' 1 t 1

REPERTOIRE

Compiled and Edited by, I

Sil-ilfrid Pelletier

T H E O D Q R F P R E S S B R C O . .!&vll,MAwB,.P!NN-s"YLyAN-!A --

c

Foreuord

Dutiog my years with some of the great singers of today and yesteryear, I bavc observed a considerabreevolution in the art of singiog. vhether today's artists are superiot siagers may be debatabre, but judging fromwritings and records of the past cent'ty, I am convioced that the singets of today have t"tt""

-rtyi" una

possibly mote respect fot the musical text.

!7e know froo historians and biographers with what uobelievable audacity sooe singer approached tleittoles. Bizeq for example, was obliged to rewdte the entraoce atia of CARMEN twelve times to DleaseGalliMarie, the creator of the role. Thea, there is the amazing anecdote alrcut Garcia, who is teport"d to b"vutold Rossini he wourd rather sing his own seleoade at the b€gidniog of rHE BARBER oF SEVILLE instcadof the cavatina, "Ecco Ridente." And it was only at tbe third pefotmance that Garcia fdally sang Rossini,sserenade instead of his own- An eotettaining volume could be writtin about the quarrels between ;oductols,singers and composers of any era.

Today, the music itself is assuming its Ploper importance in the singing profession, This preseot collection willbefound free of the innumerable ouuhoded cadenzas. whicb flourished in a bygoae age, and are not accepted b5rtoday's audiences with musicar tastes gready' advanced, In my library of ord opera scores, one frds page afterpage of originally simple melodies transformed into a deluge of staccati, scales, arpeggios and high notes. Thathighly subjective, personalized approach to written ousic is fast vanishiog. Toda.y we begin to ippleciate themelodic value of a Bellini, Donizetti, Rossini and Verdi.

In pieseating this collection of opetatic Arias for coloratun, r have tried to biiog to altists aod studeots sooeof the oost important arias of the rast century and of morc modern composers. rt is my eardest hope that thiscollectioo will be fouod helpful to youdg students of siaging io the pursuit of their careet in music.

For the very singabre and sensible English translations ia rris,collectioo we ate indebted to Mr. ,ohn Briggs,editor of ETUDE.

\filfrid Pelletier. C. M. G.

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L.

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( lPERAR E P E R T ( l I R E

fo,

C( lL ( lRATURAS ( ) P R A N ( }

Comp i I e d,' and, E d,i r e d,

bj,

Wilfr id Pel let ier

T H E O D O R E P R E S S E R C O .BRYN MAWR, PENNSYLVANIA

Copyriaht 19t1 by Theodole Presser Co.Priored in U. S. A.

i1,

llo. opcrt

1. I PURITANI

2. LA SONNAMBULA

3. LA PERLI DU BRESIL

4. LAKME

,. LAKME

\ 6. DON PASQUALE

J-' 7. LA FILLE DU REGIMENT

8. LA -FILLE DU REGIMENT

9. LA FILLE DU REGIMENT

-l ro. uNoa Dr cHAMouNrxII. LUCIA DI LAMMIRMOOR

12. MAX.THA

13. MIREILLE

- 14. ROMEO ET JULTETTE

15. ANACRXON CHEZ POLYCRATE

16, DINORAH

THE MAGIC FT., UTE

TALES OF HOFFMANN

HIPPOLYTE DT ARICIE

LE COQ D'OR

THE BARBER OF SEVILLE

MIGNON

ATTILA

THE MASKDD BALL

RIGOLETTO

Contents

( S c e n a . . . . . . . . O r e n d e t e n i l a r p e t t e . . . . . . . . . . . . . . .B e l l i n i . . . J C a v a t i n a . . . . . Q z i l a v o r e

{ Caba le t t a . . . . .V ie ,1 d i l euo

A . f , i _ i J A r i a . . . . . . . . . A h . n o n o e d e a m i r a r t i .' ' ' ' ' ' ' ' t R o n d o . . . . . . . 4 b , n o n g i u n g e . . .

D a v i d . . . . . . . . . . . . . . A r i a . . . . . . . . . C b a r m a x t o i t e a r . . . , .

D e l i b e s . . . A r i a . . . . . . . . O ) t a l a j e a n e i n d o r e .

D e l i b e s . . . . . . . . . . . . . C a n z o n e . . . . . . B e t c e u e

Dodizett i . . Cavatioa . . . . .So aacb' io la l i r t i ndgica. . . . . . . .

Donizett i . .Canzone . . . . . .Chacan le sit

Donizetti. . Romanza . . . . . Il faut Parth

Don i ze t t i . . . . . . . . . .A r i a . . . . . . . . . Pd t l e l ang e t Pd r l ' op r . t l ence . . . . . . .

Don i ze t t i . . . . . . . . . . . .Cave t i na . . . . .O l *e d i g re t t ! an ima . . . . , . . . . . .

D o n i z e t t i . . S c e n a . . . . . . . . R e g x a o a n e l t i l e n z i o . . . . . . . . . . . . .

F l o t o w . . . . A t i a . . . . . . . . . T b e L a s t R o s e o l S l n m e f . . . . . . . , . .

Gounod . . . . . . . . . . . . . Aria . . . . . . . . .O l igi te birondelle , . ,

G o u n o d . . . . . . . . . . . . A t i a . . . . . . . . . 4 b , j e t e a x d r t e . . . .

G !6 t r y . . . .A r i a , . . . . . . . .Ep r i r c d ' zn l e r t ; n i l a i r e . , , . . . . . .

M e y e r b e e r . . . . . . . . . . . S c e n a &. Romanza . . . . .Ombre l l g i r e

M o z a r t . . . . . . . . . . . . . A r i a . . . . . . . . . D e r H 6 l l e R a c h e . . . . . . . . . . . . . . . .

O f i e n b a c h . , . . . . . . . . . A r i a . . . . . . . . . L e t o i t e a t t x d a n t l a c h a r n i l l e . . . . . .

R a m e a u . . . . . . . . . . . . . A r i a . . . . . . . . . R o t t i g n o h a m o l t r e t , . - . . . . . . . . . -

R i r n s k y - K o t s a k o w . . . . A r i a . - . . . ' . . . . . H f r n n t o t b e r l n . . . , . . . . . . . . . . . .

Rossitr i . . . . . . . . . . . . . Cavatina .. . . . l |na.,o.e poco ld

I ' l r o m a s . . . . . . . . . . . . . P o l o n a i s e . . . . . l e v h T i t d x i a . . .

V e r d i . . . . . . . . . . . . . . . S c e n e &

Ai l Pi!a

1518

24

4t

47

>U

6'

84

9t

t04

108

717

126

147

160

165

171

180

t7 .

'- 18.

20.

21.

22.

24.

I Puritani Yincenzo Bellini, t80r-1835

"Qui Ia voce sua soave""Vien diletto"

Opera in tlree acts. Lib.etto by Pepoli, based on a work of Sir Valter Scoa.' Fitst performance, Paris, 18t5.

SYNOPSIS

Locale: Near Plymouttr, Eogland Time: Abour 1635

The Pudtars aod Royalists are engaged io civil war. The Puritan Lord Walton, fathe! of Elvira,declines to force her into marriage wit! Sir Richatd Forth, who loves her. Elvita is in love with

. the Royalist Lotd Arthur, who has been given permissior to visit her at tle puritan stronghold,Plymouth Casde. He briogs with t';m a bridal veil for het, and the two are planning their mar-riage whel oews comes of tle imprisooment and impending execution of Henrietta, widow ofChades I. Arthur goes to Heodeta's aid, and assists her to escape by having her wear Elvira,sbtidal veil as a disguise. Elvira believes herself betrayed, aod goes insane. The puritans swearvcogeance against Lord Arthur.

Patliameot has condemned Arthur to death for his assistance to Heorietta. M6ved by the plead-iog of Elvira s unde, Sir Richatd agrees to patdoo Arthur on condition that Afthur comes un-atmed ard that he agrees to ccase hostilities against the Puritans,

Lotd Arthur is ia fight from his enemies and plans to leave Englaod, but feels impelled to seeElvin oace mote. He 6ods her io her garden; aod her sanity is restored at sight of her lover.Dstaat drums souad, aod fear for Arthur agaia robs her of her sanity. Athur is captured andseatenced to death. His life is saved by an eleventh-hour pardoo to att political pdsonets. Elvirapetmanedtly regains her saoity, aad the two are rcunited.

I P u r i t a n i"Qui la voce: Vien d i le t to"

English tr.a.nslation by Joho Briggls V i n c e n z o B e l l i a i

Elvlla lalks broodtr€ly ln tie garden (Act II, where shs and Arlhur erchalg€d thelr vor6, and she can almost hear apaatn the sou ts ofhls gentle volcs lllled *lth proElsss of a happy future,

Andantino

ren- de -re-tum

la.gcia - te -.mil

oo

l a -

f e -

scia - te,aum-

fe

d e -turn

or Let me die-rro - ri!. -

lctne d,ic.-

I,ou - ed.-

a) Fiw b.*ls haae been oniftn fton odsindt fot Cancert peionadcecop]'righi 1951 by Theodore Presser Co.

scia. - te, lasciatmt- orlet

temi mo -ne

i , ir YElvba scaplgllaia_. I-1_ volto, tl guardo ed ognt passo ed atto dt Elvtra palesano 1a sua pazzb)a enters'dish.euted. Eer foce, her appeararce, Ier enery dct rercot she i; iBa4,i

1 r ' 1l .t Ir ' "

Qui la vo - cesuaEere hc aaore loloae

f v )

mi chia-Easpoke his loueeo - €f, anil uent

4

poco a l)oco

r a - v a e s - s e t

Wrn - ised teo - erf e - d e - l e ,to looae ne,

{:-' 9"-- - - ei, quj_il C--

ncre ne prom - _ I'sed, here he

] t v IY ' t

inte'tqto- conealtress.

ta - e4 epoi cru-de - le,deceiod te,

po.i :ru- q" - le_ei tai_ fug

q,ohe hts IoDe_ otd @erd_ u -

mai pi&ef - nale

Ah!Net

qu'Las - sor - tl,i" - sie - me, a}r! Eai pin__shall I be - hald hir,r., nlD - - er - more,_

gio - ia deiqto - ken bilh

sie - lxegtia lhe

Aliesro moderato assai

' V i e n D i I e t t o "

Act II. Stlll lnsano, f,lvlra crles out ln her lonelbess,'como to no, my joy, ad prays for hts retum or for soothtlE doath,

con q.b bandono/,-A\

in ciel lathe moon pf

ir-tor - noilov - ers:

d,ear - estt a - c eshin - ing,1,9

tut -lu - na:hea - tan:

lo 11

ltolD- li.ghtfin - dr;and, the

spunfirst

- tor - no,it srdnes for

in cie -of dam ets, ahf

Copyright 1951 by Theodore presser Co.

yiea,- t i po-sa, viel t i po-sa sul rnioohl.. '-. -'''.''....._ be- Iou- ed,, saDedr we nebt &- gain shr,ll

sotto aoce

Dehl t'af- fret - ta,- o-]{-r- tu - io miDo not tar - ry, -- O dear Ar - tur -

rie - dir-_oyow EL-

-'2- con slancio

ca - ro,- aLla tua Elvi ra:I:i - rE- is aait- ing for--- !ou,

- i6a pia.n - ge e tiu'ho for - eo - er tu st

dare yn, ah- be - lor - ed., Ah!I'a - mo - re,be - lao - ed,,

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artnv

- ( 9tao - re, dd,ear one, Ah!

pii. lento

let - to, ! in cielileat - est, therioon

: IUi h4o"

t sla lu - rla:of hean - en

ttlt -

ing,sljziD - toi ' tro,it shines for'

fin - chb spun - ti in cie - 10and, the first liglt ofdmn nou hoD - erc,

ti po - sa, vim ti po - sa sul mioBe -lox - ed, &Dear a - Eain @e Mer'shoLl

30tto a2ce

)ehl t'af-fret - ta'-Do not lar - ry,-

- t u - r o r t fdcar Ar - tut

o A r rie - di-9your El-

Er-rie

10

ca - ro, - al,la tua Elviatf _ n is udit- ing for_

cg - ro,_ a_! la tuak-ua,at - ing

spi - ra,dnre you,

con sland,o

!a:

lou, whopia! - ge_9 ti

- e1t - et_ ituslfo,

la- mo - re,be- Ioo - ei l ,

o c a - a o , a Iba - loo - etl, ohf oi!-----

mo - re, aI m.or,_ ah_

vieileat

ni'o@t

d1'-- a - mor,-dnl- nq lwe-

dl'-- a - moq_*ht nV lote-

o r a n _ _ a - : F o - r cn! r&t_ fiy i tate_

sll:-.--

- di dl,- a - mo - re,laoe, ah- loue-

a - rtlo - rt,ah,- nry hue,_

.llt a. -

ah!- ,rV

di rie-- di,laoe*- ne,

all' a - Irror,me lvur hoe,

Ar- tur, ah rie - diAt- tur - o, gru" me

afpri - d€j!yturlave onae

ah g tue meah rie - di al pri - mo a-mor!

lour lnxe- ornz titre.

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t4

La Sonnambula Vincenzo Bellini. 1801-1835

"Ah, non credea mimrti"

"Ah, non giunge"

Opera in two acts. Librctto by Felice Romani. Fitst perfomance, Milatr, 1831,

SYNOPSTS

Locale: Swiss village Time: Eady 19th century

Amina, adopted daughtet of Teresa, and Elvino are celebrating their engagement \rirh the happyvillagers when Rodolfo, lord of the casde, comes amoog them incogaito. His well-schooled eyeappraises Amina's beauty, and she listens sympathetically to his compliments. Later, Rodolfo is

led to his room by Lisa, the innkeeper, who herself is in love with Elvino, She engages in a mildlyflirtatious conversation with him, dropping her kerchief as she leaves the room. Elvitro hadnoticed the exchange of glances between the stranger aodAmina, and his fears are justifed whenthat night he is triumphandy led by Lisa to the stranger's room to find Amina asleep alone inthe suanger's bed. Actually, Amina is a sleep-walker, and Rodolfo, astonished upon seeiog thescantily-clad girl enter his !oom, and comprehending her situation, did the gendemanly thingaod .left by a window. Amina wakes to fad herself in the stranget's bed, surrounded by theguests. Her confusion is mistaken for guilt by. the unhappy Elvino, who rejects her.

Rodolfo has tried to coovince Elvino that Amina is a sleepwalker, but Elvioo turns his attentions

to Lisa, whom heplans to marry with the riog take[ ftom Amina. While passing by a mill on theit

way to be martied, Elvino and Lisa are confrontqd by Teresa who, as a lait resort, ploduces the

kerchief which Lisa had dlopped in the stranger's room. Elvino now believes all *omeo to be

unfaithful. Suddeoly, their atteotion is drawJr to the mill wheel. Aoina has emerged through a

window and is making her way down the pedlous wheel in het sleep. Elvino is theteby convincedof the tnrth, and the two are once agaio teunited,

t6

The ml]l scen€ (Act u) ts the setttnq of thts erta whtch ts dtvtded tnto two aartr_ s€cfions. Tl1o fhst, .,Ah lor credea,,t ts sung byAmlna aftsr he! doscent down th6 mul.whe€l. sttu aslsep, shs srnss or hsr.rost:lovo *hr"h, i[;;;"";;,;;o"i""T'ro, ror n aayandthsn dted But Elvtno ls sttu engrsv€d ln her heartand she \v111 alvays.lov-e tri.. rrrd *"o.a r.aii

"i t-iru".iu"*t"grnnrns

"itl,' 'Al: ' non slunqe," ls sunF arter Elvlno, convtnc€d of her lnnocenc€ ana noved.ry her.tov€, has ,"p1.";-; ; ; ; ; ; ; ;er r jn6sr. sheavakens to fird her rcpetrtant lover at her side, aail shs bursts tnto a. song of ioy r". tla. r.tr."-iappi.;;; ;;;il;.

English traDslation by Jobn Briggs

Andante cantabile (.1 = s2)

La Sonnambula6Ah, nol credea mirarti"

Ro ndo 'A\ non giunge"

ra.r tlof- you,

Vincenzo Beilini

rahlAh!

Doi credea

fiha could,dranLto, oed, O

miit

sr Pleso soot

e-stin -be fad. -

stota

fio

fk ttsti.Pas -sa

lou blaontd,-che g-o gior - . no

awthen lou

al paruilh in

& - m oa bou

' s o

fdttcl!€-un

Jou loue-gior- Dothen you

rd- 1o,- d,,

glor - tro

fad - eilsol- dulike-- lds- , agy"

I @td

Copfrtght 1951 by Theodore plesser Co.

du - rd.nts bue.

so - 1o,

fad al

PasYou

al5 soljL,st like

Io- piir nod

reg - go. sas - ti alDat d'afiroDtoom'd u'dn tn Joufoow

reg - go a- tan - to gior - no, ch€)Dgio! - no sol du -

Jad d, lhen fad - ed. like his

Po - tria no-vel_ vi - Co -Teats in a bit - !er_ shoro -

il pian - @ilpianto mio re - ca.r - - - ticouul onte o-guin to life rp - sfore- Jrou to re - duo

77

- e fI pian-to mio- all-nvtcaBinaain, iL rdin,

nod pud. Ahnon cle-deuil), flm oh"utho anlddreamin rain

ahoon crc-deahuho cotLd, drean

a pas-sastgl par, al par_ da_ mo4 cj€_rmgior_no sol du _it, ptblatfuau|n<nd.g$g_1out bowl lhe; f;;_ ed L*.L tris

-rd, ctpgo- gior- no sol Ju - ro,lwq lhen- fod - ed Eke his lo}e,

18

al con -in the

glu4 - g€min - glc

nonnal

A1!lDo

u-rra! p€n- sie - to_c Dase e -no - t i nn -

otrd io sor pie - na:thd fi,ls my be - ing:

sen - sltne th"rr,ts

io cre- dgJp-I scarce be-

l)

A t * , . +* ? '- > ? - r l !

- - . p t t t s f F i i E-i:l-.

t ) c C + * . * t ? t * # a

iu qigf- fi - d4o- mio te - sor.lott on f<dth - O my harf-

t'l

brac - ciabtace d€,

e sem - Dle iD- sie - - - ll1e

ani lnev-er leaae - mesenr - pre u- ni - tine'et lo part loae,

1r l 1r- l lat ro l l l ioe u-

spo - - h€,nit - - ed,

del - la ter - ra

ci for - miabuilda heav

in cui ri- "iawdllbuild, a heaoon thisearth looe

ciel d'a- Eo.,heatJn of lote,

en+ build.for-a

&la - da.ro f l

^ :

del -on

d,aor

Yla -

hequ -

ciel

ci fortuild a

t cadh

rlo qa ciel dh -:Dor

t!1o uD ciel d'a - Eor,en, a heainof looe,

- ca a nzadn oJ lnc

lao

lnet/ll build a

ter - - ra tn ctu Yt-edrth -laae adLbutld, a

10

20

d,aof-

ruot,love,

benl

2l

Tempo I

oEgo- so!tlrdt fills m!

mi af-:tr

u-ttrat pen-ste - ro_ al con- tetl - toabase e - mo - tion - in the rap - lure

pe - Da; _he,Jc it -

t8

rniei seu - siit true then,

seln-pr€j-! i - t ine'er to part loue

I scarce bi - lieoe

A.h Ei$-brac - cia,O em-btace Dat

tu lrdaf-

lou afe

e selD-Pre ur-andDeo-Ct_

del -

fi - da, _ o_lanL ,x1._ o_ lzort

spe -nit -

i D u - t r alDdll,line u -

sie -leaoe

oE this

t t

llo q''l - ciel cfa - ltrc@tEot i

ter - raearth looe

i! cEirrct 6aid

iD cui vi - !'ia - !tlo, -@ C u b u t l d q h e a t - e n -

earth- loreudLbu ,il q heao -

Allegro: o . o .

bi for- laia - r!1o qtr_butld a heao - u;--

ciel d'a-headn of

d s l - - l aott this

- r a i D c u i y i - e i a - ci for -

butld a

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looe, _

- !!o u.q ciel dh-trort d'a - mor, d'alaoe, of

- tnot_- en, cheadnof loue; o! looe,-

180

MEFISTOFELE

Opera in lour acts. Librctto by the

ARRIGo BoITo

composer, based on Goethe's "Faust."

March 5, 1868.

SYNOPSIS

First perlormance: La Scala, Milan,

V I HE PROLOGUE opens in the nebulous regions of space. Invisible legions of aDgels, cherubs and seraphsl- sing hymns of praise to the supreme ruler of the universe. Mefistofele ente$ on the scene at the close

of the anthem and mockingly addresses the Deity. In answer to the questioo from the Myslic Choir, "Knowestthou Faust?" he answe$ contemptuously, and offerc a wager that he will entice him to evil aDd thus gain avictory over the powers of good. The waget is accepted, and the spirits resume their chorus of ptaise.

The dmma opens on Easte! Sutrday, at Frankfort-on-the-main. Crcwds of people move in and out of thecity gates. Among them appears a grey friar. The aged Dr. Faust and his pupil Wagner entet upo[ the scede atrdare followed by the friar, whose movements plzzle them- Faust returns to his laboratory, still followed bythe friar who enters with him unobserved, and conceals himself in an alcove. Faust gives himself to meditation.Upon opening the Bible he is startled by a shriek from the friar as he rushes from the alcove. Tluowing offhis disguise, the friar becomes Mefistofele in the garb of a knight, with a black cloak upoD his arm.

In reply to Faust's questionings, he offers to make Faust the companion of his wanderings, upon certail!conditiorN. Faust agrees, sayitrg: "If thou wilt bring me orle hour of peace, in whicb my soul may rest-ifthou wilt.unveil the world altd myself before me-if I may fiod cause to say to some flying momeDt, 'stay,

for thou art blissful,'then let me die, and let Hell's depths engulf me," The coltract completed, Mefstofelesp!€ads his cloak, and both disappear through the air.

Act two opens with a garden sceDe. Faust, rejuveoated atrd under the aame of HeDry, strolls with Margaret;Mefstofele with Margarett mother Martha, chattidg and love-making. As they leave the mother and daughter,Faust gives Margaret a sleepiog potion to give to her mother so that they can meet again latar.

Mefistofele takes Faust to the heights of the Brocken, where he witoesses the orgies of the Witches'Sabbath. The 6end is welcomed and saluted as their king. Faust, benumbed aDd stupified, gazes into the murkysky and sees a vision of Margaret, pale, sad, and in chains.

IIr act three the scetre is a prison. Margaret lies upon a heap of straw, mentally wandering, mouming herdrowned child and poisotred mother, Mefstofele and Faust appear outside the grating. They converse hurriedly,and Faust begs for the life of Margaret. Mefstofele promises to do what he can. He opens the cell and Faustenters it, Margaret thinks the jailors have come to release her, but at length recogDizes her lover. She desc beswhat followed his dese ion, and begs him to lay he! in death beside he! loved ones. Faust entreats her to flywith him, and she finally consents, sayirg that in some far distant isle ttrey may yet be happy. The voice ofMefstofele in the background recalls trer to the reality of the situation. She shrinks away from Faust, praysto Heaven for mercy, and dies while the voices of the celestial choir are heard singing softly "She's saved!"Faust and Mefistofele escape as the executioner and his escort appear in the backgrouDd.

I! act four Mefistofele takes Faust to the shores of the Peneus, io the vale of Tempe, wher they ageeto separate for a while, each seeking his foflune on a differetrt path, Faust is ravished with the beauty of thescene, while Mefistofele finds that the orgies of the Brocken were more to his taste.

It is the night of the classic Sabbath. A band of young maidens appear, singing and dancing. Mefistofele,annoyed and confused, retires. Hele[ eBters with chorus, aad absorbed by a terrible visioa, rehearses the storyof Troy's desttuction. Faust ente6, richly clad in the costume of a knight of the fifteenth century, followedby Meistofele, Nereus, Pantalis, with little fauns and sirens. Koeeling before Helen, he addrerses her as hisideal of beauty aDd purity. Thus pledgiog to each other their love add devotion, they waader through thebowers and are lost to sight-

In the epilogue, we find Faust in his laboratory once more with the Bible before him. An old malt, withdeath fast approachilg, he mourns over his past life. Meistofele, fearing that Faust ftay yet escape him, spreadshis cloak and urges Faust to f,y with him through the air. Appealing !o Heaven, Faust is streogtheDed Ly thesound of angelic songs, and resists, Mefistofele conjures up a vision of beautiful sirens. Faust hesitates a moment,flies to the sacred volume and cries, "Here at last I find salvatiol." Then, falling on his knees in player, he diesamid a shower of rose-leaves, and to the triumphant soog of a celestial choir. Mefistofele has lost his wager,and holy influences have prevailed.

Ualtra notte in fondo al mare(Lost night in lhe deep, deep seo)

rrom "Mefistofele"

.4rrigo Boito

Act III Marguerite's Song

MarSlredls lles on a bed of straw in a prlson ceII, menlally distraught, slnglng to herself of her baby whom she has drowned and her Eotle.shom she ls accused of having poisoned.

Andante lento (J = so)

lamentoso ,t-a:\

d Z ' to a a +-'-:----''- < > -

:\'=-U' bd-:ts. a A

-+77 pp

, ff=

131

= 4 6

Llal-tra notLast niglt in

te in fontlre dcep,

do_.Id""p

ITUI il mio bim- bo han-no git -Did.lhey dtoun my'tit-{le

.t -+--+t > -_+ __+ r >- l e c +!J:/= \t- t F r r =

ta - to,

@ copyright 1956 by Theodore Presser Co.

411-41005- r49

con- cbjiomy - self

liden

or per far - miNou they sa,y to

dernod

l'abbia affo -the deifiaos

IJaul4-d fred - da,I am cold.. -

il- car - cerM7- cell is -

me - staLet-

a - ni - fiia rniamX' sad,heart sta1,

come ilLike

-athe -

passroal

se - ro- del-lnu

bo - sco

fo, - eslvo - la, vo

- inq, fXfla,- vo - 1ar_ vo - 1a,_ vo - la_ing,- Ily - in9.- J'ty - ing,_ J1y - try c -

t;l

& t

p1e -

pit- Jdi

haneAtlAh!/:\

uarl

f u - n eone dedd

r e - ocl bteak

{1t-41005-149

In

!e per col - mo del- lbr - ro re- di - con:ma - dre

moth- erad- dor-tuen - ta- ta,

ltilhaut a brcath. Oh!'tuds hard, them- lo- .sdJ.- lt- uos m).-

l'ab - bia atto - sca - ta.had, caused her dealh.-

laurai fred ,I am tolal-

da,

But Ime - stalet -

vo - tra- via.J1.! - ing a - $aJ.

a - n i - m a m i am! sadheart slral

co - me r.l

fu-tr

Passwalrtr

5e - ro- del- bo _ scoLou: in- lhe- for - est

0r

lar- vo - la, - voing* f17 - in6- fly

An!- di me- pie - tal

fu, "ii"g, fll

411 -41005 - t 49

Ah!- have pil- ! on rne-

La Perle du Bresil F€licien-Cdsar Dayid, 1810-1876

"Charmant oiseau"

Opeta io three acts. Libretto by Gabriel and Saint-Etienne. First performance, paris, 1851.

SYNOPSISLocale: Lisbon and Brazil Tftne I About 1530

For three years the young and beautiful Brazilian princess Zora has been toasted at the royalpalace in Lisbon, to which she had been brought by the Portuguese Admiral Salvador, who foundher abandoned beside the dead body of her father on the Btaziliao coast. The aged adventurer hasfalleo in love with Znta. A lieuteoant of the palace guard, Lorenz, also.loves Zora. Salvadorplans to sail again on new adventures and decides to take Zora with him for he! greater safety, forunknowo conspirators have already made ao attempt to abduct het ftom the palace. Lotenz sailswith them, disguised as an ordinary seaman,

During the voyage, Zota and Lotenz exchange several love letters, for she loves Lorenz andregards Salvador as her benefactor only. One day they discover that her daily letter to him hasbecn intercepted and has somehow fallen into the hands of Salvador. The outraged Admilaltricks the lovet into betraying his identity, but further punitive action is ioterrupted by theardval of a tropical storm. During the tempest, Salvador is saved from drowning by one ofthe crew.

It is daybreak, and the slom nhich drove the adventurels' ship close to the Brazilian maialandhas subsided. Zora recognizes hlr beloved native land and is overjoyed, Srrddenly, Lorenz leturnsfiom a scouting tiip on the rnainlaod to report that hostile natives are arming to attack theirship.He leaves for shore again, and Salvador appeals to exholt the crew to bravery, He learns fromth.m that it was Lorenz who saved his life. Suddenly Lorenz teturns again with four captivechieftains who bittedy denouuce all deceirful Europeans. They wish to avenge themselves aboveall for the abduction of one of their princesses some time ago, As thei! foJces aftack the ship,Zora appears and sings the magical song of the Gteat Spirit. She identifes herself as the lostprincess and desctibes the geoetosity of the Lisboo court. The avqed Brazilians lay down theiraros, and the gtateful Salvador can do no less than bestow his blessings on the rwo young people.

2 4

La Per le du Br6s i1-Cha.rmant

Oiseau o

(Couplets du Mysoli)

F6licien - C6sar DavidEDglish trarslatior bI John Briggs

zora &vakels after th€ stom (Act ru) to the sound of Brazflta'l urdca[s. sh€ recog"lzss ttro cllrpbg of the xFou bbd, and srng€thls lov€Iy song ln pralso of its bosuty &nd galety.

Andante (J=

Quel ra-vis.sant s6 -jour ! Jai Yu ja-And. once be -O uhat a looely d,ay!

8 . " " " " " - " " " ' |

ue fo- rAt pa- reil-sou juststEh a for - est!

Copy(tght 1951 by Theodore presser Co.

(f,llo dsscsnd de so! hartrac et chercho son mFoll)(she leaaes het han@ck a d searches for the mrsoli)

dour my - so - li!My love - I y ,n ! -so- l i !

Cha.r-madt-O chatm -

,rt"tr

oi - seau quiing bhtl, lhat

lbm - bra- geso light-ly

E - t a - - le d nos yeux 6 - blou-branch - esuP- on

26

Les- cou - leurs de sou beau plu - ma-ge M6 - 16bril - liant plum - age bfil - liant - lI gl.o@-ing uith tud,

Poco rltcn. q tcmpo

Sotr aiEe sings

a - p r6 - e A ia - s i -rr,, meas-urc, he pipes _

dh - ztl'- et de ru -and ez - ure blue so

ti - ge i fleur do - r6e,- 11 se- ba- lao - ce, tout joy- eu4si - Ient for - est fl,ftw,he soars otr high ir! ec - std| -,sJ.,

tout joy-oux, tut joy-ec - gta - v, ec - ata-

>-.

Ieirel

bril - le,mef - fJt,

M6-16 da-zur et de ru- bislRed, and, az -ureblue so fair!

Quald sur laA - boue the

:.::

2V

qdua pris -@ thrlV-ing

9di1 est jo-U-Eoufait to see

est

fair

qu'ilEow

- di - oux! Qdtl ost- o - ,bf Eou fait

j o - D = -lo see, -

J o -to

aoquU esthorD fair

6

Lethe

Le ray - so - Iilthe nl - so - Lil

my- so - limy-so - ll

poco rdllent.

Le lry-so - U!the my-so - til

(Z o ra chercho do(Zota asda looks

! = 1

nouveau son urysoll)fot tur nysoli)

2A

2Nd COUPLET

Quancl sur- sa cou - che de- ra - rn6 - er Que ber -' t vu .When on- lrs couch a - mong - the tree- tops ie s&oJrs _

- - ce la brise en_the ea'n -

. Paa - 8ant. Re - Po - se saing breeze, re - pos ing bl

com - p€his len

t le at-d.er

2l

bai dou.*- et ca les - sa.ot, ---serfriserDeet-heaft.,he senils Loae - song through the - trees,-

e - pa - nou - i - e. Dore et_ par-in full - est meaa-ute are his-.- pet -

Au bai - ser doux et ca - res- saot,senils- his l,ooe - song throughthe trees.

- l r i - c i r

jole - of

8 " ' ; " " - : : - - - -

LeThe

8 r "

tous- ses joursl par. - fu _ meing all- his d,ays, per - fum ing

fufu^

tous ses jours,-all /ris d,a1e, _

8(}Poco rallent.

t i

aee_ the tnr - so -

d o u - c e - m e n t i ou - l e_= - sa v i - ' e Au

le Ey -so -

seln

toqu'il esthoo fair

n ,r -Fl-!e hY

Itoco I

faitto eee the ,n!-so - li,rrly-so - lil

lhemy-so - li!

oog 9 t'- r,.= 9 ='t = (F--7;->: W

fh-ff,i-HG--1aJ - l--J,

r r l-

t a

all*---ah!-

r) ?iis is tle ofisinal Cad.Mo.*) If Ftute is p;e,1, Lse optional end,ing.

82

Lakmd Cldment Philibert L€o Delibes, 1836-1891

"Oi va la ieune indoue" (BeIl Song)'Berceuse"

Opera in thlee acts. Libretto by B, Gondioet and P. Gille. First pelfotmance, Palis, 1883.

SYNOPSIS

Locale: India Timer Mid-19th Century

Nilakantha, fanatic Hindu priest, has a deep hatred of all foreignets in his land. His daughtet

. Lakm6 has'been cloistered aod shielded from them all her life. One day, while father aod

daughter are away, a group of English soldiers and friends wandet into the sacted grove of the

Hindu temple. The soldier Gerald remains behind after his friends depalt, and when Lakm6

fnds him there on he! retuln, the two are instantly dmrvd to each other, but Nilakantha soon

appeals. Gerald escapes, followed by the threats of the enraged Priest.

Nilakantha is determined to discover the identity of the trespasse!. Dressed as beggars, he and

Lakmd go to the market place where Nilakantha commands his daughte! to siog in the hope that

he! lover will be attracted by her voice and will reveal himself. Getald recognizes Lakm6 and

approaches her. Nilakantha stabs him, and the wounded soldier is carded away by Lakm6's

servant.

Gerald has been loviogly nursed back to health by Lakm6 in the forest hut where he was brought

by her servaot, One day, Lakm6 goes to fetch water flom the sacled spring. Lovers who drink

its waters together are united by a holy bond. During her absence, a fellow officer inds Gerald

and urges him to teturn to his duty. Vheo Lakm6 returns and realizes the difficult choice facing

her lover, she bites ioto a poisoned fower. Realizing too late that his love is stronger than his

duty, Gelatd then dlidks the sacled water with Lakm6. Nilakantha aPPears otr the scene, and the

dying Lakm6 pleads with her father to spare Gerald because he has drunk the sacred waters.

Nilakaatha repeots as he kneels beside the body of his dead daughter.

88

L akm6"Oi va la jeune indoue"

Indian Bel l SongErgl ish t ransnt to! by John Br iggs

i l t 'o Del ibes

Thls &rls ls susg by Lakn6 a.t tho malket placo (Acl II). It ts a dtfftcult ono,requtrtng p€rfect lntonatlon anilagood commanrl ofstaccaio. L&km6 slngs of & young In{ttar matd, daughter of & p&rlah, who sav€s a stranger from th6 wild beasts of the forost by w&vlngh6r rdaglc wanil Irom whlch sro susponal€d ltttlo ttnkltng bsfls. Th6 stlang€r ls nono othor than Vlshnu, chlld of Blahm&,vho then carrieshor off to heaven saylag,.,Your pl&ce is tholo'ishce that dat*a$de!6rs thlorgh tho voods sortretlmss he&. tho tinkllag of ltttlo tells.

Moderato (J=

+) Tho cbon&ic scale is so'nstines sung stdccaroCopyltght 1951 try Theodors Presser Co.

a4

Antlante (J = sz)

') Oir va-A - Iong;--

- n e

ta jeuneJn - douer-the fot

- est path - ua!,-

se Jou - e--i s s t r can - i n | -

se jou,'s sfte@m -

usan- i lers the po-riuh maid.,-

guand ia lu - r1enhile the moon - lighl

Dans le6 graEd mi - mo - sae?-through darh mi - mo - so shatlc.-

e Dana les-cradals mi - mo-sas?

Has - lens ui lh - out

Quand, lav i l te Ine ingthro' d,arh firi - tuo - sa shade?-

Et ne 6e

Andante

Doun the sol . pofl she- le court- Eur la mous - se--

has - tens-

a\ In d Recitctiae strle, fteely and uithout drassinga\ Atutrs suna slaccato

Que par- tout- onFot the hate- antl

r e - pous - se -op - pres - sion-

des Pa - r i -The po - riah child must

ag:_

bear-

':3---

El - le couat sur laDoanthe soft-path she

- ae, Uen-fant des- tens, the lone - l!

P a - r i - a s .moushas pa - riah mai:d,.

Le long des lau - riersPer -fum'd with scent of

- se9, chog 1'clos -

R6 - vant de clou - cesThe night a - boul her

r_---J- r--;t-----'---1

Ah! El - le pas - se sads bruit Et ri - ant ilsFor her ;foot-step is light and her fan- cy

a) Aluays sung staocatorr) Aluars sung staccato

i , 1

36

vo- ya-geur per - du?hotllersecks hia )o1baoLlerseeks hie ud!

Au-tour deFierxe eyes of

des yeuxgle bea.sts

ls_

Forsom - bretfor - est,

est celone - ly

Quel

luijuo

nuitl---free!

basotr

dalrs la- fo - r6t ptusuith - in- the som-ber

bril-lent datre ltom - bre,spar-kle a - round, him,

a) Th left hond should keep a stead, rhythn like the \eattng of a drum.

tounilre au ha - sard,

hun - gti - ly aatch6- per - du

inE their preJ. !

io''Il8 vont se je - ter sur leur proi -they crorad, anil pre-pate for their leap - ,nt'

et bra- ie-leuis Iu - reurs:courtcnd,ftightensthem a - uo.!,

ElleA

Les lau - ves iu - Eie - seot deGreat l i - gers a-b6ut him arc

- du maid- en

a daa6 sa main la ba - guet - te,ring oi her fin - ger is tuinh - Iing,

rell.

onIls

titr - te la- clo - chet -sil - oet belle al.l, link -

tin - te la clo - chet - te,sil- oet bells dll tink - Iing,

De6 cbar -ma - gic

ter oirLing, Its

a) BerI eSect

t ' t \ -poco q poco qlltato -

8a

Piir animato (.1 = rzo)

aht ah! ahl- ah!-ah! aN ah!- ohl-

abl ah! at!-ah! ah! ah!-

ahl ahl ahlah! oh! ahlah!

Afl Al1I

d,h! ah!

ah!ah!

ahl ahl a!!ah! ah! ah!

a!! all ah!oh! ah! ah!

ahlah!

an! anlah! oh!

aht alllah! ah!

ahtdh!

ab! ahtah! ah!ah!

Ah!ah! all abl_ah! oh! ah!-

ahl ahl a1t!-ah! ah! ah!-

ahlah!

shtahl allahl ah! ahtahlahlahl ahtabl al!aht

a') The left hand should play 16'" Notes and nrt trent'lo

U6-tran - ger la re - gar - der-Eoa the strar, - ger re - tarils he\-

rou- gi - ra,

(Meno mosso)

riah moirl. stqnding there.-MaiBIn he

lui,stead,

- mant dana i1n- fold,s her in

r) Prdt os before

40

aaat:eoft:

ciel

heao -r€ v€:tri - - sions,

lat

bois,neafa,

mal80,

jus-que dan6 lecar-tiee her to

ta place e6t'lour ptrace is

De-puis ce jour- au fond desAnd,since that daXt, -uhen ets'-ning

- ve, Ed lui di -en on high- and, uhts-pers

u,e-!alt vlsll - nouIt uas Vish - nou

voy - a -

fils de Brah -Gres.t Brahrna'c

geur- en - teod paf-trau' - ler- of - teL

=Fr

(Lar

the lone - lJ,

foig -hears,-

f---a--;:

Le bruit 16 - ger de la bathe ma - gi - cal bells as lhey

quet - te, Oir tin - te la_ clo -jh - gle, the ma - gt - cal beltc atl

4 1

Oi t in-te la clo -the ma-gic bells all

Tempo I

tell.!-

- te, - lreurslaink - ling, be l l s ! - '

8 " " 1 - ; : - " - . . " - ' " :

Dea charn8 - gic

antah!ah!

ahl ab!ah! ah!Ah! ah! ah! ah!-

ah! ah! ah!-dh! oh! oh!-

ablah!

antah!

ah! ah! abl- ah!-

all ah!- ahlah!- ahl- dh!

oh!

a-bl ah!- ablah!-z-;

abl ahlah! ah!

abl ahl ah!ah! oh! ah!

antah!

anl aolch! ah!

ahl ahl ahlohl oh! ah!

aht ah! ahl all ah! ahl ahl ah! ahl ah! ahl ahl ahl ah! al!ah! ah! oh! ah! ah! oh! oh! oh! ah! ah! o,h! ah! ah! ah! ah!

ahlahl

ah!

anl alll

ah! al ah!-a}lJ aUahl

ah!ah!a}Il ah!ah!

ah!ah! ab! ah! ablah! ah! al! abt a.hl ahloh! ah! .. d ah! ah! ah! ah! ah! ah! ah!oh!

ahl at :dh! oh! a

ahlal ah! ahlnhlah!

ah! ah! ah!ah! oh! &h!

allIoh!

42

:ult

all! at! ahl at! ah!-

: . i

4A

L a k m 6"Be r ceus e"

Elglish traaslatior by John Briggs L E O D C l l D E S

Laloe6 lale€ls b6tde the unconsclous Gepald (Ad m) arld sbgs tllis tttle hlabn hophg her song rdtr heal a.nd soo0re hln- IIre ar.la *DuId ts smg verystmdy and tenderly, vith a sg€dlon h the rhyum of a cradle mcldllg:, excelt for the lecltathe secuora wldch aft lndlcated by footnotes.

auts

toi

wSous le ciel toutSfors rz hcain are

ra- mier bla.cbrigfit,the nowarhile dow

loin s'en est aI - 16.- Ahlgont in - ta lhe nW- Ah!

viens rDaYoix tap - pelturn,be-gin your ham

doux a - mi, re-viem-

- fer - me toD- and ceaseyorn

le.--_ 6 - t o ishin- ing

16bn9 ,

Sous le ciel toutStarc in heaoh ate

my hw rc - tutu a- gaim-,

ra - rnier blanctsthe sutu-uhilc dtue

Moderato J = so

Coplrtgit 1951 by Theodore Presser Co.

44

loin stengnz tn -

est-thc

anent Mana - i- vechan- son le ber- cer dou-ce - ment. Puis - se- t'il pris dea mo -ment rc - slore hitn to rcst.

16!_night! a

n dortl Puisse en- cor m mo-A-d.cep! Codtl my song so ta -

molgm

le- po - ser un mo - ment.-at nly sile. -

Tempo Primo

Sous le cielSlars D? heatn

16. _

tout 6 - toi- -are, shin - nghe uc'ukl

-'--------'i-- -

16, ra-mier blanc h6 -

Wht, Ihe snoue*titzdaw islasl S'er est al -

gotw 0e- ta theSa com- pa -Iff.s com - pm -

gale q! I'ap -

ion uho-

bat - trethe beat-

pel leuin - ty str€s

N'eiten- dra plus ja- rDats-slnllneD - et heor a - gain-

son ai - - le._of hts uings.-

S'en-Le m- mier blaf lclle srut* - uhile date

e tempo

est_ d_the- Ah!_

re - densJ--fe - turn!

---------------\t--------------:r-r------4 1 4 {

AI

f.'e

rp_- . L r

'l-\-----

?^+

t <j

4\

a) Tha a..kriponime h AE bft tE:nd should sgest tne tustlinS of LeaL.e.,

46

Don Pasquale Gaetano Donizetti , 1797 -1848

"So anch'io la virtt magica"

Comic opera ir three acts. Libretto by Salvatore Cammamtro, based on Anelli's old oPera,

"Set Malc Antonio." First performance, Paris, 1843.

SYNOPSIS

Locale: Rofte Time: 18th Century

Wheo Ernesto defes his uncle, Don Pasquale, and refuses to marly accoJding to the Doo's

choice, the latter decides to get married himself, thereby disinheriting Ernesto, whom he knows

to be in love with the widow Norina. The Don's physician, Dr. Malatesta, suggests as i bride his

convent-bred sister, Sophrona. Malatesta then persuades Norina (whom the Don has never seen)

to impersonate Sophrooai go thlough a mock wedding, andso harass the old man that eventually

he will abandon his selfsh scheme aod allow Ernesto to marry as he pleases.

Don Pasquale, overwhelmed by the beauty and. maideoly demeanor of Sophrona, immediately

arranges the wedding. The notaly, an accomplice to the Plot, PlePales the contracts, No sootel

are they married than Sophrona changes into a shrew, orders costly things, iosults the Don, and

leaves on a shopping tou! with Elnesto, to the utter bewildeErent and mge of the Don.

That nighq as she leaves for the theatre, Sophrona drops a note which the'Don 6nds. Itnames a

rendezvous fot her and a seclet love! in the garden, The furious Don and Malatesta enter the

garden where Ernesto has been serenading he!. Ernesto withdlaws, unseen. SoPhlona tePlies to

the Don's accusations of infdeliry with further insults. She says, furthetmore, that if the Don

allows Ernesto to marry and bring aoothe! woman to the house, she will not remain, \?hen the

Doo soatches at this idea to get rid of his shrewish wife, the plot is revealed to him. Relieved aod

happy to be ftee again, Don Pasquale readily conseots to the marriage of Ernesto and Norina.

Just befor€ Malatesta's vlslt to secur€ her a.tdiln posnig as Solhiona (Act q Iorina stts la her hom€ reaalt:r€. a roeance. Insplmal by!h"_ 1,1: :f 11" "l:

l" "eadlng-,

she.6lngs,llJooiknow the lraglc vlrtue of a lover's .slance: and she descrtbes hero; hrsuy Jevooped woDa,-ty stles I! atltactlng nen.-I have ar al€lt:mlnd; she slngs,_l €f, lroaglnatlve ard love to play trtcks: Ihts, of courss, preiares tae audtenceto late! accept trer altistry tn.dec€lttrrg .Don pasquale.

EDglish tra-uslatior by John Briggs

Andante (iLgq)

fiez - t4,al :.nrhct fitst tlhii

D o n P a s q u a l eCava{ ina

"So ancfio ,a virtii magica',

fisglanc

Gaetano D onizet t i

onrlg i - a o c - c h i , ohb ltnees thento

P1e -

sdr*se;esi

tn

w

L i

Copfight 1951 by Theodore Presser Co.

4u

E tan - to e - r4-in quelAnd in h,et protu-ise un -afn Jnuf

Sondis - se:tol.d heri

the jolssa - por

. he s(w- d o- e n

- r a - d i -of hpw

chq-il ca - va - lierthen aas - a- li.er

Ric - car - do,.-R i c - c a r - d q -

tut - to d'a - mora l l o - oe t - come

_ sot- ing,

t r a m a - Ioulil neD - erao1.ba

glua ,

ahl afiha! h4!

drejrd d -hrs thoughts

tum to- on - othEin-sier. Al! abler loae hd h4!

,) fot tte

So-atr-ch'io la vir - til lrla - Ei,;ca duDIt nay be true pul I lioto too the

guar - daJr tem - po_e lo - co,lhin6s lhatmen at1, - mte,-

'

d\rn bre - ye sor - ri - setI I'r'lru the guite thafs itt

se-an-dio co-rneI knou. thz utol'

si bru - iia-no i co - ri-9 lell - tothe trk*s to plal .- to set a hearl on

co-no- scQ3Dcl{ ioI kruu jvstu}Ain

Poco piir mossor

fo - co;

m@- ro-gle - ra la - gn-ma, d1rn su - bi - to_. then to s<nkl quJ u:len to u,eep and, ulen to faint

I'ef - fet - to, di1o nse it, and

50

t n o - d i

a - oeg- ca -

del - Da - rtro - ro - se fto - di, tlhat. ilet - er u:otn - atr us - es, slb

vez - zie. \W -al - umXre69ts her un! uithtlern,

craft willlDinc9r,dor.

D'un bre - ie sor - ri - seLI knou the gilb thltk in

ao- nos - ce_an-dr'ioI knou just tohen

- t oa snilc,

l'ef-lo

fet - to, co - no - sco, co - no - sco, dun su -use it, to uJe it, lo use it aruI uhen

bi- toto faint

lan- guor;a - ucvi

co - no -'I

kno..t,sco l'ef-how to

u i r - h \ h . - e i - . r

too just lDhat lo dahtouIper rn - spr-ra - re_a - Dror,_to uah - en lods e - ,rro - tion,

r ,

si.pel ii!9pr: rl -..rgr*' iq - -yes.uar+naLuscre- rwaL b udE -sPi-

si,tes,

A

pea in - spi- ra -and. craft utill uin-

Ho te - sta biz -Itly heo&fledu: It

rai- ra, son ptoa-ta, vislrat- a- Sqt,sdrenw ed. plot-ting. I'tu lioe - l! qnrl

son pron -

mi pia - ce scher-I'm fond, $ a

rall.

Eui& and

a

pia - ce, mi pia-ce scher- zai'otr-s-urrs Im fond, of a johe,

bril - la - re miI ltnou all the

') fot Englhh t€ir rr9e (/i)

6?

zar.joke,

Se moa-tobfu - ro-re, di ra- do sto al se- gtlo,and, nthsr I or an- F! it|s best mt to crcss fic,

t rall- a tempb { b+

3 3

ralL

ftempo

aa c,o - re eccel -len -'flo te - sta biz- zat -

Mf headb flwuith fatt -- te, uD coreec-cel -- thn, is filtd, uilh af-

f

my hatftuilh of - fec

(--n-l a,

ltlair! ri - so lo sde-gio fo pres-to acan - giar.but quick-lX nV an- ger will melt in a smile.

b

a r a , ,+

tp a, tempo f ba

a.i

.t3

tt@

co - ri a len - to fo - co:set a hp,arl otu fite-

so aoclfio coBo si bru - cia-ao i

du.o bre - ve sor - ri - set - toI lrlaout the guib thalk in a sfiile

I knout theuay thc t (*s ta plttf to

co - nosco anch'ioI AMnD lu.st unen

fet - touse it,

di men - zogne - ra la - grioa' d'rm

aul uhen to scolil arul uhen to weep, anilsu - bi - to- lan-guor,utlren to foint a - &aI.

pii mosso

ao - scej E'il --

le mo - diknoa tie thou- stnd na - es

de1 lla. - mo - lo - se

th.at cl@ - er utum - a;nvez-4_: t fa r - t ioI - u,uys gete her

fro - di, i6 - 6 , S l e

6lt

f a - c i - 1 i pe r a - des -ca - r eLo co r .uay arith lhem, ier cruft rlill un tF doY

ao - sc<i snch'io

Dtr'r bre - vehno{r tle

set - toin a smilc,g"il"

htw'./, just ,ahenI'ef - fet,o llse

dun su - bi- toand. u:hen to faint

to, co- no - scqto uae it,

co- no - sco,to r6e it,

So alch'io la vir - tu ma - gi - ca

1 lnou it, too, irst rahat lo da

n a r i n - c n i r . -

lo uak - enloue's

rro - sco l'ef- fet-to, ahlkruto haD lo tse ia, ahl

i. !:

a -

uin lhe .

D10t

doy,si' per in - 6pi - ra

Xcs, anil craft lriill uin,

si: Der in-sDi-ra - rE. D'e! in -

raiLs*-.tu t:o1'..'de .W:to udb -/;\

- r e -ttiu -

fi__,__-1 r___;________]

I{o to - sta biz ,qar' ra' son pron-tae \4 - va - ce,

My heatxflllildth .gflal - a - Bent, schem-ing awJ plot - tir,g,

r---3------1

b r i l - l a - r eI knout all,

ah:olf

rrulhE

pia - ce, mi pia - ce scher - zar,

@L-$uers,L'm fonil of a joke,

a) lot Enslish t€-rt lase (/t\)

6 6

ce, ai pia -ing, and fotul-

pia - ce schea-izar,

fond- of a joke,

honvof

scher - zar)a johe,

te - sta vi-hx.dis- fiIl,d. uith

pia - ce scber-fond of a

pia - ce scher-za.r, mifond. of @ joke, I'm

uufm

- ce, lbl

fuIt. of26\

joke, ah!!!11

ttlf

ah! p1a

heuJis - @d

- *

piatric*s

/--_=- CL/--=-=\

9i

: ce, lni pia - ce scher- zaq

fon - ci.es, I'm fontl- of a jolte,te - sta Yi- va - ce, miheod's-jllled, pith fan - cies, I\n

La Fille du Regiment Gaetano Donizetti, 1797 -1848

"Chacun le sait"

"Il faut Partir""Par le rang et Par I'oPulence"

Opera in two acts. Libretto by Gollmick from Saint Georges and Bayard'

First Pelformance, Pads, 1840'

SYNOPSIS

Locale: Tylolean hills Time: Early l9ch century

Asan in fan t ,Mar i ehadbeen foundon theba t t l e f r e l dbySergean tSu lp i ceandwasadop tedby

theantire 21st Regiment. In gratitude to her benefactois and friends, Marie has vowed to matry

only a member of the fegirnent. One day. she is saved from failing over a precipice by Tonio,' a

moud ta in l ad .Tow inhe r ,Too ioen l i s t s i n the reg imed t .Sho r t l y t he rea f t e r , he r t r ue iden t i t y

having been discoveted, Marie is whisked away to the castle of her aunt, the Marchiooess of

Maggiorivoglio.

At the castle, Maiie longs fot her old friends of the tegiment and for Tonio' Plans are under way

for her ductant malliage to the son of the Duchess of Craquitorpi' But her old regimedt apPears

at the castle, and with them Tonio, who has becom'e an oficer' Marie joyfully greets the legiment

and embraces Tonio. The Marchioness gives her consent, and Matie and Tonio are married with

great rejoicing.

68

La Fil le du R6giment'Chaoun 1e sai t "

Edglish traaslatioa by John Briggs

Ev€ryotre kno\rs, stngs Marte Gct I), that th€ 21"t ts the fhest rsglE€nt there'ls.well telovod th&rl ths 21'1, none mole feated ty husbands and lovers.

Gaetano Dafiizttti.Nono molg handsome, none more daiitg{or

cha - cuo le dit,that's uihat they mean,

fass'e! ' -

gi - 'treot- par- ex - cel - len - ce,i- tuentr is famous uher-eu-er ue go,-

sait,soy,

Le seul iOur cred.- it

Leouf

Dans tou€- lesIn all the best

cr6 - dit ,ry harul,,

lbsonslonds

ca -ba - i e t s - de -

cab- a- fets , ,ouA see uhat ue

Allegro marziale

Copyrtght 1951 by Theodore Presser Co.

69

Flarl - ce.

maqts, des ma - risius - Donds olJ shc&e tithfeat

Leaut

elr ='- tousu'hen- ue

Pa - xs,ap - Peaf, the lou - ers

des

Mais de la b'eau - t6 bien- su - pra - - mel I1 eston the oth-er hand la-dies all a - dorc- uis. La.la.

A

All

14, i l est U, le Yoi -la, Ia, la, 14, la, la,

estla,la,

le voi - l i ,la, la' la,

oor - bleulrDe'rc here!

egro

li, il est l;!, i1 est 1:,,la, Ia' Ia, Ia, la, la, Itt,

mo. - bleultly d.ear!

Le Yoi - la, le voi -la, la, la, la, la,

o -"-P

* * t t 2fLJ ) 2

s - P a> l .8 ,t

60

1,"la'

Le-Our-

oeau vlngt - et - -r- - l)l€ -

reg - i

beau Vidgt- u -tuen - t!, - first

n i d - ' - d e lfeg - i - mentl

Le_=-Our-

Marziale

(tl

pef - sonon- le-

us- i ispen - se, Fe - rathanks -- af - ter

cha - cunthe *ar,

-I ,,bvain-queur, le_ plus char _lhe best in loue _ ani l in

de sesui th - out

ma- 16- chal- de- ! ' ran - ceioJ us nlar ^- shal_ of France!_

' n uhnows

le- rt i - ei - mentour........._ sol - ilters ore

Qu'uu se - *e / craint, et- que I'dutre aioth-er men ab - hor u.s, la-d, ies al l a - i lorc

Eela- paix,

will malte each FUII u:ell

Le plusal, - uays

mant, me.US

I1 estLu, la,

62

Allegro

la,la,voi - li,la, Ia,14,

Le vor - ta,la, Ia, Ia,la'

mor - bleu !my d.ear!

estla,

i lla,

est le,la, 14,la,

Le-Our-

voi - lir,Io, 14,

le

la,Io,estla,

itIa,

1n,Ia'

estk ,la,

bleu!hete!

3te're

li!,la,

bLau Vingt- u - nii I melttaen- ty - ftrst reg - i ' nenl!

beau Vitrgt - et -cuetu - ty -

! a

Le-Our-

11 estla, la,

il estlo, la,

rnor - bleu!la, la, la,

la,la' my d,eot!

est lA,Il estla, I'a'

tJ

le voi - li, le voi -la, la, 14, la, la,

voi - li,la' la,

est liL,l,a' la'la'la'

estla,

t \la,

!ffi=

ue'rc' herc! la,

Le-Ovt-

I-e - beau Vingt - ut u e n - t y - f i r s a

_ nlereg '

' - ! n e !

i - ment!Our

voi - l i ,la, la,

vol - la,voi - li, leIa,. 14, 14,

beauuogt-u - nid-t1, - fitst rcg -

leouf r eg - i - n@nt !

r--J. ..-4t

LiDe

rJl-- | fs+- s

i 1 ,

64

La Fil le du R6siment

n faut iar -

Good-bye- my

'I1 faut partir"

Gaetano DonizettiEaglish tlatrslatio! by JoLa Brigge

Thls ts a.rlo's farewell L4.ct l) to he! beloved r€gtmeat. She begs theo to stop tletr weeptng, and thar*s theD for all thelrkindnsss through tho yea$.

, ; Larghetto

p-=:=:-

mes bons compa - gnons dlar - mes,com - pdn - i- ons in arms.-

.sor - h'ais, loin a'elr fuirl- er - more!

de vous

for e1) -Mais par

But I pruyP r -

I leate you now you

ca - chez - moi bien rros lar - aes,Vos re - gr'ets - pour &onyout sor - to$ anil yotn pain,- fot your tearc - shal)' my oun

Copyrlght 1951 by Theodore Presser Co.

lasl onttrop de char - aes!.tears - f'lou a - gain!_

tr faut par - tir!Goodbyetty d.ears!

P(rrtez la, ?)oir 1er mouvgment

- mespi - ti6I pro.y,

AhtAh!d.ears!

pi - ti6 paJI p r u y , -

ca{hez yos larhi-d.e yout sot

dieul- il faut par - tir!- d.ieu!- Good- bye my dears!

ao

Il- fautGooti - bye

par - tirl A - dieu! vousnry dearc! Gooiliyel

que dds moD ea - fangnrd. - lat of my child.

j'ap - pris- i- ch6 - nr,I long haoe learned, to looe,

le plai - sir, - la souf- fran - oortune anil sor - rotos ilatk - esl hour, -

onand, find, rich-es and po@'t -

m'of - fre l'o-pu. leo

- hootl,

satrs.-

fatth - f"lPel

- tl€,

f enda-

AuI

Iieulcwe

d'urYrai lion - heur,,_hap-pi-nees hera,-

6Z

^ Portez lo t)oia

l1 faut pa.r - tir!Good4ye,my deats!

Ah!ah!

pi - ti6 ca - cbez-I pray- I

'vo-tre souf-frarlhi- d,e your sor

Il faut par - tir!Good.-bye, tuy- d,edrsl

il faut,Good - bye'

P q - r u _

rny ilearc,-il faut

Good-bye,

6t3

! r i s , - l r l e s a - d i s , d f a u ttue,- thinL of rne, Good-bye,

par' - tir, il faut par' - tir.nly deaw, Cood-bye1 nV deqrE!

Good- bye' tuy d,eats,

ah!- ilGood,-

a - !ds, - Ees a - Dis il faut par -Thinh of me, - thi* of me, Good.-We, mt,

il faut par - tir.

faut,

w,il faul

Good- bye,

tir Mes a-rais,d,ears, lhiz,/r' of mc,

par - tir-my dearsl -

loes a - nls,thir*of me,

6 9

La F i l1e Du R6s iment"Par le rang et par Lopulence'l

Her marrlage to the Duchess'son arrangeal, Marle's splrtl rebels agahst the cltuumstances surrounillng he. (Act II). She scolns thewealth of lel rew soclal clrcle and proodly asserts that her heari cannot be bought. with riches and nobtlitt Just as she has gtven up allbope, s]ls recognlres tbe sound of her reglnent approachtng, and the arla enils on a happy martlal note,

Engl ish t ra ls lat ion by John Br iggs

Moderato

HCClL

C'ed estNou; is

Gaetano D o{L ize iL i

Per - sonneyet thetds no one Ithe

c faittime

et monand my heart is

me an&Don

chan - ger,a - fraid

Dae

lieukno )

ne vient rne pro -t6to sum-nlon to rnJ,

gerl

cantabile

Enhaae

p u -uilh

ParThey

1e rarrghae sought

Coplrt$ht 1951 by Theodore Presser Co.

70

Yain l'onsought me

ir cru nl6anduon me

Sous 1es bi- joux et la den - tel -

Be-neathmy jew-els and ay lor -

souf -I1 rrreFor ln

blou - ir;in oain;

faut tai - re- matheb splen - d.or I tolte

Je cache un cha - grin sans es -a $ot - foTa Post fe -

j-:\

hld.es

que de sou- ve - nir!past, the past a - gain!

poir, sals es-po\ sarrs es-poir,Lief, pc"st rc-lief, past re -lief,

z l

- t : >

seul il ne doit pas-him I nebr sholl see-

luifor

A]:lAlr!

il ne doit pas me voir,I nder shall see a - g.tin,

O vous i qui je fus ra -

Dearftiand"s, a- d,ieu for - eo - er -

Dont i'ai par- ta-g6 le des-tinIVe iouelioun goodiortune and'pain

Je dorl-!e- rais tou-te maond Iuouldgiae my xe-ry

z2

v i - - e Pour pou-voir vous ser-rerlile lo be with - you yet

la main, Pour pou-voir vous se!,ter laa - gain, to be uith you yet a -

vous_ ser - rer_ltith- Iou yet-

v i - e AhtAh! .

Pour pou - voirIf I could. be once _

Il I coun

Portez le son

d o n - D e - r a i s ,I would. gioe'

je don - ne_=- rais,Ah, I aould, gioe

tou - te iiamy ae - fJ'

Je don-ne - raisand, I uould, gh:e

tou-te ma vi - e A.hlve-ttt life- Ah!

7

7S

m a i n l

Pour pou-voir vous ser - rerIf I coulA bc oith 10L

Pout pou-voir vous ser-ter laIf I could, be tith you .r -

tout prend un air dethe h(tlls ate d,eck'd. for

Mais qu'en-tends-je au lolr 'But that fat d - wa!

vous se!-rerwith )tow yel,

fA - te Al-lons, a-l-lons si - gnerIJle.L.-ur-, I'A sign my lilc a - way.

Rdcitatil

Pour ce con-trat fa ,Up - on this dis - mal

Moderato

moo mal-heur qui s'ap - prd -lose lhe l,oxe that I lreas -

taldoy

(Slo is about to leave but stops sudilenlt hearlng ln the dlstanc€a mllllarv March. She ltstens aitenttvelv and exclaims \'/ltl ioY.

14

ne 16 - Yi - je pas2can this be a dteam?

Cet - te mar- che guer -These are sol-diers a.p -

fLe - !e

prcd.h - ing!ah! voi - li. bien- leursOn-uail a - galn- they

i - v r e s - s e le - m o - t i o n !

cotu - rddes ileabmes a - mts.com - railes deaL

de jeuoth - er

S o u - v e - n i rt r I e m - o - r i e s

ne6 - se, Re -ve -

d,ays- O rc -

76

ve - l11r

Moderato ( =ao) (,taec enthousia.sme)

a la l l ta l r - cel

lo *X coun - lrl!

py d,ays,

A mes- beau: jours!-Mem'- r ies of o(h-er dals!-

A l , es - pe -EaiI to mJl

hap- py d,ays,

ran - ce! A mes- -a

- mours!

failh - ful- 4l - uqts!

Fran- cellutlute iL! coun - tr!!

A l 'es - p6 - r ian - ce!Llenl - ties of olher ddJts!to

A megIlail friend.s

vec la vic - toi - re,heart bears the sto - r)t,

lut ir 1aSa-lute lo out

gloi - relglo - t!!

Irins-tant alu bon -uhet -eo - er I

Voi - li pour mon. coeur,Be-fore elt' . r! fo",

heurlgo!-

7A

A 1 'eB - p6-hatl' to nV

lut il,ute to

1a Fraa - celnV cotttt - trJ.!

A aea- beaux jourBl

Me - ties of oth-et d'aJ.s'

Pressez. , 2----- .---S-

ran - celcom - railes,

A r m e gfatth - ful

a - rnoursl Sa-lut d la Fraqal - uals! Sa-lute to mJt coun

Sa-l.ut a la gloiSoJxte to our glo

Sa'lut d 1a FtaaSo-lute to m! coun

Mesa - hi6l ' .oes a- rtr islO ny frienila O ny

ltr lour I am faint- uith e - na-tion,

i r . " . O n i e s 6 - m i s ,

mainl alarts vos bra6l

Tempo

prise. O my dzar fttends,

- sirr- de sur - pri - eey abl lbn ne Eieurt dodcAh! &hat o gJal sut -

o lr1es a - mt8

) possil& cui frcn wi- Jo dt

t my dcar

80

A mea- beaux joursL-Mem -,'rics of olh-er dalel -

rao - celcon - rodesl

A rEe6- a - mourstFoith - ful'- al - QaYs!

l'eo -tonata

pd - ' ran - ce!lut ilute to nq' com - rad,es!

A me8Failh - fut,

- lutSa- lute

cOeUrt

foefoi - li pour monBe - fore eo' - ty.

i la gloi - rello out glo - ry!

81

vec la vic -hedra bears lhe

tins-tant duuher - eu - et

bon - heuiltot - re,ato - rJ',

- cet A mes beaux jour6l_Mem 'ries of oth-er dals!-

Acoutu - tr)t!

Presse"

ran - celcotu - railes!

A mesFaith - ful

a - mourstal - urattsl

Sa-lut i la Fraa -Sa-lute lo our ltic

4---. r. it\ r

.) V./l'--t-.--- J J + 1 + 1 1 4

l-<r;

82

Sa-lut I 1a gloi - Sa-lut ;r laSa-lule to outS@-lute to our glo -

1ti-ve la FraaVi -ae la han

Vi -ve laVi -ae la

\t- ve 1a tlaaTi-oe la Ftsn

Linda di Chamounix Gaetano Donizetti, 1797-1848

"Ah, tardai troPPo"

"O luce di quest' anima"

Opera in three acts. Text fton the Ialian of Gaetano Rossi by Proch.

First performance, Vienna, 1812,

s\,floPsIs

Locale: Chamounix and Paris Time: 1760

The Matquis of Boisdbury has taken an interest in Linda, daughtel of one of'his poor tenants,

Antodioi.Hoping to fodrfavot with Linda, the Matquis promises to tenew the lease of the farm.

Antonio, haviog been warngd of the Marquis' ulteriol motives, sends Linda to Paris' She leaves

behiod in Chamounix a youngXrainter, Cado,,whom she loves'

In pads, tiodh,ii"iirstall'ed ih a beautifully furoished room by the couotess of Sirval, who is none

otl-rer than carlo's mothef, Liflda and cado are plaoning to be matried when a seties of calami-

ties befalls het. The Marquis visits her and oftets her riches to become his oistress. No soonei

does he depatt, rejected, than Carlo appears with news that his mother rrants to force him into

mariage with someone else. Next, a beggar enters-it is hel father' Mistaking appearances, and

believing her an abandoned woman, he curses her and leaves. Finalln Pierotto, a faithful friend,

brings news of a mariage taking Place at the Sirval home. Overcome by grief, Lioda becomes

itrsane.

Back io Chamounix, Cado delivers the lease teoewal fot Linda's pareots' He hatdly recognizes

tle demented gitl, who is living at hoile agaio. He tells her his mothe! has finally coruented to

theit martiage. Whed this infotmatiolt Pietces the gitl's brain, she falls into a coma, aod awakens

in full saoig amid geat reioicing.

8 4

L i n d a d i

Erglish transla.tior by John B ri ggs

Chamounixquesf an ima '

G a e t a n o D o n i z e t t iIn Act I, Llnda stngs thls &rla, descrlbing her etem&llovo for carlo whtch sha.tl bhd thern together lI1 heaven as it does on earrh.

Mbclerato (J = eo)

trop-polat - ed,

no-stroab - sent

I a - v o

from o rr i - t o

d,ear placeio

in

e--glanil

coa-ye - gnoof meet -ing,

quan f e -g l i a - v r i . so fthe pang our part-ing

u o n t r o - v a - ioain I u:ait - ed

- fer - to,cost htm,

il mio

for my

Oar - lo,Car - lo,

e chi sa maand uho can lell me !et

non al par dinot so greaa a9

Colyright 1951 by Theodore pressor Co.

a5

fio - .rileft mehas

quehe

P e -Pled,ge

me!mi e!

Antlante (J = sa)

sciir! te - ne - r o co - r e l

grro d'a - mo - reof- af - fec - tion

floto't! - iler heart-u -n i - co d i_ l u ihum - ble lho_ his

e per quel co - re io I'a - mo,and ftom my hea l loue hirn,

P O - Y e - r iPov -e t - t J ,

en-tram-bi sia - mo,is tounil a -bout us,

vi - viarn db-!cor,rre li1)e on loae

diand,

.,--.-\

spe - me pit - to - re i - g:do-te_gn - co - ra, b - gli s'in-nal-ze - iahop - ingl A paint - er not yl fa-mous,some da1, hb will be

8 6

i lo - ra a.h! aopqlt ,tE oht jos tohat I rai

i con - tenO ahat rap

len - ti;gft - eil;

sa- rb sua sDo-sa d|[ _ lo - ra, oh no

and, I sholl be his uife then, O joX'

oo

lu - ce di quest'light of all my

la no-stra sor-tq_u - !i

de - li - zia a-hor eto Xau my ttuth is

ei - ta,plight . ed,

our aouls shal,l be u -sa - rl,of time;- e d

id tei-ra in cielun - til lho end

t..1,

8 7

deh, vie-ni a me ri -

O come to ne, be -

che te so - spi - rE-eis e -oer long-ing

p o - s a - t iloo - ed.,

su que-sto cor chethis loa -ing heort a

bra - ntdr

fot - you,sol vi - vrhl

lou a - Lone!

che .per teand, lil)es for

- rllar

it g,

di quest' a -

all, my beoo

soaotrz

l u - c el,ight of

a - m o r r d e - l i - z i a e v i - t a ,to !o1L ntf troth is plight - ed,

u - Di - ta tto-straovr aqvle ehol'lbe oa

tQ_-in ter-rQrin cielun - lil the end

sa - r i ' u - ai - ta no-stfaof time, our soulssiorl, be u -

8a

P:'F.-;-' /i

sornat

te, in ciel,etl,- un - til

in ciel sathe end, of time,

U + I I Vf crese.

rA f roco piit

O- lu - 6e-di quest , : fO- tr;ght of - arl ir ; O"

O l u - c eO tisht of

di quest' a--

de - li-zig-a-mor eto jrou my troth is

all my be

Ia no - stra sot-te u - ni

d e - l i -

- t a- etl,plight our souls silcl l be u -

a

in ter- ra in cielut - lil the etud,

deh,vie - ni a me, ri -O cotue to ne, be - ed!

p o -Iou

sa - r:r!of time!

cresc. e string,

c.he per te sol vi

anA Uoe$ for low o'

su que - sto cor chethis lov - ing heart a

a - mor, de - li - zie-eto lnu m! trcth is

di quest'

4ll tn! beoo

che te so - spi - rg_e bra - , ma,is eu - er long-ing for_ !ou,

l u - c etight of

ti - ni - ta no-stravi - ta'

pli6ht - ed., our souls s)lcll be cssor

or,e

00

sor - tenit - ed,

6roa -

-- in ciel, r n -ah!- for e'ef:,

a - lonesootl -

c o -dores

s a -- te in ter - rQa.jn ciel- un - til the enil

ia ciel

sa - rirl- ef more!

vie -ni al

lo , s i , sol v ilr f,or rou a

sPr- tnc iIoag

cheit_tou,

si sol

for 1,ou

forl,otrc,Pera

YT.I

lone,

2*

ei <^l ei -

fot yov a -

re che te so - spi - ra, che per te

X'ou, is long -ing for- you,lites for you

0 1

si, vilone, a

te, ah,lone, a

so1 vi - wir peryou a - lone' a

S; "i'forSlr

ah!

ni , v ieai, vielo , for

9S

Lucia di Lammermoor Gaetano Donizetti, 1797 -1848

"Regnava nel silenzio"

Opera in three acts. Text by Camrnerano from Scott's novel, "The Bdde of Lahmermoo!."First performance, NaPles' 1835,

st' loPSIsLocale: Scotland Time: 1700

Lord Henry Ashton of Lammemoor leatns of his sister Lucia's love for Edgar of Ravenswood,

his mortal enemy, and he vows to kill Edgar. The latter, howevet, must leave for France on an

importaot political mission, and before his departule, Edgar add Lucia meet irr her garden and

pledge their eternal love,

For political reasons, Ashton wishes to have Lucia marry the powerful Lold Arthur Bucklaw.

Lucia's stubborn resistance slowly breaks down, for lettels betweeo her and Edgar have been

iotercepted by Ashton. Finally, Ashton produces a forged letter demonstrating Edgar's complete

iofdelity, and in despair Lucia agrees to marry Arthur and thereby satisfy her brother's political

asrbitions.

Edgar returos to Scodand and enters the scene of the weddiog feast just afte! Lucia and Lord

Atthur have sigoed the cootracts. Believing himself betrayed, Edgat cu*es the household and

depars io anger. That night, the distraught Lucia goes mad and murders her groom. She emerges

flom the bedrootr among the horrided wedding guests and siogs of her misfortune - then falls

dead. !/hen Edgar hears what has happened, he kilts himself with his dagger.

Lucia di Lammermoor'Regnava nel silenzio"

Eaglish tralslatior by John Briggs

7 g

Gaetano Donizetli

lucta and het conftdatrto awalt ldgar h ihe galden Gct I). She trsqblngly doscrlbes ths thostly apparitton whtch sho once

ssw thore, al1d vllch she foats ls a for€valnlng of gr'eat nlsfortua€, How€vor, tho exp€cted arrlval of Edg:ar soon dtspels thess feais,

and her soag b€comos on€ of great joy at bls coDlng.

etto O=es)

theD a csi - leDlo! streep -

Reg - tra - vaSi- Ient - ly

r

lrD palthe pal

col - piaNo sjor- e d

iogta

uas andnot - te

night-

. 7

la fro'l - teap - pear'd,

- d o

lid. moon

te - traatontt uats

- n a- ed.

rag - g1o - di-in oeils of

l u -shrou.d,

qiran - do u! soE - rrlesuhen on the ait

Copyrtght 1951 by Theodore Presser Co.

9lt

a ffreft.

siful

.a/

gesigtr

m i - t oroos borne,

l'au - rq-u-dirheatd a tnovrra

edIfr

:--

ec - co su- quel ttla!-gi - neher, sawher standing be - fote me, Ah!

Uom - braTIerc stood

60 - strar - si, lb6-bra oo-strar- si aa shal- ou, there stood, a shad'oa pale. ah!

Q"al di chi par - 1",She mor./d, her lipe aa

d e -heat.notbtt

lab - bro su - oI, a - las, could.

irar - mi-3 sd -did nol dare-

chia -t

p a - r e -d.raa near

poislre

- her hand

b

stoorl watch - ingrat - ta .di?ratu - isHd from

e lbn - da pria siand on the liDz - pitl

fim - pi - dasil, - oet - strcam ap -

96. '

pria sion the

tr'

lim - pisil, - Det

sa:r:-$E-- ros - sef-'E - 6d si,peaf.l a --lur - id, - li.ght, and.

- da di sa! - gue ros - seg-streornap - pear"d, a lur. id,

delight

h'

-D i -.t

tr

gid, si, pria siligJ*,ap - peafd,'a

lir!-pi - da ahlur- id l ight,ahl Red, - as

OGrief sfuiJ uan - ish

a- gior-niin days of

miei,-pl.eas - ure,

! -

con - fo r - t o , i aI !nio- pe -n! pain- aldand lave shal,l drfue a-u:ay:lull'dt :e a - rtay oll,-

: t r

cresc.

6E> .->.f

? *f

o8

del piir cocente-dr - dolhere sholl bera more *or

col fa'- vellar delbting-irg ahap - p.f

Dli giu - !a e-ter - na fd, e - ter- rla fi,,4ndsoear - ing lo be otitlc (tlddine d- tatle.

eec

nr

del piri cocente_;rr -thcre shall beno nate

do - r€,.l0r - tou,

stasisht*y

col fa - rcllar delMng - tng artltp - py

co ae-'--fou-

mi g"iu - rarg-ter- na fd,ordsueat - ing to be mhe

fan - ai lriei di - Exen - ti.co,feArc be all- for - got - len

g*:a di -vie - ne- il pian - toanhaur of io!* rann- g.ona -\n ,

pai - rd toche a lui d'ac - cano{ late en - dattl

si schiu - daatuJ sor - tow

st_ohl.'..'-..- sor -

da

iL ciel perrunaflce a- -

tr- ciel pernow flce a- -

let - tords

si- schiu - da il ciel_oh!,.-'-'.* aor - ni.o t1!J1i fbe_ a -

do rafi - tojn e - stasihe oppears, o ec - doxy,

del piir cocenteJr - dothere shall4e ra ntare sor

col fa - vellar delbfing- ing ah4p - W

mi $r - ra-e - ter - na fd,and, stea. - ing to be mine.

gli,gJ fan ni miei- di -M! Jbars ln all_ fr -

men

80t ten .cro-FEn houf

di - vie - ne il pianoJ: jo!- now- grant

drejr lui d'ac - canof- loue en - dwrt

ciel per i

I

il- ciel perno,zu f'l,ee a -

dasoa -

to slmel nv

t-o2

- ciel pei- i

sl_-Ah!- sor -

danou) flae a -

si- schiu - da il_ ciel_ perAh!- sor - rou nou) f'Iee_ a

par-Noro

? > . = >

ah! si.st*nv_* >

sdriu - da il cielsor - rou drall tlee

Martha

103

Friedrich von Flotow, l8l2-1883

"The last Rose of Summer"

Opera in four acts. Li6retto by Friedrich and St. Georges. First petformance, Vienna, 1847.

SYNOPSIS

Locaie: Richmond, England Time: Ezirly 18th Century

Lady Harriet, maid of honor to the Queen, and he! confdante, Nancy, are bored with the dive!-

sioos of the court. Seeking adventure, they disguise themselves as selvants anC set ofi for the Fait

accornpaoied by the.eluctant Lord Tristram in the garb of a farmer. To ptoloog the jest, the

girls engage themselves as servants under the assumed names of Martha (Haliiet) aod Julia(Nancy), Leaving the distraught Tristram behind, they go to the home of their employers,

Plunkett, a wealthy farmer, and his step-brother Lionel.

Auived at the farmhouse, Plunkett and Lionel are surprised at the lack of plactical domestic

koowledge displayed by the girls. The two men carefully explain household duties to the girls.

In the piocess, Lionel becomes infatuated with Martha, while Plunkett fnds Julia very charming.

That night, however, the gills tire of the jest and escaPe, with the assistance of Tristram, who has

followed them.

At a huoting park some time later, Lioael and Plqnkett are amazed to see "Julia" with a hunting

party. Ldter, Lionel encounters '.Martha," who haughtily rejecti his declaration of love. She

tealizes that she is quite fond of him, however, and it is her nobility alone which stands as a

barrier between her and the young farmer,

Io despair, Lionel sends to the Queen a ring which his dying father gave him in childhood.

Lioael's ideotity as the Earl of Derby is thereby established. The succession of events has thlo;n

Lionel's miod in a turmoil, and it requires the le-enactment of the Fair scene for him to fully

realize that "Martha" loves him. The two are happily united, as ate Plunkett and Nancy.

104

M a r t h a"The Last Rose of Summer, '

In Act II, whlle Llonel dlscusses chores vith Martha, he playfully steats a rose sheshe has sung for hlm. She obtkes vith thts arla.

f r l e o r r ^ h v o n I l o t o whas neen weartn8, and retuses io rcturn it untii

I - rarghetto

Copyright 1951 by Theodore Presser Co.

105

gioe- sigh ftr siglt!

lhou- lane to- pine- on lheslefi.

Ill scal - lewes- o'er lhe bed- u:hcre thy

; \ 4

," rhg I

tempo.

1()6

FAUSTCHARLES GouNoD

Opera in five acts. Libretto by luks Barbier and Michel Carri, based on the drama ol Goethe, First perJormance:Lyrique Theate, Pa s, March 19, 1859.

SYNOPSIS

-FV I HE PLOT resolves abour those portions of Goethe's great poem which have particular reference to theI tragedy of the beautiful Marguerite. Satan has been given leave by God to tempt and try the learned

alchemist Doctor Faust, who has attaitred nearly the summil of human wisdom.One day that wise man, reflectiEg on the vanity of earthly knowledge, is led on from weariness to bitter

complaining, and finally contemplates putting an end to so useless an existence, He is distracted, first by alively morning chorus of girls outside, and aft€rwards by a cheerful hymn of laborers on their way to thefield. At their praise to Cod he is startled; but, relapsing irto despair, questions what God can do for him.Eventually he abandons his trust in heaven and calls on Satan who, to his dismay, instantly appea$ in the shapeof Mephistopheles, a courtly, g€nteel, mocking devil. Methistopheles offers him first gold, then glory, inexchange for his soul. But it is not until he promises him youth and conjures up a vision of a beautiful girl,Marguerite, that Faust is lured into signing the fatal parchment. The bargain is sealed and Faust is trans-formed into a handsome young man.

In the next scene we ale irtroduced to a convivial company at a fair. Soldiers, students, and ci[izens aredrinking and enjoying the view of the river and the passing crowd. Valentine, the brother of Marguerite, entersto take a parting cup, as he is about to go ofi to war. He entrusts the care of Marguerite to his young friendSiebel, who is timidly iD love with her, Just then Mephistopheles eoters, coolly takes his place among them,and ofiers to sirig a song. He sings the sarcastic Calf of Gold and behaves in such an outrageous manner asto cause the students to dravr' swords. Valentine strikes at him, but his sword breaks in the air. Seeing this, thestudents reverse thei swords, and at the sight of the cross-shaped hilts the Devil ret;res.

Io the following scene, we see a village danie in progress. Faust approaches the lovely Marguerite,briefly, on the street. Next, we are carded to the garden of Marguedte, where Siebel is seen preparing a bouquetfor her. Mephistopheles enters with Faust who begs him to leave him there alone, but Mephistopheles returns

. with a box of jewels which he places at Marguerite's .door, assuring Faust it will easily offset Siebel's humbleoffering. Meaowhile Marguerite, still haunted by the memory of the handsome youth who spoke to her in thestreet, sits at her spinning wheel. She discovers the casket, opens it, and is delighted with the glirtering gems.Her leighbor Martha arrives and tries to convidce the conscience-stricken girl that she should keep the jewelssince they were surely meant for her. Mephistopheles and Faust ente.. The demon easily gains the acquaintanceand favor of Martha, thus opening the way to th€ acquaintance of Faust and Marguedte. Friendship ripensto love, the tender avowal of which is the end of the garder scene.

Here a considerable inte al of time occurs. Then Marguerite is again seen, having been loved anddeserted. Her little child is her only companion. Her brother returns from the war, and the same eveningFaust and the fiend also return. The latter, with devilish intent, sings an insulting serenade. Valentine rushesout, fights with Faust, falls, and dies cursing his sister.

A church scene follows, where the poor girl, trying to pray, is confused and finally frightened into insanityby the mocking voices of demons near her who remind her that she is lost and cannot pray, and that thereis no mercy left for her. In this state she kills her child.

Next lve view the revels of the night of Walpurgis, where Faust, joining in the carousals of spirits andlost souls, is startled by a vision of Ma.guedte, pale and wiih the mark of rhe headsman\ ax on her whiteneck. He flies to the prison to induce he. to escape. At the sight of the attendiDg demon, however, she wiilnot go, and begins to pray. During the prayer the light of the succeeding holy day appears. Nlephistophelesdisappears, dragging Faust, it is supposed, into the infernal regions. Arl angel chorus sings "savedl SavedlChrist has arisen!" and Marguerite departs with them to realms of bliss.

The action takes place in Germany, in the sixteenth century.

34I1 6tait un Roi de Thul6

(O'er the seo io Thuie ol old)

Jewel Songfrom "Faust"

Act III

Andantino (J = oo

Je voudraisbien sa-voir quel 6- ce jeune homCo-me vor-rei sa - per del gic+in@oi+cou - tra -I uish I could.butl<rl,ou,uho uos he that ad'dress'd,

et com-inest il se nolne co-[oe Yien chi& - Es

o\ atleast what his name

Marguerite's Song

Si c'elt ungraod sei-La qua - li - ti4l ra -

If he uas

tJ ---_-- "--r-

o a a a a

-7T1--A -a a aT--'-----t | | |tcfasc. -t a a a a a

- S l t - r t - yO a - - -

--PP z-1, .-_

1 > + 1 >

Ee.i

nte,

gueurr_

no - bl,e,

@ Copyrighi 1956 by Theodore Presser Co.

4 1 1 - 4 1 0 0 5 - t 4 9

- me?- tol

t-s?

Moelerato maestoso (J = zz)

o e I ! u - l e _di Thr - t6_Ie of old._

sou-ve - nirme- mo - r i are - tneir - brance of

Qui jus-qdi la tom -cle- si - no-a mor

Reigtd a King ra'ho u:as

I1

"o,er

ed., Trco-sur'd up a

poco rit(nuto

Roi

Thu

tait ud

sea inr&_!nthe

ed,

s e -

of

de sa beldelf - s - Er{!none d,e - part

Eut errC s - r &

Wo in

b e f i - d bte co - 6taD

l rue heart

u - ne coupe enSer-bd_ur nap - po

ot cidbr-

gob - let

Il a-vait bon-ne grn - ce,A-vea mo-di qeD - t i l_

He utos so gen-tle'in becr - ing,

i ce q'/if "le

s"r+ut6.a quan-do mi seo-brd.

/ris uoice ros so lind.

4 1 1 - 4 { 0 0 5 - 1 4 9

36(Resudrlg tbe SotrgJ

cha- que foisf i - d o r eeo -'rJ, - timeheep,_

setbeid.id

jours il s'envol - te_ai piirsid,e the King

les grandsquan -teat his

chal - mes,

cher - ishd,

'Nul tre - so! da-vait tadt de char - mes, Nul tre - so! n'a-vait taat de-Nes - so]r ber g]i Iu ca-!o tatr - to, trea - 6nn ben gli Iu ca-ro'This

rare cup so ten ' derl,y cher - isHd,, This rare cup so ten - d,er-l,y

o F eA t A

: Pbj-': r l.r.;--

qdA fl,--..

b

, . f i r - . 6

y b u -De ael -

loucVd. hisvi-

Sesyeux se retFplis-saieut de larSeo- ti ba-par gljgc-chi di piaaHeweptand,thot$ttof her long per

- mesl"- to!"- isn'd'.'

e F....-.-t fir! l - - l

e + t . 1 - tn -

"l- Fr l-F'l I

Q-i

'Qua!]d il sen-tit"Quan - do sen-tis

"O - oer the sea at

air la 6ortr-pres - ro Ia - vel,-Last came Death!-

E-tea-du sur sa ftoi-de couaap-po d'or ls' m8-no steOzlris cozch lhe old King Iy

che,

Ln8

d t . c Jp

t , , ; *I I I l ''---./) )l i t r

* ' t l

Pourn

CaUA

la por- ter

for the cup

bou - che,

ing,pre -dy

jrs - qu) sadi lei lo

u:hen he uas

Sa maiD t i t un su-preme el -Si - no-a mor - t1a lei le -Al-most tcith- his lot - est

(Speaking to hersel f )ar\

(ResuEing the Song)

iort:-ddi-brealh:'-

Je ne sa-vais que di - reIo aon sa-pea che dir,-I lozetratu:hat lo ans-uer

Et j'ai rou-gi dl-bord.ed ar- ros - si i al- lor l

And.bluslidlike a - nf child.!Andante

o - + g j i

, ^f o i-l 4 t t F e

:1

t

A

t,T purs'Po - scia'once

more.

en laoodeur de sa da - oe, Etin o-nor del- la sua da - ma, po -

uith the old ttue de - uo - tion, Once

puis6ci&

en Lholrneur de sai! o-Eor del - Ia sua

uith lhe old, true de-

Te I

o F eA , a

: ldhi--: I f+;-

" F e, fl[.--r . fl.-

qda ^ . 6 r - -

, x' . 6 t . - . a

411-,t1005- 149

38

da - Ela,

to - t ion,

Il but u - !e der- nie - reIjol - ti - ma vol - ta bev ' vlilThe Knguouldhote his cup of

fois-

gold.;-

des airs si 16 - so - lus,Ian quellal - te-ro_&n-dar,so btaue a tuien,

r lu renLo

cou - penap-pq-all- or@ith hand.

A - vec ce t - t e dou -E i] par- lar lu - si:r -

So ten-der aLI lhe

IThen

tlem -

slia l -

rcad, - ! cold,-chia

ola

ont seulsri 60l

lDho lios

dals ses doigts.r_de al pi3-

Et douce-metrt il ren- ditIial-ma va3r.1 ciel che,a se loHe flungthe gob-let in the

Les grands sei-gneursI gran si - gno

'Tis but a lord,

Moderato

ghieru:hile

Al- loDs,Or via

dy pensonsDOn Ci Pe[-'tis i- d.Le

a --aotce

* ? t , F t el\-fdim. 7).--- +

. 1

x ?eiL. * Ped. *.(ea. ?r

4 1 1 - 4 1 0 0 5 - 1 { 9

39Andante

plusl-siaml-d,teaming:

Andantino

rail-dr6!-gahr-

Va- leo- tinlYa- len - tinlVa-len - tine!

CherBronDear

SiDieud6-cou - te Je te re-ver -sejl eiel m'a- scol - ta, an- cor- ti ve -Moy eaoen bhss thee and.binglheehome o -

Me voi- 16 tou-te seu - le.Ma aon qua eo - la, 60 - la.I am left herc so lotue ly.

Uu bou-quet Cbst de Sie - bel saus dou-telQues-ri f ior- Son di Sie- bel al cer-tol

Ah! flou'rs laidthere no dnubt b! Sie-bel,

Pau-wte gar - goolCo-rdi gen - lill

Poorfoillvful boy!

Quevois-jeChe veg: goBuhDhat i.s

li?I;?

lhis?

Iy'o! ce ri- che cot-tetpeut-il ve- nir?On-de quel r ic-co scri-gno pob ve-nir l

And, by *hom can lhc cos*ztho.ebenlefl?

. l l A - -- r -t ^ - F - l

a. -J ,l ttJj I | |

't--.o-

_1=__-_._ | 7po - a

411-.11005-149

40

Jen'ose y tou- cherr_Non lbso toc-car,_

I dare notaouch it!

et pour-taut,Ma ehi eal

'Tho the key

Voi- ci la clef je croi!la cbia-/d lir, mi p&!lis Laid be - sid,e it.

ma main trem -ble!la men tre - mal

rtill it o - pen?

Pour - ne fais, en ltou-rr'ant, ien de mal je sup -A-pren-do - lo non lo al - coII ma - le mi

may o - pen at leosl since to look utIL harmIt/hy

quoi? Jech€?

not'? I

Dieul_ciell-Hearh!

oo

que de bi - jouxlquar-ti gio - iell

,zuhatbriLliant getns,

Est-ceun 16-ve char -E-un so-gro_ia-ca:r - ta -Whillheir mag- ic - al

malt Quirrld-blou-itr-tor e mea-ti - tor_

glare d.e-ce )e mX. e!es,_ be

ou slOp-pur

Can thgr

veil - le?des - ta?rcal?

Mes yeu. dont ja-mais vu deNor vi-diin vi- ta Ioi - a

O ne,ter in my sleep d,id

d- ches - se pa-ric-chez - ze_egoal sI rJream of aught so

411 - 41005 -149

reil -qiet - trllooe - lyl

seu-le-eentco-me IsIl

for a mo

lue pa - rerPos-eo-al- melment

uD mo-

bul toNon vi-alcun;

If I d.ar1l

de ces pen - dants do - reilQues-ti be - g[-o - rec - chithese ear - rirr,gs so splen

jus- te - ment,bellj e pron - toby a chance at

- lel- tdt- d.id!

Ah!.Alrahl of

Au foad deia fon-dq-allhe bot - tom

Voi - ciY'i quiaul, here

cas-se t - te- 6 e t - t i - E o

lhe cas - ket

u n m i -Bn ctl -

l.s o

.1r1-41005- r49

roiit6tal

tlassl

Co!n{re!.t de-&e pa8 co - quet - te?Pet po-ter mi- nPmi,in el - lol

Who could te- sist it lorx - et!

tto (J = so)

Ya - na-rel - la 60 - noJ. -

uho could, coul-d re - sisl it

Co6-eetrt n'6 -'ire pas co -

A.b!ATIAh!

Je ris-

the jo!-

de oe voir Si belle!o po -ter il r.i

pastampme,these jeto -

en ce mi - roirlso suo ve - der.

elsbrigfit to uear!

Arl,{HAh!

je r is deftevoir siso gur-dar, rni

If"!tcrtupare,these

mi po8tie jor

(Jewel So"g)

{ l t - 4100 6 -1 t0

belle en ce lld - roir.po6 - 60 ri - xqi - raa.jeu - els bright to beaL

Mar - gue -Mar - ghe -rnaid - eD

Est - ceDi, sei

Vas I

toi?-tu?-

Est- ce toi?D i , 6e i t u?Is it l?

r i - ta llou - U,

nod, Ce n'est plus ton Yi - satro, lron i' piilil too sem - biau

Swe - ly eD ' chant - menl is o'er

R6pondg r6ponds., 16pondsdim - mi, dim-mi, di eirMit - ro4 mil-to4 teLL me

C'.es( laE l a

Eigh - botn

r6ponds moi,d im-m i :n l

cofiLe re- pl),!

vi - te?

Pre - 610ltru - ly?

!ou, ce r/est plus toilnon Eei pin tu.this is nol I!

ge;Non,nol

411 - 41005 -149

C2est la fil

High - bonv maid

fil le d'uai i - - g l i a d ' n ar n a i d - e r L l m u s t

Ce n'est plusNon sei pin?lris is not

Ce r:lest plus toi,Non sei pii tu,liis is not I,

roilrelbe,

le d)unglia d'unI musl

fil - le dun roi, Qu'ou sa - lue au pas - saIi - glia d'u.lr re, chlg - gnun dee sa - lu - tano - bl,e, and Kngs shall pay hom - age be - fore

Crest laE l a

gel

nle!

Anl s ' i l 6 - ta i t i - c i !All de-gli qui los - seAh! m4ht it on-b, be'

S'iIPerHe

me vo - yait ain- silco-si ve - der - mi,

conkl m1, beat-t1. see,

, 1 t l a . t ' . i + : r .f v t | ' t . f .

P r l t .J;;-""--'"-- 6-'------------.....--

41 t -41005 -140

4 5

Comme u - ne de-moi- sel - leCo - rneJ-ra da - mi - gel - 1aNou as a roy- aI La - il1,

a tcmno

11 me troEr€-rait bel - le,Mi tro-vo-reb-be bel - lalEe uould.in4eed, a - d,orc tua,

ANI -AII-ah! _

o ltp--

' r.fr- ---...-\

- .aE . l-r t ) t - J a .l t . J J J F- If

A!l- Crmmeu - ne de-moi- sel leAll- Co-roe.-u-na da-mi - gel- laAh!- as nouj ( roy-al La

me tlou-ve- laitmi tro - ve - reb-be

d 1 ' h e u o u k l a ,

a)crcsc. 't ̂ -

.f+

frg.:' atm.

belilore

belbel

ilote

{ -11--11005-149

46

pho - se.

dorn me!

I[ me tarde_en - co!Yo pro- va-re_an - cor

None is here to spy.

A-che-vons tu !o6-t.--or-?10-66 - guia - rao l'a-ilor-ra -

Here ate mote, rea- d.J, lo a-

des-say - er Le bra- ce -se mi 6tan- lo sma-

The neck - Itce,:thebrace-Let

lett r i -

@hite,

et le col - lie!!glio_ed_il Eo - dll

A sbing of peatls!

Cestcomrne u - oe main,E co-Ee ! - ns mal.

It fucls as ij a uei;ht,

i " ,,111-41005-149

47

qui sur mo! bras se po - se, Ahlche- sul brue - cio mi po - sa AII-

Laid. on nV arm did butn me. Ah!,

Est - ceNon seiIVas I

A.h!AhlAh!

Mar - gue-ri - te,Mar - ghe - ri - ta,naid - en lou - ly,

je !is- de loe voit si belle e! ce mi-roir!io ri - do-i! ?o- ter me stes - sa qui vo-derlthe joy- pastcompare,these jeut - elsbrigftto ueat!

Je ris- de me voir Si belle €n ce mi-lo ri - do,ir po - ter me sies - 6a quj ve -

The joy- postcnmparc,these jelD - elsbritht to

!6ponds moi,alixo-mi su

come rc-ply!

. _ . 411 -41005 - t 49

48

r6podds, r6pot1ds, r6po!.dsdira - ei, din-mi, di sB

Mit - to., nir-tor, tell me

vi - te?

Pro - 6to!ttu - lXt?

A l d i l 6 - t a i t i - c i !Ahl s'o gli qui foa - aoAh! ,rlightit on-ly be,

S,i1 me vo-?e r co -s i ve -He couldmy

d -dlm-

, , t t l - t . ?p - 1 ".=..-

77r.<-+ tlY r'- f*__

yait ain-si,d.er - mi,

beou-t! see,

Coome u-ne del3oi- sel - leCo - me-u-na da- ni - gel - ta,Nout as d rc!- al Lo - d,!

T1

MiHe

ee trou-ve-rait bel - le,tro-ve-reb-bo lel - hl

wotid,i>dced, a - dnrc tu€t

r J l i - * + t l l t :

P rtt.-

-T.. ) JI-I .fl <l ,J .t J= rI J Ir -[J

A_h!_AtrI-

Corumeu- ne de-moi- selleCo+q3r-no da-mi - gel-laAs nous a roy-al La

me tlou-ve- raiiloi tro-Ye - reb - le

dy hewould, a -Ahl.Ah!

bel - Ie!5eI - lalilore me!

bel - le,be1 - la

d.ore me,

Ah!

Coooe u - ne de-e'oi- selle il me trou-ve - raitCo-me..g-na da- rd - gel-la Ili tro-ve-reb -beAs nou o roy-al La - d,y hcu:ould, a

. - 4t1-rtt005-t.to

dest6eiis

Ce

this

M a r - g u e - i i - t e ,M a r - g h e - r i - t a ,Mat - ga - ri - ta,

plusPintlot

biaa -CeNonSome

to1,tq

a'est plus toa vi -; piq-il tso sero -en - chanl-ment is

Non:NoNo!

Oest la Iil - le dhn roir-E le fi - Elis d'ul relI am ro1: - ol anil Kings-

Ql1oo sa -Chq,o- glonshall d,o

au pas - saea- 1 r - taage be - fore

deehom- tue!

i . 4 1 1 - . ! 1 0 0 5 - 1 4 9

Mireille

LO7

Chades Gounod, 1818-1893

"O l6gdre hirondelle"

Opera in four acs. Libretto by Balbier and Carrd, based on a poem by Frederick Mistral.First Performance, Palis, 186{.

stNoPsIsLocale: French vi.llage Time: Earty 19th Ceftury

Mireille, daughter of Ramon, is teased by the village gills because of h", "fi".tion

for Vincent,

the poor but handsome basket weaver. She is warned by a local witch of imPendiog barriers to

their romance. However, when Vincent arrives on the scene, the two lovers embrace and vow

eternal love.

Ramon, meanwhile, has given his consent to Ourrias, a herdsman, to marty Mireille. She lePulses

him, and he reports back angrily to Ramon. Vjncent's father aPPtoaches Ramon and tequests the

hand of Mlreille on behalf of his son, but Ramon refuses to break his wotd to Outrias. The latter

sweals vengeance against Viocent,

Dudng a village festival, Mireille leams that Vincent has been wounded by Ourdas- The un'

happy girl sets out on a pilgrimage to the church of Saiot Marie to Pray for her lover's welfare.

She enters the church along with a gtoup of pilgrims, and faints from the exertion of her travels,

falling into the arms of Vinceot, who is among them. Upon regaining consciousness, she sees

Vincent and believes herself to be in heaven. The lePentant Ramon finally consents to their union,

aod all eods well.

to8

M i r e i l l e"O 1dg6re hirondelle"

English translation by John Briggs

liftrctlle, teased by the vlllagers teca se of vlncent (Act I), slngs to ihe falthful messenger,

nessa€ie of falthlul love fo. hlm.

Char les Gounod

the swauow, to carry to Vlncent hsr

O 16- gire- hi - ron - delS*a, - lr*,fXy - tng so higll

o dim. F e * IrI

r l| ]

Copyrtghi 1951 by Theodore Presser Co.

109

Vers- mon-.....-seele the uo d- frnd. ry,true-

gai - mentlov - er,o - l:ef

Et-_ con -stag to him-

te- lui-of the loue-

mon- doux-aru| llte pain-

tour - ment_in ny hearl,-

Par - le lui- pour: moistng Io him- tha! I

Et cus lul_ que je Iaiu ill tat (14 -say my Lote-

\'in - cent-Yin - cent-

peut ctolreknows it,

ir- mon- ser - mentEas- my- ptum - ise,

110

oSwatr - kar fly

111

del f i - : d df""d ,

:

r e f i - d dhim u:ho looes

Mes - sa-gdfly o"d fi"d-

Vers- mon-Sedt lhe world-

ro - le-find, nly true-

vo - le-teIL- him

nu

LL?

O 16-gere- hi - ron - del

Swat - loqfl! - - iog a boDe

le

fly anilfind- hitu lthoVers- motLSeek the uorkL

yo - le-

frnd nV true- huEt- con -

sirg to him

LL:''

to lui-of the loae

mon doux-anil the pain-

a- moo- se! - meot

has- my- ptum - ise

tonr - rllent

in ivhedrt,

meing

Par - 1e lui-stry to him-

pour Dxoi

. o f n vEt dis lui-sa! m1, Iove-

Vo - ie Salletl hrn aII -

ta ' 1

Virl - ceDtI/in - cent

p€nrt croirekrcioz it,

tr4

meot a.h!-lae dh!-

ah!-

zrd time

ah!ah!

an! -

- a ,- ab!- alJ

ah!- ah!- ah!

3

ahl-ah! -

al!-- all- ahl- ahl-nh!- oh!- ah!- oh!-

M6

- le yo - le gai ' ment ah!stDoL - la{J teU htm

le vo - le Yo - le gai - Erent ah!swol, - loa tcll' him ah!

oh! -

aln

ah! alloh! oh!

ah! allohf ohl oh!

il!

Iq ' )

I lft

Romeo et Juliette Charles Gounod, 1818-1893

"Ah, je veux vivre"

Opera in fve acts. Libtetto by Carr6 and Barbier, based on Shakespeare's tragedy,First performance, Paris, 1867.

srNoPsrsLocale: Verona Time: Middle Ages

Young Romeo Mootague attends a masquerade given in the home of the Capulets, enemies of

the Montagues. He and Juliette fall in tove without knowing each other's identity, When Romeo

is discovered, he is protected from violence by the older CaPulet, his host.

Romeo again risks danger by eoterirg the CaPulet galden at night to serenade Juliette.'fhe two

vow erernal love.

Kindly Friar Lawrence performs the marriage ceremony in hit cell, hoPing that the union of

these youog people will bring an end to the long feud between their families, Juliette returns to

her home after the ceremony. Meanwhile, io a Verona street, Tybalt, of the Capulet clan, kills

Romeo's friend, Mercutio, in a quaffel. Romeo avenges Mercutio by slaying Tybalt, and as a

result is banished to exile by the reigning prince,

After Romeo's departure, Juliette's father informs het that she is to matry the Count of Paris.

Once again, Friar Lawrence comes to he! assistance. He suPPlies her with a powerful sleeping

potion which renders the uset apparently lifeless. She swallows the potion, and her family believes

het dead.

The message explaining the ruse has not reached the stlicken Romeo, who rushes back from

Maatua to view what he believes the dead body of his bride. He poisons himself and falls beside

her inert form. Juliette awakens Trirm her coma, and as the haPless Romeo dies in het armi, she

kills herself *ith her dagger.

Rom6o et"Al ! Je veux

On the evenln& of the masquerado (Act I ) , her duenna teases Jurtet to about the young t r len. Jur iet te then s ingsthts"Walt ,Song,, tn rAtch ahe glowtngly descrtbes the roaantlc dream she teasures in her sour. The arta rs vttrant wtth youth and exu!

€lance, typllylrg Jullette's natdenly tdoaltsm.

117

Juliettevivre "

Erglish rarslatioD by John Briggs Charles Gounod

Tempo di \aIzer animato Q. = 72)

Dansilrcam

/"4---:-

quitu)eet

m'en -esl

longrouncl.

copyright 1951 by Theodore Presser co.

'.1a

/a-:

looe-dans

onmon

- I ytoe-_.-

Com - - me un tr6 - sor!-l o o e - i e a - l o n e ! -

m'eiest

qurs )eet

dansiheam -

tts

- m+" trG - sor.l o v e n e a - l o n e .

Cet - tgiY-res -Lorse's e-fio -

- se De jeu-nes -- tiot, Loxe's ile-xo -

I to

Ne dure, h6 - lasl- qu'unling-eB a - lasl but a

vient ltleu -RrisComes

- re Le coeur cB - - dg-i l'a - mour,- rou, Iobes d,e - light- fTotn a - uay.

le- bon -looe-

heur sais- re - tour--floun- a - $a!'.-

i

L?'-

Yre- da-ds

er- dream ingve_ qurer- Sueet - - est

- vtL Long - temPsries- round a -

DouDo- bout-

de- dansrne- on -

mon- l y

a - me- Com - - mq_9rn tr6 -lobe- tne- loxe- me a

t2?

Lais - se - moi,-Let me dream,-

m o - r o - s eof 'win - te\

de fhi - Yer

from the colilLoin-Far-

Meno mosso

soriIone!

res - pl - rerof the spring

lais - se - moi som-meil - ler,Iet me dreatn of thc Mob Drean-

l'effone

deali

Res - pi - rer la ro - sg_A - vantAh, Ioo soon the ros - es uill

I?'.t

Strict tempoJ a tempo

Dou - ce f lam -Do not leaue

t e d a n s m o n a - - m eDo- not griete me

ResAh!

com.me un trd - sor) - - temps - en - cor, en - cor!I oue me a - l one , Lobe - me- o - Ione,d - Ione!-

t?5

Anacrdon Chez Polycrate Andr6 Erqest Modeste Gr6try, l74t-1833

"Eprise d'un feu tdm6raire"

Opera in three acts, Text by J. H. Guy. First performance, p$is, 1797.

SYNOPSIS

Locale: Gteek Island of Samos Time: Ancient Greece

The renowned bard of lonia, Aoacr6on, awakens on the sholes of Samos, where his smail craft

has been driven during a storlr. A man and small child lurking nearby approach him curiously.

Upon discovering his identity, the man, Alphide, coofdes his troubles to the kiodly Anacr6on:

Polycrate, tyrannical ruler of Samos, has iust learned that his daughter Anais has been secretly

married to Olphide for some time; and Polycratels soldiers are searching for him. As yet, the king

does not know of the existence of Lysandre, their child. Suddenly, Anais comes to them in great

agitation, for the soldiers are close upon her heels. They decide to sail ofi together in Adac!6on's

boat, but asolphide steps into it, the tide carries the boat and Olphide ofi beyond the horizon. As

Anacr€oa and Anais are led to the palace by the soldiers, Anacrdon cautions her not to betray her

child and to trust in him.

Corifronted with his prisoners, Polycrate is enraged that Olphiile has escaped. He is pleasantly

astonished to discover that the old man is the famous Anecr6on. Greatly honored by the poet's

presence at his coult, Polycfate olders a great feast in his honor. Suddenly he notices the child,

and is informed by Anacr6on that it is a poor waif io need of care. Polycrate is won over by the

tot, and eotrusts it to the care of Anais. Meanwhile, Anacr6on has been pleading with Polycmte

to unbend and forgive the lovers. The power of the philosopher's words has gteatly moved the

tylant, arld he is on the verge of yielding, when Olphide is brought before him in chains,

Olphide happily calls to his son, and the enraged Polycrate again threatens death for the

audacious lovers.

Through Anacr6on's iofluence, Anais and Olphide have remained at court pending a fnal deci-

sion by Polycrate. Anais 6nds Anacr6on in the garden aod begs for his assistance. He reassures

her, and as she leaves, Polycmte enters the garden. Once again, Anacr6on summoos his poetic

muse to soften the bitter Polycrate. Accompanied by his lyre, he praises the virtues of love,

charity and iustice. The loven and their child edter the garded and each in turn is embraced by

the conquered Polycrate, who bestows his blessing on all,

lPa

Anacr6on Chez Polycrate*Ai r d 'Anais"

Euglish traaslat ion by John Briggs A n d r 6 E r n e s t M o d e s t e G r 6 t r vTheunhappyAndis descr lbes to Anaor6on (Aci I I I , Sc6n61) how sho brazenly opposed her father 's wt t l and oarr ted Olphrde in

secret.She alone deserves to be p nlshed, not those whom sh€ loves, slngs Ana'ls,andshswlll dle happlly for her sln lf only her husbaad andchild arc spared.

Larghetto (.b = oe)

feu- t6-md - rai - re,E - p r iI m - p r i s -

se ouaon'd. by- loae er pou'r ing,

J'o - saiI - d,ared,

de ma foi,ny fate,

J'o - saiI - d,arcd

de ma foi,tuf- fate,

dis-po - ser-to d,e - cide -

AuI

fied- the - LoiLl of nly

//:-

r1it -tum

1asiyea'

Yeogeancehe claims

loi,- oe4ge,and his re r e -

Cop].rt&ht 1951 by Theodore Presser Co.

L?7

uire er- reur trop chd - re,- for the lae I - cher - ish,

5a main- ne frap-ire que moilhis uralh be on my heod, a - Ione,

C'est i - lui que je dois l o - j ou r :fot I- t o - h im :

gueur je- rrla -ban -wrath will - f sur -

qu'iluill -

don - ne,ren - iler, tny trife

ne Aux yic - ti - mescy lo lhe dc - titnsli.fe nou, if he shoa,

de- monof- *!

mour,_xo - t ion,

Qu'il le re - prenlet him talse my life

- ne, et qu'il-now,if he ui l l -

par - don - ne Auxshoro mer - cJ, to

::.

lP8

ti - mes de mon a - mour,'Dic - t i tus of mf ale - to-l ion,

de molrd.e - Do-t ion,

de mon_ a - mout.of tqt - great loae,

e = 120(with urmost intensitr)leur

t i g e A - n a . - i s - d - g a - r dt e c t - A - n a - i s , _ m y b e - I o ed,

Ia

)ssaye en - cor_ de_ le_ f l6 _seek a - gain _ to_ set- him

a.) = - r J If_l_t_r II = T J .

;- * r,f) . l t

# L r J =-

chir:

free, ani l tel l hinl that sor-row,

- - SOrSSeS,

an.I an - guish

Dis - lui qu'd - pri - se e t d 6 - v otuhnt bit - ter

Pento

Des - ansor - fou

des an - goismr' o1ntu

du rehas brought

I?9

Fil - leMy oun

pas me se - rahus-band awJ saue

Et cri - hi - nel - le,brought me dis - as - ter,

Mais qu'il 6 - put -But let him spare

peut,- des_let - my-

de sa- ven -a - lane- be his,

re -bel- lere - bel- lion

Je trenou let

de - man - denle' die - to

mou - rirnq, shame.

gne I'in - tro - cen - ce;the help - less vic - titus;

bien doux,lnt sotr,

s,ilo

tto

ven .: gean _ _ C€,h i s r e n - - g e a n c e ,

7er- tnod- filshus-baruland my son

moalet

motr- e - Pou*tlet - him sparc

Sau - Yernd husband

oto

mon fils- etand, child, O

5 - pour, Sau-ver mon fils ethim spare ny huvbond dea1 O

mon ---Lel -

t g6 - poux.

him spare.

ii

704

L E C I DJULES MASSENET

opera in four acts. Libretto by A. D'Ennery, Louis Gallet ahd Edouad Blau, based on the play by coneille.First perlormance: Patis, November i0, 1885,

SYNOPSIS

6T>I<{ ODRIGO, called by lhe Moors, whom he has defeated in battle, ,,Le Cid" (the co[queror), receives-

lg knighthood from King Ferdinand of Spain as a teward. The ceremony takes place at the home ofCou[t Gormas, whose daughter Chimene is edgaged to marry Rodrigo. The KiDg bestows on Roddgo's fatherDo'' Diego a govemorship coveted by Count Gormas. The Count is enraged beyond measure a,ld insults DonDiego who, too old to Rght, calls on Rodrigo to salvage the honor of the family name. Grieved by the knowledgethat he must fight the father of the one he loves, duty is neve heless stronger and he kills the Count ilr a duel,Chimene swears vengenance on her lovet.

In the square before the palace of the King at Seville, a festive crowd celebrates the recent victory of"Le cid." chimene appears and begs Ferdinand for justice in he! claim againsr Rodrigo, the murderer ofher father.

News arrives that once again the Moors ale advancing. Ferdinand asks Chimene to delay her case untilRodrigo has been able to drive the Moors back once more, Befole leaviog for battle, Rodrigo leams in arinterview with Chimene that she still loves him-but as much does she also demand retribution.

In the campaign against the Moors at first "Le cid" is trear defeat, but finally eve.ts tum, anar victorybelongs to him again. When reports filter through that Rodrigo has been slaio, Chimene is prostrate with griei.However, the second report brings her to helself, and Rodrigo retums to fnd his lady as uomovabL asbefore he had gone away.

Ferdinand at last promises Chirnene her vengenance. He offels hea the chance to pro[ounce her love!'sdeath sentence. Once more she changes her mind, and when Rodrigo thteateEs to kill himseu she is fnallycompelled to acknowledge ber love for him.

i::,.

105

(No toroeats aow cnd Do mor€ sorrow)

from "Le Cid"

Act tr Ijlnfantds Song

English versioo by H. Millard Jules Massenet

The scene ts t}le king's ?alace. There ts g€neral Eerllment. Ijlnfante entets, Iolowed by lllonl(s altd girls carrying baskels of flowerc and 8ifts,

Un poco ritenuto (J.= ar) F, f-l-r) ) t a 4 )

.'.---..,

Plus de tourments et plus de peine

lre Au at-ten-du si long-temPs!rout, This day - wehattelooEd fot so long!

@ OopyriAlt 1968 by Thooalo.G P-ess€r Co.411 -41005 -140

Plus de tour- meats-No tor - menfs nou-

et plus- deand no-more

106

Le prin - temDs- sans la ioie hu-maiCan iping-timi- hu-man'joy e'er bor

Se - rait- i l e[-cor-Shall we uait in 1uain..-

le printhe tpring-tinle

,lf

r

Dieu ja - maisHis loue for

ne nous a - ban-don - ne, Quand ja - maisus He's ev - er show-ing, To all uho

Al - le-luAl - le-lu

ppt^t.4. .a

on ne lbu - bl i-a!-hoae for sin a-toned!-

jf=-.. Lento (J. = so)/)

Al - le - luAl - le - lu

ia!ia!

. 4 1 1 - 4 1 0 0 5 - 1 4 9

Pre-I lez, c'est Dieu quivous le don-ne, Al - lelu - ia!_Take it, 'tis Gorl, rtho is beatorrjng, AL - Le-tu - ia!_

l t l, a ' ti - ' = 4 .lr Jl l) t : {

, l =.fcr6c. 7J

-r--___-----l-t ! r' t.

Tem

ia!

maia!hand!

bien su-pre - D]e,high-est 6less - ing,

Que- d'au - tres coeurs-That- oth - er hearts-

iFF-l--'.' Z

- rD€, Al-- ing, Go

oant lahand. in-tng

lez, en vouson while hold

N'a-vez vous pas .-

leFor have you not - the

7au. T-empo I

e[ yain?uain d,e - mand?

1"

/-)

Lb -mour, c'est DirO Loae, the flo'' ''--1,--T- ,i l l r

, u qa't th

ui nous le don - nat God. has plant-e'

e l A l - l e - l u - i a ! -I , A l - l e - l u - i a ! -

| =\ i Jl-t.- /----.-J---r--a cresc. , f r :-_-i---::.*_<-

411- 41005-149

108

Gar - dez ce tr6 - sor- qui ray-on - ne Et que le ciel yous cor|-fi - al-Guard, u:ell this sueet boon uhich is grant-ed, And uhich from heati to 1,ou is loaned!

Lento (J. = so)p

ia!- Al - le- luAl - Ie - lu

p&^L

Tempo I O.=sz)

v. T.l-=-__i

v. T.l\---/l

T. f. z, T.l-\---l'\\_/ : t ---l | ----/

Molto lento................"f;_)

luIu

- l e - l u- le lu

la!i a l

ia! Alio! Al

4 t t - 41005 -1 {9

tE1

I)inorah; or, The Pardon of Plodrmel Giacomo MevetbeeL L791-1 4

"Ombre l€gire"

'Opera,in three acs. Libretto !y Barbier and Cau6' First petformalrce, Patis, 1859'

SYNOPSIS

Locale: Plo€rmel, in Blittany Time: Eady Middle Ages

on the day that Ho€l is to oarry Dinorah, a terrible {hunderstorm destroys Einorali's house.

Ho€l wishts to help ,ebuild it, and leams from:an old magician that there is gold to be found in

a fat-oft glea. He must ftst remaio in silencei'in the glen fot ooe year; then the filst Person to

touch tlee gold will die, and afterwards the gold will be alt forlim' Whetr Hoel leaves on this

mission, Dinorah betievps hetself deserted' In her'gdef she 'becomes demented and wandets

through the hills with her goat.

Afte. one yea! has passed, Ho6l returnsin seatch of a victim .who wil.l be 6rst to touch the gold.

He takes with him Coreotin, a bag-PiPer. As they approach lhe haunted glen' Colentin becomes

frighteoed and raishes to feturn. Dinolah aPPears, chasing her goat, and-Ho€l, believing her to

be a supernatural omeq telents his eYil PulPose' Dinolah loses her'balance clossi[g abridge and

falls into the deep waters below. Hoiit plunges in afteJ heland rescues the demented gid'

Once on shore, he recogoizes the girl to be Dinolah.:Upontegainidg consciousness, the shock of

the fall has restored Dinoiah's sanity. Hodl abandons his search for.gold, and the lovefs once

again plan for their wedding.

i.!,

7r2

EDgtish traoslatior by Joho Briggs

Dtnorah stngs thls ada at ths olenhB of thsand dalces to it. ltr ths noonllght.

D i n o r a h'Ombre 16gdre"

G i a c o m o M e y e r b e e rsecond a.t. Ifl her tlemented state, she belleres her sh&dow to te a. frten4 and she sf.ngs

fin non son pirifit" lc ciel star! a-lone no

Ahiod! che not-€o-sqr - ra!I4 rit est froideet som-bre!A - las! Foredarkthe ligtt isl

ve-nu- ta qdTtt oeua sc.-l:t.ir,Did J'ou conebere

fra le te - ne-bre er-ra-rah! qud, m-mi d'er - rcrI at trcmbli€with fear

mi fa pa-u - ra!seu-le d! ts Pom - bre!ingloomy dark- ness!

1a fi -, da mia com-pag - na.d - mie in-ga-teet chi - rc!

the friendtha! iev- er leaves me,ion,

soclailong

la:re!

- er:

ec - co I'a- mi -Je te re - lrou -

Ilere's ury cam-pa! -

tujeto

Buon di!Bon jout!Good dayl

s e - i

8 a - * ts@ !1e,

per rm-Pa- ratqud - las d{Dr-sons

would Jrou iE-quire

da m€ quel che c€n-dla4n4ur, @ tc ni-of de rrgizt sort of

Copyright, 1951 by Theodore Presser Co

lotrt otn dan-ses &tsongsto sing',$lhat sort

oil, - la - ge,of danc - es

TLt, chan-te -

$hen I arn

A te, presto, vie-q!r' sb.r-diar,-lons 1,i-teptuld$la Ie - gon!

Ill shov you hoqr.

noz- ze con Ho - el do - llla - ni?rus d no - l r e ma - f i - a - ge?

Irlai-ried to I{o - e1 to - Eor - ro#

le dae-z€-e i can-ti vieni*a impa.-Hd-te toi d)ap- prendre ilan* eL chan-

The dalcinga.nd siDgiDg' fll teach lou

ben morlerato (J. . sz)

LSIL

Orn-bra leg - ge -O m - b r e E - g i -O fleet - ing shad -

nbn -nleathe

suis- o t r

ra, aoare Euiow up

dar,- lotr fin-vo - lar,-pas,- ne ten ra lrdsl_ltrcad - oq don't goa - vay,,

No, no,

dolce

nol

no!

lrolt'on!

Fb-tao chi - rDe -F6e i ch i - me -

JDU $rill not bartn-

Om$qjr me ga - rr, re -sta cln

ra, sei lu-sin8' - hie - m, Don fin - vo - lar,_re Eui ilat si cli - te, nE t'en u7 p(rs_me, stayherc to charm .me,don't go a - v,ay -

cou-rons en - sem - .ble fti ratr, je trem - bl,e Wa l,tu t'enbe-lov- cd shad - ow, we'll danc€ to - g€il - er, stayhere.with

he,- al miorxr.s- hin de@,- all my

piei-rnoi! -

ah!-all -ah!-

troa t'in - - yo - 1a!,- t1oqt'idro - lajl,te l,efu - oa Pasr- ttc fenan pas!

dot't go,-- don't leave- tneherca - lone!

i i i

tg6

Itg"i u-i tt vo' tro-variA choErygurorc ie te reatlL\

Here in tlleEombg m wait foryoul

Se re-ste - mPour te sb - futi

ll1 dance for yor!- If youwil stay-

vie - qlL dan-zar!-Darse d ma voit!-

Ahl lestet'nco - ra,Ah! rcsQ9n-co- reStay herewithme and

se non tenJe uiztrs sou-

Dont't go r -

r t -m'udrai can -Je.wurcfum -fU sing for you; -

fap-pres - sejt sre,Ap -p ro -che - l o i ,stay here v/itl oe,

ri q)oD - di a do,oias, # - poruls - maiCorGdance \riti mq

chanle a - r:ocCome sing with

6 - l

n@i!-can - ta

rlok-en.pa.rna

Ascolta

Listen

i.;.

t:]6

r1----\ i------\

- a tel Ahl- firponds! Ah!- withme! Alr!

- va ben! Ah!- cbstbrenl lhf- youseel An!

a tel Ahlrt+ponds! Ah!

v.itl6e! Ah!

a tel- ya ben!- c'eslbi€l- yqrs€el

Ah!_ ftponnd Ahlwithme! Ahl

.J.

Ah!- , witl mdAh!__Ar!_

> Wz----

cbstyou

bien!- ah!- ft - ponrias!- oh!- rh-see!- ah!- with me!- ah!- with'|.

J)= [

' t

1 ) 1:

1

' t

JJ=

te!- A.hlpond^s!- Ahlmel- A.h!

a^;--:. Iry:;---..

138

Om-bra leg - ge -Om- bre li - gb -O fleet-ing shad

sl,ls sr,on the

ra, no!1fe, qut

- o w u p -

- dar'- non din - vo - lar,_d& - rc, ne f,etu ut pdsl,lead - os/,dodt go a - vay,

noinon!nol

Fa- q-o dri - me - ra, sei lu - ai" - ghie -Fee ou &i - nb - rc oui m'r-st st d1e -You will not harrru me, siay here to darm

ra, non fin - yo - lar,_re ne ten aa -parl_

mq doD't go a - way,-

ll01

non!nol

Om-bra sl ca : ra, cor- ria-mo,j! ga - a, re-sta cbrrcou-fons en - sem - ble lai peut te hen - blc,qurnd,tu fetuBe-lov-ed shad - ow wdll dance to - ge- tler,stayhere with

Ah!_ahl-

F€r- aI mio?!r5...- Ioin, d,e&€r- all lny

fint'en-go_

.<a7t

nonne

dodt

vo - larloa posla - way!

1:]9

(J =so)

Non sai tu

Non saiSais-tu bien - qfllo:etrDonlJrou koow

ctlt1oel ma

mc, -

che a] - I'al-tar miEt. qtavjour&Iwito the al- tar

sai.s- tu binl- qlHo\lDontyou me?

molta cresc.

md? deeme dieume? Swears

chia -

4ecalls- his lovewill be.--

le- g"r th - mol,-aa pourtou - jours- Dieu

Swears

ie - gar t'a - -o. 3

aa pourtou - Jburs_his love will be

b6-all

rdio- a1 $r - o cor?-ra#-..,.,.......................-_ nos- a - fimura?-mine.- for- er - er - more?-

il sai tu? il sai tu?_tr sai tu?-Lesais-tu?-

Did you tDov.2-Iesais-tu? Le sojs - tu?_

Didyoulaow? Did you know?

L40

Irlais hrpretl(Lsla fui - lelNowyoute dis - ap-pear - ing!

pourqwine quitler?Mustyou go so sooa?

Qui so-la, so - let-taLamtitdeft4i - tun-nel

Andleave me a - looe!

deh, vienl-Re - oie4-

per-chd vuoi par-tir?Ppwguai me quit-ter?Must yort go so sooB?

:itr! dim-in , ri - q)oo - di,qnnd,ma uixlXn- d - te,Tbll me niryyoute leav- ing,

per-drBpour-quai,

O why,

per - drdpour - quoi,

O why,

vuoi parnE quit

nrust youler?-

rr-_l:_-.-'

'Ys:'P--i--

Ato!-nar t'af-Al1!rc-uienssobAhlre-tum I

-con^-<rd_

fret - ta,bon - ne!Pr-ay you,

cbstDont

A.h!ah!

Yien!tien!turn!

deh,

re

deh, vienl-

t . i

t4L

Mi-o

- qal_ l e

arllah!

tor - nalel, - le!

lbave mel

ri - torc'est elDon t leave

gra- ta, co-si I'uoi fu+gir, yuoi par-tir?d@r-te, m6-daEleesl,ce nai qtti l,on fuit?shad-os. you want-ed to leave me a - lone?

fint?loEe?

Om-bra leg - ge - ra, non te n'alOm-bre li - gb - re fui sui.s nresO fleet- ing shad - ow up - on the

- dar,- non t'in - vo - lar,_p&t- nt l:en ra pas!_mead - ow don:t g!1 a - vay_

ra, sei lu - sirr -re, qui nlest sime, stayhele to

uo!tlotdaol

Ib-teg chi - me -F6e ou chi - mi -

ghie - ra, non t'in - vo - lai,_chi - re ne een ta _pd.s_

You sdll not harm charm me, don't go a - way,

Om-bra sicou-fons en -Be-lov - ed

oo!

no!

ca - fa, cor- rla-m_ oJrsem - ble jU pellr jeshad - ow *e'lldanceto -

ga - ra, re- sta corlhem - ble qunul,tu t'engeth - er stayhere with

E€, , al ldioaas- loin dzme- all my

raltr-

ta Pasla - wayi

aht_AhI-

nedon't

la- an!-oll-ah!-

|a-la-

14qan - a\t la la 1a la ladnn - aa, la la ta La h.danc -

",C, la la ta la Ia

la \d 1^ 1^ la la 1aUI LA I4 LA LA LA LA

l^ la la la 1a la la

t

14la

la-la-la-

t:!:

t4a

ae - sta, re -, sta co!Te - ate re - sfe a - L?,ctay ,here, stay here vitl

con spirito d. = s6)

i:tl

a) For Cadenn uith Fhtte see re"t Pase

774

LES HUGUENOTSGIACoMo MEYERBEER

Operc in five acts. Libretto by Scribe and Deschamps, Filst pett'ormance: Grand Opira, paris, February 29, 1836.

SYNOPSIS

GT>f1 AOUL. a Prorestant (Huguenot), is invited by the Counr of Nevers to a party at which only Catholics-

\o are present. These men are aware that Margare! of Valois, bethrothed to the King, is trying to bringabout peace between the Calholics and Protestants and that anyone who aids her in her purpose will win herroyal favor. Raoul is received with ironic politeness. Toasts ara raised to the ladies and Raoul is called uponas the first one to relate an amorous adventure. He falls into the spirit of the party and tells how only thatmorning he rcscued a beautiful woman from some drunken rcvellers. Later feelings grow constrained whenRaoul's Huguenot servant Marcel sings Protestant songs. The tension is broken by the entralce of a servantwho aonounces that a veiled woman asks to see the Count. When she enters Raoul recognizes her as the woma4of his adventure, and he mistakenly comes to the conclusion that she is the Count's mistress. Unexoectedlv apage arrives with instructions to take Raoul, blindfolded, to a lady of high rank. Though puzzled, RaouLconsenb to go.

In act two, we find Margaret of Valois with Valentine, daughter of the Count of St. Bris, a faoaticalCatholic. Valentine is telting Margaret tbat she has just broken her engagement to the count of Nevers as sherealizes she does no! love him. After she leaves the room Raoul is brought in. Astonished to find hirjrseif inthe Presence of Margaret, the young Huguelot ofiers his sword and seryice. She tells him of her desire to havehim marry St. Bris'daughter in order to reconcile the Protestant and Catholic factions with the Court. Heconsents. The Court is then summoned to swear, jn commemoration of the union, an oath of truce betweenthe two parties. However, when Valentine enters to be presented to h€r future husband Raoul recoils: herecognizes her as the veiled woman who called on the Count of Nevers. Creat consternation takes Diace: St.Bris, furious, joins Nevers in swearing vengeanie on Raoul. Margaret's hopes are shartefed.

In act three the wedding of Valentine and the Count of Nevers takes place. During the ceremony Raoul,sservant Marcel waits outsid€ the church witb a message from his master to St. Bris challenging the Catholicsoldier to a duel. As the wedding guests leave the church, Valentine remains in the chapel to pray, and soov€rhears a number of the nobles who have returned to the chapel to plot Raoul's death. She warns Marcelof the plan, and he quickly gathers a group of Huguenots together. The arrival of Margaret of Valois forstallsa street riot. At the end of the act Raoul learns of his mistake conterning Valentine, too late.

In act four, Raoul suddenly appears at the Count of Nevers' castle to see Valentine, who still thinks ofhim. He hides behind a cuftain as St. Bris and others enter to plot the massacle of the Huguenots. Neve$refuses to join the conspiracy, and is led away. They all leave. Raoul emerges from hiding. He wants to rushto the help of his friends. Valentire tries to stop him for fear he will kill her father. Looking through rhewiodow, Raoul sho\rs her that the massacre has already started, and he runs dowd to the street below.

ln act 6ve (the original version of the opera) Nevers is killed. Valentine renounces her faith to ioinRaoul. When St. Bris and his soldiers enter the street,-Valentine, Raoul and his servant Marcel are fired uponaod killed. St. Bris in his fanaticism has not recognized his own daughter,

l . : '

l lo

Nobles Seigneurs(To you. my lotds. o greetingl)

from "Les Huguenots"Act I, Finale

English tra$latior by AJtbur 'Westerb.ook

Urbain's Song

Giacomo MeyerbeerUrbain, pag" of Queen Marguerite de Valois, announces at fte batquet held by ihe Calholic Count de Nevers to which Raoul, a Hugr6not,has

been inviied lhat one of those preseirt is to le blindfolded and taken to wherever his gtjde has been ordered l,) by an unknown ladl.

Nlaesl,oso

:-r---

@ Copyright 1956 try Theodore Presser Co.

411- 4100 5- 1-19

lutlgreet - ing!

no-bles sei - gneurs,- sa - lutlTo you. my Inrds, - t grect-ing! -,-----..'..-

sel -

Ml

a) PE;> f P€.;>

Andantino Cq,nto.bile con graTta,

ne da - me ooble eta la - d.y fatt lond

DontWom

les Rois ser- aient- ja - loux,a King -wilh prtule- mi4ht

M'a char - 96 de ceI'nr lhe biar - er of

mes -a

nlcs -ge,_sage, _

Che-va-l iers,No - blt: lnrds,

che-va-l iers, pour lhrr de* vous;no - blc brds, to one: of- J,ou!

Sans qr-?on- laI may- rwl

nom - E€r Hon-neur-nanc- he3;

nbut hop -

l -

PIAu Ren - til -

Vho (hus to

bom - meclaim - her

9u'elle a- choi - si, Qtlel le a- choi - si l_

,!1t-4t006-149

AmoJ' ten - ture free, mo! Den - ture freel_

A F -

777

cr6c. e sta,cc.

Vous pou-yez croi - re QueYou may be- Liaae me, that

sei - gneur N'eut tant de gloi - re Nilant- Enight Ne'er roaq so

-fa- tot'd by

dim. € legeto cresc. € stacc.

re, de bon - beur,cious lai - dy bright,

dim. e legato

de- bon - heu!,kr - dJ.- brt&ht,

nonrnon)non, non, non,No, no, no, rr.t, nc,

uul-gal

N'eut- tant denetet- ua| so

re, tant deoofil, by

gloi

fagloi -gfa -

lon,non,aonrnon, nonF nonF ja - maislno, na, no, rw, no,* no,- ah, no!

nonrnotlrnonrnonrnonrnonrnonrnonrnon, non)_No, no, no, no, no, rE,, r1o, r1o, no, uu,_

4 1 1 - 4 1 0 0 5 - 1 t 9

dis -uill

NeNougJ:.l

tdfend

crarg:nez men-songe oude - ceit - ful wouk) she

p ie , - ge ' -sena_ you,_

Che - va- liers, dans ries_Trulh - ful all mt, tioriLs_

Or-No*,-

que Dieu- pro -nay Heatn-

-de -

queDeupio-tb - ge Vos conibats, vos arnours,nnyheavhde-fentlyTu Both in tar andinlove,

cbe-\,?-liers, Dieupro-Nolblords; Heaiitle-

vos - a-mours!antl,- in love!

Or sa-lut,Now a-dieu,

411- 41005-141r

109

LE NOZZE DI FIGAROWoLFcANc A. MozART

Opera in four acts. Librctto by Lorenzo da Ponte, based on Beaumqrchais. First performance: N\tional Theate,Vienna, May 1, 1786, Mozort corrd.ucting,

SYNOPSIS

lClRO, while ia his new station as major-domo for Count Almaviva, has cooceived a passion for Susanna,the prctty waiting-woman of the Countess, and they are shortly to be maried. U ortunately the gay

ex-barber ha! forgotten a previous pledge to marry an old but ch spinster, Malcellina. This lady, with theassistance of Doctor Bartolo who owes Figaro an old grudge, makes secret preparations to interrupt the nuptialfestivities with a temendous thudder snower,

Meanwhile the Count Alnaviva has become etramoured of Susanna. At the same time he exhibits anunreasonably iealous disposition towards the countess. Figaro, aonoyed by his master's behavio! towardsSusaDna, and truly sorry about his goundless jealousy towards the Coudtess, coDceives a plan to bring thecouot back within the bounds of propdety. In rhe first place he sends a letter to the count informint himthat the Countess has aD assignatiotr to meet someone at the evening's ball. Then SusaDna is to send a m;ssageto the count that she will meet him in the ga.den that night. The young page cherubino is to act susanna'spart, and the Countess to surplise her frail husband with the supposed Susanna,

While the Countess and SusanDa are dlessing the page for his ferEinitre role behind locked doors i{ theCountess' chambers they are itrte$upted by the CouDt, who tries the door then knocks vehemently. Cherubinoquickly runs ioto aq inner chamber, atrd Susaana persuades him to jump out the witrdow before the suspiciouscouot is able to discover him. whed the count, who has wruDg a cotrfession oI the page's presence from thecountess, folces the door with a crowbar he fidds susa'Da there alone. The countess quickly regains hercolDposurc, and the two worneD rro\{ turn the tables od the coudt, who ruefully asks his wife's forgivenessfor his uojust suspicions.

Figaro coEes in to accompany Susanna to the wedding, A little while after him the gardener Antonioappears with a complaint against someone who jumped out of the window from the countessi room, breakingsome of his flower-pots and escaping through the'garden, Figaro with great diffculty quiets the couat bypretendi0g to be the culpdt.

At this momeot Marcellina, accompanied by her counsel, appeaN and lodges a complaint wtih the Countagainst Figaro for breach of promise. Almaviva, rejoicing at this tum of affairs, evinces great iorerest ir thecase. Wheo it comes to tdal, however, it is discovered that Figaro is the child of MarcelliDa and DoctorBartolo, by which ttqely discoyery every obstacle to Figaro's aqd Susaooa's uoion is removed.

The mauiage festivities begio. Io the meantime Susanna, at the advice of the Couotess, and without thekoowledge of Figaro, carries otr the iotdgue origiDally plotted by Figaro. This time, however, the countesslather tbad cherubino will play susantra's part. she wdtes a note to tbe court---dictated by the countess-appoiqtidg time and place of a meeting, Figaro gets'lriod of the appoirtmetrt atrd collects a numbe! ofvillagels who are to give the Coutrt a sound beating u[der cover of dalkness,

Tbat eved[g the two ladies-the countess dressed as susaona a'ld susa'Da as the countess-go to thespot aPPoiated io the letter, a secluded part of the park with a pavilion on either side. Susanoa wlthdraws,leaviqg her mistess aloae waititrg for the count; and Figaro lays iD waiting. suddenly cherubino comes iD.He bad made a.u appoidtmeot with Barbarina, the gardete!'s daughter, oo the same spot. Mistaking theCoutrtess fo! Susaona, he begins kissitrg her much agaiost her will, until at last the Count interferes. The bovrutrs itlto the pavilion to the left, where Barbarina is already waiting for him. Tbe counress now receiveigaaciously the passionate words of her husbadd, ioteoded for susanna. Figaro, duped as much as the count,makes a noise and the count seods the supposed susadna into the pavilion on the right, expectidg to join hershortly. The ieal Susanna manages to meet Figaro. Tbe barber sooq sees through her disguise, and then takesall active part io the joke by addressing her as the Countess in passioDate language. This is well done. for theCount overhears him ind seizes him by the collar. Susaona runs iato the pavilion on the left.

The Count theo, without releasiqg his hold or! Figalo, calls his servants and guests to be witnesses of hisdishotro!. After disposing of cherubino and Barbarina, he drags out the supposed couDtess, .who falls down onhet knees before him, imploritrg his forgiveoes. But the Coutrt acts the erraged husband iD earnest. Suddel1ivthe real, Countess appears from the paviliod on the right. Before the Count can fully reatize his awkwardPosition the Coudtess, with the assistatrce of Susanna aad Figaro, hushes mattels up atrd hurries the witnessesof this extraoldinary denouement off to the festivities ia honor of Figaro's marriage, which are going oo io thecastle. The count, like the great gentleman he is, begs the countess to forgive him, and the properiy assortedpairs move also to the castle.

110

Deh vieni, non(Delightlul ioy, o

from *Le Nozze di

Act IV

EDglish translation by Nathan Haskell Dole

Giun - se_alfin il mo-men- to,Now st last comes the mo-ment uhen,uiah- out

tardarcome)

F igaro"

Susanna's Recitative and Ari&

Wofgang A. Mozat!'

b rac -c i o a l l ' i - do l m i -o !afms ma|. hold, mI d,ar-ling!

?he Coun: has been pu.suing Susarna and refusing !o sanction FiSaro's _mafI ia8e to his wtfe's maid-in-waiting.- fn this scene the

Countess anit Snsanna have conceiv€il the iilea of excianging clothing anal idefltity, inviting the Count to a supposeal meeiing with S -

sanna and thereby exPosing the Count 's pers istent inf idel i ty to h is wt fF '

Recit. tranquiUo ed espress.

go - drd sen-zej.f'fan . no,ap - pre - hen- sion,

tll

mane

Recit.

TiYe faint fore - bocl - ings,

@ copyright 1956 by fheodore Presser Co.

,tt l-41005- 149

- mi - de cu - ie! a tur -Cease to

sci - te dal mioin tuI heart re -

- to!-bling

bar nontise, sueet

' . :

171

Dar. che all' a - mo - ro - soheafl uttn LoDesmtld fa) ' ls bright - en1tl,

- c o lb - me-oi - ti del 1o - co,hou is the beau-t1, height-en|L

cun anulut

O h c o - m eOh, uhere the

la ter - ra e i l ciel r i -or na - tufe Ln aLL nef

crn cal?re

spoo - da!phos - esj

Co - me la not - te i frut-ti mieiNight loo my hap -p! .mys-ter - J' aid,s

s e - c o n - d a land prais- es!

Deh vie - ni. non tar - dar' o gio - ja bel - la!De - t \ht -ful joy, O come wlth-out-de ' lay - ing.

Vie-ni o-Ye a - mo - reCome niw, ihe t:oice of

4 t t - 41005 - t 4s

Fin - chd nonsplen-dQin ciel not-tur - na fa - de,Vhile dark the gol.d. - ei torch of*ni9ht rc - maitu-eth,

fin - che lbria d ancorVhih the shad,)6ws are

bru-nae il mon - tlo ta - ce.dense ind, si - lence reigl-eth!

mor-mora il- ru - scel. ouigen - t tJ, purLs_Ihe ofooh,tne zeph - yt

faud.al

scher-

qu1 r1 - ooHere I smile- the

ot-

- na-i -

che col dol- ce su-Eo - et cheer-ing the

chatm, lhe

- l ies,

suffo ilneaft. wtth

cor rijoc - und, sueet - est

ret -Jl,ou'rs

stau - ra,sol - Iies,

fre - sca,seD - ses,

Vie - ni, benCome, - my-!,e

41t-41005 -149

a i o i a - c e - r i d ' a - m - r - q u i t u t - t o a - d e - s c a .Here

'in -io1t-ance of love- a heovh c-om -men - ces.

113

loa - ed.,

looed,

tra- que - ste piao - tq-a - scowhere- spring her weallh dis - clo

- se !- ses,

^ p

ni! ti vo' laone! Round lhy fair

fron - tebrou.>- I'll

i n - co - ro - na r di roof ros -tuine-fro - grant ureaths

ti vo' laRounil thy fait brou I'll twine fta - gront wrcaths

S9r fro[ - te in - co - ro - oar, i n - co . - r o -

{ t t - 41005 - t 49

146

The Magic Flute Wolfgang Amadeus Moz^tt, U56-7791

'Der H6Ile Rache"

Fantasy id four (sometimes thtee) acts. Libretto by Schikaneder. First Performadce, Vi enna,l79l'

SYNOPSIS

Locale: Egypt Time: Ancient Days

Young Prince Tamiao is saved from a serpent in the fotest by three handmaideos of the Queen

o.f Night. The Queer enlists hir aid in rescuing her daughtel Pamioa flom the high priest of Isis,

Sarastto, She gives Tamino a magic flute and provides his compaoion, Papageno, with magic

chimes. These iostrumeots will plotect them from danger during their seatch for Pamina'

At Samstro's palace, the Moor Monostatos is forcing his attentions upon Pamina when Papageno,

&essed as a bird, frightens him away. Meanwhile, Tamino has entered a grove of the palace

where one of the priests informs him that Sarastro is merely Protecting Pamina from her wicked

mother. The scene shifts again to Pamina and Papageno whose attemPt to escape is foiled by

Monostatos. But Sarastro appears and, informed of the Moor's behaviot, punishes him. He

decides to put Tamino and Papageiro through the otdeab of the temPle to test theit worthiness

belore allowing Paoina tb marry the Prince,

The 6rst ordeal is that of silence, aod the Prioce bravely resists all tcmptations to speak. Mean-

while, the Queen of Mght has secretly entered the palace to give Pamina a dagger with which

she must kill Sarasuo. Late!, when Pamina speaks to Tamino, he still keeps silent, aod the

unhappy P:mjna believes that he no longer loves her. ;.

Tamino aud Pamioa uadergo several ordeals of fre and wate!, but they emerge triumphant by

teasoa of their inner sueogth alrd with the aid of the magic dute. Satastro blesses the union of

Tarnino aod Pamioa, preseoti Papageno with a lovely bride, Papageoa, and banishes Monostatos

and the Queen of Night.

I4Z

Eaglist trarxstatioo by Joh! Briggs

The Magic Ftute"Der Hd11e Rache"

Der H6l-le RaTleflonaof hell

Wolfgang Amadeus Mozart

--As oue€o of Nt€ht pr€sses a dager i4to panlads hatrd Ad [D,sfu telb her tho $T€th oflrcll ls lq her hea.lt.If E,mira does lot aveqe the i,roog byUllllt Sarastro-*tti th6 dagg€r, Lhe Qu6ea of Nklrt th.reaters ftat sho relu rejeot he! daughtet ard wtll never agaln see lei.

A-llesro assai

chekocht ia mei-neml{er - zenlarebunL.ingnou&ith-i ne,

udVer-;weiflung,nu ld is -os- te r ,

unatanil

Tbddaolh

ver-zweu-lurg Ilatndi.s: a.s - lcr dork

- - rnen um t+dl y f u n - e r

so bist dulhot be ft!

S a - . r a - 6 k o T o -to bifu: Ss . r@ -

des - sdlxet - zen,strt on - guisl6

Copyrtght 1951 by Tbeodore Presser C'o,t.t

lttfl

Todl - terlim - mer-lnehr)be ry &ild no iyore,

mei<re Toch - tea nim - Eer-meh!.then be nychiW no nipre.

AbJ-,4hl

- mer - mehr.na_ note.

Dllndia

Mei - ne TochThen be

I t

r:t

du mei - ne Todr -ny chiH" n9 rnoe,

t60

lorelder Namath - et

al-10 Ban - dealf,the lies of

al-Ie Ban ' - deall the ties of

d - l e B a aon af - fec

Na tuatet loae,

Yer- 1as - sea undzer'-trii&mertNoukane me uilbe bro ' ken,

sto - 6etr,leaxe mc.

Ban - de der Na - tur,ties ,f noth - er. loae,

- d e r a l - l e- tion, all the

i.1.

Sa - I.a-strc srftd er - blasb bnng Sa - ra- slro arl

der Mut-ter ScLwur!in hea6'n a- b,mel

t 2

Tales o{ Hoffmann" Jacques Ofienbach, 1819-1880

/ "Les oiseaux dans la charmille"

Opera in thtee aits, with Prologue ard ePilogue'

Librettb by Barbier from tales of E.T.A. HoftEaon. Fi$t Peafotmance, Palisi 1881'

s'r'NoPsIsLocale i Various Eutopeatr cities Timer 19th Centttry

fhe prologue takes place io a taveln where the poet Hofimann and his friend Nicklaus come to

jdin theit frieods, They tease Hoftmann-aLrout his most recent love aftair, and ulged on by them,

the poet agtees to relate the tales of threeifantastic love aftairs. As *'ill be noted below, dre

unfortunate poet has been thwarted all his life by an evil principle which has dogged his foot'

steps, and which is personiEed by difierent characters in all thtee tales.

The 6rst afiair deals witl his blind iofatuation fot Olympia. She is tlle mechanical masterpiece of

Spalaazani who exhibits this beautiful doll as his'daughter' Coppelius (the Evil Ode) has sold a

pair of magic glasses to Hoff{t'tann thtough which she appea* human, and he falls deeply in love

with Olynipia. \When the glasses break and Hoftmann sees Olympia as she really is' Coppelius

angrily smashes the doll tb pieces.

His second infatuation centers on the seducdve courtesan, Giulietta, whose cutrent lover is

Dapeltutto (the Evil Oae). The latter incites his other rival, Schlemihl' into a duel with

Hofimann over the favos of Giulietta' Having slain Schlemihl, the duped Hoftrnann watches

Giulietta sail away in the alms of anothe! lover'

Hofiminn,s frnal tale is about the lovely Aotonia who has inherited froo her late mother a beau-

tiful sioging voice and a predisposition for consumptron. She has promised her father and

Hoffmaan never to siog agaio, sioce the strain oo her lungs might bb fatal. Dr. Miracle (the

Evil One) calls up a vision o! het mother pleading with her to sing. Antonia burstl into solrg

and dies in the arms of the uohappy poet.

Haviog aoded his three tales, we fiad Hoftmann (io the ePilogue) sitting broodingly in the

taveto, overcone with emotion and grief over his shatleled romaoces' His Muse appears, to

coosole him with tlre assurance of her 6delity.

l:, i

153

Tales of Hoffmann'Les

oiseaux dans la charmille"

J a c q u e s O f f e n b a c hEaglish trarslatioq bt John Briggs

spstanzanl wlshos to htfoduce olympl& formslly Itto soclety, €rrd has hvit€d s€vgtal Euests to his hone lof ths event (Act I)'

olynpra srngs for rher thts chsrfllng "l,ig-li^ir'lii-"-iJ't"irl

low ttre I trts, tte- sun, -evetvtli lig tlat moves' breathes, and slrhs speak s

fo 'trer'of

tovelfho arta shoultl te sung c'fst-trly ana prsclssly, 3s & s€cbatrlcal doll would perform lt'

Olympia

Les oi - seaux dans la char -

Birds uP : on lhe brcndt-esmilsing -

le, Dbns lesi"g' And the

cieux l'as-treszn is higl

dua -

JOur,

tua - turejeo - ne fil

sends ils greel - ior,Tout

dllparle

ln

Copyright 1951 ty Theodore Presser Co.i:.1.

ofgfeet - int

Voi - lirAnd, this

A_ht _.Ah! _

mourllove!

la chan - son- gen - tilis the chann-ing sot g,

Ie, Lathe

char-soo d'O -lyrn - pi - [song of O - lrln-pi - o, ah! _

ryf a tanpo

Voi - la. la chan'son-- gpn -AnI this is the chanrr-ing sgn,,

chan-son d'O- lym - pi - a.,song of O -bm-pi - a, O - lym-pi d !

ahl -ah! -

'l S"t*"^ | ) "i"gn ^ut giu. bnp,z;slon of 4 nufrtnc ttut tL. ndupnl! nR ds'u,,(In lre npn. Spdtan'ant qtidny protue ekeyad winds

ftt do "

thn rcsumes sinsins up to tempoJ

Tout ae qui chan-te-jt 16 - sorEt' - ry-where is ar - d,ent lonE -

1/-+

E - meutall in

qurseems

60nna

- meutin

soD - tre,telt het,

tiau

mourilone! -

- n e D h -

her ofsonlell

Et sou - pi - re, tour ir tour,And, uher- e'er her fon - cies aotJe

mouf! Ah!-loue! Ah!- And

chan-soa d'O - lvm - ois o n g . o f O - f t " , - i t t

.- ah! -!

al: -'l

aht '-

altt- sh!- aht ah!- ah!

chan -the

lathe

son* IItpret - tt,

an l-d,h!

. 1) satr.e as first ti'.e

' .

158

Voi - lir la chao-sotr- mi - gnonAnd, this is the prct - a! song

- ue, la cha-q-son d'O -lym-pi - d'O - brll-pi - a!the song of O - lym-pi ' o- O - rym-pi - a!

ahl- ahl- ahl- ahl-ah!- ah!- oh!- ahl -

AJ

) ff t A

lir9

Hippolyte et Aricie Jein-Philippe Frameau, 1685-17 64

"Rossignols atnoureux"

Opera in 6ve acts and a prologue. Libretto by L'Abb6 Pellegrin' First Performaoce, Pads, 1733.

SYNOPSIS

Locale: Ancient Greece Time: Mythological

Ptologue: The God of Love has entered the sacted forest of tfre Goddess Diana. She angtily betates him for easlaving'heats, fot io her peaceful kingdom justice and liberty rule. Jupiter descends to placate Diana, atrd tells her that Love,

tle most powerful God of all, must be free to ente! evetywhere. As Diana's nymphs fall under tl-re spell of Love, she

leaves to aoswer the pleas of two mortals io trouble, Aricie and llippolyte.

Plitrcess Aricie, descendaot of the Pallaotides, h"" io-" ao the temple of Diana to remove herself from the hatred of

King Theseus and his wife, Phddre, At theh bidding, she wishes to consecrate helself to the service of the Goddess.

Hippolt:te, soo of Theseus, 6nds her there aod reveals his love for her, pleading with her not to thus waste het life.

When Ph€dre entes to hasten the sacrifcial ceremony, Aricie refuses to proaouoce the vows, for since her heart is oo

longer free, it would be a sacrilege. Phidre, who is in love with her step-son, Hippolyte, calls on the go& to avenge this

treachery. Diaoa herself appea.s to berate Phddre for her blasphemy. As the lovels leave the temple, a hessenget briogs

oews to Phidre that Theseus has been swallowed ioto Hades, and she tealizes that she is now free to marry Hippolyte.

Neptuoe had ofiered threewishes to fheseus, and the latter's 6rst wish was to be brought ioto the kingdom of Hades to

seek out his friend, Pirithous. Theseus is led to the throoe of Pluto, who teproaches him for having conspired with

Pitithous to abduct Prosperpioe, Pluto sumruons the infernal Gods to punish Theseus, but they cannot slay him since

the Fates have not otdained his death until a late! time. Theseus calls uPon Neptune to tliliver him ftom Hadbs, and

the secood wish is graoted, Mercury comes to lead him ftom Hades, but oot before Theseus has beeo shown visions of

Iuture misfomrnes.

It is oow believed by all that Theseus is dead, aad Phddre offers the throne to HipPolyte. He teplies that he vishqs io

reign only over the heat of Arici'e. Ph€dre swears vengeance on her dval. Unable to conquer Hippolyte, she cass her-

self on his sword, but he wrests it ftom her. At this moment, Theseus returns to fnd his son, sword in haod, facing

Pbidte, and the black visions seen io Hades come back to totment.him: Neither Phidie rlor Hippolyte will answet his

{uestioning, but one of the coufiiers casts suspiciom on Hippol}te, aod the outtaged husband calls on Nepturle to

svenge him.

Pursued by his father, Hippolyte 6n& Aticie io the sacred forest of Diana. They ate to be married in the forests, with

shepherds aod oymphs as their witncsses. Suddenly, out of,the stormy sea a horrible monster appears and, enveloPing

Hippollte io a cloud of smoke, whisls him away, Attracted by the featful cries of the witnesses, Phidre approaches and

uembles io fear of the gods at the misfortuaes she has caused.

Still io the fotesg Aricie is in despair over ihe loss of het lover.,Iu pig, Diaoa uses het godly powels to.tescue

Hippolpe ftoo the mooster. He is quickly returned to the forest, aod Diana ioforos the lovers that Phidte has killed

herself after coofessiog her guilt to Theseus and exoo€rating HiPPollte. The shepherds and nympba join in celebrat-

ing the union of the lovers,

{ i .

60

Hippolyte et Aricie"Rossignols amoureux"

Erglisl traaslation by Johd Briggs Jean - Phi l ippe Rameau

. ..3th: ntqst.9f trg,rejotctug over the reunlon of Arlctg and Hltpolyto (lct v), one or the sheph€rdesses sings thjs stmpte song !o thsnlghtligales, lnvltbg theE to add thetr happy chtrptng to th6 general fesfivlfies.

Ros-si - g[olsSing of kne,

re-pon -O r e -

dez - Ia dou -pty-

a llosto our

voix parsong, Icl

i i .

Andante (J = es)

par la dou - ceurlet srreet-est nel

copyltght 1951 by Tteodore presser Co.

Ris-si - gnols- a- moo-riuxStng of lote* niglt in- golps,

xe-pon -O r c -

nosoul

dez-PU_

nosto

- Pon -t e -

ltta -

rcard

Par la dou - ceur ilereaa - ma -let sweel.est fiel- o-d,T sut - rotDul

J

hr la dou - ceur-Let sueel.est m2l - b -

yos ra - .nta - ces.dy sur - rcwd.- vs.

163

drcs hom - ma -

of thanks - gia -la di - r ' i - ! i -lo the heatr-ly

tensonS sent

c€sing

Retr - dezYout sol6

les plus tea - dres hoo -'rs a song of ttanlrc -

Ren - dezYour song

r) - gne dars nos bois;reians- Laith-it ltre unods;

r e -teih e

-

qurlhot

no€ bois.the uoods.

l ta d i - v i - n i - t6ent to thc heain-lX, poulr

tlra - ges

8w ' w ,

. gnedansuilhin

L64

Le Coq d'Or Nikolai Rimsky-Korsakow, 1844-1908

"Hymn to the Sun

Opera in thtee acts, with prologue aod epilogue.. Libretto by BielskS based on a fairy tale by Pushkin. First petformance, Moscow, 1909.

SYNOPSIS

Locale : Russia Time: Days of the eady Czars

In a brief Prologue, the chalacter who aPpears late! as an astlologer appeals befole the audienceaad ask them'to bear in oind that the chalacters are merely symbols, and that an impoltaqtmoral is to be learoed ftom the p.lay.

At the court of King Dodon, a coaference is io session between Dodon and his pritices. There isbickeriog and general confusion, for none caq offer him wise couosel on the aiministration ofhis war-ddden land, An asaologer appears and gives Dodoo a golden cockerel which will.alwayswa*r him of impending danget. In gtatitude, Dodon promises to grant the asaologer any wish,after the bird has proved its worth. Shortly there?rfter, in reply to the cockerel's *arning, Dodon,ssons and his army leave for the botder to ward ofi an invasion.

Dodon has followed bis sons to the scene of battle, and 6nds them slain. His grief is interruptedby the singiog of the beautiful Queen Shemaka, who ederges flom a tent nearby. She captivatesthe aged Dodon with het singing and dancing, and ptomises to marry him,

. Upon his victotious returo to the court with Shemaka, Dodon is confronted by tlre astrologer

,, *bo demands the Queen as his reward for the cockerel. Enraged, Dodon stfikes him dead. A; thuoderstorm suddeoly comes up. The cockelel flies down from his petch and pierces Dodon,s

skull with his biek, killing him. !flhenrhe storm has abate4 the astonished populace cao 6od nottace of the Queeo or the cockerel.

The astrologer appears again in the epitogue and urges the audience to shed nb tear, for theooly wortby characters io the whirle story were himself and .the eueeo.

165

L e C o q d O r"Hymn to the Sun"

Eiglish traaslatlon by Jphn Briggs Nico la i R imsky - Korsakow'

Thls exoticihaunthg melody ls suDg by th€ oueen ds she emerges fro!$ the tent (Act II). She &sks rhe sun lf he has seerl in her ovnalear lard the vlvld llch flowers ln bloom, and the beauttful malderc who coyly come to the nysttc fouDtahs aflame wtth lovo.

Andantino (J =

Sa-lut iO ra-dianl

toi,sun,

llalrgreet

me!ing!

de l 'O - r i Du doux pa - ys a moaeat,you march in- f*e, O tell me hou Iou solb tt!

De ses paythe gold,-en

sa - gesland of

a - m 9 ,home - land,,

- r l

ilesoum!

- aots?- ste!

A.h! par - le -Ah! did, you

;a,

. Alegrq moder:ato

coplrighi 195l by Theodore Presse! C0.

moi- des fr:ai- ches ro - sessee................._ lie ros - es bloom-ing,

Et des buis - sons-the lil- ies lift

ar - dents des.ng

Des bealx oi-Brightfeallt-en|,

lys;head,s;

q u l s e r e - P o -up-on lhe lakes

lacs- bond6s d'i. - ris!bot - d,ers of ir- is bedsj

Qui cha:: - tent au-pris deiThe bright feqlh-er'd Lirds that

L>:

lacs- bor- b6s- d' i - rislbeds!

I)rs-mol: leAnd,nshen al

fon -lhe*

desl e

soi! prdse1)' - nirr'gEing- be - sidr- the fi -is

tai - Des,fovt - tain,

9uanddE-que belleEach hoe-ly maid,

e! - toDre irn- chant. D'ex-tase ou d'a - mou - reu - seoJ ec - sta - sy ot atn-o -rotrain-tnnes a mel,- o - tly

L67

pei - oelong - ing

Qtimonteau rou - ge

for himthose ou:n oneVoit-oa tou - jours,- sous leurs grands-4n1, d,o their eJ,es - still shlr.erDith e -

fir - ma - Erent,da! she uill be?

rvoi - 1es,mo - tion,

Leursyeux sou - rire- au- beau ga - lant,rthen the! be - hold - their Sallant cao-a - lier,

se- l116e d'6 - toi -be-neaththe star -

168

lent? ltieq-dcqt? At

dra -nigM

dim. moko rit:

d'uD pas- fur - tif- et_ ledt?eh4ll come- to- meet his- d,ear?

Vielt-on I'at-teDdle i la- fe - n6 - tre,And, is she @ait - ing at- her- lzlin- ilolD,

Lioeil at- teu - tif,And daesher hea

le coeur trem -beat facit- lotth -

A pei-ne I'a- t'oa Yu pa - rai - tre,Aiuluhatu at h*t she heara hle foot - step,

Sait-otr char-mer l'heu- reux a -Shels:ou.B ahe.Iottes lhe hand, - come

A p e i - a eatil uhen al

pei - tretohen at

'fa - t-on yu- pa - rai - tre,laet- she hearc his- foot - etep,

16S

:a\ | /'-

Ita - t-oa flr- pa -last- she hearc his-

rai - tre,foot - step,

l-e coeur ena burn-ing

flalrr -

flarne-

- me, Sait-on char- tuer, allh in her heatt,

l'a - nrant,- lteu - reux a - maiit?

fl-ame in het hearl,- a- f'Iame in het heart.

?:l

170'

The Barbef of Seville Gioacchino Antonio Rossini, LTgz-B6a

"Una voce poco fa"

Opera in two acts. Libtetto by Stetbini, based oo Beauoarchais' comedy.

Fitst peforoaoce, Roine, 1816.

Locale: Seville

SYNOPSIsTime: 17th Centuiy

The Count of Almaviva has fallen in love with Rosina, iealously-guarded ward of &e eldedy

Doo Bartolo, who is alrxious to marry hei for het fortune. Almaviva is known to Rosina only as

,"Lindoro," a poor student Figaro, the towa barber, suggests to Almaviva that he gaio entry to

the house by donniog a ddier's garb and pretending he is to be billeted drere. Befole he executes

this plan, the pining Rosina pens a dote to her Liadoro which she entrusts to Figaro. The suJpi-

cions of Bartolo and Don Basilio, her singiog teache!, have beeo roused, add they accuse her of

writiog letten. The quick-witted gid easily disPels their doubts. At this point, Almaviva enters

as a drunkec soldier, maoages to slip a lettet to Rosioa, aod is fnally eiec,ted by the enraBed

Bartolo.

Having failed *ith one ruse, the sly Figaro and Almaviva eoter into another plan. Almaviva

goes to Rosioa's home disguised as a singing teacher who has come to substitute for a supposedly

ailing Don Basilio. There ensues a very amusing scene in which Figaro shaves the suspicious

Bartolo rcltilc Rosioa aod Almaviva pretend to go thtough a singing lessoo, IThen Basilio

appears, he is quickly penuaded to feign illdess and leave, for Figaro bribes him *ith a full

purse. The ever wary Battolo frially detectr foul play. He ejects everyone and tushes ofi to find

a ootary who will marry him to Rosina. Once again bribery plays its part, and the marriage

contract ii erecufed with Almaviva's name instead of Battolo's. Rosina's fortuoe is turned over

to tle eoraged Batolo-whidr quickly appeases him-and Almaviva aod Rosioa live happily

ever after.

lJ

t7 l

The Barber of SevilleC a v a t i n a

I "U* voce poco fa"

Act I, Scsne 2 (usually call€d Act II)- Rosina. has bson setsnadod by Ltndoro, Sha slts ln her dravlng room and reslnlscesaboulthe "voloo lato ly hsard" whlch so f l l ls her * l th lovo.

Eaglish traaslatioa by John BrigBS

m i r i -uith.ln

suo - ab,nI heatt,

gi:,,lou,

il tnioCu ptdb

fe-d - to dtowbrouqftt ie

G i o a c c h i n o R o s s i n i

e_tTuas-

r) fiis arid is otten etig lr tr'

copyright 1951 by Theodore Presser Co.i:1i

Lqz.

dor- fu ch€ i1 pia - gd.dnr- uhothreu the d,art.

Sl, Lin - doVith Lin - d.o

ro giu

m10_ulll_

lo- g1u -hcte I

sa - ra,I- go,

l o g i u - r a - I ,Itere I- suear it,

1a:dLl- neo

1a- viE- ce - 16.udll neo, et part.

ce - ro.ef- paft.

i,1i

ro_ mto_ saro- uill- I-

I l tu - to r r i - c r j -se - re ,My old, men,tor uiLI say rrot

io fin-ge - gno a-quz , ze -then ILI iin "n-fi ittt ny

gft'

++rd-

atfl.

al - la fin srac - dhe - te rn,Then at lcst.. hdl, brd. me so,

al- Ia f in e'ac-cbe- te - r i ,Th.en at list hev bid, me 8a,

con-ten -ta io re - ste-L t n - a o - f o I L I d e -

lo--:- gui -Ilere-

-l

ro- mio- sa -ro- ilt I-

ro_ m10_saro- ui l l - I_

part . . .

r a - I ,&Deaf it,

si, i-in - d.ouith Lin - do

- alo

- ro mio s3, -

_ tLo

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Moderato (J = ror)

so- - !ro- alo - ci-le,om- so- lov - a-ble,

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6a:t4l,

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iJl

di_

178

a ItiLcere

traphate

po - l e p r i - mamy uay, P mahe you fue

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fo gui - dar,can be led,.

i1l

Ma Ma se rri

177

le sa- reg - nae. hod.Jou:lt wtsh you'd .r_ heqd_ of_

?e

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de4el.t

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p o - l e p r i -n!, ntay, IU

ma- di-m4he J.ou

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car- fq - rd- qio

for,- don't- so- 1"o-

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f a - r ddortt go

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t:l9

Mighon Ambroise Thomas. 1811.1896

'Je suis Titania"

Opera in three acts. Libretto by Batbier and Catr6, based on Goethe's "ITithelm Meister'"

Ffust Perfotmance, Pads, 1866'

SYNOPSIS+

Locale: Germany an&lltali Time: 18th Century

Lotiatio, a demeoted Italian count, has been wandeting as a minslrel thtough ltaly and Gcr-

maoy in seatch of his daughter, whose theft as an infant robbed hlm of his reasqn. He enters a

tavero courtyard in Germaoy *here a uoupe of actors sit discussing dreir futufe engagements. A

band of roving gypsies enters the courtyald to eDteftain the gtouP and earn a fe* pennies. one

of tl-reir number, the beautiful youog gid Mignon, refuses to dance when commanded by the

gypsy chief, who aogtily threatens her' Lotlario and Wilhelm Meister, a student, jump to her

assisance. vilhelm putchases her fteedom from the gypsies: In gtatitude to hef atuactive rescuef,

Mignoa ofiets him ber services as a page' Wilhelm has succumbed to the charms of Philioe, ooe

of tle actors, aod when he goes ofi with her to the castle where the ttoupe is to perform, Mignon

follows him in the disguise of a page.

Jealous of Wilhelm's aftectiooforlhiline, Mig'non arrays herself in one of Phi[ne's gowns and

attempts to entice Wilhelm. Recogoiziog the girl's jealous rage, Wilhelm discourages her, and in

. despair, Migoon goes oft to drotn herself. She meets Lothario and conides her solrow to him,

expressing her ardent hope tlat the castle io which the uoupe is perfolming will butn down' ds

the players emerge from tle castle praisiog Philine's acting, Lothario enters the building aod sets

fre to it in older to satisfy Mignon. Meanwhile, Philine has asked Migoon to fetch from the

castle a bouquet of flowers which was given her by vilhelm. Suddenly they notice that the

buildiag is ablaze, aod IVilhelm rushes in to rescue Mignott'

I-othario, Mignoo aqd Wilhelru have gone together to ltaly, and they stoP at CiPliari castle,

whose master he5 beeo away for maoy yeais. At the 'mention

of tiis name, Lothario suddenly is

shocked ioto saDig, for he is noqe other than count Lothario, lord of the castle. Mignon is

identifed as hl! lost daughterl ,and Lothiuio 'haipily consents to her malriage with !(ilhelm'

r Thh qnop.i. .or$DoniL to abc. l$t .didon ol Mtsnon vbi'b dtfi'B tolncwh't from 'arlic! v'6ion!'

il)

180

Erglish translatio! by John Briggs

i;i

, Phlllne,has-lust porfo.rnotl st tls castlo- as Tltanta.tn 'h_ Mtdsulnmer Ntght's D.oam'j.,{s Lhe crowd smerges from ihe cas e slnslDghsr prals€s (Act ID, and b€tor€ tlo areat flro breaks. out, she laat€s a trtu:aphat ;trancs smoog a" assertiea-cro:#iij si!*tnLt"cerebrated a;al! wruch "Ttt4nla'' tolls of hsr sD€atacuref tlavels tiroudr$o skt6s-

At!_Atd_

pour ce soir,fot ta-niaht,

lei - - rie--

Mignon.Je suls l l tanla-

I wn queen-

A m b r o i s e T h o m a s

l e -

f"i,of- esl- ies!

suisld i- a, th.nird 'rlith

- ui- a la 'Je-

nr Tiblon - - degolil, - a. hal'

oor_rbtitul

I@A d!-

Moderato tempo

r) To be swg le$ata ,nt at flv rtut'ut l,jjtL Atso it r/u&t be L teln}o.Copyrlglt 1951by Theodore P'resser Co

181

suis ti-t - "i

- . fil -to - - ni- a, the daagh-ler

de I'air En ri - ant '

je parcou-rs lethe air. L@th - thg mer - - ri -tt, I cross thc

le-

>-.------_-\

Plus vi . - Ye queas gai - ly as-

d6i- de,wid.e- uorld,t

lbi - seaq plus prompte_a- bird. awJ quiclt as_

{ue -

S-clair!tbht

f.

'Je_ suis Ti-ta- ni - a la blonIln h- ta - ni-a, lhe maid,wilh gold. -

del ahl-cn hat! Ah!-

parcours le mon-de,

182

ahl Plusvi - .ie queoh! As gai - ly as

Pfus protr$teque lU. claiand Eu** as liglt-ning el$e!

i.r:

t8

lhe rr.aid,

- t ami

stbt a -

1^uith

T i - ta - u i - a f i lfi - a, tfu &tugh-tar

de thnl Eo ri - ant- jo parcoutsthe oirl ltuglving mer - ri- ly, I ctosc lhe uiilz-

de, Plus Yi - Yeunrld, as ggt - aj

que bl - seau,plus prompte que..-.-.-"- l6+lair!.rr- a* bH Md. qui& qa W - - nitlgdUne!-

suis fi-ta- ni - a 14 blonta - ni-a, tlle ,ndtilrt/lth gbld

r del En ri - ant- je parcoug leubfud, Iagh-ttlS r'ner - n-li, I c,uits flb

rbon - - derPlus.pide- tord,as

it',

t84

vi-re que lbi-seary>lus prorrpte que l'6- clair,gd,-lX' as a bn.l@td 4n * as W-nids glarc.

t - t a - i l - a f i l - l e - de l L i r .Ti- ta - ni - a, iltugh - ter of- the qtu,

{8,6

Giuseppe Verdi, 1813-1901

Opera widr Prologue and

"O nel fuggente nuvolo"

TLrce Acts. Libretto by Solefa. First performance, Venice, 1846.

SYNOPSIS

Ircalei Nea! Rome Tirne: Middle of 5th Century

The Prologue ukes place amid the ruins of the city of Aquilea. As Attila, the Hun, surveys the havoc wrought by his

armies, he is fred by the coutage of an Aquilean woioan, Odabella, who bravely confronts hioo thleateoing veogeaoce.

Suddealy the Romao General, Ezio, enlets the sceoe to speak with [is enemy, Attila. Ht proposes a pact wheleby Attila

will conceotrate on the .est of the Romao Empire, leaviog the Italiao cities to Ezio. But the Hun scoros the ofter, aod

Ezio leaves in anger.

tte 6tst Act opeas io Attila's caap where Odabella has remained witl the conquelols,' adaiting her opportudity to

avenge her family and coudtrt'men. She explains this to Foresto, her lover, whom she meets unexpectedly io Attila's

camp, aod who i3 himself plottiog Attila's murdeq having gaioed the Huo's conidence disguised as one of his soldiers,

Meanwhile, Attila has misgiviags about further ionquests o9 Italian soil, for he has been wained by a ghosdy spectre to

cease futher ratfare agaiost the Chdstiao.. . -

Still shaken by the spectre's \rords, Attila sends for Ezio to reoew tleir disccssions. One of the oessengers who bling the

iovitatioo to the Roman is Fotesto. He reveals his identity to Ezio aad utges him to prepare the Roman almies fo! an

ooslaught against Attita's forces, sioce he plans to mutder the Hun that night. Ezio and his oficers come to Attila's tent

and a-toast is ptoposed. Suddeoly, Odabella waros Attila his cup is poisoned, for she wishes to have the pleasure of

killing him by her own haod. Foresto adoits his grrilt,. and escapes io the ensuing confusion. Enraged at dre conspiracy,

Attila angouraes his teoewed hatted of his enemies, and plans to march oo Rome. Moved by what he believes a de[ton-. scation of Odabeila's affectiori io tlus saviog his life, Attila aDoounces he will trlafr/ her.

Eziots soldiers lie io preparedoess aeat Attila's camp while Ezio aod Foresto stand bittetly discussing Odabella's .

ueacher/, for eveo as tley speak, the mardage ceternory is,.being performed io Attila's ca4p, Suddenly, Odabella

ri$his out to tlem, followed by Attila. All three dedoooce hid, aod,as the Rooan soldiets swarm into his camp, Attila is

subbed by Odabella.

i '.

Elglt b t.an6tario! by Joh.D Briggs

Moderato (J = 6s)

la quie : tathispaue-fin

scorhne

A t t i l a'O .nel fuggeite. truvplo"

o - r4indriposqlranpgr l'emo-mqtulwn alf the u;orld' is

J,i-ber- ameote or pian- gi,IrtX tatsrwt flcao n - heed.- ed

Giuseppo Verdi

s&e-oati bbe still my

lo - co, etr)-pur- pose,- It is

181

Odabslla fil€s out for her hour of vergsa.oce to coa6 qutckly (begiidng of Act I). She fears h6r sorloes ar€ aff€ctrng ber ml|4 ad s!6 ss€ns tosse hor fathrls s?lilt l! ths clouds, chasttslng her for th€ delay€d ve!gea@€. Sho ls furtt€r shoc&ed at hsartng the farnltar volc€ of lbr€dr nearbssnd shs aatls out to a[ natrrio to bs 6tlt til ord6r that sxs Eay tlststr to tho volc€ of her lover whoa sle bollevos dead.

Recitativo

s i -

di lo - co iatwteqh /ed,o

scorI

di lo - cq.ia lo - co,nat sdt re - Irosq-

.,?,\CoplriSht 1951 by Theodore Presser Co.

pre settlp_re qqesP o : ta it j te4do_g.in - vo - io.uays al thilt sqtra hotr,- nypru1+e o.e 'qL - s@e/d.

mosso (J -s1)

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NoaIs

t e D u -a nia it the

pres - - so?F - _ e t ?

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sleak - iith the ogic- es that I kno1t,C e U -

tr- tr.

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tr tr

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n ? ,

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sa- lir- Yo-- ce_u - dir.a - gain ooi<es tlat I Lnou,

54rthsn,

cor la Yo-kwo.@s, ool-a2s

t92

Giuseppe Verdi, 1813-190rThe Masked Ball

. "Saper vorreste di che si veste"

Opera ia tlree acts. Libretto by Piave' First performance, Rome, 1859,

SYNOPSIS

Locale: In and alouod Bostoo Time: 17th Century

Bostoo's Goveroor Riccardo has been waroed by his secretary and friend, Renato, of a coDsPiracy

agaiost his life. Dismissing this rumor lighdy, he neverheless visits the hut of Ulrica, the witdr

of whose great powers he has heard, for a glimPse into his future. Hidden there' he overhears

Reoato's wife, Amelia, plead fot a herb to desttoy hel love for-Riccardo ! Riccatdo is over-

ioyed, for he too has long loved her secretly. When Uldca prophesies that Riccardo's life will be

takea by the next man to shake his hand, Riccardo derides her, for it is his good friend Renato

who is the 6lst to greet him with a handshake, having followed him to the hut to again warn him

of the plot against his life.

Amelia has gone to a gaveyard in search of thi herb of forgetfulness. There she meets Riccardo

uoexpectdl)', and the tsro openly declare their love. SuddeD.ly, Renato rushes up to waro

Riccardo of conspilators afoot. He does not recognize his veiled wife. Riccardo escapes, and the

conspimtots turn idstead on Renato. In the 9cufile, Amelia's veil drops, and her astonished

husband beholds his wife, Believing her entirely faithless, he vows revenge against Riccatdo, and

ofters his assistaoce to the conspirators.

At 6rst detetmioed to slay Amelia, Renato telents and bends his eoergies instead to vengeance

against Riccardo, He and the conspirators atl€nd the masked ball given by Riccardo. Amelia has

waraed Riccardo of the plot against him, but he Plefels to remain with his guests. Tlie coospira'

tors leato of his disguise eveotually, and Reoato stabs his fotmer friend. The stricken govetnor

expites, afte. folgiving the tePentant Renato, and assuring all preseot of Amelia's innocence.

The Masked Ball

E'g.r ish traqsratio! by John Briggs

"saper vorreste di che si vdste"

Gius.eppe vertr i

At tha ask€d Ball (Act m), Renato &tlenpts to obtaln flom osca! a descrlptloa of Rlcardo's aostume, But tho clever pago, bellevlng.& loke ls ln tho offLog , stulbornly r6fuse6 to dtwlg€ the lnfofmallo!. It ls a secret he treasures wilh hls llle, and nelther rar& nor boautycafl wr€st lt from hlm.

. ., Alle gretto 6= roo)

t9t

aldhe

dihou

Sa - 1rr vorNo uae itu

re - steguess - ing

ve - 6te, quan -&ess-ing if

rna nolbut ho

co - ba chtei rrrolceal it, I won\

la la la la Ia1 4 l a l a b k t

lala

tralra

tia la la la la la latra la la la 14 lz la

tralra

diuon\

La 18 18 tra la la la, O - ecaila h lt 14 lo 14 lo. Os - cat

a a -f e -

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'1o sa,hwus uell,,

diuonl

tra la la la la la laho la la la la la l/t

te n. raII.

ro Ba,kno@s @ell,

lnabul

- ri,tel,l,

Co!}.cijrtt 1961 by Theod0re Pres-ser Co.

r94Poco piri mossobri,l,lantlsBino

lala

la la la tra la la la &a la la la tra la la 1a tra la la lal,a la la trd la la lo tra la la'la tta la I.<t la tra la la lo

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la la la la la14 le le U, la

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bolaf

r a - p i - r it@ ufll, aear

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se - gre - to. Nol,w &t - ty,Vfui

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ma pw

tra la la la la la latta Lt La la Ia La In

la la la tra la 1d la' la la lal4 ld la. tra Ia la la Ur ht Ia

>

tra.la la !atruIa lir Id

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no1he

tra 1a la la la 1a la.tra la tra lo la 14 Ia.

:'i:1'l *"T"

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{Ji

t96

Giuseppe Verdi, 1813-1901

"Caro nome"

Opera io tl[ee acts. f,ibretto by Piave, based on Victor

Filst Performaoce, Venice,

Hugo's drama, "Le Roi S'Amuse."1851.

SYNOPSIS

Locale: Mantua Time: 16th Cetrtury

T[e handsome Duke of Maotua has created many enemies as a result of his amotous adventures.

Hfu most lecent victim is Mootetotre, whose daughter has beeo seduced by the Duke. Rigoletto,

the humpbacked, acid-toogued courtjestet, ridicules Monterone, who aogrily calls down a father's

curse oo him. Rigoletto tembles io fear fot his owo daoghter, Gilda, whose existence is unknown

to the court. She lives secluded in the town with her dueona. Rigoletto has been seen visitiog this

straoge housg The courtiers, believing it to be thi home of his rnistress, decide to avenge them-.

selvcs agaiost the hated iestet by kidoaPPing her for the Duke's pleasute. Rigoletto unwittingly

assists'them, discoveriog too late tlat it is his owr.r Gilda who has been spirited away.

Advised of the iest, tle Duke is enchanted to discover that Gilda is the very girl with whom he

has been playing at couttship, disguised as a student. RiSoletto pounds at the door of the Duke's

chaobet and pleads fot mercy with the incredulous coultie$. Gilda emelges fnally and embtaces

her discaught fathet, who vows vengeance against the betrayet.

The flclJe Duke sooo turns his attedtions to Maddalena, sister of the assassin, Spatafucile' Vhen

Rigoletto hLes Slxtafucile to murder the Duke, Maddalena pleads with her brother to sPare him,

and the plot is overheard by Gilda. Disguised as a youth, Gilda enters the darkened doorway

where ttie Duke is expected, and is stticken down by Sparafucile. Her inert form is turned over in

a sack to tie gtatified Rigoletto. Suddenly, he tecognizes in the dying moans of the victim the

voice of his daughter, and tie curse of Monterone is fulflled'

i,t.

Rigo le t to

Engush translation by Joba Briggs

Durldg otro of bls vlslts to Gtlda (Act t;t.h6 Duke teUs ller that hls leIllo ls Glaltter (Iyaltet) Uald'' AIte' lisclotstefod- Gtlda shSs of thls alerr m,ao whl& flt st awateDod l€. to lovo snd wtldl $l[ b€ forover sacrod to he..

tc1

Giuseppe Verdi

departuro, th6 Loolpedenc€d,

Allegro assai moderato (J =se)')

tolure!

ti scol-piIt rE rop

morendo

re ln-lla-mo - ra

loutrweIQ, lreas

1l !tB'. fao bar. sutg ii th. ta,qo iutico//.n by Yeni gi:t, tlu figlt ntood to ttft aia

Copyrlght 1951 by meodoro Presser Co'r.J.

i98

Ca - ro no - mq &q.ilLwe-l,y ranle th.d I

fe - sti pri - ao oai - oi -h rlrylirr,rt shtL eu - it

mio cota - dorc,

le de-li - zieNfie a-lone fot

d e l - l h - t l o rA t - e r - n A t e ,

fniEc ul

s€o - pr€all tle

tat!, - llleIl -

uoid to

"];

t99

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a te s€6 -Arul he sqid,

tarln@l

c a - r oHe is

e fia 1'ul - ti - !ro- so - sp4Laoe tn- d,y - ing a3- nV- o1dn,

Col oeu-sier il rino dd - sirFot

'l late but hlm a - lone,

mer tuo- sa -the uorlil to-

ta.tE .

DOqu_

CoL pea -For- I*

sier il mio de- sirlaeblhim o- lane

a teseitPre Yo-le - r4tAnd hE sddhislare rwnd' be

e finI Lobe @r-

ti'1i

200

Itd; ti - mo -:-- trd-o- so - E)irr c:r fo_ !ots- aI),Iy - f"W *- mJL dtnr' o.s- nE outr, He

CoL peo-sierFor_ I- looe

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ri!, fin- ltl - ti ; '!e so - sp4-Lowt ftr- ne- his- lare toufuI be-

I trL l i { - t i - mo_ so- 8pE_ftr- ,*- his- lotp- uould be,_

no - mer- tuo- sa

for- nro* a- -

caaLl

no- me, tuo sa-ie a-lane uoult j

a t e o - g t l o - - r a ,aad, long for you ttilh

$rd e -of

tlllodremtI

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be.

in

fin ltl - ti - mo so - q)i - roI &eam of you dnd lang fo,

99- Io ng-pe, tu --- o sa - -ne Ls au tha Trotd_ tL

saA

leggieroI , /a /

. Gual-tier DIal -

{ O deat - est

Ca-ro no - !1e cho ilLoue-ly na ne tlwi I-

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fe - stiIn ny

e fin lul -Mine a - tronn-

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I\{af - d;! Gual-tierest rune, Yal-tit

- spl!, ca- toHe is

I\{al - db!ItaI- iliraIJ-

91

LA TRAVIATAGIUSEPPE VERDI

Opera in three acts. Librctto by Francesco Mmia Piave, based on the play "La Dame aux Camelias" by AlexandreDumas, fils. First perlormance: Fenice Theatre, yenice, March 6, 1853.

SYNOPSIS

tt I HE FIRST.4Cf commetrces with a gay party in the house of Violetta, a young and beautiful cou esan,l- throwD by circumstances and the loss of her paredts iD childhood into a course of voluptuous living. She

is slrrounded by a circle of gay aDd thougbtless beings like herself, who devote their lives to pleasure. Amongthe thong who crowd to her shrhe is Alfred Germont, a youDg man, who falls in love with her. Touchedby the sinc€rity of his passion, a lrew love springs up in Violetta's heart, aDd for the frst time she becomesconscious of the misery of her position, aad the hollowness of her life.

Iq the second act, we discover her livitrg id seclusioo with ber lover three months later, in a country-house aear Paris. Aured accidentally discovers that Violetta has been secretiy selling her houses and propertyin Paris in order to maiatain this establishmetrt, RevoltiDg at the idea of being dependent oD her bounty, heleaves huffiedly for Paris to redeem his honor flom this disgrace. During his absence his father, who has dis-covered his retreat, arrives and lepresents to Violetta that his son's connection with her is Dot only lowelinghim ir the opinion of the world, but will be ruinous to his family. Alfred's sister, he says, is betrothed to awealthy noble who has declared his idteltion of renouncing her udess Alfred gives up Violetta. Ileariog this,the geaerous girl resolves to sacrifce her affections and happiness for her lover's sake, and returns alone toParis. Alfred, overwhelmed wirh despair when he discoveA her flight, follows her,

Io Pads Alfred again meets Violetta, now under the protection of the Barcn Dauphol. Unaware of thegetrerous motive which made her deJeat him, he overwhelms her with rcproaches and flings a purse co[tainingmoqey at her felt in the prcsence of the company. Degraded and heartbroken, the unfortunate Violetta leturnshome to die; and iD the last act we 6nd the sad romance of her life daawing to its close. Alfred, too late, leamsthe truth aod discovers the sacrifice she has made to secure his happiness. Overcome with grief and shame hehastens, with his father, to comfort and console her, aod to ofier her his hatrd and name in reDaration of thewrong he has done her. His words bring her a few moments of happiness as she dies in his arms.

92 Ah. fors' 6 lui(14/crs this the m<rn)

from "La Traviatd'Act I, Scene IV Violettas Song

Giuseppe VerdiAlfted has dectared his tove for Violetta, Alone and sunk in contemplation she sinSs first her hope that lerhaps hjs, Alfred's, is lhe Iove

lor which she has longed; but suddenly leeling this is delusion, she bursts into the b.illiant "Semp.e libera'with which lhe act closes.

Allegretto

E stra- no!Sur-pris- in gl

free-dnm,ob gloa tratl

gnar la posst i - oIltrou xtch alreas-ure

lnIis

sco,l-piti_hg que - gli_ac - cenala fool- ea Ln my Doa

C O - r ewoils arc

d stra- no!sw - pris-in6!

- til

Sa- ria per me sven -Does il por-tend ny

u n s e - r i o a - m o - r e ?a deep af - fec -tian?

t u - r a

sol- vi. tur- ba - ta a-ni - rna mi - a?ler - mine, O fu art d fre, o nd rest -lcss?

non co - lob- bi,ncu e - na-tion,

Nullt uo-mq3Ln-co - ra ttacceo -Be - forc, I rangld,in fan- cyb

aes-ser a - ma-taa- nan-dol

this in - ter-change i; spir-;tsl

1'a- ri - de fol -u:ay fot uotld,-l,y

l i - e del vi-verbau-bles, for senseJess

mlpleos -

O Copyrighi 1956 by

411 -41005 - 14e

pera -

Prosser Co.

Andantino

man

lin - ga nd tu - mul - tiin bright :'ij-sions snil - ing,

l h - r d - m afan - cy saw

Vas this the

go - deaone fontd,

s o - v e a - t eta uin a

- --3-

so-lin - ga ne' tu - mul - ti,ofr ir brbhl 1;i- siont snfl, - ing,

so-rfl

failh - cefilt

de'suoi co - lo - ri oc - cul - tiwilh a pure l;;"

'Y"- - in - ,"i,

dd srioi co - lo-doc - cul - t i !aifh a pure laae ii - guit - ing?

Lui che, mo- de -sto eIs he the one thi

a l l ' e - g r e s o - g i i e a -uhen fe - ie/s ,oge

-*o7

, \ _

g - l e ,- ed, metend

seing,n8,

e ltuo-va febbre ac -and, peace lo ne

-re -

de - stan- do - mi all, a - mor!kin - dled. a trli lite's fire!

,111-41005-149

t u c !'lis the loue-

_-3;_

u - n1- verin the skies

m i - s t e - r ity rant re

so, oe! uput'e, by hun

n i - v e r - s o i n - t e'7.an tcars ofr re - flcct

tru'C"i"st ,sje

- {

- 9- soJtl -

nutu lDno rJ pro -

c€r cro- ce e de - ti t^, "fo- ""-"

d" -lure, tap-ture and lor - nentr, rop - ture ond

li - zia, de - li- zia al coritor - nent, pain antJ E - s:,re!

411 - {1005 -14 9

e t r e -p i - do de - r€ , e t r e -p i - do de - s i - r e ,mooA by a aLgue e - ti.on, mauA by a tague e - mo - tion,

..--a-

si - gnor dellt av - !€ - ni - re,tu- dhnt u'ith fond de - w - tinn;

quan-do ne cie - l i i llhu. by the uoice ;f na - ture thence tas my fote de -

rag - gio di sua bel-ta ve -

;\---<

sl - quest' ef - fisud. - den ap

a, e tut-ta me Pa - sce _ aed, nou I'm to him con - fid - ed,

si- gnor del l ' av- ve -rd- diant rith fond de -

,t't'l -41005-11t9

di quel di - vi - no.-er - ao!.to him I so ed - mire!

con espress.

t i a chea -mo'ns the InDe,

-.-.3_

li - zra, cro-ceJr de - lilor - tuenl, rap-lure and lor -

fe't che_a - tao

PUfe,

mi - ' s t e - d -o -so .a l - t eBa:nst hinl who is pao - bct

lli - ver-so in - tenwn teanii-- flect

r e d i lnu)oe8

p r - t othe spheres,

deu' ubf tdt

di verthe skies

less,mi - s te - r i - otJt - rant re - srsf

- da, de - li - ziaJd cor!menl, pain dnd, de - sire!

ed?clo - ce, cro-cej de-rap - ture, raplure and,

cro-cqj de - l i - zia, de- l i -ziaal.rap-ture and tor-menl, pain and 6 -

de - li - zia a.l cor!

41r-.!1006-r4C

sh! poin and, de - sire!

07

Fol- l i - e! fol - l i - elVhot fol-l,y! uhol fol-ly-

Po- ve - ra don - na,j{ost lap&ss 1po - man,

Allegretto

pii?dD?

de- li- rio ra.-nq! que-sto!uorsethanaainlhis de - lu-sion!

a b - b a n - d o -by all. de -

so - 1a,sin - gle',

s o d e - s e r -full of peo -

n a - t zsert. - ed.,

to che_;rp-pel - la - no Pa -plc, by all thc uorld, caVd

cbe spero_orahd can I

che far deg -' gli - o?uhatmr, rc - sofice nDlb?

gro - i re diplonge inonce

con for,z&

vo - lut- ti- ne' vo.lhie udsl sea- o/ re!

t i - ci , di vo-lut-t i gio -eL - f!, aIfrMJfee-LJ' \'tf - ces

411-41005 -149

i r !jo! !

gioo/r -

l i - be - ra_ degg'aL - ways free b,

follive

leg - sia -foi ' 7e-t6nU

lr

Ire di gio -j{in gio - ja, vd che

Jo!, oe pLeas-ure greet - ing,in this

rlscor - rai l vi - ver miLi.fe Jo quicl - lJ, ehang

sen - tietuy tt'me

pla - cer.to lear?

Na-scOilDay by

411 -41005 - 149

frorn lear -

gior - no, o_j l gior - noday,- lho' tfte lours- be

muo - Ja,J-Ieet - ing,

sem - Ptebrings nea the

lie - taglad. - ness

con effetto

deeandtr

_ v i

\

nuosor

i tvo - la - re i l -mio pen- sier, dee-

fo, sctil - ness haoe-nought to fea4 for-

thenhail pleas -t ure,ban -a d i - l e t - t i s e m - pre

ish

vo - lar, dee-sad d,ays,, fot - sotl

dee- vo - laah- for sad -

re il mio pen - sier,ness havenougit lo fear,

4 r1 -4100s -149

Allegro

l i - el fol - l i - elfol-ly! whatfoLly!

f o l - l i -ahal fol -

sio - ir l eiooh- ioyt ;h- jox!

, l 1 i - { { 0 ( , 5 -149

Sem+re l i - be-ra-degg' i - o fol - leg-gia - re di gio-jajn gio - ja, yo'cheShaLtI at - udlEfree - tj- rang - ing,lixe foi fiign'd jo!.beile;;ure iteet - ing,n ftis

scor - rai l vi - Yer mi - o Dei sen - t ielife si quick - Iy chang - ing,iaste my time

ri del- pia - cer.frotu Jear- to year?

Na-sca.ilDay by

gior- no, qi l gior - nodo1, tho' the hours be

sem-Pre l ie - ta r ie-bringsneto glad-ness for-

muo - jatfleet-ing, the

tro -mof -

tr

a di - let - ti sem - preIhenhail pleas - u.e,bdn - ish

DUO

rb r

Yi deerous,anil for

jq

r . . 4 t l - 41006 -149

l a -sod -

ie il- rdio Den- sier,ness ha.xe nou,ht'to fea;,

re i l mio Den - sier. dee-nesshouenowhilo feai, 1or -

vo, - lar,saa days,

vo - lar, dee-sad. d,ays, for- sad

vo - lar,sad doyr

dee- Yo -ah- for

l a r -,lof

il peII-sier,haue- no feai!

dee- vo

l l ; - : . -

daJ.s,lal abl- a}t!

- ah!

4ft- 4100 5-149

dee- vo-lar i l pen - sier.for- sad d,ays haoino fear'!

I ar,d.a rs.--

m10no ght

haoe nought -

sier!fear!

4t1-41005 -149

c o

IL TROVATOREGIUSEPPE VERDI

O.perc i4 lour acts. Libretto by Salvatore Catnmaruno, based on the Spanish drama by Antonio Garcia Guttierez.First pertormance: Apollo Theatre, Rome, lanuar! 19, 1g53,

SYNOPSIS

t--r\- HEIORE

the act.on of rhe opera, tbe old Couot di Luna, ,'ow deceased, had ordered a gypsy womanJJ bwned ro lhe srake on the charge of bewitching one of his two sons, to whom she had L"en ,ru.s".

The gypsy's daughter, Azucena, immediately kidnapped the count's younger son, intending to throw him intothe names with her mother, to avenge the count, ln the dark, however, she threw her own child into theflames by mistake. Vowing revenge on the Count's family, she then kept the younger son with he! and broushthim up as her own.

when the opera begins we find the younger soo, Manrico, grown up and a valiant and daring knight.well skilled in a!ms, he has entered the contest at a tourney in disguise, and has won all the honois. Hi iscrowned victor by the hands of the Duchess Leonora, lady attendant on the eueen. From this moment apassionate love is kindled between them. The troubadour makes his feelings known by nightly serenades, per-formed below the window of the Duchess.

The young Couot di Luna (blother to Man co, although this is unknown to both of them) is also srnittenwith a deep passion for the Duchess. one night while the Count is ir the gardens attached to the Royal palaces,he suddenly hears the voice of the troubadour close by. Presetrtly a door in the palace buildings opens, theDuchess steals our and, mistaking the count for his dval, she haste4 toward him. when Manr'ico steos outilom the foliage she sees her histake and seeks his protectiotr. flard words pass between the rwo rivals. Thetroubadour unmasks himself, revealiog to his aotagonist the features of one whose life has beeo forfeited tothe laws by some act of violence against the existing government. The two knights rctire with drawn swords toa more secluded spot, leaving the Duchess insegsible on the grouod.

The duel' as we Iearn from a conversation between Azuiena and her supposed soD at the beginning ofthe second act, quickly terminated in favor of the troubadour. But as he tvas about to strike the d-eath b'lowa voice from heaven seemed to say to him, "spare thy foe." Manrico, obeying reluctantly, r€tired. He ioinedthe army opposing his coudtry's fotces and was wounded arld left for dead on rhe batrlefield of pelilla. Therehis mother discovered him, took him to one of the mountain resorts of her tribe, aDd began to restore himto health. Thus we find him at the begilloing of the second act, still not fully recovered.

His Pdnce, having heard that Manrico is still alive, dispatches a messenger to his retreat, bidding him todefend the fortress of Castellor against the forces of the Count di Luna. At the sajne time he comniunicatesto him that the Duchess Leonora, believiog in the current reports of his death, is about to take the veil thatvery. evening, -at a convent in the neighborhood of Castellor. Marrico at once departs, aIliving at the conventjust in time to rcscue Leonora, who was about to be car ed off forcibly by the Count di Luna aod his followers.The troubadour cooducts the Duchess to Castellor, which is immediat€]y enclosed and besieged by the Countdi Luna's troops.

Azucena, following Manrico to Castellor, ventures too far in the lines of the enemy and is taken prisoner.she is led"before the count, charged with beinS a spy, and is recognized by him as an old servant of thehouse of Luna. The gypsy, frightened and confounded by this unexpected discovery, calls for her sor Manricoto Protect her. This only adds to the Count's alger, and he gives orders to have her burDed immediately in faceof the casde. Manrico, meanwhile, mak;rg preparations to celebrate his mariage to Leonora, learns from hissentinels that Azucena is about to be burned alive in front of the enemy's camp. He quickly gathels a squad ofhls trooPs and sailies out to rescue his ill-fated mother. But fortune is against him; his forces are repu)sed andhe himself captured.

The CouDt di LuDa, after storming the fortress of Castellor on the day following without finding a trace ofLeonora, takes his prisoners to the capital of the province. Here, on tl, e eve of the day fixed for th-e executionof sofl and mother, Leonora suddenly appears before the Count, offering him her hind in exchange for theIife of Manrico. The count consents, and Leonora is adftitted into the dungeoo to restore Manrico io liberty.Before she enters, however, she takes poison, which she has carried concealed in a ring on her finger.

But Mal co refuses to accept his liberty and accuses the Duchess of basely betraying his afiecti'ons. Duringthis delay the poiso[ begins to take effect. Manrico discovers the extent of he. sacrifice too late. The Counientels, understands at a glaoce what has happened, and orde6 Manrico to be beh€aded immediately, whilehis order is being obeyed he louses the gypsy from the stupor in which she has been lying in a corner of thedungeon He drags her to tbe wildow to show her the execution of her supposed son, theo the gypsy tri-umphantly divulges her secr€t. "Manrico is thy brother!" she exclaims to the holror-stlicken Count,

-and'witfr

a "Mother! thou art aveoged;" she falls lifeless.

o aD'amor sullali rosee(On rosy wiags)

. . fr:om "Il ' Trovato re'

Act ry Scene I Leonora's Sotrg

English traDslation by T. T. Barker Giuseppe Verd.i

. -Uallllco ln an attempt to save .{zucena's life has been oaptu.ed by his brother, Count di Luna, and thrown into the dungeon tower ofAliafe a. Leo4ota is led tg where Uanrico is being held capave although anrico is as yet unavare of her Dresence.

Aetagio (J = eo)

pre - sta ar e a d - y '

S i - c uSe-cure and.

e tu nolUn-knoun to

la :mia diare m!, de

I'l ques -fo -scu - raIn this darh hour of

no t - t emid.-night

pres - so a te sonnund thee near ap -I hov-er

1 - O

proach - ing-s a - i !

lhee, loue!Ge-men - teYe moan-ing bree-zes

O copyright 1956 by Theodore Presser Co.

411-41005-149

sp1-11,plal-ing.

deh,pi-e - to - sa,In pi-ty aid ne,

d e h , p i - e - t oin- pi - ty- aid

gliar-re - ca i Iniei so -

rny- sighs lo - him' con-

Adagio (J = so) IJp COn espressrcne

D'a - mor sufl'aOn ro - sy u)ings -

uof

r o - s e - eIoDe d.e - part, Bear - ing

so-sp1r _ml heart's -

do - lensad uail -

,.\

del- pri€io-nie - ro mi - se-ro con - for - ta l 'e - gra meo - te- co-I4s -

-it {he pris -'nefs lone - ly cell, Con - soJe lzis sp:,r -it Tail

- ing.- Let

'-t<----j r<___-,-t----------- -_l

i{_lj"

411- 41005-149

; f ? t r ? 7_/ !_l -!._t

m'au - rahope's soft

di spe - ranwhis - pers- ureath -

a - leg - gia in quel - Ia-A- round him, com

.------i--:---..

staa -

fort - ing,de - sta al - le rne - mo

r e - h e t u -Re-caL to his fond,--.---:\

so - gni, ai so - gni- del - l'a - morl- Ea,bi - siotLi,ttweet ai - sion:t- of out-.looe; But,

/e> .=--.:-

vi - do le pe ' ne,- le pe - ne, le pe- ne del mio cor,lo him the sof - rotDs, the sor-rcws, the grief.;my heart d.oth proDe.

breath

frr:*

deh!non dir -let no ac

PryJ-fecondqndo il cantod - , . j _ J _ - B -y'{7zi{l y

i r 4 t1 -41005 -149

60

le pethe tn

- gli io - prov-vi-do - Ie pecent- re - oeal to him- the trt

ne - del- mio-als- I- noo-

vi-dob A m

A A

dehl- Don dirLet- no ac - eent-

deh! non dirLet no ac

P e -aol' -

lethe

le pethe sot

ne del cor.fous I prove.