Re Pastore Mozart

I L R E PA S T O R E
CLASSICAL OPERA
I A N PA G E ( C O N D U C T O R )
WOLFGANG AMADEUS MOZART (1756-1791)
IL RE PASTORE, K.208
Libretto by Pietro Metastasio (1698-1782)
Performance material: New Mozart Edition (NMA) ALESSANDRO JOHN MARK AINSLEY tenor
By kind permission of Bärenreiter-Verlag
Kassel · Basel · London · New York · Praha Alexander the Great, King of Macedonia
Recorded at St John’s Smith Square, London, UK from 17 to 25 July 2014
AMINTA SARAH FOX soprano
Produced and engineered by Andrew Mellor A shepherd, in love with Elisa
Assistant engineers: Claire Hay, Brett Cox
Post-production by Andrew Mellor and Claire Hay
Design by gmtoucari.com ELISA AILISH TYNAN soprano
Cover image by Debbie Coates
Photographs by Ruth Crafer unless otherwise stated A noble Phoenician girl, in love with Aminta
Italian language coach: Rosalba Lo Duca
Harpsichord technician: Malcolm Greenhalgh TAMIRI ANNA DEVIN soprano
Daughter of the tyrant Strato, in love with Agenore
Orchestra playing on period instruments at A = 430 Hz
We are extremely grateful to George and Efthalia Koukis for sponsoring this recording. AGENORE BENJAMIN HULETT tenor
We are also grateful to the following people for their generous support: Kate Bingham and Jesse A nobleman of Sidon, in love with Tamiri
Norman, Sir Vernon and Lady Ellis, Kevin Lavery, Robin and Amanda Osmond, Hamish and Carol
Ritchie, Pierce and Beaujolais Rood, and all the other individuals who supported this project.
THE ORCHESTRA OF CLASSICAL OPERA
Special thanks to: Kate Aldridge, Pawel Siwczak, Stephen Page and TallWall Media. Leader: Matthew Truscott
Continuo: Steven Devine (harpsichord), Joseph Crouch (cello),
Cecelia Bruggemeyer (double bass)
IAN PAGE conductor
2 M O Z A R T / I L R E PA S T O R E M O Z A R T / I L R E PA S T O R E 3
IL RE PASTORE, K.208 Scena V Page
11 Recitativo: “No, voi non siete, o Dei” (Tamiri) 0’34 36
CD 1 ACT ONE (62’38) 12 No. 6, Aria: “Di tante sue procelle” (Tamiri) 4’16 36
Page
1 Overtura 2’53 23 Scena VI
13 Recitativo: “Oh lieto giorno! oh me felice” (Elisa, Aminta) 1’11 37
ATTO PRIMO
Scena VII
Scena I
14 Recitativo: ”Dal più fedel vassallo” (Agenore, Elisa, Aminta) 2’09 38
2 No.1, Aria: “Intendo, amico rio” (Aminta) 2’06 23
3 Recitativo: “Bella Elisa, idol mio” (Aminta, Elisa) 3’25 23 Scena VIII
4 No. 2, Aria: “Alla selva, al prato, al fonte” (Elisa) 5’30 26 15 Recitativo: “Elisa! Aminta! È sogno?” (Aminta, Elisa) 0’31 41
16 Recitativo accompagnato: ”Che? m’affretti a lasciarti?” 3’02 42
Scena II (Aminta, Elisa)
5 Recitativo: “Perdono, amici Dei” (Aminta, Agenore, Alessandro) 3’09 27 17 No. 7, Duetto: “Vanne a regnar, ben mio” (Elisa, Aminta) 6’03 43
6 No. 3, Aria: “Aer tranquillo e dì sereni” (Aminta) 6’13 31
Scena III
7 Recitativo: “Or che dici, Alessandro?” (Agenore, Alessandro) 1’08 32 APPENDIX
8 No. 4, Aria: “Si spande al sole in faccia” (Alessandro) 4’37 32 Concert version of No. 3, Aria
Scena IV 18 Recitativo: “Compagne amene” (Aminta) 1’14 43

9 Recitativo: “Agenore? T’arresta” (Tamiri, Agenore) 2’10 33 19 Recitativo accompagnato: “Ditelo voi pastori” (Aminta) 2’11 44
10 No. 5, Aria: “Per me rispondete” (Agenore) 3’35 35 20 No. 3, Aria: “Aer tranquillo e dì sereni” (Aminta) 6’20 31
CD 2 ACT TWO (54’34) Scena VII Page
10 Recitativo: “Uscite, alfine uscite” (Agenore) 0’13 61
ATTO SECONDO
Scena VIII
Scena I Page
11 Recitativo: “Ma senti, Agenore” (Elisa, Agenore) 1‘36 61
1 Recitativo: “Questa del campo greco” (Elisa, Agenore) 2’13 46
2 No. 8, Aria: “Barbaro, oh Dio! mi vedi” (Elisa) 4’56 50 Scena IX
12 Recitativo: “Povera ninfa! io ti compiango” (Agenore, Tamiri) 1’15 64
Scena II
13 No.11, Aria: “Se tu di me fai dono” (Tamiri) 4’32 65
3 Recitativo: “Nel gran cor d’Alessandro” (Agenore, Aminta) 2’28 50
Scena X
Scena III
14 Recitativo: “Misero cor!” (Agenore) 0’22 66
4 Recitativo: “Per qual ragione resta il re” (Alessandro, Aminta) 1’57 53
15 No.12, Aria: “Sol può dir come si trova” (Agenore) 2’50 66
Scena IV
Scena XI
5 Recitativo: “Or per la mia Tamiri” (Agenore, Alessandro) 3’24 55
16 No.13, Aria: “Voi, che fausti ognor donate” (Alessandro) 3’54 67
6 No. 9, Aria: “Se vincendo vi rendo felici” (Alessandro) 6’04 58
17 Recitativo: “Olà! che più si tarda?” (Alessandro, Tamiri, Agenore) 0’37 67
Scena V
Scena XII
7 Recitativo: “Oimè! declina il sol” (Aminta) 0’47 59
18 Recitativo: “Ah giustizia, signor” (Elisa, Alessandro) 1’03 68
Scena VI
Scena XIII
8 Recitativo: “E irresoluto ancora” (Agenore, Aminta) 1’08 59
19 Recitativo: “Signore, io sono Aminta” 1’49 69
9 No.10, Rondeaux: “L’amerò, sarò costante” (Aminta) 7’03 61
(Aminta, Alessandro, Agenore, Elisa, Tamiri)
[Matthew Truscott, solo violin]
20 No.14, Coro: “Viva l’invitto duce” 6’13 71
(Elisa, Tamiri, Aminta, Agenore, Alessandro)
The Orchestra of Classical Opera
Violin 1 Double bass
Matthew Truscott (leader) Cecelia Bruggemeyer (continuo)
Rebecca Livermore Timothy Amherst
Andrew Roberts
Liz McCarthy Flute
James Toll Katy Bircher
Alice Evans Jane Mitchell
Julia Kuhn
Camilla Scarlett Oboe / Cor anglais
James Eastaway
Violin 2 Rachel Chaplin
Jill Samuel Bassoon
William Thorp Philip Turbett
Dan Edgar Zoe Shevlin
Marianna Szücs
Kristin Deeken Horn
Naomi Burrell Gavin Edwards
Davina Clarke Joseph Walters
Nick Benz
Viola David Bentley
Alfonso Leal del Ojo
Mark Braithwaite Trumpet
Oliver Wilson David Blackadder
Heather Birt Philip Bainbridge
Cello Harpsichord
Joseph Crouch (continuo) Steven Devine (continuo)
Andrew Skidmore
Jonathan Byers
M O Z A R T / I L R E PA S T O R E 9
Il re pastore – an introduction by Ian Page Archbishop Colloredo’s attitude, however, was quite different – Mozart and his father
were his employees (Wolfgang was promoted to the position of Konzertmeister in August
1772), and as such they were required to carry out their respective duties as court
“One must live as if it would be forever, and as if one might die at each moment.
musicians. Mozart was begrudgingly allowed to go on his third and final visit to Italy to
Always both at once.” Attributed to Alexander the Great
fulfil the commission of Lucio Silla for Milan, and he also wrote La finta giardiniera for
Munich at the end of 1774 – it would have been politically embarrassing to deny him
Mozart’s Il re pastore was commissioned by the Archbishop of Salzburg to celebrate this opportunity, for the Archbishop himself had been invited to attend the Carnival festivities
the royal visit of Archduke Maximilian Franz. It was premièred on 23 April 1775. at which the new opera was to be performed. For most of the 1770s, though, Mozart
The choice of Metastasio’s popular libretto, in which Alexander the Great searches for was trapped in an increasingly frustrating and servile role in the home town which he
the rightful heir and places him on the throne of Sidon, was a particularly apt one, steadily grew to loathe and resent. He was paid an annual salary of 150 florins for his
for the ceiling of the Knights’ Hall in the Archbishop’s Palace – the room in which Mozart’s duties as a practising, performing musician, but received little additional reward for his
opera was first performed – features a series of paintings by the Austrian artist Johann compositions. Nonetheless, he composed prolifically during these first years back in
Michael Rottmayr, all dating from 1714, which also depict scenes from the life of Salzburg – symphonies, serenades, concertos, masses and numerous chamber works –
Alexander. It might also have appealed to the composer’s subversive sense of humour and several of his earliest masterpieces date from this period. But opera was Mozart’s
that the acts of heroism evoked on the ceiling were not entirely mirrored by Metastasio’s greatest passion, and his primary frustration was that Salzburg had no theatre. As long
often ironic portrayal of Alexander’s bungling attempts at match-making as he seeks as he remained there, he would not be able to concentrate his energies on writing operas.
to bring peace and political harmony to the kingdom of Sidon.
The commission and first performance
Background Mozart was, however, required to write one opera during these years in Salzburg.
On 16 December 1771 Mozart’s employer, Sigismund von Schrattenbach, had died, Archduke Maximilian Franz, the youngest son of the Habsburg Empress Maria Theresia,
and was succeeded by Hieronymus, Count Colloredo, who was installed as the new was visiting Salzburg in April 1775 on his way to Italy, and Archbishop Colloredo
Prince-Archbishop of Salzburg on 29 April 1772. Schrattenbach had been very supportive commissioned two works to honour his visit: Salzburg’s senior court composer Domenico
of the young Mozart, and had recognised his importance and usefulness as an ambassador Fischietti was to set Metastasio’s text Gli orti esperidi for the opening celebrations, while
for Salzburg. It was for this reason that Mozart’s father Leopold had been given extended Mozart was to set the same librettist’s Il re pastore for performance the following evening.
paid leave of absence to show off his prodigiously gifted children at the most prestigious Both works were referred to as serenatas, signifying not only that they were composed
courts in Europe – indeed, Mozart, who was only fifteen years old when the Archbishop for a special occasion but also that they were reduced in length from the standard three-
died, had spent a mere thirty months in Salzburg during the previous ten years. act ‘opera seria’ and that they were performed with either very limited staging or none
at all. Both were written for a cast of five – one soprano castrato, two sopranos and
two tenors – and two leading artists from the Munich Court Opera were engaged for the leading role in both works) and Becke had only arrived in Salzburg on 19 April
the occasion. The castrato Tommaso Consoli had sung the role of Ramiro in the first gives us a fair indication of how little rehearsal time was considered necessary.
performances of Mozart’s La finta giardiniera three months earlier, and he had already
portrayed the role of Elisa in Munich the previous year in a setting of Il re pastore by The libretto
Pietro Alessandro Guglielmi; for Mozart’s setting, rather more sensibly, Consoli was to Metastasio’s original text for Il re pastore had been written in 1751 to celebrate the
perform the male role of Aminta. The other visiting artist from Munich was the flautist birthday of the Empress Maria Theresia, and it was first performed in the theatre of
Johann Baptist Becke, whose presence was perhaps more necessary for Fischietti’s work, Schönbrunn Palace with the five roles all taken by Maria Theresia’s children – the part
for Mozart’s opera includes only one number with virtuosic flute parts. of Alexander the Great was originally played by the future Emperor Joseph II, who was
aged fourteen at the time, but Maximilian Franz, who was the same age as Mozart,
No confirmation has survived of the other cast members, but given that they were all had not yet been born (nor had his sister, the future Marie Antoinette). As court poet in
members of the Salzburg court ensemble it seems likely that the soprano roles of Elisa Vienna, Metastasio had already been required to write plays for these birthday celebrations
and Tamiri would have been played by Maria Magdalena Lipp and either Maria Anna for the previous twenty years or so, and the parameters were clearly defined: not only
Fesemayr or Maria Anna Braunhofer. In the spring of 1767 all three of these singers must the plays glorify monarchy and imbue the performers with enlightened aesthetic
had sung in the first performance of Die Schuldigkeit des ersten Gebots, which also took values, but in addition no villains or evil actions were allowed to be portrayed, as this
place in the Knights’ Hall of the Archbishop’s Palace. Each of the three parts of this would reflect discredit on the royal children who were acting out the roles.
sacred singspiel had been written by a different composer contracted to the Salzburg It is presumably for this reason that the tyrant Strato has already been deposed before
court – the first part by the eleven-year-old Mozart and the remaining two by Michael the action of Il re pastore begins, and Tamiri, though understandably predisposed to
Haydn (brother of the more famous Joseph) and Anton Adlgasser – and shortly afterwards dislike and distrust Alexander, never actually aligns herself in any way to her father’s
Lipp and Fesemayr had married Haydn and Adlgasser respectively. Franz Anton Spitzeder, views or methods.
who was a court tenor in Salzburg from 1760 until 1796 and who had sung the role
of Christgeist in Die Schuldigkeit des ersten Gebots, probably sang one of the tenor The music for the original 1751 performance was written by the Viennese court composer
roles (presumably that of Alessandro), with the other one possibly being taken by Felix Giuseppe Bonno, with whom Mozart was to come into contact many years later, and
Hofstätter, about whom little more is known. by 1775 the text had already been set by a further thirteen composers, including Hasse,
Gluck, Jommelli and Piccinni. When Mozart had been in London as a nine-year-old he
Archduke Maximilian arrived in Salzburg on 22 April 1775, and Fischietti’s Gli orti had probably attended a setting of the opera by Felice de Giardini which was being
esperidi was performed that evening; Il re pastore received its first performance the performed at the King’s Theatre, Haymarket. The story of the shepherd king, innately
following evening. The Knights’ Hall is a surprisingly small room, and any staging must good but brought up in humble ignorance of his true identity, had always been a popular
have been extremely basic. No records survive about whether the singers wore costumes, one, of course, harking back to the biblical story of King David, and it provided an
or even whether they sang from memory or not, but the fact that Consoli (who was taking enduring role model for enlightened leadership.
Mozart’s setting of Il re pastore was based on the two-act reduction of Metastasio’s replace or even enhance Metastasio’s original text. There has been some confusion as
libretto which had been used for the 1774 Munich revision of Guglielmi’s setting, the to where this recitative belongs, and previous recordings of Il re pastore have included
one that had featured Consoli as Elisa. This version essentially retained Metastasio’s Act it within the main body of the opera, but it seems clear that it was conceived by Mozart
One and then reduced and merged Acts Two and Three into a single whole which lasted for subsequent occasions when the aria was performed in isolation as a concert piece.
no longer than Act One. Mozart did make a few small changes to the 1774 Munich For this recording, the alternative recitative has therefore been placed as an appendix
libretto, including the reinsertion of a few lines that had been cut from Metastasio’s at the end of Act One, so that listeners have the opportunity to hear this ‘concert version’
original. There are also three places where he set completely new text in place of of the aria as a separate entity.
Metastasio’s; it has been assumed that these new sections of text were penned by the
Salzburg court chaplain, Giovanni Battista Varesco, but there is no firm evidence of this. Mozart’s final text of Il re pastore, combined with the music he composed for it, is much
more fluid and dramatic than the rather portentous stereotype of opera seria, and although
Two of the changes were clearly made to heighten the dramatic peak at the end of each Metastasio should take some of the credit for this we can already recognise Mozart’s
act. In Act One new text is added before the final duet, and this text is set as accompanied genius for capturing real and truthful human emotions. On the title page of his last opera,
recitative, thereby giving greater import to the ensuing duet. Metastasio’s finales, La clemenza di Tito – another setting of Metastasio – Mozart changed the poet’s
meanwhile, were habitually brief and perfunctory, prompting music settings which often nomenclature of opera seria (‘serious’ or ‘grave opera’) to opera vera (‘true opera’).
lasted scarcely longer than a minute, and it was presumably felt that something more Had Il re pastore been able to receive a full staging in Salzburg, he might well have
extended, festive and celebratory was required, especially in the context of Archduke made the same distinction sixteen years earlier.
Maximilian’s state visit. The only other significant change was for Aminta’s second aria,
where Metastasio’s “So che pastor son io” is entirely replaced by “Aer tranquillo”. Mozart The music
maybe felt that he had already established the pastoral mood in Aminta’s short opening By 1775 Mozart had already composed such celebrated works as the Exsultate, Jubilate
aria, with its bucolic flute accompaniment, and required something more vivacious, and the symphonies no. 25 (in G minor, K.183) and no. 29 (in A major, K.201), so it
virtuosic and contrasting for the shepherd’s second aria, which follows shortly afterwards. should come as no surprise that the music for Il re pastore is of a consistently high quality.
What is particularly noticeable about this score, though, is the way in which it evokes
Mozart clearly held “Aer tranquillo” in high regard, for he referenced its infectiously its own specific (though of course definitively Mozartian) sound world. In the rhythmic
energetic opening bars just a few months later as the main theme of the first movement energy and drive of the overture it is not hard to imagine Alexander the Great’s army
of the G major violin concerto, K.216. He also programmed the aria in several concerts laying siege to foreign lands, but as soon as we encounter the shepherd Aminta we
he gave, and at some point he composed an alternative solo recitative to precede it, immediately enter a calmer and less belligerent world. The music throughout is
again with entirely new and unidentified text. It is in two parts – the first accompanied quintessentially ‘outdoor’ in feeling, though often not in a traditionally pastoral manner,
by continuo only, the second by full strings – but in dramatic and plot terms it does not and there is always a sense that these are real people expressing real feelings. Perhaps
the most remarkable achievement of the first act is that each aria is an expression of joy,
contentment or devotion, and yet Mozart still manages to create enormous variety and
contrast within this framework.
Alexander’s first aria contains extraordinary evocations of storms and rainfall, and the string
writing in all his arias incorporates hints, however brief, of falling rain. Aminta’s music, too,
is often suggestive of water, but in his case the lapping semiquavers of second violins are
more suggestive of running streams and rustic tranquillity. This subtle water imagery, which
Mozart was to develop in Idomeneo to evoke powerful images of the sea, serves to
underline the contrasts as well as the similarities between Alexander and Aminta, whose
music at the same time shares with Elisa’s first aria a wonderful ‘fresh air’ quality.
The climate gradually changes in the second act, as the repercussions of Alexander’s
misconceived plan to marry Tamiri to Aminta take root, and the music is now able to
have a much wider emotional range, from Elisa’s opening pain at being separated from
Aminta to the shepherd’s own poignant expression of love, “L’amerò, sarò costante”, the
most exquisite and celebrated number in the piece, scored for violin solo, flutes, cors
anglais, bassoons, horns and muted strings. Agenore, having had to control his feelings
while each character in turn sings an aria to (or in some cases at) him, finally gives vent
to his anguish in an aria that is quintessential ‘Sturm und Drang’, but by the final quintet,
which contains some miraculous moments reminiscent of the very greatest of Mozart’s
works, the irrepressible high spirits and vivacity of the first act are restored.
Ian Page
16 M O Z A R T / I L R E PA S T O R E
Synopsis Act Two
Alexander’s camp
The opera is set in Sidon, Phoenicia, in 332 BC. Alexander the Great has just conquered Elisa is looking for Aminta, but Agenore prevents them from seeing each other. Alexander
the city, overthrowing the tyrannical usurper Strato. Before moving on to further conquests regrets not being able to forgive Tamiri publicly, and worries about the damage this will
he determines to find Abdolonimo, the rightful heir to the throne, who has been brought do to his reputation. When Agenore mentions that he knows where Tamiri is hiding,
up in humble obscurity, unaware of his true identity Alexander, blithely unaware of anyone’s amorous attachments, decides that it would be
a political masterstroke for Aminta to marry Tamiri; duty and honour prevent the horrified
Act One Agenore from protesting.
A wide pleasant landscape in the hills outside Sidon
Elisa excitedly tells her beloved Aminta that her mother finally supports their union, and A large cave
she rushes off to see her father. Alexander interrogates Aminta and, impressed by his Aminta is still unresolved as to whether to accept the throne, but when Agenore arrives
candour and nobility, is convinced that this shepherd really is Abdolonimo, the rightful he ambiguously declares that he has finally decided to fulfil his duty. For Aminta, this
heir to the throne. Agenore recognises his beloved Tamiri, Strato’s daughter, who is now duty involves renouncing the throne and remaining true to Elisa, but Agenore assumes
in hiding and disguised as a shepherdess, following Alexander’s victory over her father. that Aminta has decided to become king and to take Tamiri’s hand. He urges Aminta to
Agenore is unable to persuade Tamiri to reveal herself to Alexander, but vows to come take good care of his new bride, and Aminta, thinking he is referring to Elisa, assures
back to her soon. To Tamiri’s great joy and relief, he reassures her that he still loves her. him that he will always remain loving and devoted to her. Elisa is devastated when she
hears that Aminta is to marry Tamiri, while Tamiri is appalled that Agenore could so
Elisa now returns to tell Aminta that her father has consented to their marriage, but before readily give her up to someone else.
they can leave Agenore arrives to proclaim that Aminta is the rightful king. Aminta and
Elisa are astounded, and waver uncertainly between excitement and fear. The outer courtyard of the Temple of Hercules in Sidon
As Alexander asks the gods to look favourably on his plans, Tamiri tells him of Agenore’s
sacrifice and of their love. Elisa likewise opens her heart to Alexander, imploring him to
help. Aminta then arrives in his shepherd’s clothes, renouncing his royal position in favour
of his flock and marriage to Elisa. Alexander, moved by such courage and honesty,
appoints Aminta and Elisa to the throne of Sidon, and promises Tamiri and Agenore
another kingdom to rule. All ends happily.
Classical Opera
Classical Opera was founded in 1997 by conductor Ian Page to explore the works of
Mozart and his contemporaries, and has emerged as one of the leading exponents in its
field. Performing with its own acclaimed period-instrument orchestra, the company has
attracted considerable critical and public recognition, not only for the high quality of its
performances but also for its imaginative programming and its ability to discover and nurture
outstanding young singers. In 2015 the company launched MOZART 250, a ground-breaking
27-year project following the chronological trajectory of Mozart’s life, works and influences.
Classical Opera has performed regularly at many of London’s leading venues, including
Sadler’s Wells, Wigmore Hall, the Barbican and Kings Place, and has mounted staged
productions of many of Mozart’s operas, including Apollo et Hyacinthus, La finta semplice,
Il re pastore, Zaide, Le nozze di Figaro and Così fan tutte. In 2009 it was invited to
present The Royal Opera’s new production of Thomas Arne’s Artaxerxes, and it has also
given the world première of the ‘original’ version of Mozart’s Mitridate, re di Ponto, the
UK premières of Gluck’s La clemenza di Tito and Telemann’s Orpheus, and concert
performances of Handel’s Il trionfo del Tempo e del Disinganno, Arne’s Alfred and
J.C.Bach’s Adriano in Siria.
Classical Opera’s first two recordings – ‘The A–Z of Mozart Opera’ (Sony BMG, 2007)
and ‘Blessed Spirit: a Gluck retrospective’ (Wigmore Hall Live, 2010) – were both selected
for Gramophone magazine’s annual Critic’s Choice, and they were followed in 2011 by
Arne’s Artaxerxes on Linn Records (Opera Choice, BBC Music Magazine; Disc of the
Month, Opera). This CD is the fourth release in Classical Opera’s complete recording
cycle of Mozart’s operas, following Apollo et Hyacinthus (Linn Records, 2012),
Die Schuldigkeit des ersten Gebots and Mitridate, re di Ponto (Signum Classics, 2013
& 2014).
Libretto
CD 1
1 Overtura Overture
ATTO PRIMO ACT ONE
Scena I Scene 1
Vasta ed amena campagna con veduta della città Vast and pleasant countryside, with a view of the
di Sidone in lontano. Aminta assiso sopra un city of Sidon in the distance. Aminta seated on a
sasso, cantando: indi Elisa. rock, singing; then Elisa.
2 No. 1, Aria No. 1, Aria

AMINTA: AMINTA:
Intendo, amico rio, I understand, friendly stream,
Quel basso mormorio: that low murmuring;
Tu chiedi in tua favella you are asking in your own language,
Il nostro ben dov’è? “Where is our beloved?”
Intendo, amico rio... I understand, friendly stream...
3 Recitativo Recitative
AMINTA (vedendo Elisa, corre ad incontrarla): AMINTA (seeing Elisa, he runs to meet her):
Bella Elisa, idol mio, Beautiful Elisa, my beloved,
Dove? where are you going?
ELISA (lieta ed frettolosa): ELISA (cheerful and in a hurry):

A te, caro Aminta. To you, dear Aminta.
AMINTA: AMINTA:
Oh Dei! Non sai Oh Gods! Do you not know
Che il campo d’Alessandro that Alexander’s camp
Quindi lungi non è? Che tutte infesta is not far from here, that all this
Queste amene contrade pleasant countryside is infested
Il Macedone armato? with Macedonian troops?
ELISA: ELISA: AMINTA: AMINTA:
Il so. I know. Chi sarà dunque il nostro re? So who will be our king?
AMINTA: AMINTA: ELISA: ELISA:

Ma dunque But why then Si crede It is thought that,
Perchè sola t’esponi all’insolente do you expose yourself, alone, Che, ignoto anche a se stesso, occulto viva unknown even to himself,
Licenza militar? to the brazen military presence? Il legittimo erede. the legitimate heir lives in obscurity.

Rischio non teme, Love fears no peril, E dove... But where...
Non ode amor consiglio. nor does it listen to advice.
Il non vederti è il mio maggior periglio. Not seeing you is a greater danger to me. ELISA: ELISA:
Ah! lascia Ah, let
AMINTA: AMINTA: Che Alessandro ne cerchi. Odi. La mia Alexander look for him! Listen, my
E per me? And what about me? Pietosa madre (oh cara madre!) alfine merciful mother (oh dear mother!) at last
Già l’amor mio seconda. approves of my love.
ELISA: ELISA:
Deh m’ascolta. Ho colmo il core Ah listen to me. My heart is brimming AMINTA: AMINTA:
Di felici speranze, e non ho pace with happy hopes, and I shall have no peace Ah! Ah!
Finchè con te non le divido. until I share them with you.
ELISA: ELISA:
AMINTA: AMINTA: Tu sospiri, Aminta! You’re sighing, Aminta?
Altrove Elsewhere Che vuol dir quel sospiro? What does that sigh signify?
Più sicura potrai... you will be safer...
AMINTA: AMINTA:
ELISA: ELISA: Contro il destin m’adiro, I’m enraged by my fate,
Ma d’Alessandro But you are wrong Che sì poco mi fece which made me so unworthy of you, Elisa.
Fai torto alla virtù. about Alexander’s virtue. Degno, Elisa, di te. Tu vanti il chiaro You boast the pure blood of Cadmus,
Son della nostra sicurezza custodi They are protectors of our safety, Sangue di Cadmo, io, pastorello oscuro, while I, a humble shepherd, am ignorant of mine.
Quelle schiere che temi. Ei da un tiranno those troops that you fear. He came to free Sidon Ignoro il mio. Tu abbandonar dovrai For me you will have to abandon the comforts
Venne Sidone a liberar, né vuole from a tyrant, and he does not wish Per me gli agi paterni, offrirti invece provided by your father, and I, in my humble destiny,
Che sia vendita il dono: this gift to be a sale. Io non potrò, nella mia sorte umile, shall not be able to offer you anything instead,
Ne franse il giogo, e ne ricusa il trono. He has broken the tyranny, but refuses the throne. Che una povera greggia, un rozzo ovile. other than a lowly flock and a rough sheepfold.
ELISA: ELISA: Scena II Scene 2
Non lagnarti del Ciel: prodigo assai Don’t complain about heaven. It was most lavish Alessandro, Agenore con picciol seguito, e detto. Alexander and Agenore approach with a small
Ti fu de’ doni suoi. Se l’ostro e l’oro in its gifts to you. If crimson and gold were entourage.
A te negò, quel favellar, quel volto, denied to you, it gave you that voice, that face,
Quel cor ti diè’. Non le richezze o gli avi, that heart. I seek neither riches nor forefathers; 5 Recitativo Recitative
Cerco Aminta in Aminta, ed amo in lui in Aminta I seek only Aminta, and I love in him AMINTA: AMINTA:
Fin la sua povertà. Dal dì primiero, even his poverty. From the first day that Perdono, amici Dei. Fui troppo ingiusto Forgive me, friendly gods. I was too unjust,
Che ancor bambina io lo mirai, mi parve as a child I saw him, that shepherd, Lagnandomi di voi. Non splende in cielo complaining about you. No star in heaven
Amabile, gentile that flock and that hut seemed Dell’astro che mi guida astro più bello. shines as brightly as the one that guides me.
Quel pastor, quella greggia, e quell’ovile: delightful and kind to me; Se la terra ha un felice, Aminta è quello. If there is one happy person on earth, Aminta is
E mi restò nel core and that shepherd, that flock and that hut that person.
Quell’ovil, quella greggia e quel pastore. have remained in my heart.
AGENORE (piano ad Alessandro): AGENORE (quietly to Alexander):
AMINTA: AMINTA: (Ecco il pastor.) (Here is the shepherd.)
Oh mia sola, oh mia vera Oh my only, true happiness!
Felicità! Quei cari detti... Those dear words... AMINTA (in atto di partire): AMINTA (about to leave):
Ma fra’ contenti oblio But in my happiness I am forgetting
ELISA: ELISA: La mia povera greggia. my poor flock.
Addio. Farewell.
Corro alla madre e vengo a te fra poco. I must run to my mother, and shall return to you soon. ALESSANDRO (ad Aminta): ALEXANDER (to Aminta):
Io non dovrò mai più lasciarti. Insieme I shall never more have to leave you; the sun will Amico, ascolta. My friend, listen!
Sempre il sol noi vedrà, parta o ritorni. always see us together, whether it leaves or returns.
Oh dolce vita! oh fortunati giorni! Oh sweet life, oh happy days! AMINTA: AMINTA:
(Un guerrier!) Che dimandi? (A warrior!) What do you want?
ELISA: ELISA: ALESSANDRO: ALEXANDER:
Alla selva, al prato, al fonte To the forest, to the meadow, to the stream Sol con te ragionar. Only to speak with you.
Io n’andrò col gregge amato; I shall go with my beloved flock,
E alla selva, al fonte, al prato and to the forest, to the stream, to the meadow AMINTA: AMINTA:
L’idol mio con me verrà. my beloved will come with me. Signor, perdona Sir, forgive me
(Qualunque sei): d’abbeverar la greggia (whoever you are); the time for feeding the flock
In quel rozzo angusto tetto, In that rough, cramped hut L’ora già passa. has already passed.
Che ricetto a noi darà, which will give us shelter,
Con la gioia e col diletto with joy and with delight
L’innocenza albergherà. innocence will dwell.
(parte) (exit)
ALESSANDRO: ALEXANDER: ALESSANDRO: ALEXANDER:
Andrai, ma un breve istante You can go, but give me just a brief moment. Vivi in povera sorte. You live a poor life.
Donami sol. (Che signoril sembiante!) (What a noble countenance!)
(piano ad Agenore) (quietly to Agenore) AMINTA: AMINTA:
Assai benigna My guiding star
AMINTA: AMINTA: Sembra a me la mia stella: seems to me very favourable;
(Da me che mai vorrà!) (Whatever does he want from me?) Non bramo della mia sorte più bella. I do not wish for a better destiny.

Come t’appelli? What is your name? Ma in sì scarsa fortuna... But with such meagre fortune…
AMINTA: AMINTA: AMINTA: AMINTA:

Aminta. Aminta. Assai più scarse Much more meagre
Son le mie voglie. are my needs.
ALESSANDRO: ALEXANDER:
E il padre? And your father? ALESSANDRO: ALEXANDER:
Aspro sudor t’appresta Bitter sweat provides you with
AMINTA: AMINTA: Cibo volgar. plain food.
Alceo. Alceo.
AMINTA: AMINTA:
ALESSANDRO: ALEXANDER: Ma lo condisce. But it seasons it.
Vive? Is he alive?
AMINTA: AMINTA: Ignori You miss out on
No: scorse No, five years have already passed Le grandezze, gli onori. riches and honours.
Un lustro già ch’io lo perdei. since I lost him.
AMINTA: AMINTA:
ALESSANDRO: ALEXANDER: E rivali non temo, But I fear no rivals,
Che avesti What did you receive E rimorsi non ho. and have no regrets.
Dal paterno retaggio? as your father’s heirloom?
AMINTA: AMINTA: T’offre un ovile, It offers you a sheepfold,
Un orto angusto A narrow garden sonni incomodi e duri. and sleep that is hard and uncomfortable.
Ond’io traggo alimento, where I grow food,
Poche agnelle, un tugurio, e il cor contento. a few lambs, a hut, and a contented heart.
AMINTA: AMINTA: Al mondo usurperei del suo felice I would be depriving the world of his blessed,
Ma tranquilli e sicuri. But peaceful and secure. Benefico valor. Ciascun se stesso beneficent valour. Everyone should behave
Deve al suo stato. Altro il dover d’Aminta, according to his station. Aminta’s duty is one thing,
ALESSANDRO: ALEXANDER: Altro è quel d’Alessandro. È troppo angusta Alessandro’s is another. The whole earth
E chi fra queste And who among these armed troops Per lui tutta la terra: una capanna is too confined for him, a hut is
Che ti fremono intorno armate squadre, who are swarming around you Assai vasta è per me. D’agnelle io sono, plenty big enough for me. I am a leader of lambs,
Chi assicurar ti può? can guarantee your safety? Ei duce è di guerrieri: he of warriors;
Picciol campo io coltivo, ei fonda imperi. I till a small field, he founds empires.
AMINTA: AMINTA:
Questa, che tanto This poor, humble fortune ALESSANDRO: ALEXANDER:
Io lodo, tu disprezzi, e il Ciel protegge, which I praise so much, Ma può il Ciel di tua sorte But Heaven can change the whole tenor
Povera oscura sorte. is despised by you, and protected by Heaven. In un punto cangiar tutto il tenore. of your destiny in a single moment.
AGENORE (piano ad Alessandro): AGENORE (quietly to Alexander): AMINTA: AMINTA:

(Hai dubbi ancora?) (Do you still have any doubts?) Sì, ma il Cielo fin’or mi vuol pastore. Yes, but so far Heaven has wanted me as a
shepherd.
(Quel parlar mi sorprende e m’innamora.) (Those words surprise and enchant me.) No. 3, Aria No. 3, Aria
6 AMINTA: AMINTA:
AMINTA: AMINTA: Aer tranquillo e dì sereni, Tranquil air and serene days,
S’altro non brami, addio. If you desire nothing else, farewell. Freschi fonti e verdi prati cool streams and green meadows
Sono i voti fortunati are the happy desires
ALESSANDRO: ALEXANDER: Della greggia e del pastor. of the flock and the shepherd.
Senti. I tuoi passi Listen; I can take you to Alexander
Ad Alessandro io guiderò, se vuoi. if you like. Che, se poi piacesse ai fati And if it should please the Fates
Di cambiar gl’offici miei, to change my duties,
AMINTA: AMINTA: Avran cura allora i Dei then the gods will take care
No. No. Di cambiarmi e mente e cor. to change my mind and heart.
(parte) (exit)
Perché? Why not?
AMINTA: AMINTA:
Sedurebbe He would be seducing me
Ei me dalle mie cure; io qualche istante from my charges; for a few moments
Scena III Scene 3 Scena IV Scene 4
Tamiri in abito pastorale ed Agenore. Tamiri approaches, dressed as a shepherdess.
AGENORE: AGENORE: 9 Recitativo Recitative
Or che dici, Alessandro? Now what do you say, Alexander? TAMIRI: TAMIRI:
Agenore? T’arresta. Odi... Agenore! Stop! Listen…
Ah! certo asconde Ah, for sure that young shepherd AGENORE: AGENORE:
Quel pastorel lo sconosciuto erede is really the unknown heir Perdona, Forgive me,
Del soglio di Sidone. Eran già grandi to the throne of Sidon! Your evidence Leggiadra pastorella: io d’Alessandro pretty shepherdess; I must
Le prove tue: ma quel parlar, quel volto was already strong; but his speech and that face Deggio or su l’orme... (Oh Dei! Tamiri è quella.) follow Alexander… (Oh Gods, it’s Tamiri!)
Son la maggior. Che nobil cor! che dolce, are greater proof. What a noble heart! What Principessa... Princess...
Che serena virtù! Sieguimi. Andiamo gentle, serene virtue! Follow me! Let’s go
La grand’opra a compir. De’ fasti miei to accomplish our great work. Of all my TAMIRI: TAMIRI:
Sarà questo il più bello. Abbatter mura, memorable deeds this will be the finest. Ah mio ben! Ah, my beloved!
Eserciti fugar, scuoter gl’imperi Demolishing city walls, routing armies
Fra turbini di guerra and agitating empires in the tempests of war AGENORE: AGENORE:
È il piacer che gl’eroi provano in terra. are the pleasures which heroes enjoy on earth. Sei tu? Is it you?
Ma sollevar gli oppressi, But relieving the oppressed,
Render felici i regni, making kingdoms happy, TAMIRI: TAMIRI:
Coronar la virtù, togliere a lei rewarding virtue, stripping from it Son io. It is.
Quel che l’adombra ingiurioso velo, that harmful veil which covers it, these
È il piacer che gli Dei provano in Cielo. are the pleasures which the gods relish in Heaven. AGENORE: AGENORE:
Tu qui! tu in questa spoglia? You here, in this attire?
ALESSANDRO: ALEXANDER: TAMIRI: TAMIRI:
Si spande al sole in faccia Sometimes a storm-cloud stretches Io deggio a questa I owe to this
Nube talor così, over the face of the sun, Il sol ben che mi resta, the only good thing left to me,
E folgora, e minaccia flashes with lightning and threatens Ch’è la mia libertà, già che Alessandro which is my freedom, since Alexander
Su l’arido terren. over the dry land. Padre e regno m’ha tolto. has robbed me of father and throne.
Ma poi, che in quella foggia But then, when in that guise AGENORE: AGENORE:
Assai d’umori unì, enough moisture has collected, Oh quanto mai Oh, how I cried for you
Tutta sì scioglie in pioggia, it all falls as rain Ti piansi e ti cercai! Ma dove ascosa and looked for you! But where have you
E gli feconda il sen. and nourishes the earth’s bosom. Ti celasti fin’or? been hiding yourself until now?
(parte) (exit)
TAMIRI: TAMIRI: TAMIRI: TAMIRI:
La bella Elisa The beautiful Elisa Guarda: d’Elisa i tetti Look; Elisa’s apartments
Fuggitiva m’accolse. sheltered me as a fugitive. Colà... are over there…
AGENORE: AGENORE: AGENORE (come sopra): AGENORE (as above):

E qual disegno?... And for what purpose?... Già mi son noti. I have already made a note of them.
Ah! m’attende Alessandro. Ah, Alexander is waiting for me.
Addio: ritornerò. Farewell; I shall return. TAMIRI: TAMIRI:
Odi. Listen.
TAMIRI: TAMIRI:
Senti. Alla fuga Listen. Find for me, AGENORE: AGENORE:
Tu d’aprirmi un cammin, ben mio, procura: my beloved, a path to enable my escape. Che brami? What do you want?
Altrove almeno io piangerò sicura. Elsewhere I shall at least cry in safety.
TAMIRI: TAMIRI:
AGENORE: AGENORE: Come sto nel tuo core? What place do I occupy in your heart?
Vuoi seguir, principessa, Princess, won’t you follow
Un consiglio più saggio? Ad Alessandro a wiser counsel? Come with me AGENORE: AGENORE:
Meco ne vieni. to Alexander. Ah! non lo vedi? Ah, can you not see?
A’ tuoi begl’occhi, o principessa, il chiedi. O princess, ask the question to your beautiful eyes.
TAMIRI: TAMIRI:
All’uccisor del padre! To my father’s murderer? 10 No. 5, Aria No. 5, Aria
AGENORE: AGENORE:
AGENORE: AGENORE: Per me rispondete, Answer on my behalf,
Straton se stesso uccise: ei la clemenza Strato killed himself; in doing so Begl’astri d’amore: fair stars of love;
Del vincitor prevenne. he prevented the conqueror’s mercy. Se voi nol sapete, if you do not know it,
Chi mai lo saprà? who does?
TAMIRI: TAMIRI:
Io stessa ai lacci Am I to offer my hand Voi tutte apprendeste You have learnt all
Offrir la destra? lo delle greche spose only for it to be shackled? Will I have to Le vie del mio core, the ways of my heart
Andrò gl’insulti a tollerar? tolerate the insults of the Greek wives? Talor che vinceste since you robbed
La mia libertà. me of my freedom.
AGENORE: AGENORE: (parte) (exit)
T’inganni: You are mistaken;
Non conosci Alessandro. Ed io non posso you do not know Alexander. And I cannot
Per or disingannarti. Addio, fra poco explain your error right now. Farewell, I shall
A te verrò. (in atto di partire) come to you soon. (leaving)
Scena V Scene 5 Scena VI Scene 6
Elisa sommamente allegra e frettolosa, poi Aminta. Elisa enters, extremely happy and in a rush.
TAMIRI: TAMIRI: 13 Recitativo Recitative
No, voi non siete, o Dei, No, you Gods, you are not ELISA: ELISA:
Quanto fin’or credei, as unkind to me as I previously believed. Oh lieto giorno! oh me felice! oh caro Oh joyful day, oh happy me,
Inclementi con me. Cangiaste, è vero, It is true that you have changed Mio genitor! Ma... dove andò? Pur dinanzi oh my dear father! But... where has he gone?
In capanna il mio soglio, in rozzi velli my throne into a hut, my royal purple Qui lo lasciai. (accennando uno de’ tuguri Just now I left him here... (signalling one of the
La porpora real; ma fido ancora into rough fleeces: but I have found pastorali) Sarà là dentro. Aminta! shepherd huts) He must be inside there. Aminta!
L’idol mio ritrovai. my beloved again, still faithful. Aminta!... Oh stolta! Mi sovviene: è l’ora Aminta!... Oh silly me! I remember, it is the time
Pietosi Dei, voi mi lasciaste assai. Merciful Gods, you have left me enough. D’abbeverar la greggia. Al fonte io deggio, for feeding the flock. I must look for him
E non qui ricercarne. by the stream, and not here.
TAMIRI: TAMIRI: AMINTA: AMINTA (returning):
Di tante sue procelle My soul has already forgotten Dove t’affretti, Elisa? Where are you rushing to, Elisa?
Già si scordò quest’alma, all its many storms;
Già ritrovò la calma it has already rediscovered its peace ELISA: ELISA:
Sul volto del mio ben. in the countenance of my beloved. Ah tornasti una volta. Andiamo. Ah, you’ve come back again. Let’s go.
Fra l’ire delle stelle Although it trembled with horror AMINTA: AMINTA:
Se palpitò d’orrore, amid the anger of the stars, E dove? Where to?
Or di contento il core now my heart is throbbing
Va palpitando in sen. with joy in my breast. ELISA: ELISA:
(parte) (exit) Al genitor. To my father.
AMINTA: AMINTA:
Dunque ei consente... Then he consents?
ELISA: ELISA: AMINTA (con viso sdegnoso): AMINTA (with a scornful face):
Il core My heart Lasciami in pace e prendi Leave me in peace, and find someone else
Non m’ingannò. Sarai mio sposo, e prima did not deceive me. You will be my husband, and Alcun altro a schernir. Libero io nacqui, to mock. I was born free, even if I am not a king,
Che il sol tramonti. Impaziente il padre before the sun sets. My father is as impatient for Se re non sono; (crescendo (increasing his resentment) and if I do not
N’è al par di noi. D’un così amabil figlio, it as we are. Having such a lovely son-in-law will il risentimento) e, se non merto omaggi, warrant homage, I do at least
Superbo, e lieto... ei tel dirà. Vedrai make him proud and happy… He will tell you so... Ho un core almen che non sopporta oltraggi. have a heart that will not endure insults.
Dall’accoglienze sue... Vieni. You will see from his welcome… Come!
AGENORE: AGENORE:
AMINTA: AMINTA: Quel generoso sdegno That noble anger
Ah! ben mio, Ah, my love, Te scopre, e me difende. Odimi e soffri betrays you, and defends me. Hear me out,
Lasciami respirar. Pietà d’un core let me catch my breath! Have pity on a heart Che ti sveli a te stesso il zelo mio. and let my fervour reveal you to yourself.
Che fra le gioie estreme... which in supreme joy…
ELISA (ad Agenore): ELISA (to Agenore):
ELISA (in atto di partire): ELISA (leaving): Come! Aminta ei non è? What? Is he not Aminta?
Deh! non tardiam: respireremo insieme. Ah, let’s not delay; we shall catch our breath together.
AGENORE: AGENORE:
Scena VII Scene 7 No. No.
Agenore, seguito da guardie reali che portano Agenore enters, followed by royal guards who
sopra bacili d’oro regie insegne, e detti. carry royal emblems on golden trays. AMINTA: AMINTA:
E chi son io? Then who am I?
AGENORE: AGENORE: AGENORE: AGENORE:
Dal più fedel vassallo Receive from your most loyal servant Tu Abdolonimo sei: l’unico erede You are Abdolonimo, sole heir
Il primo omaggio, eccelso re, ricevi. the first tribute, exalted King. Del soglio di Sidone. to the throne of Sidon.
ELISA (ad Aminta): ELISA (to Aminta): AMINTA: AMINTA:

Che dice? What is he saying? Io! I?
AMINTA (ad Agenore): AMINTA (to Agenore): AGENORE: AGENORE:

A chi favelli? To whom are you speaking? Sì. Scacciato Yes. Driven away
Dal reo Stratone, il padre tuo bambino by the wicked Strato, your father entrusted you
AGENORE: AGENORE: Al mio ti consegnò. Questi morendo as a child to my father. When he was dying,
A te, signor. To you, my Lord. Alla mia fè commise he handed into my care
Te, il segreto e le prove. you, the secret and the evidence.
ELISA: ELISA: Scena VIII Scene 8
E il vecchio Alceo... And old Alceo? Elisa allegra, Aminta attonito. Elisa happy, Aminta astonished.
AGENORE: AGENORE: 15 Recitativo Recitative

L’educò sconosciuto. Brought him up in ignorance of his true identity. AMINTA: AMINTA:
Elisa! Elisa!
AMINTA: AMINTA:
E tu fin’ora... And you until now… ELISA: ELISA:
Aminta! Aminta!
AGENORE: AGENORE:
Ed io, fin’or tacendo, alla paterna And I, until now keeping silent, obeyed AMINTA: AMINTA:
Legge ubbidii. M’era il parlar vietato my father’s command. It was forbidden for me È sogno? Is this a dream?
Finchè qualche cammin t’aprisse al trono to speak of it until divine intervention opened
L’assistenza de’ Numi. lo la cercai a path to the throne for you. I sought it ELISA: ELISA:
Nel gran cor d’Alessandro, e la trovai. in Alexander’s great heart, and found it. Ah no! Oh no!

Oh giubilo! oh contento! Oh joy, oh happiness! Tu credi You believe
Il mio bene è il mio re! My beloved is my king! Dunque... then...
AMINTA (ad Agenore): AMINTA (to Agenore): ELISA: ELISA:

Dunque Alessandro... So Alexander… Sì: non è strano Yes; this news, though unexpected,
Questo colpo per me, benché improvviso. is not strange to me. I always saw
AGENORE: AGENORE: Un cor di re sempre io ti vidi in viso. the heart of a king in your countenance.
T’attende, e di sua mano Awaits you, and with his own hand
Vuol coronarti il crin. Le regie spoglie wishes to crown you. Those are the royal robes AMINTA: AMINTA:
Quelle son ch’ei t’invia. Questi che vedi which he delivers to you. These people whom you Sarà. Vadasi intanto If you say so. In the meantime
Son tuoi servi e custodi. Ah! vieni ormai; see are your servants and guards. Ah come now; Al padre tuo. we must go to your father.
Ah! questo giorno ho sospirato assai. ah, how I have longed for this day! (s’incammina) (setting off)
(parte) (exit)
ELISA (l’arresta): ELISA (stopping him):
No, maggior cura i Numi No, the Gods now require a greater duty
Ora esigon da te. Va, regna, e poi... from you. Go, reign, and afterwards…
Recitativo accompagnato Accompanied recitative 17 No. 7, Duetto No. 7, Duet
16 AMINTA: AMINTA: ELISA: ELISA:
Che? m’affretti a lasciarti? e non ti cale What? You rush me to leave you? And it doesn’t Vanne a regnar, ben mio, Go to reign, my beloved,
Che il genitor, il genitore, oh Dei! matter to you if your father – the father, Ma fido a chi t’adora but keep your heart true, if you can,
A cui la tua tu dei, oh Gods, to whom you and I both owe Serba, se puoi, quel cor. to the one who adores you.
La mia felicità degg’io, de’ nuovi our happiness – is not now included
Improvvisi contenti or ne sia a parte? in our new, unforeseen joys? AMINTA: AMINTA:
Perdona, Elisa, ubbidirti non posso; Forgive me, Elisa, I cannot obey you; Se ho da regnar, ben mio, If I have to reign,
Me ‘l vietan l’amor tuo, il gran piacere, your love, our great happiness, Sarò sul trono ancora I shall on the throne
Il rispetto, il dovere. respect and duty all forbid it. Il fido tuo pastor. still be your faithful shepherd.
Ah pria ch’altri il prevenga, Ah, before others inform him,
Dal mio labbro sì lieta nuova intenda, let him hear such happy news from my lips, ELISA: ELISA:
E ad Alessandro e al regno poi n’andrò; and then I shall go to Alexander and the throne; Ah che il mio re tu sei! Ah, but you are my king!
Quindi fra poco nel tuo fido pastore from there, in the person of your faithful shepherd,
Un re tuo sposo a te ritornerà. a king will soon return as your bridegroom. AMINTA: AMINTA:
Soffri ch’io vada... Ah se sapessi quanto Let me go… Ah, if you knew, Ah che crudel timor! Ah, what cruel fear!
Lungi da te, idol mio, un solo istante my beloved, how much my loving heart suffers
Peni il mio cor amante... when it is apart from you for a single moment... ELISA, AMINTA: ELISA, AMINTA:
Ah proteggete, o Dei, Ah, protect, o Gods,
ELISA: ELISA: Questo innocente amor. this innocent love.
Ah se vedessi Ah, if you could see
Come sta questo cor! Di gioia esulta. how my heart is feeling! It leaps with joy. Fine dell’Atto primo End of Act One
Ma pur... No, no, tacete, And yet… no, no, be silent,
Importuni timori. Or non si pensi inappropriate fears. Now one must think of
Se non che Aminta è re. Deh! va: potrebbe nothing except that Aminta is King. Go then! APPENDIX
Alessandro sdegnarsi. Alexander might be angry.
Atto primo, scena ii (versione concerto) Act One, scene 2 (concert version)
AMINTA: AMINTA:
Amici Dei, Friendly gods, 18 Recitativo Recitative
Son grato al vostro dono; I am grateful for your gift; AMINTA: AMINTA:
Ma troppo è caro a questo prezzo un trono. but a throne is too dear at this price. Compagne amene, Pleasant companions,
Romite selve, a voi quanto degg’io! solitary woods, how much I owe to you!
La mia pace, il riposo e dì sereni, My peace of mind, restfulness and serene days,
D’ogni gioia ripieni, filled with every joy,
D’ogni vero piacer, per cui contento with every true pleasure, for which contentment
Il fasto ogn’or ricuserei d’un trono, I would always renounce the loftiness of a throne,
Tutto, lo riconosco, è vostro dono. everything, I remind myself, is your gift.
Se soletto tra voi If, on my own among you,
Della tenera greggia i passi osservo, I observe the movements of the gentle flock,
Col rozzo suon dell’umil mia zampogna with the rustic sound of my humble shepherd’s pipe
A quella i paschi raddolcisco, e intanto I sweeten their feeding, and at the same time
Scaccio dal cuor la noia, e lieto io canto. banish any burden from my heart, and sing
Canto della mia ninfa i dolci amori, contentedly. I sing of the sweet love of my girl,
Che, se meco non è, so che sospira; so that if she is not with me, I know that she is
Tutto amor ella spira, yearning for me; all the love that she breathes,
Tutto fuoco è per me, e al suo fuoco anch’io all her fire is for me, and in her flame I too,
Qual fenice mi struggo, indi rinasco. like the phoenix, am consumed and then reborn.
19 Recitativo accompagnato Accompanied recitative

AMINTA: AMINTA:
Ditelo voi, pastori, Tell me, you shepherds,
Se un più di me felice e fortunato if there is anyone among you who is more happy
Si ritrova fra voi. Che al fido Aminta and fortunate than me. That the fair Elisa is faithful
Fida è la bella Elisa, ogni ruscello to the faithful Aminta each chirping stream
Garrulo il dice a tutti, il cavo monte tells everyone, the hollow mountain
Lo ripete giulivo ed ogni fronda repeats it joyfully and each leafy branch,
Chinandosi l’afferma, e fin gl’augelli bowing, affirms it; and even the birds,
Emuli al nostro amor amano anch’essi; emulating our passion, make love themselves;
E fra baci ed amplessi and among kisses and embraces,
Photo © Stephen Page - www.fatkoala.biz

Separandosi, all’un e all’altro polo scattering themselves from one pole to the other,
Portan de’ pastorelli Elisa e Aminta they bear true witness to the pure example
Al chiaro esempio il testimon verace: of the shepherds Elisa and Aminta,
Che il riposo, la pace, e il vero amore so that repose, peace and true love
Nella vita s’annidan del pastore. may abide in the life of a shepherd.

Vedere a pagina 31 See page 31
CD 2 ELISA: ELISA:
Coi Greci suoi? With his Greeks?
ATTO SECONDO ACT TWO
AGENORE: AGENORE:
Scena I Scene 1 Sì. Yes.
Grande e ricco padiglione d’Alessandro da un Alexander’s large and opulent pavilion on one
lato, ruine d’antichi edifici dall’altro. Campo de’ side; the ruins of ancient buildings on the other. ELISA (incaminandosi): ELISA (setting off):
Greci in lontano. Guardie del medesimo in vari The Greek camp in the distance. Guards of the Dunque andar poss’io: In that case I can go;
luoghi. Elisa, poi Agenore. same in various places. Elisa, then Agenore. Non è quello il mio re. that is not my king.
1 Recitativo Recitative AGENORE (arrestandola): AGENORE (stopping her):

ELISA: ELISA: Ferma: né pure Stop! You’re not allowed
Questa del campo greco This is the main tent Al tuo re lice andar. to go to your king either.
È la tenda maggior. Qui l’idol mio of the Greek camp. Here I shall surely
Certo ritroverò. find my beloved. ELISA: ELISA:
Perché? Why not?
AGENORE (arrestandola): AGENORE (stopping her):
Dove t’affretti, Where are you rushing to, AGENORE: AGENORE:
Leggiadra ninfa? pretty girl? Che attenda Because he must now
Alessandro or convien. wait on Alexander.
ELISA (vuol passare): ELISA (wanting to pass):
Io vado al re. I am going to the King. ELISA: ELISA:
L’attenda. Io bramo That must wait. I want
AGENORE (la ferma): AGENORE: Vederlo solo. to see him alone.
Perdona, I am sorry;
Veder nol puoi. you cannot see him. AGENORE (arrestandola): AGENORE (stopping her):
No, d’inoltrarti tanto No, you are not allowed
ELISA: ELISA: Non è permesso a te. to go any further.
Per qual ragione? Why not?
ELISA: ELISA:
AGENORE: AGENORE: Dunque l’avverti: Then tell him;
Or siede He is currently sitting Egli a me venga. he will come to me.
Coi suoi Greci a consiglio. in council with his Greeks.
AGENORE: AGENORE:
E questo non è permesso a lui. He is not allowed to do that either.
ELISA: ELISA: AGENORE: AGENORE:
Permesso almeno I must at least be allowed No. No.
Mi sarà d’aspettarlo. to wait for him.
(siede) (she sits down) ELISA (come sopra): ELISA (as above):
Digli Tell him
AGENORE: AGENORE: Che le sue mi figuro. that I can imagine his.
Amica Elisa, Dear Elisa,
Va: credi a me. Per ora go; trust me. For the time being, AGENORE: AGENORE:
Deh! non turbarci. Io col tuo re fra poco ah, do not disturb us. I shall return shortly Sì. Yes.
Più tosto a te verrò. with your king.
ELISA: ELISA:
ELISA: ELISA: Da me lungi, oh quanto Oh how much the unhappy man will be suffering,
No, non mi fido. No, I don’t believe you. Penerà l’infelice! parted from me!
Tu non pensi a Tamiri, You don’t think of Tamiri,
Ed a me penserai? and yet you’d think of me? AGENORE: AGENORE:
Molto. Very much.
AGENORE: AGENORE:
T’inganni. Appunto You are wrong. Right now ELISA: ELISA:
Io voglio ad Alessandro I am wanting to go to Alexander E parla di me? And does he speak of me?
Di lei parlar. Già incominciai, ma fui to speak about her. I had already begun, but was
Nell’opera interrotto. Ah va! S’ei viene, interrupted from the task. Ah go! If he comes, AGENORE: AGENORE:
Gl’opportuni momenti you might steal from me Sempre. All the time.
Rubar mi puoi. the opportune moments.
ELISA: ELISA:
ELISA (s’alza): ELISA (standing up): E che dice? And what does he say?
T’appagherò. Ma senti. I shall obey you. But listen!
Se tardi, io torno. If you are late, I shall come back. AGENORE (con impeto): AGENORE (with force):
Ma tu partir non vuoi. Se tutte io deggio But you do not want to leave. If I have to
AGENORE: AGENORE: Ridir le sue querele... repeat all his lamentations...
È giusto. That is fair.
ELISA: ELISA:
ELISA (s’incamina e poi si volgi): ELISA (setting off and then turning back): Vado: non ti sdegnar. Sei pur crudele! I’m going; don’t get angry. But you are so cruel!
Addio. Frattanto Farewell. In the meantime
Non celare ad Aminta do not conceal from Aminta
Le smanie mie. my yearnings.
2 No. 8, Aria No. 8, Aria AGENORE (l’arresta): AGENORE (stopping him):
ELISA: ELISA: Ferma, signor. Stop, my Lord.
Barbaro, oh Dio! mi vedi Barbarous one! Oh God, you see me
Divisa dal mio ben: separated from my beloved – AMINTA: AMINTA:
Barbaro, e non concedi barbarous one – and you do not even allow Perché? Why?
Ch’io ne dimandi almen? me to ask after him?
AGENORE: AGENORE:
Come di tanto affetto Why in the face of such great affection Non puoi. You cannot.
Alla pietà non cedi? do you not yield to compassion?
Hai pure un core in petto, Do you indeed have a heart within your bosom? AMINTA: AMINTA:
Hai pure un’alma in sen? Do you indeed have a soul within your breast? Non posso? I cannot?
(parte) (exit) Chi dà legge ad un re? Who give orders to a king?
Scena II Scene 2 AGENORE: AGENORE:

La sua grandezza, His greatness,
3 Recitativo Recitative La giustizia, il decoro, il bene altrui, justice, decorum, the good of others,
AGENORE: AGENORE: La ragione, il dover. reason, duty.
Nel gran cor d’Alessandro, o Dei clementi, In the great heart of Alexander, o merciful Gods,
Secondate i miei detti give your support to my words AMINTA: AMINTA:
A favor di Tamiri. Ah! n’è ben degna in favour of Tamiri. Ah, her virtue and her beauty Dunque pastore Then as a shepherd I was
La sua virtù, la sua beltà... Ma dove, are well deserving of it... But where, Io fui men servo. E che mi giova il regno? less servile. So how does the throne benefit me?
Dove corri, mio re? where are you running, my King?
AGENORE: AGENORE:
AMINTA: AMINTA (entering): Se il regno a te non giova, If the throne does not benefit you,
La bella Elisa I saw the beautiful Elisa Tu giovar devi a lui. Se te non reggi, you must benefit it. If you cannot rule yourself,
Pur da lungi or mirai: perché s’asconde? in the distance just now; why is she hiding? Come altrui reggerai? Come... Ah! mi scordo how will you rule others? How... Ah, I am forgetting
Dov’è? Where is she? Che Aminta è il re, che un suo vassallo io sono. that Aminta is the king, that I am one of his subjects.
Errai per troppo zel. Signor, perdono. My ardour was too great. Forgive me, my Lord.
AGENORE: AGENORE: (vuole inginocchiarsi) (kneeling down)
Partì. She has gone.
AMINTA (lo solleva): AMINTA (lifting him up):
AMINTA: AMINTA: Che fai! Sorgi. Ah! se m’ami, What are you doing? Get up! Ah, if you love me,
Senza vedermi? Ingrata! Without seeing me? Cruel girl! Parlami ognor così. Mi par sì bella, speak to me always like this. It seems to me so
Ah! raggiungerla io vogli. (s’incamina) Ah, I want to join her. (setting off) Che di sé m’innamora, beautiful that the truth enamours itself to me,
La verità, quando mi sferza ancora. even when it hurts me.
Ah! te destina il fato Ah, destiny truly Attender convien. We must wait.
Veramente a regnar! intends you to reign!
AMINTA: AMINTA:
AMINTA: AMINTA: Povera Elisa! Poor Elisa.
Ma dimmi, amico: But tell me, my friend,
Non deggio amar chi m’ama? È poco Elisa should I not love the person who Scena III Scene 3
Degna d’amore? Chi condannar potrebbe loves me? Among men, among the Gods,
Fra gli uomini, fra i Numi, in terra, in cielo, on earth, in heaven, who could condemn 4 Recitativo Recitative
La tenerezza mia? my tenderness? ALESSANDRO: ALEXANDER (entering):
Per qual ragione For what reason
AGENORE: AGENORE: Resta il re di Sidone does the King of Sidon remain
Nessuno. È giusta. Nobody. It is true. Ravvolto ancor fra quelle lane istesse? wrapped still in these same woollen garments?
Ma pria di tutto... But before anything else...
AMINTA: AMINTA:
AMINTA: AMINTA: Perchè ancor non impresse Because he has still not planted
Ah pria di tutto andiamo, Ah, before anything else let’s go, Su quella man, che lo solleva al regno, on that hand which raised him to the throne
Amico, a consolarla, e poi... my friend, to console her, and then... Del suo grato rispetto un bacio in pegno. a kiss as a pledge of his grateful respect.
(vuole inginocchiarsi) (he starts to kneel)
AGENORE: AGENORE: Soffri che prima al piede Allow me first at the feet
T’arresta. Stop! Del mio benefattor... of my benefactor...
Sciolto è il consiglio: escono i duci: a noi The council has finished; the chiefs are coming out;
Viene Alessandro. Alexander is coming to us. ALESSANDRO: ALEXANDER:
No: dell’amico No; as my friend
AMINTA: AMINTA: Vieni alle braccia: e di rispetto in vece, come into my arms, and instead of respect
Ov’è? Where is he? Rendigli amore. Esecutor son io give me love. I am the executor
Dei decreti del Ciel. Tu del contento, of Heaven’s decrees. You are merely
AGENORE: AGENORE: Che in eseguirli io provo, the debtor of the contentment I feel
Non riconosci Do you not recognise Sol mi sei debitor. Per mia mercede in carrying them out. As my reward,
I suoi custodi alla real divisa? his entourage with the royal livery? Chiedo la gloria tua. all I ask is for your glory.
AMINTA: AMINTA: AMINTA: AMINTA:

Dunque...? Then...? Qual gloria, o Dei, What glory, oh Gods,
Io saprò meritar, se fino ad ora can I deserve, if up until now
Una greggia a guidar solo imparai? I learned only to lead a flock?
ALESSANDRO: ALEXANDER: Scena IV Scene 4
Sarai buon re, se buon pastor sarai. You will be a good king, if you are a good shepherd.
AMINTA: AMINTA: AGENORE: AGENORE:
Sì. Ma in un mar mi veggo Yes. But I see myself in an (Or per la mia Tamiri (It is now time
Ignoto e procelloso. Or, se tu parti, unknown and stormy sea. If you depart now, È tempo di parlar.) to speak out on behalf of my Tamiri.)
Chi sarà l’astro mio? Da chi consigli who will be my guiding star? From whom
Prender dovrò? should I take advice? ALESSANDRO: ALEXANDER:
La gloria mia My fame does not allow me
ALESSANDRO: ALEXANDER: Me fra lunghi riposi, long periods of rest,
Già questo dubbio solo Already, these doubts alone O Agenore, non soffre. Oggi a Sidone Agenore. Today I shall give to Sidon
Mi prommette un gran re. assure me that you will be a great king. Il suo re donerò. Col nuovo giorno its king. With the new day
Partir vogl’io. Ma (tel confesso) a pieno I want to leave. But (I confess it to you)
AMINTA: AMINTA: Soddisfatto non parto. Il vostro giogo I do not leave entirely satisfied. I released you
Ma d’onde un sì gran lume But from where can a shepherd Io fransi, è vero: io ritornai lo scettro from your tyranny, it is true; I returned the sceptre
Può sperare un pastor? hope for such enlightenment? Nella stirpe real: nel saggio Aminta to the royal family. In the wise Aminta
Un buon re lascio al regno: un vero amico I leave to the kingdom a good king, in Agenore
ALESSANDRO: ALEXANDER: In Agenore al re. Sarebbe forse a true friend to the king. Perhaps my name will be
Dal Ciel, che illustra From Heaven, which shines lustre on Onorata memoria il nome mio an honoured memory among you
Quei che sceglie a regnar. Or va, deponi those whom it chooses to reign. Now go, Lungamente fra voi. Tamiri, o Dei, for a long time to come. Tamiri, o Gods,
Quelle rustiche vesti; altre ne prendi, discard these rustic clothes; put on others Sol Tamiri l’oscura. Ov’ella giunga only Tamiri darkens it. Where she goes
E torna a me. Già di mostrarti è tempo and return to me. It is high time that you Fuggitiva, raminga, as a fugitive, as a wanderer,
A’ tuoi fidi vassalli. show yourself to your faithful subjects. Di me che si dirà? Che un’empio io sono, what will people say of me? That I am a villain,
Un barbaro, un crudel. barbarous, cruel.
AMINTA: AMINTA:
Ah fate, o Numi, Oh, grant, o Gods, AGENORE: AGENORE:
Fate che Aminta in trono grant that Aminta, on the throne, Degna è di scusa, She deserves forgiveness
Se stesso onori, il donatore, e il dono. may honour himself, the giver and the gift. Se, figlia d’un tiranno, ella temea... if, as the daughter of a tyrant, she fears...
(parte) (exit)
Questo è il suo fallo. E che temer dovea? This is her mistake. And of what should she
Se Alessandro punisce be frightened? If Alexander punishes the crimes
Le colpe altrui, le altrui virtudi onora. of some, he also rewards the virtues of others.
L’Asia non vide altri Alessandri ancora. Asia has not yet seen any other Alexanders. Il seppi appena I only just knew it
Che a te venni: e or volea... when I came to you; and I wanted now to…
Quanta gloria m’usurpa! Io lascerei How much glory it is taking from me! I would like ALESSANDRO: ALEXANDER:
Tutti felici. Ah! per lei sola or questa to leave everyone happy. Ah, due to her alone Corri! t’affretta! Run, hurry,
Riman del mio valore orma funesta. a dark stain remains on my valour! Guidala a me. bring her to me!
AGENORE: AGENORE: AGENORE (in atto di partire): AGENORE (leaving):

(Coraggio!) (Have courage!) Vado e ritorno. I’ll be back straight away.
ALESSANDRO: ALEXANDER: ALESSANDRO (pensa): ALEXANDER (thinking):

Avrei potuto I could have shown others, Aspetta. Wait.
Altrui mostrar, se non fuggìa Tamiri, if Tamiri had not fled, that I know how to (risoluto da se) (decisively to himself)
Ch’io distinguer dal reo so l’innocente. distinguish the innocent from the guilty. (Ah sì, mai più bel nodo (Ah yes, love never tied
Non strinse amore.) Or sì contento a pieno a more beautiful knot.) Now like this I can leave
AGENORE: AGENORE: Partir potrò. Vola a Tamiri, e dille completely happy. Hasten to Tamiri and tell her
Non lagnarti, il potrai. Do not punish yourself; you can still do it. Ch’oggi al nuovo sovrano that today I shall give to the new sovereign
Io darò la corona: ella la mano. the crown, and to her his hand in marriage.
Come? How? AGENORE: AGENORE:
La man? His hand in marriage?
AGENORE: AGENORE:
È presente. She is here. ALESSANDRO: ALEXANDER:
Sì, amico. Ah! con un sol diadema Yes, my friend. Ah, with a single diadem
ALESSANDRO: ALEXANDER: Di due bell’alme io la virtù corono. I crown the virtue of two noble souls.
Chi? Who? Eì salirà sul trono, He will ascend to the throne
Senza ch’ella ne scenda: a voi la pace, without her having to descend from it.
AGENORE: AGENORE: La gloria al nome mio In this way I restore peace to you
Tamiri. Tamiri. Rendo così: tutto assicuro. and glory to my name; all this I guarantee.
ALESSANDRO: ALEXANDER: AGENORE: AGENORE:

E mel taci? And you remained silent to me about it? (Oh Dio!) (Oh God!)
ALESSANDRO: ALEXANDER: Scena V Scene 5
Tu impallidisci! e taci? You grow pale, and are silent? Una grande grotta. Aminta è solo, seduto su una A large cave. Aminta is alone, seated on a rock.
Disapprovi il consiglio? Do you disapprove of my plan? roccia.
È pur Tamiri... Is Tamiri then…
AGENORE: AGENORE: AMINTA: AMINTA:
Degnissima del trono. … most worthy of the throne. Oimè! declina il sol. Già il tempo è scorso Alas, the sun is setting! The time is already passed
Che a’ miei dubbi penosi that Agenore allowed me for my anguished doubts.
ALESSANDRO: ALEXANDER: Agenore concesse. lo, nel periglio In danger of appearing cowardly, or of showing
È un tal pensiero... And such an idea… Di parer vile, o di mostrarmi infido, myself to be disloyal, I tremble, I waver, I fret and
Tremo, ondeggio, m’affanno, e non decido. reach no decision. And is this what it means to rule?
AGENORE: AGENORE: E questo è il regno? E così ben si vive Is this living the good life among the royal purple
Degnissimo di te. … most worthy of you. Fra la porpora e l’or? Oh me infelice! and gold? Oh unhappy me! Agenore is coming
Agenore già vien. Che dirgli? oh Dio! already. What should I say to him, oh God?
Di quale affetto Of which emotion, then, Scena VI Scene 6
Quel tacer dunque è segno, e quel pallore? are your silence and your paleness a sign?
AGENORE: AGENORE: AGENORE: AGENORE (arriving):
Di piacer, di rispetto, e dì stupore. Of pleasure, of respect, and of amazement. E irresoluto ancora Do I find you
Ti ritrovo, o mio re? still undecided, my King?
ALESSANDRO: ALEXANDER: AMINTA: AMINTA:
Se vincendo vi rendo felici, If in conquering I make you happy, No. No.
Se partendo non lascio nemici, if in departing I leave no enemies,
Che bel giorno fia questo per me! what a beautiful day this will be for me! AGENORE: AGENORE:
Decidesti? You have decided?
De’ sudori, ch’io spargo pugnando For the sweat that I shed in fighting
Non dimando più bella mercè. I could not ask for more handsome reward. AMINTA: AMINTA:
(Alessandro parte con Agenore) (Alexander leaves with Agenore) Sì. Yes.
AGENORE: AGENORE:
Come? How?
AMINTA: AMINTA: 9 No. 10, Rondeaux No. 10, Rondeaux
Il dover mio I am ready AMINTA: AMINTA:
A compir son disposto. to carry out my duty. L’amerò, sarò costante: I shall love her, I shall be constant,
Fido sposo, e fido amante a faithful husband, and a faithful lover,
AGENORE: AGENORE: Sol per lei sospirerò. I shall sigh for her alone.
Ad Alessandro Then you no longer refuse
Dunque d’andar più non ricusi? to go to Alessandro? In sì caro e dolce oggetto In such a dear and sweet object
La mia gioia, il mio diletto, I shall find my joy, my delight,
AMINTA: AMINTA: La mia pace io troverò. my peace.
A lui On the contrary, I am (parte) (exit)
Anzi già m’incammino. going to him now.
Scena VII Scene 7
AGENORE: AGENORE:
Elisa e trono You see that Elisa and the throne 10 Recitativo Recitative
Vedi che andar non ponno insieme. cannot go together. AGENORE: AGENORE:
Uscite, alfine uscite, Release yourselves, at last release yourselves,
AMINTA: AMINTA: Trattenuti sospiri. restrained sighs.
È vero. It is true. Oh Dio, bella Tamiri, oh Dio ... Oh God, beautiful Tamiri, oh God...!
Nè d’un eroe benefico al disegno And he who receives a kingdom from him
Oppor si dee chi ne riceve un regno. ought not to oppose the plan of a benevolent hero. 11 Scena VIII Scene 8
AGENORE: AGENORE: Recitativo Recitative

Oh fortunato Aminta! Oh qual compagna Oh fortunate Aminta! Oh, what a companion ELISA: ELISA (entering):
Ti destinan le stelle! Amala: è degna the stars have destined for you! Love her; Ma senti, But listen,
Degl’affetti d’un re. she is worthy of the affections of a king. Agenore: quai fole Agenore. What tales
S’inventan qui per tormentarmi? È sparso are they inventing here to torment me! It is rumoured
AMINTA: AMINTA: Ch’oggi Aminta a Tamiri that today Aminta will give to Tamiri
Comprendo, amico, I recognise, my friend, Darà la man di sposo. his hand in marriage.
Tutta la mia felicità. Non dirmi all of my happiness. Do not tell me
D’amar la sposa mia. Già l’amo a segno, to love my bride. Already I love her to the extent AGENORE: AGENORE:
Che senza lei mi spiacerebbe il regno. that, without her, I would hate to rule. Esci d’error. Nessun t’inganna. Do not think it a mistake. No one is deceiving you.
ELISA: ELISA:
E sei And are you
Tu sì credulo ancor? so credulous as well?
AGENORE: AGENORE: ELISA: ELISA:
Io non saprei I can see Santi Numi del Ciel! Come! a Tamiri Holy Gods in Heaven! What?
Per qual via dubitarne. no reason to doubt it. Darà la man? He is giving Tamiri his hand?
ELISA: ELISA: AGENORE: AGENORE:

E mi abbandona And does Aminta then abandon me La mano, e il cor. His hand and his heart.
Dunque Aminta così...? Dove apprendesti like this...? Where did you learn
Novella sì gentil? such charming news? ELISA: ELISA:
Che possa How can Aminta
AGENORE: AGENORE: Così tradirmi Aminta! betray me like this?
Da lui. From him.
AGENORE: AGENORE:
ELISA: ELISA: Ah! cangia, Elisa, Ah, change, Elisa,
Da lui! From him? Cangia ancor tu pensiero: change your line of thought;
Cedi al destin. give in to destiny.
AGENORE: AGENORE:
Sì, dall’istesso Aminta. Yes, from Aminta himself. ELISA: ELISA:
No: non sarà mai vero. No, it will never be true.
ELISA: ELISA:
Dove? Where? AGENORE: AGENORE:
Ma s’ei tuo più non è, con quei trasporti But if he is no longer yours,
AGENORE: AGENORE: Che puoi far? what can you achieve through these tantrums?
Qui. Here.
ELISA: ELISA:
ELISA: ELISA: Che far posso? Ad Alessandro, What can I achieve? To Alexander,
Quando? When? Agli uomini, agli Dei, pietà, mercede, to all men, to the Gods I shall beg for pity,
Giustizia chiederò. Voglio che Aminta mercy and justice. I want Aminta
AGENORE: AGENORE: Confessi a tutti in faccia to confess to everyone face to face
Or ora. Just now. Che del suo cor m’ha fatto dono: e voglio, that he has already given his heart to me,
Se pretende il crudel che ad altri il ceda, and if the cruel man intends to surrender it to others
ELISA: ELISA: Voglio morir d’affanno, e ch’ei lo veda. I want to die of grief, and I want him to see it.
E disse? And what did he say? (parte) (exit)
AGENORE: AGENORE:
Che al voler d’Alessandro That he who receives a kingdom from him
Non dessi oppor chi ne riceve un regno. ought not to oppose Alexander’s will.
Scena IX Scene 9 AGENORE: AGENORE:
A ricordarmi To remind myself
12 Recitativo Recitative Che sei la mia sovrana. that you are my sovereign.
AGENORE: AGENORE:
Povera ninfa! lo ti compiango: e intendo Poor girl! I sympathise for you, and I feel TAMIRI: TAMIRI:
Nella mia la tua pena. Io da Tamiri your anguish in my own. I have to flee Alle mie nozze io presente ti voglio. I want you to be present at my wedding.
Convien ch’io fugga: e ritrovar non spero from Tamiri, and I have no hope of finding
Alla mia debolezza altro ricorso. any other cure for my helplessness. AGENORE: AGENORE:
Ah no, perdona: Ah no, forgive me;
TAMIRI: TAMIRI (entering): Questo è l’ultimo addio. this is our final farewell.
Agenore, t’arresta. Agenore, stop!
TAMIRI: TAMIRI:
AGENORE: AGENORE: Ubbidienza io voglio I want obedience
(Oh Dei! soccorso.) (Oh Gods, help!) Da un suddito fedel. from a loyal subject.
TAMIRI (con ironia): TAMIRI (with irony): AGENORE: AGENORE:

D’un regno debitrice Does Tamiri then (Oh Dio!) (Oh God!)
Ad amator sì degno owe her kingdom
Dunque è Tamiri? to so worthy a lover? TAMIRI: TAMIRI:
M’udisti? Did you hear me?
AGENORE: AGENORE:
Il debitore è il regno. The debtor is the kingdom. AGENORE: AGENORE:
Ubbidirò, crudele. I shall obey, cruel one.
TAMIRI (con ironia): TAMIRI (with irony):
Perché sì gran novella Why did you not bring me 13 No. 11, Aria No. 11, Aria
Non recarmi tu stesso? such big news yourself? TAMIRI: TAMIRI:
Se tu di me fai dono, If you make a gift of me,
AGENORE: AGENORE: Se vuoi che d’altri io sia, if you want me to belong to another,
È ver: ma forse It is true, but perhaps Perché la colpa è mia? why is it my fault?
L’idea del dover mio my sense of duty, Perché son io crudel? Why am I cruel?
In faccia a te ... Bella regina, addio. in your presence... Beautiful Queen, farewell.
La mia dolcezza imita. Imitate my sweetness.
TAMIRI: TAMIRI: L’abbandonata io sono, I am the deserted one,
Sentimi. Dove corri? Listen to me. Where are you running? E non t’insulto ardita, and I do not insult you boldly,
Chiamandoti infedel. calling you unfaithful.
(parte) (exit)
Scena X Scene 10 Scena XI Scene 11
Atrio esterno del Tempio di Ercole a Sidone. The outer courtyard of the Temple of Hercules in Sidon.
14 Recitativo Recitative Lo spiazzo è addobbato per l’incoronazione. The square is decorated for the coronation. Alexander
AGENORE: AGENORE: Allessandro scende gli scalini davanti all’entrata comes down the steps from the entrance to the temple,
Misero cor! Credevi Wretched heart! You thought del tempio, preceduto da nobili greci e seguito preceded by Greek nobles and followed by those
Di aver tutte sofferte you had suffered all da quelli di Sidone. Poi Tamiri ed Agenore of Sidon. Tamiri and Agenore subsequently enter the
Le tirannie d’amore. Ah! non è vero: the tyrannies of love. Ah, it is not true; entrano nell’atrio. courtyard.
Ancor la più funesta, the most fatal one of all,
Misero core, a tollerar ti resta. wretched heart, still remains to be endured. 16 No. 13, Aria No. 13, Aria
15 No. 12, Aria No. 12, Aria Voi, che fausti ognor donate You who always propitiously give
AGENORE: AGENORE: Nuovi germi a’ lauri miei, new seeds to my laurels,
Sol può dir come si trova The only one who can describe Secondate, amici Dei, support, friendly gods,
Un amante in questo stato how a lover feels in such a state Anche i moti del mio cor. also the wishes of my heart.
Qualche amante sfortunato is some wretched lover
Che lo prova al par di me. who feels it as keenly as I do. 17 Recitativo Recitative
Un tormento è quel ch’io sento The torment that I feel is Olà! che più si tarda? Il sol tramonta: Ahoy there, what’s the delay? The sun is setting.
Più crudel d’ogni tormento. more cruel than any other torment; Perché il re non si vede? Why is the King not here?
È un tormento disperato, it is a desperate torment Dov’è Tamiri? Where is Tamiri?
Che soffribile non è. which is not endurable.
(parte) (exit) TAMIRI: TAMIRI:
È d’Alessandro al piede. She is at Alexander’s feet.
Sei tu la principessa? Are you the princess?
TAMIRI: TAMIRI:
Son io. I am.
AGENORE: AGENORE:
Signor, non dubitarne: è dessa. My Lord, do not doubt it; it is she.
TAMIRI: TAMIRI: ELISA: ELISA:
Odi: Agenore, amante, Listen. Agenore, my lover, Egli m’invola He steals from me
La mia grandezza all’amor suo prepone. places my aggrandisement above his love. Ogni mia pace, ogni mio ben: d’affanno all my peace of mind, all my well-being.
Se alla grandezza mia posporre io debba Consider, Alexander, whether I should value Ei vuol vedermi estinta. He wants to see me die of grief.
Un’anima sì fida, my aggrandisement more highly than such a D’Aminta io vivo: ei mi rapisce Aminta. I live for Aminta; he has taken Aminta from me!
Esamini Alessandro, e ne decida. faithful soul, and then make a decision about it.
ALESSANDRO: ALEXANDER: Aminta? E qual ragione Aminta?
Dei! qual virtù! qual fede! O gods, what virtue, what loyalty! Hai tu sopra di lui? And what claim do you have over him?
18 Scena XII Scene 12 ELISA: ELISA:

Elisa e detti. Elisa and the above. Qual! Da bambina What claim? Since I was a child
Ebbi il suo core in dono. he gave his heart to me as a gift.
Recitativo Recitative
ELISA: ELISA: ALESSANDRO: ALEXANDER:
Ah giustizia, signor, pietà, mercede! Ah, justice, my lord, pity, mercy! Colui che il cor ti diè, ninfa gentile, He who gave you his heart, charming girl,
Era Aminta il pastore: a te giammai was Aminta the shepherd; Abdolonymus
ALESSANDRO: ALEXANDER: Abdolonimo il re non diede il core. the King never gave his heart to you.
Chi sei? che brami? Who are you? What do you want?
19 Scena XIII Scene 13
ELISA: ELISA: Aminta in abito pastorale, sequito da alcun che Aminta enters, dressed as a shepherd, accompanied
Io sono Elisa. Imploro I am Elisa. I beg portano sopra due bacili le vesti reali, e detti. by others who carry the royal garments on two trays.
D’Alessandro il soccorso for Alexander’s help
A pro d’un core ingiustamente oppresso. on behalf of a heart which is unjustly oppressed. Recitativo Recitative
AMINTA: AMINTA:
ALESSANDRO: ALEXANDER: Signore, io sono Aminta, e son pastore. My Lord, I am Aminta, and I am a shepherd.
Contro chi mai? By whom?
ELISA: ELISA: Come! What?
Contro Alessandro istesso. By Alexander himself.
AMINTA: AMINTA:
ALESSANDRO: ALEXANDER: Le regie spoglie Here are the royal garments
Che ti fece Alessandro? What did Alexander do to you? Ecco al tuo piè: con le mie lane intorno, at your feet. With my woollen clothes around me,
Alla mia greggia, alla mia pace io torno. I am returning to my flock, and to my peace of mind.
E Tamiri non è... And is Tamiri not... Ah vegga alfin Sidone Ah, let Sidon at last
Coronato il suo re. see her king crowned!
AMINTA: AMINTA:
Tamiri è degna Tamiri is deserving AMINTA: AMINTA:
Del cor d’un re: ma non è degna Elisa of the heart of a king, but Elisa does not deserve Ma in queste spoglie... But in these clothes…
Ch’io le manchi de fè. Abbiasi il regno to be betrayed by me. Let someone who has
Chi ha di regnar talento: the desire to rule have the kingdom; ALESSANDRO: ALEXANDER:
Purch’Elisa mi resti, io son contento. as long as Elisa remains with me I am content. In queste spoglie a caso Heaven has not led you here
Qui non ti guida il Cielo. Il Ciel predice in these clothes by chance. Perhaps heaven
AGENORE: AGENORE: Del tuo regno felice proclaims by this gesture that the whole
Che ascolto! What do I hear? Tutto per questa via forse il tenore: tenor of your reign will be a happy one;
Bella sorte d’un regno è IL RE PASTORE. good fortune for a kingdom is the Shepherd King!
Ove son’io! Where am I? 20 No. 14, Coro [Quintetto] No. 14, Chorus [Quintet]
TUTTI: ALL:
ELISA: ELISA: Viva l’invitto duce, Long live the unconquered leader,
Agenore, io tel dissi: Aminta è mio. Agenore, I told you so; Aminta is mine. Viva del Cielo il dono long live the gift from heaven
Più caro al nostro cor. most dear to our hearts.
Sì generosi amanti Alexander will not separate ELISA, AMINTA: ELISA, AMINTA:
Non divida Alessandro. Eccoti, Aminta, such noble lovers. Here, Aminta, Con fortunati auspici With favourable auspices
La bella Elisa. Ecco, Tamiri, il tuo is the beautiful Elisa. Here, Tamiri, In questi dì più belle may the stars shine in heaven
Agenore fedel. your faithful Agenore. Splendano in ciel le stelle, more brightly in these days,
(ad Aminta ed Elisa) Voi di Sidone (to Aminta and Elisa) You will now Rida più lieto amor. and may love smile more contentedly.
Or sarete i regnanti: be the rulers of Sidon;
(ad Agenore e Tamiri) e voi soggetti (to Agenore and Tamiri) and you will not TUTTI: ALL:
Non resterete. A fabbricarvi il trono remain as subjects. I pledge my fortune Viva del Cielo il dono Long live the gift from heaven
La mia fortuna impegno: to build you a throne, for such virtue Più caro al nostro cor. most dear to our hearts.
Ed a tanta virtù non manca un regno. should not be lacking a kingdom to reign.
ELISA: ELISA:
ELISA, AMINTA, TAMIRI, AGENORE: ELISA, AMINTA, TAMIRI, AGENORE: Nell’adorarti ognora In adoring you forever
Oh grande! oh giusto! Oh great one, oh just one! Qual sia un felice amore, my heart will know, my dear,
Caro, il mio cor saprà. what blissful love is.
AMINTA: AMINTA:
Se quel tuo cor m’adora, If your heart adores me,
Cara, più dolce ardore, there is no sweeter passion, my dear,
No, che l’amor non dà. that can be given than love.
Questo è per me contento. This for me is contentment.
AGENORE: AGENORE:
Gioia ne provo al cor. I feel joy in my heart.
ELISA, AMINTA, TAMIRI, AGENORE: ELISA, TAMIRI, AMINTA, AGENORE:

No, che ad amore un cor No, a heart does not know
Resistere non sa. how to resist love.
ELISA: ELISA:
Vaghe luci, mio tesoro. Adorable eyes, my treasure.
AMINTA: AMINTA:
Cari accenti del mio bene. Dear words of my beloved.
A DUE: BOTH:
Nel mirarti mi conviene In looking at you I must
Dolcemente sospirar. sweetly sigh.
ALESSANDRO, TAMIRI: TAMIRI, ALESSANDRO:

Alme liete, alme care, Contented souls, dear souls,
Sì godete nell’amar. thus enjoy yourselves by loving.
TUTTI: ALL:
Viva l’invitto duce, Long live the unconquered leader,
Viva del Cielo il dono long live the gift from heaven
Più caro al nostro cor. most dear to our hearts.
(Fine del dramma) (End of the opera)
What the critics said about Classical Opera’s
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sense, with stylish, eloquent and dramatic music-making of the highest order.”
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impression we are in the company of that rare beast, an instinctive Mozartian.”
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I L R E PA S T O R E

IAN PAGE conductor

Scena IV 18 Recitativo: “Compagne amene” (Aminta) 1’14 43

ATTO PRIMO ACT ONE

2 No. 1, Aria No. 1, Aria

ELISA (lieta ed frettolosa): ELISA (cheerful and in a hurry):

AMINTA: AMINTA: ELISA: ELISA:

ELISA: ELISA: AMINTA: AMINTA:

ALESSANDRO: ALEXANDER: ALESSANDRO: ALEXANDER:

AMINTA: AMINTA: AMINTA: AMINTA:

AGENORE (piano ad Alessandro): AGENORE (quietly to Alexander): AMINTA: AMINTA:

AGENORE: AGENORE: AGENORE (come sopra): AGENORE (as above):

ELISA (ad Aminta): ELISA (to Aminta): AMINTA: AMINTA:

AMINTA (ad Agenore): AMINTA (to Agenore): AGENORE: AGENORE:

AGENORE: AGENORE: 15 Recitativo Recitative

ELISA: ELISA: AMINTA: AMINTA:

AMINTA (ad Agenore): AMINTA (to Agenore): ELISA: ELISA:

19 Recitativo accompagnato Accompanied recitative

Photo © Stephen Page - www.fatkoala.biz

20 No. 3, Aria No. 3, Aria

1 Recitativo Recitative AGENORE (arrestandola): AGENORE (stopping her):

Scena II Scene 2 AGENORE: AGENORE:

AMINTA: AMINTA: AMINTA: AMINTA:

AGENORE: AGENORE: AGENORE (in atto di partire): AGENORE (leaving):

ALESSANDRO: ALEXANDER: ALESSANDRO (pensa): ALEXANDER (thinking):

ALESSANDRO: ALEXANDER: AGENORE: AGENORE:

AGENORE: AGENORE: Recitativo Recitative

ELISA: ELISA: AGENORE: AGENORE:

TAMIRI (con ironia): TAMIRI (with irony): AGENORE: AGENORE:

18 Scena XII Scene 12 ELISA: ELISA:

ELISA, AMINTA, TAMIRI, AGENORE: ELISA, TAMIRI, AMINTA, AGENORE:

ALESSANDRO, TAMIRI: TAMIRI, ALESSANDRO:

(Fine del dramma) (End of the opera)

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