“Lasciatemi morire”

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See “KARAOKE KORNER” below for technical help . . .
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–LOW KEY–

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“Lasciatemi morire” by, Claudio Monteverdi is the first part of a four-part lament from the opera Arianna, composed in 1608 and based upon the Greek legend of Ariadne, deserted by her lover, the hero Theseus, on the island of Naxos.

We have Claudio Monteverdi to thank for his tremendous innovations in the new field of opera, which have laid the groundwork for all operas subsequently. Opera seems so much a fact of life that it is humbling to think there was a time when it did not exist. Sadly, only the lament is still available – the rest of this opera has long since been lost.

The original lament from the opera Arianna is about 15 minutes long! But, this first part makes a lovely addition to any singer’s repertoire. It is also refreshing for female voice types, since we have a woman’s point of view that is being expressed.

Here are the “Lasciatemi morire” lyrics and “Lasciatemi morire” translation, as well as representative performances in several voice types. Most of the performances are solely of part one, as this is the version that is usually sung by young singers. However, I have also included performances of the entire lament at the end of this blog post. Take a moment to listen to these selections, too; you won’t regret taking time to enjoy this groundbreaking work more fully.

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“Lasciatemi morire”
Claudio Monteverdi
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Lasciatemi morire! lyrics

First part:

Lasciatemi morire!
E che volete voi che mi conforte
In così dura sorte,
In così gran martire?
Lasciatemi morire!

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Let me die!
And whom would you want to comfort me
in such a cruel fate,
in such great torment?
Let me die!

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SECONDA PARTE
O Teseo, O Teseo mio,
Si, che mio ti vo’ dir, che mio pur sei,
Benchè t’involi, ahi crudo, a gli occhi miei
Volgiti, Teseo mio,
Volgiti, Teseo,
O Dio!
Volgiti indietro a rimirar colei
Che lasciato ha per te la Patria e il Regno,
E in queste arene ancora,
Cibo di fere dispietate é crude,
Lascierà l’ossa ignude.
O Teseo, O Teseo mio,
Se tu sapessi, O Dio!
Se tu sapessi, ohimè, come s’affanna
La povera Arianna, forse pentito
Rivolgeresti ancor la prora al lito:
Ma con l’aure serene
Tu te ne vai felice et io quì piango.
A te prepara Atene
Liete pompe superbe,
Ed io rimango
Cibo di fere in solitarie arene.
Te l’uno e l’altro tuo vecchio parente
Stringeran lieti, ed io
Più non vedrovvi,
O Madre, O Padre mio!

TERZA PARTE
Dove, dov’è la fede
Che tanto mi giuravi?
Così ne l’alta fede
Tu mi ripon degl’Avi?
Son queste le corone
Onde m’adorni il crine?
Questi gli scettri sono,
Queste le gemme e gl’ori?
Lasciarmi in abbandono
A fera che mi strazi e mi divori?
Ah Teseo, ah Teseo mio,
Lascierai tu morire
Invan piangendo, invan gridando aita,
La misera Arianna
Ch’a te fidossi e ti diè gloria e vita?

QUARTA PARTE
Ahi, che non pur rispondi!
Ahi, che più d’aspe è sordo a’ miei lamenti!
O nembri, O turbi, O venti,
Sommergetelo voi dentr’a quell’onde!
Correte, orche e balene,
E delle membra immonde
Empiete le voragini profonde!
Che parlo, ahi, che vaneggio?
Misera, oimè, che chieggio?
O Teseo, O Teseo mio,
Non son, non son quell’io,
Non son quell’io che ì feri detti sciolse;
Parlò l’affanno mio, parlò il dolore,
Parlò la lingua, sì, ma non già il core.
Misera! Ancor dò loco a la tradita speme?
E non si spegne,
Fra tanto scherno ancor, d’amor
Il foco spegni tu morte, omai, le fiamme indegne!
O Madre, O Padre,
O dell’antico Regno superbi alberghi,
Ov’ebbi d’or la cuna,
O servi, O fidi amici (ahi fato indegno!)
Mirate ove m’ha scort’empia fortuna,
Mirate di che duol m’ha fatto herede
L’amor mio, la mia fede,
E l’altrui inganno,
Così va chi tropp’ama e troppo crede.

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[SECOND PART]
Oh Theseus, oh my Theseus, yes, I still call you mine
for mine you are, although you flee, cruel one, far from my eyes. Turn back, my Theseus, turn back, Theseus, o God, turn back to see again the one, who for you has left her fatherland and kingdom, and who, staying on these shores, a prey to cruel and pitiless beasts, will leave her bones denuded. Oh Theseus, oh my Theseus, if you knew, oh God, if you only knew how much poor Arianna is frightened, perhaps, overcome with remorse, you would return your prow shorewards again. But with the serene winds you sail on happily, while I remain here weeping. Athens prepares to greet you with joyful and superb feasts and I remain, a prey to wild beasts on these solitary shores. You will be happily embraced by your old parents and I will not see you again, oh mother, oh my father.

[THIRD PART]
Where is the faith you swore me so much? Is this how you place me on my antecestors throne? Are these the crowns with which you adorn my hair? Are these the sceptres, the diamonds and the gold? To leave me abandoned for the beast to tear up and devour? Ah Theseus, ah my Theseus, would you let me die, weeping in vain, crying for aid the wretched Arianna, who trusted you and gave you glory and life?

[FOURTH PART]
Ah, that you do not even reply! Ah, that your are deaf to my laments! Oh clouds, oh storms, oh winds, submerge him in those waves. Fly, whales and orcs, and fill up the profound gulfs with these unworldly limbs! What am I saying? Ah, what am I raving about? Wretched that I am, what am I asking? Oh Theseus, oh my Theseus, that is, that is not I, that it is not I who hurled these curses, my anguish spoke, the pain spoke, it was my tongue but not my heart.
Wretched that I am, still I give place to a hope betrayed, and despite so much scorn the fire of love is not put out. For that put out now, death, the unworthy flames. Oh mother, oh father, oh superb dwellings of the ancient kingdom, where my golden cradle stood! Oh servants, oh faithful friends – Ah, unjust fate! – See where a cruel fortune has led me, see what pain has been given to me as a heritage for my love, my faith and for his betraying me. That is the fate of one who loves too much and believes too much.

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Our first performance is from mezzo-soprano Irina Arkhipova.

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Our next performance is from tenor, Beniamino Gigli.

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Our next performance is from baritone, Renato Bruson.

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THE COMPLETE LAMENT:

The following performances are of the uncut complete lament (from which “Lasciatemi morire” is drawn), from the opera Arianna.

Our first performance is from mezzo-soprano, Anna Sophie Von Otter.

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Our next performance is from Anna Caterina Antonacci.

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Our next performance is from a choral ensemble. They have kindly included a simultaneous translation of the entire lament! Thank you!

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KARAOKE KORNER . . .
Due to the quarantine requirements of the COVID-19 period, we are providing services for learning online.

Below are Karaoke-style accompaniments in both high and low keys presented along side full performances. Each listing also includes audio metronome and tonic-pitch sound videos to help you sing more independently when learning online. Sub-sections of the songs are then presented to help you dig down and refine your learning.

These measures will promote more comprehensive and effective learning while studying singing remotely. Good luck and have fun!

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–HIGH KEY–

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(back to the top…)
Metronome marking:

Tonic note pitch:

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ENTIRE ACCOMPANIMENT ONLY (high key):

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FULL PERFORMANCE:

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PG. 111, MEASURE 7: “E che volete voi che mi conforte . . .”

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PG. 111, MEASURE 14: “Lasciatemi morire . . .”

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–LOW KEY–

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(back to the top…)
Metronome marking:

Tonic note pitch:

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ENTIRE ACCOMPANIMENT ONLY (low key):

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FULL PERFORMANCE:

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