Mar 7
what's gotten into you?
notation is the opening of "cara sposa," rinaldo's outfit is modelled on one in an illustration from a mughal edition of the shahnameh.
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what's gotten into you?
notation is the opening of "cara sposa," rinaldo's outfit is modelled on one in an illustration from a mughal edition of the shahnameh.
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Today’s poem is another lyric. This time an aria from Handel’s opera, Rinaldo - Lascia Ch'io Pianga.
It is sung by his beloved - Almirena, who laments her abduction and imprisonment by the wicked Armida, and thus her separation from Rinaldo.
Lascia ch'io pianga Mia cruda sorte, E che sospiri La libertà.
Il duolo infranga Queste ritorte, De' miei martiri Sol per pietà.
Let me weep My cruel fate, And that I should have freedom.
The duel infringes within these twisted places, in my sufferings I pray for mercy.
"Lascia ch'io pianga" Georg Friedrich Händel, Rinaldo Libretto: Giacomo Rossi Philippe Jaroussky, countertenor (Almirena’s aria)
Lascia ch'io pianga mia cruda sorte, e che sospiri la libertà.
Il duolo infranga queste ritorte de’ miei martiri sol per pietà. ~ Let me weep for my cruel fate, and sigh for liberty.
May sorrow break these chains of my sufferings, for pity’s sake.
anyways, i should probably talk about my vision for the cast of rinaldo. funny little chess piece fellows.
♞ rinaldo ( black knight ) - i mean, he’s a knight. oh, yeah, and the leaping movement of the knight piece is reflected in some scenes, i suppose. in particular, i’m thinking of “venti, turbini” and the scene where he disappears, only to reappear as armida’s captive ( does this make sense? )
♚ almirena ( black king ) - utterly powerless, but also a central figure in the game. her capture by armida ends the first act ( and is the indirect catalyst for things to go south in the later acts ).
♛ goffredo ( black queen ) - i’ve explained this before, i’ll explain it again- he doesn’t do much in the beginning ( like how a queen normally comes into play later, due to being blocked ), but he is powerful. he’s in charge.
♝ eustazio ( black bishop ) - begins right by his queen’s ( goffredo’s ) side. also worth the same amount of points as the knight ( rinaldo ), and i feel like that adds a nice balance to things.
♕ armida ( white queen ) - similar to goffredo. she’s in charge. but by the point where we enter the story, her “pawns” are all over the place and thus she has the space to move. also one of the reasons i made her WHITE queen specifically was for the sake of visuals- the white queen’s starting square ( armida’s “home base” ) is a black square, and i really liked the image of armida contrasted against all these shadowy backdrops.
♔ argante ( white king ) - he’s a literal king, though here his role is also meant to reflect his subservience to armida. we love him for that.
and the side characters… the herald is a pawn, the weird magical guys are just whatever because by that point, it’s not even a game of chess anymore.
got to “troppo sofferse.” almirena, what are you doing here?
relatedly- fraarte’s “vaga bella” from just a short while earlier feels like something amanzio would sing. he’s just duped someone and now he’s absolutely delighted. and the way it’s delivered gives more of an impression of mischief rather than outright villainy ( though you still know that the guy is Not Good ).
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Some opera for your ear holes 🎶 Here’s a small performance of “Lascia ch’io pianga” from Handel’s “Rinaldo”. I had this piece in my solo repertoire last semester & decided to resurrect it for audition season. It may sound straight forward & simple, but this song has so many challenges & obstacles that I am still fighting to overcome. I’m very proud of the progress here, though ❤️
Philippe Jaroussky sings "Lascia ch'io pianga," from Händel's "Rinaldo"
The recording of Jaroussky's Hong Kong concert was broadcast by rthk radio; it will be re-broadcast on May 29th 2014 at 2 o'clock local time, so be sure to tune in! programme.rthk.hk/channel/radio/index.php?c=radio4