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f e s t i va l o p e ra 

extends heartfelt thanks to the following individuals and institutions for their 

extraordinary support of our North American premiere of Agostino Steffani’s 

Glenn A. KnicKrehm and ConstellationCenter 

Principal Production Sponsor 

Diane and John Paul Britton 

Sponsors of Anna Watkins, Costume Designer 

The Gregory E. Bulger Foundation 

Sponsor of Philippe Jaroussky, performing the role of Anfione 

Bernice K. and Ted Chen 

Sponsors of Gilbert Blin, Stage Director & Set Designer 

Randolph J. Fuller 

Sponsor of the Production 

Constance and Donald P. Goldstein 

Sponsor of Cynthia Roberts, Concertmaster of the BEMF Orchestra for Niobe 

The Isaacson-Draper Foundation 

Sponsor of Amanda Forsythe, performing the role of Niobe 

Grace and Scott Offen 

Sponsors of the Production 

Joan Margot Smith 

Sponsor of Carlos Fittante, Co-Choreographer 

Hungwah Yu and David J. Elliott 

Sponsors of Yulia Van Doren, performing the role of Manto 

The Dante Alighieri Society 

Partial Production Sponsor 

Emily Cross Farnsworth 

Sponsor of Niobe’s Costume 

Mim Kelly and Richard Greene 

Partial Sponsors of José Lemos, performing the role of Nerea 

Edward B. Kellogg 

Sponsor of Pre-Opera Fanfares in Great Barrington 

Heather Mac Donald 

Partial Production Sponsor 

Amanda and Melvyn Pond 

Sponsor of Miloš Valent, Principal Second Violin, BEMF Orchestra 

128 

m e t a m o r p h o s e s – c h a n g e a n d t r a n s f o r m a t i o n

MATINÉE PERFORMANCES: 

Sunday, June 12 & Sunday, June 19, 2011 at 3:30pm 


EVENING PERFORMANCES: 

Tuesday, Wednesday & Friday, June 14, 15 & 17, 2011 at 7pm 

Cutler Majestic Theatre at Emerson College, 219 Tremont Street, Boston, Massachusetts 

EVENING PERFORMANCES: 

Friday & Saturday, June 24 & 25, 2011 at 7pm 

Mahaiwe Performing Arts Center, 14 Castle Street, Great Barrington, Massachusetts 

Music by Agostino Steffani (1653–1728) 

Libretto by Luigi Orlandi, after Ovid’s Metamorphoses 

Paul O’Dette and Stephen Stubbs, Musical Directors 

Gilbert Blin, Stage Director 

Caroline Copeland and Carlos Fittante, Choreographers 

Anna Watkins, Costume Designer 

Gilbert Blin, Set Designer 

Lenore Doxsee, Lighting Designer 

Kathleen Fay, Executive Producer 

Abbie H. Katz, Associate Producer 

Ellen Hargis, Assistant Stage Director 

FLYING EFFECTS PROVIDED BY ZFX, INC. 

129 

2 0 1 1 b o s t o n e a r l y m u s i c f e s t i v a l 

NIOBE, REGINA DI TEBE


Niobe, Regina di Tebe 

Principals 

Niobe, Queen of Thebes . . . . . . . . . . . . . . . . . .Amanda Forsythe 

Anfione, King of Thebes . . . . . . . . . . . . . . . . .Philippe Jaroussky 

Clearte, a Theban Prince . . . . . . . . . . . . . . . . . . .Kevin D. Skelton 

Manto, a Theban Maiden, 

daughter of Tiresia . . . . . . . . . . . . . . . . . . . . . .Yulia Van Doren 

Tiberino, son of the King of Alba . . . . . . . . . . . . . . . .Colin Balzer 

Tiresia, a Soothsayer, 

and Priest of Latona . . . . . . . . . . . . .Charles Robert Stephens 

Creonte, son of the King of Thessaly . . . . . . . . . .Matthew White 

Poliferno, Prince of Attica, Magician . . . . . . . . . .Jesse Blumberg 

Nerea, Nurse of Niobe . . . . . . . . . . . . . . . . . . . . . . . . .José Lemos 

Sons and daughters 

of Niobe (Niobids) 

Carolina Bragg 

Samuel Green 

Jerilyn McLean 

Max Morgenstern 

Felicia Rosen 

Julia Shneyderman 

Elias Sink 

Javier Werner 

Ladies-in-Waiting 

Julia Cavallaro 

Abigail Renée Krawson 

Megan Stapleton 

Pages 

Kevin Liao 

Erik Traub 

Bodyguard of Niobe 

Jay Lloyd Smith 

Knights of Anfione 

Sean Lair 

Brendan Quinn 

Alexander Nishibun 

Hernan Berisso 

Noble Thebans 

Caroline Copeland 

Carlos Fittante 

Karin Modigh 

Andrew Trego 

Sisters of Manto 

Caroline Copeland 

Karin Modigh 

Guides of Tiresia 

Emy Metzger 

Frederick Metzger 

Boston Early Music Festival Dance Ensemble 

Melinda Sullivan, Ballet Mistress 

Caroline Copeland, featured dancer 

Karin Modigh, featured dancer 

Carlos Fittante, featured dancer 

Olsi Gjeci 

Andrew Trego 

Scott Weber 

130 

m e t a m o r p h o s e s – c h a n g e a n d t r a n s f o r m a t i o n 

Hunters with Tiberino 


Olsi Gjeci 

Andrew Trego 

Scott Weber 

Bear 


Warriors of Creonte 


Olsi Gjeci 

Andrew Trego 

Scott Weber 

Apollo and Diana 


Emy Metzger

Violin I 

Cynthia Roberts, 

concertmaster 

Robert Mealy 

Dagmar Valentová 

Cynthia Miller Freivogel 

Johanna Novom 

Violin II 

Miloš Valent, principal 

Peter Spissky 

Julie Andrijeski 

Daniel Elyar 

Viola 

Pat Jordan, principal 

Laura Jeppesen 

David Douglass 

Boston Early Music Festival Orchestra 

Basse de Violin 

Phoebe Carrai, principal 

David Morris 

Sarah Freiberg 

Brent Wissick 

Double Bass 

Robert Nairn 

Oboe & Recorder 

Gonzalo X. Ruiz, principal 

Kathryn Montoya 

Bassoon 

Mathieu Lussier 

Percussion 

Ben Harms 

Members of the Off-Stage Viol Consort 

Christel Thielmann, director 

Caitlin Cribbs 

Rachael Ryan 

Beiliang Zhu 

Boston Early Music Festival 

Young Artists Training Program 

Hernan Berisso 

Julia Cavallaro 

Abigail Renée Krawson 

Sean Lair 

Alexander Nishibun 

Brendan Quinn 


Megan Stapleton 


Trumpet 

John Thiessen, principal 

Alexander Bonus 

Brian Shaw 

Kris Kwapis 

Theorbo & Baroque Guitar 

Paul O’Dette 

Stephen Stubbs 

Baroque Harp 

Maxine Eilander 

Harpsichord 

Luca Guglielmi 

Viola da Gamba 

Erin Headley 

PALS Children’s Chorus 

Alysoun Kegel, Artistic Director 

Jill Carrier, Executive Director 

Carolina Bragg 

Samuel Greene 

Kevin Liao 

Jerilyn McLean 

Emy Metzger 


Max Morganstern 

Felicia Rosen 

Julia Shneyderman 

Elias Sink 

Erik Traub 

Javier Werner 

131 




Boston Early Music Festival Niobe, Regina di Tebe 

Production Credits 

Kathleen Fay Executive Producer 

Abbie H. Katz Associate Producer 

Mercedes Roman-Manson Production Manager 

Darren Brannon Production Stage Manager 

Gordon Manson Technical Director 

Arunas Ciuberkis Company Manager 

Justin Paice Master Electrician 

Rebecca Hylton Costume Shop Supervisor 

Seth Bodie Wig Supervisor 

Chelsea Basler Makeup Supervisor 

Ron Demarco Props Master 

James McCartney Sound Designer 

Maria van Kalken Assistant to the Executive Producer 

Laudon Schuett Assistant to the Musical Directors 

and the BEMF Orchestra 

Rémy-Michel Trotier Artistic Assistant to the Set Designer 

Camille Tanguy Research Assistant to the Stage Director 

Julie Streeter Assistant Production Manager 

Leslie Chiu Assistant to the Associate Producer 

Leslie Sears Assistant Stage Manager 

Alycia Marucci Assistant Stage Manager 

James Garner Assistant Technical Director 

Jen Bertha Assistant Master Electrician 

132 


Ellen Hargis Supertitle Creator 

Dan McGaha Supertitle Supervisor 

Gina Rhodes Stitcher 

Janet Meyers Costume Crafts 

Mary Lauve Dresser 

Katherine “Kat” Nakaji Stage Run Crew 

Zak Fayssoux Stage Run Crew 

Daniel Alaimo Stage Run Crew 

William Delorm Stage Run Crew 

Ryan Began Intern, Assistant to the Stage Director 

Caitlin Klinger Intern, Assistant to the Choreographers 

Lorraine Fitzmaurice Intern, Assistant Company Manager 

Sarah Hager Intern, Assistant Company Manager

The Boston Early Music Festival wishes to thank the following 

organizations and individuals for assistance with this 

production: the entire BEMF Niobe Directorial Team— 

including Paul O’Dette and Stephen Stubbs, Musical Directors; 

Gilbert Blin, Stage Director and Set Designer; Caroline 

Copeland and Carlos Fittante, Choreographers; Anna 

Watkins, Costume Designer; Lenore Doxsee, Lighting 

Designer; Kathleen Fay, Executive Producer; Abbie H. Katz, 

Associate Producer; and Ellen Hargis, Assistant Stage 

Director—for their painstaking and conscientious research and 

work preparatory to mounting Agostino Steffani’s Niobe, 

Regina di Tebe as the centerpiece production of the June 2011 

Festival; Jörg Jacobi for editing our Boston Early Music 

Festival performing edition of Niobe, Regina di Tebe together 

with Paul O’Dette and Stephen Stubbs; Ellen Hargis for the 

translation of the libretto; Andrew Sigel for his meticulous 

attention to detail as editor of our Festival publications 

including the libretto and essays throughout this Niobe 

section; the dedicated staff at the Cutler Majestic Theatre and 

Office of the Arts at Emerson College, especially Lance Olson, 

Thanks 

Sponsoring Organizations 


Associate Director, ArtsEmerson: The World On Stage; the 

staff at Emmanuel Church in Boston, especially Barbara Kroft, 

Parish Administrator, and The Reverend Pamela L. Werntz, 

Rector; High Output, Inc., and Advanced Lighting and 

Production Services, for providing lighting equipment; Jeff Bird 

and Brittany Burke, for their technical support; and United 

Staging, Emerson College, and Peterson Party Center for 

providing rehearsal props and equipment. The BEMF 

Choreographers would like to thank our colleagues for so 

generously pointing us in helpful research directions, namely 

Rebecca Harris-Warrick, Carol Marsh, Deda Colonna, Gloria 

Giordano, Barbara Sparti, Marie-Thérèse Mourey, Stephanie 

Schroedter, and Rose Anne Thom. 

Finally, BEMF Co-Choreographer Carlos Fittante would like to 

thank the following individuals and institutions for their 

assistance with movement research for Niobe: Martinez 

Academy of Arms; J. Allen Suddeth, Stage Combat Specialist; 

Islene Pinder,Founding Director of BALAM DanceTheatre; and 

Toshinori Hamada, Noh Theatre Actor and Martial Artist. ■ 

W Franco-Flemish double-manual harpsichord by William Dowd, 1974, after a Hans Ruckers transposer of 1638, courtesy of X 

James S. Nicolson Harpsichords of Belmont, Massachusetts. 

■ Flying Effects provided by ZFX, INC. 

■ Sets and Scenic Props built by the American Repertory Theatre Scene Shop, Cambridge, Massachusetts, under the 

direction of Stephen Setterlun, assisted by Chris Swetcky. 

■ Fabric for Sets printed by Rose Brand, Secaucus, New Jersey. 

■ Costumes made by The Huntington Theatre Company, in residence et Boston University: Nancy Brennan, Costume 

Director; Anita Canzian, Head Draper; Michelle Theresa Ross, Draper; Rebecca Hylton, First Hand; Denise Wallace, 

First Hand; Colin Jones, First Hand; Susie Moncousky, Stitcher; Virginia Emerson, Stitcher; Sally Ravitz, Stitcher. 

■ Principals Costumes made by Annabel O’Docherty, Tracy Caulfield, and Sonja Harms, London, England. 

■ Headdresses and hats made by Debbie Boyd, London, England. 

■ Animal Costume provided by Western Costumes Company, North Hollywood, California. 

■ Lighting Equipment provided by High Output, Inc., Canton, Massachusetts. 

133 




Steffani, Opera, and Niobe 

Agostino Steffani (1654–1728) was a remarkable man—a 

natural musician who became a prominent diplomat, politician, 

and bishop, and an industrious Roman Catholic vicar. 

Furthermore, although he was born in Castelfranco, in the 

Veneto, he spent most of his life in Germany—at Munich 

(1667–1688), Hanover (1688–1703), Düsseldorf (1703–1709), 

and again at Hanover. The first two of these periods were 

dominated by music, the others by politics and religion. 

A contemporary of Corelli, Purcell, and Alessandro Scarlatti, 

Steffani was a choirboy at the Basilica del Santo in Padua and 

sang in Venetian opera at the ages of eleven and twelve. At the 

Bavarian court he was given keyboard and composition lessons 

by Johann Kaspar Kerll and opportunities to further his education 

elsewhere. From 1672 to 1674, he studied composition with 

Ercole Bernabei in Rome; there he published his earliest sacred 

works and wrote his first secular cantata.In 1678–1679 he visited 

Paris and Turin, where he absorbed the French style and was 

admired for his harpsichord playing.After his return to Munich, 

he was appointed Director of Chamber Music by Elector 

Maximilian II Emanuel, who also commissioned Steffani’s first 

opera for the Carnival season of 1681. During the 1680s, in 

addition to motets, cantatas, and chamber duets, Steffani 

composed five operas and the music for an equestrian ballet. 

Having presented Niobe in Carnival 1688, he moved in the 

summer to Hanover. His brief as Kapellmeister was to establish 

Italian opera in the magnificent new theater then nearing 

completion. At Hanover he composed seven full-length and 

two one-act operas and directed all but one in performance; Il 

Turno was premiered (as Amor vien dal destino) at Düsseldorf 

in 1709. He also achieved wider recognition. During the 1690s, 

six of his Hanover operas were translated into German and 

staged in public at Hamburg; arias from Roland (Orlando 

generoso) were printed at Lübeck in 1699, and instrumental 

music from all six operas was published at Amsterdam in ca. 

1705. During the same period his numerous chamber duets 

circulated in manuscript throughout Europe. 

Although he devoted the last third of his life to affairs of church 

and state, he continued to compose and take an interest in 

music. Between 1703 and 1712 he met Handel; from 1720 he 

corresponded about singers and opera with Giuseppe Riva in 

London, and in 1727 he was elected president of the Academy 

of Vocal Music, for which he composed his last work—his 

Stabat mater, which he described as his masterpiece. 

a b 

Most of Steffani’s operas survive only in manuscript and have 

lain unperformed since the eighteenth century. The neglect is 

unmerited, not least because he took the composition of opera 

very seriously. In 1737 the Hamburg theorist and critic Johann 

Mattheson wrote: 

134 


I once was told, of the world-famous and musically 

learned Steffani, that, before he even set pen to paper, he 

continually carried the opera, or the projected work 

[libretto], around with him for a period of time and, as it 

were, came to a complete agreement with himself as to 

how the whole thing might most suitably be organized. 

After that he committed his [musical] statements to paper. 

It is a good method, though I suspect that nowadays, 

when everything has to be done on the wing, there are few 

who take pleasure in exercising such deliberation. 

Mattheson was describing Steffani’s practice at Hanover, but it 

was at Munich that the composer developed his approach to 

musical drama. 

Most of his operas are based on ancient Greek or Roman 

history; four are concerned with medieval German history, and 

three draw on literary sources. Many are allegorical, reflecting 

the politics of the courts where they were written, and as in 

much court drama of the period, there is a heavy emphasis on 

spectacle. The music lies somewhere between Cavalli and 

Handel in style. The recitatives are shorter and more lyrical 

than in operas for Italy, and they often include rapid flourishes 

with difficult syncopation; only at moments of exceptional 

dramatic significance are they accompanied by orchestral 

strings. The arias, or ariette, are shorter and more numerous 

than those of Handel and his contemporaries, and not 

necessarily in da capo form. 

In some respects, however, Steffani is distinctive. Celletti 

describes him, along with Scarlatti, as“the late seventeenth- or 

early eighteenth-century composer closest to the Golden Age 

of bel canto singing.” His vocal parts are among the highest of 

the period, and his writing for tenor and bass is characterized 

by cantabile“grace and elegance.”His feeling for melody must 

derive from his experience as a singer and a linguist: there is an 

intimate relationship between his music and the words that 

inspired it. The principal sentiment is often captured in a 

musical“motto”(opening phrase) or a basso ostinato (ground 

bass)—a technique of which Steffani, like Purcell, was a master. 

His operas also feature an unusually high number and variety 

of ensembles, and in his duets, as Mattheson observed, the 

voices do not move simply in parallel but engage in imitative 

counterpoint—which is difficult to sing from memory on stage. 

Steffani’s love of textural variety is evident also in his use of 

instruments. His orchestra often includes oboes and bassoons 

and occasionally recorders, trumpets and drums are employed 

in royal or martial contexts, and Amor vien dal destino features 

chalumeaux. But his most original contributions of this kind 

are his use of one or more solo instruments, with or without 

orchestra, as an obbligato accompaniment to the vocal line, 

and the instruments are deployed in a variety of ways— 

sometimes playing throughout, sometimes alternating with the 

voice, and sometimes only used before or after the aria.

A taste for French dances is something that Steffani acquired in 

Paris and which distinguishes him from his compatriots. The 

minuet, gavotte, bourrée, and sarabande underpin many of his 

arias and ensembles, and the instruments that alternate with 

the vocal lines are occasionally reduced to two oboes and 

bassoon—a combination favored by Lully. Some of these 

movements were danced as well as sung. The acts of Steffani’s 

operas normally end with a ballet, for which the music often 

has been lost, and his operas invariably begin with a French 

overture, even if it is called a “sinfonia.” His writing for strings 

and woodwinds in dance-based movements and overtures was 

heavily influenced by what he heard in Paris, and his fusion of 

French and Italian styles, combined with skillful counterpoint, 

helped forge the musical language of the late Baroque. 

a b 

Premiered in the Salvatortheater at Munich on January 5, 1688, 

Niobe, Regina di Tebe was Steffani’s first opera based on Greek 

myth.The libretto was by Luigi Orlandi, a court secretary who 

had supplied him with the text of 1687’s Alarico il Baltha.The 

most important source for Niobe was Book VI of Ovid’s 

Metamorphoses.The moral of the opera is“pride comes before 

a fall,”but the work is concerned also with the power of music. 

The influence of sorcery and the supernatural is reflected in 

Orlandi’s request for numerous sets and spectacular stage 

machinery. Ballets at the ends of the acts—and in Act II, Scene 

IV, when Anfione (Amphion) is made a god—were devised by 

the court choreographer and dancing master, François Rodier. 

The score of the opera is exceedingly rich. Its musical language 

reaches heights of intensity in melody and harmony, and its 

orchestration is exceptionally finely conceived and precisely 

notated. Niobe is also the first Steffani opera with fewer than 

sixty arias and five ostinato basses. Many of the arias are 

accompanied by instruments in addition to continuo.Ten extra 

musicians were engaged for the production: a document in the 

Bavarian state archives records their names and the amounts 

they were paid for seven rehearsals and four performances. 

That Niobe is an exceptional score is announced by trumpets 

and drums in the overture, but the work’s most extraordinary 

features are associated with the role of Anfione, a vehicle for the 

castrato Clementin Hader and a tribute to Max Emanuel (a 

musician as well as a soldier). Eight ofAnfione’s ten arias call for 

additional instruments, and in five of them—an unusually high 

number—the instruments play throughout. The scoring is 

particularly rich in the Palace of Harmony (Act I, Scene XIII), 

where the king seeks comfort from worldly affairs. Here he is 

accompanied on stage by “viole” and “bassi,” and in the 

orchestra by recorders and strings (two players per part); 

plucked instruments (harpsichords and theorboes) are silent. 

The recitative is introduced by the on-stage instruments; these 

being hidden (“in scena nascosti”), the music sounds ethereal 

and soothing.The orchestra enters when Anfione starts singing, 

and breaks into repeated chords as he tries to throw off his cares, 

but the “viole” continue to provide a sustained background, 


suggesting the impassivity of the universe. The aria “Sfere 

amiche, hor date al Labro,” invokes the music of the spheres. 

The circling of the planets is captured in a six-quarter-note 

ostinato—the aria is in 6/4—that begins on the subdominant 

note of the scale and is drawn down as if by gravity.These falling 

phrases in the bass are counterbalanced by rising motion above; 

furthermore, when the violins move, the “viole” are generally 

stationary, and vice versa. In this way the effect of rotation 

created by scales in contrary motion is reinforced by alternation 

between stage and pit. Finally, to lead smoothly into the da capo 

repeat, the second section ends (atypically) in the subdominant 

key, so that tonality, too, comes full circle. 

Most of Anfione’s arias are masterly and could be discussed in 

similar detail. In“Come Padre, e come dio”(Act I, Scene XXI), 

he persuades Jove to build walls around Thebes; in “Dal mio 

Petto o pianti, uscite” (Act II, Scene V), he trembles to staccato 

chords and weeps to chromatic scales; in “Trà Bellici carmi” 

(Act II, Scene XII), his desire for vengeance is conveyed by 

furious coloratura. He begins his last aria,“Spira già nel proprio 

sangue”(Act III, Scene XII), after stabbing himself in the chest, 

and leaves it incomplete at his death. As he expires, Niobe 

surveys in horror the demise of her offspring and husband, and 

voices a recitative.As she feels herself turning to stone, she sings 

a short continuo aria, “Funeste Imagini,” terrifying in its 

intensity, which also is left incomplete. Notwithstanding her 

love songs to Anfione and Creonte, and her warlike“In mezzo 

al Armi”(Act III, Scene VIII), her final utterance is arguably the 

climax of her role. Creonte’s aria in the following scena ultima 

balances the overture in its use of trumpets and drums. 

Carefully balanced,also,are the roles of the young loversTiberino 

and Manto, who have six arias each. All but one of his are in 

common time, while most of hers are in triple. Her father Tiresia 

has two arias in 4/4 and major keys,and two in 3/4 and E minor. 

Poliferno’s exceptional status as a prince versed in magic explains 

why all four of his arias are supported by instruments, while the 

highlight of Clearte’s role is probably the accompanied recitative 

that he sings as Niobe’s children are slain (Act III, Scene X). 

The nurse,Nerea,stands outside the action,serving as confidante, 

observer, and mediator between stage and auditorium. Her 

comic role—a staple of earlier opera and commedia dell’arte— 

is reflected in her arias, which are in lively tempos and major 

keys, with syllabic word-setting, syncopation, simple phrase 

structure, and much repetition. Most of the texts are wry 

observations on relations between men and women and their 

light-headed expectations of love. Two of her arias are linked: 

“Che agli assalti degli amanti” (Act I, Scene XVIII) points out 

that women cannot help falling for men, while “Che alla fè di 

Donne amanti” (Act III, Scene IX) states the opposite. To 

highlight this parallel,the music of the first aria is repeated for the 

second. The latter is a substitute for an earlier movement, still 

present in the score,and an example of the inspiration that pulses 

throughout Steffani’s greatest Munich opera. ■ 

© Colin Timms 

135 




Seven Keys to Niobe, 

Regina di Tebe 

Combining the strong influences from Venice and France with 

the culture of the Bavarian court gave rise in the seventeenth 

century to operas written for Munich that were rich with 

various cultural references.These references were unified under 

the auspices of the classical custom of allegory, a figurative 

mode of representation that conveys meanings other than the 

literal one.Widespread at the time, allegory communicated its 

message by means of symbolic figures, emblems, or parables. 

Allegory was generally treated as a figure of rhetoric, but since 

an allegory does not have to be expressed in language and can 

be entirely visual, it was a style particularly suitable to the 

representative art of opera.A performance was like a symbolic 

hall of mirrors, where reality and fiction were intertwined 

through the power of allegory. Seven gates, according to Ovid, 

stood at the entrances to the city of Thebes, and this number 

is used here as an allegorical pathway to offer seven keys to the 

construction of the staging. 

I 

One Patron 

The history of opera in Munich begins under the monarchic 

power of the Prince Elector of Bavaria, Ferdinand Maria, who 

in the 1640s commissioned the Venetian architect Francesco 

Santurini to convert a grain storehouse into the first 

freestanding theater in Germany: the Salvatortheater.The birth 

in 1662 of Ferdinand’s son and heir, Maximilian Emanuel, was 

the occasion for a festival of operas, tournaments, and 

fireworks. The popularity of opera in Munich continued 

unabated during the reign of Maximilian II Emanuel. The 

young Prince Elector had big political ambitions for his 

dukedom, which involved him in many wars, and his court 

life was that one of a generous patron.Typical of his time, Max 

Emanuel had all of the qualities that were associated with a 

Baroque prince: the quest for military glory, the desire for 

glorious self-representation, the pursuit of dynastic prestige, 

and an insatiable appetite for courtly entertainment. Not 

surprisingly, being raised by a Francophile mother who hired 

French tutors for him, Louis XIV was held up to the young 

prince as a model to emulate. 

Elector Maximilian II Emanuel was a genuine music lover who 

was able to play several instruments, and his liberal patronage 

supported the flourishing musical life of Munich.The Venetian 

composer Agostino Steffani started his career as an opera 

composer there in 1681, and the union in 1685 of the Prince 

Elector with a youngAustrian princess,MariaAntonia,heralded 

a particularly prosperous time for opera and festivities in 

Munich. The opera house was modernized on this occasion by 

the Venetian brothers Domenico and Gasparo Mauro, and for 

four consecutive years Steffani composed a new opera in Italian 

that was premiered in Munich. Niobe, Regina di Tebe, 

136 


Maximilian II of Bavaria 

“Maximilian Emanuel D(ei) G(ratia) El(ector) Bav(ariae).” Portrait as “Gubernator 

Generalis” from Spanish Belgium. German Etching from Theatrum Europaeum by 

Matthäus Jr. Merian and Caspar Merian under the name Merian Erben 

(i.e., Merian Heirs), Frankfurt, 1698. Collection of Gilbert Blin. 

performed as the first spectacle of the 1688 Carnival in Munich, 

was created using an Italian libretto by Luigi Orlandi. 

Though influenced by Italy—and especially by the dramaturgy 

and the scenery of Venetian opera—the spectacles of Munich 

for Max Emanuel also contained some French elements, such 

as costumes, instrumentalists, and dance. Paris was, at the time, 

the place where clothes for special occasions had to be 

purchased, and we know that for Steffani’s Servio Tullio in 

1686, all of the costumes were ordered in Paris. French 

musicians, notably wind players, were also invited to join the 

Munich orchestra. The ballets integrated with the operas in 

the French manner were danced by members of the court and 

by the numerous extras recruited from the ranks of the army 

or the benches of the Jesuit schools. Ballet music was 

considered such a specialized art that it was usually composed 

by a different musician from the one who wrote the rest of the 

opera; instead of Steffani, the ballets for Niobe were by the 

director of the court orchestra, Melchior d’Ardespin. For the 

ballets required by the lavish staging, the French 

choreographer François Rodier was a guarantee that the dance 

would include the latest developments in French style.

II 

Twins 

The libretto of Niobe, Regina di Tebe, which was the second 

one written for Munich by Luigi Orlandi, is based on Greek 

mythology. Niobe and Anfione are the central characters of 

the plot.Amphion—“Anfione”in the Italian text—was rightly 

famous as a king of Thebes, but also as an incomparable 

musician, whose abilities built the walls of Thebes. Niobe was 

his wife, and together they had many children. So proud was 

Niobe of her offspring that they were called the Niobids, a 

notable exception to the rule that a Greek family is usually 

named after the Father. Niobe boasted of her superiority to 

Latona (Leto), the mother of Apollo and Diana, because the 

goddess had only two children, while she had given birth to 

many offspring. For her hubris, Apollo killed her sons, and 

Diana, her daughters. Amphion, at the sight of his dead 

children, killed himself. The devastated Niobe turned to stone 

as she wept.The myth is clearly a moral warning to the human 

race to remain humble while enjoying earthly glory. 

Ovid, when he tells of the goddess’s revenge on Niobe in his 

Metamorphoses, notes that the children of Leto are twins: 

“The goddess was deeply angered, and on the top of Mount 

Cynthus she spoke to her twin children.‘I am your mother and 

you are my pride, no one but Juno is a greater goddess, and 

even now someone presumes to doubt my powers and 

worship will be prevented at my altars, unless you help me, 

my children.’ ” In mythology, Diana was associated with the 

Moon, as her twin brother Apollo was associated with the Sun. 

This twinning, although based on a sexual difference, 

symbolizes their complementary places in the cosmic balance. 

According to Ovid, Latona was wandering the earth with her 

newborn twins when she attempted to drink water from a 

pond. The peasants there refused to allow her to do so by 

stirring the mud at the bottom of the pond. Latona turned 

them into frogs for their lack of hospitality, forever doomed to 

swim in the murky waters of ponds and rivers. This scene is 

represented in the central fountain, the Bassin de Latone, in the 

gardens of Versailles.The choice of such a myth for the central 

spot of the gardens is an allusion to the difficult Regency for 

the mother of Louis XIV, to the“Fronde”—the uprising of the 

nobility against the queen regent—and to the ultimate victory 

of the French monarchy. The Parterre of Latona was designed 

by André Le Nôtre and built when the idea of making 

Versailles the center of power was still being developed; in 

1686, Jules Hardouin-Mansart adjusted the Latona Basin by 

elevating the central sculpture by the brothers Marcy with 

three levels of marble, placing it so it faced in the direction of 

the Grand Canal where Apollo in full adulthood emerges 

triumphantly from the water on his chariot. This use of the 

space in the garden was itself an allegory of the coming of age 

of the Sun King. 

Niobe’s tale, as part of the story of Apollo, was also chosen to 


Latona and her children, Apollo and Diana, French etching of 1694 by 

Simon Thomassin (ca. 1652–1732) of the sculpture by Balthazar Marcy (1628–1674) 

and Gaspard Marcy (1624–1681), from Recueil des Figures, Groupes, Thermes, 

Fontaines, Vases, Statuës & autres Ornemens tels qu’ils se voyent á present dans 

le Château et parc de Versailles, gravé d’après les originaux. 

Par Simon Thomassin, Paris, 1694. Collection of Gilbert Blin. 

decorate the bedroom of the Sun King in his Parisian castle of 

Tuileries. The writer Félibien describes how the paintings of 

Mignard “from the story of Apollo befit the Sun, and besides, 

they are emblematic images of the beautiful actions of the king. 

[…] The story of Niobe shows the inevitable downfall of those 

who fail to keep the respect they owe to the sacred person of 

such a powerful monarch.” Le Brun used this same symbol in 

his first project for one end of the “Grande Galerie de 

Versailles,”known today as the Hall of Mirrors, which was to 

become an allegorical temple to the Sun King. 

The choice of Niobe as a subject for the entertainment of 

Maximilian Emanuel in Munich can also be read in the same 

allegorical way. In his dedication, printed at the beginning of 

137 




his libretto of 1688, Orlandi reworks the Apollonian emblem 

and compares Maximilian Emanuel and his wife to “two 

living suns in the great Firmament of Bavaria” who dispense 

their beneficial“Rays”on the whole world. Orlandi makes his 

point by attributing the sun—“the greater Light today, like a 

symbol of your supreme Attributes”—to the Prince Elector. 

III 

Three Princes 

Orlandi’s dedication offers some keys to the allegory but, in his 

drama, the poet creates more allusive references to the Prince 

Elector. Although the sons and daughters of Niobe and 

Anfione are an essential part of their story, the source of 

Niobe’s pride, and the cause of her downfall, Orlandi added 

three subplots to the original story of Niobe and her children 

as told by Ovid. These subplots depict the characters of three 

princes—Anfione, Tiberino, and Creonte—and their royal 

destinies. 

Frontispiece of the funeral oration of Maximilian II, Munich, 1726. 

Collection of Gilbert Blin. 

138 


The figure of king Anfione is represented as a disturbed 

character wishing for a life of contemplation and willing to 

renounce the throne in favor of his wife Niobe. Although he 

is a great musician, he is shown to be a bad ruler who wants 

to flee from his duties. Orlandi changes the episode of the 

erection of the walls of Thebes: far from being due to the 

musical excellence of Amphion, their building is mostly due 

to Jupiter answering the prayer Anfione addresses him as his 

father. The suicide of the king at the end of the opera is not a 

heroic act, but shows rather a man who puts his personal grief 

above his responsibilities. Amphion is a counterexample to 

that of a good ruler, lacking two of the qualities—modesty and 

courage—that Orlandi attributes to Max Emanuel in his 

dedication. 

A Pastoral intrigue balances the tragedy: under the protection 

of Diana, goddess of the Hunt, the foreign prince Tiberino, a 

kind of Hercules on his quest for glory, falls in love with 

Manto, daughter of the high priest Tiresia. The prince courts 

her during the course of the opera, marries her, and at the end 

leaves with her to go back to his native country. Like the forest 

of the Temple of Latona where they meet, these characters are 

shown as pure, devoted, and true to their faith, and Tiberino 

himself as courageous and courteous, two princely qualities. 

But it is the third subplot that reveals a precise link between 

Maximilian Emanuel and Niobe, Regina di Tebe. Having some 

rights to the Theban throne, Creonte, crown prince of Thessaly, 

is on a quest to conquer Thebes. Creonte is first seen under 

the spell of his ally, the magician Poliferno, who sends him an 

enchanted dream causing him to fall in love with Niobe.While 

his armies are approaching Thebes, Creonte appears to Niobe 

as the god Mars, flattering the high opinion Niobe has of 

herself. The intervention of the real gods over the city of 

Thebes gives victory to his army, as the gods have destroyed 

the new walls of the city: Creonte enters Thebes victorious, 

and is awarded palm branches, as a symbol of his triumph, 

and laurels, a plant associated with Apollo, which is used to 

crown the victorious. His first actions as a good ruler are to 

banish the bad magician, to bless the union of lovers, and to 

forgive the old nurse. 

With the character of Creonte, Orlandi gives a new twist to the 

allegory in his libretto: In the 1680s, keeping in mind that the 

entire Bavarian court was aware of the well-established 

symbolic relationship between Apollo/sun and Louis XIV, he 

creates in his drama a more vivid parallel between Creonte 

and Maximilian Emanuel; indeed, in his dedication, he alludes 

to the military exploits of the Prince Elector and praises also 

the modesty of Max Emanuel in his glorious victories, “That 

which all admire in him, he alone does not see himself,”which 

he conveniently opposes to the pride of Niobe. In his praises 

and his portrayal of the character of Creonte, Orlandi follows 

what seems to be the official propaganda for the persona of 

Max Emanuel. All representations show the Prince Elector in 

military apparel, in an attitude of both command and energy. 

A statuette of Max Emanuel by one of his favorite artists, the

sculptor Wilhelm de Groff, portrays him in full armor and long 

cloak, standing at ease, right foot forward in what on stage 

would have been the position of the victorious Creonte. His 

left hand is on the hilt of his sword, and the right holds the 

Marshal’s baton of commander in chief as if giving an order. 

This is a picture of a victorious military chief whose clear 

attributes are courage and control, two qualities to which a 

noble soldier should add clemency or magnanimity toward 

the vanquished. Maximilian Emanuel’s fame grew and spread 

in these years; later, in the oration after his death in 1726, the 

Elector of Bavaria was called Der Großmüthige (“The 

Magnanimous”) Maximilianus II. This quality, attributed to 

Creonte, was important to display in front of Max Emanuel at 

the very beginning of 1688. 

IV 

Four Cities 

A new key is given by the full title of the opera: Niobe, Regina 

di Tebe. As there is no other famous character called Niobe in 

history or myth, the subtitle is not needed for clarity. Rather, 

the royal status immediately links the title character with the 

place of the action, Thebes. This precision speaks to the 

collective imagination and the memory as the city of Oedipus 

was since the beginning of time a city of maledictions.The first 

king of Thebes was Cadmus, after whom the city was 

originally called Cadmeia. Juno cursed the city after her 

husband Jove consorted with Europa, the sister of Cadmus. 

Actaeon, the great son of Cadmus, would be a victim of this 

curse: while hunting, he was transformed into a stag by Diana, 

and torn to pieces by his own hounds. 

But the story of Thebes, as a city, started when the king 

Nycteus had a daughter named Antiope who fled Thebes to 

evade her father’s wrath after finding herself pregnant with 

twins by the god Zeus (Jove). A nearby king welcomed 

Antiope, and Nycteus declared war against his neighbor, but 

was defeated; his brother, Lycus, took the Theban throne.The 

new king of Thebes waged war to avenge his brother, and was 

victorious; Lycus and his wife Dirce took their niece Antiope 

captive, and proceeded to treat her cruelly. Antiope later 

managed to escape, and was reunited with her grown twin 

sons, Amphion and Zethus. The twins then marched on 

Thebes, slew King Lycus and his wife Dirce, seized power and 

ruled as joint kings of Thebes. Amphion married Niobe and 

Zethus married Thebe, after whom the city of Thebes was 

named. Zethus,Thebe, and their only son died soon thereafter. 

The story of Niobe, Regina di Tebe starts a few years later. 

The city of Thebes didn’t disappear during ancient times; Latin 

hegemony in Thebes lasted until 1458, when the Turks 

captured it. The Ottomans renamed Thebes “İstefe” and 

controlled it like they did most of Greece. Orlandi refers to the 

expansion of the Ottoman Empire and the contemporary 

situation when, after describing Niobe as a“gran Mostro della 

superbia”—great monster of pride—he compares the haughty 

Victory, German etching by Melchior Küsel (1626–1683) after 

Johann Wilhelm Baur (1607–1641). Collection of Gilbert Blin. 


queen to “l’Asiana Superbia,” the proud Asia. The Great 

Turkish War had started in 1683 and would not end until 

1699. 

When the Turks besieged Vienna in 1683, the Bavarian elector 

came to the aid of the Austrian emperor, his future father-inlaw.With 

Bavarian assistance, they succeeded in taking Vienna 

from the Turks. Through his great courage, Maximilian 

Emanuel earned a reputation as an outstanding commander. 

The Holy League was initiated in 1684 by Pope Innocent XI, 

and by 1686 it consisted of the Holy Roman Empire, the 

Polish-Lithuanian Commonwealth, the Venetian Republic, 

and the Russian Tsardom.The Holy League and the Ottoman 

Empire were fighting for territory in the east of Europe, and 

Max Emanuel was one of the leading figures among the 

military commanders. The Prince Elector took a big part in 

the campaign of 1686 and was distinguished for his success in 

the siege of Buda (now Budapest). 

In 1687, Venetian forces took Thebes, one of the Ottoman 

army’s strongholds, and although Maximilian Emanuel didn’t 

take an active part in this encounter, he was himself planning 

a new campaign. After the recent events at Vienna and Buda, 

the city of Thebes past and present served as examples to 

inspire Max Emanuel: Belgrade was to be the theater of the 

Prince Elector’s most famous military exploit. The Siege of 

Belgrade took place in 1688, few months after Niobe was first 

performed. Belgrade was at that time a part of the Ottoman 

Empire, and had been the Ottoman’s chief fortress in Europe 

for just over a century.The forces of Holy League commanded 

by Maximilian II Emanuel laid siege to the city on July 30, 

1688, and subjected it to cannon fire for nearly a month.When 

139 




his offer to allow the Turkish garrison to surrender was 

refused, an event that gained him the title of“Magnanimous,” 

Maximilian ordered an assault on September 6. Maximilian, 

like Creonte in Niobe, Regina di Tebe, drove the garrison from 

the walls and entered the city, victorious. The occupation of 

Belgrade by the League forces was the turning point of the 

Great Turkish War, which was mainly a religious war between 

Christian and Muslim forces. 

V 

Five Religions 

With its mix of mythology, allegory, and history, Niobe, Regina 

di Tebe is rich with possible interpretations, but it remains a 

drama where the action revolves around a religious conflict, 

between Niobe and Tiresias. The story of Tiresias is told by 

Ovid: in a forest near Thebes,Tiresias stumbled upon a pair of 

mating snakes; he hit the pair with his stick and was changed 

into a woman. Being a woman, Tiresias became a priestess, 

married, and had three daughters: Manto, Historis, and 

Daphne. After seven years as a woman, Tiresias again found 

mating snakes; by hitting them once more, he was permitted 

to regain his masculinity. Tiresias, being the only person who 

had lived in both a man's and a woman's body, was the best 

arbiter of a dispute between Juno and Jupiter, the latter of 

whom stated that “In Venus deeds, The Female’s pleasure far 

the Male’s, exceeds.” Tiresias confirmed Jupiter’s words and 

Juno, it is said, was so upset that she damned the one who had 

made the judgment to endure eternal night. As no god has the 

right to void what another god has done, Jupiter could not 

restore the priest’s sight; instead, he gave Tiresias the 

knowledge of the future, in exchange for his loss. 

The destiny of Tiresias is clearly presented as a series of 

initiations making him the custodian of a special gift and this 

is why, as a blind seer, his character appears in several Greek 

stories and tragedies based on the legendary history of Thebes. 

Following the examples of Euripides, Sophocles, and 

Aeschylus, Orlandi gives Tiresias a role in his “drama per 

musica.” But in Niobe, Regina di Tebe, although Tiresias 

retains his power of prophecy, he is also the high priest of 

Latona. His daughter is also devoted to the goddess and to her 

children Apollo and Diana. Orlandi cunningly opposes the 

“paganism” of Niobe, who orders her people to revere her 

family as gods, to the“orthodoxy”of Tiresias and Manto, who 

both reject this “blasphemy.” This religious debate is not just 

an exchange of theory; it precipitates some of the most violent 

scenes, bringing the opera to the proportions of a biblical 

drama: curse of the Prophet, sack of the Temple, and slaughter 

of the unfaithful.This opposition by those adhering to the old 

faith to the reformed religion desired by Niobe has clear 

parallels to the determination with which the Catholic faith 

opposed the newer Protestant one. In the years leading up to 

the opera, religious tensions in Europe rose to extreme levels. 

In France, Louis XIV issued the edict of Fontainebleau in 

140 


Pope Innocent XI, French etching from the eighteenth century. 

Collection of Gilbert Blin. 

1685, putting an end to the tolerance of Protestants that his 

grandfather had established in 1598. The beginning of the 

persecution of the Protestants in France led to a huge exodus 

of Huguenots to the north of Europe and to North America. 

In England, the Catholic king James II loses his throne in 1687 

and is replaced by Protestants William III and Mary II. Bavaria, 

a stronghold of Catholicism, aimed to stop Protestantism from 

spreading and became one of the centers of the Counter- 

Reformation. 

Even though busy opposing the Ottoman Empire, the 

countries of central Europe also needed to consider domestic 

affairs, especially spiritual movements, as religious dangers 

could also come from inside. The stage, as was customary in 

Jesuit Theater, could offer a moral lesson, and the terrible effect 

of Niobe’s religious reform was a reminder to Max Emanuel 

to be vigilant in his own dominion.The five principal religions 

in the Occident at the time—Jewish, Orthodox, Catholic, 

Islam, and Reformed (Protestant)—were all struggling for 

expansion and the right to practice their faiths. But while the 

struggle against the Turks had united Christianity for a while, 

the Protestants themselves had gained a foothold in 

Switzerland, Germany, England, Holland, and France. New 

Catholic orders were created by the Church of Rome to 

zealously combat the teachings of the Reformed religion. 

Agostino Steffani, the composer of Niobe, was a member of 

such a religious order.A priest himself since 1680, he belonged 

to the order of the Theatins, and his missionary work in the

North of Germany was later to become his principal pastoral 

activity. Founded in Rome in 1524, the main object of the 

Theatin order was to recall the clergy to an edifying life, which 

would serve as an example for the laity, and thus a way to 

balance the Reformation. Supported by Pope Innocent XI, the 

Theatins founded oratories and hospitals, and devoted 

themselves to preach the Gospel and reform lax morals. In 

Bavaria, the Theatine Church St. Kajetan was founded by 

Elector Ferdinand Maria and his wife, Henriette Adélaïde of 

Savoy, as a gift of thanks for the birth of the long-awaited heir 

to the Bavarian crown, Maximilian Emanuel, in 1662. The 

dynastic continuity was essential for the monarchy, and 

Orlandi makes this obsession an important part of Niobe’s 

character. 

VI 

Six children 

The children of Niobe were so numerous they were called the 

Niobids, and the exact number differs in the many ancient 

sources available to us. In Homer’s Iliad, like in Orlandi’s 

libretto, they are twelve (six boys and six girls): “For even the 

fair-haired Niobe bethought her of meat, albeit twelve children 

perished in her halls, six daughters and six lusty sons.The sons 

Apollo slew with shafts from his silver bow, being wroth 

against Niobe, and the daughters the archer Artemis [Diana], 

for that Niobe had matched herself with fair-cheeked Leto 

[Latona], saying that the goddess had borne but twain, while 

herself was mother to many; wherefore they, for all they were 

but twain, destroyed them all.” According to Sophocles’s 

Antigone,Apollodorus’s Library, and Ovid’s Metamorphoses, 

they are fourteen children, seven boys and seven girls. In 

Hesiod’s Catalogue of Women, they are eighteen. In all 

variations, an even number results in an equal quantity of boys 

and girls, as the number of Niobe’s children needs to speak to 

the imagination. Seneca, in his tragedy about Oedipus, gives 

another beautiful poetic twist to the number by saying that 

Niobe flattered her vanity over her children by also counting 

their shadows. 

This emphasis on a large number of offspring is not only the 

stuff of myth, but it was also the measure in the 1680s. France 

was a prime example: Louis XIV had a numerous family and 

was very proud of it. By tradition a large quantity of children 

was a clear expression of virility and fertility, which was 

appealing to the imagination of the people. But from a dynastic 

perspective, after producing an heir, a large number of 

offspring allowed for the opportunity to create a large network 

of alliances through unions between the children of royal 

families. Indeed, in 1680, the French crown prince,The Grand 

Dauphin, married Maria Anna Victoria, Max Emanuel’s 

sister—the link between France and Bavaria was strong. Louis 

was hoping Max Emanuel would return the gesture and marry 

a French princess, but the Prince Elector was keen to keep a 

kind of independence and decided to balance the French union 


The death of the Niobids 

Dutch etching by Bernard Picart (1673–1733), Amsterdam, 1731, from the Temple 

of the Muses (Neu-Erofneer Musen-Tempel), Chatelain, Amsterdam and Leipzig, 

1733. Collection of Gilbert Blin. 

of his sister by marrying himself to an Austrian Princess. As 

Maria Antonia was also a niece of the Spanish king, the 

offspring of this union could give the Bavarian house a claim 

to the throne of Spain. 

When Steffani and his brother, poet Ventura Terzago, created 

the ballets for Servio Tullio for the Carnival of 1686, the first 

one to be celebrated in Munich by the newlywed couple, they 

showed their sense of allegory: in the first Ballet a number of 

gods, each more flattering to the couple than the one before, 

appear on a cloud machine. The gods announce a wondrous 

horoscope for the royal couple including the prediction of 

twelve children, which then, as in a vision of the future, appear 

as twelve dancers—six men and six women—on the stage.The 

horoscope was not at all farfetched, as Max Emanuel went on 

to have fourteen children with his two wives and his mistress. 

Of the fourteen children, seven died at an early age. In 1688, 

infant mortality was still common, even in the highest class of 

society.The killing of the Niobids by Apollo the sun and Diana 

the moon may also been a cruel allegory of the death of 

children in one day and in one night. Seventeenth-century 

commentators remind us that Cicero, reflecting on the final 

141 




event of the myth of Niobe, wrote that the metamorphosis of 

Niobe into a rock was nothing but an allegory of a woman 

whose grief has made her mute and insensitive. 

VII 

Seven chords 

If Niobe’s reason for ambition to godliness is her fertility, her 

husband Anfione is, through his musical skills, also close to 

the gods, as at the beginning of time the first musicians were 

the gods. Hermes created the lyre with three strings, which he 

gave to Apollo, who added four more. The god of the arts 

extracted such harmonious sounds from it that the gods forgot 

their quarrels on Olympus. Hermes made for himself the 

Shepherd’s pipe, and Pan invented the reed flute with its 

enchanting music. Only a small number of mortals, whose art 

was out-standing, could measure themselves with those divine 

practitioners. After Orpheus, the most renowned, comes the 

name of Amphion. Like his half-brother Apollo, he also 

received his lyre from Hermes. And like Apollo, when 

Amphion married Niobe, the daughter of Tantalus, the Lydian 

king, he learned to play in the Lydian mode, a particular tuning 

of the diatonic scale, by adding four strings to his lyre. 

Amphion, French etching by Louis Gaultier (1561–1635) 

after Antoine Caron (1520 or 1521–1599), from Les Images ou Tableaux de 

Platte-Peinture des deux Philostrates Sophistes mis en français par Blaise de 

Vigenere bourbonnois enrichis d’arguments et d’annotation... et représentez en 

taille douce en cette nouvelle edition avec des épigrammes sur chacun d’iceux par 

Thomas Artus sieur d’Embry, Paris, Guillemot, 1637. Collection of Gilbert Blin. 

142 


Anfione’s abilities as a musician surpass his fame as a king: it 

is said that his singing raised the walls to protect the city of 

Thebes. Stones were moved by the beauty of the music and 

got moved by its power of attraction, and this motion was 

ordered: buildings were taking shape. Some who were trying 

to explain the meaning of the fable of Amphion, who built the 

walls of Thebes by the sound of his lyre, said that in truth he 

was an excellent musician, but there was not much magic 

involved: having a plan to build a town, he employed all those 

who were coming from very far to hear him, and they all 

obeyed him gladly, if only he would touch the strings of his 

lute. Lyre or lute, magic or talent, the power of his music was 

architectural: the seven strings of his lyre corresponded to the 

seven gates of Thebes. 

In Niobe, Orlandi and Steffani clearly chose to modify this 

part of the story: although the creation of the walls of Thebes 

is precipitated by Anfione, they appear during his prayer to 

Jupiter, his father, and are mostly due to the protection of the 

god. Steffani reserves the depiction of the supreme talents of 

Anfione for another scene: a contemplative moment where the 

king is studying the harmony of the spheres: the complex order 

which controls the universe. Musica universalis, or music of 

the spheres, is a philosophical concept that regards proportions 

in the movements of celestial bodies—the sun, the moon, and 

the planets—as a form of music.This“music”was not usually 

thought to be literally audible, but of a mathematical nature. 

The fact that mathematics and music are related was clear to 

the Greeks, and the laws of the cosmos and of music have been 

compared by Pythagoras. Music was included in the 

“quadrivium,” subjects that are driven by logic: arithmetic, 

geometry, astronomy, and music. This concept of a number 

theory would also have been present in the education of Max 

Emanuel, which was essentially entrusted to the Jesuits, who 

have always included astronomy and music in their 

curriculum. In 1670, the Jesuit Father Michael Pexenfelder 

dedicated to the eight-year-old prince more than a thousand 

pages of Apparatus eruditionis, a compendium that offered, 

along with Arithmetica and Geometria in concise form, the 

basic concepts of Musica and its notation. 

By placing the music of Anfione in relation to Astronomy 

instead of Architecture, Orlandi expands the allegory. Steffani 

refines this moment further by writing a complex musical 

number where the singing of Anfione is accompanied by the 

sound of four viols hidden on stage. In creating such a spatial 

effect, Steffani seems to indicate that Anfione is “playing” his 

lyre and that the music we hear (played by the hidden viols) is 

his doing.The distance between the lyre with seven strings and 

the Renaissance string instrument is mostly a matter of time, 

and in much of the pictorial legacy of the myth, Amphion is 

shown playing a string instrument with a bow. It was quite 

characteristic for figures like Orpheus and Amphion to be 

depicted with a modern equivalent of the ancient lyre, either a 

lute or a lira.Although a seventeenth-century engraving seems 

to have Amphion playing a vihuela de arco, the artist was

likely attempting to describe a lira da braccio, the Renaissance 

instrument closely associated with Orpheus and with 

recitations of poetry by humanists. This type of lira, a sevenstring 

chordal instrument played with a bow, died out in the 

early seventeenth century, and in 1688, when Steffani chose 

to evoke its sound to depict Amphion’s lira, it was an attempt, 

supported by the illusion of the music from the hidden viols, 

to reconstruct the mythical sound of the antique lyre. 

This scene of Amphion and the harmony of spheres was, in 

the context of Niobe, an expression of the intellectual 

ambition of Amphion, and it made a great impression on 

Pietro Torri, a composer who arrived in Munich in 1687. 

Later, in 1716,Torri presented Max Emanuel with the cantata 

La Reggia dell’Armonia, in which Anfione’s solo aria with its 

quartet of hidden viols is interpolated completely and without 

modification. To make his cantata about Harmony, Torri 


added the character of Il Tempo (Father Time), and wrote a 

dialogue between Anfione and Il Tempo. More than twenty 

years after Niobe, Regina di Tebe, Torri was paying homage 

to its timeless expression of the Harmony of the Spheres, 

associating the fame of Amphion, the mythic musician of the 

antiquity, with the art of Steffani, the influential composer of 

the reign of Maximilian Emanuel. This new context, created 

by extracting this extraordinary piece of music from its 

original dramatic setting, was freed from the tragic ends of 

Amphion and Niobe, bringing it back instead to its original 

allegory of the eternal power of music. ■ 

—Gilbert Blin 

BEMF Stage Director in Residence 

143 




Niobe, A Choreographic 

Journey 

There is very little surviving information about the original 

dances of Agostino Steffani’s Niobe, Regina di Tebe, 

excepting that found in the original libretto. It is from this 

document that Carlos Fittante and I gleaned the first clues 

of how to proceed in this otherwise mysterious journey of 

re-creation. Needless to say, this leaves the choreographers 

with more questions than answers and that is, in fact, the 

most exciting part of our job. 

In general, the act of choreographing is largely based on 

creative problem solving; add to this the detective work 

required of researchers, and one has an inkling of the 

rewarding but complicated process of recreating the 

intricate and exquisite art of Baroque dance. In 

choreographing the dances, we have tried to honor the 

clearly existing French influence at the Bavarian Court of 

Maximilian II Emanuel, while also incorporating the 

opinions and suggestions of the German dancing masters 

whose works would follow in the first quarter of the 

eighteenth century. 

One of the first ballets at the court of Bavaria was created 

to celebrate the marriage of the Prince Elector Ferdinand 

Maria to Henriette Adélaïde of Savoy, in 1651. The 

tradition of the court ballet was cultivated in Henriette 

Adélaïde by her mother, Christine-Marie (sister of Louis 

XIII of France), and she enthusiastically brought this form 

of spectacle with her to Munich. These entertainments, 

composed of songs and dances and featuring elaborate set 

designs, were initially frowned upon by her new family, but 

once Henriette Adélaïde bore her first son, Maximilian II 

Emanuel, the atmosphere at court brightened considerably. 

It appears that the casts of these first ballets were mainly 

female, and the subject matter was conceived by Henriette 

Adélaïde herself. Giovanni Maccioni, a poet and composer, 

wrote the libretti and music, and the dances were created 

by Emanuele Somis, a dancing master brought from the 

Savoy court. 

The court ballet in Munich, just as in France, was a family 

affair. Henriette Adélaïde performed alongside her children 

in mythological epics, replete with gods and cloud 

machines, and Louis XIV was held up as a model to the 

young Elector-to-be. Both he and his mother were avid 

dancers, and as a lover of all things pleasurable, Max 

Emanuel was said to have danced hours at a time, allowing 

no interruptions. Given his nature, it was perhaps 

appropriate that his first dancing role (at the tender age of 

six) was that of Amor for the 1669 Carneval festivities. In 

the hopes of developing his own cult of personality in the 

style of Louis XIV’s “Sun King”, there were attempts by 

144 


the courtiers to cast Max Emanuel as “Amor-Guerriero”— 

Love, the Warrior—but the title did not stick. Once he took 

over his official duties as Elector, he ceased performing 

publicly. 

Henriette Adélaïde was instrumental in importing the 

French style of dancing to the Bavarian Court. In 1666, 

Jacques Rodier was hired to teach dancing to the royal 

children and courtiers, and to create new ballets for court 

entertainments. There is scant biographical information 

about Rodier, but his name appears in the illustrious cast 

of the famous Ballet Royal de la Nuit (1653), which also 

included a fifteen-year-old Louis XIV. Jacques passed away 

sometime in 1680, and his son François was sent to Paris 

to study with French dancing masters in preparation for 

taking over his father’s appointment at court. Returning to 

the court in 1683, the younger Rodier began preparing for 

the festivities surrounding the royal wedding of 

Maximilian Emanuel to the Austrian Princess, Maria 

Antonia. Steffani’s Servio Tullio (1686) was a part of these 

celebrations, and the descriptions of his choreography that 

have survived from that opera detail a pleasing variety of 

effects, including a scene with twelve dancers representing 

the bountiful future offspring of the royal couple, a ballet 

on youth and beauty, and a grotesque divertissement with 

music in the Renaissance style. The ballets François created 

for Niobe have been lost, but records show that the 

Carneval season of 1688 was busy in terms of dancing, 

including the ordering of twelve long wigs, à la Louis XIV, 

for his new dance troupe of male courtiers. He maintained 

his position at the court until his death, but it is unclear 

what his duties were between the years 1692 and 1715, the 

period of intermittent exiles for Max Emanuel and his 

court. 

Despite the Bavarian court’s various uprootings, Max 

Emanuel continued his mother’s practice of hiring French 

dancing masters. In 1715, he brought Jean-Pierre Dubreuil 

with him on his return to Munich, giving him the title of 

“compositeur de ballets de Cour.” Dubreuil was 

particularly renowned for his role as Scaramouche; a 

surviving engraving attests to this. There also exists a 

manuscript of Dubreuil’s choreographies from around 

1718 and 1730; the collection includes danses à deux as 

well as figures for country dances. Dubreuil dedicated these 

dances to the Bavarian Court, and they are appropriately 

titled: “La Bavaroise,”“La Palantine,” and so on. We have 

used some of these choreographies as inspiration for the 

dances you will see this evening. 

The dance music for Niobe has also been lost, but we 

know from the libretto the placement and character of the 

ballets, as well as the composer of the ballet music, one 

Melchior d’Ardespin. A cornettist and orchestra director 

for the Bavarian Court, d’Ardespin taught music to Max 

Emanuel and brought the French style of playing to the

court; thankfully, some of his compositions from other 

productions have survived. It is from these surviving works 

that we have chosen the music for the ballets at the end of 

Act I (Ballo de Cacciatori), Act II (Ballo de’ Pastori), and 

for the Adoration dances in Act II, Scene IV. The final 

chaconne in Act III, added for the Ballo di Soldati 

Festeggianti, was composed by Steffani himself for Enrico 

Leone (1689). Again, in the style of the French, ballets were 

called for at the end of each act, and d’Ardespin’s music 

was written in the French style. There are also arias within 

the opera that lend themselves beautifully to 

“divertissement” moments; whenever appropriate, we have 

included dance in those scenes. 

In terms of our choreographic aims, we first investigated 

the apparent French influence at Max Emanuel’s court; we 

particularly looked to the French theorists and dancing 

masters of the seventeenth and early eighteenth centuries. 

Along these lines, we are indebted to the wonderful 

research by Carol Marsh and Rebecca Harris-Warrick on 

Jean Favier’s choreography for Le Mariage de la Grosse 

Cathos (1688). It is unusual to have so much information 

about the original choreography from a particular 

spectacle, and especially fortuitous that this comic 

masquerade was created in the same year as Niobe, albeit 

in France. Through their detailed study we gained insight 

into what steps and step patterns were in practice that year 

as well as ideas for spatial patterns for the group 

choreographies. 

We have also turned to Raoul Auger Feuillet’s 

Chorégraphie, ou l’art de décrire la danse (Paris, 1700), an 

indispensable guide for today’s early dance specialists as 

well to the dancing masters of eighteenth-century Europe. 

Feuillet’s book not only instructed the reader how to 

decipher the system of dance notation most widely used 

and published in the eighteenth century, but included 

choreographies from Guillaume-Louis Pécour, whom 


François Rodier may have met or studied with on his trip 

to Paris. Noting its importance to the art of dance, the 

German dancing master, Gottfried Taubert, included a 

German translation of Feuillet’s treatise in his own tome, 

Rechtschaffener Tantzmeister (The Worthy Dancing 

Master, Leipzig, 1717). 

Interestingly, in the first quarter of the eighteenth century, 

many dance treatises were published in German by 

German, Italian, and French dancing masters, perhaps 

signaling a rise in the popularity of dancing at the German 

courts. Amongst the surviving treatises are an interesting 

array of authors and perspectives on theatrical and 

ballroom dancing, including Louis Bonin’s Die neueste Art 

zur galanten und theatralischen Tantz-Kunst (The newest 

way of going about the galant and theatrical Art of Dance, 

Frankfurt, 1711), Gregorio Lambranzi’s Die neue und 

curieuse theatralische tantz-Schul (The New and Curious 

School of Theatrical Dancing, Nuremberg, 1716), and 

Taubert’s treatise, already mentioned above. 

We were specifically interested in what these dancing 

masters had to say on the differences between la belle 

danse, or ballroom dancing, and le ballet sérieux, the 

serious and theatrical style of dancing. Both Bonin and 

Taubert wrote about what steps were more appropriate for 

le ballet sérieux and their suggestions included complex 

enchâinements (linked steps) and higher jumps, as well as 

the usage of higher movement of the arms. We have 

incorporated these ideas while also placing emphasis on 

our desire that each of the dancers’ steps and gestures be 

representative of the characters and passions they will 

portray on the stage—our poetic ode to the ideals and 

wishes of the early dancing masters who prized invention, 

proportion, and spectacle in their own works. ■ 

—Caroline Copeland 

145 



t i m e l i n e 

Historical Timeline of Niobe 

Cultural and political events which help to place 

Niobe in its true surroundings 

1643 Monteverdi’s L’incoronazione di Poppea (BEMF 

2009), with a libretto by Busenello, premiered in 

Venice 

1647 Luigi Rossi’s L’Orfeo (BEMF 1997), with a 

libretto by Buti, premiered in Paris 

1654 July: Birth of Agostino Steffani at Castelfranco, 

Veneto 

1662 Ercole Amante (BEMF 1999), Cavalli/Buti, 

premiered in Paris 

July: Birth of Maximilian II Emanuel 

1666 January: Steffani, age 11, travels to Venice to sing 

in Demetrio, Carlo Pallavicino’s first opera 

1667 July: Steffani, just turned 13, travels to Munich 

to enter the service of the Elector of Bavaria 

1669 Melchior d’Ardespin is employed as a cornettist 

at the Bavarian electoral court at Munich 

1672 Steffani goes to Rome to study with Ercole 

Bernabei 

1675 Steffani is appointed court organist at Munich 

Thésée (BEMF 2001), Jean-Baptiste Lully’s third 

opera, with a libretto by Quinault, premiered in 

Paris 

1676 Benedetto Odescalchi is elected Pope Innocent XI 

1678 Steffani travels to Paris; probably meets Lully and 

hears his opera Bellérophon 

Lully’s Psyché (BEMF 2007), with a libretto by 

Thomas Corneille, premiered in Paris 

1679 Elector Ferdinand Maria of Bavaria dies, and is 

succeeded by his son Maximilian II Emanuel 

1680 Steffani ordained as a priest. 

Wedding of Louis, Dauphin of France, and Maria 

Anna Victoria of Bavaria, sister of Maximilian 

Emanuel 

1681 Steffani’s first opera, Marco Aurelio, with a 

libretto by his brother Ventura Terzago, 

premiered in Munich 

1682 Louis XIV of France moves his court to Versailles 

1683 July: A 140,000-man Ottoman force arrives at 

the wall of Vienna. 

September: Battle of Vienna; the Ottoman siege is 

broken by a combined force of Austrian, German, 

146 


and Polish armies including the Bavarians under 

Maximilian II Emanuel. 

Blow’s Venus and Adonis (BEMF 2008) thought 

to have premiered in London 

1684 Pope Innocent XI forms the Holy League with 

the Habsburg Empire, Venice, and Poland to 

oppose the Ottoman Empire. 

Charpentier’s Actéon (BEMF 2008) first performed. 

1685 Solone, Steffani/Terzago 

February: Birth of George Frideric Handel (d. 

1759) 

March: Birth of Johann Sebastian Bach (d. 1750) 

July: Wedding of Maximilian Emanuel and Maria 

Antonia of Austria 

Charpentier’s Epithalamio in lode dell’Altezza 

Serenissima Elettorale di Massimiliano Emanuel 

Duca di Baviera (H 473) performed in Paris to 

honor the wedding of Maximilian Emanuel of 

Bavaria 

October: Louis XIV issues the Edict of 

Fontainebleau, making Protestantism illegal in 

France. 

October: Birth of Domenico Scarlatti (d. 1757) 

1686 Servio Tullio, Steffani/Terzago, with ballets by 

Melchior d’Ardespin 

The League of Augsburg is formed to resist the 

expansion of Louis XIV, consisting of the Holy 

Roman Empire, the Netherlands, Sweden, Spain, 

Bavaria, Saxony, and the Palatinate. Innocent XI 

plays a major role in its formation. 

Armide, Lully/Quinault, premiered in Paris 

Charpentier’s opera La Descente d’Orphée aux 

Enfers (BEMF 2011) 

1687 Alarico il Baltha, Steffani/Orlandi, with ballets by 

Melchior d’Ardespin 

André Le Nôtre finishes the park of the castle of 

Versailles (started in 1662). 

Lully’s Thésée performed in French in 

Wolfenbüttel 

March: Death of Jean-Baptiste Lully 

The Venetian navy attacks Turkish strongholds in 

Greece. 

The Parthenon in Athens is damaged when 

Venetian mortar fire explodes a Turkish powder 

magazine housed in the building 

Melchior d’Ardespin is appointed director of the 

court orchestra of Munich 

1688 Niobe, Regina di Tebe (BEMF 2011), 

Steffani/Orlandi, with ballets by Melchior 

d’Ardespin 

Steffani becomes Kapellmeister at the court of 

Hanover 

Dido and Aeneas (BEMF 2010), Purcell/Tate,

performed at the Josiah Priest school in London 

Maximilian II Emanuel takes Belgrade from the 

Turks. 

November: Louis XIV declares war on the 

Netherlands. The Nine Years’ War begins in 

Europe and America. 

1689 Enrico Leone (BEMF 1989), Steffani’s first 

Hanover opera, with a libretto by Ortensio 

Mauro, premiered 

Lully’s Acis et Galatée performed in French in 

Hamburg 

August: Death of Innocent XI. 

1690 Melchior d’Ardespin is appointed electoral councillor 

1691 Ariadne (BEMF 2003), Conradi/Postel, premiered 

in Hamburg to great public acclaim 

Purcell’s King Arthur (BEMF 1995), with text by 

Dryden, performed at Dorset Garden in London 

1695– Six Steffani operas, presented a few years earlier 

1699 in Italian in Hanover, are performed in German 

translation in Hamburg 

t i m e l i n e 

1703– Handel performs in the second violin section of 

1706 the Gänsemarkt Orchestra under Keiser and 

Mattheson, and composes his first three operas 

for Hamburg. 

1706 Handel leaves for Rome, carrying scores of 

several operas by Keiser and (probably) Steffani, 

from which he borrows arias over the course of 

his career. Within a few months of arriving in 

Rome, he acquires a volume of Steffani duets that 

he will use as compositional models and for more 

borrowings. 

1708 Antiochus und Stratonica (BEMF 2013), 

Graupner/Feind, premiered in Hamburg 

1710 Mattheson writes Boris Goudenow (BEMF 

2005); it is not performed for 295 years. 

1718 Handel’s Acis and Galatea (BEMF 2009), with 

text by Gay, Pope, and Hughes, is first performed 

1726 February: Death of Maximilian II Emanuel 

1728 February: Death of Agostino Steffani ■ 

—Paul O’Dette, Stephen Stubbs, and Gilbert Blin 

147 



s y n o p s i s 

notes on our edition of 


A total of nine original sources were used in making our 

performing edition of Niobe, two libretti and seven musical 

sources. Our primary source for the music was the autograph 

score in Vienna, with some additional details and corrections 

gleaned from manuscripts in Schwerin and Munich. While 

these three sources largely agree with one another, there are 

occasional pieces of information lacking in the autograph— 

mostly articulations, text underlay, or unclear pitches—that 

are more carefully notated in the other manuscripts, both of 

which seem to have been copied around the time of the first 

performance. 

For the 1688 performances, the original Italian libretto was 

published, as well as a separate German translation, which 

probably functioned as the program book for the Munich 

audience. These two documents were invaluable in sorting 

out the text and the stage directions for our edition.There are 

numerous differences between the text found in the published 

Italian libretto and that used in the musical sources, suggesting 

that Steffani was at liberty to change word order, or even 

individual words, where he felt he could create a clearer or 

more dramatic effect.The libretto also contains detailed stage 

directions as well as descriptions of the ballets, the music for 

which is lacking in the scores. The libretto indicates that the 

dance music was composed by Melchior d’Ardespin, the 

orchestra director at Maximilian Emanuel’s court in Munich. 

While d’Ardespin’s dances for Niobe are lost, those he 

provided for two operas performed in 1690 are extant, and 

from those we selected movements that seemed to best 

represent the ballets described in the Niobe libretto. Since 

d’Ardespin’s dances have a flavor distinct from those of 

notes on the libretto 

and our translation 

The translation of Luigi Orlandi’s libretto for Niobe, Regina 

di Tebe was prepared from the original 1688 Italian text, 

although we consulted the German source for clarification of 

some passages. We present the full libretto here, including the 

published introductory text. The cuts made for our 

performance are marked with gray shading. Indentations 

denote either single poetic lines divided between characters, or 

148 


Steffani, we felt it was important to select dances by the 

composer of the original dance music. For the final“Dance of 

Celebrating Soldiers,” however, we have used the Chaconne 

from Steffani’s next opera, Enrico Leone of 1689. 

The German libretto also proved quite valuable in that it 

contains additional stage instructions not included in the 

other sources, as well as shedding light on how the Italian text 

was to be received by the public. There is no way of 

determining how closely the German translator was involved 

in the preparation of the original production, but from the 

details of the stage instructions, it appears that he must have 

witnessed rehearsals, if he was not actually a member of the 

production team. Thus the translator’s reading of the Italian 

text may offer an eyewitness view of the production. At the 

very least, it provided the most important source of 

information about the opera for the audience members who 

attended the first performances. 

After Steffani had composed the score, it was apparently 

decided that the opera was too long, and numerous cuts were 

made, all clearly indicated in the autograph score, and also in 

both the Italian and German libretti. In particular, Act I was 

initially longer than the other two acts combined, and the 

bulk of the cuts were made there, some of them involving the 

elimination of entire scenes.We used those original cuts as the 

basis of our own pruning, to shorten the opera to a size we 

could manage within the schedule of this year’s festival. ■ 

—Paul O’Dette 

a multi-line aria. The language of this libretto is enriched by 

frequent references and allusions to classical mythology, 

ancient geography, and literary works by Ovid, Homer,Virgil, 

Tasso, and the like. These terms are marked with a “†” and 

are explained in a Glossary of Terms on pages 208–209. ■ 

—Ellen Hargis

synopsis 


Act One 

The City of Thebes 

Anfione, King of Thebes, has ruled for many years and is 

weary of the pressures of the throne. His wife, Niobe, has 

born him many children—her Niobids—and is inordinately 

proud of them. Anfione decides to transfer power to his wife. 

To this purpose he calls Prince Clearte back from voluntary 

exile to serve as Regent to Niobe. Clearte is reluctant to accept 

this rank. Nerea, the nurse to the queen, is aware of the source 

of Clearte’s discomfort, and she encourages him to reveal his 

feelings for Niobe. Clearte, left alone, laments his sad state. 

A Forest on the outskirts of Thebes 

Tiberino, a prince from a faraway land, is on a quest for fame 

and glory. During the course of a hunt, he rescues Manto, a 

young maiden in distress. She is overwhelmed by gratitude, 

and introduces Tiberino to her blind father, Tiresia, the High 

Priest of Latona. Tiresia is also clairvoyant, and reveals that 

Tiberino is the son of a King. Manto is smitten, but declares 

that she serves the goddess Latona, and has not yet 

worshipped at the altar of Cupid, god of Love. Tiberino is 

charmed by her naiveté. Left alone, Manto laments her 

inexperience and inability to express her feelings. 

On their way to Thebes, the magician Poliferno has enchanted 

Creonte, Prince of the rival state of Thessaly. Poliferno casts a 

spell that causes Creonte to believe that he is in love with 

Niobe. The magician rouses the Prince and promises to help 

him to win the queen and the throne of the kingdom to further 

the cause of Poliferno’s family vendetta against Anfione. 


Meanwhile, back in Thebes, Anfione devotes his time to the 

study of the Harmony of the Spheres, and Niobe encourages 

him. Clearte arrives with the news that Creonte’s army is 

invading the country. Anfione reluctantly returns to his royal 

duties. Niobe toys with Clearte under the shrewd eye of 

Nerea. Nerea cynically rails about the emotional neediness of 

women. 

Creonte and Poliferno have reached Thebes, and find their way 

through a secret passage into the city. To protect his people, 

Anfione invokes Jove’s help with a hymn, and his prayer causes 

walls to rise and encircle Thebes. When she sees this feat, 

Niobe is convinced of her husband’s divinity, and asks the 

people to bow down and worship Anfione as the new Theban 

god. High Priest Tiresia is appalled by this blasphemy, and 


protests vigorously. Niobe will suffer no dissent and throws 

the old man to the ground, forcing him to make obeisance to 

her husband. Anfione, still in a trance and oblivious to the 

conflict, finds comfort in Niobe’s praise. Tiresia is left on the 

ground, hurt and alone, where Manto and Tiberino find him 

and are appalled by this abuse.They entrust him to the care of 

Tiberino’s companions. Manto takes comfort from Tiberino, 

and the young couple explores their feelings for each other. 

Tiberino is touched by Manto’s inexperience, and he resolves 

to declare himself to her. His companions congratulate him 

and tease him about his new love. 

Act Two 


Poliferno uses magic to hide himself and Creonte in a cloud 

so that they can observe Niobe unseen. Clearte and the 

Theban court arrive, still in awe of Anfione’s power and the 

raising of the walls. The Thebans, their confidence renewed, 

rally to engage the Thessalian invaders, but Clearte struggles 

with his unrequited love for Niobe. 

The queen arrives, and declares her desire to raise Clearte to 

the throne. Clearte is reluctant to defy Anfione, but Niobe 

justifies her command by explaining that Anfione has 

relinquished his royal responsibilities. The king arrives, and 

is shocked to see Clearte in his place. Niobe placates Anfione 

by offering him a place more suited to his station, and 

presents a celestial shrine worthy of his godlike powers. 

Anfione is beguiled by her plan, and enters the starry vault. 

The whole court is compelled to make obeisance to their new 

god. Poliferno interrupts the idolatry and abducts Niobe. 

Anfione, frightened and alone, laments the disappearance of 

his wife. 


Tiresia, confused, cannot clearly discern the omens, but before 

he leaves, he reveals to Tiberino that the prince’s quest will be 

fulfilled not by success in war, but by other conquests. Manto 

arrives with her companions, and confesses her affections to 

Tiberino, but he decides to wait for a better time to reveal his 

feelings for her. Manto, left alone, is puzzled by his reticence. 

Poliferno, disguised as Mercury, leads Niobe through the 

forest. He flatters her by telling her that the god Mars has 

chosen her as his wife. Niobe is ecstatic at this turn of fortune. 

Posing as Mars, Creonte is able to declare his love for the 

queen. Under Poliferno’s spell, the couple is transported by 

amorous rapture. 

149 





Tiresia reveals to the king that he has been deceived by 

Poliferno’s magic, that Niobe has been abducted by Creonte, 

and that these misfortunes are the result of the royal couple’s 

arrogance. Anfione vows to take revenge on the Thessalian 

invaders. 


Nerea, who has fled the city, finds Manto complaining of her 

amorous suffering.The confused girl rejects Tiberino’s efforts 

to console her, and the young Prince finds little comfort in the 

jaded observations of Nerea. He realizes that he is a prisoner 

of his love. Nerea preaches her philosophy by lecturing 

sarcastically about the wiliness of men. 

Act Three 


Niobe enjoys the attentions of Mars/Creonte and abandons 

herself to sensual oblivion. Their erotic rapture is interrupted 

by Poliferno, who bursts in to warn Creonte that the Theban 

army is approaching. Creonte and Poliferno leave in haste; 

the spell is broken, and Niobe is left behind, unconscious. 

Anfione discovers his wife and reveals to her that she has been 

deceived, and that her so-called Mars was none other than 

their enemy Creonte. Niobe, outraged at having been duped 

in this way, blames the gods for this humiliation, and swears 

revenge. Anfione loses hope of ever finding peace of mind. 

Boston Early Music Festival 

Extends sincere thanks to 

Randolph J. Fuller 

150 


The Temple of Latona 

Tiresia celebrates of union of his daughter Manto with 

Tiberino. The High Priest and his new son-in-law leave 

Manto to her devotions. Niobe sweeps into the temple and 

boasts of her supremacy over the gods; she then commands 

her followers to destroy the altars of Latona, Diana, and 

Apollo. The Queen orders Clearte to prepare a ceremony to 

acknowledge her children as gods, and exults in her victory. 

Nerea scolds the followers, pointing out that those who live 

a life of deception will never find true love. 

The Square of Thebes 

In the great square of Thebes, Clearte leads the Niobids in a 

triumphant procession, but Diana and Apollo destroy the 

walls of the city and strike the children from above, killing 

them all. Seeing this,Anfione takes his own life in despair, and 

Niobe arrives as he takes his last breath. She cries out in 

horror at the devastating sight of her dead family, but her grief 

is so great that she cannot weep. She is turned to stone by her 

own torment. 

Creonte, victorious, enters the city. Free of enchantments, he 

exiles Poliferno, blesses the union of Tiberino and Manto, and 

promises a secure future for Nerea. The Thessalians and 

Thebans celebrate their new King. ■ 

for his leadership support of the fully-staged North American premiere of 

Christoph Graupner’s 

—Gilbert Blin and Ellen Hargis 

June 8–16, 2013 at Cutler Majestic Theatre in Boston 

June 21–23, 2013 at Mahaiwe Performing Arts Center in the Berkshires 

Please join BEMF's Friends of Antiochus und Stratonica, the June 2013 Boston Early Music Festival's 

fully-staged operatic centerpiece. For more information, please contact BEMF Executive Director 

Kathleen Fay at 617-661-1812 or kathy@bemf.org. Thank you for your support.

NIOBE 

REGINA DI TEBE 

Drama 

PER MUSICA 

Da rappresentarsi 

ALL’ALTEZZE SERENISSIME 

ELETTORALI 

Di 

MASSIMILIANO 

EMANUELE, 

Duca dell’una, e l’altra Baviera, e dell’alto 

Palatinato, Elettore del Sac. Rom. Imp., Conte 

Palatino del Reno, Langravio di Leictemberg, 

&c. &c. 

E DELLA 

SERENISSIMA ELETTRICE 

MARIA ANTONIA, 

Arciduchessa d’Austria, &c. &c. 

L’Anno 1688. 

Composto da Luigi Orlandi Segretario di S. A. E. 

E 

Posto in Musica dal Sigr. D. Agostino Steffani 

Direttore della Musica di Camera di S. A. E. 

Con l’Arie per i Balli Del Sigr Melchior d’Ardespin 

Maestro de Concerti, & Aiutante di 

Camera di S. A. E. 

___________________________________________ 

In MONACO, Per Giovanni Jecklino, 

Stampatore Elettorale. 

SERENISSIME ALTEZZE 

ELETTORALI 

Se l’oppressione del Vitio è lo Spettacolo più gradito da gli 

occhi eterni de Numi, non poteva la mia ubbidiente 

divotione offrire divertimento più proprio à benignissimi 

sguardi dell’Altezze Vostre Seren. me Elett.li quanto la 

prosternatione d’un Vitio, e d’un Vitio direttamente 

opposto alla Virtù più pregiata dalle vostre grand’Anime. 

libretto 

Translation by Ellen Hargis 

NIOBE 

QUEEN OF THEBES 


Drama 

IN MUSIC 

To be performed 

FOR THEIR MOST SERENE 

ELECTORAL HIGHNESSES 

Of 

MAXIMILIAN 

EMANUEL, 

Duke of the one and the other Bavaria, and of the Upper 

Palatinate, Elector of the Holy Roman Empire, Count 

Palatine of the Rhine, Landgrave of Leichtemberg, 

etc. etc. 

AND OF HER 

MOST SERENE ELECTRESS 

MARIA ANTONIA, 

Archduchess of Austria, etc. etc. 

The Year 1688. 

Devised by Luigi Orlandi Secretary of H. E. H. 

And 

Set in Music by Don Agostino Steffani, 

Director of the Chamber Music of H. E. H. 

With the Airs for the Ballets by Mr. Melchior d’Ardespin 

Director of the Court Orchestra & Groom of the 

Chamber of H. E. H. 

___________________________________________ 

In Munich, at Johann Jaecklin, 

Electoral Printer. 

MOST SERENE ELECTORAL 

HIGHNESSES 

If the oppression of Sin is the Sight most pleasing to the 

eternal eyes of the Gods, my obedient devotion could not 

offer diversion more appropriate to the most kindly regard 

of your Highnesses, the most Serene Electors, than the 

overthrow of a Sin, and of a Sin directly opposed to the 

Virtue most esteemed by your great Souls. Behold therefore 

151 



Ecco per ciò dalla famosa Reggia di Tebe risorto sù la 

Scena il gran Mostro della superbia à provocare i Fulmini 

nelle tremende Destre de Numi, perche servano di Faci 

luminose nel sacro Tempio de vostri Regi Lari, dove il 

Nume d’una eccelsa Humiltà magnanimamente si adora. 

All’immutabil Gloria di cosí potente domatrice del vano 

Fasto, che nel Serenissimo Cielo del vostro Soglio bella più 

del Sole risplende, innalza Colossi di sestesso l’Orgoglio 

nella memorabile peripetia di quella infelice Regnante, di 

cui và publicando con Tromba maestra la Fama: 

Et felicissima Matrum 

Dicta foret Niobe, si non sibi visa fuisset. 

Quinci felicissime Voi Seren. me Elett. li Altezze, che nell’ 

Altezze appunto del Vostro glorioso Dominio quasi Augelli 

di Paradiso havete cent’Occhi aperti sempre alla Fortuna 

de Vostri sudditi, ma coperti ad ogn’hora sotto l’Ali d’un 

sapere ammirando, per non mirare gl’immensi Pregi della 

propria sublime Grandezza. Quando un Mondo intero, 

benche abbagliato, si affissa à gli adorati Raggi di Vostre 

Glorie, solo da Voi rimangono sconosciuti i Vostri 

Splendori; e parmi, che per degno Applauso di Virtù così 

rara, e rara Dote de vostri generosissimi Cuori, vadi hoggi 

di Voi decantando il Mondo ciò, che del Sole fû detto: 

Quæ omnes in ipso mirantur, ipse solus non videt. 

Et ecco il maggior Luminare hoggi come simbolo de vostri 

supremi Attributi abbattere con fulminante destra la 

Tebana Alterezza, rappresentando non meno all’ombre 

atterrite dell’Asiana superbia i Lampi vittoriosi della 

Vostra acclamata Possanza. Ma dove à fronte di Voi, che 

siete i due vivi Soli del gran Cielo della Baviera, ardisco 

con Ali d’Icaro seguire il Volo, che spiega trionfante la 

Vostra Fama? Intraprendano l’Aquile sí eccelsa Meta, & 

alla tarpata mia Penna solo sia Meta fortunata il 

publicarmi con profonda veneratione. 

Dell’Altezze Vostre Seren. me Elett. li. 

Monaco p o Gennaro 1688. 

Humilissimo, Divotissimo, Ubbidientissimo servo. 

Luigi Orlandi 

152 


the great Monster of pride risen up on the Scene from 

the famous Throne of Thebes, to incite Lightning bolts 

from the great Right Hand of the Gods, because they 

serve shining Torches in the sacred Temple of your 

Household Gods, where the God of a great Humility is 

adored generously. To the eternal Glory of such powerful 

dominion over vain Pride, which in the most Serene 

Heaven of your Royal Seat shines more beautifully than 

the Sun, rises the Colossus of Pride itself in the 

memorable circumference of that unhappy Ruler, of 

whom Fame proclaims with her Trumpet: 

And the happiest of Mothers 

Could have been said to be Niobe, if she had not 

said so herself. 

—Ovid, Metamorphoses, VI/155 

Therefore most happy You, Serene Electoral Highnesses, 

who by highest charge of Your glorious Dominion, like 

Birds of Paradise have a hundred Eyes, always open to 

the fortunes of Your aforesaid Dominion, but hidden 

always beneath the Wings of an admirable wisdom, so 

as not to regard the immense Merit of your own sublime 

Greatness. When a whole World, although embattled, is 

itself affixed by the adored Rays of Your Glory, to You 

only Your Splendors remain unknown; and it seems to 

me, worthy Applause of Virtue so rare, and the rare Gifts 

of your most generous Hearts, today the World may say 

of you Thus, as was said of the Sun: 

That which all admire in him, he alone does not see 

himself. 

And here the greatest Light today, like a symbol of your 

supreme Attributes, to strike the Theban Royalty with 

your thundering right hand, no less visible in the 

shadows, the victorious Lightning of Your acclaimed 

Power terrifies the pride of the Asians. But where, before 

You, who are two living Suns of the great Heaven of 

Bavaria, do I dare with the Wings of Icarus to follow that 

Flight which spreads Your Fame triumphantly? The 

Eagle undertakes so excellent a Destination, and to the 

quill of my Feather may the only happy Goal be this 

publication, with deep veneration. 

Of Your Most Serene Electoral Highnesses. 

Monaco, January first, 1688. 

Most Humble, Most Devoted, Most Obedient servant, 

Luigi Orlandi

ARGOMENTO. 

Niobe, & Anfione due gran Regnanti di Tebe celebrati per 

massimi da gli Applausi di tutta Grecia; l’uno per esser 

nato di Giove potentissimo Rè di Creta; l’altra per esser 

figlia di Tantalo famosissimo Rè di Frigia. Questa per esser 

dotata d’animo così grande, e virile, che superando 

l’ordinaria conditione del Sesso, s’acquisto Nome più che 

di Donna, di Dea. Quello per havere con larga Vena 

d’Ingegno, e prerogative di Senno cosí legate l’Intelligenze 

delle Sfere nella sua Musica, si come negli Affari Politi ci 

resa humana, e civile l’incivile Barbarie de Popoli, che 

meritò gl’Attributi non che di Huomo, di Nume. Ma 

avvenendo, che gran Fortuna conduce sovente à gran Fato; 

resa Niobe per tante Glorie superba, diviene de gli Dei 

sprezzatrice, e togliendo il Culto à Latona, Dea da Tebani 

adorata, vilipende Manto figlia di Tiresia Indovino, e 

Sacerdote della medesima Dea, mentre da Manto si 

procurano à Latona gl’Holocausti dovuti. Vendicano gli 

Dei con la Morte i Disprezzi, e colti da improvisa Parca 

tutti i Figli di Niobe, Anfione disperato s’uccide, e Niobe da 

gran Dolore oppressa perde la Vita. Manto poscia condotta 

dalla Sorte in Italia fù da Tiberino Rè d’Alba ricevuta in 

Consorte. 

Gran Campo hebbe la favolosa Grecia di finger Menzogne 

nel Poetico Racconto di tali successi, onde attribuendo altri 

al Canto, altri al Suono di Anfione l’erettione delle mura di 

Tebe, fece vedere con l’Armi in Mano Latona, & i suoi figli 

Apolline, e Diana à saettare dal Cielo la Tebana superbia, 

e convertir Niobe in sasso. 

Interpr. Histor. Metamor. Ovid De Niobe. 

Si aggiungono li seguenti verisimili. 

Anfione impossessatosi del Regno di Tebe con la 

debellatione di Lico Rè suo Antecessore, si finge, che dal 

Rè di Tessaglia congionto di Lico, doppo molti Anni, per 

vendicare lo scempio del medesimo, sia all’impensata 

mandato Creonte suo Figlio all’Assedio di Tebe, e che 

Creonte sii allettato à tal Guerra dalla speranza fattagli 

concepire da Poliferno Prencipe mago d’Attica, di godere 

il possesso delle bellezze di Niobe, interessato Poliferno à 

tale vendetta per la consanguinità di Dirce, seconda 

Consorte di Lico, fatta ancora morire da Anfione. 

ARGUMENT. 


Niobe and Anfione, two great Rulers of Thebes, were 

rightly famous in all Greece; he because he was the son of 

Jove, and a powerful king of Crete; she because she was 

the daughter of Tantalus, a most famous king of Phrygia. 

She was endowed such a great and virile spirit, that it 

overcame the usual condition of her Sex, and acquired her 

a name more than that of Woman: of a Goddess. He, with 

a broad Vein of Genius and preeminent Judgment, had 

thus bound the Intelligence of the Spheres in his Music, 

just as in political affairs he rendered human and civil the 

uncivil savagery of the people, so that he merited the 

attributes not of man, but of a divinity. But so it is that 

great Fortune often leads to a great Destiny; Niobe, 

rendered Proud by so many Glories, became scornful of 

the Gods, and abolished the Cult of Latona, Goddess 

adored by the Thebans; she insulted Manto, daughter of 

Tiresia, a Seer and Priest of this same Goddess, while from 

Manto they obtained burnt Sacrifices to Latona. The Gods 

are avenged by the Death of the Despisers, and by an 

unforeseen Fate taking all the Children of Niobe. Anfione 

kills himself in despair, and Niobe, oppressed by great 

Sorrow, loses her Life. Manto, then was led by Fate to Italy, 

and received as Consort by Tiberino, King of Alba. 

It was a great Specialty of fabled Greece to allow some 

Variation in Poetic Recountings of such events, where 

some attributed to the Song of Anfione, and others to his 

Playing, the erection of the walls of Thebes; they made 

Latona appear with Arms in Hand; and her children 

Apollo and Diana to shoot the proud Thebans from 

Heaven, and to turn Niobe into stone. 

Historical Interpretation of the Metamorphoses 

by Ovid, of Niobe 

The following likelihoods are added. 

Anfione seized the kingdom of Thebes with the defeat of 

King Lico, his Predecessor, and it is supposed that the King 

of Thessaly, an ally of Lico, after many years, to avenge the 

slaughter of the latter, would have unexpectedly sent 

Creonte, his Son, to the Siege of Thebes; and that Creonte 

was enticed to such Warfare by the hope—implanted by 

Poliferno, Prince and magician of Attica—of enjoying the 

possession of Niobe’s beauty; Poliferno was honor bound 

to such revenge by his kinship to Dirke, second Consort of 

Lico, also killed by Anfione. 

153 



Che bramando Anfione viver al riposo, libero dal peso del 

Regno, dichiari Niobe assoluta Regolatrice del Soglio, e le 

dia Clearte per effecutore de suoi Decreti, richiamandolo 

alla Reggia dalle Selve, ov’egli à molto Tempo vivea, 

lontano da quella, per non morir vicino à Niobe, di cui 

fortemente s’era gia’invaghito, ma senza concepire 

speranza alcuna di corrispondenza. 

Che Tiberino non havendo ancora hereditato il Regno 

d’Alba dal Padre, portatosi in Grecia per desiderio di 

propagare le Glorie del suo Valore in Giostre, in Caccie, 

in Lotte, & in altri essercitii militari usati in quei Tempi da 

Greci, finalmente in Tebe s’innamori di Manto, e la 

conduca sua sposa nel Latio. 

RAPPRESENTATI. 

Niobe Regina di Tebe. 

Anfione Rè. 

Manto Donzella Tebana figlia di 

Tiresia Indovino, e Sacerdote di Latona. 

Clearte Prencipe Tebano. 

Creonte figlio del Rè di Tessaglia. 

Poliferno Prencipe d’Attica Mago. 

Tiberino figlio del Rè d’Alba. 

Nerea Nutrice di Niobe. 

COMPARSE. 

Di Sei figli, e 

Sei figlie di Niobe 

Di Dame, 

Paggi, e 

Deitá apparenti. con Niobe. 

Di Cavalieri, 

Paggi, e 

Popolo. con Anfione. 

Di Pastorelle con Manto. 

Di Servi con Tiresia. 

Di Nobili Tebani con Clearte. 

Di Guerrieri con Creonte, e Poliferno. 

Di Cacciatori con Tiberino. 

SCENE. 

NELL’ATTO I. 

Regale con Trono. 

Boscaglia. 

Regio Museo, che ostenta la Reggia dell’Armonia. 

Campagna con veduta di Tebe sfornita di Muraglie. 

154 


Since Anfione yearned to live in repose, free of the weight 

of the Kingdom, he declared Niobe absolute Ruler of the 

Land, and appointed Clearte as executor of her Decrees, 

recalling him to Thebes from the Woods, where he had 

lived for a long Time, far from the Kingdom, in order not 

to die near to Niobe, of whom he was still enamored, but 

without any hope of mutual affection. 

Tiberino, not yet having inherited the Throne of Alba 

from his Father, went to Greece desiring to add to the 

Glory of his Valor in Jousts, in Hunts, in Wrestling, and 

in other military exercises used at that Time by the 

Greeks; finally in Thebes he fell in love with Manto, 

married her, and led her to Latium. 

PERFORMERS. 

Niobe, Queen of Thebes 

Anfione, King [of Thebes] 

Manto, a Theban maiden, daughter of [Tiresia] 

Tiresia, a Soothsayer, and Priest of Latona 

Clearte, a Theban Prince 

Creonte, son of the King of Thessaly 

Poliferno, Prince of Attica, Magician 

Tiberino, son of the King of Alba 

Nerea, Nurse of Niobe 

APPEARANCES. 

Of Six sons and 

Six daughters of Niobe. 

Of Ladies, 

Pages, and 

False Deities with Niobe. 

Of Knights, 

Pages, and 

Citizens with Anfione. 

Of Shepherdesses with Manto. 

Of Servants with Tiresia. 

Of Noble Thebans with Clearte. 

Of Warriors with Creonte, and Poliferno. 

Of Hunters with Tiberino. 

SCENERY. 

IN ACT I. 

Royal Room with a Throne. 

Forest. 

Royal Study, which vaunts the Seat of Harmony. 

Countryside with a prospect of Thebes without Walls.

NELL’ATTO II. 

Anfiteatro con grande Globo aereo nel mezzo, che 

poscia aprendosi forma una Celeste. 

Infernale, che sorge nel vacuo di detta Scena, 

e poi si profonda. 

Colline con Fonte. 

Camare Regie. 

Pianura ingombrata da Capanne di Pastori. 

NELL’ATTO III. 

Sfera di Marte, che si trasforma poi in 

Solitudini con Grotte. 

Tempio di Latona. 

Piazza di Tebe. 

MACHINE. 

Gran Mostro, che si risolve in molti Guerrieri. 

Fantasma, che sorgendo di sotterra, forma grande 

Voragine in Aria. 

Mura di Tebe, che s’innalzano à poco à poco. 

Due Draghi infernali, che di sotterra conducono sù 

la Scena Creonte & Poliferno. 

Nube, che sorge in Aria, e nasconde li sudetti. 

Gran nuvolosa, che dall, alto scende con Creonte in 

apparenza di Marte. 

Carro trionfale fulminato da Latona, Apolline, e Diana, 

che compariscono in Aria con Deitá compagne. 

Caduta di molti Edificii ad un Terremoto. 

BALLI. 

Di Popolo in atto di adorar Anfione. 

Di Pastori. 

Di Soldati festeggianti. 

FURONO COMPOSTI. 

Dal Sig. r Francesco Rodier Maestro di Balli, 

& Aiutante di Camera di S. A. E. 

IN ACT II. 


Amphitheater with a large aerial Globe in the center, 

which after opening forms a Heavenly Body. 

Hell, which rises in the empty space of this Scene, 

and then sinks. 

Little Hills with Springs. 

Royal Chambers. 

A Plain filled with Shepherds’ Huts. 

IN ACT III. 

The Planet Mars, which then is transformed into 

A Lonely Place with Grottos. 

The Temple of Latona. 

A Square of Thebes. 

MACHINES. 

Enormous Monster, which turns into many Warriors. 

Shadow that, rising from underground, forms a great 

Chasm in the Air. 

Walls of Thebes, which raise themselves little by little. 

Two infernal Dragons, which from underground lead 

Creonte and Poliferno onto the stage. 

Cloud, which rises in the Air, and suddenly conceals them. 

Large Cloud, which descends from above with Creonte 

in the form of Mars. 

Triumphal Chariot, struck by Latona, Apollo, and Diana, 

who appear in the Air with the company of Gods. 

Falling of many Buildings in an Earthquake. 

BALLETS. 

Of the Citizens in the act of worshipping Anfione. 

Of Shepherds. 

Of celebrating Soldiers. 

WERE DEVISED. 

By Mr. Francesco Rodier, Master of the Ballets, 

& Groom of the Chamber of H. E. H. 

155 



ATTO I. 

Scena I. 

Regale con Trono in cui Niobe, & Anone circondati da 

numerosa loro Prole in mostra guerriera, Corteggio di 

Cavalieri, e Dame, e Nerea. 

Anone 

Venga Clearte. 

Niobe 

E che sarà? 

Anone 

Già udisti 

Niobe mio Cor, mia speme, 

Che de giorni tranquílli? 

Resa avara la mente, 

Di più compor mal soffre 

Con lo scettro la mano. A miei riposi 

Mal più s’adatta il Trono, & à bastanza 

Sotto il pesante incarco 

Del Diadema Regal sudò la Fronte. 

Alle Glorie ben conte 

Di me, di Te, de Figli, 

Stanche son già le Ismenie Incudi; e il Fato 

Più non può dar, per far un Rè beato. 

Tu, cui gli Dei formaro 

Di Nume il senno, e la Beltà di Dea, 

Hor ben con tua virtute 

Puoi, dando Legge al soglio, 

Serbarmi alla quiete, e se tu sei 

Risplendente mio Cielo, il Ciel ben suole 

Con istancabil moto 

Dar riposo alla Terra. homai da Boschi 

Tuo Compagno al gran peso 

Clearte io richiamai. 

Nerea 

Ohimè! 

Anone 

Fedele 

Questi, qual sempre saggio, 

Esseguirà tuoi cenni, & il tuo Impero 

Già decantare in lieta pace io spero. 

Nerea 

Oh bell’imbroglio in vero. 

Note: text with gray shading has been omitted from the 

performance; please see page 148 

156 


ACT I 

Scene I 

Royal Room with a Throne, in which are Niobe and 

Anone, many of their Children dressed as warriors, 

Court of Knights and Ladies, and Nerea. 

Anone 

Clearte is coming. 

Niobe 

And what then? 

Anone 

You have already heard, 

Niobe, my Heart, my hope, 

That my mind 

Craves tranquil days, 

My hand can no longer bear 

To rule with the scepter. The throne is badly suited 

To my peace of mind, and for long enough now, 

My Brow has sweated 

Beneath the weighty prison of the Royal Crown. 

The Deaf Ismenians † are already Tired 

Of oft-recounted Glories, 

Of me, of You, and of our Children, and Fate 

Can do no more to bless a King. 

You, whom the Gods formed 

With the wisdom of a God, and the Beauty of a Goddess, 

Surely now with your virtue 

You can, by conferring Law upon the throne, 

Keep me in peace; and if you are 

My Shining Heaven, the Sky is well-accustomed 

With tireless movement 

To give rest to the Earth. now from the Woods 

I call Clearte back, 

To be your Companion for this weighty position. 

Nerea 

Alas! 

Anone 

These faithful ones, 

Ever wise, 

Shall follow your orders, and of your Reign 

I hope now to sing in happy peace. 

Nerea 

O, lovely mess in truth! 

† See glossary of terms, pages 210–211

Niobe 

Dove son io, da qual soave incanto 

Dolcemente ferita, 

Sento l’Alma rapita? 

Ahi ben m’aveggio o caro, 

Che dal tuo Divin labro 

Escon si vaghe tempre, 

Perche io provi mai sempre 

Con mia felice sorte 

Dilettoso il languir, dolce la morte. 

Si si nel Regio Petto 

Sovrabondi la Gioia, e la grand’Alma 

Scarca d’esterne cure 

Di Consorte, di Figli, e di Vassalli, 

S’à Numi hora s’appressa, 

Poiche visse ad altrui, viva à se stessa. 

Nerea 

Per indurci à regnare, 

Fatica non si dura, 

Ch’allo scettro è proclive ogni Natura. 

Anone 

Sollievo del mio seno, 

Conforto del mio ardor. 

In tè ritrovo à pieno 

La pace del mio Cor. 

Sollievo, &c. 

Niobe 

Mia gioia, mio Diletto, 

Diletto di mia fè. 

Quest’Alma nel mio petto 

Hà vita sol per te 

Mia gioia, &c. 

Scena II. 

Clearte, e Sudetti. 

Clearte 

Ecco à Piè di chi impera 

Il suddito inchinato, Al Regio cenno 

Ecco homai del Vassal l’Arbitrio humile, 

E da boschi Clearte 

Ecco si toglie ad ubidire accinto 

Il voler del sovrano: 

Ahi ch’un Guardo di Niobe il Cor m’hà estinto (à parte. 

Nerea (à parte. 

Ei ritorna d’Amor nel Labirinto. 

Anone 

Già su’l Trono Celeste il Re de gl’Astri 

Librò l’Anno due volte, 

Da che l’humil soggiorno 

Frà le selve eleggesti, 

Niobe 

Where am I? By what sweet enchantment 

Do I feel my Soul ravished, 

Sweetly wounded? 

Alas, well I see, O darling, 

That from your Divine lips 

Issue such delightful timbres, 

That I always feel, 

With my happy fate, 

Delightful languor, and sweet death. 

Yes, yes, in the Bosom of the Ruler 

Joy over-abounds, and the great Spirit, 

Discharged of external cares 

Of Wife, of Sons, and of Subjects, 

If it now approaches the Gods, 

It is because having lived for others, it now lives for itself. 

Nerea 

It is not difficult 

To persuade someone to rule, 

For every nature is inclined to the scepter. 

Anone 

Relief of my breast, 

Comfort of my passion. 

In you again I find fully 

My Heart’s peace. 

Relief, etc. 

Niobe 

My joy, my Delight, 

Delight of my trust. 

This Soul in my bosom 

Lives only for you 

My joy, etc. 

Scene II 

Clearte and the Aforementioned. 

Clearte 

Behold, at the Foot of him who rules 

The subject bows; at the Ruler’s sign 

Here always is the humble Vassal’s Reward; 

And from the woods, Clearte, 

Here you are brought to obey 

The will of the sovereign: 

Alas, a Look from Niobe has crushed my heart. (aside) 

Nerea (aside) 

He returns to the Labyrinth of Love. 


Anone 

Now on the Celestial Throne, the King of the Stars 

Has counted two years 

Since you chose to live 

In humble habitation in the forests, 

157 



Et in ozio trahesti, 

Nelle romite Piagge 

In sembianza di Fera orme selvagge. 

Tempo è homai, che tù rieda 

A’ compensar con le vigilie illustri 

Si lungo oblio: nel Regno 

A sostener mie veci 

Della mia Niobe al anco 

Ti destinai. 

Clearte 

Che ascolto? 

Anone 

L’Arco talhor gran pezza 

Rallentato si serba, 

Perche poscia à grand’huopo 

Con più robusta tempra 

S’incurvi à i colpi à ben colpir lo scopo. 

Clearte (à parte. 

Dall’empio Amor deluso. 

Che risolvi mio core? 


Egli è confuso. 

Anone (Discende dal Trono, e cuopre Clearte d’una 

veste Regia. 

Sù di Regali spoglie 

Cinta la nobil salma, 

Mostri, che di regnar degna è quell’Alma. 

Tu con sì do Atleta 

Non temer mia Reina 

Forza d’invide stelle: 

Piu m’ardete io v’adoro o Luci belle. 

Miratemi begl’Occhi, 

E’ fatemi morir. 

I vostri dolci sguardi 

Avventan mille Dardi, 

Mà è caro ogni martir. 

Miratemi, &c. 

Scena III. 

Niobe, Clearte, Nerea, Corteggio. 

Niobe 

Splendetemi d’intorno 

Raggi d’eterna luce, e impresso resti 

Sù la fronte del sol così gran giorno. 

Clearte! 

158 


And have taken your ease 

On remote Shores, 

Wandering the wilds in the guise of a Beast. 

It is now time that you return 

To pay for such long oblivion 

With illustrious vigil: to the Throne, 

To rule in my stead 

At the side of my Niobe, 

I appoint you. 

Clearte 

What am I hearing? 

Anone 

Sometimes the Bow 

Is better served by slowing down 

For it can, in time of great need, 

With stronger tempering, 

Bend itself the better to hit the target. 

Clearte (aside) 

Deluded by wicked Love 

What do you resolve, my heart? 

Nerea (aside) 

He is confused. 

Anone (Descends from the Throne and covers Clearte 

with a Royal mantle) 

Come, with Royal clothing 

Gird the noble body, 

Show that this Soul is worthy to reign. 

With such a faithful Champion, 

Fear not, my Queen, 

The strength of evil stars: 

The more you inflame me, the more I adore you, O lovely Lights. 

Gaze at me, beautiful Eyes, 

And make me die. 

Your sweet glances 

Fling a thousand Darts, 

But every torment is sweet. 

Gaze at me, etc. 

Scene III 

Niobe, Clearte, Nerea, Court. 

Niobe 

Rays of eternal light, 

Shine all around me, and remain etched 

On the face of sun this great day. 

Clearte!


Ahi era guerra 

Frà l’Amor, e il rispetto 

Io racchiudo nel Petto 

Niobe 

Non rispondi? frà boschi. 

Forse la mutolezza 

Dalle Fere apprendesti? 


In gran periglio 

Io ti veggio mio Cor; Alma consiglio. 

Niobe 

O pur sordo à gli accenti 

I Tronchi imiti al susurrar de Venti? 

Clearte 

Nè da Tronco, ò da Fera 

Appresi io ciò giamai, 

Ma à venerar con il silenzio i Numi 

Dal mio Cor imparai. 

Nerea 

Si scuote affè. 

Niobe 

Dunque tuo peso sia 

Frà Popoli soggetti 

Il Culto propagar de miei gran pregi, 

Di Regina frà Dei, di Dea frà Regi. 

Clearte 

Ubbidirò fedele, ei primi voti 

Ecco porge il mio labro, 

Hor che prostrato imploro 

(Quasi dissi pietade) 

Benigni Inussi da quel sol, che adoro. 

Nerea 

Accorta invenzion. 

Niobe 

La fè ci è grata; 

Se muto fosti già, Niobe è placata. 

Nerea 

Buon premio in ver. 

Clearte 

Dimostra, ahi che non erro, 

Da due Lumi di foco Alma di Ferro. 


Alas, I hide a fierce battle 

Between Love and respect 

In my Breast. 

Niobe 

You don’t answer? Perhaps in the woods 

The muteness 

Of the Beasts overtook you? 


I see you 

In great danger, my Heart. Soul, counsel! 


Niobe 

Or deaf to words, 

You mimic the whispering of the Wind in the Branches? 

Clearte 

I never learned this 

From the Trees or the Beasts, 

Rather, I learned from my heart 

To venerate the Gods with silence. 

Nerea 

He wags his tongue indeed. 

Niobe 

Therefore, may it be your charge 

Among the subject People 

To spread the Cult of my worship, 

Of a Queen among Gods, of a Goddess among Rulers. 

Clearte 

I shall obey faithfully, and the first vows 

Here I offer from my lips, 

Now that I beg, prostrate, 

(You could almost say mercy) 

Beneficence from that sun which I adore. 

Nerea 

Shrewd fabrication! 

Niobe 

Your loyalty is pleasing to us. 

Though you were formerly silent, Niobe is now placated. 

Nerea 

Nice reward in truth! 

Clearte 

Alas, if I am not mistaken, a Soul of iron 

Is displayed by those fiery Eyes. 

159 



Niobe 

E’ Felice il tuo Cor, ne sai perchè. 

Un certo tuo sprezzo, 

Non sò qual tuo Vezzo 

M’invoglia di tè, 

E’ Felice, &c. 

Scena IV. 

Clearte, Nerea. 

Clearte 

Che sento? 

Nerea 

E che mai disse? 

Signor, humil Nerea, 

Hor teco si rallegra. 

Clearte 

Il rivederti 

M’è caro o da, a cui 

Sola son noti i miei infelici ardori. 

Nerea 

Ma felici al presente, 

Se pur Niobe non mente. 

Clearte 

E possibil ti sembra, 

Ch’ella senta pietà del foco mio? 

Nerea 

Il Cor di bella Donna è sempre pio. 

Clearte 

Ma se à lei sempre occulto 

Fù l’incendio del Core? 

Nerea 

Troppo ci vede, è pur e cieco Amore. 

Clearte 

Per te vive mia speme. 

Nerea 

Il Cor consola. 

Io penetrar prometto 

Gli Arcani di quel sen, per cui sospiri. 

Clearte 

Il ristoro tu sei de miei martiri. 

160 


Niobe 

Your Heart is Happy, and you know why. 

A certain nonchalance, 

A charm about you I can’t name, 

Attracts me to you. 

Your Heart is Happy, etc. 

Scene IV 


Clearte 

What do I hear? 

Nerea 

And whatever is she saying? 

Sir, humble Nerea 

Now with you, is cheered. 

Clearte 

Seeing you again 

Is dear to me, oh faithful one, the only one 

Who notices my unhappy ardor. 

Nerea 

But happy at present, 

If in fact Niobe doesn’t lie. 

Clearte 

Do you think it is possible 

That she feels pity for my passion? 

Nerea 

The Heart of a beautiful Woman is always charitable. 

Clearte 

But if the inferno in my heart 

Is always hidden to her? 

Nerea 

Too much is visible, and yet Love is blind. 

Clearte 

Because of you my hope lives. 

Nerea 

Comfort your Heart: 

I promise to figure out 

The Mysteries of that bosom for which you sigh. 

Clearte 

You know what will assuage my sufferings.

Nerea 

Quasi tutte 

Son le Brutte 

Quelle Donne, che non amano. 

Mà chi vanta in sen beltà. 

Nutre sempre al Cor pietà 

Per gli Amanti, che la bramano. 

Quasi tutte, &c. 

Scena V. 

Clearte. 

Rio destin che pretendi 

Hor che à canto al mio foco 

Tu à forza mi trahesti; e fummi vano, 

Per saldar la mia piaga; irne lontano. 

Son Amante, e sempre peno, 

Perche peno per chì nol sà 

Alla Lingua ò sciogl’il freno, 

O Amor dammi la libertà 

Son Amante, &c. 

Scena VI. 

Boscaglia. 

Tiberino con suoi seguaci. 

Tiberino 

Della famosa Tebe 

Ecco Amici le selve; il Piè già calca 

Le disiate Arene, 

Ch’esser dovran del valor nostro il Campo. 

Già de gl’Albani il Nome 

Mercè di nostre imprese, 

Nella Grecia superba hor và fastoso: 

Huom non v’è glorioso 

In Caccie, in Lotte, alla Palestra, al Corso, 

Che a noi n hor non ceda; Argo, e Micene, 

E Corinto, e Tessaglia 

Heroe non hà, che à Tiberin prevaglia. 

Alba essulti, e il Lazio goda. 

Il sudor di questa Fronte 

Nutre i Lauri al Dio Bifronte, 

Che al suo Crine i Fati annoda. 

Alba essulti, &c. 

Scena VII. 

Udendosi rimbombare di lontano per la selva Trombe di 

Cacciatori, Manto in atto fuggitivo inseguita da una 

Belva, e sudetti. 

Nerea 

Almost all of them 

Are Ugly, 

These ladies who don’t love. 

But she who vaunts inner beauty 

Always nourishes pity in her Heart 

For the Lovers who long for her. 

Almost all of them, etc. 

Scene V 

Clearte. 


Bitter destiny, what do you intend, 

Now that You’ve drawn me by force 

To the side of the one I burn for, and made me wander afar 

In vain to cure my smart. 

I am in Love, and I suffer 

Because the one for whom I suffer doesn’t know it. 

Either loosen my Tongue, 

Love, or release me. 

I am in Love, etc. 

Scene VI 

Forest. 

Tiberino with his followers. 

Tiberino 

Behold, Friends, the woods 

Of renowned Thebes; † our Feet now tread 

The longed-for Sands, 

That should be our Field of valor. 

Already the Name of Alba, † 

Thanks to our exploits, 

Is known throughout haughty Greece: 

There is no man glorious 

In the Hunt, in Wrestling, at Horsemanship, at Horse racing, 

Who does not cede to us in the end: Argos † and Mycenae, † 

And Corinth † and Thessaly, † 

Have no heroes who prevail over Tiberino. 

Alba exults, and Latium † rejoices! 

The sweat of this Brow 

Nourishes the Janus’s † Laurels 

Twined on his head by the Fates. 

Alba exults, etc. 

Scene VII 

Heard resounding from afar through the woods the 

Horns of Hunters, Manto in the act of eeing followed 

by a Beast, and the aforementioned. 

† See glossary of terms, pages 210–211 

161 



Tiberino 

Suon di lontana Caccia 

Fà rimbombar la selva. 

Manto (di dentro 

Aita o Numi. 

Tiberino 

Qual mesta voce? 

Manto 

Ahi non v’è scampo. oh sorte. 

Tiberino 

Che miro o Ciel? non paventar Donzella: 

In tua difesa è la mia destra o Bella. 

(Si pone à guerreggiare con la Fera, e l’atterra. 

Manto 

Oh valor; oh Virtute. 

Tiberino 

Il propio sangue 

Bevon l’ingorde Fauci; e già cadendo, 

A Trofei di mia destra 

Erge nuovo Trofeo con le sue spoglie; 

Tuo scherzo, e gioco, hor ch’il timor ti toglie. 

Manto 

Se la vita à me donasti, 

Nume sei di questa Vita. 

La memoria de tuoi Fasti. 

Nel mio Cor terrò scolpita. 

Se la vita, &c. 

Tiberino 

Di vezzo, e leggiadria 

Venere, non cred’io, fù più compita. 

Scena VIII. 

Tiresia cieco appoggiato ad un servo, e sudetti. 

Tiresia 

Figlia ove sei, Tesor dell’Alma mia! 

Tiberino 

Qual huomo appare? 

Manto 

Padre. 

Tiberino 

The sound of a faraway Hunt 

Resounds through the woods. 

Manto (from behind) 

Help, O Gods! 

Tiberino 

What is this sad voice? 

Manto 

Alas, there is no rescue. Oh, fate! 

Tiberino 

What do I see, O Heaven? Do not fear, young Lady, 

My right hand comes to your defense, O Beauty! 

(He sets himself to battle with the Beast and fells it.) 

Manto 

Oh, valor; oh, Manliness! 

Tiberino 

The greedy Maw 

Drinks its own blood; and now fallen, 

As a Trophy of my right hand, 

He arises as a new Trophy with his spoils; 

Your plaything, and a toy, now that your fear is gone. 

Manto 

If you gave me life 

You are the God of my Life 

The memory of your Deeds 

I shall keep inscribed in my Heart. 

If you gave, etc. 

Tiberino 

I don’t believe even Venus † was made 

Of such charm and grace. 

Scene VIII 

Blind Tiresia, leaning on a servant, and the aforementioned. 

Tiresia 

Daughter, where are you, Treasure of my Soul? 

Tiberino 

Who is this man who appears? 

Manto 

Father! 


162 


Tiresia 

Pur ti ritrovo 

Manto 

Honora o Genitore 

Il domator della Belva, 

Che ver nostre Capanne 

Ratta fuggendo à Cacciatori occulta, 

Assalí me poc’anzi, e mi disgiunse 

Dal anco tuo, dand’io alla fuga il piede. 

Tiresia 

Tutto vidde la mente: Heroe si prode 

E’ dell’Alban Regnante 

L’unico Herede, e Tiberin s’appella. 

Manto 

Figlio di Rè? 

Tiberino 

Come del ver favella? 

Tiresia 

Tiresia io son, cui Giove 

Diede mente presaga, 

Se Giunone sdegnata 

Privò d’esterni Lumi, & è mia Prole 

La Donzella difesa. 

Tiberino 

Ella m’inamma. 

Manto 

Io son d’Amore accesa. 

Tiresia 

Piacciati à nostri Alberghi 

Volger le Piante, & ivi 

Nelle cose future 

La serie ascolterai di tue venture. 

Amor t’attese al Varco, 

Per saettart’il Cor. 

Gli diè la sorte l’Arco, 

E il Dardo feritor, 

Amor t’attese, &c. 

Scena IX. 

Tiberino, Manto. 

Tiberino 

Svelò fatal la piaga. 

Tiresia 

At last I have found you again! 

Manto 

Honor, oh Father, 

The tamer of the Beast, 

That swiftly fleeing 

Toward our Huts, invisible to the Hunters, 

Attacked me a little earlier, and removed me 

From your side, whence I ran. 


Tiresia 

I saw everything in my Mind. You are the valiant Hero, 

And the sole Heir 

Of the Alban Royalty; and you are called Tiberino. 

Manto 

Son of the King? 

Tiberino 

How can you tell the truth? 

Tiresia 

I am Tiresia, to whom Jove † 

Gave a prescient mind, 

Although disdainful Juno † 

Deprived me of my Sight; and the Maiden you defended 

Is my Daughter. 

Tiberino 

She inflames me. 

Manto 

I am burning with love. 

Tiresia 

If it please you, turn your Steps 

To our Home, and there 

You shall hear the story 

Of your future exploits. 

Love attended you on your Journey 

To shoot your Heart. 

Fate gave him his Bow, 

And the fatal Arrow. 

Love attended you, etc. 

Scene IX 

Tiberino, Manto. 

Tiberino 

I revealed my mortal wound! 


163 



Manto 

Ahi quanto io più lo miro, ei più m’impiaga. 

Tiberino 

Dimmi o bella: sei sposa? 

Manto 

Ho intatto il ore 

Del Virginal candore. 

Tiberino 

Tua Patria? 

Manto 

Tebe. 

Tiberino 

Il nome? 

Manto 

M’appello Manto. 

Tiberino 

È à qual ufci eletta? 

Manto 

A Latona io ministro 

Col Genitor suo sacerdote. 

Tiberino 

E al Nume, 

Che prevale à gli Dei, 

Tù quali incensi offrisci? 

Manto 

Che mai dirò? tuoi detti 

Io non intendo. 

Tiberino 

Al Dio fanciul bendato? 

Manto 

Nè meno. 

Tiberino 

Al Dio Cupido? 

Manto 

M’è ignoto. 

Manto 

Alas, the more I look, the more he wounds me! 

Tiberino 

Tell me, oh lovely one: are you married? 

Manto 

The flower of my Virginity 

Is intact. 

Tiberino 

Your Country? 

Manto 

Thebes. 

Tiberino 

Your name? 

Manto 

I am called Manto. 

Tiberino 

And to what service are you dedicated? 

Manto 

I minister to Latona † 

With my Father, her priest. 

Tiberino 

And to the God 

Who rules over the gods, 

What incense do you offer? 

Manto 

(Whatever shall I say?) I do not understand 

Your words. 

Tiberino 

To the blindfolded child-God. 

Manto 

I understand less. 

Tiberino 

To the God Cupid? † 

Manto 

He is unknown to me. 


164 


Tiberino 

Oh stolto Core, 

Tu non conosci Amore? 

Tu non sai che sia diletto, 

Non sai dir che sia conforto. 

Senza Amor un Cor è morto, 

Senza Cor non vive un Petto 

Non sai dir che sia conforto, 

Tu non sai che sia diletto. 

Scena X. 

Manto 

Oh d’Amor troppo ignaro; e cosi tosto 

Vuoi, che pudico seno 

A favellar d’Amore 

Scioglia la Lingua? e non ti disser gl’Occhi, 

Ahi quest’occhi dolenti, 

L’Autor de miei tormenti? 

Poco in Amor sagace: 

Lingua d’amante Core 

Meglio parla d’Amore all’hor che tace. 

Vuoi ch’io parli, parlerò. 

Mà se chiedo poi Mercè 

Mio Tesor che a di mè, 

Se mercè poi non havrò? 

Vuoi, &c. 

Scena XI. 

Di lontano all’improviso apparisce smisurato Mostro, 

che portandosi al Proscenio, ad un tratto si risolve in 

molti Guerrieri, lasciando in una Nuvoletta à Terra. 

Creonte in atto di dormire, e destro Poliferno. 

Poliferno 

Dormi Creonte, e in tanto 

Sogna ò Prole guerriera 

Del Tessalo Monarca 

L’alta Beltà, dicui con forza ignota, 

Io t’impressi l’Immago in mezzo al Core. 

Fia de tuoi sogni autore 

Di Megera il agello, acciò che spinto 

Da infuriati sensi, 

Rechi al Regno Tebano incendi immensi. 

Creonte 

Che vago sen. 

Poliferno 

Con i Fantasmi homai, 

Opre di Magic’arte 

A’ vaneggiar comincia 

Tiberino 

Oh, foolish Heart, 

You don’t know Love? 

You don’t know what delight is, 

You don’t know what comfort is. 

Without Love, a Heart is dead, 

Without a Heart, a Breast does not live. 

You don’t know what comfort is, 

You don’t know what delight is. 

Scene X 


Manto 

Oh, you don’t understand Love; thus so soon 

You want my pure heart 

To speak of Love 

With a loose Tongue? and do my Eyes not tell you, 

Alas, these sad eyes, 

The Perpetrator of my sorrows? 

You are ignorant about Love: 

The tongue of a lover’s Heart 

Speaks more eloquently about Love when it is silent. 

You want me to speak? I shall speak. 

But if I ask for Mercy, 

My Treasure, what will become of me, 

If I don't have that mercy? 

You want me to speak? 

Scene XI 

From a distance an enormous Monster appears, which 

as it is carried to the Proscenium, suddenly turns into 

many Warriors, released to the Ground in a little Cloud. 

Creonte asleep, and to his right, Poliferno. 

Poliferno 

Sleep, Creonte, and meanwhile 

Dream, O warrior Offspring 

Of the Thessalian Monarch, 

Of the great Beauty whose image I engrave 

In your Heart with my occult powers. 

May the author of your dreams be the 

The scourge of Megaera, † 

So that impelled by raging senses you 

Will feel great passion for the Theban Queen. 

Creonte 

What a delightful bosom! 

Poliferno 

Now through these Fantasies 

And enchantments, 

May delight begin. 


165 



Creonte 

È Donna, ò Dea? 

Ahi, ch’un Guardo mi bea. 

Poliferno 

Scosso da interna face 

Ecco si desta. 

Creonte 

Ferma 

Ferma o Nume adorato, 

Mia delizia, mio Ben, Anima mia, 

Dove fuggi? Mà dove, 

Dove mi trovo? & à qual aure io spiego 

Gl’immoderati affetti? 

Poliferno 

Son Forier d’empie stragi i suoi diletti. 

Creonte 

Dove sciolti à volo i vanni 

Diva mia da me fuggisti? 

Se del sonno infrà gl’inganni 

À bearmi tu venisti. 

Dove sciolti, &c. 

Poliferno 

Creonte e che ti pare 

Di Niobe, che sognando, 

Già conoscer ti fei? 

Creonte 

Ahi ch’in Beltà non cede 

A gl’Astri, à Delia, al Sole, 

S’hà del Sol le Pupille 

Della Luna i candori, 

De gl’Astri le faville. 

Poliferno 

Sù, per goder ben tosto 

Di cotanta Beltà, senza dimore 

Tebe si assaglia, e cada 

Anone svenato; 

Sia Lico vendicato, 

Il tuo gran zio, cui tolse 

Con essecrando scempio 

E’ la vita, & il Regno, 

Anone l’indegno. 

Nuovo soglio, e nuova Bella 

À goder ti guida il Fato, 

À tuo prò la sua facella 

Creonte 

Is it a Woman, or Goddess? 

Alas, that one Glance might bless me! 

Poliferno 

Shaken by inward fire, 

Behold, he awakens. 

Creonte 

Stop! 

Stop! O adored Goddess, 

My delight, my Beloved, my Soul! 

Where do you flee? But where, 

Where do I find myself? And to what breeze do I express 

These reckless feelings? 

Poliferno 

His delights are Forerunners of bitter slaughters. 

Creonte 

Where have you fled, my Goddess, 

With your wings spread in flight, 

If you came to make me happy, 

Deceiving me as I slept? 

Where have you fled, etc. 

Poliferno 

Creonte, what do you make 

Of Niobe, whose acquaintance 

You’ve just made in a dream? 

Creonte 

Ah, she would not cede in Beauty 

To the Stars, to Delia, † or to the Sun, 

Even if she had the Eyes of the Sun, 

The whiteness of the Moon 

And the glitter of the Stars. 

Poliferno 

Come, in order that soon you may enjoy 

Such Beauty, let Thebes be attacked 

Without delay, and 

Anfione fall bleeding. 

Your great uncle, Lycus, † 

Will be avenged: he from whom 

Unworthy Anfione took 

Life and Kingdom 

With accursed torture. 

Fate guides you to enjoy 

A new throne, and a new Beauty. 

In your cause Love waves his torch 


166 


Scuote Amor con Marte armato. 

Nuovo soglio, &c. 

Scena XII. 

Creonte 

À voi di Tracia, e Gnido 

Onnipotenti Numi, 

Se non sarete à miei desiri avarí, 

Ergerò nuovi Altari 

Accesi ogn’hor di Nabatei Profumi. 

Sia di Nemesi il ferro 

Debellator dell’usurpato soglio; 

E sia da Citerea, 

Come à Paride in Sparta, à me concesso 

Dell’Helena Tebana hoggi il possesso. 

Troppo caro è quel bel Volto, 

Che dal seno il Cor m’hà tolto, 

Ne saprei che più bramar. 

Goderò del Ciel le faci, 

Se quei Lumi si vivaci 

Potrò giunger à baciar. 

Troppo caro è quel, &c. 

Cosi vago è quel sembiante, 

Che quest’Alma ha’ resa amante, 

Che à lui cede ogni beltà. 

Il mio Cor sarà beato, 

S’al mio sen quel Sen bramato 

Sorte amica stringerà. 

Cosi vago è quel, &c. 

Scena XIII. 

Regio Museo, che ostenta la Reggia dell’Armonia. 

Anone 

Dell’Alma stanca à raddolcir le tempre. 

Cari Asili di Pace à voi ritorno: 

Fuggite pur fuggite 

Da questo seno o de Regali fasti 

Cure troppo moleste, egri pensieri; 

Che val più de gl’Imperi 

In solitaria soglia, & humil Manto 

Scioglier dal Cor non agitato il Canto, 

Sfere amiche hor date al Labro 

L’Armonia de vostri giri. 

E’ posando il Fianco lasso, 

Habbi moto il Tronco, il sasso 

Da miei placidi respiri, 

Sfere, &c. 

With the well-armed Mars. † 

Fate guides you, etc. 

Scene XII 

Creonte 

To you all-powerful Gods 

Of Thrace † and Knidos, † 

If you will not be miserly with my desires, 

I shall erect new Altars 

Always burning with Nabatene † Perfumes. 

May my sword be like that of Nemesis, † 

The conqueror of the usurper’s throne, 

And may Venus, 

Like Paris † in Sparta, † cede to me, 

That I might possess this Theban Helen † today. 

All too precious is that beautiful Face, 

That has taken my Heart from my breast, 

It knows not what further to yearn for. 

I shall enjoy the lights of that Heaven, 

If I can succeed in kissing 

Those lively Eyes. 

All too precious is that, etc. 

So delightful is that face 

That this Soul has surrendered, a lover, 

To which every beauty cedes. 

My Heart shall be blessed, 

If friendly Fate will clasp 

That yearned-for Breast to my breast. 

So delightful is that face, etc. 

Scene XIII 

Royal Study, which vaunts the Seat of Harmony. 

Anone 

To refresh my tired Soul 

I return to you, dear sanctuaries of Peace. 

Flee, flee then 

From this breast, oh cares of Royal pomp, 

Troubling, sick thoughts; 

For it is better to release the Song 

From an easy Heart, in solitary habitation 

And humble Clothing, than from the Throne. 

Friendly spheres, now give my Lips 

The Harmony of your rotation. 

And resting my weary Limbs 

May the Tree, the Stone, have motion 

From my peaceful breathing. 

Friendly spheres, etc. 



167 



Scena XIV. 

Niobe, & Anone. 

Niobe 

Anon mio Desio, 

Mio Tesoro, Cor mio: 

Anone 

Mia Luce, mia pupilla. 

Niobe 

Ecco à te vola 

Tronco, e Sasso animato 

Il Cor innamorato. 

Vorrei sempre vagheggiarti, 

Vorrei sempre star con tè. 

Non hà pace, non hà bene, 

Vive ogni hora frà le pene 

Da tè lungi la mia fè 

Vorrei sempre, &c. 

Scena XV. 

Clearte, Nerea, Anone, & li Sudetti. 

Nerea 

Eccola. 

Clearte 

Ahi Cor resisti. 

Niobe 

A che vieni? 

Clearte 

Di Tessali Oricalchi 

Rimbomba il suol Tebano audace stuolo 

D’armate schiere innonda, 

Qual Torrente improviso, 

Le Beotie Campagne: à me non resta 

Che con pronte Falangi 

Espor la vita alla difesa; e i cenni 

Ad inchinare, ad ubbidire io venni. 

Anone 

Che sento? 

Niobe 

E non rammenta 

Il Tessalo superbo 

Scene XIV 

Niobe, and Anone. 

Niobe 

Anfion, my Desire, 

My Treasure, my Heart: 

Anone 

My light, my eyes. 

Niobe 

Behold, the Tree and Stone, 

Come to life, fly to you, 

The Heart in love. 

I want to delight you always, 

I want to be with you always. 

My heart has no peace, no well-being, 

It lives in constant pain 

When it is far from you, my faith. 

I want to, etc. 

Scene XV 

Clearte, Nerea, Anone, and the Aforementioned. 

Nerea 

There she is! 

Clearte 

Alas, my Heart, resist. 

Niobe 

Why do you come here? 

Clearte 

The Theban lands resound 

With Thessalian trumpets, 

And like a wild Torrent, 

A daring troop of armed men floods 

The Boethian † Countryside: no other way was left me 

But with ready Infantry 

To offer my life to the defense; and I have come 

To submit and obey orders. 

Anone 

What am I hearing? 

Niobe 

And does he not remember, 

This haughty Thessalian, 


168 


Quali sian le nostr’Armi? insano venga, 

E al cenere gelato 

Di Lico debellato, 

Giunga ceneri nove. 

Anone 

E pur ritorna 

L’Alma à i Tumulti: ahi ch’è in un Regio seno 

Breve luce di Lampo ogni sereno. 

Niobe 

Non ti turbar Idolo mio. 

Anone 

Discioglie 

Ogni nube di duolo 

De tuoi celesti sguardi un Raggio solo. 

À premunire intanto 

Gl’animi de Vassalli 

Di costanza, e di fede, 

Mi parto o cara. 

Niobe 

E in breve 

Io seguirò il tuo piede. 

Anone 

E’ di sasso chi non t’ama, 

E’ di gel chi non t’adora. 

Provo io ben ch’un Cor è poco 

À capir l’immenso foco, 

Che per tè mi strugge ogn’hora. 

E di sasso chi non, &c. 

Scena XVI. 

Niobe, Clearte, Nerea. 

Nerea 

E tu qual gelo, ò sasso, 

Muto ancor te ne stai? 

Clearte 

Son morto ahi lasso 

Niobe 

Clearte hoggi frà l’Armi 

Qual Divisa destini? 

Nerea 

Animo. 

Clearte (à parte 

Scopri 

Mio Cor la chiusa amma: 

Scolpito havrà lo scudo 


Just what our weapons are? Let the madman come, 

And to the cold ashes 

Of the vanquished Lycus, 

He will add new ashes. 

Anone 

And so my Soul returns 

To the tumult. Ah, in a Royal breast 

Each moment of serenity is but a flash of Lightning. 

Niobe 

Do not be disturbed, my Idol. 

Anone 

A single Ray 

Of your heavenly glances 

Dissipates every cloud of sorrow, 

Meanwhile, to rouse 

The souls of my Vassals 

To constancy and faithfulness 

I go now, my dear one. 

Niobe 

And shortly 

I will follow in your steps. 

Anone 

He is made of stone who does not love you, 

And of ice who does not adore you, 

I know too well that one Heart is not sufficient 

To understand the immense fire 

Which constantly consumes me with love for you. 

He is made of stone who does not, etc. 

Scene XVI 

Niobe, Clearte, Nerea. 

Nerea 

And you, like ice or stone, 

You still remain mute? 

Clearte 

I’m dead, alas! 

Niobe 

Clearte, what side will you take today 

Amongst the Armed? 

Nerea 

Courage! 


Reveal, 

My Heart, the hidden flame: 

Your shield shall have the protection of 

169 



D’Encelado il gran Monte, 

Che ogn’hor da Nevi oppresso, 

D’interno incendio avvampa. 

Niobe 

E il motto? 

Clearte 

Fia. 

Perche al Ciel aspirai 

Nerea 

Di ben capirlo affè 

Ella s’intenderà meglio di mè. 

Niobe 

Non intendo il concetto; hor via lo spiega. 

Clearte 

Hor m’assisti o Cupido. 

Nerea 

Ardir ci vuole. 

Clearte 

D’un Cor la sorte esprimo, 

Che ad un Ciel di Beltade 

Sollevando il Desio 

Da duo bei Lumi alteri 

Fulminato sen giace 

Sorto monte di duolo; e non osando 

Scoprir l’incendio interno, 

Gela al di fuori, e chiude in sen l’Inferno. 

Niobe 

E di qual Core intendi’. 

Clearte 

Nerea perduto io sono. 

Nerea 

Sù viene adesso il buono. 

Clearte 

O mio Cor sventurato. 

Niobe 

E qual sen l’hà piagato? 

Clearte 

Gelar mi sento. 

The great Mountain of Enceladus † 

Which is always covered with Snow, 

But contains within a fiery volcano. 

Niobe 

And your motto? 

Clearte 

May it be: 

“Because I aspired to Heaven.” 

Nerea 

To really conceive of this, in truth, 

She’ll understand better than I. 

Niobe 

I don’t understand the meaning; now go on, explain it! 

Clearte 

Now help me, O Cupid! 

Nerea 

We must be daring. 

Clearte 

It expresses the fate of a heart 

Which Raises its Desire 

To a Heavenly Beauty; 

From two beautiful, proud Eyes, 

Laying thunderstruck 

Under a mountain of sorrow, and not daring 

To reveal the fire within, 

Freezes outwardly, and hides an Inferno within its breast. 

Niobe 

And which heart do you mean? 

Clearte 

Nerea, I am lost. 

Nerea 

Come on, now comes the good part! 

Clearte 

Oh, my unfortunate Heart. 

Niobe 

And which breast has wounded it? 

Clearte 

I feel frozen. 


170 


Nerea 

Presto 

Bisogna dire il resto. 

Niobe 

Segui: non parla. 

Clearte 

Oh Numi. 

Niobe 

Io pur son certa 

A gran Tempo, ch’ei vive 

Di me tacito amante. 

Clearte 

Svenami pure o Cielo. 

Nerea 

È delirante. 

Clearte 

Perdona o mia… 

Niobe 

Nò ferma: 

Del tuo Cor il martire 

Io più non voglio udire. 

Segui ad amar così 

Ne mai parlar di più. 

Per chi t’alletta, e piace, 

All’hor che più si tace, 

Bella e’la servitù. 

Segui ad, &c. 

Scena XVII. 


Clearte 

E voi, che mi struggete, 

Voracissime amme, 

Dal sen che rispondete? 

Nerea 

Oh sciocca frenesia; tu non intendi 

Di Cupido i precetti: 

Con le Donne ei non vuol tanti rispetti. 

Clearte 

C’hò da morir tacendo 

Il Cor l’indovinò. 

C’hò da tacer morendo 

Lo stral, che m’impiagò 

C’hò da, &c. 

Nerea 

Quick, 

You have to say the rest! 

Niobe 

Go on. He’s not speaking. 

Clearte 

Oh Gods! 

Niobe 

And yet, I’m certain 

That for a long Time he has been 

My silent adorer. 

Clearte 

Kill me, O heaven! 

Nerea 

He’s delirious. 

Clearte 

Forgive me, O my… 

Niobe 

No, stop: 

I no longer wish to hear 

The sufferings of your Heart. 

Go on loving me thus, 

But never speak of it again. 

For the one who delights and pleases you, 

The more you are silent, 

The more beautiful the service. 

Go on, etc. 

Scene XVII 


Clearte 

And you, who consume me, 

Most voracious flames, 

What do you respond from my heart? 

Nerea 

O, blind frenzy; you don’t understand 

Cupid’s precepts: 

With Women, he doesn’t want so much respect. 

Clearte 

My heart understood 

That I must die silent. 

And dying, I must be silent about 

The arrow that wounded me. 

My heart understood, etc. 


171 



Scena XVIII. 

Nerea. 

Forsennato vaneggia, e non conosce 

L’arti sagaci usate 

Dalle Donne, che accorte 

Sono d’esser amate. 

Io giurarei, che Niobe 

Del suo Amor avveduta, 

Se ne sia compiaciuta; 

E mostrandosi sorda, 

Voglia per qualche di dargli la Corda. 

Che agli assalti degli amanti 

Sian le femmine costanti, 

Io giàmmai nol crederò. 

Sempre à prova 

E vedo e sento, 

Che ne brama 

Ogn’una cento, 

E a nessun può dir di nò. 

Che agli assalti, &c. 

Scena XIX. 

Campagna spatiosa con vista di Tebe sfornita di Muraglie. 

Creonte, Poliferno. 

Poliferno 

Ecco Tebe. 

Creonte 

O adorata 

Sfera del mio bel Nume; il Piè divoto, 

Come il Cor riverente, à tè già volgo; 

Deh pietosa m’accoglia, 

E fà che nel tuo seno 

Spinto da impatiente, alto desio 

Possa celato almeno 

Porger taciti voti all’Idol mio. 

Qui smisurato Fantasma apparirà di sotterra. 

Poliferno 

Per condurci ove brami 

Occulti, e inosservati, 

Ecco dell’opre mie Ministro eletto. 

Creonte 

Oh Portento. 

172 


Scene XVIII 

Nerea. 

Raving madman, does he not know 

The wise arts used 

By women who are wily 

About being loved? 

I would swear that Niobe, 

Aware of his Love, 

Is pleased about it, 

And while appearing deaf to him 

Wants to somehow dangle him a Rope. 

That women stand strong 

Against the assaults of lovers— 

I’ll never believe it. 

I’ve always known, 

And seen and felt, 

That every one of them longs 

For hundreds 

And cannot say no to any of them. 

That against the assaults, etc. 

Scene XIX 

An open countryside with a view of Thebes without walls. 

Creonte, Poliferno. 

Poliferno 

Behold Thebes! 

Creonte 

O adored 

Sphere of my beautiful Goddess, my devoted Feet, 

Reverent, like my Heart, now turn to you; 

Ah, receive me mercifully, 

And may it be that in your bosom, 

Spurred by impatient, noble desire 

I may, concealed, at least 

Offer silent vows to my Idol. 

Here an immense Ghost shall appear from underground. 

Poliferno 

To conduct you to that which you crave, 

Hidden and unobserved, 

Behold the chosen Deputy of my works. 

Creonte 

Oh, Monstrous!

Poliferno 

In brev’hora 

Potrai à luci aperte 

Vagheggiar non veduto, 

L’adorato sembiante 

Della bella Regnante 

Qui dalla bocca del Fantasma si forma gran Voragine in 

Aria. 

Creonte 

Che veggio? 

Poliferno 

À noi s’appresta 

Frà quelle fauci incognita la via: 

Movi sicuro il passo, e là t’invia. 

Creonte 

Anderei n nell’Inferno, 

Per mirar Volto si vago. 

Se più grande il Foco interno 

Desta in me la bella immago 

Anderei, &c. 

Entra nella Voragine. 

Scena XX. 

Poliferno. 

Oh di Lico infelice 

Infelice Consorte, à me Germana, 

Dirce, Dirce deh sorgi; 

E in Ombra almeno scorgi, 

Che se Vittima altera 

Col tuo sposo Regnante al Piè cadesti 

Del superbo Anone; 

A vendicar d’entrambi 

L’ingiurioso Fato, 

Provoca Poliferno 

Tessaglia all’Armi, & à battaglia Averno. 

Fiera Aletto 

Del mio Petto 

Non cessar di mover guerra. 

Holocausti più devoti 

T’offrirò, s’hoggi a’ miei voti, 

Rè tiran da tè s’atterra 

Fiera, &c. 

Entra nella Voragine, la quale si chiude profondandosi. 

Poliferno 

Shortly 

You shall be able, with open eyes, 

To enjoy unseen 

The beloved face 

Of the beautiful Queen. 


Here from the mouth of the Ghost a great Abyss forms 

in the Air. 

Creonte 

What do I see? 

Poliferno 

The secret way 

Is ready for us between these jaws: 

Go with confidence, and there you shall be led. 

Creonte 

I would go even to Hell 

To gaze on a Face so charming. 

For her lovely image 

Has awakened greater inner Fires in me. 

I would go, etc. 

He enters the Abyss. 

Scene XX 

Poliferno. 

O, my Sister, unhappy Lycus’s 

Unhappy Consort, 

Dirke, † Dirke, ah, arise, 

And although a shade, take note 

That though you fell a proud Victim 

With your Royal spouse at the Foot 

Of haughty Anfione, 

To avenge your 

Unjust Fates, 

Poliferno Provokes 

Thebes to arms, and Hell to battle. 

Proud Alecto, † 

In my breast 

Do not cease to make war. 

I shall offer you devout sacrifices 

If today, as I pray, 

The tyrant king falls to you. 

Proud Alecto, etc. 

He enters the abyss, which encloses him in the deep. 


173 



Scena XXI. 

Anone seguito da numeroso Popolo. 

Anone 

Popoli o voi, ch’un Tempo 

Da inospite Foreste 

I passi rivolgeste 

Tratti al suon de miei Carmi, 

A i Cittadini Marmi: 

Voi, che à me dati in cura 

Da Giove il mio gran Padre 

Sudditi sol di Nome, 

Ma più cari de Figli, 

Mi vedeste ad ogn’hora 

In dolce Impero à vostro Bene eletto, 

Di Scettro in vece, essercitar l’affetto. 

Voi chiamo, e da voi spero 

Di Tebe la difesa, i vostri Cori, 

Che in paragon di fede 

Seppero di Diamante esser più volte, 

Ben sapranno all’assalto, 

Che Tessaglia hor ci muove, esser di smalto. 

Sù, sù destisi in voi 

Desio di nuove glorie; un Rè che v’ama, 

Si segua frà perigli; 

E à temerari insulti 

Il corso si prescriva. 

Voci di Popolo 

Viva Anone Viva. 

Anone 

Voci d’alta costanza: Alme fedeli 

Degni premi attendete; 

Che mal vive un Regnante, 

Se in premiar non hà Destra abbondante. 

Come Padre, e come Dio, 

Sommo Giove hor mi proteggi 

E l’Ardir d’un empio, e rio, 

Col tuo Fulmine correggi. 

Come Padre, &c. 

Qui si vedona à poco à poco andar sorgendo intorno di 

Tebe le mura. 

Mà che miro? che scorgo? i marmi, i sassi 

Animati al mio Canto, 

Forman di Tebe i Muri: oh del gran Nume 

Onnipotente forza, 

Se un moto sol del tuo voler presso 

Anima i sassi, e volve in Ciel l’Abisso. 

174 


Scene XXI 

Anone followed by numerous people. 

Anone 

People, O you who Once 

Turned your steps 

From the inhospitable Forests, 

Drawn by the sound of my Verses 

To the marble Walls of the City: 

You, who were given unto my care 

By Jove, my great Father, 

Subjects only in Name, 

But dearer than Sons, 

You have seen me now 

Elected to gently Reign for your Benefit, 

In place of the Scepter, exercising affection. 

I call you, and from you I hope 

For the defense of Thebes; your Hearts 

Which as paragons of loyalty 

I have known to be of Diamond time and time again, 

Against the attack Thessaly now mounts 

You know well that they will be hard as enamel. 

Come, come, waken in yourselves 

The desire for new glories; follow the King who loves you 

Into the danger; 

And to audacious insults 

The course is prescribed. 

Voices of the People 

Long live Anfione! 

Anone 

Most loyal voices: faithful Souls, 

Wait for your well-deserved rewards; 

For unhappy is a Ruler 

Who does not have abundant Right above all. 

As a Father, and as God, 

Great Jove, now protect me, 

And with your Thunderbolts, punish 

The Daring of a wicked and evil one. 

As a father, etc. 

Here we see the walls of Thebes rising little by little. 

But what do I see? What do I perceive? The marble, the stones, 

Animated by my Song 

Form the Walls of Thebes: oh Omnipotent strength 

Of the great God, 

If a movement of your will appoints 

A soul to stones, Hell has turned into Heaven.

Scena XXII. 

Nerea fuggendo atterrita poi Niobe con numeroso 

Corteggio, & Anone rapito da Meraviglia. 

Nerea 

Assistetemi, 

Soccorretemi, 

Numi del Cielo. 

Frà quei sassi, 

Che s’aggirano intorno à i Passi, 

Io divengo di pietra, io son di gelo. 

Assistetemi, &c. 

Qui termina l’erettione delle Mura sudetti. 

Niobe 

Niobe ove giungi, e che mirate o luci? 

Anone 

Sospirata Reina 

Ecco per virtù ignota, 

Di Tebe le Muraglie 

Inalzate à Momenti 

Del mio labro à i Concenti. 

Nerea 

Oh Meraviglie! 

Niobe 

E qual profano ardire 

Hor può negarti, o caro, 

Degno vanto di Nume? 

S’hor di Portenti è fabro 

Il tuo canoro Labro. 

Sù sù di sacri Altari 

S’ingombri il Suolo; e al nuovo Dio Tebano 

Ardan le Mirre elette; il Ciel discopre 

I Numi in Terra alle mirabil opre. 

Con il tuo strale Amore 

Traggi questo Core 

Più rigido, e più er. 

Che l’Alma innamorata 

All’Idol mio svenata 

Vuò Vittima cader. 

Con il tuo, &c. 

Scena XXIII. 

Tiresia, e Sudetti. 

Tiresia 

O d’insano ardimento 

Sensi troppo superbi: io parlo à voi 

O Mortali Regnanti, 

Scene XXII 


Nerea eeing terried, then Niobe with numerous of the 

Court and Anone rapt with Marvel. 

Nerea 

Assist me, 

Help me, 

Gods of Heaven. 

Amidst these rocks 

Swirling around my Feet, 

I become stone, I am ice. 

Assist me, etc. 

Here the erection of the aforementioned Walls is done. 

Niobe 

Niobe, where are you, and what do you see, O eyes? 

Anone 

Sighed-for Queen, 

Behold, by unknown strength 

The Walls of Thebes 

Raised in a Moment 

From the Harmony of my lips. 

Nerea 

Oh, Marvels! 

Niobe 

And what earthly audacity 

Can now deny, O darling, 

That you can boast of Divinity? 

For now Your resounding Voice 

Is endowed with great power. 

Come, come, fill the earth with sacred Altars 

And to the new Theban God 

Burn the choice Myrrh; Heaven reveals 

Gods on Earth in miraculous works. 

With your arrow, Cupid, 

Pierce this Heart, 

More severe and more fierce. 

I wish my enamored Soul 

To fall to my idol, 

A sacrificial Victim. 

With your, etc. 

Scene XXIII 

Tiresia and the Aforementioned. 

Tiresia 

O too-haughty feelings 

Of mad boldness: I speak to you, 

O Mortal Kings, 

175 



Che con voglie arroganti 

Usurpar pretendete à i Numi eterni 

Gli honor dovuti in Terra; alla Vendetta. 

L’irato Cielo alti castighi affretta. 

Anone 

À quai Detti proruppe? 

Nerea 

Come ardito parlò? 

Niobe 

Tanto presumi 

Vil riuto del Tempo, Huom senza senno, 

Come privo di Lumi? 

Tiresia 

Senza tema di pena 

Cosi parla chi vive, 

Per servir à gli Dei. 

Niobe 

Ti defendan dal Cielo, 

S’io nel suol ti calpesto; (Gettandolo à terra. 

E’ da ciò apprendi o temerario il resto. 

Tiresia 

Ah sacrilega, ah empia. 

Nerea 

Oh pocco saggio. 

Anone 

Serena o mio bel Sole 

De vaghi lumi il Raggio. 

Niobe 

Ritornandoti in Braccio, 

Torno à godere, e ogni rancor discaccio 

Anone 

Mia Fiamma, 

Niobe 

Mio Ardore 

à 2. 

Andianne à gioir. 

Anone 

Per te dolce pena, 

176 


Who with arrogant will 

Intend to usurp from the eternal Gods 

The honor they are due on Earth; to War! 

Angry Heaven hastens to inflict great punishment. 

Anone 

With what words does he burst forth? 

Nerea 

How can he speak so boldly? 

Niobe 

You dare presume so much, 

Contemptible cast-off of Time, witless Man, 

Sightless one? 

Tiresia 

With no fear of suffering, 

Thus speaks one who lives 

To serve the Gods. 

Niobe 

May Heaven defend you, 

If I throw you to the ground; (Throwing him to the ground.) 

And from that learn the rest, oh rash one. 

Tiresia 

Ah, sacrilegious, oh, wicked one! 

Nerea 

Oh, unwise! 

Anone 

Oh, my beautiful serene Sun, 

Ray of lovely light from delightful eyes. 

Niobe 

Returning to your Arms 

I turn to pleasure, and every rancor disappears. 

Anone 

My Flame, 

Niobe 

My Passion, 

à 2. 

Let us go to rejoice. 

Anone 

For you sweet pain,

Niobe 

Mia cara Catena, 

à 2. 

M’è grato il morir. 

Mia, &c. 

Nerea 

Tu con Lingua si sciolta 

Resta, e impara à parlare un’altra volta. 

Scena XXIV. 

Tiresia, e poi Manto, e Tiberino. 

Tiresia 

Numi datemi aita, alla mia fede 

Spero da voi mercede. 

Manto (Non vedendo ancora Tiresia per terra. 

Signor vedi, & stupisci 

Ciò, che testè la Fama 

A noi recò: di Tebe alzò le Mura 

Anone col Canto. 

Tiberino 

Oh gran virtude, oh incanto. 

Tiresia 

Chi mi sovviene, ahi lasso? 

Manto 

Che a? Padre? 

Tiberino 

Tiresia? 

Tiresia 

Calpestato, 

Lacerato, 

Qui dolente, 

E languente, 

Arresto il passo. 

Chi mi sovviene, ahi lasso? 

Manto 

E’ chi fù si crudel? 

Tiberino 

Chi fù si rio? 

Tiresia 

Un Mostro di perdia, 

Una Furia Regnante, 

De gli Dei sprezzatrice: ahi doglia acerba, 

Fù Niobe, la superba. 

Niobe 

My precious Chain, 

à 2. 

Death is pleasing to me. 

My precious, etc. 

Nerea 

You with the loose Tongue, 

Stay, and learn to speak one more time. 

Scene XXIV 

Tiresia, then Manto, and Tiberino. 

Tiresia 

Gods, help me; by my faith 

I hope for mercy from you. 

Manto (Not yet seeing Tiresia on the ground.) 

Sir, see and be astonished by 

That which attested by Fame 

Is borne to us: Anfione has raised 

The Walls of Thebes with his song. 

Tiberino 

Oh great virtue; oh, enchantment! 

Tiresia 

Who comes to my aid, alas? 

Manto 

What has happened? Father? 

Tiberino 

Tiresia? 

Tiresia 

Trampled, 

Wounded, 

Here, sorrowing 

And languishing, 

I have halted. 

Who comes to my aid, alas? 

Manto 

And who was so cruel? 

Tiberino 

Who was so wicked? 

Tiresia 

A Monster of treachery, 

A Reigning Fury, 

A scorner of the Gods: alas, bitter sorrow, 

It was the proud Niobe. 


177 



Manto 

Oh Tiranna. 

Tiberino 

Oh spietata. 

Manto 

E’ qual cagion l’indusse 

À sì nefando eccesso? 

Tiresia 

Il vano fasto 

Di far Nume lo sposo; onde il Prodigio 

Delle mura, che vedi in giro afsse, 

Tolse al vanto de Numi, e à lui l’ascrisse. 

Quinci, mentre mia lingua 

Di Zelo armata il grande ardir detesta, 

L’Altera infuriata 

M’atterra, e mi calpesta. 

Manto 

Oh indegna. 

Tiberino 

Oh Cor di fera. 

Manto 

Il anco oppresso 

Mio Genitor solleva; 

L’oltraggio puniran gli Dei dal Cielo: 

Non torpe mai di lor Giustizia il Telo. 

Tiberino 

S’oppoggi, olà, l’huom saggio: (à suoi seguaci 

Tiresia 

Il Piè cadente 

Deh guidate pietosi 

Di Latona nel Tempio. 

Tiberino 

Havrai scorte fedeli. 

Tiresia 

Horrende stragi hor apprestate o Cieli: 

Di strali, e Fulmini 

O stelle armatevi; 

E’ dell’ingiurie 

Con giuste furie 

Sù vendicatevi. 

Di, &c. 

178 


Manto 

Oh, Tyrant! 

Tiberino 

Oh, pitiless one! 

Manto 

And what reason induced her 

To such unspeakable excess? 

Tiresia 

The proud vanity 

Of making her husband a God; whence the Miracle 

Of the walls, which you see built all around, 

Was ascribed to him and credit taken away from the gods. 

Therefore, while my tongue, armed with Zeal 

Deplored the audacity, 

The furious haughty one 

Cast me down, and threw me to the earth. 

Manto 

Oh, unworthy! 

Tiberino 

Oh, Heart of a savage! 

Manto 

My Father, may your abused body 

Be comforted; 

From Heaven, the Gods will punish the outrage: 

They never fail to wield the sword of their Justice. 

Tiberino 

Lean on them, there, wise man: (to his followers 

Tiresia 

Ah, mercifully guide 

My failing Step 

To the Temple of Latona. 

Tiberino 

You shall have faithful escorts. 

Tiresia 

Now prepare Horrific slaughters, O Heavens: 

With arrows and Thunderbolts, 

O stars, arm yourselves, 

And for these injustices, 

With righteous fury 

Come, avenge yourselves. 

With arrows, etc.

Scena XXV. 

Tiberino, e Manto in atto di piangere. 

Tiberino 

Discaccia il duolo o di ben degno Padre 

Pietosa Figlia; i Numi 

Havran di luì la cura: 

Mà se pure col pianto 

Vuoi mostrar gentil Core. 

Piangi; ma per Amore. 

Manto (à parte 

Cagion de miei martiri 

Se à me scoprir non lice 

Amorosi desiri. 

Tiberino 

Ancor taci o vezzosa? 

Manto 

O modestia penosa. 

Tiberino 

D’Amor che mi rispondi? 

Manto 

Ti dissi, che l’ignoro: 

Ma perch’io più non sia 

D’ignoranza ripresa, 

Tù meglio hor mel palesa. 

Tiberino 

Semplicità mai più veduta in Donna. 

Manto 

Folle sel crede. 

Tiberino 

Dimmi: 

Huomo mirasti mai? 

Manto 

Che richiesta? 

Tiberino 

Favella. 

Manto 

Si. 

Tiberino 

Fosti ancora, io credo, 

Tu da lui rimirata. 

Scene XXV 

Tiberino, and Manto weeping. 

Tiberino 

Dismiss sorrow, oh Compassionate Daughter 

Of such a worthy Father: the Gods 

Have care of him. 

But if you wish also with tears 

To show your gentle Heart, 

Weep, but for Love. 

Manto (aside) 

The cause of my sorrows 

Is that I may not reveal my 

Amorous desires. 

Tiberino 

Still you keep silent, oh lovely one? 

Manto 

Oh, painful modesty! 

Tiberino 

What did you say to me about love? 

Manto 

I told you, I am ignorant of it. 

But so that I am no longer 

In the grip of ignorance, 

You had better reveal it to me now. 

Tiberino 

I've never seen such naiveté in a Woman before! 

Manto 

He’s mad if he believes it. 

Tiberino 

Tell me: 

Have you ever looked at a man? 

Manto 

What are you asking? 

Tiberino 

Speak. 

Manto 

Yes. 

Tiberino 

And then, I believe, 

He looked back at you? 


179 



Manto 

Si. 

Tiberino 

E gli sguardi all’hora 

S’incontraron frà lor? 

Manto 

Si. 

Tiberino 

In quell’istante 

(Non mel celar) sentisti. 

Nulla nel Core? 

Manto 

Si. 

Tiberino 

Ti parve un certo 

Quasi piacer? 

Manto 

È vero. 

Tiberino 

Un raggio di diletto, 

Come suole frà l’Ombre, 

Scintillar breve Lampo? 

Manto 

Giusto cosi (che faciltà) 

Tiberino 

Crescea, 

Riguardando guardata, 

La amma al Cor più grata? 

Manto 

Appunto. 

Tiberino 

Hor, se nol sai, 

Amore è questi o Bella semplicetta, 

Ch’entra per gl’Occhi, e dentro il Cor ricetta. 

Manto 

Gran Maestro ne sei; & è Cupido 

Questi ancora? 

Tiberino 

Si questi. 

180 


Manto 

Yes. 

Tiberino 

And then, those glances, 

You met them? 

Manto 

Yes. 

Tiberino 

At that moment 

(Don’t hide it from me) did you feel 

Something in your Heart? 

Manto 

Yes. 

Tiberino 

Did it seem a certain 

Sort of pleasure? 

Manto 

It’s true. 

Tiberino 

A ray of delight, 

Like a brief sparkle of Light 

Amongst the Shadows? 

Manto 

Just so. (How easy!) 

Tiberino 

Looking, 

And looking again, 

It grew ever more pleasing to your Heart? 

Manto 

Exactly. 

Tiberino 

Now, if you will know it, 

This is Love, oh Beautiful simpleton, 

Which enters via the Eyes, and is received in the Heart. 

Manto 

You are a great Teacher of it; and is Cupid 

This one, then? 

Tiberino 

Yes, the one.

Manto 

Oh Nume indo. 

Tiberino 

Perche? 

Manto (à parte. 

Tempo è ch’in parte. 

Scopra miei sensi amanti. 

Tiberino 

Svela quanto t’avvenne. 

Manto 

Offre il gioir, poi sforza l’Alma à i pianti. 

Nel mio seno à poco à poco 

Questo Amor con il suo gioco 

Mi rubò la Libertà. 

Onde il Cor frà lacci involto 

Spera in van, ch’un dí sia sciolto, 

Ch’egli è un Dio senza pietà. 

Nel mio, &c. 

Scena XXVI. 

Tiberino. 

Oh stravaganza: in Petto 

Nutre la amma, e della Face è ignara; 

Così la Talpa al Sole, 

Per innato costume, 

Sente l’Ardor; ma non conosce il Lume. 

Quanto sospirerai 

Alma per quei bei Rai 

Si semplici in Amor. 

Con pianti, è con lamenti 

Far noti i tuoi tormenti 

Ti converrà mio Cor. 

Quanto, &c. 

Segue il ballo dei cacciatori. 

Fine dell’Atto Primo. 

Manto 

Oh, unfaithful God! 

Tiberino 

Why? 

Manto (aside) 

It is time that I reveal 

My loving feelings somewhat. 

Tiberino 

Reveal how it happened to you. 


Manto 

He offers joy, then forces my Soul to weep. 

In my bosom, little by little, 

This Cupid with his joke 

Has stolen my Liberty. 

Thus my Heart, bound and tied, 

Hopes in vain that one day it will be set free, 

For he is a merciless God. 

In my heart, etc. 

Scene XXVI 

Tiberino. 

Oh, extraordinary thing; in my Breast 

The flame is nourished, and she is unaware of this Torch: 

Thus the Mole by his nature 

Senses the Sun, 

But does not know the Light. 

How much you shall sigh, 

Soul, for those beautiful Eyes, 

So innocent in Love. 

With tears and with laments 

To make known your torments 

It behooves you, my Heart. 

How much, etc. 

The dance of the hunters follows. 

End of Act One. 

181 



ATTO II. 

Scena I. 

Anteatro con grande Globo nel mezzo, e picciol seggio 

Regale da parte. 

Creonte, e Poliferno, che di sotto terra sono portati à 

Cavallo à due mostri. 

Poliferno 

Ritornate à gli Abissi 

Spirti fedeli, il nostro piè già calca 

L’orme prescritte: à queste soglie in grembo 

Non guari andrà che giunto 

Vedrai Tessalo Prence il tuo bel Sole; 

E questa a de fasti suoi la Mole. 

Creonte 

Oh come qui l’ingegno 

Con arte pellegrina 

Costrusse il Cielo à sua beltà Divina. 

Poliferno 

Perche ci chiuda, & celi, 

Ecco manda Cocito 

Invisibile Nube à gl’occhi altrui. 

Si vede sorgere una Nube da un lato della Scena. 

Creonte 

M’apprestano, oh stupori, 

Il sereno del Cor gli stigi horrori. 

Del mio Ben occhi adorati 

Deh venite à consolarmi. 

Vaghi lumi di quest’Alma 

Vostri sguardi havran la Palma 

Di feririmi, è di sanarmi. 

Del mio Ben, &c. 

Scena II. 

Clearte con molti Nobili Tebani, Popolo, e li Sudetti 

dentro la Nube. 

Clearte 

Il gran portento Amici 

Vedeste già dell’inalzate Mura; 

Scorgeste aspri macigni 

Correr per l’aria à volo; e in brevi istanti 

All’armoniche note 

Del nostro Rè gir pronti 

ACT II 

Scene I 

Amphitheater with a large Globe in the middle and a 

small Throne on the side. 

Creonte, and Poliferno, who are carried from 

underground Astride two monsters. 

Poliferno 

Return to the Abysses, 

Faithful Spirits, our foot now treads 

The prescribed path: to the heart of this place 

Will soon arrive to see, 

Thessalian Prince, your beautiful Sun; 

And this is the Monument to her glory. 

Creonte 

Oh, here ingenuity and art 

Work hand in hand; 

Heaven has created this for her Divine beauty. 

Poliferno 

So that we are hidden and secret, 

Behold how Cocitus † sends 

Clouds that render us invisible to the eyes of others. 

Here a Cloud is seen to rise from a side of the Scene. 

Creonte 

These Stygian † horrors create for me, 

Oh wonder, a calmness of Heart. 

Adored eyes of my Beloved, 

Ah, come to console me. 

Charming lights of this Soul, 

Your glances have the Prize 

Of wounding me, and of healing me. 

Adored eyes, etc. 

Scene II 

Clearte with many Noble Thebans, People, and the 

Aforementioned within the Cloud. 

Clearte 

You now see the great marvel, Friends, 

Of risen walls; 

You saw the great boulders 

Run flying through the air; and in a brief instant, 

At the harmonious song 

Of our King, turn with sweeping movement 


182 


In lungo giro à collocarsi i Monti. 

Creonte 

Udisti? 

Poliferno 

Ò Ciel ingiusto, 

Se l’empietà proteggi. 

Clearte 

Oh noi beati, 

Se di mirare, & adorar c’è dato 

Hoggi i Numi su’l soglio; & in lor nome 

Potrà ciascun sicuro 

Stringer contro de Tessali Tifei 

L’acciaro avezzo à vendicar gli Dei. 

Creonte 

Che sento? 

Clearte 

In Campo armati 

Già sù Destrier volanti i Regi Figli, 

Precorrendo le stragi, 

Calpestano i perigli. 

Creonte 

E’ ancor la sofferenza 

Qui mi trattien? 

Poliferno 

Pacienza. 

Clearte 

E’ tu mio Core intanto 

D’Amor l’aspro martire 

Soffri costante; è gloria anco il soffrire. 

Voglio servir fedel, 

E peni quanto sà 

Quest’Alma amando. 

Sia quanto vuol crudel, 

Io vincer la Beltà 

Vuò sospirando. 

Voglio servir, &c. 

Scena III. 

Niobe con sèguito di Dame, Nerea, è li Sudetti. 

Poliferno 

Vien al ne la bella. 

Creonte 

À si gran foco 

Per resistere, ahi lasso, un Core è poco. 

Placing themselves in great piles. 

Creonte 

Do you hear? 

Poliferno 

O unjust heaven, 

If you protect the wicked. 

Clearte 

O blessed we, 

If today we be allowed to see and adore 

The Gods on earth, and in their names 

Everyone certainly can 

Inflict against the Thessalian Typhons † 

Our customary slaughter to avenge the Gods. 

Creonte 

What do I hear? 

Clearte 

Into the fields of battle 

The Royal Sons now fly on Steeds, 

Anticipating the massacre, 

Trampling danger underfoot. 

Creonte 

And yet suffering 

Holds me back here? 

Poliferno 

Patience! 


Clearte 

And you, my Heart, meanwhile 

You suffer steadfastly 

The bitter torment of Love; yet suffering is also glory. 

I want to serve faithfully, 

And I suffer as much as 

This loving Soul knows how. 

Let her be cruel as she likes, 

I wish to vanquish that Beauty 

With sighing. 

I want to serve etc. 

Scene III 

Niobe with a train of Ladies, Nerea, and the Aforementioned. 

Poliferno 

At last, here comes the beauty. 

Creonte 

One Heart is too little 

To resist, alas, such great passion. 


183 



Niobe 

Che si tarda Clearte? 

Meco al Trono si ascenda. 

Clearte 

Che a? suddito humile 

Con guardo adoratore 

Quell’Altezze sol mira, 

Niobe 

Sei nel soglio compagno, 

Clearte 

Mà prostrato à tuoi piedi. 

Niobe 

Il mio cenno ciò impone, 

Clearte 

Lo condanna Anone. 

Niobe 

Ei del Regno spogliossi; e sol s’inchina 

In Clearte il Regnante. 

Creonte 

Che Impero. 

Clearte 

Oh Ciel che pena. 

Nerea 

Oh sciocco Amante. 

Niobe 

Sù non s’indugi; al soglio: 

Cosi risolvo, e voglio 

Prendendolo per mano, lo conduce sù’l Trono, mentre 

suona il Rittornello della seguente Aria. 

Qui la Dea cieca volante 

Ferma il corso all’Orbe instabile. 

E’ tributa à Regie piante 

L’aureo Crine incontrastabile. 

Qui la Dea, &c. 

184 


Niobe 

What delays you, Clearte? 

You shall ascend the Throne with me. 

Clearte 

How can I? A humble subject 

Can only gaze adoringly 

At such Loftiness. 

Niobe 

You are my companion on the throne. 

Clearte 

But prostrate at your feet. 

Niobe 

This is my order. 

Clearte 

Anfione condemns it. 

Niobe 

He divested himself of the Reign, and people only bow 

To Clearte the Ruler. 

Creonte 

What a Command! 

Clearte 

Oh heaven, what sorrow! 

Nerea 

Oh foolish Lover! 

Niobe 

Come, don’t delay. To the throne! 

Thus I am resolved, and this I desire. 

Taking him by the hand she conducts him to the throne, 

while the ritornello of the following aria is played. 

Here the blind, flying Goddess † 

Halts the course of the faltering Orb. 

She bows Her incomparable golden Hair 

To pay tribute at the royal throne. 

Here the blind Goddess, etc. 

† See glossary of terms, pages 210–211

Scena IV. 

Anone con seguito di Cavalieri, e li Sudetti. 

Clearte 

Giunge il Rè. 

Niobe 

Ferma. 

Poliferno 

Hor mira 

L’empio Anon. 

Creonte 

Altero 

In gran fasto s’aggira: 

Anone 

Qual novità sù’l Trono 

Fassi oggetto à miei sguardi? 


Egli in mal punto 

A incomodarli è giunto. 

Anone 

Niobe. 

Niobe (à parte. 

Che dirà mai? 

Anone 

Qual sù la Regia sfera 

Novella impressione 

Avventizia riluce? 

Niobe 

Il riesso Divin della tua luce. 

Anone 

Dunque dovrà sublime 

Sovrastare al suo Sole 

L’apparenza del raggio? 

Niobe 

Sì, qual hor fà dal suolo 

Febo in humane spoglie al Ciel passaggio. 

Clearte 

Me infelice. 

Anone 

Si serba 

Al Rege il Trono. 

Scene IV 


Anone with a train of Knights and the Aforementioned. 

Clearte 

The King arrives. 

Niobe 

Stay! 

Poliferno 

Now behold 

The wicked Anfion. 

Creonte 

Haughty one, 

He struts around in great pomp: 

Anone 

What is this new thing on the Throne 

Displayed before my eyes? 

Nerea (aside) 

He has come to make trouble 

At a bad time. 

Anone 

Niobe! 

Niobe (aside) 

What is he going to say? 

Anone 

What new thing 

Appears to shine 

In the sphere of the Kingdom? 

Niobe 

The Divine reflection of your light. 

Anone 

So, the appearance 

Of a Ray 

Should outshine its Sun? 

Niobe 

Yes, sometimes Phoebus † does the same 

In human form, in his crossing of the Heavens. 

Clearte 

Unhappy me! 

Anone 

The throne 

Is reserved for the King. 


185 



Niobe 

E tù più Rè non sei. 

Anone 

Come? 

Niobe 

Qui più non s’erge 

Base à tue glorie. 

Anone 

E tanto ardisci? 

Niobe 

Insano 

Chì sù base volgare 

Di terrena sembianza 

Autorizzar vuò i Numi: à tè, cui cede 

De Tebani Penati ogg’il maggiore, 

Si deè seggio di stelle: 

Si apre il Globo, e comparisce una Celeste. 

Olà: già si disserra, 

Per accoglierti un Cielo, 

In cui sotto human velo 

Di Giove il Figlio adorar deè la Terra. 

Clearte 

Alto pensier: 

Nerea 

Gran mezzo 

Di placar le giust’ire. 

Creonte 

Oh ingegno, oh vezzo? 

Anone 

Confuso io resto: o delle Regie Glorie 

Gloria, e splendor: qual a, 

Per celebrarti al Mondo 

Raro esempio d’Amore, 

Labro à pieno facondo? 

Homai ratto à gl’Imperi 

Dell’eccelsa tua mente, 

Ascendo un Ciel, che à cenni tuoi formato, 

È da raggi animato 

Del doppio Sol, c’hai sù la fronte ardente. 

Ascendo alle stelle, 

Mà gl’Astri, ch’adoro, 

Hà il Ciel d’un bel sen. 

186 


Niobe 

And you are no longer King. 

Anone 

What? 

Niobe 

Statues are no longer erected 

To your glory here. 

Anone 

And you dare go so far? 

Niobe 

He is a fool, 

Who thinks he can rule like a God 

On a common, 

Earthly pedestal: 

Today the greatest of the Theban Gods, 

Merits a seat of stars: 

The Globe opens and a Starry Vault appears. 

Behold, a Heaven 

Now open to receive you, 

In which the earth shall adore 

The son of Jove in human form. 

Clearte 

Lofty thought! 

Nerea 

Great way 

To placate his righteous anger! 

Creonte 

Oh ingenuity, oh delight! 

Anone 

I am confused. O Glory and splendor 

Greater than Royal Glories! What eloquent voice 

Could suffice 

To celebrate you to the World, 

O rare example of Love? 

Now at last, I hasten to the commands 

Of your exalted mind, 

I ascend to a Heaven, which, formed at your command, 

Is animated by rays 

Of the double suns which shine in your face. 

I ascend to the stars, 

But the Stars I adore 

Heaven places in that beautiful face.

Mie care Facelle 

Mi struggo, mi moro 

Al vostro balen. 

Ascendo, &c. 

Niobe 

Con fronti humiliate 

Ciascuno il Nume inchini. 

Tutto il Corteggio s’inchina ad Anfione. 

Creonte 

Se non mi porgi aita, 

Celar più la mia amma 

Non posso alla mia vita. 

Poliferno 

Il Rapitor della Beltà Sicana, 

Pluto invoco; e già pronte 

Son, per rapir chi brami, 

L’Ombre di Flegetonte. 

Creonte 

Felice sorte. 

Niobe 

Armonici intervalli 

Sveglin hor lieti Balli. 

Segue il Ballo, è poi terminato. 

Poliferno 

Alle prescritte Mete 

Sorgete, homai sorgete 

Dalle stigie Caverne 

Spaventose Ombre Inferne, 

Qui sorge infernale, che ingombra tutto il vacuo della 

scena. 

Creonte 

Che miro? 

Poliferno 

Hora ubbidisci: 

Fra nuove illusioni 

Teco verrà l’Idolo tuo: sparisci. 

E portato via dalla Nube. 

Poliferno 

Numi Tartarei 

Con vostri sibili 

Tremendi, horribili 

Turbate il Ciel. 

My dear Lights, 

I am consumed, I die 

From your lightning. 

I ascend, etc. 

Niobe 

Everyone bow humble heads 

To the God. 

All of the court bows to Anfione. 

Creonte 

If you do not help me, 

I cannot hide My flame 

Any longer from the one I love. 

Poliferno 

I invoke Pluto, † the kidnapper 

Of the Beauty Sicana; † 

And the Shades of Phlegethon † are ready 

To take him who wishes to go. 

Creonte 

Happy fate! 

Niobe 

Harmonious music 

Shall now inspire happy Dances. 

The Dance follows, and then ends. 

Poliferno 

To the prescribed heights 

Rise, rise at last 

From the Stygian Caves, 

Fearsome infernal Shades. 


Here arises a hell, which fills the whole vacant space of 

the scene. 

Creonte 

What do I see? 

Poliferno 

Now obey me: 

Among these new illusions 

You shall see your idol with you. Go! 

He is carried into the Cloud. 

Poliferno 

Gods of Tartarus, † 

With your tremendous, 

Horrid hisses, 

Roil the sky. 


187 



E dal sidereo Trono 

Atterri il vostro Tuono 

Un Salmonèo novel. 

Numi, &c. 

Ad un terribile rimbombo si profonda con tutta 

l’Infernale, tornando à comparire la prima scena 

oscurata senza persone. 

Scena V. 

Anone in atto di spavento. 

Anone 

Ove son? chi m’aita? in mezzo all’Ombre 

Solo m’aggiro, e abbandonato, ahi lasso, 

In abisso di horror confondo il Passo. 

Misero chi mi cela? à i lumi intorno 

L’immago ancor del minacciante Cielo 

M’agita, mi spaventa: ahi che miraste 

Sventurati occhi miei! voi pur aperte 

Mie pupille funeste 

Scorrer dell’Etra i Campi à Marte in seno, 

Quasi lampo, e baleno, 

L’Idolo mio, l’Anima mia vedeste. 

Niobe: ahi doglia innita! 

Perduta hò l’Alma, e ancor rimango in vita. 

Non fù già in riva al Xanto 

Così degna di pianto 

Del Troiano Garzone 

La rapina fatale, 

Quanto hor la pena mia, quanto il mio male. 

Oh spettacolo atroce! 

Oh mio ero Destin, perversa sorte! 

Sparì mia vita, e non mi date à morte. 

Dal mio Petto o pianti uscite 

In tributo al mio dolor. 

E in virtù de miei tormenti, 

Disciogliendovi in torrenti, 

In voi naufraghi’l mio Cor. 

Dal mio petto, &c. 

Scena VI. 

Colline con Fonte. 

Tiresia, poi Tiberino. 

Confuse Potenze 

Destatevi sù. 

La mente ingannata, 

And from the starry Throne, 

With thunderbolts strike down 

This new Salmoneus. † 

Gods, etc. 

At a terrible boom, all Hell sinks down, reverting to the 

first set, darkened, without people. 

Scene V 

Anone frightened. 

Anone 

Where am I? Who will help me? In the midst of the shadows 

I turn, alone and abandoned, alas, 

In an abyss of horror my Footsteps stray. 

Wretched me, who hides me here? Still before my eyes 

The image of a menacing Heaven 

Agitates me, frightens me. Alas, what did you see, 

My unfortunate eyes! Wide open, You, 

My sad eyes, 

Saw my Idol, my Soul, 

Like a flash, a twinkle, run in the fields of Ether † 

To the bosom of Mars. 

Niobe, alas, infinite sorrow! 

I have lost my soul, and yet remain alive. 

Not even the fatal kidnapping 

Of the Trojan Boy 

By the banks of the river Xanthos † was 

So worthy of tears 

As is now my sorrow, as is my pain. 

Oh atrocious sight! 

Oh my proud Destiny, perverse fate! 

To destroy my life, but not give me to death. 

From my Breast, O tears, flow, 

In tribute to my sorrow. 

By virtue of my torments, 

Dissolve yourself in torrents, 

In you my Heart will be drowned. 

From my Breast, etc. 

Scene VI 

Little Hills with Springs. 

Tiresia, then Tiberino. 

Confused Powers, 

Rouse yourselves. 

My mind, once deceived 


188 


Da false Apparenze 

Hor vinta, e legata 

Non rendasi più 

Confuse, &c. 

Tiberino 

Ove quasi furente 

Movi l’incerto piè? 

Tiresia 

Di eventi oscuri 

Ingombrata la mente, 

Mal discerne gl’auguri. 

À Pastorali alberghi 

Nuovamente m’involo, 

Et alle sacre soglie 

Già ritorno, già volo. 

Tiberino 

E ancor senza svelarmi 

Gl’arcani di mia sorte, alle promesse 

Procrastini gli effetti? 

Tiresia 

Hanno Legge dal Ciel sempre i miei detti 

Tiberino 

Dimmi almen: deggio in Tebe 

Sperar vittorie? 

Tiresia 

È van desio. 

Tiberino 

Fia dunque, 

Hor che infuria Bellona, 

Pigra in mezzo dell’Armi 

Di Tiberin la destra? 

Tiresia 

E’ tal hora la sorte 

Dè gl’Ozii anco Maestra. 

Scena VII. 

Tiberino, e poi Manto in compagnia di Ninfe con varii 

stromenti da suono. 

Tiberino 

Fuggirò questo Cielo, 

Che contrari à mie brame 

Così nutre gl’inussi: 

Mà dove, oh Dei, se imprigionata, e presa, 

À un biondo Crin l’Anima mia s’è resa. 

By false Appearances, 

May you now no longer be 

Fettered and Overcome. 

Confused, etc. 

Tiberino 

Where are you stumbling 

As if in a rage? 

Tiresia 

My mind, cluttered 

With mysterious events, 

Cannot well discern the omens. 

To the Shepherds’ habitation 

Again I turn, 

And to the sacred ground 

Now I return, now I fly. 

Tiberino 

Yet you put off keeping your promise 

Without revealing to me 

The mystery of my fate? 

Tiresia 

My words always express the Laws of Heaven. 

Tiberino 

At least tell me: am I to hope for victory 

In Thebes? 

Tiresia 

It is a vain hope. 

Tiberino 

So now 

Raging Bellona † 

Will make Tiberino’s right arm lazy 

In the midst of the Armed crowd? 

Tiresia 

And sometimes fate is also 

The Mistress of Laziness. 

Scene VII 


Tiberino and then Manto in the company of Nymphs 

with various musical instruments. 

Tiberino 

I will flee this Heaven, 

Which contrary to my longings 

Thus feeds these influences. 

But where, O Gods, if my Soul, caught and imprisoned, 

Has surrendered to a blonde Head? 


189 



Manto 

Quà mie de Compagne, ove ridente 

Mormora l’onda, ad accordar venite 

Dell’incerate Avene il suon giolivo: 

Mà che veggio? mia fede 

Fatta già Calamita à due bei Rai, 

Il Polo del suo Amor non perde mai. 

Tiberino 

Ecco il seno adorato: oh poco avvezza 

All’amorose Gioie 

Semplicetta bellezza. 

Manto 

Ridir, vuò le mie pene. 

Tiberino 

Voglio scoprir l’Oggetto, 

Ch’il Cor le accese in Petto. 

Manto 

La man benefattrice 

À venerar mi guida 

Nuova sorte felice. 

Tiberino 

M’incatena ogn’hor più: grata à mè giungi; 

Et à punto o Vezzosa, 

Replicava il mio Core 

Gli eventi del tuo Amore. 

Manto 

M’è benigna Fortuna 

Tiberino 

Hor dimmi o Bella 

Di qual vago sembiante 

Col rincontro de sguardi, 

Come, già m’affermasti, 

Amore t’invaghi? 

Manto 

Io tè mirai. 

Tiberino 

Non altri? 

Manto 

Altri non mai cosi. 

Tiberino 

Alma innocente? 

190 


Manto 

Here, my faithful Companions, where the waters 

Murmur laughing, come to tune 

The merry sound of the oaten Pipes. 

But what do I see? My faith, 

Already Ruined by two beautiful eyes, 

Never loses the Pole of his Love. 

Tiberino 

Here is that beloved bosom! Oh Simple beauty 

Unaccustomed 

To amorous Joys. 

Manto 

My sorrows wish to smile. 

Tiberino 

I want to discover the Object 

For which your heart burns in your Bosom. 

Manto 

A beneficent hand 

Leads me to venerate 

A new, happy fate. 

Tiberino 

She enchains me all the more: she becomes more pleasing to me; 

And precisely, O Charming one, 

Relate to my Heart 

The events of your Love. 

Manto 

Fortune is kind to me. 

Tiberino 

Now tell me, O Beauty, 

With what handsome face, 

As you told me before, 

With what exchange of glances, 

Did Love delight you? 

Manto 

I looked at yours. 

Tiberino 

Not another’s? 

Manto 

Not like this. 

Tiberino 

Innocent soul!

Manto 

Et al tuo sen, mi svela 

Signor, nulla produsse 

Lo sguardo mio? 

Tiberino 

Che dir saprò? m’e forza 

Dir, che m’accese: nò, tempo migliore 

Si attenda à palesar l’ardor del Core. 

Il tuo sguardo o Bella mia 

Nel mio sen amme avventò. 

Mà ch’Amor poi quello sia, 

Dir nol posso, e non lo sò. 

Il tuo sguardo &c. 

Scena VIII. 

Manto. 

Odi come diverso 

Da ciò, che insegna altrui, 

Il Maestro d’Amor, d’Amor favella. 

Oh sventurata Manto! un stranier crudo, 

Per lui meglio gioire, 

Serbò tua vita à più crudel morire. 

Tu ci pensasti poco 

Mio Cor à dir di si 

T’inceneristi al foco 

Si tosto che apparì. 

Tu ti dasti assai 

Mio cor del crudo arcier. 

Troppo credesti à i rai 

D’un volto lusinghier. 

Scena IX. 

Niobe, e Poliferno in apparenza di Mercurio. 

Niobe 

Chi sei, dove mi guidi? 

Poliferno 

Io Mercurio m’appello, e de gli Dei 

Son Messaggier; l’incarco 

Hebbi di quà condurti: 

Niobe 

E cosí tosto 

Sparì da gl’occhi miei Marte il mio Nume? 

Poliferno 

Per trasportarti alla Magion Celeste, 

Farà presto ritorno: à quanto giunse 

Donna immortal la tua Beltà Divina: 

Manto 

And tell me, in your heart, 

Sir, did my look 

Produce anything? 

Tiberino 

How shall I know what to say? Am I compelled 

To say what inflames me? No, a better time 

Awaits to reveal the fire in my heart. 

Your glance, O my Beauty, 

Has kindled a fire in my breast. 

But that it is Love 

I cannot say, and I don’t know. 

Your glance, etc. 

Scene VIII 

Manto. 

Listen how different is it 

When he who teaches others, 

The Master of Love, speaks of Love. 

Oh unfortunate Manto! A raw foreigner, 

To have more sport for himself, 

Saved your life for a more cruel death. 

You thought too little of us, 

My Heart, to say yes, 

You were scorched in the fire 

The moment it appeared. 

You trusted much, 

My heart, in the cruel archer, 

Too much you believed in the beams 

From an alluring face. 

Scene IX 

Niobe, and Poliferno in the guise of Mercury. 

Niobe 

Who are you? Where do you lead me? 

Poliferno 

I am called Mercury, † and I am the messenger 

Of the Gods. It was my task 

To lead you here. 

Niobe 

And so soon 

You vanished from my eyes, Mars, my God? 

Poliferno 

He will soon return to transport you 

To the Celestial Mansion: 

So great is your Divine Beauty, immortal Lady: 



191 



Marte dall’alte Sfere 

Di trar hebbe possanza; 

Et è vil paragone hor al tuo merto 

La gran Madre d’Amor; del Dio Tonante 

Fù meno degna preda 

Europa, Danae, e Leda. 

Niobe 

Tebe, Figli, Anon, Regno, Vassali. 

Poliferno 

Hor ch’il gran Dio de l’Armi 

Sposa ti elesse, il nutrir più non lice 

Nel sen terreni affetti. 

Niobe 

Deh cedete hor mie pene à miei diletti, 

Stringo al seno un Nume amante, 

Fatto eterno è il mio gioir, 

S’à bei Rai del suo sembiante 

Divien gioia ogni martir. 

Stringo al seno, &c. 

Scena X. 

Sopra gran Nuvola dall’alto della scena Creonte in 

Apparenza di Marte, e li sudetti. 

Poliferno 

Mira: già il Dio guerriero 

A tè scende dall’Etra. 

Niobe 

L’Abisso di sua Luce 

Non v’abbagli occhi miei: Mà ben discerno, 

Che un Raggio sol de suoi Divin splendori 

Può rischiarar l’Inferno. 

Creonte (Scendendo la Machina. 

Lascio l’armi, e cedo il Campo 

Già mi rendo à un vago Lampo 

D’altra Venere in beltà. 

Guerre, e stragi andate in bando, 

Baci, e vezzi io vò cercando 

Nel bel sen, che vinto m’hà. 

Lascio l’armi, &c. 

Poliferno (à parte, essendo la machina à Terra. 

Agevolò l’Impresa 

L’ordita illusion, da cui ingannata 

Divota Amante ella al tuo Amor s’è resa. 

It had the power 

To draw Mars from the spheres; 

And the great Mother of Love (Venus) 

Is contemptible in comparison to your merits; 

Europa, † Danae, † and Leda † are less worthy prey 

Of the Thundering God. 

Niobe 

And Thebes, Children, Anfion, Kingdom, Subjects? 

Poliferno 

Now that the great God of Arms 

Has chosen you as wife, you are no longer allowed to nourish 

Earthly affections in your bosom. 

Niobe 

Ah, cede now, my sorrows, to my delights. 

I press a God to my bosom, 

My joy is made eternal. 

In the beautiful Rays of your face 

Every sorrow becomes joy. 

I press a God to my bosom, etc. 

Scene X 

Upon a large Cloud above the scene, Creonte in the 

Form of Mars, and the aforementioned. 

Poliferno 

Behold, now the warrior God 

Descends to you from the Ether. 

Niobe 

Don’t be blinded, my eyes, 

By vastness of his light. But I see well 

That a single ray of his Divine radiance 

Can illuminate all Hell. 

Creonte (Descending from the Machine) 

I lay down my arms and cede the Battle, 

I now surrender myself to the delightful Light 

Of another Venus in beauty. 

Wars and battles shall be banned, 

I shall seek Kisses and caresses 

On the fair bosom that has conquered me. 

I lay down my arms, etc. 

Poliferno (aside, the machine being on Earth) 

The plotted Illusion will 

Assist the enterprise, she who was deceived 

Has yielded, a Devoted Lover to your Love. 


192 


Creonte (à parte. 

Il tuo saper fà l’Alma mia beata 

T’accosta o Dea Terrena; han gl’human pregi 

Possanza ancor sovra gli Dei; sovente 

Le delizie de Numi 

Son frà Mortali; hor il timor disgombra; 

Sembra ogni Nume à te vicino un Ombra. 

Niobe 

Alle grazie Celesti 

Il Core humiliato, 

Al sembiante adorato 

Sacra i desir dell’adorante salma; 

Son incensi i sospir, vittima è l’Alma. 

Creonte 

Vieni mia cara, vieni 

Frà le mie braccia; havrai 

Sopra del Sole il Trono; 

Ti cingerà de gl’Astri 

Il risplendente velo; 

E’ se lasci la Terra, acquisti un Cielo. 

Niobe 

All’Impero Divino 

Divota, ubbidiente, 

Corro veloce, e de terreni Fasti 

Son le memorie spente. 

Creonte 

T’abbraccio mi Diva, 

Niobe 

Ti stringo mio Nume, 

à 2. 

Ti lego al mio Cor. 

Niobe 

Tua luce m’avviva, 

Creonte 

Mia Vita è il tuo lume, 

à 2. 

Mia gioia è il tuo ardor. 

T’abbraccio, &c. 

Seguendo il Rittornello della seguente Aria, comincia ascender 

la machina, in cui siede anche Poliferno. 

Poliferno 

Gioite, godete 

In grembo al piacer, 

De Numi i diletti 

Creonte (aside) 

Your magic skill gladdens my Soul. 


Approach, O Earthly Goddess; human qualities still have 

Power over the Gods; often 

The delights of the Gods 

Are among Mortals; now rid yourself of fear: 

Next to you, every God seems a mere Shadow. 

Niobe 

My Heart is humbled 

By these Heavenly favors, 

To that adored face 

I dedicate the desires of an adoring body, 

My sighs are the incense, and my Soul is the sacrificial victim. 

Creonte 

Come, my darling, come 

Into my arms; you shall have 

A Throne above that of the Sun. 

You will be girded by the 

Shining veil of the stars; 

And though you leave Earth, you acquire Heaven. 

Niobe 

To the Divine Command 

Devoted, obedient, 

I quickly run, and earthly Pomps 

Are but spent memories. 

Creonte 

I embrace you, my Goddess. 

Niobe 

I clasp you, my God, 

a 2. 

I bind you to my Heart. 

Niobe 

Your light gives me life, 

Creonte 

My Life is your light, 

a 2. 

My joy is your passion. 

I embrace you, etc. 

Following the ritornello of the following aria, the 

machine begins to ascend, in which sits also Poliferno. 

Poliferno 

Rejoice, enjoy, 

In the lap of pleasure. 

The only delights of the Gods 

193 



Son solo gli affetti 

Del picciolo Arcier, 

Gioite, &c. 

Scena XI. 

Camare Regie. 

Anone, Tiresia. 

Anone 

Tù mi laceri il Core. 

Tiresia 

Ch’a tè venga imponesti, 

Perche il ver ti riveli. 

Anone 

Creonte dunque? 

Tiresia 

Sì. 

Anone 

Il Tessalo nemico? 

Tiresia 

Egli. 

Anone 

Con Magich’opre? 

Tiresia 

Arti di Poliferno. 

Anone 

M’abbagliò? 

Tiresia 

Le Pupille. 

Anone 

Mi confuse? 

Tiresia 

La mente. 

Anone 

Et in mezzo à Fantasmi? 

Tiresia 

Di strane illusioni. 

194 


Are the passions 

Of the little Archer. 

Rejoice, etc. 

Scene XI 

Royal chambers. 

Anone, Tiresia. 

Anone 

You cut me to the Heart. 

Tiresia 

You have commanded me to come to you 

In order to reveal the truth. 

Anone 

Creonte then? 

Tiresia 

Yes. 

Anone 

The enemy of Thebes? 

Tiresia 

Him. 

Anone 

With works of Magic? 

Tiresia 

Poliferno’s arts. 

Anone 

He blinded… 

Tiresia 

Your Eyes. 

Anone 

He confused… 

Tiresia 

Your mind. 

Anone 

And in the midst of Apparitions? 

Tiresia 

Of strange illusions.

Anone 

Mi rapí? 

Tiresia 

La Consorte. 

Anone 

Empio ardir. 

Tiresia 

Grave inganno. 

Anone 

E resisto all’affanno? 

Tiresia 

In mezzo à mille incanti 

Il piè raggiri; i Numi 

Così de lor disprezzi 

Vendican l’onte. 

Anone 

O de superni Regni 

Deità, che reggete 

De i Rè la sorte; io prego, 

Deh temprate clementi 

Il rigido tenor de miei tormenti. 

Tiresia 

All’humili preghiere 

De divoti Mortali 

Si mostrano sovente 

Gli Dei placati; & io ritorno al Tempio, 

Per impetrar propizie à tue difese 

Le Onnipotenti destre. 

Poscia de lor Decreti 

Rivelerò i secreti. 

De Numi la legge 

È scorta à chi regge, 

Ogn’hora fedel. 

Di vana grandezza 

Si vanta chi sprezza 

I Dogmi del Ciel. 

De Numi, &c. 

Scena XII. 

Anone. 

Et ancor neghittosi 

Ve ne state à tant’huopo 

Spirti del Regio sdegno? 

Del tradimento indegno 

Sù sù cadan gl’Autori in mar di sangue; 

Sù alla strage de gl’Empi, 

Anone 

He stole… 

Tiresia 

Your Wife. 

Anone 

Wicked audacity! 

Tiresia 

Grave deception! 

Anone 

And I must suffer this pain? 

Tiresia 

In the midst of a thousand enchantments 

You wandered; thus the Gods 

Avenged the shame 

Of their scorn. 

Anone 

O Deity of supernal Kingdoms, 

Who determines 

The fate of Kings; I pray, 

Ah, mercifully temper 

The harsh state of my sufferings. 

Tiresia 

By the humble prayers 

Of devout Mortals 

The Gods often are 

Placated…and I will return to the Temple 

To entreat for favors in your defense 

From their Omnipotent right hands. 

After their Decrees 

I will reveal these secrets. 

The law of the Gods 

Is an always-faithful guide 

To him who reigns. 

He can only boast of vain grandeur 

Who disdains 

The dogmas of Heaven. 

The law of the Gods, etc. 

Scene XII 

Anone 


And still you remain 

Senseless of this disdain, 

Spirits of the Realm? 

Come, come, may the Authors 

Of this disgraceful betrayal fall in a sea of blood; 

Come, to the slaughter of the Wicked, 

195 



Per far miei di felici, 

Corran le Furie mie vendicatrici. 

Trà Bellici carmi 

Risvegliati all’armi 

Invitto mio Cor. 

Quest’Alma dolente 

À guerra furente 

Già desta il valor. 

Trà, &c. 

Scena XIII. 

Pianura ingombrata da Capanne di Pastori. 


Clearte 

De Tebani Pastori, io pur non erro, 

Son questi gl’Abituri. 

Nerea 

E che rimiro? 

Clearte 

Mà come d’improviso 

Quì spazia il piè? frà sconosciute genti 

Pur noi sin’hor vagammo. 

Nerea 

In ver mi sembra 

Cosa da farmi intirrizzir le membra. 

Clearte 

E di qual forza ignota 

Fur cosí strani eventi? 

Nerea 

Ahi non vedesti 

Nel Regio Anteatro 

Tutti gl’Inferni spirti 

Contro noi congiurati? e il Dio Gradivo 

Cinto d’aeree schiere 

Involar la Regina? in quell’istante, 

(Io penetro nel fondo) 

Ei, perche non si sappia, 

Ci pose fuor del Mondo. 

Clearte 

Con memoria si cruda 

Ahi mi sveni: e a ver, che l’Idol mio 

Sia sparito? alla Reggia 

To make my days happy, 

The Furies † run, my avengers. 

With warlike rhymes, 

Reawaken my invincible Heart 

To arms. 

This sorrowful Soul 

Now dedicates its valor 

To raging war. 

With warlike etc. 

Scene XIII 

A plain lled with Shepherds’ Huts. 


Clearte 

If I’m not mistaken, those are 

The huts of Theban Shepherds. 

Nerea 

And what do I see? 

Clearte 

But how did we get here 

So unexpectedly? We now roam 

Among strangers. 

Nerea 

In truth, it feels to me 

Like something is numbing my limbs. 

Clearte 

And by what unknown power 

Have such strange things occurred? 

Nerea 

Ah, did you not see 

In the Royal Amphitheater 

All the Infernal spirits 

Gathered against us? And how the God, 

Surrounded by the aerial throng, stealthily 

Kidnapped the Queen? At that very moment, 

(I’m getting to the end of this) 

So that no one would know of it, 

We are put out of the World! 

Clearte 

With such a bitter memory, 

Ah, you kill me: and is it true that my Idol 

Has vanished? To the Royal palace 


196 


Men corro impatiente: 

Amor con nuova pena 

Non tormentar l’Anima mia dolente. 

Non mi far pianger sempre 

Tiranno mio Destin. 

Un giorno cangia tempre 

Al crudo Dio bambin. 

Non mi far, &c. 

Scena XIV. 

Nerea, Manto, e poi Tiberino. 

Nerea 

Ratto sen và: frà questi alberghi intanto 

Io cercar vuò breve riposo; e appunto 

Quì gentil Pastorella 

Prende dolce quiete. 

Manto 

Ahi crudel. 

Nerea 

Si risveglia. 

Manto 

Indo Core 

Cosi paghi il mio Amore? 

Nerea 

Manto è costei, e d’amorosa doglia 

Mesta si lagna 

Manto 

In grembo al suolo Hircano 

T’allattaron le Tigri Alban superbo, 

Empia cagion del mio tormento acerbo. 

Nerea 

Oh poverina! 

Tiberino 

Piange 

Il mio Ben? che t’opprime 

Vergin leggiadra! dimmi 

Che t’afigge? ahi col guardo 

Par che tenti mia morte. 

Nerea 

Ardon per tutto 

Di Cupido le faci. 

Tiberino 

Parla o bella, ancor taci? 

I will eagerly haste: 

Love, do not torment my sorrowful soul 

With new pains. 

Do not make me weep forever, 

My Tyrant Fate. 

One day change the temperament 

Of the cruel child-God. 

Do not make me weep etc. 

Scene XIV 

Nerea, Manto, then Tiberino 

Nerea 

Swiftly he leaves. Amongst these huts, 

I would like to seek a short rest; now, here 

Is a lovely shepherdess 

Taking sweet repose. 

Manto 

Alas, cruel one! 

Nerea 

She is awake. 

Manto 

Unfaithful Heart, 

Thus you repay my Love? 

Nerea 

This girl is Manto, and she sadly complains 

Of amorous suffering. 

Manto 

In the bosom of the Hyrcanian † land 

You were suckled by Tigers, haughty Alban, 

Wicked cause of my bitter suffering. 

Nerea 

Oh, poor girl! 

Tiberino 

My Love weeps? 

What oppresses you, 

Lovely virgin? Tell me, 

What afflicts you? Ah, it seems 

You are trying to kill me with a glance. 

Nerea 

Cupid’s torches 

Burn everywhere. 

Tiberino 

Speak, beauty, still you keep silent? 



197 



Manto 

Hò troppo parlato, 

Ti basti così. 

Il Cor ingannato 

Già troppo languì. 

Hò troppo, &c. 

Scena XV. 

Nerea, Tiberino. 

Nerea 

Mi commove à pietade: oh che bel vanto 

Tradir le Giovinette. 

Tiberino 

Io qui son fatto 

Di rimproveri scopo 

Nerea 

È troppo folle 

Chi d’huomini si da. 

Tiberino 

À violenza 

Fermo qui più le piante: 

Sia pur forza d’Amor, d’Astri, ò di Fato, 

Un sol momento parmi 

Lungi dal caro bene 

Un secolo di pene 

Ci sei colto mio Cor, non v’è più scampo. 

Segui ad amar penando 

Quel sen, che saettando 

Ti và d’Amor col Lampo. 

Ci sei colto &c. 

Scena XVI. 

Nerea. 

Oh che dolci concetti, 

Che parole melate han sempre in bocca 

Questi falsi Zerbini; ogn’hora estinti 

Si mostrano in Amor, ma i Cori han nti 

Questi Giovani moderni 

Giocan sempre ad ingannar. 

I lor vezzi sono scherni, 

Che fan l’Alme sospirar. 

Questi, &c. 

198 


Manto 

I’ve said too much, 

That’s enough for you. 

The betrayed Heart 

Has already suffered too much. 

I’ve said too much, etc. 

Scene XV 

Nerea, Tiberino. 

Nerea 

She moves me to pity. Oh, what a fine boast, 

To betray young Maidens! 

Tiberino 

I am being subjected 

To harsh criticisms here. 

Nerea 

Those who trust men 

Are all too crazy. 

Tiberino 

Against my will 

I remain here still. 

Whether by the force of Love, of the Stars, or of Fate, 

It seems to me that a single moment, 

Far from my dear beloved, 

Is a century of pain. 

We are captives, my Heart, there is no more escape. 

Suffering, you must continue to love 

That bosom, which keeps shooting you 

With the lightning bolt of Love. 

We are captives, etc. 

Scene XVI 

Nerea. 

Oh, what sweet fancies, 

What honeyed words they always have in their mouths, 

These false Dandies; always showing themselves 

Dying of Love, but their Hearts are feigning. 

These modern Boys 

Make a sport of deception. 

Their endearments are mockeries 

Which make Souls sigh. 

These, etc.

Paion tanti Endimioni 

Le Zitelle in lusingar. 

Mà se v’è, ch’il Cor li doni, 

E’ una Luna al vaneggiar. 

Questi, &c. 

Segue il Ballo de’ Pastori. 

Fine dell’Atto Secondo. 

ATTO III. 

Scena I. 

Sfera di Marte. 

Niobe in apparenza di Dea, Creonte, e Corteggio di 

Deità apparenti. 

Creonte 

Delle Celesti soglie 

Già calpesti i zafri; à te s’inchina 

Del quinto Giro il Coro, 

Ove io divoto i tuoi bei Lumi adoro. 

Niobe 

In sen d’eterna gioia 

Vivon miei sensi, e immortalmente unita 

Al tuo Fianco Divin vive mia Vita. 

Creonte 

In dolci Nodi avvinti 

Posiam mia Dea, e del tuo Amor mi rendi 

Segni più lieti: 

Niobe 

Ahi ch’ogn’hor più m’accendi. 

Amami, e vederai, 

Che Amor non hà più stral, 

Vibrolli tutti al seno mio per tè. 

In quei tuoi vaghi Rai 

E l’Ardor mio fatal, 

Ne’ Fede v’è, che sia pari à mia Fè. 

Amami, &c. 

Mà da qual Nube interna 

Sento opprimermi’l Cor? lassa, già langue 

In sen lo spirto esangue. 

Sviene. 

Creonte 

Che a mio Ben? Idolo mio? mio Nume? 


They are like so many Endymions † 

Flattering the Lasses. 

But it ends up that they give their Hearts to them: 

It’s just howling at the Moon. 

These, etc. 

Here follows the Ballet of the Shepherds. 

End of Act Two. 

Act III 

Scene I 

The Globe of Mars. 

Niobe in the costume of a Goddess, Creonte and a 

Retinue of Men posing as Gods. 

Creonte 

Now you tread the sapphires 

Of the Celestial chambers; to you bows 

The choir of the fifth Planet, † 

Where I, ever devoted, adore your lovely Eyes. 

Niobe 

My senses live in the bosom of eternal joy; 

Joined in immortality 

To your divine side, I live my Life. 

Creonte 

Clasped in sweet Knots 

Let us rest, my Goddess, and give me 

Happier signs of your love: 

Niobe 

Ah, how every hour I burn even more! 

Love me, and you shall see 

That Love has no more arrows: 

They all quiver in my heart for you. 

My fatal Passion 

Is your beautiful eyes, 

There is no Constancy like my Constancy. 

Love me, etc. 

But what by what internal cloud 

Do I feel my heart oppressed? Alas, now my bloodless 

Spirit languishes in my breast. 

She faints. 

Creonte 

What is it, my Beloved? my Idol? my Goddess? 


199 



Scena II. 

Poliferno, e li Sudetti. 

Poliferno 

Fuggi Creonte, fuggi; àrmasi’l Cielo 

Contro di noi, già freme 

Di Tiresia alle preci 

Adirata Latona; e à nostri danni 

Per possanza maggiore 

Volgonsi i nostri inganni. 

Creonte 

Misero me che ascolto: e semiviva 

Lascierò la mia Vita? 

Poliferno 

Huop’è che ceda 

Il tuo Amor al Destino; il Campo tutto 

Teme, se più vai lungi, esser distrutto. 

Creonte 

Ahi Ciel! 

Poliferno 

Più non s’indugi. 

Creonte 

Oh stelle inde: 

Il dolore m’uccide. 

Luci belle, che languite, 

Io vi lascio, è vado à morte. 

Cosí voglion mie ferite, 

Vuol così l’iniqua sorte. 

Luci belle, &c. 

(parte con Poliferno. 

Scena III. 

Sparisce l’apparenza della sfera di Marte, e si vedono 

Solitudini con Grotte. 

Anone, e Niobe svenuta sovra un pezzo di Rupe. 

Anone 

Qui, dove muto, e solo 

Il Silenzio passeggia, 

Dall’abborrita Reggia 

Vengo Rè sfortunato 

In compagnia del duolo, 

À esacerbar mio Fato: 

200 


Scene II 

Poliferno and the Aforementioned. 

Poliferno 

Flee, Creonte, flee! Heaven arms itself 

Against us; Latona is furious, 

Enraged now by Tiresia’s supplications, 

And to our damnation, 

Our deceits turn against us 

With greater power. 

Creonte 

Wretched me, what do I hear! And shall I leave 

Her half-alive, she who is my Life? 

Poliferno 

It is necessary to cede 

Your Love to Destiny; if you keep on, the whole Camp 

Fears it will be destroyed. 

Creonte 

Alas, Heaven! 

Poliferno 

Delay no longer! 

Creonte 

Oh, unfaithful stars, 

Sorrow kills me. 

Beautiful, languishing eyes, 

I leave you and go to my death. 

So my wounds desire, 

So desires wicked Fate. 

Beautiful eyes, etc. 

He leaves with Poliferno. 

Scene III 

The appearance of the globe of Mars disappears, and a 

Lonely Place with Grottos is seen. 

Anone, and Niobe unconscious on a Rock. 

Anone 

Here, where Silence passes, 

Mute and alone, 

From the horrid Realm 

I come, unfortunate King, 

In the company of sorrow, 

To bewail my Fate:

Accogliete i miei pianti, i miei Martori 

Solitudini care, amici horrori. 

Mà sù Guancial di sasso 

Ninfa qui appar, che dorme. 

Niobe 

Ahi respiro. 

Anone 

Si desta. 

Niobe 

À i dolci Amplessi 

Torna l’Alma smarrita. 

Anone 

È di Niobe la voce. 

Ahi, se non erran gl’occhi, 

Niobe è costei. 

Niobe 

Mà dove son; che veggio? 

Anone 

Benche in diverse spoglie, 

E dessa: io non traveggio 

Niobe 

Dov’è il Ciel, dov’è Marte? 

Anone 

I suoi vaneggiamenti. 

Ascoltar vuò in disparte. 

Niobe 

Dive ancelle ove siete? 

Mio Nume ove sparisti? e chi dal soglio 

De canori Adamanti, 

In queste mute arene 

Hà Niobe condannata? 

Anone 

Mente contaminata. 

Niobe 

Dimmi: (vede Anone. 

ahi, che miro? sposo. 

Anone 

Ahi schernita Regina, 

Tradita fè, tiranneggiato Amore, 

Costanza offesa, & ingannato Core. 

Niobe 

E che dirò? 

Dear Solitude embraces my tears, 

My Sorrows—friendly horrors. 

But here is a girl, 

Sleeping on a Pillow of stone. 

Niobe 

Ah, I breathe. 

Anone 

She awakens. 

Niobe 

To sweet Embraces 

My lost Soul returns. 

Anone 

The voice is Niobe’s. 

Alas, if my eyes are not mistaken, 

She is Niobe. 

Niobe 

But where am I, what do I see? 

Anone 

Although she is in different clothing, 

It is she: I am not mistaken. 

Niobe 

Where is Heaven, where is Mars? 

Anone 

I would prefer to listen to 

Her ravings while hidden. 


Niobe 

Goddess handmaids, where are you? 

My God, where have you disappeared? And who 

Has condemned Niobe 

From that place of Adamantine † enchantments 

To this silent shore? 

Anone 

Polluted mind! 

Niobe 

Tell me… (she sees Anfione) 

alas, what do I see? Husband! 

Anone 

Alas, scorned Queen, 

Betrayed faith, tyrannized Love, 

Offended Constancy, and deceived Heart. 

Niobe 

And what shall I say? 


201 



Anone 

Quanto à me fè palese 

Tiresia l’Indovino, 

Ascolta Alma confusa 

Di Regnante delusa: 

Per gran forza d’Incanto, 

Sotto Velo di Nume al sen stringesti 

Il nemico Creonte, 

C’hora Tebe assalisce: 

Così permette il Ciel, quando punisce. 

Niobe 

Niobe che ascolti? e di cotanto oltraggio 

Vilipesa, e negletta, 

Tardi ancor la Vendetta? 

Contro il Ciel, che m’hà schernita, 

Corro, volo à guerreggiar. 

E dal soglio inferocita 

Voglio i Numi fulminar. 

Contro il Ciel, &c. 

Scena IV. 

Anone. 

Nell’Egeo tempestoso 

Nave non scosser mai 

Con impeto più insan gl’Austri frementi, 

Qual hor nel mar turbato 

Di tante passioni 

Abbattuta è al mio sen l’Anima mia, 

Colpa di stelle, e di fortuna ria. 

Hò perduta la speranza 

Alma mia di più gioir. 

Il Destin cangiò sembianza, 

Sol per farmi ogn’hor languir. 

Hò perduta, &c. 

Scena V. 

Più non spero haver contenti, 

Vivo sol trofeo del duol, 

E bersaglio di tormenti 

La mia sorte aln mi vuol. 

Più non spero, &c. 

Tempio di Latona. 

Tiresia, Manto, Tiberino, e Popolo. 

Tiresia 

Con eterni Legami 

202 


Anone 

Much has been revealed to me 

By Tiresia, the Seer; 

Now hear, confused Soul, 

Of deluded Royalty: 

By great power of enchantment, 

In the Body of the God whom you clasped to your bosom 

Was the enemy Creonte, 

Who now attacks Thebes; 

So Heaven permits, when it punishes. 

Niobe 

Niobe, what do you hear? And against such outrage, 

Despised and mistreated, 

Do you still delay War? 

Against Heaven, which has scorned me, 

I run, I fly to make war. 

And from the enraged throne 

I want to strike the Gods with lightning bolts. 

Against Heaven, etc. 

Scene IV 

Anone. 

In the stormy Aegean, 

The roaring South Winds never tossed a boat 

With an impetus more mad; 

Sometimes in the troubled sea 

Of such passions 

My soul is beaten in my breast. 

The fault is that of the stars, and the guilt is fortune’s. 

I have lost hope, 

My soul, of ever being happy again. 

Destiny changes its appearance 

Only to make me languish hourly. 

I have lost, etc. 

Scene V 

I hope no longer for contentment, 

I live only as a trophy of sorrow, 

And a target of torments, 

In the end my fate wants me to be so. 

I hope no longer, etc. 

Temple of Latona. 

Tiresia, Manto, and Tiberino and People. 

Tiresia 

With eternal Bonds

Stringendovi le Destre, 

L’Alme, e i Cori annodate: hoggi divise 

Non vuol più vostre salme 

Quel Ciel, che à me commise 

Farvi goder di casto Amor le Calme. 

(Si dan le Destre. 

Tiberino 

Son felice. 

Manto 

Io contenta 

Tiberino 

Sparì mia doglia. 

Manto 

Ogni mia pena è spenta, 

Tiresia 

Hor meco o Tiberino 

Le piante affretta; e tu mia glia intanto 

Nel Culto della Dea 

Il Popolo accompagna; e richiamando 

Le disviate menti 

A i Voti riverenti, 

Con suppliche divote, e preci humili, 

Di Tebe ne i perigli 

Dal Ciel prendi i consigli. 

(parte. 

Tiberino 

Hor ch’è mio quel vago labro, 

Saprai tosto Amor cos’è. 

Proverai, ch’egli è sol Fabro 

Di dolcissima mercè. 

Hor ch’è mio, &c. 

Scena VI. 

Manto, e Popolo, poi Niobe con numeroso Corteggio, 

Clearte, e Nerea. 

Manto 

Foste al ne pietosi 

Numi del mio cordoglio: à nostri Dei 

Offriamo Amici in sacricio i Cori, 

E la gran madre eterna, 

Con la Prole Divina ogn’uno adori. 

Niobe 

Che si fa? che si tenta? empi Tebani 

Da quai furori insani 

Follemente agitati, i falsi Dogmi 


Clasping your right Hands, 

Bind together your Souls and Hearts: Heaven no longer 

Wishes your bodies to be apart, 

That heaven which has commissioned me 

To cause you to enjoy the serenity of Chaste love. 

They give their right hands. 

Tiberino 

I am happy. 

Manto 

I am content! 

Tiberino 

My sorrow has vanished. 

Manto 

All my anguish is spent. 

Tiresia 

Now come with me, O Tiberino, 

And hasten; and you, my daughter, meantime 

Accompany the People 

In the Worship of the Goddess, and recalling 

Their distracted minds 

To reverent Vows, 

With devout supplications and humble prayers, 

May Heaven advise 

Thebes of the danger. 

He leaves. 

Tiberino 

Now that these lovely lips are mine, 

You soon shall know what Love is. 

You shall understand that he is the only Giver 

Of sweetest rewards. 

Now that, etc. 

Scene VI 

Manto and the People, then Niobe with a Great Retinue, 

Clearte and Nerea. 

Manto 

You were at last merciful, 

Gods, to my sorrow. To our Gods 

Let us offer, Friends, our Hearts in sacrifice, 

And everyone adore the great eternal Mother, 

With her Divine Children. 

Niobe 

What are you doing?What are you attempting?WickedThebans, 

With what insane frenzy 

Do you tremble madly, following the false Dogmas 

203 



D’una stolta eseguite? 

Così anteporre ardite 

Immagin vane, e insussistenti Oggetti, 

C’han sol di Numi il Nome, 

Di Tantalo alla Prole? Io quella sono, 

Che da Numi non nti 

Vanto la discendenza, Atlante, e Giove 

Sono di Niobe gli Avi; olà miei di 

Tosto in più Schiegge infrante 

Cadan gl’Idoli indegni alle mie Piante. 

Li seguaci di Niobe atterrano gl’idoli di Latona, di 

Apollo, e di Diana. 

Manto 

Chiudetevi miei Lumi, 

E non v’aprite più; 

Se pria non fanno i Numi 

Vendetta di là sù. 

Chiudetevi, &c. 

Niobe 

Mi si toglia da gli Occhi. 

Manto 

E ancora o Cielo i Fulmini non scocchi? 

(parte. 

Scena VII. 

Niobe, Clearte, Nerea, & Corteggio. 

Niobe 

Senza indugio Clearte 

Vanne, e di tanta impresa 

Godan tosto il Trionfo i miei gran Figli; 

E frà publici Applausi 

De Popoli adoranti 

Habbian di Numi i commun Voti e i Vanti. 

Clearte 

Giuste son le tue Glorie 

O dell’Ismenia Gente, 

E frà i Numi del Ciel Diva possente. 

(parte. 

Of a fool? 

Thus you dare set 

Vain images and insubstantial Objects, 

Which have only the Name of Gods, 

Above the progeny of Tantalus? † I am the one 

Who does not feign 

To boast of descent from Gods: Atlas † and Jove 

Are Niobe’s Ancestors; there, my faithful ones, 

Soon the unworthy idols 

Shall be cast at my feet and broken into shards. 

The followers of Niobe cast the images of Latona, 

Apollo, and Diana to ground. 

Manto 

Close, my Eyes, 

And open no more, 

Unless first the Gods take 

Vengeance on this. 

Close, etc. 

Niobe 

Get them out of my Sight. 

Manto 

And still, O Heaven, you do not throw your Thunderbolts? 

She leaves. 

Scene VII 

Niobe, Clearte, Nerea, and the Court. 

Niobe 

Without delay, Clearte, 

Go, and soon my great Children will enjoy the Triumph 

Of this great enterprise; 

And together with the public Applause 

Of an adoring People, 

They will have the common Prayers and Exaltation of Gods. 

Clearte 

Your glories are just, 

O you, Goddess of the Ismenian People, 

And powerful Goddess among the Gods of Heaven. 

He leaves. 


204 


Scena VIII. 

Niobe, Nerea, Corteggio. 

Niobe 

Vinti sono i Celesti; hor del mio Petto 

Precipiti lo sdegno 

Contro il Tessalo indo, e dal profondo 

M’inchini Averno, e con Averno il mondo. 

In mezzo al Armi 

Vuò vendicarmi 

D’un infedel. 

Cangiossi in Face 

D’odio vorace 

D’Amor il Tel. 

In mezzo, &c. 

Scena IX. 

Nerea. 

Affè ch’è un brutto intrico, & è delitto 

Farne motto, ò parola: il Ciel mi guardi 

Da si arrabbiati Amanti, 

Che goder vonno à forza ancor d’Incanti. 

Povere Giovinette 

À quanti inganni ogn’hor siete soggette. 

Ma poi, che nella Rete 

V’hanno fatto cader, v’è speme alcuna 

Di trovarne in Amore alcun costante? 

Ohibò; questa speranza 

Non è più dell’usanza. 

Che alla fè di Donne amanti 

Siano gl’Huomini costanti 

Io giamai nol crederò. 

Io per prova e vedo e sento, 

Che ne brama ogn’uno cento 

Se ben giura ogn’un di nò. 

Che alla, &c. 

Scena X. 

Gran Piazza di Tebe, concorso di Popolo, Clearte, che 

sovra gran Machina conduce in Trionfo i Figli di Niobe. 

Clearte 

Tutta gioia, e tutta riso 

Tebe essulti in questo dì 

Se di Numi hor fatta Reggia, 

Con il Ciel lieta gareggia, 

Poiche i pregi al Ciel rapi. 

Tutta gioia, &c. 

Scena VIII 

Niobe, Nerea, Court. 


Niobe 

The Gods are vanquished; now from my Breast 

Disdain is thrown headlong 

Against the unfaithful Thessalian, and from the depths 

Avernus † bows to me, and with Avernus, the world. 

In the midst of battle 

I wish to avenge myself 

On an infidel. 

Love’s Snare 

Changes in the Face 

Of greedy hatred. 

In the midst, etc. 

Scene IX 

Nerea. 

Indeed, this is a messy intrigue, and it is offensive 

To speak of it at all. Heaven protect me 

From such incensed lovers, 

Who want to enjoy themselves by dint of Enchantments. 

Poor Youngsters, 

They are subject now to so many deceptions. 

But yet, of those who have 

Fallen into the Snare, is there any hope 

Of finding someone who is faithful? 

Phooey, this hope 

Is no longer any use. 

I’ll never believe 

That Men are faithful 

To the constancy of Women in love. 

I know through experience, seeing, and hearing, 

That every one yearns for a hundred, 

But yet every one of them swears they don’t. 

I’ll never, etc. 

Scene X 

Great Square of Thebes. Crowd of People, Clearte, who upon a 

great Machine leads the Children of Niobe in Triumph. 

Clearte 

All joy and all smiles, 

Thebes exults in this day, 

For now the Kingdom is made the Gods’, 

Happily contend with Heaven, 

Because we have stolen some of their treasure. 

All joy, etc. 


205 



Ad un subitaneo Terremoto si vedono cader tutti 

gl’Edifici & ingombrata da improvise nubi la Scena 

frà Lampi, tuoni, e saette appariscono dall’alto Latona, 

Diana, & Apolline, con loro Deità Compagne, in atto 

difulminar li Trionfanti, e poi spariscono. 

Ma lasso, insin dal centro 

Par, che si scuota il Mondo? 

Scaglia fulmini il Cielo; 

Trà il vivere, e il morire, io mi confondo. 

Scena XI. 

Anone con spada alla mano, e li Sudetti atterrati da i 

fulmini. 

Fin dove m’inseguite 

Furie fulminatrici? i dardi ardenti 

Si sì crude avventate, io serbo ancora 

Contro delle vostr’Ire il Cor costante, 

Ma che scorgo? ahi spavento. 

E che miro? ahi tormento. 

Incenerita al suolo 

L’amata Prole? ahi Duolo. 

Chi mi sostiene? io perdo i sensi. ahi Figli, 

Figli miei spenti: o Cieli 

Troppo ver me crudeli. 

Mà s’ogn’hor nuovi scempi 

Inventate à miei danni, 

Non mai stanchi Tiranni, 

Per saziarvi un di Numi spietati, 

Sgorghin dal proprio seno 

Vasti rivi di sangue; à un disperato 

Vita è l’ultimo fato. 

Si uccide. 

Scena XII. 

Niobe, e li Sudetti. 

Niobe 

Fermati. 

Anone 

Niobe. 

Niobe 

Egli svenossi. 

Anone 

Io moro. 

Spira già nel propio sangue 

206 


At a sudden Earthquake, all the Buildings are seen to fall 

and the Scene is filled with sudden clouds among Lightning, 

thunder, and arrows. Latona, Diana, and Apollo, with 

their Company of Gods, appear from on high, in the act of 

shooting the Triumphant, and then they disappear. 

But alas, it seems that the world shakes 

From its very core! 

Heaven flings lightning bolts; 

I feel myself suspended between life and death. 

Scene XI 

Anone with a sword in his hand, and the Aforementioned 

subjects thrown to the ground by bolts of lightning. 

At last where do you follow me, 

Bolt-throwing furies? Yes, yes, hurl 

The burning darts; against your anger 

My faithful heart is still bent. 

But, what do I make out? Alas, I fear! 

And what do I see? Alas, anguish! 

My beloved Children 

Scorched on the ground? Alas, Sorrow! 

Who shall sustain me? I’ve lost my senses. Alas, Children, 

My dead Children! O Heavens, 

Too cruel to me! 

Ah, if you always invent 

New havoc for my punishments, 

Never tire, you tyrants; 

To satiate you one day, spiteful Gods, 

From this very breast gushes 

Vast rivers of blood; for one who is desperate, 

Life is the final fate. 

He kills himself. 

Scene XII 

Niobe and the Aforementioned. 

Niobe 

Stop! 

Anone 

Niobe! 

Niobe 

He has stabbed himself! 

Anone 

I am dying. 

Now my Soul, Pale and trembling,

L’Alma pallida, e tremante. 

Numi rei Trofeo già esangue 

Di vostr’Ire ecco un Regnante. 

Spira già nel propio sangue. 

L’Alma palli… 

Niobe 

Crudo Ciel. 

Anone 

Treman… 

Niobe 

Empio Fato. 

Anone 

An… 

Niobe 

Fierissimo cordoglio. 

Anone 

An… 

Niobe 

Inopportuno Arrivo. 

Egli muor, & io vivo? 

Oh dell’Ismenio soglio 

Glorie precipitate; alteri Figli 

Estinto è il nostro Nume. 

Mà che veggio? e non sono 

Questi i Figli anco uccisi? 

Non è questa la prole, e non son queste 

D’atro pallor dipinte 

Delle Viscere mie, Viscere estinte? 

Vista crudel: accorri, accorri, vieni 

Teban Regnante, e le Regali Salme 

Togli all’indegna Parca: ahi che tratto 

Privo d’Alma, e di Vita in terra stassi 

Chi diè vita alle Pietre, anima à i sassi. 

Sposo chi mi ti ruba? 

Figli chi à me vi toglie. e à chi di voi 

Offrirò pria da inessiccabil Vena 

Lacrimoso Tributo? afitti Lumi, 

Se pur pianger potete, 

Solo il mio duol piangete: 

Giacciono al suol recise 

Tutte le mie speranze. 

Mà negandomi i Pianti immenso affanno. 

Cinta l’Alma di Nube horrida, e tetra, 

Già mi rende di Pietra. 

Funeste Imagini 

Già mi tormentano; 

Stigie Voragini 

Già mi spaventano: 

Vinta al n dall’empia sorte 

Figli, sposo, io son di morte. 

Exhales its own blood. 

Wicked gods, behold a King, 

Now a bloodless Trophy of your Anger. 

Now my soul exhales its own blood, 

Pale and… 

Niobe 

Cruel Heaven! 

Anone 

Trembli… 

Niobe 

Wicked Fate! 

Anone 

Trem… 

Niobe 

Most savage anguish! 

Anone 

Trem… 


Niobe 

Unhappy Ending. 

He dies and I live? 

O glories cast from the 

Ismenian throne! Proud children, 

Our God is dead. 

But what do I see? are not 

These Children also dead? 

Are these not my offspring? and are these not, 

Painted with a grisly pallor, 

These of my womb, dead Bodies? 

Cruel sight! Hasten, hasten, come, 

Theban Ruler, and the Royal bodies 

Snatch from unworthy Fate. Alas, how pierced through, 

Deprived of soul and of Life, on earth you lie, 

Who gave life to the Stones, soul to the rocks. 

Husband, who stole you from me? 

Children, who took you from me? and to which of you 

Shall I offer first the inexhaustible Vein 

Of Tearful Tribute? Sorrowing Eyes, 

If you can weep, 

Weep only of my grief: 

All my hopes 

Lie cut off on the ground. 

But my immense sorrow denies me Tears, 

My Soul is surrounded by horrid bleak Clouds, 

Now I am turned to Stone. 

Funereal images 

Torment me now, 

Stygian Abysses 

Frighten me now. 

Vanquished in the end by bitter fate, 

Children, husband, I am of the dead. 

207 



Scena XIII. 

À lieto suono di Trombe, e Timpani, Creonte, Poliferno, 

Tiresia, Manto, Tiberino, Soldati, e Popolo. 

Creonte 

Doma è già Tebe, e le superbe mura, 

Già fulminate dal Celeste Trono, 

Se col canto s’alzar, cadder col Tuono. 

Poliferno 

Ecco Anone estinto. 

Tiberino 

Ecco i Figli atterati. 

Manto 

Ecco Niobe impietrita. 

Creonte 

Sventurato Regnante. 

Giovanetti infelici. 

Miserabil Regina. 

Tiresia 

Così contro de gli Empi il Ciel destina. 

Creonte 

Mi si togliano al guardo; à violenza 

Rattengo il pianto, ahi Niobe, 

Tiresia 

Hor che gli Dei 

Del gran soglio Tebano 

Ti concesser l’Impero, 

Lasciar convien Creonte 

Gl’amorosi deliri. 

Creonte 

Pur d’uopo è ch’io sospiri: 

Mà con più saggio Core 

Vuò che de miei delitti 

Porti tosto la pena 

Chi ne fù autor: in Bando 

Vadane Poliferno. 

Poliferno 

Io? 

Creonte 

Si. 

208 


Scene XIII 

At the happy sound of Trumpets and Tympani, Creonte, 

Poliferno, Tiresia, Manto, Tiberino, Soldiers, and People. 

Creonte 

Now Thebes is subdued, and these lofty walls, 

Once shining with a Celestial Throne, 

Though they rose to a song, fell to Thunder. 

Poliferno 

Behold Anfione, dead. 

Tiberino 

Behold the children, cast dead to the ground. 

Manto 

Behold Niobe turned to stone. 

Creonte 

Unfortunate king, 

Unhappy Youths, 

Miserable Queen. 

Tiresia 

Thus Heaven addresses itself against the Wicked. 

Creonte 

They hold my gaze; with great effort 

I hold back my tears; alas, Niobe! 

Tiresia 

Now that the Gods 

Of the great Theban throne 

Have ceded you the Reign, 

You must leave off, Creonte, 

Your amorous delirium. 

Creonte 

It is from great need that I sigh, 

But with a wiser Heart 

I wish that the author 

Of my crimes 

Soon carry this sorrow: 

Go into Exile, Poliferno. 

Poliferno 

Me? 

Creonte 

Yes.

Poliferno 

Fia dunque 

Questo alla fede mia premio dovuto? 

Creonte 

Mercè condegna ad Huom soggetto à Pluto. 

Poliferno 

Come? 

Creonte 

Fuggi, sparisci, ancor persisti? 

Poliferno 

Empio Ciel mi tradisti. 

Scena XIV. 

Creonte, Tiresia, Manto, Tiberino, e poi Nerea. 

Creonte 

Hor voi felici amanti 

Lieti godete. 

Tiberino 

Alle Latine sponde 

Meco verrai mia spene. 

Manto 

Ti seguirò dove tu vuoi mio bene. 

Nerea 

Pietà signor pietade 

Di Nerea l’infelice. 

Creonte 

Chi sei tù? 

Nerea 

Son di Niobe io la Nutrice. 

Creonte 

Vivrai lieta, e sicura. 

Nerea 

Affè son mezza morta di paura. 

Creonte 

Di Palme, e d’Allori 

Si cinga’l mio Crin. 

E Applausi canori 

Si dian al Destin. 

Di Palme, &c. 

Segue il Ballo di Soldati Festeggianti. 

FINE. ■ 

Poliferno 

So is 

This, by my faith, the reward I deserve? 

Creonte 

Reward worthy of a Man who serves Pluto. 

Poliferno 

What? 

Creonte 

Flee, vanish, still you persist? 

Poliferno 

Wicked Heaven, you have betrayed me! 

Scene XIV 

Creonte, Tiresia, Manto, Tiberino, then Nerea. 

Creonte 

Now you, happy lovers, 

Rejoice. 

Tiberino 

To the Latin shores 

Come with me, my hope! 

Manto 

I will follow you where you wish, my beloved! 

Nerea 

Pity, sir; have pity 

On unhappy Nerea. 

Creonte 

Who are you? 

Nerea 

I am Niobe’s; I am the Nurse. 

Creonte 

You shall live happy and secure. 

Nerea 

In faith, I am half dead of fear. 

Creonte 

With Palms and Laurels 

My Brow is wreathed, 

And Songs of praise 

Are given to Destiny. 

With Palms, etc. 

The Dance of Celebrating Soldiers follows. 

End. ■ 


209 



Glossary 

Niobe, Regina di Tebe is dense with references to places, 

persons, and objects from the mythology of ancient Greece 

and works classical literature such as Ovid’s Metamorphoses, 

Homer’s The Iliad and The Odyssey, and Virgil’s The Aeneid. 

For Steffani’s and Orlandi’s audience, schooled in the classics, 

these references served to deepen the context of the story, 

adding detail to the dramatic characters and to the moral 

Act I 

Alba: an ancient city of Latium founded by Ascanius, the 

son of the Trojan hero Aeneas 

Alecto: one of the three Furies, creatures charged with 

avenging wrongdoing 

Argos: a powerful city in ancient Greece, and a rival of 

Sparta 

Boeotia (Boethian countryside): a region in ancient 

Greece; its largest city was Thebes 

Corinth: city in ancient Greece 

Cupid: God of Love, son of Venus 

Delia (Diana): Goddess of the moon, and of the hunt (also 

known as Artemis) 

Dirke: wife of Lycus, a former ruler of Thebes; killed by 

Anfione. 

Enceladus: a giant, and a son of Gaia (Earth); he was buried 

under Mt. Etna, whose eruptions are said to be his 

breath 

Helen: Daughter of Jove and Leda, whose abduction by 

Paris from Sparta started the Trojan War 

Ismenians (deaf Ismenians): serpents; Cadmus, along with 

his wife, after their children had been killed, were 

turned by Mars into snakes in revenge for Cadmus 

having slain the dragon that guarded the sacred spring 

of Ismenos near Thebes. 

Janus: the God of beginnings and endings, with two faces 

looking simultaneously in two directions, toward the 

past and the future 

Jove (Zeus): king of the Gods, and husband of Juno 

Juno (Hera): wife of Jove 

Knidos: ancient Greek city in Cyprus 

Latium: region on the ancient Italian peninsula in which 

Rome was founded 

Latona (Leto): mother of Apollo and Diana (their father is 

Jove) 

Lycus: former ruler of the city of Thebes; killed by Anfione 

210 


themes of the dramaturgy.To help our modern audience enjoy 

some of the same context, we offer this glossary of place names 

and persons cited in the libretto of the opera. Although the 

story takes place in ancient Greece, Orlandi uses the Roman 

terms natural to his native tongue. We have retained the 

English equivalent of these Roman names in our translations 

for ease of reference. ■ 

Mars: God of war 

Megaera: one of the three Furies, and sister of Alecto 

Mycenae: a city in ancient Greece, and a military stronghold 

Nabateans (Nabatene perfumes): people of an ancient 

mideast culture who traded in spices and perfumes 

from the Orient. 

Nemesis: Goddess or spirit of revenge 

Paris: son of the king of Troy, and abductor of Helen 

Sparta: city-state in ancient Greece and a dominant military 

power 

Thebes: a Boeotian city-state, and a rival of Athens and 

Sparta 

Thessaly: a region in ancient Greece and a major military 

power 

Thrace: a region north of Thessaly in ancient Greek 

mythology, mentioned by Homer and Ovid, among 

others 

Venus: the Goddess of Beauty and mother of Cupid 

Act II 

—Ellen Hargis 

Bellona: Goddess of war, known as the sister, wife, or 

daughter of Mars 

Blind ying Goddess (Themis): Goddess of justice and 

divine law 

Cocitus: a river in Hell 

Danae: mother of Perseus (his father is Jove) 

Endymion: a shepherd in ancient Greek mythology, 

unrequitedly in love with the moon Goddess 

Ether: the pure atmosphere breathed and lived in by the 

Gods in Greek mythology 

Europa: a noblewoman abducted and raped by Jove in 

ancient Greek mythology 

Furies: female deities (usually three); personifications of 

anger charged with avenging wrongdoing 

Hyrcania: part of an ancient Persian empire, in old Persian 

“country of wolves”

Leda: mother of Helen of Troy (her father is Jove) 

Mercury: messenger of the Gods, and God of trade 

Phlegethon: a river in Hell 

Phoebus (Apollo): God of light and sun, brother of Diana 

(Goddess of the moon), patron of shepherds, music and 

poetry, and the arts; his parents are Jove and Latona 

Pluto: God of Hell and ruler of the Underworld 

Salmoneus: king of Elis, who ordered his subjects to worship 

him as Jove; for this, Jove struck him with a 

thunderbolt, and destroyed his city 

Sicana: Wife of Pluto, also known as Proserpina 

Styx (Stygian horrors): a river in Hell 

Tartarus: a region of the Underworld; a deep place below 

Hades where things dangerous to the Gods are 

condemned to stay 

Typhon: dreadful monster who battled against Jove, who 

imprisoned him under Mt. Etna when he finally 

g l o s s a r y 

defeated the creature. 

Xanthos: a river created by the birth pangs of Latona. In the 

Iliad, the River God Xanthos attempts to drown 

Achilles (the Trojan Boy) in the river. 

Act III 

Adamantine: an herb used in enchantments 

Atlas: Titan or giant who supports the heavens 

Avernus: in Greek mythology, the entrance to the 

underworld, or the underworld itself 

Fifth Planet: Mars 

Tantalus: father of Niobe and ruler of Tantalus ■ 

211

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