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220

Cosl Fan Tutte, Act II


NO. 26 ARIA
GUGLIELMO
'd::m:ne
'mie 'la 'fate
mio, la fate
Donne
Women
mine, you do it
a
a
to
'ke 'se 'il 'ver 'vi 'ded:d30
cho, so il vor vi doggio
that, if the truth I must you
'se 'si 'la1111ano
',(i a'manti
so si lagnano gli antanti,
if
they complain, the lovers,
'Ii ko'mintJ::> a kompa'tir
Ii comincio a compatir.
them I begin to feel sorry for.
'tan ti
tan ti
so many
'dir
dir,
tell,
(Dear ladies you cheat on so many men that, to tell you the truth, if your lovers complain I begin to
sympathize with them.)
'io 'v::> 'bene 'al 'ses:s::>
Io vo' bono
15
al sosso
I am fond of the sex
(I am fond of the fair sex)
'lo sa'pete 0'1111un
'b 'sa
'v::>str::>
vostro,
yours,
lo sapoto, ognun
you know it, everyone
lo sa:
knows it.
0
0J1J1i
Ogni
Every
'vi 'd::>
vi do
'd3omo
giomo
day
I give you
'ma
've 'b 'm::>str::>
vo lo mostro,
I prove it to you,
'se11110 damis'ta;
sogno d'amista;
proofs of friendship;
'farla
farla
'tan ti
tan ti
e
Ma
But
'kw el
quol
this doing it
a
a
to so many
0
and
mav:vi'liJ J e
m'avvilisco,
mortifies me,
'mil:le
Mille
A thousand
'per
per
to
sa'var
salvar
save
'in]
in
in
'v::>lte 'ii
volte il
times my
'ii 'v::>stro
ii vostro
your
veri'ta
vorita.
truth.
'brando
brando
weapon
o'nor
onor,
honor,
'prezi
prosi
I've drawn
'tan ti
tan ti
so many (men)
15
Voler bene in Italian means "to love", "to be fond of'. The vo' is a contraction of voglio. Without the contraction, the
line would be lo voglio bene al sesso vostro.
Casi Fan Tutte, Act II
'mil:le
mille
a thousand
'kol:la
co Ila
with my
'v::l!te
volte
times
'vi di'fezi
vi difesi
I've defended you
'bok:ka e
hocca e
mouth and
'pju
piu
even more,
Ma quel farla a tanti e tanti
e 'ml) vi'ttsjet:to
9 un vizietto
is a little vice
(is an annoying little vice.)
'sjete 'vage 'sjete a'mabili
Siete vaghe, siete amahili,
sek:ka'tor
seccator.
annoying.
You're lovely, you're pleasant,
'pju te'z::lri 'ii 'tJel 'vi 'dje
piu tesori ii ciel vi die,
'kol
col
with my
'br
cor;
heart;
many treasures heaven has bestowed upon you,
e 'le 'grattsje 'vi tJir'kondan::l
e le gra.zie vi circondano
and graces surround you
'dal:la 'testa 'sin::l 'ai 'pje
dalla testa sino ai pie';
from your head down to your feet;
(from head to toe;)
'n1a 'la 'fate a 'tan ti e 'tanti
Ma la fate a tan ti e tan ti,
But you do it to so many and so many,
'ke kre'dibile 'non e
che credihile non 9.
that believable not it is.
(that it is unbelievable.)
'ke 'se 'gridano ',\i a'manti
Che, se grid a.no gli a.man ti,
That, if scream the lovers,
'an:n::l 'tJerto 'un 'gran per'ke
hanno certo un gran percha.
they have for sure a great reason.
16
(If the lovers scream, they surely have good reason to.)
221
(He exits leaving Ferrando alone. Don Alfonso and Guglielmo sneak in later and talk in the background.)
16
Perche in Italian can mean "why?" and also "because". In English when one answers "because" one is giving a reason for
something that has been asked. Therefore in this sense, perche signifies "reason". Because of the repetition of the phrase un
gmn perche at slower and faster tempi, it is a great help for the baritone to use assimilation in the faster passages to facilitate
the delivery of this line. thus: 'u!L'gra!_!! perke]. In the slower tempo, the phonetic transcription above stands.
Hamlet, Act II
403
DRINKING SONG
0 ve di'sipre la
tris'tesce ki 'pezre
syr mo kcer
0 vin, dissipe la
tristesse
qui pese sur
mon
coeur!
Oh wine, dispel the
sadness
that
weighs on
my heart!
amwa
Amoi
Give me
le
les
the
'revre dre li'vresre e
reves de l'ivresse
et
dreams of intoxication and
lee
le
the
'rirce
rire
laughter
m::>'kcer
moqueur!
mocking!
o l i k r e ~
0 liqueur
Oh elixir
_so J otre'n:sre
enchanteresse,
enchanting,
lu'bli
l'oubli
oblivion
do
dans
into
mo
mon
my
kcer 'dusre li'kcer
'versre li'vrs
verse l'ivresse
pour drunkenness
coeur! Douce liqueur!
heart! Sweet elixir!
PLAYERS (bringing the cups to their lips)
0 liqueur encbanteresse, etc.
'versre nu
Verse-nous
Pour into us
li'vresre
l'ivresse!
drunkenness!
MARCELLUS, HORATIO (aside)
il
'JerJre
lu'bli
11
cherche
l' oubli
He is seeking
oblivion
HAMLET
la vi e 'sobrce ls
La vie est sombre, les
Life lS dismal, the
do
li'vresce
dans l'ivresse.
in
drunkenness.
..z;o so kur
ans sont courts;
years are short;
dre
no
bo
3ur
dj<t>
se
lre De
nos
beaux jours
Dieu sait le
Of
our
joyous days (on earth)
God knows the (Only God knows the number of joyous days left in our life.)
'nobrre
nombre.
number.
Ja'kce II e'los
Chacun helas!
Each one, alas,
P:JL
Ji'si bo
po rte ici bas
bears on earth
sa
sa
his
'lurdre 'J e:nre
lourde chaine!
heavy chain!
kry'el dre'vwar lo
Cruels devoirs, longs
Cruel duties,
long
MARCELLUS, HORATIO
ka til do
Qu'a-t-il done?
What is wrong with him?
dezes'pwar
desespoirs
despair
dre
de
of
lQ,
l'ame
the soul
.JilY'menre
humaine!
human!
I
, ~
404 Hamlet, Act II
HAMLET
lwe dre nu nwar pre'za3re
Loin de nous, noirs presages!
Away from us, black omens!
le ply 'sa3re so le f u
Les plus sages soot les fous! ...
The wisest ones are the madmen! ...
0 vin, dissipe la tristesse, etc.
(The players follow Marcellus and Horatio out.)
Scene Two
(The Great Hall of the castle is festively illuminated. There is a throne, a dais for the
courtiers and a Players' theater at the back, its curtains closed. The King and Queen enter
followed by Polonius, Hamlet, Ophelie, Horatio and the whole court. Hamlet sits at
Ophelie's feet, his eyes fixed on the King and Queen.)
DANISH MARCH
HAMLET (to Ophelie)
'belre pe:rme'te nu
Belle, permettez-nous
(My) lovely one, will you permit me
OPHELIE
'presre 'v:Jtrre rre'gar
Prince, votre regard
Prince, your expression
mepu'vQ._
m'epouvante
frightens me
dre 'pradrre
de prendre
to take my
plas
place
place
Je
et
and
mre 'glasre
me glace!
chills me!
a vo 3re'nu
a VOS genoux?
at your knees?
(At a signal.from the King, everybody takes his place on the dais. The curtains of the little
theater are opened.)
HAMLET (in a low voice, to Marcellus)
vwa'si le'sta fik'se V:J rre'gar
Voici l'instant! Fixez vos regards
Here's the moment! Fix your gaze
e si vu Ire vwa'je po'lir
et, si vous le voyez palir,
and if you see him turn pale,
PANTOMIME
syr Ire
sur le
upon the
'ditre lee mwa
dites-le moi!
tell me!
rwa
Roi,
King,
(An aged king, wearing a crown, slowly enters upon the arm of a queen, whose features and
costume resemble those of Queen Gertrude. Hamlet, whose eyes never leave the King's face,
begins a commentary upon the movements of the actors, matching his words to the action on
stage.)
HAMLET
SE: Ire v j ~ rwa go'zagre e la 're:nre 3re'nje:vrre
C'est le vieux Roi Gonzague et la Reine Genievre!
It is the old King Gonzaga and (the) Queen Guinevere.
484 Don Pasquale, Act I
MALATESTA
'tsitto kom pru'dentsa
Zitto, con prudenza.
Hush, with prudence.
(easy does it now.)
PASQUALE
io mi 'struggo
Io mi struggo
I am consumed
MALATESTA
si tr:J'V:J
Si trovo.
She's been found.
PASQUALE
bene'detto
Benedetto!
Blessed!
dimpa'ttsjentsa
d'impazienza.
with impatience.
(May you be blessed for this!)
(Wonderful! Oh how marvellous!)
MALATESTA
ke ba'bbjone
(Che babbione!)
(What a foolish old man!)
'pr:Jprjo 'kwella ke . tJi 'vw:Jle
Proprio quella che ci vuole.
Just the one that we want.
asbl'tate in due pa'r:Jle il ri'tratt:J
Ascoltate, in due parole ii ritratto
Listen, in two words her portrait
(I'll describe her to you in two words.)
PASQUALE
son tu'tt:Jkki
Son tutt' occhi ...
I am all eyes ...
MALATESTA
u'dite
Udite.
Listen.
ARIA
'bella
Bella
Lovely
si'kkome
siccome
like
un 'and3eb
un angelo
an angel
(She's lovely as an angel on a pilgrimage here on earth,)
la
La
My
spo'zina
. ?
sposma ....
little bride? ...
ve ne fo
ve ne fo.
I will paint for you.
lil 'terra pelle'grino
in terra pellegrino,
on earth a pilgrim,
Don Pasquale, Act I
'freska si'kkome il 'd3L\i\o ke 'sapre sul ma'ttino
fresca siccome ii giglio che s'apre sul mattino,
fresh as a lily that opens in the morning,
'::>kkj::> ke 'parla e 'ride
occhio che par la e ride,
eye(s) that speak and laugh,
'zgwardo ke 1 br koIJ'kwide
sguardo che i cor conquide,
a glance that the hearts conquers,
'kj::>ma ke 'vintfe 'le ban::> so'rrizo iI]kanta'tor
chioma che vince l'ebano, sorriso incantator.
hair that shames ebony,
2
a smile enchanting.
PASQUALE
'sp::>za 'simile
;)
'd3ubilo n::>IJ 'kape im 'pett::> il br
Sposa simile! Oh giubilo! non cape in petto ii cor.
Bride such! Oh joy! It doesn't fit in my chest the heart.
(Such a bride! Oh joy! My heart is about to jump out of my chest!)
MALATESTA
'alma inn::>'tfente in'd3enua ke se me'dezma
Alma innocente, ingenua, che se medesma
A soul innocent, ingenuous, who about herself
(An innocent, simple soul, and quite self-effacing,)
m::>'destja
modestia
modesty
impare'dd3abile
impareggiabile,
beyond compare,
b::>n'ta
hon ta
kindness
ke
che
that
ai 'mizeri pje'toza d3en'til 'doltf e
ai miseri pietosa, gentil, dolce,
to unfortunate people full of pity, gentle, sweet,
il tfd
la 'fatta 'naff ere
II ciel l'ha fatta nascere
Heaven has made her be born
per far be'at::>
UIJ br
per far beato un cor.
to make blissful a heart.
(Heaven created her to make the heart [of one man] blissful.)
PASQUALE
Oh giubilo!
fa'milia
Famiglia?
Family?
(What sort of family does she come from?)
2
In other words, the lady has jet-black hair.
ijlp::>ra
ignora,
doesn't care,
vinna'mora
v'innamora,
makes you fall in love,
amo'roza a
amorosa,ah!
loving, ah!
485
276
L'Elisir d'Amore, Act I
(There is a sound of drums. Everyone stands up. Belcore, the leader of a platoon of singularly un-
military troops, enters. He eyes Adina and immediately begins his amorous assault by offering her a
nosegay of flowers.)
BELCO RE
'kome 'paride ve't:tsozo 'porse 'il 'p:>m:> 'al:la 'pju 'bbel:la
Come Paride vezzoso porse ii porno all a piu bella,
As Paris
1
handsome gave an apple to the fairest,
'mia di'let:ta vil:la'nel:la 'io 'ti 'p:>rgo 'kwesti 'fjor
mia diletta villanella, io ti porgo questi fior.
my lovely village maid, I bring you these flowers.
(My lovely village maid, I bring these flowers to you just as Paris offered an apple to the fairest
Aphrodite.)
'ma
Ma
But
'di 'lui 'pju gbri'ozo
di lui piu glorioso,
than him more glorious,
'pju 'di 'lui fe'litf e 'io 'sono
piu di lui felice io sono,
more than him happy I am,
(But I am more glorious and happier than he,)
p:>i'ke 'im 'premjo 'del
poiche in premio del
since as reward for
'ne ri'p:>rto 'il 'tu:>
no riporto ii tuo
I will obtain your
ADINA (to the women)
e m:>'desto 'il
(E modesto ii
(He is modest, the
GIANNETTA,CHORUS
'si
(Si,
(Yes,
da'v:vero
davvero!)
indeed!)
NEMORINO
:> 'mio dis'pet:t:>
(Oh mio dispetto!)
(Oh my annoyance!)
(How annoyed I am!)
'mio 'dono
mio dono
my gift
'bel
bel
beautiful
si1111o'rino
signorina!)
young lad!)
'k:>r
cor.
heart.
2
1
Belcore is comparing himself with Paris, the extravagantly handsome mythological youth who, having been promised the
lovely Helen for a wife, went to Mount Ida to offer an apple to the beautiful Aphrodite.
2
The pompous sergeant seems to know his Greek mythology. The only reward Paris got by abducting the fair Helen was
to start the Trojan wars.
L'Elisir d'Amore, Act I
BELCO RE
'veg:g:> 'kjaro
V eggo chiaro
I see clearly
'ii]
in
in
'kwel
quel
that
vi'zino
visino
little face
'kb 'fo 'bret:tf a 'nel 'tu:>
ch'io fo breccia nel tuo
that I have breached through your
(that I have breached the wall of your heart.)
3
n:>'ne 'k:>za
None cosa
It isn't something
'SOI] ga'lante e
Son galante, e
I am a gallant, and
'noII) 'va
Non v'ha
There isn't a
'bel:la 'ke
bella che
beauty who
sorpren'dente
sorprendente;
surprising;
'son sar'd3ente
son sargente.
I am a sergeant.
re'zista
resista
can resist
'al:la
all a
the
'pet:t:>
petto.
breast.
'vista
vista
sight
'dun
d'un
of a
'tfede a 'marte i'd:db gwe'r:rjer:> 'fin 'la
Cede a Marle, Iddio guerriero, fin la
Yields to Mars, the god of war, even the
(Even the mother of love [Venus] yields to Mars the god of war.)
ADINA
(E modesto!)
CHORUS, GIANNETTA
(SJ., davvero!)
NEMORINO
0 'mio do'lor
(Oh, mio dolor!)
(Oh, my grief!)
BELCO RE
'or 'se 'mmami
Or se m'ami
Now, if you love me
'kome
come
as
'ke 'pju 'tardi a
che piu tardi a
why more do you delay in
(why delay your surrender to me?)
'idol 'mb kapit:>'ljam:> 'ii)
Idol mio, capitoliamo: in
Idol mine, capitulate; on
(My beloved, sign a truce;)
'b
io
I
'tam:>
t'amo,
love you,
'render
render
surrendering
'kw al 'di
qual dJ.
what day
'larmi
l'anni?
your weapons?
'vw:>i 'tu
vuoi tu
do you wish
tfi'mjer:>
cimiero;
helmet;
'madre
mad re
mother
sp:>'zarmi
sposanni?
to marry me?
3
Belcore is using military terms, as in "breaching" the wall of a fortress (Adina's heart.)
del:la'mor
dell'amor.
of love.
277
NO. 26 RECITATIVE AND ARIA
FIGARO
'tut:t:)
Tutto
Everything
lora
L'ora
The hour
'io
Io
I
'ed
'sent:)
sen to
hear
'io
io
e
0
is
dis'p:)St:)
disposto:
ready,
do'vreb:be
dovrebe
should
'd3ente
gente ...
people ...
ko'mintJ:)
comincio
'es:ser
esser
be
e
0
it's
:)'mai
omai
Le Nozze di Figaro, Act W
vi'tJina
vicina;
at hand;
'des:sa 'non e al'kun 'buja e
dessa ... non o alcun... buia o
her ... it's no one... dark is
Ed
And I begin already
a
a
to
iq'grata
Ingra ta!
'fare 'il
fare ii
play the
Ungrateful girl!
(Ungrateful Susanna!
'ei
ei
he
go'deva
godeva
enjoyed
JJimu'nit:)
scimunito
foolish
mes'tjere
mestiem
part
'di
di
of
mma'rito
marito ...
husband ...
'nel mo'mento 'del:la 'mia tJeri'm:)nja
Nel momenta della mia cerimonia .. .
In the moment of my ceremony .. .
At the very moment of our wedding ... )
le'd:d3end:)
leggendo:
reading,
e
9
and
'nel
nel
in
ve'derlo
vederlo
seeing him
'io ri'deva 'di 'me 'sentsa sa'perlo
io rideva di me senza saperlo.
I laughed about myself without knowing it.
'la
la
the
427
'n:)t:te
notte ...
night. ..
(the Count enjoyed reading that note she passed on to him, and in seeing him act surreptitiously and
pricking his finger and all that, I was laughing at myself without realizing it.)
:)
Oh,
Oh,
su'zan:na
Susanna!
Susanna,
'kwanta
quanta
how much
'pena
pena
pain
'koq
Con
With
kwel:lin'd3enwa
quell'ingenua
that ingenuous
'fat:tJa 'koq
faccia, con
face, with
'ki kre'dut:) la'vria
chi cmduto l'avria! ...
who believed it could have!. ..
(who would ever have believed it! ... )
a 'ke 'il fi'darsi a 'd:)n:na
Ah, cha ii fidarsi a donna
Ah, (for) trusting a woman
(Ah, it's sheer madness to trust in a woman!)
'mi 'bsti
mi costi!
you caused me!
'kwelli ':)k:ki
quegli occhi
those eyes
e
0
is
in:n:)'tJ en ti
innocenti ...
innocent...
o)lpor fo'l:lia
ognor follia!
always folly!
428
Le Nozze di Figaro, Act IV
a'prite
Aprite
Open up
'um 'po 'kwe,\Ai 'ok:ki
un po' quegli occhi
a bit those eyes,
'womini iq'kauti e 'JJok:ki
uomini incauti e sciocchi,
men rash and foolish,
(Open up your eyes, you rash and foolish men,)
gwar'date 'kweste 'fem:mine gwar'date 'bza 'son
guardate queste fenunine, guardate cosa
look at these women, look at what
son.
they are.
(Just look at these women and see them as they really are.)
'kweste
Queste
These
kja'mate
chiamate
so-called
'dde:
Dee
goddesses
'da,\Ai
dagli
by the
iqga'n:nati
ingannati
deceived
'sensi
sensi,
senses,
a 'kui tri'buta
in'tfensi 'la 'debole ra'd3on
a cui tributa incensi la debole ragion,
to which offers tribute (of) incense our feeble reason,
(These "goddesses", as they are called by our misguided senses, and to whom feeble reason offers
tribute of incense,)
'son 'strege 'ke iq'kantano 'per 'fart Ji pe'nar
son streghe che incantano per farci penar,
are witches who cast their spells to make us suffer,
'si'rene 'ke 'kantano 'per 'fart Ji af:fo'gar
sirene che cantano per farci affogar,
sirens that sing to make us drown,
'per 'trartfi 'le 'pjume
per trarci le piume,
tfi'vet:te
civette
screech-owls
'ke
che
that
a'l:let:tano
allettano
lure us to pluck out our feathers,
ko'mete
comete
cornets
'son
Son
They're
'ke
che
that
'roze
rose
roses
'bril:lano
brillano
dazzle
spi'noze
spinose,
thorny,
'per 'to,\Aertfi 'il
per toglierci ii
to deprive us of
'SOil) _'volpi ve't:tsoze
son volpi vezzose,
they're vixens cunning,
'son 'orse be'nippe ko'lombe ma'lippe
son orse benigne, colombe maligne,
they're she-bears gentle, doves malignant,
'lume
lume;
light;
(They're thorny roses, cunning vixens, gentle she-bears, malignant doves,)
ma'estre
maestro
masters
diq'gan:ni
d'inganni,
of deceit,
a'mike
amiche
friends
'ke
che
who
'fiqgono
fingono,
feign,
'men to no
mentono,
lie,
da'f:fan:ni
d'affanni,
of distress,
a'more 'non 'senton
amore non senton,
love do not feel,
Le Nozze di Figaro, Act W
'non 'senton
non senton
they don't feel (any)
pje'ta 'no
pieta. No,
pity. No,
'no
no!
no!
'il 'resto 'nol 'diko 'd3a o'ppuno
11 rusto nol dico, gia ognuno
The rest I won't say, already everyone
(I won't even say the rest, because everyone already knows.)
4
'b 'ssa
lo sa.
knows it.
429
(He hides himself off to the side. Marcellina enters with the Countess and Susanna dressed in each
other's clothes.
5
}
Scene Nine
Recitative
SUSANNA (ref erring to Marcellina)
si'ppora 'el:la 'mi 'dis:se 'ke 'figaro ve'r:rav:vi
Signora, ella mi disse che Figaro verravvi.
My lady, she told me that Figaro will come here.
MARCELLINA
'antsi e ve'nuto a'b:bas:sa 'um 'po 'la 'votJe
Anzi, e venuto: abbassa unpo' la voce.
Better yet, he's already come; lower a little your voice.
SUSANNA
'dul)kwe 'un 'tJi as'kolta e 'laltro
Dunque, un ci ascolta, e l'altro
Then one is listening, and the other one
'de ve'nir a tfer'karmi il)komin'tJam
dee venir a cercarmi. lncominciam.
must come to look for me. Let us begin.
(So, while one of them is listening, the other is due to meet me any moment. I might as well begin.)
MARCELLINA
'io 'vol..l..o
;kwi
tf e'larmi
Io voglio qui celarmi.
I want to here hide myself.
(She goes into the pavillion where Barbarino is hidden.)
4
The "rest", of course, is the fact that women cuckold their husbands: The ubiquitous horns. Mozart allows himself a
little musical joke between the phrases gia ognuno lo sa, by having the horns in the orchestra play a little three note flourish!
5
Nowhere in the libretto is it explained how, at their entrance, Figaro recognizes Susanna as herself in spite of her
"disguise" ad how later on he is fooled like everyone else and believes her to be the Countess. This detail is often taken care
of by stage directors who have Susanna and the Countess enter this scene in cloaks, to hide their "disguises", until the scenes
following Susanna's aria, rendering Figaro's confusion much more believable.

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