Lamento della Ninfa (the Nymph’s Lament), written anywhere between 1614 and 1638, year of its publication in the Eight Book of Madrigals, is one of the most known and appreciated compositions of Monteverdi.
The text is divided into three parts with the nymph lamenting her fate in the middle and the choir of pastori (shepherds; 2 tenors and 1 bass) on either side. The choir introduces and concludes the sad story of the nymph, and also take part in the lament, commenting (with compassion) the scene that takes place before our eyes.
Unlike the nineteen other works appearing in the Eight Book, Monteverdi adds introductory notes to the Lamento specifying how the piece has to be performed. Interestingly enough, when it comes to the nymph he writes ‘she has to sing according the her emotions’ (al tempo dell’affetto del animo), while the pastori were expected to sing at a regular beat (al tempo della mano).
I think that giving the soprano license to follow her passions and moods is what makes this piece timeless, as every interpreter gives a personal and unique rendition of it. When it comes to profound matters, not setting strict instructions and rules is the wisest thing to do because no language (including music, painting, and mathematics) can faithfully transmit the essence of humanness. This in turn shows that Monteverdi had a deep knowledge of human emotions.
The text by Ottavio Rinuccini of the lament (with an english translation) is:
Non havea Febo ancora Recato al mondo il dí, Ch’una donzella fuora Del proprio albergo uscí. Sul pallidetto volto Scorgeasi il suo dolor, Spesso gli venia sciolto Un gran sospir dal cor. Sí calpestando fiori Errava hor qua, hor là, I suoi perduti amori Cosí piangendo va. |
Phoebus had not yet brought The day to the world, When a maiden so angry Came out of her house. On her pale face Her pain could be read, And every so often A heavy sigh came from her heart. Stepping on flowers, She wandered from here to there, Bewailing her lost love With these words. |
Amor (Dicea) Amor (il ciel mirando, il piè fermo,) Amor Dove, dov’è la fè Ch’el traditor giurò? (Miserella) Fa che ritorni il mio Amor com’ei pur fu, O tu m’ancidi, ch’io Non mi tormenti più. (Miserella, ah più, no, Tanto gel soffrir non può.)Non vo’ più ch’ei sospiri se lontan da me, No, no che i martiri Più non dirammi affè. (Ah miserella, ah più, no, no) Perché di lui mi struggo,Tutt’orgoglioso sta, Che sí, che sí se’l fuggo Ancor mi pregherà? (Miserella, ah più, no, Tanto gel soffrir non può.) Se ciglio ha più sereno Colei, che’l mio non è, Già non rinchiude in seno Amor sí bella fè. (Miserella, ah più, no, Tanto gel soffrir non può.) Ne mai sí dolci baci Da quella bocca havrai, Ne più soavi, ah taci, Taci, che troppo il sai. (Miserella) |
Love (She said) Love (gazing at the sky, Standing still) Love Where is the troth that the traitor vowed? (Unhappy one) Make him return to my Love, as he once was, Or else kill me, so I Can no longer torment myself. (The poor girl, ah no more, no, can she suffer so much ice.)I no longer want him to breathe, unless far from me so that he can no longer say the things that torture me (Ah, the poor girl, ah no more, no, no)Because I destroy myself for him, so full of pride as he is; but if I flee from him, again he entraits me. (The poor girl, ah no more, no, can she suffer so much ice)A more serene eybrow has she than mine, but love has not planted in his breast so fair a faith. (The poor girl, ah no more, no, can she suffer so much ice) Not ever such sweet kisses will he have from that mouth, not softer, ah quiet, quiet, he knows it only too well. (The poor girl) |
Sí tra sdegnosi pianti Spargea le voci al ciel; Cosí ne’ cori amanti Mesce amor fiamma, e gel. |
Thus with indignant complaints, the voice rose up to the sky; thus, in loving hearts, love mingles flame and ice. |
From a seemingly trivial tragedy, Monteverdi takes us deep into our own human nature.
One can find many interpretations of the Lamento on youtube and each one of them is special and unique. Here are two of my favorite ones:
I’d be glad to listen to your favorite version. Feel free to put it in the comment section!
Further reading
– For more info on music theory: Rinuccini/Monteverdi—Lamento della ninfa, Harpes magazine.
– Madrigals, Book 8. Scores.
beautiful and heavenly, thank you.
Beautiful; thank you!
It’s very beautiful. I knew (and I love) the version of Natalie Dessay : http://youtu.be/-qz2aj2oB68 (I was looking for the lyrics when I found your page !)
Good evening, thank you for this post, explanation and lyrics.
I’d suggest this a beautiful cover:
And my favorite “clssic” versions are: Montserrat Figueras
and Mariana Flores:
Rossella
Thanks for this remarkable article. I really enjoyed reading it.
My favourite interpretation of all times is by Christina Pluhar:
Christina Pluhar is not singer, but guitar/lute/baroque guitar player. The singer is Nuria Rial.
Damn… you’re right ! Thanks for this. I misread the CD label :)
Beautiful! Heard it on the radio today, and found this text. I quite enjoy this video, the setting is rather fitting
A very special version, http://www.youtube.com/watch?v=YL2aoVjWlTo
I also like a lot Nuria Rial and Bernada Fink!
What do you think about?
Amazing version imo:)
This is a gorgeous jazz rendition: https://www.youtube.com/watch?v=d83WpdINleE
Someone should arrange this in flamenco style.
Flamenco fission.
Music (this music) is the only thing that makes sense in the world.
Here is another great version with Monica Piccinini
Right now, it is the first song that plays at http://www.nuriarial.com, and is utterly beautiful.
Enjoyed reading your analysis. I would suggest a correction to the translation of “Se ciglio ha più sereno”. This means “If her eyes are more serene”. (See Il Sabatini Coletti Dizionario della Lingua Italiana for meaning of “ciglia’ – it literally means eyelids but used in literature to refer to the eyes).
This is my favorite version! Wish I could know the name of the singers, there’s only the name of one tenor…
https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2F94694844502%2Fvideos%2F10155740103379503%2F&show_text=0&width=560
Thanks for such an insightful and interesting page!
Attatched is a link to the interpretation I utterly adore. It is fast paced and seemingly upbeat however there still remains an underlying sadness which resonates throughout the piece. It belongs to the album ‘Monteverdi Teatro d’Amore L’arpeggiata’ by Christina Pluhar.
I love this song too. I heard it on local radio and immediately ordered it. Didn’t realize there were so many interpretations. Every woman should love this song.
Check that one version, starting at 5.50. OMG! https://www.youtube.com/watch?v=Y6BQnj6S4W0
Found this old post looking for the lyrics to this magnificent piece – thank you!
My favourite version is Anna Prohaska’s , though I find the video cheap.
Just one suggestion regarding the translation – in:
a quiet,
quiet, he knows it only too well.
I think it should read “ah quiet..”, no? She kind of argues that she’s still better then the other (nymph?) and then says (to herself), “oh shut up, why am I even saying this (taci, taci), he knows it all too well”.
I don’t speak IT, so this is just based on what the music and the interpretations seem to suggest, which in itself shows how powerful language that is… Love this piece!!!
Hello Kata,
Thank you for your stopping by and for you comment. You’re right: it should read “ah quit”. Fixed it. Thanks.
Hello,
Even if the post is old I wish to share my favorite version.
“LE POEM HARMONIQUE” with the very talented soprano “Claire Lefilliâtre” .
This is my favorite
Thank you for your post! My favorite recording of this piece can be found with the link below. I believe this is an accurate depiction, seeing as men participated in almost all art forms exclusively during the early to mid 1600s. Maybe a castrado would have been a soloist. Due to the range, the male voice has a sense of vulnerability and sensitivity that is so clear in this performance! It’s haunting.