festival opera

extends heartfelt thanks to the following individuals and institutions for their
extraordinary support of our North American premiere of Agostino Steffani’s

Glenn A. KnicKrehm and ConstellationCenter

Principal Production Sponsor

Diane and John Paul Britton

Sponsors of Anna Watkins, Costume Designer
The Gregory E. Bulger Foundation
Sponsor of Philippe Jaroussky, performing the role of Anfione
Bernice K. and Ted Chen
Sponsors of Gilbert Blin, Stage Director & Set Designer
Randolph J. Fuller
Sponsor of the Production
Constance and Donald P. Goldstein
Sponsor of Cynthia Roberts, Concertmaster of the BEMF Orchestra for Niobe
The Isaacson-Draper Foundation
Sponsor of Amanda Forsythe, performing the role of Niobe
Grace and Scott Offen
Sponsors of the Production
Joan Margot Smith
Sponsor of Carlos Fittante, Co-Choreographer
Hungwah Yu and David J. Elliott
Sponsors of Yulia Van Doren, performing the role of Manto

The Dante Alighieri Society

Partial Production Sponsor
Emily Cross Farnsworth
Sponsor of Niobe’s Costume
Mim Kelly and Richard Greene
Partial Sponsors of José Lemos, performing the role of Nerea
Edward B. Kellogg
Sponsor of Pre-Opera Fanfares in Great Barrington
Heather Mac Donald
Partial Production Sponsor
Amanda and Melvyn Pond
Sponsor of Miloš Valent, Principal Second Violin, BEMF Orchestra

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MATINÉE PERFORMANCES:
Sunday, June 12 & Sunday, June 19, 2011 at 3:30pm

EVENING PERFORMANCES:
Tuesday, Wednesday & Friday, June 14, 15 & 17, 2011 at 7pm
Cutler Majestic Theatre at Emerson College, 219 Tremont Street, Boston, Massachusetts

EVENING PERFORMANCES:
Friday & Saturday, June 24 & 25, 2011 at 7pm
Mahaiwe Performing Arts Center, 14 Castle Street, Great Barrington, Massachusetts

Music by Agostino Steffani (1653–1728)

Libretto by Luigi Orlandi, after Ovid’s Metamorphoses

Paul O’Dette and Stephen Stubbs, Musical Directors

Gilbert Blin, Stage Director

Caroline Copeland and Carlos Fittante, Choreographers

Anna Watkins, Costume Designer
Gilbert Blin, Set Designer
Lenore Doxsee, Lighting Designer
Kathleen Fay, Executive Producer
Abbie H. Katz, Associate Producer
Ellen Hargis, Assistant Stage Director

FLYING EFFECTS PROVIDED BY ZFX, INC.

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Niobe, Regina di Tebe

Principals

Niobe, Queen of Thebes . . . . . . . . . . . . . . . . . .Amanda Forsythe

Anfione, King of Thebes . . . . . . . . . . . . . . . . .Philippe Jaroussky
Clearte, a Theban Prince . . . . . . . . . . . . . . . . . . .Kevin D. Skelton
Manto, a Theban Maiden,
daughter of Tiresia . . . . . . . . . . . . . . . . . . . . . .Yulia Van Doren
Tiberino, son of the King of Alba . . . . . . . . . . . . . . . .Colin Balzer
Tiresia, a Soothsayer,
and Priest of Latona . . . . . . . . . . . . .Charles Robert Stephens
Creonte, son of the King of Thessaly . . . . . . . . . .Matthew White
Poliferno, Prince of Attica, Magician . . . . . . . . . .Jesse Blumberg
Nerea, Nurse of Niobe . . . . . . . . . . . . . . . . . . . . . . . . .José Lemos

Sons and daughters Bodyguard of Niobe Hunters with Tiberino

of Niobe (Niobids) Jay Lloyd Smith Carlos Fittante
Carolina Bragg Olsi Gjeci
Knights of Anfione
Samuel Green Andrew Trego
Sean Lair
Jerilyn McLean Scott Weber
Brendan Quinn
Max Morgenstern Alexander Nishibun Bear
Felicia Rosen Hernan Berisso Jay Lloyd Smith
Julia Shneyderman
Elias Sink Noble Thebans Warriors of Creonte
Javier Werner Caroline Copeland Carlos Fittante
Carlos Fittante Olsi Gjeci
Ladies-in-Waiting Karin Modigh Andrew Trego
Julia Cavallaro Andrew Trego Scott Weber
Abigail Renée Krawson
Megan Stapleton Sisters of Manto Apollo and Diana
Caroline Copeland Frederick Metzger
Pages Karin Modigh Emy Metzger
Kevin Liao
Erik Traub Guides of Tiresia
Emy Metzger
Frederick Metzger

Boston Early Music Festival Dance Ensemble

Melinda Sullivan, Ballet Mistress
Caroline Copeland, featured dancer
Karin Modigh, featured dancer
Carlos Fittante, featured dancer
Olsi Gjeci
Andrew Trego
Scott Weber
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Boston Early Music Festival Orchestra

Violin I Basse de Violin Trumpet

Cynthia Roberts, Phoebe Carrai, principal John Thiessen, principal
concertmaster David Morris Alexander Bonus
Robert Mealy Sarah Freiberg Brian Shaw
Dagmar Valentová Brent Wissick Kris Kwapis
Cynthia Miller Freivogel
Johanna Novom Double Bass Theorbo & Baroque Guitar
Robert Nairn Paul O’Dette
Violin II Stephen Stubbs
Miloš Valent, principal Oboe & Recorder
Peter Spissky Gonzalo X. Ruiz, principal Baroque Harp
Julie Andrijeski Kathryn Montoya Maxine Eilander
Daniel Elyar
Bassoon Harpsichord
Viola Mathieu Lussier Luca Guglielmi
Pat Jordan, principal
Laura Jeppesen Percussion Viola da Gamba
David Douglass Ben Harms Erin Headley

Members of the Off-Stage Viol Consort

Christel Thielmann, director
Caitlin Cribbs
Rachael Ryan
Beiliang Zhu

Boston Early Music Festival PALS Children’s Chorus

Young Artists Training Program Alysoun Kegel, Artistic Director
Hernan Berisso Jill Carrier, Executive Director
Julia Cavallaro Carolina Bragg
Abigail Renée Krawson Samuel Greene
Sean Lair Kevin Liao
Alexander Nishibun Jerilyn McLean
Brendan Quinn Emy Metzger
Jay Lloyd Smith Frederick Metzger
Megan Stapleton Max Morganstern
Felicia Rosen
Julia Shneyderman
Elias Sink
Erik Traub
Javier Werner

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Boston Early Music Festival Niobe, Regina di Tebe

Production Credits
Kathleen Fay Executive Producer
Abbie H. Katz Associate Producer

Mercedes Roman-Manson Production Manager

Darren Brannon Production Stage Manager
Gordon Manson Technical Director
Arunas Ciuberkis Company Manager
Justin Paice Master Electrician
Rebecca Hylton Costume Shop Supervisor
Seth Bodie Wig Supervisor
Chelsea Basler Makeup Supervisor
Ron Demarco Props Master
James McCartney Sound Designer

Maria van Kalken Assistant to the Executive Producer

Laudon Schuett Assistant to the Musical Directors
and the BEMF Orchestra
Rémy-Michel Trotier Artistic Assistant to the Set Designer
Camille Tanguy Research Assistant to the Stage Director
Julie Streeter Assistant Production Manager
Leslie Chiu Assistant to the Associate Producer
Leslie Sears Assistant Stage Manager
Alycia Marucci Assistant Stage Manager
James Garner Assistant Technical Director
Jen Bertha Assistant Master Electrician

Ellen Hargis Supertitle Creator

Dan McGaha Supertitle Supervisor

Gina Rhodes Stitcher

Janet Meyers Costume Crafts
Mary Lauve Dresser
Katherine “Kat” Nakaji Stage Run Crew
Zak Fayssoux Stage Run Crew
Daniel Alaimo Stage Run Crew
William Delorm Stage Run Crew

Ryan Began Intern, Assistant to the Stage Director

Caitlin Klinger Intern, Assistant to the Choreographers
Lorraine Fitzmaurice Intern, Assistant Company Manager
Sarah Hager Intern, Assistant Company Manager

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Thanks

The Boston Early Music Festival wishes to thank the following Associate Director, ArtsEmerson: The World On Stage; the
organizations and individuals for assistance with this staff at Emmanuel Church in Boston, especially Barbara Kroft,
production: the entire BEMF Niobe Directorial Team— Parish Administrator, and The Reverend Pamela L. Werntz,
including Paul O’Dette and Stephen Stubbs, Musical Directors; Rector; High Output, Inc., and Advanced Lighting and
Gilbert Blin, Stage Director and Set Designer; Caroline Production Services, for providing lighting equipment; Jeff Bird
Copeland and Carlos Fittante, Choreographers; Anna and Brittany Burke, for their technical support; and United
Watkins, Costume Designer; Lenore Doxsee, Lighting Staging, Emerson College, and Peterson Party Center for
Designer; Kathleen Fay, Executive Producer; Abbie H. Katz, providing rehearsal props and equipment. The BEMF
Associate Producer; and Ellen Hargis, Assistant Stage Choreographers would like to thank our colleagues for so
Director—for their painstaking and conscientious research and generously pointing us in helpful research directions, namely
work preparatory to mounting Agostino Steffani’s Niobe, Rebecca Harris-Warrick, Carol Marsh, Deda Colonna, Gloria
Regina di Tebe as the centerpiece production of the June 2011 Giordano, Barbara Sparti, Marie-Thérèse Mourey, Stephanie
Festival; Jörg Jacobi for editing our Boston Early Music Schroedter, and Rose Anne Thom.
Festival performing edition of Niobe, Regina di Tebe together Finally, BEMF Co-Choreographer Carlos Fittante would like to
with Paul O’Dette and Stephen Stubbs; Ellen Hargis for the thank the following individuals and institutions for their
translation of the libretto; Andrew Sigel for his meticulous assistance with movement research for Niobe: Martinez
attention to detail as editor of our Festival publications Academy of Arms; J. Allen Suddeth, Stage Combat Specialist;
including the libretto and essays throughout this Niobe Islene Pinder, Founding Director of BALAM Dance Theatre; and
section; the dedicated staff at the Cutler Majestic Theatre and Toshinori Hamada, Noh Theatre Actor and Martial Artist. !
Office of the Arts at Emerson College, especially Lance Olson,

W Franco-Flemish double-manual harpsichord by William Dowd, 1974, after a Hans Ruckers transposer of 1638, courtesy of X
James S. Nicolson Harpsichords of Belmont, Massachusetts.

! Flying Effects provided by ZFX, INC.

! Sets and Scenic Props built by the American Repertory Theatre Scene Shop, Cambridge, Massachusetts, under the
direction of Stephen Setterlun, assisted by Chris Swetcky.
! Fabric for Sets printed by Rose Brand, Secaucus, New Jersey.
! Costumes made by The Huntington Theatre Company, in residence et Boston University: Nancy Brennan, Costume
Director; Anita Canzian, Head Draper; Michelle Theresa Ross, Draper; Rebecca Hylton, First Hand; Denise Wallace,
First Hand; Colin Jones, First Hand; Susie Moncousky, Stitcher; Virginia Emerson, Stitcher; Sally Ravitz, Stitcher.
! Principals Costumes made by Annabel O’Docherty, Tracy Caulfield, and Sonja Harms, London, England.
! Headdresses and hats made by Debbie Boyd, London, England.
! Animal Costume provided by Western Costumes Company, North Hollywood, California.
! Lighting Equipment provided by High Output, Inc., Canton, Massachusetts.

Sponsoring Organizations

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Steffani, Opera, and Niobe I once was told, of the world-famous and musically
learned Steffani, that, before he even set pen to paper, he
continually carried the opera, or the projected work
Agostino Steffani (1654–1728) was a remarkable man—a
[libretto], around with him for a period of time and, as it
natural musician who became a prominent diplomat, politician,
were, came to a complete agreement with himself as to
and bishop, and an industrious Roman Catholic vicar.
how the whole thing might most suitably be organized.
Furthermore, although he was born in Castelfranco, in the
After that he committed his [musical] statements to paper.
Veneto, he spent most of his life in Germany—at Munich
It is a good method, though I suspect that nowadays,
(1667–1688), Hanover (1688–1703), Düsseldorf (1703–1709),
when everything has to be done on the wing, there are few
and again at Hanover. The first two of these periods were
who take pleasure in exercising such deliberation.
dominated by music, the others by politics and religion.
Mattheson was describing Steffani’s practice at Hanover, but it
A contemporary of Corelli, Purcell, and Alessandro Scarlatti,
was at Munich that the composer developed his approach to
Steffani was a choirboy at the Basilica del Santo in Padua and
musical drama.
sang in Venetian opera at the ages of eleven and twelve. At the
Bavarian court he was given keyboard and composition lessons
Most of his operas are based on ancient Greek or Roman
by Johann Kaspar Kerll and opportunities to further his education
history; four are concerned with medieval German history, and
elsewhere. From 1672 to 1674, he studied composition with
three draw on literary sources. Many are allegorical, reflecting
Ercole Bernabei in Rome; there he published his earliest sacred
the politics of the courts where they were written, and as in
works and wrote his first secular cantata. In 1678–1679 he visited
much court drama of the period, there is a heavy emphasis on
Paris and Turin, where he absorbed the French style and was
spectacle. The music lies somewhere between Cavalli and
admired for his harpsichord playing. After his return to Munich,
Handel in style. The recitatives are shorter and more lyrical
he was appointed Director of Chamber Music by Elector
than in operas for Italy, and they often include rapid flourishes
Maximilian II Emanuel, who also commissioned Steffani’s first
with difficult syncopation; only at moments of exceptional
opera for the Carnival season of 1681. During the 1680s, in
dramatic significance are they accompanied by orchestral
addition to motets, cantatas, and chamber duets, Steffani
strings. The arias, or ariette, are shorter and more numerous
composed five operas and the music for an equestrian ballet.
than those of Handel and his contemporaries, and not
necessarily in da capo form.
Having presented Niobe in Carnival 1688, he moved in the
summer to Hanover. His brief as Kapellmeister was to establish
In some respects, however, Steffani is distinctive. Celletti
Italian opera in the magnificent new theater then nearing
describes him, along with Scarlatti, as “the late seventeenth- or
completion. At Hanover he composed seven full-length and
early eighteenth-century composer closest to the Golden Age
two one-act operas and directed all but one in performance; Il
of bel canto singing.” His vocal parts are among the highest of
Turno was premiered (as Amor vien dal destino) at Düsseldorf
the period, and his writing for tenor and bass is characterized
in 1709. He also achieved wider recognition. During the 1690s,
by cantabile “grace and elegance.” His feeling for melody must
six of his Hanover operas were translated into German and
derive from his experience as a singer and a linguist: there is an
staged in public at Hamburg; arias from Roland (Orlando
intimate relationship between his music and the words that
generoso) were printed at Lübeck in 1699, and instrumental
inspired it. The principal sentiment is often captured in a
music from all six operas was published at Amsterdam in ca.
musical “motto” (opening phrase) or a basso ostinato (ground
1705. During the same period his numerous chamber duets
bass)—a technique of which Steffani, like Purcell, was a master.
circulated in manuscript throughout Europe.
His operas also feature an unusually high number and variety
of ensembles, and in his duets, as Mattheson observed, the
Although he devoted the last third of his life to affairs of church
voices do not move simply in parallel but engage in imitative
and state, he continued to compose and take an interest in
counterpoint—which is difficult to sing from memory on stage.
music. Between 1703 and 1712 he met Handel; from 1720 he
corresponded about singers and opera with Giuseppe Riva in
Steffani’s love of textural variety is evident also in his use of
London, and in 1727 he was elected president of the Academy
instruments. His orchestra often includes oboes and bassoons
of Vocal Music, for which he composed his last work—his
and occasionally recorders, trumpets and drums are employed
Stabat mater, which he described as his masterpiece.
in royal or martial contexts, and Amor vien dal destino features
chalumeaux. But his most original contributions of this kind
a b are his use of one or more solo instruments, with or without
Most of Steffani’s operas survive only in manuscript and have orchestra, as an obbligato accompaniment to the vocal line,
lain unperformed since the eighteenth century. The neglect is and the instruments are deployed in a variety of ways—
unmerited, not least because he took the composition of opera sometimes playing throughout, sometimes alternating with the
very seriously. In 1737 the Hamburg theorist and critic Johann voice, and sometimes only used before or after the aria.
Mattheson wrote:

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A taste for French dances is something that Steffani acquired in suggesting the impassivity of the universe. The aria “Sfere
Paris and which distinguishes him from his compatriots. The amiche, hor date al Labro,” invokes the music of the spheres.
minuet, gavotte, bourrée, and sarabande underpin many of his The circling of the planets is captured in a six-quarter-note
arias and ensembles, and the instruments that alternate with ostinato—the aria is in 6/4—that begins on the subdominant
the vocal lines are occasionally reduced to two oboes and note of the scale and is drawn down as if by [Link] falling
bassoon—a combination favored by Lully. Some of these phrases in the bass are counterbalanced by rising motion above;
movements were danced as well as sung. The acts of Steffani’s furthermore, when the violins move, the “viole” are generally
operas normally end with a ballet, for which the music often stationary, and vice versa. In this way the effect of rotation
has been lost, and his operas invariably begin with a French created by scales in contrary motion is reinforced by alternation
overture, even if it is called a “sinfonia.” His writing for strings between stage and pit. Finally, to lead smoothly into the da capo
and woodwinds in dance-based movements and overtures was repeat, the second section ends (atypically) in the subdominant
heavily influenced by what he heard in Paris, and his fusion of key, so that tonality, too, comes full circle.
French and Italian styles, combined with skillful counterpoint,
helped forge the musical language of the late Baroque. Most of Anfione’s arias are masterly and could be discussed in
similar detail. In “Come Padre, e come dio” (Act I, Scene XXI),
a b he persuades Jove to build walls around Thebes; in “Dal mio
Petto o pianti, uscite” (Act II, Scene V), he trembles to staccato
Premiered in the Salvatortheater at Munich on January 5, 1688,
chords and weeps to chromatic scales; in “Trà Bellici carmi”
Niobe, Regina di Tebe was Steffani’s first opera based on Greek
(Act II, Scene XII), his desire for vengeance is conveyed by
myth. The libretto was by Luigi Orlandi, a court secretary who
furious coloratura. He begins his last aria,“Spira già nel proprio
had supplied him with the text of 1687’s Alarico il Baltha. The
sangue” (Act III, Scene XII), after stabbing himself in the chest,
most important source for Niobe was Book VI of Ovid’s
and leaves it incomplete at his death. As he expires, Niobe
[Link] moral of the opera is“pride comes before
surveys in horror the demise of her offspring and husband, and
a fall,”but the work is concerned also with the power of music.
voices a [Link] she feels herself turning to stone, she sings
The influence of sorcery and the supernatural is reflected in
a short continuo aria, “Funeste Imagini,” terrifying in its
Orlandi’s request for numerous sets and spectacular stage
intensity, which also is left incomplete. Notwithstanding her
machinery. Ballets at the ends of the acts—and in Act II, Scene
love songs to Anfione and Creonte, and her warlike “In mezzo
IV, when Anfione (Amphion) is made a god—were devised by
al Armi” (Act III, Scene VIII), her final utterance is arguably the
the court choreographer and dancing master, François Rodier.
climax of her role. Creonte’s aria in the following scena ultima
balances the overture in its use of trumpets and drums.
The score of the opera is exceedingly rich. Its musical language
reaches heights of intensity in melody and harmony, and its
Carefully balanced, also, are the roles of the young lovers Tiberino
orchestration is exceptionally finely conceived and precisely
and Manto, who have six arias each. All but one of his are in
notated. Niobe is also the first Steffani opera with fewer than
common time, while most of hers are in triple. Her father Tiresia
sixty arias and five ostinato basses. Many of the arias are
has two arias in 4/4 and major keys, and two in 3/4 and E minor.
accompanied by instruments in addition to [Link] extra
Poliferno’s exceptional status as a prince versed in magic explains
musicians were engaged for the production: a document in the
why all four of his arias are supported by instruments, while the
Bavarian state archives records their names and the amounts
highlight of Clearte’s role is probably the accompanied recitative
they were paid for seven rehearsals and four performances.
that he sings as Niobe’s children are slain (Act III, Scene X).
That Niobe is an exceptional score is announced by trumpets
The nurse, Nerea, stands outside the action, serving as confidante,
and drums in the overture, but the work’s most extraordinary
observer, and mediator between stage and auditorium. Her
features are associated with the role of Anfione, a vehicle for the
comic role—a staple of earlier opera and commedia dell’arte—
castrato Clementin Hader and a tribute to Max Emanuel (a
is reflected in her arias, which are in lively tempos and major
musician as well as a soldier). Eight of Anfione’s ten arias call for
keys, with syllabic word-setting, syncopation, simple phrase
additional instruments, and in five of them—an unusually high
structure, and much repetition. Most of the texts are wry
number—the instruments play throughout. The scoring is
observations on relations between men and women and their
particularly rich in the Palace of Harmony (Act I, Scene XIII),
light-headed expectations of love. Two of her arias are linked:
where the king seeks comfort from worldly affairs. Here he is
“Che agli assalti degli amanti” (Act I, Scene XVIII) points out
accompanied on stage by “viole” and “bassi,” and in the
that women cannot help falling for men, while “Che alla fè di
orchestra by recorders and strings (two players per part);
Donne amanti” (Act III, Scene IX) states the opposite. To
plucked instruments (harpsichords and theorboes) are silent.
highlight this parallel, the music of the first aria is repeated for the
The recitative is introduced by the on-stage instruments; these
second. The latter is a substitute for an earlier movement, still
being hidden (“in scena nascosti”), the music sounds ethereal
present in the score, and an example of the inspiration that pulses
and [Link] orchestra enters when Anfione starts singing,
throughout Steffani’s greatest Munich opera. !
and breaks into repeated chords as he tries to throw off his cares,
© Colin Timms
but the “viole” continue to provide a sustained background,

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Seven Keys to Niobe,

Regina di Tebe
Combining the strong influences from Venice and France with
the culture of the Bavarian court gave rise in the seventeenth
century to operas written for Munich that were rich with
various cultural references. These references were unified under
the auspices of the classical custom of allegory, a figurative
mode of representation that conveys meanings other than the
literal one. Widespread at the time, allegory communicated its
message by means of symbolic figures, emblems, or parables.
Allegory was generally treated as a figure of rhetoric, but since
an allegory does not have to be expressed in language and can
be entirely visual, it was a style particularly suitable to the
representative art of opera. A performance was like a symbolic
hall of mirrors, where reality and fiction were intertwined
through the power of allegory. Seven gates, according to Ovid,
stood at the entrances to the city of Thebes, and this number
is used here as an allegorical pathway to offer seven keys to the
construction of the staging.

I
One Patron
The history of opera in Munich begins under the monarchic
power of the Prince Elector of Bavaria, Ferdinand Maria, who
in the 1640s commissioned the Venetian architect Francesco
Santurini to convert a grain storehouse into the first
Maximilian II of Bavaria
freestanding theater in Germany: the Salvatortheater. The birth
“Maximilian Emanuel D(ei) G(ratia) El(ector) Bav(ariae).” Portrait as “Gubernator
in 1662 of Ferdinand’s son and heir, Maximilian Emanuel, was Generalis” from Spanish Belgium. German Etching from Theatrum Europaeum by
the occasion for a festival of operas, tournaments, and Matthäus Jr. Merian and Caspar Merian under the name Merian Erben
fireworks. The popularity of opera in Munich continued (i.e., Merian Heirs), Frankfurt, 1698. Collection of Gilbert Blin.
unabated during the reign of Maximilian II Emanuel. The
young Prince Elector had big political ambitions for his performed as the first spectacle of the 1688 Carnival in Munich,
dukedom, which involved him in many wars, and his court was created using an Italian libretto by Luigi Orlandi.
life was that one of a generous patron. Typical of his time, Max
Emanuel had all of the qualities that were associated with a Though influenced by Italy—and especially by the dramaturgy
Baroque prince: the quest for military glory, the desire for and the scenery of Venetian opera—the spectacles of Munich
glorious self-representation, the pursuit of dynastic prestige, for Max Emanuel also contained some French elements, such
and an insatiable appetite for courtly entertainment. Not as costumes, instrumentalists, and dance. Paris was, at the time,
surprisingly, being raised by a Francophile mother who hired the place where clothes for special occasions had to be
French tutors for him, Louis XIV was held up to the young purchased, and we know that for Steffani’s Servio Tullio in
prince as a model to emulate. 1686, all of the costumes were ordered in Paris. French
musicians, notably wind players, were also invited to join the
Elector Maximilian II Emanuel was a genuine music lover who Munich orchestra. The ballets integrated with the operas in
was able to play several instruments, and his liberal patronage the French manner were danced by members of the court and
supported the flourishing musical life of Munich. The Venetian by the numerous extras recruited from the ranks of the army
composer Agostino Steffani started his career as an opera or the benches of the Jesuit schools. Ballet music was
composer there in 1681, and the union in 1685 of the Prince considered such a specialized art that it was usually composed
Elector with a young Austrian princess, Maria Antonia, heralded by a different musician from the one who wrote the rest of the
a particularly prosperous time for opera and festivities in opera; instead of Steffani, the ballets for Niobe were by the
Munich. The opera house was modernized on this occasion by director of the court orchestra, Melchior d’Ardespin. For the
the Venetian brothers Domenico and Gasparo Mauro, and for ballets required by the lavish staging, the French
four consecutive years Steffani composed a new opera in Italian choreographer François Rodier was a guarantee that the dance
that was premiered in Munich. Niobe, Regina di Tebe, would include the latest developments in French style.

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II
Twins
The libretto of Niobe, Regina di Tebe, which was the second
one written for Munich by Luigi Orlandi, is based on Greek
mythology. Niobe and Anfione are the central characters of
the plot. Amphion—“Anfione” in the Italian text—was rightly
famous as a king of Thebes, but also as an incomparable
musician, whose abilities built the walls of Thebes. Niobe was
his wife, and together they had many children. So proud was
Niobe of her offspring that they were called the Niobids, a
notable exception to the rule that a Greek family is usually
named after the Father. Niobe boasted of her superiority to
Latona (Leto), the mother of Apollo and Diana, because the
goddess had only two children, while she had given birth to
many offspring. For her hubris, Apollo killed her sons, and
Diana, her daughters. Amphion, at the sight of his dead
children, killed himself. The devastated Niobe turned to stone
as she wept. The myth is clearly a moral warning to the human
race to remain humble while enjoying earthly glory.
Ovid, when he tells of the goddess’s revenge on Niobe in his
Metamorphoses, notes that the children of Leto are twins:
“The goddess was deeply angered, and on the top of Mount
Cynthus she spoke to her twin children.‘I am your mother and
you are my pride, no one but Juno is a greater goddess, and
even now someone presumes to doubt my powers and
worship will be prevented at my altars, unless you help me,
my children.’ ” In mythology, Diana was associated with the
Moon, as her twin brother Apollo was associated with the Sun.
This twinning, although based on a sexual difference,
symbolizes their complementary places in the cosmic balance.

According to Ovid, Latona was wandering the earth with her

newborn twins when she attempted to drink water from a
pond. The peasants there refused to allow her to do so by
stirring the mud at the bottom of the pond. Latona turned Latona and her children, Apollo and Diana, French etching of 1694 by
them into frogs for their lack of hospitality, forever doomed to Simon Thomassin (ca. 1652–1732) of the sculpture by Balthazar Marcy (1628–1674)
swim in the murky waters of ponds and rivers. This scene is and Gaspard Marcy (1624–1681), from Recueil des Figures, Groupes, Thermes,
represented in the central fountain, the Bassin de Latone, in the Fontaines, Vases, Statuës & autres Ornemens tels qu’ils se voyent á present dans
le Château et parc de Versailles, gravé d’après les originaux.
gardens of Versailles. The choice of such a myth for the central
Par Simon Thomassin, Paris, 1694. Collection of Gilbert Blin.
spot of the gardens is an allusion to the difficult Regency for
the mother of Louis XIV, to the “Fronde”—the uprising of the decorate the bedroom of the Sun King in his Parisian castle of
nobility against the queen regent—and to the ultimate victory Tuileries. The writer Félibien describes how the paintings of
of the French monarchy. The Parterre of Latona was designed Mignard “from the story of Apollo befit the Sun, and besides,
by André Le Nôtre and built when the idea of making they are emblematic images of the beautiful actions of the king.
Versailles the center of power was still being developed; in […] The story of Niobe shows the inevitable downfall of those
1686, Jules Hardouin-Mansart adjusted the Latona Basin by who fail to keep the respect they owe to the sacred person of
elevating the central sculpture by the brothers Marcy with such a powerful monarch.” Le Brun used this same symbol in
three levels of marble, placing it so it faced in the direction of his first project for one end of the “Grande Galerie de
the Grand Canal where Apollo in full adulthood emerges Versailles,” known today as the Hall of Mirrors, which was to
triumphantly from the water on his chariot. This use of the become an allegorical temple to the Sun King.
space in the garden was itself an allegory of the coming of age
of the Sun King. The choice of Niobe as a subject for the entertainment of
Maximilian Emanuel in Munich can also be read in the same
Niobe’s tale, as part of the story of Apollo, was also chosen to allegorical way. In his dedication, printed at the beginning of

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his libretto of 1688, Orlandi reworks the Apollonian emblem The figure of king Anfione is represented as a disturbed
and compares Maximilian Emanuel and his wife to “two character wishing for a life of contemplation and willing to
living suns in the great Firmament of Bavaria” who dispense renounce the throne in favor of his wife Niobe. Although he
their beneficial “Rays” on the whole world. Orlandi makes his is a great musician, he is shown to be a bad ruler who wants
point by attributing the sun—“the greater Light today, like a to flee from his duties. Orlandi changes the episode of the
symbol of your supreme Attributes”—to the Prince Elector. erection of the walls of Thebes: far from being due to the
musical excellence of Amphion, their building is mostly due
to Jupiter answering the prayer Anfione addresses him as his
III father. The suicide of the king at the end of the opera is not a
Three Princes heroic act, but shows rather a man who puts his personal grief
above his responsibilities. Amphion is a counterexample to
Orlandi’s dedication offers some keys to the allegory but, in his that of a good ruler, lacking two of the qualities—modesty and
drama, the poet creates more allusive references to the Prince courage—that Orlandi attributes to Max Emanuel in his
Elector. Although the sons and daughters of Niobe and dedication.
Anfione are an essential part of their story, the source of
Niobe’s pride, and the cause of her downfall, Orlandi added A Pastoral intrigue balances the tragedy: under the protection
three subplots to the original story of Niobe and her children of Diana, goddess of the Hunt, the foreign prince Tiberino, a
as told by Ovid. These subplots depict the characters of three kind of Hercules on his quest for glory, falls in love with
princes—Anfione, Tiberino, and Creonte—and their royal Manto, daughter of the high priest Tiresia. The prince courts
destinies. her during the course of the opera, marries her, and at the end
leaves with her to go back to his native country. Like the forest
of the Temple of Latona where they meet, these characters are
shown as pure, devoted, and true to their faith, and Tiberino
himself as courageous and courteous, two princely qualities.
But it is the third subplot that reveals a precise link between
Maximilian Emanuel and Niobe, Regina di Tebe. Having some
rights to the Theban throne, Creonte, crown prince of Thessaly,
is on a quest to conquer Thebes. Creonte is first seen under
the spell of his ally, the magician Poliferno, who sends him an
enchanted dream causing him to fall in love with Niobe. While
his armies are approaching Thebes, Creonte appears to Niobe
as the god Mars, flattering the high opinion Niobe has of
herself. The intervention of the real gods over the city of
Thebes gives victory to his army, as the gods have destroyed
the new walls of the city: Creonte enters Thebes victorious,
and is awarded palm branches, as a symbol of his triumph,
and laurels, a plant associated with Apollo, which is used to
crown the victorious. His first actions as a good ruler are to
banish the bad magician, to bless the union of lovers, and to
forgive the old nurse.

With the character of Creonte, Orlandi gives a new twist to the

allegory in his libretto: In the 1680s, keeping in mind that the
entire Bavarian court was aware of the well-established
symbolic relationship between Apollo/sun and Louis XIV, he
creates in his drama a more vivid parallel between Creonte
and Maximilian Emanuel; indeed, in his dedication, he alludes
to the military exploits of the Prince Elector and praises also
the modesty of Max Emanuel in his glorious victories, “That
which all admire in him, he alone does not see himself,” which
he conveniently opposes to the pride of Niobe. In his praises
and his portrayal of the character of Creonte, Orlandi follows
what seems to be the official propaganda for the persona of
Max Emanuel. All representations show the Prince Elector in
Frontispiece of the funeral oration of Maximilian II, Munich, 1726. military apparel, in an attitude of both command and energy.
Collection of Gilbert Blin. A statuette of Max Emanuel by one of his favorite artists, the

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sculptor Wilhelm de Groff, portrays him in full armor and long
cloak, standing at ease, right foot forward in what on stage
would have been the position of the victorious Creonte. His
left hand is on the hilt of his sword, and the right holds the
Marshal’s baton of commander in chief as if giving an order.
This is a picture of a victorious military chief whose clear
attributes are courage and control, two qualities to which a
noble soldier should add clemency or magnanimity toward
the vanquished. Maximilian Emanuel’s fame grew and spread
in these years; later, in the oration after his death in 1726, the
Elector of Bavaria was called Der Großmüthige (“The
Magnanimous”) Maximilianus II. This quality, attributed to
Creonte, was important to display in front of Max Emanuel at
the very beginning of 1688.

IV
Four Cities
A new key is given by the full title of the opera: Niobe, Regina
di Tebe. As there is no other famous character called Niobe in
history or myth, the subtitle is not needed for clarity. Rather,
Victory, German etching by Melchior Küsel (1626–1683) after
the royal status immediately links the title character with the
Johann Wilhelm Baur (1607–1641). Collection of Gilbert Blin.
place of the action, Thebes. This precision speaks to the
collective imagination and the memory as the city of Oedipus
queen to “l’Asiana Superbia,” the proud Asia. The Great
was since the beginning of time a city of maledictions. The first
Turkish War had started in 1683 and would not end until
king of Thebes was Cadmus, after whom the city was
1699.
originally called Cadmeia. Juno cursed the city after her
husband Jove consorted with Europa, the sister of Cadmus.
When the Turks besieged Vienna in 1683, the Bavarian elector
Actaeon, the great son of Cadmus, would be a victim of this
came to the aid of the Austrian emperor, his future father-in-
curse: while hunting, he was transformed into a stag by Diana,
law. With Bavarian assistance, they succeeded in taking Vienna
and torn to pieces by his own hounds.
from the Turks. Through his great courage, Maximilian
Emanuel earned a reputation as an outstanding commander.
But the story of Thebes, as a city, started when the king
The Holy League was initiated in 1684 by Pope Innocent XI,
Nycteus had a daughter named Antiope who fled Thebes to
and by 1686 it consisted of the Holy Roman Empire, the
evade her father’s wrath after finding herself pregnant with
Polish-Lithuanian Commonwealth, the Venetian Republic,
twins by the god Zeus (Jove). A nearby king welcomed
and the Russian Tsardom. The Holy League and the Ottoman
Antiope, and Nycteus declared war against his neighbor, but
Empire were fighting for territory in the east of Europe, and
was defeated; his brother, Lycus, took the Theban throne. The
Max Emanuel was one of the leading figures among the
new king of Thebes waged war to avenge his brother, and was
military commanders. The Prince Elector took a big part in
victorious; Lycus and his wife Dirce took their niece Antiope
the campaign of 1686 and was distinguished for his success in
captive, and proceeded to treat her cruelly. Antiope later
the siege of Buda (now Budapest).
managed to escape, and was reunited with her grown twin
sons, Amphion and Zethus. The twins then marched on
In 1687, Venetian forces took Thebes, one of the Ottoman
Thebes, slew King Lycus and his wife Dirce, seized power and
army’s strongholds, and although Maximilian Emanuel didn’t
ruled as joint kings of Thebes. Amphion married Niobe and
take an active part in this encounter, he was himself planning
Zethus married Thebe, after whom the city of Thebes was
a new campaign. After the recent events at Vienna and Buda,
named. Zethus, Thebe, and their only son died soon thereafter.
the city of Thebes past and present served as examples to
The story of Niobe, Regina di Tebe starts a few years later.
inspire Max Emanuel: Belgrade was to be the theater of the
Prince Elector’s most famous military exploit. The Siege of
The city of Thebes didn’t disappear during ancient times; Latin
Belgrade took place in 1688, few months after Niobe was first
hegemony in Thebes lasted until 1458, when the Turks
performed. Belgrade was at that time a part of the Ottoman
captured it. The Ottomans renamed Thebes “İstefe” and Empire, and had been the Ottoman’s chief fortress in Europe
controlled it like they did most of Greece. Orlandi refers to the for just over a century. The forces of Holy League commanded
expansion of the Ottoman Empire and the contemporary by Maximilian II Emanuel laid siege to the city on July 30,
situation when, after describing Niobe as a “gran Mostro della 1688, and subjected it to cannon fire for nearly a month. When
superbia”—great monster of pride—he compares the haughty

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his offer to allow the Turkish garrison to surrender was

refused, an event that gained him the title of “Magnanimous,”
Maximilian ordered an assault on September 6. Maximilian,
like Creonte in Niobe, Regina di Tebe, drove the garrison from
the walls and entered the city, victorious. The occupation of
Belgrade by the League forces was the turning point of the
Great Turkish War, which was mainly a religious war between
Christian and Muslim forces.

V
Five Religions

With its mix of mythology, allegory, and history, Niobe, Regina

di Tebe is rich with possible interpretations, but it remains a
drama where the action revolves around a religious conflict,
between Niobe and Tiresias. The story of Tiresias is told by
Ovid: in a forest near Thebes, Tiresias stumbled upon a pair of
mating snakes; he hit the pair with his stick and was changed
into a woman. Being a woman, Tiresias became a priestess,
married, and had three daughters: Manto, Historis, and
Daphne. After seven years as a woman, Tiresias again found
mating snakes; by hitting them once more, he was permitted
to regain his masculinity. Tiresias, being the only person who
had lived in both a man's and a woman's body, was the best Pope Innocent XI, French etching from the eighteenth century.
arbiter of a dispute between Juno and Jupiter, the latter of Collection of Gilbert Blin.
whom stated that “In Venus deeds, The Female’s pleasure far
the Male’s, exceeds.” Tiresias confirmed Jupiter’s words and 1685, putting an end to the tolerance of Protestants that his
Juno, it is said, was so upset that she damned the one who had grandfather had established in 1598. The beginning of the
made the judgment to endure eternal night. As no god has the persecution of the Protestants in France led to a huge exodus
right to void what another god has done, Jupiter could not of Huguenots to the north of Europe and to North America.
restore the priest’s sight; instead, he gave Tiresias the In England, the Catholic king James II loses his throne in 1687
knowledge of the future, in exchange for his loss. and is replaced by Protestants William III and Mary II. Bavaria,
a stronghold of Catholicism, aimed to stop Protestantism from
The destiny of Tiresias is clearly presented as a series of spreading and became one of the centers of the Counter-
initiations making him the custodian of a special gift and this Reformation.
is why, as a blind seer, his character appears in several Greek
stories and tragedies based on the legendary history of Thebes. Even though busy opposing the Ottoman Empire, the
Following the examples of Euripides, Sophocles, and countries of central Europe also needed to consider domestic
Aeschylus, Orlandi gives Tiresias a role in his “drama per affairs, especially spiritual movements, as religious dangers
musica.” But in Niobe, Regina di Tebe, although Tiresias could also come from inside. The stage, as was customary in
retains his power of prophecy, he is also the high priest of Jesuit Theater, could offer a moral lesson, and the terrible effect
Latona. His daughter is also devoted to the goddess and to her of Niobe’s religious reform was a reminder to Max Emanuel
children Apollo and Diana. Orlandi cunningly opposes the to be vigilant in his own dominion. The five principal religions
“paganism” of Niobe, who orders her people to revere her in the Occident at the time—Jewish, Orthodox, Catholic,
family as gods, to the “orthodoxy” of Tiresias and Manto, who Islam, and Reformed (Protestant)—were all struggling for
both reject this “blasphemy.” This religious debate is not just expansion and the right to practice their faiths. But while the
an exchange of theory; it precipitates some of the most violent struggle against the Turks had united Christianity for a while,
scenes, bringing the opera to the proportions of a biblical the Protestants themselves had gained a foothold in
drama: curse of the Prophet, sack of the Temple, and slaughter Switzerland, Germany, England, Holland, and France. New
of the unfaithful. This opposition by those adhering to the old Catholic orders were created by the Church of Rome to
faith to the reformed religion desired by Niobe has clear zealously combat the teachings of the Reformed religion.
parallels to the determination with which the Catholic faith
opposed the newer Protestant one. In the years leading up to Agostino Steffani, the composer of Niobe, was a member of
the opera, religious tensions in Europe rose to extreme levels. such a religious order. A priest himself since 1680, he belonged
In France, Louis XIV issued the edict of Fontainebleau in to the order of the Theatins, and his missionary work in the

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North of Germany was later to become his principal pastoral
activity. Founded in Rome in 1524, the main object of the
Theatin order was to recall the clergy to an edifying life, which
would serve as an example for the laity, and thus a way to
balance the Reformation. Supported by Pope Innocent XI, the
Theatins founded oratories and hospitals, and devoted
themselves to preach the Gospel and reform lax morals. In
Bavaria, the Theatine Church St. Kajetan was founded by
Elector Ferdinand Maria and his wife, Henriette Adélaïde of
Savoy, as a gift of thanks for the birth of the long-awaited heir
to the Bavarian crown, Maximilian Emanuel, in 1662. The
dynastic continuity was essential for the monarchy, and
Orlandi makes this obsession an important part of Niobe’s
character.

VI
Six children
The children of Niobe were so numerous they were called the
Niobids, and the exact number differs in the many ancient
sources available to us. In Homer’s Iliad, like in Orlandi’s
libretto, they are twelve (six boys and six girls): “For even the
fair-haired Niobe bethought her of meat, albeit twelve children
perished in her halls, six daughters and six lusty sons. The sons
Apollo slew with shafts from his silver bow, being wroth
against Niobe, and the daughters the archer Artemis [Diana],
for that Niobe had matched herself with fair-cheeked Leto
[Latona], saying that the goddess had borne but twain, while
herself was mother to many; wherefore they, for all they were
but twain, destroyed them all.” According to Sophocles’s The death of the Niobids
Antigone, Apollodorus’s Library, and Ovid’s Metamorphoses, Dutch etching by Bernard Picart (1673–1733), Amsterdam, 1731, from the Temple
they are fourteen children, seven boys and seven girls. In of the Muses (Neu-Erofneer Musen-Tempel), Chatelain, Amsterdam and Leipzig,
1733. Collection of Gilbert Blin.
Hesiod’s Catalogue of Women, they are eighteen. In all
variations, an even number results in an equal quantity of boys of his sister by marrying himself to an Austrian Princess. As
and girls, as the number of Niobe’s children needs to speak to Maria Antonia was also a niece of the Spanish king, the
the imagination. Seneca, in his tragedy about Oedipus, gives offspring of this union could give the Bavarian house a claim
another beautiful poetic twist to the number by saying that to the throne of Spain.
Niobe flattered her vanity over her children by also counting
their shadows. When Steffani and his brother, poet Ventura Terzago, created
the ballets for Servio Tullio for the Carnival of 1686, the first
This emphasis on a large number of offspring is not only the one to be celebrated in Munich by the newlywed couple, they
stuff of myth, but it was also the measure in the 1680s. France showed their sense of allegory: in the first Ballet a number of
was a prime example: Louis XIV had a numerous family and gods, each more flattering to the couple than the one before,
was very proud of it. By tradition a large quantity of children appear on a cloud machine. The gods announce a wondrous
was a clear expression of virility and fertility, which was horoscope for the royal couple including the prediction of
appealing to the imagination of the people. But from a dynastic twelve children, which then, as in a vision of the future, appear
perspective, after producing an heir, a large number of as twelve dancers—six men and six women—on the stage. The
offspring allowed for the opportunity to create a large network horoscope was not at all farfetched, as Max Emanuel went on
of alliances through unions between the children of royal to have fourteen children with his two wives and his mistress.
families. Indeed, in 1680, the French crown prince, The Grand Of the fourteen children, seven died at an early age. In 1688,
Dauphin, married Maria Anna Victoria, Max Emanuel’s infant mortality was still common, even in the highest class of
sister—the link between France and Bavaria was strong. Louis society. The killing of the Niobids by Apollo the sun and Diana
was hoping Max Emanuel would return the gesture and marry the moon may also been a cruel allegory of the death of
a French princess, but the Prince Elector was keen to keep a children in one day and in one night. Seventeenth-century
kind of independence and decided to balance the French union commentators remind us that Cicero, reflecting on the final

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event of the myth of Niobe, wrote that the metamorphosis of Anfione’s abilities as a musician surpass his fame as a king: it
Niobe into a rock was nothing but an allegory of a woman is said that his singing raised the walls to protect the city of
whose grief has made her mute and insensitive. Thebes. Stones were moved by the beauty of the music and
got moved by its power of attraction, and this motion was
ordered: buildings were taking shape. Some who were trying
VII to explain the meaning of the fable of Amphion, who built the
Seven chords walls of Thebes by the sound of his lyre, said that in truth he
was an excellent musician, but there was not much magic
If Niobe’s reason for ambition to godliness is her fertility, her involved: having a plan to build a town, he employed all those
husband Anfione is, through his musical skills, also close to who were coming from very far to hear him, and they all
the gods, as at the beginning of time the first musicians were obeyed him gladly, if only he would touch the strings of his
the gods. Hermes created the lyre with three strings, which he lute. Lyre or lute, magic or talent, the power of his music was
gave to Apollo, who added four more. The god of the arts architectural: the seven strings of his lyre corresponded to the
extracted such harmonious sounds from it that the gods forgot seven gates of Thebes.
their quarrels on Olympus. Hermes made for himself the
Shepherd’s pipe, and Pan invented the reed flute with its In Niobe, Orlandi and Steffani clearly chose to modify this
enchanting music. Only a small number of mortals, whose art part of the story: although the creation of the walls of Thebes
was out-standing, could measure themselves with those divine is precipitated by Anfione, they appear during his prayer to
practitioners. After Orpheus, the most renowned, comes the Jupiter, his father, and are mostly due to the protection of the
name of Amphion. Like his half-brother Apollo, he also god. Steffani reserves the depiction of the supreme talents of
received his lyre from Hermes. And like Apollo, when Anfione for another scene: a contemplative moment where the
Amphion married Niobe, the daughter of Tantalus, the Lydian king is studying the harmony of the spheres: the complex order
king, he learned to play in the Lydian mode, a particular tuning which controls the universe. Musica universalis, or music of
of the diatonic scale, by adding four strings to his lyre. the spheres, is a philosophical concept that regards proportions
in the movements of celestial bodies—the sun, the moon, and
the planets—as a form of music. This “music” was not usually
thought to be literally audible, but of a mathematical nature.
The fact that mathematics and music are related was clear to
the Greeks, and the laws of the cosmos and of music have been
compared by Pythagoras. Music was included in the
“quadrivium,” subjects that are driven by logic: arithmetic,
geometry, astronomy, and music. This concept of a number
theory would also have been present in the education of Max
Emanuel, which was essentially entrusted to the Jesuits, who
have always included astronomy and music in their
curriculum. In 1670, the Jesuit Father Michael Pexenfelder
dedicated to the eight-year-old prince more than a thousand
pages of Apparatus eruditionis, a compendium that offered,
along with Arithmetica and Geometria in concise form, the
basic concepts of Musica and its notation.

By placing the music of Anfione in relation to Astronomy

instead of Architecture, Orlandi expands the allegory. Steffani
refines this moment further by writing a complex musical
number where the singing of Anfione is accompanied by the
sound of four viols hidden on stage. In creating such a spatial
effect, Steffani seems to indicate that Anfione is “playing” his
lyre and that the music we hear (played by the hidden viols) is
his doing. The distance between the lyre with seven strings and
the Renaissance string instrument is mostly a matter of time,
Amphion, French etching by Louis Gaultier (1561–1635) and in much of the pictorial legacy of the myth, Amphion is
after Antoine Caron (1520 or 1521–1599), from Les Images ou Tableaux de shown playing a string instrument with a bow. It was quite
Platte-Peinture des deux Philostrates Sophistes mis en français par Blaise de characteristic for figures like Orpheus and Amphion to be
Vigenere bourbonnois enrichis d’arguments et d’annotation... et représentez en depicted with a modern equivalent of the ancient lyre, either a
taille douce en cette nouvelle edition avec des épigrammes sur chacun d’iceux par lute or a lira. Although a seventeenth-century engraving seems
Thomas Artus sieur d’Embry, Paris, Guillemot, 1637. Collection of Gilbert Blin. to have Amphion playing a vihuela de arco, the artist was

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likely attempting to describe a lira da braccio, the Renaissance added the character of Il Tempo (Father Time), and wrote a
instrument closely associated with Orpheus and with dialogue between Anfione and Il Tempo. More than twenty
recitations of poetry by humanists. This type of lira, a seven- years after Niobe, Regina di Tebe, Torri was paying homage
string chordal instrument played with a bow, died out in the to its timeless expression of the Harmony of the Spheres,
early seventeenth century, and in 1688, when Steffani chose associating the fame of Amphion, the mythic musician of the
to evoke its sound to depict Amphion’s lira, it was an attempt, antiquity, with the art of Steffani, the influential composer of
supported by the illusion of the music from the hidden viols, the reign of Maximilian Emanuel. This new context, created
to reconstruct the mythical sound of the antique lyre. by extracting this extraordinary piece of music from its
original dramatic setting, was freed from the tragic ends of
This scene of Amphion and the harmony of spheres was, in Amphion and Niobe, bringing it back instead to its original
the context of Niobe, an expression of the intellectual allegory of the eternal power of music. !
ambition of Amphion, and it made a great impression on
Pietro Torri, a composer who arrived in Munich in 1687. —Gilbert Blin
Later, in 1716, Torri presented Max Emanuel with the cantata BEMF Stage Director in Residence
La Reggia dell’Armonia, in which Anfione’s solo aria with its
quartet of hidden viols is interpolated completely and without
modification. To make his cantata about Harmony, Torri

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Niobe, A Choreographic the courtiers to cast Max Emanuel as “Amor-Guerriero”—

Love, the Warrior—but the title did not stick. Once he took
Journey over his official duties as Elector, he ceased performing
publicly.
There is very little surviving information about the original
dances of Agostino Steffani’s Niobe, Regina di Tebe, Henriette Adélaïde was instrumental in importing the
excepting that found in the original libretto. It is from this French style of dancing to the Bavarian Court. In 1666,
document that Carlos Fittante and I gleaned the first clues Jacques Rodier was hired to teach dancing to the royal
of how to proceed in this otherwise mysterious journey of children and courtiers, and to create new ballets for court
re-creation. Needless to say, this leaves the choreographers entertainments. There is scant biographical information
with more questions than answers and that is, in fact, the about Rodier, but his name appears in the illustrious cast
most exciting part of our job. of the famous Ballet Royal de la Nuit (1653), which also
included a fifteen-year-old Louis XIV. Jacques passed away
In general, the act of choreographing is largely based on sometime in 1680, and his son François was sent to Paris
creative problem solving; add to this the detective work to study with French dancing masters in preparation for
required of researchers, and one has an inkling of the taking over his father’s appointment at court. Returning to
rewarding but complicated process of recreating the the court in 1683, the younger Rodier began preparing for
intricate and exquisite art of Baroque dance. In the festivities surrounding the royal wedding of
choreographing the dances, we have tried to honor the Maximilian Emanuel to the Austrian Princess, Maria
clearly existing French influence at the Bavarian Court of Antonia. Steffani’s Servio Tullio (1686) was a part of these
Maximilian II Emanuel, while also incorporating the celebrations, and the descriptions of his choreography that
opinions and suggestions of the German dancing masters have survived from that opera detail a pleasing variety of
whose works would follow in the first quarter of the effects, including a scene with twelve dancers representing
eighteenth century. the bountiful future offspring of the royal couple, a ballet
on youth and beauty, and a grotesque divertissement with
One of the first ballets at the court of Bavaria was created music in the Renaissance style. The ballets François created
to celebrate the marriage of the Prince Elector Ferdinand for Niobe have been lost, but records show that the
Maria to Henriette Adélaïde of Savoy, in 1651. The Carneval season of 1688 was busy in terms of dancing,
tradition of the court ballet was cultivated in Henriette including the ordering of twelve long wigs, à la Louis XIV,
Adélaïde by her mother, Christine-Marie (sister of Louis for his new dance troupe of male courtiers. He maintained
XIII of France), and she enthusiastically brought this form his position at the court until his death, but it is unclear
of spectacle with her to Munich. These entertainments, what his duties were between the years 1692 and 1715, the
composed of songs and dances and featuring elaborate set period of intermittent exiles for Max Emanuel and his
designs, were initially frowned upon by her new family, but court.
once Henriette Adélaïde bore her first son, Maximilian II
Emanuel, the atmosphere at court brightened considerably. Despite the Bavarian court’s various uprootings, Max
It appears that the casts of these first ballets were mainly Emanuel continued his mother’s practice of hiring French
female, and the subject matter was conceived by Henriette dancing masters. In 1715, he brought Jean-Pierre Dubreuil
Adélaïde herself. Giovanni Maccioni, a poet and composer, with him on his return to Munich, giving him the title of
wrote the libretti and music, and the dances were created “compositeur de ballets de Cour.” Dubreuil was
by Emanuele Somis, a dancing master brought from the particularly renowned for his role as Scaramouche; a
Savoy court. surviving engraving attests to this. There also exists a
manuscript of Dubreuil’s choreographies from around
The court ballet in Munich, just as in France, was a family 1718 and 1730; the collection includes danses à deux as
affair. Henriette Adélaïde performed alongside her children well as figures for country dances. Dubreuil dedicated these
in mythological epics, replete with gods and cloud dances to the Bavarian Court, and they are appropriately
machines, and Louis XIV was held up as a model to the titled: “La Bavaroise,” “La Palantine,” and so on. We have
young Elector-to-be. Both he and his mother were avid used some of these choreographies as inspiration for the
dancers, and as a lover of all things pleasurable, Max dances you will see this evening.
Emanuel was said to have danced hours at a time, allowing
no interruptions. Given his nature, it was perhaps The dance music for Niobe has also been lost, but we
appropriate that his first dancing role (at the tender age of know from the libretto the placement and character of the
six) was that of Amor for the 1669 Carneval festivities. In ballets, as well as the composer of the ballet music, one
the hopes of developing his own cult of personality in the Melchior d’Ardespin. A cornettist and orchestra director
style of Louis XIV’s “Sun King”, there were attempts by for the Bavarian Court, d’Ardespin taught music to Max
Emanuel and brought the French style of playing to the

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NIOBE, REGINA DI TEBE

court; thankfully, some of his compositions from other François Rodier may have met or studied with on his trip
productions have survived. It is from these surviving works to Paris. Noting its importance to the art of dance, the
that we have chosen the music for the ballets at the end of German dancing master, Gottfried Taubert, included a
Act I (Ballo de Cacciatori), Act II (Ballo de’ Pastori), and German translation of Feuillet’s treatise in his own tome,
for the Adoration dances in Act II, Scene IV. The final Rechtschaffener Tantzmeister (The Worthy Dancing
chaconne in Act III, added for the Ballo di Soldati Master, Leipzig, 1717).
Festeggianti, was composed by Steffani himself for Enrico
Leone (1689). Again, in the style of the French, ballets were Interestingly, in the first quarter of the eighteenth century,
called for at the end of each act, and d’Ardespin’s music many dance treatises were published in German by
was written in the French style. There are also arias within German, Italian, and French dancing masters, perhaps
the opera that lend themselves beautifully to signaling a rise in the popularity of dancing at the German
“divertissement” moments; whenever appropriate, we have courts. Amongst the surviving treatises are an interesting
included dance in those scenes. array of authors and perspectives on theatrical and
ballroom dancing, including Louis Bonin’s Die neueste Art
In terms of our choreographic aims, we first investigated zur galanten und theatralischen Tantz-Kunst (The newest
the apparent French influence at Max Emanuel’s court; we way of going about the galant and theatrical Art of Dance,
particularly looked to the French theorists and dancing Frankfurt, 1711), Gregorio Lambranzi’s Die neue und
masters of the seventeenth and early eighteenth centuries. curieuse theatralische tantz-Schul (The New and Curious
Along these lines, we are indebted to the wonderful School of Theatrical Dancing, Nuremberg, 1716), and
research by Carol Marsh and Rebecca Harris-Warrick on Taubert’s treatise, already mentioned above.
Jean Favier’s choreography for Le Mariage de la Grosse
Cathos (1688). It is unusual to have so much information We were specifically interested in what these dancing
about the original choreography from a particular masters had to say on the differences between la belle
spectacle, and especially fortuitous that this comic danse, or ballroom dancing, and le ballet sérieux, the
masquerade was created in the same year as Niobe, albeit serious and theatrical style of dancing. Both Bonin and
in France. Through their detailed study we gained insight Taubert wrote about what steps were more appropriate for
into what steps and step patterns were in practice that year le ballet sérieux and their suggestions included complex
as well as ideas for spatial patterns for the group enchâinements (linked steps) and higher jumps, as well as
choreographies. the usage of higher movement of the arms. We have
incorporated these ideas while also placing emphasis on
We have also turned to Raoul Auger Feuillet’s our desire that each of the dancers’ steps and gestures be
Chorégraphie, ou l’art de décrire la danse (Paris, 1700), an representative of the characters and passions they will
indispensable guide for today’s early dance specialists as portray on the stage—our poetic ode to the ideals and
well to the dancing masters of eighteenth-century Europe. wishes of the early dancing masters who prized invention,
Feuillet’s book not only instructed the reader how to proportion, and spectacle in their own works. !
decipher the system of dance notation most widely used
and published in the eighteenth century, but included —Caroline Copeland
choreographies from Guillaume-Louis Pécour, whom

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timeline

Historical Timeline of Niobe and Polish armies including the Bavarians under
Maximilian II Emanuel.
Cultural and political events which help to place Blow’s Venus and Adonis (BEMF 2008) thought
Niobe in its true surroundings to have premiered in London
1643 Monteverdi’s L’incoronazione di Poppea (BEMF 1684 Pope Innocent XI forms the Holy League with
2009), with a libretto by Busenello, premiered in the Habsburg Empire, Venice, and Poland to
Venice oppose the Ottoman Empire.
Charpentier’s Actéon (BEMF 2008) first performed.
1647 Luigi Rossi’s L’Orfeo (BEMF 1997), with a
libretto by Buti, premiered in Paris 1685 Solone, Steffani/Terzago
February: Birth of George Frideric Handel (d.
1654 July: Birth of Agostino Steffani at Castelfranco, 1759)
Veneto March: Birth of Johann Sebastian Bach (d. 1750)
1662 Ercole Amante (BEMF 1999), Cavalli/Buti, July: Wedding of Maximilian Emanuel and Maria
premiered in Paris Antonia of Austria
July: Birth of Maximilian II Emanuel Charpentier’s Epithalamio in lode dell’Altezza
Serenissima Elettorale di Massimiliano Emanuel
1666 January: Steffani, age 11, travels to Venice to sing Duca di Baviera (H 473) performed in Paris to
in Demetrio, Carlo Pallavicino’s first opera honor the wedding of Maximilian Emanuel of
Bavaria
1667 July: Steffani, just turned 13, travels to Munich October: Louis XIV issues the Edict of
to enter the service of the Elector of Bavaria Fontainebleau, making Protestantism illegal in
France.
1669 Melchior d’Ardespin is employed as a cornettist
October: Birth of Domenico Scarlatti (d. 1757)
at the Bavarian electoral court at Munich
1686 Servio Tullio, Steffani/Terzago, with ballets by
1672 Steffani goes to Rome to study with Ercole
Melchior d’Ardespin
Bernabei
The League of Augsburg is formed to resist the
1675 Steffani is appointed court organist at Munich expansion of Louis XIV, consisting of the Holy
Thésée (BEMF 2001), Jean-Baptiste Lully’s third Roman Empire, the Netherlands, Sweden, Spain,
opera, with a libretto by Quinault, premiered in Bavaria, Saxony, and the Palatinate. Innocent XI
Paris plays a major role in its formation.
Armide, Lully/Quinault, premiered in Paris
1676 Benedetto Odescalchi is elected Pope Innocent XI Charpentier’s opera La Descente d’Orphée aux
Enfers (BEMF 2011)
1678 Steffani travels to Paris; probably meets Lully and
hears his opera Bellérophon 1687 Alarico il Baltha, Steffani/Orlandi, with ballets by
Lully’s Psyché (BEMF 2007), with a libretto by Melchior d’Ardespin
Thomas Corneille, premiered in Paris André Le Nôtre finishes the park of the castle of
Versailles (started in 1662).
1679 Elector Ferdinand Maria of Bavaria dies, and is Lully’s Thésée performed in French in
succeeded by his son Maximilian II Emanuel Wolfenbüttel
March: Death of Jean-Baptiste Lully
1680 Steffani ordained as a priest.
The Venetian navy attacks Turkish strongholds in
Wedding of Louis, Dauphin of France, and Maria
Greece.
Anna Victoria of Bavaria, sister of Maximilian
The Parthenon in Athens is damaged when
Emanuel
Venetian mortar fire explodes a Turkish powder
1681 Steffani’s first opera, Marco Aurelio, with a magazine housed in the building
libretto by his brother Ventura Terzago, Melchior d’Ardespin is appointed director of the
premiered in Munich court orchestra of Munich

1682 Louis XIV of France moves his court to Versailles 1688 Niobe, Regina di Tebe (BEMF 2011),
Steffani/Orlandi, with ballets by Melchior
1683 July: A 140,000-man Ottoman force arrives at d’Ardespin
the wall of Vienna. Steffani becomes Kapellmeister at the court of
September: Battle of Vienna; the Ottoman siege is Hanover
broken by a combined force of Austrian, German, Dido and Aeneas (BEMF 2010), Purcell/Tate,

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NIOBE, REGINA DI TEBE

performed at the Josiah Priest school in London 1703– Handel performs in the second violin section of
Maximilian II Emanuel takes Belgrade from the 1706 the Gänsemarkt Orchestra under Keiser and
Turks. Mattheson, and composes his first three operas
November: Louis XIV declares war on the for Hamburg.
Netherlands. The Nine Years’ War begins in
Europe and America. 1706 Handel leaves for Rome, carrying scores of
several operas by Keiser and (probably) Steffani,
1689 Enrico Leone (BEMF 1989), Steffani’s first from which he borrows arias over the course of
Hanover opera, with a libretto by Ortensio his career. Within a few months of arriving in
Mauro, premiered Rome, he acquires a volume of Steffani duets that
Lully’s Acis et Galatée performed in French in he will use as compositional models and for more
Hamburg borrowings.
August: Death of Innocent XI.
1708 Antiochus und Stratonica (BEMF 2013),
1690 Melchior d’Ardespin is appointed electoral councillor Graupner/Feind, premiered in Hamburg
1691 Ariadne (BEMF 2003), Conradi/Postel, premiered 1710 Mattheson writes Boris Goudenow (BEMF
in Hamburg to great public acclaim 2005); it is not performed for 295 years.
Purcell’s King Arthur (BEMF 1995), with text by
Dryden, performed at Dorset Garden in London 1718 Handel’s Acis and Galatea (BEMF 2009), with
text by Gay, Pope, and Hughes, is first performed
1695– Six Steffani operas, presented a few years earlier
1699 in Italian in Hanover, are performed in German 1726 February: Death of Maximilian II Emanuel
translation in Hamburg
1728 February: Death of Agostino Steffani !

—Paul O’Dette, Stephen Stubbs, and Gilbert Blin

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2011 boston early music festival
synopsis

notes on our edition of

Niobe, Regina di Tebe
A total of nine original sources were used in making our Steffani, we felt it was important to select dances by the
performing edition of Niobe, two libretti and seven musical composer of the original dance music. For the final “Dance of
sources. Our primary source for the music was the autograph Celebrating Soldiers,” however, we have used the Chaconne
score in Vienna, with some additional details and corrections from Steffani’s next opera, Enrico Leone of 1689.
gleaned from manuscripts in Schwerin and Munich. While
these three sources largely agree with one another, there are The German libretto also proved quite valuable in that it
occasional pieces of information lacking in the autograph— contains additional stage instructions not included in the
mostly articulations, text underlay, or unclear pitches—that other sources, as well as shedding light on how the Italian text
are more carefully notated in the other manuscripts, both of was to be received by the public. There is no way of
which seem to have been copied around the time of the first determining how closely the German translator was involved
performance. in the preparation of the original production, but from the
details of the stage instructions, it appears that he must have
For the 1688 performances, the original Italian libretto was witnessed rehearsals, if he was not actually a member of the
published, as well as a separate German translation, which production team. Thus the translator’s reading of the Italian
probably functioned as the program book for the Munich text may offer an eyewitness view of the production. At the
audience. These two documents were invaluable in sorting very least, it provided the most important source of
out the text and the stage directions for our edition. There are information about the opera for the audience members who
numerous differences between the text found in the published attended the first performances.
Italian libretto and that used in the musical sources, suggesting
that Steffani was at liberty to change word order, or even After Steffani had composed the score, it was apparently
individual words, where he felt he could create a clearer or decided that the opera was too long, and numerous cuts were
more dramatic effect. The libretto also contains detailed stage made, all clearly indicated in the autograph score, and also in
directions as well as descriptions of the ballets, the music for both the Italian and German libretti. In particular, Act I was
which is lacking in the scores. The libretto indicates that the initially longer than the other two acts combined, and the
dance music was composed by Melchior d’Ardespin, the bulk of the cuts were made there, some of them involving the
orchestra director at Maximilian Emanuel’s court in Munich. elimination of entire scenes. We used those original cuts as the
While d’Ardespin’s dances for Niobe are lost, those he basis of our own pruning, to shorten the opera to a size we
provided for two operas performed in 1690 are extant, and could manage within the schedule of this year’s festival. !
from those we selected movements that seemed to best
represent the ballets described in the Niobe libretto. Since —Paul O’Dette
d’Ardespin’s dances have a flavor distinct from those of

notes on the libretto

and our translation
The translation of Luigi Orlandi’s libretto for Niobe, Regina a multi-line aria. The language of this libretto is enriched by
di Tebe was prepared from the original 1688 Italian text, frequent references and allusions to classical mythology,
although we consulted the German source for clarification of ancient geography, and literary works by Ovid, Homer, Virgil,
some passages. We present the full libretto here, including the Tasso, and the like. These terms are marked with a “†” and
published introductory text. The cuts made for our are explained in a Glossary of Terms on pages 208–209. !
performance are marked with gray shading. Indentations
denote either single poetic lines divided between characters, or —Ellen Hargis

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NIOBE, REGINA DI TEBE

synopsis
Niobe, Regina di Tebe protests vigorously. Niobe will suffer no dissent and throws
the old man to the ground, forcing him to make obeisance to
her husband. Anfione, still in a trance and oblivious to the
Act One conflict, finds comfort in Niobe’s praise. Tiresia is left on the
ground, hurt and alone, where Manto and Tiberino find him
and are appalled by this abuse. They entrust him to the care of
The City of Thebes Tiberino’s companions. Manto takes comfort from Tiberino,
Anfione, King of Thebes, has ruled for many years and is and the young couple explores their feelings for each other.
weary of the pressures of the throne. His wife, Niobe, has Tiberino is touched by Manto’s inexperience, and he resolves
born him many children—her Niobids—and is inordinately to declare himself to her. His companions congratulate him
proud of them. Anfione decides to transfer power to his wife. and tease him about his new love.
To this purpose he calls Prince Clearte back from voluntary
exile to serve as Regent to Niobe. Clearte is reluctant to accept
this rank. Nerea, the nurse to the queen, is aware of the source
of Clearte’s discomfort, and she encourages him to reveal his Act Two
feelings for Niobe. Clearte, left alone, laments his sad state.
The City of Thebes
A Forest on the outskirts of Thebes Poliferno uses magic to hide himself and Creonte in a cloud
Tiberino, a prince from a faraway land, is on a quest for fame so that they can observe Niobe unseen. Clearte and the
and glory. During the course of a hunt, he rescues Manto, a Theban court arrive, still in awe of Anfione’s power and the
young maiden in distress. She is overwhelmed by gratitude, raising of the walls. The Thebans, their confidence renewed,
and introduces Tiberino to her blind father, Tiresia, the High rally to engage the Thessalian invaders, but Clearte struggles
Priest of Latona. Tiresia is also clairvoyant, and reveals that with his unrequited love for Niobe.
Tiberino is the son of a King. Manto is smitten, but declares
that she serves the goddess Latona, and has not yet The queen arrives, and declares her desire to raise Clearte to
worshipped at the altar of Cupid, god of Love. Tiberino is the throne. Clearte is reluctant to defy Anfione, but Niobe
charmed by her naiveté. Left alone, Manto laments her justifies her command by explaining that Anfione has
inexperience and inability to express her feelings. relinquished his royal responsibilities. The king arrives, and
is shocked to see Clearte in his place. Niobe placates Anfione
On their way to Thebes, the magician Poliferno has enchanted by offering him a place more suited to his station, and
Creonte, Prince of the rival state of Thessaly. Poliferno casts a presents a celestial shrine worthy of his godlike powers.
spell that causes Creonte to believe that he is in love with Anfione is beguiled by her plan, and enters the starry vault.
Niobe. The magician rouses the Prince and promises to help The whole court is compelled to make obeisance to their new
him to win the queen and the throne of the kingdom to further god. Poliferno interrupts the idolatry and abducts Niobe.
the cause of Poliferno’s family vendetta against Anfione. Anfione, frightened and alone, laments the disappearance of
his wife.
The City of Thebes
Meanwhile, back in Thebes, Anfione devotes his time to the A Forest on the outskirts of Thebes
study of the Harmony of the Spheres, and Niobe encourages Tiresia, confused, cannot clearly discern the omens, but before
him. Clearte arrives with the news that Creonte’s army is he leaves, he reveals to Tiberino that the prince’s quest will be
invading the country. Anfione reluctantly returns to his royal fulfilled not by success in war, but by other conquests. Manto
duties. Niobe toys with Clearte under the shrewd eye of arrives with her companions, and confesses her affections to
Nerea. Nerea cynically rails about the emotional neediness of Tiberino, but he decides to wait for a better time to reveal his
women. feelings for her. Manto, left alone, is puzzled by his reticence.
Poliferno, disguised as Mercury, leads Niobe through the
Creonte and Poliferno have reached Thebes, and find their way forest. He flatters her by telling her that the god Mars has
through a secret passage into the city. To protect his people, chosen her as his wife. Niobe is ecstatic at this turn of fortune.
Anfione invokes Jove’s help with a hymn, and his prayer causes Posing as Mars, Creonte is able to declare his love for the
walls to rise and encircle Thebes. When she sees this feat, queen. Under Poliferno’s spell, the couple is transported by
Niobe is convinced of her husband’s divinity, and asks the amorous rapture.
people to bow down and worship Anfione as the new Theban
god. High Priest Tiresia is appalled by this blasphemy, and

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synopsis

The City of Thebes The Temple of Latona

Tiresia reveals to the king that he has been deceived by Tiresia celebrates of union of his daughter Manto with
Poliferno’s magic, that Niobe has been abducted by Creonte, Tiberino. The High Priest and his new son-in-law leave
and that these misfortunes are the result of the royal couple’s Manto to her devotions. Niobe sweeps into the temple and
arrogance. Anfione vows to take revenge on the Thessalian boasts of her supremacy over the gods; she then commands
invaders. her followers to destroy the altars of Latona, Diana, and
Apollo. The Queen orders Clearte to prepare a ceremony to
A Forest on the outskirts of Thebes acknowledge her children as gods, and exults in her victory.
Nerea, who has fled the city, finds Manto complaining of her Nerea scolds the followers, pointing out that those who live
amorous suffering. The confused girl rejects Tiberino’s efforts a life of deception will never find true love.
to console her, and the young Prince finds little comfort in the
jaded observations of Nerea. He realizes that he is a prisoner The Square of Thebes
of his love. Nerea preaches her philosophy by lecturing In the great square of Thebes, Clearte leads the Niobids in a
sarcastically about the wiliness of men. triumphant procession, but Diana and Apollo destroy the
walls of the city and strike the children from above, killing
them all. Seeing this, Anfione takes his own life in despair, and
Act Three Niobe arrives as he takes his last breath. She cries out in
horror at the devastating sight of her dead family, but her grief
is so great that she cannot weep. She is turned to stone by her
A Forest on the outskirts of Thebes own torment.
Niobe enjoys the attentions of Mars/Creonte and abandons
herself to sensual oblivion. Their erotic rapture is interrupted Creonte, victorious, enters the city. Free of enchantments, he
by Poliferno, who bursts in to warn Creonte that the Theban exiles Poliferno, blesses the union of Tiberino and Manto, and
army is approaching. Creonte and Poliferno leave in haste; promises a secure future for Nerea. The Thessalians and
the spell is broken, and Niobe is left behind, unconscious. Thebans celebrate their new King. !
Anfione discovers his wife and reveals to her that she has been
deceived, and that her so-called Mars was none other than —Gilbert Blin and Ellen Hargis
their enemy Creonte. Niobe, outraged at having been duped
in this way, blames the gods for this humiliation, and swears
revenge. Anfione loses hope of ever finding peace of mind.

Bo!on Early Music Fe!ival

Extends sincere thanks to

Randolph J. Fuller
for his leadership support of the fully-staged North American premiere of
Christoph Graupner’s

June 8–16, 2013 at Cutler Majestic Theatre in Boston

June 21–23, 2013 at Mahaiwe Performing Arts Center in the Berkshires
Please join BEMF's Friends of Antiochus und Stratonica, the June 2013 Boston Early Music Festival's
fully-staged operatic centerpiece. For more information, please contact BEMF Executive Director
Kathleen Fay at 617-661-1812 or kathy@[Link]. Thank you for your support.

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 festival opera

NIOBE, REGINA DI TEBE

libretto
Translation by Ellen Hargis

NIOBE NIOBE
REGINA DI TEBE QUEEN OF THEBES
Drama Drama
PER MUSICA IN MUSIC
Da rappresentarsi To be performed
ALL’ALTEZZE SERENISSIME FOR THEIR MOST SERENE
ELETTORALI ELECTORAL HIGHNESSES
Di Of
MASSIMILIANO MAXIMILIAN
EMANUELE, EMANUEL,
Duca dell’una, e l’altra Baviera, e dell’alto Duke of the one and the other Bavaria, and of the Upper
Palatinato, Elettore del Sac. Rom. Imp., Conte Palatinate, Elector of the Holy Roman Empire, Count
Palatino del Reno, Langravio di Leictemberg, Palatine of the Rhine, Landgrave of Leichtemberg,
&c. &c. etc. etc.
E DELLA AND OF HER
SERENISSIMA ELETTRICE MOST SERENE ELECTRESS
MARIA ANTONIA, MARIA ANTONIA,
Arciduchessa d’Austria, &c. &c. Archduchess of Austria, etc. etc.
L’Anno 1688. The Year 1688.
Composto da Luigi Orlandi Segretario di S. A. E. Devised by Luigi Orlandi Secretary of H. E. H.
E And
Posto in Musica dal Sigr. D. Agostino Steffani Set in Music by Don Agostino Steffani,
Direttore della Musica di Camera di S. A. E. Director of the Chamber Music of H. E. H.
Con l’Arie per i Balli Del Sigr Melchior d’Ardespin With the Airs for the Ballets by Mr. Melchior d’Ardespin
Maestro de Concerti, & Aiutante di Director of the Court Orchestra & Groom of the
Camera di S. A. E. Chamber of H. E. H.
___________________________________________ ___________________________________________

In MONACO, Per Giovanni Jecklino, In Munich, at Johann Jaecklin,

Stampatore Elettorale. Electoral Printer.

SERENISSIME ALTEZZE MOST SERENE ELECTORAL

ELETTORALI HIGHNESSES

Se l’oppressione del Vitio è lo Spettacolo più gradito da gli If the oppression of Sin is the Sight most pleasing to the
occhi eterni de Numi, non poteva la mia ubbidiente eternal eyes of the Gods, my obedient devotion could not
divotione offrire divertimento più proprio à benignissimi offer diversion more appropriate to the most kindly regard
sguardi dell’Altezze Vostre [Link] [Link] quanto la of your Highnesses, the most Serene Electors, than the
prosternatione d’un Vitio, e d’un Vitio direttamente overthrow of a Sin, and of a Sin directly opposed to the
opposto alla Virtù più pregiata dalle vostre grand’Anime. Virtue most esteemed by your great Souls. Behold therefore

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2011 boston early music festival
 Ecco per ciò dalla famosa Reggia di Tebe risorto sù la the great Monster of pride risen up on the Scene from
Scena il gran Mostro della superbia à provocare i Fulmini the famous Throne of Thebes, to incite Lightning bolts
nelle tremende Destre de Numi, perche servano di Faci from the great Right Hand of the Gods, because they
luminose nel sacro Tempio de vostri Regi Lari, dove il serve shining Torches in the sacred Temple of your
Nume d’una eccelsa Humiltà magnanimamente si adora. Household Gods, where the God of a great Humility is
All’immutabil Gloria di cosí potente domatrice del vano adored generously. To the eternal Glory of such powerful
Fasto, che nel Serenissimo Cielo del vostro Soglio bella più dominion over vain Pride, which in the most Serene
del Sole risplende, innalza Colossi di sestesso l’Orgoglio Heaven of your Royal Seat shines more beautifully than
nella memorabile peripetia di quella infelice Regnante, di the Sun, rises the Colossus of Pride itself in the
cui và publicando con Tromba maestra la Fama: memorable circumference of that unhappy Ruler, of
whom Fame proclaims with her Trumpet:

Et felicissima Matrum And the happiest of Mothers

Dicta foret Niobe, si non sibi visa fuisset. Could have been said to be Niobe, if she had not
said so herself.
—Ovid, Metamorphoses, VI/155

Quinci felicissime Voi [Link] [Link] Altezze, che nell’ Therefore most happy You, Serene Electoral Highnesses,
Altezze appunto del Vostro glorioso Dominio quasi Augelli who by highest charge of Your glorious Dominion, like
di Paradiso havete cent’Occhi aperti sempre alla Fortuna Birds of Paradise have a hundred Eyes, always open to
de Vostri sudditi, ma coperti ad ogn’hora sotto l’Ali d’un the fortunes of Your aforesaid Dominion, but hidden
sapere ammirando, per non mirare gl’immensi Pregi della always beneath the Wings of an admirable wisdom, so
propria sublime Grandezza. Quando un Mondo intero, as not to regard the immense Merit of your own sublime
benche abbagliato, si affissa à gli adorati Raggi di Vostre Greatness. When a whole World, although embattled, is
Glorie, solo da Voi rimangono sconosciuti i Vostri itself affixed by the adored Rays of Your Glory, to You
Splendori; e parmi, che per degno Applauso di Virtù così only Your Splendors remain unknown; and it seems to
rara, e rara Dote de vostri generosissimi Cuori, vadi hoggi me, worthy Applause of Virtue so rare, and the rare Gifts
di Voi decantando il Mondo ciò, che del Sole fû detto: of your most generous Hearts, today the World may say
of you Thus, as was said of the Sun:

Quæ omnes in ipso mirantur, ipse solus non videt. That which all admire in him, he alone does not see
himself.

Et ecco il maggior Luminare hoggi come simbolo de vostri And here the greatest Light today, like a symbol of your
supremi Attributi abbattere con fulminante destra la supreme Attributes, to strike the Theban Royalty with
Tebana Alterezza, rappresentando non meno all’ombre your thundering right hand, no less visible in the
atterrite dell’Asiana superbia i Lampi vittoriosi della shadows, the victorious Lightning of Your acclaimed
Vostra acclamata Possanza. Ma dove à fronte di Voi, che Power terrifies the pride of the Asians. But where, before
siete i due vivi Soli del gran Cielo della Baviera, ardisco You, who are two living Suns of the great Heaven of
con Ali d’Icaro seguire il Volo, che spiega trionfante la Bavaria, do I dare with the Wings of Icarus to follow that
Vostra Fama? Intraprendano l’Aquile sí eccelsa Meta, & Flight which spreads Your Fame triumphantly? The
alla tarpata mia Penna solo sia Meta fortunata il Eagle undertakes so excellent a Destination, and to the
publicarmi con profonda veneratione. quill of my Feather may the only happy Goal be this
publication, with deep veneration.

Dell’Altezze Vostre [Link] [Link]. Of Your Most Serene Electoral Highnesses.

Monaco po Gennaro 1688. Monaco, January first, 1688.

Humilissimo, Divotissimo, Ubbidientissimo servo. Most Humble, Most Devoted, Most Obedient servant,

Luigi Orlandi Luigi Orlandi

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NIOBE, REGINA DI TEBE

ARGOMENTO. ARGUMENT.

Niobe, & Anfione due gran Regnanti di Tebe celebrati per Niobe and Anfione, two great Rulers of Thebes, were
massimi da gli Applausi di tutta Grecia; l’uno per esser rightly famous in all Greece; he because he was the son of
nato di Giove potentissimo Rè di Creta; l’altra per esser Jove, and a powerful king of Crete; she because she was
figlia di Tantalo famosissimo Rè di Frigia. Questa per esser the daughter of Tantalus, a most famous king of Phrygia.
dotata d’animo così grande, e virile, che superando She was endowed such a great and virile spirit, that it
l’ordinaria conditione del Sesso, s’acquisto Nome più che overcame the usual condition of her Sex, and acquired her
di Donna, di Dea. Quello per havere con larga Vena a name more than that of Woman: of a Goddess. He, with
d’Ingegno, e prerogative di Senno cosí legate l’Intelligenze a broad Vein of Genius and preeminent Judgment, had
delle Sfere nella sua Musica, si come negli Affari Politi ci thus bound the Intelligence of the Spheres in his Music,
resa humana, e civile l’incivile Barbarie de Popoli, che just as in political affairs he rendered human and civil the
meritò gl’Attributi non che di Huomo, di Nume. Ma uncivil savagery of the people, so that he merited the
avvenendo, che gran Fortuna conduce sovente à gran Fato; attributes not of man, but of a divinity. But so it is that
resa Niobe per tante Glorie superba, diviene de gli Dei great Fortune often leads to a great Destiny; Niobe,
sprezzatrice, e togliendo il Culto à Latona, Dea da Tebani rendered Proud by so many Glories, became scornful of
adorata, vilipende Manto figlia di Tiresia Indovino, e the Gods, and abolished the Cult of Latona, Goddess
Sacerdote della medesima Dea, mentre da Manto si adored by the Thebans; she insulted Manto, daughter of
procurano à Latona gl’Holocausti dovuti. Vendicano gli Tiresia, a Seer and Priest of this same Goddess, while from
Dei con la Morte i Disprezzi, e colti da improvisa Parca Manto they obtained burnt Sacrifices to Latona. The Gods
tutti i Figli di Niobe, Anfione disperato s’uccide, e Niobe da are avenged by the Death of the Despisers, and by an
gran Dolore oppressa perde la Vita. Manto poscia condotta unforeseen Fate taking all the Children of Niobe. Anfione
dalla Sorte in Italia fù da Tiberino Rè d’Alba ricevuta in kills himself in despair, and Niobe, oppressed by great
Consorte. Sorrow, loses her Life. Manto, then was led by Fate to Italy,
and received as Consort by Tiberino, King of Alba.

Gran Campo hebbe la favolosa Grecia di finger Menzogne It was a great Specialty of fabled Greece to allow some
nel Poetico Racconto di tali successi, onde attribuendo altri Variation in Poetic Recountings of such events, where
al Canto, altri al Suono di Anfione l’erettione delle mura di some attributed to the Song of Anfione, and others to his
Tebe, fece vedere con l’Armi in Mano Latona, & i suoi figli Playing, the erection of the walls of Thebes; they made
Apolline, e Diana à saettare dal Cielo la Tebana superbia, Latona appear with Arms in Hand; and her children
e convertir Niobe in sasso. Apollo and Diana to shoot the proud Thebans from
Heaven, and to turn Niobe into stone.

Interpr. Histor. Metamor. Ovid De Niobe. Historical Interpretation of the Metamorphoses

by Ovid, of Niobe

Si aggiungono li seguenti verisimili. The following likelihoods are added.

Anfione impossessatosi del Regno di Tebe con la Anfione seized the kingdom of Thebes with the defeat of
debellatione di Lico Rè suo Antecessore, si finge, che dal King Lico, his Predecessor, and it is supposed that the King
Rè di Tessaglia congionto di Lico, doppo molti Anni, per of Thessaly, an ally of Lico, after many years, to avenge the
vendicare lo scempio del medesimo, sia all’impensata slaughter of the latter, would have unexpectedly sent
mandato Creonte suo Figlio all’Assedio di Tebe, e che Creonte, his Son, to the Siege of Thebes; and that Creonte
Creonte sii allettato à tal Guerra dalla speranza fattagli was enticed to such Warfare by the hope—implanted by
concepire da Poliferno Prencipe mago d’Attica, di godere Poliferno, Prince and magician of Attica—of enjoying the
il possesso delle bellezze di Niobe, interessato Poliferno à possession of Niobe’s beauty; Poliferno was honor bound
tale vendetta per la consanguinità di Dirce, seconda to such revenge by his kinship to Dirke, second Consort of
Consorte di Lico, fatta ancora morire da Anfione. Lico, also killed by Anfione.

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Che bramando Anfione viver al riposo, libero dal peso del Since Anfione yearned to live in repose, free of the weight
Regno, dichiari Niobe assoluta Regolatrice del Soglio, e le of the Kingdom, he declared Niobe absolute Ruler of the
dia Clearte per effecutore de suoi Decreti, richiamandolo Land, and appointed Clearte as executor of her Decrees,
alla Reggia dalle Selve, ov’egli à molto Tempo vivea, recalling him to Thebes from the Woods, where he had
lontano da quella, per non morir vicino à Niobe, di cui lived for a long Time, far from the Kingdom, in order not
fortemente s’era gia’invaghito, ma senza concepire to die near to Niobe, of whom he was still enamored, but
speranza alcuna di corrispondenza. without any hope of mutual affection.

Che Tiberino non havendo ancora hereditato il Regno Tiberino, not yet having inherited the Throne of Alba
d’Alba dal Padre, portatosi in Grecia per desiderio di from his Father, went to Greece desiring to add to the
propagare le Glorie del suo Valore in Giostre, in Caccie, Glory of his Valor in Jousts, in Hunts, in Wrestling, and
in Lotte, & in altri essercitii militari usati in quei Tempi da in other military exercises used at that Time by the
Greci, finalmente in Tebe s’innamori di Manto, e la Greeks; finally in Thebes he fell in love with Manto,
conduca sua sposa nel Latio. married her, and led her to Latium.

RAPPRESENTATI. PERFORMERS.

Niobe Regina di Tebe. Niobe, Queen of Thebes

Anfione Rè. Anfione, King [of Thebes]
Manto Donzella Tebana figlia di Manto, a Theban maiden, daughter of [Tiresia]
Tiresia Indovino, e Sacerdote di Latona. Tiresia, a Soothsayer, and Priest of Latona
Clearte Prencipe Tebano. Clearte, a Theban Prince
Creonte figlio del Rè di Tessaglia. Creonte, son of the King of Thessaly
Poliferno Prencipe d’Attica Mago. Poliferno, Prince of Attica, Magician
Tiberino figlio del Rè d’Alba. Tiberino, son of the King of Alba
Nerea Nutrice di Niobe. Nerea, Nurse of Niobe

COMPARSE. APPEARANCES.

Di Sei figli, e Of Six sons and

Sei figlie di Niobe Six daughters of Niobe.
Di Dame, Of Ladies,
Paggi, e Pages, and
Deitá apparenti. con Niobe. False Deities with Niobe.
Di Cavalieri, Of Knights,
Paggi, e Pages, and
Popolo. con Anfione. Citizens with Anfione.
Di Pastorelle con Manto. Of Shepherdesses with Manto.
Di Servi con Tiresia. Of Servants with Tiresia.
Di Nobili Tebani con Clearte. Of Noble Thebans with Clearte.
Di Guerrieri con Creonte, e Poliferno. Of Warriors with Creonte, and Poliferno.
Di Cacciatori con Tiberino. Of Hunters with Tiberino.

SCENE. SCENERY.

NELL’ATTO I. IN ACT I.

Regale con Trono. Royal Room with a Throne.

Boscaglia. Forest.
Regio Museo, che ostenta la Reggia dell’Armonia. Royal Study, which vaunts the Seat of Harmony.
Campagna con veduta di Tebe sfornita di Muraglie. Countryside with a prospect of Thebes without Walls.

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NIOBE, REGINA DI TEBE

NELL’ATTO II. IN ACT II.

Anfiteatro con grande Globo aereo nel mezzo, che Amphitheater with a large aerial Globe in the center,
poscia aprendosi forma una Celeste. which after opening forms a Heavenly Body.
Infernale, che sorge nel vacuo di detta Scena, Hell, which rises in the empty space of this Scene,
e poi si profonda. and then sinks.
Colline con Fonte. Little Hills with Springs.
Camare Regie. Royal Chambers.
Pianura ingombrata da Capanne di Pastori. A Plain filled with Shepherds’ Huts.

NELL’ATTO III. IN ACT III.

Sfera di Marte, che si trasforma poi in The Planet Mars, which then is transformed into
Solitudini con Grotte. A Lonely Place with Grottos.
Tempio di Latona. The Temple of Latona.
Piazza di Tebe. A Square of Thebes.

MACHINE. MACHINES.

Gran Mostro, che si risolve in molti Guerrieri. Enormous Monster, which turns into many Warriors.
Fantasma, che sorgendo di sotterra, forma grande Shadow that, rising from underground, forms a great
Voragine in Aria. Chasm in the Air.
Mura di Tebe, che s’innalzano à poco à poco. Walls of Thebes, which raise themselves little by little.
Due Draghi infernali, che di sotterra conducono sù Two infernal Dragons, which from underground lead
la Scena Creonte & Poliferno. Creonte and Poliferno onto the stage.
Nube, che sorge in Aria, e nasconde li sudetti. Cloud, which rises in the Air, and suddenly conceals them.
Gran nuvolosa, che dall, alto scende con Creonte in Large Cloud, which descends from above with Creonte
apparenza di Marte. in the form of Mars.
Carro trionfale fulminato da Latona, Apolline, e Diana, Triumphal Chariot, struck by Latona, Apollo, and Diana,
che compariscono in Aria con Deitá compagne. who appear in the Air with the company of Gods.
Caduta di molti Edificii ad un Terremoto. Falling of many Buildings in an Earthquake.

BALLI. BALLETS.

Di Popolo in atto di adorar Anfione. Of the Citizens in the act of worshipping Anfione.
Di Pastori. Of Shepherds.
Di Soldati festeggianti. Of celebrating Soldiers.

FURONO COMPOSTI. WERE DEVISED.

Dal Sig.r Francesco Rodier Maestro di Balli, By Mr. Francesco Rodier, Master of the Ballets,
& Aiutante di Camera di S. A. E. & Groom of the Chamber of H. E. H.

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ATTO I. ACT I
Scena I. Scene I

Regale con Trono in cui Niobe, & Anfione circondati da Royal Room with a Throne, in which are Niobe and
numerosa loro Prole in mostra guerriera, Corteggio di Anfione, many of their Children dressed as warriors,
Cavalieri, e Dame, e Nerea. Court of Knights and Ladies, and Nerea.

Anfione Anfione
Venga Clearte. Clearte is coming.

Niobe Niobe
E che sarà? And what then?

Anfione Anfione
Già udisti You have already heard,
Niobe mio Cor, mia speme, Niobe, my Heart, my hope,
Che de giorni tranquílli? That my mind
Resa avara la mente, Craves tranquil days,
Di più compor mal soffre My hand can no longer bear
Con lo scettro la mano. A miei riposi To rule with the scepter. The throne is badly suited
Mal più s’adatta il Trono, & à bastanza To my peace of mind, and for long enough now,
Sotto il pesante incarco My Brow has sweated
Del Diadema Regal sudò la Fronte. Beneath the weighty prison of the Royal Crown.
Alle Glorie ben conte The Deaf Ismenians† are already Tired
Di me, di Te, de Figli, Of oft-recounted Glories,
Stanche son già le Ismenie Incudi; e il Fato Of me, of You, and of our Children, and Fate
Più non può dar, per far un Rè beato. Can do no more to bless a King.
Tu, cui gli Dei formaro You, whom the Gods formed
Di Nume il senno, e la Beltà di Dea, With the wisdom of a God, and the Beauty of a Goddess,
Hor ben con tua virtute Surely now with your virtue
Puoi, dando Legge al soglio, You can, by conferring Law upon the throne,
Serbarmi alla quiete, e se tu sei Keep me in peace; and if you are
Risplendente mio Cielo, il Ciel ben suole My Shining Heaven, the Sky is well-accustomed
Con istancabil moto With tireless movement
Dar riposo alla Terra. homai da Boschi To give rest to the Earth. now from the Woods
Tuo Compagno al gran peso I call Clearte back,
Clearte io richiamai. To be your Companion for this weighty position.

Nerea Nerea
Ohimè! Alas!

Anfione Anfione
Fedele These faithful ones,
Questi, qual sempre saggio, Ever wise,
Esseguirà tuoi cenni, & il tuo Impero Shall follow your orders, and of your Reign
Già decantare in lieta pace io spero. I hope now to sing in happy peace.

Nerea Nerea
Oh bell’imbroglio in vero. O, lovely mess in truth!

Note: text with gray shading has been omitted from the
performance; please see page 148 †
See glossary of terms, pages 210–211

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Niobe Niobe
Dove son io, da qual soave incanto Where am I? By what sweet enchantment
Dolcemente ferita, Do I feel my Soul ravished,
Sento l’Alma rapita? Sweetly wounded?
Ahi ben m’aveggio o caro, Alas, well I see, O darling,
Che dal tuo Divin labro That from your Divine lips
Escon si vaghe tempre, Issue such delightful timbres,
Perche io provi mai sempre That I always feel,
Con mia felice sorte With my happy fate,
Dilettoso il languir, dolce la morte. Delightful languor, and sweet death.
Si si nel Regio Petto Yes, yes, in the Bosom of the Ruler
Sovrabondi la Gioia, e la grand’Alma Joy over-abounds, and the great Spirit,
Scarca d’esterne cure Discharged of external cares
Di Consorte, di Figli, e di Vassalli, Of Wife, of Sons, and of Subjects,
S’à Numi hora s’appressa, If it now approaches the Gods,
Poiche visse ad altrui, viva à se stessa. It is because having lived for others, it now lives for itself.

Nerea Nerea
Per indurci à regnare, It is not difficult
Fatica non si dura, To persuade someone to rule,
Ch’allo scettro è proclive ogni Natura. For every nature is inclined to the scepter.

Anfione Anfione
Sollievo del mio seno, Relief of my breast,
Conforto del mio ardor. Comfort of my passion.
In tè ritrovo à pieno In you again I find fully
La pace del mio Cor. My Heart’s peace.
Sollievo, &c. Relief, etc.

Niobe Niobe
Mia gioia, mio Diletto, My joy, my Delight,
Diletto di mia fè. Delight of my trust.
Quest’Alma nel mio petto This Soul in my bosom
Hà vita sol per te Lives only for you
Mia gioia, &c. My joy, etc.

Scena II. Scene II

Clearte, e Sudetti. Clearte and the Aforementioned.

Clearte Clearte
Ecco à Piè di chi impera Behold, at the Foot of him who rules
Il suddito inchinato, Al Regio cenno The subject bows; at the Ruler’s sign
Ecco homai del Vassal l’Arbitrio humile, Here always is the humble Vassal’s Reward;
E da boschi Clearte And from the woods, Clearte,
Ecco si toglie ad ubidire accinto Here you are brought to obey
Il voler del sovrano: The will of the sovereign:
Ahi ch’un Guardo di Niobe il Cor m’hà estinto (à parte. Alas, a Look from Niobe has crushed my heart. (aside)

Nerea (à parte. Nerea (aside)

Ei ritorna d’Amor nel Labirinto. He returns to the Labyrinth of Love.

Anfione Anfione
Già su’l Trono Celeste il Re de gl’Astri Now on the Celestial Throne, the King of the Stars
Librò l’Anno due volte, Has counted two years
Da che l’humil soggiorno Since you chose to live
Frà le selve eleggesti, In humble habitation in the forests,
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Et in ozio trahesti, And have taken your ease
Nelle romite Piagge On remote Shores,
In sembianza di Fera orme selvagge. Wandering the wilds in the guise of a Beast.
Tempo è homai, che tù rieda It is now time that you return
A’ compensar con le vigilie illustri To pay for such long oblivion
Si lungo oblio: nel Regno With illustrious vigil: to the Throne,
A sostener mie veci To rule in my stead
Della mia Niobe al fianco At the side of my Niobe,
Ti destinai. I appoint you.

Clearte Clearte
Che ascolto? What am I hearing?

Anfione Anfione
L’Arco talhor gran pezza Sometimes the Bow
Rallentato si serba, Is better served by slowing down
Perche poscia à grand’huopo For it can, in time of great need,
Con più robusta tempra With stronger tempering,
S’incurvi à i colpi à ben colpir lo scopo. Bend itself the better to hit the target.

Clearte (à parte. Clearte (aside)

Dall’empio Amor deluso. Deluded by wicked Love
Che risolvi mio core? What do you resolve, my heart?

Nerea (à parte. Nerea (aside)

Egli è confuso. He is confused.

Anfione (Discende dal Trono, e cuopre Clearte d’una Anfione (Descends from the Throne and covers Clearte
veste Regia. with a Royal mantle)
Sù di Regali spoglie Come, with Royal clothing
Cinta la nobil salma, Gird the noble body,
Mostri, che di regnar degna è quell’Alma. Show that this Soul is worthy to reign.
Tu con sì fido Atleta With such a faithful Champion,
Non temer mia Reina Fear not, my Queen,
Forza d’invide stelle: The strength of evil stars:
Piu m’ardete io v’adoro o Luci belle. The more you inflame me, the more I adore you, O lovely Lights.
Miratemi begl’Occhi, Gaze at me, beautiful Eyes,
E’ fatemi morir. And make me die.
I vostri dolci sguardi Your sweet glances
Avventan mille Dardi, Fling a thousand Darts,
Mà è caro ogni martir. But every torment is sweet.
Miratemi, &c. Gaze at me, etc.

Scena III. Scene III

Niobe, Clearte, Nerea, Corteggio. Niobe, Clearte, Nerea, Court.

Niobe Niobe
Splendetemi d’intorno Rays of eternal light,
Raggi d’eterna luce, e impresso resti Shine all around me, and remain etched
Sù la fronte del sol così gran giorno. On the face of sun this great day.
Clearte! Clearte!

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Clearte (à parte. Clearte (aside)
Ahi fiera guerra Alas, I hide a fierce battle
Frà l’Amor, e il rispetto Between Love and respect
Io racchiudo nel Petto In my Breast.

Niobe Niobe
Non rispondi? frà boschi. You don’t answer? Perhaps in the woods
Forse la mutolezza The muteness
Dalle Fere apprendesti? Of the Beasts overtook you?

Clearte (à parte. Clearte (aside)

In gran periglio I see you
Io ti veggio mio Cor; Alma consiglio. In great danger, my Heart. Soul, counsel!

Niobe Niobe
O pur sordo à gli accenti Or deaf to words,
I Tronchi imiti al susurrar de Venti? You mimic the whispering of the Wind in the Branches?

Clearte Clearte
Nè da Tronco, ò da Fera I never learned this
Appresi io ciò giamai, From the Trees or the Beasts,
Ma à venerar con il silenzio i Numi Rather, I learned from my heart
Dal mio Cor imparai. To venerate the Gods with silence.

Nerea Nerea
Si scuote affè. He wags his tongue indeed.

Niobe Niobe
Dunque tuo peso sia Therefore, may it be your charge
Frà Popoli soggetti Among the subject People
Il Culto propagar de miei gran pregi, To spread the Cult of my worship,
Di Regina frà Dei, di Dea frà Regi. Of a Queen among Gods, of a Goddess among Rulers.

Clearte Clearte
Ubbidirò fedele, ei primi voti I shall obey faithfully, and the first vows
Ecco porge il mio labro, Here I offer from my lips,
Hor che prostrato imploro Now that I beg, prostrate,
(Quasi dissi pietade) (You could almost say mercy)
Benigni Influssi da quel sol, che adoro. Beneficence from that sun which I adore.

Nerea Nerea
Accorta invenzion. Shrewd fabrication!

Niobe Niobe
La fè ci è grata; Your loyalty is pleasing to us.
Se muto fosti già, Niobe è placata. Though you were formerly silent, Niobe is now placated.

Nerea Nerea
Buon premio in ver. Nice reward in truth!

Clearte Clearte
Dimostra, ahi che non erro, Alas, if I am not mistaken, a Soul of iron
Da due Lumi di foco Alma di Ferro. Is displayed by those fiery Eyes.

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Niobe Niobe
E’ Felice il tuo Cor, ne sai perchè. Your Heart is Happy, and you know why.
Un certo tuo sprezzo, A certain nonchalance,
Non sò qual tuo Vezzo A charm about you I can’t name,
M’invoglia di tè, Attracts me to you.
E’ Felice, &c. Your Heart is Happy, etc.

Scena IV. Scene IV

Clearte, Nerea. Clearte, Nerea.

Clearte Clearte
Che sento? What do I hear?

Nerea Nerea
E che mai disse? And whatever is she saying?
Signor, humil Nerea, Sir, humble Nerea
Hor teco si rallegra. Now with you, is cheered.

Clearte Clearte
Il rivederti Seeing you again
M’è caro o fida, a cui Is dear to me, oh faithful one, the only one
Sola son noti i miei infelici ardori. Who notices my unhappy ardor.

Nerea Nerea
Ma felici al presente, But happy at present,
Se pur Niobe non mente. If in fact Niobe doesn’t lie.

Clearte Clearte
E possibil ti sembra, Do you think it is possible
Ch’ella senta pietà del foco mio? That she feels pity for my passion?

Nerea Nerea
Il Cor di bella Donna è sempre pio. The Heart of a beautiful Woman is always charitable.

Clearte Clearte
Ma se à lei sempre occulto But if the inferno in my heart
Fù l’incendio del Core? Is always hidden to her?

Nerea Nerea
Troppo ci vede, è pur e cieco Amore. Too much is visible, and yet Love is blind.

Clearte Clearte
Per te vive mia speme. Because of you my hope lives.

Nerea Nerea
Il Cor consola. Comfort your Heart:
Io penetrar prometto I promise to figure out
Gli Arcani di quel sen, per cui sospiri. The Mysteries of that bosom for which you sigh.

Clearte Clearte
Il ristoro tu sei de miei martiri. You know what will assuage my sufferings.

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Nerea Nerea
Quasi tutte Almost all of them
Son le Brutte Are Ugly,
Quelle Donne, che non amano. These ladies who don’t love.
Mà chi vanta in sen beltà. But she who vaunts inner beauty
Nutre sempre al Cor pietà Always nourishes pity in her Heart
Per gli Amanti, che la bramano. For the Lovers who long for her.
Quasi tutte, &c. Almost all of them, etc.

Scena V. Scene V

Clearte. Clearte.

Rio destin che pretendi Bitter destiny, what do you intend,

Hor che à canto al mio foco Now that You’ve drawn me by force
Tu à forza mi trahesti; e fummi vano, To the side of the one I burn for, and made me wander afar
Per saldar la mia piaga; irne lontano. In vain to cure my smart.
Son Amante, e sempre peno, I am in Love, and I suffer
Perche peno per chì nol sà Because the one for whom I suffer doesn’t know it.
Alla Lingua ò sciogl’il freno, Either loosen my Tongue,
O Amor dammi la libertà Love, or release me.
Son Amante, &c. I am in Love, etc.

Scena VI. Scene VI

Boscaglia. Forest.

Tiberino con suoi seguaci. Tiberino with his followers.

Tiberino Tiberino
Della famosa Tebe Behold, Friends, the woods
Ecco Amici le selve; il Piè già calca Of renowned Thebes;† our Feet now tread
Le disiate Arene, The longed-for Sands,
Ch’esser dovran del valor nostro il Campo. That should be our Field of valor.
Già de gl’Albani il Nome Already the Name of Alba,†
Mercè di nostre imprese, Thanks to our exploits,
Nella Grecia superba hor và fastoso: Is known throughout haughty Greece:
Huom non v’è glorioso There is no man glorious
In Caccie, in Lotte, alla Palestra, al Corso, In the Hunt, in Wrestling, at Horsemanship, at Horse racing,
Che a noi fin hor non ceda; Argo, e Micene, Who does not cede to us in the end: Argos† and Mycenae,†
E Corinto, e Tessaglia And Corinth† and Thessaly,†
Heroe non hà, che à Tiberin prevaglia. Have no heroes who prevail over Tiberino.
Alba essulti, e il Lazio goda. Alba exults, and Latium† rejoices!
Il sudor di questa Fronte The sweat of this Brow
Nutre i Lauri al Dio Bifronte, Nourishes the Janus’s† Laurels
Che al suo Crine i Fati annoda. Twined on his head by the Fates.
Alba essulti, &c. Alba exults, etc.

Scena VII. Scene VII

Udendosi rimbombare di lontano per la selva Trombe di Heard resounding from afar through the woods the
Cacciatori, Manto in atto fuggitivo inseguita da una Horns of Hunters, Manto in the act of fleeing followed
Belva, e sudetti. by a Beast, and the aforementioned.

†
See glossary of terms, pages 210–211
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Tiberino Tiberino
Suon di lontana Caccia The sound of a faraway Hunt
Fà rimbombar la selva. Resounds through the woods.

Manto (di dentro Manto (from behind)

Aita o Numi. Help, O Gods!

Tiberino Tiberino
Qual mesta voce? What is this sad voice?

Manto Manto
Ahi non v’è scampo. oh sorte. Alas, there is no rescue. Oh, fate!

Tiberino Tiberino
Che miro o Ciel? non paventar Donzella: What do I see, O Heaven? Do not fear, young Lady,
In tua difesa è la mia destra o Bella. My right hand comes to your defense, O Beauty!

(Si pone à guerreggiare con la Fera, e l’atterra. (He sets himself to battle with the Beast and fells it.)

Manto Manto
Oh valor; oh Virtute. Oh, valor; oh, Manliness!

Tiberino Tiberino
Il propio sangue The greedy Maw
Bevon l’ingorde Fauci; e già cadendo, Drinks its own blood; and now fallen,
A Trofei di mia destra As a Trophy of my right hand,
Erge nuovo Trofeo con le sue spoglie; He arises as a new Trophy with his spoils;
Tuo scherzo, e gioco, hor ch’il timor ti toglie. Your plaything, and a toy, now that your fear is gone.

Manto Manto
Se la vita à me donasti, If you gave me life
Nume sei di questa Vita. You are the God of my Life
La memoria de tuoi Fasti. The memory of your Deeds
Nel mio Cor terrò scolpita. I shall keep inscribed in my Heart.
Se la vita, &c. If you gave, etc.

Tiberino Tiberino
Di vezzo, e leggiadria I don’t believe even Venus† was made
Venere, non cred’io, fù più compita. Of such charm and grace.

Scena VIII. Scene VIII

Tiresia cieco appoggiato ad un servo, e sudetti. Blind Tiresia, leaning on a servant, and the aforementioned.

Tiresia Tiresia
Figlia ove sei, Tesor dell’Alma mia! Daughter, where are you, Treasure of my Soul?

Tiberino Tiberino
Qual huomo appare? Who is this man who appears?

Manto Manto
Padre. Father!
†
See glossary of terms, pages 210–211
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Tiresia Tiresia
Pur ti ritrovo At last I have found you again!

Manto Manto
Honora o Genitore Honor, oh Father,
Il domator della Belva, The tamer of the Beast,
Che ver nostre Capanne That swiftly fleeing
Ratta fuggendo à Cacciatori occulta, Toward our Huts, invisible to the Hunters,
Assalí me poc’anzi, e mi disgiunse Attacked me a little earlier, and removed me
Dal fianco tuo, dand’io alla fuga il piede. From your side, whence I ran.

Tiresia Tiresia
Tutto vidde la mente: Heroe si prode I saw everything in my Mind. You are the valiant Hero,
E’ dell’Alban Regnante And the sole Heir
L’unico Herede, e Tiberin s’appella. Of the Alban Royalty; and you are called Tiberino.

Manto Manto
Figlio di Rè? Son of the King?

Tiberino Tiberino
Come del ver favella? How can you tell the truth?

Tiresia Tiresia
Tiresia io son, cui Giove I am Tiresia, to whom Jove†
Diede mente presaga, Gave a prescient mind,
Se Giunone sdegnata Although disdainful Juno†
Privò d’esterni Lumi, & è mia Prole Deprived me of my Sight; and the Maiden you defended
La Donzella difesa. Is my Daughter.

Tiberino Tiberino
Ella m’infiamma. She inflames me.

Manto Manto
Io son d’Amore accesa. I am burning with love.

Tiresia Tiresia
Piacciati à nostri Alberghi If it please you, turn your Steps
Volger le Piante, & ivi To our Home, and there
Nelle cose future You shall hear the story
La serie ascolterai di tue venture. Of your future exploits.
Amor t’attese al Varco, Love attended you on your Journey
Per saettart’il Cor. To shoot your Heart.
Gli diè la sorte l’Arco, Fate gave him his Bow,
E il Dardo feritor, And the fatal Arrow.
Amor t’attese, &c. Love attended you, etc.

Scena IX. Scene IX

Tiberino, Manto. Tiberino, Manto.

Tiberino Tiberino
Svelò fatal la piaga. I revealed my mortal wound!

†
See glossary of terms, pages 210–211
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Manto Manto
Ahi quanto io più lo miro, ei più m’impiaga. Alas, the more I look, the more he wounds me!

Tiberino Tiberino
Dimmi o bella: sei sposa? Tell me, oh lovely one: are you married?

Manto Manto
Ho intatto il fiore The flower of my Virginity
Del Virginal candore. Is intact.

Tiberino Tiberino
Tua Patria? Your Country?

Manto Manto
Tebe. Thebes.

Tiberino Tiberino
Il nome? Your name?

Manto Manto
M’appello Manto. I am called Manto.

Tiberino Tiberino
È à qual uffici eletta? And to what service are you dedicated?

Manto Manto
A Latona io ministro I minister to Latona†
Col Genitor suo sacerdote. With my Father, her priest.

Tiberino Tiberino
E al Nume, And to the God
Che prevale à gli Dei, Who rules over the gods,
Tù quali incensi offrisci? What incense do you offer?

Manto Manto
Che mai dirò? tuoi detti (Whatever shall I say?) I do not understand
Io non intendo. Your words.

Tiberino Tiberino
Al Dio fanciul bendato? To the blindfolded child-God.

Manto Manto
Nè meno. I understand less.

Tiberino Tiberino
Al Dio Cupido? To the God Cupid?†

Manto Manto
M’è ignoto. He is unknown to me.

†
See glossary of terms, pages 210–211
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Tiberino Tiberino
Oh stolto Core, Oh, foolish Heart,
Tu non conosci Amore? You don’t know Love?
Tu non sai che sia diletto, You don’t know what delight is,
Non sai dir che sia conforto. You don’t know what comfort is.
Senza Amor un Cor è morto, Without Love, a Heart is dead,
Senza Cor non vive un Petto Without a Heart, a Breast does not live.
Non sai dir che sia conforto, You don’t know what comfort is,
Tu non sai che sia diletto. You don’t know what delight is.

Scena X. Scene X

Manto Manto
Oh d’Amor troppo ignaro; e cosi tosto Oh, you don’t understand Love; thus so soon
Vuoi, che pudico seno You want my pure heart
A favellar d’Amore To speak of Love
Scioglia la Lingua? e non ti disser gl’Occhi, With a loose Tongue? and do my Eyes not tell you,
Ahi quest’occhi dolenti, Alas, these sad eyes,
L’Autor de miei tormenti? The Perpetrator of my sorrows?
Poco in Amor sagace: You are ignorant about Love:
Lingua d’amante Core The tongue of a lover’s Heart
Meglio parla d’Amore all’hor che tace. Speaks more eloquently about Love when it is silent.
Vuoi ch’io parli, parlerò. You want me to speak? I shall speak.
Mà se chiedo poi Mercè But if I ask for Mercy,
Mio Tesor che fia di mè, My Treasure, what will become of me,
Se mercè poi non havrò? If I don't have that mercy?
Vuoi, &c. You want me to speak?

Scena XI. Scene XI

Di lontano all’improviso apparisce smisurato Mostro, From a distance an enormous Monster appears, which
che portandosi al Proscenio, ad un tratto si risolve in as it is carried to the Proscenium, suddenly turns into
molti Guerrieri, lasciando in una Nuvoletta à Terra. many Warriors, released to the Ground in a little Cloud.
Creonte in atto di dormire, e destro Poliferno. Creonte asleep, and to his right, Poliferno.

Poliferno Poliferno
Dormi Creonte, e in tanto Sleep, Creonte, and meanwhile
Sogna ò Prole guerriera Dream, O warrior Offspring
Del Tessalo Monarca Of the Thessalian Monarch,
L’alta Beltà, dicui con forza ignota, Of the great Beauty whose image I engrave
Io t’impressi l’Immago in mezzo al Core. In your Heart with my occult powers.
Fia de tuoi sogni autore May the author of your dreams be the
Di Megera il flagello, acciò che spinto The scourge of Megaera,†
Da infuriati sensi, So that impelled by raging senses you
Rechi al Regno Tebano incendi immensi. Will feel great passion for the Theban Queen.

Creonte Creonte
Che vago sen. What a delightful bosom!

Poliferno Poliferno
Con i Fantasmi homai, Now through these Fantasies
Opre di Magic’arte And enchantments,
A’ vaneggiar comincia May delight begin.

†
See glossary of terms, pages 210–211

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Creonte Creonte
È Donna, ò Dea? Is it a Woman, or Goddess?
Ahi, ch’un Guardo mi bea. Alas, that one Glance might bless me!

Poliferno Poliferno
Scosso da interna face Shaken by inward fire,
Ecco si desta. Behold, he awakens.

Creonte Creonte
Ferma Stop!
Ferma o Nume adorato, Stop! O adored Goddess,
Mia delizia, mio Ben, Anima mia, My delight, my Beloved, my Soul!
Dove fuggi? Mà dove, Where do you flee? But where,
Dove mi trovo? & à qual aure io spiego Where do I find myself? And to what breeze do I express
Gl’immoderati affetti? These reckless feelings?

Poliferno Poliferno
Son Forier d’empie stragi i suoi diletti. His delights are Forerunners of bitter slaughters.

Creonte Creonte
Dove sciolti à volo i vanni Where have you fled, my Goddess,
Diva mia da me fuggisti? With your wings spread in flight,
Se del sonno infrà gl’inganni If you came to make me happy,
À bearmi tu venisti. Deceiving me as I slept?
Dove sciolti, &c. Where have you fled, etc.

Poliferno Poliferno
Creonte e che ti pare Creonte, what do you make
Di Niobe, che sognando, Of Niobe, whose acquaintance
Già conoscer ti fei? You’ve just made in a dream?

Creonte Creonte
Ahi ch’in Beltà non cede Ah, she would not cede in Beauty
A gl’Astri, à Delia, al Sole, To the Stars, to Delia,† or to the Sun,
S’hà del Sol le Pupille Even if she had the Eyes of the Sun,
Della Luna i candori, The whiteness of the Moon
De gl’Astri le faville. And the glitter of the Stars.

Poliferno Poliferno
Sù, per goder ben tosto Come, in order that soon you may enjoy
Di cotanta Beltà, senza dimore Such Beauty, let Thebes be attacked
Tebe si assaglia, e cada Without delay, and
Anfione svenato; Anfione fall bleeding.
Sia Lico vendicato, Your great uncle, Lycus,†
Il tuo gran zio, cui tolse Will be avenged: he from whom
Con essecrando scempio Unworthy Anfione took
E’ la vita, & il Regno, Life and Kingdom
Anfione l’indegno. With accursed torture.
Nuovo soglio, e nuova Bella Fate guides you to enjoy
À goder ti guida il Fato, A new throne, and a new Beauty.
À tuo prò la sua facella In your cause Love waves his torch

†
See glossary of terms, pages 210–211
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Scuote Amor con Marte armato. With the well-armed Mars.†
Nuovo soglio, &c. Fate guides you, etc.

Scena XII. Scene XII

Creonte Creonte

À voi di Tracia, e Gnido To you all-powerful Gods

Onnipotenti Numi, Of Thrace† and Knidos,†
Se non sarete à miei desiri avarí, If you will not be miserly with my desires,
Ergerò nuovi Altari I shall erect new Altars
Accesi ogn’hor di Nabatei Profumi. Always burning with Nabatene† Perfumes.
Sia di Nemesi il ferro May my sword be like that of Nemesis,†
Debellator dell’usurpato soglio; The conqueror of the usurper’s throne,
E sia da Citerea, And may Venus,
Come à Paride in Sparta, à me concesso Like Paris† in Sparta,† cede to me,
Dell’Helena Tebana hoggi il possesso. That I might possess this Theban Helen† today.
Troppo caro è quel bel Volto, All too precious is that beautiful Face,
Che dal seno il Cor m’hà tolto, That has taken my Heart from my breast,
Ne saprei che più bramar. It knows not what further to yearn for.
Goderò del Ciel le faci, I shall enjoy the lights of that Heaven,
Se quei Lumi si vivaci If I can succeed in kissing
Potrò giunger à baciar. Those lively Eyes.
Troppo caro è quel, &c. All too precious is that, etc.

Cosi vago è quel sembiante, So delightful is that face

Che quest’Alma ha’ resa amante, That this Soul has surrendered, a lover,
Che à lui cede ogni beltà. To which every beauty cedes.
Il mio Cor sarà beato, My Heart shall be blessed,
S’al mio sen quel Sen bramato If friendly Fate will clasp
Sorte amica stringerà. That yearned-for Breast to my breast.
Cosi vago è quel, &c. So delightful is that face, etc.

Scena XIII. Scene XIII

Regio Museo, che ostenta la Reggia dell’Armonia. Royal Study, which vaunts the Seat of Harmony.

Anfione Anfione

Dell’Alma stanca à raddolcir le tempre. To refresh my tired Soul

Cari Asili di Pace à voi ritorno: I return to you, dear sanctuaries of Peace.
Fuggite pur fuggite Flee, flee then
Da questo seno o de Regali fasti From this breast, oh cares of Royal pomp,
Cure troppo moleste, egri pensieri; Troubling, sick thoughts;
Che val più de gl’Imperi For it is better to release the Song
In solitaria soglia, & humil Manto From an easy Heart, in solitary habitation
Scioglier dal Cor non agitato il Canto, And humble Clothing, than from the Throne.
Sfere amiche hor date al Labro Friendly spheres, now give my Lips
L’Armonia de vostri giri. The Harmony of your rotation.
E’ posando il Fianco lasso, And resting my weary Limbs
Habbi moto il Tronco, il sasso May the Tree, the Stone, have motion
Da miei placidi respiri, From my peaceful breathing.
Sfere, &c. Friendly spheres, etc.

†
See glossary of terms, pages 210–211
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Scena XIV. Scene XIV

Niobe, & Anfione. Niobe, and Anfione.

Niobe Niobe
Anfion mio Desio, Anfion, my Desire,
Mio Tesoro, Cor mio: My Treasure, my Heart:

Anfione Anfione
Mia Luce, mia pupilla. My light, my eyes.

Niobe Niobe
Ecco à te vola Behold, the Tree and Stone,
Tronco, e Sasso animato Come to life, fly to you,
Il Cor innamorato. The Heart in love.
Vorrei sempre vagheggiarti, I want to delight you always,
Vorrei sempre star con tè. I want to be with you always.
Non hà pace, non hà bene, My heart has no peace, no well-being,
Vive ogni hora frà le pene It lives in constant pain
Da tè lungi la mia fè When it is far from you, my faith.
Vorrei sempre, &c. I want to, etc.

Scena XV. Scene XV

Clearte, Nerea, Anfione, & li Sudetti. Clearte, Nerea, Anfione, and the Aforementioned.

Nerea Nerea
Eccola. There she is!

Clearte Clearte
Ahi Cor resisti. Alas, my Heart, resist.

Niobe Niobe
A che vieni? Why do you come here?

Clearte Clearte
Di Tessali Oricalchi The Theban lands resound
Rimbomba il suol Tebano audace stuolo With Thessalian trumpets,
D’armate schiere innonda, And like a wild Torrent,
Qual Torrente improviso, A daring troop of armed men floods
Le Beotie Campagne: à me non resta The Boethian† Countryside: no other way was left me
Che con pronte Falangi But with ready Infantry
Espor la vita alla difesa; e i cenni To offer my life to the defense; and I have come
Ad inchinare, ad ubbidire io venni. To submit and obey orders.

Anfione Anfione
Che sento? What am I hearing?

Niobe Niobe
E non rammenta And does he not remember,
Il Tessalo superbo This haughty Thessalian,

†
See glossary of terms, pages 210–211
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Quali sian le nostr’Armi? insano venga, Just what our weapons are? Let the madman come,
E al cenere gelato And to the cold ashes
Di Lico debellato, Of the vanquished Lycus,
Giunga ceneri nove. He will add new ashes.

Anfione Anfione
E pur ritorna And so my Soul returns
L’Alma à i Tumulti: ahi ch’è in un Regio seno To the tumult. Ah, in a Royal breast
Breve luce di Lampo ogni sereno. Each moment of serenity is but a flash of Lightning.

Niobe Niobe
Non ti turbar Idolo mio. Do not be disturbed, my Idol.

Anfione Anfione
Discioglie A single Ray
Ogni nube di duolo Of your heavenly glances
De tuoi celesti sguardi un Raggio solo. Dissipates every cloud of sorrow,
À premunire intanto Meanwhile, to rouse
Gl’animi de Vassalli The souls of my Vassals
Di costanza, e di fede, To constancy and faithfulness
Mi parto o cara. I go now, my dear one.

Niobe Niobe
E in breve And shortly
Io seguirò il tuo piede. I will follow in your steps.

Anfione Anfione
E’ di sasso chi non t’ama, He is made of stone who does not love you,
E’ di gel chi non t’adora. And of ice who does not adore you,
Provo io ben ch’un Cor è poco I know too well that one Heart is not sufficient
À capir l’immenso foco, To understand the immense fire
Che per tè mi strugge ogn’hora. Which constantly consumes me with love for you.
E di sasso chi non, &c. He is made of stone who does not, etc.

Scena XVI. Scene XVI

Niobe, Clearte, Nerea. Niobe, Clearte, Nerea.

Nerea Nerea
E tu qual gelo, ò sasso, And you, like ice or stone,
Muto ancor te ne stai? You still remain mute?

Clearte Clearte
Son morto ahi lasso I’m dead, alas!

Niobe Niobe
Clearte hoggi frà l’Armi Clearte, what side will you take today
Qual Divisa destini? Amongst the Armed?

Nerea Nerea
Animo. Courage!

Clearte (à parte Clearte (aside)

Scopri Reveal,
Mio Cor la chiusa fiamma: My Heart, the hidden flame:
Scolpito havrà lo scudo Your shield shall have the protection of

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D’Encelado il gran Monte, The great Mountain of Enceladus†
Che ogn’hor da Nevi oppresso, Which is always covered with Snow,
D’interno incendio avvampa. But contains within a fiery volcano.

Niobe Niobe
E il motto? And your motto?

Clearte Clearte
Fia. May it be:
Perche al Ciel aspirai “Because I aspired to Heaven.”

Nerea Nerea
Di ben capirlo affè To really conceive of this, in truth,
Ella s’intenderà meglio di mè. She’ll understand better than I.

Niobe Niobe
Non intendo il concetto; hor via lo spiega. I don’t understand the meaning; now go on, explain it!

Clearte Clearte
Hor m’assisti o Cupido. Now help me, O Cupid!

Nerea Nerea
Ardir ci vuole. We must be daring.

Clearte Clearte
D’un Cor la sorte esprimo, It expresses the fate of a heart
Che ad un Ciel di Beltade Which Raises its Desire
Sollevando il Desio To a Heavenly Beauty;
Da duo bei Lumi alteri From two beautiful, proud Eyes,
Fulminato sen giace Laying thunderstruck
Sorto monte di duolo; e non osando Under a mountain of sorrow, and not daring
Scoprir l’incendio interno, To reveal the fire within,
Gela al di fuori, e chiude in sen l’Inferno. Freezes outwardly, and hides an Inferno within its breast.

Niobe Niobe
E di qual Core intendi’. And which heart do you mean?

Clearte Clearte
Nerea perduto io sono. Nerea, I am lost.

Nerea Nerea
Sù viene adesso il buono. Come on, now comes the good part!

Clearte Clearte
O mio Cor sventurato. Oh, my unfortunate Heart.

Niobe Niobe
E qual sen l’hà piagato? And which breast has wounded it?

Clearte Clearte
Gelar mi sento. I feel frozen.

†
See glossary of terms, pages 210–211
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Nerea Nerea
Presto Quick,
Bisogna dire il resto. You have to say the rest!

Niobe Niobe
Segui: non parla. Go on. He’s not speaking.

Clearte Clearte
Oh Numi. Oh Gods!

Niobe Niobe
Io pur son certa And yet, I’m certain
A gran Tempo, ch’ei vive That for a long Time he has been
Di me tacito amante. My silent adorer.

Clearte Clearte
Svenami pure o Cielo. Kill me, O heaven!

Nerea Nerea
È delirante. He’s delirious.

Clearte Clearte
Perdona o mia… Forgive me, O my…

Niobe Niobe
Nò ferma: No, stop:
Del tuo Cor il martire I no longer wish to hear
Io più non voglio udire. The sufferings of your Heart.
Segui ad amar così Go on loving me thus,
Ne mai parlar di più. But never speak of it again.
Per chi t’alletta, e piace, For the one who delights and pleases you,
All’hor che più si tace, The more you are silent,
Bella e’la servitù. The more beautiful the service.
Segui ad, &c. Go on, etc.

Scena XVII. Scene XVII

Clearte, Nerea. Clearte, Nerea.

Clearte Clearte
E voi, che mi struggete, And you, who consume me,
Voracissime fiamme, Most voracious flames,
Dal sen che rispondete? What do you respond from my heart?

Nerea Nerea
Oh sciocca frenesia; tu non intendi O, blind frenzy; you don’t understand
Di Cupido i precetti: Cupid’s precepts:
Con le Donne ei non vuol tanti rispetti. With Women, he doesn’t want so much respect.

Clearte Clearte
C’hò da morir tacendo My heart understood
Il Cor l’indovinò. That I must die silent.
C’hò da tacer morendo And dying, I must be silent about
Lo stral, che m’impiagò The arrow that wounded me.
C’hò da, &c. My heart understood, etc.

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Scena XVIII. Scene XVIII

Nerea. Nerea.

Forsennato vaneggia, e non conosce Raving madman, does he not know

L’arti sagaci usate The wise arts used
Dalle Donne, che accorte By women who are wily
Sono d’esser amate. About being loved?
Io giurarei, che Niobe I would swear that Niobe,
Del suo Amor avveduta, Aware of his Love,
Se ne sia compiaciuta; Is pleased about it,
E mostrandosi sorda, And while appearing deaf to him
Voglia per qualche di dargli la Corda. Wants to somehow dangle him a Rope.
Che agli assalti degli amanti That women stand strong
Sian le femmine costanti, Against the assaults of lovers—
Io giàmmai nol crederò. I’ll never believe it.
Sempre à prova I’ve always known,
E vedo e sento, And seen and felt,
Che ne brama That every one of them longs
Ogn’una cento, For hundreds
E a nessun può dir di nò. And cannot say no to any of them.
Che agli assalti, &c. That against the assaults, etc.

Scena XIX. Scene XIX

Campagna spatiosa con vista di Tebe sfornita di Muraglie. An open countryside with a view of Thebes without walls.

Creonte, Poliferno. Creonte, Poliferno.

Poliferno Poliferno
Ecco Tebe. Behold Thebes!

Creonte Creonte
O adorata O adored
Sfera del mio bel Nume; il Piè divoto, Sphere of my beautiful Goddess, my devoted Feet,
Come il Cor riverente, à tè già volgo; Reverent, like my Heart, now turn to you;
Deh pietosa m’accoglia, Ah, receive me mercifully,
E fà che nel tuo seno And may it be that in your bosom,
Spinto da impatiente, alto desio Spurred by impatient, noble desire
Possa celato almeno I may, concealed, at least
Porger taciti voti all’Idol mio. Offer silent vows to my Idol.

Qui smisurato Fantasma apparirà di sotterra. Here an immense Ghost shall appear from underground.

Poliferno Poliferno
Per condurci ove brami To conduct you to that which you crave,
Occulti, e inosservati, Hidden and unobserved,
Ecco dell’opre mie Ministro eletto. Behold the chosen Deputy of my works.

Creonte Creonte
Oh Portento. Oh, Monstrous!

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Poliferno Poliferno
In brev’hora Shortly
Potrai à luci aperte You shall be able, with open eyes,
Vagheggiar non veduto, To enjoy unseen
L’adorato sembiante The beloved face
Della bella Regnante Of the beautiful Queen.

Qui dalla bocca del Fantasma si forma gran Voragine in Here from the mouth of the Ghost a great Abyss forms
Aria. in the Air.

Creonte Creonte
Che veggio? What do I see?

Poliferno Poliferno
À noi s’appresta The secret way
Frà quelle fauci incognita la via: Is ready for us between these jaws:
Movi sicuro il passo, e là t’invia. Go with confidence, and there you shall be led.

Creonte Creonte
Anderei fin nell’Inferno, I would go even to Hell
Per mirar Volto si vago. To gaze on a Face so charming.
Se più grande il Foco interno For her lovely image
Desta in me la bella immago Has awakened greater inner Fires in me.
Anderei, &c. I would go, etc.

Entra nella Voragine. He enters the Abyss.

Scena XX. Scene XX

Poliferno. Poliferno.

Oh di Lico infelice O, my Sister, unhappy Lycus’s

Infelice Consorte, à me Germana, Unhappy Consort,
Dirce, Dirce deh sorgi; Dirke,† Dirke, ah, arise,
E in Ombra almeno scorgi, And although a shade, take note
Che se Vittima altera That though you fell a proud Victim
Col tuo sposo Regnante al Piè cadesti With your Royal spouse at the Foot
Del superbo Anfione; Of haughty Anfione,
A vendicar d’entrambi To avenge your
L’ingiurioso Fato, Unjust Fates,
Provoca Poliferno Poliferno Provokes
Tessaglia all’Armi, & à battaglia Averno. Thebes to arms, and Hell to battle.
Fiera Aletto Proud Alecto,†
Del mio Petto In my breast
Non cessar di mover guerra. Do not cease to make war.
Holocausti più devoti I shall offer you devout sacrifices
T’offrirò, s’hoggi a’ miei voti, If today, as I pray,
Rè tiran da tè s’atterra The tyrant king falls to you.
Fiera, &c. Proud Alecto, etc.

Entra nella Voragine, la quale si chiude profondandosi. He enters the abyss, which encloses him in the deep.

†
See glossary of terms, pages 210–211
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Scena XXI. Scene XXI

Anfione seguito da numeroso Popolo. Anfione followed by numerous people.

Anfione Anfione
Popoli o voi, ch’un Tempo People, O you who Once
Da inospite Foreste Turned your steps
I passi rivolgeste From the inhospitable Forests,
Tratti al suon de miei Carmi, Drawn by the sound of my Verses
A i Cittadini Marmi: To the marble Walls of the City:
Voi, che à me dati in cura You, who were given unto my care
Da Giove il mio gran Padre By Jove, my great Father,
Sudditi sol di Nome, Subjects only in Name,
Ma più cari de Figli, But dearer than Sons,
Mi vedeste ad ogn’hora You have seen me now
In dolce Impero à vostro Bene eletto, Elected to gently Reign for your Benefit,
Di Scettro in vece, essercitar l’affetto. In place of the Scepter, exercising affection.
Voi chiamo, e da voi spero I call you, and from you I hope
Di Tebe la difesa, i vostri Cori, For the defense of Thebes; your Hearts
Che in paragon di fede Which as paragons of loyalty
Seppero di Diamante esser più volte, I have known to be of Diamond time and time again,
Ben sapranno all’assalto, Against the attack Thessaly now mounts
Che Tessaglia hor ci muove, esser di smalto. You know well that they will be hard as enamel.
Sù, sù destisi in voi Come, come, waken in yourselves
Desio di nuove glorie; un Rè che v’ama, The desire for new glories; follow the King who loves you
Si segua frà perigli; Into the danger;
E à temerari insulti And to audacious insults
Il corso si prescriva. The course is prescribed.

Voci di Popolo Voices of the People

Viva Anfione Viva. Long live Anfione!

Anfione Anfione
Voci d’alta costanza: Alme fedeli Most loyal voices: faithful Souls,
Degni premi attendete; Wait for your well-deserved rewards;
Che mal vive un Regnante, For unhappy is a Ruler
Se in premiar non hà Destra abbondante. Who does not have abundant Right above all.
Come Padre, e come Dio, As a Father, and as God,
Sommo Giove hor mi proteggi Great Jove, now protect me,
E l’Ardir d’un empio, e rio, And with your Thunderbolts, punish
Col tuo Fulmine correggi. The Daring of a wicked and evil one.
Come Padre, &c. As a father, etc.

Qui si vedona à poco à poco andar sorgendo intorno di Here we see the walls of Thebes rising little by little.
Tebe le mura.

Mà che miro? che scorgo? i marmi, i sassi But what do I see? What do I perceive? The marble, the stones,
Animati al mio Canto, Animated by my Song
Forman di Tebe i Muri: oh del gran Nume Form the Walls of Thebes: oh Omnipotent strength
Onnipotente forza, Of the great God,
Se un moto sol del tuo voler prefisso If a movement of your will appoints
Anima i sassi, e volve in Ciel l’Abisso. A soul to stones, Hell has turned into Heaven.

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Scena XXII. Scene XXII

Nerea fuggendo atterrita poi Niobe con numeroso Nerea fleeing terrified, then Niobe with numerous of the
Corteggio, & Anfione rapito da Meraviglia. Court and Anfione rapt with Marvel.

Nerea Nerea
Assistetemi, Assist me,
Soccorretemi, Help me,
Numi del Cielo. Gods of Heaven.
Frà quei sassi, Amidst these rocks
Che s’aggirano intorno à i Passi, Swirling around my Feet,
Io divengo di pietra, io son di gelo. I become stone, I am ice.
Assistetemi, &c. Assist me, etc.

Qui termina l’erettione delle Mura sudetti. Here the erection of the aforementioned Walls is done.

Niobe Niobe
Niobe ove giungi, e che mirate o luci? Niobe, where are you, and what do you see, O eyes?

Anfione Anfione
Sospirata Reina Sighed-for Queen,
Ecco per virtù ignota, Behold, by unknown strength
Di Tebe le Muraglie The Walls of Thebes
Inalzate à Momenti Raised in a Moment
Del mio labro à i Concenti. From the Harmony of my lips.

Nerea Nerea
Oh Meraviglie! Oh, Marvels!

Niobe Niobe
E qual profano ardire And what earthly audacity
Hor può negarti, o caro, Can now deny, O darling,
Degno vanto di Nume? That you can boast of Divinity?
S’hor di Portenti è fabro For now Your resounding Voice
Il tuo canoro Labro. Is endowed with great power.
Sù sù di sacri Altari Come, come, fill the earth with sacred Altars
S’ingombri il Suolo; e al nuovo Dio Tebano And to the new Theban God
Ardan le Mirre elette; il Ciel discopre Burn the choice Myrrh; Heaven reveals
I Numi in Terra alle mirabil opre. Gods on Earth in miraculous works.
Con il tuo strale Amore With your arrow, Cupid,
Trafiggi questo Core Pierce this Heart,
Più rigido, e più fier. More severe and more fierce.
Che l’Alma innamorata I wish my enamored Soul
All’Idol mio svenata To fall to my idol,
Vuò Vittima cader. A sacrificial Victim.
Con il tuo, &c. With your, etc.

Scena XXIII. Scene XXIII

Tiresia, e Sudetti. Tiresia and the Aforementioned.

Tiresia Tiresia
O d’insano ardimento O too-haughty feelings
Sensi troppo superbi: io parlo à voi Of mad boldness: I speak to you,
O Mortali Regnanti, O Mortal Kings,

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Che con voglie arroganti Who with arrogant will
Usurpar pretendete à i Numi eterni Intend to usurp from the eternal Gods
Gli honor dovuti in Terra; alla Vendetta. The honor they are due on Earth; to War!
L’irato Cielo alti castighi affretta. Angry Heaven hastens to inflict great punishment.

Anfione Anfione
À quai Detti proruppe? With what words does he burst forth?

Nerea Nerea
Come ardito parlò? How can he speak so boldly?

Niobe Niobe
Tanto presumi You dare presume so much,
Vil rifiuto del Tempo, Huom senza senno, Contemptible cast-off of Time, witless Man,
Come privo di Lumi? Sightless one?

Tiresia Tiresia
Senza tema di pena With no fear of suffering,
Cosi parla chi vive, Thus speaks one who lives
Per servir à gli Dei. To serve the Gods.

Niobe Niobe
Ti defendan dal Cielo, May Heaven defend you,
S’io nel suol ti calpesto; (Gettandolo à terra. If I throw you to the ground; (Throwing him to the ground.)
E’ da ciò apprendi o temerario il resto. And from that learn the rest, oh rash one.

Tiresia Tiresia
Ah sacrilega, ah empia. Ah, sacrilegious, oh, wicked one!

Nerea Nerea
Oh pocco saggio. Oh, unwise!

Anfione Anfione
Serena o mio bel Sole Oh, my beautiful serene Sun,
De vaghi lumi il Raggio. Ray of lovely light from delightful eyes.

Niobe Niobe
Ritornandoti in Braccio, Returning to your Arms
Torno à godere, e ogni rancor discaccio I turn to pleasure, and every rancor disappears.

Anfione Anfione
Mia Fiamma, My Flame,

Niobe Niobe
Mio Ardore My Passion,

à 2. à 2.
Andianne à gioir. Let us go to rejoice.

Anfione Anfione
Per te dolce pena, For you sweet pain,

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Niobe Niobe
Mia cara Catena, My precious Chain,

à 2. à 2.
M’è grato il morir. Death is pleasing to me.
Mia, &c. My precious, etc.

Nerea Nerea
Tu con Lingua si sciolta You with the loose Tongue,
Resta, e impara à parlare un’altra volta. Stay, and learn to speak one more time.

Scena XXIV. Scene XXIV

Tiresia, e poi Manto, e Tiberino. Tiresia, then Manto, and Tiberino.

Tiresia Tiresia
Numi datemi aita, alla mia fede Gods, help me; by my faith
Spero da voi mercede. I hope for mercy from you.

Manto (Non vedendo ancora Tiresia per terra. Manto (Not yet seeing Tiresia on the ground.)
Signor vedi, & stupisci Sir, see and be astonished by
Ciò, che testè la Fama That which attested by Fame
A noi recò: di Tebe alzò le Mura Is borne to us: Anfione has raised
Anfione col Canto. The Walls of Thebes with his song.

Tiberino Tiberino
Oh gran virtude, oh incanto. Oh great virtue; oh, enchantment!

Tiresia Tiresia
Chi mi sovviene, ahi lasso? Who comes to my aid, alas?

Manto Manto
Che fia? Padre? What has happened? Father?

Tiberino Tiberino
Tiresia? Tiresia?

Tiresia Tiresia
Calpestato, Trampled,
Lacerato, Wounded,
Qui dolente, Here, sorrowing
E languente, And languishing,
Arresto il passo. I have halted.
Chi mi sovviene, ahi lasso? Who comes to my aid, alas?

Manto Manto
E’ chi fù si crudel? And who was so cruel?

Tiberino Tiberino
Chi fù si rio? Who was so wicked?

Tiresia Tiresia
Un Mostro di perfidia, A Monster of treachery,
Una Furia Regnante, A Reigning Fury,
De gli Dei sprezzatrice: ahi doglia acerba, A scorner of the Gods: alas, bitter sorrow,
Fù Niobe, la superba. It was the proud Niobe.

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Manto Manto
Oh Tiranna. Oh, Tyrant!

Tiberino Tiberino
Oh spietata. Oh, pitiless one!

Manto Manto
E’ qual cagion l’indusse And what reason induced her
À sì nefando eccesso? To such unspeakable excess?

Tiresia Tiresia
Il vano fasto The proud vanity
Di far Nume lo sposo; onde il Prodigio Of making her husband a God; whence the Miracle
Delle mura, che vedi in giro affisse, Of the walls, which you see built all around,
Tolse al vanto de Numi, e à lui l’ascrisse. Was ascribed to him and credit taken away from the gods.
Quinci, mentre mia lingua Therefore, while my tongue, armed with Zeal
Di Zelo armata il grande ardir detesta, Deplored the audacity,
L’Altera infuriata The furious haughty one
M’atterra, e mi calpesta. Cast me down, and threw me to the earth.

Manto Manto
Oh indegna. Oh, unworthy!

Tiberino Tiberino
Oh Cor di fera. Oh, Heart of a savage!

Manto Manto
Il fianco oppresso My Father, may your abused body
Mio Genitor solleva; Be comforted;
L’oltraggio puniran gli Dei dal Cielo: From Heaven, the Gods will punish the outrage:
Non torpe mai di lor Giustizia il Telo. They never fail to wield the sword of their Justice.

Tiberino Tiberino
S’oppoggi, olà, l’huom saggio: (à suoi seguaci Lean on them, there, wise man: (to his followers

Tiresia Tiresia
Il Piè cadente Ah, mercifully guide
Deh guidate pietosi My failing Step
Di Latona nel Tempio. To the Temple of Latona.

Tiberino Tiberino
Havrai scorte fedeli. You shall have faithful escorts.

Tiresia Tiresia
Horrende stragi hor apprestate o Cieli: Now prepare Horrific slaughters, O Heavens:
Di strali, e Fulmini With arrows and Thunderbolts,
O stelle armatevi; O stars, arm yourselves,
E’ dell’ingiurie And for these injustices,
Con giuste furie With righteous fury
Sù vendicatevi. Come, avenge yourselves.
Di, &c. With arrows, etc.

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Scena XXV. Scene XXV

Tiberino, e Manto in atto di piangere. Tiberino, and Manto weeping.

Tiberino Tiberino
Discaccia il duolo o di ben degno Padre Dismiss sorrow, oh Compassionate Daughter
Pietosa Figlia; i Numi Of such a worthy Father: the Gods
Havran di luì la cura: Have care of him.
Mà se pure col pianto But if you wish also with tears
Vuoi mostrar gentil Core. To show your gentle Heart,
Piangi; ma per Amore. Weep, but for Love.

Manto (à parte Manto (aside)

Cagion de miei martiri The cause of my sorrows
Se à me scoprir non lice Is that I may not reveal my
Amorosi desiri. Amorous desires.

Tiberino Tiberino
Ancor taci o vezzosa? Still you keep silent, oh lovely one?

Manto Manto
O modestia penosa. Oh, painful modesty!

Tiberino Tiberino
D’Amor che mi rispondi? What did you say to me about love?

Manto Manto
Ti dissi, che l’ignoro: I told you, I am ignorant of it.
Ma perch’io più non sia But so that I am no longer
D’ignoranza ripresa, In the grip of ignorance,
Tù meglio hor mel palesa. You had better reveal it to me now.

Tiberino Tiberino
Semplicità mai più veduta in Donna. I've never seen such naiveté in a Woman before!

Manto Manto
Folle sel crede. He’s mad if he believes it.

Tiberino Tiberino
Dimmi: Tell me:
Huomo mirasti mai? Have you ever looked at a man?

Manto Manto
Che richiesta? What are you asking?

Tiberino Tiberino
Favella. Speak.

Manto Manto
Si. Yes.

Tiberino Tiberino
Fosti ancora, io credo, And then, I believe,
Tu da lui rimirata. He looked back at you?

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Manto Manto
Si. Yes.

Tiberino Tiberino
E gli sguardi all’hora And then, those glances,
S’incontraron frà lor? You met them?

Manto Manto
Si. Yes.

Tiberino Tiberino
In quell’istante At that moment
(Non mel celar) sentisti. (Don’t hide it from me) did you feel
Nulla nel Core? Something in your Heart?

Manto Manto
Si. Yes.

Tiberino Tiberino
Ti parve un certo Did it seem a certain
Quasi piacer? Sort of pleasure?

Manto Manto
È vero. It’s true.

Tiberino Tiberino
Un raggio di diletto, A ray of delight,
Come suole frà l’Ombre, Like a brief sparkle of Light
Scintillar breve Lampo? Amongst the Shadows?

Manto Manto
Giusto cosi (che faciltà) Just so. (How easy!)

Tiberino Tiberino
Crescea, Looking,
Riguardando guardata, And looking again,
La fiamma al Cor più grata? It grew ever more pleasing to your Heart?

Manto Manto
Appunto. Exactly.

Tiberino Tiberino
Hor, se nol sai, Now, if you will know it,
Amore è questi o Bella semplicetta, This is Love, oh Beautiful simpleton,
Ch’entra per gl’Occhi, e dentro il Cor ricetta. Which enters via the Eyes, and is received in the Heart.

Manto Manto
Gran Maestro ne sei; & è Cupido You are a great Teacher of it; and is Cupid
Questi ancora? This one, then?

Tiberino Tiberino
Si questi. Yes, the one.

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Manto Manto
Oh Nume infido. Oh, unfaithful God!

Tiberino Tiberino
Perche? Why?

Manto (à parte. Manto (aside)

Tempo è ch’in parte. It is time that I reveal
Scopra miei sensi amanti. My loving feelings somewhat.

Tiberino Tiberino
Svela quanto t’avvenne. Reveal how it happened to you.

Manto Manto
Offre il gioir, poi sforza l’Alma à i pianti. He offers joy, then forces my Soul to weep.
Nel mio seno à poco à poco In my bosom, little by little,
Questo Amor con il suo gioco This Cupid with his joke
Mi rubò la Libertà. Has stolen my Liberty.
Onde il Cor frà lacci involto Thus my Heart, bound and tied,
Spera in van, ch’un dí sia sciolto, Hopes in vain that one day it will be set free,
Ch’egli è un Dio senza pietà. For he is a merciless God.
Nel mio, &c. In my heart, etc.

Scena XXVI. Scene XXVI

Tiberino. Tiberino.

Oh stravaganza: in Petto Oh, extraordinary thing; in my Breast

Nutre la fiamma, e della Face è ignara; The flame is nourished, and she is unaware of this Torch:
Così la Talpa al Sole, Thus the Mole by his nature
Per innato costume, Senses the Sun,
Sente l’Ardor; ma non conosce il Lume. But does not know the Light.
Quanto sospirerai How much you shall sigh,
Alma per quei bei Rai Soul, for those beautiful Eyes,
Si semplici in Amor. So innocent in Love.
Con pianti, è con lamenti With tears and with laments
Far noti i tuoi tormenti To make known your torments
Ti converrà mio Cor. It behooves you, my Heart.
Quanto, &c. How much, etc.

Segue il ballo dei cacciatori. The dance of the hunters follows.

Fine dell’Atto Primo. End of Act One.

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ATTO II. ACT II
Scena I. Scene I

Anfiteatro con grande Globo nel mezzo, e picciol seggio Amphitheater with a large Globe in the middle and a
Regale da parte. small Throne on the side.

Creonte, e Poliferno, che di sotto terra sono portati à Creonte, and Poliferno, who are carried from
Cavallo à due mostri. underground Astride two monsters.

Poliferno Poliferno
Ritornate à gli Abissi Return to the Abysses,
Spirti fedeli, il nostro piè già calca Faithful Spirits, our foot now treads
L’orme prescritte: à queste soglie in grembo The prescribed path: to the heart of this place
Non guari andrà che giunto Will soon arrive to see,
Vedrai Tessalo Prence il tuo bel Sole; Thessalian Prince, your beautiful Sun;
E questa fia de fasti suoi la Mole. And this is the Monument to her glory.

Creonte Creonte
Oh come qui l’ingegno Oh, here ingenuity and art
Con arte pellegrina Work hand in hand;
Costrusse il Cielo à sua beltà Divina. Heaven has created this for her Divine beauty.

Poliferno Poliferno
Perche ci chiuda, & celi, So that we are hidden and secret,
Ecco manda Cocito Behold how Cocitus† sends
Invisibile Nube à gl’occhi altrui. Clouds that render us invisible to the eyes of others.

Si vede sorgere una Nube da un lato della Scena. Here a Cloud is seen to rise from a side of the Scene.

Creonte Creonte
M’apprestano, oh stupori, These Stygian† horrors create for me,
Il sereno del Cor gli stigi horrori. Oh wonder, a calmness of Heart.
Del mio Ben occhi adorati Adored eyes of my Beloved,
Deh venite à consolarmi. Ah, come to console me.
Vaghi lumi di quest’Alma Charming lights of this Soul,
Vostri sguardi havran la Palma Your glances have the Prize
Di feririmi, è di sanarmi. Of wounding me, and of healing me.
Del mio Ben, &c. Adored eyes, etc.

Scena II. Scene II

Clearte con molti Nobili Tebani, Popolo, e li Sudetti Clearte with many Noble Thebans, People, and the
dentro la Nube. Aforementioned within the Cloud.

Clearte Clearte
Il gran portento Amici You now see the great marvel, Friends,
Vedeste già dell’inalzate Mura; Of risen walls;
Scorgeste aspri macigni You saw the great boulders
Correr per l’aria à volo; e in brevi istanti Run flying through the air; and in a brief instant,
All’armoniche note At the harmonious song
Del nostro Rè gir pronti Of our King, turn with sweeping movement
†
See glossary of terms, pages 210–211
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In lungo giro à collocarsi i Monti. Placing themselves in great piles.

Creonte Creonte
Udisti? Do you hear?

Poliferno Poliferno
Ò Ciel ingiusto, O unjust heaven,
Se l’empietà proteggi. If you protect the wicked.

Clearte Clearte
Oh noi beati, O blessed we,
Se di mirare, & adorar c’è dato If today we be allowed to see and adore
Hoggi i Numi su’l soglio; & in lor nome The Gods on earth, and in their names
Potrà ciascun sicuro Everyone certainly can
Stringer contro de Tessali Tifei Inflict against the Thessalian Typhons†
L’acciaro avezzo à vendicar gli Dei. Our customary slaughter to avenge the Gods.

Creonte Creonte
Che sento? What do I hear?

Clearte Clearte
In Campo armati Into the fields of battle
Già sù Destrier volanti i Regi Figli, The Royal Sons now fly on Steeds,
Precorrendo le stragi, Anticipating the massacre,
Calpestano i perigli. Trampling danger underfoot.

Creonte Creonte
E’ ancor la sofferenza And yet suffering
Qui mi trattien? Holds me back here?

Poliferno Poliferno
Pacienza. Patience!

Clearte Clearte
E’ tu mio Core intanto And you, my Heart, meanwhile
D’Amor l’aspro martire You suffer steadfastly
Soffri costante; è gloria anco il soffrire. The bitter torment of Love; yet suffering is also glory.
Voglio servir fedel, I want to serve faithfully,
E peni quanto sà And I suffer as much as
Quest’Alma amando. This loving Soul knows how.
Sia quanto vuol crudel, Let her be cruel as she likes,
Io vincer la Beltà I wish to vanquish that Beauty
Vuò sospirando. With sighing.
Voglio servir, &c. I want to serve etc.

Scena III. Scene III

Niobe con sèguito di Dame, Nerea, è li Sudetti. Niobe with a train of Ladies, Nerea, and the Aforementioned.

Poliferno Poliferno
Vien al fine la bella. At last, here comes the beauty.

Creonte Creonte
À si gran foco One Heart is too little
Per resistere, ahi lasso, un Core è poco. To resist, alas, such great passion.

†
See glossary of terms, pages 210–211
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Niobe Niobe
Che si tarda Clearte? What delays you, Clearte?
Meco al Trono si ascenda. You shall ascend the Throne with me.

Clearte Clearte
Che fia? suddito humile How can I? A humble subject
Con guardo adoratore Can only gaze adoringly
Quell’Altezze sol mira, At such Loftiness.

Niobe Niobe
Sei nel soglio compagno, You are my companion on the throne.

Clearte Clearte
Mà prostrato à tuoi piedi. But prostrate at your feet.

Niobe Niobe
Il mio cenno ciò impone, This is my order.

Clearte Clearte
Lo condanna Anfione. Anfione condemns it.

Niobe Niobe
Ei del Regno spogliossi; e sol s’inchina He divested himself of the Reign, and people only bow
In Clearte il Regnante. To Clearte the Ruler.

Creonte Creonte
Che Impero. What a Command!

Clearte Clearte
Oh Ciel che pena. Oh heaven, what sorrow!

Nerea Nerea
Oh sciocco Amante. Oh foolish Lover!

Niobe Niobe
Sù non s’indugi; al soglio: Come, don’t delay. To the throne!
Cosi risolvo, e voglio Thus I am resolved, and this I desire.

Prendendolo per mano, lo conduce sù’l Trono, mentre Taking him by the hand she conducts him to the throne,
suona il Rittornello della seguente Aria. while the ritornello of the following aria is played.

Qui la Dea cieca volante Here the blind, flying Goddess†

Ferma il corso all’Orbe instabile. Halts the course of the faltering Orb.
E’ tributa à Regie piante She bows Her incomparable golden Hair
L’aureo Crine incontrastabile. To pay tribute at the royal throne.
Qui la Dea, &c. Here the blind Goddess, etc.

†
See glossary of terms, pages 210–211

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Scena IV. Scene IV

Anfione con seguito di Cavalieri, e li Sudetti. Anfione with a train of Knights and the Aforementioned.

Clearte Clearte
Giunge il Rè. The King arrives.

Niobe Niobe
Ferma. Stay!

Poliferno Poliferno
Hor mira Now behold
L’empio Anfion. The wicked Anfion.

Creonte Creonte
Altero Haughty one,
In gran fasto s’aggira: He struts around in great pomp:

Anfione Anfione
Qual novità sù’l Trono What is this new thing on the Throne
Fassi oggetto à miei sguardi? Displayed before my eyes?

Nerea (à parte. Nerea (aside)

Egli in mal punto He has come to make trouble
A incomodarli è giunto. At a bad time.

Anfione Anfione
Niobe. Niobe!

Niobe (à parte. Niobe (aside)

Che dirà mai? What is he going to say?

Anfione Anfione
Qual sù la Regia sfera What new thing
Novella impressione Appears to shine
Avventizia riluce? In the sphere of the Kingdom?

Niobe Niobe
Il riflesso Divin della tua luce. The Divine reflection of your light.

Anfione Anfione
Dunque dovrà sublime So, the appearance
Sovrastare al suo Sole Of a Ray
L’apparenza del raggio? Should outshine its Sun?

Niobe Niobe
Sì, qual hor fà dal suolo Yes, sometimes Phoebus† does the same
Febo in humane spoglie al Ciel passaggio. In human form, in his crossing of the Heavens.

Clearte Clearte
Me infelice. Unhappy me!

Anfione Anfione
Si serba The throne
Al Rege il Trono. Is reserved for the King.

†
See glossary of terms, pages 210–211
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Niobe Niobe
E tù più Rè non sei. And you are no longer King.

Anfione Anfione
Come? What?

Niobe Niobe
Qui più non s’erge Statues are no longer erected
Base à tue glorie. To your glory here.

Anfione Anfione
E tanto ardisci? And you dare go so far?

Niobe Niobe
Insano He is a fool,
Chì sù base volgare Who thinks he can rule like a God
Di terrena sembianza On a common,
Autorizzar vuò i Numi: à tè, cui cede Earthly pedestal:
De Tebani Penati ogg’il maggiore, Today the greatest of the Theban Gods,
Si deè seggio di stelle: Merits a seat of stars:

Si apre il Globo, e comparisce una Celeste. The Globe opens and a Starry Vault appears.

Olà: già si disserra, Behold, a Heaven

Per accoglierti un Cielo, Now open to receive you,
In cui sotto human velo In which the earth shall adore
Di Giove il Figlio adorar deè la Terra. The son of Jove in human form.

Clearte Clearte
Alto pensier: Lofty thought!

Nerea Nerea
Gran mezzo Great way
Di placar le giust’ire. To placate his righteous anger!

Creonte Creonte
Oh ingegno, oh vezzo? Oh ingenuity, oh delight!

Anfione Anfione
Confuso io resto: o delle Regie Glorie I am confused. O Glory and splendor
Gloria, e splendor: qual fia, Greater than Royal Glories! What eloquent voice
Per celebrarti al Mondo Could suffice
Raro esempio d’Amore, To celebrate you to the World,
Labro à pieno facondo? O rare example of Love?
Homai ratto à gl’Imperi Now at last, I hasten to the commands
Dell’eccelsa tua mente, Of your exalted mind,
Ascendo un Ciel, che à cenni tuoi formato, I ascend to a Heaven, which, formed at your command,
È da raggi animato Is animated by rays
Del doppio Sol, c’hai sù la fronte ardente. Of the double suns which shine in your face.
Ascendo alle stelle, I ascend to the stars,
Mà gl’Astri, ch’adoro, But the Stars I adore
Hà il Ciel d’un bel sen. Heaven places in that beautiful face.

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Mie care Facelle My dear Lights,
Mi struggo, mi moro I am consumed, I die
Al vostro balen. From your lightning.
Ascendo, &c. I ascend, etc.

Niobe Niobe
Con fronti humiliate Everyone bow humble heads
Ciascuno il Nume inchini. To the God.

Tutto il Corteggio s’inchina ad Anfione. All of the court bows to Anfione.

Creonte Creonte
Se non mi porgi aita, If you do not help me,
Celar più la mia fiamma I cannot hide My flame
Non posso alla mia vita. Any longer from the one I love.

Poliferno Poliferno
Il Rapitor della Beltà Sicana, I invoke Pluto,† the kidnapper
Pluto invoco; e già pronte Of the Beauty Sicana;†
Son, per rapir chi brami, And the Shades of Phlegethon† are ready
L’Ombre di Flegetonte. To take him who wishes to go.

Creonte Creonte
Felice sorte. Happy fate!

Niobe Niobe
Armonici intervalli Harmonious music
Sveglin hor lieti Balli. Shall now inspire happy Dances.

Segue il Ballo, è poi terminato. The Dance follows, and then ends.

Poliferno Poliferno
Alle prescritte Mete To the prescribed heights
Sorgete, homai sorgete Rise, rise at last
Dalle stigie Caverne From the Stygian Caves,
Spaventose Ombre Inferne, Fearsome infernal Shades.

Qui sorge infernale, che ingombra tutto il vacuo della Here arises a hell, which fills the whole vacant space of
scena. the scene.

Creonte Creonte
Che miro? What do I see?

Poliferno Poliferno
Hora ubbidisci: Now obey me:
Fra nuove illusioni Among these new illusions
Teco verrà l’Idolo tuo: sparisci. You shall see your idol with you. Go!

E portato via dalla Nube. He is carried into the Cloud.

Poliferno Poliferno
Numi Tartarei Gods of Tartarus,†
Con vostri sibili With your tremendous,
Tremendi, horribili Horrid hisses,
Turbate il Ciel. Roil the sky.

†
See glossary of terms, pages 210–211
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 E dal sidereo Trono And from the starry Throne,
Atterri il vostro Tuono With thunderbolts strike down
Un Salmonèo novel. This new Salmoneus.†
Numi, &c. Gods, etc.

Ad un terribile rimbombo si profonda con tutta At a terrible boom, all Hell sinks down, reverting to the
l’Infernale, tornando à comparire la prima scena first set, darkened, without people.
oscurata senza persone.

Scena V. Scene V

Anfione in atto di spavento. Anfione frightened.

Anfione Anfione
Ove son? chi m’aita? in mezzo all’Ombre Where am I? Who will help me? In the midst of the shadows
Solo m’aggiro, e abbandonato, ahi lasso, I turn, alone and abandoned, alas,
In abisso di horror confondo il Passo. In an abyss of horror my Footsteps stray.
Misero chi mi cela? à i lumi intorno Wretched me, who hides me here? Still before my eyes
L’immago ancor del minacciante Cielo The image of a menacing Heaven
M’agita, mi spaventa: ahi che miraste Agitates me, frightens me. Alas, what did you see,
Sventurati occhi miei! voi pur aperte My unfortunate eyes! Wide open, You,
Mie pupille funeste My sad eyes,
Scorrer dell’Etra i Campi à Marte in seno, Saw my Idol, my Soul,
Quasi lampo, e baleno, Like a flash, a twinkle, run in the fields of Ether†
L’Idolo mio, l’Anima mia vedeste. To the bosom of Mars.
Niobe: ahi doglia infinita! Niobe, alas, infinite sorrow!
Perduta hò l’Alma, e ancor rimango in vita. I have lost my soul, and yet remain alive.
Non fù già in riva al Xanto Not even the fatal kidnapping
Così degna di pianto Of the Trojan Boy
Del Troiano Garzone By the banks of the river Xanthos† was
La rapina fatale, So worthy of tears
Quanto hor la pena mia, quanto il mio male. As is now my sorrow, as is my pain.
Oh spettacolo atroce! Oh atrocious sight!
Oh mio fiero Destin, perversa sorte! Oh my proud Destiny, perverse fate!
Sparì mia vita, e non mi date à morte. To destroy my life, but not give me to death.
Dal mio Petto o pianti uscite From my Breast, O tears, flow,
In tributo al mio dolor. In tribute to my sorrow.
E in virtù de miei tormenti, By virtue of my torments,
Disciogliendovi in torrenti, Dissolve yourself in torrents,
In voi naufraghi’l mio Cor. In you my Heart will be drowned.
Dal mio petto, &c. From my Breast, etc.

Scena VI. Scene VI

Colline con Fonte. Little Hills with Springs.

Tiresia, poi Tiberino. Tiresia, then Tiberino.

Confuse Potenze Confused Powers,

Destatevi sù. Rouse yourselves.
La mente ingannata, My mind, once deceived

†
See glossary of terms, pages 210–211
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Da false Apparenze By false Appearances,
Hor vinta, e legata May you now no longer be
Non rendasi più Fettered and Overcome.
Confuse, &c. Confused, etc.

Tiberino Tiberino
Ove quasi furente Where are you stumbling
Movi l’incerto piè? As if in a rage?

Tiresia Tiresia
Di eventi oscuri My mind, cluttered
Ingombrata la mente, With mysterious events,
Mal discerne gl’auguri. Cannot well discern the omens.
À Pastorali alberghi To the Shepherds’ habitation
Nuovamente m’involo, Again I turn,
Et alle sacre soglie And to the sacred ground
Già ritorno, già volo. Now I return, now I fly.

Tiberino Tiberino
E ancor senza svelarmi Yet you put off keeping your promise
Gl’arcani di mia sorte, alle promesse Without revealing to me
Procrastini gli effetti? The mystery of my fate?

Tiresia Tiresia
Hanno Legge dal Ciel sempre i miei detti My words always express the Laws of Heaven.

Tiberino Tiberino
Dimmi almen: deggio in Tebe At least tell me: am I to hope for victory
Sperar vittorie? In Thebes?

Tiresia Tiresia
È van desio. It is a vain hope.

Tiberino Tiberino
Fia dunque, So now
Hor che infuria Bellona, Raging Bellona†
Pigra in mezzo dell’Armi Will make Tiberino’s right arm lazy
Di Tiberin la destra? In the midst of the Armed crowd?

Tiresia Tiresia
E’ tal hora la sorte And sometimes fate is also
Dè gl’Ozii anco Maestra. The Mistress of Laziness.

Scena VII. Scene VII

Tiberino, e poi Manto in compagnia di Ninfe con varii Tiberino and then Manto in the company of Nymphs
stromenti da suono. with various musical instruments.

Tiberino Tiberino
Fuggirò questo Cielo, I will flee this Heaven,
Che contrari à mie brame Which contrary to my longings
Così nutre gl’influssi: Thus feeds these influences.
Mà dove, oh Dei, se imprigionata, e presa, But where, O Gods, if my Soul, caught and imprisoned,
À un biondo Crin l’Anima mia s’è resa. Has surrendered to a blonde Head?

†
See glossary of terms, pages 210–211
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Manto Manto
Quà mie fide Compagne, ove ridente Here, my faithful Companions, where the waters
Mormora l’onda, ad accordar venite Murmur laughing, come to tune
Dell’incerate Avene il suon giolivo: The merry sound of the oaten Pipes.
Mà che veggio? mia fede But what do I see? My faith,
Fatta già Calamita à due bei Rai, Already Ruined by two beautiful eyes,
Il Polo del suo Amor non perde mai. Never loses the Pole of his Love.

Tiberino Tiberino
Ecco il seno adorato: oh poco avvezza Here is that beloved bosom! Oh Simple beauty
All’amorose Gioie Unaccustomed
Semplicetta bellezza. To amorous Joys.

Manto Manto
Ridir, vuò le mie pene. My sorrows wish to smile.

Tiberino Tiberino
Voglio scoprir l’Oggetto, I want to discover the Object
Ch’il Cor le accese in Petto. For which your heart burns in your Bosom.

Manto Manto
La man benefattrice A beneficent hand
À venerar mi guida Leads me to venerate
Nuova sorte felice. A new, happy fate.

Tiberino Tiberino
M’incatena ogn’hor più: grata à mè giungi; She enchains me all the more: she becomes more pleasing to me;
Et à punto o Vezzosa, And precisely, O Charming one,
Replicava il mio Core Relate to my Heart
Gli eventi del tuo Amore. The events of your Love.

Manto Manto
M’è benigna Fortuna Fortune is kind to me.

Tiberino Tiberino
Hor dimmi o Bella Now tell me, O Beauty,
Di qual vago sembiante With what handsome face,
Col rincontro de sguardi, As you told me before,
Come, già m’affermasti, With what exchange of glances,
Amore t’invaghi? Did Love delight you?

Manto Manto
Io tè mirai. I looked at yours.

Tiberino Tiberino
Non altri? Not another’s?

Manto Manto
Altri non mai cosi. Not like this.

Tiberino Tiberino
Alma innocente? Innocent soul!

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Manto Manto
Et al tuo sen, mi svela And tell me, in your heart,
Signor, nulla produsse Sir, did my look
Lo sguardo mio? Produce anything?

Tiberino Tiberino
Che dir saprò? m’e forza How shall I know what to say? Am I compelled
Dir, che m’accese: nò, tempo migliore To say what inflames me? No, a better time
Si attenda à palesar l’ardor del Core. Awaits to reveal the fire in my heart.
Il tuo sguardo o Bella mia Your glance, O my Beauty,
Nel mio sen fiamme avventò. Has kindled a fire in my breast.
Mà ch’Amor poi quello sia, But that it is Love
Dir nol posso, e non lo sò. I cannot say, and I don’t know.
Il tuo sguardo &c. Your glance, etc.

Scena VIII. Scene VIII

Manto. Manto.

Odi come diverso Listen how different is it

Da ciò, che insegna altrui, When he who teaches others,
Il Maestro d’Amor, d’Amor favella. The Master of Love, speaks of Love.
Oh sventurata Manto! un stranier crudo, Oh unfortunate Manto! A raw foreigner,
Per lui meglio gioire, To have more sport for himself,
Serbò tua vita à più crudel morire. Saved your life for a more cruel death.
Tu ci pensasti poco You thought too little of us,
Mio Cor à dir di si My Heart, to say yes,
T’inceneristi al foco You were scorched in the fire
Si tosto che apparì. The moment it appeared.

Tu ti fidasti assai You trusted much,

Mio cor del crudo arcier. My heart, in the cruel archer,
Troppo credesti à i rai Too much you believed in the beams
D’un volto lusinghier. From an alluring face.

Scena IX. Scene IX

Niobe, e Poliferno in apparenza di Mercurio. Niobe, and Poliferno in the guise of Mercury.

Niobe Niobe
Chi sei, dove mi guidi? Who are you? Where do you lead me?

Poliferno Poliferno
Io Mercurio m’appello, e de gli Dei I am called Mercury,† and I am the messenger
Son Messaggier; l’incarco Of the Gods. It was my task
Hebbi di quà condurti: To lead you here.

Niobe Niobe
E cosí tosto And so soon
Sparì da gl’occhi miei Marte il mio Nume? You vanished from my eyes, Mars, my God?

Poliferno Poliferno
Per trasportarti alla Magion Celeste, He will soon return to transport you
Farà presto ritorno: à quanto giunse To the Celestial Mansion:
Donna immortal la tua Beltà Divina: So great is your Divine Beauty, immortal Lady:

†
See glossary of terms, pages 210–211
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Marte dall’alte Sfere It had the power
Di trar hebbe possanza; To draw Mars from the spheres;
Et è vil paragone hor al tuo merto And the great Mother of Love (Venus)
La gran Madre d’Amor; del Dio Tonante Is contemptible in comparison to your merits;
Fù meno degna preda Europa,† Danae,† and Leda† are less worthy prey
Europa, Danae, e Leda. Of the Thundering God.

Niobe Niobe
Tebe, Figli, Anfion, Regno, Vassali. And Thebes, Children, Anfion, Kingdom, Subjects?

Poliferno Poliferno
Hor ch’il gran Dio de l’Armi Now that the great God of Arms
Sposa ti elesse, il nutrir più non lice Has chosen you as wife, you are no longer allowed to nourish
Nel sen terreni affetti. Earthly affections in your bosom.

Niobe Niobe
Deh cedete hor mie pene à miei diletti, Ah, cede now, my sorrows, to my delights.
Stringo al seno un Nume amante, I press a God to my bosom,
Fatto eterno è il mio gioir, My joy is made eternal.
S’à bei Rai del suo sembiante In the beautiful Rays of your face
Divien gioia ogni martir. Every sorrow becomes joy.
Stringo al seno, &c. I press a God to my bosom, etc.

Scena X. Scene X

Sopra gran Nuvola dall’alto della scena Creonte in Upon a large Cloud above the scene, Creonte in the
Apparenza di Marte, e li sudetti. Form of Mars, and the aforementioned.

Poliferno Poliferno
Mira: già il Dio guerriero Behold, now the warrior God
A tè scende dall’Etra. Descends to you from the Ether.

Niobe Niobe
L’Abisso di sua Luce Don’t be blinded, my eyes,
Non v’abbagli occhi miei: Mà ben discerno, By vastness of his light. But I see well
Che un Raggio sol de suoi Divin splendori That a single ray of his Divine radiance
Può rischiarar l’Inferno. Can illuminate all Hell.

Creonte (Scendendo la Machina. Creonte (Descending from the Machine)

Lascio l’armi, e cedo il Campo I lay down my arms and cede the Battle,
Già mi rendo à un vago Lampo I now surrender myself to the delightful Light
D’altra Venere in beltà. Of another Venus in beauty.
Guerre, e stragi andate in bando, Wars and battles shall be banned,
Baci, e vezzi io vò cercando I shall seek Kisses and caresses
Nel bel sen, che vinto m’hà. On the fair bosom that has conquered me.
Lascio l’armi, &c. I lay down my arms, etc.

Poliferno (à parte, essendo la machina à Terra. Poliferno (aside, the machine being on Earth)
Agevolò l’Impresa The plotted Illusion will
L’ordita illusion, da cui ingannata Assist the enterprise, she who was deceived
Divota Amante ella al tuo Amor s’è resa. Has yielded, a Devoted Lover to your Love.

†
See glossary of terms, pages 210–211
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Creonte (à parte. Creonte (aside)
Il tuo saper fà l’Alma mia beata Your magic skill gladdens my Soul.

T’accosta o Dea Terrena; han gl’human pregi Approach, O Earthly Goddess; human qualities still have
Possanza ancor sovra gli Dei; sovente Power over the Gods; often
Le delizie de Numi The delights of the Gods
Son frà Mortali; hor il timor disgombra; Are among Mortals; now rid yourself of fear:
Sembra ogni Nume à te vicino un Ombra. Next to you, every God seems a mere Shadow.

Niobe Niobe
Alle grazie Celesti My Heart is humbled
Il Core humiliato, By these Heavenly favors,
Al sembiante adorato To that adored face
Sacra i desir dell’adorante salma; I dedicate the desires of an adoring body,
Son incensi i sospir, vittima è l’Alma. My sighs are the incense, and my Soul is the sacrificial victim.

Creonte Creonte
Vieni mia cara, vieni Come, my darling, come
Frà le mie braccia; havrai Into my arms; you shall have
Sopra del Sole il Trono; A Throne above that of the Sun.
Ti cingerà de gl’Astri You will be girded by the
Il risplendente velo; Shining veil of the stars;
E’ se lasci la Terra, acquisti un Cielo. And though you leave Earth, you acquire Heaven.

Niobe Niobe
All’Impero Divino To the Divine Command
Divota, ubbidiente, Devoted, obedient,
Corro veloce, e de terreni Fasti I quickly run, and earthly Pomps
Son le memorie spente. Are but spent memories.

Creonte Creonte
T’abbraccio mi Diva, I embrace you, my Goddess.

Niobe Niobe
Ti stringo mio Nume, I clasp you, my God,

à 2. a 2.
Ti lego al mio Cor. I bind you to my Heart.

Niobe Niobe
Tua luce m’avviva, Your light gives me life,

Creonte Creonte
Mia Vita è il tuo lume, My Life is your light,

à 2. a 2.
Mia gioia è il tuo ardor. My joy is your passion.
T’abbraccio, &c. I embrace you, etc.

Seguendo il Rittornello della seguente Aria, comincia as- Following the ritornello of the following aria, the
cender la machina, in cui siede anche Poliferno. machine begins to ascend, in which sits also Poliferno.

Poliferno Poliferno
Gioite, godete Rejoice, enjoy,
In grembo al piacer, In the lap of pleasure.
De Numi i diletti The only delights of the Gods

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 Son solo gli affetti Are the passions
Del picciolo Arcier, Of the little Archer.
Gioite, &c. Rejoice, etc.

Scena XI. Scene XI

Camare Regie. Royal chambers.

Anfione, Tiresia. Anfione, Tiresia.

Anfione Anfione
Tù mi laceri il Core. You cut me to the Heart.

Tiresia Tiresia
Ch’a tè venga imponesti, You have commanded me to come to you
Perche il ver ti riveli. In order to reveal the truth.

Anfione Anfione
Creonte dunque? Creonte then?

Tiresia Tiresia
Sì. Yes.

Anfione Anfione
Il Tessalo nemico? The enemy of Thebes?

Tiresia Tiresia
Egli. Him.

Anfione Anfione
Con Magich’opre? With works of Magic?

Tiresia Tiresia
Arti di Poliferno. Poliferno’s arts.

Anfione Anfione
M’abbagliò? He blinded…

Tiresia Tiresia
Le Pupille. Your Eyes.

Anfione Anfione
Mi confuse? He confused…

Tiresia Tiresia
La mente. Your mind.

Anfione Anfione
Et in mezzo à Fantasmi? And in the midst of Apparitions?

Tiresia Tiresia
Di strane illusioni. Of strange illusions.

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Anfione Anfione
Mi rapí? He stole…

Tiresia Tiresia
La Consorte. Your Wife.

Anfione Anfione
Empio ardir. Wicked audacity!

Tiresia Tiresia
Grave inganno. Grave deception!

Anfione Anfione
E resisto all’affanno? And I must suffer this pain?

Tiresia Tiresia
In mezzo à mille incanti In the midst of a thousand enchantments
Il piè raggiri; i Numi You wandered; thus the Gods
Così de lor disprezzi Avenged the shame
Vendican l’onte. Of their scorn.

Anfione Anfione
O de superni Regni O Deity of supernal Kingdoms,
Deità, che reggete Who determines
De i Rè la sorte; io prego, The fate of Kings; I pray,
Deh temprate clementi Ah, mercifully temper
Il rigido tenor de miei tormenti. The harsh state of my sufferings.

Tiresia Tiresia
All’humili preghiere By the humble prayers
De divoti Mortali Of devout Mortals
Si mostrano sovente The Gods often are
Gli Dei placati; & io ritorno al Tempio, Placated…and I will return to the Temple
Per impetrar propizie à tue difese To entreat for favors in your defense
Le Onnipotenti destre. From their Omnipotent right hands.
Poscia de lor Decreti After their Decrees
Rivelerò i secreti. I will reveal these secrets.
De Numi la legge The law of the Gods
È scorta à chi regge, Is an always-faithful guide
Ogn’hora fedel. To him who reigns.
Di vana grandezza He can only boast of vain grandeur
Si vanta chi sprezza Who disdains
I Dogmi del Ciel. The dogmas of Heaven.
De Numi, &c. The law of the Gods, etc.

Scena XII. Scene XII

Anfione. Anfione

Et ancor neghittosi And still you remain

Ve ne state à tant’huopo Senseless of this disdain,
Spirti del Regio sdegno? Spirits of the Realm?
Del tradimento indegno Come, come, may the Authors
Sù sù cadan gl’Autori in mar di sangue; Of this disgraceful betrayal fall in a sea of blood;
Sù alla strage de gl’Empi, Come, to the slaughter of the Wicked,

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Per far miei di felici, To make my days happy,
Corran le Furie mie vendicatrici. The Furies† run, my avengers.
Trà Bellici carmi With warlike rhymes,
Risvegliati all’armi Reawaken my invincible Heart
Invitto mio Cor. To arms.
Quest’Alma dolente This sorrowful Soul
À guerra furente Now dedicates its valor
Già desta il valor. To raging war.
Trà, &c. With warlike etc.

Scena XIII. Scene XIII

Pianura ingombrata da Capanne di Pastori. A plain filled with Shepherds’ Huts.

Clearte, Nerea. Clearte, Nerea.

Clearte Clearte
De Tebani Pastori, io pur non erro, If I’m not mistaken, those are
Son questi gl’Abituri. The huts of Theban Shepherds.

Nerea Nerea
E che rimiro? And what do I see?

Clearte Clearte
Mà come d’improviso But how did we get here
Quì spazia il piè? frà sconosciute genti So unexpectedly? We now roam
Pur noi sin’hor vagammo. Among strangers.

Nerea Nerea
In ver mi sembra In truth, it feels to me
Cosa da farmi intirrizzir le membra. Like something is numbing my limbs.

Clearte Clearte
E di qual forza ignota And by what unknown power
Fur cosí strani eventi? Have such strange things occurred?

Nerea Nerea
Ahi non vedesti Ah, did you not see
Nel Regio Anfiteatro In the Royal Amphitheater
Tutti gl’Inferni spirti All the Infernal spirits
Contro noi congiurati? e il Dio Gradivo Gathered against us? And how the God,
Cinto d’aeree schiere Surrounded by the aerial throng, stealthily
Involar la Regina? in quell’istante, Kidnapped the Queen? At that very moment,
(Io penetro nel fondo) (I’m getting to the end of this)
Ei, perche non si sappia, So that no one would know of it,
Ci pose fuor del Mondo. We are put out of the World!

Clearte Clearte
Con memoria si cruda With such a bitter memory,
Ahi mi sveni: e fia ver, che l’Idol mio Ah, you kill me: and is it true that my Idol
Sia sparito? alla Reggia Has vanished? To the Royal palace

†
See glossary of terms, pages 210–211
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Men corro impatiente: I will eagerly haste:
Amor con nuova pena Love, do not torment my sorrowful soul
Non tormentar l’Anima mia dolente. With new pains.

Non mi far pianger sempre Do not make me weep forever,

Tiranno mio Destin. My Tyrant Fate.
Un giorno cangia tempre One day change the temperament
Al crudo Dio bambin. Of the cruel child-God.
Non mi far, &c. Do not make me weep etc.

Scena XIV. Scene XIV

Nerea, Manto, e poi Tiberino. Nerea, Manto, then Tiberino

Nerea Nerea
Ratto sen và: frà questi alberghi intanto Swiftly he leaves. Amongst these huts,
Io cercar vuò breve riposo; e appunto I would like to seek a short rest; now, here
Quì gentil Pastorella Is a lovely shepherdess
Prende dolce quiete. Taking sweet repose.

Manto Manto
Ahi crudel. Alas, cruel one!

Nerea Nerea
Si risveglia. She is awake.

Manto Manto
Infido Core Unfaithful Heart,
Cosi paghi il mio Amore? Thus you repay my Love?

Nerea Nerea
Manto è costei, e d’amorosa doglia This girl is Manto, and she sadly complains
Mesta si lagna Of amorous suffering.

Manto Manto
In grembo al suolo Hircano In the bosom of the Hyrcanian† land
T’allattaron le Tigri Alban superbo, You were suckled by Tigers, haughty Alban,
Empia cagion del mio tormento acerbo. Wicked cause of my bitter suffering.

Nerea Nerea
Oh poverina! Oh, poor girl!

Tiberino Tiberino
Piange My Love weeps?
Il mio Ben? che t’opprime What oppresses you,
Vergin leggiadra! dimmi Lovely virgin? Tell me,
Che t’affligge? ahi col guardo What afflicts you? Ah, it seems
Par che tenti mia morte. You are trying to kill me with a glance.

Nerea Nerea
Ardon per tutto Cupid’s torches
Di Cupido le faci. Burn everywhere.

Tiberino Tiberino
Parla o bella, ancor taci? Speak, beauty, still you keep silent?

†
See glossary of terms, pages 210–211
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Manto Manto
Hò troppo parlato, I’ve said too much,
Ti basti così. That’s enough for you.
Il Cor ingannato The betrayed Heart
Già troppo languì. Has already suffered too much.
Hò troppo, &c. I’ve said too much, etc.

Scena XV. Scene XV

Nerea, Tiberino. Nerea, Tiberino.

Nerea Nerea
Mi commove à pietade: oh che bel vanto She moves me to pity. Oh, what a fine boast,
Tradir le Giovinette. To betray young Maidens!

Tiberino Tiberino
Io qui son fatto I am being subjected
Di rimproveri scopo To harsh criticisms here.

Nerea Nerea
È troppo folle Those who trust men
Chi d’huomini si fida. Are all too crazy.

Tiberino Tiberino
À violenza Against my will
Fermo qui più le piante: I remain here still.
Sia pur forza d’Amor, d’Astri, ò di Fato, Whether by the force of Love, of the Stars, or of Fate,
Un sol momento parmi It seems to me that a single moment,
Lungi dal caro bene Far from my dear beloved,
Un secolo di pene Is a century of pain.
Ci sei colto mio Cor, non v’è più scampo. We are captives, my Heart, there is no more escape.
Segui ad amar penando Suffering, you must continue to love
Quel sen, che saettando That bosom, which keeps shooting you
Ti và d’Amor col Lampo. With the lightning bolt of Love.
Ci sei colto &c. We are captives, etc.

Scena XVI. Scene XVI

Nerea. Nerea.

Oh che dolci concetti, Oh, what sweet fancies,

Che parole melate han sempre in bocca What honeyed words they always have in their mouths,
Questi falsi Zerbini; ogn’hora estinti These false Dandies; always showing themselves
Si mostrano in Amor, ma i Cori han finti Dying of Love, but their Hearts are feigning.
Questi Giovani moderni These modern Boys
Giocan sempre ad ingannar. Make a sport of deception.
I lor vezzi sono scherni, Their endearments are mockeries
Che fan l’Alme sospirar. Which make Souls sigh.
Questi, &c. These, etc.

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Paion tanti Endimioni They are like so many Endymions†
Le Zitelle in lusingar. Flattering the Lasses.
Mà se v’è, ch’il Cor li doni, But it ends up that they give their Hearts to them:
E’ una Luna al vaneggiar. It’s just howling at the Moon.
Questi, &c. These, etc.

Segue il Ballo de’ Pastori. Here follows the Ballet of the Shepherds.

Fine dell’Atto Secondo. End of Act Two.

ATTO III. Act III

Scena I. Scene I

Sfera di Marte. The Globe of Mars.

Niobe in apparenza di Dea, Creonte, e Corteggio di Niobe in the costume of a Goddess, Creonte and a
Deità apparenti. Retinue of Men posing as Gods.

Creonte Creonte
Delle Celesti soglie Now you tread the sapphires
Già calpesti i zaffiri; à te s’inchina Of the Celestial chambers; to you bows
Del quinto Giro il Coro, The choir of the fifth Planet,†
Ove io divoto i tuoi bei Lumi adoro. Where I, ever devoted, adore your lovely Eyes.

Niobe Niobe
In sen d’eterna gioia My senses live in the bosom of eternal joy;
Vivon miei sensi, e immortalmente unita Joined in immortality
Al tuo Fianco Divin vive mia Vita. To your divine side, I live my Life.

Creonte Creonte
In dolci Nodi avvinti Clasped in sweet Knots
Posiam mia Dea, e del tuo Amor mi rendi Let us rest, my Goddess, and give me
Segni più lieti: Happier signs of your love:

Niobe Niobe
Ahi ch’ogn’hor più m’accendi. Ah, how every hour I burn even more!
Amami, e vederai, Love me, and you shall see
Che Amor non hà più stral, That Love has no more arrows:
Vibrolli tutti al seno mio per tè. They all quiver in my heart for you.
In quei tuoi vaghi Rai My fatal Passion
E l’Ardor mio fatal, Is your beautiful eyes,
Ne’ Fede v’è, che sia pari à mia Fè. There is no Constancy like my Constancy.
Amami, &c. Love me, etc.
Mà da qual Nube interna But what by what internal cloud
Sento opprimermi’l Cor? lassa, già langue Do I feel my heart oppressed? Alas, now my bloodless
In sen lo spirto esangue. Spirit languishes in my breast.

Sviene. She faints.

Creonte Creonte
Che fia mio Ben? Idolo mio? mio Nume? What is it, my Beloved? my Idol? my Goddess?

†
See glossary of terms, pages 210–211
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Scena II. Scene II

Poliferno, e li Sudetti. Poliferno and the Aforementioned.

Poliferno Poliferno
Fuggi Creonte, fuggi; àrmasi’l Cielo Flee, Creonte, flee! Heaven arms itself
Contro di noi, già freme Against us; Latona is furious,
Di Tiresia alle preci Enraged now by Tiresia’s supplications,
Adirata Latona; e à nostri danni And to our damnation,
Per possanza maggiore Our deceits turn against us
Volgonsi i nostri inganni. With greater power.

Creonte Creonte
Misero me che ascolto: e semiviva Wretched me, what do I hear! And shall I leave
Lascierò la mia Vita? Her half-alive, she who is my Life?

Poliferno Poliferno
Huop’è che ceda It is necessary to cede
Il tuo Amor al Destino; il Campo tutto Your Love to Destiny; if you keep on, the whole Camp
Teme, se più vai lungi, esser distrutto. Fears it will be destroyed.

Creonte Creonte
Ahi Ciel! Alas, Heaven!

Poliferno Poliferno
Più non s’indugi. Delay no longer!

Creonte Creonte
Oh stelle infide: Oh, unfaithful stars,
Il dolore m’uccide. Sorrow kills me.
Luci belle, che languite, Beautiful, languishing eyes,
Io vi lascio, è vado à morte. I leave you and go to my death.
Cosí voglion mie ferite, So my wounds desire,
Vuol così l’iniqua sorte. So desires wicked Fate.
Luci belle, &c. Beautiful eyes, etc.

(parte con Poliferno. He leaves with Poliferno.

Scena III. Scene III

Sparisce l’apparenza della sfera di Marte, e si vedono The appearance of the globe of Mars disappears, and a
Solitudini con Grotte. Lonely Place with Grottos is seen.

Anfione, e Niobe svenuta sovra un pezzo di Rupe. Anfione, and Niobe unconscious on a Rock.

Anfione Anfione
Qui, dove muto, e solo Here, where Silence passes,
Il Silenzio passeggia, Mute and alone,
Dall’abborrita Reggia From the horrid Realm
Vengo Rè sfortunato I come, unfortunate King,
In compagnia del duolo, In the company of sorrow,
À esacerbar mio Fato: To bewail my Fate:

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Accogliete i miei pianti, i miei Martori Dear Solitude embraces my tears,
Solitudini care, amici horrori. My Sorrows—friendly horrors.
Mà sù Guancial di sasso But here is a girl,
Ninfa qui appar, che dorme. Sleeping on a Pillow of stone.

Niobe Niobe
Ahi respiro. Ah, I breathe.

Anfione Anfione
Si desta. She awakens.

Niobe Niobe
À i dolci Amplessi To sweet Embraces
Torna l’Alma smarrita. My lost Soul returns.

Anfione Anfione
È di Niobe la voce. The voice is Niobe’s.
Ahi, se non erran gl’occhi, Alas, if my eyes are not mistaken,
Niobe è costei. She is Niobe.

Niobe Niobe
Mà dove son; che veggio? But where am I, what do I see?

Anfione Anfione
Benche in diverse spoglie, Although she is in different clothing,
E dessa: io non traveggio It is she: I am not mistaken.

Niobe Niobe
Dov’è il Ciel, dov’è Marte? Where is Heaven, where is Mars?

Anfione Anfione
I suoi vaneggiamenti. I would prefer to listen to
Ascoltar vuò in disparte. Her ravings while hidden.

Niobe Niobe
Dive ancelle ove siete? Goddess handmaids, where are you?
Mio Nume ove sparisti? e chi dal soglio My God, where have you disappeared? And who
De canori Adamanti, Has condemned Niobe
In queste mute arene From that place of Adamantine† enchantments
Hà Niobe condannata? To this silent shore?

Anfione Anfione
Mente contaminata. Polluted mind!

Niobe Niobe
Dimmi: (vede Anfione. Tell me… (she sees Anfione)
ahi, che miro? sposo. alas, what do I see? Husband!

Anfione Anfione
Ahi schernita Regina, Alas, scorned Queen,
Tradita fè, tiranneggiato Amore, Betrayed faith, tyrannized Love,
Costanza offesa, & ingannato Core. Offended Constancy, and deceived Heart.

Niobe Niobe
E che dirò? And what shall I say?

†
See glossary of terms, pages 210–211
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Anfione Anfione
Quanto à me fè palese Much has been revealed to me
Tiresia l’Indovino, By Tiresia, the Seer;
Ascolta Alma confusa Now hear, confused Soul,
Di Regnante delusa: Of deluded Royalty:
Per gran forza d’Incanto, By great power of enchantment,
Sotto Velo di Nume al sen stringesti In the Body of the God whom you clasped to your bosom
Il nemico Creonte, Was the enemy Creonte,
C’hora Tebe assalisce: Who now attacks Thebes;
Così permette il Ciel, quando punisce. So Heaven permits, when it punishes.

Niobe Niobe
Niobe che ascolti? e di cotanto oltraggio Niobe, what do you hear? And against such outrage,
Vilipesa, e negletta, Despised and mistreated,
Tardi ancor la Vendetta? Do you still delay War?
Contro il Ciel, che m’hà schernita, Against Heaven, which has scorned me,
Corro, volo à guerreggiar. I run, I fly to make war.
E dal soglio inferocita And from the enraged throne
Voglio i Numi fulminar. I want to strike the Gods with lightning bolts.
Contro il Ciel, &c. Against Heaven, etc.

Scena IV. Scene IV

Anfione. Anfione.

Nell’Egeo tempestoso In the stormy Aegean,

Nave non scosser mai The roaring South Winds never tossed a boat
Con impeto più insan gl’Austri frementi, With an impetus more mad;
Qual hor nel mar turbato Sometimes in the troubled sea
Di tante passioni Of such passions
Abbattuta è al mio sen l’Anima mia, My soul is beaten in my breast.
Colpa di stelle, e di fortuna ria. The fault is that of the stars, and the guilt is fortune’s.
Hò perduta la speranza I have lost hope,
Alma mia di più gioir. My soul, of ever being happy again.
Il Destin cangiò sembianza, Destiny changes its appearance
Sol per farmi ogn’hor languir. Only to make me languish hourly.
Hò perduta, &c. I have lost, etc.

Più non spero haver contenti, I hope no longer for contentment,

Vivo sol trofeo del duol, I live only as a trophy of sorrow,
E bersaglio di tormenti And a target of torments,
La mia sorte alfin mi vuol. In the end my fate wants me to be so.
Più non spero, &c. I hope no longer, etc.

Scena V. Scene V

Tempio di Latona. Temple of Latona.

Tiresia, Manto, Tiberino, e Popolo. Tiresia, Manto, and Tiberino and People.

Tiresia Tiresia
Con eterni Legami With eternal Bonds

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Stringendovi le Destre, Clasping your right Hands,
L’Alme, e i Cori annodate: hoggi divise Bind together your Souls and Hearts: Heaven no longer
Non vuol più vostre salme Wishes your bodies to be apart,
Quel Ciel, che à me commise That heaven which has commissioned me
Farvi goder di casto Amor le Calme. To cause you to enjoy the serenity of Chaste love.

(Si dan le Destre. They give their right hands.

Tiberino Tiberino
Son felice. I am happy.

Manto Manto
Io contenta I am content!

Tiberino Tiberino
Sparì mia doglia. My sorrow has vanished.

Manto Manto
Ogni mia pena è spenta, All my anguish is spent.

Tiresia Tiresia
Hor meco o Tiberino Now come with me, O Tiberino,
Le piante affretta; e tu mia figlia intanto And hasten; and you, my daughter, meantime
Nel Culto della Dea Accompany the People
Il Popolo accompagna; e richiamando In the Worship of the Goddess, and recalling
Le disviate menti Their distracted minds
A i Voti riverenti, To reverent Vows,
Con suppliche divote, e preci humili, With devout supplications and humble prayers,
Di Tebe ne i perigli May Heaven advise
Dal Ciel prendi i consigli. Thebes of the danger.

(parte. He leaves.

Tiberino Tiberino
Hor ch’è mio quel vago labro, Now that these lovely lips are mine,
Saprai tosto Amor cos’è. You soon shall know what Love is.
Proverai, ch’egli è sol Fabro You shall understand that he is the only Giver
Di dolcissima mercè. Of sweetest rewards.
Hor ch’è mio, &c. Now that, etc.

Scena VI. Scene VI

Manto, e Popolo, poi Niobe con numeroso Corteggio, Manto and the People, then Niobe with a Great Retinue,
Clearte, e Nerea. Clearte and Nerea.

Manto Manto
Foste al fine pietosi You were at last merciful,
Numi del mio cordoglio: à nostri Dei Gods, to my sorrow. To our Gods
Offriamo Amici in sacrificio i Cori, Let us offer, Friends, our Hearts in sacrifice,
E la gran madre eterna, And everyone adore the great eternal Mother,
Con la Prole Divina ogn’uno adori. With her Divine Children.

Niobe Niobe
Che si fa? che si tenta? empi Tebani What are you doing? What are you attempting? Wicked Thebans,
Da quai furori insani With what insane frenzy
Follemente agitati, i falsi Dogmi Do you tremble madly, following the false Dogmas

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D’una stolta eseguite? Of a fool?
Così anteporre ardite Thus you dare set
Immagin vane, e insussistenti Oggetti, Vain images and insubstantial Objects,
C’han sol di Numi il Nome, Which have only the Name of Gods,
Di Tantalo alla Prole? Io quella sono, Above the progeny of Tantalus?† I am the one
Che da Numi non finti Who does not feign
Vanto la discendenza, Atlante, e Giove To boast of descent from Gods: Atlas† and Jove
Sono di Niobe gli Avi; olà miei fidi Are Niobe’s Ancestors; there, my faithful ones,
Tosto in più Schiegge infrante Soon the unworthy idols
Cadan gl’Idoli indegni alle mie Piante. Shall be cast at my feet and broken into shards.

Li seguaci di Niobe atterrano gl’idoli di Latona, di The followers of Niobe cast the images of Latona,
Apollo, e di Diana. Apollo, and Diana to ground.

Manto Manto
Chiudetevi miei Lumi, Close, my Eyes,
E non v’aprite più; And open no more,
Se pria non fanno i Numi Unless first the Gods take
Vendetta di là sù. Vengeance on this.
Chiudetevi, &c. Close, etc.

Niobe Niobe
Mi si toglia da gli Occhi. Get them out of my Sight.

Manto Manto
E ancora o Cielo i Fulmini non scocchi? And still, O Heaven, you do not throw your Thunderbolts?

(parte. She leaves.

Scena VII. Scene VII

Niobe, Clearte, Nerea, & Corteggio. Niobe, Clearte, Nerea, and the Court.

Niobe Niobe
Senza indugio Clearte Without delay, Clearte,
Vanne, e di tanta impresa Go, and soon my great Children will enjoy the Triumph
Godan tosto il Trionfo i miei gran Figli; Of this great enterprise;
E frà publici Applausi And together with the public Applause
De Popoli adoranti Of an adoring People,
Habbian di Numi i commun Voti e i Vanti. They will have the common Prayers and Exaltation of Gods.

Clearte Clearte
Giuste son le tue Glorie Your glories are just,
O dell’Ismenia Gente, O you, Goddess of the Ismenian People,
E frà i Numi del Ciel Diva possente. And powerful Goddess among the Gods of Heaven.

(parte. He leaves.

†
See glossary of terms, pages 210–211
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Scena VIII. Scena VIII

Niobe, Nerea, Corteggio. Niobe, Nerea, Court.

Niobe Niobe
Vinti sono i Celesti; hor del mio Petto The Gods are vanquished; now from my Breast
Precipiti lo sdegno Disdain is thrown headlong
Contro il Tessalo infido, e dal profondo Against the unfaithful Thessalian, and from the depths
M’inchini Averno, e con Averno il mondo. Avernus† bows to me, and with Avernus, the world.
In mezzo al Armi In the midst of battle
Vuò vendicarmi I wish to avenge myself
D’un infedel. On an infidel.
Cangiossi in Face Love’s Snare
D’odio vorace Changes in the Face
D’Amor il Tel. Of greedy hatred.
In mezzo, &c. In the midst, etc.

Scena IX. Scene IX

Nerea. Nerea.

Affè ch’è un brutto intrico, & è delitto Indeed, this is a messy intrigue, and it is offensive
Farne motto, ò parola: il Ciel mi guardi To speak of it at all. Heaven protect me
Da si arrabbiati Amanti, From such incensed lovers,
Che goder vonno à forza ancor d’Incanti. Who want to enjoy themselves by dint of Enchantments.
Povere Giovinette Poor Youngsters,
À quanti inganni ogn’hor siete soggette. They are subject now to so many deceptions.
Ma poi, che nella Rete But yet, of those who have
V’hanno fatto cader, v’è speme alcuna Fallen into the Snare, is there any hope
Di trovarne in Amore alcun costante? Of finding someone who is faithful?
Ohibò; questa speranza Phooey, this hope
Non è più dell’usanza. Is no longer any use.
Che alla fè di Donne amanti I’ll never believe
Siano gl’Huomini costanti That Men are faithful
Io giamai nol crederò. To the constancy of Women in love.
Io per prova e vedo e sento, I know through experience, seeing, and hearing,
Che ne brama ogn’uno cento That every one yearns for a hundred,
Se ben giura ogn’un di nò. But yet every one of them swears they don’t.
Che alla, &c. I’ll never, etc.

Scena X. Scene X

Gran Piazza di Tebe, concorso di Popolo, Clearte, che Great Square of Thebes. Crowd of People, Clearte, who upon a
sovra gran Machina conduce in Trionfo i Figli di Niobe. great Machine leads the Children of Niobe in Triumph.

Clearte Clearte
Tutta gioia, e tutta riso All joy and all smiles,
Tebe essulti in questo dì Thebes exults in this day,
Se di Numi hor fatta Reggia, For now the Kingdom is made the Gods’,
Con il Ciel lieta gareggia, Happily contend with Heaven,
Poiche i pregi al Ciel rapi. Because we have stolen some of their treasure.
Tutta gioia, &c. All joy, etc.

†
See glossary of terms, pages 210–211
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Ad un subitaneo Terremoto si vedono cader tutti At a sudden Earthquake, all the Buildings are seen to fall
gl’Edifici & ingombrata da improvise nubi la Scena and the Scene is filled with sudden clouds among Light-
frà Lampi, tuoni, e saette appariscono dall’alto Latona, ning, thunder, and arrows. Latona, Diana, and Apollo, with
Diana, & Apolline, con loro Deità Compagne, in atto their Company of Gods, appear from on high, in the act of
difulminar li Trionfanti, e poi spariscono. shooting the Triumphant, and then they disappear.

Ma lasso, insin dal centro But alas, it seems that the world shakes
Par, che si scuota il Mondo? From its very core!
Scaglia fulmini il Cielo; Heaven flings lightning bolts;
Trà il vivere, e il morire, io mi confondo. I feel myself suspended between life and death.

Scena XI. Scene XI

Anfione con spada alla mano, e li Sudetti atterrati da i Anfione with a sword in his hand, and the Aforementioned
fulmini. subjects thrown to the ground by bolts of lightning.

Fin dove m’inseguite At last where do you follow me,

Furie fulminatrici? i dardi ardenti Bolt-throwing furies? Yes, yes, hurl
Si sì crude avventate, io serbo ancora The burning darts; against your anger
Contro delle vostr’Ire il Cor costante, My faithful heart is still bent.
Ma che scorgo? ahi spavento. But, what do I make out? Alas, I fear!
E che miro? ahi tormento. And what do I see? Alas, anguish!
Incenerita al suolo My beloved Children
L’amata Prole? ahi Duolo. Scorched on the ground? Alas, Sorrow!
Chi mi sostiene? io perdo i sensi. ahi Figli, Who shall sustain me? I’ve lost my senses. Alas, Children,
Figli miei spenti: o Cieli My dead Children! O Heavens,
Troppo ver me crudeli. Too cruel to me!
Mà s’ogn’hor nuovi scempi Ah, if you always invent
Inventate à miei danni, New havoc for my punishments,
Non mai stanchi Tiranni, Never tire, you tyrants;
Per saziarvi un di Numi spietati, To satiate you one day, spiteful Gods,
Sgorghin dal proprio seno From this very breast gushes
Vasti rivi di sangue; à un disperato Vast rivers of blood; for one who is desperate,
Vita è l’ultimo fato. Life is the final fate.

Si uccide. He kills himself.

Scena XII. Scene XII

Niobe, e li Sudetti. Niobe and the Aforementioned.

Niobe Niobe
Fermati. Stop!

Anfione Anfione
Niobe. Niobe!

Niobe Niobe
Egli svenossi. He has stabbed himself!

Anfione Anfione
Io moro. I am dying.
Spira già nel propio sangue Now my Soul, Pale and trembling,

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L’Alma pallida, e tremante. Exhales its own blood.
Numi rei Trofeo già esangue Wicked gods, behold a King,
Di vostr’Ire ecco un Regnante. Now a bloodless Trophy of your Anger.
Spira già nel propio sangue. Now my soul exhales its own blood,
L’Alma palli… Pale and…

Niobe Niobe
Crudo Ciel. Cruel Heaven!

Anfione Anfione
Treman… Trembli…

Niobe Niobe
Empio Fato. Wicked Fate!

Anfione Anfione
An… Trem…

Niobe Niobe
Fierissimo cordoglio. Most savage anguish!

Anfione Anfione
An… Trem…

Niobe Niobe
Inopportuno Arrivo. Unhappy Ending.
Egli muor, & io vivo? He dies and I live?
Oh dell’Ismenio soglio O glories cast from the
Glorie precipitate; alteri Figli Ismenian throne! Proud children,
Estinto è il nostro Nume. Our God is dead.
Mà che veggio? e non sono But what do I see? are not
Questi i Figli anco uccisi? These Children also dead?
Non è questa la prole, e non son queste Are these not my offspring? and are these not,
D’atro pallor dipinte Painted with a grisly pallor,
Delle Viscere mie, Viscere estinte? These of my womb, dead Bodies?
Vista crudel: accorri, accorri, vieni Cruel sight! Hasten, hasten, come,
Teban Regnante, e le Regali Salme Theban Ruler, and the Royal bodies
Togli all’indegna Parca: ahi che trafitto Snatch from unworthy Fate. Alas, how pierced through,
Privo d’Alma, e di Vita in terra stassi Deprived of soul and of Life, on earth you lie,
Chi diè vita alle Pietre, anima à i sassi. Who gave life to the Stones, soul to the rocks.
Sposo chi mi ti ruba? Husband, who stole you from me?
Figli chi à me vi toglie. e à chi di voi Children, who took you from me? and to which of you
Offrirò pria da inessiccabil Vena Shall I offer first the inexhaustible Vein
Lacrimoso Tributo? afflitti Lumi, Of Tearful Tribute? Sorrowing Eyes,
Se pur pianger potete, If you can weep,
Solo il mio duol piangete: Weep only of my grief:
Giacciono al suol recise All my hopes
Tutte le mie speranze. Lie cut off on the ground.
Mà negandomi i Pianti immenso affanno. But my immense sorrow denies me Tears,
Cinta l’Alma di Nube horrida, e tetra, My Soul is surrounded by horrid bleak Clouds,
Già mi rende di Pietra. Now I am turned to Stone.
Funeste Imagini Funereal images
Già mi tormentano; Torment me now,
Stigie Voragini Stygian Abysses
Già mi spaventano: Frighten me now.
Vinta al fin dall’empia sorte Vanquished in the end by bitter fate,
Figli, sposo, io son di morte. Children, husband, I am of the dead.
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Scena XIII. Scene XIII

À lieto suono di Trombe, e Timpani, Creonte, Poliferno, At the happy sound of Trumpets and Tympani, Creonte,
Tiresia, Manto, Tiberino, Soldati, e Popolo. Poliferno, Tiresia, Manto, Tiberino, Soldiers, and People.

Creonte Creonte
Doma è già Tebe, e le superbe mura, Now Thebes is subdued, and these lofty walls,
Già fulminate dal Celeste Trono, Once shining with a Celestial Throne,
Se col canto s’alzar, cadder col Tuono. Though they rose to a song, fell to Thunder.

Poliferno Poliferno
Ecco Anfione estinto. Behold Anfione, dead.

Tiberino Tiberino
Ecco i Figli atterati. Behold the children, cast dead to the ground.

Manto Manto
Ecco Niobe impietrita. Behold Niobe turned to stone.

Creonte Creonte
Sventurato Regnante. Unfortunate king,
Giovanetti infelici. Unhappy Youths,
Miserabil Regina. Miserable Queen.

Tiresia Tiresia
Così contro de gli Empi il Ciel destina. Thus Heaven addresses itself against the Wicked.

Creonte Creonte
Mi si togliano al guardo; à violenza They hold my gaze; with great effort
Rattengo il pianto, ahi Niobe, I hold back my tears; alas, Niobe!

Tiresia Tiresia
Hor che gli Dei Now that the Gods
Del gran soglio Tebano Of the great Theban throne
Ti concesser l’Impero, Have ceded you the Reign,
Lasciar convien Creonte You must leave off, Creonte,
Gl’amorosi deliri. Your amorous delirium.

Creonte Creonte
Pur d’uopo è ch’io sospiri: It is from great need that I sigh,
Mà con più saggio Core But with a wiser Heart
Vuò che de miei delitti I wish that the author
Porti tosto la pena Of my crimes
Chi ne fù autor: in Bando Soon carry this sorrow:
Vadane Poliferno. Go into Exile, Poliferno.

Poliferno Poliferno
Io? Me?

Creonte Creonte
Si. Yes.

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Poliferno Poliferno
Fia dunque So is
Questo alla fede mia premio dovuto? This, by my faith, the reward I deserve?

Creonte Creonte
Mercè condegna ad Huom soggetto à Pluto. Reward worthy of a Man who serves Pluto.

Poliferno Poliferno
Come? What?

Creonte Creonte
Fuggi, sparisci, ancor persisti? Flee, vanish, still you persist?

Poliferno Poliferno
Empio Ciel mi tradisti. Wicked Heaven, you have betrayed me!

Scena XIV. Scene XIV

Creonte, Tiresia, Manto, Tiberino, e poi Nerea. Creonte, Tiresia, Manto, Tiberino, then Nerea.

Creonte Creonte
Hor voi felici amanti Now you, happy lovers,
Lieti godete. Rejoice.

Tiberino Tiberino
Alle Latine sponde To the Latin shores
Meco verrai mia spene. Come with me, my hope!

Manto Manto
Ti seguirò dove tu vuoi mio bene. I will follow you where you wish, my beloved!

Nerea Nerea
Pietà signor pietade Pity, sir; have pity
Di Nerea l’infelice. On unhappy Nerea.

Creonte Creonte
Chi sei tù? Who are you?

Nerea Nerea
Son di Niobe io la Nutrice. I am Niobe’s; I am the Nurse.

Creonte Creonte
Vivrai lieta, e sicura. You shall live happy and secure.

Nerea Nerea
Affè son mezza morta di paura. In faith, I am half dead of fear.

Creonte Creonte
Di Palme, e d’Allori With Palms and Laurels
Si cinga’l mio Crin. My Brow is wreathed,
E Applausi canori And Songs of praise
Si dian al Destin. Are given to Destiny.
Di Palme, &c. With Palms, etc.

Segue il Ballo di Soldati Festeggianti. The Dance of Celebrating Soldiers follows.

FINE. ! End. !

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Glossary themes of the dramaturgy. To help our modern audience enjoy
some of the same context, we offer this glossary of place names
and persons cited in the libretto of the opera. Although the
Niobe, Regina di Tebe is dense with references to places,
story takes place in ancient Greece, Orlandi uses the Roman
persons, and objects from the mythology of ancient Greece
terms natural to his native tongue. We have retained the
and works classical literature such as Ovid’s Metamorphoses,
English equivalent of these Roman names in our translations
Homer’s The Iliad and The Odyssey, and Virgil’s The Aeneid.
for ease of reference. !
For Steffani’s and Orlandi’s audience, schooled in the classics,
these references served to deepen the context of the story,
—Ellen Hargis
adding detail to the dramatic characters and to the moral

Act I Mars: God of war

Megaera: one of the three Furies, and sister of Alecto
Mycenae: a city in ancient Greece, and a military stronghold
Alba: an ancient city of Latium founded by Ascanius, the
Nabateans (Nabatene perfumes): people of an ancient
son of the Trojan hero Aeneas
mideast culture who traded in spices and perfumes
Alecto: one of the three Furies, creatures charged with
from the Orient.
avenging wrongdoing
Nemesis: Goddess or spirit of revenge
Argos: a powerful city in ancient Greece, and a rival of
Paris: son of the king of Troy, and abductor of Helen
Sparta
Sparta: city-state in ancient Greece and a dominant military
Boeotia (Boethian countryside): a region in ancient
power
Greece; its largest city was Thebes
Thebes: a Boeotian city-state, and a rival of Athens and
Corinth: city in ancient Greece
Sparta
Cupid: God of Love, son of Venus
Thessaly: a region in ancient Greece and a major military
Delia (Diana): Goddess of the moon, and of the hunt (also
power
known as Artemis)
Thrace: a region north of Thessaly in ancient Greek
Dirke: wife of Lycus, a former ruler of Thebes; killed by
mythology, mentioned by Homer and Ovid, among
Anfione.
others
Enceladus: a giant, and a son of Gaia (Earth); he was buried
Venus: the Goddess of Beauty and mother of Cupid
under Mt. Etna, whose eruptions are said to be his
breath
Helen: Daughter of Jove and Leda, whose abduction by Act II
Paris from Sparta started the Trojan War
Ismenians (deaf Ismenians): serpents; Cadmus, along with Bellona: Goddess of war, known as the sister, wife, or
his wife, after their children had been killed, were daughter of Mars
turned by Mars into snakes in revenge for Cadmus Blind flying Goddess (Themis): Goddess of justice and
having slain the dragon that guarded the sacred spring divine law
of Ismenos near Thebes. Cocitus: a river in Hell
Janus: the God of beginnings and endings, with two faces Danae: mother of Perseus (his father is Jove)
looking simultaneously in two directions, toward the Endymion: a shepherd in ancient Greek mythology,
past and the future unrequitedly in love with the moon Goddess
Jove (Zeus): king of the Gods, and husband of Juno Ether: the pure atmosphere breathed and lived in by the
Juno (Hera): wife of Jove Gods in Greek mythology
Knidos: ancient Greek city in Cyprus Europa: a noblewoman abducted and raped by Jove in
Latium: region on the ancient Italian peninsula in which ancient Greek mythology
Rome was founded Furies: female deities (usually three); personifications of
Latona (Leto): mother of Apollo and Diana (their father is anger charged with avenging wrongdoing
Jove) Hyrcania: part of an ancient Persian empire, in old Persian
Lycus: former ruler of the city of Thebes; killed by Anfione “country of wolves”

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Leda: mother of Helen of Troy (her father is Jove) defeated the creature.
Mercury: messenger of the Gods, and God of trade Xanthos: a river created by the birth pangs of Latona. In the
Phlegethon: a river in Hell Iliad, the River God Xanthos attempts to drown
Phoebus (Apollo): God of light and sun, brother of Diana Achilles (the Trojan Boy) in the river.
(Goddess of the moon), patron of shepherds, music and
poetry, and the arts; his parents are Jove and Latona
Pluto: God of Hell and ruler of the Underworld
Act III
Salmoneus: king of Elis, who ordered his subjects to worship
Adamantine: an herb used in enchantments
him as Jove; for this, Jove struck him with a
Atlas: Titan or giant who supports the heavens
thunderbolt, and destroyed his city
Avernus: in Greek mythology, the entrance to the
Sicana: Wife of Pluto, also known as Proserpina
underworld, or the underworld itself
Styx (Stygian horrors): a river in Hell
Fifth Planet: Mars
Tartarus: a region of the Underworld; a deep place below
Tantalus: father of Niobe and ruler of Tantalus !
Hades where things dangerous to the Gods are
condemned to stay
Typhon: dreadful monster who battled against Jove, who
imprisoned him under Mt. Etna when he finally

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