Handel La resurrezione (HWV 47, 1708)

The libretto and English translation are taken, with extreme thanks (!) from
http://www.barbican.org.uk/media/events/6787laresurrezioneforweb.pdf
on 2013-02-26.
The libretto, in Italian, is also available at:
http://www.haendel.it/composizioni/libretti/pdf/resurrezione.pdf.

Georg Friedrich Händel

La resurrezione

(1708)

HWV 47

A Sacred Oratorio

Libretto by Carlo Sigismondo Capece

YouTube playlist

Information about the Luks performance:
• Angel: Hana Blažíková: soprano
• Mary Magdalena: Kateřina Kněžíková: soprano (She sings Almirena in Rinaldo.)
• Cleophas: Mariana Rewerski: mezzosoprano (She sings Rinaldo in Rinaldo.)
• St. John: Eric Stoclossa: tenor
• Lucifer: Tobias Berndt: bass
Collegium 1704
Conducted by Václav Luks
• Directed by Louise Narboni © Broadcast by Mezzo, 2009

George Frideric Handel La resurrezione (HWV 47, 1708)

@Wikipedia, YouTube playlist
Performance Information
Conductor			Václav Luks	Emmanuelle Haïm
Mise en scène			Luc Bondy
Orchestra			Collegium 1704	Berliner Philharmoniker
Chorus			???
Venue			43ème Festival de La Chaise-Dieu	Philharmonie Berlin
Performance date			2009	2014
Duration			1:47:07	2:05:21
Video type			480p 16:9	720p HD 16:9
Subtitles			None	German and English
YouTube uploader			Simon Birch	christinedbe59
YouTube upload date			2012-10-18	2014-11-09
YouTube deletion date
Dramatis Personæ
	ANGELO Soprano	Angel	Hana Blažíková	Camilla Tilling
	MADDALENA Soprano	Mary Magdalene	Kateřina Kněžíková (She sings Almirena in Rinaldo.)	Christiane Karg
	CLEOFE Alto	St Mary Cleophas	Mariana Rewerski (She sings Rinaldo in Rinaldo.)	Sonia Prina
	S. GIOVANNI Tenore	St John	Eric Stoclossa	Topi Lehtipuu
	LUCIFERO Basso	Lucifer	Tobias Berndt	Christopher Purves
	VOCE Soprano	Voice
Libretto and links
	Italian - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -	English (Translation by Anthony Hicks and Avril Bardoni © Decca.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -	Luks 2009 - - - - - - - - - - - - - - - -	Haïm 2014
As was conventional in contemporary Italian oratorios, the work is in two parts. Although the printed word-book for the original performances did not further divide the text into formal ‘scenes’ in the modern sense, there are clear implied divisions in the dramatic sequences. The action takes place on the second (‘Saturday’) night after the Crucifixion and the following morning. Programme note and synopsis © Donald Burrows ©Deutsche Grammophon GmbH, Hamburg
Parte Prima
1/0	SONATA		Soloists_enter-Luks-SB 1/0-Luks-SB 1/0/slow-Luks-SB	Conductor_enters-Haim 1/0-Haim 1/0/slow-Haim
Part 1, Scene 1
The Angel demands admittance at the gates of Hell and declares that Christ, though he has died, will now conquer Death, Guilt and Misery (Morte, Colpa, Pena). Lucifer summons the powers of Hell to oppose him.
1/1/1	ANGELO Disserratevi, o porte d’Averno, E al bel lume d’un Nume ch’è eterno Tutto in lampi si sciolga l’orror! Disserratevi, etc. Cedete, orride porte, Cedete al Re di Gloria, Che della sua vittoria Voi siete il primo onor! Cedete, etc. Disserratevi, etc.	ANGEL Be unbarred, ye gates of Avernus, and let your dismal darkness be dispelled by the radiance of the eternal God! Be unbarred, etc. Yield, dread gates, yield to the King of Glory, for yours is the first submission to His victorious might! Yield, etc. Be unbarred, etc.	(1/1/1/Disserratevi-Luks-SB) 1/1/1/Disserratevi-Luks-SB (1/1/1/Cedete-Luks-SB) 1/1/1/Cedete-Luks-SB (1/1/1/Disserratevi-Luks-SB) 1/1/1/Disserratevi-Luks-SB	(1/1/1/Disserratevi-Haim) 1/1/1/Disserratevi-Haim (1/1/1/Cedete-Haim) 1/1/1/Cedete-Haim (1/1/1/Disserratevi-Haim) 1/1/1/Disserratevi-Haim (1/1/1/ritornello-Haim)
1/1/2	LUCIFERO Qual’ insolita luce Squarcia le bende alla tartarea notte? Qual’ eco non più udita Con armonia gradita Fa intorno risonar le stigie grotte? Se son del mio valore Gli applausi, giusti sono! Oggi, che vincitore, Cittadini d’Abisso, a voi ritorno; E già mi vendicai con fiero sdegno Chi perder già mi fe’ de’ cieli il Regno!	LUCIFER What unexpected light rends the bonds of Tartarean night? What sounds unheard before echo harmoniously throughout the Stygian caves? If they are acclamations of my valour, they are fitting! For today as victor, citizens of the Abyss, I return to you, having avenged myself with proud disdain upon the one who cast me out of Heaven!	1/1/2-Luks-SB	1/1/2-Haim
1/1/3	LUCIFERO Caddi, è ver, ma nel cadere Non perdei forza né ardire, Caddi, caddi, caddi, etc. … … no, no, no, non perdei, etc. Per scacciarmi dalle sfere Se più forte allor fu Dio, Or fatt’ uomo al furor mio Pur ceduto ha con morire. Caddi, è ver, etc.	LUCIFER I fell, ‘tis true, but in falling I lost neither strength nor courage, I fell, I fell, I fell, etc. … … no, no, no, I lost not strength, etc. Though when He threw me from the spheres God was then the stronger, now, as a man, He has succumbed to my hate by dying. I fell, ‘tis true, etc.	(1/1/3/Caddi-Luks-SB) 1/1/3/Caddi-Luks-SB (1/1/3/Per-Luks-SB) 1/1/3/Per-Luks-SB (1/1/3/Caddi-Luks-SB) 1/1/3/Caddi-Luks-SB	(1/1/3/Caddi-Haim) 1/1/3/Caddi-Haim (1/1/3/Per-Haim) 1/1/3/Per-Haim (1/1/3/Caddi-Haim) 1/1/3/Caddi-Haim (1/1/3/ritornello-Haim)
1/1/4	LUCIFERO Ma che veggio? di spirti a me nemici Come un sì folto stuolo, Per quest’ aure annegriti Da’ miei respiri, osa portare il volo? ANGELO De’ tenebrosi chiostri Tacete, orridi mostri! Dileguatevi, o larve! ombre, sparite! E dell’eterno Re le leggi udite.	LUCIFER But what is this? How does such a swarm of hostile spirits dare to wing its way through these vapours blackened by my breath? ANGEL Silence, ye grisly monsters of the caves of darkness! Vanish, ye spectres! Disappear, ye shades! And hear the decrees of the eternal King.	1/1/4-Luks-SB	1/1/4-Haim
1/1/5	LUCIFERO Che sei? Chi è questo re, che dove io regno a penetrar s’avanza? ANGELO È Re di Gloria, è Re possente e forte, Cui resister non può la tua possanza. LUCIFERO Se parli di chi penso, Pur oggi a morte spinto, Negar non può ch’il mio poter l’ha vinto. ANGELO Come cieco t’inganni, e non t’avvedi Che se morì chi è della vita autore, Non fu per opra tua, ma sol d’amore.	LUCIFER Who art thou? Who is this king who would invade the realm where I hold sway? ANGEL He is the King of Glory, a King of power and might, against whom all thy strength cannot prevail. LUCIFER If thou speakest of whom I think thou dost, put to death this very day, He cannot deny that my power vanquished Him. ANGEL Blind, self-deceiver, canst not see that if life’s very source has yielded life, ‘twas by no act of thine, but for love alone.	1/1/5-Luks-SB	1/1/5-Haim
1/1/6	ANGELO D’Amor fu consiglio Che al Padre nel Figlio L’offesa pagò, Per rendere all’uomo La vita ch’un pomo gustato involò.	ANGEL By Love’s inspiration the Son paid to the Father the price of mortal sin, thus to man restoring the life he forfeited by tasting of the apple.	1/1/6/D'Amor-Luks-SB (1/1/6/Per-Luks-SB) 1/1/6/Per-Luks-SB 1/1/6/D'Amor-Luks-SB	1/1/6/D'Amor-Haim (1/1/6/Per-Haim) 1/1/6/Per-Haim (1/1/6/ritornello-Haim)
1/1/7	LUCIFERO E ben, questo tuo Nume Dell’uomo innamorato E che per lui svenato Oggi volle morir, che più presume? L’omaggio a me dovuto, Se a rendermi qua giù muove le piante, Venga. Ma se pretende … ANGELO Taci, che or lo vedrai, mostro arrogante! Vedrai come delusa Da lui fugge la Morte; Vedrai come confusa Lo rimira la Colpa; Vedrai come atterrita Si nasconde la Pena; Vedrai come tu stesso Tremarai genuflesso al suo gran Nome. LUCIFERO Il tremante! Io sì vile! E quando? e come? Sconvolgerò gl’abissi, Dal suo centro commossa Dissiperò la terra, All’aria coi respiri, Al fuoco coi sospiri, Con gli aneliti al Ciel muoverò guerra!	LUCIFER So, this God of thine, enamoured of mankind and content to suffer death on his account today, what more would He? If to pay me due homage He wends his way to these depths, let Him come. But if He would presume … ANGEL Silence, for soon thou shalt see Him, arrogant monster! Thou shalt see how Death, outwitted, flies from Him; thou shalt see how Guilt, confounded, gapes at Him; thou shalt see Distress conceal herself in terror; thou shalt see thyself trembling on thy knees at His great name. LUCIFER I, tremble? I, abase myself? When, and how? I’ll throw Hell into confusion, I’ll convulse the Earth from within and scatter it abroad into the air with my breath and into the fire with my sighs, and storm the gates of Heaven with ambition!	1/1/7-Luks-SB	1/1/7-Haim
1/1/8	LUCIFERO O voi, dell’Erebo Potenze orribili, Su, meco armatevi D’ira e valor! O voi, dell’Erebo, etc. E dell’ Eumenidi Gli angui terribili, Con fieri sibili Ai cieli mostrino Ch’hanno i suoi fulmini Gli Abissi ancor! O voi, dell’Erebo, etc.	LUCIFER O ye dread powers of Erebus Come, arm yourselves like me with rage and courage! O ye, dread powers, etc. And let the hideous serpents of the Furies fiercely hiss that Heaven may know that Hell has yet its thunderbolts! O ye dread powers, etc.	1/1/8-Luks-SB (1/1/8/E-Luks-SB) 1/1/8/E-Luks-SB (1/1/8/O-Luks-SB) 1/1/8/O-Luks-SB	1/1/8-Haim (1/1/8/E-Haim) 1/1/8/E-Haim 1/1/8/O-Haim (1/1/8/O-Haim) 1/1/8/O-Haim (1/1/8/rit-Haim)
Part 1, Scene 2
In Jerusalem, Mary Magdalene and Mary Cleophas mourn the death of Jesus, but St John reminds them of Christ’s promise to return on the third day and encourages them to return to the tomb.
1/2/1	MADDALENA Notte, notte funesta, Che del divino Sole Con tenebre di duol piangi l’occaso, Lascia, lascia che pianga anch’io E con sopor tiranno Al giusto dolor mio, Deh, non turbar l’affanno!	MAGDALENA Night, o night of sorrows, mourning the setting of the Sun divine with shadowed grief, leave me to my tears, let not imperious sleep sway me from the grief that justly racks my heart!	(1/2/1-Luks-SB) 1/2/1-Luks-SB	1/2/1-Haim
1/2/2	MADDALENA Ferma l’ali, e sui miei lumi Non volar, o sonno ingrato! Se presumi, se presumi Asciugarne il mesto pianto, Lascia pria che piangan tanto Quanto sangue ha sparso in fiumi Il mio Dio per me svenato. Se presumi, etc. Ferma l’ali, etc.	MAGDALENA Fold thy wings, and o’er my eyes fly not, unwelcome sleep! If thou wouldst presume to dry my tears of sorrow, let me first weep as full a stream as that shed by my God in blood when He died for me. If thou wouldst presume, etc. Fold thy wings, etc.	(1/2/2-Luks-SB) 1/2/2-Luks-SB (1/2/2/Se-Luks-SB) 1/2/2/Se-Luks-SB (1/2/2/Ferma-Luks-SB) 1/2/2/Ferma-Luks-SB	(1/2/2-Haim) 1/2/2-Haim ????-Haim
1/2/3	CLEOFE Concedi, o Maddalena, Qualche tregua al martire, Che un continuo languire Può con la vita anche scemar la pena; E per un Dio ch’è morto Così giusto è ‘l dolore Che non convien di renderlo più corto. MADDALENA Cleofe, invano al riposo Tu mi consigli, ed al mio core amante Sarebbe più penoso ogni momento Che potesse restar senza tormento. CLEOFE Se il tuo giusto cordoglio Sol di pene ha desio, Trattenerlo non voglio Ma solo unire al tuo l’affanno mio.	CLEOPHAS O Magdalene, allow thy torment some respite, for incessant pining will put a term to life and therefore pain, and since such grief is just for a God who has died, it is not meet that it should be foreshortened. MAGDALENA Cleophas, in vain dost thou counsel me to rest; my loving heart would suffer the more each moment that it was free from torment. CLEOPHAS If thy just grief demands only suffering, I would not seek to restrain it, but only to mingle my tears with thine.	1/2/3-Luks-SB	-Haim
1/2/4	CLEOFE Piangete, sì, piangete, Dolenti mie pupille, E con amare stille Al morto mio Signor Tributo di dolor Meste rendete! Piangete, sì, piangete, Che mentr’egli spargea Tutto il suo sangue in croce, Morendo sol dicea Di pianto: Ho sete. Piangete, sì, piangete.	CLEOPHAS Weep, weep, weep, my sorrowful eyes, and with thy bitter drops pay to thy dead Lord thy tribute of grief in lamentation! Weep, weep, weep, for as He shed His blood upon the Cross, dying, He wept, and only said these words: I thirst. Weep, weep, weep!	(1/2/4-Luks-SB) 1/2/4-Luks-SB (1/2/4/Che-Luks-SB) 1/2/4/Che-Luks-SB 1/2/4/Piangete-Luks-SB	-Haim
1/2/5	MADDALENA Ahi, dolce mio Signore, Le tue vene già vuote Chiedan di poco umore Momentaneo ristoro, E il barbaro Israele Bevanda sol di fiele Ti porse: io lo rammento, e pur non moto? CLEOFE Ahi, popolo crudele, popolo ingrato! Chi per te già disciolse Duri macigni in liquidi torrenti Di purissimi argenti Poche stille ti chiede; Tu gli dai mercede Un sì amaro liquore; E in rammentarlo non si spezza il core? MADDALENA O crude rimembranze! CLEOFE O funeste memorie! … MADDALENA … tormentatemi pur! … CLEOFE … sì, sì, seguite Ad accrescermi il duol, … MADDALENA … Che nel tormento, … CLEOFE … che nell’angoscia ria, … MADDALENA … Io godo ancor, … CLEOFE … sollievo ancora io sento. MADDALENA Se col pensiero afflitto Vò lusingando almeno Il mio desire, e parmi aver nel seno Qualche martir del mio Gesù trafitto. CLEOFE Se nell’afflitta mente Ho il mio Gesù presente, E benché esangue ed impiagato, parmi Che basti il volto suo per consolarmi.	MAGDALENA Alas, my sweet Lord, Thy emptied veins asked for the momentary relief of a few drops of water, but cruel Israel gave Thee only gall to drink: can I recall this and yet not die? CLEOPHAS Alas, cruel and hard-hearted race! He who for you once dissolved the solid rocks into torrents of purest silver, asked but a few drops of you; you gave Him in reward so bitter a liquid; does the memory not break the heart? MAGDALENA O cruel recollection! CLEOPHAS O direful memories! … MAGDALENA … come, wring my heart! … CLEOPHAS … yes, yes, continue to increase my grief, … MAGDALENA … for in torment, … CLEOPHAS … for in bitter anguish … MAGDALENA … I shall find joy … CLEOPHAS … solace shall yet be mine. MAGDALENA … as by the anguish of my mind my love may be augmented, and then I feel within my breast some part of the agony of my Jesus crucified. CLEOPHAS If in my anguished mind Jesus is ever present, His face, though pale and drawn, suffices to console me.	1/2/5-Luks-SB	-Haim
1/2/6	Duetto MADDALENA Dolci chiodi, amate spine, Da quei piedi e da quel crine Deh, passate nel mio sen, Dolci chiodi, etc. CLEOFE Cara effigie addolorata, Benché pallida e piagata, Sei mia vita, sei mio ben.	Duet MAGDALENA Sweet nails, beloved thorns, come from those feet and from that brow and pierce my breast. Sweet nails, etc. CLEOPHAS Dear sorrow-laden countenance, though pale and lacerated, thou art my life, my love.	(1/2/6-Luks-SB) 1/2/6/Cleofe-Luks-SB 1/2/6/Maddalena-Luks-SB	-Haim
1/2/7	S. GIOVANNI O Cleofe, o Maddalena, Dei mio Divin Maestro amanti amate, O quant’ invidio, quanto, Quelle che ora versate Stille di puro amor più che di pianto; Spero presto vederle Per coronare il mio Signor risorto, Da rugiade di duol cangiarsi in perle. MADDALENA Giovanni, tu che fosti Del mio Gesù, discepolo diletto, E degl’arcani suoi Segretario fedel, solo tu puoi Di speme più tranquilla Ravvivar nel mio sen qualche scintilla. S. GIOVANNI Già la seconda notte Da ch’egli estinto giacque, Col carro suo di tenebroso gelo Tutta varcò la sommità del cielo E del Gange su l’acque Attende già la risvegliata aurora Del nuovo sole il lucido ritorno; Ma il nostro Sole ancora A noi tornar promise il terzo giorno. Consoli dunque il vostro cor che geme Una sì bella e sì vicina speme.	ST JOHN O Cleophas, O Magdalene, beloved lovers of my divine Master, oh how much I envy those drops of pure love rather than of tears which you are shedding now; ‘tis my hope to see them soon set in the diadem of my risen Lord, transformed from dews of anguish into pearls. MAGDALENA John, thou who wert my Jesus’ beloved disciple, and faithful scribe of His mysteries, thou alone canst revive in my heart some spark of calmer hope. ST JOHN The second night since He relinquished life hath in his dark and icy chariot now traversed the expanse of heaven’s vault, and above Ganges’ waters the newly awakened dawn awaits already the bright resurgence of the rising sun. But our Sun, too, hath promised that on the third day He would return to us. Then let your grieving hearts be comforted by this sweet hope, so soon to be fulfilled.	1/2/7-Luks-SB	-Haim
1/2/8	S. GIOVANNI Quando è parto dell’affetto, Il dolore in nobil petto Non estingue la costanza. Quando è figlia della fede Mai non cede Al timore la speranza, etc. Quando è parto, etc.	ST JOHN When it is born of love, the grief of a noble heart quenches not the flame of constancy. When ‘tis the child of faith, hope will never yield to fear. When it is born of love, etc.	(1/2/8-Luks-SB) 1/2/8-Luks-SB 1/2/8/figlia-Luks-SB (1/2/8/parto-Luks-SB) 1/2/8/parto-Luks-SB	-Haim
1/2/9	CLEOFE Ma dinne, e sarà vero Che risorga Gesù? S. GIOVANNI S’egli l’ha detto, Chi mai di menzognero Oserà d’arguir labbro divino? MADDALENA Su, dunque andiamo, e pria ch’il mattutino Raggio dell’orizzonte il lembo indori, Andiam non osservate al sacro avello, Che almen potremmo in quello Con balsami ed odori Unger la fredda esanimata salma Di chi fu già di noi la Vita e l’Alma. CLEOFE Pronta a seguirti io sono; Ma speranza meglior mi rende ardita, E di Giovanni ai detti Spero viva trovar la nostra Vita.	CLEOPHAS Tell us, is it true that Jesus will rise again? ST JOHN If He hath said so, who shall dare accuse lips divine of lying? MAGDALENA Come, then, let us go, and ere the rays of morning gild the rim of the horizon, let us to the sacred tomb repair unseen, for the least office we can do is to anoint with balms and perfumes the cold and lifeless body of the One who was our life, our spirit. CLEOPHAS Ready am I to follow thee; but a greater hope emboldens me, for, having heard the words of John, I hope to find our Lord, our Life, alive.	1/2/9-Luks-SB	-Haim
1/2/10	CLEOFE Naufragando va per l’onde, Debol legno, e si confonde Nel periglio anche il nocchier. Ma se vede poi le sponde Lo conforta nuova speme, E del vento più non teme Né del mar l’impeto fier. Naufragando va, etc.	CLEOPHAS O’erwhelmed by stormy waves, the fragile bark may founder and her steersman be dismayed but if he then spy land hope comforts him anew, he no longer fears the wind nor the fierce raging of the ocean. O’erwhelmed by stormy waves, etc.	(1/2/10-Luks-SB) 1/2/10-Luks-SB (1/2/10/Ma-Luks-SB) 1/2/10/Ma-Luks-SB (1/2/10/Naufragando-Luks-SB) 1/2/10/Naufragando-Luks-SB	-Haim
1/2/11	S. GIOVANNI Itene pure, o fide Amiche donne, al destinato loco, Ch’ivi forse potrete Del vostro bel desio trovar le mete, Mentr’io torno a colei che già per Madre Mi diè nell’ultim’ore Del suo penoso agone il mio Signore. MADDALENA A lei ben opportuno Il tuo soccorso fia, Che in così duro scempio Qual sia la pena sua so per la mia. S. GIOVANNI Ben d’ogn’altro più grande Fu il dolor di tal Madre Di tal Figlio alla morte; Ma d’ogn’altro più forte Ebbe in soffrirlo il petto; ed or costante E ferma più d’ogn’altra ha la speranza Di vederlo risorto; e se l’ottiene La gioia allor compenserà le pene.	ST JOHN Go then, ye faithful and devoted women, to the appointed place, for there ye may find your noble hearts’ desire; I shall meanwhile return to our Lord’s Mother, whom He, in His final hours, entrusted tomy filial devotion. MAGDALENA Thy support will be most welcome to her, for I, who have suffered greatly, well know how she doth grieve. ST JOHN Far greater than any others’ was the grief of such a mother at the death of such a Son; but far greater than all others’ was her strength to bear such grief; and firmer than all others’ is her hope to see Him risen; if it be realised the joy will compensate her for the grief.	1/2/11-Luks-SB	-Haim
1/2/12	S. GIOVANNI Così la tortorella Talor piange e si lagna. Perchè la sua compagna Vede, ch’augel feroce Dal nido gli rubò. Così la tortorella, etc. Ma poi, libera e bella Se ritornar la sente, Compensa in lieta voce Quel gemito dolente Che mesta già formò. Così la tortorella, etc.	ST JOHN Thus may the turtle-dove weep and lament, believing that her mate hath been snatched from the nest by a fierce bird of prey. Thus may the turtle-dove, etc. Yet when he returneth free and in all his beauty, her joyful song will compensate the pitiful laments she uttered in her grief, Thus may the turtle-dove, etc.	(1/2/12-Luks-SB) 1/2/12-Luks-SB (1/2/12/Ma-Luks-SB) 1/2/12/Ma-Luks-SB (1/2/12/Cosi-Luks-SB) 1/2/12/Cosi-Luks-SB	-Haim
1/2/13	MADDALENA Se Maria dunque spera, E spera ancor Giovanni, Anch’io dar voglio con sì giusta speme Qualche tregua agli affanni; Ma pure chi ben ama sempre teme, E nell’amante mio misero core, Benché speranza regni, Bandir non può il timore. Or degli opposti affetti A chi debba dar fede Vedrò volgendo il piede All’adorato speco, Tomba del mio Gesù; vade Giovanni A consolar Maria; Cleofe, sia mecco.	MAGDALENE If Mary may nourish hope, and John doth too, I also may allow so fair a hope to give some respite to my distress; but love and fear go ever hand in hand, and in my poor loving heart, though hope be strong, it cannot cast out fear. Which of these opposing feelings I should trust the most I shall see if I now take my way to the sacred cave, my Jesus’ sepulchre. Go, John, to comfort Mary; Cleophas, come with me.	1/2/13-Luks-SB	-Haim
1/2/14	MADDALENA Ho un non so che nel cor, Che in vece di dolor, Gioia mi chiede. Ho un non so che nel cor, etc. Ma il core, uso a temer Le voci del piacer, Onon intende ancor, Oinganno di pensier Forse le crede. Ma il core, etc. Ho un non so che nel cor, etc.	MAGDALENE A voice within my heart invites my grief to be gone and bids me to rejoice. A voice within my heart, etc. But my heart, suspicious ever of pleasure’s flattery, cannot yet comprehend or else believes itself the victim of deception. But my heart, etc. A voice within my heart, etc.	1/2/14-Luks-SB (1/2/14/Ma-Luks-SB) 1/2/14/Ma-Luks-SB (1/2/14/Ho-Luks-SB) 1/2/14/Ho-Luks-SB	-Haim
Part 1, Scene 3
The Angel calls for the blessed souls, led by Adam and Eve, to rise with Christ and join in celebrating his victory.
1/3/1	ANGELO Uscite pure, uscite Dall’oscura prigione, Ove sì lunga ed orrida stagione Questo giorno attendeste, anime belle! Uscite pure, e uscite A vagheggiare, a posseder le stelle! Di quel Signor che ha vinto Per voi la Morte e ‘l contumace Averno, Il trionfo seguite. E voi primi venite, Oprimi padri delle umane genti, Né s’odan più lamenti Del vostro antico errore, Or ch’ebbe in sorte un tanto Redentore. Seguano gl’altri poi, E per l’orme di luce Che del divino Duce Il glorioso piè stampa nell’ombre, Da questo centro squallido e profondo Sorgan con lui sovra l’aperto mondo. Ma con eco festivo Replichi prima il lor devoto labbro:	ANGEL Come forth, come forth from the dark dungeon where for such a long and dismal age ye have awaited this day, o blessed souls! Come forth, I say, come forth to gave upon and to possess the stars! Join in the triumph of the Lord who hath for you conquered Death and Hell’s obduracy. Be ye the first to come, o first parents of the human race, and let lamentations of your ancient sin be heard no more, now that the Redeeer’s hour is here. Then let the others follow, and along the path of shining prints that the glorious feet of the divine Leader leave on the dark way, come forth from this deep and dismal place and rise with Him into the open air. But first with jubilation let their devout lips repeat:	1/3/1-Luks-SB	-Haim
1/3/2	ANGELO Il Nume vincitor trionfi, regni e viva! CORO Il Nume vincitor, trionfi, regni e viva, un Dio vincitor! ANGELO Viva e trionfi quel Dio così grande Che i cieli spande, Che al sol dà splendor. Viva e trionfi, etc. CORO Viva e trionfi, etc. Per cui Cocito Geme atterrito, Da cui fu vinta la Morte ancor, etc. Viva e trionfi, etc. ANGELO E CORO Il Nume vincitor, etc. Il Nume vincitor trionfi, regni e viva, per cui Cocito geme atterrito, per cui ritorna la pace al suol!	ANGEL May the victorious God, triumphant, reign for ever! CHORUS OF ANGELS May the victorious God triumphant, reign for ever, an all-conquering God! ANGELO May He live triumphant, the mighty God who hath spread out the heavens and given the sun his light! May He live triumphant, etc. CHORUS OF ANGELS May He live triumphant, before whom Cocytus moaneth in terror, He who hath conquered Death itself, etc. May He live triumphant, etc. ANGEL, then CHORUS as before May the victorious God, etc.	1/3/2-Luks-SB 1/End_of_Part_1-Luks-SB	-Haim
Parte Seconda
INTRODUZIONE																																																																-Haim
Part 2, Scene 1
St John greets the dawn of the third day, and hopes that the tremors preceding the dawn may have indicated the end of the final battle in Hell. He goes to visit Mary, the Mother of Jesus, hoping that she has good news.
2/1/1	S. GIOVANNI Di quai nuovi portenti Ha la terra oggi ancora il sen fecondo? Piansero gli elementi Del lor Fabbro immortal la morte fiera, E d’un giorno che spera Di vederlo risorto, Con gl’istessi tremori Par ch’il suolo paventi i primi albori. Ma forse dell’Inferno, Che del Dio vincitor l’asta percosse, Gli ultimi sforzi son, l’ultime scosse.	ST JOHN What new marvels doth the earth yet bear within its fertile womb today? The very elements have wept for the cruel death of their immortal creator, and this day, when we await with hope to see him risen, the earth doth shake again as if it feared the dawn. But these may be the final throes of Hell, struck down by the spear of the triumphant God and writhing in its last and fore-doomed struggles.	(2/1/1-Luks-SB) (2/1/1-Luks-SB) 2/1/1-Luks-SB	-Haim
2/1/2	S. GIOVANNI Ecco il sol, ch’esce dal mare, E più chiaro che non suole Smalta i prati, i colli indora. Ecco il sol, etc. Ma chi sa che di quel Sole, Ch’oggi in vita ha da tornare, Questo sol non sia l’aurora. Ecco il sol, etc.	ST JOHN Behold the sun which rises from the sea, and, shining with unwonted brilliance, enamels the fields and gilds the mountain-sides. Behold the sun, etc. Perchance this sun may be the herarld of that Sun which we expect to rise again today, returned to life. Behold the sun, etc.	(2/1/2-Luks-SB) 2/1/2-Luks-SB (2/1/2/Ma-Luks-SB) 2/1/2-Luks-SB (2/1/2/Ecco-Luks-SB) 2/1/2/Ecco-Luks-SB	-Haim
2/1/3	S. GIOVANNI Ma ove Maria dimora Se ho già vicino il piede, Spero veder ben presto Cangiata la speranza in certa fede, E senz’alcun periglio Lieta la Madre e glorioso il Figlio.	ST JOHN But now that I am close to Mary’s dwelling, soon I hope to see her expectation changed to certainty, and, all peril past, the Mother joyful and the Son glorious.	2/1/3-Luks-SB	-Haim
Part 2, Scene 2
The Angel proclaims Christ’s victory and explains to Lucifer that Christ will make his Glory known on earth before returning to Heaven. Lucifer says that he will prevent his own defeat from becoming known on earth, but the Angel shows him the women going to the sepulchre.
2/2/1	ANGELO Risorga il mondo, Lieto e giocondo, Col suo Signor! Risorga il mondo, etc. Il Ciel festeggi, Il suol verdeggi, Scherzino, ridano L’aure con l’onde, L’erbe coi fior. Risorga il mondo, etc.	ANGEL Let all the world arise, and rejoice with the Lord! Let all the world arise, etc. Be jubilant, ye heavens, flourish, o earth, play and smile, ye breezes, with the waves, ye grasses with the flowers. Let all the world arise, etc.	(2/2/1-Luks-SB) 2/2/1-Luks-SB (2/2/1/Il-Luks-SB) 2/2/1/Il-Luks-SB (2/2/1/Risorga-Luks-SB) 2/2/1/Risorga-Luks-SB	-Haim
2/2/2	ANGELO Di rabbia indarno freme Coi mostri suoi l’incatenato Averno: L’Odio, che oppresso geme, La Crudeltà, che piange, L’Invidia, che sospira, L’Empietà, che delira, L’Iniquità tremante, Il Furor vacillante, Sbighottita la Frode, Deriso il Tradimento, Vilipeso l’Orgoglio, Del mio Signor risorto Saran carro al trionfo e base al soglio. LUCIFERO Misero! ho pure udito? E in van per vendicarmi Contro forza maggiore impugno l’armi? ANGELO Sì, sì, contrasti in van; torna a Cocito! LUCIFERO Perché al ciel pria non torna Il tuo risorto Nume? ANGELO Perché pria suole in terra Far delle glorie sue noto il mistero. LUCIFERO Noti gli oltraggi miei? No, non fia vero!	ANGEL In vain doth fettered Hell with all its monsters rage: Hatred, who defeated groans, Cruelty who weeps, Envy, who sighs, Impiety, who raves, trembling Iniquity, vacillating Anger, cowering Fraud, derided Treachery, contemptible Pride; They shall of my risen Lord become the triumph-car, the pedestal of His throne. LUCIFER Woe is me! Have I heard aright? Do I then arm myself in vain to seek revenge against superior power? ANGEL Indeed, thou strivest in vain; return to Cocytus! LUCIFER Why doth thy risen Lord not first return to Heaven? ANGEL Because He would first make known on earth the mystery of his glory. LUCIFER Make known my disgrace? No, never!	2/2/2-Luks-SB	-Haim
2/2/3	LUCIFERO Per celare il nuovo scorno, Le sue faci ancora al giorno Con un soffio io smorzerò. Per celare, etc. E con tenebre nocenti Delle inferme umane menti Ogn’idea confonderò Per celare, etc.	LUCIFER To conceal this latest shame I shall snuff out His torches this very day in a breath! To conceal, etc. And with noxious darkness confound all processes of feeble human thought, To conceal, etc.	2/2/3-Luks-SB (2/2/3/E-Luks-SB) 2/2/3/E-Luks-SB 2/2/3/Per-Luks-SB	-Haim
2/2/4	ANGELO O come cieco il tuo furor delira! Mira, folle, deh mira Le donne pie che all’incavato sasso, Sepolcro già delle divine membra, Muovon veloce il passo! A loro il Ciel commanda Ch’io l’arcano riveli, Ond’esse in publicarlo A gli altri poi ne sian trombe fedeli.	ANGEL How blind thy rage hath made thee! Look, thou fool, pray look at the pious women hastening towards the hollowed rock which served but now as sepulchre to the limbs divine! Heaven commands that I reveal the mystery to them, that they may spread the word as faithful messengers.	2/2/4-Luks-SB	-Haim
2/2/5	Duetto LUCIFERO Impedirlo saprò … ANGELO Duro, duro è il cimento, … LUCIFERO Impedirlo io saprò! Ho ardir che basta. ANGELO … duro è il cimento; lo dirà l’evento.	Duet LUCIFER I shall prevent that, … ANGEL Thy task will be hard, … LUCIFER I can prevent that! My boldness will suffice. ANGEL … thy task will be hard, the outcome will tell.	2/2/5-Luks-SB	-Haim
Part 2, Scene 3
Mary Cleophas and Mary Magdalene hasten to the sepulchre, hoping that they are not too late, but confident in the power that Jesus has given them. Lucifer, now knowing that he is beaten, flees from heaven, the sun and earth, and falls back to Hell.
2/3/1	MADDALENA Amica, troppo tardo Fu il nostro piè; Già il sol su l’etra ascende. CLEOFE Fu il cor troppo codardo, Che della terra agl’improvvisi moti Fe’ i nostri passi rimanere immoti. MADDALENA Or chi sa se potremo Ricercar nella tomba il mio Tesoro. CLEOFE Se son desti i custodi, io ben ne temo. MADDALENA Io temo ancor, ma più il mio Nume adoro.	MAGDALENA My friend, our steps were too slow; already doth the sun ascend the heavens. CLEOPHAS Our hearts were too timid, for the unexpected tremors of the earth rooted our feet to the ground. MAGDALENA Shall we now find my beloved in the tomb? CLEOPHAS If the guards be awake, I am fearful indeed. MAGDALENA I too am fearful, but love of my Lord is yet stronger.	2/3/1-Luks-SB	-Haim
2/3/2	MADDALENA Per me già di morire Non paventò Gesù, no, no. Egli mi dà l’ardire, Per lui nulla pavento, Né morte, né tormento: Quando ho Gesù nel cor, non temo più. Per me già di morire, etc.	MAGDALENA Jesus did not fear to die for me, no, no. He gives me courage, for His sake I fear nothing, not death, nor torture: wih Jesus in my heart I fear no more. Jesus did not fear, etc.	(2/3/2-Luks-SB) 2/3/2-Luks-SB (2/3/2/Per_lui-Luks-SB) 2/3/1/Per_lui-Luks-SB (2/3/2/Per_me-Luks-SB) 2/3/1/Per_me-Luks-SB	-Haim
2/3/3	LUCIFERO Ahi, ab borrito nome! Ahi, come rendi, come, Ogni mio sforzo imbelle! Ahi, che vinto e confuso, Atterrito e deluso, Fuggo il Ciel, fuggo il suol, fuggo il mondo, E del più cupo abisso Torno a precipitar nel sen profondo!	LUCIFER Alas, that hated name! Alas, how it doth rob me of every vital force! Alas, conquered and confounded, terrified, outwitted, I flee from Heaven, from Earth, from all the world, and fall once more into the lowest depths of Hell’s black pit!	2/3/3-Luks-SB	-Haim
Part 2, Scene 4
The women reach the empty tomb and discover the Angel, appearing as a young man dressed in white. The Angel tells them that Christ has risen, and bids the women return to spread the news. However, the thoughts of both women turn first to finding the risen Jesus.
2/4/1	CLEOFE Vedo il Ciel che più sereno Si fa intorno e più risplende. E di speme nel mio seno Più bel raggio ancor s’accende. Vedo il Ciel, etc.	CLEOPHAS As I watch, the skies become ever more serene, resplendent; and the hope within my breast burns with an ever brighter flame. As I watch, etc.	(2/4/1-Luks-SB) 2/4/1-Luks-SB (2/4/1/E-Luks-SB) 2/4/1/E-Luks-SB (2/4/1/Vedo-Luks-SB) 2/4/1/Vedo-Luks-SB	-Haim
2/4/2	MADDALENA Cleofe, siam giunte al luogo Ove tomba funesta Dell’amato Signor coprì la salma. CLEOFE Parmi veder, sì, sì, vedo ben certo Che è già l’avello aperto, E su la destra sponda Siede con bianca stola Un giovane vestito. MADDALENA O quale spira Grazia dal volto suo, che mi consola! Appressiamoci a lui, che già ne mira. ANGELO Donne, voi ricercate Di Giesù Nazareno, ove giacque già morto; ora non è più qui, ma è già risorto. Al vostro puro affetto Giusto è che diano i cieli Così bella mercede, e un tal mistero a voi prima si sveli, per far araldi poi della sua fede. Itene dunque a publicarlo, e sia Premio del vostro pianto Della gioja comune il primo vanto.	MAGDALENA Cleophas, we have come to the place where the cheerless tomb closed o’er the body of our beloved Lord. CLEOPHAS I seem to see, indeed I now see clearly that the tomb is already open, and upon the right-hand side a young man clad in robes of white is seated. MAGDALENA Oh, what consoling grace radiates from his face! Let us approach him, for he has seen us. ANGEL Ye women who seek Jesus of Nazareth where once He lay in death, He is no longer here, for He is risen! Heaven is just reward for your pure love conferreth this sweet grace, to be the first to whom the mystery is revealed that ye may be the messengers of the faith. Go then and tell the others, and may your tears find reward in that ye are the first to spread this joy.	2/4/2-Luks-SB	-Haim
2/4/3	ANGELO Se per colpa di donna infelice All’uomo nel seno Il crudo veleno la morte sgorgò, Dian le donne la nuova felice Che chi vinse la morte, già morto, Poi risorto, la vita avvivò. Se per colpa, etc.	ANGEL As through the fault of an unhappy woman death discharged its bitter poison into the breast of man, then let women bear the joyful news that He who died and rose again has thereby vanquished death, rekindled life. As through the fault, etc.	2/-Luks-SB (2/4/3/Dian-Luks-SB) 2/4/3/Dian-Luks-SB (2/4/3/Se-Luks-SB) 2/4/3/Se-Luks-SB	-Haim
2/4/4	MADDALENA Mio Gesù, mio Signore, Già che reisorto sei, Perché, perché t’ascondi agl’occhi miei? Può ben la fede, è vero, Far che l’amore adori il gran mistero; Ma come può l’amore Esser contento a pieno Se non manda il suo ben per gl’occhi al core? Vò cercarti per tutto, Ne sarà forse in vano, Che da chi ben ti cerca, Mai, dolce mio Tesor, tu sei lontano.	MAGDALENA My Jesus, my Lord, now that Thou art risen, why, oh why hidest Thou Thyself from me? Love through faith can revere, ‘tis true, the sacred mystery, but how can love be ever fully satisfied if the heart be not blest by the sight of the beloved? I shall seek Thee everywhere, nor, perchance, in vain, for from him who truly seeketh Thee, never, sweet Beloved, art Thou far.	2/4/4-Luks-SB	-Haim
2/4/5	MADDALENA Del ciglio dolente L’ondosa procella In Iride bella Cangiando, cangiando sen va. Del ciglio dolente, etc. E il cor che già sente Vicino il suo Sole, Da mesto e languente Sereno si fa Del ciglio dolente, etc.	MAGDALENA Before the tempest’s fury the frowning, leaden sky dissolveth into the beauty of an iridescent bow. Before the tempest’s fury, etc. And thus the heart that feeleth the warm rays of its Sun, casting off gloom and languour becometh calm and clear. Before the tempest’s fury, etc.	(2/4/5-Luks-SB) 2/4/5-Luks-SB (2/4/5/E-Luks-SB) 2/4/5/E-Luks-SB (2/4/5/Del-Luks-SB) 2/4/5-Luks-SB	-Haim
2/4/6	CLEOFE Sì, sì, cerchiamo pure L’orme del nostro Amor, Che fortunata sarà ben chi lo trovi! Verso il bosco io men vado, Mentre tu verso gli orti i passi movi.	CLEOPHAS Come, let us go now and seek for our Beloved; how happy will she be who findeth Him! I shall go toward the wood, take thou the path to the gardens.	2/4/6-Luks-SB	-Haim
2/4/7	CLEOFE Augelletti, ruscelletti, Che cantando, mormorando, Date lodi al mio Signore, Insegnatemi dov’è, dov’è! Augelletti, etc. Fiori ed erbe, già superbe Di lambir le sacre piante, Deh mostrate a un cor amante Le bell’orme del suo piè, etc. Augelletti, etc.	CLEOPHAS Little birds and brooklets that with your songs, your murmurs, give praises to my Lord, tell me where He bideth! Little birds, etc. Flowers and grasses, proud to have caressed the sacred Feet, reveal to a loving heart which way they have gone, [???] Little birds, etc.	2/4/7-Luks-SB (2/4/7/Fiori-Luks-SB) 2/4/7/Fiori-Luks-SB (2/4/7/Augelletti-Luks-SB) 2/4/7/Augelletti-Luks-SB	-Haim
Part 2, Scene 5
St John meets Mary Cleophas, who relates what the women found at the tomb: St John tells her that Jesus has already appeared to his Mother. Mary Magdalene joins them and describes how Jesus has just appeared to her in the garden. All three are now confident of Jesus’s Resurrection. Mary Magdalene calls on ‘every mortal’ to join in celebrating the Resurrection and liberation from sin, and the oratorio ends with a general chorus of praise.
2/5/1	S. GIOVANNI Dove sì frettolosi, Cleofe, rivolgi i passi? CLEOFE In traccia di Gesù, ch’è già risorto, Come ancora Maddalena. S. GIOVANNI Onde il sapeste? CLEOFE Sovra l’aperto avello, Così a noi rivelò labbro celeste. S. GIOVANNI Così la Madre a me poc’anzi ha detto, A cui prima d’ogni altro, Del Figlio apparve il glorioso aspetto. CLEOFE O come lieta avrà quel Figlio accolto! S. GIOVANNI Parve ch’il suo bel volto, Di stille lacrimose umido ancora, Del Sol divino all’improvviso raggio Fosse tra riso e pianto un’altra aurora. Poi la gioia veloce Corse dal seno al labbro in questa voce:	ST JOHN Whither dost thou go, Cleophas, in such haste? CLEOPHAS I seek for Jesus, who has risen, as doth also Magdalene. ST JOHN How dost thou know this? CLEOPHAS Seated upon the open tomb, a celestial messenger spoke to us and told us. ST JOHN I too have heard it even now from His Mother, to whom, before all others, the glorious image of her Son appeared. CLEOPHAS How happily must she have welcomed her Son! ST JOHN Her lovely face, still wet with tears, brightened at the unexpected ray of the divine Sun, and seemed, ‘twixt smiles and tears, another dawn. Then the joy in her heart coursed swiftly to her lips, and she said:	2/5/1-Luks-SB	-Haim
2/5/2	S. GIOVANNI Caro Figlio! Caro Figlio, amato Dio, Già il cor mio Nel vederti esce dal petto! Caro Figlio, etc. E se lento Fu in rapirmilo il tormento, Me lo toglie ora il diletto. Caro Figlio, etc.	ST JOHN Dear Son! Dear Son, beloved Lord, how my heart doth leap at the sight of thee! Dear Son, etc. Though grief was slow to tear that heart from me, delight has stolen it now. Dear Son, etc.	2/5/2-Luks-SB (2/5/2/E-Luks-SB) 2/5/2/E-Luks-SB 2/5/2/Caro-Luks-SB	-Haim
2/5/3	MADDALENA Cleofe, Giovanni, udite, Udite la mia nuova alta ventura! Ho veduto in quell’orto il mio Signore, Che avea d’un suo guardian preso figura, Ma dalle rozze spoglie Uscia luce sì pura e così ardente, Che pria degli occhi il ravvisò la mente. Poi conobbi quel viso, In cui per farsi bello Si specchia il Paradiso. Vidi le mani ancor, vidi le piante, Ed in esse mirai, lucide e vaghe, Sfavillar come stelle Quelle ch’furon pria funeste piaghe. A baciarle il mio labbro allor s’accinse, Ma Gesù mi respinse, e dir mi parve: Tu non mi puoi toccar! poscia disparve. S. GIOVANNI Non si dubiti più! CLEOFE Cessi ogni rio timore! MADDALENA È risorto Gesù! S. GIOVANNI Viva è la nostra Vita, … CLEOFE … il nostro Amore!	MAGDALENA Cleophas, John, hear me, hear what new wonder hath befallen me! I have seen my Lord in the garden, and though He appeared in the guise of one of the keepers, from the rough garments radiated a light so pure, so intense, I knew ‘twas He ere my eyes had seen Him. Then I recognised that face, upon which Paradise doth gaze to beautify herself. I saw the hands, I saw the feet as well, and beheld in them, shining and beautiful and sparkling like stars, marks of the erstwhile deadly wounds. Then did I approach to kiss them, but Jesus forbade me, saying: ‘Touch me not!’ And then He vanished. ST JOHN We can doubt no longer! CLEOPHAS All cowardly fears now cease! MAGDALENA Jesus is risen! ST JOHN To life is restored our Life, … CLEOPHAS … our Love!	2/5/3-Luks-SB	-Haim
2/5/4	MADDALENA Se impassible, immortale Sei risorto, o Sole amato, Deh fa ancor ch’ogni mortale Teco sorga dal peccato. Se impassibile, etc.	MAGDALENA As Thou, invincible, immortal, art risen, beloved Sun, let every mortal being rise with Thee, freed from sin. As Thou, invincible, etc.	(2/5/4-Luks-SB) 2/5/4-Luks-SB (2/5/4/Deh-Luks-SB) 2/5/4/Deh-Luks-SB (2/5/4/Se-Luks-SB) 2/5/4/Se-Luks-SB	-Haim
2/5/5	S. GIOVANNI Sì, sì, col redentore Sorga il mondo Redento! CLEOFE Sorga dalle sue colpe il peccatore! MADDALENA Ed al suo Fabbro eterno Ogni creatura dia lode ed onore!	ST JOHN Come, come, with the Redeemer let the world, redeemed, arise! CLEOPHAS Let the sinner rise, freed from his guilt! MAGDALENA And to the eternal Creator let every creature give glory, laud and honour!	2/5/5-Luks-SB	-Haim
2/5/6	CORO Diasi lode in Cielo, in terra, A chi regna in terra, in Ciel! Diasi lode, etc. Ch’è risorto oggi alla terra Per portar la terra al Ciel. Diasi lode in Cielo, etc.	CHORUS Let praises sound in Heaven and Earth to the King of Earth and Heaven! Let praises sound, etc. Who rose upon the Earth this day That Earth might rise to Heaven. let praises sound in Heaven, etc.	2/5/6-Luks-SB	-Haim
Final material			End_of_performance-Luks-SB ENCORE!-Luks-SB End_of_encore-Luks-SB Closing_credits-Luks-SB	-Haim
App.	APPENDICE Nel libretto allegato alla partitura, edita nel 1878 è differente l’inizio della Prima Parte. Prima Parte Recitativo LUCIFERO A dispetto dè Cieli ho vinto, ho vinto. Vincitore a voi torno, del grande Abisso abitatori illustri. Voi, che sdegnaste d’abbassarvi in cielo Ad inchinar l’humanità nel verbo, e dell’huomo superbo per mantenere in vostra mano il giogo poco prezzaste dell’empiree sedi abbandonare il luogo, di si bella vittoria meco or godete, e dell’antico oltraggio cancelli il nuovo onor la ria memoria. Chi sa che un giorno ancora, se arride la fortuna a un giusto orgoglio, non torni a porre in Aquilone il soglio. Aria LUCIFERO Caddi, è ver, ma nel cadere non perdei forza né ardire. Per scacciarmi dalle sfere se più forte allor fu Dio, or fatt’huomo al furor mio pur ceduo ha con morire. Recitativo Ma che insolita luce Squarcia le tende alla tartarea notte? Qual eco non più udita Con armonia gradita Fa intorno risonar le Stigie grotte? Che veggio? Ohimè! Dè spirti a me nemici Come un si folto stuolo Per quest’aure annegrite Da miei respiri osa portar il volo? Aria ANGELO Disseratevi, oh porte d’Averno, e al bel lume d’un lume ch’è eterno tutto in lampi si sciolga l’orror! Cedete, horride porte, cedete al re di gloria che della sua vittoria voi siete il primo onor. Recitativo LUCIFERO Chi sei? Chi è questo re, che dov’io regno a penetrar s’avvanza?	-Haim

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Part	Type	Voice	Name	-Haim
I	Overture			-Haim
I	Aria	Angel	Disserratevi, oh porte d'averno	-Haim
I	Recitative	Lucifer	Qual in solita luce	-Haim
I	Aria	Lucifer	Caddi è ver, ma nel cader	-Haim
I	Recitative	Angel, Lucifer	Ma che veggio	-Haim
I	Recitative	Angel, Lucifer	Chi sei	-Haim
I	Aria	Angel	D'amor fu consiglio	-Haim
I	Recitative	Angel, Lucifer	Ebben, questo tuo Nume	-Haim
I	Aria	Lucifer	O' voi dell'Erebo	-Haim
I	Recitative	Mary Magdalene	Notte funesta	-Haim
I	Aria	Mary Magdalene	Ferma l'ali	-Haim
I	Recitative	Mary Magdalene, St Mary Cleophas	Concedi o Magdalena	-Haim
I	Recitative	Mary Magdalene, St Mary Cleophas	Ahi dolce mio Signore	-Haim
I	Duet	Mary Magdalene, St Mary Cleophas	Dolci chiodi	-Haim
I	Recitative	St John, Mary Magdalene, St Mary Cleophas	O Cleofe	-Haim
I	Aria	St John	Così la tortorella talor piange	-Haim
I	Recitative	Mary Magdalene	Se Maria dunque spera	-Haim
I	Aria	Mary Magdalene	Ho un non so che nel cor	-Haim
I	Recitative	Angel	Uscite pur	-Haim
I	Finale	All	Il Nume vincitor trionfi	-Haim
II	Overture			-Haim
II	Recitative	St John	Di qual nuovi portenti	-Haim
II	Aria	St John	Ecco il sol ch'esce dal mar	-Haim
II	Recitative	St John	Ma ove Maria dimora	-Haim
II	Aria	Angel	Risorga il mondo	-Haim
II	Recitative	Angel	Di rabbia indarno freme	-Haim
II	Duet	Angel, Lucifer	Misero! Ho pur udito?	-Haim
II	Aria	Lucifer	Per celare il nuovo scorno	-Haim
II	Recitative	Angel	Oh come cieco il tuo furor delira	-Haim
II	Duet	Angel, Lucifer	Impedirlo saprò	-Haim
II	Recitative	Mary Magdalene, St Mary Cleophas	Amica, troppo tardo	-Haim
II	Aria	Mary Magdalene	Per me già di morire	-Haim
II	Recitative	Lucifer	Ahi abborrito nome	-Haim
II	Aria	St Mary Cleophas	Vedo il ciel	-Haim
II	Recitative	Mary Magdalene, Angel, St Mary Cleophas	Cleofe, siam giunte al luogo	-Haim
II	Aria	Angel	Se per colpa di donna	-Haim
II	Recitative	Mary Magdalene	Mio Giesù, mio Signore	-Haim
II	Aria	Mary Magdalene	Del cielo dolente	-Haim
II	Recitative	St Mary Cleophas	Sì, sì cerchiamo pure	-Haim
II	Aria	St Mary Cleophas	Augeletti, ruscelletti	-Haim
II	Recitative	St Mary Cleophas, St John	Dove si frettolosi	-Haim
II	Aria	St John	Caro figlio	-Haim
II	Recitative	Mary Magdalene, St Mary Cleophas, St John	Cleofe, Giovanni, udite	-Haim
II	Aria	Mary Magdalene	Se impassibile, immortale	-Haim
II	Recitative	Mary Magdalene, St Mary Cleophas, St John	Sì, sì col redentore	-Haim
II	Final	All	Diasi lode in cielo, in terra	-Haim

---

Program Note on La Resurrezione
by Donald Burrows

‘He assured him that there was no country in which
a young proficient could spend his time to so much advantage;
or in which every branch of his profession was cultivated with so much care.’
In such terms, according to Handel’s first biographer,
the 20-year-old composer was encouraged by the Prince of Tuscany
to make the journey from Hamburg to Italy.
Handel’s subsequent extended visit to Italy, during 1706–10,
was undoubtedly an important formative period in his career.
In retrospect, we can see the particular significance of the Italian period
for the development of Handel as an opera composer:
Rodrigo and Agrippina, produced in Florence and Venice respectively,
form the transitional link between his early Hamburg operas
and the masterpieces of Baroque opera that were central to
Handel’s work during his first 30 years in London.
But opera constituted only a relatively small part of his creative activity in Italy,
and we need not doubt
that he made the most of the other opportunities that were on offer
for ‘every branch of the profession’.
Of the Italian musical centres, Handel probably spent the longest time in Rome
where, in consequence of a Papal ban, opera was currently not performed.
Here instead he found a stimulating network of
musical patrons, composers and performers
who encouraged opportunities in other musical genres –
church music, cantatas and oratorios.

It seems to have been in Rome, too, that during 1707 Handel’s musical style
took on the strength that was characteristic of his creative maturity.
The spring of that year saw the composition of two works
that are arguably the composer’s first masterpieces,
and can also be regarded as significant foundations for Handel’s later works.
The Latin psalm Dixit Dominus displays not only
melodic liveliness and firm direction in its harmonic style,
but also a confidence in handling ensembles of singers,
a feature that was ultimately to become important in Handel’s English theatre oratorios.
His first Italian oratorio, Il Trionfo del Tempo e del Disinganno,
might be described as an extended dramatic cantata with allegorical characters:
Tempo, Piacere and Disinganno,
representing the moral forces of ‘Time’, ‘Pleasure’ and ‘Truth’ (literally ‘Undeceit’),
compete for their influence on Bellezza (‘Beauty’).
There is a dramatic situation inherent in the choices that Bellezza has to make,
but the significance of the oratorio
lies less in Handel’s presentation of the drama
than in his mastery of musical technique in the arias,
through which the story is told and the characters are presented.

The words of Il Trionfo del Tempo were by Cardinal Pamphili,
who was well-known as a musical patron
and presumably promoted the performances of the oratorio.
He was but one of Handel’s patrons in Rome, however,
and it seems that the person who had the most substantial connection with Handel there
was the Marquis (later, Prince) Ruspoli.
During 1707–09 Ruspoli’s domestic accounts
show regular entries of payments to music copyists for Handel’s Italian cantatas,
and in June 1707 Handel also composed two Latin motets and an antiphon
for liturgical performance at Vignanello, Ruspoli’s summer residence near Rome.
It was Ruspoli who commissioned Handel’s second oratorio, La Resurrezione,
which received its first performance at Ruspoli’s palace in Rome on Easter Sunday 1708,
with a repeat performance the following day.
The oratorio was presented as a companion-piece to
(and no doubt somewhat in competition with) a passion oratorio by Alessandro Scarlatti
performed on the previous Wednesday
at the palace of another major Roman patron, Cardinal Ottoboni.
Ottoboni wrote the text of the passion oratorio;
the text of La Resurrezione was by Carlo Sigismondo Capece (1652–1728),
court poet to Queen Maria Casimira of Poland, who was living in exile in Rome.
The full title, as given on the libretto, was
Oratorio per la Risurrettione di Nostro Signor Giesó Cristo:
Ruspoli had 1,500 copies of the text printed for the performances.

The quantity of printed programmes reflects the lavish scale of the enterprise.
The oratorio was not acted, but was performed before
an elaborate painted backdrop depicting scenes from the oratorio.
There were three full rehearsals,
and the five soloists were accompanied by a substantial orchestra.
Ruspoli’s accounts for the expenses of the performances record
a string section of 35 players led by Corelli,
and seven wind players – two trumpets, four oboes and a trombone.
The trombone is not specifically mentioned in Handel’s score,
which however does require in addition a flute, two recorders and a bassoon:
no doubt these instruments were played as needed by the four ‘oboe’ players.
The score also specifies viola da gamba and theorbo,
for which no players are listed in Ruspoli’s accounts.
Nor do the records specifically mention Handel,
who presumably directed the performances from the keyboard.
He used his orchestral forces in a particularly varied and imaginative manner,
making good use of instrumental soloists as well as
the rich sound of the full ensemble.
Among the most striking effects are
the powerful unison string writing to accompany Lucifer’s aria ‘O voi dell’Erebo’
and the ghostly timbre of recorders doubling muted oboe
in Maddalena’s ‘Per me già di morire’.
At the first performance the role of St Mary Magdalene
was taken by the soprano Margherita Durastanti,
who also featured later in Handel’s London operas.
Her presence in an oratorio performance brought forth a complaint from the Pope,
and her role was taken at the second performance by a castrato:
castrati were already allocated to the roles of St Mary Cleophas and the Angel.

The playing of women’s roles by male castrati
was an accepted theatrical artifice in Rome
where, in times when opera did not suffer Papal disapproval,
women were forbidden to appear on the public stage.
Hence for the first audience the employment of castrati
would not necessarily have rendered the performance artificially undramatic:
the characters and situations could be interpreted with theatrical imagination,
in spite of the absence of stage action.
In that the soloists represent actual characters,
and for the most part specifically human characters,
La Resurrezione is a much more directly dramatic work than Il Trionfo del Tempo.
It also benefited from the development of Handel’s style
that had taken place during the intervening year,
particularly as a result of his experience with Rodrigo,
his first full-length Italian opera.
Nevertheless, as was also the case more than 30 years later with Messiah
the subject-matter of the oratorio presented a challenge
for any type of semi-dramatic treatment.
The representation of Christ himself might have been regarded as blasphemous.
Furthermore, since the librettist wanted
not merely to retell the events of the Resurrection story,
but to interpret them in terms of the resolution of a supernatural conflict,
it would have been difficult to represent Christ powerfully enough
with an individual singer who was, in the end,
just one member of a human cast.
So the principal character does not appear at all.
Instead, Capece found a clever and dramatically effective solution
by presenting the story on the human level through the actions of followers of Jesus
who were involved in the events of the Resurrection,
while using the character of Lucifer to represent the supernatural dimension
and employing an Angel as an interpretative intermediary between the two worlds.


Programme note and synopsis © Donald Burrows
©Deutsche Grammophon GmbH, Hamburg