29 T H SEASON
Il Mantovano Hebreo
Music by Salomone Rossi
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Profeti della Quinta
Saturday, 1 February 2014 at 8pm
Alix Goolden Hall, Victoria Conservatory of Music
2013‑14 OPERATING GRANTS
2013–14 Concert Season
Saturday, 22 February 2014
Alix Goolden Hall 8pm
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Saturday, 12 April 2014
Alix Goolden Hall 8pm
Jeffrey Cohan baroque flute
Hans-Jürgen Schnoor harpsichord (Germany)
Simphonie Nouvelle (Seattle)
Harry Van der Kamp bass (Netherlands)
Portland Baroque Orchestra
Monica Huggett violin and direction (UK)
Emanuel Bach Tricentennial
Seventeenth-century German cantatas
2014 marks the 300th anniversary of the birth of C.P.E.
Bach. EMSI celebrates by hosting one of the world’s great
keyboardists and some of Seattle’s most distinguished
early music specialists in performances of flute and
harpsichord concerti by Emanuel Bach, and the Suite in
B minor by his father, Johann Sebastian.
EMSI is proud to present the Victoria debut of Harry
Van der Kamp, the legendary Dutch bass with more than
120 CDs to his credit. The equally distinguished Monica
Huggett leads performances of cantatas and instrumental
music by Johann Christoph Bach, Bruhns, Rosemüller,
Tunder and Biber.
SPE CI A L E V E N T
Co-presented with Pacific Opera Victoria
Friday, 14 March and Saturday, 15 March 2014
McPherson Playhouse 8pm
Boston Early Music Festival Ensemble,
Boston Early Music Festival Dance Ensemble (USA)
Paul O’Dette and Stephen Stubbs, Musical Directors
Marc-Antoine Charpentier
La Descente d’Orphée aux Enfers
and La Couronne de Fleurs
First played for the Dauphin of France in 1686
For the first time ever, Victoria audiences will have the opportunity
to experience a staged baroque opera, performed in a period style
by one of the world’s leading baroque music ensembles. Close to
thirty singers, dancers and musicians will perform a double bill of
operas by Marc-Antoine Charpentier, first played for the Dauphin
of France. This is the most ambitious production in EMSI’s almost
thirty-year history.
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E MSI SEASON SPONSORS
Il Mantovano Hebreo
Music by Salomone Rossi c.1570–c.1630
Profeti della Quinta
Doron Schleifer, David Feldman, cantus
Lior Leibovici, Dan Dunkelblum, tenor
Elam Rotem, bass, harpsichord, musical direction
Ori Harmelin, chitarrone
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Shir hama’alot, ashrei kol yeré ‘adonái – Psalm 128
Elohim hashivénu – Psalm 80:4, 8, 20
Shir hama’alót, beshúv ‘adonái – Psalm 126
Sfogava con le stelle
Tu parti, ahi lasso
Cor mio, deh non languire
Udite, lacrimosi spirti d’averno
Passacaglia (A. Piccinini 1566–ca.1638)
Tirsi mio, caro Tirsi
Rimanti in pace; 2a parte: Ond’ei di morte
Mizmór letodá – Psalm 100
Haleluyáh, Halelì nafshì ‘et ‘adonái – Psalm 146
‘Al naharót bavél – Psalm 137
Hinah yafa ra’yati – Hohelied 4:1-7 (E.Rotem)
Ohimè, se tanto amate
Shchora ani ve’nava – Hohelied 1:5-7 (E.Rotem)
Messaggier di speranza
Vedro’l mio sol
In dolci lacci
Yitgadál veyitkadásh – Full Kaddish
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Programme Notes
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The programme portrays Salomone Rossi’s manyfaceted talents as a court composer in the service of
the Gonzaga family and as a unique innovator of
devotional Hebrew music.
Although overshadowed by the works of his colleague
and collaborator Claudio Monteverdi, Rossi’s madrigals
are beautiful and refined examples of the genre. They
also feature an important milestone in music history:
Rossi’s Primo libro di Madrigali á 5 (1600) includes the
first known printed intabulation for the chitarrone, also
known as the theorbo. This novelty creates a bridge
between the sixteenth-century polyphonic madrigal and
the new musical style of the early seventeenth century.
Alongside his prolific secular activities, Rossi,
being Jewish, tried to revolutionize the music in the
Synagogue by introducing polyphonic settings of
Hebrew prayers and psalms. These Hebrew pieces are
characterized by their elegant simplicity, yet at times
Rossi calls upon madrigalistic elements in order to
heighten the emotions in the listeners’ hearts.
“Song of ascents” is a title given to fifteen of the
Psalms, each of which starts with the Hebrew ascription
‫( תולעמה ריש‬Shir hama’alót). They are also referred to as
“gradual psalms”, “songs of steps” or “pilgrim songs”.
Many scholars believe these psalms were sung by
worshippers as they ascended the road to Jerusalem to
attend pilgrim festivals or by priests as they ascended
the fifteen steps to minister at the temple in Jerusalem.
They are well suited to being sung because of their poetic
form and the sentiments they express. Characterized by
brevity, by a keyword or by repetition, more than half
of them are cheerful and all of them are hopeful.
My
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The Artists
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Focusing on repertoire from the sixteenth and
early seventeenth centuries, the vocal ensemble
Profeti della Quinta aims to create vivid and
expressive performances for today’s audiences.
In particular, this is achieved through addressing
the performance practices of the time. From its core
of five male singers, the ensemble collaborates with
instrumentalists and additional singers
where required.
Profeti della Quinta has been active in researching
and performing hitherto neglected repertoire, such
as Emilio de’ Cavalieri’s Lamentations (1600) and
Salomone Rossi’s Hashirim asher li’Shlomo (1623),
the first publication of polyphony in Hebrew, which
they recorded on PAN Classics and Linn records to
critical acclaim. The ensemble performs regularly in
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music festivals and venues around the world, such as
the Oude Muziek Festival in Utrecht (the Netherlands)
and the York Early Music Festival (UK). Profeti della
Quinta took part in a documentary about Salomone
Rossi, filmed in Mantua. In July 2011 the ensemble
won the York Early Music young artists competition.
Highlights of the 2014 season include concerts in
Canada, the United States, Japan, Germany, Austria
and France.
The Ensemble was founded in the Galilee region of
Israel by the bass and harpsichordist Elam Rotem. It is
currently based in Switzerland, where all its members
undertook further study at the Schola Cantorum
Basiliensis. The members of the ensemble have benefited
both individually and collectively from the expertise of
leading musicians in the field of early music.
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Texts and Translations
Shir hama’alót ‘ashréi
kol yeré ‘adonái
Psalm 128
Shir hama’alót,
‘Ashréi kol yeré ‘adonái haholékh
bidrakháv.
Yegía’ kappékha ki tokhél;
‘ashrékha vetóv lakh.
‘Eshtekhá kegéfen poriyyá
beyarketéi veitékha;
banékha kishtiléi zeitím savív
leshulh.anékha.
Hinné khi khen yevórakh gáver
yeré ‘adonái.
Yevarekhekhá ‘adonái mitsiyyón,
ur’é betúv yerushaláyim kol
yeméi h.ayékha.
Ur’é vanìm levanékha;
shalóm ‘al yisra’él.
A song of ascents.
Blessed are all who fear the Lord,
who walk in obedience to him.
You will eat the fruit of your labor;
Blessings and prosperity will
be yours.
Your wife will be like a fruitful
vine within your house;
Your children will be like olive
shoots around your table.
This will be the blessing for the man
who fears the Lord.
May the Lord bless you from Zion;
May you see the prosperity of
Jerusalem all the days of your life.
May you live to see your
children’s children;
peace be on Israel.
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Elohim hashivénu
Psalm 80:4, 8, 20
Elohim hashivénu veha’ér
panékha venivashé’a.
Elohim tseva’ót hashivenu veha’ér
panékha venivashé’a.
Adonái ‘elohim tseva’ót hashivenu
veha’ér panékha venivashé’a.
God restore us, brighten Your face
and we shall be saved.
God of hosts restore us, brighten
Your face and we shall be saved.
Lord God of hosts restore us, brighten
Your face and we shall be saved.
Shir hama’alót, Beshúv ‘adonái
Psalm 126
Shir hama’alót,
Beshúv ‘adonái ‘et shivát tsiyyón,
hayínu kecholemím.
‘Az yimmalé sechók pínu
ulshonénu rinná.
‘az yomerú vaggoyím:
higdíl ‘adonái la’asót ‘im ‘élle.
Higdíl ‘adonái la’asót ‘immánu,
hayínu semechím.
Shuvá ‘adonái ‘et sheviténu
ka’afikím bannégev.
Hazzore’ím bedim’á
berinná yiktsóru.
Halókh yelékh uvakhó nose
meshekh hazzára’.
Bo yavó verinná nose ‘alumotáv.
Then it was said among the nations:
“The Lord has done great things
for them.”
The Lord has done great things for us,
and we are filled with joy.
Restore our fortunes, Lord, like
streams in the Negev.
Those who sow with tears will reap
with songs of joy.
Those who go out weeping, carrying
seed to sow,
will return with songs of joy,
carrying sheaves with them.
Sfogava con le stelle
prob. Ottavio Rinuccini
(1562-1621)
Sfogava con le stelle
Un infermo d’amore,
Sotto notturno ciel, il suo dolore;
E dicea, fisso in loro:
“O imagini belle
De l’idol mio ch’adoro,
Sì come a me mostrate,
Mentre così splendete,
La sua rara beltate,
Così mostraste a lei,
Mentre cotanto ardete,
I vivi ardori miei;
La fareste col vostro aureo sembiante
Pietosa sì, com’hor me fate amante.”
A lovesick man poured forth
To the stars
In the nighttime sky, his grief,
And said, his eyes fixed on them:
“Oh beautiful images
A song of ascents.
Of my idol, whom I adore,
When the Lord restored the
Just as you show me,
fortunes of Zion,
While you so glitter,
we were like those who dreamed.
Our mouths were filled with laughter, Her rare beauty,
So may you show her,
our tongues with songs of joy.
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While you so strongly burn,
My living fires;
With your golden features,
you might make her Merciful, just
as you now make me amorous.”
Tu parti, ahi lasso
Giambattista Marino
(1569-1625)
Tu parti, ahi lasso, e il core
Mi parte il tuo partire;
E fra il dubbio e il martire,
Mentre ch’io tremo e piango,
Muto amante rimango.
Ma se tremando agghiaccio
Miseramente e taccio,
Parla il silentio e fann’ufficio
intanto
Gl’occhi di bocca e di parole
il pianto.
You are parting, alas,
And your parting parts my heart;
And among doubts and torments,
While I tremble and weep,
I remain a speechless lover.
But though in trembling I freeze
Miserably, and stay silent,
The silence speaks, and meantime
The eyes act for the mouth, and the
tears for the words.
Cor mio, deh, non languire
Giovanni Battista Guarini
(1538-1612)
Cor mio, deh, non languire,
Che fai teco languir l’anima mia.
Odi i caldi sospiri: a te gl’invia
La pietate e’l desire.
S’io ti potessi dar morend’aita,
Morrei per darti vita.
Ma vive, ohimè,
ch’ingiustamente more
Chi vivo tien ne l’altrui petto
il core.
My heart, oh, do not languish,
For you make my soul languish
with you.
Hear my hot sighs: they are sent
to you
By pity and desire.
If I could give you help by dying,
I would die to give you life.
But, alas, lives the one, who
unjustly dies
For keeping his heart alive in
another’s breast.
Coming up at the 2014 Vancouver Early Music Festival:
G.F. Handel:
“Il Trionfo del Tempo”
(The Triumph of Time)
Alexander Weimann
Amanda Forsythe
All-star soloists include
Amanda Forsythe, Krisztina Szabó,
Reginald L. Mobley & Colin Balzer
Krisztina Szabó
Pleasure & Beauty
abound in Handel’s
first oratorio
Alexander Weimann music director
Pacific Baroque Orchestra
Reginald L. Mobley
Thursday, August 7, 2014 at 7:30pm
Chan Centre for the Performing Arts at UBC
Tickets available through Ticketmaster beginning February 15.
Colin Balzer
Information: www.earlymusic.bc.ca
Tickets: www.ticketmaster.ca
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Colin Balzer
Udite, lacrimosi Spirti d’Averno
Guarini (from Il Pastor fido, III 6)
Tirsi mio, caro Tirsi
Guarini
Rimanti in pace
Livio Celiano (1557-1629)
Udite, lacrimosi
Spirti d’Averno, udite
Nova sorte di pene e di tormento.
Mirate crudo affetto
In sembiante pietoso:
La mia donna crudel più de
l’inferno.
Perchè una sola morte
Non può far satia la sua
ingorda voglia.
E la mia vita è quasi
Una perpetua morte:
Mi comanda ch’io viva,
Perchè la vita mia
Di mille mort’il dì ricetto sia.
Tirsi mio, caro Tirsi,
E tu ancor m’abbandoni?
Così morir mi lasci e non m’aiti?
Almen non mi negar gl’ultimi baci.
Ferrirà pur due petti un ferro solo;
Verserà pur la piaga
Di tua Filli il tuo sangue.
Tirsi, un tempo sì dolce e
caro nome,
Ch’invocar non soleva
indarno mai,
Soccorri a me, tua Filli,
Chè, come vedi, da spietata sorte
Condotta son a cruda et
empia morte.
Hear, watery
Spirits of Avernus, hear
A new fate of pain and of suffering.
Behold a cruel affection
In a merciful face:
‘Tis my lady, more cruel than Hell.
For a single death
Cannot satisfy her gluttonous desire.
And My life resembles
A perpetual death:
She commands me to live,
In order for my life
To be a harbour for a
thousand deaths per day.
My Tirsi, dear Tirsi,
Are you deserting me again?
Thus you leave me to my death
without helping me?
Do not refuse me, at least,
the last kisses.
One sword alone will indeed
wound two hearts;
The wound of your Filli
Will indeed shed your blood.
Tirsi, once a name so sweet and dear,
That I used never to appeal to
in vain,
Assist me, your Filli,
For as you see, by ruthless fate
I am led to a cruel and
wicked death
“Rimanti in pace,” alla dolente e
bella Fillida, Tirsi, sospirando, disse:
“Rimanti; io me ne vò,
tal mi prescrisse
Legge, empio fato e sorte aspra
e rubella.”
Ed ella, hora da l’una e l’altra stella
Stillando amaro umore,
i lumi affisse
Nei lumi del suo Tirsi, e gli traffisse
Il cor di pietosissime quadrella.
Ond’ei, di morte la sua
faccia impressa,
Disse: “ahi, come n’andrò senza il
mio Sole
Di martir in martir,
di doglie in doglie?”
Ed ella, da singhiozzi e pianti oppressa,
Fievolmente formò queste parole:
“Deh, cara anima mia,
chi mi vi toglie?”
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“Stay in peace,” said Tirsi, sighing,
To the sorrowing and
beautiful Fillida.
“Stay; I must go, thus I’ve been
ordered by law,
by wicked destiny, by a harsh and
stubborn fate.”
And she, distilling a bitter liquid now
from the one,
Now from the other star,
fixed her beams
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On the beams of her Tirsi, and pierced
His heart with most merciful darts.
At that point he,
with death stamped on his face,
Said: “alas! without my sun,
how will I survive,
Going from pain to pain,
from sorrow to sorrow?”
And she, oppressed with sighs
and tears,
Feverishly formed these words:
“Oh my dear soul, who takes you
away from me?”
Mizmór letodá
Psalm 100
Mizmór letodá.
Harí’u ladonái, kol ha’árets.
‘Ivdú ‘et ‘adonái besimchá,
bó’u lefanáv birnaná.
De’ú ki ‘adonái hu ‘elohím,
hu ‘asánu veló ‘anáchnu,
‘ammó vetsón mar’itó.
Bó’u she’aráv betodá,
chatsetotáv bithillá,
hodu lo, barekhú shemó.
Ki tov ‘adonái, le’olám chasdó
ve’ad dor vadór ‘emunató.
A psalm for giving grateful praise.
Shout for joy to the Lord, all the earth.
Worship the Lord with gladness;
come before him with joyful songs.
Know that the Lord is God.
It is he who made us, and we
are his; we are his people,
the sheep of his pasture.
Enter his gates with thanksgiving,
and his courts with praise;
give thanks to him and praise
his name.
For the Lord is good and his love
endures forever;
his faithfulness continues through
all generations.
Haleluyáh, Halelì nafshì
‘et ‘adonái
Psalm 146
Haleluyáh: Halelì nafshì ‘et ‘adonái.
‘Ahalelá ‘adonái beh.ayyái;
‘azammerá lelohái be’odì.
‘Al tivteh.ú vindivim,
beven ‘adám she ‘éin lo teshu’á.
Tetsé ruh.ó, yashúv le’admató;
Bayyóm hahú ‘avedú e’shtonotáv.
‘Ashréi she’él ya’akóv be’ezró;
Sivró ‘al ‘adonái ‘eloháv.
‘Osé shamáyim va’árets,
‘et hayyám ve’et kol ‘asher bam;
Hashomér ‘emét le’olám.
‘Osé mishpát la’ashukìm, notén léh.
em lare’evìm;
‘adonái mattir ‘asurìm.
‘Adonái pokéah. ‘ivrim, ‘adonái
zokéf kefufum;
‘adonái ‘ohév tsaddikìm.
‘Adonái shomér ‘et gerìm,
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yatóm ve’almaná ye’odéd
vedérekh resha’ìm ye’avvét.
Yimlokh ‘adonái le’olám,
‘eloháyikh tsiyyón ledór vadór:
Haleluyáh.
Praise the Lord. Praise the Lord,
my soul.
I will praise the Lord all my life;
I will sing praise to my God as long
as I live.
Do not put your trust in princes,
in human beings, who cannot save.
When their spirit departs, they return
to the ground; on that very day their
plans come to nothing.
Blessed are those whose help is the
God of Jacob,
whose hope is in the Lord their God.
He is the Maker of heaven and earth,
the sea, and everything in them,
he remains faithful forever.
The Lord upholds the cause of
the oppressed.
The Lord gives food to the hungry.
The Lord sets prisoners free.
The Lord gives sight to the blind,
The Lord lifts up those who are
bowed down,
The Lord loves the righteous.
The Lord watches over the foreigner
and sustains the fatherless and the
widow.] He frustrates the ways of the
wicked. The Lord reigns forever,
your God, O Zion, for all generations.
Praise the Lord.
‘Al naharót bavél
Psalm 137
‘Al naharót bavél sham
yashávnu gam bakhinu
bezokhrénu et tsiyon.
‘Al ‘aravím betokháh talínu
kinorotéinu.
Ki sham she’elúnu shovéinu
divrei shir vetolaléinu
simh.á shíru lánu mishír tsiyón.
Eikh nashír et shir adonái ‘al
admát nekhár.
Im eshkah.ékh yerushaláyim
tishkáh. yeminí.
Tidbák leshoní leh.ikí im lo
ezkerékhi im lo a’alé et
yerushaláyim ‘al rosh simh.ati.
Zekhór adonái livnéi edóm et
yom yerushaláyim
ha’omerim ‘áru ‘áru ‘ad
hayesód bah.
Bat bavél hashedudá ashréi
sheyeshalém lakh et
gemulékh shegamált lánu.
Ashréi sheyoh.éz venipéts et
‘olaláyikh el hasála’.
By the rivers of Babylon,
there we sat down;
yea, we wept when we
remembered Zion.
On willows in its midst we hung
our lyres.
For there were we asked by our
captors to deliver songs and by our
oppressors to make merry,
sing us a song of Zion.
How can we sing the song of the Lord
in a foreign land?
If I forget you Jerusalem let my right
hand forget itself.
Let my tongue stick to my palate if I
do not remember you, if I do not raise
Jerusalem to the summit of my joy.
Remember Lord the sons of Edom in
the day of Jerusalem.
They said: raze it, raze it to its
foundations.
Daughter of Babylon to be ravaged,
blessed be he who repays you in the
coin you paid us.
Blessed be he who grasps and smashes
your babes against the rocks.
Hinach yafa ra’yati
Hohelied 4:1-7
Hinach yafa ra’yati, hinach yafa.
Einayich yonim miba’ad
letsamatech,
se’arech ke’eder ha’izim shegalshu
mehar Gil’ad.
Shinayich ke’eder haktsuvut she’alu
min harachatsa,
shekulam mat’imot veshakula
ein bahem.
Kechut hashani siftotaich
umidbarech nave,
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kefelach harimon rakatech
miba’ad letsamatech.
Kemigdal David tsavarech
banui letalpiot,
elef hamagen talui alav,
kol shiltei hagiborim.
Shnei shadayich kishnei ofarim
te’omei tsvia haro’im bashoshanim.
Ad sheyafuach hayom venasu
hatslalim,
elech li el har hamor ve’el giv’at
ha levona.
Kulech yafa rayati vemum ein bach.
Behold, thou art fair, my love;
behold, thou art fair.
Thou hast doves’ eyes within thy locks;
thy hair is as a flock of goats that
appear from Mount Gilead.
Thy teeth are like a flock of sheep
that are even shorn which came up
from the washing, whereof every
one bear twins, and none is barren
among them.
Thy lips are like a thread of scarlet,
and thy speech is comely; thy temples
are like a piece of a pomegranate
within thy locks.
Thy neck is like the tower of David
builded for an armory, whereon there
hang a thousand bucklers, all shields
of mighty men.
Thy two breasts are like two young
roes that are twins, which feed among
the lilies.
Until the day break and the shadows
flee away,
I will get me to the mountain of
myrrh and to the hill
of frankincense.
Thou art all fair, my love; there is no
spot in thee.
Ohimè, se tanto amate
Guarini
Ohimè, se tanto amate
Di sentir di “ohimè,” deh perchè fate
Chi dice “ohimè” morire?
S’io moro, un sol potrete
Languido e doloroso
“ohimè” sentire;
Ma se cor mio vorrete
Che vita habbia da voi e voi da me,
Havrete mille e mille dolci “ohimè”.
Alas, if you love so much
To hear me say “alas!”,
then why do you make
Him who says “alas!” die?
If I die, you’ ll only hear
A single languid and sorrowful “alas”;
But if you want, my heart,
For me to have life from you and
you from me,
You will have sweet “alas” by
the thousands.
Messaggier di speranza
Gabriello Chiabrera
(1552-1638)
Shchora ani ve’nava
Hohelied 1:5-7
Shchora ani ve’nava bnot
Yerushalaim,
ke’ohalei Kedar, Kiri’ot Shlomo.
Al Tir’uni shani shcharchoret
She’shzafatni hashamesh.
Bnei imi nicharu vi,
samuni notera et hakramim,
karmi sheli lo natarti.
Hagida li she’ahava nafshi,
eicha tir’e?
eicha tarbits batsaharayim?
Shalama ehye ke’otya al
edrei chaverecha?
Dark am I, yet lovely, daughters
of Jerusalem, dark like the tents
of Kedar, like the tent curtains
of Solomon.
Look not upon me because I
am black, because the sun hath
looked upon me.
My mother’s children were angry
with me; they made me the keeper
of the vineyards, but mine own
vineyard have I not kept.
Tell me, O thou whom my soul
loveth, where thou feedest, where
thou makest thy flock to rest at noon;
for why should I be as one that
turneth aside by the flocks of
thy companions?”
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Messaggier di speranza,
Amato sì degl’occhi miei conforto,
Lume di due pupille,
ove m’hai scorto?
Di quanti miei tormenti
Oggi fassi cagion il tuo splendore?
E de tuoi raggi ardenti,
Quanto, oh quanto,
potria dolersi il core?
Ma sì mi vince amore,
Ch’omai sommerso fra tempeste
e morto,
Amo non men che s’io mi fossi
in porto.
Messenger of hope,
So beloved a comfort for my eyes,
Beam of two pupils, where have
you led me to?
How many of my torments
Today, are due to your splendor?
How much, oh how much could
my heart
Suffer from your burning rays?
But love so conquers me,
That though submerged midst
storms, and dead,
I love no less than if I were in
a port.
Youth Tickets for EMSI Concerts
Bring-a-Teen-for-Free
Each adult/senior ticket-holder may bring
one teen free of charge
Tickets available at the door for Main Series
concerts only, unless concert is sold out
Student Rush Tickets
Tickets at the door, with student card
Main Series $8, Special concerts $10
[email protected] • www.harthousevictoria.com
11
Vedrò’l mio sol
Guarini
In dolci lacci
Anonymous
Vedrò’l mio sol, vedrò prima
ch’io mora,
Quel sospirato giorno,
Che faccia il vostro raggio à
me ritorno.
O mia luce, o mia gioia,
Ben più me è dolce il tormentar
per vui,
che il gioir per altrui.
Ma senza morte io non
potrò soffrire,
Un sì lungo martire;
E s’io morrò, morrà mia
speme ancora,
Di veder mai d’un sì bel
dì l’aurora.
In dolci lacci e’in un soave foco
Mi sfaccio a poco a poco,
E tanta gioia sento
Fra le pene e il tormento,
Ch’io canto a tutte l’hore:
Viva, viva Amore che m’ardi il core!
I will see my sun, will see it
before I die,
On that sighing day,
That would make your ray return
to me.
Oh my light, oh my joy,
To torment for you is sweeter
Than to be happy for another.
But without death I will not be
able to suffer
Such a long pain;
and if I die, my hope to see
The dawn of such a beautiful day
will die as well.
In sweet bonds and in a gentle fire
I am destroyed little by little,
And I feel so much joy
Amidst the pains and torments,
That I sing at all hours:
Long live Love that burns my heart!
Yitgadál veyitkadásh
Gebet – Kaddish
Yitgadál veyitkadásh sheméih
rabá be’almá
divrá khir’utéih veyamlíkh
malkhutéih,
bechayeikhón vyomeikhón
uvchayéi dekhól beit yisra’él
ba’agála uvizmán karív,
ve’imrú amén.
Yitbarákh veyishtabách
veyitpa’ár veyitromám
veyitnasé veyithadár
veyit’alé veyithalál
sheméih dekudshá berikh hu.
Le’éila le’éila min kol birkhatá
shiratá tushbehatá
venechamatá da’amirán be’almá,
ve’imrú amén.
Titkabál tselotehón uva’utehón
dekhól beit yisra’él kodám avuhón
devishmayá, ve’imrú amén.
Yehé shelamá rabá min shemayá
vechayím tovím ‘aléinu ve’ál kol
yisra’él, ve’imrú amén.
‘Osé shalóm bimromáv, hu
berahamáv ya’asé shalóm ‘aléinu
ve’ál kol yisra’él, ve’imrú amén.
Magnified and sanctified be His
great name in the world
He created according to His will,
and may He establish His kingdom
during your life and during your
days and during the lives of all the
House of Israel speedily and shortly,
and say amen.
Blessed and praised and glorified and
elevated and exalted and extolled and
honored and celebrated be the name
of the Holy One, blessed be He.
High above, high above all blessings,
songs, praises and consolations that
we offer in this world, and say amen.
May acceptance be granted to the
prayers and petitions of all the House
of Israel by their Father who is in
heaven, and say amen.
May there be much peace from
heaven and a good life for us and for
all Israel, and say amen.
May He who makes peace on His
heights, Himself, in His mercy,
make peace for us and for all Israel,
and say amen.
S
EMSI wishes to thank…
The Volunteer Ushers at Alix Goolden Performance Hall
The EMSI Volunteer Guild 2013–14
Mary Scobie who designs the EMSI brochure, ads, posters and programmes
Visit our website at www.earlymusicsocietyoftheislands.ca
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Programme - Early Music Society of the Islands