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Sonia Prina, contralto: Silla

Martina Belli, mezzo-soprano: Claudio


Sunhae Im, soprano: Metella
Vivica Genaux, mezzo-soprano: Lepido
Roberta Invernizzi, soprano: Flavia
Francesca Lombardi Mazzulli, soprano: Celia
Luca Tittoto, bass: Il Dio

Europa Galante
Fabio Biondi, violin & direction
Fabio Ravasi, Elin Gabrielsson, Carla Marotta, violins 1
Andrea Rognoni, Luca Giardini, Silvia Falavigna, Rossella Borsoni, violins 2
Pablo de Pedro, Barbara Palma, violas
Alessandro Andriani, Perikli Pite, cellos
Patxi Montero, violone
Marta Graziolino, harp
Paola Poncet, harpsichord
Giangiacomo Pinardi, theorbo
Recorded in Vienna (Konzerthaus, Groer Saal), Austria, on 28-30 January 2017 Emiliano Rodolfi, Priska Comploi, oboes & recorders
Produced by Moritz Bergfeld | Engineered by Olaf Mielke | Edited by Aaron Holloway-Nahum
Ivan Calestani, bassoon
Executive producer & editorial director: Carlos Cster | Editorial assistance: Mara Daz
Translations: Pierre lie Mamou (essay, fra), Susanne Lowien (essay, deu), Andrea Friggi (libretto, eng)
Luca Marzana, trumpet
Cover photographs: Anne de Labra | Concert/session photographs: Bernhard Trebuch Charlie Fischer, timpani
2017 note 1 music gmbh
Atto Secondo
george frideric handel
(1685-1759) 17 Recitativo: Flavia! (Silla, Flavia) 0:59
18 Aria: Qual scoglio in mezzo allonde (Flavia) 2:14
Silla 19 Recitativo: Tarresta, altera (Silla) 0:21
20 Aria: Dolce nume de mortali (Silla) 2:26
(Lucio Cornelio Silla, hwv 10) 21 Aria: Guerra, stragi e furor (Il Dio) 1:48
Probably premiered in London in 1713 22 Scena: Guerra, stragi e furor (Silla) 0:15
23 Recitativo: Silla! Ove ti guida (Lepido, Silla) 1:15
24 Aria: tempo, oh luci belle (Silla) 3:49
cd i [59:54] 25 Recitativo: Mio diletto, che pensi (Flavia, Lepido) 0:57
26 Duetto: Sol per te, bellidol mio (Flavia, Lepido) 6:12
01 Ouverture 3:42
02 Marche 1:22 cd ii [53:06]

Atto Primo 01 Recitativo: Bella, lascia i sospiri (Claudio, Celia) 1:08


02 Aria: Mi brilla nel seno (Claudio) 2:51
03 Recitativo: Silla, soggi resplende (Metella, Lepido) 1:02 03 Recitativo: Mio bel nume, tarresta (Silla, Metella) 0:40
04 Aria: Alza il volo la mia fama (Silla) 3:11 04 Aria: Hai due vaghe pupilette (Metella) 2:33
05 Recitativo: Secclissa la mia gioia (Metella, Lepido) 0:40 05 Recitativo: Che miro, oh Dei (Flavia, Silla) 1:14
06 Aria: Fuggon laure in me di vita (Metella) 4:34 06 Recitativo: Tanto ardisci (Lepido, Silla) 0:32
07 Recitativo: Cieli, numi (Lepido, Flavia) 0:35 07 Duetto: Ti lascio, idolo mio (Flavia, Lepido) 1:27
08 Aria: Se ben tuona il ciel irato (Lepido) 2:59 08 Recitativo: Anima mia (Claudio, Celia, Silla) 1:22
09 Recitativo: Sin con lingua di foco (Celia, Flavia) 0:21 09 Recitativo: Scabro! Lepido sia (Silla) 0:21
10 Aria: Un sol raggio di speranza (Flavia) 5:15 10 Aria: La vendetta un cibo al cor (Silla) 2:04
11 Recitativo: Sino su li occhi miei (Celia, Claudio) 1:25 11 Recitativo: Oh! Perfido consorte (Metella) 0:30
12 Aria: Senti, bellidol mio (Claudio) 4:53 12 Aria: Sel mio mal da voi dipende (Claudio) 1:50
13 Recitativo: S, tamo, oh caro (Celia) 0:17 13 Recitativo: S, questi son trofei (Silla) 0:24
14 Aria: Se la speranza nudrisce il mio cor (Celia) 2:50 14 Recitativo: Deh! Corri al tuo signore (Metella, Silla) 0:21
15 Recitativo: Silla, dov la gloria (Claudio, Silla) 1:24 15 Recitativo: Taffretta, oh Scabro (Metella) 0:19
16 Aria: Con tromba guerriera (Claudio) 4:56 16 Aria: Secondate, oh giusti dei (Metella) 2:10

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Atto Terzo
17 Recitativo: Quanto devo, oh Metella (Lepido, Metella) 0:47
18 Recitativo: Dunque partir deve (Metella, Lepido) 0:48
19 Aria: Io non ti chiedo pi (Metella) 3:17
20 Recitativo: A tua fedeltade (Lepido) 0:27
21 Aria: Gi respira in petto il core (Lepido) 2:36
22 Recitativo: Limperio quanto pi vasto (Silla) 0:43
23 Recitativo: Placasti, oh bella diva (Silla, Celia) 1:04
24 Aria: Sei gi morto, idolo mio (Celia) 3:51
25 Recitativo: Rimembranze funeste (Celia, Claudio) 1:32
26 Aria: Luci belle (Claudio) 2:44
27 Aria: Stelle rubelle (Flavia) 3:47
28 Recitativo: Al fin, del mio rigore (Silla, Flavia) 1:09 Sonia Prina Martina Belli Sunhae Im Vivica Genaux
29 Aria (da capo): Ma infelice sarie vivere (Flavia) 0:59
30 Recitativo: Spirto adorato, oh Dio! (Flavia, Lepido) 1:00
31 Brano strumentale 0:48
32 Recitativo: Metella, oh Dio! (Silla, Metella) 1:02
33 Recitativo: Propizio arrida il cielo (Metella) 0:10
34 Sinfonia & Recitativo: Assistete, soccorrete (Metella) 1:18
35 Marche 1:15
36 Recitativo: Pera la feritade (Lepido, Claudio, Tutti) 0:08
37 Marche 0:48
38 Recitativo: De miei falli pentito (Silla) 1:00
39 Coro: Chi si trova tra procella (Tutti) 1:48

Roberta Invernizzi Francesca Lombardi Mazzulli Luca Tittoto

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of Italian opera in London, can be identified as the avarice, were extremely modest in comparison with Handels operas the three women, all soprano roles,
almost certain venue for such a production, it being those of Silla, such an interpretation has no greater are treated with considerable sympathy. Celia, the
g.f. handel the only theatre then capable of meeting the complex credibility than other less likely theories.(1) youngest, is a spirited young woman who finds herself
staging demands of the third act. Yet problems remain Apart from the topic, the quality and sense of the in love with a man opposed to her fathers leader, her
Silla unresolved. DAumont was a high-profile figure in libretto have also attracted heavy criticism. Indeed conflict between love and honour expressed in lively
London life at this time, so it seems highly unlikely Winton Dean, the great commentator on Handels terms (Se la speranza, act 1), while Sei gi morto
that such an initiative would have gone unnoticed in operas describes Rossis book as the worst libretto (act 3) expresses her grief in tortured, fragmented utter-
No Handel opera is as enigmatic as Silla. His fourth Londons press or indeed that DAumont himself would Handel ever set.(2) Dean believes that it must have ances after Silla has cruelly told her Claudio is dead.
London opera, it was composed in 1713 to a libretto by not have recorded the event in his own writings. Was been clumsily adapted from an earlier libretto, a pos- The two married women are both characterised by
Giacomo Rossi, also the librettist of the composers Silla performed in 1713? The verdict must remain open. sibility given Handels fondness for adapting from their love and devotion to their husbands. Flavias three
first great London triumph Rinaldo (1711). And that is Further questions arise when it comes to the opera earlier books, though no source has been identified up arias are well contrasted. The first, Un sol raggio is a
just about the extent of any certainty on the subject. itself, in particular the choice of subject matter. It is one to now. He is scarcely more complimentary about the beautiful invocation to Jove not to desert her following
The autograph and manuscript scores are incomplete, of Handels few historical operas, being concerned with music, yet as another notable Handel scholar, Anthony her vision, the second Qual scoglio (act 2) is her
while no contemporary performance was known. Early Plutarchs account of the latter part of the life of Lucius Hicks has rightly observed it is often delightful, at Fiordiligi-like defiance in the face of Sillas attempt to
Handel scholars were left casting around for explana- Cornelius Sulla, who after taking Rome became a tyran- times incongruously so.(3) It draws significantly on the seduce her, while the first part of Stelle rubelle, the
tions, the general consensus being Silla was written for nical despot who murders his opponents, before suddenly composers early Italian cantatas and it is interesting final set-piece in the opera is a magnificent coloratura
private performance at the home of his then patron, and unconvincingly retiring to his country estate to to note that stylistically the music to some extent harks display of outrage inspired by her impending death, the
the Earl of Burlington. A theory that it was composed enjoy his leisure. Rossis libretto makes few concessions, back to Handels previous historical opera, Agrippina passion starkly contrasted to the haunting beauty of
for amateur performance would not have convinced depicting Silla as one of the nastiest pieces of work in (Venice 1709). Although conforming to da capo form, the central section in which she welcomes the oppor-
anyone who had examined the score. Then in 1969 opera, a man who orders a massacre of refugees and is arias tend to be brief and a considerable number are tunity to join her husband in the Elysian fields. Handel
came the discovery of a printed wordbook dated 2 June moreover a sexual predator who during the opera makes still continuo arias with orchestral ritornellos, a type demonstrates his burgeoning dramatic genius a few
1713, settling a possible date for a first performance. no fewer than seven advances, one blatantly in front of that harks back to the later 17th century. pages further on when he has Flavia repeat this central
The inclusion of an extravagant dedication to the Duke his wife, Metella. How this scenario fits in with an opera The disposition of arias suggests that Claudio (a section after Silla has thrown Lepidos blood-stained
DAumont, recently appointed French Ambassador to that appears to have been a celebratory pice doccasion castrato role), not Silla (another castrato part) was the garment at her feet, in so doing creating the dramatic
the court of Queen Anne in the wake of the cessation of some kind is difficult to imagine and it has also left leading character vocally, if not dramatically. Of his five climax of the opera. Her husbands two arias are more
of hostilities in the War of Spanish Succession, suggests scholars scrambling for answers, leading some to attempt arias the most spectacular is Con tromba guerriera, conventional, Se ben tuona, a coloratura aria in which
the possibility of a performance mounted by or for the to discover an allegorical context. The most popular the rousing call to arms with obbligato trumpet that he tries to calm Flavias fears. Metellas love for Silla is
Duke. This may explain not only the lack of an English sees Silla as an allegory for the Duke of Marlborough, concludes act 1. Both Mi brilla (act 2) and Luci belle noble indeed, a woman who will set off in a small boat
translation in the wordbook, uniquely among Handels a link inspired by an attack on the Whig hero by (act 3) celebrate Claudios pleasure and joy in Celias to rescue her husband in stormy seas. Her concern for
London operas, but also the comparative brevity of the DAumont or his Tory opponents. However, as Thomas love for him, although the central section of the former him is sensitively established in the opera with the
opera. The Queens (later Kings) Theatre, the home McGeary has noted, given the Dukes sins, notably introduces a more introspective mood. As so often in flowing continuo aria Fuggon laure (act 1), her profound

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distress at his cruelty in leaving so suddenly in the barely Synopsis act two
contained emotions of Io non ti (act 3). Sillas numbers
are also well contrasted, his opening Alza il volo a act one Set in countryside with a temple of Cybele, where many
martial display that establishes him as a vainglorious are taking refuge and praying to the goddess. Overcome
braggart. The brief cavatina Dolce nume (act 2) is a A square in Rome, in the centre of which is a triumphal by desire in the presence of Flavias beauty, Silla attempts
typical, if especially lovely sleep number. The opening arch. A chariot carrying the victorious consul Silla forms to seduce her, but is firmly rebuffed. Disappointed,
part of tempo (act 2) finds him rhapsodising on the the centrepiece of a procession onto stage. He dismounts Silla seeks consolation in sleep. A god appears to demand
pleasure he expects from Flavia after he has commanded to be greeted by his wife Metella and the tribune Lepido of him that to emphasize his power he should embark
Lepido to cede her, though his bullying nature reasserts (Lepidus). Receiving their congratulations, he tells them on a reign of terror in Rome. The dictator awakes,
itself in the contrasting central section. There are two he is about to assume dictatorship of Rome. Metella and immediately calling on his followers to slaughter the
extant duets (a third for Silla and Metella was not set Lepido are horrified by Sillas naked ambition, the latter refugees at prayer in the temple. A horrified Lepido
by Handel), significantly both expressions of devotion suggesting that perhaps his wife will be able to curb it. enters, demanding from Silla an explanation for his
for the married couple, Flavia and Lepido. After Metella leaves, Lepido is joined by his wife profane brutality. Silla arrogantly reminds Lepido he
While the absurdities of the libretto leave Silla an Flavia, who fearfully describes her vision of the country can do as he likes, proving the point by commanding
unlikely candidate to regain a place in the repertoire, it reduced to ashes at the hands of a monster. Her husband Lepido to cede his wife to him.
contains more than enough thoroughly rewarding music. seeks to pacify her, but Flavia can only foresee the ful- Silla departs, leaving Lepido to be joined by his
It is also worth recalling that Handel obviously had a filment of her vision as a thunderbolt destroys a part Flavia. He tells her of Sillas command, which she
sufficiently high regard for Silla to utilize a significant of the triumphal arch just as Celia, the daughter of rejects out of hand. They leave the stage to a weeping
proportion of it in his next opera, Amadigi di Gaula. Sillas lieutenant Catulus enters. Celia and Claudio. She tells the enraged Claudio that
Celia is now joined by the knight Claudio it is Sillas lasciviousness that is the cause of her distress
Brian Robins (Claudius). They are in love, though she has yet to and confesses her love for him alone. Celia is joined
admit to hers. Celia is enraged when she finds Claudio, by Metella and Silla, who notwithstanding his wifes
an opponent of Silla, has a portrait of the dead Marius, presence makes yet another attempt on Celia.
the leader overthrown by Silla. They argue, but left Excoriated by Metella he leaves in a rage. The scene
notes alone Celia confesses her love for Claudio. changes to the garden of Lepidos palace, where Silla
(1) Thomas McGeary, The Politics of Opera in Handels Britain, The scene changes to a garden, in which are found makes further attempts to seduce Flavia, but is thwarted
Cambridge 2013, pp. 35-7. Claudio and Silla. Celia is hidden. Claudio boldly chal- by Lepido. Silla summons his soldiers to arrest husband
(2) Winton Dean & John Merrill Knapp, Handels Operas 1704- lenges Sillas right to dictatorship, which revives a long and wife.
1726, Oxford 1987, p. 263. abolished form of rule. The terrified Celia steps forward Celia and Claudios celebration of their love is
(3) Anthony Hicks, Notes for recording of Silla (sommcd 277- to distract Silla, but when Claudio threatens him the interrupted by a furious Silla, who has Claudio arrested
8, 2000). dictator storms off in a rage. and Celia confined to her room. Silla calls on Metellas

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confidant Scabro to arrange the deaths of Claudio and square. Silla too drops to his knees, renouncing all his
Lepido. Metella, outraged by her husbands behaviour, titles and stating his intention to retire with his wife.
persuades Scabro to help her. Scabro brings Silla a blood
stained garment, presumed to be that of Lepido, while
Metella arrives to say that an uprising against Silla is
underway.

act three

A corridor leading to Metellas apartments. Lepido


thanks her for saving him, but she upbraids him for
threatening to kill her husband. Scabro brings Metella
a letter in which Silla tells her he is leaving Rome immi-
nently on a mission. Silla reflects on the burdens of
duty that are sending him to Sicily when hed rather be
pursuing Celia and Flavia. Before leaving he makes a
final abortive attempt on Celia, telling her Claudio is
dead, but her distress is soon dissipated by the appear-
ance of her lover.
Silla appears to the incarcerated Flavia, who awaits
death. His advances are again rebuffed. Enraged, he
hurls Lepidos blood-stained garment at her feet. Scabro
leads Lepido to the prison, where he is joyfully reunited
with his wife. On the seashore Metella and Silla exchange
loving sentiments before the latter embarks. Metella
sees Sillas departing vessel shaken by a violent storm.
It is wrecked, the consul being forced to swim for a
rock from which he is rescued by his wife.
In Rome Lepido and Claudio call for freedom. A
cloud descends, opening to reveal Mars in all his glory.
As all fall to their knees Metella and Silla arrive in the

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saire, fait unique sagissant des opras londoniens de contexte allgorique. Selon la thse la plus populaire, La disposition des arias suggre que Claudio (chant
Handel, mais encore la brivet relative de luvre. Silla serait une allgorie du duc de Marlborough, par un castrat) tait le protagoniste vocal, sinon dra-
g. f. handel Une production de cette envergure a trs probablement connexion sinspirant dune attaque contre le hros du matique, dplaant ainsi Silla (aussi un rle pour castrat).
eu lieu au Queens (puis Kings) Theatre, foyer de lopra parti Whig mene par DAumont ou ses adversaires du De ses cinq arias, Con tromba guerriera est la plus spec-
Silla italien Londres, seul thtre capable de satisfaire aux parti Tory. Cependant, comme la soulign Thomas taculaire, un vibrant appel aux armes avec trompette
exigences complexes de la mise en scne du troisime McGeary, les pchs du duc, notamment lavarice, obbligato qui conclut le premier acte. Mi brilla (Acte II)
acte. Mais certains problmes demeurent non rsolus. taient extrmement modestes par rapport ceux de et Luci belle (Acte III) clbrent toutes deux le plaisir
Aucun opra de Handel nest aussi nigmatique que DAumont tant une personnalit de la vie londonienne, Silla ; cette interprtation nest pas plus crdible que et la joie de Claudio aim par Celia, bien que la section
Silla. Ce quatrime opra londonien, compos en 1713, il semble trs peu probable quune telle initiative aurait dautres thories moins probables. centrale de la premire aria cre un climat plus intros-
se base sur le livret de Giacomo Rossi, qui avait aussi t ignore par la presse de Londres ou oublie par Outre le thme, la qualit et le sens du livret ont pectif. Comme si souvent dans les opras de Handel,
sign celui de Rinaldo, le premier triomphe du compo- DAumont dans ses propres crits. Silla a-t- il t jou aussi fait lobjet de critiques virulentes. Par exemple, les trois personnages fminins, des sopranos, sont trai-
siteur Londres (1711). Et cest l o sarrte toute cer- en 1713 ? Le verdict ne doit pas encore tre rendu. Winton Dean, le grand commentateur des opras de tes avec la plus grande sympathie. Celia, la cadette,
titude sur le sujet ! Lautographe et les partitions Dautres questions se posent quand il sagit de Handel dcrit le texte de Rossi comme tant le pire est une jeune femme pleine dentrain, amoureuse dun
manuscrites sont incompltes et nous navons pas din- lopra proprement dit, en particulier sur le choix du des livrets que Handel a mis en musique . Dean pense homme oppos au chef de son pre ; elle exprime son
formation sur une quelconque reprsentation contem- sujet. Cest en effet lun des rares opras historiques de quil sagirait dune mouture maladroite dun livret ant- conflit entre lamour et lhonneur dune faon anime
poraine. Les premiers spcialistes de Handel tentrent Handel concern par la fin de la vie de Lucius Cornelius rieur, ce qui est probable tant donn le penchant de (Se la speranza, Acte I), tandis que Sei gi morto (Acte
de trouver une explication et partagrent finalement Sulla relate par Plutarque : stant empar de Rome, Handel pour ladaptation douvrages antrieurs, mais III) reflte sa peine dans phrases haches, tortures,
lavis que Silla avait t crit pour une reprsentation ce consul devenu despote absolu assassina ses adversaires aucune source na t identifie ce jour. Si Dean est quand Silla lui annonce dune manire cruelle la mort
prive chez le comte de Burlington qui tait alors le avant de se retirer aussi soudainement quinvraisem- peine plus flatteur lgard de la musique, un autre de Claudio.
mcne du compositeur. Lhypothse dune uvre blablement dans sa villa de campagne pour se ddier minent spcialiste de Handel, Anthony Hicks a observ Les deux femmes maries se caractrisent par leur
conue pour une interprtation damateurs naurait pu ses loisirs. Le livret de Rossi fait quelques concessions juste titre quelle est souvent exquise mais parfois amour et leur dvotion pour leurs maris. Les trois arias
se soutenir aprs examen de la partition. Puis, en 1969, en dcrivant Silla comme lun des pires personnages de incongrue. Elle sinspire significativement des cantates de Flavia sont bien contrastes. La premire, Un sol
la dcouverte dun glossaire imprim le 2 juin 1713 tablit tout lopra : un homme donnant lordre de massacrer italiennes de la jeunesse du compositeur et il est int- raggio, est une belle invocation Jupiter, Flavia lui
la date possible dune premire reprsentation. des refugis, tant de surcrot un prdateur sexuel qui, ressant de souligner que, du point de vue du style, la demandant de ne pas labandonner la suite de sa vision
Linclusion dune extravagante ddicace au duc dans lopra, ne fait pas moins de sept avances, dont musique remonte dans une certaine mesure son opra tandis que dans la seconde, Qual scoglio (Acte II), la
DAumont, ambassadeur de France rcemment nomm lune, dune faon honte, en prsence de son pouse, historique antrieur, Agrippina (Venise 1709). Tout en faon de Fiordiligi, elle rsiste Silla cherchant la
la cour de la reine Anne la suite de larrt des Metella. Il est difficile dimaginer que cette trame puisse se conformant la forme da capo, les arias tendent vers sduire. La premire partie de Stelle rubelle morceau
hostilits lies la Guerre de Succession dEspagne, convenir un opra probablement pens comme une la brivet et un nombre considrable de numros sont de bravoure final de lopra est un dploiement splen-
suggre la possibilit dune reprsentation organise pice doccasion commmorative dun vnement quel- encore des arias avec continuo arias comprenant des dide de coloratures exprimant loutrage fait lhrone
par ou pour le duc. Ce qui pourrait expliquer non seu- conque : les spcialistes se sont dmens pour trouver ritornellos orchestraux, un modle remontant au xviie face sa mort imminente, la passion contrastant crment
lement labsence dune traduction anglaise dans le glos- des rponses et certains tentrent de dcouvrir un sicle. avec la beaut envoutante de la section centrale o elle

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se rjouit de pouvoir rejoindre son poux llyse. ayant de profondes qualits. Il convient aussi de rappeler sentiments. Celia est furieuse de trouver que Claudio, absolument amoureuse de lui. Entrent en scne Metella
Handel dmontre lclosion de son gnie thtral, que Handel avait manifestement une haute estime pour un adversaire de Silla, possde un portrait du dfunt et Silla qui, sans le moindre gard pour son pouse, fait
quelques pages plus tard, quand Flavia rpte cette sec- Silla, suffisante en tous cas pour en utiliser une part Marius, consul renvers par Silla. Ils se disputent puis, de nouvelles avances Celia. Rendu furieux par les
tion centrale aprs que Silla ait jet ses pieds le vte- importante dans lopra suivant, Amadigi di Gaula. une fois seule, Celia avoue son amour pour Claudio. graves reproches de Metella, il quitte la scne. Le dcor
ment ensanglant de Lepido, crant ainsi lapoge La scne change et reprsente un jardin o se trou- change et reprsente le palais de Lepido o Silla renou-
dramatique de luvre. Les deux arias de son poux Brian Robins vent Claudio et Silla. Celia est cache. Claudio conteste velle ses tentatives de sduire Flavia qui sont contre-
sont plus conventionnelles : Se ben tuona est une aria audacieusement le droit de Silla la dictature, qui fait carres par Lepido. Silla ordonne ses soldats darrter
colorature o Lepido tente dapaiser les craintes de revivre un systme de gouvernement aboli depuis long- les poux.
Flavia. Lamour de Metella pour Silla est vraiment temps. Celia, terrifie, savance pour distraire Silla qui, La clbration de lamour de Celia et Claudio est
noble : bravant la mer en furie, elle nhsite pas Synopsis menac par Claudio, sort en trombe, fou de rage. interrompue par un Silla furieux qui emprisonne lun
prendre une petite embarcation pour secourir son et confine lautre dans sa chambre. Silla convoque
poux. Son souci pour lui se traduit avec sensibilit par acte premier acte deuxime Scabro, confident de Metella, afin dorganiser lassassinat
le continuo fluide de laria Fuggon laure (Acte I), et sa de Claudio et de Lepido. Outre par la conduite de son
dtresse profonde face la cruaut de son dpart pr- Une place Rome, en son centre se dresse un arc de la campagne, un temple de Cyble o de nombreuses poux, Metella persuade Scabro de laider. Scabro
cipit se reflte dans les sentiments peine contenus triomphe. Sur un char, Silla, consul victorieux, forme personnes viennent se refugier et prier. Consum de apporte Silla un vtement ensanglant, appartenant
de Io non ti (Acte III). Les interventions de Silla sont le cur du dfil qui se droule sur la scne. Silla met dsir par la beaut de Flavia, Silla tente de la sduire supposment Lepido, tandis que Metella vient annon-
elles aussi trs bien contrastes : son aria dentre, Alza pied terre pour recevoir laccueil de son pouse, mais est repouss avec fermet. Du, Silla essaie de cer quun soulvement contre Silla est en cours.
il volo, un dploiement martial, le prsente comme un Metella, et du tribun Lepido (Lepidus). Ayant accept trouver une consolation dans le sommeil. Un dieu appa-
vantard prtentieux. La brve cavatine Dolce nume (Acte leurs flicitations, il leur fait part de sa dcision dins- rat en lui exigeant de faire rgner la terreur Rome acte troisime
II) est un sommeil typique mais particulirement char- taurer la dictature Rome. Metella et Lepido sont hor- afin demphatiser son pouvoir. Le dictateur se rveille
mant. Le dbut de tempo (Acte II) le prsente sexta- rifis par lambition flagrante de Silla, mais le tribun et demande immdiatement ses partisans de massacrer Un couloir conduisant aux appartements de Metella.
siant sur le plaisir quil attend de Flavia aprs avoir suggre que sa femme sera capable dy mettre un frein. les rfugis priant dans le temple. Horrifi, Lepido Lepido la remercie de lavoir sauv, mais elle lui reproche
ordonn Lepido de la lui cder, bien que sa nature Au dpart de Metella, Lepido rencontre son pouse, vient exiger Silla une explication de cette brutalit ses menaces de mort sur son poux. Scabro apporte
tyrannique se raffirme dans la section centrale contras- Flavia, qui lui dcrit avec effroi sa vision du pays rduit impie. Silla rappelle arrogamment Lepido quil peut Metella une lettre de Silla la prvenant quil quitte
te. Deux duos (un troisime, pour Silla et Metella, en cendres par un monstre. Lepido tente de lapaiser faire ce qui lui plat, et le dmontre en ordonnant Rome pour accomplir une mission. Silla rflchit sur
nest pas de Handel) pour les poux Flavia et Lepido mais Flavia ne peut que prvoir la ralisation de sa Lepido de lui cder sa femme. les charges du devoir le conduisant en Sicile alors quil
ont survcus et expriment clairement leur dvotion vision alors quun clair dtruit une partie de larc de Silla sen va tandis que Lepido retrouve Flavia. Il aurait prfr poursuivre Celia et Flavia. Avant son
mutuelle. triomphe au moment entre o Celia, fille de Catulus, lui fait part des ordres de Silla quelle repousse sur le dpart, il fait une dernire tentative, manque, de
Bien que les absurdits du livret en fassent un can- le lieutenant de Silla. champ. Ils laissent la scne Claudio et Celia en sduire Celia en lui annonant la mort de Claudio. La
didat peu susceptible de recouvrer une place dans le Celia retrouve le chevalier Claudio (Claudius). Ils larmes. Elle apprend Claudio, fou de rage, que la las- dtresse que ressent la jeune femme est bientt dissipe
rpertoire, Silla contient suffisamment de musique sont amoureux mais elle na pas encore admis ses propres civit de Silla est la cause de sa dtresse et quelle est quand apparat son amant.

16 17
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Silla se rend dans la cellule de Flavia qui attend la Herzogs im Rahmen der Mglichkeiten. Dies wrde
mort. Les avances du dictateur sont une fois encore nicht nur das Fehlen einer englischen bersetzung im
repousses. Furieux, il jette ses pieds le vtement g.f. handel Textbuch erklren, was fr Hndels Londoner Opern
ensanglant de Lepido. Scabro conduit Lepido dans la einmalig ist, sondern ebenfalls den relativ geringen
prison afin quil ait la joie de rejoindre son pouse. Sur Silla Umfang der Oper. Das Queens Theatre (spter Kings
le rivage, Metella et Silla se disent des mots damour Theatre), die Heimat der italienischen Oper in London,
avant lembarquement. Metella voit que le vaisseau de Keine andere Oper von Georg Friedrich Hndel ist so liegt als wahrscheinlichster Ort der Urauffhrung einer
Silla, agit par une violente tempte, sombre ; le consul enigmatisch wie Silla. Sie ist seine vierte Londoner solchen Opernproduktion nahe, denn dieses Theater
arrive nager jusqu un rocher do son pouse peut Oper und wurde im Jahr 1713 ber ein Libretto von ist das einzige, in dem die komplizierten Bhnenanwei-
le sauver. Giacomo Rossi komponiert, der auch der Librettist zu sungen des dritten Aktes zu dieser Zeit umgesetzt wer-
Rome, Lepido et Claudio font entendre un appel Hndels erstem groen Londoner Triumph Rinaldo den konnten. Dennoch gibt es ungelste Fragestellun-
la libert. Un nuage descend et souvre en rvlant (1711) gewesen war. Damit erschpft sich schon alles, gen. DAumont war zu diesem Zeitpunkt eine uerst
Mars dans toute sa gloire. Pendant que tous sagenouil- was mit Sicherheit zu diesem Thema bekannt ist. Das prominente Figur des Londoner Gesellschaftslebens,
lent, Metella et Silla arrivent sur la place. Silla tombe Autograph und die handschriftlichen Partituren sind und so scheint es sehr unwahrscheinlich, dass ein solches
lui aussi genoux et renonce tous ses titres en dclarant unvollstndig, und es gibt keine Belege ber eine his- Unterfangen keinerlei Niederschlag in der Londoner
son intention de se retirer avec son pouse. torische Auffhrung. Frhen Hndelforschern blieb Presse oder in den Aufzeichnungen aus DAumonts
nichts anderes brig, als nach Erklrungen zu suchen, eigener Hand gefunden haben sollte. Wurde Silla im
wobei die allgemeine bereinkunft dahin ging, Silla sei Jahr 1713 berhaupt aufgefhrt? Diese Frage lsst sich
wohl fr eine private Auffhrung bei Hndels damaligem nicht beantworten.
Mzen, dem Earl of Burlington, entstanden. Die Weitere Rtsel ergeben sich, wenn man sich mit
Theorie, die Oper knne auch fr eine Laienauffhrung der Oper selbst beschftigt, insbesondere mit der Wahl
entstanden sein, kann niemanden berzeugen, der einen ihres Sujets. Sie ist eine der wenigen Opern Hndels
Blick in die Partitur geworfen hat. Im Jahr 1969 wurde mit einem historischen Thema und beruht auf Plutarchs
ein gedrucktes Textbuch entdeckt, das auf den 2. Juni Bericht ber den spteren Abschnitt im Leben des
1713 datiert ist und so ein mgliches Datum fr die Lucius Cornelius Sulla, der nach seiner Einnahme Roms
Urauffhrung festsetzt. Das Buch enthlt eine extra- zu einem Gewaltherrscher wurde. Er ermordete seine
vagante Widmung an Louis-Marie, Duc DAumont, Widersacher, ehe er sich pltzlich und wenig ber-
den gerade erst ernannten franzsischen Botschafter zeugend auf seinen Landsitz zurckzog, um sich dem
am Hof von Queen Anne. Als Folge des Endes der Miggang hinzugeben. In Rossis Libretto gibt es weni-
Feindseligkeiten in Zusammenhang mit dem Spanischen ge Zugestndnisse: Silla wird als eine der abstoendsten
Erbfolgekrieg liegt eine Auffhrung zu Ehren des Opernfiguren berhaupt gezeichnet, ein Mann, der die

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Ermordung Schutzsuchender anordnet und sexuelle Hndelforscher Anthony Hicks hat dagegen unlngst zum Ausdruck (1. Akt), whrend sie ihrem Kummer in ihm liegt, wird durch die flieende Continuo-Arie
bergriffe begeht im Verlauf der Oper unternimmt zurecht angemerkt, dass die Musik hufig sehr reizvoll gequlten, fragmentierten Ausrufen Ausdruck verleiht, Fuggon laure (1. Akt) auf einfhlsame Weise dargestellt.
er nicht weniger als sieben Verfhrungsversuche, einen ist, wenn auch gelegentlich auf unpassende Weise. nachdem Silla ihr auf grausame Weise mitgeteilt hat, Ihre tiefe Verzweiflung ber die Grausamkeit, mit der
davon in Anwesenheit seiner Gattin Metella. Es fllt Hndel greift sehr stark auf seine frhen italienischen Claudio sei tot. er sie so berstrzt verlsst, findet in den kaum gez-
schwer sich vorzustellen, wie das zu einer wie auch Kantaten zurck, und interessanterweise kann man Die beiden verheirateten Frauen zeichnen sich gelten Emotionen der Arie Io non ti (3. Akt) ihren
immer gearteten feierlichen pice doccasion passen soll. anmerken, dass die Musik stilistisch in gewisser Weise durch ihre Liebe und ihre Hingabe zu ihren Ehegatten Niederschlag. Auch Sillas Nummern sind sehr vielseitig.
Auch den Forschern blieb nichts anderes brig, als mit seiner frheren historischen Oper Agrippina aus. Die drei Arien der Flavia heben sich ausgewogen Seine Auftrittsarie Alza il volo ist eine martialische
nach Antworten zu stochern, was einige zu der Annahme (Venedig, 1709) in Zusammenhang steht. Obwohl die voneinander ab. Die erste (Un sol raggio) ist ein schnes Zurschaustellung, in der er als prahlerischer Angeber
eines allegorischen Kontextes bewegte. In der popu- Arien den Konventionen der Da-Capo-Form entspre- Bittgebet an Jupiter, ihr dabei zu helfen, treu zu ihrer etabliert wird. Die kurze Cavatine Dolce nume (2. Akt)
lrsten Theorie gilt Silla als Allegorie des Duke of chen, sind sie eher kurz, und eine ganze Reihe von Vision zu stehen. In der zweiten Arie Qual scoglio (2. Akt) hat auf typische und besonders reizvolle Art das Thema
Marlborough, ein Zusammenhang, der durch einen Nummern sind noch Continuo-Arien mit Orchester- kommt ihr trotziger Widerstand gegenber Sillas des Schlafs zum Inhalt. Im einleitenden Teil der Arie
Angriff auf diesen Helden der Whigs durch DAumont ritornellen ein Typus, der im spteren 17. Jahrhundert Verfhrungsversuchen zum Ausdruck, der an Fiordiligi tempo (2. Akt) schwrmt er von den Wonnen, die er sich
oder seine Tory-Widersacher inspiriert sein knnte. verbreitet war. erinnert. Im ersten Abschnitt von Stelle rubelle dem von Flavia erhofft, nachdem er Lepido befohlen hat, sie
Dennoch sind wie Thomas McGeary angemerkt hat Die Abfolge der Arien legt es nahe, das Claudio letzten Bravourstck der Oper wird Flavias Emprung im Stich zu lassen, wenn auch sein tyrannischer Charakter
die Snden des Duke of Marlborough trotz aller seiner (eine Kastratenrolle) und nicht Silla (ebenfalls fr einen ber ihren drohenden Tod mit groartigen Koloraturen sich im kontrastierenden Mittelteil wieder durchsetzt.
Laster (insbesondere Habsucht) uerst bescheiden im Kastraten geschrieben) die Figur war, die stimmlich, zur Schau gestellt. Dieser Ausbruch von Leidenschaft Auerdem gibt es zwei Duette (ein weiteres fr Silla
Vergleich zu denjenigen Sillas, was diese Interpretation wenn nicht gar dramatisch die Hauptrolle spielte. Die steht in einem schroffen Kontrast zur eindringlichen und Metella wurde von Hndel nicht vertont), in denen
genauso unglaubwrdig erscheinen lsst wie andere spektakulrste seiner fnf Arien ist Con tromba guerriera Schnheit des Mittelteils, in dem Flavia die Mglichkeit bezeichnenderweise die innige Zuneigung des verhei-
eher unwahrscheinliche Theorien. mit obligater Trompete, der mitreiende Ruf zu den willkommen heit, in den Elysischen Gefilden mit rateten Paares Flavia und Lepido zum Ausdruck kommt.
Abgesehen vom Sujet gaben auch Qualitt und Waffen am Ende des ersten Aktes. In den Arien Mi ihrem Gatten wiedervereint zu werden. Hndel stellt Auch wenn die Absurditt des Librettos es unwahr-
mangelnde Sinnhaftigkeit des Librettos immer wieder brilla (2. Akt) und Luci belle (3. Akt) kommt Claudios sein aufkeimendes dramatisches Genie wenige scheinlich macht, dass Silla jemals wieder einen festen
Anlass zu heftiger Kritik. Winton Dean, der bedeutende Entzcken und Freude ber Celias Liebe zu ihm zum Partiturseiten spter unter Beweis: Er lsst Flavia diesen Platz im Opernrepertoire einnehmen wird, so enthlt
Untersuchungen zu Hndels Opern verffentlicht hat, Ausdruck, obwohl im Mittelteil der erstgenannten Arie Mittelteil wiederholen, nachdem Silla Lepidos blutge- das Werk doch eine mehr als ausreichende Menge
geht sogar soweit, Rossis Text als das schlechteste eine eher introvertierte Stimmung aufkommt. Wie so trnktes Gewand vor ihre Fe geschmettert hat, und auerordentlich lohnender Musik. Es ist auch ange-
Libretto, das Hndel jemals vertont hat zu bezeichnen. oft in Hndels Opern werden die drei Frauenrollen schafft so den dramatischen Hhepunkt der Oper. Die messen, darauf hinzuweisen, dass Hndel selbst wohl
Er geht davon aus, dass es eine ungeschickte Bearbeitung (alle fr die Sopranlage geschrieben) mit betrchtlicher beiden Arien Lepidos sind konventioneller, wobei Se eine so hohe Meinung ber dieses Werk hatte, dass er
eines frheren Librettos ist, eine Annahme, die durch Anteilnahme behandelt. Die jngste Figur Celia ist ben tuona eine Koloraturarie ist, in der er versucht, einen nicht unbetrchtlichen Anteil in seiner nchsten
Hndels Schwche fr Adaptionen frherer Texte eine temperamentvolle junge Frau, die sich verliebt in Flavias ngste zu besnftigen. Metellas Liebe zu Silla Oper Amadigi di Gaula wiederverwendete.
gesttzt wird, obwohl bisher keine Quelle identifiziert einen Mann wiederfindet, der sich dem militrischen ist von wahrhaft hehrer Natur; sie ist eine Frau, die in
werden konnte. Dean uert sich kaum schmeichel- Fhrer ihres Vaters widersetzt. Ihr Konflikt zwischen einem kleinen Nachen in See sticht, um ihren Gatten Brian Robins
hafter ber die Musik. Der ebenfalls bedeutende Liebe und Ehre kommt in der Arie Se la speranza lebhaft vor den strmischen Wellen zu retten. Wie viel ihr an

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Handlung Die Bhne verwandelt sich in einen Garten, in Claudio. Diese erzhlt dem wutentbrannten Claudio, nach Sizilien fhrt, obwohl er es vorziehen wrde, Celia
dem sich Claudio und Silla befinden. Celia versteckt dass die Lsternheit Sillas der Grund ihrer Verzweiflung und Flavia nachzustellen. Ehe er die Stadt verlsst,
erster akt sich. Claudio stellt khn in Frage, ob Silla ein Recht ist und dass sie ausschlielich Claudio liebt. Metella unternimmt er einen weiteren vergeblichen Verfhrungs-
auf seine Gewaltherrschaft hat, durch die eine lange und Silla kommen zu Celia, wobei letzterer Trotz der versuch bei Celia, der er mitteilt, ihr Claudio sei tot.
Ein Platz in Rom, in dessen Mitte ein Triumphbogen berwundene Regierungsform wieder auflebt. Die ver- Anwesenheit seiner Gattin einen Versuch unternimmt, Ihr Kummer wird jedoch schnell durch die Ankunft
steht. Ein Streitwagen mit dem siegreichen Konsul ngstigte Celia tritt hervor, um Silla abzulenken, aber Celia fr sich zu gewinnen. Metella bringt ihre Abscheu ihres Geliebten zerstreut.
Silla bildet das Zentrum einer Parade, die sich auf die als Claudio ihn bedroht, strmt der Diktator wutent- zum Ausdruck, und Silla verlsst die Bhne im Zorn. Silla erscheint bei der eingekerkerten Flavia, die
Bhne bewegt. Er steigt herab, um sich von seiner brannt davon. Nach einem Szenenwechsel unternimmt Silla im Garten ihren Tod erwartet. Seine Avancen werden abermals
Gattin Metella und dem Tribun Lepido (Lepidus) begr- von Lepidos Palast weitere Versuche, Flavia zu verfhren, zurckgewiesen. Erzrnt wirft er Lepidos blutbeflecktes
en zu lassen. Als er ihre Glckwnsche entgegennimmt, zweiter akt die jedoch von Lepido vereitelt werden. Silla ruft seine Gewand vor ihre Fe. Scabro fhrt Lepido zum
gibt er ihnen zu verstehen, dass er im Begriff steht, die Soldaten herbei, um das Ehepaar gefangen zu nehmen. Gefngnis, wo er voll Freude mit seiner Gattin wie-
absolute Herrschaft ber Rom fr sich zu beanspruchen. Die Handlung spielt auf dem Land, wo in einem Tempel Celia und Claudio erfreuen sich an ihrer Liebe, dervereint wird. Am Meeresufer tauschen Metella und
Metella und Lepido sind entsetzt ber diesen unver- der Cybele zahlreiche Menschen Zuflucht suchen und werden jedoch von dem rasenden Silla unterbrochen, Silla Liebesschwre aus, ehe sein Schiff ablegt. Metella
hohlenen Ehrgeiz, und letzterer uert die Hoffnung, diese Gottheit anbeten. Flavias Schnheit lst in Silla der Claudio festnehmen und Celia in ihren Gemchern beobachtet, wie es von einem heftigen Sturm erfasst
dass seine Frau ihn vielleicht dazu bewegen knne, die- berwltigendes Begehren aus. Er versucht, sie zu ver- einsperren lsst. Silla ruft Scabro, den Vertrauten wird und untergeht. Der Konsul muss zu einem Felsen
sen zu zgeln. fhren, wird aber entschieden zurckgewiesen. Der Metellas herbei, um die Ermordung von Claudio und schwimmen, von dem er durch seine Gattin gerettet
Nachdem Metella abgegangen ist, tritt Lepidos enttuschte Silla sucht Trost im Schlaf. Ihm erscheint Lepido zu veranlassen. Metella ist ber Sillas Verhalten wird.
Frau Flavia zu ihm. Sie beschreibt voller Furcht ihre ein Gott, der von ihm fordert, zur Bekrftigung seiner emprt und bewegt Scabro dazu, ihr zu helfen. Scabro In Rom rufen Lepido und Claudio zur Freiheit
Vision des Landes, das durch ein Ungeheuer in Schutt Macht eine Schreckensherrschaft in Rom zu errichten. berbringt Silla blutgetrnkte Kleidungsstcke, die auf. Eine Wolke kommt herab und ffnet sich, um Mars
und Asche gelegt wird. Ihr Gatte versucht sie zu beru- Der Diktator erwacht und fordert sein Gefolge sofort angeblich Lepido gehren, whrend Metella hinzu- in all seiner Pracht zum Vorschein zu bringen. Als alle
higen, aber auf Flavia wirkt es wie die Erfllung ihrer dazu auf, die im Tempel betenden Schutzsuchenden kommt, um ber einen Aufstand zu berichten, der sich auf die Knie fallen, erscheinen auch Metella und Silla
Vision, als ein Blitzschlag genau in dem Augenblick einen niederzumetzeln. Der entsetzte Lepido tritt hinzu und gegen Silla erhoben hat. auf dem Platz. Silla kniet ebenfalls nieder, legt alle
Teil des Triumphbogens zerstrt, in dem Celia, die Toch- fordert von Silla eine Erklrung fr diese ruchlose seine Ansprche ab und verkndet, dass er sich mit sei-
ter von Sillas Leutnant Catulus, diesen durchschreitet. Grausamkeit. Silla gibt Lepido hochmtig zu verstehen, dritter akt ner Frau [aufs Land] zurckziehen werde.
Nun kommt der Ritter Claudio zu Celia. Die bei- dass er alles tun kann, wonach ihm der Sinn steht. Er
den lieben einander, was Celia jedoch noch nicht zuge- beweist dies, indem er Lepido befiehlt, ihm seine Ein Gang, der zu Metellas Gemchern fhrt. Lepido
geben hat. Sie ist erzrnt, als sie herausfindet, dass Ehefrau zu berlassen. dankt ihr fr seine Rettung, aber sie tadelt ihn fr den
Claudio, ein Widersacher Sillas, das Portrait des toten Silla geht ab und lsst Lepido alleine zurck, zu Versuch, ihren Gatten zu tten. Scabro berbringt
Mario (ein von Silla besiegter Konsul) bei sich hat. Sie dem seine Frau Flavia hinzutritt. Er berichtet ihr von Metella einen Brief Sillas, in dem er ihr mitteilt, dass
streiten miteinander, aber sobald Celia allein ist, gesteht Sillas Befehl, dem sie sich ohne zu zgern verweigert. er Rom augenblicklich in einer Mission verlassen muss.
sie sich ihre Liebe zu Claudio ein. Sie berlassen die Bhne der weinenden Celia und Silla denkt ber die Brden der Pflicht nach, die ihn

22 23
24 25
cd i che incatenati al Tebro that I have dragged in chains here on the Tiber,
quivi traggo, e di Mario, che col suo capo altero and for Marius, who with his proud head
01 forma base al mio piede, forms a support for my feet,
Ouverture Overture Roma sola ne fia degna mercede; only Rome will be a worthy reward.
quindil Lazio sappresti May Latium therefore prepare
02 obbedir le mie leggi, e in Campidoglio to obey my laws, and may Rome bend
Marcia March pieghi Roma a miei cenni il proprio orgoglio. its pride to my commands at the Capitol.

04
Atto Primo First Act Silla Sulla
Alza il volo la mia fama My fame is flying high
Scena 1 Scene 1 sin nelletra a festeggiar. and rejoicing even in the air.
Gran piazza di Roma, nel mezzo di cui sinnalza un arco Big square in Rome, triumphal arch in the middle. Sulla Vinto Mario, e serva Roma, Marius is defeated and Rome is my servant:
trionfale. Silla sedendo sopra un carro tirato da sei schiavi enters sitting on a chariot dragged by six black slaves and is doppio alloro alla mia chioma I now see a double laurel
negri, e preceduto da littori cofasci ed insegne consolari preceded by bodyguards with fasces and political flags. He or mi vedo a scintillar. gleaming on my head.
savanza, e passa sotto il sudetto arco al suono di stromenti passes through the arch with military music. As soon as he (Silla parte col suo seguito, restando Metella e Lepido sospesi.) (Sulla leaves with his suite. Metella and Lepidus stay.)
militari, e nel discendere dal carro viene incontrato da descends from the chariot, Metella and Lepidus approach
Metella, e da Lepido. him. Scena 2 Scene 2
Metella e Lepido. Metella and Lepidus.
03
Metella Metella 05
Silla, soggi risplende Sulla, if the Roman sky Metella Metella
per te pi chiaro di Quirino il cielo, shines brighter for you today, Secclissa la mia gioia! My joy is fading!
qual sar del mio cor lalto fulgore how brilliantly will my heart gleam, since it burns
sarde per te di gloria, e in un damore? both for your glory and your love? Lepido Lepidus
Il cor ne freme. My heart is in pain.
Lepido Lepidus
Quanto deve la patria al tuo valore! Our fatherland owes your valour so much! Metella Metella
Patria infelice! Miserable fatherland!
Silla Sulla
De regni servi, For the wretched empires

26 27
Lepido Lepidus Lepido Lepidus
Ah! sventurato evento! Alas! Such an unfortunate event! Oh dei, che fia? O Gods, what has happened?

Metella Metella Flavia Flavia


Oh consorte superbo! O prideful husband! Fantasmi portentosi Terrible ghosts
turbano i miei riposi. disturb my sleep.
Lepido Lepidus
Amico infido! Treacherous friend! Lepido Lepidus
Ma tu, Metella, in generoso core, But you, Metella, go and try to stop E che vedesti? What did you see?
corri a temprar quellambizioso affetto. those ambitious wishes with your good heart.
Flavia Flavia
Metella Metella La patria incenerita The fatherland burnt to ashes at
Tanto devo alla patria, in ci maffretto. It is my duty to the fatherland: I will hurry. per man dorrido mostro. the hands of a horrid monster.

06 Lepido Lepidus
Metella Metella Cara, tacquieta, che non sempre al fine, My dear, calm down. The heavens do not always
Fuggon laure in me di vita, My vital breath vanishes bench minaccia il Ciel, porta rovine. carry out what they threaten.
se la patria, oh Dio, tradita, if our fatherland is betrayed, O God,
e lo sposo l traditor. and my husband is the traitor. 08
Sposo ingrato, dispietato, Ungrateful, merciless husband, Lepido Lepidus
cessa omai tanto rigor, stop this fury. Se ben tuona il ciel irato Though the heavens angrily thunder,
Fuggon, ecc. My vital breath vanishes, etc. sempre i fulgori non scaglia they do not always send lightning
(Parte.) (She leaves.) ma dimostra il suo splendor. but rather show their power.
Di costanza un core armato A heart full of faith
Scena 3 Scene 3 a un sol lampo non sabbaglia, is not blinded by a stroke of lightning
Lepido e Flavia, chesce spaventata. Lepidus and Flavia, who enters fearfully. n ricetto apre al timor. nor affected by fear.
Se ben tuona, ecc. Though the heavens angrily thunder, etc.
07 (Parte.) (He leaves.)
Flavia Flavia
Cieli, numi! che vidi? Heaven, Gods! What did I see?

28 29
Scena 4 Scene 4 (Gli strappa con furia il ritratto della mani e (She furiously grabs the portrait from his hands and
Flavia e Celia. Mentre Celia esce, cade un fulmine che Flavia and Celia. As Celia enters, lighting destroys most of [vedendo esser quella di Mario] la getta a terra con [realizing it is Mariuss portrait] throws it on the ground
atterra una gran parte dellarco trionfale. the triumphal arch. disprezzo.) with scorn.)
Ad un spento tiranno Do you still have feeling
09 ancor serbi laffetto? toward a dead tyrant?
Celia Celia
Sin con lingua di foco Does heaven now confirm my fears Claudio Claudius
conferma il ciel ora i spaventi miei? with tongues of fire? Idolo mio! per te sola My beloved, my love is only for you:
l mio amor, quello rispetto. it is just respect that I feel towards him.
Flavia Flavia
Ah, non fu sogno il mio; vintendo, oh Dei! Ah, then it was not a dream. I understand you, O gods! Celia Celia
Damor parli, e non sai... You talk about love, yet you do not know
10
Flavia Claudio Claudius
Un sol raggio di speranza O Jupiter, do not deny So che sei lalma mia. I just know that you are my very soul.
non negare, oh Giove, al seno. my heart a mere ray of hope.
Che fra lombre del timore la costanza Faith is losing its peace Celia Celia
va perdendo il bel sereno. in the shadows of fear. che sostegno di Silla that I support Sullas
Un sol raggio, ecc. O Jupiter, do not deny, etc.
Claudio Claudius
Scena 5 Scene 5 Quella, chun d saprai, gran tirannia. Tyranny! You will soon realize that.
Celia e Claudio. Claudio esce tenendo nelle mani il ritratto Celia and Claudius. Claudius enters holding at a portrait
del morto Mario, quale sta contemplando attentamente. of the late Marius and staring at it. Celia Celia
Vanne, ardito, da me! Away from me, you reckless man
11
Celia Celia Claudio Claudius
Sino su li occhi miei Even before my very eyes Bella, concedi che la mia fedelt... My beautiful one, allow my faithfulness
vagheggia altra beltade? he wishes for anothers beauty?
No, non soffrire, oh core! No, do not suffer, my heart! Celia Celia
Ma l mio onor? Che risolvo? But what about my honour? What shall I do? Da me, che chiedi? What do you want from me?
Eh, vinca amore. May my love win!

30 31
Claudio Claudius Scena 6 Scene 6
Il tuo amor... Your love! Celia sola. Celia alone.

Celia Celia 13
Di l mio sdegno. My anger rather! Celia Celia
Si, tamo, oh caro, e pur io son costretta Yes, I do love you, my dear, yet I am forced
Claudio Claudius celar in sen gli affetti to hide my feelings in my breast
La tua piet... Your pity! per quei crudi donor vani rispetti. out of duty to cruel and vain honour.

Celia Celia 14
Di Silla An enemy of Sulla Celia Celia
un nemico n indegno. is not worthy of it. Se la speranza nudrisce il mio cor, If hope nurtures my heart
anco tacendo felice l mio amor. my love rejoices in being silent.
Claudio Claudius pure desio contento maggior, Desire is a greater joy
Amabile rigore! O lovely harshness! ma non lo vuole rispetto donor. but honourable respect forbids it.
Se la speranza, ecc. If hope nurtures my heart, etc.
Celia Celia (Parte.) (She leaves.)
(Amor! Onor! deh, mi squarciate il core!) (Love! Honour! You are tearing my heart apart!)
Scena 7 Scene 7
12 Giardino delizioso. Silla e Claudio; Celia osservandoli in Delightful garden. Sulla and Claudius; Celia watches them
Claudio Claudius disparte. from the side.
Senti, bellidol mio! Hear, my beautiful idol!
sar per te l desio fedele ognora My desire will always be faithful to you. 15
e solo la costanza And my faithfulness alone Claudio Claudius
nudrir vuol la speranza wants to nurture the hope Silla, dov la gloria Sulla, where is now the glory of the Tiber?
del fermo e fido amor di chi tadora. of the true and faithful love of one who adores you. del Tebro omai? Ch se tu usurpi, insano, Madman, if you so wrongfully
Senti, ecc. Hear, my beautiful idol! Etc. un ingiusto poter, non sei Romano. usurp power, you are not a Roman!
(Parte.) (He leaves.)
Silla Sulla
Anzi del Lazio figlio On the contrary, one who undertakes such a daring
chi tenta un ardua impresa. endeavour, is a true son of Latium.

32 33
Claudio Claudius Celia Celia
Chi ha sol di virt lanima accesa, ma tu... If his soul is burning with virtue, but you Scrive egli ormai delle guerriere squadre. He writes about the army.

Silla Sulla Silla Sulla


Taci, superbo! Be quiet, arrogant man! Chio sosterr ver te veci di padre. That I will be like a father to you.

Claudio Claudius (Celia seguita a leggere.) (Celia keeps reading.)


la commun libert calpesti intento. deliberately restrict public freedom.
Claudio Claudius
Silla Sulla (verso Celia) (to Celia)
Premio del mio valor. My valours just reward. Reprimer ben sapr I will know how to restrain

Celia Celia Silla Sulla


(Quanto pavento!) (I am so afraid!) Meglio consiglia! Think twice!
(Si presenta in fretta a Silla.) (She quickly steps up to Sulla.)
Signor, del genitore Sir, do you have any news Celia Celia
qual nove arrecchi? of my father? (Li interrompe di nuovo.) (She interrupts them again.)
Ti sar, s signor, e ancella, e figlia. My lord, I will be your daughter and servant.
Silla Sulla
Oh Celia, al sen taccoglio; Celia, I embrace you on my breast. (Parte Silla [sdegnato] e Celia [lo seguita].) (Sulla leaves [angrily] and Celia follows him.)
leggerai li suoi cenni su questo foglio. You will read his words on this paper.
(Le d una lettera [che Celia legge].) (He gives her a letter. [Celia reads it.]) 16
Claudio Claudius
Claudio Claudius Con tromba guerriera, With a warlike trumpet
E credi forse, oh Silla, And do you think, Sulla, minvita la fama fame invites me
che questo acciar... that this sword lorgoglio a pugnar. to fight against pride.
Dun alma severa I will know
Silla Sulla gloriosa vittoria how to wrest a glorious victory
Cotanto...? So much? sapr riportar. from a stubborn soul.

(Celia li interrompe.) (Celia interrupts them.)

34 35
Atto Secondo Second Act Flavia Flavia
Nel mio sposo ha merc. I have mercy upon my husband.
Scena 1 Scene 1
Campagna con tempio di Berecintia nel fondo, ove si Countryside with a temple of Berecyntian Cybele in the Silla Sulla
rifuggono molti uomini e donne, raccomandandosi alla Dea. background. Several men and women seeking refuge there Pi nel mio core. Rather upon me.
Silla e Flavia. and worshipping the goddess. Sulla and Flavia.
Flavia Flavia
17 (Accenti non graditi!) (Those words are unwelcome!)
Silla Sulla
Flavia! Flavia! Silla Sulla
Ascolta, oh cara, Listen, dear,
Flavia Flavia trionfi di questalma you triumph over this soul
Signor, la tua grandezza ammira My lord, the whole world is astonished con quel vago sembiante. with such a beautiful face.
stupido il mondomai... admiring your greatness
Flavia Flavia
Silla Sulla Sdegna moglie Latina arti damanti. A Latin wife ignores a lovers clever talk.
(Quanto vaga! mi serpe ardor vicino.) (How fair she is! I feel a fire inside me.)
18
Flavia Flavia Flavia Flavia
Quindi anchio la tua gloria umile inchino. therefore I, too, humbly bow before your glory. Qual scoglio in mezzo allonde My heart will always be
sar sempre il mio cor, like a rock among the waves,
Silla Sulla ai turbini damor always faithful
Anzi la tua bellezza... On the contrary, your beauty... sempre costante. amidst Loves swirls:
Qual aspe sordo ognor, deaf like a snake,
Flavia Flavia qual face crudo ancor insensible like a torch
Se virt non ladorna, vile il dono. If virtue does not adorn it, it is a worthless gift. verso ogni amante. toward any lover.
Qual scoglio, ecc. My heart will always be, etc.
Silla Sulla (Parte.) (She leaves.)
merta gloria maggior. deserves a greater glory.

36 37
Scena 2 Scene 2 Scena 4 Scene 4
Silla solo. Sulla alone. Il Dio sparisce con tutte le Furie rischiarandosi il cielo, e The god disappears with the furies and the sky clears up.
Silla si risveglia, infuriato replicando Guerra. Sulla wakes up and screams furiously: War!
19
Silla Sulla 22
Tarresta, altera! Ma pietoso Amore Stop, arrogant one! Now merciful Love Silla Sulla
vuol temprare col sonno il mio dolore. wants to dampen my pain with some sleep. Guerra, stragi e furor! War, slaughter, rage!
(Silla chiama li sicarii, che vengono colla spada alla mano.) (Sulla calls the zealots, who arrive sword in hand.)
20 Miei fidi, ivi accorrete, My trusted men, come here,
Silla Sulla abbattete, uccidete! kill, slaughter!
Dolce nume de mortali, Sweet god of mortals,
nel mio sen dispiega lali. spread your wings over me. (Li sicarii entrano nel tempio e fanno strage di quella gente (The zealots enter the temple and kill whoever is inside.
(Dorme.) (He sleeps.) ivi rifuggiata; esce Lepido.) Lepidus enters.)

Scena 3 Scene 3 Scena 5 Scene 5


Silla, che dorme. Il Dio sopra un carro, tirato da due dragoni, Sulla sleeps. The god enters with a chariot pulled by two Lepido e Silla. Lepidus and Sulla.
e circondato dalle Furie con faci accese allo mano, che vanno dragons and surrounded by the Furies with lit torches in
girando attorno di Silla; oscurandosi allora il cielo. their hands, buzzing around Sulla. 23
Lepido Lepidus
21 Silla! ove ti guida Sulla! Where is this blind fury
Il Dio The God cieco furor? leading you?
Guerra, stragi e furor! War, slaughter, rage!
Vo che Roma sommessa I want Rome quietly Silla Sulla
il tuo poter adori, to worship your power Ci a la mia gloria affida. It is what my glory demands.
e innaffii col suo sangue a te glallori. and to bathe your laurels with its blood.
Guerra, stragi e furor! War, slaughter, rage! Lepido Lepidus
Sino noi sacri asili profanar... Desecrating such a holy place?

Silla Sulla
E che forse Should I allow
pretendono qui in terra the gods to share my power

38 39
divider seco il mio poter i numi? with them here on earth? Tu proverai la forza, You will see the force
chel poter collamor sempre rinforza. that power and love strengthen together.
Lepido Lepidus
Empio, che parli? Blasphemer, what are you talking about? 24
Silla Sulla
Silla Sulla tempo, oh luci belle, It is time, beautiful eyes,
Irriverente, taci! O che... Arrogant one, be quiet or... di consolarmi un d. for me to console myself.
Che sel foco del mio amore If the fire of my love
Lepido Lepidus trova ostacolo, il terrore meets an obstacle, terror
Tanto presumi? Do you really think so? strugger chi lo imped. will destroy whatever is in the way.
(Parte.) (He leaves.)
Silla Sulla
Porterai del tuo ardir la pena, insano! be punished for your boldness, fool! Scena 6 Scene 6
Flavia, e Lepido sospeso. Flavia and a restless Lepidus.
Lepido Lepidus
Le minacce non teme un cor Romano. A Roman heart does not fear such threats. 25
Flavia Flavia
Silla Sulla Mio diletto, che pensi? My beloved, what are you thinking?
Non sai che sono... Do you not know that I am...
Lepido Lepidus
Lepido Lepidus Alla vendetta! Revenge!
Usurpator del soglio! a usurper of power!
Flavia Flavia
Silla Sulla E chi taccende? Who makes you so full of fire?
E posso ci che voglio. ... and that I can do whatever I want.
Ti commando di Flavia I demand that you release Flavias bond Lepido Lepidus
scioglier il laccio, affinchio possa a pieno so that I can rightfully bind her to my breast Un barbaro tiranno, A barbarous tyrant,
col nodo marital stringerla al seno. with a marital knot. Silla crudele, che pretende, oh Dio! cruel Sulla, who wants oh God!
svellerti dal mio sen, idolo mio! to take you away from my breast, my beloved!
Lepido Lepidus
Ci non fia mai. That will never happen.

40 41
Flavia Flavia cd ii
Pria morir. I will die first!
Scena 7 Scene 7
Lepido Lepidus Celia piangendo, e Claudio. Celia, crying, and Claudius.
Sensi di nobil alma! What a noble soul you are!
01
Flavia Flavia Claudio Claudius
Sol per te vive il core. My hearts lives for you alone. Bella, lascia i sospiri! My beautiful one, stop sighing!

Flavia e Lepido Flavia and Lepidus Celia Celia


Eterno fia nelle tue braccia amore. My love will be eternal in your arms. Claudio, lasciami piangere. Claudius, let me cry.

26 Claudio Claudius
Flavia e Lepido Flavia and Lepidus Ah, che per te me sento il cor a frangere! Ah, I feel my heart breaking for you!
Sol per te, bellidol mio, Only for you, my beautiful love, Ma qual n la cagione? But what is the reason?
il mio cor ha gioia e pace. does my heart have joy and peace.
Chi tentar vorr il mio petto If someone opposes my feelings, Celia Celia
prover di cruda Aletto he will see cruel Furys La lascivia di Silla. Sullas lust.
lardente face. burning fire.
Sol per te, ecc. Only for you, etc. Claudio Claudius
(Partono.) (They leave.) Oh dei, che ascolto? Oh gods, what do I hear?
Barbaro! e ancor non sai che sola questa Barbarian, you still do not know that
lanima mia? Vendetta! she alone is my soul? Revenge!
(Corre infuriato, ma Celia lo ferma.) (He runs away enraged but Celia stops him.)

Celia Celia
Oh dei! tarresta! Oh gods! Stop!

Claudio Claudius
Celia, bench non senti Celia, though you may not have
piet di me, di vendicarti io bramo. mercy upon me, I wish to avenge you.

42 43
Celia Celia Metella Metella
Taci, caro mi sei, Be quiet. You are dear to me; Il ciel, lo sdegno mio nulla paventi? Do you not fear heaven, my rage, anything?
pur troppo io tamo. I even love you too much.
(Silla vuol abbracciar Celia [ma Mettella lo impedisce].) (Sulla wants to kiss Celia [but Mettella prevents him].)
02
Claudio Claudius Silla Sulla
Mi brilla nel seno A certain peace Scostati, over... Stay away, or...
un certo seren shines in my breast
chinvece di noia contento mi d. giving me joy rather than grief. Metella Metella
E pur lalma a pieno non gode quel ben, Yet the soul cannot entirely relish this peace Ti trarr prima il core. I will first rip out your heart.
chunito alla gioia timore sen v. since fear is mixed with joy.
Mi brilla, ecc. A certain peace, etc. Silla Sulla
Superba, lo saprai. You will see, foolish woman.
(Celia parte. Nel partire si rincontra in Silla che la (Celia leaves. As she is leaving, she runs into Sulla, who (Parte infuriato.) (He leaves enraged.)
trattiene.) grabs her.)
Metella Metella
Scena 8 Scene 8 Forza damore! The power of Love!
Silla, Metella, e Celia che vuol partire. Sulla, Metella, and Celia who wants to leave.
04
03 Metella Metella
Silla Sulla (verso Celia) (towards Celia)
Mio bel nume, tarresta! My beautiful goddess, stop! Hai due vaghe pupillette, You have two beautiful eyes
Non mi lasciar del caro volto privo. Do not deprive me of your dear face. che son scorta al Dio damor. that summon the god of Love.
Ride il brio nel tuo sembiante, Joy shines through your face
(Metella gliela strappa dalle mani.) (Metella wrests her away from his hands.) ed a se tragge ogni cor. and attracts every heart.
Hai due vaghe, ecc. You have two, etc.
Metella Metella
Non oltraggiar laltrui onest, lascivo! Do not insult anothers modesty, pervert! (Partono.) (They leave.)

Silla Sulla
Ancor tu, ardita, tenti di turbarlo mie gioie? You too, fool, try to impede my joy?

44 45
Scena 9 Scene 9 Flavia Flavia
Giardino con palazzo di Lepido nel fondo, in mezzo di cui Garden with Lepiduss palace in the background, a statue Parti! Leave!
sinnalza la statua di Silla. Flavia e Silla con soldati, che fa of Sulla in the middle. Flavia and Sulla with soldiers.
ritirare. Sulla asks the soldiers to leave. Silla Sulla
Non posso. I cannot.
05
Flavia Flavia Flavia Flavia
Che miro, oh Dei? Qui Silla? What do I see, O gods? Sulla here? Oh dio! O god!

Silla Sulla Silla Sulla


Son io, Flavia; che temi? It is me, Flavia. What do you fear? Il duce s temuto Do you scorn the feared ruler
Egro damor, ricerco I am eager for love, and I seek dellimperio latin cos disprezzi? of the Latin empire?
al disperato mal rimedi estremi. extreme remedies to such a desperate disease.
(Vuol abbracciarla, ed ella singinocchia.) (He wants to kiss her. She kneels.) Flavia Flavia
Cos l mio onor apprezzi? Is this how you value my honor?
Flavia Flavia
Supplice alle tue piante, I beseech you at your feet, (Mentre Silla vuoi abbracciarla di nuovo, calano quattri (While Sulla tries to kiss her again, four ghosts arrive.
signor... my lord... spettri, che girano attorno la statua di Silla, la quale si They swirl around Sullas statue, which disappears; instead
profonda, sorgendo invece di quella un cipresso, albero of it, a cypress, a sinister tree, appears.)
Silla Sulla funesto.)
Bella, risorgi; Beautiful one, arise;
toffro la man di sposo, e in un damante. I give you my hand as a husband and lover. Flavia Flavia
Mira, tiran, chil ciel Look, tyrant. Heaven
Flavia Flavia ti minaccia rovine. is threatening your ruin.
Vana ogni speranza There is no hope
di vincer il mio cor. that you will conquer my heart. Silla Sulla
Or la mia imago My statue is now crowned
Silla Sulla va negli Elisi a coronarsi il crine. in the Elysian Fields.
Avr costanza, idolo mio. I will keep trying, my beloved. (Tenta ancor dabbracciarla.) (He tries again to kiss her.)

46 47
Flavia Flavia Scena 11 Scene 11
Cieli! chi mi soccorre? Heavens! Who will help me? Celia, Claudio; Silla con Scabro e soldati osservandoli in Celia, Claudius; Sulla with Scabrus and soldiers looking
disparte. from afar.
(Esce Lepido colla spada allo mano.) (Lepidus enters with a sword in his hand.)
08
Scena 10 Scene 10 Claudio Claudius
Lepido, e li sudetti. Lepidus and the former. Anima mia! My soul!

06 Celia Celia
Lepido Lepidus Mio caro! My dear!
Tanto ardisci? Will you dare such a thing?
Claudio Claudius
Silla Sulla Al fine la mia fede Finally my faith
Il tuo tetto Your house is now ha per premio il tuo amor. gets your love as a reward.
de ribelli miei fatto ricetto. full of enemies of mine!
(Silla chiama i suoi soldati.) (Sulla calls for his soldiers.) Celia Celia
Giusta mercede! A just reward!
Silla Sulla
Ol! chambo costor sian custoditi You there! Put these two Claudio Claudius
in due carceri orrendi. in two horrible jails. Oh! dolci accenti! Oh! Sweet words!
(Silla parte. Mentre li soldati vogliono prender la spada a (Sulla leaves. The soldiers try to take Lepiduss sword; he
Lepido, egli si mette in difesa, ma lo impedisce Flavia.) tries to defend himself, but Flavia stops him.) Celia Celia
Oh! punto sospirato! Oh! Long awaited moment!
Flavia Flavia Ma se Silla inumano... But if cruel Sulla...
Cedi, o caro, e dal soccorso attendi. Let go, my dear, and just wait for help.
Claudio Claudius
07 Difenderti sapr con questa mano. I will know how to protect you with this hand.
Flavia e Lepido Flavia and Lepidus
Ti lascio, idolo mio, I leave you, my dear, (Silla savanza ed i soldati circondano Claudio, (Sulla comes forward. The soldiers surround Claudius and
ma teco resta il cor. but my heart stays with you. prendendoli la spada.) take his sword.)
(Partono custoditi da soldati.) (They leave, taken by the soldiers.)

48 49
Silla Sulla Scena 12 Scene 12
Troncher il vostro nodo! I will cut the knot between you! Silla e Scabro. Sulla and Scabrus.

Claudio Claudius 09
Ah! crudo mostro! Ah! Cruel monster! Silla Sulla
Scabro! Lepido sia da stral traffitto, Scabrus! Have Lepidus pierced by arrows;
Celia Celia Claudio cibo alle fere; have Claudius given to wild animals as a meal.
Signor, pietate, aita! My lord, mercy, help! tanto esequisci. Ora trionfa Amore, Make all of this happen. Love will now triumph
Claudio sol... Please, let Claudius at least... se gli offre due olocausti l mio furore. if my fury offers it two such holocausts.

Silla Sulla 10
Morir. Die. Silla Sulla
La vendetta un cibo al cor. Revenge is food for the heart
Celia Celia Se la chiede offeso Amor. if Love offended asks for it.
Dagli la vita! Live! E chi vuole ben goder One who wants to rejoice
offra vittime al piacer. should offer victims to pleasure.
Claudio Claudius La vendetta, ecc. Revenge, etc.
Ha de fulmini il cielo! Heaven has its thunders! (Parte, restando Scabro.) (He leaves, Scabrus stays.)

Celia Celia Scena 13 Scene 13


Lanci pur contro te Giove il suo telo! May Jupiter send his spear against you! Metella e Scabro. Metella and Scabrus.

Silla Sulla 11
Costui vada tra marmi; e Celia intanto Let him go into the grave, and let Celia Metella Metella
purghi il suo error col pianto make up for her mistake with tears Oh! perfido consorte, Oh! Evil spouse,
ne alberghi custodita. while she is kept in custody. grida al trono dAstrea sangue innocente. innocent blood asks for justice.
Che far, Scabro, oh Dio? al fin da morte What shall I do, Scabrus, oh god? Heaven
Celia e Claudio Celia and Claudius per sottrarli farammi il ciel possente. help me at least save their life.
Addio, cara mia vita. Farewell, my dear life. (Metella prende per la mano Scabro, e parte in fretta.) (Metella takes Scabruss hand and leaves quickly.)
(Partono.) (They leave.)

50 51
Scena 14 Scene 14 (Scabro corre verso Silla, e questo va affrettato verso (Scabrus runs toward Sulla, who quickly approaches
Cortile che corrisponde al serraglio delle fere [ove si vedono Den used as an enclosure for wild animals [where lions can Metella.) Metella.)
a camminare li leoni]. Claudio alla finestra duna torre in be seen pacing]. Claudius is at the window of a tower. He
atto desser gettato nel serraglio. is going to be thrown into the den. Silla Sulla
Qual furore ti trae? What fury brings you here?
12
Claudio Claudius Metella Metella
Sel mio mal da voi dipende, If my pain depends on you, La tua salvezza! Your salvation!
perch, oh dei, non lo impedite? why, O gods, do you not prevent it?
Silla Sulla
Scena 15 Scene 15 Come? What?
Silla e Scabro, che getta a piedi di Silla una veste forata ed Sulla and Scabrus, who throws a shredded and bloodied
insanguinata, creduta di Lepido. gown at Sullas feet. The gown is believed to be Lepiduss. Metella Metella
Di Mario insorge empia fazione An evil intrigue by Mariuss followers, planning to
13 contro di te. kill you.
Silla Sulla
S, questi son trofei, per imperfetti Yes, this is a trophy (though not yet complete) Silla Sulla
del mio amor, di mia gloria, of my love, of my glory. Now, my trusted one, (dimostrandogli Claudio) (pointing at Claudius)
vanne, mio fido, e me presente let Claudius be eaten by the animals La morte dellindegno Scabrus, take care of his death!
Claudio tra le fere, mi dia piena vittoria. in front of me and be my complete victory. Scabro eseguisci! Io corro I run to kill this new monster
a recider col fer lidra proterva. with my sword.
(Mentre Scabro vuol partire, si rincontra Metella (Scabrus wants to leave but encounters Metella, who (Parte infuriato.) (He leaves furiously.)
affrettata, che lo trattiene.) abruptly stops him.)
Scena 17 Scene 17
Scena 16 Scene 16 Metella, Scabro, poi Lepido e Claudio. Metella, Scabrus, then Lepidus and Claudius.
Metella, Silla e Scabro. Metella, Sulla, and Scabrus.
15
14 Metella Metella
Metella Metella Taffretta, oh Scabro, ed ambedue Hurry, Scabrus, and bring
Deh! corri al tuo signore! Ah! Run back to your lord! gli innocenti a me conduci. Il celo those two innocent ones to me. I see that heaven
vedo arrider pietoso al mio gran zelo. is mercifully smiling at my zeal.

52 53
16 Metella Metella
Metella Metella Taci! alfin son moglie. Be quiet! I am still his wife.
Secondate, oh giusti dei O rightful gods, keep
linnocenza a sollevar helping innocence Lepido Lepidus
che qual fiamma i voti miei so that my vows can E di Flavia mio ben, nera consorte, And tell me, unfortunate wife,
ponno in voi centro trovar. come to you like a flame. qual il destin? what will happen to my beloved Flavia?

(Scabro conduce in fretta Lepido e Claudio, che presi per la (Scabrus quickly leads Lepidus and Claudius in. She holds Metella Metella
mano da Metella, ella conduce via seco frettolosamente.) their hands and whisks them away.) Avr felice sorte. She will be fine.

Scena 2 Scene 2
Scabro, Metella e Lepido. Scabro d una lettera a Metella, Scabrus, Metella, and Lepidus. Scabrus gives Metella a
Atto Terzo Third Act che la legge. letter. She reads it.

Scena 1 Scene 1 18
Metella e Lepido. Corridore che corrisponde agli Metella and Lepidus. Corridor from Metellas chambers. Metella Metella
appartamenti di Metella. Dunque partir deve il mio sposo ingrato? So, does my ungrateful husband have to leave?

17 Lepido Lepidus
Lepido Lepidus Oh sorte inaspettata! Oh unexpected fate!
Quanto devo, oh Metella, al tuo cor generoso. How much I owe your generous heart, Metella.
Metella Metella
Metella Metella Ah! crudo fato! Ah! Cruel destiny!
Dovea impedir la tirannia dun sposo. I had to stop my husbands tyranny. Scabro, allora che Silla Scabrus, now that Sulla
volge i pi dalle mura, is approaching the walls,
Lepido Lepidus nel carcere di Flavia lead Lepidus to
Or che per te respiro Now that, thanks to you, Lepido scorta; ed indi Flavias jail; and
e vita e libert, lascia chio sciolga I can enjoy life and freedom, let me della sua libert prendine cura. arrange for her freedom.
colla morte di Silla set Rome free
da lacci Roma. by killing him. Lepido Lepidus
Si strugge per la gioia il petto mio! My breast explodes with joy!

54
Metella Metella al piacer mi destin. has destined me to pleasure.
Mi desse almen quel crudo May that cruel one give me at least Gi respira, ecc. My heart breathes, etc.
un dolce addio. one sweet farewell.
(Partono.) (They leave.)
19
Metella Metella Scena 4 Scene 4
Io non ti chiedo pi, o sposo amato, All I ask of you, beloved husband, Silla. Sulla.
prima del tuo partir chun dolce addio. is one sweet farewell.
Che se ver me dognor tu fosti ingrato If you were always thankless to me 22
li falli tuoi pietosa adesso oblio. I now mercifully forget your mistakes. Silla Sulla
Io non ti chiedo, ecc. All I ask of you, etc. Limperio quanto pi vasto e pi pesante The larger the kingdom, the heavier it is.
(Parte.) (She leaves.) e d noie al pensier, gioie in sembiante. It gives trouble when you think of it,
Or che dovrei bearmi, but also joy when you look at it. Now that I should be
Scena 3 Scene 3 e di Celia, e di Flavia in dolci amplessi, enjoying both Celia and Flavia with sweet hugs,
Lepido e Scabro. Lepidus and Scabrus. devo in Trinacria tacito portarmi. I need to rush to Sicily in silence.
Ma lamor... But love
20 (Pensa un poco.) (He thinks for a while.)
Lepido Lepidus no, la gloria... no, glory...
A tua fedeltade, o caro animo, I will always be indebted to your kindness, dear soul. (Pensa, ma poi risoluto:) (He thinks, but then he firmly says:)
fia eterno i mio dover. Quanto comparte How can my heart thank S, ol! Qu Celia venga, Yes, you there! Let Celia come here,
grazie al Ciel, se mi serba Heaven, since my heart is already e parte del mio ardor prima si spenga. but let me first calm down.
Flavia, ch del mio cor la miglior parte? owned by Flavia?
Scena 5 Scene 5
21 Celia e Silla . Celia and Sulla.
Lepido Lepidus
Gi respira in petto il core My heart breathes in my breast, 23
se lamore since love has Silla Sulla
tutto in gioia lo cangi. turned it all into joy, Placasti, oh bella diva, Did you dampen your stubbornness,
E con iride sereno and with a serene eye, il tuo rigore? my beautiful goddess?
doppo tenebre moleste, after unpleasant darkness,
or placate le tempeste now that the storm is over,

56 57
Celia Celia Celia Celia
Silla, solo per Claudio io sento amore. Sulla, I love only Claudius. Claudio, cor mio! Claudius, my love!

Silla Sulla Silla Sulla


Ma, il mio affetto? And what about my feelings? Claudio, superba, morto. Claudius is dead, you arrogant woman.
(Parte [in collera] correndogli dietro Celia.) (He leaves [in anger]. Celia runs after him.)
Celia Celia
Non curo. I do not care. Celia Celia
morto? ah! dispietato Is he dead? Ah, cruel merciless
Silla Sulla crudel; ma pi dite, barbaro Fato! monster! But fate is even more cruel than you!
La mia grandezza? My greatness?
24
Celia Celia Celia Celia
vana. It is vain. Sei gi morto, idolo mio, You are already dead, my love,
per far vivo il mio dolor. to make my pain even sharper.
Silla Sulla Pur dovr seguirti anchio I will also have to follow you,
Il mio poter? My power? se con te part il mio cor. since my heart departed with you.
Sei gi morto, ecc. You are already dead, etc.
Celia Celia (Resta penosa.) (She remains, thoughtful.)
Non temo. I do not fear it.
Scena 6 Scene 6
Silla Sulla Celia, e Claudio in disparte. Celia, and Claudius hidden.
Pensa... Think that
25
Celia Celia Celia Celia
che sei tiranno. you are a tyrant. Rimembranze funeste Dark memories
dellestinto mio Claudio! of my dead Claudius!
Silla Sulla
Dono a merti del padre I give the comfort of revenge Claudio Claudius
di vendetta il conforto. that a father deserves. Claudio! Claudius!

58 59
Celia Celia Celia Celia
(Si volge spaventata [non osservando Claudio].) (She turns frightened [without noticing Claudius].) Ombra adorata, oh Dei! Beloved shadow, oh gods!
Tu ancora, Eco crudele, Again you, cruel echo,
con quel nome adorato by pronouncing that beloved name, Claudio Claudius
ora le peno mie fai redivive? make my pain alive. Ah, mia bella, son io, scaccia il timore My beloved, it is me. Fear not.
Metella mi salv. Metella saved me.
Claudio Claudius (Celia gli si accosta pian piano.) (Celia slowly comes closer.)
Vive! Alive!
Celia Celia
Celia Celia Celia, fa core; Celia, be strong:
Vive, s, in questo cor sempre costante. Yes, he is alive in this heart forever! deggio creder al lumi? should I believe my eyes?

Claudio Claudius Claudio Claudius


Costante! Forever! Anima mia, stringimi al sen. My love, embrace me.

Celia Celia Celia Celia


Ah, perch non potei, idolo mio, Ah, why could I not, my dear, Il cor pi non desia. My hearts desires nothing more.
renderti dal tiranno allor sicuro? from that tyrant, keep you safe?
26
Claudio Claudius Claudio Claudius
Sicuro! Safe! Luci belle, Beautiful eyes,
serene stelle, clear stars,
Celia Celia del mio cor tiranno amate, beloved of my tyrant heart,
E vivr in s infelice secolo? So nothing for me is left? voi sol date you are the only one who gives
vita o spirto allalma mia. my soul life and spirit.
Claudio Claudius Da voi solo pende il mio fato, My fate depends on you alone,
Eccolo! On the left! ne agli Elisi ancor beato and, even in the Elysian Fields,
senza voi giammai saria. I would not be happy without you.
(Claudio si presenta a Celia, ed ella si ritira (Claudius shows himself to Celia but she moves aside Luci belle, ecc. Beautiful eyes, etc.
spaventata.) frightened.)
(Partono.) (They leave.)

60 61
Scena 7 Scene 7 Flavia Flavia
Prigione ove sta Flavia. Flavias jail. Sol di vendetta io ardo. I just wish for revenge.
Barbaro, del mio sposo You barbarian, what did you do
27 rendi ragione. to my husband?
Flavia Flavia
Stelle rubelle, Outrageous stars, Silla Sulla
a torto morir. I will die innocent. Egli ha dolce riposo. He is having a sweet rest right now.
Ma infelice seria il vivere Living would be in vain anyway
se lamato mio consorte if my beloved, Flavia Flavia
colla morte with his death, Forse l negli Elisi? Maybe in the Elysian Fields?
agli Elisi showed me the path
i sentiero mi addit. to the Elysian Fields. Silla Sulla
Stelle rubelle, ecc. Outrageous stars, etc. Dove irai, Where you will also go,
se non plachi un tanto orgoglio. if you do not restrain your pride.
Scena 8 Scene 8
Flavia e Silla con un soldato che porta un bacile coperto, Flavia and Sulla with a soldier who brings a covered Flavia Flavia
sopra di cui vi la veste lacera ed insanguinata creduta basket, on which there is a shredded and bloodied gown, Avr sempre per te petto di scoglio. My breast will always be like a stone toward you.
di Lepido. believed to be Lepiduss. Su via, tiran, recidi Come on, tyrant, cut short
questa misera vita, e fa che lalma this miserable life, let this soul
28 si congionga al mio bene. join my beloveds.
Silla Sulla
Al fin, del mio rigore, At last, my beautiful one, I repent Silla Sulla
bella, pentito, ora risveglia amore. for my harshness: awaken your love toward me! Il tuo fato, ors, l si contiene. You destiny rests there.

Flavia Flavia (Silla le getta a piedi la veste di Lepido, (Sulla throws Lepiduss gown at her feet
Vanne, lascivo! Away, pervert! e parte sdegnato.) and leaves with disdain.)

Silla Sulla 29
Un sguardo Do not deny me Flavia Flavia
non mi negar. one little glance. Ma infelice saria vivere Living would be in vain anyway
se lamato mio consorte colla morte if my beloved showed me the path

62 63
agli Elisi to the Elysian Fileds Lepido Lepidus
il sentiero mi addit. with his death. S, mio cor. It is true, my dear.

Scena 9 Scene 9 Flavia Flavia


Scabro, che conduce Lepido in prigione, e Flavia, Scabrus, who leads Lepidus to jail, and Flavia, who Altro non chieggio. I do not wish for more.
credendolo un fantasma, corre con tutto ci ad abbracciarlo. believes he is a ghost and yet runs to embrace him.
(Partono.) (They leave.)
30
Flavia Flavia 31
Spirto adorato, oh Dio! Beloved soul, oh god! Brano strumentale Instrumental piece
Vieni per consolare il duolo mio? Do you come to console my pain?
Scena 10 Scene 10
Lepido Lepidus Silla, Metella. Notte, con luna in cielo. Spiaggia di mare Sulla, Metella. Night, with the moon in the sky. Seashore
I fantasmi funesti Leave the dark shadows, [con un scoglio nel mezzo], con piccolo vascello e barchetta [with a rock in middle of the sea]. A small ship and a raft
lascia, mia cara, il tuo consorte questi. my dear, this is your husband. al lido. on the coast.

Flavia Flavia 32
Ah, lusinghe damor! Ah, loves illusions! Silla Sulla
Metella, oh Dio! Qual sento Metella, oh god! What pain
Lepido Lepidus affanno nel lasciarti. I feel leaving you.
Fugga i sospetti; Forget your suspicions;
Lepido son. this is Lepidus. Metella Metella
Ed io tormento. And I feel torment.
Flavia Flavia Ah, che del nostro amore si ravviva la fiamma. Ah, the flame of our love is getting stronger!
Ah, fantasia daffetti! Ah, inventions of my feelings!
Silla Sulla
Lepido Lepidus E strugge il core. And the heart is in pain.
Metella mi salv Metella saved me. Dura necessit. Hard necessity.

Flavia Flavia Metella Metella


Sogno, o vaneggio? Ed ver? Am I dreaming or insane? Is this true? Partenza atroce! Painful departure!

64 65
Silla Sulla 34
Mi divide da te! It takes you away from me! Sinfonia Symphony

Metella Metella Metella Metella


Destin feroce! Cruel fate! Assistete, soccorrete, sommi Dei, Assist, help, great gods,
esaudite i voti mei. fulfill my vows.
Silla Sulla (Entra risoluta nella barchetta, e vogando arriva allo (She enters the raft resolutely and reaches for the rock. She
Sposa amata, perdona il mio rigore. Beloved wife, forgive my harshness. scoglio, ove prende Silla, conducendolo via seco.) takes Sulla with her and they go away.)

Metella e Silla Metella and Sulla 35


Sempre pi forte doppo i sdegni amore. Love is always stronger after pain. Marche March

(Silla simbarca, vedendosi il vascello ad entrare in alto (Sulla enters the ship, which is seen sailing off.) Scena 12 Scene 12
mare.) Piazza di Roma, ove nel fondo alla sommit duna grande A square in Rome. At the end of a big staircase the Capitol
scalinata si vede il Campidoglio. Lepido, Flavia, Claudio, can be seen. Lepidus, Flavia, Claudius, Celia, senators and
Scena 11 Scene 11 Celia, senatori e popolo, poi Silla e Metella. crowd, then Sulla and Metella.
Metella sola. Metella alone.
36
33 Lepido Lepidus
Metella Metella Pera la feritade! Death to violence!
Propizio arrida il cielo May heaven favor
allamato mio sposo. Oh dei, che miro? My beloved husband. Oh gods, what do I see? Claudio Claudius
Cessi la crudeltade! End the cruelty!
(Metella si volge a guardar il mare, e vede il vascello (Metella looks out to sea and sees the ship torn apart by a
agitato da un gran borasca. Essendosi oscurata la luna, in great storm. The moon is darkened and instead of it a Tutti Tutti
cui vece comparisce una gran cometa, con tuoni, lampi e comet appears with thunders and lightning. The ship is Libert, libertade! Freedom, freedom!
fulmini; e finalmente il vascello fa naufraggio, vedendosi destroyed and Sulla escapes by swimming to the rock.
Silla a salvarsi nuotando sopra lo scoglio. [Metella agitata [Metella runs around the scene in great agitation.]) 37
corre per la scena.]) Marche March

66 67
(Vi scende un nube che copre il Campidoglio, ed aprendosi (A cloud comes down and covers the Capitol. Mars appears Silla Sulla
poi [a poco] comparisce Marte nella sua gloria. Tutti si in his glory. Everybody kneels to worship the god and at S, di te degno consorte. Yes, your worthy husband.
mettono in ginocchioni per odorare quel nume, ed in questo that moment Metella enters with Sulla. He kneels, then
punto entra Metella con Silla che, mettendosi in ginocchione rises to give Mars his sword and renounces all his duties Claudio Claudius
poi rilevato, rassegna la spada e rinonzia a tutte le dignit [in the Republic], asking Mars for forgiveness for all his Cara, ti stringo al seno. My dear, I embrace you on my breast.
[nella Republica], dimandando perdono (a Marte ad alla mistakes.)
patria di tutti gli errori da lui commessi.]) Tutti Everybody
Doppo tante tempeste l ciel sereno. After so many storms, the sky is clear.
38
Silla Sulla 39
De miei falli pentito, I beg for forgiveness for my mistakes Coro Choir
al tuo nume, alla patria, before your divinity, before Chi si trova tra procelle When one is amidst storms,
chiedo perdon; e pi presente il Cielo the fatherland, and before Heaven, sol dal Ciel speri conforto. he can only hope for help from heaven:
il popolo, il senato, the people, the senate. Che non san negar le stelle the stars do not deny a faithful heart
depongo il fer, le dignit, gli onori, I put down the sword, the dignity, the honors, a un cor fermo e calma e porto. peace and safe harbour.
per trar colla consorte i d migliori. to spend the rest of my life with my wife.

(Tutti si levano, e Silla discende, abbracciando Metella.) (Everybody arise, Sulla descends, embracing Metella.)

Lepido Lepidus
Giorno felice! Happy day!

Flavia Flavia
Ah! venturosa sorte! Ah! Thrilling fate!

Celia Celia
(verso Silla) (to Sulla)
Signor, se mi permetti, My lord, if you allow me,
Claudio fia... Claudius will be

68 69
Fabio Biondi & Europa Galante

il diario di chiara george frideric handel


Music from La Piet in Venice in the 18th century imeneo
Glossa gcd 923401 Glossa gcd 923405. 2 cds
(rec. 2013) (rec. 2015)

antonio vivaldi georg philipp telemann


i concerti delladdio 12 fantasias for solo violin
Glossa gcd 923402 Glossa gcd 923406
(rec. 2014) (rec. 2015)

antonio caldara jean-marie leclair


morte e sepoltura di christo violin concertos glossa
with the Stavanger Symphony Orchestra Glossa gcd 923407 produced by
Glossa gcd 923403. 2 cds (rec. 2016) Carlos Cster in San Lorenzo de El Escorial, Spain
(rec. 2014)
george frideric handel for
vincenzo bellini silla note 1 music gmbh
i capuleti e i montecchi Glossa gcd 923408. 2 cds Carl-Benz-Strae, 1
Glossa gcd 923404. 2 cds (rec. 2017) 69115 Heidelberg
(rec. 2014) Germany
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