An Annotated Libretto of Handel’s Semele Set in 1920s Hollywood

by Daniel Foster

Introduction

The following is an annotated version of the libretto for Handel’s Semele set mostly in Hollywood during the Jazz Age, especially the mid to late 1920s. Whenever key characters, ideas, scenes, sets, plot points, and so on were transformed from the original libretto into something more appropriate to the 1920s, historical accuracy was the guiding principle. The annotations are in green typeface and are illustrated, where possible, with links, images, and references.

Georg Friedrich Händel 

SEMELE (1744) 

Words by Newburgh Hamilton
DRAMATIS PERSONAE
Jupiter (tenor)
Cadmus, King of Thebes (bass)
Semele, Daughter to Cadmus, belov'd by and in love with Jupiter (soprano) Athamas, a Prince of Bœotia, in love with, and design'd to marry Semele (alto) Ino, Sister to Semele, in love with Athamas (mezzo-soprano)
Somnus (bass)
Apollo (tenor)
Juno (mezzo-soprano)
Iris (soprano)
Priest (alto) 

Chorus of Priests and Augurs 

Chorus of Loves and Zephyrs Chorus of Nymphs and Swains Attendants 

[Jupiter or Jove is a movie mogul combining the personalities and histories of men like Howard Hughes, Charlie Chaplin and Henry Ford.

Cadmus is working class. He works in an airplane factory owned by Jove.

Semele is an ingenue who is infatuated by Jove and wants to break into the movies.

Athamas is solidly middle class and manages the airplane factory where Cadmus works.

Ino, unlike Semele, is willing to settle for a solid middle class life with Athamas.

Somnus is a director who is addicted to heroin, opium, or a similar injectable drug.

Apollo is a movie advertiser.

Juno is the wife of Jove and a famous star, but older than Semele.

Iris is Juno’s assistant.

Priest is a fellow worker in the airplane factory.

Chorus of Priests and Augurs are the rest of the workers in the airplane plant.

Chorus of Loves and Zephyrs Chorus of Nymphs and Swains Attendants are various Hollywood stars and starlets, dressers, make-up artists, and other types of workers in the film industry.

Morpheus, a non-singing role, is a cameraman.]

ACT ONE 

1.   Overture 

[A silent movie accompanies the first two parts of the overture. The silent movie can either be projected onto a screen or performed live. It is the basic story of Semele as mostly told by Ovid. There may be subtitles to make the movie more understandable.

The Gorgon’s Head, 1925.

Logo

The film company will be called Arcadia Pictures and its logo will be based on the Columbia Pictures logo, a female personification of the United States based on a female Roman soldier and first used in 1924.

First print logo for Columbia Pictures.

The singer who plays Juno will pose for this logo. Like a more current Columbia logo, that reads “Columbia” at the top and “A Sony Company” at the bottom, the Arcadia logo will read “Arcadia” at the top and “A Jove Company” at the bottom.

The font for “Jove” will resemble the familiar Ford font.

While we mostly think of Henry Ford as a car manufacturer, from 1915 to the mid 1920s, he also ran the largest movie production company in the world. Jove also resembles Howard Hughes, a movie producer, famous womanizer, and both a pilot and owner of one of the first airlines in the US (facts whose importance will become evident later.)

Film Credits

Semele.

Written and Produced by Jupiter Jove

Cast:

Zeus…….Jupiter Jove

Hera…….June Jove

and introducing

Louis Bacchus as Semele and Dionysus

(Next Screen)

Directed by G. W. Somnus

Photographed by Morpheus Murphy

The characters in and creators of the silent film are the same as the characters in the opera. The character of Zeus is played by Jupiter Jove is similar not only to Henry Ford and Howard Hughes but also to someone like Charlie Chaplin, who was a producer, writer, director, composer, and star. Thus, Jove is the film’s producer, writer, and star.

Hera is played by June Jove, meant to be Jove’s wife.

Louise Bacchus is based on Louise Brooks, especially her characters in Lulu and Prix de beauté.

G. W. Somnus is meant to be parallel to G. W. Pabst. As we will see later, he abuses opium or heroin. These were commonly abused drugs in 1920s Hollywood.

Morpheus is a non-speaking, non-singing part. He will later be seen as the character who films Semele and does a kind of screen test of her without her being aware.

The Silent Movie

Scene 1

Semele appears. She is dressed like an ancient Greek. She is doing some kind of drudge work. Perhaps she is working a field. Zeus appears and looks lasciviously at Semele. He is dressed simply in a toga. He woos her, makes motions to explain he is Zeus and she falls for him. 

Scene 2

Hera sees them and becomes angry. She devises a plan to kill Semele by getting her to ask to see Zeus in his immortal form.

Scene 3

Zeus parts from Semele, leaving her onstage. Hera enters opposite, dressed as an old woman. She looks skeptically after Zeus and approaches Semele. Through her gestures she convinces Semele to ask to see Zeus in his immortal shape, with his thunder and lightning. Having convinced her, she leaves, gleefully.

Scene 4

Zeus reenters. Semele acts very seductively but rebuffs Zeus’ advances. She intimates that she will not give him any attention unless he grants her what she wishes. He reluctantly promises. She gestures that she wants to see him as an immortal, with all his thunder and lightning. Juno may be in the background during this scene and reacts gleefully when Zeus grants her wish. Zeus reacts sadly, though Semele is overjoyed and oblivious to Zeus’ consternation. Zeus then reveals himself as a god with thunder and lightning. His mere presence kills Semele. She dies. Zeus reacts. Dionysus is seen to rise from her. Semele now has short hair as in a bob and looks boyish.

The End

If the orchestra takes the repeats in the overture, then scenes 1 and 2 will coincide with the first section of the overture and its repeat, while scenes 3 and 4 will coincide with the second section and its repeat. If these sections are not repeated, then scenes one and two must be fit into the first section of the overture, while scenes three and four will be fit into the second section.

The way the image of Bacchus is handled is similar to the end of The Birth of a Nation’s representation of Jesus Christ, who has a syncretic relationship with Bacchus.]

1. Scene 1

Cadmus, Athamas, Semele, Ino and Chorus of Priests. The scene is the temple of Juno. Near the altar is a golden image of the goddess. The Priests are in their solemnities, as after a sacrifice newly offered: flames arise from the altar and the statue of Juno is seen to bow.. 

[During the last section of the overture, the movie screen disappears or, if this is a “staged silent film,” that part of the stage is dimmed and the lights go up on a factory where a plane is being assembled. The model for this plant could be the Stout Metal Airplane Company Factory, situated next to Ford airfield in Dearborn, Michigan. Constructed in 1924, this was the first purpose-built airplane factory in the US.

In the Stout Metal Airplane Company Factory, Ford built the famous Ford trimotor.

Jove is here to inspect and to try out the new plane. The Jove/Ford logo could be on the side of the plane and it could have purple wings, a gold nose, and silver body as Jove’s eagle is described below. Like Ford’s trimotor, which was called “The Tin Goose,” Jove’s airplane could be called “The Tin Eagle,” seeing that Jove’s bird is an eagle.

The line manager in this factory is Cadmus, who is dressed relatively well, and his Supervisor is Athamas, who is dressed better. Their relations are evident from their interactions during the overture. The chorus of priests are the factory workers. Other members of the cast present in this scene (namely, Ino and Semele) may be inside or outside the building. They may be giving Jove a tour and showing him the plane. They make their way outside after looking at the plane. There is obvious chemistry between Jove and Semele. Outside the factory, there is an advertisement for Arcadia Pictures with Juno and her torch, which may be a light bulb lit sign. It can be on a billboard or on the side of the building, both of which forms of advertisement were present in 1920s US, given the rise of highways and advertising in general. If it is too expensive, one could construct a frame with a “live” sign of Arcadia Pictures with Juno (like paintings in Harry Potter movies). There might also be, either on that advertisement or another, a picture of Jove looking like a 1920s film star. 

2. Accompagnato 

Priest 

[The torch on the Arcadia Pictures Billboard lights up.]

Behold! Auspicious flashes rise, Juno accepts our sacrifice;

The grateful odour swift ascends, And see, the golden image bends! 

3. Chorus of Priests 

Lucky omens bless our rites,
And sure success shall crown your loves; Peaceful days and fruitful nights
Attend the pair that she approves. 

4. Recitative, arioso and duet 

Cadmus 

Daughter, obey,
Hear and obey!
With kind consenting Ease a parent's care; Invent no new delay, On this auspicious day. 

Athamas 

Oh, hear a faithful lover's prayer! On this auspicious day
Invent no new delay. 

5. Accompagnato 

Semele (apart) 

Ah me!
What refuge now is left me?
How various, how tormenting
Are my miseries!

[Semele addresses the billboard of Jove.]

O Jove, assist me!
Can Semele forego thy love,
And to a mortal's passion yield?
Thy vengeance will o'ertake such perfidy. If I deny, my father's wrath I fear. 

6. Air 

Semele 

[Semele sings to billboard or live picture of Jove.]

O Jove! In pity teach me which to choose, Incline me to comply, or help me to refuse! Teach me which to choose,
Or help me to refuse! 

7. Air 

Semele 

The morning lark to mine accords his note, And tunes to my distress his warbling throat. Each setting and each rising sun I mourn, Wailing alike his absence and return. 

The morning lark. . . da capo 8. Recitative 

Athamas 

See, she blushing turns her eyes; See, with sighs her bosom panting! If from love those sighs arise, Nothing to my bliss is wanting. 

9. Air 

Athamas 

Hymen, haste, thy torch prepare,
Love already his has lighted!
One soft sigh has cur'd despair,
And more than my past pains requited. Hymen, haste. . . da capo 

10. Recitative 

Ino 

Alas, she yields,
And has undone me!
I cannot longer hide my passion, It must have vent,
Or inward burning
Will consume me.
O Athamas,
I cannot utter it! 

Athamas 

On me fair Ino calls
With mournful accent, Her colour fading,
And her eyes o'erflowing! 

Ino 

O Semele! 

Semele 

On me she calls,
Yet seems to shun me! What would my sister? Speak! 

Ino 

Thou hast undone me! 

11. Quartet 

Cadmus 

Why dost thou thus untimely grieve, And all our solemn rites profane? Can he, or she thy woes relieve,
Or I? Of whom dost thou complain? 

Ino 

Of all! But all, I fear, in vain. 

Athamas 

Can I thy woes relieve? 

Semele 

Can I assuage thy pain? 

Cadmus, Athamas, Semele 

Of whom dost thou complain? 

Ino 

Of all! but all, I fear, in vain. 

Thunder is heard at a distance and the fire is extinguished on the altar. 

[Juno’s torch is extinguished.]

12. Chorus of Priests 

Avert these omens, all ye pow'rs!
Some god averse our holy rites controls; O'erwhelm'd with sudden night the day expires, Ill-boding thunder on the right hand rolls,
And Jove himself descends in show'rs
To quench our late propitious fires. 

Flames are rekindled on the altar. 

[Juno’s torch on the billboard once again re-ignites.]

13. Accompagnato 

Cadmus 

Again auspicious flashes rise, Juno accepts our sacrifice. 

The fire is again extinguished. 

[Once again Juno’s torch is extinguished.]

Again the sickly flame decaying dies: Juno assents, but angry Jove denies. 

14. Recitative 

Athamas 

Thy aid, pronubial Juno, Athamas implores! 

Semele (apart) 

Thee, Jove, and thee alone, thy Semele adores! 

A loud clap of thunder; the altar sinks. 

[If we imagine this scene as taking place in California, the cause of the sign falling could be an earthquake strikes if it’s in California. The Arcadia Pictures billboard or Juno herself falls.]

15. Chorus of Priests 

Cease, cease your vows, 'tis impious to proceed, Begone, and fly this holy place with speed! This dreadful conflict is of dire presage, Begone, and fly from Jove's impending rage! 

Exeunt 

Scene 2 

Athamas and Ino 

16. Recitative 

Athamas 

O Athamas, what torture hast thou borne,
And oh, what hast thou yet to bear?
From love, from hope, from near possession torn, And plung'd at once in deep despair! 

17. Air 

Ino 

Turn, hopeless lover, turn thy eyes, And see a maid bemoan,
In flowing tears and aching sighs, Thy woes too like her own. 

Turn, hopeless lover. . . da capo 

18. Recitative 

Athamas 

She weeps!
The gentle maid, in tender pity, Weeps to behold my misery! So Semele would melt
To see another mourn. 

19. Air 

Athamas 

Your tuneful voice my tale would tell, In pity of my sad despair;
And with sweet melody compel Attention from the flying fair. 

Your tuneful voice. . . da capo 20. Recitative 

Ino 

Too well I see,
Thou wilt not understand me.
Whence could proceed such tenderness? Whence such compassion?
Insensible, ingrate,
Ah no, I cannot blame thee!
For by effects, unknown before,
Who could the hidden cause explore,
Or think that love could act so strange a part, To plead for pity in a rival's heart? 

Athamas 

Ah me, what have I heard, She does her passion own! 

21. Duet 

Ino 

You've undone me, Look not on me! Guilt upbraiding, Shame invading, You've undone me, Look not on me! 

Athamas 

With my life I would atone Pains you've borne,
To me unknown.
Cease to shun me. 

Both 

Love alone
Has both undone! 

Scene 3 

To them Enter Cadmus, attended. 

22. Recitative 

Cadmus 

Ah, wretched prince, doom'd to disastrous love! Ah me, of parents most forlorn!
Prepare, O Athamas, to prove
The sharpest pangs that e'er were borne, Prepare with me our common loss to mourn! 

Athamas 

Can fate, or Semele, invent Another, yet another punishment? 

23. Accompagnato 

Cadmus 

Wing'd with our fears and pious haste, From Juno's fane we fled.
Scarce we the brazen gates had pass'd, When Semele around her head 

With azure flames was grac'd,
Whose lambent glories in her tresses play'd. While this we saw with dread surprise,
Swifter than lightning downward tending,
An eagle stoop'd, of mighty size,
On purple wings descending,
Like gold his beak, like stars shone forth his eyes, His silver plumy breast with snow contending. Sudden he snatch'd the trembling maid,
And soaring from our sight convey'd,
Diffusing ever as he less'ning flew
Celestial odour and ambrosial dew. 

24. Recitative 

Athamas 

Oh prodigy, to me of dire portent! 

Ino 

To me I hope, of fortunate event! 

Scene 4 

Enter to them Chorus of Priests and Augurs. 

Cadmus 

See, see, Jove's Priests and holy Augurs come, Speak, speak of Semele, and me declare the doom! 

25. Chorus of Priests and Augurs 

Hail Cadmus, hail!
Jove salutes the Theban king! Cease your mourning,
Joys returning,
Songs of mirth and triumph sing! Hail Cadmus, hail! 

[Semele is seen with Jove flying away in the Ford Trimotor. We can see into the plane. They may be having martinis or celebrating in some similar way

Semele wears a kind of blue hat that matches the line that describes her head as being “grac’d” with “azure flames.”] 

26. Air and Chorus 

Semele 

Endless pleasure, endless love, Semele enjoys above!
On her bosom Jove reclining, Useless now his thunder lies; To her arms his bolts resigning, And his lightning to her eyes. 

Priests and Augurs 

Endless pleasure, endless love Semele enjoys above! 

ACT TWO 

[During the overture to Act II, we change scenes to Hollywood. To let us know that is where we are, the HOLLYWOODLAND sign, first set up in 1923, is seen in the background.

When it was first erected, the sign lit up in the sequence “HOLLY” then “WOOD” then “LAND.” Some stagehands or future Hollywood chorus members dressed as Keystone cops come on and arrange the set, including the HOLLYWOODLAND sign. Two of them may bumblingly get it wrong by spelling out “HOLLOW LAND.” They stand there trying to figure out what to do with the “D” and the “Y” until a third comes along and angrily shows them what they’ve done wrong. They then set it up correctly.]

Keystone Cops compilation.

27. Symphony Scene 1 

A pleasant country, the prospect terminated
by a beautiful mountain adorn'd with woods and waterfalls. Juno and Iris descend in different machines. Juno in a chariot drawn by peacocks; Iris on a rainbow; they alight and meet. 

[Juno enters wearing a 1920s style peacock hat or burlesque peacock headdress and perhaps a fan as well.

Iris enters wearing a similar but smaller head dress with rainbow-colored feathers.]

28. Recitative 

Juno 

Iris, impatient of thy stay,
From Samos have I wing'd my way To meet thy slow return. 

Iris 

With all his speed not yet the sun Through half his race has run,
Since I, to execute thy dread command, Have thrice encompass'd sea and land. 

Juno 

Say, where is Semele's abode? 

Iris 

Look, where Cithaeron proudly stands, Bœotia parting from Cecropian lands. High on the summit of that hill, Beyond the reach of mortal eyes, 

By Jove's command and Vulcan's skill, Behold a new-erected palace rise! 

29. Air 

Iris 

There, from mortal cares retiring, She resides in sweet retreat.
On her pleasure, Jove requiring, All the Loves and Graces wait. There. . . da capo 

30. Recitative 

Juno 

No more, I'll hear no more! 

31. Accompagnato 

Juno 

Awake, Saturnia, from thy lethargy! Seize, destroy the cursed Semele! Scale proud Cithaeron's top,
Snatch her, tear her in thy fury, 

And down to the flood of Acheron Let her fall, let her fall, fall, fall, Rolling down the depths of night, Never more to behold the light. 

If I th'imperial scepter sway, I swear
By hell!
(Tremble, thou universe, this oath to hear!) Not one of curst Agenor's race to spare. 

32. Recitative 

Iris 

Hear, mighty queen, while I recount What obstacles you must surmount. 

33. Accompagnato 

Iris 

With adamant the gates are barr'd,
Whose entrance two fierce dragons guard. At each approach they lash their forky stings And clap their brazen wings;
And as their scaly horrors rise,
They all at once disclose
A thousand fiery eyes
Which never know repose. 

34. Air 

Juno 

Hence, Iris, hence away,
Far from the realms of day!
O'er Scythian hills to the Maeotian lake
A speedy flight we'll take!
There Somnus I'll compel
His downy bed to leave, and silent cell;
With noise and light I will his peace molest, Nor shall he sink again to pleasing rest,
Till to my vow'd revenge he grants supplies, And seals with sleep the wakeful dragons' eyes. Hence. . . da capo 

Exeunt 

Scene 2 

An apartment in the palace of Semele.
She is sleeping, Loves and Zephyrs waiting. 

[This may be a Hollywood mansion with front gates as described by Iris.]

[Air 

Cupid 

Come, Zephyrs, come, while Cupid sings, Fan her with your silky wings!
New desire I'll inspire,
And revive the dying flames. 

Dance around her
While I wound her,
And with pleasure
Fill her dreams.
Come, Zephyrs, come. . . da capo] 

Semele awakes and rises. 

35. Air 

Semele 

[Semele may be wandering around looking at a movie magazine and seeing pictures of Jove in it along with starlets or looking at posters around the house showing beautiful starlets and Jove with them. Or if there are other Hollywood types lounging around the house, she may refer to them]

O sleep, why dost thou leave me,
Why thy visionary joys remove?
O sleep, again deceive me,
To my arms restore my wand'ring love! 

Scene 3 

To them Enter Jupiter. 

36. Recitative 

Semele 

Let me not another moment
Bear the pangs of absence;
Since you have form'd my soul for loving, No more afflict me
With doubts and fears and cruel jealousy! 

37. Air 

[If there are other people, like women on stage, throughout this scene Jove can be seen to have wandering eyes and hands.]

Jupiter 

Lay your doubts and fears aside, And for joys alone provide. Though this human form I wear, Think not I man's falsehood bear. Lay your doubts. . . da capo 

38. Recitative 

Jupiter 

You are mortal and require Time to rest and to repose. I was not absent,
While Love was with thee I was present: 

Love and I are one. 

39. Air 

Semele 

With fond desiring, With bliss expiring, Panting,
Fainting, 

If this be Love, not you alone, But Love and I are one. Causeless doubting,
Or despairing, 

Rashly trusting,
Idly fearing,
If this be Love, not you alone, But Love and I are one
With fond. . . da capo 

40. Chorus of Loves and Zephyrs 

[These may be various Hollywood types, everything from Keystone cops and stage hands, to starlets and leading men.]

How engaging, how endearing,
Is a lover's pain and care!
And what joy the nymph's appearing After absence or despair!
How engaging. . . da capo 

41. Recitative 

Semele 

Ah me! 

Jupiter 

Why sighs my Semele?
What gentle sorrow
Swells thy soft bosom?
Why tremble those fair eyes With interrupted light,
Where hov'ring for a vent, Amidst their humid fires,
Some new-form'd wish appears? Speak, and obtain! 

Semele 

At my own happiness I sigh and tremble, For I am mortal,
Still a woman; 

And ever when you leave me, Though compass'd round with deities Of Loves and Graces,

[She either gestures to the movie stars around her or she is reading a movie magazine and gestures to it.]

A fear invades me,
And conscious of a nature
Far inferior,
I seek for solitude
And shun society. 

Jupiter (apart) 

Too well I read her meaning, But must not understand her: Aiming at immortality
With dangerous ambition. 

42. Air 

[Jupiter may from this point begin ushering Semele to Arcadia studios and the scene begin changing with various kinds of entertaining diversions from the movies. This scene may look like the backlot of a movie studio.]

Jupiter 

I must with speed amuse her Lest she too much explain.
It gives the lover double pain Who hears his nymph complain, And hearing, must refuse her. 

I must. . . da capo 

43. Chorus of Loves and Zephyrs 

[These are movie stars and extras again.]

Now Love that everlasting boy invites To revel while you may in soft delights. 

44. Recitative 

Jupiter 

By my command
Now at this instant
Two winged Zephyrs From her downy bed Thy much lov'd Ino bear, 

[Two dancers lift her up and carry Into across the stage, past the sets and backdrops that she mentions in her song. She could also be helped by two as she moves on roller skates.]

And both together
Waft her hither,
Through the balmy air. 

Semele 

Shall I my sister see, The dear companion Of my tender years? 

Jupiter 

See, she appears,
But sees not me; 

[He puts on sunglasses and perhaps a hat.]

For I am visible
Alone to thee.

While I retire, rise and meet her,
And with welcomes greet her.
Now all this scene shall to Arcadia turn,
The seat of happy nymphs and swains;
There without the rage of jealousy they burn, And taste the sweets of love without its pains. 

45. Air 

Jupiter 

Where'er you walk, cool gales shall fan the glade; 

[Large wind machines or fans fan her.] 

Trees, where you sit, shall crowd into a shade 

[Fake palm or other types of trees may be moved into place.]

Where'er you tread, the blushing flow'rs shall rise, 

[Fake flowers are laid down as well so she can walk over them.]

And all things flourish where'er you turn your eyes. Where'er. . . da capo 

Exit. 

Scene 4 

Semele and Ino meet and embrace. Chorus of Nymphs and Swains. 

[From here to the end of this act, we may have Morpheus filming Semele if he does not film her at the beginning of act 3, scene 2.]

46. Recitative 

Semele 

Dear sister, how was your passage hither? 

Ino 

[As Ino sings, flats and other props for movies describing what she is saying pass by her, carried by stage hands.]

O'er many states and peopled towns we pass'd, 

[Stage hands carry pictures of cities or bits of cities.]

O'er hills and valleys, and o'er deserts waste; 

[Stage hands carry pictures of hills, valleys, desserts, or parts of such things like a cactus.]

O'er barren moors, and o'er unwholesome fens, 

[Stage hands carry pictures moors and fens.]

And woods where beasts inhabit dreadful dens. 

[Trees or pictures of trees are carried by and people in beast masks or pictures of beasts are also seen.] 

Through all which pathless way our speed was such, We stopp'd not once the face of earth to touch 

[She gestures to those who carried her.]

Meantime they told me, while through air we fled, That Jove did thus ordain. 

47. Air 

Ino 

But hark, the heav'nly sphere turns round, And silence now is drown'd
In ecstasy of sound.
How on a sudden the still air is charm'd As if all harmony were just alarm'd! 

And ev'ry soul with transport fill'd, Alternately is thaw'd and chill'd. 

48. Duet 

Semele and Ino 

Prepare then, ye immortal choir, Each sacred minstrel tune his lyre, And all in chorus join! 

49. Chorus of Nymphs and Swains 

Bless the glad earth with heav'nly lays, And to that pitch th'eternal accents raise, That all appear divine! 

ACT THREE Scene 1 

The Cave of Sleep. The God of Sleep lying on his bed. Juno and Iris appear. 

50. Symphony

[We are in a projection room or editing studio with Somnus slumped over a bunch of film. It is dark and there are some used needles and cigarettes. If Morpheus has already filmed Semele, he may be going over her screen test along with other films.]

51. Accompagnato 

Juno 

Somnus, awake,
Raise thy reclining head! 

Iris 

Thyself forsake,
And lift up thy heavy lids of lead! 

52. Air 

Somnus (waking) [If possible he may be looking at the rushes of a film, or looking over old film or watching something from the past. He is at any rate lost in a daze.]

Leave me, loathsome light,
Receive me, silent night!
Lethe, why does thy ling'ring current cease? Oh, murmur, murmur me again to peace! 

Sleeps again. 

53. Recitative 

Iris 

Dull God, canst thou attend the water's fall, And not hear Saturnia call? 

Juno 

Peace, Iris, peace! I know how to charm him:  

[She reveals the needle and other gear for heroin.] 

Pasithea's name alone can warm him.
(To Somnus)
Somnus, arise! 

Disclose thy tender eyes; For Pasithea's sight Endure the light. Somnus, arise! 

54. Air 

Somnus 

More sweet is that name
Than a soft purling stream.
With pleasure repose I'll forsake,
If you'll grant me but her to soothe me awake. More sweet. . . da capo 

55. Recitative 

Juno 

My will obey,
She shall be thine.
Thou, with thy softer pow'rs,
First Jove shalt captivate.
To Morpheus then give order,
Thy various minister,
That with a dream in shape of Semele, But far more beautiful
And more alluring,
He may invade the sleeping deity; And more to agitate his kindling fire 

And more to agitate his kindling fire
Still let the phantom seem to fly before him, That he may wake impetuous, furious in desire, Unable to refuse whatever boon
Her coyness shall require. 

Somnus 

I tremble to comply. 

Juno 

To me thy leaden rod resign,

[The “leaden rod” could be either a rolled up movie screen.

The leaden rod could also be the lens from a camera.

Or it could be the lens from a movie projector.

[In early film making there were instruments that were combination camera/projectors. So this is what Morpheus will use to film Semele and then give this machine to Juno in order to show this short screen test.]

To charm the sentinels
On mount Cithaeron.
Then cast a sleep on mortal Ino, That I may seem her form to wear, When I to Semele appear. 

56. Duet 

[During this duet-debate, Juno holds out a syringe to Somnus, while Somnus holds out his camera lens, projector lens, or rolled up screen. They offer them back and forth teasingly until they each exchange with the other at the end of the duet.]

Juno 

Obey my will, thy rod resign, And Pasithea shall be thine. 

Somnus 

All I must grant, for all is due To Pasithea, love and you. 

Exeunt ]

Scene 2 

An Apartment. Semele alone. 

57. Air 

[Morpheus, the cameraman, films Semele during this scene. He works unnoticed by her, using something that is a combination camera/projector.]

[Because this air is so divided between pain and joy it should make for the interesting contrasts between the “lustre” and “terror” tat Juno mentions later.]

Semele 

My racking thoughts by no kind slumbers freed, But painful nights to joyful days succeed. 

[As the air ends, Morpheus hands off to Juno the camera/projector.]

Scene 3 

To her Enter Juno as Ino, with a mirror in her hand. 

58. Recitative 

Juno (apart) 

Thus shap'd like Ino,
With ease I shall deceive her,
And in this mirror 

[Referring to the screen, reel of film, or the camera/projector she is carrying.] 

she shall see Herself as much transform'd as me. (To Semele)
Do I some goddess see,
Or is it Semele! 

Semele 

Dear sister, speak,
Whence this astonishment? 

Juno 

Your charms improving
To divine perfection,
Show you were late admitted Amongst celestial beauties. Has Jove consented, 

And are you made immortal? 

Semele 

Ah no! I still am mortal;
Nor am I sensible
Of any change or new perfection. 

59. Air 

Juno (giving her the glass) 

[Juno sets up a screen and projector or Semele’s double comes on stage and acts behind a fake screen.]

Behold in this mirror
Whence comes my surprise!
Such lustre and terror
Unite in your eyes,
That mine cannot fix on a radiance so bright,
'Tis unsafe for the sense and too slipp'ry for sight. 

60. Recitative 

Semele 

Oh, ecstasy of happiness! Celestial graces
I discover in each feature! 

61. Air 

Semele 

[Semele sings this song as a kind of duet with herself, either as an image on film that is pre-recorded or with a double who “sings” live. Her double does not actually sing but, as a silent film star, she mouths the melody when the orchestra imitates Semele. For an example of this kind of duet, see the famous mirror scene for the Marx Brothers’ film Duck Soup.]

Groucho Marx in the famous mirror scene from Duck Soup, 1933.

Myself I shall adore,
If I persist in gazing.
No object sure before Was ever half so pleasing. Myself. . . da capo 

62. Recitative 

Juno 

Be wise, as you are beautiful,
Nor lose this opportunity.
When Jove appears,
All ardent with desire,
Refuse his proffer'd flame
Till you obtain a boon without a name. 

Semele 

Can that avail me? But how shall I attain To immortality? 

63. Accompagnato 

Juno 

Conjure him by his oath
Not to approach your bed
In likeness of a mortal,
But like himself, the mighty thunderer, In pomp of majesty 

And heav'nly attire,
As when he proud Saturnia charms, And with ineffable delights
Fills her encircling arms,
And pays the nuptial rites.
You shall partake then of immortality, And thenceforth leave this mortal state To reign above,
Ador'd by Jove,
In spite of jealous Juno's hate. 

64. Air 

Semele 

Thus let my thanks be paid,
Thus let my arms embrace thee,
And when I'm a goddess made,
With charms like mine I'll grace thee. 

65. Recitative 

Juno 

Rich odours fill the fragrant air, And Jove's approach declare.
I must retire. 

Semele 

Adieu, your counsel I'll pursue. 

Juno (apart) 

And sure destruction will ensue, Vain wretched fool, adieu! 

Exit. 

Scene 4 

Jupiter enters, offers to embrace Semele;
she looks kindly on him, but retires a little from him. 

66. Air 

Jupiter 

Come to my arms, my lovely fair, Soothe my uneasy care.
In my dream late I woo'd thee, And in vain I pursued thee, 

For you fled from my prayer, And bid me despair.
Come to my arms, my lovely fair. 

67. Recitative 

Jupiter 

O Semele!
Why art thou thus insensible? 

68. Air 

Semele 

I ever am granting, You always complain. I always am wanting, Yet never obtain.
I ever am granting, You always complain. 

69. Recitative 

Jupiter 

Speak, speak your desire, Say what you require,
I'll grant it. 

Semele 

Swear by the Stygian lake! 

70. Accompagnato 

Jupiter 

By that tremendous flood, I swear. Ye Stygian waters, hear,
And thou, Olympus, shake,
In witness to the oath I take! 

Thunder is heard at a distance and underneath. 

71. Recitative 

Semele 

You'll grant what I require? 

Jupiter 

I'll grant what you require. 

72. Accompagnato 

Semele 

Then cast off this human shape which you wear, And Jove since you are, like Jove too appear! 

73. Air 

Jupiter 

Ah, take heed what you press,
For, beyond all redress,
Should I grant your request, I shall harm you. 

74. Air 

Semele 

No, no, I'll take no less, Than all in full excess! Your oath it may alarm you. Yet haste and prepare, 

For I'll know what you are, With all your powers arm you. No, no. . . da capo 

Exit. 

Scene 5
75. Accompagnato 

Jupiter (pensive and dejected) 

Ah, whither is she gone! unhappy fair? Why did she wish, why did I rashly swear? 'Tis past, 'tis past recall,
She must a victim fall.
Anon when I appear
The mighty thunderer,
Arm'd with inevitable fire,
She needs must instantly expire.
'Tis past, 'tis past recall,
She must a victim fall.
My softest lightning yet I'll try,
And mildest melting bolt apply;
In vain, for she was fram'd to prove
None but the lambent flames of love.
'Tis past, 'tis past recall,
She must a victim fall. 

Scene 6 

Juno, alone. 

76. Air 

Juno 

Above measure
Is the pleasure,
Which my revenge supplies.
Love's a bubble,
Gain'd with trouble,
And in possessing dies.
With what joy shall I mount to my heav'n again,
At once from my rival and jealousy freed!
The sweets of revenge make it worth while to reign, And heav'n will hereafter be heav'n indeed.
Above measure. . . da capo 

Scene 7 

The scene discovers Semele under a canopy, leaning pensively,
while a mournful symphony is playing. She looks up and sees Jupiter descending in a cloud; flashes of lightning issue from either side, and thunder is heard grumbling in the air. 

77. Accompagnato 

Semele 

[Jupiter with Somnus, Morpheus, lights, cameras, wardrobe, make-up hair, and a final scorching spotlight. They may even bob her hair in this scene.]

Ah me! Too late I now repent
My pride and impious vanity.
He comes! Far off his lightnings scorch me, 

[A spotlight lights on her.]

Ah, I feel my life consuming:
I burn, I burn, I faint, for pity I implore,
Oh help, oh help, I can no more! 

[Throughout this final scene the camera gets closer and closer as Semele plays more and more the silent film dying heroine. In the end, she may either be replaced by a screen double (eg she steps through the screen and her double steps out) or is herself transformed into a Louise Brooks, consummate flapper lookalike.]

She dies. The cloud bursts, and Semele with the palace instantly disappears. 

Scene 8 

[Back to the scene outside the airplane plant from act 1.]

Cadmus, Athamas, Ino and Chorus of Priests. 

78. Recitative 

Ino 

Of my ill-boding dream Behold the dire event! 

79. Chorus of Priests 

Oh, terror and astonishment!
Nature to each allots his proper sphere,
But that forsaken we like meteors err:
Toss'd through the void, by some rude shock we're broke, And all our boasted fire is lost in smoke. 

80. Recitative 

Ino 

How I was hence remov'd,
Or hither how return'd, I know not:
So long a trance withheld me.
But Hermes in a vision told me,
As I have now related,
The fate of Semele;
And added, as from me he fled,
That Jove ordain'd I Athamas should wed. 

Cadmus 

Be Jove in ev'rything obey'd. 

Joins their hands. 

Athamas 

Unworthy of your charms myself I yield, Be Jove's commands and yours fulfill'd. 

81. Air 

Athamas 

Despair no more shall wound me, Since you so kind do prove.
All joy and bliss surround me, My soul is tun'd to love. 

Despair no more. . . da capo 82. Recitative 

Cadmus 

See from above the bellying clouds descend, And big with some new wonder this way tend. 

[Jove’s plane once more appears.]

Scene the Last 

A bright cloud descends and rests upon Mount Cithaeron,
which, opening, discovers Apollo seated in it as the God of Prophecy. 

83. Symphony
84. Accompagnato 

Apollo 

[Apollo exits from the plane. He is a kind of promoter. He puts up a poster or billboard of Semele but with short hair, flapper style. This should be a photo that would be taken from the scene where she is “killed” by Jove. Her name on the advertisement is now Louise Bacchus.]

Apollo comes, to relieve your care,
And future happiness declare.
From Semele's ashes a phœnix shall rise, The joy of this earth, and delight of the skies: A God [they] he shall prove 

More mighty than Love,
And sighing and sorrow for ever prevent. 

85. Chorus of Priests 

Happy, happy shall we be,
Free from care, from sorrow free. Guiltless pleasures we'll enjoy, Virtuous love will never cloy;
All that's good and just we'll prove, And Bacchus crown the joys of love. 

Initially input by Pierre Degott (degott@zeus.univ-metz.fr); HTML conversion by Potharn Imre (pubi@altavista.net)