

The Lyrebird Festival
Megalong Valley, NSW
November 14-17
Dolcissimo
Hannah Lane | Italian baroque triple harp
Anna Fraser | Soprano
One of the most beautiful of all musical words—“dolcissimo”(very sweet)—directs the player to savour the music like honey. This eclectic and wide-ranging program explores the musical legacy of the great female singer/harpists of the sixteenth and seventeenth centuries. In these poems of love and loss, the resonating string of the harp is a metaphor for our brief lives: “from your strings escape my notes, and my torments, since merciful harmony may perhaps restore peace to my soul.”
Luzzasco Luzzaschi (1545—1607)
Toccata del quarto tono, Il Transilvano (Venice: 1593)
Aura soave, Madrigali…per cantare, et sonare a uno, e doi, e tre soprani… (Rome: 1601)
Sigismondo d'India (1582—1629)
Cara mia cetra, Le musiche da cantar…Libro primo (Milan: 1609)
Torna il sereno Zefiro, Le musiche da cantar…Libro quinto (Venice: 1623)
Giovanni Girolamo Kapsperger (1580—1651)
Toccata arpeggiata, Libro primo d'intavolatura di chitarrone (Venice: 1604)
Giulio Caccini (1551—1618)
Dolcissimo sospiro, Le nuove musiche (Florence: 1601)
Giovanni Girolamo Frescobaldi (1583—1643)
Toccata per l’Elevatione, MS Chigi (Rome: 17th century)
Francesca Caccini (1587—1641)
Lasciatemi qui solo, Il primo libro delle musiche (Florence: 1618)
Luigi Rossi (1597—1653)
Passacaille del seigneur Luigi, MS Bauyn (Paris: ca. 1660)
Mio ben, teco il tormento più, Orfeo (Paris: 1647)
Francesca Campana (1615—1665)
Semplicetto augellin, Arie a una, due e tre voci (Rome: 1629)
Giovanni Girolamo Frescobaldi (1583–1643)
Toccata tertii toni, MS Chigi (Rome: 17th century)
Giulio Caccini (1551—1618)
Io che dal ciel cader, IV Intermedio per la Pellegrina (Florence: 1589)
ARTISTS

Hannah Lane

Anna Fraser
BIOGRAPHIES
Australian harpist Hannah Lane has been acclaimed as, ‘a true master of this instrument’ (Australian Stage, 2022). A leading specialist in historical harp performance practice, Hannah performs on harps from the Renaissance to Romantic eras. ‘Playing three rows of strings not merely with precision but also expressive beauty’ (Limelight, 2023), her performances have been praised for their emotional depth, subtlety and sparkling virtuosity.
Hannah studied modern harp with Alice Giles AM and historically informed performance practice with Geoffrey Lancaster AO, graduating with high distinction. She completed her specialisation in historical harp in Milan, Italy, with Chiara Granata and Mara Galassi. As a chamber artist and soloist, Hannah performs with leading ensembles throughout Australia and Europe. She is Principal Harpist for Pinchgut Opera and the Australian Brandenburg Orchestra, and has performed at international festivals such as Innsbrucker Festwochen der Alten Musik, Spoleto Festival dei Due Mondi, Urbino Musica Antica and Adelaide Festival.
Based in Naarm/Melbourne, Hannah is the artistic director of Ensemble 642, which is dedicated to the art of basso continuo and music for early plucked strings. In 2024, they toured France and Italy, including a performance at Urbino Musica Antica Festival. They are the first Australian ensemble to perform at this renowned festival since its inception, 56 years ago. Hannah is an inspiring music educator and regularly presents masterclasses at the Music Conservatoriums of Melbourne and Sydney. Her research has been published in leading musicological journals such as Early Music and Eighteenth-Century Music.
Anna Fraser has gained a reputation as a versatile Sydney-based soprano. Specialising in the colourful and expressive interpretation of early and contemporary repertoire, Anna performs in a myriad of traditional and exploratory programming in Australia and abroad. Equally at home as a dramatist on stage, Anna is a strong exponent of music education, expertly demonstrating the versatility and virtuosity of a cappella singing to inspire and guide the next generation of young vocal artists and composers.
Anna was a core ensemble member of the Song Company for over a decade and regularly performs with a number of Australia’s professional ensembles: Pinchgut Opera, Sydney Chamber Opera, Ensemble Offspring, ARCO, Bach Akadamie Australia, Salut Baroque to name a few.
Anna is currently a Sydney Conservatorium of Music Doctorate of Musical Arts candidate with the Historical Performance unit, Dr Neal Peres Da Costa supervising, and is a research assistant with the Australian Research Council project Shock of the Old: Rediscovering the Sounds of Bel Canto 1700–1900. The collaborative research work aims to tap into emulative and cyclical investigative processes of historical vocal practices to ascertain how historical sound effects and colours were achieved in practical terms and how we can actively utilise them in modern creative practices.
Texts and Translations
Luzzasco Luzzaschi (1545—1607)
Aura soave di segreti accenti,
Gentle breeze of secret notes,
Che penetrando per l'orecchie al core,
which, penetrating the ears of my heart,
Svegliasti la dove dormiva Amore:
awoke Love, who was sleeping there:
Per te respiro e vivo,
For you I breathe and live,
Da che nel petto mio
ever since into my breast
Spirasti tu d'Amor vital desio.
you wafted Love's vital desire.
Vissi di vita privo
I lived deprived of life
Mentre amorosa cura in me fu spenta.
while love's care was extinguished in me.
Hor vien che l'alma senta
Now come so that my soul may feel
Virtu di quel tuo spirito gentile.
thanks to your kind spirit.
Felice vita oltre l'usato stile.
A life that is happy beyond the usual.
Sigismondo d'India (1582—1629)
Cara mia cetra andianne, al ritrovar colei,
My dear lyre let us go, and rejoin her
Ch'e mio solo desio, tuo solo oggetto.
who is my sole desire and your sole theme,
Quivi, à te da le corde, à me dal petto,
That there, from your strings, from my breast,
Escan' gli accenti tuoi, gl'affanni miei,
may escape your notes, and my torments,
Che pietosa armonia
since merciful harmony
Può forse impetrar pace, à l'alma mia.
may perhaps restore peace to my soul.
Torna il sereno Zefiro, The tranquil Zephyr has returned:
E gl'augellini garruli,
and the chirping little birds
De' boschi dolci musici,
sweet musicians of the woods,
Cantando insieme temprano,
sing together attuned,
Al suon del rio che mormora
to the sound of the murmuring stream,
Con corde e note armoniche.
their harmonious notes in concord.
Io sol, involto il tristo core,
I alone, my sad heart shrouded,
Anzi sepolto in trist'horrore,
even buried in gloomy dread,
Al suon del pianto intuon in tristi lai:
through the sound of my weeping, I intone in sad lament:
Primavera per me non sarà mai.
“Never again will there be springtime for me.”
Le nube d'acque gravide,
The clouds of water heavy,
Che scorgaro i deluvi
that disgorge the floods
Hor tutte si ristagnano
now staunch their flow;
E i venti, che fremeano
and the winds that roared
Orgogliosi con furia
proudly with fury,
Taciti e chieti hor dormono.
now sleep quietly and peacefully.
Io sospirando senza riposo
I, heaving endless sighs,
E ancor versando tristo e doglioso
and still pouring out, in my sadness and desolation,
Nembo di pioggia, intuono in tristi lai:
clouded of rain, I intone in sad lament:
Primavera per me non sarà mai.
“Never again will there be springtime for me.”
Ringiovenito ogn'arbore
Each tree, rejuvenated,
Di verde manto vestesi,
dons its green mantle;
Ridenti campi e pratore
Smiling fields and meadows
Di verde spoglia immantansi,
clothe themselves with green,
E in fin le grotte adornansi
and even the grottos
Di fior vermigli e candidi.
are adorned with scarlet and white flowers.
Io sol smarrita fuor d'ogni usanza
I alone, dismayed beyond all imagining,
Secca e sfiorita di mia speranza
withered and stripped
Il più bel verde intuono in tristi lai:
of the loveliest green of my hope, I intone in sad lament:
Primavera per me non sarà mai.
“Never again will there be springtime for me.”
Giulio Caccini (1551—1618)
Dolcissimo sospiro,
Sweetest sigh,
Ch'esci da quella bocca
that exhales from a mouth
Ove d'amor ogni dolcezza fiocca;
from which all love's sweetness flows;
Deh, viene a raddolcire
Oh, come to sweeten
L'amaro mio dolore,
the bitterness of my pain,
Ecco ch'io t'apr'il core.
look, I open my heart to you.
Ma, folle, a chi ri dico il mio martire?
But, fool that I am, to whom do I repeat my suffering?
Ad un sospiro errante
To a wandering sigh,
che forse vola in sen ad altro amante!
perhaps flying off to the breast of another lover!
Francesca Caccini (1587—1641)
Lasciatemi qui solo
Leave me here alone,
Tornate augelli al nido
Return, birds, to your nests,
Mentre l’anim’e’l duolo, spiro su questo lido.
While my soul, and my pain, I give up on these shores.
Altri meco non voglio ch’un freddo scoglio,
I want no one else with me other than a cold rock,
E’l mio fatal martire.
And my fated death.
Lasciatemi morire.
Leave me to die.
Dolcissime sirene,
Sweetest Sirens,
Che’n sì pietoso canto raddolcite mie pene
Who with such merciful song sweeten my sufferings
Fate soave il pianto
and soften my weeping,
Movet’il nuoto altronde,
Go elsewhere to swim,
Togliete all’onde i crudi sdegni, e l’ire.
Dampen the waves’ cruel scorn, and their ire.
Lasciatemi morire.
Leave me to die.
Placidissimi venti
Calmest winds,
Tornate al vostro speco
Return to your cave;
Sol miei duri lamenti chieggio che restin meco.
I ask that only my harsh laments remain with me.
Vostri sospir non chiamo
I do not call upon your sighs;
Solingo bramo i miei dolor finire.
Alone I wish to end my sufferings.
Lasciatemi morire.
Leave me to die.
Felicissimi amanti
Happiest lovers,
Tornate al bel diletto
Return to your beautiful pleasures;
Fere eccels’o notanti
Wild beasts, whether birds or fish,
Fuggite il mesto aspetto
flee from this sad countenance;
Sol dolcezza di morte
Only the sweetness of death
Apra le porte all’ultimo Languire.
Should open its doors to this final languishing
Lasciatemi morire.
Leave me to die.
Avarissimi lumi
Most avaricious eyes,
Che su’l morir versate
that on point of death
Amarissimi fiumi
spill the bitterest rivers,
Tard’è vostra pietate
your pity comes too late,
Già mi sento mancare
already I feel myself fail:
O luci avar’e tarde al mio conforto
oh eyes, stingy and slow to comfort me,
Già sono esangu’e smorto.
I am already bloodless and lifeless.
Luigi Rossi (1597—1653)
Mio ben, te col tormento
My love, I would suffer torment
più dolce io troverei, che con altri il contento.
more gladly with you than be happy with another.
Ogni dolcezza è sol dove tu sei,
All sweetness is with you alone,
e per me Amor aduna
and for me Love gathers
nel girar de’ tuoi sguardi ogni fortuna.
all happiness around your glances.
Francesca Campana (1615—1665)
Semplicetto augellin, che mentre canti
Simple little bird, while you sing
chiami l'arcier, che ti percuota il petto;
you call the archer, who will pierce your breast;
Torna, deh torna a celebrar tuoi vanti
Return, please return to celebrate your boast,
dentro alle frondi de natio boschetto.
amongst the branches of your native grove.
Giulio Caccini (1551—1618)
Io che dal ciel cader farei la luna
I who would make the moon fall from the skies,
a voi ch’in alto sete e tutt’il ciel vedet’e
call upon you who sit on high and view all the heavens,
voi comando ditene quando
say when almighty,
il somm’eterno Giove
eternal Jove
dal ciel in terra
from heaven to earth
ogni sua gratia piove.
will rain down his every grace.
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