Ad Fontes (CH)
When: 31. 7. 2016 at 20:30
Ad Fontes (CH)
Ensemble Ad Fontes was formed in 2010 whilst still active as the Les Eléments. The members of the group studied at the Hochschule der Künste Bern and shared enthusiasm for both early and chamber music. The ensemble thus began its career. They were coached by different mentors – among other by Michael Form, Carsten Eckert, Amandine Beyer, Kees Boeke and Jill Feldmann.
The ensemble gave concerts in Switzerland, Germany, Italy, Belgium, and Slovenia. Among others they played for the Young Euro Classics (G), the Solisti Aquilani (I), the Musik&Mensch (CH), the Young Artist Presentation of the Festival Laus Polifoniae 2014, and the opening concert of the International Telemann Competition 2015. The group participated at some international competitions and presentations (at the international Telemann competition in Magdeburg 2013) and received the Bärenreiter Urtextpreis award. In July 2013 they presented themselves at the International competition for early music Maurizio Pratola in L’Aquila (I) and were awarded with the first prize and the prize of the audience.
In August 2014 the Ensemble got invited to participate as one of the promising ensembles of 2014 at the International Young Artists Presentation (IYAP) in Antwerpen (NL), where they participated at the master class and gave concerts during the Festival LAUS Polifoniae. For those performances they received very encouraging and positive feedback from the directors of the most important early music European festivals.
Cast: Sebastian Mattmueller - bass, Anne Simone Aeberhard - recorder, Mojca Gal - violin, dance, Bruno Hurtado Gosalvez - viol, Sam Champan - theorbo
Anne Simone Aeberhard
was born in Bern. She started to play the recorder at the age of five. She pursued her studies with Michael Form at the Hochschule der Künste Bern from 2006 to 2011 (Bachelor of Arts in Music and afterwards a degree in the Master of Pedagogy), where she also received lessons with Carsten Eckert and Dirk Börner. She continued her studies at the Zürcher Hochschule der Künste in a Master of Performance with Kees Boeke and graduated in 2013. When not performing, she works as a recorder teacher at several music schools. Anne Simone is pursuing an international career as a recorder player in different ensembles. Among others she performs with Kantatenchor Bern/Bach-Collegium Bern, Collegium Cantorum/Musicum St. Gallen, Biennale 2008, Musik zur Marktzeit Solothurn, Schlosskapelle Mammern, Fermata Musica, and „Il Trionfo del Tempo et del Disinganno“ Stadttheater Bern.
Mojca Gal
graduated with distinction both at the Academy of Music Ljubljana in 2008 (Primož Novšak) and at the HKB Bern in 2011 (with Monika Urbaniak, Monika Baer) Later on she pursued her Master Performance at Schola Cantorum Basiliensis (2013 with Amandine Beyer). She worked also with David Plantier, Leila Schayegh and Rachel Podger. Mojca is studying baroque dance at SCB (under Barbara Leitherer). She also worked with Christine Bayle, Bernd Niedecken, Deda Christina Colonna and Natalie van Parys. Mojca has been invited to play in numerous international festivals throughout Europe. She plays in ensembles Arabesque, Accademie Bach d’Aix, Musica Fiorita and chamber orchestras such as Allegria musicale and Concerto poetico. She presented herself also in competitions and in the Slovene National competition 2007 she was awarded the first and two additional prizes. She received attention also as a dancer: in the Nordic Baroque Dancers Summer Academy in Sweden 2015 she was given a Cramer scholarship.
Bruno Hurtado Gosalvez
was born in Barcelona. He started his musical education at the age of seven and studied violoncello and music theory in his home town. Later on he pursued his studies at ZHdK Zürich, where he obtained the titles Bachelor of Arts (class of Roel Dieltiens) and the Master in Music Performance at the HKB Bern (violoncello with Louise Hopkins and viol with Brian Franklin). He currently studies viol at the Academy of Music in Trossingen in the class of Lorenz Duftschmid. Bruno is a member of different ensembles and orchestras and plays the violoncello, baroque cello and viol in different concerts and festivals in Europe. He was given a scholarship from Paul Casals Society and another from the Catalonian government.
Sam Chapman
grew up in the English West Country. He studied historical plucked instruments with Elizabeth Kenny at the Royal Academy of Music (London) and at the Schola Cantorum Basiliensis in Basel (class Hopkinson Smith). He was the first lutenist to obtain a master's degree in basso continuo (class of Jesper Christensen). Sam is currently a visiting teacher for basso continuo at the Universidad Central in Bogotá, Colombia. He is also a qualified Alexander Technique teacher. Sam Chapman has performed at many international music festivals and can be heard on a number of CD recordings. In 2008 he founded his own mixed consort "The Queen's Revels" with the aim of researching and performing English music from the late renaissance. Sam has been awarded both with the Julian Bream Prize and the Robert Spenser Award at the Royal Academy of Music.
Sebastian Mattmüller
studied choir direction in Basel. He obtained his concert and pedagogy diploma in singing at the Conservatory Neuenburg, studying with Jeanne Roth. Sebastian is a member of different ensembles in Switzerland and abroad, singing in numerous early music festivals and oratories as well as concerts with romantic Lied and contemporary music. He is acknowledged also as narrator (performances of melodrama, Banchieri’s madrigal comedy, production of the audio book „Blösch“). He had concert tours in Europe, America (North America with Ensemble Carund Luzern, Teatro Colon Buenos Aires), Russia, Ukraine (Basler Madrigalisten), and Central Asia (early music festivals, also contemporary music (‚Sinfonia’ von L.Berio mit Sinfonietta Basel)). He is a member of Les Solistes de Lyon, Cantus figuratus (Paris), Musica poetica Freiburg, Zuercher Singakademie, Abendmusiken der Predigerkirche in Basel. Worked with René Jacobs, Jon Buzea and Stefan Haselhoff.
Artist message of visitors
The music can speak for itself. And still: it comes from earlier times, when it was performed in a different context and listened by an audience well acquainted with the style of their time. Audience from nowadays often lacks those crucial pieces of information. As a consequence, music may appear as difficult to listen to or even meaningless. Also, back then different branches of art, such as music, dance and theatre, weren’t divided, but would usually appear on stage together.
We would like to offer our listeners a special musical event that reaches over the sense of a usual concert by including other arts in their performance. We would like to show what the performing context and practice of the time might have been and would like to avoid the serious, static way of giving concerts, which is much too common in the world of classical music. We are convinced that in this way the music speaks to everyone more directly, including to those who are not used to coming to early music concerts.
Programme
Bessoted from love and wine
See the music, hear the dancing (Balanchine)
Jacques-Martin Hottetere (1674-1763)
Sonate Iie
Prelude.Gravement / Courante
Nicolas Bernier (1664-1734)
Bacchus, Cantate a Voix Seule
Récitatif / Air.Gay / Récitatif / Air.Gracieux / Récitatif / Air.Vif
Marin Marais (1656-1728)
La Muzette
Nicolas Bernier (1664-1734)
Bacchus, Cantate a Voix Seule
Récitatif / Air
Marin Marais (1656-1728)
Second air. Canarie
Nicolas Bernier (1664-1734)
Bacchus, Cantate a Voix Seule
Récitatif / Air. Vif
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André Campra (1660-1744)
Lentement
Marin Marais (1656-1728)
Folies d’Espagne (izbor)
Jean-Baptiste Morin (1677-1745)
Dom Quichotte, Cantate 5e, a voix seule et simphonie
Récitatif / Air Espagnol / Récitatif / Air / Récitatif / Mort de Dom Quixotte / Air pesamment / Tombeau
Jacques Hotteterre (1780 – 1701)
Doux Sommeil, endormez les amans misérables
About programme
Ad Fontes present French Baroque cantatas as a music-theatre performance, including some staging, dance inserts, gestures and costumes. The result is, if it can be expressed in this way, a pocket version of an opéra-ballet. The performance is thus more colourful, livelier and invites the listener to perceive the music through a partly sung and partly acted or danced story of the cantata.
At some point in their career Ad Fontes decided to explore new ways of performing music: ways that would offer something innovative, differ from a classical concert and at the same time stay in the concept of historical performance. Since one of the ensemble members is dedicated also to historical dance, the first idea was to combine the two: music and movement. Further reflexion brought up the idea of including text and story. What would be in this case more appropriate than a cantata? The concept of the project was thus born: a performance of French cantatas with additional instrumental pieces and dance.
Nowadays performance practice very often means reproducing music without any other elements: acting and rhetoric have vanished from concert stages and musicians usually do not have the habit of speaking to the audience more directly. Yet this very communication would make a concert much more interesting and in a way, worth attending, since one can listen to a piece from a CD, but cannot experience such kind of an event.
The members of the group try not only to play music but to also become one or the other character the music is describing. They try to transmit their understanding of the particular piece, its background and historical performance context in an easy understandable way – through gesture, step, and meaningful musical phrase. They are convinced that the music is much more understandable and more meaningful for nowadays’ audience, if it is performed in this way: it is more inviting for a broad audience, also for those, who are not used to listening to early music. After all, one listens not only with the ears, but also with the eyes.
When putting early works on stage one cannot or perhaps should not entirely forget about the performance context in which those works have been performed. The serious post-Romantic way of giving concerts is ideologically not at all close to Baroque stage practice. Back then singers would naturally use gestures when singing. A singer would not only make music, he would also narrate a story. Every narrator knows that he or she should speak with his or her hands as well in order to get a more powerful effect of his or her speech. Those principles can be read in different treatises both for rhetoric and singers. How far one would like to go, take a certain role and become the character that is singing in the cantata, is the choice of the singer. This time Ad Fontes decided to stay half-way between narrating the story and acting its characters.
At the French court dance inserts would be a common part of an opera, divertissement or cantata. Even works of Molière have originally contained dances with existing music: a fact that is not well-known and even less put in practice nowadays. Ad Fontes thus include dance inserts between the parts of the cantata: the dancer presents one of the characters or depicts the affect of the aria.
The themes presented in both cantatas often appear in French stage works. Taking a story from Greek mythology was very common. In Morin’s Bachus the ensemble invite their audience in the world of Bacchus, the Greek god of wine, Satyrs and Fauns with the words: Let us praise Bacchus, the God of wine and feast. The others praise heroes and warriors; let’s leave those sad stories to them. We sing about the most peaceful God, whose heroes lay down to earth not in blood, but in wine.
A tragic heroic theme was also common on Baroque stage. However, being highly exaggerated in libretto and the affect, Don Quixote is more of a tragic-comic hero than an elevated one as the cantata crosses the border and becomes more of a parody on tragédie lyrique than a proper tragédie.
Don Quixote is desperate – his Dulcinea wouldn’t return his love. He throws his clothes over the edge of the cliff out of despair and even Sancho Pansa cannot prevent him from throwing himself after them. Already falling down the cliff Don Quixote asks his companion to tell his Dulcinea about his end: ‚I am dead, dearest Dulcinea, having died from everlasting love for You..’
Lyrics
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Nicolas Bernier : Bacchus, Cantate a Voix Seule |
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Recitatif |
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Chantons le Dieu Bachus, chantons et que sa gloire Soit l’eternel objet de nos plus doux concerts. Qu’un autre aprenne a l’univers du fier vainqueur d’Hector la glorieuse histoire qu’il resuscite ses vers des enfans de Pelops l’odieuse memoire. Puisque Dieu des raisins digne objet de nos veux c’est a toy seul que je me livre de pampres de festons couronnant mes cheveux en tous lieux je pretens te suivre, c’est toy seul que je veux vivre parmi les festins et les jeux. |
Pojmo Bakhu, pojmo, da bo njegova slava večna tema naših najlepših koncertov. Naj kdo drug svetu pripoveduje slavno zgodbo ponosnega zmagovalca Hektorja, piše verze o gnusni zgodbi o Pelopsovih otrocih. Mogočni bog grozdja, plemenito božanstvo naših želja, samo tebi se predajam, ovenčan z girlandami trte v laseh, ti bom sledil kamor koli. Samo zate si želim živeti med gostijami in igrami. |
Let us sing to Bachus, let us sing so that his glory may forever be the topic of our most beautiful concerts. Let somebody else tell the world the glorious tale of the proud vanquisher Hector Write his verses about the abominable tale of Pelop’s children. Mighty god of grapes, honourable entity of our wishes, To you alone I surrender With garlands of vines adorning my hair, I’ll follow you everywhere. For you alone I wish to live in between of feasts and plays. |
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Air. Gay |
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Ta bonté supreme previent nos souhaits, ta douceur extreme calme nos regrets. Sans toy Venus même serait sans attraits. Tu sors la constance des coeurs amoureux tu rens l’esperance aux plus malheureux. |
Tvoja neizmerna dobrota že vnaprej izpolnjuje naše želje. Tvoja neusahljiva milost pomirja naša obžalovanja. Brez tebe celo Venera ne bi bila skušnjava. Ti spodbujaš neomajnost v zaljubljenih srcih in daješ upanje najnesrečnejšim. |
Your abundant goodness anticipates our wishes. Your never-ending mildness sooths our regret. Without you not even Venus would be a temptation. You stimulate constancy in amorous hearts And you give the most satisfied hope. |
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Recitatif |
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Mais quels transports jnvolontaires saisissant tout a coup mon esprit agité? Sur quel Valon sacré dans quel bois solitaire suis-je tout a coup transporté? Bachus a mes regars dévoille ses mysteres; un mouvement confus de joye et de terreur m’inspire une nouvelle audace, et les Menades en fureur n’ont rien veu de pareil dans les antres de Thrace. |
Vendar kakšne nepredvidljive sile nenadoma zapeljujejo mojega razburjenega duha? V katero sveto dolino, v kateri zapuščeni gozd me nese? Bakh pred mojimi očmi razkriva svoje skrivnosti. Osupljiv občutek sreče in strahu podžiga mojo drznost In niti pobesnele Menade v svojih votlinah v Trakiji še niso videle česa takšnega. |
But; what unexpected powers Suddenly ensnare my troubled senses? To which holy valley, to which forlorn forest Do I see myself shifted? Before my very eyes Bachus uncovers his secrets. A bewildering feeling of joy and fear kindles my boldness, The raging Menades in their caves in Thrace Have never seen anything like it. |
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Air.Gracieux |
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Descendez mere d’Amour, Venez embellir la feste du Dieu qui fit la conqueste des climats ou naist le jour. Descendez mere d’amour Mars trop longtemps vous a reste Deja le Jeune Sylvain jure d’Amour et de vin poursuit Doris dans la plaine, et les Nymphes des Forests d’un Jus petillant et frais arosent le vieux Silene. |
Spustite se, mati ljubezni, pridite in olepšajte to gostijo boga, ki je osvojil sfere, kjer rodi se dan. Spustite se, mati ljubezni, zakaj predolgo vas je Mars imel ujeto. Mladi Silvan, že ves omamljen od ljubezni in vina, lovi Doris po ravnicah. In gozdne nimfe že škropijo starega Silena s poživljajočim napojem. |
Descend, mother of love Come and beautify the feast Of the god, who conquered the spheres Where day is borne. Descend, mother of love, For too long Mars has imprisoned her. Young Silvanus, already besotted by love and wine, Chases after Doris in the lowlands. And the nymphs of the woodland sprinkle old Silenus with a revitalising potion. |
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Recitatif |
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Profanes fuyez de ces lieux... Je cede aux mouvemens que ce grand Jour m’inspire; fidelles s[p]ectateur du plus charmant des Dieux ordonnez le festin,, apportez moy ma Lyre, celebrons entre nous un jour si glorieux. Mais parmy les transports d’un aymable délire Eloignons loin d’jci ces bruits seditieux qu’une aveugle vapeur attire, laissons aux Scites jnhumains mesler dans les banquets le meurtre et le carnage, les dans du Centaure Sauvage ne doivent point Souiller nos jnnocentes mains. |
Neposvečeni, zapustite ta kraj. Predajam se čustvom, ki jih je navdahnil ta veliki dan. Zvesti gledalci, od najprijaznejšega boga zahtevajte gostijo, prinesite mi liro, naj praznujemo ta slavnostni dan. Toda med čustvi ljubeznivega delirija Odženimo daleč stran hujskajoči hrup, ki vzbuja zaslepljujoče utvare, prepustimo nečloveškim Skitom, naj na svojih gostijah mešajo smrt in klanje. Plesi divjega kentavra ne smejo umazati naših nedolžnih rok. |
Waters, leave this place. I submit to the emotion, this grand day has inspired. Loyal spectators, demand of the most amiable of gods a feast so fetch me my lyre, Let us celebrate this memorable day. Away with all insurgent noise, Which evoke a blinding vapour, Let’s leave the inhuman place to mingle in their feast of death and slaughter The Centaurs’ wild dance must not soil our innocent hands. |
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Air.Vif |
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Banissons l’affreuse Bellons de l’innocence des repas, les Satires, Bachus, et Faune, detestent l’horreur des combats. Malheur aux mortels Sanguinaires qui par de tragiques forfaits ensanglantent les doux misteres d’un Dieu qui reside a la paix. |
Grozovita Belona, stran od naše nedolžne gostije, saj satiri, Bakh in favni zaničujejo grozote bitk. Nesreča vsem smrtnikom krvavih misli, ki s svojimi krvavimi zgodbami zastrupljajo nežne misterije boga, ki prebiva v miru. |
Gruesome Bellone, Stay away from our feast, As Saturn, Bachus and the Faunes Despise the horrors of battle. Misfortune to all those blood-minded mortals, who poison the secrets of a god of peace with their bloody stories. |
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Recitatif |
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Veut-on que je fasse la guerre?... Suivez-moy mes amis accourez combatez, remplissons cette coupe, entourons-nous de lierre, Bachantes pretez-moy vos Thirses redoutez que d’Atletes Soumis! que de rivaux par terre! O fils de Jupiter! nous ressentons enfin ton assistance Souveraine; Je ne voy que beuveurs étendus Sur l’Arêne qui nagent dans les flots de Vin. |
Naj grem v vojno? Sledite mi, prijatelji, pritecite in se borite. Napolnimo to čašo, odenimo se z bršljanom, bakhantke, posodite mi svoje tirse. Sami manjvredni bojevniki, dol z vsemi tekmeci! O, sin Jupitra! Končno čutimo tvojo mogočno pomoč, vidim le pivce, ležeče v areni, ki plavajo v poplavi vina. |
Shall I go to war? Follow me, my friends, come running and fight, Adorn yourselves with ivy, borrow me your staffs of thyrsos. Only inferior warriors, To the ground with all rivals! Oh, son of Jupiter! Finally we feel your mighty power, I only see drunkards, swimming in floods of wine, sprawled out in the arena. |
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Air.Vif |
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Triomphe victoire honneur a Bachus, publions sa gloire triomphe victoire beuvons aux vaincus. Bruyante trompette Secondez nos voix, Sonnez leur defaite, Bruyante trompette chantez nos exploits.
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Uspeh, zmaga in čast Bakhu. Oznanimo njegovo veličino in zmago. Zapijmo poražencem! Naj se oglasijo trobente in pospremijo našo pesem, pojmo o njihovem porazu, naj se oglasijo trobente, pojmo o naših velikih dejanjih. |
Triumph, victory and honour to Bachus. Let us proclaim his glory and his victory. Let us sing to the defeated! Sound the trumpets, Accompany our song, Sing about our defeat, Sound the trumpets, Sing about our mighty deed. |
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Jean-Baptiste Morin: Dom Quichotte, Cantate 5e, a voix seule et simphonie |
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Récitatif |
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Dans les sombres déserts de la montagne noire, Au pied d’un Rocher sourcilleux, Du célèbre Amadis se retraçant l’histoire, Dom Quixotte exaloit ses soupirs amoureux ; Là songeant à la Dulcinée Dont son cœur suit la destinée, Plein d’un frivole enchantement, Aux yeux d’un Ecuier fidele Qui de sa pure ardeur doit porter la nouvelle, Il expose ainsi son tourment.
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V mračnih puščavah črnih gora, ob vznožju visoke pečine, o čemer govori slavni Amadis, Don Kihot globoko zaljubljeno vzdihuje. Tam sanjari o Dulcineji, ki ji namenjeno je njegovo srce. Začaran v očeh zvestega oprode, ki mora novico sprejeti s čistim žarom, ko oni razodeva svoje muke. |
In the dim deserts of the black mountains, At the foot of a petty rock, By the famous Amadis is told the story, Don Quixotte heaves a doting sigh; There he muses over Dulcinée To whom his heart is destined. Full of frivolous enchantments, In the eyes of a faithful Esquire, Who must bear the news in pure vigour, As he exposes his torment. |
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Air espagnol |
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Mes yeux Inondez les campagnes Par vos tristes débordements, A mes cris, Monstres des montagnes, Mêlez vos affreux hurlements.
Répondez aux maux que j’endure Forests, par vos frémissements, Qu’en ce jour toute la Nature Retentisse de mes tourments.
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Oči moje, zalijte pokrajine s svojo bridko tekočino. Mojim tožbam se pošasti gora pridružite s svojim groznim tuljenjem.
Odzovite se na bolečine, ki jih prestajam. Gozdovi, stresite se, naj ta dan vsa narava odmeva moje trpljenje. |
My eyes Flood the landscape With your sad spill, Ah my wails, Monsters of the mountains, Join in with your horrible howls.
Respond to the pain I endure Forests, shudder, On this day the whole of nature Resonates with my torments. |
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Récitatif |
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A ces mots le Heros de la triste figure Brise ses guerriers vêtements, Et tel que la pure Nature Expose les mortels dans leurs premiers moments. Il de montre a Sancho, Sois le témoin fidele Des amoureux emportements Ou la rigueur d’une beauté cruelle Livre le cœur des mal’ heureux amants.
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S temi besedami junak žalostne postave strga s sebe svoja bojna oblačila in tak, kakršne čista narava prikaže smrtnike v njihovih prvih trenutkih, pokaže na Sanča: Bodi zvesta priča ljubezenskih izpadov, ko nepopustljivost krute lepote iztrga srce nesrečnih zaljubljencev. |
With those words the sad faced hero Rips off his bellicose clothes And in pure nature He exposes the mortals in their first moments. He points towards Sancho, The loyal witness To his amorous outbreak Where the rigour of a cruel beauty Extradites the heart of desolate lovers. |
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Air |
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Ouvrez-vous sombres précipices, Durs Rochers, Servez ma fureur, Venez peines, venez supplices, Eprouver ma constante ardeur.
Les coups, les blessures mortelles, Ne font que réanimer ma foi Les épines les plus cruelles Sont un lit de roses pour moi. |
Odprite se, temne globočine, trde skale, služite moji jezi. Pridi bolečina, pridi trpljenje, začuti mojo večno strast.
Udarci, smrtne rane samo znova oživijo mojo predanost, najokrutnejše trnje je zame postelja vrtnic. |
Open dark chasms, Hard rocks, Serve my fury, Come aches, come agony, Feel my constant passion.
The blows, the deadly wounds, Only reanimate my devotedness, The cruellest thorns Are but a bed of roses to me. |
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Récitatif |
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Mais son corps suit déjà la souple véhémence De mille mouvements divers, De la cime du Roc notre héros s’élance, Et comme un tourbillon voltigeant dans les airs Signale par ses sauts sa tendre extravagance ; Sancho l’appelle en vain, ‘Seigneur, ou courez vous ? Votr’am ! Ne peut-il par un chemin plus doux De ses ardents transports marquer la violence ?’ ‘C’est fait, cher Sancho, Je cède a mes fureurs’, Répond-il d’une voix mourante, Et le ciseau fatal des plus vives douleurs Va bientôt de ma vie errante Trancher la trame triomphante. Pars, va trouver l’objet qui me tient sous sa loi, Sur Rossinante ami, Vole vers cette belle, Peins lui ce que j’ai fait pour elle, Et lui redis ces mots pour gage de ma foi.
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A njegovo telo je že zaznamovano s tiho silovitostjo tisoč različnih gibanj. Naš junak se vrže s previsa in kot leteči vrtinec v zraku razkazuje svojo blago nenavadnost s skoki. Sančo zaman kliče za njim, »Kam pa jo mahate, gnada? Vaša duša! Mar ne bi bilo mogoče oditi po prijaznejši poti, kot da ropota tako zelo strastno?« »Kar je, je, dragi Sančo, vdal sem se svoji jezi,« odvrne z umirajočim glasom, »in usodno dleto mojih živih bolečin bo kmalu iz mojega brezciljnega življenja izklesalo zmagovito ozadje. Odidi, zapusti me in poišči njo, ki mi vlada. Skoči na Rosinanta, prijatelj, in poleti k tej krasotici. Povej ji, kaj sem storil zanjo, in ponovi te besede v znak moje vernosti.«
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But his body is already marked with subtle vehemence Thousands of different movements, Our hero throws himself off the cliff, And like a flying whirl in the air, Showing his gentle extravagance with his jump; Sancho calls him in vain, “Sir, where are you running to? Your soul! Wouldn’t it be possible to leave by a gentler path In its passionate agitation marking violence?” “It’s done, dear Sancho, I’ve given in to my furor”, He replies in a dying voice, And the fatal chisel of my vivid pains Will soon leave my vagrant life Cutting off the triumphant frame. Leave, go and find the entity that reigns over me On Rossinante, friend, Fly towards this belle Picture her what I’ve done for her And repeat those words as a pledge of my faith. |
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Mort de Don Quichotte, Air pesamment |
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Je suis mort chère Dulcinée, L’amour a consumé mon cœur, Mon âme à souffrir condamnée, Ne vit plus que par la douleur.
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Mrtev sem, ljuba Dulcineja, ljubezen je izžgala moje srce. Moja duša je obsojena na trpljenje in živi samo skozi bolečino. |
I’m dead beloved Dulcinée, Love has consumed my heart, My soul has suffered tremendously, And only lives but by pain. |
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Tombeau |
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Déjà mon Ombre est poursuivie Parce fier Tiran des Amants, Et quoi qu’il m’ait ôté la vie, Je meurs pour vous a tous moments. |
Mojo senco zasleduje tisti ošabni tiran ljubimcev. In kar koli je vzel od mojega življenja, umiram za vas sleherni trenutek. |
Already my shadow is fading, As proud Tiran of Lovers, And what he has taken of my life, I die for you at every moment. |