo e gloria!

to triumph over me!

Che si toglie al nemico gran vittoria.

For to escape from the enemy is a great victory.

Coraggioso mio core,

Have courage, my heart;

vinci il dolore!

overcome the pain!

E pria challa fame nemica egli soccomba And before it succumbs to hunger, the enemy,
vada il mio corpo a disfamar la tomba!

may my body be swallowed by the tomb!

[Scene 2 A desert. Mercury informs the ghosts of the suitors that they deserved their fate, and they go
down into hell; this scene was apparently not set.]

w Scene 3
Reggia

The palace

Melanto Melantho
E quai nuovi rumori,

What new uproar,

e che insolite stragi,

what inconceivable carnage,

e che tragici amori!

and what tragic loves!

Chi fu lardito che os con nuova guerra

Who was the bold man who dared

la pace intorbidar chhai tu negli occhi,

to disturb the tranquillity of your eyes with a new war,

e trar disfatti a terra

and to demolish

quei tempii che ad amor furon eretti

the temples erected to love

in quei focosi petti?

in those ardent hearts?

69

Penelope Penelope
Vedova amata, vedova Regina, Loved widow, widowed queen,
nuove lagrime appresto:

new tears are coming:

insomma allinfelice

to the unfortunate,

ogni amore funesto.

every love is fatal.

Melanto Melantho
Cos allombra de scettri anco pur sono Thus even in the shadow of the sceptre
malsicure le vite; vicine alle corone

lives are insecure; near to the crown

son le destre esecrande

accursed hands

anco pi ardite.

are even bolder.

Penelope Penelope
Moriro i proci, e queste da lor chiamate stelle The suitors died, and the stars they invoked
furon di quelle morti assistenti facelle.

were indifferent witnesses to their deaths.

Melanto Melantho
Penelope! Penelope!
Il castigo dellimportante fatto The punishment for serious crimes
non consigliar che con lo sdegno e lira,

must be made only with scorn and anger,

che maestate offesa

for offended majesty

esser giusta non pu se non sadira.

cannot be just if it is not enraged.

Penelope Penelope
Dellocchio la pietate The compassion of my eyes
si risente alleccesso,

is all too strong,

ma concitar il core

but to excite the heart

a sdegno et a dolore

to anger and grief,

non m concesso.

I have not the strength.

70

e Scene 4
Eumete Eumaeus
Forza docculto affetto

May the power of deep feelings

raddolcisce il tuo petto.

calm your breast.

Chi con un arco solo

He who with a single bow,

isconosciuto diede a cento morti il duolo,

unrecognized, brought grief to a hundred,

quel forte e quel robusto

this strong, robust man

che dom larco e fe volar gli strali,

who bent the bow and let fly the arrows,

colui che i proci insidiosi e felli

who bravely struck down

valoroso trafisse

the treacherous and ruthless suitors

rallegrati, Regina

rejoice, O queen

egli era Ulisse!

he was Ulysses!

Penelope Penelope
Sei buon pastor Eumete You make a good shepherd, Eumaeus,
se persuaso credi

if you believe

contro quello che vedi.

against that which you see.

Eumete Eumaeus
Il canuto, lantico, The hoary man, the old man,
il povero, il mendico,

the pauper, the beggar,

che coi proci superbi

who courageously attacked

coraggioso attacc mortali risse

the proud suitors in mortal combat

rallegrati, Regina

rejoice, O queen

egli era Ulisse!

he was Ulysses!

72

Penelope Penelope
Credulo il volgo e sciocco, The common man is credulous and gullible,
e la tromba mendace

and deceitful the trumpet

della fama fallace.

of false renown.

Eumete Eumaeus
Ulisse io vidi, s!

I saw Ulysses, yes!

Ulisse vivo, qui!

Ulysses is alive, he is here!

Penelope Penelope
Relator importuno!

Importunate messenger!

Consolator nocivo! Pernicious comforter!

Eumete Eumaeus
Dico che Ulisse qui!

I tell you Ulysses is here!

Io stesso il vidi el so.

I myself saw it and know it.

Non contenda il tuo no con il mio s: Your no cannot argue with my yes:
Ulisse vivo, qui!

Ulysses is alive, and here!

Penelope Penelope
Io non contendo teco

I do not argue with you,

perch sei stolto e cieco.

because you are foolish and blind.

r Scene 5
Telemaco Telemachus
saggio Eumete, saggio!

Eumaeus is wise, he is wise!

ver quel chei racconta:

What he tells is true:

Ulisse, a te consorte et a me padre,

Ulysses, your husband and my father,

73

ha tutte uccise le nemiche squadre.

has killed all the forces of the enemy.

Il comparir sotto mentito aspetto,

His appearance in disguise,

sotto vecchia sembianza,

in the semblance of an old man,

arte fu di Minerva e fu suo dono.

was the art of Minerva and was her gift.

Penelope Penelope
Troppo, egli ver, che gli uomini qui in terra Too often, indeed, must men here on earth
servon di gioco agli immortali Dei.

serve as playthings of the immortal gods.

Se ci credi ancor tu lor gioco sei.

If you believe that, you also are their toy.

Telemaco Telemachus
Vuole cos Minerva

Minerva willed this,

per ingannar con le sembianze finte

to deceive Ulysses enemies

gli inimici dUlisse.

with a disguise.

Penelope Penelope
Se dingannar gli Dei prendon diletto

If the gods take pleasure in deceiving,

chi far fede mi puote

who can make me believe

che non sia mio linganno

that I am not the one deceived,

se fu mio tutto il danno?

since my portion has been only suffering?

Telemaco Telemachus
Protettrice de Greci The protectress of the Greeks
come sai Minerva

is, as you know, Minerva,

e pi che gli altri Ulisse

and more than anyone else it is Ulysses

a lei fu caro.

who enjoys her affection.

74

Penelope Penelope
Non han tanto pensiero The gods have not much thought
gli Dei lass nel cielo,

for mortal things

delle cose mortali;

up there in heaven;

lasciano charda il foco

they let the fire burn

e agghiaccia il gelo.

and the ice freeze.

Figlian le cause lor piaceri e mali. They cause pleasures and misery.
Telemaco Telemachus
Togliti in pace il nero.

Cast off your black veil in peace.

Eumete Eumaeus
Io lo dir, ti seguir.

I shall tell him; I will follow you.

t Scene 6
Marittima

The sea

Minerva Minerva
Fiamma lira, o gran Dea, The flame is anger, O great goddess,
foco lo sdegno.

fire is scorn.

Noi sdegnose et irate incenerito habbiam

We scornful and angry ones have burned down

di Troja il regno,

the kingdom of Troy,

offese da un Trojan, ma vendicate.

offended by a Trojan, but avenged.

Il pi forte fra Greci ancor contende The mightiest of the Greeks still struggles
col destin, con il fato:

with destiny, with fate:

Ulisse addolorato.

the grief-stricken Ulysses.

75

Giunone Juno
Per vendetta che piace

For a satisfying vengeance

ogni prezzo leggiero.

no price is too high.

Vada il Trojano impero

May the Trojan empire

anco in peggio di polvere fugace!

disappear as dust!

Minerva Minerva
Dalle nostre vendette

His transgressions were

nacquero in lui gli errori,

born of our vengeance;

delle stragi dilette

his sufferings are the children

son figli i suoi dolori.

of the glorious massacres.

Convien al nostro nume

It befits our sovereign god

il vindice salvar, placar gli sdegni

to save the avenger, to placate the anger

del dio dei salsi regni.

of the god of the salty realms.

Giunone Juno
Procurer la pace, ricercher il riposo

I will procure peace, restore repose

dUlisse glorioso.

for glorious Ulysses.

Minerva Minerva
Per te del sommo Giove

For you,

e sorella e consorte

sister and consort of exalted Jupiter,

saprono nove in ciel divine porte.

the divine gates in heaven will open anew.

y Scene 7
Giunone Juno
Gran Giove, alma de Dei, Dio delle menti,

Great Jupiter, soul of the gods, god of spirits,

mente dell universo,

spirit of the universe,

76

tu chel tutto governi e tutto sei,

you who govern everything and know everything,

inchina le tue grazie a prieghi miei.

graciously hear my prayers.

Ulisse troppo err,

Ulysses has wandered too long,

troppo, ahi, troppo soffr:

too long, ah, too long has he suffered:

tornalo in pace un d.

let peace return to him one day.

Fu divin il voler che lo dest,

It was a divine will that roused him,

Ulisse troppo err.

Ulysses has wandered too much.

Giove Jupiter
Per me non avr mai To me you will never
vota preghiera Giuno,

pray in vain, Juno,

ma placar pria conviensi

but first the irate Neptune

lo sdegnato Nettuno.

must be placated.

Odimi, Dio del mar!

Hear me, god of the sea!

Fu scritto qui, dove il destin saccoglie,

Here, where fate is decreed,

delleccidio Trojano il fatal punto.

the day of the Trojan massacre was written.

Hor chal suo fine il destinato giunto Now that the destined one has reached his goal,
sdegno otioso un gentil petto invoglie.

let anger subside and kindness enter your breast.

E fu ministro del fato Ulisse:

Ulysses was a servant of fate:

il forte soffr, vinse, pugn

the hero suffered, conquered, fought

campion celeste.

as a champion of heaven.

Per lui mentre di cenere si veste

Because of him, death

cittadina di Troja err la morte.

walked the streets of Troy clothed in ashes.

Nettun, pace o Nettun! Neptune, peace O Neptune!

Perdona il suo duolo al mortal chafflitto il rese. Pardon this mortal the grief that afflicts him.
Ecco scrive il destin le sue difese;

Here destiny writes his defence;

non colpa dellhuom se il cielo tuona.

it is not the fault of man if heaven thunders.

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Nettuno Neptune
Son ben questonde frigide,

Well may these waves be frigid,

son ben questonde gelide,

well may these waters be icy,

ma sentono lardor di tua piet.

but they feel the warmth of your mercy.

Nei fondi algosi et infimi,

In the infinite abysses of seaweed,

nei cupi acquosi termini,

in the dark watery depths,

il decreto di Giove anco si sa.

the decree of Jupiter is known.

Contro i Feaci arditi e temerarii, Against the daring, rash Phaeacians,

mio sdegno si sfog;

I gave vent to my wrath;

pag il delitto pessimo

the worst crime was paid for

la nave che rest.

by their petrified ship.

Viva felice pur,

May he live happily,

viva Ulisse sicur!

may Ulysses live in safety!

Coro in Cielo

Choir in Heaven

Giove amoroso The loving Jupiter

fa il ciel pietoso

makes heaven merciful

nel perdonar.

and forgiving.

Coro Marittimo

Choir of the Sea

Bench abbia il gelo

In spite of its coldness,

non men del cielo

no less merciful

pietoso il mar.

than heaven is the sea.

Cielo e Marittimo

Both choirs

Prega, mortal, deh prega, Pray, mortal, oh pray,

che sdegnato e pregato

for an offended god

un Dio si piega.

can be placated through prayer.

78

Giove Jupiter
Minerva! Hor fia tua cura

Minerva, now be it your task

dacquetar i tumulti de sollevati Achiri,

to quell the uprising of the Achaeans,

che per vendetta degli estinti Proci

who, in vengeance for the death of the suitors,

pensano portar guerra

intend waging war

allitacense terra.

against the land of the Ithacans.

Minerva Minerva
Rintuzzer quei spiriti,

I shall calm these spirits,

smorzer quegli ardori,

I shall smother those flames,

comander la pace,

I shall command peace,

Giove, come a te piace.

Jupiter, as it pleases you.

u Scene 8
Reggia

The palace

Ericlea

Eurycleia

Ericlea, che vuoi far,

Eurycleia, what should you do,

vuoi tacer o parlar?

will you be silent or speak?

Se parli tu consoli,

If you speak, you bring comfort,

obbedisci se taci.

but silence is your duty.

Sei tenuta a servir You are bound in service,

obbligata ad amar.

yet pledged to love.

Vuoi tacer o parlar?

Will you be silent or speak?

Ma ceda allobbedienza la piet:

But let pity yield to obedience:

non si de sempre dir ci che si sa.

one must not tell all one knows.

Medicar chi languisce, o che diletto! To heal one who suffers, oh what pleasure!
Ma che ingiurie e dispetto

But what injury and outrage

79

scoprir laltrui pensier;

to disclose the thoughts of others;

bella cosa talvolta un bel tacer.

the best thing is sometimes silence.

ferita crudele

It is cruel

il poter con parole

to be able, with words,

consolar chi si duole

to console one who is suffering

e non lo far;

and not do it;

ma del pentirsi alfin

but regret lasts much longer

assai lunge il tacer

for silence

pi chel parlar.

than it does for speech.

Bel segreto taciuto A beautiful secret
tosto scoprir si pu,

can soon be revealed,

una sol volta detto

but once it is told,

celarlo non potr.

it can no longer be concealed.

Ericlea, che farai, tacerai tu?

Eurycleia, what will you do, will you keep silent?

Insomma un bel tacer mai scritto fu. After all, complete silence was never ordered.

i Scene 9
Penelope Penelope
Ogni nostra ragion All our reason
sen porta il vento.

is blown away by the wind.

Non ponno i nostri sogni Our dreams cannot

consolar le vigilie

comfort the sleepless nights

dellanima smarrita.

of a lost soul.

Le favole fan riso

Fables make us laugh,

e non dan vita.

but they do not give us life.

80

Telemaco Telemachus
Troppo incredula! Too incredulous!
Eumete

Eumaeus

Incredula troppo! Too sceptical!

Telemaco Telemachus
Troppo ostinata! Too obstinate!
Eumete

Eumaeus

Ostinata troppo! Stubborn beyond measure!

Telemaco Telemachus
pi che vero.

It is indeed true.

Eumete

Eumaeus

Di vero pi

It is indeed the truth

che il vecchio arciero Ulisse fu.

that the aged archer was Ulysses.

Telemaco Telemachus
Eccolo che sen viene

Here he is, coming

e la sua forma tiene.

in his true form.

Eumete

Eumaeus

Ulisse egli .

It is Ulysses.

Telemaco Telemachus
Eccolo aff!

He is here indeed!

81

o Scene 10
(Sopraggiunge Ulisse in sua forma.)

(Ulysses enters unexpectedly in his true form.)

Ulisse Ulysses
O delle mie fatiche Oh sweet and gentle goal
meta dolce e soave,

of all my hardships,

porto caro amoroso

dear harbour of love

dove corro al riposo!

to which I hasten for my repose!

Penelope Penelope
Fermati, cavaliero,

Hold your steps, knight,

incantator o mago!

enchanter or magician!

Di tue finte mutanze

I shall not be misled

io non mappago.

by your false disguises.

Ulisse Ulysses
Cos del tuo consorte,

Will you thus

cos dunque tappressi

receive the embraces

a lungamente sospirati amplessi?

of your husband, which he has long sighed for?

Penelope Penelope
Consorte io sono, ma del perduto Ulisse,

I am a wife, but of the lost Ulysses,

n incantesimi o magie

neither spells nor magic

perturberan la fe, le voglie mie.

will shake my faith, my wishes.

82

Ulisse Ulysses
In honor de tuoi rai

For the sake of your eyes

leternit sprezzai,

I relinquished immortality,

volontario cangiando e stato e sorte.

willingly changing my state and my destiny.

Per serbarmi fedel son giunto a morte. To remain faithful I have made myself mortal.
Penelope Penelope
Quel valor che ti rese That valour which makes you
ad Ulisse simile

like Ulysses

care mi fa le stragi

makes me thankful for the slaughter

degli amanti malvagi.

of the wicked suitors.

Questo di tua bugia This shall be the sweet fruit

il dolce frutto sia.

of your lie.

Ulisse Ulysses
QuellUlisse son io

I am that Ulysses,

delle ceneri avanzo, residuo delle morti,

risen out of the ashes, survivor of the dead,

degli adulteri e ladri

fierce castigator of adulterers and thieves

fiero castigator e non seguace.

and not their companion.

Penelope Penelope
Non sei tu l primo ingegno You are not the first clever person
che con nome mentito

who, with a false name,

tentasse di trovar comando o regno.

has attempted to gain power or a kingdom.

Ericlea

Eurycleia

Hor di parlar tempo. Now it is time to speak.

questo Ulisse, casta e gran donna. This is Ulysses, chaste and great lady.
Io lo conobbi allora

I recognized him

83

Che nudo al bagno venne,

when he came naked to the bath,

ove scopersi del feroce cinghiale

where the scar was uncovered

lhonorato segnale.

that was caused by the ferocious wild boar.

Ben ti chieggio perdon se troppo tacqui:

I beg you fervently for pardon if I kept silent too long:

loquace feminil garrula lingua

my talkative, female, gossiping tongue

per comando dUlisse

kept silent through great effort

con fatica lo tacque e non lo disse.

at the command of Ulysses and did not tell you.

Penelope Penelope
Creder ci ch desio Love tells me to believe
minsegna Amore;

what I wish for,

serbar costante il sen

but honour commands

comanda honore.

my breast to remain constant.

Dubbio pensier, che fai? Doubting thoughts, what will you do?
La fe negata ai prieghi

My faith rejected the pleas

del buon custode Eumete,

of the good shepherd Eumaeus,

di Telemaco il figlio,

of Telemachus, my son,

alla vecchia nutrice anco si nieghi,

also of my old nurse,

che il mio pudico letto

for my chaste bed

sol dUlisse ricetto.

is shared only by Ulysses.

Ulisse Ulysses
Del tuo casto pensiero io so l costume.

I know the ways of your chaste thoughts.

So cheI letto pudico,

I know that the chaste bed

che tranne Ulisse solo

which, apart from Ulysses himself,

altro non vide,

nobody else has seen,

ogni notte da te sadorna e copre

is adorned and covered by you every night

con un serico drappo

with a silken cloth

di tua mano contesto,

woven by your hand,

84

in cui si vede col virginal suo coro

in which is seen, with her virgin companions,

Diana effigiata.

the figure of Diana.

Maccompagn mai sempre

I was always accompanied

memoria cos grata.

by that memory so dear.

Penelope Penelope
Hor s ti riconosco, Now, yes, I recognize you again,
hor s ti credo,

now, yes, I believe you,

antico possessore

old possessor

del combattuto core.

of my contested heart.

Honest mi perdoni! Pardon me my scruples!

Dono tutto ad Amor le sue ragioni. Place all the blame on Cupid.
Ulisse Ulysses
Sciogli la lingua, deh sciogli

Unloose the tongue, oh unloose

per allegrezza i nodi!

the bonds for joy!

Sciogli un sospir, un ohim la voce snodi. Let loose a sigh; the voice release an alas.
Penelope Penelope
Illustratevi o cieli, Shine, oh skies,
rinfioratevi o prati!

flower again, oh meadows!

Aure gioite!

Rejoice, you breezes!

Gli augelletti cantando, The singing birds,

i rivi mormorando

the murmuring brooks

hor si rallegrino!

now are gay again!

Quellherbe verdeggianti,

What green grasses,

quellonde sussurranti

what rippling waves

hor si consolino.

now bring cheer.

Gi che sorta felice Now my phoenix arises

dal cenere Trojan la mia fenice.

happy from the Trojan ashes.

85

Penelope, Ulisse

Penelope, Ulysses

Sospirato mio sole!

My sun that I have sighed for!

Rinnovata mia luce!

My light renewed!

Porto quieto e riposo!

Calm, restful harbour!

Bramato s, ma caro. Desired, yes, but loved.

Penelope Penelope
Per te gli andati affanni

For you I learn to bless

a benedir imparo.

the torments I have suffered.

Penelope, Ulisse

Penelope, Ulysses

Non si rammenti Do not recall

pi de tormenti.

the torments any more.

S, vita, s! Yes, my life, yes!

Tutto piacere. All is pleasure.
S, vita, s! Yes, my life, yes!
Fuggan dai petti Let sad feelings
dogliosi affetti!

fly from our hearts!

S, core, s! Yes, my heart, yes!

Tutto godere! Everything is joy!
Del piacer, del goder The day of delight,
venuto il d.

of rejoicing has come.

S, s, vita! Yes, yes, my life!

S, s, core! Yes, yes, my heart!
S, s! Yes, yes!

86

Photograph by Patrick OConnor

Martin Pearlman
Martin Pearlman is one of Americas leading interpreters of Baroque and Classical music
on period and modern instruments. Hailed for his fresh, buoyant interpretations and his
vivid realizations teeming with life, Pearlman has been acclaimed for 40 years in the
orchestral, choral and operatic repertoire from Monteverdi to Beethoven.
Pearlman founded Boston Baroque, North Americas first period-instrument orchestra,
in1973 and has been the music director and conductor of both the orchestra and its chorus
tothe present day. Three-time Grammy-nominated Boston Baroque is now widely regarded
as being the standard setters for period practice in America, and some of the finest
American interpreters of music of this era, according to Fanfare magazine.
Over its 40-year history, Pearlman has led Boston Baroque in an annual subscription
concert series in Greater Boston and in tours of the United States and Europe; he has
also produced 22 major recordings for Telarc Records. In 2012, the orchestra became
the first American orchestra to record with the UK audiophile label Linn. Its initial release
of Haydns Creation on Linn has been called the finest ever, and the follow-up release
oftheLordNelson Mass was hailed as another superb achievement by Fanfare.
Highlights of Pearlmans work features the complete Monteverdi opera cycle including
his own new performing editions of LIncoronazione di Poppea and Il Ritorno dUlisse,
theAmerican premiere of Rameaus Zoroastre, the Boston premiere of Rameaus Pigmalion,
the New England premieres of Glucks Iphignie en Tauride and Alceste and an exploration
of all nine Beethoven symphonies on period instruments that was called revelatory by the
BostonGlobe.
Pearlman is also known for his internationally acclaimed series of Handel operas including
Agrippina, Alcina, Giulio Cesare and Semele, and for a series of Mozart operas including
TheAbduction from the Seraglio, The Magic Flute, The Marriage of Figaro, Cos fan tutte,
89

The Impresario and Don Giovanni, the last of which was broadcast nationally on public radio.
Pearlmans completion and orchestration of music from Mozarts Lo Sposo Deluso, his
performing version of Purcells Comical History of Don Quixote and his new orchestration
of Cimarosas Il Maestro di cappella were all premiered by Boston Baroque.
Pearlman is also a composer. His recent works have included his three-act
Finnegans Wake: an Operoar based on James Joyces Finnegans Wake, as well as
chamber music, piano works and The Creation According to Orpheus for solo piano,
harp and percussion with string orchestra. His music for three Samuel Beckett plays
(WordsandMusic,Cascando and ...but the clouds...) was commissioned by and premiered
at the 92nd StreetY in New York City for the Beckett Centennial in 2006 and was produced
again at Harvard University in Cambridge in 2007.

Boston Baroque
Boston Baroque is the first permanent Baroque orchestra to be established in North America
and is widely regarded as one of the worlds premier period-instrument bands (Fanfare).
The groups many milestones include the American premiere of Rameaus Zoroastre, a
Mozart opera series including The Marriage of Figaro and Cos fan tutte, and the American
period-instrument premieres of Don Giovanni and The Magic Flute. The orchestra presented
a series of all the Beethoven symphonies on period instruments that was called revelatory
by the Boston Globe, and in 1999 it gave the modern premiere of Der Stein der Weisen
(ThePhilosophers Stone), a Singspiel discovered to include music by Mozart which shed
fresh light on his canon.

90

 Boston Baroque has performed at major music centres across the United States, including
Walt Disney Concert Hall in Los Angeles, New Yorks Carnegie Hall and Cathedral of St John
the Divine, at Chicagos Ravinia Festival and the Tanglewood Festival. Boston Baroque was
the first period-instrument orchestra to be invited to participate at the Casals Festival in Puerto
Rico, and the ensemble made its European debut in 2003, performing Handels Messiah at the
Ludwig van Beethoven Easter Festival in Poland.
Boston Baroques 25 acclaimed recordings of which Fanfare wrote, each one is an
incomparable gem are heard by millions on classical radio stations in North America and
Europe. The orchestras recordings have received three Grammy nominations: for Handels
Messiah (1992), Monteverdis Vespers of 1610 (1998) and Bachs Mass in B minor (2000). This
is the ensembles third recording with Linn.

Boston Baroque gratefully acknowledges the following contributors, whose generous support
helped to make this recording possible:
The Calderwood Charitable Foundation:
Norma Jean Calderwood Recording Series
and
Mortimer Charitable Trust
Special thanks to
Peter Libby and Beryl Benacerraf, Paul Nickelsberg, Robert and Veronica Petersen,
Ronald G. Sampson, Tee Taggart and Jack Turner, David Ferris, Robert Kleinberg,
and David and Suzanne Larsen.

91

Boston Baroque
Haydn:
Lord Nelson Mass

Dunedin Consort
Mozart:
Requiem

Boston Baroque
Haydn:
The Creation

Magnificat
The Tudors
At Prayer

CKD 451

ALSO AVAILABLE ON LINN

Benjamin Zander
Benjamin Zander
& Philharmonic
& Boston
Orchestra & Chorus Philharmonic Youth
Mahler:
Orchestra
Symphony No. 2

Shostakovich:
Symphony No. 5

Phantasm

Profeti della Quinta

Ward: Fantasies
& Verse Anthems

For even more great music visit linnrecords.com

Glasgow Road, Waterfoot, Eaglesham, Glasgow, G76 0EQ
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Salomone Rossi:
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