High resolution and stereo sound:
(1660 - 1725)
Sedecia, Re di Gerusalemme
Oratorio in 2 parts
Libretto: Filippo Ortensio Fabbri
In this recording:
Les Musiciens du Louvre, Marc Minkowski
Bartoli sings "langue" instead of "manca" at 2:43 time mark, towards the end of the B section.
Score: Can be found in this compilation of arias:
"Sedecia, Re di Gerusalemme (performed in 1705 in Urbino, and brought to Rome the following year by Cardinal Ottoboni for a performance at the Seminario Romano)introduces us into a world of dramatic violence. The libretto is based on the Biblical account of the siege of Jerusalem by Nebuchadnezzar, King of Babylon, a tale in which King Zedekiah is the incarnation of infidelity and idolatry punished by heaven.
Tragedy reigns in "Caldo sangue", when Ishmael, struck down by Nebuchadnezzar's dreadful fury, breathes his last. This is an aria of extraordinary expressive force whose bold harmonies have no descriptive purpose, but are transformed into poetry, pure and simple. In the central section, the vocal line is movingly emphasised with some violently vehement writing. This only lasts a moment, however, as the vital energy gradually fades, the aria ending in a spectral pianissimo."
- Claudio Osele
"...As a genre, Scarlatti's oratorios fared rather poorly in the early-music revival of the last century. Although we can confidently attribute around 30 works to him -- making him the most significant composer between Carissimi and Handel -- only five scores have so far been published.
Unlike Handel's English oratorios, Sedecia was written for performance in a religious setting, probably at the Oratorio dei Filippini in Rome around 1706.
Limiting himself to just five main characters, the librettist tells the tragic tale of Zedekiah, the last King of Jerusalem, who set his face against God's will and therefore suffered the death of his sons and his own blindness at the hands of the Babylonian King Nebuchadnezzar. Divided into two halves, the first is full of bravura and battle (the War of the Spanish Succession briefly threatened Rome at this time); the second part is more thoughtful, moving inexorably towards its heart-rending conclusion..."
- Simon Heighes
(full article at: http://www.andante.com/article/articl... )
Caldo sangue, che bagnando
il sen mi vai, e d'amore
fai gran fede al genitore,
fuggi pur, fuggi da me,
ch'io già moro, e resto esangue!
Forse un dì risorgerai
per vendetta della man
che mi saetta; e il vigor
che in me già manca, caldo sangue,
passerà più saldo in te.
Translation (Susannah Howe, slightly edited):
Warm blood, now bathing
my breast as proof of the love
I bear to my father,
flow now, flow from me,
I am drained and close to death!
Perhaps one day you will rise again
to exact your vengeance on the hand
that wounded me; and the flame
now fading inside me, warm blood,
will burn more brightly in you.