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BEGIN:VEVENT
UID:event_133409@hmsoc.org.uk
DTSTART;TZID=Europe/London:20220514T193000
DTEND;TZID=Europe/London:20220514T213000
SUMMARY:Concert
DESCRIPTION:\n\nThe programme will include:\n\nMOZART  Kyrie in D minor\n\
 nMOZART  Symphony no. 35 in D (Haffner)\n\nMOZART  Overture and Scenes f
 rom Idomeneo\n\nConductor     James Ross\n\nTickets £17.50\, £12.00
  and £8.00 (under 18s  £9.00\, £6.00 and £4.00)\n\nTickets may be pur
 chased from the Haslemere Hall Box Office (Tel: 01428 642161) or through 
 the Hall website (usual booking fee applies).\n\nProgramme notes\n\nWolf
 gang Amadeus Mozart (1756-91)\, Kyrie in D Minor\, K.341/368a\n\nAndante m
 aestoso\n\nMozart was once thought to have written this impassioned Kyrie 
 eleison\, with its unusually full wind and brass scoring\, during the wint
 er of 1780-81 while staying in Munich for the first production of his oper
 a Idomeneo. It seems more likely that it dates from 1787-91 in Vienna\, co
 nceived possibly as a sample choral work for an application to become Kape
 llmeister of St Stephen’s Cathedral\, and potentially the start of a com
 plete Mass setting if appointed. If this theory is correct\, and Mozart wa
 s unsuccessful\, it explains why he composed no further movements\, and om
 itted it from the thematic catalogue of his works. After Mozart’s death\
 , the Kyrie was found among manuscripts held by his publisher\, Johann Ant
 on André\, who then either gifted or sold it\, and has never been seen si
 nce.\n\nAfter Mozart moved to Vienna in 1781\, he was no longer obliged to
  produce sacred music regularly\, as he had been when working for the Arch
 bishop of Salzburg\; instead of being a regular part of his output\, it be
 came a medium in which to experiment in response either to occasional comm
 issions\, or in the service of his own imagination\, seen in the C Minor M
 ass and Requiem\, both left unfinished on his death. Around 1788\, when th
 e Kapellmeister job at St Stephen’s became vacant\, Mozart sketched but 
 did not complete several Kyrie and Gloria settings\; it is possible the D 
 Minor Kyrie is part of this effort.\n\nThe Kyrie’s published score\, lik
 e several other Mozart works published by André\, has some uncharacterist
 ic technical issues: it is possible that Mozart drafted an incomplete full
  score\, outlining the melodies and bass line throughout\, like he did wit
 h the several movements of the Requiem\, with the remainder completed by a
 nother composer.\n\nW.A. Mozart (1756-91)\, Symphony No. 35 in D\, Haffner
 \, K. 385\n\nI. Allegro con spirito\nII. Andante\nIII. Menuetto\nIV. Prest
 o\nMozart’s ‘Haffner’ Symphony is named after a wealthy Salzburg mer
 chant whose family had helped sponsor his European tours as a child. Sigmu
 nd Haffner commissioned a Serenade from Mozart in 1776 for a family weddin
 g\; when Haffner was ennobled in 1782\, he turned again to Mozart for suit
 ably celebratory music. Mozart created a new symphony out of this music\, 
 adding flutes and clarinets to the wind section in the outer movements\, i
 n which form it was first performed at the Vienna Burgtheater on 23 March 
 1783. In this concert\, Mozart opened with the Symphony’s first three mo
 vements\, then several other works including an aria from Idomeneo\, his l
 atest opera\, before playing the ‘presto’ Finale.\n\nMozart wrote to h
 is father Leopold that the first movement should be played ‘with fire’
  – its character is brilliant\, extrovert and playful. After the more in
 timate charm of the Andante and the Menuetto\, with its quiet middle ‘Tr
 io’ section\, the Finale\, full of unexpected silences and abrupt change
 s of character more typical of Haydn\, surpasses even the first movement
 ’s energy: Mozart told his father that it should be played ‘as fast as
  possible’.\n\nW.A. Mozart (1756-91)\, Scenes from Idomeneo\, K. 366\n\n
 Overture\n\nAct I\nRecitative (Ilia): ‘Quando avran fine’ - Aria: ‘P
 adre\, germani\, addio!’\nChorus: Godiam la pace\nRecitative (Elettra): 
 ‘Estinto è Idomeneo’ - Aria: ‘Tutte nel cor vi sento’ – Chorus:
  ‘Pietà!’\nMarch (orchestra) - Chorus: ‘Nettuno s’onori\n\nAct II
 \nAria (Ilia): ‘Se il padre\, perdei’\nRecitative (Elettra): ‘Parto\
 , e l’unico oggetto’ – Aria :‘Idol mio’ - March (orchestra) –
 \nRecitative (Elettra) – Chorus and Elettra: ‘Placido e il mar’ – 
 ‘Soavi zeffiri’\n\nAct III\nRecitative (Ilia): ‘Solitudini amiche’
  – Aria: ‘Zeffiretti lusinghieri’\nChorus: and High Priest ‘Oh vot
 o tremendo!’\nRecitative (Elettra): ‘Oh smania!’ – Aria: ‘D’Or
 este\, d’Aiace’\nChorus: ‘Scenda Amor\, scenda Imeneo’\n\nIdomeneo
  was Mozart’s first mature opera\, composed in 1780-81 as a commission f
 or the Elector of Bavaria. It is the culmination of eighteenth-century ‘
 opera seria’\, but also transcends its genre\, with unprecedentedly tigh
 t dramatic continuity and orchestral virtuosity. The opera was composed fo
 r the court opera at Munich. The quality of singers and orchestra at Mozar
 t’s disposal was probably the best in world at the time\, and Mozart rev
 els in their abilities. He was involved deeply in adapting the libretto\, 
 derived originally from a French play of 1705 by Prosper Jolyot de Crébil
 lon\, re-writing sections of the opera several times to ensure maximum dra
 matic continuity and coherence.\n\nThe overture establishes opera’s epic
  character but also its dreadful pathos. Derived from Apollodorus of Athen
 s’ 2nd-Century BC Chronicle\, the story tells of the return of King Idom
 eneo of Crete (grandson of King Minos) at the end of the Trojan War. So an
 xious is Idomeneo to return home safely from Troy that he has made a Faust
 ian bargain with Neptune\, god of the sea\, to sacrifice the first living 
 being he meets on arrival. Unbeknown to him at first\, this person proves 
 to be his son\, Idamante. The opera must resolve this dreadful dilemma.\n\
 nIn Ilia’s first recitative and aria\, ‘Padre\, germani’\, she is a 
 captive in Crete. A daughter of King Priam\, she was captured at the sack 
 of Troy\, and has been sent in advance of Idomeneo with other prisoners of
  war. Her recitative sets the scene for the opera – her own tragic situa
 tion having lost everything\, and having fallen in love with Idamante\, wh
 ose affections she believes lie with Electra\, daughter of the dead King A
 gamemnon\, who has sought refuge in Crete after suffering her own multiple
  tragedies.\n\nThe chorus ‘Godiam la pace’ celebrates war’s ending a
 nd the Trojan prisoners’ liberation\, ordered by Idamante\, both as a go
 odwill gesture - and a sign of her love for Ilia. \n\nRecitative ‘Estint
 o è Idomeneo’ and aria: ‘Tutte nel cor vi sento’ introduces Electra
 . Her father\, Agamemnon\, the Greek king who had commanded the siege of T
 roy\, had been forced to sacrifice his other daughter\, Iphigenia\, to ena
 ble his fleet to sail before the War begins\; in revenge\, on Agamemnon’
 s return home\, he was killed by his wife\, Clytemnestra\, who in revenge\
 , was murdered by her children: Electra and Orestes. A storm brews and Ele
 ctra fears Idomeneo has perished at sea\, dashing her hopes of marrying Id
 amante. After her aria\, the chorus invokes mercy from the gods and eventu
 ally Neptune calms the sea.\n\nAct One ends with the chorus ‘Nettuno s
 ’onori’\, praising the sea-god whom the people of Crete believe has br
 ought their king home safely\, unaware of the terrible truth behind his re
 turn.\n\nAt the beginning of Act Two\, Ilia responds to Idomeneo’s welco
 me to his kingdom\, telling the Cretan king that he has become a new fathe
 r to her.\nIdomeneo’s proposed solution to avoid sacrificing Idamante is
  to send him abroad and accompany Electra back to her homeland in Argos. E
 lectra is delighted\, and in her aria ‘Idol mio’\, she hopes that ‘l
 ove has more power when the beloved is near’. In the chorus ‘Placido e
  il mar’\, the people ask for a calm sea and good fortune for the voyage
 . Their hopes are amplified by Electra\, who hopes for a ‘gentle breeze 
 … which spreads love everywhere’ – especially if it persuades Idaman
 te to fall in love with her instead of Ilia. Their attempt to leave Crete 
 fails: Neptune conjures another violent storm\, and a sea-monster assaults
  the island.\n\nIn Act Three\, Ilia is alone in the royal garden: in her a
 ria ‘Zeffiretti lusinghieri\, ‘she invokes the winds to tell Idamante 
 that she loves him and to stay true to her.\n\n‘O voto tremendo’ shows
  the High Priest of Crete with the people\, lamenting the ‘terrible vow
 ’ that has led to this disaster and begging Neptune for mercy. At the la
 st minute\, after Ilia offers herself in Idamante’s place\, Neptune rele
 nts. However\, he commands Idomeneo to renounce his throne\; Idamante shou
 ld marry Ilia and become the new king. This is the final straw for Electra
 : she curses the fates\, invoking Ajax\, the dead Greek hero from the Troj
 an war\, her dead brother Orestes\, and Alecto\, the mythological punisher
  of moral crimes\, wanting only to end her life\, in one of Mozart’s gre
 atest arias for dramatic soprano.\n\nIn the final chorus the people call o
 n the goddess Juno to bless the marriage of Idamante and Ilia\, after whic
 h in the original production there was a lavish ballet – the longest set
  of continuous orchestral music Mozart ever wrote.\nIdomeneo’s setting m
 ay be in Greek myth\, and its music from more than two centuries ago\, but
  the issues it confronts and how it expresses them – the personal and co
 llective traumas of war\, the subjection of even the most powerful people 
 to forces beyond their control\, and the search of peace and reconciliatio
 n – are more relevant than ever.\n\nJames Ross\nMOZART\, IDOMENEO: ACT O
 NE\n\nIlia's apartments in the royal palace: in the background\, a gallery
 . ILIA alone:\n\nRecitative\n\n\nQuando avran fine omai l'aspre sventure m
 ie? Ilia infelice! Di tempesta crudel misero avanzo\, del genitor\, e de' 
 germani priva del barbaro nemico misto col sangue il sangue\nVittime gener
 ose\, A qual sorte più rea ti riserbano i Numi?... Pur vendicaste voi di 
 Priamo\, e di Troia i danni\, e l'onte? Perì la flotta Argiva\, e Idomene
 o pasto forse sarà d'orca vorace... Ma che mi giova\, oh ciel! se al prim
 o aspetto di quel prode Idamante\, che all'onde mi rapì\, l'odio deposi\,
  e pria fu schiavo il cor\, che m'accorgessi d'essere prigioniera.\n\nAh q
 ual contrasto\, oh Dio! d'opposti affetti mi destate nel sen odio\, ed amo
 re! Vendetta deggio a chi mi diè la vita\, gratitudine a chi vita mi rend
 e... Oh Ilia! oh genitor! oh prence! oh sorte! Oh vita sventurata! oh dolc
 e morte! Ma che? m'ama Idamante?... ah no\; l'ingrato per Elettra sospira\
 , e quell’ Elettra meschina principessa esule d'Argo\, d'Oreste alle sci
 agure a queste arene fuggitiva\, raminga\, è mia rivale. Quanti mi siete 
 intorno carnefici spietati?... orsù sbranate vendetta\, gelosia\, odio\, 
 ed amore\, sbranate sì quest'infelice core!\n\nWhen will my bitter misfor
 tunes be ended? Unhappy Ilia\, wretched survivor of a dreadful tempest\, b
 ereft of father and brothers\, the victims' blood spilt and mingled with t
 he blood of their savage foes\, for what harsher fate have the gods preser
 ved you? ... Are the loss and shame of Priam and Troy avenged? The Greek f
 leet is destroyed\, and Idomeneo perhaps will be a meal for hungry fish ..
 . But what comfort is that to me\, ye heavens\,\nif at the first sight of 
 that valiant Idamante who snatched me from the waves I forgot my hatred\, 
 and my heart was enslaved before I realised I was a prisoner.\n\nO God\, w
 hat a conflict of warring emotions you rouse in my breast\, hate and love!
  I owe vengeance to him who gave me life\, gratitude to him who restored i
 t … O Ilia! o father\, o prince\, o destiny! Ill?fated life\, o sweet de
 ath! But does Idamante love me? … Ah no\; ungratefully he sighs for Elec
 tra\; and that Electra\, unhappy princess\, an exile from Argos and the to
 rments of Orestes\, who fled\, a wanderer\, to these shores\, is my rival.
  Ruthless butchers\, how many of you surround me? … Then up and shatter 
 vengeance\, jealousy\, hate and love\; yes\, shatter my unhappy heart!\nAr
 ia\n\nPadre\, germani\, addio! Voi foste\, io vi perdei.\nGrecia\, cagion 
 tu sei. E un greco adorerò?\n\nD'ingrata al sangue mio so\, che la colpa 
 avrei\;\nMa quel sembiante\, oh Dei! Odiare ancor non so.\n\nFather\, brot
 hers\, farewell! You are no more\; I have lost you.\nGreece\, you are the 
 cause\; and shall I now love a Greek?\n\nI know that I am guilty of abando
 ning my kin\;\nbut I cannot bring myself\, o gods\, to hate that face.\nRe
 citative\n\nEcco Idamante\, ahimè! Se'n vien : Misero core tu palpiti\, e
  paventi.\nDeli\, cessate per poco\, oh miei tormenti!\n\nAlas\, here is I
 damante coming. Unhappy heart\, you flutter and falter.\nOh grant me some 
 respite from my torments!\nTrojan prisoners\, with Cretan men and women. T
 he prisoners' chains are removed\; the prisoners show their gratitude:\n\n
 Chorus\n\nCORO DE'TROIANI E CRETESI : Godiam la pace\, Trionfi amore: ora 
 ogni core giubilerà.\n\nDUE CRETESI : Grazie a chi estinse face di guerr
 a\; or si la terra riposo avrà.\n\nTUTTI : Godiam la pace\, ecc.\n\nDUE T
 ROIANI : A voi dobbiamo\, Pietosi Numi! E a quei bei lumi la libertà.\n\
 nTUTTI : Godiam la pace\, ecc.\n\nCHORUS OF TROJANS AND CRETANS: Let us e
 njoy peace\, let love triumph\; now every heart will rejoice.\n\nTWO CRETA
 NS: Thanks to him who extinguished the torches of war\, now the land can h
 ave peace.\n\nALL: Let us enjoy peace\, etc.\n\nTWO TROJANS: We owe our li
 berty to you\, merciful gods\, and to those lovely eyes.\n\nALL: Let us en
 joy peace\, etc.\nELETTRA (alone):\n\nRecitative\n\nEstinto è Idomeneo? 
 …Tutto a' miei danni\, tutto congiura il ciel. Può a suo talento\nIdama
 nte disporre d'un impero\, e dei cor\, e a me non resta ombra di speme? A 
 mio dispetto\, ahi lassa! Vedrò\, vedrà la Grecia a suo gran scorno una 
 schiava Troiana di quel soglio\, e del talamo a parte… In vano Elettra a
 mi l'ingrato … e soffre una figlia d'un re\, ch'ha re vassalli\, che una
  vil schiava aspiri al grande acquisto?… Oh sdegno! oh smanie! oh duol!
 … più non resisto.\nIs Idomeneo dead? … Heaven conspires to cross me 
 in everything. Idamante can\, at his will\, dispose of an empire and of hi
 s heart\; and shall no shadow of hope remain for me? Unfortunate and unhap
 py that I am\, I shall see\, and Greece will see\, to its shame\, a Trojan
  slave share the throne and the bridal bed … In vain\, Electra\, you lov
 e this ingrate … Shall the daughter of a king\, who has kings as vassals
  suffer a lowly slave to aspire to these great honours? Shame! Fury! Grief
 ! I can bear it no more!\nAria\n\nELETTRA\nTutte nel cor vi sento\, furie 
 del crudo Averno: lunge a si gran tormento amor\, mercé\, pietà. Chi mi 
 rubò quel core\, quel\, che tradito ha il mio\, provin dal mio furore ven
 detta\, e crudeltà.\nIn my heart I feel you all\, Furies of bitter Hades\
 ; far from such fierce torment be love\, pity\, or mercy. Let her who stol
 e that heart which betrayed mine feel my fury and cruel revenge.\nA sea co
 ast surrounded by crags\, with an angry sea. Ships' wreckage on the shore.
 \nChorus\nPietà! Numi\, pietà! Aiuto oh giusti Numi! A noi volgete i lum
 i...\nPietà! Numi\, pietà! Il ciel\, il mare\, il vento ci opprimon di s
 pavento...\nPietà! Numi\, pietà! In braccio a cruda morte ci spinge l'em
 pia sorte...\n\nYe gods\, have mercy! Help\, o just gods! Turn your gaze o
 n us ...\nYe gods\, have mercy! The sky\, the sea\, the wind oppress us wi
 th fear ...\nYe gods\, have mercy! Pitiless fate thrusts us into the arms 
 of dreadful death ...\nNeptune appears on the sea. He signs to the winds t
 o withdraw to their caves. The sea gradually calms. … Cretan soldiers wh
 o arrived with Idomeneo disembark. The warriors sing the following chorus 
 in honour of Neptune. The Cretan women run up to embrace and welcome the a
 rrivals and all give vent to their mutual joy in a dance\, which ends with
  the chorus. Warlike march during the disembarkation.\nMarch (orchestra)\n
 Chorus\nTUTTI : Nettuno s'onori\, quel nome risuoni\, quel Nume s'adori so
 vrano del mar\; con danze e con suoni convien festeggiar.\nPARTE DEL CORO
  : Dal lunge ci mira di Giove l'ira\, e in un baleno va all'Eghe in seno\
 ,\nda regal sede tosto provvede\, fa i generosi destrier squammosi ratto a
 ccoppiar.\nDall'onde fuore suonan sonore tritoni araldi robusti\, e baldi 
 buccine intorno.\nGia riede il giorno\, che il gran tridente il mar furent
 e seppe domar.\nTUTTI : Nettuno s'onori\, ecc.\nPARTE DEL CORO : Su conc
 a d'oro regio decoro spira Nettuno. Scherza Portuno ancor bambino col suo 
 delfino\, con Anfitrite. Or noi di Dite fe' trionfar.\nNereide amabili\, n
 infe adorabili\, che alla gran Dea con Galatea corteggio fate\, deh ringra
 ziate per noi quei Numi\, che i nostri lumi fero asciugar.\nTUTTI: Nettuno
  s'onori\, ecc. Or suonin le trombe\, solenne ecatombe andiam preparar.\n\
 nTUTTI: Let Neptune be honoured! Let his name resound and that god\, the s
 overeign\nof the sea\, be adored. It is meet that we should celebrate in d
 ance and music.\nSOLI: From afar he watches Jove's anger\, and in a moment
  descends to the sea's depths\, where in his royal seat he makes ready and
  swiftly has his great scaly steeds harnessed.\nFrom out the waves robust 
 tritons jovially sound their loud trumpets around. Daylight returns\, for 
 Neptune's great trident has power to tame the raging sea.\nTUTTI: Let Nept
 une be honoured! etc.\n\nSOLI: Neptune blows on his golden shell\, his roy
 al emblem. Portunus\, still an infant\, plays with his dolphin and with Am
 phitrite. He made us victorious over the god of Hades.\nLovely nereids\, a
 dorable nymphs who with Galatea form a court to the great goddess\,\no giv
 e our thanks to those gods who allowed us to dry our eyes.\nTUTTI: Let Nep
 tune be honoured! etc. Now let the trumpets sound and let us prepare solem
 n sacrifice.\nACT TWO\nILIA (to Idomeneo):\n\nSe il padre perdei\, la patr
 ia\, il riposo\, tu padre mi sei\, soggiorno amoroso è Creta per me. Or p
 iù non rammento le angoscie\, gli affanni or gioia\, e contento\, compens
 o a miei danni il cielo mi diè.\nIf I have lost my father\, my country an
 d my peace of mind\, you are now a father to me\, and Crete is for me a bl
 essed land to stay. Now I recall no more my anguish and distress\; now hea
 ven has given me joy and contentment to compensate for my loss.\nELETTRA (
 alone)\nRecitative\n\nChi mai del mio provò piacer più dolce? Parto\, e 
 l'unico oggetto\, che amo\, ed adoro\, oh Dei! Meco se'n vien? Ah troppo\,
  troppo angusto è il mio cor a tanta gioia! Lunge dalla rivale farò ben 
 io con vezzi\, e con lusinghe\, che quel fuoco\, che pria spegnere non pot
 ei\, a quei lumi s'estingua\, e avvampi ai miei.\nWhat sweeter pleasure th
 an mine was ever felt? I leave\, and the one being I love and adore\, o go
 ds\, comes with me? Ah\, my heart cannot contain such joy! Away from my ri
 val\, I shall succeed with caresses and endearments\, so that the fire I c
 ould not quench before no longer burns for her eyes but blazes for mine.\n
 Aria\n\nIdol mio\, se ritroso altra amante a me ti rende\,\nNon m'offende 
 rigoroso\, più m'alletta austero amor.\n\nScaccierà vicino ardore dal tu
 o sen l'ardor lontano\;\nPiù la mano può d'amore\, s'è vicin l'amante c
 or.\nMy dearest\, if reluctantly your other lover yields you to me\,\ncons
 trained love does not deter me\, and your coldness is more alluring to me.
 \n\nPassion close at hand will drive from your heart more distant fires\;\
 nthe hand of love has more power when the beloved is near.\n\nA harmonious
  march is heard in the distance.\nMarch and Recitative\nELETTRA\nOdo da lu
 nge armonioso suono\, che mi chiama all'imbarco\, orsù si vada.\nIn the d
 istance I hear the sweet sound summoning me aboard\; well then\, I must go
 .\nExit in haste. The march is heard ever closer as the scene is changed t
 o the port of Sidon\, with ships along the shore:\nRecitative\nELETTRA: Si
 dome sponde! o voi per me di pianto\, e duol\, d'amor nemico crudo ricetto
 \, or\, ch'astro più clemente a voi mi togiie\, io vi perdono\, e in pace
  al lieto partir mio al fin vi lascio\, e dò l'estremo addio!\nShores of 
 Sidon\, you hostile\, harsh place which saw my tears\, my grief\, my love\
 ; now that a more compassionate star takes me from you\, I forgive you\; I
  go in peace and gladness\, leave you at last\, and say a final farewell.\
 nChorus and arietta\n\nCORO : Placido è il mar\, andiamo\; tutto ci rass
 icura. Felice avrem ventura\, su su\, partiamo or or.\nELETTRA : Soavi ze
 ffiri soli spirate\, deI freddo borea l'ira calmate.\nD'aura piacevole cor
 tesi siate\, se da voi spargesi per tutto amor.\nCORO: Placido è il mar\,
  andiamo\, ecc.\nCHORUS: The sea is calm\; let us go\; everything is reass
 uring\; we shall have good fortune\; come\, let us leave at once!\nELETTRA
 : Blow\, gentle breezes only\; calm the anger of the icy north wind\;\nbe 
 generous with your pleasing breath which spreads love everywhere.\nCHORUS:
  The sea is calm\, etc.\n[Idamante and Elettra bid farewell to Idomeneo\, 
 but they are prevented from leaving by a fierce storm created by Neptune.]
 \nACT THREE\nThe royal garden. ILIA (alone)\nRecitative\n\nILIA : Solitud
 ini amiche\, aure amorose\, piante fiorite\, e fiori vaghi! Udite d'una in
 felice amante i lamenti\, che a voi lassa confido. Quanto il tacer presso 
 al mio vincitore\, quanto il finger ti costa afflitto core!\nFriendly soli
 tude\, amorous breezes\, blossoming plants and lovely flowers\, hearken\nt
 o the laments of an unhappy lover who\, forsaken\, confides in you. How mu
 ch it costs my afflicted heart to keep silent and pretend\, when close to 
 him who conquered it!\nAria\n\nZeffiretti lusinghieri\, deli volate al mio
  tesoro:\nE gli dite\, ch'io l'adoro\, che mi serbi il cor fedel.\n\nE voi
  piante\, e fior sinceri\, che ora innaffia il pianto amaro\,\nDite a lui\
 , che amor più raro mai vedeste sotto al ciel.\n\nGently caressing zephyr
 s\, oh fly to my beloved\nand tell him I adore him and to keep his heart t
 rue to me.\n\nAnd you\, plants and tender flowers\, which my bitter tears 
 water\,\ntell him that you never saw a rarer love beneath the sky.\nThe Hi
 gh Priest of Neptune leads a crowd of people demanding Idomeneo fulfils hi
 s bargain to the sea-god and sacrifices Idamante.\nChorus\n\nPOPOLO : Oh 
 voto tremendo! Spettacolo orrendo! Già regna la morte\, d'abisso le porte
  spalanca crudel.\n\nGRAN SACERDOTE : Oh cielo clemente! Il figlio è inno
 cente\, il voto è inumano\; arresta la mano del padre fedel.\n\nCORO : Oh
  voto tremendo! ecc.\nTHE PEOPLE: O terrible vow! Dreadful sight! Death no
 w reigns and opens wide the gates of the fearful abyss.\n\nHIGH PRIEST: O 
 merciful heaven! The son is innocent and the vow inhuman\; stay the hand o
 f this pious father.\n\nTHE PEOPLE: O terrible vow! etc.\n[Everyone leaves
  in sorrow… Ilia offers herself in sacrifice in Idamante’s place. Nept
 une interrupts the sacrifice: he proclaims ‘love has triumphed\, Idomene
 o shall cease to reign\, Idamante shall be king and Ilia his bride. Then w
 ill Neptune be appeased\, heaven content and innocence rewarded.’] Elett
 ra responds with fury and despair:\nELETTRA\n\nRecitative\n\nOh smania! oh
  furie... Oh disperata Elettra! A il cor nel seno già m'ardono l'Eumenidi
  spietate. Misera\, miesra\, a che m'arresto? Sarò in queste contrade del
 la gioia e trionfi spettatrice dolente? Vedrò Idamante alla rivale in bra
 ccio\, e dall’une e dall’altra mostrarmi a dito? Ah no\; il germano Or
 este ne' cupi abissi io vuo' seguir. Or’or compagna m'avrai là nell'inf
 erno\, a sempiterni guai\, al pianto eterno.\nO madness! O Furies! O despa
 iring Elettra. Farewell to love\, farewell to hope! Ah\, pitiless Eumenide
 s\, sear my heart to my breast. Wretched as I am\, why do I wait? Shall I 
 be a doleful spectator at this parade of joy and triumph? Must I see Idama
 nte in my rival's arms\, and be pointed at by each of them? Ah no\, let me
  follow my brother Orestes into the hollow abyss. Now you will have me for
  companion in Hades\, in eternal woe\, in endless lamenting.\nAria\n\nELET
 TRA\nD'Oreste\, d'Aiace ho in seno i tormenti\, d'Aletto la face già mort
 e mi dà.\nSquarciatemi il cuore ceraste\, serpenti\, o un ferro il dolore
  in me finirà.\nWithin my breast I feel the torments of Orestes and of Aj
 ax\; Alecto's torch brings me death. Tear out my heart\, you horned serpen
 ts\, or a sword shall end my pain.\nChorus (Coronation of Idamante)\n\nSce
 nda Amor\, scenda Imeneo\, e Giunone ai regi sposi\,\nd'alma pace omai li 
 posi la Dea pronuba nel sen.\nDescend\, Love and Hymen\, descend\, Juno\, 
 to the royal pair\;\nbenign goddess\, now instil the peace of your spirit 
 in their breasts.\n\nEND\n\n\nFor full event details\, visit: https://www.
 hmsoc.org.uk/dbpage.php?pg=view&dbase=events&id=133409
LOCATION:Haslemere Hall\, Bridge Rd\, Haslemere\, GU27 2AS
URL:https://www.hmsoc.org.uk/dbpage.php?pg=view&dbase=events&id=133409
END:VEVENT
END:VCALENDAR