Amadis of Gaul, an opera As it is perform'd at the King's Theatre in the Hay-market — Background and Themes

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In Category - Opera Performance

Authors: Haym, Nicola Francesco, 1678-1729 Digital Source: Project Gutenberg Gutenberg Release Year: 2006 First Publication Year: Not confirmed

Key Word: Operas -- Librettos Target Reader: Readers of public-domain and historical texts

Book Edition: Project Gutenberg digital edition Book Language: en

Edition facts

Words 12,281

Reading time 54 min

Text sections 2

Before opening Amadis of Gaul, an opera As it is perform'd at the King's Theatre in the Hay-market — Background and Themes, the edition data offers a quick orientation: 12,281 words, 54 min estimated reading time, and 2 detected text sections.

The text analysis averages about 14.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Operas -- Librettos,” connecting these edition facts with the source record’s subject description.

Source: Project Gutenberg record #17440

This editorial note examines the 1715 opera libretto *Amadis of Gaul*, focusing on authorial choices in diction, dialogue, and description. It highlights the bilingual Italian-English text, the use of asides and stage directions, and the characterization of Melissa as an enchantress.

Editorial Edition Score 4.5/5

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Description quality20 pts
Title & short description10 pts
Source metadata20 pts
Text length15 pts
Chapters / structure15 pts
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File: pg17440

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[Transcriber's Note: Some typographical errors have been corrected, while others were left in their original form. Details are given at the end of the file.]

As it is perform'd at the King's Theatre

_LONDON:_ Printed for _Jacob Tonson_, at _Shakespear's-Head_ over-against _Catherine-Street_ in the _Strand_. 1715.

To the Right Honourable _RICHARD_, Earl of _Burlington_ and _Corck_, Baron _Clifford_ of _Landesbrough_, & c.

My Duty and Gratitude oblige me to give this Publick Testimony, of that Generous Concern Your Lordship has always shown for the promoting of Theatrical Musick, but this Opera more immediately claims Your Protection, as it is compos'd in Your own Family.

The particular Encouragement you have given to the liberal Arts, not only shows the Delicacy of Your Taste, but will be a Means to Establish them in this Climate, and _Italy_ will no longer boast of being the Seat of Politeness, whilst the Sons of Art flourish under Your Patronage.

Your Lordship indeed has distinguished Your self this way, and every Science has raised it self under Your Auspicious Bounty. So true a Notion of Merit, and so nice a Discernment of what is Curious, is but rarely found among Persons of an advanced Age; but You my Lord, by an uncommon Felicity of Genius, do even in the Bloom of Youth make Your Entrance in the World with the most refin'd Taste and mature Judgment.

But I fear the Pleasure I take in Recounting Your Excellent Qualities will make me commit an Involuntary Errour, and that I shall be thought Troublesome, when I only designed to show with how much Respect I am,

_My LORD,_ _Your Lordship's most Humble, _most Obliged, and most _Faithful Servant,_

John James Heidegger.

Amadigi di Gaula Eroe, amante di Oriana.

_Amadis_ of _Gaul_, a famous Heroe, in love with _Oriana_.

Sig. Cav. _Nicolino Grimaldi_.

Dardano, Prencipe di Tracia.

_Dardanus_, Prince of _Thracia_.

Oriana, Figlia del' Rè dell' Isole fortunate.

Sig. _Anastasia Robinson_.

_Oriana_, Daughter of the King of the Fortunate Islands.

Mrs. _Anastasia Robinson_.

Melissa, Maga Amante Di Amadigi.

Sig. _Elisabetta Pilotta Schiavonetti, di S.A.R. la Principessa di Galles_.

_Melissa_, an Enchantress, in love with _Amadis_.

Sig. _Elizabetta Pilotta Schiavonetti_, Servant to her Royal Highness the Princess of _Wales_.

SCENE _Melissa_'s Garden.

_Amadis_ and _Dardanus_.

Or' che di negro Ammanto E' ricoperto il Cielo, e ogn' un' riposa Prencipe andiamo, oue l'honor c'Invita; Abbandoniam' queste incantate Soglie, Che già troppo contrarie Furo' alla gloria mia, ed' al' mio Amore.

Now that the Heav'ns with sable Veil Are cover'd close, and all Mankind repose, Prince, let us go, where Honour us invites; Let us abandon this enchanted Place, Which too averse already hath prov'd Both to my Glory, and my Love.

Già d' Amadigi il nome Fa' incredibil' le proue Della forza dell' braccio, e del' valore: Dopo tante vittorie Tempo è dunque che ascolti, Della vaga Melissa Gl' Innamorati pianti. Mira; come qui ride il fiore; e come Verdeggia il prato; e Limpido il ruscello, Qui come inriga il suolo: Tutto con l'arti sue forma d'Incanti, Per piacere à tè Sol', che sei sua vita.

The Name of _Amadis_ already makes Incredible, th' amazing Proofs As well of Valour as of Strength of Arm: After so many Victories obtain'd 'Tis also time to lend an Ear To beautiful _Melissa_'s Sighs, And listen to her kind Complaints. See how the Flow'rs seem all to smile, How green the Meadows, and how clear the Streams Which seem to water all the pleasant Ground: All this she forms by her enchanting Arts, You, only you, to please, who are her Life.

Più cerca ella piacermi, io più la sprezzo.

The more she strives to please, the more I her despise.

The more ungrateful you.

Mira; e poi dimmi Ingrato: [Gli mostra il ritratto di Oriana. Mira questi colori, Che non sono ch' un' ombra al' par del' giorno, E dì, se posso oh' Dio, Per Melissa Lasciar, l'Idolo mio?

View first this Piece, then call me Ingrate. [He shews him the Picture of _Oriana_. View but these Colours, which yet are no more Than Shadows at the Day's approach, And tell me, if I can, Oh Gods! Leave, for _Melissa_'s sake, this Idol of my Love?

(Ah'! che rimiro ò stelle! Questo è il mio ben' si finga.) Ella ti corisponde?

(Ah me! what is't I see? O Stars! This is my Dear; but I'll dissemble) And does answer thy Love.

M'ama quant' Io l'Adoro. Mà; che più qui si tarda? andiam ò Prence.

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The 1715 libretto for Amadis of Gaul, performed at the King's Theatre in the Haymarket, presents a bilingual text: Italian verse on the left and an English prose translation on the right. This layout allows direct comparison of the original Italian diction with its contemporary English rendering. The English often expands or clarifies the Italian, as when Dardanus's aside “L'arte assista l'inganno” becomes “Let Art assist Deceit, or I'm discover'd.” Such choices reveal how the translator balanced fidelity with dramatic clarity for an English-speaking audience.

The libretto also includes detailed stage directions, such as “Amadis crosses the Stage, without seeing Dardanus, tho' Dardanus perceives him and follows him in a Passion.” These directions, absent from the Italian, guide performance and emphasize visual irony. The work's dedication to the Earl of Burlington by John James Heidegger underscores the opera's courtly patronage and the era's cultural exchange between Italy and England.

Bilingual Structure and Translation Choices

The libretto's facing-page format is not merely decorative; it reveals deliberate translation strategies. In Act I, Scene VIII, Oriana's line “Se t'offesi perdona” is rendered as “If I've offended, pardon me; 'T was an involuntary Crime, If at all mine can be call'd.” The English adds the qualifier “If at all mine can be call'd,” softening her admission. Similarly, Dardanus's Italian aside “Da mè ciò non si seppe” becomes “I never thought of such a thing,” a more natural English idiom. These shifts suggest the translator prioritized natural dialogue over literal fidelity.

The English prose often compresses or rephrases the Italian verse. For instance, Melissa's aria “Se tù brami di godere” is summarized: “She bids him, if he aims at Joy, to leave the Management of all to her; and she will make him content.” This condensation loses the poetic meter but gains expository speed. Such choices indicate the libretto was designed for an audience that might follow the plot through the English while enjoying the Italian sung text.

Characterization Through Dialogue and Asides

The libretto uses asides to reveal characters' private motives. Dardanus's aside “Let Art assist Deceit, or I'm discover'd” exposes his manipulative intent, while Oriana's direct address to “Amadigi mio ben'” shows her trusting nature. Melissa's exclamation “Heav'ns! Gods! some Succour send. O cruel Stars” in Scene IX conveys her fury through exclamatory diction, contrasting with her earlier controlled promises.

The stage directions further shape characterization. When Dardanus follows Amadis “in a Passion,” the direction externalizes his jealousy. Oriana's line “Does he depart, and leave me thus?” followed by “Clashing of Swords I hear” creates a moment of vulnerability. These choices, though brief, build distinct emotional profiles: Oriana as the anxious lover, Dardanus as the scheming rival, and Melissa as the volatile enchantress.

Setting and Atmosphere in Stage Directions

The opening stage direction sets the scene: “Melissa's Garden. Night.” This simple description establishes a clandestine atmosphere for the first encounter between Amadis and Dardanus. The night setting recurs in the action, as characters move unseen or mistake identities. Later, the direction “Clashing of Swords is heard” offstage creates auditory tension without visual confirmation, relying on the audience's imagination.

The garden itself is described as “incantate Soglie” (enchanted thresholds) in the Italian, a phrase the English renders as “enchanted Ground.” This locale becomes a space of deception and transformation, where Melissa's magic operates. The libretto's reliance on such atmospheric cues—night, gardens, offstage sounds—demonstrates how the text uses minimal description to evoke a magical, perilous world.

Patronage and Performance Context

The dedication to the Earl of Burlington by John James Heidegger frames the opera within aristocratic patronage. Heidegger praises Burlington's “Generous Concern” for “Theatrical Musick” and his role in establishing the arts in England. This paratext reveals the social and economic forces behind the production: the opera was “compos'd in Your own Family,” suggesting Burlington's household was involved in its creation.

The dramatis personae lists singers by name and title, including “Sig. Cav. Nicolino Grimaldi” as Amadis and “Sig. Elisabetta Pilotta Schiavonetti” as Melissa, the latter described as “Servant to her Royal Highness the Princess of Wales.” These details connect the performance to specific court figures and highlight the opera's elite audience. The bilingual cast list also indicates the international nature of London's opera scene in 1715.

Readers approaching this libretto should attend to the interplay between the Italian verse and its English prose translation, as the discrepancies reveal the translator's interpretive choices. The stage directions, though sparse, are crucial for imagining the performance's visual and auditory dimensions. The dedication and cast list provide a window into the opera's social context, reminding us that this text was not merely a literary work but a performance piece shaped by patronage and the talents of its singers.

I was thinking of how the bilingual libretto of Amadis of Gaul left room for the audience’s wondering—those asides and enchantments felt like private whispers. That same intimacy surfaces in Physiology of the Opera — A Reader’s Guide, which lingers on the quiet mechanics behind the spectacle. It made me recall my own first evening at the opera house, watching the curtain rise on so many half-understood secrets.