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1.
Nò, nò, nò, non burlar meco Amor cieco Amor empio, Amor bugiarda Spezza il dardo Vanne pur da me lontano Ben n’avverte il castigliano Dan la gherra y los amores Un plazer con mil dolores Nò, nò, nò, non burli un core Con amore Son più fier e più tremendi, I suoi incendi Che la fiamme di Vulcano Ben n’avverte il castigliano, Dan la gherra... No, no, no, do not tease me blind Love, Love, you deceiver break your arrow go from me The Castilian knows it well; war and love bring a little joy but a thousand pains No. no, no, don’t use love to play games with the heart, his fire is more fierce than Volcano’s flames. The Castillian knows it well...
2.
O come sei gentile, Caro Augelino O quanto el mio stato amoroso al tuo simile io prigion tu prigion io canto tu canti per colei che t’ha legato Et io canto per lei Ma in questo è differente la mia sorte dolente Che giova pur a te l’esser canoro vivi cantando et io cantando moro. How gracious you are, dear little bird, and how my state as lover is similar to yours: I am prisoner, you are prisoner; I sing, you sing for her who captured you, and I too sing for her. But in this my doleful fate differs from yours: to be a songbird helps you in your plight; singing you live, but singing I die
3.
Con le stelle in ciel che mai vidi il Sol spiegar i rai, chi tra gelo nel suo stelo amorosa star la rosa tra tempeste e tra procelle lampeggiar amiche stelle. Ecco uscir del sol il sole e di Dio l’immensa prole, tra gli orrori spuntar fiori, o bel lampo, o del campo fior che sol fa Primavera, e de l’or l’età primiera. S’apre poi le labbra al riso, Rose dà di Paradiso, s’altro puote ne le grotte vagheggiarle, senz’amarle, su, su prendi arco e faretra, casto Amore, e ‘l cor mi spetra. Who has ever seen the sun Unfold his rays in the sky amidst the stars? Or in the frost, a rose of love Stand on her stem? Or through tempest and storm Seen friendly stars twinkle? Here the sun rises from the ground And the immense progeny of God Sprouts flowers among the gloom O fine gleam, o flower of the field That alone makes spring And the first golden age Does he open his mouth to laugh, Does he give us paradise, Can anyone see it without loving it? Up, up, quiver and bow, chaste Amor, strike my heart
4.
5.
6.
O primavera, gioventù de l’anno, bella madre de’ fiori, d’erbe novelle e di novelli amori, tu ben, lasso, ritorni, ma senza i cari giorni de le speranze mie. Tu ben sei quella ch’eri pur dianzi, sì vezzosa e bella; ma non son io quel che già un tempo fui, sì caro a gli occhi altrui. O spring, youth of the year, beautiful mother of the flowers, of the new grasses and of the new loves, indeed you have returned, but, alas without the sweet days of my hopes. You, indeed, are returning who was, so little time ago, so gracious and beautiful; but I am no longer what I was before, so pleasing to the eyes of another.
7.
Deh vieni hormai cor mio a l’usato soggiorno, che già se’n vola a l’Occidente il giorno, e la mia vita stanca non men che’l giorno manca. Vieni, consoli il mio cordoglio atroce quella beata voce, e freno spirto al mio languir tue note e freno al sol, c’ha già nel mar le rote Deh! Come now my heart to the usual dwelling place, the day already is speeding to the West, and my weary life no less than the day. Come, and comfort my tremendous grief so that your cheerful voice curbs my spirit’s lassitude with your words and holds back the sun already sinking its rays into the sea.
8.
9.
Stelle lucenti serene e ridenti venite e gioite bramose mirate del Lodovisio sol le luci amate. Scendete vaganti splendenti ed amanti vezzose amorose le danze guidate el Giesualdo sole accompagnate. Pompose e leggiadre con lucide squadre recate splendore con chiara beltate el Ludovisio sol liete mirate. Notturne facelle ardenti sorelle ch’a l’aria serena la luce apportate il Giesualdo sol deh vagheggiate. Shining stars, bright and twinkling, Come and enjoy, see the desires of Ludovisio, only to those affectionate eyes. Come down enchantingly radiant and endearing charming and loving and lead the dances, by Giesualdo accompanied only. Weighty and graceful with beaming troops, bring forth brilliance with clear beauty Like Ludovio only likes to see. Nocturnal torches, fervent sisters that equip the clear sky with light For Gesualdo alone, well, so tempting.
10.
Ardo d’amor s’io miro o Donna i vostri lumi; e se da voi lontano i passi giro, avien che per dolor io mi consumi. Hor qual riparo o scampo miro haver poss’io se da presso m’incende il vostra lampo se da lunge m’uccide il dolor mio. Mirate almen mirate pietosa il mio languire; che lieto morirò; se per pietate vedrovvi lagrimar del mio morire. I burn with love when I, O my lady, behold your eyes; and when I turn my steps far from you, it happens that I languish in grief. What dignified hiding place or refuge is left for me, if your flame burns me from up close, and if from afar my grief kills me. Look, At least look, pity my anguish that gladly I will die; if by pity to see you crying over my death.
11.
Oblivion soave i dolci sentimenti in te, figlia, addormenti. Posatevi, occhi ladri; aperti, deh, che fate, se chiusi ancor rubate? Poppea, rimanti in pace; luci care e gradite, dormite, omai dormite May gentle oblivion lull sweet thoughts in you, my child. Now rest, thievish eyes; why stay open if you can steal all hearts even when closed? Poppea, rest calmly; dear eyes, fond eyes, sleep now, sleep.
12.
13.
Lagrime mie, à che vi trattenete? Perchè non isfogate il fier dolore che mi toglie‘l respiro e opprime il core? Lidia che tanto adòro, Perchè un guardo pietoso, ahi! mi donò, il paterno rigor, l’imprigionò. Trà due mura rinchiusa sta la bella innocente Dove giunger non può raggio di sole; E quel che più mi duole Ed accresc’ al mio mal Tormenti e pene, È che per mia cagione provi male il mio bene! E voi, lumi dolenti, non piangete? Lagrime mie, à che vi trattenete? Lidia, ahimè, veggo mancarmi l’idol mio che tanto adoro, Stà colei trà duri marmi, per cui spiro E pur non moro? Se la morte m’è gradita, Hor che son privo di speme Deh, toglietemi la vita (ve ne prego) aspre mie pene. Mà ben m’accorgo, che per tormentarmi maggiormente, La sorte mi niega anco la morte. Se dunque è vero, o Dio, Che sol del pianto mio, Il rio destino hà sete. Lagrime mie à che vi trattenete Perchè non isfogate il fier dolore Che mi toglie il respiro e opprime il core Tears of mine, why do you hold back, why don’t you wash away the pain which takes my breath and crushes my heart? Lidia, whom I adore, Because she gave me a pitying glance, Has been imprisoned by her severe father. The innocent girl is locked up within walls Which the sun’s rays cannot penetrate, And what pains me most, And increases my pain my torment, Is that I am the cause of my beloved’s suffering. And you, my eyes, are not weeping! Tears of mine, why do you hold back? Alas, how I miss my Lidia, my idol, I love so much! She is shut up within marble walls and I sigh but I do not die! If death might be granted to me now that I have no hope, take my life, (I beg of you) oh my sufferings! But I am well aware that in order to torture me even more. Fate even denies me death, it is true then, oh God, that destiny desires only my tears. Tears of mine, why do you hold back, why don’t you wash away the pain which takes my breath and crushes my heart?
14.
Tu dormi, e’l dolce sonno Ti lusinga con l’ali, aura volante, Né mov’ombra già mai tacite piante. Io, che non ho riposo, Se non quando da’ lumi Verso torrenti e fiumi, Esc’al notturno sol a me gioioso. Tu lo splendor degl’argentati rai Non rimiri, e tu stai Sord’al duol che m’accora; Io sent’e veggio ogn’hor l’aura e l’aurora. Tu dormi, e non ascolti Me che prego e sospiro, e piango e bramo, E nell’alto silentio hora ti chiamo. Ben ha profond’oblio, Filli, sepolt’i tuoi sensi vitali, E prov’invano Destar in te pietà d’alma che more. Non è Febo lontano, Vien l’alba rugiadosa, Ma che, dorm’e riposa, Non piang’indarno i suoi torment’il core; E se non senti tu, mi sent’amore. Tu dormi, et io pur piango, O bella, o del mio cor dolce tormento, E col mio pianto io mir’il ciel intento. Entro piume d’odori Tu ripos’il bel fianco; Io, fra mille dolori, Sento senza pietà venirmi manco. O sonno, o tu che porti pace ai cori, E le menti egre conforti, Te non chiamo già mai, ma sol desio Che nei sospir’aquet’il morir mio. You are sleeping, and still I weep, O beautiful one, O sweet torment of my heart, and as I weep I look up eagerly to heaven. You lie your beautiful side on perfumed feathers, while I, in a thousand torments, feel myself pitilessly faint. O slumber, you who bring peace to hearts, and who comfort sick souls, I do not call for you; I only desire that my death be lessened in my sighs.
15.
16.
Ohimè dov’è il mio ben, dov’è il mio core? Chi m’asconde il mio ben, e chi me’l toglie? Dunque ha potuto sol desio d’onore darmi fera cagion di tante doglie? Dunque han potuto in me, più che il mio amore, ambitiose e troppo lievi voglie? Ahi sciocco mondo e cieco! Ahi cruda sorte, che ministro mi fai della mia morte! Alas! Where is my beloved, where is my heart? Who has concealed my love and taken her away? Can it be that love of honour should bring me such grief? Can it be that ambition and vain glory have prevailed more than love? Alas, foolish, blind world! Alas, cruel fate that has made me minister of my own death!

about

The music in this programme, featuring two vocal top soloists, Claron McFadden and Nora Fischer, reigns from the turn of the 16th to the 17th century, the transition from the Renaissance to the Baroque era, a musically interesting and exciting time! Claudio Monteverdi is without any doubt the biggest Stella Lucente (shining star) of this album. He has always been considered the great master of this period and the title of the album could have been Monteverdi and his time.
The highest goal is to touch the listener’s soul. This leads, among other things, to an enormous amount of publications with compositions for solo voice, two sopranos and basso continuo and, subsequently, the birth of the opera.
Many musicians work in the courts of the great city-states (such as Ferrara, Florence, Mantua, Venice) and the papal residence in Rome. The Duke of Ferrara employs three sopranos under the name Concerto delle Donne. They are the pride of the court and perform in special concerts attended only by high-ranking courtiers and important guests. Composers are inspired by them, Luzzaschi in particular, who worked as the musical director at the same court. Not only were they highly skilled singers, they were also adept at playing various instruments, some of which you can hear on this album; the harp, viola da gamba and guitar.

credits

released January 16, 2021

Recorded at Uilenburger Synagogue, Amsterdam,
May 28-29, June 4-5, 2018
Recording and editing: Jakko van der Heijden
Liner notes: Mike Fentross
Translation: Manon Schreurs
Cover photo: Lóránd Fényes
Photography: Erik de Jong (Claron McFadden), Foppe Schut (Emma Huijsser), Sarah Wijzenbeek (Nora Fischer), Bastiaan Woudt
(Mike Fentross & Paulina van Laarhoven)
Design: Meeuw
www.lasfera-armoniosa.com
www.zefirrecords.nl

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