TENOR
Antholo~y of
Edited by Paolo Toscano
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CONTENTS 6
Aria Plots and Translations
AIDA 28 Celeste Aida
Giuseppe Verdi
ALCINA 23 E un folle, e un vile affetto
George Frideric Handel
ANDREA CHENIER 34 Come un bel di di maggio
Umberto Giordano
L'ARLESIANA 38 E la solita storia
Francesco Cilea
UN BALLO IN MASCHERA 42 Di'to se fedele 48 Ma se m'e forza perderti
Giuseppe Verdi
IL BARBIERE DI SIVIGLIA Gioachino Rossini 54 Ecco ridente in cielo 60 Se it mio nome saper bramate (Serenata) LA BOHEME 63 Che gelida marina I CAPULETI E I MONTECCHI ~ 68 E serbata a questo acciaro
Giacomo Puccini Vincenzo Bellini
CAVALLERIA RUSTICANA Pietro Mascagni 77 O Lola, bianca come fior di spino LA CENERENTOLA 80 Si, ritrovarla io giuro
Gioachino Rossini
LA CLEMENZA DI TITO 92 Del piu sublime soglio
Wolfgang Amadeus Mozart
COSI FAN TUTTE 96 Un'aura amorosa
Wolfgang Amadeus Mozart
DON GIOVANNI 100 Il mio tesoro
Wolfgang Amadeus Mozart
DON PASQUALE 108 Come gentil
Gaetano Donizetti
L'ELISIR D'AMORE 118 Una furtiva lagrima
Gaetano Donizetti
LA FANCIULLA DEL WEST 122 Ch'ella mi creda
Giacomo Puccini
LA FAVORITA 113 Spirto gentil
Gaetano Donizetti
LA FINTA GIARDINIERA Che belts, the leggiadria 124
Wolfgang Amadeus Mozart
LA FORZA DEL DESTINO 132 O to the in seno agli angeli
Giuseppe Verdi
GIANNI SCHICCHI Avete torto! ~- 138
Giacomo Puccini
L'INCORONAZIONE DI POPPEA Sento un certo non so the 129
Claudio Monteverdi
IRIS 144
Pietro Mascagni Apri la tua finestra
LUCIA DI LAMMERMOOR Fra poco a me ricovero ~- 147
Gaetano Donizetti
LUISA MILLER Quando le sere al placido 154
Giuseppe Verdi
MADAMA BUTTERFLY Addio,fiorito asil 164
Giacomo Puccini
MANON LESCAUT Donna non vidi mai 161
Giacomo Puccini
MEFISTOFELE Dai campi, dai prati 166
Arrigo Boito
PAGLIACCI Vesti la giubba 168
Ruggero Leoncavallo
IL PIRATA Tu vedrai la sventurata ~ 171
Vincenzo Bellini
RIGOLETTO Parmi veder le lagrime ~- 178 La donna e mobile 192
Giuseppe Verdi
TOSCA Recondita armonia 196 E lucevan le stelle 199
Giacomo Puccini
LA TRAVIATA Dei miei bollenti spiriti 202
Giuseppe Verdi
IL TROVATORE Deserto sulla terra 208
Giuseppe Verdi
TURANDOT Nessun dorms 210
Giacomo Puccini
INDEX Vincenzo Bellini 68 E serbata a questo acciaro (I Capuleti e i Montecchi) 171 Tu vedrai la sventurata (Il pinata) Amigo Boito 166 Dai campi, dai prati (Mefistofele) Francesco Cilea 38 E la solita storia (L'Arlesiana) Gaetano Donizetti 108 Come gentil(Don Pasquale) 147 Fra poco a me ricovero (Lucia di Lammermoor) 113 Spirto gentil(Lafavorita) 118 Una furtiva lagrima (L'elisir d'amore) Umberto Giordano 34 Come un bel di di maggio(Andrea Chenier) George Frideric Handel 23 E un folle, e un vile affetto (Alcina) Ruggero Leoncavallo 168 Vesti la giubba (Pagliacci) Pietro Mascagni 144 Apri la tua finestra (Iris) 77 O Lola,Bianca come fior di spino (Cavalleria rusticana) Claudio Monteverdi 129 Sento un certo non so the (L'incoronazione di Poppea) Wolfgang Amadeus Mozart 124 Che belts, the leggiadria (Lafinta giardiniera) 92 Del piu sublime soglio (La clemenza di Tito) 100 Il mio tesoro(Don Giovanni) 96 Un'aura amoroso (Cosifan tutte)
Giacomo Puccini 164 Addio,fiorito asil(Madams Butterfly) 138 Avete torto!(Gianni Schicchi) 63 Che gelida marina (La boheme) 122 Ch'ella mi creda (Lafanciulla del West) 161 Donna non vidi mai(Manor Lescaut) 199 E lucevan le stelle (Tosca) 210 Nessun dorms(Turandot) 196 Recondita armonia (Tosca) Gioachino Rossini 54 Ecco ridente in cielo (Il barbiere di Siviglia) 60 Se it mio nome saper bramate (Serenata) (Il barbiere di Siviglia) 80 Si, ritrovarla io giuro (La Cenerentola) Giuseppe Verdi 28 Celeste Aida (Aida) 202 Dei miei bollenti spiriti(La traviata) 208 Deserto sulla terra (Il trovatore) 42 Di tu' se fedele(Un hallo in maschera) 192 La donna e mobile (Kigoletto) 48 Ma se m'e forza perderti (Un hallo in maschera) 132 O to the in seno agli angeli (Laforza del destino) 178 Parmi veder le lagrime (Rigoletto) 154 Quando le sere al placido (Luisa Miller)
Aria Plots and Translations
AIDA Music: Giuseppe Verdi. Libretto: Antonio Ghislanzoni, after the French prose of Camille du Locle; plot by August Mariette. First performance: Opera House,Cairo,24 December 1871 (not for the opening of the Suez Canal,as sometimes said). Setting: Memphis,Egypt; ancient times;a hall in the king's palace. Celeste Aida from Act I Dramatic context: The priests of Isis are offering sacrifices to learn from the goddess whom she will choose to lead the Egyptian army against the invading Ethiopian forces. Radames,captain of the Egyptian guard,hopes that he will be chosen. Imagining a victorious return, he believes he will then be able to receive permission to marry Aida,an Ethiopian slave girl who belongs to Amneris,the daughter of the Egyptian king. Se quel guerrier io fossil se it mio sogno si avverasse! Un esercito di prodi da me guidato... e la vittoria... e it plauso di Menfi tutta! E a te, mia dolce Aida, tornar di lauri cinto... dirti: per to ho pugnato, per to ho vinto!
If that warrior were I! if my dream were to come true! An army of valiant men led by me... and the victory... and the acclaim ofall Memphis! And to you, my sweet Aida, return with laurel crowned... to say to you:for you I havefought,for you I have won!
Celeste Aida,forma divina, mistico serto di lute e fior; del mio pensiero to sei regina, to di mia vita sei to splendor. Il tuo bel cielo vorrei ridarti, le dolci brezze del patrio suol; un regal serto sul crin posarti, ergerti un trono vicino al sol.
Heavenly Aida, presence divine, mystic garland bright and blooming; ofmy thoughts you are queen, you of my life are the splendor. Your beautiful skies I would restore to you, the sweet breezes ofyour native soil; a royal crown upon your brow 1 would pose, build you a throne beside the sun.
ALCINA Music: George Frideric Handel. Libretto: Anonymous,adapted from Antonio Fanzaglia's libretto L'Isola della Alcina, after Ludovico Ariosto's epic poem Orlando Furioso. First performance:Covent Garden, London,l6 Apri11735. Setting: Alcina's enchanted island. un folle, e un vile affetto from Act II Dramatic context: Alcina's servant Oronte is in love with Morgana,Alcina's sister. Morgana,however,has fallen in love with Ricciardo (actually Bradamante, a woman posing as a man to rescue her fiance Ruggiero from the clutches of the sorceress Alcina). Once again rebuffed by Morgana,Oronte vows to steel his heart against her charms. $ un folle,e un vile affetto, non e la sus belts, the trionfar la fa superba del mio tor.
It is madness, it is a base emotion, not her beauty, that triumphant makes her immodest of my heart.
Vieni sul labbro e al Giglio, sdegno,the nutro in petto, figlio d'offeso amor.
Come to my lip and brow indignation, which 1 nurture in my breast, born of offended love.
ANDREA CHENIER Music: Umberto Giordano. Libretto: Luigi Illica, inspired by the life of the French poet Andrea Chenier. First performance: Teatro alla Scala, Milan,28 March 1896. Setting: Paris, after the French Revolution. Come un bel di di maggio from Act N Dramatic context: The poet Andrea Chenier,falsely accused as acounter-revolutionary, has been sentenced to death. In the courtyard of St. Lazare Prison he writes a poem as he awaits the cart that will carry him to his execution. His friend Roucher asks him to read the poem,which describes his feelings as a poet facing death. Come un bel di di maggio the con bacio di vento e carezza di raggio si spegne in firmamento,
Like a lovely day in May that, with the kiss ofa breeze and caress ofa sunbeam, fades in the sky,
col bacio io d'una rima, carezza di poesia, salgo 1'estrema circa dell'esistenza mia.
I, with the kiss ofa rhyme, the caress ofpoetry, climb thefinal heights of my existence.
La sfera the cammina per ogni umana sorte ecco gia mi awicina all'ora della morte, e forse pria the 1'ultima mia strofa sia finita, m'annunciera it carnefice la fine Bella vita.
The cyclic course ofall human destiny now already draws me near the hour of death, and perhaps before my last verse is done, it will bring my executioner, the end oflife.
Sia! Strofe, ultima Dea! ancor Bona al tuo poeta la sfolgorante idea, la fiamma consueta; io,a te, mentre to vivida a me sgorghi dal cuore, darn per rima it gelido Spiro d'un uom the muore.
So be it! Verse, supreme Goddess! once more grant your poet the brilliant thought, the accustomedflame; Ito you,as you vividly rushforthfrom my heart, will return in rhyme the chilled breath ofa man about to die.
L'ARLESIANA (The Girl from Arles) Music: Francesco Cilea. Libretto: Leopoldo Marenco,based on the play L'Arlesienne by Alphonse Daudet. First performance: Teatro Lirico, Milan,27 November 1897. Setting: Provence,nineteenth century. E la solita storia from Act II Dramatic context: Federico is in love with a girl from Arles, but his mother Rosa Mamai and her godchild Vivetta, who loves him,show Federico letters proving the girl has been the mistress of Metifio, the stablehand. Though Federico consents to marry Vivetta, his passion and pain are very much alive. $ la solita storia del pastore ii povero ragazzo voleva raccontarla, e s'addormi. C'e nel sonno 1'oblio. Come 1'invidio! Anch'io vorrei dormir cosi; nel sonno almen 1'oblio trovar! La pace Sol cercando io vo'! Vorrei poter tutto scordar! Pur ogni sforzo e vano... davanti ho sempre di lei it dolce sembiante! La pace tolta e sempre a me! Perche degg'io tanto penar?... Lei, sempre lei dinanzi a me! Fatale vision, mi lascia! Mi fai tanto male! Ahime!
It is the usual story ofa shepherd... The poor lad wanted to tell the tale, and hefell asleep. There is oblivion in sleep. How I envy him! I too would like to sleep so; in sleep at least oblivion tofind! Peace alone I seek! I wish that I couldforget it all! Yet every effort is in vain... before me I have always her sweet image! Peace is takenforeverfrom me! Why must I suffer so?... Her, always her before me!Inescapable vision, leave me! You hurt me so! Alas!
UN BALLO IN MASCHERA (A Masked Ball) Music: Giuseppe Verdi. Libretto: Antonio Somma,after Eugene Scribe's libretto for Daniel-Francois-Esprit Auber's opera Gustave III, ou Le Bal Masque,based on the assasination of Gustave III of Sweden at a masked ball in 1792. First performance: Teatro Apollo, Rome,17 February 1859. Setting: The opera was originally planned to follow the Gustave III setting in late eighteenth century Sweden,but because of censorship the king was changed to a governor in Boston. Di' to se fedele from Act I, scene 2 Dramatic context: Riccardo,the governor of Boston, has disguised himself as a fisherman. In the but of the old fortune-teller Ulrica, he waits his turn to test her powers of divination,singing a barcarolle in which he declares that nothing can hold him from the sea or from the woman he loves.
Di to se fedele it Hutto m'aspetta, se molle di pianto la donna diletta dicendomi addio, tradi 1'amor mio.
Tell me iffaithful the sea awaits me, if, weakened by tears, my beloved lady, in sayingfarewell, betrayed my love.
Con lacere vele e Palma in tempesta, i solchi so franger dell'onda funesta, 1'averno ed it cielo irati sfidar.
With tattered sails and soul in storm, the crest I can break of the deadly wave, hell and heaven irate I can defy.
Sollecita esplora, divina gli eventi: non possono i fulmin, la rabbia de' venti, la morte,l'amore sviarmi dal mar.
Urgently explore, predict thefuture; neither lightning, fury of the winds, death, nor love turn mefrom the sea.
Sull'agile prora the m'agita in grembo, se scosso mi sveglio ai fischi del nembo, ripeto fra' tuoni le dolci canzoni. Le dolci canzoni del tetto natio, the i baci ricordan dell'ultimo addio, e tutte raccendon le forze del cor. Su dunque,risuoni la tua profezia, di' cio the puo Borger dal fato qual sia; nell'anime nostre non entra terror.
On agile prow that wrenches my breast, ifshaken 1 awake to the howling storm, I repeat amid the thunder the sweet songs. The sweet songs of my native home, which remind me of the kisses of my lastfarewell, and rekindle all the courage of my heart. Onward, then, soundforth your prophecy; tell what might come from whatever destiny brings; in our souls will enter no terror.
Ma se m'e forza perderti from Act III, scene 2 Dramatic context: Riccardo, musing alone in a room in his house, realizes that his love for Amelia, the wife of his friend and advisor Renato,is misguided. He decides to send Renato as an envoy to England,accompanied by Amelia,so that his friend may retain his honor. Forse la soglia attinse, e posa alfin! L'onore ed it dower fra i nostri petti han rotto 1'abisso. Ah! si, Renato rivedra 1'Inghilterra... e la sua sposa to seguira. Senza un addio,l'immenso ocean ne separi... e taccia it core. Esito ancor? ma,o ciel, non to degg'io? Ah,l'ho segnato it sacrifizio mio!
Perhaps she has reached home, and rests at last! Honor and duty have opened between our hearts an abyss. Ah! yes, Renato will again see England... and his consort willfollow him. Without afarewell, the immense ocean will divide us... and silence the heart. Yet I hesitate? but, O heaven, must I not do so? Ah,I have signed my own sacrifice!
Ma se m'e forza perderti per sempre,o Luce mia, a to verra it mio palpito sotto qual ciel to sia, chiusa la tua memoria nell'intimo del cor.
But ifI must lose you forever, O light of my life, for you my heart will beat no matter where you may be; closed is your memory deep within my heart.
Ed or qual reo presagio to spirito m'assale, the it rivederti annunzia quasi un desio fatale, come se fosse 1'ultima ora del nostro amor?
And now what evilforeboding assails my spirit, that makes seeing you again almost an obsessive wish, as if it were the last hour ofour love?
IL BARBIERE DI SIVIGLIA (The Barber of Seville) Music: Gioachino Rossini, originally titled Almaviva, ossia L'inutile precauzione(Almaviva,or The Useless Precaution). Libretto: Cesare Sterbini, based on Le Barbier de Seville, a play by Pierre-Auguste Caron de Beaumarchais and the libretto for Giovanni Paisiello's Il barbiere di Siviglia. First performance: Teatro Argentina,Rome,20 February 1816. Setting: Seville, eighteenth century. Ecco ridente in cielo from Act I, scene 1 Dramatic context:In the pre-dawn light of a public square outside the house of Don Bartolo,Count Almaviva serenades the beautiful Rosina,Bartolo's ward. Disguised as the student "Lindoro," and accompanied by a band of professional musicians, he sings that Rosina will bring happiness to his life in the same way that the coming dawn drives away the darkness. Ecco ridente in cielo spunta la Bella aurora, e to non sorgi ancora e puoi dormir cosi?
There,glorious in the heavens, breaks the beautiful dawn; and you still do not rise, and you go on sleeping?
Sorgi, mia dolce speme, vieni, bell'idol mio, rendi men crudo,oh Dio! to stral the mi feri.
Arise, my dear hope; come, my beautiful idol; make less cruel, oh Lord! the arrow that wounded me!
Tacete! gia veggo quel caro sembiante: quest'anima amante ottenne pieta.
Silence! already I see that dear countenance: this lover's soul has obtained compassion.
Oh istante d'amore! Felice momento! Oh dolce contento the equal no,non ha.
Oh, moment oflove! Happy moment! Oh sweet joy that has no equal, none..
Se it mio nome saper bramate (Serenata) from Act I, scene 3 Dramatic context: Disguised as "Lindoro," a poor student, Count Almaviva serenades Rosina,the ward and intended bride of Dr. Bartolo. He does not want her to know his true identity, hoping to win her love on his own merits, not those of his station. Se it mio nome saper voi bramate, dal mio labbro it mio nome ascoltate.
If my name you wish to know, from my own lips my name you will hear.
Io son Lindoro the lido v'adoro, the sposa vi bramo, the a nome vi chiamo di voi sempre parlando cosi dall'aurora al tramonto del di.
I am Lindoro, who loves you dearly, who hopes to marry you, who calls your name, who always speaks of you thus, from dawn to dusk.
L'amoroso e sincero Lindoro non puo darvi, mia Cara, un tesoro. Ricco non Sono, ma un core vi dono, un'anima amante the fida e constante per voi Bola sospira cosi dall'aurora al tramonto del di.
The loving and sincere Lindoro cannot give you, my dear, a treasure. Rich I am not, but I offer you a heart, a loving soul that, trustworthy and constant, for you alone yearns thus from dawn to dusk.
LA BOHEME (The Bohemian Life) Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after Henri Murger's novel Scenes de la Vie de Boheme. First performance: Teatro Regio, Turin,l February 1896. Setting: Paris, c1830.
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Che gelida manina from Act I Dramatic context: It is Christmas Eve in the Latin Quarter. Alone in his sparse, cold garret apartment,Rodolfo tries to finish a newspaper article while his friends have gone to celebrate. His neighbor Mimi,a seamstress, knocks on the door and asks him to light her candle. After both their candles go out,they search for Munis lost doorkey. Clasping her hand in the moonlit room,Rodolfo introduces himself. Che gelida marina! Se la lasci riscaldar. Cercar the giova? Al buffo non si trova. Ma per fortuna e una notte di luna, e qui la luna 1'abbiamo vicina. Aspetti, signorina: le dird con due parole chi son,e the faccio, come vivo. Vuole? Chi son? Sono un poeta. Che cosa faccio? Scrivo. E come vivo? Vivo. In poverty mia lieta scialo da gran signore rime ed iruu d'amore. Per sogni e per chimere e per castelli in aria 1'anima ho milionaria. Talor dal mio forziere ruban tutti i gioielli due ladri: gli occhi Belli. V'entrar con voi pur ora, ed i miei sogni usati, e i bei sogni miei tosto si dileguar! Ma it furto non m'accora, poiche v'ha preso stanza la dolce Speranza! Or the mi conoscete, parlate voi, deh! Chi siete? Vi piaccia dir!
YVhat afrozen little hand! Let me warm itfor you. What good to search? In the dark it cannot befound. But thank heaven it is a moonlit night, and here we have the moon close by. Wait, miss: I will tell you in afew words who I am,and what I do, how I live. Shall I? Who am I? I am a poet. What do I do? I write. And how do I live? I live. In my cheerful poverty I squander as a great lord rhymes and hymns to love. For dreams andfantasies and castles in the air my soul is a millionaire. Sometimes my treasure chest is robbed ofall its jewels by two thieves: beautiful eyes. They entered with you just now, and my usual dreams, and my beautiful dreams quickly vanished! But the theft does not dishearten me, because their place has been taken by sweet hope! Now that you know me, speak of yourself, please! YVho are you? Would you like to tell me?
CAPULETI E I MONTECCHI (The Capulets and the Montagues) Music: Vincenzo Bellini. Libretto: Felice Romani,based on his libretto for Nicola Vaccai's Giulietta e Romeo,in turn based on Luigi Scevola's tragedy of the same name. First performance: Teatro La Fenice, Venice,11 March 1830. Setting: Verona, thirteenth century. E serbata a questo acciaro from Act I, scene 1 Dramatic context: In a hall in Capulets' palace, Capellio, head of the family, waits with his followers for an emissary's news of the Montagues, their enemies. Capellio's son was killed in battle by Romeo,the son of Montague. Tebaldo,in love with Capellio's daughter Giulietta, affirms Capellio's vow to have bloody revenge on the Montagues. E serbata a questo acciaro del tuo sangue la vendetta: 1'ho giurato per Giulietta: tatty Italia, it ciel to sa. Tu d'un nodo a me si caro solo affretta it dolce istante; ed it voto dell'amante it consorte adempira.
This sword is destined to seek revengefor your blood: I have sworn sofor Juliet; all ofItaly, heaven itselfknows this. You, toward a bond I so desire, only hasten the sweet moment; and the promise of her lover will befulfilled by her betrothed.
L'amo tanto, e m'e si Cara, piiz del Sol the mi rischiara; e riposta, e viva in lei ogni gioia del mio cor. Ma se avesse it mio contento a costarle un Sol lamento, Ah! piuttosto io sceglierei mille giorni di dolor.
I love her so, and she is so dear to me, more than the sun that shines; in her resides and thrives every joy of my heart. But if to please myself I were to cause her a single discomfort, Ah!I would sooner choose a thousand days of pain.
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CAVALLERIA RUSTICANA (Rustic Chivalry) Music: Pietro Mascagni. Libretto: Giovanni Targioni-Tozzetti and Guido Menasci, based on a short story by Giovanni Verga. First performance: Teatro Costanzi, Rome,17 May 1890. Setting: A Sicilian village, on an Easter Day in the nineteenth century. O Lola,Bianca come fior di spino Dramatic context: Turiddu,a young soldier returning from war,sings a serenade to Lola, his beloved. Turridu's Siciliana is part of the orchestral prelude and is sung from behind the curtain. O Lola,Bianca come fior di spino, quando t'affacci to s'affaccia it sole; chi t'ha baciato it labbro porporino grazia piu Bella a Dio chieder non vole! C'e scritto sangue sopra la tua ports; ma di restarci a me non me n'importa. Se per to mojo e vado in paradiso, non c'entro se non vedo it tuo Bel viso.
O Lola, white as the thorned blossom, when you appear, so appears the sun; he who has kissed your ruby lips no gift more wonderfulfrom God would aspire! There is written blood over your portal, but I will remain; if has no importance. Iffor you I die and go to paradise, I will not enter there ifI do not see your beautifulface.
LA CENERENTOLA (ossia, La Bonta in Trionfo) (Cinderella, or The Triumph of Goodness) Music: Gioachino Rossini. Libretto: Jacopo Ferretti, after Charles Perrault's Cendrillon and probably both Charles-Guillaume $tienne's libretto for Niccolo Isouard's Cendrillon and the libretto for Stefano Pavesis Agatina; also after the fairy tale. First performance: Teatro Valle, Rome,25 January 1817. Si, ritrovarla io giuro from Act II,scene 1 Dramatic context: Don Ramiro, prince of Salerno, has traded places with his valet Danduu. While in disguise, Ramiro encounters Angelina (Cenerentola), and the two fall in love at first sight. Ramiro resolves to find her again and win her as his bride. Si, ritrovarla io giuro. Amore,amor mi muove: se fosse in grembo a Giove io la ritrovero.
Yes,I swear I willfind her. Love, love moves me: were she hidden by Jove himself I wouldfind her.
Pegno adorato e caro the mi lusinghi almeno. Oh,come al labbro, al seno come ti stringero!
Beloved token, and precious, you might at least give me hope. Oh, how to my lips, my breast, how I will embrace you!
Noi voleremo,domanderemo, ricercheremo,ritroveremo. Dolce speranza,freddo timore dentro al mio core stanno a pugnar. Amore,amore, m'hai da guidar.
We willfly, inquire, search, discover. Sweet hope, chillingfear, within my heart are wrestling. Love, love, you must guide me.
LA CLEMENZA DI TITO (The Clemency of Titus) Music: Wolfgang Amadeus Mozart. Libretto: Caterino Mazzola, adapted from a libretto by Pietro Metastasio. First performance: National Theatre,Prague,6 September 1791. Setting: Rome,c80 A.D. Del piu sublime soglio from Act I Dramatic context: Tito, who contemplates marrying his friend Sesto's sister Servilia, promises Sesto a great and powerful position at his palace. Tito extols the privilege of generosity enjoyed by men of great power. Del piiz sublime soglio 1'unico frutto e questo: tutto e tormento it resto, e tutto e servitu.
Ofthe highest throne the singlefruit is this: all else is torment, and all is servitude.
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Che avrei,se ancor perdessi le sole ore felici ch'ho nel giovar gli oppressi, nel sollevar gli amici, nel dispensar tesori al merto,e alla virtu?
What would I have, were I also to lose the only happy hours I pass in aiding the oppressed, in helpingfriends, in dispensing wealth to the deserving, and the virtuous?
COSI FAN TUTTE (ossia La Scuola degli Amanti) (Women are Like That, or The School for Lovers) Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte. First performance: Burgtheater, Vienna,26 January 1790. Setting: Naples,eighteenth century. Un'aura amorosa from Act I, scene 12 Dramatic context: Two young Neapolitan soldiers, Ferrando and Guglielmo,have disguised themselves as Albanians in a plot devised by their friend Don Alfonso: they will test whether or not their girlfriends, the sisters Fiordiligi and Dorabella, are faithful. Having completed the first exercise in deception,Ferrando addresses his two co-conspirators on the nurturing power of love. Un'aura amorosa del nostro tesoro un dolce ristoro al cor porgera.
The loving glow ofour beloved, a sweet restorative to the heart will supply.
Al cor the nudrito da speme, da amore, d'un'esca migliore bisogno non ha.
To the heart nourished by hope, by love, no greater temptation is needed.
DON GIOVANNI (Don Juan) Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte, after Giovanni Bertati's libretto for Giuseppe Gazzaniga's opera Il convitato di pietra; also based on the Don Juan legends. First performance: National Theatre,Prague,29 October 1787. Setting: Seville, sixteenth century. Il mio tesoro from Act II,scene 2 Dramatic context: Don Ottavio is finally convinced that it was Don Giovanni who killed the Commendatore,the father of his fiancee Donna Anna. He asserts that he will punish this wrong and bring solace to his beloved. Il mio tesoro intanto andate a consolar, e del bel Giglio it pianto cercate di asciugar.
My beloved, meanwhile, go to comfort, andfrom her lovely lash the tears attempt to dry.
Ditele the i suoi torti a vendicar io vado; the sol di stragi e morti nunzio vogl'io tornar.
Tell her thatfor the wrongs she has suffered to revenge I am gone; that only destruction and death will I return proclaiming.
DON PASQUALE Music: Gaetano Donizetti. Libretto: Donizetti and Giovaruli Ruffini, based on Anellis libretto for Stefano Pavesi's opera Ser Marcantonio. First performance: Theatre-Italien, Paris,3 January 1843. Setting: Rome,early nineteenth century.
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Come gentil from Act III, scene 2 Dramatic context: From Don Pasquale's garden,Ernesto serenades his beloved Norina. He describes the beauty of the moonlit night and longs for "Nina" to be with him. In the opera, this aria is sung offstage, accompanied by guitars, with a chorus responding throughout. Come gentil la notte a mezzo april! E azzurro it ciel, la Luna e senza vel: tutt'e languor, pace, mistero, amor. Ben mio,perche ancor non vieni a me? Formano 1'aure d'amore accenti, del rio nel murmure sospiri senti; ben mio,perche ancor non vieni a me? Poi quando saro morto, piangerai, ma richiamarmi in vita non potrai.
How gentle is the night in mid-April! The sky is blue, the moon is clear: all is calm, peace, mystery, love. My beloved, why do you not yet come to me? The air gives shape to sounds of love, in the brook as it murmurs you can hear sighs oflonging; my beloved, why do you not yet come to me? Then, when I am dead, you will cry, but bring me back to life you cannot.
Il tuo fedel si strugge di desir, Nina crudel, mi vuoi veder morir?
Your devoted is consumed with desire; Nina unmerciful, do you wish to see me die?
L'ELISIR D'AMORE (The Elixir of Love) Music: Gaetano Donizetti. Libretto: Felice Romani,after Eugene Scribe's libretto for Daniel-Francois Auber's opera Le Philtre. First performance: Teatro Bella Canobbiana, Milan,l2 May 1832. Setting: A small Italian village, nineteenth century; the village square. Una furtiva lagrima from Act II, scene 2 Dramatic context: Nemorino,a simple peasant, has fallen in love with Adina,a rich farm owner in the village. He believes that his instant success with the girls is due to Doctor Dulcamara's elixir (actually Bordeaux wine) which he has just taken. He doesrit yet know what the girls know: he is about to inherit a large fortune left by his rich uncle. Wandering away from the village dance, Nemorino can think only of Adina, who seemed upset by his new indifference and by the attention he was receiving from the village girls. Una furtiva lagrima negli occhi suoi spunto: quelle festose giovani invidiar sembro. Che piiz cercando io vo? Mama, mama,to vedo.
A secret tear sprung to her eyes; she seemed to envy thosefestive maidens. What more do I seek? She loves me,she loves me,I see it.
Un solo istante i palpiti del suo bel cor senor! I miei sospir confondere per poco a'suoi sospir! I palpiti senor! confondere i miei co'suoi sospir! Cielo, si puo morir; di piu non chiedo.
Tofeelfor only an instant the beating ofher beautiful heart! To mingle my sighs briefly with her sighs! Feel the pulse! Mingle her sighs with mine! Heaven, one can die; no more do I ask.
LA FANCIULLA DEL WEST (The Girl of the Golden West) Music: Giacomo Puccini. Libretto: Carlo Zangarini and Guelfo Civinini, after David Belasco's play. First performance: Metropolitan Opera,New York,10 December 1910. Setting: California mining camp during the 1849 gold rush. Ch'ella mi creda from Act III Dramatic context: Dick Johnson (actually the bandit Ramerrez)is about to be hanged. With a noose around his neck, he asks the miners to let his beloved Minnie believe he has escaped. Misuue rides in and begs the miners, who dote on her, to allow the two of them to leave together. The miners agree, and Minnie and Dick ride off into the sunset.
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Ch'ella mi creda libero e lontano, sopra una nuova via di redenzione! Aspettera ch'io torni... E passeranno i giorni, ed io non tornero... Minnie, della mia vita mio solo fiore, Minnie, the mhai voluto tanto bene!
She must believe I amfree andfar away, following a new path to redemption! She will waitfor me to return... And the days will pass, and I will not return... Minnie, who of my life has been my onlyflower, Minnie, who loved me so much!
LA FAVORITA (The Favorite) Music: Gaetano Donizetti. Libretto: Alphonse Royer and Gustave Vaez,after Baculard d'Arnaud's drama Le Comte de Comminges; additions by Eugene Scribe, based in part on his libretto for Donizetti's L'Ange de Nisida. The opera was originally sung in French (La Favorite), but performance in Italian has long been standard. First performance: Opera,Paris,2 December 1840. Setting: Compostela,Spain;1340; a courtyard of the monastery of Saint James.
Spirto gentil from Act IV Dramatic context: Fernando,a monastic novice turned Spanish army officer, was granted a reward by the king for his bravery on the battlefield. Unaware that Leonora, who refused to reveal her identity, was the king's mistress, Fernando asked for her hand in marriage and was granted it. Now discovering the truth,Fernando has disavowed his military honors and returned to the monastery, where he reminisces about his love for Leonora. Favorita del re! Qual nero abisso, qual mat trama infernal la gloria mia awolse in un istante, e ogni speme tronco del core amante!
The king'sfavorite! YVhat black depths, what infernal plot enveloped my honor in an instant, and severed every hope ofa lover's heart!
Spirto gentil, ne'sogni miei brillasti un di, ma ti perdei: fuggi dal cor mentita speme, larve d'amor,fuggite insieme.
A delicate soul, in my dreams you once appeared to me, but I lost you: leave my heart, betrayed hope; ghosts oflove, leave as well.
A to d'accanto del genitore scordava it pianto,la patria, it ciel. Donna sleal; in tanto amore segnasti it core d'onta mortal,chime!
Beside you,of myfather Iforgot his tears, my homeland, my world. Dishonest woman;in so much love you marked my heart with a deadly stain, alas!
LA FINTA GIARDINIERA (The Feigned Gardeness) Music: Wolfgang Amadeus Mozart. Libretto: Author unknown. First performance: Court Theatre, Munich,l3 January 1775. Setting: The garden of Don Anchises. Che belts, the leggiadria from Act I Dramatic context: Belfiore arrives in a carriage and as he looks at a portrait of his betrothed, Arminda,he praises her beauty and radiance. Che belts,the leggiadria, the splendore,eterni Dei! Guardo it sole e guardo lei, e colpito da quei rat parmi,oh Dio! di vacillar.
What beauty, what grace, what splendor, eternal Gods! Igaze at the sun and Igaze upon her, and,stricken by those rays, I seem, O God! to reel.
LA FORZA DEL DESTINO (The Force of Destiny) Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on the Spanish drama Don Alvaro, o La Fuerza del Sino by Angel de Saavedra,Duke of Rivas. First performance:Imperial Theatre, St. Petersburg,l0 November 1862. Setting: Spain, mideighteenth century.
O to the in seno agli angeli from Act III, scene 1 Dramatic context: After a long series of misfortunes, Don Alvaro remembers with anguish the violent and cruel events which have plagued him. He addresses his lament to his beloved Leonora, whom he believes dead.
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La vita e inferno all'infelice... Invano morte desio!... Siviglial... Leonoral.. Oh,rimembranzal... Oh,notte ch'ogni ben mi rapisti!... Sand infelice eternamente... e scritto.
Life is hellfor an unhappy person... In vain do I desire death!... Seville!... Leonoral... Oh, the memories!... Oh, the night that robbed me ofeverything dear!... I shall beforever unhappy... it must be so.
Della natal sua terra it padre volle spezzar 1'estranio giogo,e coll'unirsi all'ultima degl'Incas la corona cingere confido... Fu vana impresa!
Ofhis homeland myfather wished to break theforeign yoke,and by joiningforces with the last of the Incas the crown he hoped to secure... It was a doomed enterprise!
In un carcere nacqui; m'educava it deserto; sol vivo perche ignota e mia regale stirpe!... I miei parenti sognarono un trono,e li desto la scure!... Oh,quando fine avran le mie sventure?
I was born in a prison; my school was the desert; I survive only because no one knows of my royal lineage!... My relatives dreamed ofa throne, but awoke to the ax!... Oh, when will my misfortunes come to an end?
O to the in seno agli angeli, eternamente pura salisti Bella,incolume dalla mortal jattura, non iscordar di volgere to sguardo a me tapino, the senza nome ed esule, in odio del destino, chiedo anelando,ahi misero, la morte d'incontrar... Leonora mia,soccorrimi, pieta del mio penar.
O you who among the angels, eternally pure, rose in your beauty untouched by mortal calamity; do notforget to turn your gaze to my wretched self, who, without a name and exiled, scorned by destiny, asks eagerly, ah miserable me, to meet death.... My Leonora, comfort me, take pity on my suffering.
GIANNI SCHICCHI Music: Giacomo Puccini. Libretto: Giovacchino Forzano,suggested by an episode in Dante's Inferno. First performance: Metropolitan Opera House, New York,14 December 1918. Setting: Florence, 1299. Avete torto! Dramatic context: T'he recently-deceased Buoso Donati is surrounded by falsely grieving relatives who become outraged when they learn that his will leaves his entire estate to a monastery. Rinuccio, one of Donati's young nephews,is in love with Lauretta, but his family disapproves of this union. Rinuccio attempts to persuade the family to engage the cunning Gianni Schicchi, Lauretta's father, to help them out of their dilemma. He extols Florence's past glories and acclaims Schicchi as yet another in the city's rich heritage of noble citizens. Avete torto! E fine! astuto... Ogni malizia di leggi e codici conosce e sa. Motteggiatore! Beffeggiatore! C'e da fare una beffa nuova e rara? E Gianni Schicchi the la prepara! Gli occhi furbi gli illuminan di riso to sirano viso, ombreggiato da quel suo gran nasone the pare un torracchione per cosi! Vien dal contado? Ebbene? Che vuol dire? Basta con queste ubbie grette e piccine!
You are mistaken! He is clever! Cunning... Every loophole in the laws and regulations he knows and understands. Jester! Mocker! Is there needfor some prank new and choice? Gianni Schicchi will prepare it. His artful eyes mirthfully light up his strangeface, with a shadow cast by that enormous nose ofhis, which seems an ugly tower turned sideways! He comesfrom the country? And so? What does that mean? Enough of these narrow-minded and short-sighted whims!
Firenze e come un albero fiorito the in piazza dei Signori ha tronco e fronde, ma le radici forze nuove apportano dalle convalli limpide e feconde! E Firenze germoglia ed alle stelle salgon palagi saldi e torri snelle!
Florence is like a tree in bloom, which in Piazza dei Signori has its trunk and branch, but the roots drawfresh strength from neighboring valleys clear andfertile! And Florence grows,and to the stars reach its solid palaces and slender towers!
L'Arno, prima di correre alla foce, canta baciando piazza Santa Croce, e it suo canto e si dolce e si sonoro the a lui son scesi i ruscelletti in Coro!
The Arno, before itflows into its estuary, serenades Piazza Santa Croce with a caress, and its song is so sweet and sofull that the rills run down to meet it in chorus!
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Cosi scendanvi dotti in arti e scienze a far piit ricca e splendida Firenze!
So likewise descended men learned in art and science to enrichers and enlighten Florence all the more!
E di val d'Elsa giix dalle castella ben venga Arnolfo a far la torre Bella! E venga Giotto dal Mugel selvoso, e it Medici mercante coraggioso! Basta con gli odi gretti e coi ripicchi! Viva la gente nova e Gianni Schicchi!
Andfrom the Elsa valley, downfrom the castles, welcome is Arnolfo to build thefine tower! And welcome is Giottofrom theforests of Mugello, and Medici, the daring merchant! Enough with intolerant loathing and revenge! All hail the new populace and Gianni Schicchi!
L'INCORONAZIONE DI POPPEA (The Coronation of Poppea) Music: Claudio Monteverdi. Libretto: Giovanni Francesco Busenello, based on the Annals by first-century Roman historian Tacitus. First performance: Teatro Santi Giovanni e Paolo, Venice, 1642. Setting: Rome,during the rule of Nero,65 A.D. Sento un certo non so the from Act II Dramatic context: Valletto is page to the Empress Ottavia, wife of Nero. He sings a playful song of love to Damigella, Ottavia's lady-in-waiting. Sento un certo non so che, the mi pizzica,e diletta: dixnxni to the cosa egli e, damigella amorosetta. Ti farei, ti direi, ma non so quel ch'io vorrei.
Ifeel a certain something that pricks me and delights me; tell me what it is, fair coquette. I would have you, I would tell you, but I know not what.
Se sto teco '1 cor mi batte, se to parti,io sto melenso, al tuo sen di vivo latte sempre aspiro e sempre penso.
IfI am with you my heart pounds; f i you leave, Ifeel listless; for your nourishing breast always I yearn and always I dream.
IRIS Music: Pietro Mascagni. Libretto: Luigi Illica. First performance: Teatro Costanzi, Rome,22 November 1898. Setting: Japan, nineteenth century. Apri la tua finestra from Act I Dramatic context: The nobleman Osaka is playing the role of the son of the Sun God in a marionette show. He serenades the watching Iris with a love song,but she is unaware that it is intended for her. Apri la tua finestra! Jor son io the vengo al tuo chiamar, povera Dhia! Apri la tua finestra al raggio mio! Apri it tuo cor a mia calda malia!
Open your window!I am Jor, who responds to your call, poor Dhia! Open your window to my light! Open your heart to my passionate charm!
Jor ha ascoltata, o Dhia,la tua preghiera! Apri 1'anima tua,fanciulla, al Sole! Apri 1'anima tua alle mie parole! Apri it tuo cuore a me,fanciulla, e spera!
Jor has listened, O Dhia, to your prayer! Open your soul,fair maiden, to the Sun! Open your soul to my words! Open your heart to me, maiden, and hope!
Tu vuoi morir? Morire io ti faro, ma ti faro morir dal Sol baciata, poscia al paese eterno ti trarro, ove,o fanciulla, to sarai amata!
You wish to die? I will make you die, but I will make you die only kissed by the Sun; then I'll take you to the eternal land where, O maiden, you will be loved!
LUCIA DI LAMMERMOOR (Lucy of Lammermoor) Music: Gaetano Donizetti. Libretto: Salvadore Cammarano,based on Sir Walter Scott's novel The Bride ofLammermoor. First performance: Teatro San Carlo, Naples,26 September 1835. Setting: Scotland,late seventeenth century.
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Fra poco a me ricovero from Act III, scene 2 Dramatic context: In the Ravenswood cemetery,Edgardo says he hopes to die in the upcoming duel with Enrico because his beloved Lucia has married another. Unaware that Enrico has forced Lucia into the marriage with Arturo and that Lucia has killed her new spouse in their wedding chamber,Edgardo believes she is joyous. He is grief-stricken and welcomes his own death. Tombe degli avi miei,l'ultimo avanzo d'una stirpe infelice, deh! raccogliete voi. Cesso dell'ira it breve foco; sul nemico acciaro abbandonar mi vo'. Per me la vita e orrendo peso! L'universo intern e un deserto per me senza Lucia! Di faci tuttavia splende it Castello... Ah! scarsa fu la notte al tripudio! Ingrata donna! Mentr'io mi struggo in disperato pianto, to ridi, esulti accanto al felice consorte! Tu delle gioie in seno,io... della morte!
Tombs of my ancestors, the last descendant ofan unhappy lineage, alas! Bid me shelter. Extinguished by anger was the briefflame; to the enemy's blade I would abandon myself. For me life is a horrendous burden! The entire universe is a desertfor me without Lucia! Yet with torches the castle is bright... Ah! wanting was the night in jubilation! Ungrateful woman! While I am consumed in desperate weeping, you laugh, you rejoice beside your happy groom! You with joy in your heart, I... with death!
Fra poco a me ricovero dara negletto avello; una pietosa lagrima non scendera su quello! Fin degli estinti, ahi misero! manca it conforto a me. Tu pur,to pur dimentica quel marmo dispregiato: mai non passarvi, o barbara, del tun consorte a lato... Rispetta almen le ceneri di chi moria per te, mai non passarvi, to to dimentica, rispetta almeno chi muore per te, o barbara,io morn per te.
Soon I willfind shelter in the neglected crypt; a tear of pity will not be shed upon it! The last ofthose extinct, ah wretch! no comfort do I have. May you, may youforget that marble left to disregard: never pass that way,oh cruel woman, with your consort beside you... Respect at least the ashes ofone who diesfor you; never pass that way,forget him; respect at least he who diesfor you; o cruel woman,I diefor you.
LUISA MILLER Music: Giuseppe Verdi. Libretto: Salvadore Cammarano,based on Friedrich von Schiller's play Kabale and Liebe. First performance: Teatro San Carlo, Naples,S December 1849. Setting: The Tyrol,seventeenth century. Quando le sere al placido from Act II, scene 3 Dramatic context: Luisa was compelled to renounce her love for Roldolfo in order to save her father from prison. Rodolfo has just read the letter she was forced to write,saying that she never loved him. Remembering the many times she whispered "I love you;' Rodolfo is devastated. Oh! fede negar potessi agli occhi miei!... Se cielo e terra, se mortali ed angeli attestarmi volesser ch'ella non e rea,"mentite!" io risponder dovrei,"tutu mentite!" Son cifre sue! Tanta perfidial... un'alma si nera! si mendace! Ben la conobbe it padre!... Ma dunque i giuri, le speranze,la gioia, le lagrime,l'affano? Tutto e menzogna,tradimento,inganno!
Oh! would that 1 could disbelieve my eyes!... Even if heaven and earth, if men and angels would wish to affirm that she is not guilty, "You lie!" I must respond, "you all lie!" That is her writing! Such perfidy!... a heart so black! so mendacious! Myfather understood her well!... But what then ofthe vows, the hopes, the joy, the tears, the worry? It is all dishonesty, betrayal, deceit!
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Quando le sere al placido chiaror d'un ciel stellato, meco figgea nell'etere to sguardo innamorato, e questa mano stringermi dalla sua man sentia... Ah!... mi tradia!
When,ofan evening calmly brightened by a starry sky, she would turn with me to the heavens her enamored gaze, and this hand clasped by hers 1 wouldfeel... Ah!... she betrayed me!
Allor, ch'io muto,estatico da'labbri suoi pendea, ed ella in suon angelico "amo to sol" dicea, tal the sembro 1'empireo aprirsi all'alma mia! Ah!... mi tradia!
Then, with me silent, ecstatic, clinging to her every word, and she, in angelic tones, "I love you only" would say, so that it seemed like paradise had opened to my soul! Ah!... she betrayed me!
MADAMA BUTTERFLY Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after the play by David Belasco, based on a story by John Luther Long. First performance: Teatro alla Scala, Milan,17 February 1904. Setting: Nagasaki,early twentieth century. Addio,fiorito asil from Act III Dramatic context: After an absence of three years, U.S. Navy Lieutenant B.F. Pinkerton returns to the home of Butterfly, his Japanese "wife." Butterfly's maid Suzuki tells him that Butterfly has gone out. Deciding that it would be too painful to say goodbye to Butterfly, Pinkerton bids farewell to the house in which he and Butterfly spent many rapturous hours. Addio,fiorito asil, di letizia e d'amor... Sempre it mite suo sembiante con strazio airoce vedro. Non reggo al tuo squallor, Fuggo,fuggo,son vil!
Farewell,florid refuge ofhappiness and of love... Forever her gentle countenance wracked with anguish I will envision. I cannot resist your misery, 1flee; Iflee, I am a coward!
MANON LESCAUT Music: Giacomo Puccini. Libretto: Domenico Oliva, Marco Praga, Luigi Illica, after Abbe Prevost's novel L'Histoire du Chevalier des Grieux et de Manon Lescaut. First performance: Teatro Regio,Turin,l February 1893. Setting: Amiens,eighteenth century. Donna non vidi mai from Act I Dramatic context: In front of an inn,the Chevalier des Grieux has seen Manon Lescaut for the first time. She is on her way to a convent, under the care of her brother. Des Grieux speaks to her, they fall immediately in love, and run away to Paris. Donna non vidi mai simile a questa! A dirle: io t'amo, a nuova vita Palma mia si desta. "Manon Lescaut mi chiamo!" Come queste parole profumate mi vagan nello spirto e ascose fibre vanno a carezzare. O sussurro gentil, deh! non cessare!
Woman I have never seen similar to her! When I tell her: I love you, to life renewed my soul awakens. "Manon Lescaut I am called!" How these scented words wander within my spirit, and its hidden strains venture to caress. O whisper so kind, ah! do not cease!
MEFISTOFELE (Mephistofeles) Music: Arrigo Boito. Libretto: Boito, based on Johann Wolfgang von Goethe's Faust. First performance: Teatro alla Scala, Milan,5 March 1868. Setting: Germany,sixteenth century. Dai campi,dai prati from Act I Dramatic context: In his laboratory on Easter Day,the aged Dr. Faust reflects upon the beauty and goodness of the world.
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Dai campi,dai prati, the innonda la notte, dai queti sentier ritorno e di pace, di calma profonda son pieno e di sacro mister. Le torve passioni del core s'assonnano in placido obblio, mi ferve soltanto 1'amore dell'uomo! 1'amore di Dio! Dai campi,dai prati ritorno e verso 1'Evangel mi sento attratto, m'accingo a meditar.
From fields,from meadows bedewed by the night,from quiet by-ways I return, and ofpeace, ofprofound calm 1 amfull, and ofsacred mystery. The grim passions ofthe heart slumber in peaceful oblivion; 1 am stirred only by my love for man! my lovefor God! Fromfields,from meadows I return and toward the Gospel 1feel drawn, I prepare to ponder.
PAGLIACCI (Clowns) First performance: Music: Ruggero Leoncavallo. Libretto: Leoncavallo, based on a court case his father heard as a judge. late 1860s. Calabria), of province Italian in the (a village Montalto Setting: 1892. May 21 Teatro del Verme,Milan, Vesti la giubba from Act I an affair with Dramatic context: Canio and his wife Nedda are members of a traveling troupe of actors. Nedda is having of his broken Silvio, a villager. Canio suspects her infidelity. As he applies his clown make-up before a show,Canio sings heart. Recitar!... Mentre preso dal delirio non so piiz quel the dico e quel the Eaccio! Eppur e d'uopo... sforzati! Bah... sei to forse un uom? Tu se'Pagliaccio!
To perform!... While, stricken with madness, I no longer know what I say and what I do! And yet it is necessary... Force yourselfi Bah... Would you be perhaps a man? You are a clown!
Vesti la guibba e la faccia infarina. La gente paga e rider vuole qua. E se Arlecchin t'invola Colombina, ridi, Pagliaccio... e ognun applaudira! Tramuta in lazzi to spasmo ed it pianto; in una smorfia it singhiozzo e'1 dolor... Ridi, Pagliaccio,sul tuo amore infranto! Ridi del duol the t'awelena it cor!
Put on your tunic and whiten yourface. The public pays and wants to laugh here. And ifHarlequin steals Columbinefrom you, laugh, Clown,and everyone will applaud! Transform into gags the pangs and tears, into a grimace the sobbing and the pain... Laugh, Clown, at your shattered love! Laugh at the pain that poisons your heart!
IL PIRATA (The Pirate) Bertram, ou Le pirate, itself derived from a Music: Vincenzo Bellini. Libretto: Felice Romani,after Isidore Taylor's melodrama 1827. Setting: Sicily, thirteenth century. October tragedy by Charles Maturin. First performance: Teatro alla Scala, Milan,27 Tu vedrai la sventurata from Act II, scene 10 repay the wrongs he suffered and to win back his beloved Imogene. to order in a pirate became Gualtiero context: Dramatic him to a duel. Having submitted to a trial by the knights, he has challenged Gualtiero killed Imogene's husband Ernesto, who to his beloved. been sentenced to die. He asks Adele,Imogene's lady-in-waiting, to defend his memory Tu vedrai la sveniurata the di pianto oggetto io resit le dirai the s'io 1'offesi, pur la seppi vendicar. Forse un di, con me placata, alzera per me preghiera, e verra pietosa a sera Sul mio Sasso a lagrimar. Ma non fia sempre odiata la mia memoria,io Spero; se fui spietato e fiero, fuisventurato ancor. E parlera la tomba alle pietose genti de'lunghi miei tormenti, del mio tradito amor.
You will see the unfortunate wretch whom I rendered the object of tears; you will tell her that ifI offended her, still I was able to avenge her. Perhaps one day, with me silenced, she will evokefor me a prayer, and will come in pity ofan evening upon my gravestone to weep. But would that notforever be despised the memory of me,l hope; though I may have been pitiless andfierce, I was still more unfortunate. And speak will the tomb to the pitying people ofmy lengthy suffering, ofmy betrayed heart.
zo
RIGOLETTO Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on Victor Hugo's play Le Roi S'amuse. First performance: Teatro La Fenice, Venice,11 March 1851. Setting: Mantua,sixteenth century. Parmi veder le lagrime from Act II Dramatic context: Following a tryst with Gilda,the daughter of his hump-backed jester Rigoletto, the Duke has returned to her house and discovered that she has been abducted. In a salon in his palace, he dejectedly laments his loss. In the second part, courtiers rush into the room to inform the Duke that they have abducted Gilda, and in an aside he expresses his joyous relief. Ella mi fu rapita! E quando,o ciel?... ne' brevi istanti, prima the it mio presagio interno sull'orma corsa ancora mi spingesse!... Schiuso era 1'uscio!... e la magion deserta! E dove ora Sara quell'angiol taro?... Colei the prima potea in questo core destar la fiamma di costanti affetti?... Colei si pura, al cui modesto sguardo quasi spinto a virtu talor mi credo!... Ella mi fu rapital... E chi 1'ardiva?... ma ne avro vendetta! to chiede it pianto della mia diletta!
She was stolenfrom me! And when, O heavens?... in those brief moments before a strange premonition urged me to rush back retracing myfootsteps!... The door was open!... and the house empty! And now where could that dear angel be?... She who before could, in this heart, light theflame offaithful affection?... She so pure, whose modest gaze almost makes mefeel inspired to virtue!... She was stolenfrom me!... And who could have dared?... but I shall have revenge! the tears of my darling demand it!
Parmi veder le lagrime scorrenti da quel Giglio, quando fra it dubbin e 1'ansia del subito periglio, dell'amor nostro memore, it sun Gualtier chiamo. Ned ei pote soccorrerti, Cara fanciulla amata; ei the vorria coll'anima farti quaggiu beata; ei the le sfere agli angeli per to non invidio.
1 can almost see those tears running down her cheek when,filled with doubt and anguish ofimminent danger, and remembering our love, she will have calledfor her Gualtier. Yet he could not rescue you, dear beloved maiden, he who with all his soul would desire to make you blessedly happy on earth; and who even the company ofangels, because of you, did not covet.
(Possente amor mi chiama volar io deggio a lei; it serto min darei per consolar quel tor! Ah,sappia alfin chi Tama, conosca alfin chi sono, apprenda the anco in trono ha degli schiavi amor.)
(Overwhelming love beckons; 1 mustfly to her; my crown 1 would give to comfort that heart! Ah,she must know at last who loves her, learn who I am, understand that even on the throne there are slaves to love.)
La donna e mobile from Act III Dramatic context: The Duke,disguised as a soldier, has gone to the run-down inn of the gypsy assasin Sparafucile on the outskirts of town. As he awaits an assignation with Sparafucile's sister Maddalena, he orders wine and a room for the night, singing a song about the capricious nature of women. La donna e mobile qual piuma al vento, muta d'accento e di pensier. Sempre un amabile leggiadro viso, in pianto o in riso, e menzogner.
A woman is capricious like afeather in the wind, fickle in word and in thought. Unfailingly a sweet, prettyface, whether in tears or in laughter, is insincere.
$ sempre misero chi a lei s'affida, chi le confida mal cauto it tor! Pur mai non sentesi felice appieno chi su quel seno non liba amor!
Always miserable will be he who believes her, who entrusts to her incautiously his heart! Yet never will a manfeel completely happy unless at that breast he knows love!
21
TOSCA Music. Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, based on the play La Tosca by Victorien Sardou. First performance: Teatro Costanzi, Rome,14 January 1900. Setting: Rome,June 1800. Recondita armonia from Act I Dramatic context: The painter Mario Cavaradossi is in love with Floria Tosca, a famous singer. While working on a mural in the church of Sant'Andrea Bella Valle, he compares the portrait of Mary Magdalene he is painting to the dark-eyed Tosca. Recondita armonia di bellezze diverse! E bruna Floria, 1'ardente amante mia, e te, beltade ignota, cinta di chiome bionde! Tu azzurro hai 1'occhio, Tosca ha 1'occhio Hero! L'arte nel suo mistero le diverse bellezze insiem confonde: ma nel ritrar costei... it mio solo pensiero, Tosca,to sei!
Enigmatic harrrion~ of differe3~t beatisties! Dark-haired is Flora, my passionate lover, and you, na~vieless benut~, crowned zvitlz blonde tresses! Yoii have blue ekes; Tosca's ekes are black! Art in its mystery blends the different beauties together; but irT portraying her... my only thought, Tosca, is you!
E lucevan le stelle from Act III Dramatic context: For lending aid to an escaped political prisoner, Cavaradossi has been sentenced to die before a firing squad. In the pre-dawn light atop the Castel Sant'Angelo, he begins writing a letter, but soon stops to remember Tosca and their love. E lucevan le stelle... e olezzava la terra... stridea 1'uscio dell'orto... e un passo sfiorava la rena. Entrava ella, fragrante, mi cadea fra le braccia. Oh! dolci baci, o languide carezze, mentr'io fremente le belle forme disciogliea dai veli! Svani per sempre it sogno mio d'amore fora e fuggita e muoio disperato!... E non ho amato mai tanto la vita!
Tlie stars sparkled... and sweetly smelled tlae eartYa; there creaked the gate of the garden... and afootstep brushed the sand. She entered,fragrant; shefell i~ito my arms. Oh' sweet kisses, languid caresses, while I, trembling, unloosed the veils about leer be~utifi~lform! Vanished forever is fay cirecsm of love... the hour hasfled and I die desperate!... And 16ic~ve never loved life so much!
LA TRAVIATA (The Fallen Woman) Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, after the play La Darne aitx Carrtelias by Alexander Dumas,Jr. First perfortnanee: Teatro La Fenice, Venice,6 March 1853. Setting: Paris, 1850s. Dei miei bollenti spiriti from Act II Dramatic context: Alfredo Germont has fallen in love with the Parisian courtesan Violetta Valery. They now share a country house. Alfredo enters the salon in sporting attire, reflecting upon the three blissful months they have spent together. Lunge da lei per me non v'ha diletto!... Volaron gia tre Lune dacche la mia Violetta agi per me lascio, dovizie, amori, e le pompose feste, ov'agli omaggi avvezza, vedea schiavo ciascun di sua bellezza... Ed or contenta in questi ameni luoghi tutto scorda per me... Qui presso a lei io rinascer mi sento, e dal soffio d'amor rigenerato scordo ne' gaudi suoi tutto it passato.
Farfrom vierforme there is no pleasure! Flown already have three months since any Violetta, for n~ie, left ivenith, adoration, and luxurious parties, where, accustomed to homage, she saw everyone a slave to her beauty... And riow, co~~atent in these pleasant surroundings, slie Iiasforgotten everythingfor me... Here close by her 1feel myselfreborn, and, b~ tYie breath of loge rege~ierc~ted, Iforget amidst her liapp~iness all that has passed.
22
Dei miei bollenti spiriti it giovanile ardore ella tempro col placido sorriso dell'amor! Dal di the disse: vivere in voglio a to fedel, delPuniverso immemore io vivo quasi in ciel.
My ]tot-blooded spirit, youthftcl passion, she tempered with a peaceful sniffle of love! From the drzy she said: to live faithful to Jou is w11at I desire, oblivious to the universe I III but live iii paradise.
IL TROVATORE (The Troubador) Music: Giuseppe Verdi. Libretto: Salvadore Cainmarano (completed by Leone Emanuele Bardare after Cammarano's death in 1852), based on the Spanish play EI Trovador by Antonio Garcia Gutierrez. First performance: Teatro Apollo, Rome, 19 January 1853. Setting: Spain, fifteenth century. Deserto sulla terra from Act I, scene 2 Dramatic context: In the palace garden, thick clouds hide t11e tnooil. From a thicket, accompanied by a lute, wines the voice of the Troubador (Manrico), serenading his beloved Leonora. Deserto sulla terra, col rio destino in guerra, e sola speme un cor al Trovator!
Alone iri the world, ~oith the terrible destiny of zoar, a loving heart is the only hope for the Troubadour!
Ma s'ei quel cor possiede, bello di casta fede, e d'ogni re inaggior it Trovator!
But if he can have that Faeart, beautifi~tl in its purefaitlzfi~lness, the~~ grerater than a king is #lie Trou~b~zdour!
TURANDOT Music: Giacomo Puccini. Libretto: Giusej~pe Adami and Renato Siinoni, after Friedrich von Schiller's adaptation the of play Tt~randotte by Carlo Gozzi. First performance: Teatro ally Scala, Milan,25 April 1926. Setting: Ancient Beijing. Nessun dorma from Act III Dramatic context: The princess Turandot will marry the man who can solve three riddles; those who fail are summarily beheaded. Calaf, the exiled prince of Tartary, is captured by her beauty. He submits to the riddle contest and wins, but Turandot still will not marry hiin. He,in turn, poses his own riddle for her: if she can tell him his name before daybreak, he will submit to execution. Turandot declares that no one shall sleep until the mine of the prince is known, upon penalty of death. Calaf hears the injunction, but is unmoved,stating that he alone will unveil the secret and that Turandot will indeed be his bride. Nessun dormal... Tu pure, n Principessa, nella tua fredda stanza guardi le stelle the tremano d'amore e di Speranza! Ma it mio mistero e chiuso in me, i1 nome mio nessun saga! Nn, no,sully tua bocca In diro, quando la lute splendera! Ed it mio bacio sciogliera it silenzio the ti fa inia! Dilegua, o notte! tramontate, stelle All'alba vincero!
Let no one sleep!... Even you, O Pri~~cess, irT yoa~~r• bleak r•oo~rt2, gaze at the stars as they sparkle with love ai d hope! But 17iy secret lies locked within r~2e; n~ati~ nnme no one will know! No, no, on your lips I will pronounce it, when the light of dc~y ret~2rns in splendor! A nd my kiss wi11 break the sitene~ that n~~akes yoac mine! Be gone, o ~iialit! vanish, o stars! Witlz the sunrise I will be victorious!
23
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ALCII~T1~ George Frideric Handel (168-159) Allegro ,v
Oronte
5
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29 1A
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49
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Copyright OO 2002 by CASA RICOIZDI—BMG RICORDI S.p.A. Tutti i diritti riservati All Rights Reserved
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Copyright OO 2002 by CASA RICOIZDI-BMG IZICORDI S.p.A. Tutti i diritti riservati All Rights Reserved
rctllentando
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• Vincenzo Bellini (1801-1835) Andante Tob,~l.ar.
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cnvrtahilP
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Andante (.~ = 144) Turic~~lt7
5
9
13
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17 --
21
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45
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80
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a ~~acere yr
n tvFvmn
.. 113
123
128
----_ ~>~,~
89 134
>~--~
CJ
a }nacere n fnvvrrin
90 ZJJ
~ ~~
162
~~
91
172
,----_
177 A
182
dar,
si,
si,
m'hai
da
gui
f s
sf
sf
sf
sf'
sf
-
dar,
si,
si,
m'hai
da
gui
sf
sf
sf
sf
sf
sf
-
dar, _
sf
si, _
sf
,--~
,o~ 1
3
3
n
3
~
3 3
3
_?
3
si, _
sf
92 ;~` ~
c, ~
Wolfgang l~madeus Mozart ~1~56-191} ~ ~.
to
`.~
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93 18
22
26
JO
~~,.,~
94 ~~
_
38
42
v
47
)5
~:~
~9
C ~J
96
2.
a `~
+
r
~ ~ ~~
a'
~.
VVo~f~~n~ Amac~eus l~o~art ~1~56-1~91~ A~clante ca~atabil~ Frrranrin
15
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97
~n
.~
47
53 ~~
..
~~
59
~~
~ ' ~~Q:=ice. _.~.~.
~_
~i.~
~,~~
~i.~
~ ~~I'
100
Il mio tesoro DON GIOVANNI Wolfgang Amadeus Mozart (1756-1791)
Andante grazioso ~~— i
~~
~~
~
Y0111'~~~~ ~ .~~~~~
~~.~~~~~~~i~~~~
5
8
~~1
~
~~~~.~~~~~~~~~
~1
Don Ottavio
i2
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101 r-~_
~n
~~
102 30 ~%i~i~ ~ ~ ~r~~ ~i~~r~~~ t
•
~arm
~~~~
•
~
!~ ~
~
•~~~ ~~ i ~~~~~i~ i i ~~•~i~~ ~~ i ~
~~4t Y0~~~
35
37
:J
t ~
~~ ~~
•I
103
_~
40
43
49
104 53
57
60
f I Il
64
•
t . ,.
105 FR
71
~~
n N
V ~
{—~ 0
107
90
92
'ai~= ~ ~ ~r~
~~ -_~.~~~~~I~~~~~~~~~~~~ ' ~~~
r~■~ !! ~~
~~~~~ ~~~~
~~'
~~
1:
Come gentil DON PASQUALE Gaetano Donizetti (1797-1848)
Andante mosso
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109 ~~
r
Pochissimo piiz mosso
i--~
110
io T,.~.... ~,.
111
~n
~--~
112 Pochissimo piu mosso
90
oc
7.00
r1
opp• I
1
113
Spirto gentll LA FAVORITA Gaetano Donizetti (1797-1848) Larghetto
~'~—~~
\\\
'}Q'
N
~~L~~~~~~ I~/. 1 ~~~~ ~ LVI
~~~ »~~ ~~~~~ .r~~`~~~~
.--
~■
r
i
~~~~~c.~r~s~—~~~ ~R~~~~~~~~~i~~~~~s~ ~
v
Fernanr~~
4
recitativo
Maestoso
—._— ,
~ rrta
gloi
-
r•e
est
efi - glou -~
~
12
~~~~~~~~~~~~~_~~~~~~~~~ ~~~~~~~~~~~~~~
r.i~sr s~~::~r ar~~i~~~a~ r~~~~~~~~~~~~ ~v.~r~~ •
i
~ I~~wm~~~~~~
.f~T16i~/" ~I"' ~i'V I ~7~Ai~~~~ ~
'~~~ ~1'~•
er a►-~~~~ ~~ ~T' i~T' J:77' 1~'i ~~~r`~
___~
__
~~s_~~~~~~~-'
-'~~_ ~~I''~ _'~~ I
/
~
r ~~ Amtit ~i,
•
•
•
~
-~~~T•
— _~ .
~~~r ~r s~ ~ ~T .~~I~~
~`~~
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~r .
r~
114 1C> ~-~
ti
-
e,
n
et
de mon tris - to
Coeur
1'es - pe-ranee
sor
est
-
ti
-
e.
Larghetto
23
dolce
w
Spir An
-
to ge
gen-til, si pur,
ne' que
so - gni mie daps un son
-
i ge
bril j'ai
-
la - sti un di, cru trou-ver,
26 w ~ -~ •~~ r~~n~=i ■/. 7 r~J~~r~ir~~~~I~►ice
~'\ ~~~~/~~~'~~~~,
I/
1
S~ ~V► ~~~~~r~~~~• ~~~~~~~~~~~~~~~~~~~ t
Y~~
~~~~~~ ~~
~~
115 smorz.
__"~'~
29
~~>
>
>
_
w
-
lar en
lar et
d'a-mor, ve vo - lez-vous
-
fug - gi - to in - sie en - vo - iez - vous
d'a-mor, ja-mais,
ve pour
En
35
d'u
-
ne
'
o tvmnn
r~11
32
pour 1'a-moxr
moi,
me,
-
~ -—-_ fem
i~.sa= ~~.~ •
-
de
nie,
1'a - mour
Dieu
a - vait
fai
-
pi
bli;
~r~T~i~~~r~
~if~sa~~~..~~ ~~~rsair ~~~~i~ r~~~~i~~ ~~~
~~i~r~~~~ •
•.
-
~
•.
1•
•.
~~~~~~~~~
~i~~~~~~~~~~~~~~~~~~~
~r~~~~.~~~~~i~~~~~~~~ ■i ~t .
~~~ ~ . ~ ~-!~~~t ~~~~~~~~ Y
116 38
tie!
41
je
t'ai
ren - du
mon
~_
bli,
pi - tie,
a
-
me,
pi - tie,
/~
pi
-
tie!
I° Tempo
44
Sei -gneur, rends - moi 1'ou -
117 47 ~~~~_' ~ ,~~~~~~ ~Vr~~~~i~
•
~iw~r~i~1rST~f~~T~~' ~~~~I~i~ ~~Ia~~ ~~~ •
•'
•
• •
I
I
I•
~~~ ~~i/~~~~~~~~~' ~ . .~~~~~'~~ ~ ~_ ~~ i
DIY ~~ iii
i
stringendo
~
~~~~~i~~~7~~~~t~~1~~'~'V~i~. Y~~1~~~~~~~~ ~~~~['L
-
~3J
rail.
50
lar et
-
[ten.] Pte ' ~~
lar me, _ fug - gi - to in-sie en - vo - lez-vous, en - vo - lez - vous,
d'a-mor, ja-mais,
ve pour
—
>~—.~
-
ve d'a et pour'
jr~ n
rall.
[col canto] n
~~
p
rail.
56
siem, vous
in et
-
siem,— pour_
q - ,.~
3 lar - ve d'a - mor. mais. ja n _~ p
rail. n
~~
118
Una furtiva lagrima L'ELISIR D'AMORE Gaetano Donizetti (1797-1848) Lar~hetto
calando t,
P ~~
Nemorino dolce
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~-~-~
119
1Q
120
34
37
121
~a
f >
--
42
rall.
(f)
45
chie-do, non chie . ~
46
i
r1
-
-
-
n
-
do.
~
Si puo mo-rir,
(P)
si puo mo-rir
/1
d'a
-
122
Ch'ella mi creda LA FANCIULLA DEL WEST Giacomo Puccini (1858-1924)
Andante molto lento (~ = 40) Dick Johnson (con grande espressione, esaltandosi, col viso quasi sorridente)
..
~
~
~
~i
.~:7~~'I~li:~~~~: ~
t .l~~SL
-,
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~.~~' ITT .~~~'~.
r-
-
. , ... . ~ ~.tiu~r~~~~~~
~ ~ ~'~1
r.~~~~~.
~r~~.ter .~~~~
—
~~~r~
allargando ~
CYL'SCP11Ll~
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1
..
123 io
~
a temtio
rail.
13
,-i~
20
n
/1
_---------~
mio so - to
vi - to '"'~~~ /
fior!
-
n i
~
~
/
~~ ~
~ ~
M
i
•
124
Che belts, the leggiadrla LA FINTA GIARDINIERA Wolfgang Amadeus Mozart (1756-1791)
Andante maestoso
—
~
.~C7~S~~.~~~~~~S~ ~ ~i' i~S.~'~~~~•~*~~~~~~~5.~ ' ~ 't ~~~~ ~
I
~
Y —_ ~ y ~ ~~ ~~~ ~ ~~ ~~~~~~~~ ~ ~ ~~~ + I ~~~~~~~~~~ ~~~~~~r~~~ ~
■i7~r~
~r~~~~~~~~r~~~r~~~~~~
~~~~~~
~Y Q~/lam'~~
~~~fi~~~~~~~~r~ ~ i~ti~~~s~~ ~~ ~~~~~~~r~ ric~~ ~~~~c~-~~~~ f~~rl~~~~~~~~~~~r ~~~~~r ~~~~~~aL~trls ~~.~ .mss ~~~~►r~ •t .s.~i~~f .~~r -~. ~~ 6i~~
12
RolFinrn
ZJ
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125
21
~a
y~
126 30
33
36
39
~-
127
43
47
50
53
128 56
59
62
6~
129
Sento un certo non so the L'INCORONAZIONE DI POPPEA Claudio Monteverdi (1567-1643)
[Allegro]
Valletto
io
14
a cura di P.T. I S.p.A Copyright OO 2002 by CASA RICORDI—BMG RICORD Tutti i diritti riservati All Rights Reserved
130 is
Zz
27
31
131 35
~a
132
CJ to the in seno agli angeli LA FORZA DEL DESTINO Giuseppe Verdi (1813-1901)
Allegro (triste, ma confoYza)
, , Andante mosso (.~. = 56)
Don Alvaro
~~~~a .~:11 ~
recitativo 1 ~i~'. III=~~ _~~~~~ .~r~~~~~ a , 1~I~~I~~~ ~~ ~~~~I~ •
•
i l ~~i~.a~i~~ ~~~~iir~~~a~~ ~v'~'~~~~~~r~~~~~~~ :~i~
Y .O~~~~~~~r~~~~~ ~~
IIt
~~ ~/
~
Andante come prima
w
i~~ ~ .sa~~~w~i~~~~ii: ~
•-
~r~~i~~~~ ~~~
~ ~
I ~I ~
IIAS 1[~/
mo I :
~ i
r
~~~~~~• ~~~J~Nrr/~-s~~
13 w .~. i
r~~~~~~~~~~~~~~~~~~~~
~
-•
•
•
•
•
I .S7~~r~+'i ~~t~i ii~~ ~~~~r +~~~a~~~ ~~~~~~t~ ra~,~~~ ~~ ~Vr~~~ r~~~~ ~~~~~~~~~~~~~ . ~ ~~~'
i
r~s
Y arr / ~.7~~
~:
s~~r~~r
i ~r ~/~r~t
~ ..~++~+~ ~~~~~~~
~~~r.~~ Iii, 17Ti
19w ~~ ~ dolce -` recitativo ~~~~~~~~ .~ ~r ~ ~.~r ~ ~~ .~~ ~~r~~ ~~~ ~~~ ~ ..~w~~~~~~~~~~~~ ~ ■i~~~~~~~~~~~~ ~..~ ~r ~ +~~~srr=~o~r ~r~~ a ~~~~~~~~~~~~~~~~~~ ~~~~~► ~a~r~~~~~~~~~ • • ~~ ~~:~~~~"~ ~i~ ~~a~a~~ vr~==•~=~~
~r / , yr : ~I i
r~~~~~~~~~~~~ r is~~r~~r~ la~w~r~ ~ ~:_ ~ s ~r ~~[i r. ~, ~ ~ ST ~~I~ I t ~:4'.
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~vr~~~
~t►~!~ ~1~
•
133 Allegro moderato (~ = 96) 24
_
con semplicitd
--~ r- 3 —, r— 3 o~
134 .f
45
49
~
_
morendo
_
,,,~
Andante sostenuto (~ = 50) core espress.
53 w
. ~.
■ia~r~~~~~~~~~~~~~ ~~~~ . v►r ~~r~~~t~~~~~~..ter s~~~..~ i~~. ~~ r~ ~-~r~~u~~~~~~~ =ter • •
• •
~
~
~ ~
~•ar~. t~~~~r~~~~~ ■ivi~r~~~~r~~~~~r~~ s~a~~~~~r~~~~~a~~~~~r~~~ ~~~~~ i ~ ~. ~. i 1 / 4~~~~r~~~
~
~ ~i~
~
~ r~~~r~
O~~\~~~ ~~
~
z
q~
~~t~ -
r
135
57
.a•
w
sa
-
li
-
sti bel
lapin - co
-
-
a.
•
~~
tia
--------~
dal
lu - me
-
la
mor-tal
jat -
136
6s
p
sti
-
no,chie-doa-ne-lan
-
do~ahi
mi-se - ro,chie-doa-ne-lan-do, ahi mi - se - ro, la mor-te d'in-con
~1
____/
~n
col canto
cantabile a..,_ .
137 —
ten.
f
138
Avete torto! GIANNI SCHICCHI Giacomo Puccini (1858-1924)
1Vloderato (~ = 60> R;,,,,~~,~,
6 w
~~ iF
l
~ ~7t~I~~~~~~~t~Jr~~~ ~~~ ~'~~~~~~~~~~.
•
i
-~~
Yd:TO{t:~~_.~~~~~r~~~~~r.~~~~~~~
~.
~jy
it
u
— ~-3 —I
i-
~
~
I— 3 —~
a rigor di tempo
r---3---,
i ~
•
•-
~ ~murasu~~ _ ~~~~~.~irii:i:~. ~
~~
r
• _'~~ ~~~
•
16
sostenendo
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•
139 poco rit. 21
25
,,;_,
_
a tempo
Andante mosso un po' sostenuto (.~ = 92) 30
sostenuto, quasi a piacere
(ad use di stornello toscano) n
r-=3--~
Ba - sta con que-ste ub-bie
Fi - ren- ze 2 co-me un al - be-ro fio-
gret-te e pic - ci- ne!
Andante mosso un po' sostenuto (~ = 92) n
f
f sostenuto, gicasi a piacere
'~`f
n
q
>
a>
r— 3.--~ r- 3-~
35
~i ~i~i~~~~iii~i~~iiu~~i~i ..~~..~.sue.~..~i~i~ l~i~~i~ ~~~ i .~/~!/~i~r~~!/~i~~Il~~~l~~:!'l /.:f~~1~:~ t t
i
~~~t~! i~.~~i=~~~'
~i7.~ i ~t~ ~►~ ~~.~1.Y~
~~~~~~~ ~''~ ~~»!i~ia~~f ~Vr~~~~~~1~'~arr`~S
~~.~~~ ~~~i~~~r~~~~~~ .~~~~~~~~~~"
Y ~r~~~~~
J
__
~~~~ ~• ~~~~
~~~~~~~~~s
J
~ ~
140 ~~
M
crescendo
poco allargando
43
crescendo
A i S~<~11
r--3--~ !~'
r~ 3~
~ l~.~~~~~t~r=' ~~Y.
■!. 7~~~~ '~ ~.t ~a~~~~~~ ~~r.~i
' ~~~.~1
~
I• I
/ •I
•
~1a~ ~ .~~~~~;7~~' ~.~r~~~~ ~~~~~1 ~ ~ ~i~~~~~
I~~" ~
~1
' ~ -3J
Andante sostenuto ar,
—
—
Come it tempo primo (Andante mosso) 49 a
i
r
L'Ar,
~-.
LVI
no, pri - ma
di
t
cor
-
re-re al
-
la
Come it tempo primo (Andante mosso) 1/~ 14~.
~R. ~~T ' ` .
/
~ ~~~
-
-~ —~
1
/ I
•~ ~
/I
~Ls~~~r~~~~~~~~~~~~~a~
~~~
S
_
..
i
_:
.
141
5s
p
e it
~
suo
can
6—
—
-
toe
si
dol
-
ce e
si
so -
no
P
—
—
b
_
-
ro
the a
142 67
72
Un po'sostenuto (con baldanza) 77
.--_- z~
crescendo 80
~3--i
~ __
~ z-~
143 83
poco rit.
sempre c~ tempo 86 w
>
r— 3--t
t'— 3 —~
>
~r~~~~~G
~~i
~~~~11
i.
1
•
'
•
•
•
•
>-
/I
~~~/~
i
iin i
i i
i
r~ •
~~ ------' r~~~~~r-r orsar---i f~i:
. ' ter ~~~~~ ~ ~~~~~~~~~o~~~~~~~~~
~c,~ ~~~n~
.~~~~~ ___-.__s~r~~
i ~f:
__-
marcato
a temt~o
a
m
r3—t ~-3—,
144
.~pri la tua finestra IRIS Pietro Mascagni (1863-1945) Andante sostenuto(~ = 96) Osaka
5
9
13
p dolce ed espressivo
rm
v~n a tembo
m
ra11
~,f rail.
rresrendn
dnlrn
mn
nnrn i~nllvntov~dn
a tempo
CopyrightO 1898 Uy CASA RICORDI—BMG RICORDI S.p.A. Tutti i diritti riservati All Rights Reserved
~~,o~~,
145
p a tempo 1~
cresc. ed animando
~,
allarg. e cresc.
25
29
dim. e rall.
~7~1 dolcissimo
r— 2--~
.f
crescendo
rit.
146
32
35
„~
41
ailnrg. moltissimo con gran Galore ~
poco affrett. ~-----4
a tempo con grande espansione m
crescendo
f
allargando
a tempo molto rail.
poco rit.
147
Fra poco a me rlcovero LUCIA DI LAMMERMOOR Gaetano Donizetti (1797-1848)
Maestoso
~
~.— .
11
b'~
>
14
,~_~
i'
i
1~
.
~
i~~t/l~i .r!f~r /
Iry~~
r
I ---~
I
\~~ \~ti
r~~~~r~~
\
►~~~ ►~~'
—
~~~~~~~
'~!
'~~ 'i~~`i~/ ~~f'~l~r i~~~ ~~ ~Ta~~ I ~ II~/~ '~ ~ YlSI~~ .~ /~f~~ ~~
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S.p.A.
-►~
~ .~
148 ~~
~~
~/~~IJ~~r~ ~ .~Cf~~
Zo
Z3
Zs
~,
Edgardo
~'--~,
~.
149
34
Lar~hetto
~~
4o
43
Allegro
150 =~~
Lar~hetto
~n
a piacere r~
oppure ~~ v io...
s~
Lar~hetto
del
--z~ la _
mor
-
-
-
-
-
-
-
te!
151
62
z __.--~
66
_~-----~._\
~
69
quel
-
fin
Ah!
lo!
-
-
de - gli e - stin-t~i
mi -
se - ro!
•~_.~
a tempo
~ Wit•
73
>
I
i
~
rr:s:ri~~~~~~3~..f~~.a
~~~1~~
r~A~r~
/~~i~~ ■/.711t~:T~
•
•
•
•
r
i ~ r~a:a~ r~r~.
•
ii
i~~i~~~~~~~ ~~~~i~~i~~~i~~~~ ~~~~~~~ ~~~ ~~~ a~~~~~i~~ T T T ~ T ~
152 7h
79
82
~. '~~
rit.
85
r
r"-3--~ r-3 M-,
153 s~
cresc.
Poco Uiu animato
.~' ,,,,
...~
con Galore
~'
T~
„ +o,Mr„
rrescendo
,fP
,gyp ~~
n (a piacere]
„~
a tempo
154
Quando le sere al placido LUISA MILLER Guiseppe Verdi (1813-1901)
Allegro
Rnrinlfn
varifnfivin
6
11
w ~~~~~..f.s~t~..~r~~~'7
~
~~ ~ .~. ■!..
~--
~v'
~
--~~—
~
II—. ~ ~~
r~" r~
~ ~•
>
16w
v
~
vre - i,
"tut - ti
men - ti
-
te!"
Son
v u ~~
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ci - fre
su
-
e!
155 ~n
7_.S
36
Andante (~ = 44)
j~
~fJ ` J~
156 ~„
46
appassionatissi~rio
157 50
____.----
con espressione
158 58
p6--~ ~'3~,
di
-
-
a!
ah! mi tra-di
-
a! r-- 3 —i
J ~.
J ~.
L3~
~3~
~
q.•~ ~
b.~ ,~
~
b—
159 ~
67
69
~2
~~
,
~3~~
160 con molta espressione
~~
~_ 6~ ~3~
~~
83
._ ,
ff
~~--~
pp
/1
morendo
con disperazione
r_ z
161
Donna non vidi mai MANON LESCAUT Giacomo Puccini (1858-1924) Allegretto vivace
Andante lento (J = 63) Des Grieux ,„ con accento appassionato
L^I
R
p con semplicitd
J
call.
11
nuo - va
~
vi-ta 1'al-ma
~
mia
si
de
-
J ~
"Ma-non
sta.
~~ pp d0lCiss.
mi
~3 call. ~3J
3 Copyright OO 2002 by CASA RICORDI—BMG RICORDI S.p.A. Tutti i diritti riservati All Rights Reserved
Les-caut
L3J
162 14
a tempo ~-3-~
. J
16 ~~
ro
-
le
pro
-
-
fu
-
ma
>
-
to
mi
va-gan nel-lo
~~
~
_ ~
~ 3 6
_~
~~
ten. 19
>
~~
~--~
21 m
z
o
163
poco rall.
23
~
.~
.-
•
•
•
.-
•
~ ~ ~~~
t ~=
~~~~~
~r~ ~ /I
:ate
~: ~ ~~~~~ ~.
~~..~~~~~. ra~r~~~~~~
f con anima r— 3~
29
r--3~ ~3 —i
Les-caut
"Ma -non
sar!
mi
-
chia
-
mo!"
b L— 3 —~
l— 3J
~ ~
I_.3J
~
~3—i
~ 3~
lPP)
~, ~~n
~3~ ~--3 —J
6
con slancio ^3~
rall.
pp dolciss.
6
6
J
~3_~
rit. 3~ ~ ~~~3~-
r-3~ ~3~ i ~ 32 te a—, r-3_ ._~—, .t~~~~'1 7~-~~ ~.~ ~ -r~~ ~.~ ~ ~~..~~-~~~ fitiS~~ ~~~1=~
t ~ ' ~r~ .~:7t~~~~~~~r~ /
\
~
\
~
\
~S'1 ~.
~~\~~~'~ ~~~'~~~~5 t ~~~~c~'
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MADAMA BUTTERFLY Giacomo Puccini (1858-1924) Andante sostenuto (.~ =48) T~;,,1.,,..a-,,,,
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Vesti la giubba PAGLIACCI Ruggero Leoncavallo (1858-1919) Sostenuto assai (~ = 60) ('anin
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169 Adagio (~ = 46) darlamandn inn dnlnrP
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I'armi veder le lagrime RIGOLETTO Giuseppi Verdi (1813-1901)
Allegro agitato assai(~ =100)
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179 Allegro Il Duca di Mantua recitativo
22
stan - ti,
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10
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Recondita armonia TOSCA Giacomo Puccini (1858-1924)
13
C'avarad~.~si
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197 sostenendo
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Deserto sulla terra IL TROVATORE Giuseppe Verdi (1813-1901)
Andante (.~ = 76)
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Manrico
cantabile a mezzo voce
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A11 Rights Reserved
209
25
~~
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210
Nessun dorma TURANDOT Giacomo Puccini (1858-1924) Andante sostenuto Il Principe (Calaf) ~
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ANTHOLOGY OF ITALIAN OPERA in 5 volumes 50484600 SOPRANO $19.95 • Contents,41 arias: ADRIANA LECOUVREUR (Cilea): Io son 1'umile ancella • Poveri fiori IN BALLO • UN AGRIPPINA (Handel): Bel piacere • ALCINA (Handel): Ah, mio cor! i): MASCHERA (Verdi): Morro, ma prima in grazia (with solo cello part)• BELFAGOR (Respigh D'onde • vo men • Quando Mimi o Mi chiaman ): E O mamma,mamma • LA BOHEM (Puccini lieta • LA CALISTO {Cavalli): Piante ombrose • I CAPULETI I MONTECCHI (Bellini): Oh! quante volte • LA CLEMENZA DI TITO (Mozart): S'altro the lacrime • COSI FAN TUTTE ma (Mozart): Come scoglio •DON GIOVANNI(Mozart): Ah! fuggi it traditor! • Mi tradi quell'al • magica virtu la anch'io ... So cavaliere it guardo Quel ti): ALE (Donizet ingrata •DON PASQU babbino ERNANI(Verdi): Ernani!... Ernani, involami • GIANNI SCHICCHI(Puccini): Oh! mio infranto it legno e tempest • Da mia Caro • GIULIO CESARE(Handel)• Piangero la sorte Regnava IDOMENEO (Mozart): Zeffiretti lusingheri •LUCIA DI LAMMERMOOR (Donizetti):
MADAMA nel silenzio • LUCREZIA BORGIA (Donizetti): Come'e bello! Quale incanto • sa): Dovrei (Cimaro ATO BUTTERFLY (Puccini): Un bel di, vedremo • IL MARITO DISPER FIGARO DI LE NOZZE • al mare fondo in punirti • MEFISTOFELE (Boito): L'altra notte • IL RE lasso o Stridon allo): (Leoncav CCI PAGLIA • i (Mozart): Dove Sono i bei moment PADRONA SERVA LA • part} violin solo (with costante , saro L'amero ): (Mozart PASTORE non credea mirarti... Ah! (Pergolesi): Stizzoso, mio stizzoso • LA SONNAMBULA (Bellini): Ah! E (Vivaldi): Squarciami TIGRAN IL • mamma Senza ): non giunge • SUOR ANGELICA (Puccini ): Vissi d'arte, vissi (Puccini TOSCA • Amor? , consigli mi Che (Cesti): pure it seno • IL TITO TORE (Verdi): TROVA IL • libera d'amore • LA TRAVIATA (Verdi): Ah,forse e lui... Sempre segreto • LE amore, ): Tanto (Puccini DOT TURAN D'amor sull'ali rosee • Tacea la notte placida • lontana. Ne andro . Ebben?.. i): (Catalan WALLY LA • piccina VILLI(Puccini): Se come voi
50484601 MEZZO-SOPRANO $19.95 da stella • Contents,36 arias: ADRIANA LECOUVREUR (Cilea): Acerba volutta... O vagabon the un pallida, O ni): ALCINA (Handel): Sta nell'Ircana pietrosa tana • L'AMICO FRITZ(Mascag • incanto per the parea Ah! loco... giorno •ANNA BOLENA (Donizetti): E sgombro it un inferno • ARIODANTE (Handel): Dopo notte • L'ARLESIANA (Cilea): Esser madre e ERA (Verdi): Re IN MASCH BALLO UN • ata disprezz son Sposa li): BAJAZET (attr. Giacomel • I CAPULETI E I fa poco voce ): dell'abisso, affrettati • IL BARBIERE DI SIVIGLIA (Rossini Una ): Nacqui (Rossini A ENTOL CENER LA • MONTECCHI(Bellini): Se Romeo t'uccise un figlio questo per D2h, ): (Mozart TITO DI NZA CLEME LA • mesta all'affano e al pianto... Non piu COSI FAN • lato a di Tito Torna • part) clarinet solo (with mio tu, ben ma Parto, istante solo • • LA DONNA DEL TUTTE (Mozart): Smanie implacabili •DON CARLO (Verdi): O don fatale (Puccini): Tu it cuor mi LAGO (Rossini): Mora felici • Tanti affetti in tal momento •EDGAR DESTINO (Verdi): Al DEL FOIZZA LA • o Fernand mio O ti): strazi • LA FAVORITA (Donizet (Mozart): Il padre NEO soon del tamburo • GIULIO CESARE (Handel): Presti omai •IDOME IANA IN L'ITAL • Roma dio, A erdi): adorato • L'INCORONAZIONE DI POPPEA (Montev Cari ti): (Donizet UNIX CHAMO DI A •LIND tirrano! ALGEIZI(Rossini): Cruda sorte! Amor DI NOZZE LE • luoghi ov'io passai • MAOMETTO II (Rossini): Guisto ciel, in tal periglio • sospiri miei o Addio, FIGARO (Mozart): Non so piu • OIZFEO ED EURIDICE (Gluck): OTELLO (Rossini): Assisa a pie ORLANDO FINTO PAZZO (Vivaldi): Andero, volero, gridero • si barbara sciagura • In • er lusinghi raggio Bel ): (Rossini d'un salice • SEMIRA.MIDE la vampa • Condotta TANCREDI(Rossini): Di tanti palpiti • IL TROVATORE (Verdi): Stride ell'era in ceppi.
50484602 TENOR $19.95 Contents, 38 arias: AIDA (Verdi): Celeste Aida • ALCINA (Handel): E un folle, e un vile affetto • ANDREA CHENIER (Giordano): Come un bel di di maggio • L'ARLE SIANA (Cilea): E la solita storia • UN BALLO IN MASCHERA (Verdi): Di' to se fedele • Ma se m'e forza perderti • IL BARBIERE DI SIVIGLIA (Rossini): Ecco ridento in cielo • Se it mio nome saper bramate (Serenata~ • LA BOHEME (Puccini): Che gelida marina • I CAPULETI E I MONTECCHI (Bellini): E serbata a questo acciaro • CAVALLERIA RUSTICANA (Mascagni): O Lola, bianca come fior di spino • LA CENERENTOLA (Rossini): Si, ritrovarla io giuro • LA CLEMENZA DI TITO (Mozart): Del piu sublime soglio • COSI FAN TUTTE (Mozart): Uriaura amorosa •DON GIOVANNI(Mozart): Il mio tesoro •DON PASQUALE (Donizetti): Come gentil • L'ELISIR D'AMORE (Donizetti): Una furtiva lagrima • LA FANCIULLA DEL WEST (Puccini): Ch'ella mi creda • LA FAVORITA (Donizetti): Spirto gentil • LA FINTA GIARDI NIERA (Mozart): Che belta, the leggiadria • LA FORZA DEL DESTINO (Verdi): O to the in seno agli angeli • GIANNI SCHICCHI(Puccini): Avete torto!• L'INCORONAZIONE DI POPPE R (Monteverdi): Sento un certo non so the •IRIS (Mascagni): Apri la tua finestra •LUCIA DI LAMME RMOOR (Donizetti): Fra poco a me ricovero • LUISA MILLER (Verdi): Quando le sere al placido • MADAMA BUTTERFLY (Puccini): Addio,fiorito asil • MANON LESCAUT (Puccini ): Donna non vidi mai • MEFISTOFELE (Boito): Dai campi, dai prati • PAGLIACCI(Leoncavallo): Vesti la giubba • IL PIRATA (Bellini): Tu vedrai la sventurata • RIGOLETTO (Verdi): Parmi veder le lagrime • La donna e mobile • TOSCA (Puccini): Recondita armonia • E lucevan le stelle • LA TRAVIATA (Verdi): Dei miei bollenti spiriti • IL TROVATORE (Verdi): Deserto sulla terra • TURANDOT (Puccini): Nessun dorma. 50484603 BARITONE $19.95 Contents,40 arias: ADRIANA LECOLTVREUR (Cilea): Ecco it monolo go • L'AMORE DEI THE RE (Montemezzi): Fiora! Piccolo fiore •ANDREA CHENIER (Giorda no): Nemico della patria • L'ARLESIANA (Cilea): Come due tizze accesi • ATTILA (Verdi): Dagi'immortali vertici • UN BALLO IN MASCHERA (Verdi): Alla vita the t'arride • Eri to the macchiavi quell'anima • IL BARBIERE DI SIVIGLIA (Rossini): Largo al factotum • BELFAGOR (Respighi): Sono un grosso mercante ~ LA CALISTO (Cavalli): Va pur... Se non giovano • LA CENERENTOLA (Rossini): Come un'ape ne' giorni d'aprile • COSI FAN TUTTE (Mozart): Rivolgete a lui to sguardo •DON CARLO (Verdi): Per me giunto •DON PASQUALE (Donizetti): Bella siccome un angelo • I DUE FOSCARI(Verdi): O vecchio cor, the batti •EDGAR (Puccini): Questo amor • L'ELISIR D'AMORE (Donizetti): Come Paride vezzoso • LA FANCIULLA DEL WEST (Puccini): Minnie, dally mia casa son partito • FALSTAFF (Verdi): E sogno? o realty?. .. • LA FAVORITA (Donizetti): Viers Leonora, a' piedi tuoi • IL FIGLIUOL PRODIGO (Ponchielli): Raccogli e calma • LA FINTA GIARDINIERA (Mozart): A forza di martelli • LA FOR.ZA DEL DESTINO (Verdi): Son Pereda,son ricco d'onore • GIANNI SCHICCHI(Puccini): Si corre dal notaio • I GIOIELLI DELLA MADONNA (Wolf-Ferrari): Bacio di lama •LUCIA DI LAMMEIZMOOR (Donizetti): Cruda,funesta smania • LUISA MILLER (Verdi): Sacra la scela e d'un consorte • MANON LESCAUT (Puccini): Sei splendida e lucente • NABUCCO (Verdi) : Dio di Giuda • LE NOZZE DI FIGARO (Mozart): Hai gia vinta la causal... Vedro, mentr'io sospiri • se' morta • PAGLIACCI(Leoncavallo): Si puo? • I PURITANI (Bellini ORFEO (Monteverdi): Tu ): Ah! per sempre io ti perdei • RIGOLETTO (Verdi): Pari siamo!• RINALDO (Handel): Sibbilar gli angui d'Aletto • IL TABARIZO (Puccini): Nullal... Silenzio!... • LA TRAVIATA (Verdi) : Di Provenza it mar,i1 suol • IL TROVATORE (Verdi): Il baler del suo sorriso • I VESPRI SICILI ANI (Verdi):In braccio alle dovizie • LE VILLI(Puccini): No! possibil non e... Anima santa.
50484604 BASS $19.95 emezzi): Son quarant'anni • ARIODANTE Contents,39 arias: L'AMORE DEI THE RE (Mont e gonfarsi 1'anima • IL BARBIERE DI (Handel): Voli colla sua tromba • ATTILA (Verdi): Mentr DI SIVIGLIA (Rossini): La IERE IL BARB SIVIGLIA (Paisiello): La calunnia, mio signore • ME (Puccini): Vecchia zimarra BOHE LA • sorte mia calunnia e un venticello • A un dottor della nini • LA CLEMENZA DI TITO (Mozart): • LA CENERENTOLA (Rossini): Miei rampoli femmi ): Ella giammai m'amo •DON Tardi s'avvede d'un tradimento •DON CARLO (Verdi Il catalogo e questo •DON ina! GIOVANNI(Mozart): Ho capito, Signor, si? • Madam ORE (Donizetti): Udite, udite, o D'AM SIR L'ELI • to insoli PASQUALE (Donizetti): Ah! un foco GAZZA LADRA (Rossini): Il mio piano e rustici • ERNANI(Verdi): Infelice! e tuo credevi • LA ella de'! • GIULIO CESARE (Handel): Se a me preparato • LA GIOCONDA (Ponchielli): Si, morir (Monteverdi): Ecco la sconsolata... Ringratia EA POPP non sei crudele • L'INCORONAZIONE DI Gia d'insolito ardore • L'ITALIANA IN la fortuna • L'ITALIANA IN ALGERI(Rossini): I LOMBARDI(Verdi): Sciagurata, hai to LONDRA (Cimarosa): Van girando per la testa • A OOR (Donizetti): Dalle stanze, ove Lucia • LUIS creduto... O Speranza •LUCIA DI LAMMEIZM • ita MACBETH (Verdi): Come dal ciel precip MILLER (Verdi): Il mio sangue la vita darei • Tu spirito • NABUCCO (Verdi): Vieni, o Levital... to •Son o MEFISTOFELE (Boito): Ecco it mond O ORFE • rai and piu •Non La vendetta Sul labbro • LE NOZZE DI FIGARO (Mozart): •ORLANDO (Handel): Sorge infausta una rive a queste morte anzi ch'inn to O ): verdi (Monte tuo trono, o sommo Iddio • SEMIRAMIDE procella • I PROMESSI SPOSI (Ponchielli): Al LA SERVA PADRONA (Pergolesi): Sempre in (Rossini): Deh, ti ferma... Que'numi furenti • lacerato spirito • LA SONNAMBULA (Bellini): Vi contrasts • SIMON BOCCANEGRA (Verdi): Il ): Di due figli vivea, padre beato • I VESPRI ravviso, o luoghi amens • IL TROVATORE (Verdi a. SICILIANI (Verdi): O tu,Palermo, terra adorat
