RUGGERIANA -- traditore, t'amo tanto, puo lasciarmi sola in pianto.

Speranza

AIR IN ALCINA,

Composed in 1735.

Madame Mara..

ah, mio cor, schernito sei ------- ah, my heart, thou art despis'd

stelle, dei, nume d'amore ---------------- spirit of love

traditore ------------------------------------- traitor

t'amo tanto ---------------------------- I love you so 

puoi lasciarmi sola in pianto ----------and yet thou canst leave me in tears

o dei perche -------------------------------- o gods, why

Ma che fa gemendo Alcina  ----------------- but what is Alcina weeping

son regina----------------------------------------- I'm a queen 

e temo ancora ------------------------------------ and still have power

Rejii 0 mora

Pene sempre

O torni a me. ---------------------------------------- return to me. 

Alas! my heart! thou art now despis'd!—

Ye pow'rs that move

Our hate and love,
Is this the way my passion's priz'd ?.
Left by a wretch, whose heart of steel
Is dead to all I say or feel. 

But why let grief my soul devour?
I'm still a queen, and still have pow'r;
Which pow'r my vengeance soon shall guide,
If still my kindness he deride.

The aria has always been much admired for its composition, as Anna Maria Strada for her manner of singing it, when the Opera of "Alcina" first appeared (a). 

Perhaps a modern composer, from the rage into which the enchantress is thrown in the Drama, by discovering the intended departure of her favourite hero, Ruggero, would have given the lady less tenderness, and more passion.

However that may be, the first strain of this aria, upon a continued moving base, is truly pathetic and the constant sobs and sighs, expressed by short and broken notes in the violin and tenor parts, greatly add to this effect. 

Indeed, this movement contains some strokes of modulation which are extremely bold and pathetic, particularly at the words 

"sola in pianto".

The short second part B likewise expresses much of the spirit, agitation, and fury, which the words and situation of the singer seem to require. 

If any one of the three surviving original performers in Alcina was present in the Pantheon during the performance of this Air, some couldn't  help supposing, that, in spite of partiality for old times, and reverence for Strada, he, or she would have agreed with the rest of the audience, in greatly applauding madame Mara's manner of singing this impassioned and difficult Air.