Monteverdi Orfeo (1607)

Libretto source: http://www.naxos.com/education/opera_libretti.asp?pn=&char=all&composer=monteverdi&opera=orfeo&libretto_file=english/00_synopsis.htm
Cf.
http://www.librettidopera.it/orfeo/orfeo.html

Note: Although the original score defines Orfeo to be a tenor,
in the Harnoncourt 1978 performance he is sung by a baritone, Philippe Huttenlocher.
So I have colored Orfeo in the table below as a baritone, vice tenor.
This has the advantage of distinguishing by color Orfeo
from the first shepherd, a tenor.
Note also the extensive use of recitar cantando,
e.g. in 2/8 ♫.

Claudio Monteverdi

L'ORFEO
Favola in Musica

(1607)

Libretto by Alessandro Striggio

The following is the synopsis found here.

In a prologue the figure of Music introduces the piece,
a demonstration of the power of music.
Orpheus and Eurydice are at last to marry,
an event celebrated in dance and song by the shepherd company.
The second act continues the celebration of the happiness of Orpheus,
interrupted by the appearance of the messenger Sylvia,
who breaks the news of the death of Eurydice,
before leaving to shun human company,
marked by the bad news she has brought.
Orpheus, accompanied by Hope, sets out for the Underworld.
She leaves him as he approaches the Styx,
eventually overpowering the boatman of the dead, Charon, with his music,
and crossing the river.
In the kingdom of Pluto,
Proserpina pleads with her husband for the release of Eurydice,
and she is allowed to leave, following Orpheus,
provided that he does not look round.
As he walks away, doubts assail him and he looks round,
only to lose Eurydice, who must now remain in the Underworld.
The fifth act finds Orpheus alone in the fields of Thrace,
comforted by Echo.
In the published libretto and, presumably,
in the first performance in the palace of the Duke of Mantua,
Orpheus is then set upon by Bacchantes, who tear him in pieces.
In Monteverdi's score this is replaced by a final apotheosis,
when Apollo appears as a deus ex machina,
descending on a cloud machine to raise Orpheus to the stars,
whence he can see for ever Eurydice, similarly transported.

Monteverdi's opera occupies a supremely important position
in the history of music and of opera
as one of the earliest examples of the form
and certainly the earliest to retain or to have regained a place in present repertoire.
With pastoral and madrigal elements in its pastoral setting,
it provides music of great power, notably in Possente spirto (Powerful spirit) (3/6, ♫),
the aria with which Orpheus seeks to sway Charon.
There is much to delight and to move
in a work that remains dramatically effective and moving.
The published score brings the added advantage of
a list of instruments used at the performance in Mantua,
a valuable indication of contemporary practice
for a lavish celebratory court staging.

Harnoncourt 1h41m:

Claudio Monteverdi L’Orfeo

@Wikipedia, @IMSLP, A YouTube playlist containing a number of complete videos of this work The plot summaries found below are from the Wikipedia article (as of 2013-01).
Performance and video information
Conductor			Nikolaus Harnoncourt
Director			Jean-Pierre Ponnelle
Orchestra			Monteverdi Ensemble de l'Opéra de Zürich
Chorus			Choeur de l'Opéra de Zürich
Ballet			Ballet de l'Opéra de Zürich
Venue			l'Opéra de Zürich
Performance date			1978
Duration			1h42m
Video type			480p 4:3
Subtitles			None
YouTube uploader			Veraeikon
YouTube upload date			2009-04-08
Dramatis Personæ
La Musica (Music) male soprano			Trudeliese Schmidt
Orfeo (Orpheus) tenor			Philippe Huttenlocher
Euridice (Eurydice) (male?) soprano			Dietlinde Turban
Silvia (Sylvia) = Messaggiera (Messenger) soprano			Glenys Linos
Speranza (Hope) (male?) soprano			Trudeliese Schmidt
Caronte (Charon) bass			Hans Franzen
Proserpina (Proserpine) soprano			Glenys Linos
Plutone (Pluto) bass			Werner Gröschel
Apollo tenor			Roland Hermann
Ninfa (Nymph) soprano			??
Eco (Echo) tenor			??
First Shepherd			Peter Keller
Second Shepherd			Francisco Araiza
Ninfe e pastori (Nymphs and shepherds) soprano, alto, tenor, bass			??
First Spirit			Francisco Araiza
Spiriti infernali (Infernal spirits) tenor, bass			??
Libretto and Links
Act/#	Libretto		Harnoncourt Ponnelle 1h41m
	Italian - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -	English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
The actions take place in two contrasting locations: the fields of Thrace (Acts 1, 2 and 5) and the Underworld (Acts 3 and 4). An instrumental toccata (English: “tucket”, meaning a flourish on trumpets) precedes the entrance of La musica, representing the “spirit of music”, who sings a prologue of five stanzas of verse. After a gracious welcome to the audience she announces that she can, through sweet sounds, “calm every troubled heart.” She sings a further paean to the power of music, before introducing the drama’s main protagonist, Orfeo, who “held the wild beasts spellbound with his song”.
	Toccata		Toccata-Harnoncourt Curtain_rises-Harnoncourt
Prologue
P/1	La musica Dal mio Permesso amato a voi ne vegno, Incliti eroi, sangue gentil de’ regi, Di cui narra la Fama eccelsi pregi, Nè giunge al ver, perch’è tropp’ alto il segno. Ritornello	Music From my beloved Permessus to you I come, famous heroes, gentle issue of kings, whose excellent merits fame reports, without nearing the truth since the aim is too high. Ritornello	P/1-Harnoncourt P/1/R-Harnoncourt
P/2	Io la musica son, ch’ai dolci accenti. So far tranquillo ogni turbato core, Ed or di nobil ira ed or d’amore Poss’infiammar le più gelate menti. Ritornello	I am Music, who, in sweet accents, can calm every troubled heart, now with noble anger, now with love, can inflame the coldest minds. Ritornello	P/2-Harnoncourt P/2/R-Harnoncourt
P/3	Io, su cetera d’or, cantando soglio Mortal orecchio lusingar talora E in questa guisa a l’armonia sonora De la lira del ciel più l’alme invoglio; Ritornello	I, with my golden lyre, singing, am used to charm, sometimes, mortal ears and in this way with sounding harmony of the lyre of heaven I inspire their souls. Ritornello	P/3-Harnoncourt P/3/R-Harnoncourt
P/4	Quinci a dirvi d’Orfeo desio mi sprona, D’Orfeo che trasse al suo cantar le fere, E servo fè l’Inferno a sue preghiere, Gloria immortal di Pindo e d’Elicona. Ritornello	Whence desire urges me to tell you of Orpheus, of Orpheus who drew wild beasts at his song and made Hades give way to his prayers, immortal glory of Pindus and of Helicon. Ritornello	P/4-Harnoncourt P/4/R-Harnoncourt
P/5	Or mentre i canti alterno, or lieti or mesti, Non si mova augellin fra queste piante, Nè s’oda in queste rive onda sonante, Ed ogni auretta in suo cammin s’arresti. Ritornello	Now while I vary my songs, now happy, now sad, let no small bird move among these bushes, nor on these banks let a sounding wave be heard, and let each little breeze stop in its course. Ritornello	P/5-Harnoncourt P/5/R-Harnoncourt
Act One
After La musica’s final request for silence, the curtain rises on Act 1 to reveal a pastoral scene. Orfeo and Euridice enter together with a chorus of nymphs and shepherds, who act in the manner of a Greek chorus, commenting on the action both as a group and as individuals. A shepherd announces that this is the couple’s wedding day; the chorus responds, first in a stately invocation (“Come, Hymen, O come” [1/2]) and then in a joyful dance (“Leave the mountains, leave the fountains” [1/4]). Orfeo and Euridice sing of their love for each other [1/6 and 1/7], before leaving with most of the group for the wedding ceremony in the temple. Those left on stage sing a brief chorus, commenting on how Orfeo has been changed by love from one “for whom sighs were food and weeping was drink” to a state of sublime happiness [1/15].
1/1	Pastore In questo lieto e fortunato giorno, Ch’ha posto fine a gli amorosi affanni Del nostro semideo, cantiam, pastori, In si soavi accenti, Che sian degni d’Orfeo nostri concenti. Oggi fatt’è pietosa L’alma già si sdegnosa De la bell’ Euridice. Oggi fatt’è felice Orfeo nel sen di lei, per cui già tanto Per queste selve ha sospirato e pianto. Dunque in si lieto e fortunato giorno Ch’ha posto fine a gli amorosi affanni Del nostro semideo, cantiam, pastori, In si soavi accenti, Che sian degni d’Orfeo nostri concenti.	Shepherd On this happy and fortunate day that has put an end to the torments in love of our demi-god, let us sing, Shepherds, in sweet accents, that our songs be worthy of Orpheus. Today is now merciful the soul once so disdainful of fair Eurydice. Today is now happy Orpheus in the bosom of her for whom he once so sighed and complained through these woods. Then on so happy and fortunate a day that has put an end to the torments in love of our demi-god, let us sing, Shepherds, in sweet accents, that our songs be worthy of Orpheus.	(1/1-Harnoncourt) 1/1-Harnoncourt
1/2	Coro Vieni, Imeneo, deh, vieni, E la tua face ardente Sia quasi un sol nascente Ch’apporti a questi amanti i dì sereni, E lunge ormai disgombre Degli affanni e del duol gli orrori e l’ombre.	Chorus Come, Hymen, ah, come, and may your burning torch be like a rising sun that brings to these lovers peaceful days and chase away for ever the horrors and shadows of torments and sorrow.	1/2-Harnoncourt
1/3	Ninfa Muse, onor di Parnaso, amor del cielo, Gentil conforto a sconsolato core, Vostre cetre sonore Squarcino d’ogni nube il fosco velo; E mentre oggi propizio al nostro Orfeo Invochiam Imeneo Su ben temprate corde, Sia il vostro canto al nostro suon concorde.	Nymph Muses, honour of Parnassus, loved by heaven, gentle comfort to the disconsolate heart, let the music of your lyres tear apart the dark veil of every cloud: and while today we call on Hymen to look with favour on our Orpheus, on well-tempered strings let your song fit our music.	(1/3-Harnoncourt) 1/3-Harnoncourt
1/4	Coro Lasciate i monti, lasciate i fonti, Ninfe vezzos’e liete, E in questi prati ai balli usati Vago il bel piè rendete. Qui miri il sole vostre carole, Più vaghe assai di quelle, Onde a la luna, la notte bruna, Danzano in ciel le stelle. Ritornello Lasciate i monti, lasciate i fonti, Ninfe vezzos’e liete, E in questi prati ai balli usati Vago il bel piè rendete. Poi di bei fiori per voi s’honori Di questi amanti il crine, Ch’or dei martiri dei lor desiri godon beati al fine. Ritornello	Chorus Leave the mountains, leave the fountains, lovely joyful Nymphs. And in these meadows in traditional dances let your fair feet rejoice. Here let the sun see your dancing, more lovely than those that to the moon in the dark night the stars in heaven dance. Ritornello Leave the mountains, leave the fountains, lovely joyful Nymphs. And in these meadows in traditional dances let your fair feet rejoice. Then with fair flowers honour these lovers’ heads that after suffering now they may happily enjoy their desires. Ritornello	1/4-Harnoncourt 1/4/R-Harnoncourt 1/4/Lasciate-Harnoncourt 1/4/Poi-Harnoncourt 1/4/R-Harnoncourt
1/5	Pastore Ma tu, gentil cantor, s’a tuoi lamenti Già festi lagrimar queste campagne, Perch’ora al suon della famosa cetra Non fai teco gioir le valli e i poggi? Sia testimon del core Qualche lieta canzon che detti Amore.	Shepherd But you, gentle singer, at your laments if once you made these fields to weep, why now to the sound of your famous lyre do you not make the valleys and hills rejoice? Let the feeling of your heart be shown in some happy song, inspired by Love.	1/5-Harnoncourt
1/6	Orfeo Rosa del ciel, vita del mondo, e degna Prole di lui che l’universo affrena. Sol, che’l tutto circondi e’l tutto miri, Dagli stellanti giri, Dimmi, vedestu mai Di me più lieto e fortunato amante? Fu ben felice il giorno, Mio ben, che pria ti vidi, E più felice l’ora Che per te sospirai, Poich’al mio sospirar tu sospirasti: Felicissimo il punto Che la candida mano, Pegno di pura fede, a me porgesti. Se tanti cori avessi Quanti occhi ha il ciel eterno e quante chiome Han questi colli ameni il verde maggio, Tutti colmi sarieno e traboccanti Di quel piacer ch’oggi mi fa contento.	Orpheus Rose of heaven, life of the world, and worthy issue of him who holds the universe in sway, Sun, who encircles all and sees all from your starry course, tell me, have you ever seen a happier or more fortunate lover than me? Right happy was the day, my love, when first I saw you, and happier the hour when I sighed for you, since at my sighs you sighed: happiest the moment when your white hand, pledge of pure faith, you held out to me. If I had as many hearts as eternal heaven has eyes and as these lovely hills in green May have leaves, all would be full and brimming over with that pleasure that today makes me content.	(1/6-Harnoncourt) 1/6-Harnoncourt 1/6/Fu-Harnoncourt 1/6/Se-Harnoncourt
1/7	Euridice Io non dirò qual sia Nel tuo gioir, Orfeo, la gioia mia, Che non ho meco il core, Ma teco stassi in compagnia d’Amore; Chiedilo dunque a lui, s’intender brami Quanto lieta gioisca, e quanto t’ami.	Eurydice I will not say how great, Orpheus, in your joy is my joy, for I no longer have in me my heart, but it is with you in Love’s company; ask it then, if you want to know, how happily it rejoices and how much it loves you.	1/7-Harnoncourt
1/8	Balletto		1/8-Harnoncourt
1/9	Coro di ninfe e pastori Lasciate i monti, Lasciate i fonti, Ninfe vezzos’e liete, E in questi prati ai balli usati Vago il bel piè rendete. Qui miri il sole vostre carole, Più vaghe assai di quelle, Onde a la luna, la notte bruna, Danzano in ciel le stelle. Ritornello	Chorus of Nymphs and Shepherds Leave the mountains leave the fountains, lovely joyful Nymphs. And in these meadows in traditional dances l et your fair feet rejoice. Here let the sun see your dancing, more lovely than those that to the moon in the dark night the stars in heaven dance. Ritornello	1/9-Harnoncourt 1/9/Qui-Harnoncourt 1/9/R-Harnoncourt
1/10	Coro Vieni, Imeneo, deh, vieni, E la tua face ardente Sia quasi un sol nascente Ch’apporti a questi amanti i dì sereni, E lunge ormai disgombre Degli affanni e del duol gli orrori e l’ombre.	Chorus Come, Hymen, come, ah, come . . . and may your burning torch be like a rising sun that brings to these lovers peaceful days and chase away for ever the horrors and shadows of torments and sorrow.	1/10-Harnoncourt
1/11	Pastore Ma se il nostro gioir dal ciel deriva Com’è dal ciel ciò che qua giù n’incontra, Giusto è ben che devoti Gli offriam incensi e voti. Dunque al tempio ciascun rivolga i passi A pregar lui nella cui destra è il mondo, Che lungamente il nostro ben conservi. Ritornello	Shepherd But if our joy derives from heaven, as from heaven comes all we meet here below, it is right that we should devoutly offer incense and prayers. Then to the temple let each turn his steps to pray to him in whose right hand is the world, that he may long keep us safe. Ritornello	1/11-Harnoncourt 1/11/R-Harnoncourt
1/12	Coro Alcun non sia che disperato in preda Si doni al duol, benchè talor n’assaglia Possente sì che nostra vita inforsa. Ritornello	Chorus Let none give way in despair to sorrow, although it assail us in strength and threaten our life. Ritornello	1/12-Harnoncourt 1/12/R-Harnoncourt
1/13	Ninfa, pastori Che poi che nembo rio gravido il seno D’atra tempesta inorridito ha il mondo, Dispiega il sol più chiaro i rai lucenti. Ritornello	Nymph and Shepherds For, after a dark cloud, heavy with black storm, has terrified the world, the sun shows more brightly its shining rays. Ritornello	1/13-Harnoncourt 1/13/R-Harnoncourt
1/14	Due pastori E dopo l’aspro gel del verno ignudo Veste di fior la primavera i campi.	Two Shepherds And after the harsh frost of bare winter Spring clothes the fields with flowers.	1/14-Harnoncourt
1/15	Coro di ninfe e pastori Ecco Orfeo, cui pur dianzi Furon cibo i sospir, bevanda il pianto. Oggi felice è tanto Che nulla è più che da bramar gli avanzi.	Chorus of Nymphs and Shepherds Here is Orpheus, for whom before sighs were food, and plaints his drink. Today he is so happy that here is nothing more for him to want.	1/15-Harnoncourt
Act Two
Orfeo returns with the main chorus, and sings with them of the beauties of nature. Orfeo then muses on his former unhappiness, but proclaims: “After grief one is more content, after pain one is happier” [2/6]. The mood of contentment is abruptly ended when La messaggera enters [2/8], bringing the news that, while gathering flowers, Euridice has received a fatal snakebite. The chorus expresses its anguish: “Ah, bitter happening, ah, impious and cruel fate!” [2/9], while the Messaggera castigates herself as the bearing of bad tidings (“For ever I will flee, and in a lonely cavern lead a life in keeping with my sorrow” [2/10]). Orfeo, after venting his grief and incredulity (“Thou art dead, my life, and I am breathing?” [2/8]), declares his intention of descending to the Underworld and persuading its ruler to allow Euridice to return to life. Otherwise “I shall remain with thee in the company of death” [2/8]. He departs, and the chorus resumes its lament.
2/1	Sinfonia		2/1-Harnoncourt
2/2	Orfeo Ecco pur ch’a voi ritorno, Care selve e piagge amate, Da quel sol fatte beate Per cui sol mie notti han giorno. Ritornello	Orpheus Here I am, returned to you, dear woods and beloved hills, blessed by that sun through whom alone my nights are day. Ritornello	2/2-Harnoncourt 2/2/R-Harnoncourt
2/3	Pastore Mira ch’a sè n’alletta L’ombra, Orfeo, di que’ faggi, Or che infocati raggi Febo dal ciel saetta. Ritornello Su quell’erbose sponde Posiamci, e in vari modi Ciascun sua voce snodi Al mormorio de l’onde. Ritornello	Shepherd See, how there lures us the shade, Orpheus, of these beech-trees, now that his burning rays Phoebus shoots down from heaven. Ritornello On these grassy banks let us sit and in various songs let each let free his voice to the murmur of the waters. Ritornello	2/3-Harnoncourt 2/3/R-Harnoncourt 2/3/Su-Harnoncourt 2/3/Su/R-Harnoncourt
2/4	Due pastori In questo prato adorno Ogni selvaggio nume Sovente ha per costume Di far lieto soggiorno. Ritornello Qui Pan dio de’ pastori, S’udì talor dolente Rimembrar dolcemente Suoi sventurati amori. Ritornello Qui le Napèe vezzose, Schiera sempre fiorita, Con le candide dita Fu viste a coglier rose. Ritornello	Two Shepherds In this pleasant meadow every wild spirit often comes to rest in happiness. Ritornello Here Pan, god of Shepherds, is heard sometimes sorrowing sweetly remembering his unlucky loves. Ritornello Here the charming wood-nymphs, always decked with flowers, with white fingers were seen picking roses. Ritornello	2/4-Harnoncourt 2/4/R-Harnoncourt 2/4/Qui_Pan-Harnoncourt 2/4/Qui_Pan/R-Harnoncourt 2/4/Qui_le-Harnoncourt 2/4/Qui_le/R-Harnoncourt
2/5	Coro Dunque fa degni, Orfeo, Del suon de la tua lira Questi campi, ove spira Aura d’odor sabèo. Ritornello	Chorus Then, Orpheus, honour with the sound of your lyre these fields where breathes the perfume of Sheba. Ritornello	2/5-Harnoncourt 2/5/R-Harnoncourt
2/6	Orfeo Vi ricorda o bosch’ombrosi, De’miei lunghi aspri tormenti, Quando i sassi ai miei lamenti Rispondean fatti pietosi? Ritornello Dite: allor non vi sembrai Più d’ogni altro sconsolato? Or fortuna ha stil cangiato Ed ha volto in festa i guai. Ritornello Vissi già mesto e dolente; Or gioisco e quegli affanni Che sofferti ho per tant’anni Fan più caro il ben presente. Ritornello Sol per te, bella Euridice, Benedico il mio tormento; Dopo il duol vi è più contento, Dopo il mal vi è più felice.	Orpheus Do you remember, O shady groves, my long, harsh torments, when the rocks at my laments responded in pity? Ritornello Say, then did I not seem to you more disconsolate than any other? Now fortune has changed her course and has turned woes into joy. Ritornello I lived then in sadness and sorrow, now I rejoice, and those torments that I suffered for so many years make my present happiness the dearer. Ritornello Only through you, fair Eurydice, I bless my torment; after sorrow one is more content, after ill fortune one is happier.	2/6-Harnoncourt 2/6/R-Harnoncourt 2/6/Dite-Harnoncourt 2/6/Dite/R-Harnoncourt 2/6/Vissi-Harnoncourt 2/6/Vissi/R-Harnoncourt 2/6/Sol-Harnoncourt
2/7	Pastore Mira, deh mira, Orfeo, che d’ogni intorno Ride il bosco e ride il prato; Segui pur col plettro aurato D’addolcir l’aria in si beato giorno.	Shepherd See, ah see, Orpheus, how at every turn there smiles the wood and smiles the meadow; then continue with your golden plectrum to sweeten the air on so blessed a day.	2/7-Harnoncourt
2/8	Messaggiera Ahi, caso acerbo, ahi, fato empio e crudele, Ahi, stelle ingiuriose, ahi, ciel avaro. Pastore Qual suon dolente il lieto dì perturba? Messaggiera Lassa, dunque debb’io, Mentre Orfeo con sue note il ciel consola, Con le parole mie passargli il core? Pastore Questa è Silvia gentile, Dolcissima compagna De la bella Euridice: oh, quanto è in vista Dolorosa: or che fia? Deh, sommi dei, Non torcete da noi benigno il guardo. Messaggiera Pastor, lasciate il canto, Ch’ogni nostra allegrezza in doglia è volta. Orfeo Donde vieni? Ove vai? Ninfa, che porti? Messaggiera A te ne vengo, Orfeo, Messaggera infelice Di caso più infelice e più funesto, La tua bella Euridice... Orfeo Ohimè che odo? Messaggiera La tua diletta sposa è morta. Orfeo Ohimè! Messaggiera In un fiorito prato Con l’altre sue compagne Giva cogliendo fiori Per farne una ghirlanda alle sue chiome; Quand’angue insidioso, Ch’era fra l’erbe ascoso, Le punse un piè con velenoso dente. Ed ecco immantinente Scolorirsi il bel viso e ne’ suoi lumi Sparir que’ lampi, ond’ella al sol fea scorno. Allor, noi tutte sbigottite e meste, Le fummo intorno, richiamar tentando Gli spiriti in lei smarriti Con l’onda fresca e co’ possenti carmi, Ma nulla valse, ahi lassa, Ch’ella i languidi lumi alquanto aprendo E te chiamando, Orfeo, Dopo un grave sospiro Spirò fra queste braccia; ed io rimasi Piena il Cor di pietade e di spavento. Pastore Ahi, caso acerbo, ahi, fato empio e crudele, Ahi, stelle ingiuriose, ahi, ciel avaro. Pastore A l’amara novella Rassembra l’infelice un muto sasso Che per troppo dolor non può dolersi. Pastore Ahi, ben avrebbe un cor di tigre o d’orsa Chi non sentisse del tuo mal pietade Privo d’ogni tuo ben, misero amante. Orfeo Tu se’ morta, mia vita, ed io respiro? Tu se’ da me partita Per mai più non tornare, ed io rimango? No, che se i versi alcuna cosa ponno, N’andrò sicuro a’ più profondi abissi, E, intenerito il cor del re de l’ombre, Meco trarrotti a riveder le stelle: O, se ciò negherammi empio destino, Rimarrò teco, in compagnia di morte. Addio, terra, addio cielo e sole, addio.	Messenger Ah, bitter fate, ah, wicked, cruel Fate, ah, hurtful stars, ah, envious heaven. Shepherd What sorrowful sound disturbs the happy day? Messenger Alas, then must I, while Orpheus with his music makes heaven rejoice, with my words pierce his heart? Shepherd This is gentle Sylvia, sweetest companion of fair Eurydice: oh, how much there is in her sorrowing face: what has happened? Ah, gods above, do not turn your kind face from us. Messenger Shepherd, leave your singing, for all our good cheer is turned to pain. Orpheus Whence do you come? Where are you going? Nymph, what news? Messenger I come to you, Orpheus, unhappy messenger of a happening more unhappy and more dreadful, your fair Eurydice . . . Orpheus Alas, what do I hear? Messenger Your beloved bride is dead. Orpheus Alas! Messenger In a flowery meadow with her other companions she went picking flowers to make a garland for her hair, when a deceitful snake that was hidden in the grass, bit her foot with poisoned fang. And lo immediately her fair face grew pale and in her eyes that light that outshone the sun faded. Then we all, appalled and sorrowing, gathered round her, trying to recall her spirits that grew faint, with fresh water and with powerful charms, but to no avail, ah alas, for she opened her failing eyes a little, and calling you, Orpheus, after a deep sigh, she died in these arms; and I remained, my heart full of pity and of fear. Shepherd Ah, bitter mischance, ah, wicked, cruel fate, ah, hurtful stars, ah, envious heaven! Shepherd At the bitter news the unhappy man seems like a speechless rock and through too much grief cannot grieve. Shepherd Ah, he would have the heart of a tiger or bear that did not feel pity at your misfortune, deprived of every happiness, wretched lover. Orpheus You are dead, my life, and do I breathe? You are gone from me never to return, and do I remain? No, for if my verses can do anything, I will go surely to the deepest abysses, and having softened the heart of the King of Shades, I will bring her back to see again the stars: Oh, if wicked destiny refuses me this, I will stay with you in the company of death. Farewell earth, farewell heaven and sun, farewell.	(2/8-Harnoncourt) 2/8-Harnoncourt 2/8/Messaggiera/In_un-Harnoncourt 2/8/Pastore/Ahi-Harnoncourt 2/8/Orfeo/Tu-Harnoncourt
2/9	Coro Ahi, caso acerbo, ahi fato empio e crudele, Ahi, stelle ingiuriose, ahi, ciel avaro! Non si fidi uom mortale Di ben caduco e frale, Che tosto fugge, e spesso A gran salita il precipizio è presso.	Chorus Ah, bitter mischance, ah, wicked, cruel fate, ah, hurtful stars. ah, envious heaven! Let no mortal man trust happiness that is passing and frail, that soon flies away, and often a precipice is near a great height.	2/9-Harnoncourt
2/10	Messaggiera Ma io, che in questa lingua ho portato il coltello ch’ha svenata ad Orfeo l’anima amante, Odiosa ai pastori ed alle ninfe, Odiosa a me stessa, ove m’ascondo? Nottola infausta, il sole Fuggirò sempre e in solitario speco Menerò vita al mio dolor conforme.	Messenger But I, who with this tongue have brought the knife that has pierced the loving soul of Orpheus, hateful to Shepherds and to nymphs, hateful to myself, where may I hide? Unlucky, of the night, the sun shall I ever flee and in a lonely cave will lead a life that matches my grief.	2/10-Harnoncourt
2/11	Sinfonia		2/11-Harnoncourt
2/12	Pastori Chi ne consola, ahi lassi? O pur, chi ne concede Negli occhi un vivo fonte Da poter lagrimar come conviensi In questo mesto giorno, Quanto più lieto già tant’or più mesto? Oggi turbo crudele I due lumi maggiori Di queste nostre selve, Euridice ed Orfeo, L’una punta da l’angue L’altro dal duol trafitto, ahi, lassi, ha spenti.	Shepherds Who can console us, ah, alas? Or rather, who will allow us in our eyes a living fountain that we may weep as we should on this most mournful day, now more mournful as once happier? Today a cruel storm the two greater lights of these our woods, Eurydice and Orpheus, one bitten by a snake, the other pierced by grief, ah, alas, has quenched.	2/12-Harnoncourt
2/13	Coro Ahi, caso acerbo, ahi, fato empio e crudele, Ahi, stelle ingiuriose, ahi, ciel avaro!	Chorus Ah, bitter mischance, ah, wicked, cruel fate, ah, hurtful stars, ah, envious heaven!	2/13-Harnoncourt
2/14	Pastori Ma dove, ah dove or sono De la misera Ninfa Le belle e fredde membra, Dove suo degno albergo Quella bell’alma elesse, Ch’oggi è partita in sul fiorir de’ giorni? Andiam, Pastori, andiamo Pietosi a ritrovarle e di lagrime amare Il dovuto tributo Per noi si paghi almeno al corpo esangue.	Shepherd But where, ah, where are now the wretched nymph’s lovely, cold limbs, where the worthy shelter in which that fair soul chose to live, who today has left us in the flower of her days? Let us go, Shepherds, let us go in pity to find her and with bitter tears the due tribute pay, at least, to her lifeless body.	2/14-Harnoncourt
2/15	Coro Ahi, caso acerbo, ahi, fato empio e crudele, Ahi, stelle ingiuriose, ahi ciel avaro! Ritornello	Chorus Ah, bitter mischance, ah, wicked, cruel fate, ah, hurtful stars, ah, envious heaven! Ritornello	2/15-Harnoncourt 2/15/R-Harnoncourt
2/16	Sinfonia		2/16-Harnoncourt
Act Three
Orfeo is guided by Speranza to the gates of Hades. Having pointed out the words inscribed on the gate (“Abandon hope, all ye who enter here”), Speranza leaves. Orfeo is now confronted with the ferryman Caronte, who addresses Orfeo harshly and refuses to take him across the River Styx. Orfeo attempts to persuade Caronte by singing a flattering song to him (“Mighty spirit and powerful divinity”), but the ferryman is unmoved. However, when Orfeo takes up his lyre and plays, Caronte is soothed into sleep. Seizing his chance, Orfeo steals the ferryman’s boat and crosses the river, to enter the Underworld while a chorus of spirits reflects that nature cannot defend herself against man: “He has tamed the sea with fragile wood, and disdained the rage of the winds.”
3/1	Orfeo Scorto da te, mio nume Speranza, unico bene De gli afflitti mortali, omai son giunto A questi mesti e tenebrosi regni, Ove raggio di sol giammai non giunse. Tu, mia compagna e duce In così strane e sconosciute vie, Reggesti il passo debole e tremante, Ond’oggi ancora spero Di riveder quelle beate luci Che sol’a gli occhi miei portan il giorno.	Orpheus Accompanied by you, my goddess, Hope, sole comfort of afflicted mortals, now have I reached these mournful and dark realms where the sun’s rays never reach. You, my companion and guide, on paths so strange and unknown have controlled my feeble, trembling steps, where today I still hope to see again those blessed lights that alone to my eyes bring day.	3/Sinfonia_from_Act_2-Harnoncourt 3/entry_into_Hades-Harnoncourt 3/Orfeo_appears-Harnoncourt 3/Speranza_appears-Harnoncourt 3/Orfeo/Scorto-Harnoncourt
3/2	Speranza Ecco l’atra palude, ecco il nocchiero Che trae gl’ignudi spirti a l’altra riva, Dove ha Pluton de l’ombre il vasto impero. Oltre quel nero stagno, oltre quel fiume, In quei campi di pianto e di dolore, Destin crudele ogni tuo ben t’asconde. Or d’uopo è d’un gran core e d’un bel canto. Io sin qui ti ho condotto, or più non lice Teco venir, che amara legge il vieta, Legge scritta col ferro in duro sasso De l’ima reggia in su l’orribil soglia, Ch’in queste note il fiero senso esprime: LASCIATE OGNI SPERANZA, VOI CH’ENTRATE. Dunque, se stabilito hai pur nel core Di porre il piè nella città dolente, Da te men fuggo e torno A l’usato soggiorno.	Hope Here is the black marsh, here the boatman who takes naked spirits to the other bank, where Pluto has his vast kingdom of shades. Beyond that dark pool, beyond that river, in those fields of weeping and grief, cruel destiny hides your beloved. Now you need a stout heart and a fine song. I have brought you here, but further I may not come with you, for harsh law forbids it, a law written with iron on hard rock at the terrible entrance to the kingdom below, that in these words expresses its haughty meaning: ABANDON HOPE, ALL YE WHO ENTER. Then, if your heart is firm to set foot in the city of grief, I must flee from you and return to my customary dwelling.	3/2-Harnoncourt 3/2/Oltre-Harnoncourt 3/2/Charon_appears-Harnoncourt 3/2/Io-Harnoncourt 3/2/ABANDON_HOPE-Harnoncourt 3/2/Dunque-Harnoncourt
3/3	Orfeo Dove, ah, dove ten vai, Unico del mio cor dolce conforto? Poichè non lunge omai Del mio lungo cammin si scopre il porto, Perchè ti parti e m’abbandoni, ahi, lasso, Sul periglioso passo? Qual bene or più m’avanza Se fuggi tu, dolcissima Speranza?	Orpheus Where, ah, where are you going, sole sweet comfort of my heart? Since not a long way away the end of my long journey appears, why do you leave and abandon me, ah, alas, in my perilous path? What help remains for me now, if you fly from me, sweetest Hope?	3/3-Harnoncourt
3/4	Caronte O tu ch’innanzi morte a queste rive Temerario ten vieni, arresta i passi; Solcar quest’onde ad uom mortal non dassi, Ne può co’morti albergo aver chi vive. Che? Vuoi forse, nemico al mio Signore, Cerbero trar dalle tartaree porte? O rapir brami sua cara consorte D’impudico desire acceso il core? Pon freno al folle ardir, ch’ entr’ al mio legno Non accorrò più mai corporea salma, Sì de gli antichi oltraggi ancor ne l’alma Serbo acerba memoria e giusto sdegno.	Charon O you who before death to these shores in rashness come, halt your steps; to plough these waves is not granted to mortal man, nor can he who lives have dwelling with the dead. What? Would you then, an enemy to my Lord, drag Cerberus from the Tartarean gates? Or do you want to seize his dear consort, your heart on fire with shameless desire? Rein in your rash folly, for into my boat shall nevermore living body enter, for still in my soul of ancient wrongs I keep bitter memory and just anger.	3/4-Harnoncourt 3/4/Che-Harnoncourt 3/4/Pon-Harnoncourt
3/5	Sinfonia Charon rows his passengers across to Hades		3/5-Harnoncourt 3/5/Charon_appears-Harnoncourt 3/5/rowing_begins-Harnoncourt
3/6	Orfeo Possente spirto, e formidabil nume, Senza cui far passaggio a l’altra riva Alma da corpo sciolta in van presume, Ritornello Non viv’ io, no, che poi di vita è priva Mia cara sposa, il cor non è più meco E senza cor com’ esser può ch’io viva? Ritornello A lei volt’ ho il cammin per l’aer cieco, A l’inferno non già, ch’ovunque stassi Tanta bellezza, il paradiso ha seco. Ritornello Orfeo son io, che d’Euridice i passi Seguo per queste tenebrose arene, Ove giammai per uom mortal non vassi. O delle luci mie luci serene, S’un vostro sguardo può tornarmi in vita, Ahi, chi niega il conforto alle mie pene? Sol tuo, nobile Dio, puoi darmi aita, Nè temer dei, che sopra una aurea cetra Sol di corde soavi armo le dita Contra cui rigida alma invan s’impetra.	Orpheus Powerful spirit and fear-inspiring god, without whom to take passage to the other bank a soul, freed from the body, presumes in vain, Ritornello I do not live, no, since when, deprived of life, was my dear bride, my heart was no longer with me, and without a heart how can it be that I live? Ritornello To her I have made my way through the dark air, not yet to Hades, for wherever there is such beauty there is paradise with it. Ritornello Orpheus am I, that to Eurydice my paces bend over these dark sands, where never mortal man has gone. O serene light of my eyes, if one look of yours can return me to life, ah, who refuses comfort to my pains? You alone, noble God, can give me aid, nor should fear, since on a golden lyre only with sweet strings are my fingers armed, against which the harshest spirit seeks in vain.	3/6/Possente-Harnoncourt 3/6/R-Harnoncourt 3/6/Non-Harnoncourt 3/6/R-Harnoncourt 3/6/A-Harnoncourt 3/6/R-Harnoncourt 3/6/Orfeo-Harnoncourt 3/6/O-Harnoncourt (3/6/Pluton_appears-Harnoncourt) 3/6/Sol-Harnoncourt
3/7	Caronte Ben mi lusinga alquanto Dilettandomi il core, Sconsolato cantore, Il tuo piantí e ’l tuo canto. Ma lunge, ah lunge sia da questo petto Pietà, di mio valor non degno arretto.	Charon In part it charms me, delighting my heart, disconsolate singer, your plaint and your song. But far, ah, far from this breast let pity be, a feeling unworthy of my courage.	3/7-Harnoncourt
3/8	Orfeo Ahi, sventurato amante, Sperar dunque non lice Ch’odan miei prieghi i cittadin d’Averno? Onde, qual’ ombra errante D’insepolto cadavere e infelice, Privo sarò del ciel e de l’inferno? Così vuol empia sorte Ch’ in quest’ orror di morte Da te, cor mio, lontano Chiami tuo nome invano, E pregando e piangendo io mi consumi? Rendetemi il mio ben, tartarei numi!	Orpheus Ah, unlucky lover, then may I not hope that the citizens of Avernus may hear my prayers? Then must I like a wandering shade of an unhappy, unburied body, be reft of Heaven and of Hades? So does wicked fate desire that in this horror of death far, my heart, from you, I should call your name in vain, and praying and weeping waste myself away? Give me back my love, Spirits of Tartarus.	3/8-Harnoncourt
3/9	Sinfonia		3/9-Harnoncourt
3/10	Orfeo Ei dorme, e la mia cetra Se pietà non impetra Ne l’indurato core, almen il sonno Fuggir al mio cantar gli occhi non ponno. Su, dunque, a che più tardo? Tempo è ben d’approdar su l’altra sponda, S’alcun non è ch’ il nieghi. Vaglia l’ardir se foran vani i prieghi. E’ vago fior del Tempo L’occasion, ch’esser dèe colta a tempo. Mentre versan quest’ occhi amari fiumi, Rendetemi il mio ben, tartarei numi. (Qui entra nella barca e passa cantandoal suono dell’organo di legno)	Orpheus He sleeps and my lyre, if it cannot bring pity to that hardened heart, at least sleep his eyes cannot escape at my song. Up, then, why longer wait? It is time now to land on the other shore, if there is none to deny it. Let valour prevail if my prayers are in vain. A passing flower of time is opportunity that must be plucked at the time. While these eyes pour forth bitter streams of tears, give me back my love, Spirits of Tartarus. (He enters the boat and crosses over, singing to the sound of the wood-organ)	3/10-Harnoncourt
3/11	Sinfonia		3/11-Harnoncourt
3/12	Coro di spiriti Nulla impresa per uom si tenta invano Nè contr’ a lui più sa natura armarse. Ei de l’instabil piano Arò gli ondosi campi, e ’l seme sparse Di sue fatiche, ond’ aurea messe accolse. Quinci, perchè memoria Vivesse di sua gloria, La fama a dir di lui sua lingua sciolse, Ch’ei pose freno al mar con fragil legno Che sprezzò d’Austro e d’Aquilon lo sdegno.	Chorus of Spirits No undertaking by man is tried in vain, nor against him can Nature further arm herself. The uneven plain’s watery fields he has ploughed and scattered the seed of his labours, whence he has gathered golden harvests. Wherefore, so that memory may live of his glory, Fame, to speak of him, has loosed her tongue, who controlled the sea with fragile craft, who cast scorn on the anger of the South and North Winds.	3/12-Harnoncourt 3/12/Ei-Harnoncourt 3/12/Quinci-Harnoncourt
3/13	Sinfonia		3/13-Harnoncourt
Act Four
In the Underworld Proserpina, Queen of Hades, who has been deeply affected by Orfeo’s singing, petitions King Plutone, her husband, for Euridice’s release. Moved by her pleas, Plutone agrees subject to the condition that, as he leads Euridice towards the world, Orfeo must not look back. If he does, “a single glance will condemn him to eternal loss”. Orfeo enters, leading Euridice and singing confidently that on that day he will rest on his wife’s white bosom. But as he sings a note of doubt creeps in: “Who will assure me that she is following?”. Perhaps Plutone, driven by envy, has imposed the condition through spite? Suddenly distracted by an off-stage commotion, Orfeo looks round; immediately, the image of Euridice begins to fade. She sings, despairingly: “Losest thou me through too much love?” and disappears. Orfeo attempts to follow her but is drawn away by an unseen force. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions.
4/1	Proserpina Signor, quell’infelice Che per queste di morte aspre campagne Va chiamando Euridice, Ch’udito hai tu pur dianzi Così soavemente lamentarsi, Moss’ha tanta pietà dentro al mio core Ch’un’altra volta torno a porger prieghi Perchè il tuo nume al suo pregar si pieghi. Deh, se da queste luci Amorosa dolcezza unqua traesti, Se ti piacqu’ il seren di questa fronte Che tu chiami tuo cielo, onde mi giuri Di non invidiar sua sorte a Giove, Pregoti per quel foco Con cui già la grand’alm’amor t’accese. Fa ch’Euridice torni A goder di quei giorni Che trar solea vivend’ in fest’ e in canto, E del miser’ Orfeo consola il pianto.	Proserpina Lord, that unhappy man, who through these great fields of death goes calling on Eurydice, whom you have just heard thus sweetly lamenting, has moved such pity in my heart that once more I turn to pray that your spirit will yield to his prayers. Ah, if from these eyes you have ever taken loving sweetness, if the serenity of this brow has pleased you that you call your heaven, on which you swear to me not to envy Jove his lot, I beg you, by that fire with which Love set afire your great soul. Let Eurydice return to enjoy those days that she used to pass, living in festivities and in song, and console the weeping of wretched Orpheus.	4/1-Harnoncourt 4/1/Deh-Harnoncourt 4/1/Fa-Harnoncourt
4/2	Plutone Benchè severo ed immutabil fato Contrasti, amata sposa, i tuoi desiri, Pur nulla omai si nieghi A tal beltà, congiunta a tanti prieghi. La sua cara Euridice Contra l’ordin fatale Orfeo ritrovi, Ma pria che tragg’il piè da questi abissi, Non mai volga ver lei gli avidi lumi, Che di perdita eterna Gli sia certa cagion un solo sguardo. Io così stabilisco. Or nel mio regno Fate, o ministri, il mio voler palese, Sì che l’intenda Orfeo E l’intenda Euridice Ne di cangiar l’altrui sperar più lice.	Pluto Although severe and immutable fate is against your desires, beloved wife, yet nothing ever can be refused such beauty, together with such prayers. His dear Eurydice against the command of fate, Orpheus may recover. But before he takes his way from these abysses he must never turn his desirous eyes to see her, since her eternal loss a single look will cause for sure. So do I command. Now in my kingdom O servants, make known my will, so that Orpheus may understand it and Eurydice understand it, nor may anyone hope to change it.	4/2-Harnoncourt 4/2/La-Harnoncourt 4/2/Or-Harnoncourt
4/3	Uno spirito del Coro O degli abitator de l’ombre eterne Possente re, legge ne fia tuo cenno, Che ricercar altre cagioni interne Di tuo voler nostri pensier non denno. Un altro spirito del Coro Trarrà da queste orribili caverne Sua sposa Orfeo, s’adoprerà suo senno. Sì che nol vinca giovanil desio, Nè i gravi imperi tuoi sparga d’oblio.	A Spirit from the Chorus O of the dwellers in eternal shadows powerful King, let your order be law, that to seek other reasons for your will our thoughts must not turn. Another Spirit from the Chorus From these terrible caverns will Orpheus lead his bride, will he use his understanding so that youthful desire not overcome it, nor forget these weighty commands?	4/3-Harnoncourt 4/3/Trarrà-Harnoncourt
4/4	Proserpina Quali grazie ti rendo, Or che sì nobil dono Concedi ai prieghi miei, Signor cortese? Sia benedetto il dì che pria ti piacqui, Benedetta la preda e’l dolce inganno, Poi che, per mia ventura, Feci acquisto di te perdendo il sole.	Proserpina What thanks may I give you, now that so noble a boon you grant to my prayers, kind Lord? Blessed be the day that first I pleased you, blessed the seizing of me and the sweet trickery, since, to my good fortune, I won you, losing the sun.	4/4-Harnoncourt 4/4/Sia-Harnoncourt
4/5	Plutone Tue soavi parole D’amor l’antica piaga Rinfrescan nel mio core; Così l’anima tua non sia più vaga Di celeste diletto, Sì ch’abbandoni il marital tuo letto.	Pluto Your sweet words love’s ancient wound revives in my heart. Let your soul not so long more for heavenly delight as to abandon your marriage-bed.	4/5-Harnoncourt
4/6	Coro di spiriti Pietade, oggi, e amore Trionfan ne l’inferno.	Chorus of Spirits Pity, today, and Love triumph in Hades.	4/6-Harnoncourt
4/7	Spirito Ecco il gentil cantore Che sua sposa conduce al ciel superno. Ritornello	Spirit Here is the gentle singer, who leads his bride to the heaven above. Ritornello	4/7-Harnoncourt 4/7/Euridice_appears-Harnoncourt 4/7/R-Harnoncourt
4/8	Orfeo Qual onor di te fia degno, Mia cetra onnipotente, S’hai nel tartareo regno Piegar potuto ogni indurata mente? Ritornello Luogo avrai tra le più belle Immagini celesti Ond’al tuo suon le stelle Danzeranno in giri or tardi or presti. Ritornello Io per te felice appieno Vedrò l’amato volto, E nel candido seno De la mia donna oggi sarò raccolto. Ma mentre io canto, ohimè, chi m’assicura Ch’ella mi segua? Ohimè, chi mi nasconde de l’amate pupille il dolce lume? Forse d’invidia punte Le deita d’Averno, Perch’io non sia qua giù felice appieno, Mi tolgono il mirarvi, Luci beate e liete, Che sol col’ sguardo altrui bear potete? Ma che temi, mio core? Ciò che vieta Pluton, comanda Amore. A Nume più possente Che vince uomini e dei ben ubbidir dovrei (Qui si fa strepito dietro la tela) Ma che odo ? Ohimè lasso S’arman forse a miei danni Con tal furor le furie innamorate Per rapirmi il mio ben, ed io ’l consento? (Qui si volta Orfeo) O dolcissimi lumi, io pur vi veggio, io pur... ...Ma quale eclissi, ohimè, v’oscura?	Orpheus What honour will be worthy of you, my all-powerful lyre, for you have, in the kingdom of Tartarus, been able to make yield every hardened heart? Ritornello A place shall you have among the fairest images of heaven, where at your sound the stars shall dance in rounds, now slow, now fast. Ritornello I, through you happy to my fill, shall see the beloved face, and in the white bosom of my lady today shall I rest. But while I sing, ah me, who can assure me that she follows me? Ah me, who hides from me the sweet light of her beloved eyes? Perhaps, spurred on by envy, the gods of Avernus, so that I should not be happy here below, prevent me looking at you, blessed and joyful eyes, that only with a look can bless others? But what do you fear, my heart? What Pluto forbids, Love commands. The more powerful spirit that overcomes men and gods I must obey. (There is a noise off-stage) But what do I hear? Ah me, alas, perhaps to my loss there arm themselves with such fury the enamoured Furies to take from me my love, and I let it happen? (Now Orpheus turns) O sweetest eyes, I see you now, I see... ..but what eclipse, ah me, obscures you?	4/8/Qual-Harnoncourt 4/8/Qual/R-Harnoncourt 4/8/Luogo-Harnoncourt 4/8/Luogo/R-Harnoncourt 4/8/Io-Harnoncourt 4/8/Ma-Harnoncourt 4/8/Ohimè-Harnoncourt 4/8/-Harnoncourt 4/8/offstage_noise-Harnoncourt 4/8/Ma-Harnoncourt 4/8/Orfeo_turns-Harnoncourt 4/8/Euridice_is_seen-Harnoncourt 4/8/O-Harnoncourt
4/9	Uno Spirito Rott’ hai la legge, e se’ di grazia indegno	A Spirit You have broken the law and are unworthy of pardon.	4/9-Harnoncourt
4/10	Euridice Ahi, vista troppo dolce e troppo amara: Così per troppo amor dunque mi perdi? Ed io, misera, perdo Il poter più godere E di luce e di vita e perdo insieme Te d’ogni ben più caro, o mio consorte.	Eurydice Ah, too sweet and too bitter a sight, so through too much love, then, do you lose me? And I, wretched, lose the power to enjoy more light and life, and lose together you, dearer than all, O my consort.	4/10-Harnoncourt 4/10/Ed-Harnoncourt
4/11	Uno Spirito Torna a l’ombre di morte, Infelice Euridice, Ne più sperar di riveder le stelle, Ch’ormai fia sordo a’ prieghi tuoi l’inferno.	A Spirit Return to the shades of death, unhappy Eurydice, nor can you hope to see again the stars, for now Hades is deaf to your prayers.	4/11-Harnoncourt
4/12	Orfeo Dove ten vai, mia vita? Ecco, io ti seguo, Ma chi me ’l niega, ohimè? Sogno o vaneggio? Qual occulto poter di questi orrori, Da questi amati orrori Mal mio grado mi tragge e mi conduce A l’odiosa luce?	Orpheus Where are you going, my life? Lo, I follow you, but who stops me, ah me? A dream or madness? What hidden power of these horrors, from these beloved horrors draws me, in my despite, and leads me to the hateful light?	4/13-Harnoncourt 4/13/Qual-Harnoncourt
4/13	Sinfonia		4/13-Harnoncourt
4/14	Coro di spiriti E’ la virtute un raggio Di celeste bellezza, Pregio de l’alma ond’ella sol s’apprezza: Questa di tempo oltraggio Non teme, anzi maggiore Ne l’uom rendono gli anni il suo splendore. Orfeo vinse l’inferno e vinto poi Fu dagli affetti suoi. Degno d’eterna gloria Fia sol colui ch’avrà di se vittoria.	Chorus of Spirits Virtue is a ray of celestial beauty, prize of the soul, where alone it is valued: the assault of time this does not fear, but greater in man do years render its splendour. Orpheus conquered Hades and then was conquered by his feelings. Worthy of eternal glory is he that will have victory over himself.	4/14-Harnoncourt 4/14/Orfeo-Harnoncourt 4/14/Degno-Harnoncourt
4/15	Sinfonia Ritornello		4/15/Sinfonia-Harnoncourt 4/15/Ritornello-Harnoncourt
Act Five
Back in the fields of Thrace Orfeo, in a long soliloquy, laments his loss, praises Euridice’s beauty and resolves that his heart will never again be pierced by Cupid’s arrow. An off-stage echo repeats his final phrases. Suddenly, in a cloud, Apollo descends from the heavens and chastises him: “Why dost thou give thyself up as prey to rage and grief?” He invites Orfeo to leave the world and join him in the heavens, where he will recognise Euridice’s likeness in the stars. Orfeo replies that it would be unworthy not to follow the counsel of such a wise father, and together they ascend. A shepherds’ chorus concludes that “he who sows in suffering shall reap the fruit of every grace”, before the opera ends with a vigorous moresca.
5/1	Orfeo Questi i campi di Tracia, e quest’è il loco Dove passommi il core Per l’amara novella il mio dolore. Poi che non ho più speme Di ricovrar pregando, Piangendo e sospirando, Il perduto mio bene, Che poss’io più se non volgermi a voi, Selve soavi, un tempo Conforto a’ miei martir, mentre al ciel piacque Per farvi per pietà meco languire Al mio languire? Voi vi doleste, o monti, e lagrimaste Voi sassi al dipartir del nostro sole, Ed io con voi lagrimerò mai sempre E mai sempre dorrommi, ahi, doglia, ahi pianto! Eco ...hai pianto! Orfeo Cortese eco amorosa, Che sconsolata sei E consolar mi vuoi ne’ dolor miei, Benchè queste mie luci Sien già per lagrimar fatte due fonti, In così grave mia fera sventura Non ho pianto però tanto che basti. Eco ...basti! Orfeo Se gli occhi d’Argo avessi E spandessero tutti un mar di pianto, Non fora il duol conforme a tanti guai. Eco ...ahi! Orfeo S’hai del mio mal pietade, io ti ringrazio Di tua benignitade. Ma mentr’io mi querelo, Deh, perchè mi rispondi Sol con gli ultimi accenti? Rendimi tutti integri i miei lamenti. Ma tu, anima mia, se mai ritorna La tua fredda ombra a queste amiche piaggie, Prendi da me queste tue lodi estreme. Ch’or a te sacro la mia cetra e ’l canto, Come a te già sopra l’altar del core Lo spirto acceso in sacrifizio offersi. Tu bella fusti e saggia, e in te ripose Tutte le grazie sue cortese il cielo, Mentre ad ogn’altra de’ suoi don fu scarso. D’ogni lingua ogni lode a te conviensi, Ch’albergasti in bel corpo alma più bella, Fastosa men quanto d’onor più degna. Or l’altre donne son superbe e perfide, Ver chi le adora dispietate, instabili, Prive di senno e d’ogni pensier nobile Ond’a ragion opra di lor non lodansi, Quinci non fia giammai che per vil femina Amor con aureo stral il cor trafiggami.	Orpheus These are the fields of Thrace and this the place where pierced my heart that grief at the bitter news. Since I have no further hope to have back again, through pleading, weeping and sighing, my lost love, what more can I do than turn to you sweet woods, at one time comfort to my suffering, while it pleased heaven to make you languish in pity with me, at my languishing? You grieved, O mountains, and you cried, you rocks, at the leaving of our sun, and I will always cry with you and always yield myself, ah, to grief, ah, my weeping! Echo ...ay weeping! Orpheus Kind, loving Echo, you who are disconsolate and would console me in my grief, although these my eyes through tears become two fountains, in so heavy and cruel a misery I have not tears enough. Echo ...enough! Orpheus If I had the eyes of Argus, and all poured out a sea of weeping. their grief would not match such woe. Echo ...oh! Orpheus If you have pity for my misfortune, I thank you for your kindness. But while I lament, ah, why do you answer me only with my last words? Give me back all my laments entire. But you, my soul, if ever there should return your cold shade to this friendly hill, take from me these last praises, since now my lyre and song is sacred to you, as on the altar of my heart I offered you in sacrifice my ardent spirit. You were beautiful and wise, and in you kind heaven rested all its graces, while sparing of its gifts to every other woman. In every tongue every praise is due to you, for in your fair body you sheltered a fairer soul, lesser in pride, then worthy the more of honour. Now other women are proud and false, pitiless and changeable to those that adore them, without judgement and every noble thought, whence rightly their behaviour is not praised. Therefore may it never be that for a worthless woman Love with his golden shaft pierce my heart.	(5/1-Harnoncourt) 5/1/Questi-Harnoncourt 5/1/Voi-Harnoncourt 5/1/Cortese-Harnoncourt 5/1/Se-Harnoncourt 5/1/S’hai-Harnoncourt 5/1/Ma-Harnoncourt 5/1/Tu-Harnoncourt 5/1/Or-Harnoncourt
	(Il seguente testo fino all’entrata di Apollo si trova unicamente nel libretto del 1607)	(The following text, up to the entrance of Apollo, is found only in the libretto of 1607)
5/1607/2	Moresca
5/1607/3	Orfeo Ma ecco stuol nemico Di Donne amiche a l’ubbriaco Nume, sottrar mi voglio a l’odiosa vista, che fuggon gli occhi ciò che l’alma aborre.	Orpheus But lo the hostile band of women friendly to the drunken god, I will withdraw at the hateful sight, for the eyes shun what the soul hates.
5/1607/4	Coro di baccanti Euhoè padre Lieo Bassareo Te chiamiam con chiari accenti, Euhoè liete e ridenti Te lodiam padre Leneo Hor ch’abbiam colmo il core Del tuo divin furore. Baccante Fuggito è pur da questa destra ultrice L’empio nostro avversario il Trace Orfeo Disprezzator deí nostri pregi alteri. Un’ altra Baccante Non fuggirà, che grave Suol esser più quanto più tarda scende Sovra nocente capo ira celeste. Due baccanti Cantiam di Bacco intanto, e in varii modi Sua Deità si benedica e lodi. Coro di baccanti Euhoè padre Lieo Bassareo Te chiamiam con chiari accenti, Euhoè liete e ridenti Te lodiam padre Leneo Hor ch’abbiam colmo il core Del tuo divin furore. Baccante Tu pria trovasti la felice pianta Onde nasce il licore Che sgombra ogni dolore, et a gli egri mortali del sonno è padre e dolce oblio dei mali. Coro di baccanti Euhoè padre Lieo Bassareo Te chiamiam con chiari accenti, Euhoè liete e ridenti Te lodiam padre Leneo Hor ch’abbiam colmo il core Del tuo divin furore. Baccante Te domator del lucido Oriente Vide di spoglie alteramente adorno Sopr’aureo carro il portator del giorno. Baccante Tu qual leon possente Con forte destra e con invitto core Spargesti ed abbattesti Le Gigantee falangi, ed al furore De le lor braccia ferreo fren ponesti Allor che l’empia guerra Mosse co’ suoi gran figli al Ciel la Terra. Coro di baccanti Euhoè padre Lieo Bassareo Te chiamiam con chiari accenti, Euhoè liete e ridenti Te lodiam padre Leneo Hor ch’abbiam colmo il core Del tuo divin furore. Baccante Senza te l’alma Dea che Cipro honora Fredda e insipida fora, o d’ogni human piacer gran condimento e d’ogni afflitto cor dolce contento. Coro di baccanti Euhoè padre Lieo Bassareo Te chiamiam con chiari accenti, Euhoè liete e ridenti Te lodiam padre Leneo Hor ch’abbiam colmo il core Del tuo divin furore.	Chorus of Bacchantes Evoe! Father Lyæus, Bassareus, we call on you with clear voices, Evoe! Happy and laughing we praise you, father Lenæus now that we have our hearts filled with your divine fury. Bacchante He has escaped from this avenging hand, our wicked adversary, Thracian Orpheus, despiser of our high value. Another Bacchante He will not escape, for the heavier does it fall the later it comes, heavenly anger upon his guilty head. Two Bacchantes Let us sing, the while, of Bacchus, and in various ways bless and praise his godhead. Chorus of Bacchantes Evoe! Father Lyæus, Bassareus, we call on you with clear voices, Evoe! Happy and laughing we praise you, father Lenæus, now that we have our hearts filled with your divine fury. Bacchante You first found the happy plant whence comes the liquor that washes away every sorrow, and to ailing mortals is father of sleep and sweet oblivion of ills. Chorus of Bacchantes Evoe! Father Lyæus, Bassareus, we call on you with clear voices, Evoe! Happy and laughing we praise you, father Lenæus, now that we have our hearts filled with your divine fury. Bacchante You, tamer of the shining East, appeared proudly decked out in spoils, on your golden chariot, bringer of day. Bacchante You like a powerful lion with your strong right hand and unconquered heart scattered and defeated the regiments of the giants, and to the fury of their arms put a halt, when Earth waged impious war with her great sons against Heaven. Chorus of Bacchantes Evoe! Father Lyæus, Bassareus, we call on you with clear voices, Evoe! Happy and laughing we praise you, father Lenæus, now that we have our hearts filled with your divine fury. Bacchante Without you the kind goddess that Cyprus honours would be cold and weak, the great addition to every human pleasure and to every afflicted heart sweet content. Chorus of Bacchantes Evoe! Father Lyæus, Bassareus, we call on you with clear voices, Evoe! Happy and laughing we praise you, father Lenæus, now that we have our hearts filled with your divine fury.
	(Il seguente testo si trova esclusivamente nelle partiture del 1609 e 1615)	(The following text is found exclusively in the scores of 1609 and 1615)
5/1609/2	Sinfonia		5/1609/2-Harnoncourt 5/1609/2-Harnoncourt
5/1609/3	Apollo (descende in una nuvola cantando) Perchè a lo sdegno ed al dolor in preda Così ti doni o figlio? Non è, non è consiglio Di generoso petto Servir al proprio affetto; Quinci biasmo e periglio Già sovrastar ti veggio, Onde movo dal ciel per darti aita. Or tu m’ascolta e n’avrai lode e vita.	Apollo (descending on a cloud, singing) Why to anger and grief in prey do you so give yourself, O son? It is not, it is not the counsel of a generous heart to serve its own feelings. Since with reproach and danger already I see you overcome, I come from heaven to give you aid. Now listen to me and you shall have praise and life.	5/1609/3-Harnoncourt
5/1609/4	Orfeo Padre cortese, al maggior uopo arrivi, Ch’a disperato fine Con estremo dolore M’avean condotto già sdegno ed amore. Eccomi dunque attento a tue ragioni, Celeste padre; or ciò che vuoi m’imponi. Apollo Troppo, troppo gioisti Di tua lieta ventura; Or troppo piagni Tua sorte acerba e dura. Ancor non sai Come nulla qua giù diletta e dura? Dunque se goder brami immortal vita, Vientene meco al ciel, ch’a se t’invita. Orfeo Si non vedrò più mai De l’amata Euridice i dolci rai? Apollo Nel sole e nelle stelle Vagheggerai le sue sembianze belle Orfeo Ben di cotanto padre sarei non degno figlio Se non seguisci il tuo fedel consiglio	Orpheus Kind father, you come when I am in greatest need, when to a desperate end with extreme grief anger and love has already brought me. Here I am then, attending to your reasons, heavenly father, now command me as you want. Apollo Too much, too much did you rejoice in your happy fortune, now too much you weep at your bitter, hard lot. Still do you not know how nothing that delights down here will last? Then if you want to enjoy immortal life, come with me to heaven, which calls you. Orpheus Shall I never again see the sweet eyes of my beloved Eurydice? Apollo In the sun and in the stars you will gaze at her fair semblance. Orpheus Of such a father I should not be a worthy son, if I did not follow your faithful advice.	5/1609/4/Orfeo/Padre-Harnoncourt 5/1609/4/Apollo/Troppo-Harnoncourt 5/1609/4/Orfeo/Si-Harnoncourt 5/1609/4/Apollo/Nel-Harnoncourt 5/1609/4/Orfeo/Ben-Harnoncourt
5/1609/5	Apollo ed Orfeo (assende al Cielo cantando) Saliam cantando al cielo, Dove ha virtù verace Degno premio di sè, diletto e pace. Ritornello	Apollo and Orpheus (ascending to heaven, singing) Let us rise, singing, to heaven, where true virtue has due reward, delight and peace. Ritornello	5/1609/5-Harnoncourt 5/1609/5/R-Harnoncourt
5/1609/6	Coro Vanne, Orfeo, felice appieno A goder celeste onore L’ave ben non mai vien meno. L’ave mai non fu dolore, Mentr’altari, incensi e voti Noi t’offriam lieti e devoti. Ritornello Così va chi non s’arretra Al chiamar di lume eterno, Così grazia in ciel impetra Chi qua giù provò l’inferno E chi semina fra doglie D’ogni grazia il frutto coglie.	Chorus Go, Orpheus, fully happy, to enjoy celestial honour where good never lessens, where there is never grief, while altars, incense and prayers we offer to you, happy and devoted. Ritornello So goes one who does not draw back at the call of the eternal spirit, so he obtains grace in heaven who down below made proof of Hades and he who sows in sorrow reaps the fruit of every grace.	5/1609/6-Harnoncourt 5/1609/6/Ritornello-Harnoncourt 5/1609/6/Cosi-Harnoncourt
5/1609/7	Moresca		5/1609/7-Harnoncourt

The following is an excerpt from
A History of Opera by Carolyn Abbate and Roger Parker.

It is certainly significant that Orpheus became
the first (and most often recurring) early operatic hero.
Orpheus, son of Apollo and one of the legendary poets of antiquity,
was a demigod whose magical powers of singing
could even drown out the deadly music of the Sirens.
On the death of his wife Eurydice,
Orpheus’ songs were so sad that the nymphs and Gods
allowed him to descend into Hell to rescue her,
commanding only that he must not look back as he leads her out of the underworld.
He descends with his lyre, moves Persephone and Hades by his singing,
is reunited with Eurydice and starts to lead her back.
But then, in anguish at her laments, he disobeys the Gods and looks back.
Eurydice is lost forever.
...

For the early makers of opera,
the most important scene in this myth was a moment of performance:
Orpheus appears before the rulers of the underworld
in order to persuade them to release Eurydice, and he does so by singing.
This moment clearly appealed because it was an allegorical representation:
Orpheus’ power over the dark rules,
his ability to sway them through son, resonated with opera’s power over its audience;
operatic music was meant to induce in listeners extremes of emotion,
so much so that they would be lost,
cast into a state in which reason gave way to the miraculous.
For a composer, successful representation of this scene
would be the ultimate challenge and the ultimate justification of the new art form.

What is significant, 400 years later, is that
the scenes of actual music making in Monteverdi’s Orfeo—
whether the shepherds’ pastoral songs
or Orfeo’s improvisations of elaborate coloratura to impress the Gods—
almost outweigh scenes in which
music functions as a direct expression of the soul,
the sort of thing fundamental in opera.
As we pointed out in Chapter 1,
music-within-the-opera (music required by the plot)
often provides both temporary relief from the ever-impinging unreality of the medium,
and can be the composer’s way of encouraging a particular reaction to his efforts:
he can put on stage both a musical statement and
the kind of listener-response he hopes for.
But music-within-the-opera is not opera’s basic mode.
In one sense it’s no different from music-within-the-play in spoken drama—
the mad Ophelia singing about flowers, or Ariel singing his hymn to freedom.
What we recognize as necessary for opera is not these self-conscious songs and dances,
but passion given voice as singing.
This second kind of singing thus becomes a more potent form of utterance,
being music that exists outside or beyond the limits of the fiction.

Where does this mode appear in Orfeo?
One classic instance is the long recitar cantando scene in Act 2 (2/8, ♫),
in which a Messenger (soprano) brings news to Orfeo (tenor) of Eurydice’s death,
in which Orfeo then laments her fate and vows to descend to hell to bring her back.
This is essentially an elaborate recitative,
accompanied by various instruments sustaining the harmonies.
The words are sung in free, speech-based rhythm,
and there is little obvious melody, little sense of periodic structure in the voice part.
The vocal line in part traces the intonation of the words—as a kind of natural pitch—
but also, and more significantly,
it traces the symbolic meaning of certain words or the images they convey.
There is very little music to spare:
we are immersed in a rarefied world in which
each small melodic and harmonic gesture stands out,
earnestly soliciting a high degree of attentiveness and absorption.
At the precise moment the Messenger recalls Eurydice’s sudden pallor
(The second line of Ed ecco immantinente”, ♫),
there is an harmonic schism:
alternation E-major and B-Major chords are followed by an anomalous G minor;
in harmonic terms we shift somewhere else entirely.
Another example is the description of nymphs rushing around
(“Allor, noi tutte”, ♫)
and of attempts to revive Eurydice,
which are paced much faster than any other text—
the words pour out in a panicked tumble.
The only time a word is repeated is
when the Messenger imitates Eurydice’s dying cry of ‘Orfeo, Orfeo’
(“E te chiamando, Orfeo,”, ♫),
higher the second time;
and then there is a scripted silence following the evocation of her death,
‘spirò fra queste braccia’ (she expired in these arms).
When Orfeo responds to the Messenger’s tale,
his dismay causes him to repeat words as if he can’t understand them:
‘You are dead? dead? … you have left me? left me, and I will remain here?’
(“Tu se’ morta?”, ♫)
At the end of his lament, following his decision to descend ‘into the abyss’
(his voice goes down to the lowest note in his vocal part),
he bids farewell to earth, sky and sun
in an ascending melodic line that traces the very upward arc he describes
(“Addio, terra, addio cielo e sole, addio.”, ♫).

These are all moments in which we hear obvious musical translations of poetic content.
They are like the tricks that classical rhetoric prescribed for skilled orators:
repetition for emphasis;
dropping the voice and raising it;
changing the tempo of one’s words.
But other moments in Orfeo are uniquely musical.
One of the most magical is born from
the way Monteverdi fashioned an acoustic image of the dying Eurydice’s cry.
We do not hear the original sound, but (he implies)
it must have been terrible and it refuses to die.
It re-resonates.
First, there is the Messenger’s imitation and repetition of the cry.
Then Orfeo repeats it in disguised forms,
for instance in his repeated ‘No, No’, also rising in pitch.
Again, as in oratorical effects, the reasons for such moments may be didactic.
This is, after all, a depiction of a vocal sound that goes forth to touch those who hear;
it is an encrypted image of opera’s power to move its listeners.

When this culminating achievement of opera’s brief first period of existence
was unveiled in Mantua,
the spectacle—both as an event and in its circumstances—
bore little resemblance
to what opera would become through most of its subsequent history.
Orfeo was first seen not in a theater
but in a private room (and not a very spacious one)
in the Duke of Mantua’s palace.
The main part was probably sung by a tenor called Francesco Rasi,
who was himself a composer;
most or perhaps all of the female roles were taken by castrati ....
It was enacted in front of a small audience placed very near the singers,
and there was certainly no proscenium or mystic gulf between performers and spectators.
According to a contemporary account, it was given again a week later.
Even though the Duke had attended many rehearsals and the premiere,
he ordered another showing for an audience including ‘all the ladies resident in the city’;
Magli [one of the castrati] in particular had apparently
‘given immense pleasure to all who have heard him sing, especially My Lady’.
The intimacy of the venue provided an ideal opportunity
for demonstrating opera’s capacity to wield music’s power over its audience:
a restricted space, a small group of people, an architectural space
and an acoustic that allowed every word to be understood,
with listeners so close that they could not fail to notice
each minute expression on the singers’ faces, each variation in their vocal delivery.

...