Introduction operas now in the Met's repertory. Conceived for study and listening rather than for singing, these English versions are intended to convey as precisely as possible the meaning and nuances of the originals. Indeed, the late David Stivender, who translated the two opera serie (and began Don Giovanni before his untimely death), took the greatest pleasure in watching how those librettos, in their initial separate publications, enhanced the understanding of singers in the Met productions—and thus, also enhanced the impact of their performances—for they had worked from scores lacking any English, even a singing version. Anil how good, too, to have in one place these careful explications of the classical references, these full explorations of the background to the dramas. If is, of course, a sadness to recognize that in this book we have the last of David's literary contributions to the Metropolitan Opera; fortunately, the wisdom, dedication, and sheer musicianship he gave to the companv, and especially to the Met Chorus, live on in our memories and inform our music-making every day. But it is also a happv event that his translations and notes, along with the work of Susan Webb and Judyth Schaubhut Smith, should become part of a volume that all lovers of Mozart will find a constant object of reference and study in our quest for better understanding of these endlessly fascinating operas. Jamks Lhvink Idomeneo world premiere united states premiere metropolitan opera premiere Munich, Hoftheater. January 29, 1781 Lenox, Mass., Tangle»ood, August 4, 1947 October 14, 1982 IDOMENEO Drama for Music in Three Acts Libretto: Giambattista Varesco (after Antoine Danchet) English Translation and Notes: David Stivende Music: Wolfgang Amadeus Mozart In memoriam Jean-Pierre PonneUe 1932-1988 IDOMENEO CHARACTERS idomeneo (Idomeneus), King of Crete idamante (Idamantes), his son ilia, Trojan princess, daughter of Priam elettra (Electra), princess and daughter of Agamemnon, King of Argos arbace (Arbaces), confidant of the King High Priest oe Neptune Silent Characters and Choristers: Priests, Trojan Prisoners, Men and Women of Crete, Argive Sailors. The action takes place in Cydonia, capital of Crete. Irnt >r Mezzo-soprano Soprano Soprano Inn >r Tenor IDOMENEO SYNOPSIS Idomeneus, King of Crete, after the siege of Troy, has wandered a long way irom his Im.hu . where his son, ldamantes, grown to man's estate during his absence, awaits him in filial MM Hlectra, daughter of Agamemnon, banished by the people of Argos on annum ..I the matricide of Orestes, has taken refuge with ldamantes, and becomes deeply enamoured of him. But Ilia, daughter of Priam, who, with other Trojan captives, has been sent to Crctr by Idomeneus, has conceived a passion for ldamantes, which he returns. At the opening . The King achieves truly tragic status through this concentration on his rash vow and his attempts to avoid its consequences. It is left for his son, in fourteen splendid lines of poetry (III/9), to point out that Idomeneus is indeed fortunate in his dilemma: since he gave his son fife a is only right that he take it away and return it to the gods in exchange for his own and the lives of his people. Once he has done this, "Then sacred and true is the love of the gods. From this point on, Idomeneus will no longer use pejorative adjectives in connection with the gods, instead cautiously condemning that great abstracts, Fate. The moment of truth and acceptance comes for the King in .11/10 after the Voice of Neptune has spoken: Idomeneus can only murmur quietly, Ob Gel pietoso! ("Oh merciful heaven!"). It is noteworthy that he is able to arrive at this acceptance through the understanding and chamv of h,s son whose oW conflict is two-fold: love for his father and for Ilia. Because the nrst performer of tins role, the castrato dal Prato, was a neophyte in both singing and acting. the commentators over the years have tended to feel that Idamantes' character is somewhat pale. But careful and extended study of both his text and music belies this concept. It has alreadv been seen how he leads his father to an awareness of the basic justice of Heaven, tins qualitv of leadership has grow n through his hav ing had to govern the people of Crete in hi* father's stead. Notice the ease with which he gives orders in the second and third scene* of Act I and how after Electra's public rebuke in the latter he is able to retain his poise ()nlv Arbaces' news of Idomeneus' supposed death unnerves him. His exchanges with Ilia and III/10 show the depth of maturity which he has attained since the beginning of the opera. Ilia, the only other developing character in the drama, is Mozart's first great heroine to be dra\\Ti in the musical round (it is a common-place of Mozart criticism to call her a studv for Pamina). Her conflict is simpler and at the same time deeper than the two men's: finding herself an exile in enemy land, she has fallen in love with the son of the murderer ol her tm n people. She is verv aware of being the daughter of Priam and Hecuba (although the ancient writers do not list her name among their children, nor even among the names of Priam'» children by his concubines) and by her own words (11/2) witnessed the bloody death of her father, the destruction of Trov, and her deportation in chains to Crete as a slave. It a no wonder she resists her love for the son of an enthusiastic participant in all this (just how enthusiastic Idomeneus was in batde can be read in the Iliad). Ilia matures during Mo/art'v opera, primarily through the music, but not without some help from Danchct/Varesco. One of the prime wonders of this opera is to watch her growth from "When will mv bitter misfortunes/Fver have an end?" to her placing her head on the sacrificial block with the wonderful words (not in Danchet by the way), "I wish to cross the ultimate ford alonr./l am yours, sacred minister." Both Idomeneus and Arbaces offer to take Idamantes' place on thr scaffold, but only Ilia actually places herself there. The only other major character, Electra, remains outside the drama She is verv muh occupied with herself and her concerns. It is remarkable that after her interview with thr King in II/4 (when he tells her Idamantes will escort her back to Argos) nearly all of her words are addressed to herself. When Ilia in II1/3 asks her for comfort, Electra can onk bitterly spit out, "I comfort you? and how?" before returning to her eternal dialogue v»ith herself, "the base girl/Insults me again." Bv the time she reaches her great recitative and ana at the end of Act III she is completely in her own world (and that of her brother Orestes) and oblivious to anyone around her. But she is Mozart's most passionate character: onlv thr Queen of the Night can equal her in this respect, although Electra is far more fully developed both dramatically and musically. Her arias in I and 111 which deal with the Funes aie somewhat similar in their agitated, heated manner, but one should be aware that onlv when she is mad, in the third act aria, does Mozart allow her coloratura, and that obviously characterizing demonic laughter. A significant phrase, however, in the oboes and bassoons (bar 47 of the first aria) quotes the exact notes of a portion of her coloratura in the third aria. er second act aria is striking in being completely opposite in musical characterization to the other two: it is accompanied by strings onlv and its phrases seem to question and answer one another, almost as if fclectra in her reverie is holding a dialogue with herself Here her in The Metropolitan Opera Book of Mozart Operas coloratura is reflective, pastoral. Tamiri's A major aria in the second act of II Re pastore, Se tu di me fat dono, has much the same quality. Danchet has three confidants in his libretto: one each for Idomeneus (Areas), Idamantes (Altai) and Ilia (Dirce). Varesco wisely cuts these down to one, Arbaces, who is described as the "confidant of the King." Varesco has made him a typically Metastasian character with his self-abnegating nature carried to extremes: "The vassal has no merit/In fidelity: virtue is not a dutv./Here mv life, mv blood . . . ," and Idomeneus cuts him off with the abrupt, "Only one piece of advice is necessary/For me now." The character of Arbaces is consistent throughout, and his kind of character is necessary in this kind of opera: it is he who brings the news of Idomeneus' supposed death and also of Idamantes* victory over the monster sent bv Neptune. His two arias are in the traditional counsellor mode, but he is given one great piece of declamatory singing, the accompanied recitative Sventurata Sidon (II1/S). The text for this was expanded at Mozart's request for the elderly singer Panzacchi whom Mozart considered "a good actor" and felt the new lines would have "a capital effect." On a par in importance with the four main characters, there is one other: the people of Crete. Varesco gave them nine major choruses; of these, four are integrated into the action, bringing the people to life much in the manner of those in Boris Godunov and Peter Grimes. This kind of chorus was a part of the French tradition, and had been fostered by Gluck in his mature operas. Such Italian composers as Jommelli in Stuttgart and Traetta in Parma had also been experimenting with integrated choruses in their operas, but unfortunately Mozart never again had a chance to write for chorus on this scale for the theater. Varesco's libretto for Idomeneo has been much maligned over the years, and it is not difficult to see why. His use of language tends to be verbose and obscure, and often a good bit of time and thought are necessary to figure out exactly how his sentences are constructed, let alone what they mean. Idomeneus' command to his son in II/7 to leave Crete (Parti, e mm dubbwfama) is a good case in point. The actual sounds of his verse can sometimes be grating: II cor mi si dmde (III/3) with its string of "ee" sounds is hardly mellifluous. In his grammatical constructions he favors attaching the pronoun to the future and remote past tenses, coming up with st.lhmm,, sdegnossi, and, ugliest of all, squammosi. A little of this kind of thing goes a long way, and if the listener notices the usage there is already too much of it. Though it is easy to criticize these quirks, there are positive features of the libretto which should be remarked. Being a churchman, the Abbate is fond of Latinisms and they occur throughout. In the seventh line of the opera Ilia refers to the vittime generose and here Varesco does not use the adjective in the sense of "generous," but rather "high-born," the meaning of the Lttm generosus. The same use of the word can also be found in Danchet's libretto where Idamantes meeting Idomeneus on the beach, refers to him as Genereux Inconnu. This meaning of the word ,n Italian, however, was by no means unusual in the literature of the penod There are echoes of Latin literature throughout Varesco's libretto: Idomeneus' aura W* (V9) an echo f th Aenei, ^ ^ ^ ^ ^ ^ ^ ^ ^ brothers Zn^uZ ^ WCre " mCaning "^^'^ SUre»y echoes 0* celebrated words in the Aene.d (II/325),>muj Trees, juit Ilium ("we Trojans are not, Ilium is not"); and an echo of Idomeneo Dido's Von ignara mali miseris succurrere disco ("Not ignorant of ill do I learn to befriend the unhappy," 1/630) lingers in Idamantes' gentle, "Very well, my friend,/Was I taught bj mv own miseries/To be moved bv the miseries of others" (1/10). Though this line has its antecedent in Danchet, its lineage is nonetheless noble. Whether he did it bv design or not, Varesco has certain words attached to certain characters; thus Hlectra uses smania (frenzy) each time she calls on the Furies, and Idanuntiv uses the word colpa (fault) enough times so that attention is called to it. A gn\ is provided when Idomeneus' Eccoci salvi aljin ("We are saved at last") at his safe arrival on shore after the shipwreck (1/9) is repeated back to him unconsciously bv Arbaces (III S) on delivering the news that Idamantes has slain the monster, Even more telling is the return of Idamantes' "tyrannous gods." In his first encounter with Ilia (1/2) she rebufls his declaration of love, whereupon in an aria he declares, Colpa e vostra, o Dei ttranni ("The tault is vours, oh tyrannous gods"). Ilia makes no response to this until the end of Act 111 when in Scene 111 slu rushes in to stay the knife with which Idomeneus is about to sacrifice his son. Her word* arr explicit: "Idamantes is innocent, he is vour son./He is the hope of the kingdom. The gods arr not tyrants; you are all/Fallacious interpreters/Of the divine will." Here it is possible to *re the Christian spirit of the churchman Varesco, an overlav of sentiment that occurs neither in Danchet or, needless to sav, the ancient sources. These echoes in the libretto are of enormous aid to the singer. Not only are thev guides to interpretation, action and reaction, but trio- arc also clues to the temperament of the character the singer is impersonating. Ilia's patirnce b understood by her being able to wait and not react immediately to Idamantes' "tyrannous gods," but she remembers all of his words and is resolute in turning them to his and her ossn advantage. Electra's text is shaped with particular care. She never refers to Ilia bv name, always using epithets: "Trojan slave," "cowardly slave," and "base girl." She refers to Idamantes bv namr only twice, although thoughts of him obsess her throughout the opera. Onlv once (ll/4| don she refer to something else, and then briefly, when she mentions to the King how her "hope grows green . . ./To see the foolish pride/Of the rebels humbled" back in Argos where shr thinks she is returning with Idamantes. Even more striking is the fact that in all thrrr references to Ilia and Idamantes as a pair she eschews anv mention of their names: she can hring herself only to use pronouns. Thus Chi (Idamantes) mi rubo quel core,/Quel (lliai eht tradito ha il mio (1/6); quel foco (of Idamantes) and quel lumi (of Ilia) in II/S, and, most trilmg of all, when she imagines in her great Act III accompanied recitative being pointed at in the streets dall'uno (Idamantes) £ dall'altra (Ilia). Though Varesco can under no circumstances br called a great dramatist or poet, he nonetheless shaped the text of his dramatic poem with a* much care as his gifts allowed him to. Varesco's general layout of the plan of the opera is also good: the two central theme*. Idomeneus' vow (with its corollary of the father/son relationship) and the love between Ilia and Idamantes, are clear and always easy to follow. The earlier part of each act is roughh taken up with the young lovers, the later part with Idomeneus' tragedy. The actual construction of the opera is also well planned and in this instance is certainlv due to Vareico. Thk METROPOLITAN OPERA BOOK OF MOZART OPERAS The whole work begins *ith Ilia's question "When will my bitter end- We can watl vanous answers being propounded: when she is freed of her chains; when she has forg.ven her conquerors; When she has declared and accepted her love or hlaniantes; when she is willing to sacrifice herself not only for him but for his people. But it. onlv at the very end that the final answer, made up of all the foregoing, is given: when she has become Queen of Crete. Varesco is here thoroughly Metastasian: a ruler must know how to serve his subjects and even sacrifice himself for them. We know that Mozart had been familiar with the story of Idomeneus since at least 1770, for we find him writing to his sister from Bologna on 8 September of that year: "I am this moment reading Telemaaue and have already got to the second part" (in Book V Eenelon tells the story of Idomeneus and the sacrifice of his son). So the Court's choice of subject must have been not only gratifying but also familiar to Mozart when it was proposed to him. Its strong father/son theme has not been lost on commentators but it is easy to make too much of this. Nonetheless, one cannot read Mozart's letters to his father without wondering what he must have thought when he came to set a line such as Idamantes' "Now 1 understand that vour confusion/Was not wrath but paternal love." One of the strongest themes running through the letters is parental authority and how both parties came to terms with it. It must have taken all Leopold's love and understanding over the years to deal with the fact that his son was daily superseding him as a musician. It cannot have been easy for him to keep a sense of balance between Wolfgang the musician and the Wolfgang who did things Leopold felt were not commensurate with his musical genius. Mozart wrote Idomeneo between October 1780 and January 1781, an incredibly short period of four months. It is one of his richest scores, using a large orchestra including piccolo and four horns. The piccolo is used in onlv one number and the full complement of horns in onlv four, vet bv their very presence they give an idea of the spaciousness of the operas lavout. Mozart was writing for the most famous orchestra in Europe, one he knew well. It was originallv based in Mannheim but became merged with the Munich musical establishment in that city in August 1778, after Carl Theodor had become Elector on the death of his predecessor on 31 December 1777. It was Carl Theodor who commissioned Idomeneo for the 1780—1 carnival season in Munich. The score that Mozart produced for this commission is one of the wonders of his inspiration. One can do no better than quote Alfred Einstein: "Thus we find in this score, which one never tires of studying, and which will always remain a source of delight to ever)' true musician, a veritable explosion of musical invention—not only of musical, but of musico-dramatic as well." An explosion it is, but a highly controlled one, all the more miraculous to contemplate when one realizes the dress rehearsal took place on 27 January 1781, Mozart's 25th birthday. To achieve this control Mozart emplovs a number of motives to bind his score together. These are not Lehmotiven in the Wagnerian sense, neither are the) reminiscence-motives, but rather small melodic cells that occur throughout the score and serve to hold it together. There are three that are most conspicuous, the first being asserted in the very first bars of the Overture: a rising arpeggio of four notes beginning with the root Idomeneo of the chord. Far from being "conventional signals of pomp" (William Mann), this arpeggio seems to be connected with the will of the gods, usuallv Neptune, and, bv extension, Idomeneus' vow. It rings out pompously in Act III when the High Priest savs "To the temple;" it sounds in the orchestra (the preceding scene has been conducted entirelv in secco recitatiw i at Idomeneus' words, "Most pitiless gods!" as he recognizes whom he will have to sacrifice as a result of his vow; it is sung in a minor key when the people Hce the monster at the end of Act II, "Let us run, let us flee/That pitiless monster." There are many more appearances of it A second, more chromatic turn of phrase, based on the leading tones and notes themseh i> • >t a descending arpeggio, is first heard in the last seven bars of the Overture. It will be combined with the arpeggio figure in minor to form the accompaniment to the chorus of shipwro kol sailors in 1/7, a brilliant stroke, and also w hen Idamantes first recognizes his father, "()h w h.it transport." The third is a descending figure, presented in the ninth and tenth bars of the Overture, which consists of a beginning longer note, a quick, nervous descent I usuallv in j triplet) and then several repeated notes at the end. This motive is plaved in manv guxv, llu even sings a slow version of it at the words Ilia infelice in her opening recitative. It* most poignant appearance occurs in HI/6, at Idomeneus' words, "The victim is Idamantes." p|j\rd four times and then combined with the second motive to describe the King's overwhelming despair at being forced to execute his own son. Though the two examples given of it air played in a slow tempo, the motive usuallv appears allegro—for example in the lovers' dun in HI/2 at Ilia's surprised words, "You will be/My husband?" It must be emphasized that thrv motives (and there are others) are in no way part of a system elaborated bv Mozart for thu opera. It was probably something of an experiment since he never repeated it to this extent in his later works. But it is an intrinsic part of the musico-dramatic invention referred to bv Einstein earlier. An important facet of this score is the wealth of accompanied recitatives. Thrrr are approximately twenty of them, all of varying lengths, an incredible amount for an open of this period. Gluck, in his famous Preface to Alceste, advocated the banishment of harpsichord-accompanied recitative (so-called secco, "dry") and in his mature operas used no mam whatsoever. But this usage could have a disadvantage: since it must of necessirv mw M • slower pace than the simple recitative, it gave a heavy and sometimes solemn tone when used throughout. Mozart, as is clear from his letters, wanted musical theater to move at a natural pace, hence his combination of secco and accompagnato. He uses the orchestra in a tort of dialogue with the voice in his accompagnati, now referring to something the singer has just expressed, then commenting afterwards, or merely sustaining a note under the d.-vlarruix t> These orchestrally accompanied recitatives are usuallv plaved bv the strings alone, although e will add woodwinds or even brass for dramatically important rnomenU, such as thr "aompagnati of the recognition scene (1/10) or the King's defiance of Neptune brtwn thr ast two choruses of Act II. Sometimes the orchestra will make an actual quote from an aru In Idomeneus' contemplative recitative following Ilia's Se il padre perdei. for example, thr orchestra recalls three phases from her aria, two of them transformed melodicalK and harmonically, the third exactly as it was first heard. In Electra's accompagnato which follow* 14 15 The Metropolitan Opera Book of Mozart Operas Idomeneus' Fuor del mar, the orchestra quotes a theme from her aria which will follow the recitative. Throughout these accompagnati little tone poems abound. One of the most beautiful occurs in Ilia's opening recitative at the words, o Joke morte. when the strings paint the most comforting picture possible (in only two bars) of "sweet death." But Mozart reserves his greatest music in these accompagnati for the extraordinary ninth and tenth scenes of Act HI, as Idamantes, now knowing the terms of his father's vow prepares both himself and his father for his execution. The scene is in three musical sections: accompagnato (Idomeneus and Idamantes finally come to terms as father and son), aria (Idamantes does not fear to die), accompagnato (Ilia is ready to sacrifice herself). At the beginning of the first section the strings play a warm melody in A flat major; this will return, transformed into E minor, at Idamante's words, "Ah, hear a son favorably/Who at the point of death entreats and advises." Surely another of those lines that makes the listener wonder what Mozart was thinking as he composed it. All of the orchestra's music throughout the two accompagnati mirrors with a heartbreaking fidelity what the characters say. The melodic material that flickers by and is gone in an instant would serve as material for a dozen operas by a minor composer of the period—Mozart spreads it all before the listener w ith breathtaking prodigality. It is true that Mozart himself cut Idamantes' aria, No, la morte, and that it is usually omitted in modern performances. This is a great pity, since it not only breaks up the long stretch of string sound in the two accompagnati (the aria adds oboes and horns), but allows the spectator to see a side of Idamantes that has hitherto gone unnoticed: tenderness unmixed with melancholy. And then, too, his picture of Elvsium is one of Mozart's most moving little tone pictures. In the original version, as written before the premiere took place, a long accompagnato and aria for Plectra follosved soon after (the voice of Neptune intervenes), but due to the great length of the third act, Mozart first composed a shorter version of the recitative, then cut both recitative and aria, substituting a third, shorter accompagnato for them both. Needless to say, the original version of the recitative is the more interesting and is often restored in modem performances along with the aria. The opera is crowned bv Idomeneus' long accompagnato where he abdicates in favor of Idamantes. Varesco's verse here almost attains the level of true poetry. Even Daniel Heartz, the editor of Idomeneo for the New Mozart Edition, and no great admirer of the Abbate, is moved to remark, "This speech is one of the most felicitous in the poem . . . Varesco ... is able to sustain an elevated tone to the final lines, where he no longer has Danchet to guide him." This is the most spacious of all Mozart accompagnati, drawn on a large scale as befits the conclusion of a large-scale work, and is designed to move at a stately, not to say kingly, pace. Listening to it is somewhat like listening to a Bruckner symphony: the listener must simply yield to it and any attempt to hurry it along destroys its purpose. It is introduced by a prelude of eight bars which is made up of a fantasia on the three motives that have gone through the opera, surely a conscious design on Mozart's part. Mention has already been made of the important part the chorus plays in the opera. Fewer in number, but equally important, are the three ensembles: duet, trio and quartet. The Utter Idomeneo is justly famous and one of the great reflective ensembles in all opera. We know from Man' Novello's conversation with Constanze in 1829 that Mozart himself was much attached to this piece: ". . . after their marriage they paid a visit to Salzburg and were singing the Quartet of Andro ramingo when he was so overcome that he burst into tears and quitted the chamber and it was some time before she could console him." Before the premiere of the opera he wrote his father (27 December 1780) that he had told Raaf, ". . . so far there is nothing in mv opera with which I am so pleased as with this quartet." An extraordinary feature of the ensemble is that Mozart seems to have changed it from a piece of continuous action into a moment of arrested time. Though Varesco did not do so, Mozart repeats Idamantes' first words Andro ramingo e solo ("1 shall go wandering and alone") and the exact same notes to which they are set, after the a quattro at the end of the piece. Can it be that Mozart is implying the two occurrences are the same, and all that happens between is but an instant in the mind> of the four characters? Since this quartet occurs at an important moment in the drama, it is naturally the longest of the three and has the most dramatic, expressive and musical weight Whereas it is composed in a single large unit, in one tempo, the trio and duet are both written in two sections, two tempi. They are both shorter and have less sense of finality to them; after all, they precede more important matters, both dramatic and musical. Again, Mozart's uncannv sense of balance is felt throughout. The premiere of the opera, on 29 January 1781, was presumably a success, "presumabh'' because the one newspaper account of it only mentioned the scenic designs. There were two repetitions, and the opera disappeared from the public stages during Mozart's lifetime He wished to present it in Vienna, saying that he would like to rewrite the part of Idomeneus for a bass and that of Idamantes for a tenor, but the closest he came to this realization was a performance, "probably a concert one" (Stanley Sadie) with severely curtailed r«i itatises on 1 i March 1786 in Prince Auersperg's private theater behind his palace. For this performance he rewrote Idamantes' music for tenor voice (but left Idomeneus a tenor, merely shortening the coloratura in Fuor del mar), added a concerted aria with violin and a new duet for Ilia and Idamantes, but he never saw it again in an opera house. It is only in recent vears that the opera has been revived with any frequency. For years it was felt that the opera sena form (even in the hands of Mozart) was stiff and devoid of propulsive dramatic interest and that it could only be produced in a version by another musician. Several of these were performed, the most famous being one by Richard Strauss, which has all but sunk into oblivion. It is enh Mozart's "version" that is performed today. But which version to perform? Mozart wrote a great deal of music for idomeneo which he either recomposed at various times or omitted from the 1781 and 1786 performances. The most conspicuous pieces he cut from the Munich premiere were the three final anas in Act 111 He also made further curtailments in the secco recitatives, most notablv Idomi omitting eneus narration of the details of his vow as he arrives safely on shore (1/9). For this gement Mozart composed a short accompagnato based on a continue figure in the img Withholding the terms of his bargain with Neptune heightens the interest of his meeting 16 17 The Metropolitan Opera Book of Mozart Operas Idomeneo with Idamantes (the audience supposedly doesn't know what Idamantes doesn't know) and increases the interest in his opening Act II secco with Arbaces when he reveals the particulars of the vow to his confidant. Two cuts which Mozart made for the premiere are now never made, nor could they be: onlv the first halves of the great chorus, 0 vow tremendo, and Idomcneus' praver to Neptune, Accogli, o Re del mar, were performed. This was surely pushing Mozart's making "a virtue of necessity" (18 January 1781) too far. In modern performances each conductor, in conjunction with the stage director, must make a version that seems musically and dramatically right to him, based not onlv on his previous knowledge of the work in the theater, but, perhaps what is closest to Mozart's criteria, also on the individual capabilities of the singers in his cast. By allowing everyone to perform at his optimum ability, only then will Mozart's interests be served. When he completed Idomeneo, Mozart did not return to Salzburg. His vcars of apprenticeship were over. He was summoned to Vienna by the Archbishop of Salzburg, from whose service Mozart soon released himself. He had only ten vears of life left to him, which were to be the richest of all. Yet Idomeneo, the work that stands at the crossroads of Salzburg and Vienna, apprenticeship and maturity, was never forgotten or abandoned bv its composer. It is only right that today's audiences should now begin to understand its true greatness. The solid black lines to the left of the text indicate cuts that Mozart made in the stccht and the Voce for the 1791 premiere. The broken lines indicate those secco cuts generally used at the Metropolitan Opera. A short glossary of names and terms is given following the translation. The synopsis is adapted from the 1882 English translation of Otto Jahn's Lfe of Mozart. u.s. David Stivender A Note on the Translation 1 have tried to make this translation as literal as possible within rational bounds. As I have pointed out, Varesco's convoluted sentences are not always easy to decipher. Though I try to keep the Italian word order in the English translation, no matter how stiffly it might read, it would be mere pedantry to insist on it if the sense was obscured. Varesco peppers his text with innumerable exclamations (0 Qell 0 Nurni!, etc.) and 1 have tried to leave them in the middle of sentences when they occur there. For words like tempesta and acquisto I have usually used the obvious English equivalent. Indeed, for the latter I tried many substitutes for "acquisition" but was always left with the feeling that that word is exactly what Electra means, and she is not a character to be trifled with. The libretto used as a basis for this translation was the first, long one printed before the 1781 premiere and thus before the last minute cuts were made. I have included any words that Mozart ever set to music, omitting onlv those that he himself omitted in the seech, The lineation is that of Varesco. I have been a fenent devotee, not to say worshipper, of Idomeneo since a vocal score became easily available m 952. Eor all the years since 1 have been puzzling over Varesco's convolutions and now welcome the opportunity to put them into some kind of concrete realization. I owe a debt of grat.tudc to Eabrizio Melano for comb.ng through the entire libretto, word by word, with me and helping me solve the remaining problems. 18 19 IDOMENEO ACT ONE Scene I Gallery in the Royal Palace, giving on to several apartments reservedJor Ilia. IL1A Quando avran fine omai L'aspre svcnture mie? Ilia infelice! Di tempesta crudel misero avanzo, Del genitor, e de' germani priva Del barbaro nemico Misto col sangue il sangue V ittime generöse, A quäl sorte piü rea Ti riserbano i Numi? . . . Pur vendicaste voi Di Priamo, e di Troia i danni, e Tonte? Peri la flotta Argiva, e Idomeneo Pasto forse sara d'orca vorace . . . Ma, che mi giova, o Ciel! se al primo aspetto Di quel prode Idamante, Che all'onde mi rapi, l'odio deposi, E pria fu schiavo il cor, che m'accorgessi {alone) When will mv bitter misfortune* Ever have an end? Unhappy Ilia, Wretched remnant of a cruel tempest. Deprived of father and brothers. High born victims— Their blood mixed with the blood Of the barbarous enemv— For what harsher fate Are the gods reserving vou?. . . Did vou indeed avenge The losses and shame of Pnam and of Troy? The Argive fleet perished, and ldomeneus Will perhaps be the meal of a voracious sea-monster . .. But what good does it do me, oh Heavrn' if at the first sight Of that valiant Idamantes, Who snatched me from the waves, 1 laid aside mv hate. And my heart became a slave before I realized 21 The Metropolitan Opera Book of Mozart Operas Idem D'essere prigioniera. Ah qual contrasto, oh Dio! d'opposti affetti Mi dcstate nel sen odio, ed amore! Vendetta deggio a chi mi die la vita, Gratitudine a chi vita mi rende . . . O Ilia! o genitor! o prence! o sorte! O vita sventurata! o dolce mořte! Ma che? m'ama Idamante? ... ah no; I'ingrato Per Elettra sospira, e quella Elettra, Mcschina principessa, esule d'Argo, D'Oreste alle sciagure a queste arene Fuggitiva, raminga, ě mia rivale. Quanti mi siete intorno Carnefici spietati? . . . orsü sbranate Vendetta, gelosia, odio, ed amore, Sbranate si, quest'infelice core! Padre, germani, addio! Voi foste, io vi perdei. Grecia, cagion tu sei, E un Greco adorerö? D'ingrata al sangue mio So che la colpa avrei; Ma quel sembiante, oh Dei! Odiare ancor non so. Ecco, Idamante, ahimě! Se'n vien; misero core Tu palpiti, e paventi. Deh cessate per poco, o miei tormenti! That I was a prisoner. Ah what conflict, oh god! of contrary feelings Do you, hate and love, awaken in mv breast! I owe vengeance to the one who gave me life, Gratitude to the one who restores life to me . . . Oh Ilia! oh father! oh prince! oh Destiny! Oh unfortunate life! oh sweet death! Is it possible? does Idamantcs love me? ... ah no; the ingrate Sighs for Electra; and that Electra, Wretched princess, exile from Argos, Fleeing at the misfortunes of Orestes, Wandering to these shores, is my rival. How many of you are there around me. Pitiless executioners? . . . come then: Vengeance, jealousy, hate, and love; rend, Yes, rend this unhappy heart! Father, brothers, farewell! You died, I lost you. Greece, vou are the reason, And shall I adore a Greek? For being an ingrate to my blood I know that I would be guilty: But that countenance, oh gods! I still am unable to hate. Alas! Idamantes, here He comes; wretched heart, You throb, and are afraid. Ah, cease for a little, oh mv torments. (to Ilia) Scene II Idamantes, Ilia. Idamantes' suite. Idamantes (to his suite) . { Radunate i Troiani, ite, e la Corte Assemble the Trojans, go. »n the Court Sia pronta questo giorno a celebrar. Be ready to celebrate this day. Di dolce speme a un raggio Scema il mio duol. Minerva della Grecia Protettrice involo al furor dell'onde 11 padre mio; in mar di qui non lunge Comparser le sue navi; indaga Arbace II sito, che a noi toglie L'augusto aspetto. With one ray of sweet hope Mv sorrow lessens. Minerva, the protectress Of Greece, snatched my father From the fun' of the waves; at sea, not far from here. His ships appeared; Arbaces is investigating The site, which is depriving us Of the royal countenance. ILIA (ironically) Non temer: difesa Do not fear: Greece Da Minerva e la Grecia, e tutta ormai Is defended by Minerva, and bv now all Scoppio sovra i Troian l'ira de' Numi. The anger of the gods has burst on the Trojans. Del fato de' Troian piii non dolerti. Fara il figlio per lor quanto farebbe II genitor, e ogn'altro \ incitor generoso. Ecco: abbian fine, Hrincipessa, i lor guai: Rendo lor libertade, e omai fra noi Sol prigioniero ha, sol fia, che porte Che tua beltá lego care ritorte. Idamantes Do not be unhappy over the fate of the Trojans any longer. The son will do for them as much as would The father, and every other Generous victor. Look: let there be an end, Princess, to their woes: I am restoring their liberty and now among us There will be onlv one prisoner, onlv one. that bears The dear chains that vour beautv hound. Signor, che ascolto? non Ilia saziaron ancora D'implacabili Dei l'odio, lo sdegno D'Hio le gloriose Or diroccate mura, ah, non piu mura, Ma vasto, e piano suol? a eterno pianto annate son le nostre egre pupille? Mv lord, what do I hear? have not thc hate and wrath Of the implacable gods been saluted Bv the glorious, now ruined. Walls of Ilium, ah, no longer walk. But a vast and level ground? Arc our infirm eves Damned to eternal weeping? 22 23 The Metropolitan Opera Book of Mozart Operas Idomeneo Idamantes Venus punished us, and triumphs over us. How much did my father, ah memory! Suffer in his breast from the waves? Agamemnon A victim in Argos at the end, at a dear price Bought these trophies of his; and not content With such destruction, what more did the enemy goddess Do? she pierced my heart. Ilia, with your beautiful eyes, More powerful than hers, And now avenges your losses through me. Ilia What are you saying? Venere noi puni, di noi trionfa. Quanto il mio genitor, ahi rimembranza! Soffri de' flutti in sen? Agamemnone Vittima in Argo al fin, a caro prezzo Cornpro que' suoi trofei, e non contenta Di tante stragi ancor la Dea nemica, Che fe? il mio cor trafisse, Ilia, co' tuoi bei lumi Piu possenti de' suoi, \ in nu- vcndica adesso i danni tuoi. Che dici? Si, di Citerea il figlio Incogniti tormenti Stillommi in petto. A te pianto, e scompiglio Martě porto, cercó vendetta Amore In me de' mali tuoi, auei vaghi rai, Que' tuoi vezzi adopro ... ma all'amor mio D'ira, e rossor tu awampi? In questi accenti At these words Mai soffro un temerario ardir; deh pensa, I painfully suffer an audacious boldness, ah, think. Think, Idamantes, oh god! Who your father is, who mine was. Idamantes Yes, the son of Cytheraea Drips unknown torments Into my breast. To you Mars brought Weeping and confusion. Love sought vengeance For your wrongs through me, he employed Those enchanting eyes, those charms of yours . . . but because of my love Are you burning with anger and shame; Ilia Pensa Idamante, oh Dio! II padre tuo qual ě, qual era il mio. Non ho colpa, e mi condanr Idamantes Idol mio, perche t'adoro. Colpa e vostra, o Dei tiranni, E di pena afflitto io moro D'un error, che mio non e. Se tu il brami, al tuo impero Aprirommi questo seno. Ne' tuoi lumi il leggo, e vero, Ma me'l dica il labbro almeno, E non chiedo altra merce. My idol, because I adore vou. The fault is yours, oh tyrannous gods, And I die afflicted with the pain Of a mistake that is not mine. If you wish it, at your command I shall open this breast of mine. In vour eyes 1 read it, it is true. But at least let your lips sax it. And I will not ask any other pitv. ILIA (seeing the prisoners led in) Ecco il misero resto de' Troiani, Here is the wretched remainder nl the Trojans, Dal nemico furor salvi. Saved from the fury of the enemy. Or quei ceppi Io rompero, vuo' consolarli adesso. (Ahi! perche tanto far non so a me stesso!) Idamantes Now I shall break Those chains; I wish to console them now. (to himself) (Ah! why am I unable to do that much for myself ?) Scene III Idamantes, Ilia. Trojan prisoners, men and women of Crete. (The chains of the prisoners are taken off; they show gratitude. > Idamantes Scingete le catene, ed oggi il mondo, 0 fedele Sidon suddita nostra, Vegga que' gloriosi Popoli in dolce nodo avvinti, e stretti Di perfetta amista. Elena armo la Grecia, e l'Asia, ed ora Disarma, e riunisce ed Asia, e Grecia Eroina novella. The fault is not mine, and you condemn me, Prin lc'Pessa piú amabile, e piu bella. Loosen the chains, and todav let the world see. Oh faithful Cvdonia our vassal. Those glorious Peoples bound in a sweet knot, and tightly tied In perfect friendship. Helen armed Greece and Asia, and now A new heroine, A more amiable and more beautiful princess. Appears and reunites both Asia and Greece. 24 25 The Metropolitan Opera Book of Mozart Operas Idomeneo Godiam la pace, Trionfi Amore: Ora ogni core Giubilerä. Grazie a chi estinse Face cli guerra: Or si la terra Riposo avrä. Godiam la pace, Trionfi Amore: Ora ogni core Giubilerä. A voi dobbiamo, Pietosi Numi, H a quei bei lumi La liberta. Godiam la pace, Trionfi Amore: Ora ogni core Giubilerä All Two Cretans All Let us enjoy peace. Let Love triumph: Now every heart Will rejoice. Thanks to the one who extinguished The torch of war: Now indeed will the earth Have rest. Let us enjoy peace, Let Love triumph: Now every heart Will rejoice. Two Trojans All To you we owe, Merciful gods, And to those lovely eyes, Liberty. Let us enjoy peace, Let Love triumph: Now every heart Will rejoice. Scene IV Hectra, and the former. Electra (stirred by jealousy) Prcnce, Signor, tutta la Grecia Prince, Lord, you insult all Greece; oltraggi; Tu proteggi il nemico. You are protecting the enemy. Idamantes Veder basti alia Grecia It is enough for Greece to see Vinto .1 nem.co; opra di me piu degna The enemy conquered; let it prepare to A mirar s'apparecchi, o principessa: Vegga il vinto felice. (He sees Arbaces approach.) An action more worthy of me, oh princess: Let it look on the vanquished: happv. Arbace viene. iMa quel pianto che annunzia? Mio Signore, De' mali il piü terribil . . . Piú non vive II genitor? Scene V Arbaces, and the jormer. Arbaces is downcast. Idamantes Arbaces is coming. (fearful) But what does that weeping presage? Arbaces My Lord, The worst of evils . . . Idamantes (anxious) Mv father No longer lives? Non vive: quel, ehe Marte Far non potě fin or, fece Nettuno, L'inesorabil Nume, e degl'eroi il piú degno, ora il riseppi, Presso a straniera sponda Affogato mori. Arbaces He does not live: that which Man Was unable to do until now, Neptune, The inexorable god, accomplished. And the worthiest of heroes, I was told it just now, Close by a foreign shore Died bv drowning. Ilia, de' viventi Eccoti il piu meschin; or si dal Cielo Soddisfatta sarai. . . barbaro Fato! . . . Corrasi al lido . . . ahimě! son disperato! Idamantes Ilia, here before vou Is the most miserable of the living; now indeed will vou Be satisfied by Heaven . . . barbarous Fate! Let me run to the shore . . . alas! I am desperate! (He leaves.) 26 27 The Metropolitan Opera Book of Mozart Operas Idomeneo Dell'Asia i danni ancora Troppo risento, e pur d'un grand eroe Al nome, al caso, il cor parmi commosso K negargli i sospir, ah no, non posso. Ilia I still feel Asia's losses Too much, and yet at the name and fate Of a great hero my heart seems moved, And I cannot, ah no, deny him my sighs. (She leaves sighing.) Scene VI electra (alone) Estinto ě Idomeneo? . . . Tutto a' miei danni, Tutto congiura il Ciel. Puô a suo talento Idamante disporre D'un impero, e del cor, e a me non resta Ombra di speme? A mio dispetto, ahi lassa! Vedro, vedra la Grecia a suo gran scorno Una schiava Troiana di quel soglio, Ľ del talamo a parte ... In vano Elettra Ami l'ingrato ... e soffre Una figlia d'un Re, che ha Re vassalli, Che una vil schiava aspiri al grande acquisto?. . . Oh sdegno! oh smanie! oh duol! . . . piii non resisto. Tutte nel cor vi sento, Furie del crudo Avemo. Lunge a si gran tormento Amor, mercě, pietä. Chi mi rubo quel core, Quel, che trachto ha il mio. Provin' dal mio furore Vendetta, e crudeltä. Idomeneus is dead? . . . Heaven conjures everything, Everything to mv harm. Can Idamantes At his inclination dispose Of an empire and a heart, and not a shadow of hope Remain to me? In contempt of me, alas! Shall I see, will Greece see to its great shame A Trojan slave share that throne, And the marriage bed ... In vain, Electra, Do you love the ingrate . . . and can The daughter of a king who has kings for vassals Suffer a cowardly slave to aspire to the great acquisition?. . . Oh wrath! oh frenzy! oh sorrow! can endure it no longer. I feel vou all in my heart, Furies of cruel Avemus. Keep love, mercy, pity Away from such great torment. Let her who stole my heart, He who betrayed mine, Feel the vengeance and cruelty Of my fury. (She leaves.) I Scene VII The shores of a still agitated sea surrounded by rocks. Fragments of ships on the shore. Chorus Nearby (strongly) Pieta, Numi, pieta! pjty, gods, pity! Aiuto, o giusti Numi! Help, oh just gods! A noi volgete i lumi. . . Turn your eyes to us . . . Chorus in the Distance (less strongly) Pieta, Numi, pieta! p;ty, gods, pity! II Ciel, il mare, il vento Heaven, sea and wind Ci opprimon di spavento . . . Weigh us down with fear . . . Chorus Nearby (softly) Pieta, Numi, pieta! pjty, gods, pity! In braccio a cruda morte Inhuman destiny thrusts us Ci spinge l'empia sorte . . . Into the arms of cruel death . Pieta, Numi, pieta! All (very softly) Pity, gods, pity! Scene VIII Pantomime Ctyune appears on the sea. He signals to the winds to return to then caves. The sea graduaU, « ldome^"s. xemg the god of the sea, implores his aid. Neptune, regarding him »nh a menacmg scowl, plunges into the waters and disappears.) Scene IX Idomeneus with his suite. Idomeneus (to his suite) Eccoci salvi al fin; o voi, di Marte E di Nettuno all'ire, Alle vittorie, ai stenti Fidi seguaci miei, Easciatemi per poco Q"i solo respirar, e al Ciel natio Confidar il passato affanno mio. We are saved at last; oh vou. My faithful followers In the victories, the hardships And wrath of Mars and Neptune, Leave me for a little To breathe here alone, and to mv name skv Confide my past grief. (His suite goes off, and Idomeneus advances along the beach, contemplating it.) 28 29 The Metropolitan Opera Book of Mozart Of-er\s Idomeneo Tranquillo e il mar, aura soave spira Di dolce calma, e le cerulee sponde 11 biondo Dio indora; ovunque io miro, Tutto di pace in sen riposa, e gode. 10 sol, io sol su queste aride spiagge D'affanno, e da disagio estenuato Quella calma, o Nettuno, in me non provo, Che al tuo regno impetrai. In mezzo a' flutti, e scogli, Dall'ira tua sedotto, a te lo scampo Dal naufragio chiedei, e in olocausto 11 primo de' mortali, che qui intorno Infelice s'aggiri, all'are tue Pien di terror promisi. AH'empio voto Eccomi in salvo si, ma non in pace . . . Ma son pur quelle, o Dio! le care mura, Dove la prima intrassi aura vitale?. . . Lungi da si gran tempo, ah con qual core Ora vi rivedro, se appena in seno Da voi accolto, un misero innocente Dovro svenar! oh voto insano, atroce! Giuramento crudel! ah qual de' Numi Mi serba ancor in vita, O qual di voi almen mi porge aita? Vedrommi intorno L'ombra dolente, Che notte, e giorno: Sono innocente M'accennera. The sea is tranquil, a pleasant breeze breathes Sweet calm, and the blond god gilds The cerulean shores; wherever I look, Everything reposes in the bosom of peace, and takes pleasure. I alone, 1 alone on these arid shores, Exhausted bv grief and discomfort, Do not feel that calm, oh Neptune, Which I asked of your realm. In the midst of waves and rocks. Led astray bv vour anger, i begged deliverance From the shipwreck, and as an offering, full of terror, I promised the first of the mortals, That unhappily roamed around here, For your altars. Because of the inhuman vow Here I am saved indeed, but not at peace . . . But are those really, oh god! the dear walls Where I took my first breath?. . ■ Gone for such a long time, ah, with what heart Shall I now see you again, if barely welcomed To your breast, 1 shall have to execute An unhappy innocent! oh, insane, atrocious vow! Cruel oath! ah, which of the gods Is still keeping me alive, Oh, which of you is at least giving me help? I shall see around me The sorrowing shade. That night and day Will mention to me: I am innocent. Nel sen trafitto, Nel corpo esangue 11 mio delitto, Lo sparso sangue M'additerä. Qual spavento, Qual dolore! Di tormento Questo core Quante volte morirä! Cieli! che veggo? ecco, la sventurata Vittima, ahimě! s'appressa ... oh qual dolore Mostra quel ciglio! mi si gela il sangue, Fremo d'orror . . . Ľ vi fia grata, o Numi Legittima vi sembra Ostia umana innocente? . . . e queste mani Le ministře saran?. . . mani esecrande! In his wounded breast. In his bloodless bodv He will point out to me My crime, The shed blood. What terror. What pain! How many times Will this heart die Of torment! (He sees a man approaching.) Heavens! what do I see? here, the unfortunate Victim, alas! approaches . . . oh, what pain That face displays! my blood freeze*. 1 tremble with horror . . . And will thi- be pleasing to vou, oh gods, Does an innocent human victim Seem just to vou? . . . and these hand* Barbari, ingiusti Numi! Are nefandě! Will be the ministers? . . . abhorrent hands! Barbarous, unjust gods! Abominable altars! Spiagge romite, e voi scoscese rupi, Testimoni al mio duol siate, e cortesi Di questo vostro albergo A un agitato cor . . . quanto spiegate Di mia sorte il rigor solinghi orrori! . . . Vedo fra quegl'avanzi Di fracassate navi su quel lido Scene X Idamantes, Idomeneus (apart). Idamantes Solitary shores, and vou steep cliff*. Be testimony to my sorrow, and courteous With this shelter of vours To an agitated heart . . . how well you interpret The severity of my fate, solitary horrors! . . . I see among those remnants Of smashed ships on that shore 30 31 The Metropolitan Opera Book of Mozart Operas Sconosciuto guerrier . . . voglio ascoltarlo, Idomeneo Vuö confortarlo, e voglio In letizia cangiar quel suo cordoglio. An unknown warrior ... 1 want to hear him, To comfort him, and I want To change his great sorrow into gladness. (He approaches and speaks to Idomeneus.) Sgombra, o guerrier, qual tu ti sia, il ' Drive off, oh warrior, whoever you may timore; Eccoti pronto a tuo soccorso quello, Che in questo clima offrir te'l puo. be, vour fear; Here ready for your assistance is the one Who can offer it to vou in this clime. (Piü il guardo, Piii mi strugge il dolor.) Idomeneus (to himself) \ (The more I watch him, De' giomi miei II resto a te dovrö; tu quale avrai Premio da me? i (to Idamantes) ! The more my pain consumes me.) I owe you The remainder of my days; you, what reward Will you have from me? i Idamantes Premio al mio cor sara L'esser pago d'averti Sollevato, difeso: ahi troppo, amico, Dalle miserie mie instrutto io fui A intenerirmi alle miserie altrui. It will be a reward to my heart j lb be satisfied with having ! Raised you up, upheld you: ah, very well, my friend. Was I taught by mv own miseries To be moved by the miseries of others. Idomeneus (to himself) (Qual voce, qual pieta il mio sen (What voice, what pity pierces my trafigge!) Misero tu? che dici? Li son conte Le tue sventure appien? Dell'amor mio, Cieli! il piu caro oggetto, In quelli abissi spinto Giace l'eroe Idomeneo estinto. breast!) (to Idamantes) You miserable? what are you saving? an" your misfortunes Fully known to you? Idamantes The dearest object, Heavens! of mv love. The hero Idomeneus, Plunged into these abysses, lies dead. 32 Ma tu sospiri, e piangi? Te nolo Idomeneo? But vou sigh and weep? Did vou know Idomeneus? Idomeneus Uom piu di questo j A more deplorable man Deplorabil non v'e, non v'e chi plachi | Than he, who must appease his austere ! fate, II Fato suo austero. j Does not exis{ Che favelli? Vive egli ancor? Idamantes What are you saying? Does he still live? ■ (to himself) (Oh Dei! tomo a sperar!) Ah dimmi, amico, dimmi Dov'e? dove quel dolce aspetto Vita mi rendera? Ma d'onde nasce Questa, che per lui nutri Tenerezza d'amor? Potessi almeno A lui stesso gl'affetti miei spiegare! (Oh gods! I return to hope!) J Ah, tell me, friend, tell me, ! Where is he? where will that sweet i countenance Restore life to mc? Idomeneus But whence is bom ] This tenderness of love that vou j Nourish for him? i Idamantes i Could 1 at least i Unfold my affections to him himself (Pur quel sembiante Non m'h ™Xo stranier, un non so che ■I Idomeneus (to himself) Rawiso in quel. . \ (Yet this face Is not entirely strange to me, an unexplained something I recognize in that. . .) (Pensoso il mesto sguardo In me egli fissa . . . e pur a quella voce, A quel ciglio, a quel gesto uom mi rassembra 0 in Corte, o in campo a me noto, ed amico.) Idamantes (to himself) (He fixes his sad look Thoughtfully on me . . . and yet by his voice. His face, his gesture he resembles a man Known to me either in court or on the battlefield. I 33 The Metropolitan Opera Book of Mozart Operas You are reflecting. IdOMENEUS i Tu mediti. Tu mi contempli, e taci Perchě quel tuo parlar si mi conturba? Idamantes Idomeneus You are contemplating me, and are silent. Why does your speech so disturb Idamantes H qual mi sento anch'io Turbamento nell'alma? ah, piu non posso 11 pianto ritener. And why do 1 also feel Disturbance in my soul? ah, I no longer Can hold back my weeping. Ma di: qual fonte Sgorga quel pianto? e quel si acerbo duol, Che per Idomeneo tanto t'affligge . . . (Oh Dio!> Parla: di chi ě egli padre? fe il padre mio. (Spietatissimi Dei!) Meco compiangi Del padre mio il destin? Ah hglio!. . . (He weeps.) Idomeneus But sav. what fount Disgorges those tears? and what harsh sorrow, That so afflicts you for Idomeneus .. Idamantes (emphatically) Ah, ch'egli e il padre . . . Ah, because he is the father . • IDOMENEUS (impatiently- interrupting him) (Oh god!) Speak: whose father is he? Idamantes (in a weary voice) He is my father. Idomeneus (to himself) (Most pitiless gods!) Idamantes Are you bewailing the fate Of my father with me? Idomeneus (sorrowful) Ah son!. . . Idamantes (joyfully) Ah, father ... Ah, gods!.,. Where am I? ... oh what transport.. Ah, padre! ... Ah Numi!. . . Dove son io? . . . oh qual trasporto! Idomeneo (He wishes to embrace him, bat his father draws back disturbed.) soffri, permit Genitor adorato, che al tuo seno . . . Adored father, that on your breast . . . E che un amplesso . . . ahime! perche ti And that an embrace . . . alas! why are sdegni? y0U offended? Disperato mi fuggi? ... ah dove, ah dove? You desperately run from me? ... ah, where, where? Non mi seguir, te'l vieto: Meglio per te saria il non avermi Veduto or qui; paventa il rivedermi. Idomeneus Do not follow me, I forbid it: It would be better for you Not to have seen me here; be fearful of seeing me again. (He leaves hurriedly.) Idamantes Ah qual gelido orror m'ingombra i Oh, what cold horror encumbers sensi! • • • mv senses! I barely see him, I recognize him, and at my Tender words he disappears in a flash. Wretch! in what did I offend, and how Did I ever merit that wrath, those threats?. . . I wish to follow him and see, oh harsh fate! What harsher misfortune mav threaten me. I find my adored father Again, and I lose him. He runs from me wTathfullv Shuddering with horror. I thought 1 was dving Of jov and of love! Now, barbarous gods! Sorrow is killing me Lo vedo appena, il riconosco, e a miei Teneri accenti in un balen s'invola. -Misero! in che Poffesi, e come mai Quel sdegno io meritai, quelle minaccie?... Vuo' seguirlo, e veder, oh sortě dura! Qual mi sovrasti ancor piu rea sventura. II padre adorato Ritrovo, e lo perdo. Mi fugge sdegnato Fremendo ďorror. Morire credei Di gioia, e ďamore: Or, barbaři Dei! M'uccide il dolor. (He leaves sorrowfullv.) 34 3S The Metropolitan Opera Book of Mozart Operas Idomeneo INTERMEZZO (The sea is completely tranquil. The Cretan troops that arrived with Idomeneus disembark. The warriors sing the following chorus in honor of Neptune. The Cretan women run to embrace their men so happily arrived, and express their mutual joy in a general dance which ends with a chorus.) March of the Warriors during the Landing Chorus of Warriors who Have Disembarked Nettuno s'onori, Quel nome risuoni. Quel Nume s'adori, Sovrano del mar; Con danze e con suoni Convien festeggiar. Da lunge ei mira Di Giove 1'ira, I in un baleno Va all'F.ghe in seno. Da regál sede Tosto provvede. Ha i generosi Destrier squammosi Ratto accoppiar. DalPonde fuore Suonan sonore Tritoni araldi Robusti, e baldi Buccine intorno. Giá riede il giorno, Che il gran tridente II mar furente Seppe domar. Nettuno s'onori, Quel nome risuoni Quel Nume s'adori, All Let Neptune be honored, Let that name resound, That god be adored, Sovereign of the sea. With dances and sounds It is necessary to celebrate. A Part of the Chorus From far off he sees The anger of Jove, And in a flash He goes to Aegae's breast. From his royal seat He quickly provides, Causes the scaly steeds Of noble bearing To be yoked together swiftly. From out of the waves Robust and bold Triton heralds Sound sonorous Buccinas all around. Already the day is returning, Since the great trident Was able to tame The raging sea. All Sovrano del mar; Con danze e con suoni Convien festeggiar. Su conca d'oro Regio decora Spira Nettuno. Scherza Portuno, Ancor bambino, Col suo delfino, Con Anfitrite. Or noi di Dite Fe trionfar. Nereide amabili, Ninfe adorabili, Che alia gran Dea Con Galatea Corteggio fate, Deh ringraziate Per noi quei Numi, Che i nostri lumi Fero asciugar. Nettuno s'onori, Quel nome risuoni, Quel Nume s'adori, Sovrano del mar; Con danze e con suoni Convien festeggiar. Or suonin le trombe, Solenne ecatombe Andiam preparar. Sovereign of the sea. With dances and sounds It is necessary to celebrate. A Part of the Chorus On his golden conch Neptune inspires Regal dignity. Portumnus sports, Still a child, With his dolphin And with Amphitrite. He caused us to triumph Over Dis now. Amiable nereids. Adorable nvmphs. Who pav court To the great goddess With Galatea, Ah, render thanks For us to those spds Who were able To drv our eyes. All Let Neptune be honored. Let that name resound. That god be adored. Sovereign of the sea. With dances and sounds It is necessary to celebrate. Now sound the trumpets. Let us go to prepare Solemn hecatombs. Hnd of Act One Let Neptune be honored. Let that name resound. That god be adored. 36 37 The Metropolitan Opera Book of Mozart Operas Idomeneo Arbaces ACT TWO Scene I The royal apartments. Idomeneus, Arbaces Idomeneus Siam soli; odimi Arbace, e il grand arcano In sen racchiudi; assai Per lungo uso m'ě nota Tua fedeltä. Di fedeltä il vassallo Merto non ha: virtú non ě il dover. txco la vita, il sangue . . . Un sol consiglio Or mi fa d'uopo; ascolta: Til sai quanto a' Troiani Fu il brando mio fatal. We are alone; hear me Arbaces, and the great secret Enclose in your breast; through Long habit your fidelity to me Is well known. Arbaces i The vassal has no merit In fidelity: virtue is not a duty. Here my life, my blood . . . Idomeneus Only one piece of advice is necessary For me now; listen: You know how fatal to the Trojans Was my sword. Tutto m e noto. Gonfio di taňte imprese Al varco al fin m'attese il fier Nettuno. E so, che a' danni tuoi Ad Eolo unito, e a Giove II suo regno sconvolse Arbaces Idomeneus All is known to me. Si, che m'estorse Urn. in voto ana vittima. At its end fierce Neptune laying for me, Puffed up with so many exploits. Arbaces And I know that he. Together with Eolus and Jove, Turned his realm upside down, to you loss . . . Idomeneus Yes, so that he extorted from me A human victim as a vow*. 38 Di chi? Who? Idomeneus Del primo, The first Che sulla spiaggia incauto a me s'appressi. Who unwarily approached me on the shore. Arbaces Or dimmi: Chi primo tu incontrasti? Now tell me: Who did vou meet first? Inorridisci: II mio figlio . . . Idomeneus You will be horrified: My son . . . arbaces (losing his courage) Idamante! .. . io vengo meno . . . Idamantes! ... 1 feel faint (recovering himself) Ti vide?. .. il conoscesti? Did he see you? him? did n-nigtiii Idomeneus Mi ride, e a offrirmi ogni sollievo accorse, Credendomi stranier, e il motto padre Piangendo; al lungo ragionar l'un l'altro Conobbe al fin, ahi conoscenza A kuli suo destin svelasti? No, che da orror confuso io m'involai, Disperato il lasciai. Povero padre! Idamante infelice! He saw me, and hastened to offer me every relief. Believing me a stranger, and bewailing hta Dead father; after a long discourse, at the end Each knew the other; ah! the knowledge . . . Arbaces Did you Reveal his fate to him? Idomeneus No, for I vanished because of confused horror, I left him desperate. Arbaces Poor father! Unhappy Idamantes! 39 The Metropolitan Opera Book of Mozart Operas Idomeneus Idomeneo Arbaces, give me advice, For pity's sake, save me, save my i Dammi, Arbace, il consiglio, Salvami per pieta, salvami il figlio. arbaces {considering, then resolved) Trovisi in altro clima altro Let him find another residence in soggiorno. Idomeneus another clime. Dura necessitä! ... ma dove mai, Dove ad occhio immortal potra celarsi? Harsh necessity! ... but where, Where will he be able to hide himself from the immortal eye? Arbaces Purchě al popol si celi. Per altra via intanto Nettun si placherä, qualche altro Nume Di lui cura n'avrä. He only need be hidden from the people. Meanwhile Neptune will be placated By other means; another god Will have the care of him. Ben dici, é vero . . . Ilia s'appressa, ahimě! . . Idomeneus Well said, it is true . (As he sees lha coming.) i Ilia approaches, alas! . . . (He remains thoughtful for a little and then decides.) In Argo ei vada, e sul patemo soglio Let him go to Argos, and restore FJectra To the paternal throne . . . now go to her, and to my son. Get them ready; arrange everything Quickly. Guard the secret; I trust you. To you will be owed, oh dear, oh faithhil Arbaces, The life of the son and the peace of he father. Rimetta Elettra ... or vanne a lei, e al figlio, Fa, che sian pronti; il tutto Sollecito disponi. Custodisci l'arcano; a te mi fido. A te dovranno, o caro, o fido Arbace, La vita il figlio, e il genitor la pace. Se il tuo duol, se il mio disio Se'n volassero del pari, A ubbidirti qual son io, Arbaces If your sorrow, if my desire Were to take wing in like manner. Your sorrow would be rea> flee ,dv to Sana il duol pronto a fuggir. Quali al trono sian compagni, Chi l'ambisce or veda, e impari: Stia lontan, o non si lagni Se non trova che martir. As obedient to vou as I am. Whoever covets the throne, let him see and learn Who are the throne's companions: Let him stav away; or not complain If he onlv finds martvrdom. (He leaves.) Scene II Idomeneus, Ilia. Ilia Se mai pomposo apparse Su I'Argivo orizzonte il Dio di Delo, Kccolo in questo giorno, o Sire, in cui Ľaugusta tua presenza i tuoi diletti Sudditi torna in vita, e lor pupille, e ti piansero estinto, or rasserena. Principessa gentil, il bel sereno Whe alle tue pupille omai ritomi, H lungo duol dilegua. lo piansi, ě vero, E in vano l'are tue, 0 glauca Dea bagnai: Ewbagenitrice,ahtu lo sai! Piansi in veder 1'antico Priamo genitor delľarmi sotto g™« incarco, al suo partir, al tristo A"iso di sua morte; e piansi poi f vedere "ei tempio il ferro, Ü fuoco, U Patria distrutta, e me rapita If the magnificient god of Delos ever appeared On the Argive horizon. Here he is this dav, oh Sire, in which Your august presence restores Your happy subjects to life, and renders serene Their eves, w hich wept for vou as one dead. Idomeneus Gentle princess, mav lovclv sermitv Now return to vour eves also. May vour long sorrow disappear. Ilia I wept, it is true. And in vain did I bathe Your altars, oh glaucous goddess: For Hecuba, my mother, ah well vou know it! I wept seeing my old father Priam under the heavy load Of arms, at his departure, at the sad News of his death; and then I wept At seeing in the temple the sword, fire. My homeland destroyed, and mvself taken away 411 4! The Metropolitan Opera Book of Mozart Opkras idomeneo In questa acerba etä, Fra ncmici, c tempeste, prigioniera Sotto un polo stranier . . . Assai soffristi . . . Ma ogni trista memoria or si sbandisca. Poiche il tuo amabil figlio Libertä mi donö, di grazie, e onori Mi ricolmö, tutta de' tuoi la gioia In me raccolta io sento; eccomi, accetta L'omaggio, ed in tributo II mio, non piü infelice, Ma awenturato cor Al figlio, al genitor grato, e divoto. Signor, se umile ě il don, sincero ě il voto. In this harsh age, Among enemies and storms, a prisoner Under a foreign pole . . . IdomenEUS You suffered greatly . . . But now banish every sad memory. Ilia Since vour amiable son Gave me freedom, overwhelmed me With favors and honors, I feel All the joy Of your people gathered in me; here I am, accept My homage, and in tribute My no longer unhappy But fortunate heart, Grateful and devoted to the son and father. My Lord, though the gift be humble, the vow is sincere. Idomeneus Idamante mio figlio, Allor, che liberta ti diě, non fu Chc interprete felice Del patemo voler. S'ei mi prevenne, Quanto ei fece a tuo pro, tutto io confermo. Di me, de' miei tesori lila, disponi, e mia eura sará Dartene chiare prove DelPamicizia mia. Son čerta, e un dubbio in me colpa saria. Propizie stelle! qual benigno influsso La sorte mia cangiô? dove temei Strazio, e morte incontrar, lieta rinasco. Colgo dove eredei avverso il tutto Delle amare mie pene il dolce frutto. Ilia So Idamantes, mv son, Who pave vou freedom, was only The happy interpreter Of the paternal will. If he anticipated me In what he did for your good, I confirm it all. Ilia, make use of me, Of my treasures, and my care shall be To give you clear proofs Of my friendship. I am certain, and a doubt in me would be a fault. Propitious stars! what benign influence Changed my destiny? where I feared Torment, and to meet death, I am bom again happy. Where I believed everything hostile, I gather the sweet fruit of my bitter pain. Se il padre perdei. La patria, il riposo, Tu padre mi sei. Soggiorno amoroso E Creta per me. Or piu non rammento Le angoscie, gl'affanni. Or gioia, e contento, Compenso a' miei danni, Il Cielo mi die. Though I lost my father. You are mv homeland. Rest, father. Crete is a loving Residence for me. Now I do not remember Anxieties, griefs. Now jov and contentment. Compensation for mv losses. Heaven gave me. (She leaves.) Scene III Qua! mi conturba i sensi Equivoca favella?. . . ne' suoi casi iDOMbNEUS (alone) Why does her ambiguous speech Disturb mv senses?... in her Qual mostra a un tratto intempestiva gioia La Frigia principessa? . . . quei, ch'esprime Teneri sentimenti per il prence, Sarebber forse . . . ahimě . . . Sentimenti d'amor, gioia di speme? . . . Non m'inganno; reciproco ě l'amore. Troppo, Idamante, a scior' quelle catene Sollecito tu fosti. . . ecco il delitto, Che in te punisce il Ciel . . . Si, si, a Nettuno II figlio, il padre, ed Ilia, Tre vittime saran su I'ara istessa Da egual dolor afflitte, Una dal ferro, e due dal duol trafitte. Fuor del mar ho un mare in seno, Che del primo ě piü funesto, circumstances Why does the Phrygian princess sudtlrnh show Unexpected jov? . . . those tender sentiments That she expressed for the prince. Could thev be perhaps . . . alas . . . Sentiments of love, jov of hope?... 1 am not mistaken; their love is reciprocal. You were too precipate, Idamantes, in Loosening those chains . . . here is the crime For which Heaven punishes vou . . . Yes, yes, for Neptune Son, father and Ilia Will be three victims on the same ahar Afflicted bv equal pain: One wounded bv the sword, and two bv sorrow. Awav from the sea I have a sea in mv breast. Which is more deadlv than the first one. 42 43 The Metropolitan Opera Book of Mozart Operas Idomeneo h Nittuno ancora in questo Mai non cessa minacciar. Fiero Nume! dimmi almeno: Se al naufragio ě si vicino ii mio cor, qual rio destino Or gli vieta il naufragar? Frettolosa, e giuliva Elettra vicn; s'ascolti. And even in this Neptune Never ceases menacing. Fierce god! tell me at least: If mv heart is so near being a Shipwreck, what harsh destinv Now denies it the shipwreck? Electra is approaching Hastily and joyously; let us listen. Scene IV ldomeneus, Electra, Electra Sire, da Arbace intesi Quanto la tua clemenza S'interessa per me; giá all'inhnito Giunser le grazic tue, Pobbligo mio. Or, tua mercě, verdeggia in me la spěme Di vedere ben tosto Depresso de' ribelli il folie orgoglio. ť come a tanto amorc Corrisponder potró? Sire, from Arbaces I learned How much vour clemency Is concerned for me; already vour favors And mv obligation have reached to infinity. Now, thanks to your help, hope grows green in me To see the foolish pride Of the rebels humbled soon. And how shall I answer to So much love? Idomeneus Di tua difesa Ha l'impegno Idamante, a lui m'en vado; Farö, che adempia or or l'intento mio, II suo dover, e appaghi il tuo disio. Idamantes has the charge Of your defense; I am going to him about it; .... I shall see that he fulfills immediately my intention, His duty, and that he satisfies your desire. (He haves.) Chi mai del mio provö piacer piu dolce? Parto, e l'unico oggetto, Che amo, e adoro, oh Dei! Scene V Electra (aJone) Whoever felt a sweeter pleasure than mine? 1 leave, and the one thing i love, and adore, oh gods! Meco se'n vien? ah, troppo, Troppo angusto ě il mio cor a tanta gioia! Lunge dalla rivale Farö ben io con vezzi, e con lusinghe, Che quel fuoco, che pria Spegnere non potei, A quei lumi s'estingua, e avvampi ai miei. Idol mio! se ritroso Akra amante a me ti rende, Non m'offende Rigoroso, Pili m'alletta austero amor. Scacciera vicino ardore Dal tuo sen l'ardor lontano: Piů la mano Puö d'amore, S'ě vicin l'amante cor. Is coming with me? ah, mv heart Is far too inadequate for so much joy! Far from mv rival I shall certainlv see that with endearments and adulation That that fire, which earlier I was unable to extinguish, Be extinguished for her eves, and blaze for mine. Mv idol! though another lover Gives vou, reluctant, to me; Harsh man. It does not offend me; An austere love attracts me more A love nearbv will drive away An ardor far from vour breast: The hand of love Can do more If a loving heart is nearbv. (A harmonious march is heard in the distance.) Odo da lunge armonioso suono, Che all'imbarco mi chiama; orsii si vada. I hear a harmonious sound from afar, Which calls me to the embarkation; come, I will go. (She leaves hurriedly.) (The march is heard coming nearer, as the scene is changed ) Scene VI The harbor of Cydonia with ships along the shore. Electra, Argue and Cretan troops and sailors. Electra Sidonie sponde! o voi Per me di pianto, e duol, d'amor nemico Crudo ricetto, or, che astro piü demente A voi mi toglie, io vi perdono, e in pace Al lieto partir mio Al fin vi lascio, e do l'estremo addio! Cydonian shores! oh vou. Cruel shelter for me of weeping, sorrow. And unfriendlv love, now that a more clement star Takes me from vou, 1 pardon vou, and in peace At mv happv departure At last I leave vou, and give vou mv last farewell! 44 45 The Metropolitan Opera Book of Mozart Operas Idomeneo Chorus Hladilo e il mar, andiamo; Tutto ci rassicura. Felice avrem ventura, Su, su partiamo or or. Soavi Zeffiri Soli spirate, Del freddo Borca Ľira calmate. D'aura piacevole Cortesi siate, Se da voi spargesi Per tutto amor. Placido č il mar, andiamo; Tutto ci rassicura. Felice avrem ventura, Su su, partiamo or or. Electra Chorus The sea is placid, let us go; Everything reassures us. We will have a happy venture, Come, let us leave immediately. Sweet Zephyrs, Onlv blow gently, Calm the anger Of cold Boreas. Be courteous With your pleasant breeze, Since love is scattered Everywhere by you. The sea is placid, let us go; Everything reassures us. We will have a happy venture, Come, let us leave immediately. Scene VII Idomeneus, Idamantes, Electra. The king's suite. Idomeneus Vatene, Prence. Oh Ciel! Idamantes Go, Prince. Oh Heaven! Troppo t'arresti. Parti, e non dubbia fama Di mille eroiche imprese il tuo ritorno Prevenga. Di regnare Se Parte apprender vuoi, ora incomincia A renderti de' miseri il sostegno, Del padre, e di te stesso ognor piu degno Idomeneus You are staying too long. Depart, and may they not be doubtful tidings Of a thousand heroic undertakings that precede Your return. If you wish to learn The art of ruling, begin now To make yourself the support of the unfortunate, j Always more worthy of your father an of yourself. Pria di partir, oh Dio! Soifri, che un bacio imprima Sulla patema man. Idamantes Electra Before leaving, oh god! Allow me to imprint a kiss On the paternal hand. Soffri, che un grato addio Sul labbro il cor esprima: Addio, degno sovran! Vanne, sarai felice; Figlio! tua sorte é questa. Seconda i voti, o Cieľ. Quanto sperar mi lice! Vado! (e il cor qui resta.) Addio! (Destin crudel!) <0h Ilia!) (0 figlio!) °h padre! oh partenza! 0 Dei! che sarä? Allow my heart to express A grateful farewell on mv lips: Farewell, worthy sovereign! Idomeneus (to Electra) Go, you will be happy; (to Idamantes) Son! this is your destiny. All Three Favor these wishes, oh Heaven' Electra How much mav I hope! Idamantes I go! (to himself) (and mv heart remains here.) All Three Farewell! Idomeneus and Idamantes (each to himself) (Cruel destiny!) Idamantes (to himself) (Oh Ilia!) Idomeneus (to himself) (Oh son!) Idamantes Oh father! oh departure! Electra Oh gods! what will happen.' 46 47 The Metropolitan Opera Book of Mozart Operas ldomeneo Deh cessi il scompiglio; Del Ciel la clemenza Sua man porgera. All Three Ah, let all confusion cease; The clemency of Heaven Will stretch forth its hand. Chorus (They go to the ships.) (As they go to embark, a sudden storm rises. The people sing the following:) Qual nuovo terrore! Qual rauco mugito! De' Numi il furore Ha il mare infierito. Nettuno, merce! Chorus What new terror! What raucous bellowing! The fury of the gods Made the sea cruel. Neptune, mercy! (The storm increases, the sea swells up, the sky thunders and flashes and the frequent lightning sea the ships onfre. A formidable monster appears above the waves. The people sing the following) Qual odio, qual ira Nettuno ci mostra! Se il Cielo s'adira, Qual colpa e la nostra? II reo qual ě? Chorus What hate, what anger Neptune shows to us! If heaven is quarreling, What is our fault? Who is the guilty one? Idomeneus Eccoti in me, barbaro Nume! il reo! lo solo errai, me sol punisci, e cada Sopra di me il tuo sdegno; la mia morte Ti sazi al fin; ma s'altra aver pretendi Vittima al fallo mio, una innocente Darti io non posso, e se pur tu la vuoi, Ingiusto sei, pretenderla non puoi. Here I am, barbarous god, the guilty I alone erred, punish me only, and let your wrath Fall on me; let my death Finally satiate you, but if you expect to have Another victim for my error, 1 cannot give you An innocent person, and if you si it, You are unjust, you cannot expect it till wish (77« storm continues. Terrified, the Cretans flee and in the following chorus express «ftk ****** and in pantomime their terror, all of which forms an analogous action, and the act closes mlh * usual divertimento.) Corriamo, fuggiamo Quel mostro spietato, Ah, preda giä siamo! Chi, perfido Fato! Piu crudo ě di te? Let us run, let us flee That pitiless monster. Ah, we are alreadv his prev! Who, perfidious fate! Is more cruel than vou? End of Act Two ACT THREE Scene I TTie royal garden. Solitudini amiche, aure amorose, Piante fiorite, e fiori vaghi! udite d una infelice amante 1 lamenti, che a voi lassa confido. Quanto il tacer presso al mio vincitore, Quanto il finger ti costa, afflitto core! Zeffiretti lusinghieri, Deh volate al mio tesoro, E gli dite, ch'io l'adoro, Che mi serbi il cor fedel. E voi piante, e fior sinceri, Che ora inaffia il pianto amaro, Dite a lui, che amor piü raro, Mai vedeste sotto al Ciel. Ei stesso vien o taccio? oh Dei! ... mi spiego, Ilia (alone) Friendlv solitude, loving breezes. Flowering plants, and enchanting (lowers' hear The lament of an unhappy Lover that I, wearv, confide to vou. How much being silent near my conqueror. How much dissimulation costs vou, afflicted heart! Little flattering zephvrs. Ah, II v to mv treasure. And tell him that I adore him. That he keep his heart faithful to me. And you plants, and candid flowers. That now mv bitter weeping sprinkles, Tell him that a rarer love Was never seen under heaven. He himself is coming ... oh gods! . . . do I explain myself or be silent? 4S 4" The Metropolitan Opera Book of Mozart Operas Resto? . . . parto? ... o m'ascondo? . . . Do I stay? . . . leave? ... or hide myself?. . . Ah, risolver non posso; ah, mi confondo! Ah, I cannot decide, ah! I am becoming confused! Scene II Ilia, Idamantes. Idamantes Principessa, a' tuoi sguardi Se offrirmi ardisco ancor, piú non mi guida Un temerario affetto; altro or non cerco, Che appagarti, e morir. Princess, if I dare offer myself again To your glances, no longer does an audacious love Guide me; now I look for nothing else But to please you, and to die. Ilia Morir? tu, prence? Piú teco io resto, piü di te m'accendo, E s'aggrava mia colpa, a che il castigo Die? vou, Prince? Piü a lungo differir? Ma qual cagione Morte a cercar t'induce? Idamantes The more I stay with you, the more enflamed with you I become, And my fault is aggravated, so why postpone Punishment anv longer? Ilia Idamantes 11 genitore Pien di smania, e furore Torvo mi guarda, e fugge, E il motivo mi cela. Da tue catene avvinto, il tuo rigore A nuovi guai m'espone. Un fiero mostro Pa dapertutto orrida strage; or questo A combatter si vada, E vincerlo si tent i, O finisca la morte i miei tormenti. But what reason Induces you to seek death? My father, Full of restlessness and fury Looks at me scow ling, and flees, And conceals the reason from me. Bound by your chains, your seventy Exposes me to new misfortunes. A fierce monster Is causing horrible slaughter everywhere; now I am going to fight him, And attempt to conquer him, Or let death end ray torments. Idomeneo Ilia Cairn, oh Prince, such a mournful Calma, o prence, un trasporto si funesto; passion; Rammenta, che tu sei d'un grand' impero ] Remember that vou are the only hope L'unica speme. j Of a great empire. Privo del tuo amore, Privo, Ilia, di te, nulla mi cale. Idamantes Deprived of vour love. Deprived, Ilia, of vou I care about nothing. Ilia Misera me! .. . deh, serba i giorni | tuoi. 11 mio Fato crudel seguir degg'io. Idamantes Ilia Vivi. Ilia te'l chiede. Oh Dei! che ascolto? Principessa adorata!. . . II cor turbato A te mal custodi La debolezza mia; Pur troppo amore, e tema Indivisi ho nel sen. Odo? o so! quel, che brama Finge l'udito, o pure il grand ardore M'<>gita i sensi, e il cor lusinga oppresso Un doke sogno? Unhappy me! ... ah, preserve vour life. ' I must follow mv cruel fate. Live. Ilia asks it of vou. Idamantes Oh gods! what do 1 hear? Adored princess! Ilia Ah! perchě pria non arsi ^escoprirlamiafiamma? mille i Wronglv did mv weakness Consign mv disturbed Heart to vou; Unfortunately I have love And fear undivided in mv breast. Idamantes Do I hear? or does hearing onh simulate that which it desires; Or else does a great ardor agitate My senses and a sweet dream flatter My oppressed heart? Ilia Ah! why did I not burn io sento Before discovering my passion? 1 feel a Rim ' ip thousand °rsi all'alma; il sacro mio dovere, Pains of conscience in my soul; ah, how greatly will 50 SI The Metropolitan Opera Book of Mozart Operas Idomeneo l.a mia gloria, la patria, il sangue My sacred duty, my glory, my homeland, De' miei ancor fumante, ah quanto al The still smoking blood of my family core reprove Rimproveranno il mio ribelle amore! . . . My heart for my rebellious love!... Ma al fin, che fo? gia che in periglio But after all, what am 1 doing? 1 already estremo see you, Ti vedo, o caro, e trarti sola io posso. Oh dear one, in extreme peril, and only I can hold you back; Odimi, io te'l ridico: Hear me, I will sav it to you again: Tamo, t'adoro, e se morir tu vuoi, I love you, I adore vou, and if vou wish to die, I'ria, che m'uccida il duol morir non You cannot die before sorrow kills me. puoi. Idamantes S'io non moro a questi accenti, Since I do not die at these words Non e ver, che Amor uccida, It is not true that love kills, Che la gioia opprima un cor. That joy oppresses a heart. Ilia Non piii duol, non piii lamenti; Io ti son costante, e fida, Tu sei il solo mio tesor. Tu sarai Qual tu mi vuoi. La mia sposa . . . Lo sposo mio Sarai tu? Lo dica Amor. Idamantes Ilia Idamantes Ilia No more sorrow, no more laments; I am constant, and faithful to vou. You are mv only treasure. You will be . What vou w ish me. My wife . . . You will be My husband? Idamantes and Ilia (together) Ah! il gioir sorpassa in noi II sofferto affanno rio; Tutto vince il nostro ardor! Let Love say it. Ah! the joy in us surpasses The harsh'suffering endured; ^ Our ardor conquers everything Scene III Idomeneus, Electro, and the former. IDOMENEUS (io himself) (Cieli! che vedo?) (Heavens! what do I see?) ILIA (to Idamantes) Ah, siam scoperti, o caro. Ah, we are discovered, oh dear one. Idamantes (to Ilia) Non temer, idol mio. Have no fear, mv idol. (Ecco l'ingrato.) do ben m'apposi al ver; ah, crudo Fato!) Electra (to herself) (Here is the ingratc.) Idomeneus (to himself) (Well did I guess the truth; ah cruel fate!) Idamantes Signor, gia piii non oso Lord—for I no longer dare 'adre chiamarti, a un suddito infelice. Call you father—to an unhappy subject. Ah, at least grant this One favor. °eh, questa almen concedi Unica grazia. Parla. (Che dirä?) Idomeneus Speak. Electra (to herself) (What will he sav?) Idamantes "n che t'offesi mai? perche mi fuggi. In what did I ever offend you? why vii„ i. , do vou flee me, M e gpocchj Torbida notte ingombra ... oh figlio! name'. Here I am at your feet. In this last Fatal period, on your right hand. Which must open the passage in mv veins To your blood, accept mv last kisses. Now I understand that vour contusion Was not wrath, but paternal love. Oh thousand upon thousand fold Fortunate Idamantes, If he who gave vou life takes it from vou. And taking it from vou returns it to heaven, And in exchange begs for his own from heaven, And begs enduring peace for his people, Then sacred and true is the love of the gods! Idomeneus Oh son, oh dear son! . . . Pardon: this cruel office Is not chosen bv me, it is a punishment by Fate. Barbarous, unjust Fate! ... ah no, I cannot Raise the sharp labrys Against an innocent son . . . from every fibre i Mv strength now flees, and murkv night Encumbers mv eves ... oh son! . . . Ah Oh padre!. IDAMANTES (faint, then resolute) Oh father! non t'arresti inutile pieta, N« vana ti lusinghi Tenerezza d'amor; deh, vibra u Che amb' tolga d'affanno. colpo, Ah, do not let useless pitv stop vou. Nor vain tenderness of love Tempt you; ah, strike a blow That delivers both from sorrow. 60 61 The Metropolitan Opera Book of Mozart Operas Idomeneo Idomeneus Ah, che natura ' Ah, my nature Me'l contrasta, e ripugna. Opposes it, and resists. [damantes Ceda natura al suo Autor: di Giove Let nature give in to its Creator: Questo e l'alto voler. This is the high will of Jove. Rammenta il tuo dover. Se un figlio perdi, Remember your duty. Though you lose a son, Cento avrai Numi amici. Figli tuoi You will have a hundred gods for friends. Your children 1 tuoi popoli sono . . . Are your people . . . Ma se in mia vece brami But if in mv place you desire Chi t'ubbidisca, ed ami, One who will obey you, and love you, Chi ti sia accanto, e di tue cure il peso Who will be at your side, and bear the weight Teco ne porti, . . . Ilia ti raccomando . . . Of your cares with you, ... I commend Ilia to you . . . Deh un figlio tu esaudisci, Ah, hear a son favorably, Che moribondo supplica, e consiglia: Who at the point of death entreats and advises: Sella sposa non m'e, deh siati figlia. If she cannot be a wife to me, ah, let her be a daughter to you. No, la morte io non pavento, No, I do not fear death, Se alia patria, al genitore lf; oh gods, it produces Frutta, o Numi, il vostro amore, Your love and the lovely serenity of peace E di pace il bel seren. For my country and my father. Agl'Elisi andro contento, I wul g0 contented to Elysium, E riposo avra quest'alma, And my soul will have rest, Se in lasciare la mia salma if jn leaving my dead body Vita, e pace avra il mio ben. My beloved will have life and peace. Ma, che piu tardi? eccomi pronto, adempi II sacrifizio, il voto. Oh qual mi sento In ogni vena insolito vigor? Or risoluto son . . . 1'ultimo amplesso Ricevi . . . , e mori. But why do you still delay? here I am ready, fulfill The sacrifice, the vow. Idomeneus Oh, why do I feel Unusual vigor in every vein; ■ Now I am resolute . . . receive My last embrace . . . , and die. 0 padre! Oh figlio! Oh Dio! Idamantes Oh father! Idomeneus Oh son! Idomeneus and Idamantes Oh god! Idamantes (to himself) (Oh Ilia, ahime . . . Vivi felice.) (Oh Ilia, alas ... may you live happilv. i Addio! Ferma, o Sire, che fai? Idomeneus and Idamantes Farewell! (As he is about to strike the blow, Ilia appears unexpectedly and impedes it.) Scene X Ilia hurriedly, Electro, and the former. ILIA (running to bold back Idomeneus' arm) Stop, oh Sire, what are vou doing? Idomeneus La vittima io sveno, Che promisi a Nettun. Hia, ťaecheta I am executing the victim That I promised to Neptune. Idamantes Ilia, be silent. High Priest (to Ilia) Deh, non turbar il sacrifizio. Ah, do not disturb the sacrifice. In vano Quella scure altro petto To*, ferir; eccoti, Sire, il mio, Ilia La "ttima io son. In vain Does that axe attempt to wound Another breast; here for vou. Sire, is mine, I am the victim. Electra (to herself) (Oh qual contrasto!) (Qh what a batde of wills!) 62 63 The Metropolitan Opera Book of Mozart Opfras Idomeneo Ilia (to Idomeneus) Idamante ě innocente, ě figlio tuo, t del regno ě la speme. Tiranni i Dei non son; fallaci siete Interpreti voi tutti Del divino voler; vuol sgombra il Cielo De' nemici la Grecia, e non de' figli. Benchě innocente anch'io, benchě ora arnica, Di Priamo son figlia, e Frigia io naqui, Per natura nemica al Greco nome. Orsii mi svena . . . Idamantes is innocent, he is your Ah troppo, Ilia, sei generosa; Vittima si preziosa il genitore Non promise a Nettun, me scelse il Fato La Frigia in te ancor vive: Chi sa a qual fine il Ciel ti serba in vita, H delia Grecia in sen? In van m'alletti. In van morir presumi. Fie is the hope of the kingdom. The gods are not tyrants; you are all Fallacious interpreters Of the divine will; Heaven wishes Greece Purged of its enemies and not of its children. Although I, too, am innocent, although I now am a friend, I am a daughter of Priam, and bom Phrygian, Hnemy by nature to the Greek name. Come, execute me . . . Idamantes Ah, Ilia, You are too noble; My father did not promise Such a precious victim to Neptune, Fate chose me. Phrygia still lives through you: Who knows to what end heaven keeps you alive And in the bosom of Greece? Ilia Idamantes Idomeneus Ah ch'io son fuor di me. Soccorso, o Numi! In vain do you charm me. In vain do you presume to die. Ah, I am beside myself. Help, oh gods! Oh Ciel! che fia? ... mi scoppia il cor Arbaces (In petto Quai moti ardenti io sento Di rabbia, e di furor!) Oh heaven! what will happen?. heart is bursting . . . Electra (to herself) (What burning Impulses of rage and fury Do I feel in mv breast!) 64 Sire, risolvi omai. Ma quella tu non sei Sempře picí grata ě a' Dei Vittima volontaria. High Priest Idomeneus Sire, determine now. But vou are not the one . . . Ilia A voluntary victim Is even more welcome to the gods. Idamantes Idolo mio! My idol! Deh dammi del tuo amor l'ultimo pegno. Ah, give me a last pledge of your love Ilia Ecco il mio sangue Ah no; la gloria in pace Lasciami di morire Per la mia patria. A me s'aspetta. Oh Dio! Gratitudine e in me. In me ě dover. Here is my blood. Idamantes Ah, no; allow me the glorv Of dying in peace For my countrv. Ilia Idamantes Ma ti dispensa .Amore. Nettun! eccoti il mio. Ilia Idamantes Ilia This glory awaits me. Oh god! In me it is gratitude. In me it is dutv. 0 0 vivi, e parti, 'nsiem noi moriremo. But Love exempts vou. Neptune! here for vou is mine. (She runs to the altar and wishes to kneel; Idamantes holds her back.) Idamantes Either live, and depart. Or we will die together. 65 The Metropolitan Opera Book of Mozart Operas No, sola io vud varcar il guado estremo. A te, sacro ministro . . . (She kneels before the High Priest.) No, I wish to cross the ultimate ford alone. I am yours, sacred minister .. . (In the same moment that Ilia kneels, a loud subterranean noise is heard. The simulacrum of Neptune shakes. The High Priest is before the altar in ecstasy. All remain astonished and immobile through terror. A deep voice pronounces the following judgement of heaven:) The Voice Ha vinto Amore . . . A Idomeneo perdona II gran trascorso il Ciel, ... ma non al Re, A cui mancar non lice a sue promesse . . . Cessi esser Re . . . lo sia Idamante, . . . ed Ilia A lui sia sposa, e ha pago Nettuno, Contento il ciel, premiata Finnocenza. La pace rendera di Creta al regno Stahilito nel Ciel nodo si degno. Love has conquered . . . Heaven pardons the great error Of Idomeneus, . . . but not the King, To w horn it is not permitted to fail in his promises . . . Let him cease being King ... let it be Idamantes, . . . and let Ilia Be his wife, and Neptune will be satisfied, Heaven contented, and innocence rewarded. This most worthy union established in heaven Will give peace to the kingdom of Crete. Oh Ciel pietoso! Ilia . . . Idamante, udisti? Oh gioia! oh Amor! oh Numi! Oh smania! oh Furie! Oh disperata Elettra! Idomeneus Idamantes Ilia Arbaces Oh merciful heaven! Ilia . . . Idamantes, did you hear? Oh joy! oh love! oh gods! Electra Oh frenzy! oh Furies! Oh, desperate Electra! Idomeneo Addio amor, addio speme! ah, il cor nel Farewell love, farewell hop-! Ah, alreadv seno Gia m'ardono l'Eumenide spietate. The pitiless Eumenides are burning mv heart in mv breast. Misera! a che m'arresto? Wretched woman! why do I restrain myself? Sard in queste contrade Shall I be the sorrowful spectator Delia gioia, e trionfi Of jov and triumph Spettatrice dolente? In these streets? Vedro Idamante alia rivale in braccio. Shall I see Idamantes in the arms ol rm rival E dall'uno, e dall'altra And be pointed at Mostrarmi a dito? ah no, il germano Bv the one and the other? ah no, 1 want Oreste to join Ne' cupi abissi io vuo seguir. Ombra My brother Orestes in the deep abvsso. infelice! Unhappv shade! Lo spirto mio accogli, or or compagna Receive mv spirit, very soon vou «ill havr me M'avrai la nell'lnferno As a companion there in the infernal regions A sempiterni guai, al pianto eterno. In sempiternal wailing, in eternal weeping. D'Oreste, d'Ajace I have the torments of Orestes, Ho in seno i tormenti. Of Ajax in mv breast. D'Aletto la face The torch of Alecto Gia morte mi da. Alreadv gives me death. Squarciatemi il core Rend mv heart, Ceraste, serpenti, Cerastes, serpents, 0 un ferro il dolore Or a sword will put an end In me finira. To sorrow in me. (She leaves enraged.) Final scene Idomeneus, Idamantes, Ilia, Arbaces. The suites of Idomeneus, Idamantes and Ilia. People. Idomeneus Id p°poli, a voi l'ultima omeneo, qUa[ Re. Pace vv legge impone People, Idomeneus imposes his las, law oasto. As King on you. I announce peace to vou. 66 67 The Metropolitan Opera Compiuto č il sacrifizio, e sciolto il voto. Nettuno, c tutti i Numi a questo regno Amici son. Rcsta che al cenno loro Idomenco ora ubbidisca; oh quanto, 0 sommi Dei, quanto m'e grato il cenno! 1 111 tvi un altro Re, un altro me stesso. A klamante mio figlio, al caro figlio Cedo il soglio di Creta, e tutto insieme II sovrano poter; i suoi comandi Rispettate, eseguite ubbidienti, Lome i miei eseguiste, e rispettaste; Onde grato io vi son: questa ě la legge. Eccovi la real sposa; mirate In questa hella coppia un don del Cielo Serbato a voi. Quanto or sperar vi lice! Oh Creta fortunata; oh me felice! Torna la pace al core, Torna lo spento ardore, Fiorisce in me l'etä; Tal la stagion di Flora L'albero annoso infiora, Nuovo vigor gli da. Book of Mozart Operas The sacrifice is completed, and the vow fulfilled. Neptune and all the gods are friends Of this kingdom. It remains for Idomeneus now lb obey their command; oh great gods, How welcome is this command! Here is another king for vou, another I myself. lb Idamantes my son, my dear son, I cede the throne of Crete, and all the sovereign Power with it; respect His commands, execute them obediently, As you executed and respected mine; For which I am grateful: this is the law Here for you is the royal bride; see In this handsome couple a gift from heaven Reserved for vou. How much hope is now permitted you! Oh fortunate Crete; oh happy me! Peace returns to my heart, The spent ardor returns, Age flourishes in me; Just as the season of Flora Embellishes the aged tree with leaves, And gives it new vigor. (There JoIIoks the coronation of Idamantes, which is carried out in pantomime; the chorus, which is sung during the coronation, and the ballet.) Chorus Scenda Amor, scenda Imeneo, E Giunone ai regi sposi. D'alma pace omai li posi La Dea pronuba nel sen. May Love, Hymen and Juno Descend to the royal couple ^ May the patroness of Now place the peace ot UK in their breasts. The End Idomeneo A Short Glossary of Names and Terms Rather than encumber the text with footnotes or use a definition for the name ol the person or term in the translation, a short identification is given below of all words that might need defining. Since Varesco invariably uses the Latin forms of the deities in spite of the drama having a Greek provenance (Minerva for Athena, Jove for Zeus, etc.), the Latin forms are retained here with no mention of their Greek equivalents. Most of the definitions an-based directly on Lempriere (1865 edition), still the most inclusive and readable of .ill classical dictionaries in English. Aegae. An Amazonian queen who, according to one ancient writer, drow ned in, and gave her name to, the Aegean Sea. Her name is also found as Aega. Agamemnon. King of Mvcenae and Argos, he was supreme commander of the Greet forces in the Trojan War. After he returned home he was murdered b\ In* w it. Clytemnestra and her paramour Aegisthus. Ajax. The bravest of all Greek warriors after Achilles, he was the son of Telamon and came to the war in twelve ships. He was bested bv Ulysses in the contest for Achilles' armor and in his disappointment went mad, later killing himself. Electra's "torments of Orestes. Ajax" (111/10) refers to their madness and indicates her awareness of her own incipient insanity. Alecto. See Eumenides. Amphitrite. Wife of Neptune, mother of Triton. Argive, Properly, the inhabitants of the city of Argos and the neighboring country, but the word is usually applied to all the inhabitants of Greece. Argos. One of the most powerful of the ancient Greek cities in the northeast Peloponnesu* Avernus. A lake whose waters were so unwholesome that it was considered bv the ancient* as the entrance to the underworld and also one of its rivers. Blond God. Apollo, most widely known as a god of light; he was also revered in connection with all the fine arts, medicine, music, poetrv and eloquence. Boreas. The north wind. Buccina. The conch used bv tritons and other sea gods as trumpets. Cerastes. The horned viper. Cvdonia. Present-dav Khania. One of the oldest cities in Crete, it is situated in the northwestern part of the island. Its inhabitants were famous for their archerv prowess. Varesco refers to it as the capital of Crete (following Danchet); this was actually KnOMOs, though Minos traditionally spent much time in Cvdonia. D's- Supposed to be the same as Pluto, the god of the underw orld. Plectra. Daughter of Agamemnon and Clytemnestra, sister of Orestes. In Varesco's libretto Llectra is supposed to have fled Argos to Cydonia in order to escape "the foolish pride of the rebels," presumably her mother and her mother's paramour. 69 68 The Metropolitan Opera Book of Mozart Operas Idomeneo Elysium. A place or island in the infernal regions where the souls of the virtuous were placed after death. Eolus. The west wind. Eumenides. The ministers of vengeance of the gods. They were three in number: TV siphone, Megara and Alecto. The latter was represented armed with flaming torches, her head covered with serpents. Euras- The east wind. Fates. Three in number, they presided over the birth and death of mankind. They spun (Ciotho), measured (Lachesis) and cut off (Atropos) the thread of life. Flora. The goddess of flowers and gardens. Furies. See Eumenides. Galatea. A sea-nymph. At the death of her lover, the shepherd Acis, she had him changed into a fountain. Glaucous Goddess. See Minerva. God of Delos. Apollo. Hecatomb. A sacrifice of 100 oxen. Hecuba. Wife of Priam and supposed mother of Ilia, though her name figures in none of the ancient sources. In Danchet's ldomenee she is called Ilione, which Varesco easi J translated into Ilia. The name is obviously derived from Ilium. Helen. Wife of Menelaus, Agamemnon's brother, she was carried off because of her beauU by Paris, son of Priam, thus precipitating the Trojan War. The libretto reference to her arming Greece and Asia indicates geographically the two warring forces and their allies-Hymen. The god of marriage. Idomeneus. Son of Deucalion, he succeeded his father on the throne of Crete. The number of ships he brought to the Trojan War is usually given as 100. Whereas all ancient authorities agree on his vow to Neptune, there are a number of different conclusions g«e to the legend, some having him kill his son and being expelled by his disgusted people, others having him entrust his kingdom to one Leucos who then had Idomeneus exu Ilium. See Trov. Jove. The most powerful of all gods of the ancients. When Idamantes tells Idomeneus, Let nature give in to its Creator," he is saying that Jove is more powerful than Neptune and will must not be disobeyed under any circumstances; therefore Idomeneus has no choice whatsoever but to sacrifice his son. Juno. By her marriage to Jove she became queen of all the gods. The cause of the Tro] War is traced back to her resentment of Paris' awarding the apple "for the fairest Venus (q.v.). She naturally was pro-Greek in the conflict between Greece and Asia. In guise as dec pronuba (final chorus, one of Varesco's Latinisms) she was the patroness o marriage. Labrys. A double axe, frequendy seen as a religious symbol in prehistoric Crete. Mars. The god of war. He favored the Trojans in the war. Minerva. The goddess of wisdom, war and all the liberal arts. She favored the Greek* * an to In her the war. Often referred to as the "glaucous" (gleaming) goddess in the Homeric epics, the epithet may mean "bright-eved," "grey-green eyed," or "owl-eyed," but modern authorities feel that "bright-eyed" is the safest rendering. Neptune. The god of the sea. He was pro-Greek in the war. Notus. The south wind. Orestes. Son of Agamemnon and Clvtemnestra, brother of Electra. He was pursued In the Furies and struck mad for killing his mother and her paramour after they had murdered his father. See Ajax. Phrygia. A country in Asia Minor whose most famous city was Troy (which is why Ilia refers to herself as a Phrygian). Portumnus. The god of harbors. Priam. King of Troy, father of Paris, whose abduction of Helen of Sparta precipitated the Trojan War. Hecuba was Priam's second wife by whom, according to Homer, he had nineteen children. After the betrayal of Troy, he buckled on his armor and was about to join battle against the Greeks but Hecuba detained him at the altar of Jove. He was cut down and decapitated by Neoptolemus, the son of Achilles, and his mutilated bodv left among the slain. It is to this pathetic scene that Ilia refers in her speech to Idomeneus (II/2). Son of Cytheraea. Cupid, the son of Mars and Venus (Cytheraea is a surname of hers taken from the island of Cvthera near which she rose from the sea). Cupid is, of course, the god of love. Triton. A sea deity, son of Neptune and Amphitrite. Troy. Ancient city, sometimes called Ilium, situated about four miles from the mouth of the Dardanelles. Paris brought Helen here after abducting her from her husband Menelaus Venus. The goddess of love. She favored the Trojans in the war due to Paris awarding her the apple designated "for the fairest." In Danchet's ldomenee Electra calls on Venus to aid her in her love for Idamantes, which Venus promises to do, telling her, "Your vengeance a one with that of the gods." Zephyr. The west wind. 70 71