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Il traditor deluso (1827) D902


Part of a series or song cycle:

Drei Gesänge (D902)


Il traditor deluso

Recitativo:
Ahimè, Io tremo, io sento
Tutto inondarmi il seno
Di gelido sudor... Fuggasi... Ah quale...
Qual' è la via! Chi me l'addita? Oh Dio,
Che ascoltai! Che m'avvenne! Ove son io!
Aria:
Ah l'aria d'intorno
Lampeggia, sfavilla,
Ondeggia, vacilla
L'infido terren!
Qual notte profonda
D'orror mi circonda!
Che larve funeste,
Che smanie son queste!
Che fiero spavento
Mi sento nel sen!

The traitor deceived

Recitative:
Alas, I tremble!
I feel a cold sweat upon my brow!
I must flee; but whither? Where is the way?
Who will show it to me? O God, what do I hear?
What is happening to me? O God, what do I hear?
Where am I?
Air:
The air around me flashes and sparkles;
The perfidious earth quakes and trembles!
The deep night surrounds me with horror!
What baleful creatures, what furies are these?
What raging terror I feel in my breast!

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Composer

Franz Peter Schubert was an late Classical and early Romantic composer. He produced a vast oeuvre during his short life, composing more the 600 vocal works (largely Lieder), and well as several symphonies, operas, and a large body of piano music. He was uncommonly gifted from a young age, but appreciation of his music was limited during his lifetime. His work became more popular in the decades after his death, and was praised by 19th century composers, including Mendelssohn, Schumann, Brahms, and Liszt.

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Poet

Pietro Antonio Domenico Trapassi, better known by his pseudonym of Pietro Metastasio, was an Italian poet and librettist, considered the most important writer of opera seria libretti.

Metastasio was born in Rome, where his father, Felice Trapassi, a native of Assisi, had taken service in the Corsican regiment of the papal forces. Felice married a Bolognese woman, Francesca Galasti, and became a grocer in the Via dei Cappellari. The couple had two sons and two daughters; Pietro was the younger son.

Pietro, while still a child, is said to have attracted crowds by reciting impromptu verses on a given subject. On one such occasion in 1709, two men of distinction stopped to listen: Giovanni Vincenzo Gravina, famous for legal and literary erudition as well as his directorship of the Arcadian Academy, and Lorenzini, a critic of some note. Gravina was attracted by the boy's poetic talent and personal charm, and made Pietro his protégé; in the course of a few weeks he adopted him. Felice Trapassi was glad to give his son the chance of a good education and introduction into society.

Gravina hellenized the boy's name Trapassi into Metastasio, and intended his adopted son to be a jurist like himself. He therefore made the boy learn Latin and law. At the same time he cultivated his literary gifts, and displayed the youthful prodigy both at his own house and in the Roman coteries. Metastasio soon found himself competing with the most celebrated improvvisatori of his time in Italy. However, his days full of study and evenings devoted to improvising poetry took a toll on Pietro's health.

Gravina, making a business trip to Calabria, exhibited Metastasio in the literary circles of Naples, then placed him in the care of his kinsman Gregorio Caroprese at Scaléa. In country air and the quiet of the southern seashore Metastasio's health revived. Gravina decided that he should never improvise again, but should be reserved for nobler efforts, when, having completed his education, he might enter into competition with the greatest poets.

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