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About A Lover’s Discourse

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Our former Head of Artistic Planning and tenor in this programme, David Lee, explains how this project came together

Why Barthes, why these texts?

I first discovered Roland Barthes’ A Lover’s Discourse by accident, as a student in the library, while I was looking for his collection of essays Image, Music, Text. I picked the copy out from the shelf and leafed through a few pages. I had been going through a bit of a rough patch, romantically, at the time, and I found that it spoke to me.

I have since come to find it quite a problematic text, as well as more than a bit self-indulgent and solipsistic. For all its encyclopaedic exploration of all the states of being ‘in love’, few of them are actually healthy or good; they are more about the lover revelling in his own psychological misery and fantasy. Although Barthes is synonymous with poststructuralism, he was – to my mind, at least – a Romantic at heart.

The states he represents aren’t healthy, and they’re not, to my mind, in line with the essence of love. However, at that time in my life, they were what I needed. It was comforting to read passages that reassured me that what I was feeling was in no way unique. I was also quite enthralled with theoretical frameworks at the time, insofar as I wanted to be able to understand and rationalise everything within a framework. There’s a certain irony in the book’s premise, because love isn’t something that can ever really be rationalised.

Why these madrigals?

Around the same time I came across Barthes’ texts, I was beginning to sing Monteverdi’s madrigals for the first time, with other student groups. The music transfigured me – honestly, it sounds trite, but my life has never been the same again. In any case, Monteverdi was only a gateway drug: from him, I discovered the music of the other composers featured in this programme – Gesualdo, Marenzio, Rore – and found they shared a common musical language. Essentially, it’s the way that they never shy away from dissonance; it’s as much a part of the music as consonance. It’s a pretty fair representation of life (which is, of course, exactly what Monteverdi was trying to say).

Some of the pieces in this programme were some of those first madrigals I sang – for example, the final piece Sfogava con le stelle, from Monteverdi’s Fourth Book of Madrigals. So I wanted to include those. But at the same time, I wanted to explore some other pieces that I’d heard on recordings and in performances by other groups, which I felt resonated with the themes of the book.

How did it all come together?

The idea of combining the two never really occurred to me until relatively recently. I mentioned the idea to Jo [Buckley] and she suggested collaborating with the composer and sound designer Pippa Murphy. When lockdown struck, I came into contact with Tommy Slack and the team at Arms & Legs, a creative studio in Leith, who went on to produce Dunedin Consort’s online performances.

Uniting all these people, who each brought unique creative energy, I was inspired to delve into the text and pick out the sections that resonated with me most, and interpolate them with the music. You’ll hear that the themes are quite closely matched. It’s uncanny, how these writers – active in the seventeenth century and 1970s respectively – were all responding to the same emotional states. It even comes down to the level of the specific imagery (e.g. Barthes describes love as being like a mosquito, leading into Gesualdo’s Ardita zanzaretta (‘A daring little mosquito bites her who breaks my heart and keeps it in cruel torment.’) Once I started noticing the overlaps, it all fitted together quite nicely.

How did film become a part of this?

I’ve always been really into film and it’s something I wish I’d embarked on earlier in my life. I realise now that what I really want to do is make films. So I suppose that, in some way, this project marks a bridge for me in my own creative career – relating texts and music that I’m familiar with, as the vessel for exploring a new art form.

It was important for us in this that we assembled a genuinely diverse cast – in terms of age, ethnicity, gender, and sexuality – which, I hope, really emphasises the universality of the themes in both the text and music. I think we created some very compelling monologues from what can be, at times, quite a dry, analytical language. We shot lots of the scenes outdoors in settings that are related to the themes of each text, mainly due to the safety protocols enforced by the pandemic. However, we were also unbelievably lucky with the weather and conditions – for example, in Kim Allan’s scene, In Praise of Tears, we had agreed to meet in Cramond and it just happened to be the morning after a night of heavy snowfall. We ended up with the whole area to ourselves. It was magical. Kim did it in two complete takes – indeed, most of the actors did their bits in one continuous take. It was pure theatre. I’m hooked and want to do more.

But Pippa’s score is the glue that binds it all, as the bridge between the past and present. She is obviously very familiar with the idioms of Renaissance music and has managed to create a distinctive soundworld that somehow fuses everything together.

It also increases a greater sense of texture. One of the things that frustrates me with early-music programmes is that programmers often stick to repertoire that ‘complements’ itself. After a while, you just get stuck in one soundworld. So Pippa’s interludes break things up, as well as bind them together.

Essentially, I think each different art form in A Lover’s Discourse provides a filter to change how we interpret the other things. Hopefully, each part elevates and transforms the other parts, if that doesn’t sound too pretentious.

David Lee


Carlo Gesualdo (1566-1613) Ardita zanzaretta Ardita zanzaretta morde colei che il mio cor strugge e tiene in così crude pene; fugge poi, e rivola in quel bel seno che il mio cor invola, indi la prende e stringe e le dà morte per sua felice sorte. Ti morderò ancor io, dolce amato ben mio, e se mi prendi e stringi, ahi, verrò meno provando in quel bel sen dolce veleno.	Carlo Gesualdo (1566-1613) Ardita zanzaretta A daring little mosquito bites her who breaks my heart and keeps it in such cruel torment; then it flees and flies back again to that fair breast that has stolen my heart, then she catches it, squeezes it and gives it death which is its happy fate. I shall bite you too, my sweet beloved, and if you catch me, and squeeze me, ah, I shall faint at the taste of this fair bosom’s sweet poison.
Carlo Gesualdo per te, mio bene Ardo per te, mio bene, ma l’ardore spira dolce aura al core. Moro per te, mia vita, ma il morire gioia divien, dolcissimo il languire. Felice sorte ancor ch’io arda e moia: l’ardor divien dolce aura, e ‘l morir gioia.	Carlo Gesualdo per te, mio bene I burn for you, my love, but my ardour Wafts sweet breezes on my heart. I die for you, my life, but my dying Becomes a joy, most sweet the languishing. Happy fate, to burn and to die: Burning becomes a soft breeze and dying a joy.
Luca Marenzio (1553-1599) Tirsi morir volea Tirsi morir volea (prima parte) Tirsi morir volea, Gl’occhi mirando di colei ch’adora, Ond’ella che di lui non meno ardea, Gli disse: ‘Ohimè, ben mio, Deh non morir ancora: Ché teco bramo di morir anch’ io’. Frenò Tirsi il desio (seconda parte) Frenò Tirsi il desio Ch’avea di pur sua vita allor finire, E sentia morte e non potea morire, E mentre fisso il guar- do pur tenea Ne’ begl’occhi divini, E nettare amoroso indi bevea, La bella ninfa sua, che già vicini Sentia i messi d’amore, Disse, con occhi languidi e tremanti: ‘Mori, cor mio, ch’io moro’. Le rispose il pastore: ‘Ed io, mia vita, moro’. Così moriro (terza ed ultima parte) Così moriro i fortunati amanti Di morte sì soave e sì gradita, Che per anco morir tornaro in vita.	Luca Marenzio (1553-1599) Tirsi morir volea Thyrsis wished to die, His eyes beholding the one whom he adored, Whereup- on she, who burned not less for him, Said to him, ‘Ah, my beloved, Alas, do not die yet, For I too wish to die with you.’ Frenò Tirsi il desio (seconda parte) Thyrsis restrained the desire That he had to put an end to his life, And he felt death, and yet could not die, And while he kept his gaze fixed Upon the beauteous divine eyes, And drank the amorous nectar therefrom, His fair nymph, who now felt Love’s messengers close at hand, Said, with languid and trembling eyes, ‘Die, my sweet, for I am dying.’ The shepherd replied: ‘And I, my beloved, die.’ Così moriro (terza ed ultima parte) Thus the fortunate lovers Died a death so sweet and so welcome That to die yet again they returned to life.
Claudio Monteverdi (1567-1643) Rimanti in pace ‘Rimanti in pace’, alla dolente e bella Fillida Tirsi sospirando disse: ‘Rimanti, io me ne vo, tal mi prescrisse Legge, empio fato e sorte aspra e rubella’. Ed ella ora dall’una e l’altra stella Stillando amaro umore i lumi affisse Nei lumi del suo Tirsi, e gli trafisse Il cor di pietosissime quadrella. Ond’ ei di morte (seconda parte) Ond’ ei di morte la sua faccia impressa, Disse: ‘Ahi, come n’andrò senz’ il mio sole, Di martir in martir, di doglie in doglie?’ Ed ella da singh- iozz’ e piant’ oppressa Fievolmente formò queste parole: ‘Deh, car’ anima mia, chi mi vi toglie?’	Claudio Monteverdi (1567-1643) Rimanti in pace Stay you in peace,’ said Tirsi, Sighing, to the grieving fair Fillida. ‘Stay, I go; ’tis so decreed by law, By cruel destiny, harsh and opposing fate.’ And then, distilling bitter tears From each starry orb, she fixed her eyes On those of Tirsi, and pierced His heart with most piteous shafts. Whereupon he, death engraved upon his face, Said, ‘Alas, how shall I go without my sun, From torment to torment, from grief to grief?’ And she, afflicted by sobs and lamentation, Faintly uttered these words: ‘Ah, my dear beloved, who takes you from me?’
Claudio Monteverdi Anima mia, perdona (prima parte) Anima mia, perdona A chi t’è cruda sol, dove pietosa Esser non può; perdona questa, Nei detti e nel sembiante Rigida tua nemica, ma nel core Pietosissima amante. E se pur hai desio di vendicarti, Deh! qual vendett’ aver puoi tu maggiore Del tuo proprio dolore? Che se tu sei ’l cor mio (seconda parte) Che se tu sei ’l cor mio, Come sei pur, malgrado Del ciel e della terra, Qualor piangi e sospiri, Quelle lagrime tue son il mio sangue, Quei sospir il mio spirto, e quelle pene E quel dolor che senti Son miei, non tuoi tormenti.	Claudio Monteverdi Anima mia, perdona (prima parte) My beloved, pardon Her who is cruel to you only where She cannot be affectionate; pardon her, In her deeds and countenance Your unbending enemy, but in her heart Your most affec- tionate lover. And if you desire to seek your revenge, Alas! What greater vengeance could you have Than that of your own suffering? Che se tu sei ’l cor mio (seconda parte) For, if you are my beloved, As indeed you are, in despite Of heaven and earth, Then, whenever you lament and sigh, Those your tears are my blood, Those sighs my spirit, and the grief And pain that you feel Is my torment, not yours.
Luca Marenzio lagrimosi spirti d’Averno Udite, lagrimosi Spirti d’Averno, udite Nuova sorte di pena e di tormento: Mirate crudo affetto In sembiante pietoso; La mia donna, crudel più dell’Inferno; Perch’ una sola morte Non può far sazia la sua ingorda voglia, Mi comanda ch’io viva, Perché la vita mia Di mille morti il dì ricetto sia.	Luca Marenzio lagrimosi spirti d’Averno Udite, lagrimosi Hear, ye doleful Spirits of Avernus, hear Of a new kind of pain and torment! Behold cruel sentiment In the guise of pity: My lady, more cruel than hell, Because one single death Cannot satiate her ravenous desire, Commands me to live, So that my life shall be A prescription for a thousand deaths a day.
Cipriano de Rore (1515-1565) Da le belle contrade d’oriente Da le belle contrade d’oriente Chiare e lieta s’ergea Ciprigna, ed io Fruiva in braccio al divin idol mio Quel piacer che non cape humana mente, Quando sentii dopo un sospir ardente: Speranza del mio cor, dolce desio, T’en vai, haime, sola mi lasci addio. Che sarà qui di me scura e dolente? Ahi crudo Amor, ben son dubiose e corte Le tue dolcezze, poi ch’ancor ti godi Che l’estremo piacer finisca in pianto. Nè potendo dir più, cinseme forte, Iterando gl’amplessi in tanti nodi, Che giammai ne fer più l’Edra o l’Acanto.	Cipriano de Rore (1515-1565) Da le belle contrade d’oriente From the lovely realms of the East Cleary and joyful rose Venus, the Morning Star, and I Enjoyed in the arms of my divine beloved That pleasure no human mind can grasp. When I heard, after an ardent sigh: ‘Hope of my heart, sweet desire, You go, alas, you leave me here alone. Farewell! What shall become of me here, sad and sorrowful? Alas, cruel love, your pleasures are indeed Uncertain and brief, for while I yet enjoy you, The greatest happiness ends in tears.’ Unable to say any more, she held me tightly, Repeating the embraces in more entwinings Than ever were made by the ivy or acanthus.
Luca Marenzio Dolorosi martir, fieri tormenti Dolorosi martir, fieri tormenti, Duri ceppi, empi lacci, aspre catene, Ov’ io la notte i giorni, ore e momenti Misero piango il mio perduto bene, Triste voci, querele, urli e lamenti, Lagrime spesse e sempiterne pene Sono il mio cibo, e la quiete cara Della mia vita oltr’ ogni assenzio amara.	Luca Marenzio Dolorosi martir, fieri tormenti Dolorous mournful cares, ruthless tormenting, Hateful gyves, cursed bonds, sharpest endurance, Wherein both nights and days my heart ever renting, Wretch, I bewail my lost delight and pleasance, Woeful loud cries, sad scriches, howling, lamenting, Watery tears shedding, and everlasting grievance: These are my dainties and my daily feeding, And my life’s comfort, bitter gall exceeding.
Luca Marenzio Dolorosi martir, fieri tormenti Sfogava con le stelle un infermo1 d’amore sotto notturno cielo il suo dolore. E dicea fisso in loro: O imagini belle de l’idol mio ch’adoro, sì com’a me mostrate mentre così splendete la sua rara beltate, così mostraste a lei i vivi ardori miei: la fareste col vostr’aureo sembiante pietosa sì come me fate amante	Luca Marenzio Dolorosi martir, fieri tormenti A lovesick man was venting to the stars his grief, under the night sky. And staring at them he said: ‘O beautiful images of my idol whom I adore, just as you are showing me her rare beauty while you sparkle so well, so also demonstrate to her my living ardour: by your golden appearance you’d make her compassionate, just as you make me loving.’

Performers & Credits

Nicholas Mulroy director & tenor
Rachel Ambrose Evans soprano
Jessica Gillingwater alto
David Lee tenor
Ben McKee solo bass

Pippa Murphy composer & sound design

Cast in order of appearance
John Macaulay
Eilidh Loan
Martin Quinn
Matthew Zajac
Saskia Ashdown
Kim Allan
Cristian Ortega
Linda Duncan McLaughlin

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Video Production
Arms & Legs

Directed by
Ross Addy and Tommy Slack

Motion Graphics & Titles
Bartosz Liszka

Audio Production
Matthew Swan

Lighting Design
Jamie Heseltine

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Supported by

James T Howat Charitable Trust

Dunard Fund

Artist Biographies

Nicholas Mulroy

Born in Liverpool, Nicholas read Modern Languages at Cambridge and studied voice at London’s Royal Academy of Music. As a tenor, he has sung at Carnegie Hall, the Sydney Opera House, the Paris Opéra, and Boston Symphony Hall. He has sung Bach’s Evangelist, in both the John and Matthew Passions, with many of the leading conductors of the day, including Sir John Eliot Gardiner, Marc Minkowski, Richard Tognetti, Hans-Christoph Rademann and Laurence Cummings. He has been a frequent guest at Wigmore Hall, singing repertoire from Schubert to Stephen Hough, and from Purcell to Fauré. Nicholas has sung at opera houses including Glyndebourne, Paris’ Opéra Comique, Copenhagen, Toulouse. His discography encompasses music across seven centuries, including Handel’s Messiah and Acis and Galatea, Monteverdi Vespers, and Astor Piazzolla’s unique masterpiece María de Buenos Aires.

Alongside his singing career, over the last ten years Nicholas has developed his work as a director. He was Director of Chapel Music at Girton College, Cambridge (where he is now a Musician in Residence), and is Associate Director of the Cambridge University Chamber Choir, whom he has led in a wide repertoire, and his work as a guest conductor has taken him to the USA, Malta, Poland, and Spain. As a singer-director, he has performed Bach’s Passions, Purcell odes, Handel oratorios, and is devoted to the collaborative energy and artistic autonomy that this approach, at its best, brings. He has led Dunedin Consort in several programmes, and is delighted to be the group’s Associate Director, thereby extending a connection with the group that stretches back almost twenty years.

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Dunedin Consort

Dunedin Consort is one of the world’s leading Baroque ensembles, recognised for its vivid and insightful performances and recordings. Formed in 1995 and named after Din Eidyn, the ancient Celtic name for Edinburgh Castle, Dunedin Consort’s ambition is to allow listeners to hear early music afresh, and to couple an inquisitive approach to historical performance with a commitment to commissioning and performing new music. Under the direction of John Butt, the ensemble has earned two coveted Gramophone Awards – for the 2007 recording of Handel’s Messiah and the 2014 recording of Mozart’s Requiem – and a Grammy nomination. In 2021 it was the recipient of the Royal Philharmonic Society Ensemble Award.

Dunedin Consort performs regularly at major festivals and venues across the UK, including the BBC Proms, Edinburgh International Festival and Lammermuir Festival, with whom it enjoys close associations. In 2017, Dunedin Consort announced its first residency at London’s Wigmore Hall, which continues to this day and complements its regular series of events at home in Scotland, as well as throughout Europe and beyond. The group’s growing discography on Linn Records includes Handel’s Acis and Galatea and Bach’s Brandenburg Concertos, both nominated for Gramophone Awards. Other Bach recordings include Mass in B Minor, Violin Concertos, Magnificat, Christmas Oratorio, Matthew Passion and John Passion, which was nominated for a Recording of the Year award in both Gramophone and BBC Music Magazine. A recording of Handel’s Samson, in its first version of 1743, was released in October 2019, receiving Editor’s Choice accolades across the board.

Alongside its performance and recording work, Dunedin Consort is committed to a wide-ranging education programme both in schools and in the wider community. In inspiring and encouraging musical participation, developing vocal skills and fostering a love of classical music, historical performance and new music, Dunedin Consort aims to develop and nurture its potential audience and to encourage the performers of the future.

While Dunedin Consort is committed to performing repertoire from the baroque and early classical periods, and to researching specific historical performance projects, it remains an enthusiastic champion of contemporary music. In recent years the ensemble has commissioned and premiered new music by composers including Stuart Macrae, Ailie Robertson, Ninfea Cruttwell-Reade, William Sweeney, Nico Muhly, Peter Nelson, Stevie Wishart and Sally Beamish. In 2019 it premiered four new co-commissions with the BBC Proms, and in 2021 premiered Dido’s Ghost, a new opera by Errollyn Wallen, co-commissioned with the Barbican Centre, Edinburgh International Festival, Buxton International Festival, Mahogany Opera and Philharmonia Baroque Orchestra & Chorale.

Dunedin Consort is grateful to Creative Scotland, Dunard Fund, Binks Trust and Baillie Gifford, as well as the many individual trusts and supporters who generously support its year-round programme.