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O dolce anima mia, SV 63 5. Se per estremo ardore morir potesse un core, SV 66 8. Vattene pur, crudel, con quella pace, SV 67 a. Vattene pur, crudel, con quella pace b. Perfidissimo volto ben lusata bellezza, SV 69 Occhi un tempo mia vita, SV 71 Ma dove, o lasso me, dove restaro? Lumi miei, cari lumi', SV 73 Rimanti in pace a la dolente e bella Fillida, SV 74 a.
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Il quarto libro de madrigali Fourth book of madrigals , Venice, Ah! If I have to pore over the law books, if I have to read all the extracts, with misunderstandings, with hocus-pocus he'll find himself in a turmoil. If I have to pore over, etc. All Seville knows Bartolo, the scoundrel Figaro shall be overcome! Se tutto il codice, ecc. Susanna enters carrying a lady's cap, dress and a length of ribbon. But here comes Susanna.
com/www.farmersmarketmusic.com .. daily www.farmersmarketmusic.com daily His first opera, L'Orfeo received its successful premiere at the beginning Score listing includes number of voices, instruments, and publication date (if known). 5vv; O dolce anima mia, SV63, 5vv; Stracciami pur il core, SV64, 5vv . 2vv, 2vl, chit/hpd, ; Amor che deggio far se non mi giova amar, SV.
I must try out my plan; I'll pretend not to see her. Just as well we know it for what it is. What discretion she has! With those downcast eyes and air of piety! They both start to leave and arrive at the door together. Entra Susanna, con una cuffia, un nastro ed un vestito da donna. Ma Susanna si avanza: Con quegli occhi modesti, con quell' aria pietosa, e poi.
Susanna e Marcellina s'incontrano alla porta. Marcellina goes off in a rage. Just because you've read a couple of books and bored madame when she was young She lays the dress over the back of the chair. Mette il vestito sopra il seggiolone. So you've given up sighing in secret for the Countess, have you? Lucky you, who can see her whenever you want to, who dress her in the morning, and undress her at night, who arrange her pins, her lace.
If I were in your shoes - What have you got there? Cherubino snatches the ribbon from Susanna's hand. Susanna tries to take it from him; he dodges around the chair. Felice te che puoi vederla quando vuoi! Che la vesti al mattino, che la sera la spogli, che le metti gli spilloni, i merletti. Cherubino toglie il nastro di mano a Susanna. Susanna vuol riprenderglielo; egli si mette a girare intorno al seggiolone. You'll have to kill me to get it back! He kisses the ribbon over and over again. In fair exchange I wish to present you with this little song of mine.
He pulls the song out of his pocket. Bacia e ribacia il nastro. Cava di tasca una canzone. Solo ai nomi d'amor, di diletto, disturbs me, changes my heart, and speaking of love, forces on me a desire I cannot restrain! I no longer know what I am, etc. I speak of love while I'm awake, I speak of love while I'm sleeping, to rivers, to shadows, to mountains, to flowers, to grass, to fountains, to echoes, to air, to winds, until they carry away the sound of my useless words. I speak of love while I'm awake, etc. And if no one is near to hear me I speak of love to myself.
Seeing the Count in the distance, Cherubino hides behind the chair. She tries to conceal Cherubino. Parlo d'amor vegliando, ecc. E se non ho chi m'oda, parlo d'amor con me. Cherubino vedendo il Conte da lontano, si nasconde dietro una sedia. Cerca di mascherar Cherubino. I implore you, please go. Si mette a sedere sulla sedia, prende Susanna per mano: Oh, what miser y! You well know how much I love you; Basilio has told you that already. Now listen, if you would meet me briefly in the garden at dusk, ah, for this favour I would pay Tu ben sai quanto io t'amo: The Count is about to hide behind the chair: Susanna steps between him and the page.
The Count pushes her gently away. She draws back; meanwhile the page slips round to the front of the chair and hops in with his feet drawn up. Susanna rearranges the dress to cover him. What are you doing? Have you seen his lordship by any chance? Come now, be gone! Il Conte vuol nascondersi dietro il seggiolone: Susanna si frappone tra il paggio e lui. Il Conte la spinge dolcemente. Ella rincula; intanto il paggio passa davanti al seggiolone, si mettre dentro in piedi. Susanna il ricopre colla vestaglia.
The Count loves you. I have no need of your preaching, nor of the Count or his lovemaking! Everyone to their own taste. I thought you would have preferred as your lover, as all other women would, a lord who's liberal, prudent and wise, to a raw youth, a mere page. Love's little cherub, who early today was hanging about here waiting to come in. Per dir che il Conte v'ama. And that little ditty, tell me confidentially, as a friend, and I will tell no one else, was it written for you or my lady?
Why do you go around spreading such lies? That which I buy I sell, and to what is common knowledge I add not a tittle. And what is common knowledge? A quel che tutti dicono io non ci aggiungo un pelo. Go at once, and throw the seducer out! Pardon me, my Lord. I'm crushed with fright! She appears to faint. Oh God, how her heart beats! Tosto andate, e scacciate il seduttor.
Come, oh Dio, le batte il cor, ecc.
What insolence, get out of here! But I've caught him again! Che insolenza, andate fuor, ecc. Ma da me sorpreso ancor! Suspicious at her manner I went searching in every corner, and raising up the table covering as gently as you please, I found the page!
He shows them what he means and lifting the dressing-gown on the chair discovers Cherubino. Ah, what's this I see? CONTE Da tua cugina, l'uscio ier trovai rinchiuso; picchio, m'apre Barbarina paurosa fuor dell'uso, io, dal muso insospettito, guardo, cerco in ogni sito, ed alzando pian pianino il tappeto al tavolino, vedo il paggio. Imita il gesto colla vestaglia che copre Cherubino nella poltrona e lo scopre.
What excuse is there when your guilt is so obvious? Addita Cherubino, che non si muove dal loco. Your arrival threw him into a panic so he hid.
Then he heard everything I was saying to you! Dunque ha sentito quello che io ti dicea? He pulls him out of the chair. Figaro enters, carrying a white veil, followed by peasants, the girls dressed in white, and strewing flowers out of little baskets before the Count. His great heart preserves there, the spotless purity of a more lovely flower. Back me up, my love. FIGARO to the Count My lord, do not disdain this tribute of our affection, well-deserved now that you have abolished a right so hated by all true lovers.
Entrano Figaro con bianca veste in mano, contadini e contadine vestite di bianco che spargono fiori, raccolti in piccoli panieri, davanti al Conte. Or che aboliste un dritto si ingrato a chi ben ama. But I must keep up the pretence. But I do not deser ve tributes and praise; by abolishing from my estates an unjust right, I but restore to duty and nature their own. On such a special day! CORO spargendo il resto dei fiori Giovani liete, fiori spargete davanti al nobile nostro signor.
I contadini e le contadine partono. I have a post free in my regiment for an officer; I elect you to fill it. He starts to leave. Susanna and Figaro stop him. Il Conte vuol partire, Susanna e Figaro l'arrestano. The Count and Basilio leave. Cherubino embraces Susanna, who is still confused.
How your destiny has changed all at once! Il Conte e Basilio partono. No more will you, etc. Among warriors swearing by Bacchus! Great mustacchios, holding your pack, a gun on your shoulder, a sabre at your side, head held high, frank of feature, wearing a great helmet or a turban, winning honours, but little money, and in place of the fandango a march through the mud.
But I've caught him again! Cangiando i miei vestiti con quelli di Susanna, e i suoi coi miei al favor della notte. Enter Barbarina and Cherubino. Se almen la mia costanza nel languire amando ognor mi portasse una speranza di cangiar l'ingrato cor! Lo vedremo, il contratto leggeremo, tutto in ordin deve andar. Il Conte la spinge dolcemente.
Over mountains, over valleys, through the snow and burning sun. To the music of trumpets, of shells and cannons, with balls sounding thunder, making your ears ring. Cherubino, on to victory, on to victory in war! They leave, marching like soldiers.
Tra guerrieri poffar Bacco! Gran mustacchi, stretto sacco, schioppo in spalla, sciabola al fianco, collo dritto, muso franco, o un gran casco, o un gran turbante, molto onor, poco contante, ed invece del fandango, una marcia per il fango, per montagne, per valloni, colle nevi, e i solleoni, al concerto di tromboni, di bombarde, di cannoni, che le palle in tutti i tuoni all'orecchio fan fischiar. Cherubino alla vittoria, alla gloria militar!
Figaro e Cherubino partono marciando come soldati. Adagio - Allegro II. A door at the back leads to the servants' rooms; on one side, a window. The Countess is alone. Give me back my treasure, or at least let me die. O mi rendi il mio tesoro, o mi lascia almen morir!
Come, my friend, my lady is getting impatient. After all, what does it amount to? My lord has taken a fancy to my bride; so he wants to reinstate in secrecy the feudal 'droit de seigneur'. This is both possible and natural. Ma se Figaro t'ama, ei sol porria. Alfin di che si tratta?
Al signor Conte piace la sposa mia. Quindi prese il partito di sceglier me corriero, e la Susanna Consigliera segreta d'ambasciata: What are you saying! He's such a jealous man - FIGARO So much the better, it makes it easier for us to perplex him, confuse him, ensnare him, upset his plans, make him suspicious, and show him that this "modern" game he would like to play on me, can be played on him; so that while he's chasing shadows and getting nowhere, suddenly, before he's had time to meddle with our plans, the time for the wedding will have come and there'll be no way to the Countess that he can dare to oppose my vows.
FIGARO Wait, you go and tell the Count at once that you'll meet him this evening in the garden; young Cherubino, who, on my instructions has still not left, we will send dressed as a woman in your place. Where is the song? Come in, come in, fine officer! Don't call me by that dreaded name! Come on, sing the song you gave me this morning to my lady.
Ma per qual causa mai da me stessa ei non venne? Via, presto, la canzone che stamane a me deste, a Madama cantate. Susanna plays the refrain on her guitar. What I experience I'll describe for you; it's new to me. I don't understand it. I feel an emotion full of desire, that is now pleasure, and now suffering. I freeze, then I feel my soul burning up, and in a moment I'm freezing again.
I seek a blessing outside myself, from whom I know not, or what it is. Susanna fa il ritornello sulla chitarra. Gelo, e poi sento l'alma avvampar, e in un momento torno a gelar. Sospiro e gemo senza voler, palpitate and tremble without knowing it. I find no peace night or day, and yet I enjoy languishing so. You who know what love is, etc. What a lovely voice; I didn't know you could sing so well. Take off your cloak. She helps him off with his cloak. I'll shut the door. Voi, che sapete, ecc. Presto, a noi, bel soldato: Gli cava il manto. But how shall we dress his hair?
Susanna leaves; Cherubino approaches the Countess and, taking them from his breast-pocket, shows her his commission papers; the Countess takes them from him, opens them and notices that the seal is lacking. What are these papers? She returns the commission. Ma come poi acconciargli i capelli?
Gently, now turn around again. Bravo, that's just fine. Now turn your face around, ha! Don't make such eyes at me; keep looking straight on ahead. Madame is not there. Pull this collar a bit higher, keep your eyes down lower, your hands across your chest, we'll see how you walk when you're on your feet. Look at the little colt, look how handsome he is! What a crafty expression, what an outfit, what a figure! If women fall in love with him, they have their reasons why. Miserabili noi, se il Conte viene. Che furba guardatura, che vezzo, che figura!
Push the sleeves up above his elbows so that the dress fits better.
Prende pel mento Cherubino. His arm is whiter than mine! Go to my closet and fetch a piece of the court-plaster that's on my dressing-table. As for the ribbon, I would really be loth to part with that colour. Susanna leaves through the door at the back, taking Cherubino's cloak with her. In quanto al nastro. E da legargli il braccio? Well, d'you know, I never knew that! What can I not die! She dries his eyes with her handkerchief. A knock is heard at the door.
Forse vicino all'ultimo momento. Gli asciuga gli occhi col fazzoletto. Si sente picchiare alla porta. Who knocks on my door? A note received, his terrible jealousy! He slips into the closet and shuts the door, the Countess takes the closet key. Chi picchia alla mia porta? In questo stato, un ricevuto foglio. Cherubino entra nel gabinetto, chiude la porta; la Contessa prende la chiave. She runs to open the door to the Count. It used never to be your habit to lock yourself into your room! Look at this piece of paper. Cherubino knocks over a table and chair in the closet; they fall with a crash.
Something fell over in the closet. Corre ad aprire al Conte. Cherubino fa cadere un tavolino e una sedia, in gabinetto, con molto strepito. Why then are you so worried? Terzetto Susanna enters by the door through which she left and stops on seeing the Count, who is on the side nearest the closet, speaking towards the closet door. Come out, I order you.
Where has the page gone? She's in there trying on her new gown for the wedding. Let's see what happens. Un abito da sposa provando ella si sta. A disaster, a scandal, an uproar, will certainly result! Would you openly question the honour of a lady? I'm in the wrong; without noise, without creating a scandal among our people, I can myself fetch the necessary tools.
You wait here; but so that my suspicions may be proved to be completely groundless, I shall lock all the doors first. He locks the door at the back which is that leading to the servants' quarters. Porreste a repentaglio d'una dama l'onore? Posso senza rumore, senza scandalo alcun di nostra gente andar io stesso a prender l'occorrente: Chiude a chiave la porta che conduce alle stanze delle cameriere. Madama, eccovi il braccio. Susanna comes out of her hiding place. Come out, now, come out, come on out of there. What will happen next? Wait, for pity's sake!
To save her I would leap into flames! I embrace you for her! He jumps out of the window. Abbraccio te per lei!