Mozarts Da Ponte Operas: The Marriage of Figaro, Don Giovanni, Cosi fan tutte

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Author: Burton D. Fisher

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Mozart’s Da Ponte Operas

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Opera Classics Library Series

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“Opera to me comes before anything else...” — Wolfgang Amadeus Mozart

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Opera Journeys™ Mini Guide Series Opera Classics Library™ Series Opera Journeys™ Libretto Series A History of Opera: Milestones and Metamorphoses Opera Classics Library PUCCINI COMPANION: The Glorious Dozen OVER 70 TITLES AVAILABLE: •L’Africaine •Abduction from the Seraglio •Aida •Andrea Chénier •The Barber of Seville •La Bohème •Boris Godunov • Carmen •Cavalleria Rusticana •Così fan tutte •Der Freischütz •Der Rosenkavalier •Die Fledermaus •Don Carlo •Don Giovanni •Don Pasquale •The Elixir of Love •Elektra •Eugene Onegin •Exploring Wagner’s Ring •Falstaff •La Fanciulla del West •Faust •La Fille du Régiment •Fidelio •The Flying Dutchman •Gianni Schicchi •La Gioconda •Hansel and Gretel •L’Italiana in Algeri •Julius Caesar •Lakmé •Lohengrin •Lucia di Lammermoor •Macbeth • Madama Butterfly •The Magic Flute •Manon •Manon Lescaut •The Marriage of Figaro •A Masked Ball •The Mikado •Nabucco •Norma •Otello •I Pagliacci •The Pearl Fishers •Pelléas et Mélisande •Porgy and Bess •The Rhinegold •Rigoletto •The Ring of the Nibelung •La Rondine •Salome •Samson and Delilah •Siegfried •Suor Angelica •Il Tabarro •The Tales of Hoffmann •Tannhäuser •Thaïs •Tosca •La Traviata •Tristan and Isolde •Il Trittico •Il Trovatore •Turandot •Twilight of the Gods •The Valkyrie •Werther •Wozzeck

© 2007 Opera Journeys™ Publishing

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the author. All musical notations contained herein are original transcriptions by Opera Journeys Publishing. Printed in the United States of America

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OPERA CLASSICS LIBRARY™ SERIES

Mozart’s Da Ponte Operas: The Marriage of Figaro, Don Giovanni, Così fan tutte

Written and edited by Burton D. Fisher Principal lecturer, Opera Journeys Lecture Series

_________________________________________ Opera Journeys™ Publishing / Miami, Florida


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Contents a Prelude Mozart: Master of Musical Characterization Da Ponte: Ambassador of Italian Culture

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The Marriage of Figaro Principal Characters Brief Story Synopsis Story Narrative with Music Highlight Examples


Commentary and Analysis

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Libretto with Music Highlight Examples Act I Act II Act III Act IV

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Don Giovanni Principal Characters Brief Story Synopsis Story Narrative with Music Highlight Examples

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Libretto with Music Highlight Examples Act I Act II


Così fan tutte Principal Characters Brief Story Synopsis Story Narrative with Music Highlight Examples

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Libretto with Music Highlight Examples Act I Act II


Dictionary of Opera and Musical Terms

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a Prelude to OPERA CLASSICS LIBRARY’s

Mozart’s Da Ponte Operas: The Marriage of Figaro, Don Giovanni, Così fan tutte The partnership of Wolfgang Amadeus Mozart and Lorenzo da Ponte, composer and librettist respectively for The Marriage of Figaro, Don Giovanni and Così fan tutte, was one of the most extraordinary collaborations in the history of opera: da Ponte’s shrewdly contrived librettos possess graceful, witty and songlike poetry, as well as depict real and complex humanity: the inspiration for some of Mozart’s most extraordinary and insightful musical portrayals that are enormously faithful to character and situation. The “da Ponte trilogy” satirically deals with despicable aspects of human character; the transformation of those peccadilloes represented the very focus of the eighteenth-century Enlightenment and Age of Reason. The Marriage of Figaro and Don Giovanni deal with aristocratic men — Count Almaviva and Giovanni — who can be perceived by our standards as criminals: unstable and wildly libidinous men whose actions transcend moral law. Similarly, in Così fan tutte, the actions of the women can be perceived as functioning beyond moral law. An underlying theme of all three operas is seduction, a passion which ends in hapless failure; it is a subtle forecast of the demise of the ancien régime, the end of the old world order, and the beginning of Enlightenment reason. OPERA CLASSICS LIBRARY explores the greatness and magic of the Mozart/Da Ponte operas. The text contains a short biographical profile of Mozart, Mozart: Master of Musical Characterization; likewise, there is a biographical profile of da Ponte, Lorenzo da Ponte: Ambassador of Italian Culture. The Commentary and Analysis for each opera deals with the opera’s genesis, its premiere and performance history, and insightful story and character analysis. For each opera, the text also includes a Brief Story Synopsis, Principal Characters and a Story Narrative with Music Highlight Examples, the latter containing original music transcriptions that are interspersed appropriately within the story’s dramatic exposition. In addition, the text includes a Dictionary of Opera and Musical Terms. The complete Libretto for each opera was newly translated by the Opera Journeys staff with specific emphasis on retaining a literal translation, but also with the objective of providing a faithful translation in modern and contemporary English; in this way, the substance of the drama becomes more intelligible. To enhance educational and study objectives, the Libretto also contains music highlight examples interspersed within the drama. Opera is a compelling theatrical experience because the art form is the sum of many artistic expressions: theatrical drama, music, scenery, poetry, dance, acting and gesture. In opera, it is the composer who is the dramatist, using the emotive power of his music to express and articulate intense, human conflicts. Words evoke thought, but music provokes feelings: opera’s sublime fusion of words, music and all the theatrical arts provides powerful theater; an impact on one’s sensibilities that can reach into the very depths of the human soul. The Mozart/da Ponte operas are glorious operatic treasures, masterpieces of the lyric theater that represent a tribute to the art form as well as to their ingenious composer and librettist. Burton D. Fisher Author and Editor OPERA CLASSICS LIBRARY SERIES


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Mozart: Master of Musical Characterization

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olfgang Amadeus Mozart — 1756 to 1791 — was born in Salzburg, Austria. His lifespan was brief, but his musical achievements were phenomenal and monumental, establishing him as one of the most important and inspired composers in Western history: music seemed to gush forth from his soul like fresh water from a spring. With his early death at the age of thirty-five, one can only dream of the musical treasures that might have materialized from his music pen. Along with such masters as Johann Sebastian Bach and Ludwig van Beethoven, Mozart is one of those three “immortals” of classical music. Superlatives about Mozart are inexhaustible: Tchaikovsky called him “the music Christ”; Haydn, a contemporary who revered and idolized him, claimed he was the best composer he ever knew; Schubert wept over “the impressions of a brighter and better life he had imprinted on our souls”; Schumann wrote that there were some things in the world about which nothing could be said: much of Shakespeare, pages of Beethoven, and Mozart’s last symphony, the forty-first. Richard Wagner, who exalted the power of the orchestra in his music dramas, assessed Mozart’s symphonies: “He seemed to breathe into his instruments the passionate tones of the human voice ... and thus raised the capacity of orchestral music for expressing the emotions to a height where it could represent the whole unsatisfied yearning of the heart.” Although Mozart’s career was short, his musical output was tremendous by any standard: among his more than 600 works are forty-one symphonies, twenty-seven piano concertos, more than thirty string quartets, many acclaimed quintets, world-famous violin and flute concertos, momentous piano and violin sonatas, and, of course, a substantial legacy of sensational operas. Mozart’s father, Leopold, an eminent musician and composer in his own right, became the teacher and inspiration to his exceptionally talented and incredibly gifted prodigy child. The young Mozart quickly demonstrated a thorough command of the technical resources of musical composition: at age three he was able to play tunes he heard on the harpsichord; at age four he began composing his own music; at age six he gave his first public concert; by age twelve he had written ten symphonies, a cantata, and an opera; and at age thirteen he toured Italy, where in Rome, he astonished the music world by writing out the full score of a complex religious composition after one hearing. Mozart’s musical style and the late eighteenth-century Classical era are virtually synonymous: their goal was to conform to specific standards and forms, to be succinct, clear, and well balanced, but at the same time, develop musical ideas to a point of emotionally satisfying fullness. As that quintessential Classicist, Mozart’s music has become universally extolled, an outpouring of memorable graceful melody combined with formal, contrapuntal ingenuity.

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ozart said: “Opera to me comes before everything else.” He composed operas in all of the existing genres and traditions: the Italian opera seria and opera buffa, and the German singspiel. During Mozart’s time, the Italians set the international standards for opera: Italian was the universal language of music and opera, and Italian opera was what Mozart’s Austrian audiences and most of the rest of Europe wanted most. Therefore, even though Mozart was an Austrian, his country part of the German Holy Roman Empire, most of his operas were written in Italian. Opera seria defines the style of serious Italian operas in which subjects and themes dealt primarily with mythology, history, and Greek tragedy. In this genre, the music drama usually


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portrayed an heroic or tragic conflict typically involving a moral dilemma, such as love vs. duty, and usually resolved happily with due reward for rectitude, loyalty, and unselfishness. Mozart’s most renowned opere serie are Idomeneo (1781), and his last opera, La Clemenza di Tito (“The Clemency of Titus”) (1791), the latter commissioned to celebrate the coronation in Prague of the Emperor Leopold II as King of Bohemia. Opera buffa had its roots in the Italian commedia dell’arte, a theatrical convention that evolved during the Renaissance when strolling street players used satire, irony, and parody to ridicule every aspect of their society and its institutions; they characterized humorous or hypocritical situations involving cunning servants, scheming doctors, and duped masters. Most of the characters in Beaumarchais’ original “Figaro trilogy,” the literary basis for Rossini’s The Barber of Seville and Mozart’s The Marriage of Figaro, have antecedents in the commedia dell’arte: Figaro is loosely based on the commedia dell’arte character of Harlequin, an athletic, graceful, cunning valet and ladies’ man who claimed noble birth. Likewise, Dr. Bartolo is inspired by the character Pantelone, a character that prides himself on being an expert on many subjects, but ultimately becomes a victim of his arrogance and vanity. The Marcellina character in Marriage is the only character not based on commedia dell’arte: she is that old rapacious spinster inspired by characters from classic Roman comedies. Opera buffa had its first popular incarnation in Giovanni Pergolesi’s La Serva Padrona (1733) (“The Maid as Mistress), a work with only three characters, but a quintessential model of the genre, in which lively and catchy tunes underscore the antics of a servant tricking an old bachelor into marriage. Art shapes and reflects its times. During the late eighteenth century, opera buffa provided a convenient theatrical vehicle in which the ideals of democracy could be expressed in art: opera buffa became an operatic incarnation of political populism. In the opera seria, the aristocracy identified, and even became flattered by its pompous exalted personalities, gods, and heroes, but opera buffa’s satire and humor provided the wherewithal to examine social injustices and the frustrations of society’s lower classes. Opera buffa became synonymous with the spirit of the Enlightenment and the Classical era of music, and was enthusiastically championed by such renowned progressives as Rousseau; its music was intrinsically more natural, and its melodies were more elegant and emotionally restrained. Mozart delighted in portraying themes dealing with ideas inspired by the Enlightenment: he lived and composed during the social upheavals and ideological transitions of the late eighteenth century that would lead to the French Revolution and the demise of the ancien régime. In particular, The Marriage of Figaro, an opera buffa, contains all of the era’s social and political overtones: it portrays servants who are cleverer than their selfish, unscrupulous, and arrogant masters. Napoleon would later conclude that Marriage, both the Mozart and source Beaumarchais play, represented the “Revolution in action.” Mozart’s opere buffe range from his youthful works, La Finta Semplici (1768) and La Finta Giardineria (1775), to his monumental opera buffa classics that he composed with the renowned librettist, Lorenzo da Ponte: The Marriage of Figaro (“Le Nozze di Figaro”)(1786) described by both composer and librettist as a “commedia per musica” (“comedy with music”); Don Giovanni, (1787), technically an opera buffa but designated a “dramma giocoso” ( “humorous drama” or “playful play”), essentially a combination of both the opera buffa and opera seria genres; and Così fan tutte (1789) (“Thus do all women behave”), another blend of the opera seria with the opera buffa for which nothing could be more praiseful than the


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musicologist William Mann’s conclusion that Così fan tutte contains “the most captivating music ever composed.” Mozart also composed operas in the German singspiel genre, a style very similar to Italian opera buffa: generally comic opera containing spoken dialogue instead of accompanied recitative. Mozart’s most popular German singspiel operas are: Die Zauberflöte (1791) (“The Magic Flute”) and Die Entführung aus dem Serail (1782) (“The Abduction from the Seraglio”) Mozart composed over 18 operas, among them: Bastien and Bastienne (1768); La Finta Semplice (1768); Mitridate, Rè di Ponto (1770); Ascanio in Alba (1771); Il Sogno di Scipione (1772); Lucio Silla (1772); La Finta Giardiniera (1774); Idomeneo, Rè di Creta (1781); Die Entführung aus dem Serail (1782); Der Schauspieldirektor (1786); Le Nozze di Figaro, (The Marriage of Figaro) (1786); Don Giovanni (1787); Così fan tutte (1790); Die Zauberflöte (The Magic Flute) (1791); La Clemenza di Tito (1791).

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n opera, words are intensified, or realized, by the emotive power of music. Opera is concerned with the emotions and behavior of humanity, and Mozart certainly understood his fellow human beings, ingeniously translating his incredible human insight through his musical language. As such, Mozart became the first, if not the greatest master of musical characterization and musical portraiture. Like Shakespeare, he ingeniously translated “dramatic truth”: his musical characterizations portray a complex panorama of universal humanity; emotions and passions that bare the souls of his characters truthfully, although Mozart rarely suggests any puritanical judgment or moralization of his characters’ behavior and actions, prompting Beethoven to lament that in Don Giovanni and Marriage, Mozart had squandered his genius on immoral and licentious subjects. Nevertheless, it is that spotlight on the individual that makes Mozart a bridge between eighteenth and nineteenth century operas. The opera seria portrayed abstract emotion, the dramatic form often imitating ancient Greek theater, in which an individual’s passions and dramatic situations would generally transfer to the chorus for narration, commentary, or summation. Mozart was anticipating the transition from the Classical to the Romantic era that was to begin soon after his death, his music truthfully expressing and capturing his character’s sentiments and feelings. He was therefore the first composer to perceive clearly the vast possibilities of the operatic form as a means of musically creating characterization: in his operas, great and small persons move, think, and breathe on the human level, his musical characterizations providing extraordinary and insightful portrayals of real and complex humanity in their conduct and character. It is in the interaction between those characters themselves, particularly in ensembles that are almost symphonic in grandeur, which become moments in which an individual character’s emotions, passions, feelings, and reactions stand out in high relief. Mozart’s characters have captivated and become treasures to their opera audiences for over two-hundred years: Don Giovanni’s Donna Anna, Donna Elvira, Zerlina, Masetto, Leporello, and Don Giovanni himself; The Marriage of Figaro’s Count and Countess, Cherubino, Susanna, and Figaro. All of these Mozartian characters are profoundly human: they act with passion, yet they retain that special Mozartian dignity as well as sentiment. In the end, like Shakespeare, Mozart’s characterizations have become timeless representations of humanity, great as well as flawed, but as contemporary in the twenty-first


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century as they were in the later part of the eighteenth century, even though costumes may have changed. Mozart became a magician in developing and inventing various techniques within his unique musical language to portray, communicate, and truthfully mirror the human condition. He expresses human qualities not only through distinguishing melody, but also through the specific essence of certain key signatures, as well as through rhythm, tempo, pitch, and even through accent and speech inflection. As an example, Mozart used certain musical keys that inherently convey particular moods and effects: often G major is the key for rustic life and the common people; and A major the seductive key for sensuous love scenes. In Don Giovanni, D minor appears solemnly in the Overture and its final scene: Mozart’s key for “sturm und drang” (storm and stress). When characters are in trouble, they sing in keys far removed from the home key, but as they get out of trouble, they return to that home key, reducing the tension. In both Don Giovanni and The Marriage of Figaro, social classes clash on the stage with sentiment and insight: musical characterizations range from underdogs to demigods, but when Mozart deals with peasants and the lower classes, he is subtle, compassionate, and loving; the heroes are those Figaros, Susannas, and Zerlinas, bright characters who occupy the lower stations whom he ennobles with poignant music that expresses their complex personal emotions, feelings, hope, sadness, envy, passion, revenge, and eternal love. Mozart’s theatrical genius was his ability to express truly human qualities through his music, endowing his character creations with a universal and sublime uniqueness: in the end, achieving an incomparable immortality for himself as well as his character creations.


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Da Ponte: Ambassador of Italian Culture

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ozart received the commission for The Marriage of Figaro from his faithful patron, Emperor Joseph II of Austria. He chose Lorenzo da Ponte as his librettist, at the time poet appointed by the Viennese court and a favorite of Joseph II; da Ponte was a peripatetic scholar and connoisseur of feminine beauty, as well as close friend of the notorious Casanova de Seingalt, reputedly his assistant for selected sections of the later Don Giovanni libretto. Da Ponte was born Emmanuel Conegliano in Ceneda, Italy, in 1749; he died in New York City in 1838 at the age of 89. He was born of Jewish parents, but he converted and was baptized after his mother’s death so that his father could marry a Catholic woman; he took the name da Ponte in honor of the Bishop of Ceneda. Da Ponte entered a seminary in Venice. In 1773 he became a priest but quickly revolted against the indolence of religious life. He left the priesthood and subsequently embarked on a picaresque life: libertine adventures that bear an uncanny resemblance to those of his romantic hero, Don Giovanni. Da Ponte was continually involved in scandals, intrigues and financial troubles, which led to his expulsion from Venice in 1780. He moved to Vienna where he was able to secure an appointment as court poet. After writing librettos for various composers, he collaborated with Mozart and wrote the librettos for The Marriage of Figaro, Don Giovanni, and Così fan tutte. In da Ponte’s self-serving autobiography, Extract from the Life of Lorenzo Da Ponte (1819), he ennobles himself in his explanation as to why Mozart chose him as his inspirational poet: “Because Mozart knew very well that the success of an opera depends, first of all, on the poet…..that a composer, who is, in regard to drama, what a painter is in regard to colors, can never do without effect, unless excited and animated by the words of a poet, whose province is to choose a subject susceptible of variety, movement, and action, to prepare, to suspend, to bring about the catastrophe, to exhibit characters interesting, comic, well supported, and calculated for stage effect, to write his recitative short, but substantial, his airs various, new, and well situated; and his fine verses easy, harmonious, and almost singing of themselves…..” Certainly, da Ponte’s librettos for Mozart indeed ascribed religiously to those literary and dramatic disciplines and qualities the poet so eloquently congratulated himself for in his autobiography.

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evertheless, da Ponte’s graceful, witty and songlike poetry that inspired Mozart’s operas, was but one exciting episode in a long and fantastically colorful life. The combinations of Joseph II’s death in 1790 and da Ponte’s scandalous financial difficulties caused him to lose favor with the court; after threats of imprisonment he emigrated to England. In 1793, he worked for the Drury Lane Theater in London, at the time an opera venue. In 1805, He again became plagued by financial woes: threats of imprisonment forced him to leave England and emigrate to the United States. Da Ponte, joined by his unofficial wife and children, disembarked from his London voyage in Philadelphia; perhaps the greatest librettist in the history of music was now a toothless 56-year-old Italian, completely broke after having gambled away all his money during the two-month passage from Europe. He was forced to borrow $ 32 to pay the custom taxes on his possessions: a violin, tea urn, carpet, and his trunk filled with volumes of Italian literature. Da Ponte would go on to live a picaresque life for the next 30 years in New York, New Jersey and Pennsylvania. With the help of his wife’s money he opened a grocery store, humorously noting in his memoirs how his “poet’s hand” was now required to measure out tea and tobacco, trade in medical supplies and liquor, and sell Italian books.


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But da Ponte’s passion for business was as uninspired as his earlier experience in the priesthood. He continued to fall into financial difficulty. In a typical exaggeration in his memoirs, he claimed that he was an honest person who unfortunately always fell prey to rogues and rapscallions; he defended his financial misfortunes as the consequence of his gullibility and the incorrigible generosity of his Italian heart. Da Ponte’s next incarnation was as a teacher and cultural impresario, roles more appropriate for his talents, although financial security continued to elude him. From 1826 to 1837, he occupied a chair at Columbia University, teaching Italian and literature. He is credited with having introduced the Italian classics to America. Because there was a shortage of Italian books in America and too few Italian dictionaries, he began importing books. He opened a bookstore and traveled door-to-door, the peddler of classics by Dante, Machiavelli, Petrarch and others. By the end of his life, he claimed to have imported more than 20,000 volumes, many of which finding their home in the Library of Congress, New York Public Library and Columbia University. (In 1929, Columbia established a Lorenzo da Ponte professorship.) Da Ponte knew that Italian books alone could not arouse the American public to Italian culture. America needed, what he described as, “the noblest and most pleasurable of all the many spectacles the human intelligence ever invented”: Italian opera. In 1825, Da Ponte became an opera impresario, perhaps the first to present Italian opera in the United States. He raised money to bring a company of 53 Italian opera singers to America; their tour compounded his financial woes and nearly bankrupted him. As a result, he was forced to sell his beloved books, taking leave of them in a poignant farewell: “My heart is torn apart in giving you away; for in one single moment I lose what I love most.” In 1833, da Ponte was the leading force behind the building of the Italian Opera House in New York; it burned down six years later. Da Ponte lived an eternity by the standards of the day, but by the end of his life he was an embittered old man, not living quite long enough to see Italian culture flower in the United States a half century later. Nevertheless, Lorenzo da Ponte led a picaresque and creative life. Indeed, he provided his inspirational poetry for three of Mozart’s greatest operas, but his greatest achievement may have been that he was the tireless emissary of Italian culture in America: a poet of the European Enlightenment adrift in a young, rough-and-tumble America, introducing Italian literature and opera to a young country seeking its own cultural identity.


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The Marriage of Figaro

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The Marriage of Figaro (“Le Nozze di Figaro”) Opera in Italian opera in four acts

Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo da Ponte, after La Folle Journée ou Le Mariage de Figaro, (“The Crazy Day, or The Marriage of Figaro”) 1784, a play by Pierre Augustin Caron de Beaumarchais

Premiere: Burgtheater, Vienna May 1786


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Principal Characters in The Marriage of Figaro Count Almaviva Countess Almaviva Figaro, the Count’s valet Susanna, lady-in-waiting to the Countess, betrothed to Figaro Cherubino, a young page Dr. Bartolo, a physician Marcellina, Dr. Bartolo’s housekeeper Don Basilio, music master Antonio, a gardener, Susanna’s uncle Barbarina, Antonio’s daughter Don Curzio, a lawyer

Baritone Soprano Baritone Soprano Soprano Bass Contralto Bass Bass Soprano Tenor

TIME: 18th century PLACE: Count Almaviva’s chateau in the countryside near Seville

Brief Story Synopsis In the first episode of the trilogy, The Barber of Seville story, Count Almaviva courted Rosina, luring her from the jealous guardianship of Dr. Bartolo through a series of subterfuges, intrigues, and adventures, all engineered by Figaro, Seville’s illustrious barber, factotum, and jack-of-all-trades. In the second episode, The Marriage of Figaro, Count Almaviva is married to Rosina: she is now the Countess Almaviva; Figaro is the Count’s valet, the additional reward he received for his services during the course of the plot of The Barber of Seville; and Dr. Bartolo has become the “doctor of the house.” Dr. Bartolo seethes with revenge against Figaro for having outwitted him, which enabled the Count to marry Rosina. Together with the housekeeper, Marcellina, who also harbors resentment toward Figaro, both conspire for vengeance against Figaro. The noble Count Almaviva of The Barber of Seville story has become a philanderer with amorous designs on Figaro’s bride-to-be, Susanna, the Countess’s maid. The Marriage of Figaro story deals with eighteenth century social struggles between lower class servants and their aristocratic masters, the intrigues in their relationships complicated by sex, rivalries, jealousies, and revenge.


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Story Narrative with Music Highlight Examples Overture: The Overture to The Marriage of Figaro captures the spirit of the opera: its themes are specific to the Overture and do not appear elsewhere in the opera. In the Overture, Mozart’s music suggests the story’s underlying ironies and satire: it contains bubbling and delightful music that conveys rollicking good humor, as well as subtle suggestions of the story’s intrigues and skullduggery.

Act I: A room assigned to Figaro and Susanna. Figaro and his bride-to-be, Susanna, are making last minute preparations for their wedding. The Count has assigned them to new quarters, and presented them with the gift of a new bed. Figaro is preoccupied with measuring if the bed will fit in the room, while Susanna tries on a hat and veil she has made, planning to wear it at her wedding: with its traditional wreath of orange blossoms, it is known as “le chapeau de mariage.” Susanna becomes petulant after her vain attempts to get Figaro to take interest in her hat. Finally, Figaro turns his attention to Susanna and acknowledges her hat. Intuitively, Susanna has become suspicious of the Count’s sudden “generosity” in providing them with a room so close to his own quarters. At the same time, she becomes exasperated by Figaro’s unsuspecting complacency and his failure to realize that the proximity of their rooms may indeed be an intentional ploy on the part of the lustful Count. Susanna awakens Figaro: she suspects that the Count does not really want her close to her mistress, the Countess, but rather, he wants her conveniently located so that he could invent an errand to dispense with Figaro, and then have her at his mercy. Their master has become a philanderer: rather than seek licentious amusement away from home, he has decided that he has many opportunities for amorous adventure right in his own chateau. Susanna has heard from Don Basilio that the Count has intentions of reinstating the “droit du seigneur,” or “ius primae noctis,” the old custom of “the feudal right of the lord,” the tradition by which the lord of the manor, in compensation for the loss of one of his female servants through marriage, had the right to deflower his feudal dependent before the husband took possession. Nevertheless, Susanna has become the Count’s intended victim, and with his customary despicable arrogance, he intends to achieve with consent from Susanna the right he ceded by law. Upon hearing Susanna’s revelation, Figaro expresses indignation, unable to comprehend the Count’s betrayal of him after he provided his unstinting help and friendship during the Count’s courting of Rosina. Figaro becomes alarmed, now convinced that if the Count succeeds in becoming the ambassador to London, he will send him off as a courier in order to have Susanna at his mercy. Figaro decides that he must outwit his master, and with his customary confidence, he concludes that the Count will never be able to match his ingenuity. In his aria, “Se vuol ballare, Signor Contino” (“If you want to dance my little Count”), Figaro sums up the underlying conflict and tension within the entire opera story: the lower classes need for cunning to survive the abuses of the aristocracy’s power. Susanna is confident she can control the lascivious Count, but Figaro seems to be apprehensive, even somewhat jealous.


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“Se vuol ballare, signor Contino”

In a moment of need, Figaro had borrowed money from Marcellina, Dr. Bartolo’s housekeeper, however, lacking collateral, he promised to marry her if he did not reimburse her. Marcellina arrives to demand repayment from Figaro, and with the encouragement and assistance of Dr. Bartolo, intends to legally force Figaro to repay her. Likewise, Dr. Bartolo seeks revenge against Figaro because of his trickery in helping the Count lure Rosina from him. Bartolo is further gratified by the prospect of ridding himself of the now extremely unattractive Marcellina, who, during an affair many years earlier, bore Dr. Bartolo an illegitimate son. Marcellina and Dr. Bartolo unite, impassioned accomplices in their conspiracy against Figaro: Dr. Bartolo concludes that his hour of revenge against “that rascal Figaro” may have come at last, and expresses his excitement in the traditional grand buffo style, his patter aria, “La vendetta, oh, la vendetta!” (“Vengeance, oh vengeance!”) When Susanna reappears, Marcellina provokes her into a rivalry for Figaro by planting seeds of jealousy. The two women argue with mock courtesies, sarcasm, and feigned sincerity and politeness: Marcellina refers to Susanna with spite and disdain, calling her “the Count’s beautiful Susanna.” Likewise, Susanna uses her wedding dress as a metaphor for ageing, comparing it to the old Marcellina, who duly explodes after recognizing the insult to her advancing age. Cherubino, the Countess’s page, arrives, an adolescent whose pulse races uncontrollably because of his youthful passion for all women: his hyperactive hormones seem to place the ubiquitous page in all of the wrong places at the wrong time. Cherubino suffers from youthful erotic awakenings, falling in love with any woman in sight, and always the wrong woman. Yesterday, in particular, Cherubino aroused the Count’s anger when he was discovered in a rendezvous with Barbarina, the gardener Antonio’s daughter. After the Count’s angry warning, Cherubino fears his master’s fury, and the consequence that he would be sent away. Cherubino begs Susanna to intercede with her mistress, the Countess, that she might dissuade the Count’s agitation. However, true to his uncontrollable passions, the young Cherubino reveals to Susanna that he has fallen deeply in love with no less a personage than the Countess herself. He seizes a ribbon from Susanna which belongs to the Countess. He becomes ecstatic and inspired, and delivers a canzonetta he has just written for the Countess that expresses his erotic ecstasies and passions, sensibilities that he cannot understand and confuse him. “Non so piu cosa son, cosa faccio”


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Suddenly, the Count appears in the new quarters of Susanna and Figaro. Cherubino, fearing the Count, particularly because he should not be in Susanna’s quarters at all, hastily conceals himself behind a chair. The Count, believing he is alone with Susanna, announces that he may receive an ambassadorship to London, and suggests to Susanna that his appointment would provide a magnificent opportunity for them to develop a relationship: of course, the unsuspecting Count’s amorous advances are overheard by the hiding Cherubino. Footsteps are heard approaching: Cherubino emerges from behind the chair and sits in the chair; Susanna covers him with her bridal dress. The Count likewise hides to avoid being seen in a potentially scandalous situation: he hides himself behind the same chair Cherubino has just left. The new guest is Don Basilio, the chateau’s gossiping music master and ingenious fabricator of intrigues. He proceeds to make malicious — yet accurate — insinuations about Cherubino’s rapturous flirtations and amorous behavior toward the Countess. The Count, from hiding, overhears Basilio’s blasphemous accusations about his wife, and emerges from behind the chair, erupting into a heated rage, and demanding details and an explanation from Basilio. In fear, Basilio retracts his accusations, excusing them as mere “suspicion.” Nevertheless, the Count’s jealousy has been aroused against the young page that has now become a thorn to his amorous pursuits. Just yesterday he discovered Cherubino hiding under a table in Barbarina’s room; he was obviously chagrined that Cherubino’s presence thwarted his own amorous advances toward Barbarina. The Count insists that he will take action and expel Cherubino from the chateau. The Count describes how he drew away the table cloth and discovered Cherubino hiding under the table. As he demonstrates the event, he sweeps aside Susanna’s dress from the chair, and in shock, surprise, and exasperation, he finds Cherubino again in a compromising situation for the second time in a mere few days. The Count expresses indignation; Susanna expresses horror; and Don Basilio erupts into malicious delight and laughter. The Count becomes furious as he concludes that Cherubino and Susanna are having a clandestine affair. He is also chagrined: Cherubino has overheard his failed attempts to seduce Susanna, and the lad seems to have had more success with Susanna than he himself. However, the situation presents an opportunity for the Count to avenge his cunning valet, so he sends Basilio to fetch Figaro so he can reveal his betrothed’s “infidelities.” Figaro arrives with a group of peasants, all ironically singing praises to their magnanimous master: the man of virtue who abolished the ancient aristocratic privilege of “droit du seigneur.” Figaro, not realizing the situation’s irony, requests that at the wedding the Count place the wedding veil on Susanna’s head to symbolize the bride’s innocence. The Count becomes totally consumed by his problem with the omnipresent Cherubino. Susanna suggests that he forgive the innocent and naïve lad. But the Count has a sudden inspiration: a plan to rid himself completely of Cherubino. He accedes to Susanna’s request and pardons Cherubino, but in return, he announces that the boy will receive an officer’s commission in his Seville regiment. Elated by the impending resolution of his problem with Cherubino, the Count departs, joined by the malicious Don Basilio. Cherubino shakes in dreaded fear as Figaro taunts him, painting a vivid picture of the glories and terrors of military life: now, instead of flirtation and tender love-making, Cherubino’s military life will be comprised of weary drills and marching.


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“Non più andrai farfallone amoroso”

Figaro exults at the idea of Cherubino’s imminent departure: like the Count, his life will certainly be sweeter without the menacing presence of this impetuous lad.

Act II: The Countess’s apartment. The Countess, alone with her thoughts, meditates about her happy past, and her unhappy present. She deeply loves her husband, but she has slowly realized that she is not the only woman in his life. Touchingly and expressively, the Countess vents her distressed feelings, praying for relief from her grief, and ultimately, that her husband’s affections will return. “Porgi amor, qualche ristoro”

The despairing Countess joins with Susanna and Figaro to invent a scheme that will thwart the Count’s amorous adventures. They decide to launch a plot to outwit him by exposing his infidelities, ridicule and embarrass him, and teach him a lesson. If they can make him jealous, he will then be persuaded to change his ways, return to his wife as a faithful husband, and reawaken his love for the Countess. Their intrigue involves having the Count discover an anonymous letter revealing that the Countess has made a rendezvous with a secret “lover.” The resourceful Figaro will arrange to have Don Basilio deliver the letter to the Count. At the same time, Susanna will arrange a clandestine rendezvous with the Count; however, Cherubino will be in her place, dressed in her clothes: after Figaro frightened Cherubino with his description of military life, Cherubino will do anything to postpone his entry into the army. Cherubino arrives, delighted and excited to see the Countess before his departure. Susanna persuades him to entertain the Countess with the song he wrote for her. The promising young composer and songwriter sings a “romance,” which complements the Countess on her insight into the intrigues of love and romance.


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“Voi che sapete che cosa è amor”

The Countess notices that Cherubino’s commission lacks the official seal. Susanna proceeds to dress Cherubino in woman’s clothes for the masquerade, becoming frustrated by the impetuous youth, who keeps turning to look at the Countess. “Venite inginocchiatevi”

Just as Cherubino’s disguise is completed, the Count is heard angrily knocking at the door. Cherubino, fearing another encounter with the Count, immediately hides in an adjoining closet. The Count is raging: Basilio gave him the Countess’s letter inviting her lover to rendezvous, and he has returned precipitately from the hunt in order to confront her with her infidelity. He finds the Countess’s door locked — an unprecedented action — and his suspicions become further aroused. The door is opened, and the Count immediately presents his wife with the letter and accuses her of infidelity. Noises are heard from an adjoining room — Cherubino, of course — which further arouses the Count’s suspicions. Nervously, the Countess tries to deter the Count, excusing the noises as those from her maid Susanna, who is in the room dressing. But the jealous Count fears a scandal and the ridicule of a cuckolded husband, demands that Susanna — if it is indeed Susana — emerge from the room. The Count desperately tries to open the door, but he is unsuccessful. He decides that he needs tools to break down the door; he insists that the Countess leave with him to fetch the tools. Both depart, in effect, locking both Susanna and Cherubino inside. Afterwards, Susanna fetches the frightened Cherubino, who insists that he leave before the Count returns. With no other exit available, he escapes by jumping through an open window, his jump witnessed by Antonio, the gardener, who becomes puzzled and disconcerted in his state of drunkenness. Now alone, Susanna hides herself in the adjoining closet. The Count and Countess return. As the Count tries to forcibly open the door, the Countess becomes anxious and nervous, unaware that Cherubino has escaped and that Susanna has replaced him. She decides that her only alternative is to confess to her husband that it is indeed the young Cherubino in the closet; at the same time, she tries to persuade the Count that Cherubino is merely an innocent young lad not worthy of his anger.


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But the Count is inflamed with rage, overcome by blind jealousy after he saw the Countess’s letter to her lover. He ignores the Countess’s anxious pleading to placate him, convinced that her secret lover hides in the closet. After the door is forcible opened, the Count stands with drawn sword and orders the Countess’s lover to emerge from the closet. Susanna calmly emerges, the picture of wideeyed innocence. The Count stands in shock and surprise: the Countess is equally stunned, but relieved that a seemingly insoluble dilemma has been resolved Susanna’s emergence from the closet has confirmed the Countess’s original story: it was indeed Susanna dressing in the closet. The Countess excuses her “confession,” claiming that it was only a ruse to inflame the Count; she knew all the time that it was Susanna in the room. The Count is humiliated, but still refuses to believe that Susanna was alone in the dressing room. While the Count momentarily leaves the room, Susanna tells the Countess not to worry, since Cherubino has escaped through the window. The Count returns, confused and embarrassed because his suspicions have been proven to be unfounded. He becomes penitent, asks forgiveness for his behavior, and confirms his love for the Countess. When he addresses the Countess as Rosina, she suddenly becomes angry and reminds him of his neglect and indifference toward her: “Crudele, più quella non sono!” (“You have been so cruel!”) Nevertheless, the Count remains puzzled: he wants an explanation of Bartolo’s anonymous letter, and still suspects that somehow it was indeed Cherubino hiding in her dressing room. The Countess explains that it was all part of a harmless joke perpetrated by Figaro to tease the Count. The Count begs her forgiveness again, and this time, she grants it. Figaro arrives, excitedly announcing — albeit for the second time — that the musicians have assembled, and all the arrangements are now in place for their wedding to proceed. However, Figaro has arrived at an inopportune moment, and the wary and suspicious Count seizes his chance to ask Figaro about the Countess’s infamous letter, inquiring if he knows anything about it. Figaro, the ultimate prevaricator, vigorously denies any knowledge of it; after whispered explanations from Susanna and the Countess, his memory becomes sharpened and he admits that he was the writer of the letter. The situation becomes even more confounded when the inebriated gardener Antonio arrives, angrily complaining that someone jumped out of the window of the Countess’s room, trampled on his flowers, and broke a flower pot. Figaro quickly admits that he was the culprit, showing them the injury to his leg from the fall. After Figaro’s admission, Antonio presents a paper that fell from Figaro’s pocket: it is Cherubino’s officer’s commission. The Count senses chicanery. He grabs the paper and asks Figaro to identify it. The Countess recognizes it and tells Susanna that it is Cherubino’s commission. Susanna in turn whispers the fact to Figaro; now prompted by the women, Figaro tells the Count that the paper is Cherubino’s commission. The Count asks Figaro why he had the commission in his possession, and again, the Countess prompts the answer through Susanna’s subtle whispers. With great confidence, Figaro vindicates himself, announcing that Cherubino gave him the commission to secure its missing seal. Figaro now faces a more serious crisis. Dr. Bartolo, Marcellina, and the malicious Don Basilio burst in and demand justice: Figaro must make good on his promise to repay Marcellina’s


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loan to him; if he cannot, he is legally bound to marry Marcellina, as he had promised. The Count becomes ecstatic: if his wily valet marries Marcellina, there will no longer be any obstacle in his pursuit of Susanna. The Count will act as magistrate to adjudicate Marcellina’s claim: it will be a biased decision that will enable him to settle accounts with his valet. The Count again postpones the marriage between Figaro and Susanna until all the complications between servants and masters have been resolved:

Act III: A large hall in Count Almaviva’s chateau. Count Almaviva eagerly seals Cherubino’s army commission, thus ridding himself of this youthful rival for his wife’s affections, as well as those of other women in his chateau. He remains puzzled and suspicious about the strange events that have taken place recently, and refuses to accept or believe Figaro’s explanation. He still wonders: Who jumped from the Countess’s room? Who is the Countess’s lover? Who wrote the anonymous letter? Susanna appears before the Count to launch the Countess’s intrigue to embarrass her husband and teach him a lesson. Susanna agrees to meet the Count in the garden in the evening right after her wedding; however, the Count is unaware that he will be romancing his own wife, dressed in Susanna’s clothes. Nevertheless, the Count is ecstatic about his tryst with Susanna, his revenge against the wily Figaro. As Susanna departs, she meets Figaro, who is on his way to hear Marcellina’s suit against him adjudicated. She tells Figaro that she has the money to pay Marcellina. (Neither Figaro nor the Count know that Susanna borrowed money from the Countess to pay back Marcellina.) The Count has overheard their conversation and Figaro’s apparent victory and explodes in rage. He condemns his valet, “Vedrò, mentr’io sospiro” (“And so my servant enjoys pleasure that I am denied”), the frustrated Count concluding that his servant Figaro was born to torment him and laugh at his misfortune. With the Count presiding at his court, the stuttering lawyer, Don Curzio, tells Figaro that he is obliged to either repay Marcellina’s loan, or marry her. Figaro creates one of his most brilliant subterfuges, claiming that he is of noble birth, and therefore cannot marry without the consent of his parents; however, he is ignorant of his parentage, and does not know where they are. Figaro displays a branded spatula mark on his arm that identifies him. Marcellina recognizes the mark and announces that Figaro is her long-lost son: the fruit of an early love affair between Marcellina and Dr. Bartolo. The Count rages impotently as Figaro and his newfound parents reunite and embrace. Susanna arrives, money in hand to settle Figaro’s debts. She witnesses the celebration: Marcellina kissing Figaro, which she completely misunderstands; she erupts into a jealous rage and proceeds to box Figaro on his ears before he can explain his unexpected reversal of fortune. Dr. Bartolo agrees to marry Marcellina. Figaro is heaped with gifts: Marcellina gives her long-lost son his promissory note as his wedding present; Dr. Bartolo, ironically Figaro’s


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newfound father, hands him purses of money. Susanna embraces her future parents-in-law, and all signs point to the celebration of a double wedding; finally, there seems to be no further obstacle to the marriage of Figaro and Susanna. Cherubino tells Barbarina that he has not gone Seville as ordered, but remained at the chateau so he can attend the wedding festivities: in the disguise of a peasant girl. The Countess is deeply concerned how her husband will react to their intrigue, in which she will exchange clothes with Susanna. (The original scheme to disguise Cherubino as Susanna was dropped because of Cherubino’s imminent military assignment.) She deeply loves the Count and must punish him for his philandering, but she deplores the fact that she must seek the help of her servants to win back her husband’s affections. Tenderly, the brokenhearted Countess recalls her former happiness and bliss, clinging to the hope of reinspiring the Count’s devotion to her. Yet, she is not bitter and bears no malice toward the Count, although he has obviously been unfaithful since their wedding day. “Dove sono i bei momenti”

Susanna scribes a letter dictated by the Countess, which fixes the exact time and place for the evening rendezvous: the Count is to meet Susanna in the garden “under the pines where the gentle zephyrs blow.” (Of course, the Count will be meeting the Countess dressed in Susanna’s clothes.) The letter is sealed with a brooch pin and requests that the Count return the brooch pin as confirmation of his understanding and agreement to the appointment. Before the wedding ceremony, village peasant girls present flowers to the Countess; they are accompanied by, Figaro, Cherubino, who is disguised as a peasant girl, Barbarina, Dr. Bartolo, and the Count. The gardener Antonio, holding Cherubino’s hat, notices that one of the girls in the group is Cherubino in disguise, and proceeds to place the hat on his head. Barbarina, deeply in love with Cherubino, comes to his rescue: in a somewhat embarrassing declaration, she reminds the Count of the many times he hugged and kissed her, promising that he would grant her any wish. She tells the Count that her wish is to marry Cherubino. The Count reacts to this unexpected development by wondering whether demons have taken control of his destiny. The Count again becomes consumed by his suspicions, and asks Figaro who it was who jumped from the Countess’s window the other morning. Musicians begin to play the wedding march, inadvertently breaking the momentary tension; it is the signal for the long-awaited wedding of Figaro and Susanna. The Count presides over the double wedding ceremony of Susanna and Figaro and Marcellina and Dr. Bartolo. The Count mutters words of revenge against Figaro while placing


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the wedding veil on Susanna; she slips him a note that invites him to meet her in the garden that evening. Figaro, unaware of the Countess’s new scheme, watches the Count open the note, in the process, pricking his finger on the brooch pin. Figaro rightly suspects that a clandestine love intrigue is afoot, but he does not imagine that his beloved Susanna is involved. The Count, in anticipation of his rendezvous, hurriedly concludes the ceremony, promising further celebrations that evening.

Act IV: The garden of the chateau. The Count gives the note and its confirming brooch pin to Barbarina, the messenger. To her consternation and distress, she inadvertently drops the pin and loses it. Figaro appears. While he helps the unsuspecting Barbarina search for the pin, she disingenuously reveals that the note planned a rendezvous with the Count and Susanna. Figaro was not privy to this new phase of the Countess’s intrigue. He jumps to the conclusion that his new bride is faithless and intends to yield to the Count that evening. Inflamed with passions of jealousy and betrayal, Figaro invites his new parents, Dr. Bartolo and Marcellina, to join him and witness his new wife’s betrayal. Marcellina defends the constancy of women, refusing to believe that Susanna would deceive Figaro. Nevertheless, Figaro believes he has become a cuckold and warns all men to open their eyes to the fickleness of women. “Aprite un po’ quegl’occhi, uomini incauti a schiocchi”

Susanna and the Countess arrive, each wearing the other’s clothes. Figaro hides himself in the expectation of catching Susanna and the Count in flagrante. Marcellina has told Susanna that Figaro suspects her fidelity and is spying nearby. She decides to teach him a lesson for his mistrust by addressing a poignant song to her supposed lover, her yearning for a night of love. Figaro’s passions are aroused; he hears, but does not see her in the dark, unaware that he is the object of her amorous reflections. “Deh viene, non tardar, o gioja bella”


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The dark garden becomes a scene of confusion and mistaken identities. Cherubino begins to romance Susanna (the Countess in Susanna’s clothes). The Count steps between them; in the dark and confusion he mistakenly receives a kiss from Cherubino. The enraged Count aims a blow to Cherubino’s ears, but instead, catches the hovering Figaro. All disappear and leave the Count alone with the woman he believes to be Susanna, pleading for her love and embraces, little knowing that the woman he is attempting to romance is his own wife. Figaro finds the Countess (Susanna in the Countess’s clothes) and suggests that they go together to catch the Count with Susanna. But the Countess (Susanna) inadvertently fails to disguise her voice and gives herself away. Figaro intuitively grasps the situation, his jealousy instantly evaporating. But Figaro wants revenge; he makes theatrical declarations of passionate love to the Countess (Susanna), which, in turn, infuriates Susanna and rouses her jealousy: she proceeds to rain blows on him. But their argument ends with the newlywed’s first loving reconciliation. The Count becomes irate when he sees Figaro and a woman he believes to be his wife engaged in impassioned amour. But the Count has more important priorities, and he leaves the scene en route for his rendezvous with Susanna. The Countess reappears, dressed in her own clothes, and unravels the chaos and confusion. The charade is ended, but she has opened the Count’s eyes by catching him in flagrante with his own wife. The Count realizes that he has been outwitted, and that there is nothing he can do but acknowledge his folly with as good grace as he can muster. He begs for the Countess’s forgiveness, which she lovingly grants. All the crises seem to have been resolved and reconciled: there is cause for celebration as all the lovers are reunited. Beaumarchais’ “Crazy Day” ends, saved for posterity by Mozart’s unerring musical characterizations.


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The Marriage of Figaro - Commentary and Analysis

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A

fter Mozart received the commission for The Marriage of Figaro from his faithful patron, Emperor Joseph II of Austria, he chose Lorenzo da Ponte as his librettist: that vagabond scholar, entrepreneur, and close friend of the notorious Casanova de Seingalt. In 1786, its premiere year, there were triumphant productions in both Vienna and Prague, even though the aristocracy considered the libretto as a representation of the depths of vulgarity. Nevertheless, Prague was not directly under the control of the imperial Hapsburgs, and, therefore, censorship and restriction of underlying elements of its story was limited, if nonexistent.

M

ozart’s opera was based on Pierre Augustin Caron de Beaumarchais’ Le Mariage de Figaro, ou La Folle Journée (1784) (“The Marriage of Figaro, or the Crazy Day”). Beaumarchais (1732-1799), was the son of a clockmaker. Initially, he followed in his father’s footsteps and was subsequently appointed clockmaker and watchmaker to the court of Louis XV. He was also a musician and composer, a self-taught student of guitar, flute, and harp, and eventually became the harp teacher to the King’s daughters. Beaumarchais married the widow of a court official in 1756: now elevated to a nobleman, he took the name Beaumarchais and bought the office of secretary to the king. In 1763, France was still seeking revenge for its loss of Canada and was observing with great interest the development of the American “resistance movement.” The French government offered covert aid to the American rebels, but they were determined to keep France out of the war until a more opportune moment. In 1776, a fictitious company was set up under the direction of Beaumarchais to funnel military supplies and arms to the rebellious American colonies. Nevertheless, Beaumarchais’ fame rests on his literary achievements: the comedic theatrical trilogy, which includes Le Barbier de Séville, ou La Précaution Inutile (1775) (“The Barber of Seville, or the Useless Precaution”), and the final installment, L’Autre Tartuffe, ou La Mère Coupable (1792) (“The Guilty Mother”). The plays represent a heroic output, sometimes referred to as “The Figaro trilogy,” or the “Almaviva trilogy.” They represent an historical canvas of late eighteenth century society, their overflowing social and political complications summing up an era: they became the essential personification of the forthcoming French Revolution, which they not only reflect, but even consciously or unconsciously set into motion. The plays satirized the French ruling class and aristocracy, and reflected the growing lower class dissatisfaction with the nobility in the years preceding the French Revolution. Both Beaumarchais’ Le Barbier de Séville and Le Marriage de Figaro were caustic satires of prevailing social and political conditions, which flattered the lower classes, and castigated the upper class nobility. The ancien régime was portrayed in declining grandeur and impending doom, prompting Napoleon to later comment after the historical fact, that they truly represented the “revolution already in action.” Beaumarchais knits together a cast of thinly disguised heroes, lower class characters who survive though imagination and wit: none is more admirable than the colorful Figaro — Beaumarchais himself — who is a master of sabotage and intrigue, and a clever and enterprising “man for all seasons”: the factotum, or jack-of-all-trades, whose savvy and ingenuity serves as the symbol of class revolt against the aristocracy. Figaro’s antagonists are all members of the upper classes, real villains and tormentors who are in continuous conflict with one another.


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In Beaumarchais, Figaro expresses the soul of the forthcoming revolution in his witty and highhanded attitude toward his aristocratic master, Count Almaviva: “What have you done to earn so many honors? You have taken the trouble to be born, that’s all.” Beaumarchais originally wrote Le Barbier de Séville as an opera libretto for the OpéraComique, but it was banned, the King briefly imprisoning Beaumarchais for his blasphemous writings. But the King had to accede to public pressure and release him, and in an ironic twist, agreed to a gala performance of Le Barber de Seville at Versailles, his wife, Marie-Antoinette, portraying Rosine, and the future Charles X, portraying Figaro. Le Marriage de Figaro, Beaumarchais’ second installment of the trilogy, was such a triumph that it ran for eighty-six consecutive performances. Beaumarchais achieved literary immortality through the da Ponte-Mozart opera, The Marriage of Figaro, and later Rossini’s opera, Il Barbiere di Siviglia, (“The Barber of Seville”) (1816). Although each one of Beaumarchais’s plays ends in a marriage, not everyone lives happily ever after: each play seems to resolve darker than the one before. In Beaumarchais’s final installment, L’Autre Tartuffe, ou La Mère Coupable (“The Guilty Mother”) (1792), the Countess Almaviva has a child by Cherubino. One is tempted to speculate how Mozart would have treated that darker episode with his music, but the play appeared one year after Mozart’s death.

T

he two Figaro operas, Mozart’s Marriage and Rossini’s Barber, are appropriate companions. The later Rossini work has none of the deep and tender sentiment that underlies so much of Mozart’s music, but from a comic viewpoint, Rossini’s work inherently deals with a more humorous phase of the entire trilogy: the intrinsic humor and vivacity inherent in the Count’s adventures with Figaro while they outwit Dr. Bartolo and carry off the mischievous Rosina. In contrast, Marriage’s story depicts the Count after his marriage: his intrigues, suspicions, and philandering. In Rossini’s Barber, the youthful and impetuous characters have an elemental freshness, but in Mozart, they have matured, become domesticated, and certainly have transcended youthful innocence. Nevertheless, these two operas are “marriages made in operatic heaven.”

B

eaumarchais’ trilogy addresses despicable aspects of human character that were the very focus of Enlightenment idealism, its undercurrents sparking the French Revolution itself. The engines that drive the plots of The Marriage of Figaro — and Don Giovanni — are the moral foibles and peccadilloes of aristocratic men: Count Almaviva and Don Giovanni are the nobility, who can almost be perceived as criminals by modern standards; men who are unstable, wildly libidinous, and consider themselves above moral law. Both works focus on seduction; seduction that ends in hapless failure. The Marriage of Figaro has proven to be a monumental tribute to Mozart’s genius in musical characterization: it is considered one of the greatest masterpieces of comedy in music because its music is enormously faithful to character and situation: music containing charm, a perfection of form, and an utter spontaneity. Moreover, the music sparkles with all the wit and gaiety of Beaumarchais’ humorous work, and certainly, only praise can be granted to da Ponte’s shrewdly contrived libretto. The social and political conflicts in the Marriage blend into a highly sophisticated battle of the sexes. The story takes place three years after the Barber story: the Count has


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become a predatory philanderer, the entire action revolving around the Count’s obsession to seduce Susanna before her marriage to Figaro, even though he has abandoned his right of “droit du seigneur.” Figaro and Susanna are determined to marry before the Count can force the issue. Nevertheless, in these plays, the lower classes refuse to be victimized: through their wiles, wit, determination, decency and love — and a little bit of luck — they can tip the scales against upper class arrogance and power. Although these characters represent articulate harbingers of revolution, da Ponte removed what he considered politically offensive in Beaumarchais; but Mozart replaced them with his music. In presenting these social injustices, the underlying implication is that social hierarchies are accidents of fortune rather than reflections of native worth: these themes are clearly woven into both the literary as well as the musical fabric of Marriage.

T

he opera’s two main female characters, Susanna and the Countess, are brilliantly contrasting characterizations: diverse femininity, like Donna Anna, Donna Elvira, and Zerlina in the later Don Giovanni. Susanna is indeed the heroine of the story: she is multidimensional and complex, and possesses a high degree of instinctive intelligence. Like her “Columbine” forebears from the commedia dell’arte, and even Rosina from Beaumarchais’s Barbier, she is a spirited character; sharp-witted, spunky and wily, and far from a soubrette, or the archetypal cunning and scheming servant. She radiates with assuredness and omniscience, whether in her conversations with the Countess, or in the third act when she fights off becoming victimized by the lascivious Count: her sense of honor dominates her actions, and she proves to be the one character in the opera that is capable of sorting out everybody’s troubles as well as her own. Susanna becomes the master of irony in the magnificent comic finale of Act II after she emerges from the closet, commenting with feigned disingenuousness and masterful irony: “What is this excitement about. A drawn sword? To kill the page? After all, it’s only me!” From the very beginning, Susanna demonstrates her intuitive intelligence and insight, making sure Figaro directs his attention to her wedding hat, and certainly, opening his eyes to the Count’s ulterior motives in placing their room so close to his quarters. But it is in the last act, when Mozart provides her with that lovely, subdued, and sensuous aria, “Deh viene non tardar,” that she overwhelms Figaro with her display of profound feeling, Mozart’s music expressing intense tenderness and emotion. Susanna’s “Deh viene non tardar” is a magnificent moment in the opera: action and time stop as she dreams of a sublimely happy future, her freedom with her new husband, although Figaro believes that she is betraying him. The Countess is the other great female character in the Marriage, wounded and prone to melancholy, but always exuding a profound spiritual and moral presence. Her dignity has been pitifully injured by the Count, but she never at anytime considers staining his honor by vengefully taking a lover. Subconsciously, she understands, but consciously she will not accept her husband’s philandering: a man seemingly bored by his wife; who in today’s terms, would be considered the classic victim of a massive mid-life crisis. Mozart gave the Countess two great arias, both poignantly expressing resignation, but with profound dignity: “Dove sono” and “Porgi amor”; da Ponte’s words are heartfelt expressions of a truly noble and aristocratic woman, but it is the emotive power of Mozart’s music that reflects her true feelings and genuine pathos.


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he finale of Act II is perhaps one of Mozart’s most monumental musical inventions and designs, an episode of some 150 pages of score without parallel in opera; its 20 minute length virtually making it a play itself. Mozart continuously uses a variety of key changes to alter the mood and provide surprise upon surprise. Eventually, eight characters appear on stage, the ensemble building steadily, but never with a false climax or inconsistent or artificial stroke. The Act II finale sequence demonstrates the complexity of the opera’s essence: misunderstandings. Who is in the Countess’s closet? (Is it Cherubino as both the Count and Countess presume?) What are the contents of the dropped paper? (Figaro has to be primed to know that it is Cherubino’s commission.) Who arranged for a nocturnal rendezvous? (The Count is obsessed to know who wrote the letter presumably written by the Countess to her secret lover.) The ensemble is inaugurated when the Count, convinced that Cherubino is having an affair with the Countess and is hiding in the closet, begins to break down the closet door. The only two characters on stage, the Count and the Countess, begin an acrimonious exchange: the Count erupts in rage, becomes overbearing, and intolerably aggressive; the Countess becomes flustered in her attempt to reason with him and persuade him of her innocence, but she compounds the situation by admitting that Cherubino is indeed in the closet — and only half dressed. The first surprise — to both the Count and Countess — is the emergence of Susanna, not Cherubino, from the closet. Out of necessity, and recognizing a misunderstanding, the Count calms down and begs his wife’s forgiveness. With Figaro’s arrival, the ensemble builds to four characters. The Count, suspicious and confused, decides to question his wily valet, instinctively condemning him for being involved in the anonymous note he received. And then the group becomes a quintet when the gardener Antonio arrives to announce that someone jumped out the window and ruined his flower bed. The comic confusion augments and reaches a climax with the entrance of Don Basilio, Dr Bartolo, and Marcellina, the latter arriving to claim that Figaro must marry her as payment for his debt to her. In this ensemble, all eight characters are on stage singing individually, and also in ensemble. Through Mozart’s genius, the ensemble fuses like a symphony, the music creating a new drama of sensibilities and underlying subtleties and truths which transcend the libretto. Mozart emphatically highlights each surprise and revelation with a change in key, rhythm, and tempo. As such, one feels and senses the shock, nevertheless, the sequence maintains its delicacy and playfulness, always hinting that new revelations lie beyond what is known. No one before Mozart had attempted such a long, uninterrupted piece of operatic music. Mozart proved that he was incredibly innovative: composers in the eighteenth century traditionally wrote short numbers, all strung together with recitatives or spoken dialogues. But in this second-act finale, with its seven musical numbers all welded as one unit, Mozart established the precursor for the next phase of operatic development that would arise in the nineteenth century, reaching its peak with choral and ensembles by Verdi and Wagner: the final extinction of separate musical numbers joined by action-bearing recitative, and the beginning or the continuity of text and music that would evolve into music drama.


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he engine that drives the Marriage story concerns an entire series of crises which come about as a result of misunderstandings: mistakes and presumptions made from vaguely seen events, or overheard conversations not clearly understood. The characters are continually acting and reacting to their senses: they see and hear things from which they make presumptions, but are never sure, and as a result, crises develop and envelop the characters. Susanna overheard the Count condemning the Countess for infidelity; the Count overheard Susanna proclaiming victory in Marcellina’s suit against Figaro; Figaro believed he caught his new wife, Susanna, with the Count. Conversations and misunderstandings drive the plot to its conclusion: Cherubino overheard the Count pressuring Susanna amorously; the Count overheard Basilio spread scandalous rumors about the Countess; the Count believed he has caught Figaro with the Countess. Until the opera’s conclusion, the end of a “Crazy Day,” each character suffers because of misjudgments, believing a truth when it is not a truth, but only the result of a vague visual or aural perception. The opera’s finale is 15 minutes long and is devoted to the weaving and unweaving of the story’s comical complications and mistaken identities. Beaumarchais was a master technician in injecting these plot motivators into his play. But Mozart provides the emotive power of the musical language to invent incredibly descriptive music to comment on the characters’ inner feelings and sensibilities during these crises. In the Marriage, eyes and ears become the instruments of illusion and delusion. But illusion and delusion oppose reality and truth, the ultimate source of knowledge. At the conclusion of this masterpiece, knowledge is achieved; the imagined world becomes the real world, and unfounded perceptions and misunderstandings become reality and truth. The Marriage of Figaro reflects the true soul of its times. It was the twilight of the Enlightenment, when humanity’s craving for freedom and social justice would soon be engraved into Western history by events such as the storming of the Bastille and the French Revolution. Beaumarchais penned a search for universal truth in his “Figaro” plays that da Ponte transformed into an opera libretto, and Mozart scored with incredibly truthful musical inventions: music, like its literary foundations, that thunders for social reform and equality; a lasting testament to freedom, humanity’s greatest aspiration.


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The Marriage of Figaro Libretto - Act I

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Libretto Act I

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Act II

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Act III

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Act IV

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Overture

Act I A partly-furnished room, with a large chair in the center. Figaro measures the floor while Susanna tries on a hat before a mirror. FIGARO: Cinque... dieci.... venti... trenta... trentasei...quarantatre

FIGARO: (measuring) Five....ten....twenty....thirty.... thirty-six.....forty-three.

SUSANNA: Ora sì ch’io son contenta; sembra fatto inver per me. Guarda un po’, mio caro Figaro, guarda adesso il mio cappello.

SUSANNA: (looking in the mirror) Now I indeed feel content. It seems like it is made for me. Look at me, my dear Figaro, Look at this hat of mine right now.

FIGARO: Sì mio core, or è più bello, sembra fatto inver per te.

FIGARO: Yes my love, it is very pretty. It seems like it was truly made for you.

SUSANNA e FIGARO: Ah, il mattino alle nozze vicino quanto è dolce al (mio/tuo) tenero sposo.

SUSANNA and FIGARO: Oh, your/my tender love is so welcome on this wedding morning.

SUSANNA: Questo bel cappellino vezzoso che Susanna ella stessa si fe!

SUSANNA: I made this pretty and charming little hat all by myself!

Cosa stai misurando, caro il mio Figaretto?

What are you measuring, my dear little Figaro?

FIGARO: Io guardo se quel letto che ci destina il Conte farà buona figura in questo loco.

FIGARO: I’m checking whether that bed the Count ordered for us will fit well here.


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SUSANNA: E in questa stanza?

SUSANNA: In this room?

FIGARO: Certo: a noi la cede generoso il padrone.

FIGARO: Certainly! Our generous master gave it to us.

SUSANNA: Io per me te la dono.

SUSANNA: I don’t like his gift.

FIGARO: E la ragione?

FIGARO: For what reason?

SUSANNA: La ragione l’ho qui.

SUSANNA: (touching her forehead) I have the reason here.

FIGARO: Io non capisco perchè tanto ti spiace la più comoda stanza del palazzo.

FIGARO: I don’t understand why you’re unhappy with the most convenient room in the palace?

SUSANNA: Perch’io son la Susanna, e tu sei pazzo.

SUSANNA: Because I am Susanna, and you are crazy.

FIGARO: Grazie; non tanti elogi! Guarda un poco se potriasi star meglio in altro loco.

FIGARO: Thanks for the compliments! See if you can find a better place for it.

FIGARO: Se a caso madama la notte ti chiama, din din; in due passi da quella puoi gir. Vien poi l’occasione che vuolmi il padrone,don, don; in tre salti lo vado a servir.

FIGARO: If Madame should call you in the evening — ding, ding — you can be there in two steps. If the occasion arises that the master calls me — don, don — I can be at his service in three jumps.

SUSANNA: Così se il mattino il caro Contino, din din; e ti manda tre miglia lontan, don don; a mia porta il diavol lo porta, ed ecco in tre salti....

SUSANNA: (ironically) If in the morning the dear Count commands you three miles away, the devil appears at my door, and then in three jumps....

FIGARO: Susanna, pian, pian.

FIGARO: Susanna, softly, softly.

SUSANNA: Ascolta

SUSANNA: Listen.

FIGARO: Fa presto.

FIGARO: Hurry.

SUSANNA: Se udir brami il resto, discaccia i sospetti che torto mi fan.

SUSANNA: If you want to hear the rest, drive away your suspicions for they hurt me.


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FIGARO: Udir bramo il resto, i dubbi, i sospetti gelare mi fan.

FIGARO: I want to hear the rest. These doubts and suspicions make my blood chill.

SUSANNA: Or bene; ascolta, e taci!

SUSANNA: Well listen and be quiet!

FIGARO: Parla: che c’è di nuovo?

FIGARO: Then speak. What’s the matter?

SUSANNA: Il signor Conte, stanco di andar cacciando le straniere bellezze forestiere, vuole ancor nel castello ritentar la sua sorte, né già di sua consorte, bada bene, appetito gli viene

SUSANNA: The Count has tired of chasing foreign beauties, and he again wants to try his chances in the castle. He’s already tired of his wife, and his appetite is for other women.

FIGARO: E di chi dunque?

FIGARO: And who is it then?

SUSANNA: Della tua Susanetta.

SUSANNA: Your dear little Susanna.

FIGARO: Di te?

FIGARO: You?

SUSANNA: Di me medesma. E tu credevi, che fosse la mia dote metto del tuo bel viso?

SUSANNA: Me! And you thought that my charms were only for your eyes?

FIGARO: Me n’ero lusingato.

FIGARO: I’ve flattered myself.

FIGARO: Chi suona! La Contessa?

(a bell rings) FIGARO: Who rings, the Countess?

SUSANNA: Addio, addio, Figaro bello.

SUSANNA: Farewell, farewell, handsome Figaro.

FIGARO: Coraggio, mio tesoro.

FIGARO: Courage my treasure.

SUSANNA: E tu, cervello.

SUSANNA: And you use your head!

Susanna kisses Figaro, and then she departs. FIGARO: Bravo,signor padrone! Ora incomincio a capir il mistero, e a veder schietto tutto il vostro progetto: a Londra è vero?

FIGARO: Bravo, my lord! Now I begin to understand the mystery, and I clearly see all of your schemes. Really, to London?


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Voi ministro, io corriero, e la Susanna secreta ambasciatrice. Non sarà, non sarà. Figaro il dice.

You’ll be a minister, I a messenger, and Susanna a secret ambassador. It won’t happen. Figaro says so.

Se vuol ballare Signor Contino, il chitarrino le suonerò. Se vuol venire nella mia scuola la capriola le insegnerò. Saprò, ma piano, meglio ogni arcano dissimulando scoprir potrò! L’arte schermendo, l’arte adoprando, di qua pungendo, di là scherzando, tutte le macchine rovescerò.

If you want to dance, Mr. Count, my guitar will accompany you. If you want to learn how to play tricks, come to my school. Little by little, I’ll learn and discover your every mystery and intrigue! And when I know, I become the master of self-protection, the art of ingenuity, fighting here, and joking there.

Se vuol ballare Signor Contino, il chitarrino le suonerò.

If you want to dance, my Count, my guitar will accompany you.

Figaro departs.

Dr. Bartolo enters with Marcellina. She holds a contract in her hand.

BARTOLO: Ed aspettaste il giorno fissato a le sue nozze per parlarmi di questo?

BARTOLO: And you waited until their wedding day to tell me about this?

MARCELLINA: Io non mi perdo, dottor mio, di coraggio: per romper de’ sponsali più avanzati di questo.Bastò spesso un pretesto, ed egli ha meco, oltre questo contratto, certi impegni, so io, basta, convien la Susanna atterrir.

MARCELLINA: My dear doctor, I did not lose my courage to break off the match earlier. He has other agreements with me, so a mere pretext would be enough. Summon Susanna and terrify her.

Convien con arte impuntigliarli a rifiutar il Conte. Egli per vendicarsi prenderà il mio partito, e Figaro così fia mio marito.

Insist that she subtly refuse the Count. The Count will take my side, seek revenge, and Figaro will become my husband.


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BARTOLO: Bene, io tutto farò: senza riserve tutto a me palesate. (Avrei pur gusto di dar per moglie la mia serva antica a chi mi fece un dì rapir l’amica.)

BARTOLO: (takes the contract from her) All right. I’ll do it for you, but don’t hide anything, and let me know everything. (Figaro made me lose my love, so I’ll have my revenge by giving him my old servant.)

La vendetta, oh, la vendetta! È un piacer serbato ai saggi. L’obliar l’onte e gli oltraggi è bassezza, è ognor viltà.

Vengeance, oh vengeance! It is the pleasure of the wise. It is cowardly and vile to forget affronts and insults.

Con l’astuzia, coll’arguzia, col giudizio, col criterio, si potrebbe, il fatto è serio!

One can achieve revenge with astuteness, cleverness, good sense and good judgment.

Ma credete si farà se tutto il codice dovessi volgere, se tutto l’indice dovessi leggere, con un equivoco, con un sinonimo qualche garbuglio si troverà. Tutta Siviglia conosce Bartolo: il birbo Figaro vostro sarà.

I’ll address every aspect of the law and turn it to our benefit: I must read all the cases, find a loophole, a synonym, or a mistake. All Seville knows Bartolo: he’ll defeat that scoundrel Figaro.

Bartolo exits. Susanna enters. She is carrying a night-cap, a ribbon and a dressing gown.

MARCELLINA: Tutto ancor non ho perso: mi resta la speranza. Ma Susanna si avanza: io vo’ provarmi. Fingiam di non vederla. E quella buona perla la vorrebbe sposar!

MARCELLINA: I haven’t lost yet. I still have hopes left. But here comes Susanna. Let me begin. I’ll pretend not to see her. And that’s the pearl he wants to marry!

SUSANNA: (Di me favella.)

SUSANNA: (She’s speaking about me.)

MARCELLINA: Ma da Figaro alfine non può meglio sperarsi: “l’argent fait tout.”

MARCELLINA: You can’t expect anything else from Figaro, because money means everything to him!

SUSANNA: (Che lingua! Manco male ch’ognun sa quanto vale.)

SUSANNA: (What a tongue! Fortunately no one listens to what she says.)


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MARCELLINA: Brava! Questo è giudizio! Con quegli occhi modesti, con quell’aria pietosa, e poi....

MARCELLINA: Wonderful! That is sensible! With those modest eyes, with that merciful look, and then....

SUSANNA: Meglio è partir.

SUSANNA: I had better go.

MARCELLINA: Che cara sposa!

MARCELLINA: What a charming bride!

With irony, both watch each other to see who will leave first. Via resti servita, Madama brillante.

Do go first, grand lady.

SUSANNA: Non sono sì ardita, madama piccante.

SUSANNA: (reverently) I’m not so bold, zesty lady.

MARCELLINA: No, prima a lei tocca.

MARCELLINA: No. you go first.

SUSANNA: No, no, tocca a lei.

SUSANNA: No, no, first you.

SUSANNA e MARCELLINA: Io so i dover miei, non fo inciviltà.

SUSANNA and MARCELLINA: I know good breeding and I’m never uncivil.

MARCELLINA: La sposa novella! Del Conte la bella! I meriti, il posto. Per Bacco! Precipito se ancor resto quà.

MARCELLINA: This new bride! The Count’s choice! The worth, the station. By Bacchus, I’ll lose if I stay here.

SUSANNA: La dama d’onore! Di Spagna l’amore! Stimabile età! Sibilla decrepita, da rider mi fa!

SUSANNA: The lady of honor! The love of Spain! Respectable age! Decrepit stutterer, who makes me laugh!

Marcellina departs.

SUSANNA: Va’ là, vecchia pedante, dottoressa arrogante, perché hai letti due libri e seccata madama in gioventù.

SUSANNA: Go along, old pedant, arrogant know-it-all. Just because you read two books you pretend to be a mature woman.


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Cherubino enters. CHERUBINO: Susanetta, sei tu?

CHERUBINO: Is that you, little Susanna?

SUSANNA: Son io, cosa volete?

SUSANNA: It’s me. What do you want?

CHERUBINO: Ah, cor mio, che accidente!

CHERUBINO: Oh, dear one! What an accident!

SUSANNA: Cor vostro! Cosa avvenne?

SUSANNA: Sweetheart, what has happened?

CHERUBINO: Il Conte ieri perché trovommi sol con Barbarina, il congedo mi diede; e se la Contessina, la mia bella comare, grazia non m’intercede, io vado via, io non ti vedo più, Susanna mia!

CHERUBINO: Yesterday the Count found me alone with Barbarina and dismissed me. If the Countess, my beautiful godmother, is not kind and doesn’t intercede for me, I’ll have to go away and never see you again, my Susanna!

SUSANNA: Non vedete più me! Bravo! Ma dunque non più per la Contessa secretamente il vostro cor sospira?

SUSANNA: You won’t see me any more! Great! But you also won’t be able to secretly pine for the Countess?

CHERUBINO: Ah, che troppo rispetto ella m’ispira! Felice te, che puoi vederla quando vuoi, che la vesti il mattino, che la sera la spogli, che le metti gli spilloni, i merletti. Cos’hai lì? Dimmi un poco.

CHERUBINO: (sighing) Oh, she inspires so much respect from me! You are fortunate because you can see her whenever you want: dress her in the morning, undress her in the evening, place her garments, needles, lace. Tell me what you have there?

SUSANNA: Ah, il vago nastro della notturna cuffia di comare sì bella.

SUSANNA: Oh, it’s the ribbon belonging to your beautiful godmother’s nightcap.

CHERUBINO: Deh, dammelo sorella, dammelo per pietà!

CHERUBINO: Oh, for mercy’s sake, give it to me! (snatches the ribbon from Susanna)

SUSANNA: Presto quel nastro!

SUSANNA: Give me back that ribbon!

CHERUBINO: O caro, o bello, o fortunato nastro! Io non te’l renderò che colla vita!

CHERUBINO: (admiring the ribbon) Oh dear, oh beautiful, oh fortunate ribbon! In my lifetime I won’t return it to you!

SUSANNA: Cos’è quest’insolenza?

SUSANNA: What is this impudence?


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CHERUBINO: Eh via, sta cheta!In ricompensa poi questa mia canzonetta io ti vo’ dare.

CHERUBINO: Come now, don’t be so angry! In exchange, I want to give you my little song.

SUSANNA: E che ne debbo fare?

SUSANNA: And what am I to do with it?

CHERUBINO: Leggila alla padrona, leggila tu medesma; leggila a Barbarina, a Marcellina; leggila ad ogni donna del palazzo!

CHERUBINO: Read it to my lady, read it to yourself, read it to Barbarina, to Marcellina, read it to every woman in the palace!

SUSANNA: Povero Cherubin, siete voi pazzo!

SUSANNA: Poor Cherubino, you have gone mad?

CHERUBINO: Non so più cosa son, cosa faccio, or di foco, ora sono di ghiaccio, ogni donna cangiar di colore, ogni donna mi fa palpitar.

CHERUBINO: I no longer know who I am, or what I do. I’m all fire, then I’m all ice. Every woman makes me blush. Every woman makes me throb.

Solo ai nomi d’amor, di diletto, mi si turba, mi s’altera il petto e a parlare mi sforza d’amore un desio ch’io non posso spiegar.

It is merely the mention of love, of delight, that disturbs me and unsettles my heart. The power of love has become a desire that I can’t explain.

Parlo d’amor vegliando, parlo d’amor sognando, all’acque, all’ombre, ai monti, ai fiori, all’erbe, ai fonti, all’eco, all’aria, ai venti, che il suon de’ vani accenti portano via con sé. E se non ho chi mi oda, parlo d’amor con me.

I speak of love while awake, I speak of love while I sleep, to water, to shadows, to mountains, to flowers, to herbs, to fountains, to the echo, to the air, to the wind. The sounds of my hopeless laments carry me away. And if no one hears me, I speak of love to myself.

The Count is heard approaching. SUSANNA: Taci, vien gente, il Conte! Oh, me meschina!

SUSANNA: Quiet, someone’s coming. It’s the Count. He shouldn’t find you here!

In fear, Cherubino hides behind a chair.


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SUSANNA: Signor, io chiedo scusa,. ma, se mai, qui sorpresa,.. per carità. Partite!

COUNT: Susanna, you seem agitated and confused. . SUSANNA: Sir. I beg your pardon. But I’m just so surprised. For mercy’s sake, go!

IL CONTE: Un momento, e ti lascio, odi.

COUNT: (sits on the chair) One moment and then I’ll leave. Listen.

SUSANNA: Non odo nulla.

SUSANNA: I will hear nothing.

IL CONTE: Due parole. Tu sai che ambasciatore a Londra il re mi dichiarò; di condur meco Figaro destinai.

COUNT: Just two words. You know that the King has named me ambassador to London. I intend to take Figaro with me.

SUSANNA: Signor, se osassi...

SUSANNA: Sir, I beg you...

IL CONTE: Parla, parla, mia cara, e con quell dritto ch’oggi prendi su me finché tu vivi chiedi, imponi, prescrivi.

COUNT: Talk to me, my dear. With the power that you now have over me, you can ask, order, or command anything.

SUSANNA: Lasciatemi signor; dritti non prendo, non ne vo’, non ne intendo. Oh me infelice!

SUSANNA: Leave me, sir. I have no rights, nor wish or propose any. Oh I’m so unhappy!

IL CONTE: Ah no, Susanna, io ti vo’ far felice! Tu ben sai quanto io t’amo: a te Basilio tutto già disse. Or senti, se per pochi momenti meco in giardin sull’imbrunir del giorno. Ah, per questo favore io pagherei.

COUNT: No, Susanna. I want to make you happy! You know well how much I love you. Basilio has already told you. Then listen, meet me tonight in the garden. You know I’d pay for that favor.

BASILIO: È uscito poco fa.

BASILIO: (from outside) He hasn’t been gone a long time.

IL CONTE: Chi parla?

COUNT: Who speaks?

SUSANNA: Oh Dei!

SUSANNA: Oh Gods!

IL CONTE: Esci, e alcun non entri.

COUNT: Go, and don’t let anyone in.

IL CONTE: Susanna, mi sembri agitata e confusa.


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SUSANNA: Ch’io vi lasci qui solo?

SUSANNA: That I’ll leave you here alone?

BASILIO: Da madama ei sarà, vado a cercarlo.

BASILIO: Perhaps he is with my Lady. I’ll go look for him.

IL CONTE: Qui dietro mi porrò.

COUNT: (pointing to the chair) I’ll put myself behind this chair.

SUSANNA: Non vi celate.

SUSANNA: Don’t hide.

IL CONTE: Taci, e cerca ch’ei parta.

COUNT: Quiet. Try to get rid of him.

SUSANNA: Oimè! Che fate?

SUSANNA: Oh my, what are you doing?

The Count conceals himself behind the large chair. Susanna places herself resourcefully before him, making signs to Cherubino to move. Cherubino avoids the Count by crawling around the chair. BASILIO: Susanna, il ciel vi salvi. Avreste a caso veduto il Conte?

BASILIO: (from outside) Susanna, heavens save you. Have you by any chance seen the Count?

SUSANNA: E cosa deve far meco il Conte? Animo, uscite.

SUSANNA: (annoyed) And what would the Count be doing with me? Get out, mindless one.

IL CONTE: Chi parla?

COUNT: Who’s speaking?

SUSANNA: O Dei!

SUSANNA: Oh heavens!

IL CONTE: Esci, ed alcun non entri.

COUNT: You go. Don’t let him come in.

SUSANNA: Ch’io vi lasci qui solo?

SUSANNA: And leave you here alone?

BASILIO: Da madama sarà, vado a cercarlo.

BASILIO: With my lady perhaps? I’ll ask Susanna.

IL CONTE: Qui dietro mi porrò.

COUNT: I’ll hide behind the chair.

SUSANNA: Non vi celate.

SUSANNA: No don’t hide.


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IL CONTE: Taci, e cerca, ch’ei parta.

COUNT: Quiet, and don’t let him come in.

SUSANNA: Ohime! Che fate!

SUSANNA: Oh my! What should I do!

As the Count hides behind the chair, Cherubino scrambles around and sits in it. Susanna covers him with a dress. Basilio enters. BASILIO: Susanna, il ciel vi salvi! Avreste caso veduto il Conte?

BASILIO: Susanna, peace be with you! Have you seen the Count?

SUSANNA: E cosa deve far meco il Conte? Animo, uscite.

SUSANNA: What should I know about the Count? Pray, go away.

BASILIO: Aspetate, sentite, Figaro di lui cerca.

BASILIO: Wait, listen. Figaro is looking for him.

SUSANNA: (Oh Cielo! Ei cerca chi, dopo voi, più l’odia.)

SUSANNA: (Oh Heavens! He’ll find the man who hates him most right here.)

IL CONTE: (Vediam come mi serve.)

COUNT: (Let’s see how she serves me?)

BASILIO: Io non ho mai nella moral sentito, ch’uno ch’ami la moglie odiii il marito. Per dir che il Conte v’ama.....

BASILIO: I’ve never heard in the moral code that one who loves the wife hates the husband. To say that the Count loves you.....

SUSANNA: Sortite, vil ministro dell’altrui sfrenatezza: Io non ho d’uopo della vostra morale, del Conte, del suo amor.

SUSANNA: You vile minister. How dare you make those suggestions! I refuse to talk about the Count’s passions and desires.

BASILIO: Non c’è alcun male. Ha ciascun i suoi gusti: io mi credea che preferir dovreste per amante, come fan tutte quante, un signor liberal, prudente, e saggio, a un giovinastro, a un paggio.

BASILIO: There’s no harm done. It’s a matter of taste. Yet I would imagine that you’re like any other woman, and would choose for your lover a man who is rich, noble and quite discreet, instead of yielding to a page.

SUSANNA: A Cherubino!

SUSANNA: To Cherubino!

BASILIO: A Cherubino! A Cherubin d’amore ch’oggi sul far del giorno passeggiava qui d’intorno, per entrar.

BASILIO: Yes Cherubino! The love-child who hovers about here every morning, and passes in and out.


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SUSANNA: Uom maligno, un impostura è questa.

SUSANNA: Wicked man. This is slander.

BASILIO: È un maligno con voi chi ha gli occhi in testa? E quella canzonetta? Ditemi in confidenza; io sono amico, ed altrui nulla dico; è per voi, per madama? . SUSANNA: (Chi diavol gliel’ha detto?)

BASILIO: Is it wicked for one to have eyes in one’s head? And that song? Tell me in confidence. I’m a friend and I speak truths. Was it for you, or was it for Madame?

BASILIO: A proposito, figlia, instruitelo meglio;egli la guarda a tavola sì spesso, e con tale immodestia, che se il Conte s’accorge che su tal punto sapete, egli è una bestia.

BASILIO: By the way, my dear, tell Cherubino to be more careful. He gloats at Madame with such impudence, that if the Count would notice, you well know, he’ll become a savage.

SUSANNA: Scellerato! E perché andate voi tai menzogne spargendo?

SUSANNA: You scoundrel! Why do you go about spreading such lies?

BASILIO: Io? Che ingiustizia! Quel che compro io vendo, a quel che tutti dicono io non aggiungo un pelo.

BASILIO: I? What injustice! I only say what I see, and add not one iota to what everybody says.

IL CONTE: Come, che dicon tutti?

COUNT: (rises but troubled) What! What are they all saying!

BASILIO: Oh bella!

BASILIO: (aside) Oh beautiful one!

SUSANNA: Oh cielo!

SUSANNA: (aside) Oh Heavens!

SUSANNA: (Who was the devil who told this to him?)

The Count emerges from behind the chair. IL CONTE: Cosa sento! Tosto andate, e scacciate il seduttor.

COUNT: (to Basilio) What do I hear? Go quickly and chase the seducer away.

BASILIO: (In qual punto son qui giunto!) Perdonate, oh mio signor.

BASILIO: (What a time to have arrived!) Pardon me, my lord.

SUSANNA: Che ruina, me meschina, son oppressa dal dolor.

SUSANNA: (staggering) What a disaster! What wretchedness! I’m overwhelmed by grief.


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BASILIO ed IL CONTE: Ah già svien la poverina! Come, oh Dio, le batte il cor!

BASILIO and COUNT: Ah, the poor creature is almost fainting! Oh God, how her heart beats!

BASILIO: Pian pianin su questo seggio.

BASILIO: (trying to seat Susanna) Easy, easy, sit down on this chair.

SUSANNA: Dove sono? Cosa veggio! Che insolenza, andate fuor!

SUSANNA: Where am I? What do I see? What impertinence! Go away!

BASILIO: Siamo qui per aiutarvi, e sicuro il vostro onor.

BASILIO: We’re here to help you, and secure your honor.

IL CONTE: Siamo qui per aiutarti, non turbarti, oh mio tesor.

COUNT: We’re here to help you, don’t be disturbed, my treasure.

BASILIO: Ah, del paggio quel che ho detto era solo un mio sospetto.

BASILIO: (to the Count) What I said about the page was only my suspicion.

SUSANNA: È un’insidia, una perfidia, non credete all’impostor.

SUSANNA: And a scandalous lie! Don’t believe him. He’s a faker.

IL CONTE: Parta, parta il damerino!

COUNT: Let the dandy depart!

SUSANNA e BASILIO: Poverino!

SUSANNA and BASILIO: The poor little one!

IL CONTE: Poverino! Ma da me sorpreso ancor.

COUNT: The poor little one! But yet more surprises for me.

SUSANNA e BASILIO: Come! Che!

SUSANNA and BASILIO: How? What?

IL 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 tappetto al tavolino vedo il paggio.

COUNT: The door was shut at your cousin’s. I knocked, and Barbarina opened the door, appearing quite frightened. Because of her suspicion I searched all over. Then I lifted the cloth from the table, and I find the page hiding.


Page 66

As the Count describes his experience, he lifts the gown that covers the chair, and to his surprise, he discovers Cherubino. Ah! cosa veggio?

Oh! What do I see?

SUSANNA: (Ah! Crude stelle!)

SUSANNA: (Oh! Cruel stars!)

BASILIO: (Ah! Meglio ancora!)

BASILIO: (Oh! How delightful!)

IL CONTE: Onestissima signora! Or capisco come va!

COUNT: (to Susanna) Most virtuous lady! Now I understand how things go!

SUSANNA: (Accader non può di peggio, giusti Dei! Che mai sarà!)

SUSANNA: (Nothing worse could have happened! Gods! What will happen?)

BASILIO: Così fan tutte le belle; non c’è alcuna novità!

BASILIO: All the beautiful women do the same; there’s nothing else new!

IL CONTE: Basilio, in traccia tosto di Figaro volate: io vo’ ch’ei veda.

COUNT: (pointing to Cherubino) Basilio. Hurry quickly and get Figaro. I want him to see this for himself.

SUSANNA: Ed io che senta; andate!

SUSANNA: And I want him to hear, so get going!

IL CONTE: Restate: che baldanza! E quale scusa se la colpa è evidente?

COUNT: (to Susanna) You stay! What assurance and what excuse can you make if the guilt is evident?

SUSANNA: Non ha d’uopo di scusa un’innocente.

SUSANNA: Innocence needs no excuse.

IL CONTE: Ma costui quando venne?

COUNT: When did he come here to be with you?

SUSANNA: Egli era meco quando voi qui giungeste, e mi chiedea d’impegnar la padrona a intercedergli grazia. Il vostro arrivo in scompiglio lo pose, ed allor in quel loco si nascose.

SUSANNA: He was with me when you arrived, and was begging me to intercede with Madame for her compassion. Your arrival scared him, and then he decided to hide himself.

IL CONTE: Ma s’io stesso m’assisi quando in camera entrai!

COUNT: (to Cherubino) You were already in the room when I arrived?

CHERUBINO: Ed allor di dietro io mi celai.

CHERUBINO: And then I hid myself behind the chair.


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IL CONTE: E quando io là mi posi?

COUNT: (pointing) And when I hid myself there?

CHERUBINO: Allor io pian mi volsi, e qui m’ascosi.

CHERUBINO: Then I quietly turned and hid myself.

IL CONTE: Oh ciel, dunque ha sentito tutto quello ch’io ti dicea!

COUNT: (to Susanna) Oh Heavens. Then you heard everything that I was saying!

CHERUBINO: Feci per non sentir quanto potea.

CHERUBINO: I made believe that I heard nothing.

IL CONTE: Ah perfidia!

COUNT: Treachery!

BASILIO: Frenatevi: vien gente!

BASILIO: Hurry, people are coming!

IL CONTE: E voi restate qui, picciol serpente!

COUNT: (to Cherubino) And you stay here, little serpent!

Peasants enter, followed by Figaro. CORO: Giovani liete, fiori spargete davanti al nobile nostro signor. Il suo gran core vi serba intatto d’un più bel fiore l’almo candor.

CHORUS: Happy youngsters, spread flowers before our noble lord. His gracious heart and sincerity has preserved virtue.

IL CONTE: Cos’è questa commedia?

COUNT: (to Figaro) What is this show all about?

FIGARO: (Eccoci in danza: secondami cor mio.)

FIGARO: (whispering to Susanna) (We’re beginning, play up to me, my love.)

SUSANNA: (Non ci ho speranza.)

SUSANNA: (There’s no hope.)

FIGARO: Signor, non sdegnate questo del nostro affetto meritato tributo: or che aboliste un diritto sì ingrato a chi ben ama.

FIGARO: Sir, don’t scorn our deserved and worthy tribute to you. You abolished a right that you held very dear.

IL CONTE: Quel diritto or non v’è più; cosa si brama?

COUNT: That privilege is abolished, so what else do you want?


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FIGARO: Della vostra saggezza il primo frutto oggi noi coglierem: le nostre nozze si son già stabilite. Or a voi tocca costei che un vostro dono illibata serbò, coprir di questa, simbolo d’onestà, candida vesta.

FIGARO: I’m the first happy bridegroom to receive the benefit of your decree. Susanna and I are to be married this very day, so by your gift, I will receive her as a virtuous bride, and it would please me if you would place the symbol of virtue upon her head.

IL CONTE: (Diabolica astuzia! Ma fingere convien.) Son grato, amici, ad un senso sì onesto! Ma non merto per questo né tributi, né lodi; e un dritto ingiusto ne’ miei feudi abolendo, a natura, al dover lor dritti io rendo.

COUNT: (Clever plotting! I won’t be deceived.) Friends, I am grateful for your loyal devotion! But it was only my duty to reform these abuses, and I deserve no praise for having abolished what offended both virtue and nature.

TUTTI: Evviva, evviva, evviva!

ALL: Hail the lord!

SUSANNA: Che virtù!

SUSANNA: Noble words!

FIGARO: Che giustizia!

FIGARO: What justice!

IL CONTE: A voi prometto compier la ceremonia: chiedo sol breve indugio; io voglio in faccia de’ miei più fidi, e con più ricca pompa rendervi appien felici. (Marcellina si trovi.) Andate, amici.

COUNT: (to Figaro and Susanna) I promise to perform the ceremony for you later. It will be a public ceremony with all the proper pomp and circumstance. (aside) (We must find Marcellina.) Let’s go, friends.

CORO: Giovani liete, fiori spargete davanti al nobile nostro signor. Il suo gran core vi serba intatto d’un più bel fiore l’almo candor.

CHORUS: Happy youngsters, spread flowers before our noble lord. His gracious heart and sincerity has preserved virtue.

FIGARO, SUSANNA e BASILIO: Evviva!

FIGARO, SUSANNA, BASILIO: Hail!

The peasants depart. FIGARO: E voi non applaudite?

FIGARO: (to the sad Cherubino) And why don’t you applaud?

SUSANNA: È afflitto poveretto! Perché il padron lo scaccia dal castello!

SUSANNA: He is grieved because the Count turned him out of the castle.

FIGARO: Ah, in un giorno sì bello!

FIGARO: On such a happy day!


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SUSANNA: In un giorno di nozze!

SUSANNA: On a wedding day!

FIGARO: Quando ognun v’ammira!

FIGARO: When every one admires you!

CHERUBINO: Perdono, mio signor.

CHERUBINO: (kneeling to the Count) Pardon me my lord.

IL CONTE: Nol meritate.

COUNT: You don’t deserve it

SUSANNA: Egli è ancora fanciullo!

SUSANNA: He’s just a mere child.

IL CONTE: Men di quel che tu credi.

COUNT: Not so young as you think.

CHERUBINO: È ver, mancai; ma dal mio labbro alfine...

CHERUBINO: It is true I erred, but I will never mention...

IL CONTE: Ben ben; io vi perdono. Anzi farò di più; vacante è un posto d’uffizial nel reggimento mio; io scelgo voi; partite tosto: addio.

COUNT: Well, well. I pardon you. But I’ll do even more for you. There is an official post vacant in my regiment. I appoint you there. Leave immediately. Farewell.

The Count tries to leave but he is blocked by Figaro and Susanna. SUSANNA e FIGARO: Ah, fin domani sol.

SUSANNA and FIGARO: But let him leave tomorrow.

IL CONTE: No, parta tosto.

COUNT: No, he leaves right now.

CHERUBINO: A ubbidirvi, signor, son già disposto.

CHERUBINO: I am ready to obey you, my lord.

IL CONTE: Via, per l’ultima volta la Susanna abbracciate. (Inaspettato è il colpo.)

COUNT: (ironically) Go. Susanna will embrace you for the last time. (The blow indeed surprised them.)

The Count departs.

FIGARO: Ehi, capitano, a me pure la mano; io vo’ parlarti pria che tu parta. Addio, picciolo Cherubino; come cangia in un punto il tuo destino.

FIGARO: Hey, captain, let’s shake hands. I want to speak to you before you leave. Farewell, little Cherubino, how quickly your destiny has changed.


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Non più andrai, farfallone amoroso, notte e giorno d’intorno girando; delle belle turbando il riposo Narcisetto, Adoncino d’amor.

You’ll no longer be fluttering around night and day like an amorous butterfly troubling all the sleeping beauties, little Narcissus, little loving Adonis.

Non più avrai questi bei pennacchini, quel cappello leggero e galante, quella chioma, quell’aria brillante, quel vermiglio donnesco color.

You’ll no longer have those pretty feathers, that light and gallant hat, that head of hair, that sparkling air, and those rosy cheeks.

Tra guerrieri, poffar Bacco! Gran mustacchi, stretto sacco. Schioppo in spalla, sciabla al fianco, collo dritto, muso franco, un gran casco, o un gran turbante, molto onor, poco contante!

Among soldiers, by Jupiter, you’ll have a large mustache, bushy whiskers, and a short tunic: on your shoulders a gun, a sword at your side, and a big helmet and large turban. Much honor but little money.

Ed invece del fandango, una marcia per il fango. Per montagne, per valloni, con le nevi e i sollioni.

Instead of the fandango, a nice march through mud, climbing mountains, crossing valleys, now through the snow, and then in the heat.

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.

You’ll hear many sounds in your ears: bugles, explosions, cannons, and shells hissing and whizzing by. Cherubino, rush to victory and a soldier’s glory.

END ACT I

The Marriage of Figaro Libretto - Act II

Page 71

Act II The Countess’s sumptuous and opulent bedroom.

COUNTESS: Cupid, love, provide consolation, for my pain and sorrows. Restore my treasured love, or if not, at least leave me to die.

LA CONTESSA: Porgi, amor, qualche ristoro al mio duolo, a’ miei sospir. O mi rendi il mio tesoro, o mi lascia almen morir.

Susanna enters carrying a dress. LA CONTESSA: Vieni, cara Susanna, finiscimi l’istoria!

COUNTESS: Come dear Susanna, finish the story!

SUSANNA: È già finita.

SUSANNA: It is already finished.

LA CONTESSA: Dunque volle sedurti?

COUNTESS: Then he wanted to seduce you?

SUSANNA: Oh, il signor Conte non fa tai complimenti colle donne mie pari; egli venne a contratto di danari.

SUSANNA: Oh, the Count doesn’t give such compliments to women of my status; with us he offers money.

LA CONTESSA: Ah, il crudel più non m’ama!

COUNTESS: Oh, that cruel man no longer loves me!

SUSANNA: E come poi è geloso di voi?

SUSANNA: Then why is he so jealous of you?

LA CONTESSA: Come lo sono i moderni mariti: per sistema infedeli, per genio capricciosi, e per orgoglio poi tutti gelosi. Ma se Figaro t’ama, ei sol potria...

COUNTESS: All modern husbands are that way. They’re unfaithful and fickle on principle, but their pride causes them to be jealous. But if Figaro loves you, you may be certain...

FIGARO: La la la....

FIGARO: (enters singing) La la la....


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SUSANNA: Eccolo: vieni, amico. Madama impaziente.

SUSANNA: Here he is. (and then to Figaro) Come, Madame is quite anxious.

FIGARO: A voi non tocca stare in pena per questo. Alfin di che si tratta? Al signor Conte piace la sposa mia, indi segretamente ricuperar vorria il diritto feudale. Possibile è la cosa, e naturale.

FIGARO: (to the Countess) Don’t be so uneasy about this. What are we really dealing with? The Count secretly admires my intended wife, and his possible reason is that he wants to restore his feudal rights. That may be the reason, and it’s natural.

LA CONTESSA: Possibil?

COUNTESS: Possible?

SUSANNA: Naturale?

SUSANNA: Natural?

FIGARO: Naturalissima. E se Susanna vuol possibilissima.

FIGARO: Perfectly natural. And if Susanna is willing, very possible.

SUSANNA: Finiscila una volta.

SUSANNA: Stop talking like that.

FIGARO: Ho già finito. Quindi prese il partito di sceglier me corriero, e la Susanna consigliera segreta d’ambasciata. E perch’ella ostinata ognor rifiuta il diploma d’onor ch’ei le destina minaccia di protegger Marcellina. Questo è tutto l’affare.

FIGARO: I’m already finished. That’s why he decided to take me to London as a courier, and Susanna as “confidential attaché” to the embassy. And because she is persistently obstinate and refuses the diplomatic honor, he’s created a menace for me and protects Marcellina. That’s the whole story.

SUSANNA: Ed hai coraggio di trattar scherzando un negozio sì serio?

SUSANNA: And you have the audacity to treat such a serious matter as a joke?

FIGARO: Non vi basta che scherzando io ci pensi?

FIGARO: Aren’t you thankful that I do treat it lightly?

Ecco il progetto: per Basilio un biglietto io gli fi capitar che l’avvertisca di certo appuntamento che per l’ora del ballo a un amante voi deste.

Here’s my plan: I’ll use Basilio to take an anonymous letter to the Count that advises him that the Countess has made an appointment to meet her secret lover at the ball.

LA CONTESSA: O ciel! Che sento! Ad un uom sì geloso?

COUNTESS: Oh heavens! What am I hearing? And to a man who is so jealous?


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FIGARO: Ancora meglio! Così potrem più presto imbarazzarlo, confonderlo, imbrogliarlo, rovesciargli i progetti, empierlo di sospetti, e porgli in testa che la moderna festa ch’ei di fare a me tenta altri a lui faccia; onde qua perda il tempo, ivi la traccia. Così quasi ex abrupto, e senza ch’abbia fatto per frastonarci alcun disegno vien l’ora delle nozze, e in faccia a lei non fia, ch’osi d’opporsi ai voti miei.

FIGARO: So much the better! Then we can embarrass him more quickly, confound him, embroil him, overturn his plans, fill him with suspicions, and put in his mind that we can both play the same intrigues. We’ll make him waste the entire day searching for the culprit, and suddenly, before he can interfere with our plan, it will be time for us to be married, and his opposition would be useless.

SUSANNA: È ver, ma in di lui vece s’opporrà Marcellina.

SUSANNA: Perhaps, but you’re not counting on Marcellina to oppose the wedding.

FIGARO: Aspetta! Al Conte farai subito dir, che verso sera attendati in giardino, il picciol Cherubino per mio consiglio non ancora partito da femmina vestito, faremo che in sua vece ivi sen vada. Questa è l’unica strada onde monsù sorpreso da madama sia costretto a far poi quel che si brama.

FIGARO: Wait! Let the Count know that toward evening the Countess will meet little Cherubino in the garden, and that his departure was delayed on my advisement. We’ll dress him as a woman in female clothes. This is the only way to get Madame to catch the Count red-handed, and then we can make him do what we want.

LA CONTESSA: Che ti par?

COUNTESS: (to Susanna) What do you think?

SUSANNA: Non c’è mal.

SUSANNA: Not too bad.

LA CONTESSA: Nel nostro caso....

COUNTESS: In our situation....

SUSANNA: Quand’egli è persuaso....e dove è il tempo?

SUSANNA: When he’s persuaded....and when do we do it?

FIGARO: Il Conte è alla caccia; e per qualch’ora non sarà di ritorno; io vado e tosto Cherubino vi mando; lascio a voi la cura di vestirlo.

FIGARO: The Count is hunting and it will be some time before he returns. I’ll go and get Cherubino, and send him here so you can dress him.

LA CONTESSA: E poi?

COUNTESS: And then?

FIGARO: E poi.... Se vuol ballare signor Contino, il chitarrino le suonerò.

FIGARO: And then.... If you want to dance, my Count, my guitar will accompany you.

Figaro exits


Page 74

LA CONTESSA: Quanto duolmi, Susanna, che questo giovin-otto abbia del Conte le stravaganze udite! Ah tu non sai! Ma per qual causa mai Da me stessa ei non venne? Dov’è la canzonetta?

COUNTESS: Susanna, I’m not happy that this young boy has heard the Count’s foolishness! Oh, why did he go to you and not come to me? Where is the little song he wrote?

SUSANNA: Eccola: appunto facciam che ce la canti. Zitto, vien gente! È desso. Avanti, avanti, signor uffiziale.

SUSANNA: Here it is. Let’s make him sing it. Quiet, someone’s coming! It’s him. (Cherubino enters) Come in, come in, gallant officer.

CHERUBINO: Ah, non chiamarmi con nome sì fatale! Ei mi rammenta che abbandonar degg’io comare tanto buona.

CHERUBINO: Oh, don’t call me by that awful title! It reminds me that I must part from my kind and gentle godmother.

SUSANNA: E tanto bella!

SUSANNA: And so beautiful!

CHERUBINO: Ah sì, certo!

CHERUBINO: (sighing) Oh, yes, certainly!

SUSANNA: Ah sì, certo! Ipocritone! Via presto la canzone che stamane a me deste a madama cantate.

SUSANNA: (mimicking him) Oh, yes, certainly! Hypocrite! Quickly, sing the song to Madame that you gave me this morning.

LA CONTESSA: Chi n’è l’autor?

COUNTESS: Who wrote the song?

SUSANNA: Guardate: egli ha due braccia di rossor sulla faccia.

SUSANNA: (pointing to Cherubino) Look! His cheeks are red and he’s blushing all over.

LA CONTESSA Prendi la mia chitarra, e l’accompagna.

COUNTESS: Take my guitar and accompany him.

CHERUBINO: Io sono sì tremante, ma se madama vuole.

CHERUBINO: I’m trembling all over, but if Madame wishes.

SUSANNA: Lo vuole, sì, lo vuol. Manco parole.

SUSANNA: She indeed wishes it, so keep your word.


Page 75

CHERUBINO: Voi che sapete che cosa è amor, donne, vedete s’io l’ho nel cor. Quello ch’io provo vi ridirò, è per me nuovo, capir nol so. Sento un affetto pien di desir, ch’ora è diletto, ch’ora è martir. Gelo e poi sento l’alma avvampar, e in un momento torno a gelar. Ricerco un bene fuori di me, non so chi’l tiene, non so cos’è.

CHERUBINO: You indeed know what love is. Look ladies, if I have it in my heart. I’ll tell you what I feel. It’s all new to me. I don’t understand it. I feel a passion that is full of desire, at times I feel torment, at times delight. And then I feel frozen, then on fire. and in an instant, frozen again. I seek happiness from another, I don’t know who has it, or what it is.

Sospiro e gemo senza voler, palpito e tremo senza saper. Non trovo pace notte né dì, Eppur mi piace languir così.

I sigh and suffer without knowing. I throb and tremble without knowing why. I find no peace night or day, Yet I am pleased to languish this way.

LA CONTESSA: Bravo! Che bella voce! Io non sapea che cantaste sì bene.

COUNTESS: Great! What a beautiful voice! I didn’t know he could sing so well.

SUSANNA: Oh, in verità egli fa tutto ben quello ch’ei fa. Presto a noi, bel soldato; Figaro v’informò.... . CHERUBINO: Tutto mi disse.

SUSANNA: Oh, indeed, everything he does he does well. Come here, gallant soldier. Figaro told you....

SUSANNA: Lasciatemi veder. Andrà benissimo! Siam d’uguale statura.Giù quel manto.

SUSANNA: (measuring Cherubino) Let me see. It will be fine! We’re the same height. Take off your coat.

LA CONTESSA: Che fai?

COUNTESS: What are you doing?

SUSANNA: Niente paura.

SUSANNA: Don’t be afraid.

LA CONTESSA: E se qualcuno entrasse?

COUNTESS: And what if someone comes?

SUSANNA: Entri, che mal facciamo? La porta chiuderò. Ma come poi acconciargli i cappelli?

SUSANNA: Let them, what are we doing wrong? I’ll close the door. (locks the door) But how should we arrange his hair?

LA CONTESSA: Una mia cuffia prendi nel gabinetto. Presto!

COUNTESS: Take one of my bonnets from the cabinet. Hurry!

CHERUBINO: He told me everything.


Page 76

While Susanna goes to a cabinet to get a bonnet, Cherubino approaches the Countess and shows her his commission. Che carta è quella?

What is this paper?

CHERUBINO: La patente.

CHERUBINO: The commission.

LA CONTESSA: Che sollecita gente!

COUNTESS: What urgency!

CHERUBINO: L’ebbi or da Basilio.

CHERUBINO: I just received it from Basilio.

The Countess notices a ribbon tied on Cherubino’s arm. LA CONTESSA: Dalla fretta obliato hanno il sigillo.

COUNTESS: In their haste they forgot the seal.

SUSANNA: Il sigillo di che?

SUSANNA: What seal?

LA CONTESSA: Della patente.

COUNTESS: For the commission.

SUSANNA: Cospetto! Che premura! Ecco la cuffia.

SUSANNA: Indeed! What haste! Here is the bonnet.

LA CONTESSA: Spicciati: va bene! Miserabili noi, se il Conte viene.

COUNTESS: Do be quick! It seems to be fine! We’re in trouble if the Count should come.

SUSANNA: Venite, inginocchiatevi, restate fermo lì.

SUSANNA: (dressing Cherubino) Come, kneel down, and stay still.

Pian piano, or via, giratevi: bravo, va ben così. La faccia ora volgetemi! Olà, quegli occhi a me!

Very gently turn around. Great! That’s good. (Cherubino looks toward the Countess) Turn your face to me! Hey, yours eyes to me!

Drittissimo: guardatemi. Madama qui non è.

Look right into my face. Madame is not here.


Page 77

Restate fermo, or via, giratevi, bravo! Più alto quel colletto, quel ciglio un po’ più basso, le mani sotto il petto, vedremo poscia il passo, quando sarete in piè.

Stay still here, or go, turn to me, great! Your neck higher, and cast down those wicked eyes, hands under your chest, when you stand up we’ll see how you walk.

Mirate il bricconcello! Mirate quanto è bello! Che furba guardatura! Che vezzo, che figura! Se l’amano le femmine han certo il lor perché.

Look at the rascal! Look how handsome he is! What cunning glances he has! What charm, what a figure! If women love him, they certainly have good reason.

LA CONTESSA: Quante buffonerie!

COUNTESS: What clowning!

SUSANNA: Ma se ne sono io medesma gelosa; ehi, serpentello, volete tralasciar d’esser sì bello?

SUSANNA: I’m afraid I’m going to be jealous myself. You little devil, how dare you be so handsome?

LA CONTESSA: Finiam le ragazzate; or quelle maniche oltre il gomito gli alza, onde più agiatamente l’abito gli si adatti.

COUNTESS: Let’s stop being ridiculous. Tuck up those sleeves above the elbow so that the dress won’t agitate him so much.

SUSANNA: Ecco.

SUSANNA: There.

LA CONTESSA: Più indietro. Così.

COUNTESS: Farther back. Like so.

The Countess reads the commission and notices that the seal is missing. Che nastro è quello?

What is that ribbon?

SUSANNA: È quel ch’esso involommi.

SUSANNA: He stole it from me.

LA CONTESSA: E questo sangue?

COUNTESS: And it’s bloodstained?

CHERUBINO: Quel sangue io non so come, poco pria sdrucciolando in un sasso la pelle io mi graffiai e la piaga col nastro io mi fasciai.

CHERUBINO: I don’t know how that blood got there. A little earlier I slipped on a rock. The stone cut me and I tied the cut with the ribbon.

SUSANNA: Mostrate! Non è mal; cospetto! Ha il braccio più candido del mio! Qualche ragazza.

SUSANNA: Show me! It’s not bad! His arm is whiter than mine, white like a lady’s arm.


Page 78

In quanto al nastro, inver, per il colore mi spiacea di privarmene.

COUNTESS: Why do I follow this craziness? Go to my cabinets and get a bit of English adhesive plaster that’s on the jewel box. (Susanna leaves quickly) About that ribbon, I’ll keep it. It’s a color that suits me.

SUSANNA: Tenete, e da legargli il braccio?

SUSANNA: (returning) Should I tie it on his arm?

LA CONTESSA: Un altro nastro prendi insieme col mio vestito.

COUNTESS: Take another piece of ribbon from my dress.

CHERUBINO: Ah, più presto m’avria quello guarito!

CHERUBINO: DO it quickly so I can heal!

LA CONTESSA: Perché? Questo è migliore!

COUNTESS: Why? This is better!

CHERUBINO: Allor che un nastro legò la chioma ovver toccò la pelle d’oggetto...

CHERUBINO: I have a feeling that if a ribbon has touched the hair of someone...

LA CONTESSA: Forastiero, è buon per le ferite, non è vero? Guardate qualità ch’io non sapea!

COUNTESS: If it’s from a stranger it’s good for the wound. Right? I’ve never realized it was of such quality!

CHERUBINO: Madama scherza, ed io frattanto parto.

CHERUBINO: Madame mocks me, and I must leave.

LA CONTESSA: Poverin! Che sventura!

COUNTESS: Poor one! How unfortunate!

CHERUBINO: Oh, me infelice?

CHERUBINO: Oh, how can I bear it?

LA CONTESSA: Or piange.

COUNTESS: Then cry.

CHERUBINO: Oh ciel! Perché morir non lice! Forse vicino all’ultimo momento questa bocca oseria!

CHERUBINO: Oh heavens! I’d like to die now! Perhaps at the last moment, I might kiss that mouth!

LA CONTESSA: Siete saggio, cos’è questa follia!

COUNTESS: What nonsense you are speaking!

Chi picchia alla mia porta?

(a knocking at the door) Who knocks at the door?

LA CONTESSA: E segui a far la pazza? Va nel mio gabinettto, e prendi un poco d’inglese taffetà, ch’è sullo scrigno.


Page 79

IL CONTE: Perché è chiusa?

COUNT: (from outside) Why is the door closed?

LA CONTESSA: Il mio sposo! Oh Dei! Son morta! Voi qui, senza mantello! In quello stato, un ricevuto foglio, la sua gran gelosia!

COUNTESS: My husband! Oh Gods! I’m finished! You here, and undressed! In that condition, a letter received, his great jealousy!

IL CONTE: Cosa indugiate?

COUNT: Why do you delay?

LA CONTESSA: Son sola, ah sì, son sola.

COUNTESS: I’m alone, yes, alone.

IL CONTE: E a chi parlate?

COUNT: Then who were you speaking with?

LA CONTESSA: A voi, certo, a voi stesso.

COUNTESS: To you...certainly to you alone.

CHERUBINO: Dopo quel ch’è successo, il suo furore, non trovo altro consiglio!

CHERUBINO: After what has happened, and his anger, there’s only one thing to do!

Cherubino runs to the closet and closes the door behind him. LA CONTESSA: Ah, mi difenda il cielo in tal periglio!

COUNTESS: (take the key) Oh heaven help me in such danger!

The Countess unlocks the door and admits the Count. IL CONTE: Che novità! Non fu mai vostra usanza di rinchiudervi in stanza.

COUNT: What’s the idea! You never used to lock yourself in your room!

LA CONTESSA: È ver; ma io, io stava qui mettendo.

COUNTESS: True, but I, I was trying.

IL CONTE: Via, mettendo...

COUNT: You were trying...

LA CONTESSA: Certe robe; era meco la Susanna, che in sua camera è andata.

COUNTESS: Certain clothes. Susanna was here with me but has gone to her room.

IL CONTE: Ad ogni modo voi non siete tranquilla.

COUNT: In any sense you’re not relaxed. (The Count shows her a letter) Look at this paper.

Guardate questo foglio.


LA CONTESSA: (Numi! È il foglio che Figaro gli scrisse!)

Page 80

COUNTESS: (aside) (Gods! It’s the letter Figaro wrote to him!)

A noise is heard from the closet where Cherubino hides. IL CONTE: Cos’è codesto strepito? In gabinetto qualche cosa è caduta.

COUNT: What is that noise? Something fell down in the closet.

LA CONTESSA: Io non intesi niente.

COUNTESS: I didn’t hear anything.

IL CONTE: Convien che abbiate i gran pensieri in mente.

COUNT: It is clear that you must have many things on your mind.

LA CONTESSA: Di che?

COUNTESS: About what?

IL CONTE: Là v’è qualchuno.

COUNT: (becoming suspicious) Somebody is in there.

LA CONTESSA: Chi volete che sia?

COUNTESS: Who do you think it is?

IL CONTE: Lo chiedo a voi; io vengo in questo punto.

COUNT: I ask you. I just arrived here.

LA CONTESSA: Ah sì, Susanna, appunto.

COUNTESS: Oh, yes, it’s Susanna, of course.

IL CONTE: Che passò, mi diceste, alla sua stanza!

COUNT: You just told me Susanna went to her room!

LA CONTESSA: Alla sua stanza, o qui, non vidi bene.

COUNTESS: To her room, or here. I didn’t see well.

IL CONTE: Susanna, e donde viene che siete sì turbata?

COUNT: Susanna, so why are you so disturbed now?

LA CONTESSA: Per la mia cameriera?

COUNTESS: For my maid?

IL CONTE: Io non so nulla; ma turbata senz’altro.

COUNT: I know nothing, but undoubtedly you’re upset.

LA CONTESSA: Ah, questa serva più che non turba me turba voi stesso.

COUNTESS: Oh, that maid upsets me more than ever, and she disturbs you also.


IL CONTE: È vero, è vero, e lo vedrete adesso.

Page 81

COUNT: It’s true, and you’ll see now. (The Count approaches the closet)

IL CONTE: Susanna, or via, sortite, sortite, io così vo’.

COUNT: Susanna, come out now, come out. I order you.

LA CONTESSA: Fermatevi! Sentite! Sortire ella non può.

COUNTESS: Stay there! Hear me! Susanna cannot come out.

SUSANNA: (Cos’è codesta lite? Il paggio dove andò?)

SUSANNA: (What does this mean? Where did the page go?) (The Count searches the alcove)

IL CONTE: E chi vietarlo or osa?

COUNT: And who can forbid or dare me now?

LA CONTESSA: Lo vieta l’onestà. Un abito da sposa provando ella si sta.

COUNTESS: Modesty prevents it. She’s trying on her wedding dress.

IL CONTE: (Chiarissima è la cosa: l’amante qui sarà.)

COUNT: (It is clear to me that her lover is in there.)

LA CONTESSA: (Bruttissima è la cosa, chi sa cosa sarà.)

COUNTESS: (This is horrible. How will it end?)

SUSANNA: (Capisco qualche cosa, veggiamo come va.)

SUSANNA: (I understand only a little. Let’s see how this will work out.)

IL CONTE: Dunque parlate almeno. Susanna, se qui siete.

COUNT: Susanna, if you’re in the room, at least speak.

LA CONTESSA: Nemmen, nemmen, nemmeno, io v’ordino: tacete.

COUNTESS: Never, never, never, I command you to be quiet. (Susanna hides herself in the alcove.)

IL CONTE: Consorte mia, giudizio, un scandalo, un disordine, schiviam per carità!

COUNT: Be prudent, my wife, and let’s avoid a scandal or a messy quarrel!

SUSANNA: Oh cielo, un precipizio, un scandalo, un disordine, qui certo nascerà.

SUSANNA: At this point, a scandal or messy quarrel, will certainly erupt.


Page 82

LA CONTESSA: Consorte mio, giudizio, un scandalo, un disordine, schiviam per carità!

COUNTESS: Be prudent, my husband, and let’s avoid a messy quarrel!

IL CONTE: Dunque voi non aprite?

COUNT: Then you’re not opening the door?

LA CONTESSA: E perché degg’io le mie camere aprir?

COUNTESS: And why must I open my rooms?

IL CONTE: Ebben, lasciate, l’aprirem senza chiavi. Ehi? Gente?

COUNT: Then, leave me. I’ll open them without keys. Who’s in there? A person?

LA CONTESSA: Come? Porreste a repentaglio d’una dama l’onore?

COUNTESS: (restraining him) What? Would you jeopardize the honor of a woman of rank?

IL CONTE: È vero, io sbaglio. Posso senza rumore, senza scandalo alcun di nostra gente andar io stesso a prender l’occorrente. Attendete pur qui, ma perché in tutto sia il mio dubbio distrutto anco le porte io prima chiuderò.

COUNT: It’s true. I’m wrong. I can do it without scandal in front of the servants. I’ll go myself and fetch the tools to do it. It would be better if you wait here to avoid any intrigue. I’m going to lock every door in the room.

LA CONTESSA: (Che imprudenza!)

COUNTESS: (aside) (What impudence!)

IL CONTE: Voi la condiscendenza di venir meco avrete. Madama, eccovi il braccio, andiamo.

COUNT: You will have the discretion to come with me Madame. Here is my arm. Let’s go.

LA CONTESSA: Andiamo.

COUNTESS: Let’ go.

IL CONTE: Susanna starà qui finché torniamo.

COUNT: Susanna will be here until we return.

After the Count and Countess leave, Susanna rushes from the alvove to the closet door. SUSANNA: Aprite, presto, aprite; aprite, è la Susanna. Sortite, via sortite, andate via di qua.

SUSANNA: (to Cherubino) Open, open quickly. Open, it’s Susanna. Come out, come out, get away from here.

CHERUBINO: Oimè, che scena orribile! Che gran fatalità!

CHERUBINO: Oh my, what a horrible predicament! What an awful fate!


Page 83

SUSANNA: Partite, non tardate di qua, di là.

SUSANNA: Leave. Don’t delay. This way, that way.

SUSANNA e CHERUBINO: Le porte son serrate, che mai, che mai sarà?

SUSANNA and CHERUBINO: The doors are locked. What shall we do?

CHERUBINO: Qui perdersi non giova.

CHERUBINO: I’m finished if I stay here.

SUSANNA: V’uccide se vi trova.

SUSANNA: He’ll kill you if he finds you here.

CHERUBINO: Veggiamo un po’ qui fuori. Dà proprio nel giardino.

CHERUBINO: (looks out the window) Then I’ll use the window. It looks right into the garden. (Cherubino prepares to jump)

SUSANNA: Fermate, Cherubino! Fermate per pietà!

SUSANNA: Stop! Cherubino! Stop for heaven’s sake!

SUSANNA: Tropp’alto per un salto, fermate per pietà!

SUSANNA: Stop, it’s too high for you to jump.

CHERUBINO: Lasciami, pria di nuocerle nel fuoco volerei. Abbraccio te per lei. addio, così si fa.

CHERUBINO: Leave me alone. I would fly into the fire before hurting her. I embrace you for her. (kisses Susanna) Farewell, this is the way to do it.

Susanna watches as Cherubino jumps from the window. SUSANNA: Oh, guarda il demonietto! Come fugge! È già un miglio lontano. Ma non perdiamoci invano. Entriam nel gabinetto. venga poi lo smargiasso, io qui l’aspetto.

SUSANNA: Oh, look at the little devil! How he flees! He’s already a mile away. But we haven’t lost each other in vain. I’ll enter the closet, wait for them, and let the fury come.

Susanna enters the closet and closes the door behind her. The Count and Countess return. The Count holds an iron bar with which he plans to break open the closet door. He searches the room suspiciously. IL CONTE: Tutto è come il lasciai; volete dunque aprir voi stessa, o deggio.

COUNT: Every thing is as when I left. Will you then open the door yourself, or must I.

LA CONTESSA: Ahimé, fermate; e ascoltatemi un poco. Mi credete capace di mancar al dover?

COUNTESS: Stop and listen to me. Do you think that I am capable of being unfaithful?


Page 84

IL CONTE: Come vi piace. Entro quel gabinetto chi v’è chiuso vedrò.

COUNT: As you please. I intend to see who is hiding in that closet.

LA CONTESSA: Sì, lo vedrete, ma uditemi tranquillo.

COUNTESS: Yes, you shall, but hear me calmly.

IL CONTE: Non è dunque Susanna?

COUNT: Then it is not Susanna?

LA CONTESSA: No, ma invece è un oggetto, che ragion di sospetto non vi deve lasciar: per questa sera una burla innocente di far si disponeva, ed io vi giuro che l’onor, l’onestà.

COUNTESS: No, someone else is in there, one whose intentions are harmless, and whom you have no right to suspect. I was preparing some harmless entertainment for this evening’s amusement, and I swear I have done nothing wrong.

IL CONTE: Chi è dunque! Dite, l’ucciderò.

COUNT: Who is it? Tell me and I’ll kill him.

LA CONTESSA: Sentite! (Ah, non ho cor!)

COUNTESS: Listen! (I can’t speak!)

IL CONTE: Parlate.

COUNT: Speak.

LA CONTESSA: È un fanciullo.

COUNTESS: He is a mere child.

IL CONTE: Un fanciul!

COUNT: A child!

LA CONTESSA: Sì, Cherubino.

COUNTESS: Yes, Cherubino.

IL CONTE: (E mi farà il destino ritrovar questo paggio in ogni loco!) Come? Non è partito? Scellerati! Ecco i dubbi spiegati, ecco l’imbroglio, ecco il raggiro, onde m’avverte il foglio.

COUNT: (Why do my unlucky stars make me find this page everywhere?) What? He hasn’t left? Scoundrels! Now my suspicions are verified, and now I understand that anonymous letter.

Raging, the Count goes towards the closet.


Page 85

IL CONTE: Esci omai, garzon malnato, sciagurato, non tardar.

COUNT: Come out now, uncouth lad, scoundrel, and don’t delay.

LA CONTESSA: Ah! Signore, quel furore, per lui fammi il cor tremar.

COUNTESS: Sir, your rage makes me tremble for him!

IL CONTE: E d’opporvi ancor osate?

COUNT: Why do you still dare to interfere?

LA CONTESSA: No, sentite.

COUNTESS: No, listen.

IL CONTE: Via parlate.

COUNT: Then tell me.

LA CONTESSA: Giuro al ciel ch’ogni sospetto, e lo stato in che il trovate. Sciolto il collo! Nudo il petto!

COUNTESS: I swear by Heaven that he is innocent, even though you’ll find him in shirt sleeves and with bare chest!

IL CONTE: Sciolto il collo! Nudo il petto! Seguitate!

COUNT: In his shirt sleeves! Bare chest! Let’s go then!

LA CONTESSA: Per vestir femminee spoglie.

COUNTESS: It was all to dress him as a lady.

IL CONTE: Ah! Comprendo, indegna moglie, mi vo’ tosto vendicar.

COUNT: Yes, I now understand, unfaithful wife. I will take revenge immediately. (He branishes the crowbar as he rages.)

LA CONTESSA: Mi fa torto quel trasporto, m’oltraggiate a dubitar.

COUNTESS: Your passion wrongs me, and you offend me by your doubts.

IL CONTE: Qua la chiave!

COUNT: Give me the key!

LA CONTESSA: Egli è innocente. Voi sapete.

COUNTESS: (hands him the key) He is innocent. You know.

IL CONTE: Non so niente! Va lontan dagl’occhi miei! Un’infida, un’empia sei, e mi cerchi d’infamar.

COUNT: I know nothing. Go far from my sight. You are a faithless and false woman, and you seek to dishonor me.

The Count enters the closet.


Page 86

LA CONTESSA: Vado, sì, ma....

COUNTESS: I’ll go, but....

IL CONTE: Non ascolto.

COUNT: I will not listen to you.

LA CONTESSA: Non son rea.

COUNTESS: I am guiltless.

IL CONTE: Vel leggo in volto! Mora, mora, e più non sia, ria cagion del mio penar.

COUNT: I read it in your face! Let him die, and no longer be the cause of all my sufferings.

LA CONTESSA: Ah! La cieca gelosia qualche eccesso gli fa far.

COUNTESS: His blind, excessive jealousy will provoke a catastrophe.

Tbe Count draws his sword, and opens the door. The Countess, overwbelmed by fear, covers her eyes. Susanna stands at the doorway witb a grave and ironical air. IL CONTE: Susanna!

COUNT: Susanna!

LA CONTESSA: Susanna!

COUNTESS: Susanna!

SUSANNA: Signore! Cos’è quel stupore? Il brando prendete, il paggio uccidete! Quel paggio malnato, vedetelo qua.

SUSANNA: Sir! Why such astonishment? You take up your sword to kill the page, and you see the traitor before you.

IL CONTE: (Che scola! La testa girando mi va.)

COUNT: (What can this mean? I’m baffled and confused.)

LA CONTESSA: (Che storia è mai questa, Susanna v’è là.)

COUNTESS: (What is this, Susanna there.)

SUSANNA: (Confusa han la testa, non san come va.)

SUSANNA: (Their heads are confused, and they don’t know what is going on.)

IL CONTE: Sei sola?

COUNT: Are you alone?

SUSANNA: Guardate, qui ascoso sarà.

SUSANNA: Look inside and find what you can.

IL CONTE: Guardiamo, qui ascoso sarà.

COUNT: Let’s look, and find what we can.


Page 87

LA CONTESSA: Susanna, son morta, il fiato mi manca.

COUNTESS: Susanna, I tremble and I am faint.

SUSANNA: Più lieta, più franca, in salvo è di già.

SUSANNA: (pointing to the window) Be more cheerful, the boy is safe.

The Count emerges from the closet. IL CONTE: Che sbaglio mai presi! Appena lo credo; se a torto v’offesi perdono vi chiedo; ma far burla simile è poi crudeltà.

COUNT: (addresses the Countess) What a mistake I made! I can hardly believe it! If I have wronged you. I beg your forgiveness, But such foolish jokes indeed are too cruel.

LA CONTESSA e SUSANNA: Le vostre follie non mertan pietà.

COUNTESS and SUSANNA:: Your follies deserve no mercy at all.

IL CONTE: Io v’amo.

COUNT: I love you.

LA CONTESSA: Nol dite!

COUNTESS: You’re not truthful!

IL CONTE: Vel giuro.

COUNT: I swear it.

COUNTESS: Mentite. Son l’empia, l’infida che ognora v’inganna.

COUNTESS: Deceiver! I am an honorable woman who has never deceived you.

IL CONTE: Quell’ira, Susanna, m’aita a calmar.

COUNT: Susanna, help me to appease her anger!

SUSANNA: Così si condanna chi può sospettar.

SUSANNA: One capable of such suspicion, must be punished accordingly.

LA CONTESSA: Adunque la fede d’un’anima amante sì fiera mercede doveva sperar?

COUNTESS: What has been my reward for years of faithful devotion?

SUSANNA: Signora!

SUSANNA: Madam!

IL CONTE: Rosina!

COUNT: Rosina!

LA CONTESSA: Crudele! Più quella non sono; ma il misero oggetto del vostro abbandono che avete diletto di far disperar.

COUNTESS: Cruel husband! I will no longer be the unfortunate object of your contempt, your delight that drives me to despair.


Page 88

IL CONTE: Confuso, pentito, son troppo punito, abbiate pietà.

COUNT: I am confused and penitent. Have mercy, it is too much punishment.

SUSANNA: Confuso, pentito, è troppo punito, abbiate pietà.

SUSANNA: I am confused and penitent. Have mercy, it is too much punishment.

LA CONTESSA: Soffrir sì gran torto quest’alma non sa.

COUNTESS: My soul can not bear such great insults.

IL CONTE: Ma il paggio rinchiuso?

COUNT: The page wasn’t there?

LA CONTESSA: Fu sol per provarvi.

COUNTESS: It was only to test you.

IL CONTE: Ma i tremiti, i palpiti?

COUNT: But your trembling and anxiety?

LA CONTESSA: Fu sol per burlarvi.

COUNTESS: It was to just to make some fun.

IL CONTE: Ma un foglio sì barbaro?

(the Count shows the letter.) COUNT: But what did this cruel letter mean?

LA CONTESSA e SUSANNA: Di Figaro è il foglio, e a voi per Basilio.

COUNTESS and SUSANNA: The writer was Figaro, and Basilio the bearer.

IL CONTE: Ah perfidi! Lo voglio.

COUNT: I’ll punish the scoundrels.

LA CONTESSA e SUSANNA: Perdono non merta chi agli altri nol da.

COUNTESS and SUSANNA: He is undeserving of pardon, something he will not grant to others.

IL CONTE: Ebben, se vi piace comune è la pace; Rosina inflessibile con me non sarà.

COUNT: Well then, if you like, we’ll make peace. Rosina will not be uncompromising with me.

LA CONTESSA: Ah quanto, Susanna, son dolce di core! Di donne al furore chi più crederà?

COUNTESS: Oh Susanna, how gentle my heart is! Who can believe women’s anger?

In a gesture of reconciliation, the Countess offers her band to the Count. SUSANNA: Cogl’uomin, signora, girate, volgete, vedrete che ognora si cade poi là.

SUSANNA: Madame, these men who turn and wiggle all the same.


Page 89

IL CONTE: Guardatemi!

COUNT: Look at me!

LA CONTESSA: Ingrato!

COUNTESS: Ungrateful man!

IL CONTE: Ho torto, e mi pento.

COUNT: I erred, and I repent.

IL CONTE, LA CONTESSA, SUSANNA: Da questo momento quest’alma a conoscermi/ conoscerla/conoscervi apprender potrà.

COUNT, COUNTESS, SUSANNA: This soul will now learn to know (her/me/ you) quite well.

Figaro arrives. FIGARO: Signori, di fuori son già i suonatori. Le trombe sentite, i pifferi udite, tra canti, tra balli de’ nostri vassalli corriamo, voliamo le nozze a compir.

FIGARO:: The musicians have already arrived. Hear the trumpets and the pipers, and the dancing and singing. Let’s hurry and celebrate the wedding.

As Figaro begins to leave, the Count stops him. IL CONTE: Pian piano, men fretta.

COUNT: Gently, gently, not so fast.

FIGARO: La turba m’aspetta.

FIGARO: The people expect me.

IL CONTE: Un dubbio toglietemi in pria di partir.

COUNT: Before you go, rid me of a doubt.

LA CONTESSA, SUSANNA ,FIGARO: (La cosa è scabrosa; com’ha da finir!)

COUNTESS, SUSANNA, FIGARO: (It is a rough point; how is it to end?)

IL CONTE: (Con arte le carte convien qui scoprir.)

COUNT: (I must play my cards skillfully.)

The Count shows Figaro the letter. Conoscete, signor Figaro, questo foglio chi vergò?

Do you know, Mr. Figaro, who wrote this letter?

FIGARO: Nol conosco.

FIGARO: I do not.

LA CONTESSA, IL CONTE, SUSANNA: Nol conosci?

COUNTESS, COUNT, SUSANNA: You do not?

FIGARO: No, no, no!

FIGARO: I don’t know.


Page 90

SUSANNA: E nol desti a Don Basilio.

SUSANNA: Didn’t you give it to Don Basilio?

LA CONTESSA: Per recarlo....

COUNTESS: To deliver....

IL CONTE: Tu c’intendi.

COUNT: You don’t understand.

FIGARO: Oibò, oibò.

FIGARO: Not I, no, no.

SUSANNA: E non sai del damerino

SUSANNA: And about the rendezvous.

LA CONTESSA: Che stasera nel giardino...

COUNTESS: For this evening in the garden...

IL CONTE: Già capisci?

COUNT: Do you know now?

FIGARO: Io non lo so.

FIGARO: I know nothing.

IL CONTE: Cerchi invan difesa e scusa, il tuo ceffo già t’accusa, vedo ben che vuoi mentir.

COUNT: Your defense and excuses are hopeless. Your face accuses you, and I see that you lie.

FIGARO: Mente il ceffo, io già non mento.

FIGARO: My face lies, but not I.

LA CONTESSA e SUSANNA: Il talento aguzzi invano palesato abbiam l’arcano, non v’è nulla da ridir.

COUNTESS and SUSANNA: It is in vain for you to sharpen your wit; we have discovered the secret; there is nothing to repeat.

IL CONTE: Che rispondi?

COUNT: What do you answer?

FIGARO: Niente, niente.

FIGARO: Nothing, nothing.

IL CONTE: Dunque accordi?

COUNT: Then you agree?

FIGARO: Non accordo.

FIGARO: I do not agree.

LA CONTESSA e SUSANNA: Eh via, chetati, balordo, la burletta ha da finir.

COUNTESS and SUSANNA: Come, mad fellow, you must finish the farce.


Page 91

FIGARO: Per finirla lietamente e all’usanza teatrale un’azion matrimoniale le faremo ora seguir.

FIGARO: To finish it joyfully according to theatrical custom, we shall have a wedding entertainment to follow now.

LA CONTESSA, SUSANNA, FIGARO: Deh signor, nol contrastate, consolate i lor/ miei desir.

COUNTESS, SUSANNA, FIGARO: Pray, sir, do not oppose it. Grant the wishes and console me/them.

IL CONTE: (Marcellina, Marcellina! Quanto tardi a comparir!)

COUNT: (Marcellina, Marcellina! How long you have delayed!)

The gardener Antonio enters, half drunk, and carrying a broken flower pot. ANTONIO: Ah! Signor! Signor!.

ANTONIO: Oh! My lord! My lord!

IL CONTE: Cosa è stato?

COUNT: What is the matter?

ANTONIO: Che insolenza! Chi’l fece? Chi fu?

ANTONIO: What impudence! What happened? Who was it?

IL COUNT, LA CONTESSA, SUSANNA,FIGARO: Cosa dici, cos’hai, cosa è nato?

COUNT, COUNTESS, SUSANNA, FIGARO: What is this all about? What happened?

ANTONIO: Ascoltate!

ANTONIO: Listen to me!

LA CONTESSA, COUNT, SUSANNA, e FIGARO: Via, parla, di’, su.

COUNTESS, COUNT, FIGARO and SUSANNA: Come, speak out.

ANTONIO: Dal balcone che guarda in giardino mille cose ogni dì gittar veggio, e poc’anzi, può darsi di peggio, vidi un uom, signor mio, gittar giù.

ANTONIO: (to the Count.) Every day they throw down rubbish from the balcony into the garden. But a little while ago, it was worse: I saw a man throw himself out.

IL CONTE: Dal balcone?

COUNT: From the balcony?

ANTONIO: Vedete i garofani!

ANTONIO: (showing the vase) See the pink carnations!.

IL CONTE: In giardino?

COUNT: In the garden?


SUSANNA, LA CONTESSA:

Page 92

(Figaro, all’erta.)

SUSANNA, COUNTESS: (whispering to Figaro) (Now, Figaro, you must be sharp.)

IL CONTE: Cosa sento?

COUNT: What do I hear?

SUSANNA, LA CONTESSA, FIGARO: Costui ci sconcerta, quel briaco che viene far qui?

SUSANNA, COUNTESS, FIGARO: This is disconcerting. Who let this drunk in here?

IL CONTE: Dunque un uom! Ma dov’è, dov’è gito?

COUNT: (to Antonio) Then a man! But where has he gone?

ANTONIO: Ratto, ratto, il birbone è fuggito, e ad un tratto di vista m’uscì.

ANTONIO: The scoundrel ran away full speed, and I immediately lost sight of him.

SUSANNA: Sai che il paggio.

SUSANNA: (whispering to Figaro) You know that it was the page.

FIGARO: So tutto, lo vidi. Ah, ah, ah!

FIGARO: (whispering to Susanna) I know all, I saw him. Ha, ha, ha!

IL CONTE: Taci là.

COUNT: Be quiet over there.

ANTONIO: Cosa ridi?

ANTONIO: (to Figaro) Why do you laugh?

FIGARO: Tu sei cotto dal sorger del dì.

FIGARO: Because you’re drunk all day.

IL CONTE: Or ripetimi, un uom dal balcone.

COUNT: (to Antonio) Now repeat it, a man from the balcony.

ANTONIO: Dal balcone. . IL CONTE: In giardino.

ANTONIO: From the balcony.

ANTONIO: In giardino.

ANTONIO: In the garden.

SUSANNA, LA CONTESSA , FIGARO: Ma, signore, se in lui parla il vino!

SUSANNA, COUNTESS, FIGARO: But, sir, it is the wine that speaks in him!

COUNT: In the garden.


Page 93

IL CONTE: Segui pure, né in volto il vedesti?

COUNT: (to Antonio) Go on. Did you see his face?

ANTONIO: No, nol vidi.

ANTONIO: No I did not.

SUSANNA, LA CONTESSA: (Olá, Figaro, ascolta!)

SUSANNA, COUNTESS: (Listen Figaro, and be sharp!)

FIGARO: Via, piangione, sta zitto una volta, per tre soldi far tanto tumulto!

FIGARO: (to Antonio, pointing to the flowers) Come, crying booby, hold your tongue. To make such a noise for threepence!

Giacché il fatto non può star occulto, sono io stesso saltato di lì.

Since it can no longer hide it, I was the one who jumped down from there.

IL CONTE: Chi? Voi stesso?

COUNT: Who? It was you?

SUSANNA, LA CONTESSA: Che testa! Che ingegno!

SUSANNA, COUNTESS: (What a head! How clever!)

FIGARO: Che stupor!

FIGARO: (to the Count) Why wonder?

ANTONIO: Chi? Voi stesso?

ANTONIO: (to Figaro) Who? It was you?

IL CONTE: Già creder nol posso.

COUNT: I can not believe it.

ANTONIO: Come mai diventaste sì grosso? Dopo il salto non foste così.

ANTONIO: ( to Figaro) You’ve grown quite a bit since your fall? I would swear you were just half the size.

FIGARO: A chi salta succede così.

FIGARO: It happens that was to people who jump.

ANTONIO: Chi’l direbbe.

ANTONIO: Who would have thought it?

SUSANNA e LA CONTESSA: Ed insiste quel pazzo!

SUSANNA, COUNTESS: And that idiot still insists!

IL CONTE: Tu che dici?

COUNT: (to Antonio) What did you say?

ANTONIO: A me parve il ragazzo.

ANTONIO: I thought it was the boy.

IL CONTE: Cherubin!

COUNT: Cherubino!


Page 94

SUSANNA, LA CONTESSA: Maledetto!

SUSANNA, COUNTESS: Curse him!

FIGARO: Esso appunto da Siviglia a cavallo qui giunto, da Siviglia ov’ei forse sarà.

FIGARO: Of course. He just returned today from Seville on horseback.

ANTONIO: Questo no, questo no, che il cavallo io non vidi saltare di là.

ANTONIO: Not so, not so, for I didn’t see the horse jump down.

IL CONTE: Che pazienza! Finiam questo ballo!

COUNT: What patience! Let us finish this inquiry!

SUSANNA, LA CONTESSA: (Come mai, giusto ciel, finirà?)

SUSANNA, COUNTESS: (Good heavens! How will it end?)

IL CONTE: Dunque tu?.

COUNT: (to Figaro) So it was you?

FIGARO: Saltai giù.

FIGARO: I jumped down.

IL CONTE: Ma perché?

COUNT: Why then?

FIGARO: Il timor.

FIGARO: Fear.

IL CONTE: Che timor?

COUNT: What fear?

FIGARO: Là rinchiuso aspettando quel caro visetto, tippe tappe, un sussurro fuor d’uso. voi gridaste, lo scritto biglietto, saltai giù dal terrore confuso, e stravolto m’ho un nervo del pie’!

FIGARO: I was waiting in there for Susanna, when I heard a babble of voices. Your voice was angry, and I thought about this letter. So I jumped from this window in terror, and twisted my foot in the fall.

ANTONIO: Vostre dunque saran queste carte che perdeste.

ANTONIO: Then these papers are that were dropped are yours.

IL CONTE: Olà, porgile a me.

COUNT: Here! Give them to me.

FIGARO: Sono in trappola.

FIGARO: (to the Countess and Susanna) I am caught in a trap.

SUSANNA e LA CONTESSA: (Figaro, all’erta.)

SUSANNA, COUNTESS: (Figaro, be on the alert!


Page 95

IL CONTE: Dite un po’, questo foglio cos’è?

COUNT: Tell me a little what the paper is about? (showing it him at a distance.)

FIGARO: Tosto, tosto, n’ ho tanti, aspettate!

FIGARO: Just a moment, and I’ll tell you.

Figaro takes papers from his pocket and examines them. ANTONIO: Sarà forse il sommario de’ debiti.

ANTONIO: Perhaps it is a list of his debts.

FIGARO: No, la lista degl’osti.

FIGARO: No, a list of your wine shops.

IL CONTE: Parlate. E tu lascialo; e parti.

COUNT: (to Figaro) Speak! (to Antonio) And you can leave now.

SUSANNA, LA CONTESSA e FIGARO: Lascialo.(Lasciami) e parti.

SUSANNA, COUNTESS, FIGARO: Leave him (me) and go.

ANTONIO: Parto, sì, ma se torno a trovarti.

ANTONIO: I’ll go, yes, but if I find you again

FIGARO: Vanne, vanne, non temo di te.

FIGARO: Go, go, I do not fear you.

Antonio exits. The Count displays the paper. IL CONTE: Dunque.

COUNT: Well then.

LA CONTESSA: (O ciel! La patente del paggio!)

COUNTESS: (aside to Susanna) (Oh heavens! The page’s commission!)

SUSANNA: Giusti Dei, la patente!

SUSANNA: (aside to Figaro) Oh heavens, the commission!)

IL CONTE: Coraggio!

COUNT: (to Figaro) Cheer up.

FIGARO: O che testa! Questa è la patente che poc’anzi il fanciullo mi diè.

FIGARO: Oh what a head! That is the commission which the boy gave me a while ago.

IL CONTE: Per che fare?

COUNT: What for?

FIGARO: Vi manca.... .

FIGARO: It needed....


Page 96

IL CONTE: Vi manca?

COUNT: It needed?

LA CONTESSA: (Il suggello.)

COUNTESS: (aside to Susanna) (The seal.)

SUSANNA: (Il suggello.)

SUSANNA: (aside to Figaro) (The seal.)

IL CONTE: Rispondi.

COUNT: Answer.

FIGARO: È l’usanza...

FIGARO: Well, it’s usual...

IL CONTE: Su via, ti confondi?

COUNT: Come on, answer me quickly?

FIGARO: È l’usanza di porvi il suggello.

FIGARO: It is usual to seal a commission.

IL CONTE: (Questo birbo mi toglie il cervello, tutto, tutto è un mistero per me.)

COUNT: (tearing up the paper) (This rascal is too much for my patience. All of this is a mystery to me.)

SUSANNA e LA CONTESSA: (Se mi salvo da questa tempesta più non avvi naufragio per me.)

SUSANNA, COUNTESS: (If I save myself from this storm, I shall never fear a shipwreck!)

FIGARO: (Sbuffa invano e la terra calpesta; poverino ne sa men di me.)

FIGARO: (You can bluster and rage all you want, but I know more than you do.)

Marcellina, Bartolo and Basilio enter excitedly. MARCELLINA, BASILIO, BARTOLO: Voi signor, che giusto siete ci dovete ascoltar.

MARCELLINA, BASILIO, BARTOLO: My lord, you must hear us now.

IL CONTE: (Son venuti a vendicarmi io mi sento a consolar.)

COUNT: (They’ve come to avenge me, and I feel myself comforted!)

SUSANNA, LA CONTESSA, FIGARO: (Son venuti a sconcertarmi qual rimedio ritrovar?)

SUSANNA, COUNTESS, FIGARO: They are come to put me out; what remedy can I find!

FIGARO: Son tre stolidi, tre pazzi, cosa mai vengono a far?

FIGARO: (to the Count) These three stupid, mad ones, what have they come here for?


Page 97

IL CONTE: Pian pianin, senza schiamazzi dica ognun quel che gli par.

COUNT: Softly and gently, and without confusion, let everyone speak his peace.

MARCELLINA: Un impegno nuziale ha costui con me contratto, e pretendo che il contratto deva meco effettuar.

MARCELLINA: (pointing to Figaro) This man signed a marriage contract with me, and I appeal to you to make him fulfill his contract.

SUSANNA, LA CONTESSA, FIGARO: Come! Come!

SUSANNA, COUNTESS, FIGARO: What’s this! What’s this!

IL CONTE: Olà, silenzio! Io son qui per giudicar.

COUNT: Be silent, I’m the judge here.

BARTOLO: Io da lei scelto avvocato vengo a far le sue difese, le legittime pretese, io qui vengo a palesar.

BARTOLO: I appear for this lady as her counsel in this action, demanding performance of the contract, and damages in full.

SUSANNA, LA CONTESSA, FIGARO: È un birbante!

SUSANNA, COUNTESS, FIGARO: He’s a scoundrel!

IL CONTE: Olà, silenzio! Io son qui per giudicar.

COUNT: Be silent, I’m the judge here.

BASILIO: Io, com’uom al mondo cognito vengo qui per testimonio del promesso matrimonio con prestanza di danar.

BASILIO: I bear witness that the plaintiff lent him money on the condition that if he could not repay her, he agreed to marry her.

SUSANNA, LA CONTESSA, FIGARO: Son tre matti.

SUSANNA, COUNTESS, FIGARO: The three of them are crazy.

IL CONTE: Olà, silenzio! Lo vedremo, il contratto leggeremo, tutto in ordin deve andar.

COUNT: No more! The contract shall be read, and I myself will discover the truth.

SUSANNA, LA CONTESSA e FIGARO: Son confusa/o, son stordita/o, disperata/o, sbalordita/o. Certo un diavol dell’inferno qui li ha fatti capitar.

SUSANNA, COUNTESS, FIGARO: I am confused, I am astonished, in despair and confounded! Certainly the infernal devil has sent them here.

MARCELLINA, BASILIO, BARTOLO, IL CONTE: Che bel colpo! Che bel caso! È cresciuto a tutti il naso, qualche nume a noi propizio qui ci/li ha fatti capitar.

MARCELLINA, BARTOLO, BASILIO, COUNT: What a fine blow! What a fine case! It has raised our esteem! It was Providence that brought us all here.

END ACT II


Page 98

Act III A large hall in the Count’s palace. The Count paces to and fro, reflecting his skepticism and suspicion about recent events. IL CONTE: Che imbarazzo è mai questo! Un foglio anonimo. la cameriera in gabinetto chiusa, la padrona confusa un uom che salta dal balcone in giardino, un altro appresso che dice esser quel desso.

COUNT: What a perplexing situation! An anonymous letter, the maid locked in the closet, my lady embarrassed, a man jumps from the balcony into the garden, and another who says that he was the one.

Non so cosa pensar? Potrebbe forse qualcun de’ miei vassalli? A simil razza è comune l’ardir, ma la Contessa. Ah, che un dubbio l’offende. Ella rispetta troppo sé stessa, e l’onor mio, l’onore. Dove diamin l’ha posto umano errore!

What could it all mean? Could it have been one of my vassals? There’s no limit to what they will dare. But the Countess. No I won’t insult her. She has too high a sense of her dignity, and mine as well! I must admit that human nature is frail.

The Countess looks in, and then brings in Susanna. LA CONTESSA: Via, fatti core: digli che ti attenda in giardino.

COUNTESS: (aside to Susanna) Come, take courage, tell him to wait for you in the garden.

The Countess withdraws, leaving the Count and Susanna alone. IL CONTE: Saprò se Cherubino era giunto a Siviglia. A tale oggetto ho mandato Basilio.

COUNT: (still in deep thought) I shall know if Cherubino had arrived at Seville. For that purpose I sent Basilio.

SUSANNA: Oh cielo! E Figaro?

SUSANNA: (to the Countess) Oh gods! And Figaro?

LA CONTESSA: A lui non dei dir nulla: in vece tua voglio andarci io medesma.

COUNTESS: Don’t say a word to him! I’ll keep the appointment myself.

IL CONTE: Avanti sera dovrebbe ritornar.

COUNT: Basilio will return before evening.

SUSANNA: Oh Dio! Non oso.

SUSANNA: Oh God! I don’t dare.

LA CONTESSA: Pensa, ch’è in tua mano il mio riposo.

COUNTESS: Remember, all my happiness depends on it.

IL CONTE: E Susanna? Chi sa ch’ella tradito abbia il segreto mio, oh, se ha parlato, gli fo sposar la vecchia.

COUNT: And Susanna? Who knows whether she has betrayed my secret. If she has spoken, I’ll make the old woman marry Figaro.

The Marriage of Figaro Libretto - Act III

Page 99

SUSANNA: (Marcellina!) Signor!.

SUSANNA: (coming forward) (Marcellina) Sir!

IL CONTE: Cosa bramate?

COUNT: What do you want?

SUSANNA: Mi par che siete in collera!

SUSANNA: You seem to be angry!

IL CONTE: Volete qualche cosa?

COUNT: Do you want something?

SUSANNA: Signor, la vostra sposa ha i soliti vapori, e vi chiede il fiaschetto degli odori.

SUSANNA: Your lady feels faint and sent me here to fetch your smelling salts.

IL CONTE: Prendete.

COUNT: Take it.

SUSANNA: Or vel riporto. . IL CONTE: Ah no, potete ritenerlo per voi.

SUSANNA: I’ll bring it back soon.

SUSANNA: Per me? Questi non son mali da donne triviali.

SUSANNA: For me? Women in my position don’t have those ailments.

IL CONTE: Un’amante, che perde il caro sposo sul punto d’ottenerlo.

COUNT: Not even a lover who loses her bridegroom just before the wedding?

SUSANNA: Pagando Marcellina colla dote che voi mi prometteste.

SUSANNA: We’ll pay Marcellina with the dowry that you promised me.

IL CONTE: Ch’io vi promisi, quando?

COUNT: That I promised you? When?

SUSANNA: Credea d’averlo inteso.

SUSANNA: I thought I understood it that way.

IL CONTE: Sì, se voluto aveste intendermi voi stessa.

COUNT: Yes, if you would agree to my intentions.

SUSANNA: È mio dovere, e quel di Sua Eccellenza il mio volere.

SUSANNA: It is my duty, and your lordship’s pleasure is my wish.

COUNT: Oh! No, you can keep it for yourself.


Page 100

IL CONTE: Crudel! Perché finora farmi languir così?

COUNT: Cruel one! Why did you make me languish like this until now?

SUSANNA: Signor, la donna ognora empo ha dir di sì.

SUSANNA: My lord, a woman always has time to say yes.

IL CONTE: Dunque, in giardin verrai?

COUNT: Then you will come to the garden?

SUSANNA: Se piace a voi, verrò.

SUSANNA: If it pleases you, I will come.

IL CONTE: E non mi mancherai?

COUNT: And you will not disappoint me?

SUSANNA: No, non vi mancherò.

SUSANNA: No, I will not disappoint you.

IL CONTE: Mi sento dal contento pieno di gioia il cor.

COUNT: I feel my heart delighted, and filled with joy.

SUSANNA: Scusatemi se mento, voi che intendete amor.

SUSANNA: If I do not deceive him, he’ll only try again.

IL CONTE: E perché fosti meco stamattina sì austera?

COUNT: Tell me why you treated me so severely this morning?

SUSANNA: Col paggio ch’ivi c’era?

SUSANNA: With the page listening?

IL CONTE: Ed a Basilio che per me ti parlò?

COUNT: And Basilio, who spoke to you for me?

SUSANNA: Ma qual bisogno abbiam noi, che un Basilio?

SUSANNA: What need do we have for a man like Basilio?

IL CONTE: È vero, è vero, e mi prometti poi se tu manchi, oh cor mio. Ma la Contessa attenderà il fiaschetto.

COUNT: You’re right, my dear one, but promise me you won’t disappoint me. But my lady waits for the bottle.


Page 101

SUSANNA: Eh, fu un pretesto. Parlato io non avrei senza di questo.

SUSANNA: Oh, that was only a pretext for me to be able to speak with you.

IL CONTE: Carissima!

COUNT: (taking Susanna’s hand) My dearest!

SUSANNA: Vien gente.

SUSANNA: Someone’s coming.

IL CONTE: (È mia senz’altro.)

COUNT: (aside) (Now I’m sure she’s mine.)

SUSANNA: (Forbitevi la bocca, oh signor scaltro.)

SUSANNA: (aside) (You think that you’re more cunning than me.)

Figaro enters. FIGARO: Ehi, Susanna, ove vai?

FIGARO: Hey, Susanna, where are you?

SUSANNA: Taci, senza avvocato hai già vinta la causa.

SUSANNA: Quiet. You’ve won your case without an attorney.

FIGARO: Cos’è nato?

FIGARO: What has happened?

Susanna and Figaro depart. IL CONTE: Hai già vinta la causa! Cosa sento! In qual laccio io cadea? Perfidi!

COUNT: (after overhearing them) You have already won your case! What do I hear? What trap did I fall into? Traitors!

Io voglio di tal modo punirvi, a piacer mio la sentenza sarà. Ma s’ei pagasse la vecchia pretendente? Pagarla! In qual maniera! E poi v’è Antonio, che a un incognito Figaro ricusa di dare una nipote in matrimonio.

I will punish you unmercifully with a sentence that pleases me. But what if he paid off the old pretender? He paid her! In what way! Besides there’s Antonio who will refuse to give his niece in marriage to the unknown Figaro.

Coltivando l’orgoglio di questo mentecatto, tutto giova a un raggiro, il colpo è fatto.

Cultivating the pride of this dolt, all is in my favor, and the blow is struck by my trickery.

Vedrò mentre io sospiro, felice un servo mio! E un ben ch’invan desio, ei posseder dovrà? Vedrò per man d’amore unita a un vile oggetto chi in me destò un affetto che per me poi non ha?

I will behold my happy servant while I sigh? And are my passions in vain. Is he to possess my treasure? Shall I see joined by love an unworthy object who has raised my passion but feels nothing for me?


Ah no, lasciarti in pace, non vo’ questo contento, tu non nascesti, audace, per dare a me tormento, e forse ancor per ridere di mia infelicità. Già la speranza sola delle vendette mie quest’anima consola, e giubilar mi fa.

Page 102

Oh no! I will not be content to leave you in peace. You audacious man. You were not born to give me torment, and afterwards, laugh at my misfortune. Already the mere hope of my revenge consoles my soul and fills me with joy.

Enter Figaro, Marcellina, Don Curzio and Bartolo. DON CURZIO: È decisa la lite. O pagarla, o sposarla, ora ammutite.

DON CURZIO: (stuttering) It has been decided that he must pay her or marry her.

MARCELLINA: Io respiro.

MARCELLINA: Now I’m happy.

FIGARO: Ed io moro.

FIGARO: And I am wretched.

MARCELLINA: (Alfin sposa io sarò d’un uom ch’adoro.)

MARCELLINA: (At last I’ll marry the one I adore.)

FIGARO: Eccellenza m’appello.

FIGARO: My lord, I appeal.

IL CONTE: È giusta la sentenza; o pagar, o sposar, bravo Don Curzio.

COUNT: The sentence is just; pay or marry. Well done, Don Curzio.

DON CURZIO: Bontà di sua Eccellenza.

DON CURZIO: Your Excellency is kind.

BARTOLO: Che superba sentenza!

BARTOLO: What superb judgment!

FIGARO: In che superba?

FIGARO: In what way superb?

BARTOLO: Siam tutti vendicati.

BARTOLO: We are all avenged.

FIGARO: Io non la sposerò.

FIGARO: I won’t marry her.

BARTOLO: La sposerai.

BARTOLO: You will marry her.

DON CURZIO: O pagarla, o sposarla. Lei t’ha prestati due mille pezzi duri.

DON CURZIO: Pay her or marry her. She loaned you two thousand crowns.


Page 103

FIGARO: Son gentiluomo, e senza l’assenso de’ miei nobili parenti.

FIGARO: I am a gentleman, and without the consent of my noble relatives

IL CONTE: Dove sono? Chi sono?

COUNT: Where am I? Who am I?

FIGARO: Lasciate ancor cercarli; dopo dieci anni io spero di trovarli.

FIGARO: I wish someone would find them. I’ve spent ten years searching for them.

BARTOLO: Qualche bambin trovato?

BARTOLO: You were found on the doorstep?

FIGARO: No, perduto, dottor, anzi rubato.

FIGARO: Not lost, Doctor, rather stolen.

IL CONTE: Come?

COUNT: How?

MARCELLINA: Cosa?

MARCELLINA: What?

BARTOLO: La prova?

BARTOLO: Where’s proof?

DON CURZIO: Il testimonio?

DON CURZIO: Witnesses?

FIGARO: L’oro, le gemme, e i ricamati panni, che ne’ più teneri anni mi ritrovaro addosso i masnadieri, sono gl’indizi veri di mia nascita illustre, e sopra tutto questo al mio braccio impresso geroglifico.

FIGARO: The gold, jewels, embroidered clothes, which in my infancy the robbers found upon me, are the true signs of my noble birth, and particularly this hieroglyph printed on my arm.

Figaro turns up his sleeve and shows the mark to everyone. MARCELLINA: Una spatola impressa al braccio destro?

MARCELLINA: A spatula printed on your right arm?

FIGARO: E a voi chi’l disse?

FIGARO: Who told you about it?

MARCELLINA: Oh Dio, è egli.

MARCELLINA: Oh God, it is him.

FIGARO: È ver son io.

FIGARO: It is true what I am.

DON CURZIO, IL CONTE, BARTOLO: Chi?

DON CURZIO, COUNT, BARTOLO: Who?


Page 104

MARCELLINA: Raffaello!

MARCELLINA: Raffaello!

BARTOLO: E i ladri ti rapir.

BARTOLO: And stolen by robbers.

FIGARO: Presso un castello.

FIGARO: Near a castle.

BARTOLO: Ecco tua madre.

BARTOLO: (pointing to Marcellina) Behold your mother.

FIGARO: Balia.

FIGARO: Nurse.

BARTOLO: No, tua madre.

BARTOLO: No, your mother.

IL CONTE e DON CURZIO: Sua madre!

COUNT and DON CURZIO: His mother!

FIGARO: Cosa sento!

FIGARO: What do I hear!

MARCELLINA: Ecco tuo padre!

MARCELLINA: (pointing to Bartolo) Here is your father.

Riconosci in questo amplesso una madre, amato figlio!

(Marcellina embraces Figaro) With this embrace, beloved son, recognize your mother!

FIGARO: Padre mio, fate lo stesso, non mi fate più arrossir.

FIGARO: (to Bartolo) My father, do the same. Don’t make me blush any longer.

BARTOLO: Resistenza la coscienza far non lascia al tuo desir.

BARTOLO: (embracing Figaro) Conscience does not let me oppose your wish.

DON CURZIO: Ei suo padre, ella sua madre, l’imeneo non può seguir.

DON CURZIO: (to the Count) He is the father, and she the mother. The contract must be voided.

IL CONTE: Son smarrito, son stordito, meglio è assai di qua partir.

COUNT: I am surprised, I am astonished. It would be much better for me to leave here.

MARCELLINA e BARTOLO: Figlio amato!

MARCELLINA and BARTOLO: Beloved son!

FIGARO: Parenti amati!

FIGARO: Beloved parents!


Page 105

As the Count tries to depart, Susanna enters with a purse of money and stops him. SUSANNA: Alto,alto, signor Conte, mille doppie son qui pronte, a pagar vengo per Figaro, ed a porlo in libertà.

SUSANNA: Stop, stop, my lord, a thousand pistols are at the ready here. I have come to pay for Figaro, and to restore his liberty.

IL CONTE e DON CURZIO: Non sappiam com’è la cosa, osservate un poco là!

COUNT, DON CURZIO: We do not know your business, but look at them over there!.

They point to Figaro who is embracing Marcellina. SUSANNA: Già d’accordo ei colla sposa; giusti Dei, che infedeltà!

SUSANNA: Already agreed with that bride! Just Gods, what infidelity!

Susanna is about to leave, but Figaro stops her. Lascia iniquo!

Leave me, villain!

FIGARO: No, t’arresta! Senti, oh cara!

FIGARO: No, stay and hear me, my love!

SUSANNA: Senti questa!

SUSANNA: (boxes his ears) Hear this one!

MARCELLINA, BARTOLO, FIGARO: È un effetto di buon core, tutto amore è quel che fa.

MARCELLINA, BARTOLO, FIGARO: Here’s resounding of a good heart, and proof of passion.

IL CONTE: Fremo, smanio dal furore, il destino a me la fa.

COUNT: I fret, I rave with fury because fate is playing a trick on me.

DON CURZIO: Freme e smania dal furore, il destino gliela fa.

DON CURZIO: He frets, he raves with fury because fate is playing a trick on him.

SUSANNA: Fremo, smanio dal furore, una vecchia a me la fa.

SUSANNA: I fret, I rave with fury because fate is playing a trick on me.

MARCELLINA: Lo sdegno calmate, mia cara figliuola, sua madre abbracciate che or vostra sarà.

MARCELLINA: (to Susanna) Calm your anger, my dear daughter. His mother embraces you and will also be yours.

SUSANNA: Sua madre?

SUSANNA: His mother?

BARTOLO, IL CONTE, DON CURZIO, MARCELLINA: Sua madre!

BARTOLO, COUNT, DON CURZIO, MARCELLINA: His mother!


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SUSANNA: Tua madre?

SUSANNA: (to Figaro) Your mother?

FIGARO: E quello è mio padre che a te lo dirà.

FIGARO: (pointing to Bartolo) This man will tell you he is my father.

SUSANNA: Suo padre?

SUSANNA: You father?

BARTOLO, IL CONTE, DON CURZIO, MARCELLINA: Suo padre!

BARTOLO, COUNT, DON CURZIO, MARCELLINA: His father!

SUSANNA: Tuo padre?

SUSANNA: (to Figaro) Your father?

FIGARO: E quella è mia madre che a te lo dirà.

FIGARO: And this one told you she is my mother.

All proceed to embrace each other. SUSANNA, MARCELLINA, BARTOLO, FIGARO: Al dolce contento di questo momento, quest’anima appena resister or sa.

SUSANNA, MARCELLINA, BARTOLO, FIGARO: The soul can hardly sustain the sweet contentment of this moment.

IL CONTE, DON CURZIO: Al fiero tormento di questo momento, quell’/quest’anima appena resister or sa.

COUNT, DON CURZIO: My/his soul can hardly sustain the cruel torment of this fatal moment.

The Count and Don Curzio depart. MARCELLINA: Eccovi, oh caro amico, il dolce frutto dell’antico amor nostro.

MARCELLINA: (to Bartolo) Take this, dear friend, the sweet fruits of our old love.

BARTOLO: Or non parliamo di fatti sì rimoti, egli è mio figlio, mia consorte voi siete; e le nozze farem quando volete.

BARTOLO: Let’s not talk about old episodes. He is my son, and you are my consort. We’ll marry whenever you want.

MARCELLINA: Oggi, e doppie saranno. Prendi, questo è il biglietto del danar che a me devi, ed è tua dote.

MARCELLINA: Today, a double wedding (She gives the contract papers to Figaro) Take this wedding present. It is the contract for the money you owe me.

SUSANNA: Prendi ancor questa borsa.

SUSANNA: Take this purse too.


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BARTOLO: E questa ancora.

BARTOLO: And this one also.

FIGARO: Bravi, gittate pur ch’io piglio ognora.

FIGARO: Well done! I’ll take whatever you throw me.

SUSANNA: Voliamo ad informar d’ogni avventura madama e nostro zio. Chi al par di me contenta!

SUSANNA: (to Figaro) Let’s rush to inform Madame and our uncle of all that has happened. Who can be as happy as I?

FIGARO, BARTOLO, MARCELLINA: Io!

FIGARO, BARTOLO, MARCELLINA: I am!

TUTTI: E schiatti il signor Conte al gusto mio.

ALL: And enlighten the Count of my happiness!

All leave happily.

Barbarina is pulling Cherubino by the hand. BARBARINA: Andiam, andiam, bel paggio, in casa mia tutte ritroverai le più belle ragazze del castello, di tutte sarai tu certo il più bello.

BARBARINA: Come, my handsome page. In my house you’ll find all the prettiest girls of the castle, but you’ll be the most beautiful.

CHERUBINO: Ah, se il Conte mi trova, misero me, tu sai che partito ei mi crede per Siviglia.

CHERUBINO: Oh, if the Count finds me, I am finished! You know he thinks I’ve gone to Seville.

BARBARINA: O ve’ che maraviglia, e se ti trova non sarà cosa nuova. Odi! Vogliamo vestirti come noi: tutte insiem andrem poi a presentar de’ fiori a madamina; fidati, oh Cherubin, di Barbarina.

BARBARINA: How marvelous. If he finds you it won’t be the first time. Listen! We want to dress you like one of us, and then we’ll go to present some flowers to my lady. Cherubino, trust Barbarina. (Both exit.)

LA CONTESSA: E Susanna non vien! Sono ansiosa di saper come il Conte accolse la proposta. Alquanto ardito il progetto mi par, e ad uno sposo sì vivace, e geloso!

COUNTESS: (alone) And Susanna hasn’t come yet! I am anxious to know how the Count received the proposal. The plan seems to me a bold one for a husband so quick and jealous.


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Ma che mal c’è? Cangiando i miei vestiti con quelli di Susanna, e i suoi co’ miei al favor della notte. Oh cielo, a quale umil stato fatale io son ridotta da un consorte crudel, che dopo avermi con un misto inaudito d’infedeltà, di gelosia, di sdegni, prima amata, indi offesa, e alfin tradita, fammi or cercar da una mia serva aita!

But what harm is it in exchanging my clothes with Susanna, and she wearing my evening dress? Oh Heavens! My cruel husband has humiliated me with an unheard-of mixture of infidelity, jealousy, and anger. First love, then offense, and finally betrayal. And I am now compelled to employ the assistance of my servant!

Dove sono i bei momenti di dolcezza e di piacer, dove andaro i giuramenti di quel labbro menzogner?Perché mai se in pianti e in pene per me tutto si cangiò, la memoria di quel bene dal mio sen non trapassò?

Where are those charming moments of sweetness and peace? Where have those promises gone from those deceitful lips? Why has my poor heart changed to sorrow and pain from the beautiful memories I recall?

If only my constancy in loving, and my Ah! Se almen la mia costanza nel languire suffering and pain could at least afford me a amando ognor, mi portasse una speranza hope to change that ungrateful heart. di cangiar l’ingrato cor. The Countess exits.

The Count and Antonio enter. Antonio holds Cherubino’s regimental hat. ANTONIO: Io vi dico, signor, che Cherubino è ancora nel castello, e vedete per prova il suo cappello.

ANTONIO: I tell you, sir, that Cherubino is still in the castle, and, as proof, here is his hat.

IL CONTE: Ma come, se a quest’ora esser giunto a Siviglia egli dovria.

COUNT: How can he still be here when by this time he ought to have arrived at Seville?

ANTONIO: Scusate, oggi Siviglia è a casa mia, là vestissi da donna, e là lasciati ha gl’altri abiti suoi.

ANTONIO: Pardon me, but today Seville is in my house. He’s dressed as a female and has left his own clothes in my house.

IL CONTE: Perfidi!

COUNT: Deceivers!

ANTONIO: Andiam, e li vedrete voi.

ANTONIO: Let us go, and you’ll see them yourself.


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After the Count and Antonio exit, the Countess and Susanna appear. LA CONTESSA: Cosa mi narri, e che ne disse il Conte?

COUNTESS: And what did the Count say about it?

SUSANNA: Gli si leggeva in fronte il dispetto e la rabbia.

SUSANNA: One could read on his face that he was vexed and enraged.

LA CONTESSA: Piano, che meglio or lo porremo in gabbia. Dov’è l’appuntamento che tu gli proponesti?

COUNTESS: Gently, it’ll be easier now to catch him. Where did you propose to meet him?

SUSANNA: In giardino.

SUSANNA: In the garden.

LA CONTESSA: Fissiamgli un loco. Scrivi.

COUNTESS: Let’s fix a spot. Write

SUSANNA: Ch’io scriva, ma signora.

SUSANNA: I write, but madam

LA CONTESSA: Eh, scrivi dico; e tutto io prendo su me stessa: ”Canzonetta sull’aria.”

COUNTESS: Come, write what I say, and I take full responsibility: “Song of the Zephyr.”

SUSANNA: ”Sull’aria...”

SUSANNA: (writing) “of the Zephyr.”

LA CONTESSA: ”Che soave zeffiretto...”

COUNTESS: “How gentle the zephyr...”

SUSANNA: “Zeffiretto...”

SUSANNA: “Zephyr...”

LA CONTESSA: “Questa sera spirerà...”

COUNTESS: “The night will inspire...”

SUSANNA: “Questa sera spirerà...”

SUSANNA: “The night will inspire...”

LA CONTESSA: “Sotto i pini del boschetto.”

COUNTESS: “Under the pine groves.”

SUSANNA: “Sotto i pini...”

SUSANNA: “Under the pines...”

LA CONTESSA: “Sotto i pini del boschetto.”

COUNTESS: “Under the pine groves.”


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SUSANNA: ”Sotto i pini...del boschetto...”

SUSANNA: “Under the pines...groves...”

LA CONTESSA: Ei già il resto capirà.

COUNTESS: Certainly, he’ll understand the remainder.

SUSANNA: Certo, certo il capirà. Piegato è il foglio. Or come si sigilla?

SUSANNA: Certainly, certainly he’ll understand. It is folded. Now how is it to be sealed?

LA CONTESSA: Ecco, prendi una spilla: Servirà di sigillo. Attendi, scrivi sul riverso del foglio, ”Rimandate il sigillo.”

COUNTESS: Here, we’ll use a pin. That will serve as a seal. One moment, write on the back of the letter, “Send the seal back as an answer.”

SUSANNA: È più bizzarro di quel della patente.

SUSANNA: He won’t forget it like he forgot the seal on the commission.

LA CONTESSA: Presto nascondi, io sento venir gente.

COUNTESS: Put it away now. I hear people coming.

Barbarina and peasant girls enter. Cherubino is among them, dressed as a peasant girl. All carry bunches of flowers. CONTADINELLE: Ricevete, oh padroncina, queste rose e questi fior, che abbiam colti stamattina per mostrarvi il nostro amor.

PEASANT GIRLS: Noble lady, to show our love, we offer these roses and these flowers that we have gathered this morning.

Siamo tante contadine, e siam tutte poverine, ma quel poco che rechiamo ve lo diamo di buon cor.

We are simple peasants, and we are all very poor, but the little that we bring, we give with a good heart.

BARBARINA: Queste sono, madama, le ragazze del loco che il poco ch’han vi vengono ad offrire, e vi chiedon perdon del loro ardire.

BARBARINA: Madame, these are girls from the village. We hope that you will not refuse these flowers, for they are all that we can offer you.

LA CONTESSA: Oh brave, vi ringrazio.

COUNTESS: I thank you for your kindness.

SUSANNA: Come sono vezzose.

SUSANNA: They are so charming.

LA CONTESSA: E chi è, narratemi, quell’amabil fanciulla ch’ha l’aria sì modesta?

COUNTESS: (pointing to Cherubino) Tell me, who is that shy and modest girl over there?


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BARBARINA: Ell’è mia cugina, e per le nozze è venuta ier sera.

BARBARINA: She is one of my cousins. She arrived last night to stay with us for the wedding.

LA CONTESSA: Onoriamo la bella forestiera, venite qui, datemi i vostri fiori. Come arrossì. Susanna, e non ti pare che somigli ad alcuno?

COUNTESS: Then we ought to honor the pretty guest. Come here. Give me your flowers. How she blushes! Susanna, doesn’t she resemble someone?

SUSANNA: Al naturale.

SUSANNA: The very image.

The Count enters, followed by Antonio. Antonio pulls off Cherubino’s hat and replaces it with soldier’s hat. ANTONIO: Ehi! Cospettaccio! È questi l’uffiziale.

ANTONIO: Hey! Caught you at last, gallant captain.

LA CONTESSA: Oh stelle!

COUNTESS: Oh, heavens!

SUSANNA: (Malandrino!)

SUSANNA: (Little rascal!)

IL CONTE: Ebben, madama!

COUNT: Well, Madame!

LA CONTESSA: Io sono, oh signor mio, irritata e sorpresa al par di voi.

COUNTESS: I must inform your lordship that I am just as surprised as you are.

IL CONTE: Ma stamane?

COUNT: But this morning?

LA CONTESSA: Stamane. Per l’odierna festa volevam travestirlo al modo stesso, che l’han vestito adesso.

COUNTESS: This morning, I admit we intended to dress him in girl’s clothes in order to make some fun this evening.

IL CONTE: E perché non partiste?

COUNT: (to Cherubino) And why haven’t you left?

CHERUBINO: Signor!

CHERUBINO: Sir!

IL CONTE: Saprò punire la sua ubbidienza.

COUNT: I know how to punish your disobedience.


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BARBARINA: Eccellenza, Eccellenza, voi mi dite sì spesso qual volta m’abbracciate, e mi baciate: Barbarina, se m’ami, ti darò quel che brami.

BARBARINA: Please your lordship. You often said to me when you visited me, “Barbarina, if you love me I’ll give you anything that you ask for”

IL CONTE: Io dissi questo?

COUNT: I said that?

BARBARINA: Voi. Or datemi , padrone, in sposo Cherubino, e v’amerò, com’amo il mio gattino.

BARBARINA: Oh yes your lordship. Now if you give me Cherubino for a husband, I’ll love you like my little kitten.

LA CONTESSA: Ebbene: or tocca a voi.

COUNTESS: (to the Count) Well. I think it’s your turn.

ANTONIO: Brava figliuola, hai buon maestro, che ti fa scuola.

ANTONIO: Great, little girl, you’ve had a good teacher for your lessons.

IL CONTE: (Non so qual uom, qual demone, qual Dio rivolga tutto quanto a torto mio.)

COUNT: (aside) (Is it a plot of man, or demon, or God that makes everything go wrong.)

FIGARO: Signor, se trattenete tutte queste ragazze, addio feste, addio danza.

(Enter Figaro.) FIGARO: Sir, if you keep these girls waiting, we’ll have no party and no dancing.

IL CONTE: E che, vorresti ballar col pié stravolto?

COUNT: (ironically) Dancing with your sprained foot?

FIGARO: Eh, non mi duol più molto. Andiam, belle fanciulle.

FIGARO: Oh, it doesn’t give me much pain now. Come, my pretty girls.

LA CONTESSA: (Come si caverà dall’imbarazzo?)

COUNTESS: (aside to Susanna) (How will he get through this problem?)

SUSANNA: (Lasciate fare a lui.)

SUSANNA: (Leave everything to him.)

IL CONTE: Per buona sorte i vasi eran di creta.

COUNT: Luckily the pots were made of clay.

FIGARO: Senza fallo. Andiamo dunque, andiamo.

FIGARO: Without doubt. Let us go then, let us go.

ANTONIO: E intanto a cavallo di galoppo a Siviglia andava il paggio.

ANTONIO: And in the meantime, the page was galloping off to Seville.


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FIGARO: Di galoppo, o di passo, buon viaggio. Venite, oh belle giovani.

FIGARO: Gallop or on foot, good journey. Come, my pretty damsels.

IL CONTE: E a te la sua patente era in tasca rimasta.

COUNT: And he left the commission in your pocket.

FIGARO: Certamente, che razza di domande!

FIGARO: Certainly, I can’t understand why you ask!

ANTONIO: Via, non gli far più motti, ei non t’intende. Ed ecco chi pretende che sia un bugiardo il mio signor nipote.

ANTONIO: (to Susanna) No good your making signals. He cannot read them. Here is a person who maintains that my future nephew is a liar.

FIGARO: Cherubino?

FIGARO: Cherubino?

ANTONIO: Or ci sei.

ANTONIO: That’s him.

FIGARO Che diamin canta?

FIGARO: (to the Count) And what does he say?

IL CONTE: Non canta, no, ma dice ch’egli saltò stamane sui garofani.

COUNT: That this morning it was he who jumped down from the window on to the flower pots.

FIGARO: Ei lo dice! Sarà se ho saltato io, si può dare ch’anch’esso abbia fatto lo stesso.

FIGARO: He said that! If I could jump, he is lighter and could certainly do the same.

IL CONTE: Anch’esso?

COUNT: You both jumped?

FIGARO: Perché no? Io non impugno mai quel che non so. Ecco la marcia, andiamo; ai vostri posti, oh belle, ai vostri posti. Susanna, dammi il braccio.

FIGARO: Why not? I wouldn’t call him a liar. Here is the march, let us go; take your places, my beauties. Susanna, give me your arm.

SUSANNA: Eccolo!

SUSANNA: Here it is.

All exit except the Count and Countess. IL CONTE: Temerari.

COUNT: This is shameless.

LA CONTESSA: Io son di ghiaccio!

COUNTESS: I am frozen!


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IL CONTE: Contessa!

COUNT: Countess!

LA CONTESSA: Or non parliamo. Ecco qui le due nozze, riceverle dobbiam, alfin si tratta d’una vostra protetta. Seggiamo.

COUNTESS: Let us not speak now. There are two weddings, and we must receive them. Bear in mind that it is a protégé of yours that is in question. Be seated.

IL CONTE: Seggiamo (e meditiam vendetta).

COUNT: Let us sit down (and think of revenge!)

The Count and Countess are seated. The wedding procession begins: two young girls bear Susanna’s bridal hat and veil. Antonio leads Susanna before the Count; she kneels and receives the veil from him. Figaro leads Marcellina before the Countess. The two wedding couples are seated facing the Count and Countess. DUE DONNE: Amanti costanti, seguaci d’onor, cantate, lodate sì saggio signor. A un dritto cedendo, che oltraggia, che offende, ei caste vi rende ai vostri amator.

TWO YOUNG GIRLS: You constant lovers, who follow honor, Do sing, do praise such a good lord. He ceded a right, that was insulting and degrading, and returns chastity to lovers.

TUTTI: Cantiamo, lodiamo sì saggio signor!

ALL: Let us sing, let us praise so good a lord,

Susanna, while kneeling before the Count, gives him a letter. The Count opens the letter and pricks his finger with the pin that sealed the letter. IL CONTE: Eh già, la solita usanza, le donne ficcan gli aghi in ogni loco. Ah, ah, capisco il gioco.

COUNT: (It is the usual custom, women thrust pins everywhere.) Oh, now I understand the trick! (He looks for the pin)

FIGARO: Un biglietto amoroso che gli diè nel passar qualche galante, ed era sigillato d’una spilla, ond’ei si punse il dito,

FIGARO: (aside) A love letter? Some lover’s friend gave it to him in passing, and it was sealed with a pin, which pricked his finger.

Narciso or la cerca; oh, che stordito!

The Adonis is now looking for it. Oh, what a foolish fellow!

The Marriage of Figaro Libretto - Act IV

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The Count reads the letter, kisses it, finds the pin and puts it on his coat. IL CONTE: Andate, amici! E sia per questa sera disposto l’apparato nuziale colla più ricca pompa; io vo’ che sia magnifica la feste, e canti e fuochi, e gran cena, e gran ballo, e ognuno impari com’io tratto color, che a me son cari.

COUNT: Go, friends! And let the nuptial preparations be ready for tonight, with the richest pomp, magnificent entertainment, singing, fireworks, a great dinner, and a grand ball. Let all learn how I treat those who are dear to me.

CORO Amanti costanti, seguaci d’onor, cantate, lodate sì saggio signor. A un dritto cedendo, che oltraggia, che offende, ei caste vi rende ai vostri amator. Cantiamo, lodiamo sì saggio signor!

CHORUS: You constant lovers, who follow honor, Do sing, do praise such a good lord. Who gives up a right, insulting, degrading, and return chastely to your lovers. We sing and praise our good lord!

All depart

Act IV It is night in a garden leading to the Chateau. Barbarina enters with a lantern. She searches for something on the ground. BARBARINA: L’ho perduta, me meschina, ah, chi sa dove sarà? Non la trovo. E mia cugina, e il padron cosa dirà?

BARBARINA: (searching) I have lost it, how dreadful. Oh, who knows where it is? What will I say to my poor cousin and my master?

Figaro and Marcellina enter. FIGARO: Barbarina, cos’hai?

FIGARO: Barbarina, what is the matter?

BARBARINA: L’ho perduta, cugino.

BARBARINA: I have lost it, cousin.

FIGARO: Cosa?

FIGARO: What?


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MARCELLINA: Cosa?

MARCELLINA: What?

BARBARINA: La spilla, che a me diede il padrone per recar a Susanna.

BARBARINA: The pin my master gave me to return to Susanna.

FIGARO: A Susanna la spilla? E così, tenerella, il mestiero già sai,. di far tutto sì ben quel che tu fai?

FIGARO: A pin to Susanna? So already at your age you’ve begun to go running other people’s errands?

BARBARINA: Cos’è, vai meco in collera?

BARBARINA: But why are you so angry?

FIGARO: E non vedi ch’io scherzo?

FIGARO: Can’t you see I was just kidding?

Figaro searches the ground. Then he takes a pin from Marcellina and gives it to Barbarina. Osserva. Questa è la spilla che il Conte da recare ti diede alla Susanna, e servia di sigillo a un bigliettino; vedi s’io sono istrutto.

Look. This is the pin the Count gave you to give back to Susanna, and it was used to seal a letter. You see how instructive I am.

BARBARINA: E perché il chiedi a me quando sai tutto?

BARBARINA: If you know everything, why do you ask me?

FIGARO: Avea gusto d’udir come il padrone ti die’ la commissione.

FIGARO: I would like you to tell me why his lordship sent you on this errand.

BARBARINA: Che miracoli! “Tieni, fanciulla, reca questa spilla alla bella Susanna, e dille: Questo è il sigillo de’ pini.”

BARBARINA: He just said to me, “Here Barbarina, take this pin and give it to your cousin Susanna, and tell her: ‘This is the seal of the pinewood.’”

FIGARO: Ah, ah, de’ pini!

FIGARO: Oh, the pinewood!

BARBARINA: È ver ch’ei mi soggiunse: “Guarda che alcun non veda.” Ma tu già tacerai.

BARBARINA: But he told me, “Be careful no one sees you.” But you have seen me.

FIGARO: Sicuramente.

FIGARO: You can trust me.

BARBARINA: A te già niente preme.

BARBARINA: There’s no harm done if you know.


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FIGARO: Oh niente, niente.

FIGARO: Of course not.

BARBARINA: Addio, mio bel cugino; vò da Susanna, e poi da Cherubino.

BARBARINA: Adieu, my handsome cousin. I’ll go to Susanna, and then to Cherubino. (Barbarina exits.)

FIGARO: Madre!

FIGARO: Mother!

MARCELLINA: Figlio!

MARCELLINA: Son!

FIGARO: Son morto!

FIGARO: I am finished!

MARCELLINA: Calmati, figlio mio.

MARCELLINA: Be calm, my son.

FIGARO: Son morto, dico.

FIGARO: I tell you I’m finished.

MARCELLINA: Flemma, flemma, e poi flemma!Il fatto è serio; e pensarci convien, ma pensa un poco che ancor non sai di chi prenda gioco.

MARCELLINA: Patience, patience, always patience! The problem is serious and requires careful thought. Now to begin with, you don’t know who’s going to be the victim.

FIGARO: Ah, quella spilla, oh madre, è quella stessa che poc’anzi ei raccolse.

FIGARO: Oh, that pin is the very same pin which not long ago he picked up.

MARCELLINA: È ver, ma questo al più ti porge un dritto di stare in guardia, e vivere in sospetto. Ma non sai, se in effetto.

MARCELLINA: True, but this gives only gives you, at most, cause to be upon your guard and to be suspicious. You’re still uncertain.

FIGARO: All’erta dunque: il loco del congresso so dov’è stabilito.

FIGARO: Then, I must be alert. I do know where the meeting place is.

MARCELLINA: Dove vai figlio mio?

MARCELLINA: Where are you going, son?

FIGARO: A vendicar tutti i mariti: addio.

FIGARO: To avenge all husbands. Farewell!

Figaro departs.


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MARCELLINA: Presto avvertiam Susanna: io la credo innocente: quella faccia, quell’aria di modestia, è caso ancora ch’ella non fosse, ah quando il cor non ciurma personale interesse, ogni donna è portata alla difesa del suo povero sesso, da questi uomini ingrati a torto oppresso.

MARCELLINA: I must quickly warn Susanna because I believe she is innocent; that face and her modesty are reasons enough. I have no reason to be jealous anymore. Surely all women ought to protect each other. It is our duty because we so maltreated by our husbands and lovers.

Il capro e la capretta son sempre in amistà, l’agnello all’agnelletta la guerra mai non fa. Le più feroci belve per selve e per campagne lascian le lor compagne in pace e libertà. Sol noi povere femmine che tanto amiam questi uomini, trattate siam dai perfidi ognor con crudeltà!

The goat and the billy-goat are always companions. With the lamb and the lambkin the battle never ends. The most ferocious beasts in the fields and the forests, grant their partners peace and freedom to live. Only the poor women who love these men so much, are treated with treachery and always with cruelty.

Marcellina exits A Garden. There are pines surrounding two Pavilions. Barberina, Figaro, Bartolo, Basilio and some ruffians enter. BARBARINA: Nel padiglione a manca: ei così disse: è questo, è questo, e poi se non venisse!

BARBARINA: I think he said the pavilion on the left. It must be this one, but what if he doesn’t come?

Oh ve’ che brava gente! A stento darmi un arancio, una pera, e una ciambella. “Per chi madamigella? Oh, per qualcun, signori: già lo sappiam: ebbene!” il padron l’odia, ed io gli voglio bene, però costommi un bacio, e cosa importa, forse qualcun me’l renderà.

These people are so awful! I could hardly get them to give me an orange or a biscuit: “Who is it for? Oh, it’s for a friend Well, we thought as much!” His lordship hates him, and I love him. I paid a kiss for this, but what does it matter. Perhaps someone will pay it back.

Son morta!

(She sees Figaro and then leaves) Oh mercy!

FIGARO: È Barbarina chi va là?

FIGARO: Is that Barbarina over there?

BASILIO: Son quelli che invitasti a venir.

BASILIO: We are the men you invited to come.


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BARTOLO: Che brutto ceffo! Sembri un cospirator. Che diamin sono quegli infausti apparati?

BARTOLO: (to Figaro) What an ugly face! You look like a conspirator. (Who are those devilish looking ones?)

FIGARO: Lo vedrete tra poco. In questo loco celebrerem la festa della mia sposa onesta e del feudal signor.

FIGARO: You’ll see very shortly. You are invited to witness the ancient privilege of the lord of the manor granted by my virtuous wife.

BASILIO: (Ah, buono, buono, capisco come egli è, accordati si son senza di me.)

BASILIO: (Oh, great! I understand they have agreed without me.)

FIGARO: Voi da questi contorni non vi scostate; intanto io vado a dar certi ordini, e torno in pochi istanti. A un fischio mio correte tutti quanti.

FIGARO: (to the ruffians) Do not go far from here. Meanwhile I’ll make certain arrangements, and I’ll be back in a moment. When I whistle all of you run! (Figaro leaves.)

BASILIO: Ha i diavoli nel corpo.

BASILIO: He’s possessed by the devil.

BARTOLO: Ma cosa nacque?

BARTOLO: But what is it that has deranged him?

BASILIO: Nulla. Susanna piace al Conte; ella d’accordo gli die’ un appuntamento che a Figaro non piace.

BASILIO: Nothing. Susanna likes the Count. She is consenting to a meeting that Figaro does not like.

BARTOLO: E che, dunque dovria soffrirlo in pace?

BARTOLO: Is he supposed to bear it peacefully?

BASILIO: Quel che soffrono tanti ei soffrir non potrebbe? E poi sentite, che guadagno può far? Nel mondo, amico, l’accozzarla co’ grandi fu pericolo ognora: dan novanta per cento e han vinto ancora.

BASILIO: Many a man has likewise suffered, so why should he object? And consider what he can gain? In this world it was always dangerous to oppose the great; they give very little and always win.

In quegl’anni, in cui val poco la mal pratica ragion, ebbi anch’io lo stesso foco, fui quel pazzo ch’or non son. Che col tempo e coi perigli, donna flemma capitò; e i capricci, ed i puntigli della testa mi cavò.

When I was young and inexperienced, I used emotion rather than reason. I too had the same great fire; I was a madman, but no more. Time has brought me an understanding of the wiles and caprices of women, and in my mind, I have overcome their stubbornness.


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Presso un piccolo abituro seco lei mi trasse un giorno, e togliendo giù dal muro del pacifico soggiorno una pella di somaro, prendi disse, oh figlio caro, poi disparve, e mi lasciò.

One day she took me to a humble dwelling place, And then from the wall of the peaceful abode she took down the skin of an old ass; take this, said, dear son, and then she left me and disappeared.

Mentre ancor tacito guardo quel dono, il ciel s’annuvola rimbomba il tuono, mista alla grandine scroscia la piova, ecco le membra coprir mi giova col manto d’asino che mi donò.

While I quieted down, I looked at the gift. The clouds came on, and I heard the roar of thunder, and hail and rain poured all around. I therefore found it good to cover myself with the mantle of the ass she gave me.

Finisce il turbine, nè fo due passi che fiera orribile dianzi a me fassi; già già mi tocca l’ingorda bocca, già di difendermi speme non ho.

The storm ceased. I went on a little; I saw a wild beast rushing toward me; I saw his mouth and his voracious looks. Any hopes to defend myself were futile.

Ma il finto ignobile del mio vestito tolse alla belva sì l’appetito, che disprezzandomi si rinselvò. Così conoscere mi fè la sorte, ch’onte, pericoli, vergogna, e morte col cuoio d’asino fuggir si può.

But the humble scent of my clothes, cured the appetite of the beast, who despised me, but ran into the woods. Thus I learned about my fate: that disgrace, danger, shame, and death, may be avoided with the skin of an ass.

All depart, and then Figaro appears. FIGARO: Tutto è disposto: l’ora dovrebbe esser vicina; io sento gente. È dessa, non è alcun, buia è la notte, ed io comincio omai, a fare il scimunito mestiero di marito.

FIGARO: All is prepared: the hour ought to be near. I hear someone. It’s her. No, it is no one. The night is full and I begin now to play the silly role of a husband!

Ingrata! Nel momento della mia cerimonia ei godeva leggendo, e nel vederlo io rideva di me, senza saperlo.

Ungrateful woman! At the ceremony, he was enjoying what he read, and I saw him and laughed without knowing why!


Page 121

Oh Susanna, Susanna, quanta pena mi costi, con quell’ingenua faccia, con quegli occhi innocenti,chi creduto l’avria? Ah, che il fidarsi a donna è ognor follia.

O Susanna! Susanna! What anguish you have cost me, with your air of sincerity and those innocent eyes. Who could have believed it?Trusting a woman is a great folly!

Aprite un po’ quegl’occhi, uomini incauti e sciocchi, guardate queste femmine, guardate cosa son!

Open your eyes a little, imprudent and foolish men; look at these women, and see what they really are!

Queste chiamate Dee dagli ingannati sensi a cui tributa incensi la debole ragion.

These are called goddesses by those whose senses are deceived, and who raise altars to them by the weakness of their reason.

Son streghe che incantano per farci penar, sirene che cantano per farci affogar, civette che allettano per trarci le piume, comete che brillano per toglierci il lume; son rose spinose, son volpi vezzose, son orse benigne, colombe maligne, maestre d’inganni, amiche d’affanni che fingono, mentono.

They are witches that bewitch, to put us to torment; sirens who sing but to drown us; owls who ensnare us to pick our feathers; comets which shine to dazzle and blind us; they are roses full of thorns, they are beautiful foxes; they are kind bears, wicked doves; skillful in fraud, creatures of sorrow, who pretend and lie.

Amore non senton, non senton pietà, no, no, no, no! Il resto nol dico, già ognun lo sa!

They feel neither love nor pity. No, no, no! I need say no more, for every one knows it!

The Countess and Susanna enter, disguised in each other’s clothes. Marcellina and Figaro are seen walking about. SUSANNA: Signora, ella mi disse che Figaro verravvi.

SUSANNA: Madam, you told me that Figaro would come.


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MARCELLINA: Anzi è venuto. Abbassa un po’ la voce.

MARCELLINA: He is here. Speak softly.

SUSANNA: Dunque, un ci ascolta, e l’altro dee venir a cercarmi, incominciam.

SUSANNA: Then one hears us, and the other comes to seek me. Let’s begin.

MARCELLINA: Io voglio qui celarmi.

MARCELLINA: I will conceal myself here.

SUSANNA: Madama, voi tremate; avreste freddo?

SUSANNA: (to the Countess) Madame, you tremble; are you cold?

LA CONTESSA: Parmi umida la notte; io mi ritiro.

COUNTESS: I think it is a damp night: I’m leaving.

Figaro appears. FIGARO: (Eccoci della crisi al grande istante.)

FIGARO: We are now at the great critical moment!

Figaro strolls around, withdraws, and then immediately reappears. SUSANNA: Io sotto questi piante, se madama il permette, resto prendere il fresco una mezz’ora.

SUSANNA: If your ladyship allows me, I prefer to stay here and take in the fresh air of the pine trees.

FIGARO: Il fresco! Il fresco!

FIGARO: The air, among the pine trees!

LA CONTESSA: Restaci in buon’ora.

COUNTESS: (from hiding) We’ll rest an hour.

SUSANNA: Il birbo è in sentinella. Divertiamci anche noi, diamogli la mercè de’ dubbi suoi.

SUSANNA: That rascal is on the watch. We’ll also create a diversion, and pay him for daring to suspect me.

Giunse alfin il momento che godrò senz’affanno in braccio all’idol mio. Timide cure, uscite dal mio petto, a turbar non venite il mio diletto!

At last the moment has come that I shall have pleasure without sorrow in the arms of my beloved. Timid apprehensions,leavemy breast, and do not interfere with my happiness!

Oh, come par che all’amoroso foco l’amenità del loco, la terra e il ciel risponda, come la notte i furti miei seconda!

Oh, how there is such an amorous spirit here; the earth and the sky respond to my amorous wishes! How the night favors my secret love!


Deh, vieni, non tardar, oh gioia bella, vieni ove amore per goder t’appella, finché non splende in ciel notturna face, finché l’aria è ancor bruna e il mondo tace. Qui mormora il ruscel, qui scherza l’aura, che col dolce sussurro il cor ristaura, qui ridono i fioretti e l’erba è fresca, ai piaceri d’amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose, ti vo’ la fronte incoronar di rose.

Page 123

Then come, do not delay, my dearest jewel. Come where love invites your pleasure. Come, while the stars of night shine in the sky, darkness reigns, and the world is wrapped in silence. The brook murmurs, the zephyrs play, and their sweet sounds comfort the heart. Here little flowers seem to smile, and the fresh grass invites us all to love. Oh, come, my love, and I will encircle you head with roses.

Susanna withdraws among the trees. FIGARO: Perfida, e in quella forma ella meco mentia? Non so s’io veglio, o dormo.

FIGARO: False woman, who has lied to me? I don’t know whether I am awake or asleep!

CHERUBINO: La la la...

CHERUBINO: La, la, la,...

LA CONTESSA: Il picciol paggio.

COUNTESS: It’s the little page.

CHERUBINO: Io sento gente, entriamo ove entrò Barbarina. Oh, vedo qui una donna.

CHERUBINO: I hear people about, I’ll go where Barbarina went! Oh, I see a woman over there.

LA CONTESSA: Ahi, me meschina!

COUNTESS: Alas, I am finished!

CHERUBINO: M’inganno, a quel cappello, che nell’ombra vegg’io parmi Susanna.

CHERUBINO: Am I mistaken? That hat! In the dark, I think it is Susanna.

LA CONTESSA: E se il Conte ora vien, sorte tiranna!

COUNTESS: It would be a cruel fate if the Count should come now!

CHERUBINO: Pian pianin le andrò più presso, tempo perso non sarà.

CHERUBINO: (approaches her) Quietly, I’ll approach her, and not lose any time.

LA CONTESSA: (Ah, se il Conte arriva adesso qualche imbroglio accaderà!)

COUNTESS: (Oh, if the Count should come now, something awful will happen.


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CHERUBINO: Susanetta! Non risponde? Colla mano il volto asconde, or la burlo, in verità.

CHERUBINO: (to the Countess) Dear Susanna? She doesn’t answer. I’ll indeed catch her now. (Cherubino kisses her hand.)

LA CONTESSA: Arditello, sfacciatello, ite presto via di qua!

COUNTESS: This is shameless, impudent fellow, get away from here immediately.

CHERUBINO: Smorfiosa, maliziosa, io già so perché sei qua!

CHERUBINO: So shy, and just to tease me. I know why you are here! The Count and Figaro appear.

IL CONTE: Ecco qui la mia Susanna!

COUNT: There she is, my Susanna!

SUSANNA e FIGARO: Ecco qui l’uccellatore.

SUSANNA and FIGARO: Here’s the amorous pursuer.

CHERUBINO Non far meco la tiranna!

CHERUBINO: (to the Countess) Don’t be so hard on me!

SUSANNA, IL CONTE, FIGARO: Ah, nel sen mi batte il core! Un altr’uom con lei sta; alla voce è quegli il paggio.

SUSANNA, COUNT, FIGARO: Look how the heart beats! There’s another man. By the sound of his voice, it is the page.

LA CONTESSA: Via partite, o chiamo gente!

COUNTESS: Go, or I’ll yell for help!

CHERUBINO: Dammi un bacio, o non fai niente.

CHERUBINO: Give me a kiss, or do nothing.

LA CONTESSA: Anche un bacio, che coraggio!

COUNTESS: Again a kiss. What impertinence!

CHERUBINO: E perché far io non posso, quel che il Conte ognor farà?

CHERUBINO: And why do you refuse what the Count gets every day?

SUSANNA, LA CONTESSA, IL CONTE, FIGARO: Temerario!

SUSANNA, COUNTESS, COUNT, FIGARO: What effrontery!

CHERUBINO: Oh ve’, che smorfie! Sai ch’io fui dietro il sofà.

CHERUBINO: Oh why are you so prudish! You know I was behind the sofa.


SUSANNA, LA CONTESSA, IL CONTE, FIGARO: Se il ribaldo ancor sta saldo la faccenda guasterà. CHERUBINO: Prendi intanto!

Page 125

SUSANNA, COUNTESS, COUNT, FIGARO: If he remains here, he’ll spoil our little game. CHERUBINO: (about to kiss her) Take a kiss then!

The Count steps between them, and receives the kiss from Cherubino. LA CONTESSA, CHERUBINO: Oh cielo, il Conte!

COUNTESS, CHERUBINO: Oh heavens, the Count!

The Count, attempts to box Cherubino’s ears, but hits Figaro instead. FIGARO: Vo’ veder cosa fan là.

FIGARO: I must see what’s going on.

IL CONTE: Perché voi nol ripetete, ricevete questo qua!

COUNT: I will teach you better manners, so that you’ll finally be gone from here.

FIGARO, SUSANNA, LA CONTESSA: Ah, ci ho/ha fatto un bel guadagno colla mia/sua curiosità!

FIGARO, SUSANNA, COUNTESS: That’s his reward. He was rash to interfere!

IL CONTE: Ah, ci ha fatto un bel guadagno colla sua temerità!

COUNT: That’s his rewarded. He was rash to interfere!

FIGARO e SUSANNA: Partito è alfin l’audace, accostati ben mio!

FIGARO and SUSANNA: Thank goodness he’s departed. Come closer to me!

LA CONTESSA: Giacché così vi piace, eccomi qui signor.

COUNTESS: I am here my lord. What would please you?

FIGARO: Che compiacente femmina! Che sposa di buon cor!

FIGARO: What obliging women! What a good-hearted woman!

IL CONTE: Porgimi la manina!

COUNT: Give me your hand!

LA CONTESSA: Io ve la dò.

COUNTESS: My hand is yours.

IL CONTE: Carina!

COUNT: My dearest!

FIGARO: Carina!

FIGARO: My dearest!


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IL CONTE: Che dita tenerelle, che delicata pelle, mi pizzica, mi stuzzica, m’empie d’un nuovo ardor.

COUNT: How soft your hand, and what delicate hair; it stings me, arouses me, and fills me with new ardor.

SUSANNA, LA CONTESSA, FIGARO: La cieca prevenzione delude la ragione inganna i sensi ognor.

SUSANNA, COUNTESS, FIGARO: Amorous passion deludes reason and deceives all senses.

IL CONTE: Oltre la dote, oh cara, ricevi anco un brillante che a te porge un amante in pegno del suo amor.

COUNT: You have received a dowry, but let me give you this ring as a token of my eternal love.

LA CONTESSA: Tutto Susanna piglia dal suo benefattor.

COUNTESS: Susanna takes everything from her benefactor.

SUSANNA, IL CONTE, FIGARO: Va tutto a maraviglia, ma il meglio manca ancor.

SUSANNA, COUNT, FIGARO: Our plot is marvelous, but it must proceed faster.

LA CONTESSA: Signor, d’accese fiaccole io veggio il balenar.

COUNTESS: (to the Count) My lord, I see torchlight approaching.

IL CONTE: Entriam, mia bella Venere, andiamoci a celar!

COUNT: Let’s enter here and hide, my beautiful Venus!

SUSANNA, FIGARO: Mariti scimuniti, venite ad imparar!

SUSANNA, FIGARO: Here’s a lesson for idiotic husbands to learn.

LA CONTESSA: Al buio, signor mio?

COUNTESS: Isn’t it dark, my lord?

IL CONTE: È quello che vogl’io. Tu sai che là per leggere io non desio d’entrar.

COUNT: That’s what I want. You know that I’m not going in there to read.

SUSANNA e LA CONTESSA: I furbi sono in trappola, comincia ben l’affar.

SUSANNA, COUNTESS: Both our men are in the trap. The work goes well.

FIGARO: La perfida lo seguita, è vano il dubitar.

FIGARO: I followed the betrayer, it is vain to doubt.

IL CONTE: Chi passa?

COUNT: Who is there?

FIGARO: Passa gente!

FIGARO: People pass!

LA CONTESSA: È Figaro; men vò!

COUNTESS: It is Figaro. I think I’ll leave.


IL CONTE: Andate; io poi verrò.

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COUNT: Let’s go.

The Countess enters through one Pavillion door, the Count through the other. FIGARO: Tutto è tranquillo e placido; entrò la bella Venere; col vago Marte a prendere nuovo Vulcan del secolo in rete la potrò.

FIGARO: It is quiet and tranquil here. The fair Venus has gone, with her beloved Mars. As a Vulcan of these times, I’ll catch her in my net. (Susanna enters.)

SUSANNA: Ehi, Figaro, tacete.

SUSANNA: Hey Figaro, be quiet.

FIGARO: (Oh, questa è la Contessa.) A tempo qui giungete, vedrete là voi stessa, il Conte, e la mia sposa, di propria man la cosa toccar io vi farò.

FIGARO: (Oh, it is the Countess.) You’ve come at the right time. You yourself will see the Count and my bride. I’ll convince you with your own eyes.

SUSANNA: Parlate un po’ più basso, di qua non muovo il passo, ma vendicar mi vò.

SUSANNA: Speak softer, and don’t leave here because I want my revenge.

FIGARO: (Susanna!) Vendicarsi?

FIGARO: (Susanna!) Avenged?

SUSANNA: Sì.

SUSANNA: Yes.

FIGARO: Come potria farsi?

FIGARO: How can you do that?

SUSANNA: (L’iniquo io vo’ sorprendere, poi so quel che farò.)

SUSANNA: (I will surprise the villain; then I know what I will do.)

FIGARO: (La volpe vuol sorprendermi, e secondarla vò.) Ah se madama il vuole!

FIGARO: (The fox wants to surprise me, and I will assist.) Whatever Madame wishes!

SUSANNA: Su via, manco parole.

SUSANNA: So now, no talking.

FIGARO: Eccomi a’ vostri piedi, ho pieno il cor di foco, esaminate il loco, pensate al traditor.

FIGARO: Here at your feet my heart is afire, think how you were betrayed.


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SUSANNA: (Come la man mi pizzica, che smania, che furor!)

SUSANNA: (How my hand urges me, what frenzy, what rage!)

FIGARO: (Come il polmon mi s’altera, che smania, che calor!)

FIGARO: How my breath in raised, what frenzy, what heat!

SUSANNA: E senz’alcun affetto?

SUSANNA: And without some adoration?

FIGARO: Suppliscavi il dispetto. Non perdiam tempo invano, datemi un po’ la mano.

FIGARO: I am disposed to supplicate myself. Let’s not lose time in vain. Give me your hand.

SUSANNA: Servitevi, signor.

SUSANNA: Take it, my lord.

FIGARO: Che schiaffo!

FIGARO: (Susanna slaps him) What a slap!

SUSANNA: Che schiaffo, e questo, e questo, e ancora questo, e questo, e poi quest’altro.

SUSANNA: What a slap, and this, and this, and another, and another.

FIGARO: Non batter così presto.

FIGARO: Stop hitting me.

SUSANNA: E questo, signor scaltro, e questo, e poi quest’altro ancor.

SUSANNA: And this, Mr. smart one, and this, and another.

FIGARO: O schiaffi graziosissimi, oh, mio felice amor.

FIGARO: Oh gracious beating, oh, my happy love.

SUSANNA: Impara, impara, oh perfido, a fare il seduttor.

SUSANNA: Betrayer, learn the fate of a seducer.

FIGARO: Pace, pace, mio dolce tesoro, io conobbi la voce che adoro e che impressa ognor serbo nel cor.

FIGARO: Peace, peace, my sweet treasure. I recognized your voice, the voice I adore that is etched in my heart.

SUSANNA: La mia voce?

SUSANNA: My voice?

FIGARO: La voce che adoro.

FIGARO: The voice I adore.

SUSANNA e FIGARO: Pace, pace, mio dolce tesoro, pace, pace, mio tenero amor.

SUSANNA, FIGARO: Peace, peace, my tender love. Peace, peace, my tender love.


Page 129

The Count enters. IL CONTE: Non la trovo e girai tutto il bosco.

COUNT: I can’t find her and I’ve looked all over.

SUSANNA, FIGARO: (Questi è il Conte, alla voce il conosco.)

SUSANNA, FIGARO: It is the Count. I recognize his voice.)

IL CONTE: Ehi, Susanna, sei sorda.sei muta?

COUNT: Here, Susanna, are you deaf or dumb?

SUSANNA Bella, bella! Non l’ha conosciuta.

SUSANNA: Beautiful! He didn’t recognize her.

FIGARO: Chi?

FIGARO: Who?

SUSANNA: Madama!

SUSANNA: Madame!

FIGARO: Madama?

FIGARO: Madame?

SUSANNA: Madama! La commedia, idol mio, terminiamo, consoliamo il bizzarro amator!

SUSANNA: Madame! My dear, the play ends. Let’s console the bizarre lover!

FIGARO: Sì, madama, voi siete il ben mio!

FIGARO: (kneels before Susanna) Yes, noble lady, be mine!

IL CONTE: La mia sposa! Ah, senz’arme son io.

COUNT: My wife! Oh, and I am unarmed.

FIGARO: Un ristoro al mio cor concedete.

FIGARO: Agree to come back to my heart.

SUSANNA: Io son qui, faccio quel che volete.

SUSANNA: I am yours, do what you want.

IL CONTE: Ah, ribaldi!

COUNT: Traitors!

SUSANNA e FIGARO: Ah, corriamo, mio bene, e le pene compensi il piacer.

SUSANNA, FIGARO: Let’s hasten, and make up for the pains of the past.

As Susanna and Figaro try to leave, the Count seizes Figaro. IL CONTE: Gente, gente, all’armi, all’armi!

COUNT: Men, bring arms!


Page 130

FIGARO: Il padrone!

FIGARO: His lordship!

IL CONTE: Gente, gente, aiuto, aiuto!

COUNT: Men, men, help, help!

FIGARO: Son perduto!

FIGARO: I’m finished!

BASILIO,CURZIO, BARTOLO, ANTONIO: Cosa avvenne?

BASILIO, CURZIO, BARTOLO, ANTONIO: What’s happening?

IL CONTE: Il scellerato m’ha tradito, m’ha infamato e con chi state a veder!

COUNT: The scoundrel has betrayed me, and you shall soon see with whom!

BASILIO,CURZIO, BARTOLO, ANTONIO: Son stordito, son sbalordito, non mi par che ciò sia ver!

BASILIO, CURZIO, BARTOLO, ANTONIO: I’m astounded, confounded, it just can’t be!

FIGARO: Son storditi, son sbalorditi, oh che scena, che piacer!

FIGARO: I’m astounded, confounded, and what a pleasant scene.

IL CONTE: Invan resistete, uscite, madama, il premio or avrete di vostra onestà!

COUNT: To resist is in vain. Come out Madame, and receive the reward for your honesty!

In succession, Cherubino, Barbarina and Marcellina exit the Pavillion. Il paggio!

The page!

ANTONIO: Mia figlia!

ANTONIO: My daughter!

FIGARO: Mia madre!

FIGARO: My mother!

BASILIO, ANTONIO e FIGARO: Madama!

BASILIO, ANTONIO, FIGARO: Madame!

IL CONTE: Scoperta è la trama, la perfida è qua.

COUNT: The plot is discovered, and here’s the traitor.

SUSANNA: Perdono! Perdono!

SUSANNA: Forgive me! Forgive me!


Page 131

IL CONTE: No, no, non sperarlo.

COUNT: No, no, I renounce you.

FIGARO: Perdono! Perdono!

FIGARO: Forgive her! Forgive her!

IL CONTE: No, no, non vo’ darlo!

COUNT: No, no, I won’t do it!

BARTOLO, CHERUBINO, MARCELLINA, BASILIO, ANTONIO, SUSANNA e FIGARO: Perdono! Perdono!

BARTOLO, CHERUBINO, MARCELLINA, BASILIO, ANTONIO, SUSANNA e FIGARO: Forgive her! Forgive her!

IL CONTE: No, no, no!

COUNT; No, no, no!

LA CONTESSA: Almeno io per loro perdono otterrò.

COUNTESS: I will then intercede for their forgiveness.

BASILIO, IL CONTE e ANTONIO: Oh cielo, che veggio! Deliro! Vaneggio! Che creder non so?

BASILIO, COUNT, ANTONIO: Oh heavens! What do I see! A vision! A delusion! I don’t believe what I see?

IL CONTE: Contessa, perdono!

COUNT: Countess, forgive me!

LA CONTESSA: Più docile io sono, e dico di sì.

COUNTESS: I forgive you again. I can’t say no to you.

TUTTI Ah, tutti contenti saremo così. Questo giorno di tormenti, di capricci, e di follia, in contenti e in allegria solo amor può terminar.

ALL: And so we are all content. This tumultuous day of caprices and folly, and full of joy, can only end with love.

Sposi, amici, al ballo, al gioco, alle mine date foco! Ed al suon di lieta marcia corriam tutti a festeggiar!

Spouses, friends, to the ball, to fun, and to the fires of passion! Let’s march to the happy beat and the sounds of celebration!

END of OPERA


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Don Giovanni

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Don Giovanni “Il Dissoluto Punito” (“Don Juan, The Rake Punished”)

Dramma giocoso (“humorous drama”) in Italian in two acts


Libretto by Lorenzo da Ponte

Premiere: Prague, October 1787


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Don Giovanni

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Principal Characters in Don Giovanni Don Giovanni, a licentious Spanish nobleman Leporello, his servant Donna Anna, a noble lady The Commendatore (Commandant), Donna Anna’s father Don Octavio, Donna Anna’s betrothed Donna Elvira, a noble lady from Burgos, abandoned by Don Giovanni Zerlina, a peasant girl Masetto, Zerlina’s betrothed

Baritone or Bass Baritone or Bass Soprano Bass Tenor Soprano Soprano Baritone

TIME: 17th century PLACE: Seville, Spain

Brief Story Synopsis The opera story takes place during a 24-hour period, in which Don Giovanni’s attempts at seduction encounter interference from avenging victims of his misdeeds: they all seek retribution and punishment for the dissolute rake. Don Giovanni has surreptitiously entered the apartment of Donna Anna. When he leaves, her screams bring forth her father, the Commandant, who challenges the intruding stranger to a duel. Don Giovanni kills the Commandant, and the grieving daughter, Donna Anna, swears revenge. Don Giovanni encounters Donna Elvira, a woman he seduced but quickly abandoned; she is determined to convince Don Giovanni to renew their past love. His next attempted conquest is the young country girl, Zerlina, but he is thwarted by the sudden intervention of the avenging Donna Elvira. Don Giovanni hosts a party for the villagers so that he can have an opportunity to seduce Zerlina, but he is again frustrated by the intervention of the avenging Donna Elvira, Donna Anna and her betrothed, Don Octavio. Leporello, in his master’s disguise, courts Donna Elvira so that Don Giovanni can seduce her maid, but a group of vengeful villagers foil his adventure. Don Giovanni and Leporello escape from their pursuers to a cemetery, where a Statue of the dead Commandant demands that the licentious womanizer repent for his sins. Don Giovanni invites the Statue to dinner. He again refuses the Commandant’s demand to repent. Don Giovanni, unable to free himself from the grasp of the Statue, is engulfed by flames and descends into Hell.


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Don Giovanni

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Story Narrative with Music Highlight Examples The Overture to Don Giovanni is solemn and foreboding: it is the music that underscores the Commandant’s death; the music will reappear in the finale of the opera when the Commandant, now a stone Statue, arrives to dine with Don Giovanni. Musically, an andante emerges from the key of D minor, and then develops into a brilliant allegro in D major. The Overture music establishes the opera’s subtle balance between comedy and tragedy, and also suggests that justice is in pursuit of Don Giovanni, the mercurial seducer. Act I: Outside Donna Anna’s house at night. Don Giovanni, a noble of Spain, has embarked on another of his daring adventures; he has broken into the house of Don Pedro, the Commandant of Seville, (the Commendatore), in order to seduce his daughter, Donna Anna. Outside, Don Giovanni’s servant, Leporello, stands guard while his master pursues his prey. With rebellious indignation, Leporello complains about his dreadful fate as a servant to his libertine master. “Notte e giorno faticar”

Don Giovanni emerges from the palace, pursued by Donna Anna, who is desperately trying to unmask the seducer, and swearing that he will pay dearly for his transgression. After hearing Donna Anna’s screams, the Commandant appears to defend his daughter. He raises his sword and challenges the anonymous intruder. In reluctant self-defense, Don Giovanni duels with the Commandant and mortally wounds him. Seemingly unmoved by the corpse on the ground, Don Giovanni escapes from the palace with Leporello. Donna Anna discovers her dead father and becomes horrified. She unites with her betrothed, Don Octavio, to vow revenge against the murderer; they express their relentless determination to pursue the unknown criminal and bring him to justice. “Fuggi crudele”


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A street in Seville. It is early morning. Don Giovanni and Leporello roam the city in search of new conquests. They notice a beautiful woman: it is Donna Elvira. She is heard expressing her sadness and outrage at Don Giovanni’s treachery. She is hopeful that her faithless lover will return to her, but vows that if she fails, she will inflict torture on him. “Ah! chi mi dice mai, quel barbaro dov’è?”

Don Giovanni, unaware of Donna Elvira’s identity, approaches the lady in distress. But before he can offer her consolation, he finds to his consternation that she is none other than Donna Elvira of Burgos, the woman he had spurned recently; likewise, Donna Elvira recognizes the perfidious Don Giovanni. Don Giovanni tries to persuade Donna Elvira that he had justifiable reasons for abandoning her, but Donna Elvira refuses to believe her betrayer or accept his explanations. Don Giovanni quietly escapes from the impassioned Donna Elvira, leaving Leporello to console her anguish. . Leporello pleads with the spurned woman to dispel her anger: she is far from the first or the last woman to be jilted by his profligate master. With cynical pride, Leporello reads Donna Elvira his master’s bulky catalogue of conquests and seductions: in Italy 640, Germany 231, France 100, Turkey 91, but in Spain 1003. “Madamina! Il catalogo è questo”

Leporello tries to persuade Donna Elvira that his master is unworthy of her passion, but he is unsuccessful. He runs off, leaving the spurned and disheartened Donna Elvira alone in her sorrow and grief.

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In the countryside near Don Giovanni’s palace. Country folk sing, dance, and praise the joys of life and love. Don Giovanni mingles with the peasants and becomes enamored by Zerlina, a beautiful young woman engaged to marry Masetto. Don Giovanni envisions Zerlina as his next conquest; he generously offers to place her forthcoming marriage under his “protection.” Don Giovanni invites all the peasants to his palace, instructing Leporello to find diversion for the bridegroom, Masetto, so he can be free to court Zerlina. Discretion becomes the better part of valor as Leporello escorts the protesting Masetto into the palace. But Masetto explodes in frustration and outrage because he must accede to authority: “ Ho capito, Signor, sì” (“Yes, my lord, I understand you.”) Alone with Zerlina, Don Giovanni tries to seduce her with a serenade. He suggests that they escape to a little house on the estate where they can be alone; he promises to marry Zerlina. “Là ci darem la mano, là mi dirai di sì”

Just as Zerlina is about to surrender to Don Giovanni’s seductive charms, Donna Elvira suddenly appears, the jealous and spurned woman congratulating herself on arriving at such an opportune time to save an innocent girl. Donna Elvira proceeds to launch a tirade of denunciations against the profligate Don Giovanni. Zerlina listens anxiously, and then questions Don Giovanni if Donna Elvira’s accusations are true. With feigned compassion, Don Giovanni explains that the poor and unfortunate Donna Elvira is in love with him, and because of his kindness and selflessness, he has had to placate her by pretending to love her. With fury and indignation, Donna Elvira warns Zerlina to beware that this man will betray her with lies and worthless promises. Donna Elvira seizes Zerlina and leads her away under her protection, further warning her that she must defend her honor against this lecherous nobleman. “ Ah! fuggi il traditor!”


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Don Octavio and Donna Anna appear. Donna Anna does not recognize her assailant from the night before, and unwittingly solicits Don Giovanni’s help and friendship in her quest for revenge. Donna Elvira suddenly appears, crying out dramatically: “So, I find you again, perfidious monster!” Donna Elvira proceeds to warn Donna Anna not to have faith in this man who would betray her: “Non ti fidar, o misera” (“Do not have faith in this miserable man.”) Donna Anna and Don Octavio become moved by Donna Elvira’s tears: aside, Don Giovanni tells them that the poor woman is mad, but perhaps he can calm her. Donna Anna and Don Octavio become confused and do not know whom to believe. As Donna Elvira storms away, Don Giovanni announces that he must follow the poor unfortunate woman, his excuse to bid farewell to Donna Anna and Don Octavio. Donna Anna has a revelation; upon hearing Don Giovanni’s voice, she is now convinced that he was her assailant and the murderer of her father. As an attentive and curious Don Octavio listens, Donna Anna proceeds to narrate the details of the previous evening, all the while imploring Don Octavio to join her in revenge. “Or sai chi l’onore rapire a me volse”

After Donna Anna’s furious proclamations of revenge, she storms away, leaving Don Octavio alone to reflect on her agony. He is confounded by the events, unable to believe that such a nobleman could be capable of so black a crime. But as Donna’s lover and friend, he swears that it his duty to vindicate Donna Anna’s honor. “Dalla sua pace”

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A terrace before Don Giovanni’s palace. Don Giovanni, obsessed in his pursuit of Zerlina, has invited all the peasants to his palace for a night of merriment. Don Giovanni commands Leporello to round up the guests and prepare food, wine and entertainment for all. “Finch’han dal vino calda”

Meanwhile, Zerlina argues with her jealous betrothed, Masetto, who has accused her of being unfaithful and abandoning him on their wedding day. Zerlina proclaims her innocence, and tries to pacify her outraged betrothed, even inviting him to beat her for her presumed insolence. “Batti, batti, o bel Masetto”

Don Giovanni arrives in an expansive and hospitable mood. He finds Zerlina and persuades her to disappear with him into the arbor, but his intrigue is thwarted when he finds the implacable Masetto hiding there. In frustration, Don Giovanni escorts them both to the festivities in the palace.

The ballroom in Don Giovanni’s palace. Suddenly, a trio of masked intruders arrive: they are the avenging Donna Anna, Don Octavio, and Donna Elvira, all determined to invade the ball, capture Don Giovanni, expose his wickedness, and punish him. Leporello advises Don Giovanni that the three masquerading characters seem to be guests. Don Giovanni instructs Leporello to welcomes them to the ball.


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The Minuet:

The three masked avengers join the dancing at the ball. Don Giovanni pursues the apprehensive Zerlina; after he coerces her, both disappear through one of the ballroom doors into another room. Suddenly, Zerlina is heard screaming. The dancing stops and the three masked avengers take the initiative to break down the door to rescue Zerlina. After Zerlina is returned to safety the avengers advance upon Don Giovanni, crying out: “Tremble! Soon the whole world will know of your black and terrible deed, and of your inhuman cruelty. Hark to the thunder of vengeance!” Don Giovanni grabs the incredulous Leporello and accuses him of being the seducer. Then Don Giovanni announces that he fears nothing and nobody; with Leporello at his side, he forces his way past the avengers, and both escape.

Act II: In front of Donna Elvira’s house. In a moment of pleading righteousness, Leporello threatens to leave Don Giovanni’s service, urging his master to give up his profligate life-style. But Don Giovanni defends himself philosophically, claiming that seduction is the bread of his life. He gives money to Leporello, temporarily assuaging the rebellious servant. Don Giovanni has now become fascinated with Donna Elvira’s maid. But to succeed in this new adventure, he must draw Donna Elvira away: Don Giovanni and Leporello exchange cloaks and hats, and Leporello, now disguised as his master, is commanded to court Donna Elvira. Donna Elvira appears at her window, and reflects on her confused feelings: she prays that her heart would stop yearning for the man she knows is a deceiver, but the man she cannot stop loving. Don Giovanni stands in the shadows behind Leporello, who is now dressed in his master’s cloak and hat. Don Giovanni, the voice behind Leporello, responds to the vulnerable Donna Elvira with seductive flattery and endearments; he begs for forgiveness and promises her faithful love. Donna Elvira’s resistance and defenses immediately break down. She rushes from her balcony to join the man she believes is Don Giovanni, who has returned to reciprocate her love. Donna Elvira emerges from the house and passionately embraces her lover (Leporello), the servant clearly enjoying the charade and the impersonation of his master. Don Giovanni creates a disturbance, a cue for Leporello to flee the scene with the frightened Donna Elvira. With Donna Elvira gone, Don Giovanni is left alone to serenade Elvira’s maid.

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“Deh vieni alla finestra, o mio tesoro”

Don Giovanni’s attempted romantic escapade with Donna Elvira’s maid is interrupted by a band of armed peasants who are searching for him: their leader is the pistol-waving Masetto. But Don Giovanni is not recognized because he is still in the disguise of his servant, Leporello. The peasants take him into their confidence. Don Giovanni proceeds to give them false directions to find the rascal: the peasants leave, scattering throughout the city in search of Don Giovanni. But at Don Giovanni’s insistence, Masetto remains behind. Don Giovanni invites the naive young man to show him his weapons. When Masetto hands over his musket and pistol, he is defenseless. Don Giovanni thrashes him violently before disappearing into the night. Zerlina arrives to discover Masetto groaning in pain. She gives him solace, and promises him a cure that will restore him to health: the cure is her love. “Vedrai, carino, se sei bonino”

A dark courtyard before Donna Anna’s house. Leporello leads the apprehensive Donna Elvira into a darkened courtyard to seek refuge from their pursuers. Donna Anna, Don Octavio, and then Zerlina and Masetto appear, all of them still in search of Don Giovanni. But they believe that they have discovered him (Leporello in disguise) and demand death to the perfidious villain. The unfortunate servant is terrified and pleads for his life. Zerlina binds him to a chair, but miraculously, he escapes. Alone, Don Octavio vows to comfort his beloved by bringing Don Giovanni to justice.


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“Il mio tesoro”

Donna Elvira, in a moment of self-pity, again expresses her sadness and anguish at Don Giovanni’s betrayal of her. “Mi tradi quell’anima ingrata”

A cemetery with equestrian statues, among them the marble statue of the Commandant. Don Giovanni and Leporello, fugitives from all the pursuing avengers, meet in the safety of a cemetery. Suddenly, they are interrupted by a sinister voice coming from a stone Statue: “Your jests will turn to woe before morning!” Looking around, Don Giovanni notices the Commandant’s statue and commands Leporello to read its inscription: “Vengeance here awaits the villain who took my life.” Don Giovanni instructs Leporello to invite the Statue to supper. The Statue nods its head in acceptance, and then Don Giovanni personally extends his invitation: the Statue accepts with a solemn “yes.” Don Giovanni, burning with defiance, goes home to prepare for the arrival of his strange guest. Leporello accompanies him, terrified and sensing doom. A room in Donna Anna’s house. Donna Anna continues to grieve for her father, advising the consoling Don Octavio that they cannot wed until her father’s murder has been avenged. Don Octavio interprets her postponement as cruelty, but Donna Anna defends her need to grieve for her loss. “Non mi dir, bell’ idol mio”

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The dining hall in Don Giovanni’s palace In an expansive and hospitable mood, Don Giovanni dines in his palace while being entertained by musicians. Donna Elvira, agitated and desperate, again appears; she promises to forgive Don Giovanni if he would change his profligate life-style. She falls to her knees before Don Giovanni and pleads with him to repent, but Don Giovanni loses his patience and dismisses her: as the spurned Donna Elvira leaves, she curses Don Giovanni as a “horrible example of iniquity.” When a knocking is heard at the door, a fearful Leporello hides under a table. Don Giovanni opens the door; before him is the Statue of the Commandant. The Statue refuses Don Giovanni’s offer to dine with him. He grasps Don Giovanni’s hand and urges him to mend his ways and repent. Don Giovanni struggles frantically and in vain to free himself from the Statue’s grip; he remains defiant and refuses to repent. Flames envelop the hall as the voices of demons are heard condemning and denouncing Don Giovanni. With a final cry of despair, Don Giovanni is swallowed up by the engulfing fires of Hell.

Epilogue: The avengers have seemingly been victorious. Masetto and Zerlina, Don Octavio and Donna Anna, and the lonely Donna Elvira, are unanimous in their lustful eagerness to show their contempt and hatred for the perfidious Don Giovanni. Leporello provides them with a detailed account of the horrible events which caused the demise of his master. Donna Anna and Don Octavio suggest that all their troubles have been resolved by divine intervention. She advises Don Octavio that she will remain in mourning for an entire year, her marriage to him therefore postponed and to be reconsidered afterwards. Donna Elvira announces that she will retire to a convent. Zerlina and Masetto decide to return home to dine together. Leporello declares that he has but one practical alternative: he will go to the tavern and seek a new master. All celebrate the demise of the sinner: divine justice has triumphed!


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Don Giovanni

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Don Giovanni - Commentary and Analysis

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T

he commission for Don Giovanni followed the triumphant productions of The Marriage of Figaro in both Vienna and Prague in 1786. For Don Giovanni, Mozart again chose Lorenzo da Ponte as his librettist. Although those “Don Juan” plays, which had derived from legends were considered by the aristocracy to have descended to the level of vulgarity, Prague was not directly under the control of the imperial Hapsburgs; therefore, the censorship and restriction of underlying elements of its story was limited, if nonexistent.

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oethe testified to the popularity and drawing power of the “Don Juan” stories among the common people, after he witnessed an opera on the subject in Rome in 1787: “There could not have been a soul alive (in Rome, right down to the greengrocer and his children) who had not seen Don Juan roasting in Hell, and the Commendatore, as a blessed spirit, ascending to Heaven.” Don Juan legends and myths trace their genesis, like the Faust story, to the exploits of a personage who actually lived. The tale describes Don Juan, a member of the noble Tenorio family, who in the fourteenth century, is reputed to have been a perpetrator of plots against the entire female population of Seville. The first play to reach the stage was by the Spanish dramatist, Gabriel Tellez (15841648), who wrote under the pseudonym Tirso de Molina: El Burlador de Sevilla y Convivado de Piedra (“The Rake of Seville and the Stone Guest.”) In the play’s finale, Don Juan brazenly invites the Stone Guest to dine with him, and to his consternation, the statue accepts. They dine in a nearby chapel: the dishes at their supper contain scorpions and snakes, the wine is gall and verjuice, and the dinner music is a penitential psalm. Then the statue vanishes, at which time Don Juan is consigned to Hell. Other inspirations for the da Ponte/Mozart story were Molière’s Le Festin de Pierre (1665) (“The Feast of Stone”), Righini’s Il Convitato di Pietra ossia Il Dissoluto punito (1776), the German comedy (comödie) Das steinerne Gastmahl (1760), and Gluck’s pantomime ballet Don Juan, ou Le Festin de Pierre (1761). Molière’s play, in particular, aroused great controversy owing to the religious and social elements he portrayed: Don Juan’s atheism and lack of gallantry toward the poor was deemed to be un-Catholic and unSpanish, not to mention his sins of rape and seduction. The eighteenth-century plays of the very popular Carlo Goldoni were noted for their wit and skill in satirizing social pretension. Goldoni treated the subject in his play, Don Giovanni Tenorio, o sia il Dissoluto (1736), his particular innovations that Donna Anna was betrothed to Don Octavio against her will, and his introduction of Donna Elvira, the presumably mad woman who continuously interferes with Don Juan’s seductive adventures. However, Da Ponte’s basic framework for his libretto for Mozart’s opera was Bertati’s contemporary oneact opera, Don Giovanni, or sia il Convitato di Pietra (1787), musically scored by Giuseppe Gazzaniga, a highly prolific and esteemed opera composer of the late eighteenth century. From their very beginnings, Don Juan stories about the libertine rake of legend were extremely popular medieval morality plays, certainly during the God-centered Middle Ages when society literally lived between hell and damnation. The stories became a popular vehicle for strolling puppet theaters, whose audiences relished its underlying allegorical struggle between the forces of good and evil, and the ultimate punishment of the classic transgressor. In these stories, Don Juan is a rebel against conventional morality, a dissolute sinner, and a promiscuous, treacherous, and murderous man; by the demands of a morality play, he must receive divine justice through punishment. Like all humanity, Don Juan is a fatally flawed character, yet he is a compellingly fascinating and commanding figure. Nevertheless,


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he is a menace and danger to society, particularly in his attractiveness to weak and vulnerable women: three of those women appear in high-relief in the Mozart/da Ponte version of the story: Donna Anna, Donna Elvira and Zerlina. In the Mozart opera, each woman has her own particular obsession and fascination with Don Giovanni; each is aware of his evil, but each is ready and willing to surrender to him. Mozart’s Don Giovanni boldly confronts his world, a Faust committing the sin of curiosity, or a Carmen obsessed with her freedom to love whom she wants. However, Don Giovanni can be viewed as an archetype of every man or woman’s alter ego, a man who faces that eternal conflict of the tension, desire and craving for love, and the struggle between emotion and reason, the spirit and the flesh, or the sacred and the profane. Don Giovanni represents powerful and uncontrollable irrational forces of humanity, an ambivalent and paradoxical world, in which he can either be viewed as a blessing or a curse. George Bernard Shaw’s Man and Superman, interprets Don Giovanni as the incarnation of an evolutionary “life force,” its hero, a demonic and satanic force of evil that rises to challenge God himself.

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hroughout its two hundred year plus history, many have considered Mozart’s Don Giovanni “the opera of all operas,” possibly the most perfect opera ever composed. It is a monumental wonder of musical imagination, a work containing towering music with unrivalled beauty, and a plot whose dramatic essence contains timeless themes; perhaps a more appropriate accolade attributable to this immortal masterpiece would be “THE opera of the second millennium.” During the late eighteenth century, opera buffa was the most popular opera genre, but at the same time, the opera seria genre was en route to obsolescence. Mozart largely modeled Don Giovanni on the style of The Marriage of Figaro, a synthesis of the opera buffa comic style with the seriousness of the opera seria. Although da Ponte wanted his scenario to be entirely comedic — a satire in the old classic tradition — Mozart perceived an inner depth in the story and was determined to inject seriousness into the plot. The designation “dramma” in Mozart’s time signified the grander, heroic world of opera seria, while “giocoso” denoted “gaiety” or “frolic.” Don Giovanni was designated a “dramma giocoso,” a “humorous drama,” and therefore represents the compromise between composer and librettist, the resulting work containing a profound seriousness melded with riotous comedy and humor. Mozart himself would at times casually refer to the opera as an opera buffa. But Don Giovanni is essentially a tragicomedy, in which boisterous laughter becomes fused with serious tears, where slapstick, farcical comedy, and humor fuse with the supernatural might of avenging providence. The blending of all of these elements, in many respects, heightens the poignancy and eeriness of the tragedy. To heighten the effect of tragicomedy, like The Marriage of Figaro and the later Così fan tutte, the plot continuously alternates between comedy and satire, and then quickly plunges into the darker shades of genuine tragedy: Donna Anna is a genuine opera seria personality, a woman of driving passions, who portrays profound grief for her father’s death, and a relentless obsession for revenge against Don Giovanni. Donna Elvira is also essentially an opera seria character, a spurned woman who alternates between love, compassion, and revenge. Likewise, Don Octavio’s noble devotion and outpourings of love for Donna Anna are sentiments so typical of the opera seria genre. And nothing could be more derivative of the opera seria than the forces of supernatural retribution, the Commandant coming to life to lead Don Giovanni to his ultimate doom and eternal punishment.


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But the smiles, sublime humor, and the gaiety of opera buffa are dutifully portrayed in the playful quarrels and reconciliations of Masetto and Zerlina, and the Don’s thrashing of Masetto. However, Leporello is the true opera buffa character: his wit and humor in the Catalogue aria, his pleasure in imitating his master’s escapades, and his admonishments to his master to change his dissolute life-style.

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on Giovanni is a man with a romantic compulsion, a cold and insensitive adventurer living a tension between desire and fulfillment. The profligate Don Giovanni is governed by a single motivation: his flaunting of society and its rules in the pursuit of sexual pleasure and conquest. Leporello ironically tells Donna Elvira about his master’s compulsions in the Catalogue aria, a moment of laughter, yet a moment of tears for the vanquished: “He conquers the old ones for the pleasure of adding them to the list. But his predominant passion is the young beginner. He doesn’t mind if she’s rich, or ugly, or beautiful. You know what he does, providing she wears a skirt.” Don Giovanni is a picaresque antihero, an adventurer whose charismatic personality captivates and overwhelms all who encounter him: his victims remain in awe or shock, yet his demonic engine continues to grind steadily with a passionate ebullience and a forceful vitality. In our times, the classic Don Juan legends have passed from the realm of theater into Freudian interpretation: the psychiatric language speaks about the “Don Juan” complex, in which, the hero fails to recognize his true self-hiding behind his mask; there is a cold heart behind his masquerade of obsessive sexuality and amorous passion. Modern psychologists cite that Don Giovanni’s adventures hide an unconscious male fantasy; that obsession for blissful union — or reunion — with his mother. As such, his unconscious obsessions have driven him into sexual adventures that are not the outcome of real feelings, but rather, illusory obsessions with sex and conquest that are the chronic symptoms of a disease that is incomprehensible to him. In that context, Don Giovanni is never capable of experiencing true love, because he has erected a subconscious defense, a fear that overshadows his narcissistic selfishness and even selflessness. In effect, Don Giovanni is continually defending himself against the threat of women, impetuously chasing his next conquest as he escapes in desperation from the last. So behind that facade of the swashbuckling, boudoir-hopping, serial sexist, lurks a perpetual adolescent seeking instant gratification; or perhaps a latent homosexual actually hating women; or perhaps an antihero intent on evil who slays an interfering father (the Commandant). In that context, Don Giovanni is in pursuit of one unsatisfactory motherimage after another. To stretch the psychological thesis even further, it has even been suggested that Don Giovanni himself is an incarnation of a fertility god, so to attend a Don Giovanni performance is to participate in the celebration of some kind of mythic fertility ritual. But in spite of modern psychological interpretations, Don Giovanni is first and foremost a classical morality play: as such, good must conquer evil. Don Giovanni cannot flaunt society’s norms with his carefree pursuit of sexual pleasure, so ultimately, he must receive divine retribution and punishment; it becomes the man he murdered, the Commandant, who appears to him as a metaphysical apparition, the embodiment of divine law, destiny, and the moral voice of righteousness. In the end, Don Giovanni’s ultimate fate is horrible and gruesome, yet in the context of a morality play he must be punished; it is Mozart’s genius that elevates Don Giovanni’s demise to an incomparable sublimity.


D

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on Giovanni is the central catalyst of the drama who evokes all of the responses and actions from the other characters; when Don Giovanni acts, everyone else reacts. He is an almost opaque hero who becomes defined by those he pursues. Yet as Don Giovanni pursues his picaresque adventures, the inner soul of the hero is concealed; there are no lengthy Wagnerian-style introspective narrations in which Don Giovanni reveals the deep inner workings of his soul. Yet, he instinctively and intuitively knows his surrounding world and senses the vulnerability of the characters that confront him: he will exploit all of them, and all of them will be humbled and humiliated; in the process, each one will become aware of his own weaknesses and vulnerabilities. The three principal female characters in this drama — Donna Anna, Donna Elvira and Zerlina — yearn and crave for love, and in that pursuit they experience anxiety and pain. Mozart and da Ponte shift the wages of sin from sinner to the sinned against. In defending their failures, they all find a way to blame Don Giovanni for their dilemma, and at times, they accuse each other of cruelty. But in truth, it is Don Giovanni who is cruel; it is Don Giovanni who is steadfast and resolute in his heartless and callous pursuits, and in the end, the pursued stand dumbfounded and in wonder and awe. Mozart’s music ingeniously weaves together these individual personalities, breathing life into their agonies and their ecstasies; their heartbeats pound with emotional gravitas, and their feelings and anxieties are sometimes comic and sometimes serious — and sometimes both. In Don Giovanni’s three female characters, the diverse spectrum of womanhood is rendered complete: the great opera seria character of the avenging Donna Anna, the sentimental and spurned Donna Elvira, and the crafty but sympathetic peasant girl Zerlina. Donna Anna’s character shades the opera with both darkness and romanticism, and it is Donna Anna’s grief in her father’s death and murder that is a mainspring of the drama. Mozart places total humanity in Donna Anna, the daughter of an aristocratic nobleman, and a woman who becomes completely consumed by her passion for revenge — and love. It is never quite clear whether Donna Anna was indeed seduced and raped by Don Giovanni, or if she was a willing participant in a clandestine liaison with him. It is a most dramatic episode when Donna Anna tells Don Octavio that through his voice and manner, she recognizes Don Giovanni as her father’s murderer and her assailant from the night before. To Mozart’s eighteenth century audience, Donna Anna had certainly invited Don Giovanni to her apartment that night, for there are noticeable gaps and discrepancies in her story. Specifically, her explanation to Don Octavio — her betrothed — is far too concerned with the presumed attack on her honor, and hardly concerned with the killing of her father. Don Giovanni made his conquest and decided to leave, a man of the chase and the kill who had no concern for the carcass after the conquest. It has been speculated that Donna Anna was indeed seduced, and willingly welcomed their amorous episode, but like all of his conquests, when it was over, it was over. So Donna Anna’s revenge against Don Giovanni as the murderer of her father stands as a subterfuge for her more extreme passion: her revenge against a perfidious lover. Mozart’s supreme devotee, Ernst Theodor Amadeus Hoffmann, an early nineteenthcentury German Romantic writer whose obsession with Mozart and his opera Don Giovanni compelled him to change his third name from Wilhelm to Amadeus, hypothesized Donna Anna’s true motivations in one of his fantastic tales: Don Juan (1813), republished as Phantasiestucke in Callots Manier (1814). Hoffmann concluded that Donna Anna was a “divine woman over whose pure spirit, evil is powerless.” Yet, Hoffmann concluded that Donna Anna was a profoundly sensuous woman who was secretly aflame with desire for Don Giovanni; it is her impassioned call for revenge against Don Giovanni for violating her honor, “Or sai chi l’onore,” in which


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Hoffmann suggests that Donna Anna had been willingly seduced by Don Giovanni, and was deeply in love with him. The unfortunate corollary to Hoffmann’s elevation of Donna Anna is that in his fantastic tale he portrays Donna Elvira as a caricature, a less voluptuous and more unworthy example of womanhood than Donna Anna. Hoffmann portrays her as the “tall, emaciated Donna Elvira, bearing visible signs of great, but faded beauty.” Da Ponte’s libretto specifies only that she be young, and in a later tribute, Baudelaire refers to her as “the chaste and thin Elvira.” Donna Elvira was the specific creation of Molière’s version of the legend in his Le Festin de Pierre (1665), in which, Elvira became a strong-minded woman with a complex and multidimensional personality, perhaps possessing the most profound feelings of all the female characters. Mozart’s musical portrait of Donna Elvira provides a delicate balance between sympathy and rage; she is a spurned and humiliated woman who is constantly tormented and degraded. Yet, Donna Elvira brings to the fore the paradoxes of how quickly love or hate can be triggered: she becomes obsessed with vengeance, but at the same time, she is ever doting and willingly available as an easy conquest for Don Giovanni — if he promises to return to her and mend his ways. Donna Elvira represents a magnificent portrait of an archetypal spurned woman: she was a former nun, who was seduced by Don Giovanni while she was in a convent, and the memory of that experience has transformed into her life’s obsession; she is determined to tear out Don Giovanni’s heart unless he returns to her. But Donna Elvira is the only woman in the story, who openly expresses true fidelity to Don Giovanni, and in that sense, she represents the real threat to his defenses, perhaps the reason he fights her off so cruelly. (Da Ponte even suggests that Don Giovanni married her because it was the only way he could control her.) Donna Elvira pursues Don Giovanni with an impassioned single-mindedness, her love for him not just merely a passing episode, but a decisive passion. In that sense, Donna Elvira, of all the women in the opera, is the one character whose entire human essence parallels that of Don Giovanni. Like Don Giovanni, she is constantly in pursuit of the ideal, craving and yearning for love. It was Don Giovanni who kindled a spark in Elvira, and she shares that same consuming passion for love that burns within him. Donna Elvira’s “Ah! Fuggi il tradito” has a passionate and fiery fury, an articulation of emotion that reveals the heightened torment in her soul. But her final outburst of revenge and hatred against Don Giovanni merely reconfirm the proximity of the passions of love and hate. Nevertheless, Donna Elvira is determined to win back Don Giovanni’s love, even after she recognizes the hopelessness of her quest. Donna Elvira’s misfortune was that her apparently first and only love experience became none other than the licentious Don Giovanni. It was obviously a euphoric moment for her, and its memory has caused her to surrender her soul, her life, her love, and her future to a man she refuses to abandon. Donna Elvira, like Donna Anna, is a tragic and tormented personality. She thirsts for tenderness, but passes from outrage and indignation to powerless defeat and despair. In the end, she realizes that her dreams are all illusions, and she will only find solace in her memories. Don Octavio is the great comforter and consoler of Donna Anna, her husband-to-be. He is a man of admirable sentiments, constantly joining his beloved Donna Anna in sharing her suffering, and solemnly offering her solace by supporting her need for revenge.


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When Donna Anna recognizes that Don Giovanni was her seducer and the murderer of her father, Don Octavio listens in shock. At first he offers appropriate sympathy, but then responds incredulously; he never heard of a cavalier capable of so black a crime, and swears that it is his duty as Donna Anna’s lover and friend to vindicate her honor. Essentially, Don Octavio is colorless and docile, yet he is worthy and well-meaning, at times though, appearing to be a dutiful and obedient parasite of desirable and voluptuous women. He seems indecisive, taking quite a long time to reach his conclusion that Don Giovanni is indeed the villain, but he of course does not know that Donna Anna has reached her conclusions through first hand experience. Somehow, Don Octavio alleges Don Giovanni’s guilt based on his unsuccessful attempt to seduce Zerlina, and his later thrashing of Masetto. But none of Don Octavio’s conclusions would pass the test of the smoking gun. Essentially, Don Octavio, the man who is in love with Donna Anna, cannot face the truth that his beloved had been dishonored by another man, no less the notorious Don Giovanni. Zerlina is ambivalent: she is either an innocent country girl, or a saucy, wily, and everso-omniscient flirt; Mozart’s music for her is always full of a sense of guile and trickery. When Don Giovanni serenades Zerlina in lieu of seducing her, “Là ci darem la mano,” Mozart’s music dissolves any animosity that she might bear toward Don Giovanni, the music magically contrasting Don Giovanni’s aristocratic bearing against Zerlina’s country-girl shyness and presumed innocence. But the serenade is a masterly instance of Don Giovanni’s insincerity, and Zerlina is placed in conflict between emotion and reason; at certain moments she actually believes — or wants to believe — his expansive talk, and that an amorous liaison with an aristocrat will elevate her on the social ladder. Mozart’s cynical eighteenth century audience certainly laughed at Zerlina’s presumed innocence and gullibility, but they had more pleasure in anticipating the villain’s defeat. “Là ci darem la mano” is a wonderfully sensuous and exquisite musical number: it is begun by Don Giovanni, and then builds to a duet with Zerlina; it is Don Giovanni’s invitation to Zerlina to escape with him to the little house where they will be married — or pretend to be married. Both Don Giovanni and Zerlina seem to be irresistible to each other; both display subtle explosions of physical attraction, chemistry, true desire and a harmony of their souls. Zerlina vacillates with indecision. She wants to, and doesn’t want to, but then feels herself weakening: their “Andiam” that concludes the duet, conveys a sense of sublime excitement and pleasure. Later, Zerlina uses her irresistible charm to console Masetto after his thrashing by Don Giovanni, exploiting his exaggeration of his injuries with irresistible arguments: love will resolve everything. Zerlina’s “Batti, batti o mio Masetto” is a light and lovely moment of supreme opera buffa, but it nevertheless expresses true sentiment and love. The character of Leporello is a direct descendant of the commedia dell’arte tradition. He is that classic satirical opera buffa character, the comic servant who expresses mock anxieties and rebellious indignation when he complains sarcastically and bitterly about the conditions of his employment for his libertine master — irregular meals, lack of sleep, and endless vigils waiting for his master in wind and rain: “Notte e giorno faticar.” Although he is cynical when he congratulates Don Giovanni on his success at seducing a daughter and at the same time eliminating the father, he is horrified by the death of the Commandant, an “eccesso” (“excess”) that was seemingly provoked, but certainly the last thing he or Don Giovanni ever intended. Leporello expresses sincere compassion for Donna Elvira when he tries to persuade her — through the Catalogue of his master’s unworthiness; that she is not the first or the last of


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his master’s conquests, but of course he unhesitatingly describes his master’s preferences and adventures with obvious pride. And in true opera buffa tradition, Leporello becomes the unwitting victim of Don Giovanni’s excesses on two occasions: in the Act I finale when he becomes the accused seducer of Zerlina and in his pitiful predicament when he is caught by Don Giovanni’s avengers in Act II. Although Leporello expresses righteous indignation toward Don Giovanni when he condemns his master’s profligate life and threatens to leave his service, his loyalty quickly returns after Don Giovanni’s bonus compensation. Leporello relishes his moments as a Don Giovanni-in-training; imitation is indeed the greatest form of flattery. When Leporello is among the peasants, he imitates his master’s habits and mannerisms, hopeful that among so many young women there might be a conquest for him too. And although it is an exaggerated moment, he obviously enjoys the charade and impersonation of his master when he woos Donna Elvira: “Son per voi tutta foco” (“I’m all aflame for you.”) The Leporello character is a magnificent blend of wit, comedy and seriousness: a quintessential opera buffa character. At the conclusion of Act I, the entrance of the three masked characters provides a magnificent moment for ambivalent meanings. The three masked characters — Donna Anna, Donna Elvira, and Don Octavio — arrive at Don Giovanni’s festivities, the music and text exploding with the strains of “Viva la libertà.” (For obvious reasons, da Ponte intentionally withheld this portion of the opera text when he submitted it to the censors.) For each character, liberty may have a different meaning: for Don Giovanni himself, liberty is perhaps his right to exploit his surrounding world, a goal that he has accomplished by inducing everyone to his castle, if only for the opportunity to seduce Zerlina; for Leporello, liberty could define his freedom to emulate the licentious actions of his master; for Zerlina, liberty could mean a higher social status if she spends a night with the aristocratic Don Giovanni, an idea she disingenuously revealed earlier during the “Là ci darem la mano” duet; and for Masetto, liberty could mean his right to fight against the social injustices to which he has become a victim. And for those three masked characters, liberty is their freedom to enter Don Giovanni’s iniquitous world and unmask, expose, and punish the profligate seducer and evil murderer.

T

he banquet scene of Don Giovanni is a great tour-de-force of lyric theater, a magnificent blend of comedy and tragedy. Donna Elvira had again been pleading with Don Giovanni to mend his ways and return to her love nest, but she was unsuccessful. As she leaves in anguish and torment, she turns to panic when she sees the Statue (the Commandant), arriving to dine with Don Giovanni. Leporello is overcome with fear and terror and hides under the table. But Don Giovanni confronts the Statue with ferocious courage, a symbolic moment when time stops and he is forced to look inward. When Don Giovanni grasps the Statue, he feels an unmistakable coldness, perhaps the inhuman coldness lurking within his own inner soul. He cannot free himself from the grasp of the Statue, even as flames begin to engulf him. Nevertheless, Don Giovanni is heedless to the Statue’s commands; he remains resolute and will not change his ways or repent for his dissolute life. Mozart inventively scored this chilling and frightening moment in the dark and mysterious key of D minor, the music recalling the Overture and the death of the Commandant in Act I; it is a brilliant musical portrait of that defining moment in which the universal sinner is about to receive divine retribution for his transgressions.


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Don Giovanni is doomed to Hell by fire, a transformation that will expurgate his soul, and the means by which he can be resurrected with new insight, understanding, awareness and compassion. In order for Don Giovanni to replace his inhumanity with true love and compassion, he must repent. But he courageously refuses, and avenging devils drag the unrepentant sinner to eternal punishment. Don Giovanni represented archetypal evil: he was cruel, seductive, coarse and arrogant. But Don Giovanni’s demise was heroic; even though he may have sensed his irrevocable damnation, he was unequivocally courageous and resolute in his refusal to repent, intransigent to change and become anything other than his reprobate self. So in the end, Don Giovanni’s final damnation is redemptive, a just punishment for all of his sins, transgressions and misdeeds. Mozart’s music for the demise of Don Giovanni unhesitatingly treats those forces of supernatural retribution with great solemnity and seriousness. After all, Don Giovanni is in many ways an archetypal hero whose transgressions represent the eternal tragedy of all humanity. Nevertheless, Mozart added an additional scene to the conclusion of the opera: Act II Scene 6, or the Epilogue, that serves to lighten the profound seriousness of the final tragedy, and remove the sting from the hero’s gruesome descent into Hell. To some, that final scene can be seen as either a gratuitous vaudeville ending to the tragedy, a necessary moralizing sermon, or a moment of cynicism. Essentially, the six remaining characters announce that with the demise of the evil Don Giovanni, life has returned to normalcy. They remind the audience that Don Giovanni was a classic sinner, the all-time rake who challenged authority, challenged society, and thus challenged God. The survivors tell us that with his demise, justice has been served, and that society has been purged of his seductive and destructive power. But in truth they are all grieving their loss; Don Giovanni may be gone, but he achieved immortality because he will never be forgotten.

F

or more than two hundred years, Mozart’s Don Giovanni has caught the imagination of artists, composers, poets, philosophers, psychologists, men of letters, and of course, music lovers. There is a legacy of inspired literary treatments from Byron, Baudelaire, Mérimée, Pushkin, and Tolstoy. In his Diabelli Variations, the overworked and exploited Beethoven sneered at his publishers by including Leporello’s “Notte e giorno faticar” (“I work hard day and night.”) In the Prologue to Offenbach’s The Tales of Hoffmann, there is an underlying suggestion that the whole work is on one level an exegesis of Mozart’s opera; after all, Hoffmann, like Don Giovanni, was seeking the ideal love. Don Octavio’s aria, “Il mio tesoro” (“My treasure”), was an early recording sung by John McCormack that supposedly became the most prominent early phonograph recording. Beethoven and Chopin wrote variations on the duet, “Là ci darem la mano”; Liszt included this duet music prominently in his Don Juan fantasy; in the film version of Dorian Grey, the hero is compelled to hear “Là ci darem la mano” as he embarks on his first seduction; and in James Joyce’s Ulysses, the music haunts the cuckolded Leopold Bloom after he hears his wife singing it to her lover as they advance toward sexual consummation. Don Giovanni was a spectacular triumph in Prague; it became, after Die Entführung aus dem Serail, the Mozart opera most performed in the composer’s lifetime. Since its premiere, nearly every opera singer of note has been associated with one of the main roles in Don Giovanni. Rossini, upon seeing the Don Giovanni score for the first time, fell to his knees, kissed the music, and exclaimed of Mozart: “He was God himself.” Goethe claimed that only Mozart,


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the man who had written Don Giovanni, was capable of setting his masterpiece Faust to music. Gounod, a composer who did set Faust to music, said of Don Giovanni: “It has been a revelation all my life. For me it is a kind of incarnation of dramatic and musical perfection.” Wagner would ask: “Is it possible to find anything more perfect than every piece in Don Giovanni? Where else has music individualized and characterized so surely?” Tchaikovsky famously commented, “Through that work I have come to know what music is.” Bruno Walter confessed, “I discovered beneath the playfulness a dramatist’s inexorable seriousness and wealth of characterization. I recognized in Mozart the Shakespeare of opera.” Shaw thought the fine workmanship he found in Don Giovanni “the most important part of my education.” Kierkegaard exclaimed: “Immortal Mozart, you to whom I owe the fact that I have not gone through life without being profoundly moved.”

D

on Giovanni provides that great combination of poignant sadness and emotional turmoil, together with moments of lusty charm, comedy, gaiety, excitement, and laughter. Don Giovanni explains his entire spirit at the beginning of Act II when he defends his life of exploitation and seduction of women to Leporello: “Don’t you know that they are more necessary to me than the bread I eat, the very air I breathe.” The underlying essence of the entire opera concerns Don Giovanni’s sexual obsessions, a man consumed and resolute in his need to exploit women; for him, it is an indulgence in which the thrill of the chase and the conquest represent the sheer joy and excitement of life itself. Like his fellow libertine, the Duke of Mantua in Rigoletto, whose motto was “Questa o quella” (“This woman or that woman)”, Don Giovanni’s motto was “quest’ e quella” (“This woman AND that woman.”) Nevertheless, with all of the story’s allusions and moral fanfares, in the Mozart/da Ponte opera, Don Giovanni, the owner of the famous catalog, never succeeds in his conquests. In truth, the engine that drove Don Giovanni was his obsession to find the perfect love, but in this story, the great seducer is a recurrent failure. Listening and seeing Mozart’s Don Giovanni is a most exciting experience, an opera considered an extraordinary work of genius, a fusion of human, comic and supernatural elements into a great lyric drama. Mozart was the sovereign master in wedding music to the theater, prompting E.T.A. Hoffmann to call Don Giovanni the most perfect opera ever written, “the opera of all operas” — that title unchallenged for more than two centuries.


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Don Giovanni Libretto - Act I

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Don Giovanni Libretto Act I - Scene 1

A square in Seville. It is night. In front of the palace of the Commandant, Leporello, holding a lantern, moves about cautiously and impatiently. Page 165

Act I - Scene 2

A street in Seville. It is early morning.

Act I - Scene 3

The open country with a view of Don Giovanni’s palace. Zerlina, Masetto, and a group of peasants sing and dance. Page 176

Act I - Scene 4

A garden. On one side, Don Giovanni’s palace; on the other, a pavilion. Page 190

Act I - Scene 5

The brilliantly illuminated ballroom of Don Giovanni’s palace. Page 195

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Act II - Scene 1 Don Giovanni and Leporello stand before the balcony of Donna Elvira’s house. Page 201 Act II - Scene 2 A dark courtyard before Donna Anna’s house. There are three doors. Leporello, wearing Don Giovanni’s hat and cloak, appears with Donna Elvira. Page 212 Act II - Scene 3 A walled cemetery with several statues, among them, a statue of the Commandant. Page 220 Act II - Scene 4 A room in Donna Anna’s house.

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Act II - Scene 5 A large illuminated hall. A sumptuous banquet has been prepared. Page 226 Act II - Scene 6 Epilogue

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Act I - Scene 1 A square in Seville. It is night. In front of the palace of the Commandant, Leporello, holding a lantern, moves about cautiously and impatiently.

Leporello: Notte e giorno faticar, per chi nulla sa gradir, piova e vento sopportar, mangiar male e mal dormir.

Leporello: I work hard day and night, and he never thanks me. I endure winds and rain, poor food and little sleep.

Voglio far il gentiluomo! E non voglio più servir. Oh che caro galantuomo!

I want to be a gentleman! And I no longer want to be a servant. Oh what a gallant man!

Vuol star dentro colla bella, ed io far la sentinella! Voglio far il gentiluomo e non voglio più servir.

He’s inside with his conquest, and I am the sentry! I want to be a gentleman and I no longer want to be a servant.

Ma mi par che venga gente; non mi voglio far sentir.

But it seems that someone is coming; I don’t want to be seen here.

As Leporello hides, Don Giovanni enters, followed by Donna Anna, who holds his arm firmly. Donna Anna: Non sperar, se non m’uccidi, ch’io ti lasci fuggir mai!

Donna Anna: Don’t hope, even if you kill me, I won’t let you escape!

Don Giovanni: Donna folle! In darno gridi, chi son io tu non saprai!

Don Giovanni: (concealing his features) Foolish woman! Vain cries! You’ll never know who I am!

Leporello: Che tumulto! Oh ciel, che gridi! Il padron in nuovi guai.

Leporello: What shouting! Heavens, what screaming! My master’s in some new trouble!

Donna Anna: Gente! Servi! Al traditore!

Donna Anna: People! Servants! A traitor!


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Don Giovanni: (Taci e trema al mio furore!)

Don Giovanni: (covering her mouth) (Be silent, or you’ll experience my anger!)

Donna Anna: Scellerato!

Donna Anna: Villain!

Don Giovanni: Sconsigliata!

Don Giovanni: Imprudent woman!

Leporello: Sta a veder che il malandrino mi farà precipitar!

Leporello: Look how this libertine will bring about my downfall!

Donna Anna: Come furia disperata ti saprò perseguitar!

Donna Anna: I’m desperate to know who this pursuer is!

Don Giovanni: (Questa furia disperata mi vuol far precipitar!)

Don Giovanni: (She’ll make me do something frightful!)

Donna Anna’s father, the Commandant, approaches. Donna Anna rushes into the palace. The Commandant holds a torch in one hand, and a sword in the other. Il Commendatore: Lasciala, indegno! Battiti meco!

Commandant: Leave her alone! Fight me!

Don Giovanni: Va, non mi degno di pugnar teco.

Don Giovanni: Go, I don’t want to fight you.

Il Commendatore: Così pretendi da me fuggir?

Commandant: Do you think you can get away like a coward?

Leporello: (Potessi almeno di qua partir!)

Leporello: (I wish I could get away from here!)

Don Giovanni: Misero, attendi, se vuoi morir!

Don Giovanni: (draws his sword) Wretch, stand there if you want to die!

The Commandant attacks Don Giovanni. After Don Giovanni strikes the Commandant with his sword, he falls, mortally wounded. Il Commendatore: Ah, soccorso! Son tradito! L’assassino m’ha ferito, e dal seno palpitante, sento l’anima partir.

Commandant: Ah help! I’ve been betrayed! The assassin has wounded me, and I feel that I am dying. I feel my soul leaving me.

The Commandant dies. Servants rush from the palace.


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Don Giovanni: Ah, già cade il sciagurato, affannoso e agonizzante, già dal seno palpitante veggo l’anima partir.

Don Giovanni: The meddling fool lies prostrate, in agony and short of breath. His breast throbs, and I see his soul parting.

Leporello: Qual misfatto! Qual eccesso! Entro il sen dallo spavento palpitar il cor mi sento! Io non so che far, che dir.

Leporello: What a horror! What debauchery! The ghost enters my breast and I feel my heart throbbing! I don’t know what to do or say.

Don Giovanni and Leporello leave hastily. Don Giovanni: Leporello, ove sei?

Don Giovanni: (in a low voice) Leporello, where are you?

Leporello: Son qui, per mia disgrazia, e voi?

Leporello: Here, unfortunately. And you?

Don Giovanni: Son qui.

Don Giovanni: I’m here.

Leporello: Chi è morto, voi o il vecchio?

Leporello: Who’s dead, you or the old man?

Don Giovanni: Che domanda da bestia! Il vecchio.

Don Giovanni: What a foolish question! The old man.

Leporello: Bravo, due imprese leggiadre! Sforzar la figlia ed ammazzar il padre!

Leporello: Great, two impressive exploits! Seduce the daughter, and murder the father!

Don Giovanni: L’ha voluto, suo danno.

Don Giovanni: He willed his ruin.

Leporello: Ma Donn’Anna, cosa ha voluto?

Leporello: And did Donna Anna also will her ruin?

Don Giovanni: Taci, non mi seccar, vien meco, se non vuoi qualche cosa ancor tu!

Don Giovanni: (threatening Leporello) Quiet, don’t question me. Come with me unless you want the same fate!

Leporello: Non vo’nulla, Signor, non parlo più.

Leporello: I want nothing. Sir, I’ll say no more.

Both Don Giovanni and Leporello depart.


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In agitation, Donna Anna and Don Octavio descend the palace steps. They are followed by servants bearing torches. Donna Anna: Ah, del padre in periglio in soccorso voliam.

Donna Anna: Ah, my father is in danger, let’s hurry to help him.

Don Ottavio: Tutto il mio sangue verserò, se bisogna. Ma dov’è il scellerato?

Don Octavio: (raising his sword) I’ll shed my last drop of my blood, if necessary. But where is the scoundrel?

Donna Anna: ln questo loco. Ma qual mai s’offre.

Donna Anna: Here in the palace.

Donna Anna sees her father, and throws herself on the corpse. O Dei, spettacolo funesto agli occhi miei! II padre! Padre mio! Mio caro padre!

But heavens, what a horrible sight before me! Father! My dear father!

Don Ottavio: Signore!

Don Octavio: My lord!

Donna Anna: Ah, l’assassino mel trucidò. Quel sangue, quella piaga, quel volto, tinto, e coperto del color di morte, ei non respira più fredde ha le membra padre mio! Caro padre! Padre amato! Io manco, io moro.

Donna Anna: Ah, the assassin murdered him. That blood, the wound, his face covered and stained. He has the pallor of death. My father! He no longer breathes, and his limbs are cold! Dear father! Beloved father! I am fainting. I am dying.

Donna Anna faints momentarily, and then Don Octavio raises her and seats her. Don Ottavio: Ah, soccorrete, amici, il mio tesoro! Cercatemi, recatemi qualche odor, qualche spirito. Ah! Non tardate. Donn’Anna! Sposa! Amica! II duolo estremo la meschinella uccide.

Don Octavio: (calling servants) My friends, help me with my beloved! Fetch water, some scents, some spirits.

Donna Anna: Ahi!

Donna Anna: (after being restored by smelling salts) Ah, me!

Don Ottavio: Già rinviene. Datele nuovi aiuti.

Don Octavio: She’s reviving. Give her more help.

Donna Anna: Padre mio!

Donna Anna: (sighing despairingly) My father!

Please hurry. Donna Anna! My beloved! Her intense grief is destroying her.


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Don Ottavio: Celate, allontanate agli occhi suoi quell’oggetto d’orrore. Anima mia, consolati, fa core.

Don Octavio: (to the servants) Quickly remove her from this scene of horror. Dear love, console yourself and be strong.

Servants remove the Commandant’s body into the palace.

Donna Anna: Fuggi, crudele, fuggi! Lascia che mora anch’io ora che è morto, oh Dio! Chi a me la vita diè!

Donna Anna: (repulsing Don Octavio) Leave me, cruel man, leave me! Let me die too! Oh God, the man who brought me life is now dead!

Don Ottavio: Senti, cor mio, deh! Senti; guardami un solo istante! Ti parla il caro amante, che vive sol per te.

Don Octavio: Listen, my beloved, listen! Look at me for just one moment! Your dear lover speaks to you, the man who lives only for you.

Donna Anna: Tu sei! Perdon, mio bene. L’affanno mio, le pene. Ah! Il padre mio dov’è?

Donna Anna: (apologetically) You are indeed my love! Forgive me! I have such anguish and pain. Ah! Father where are you?

Don Ottavio: Il padre? Lascia, o cara, la rimembranza amara. Hai sposo e padre in me.

Don Octavio: Your father? Abandon that bitter thought. You have both husband and father in me.

Donna Anna: Ah! Vendicar, se il puoi, giura quel sangue ognor!

Donna Anna: If you can avenge me, swear it on this honorable blood!

Don Ottavio: Lo giuro agli occhi tuoi, lo giuro al nostro amor!

Don Octavio: (raising his hand as if taking an oath) I swear it before your eyes. I swear it by our love!

A due: Che giuramento, o dei! Che barbaro momento! Tra cento affetti e cento vammi ondeggiando il cor.

Both: That us our vow, oh Gods! What a horrible moment! So much emotion and grief stir in my heart. Both enter the palace.


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Act I - Scene 2 A street in Seville. It is early morning. Don Giovanni: Orsù, spicciati presto. Cosa vuoi?

Don Giovanni: Hurry up. What do you want?

Leporello: L’affar di cui si tratta è importante.

Leporello: What I am about to speak about is important.

Don Giovanni: Lo credo.

Don Giovanni: No doubt.

Leporello: È importantissimo.

Leporello: It’s very important.

Don Giovanni: Meglio ancora. Finiscila.

Don Giovanni: Better yet. Get to the point.

Leporello: Giurate di non andar in collera.

Leporello: Swear not to get angry.

Don Giovanni: Lo giuro sul mio onore, purché non parli del Commendatore.

Don Giovanni: I swear it on my honor, as long as you don’t mention the Commandant.

Leporello: Siamo soli?

Leporello: Are we alone?

Don Giovanni: Lo vedo.

Don Giovanni: I believe so.

Leporello: Nessun ci sente?

Leporello: No one can hear us?

Don Giovanni: Via!

Don Giovanni: Go ahead!

Leporello: Vi posso dire tutto liberamente?

Leporello: Can I speak freely?

Don Giovanni: Sì.

Don Giovanni: You may.

Leporello: Dunque quando è così, caro signor padrone, la vita che menate è da briccone!

Leporello: Well, if that’s the case, my dear master, the life you are leading is disgraceful!


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Don Giovanni: Temerario, in tal guisa!

Don Giovanni: How dare you talk to me that way!

Leporello: E il giuramento!

Leporello: But you promised!

Don Giovanni: Non so di giuramenti. Taci, o ch’io...

Don Giovanni: (threateningly) I know of no promises. Quiet, or I….

Leporello: Non parlo più, non fiato, o padron mio!

Leporello: Master, I’ll say no more, not another breath!

Don Giovanni: Così saremo amici. Ora dì un poco: sai tu perché son qui?

Don Giovanni: So now we can be friends. Listen, do you know why I’m here?

Leporello: Non ne so nulla. Ma essendo l’alba chiara, non sarebbe qualche nuova conquista? Io lo devo saper per porla in lista.

Leporello: I’ve no idea. But it’s a clear morning. Do you have some new conquest? You must tell me the lady’s name so I can put her in my list.

Don Giovanni: Va là, che sei il grand’uom! Sappi ch’io sono innamorato d’una bella dama, e son certo che m’ama. La vidi, le parlai; meco al casino questa notte verrà. Zitto, mi pare sentire odor di femmina!

Don Giovanni: Spoken like an intelligent man! You must know that I’m in love with a most beautiful woman, and I’m sure she loves me. I’ve seen her and talked to her. She’s to meet me at the country house. Quiet, I seem to smell the aroma of a woman!

Leporello: (Cospetto, che odorato perfetto!)

Leporello: (Wow, what a perfect sense of smell!)

Don Giovanni: All’aria mi par bella.

Don Giovanni: Her fragrance seems to be beautiful.

Leporello: (E che occhio, dico!)

Leporello: (And what an eye he has!)

Don Giovanni: Ritiriamoci un poco, e scopriamo terren.

Don Giovanni: Let’s hide ourselves for a while, and check things out.

Leporello: (Già prese foco!)

Leporello: (He’s already on fire!)


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As Don Giovanni and Leporello conceal themselves, Donna Elvira approaches.

Donna Elvira: Ah, chi mi dice mai quel barbaro dov’è, che per mio scorno amai, che mi mancò di fe?

Donna Elvira: Ah, who will tell me where that traitor is? How could I love such a man who betrayed my faith?

Ah, se ritrovo l’empio e a me non torna ancor, vo’ farne orrendo scempio, gli vo’ cavare il cor.

But if I find the traitor, and if he doesn’t return to me, I’ll inflict havoc on him, and tear his heart out.

Don Giovanni: Udisti? Qualche bella dal vago abbandonata. Poverina! Cerchiam di consolare il suo tormento.

Don Giovanni: (softly to Leporello) Do you hear? This fair damsel is complaining of some faithless lover. Poor girl! I must try to console her anguish.

Leporello: (Così ne consolò mile e ottocento).

Leporello: (Like the way he consoled one thousand eight hundred!)

Don Giovanni: Signorina! Signorina!

Don Giovanni: (boldly approaching Donna Elvira) Miss! Miss!

Donna Elvira: Chi è là?

Donna Elvira: Who is there?

Don Giovanni: Stelle! Che vedo!

Don Giovanni: Good Heavens! Who do I see?

Leporello: (O bella! Donna Elvira!)

Leporello: (Oh, it’s the beautiful Donna Elvira!)

Donna Elvira: Don Giovanni! Sei qui? Mostro! Fellon! Nido d’inganni!

Donna Elvira: Don Giovanni! You here! Monster! Criminal! Deceiver!


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Leporello: (Che titoli cruscanti! Manco male che lo conosce bene!)

Leporello: (What choice epithets! She certainly knows him well!)

Don Giovanni: Via, cara Donna Elvira, calmate quella collera! Sentite, lasciatemi parlar!

Don Giovanni: Come, dear Elvira, calm your fury! Listen, let me speak!

Donna Elvira: Cosa puoi dire, dopo azion sì nera? In casa mia entri furtivamente. A forza d’arte, di giuramenti e di lusinghe arrivi a sedurre il cor mio; m’innamori, o crudele!

Donna Elvira: What can you say after such awful behavior? You entered my house secretly. You used cunning, flattery, and promises to seduce my heart; I fell in love with you, you cruel man!

Mi dichiari tua sposa, e poi, mancando della terra e del ciel al santo dritto, con enorme delitto dopo tre dì da Burgos t’allontani. M’abbandoni, mi fuggi, e lasci in preda al rimorso ed al pianto, per pena forse che t’amai cotanto!

You declared me your wife, and then, you defied the holy laws of heaven and earth and denied my sacred right; after three days you abandoned me in Burgos. You abandoned me; you fled, and left me in remorse and tears, my punishment because I loved you so much!

Leporello: (Pare un libro stampato!)

Leporello: (She echoes the printed romances!)

Don Giovanni: Oh, in quanto a questo, ebbi le mie ragioni! È vero?

Don Giovanni: As to those concerns, I had my reasons for doing it! Didn’t I, Leporello?

Leporello: È vero! E che ragioni forti!

Leporello: (ironically) You certainly did! Very important reasons!

Donna Elvira: E quali sono, se non la tua perfidia, la leggerezza tua? Ma il giusto cielo volle ch’io ti trovassi, per far le sue, le mie vendette.

Donna Elvira: What can they be other than your perfidy and reckless inconsideration? But the righteous heavens wanted me to find you, to impose their revenge and mine.

Don Giovanni: Eh via! Siate più ragionevole! (Mi pone a cimento costei!) Se non credete a labbro mio, credete a questo galantuomo.

Don Giovanni: Come now! Be more reasonable! (This woman embarrasses me!) If you don’t believe me, believe this trustworthy gentleman.

Leporello: (Salvo il vero.)

Leporello: (I’ll vow the truth.)


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Don Giovanni: Via, dille un poco.

Don Giovanni: Come here and tell her something.

Leporello: E cosa devo dirle?

Leporello: (aside to Giovanni) And what am I to tell her?

Don Giovanni: Sì, sì, dille pur tutto.

Don Giovanni: Yes, yes, explain everything.

Donna Elvira does not notice that Don Giovanni has fled. Donna Elvira: Ebben, fa presto!

Donna Elvira: (to Leporello) Well, tell me right away!

Leporello: Madama, veramente, in questo mondo conciò, sia cosa, quando, fosse che, il quadro non è tondo.

Leporello: (hesitating) Madam, truthfully, most assuredly in the strange world in which we live, it may be safely asserted that a square is not a circle.

Donna Elvira: Sciagurato! Così del mio dolor giuoco? Ti prendi? Ah voi!

Donna Elvira: You scoundrel! Are you mocking my grief? And you, Don Giovanni.

Donna Elvira suddenly discovers that Don Giovanni has gone. Stelle! L’iniquo fuggì! Misera me! Dov’è? In qual parte?

Heavens! The wicked one fled! Poor me! Where is he? Which way did he go?

Leporello: Eh! Lasciate che vada. Egli non merita che di lui ci pensiate.

Leporello: Ah, let him go! He doesn’t deserve your thoughts.

Donna Elvira: Il scellerato m’ingannò, mi tradì.

Donna Elvira: The scoundrel deceived and betrayed me!

Leporello: Eh! Consolatevi; non siete voi, non foste, e non sa retenè la prima, né l’ultima.

Leporello: Console yourself! You are not the first woman he has deserted, And neither will you be the last.

Guardate: questo non picciol libro è tutto pieno dei nomi di sue belle. Ogni villa, ogni borgo, ogni paese è testimon di sue donnesche imprese.

Look! This large book is filled entirely with the names of his conquests. Every village, every town, and every country has witnessed his impressive exploits.

Leporello takes a large list from his pocket: the catalog of Don Giovanni’s exploits.


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Madamina! Il catalogo è questo delle belle che amò il padron mio; un catalogo egli è che ho fatt’io; osservate, leggete con me! In Italia seicento e quaranta; in Almagna duecento e trent’una; cento in Francia, in Turchia novantina; ma in Ispagna son già mille e tre!

Dear little lady! This is the catalog of the beautiful women my master has loved; a catalog I made myself. Look at it, and read it with me! In Italy 640; in Germany 231; 100 in France, and in Turkey 91; but in Spain, there are already 1003!

V’han fra queste contadine, cameriere, cittadine. V’han contesse, baronesse, Marchesine, principesse. E v’han donne d’ogni grado, d’ogni forma, d’ogni età!

Among these, there are peasant girls, waitresses, and town girls. There are Countesses and Baronesses, Marchionesses and Princesses. There have been women of every rank, every shape, and every age!

Nella bionda egli ha l’usanza di lodar la gentilezza. Nella bruna la costanza, nella bianca la dolcezza.

With the blond women, it’s his custom to praise their gentleness. With the dark haired, their fidelity, and with the gray haired, their sweetness.

Vuol d’inverno la grassotta, vuol d’estate la magrotta. È la grande maestosa, la piccina e ognor vezzosa.

In winter he wants them plump, But in summer he wants them lean. He is always charming to the big ladies as well as the small.

Delle vecchie fa conquista pel piacer di porle in lista. Sua passion predominante è la giovin principiante.

He conquers the old ones for the pleasure of adding them to the list. But his predominant passion is the young beginner.

Non si pica, se sia ricca, se sia brutta, se sia bella. Purché porti la gonnella, voi sapete quel che fa.

He doesn’t mind if she’s rich, or ugly, or beautiful. You know what he does, providing she wears a skirt. Leporello leaves hastily.

Donna Elvira: In questa forma dunque mi tradì il scellerato!

Donna Elvira: This is the way that scoundrel betrayed me!


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È questo il premio che quel barbaro rende all’amor mio? Ah! Vendicar vogl’io l’ingannato mio cor! Pria ch’ei mi fugga si ricorra, si vada, io sento in petto sol vendetta parlar, rabbia e dispetto!

Is this the way that barbarian returns my affection? Ah! I want revenge for my deceived heart! Before he escapes me, I’ll have recourse. I feel only revenge in my heart, rage and malice!

Elvira departs.

Act I - Scene 3 The open country with a view of Don Giovanni’s palace. Zerlina, Masetto, and a group of peasants sing and dance. Zerlina: Giovinette che fate all’amore, non lasciate che passi l’età! Se nel seno vi bulica il core, il rimedio vedetelo qua! Fa la la, la la la, la la la! Che piacer, che piacer che sarà!

Zerlina: Pretty lasses, indulge in love, and don’t let your youth fly by! If the flames burn in your heart, the remedy is here! Fa la la, la la la, la la la! What pleasure, what pleasure there will be!

Coro: Ah, che piacer, che piacer che sarà! Fa la la...

Chorus: What pleasure, what pleasure there will be! Fa la la….

Masetto: Giovinetti leggeri di testa, non andate girando di là. Poco dura de’matti la festa, ma per me cominciato non ha. Fa la la, la la la, la la la! Che piacer, che piacer che sarà!

Masetto: Boys, don’t keep spinning around because your heads will not be clear. The mad party will last a while, but for me, it hasn’t begun. Fa la la, la, la la, la la la! What pleasures, what pleasure there will be!

Zerlina e Masetto: Vieni, vieni, carino, godiamo, e cantiamo e balliamo e suoniamo! Che piacer, che piacer che sarà!

Zerlina and Masetto: Come, come, dearest, let’s enjoy ourselves, and let’s sing, dance, and dream! What pleasure, what pleasure there will be!

Coro: Fa la la, la la la, la la la! Che piacer, che piacer che sarà!

Chorus: Fa la la, la la la, fa la la! What pleasure, what pleasure there will be!


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Don Giovanni and Leporello arrive. Don Giovanni: (Manco male, è partita.) Oh guarda, che bella gioventù; che belle donne!

Don Giovanni: (Thank God, she is gone.) Look, what beautiful young and pretty girls!

Leporello: (Fra tante, per mia fè, vi sarà qualche cosa anche per me.)

Leporello: (I have faith that soon one of them might be for me.)

Don Giovanni: Cari amici, buon giorno! Seguitate a stare allegramente, seguite a suonar, buona gente! C’è qualche sposalizio?

Don Giovanni: (interrupting Zerlina and Masetto) Dear friends, good morning! Good people, continue to enjoy yourselves and continue to play! Is there going to be a wedding?

Zerlina: Sì, signore, e la sposa son io.

Zerlina: (bowing politely to Don Giovanni) Yes, sir, and I am the bride.

Don Giovanni: Me ne consolo. Lo sposo?

Don Giovanni: I’m happy for you. Where is the bridegroom?

Masetto: Io, per servirla.

Masetto: Here, at your service.

Don Giovanni: Oh bravo! Per servirmi; questo è vero parlar da galantuomo.

Don Giovanni: How wonderful! Spoken like a gallant man who serves me.

Leporello: (Basta che sia marito!)

Leporello: (As long as he remains the husband and not the cuckold!)

Zerlina: Oh, il mio Masetto è un uom d’ottimo core.

Zerlina: Oh, my dear Masetto is such a generous man.

Don Giovanni: Oh anch’io, vedete! Voglio che siamo amici. Il vostro nome?

Don Giovanni: And be assured, I see it! Let’s be friends. What is your name?

Zerlina: Zerlina.

Zerlina; Zerlina.

Don Giovanni: E il tuo?

Don Giovanni: (to Masetto) And yours?


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Masetto: Masetto.

Masetto: Masetto.

Don Giovanni: O caro il mio Masetto! Cara la mia Zerlina! V’esibisco la mia protezione.

Don Giovanni: Ah my dear Masetto! My dear Zerlina! I am pleased to offer you my protection.

Don Giovanni looks for Leporello, who is among the peasant girls. Leporello! Cosa fai lì, birbone?

Leporello, you knave! What are you doing over there?

Leporello: Anch’io, caro padrone, esibisco la mia protezione.

Leporello: I too, dear master, am offering my protection.

Don Giovanni: Presto, va con costor; nel mio palazzo conducili sul fatto: ordina ch’abbiano cioccolatta, caffè, vini, prosciutti; cerca divertir tutti, mostra loro il giardino, la galleria, le camere; in effetto fa che resti contento il mio Masetto. Hai capito?

Don Giovanni: Hurry, and take these happy people to my palace: order chocolate, coffee, wine, ham. Find a way to entertain them; show them the garden, the gallery, the rooms, and above all, make sure that my dear Masetto is happy. Do you understand?

Leporello: Ho capito. Andiam!

Leporello: I understand. (to Masetto) Let’s go!

Masetto: Signore!

Masetto: Sir!

Don Giovanni: Cosa c’è?

Don Giovanni: What is it?

Masetto: La Zerlina senza me non può star.

Masetto: Zerlina can’t stay here without me.

Leporello: In vostro loco ci sarà sua eccellenza; e saprà bene fare le vostre parti.

Leporello: (to Masetto) His Excellency will take your place; he knows well how to play your part.

Don Giovanni: Oh, la Zerlina è in man d’un cavalier. Va pur, fra poco ella meco verrà.

Don Giovanni: Zerlina is in the care of a nobleman. Go then! She’ll soon return with me.

Zerlina: Va! Non temere! Nelle mani son io d’un cavaliere.

Zerlina: Go! Don’t worry! I am in the hands of a nobleman.


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Masetto: E per questo?

Masetto: And for what reason?

Zerlina: E per questo non c’è da dubitar

Zerlina: Because there’s no reason to worry.

Masetto: Ed io, cospetto.

Masetto: (trying to take Zerlina’s hand) And what about me?

Don Giovanni: Olà, finiam le dispute! Se subito senza altro replicar non te ne vai, Masetto, guarda ben, ti pentirai!

Don Giovanni: (stepping between them) Now, the dispute is over! Masetto, be careful! If you don’t leave immediately and without arguing, you’ll regret it!

Masetto: Ho capito, signor sì! Chino il capo e me ne vo. Già che piace a voi così, altre repliche non fo.

Masetto: (dumbfounded) I understand sir, yes! I just bow my head and go. As you wish, and no further argument.

Cavalier voi siete già. Dubitar non posso affè; me lo dice la bontà che volete aver per me.

You are indeed a cavalier. I cannot doubt it. You tell me how kind you want to be with me.

Bricconaccia, malandrina! Fosti ognor la mia ruina!

(aside to Zerlina) Little cheat! Viper! You were born to be my ruin!

Vengo, vengo!

(Leporello forces Masetto away) I’m coming, I’m coming!

Resta, resta. È una cosa molto onesta! Faccia il nostro cavaliere ancora te.

(to Zerlina) Stay, stay. It’s quite prudent to trust him! Let this nobleman also make a lady of you.

Leporello hurries Masetto into the tavern. Don Giovanni: Alfin siam liberati, Zerlinetta gentil, da quel scioccone. Che ne dite, mio ben, so far pulito?

Don Giovanni: (trying to embrace Zerlina) My gentle little Zerlina, at last we are free of that troublesome fellow. Tell me, my angel, didn’t I handle it well?

Zerlina: Signore, è mio marito!

Zerlina: But Sir, he is my fiancé!


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Don Giovanni: Chi? Colui? Vi par che un onest’uomo, un nobil cavalier, com’io mi vanto, possa soffrir che quel visetto d’oro, quel viso inzuccherato da un bifolcaccio vil sia strapazzato?

Don Giovanni: Who! Him? Do you think that an honest nobleman, a man of rank like me, can bear to see such a precious and sweet face snatched away by a plowman?

Zerlina: Ma, signore, io gli diedi parola di sposarlo.

Zerlina: But sir, I have promised to marry him.

Don Giovanni: Tal parola non vale un zero. Voi non siete fatta per essere paesana; un altra sorte vi procuran quegli occhi bricconcelli, quei labretti sì belli, quelle dituccie candide e odorose, parmi toccar giuncata e fiutar rose.

Don Giovanni: Such a promise means nothing. You were not born to be country wife. Those roguish eyes deserve another destiny. Those beautiful lips, those white-scented fingers, are like touching cream and sniffing roses.

Zerlina: Ah! Non vorrei.

Zerlina: Ah! I don’t want to.

Don Giovanni: Che non vorreste?

Don Giovanni: What don’t you want?

Zerlina: Alfine ingannata restar. Io so che raro colle donne voi altri cavalieri siete onesti e sinceri.

Zerlina: To be deceived in the end. I know that noblemen are seldom frank and honest with women.

Don Giovanni: È un impostura della gente plebea! La nobilità ha dipinta negli occhi l’onestà. Orsù, non perdiam tempo; in questo istante io ti voglio sposar.

Don Giovanni: It is a popular fiction of the common people! The nobility has honesty painted in its eyes. But let’s not waste time: I want to marry you right away.

Zerlina: Voi?

Zerlina: You?

Don Giovanni:

Don Giovanni: (pointing to the country house) Certainly. That little house you see is mine. My treasure, there we can be alone, and there we will be married.

Certo, io. Quel casinetto è mio: soli saremo e là, gioiello mio, ci sposeremo.


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Là ci darem la mano, là mi dirai di sì. Vedi, non è lontano; partiam, ben mio, da qui.

There, we’ll take each other’s hand, and there, you will say yes. Look, it isn’t far. Let’s go, my love, let’s go from here.

Zerlina: (Vorrei e non vorrei, mi trema un poco il cor. Felice, è ver, sarei, ma può burlarmi ancor!)

Zerlina: (I would like to, and I wouldn’t like to. My heart is trembling a little. It’s true, I’d be happy, unless this nobleman deceives me!)

Don Giovanni: Vieni, mio bel diletto!

Don Giovanni: Come, my beautiful treasure!

Zerlina: (Mi fa pietà Masetto!)

Zerlina: (I feel sorry for Masetto!)

Don Giovanni: Io cangierò tua sorte!

Don Giovanni: I will change your fate!

Zerlina: Presto, non son più forte!

Zerlina: I feel myself weakening so quickly!

Don Giovanni: Vieni, vieni! Andiam! Andiam!

Don Giovanni: Come, come! Let’s go! Let’s go!

Zerlina: Andiam!

Zerlina: Let’s go!

A due: Andiam, andiam, mio bene a ristorar le pene s’un innocente amor!

Together: Let’s go, let’s go, my love to share the pleasure of innocence and love!

Donna Elvira has been watching Don Giovanni and Zerlina. As Don Giovanni and Zerlina walk toward the little house (casino), Donna Elvira blocks their passage. Donna Elvira: Fermati, scellerato! II ciel mi fece udir le tue perfidie! Io sono a tempo di salvar questa misera innocente dal tuo barbaro artiglio!

Donna Elvira: Stop, scoundrel! Heaven made me hear your perfidious behavior! I have arrived just in time to save this poor innocent girl from your barbaric clutches!

Zerlina: Meschina! Cosa sento!

Zerlina: Oh, my! What I am hearing!

Don Giovanni: (Amor, consiglio!) Idol mio, non vedete ch’io voglio divertirmi?

Don Giovanni: (Cupid, advise me!) (softly to Elvira) My love, don’t you see that I am amusing myself?


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Donna Elvira: Divertirti, è vero? Divertirti, io so, crudele, come tu ti diverti.

Donna Elvira: Amusing yourself? Yes, cruel man, I know too well how you amuse yourself.

Zerlina: Ma, signor cavaliere, è ver quel ch’ella dice?

Zerlina: (anxiously to Don Giovanni) But, my lord, is this lady telling the truth?

Don Giovanni: La povera infelice è di me innamorata, e per pietà deggio fingere amore, ch’io son, per mia disgrazia, uom di buon cuore.

Don Giovanni: (softly to Zerlina) The poor unhappy women is in love with me, and out of pity I pretend to love her. That is my misfortune. I am so kind-hearted.

After Don Giovanni departs, Donna Elvira admonishes Zerlina.

Donna Elvira: Ah, fuggi il traditor! Non lo lasciar più dir! Il labbro è mentitor, fallace il ciglio!

Donna Elvira: Escape from this traitor! Don’t let him say anything more! His words are all lies, and deception is in his eyes!

Da’ miei tormenti impara a creder a quel cor, e nasca il tuo timor dal mio periglio!

Learn from my torment, and believe my heart. And let my misfortune arouse your fear! Donna Elvira leads Zerlina away.

Don Giovanni: Mi par ch’oggi il demonio si diverta d’opporsi a miei piacevoli progressi vanno mal tutti quanti.

Don Giovanni: It seems that today the devil enjoys himself by opposing my pursuit of pleasures. All my schemes are going badly.

Don Octavio and Donna Anna appear. Don Ottavio: Ah! Ch’ora, idolo mio, son vani i pianti, di vendetta si parli! Oh, Don Giovanni!

Don Octavio: Dearest Donna Anna, those tears are in vain, when you speak only of revenge! Oh, Don Giovanni!

Don Giovanni: (Mancava questo intoppo!)

Don Giovanni: (And now this unfortunate encounter!)


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Donna Anna: Signore, a tempo vi ritroviam. Avete core? Avete anima generosa?

Donna Anna: Sir, we have found you at an opportune time. Do you have a good heart? Do you have a generous soul?

Don Giovanni: (Sta a vedere che il diavolo gli ha detto qualche cosa.) Che domanda! Perchè?

Don Giovanni: (I wonder whether the devil has told her something.) What a question, Madame! Why do you ask it?

Donna Anna: Bisogno abbiamo della vostra amicizia.

Donna Anna: We have need of your friendship.

Don Giovanni: (Mi torna il fiato in corpo.) Comandate. I congiunti, i parenti, questa man, questo ferro, i beni, il sangue spenderò per servirvi. Ma voi, bella Donn’Anna, perchè così piangete? II crudele chi fu che osò la calma turbar del viver vostro?

Don Giovanni: (I breathe again.) Command me. My kinsmen, my relations, this arm, my sword, my wealth, my blood: all are at your service. But you, beautiful Donna Anna, why are you crying? Who is the wretch who has dared to disturb your peaceful life?

Donna Elvira enters. Donna Elvira: Ah, ti ritrovo ancor, perfido mostro! Non ti fidar, o misera, di quel ribaldo cor! Me già tradì quel barbaro, te vuol tradir ancor.

Donna Elvira: (to Don Giovanni) Ah, I find you again, you perfidious monster! (to Donna Anna) Sad lady, do not confide in this rogue! This barbarian has already betrayed me, and he wants to betray you too.

Donna Anna e Don Ottavio: (Cieli, che aspetto nobile! Che dolce maestà! II suo pallor, le lagrime m’empiono di pietà.)

Donna Anna and Don Octavio: (Heavens, what a noble bearing she has! What gentle grace! Her ashen face and her tears, fill me with pity.)

Don Giovanni: La povera ragazza è pazza, amici miei! Lasciatemi con lei, forse si calmerà!

Don Giovanni: (trying to draw Elvira away) My friends, this poor young woman is crazy! Leave her with me, and perhaps I can calm her down!

Donna Elvira: Ah! Non credete al perfido!

Donna Elvira: Don’t believe this perfidious man!

Don Giovanni: È pazza, non badate!

Don Giovanni: She’s crazy, don’t listen to her!

Donna Elvira: Restate ancor, restate!

Donna Elvira: Stay, stay!


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Donna Anna e Don Ottavio: A chi si crederà?

Donna Anna and Don Octavio: Who should we believe?

Donna Anna, Don Ottavio, Don Giovanni: Certo moto d’ignoto tormento dentro l’alma girare mi sento; Che mi dice, per quell’infelice. Cento cose che intender non sa!

Donna Anna, Don Octavio, Don Giovanni: I have a mysterious feeling churning in my soul; it tells me that she is an unhappy woman. So many impossible things to understand!

Donna Elvira: Sdegno, rabbia, dispetto, spavento. Dentro l’alma girare mi sento, che mi dice, di quel traditore. Cento cose che intender non sa!

Donna Elvira: I am fearful, scornful and angry I have a mysterious feeling churning in my soul; it tells me about this traitor. So many impossible things to understand!

Don Ottavio: (Io di qua non vado via se non so com’è l’affar!)

Don Octavio: (I will not leave from here until I learn the truth of this mystery!)

Donna Anna: Non ha l’aria di pazzia il suo tratto, il suo parlar.

Donna Anna: (She doesn’t look or sound crazy to me.)

Don Giovanni: (Se m’en vado, si potrìa qualche cosa sospettar.)

Don Giovanni: (If I go now, they’ll become suspicious.)

Donna Elvira: Da quel ceffo si dovrìa la ner’alma giudicar.

Donna Elvira: (to Anna and Octavio) The dark soul of that beast should be judged.

Don Ottavio: Dunque quella?

Don Octavio: (to Don Giovanni) What does she say?

Don Giovanni: È pazzarella!

Don Giovanni: She’s a little crazy!

Donna Anna: Dunque quegli?

Donna Anna: (to Elvira) And what do you say?

Donna Elvira: È un traditore.

Donna Elvira: He is a traitor.

Don Giovanni: Infelice!

Don Giovanni: Unhappy woman!

Donna Elvira: Mentitore!

Donna Elvira: Liar!


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Donna Anna e Don Ottavio: Incomincio a dubitar.

Donna Anna and Don Octavio: I’m beginning to have doubts.

Don Giovanni: Zitto, zitto, che la gente si raduna a noi d’intorno; siate un poco più prudente, vi farete criticar.

Don Giovanni: (aside to Elvira) Quiet, people are coming and gathering all around, be a little more prudent, or else you’ll be criticized.

Donna Elvira: Non sperarlo, o scellerato, ho perduta la prudenza; le tue colpe ed il mio stato voglio a tutti palesar.

Donna Elvira: (loudly to Don Giovanni) Don’t count on it, you scoundrel, I have lost prudence; I want to reveal to everyone your sins and my sad fate.

Donna Anna e Don Ottavio: Quegli accenti sì sommessi, quel cangiarsi di colore, son indizi troppo espressi. Che mi fan determinar.

Donna Anna and Don Octavio: He’s altered his manner, and his pallor has changed. His expression makes me see the truth.

Don Giovanni leads Elvira away, and then returns alone. Don Giovanni: Povera sventurata! I passi suoi voglio seguir; non voglio che faccia un precipizio.

Don Giovanni: Poor woman! I must follow her because I don’t want her to do something desperate.

Perdonate, bellissima Donn’Anna! Se servirvi poss’io, in mia casa v’aspetto. Amici, addio!

Forgive me, fair Donna Anna; if I can serve you, I await you at my home. Friends, farewell!

Don Giovanni departs hastily. Donna Anna: Don Ottavio! Son morta!

Donna Anna: (in extreme agitation) Don Octavio! I’m petrified!

Don Ottavio: Cosa è stato?

Don Octavio: What is it?

Donna Anna: Per pietà, soccorretemi!

Donna Anna: For pity’s sake, help me!

Don Ottavio: Mio bene, fate coraggio!

Don Octavio: My love, have courage!

Donna Anna: Oh Dei! Quegli è il carnefice del padre mio!

Donna Anna: Oh gods! He is the murderer of my father!


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Don Ottavio: Che dite?

Don Octavio: What are you saying?

Donna Anna: Non dubitate più. Gli ultimi accenti che l’empio proferì, tutta la voce richiamar nel cor mio di quell’indegno che nel mio appartamento.

Donna Anna: I know for sure. The intonation of his voice reminds me of that contemptible villain who barged into my apartment.

Don Ottavio: O ciel! Possibile che sotto il sacro manto d’amicizia ma come fu, narratemi lo strano avvenimento.

Don Octavio: Heavens! Can this be possible under the sacred guise of friendship? But tell me what happened.

Donna Anna: Era già alquanto avanzata la notte, quando nelle mie stanze, ove soletta mi trovai per sventura, entrar io vidi, in un mantello avvolto, un uom che al primo istante avea preso per voi. Ma riconobbi poi che un inganno era il mio!

Donna Anna: (extremely emotional) It was already late at night, when I was alone in my rooms. I saw someone enter, wrapped in a cloak, a man, who at first I took for you. But then I realized that I’d made a mistake!

Don Ottavio: Stelle! Seguite!

Don Octavio: (agitated) The wretch! Continue!

Donna Anna: Tacito a me s’appresa e mi vuole abbracciar; sciogliermi cerco, ei più mi stringe; io grido; non viene alcun: con una mano cerca d’impedire la voce, e coll’altra m’afferra stretta così, che già mi credo vinta.

Donna Anna: He approached me silently and then wanted to kiss me. I tried to free myself and shouted, but no one came. He covered my mouth with one hand, and with the other grasped me so forcibly, that I thought I was finished.

Don Ottavio: Perfido! Alfin?

Don Octavio: That villain! And then?

Donna Anna: Alfine il duol, l’orrore dell’infame attentato accrebbe sì la lena mia, che a forza di svincolarmi, torcermi e piegarmi, da lui mi sciolsi!

Donna Anna: Finally my grief and despair strengthened me against this infamous creature. After struggling, twisting and turning, I freed myself and escaped from him.

Don Ottavio: Ohimè! Respiro!

Don Octavio: I can breathe again!

Donna Anna: Allora rinforzo i stridi miei, chiamo soccorso; fugge il fellon;

Donna Anna: Then I called for help, screaming louder as the villain fled.


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arditamente il seguo fin nella strada per fermarlo, e sono assalitrice ed assalita: il padre v’accorre, vuol conoscerlo e l’indegno che del povero vecchio era più forte, compiè il misfatto suo col dargli morte!

I boldly followed him into the street to stop him; as such, I became the assailant who was once the assailed. My father ran to my aid and wanted to find out who it was. But the old man was weaker than his foe; he was overpowered and met his doom!

Or sai chi l’onore aprire a me volse, chi fu il traditore che il padre mi tolse. Vendetta ti chieggo, la chiede il tuo cor!

I now know who it was who tried to steal my honor, and who the traitor was who took my father from me. It is vengeance I ask. And your heart asks it too!

Rammenta la piaga del misero seno, rimira di sangue. coperto il terreno. Se l’ira in te langue d’un giusto furor.

Remember the wound in his poor breast, and remember his blood covering the ground, if your anguish for a just revenge should diminish. Donna Anna departs.

Don Ottavio: Come mai creder deggio, di sì nero delitto capace un cavaliere! Ah! Di scoprire il vero ogni mezzo si cerchi. Io sento in petto e di sposo e d’amico il dover che mi parla: disingannarla voglio, o vendicarla!

Don Octavio: How can one believe that this cavalier was capable of such a terrible crime! Ah! I will use every means to discover the truth. I feel my heart speaking to me like her husband and friend. I wish to free her from deception and avenge her!

Dalla sua pace la mia dipende; My peace depends on her peace. quel che a lei piace vita mi rende, Whatever pleases her gives me joy, quel che le incresce morte mi dà. what displeases her brings me death. S’ella sospira, sospiro anch’io; If she sighs, I also sigh, è mia quell’ira, quel pianto è mio; because her anger is mine, and her tears are e non ho bene, s’ella non l’ha! mine. I am not content if she is not content! Don Octavio exits.


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Leporello enters from the tavern, Don Giovanni from his palace. Leporello: Io deggio ad ogni patto per sempre abbandonar questo bel matto. Eccolo qui: guardate con qual indifferenza se ne viene!

Leporello: Whatever the consequence may be, I must leave this mad rake forever. Here he comes. Look at his indifferent air!

Don Giovanni: Oh, Leporello mio! Va tutto bene?

Don Giovanni: My Leporello! Does all go well?

Leporello: Don Giovannino mio! Va tutto male!

Leporello: My little Don Giovanni! All goes badly!

Don Giovanni: Come va tutto male?

Don Giovanni: Why badly?

Leporello: Vado a casa, come voi m’ordinaste, con tutta quella gente.

Leporello: As you ordered me, I went to the house with all those people.

Don Giovanni: Bravo!

Don Giovanni: Very good!

Leporello: A forza di chiacchiere, di vezzi e di bugie, ch’ho imparato sì bene a star con voi, cerco d’intrattenerli.

Leporello: I used lots of chatter and the usual deceptions that I have learned so well from you in my attempt to keep them there.

Don Giovanni: Bravo!

Don Giovanni: Very good!

Leporello: Dico mille cose a Masetto per placarlo, per trargli dal pensier la gelosia.

Leporello: I said a thousand things to Masetto to pacify him and erase any of his jealous thoughts.

Don Giovanni: Bravo! In coscienza mia!

Don Giovanni: Very good! A conscience like mine!

Leporello: Faccio che bevano e gli uomini e le donne; son già mezzo ubbriachi, altri canta, altri scherza, altri seguita a ber. In sul più bello, chi credete che capiti?

Leporello: I had the men and women drinking; they were already half drunk. Some were singing, some joking, and others continued to drink. Just as all was going well, who do you think arrived?

Don Giovanni: Zerlina!.

Don Giovanni: Zerlina!


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Leporello: Bravo! E con lei chi viene?

Leporello: Right! And who do you think was with her?

Don Giovanni: Donna Elvira!

Don Giovanni: Donna Elvira!

Leporello: Bravo! E disse di voi?

Leporello: Right! Did she tell you?

Don Giovanni: Tutto quel mal che in bocca le venìa.

Don Giovanni: All the evil she could imagine came from her lips!

Leporello: Bravo, in coscienza mia!

Leporello: True, upon my word!

Don Giovanni: E tu, cosa facesti?

Don Giovanni: And what did you do?

Leporello: Tacqui.

Leporello: Nothing.

Don Giovanni: Ed ella?

Don Giovanni: And she?

Leporello: Seguì a gridar.

Leporello: Continued to shout.

Don Giovanni: E tu?

Don Giovanni: And you?

Leporello: Quando mi parve che già fosse sfogata, dolcemente fuor dell’orto la trassì, e con bell’arte chiusa la porta a chiave io di là mi cavai, e sulla via soletta la lasciai.

Leporello: When she appeared to be exhausted, I gently led her out of the garden, and then adroitly closed the door, locked it and rode off. I left her standing alone in the street.

Don Giovanni: Bravo! Bravo, arci bravo! L’affar non può andar meglio. Incominciasti, io saprò terminar. Troppo mi premono queste contadinotte; le voglio divertir finchè vien notte.

Don Giovanni: Superb! Superb, absolutely perfect! The affair could not have gone better. What you began, I will finish. These pretty country girls bewitch me. I want to amuse them until nightfall.


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Finch’han dal vino calda la testa una gran festa fa preparar! Se trovi in piazza qualche ragazza, teco ancor quella cerca menar.

While they’re cheerful from wine go and prepare a feast! If you find some girl in the plaza, bring her with you.

Senza alcun ordine la danza sia, chi il minuetto, chi la follia, chi l’alemanna farai ballar!

Without further ado, get the dancing started. Make them dance, a minuet, a frolic, or the allemande!

Ed io frattanto dall’altro canto con questa e quella vo’ amoreggiar. Ah! La mia lista doman mattina d’una decina devi aumentar!

And I’ll be among them, making love with this one or that one. Tomorrow morning, my list must increase by a dozen!

Leporello goes into the tavern to fetch the peasants. Don Giovanni rushes into his palace. Act I - Scene 4 A garden. On one side, Don Giovanni’s palace; on the other, a pavilion. Zerlina: Masetto, senti un po’! Masetto, dico!

Zerlina: Masetto, listen a moment to what I have to say!

Masetto: Non mi toccar!

Masetto: Don’t touch me!

Zerlina: Perchè?

Zerlina: Why?

Masetto: Perchè mi chiedi? Perfida! Il tocco sopportar dovrei d’una mano infedele?

Masetto: You don’t know why? Betrayer! Must I touch your unfaithful hand?

Zerlina: Ah no, taci, crudele, io non merito da te tal trattamento.

Zerlina: Oh no. You’re cruel. I don’t deserve such treatment.


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Masetto: Come? Ed hai l’ardimento di scusarti? Star solo con un uom, abbandonarmi il dì delle mie nozze! Porre in fronte a un villano d’onore questa marca d’infamia! Ah, se non fosse, se non fosse lo scandalo, vorrei...

Masetto: Why? Do you have the audacity to make excuses? You were alone with a man and abandoned me on our wedding day! To do this with such a villain is a mark of disgrace! And if it were not because I fear a scandal, I would…

Zerlina: Ma se colpa io non ho, ma se da lui ingannata rimasi; e poi, che temi? Tranquillati, mia vita; non mi toccò la punta della dita. Non me lo credi? Ingrato! Vien qui, sfogati, ammazzami, fa tutto di me quel che ti piace, ma poi, Masetto mio, ma poi fa pace.

Zerlina: He tried to deceive me, but I did nothing wrong. So what do you fear? Be calm, he didn’t touch the tip of my finger. Don’t you believe me? You’re so ungrateful! Come here! Vent your anger, kill me, do what you want to me, but then, my dear Masetto, but then let’s make peace.

Batti, batti, o bel Masetto, la tua povera Zerlina; Starò qui come agnellina le tue botte ad aspettar. Lascerò straziarmi il crine, lascerò cavarmi gli occhi, e le care tue manine lieta poi saprò baciar.

Beat me, beat me, dear Masetto, beat your poor Zerlina. I’ll be like a patient lamb and await your flogging. I’ll let you tear out my hair, I’ll let you dig out my eyes, and then I’ll happily kiss those dear hands of yours.

Ah, lo vedo, non hai core! Pace, pace, o vita mia, in contento ed allegria notte e dì vogliam passar, Sì, notte e dì vogliam passar.

Oh, I see you haven’t the heart! Peace, peace, my love, Let’s spend night and day in peace and contentment Yes, in peace and contentment.

Masetto: Guarda un po’ come seppe questa strega sedurmi! Siamo pure i deboli di testa!

Masetto: Look how this enchantress has seduced me! We men must all have weak minds!

Don Giovanni: Sia preparato tutto a una gran festa.

Don Giovanni: (from inside) Prepare a grand feast for everyone.

Zerlina: Ah Masetto, Masetto, odi la voce del monsù cavaliere!

Zerlina: (frightened) Oh, Masetto, Masetto, it’s the voice of the cavalier!


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Masetto: Ebben, che c’è?

Masetto: Well, what of that?

Zerlina: Verrà!

Zerlina: He’ll be coming here!

Masetto: Lascia che venga.

Masetto: Let him come.

Zerlina: Ah, se vi fosse un buco da fuggir!

Zerlina: Oh, if only there was a place to hide from him!

Masetto: Di cosa temi? Perché diventi pallida? Ah, capisco! Capisco, bricconcella, hai timor ch’io comprenda com’è tra voi passata la faccenda.

Masetto: What are you afraid of? Why do you turn pale? Ah, I understand! I understand, you little cheat, you’re afraid that I’ll find out what took place between the both of you.

Presto, presto, pria ch’ei venga, por mi vo’ da qualche lato; c’è una nicchia qui celato, cheto cheto mi vo’ star.

Quickly, quickly, before he comes. I’ll move aside. There’s a nook. I’ll stay there and hide quietly.

Zerlina: Senti, senti, dove vai? Ah, non t’asconder, o Masetto! Se ti trova, poveretto, tu non sai quel che può far.

Zerlina: Listen, listen, where are you going? Masetto, don’t hide! If he finds you, my poor fellow, you don’t know what he might do.

Masetto: Faccia, dica quel che vuole.

Masetto: Let him say or do what he wishes.

Zerlina: Ah, non giovan le parole!

Zerlina: Words are just useless!

Masetto: Parla forte, e qui t’arresta!

Masetto; Speak louder so I can hear you!

Zerlina: Che capriccio hai nella testa?

Zerlina: What nonsense do you have in your mind?

Masetto:( Capirò se m’è fedele, e in qual modo andò l’affar!)

Masetto: (I will learn whether she is faithful, and just how far their intrigue went!)

Zerlina: (Quell’ingrato, quel crudele, oggi vuol precipitar.)

Zerlina: (How cruel and ungrateful! He’s looking for trouble today.)

Masetto hides in the arbor as Don Giovanni arrives.


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Don Giovanni: Sù! Svegliatevi da bravi! Sù! Coraggio, o buona gente! Vogliam star allegramente, vogliam ridere e scherzar.

Don Giovanni: (to the peasants) Come on! Get up and enjoy yourselves! Come! Be hearty good people! Let’s be happy! Let’s laugh and play!

Alla stanza, della danza conducete tutti quanti, ed a tutti in abbondanza gran rifreschi fate dar!

(to the servants) Take all of them to the hall for dancing, and give them all plenty of great refreshments!

Coro: Sù! Svegliatevi da bravi!

Chorus of peasants: Come on! Get up and enjoy yourselves!

After the peasants leave, Zerlina tries to hide herself among the trees. Zerlina: Tra quest’arbori celata, si può dar che non mi veda.

Zerlina: Perhaps he won’t see me if I am concealed among these trees.

Don Giovanni: Zerlinetta, mia garbata, t’ho già visto, non scappar!

Don Giovanni: My sweet Zerlina, I now see you, and you cannot escape!

Zerlina: Ah lasciatemi andar via!

Zerlina: Let me go away!

Don Giovanni: No, no, resta, gioia mia!

Don Giovanni: No, stay, my angel!

Zerlina: Se pietade avete in core!

Zerlina: If you have one bit of pity in your heart!

Don Giovanni: Sì, ben mio! Son tutto amore. Vieni un poco, in questo loco fortunata io ti vo’ far!

Don Giovanni: Yes, my dearest! I’m all love. Come with me, it will be worthwhile for you!

Zerlina: (Ah, s’ei vede il sposo mio, so ben io quel che può far!)

Zerlina: (Oh, if my jealous fiancé sees him, I know well what he could do!)

Don Giovanni discovers the hiding Masetto. Don Giovanni: Masetto?

Don Giovanni: Masetto?

Masetto: Sì, Masetto!

Masetto: Yes, Masetto!


Page 194

Don Giovanni: E chiuso là, perchè? La bella tua Zerlina non può, la poverina, più star senza di te.

Don Giovanni: And why are you hiding there? Your pretty Zerlina, poor thing, can no longer be without you.

Masetto: Capisco, sì signore.

Masetto: (with irony) I understand, my lord.

Don Giovanni: Adesso fate core. I suonatori udite? Venite ormai con me!

Don Giovanni: Come, be strong. Do you hear the musicians? Now come with me!

Zerlina e Masetto: Sì, sì, facciamo core, ad a ballar cogli altri. Andiamo tutti tre!

Zerlina and Masetto: Yes, yes, let’s all capture the spirit, and dance with the others. Let’s all three go together!

Don Giovanni, Zerlina and Masetto leave for the ball. As evening descends. Don Octavio, Donna Anna and Donna Elvira arrive; all are masked. Donna Elvira: Bisogna aver coraggio, o cari amici miei, e i suoi misfatti rei scoprir potremo allor.

Donna Elvira: We must be courageous, my dear friends, and then we can uncover his wicked deeds.

Don Ottavio: L’amica dice bene, coraggio aver conviene; Discaccia, o vita mia, l’affanno ed il timor!

Don Octavio: (to Donna Anna). Our friend speaks wisely-, we must be righteous. Oh my dearest, your fear and terror will soon end!

Donna Anna: Il passo è periglioso, può nascer qualche imbroglio. Temo pel caro sposo, e per voi temo ancor!

Donna Anna: This action is dangerous, and can lead to a squabble. I fear for my beloved fiancé, (to Donna Elvira) and for you as well!

Leporello points out the masqueraders to Don Giovanni. Leporello: Signor, guardate un poco, che maschere galanti!

Leporello: Sir, take a moment and look at the gallant masqueraders!

Don Giovanni: Falle passar avanti, di’ che ci fanno onor!

Don Giovanni: Invite them in, and tell them we would be honored!

Donna Anna, Donna Elvira e Don Ottavio: (Al volto ed alla voce si scopre il traditore!)

Donna Anna, Donna Elvira and Don Octavio: (The traitor reveals himself by his bearing and his voice!)


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Leporello: Zì, zì! Signore maschere!

Leporello: Psst, psst! Noble masqueraders!

Donna Anna e Donna Elvira: Via, rispondete.

Donna Anna, Donna Elvira: (to Octavio) Go, you respond to him.

Leporello: Signore maschere!

Leporello: Noble masqueraders!

Don Ottavio: Cosa chiedete?

Don Octavio: What are you asking for?

Leporello: Al ballo, se vi piace, v’invita il mio signor.

Leporello: My lord invites you, if you would, to join the ball.

Don Ottavio: Grazie di tanto onore! Andiam, compagne belle.

Don Octavio: Thank you for such an honor! Let’s go, beautiful companions.

Leporello: (L’amico anche su quelle prova farà d’amor!)

Leporello: (My lord will quickly try to make love to the women!) Leporello enters the palace.

Donna Anna e Don Ottavio: Protegga il giusto cielo il zelo del mio cor!

Donna Anna and Don Octavio: May the just heavens protect the fierceness in my heart!

Donna Elvira: Vendichi il giusto cielo il mio tradito amor!

Donna Elvira: May the just heavens avenge my betrayed love!

The three masqueraders enter the palace.

Act I - Scene 5 The brilliantly illuminated ballroom of Don Giovanni’s palace. Don Giovanni: Riposate, vezzose ragazze.

Don Giovanni: (ushering some young girls to seats) Pretty girls, rest from your dancing.

Leporello: Rinfrescatevi, bei giovinotti!

Leporello: Good men, some refreshments!


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Don Giovanni e Leporello: Tornerete a far presto le pazze, tornerete a scherzar e ballar!

Don Giovanni and Leporello: You’ll soon be returning to your passions of playing and dancing!

Don Giovanni: Ehi! Caffè!

Don Giovanni: Hey! Some coffee!

Leporello: Cioccolata!

Leporello: Some chocolate!

Masetto: Ah, Zerlina, giudizio!

Masetto: (anxiously holding Zerlina) Zerlina, be prudent!

Don Giovanni: Sorbetti!

Don Giovanni: Sherbet!

Leporello: Confetti!

Leporello: Some sweets!

Masetto: Ah, Zerlina, giudizio!

Masetto: Zerlina, be prudent!

Zerlina e Masetto: (Troppo dolce comincia la scena; in amaro potrìa terminar!)

Zerlina and Masetto: (The scene begins so sweetly, but may end bitterly!)

Don Giovanni: Sei pur vaga, brillante Zerlina!

Don Giovanni: Lovely Zerlina, you are indeed charming!

Zerlina: Sua bontà!

Zerlina: Your lordship is very polite!

Masetto: (La briccona fa festa! )

Masetto: (aside furiously). (The rascal is enjoying herself!)

Leporello: Sei pur cara, Gionnotta, Sandrina.

Leporello: (amongst the girls) How pretty you are, Giannotta, Sandrina!

Masetto: (Tocca pur, che ti cada la testa!)

Masetto: (Touch her and your head will fall!)

Zerlina: (Quel Masetto mi par stralunato, brutto, brutto si fa quest’affar!)

Zerlina: (looking at Masetto) (That Masetto has gone mad; he’s in an awful predicament!)

Don Giovanni e Leporello: (Quel Masetto mi par stralunato, qui bisogna cervello adoprar.)

Don Giovanni and Leporello: (That Masetto seems a little crazy. I must use all my skill to win her.)


Page 197

The masqueraders enter the ballroom. Leporello: Venite pur avanti, vezzose mascherette!

Leporello: Come forward, charming masqueraders!

Don Giovanni: È aperto a tutti quanti. Viva la libertà!

Don Giovanni: My house is open to everyone. Long live liberty!

Donna Anna, Donna Elvira e Don Ottavio: Siam grati a tanti segni di generosità!

Donna Anna, Donna Elvira and Don Octavio: We are grateful for those gestures of hospitality!

Tutti: Viva la libertà!

All: Long live liberty!

Don Giovanni: Ricominciate il suono! Tu accoppia i ballerini!

Don Giovanni: Go on with the music! (to Leporello) You pair the dancers!

Don Giovanni addresses the masqueraders. Da bravi, via ballate!

Good people, come and dance! Don Giovanni begins to dance with Zerlina.

Donna Elvira: (Quella è la contadina.)

Donna Elvira: (to Donna Anna pointing out Zerlina) (That is the country girl.)

Donna Anna: (Io moro!)

Donna Anna: (to Don Octavio) (I feel like I am dying!)

Don Ottavio: (Simulate!)

Don Octavio: (to Donna Anna) (Hide your feelings!)

Don Giovanni e Leporello: Va bene in verità!

Don Giovanni and Leporello: All is going well!

Masetto: Va bene in verità!

Masetto: (ironically) Yes, everything is going well!

Don Giovanni: A bada tien Masetto.

Don Giovanni: (to Leporello) Take good care of Masetto.

Leporello: Non balli, poveretto! Vien quà, Masetto caro, facciam quel ch’altri fa.

Leporello: (to Masetto) You’re not dancing! Come here, my friend Masetto, and let us do as the others.


Page 198

Don Giovanni: Il tuo compagno io sono. Zerlina vien pur qua!

Don Giovanni: (to Zerlina) I am your partner. Zerlina come with me! (Leporello dances with Masetto)

Leporello: Eh, balla, amico mio!

Leporello: Hey, dance my friend!

Masetto: No!

Masetto: No!

Leporello: Sì! Caro Masetto!

Leporello: Yes! Dear Masetto!

Masetto: No, no, ballar non voglio!

Masetto: No, no, I don’t want to dance!

Donna Anna: Resister non poss’io!

Donna Anna: I can no longer endure!

Donna Elvira e Don Ottavio: Fingete per pietà!

Donna Elvira and Don Octavio: Pretend, for pity’s sake!

Don Giovanni places his arm about Zerlina’s waist and draws her toward a door. Don Giovanni: Vieni con me, vita mia!

Don Giovanni: Come with me, my love!

Masetto: Lasciami! Ah no! Zerlina!

Masetto: (to Leporello) Leave me alone! Oh no! Zerlina!

Zerlina: Oh Numi! Son tradita!

Zerlina: Oh, Heavens I’m betrayed!

Don Giovanni forces Zerlina into the room. Leporello: Qui nasce una ruina.

Leporello: Another disaster is being born.

Donna Anna, Donna Elvira e Don Ottavio: L’iniquo da se stesso nel laccio se ne va!

Donna Anna, Donna Elvira and Don Octavio: The vile intriguer will be caught in his own trap!

Zerlina: Gente, aiuto! Aiuto! Gente!

Zerlina: (from within the room) Help me! Someone help me!


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Donna Anna, Donna Elvira e Don Ottavio: Soccorriamo l’innocente!

Donna Anna, Donna Elvira e Don Octavio: Let’s save the innocent girl!

Masetto: Ah, Zerlina!

Masetto: Oh, Zerlina!

Zerlina: Scellerato!

Zerlina: (from within) Evil man!

Donna Anna, Donna Elvira e Don Ottavio: Ora grida da quel lato! Ah gettiamo giù la porta!

Donna Anna, Donna Elvira and Don Octavio: The shout comes from that side! Let’s break down the door!

Zerlina: Soccorretemi! O son morta!

Zerlina: (from within) Save me, or I’ll die!

Donna Anna, Donna Elvira, Don Ottavio e Masetto: Siam qui noi per tua difesa!

Donna Anna, Donna Elvira and Don Octavio: We’re here to defend you!

They break open the door. Don Giovanni emerges holding Leporello by the arm. Don Giovanni: Ecco il birbo che t’ha offesa! Ma da me la pena avrà! Mori, iniquo!

Don Giovanni: Here is the culprit who offended you! But my hand shall punish him! Die, criminal!

Leporello: Ah, cosa fate?

Leporello: What are you doing?

Don Giovanni: Mori, dico!

Don Giovanni: Die, criminal!

Don Ottavio: Nol sperate.

Don Octavio: (holding a pistol to Giovanni) Don’t have hope that you can escape.

Donna Anna, Donna Elvira e Don Ottavio: (L’empio crede con tal frode di nasconder l’empietà!)

Donna Anna, Donna Elvira and Don Octavio: (all unmask) (The villain thinks he can hide his wickedness from us!)

Don Giovanni: Donna Elvira?

Don Giovanni: Donna Elvira?

Donna Elvira: Sì, malvagio!

Donna Elvira: Yes, you false one!


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Don Giovanni: Don Ottavio?

Don Giovanni: Don Octavio?

Don Ottavio: Sì, signore!

Don Octavio: Yes, Signor!

Don Giovanni: Ah, credete.

Don Giovanni: Unbelievable.

Donna Anna: Traditore!

Donna Anna: You traitor!

Donna Anna, Donna Elvira e Don Ottavio: Traditore! Traditore! Tutto già si sa!

Donna Anna, Donna Elvira and Don Octavio: Traitor! Traitor! Everything is now known!

They approach Don Giovanni threateningly. Trema, trema, o scellerato!

Tremble, tremble, scoundrel!

Zerlina: Saprà tosto il mondo intero il misfatto orrendo e nero la tua fiera crudeltà!

Zerlina: My head is confused from your dark and horrible deeds and your fierce cruelty!

Tutti: Odi il tuon della vendetta, che ti fischia intorno intorno; Sul tuo capo in questo giorno il suo fulmine cadrà!

All: (except Giovanni and Leporello) Hear the thunder of vengeance, that roars all around. On this day, a thunderbolt will fall on his head!

Don Giovanni e Leporello: È confusa la mia testa! Non sa più quel ch’ei si faccia È un orribile tempesta minacciando, o Dio, lo va!

Don Giovanni and Leporello: My head is confused! I do not know what I should do. It is a horrible menacing storm that God has wrought!

Ma non manca in lui coraggio, non si perde o si confonde. Se cadesse ancora il mondo, nulla mai temer lo fa!

But my courage doesn’t fail me, I’m not lost or confused. If the world might yet fall apart, there is nothing I fear!

Don Giovanni seizes Leporello. Both push their way through the crowd and escape. END OF ACT I

Don Giovanni Libretto - Act II

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Act II – Scene 1 Don Giovanni and Leporello stand before the balcony of Elvira’s house. Don Giovanni: Eh via, buffone, non mi seccar!

Don Giovanni: Come on buffoon, don’t annoy me!

Leporello: No, no, padrone, non vo’restar.

Leporello: No, master, I want to leave you.

Don Giovanni: Sentimi, amico.

Don Giovanni: Listen to me, my friend.

Leporello: Vo’andar, vi dico!

Leporello: I tell you that I’m leaving!

Don Giovanni: Ma che ti ho fatto che vuoi lasciarmi?

Don Giovanni: What have I done that makes you want to leave me?

Leporello: O niente affatto! Quasi ammazzarmi!

Leporello: Of course nothing important! It’s just that you almost had me killed!

Don Giovanni: Va, che sei matto, fu per burlar

Don Giovanni: Go away. You’re crazy. It was a joke.

Leporello: Ed io non burlo, ma voglio andar!

Leporello: I’m not joking, I want to leave you!

Don Giovanni: Leporello!

Don Giovanni: (Don Giovanni tries to detain Leporello) Leporello!

Leporello: Signore!

Leporello: Sir!

Don Giovanni: Vien qui, facciamo pace, prendi!

Don Giovanni: (gives him a purse) Here, let’s make peace. Take this!

Leporello: Cosa?

Leporello: How much?

Don Giovanni:: Quattro doppie.

Don Giovanni: Four gold pieces.


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Leporello: Oh, sentite: per questa volta la ceremonia accetto; ma non vi ci avvezzate; non credete di sedurre i miei pari, come le donne, a forza di danari.

Leporello: (counting the money) O.K. Listen, I’ll accept it just this once, but don’t make it a habit. Don’t think that you can seduce me with the power of money the way you do the women.

Don Giovanni: Non parliam più di ciò! Ti basta l’animo di far quel ch’io ti dico?

Don Giovanni: Let’s not talk about it anymore! Do you have the courage to do what I’m about to tell you?

Leporello: Purchè lasciam le donne.

Leporello: Provided we give up women.

Don Giovanni: Lasciar le donne? Pazzo! Sai ch’elle per me son necessarie più del pan che mangio, più dell’aria che spiro!

Don Giovanni: Give up women? You’re mad! You know that they’re more necessary to me than the bread I eat, or the air I breathe!

Leporello: E avete core d’ingannarle poi tutte?

Leporello: And why do you have the heart to deceive all of them?

Don Giovanni: È tutto amore! Chi a una sola è fedele, verso l’altre è crudele: io che in me sento sì esteso sentimento, vo’ bene a tutte quante. Le donne poiché calcolar non sanno, il mio buon natural chiamano inganno.

Don Giovanni: It is all for love! A man who is faithful to one, is cruel to all the others. I, who has within me such immense feelings, I want to love them all. But, the women misinterpret my good intentions and consider them deceptions.

Leporello: Non ho veduto mai naturale più vasto, e più benigno. Orsù, cosa vorreste?

Leporello: I have never seen such grand benevolence, and such a good nature. Now, what do you want me to do?

Don Giovanni: Odi! Vedesti tu la cameriera di Donna Elvira?

Don Giovanni: Listen! Have you seen Donna Elvira’s maid?

Leporello: Io? No!

Leporello: Me? No!

Don Giovanni: Non hai veduto qualche cosa di bello, caro il mio Leporello; ora io con lei vo’ tentar la mia sorte, ed ho pensato, giacché siam verso sera, per

Don Giovanni: Then my dear Leporello, you have missed something lovely. Right now, I’m going to try my luck with her, and I’ve been thinking, since it’s almost evening,


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aguzzarle meglio l’appetito di presentarmi a lei col tuo vestito.

I’ll arouse her appetite by presenting myself in your clothes.

Leporello: E perchè non potreste presentarvi col vostro?

Leporello: And why can’t you present yourself in your own clothes?

Don Giovanni: Han poco credito con genti di tal rango gli abiti signorili.

Don Giovanni: With people like her, the dress of a noble would appear too fine.

Sbrigati, via!

(Don Giovanni takes off his cloak) Be quick!

Leporello: Signor, per più ragioni…

Leporello: Sir, I’ve a suspicion….

Don Giovanni: Finiscila! Non soffro opposizioni!

Don Giovanni: Stop it! I can’t stand opposition!

Don Giovanni and Leporello exchange cloaks and hats. Donna Elvira: Ah taci, ingiusto core! Non palpitarmi in seno! È un empio, e un traditore. È colpa di aver pietà.

Donna Elvira: (from her balcony) Be silent, inconsiderate heart! Don’t throb in my breast! He’s merciless, and he’s a deceiver. It’s shameful to have pity for him.

Leporello: (Zitto! Di Donna Elvira, Signor, la voce io sento!)

Leporello: (Sssh! I hear Donna Elvira’s voice!)

Don Giovanni: (Cogliere io vo’ il momento, tu fermati un po’ là!)

Don Giovanni: (I’ll seize the opportunity! You stand over there!)

Don Giovanni stands behind Leporello and makes gestures with Leporello’s arms. Elvira, idolo mio!

Elvira, my idol!

Donna Elvira: Non è costui l’ingrato?

Donna Elvira: Is that the ingrate?

Don Giovanni: Si, vita mia, son io, e chieggo carità.

Don Giovanni: Yes, my dearest, it is I, and I ask for your forgiveness.


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Donna Elvira: (Numi, che strano affetto, mi si risveglia in petto!)

Donna Elvira: (Gods, what strange emotion he arouses in my breast!)

Leporello: (State a veder la pazza, che ancor gli crederà!)

Leporello: (Look at that crazy woman! She still believes him!)

Don Giovanni: Discendi, o gioia bella, vedrai che tu sei quella che adora l’alma mia pentito io sono già.

Don Giovanni: Come down, my beautiful jewel, and you’ll see that you are the one who my soul adores. I have already repented.

Donna Elvira: No, non ti credo, o barbaro!

Donna Elvira: I don’t believe you, you barbarian!

Don Giovanni: Ah credimi, o m’uccido! Idolo mio, vien qua!

Don Giovanni: Believe me, or I’ll kill myself! My idol, come here!

Leporello: (Se seguitate, io rido!)

Leporello: (If you continue, I’ll burst out laughing!)

Donna Elvira: (Dei, che cimento è questo! Non so s’io vado o resto! Ah proteggete voi la mia credulità!)

Donna Elvira: (Gods, what agony this is! I don’t know whether to go or remain! Gods, protect me from my uncertainty!)

Don Giovanni: (Spero che cada presto! Che bel colpetto è questo! Più fertile talento del mio, no, non si dà!)

Don Giovanni: (I think it worked well! What an ingenious stroke this was! A more fertile talent than mine doesn’t exist!)

Leporello: (Già quel mendace labbro torna a sedur costei, deh proteggete, o dei! La sua credulità!)

Leporello: (What a smooth deceiver he is! I hope the gods protect her from her uncertainty!)

Elvira leaves the balcony. Don Giovanni: Amore, che ti par?

Don Giovanni: (happily) What do you think?

Leporello: Mi par che abbiate un’anima di bronzo.

Leporello: I think that you are heartless.


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Don Giovanni: Va là, che sei il gran gonzo! Ascolta bene: quando costei qui viene, tu corri ad abbracciarla, falle quattro carezze, fingi la voce mia: poi con bell’arte cerca teco condurla in altra parte.

Don Giovanni: So be it. What a fool you are! Now listen to me. When she comes out, run and embrace her, give her four kisses, and mimic my voice. Then use your ingenuity and take her somewhere else.

Leporello: Ma, Signor...

Leporello: But, sir…

Don Giovanni: Non più repliche!

Don Giovanni: No more talk!

Leporello: Ma se poi mi conosce?

Leporello: But what if she recognizes me?

Don Giovanni: Non ti conoscerà, se tu non vuoi. Zitto: ell’apre, ehi giudizio!

Don Giovanni: She won’t recognize you, if you don’t want her to. Quiet! She’s opening the door, so be smart!

Don Giovanni rushes, leaving Leporello alone. Donna Elvira emerges from the house and advances toward Leporello. Donna Elvira: Eccomi a voi.

Donna Elvira: (to Leporello) I am here for you.

Don Giovanni: (Veggiamo che farà.)

Don Giovanni: (to Leporello) (Let’s see what will happen.)

Leporello: (Che bell’imbroglio!)

Leporello: (What a beautiful predicament!)

Donna Elvira: Dunque creder potrò che i pianti miei abbian vinto quel cor? Dunque pentito l’amato Don Giovanni al suo dovere all’amor mio ritorna?

Donna Elvira: Could I ever have believed that my tears have won your heart? Has my beloved Don Giovanni repented, and returned to me virtuous and faithful?

Leporello: Sì, carina!

Leporello: (imitating Don Giovanni’s voice) Yes, beloved!

Donna Elvira: Crudele! Se sapeste quante lagrime e quanti sospir voi mi costaste!

Donna Elvira: You cruel man! If you only knew much I cried and longed for you!

Leporello: Io, vita mia?

Leporello: My beloved, for me?


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Donna Elvira: Voi.

Donna Elvira: Yes, for you.

Leporello: Poverina! Quanto mi dispiace!

Leporello: Poor lady! I’m so sorry for you!

Donna Elvira: Mi fuggirete più?

Donna Elvira: Will you ever leave me again?

Leporello: No, muso bello!

Leporello: No, my beautiful inspiration!

Donna Elvira: Sarete sempre mio?

Donna Elvira: Will you always be mine?

Leporello: Sempre!

Leporello: Always!

Donna Elvira: Carissimo!

Donna Elvira: My dearest!

Leporello: Carissima! (La burla mi dà gusto.)

Leporello: My dearest! (I’m really enjoying this game.)

Donna Elvira: Mio tesoro!

Donna Elvira: My treasure!

Leporello: Mia Venere!

Leporello: My Venus!

Donna Elvira: Son per voi tutta foco.

Donna Elvira: (embracing him) I’m all aflame for you.

Leporello: Io tutto cenere.

Leporello: And I am all burned to ashes.

Don Giovanni: (Il birbo si riscalda.)

Don Giovanni: (The rogue is warming up to it.)

Donna Elvira: E non m’ingannerete?

Donna Elvira: Will you ever deceive me again?

Leporello: No, sicuro.

Leporello: Certainly not.

Donna Elvira: Giuratelo.

Donna Elvira: Swear it.


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Leporello: Lo giuro a questa mano, che bacio con trasporto, e a que’ bei lumi.

Leporello: I swear it by this hand, that delivers a kiss to your beautiful eyes.

Don Giovanni: Ah, eh, ah, ah! Sei morto.

Don Giovanni: (pretending to thrash someone) Ah, ha, you wretch, you’re dead!

Donna Elvira e Leporello: Oh numi!

Donna Elvira and Leporello: Oh, heavens!

In fear, Donna Elvira and Leporello flee together. Don Giovanni: Ha, ha, ha! Par che la sorte mi secondi; veggiamo! Le finestre son queste. Ora cantiamo.

Don Giovanni: Ha, ha, ha! It seems that luck is with me! Let’s see! These are the windows. Now, we’ll sing the serenade.

Don Giovanni serenades Donna Elvira’s maid, accompanying himself with the mandolin Leporello left behind.

Deh, vieni alla finestra, o mio tesoro, deh, vieni a consolar il pianto mio. Se neghi a me di dar qualche ristoro, davanti agli occhi tuoi morir vogl’io!

Come to the window, my treasure. Come and console my tears. If you refuse to give me some solace, I wish to die before your eyes!

Tu ch’hai la bocca dolce più del miele, Tu che il zucchero porti in mezzo al core! Non esser, gioia mia, con me crudele! Lasciati almen veder, mio bell’amore!

Your mouth is sweeter than honey! You carry sweetness in your heart! My treasure, don’t be cruel to me! My beautiful love let me at least see you!

Don Giovanni: V’è gente alla finestra, forse è dessa! Sst! Sst!

Don Giovanni: There’s someone at the window. Perhaps it is she! Psst! Psst!

Masetto arrives, armed with a gun and pistol. Peasants follow him. Masetto: Non ci stanchiamo; il cor mi dice che trovarlo dobbiam.

Masetto: (to the peasants) Let’s never give up. My intuition tells me that we should find him here.

Don Giovanni: (Qualcuno parla!)

Don Giovanni: (Someone is speaking!)


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Masetto: Fermatevi; mi pare che alcuno qui si muova.

Masetto: (to the peasants) Stop here! It seems to me that someone moved.

Don Giovanni:

Don Giovanni: (hiding himself with his cloak and hat) (If I’m not mistaken, it’s Masetto!)

(Se non fallo, è Masetto!) Masetto: Chi va là? Non risponde; animo, schioppo al muso! Chi va là?

Masetto; Who’s there? No one answers. Be courageous friends, and have your muskets ready! Who’s there?

Don Giovanni: (Non è solo, ci vuol giudizio.) Amici. (Non mi voglio scoprir.) Sei tu, Masetto?

Don Giovanni: (He’s not alone. I better be careful.) (imitating Leporello) Friends. (I don’t want them to recognize me.) Masetto, is that you?

Masetto: Appunto quello; e tu?

Masetto: Precisely, and you?

Don Giovanni: Non mi conosci? Il servo son io di Don Giovanni.

Don Giovanni: Don’t you recognize me? I’m Don Giovanni’s servant.

Masetto: Leporello! Servo di quell’indegno cavaliere!

Masetto: Leporello! The servant of that disreputable cavalier!

Don Giovanni: Certo; di quel briccone!

Don Giovanni: That’s right, the servant of that rascal!

Masetto: Di quell’uom senza onore: ah, dimmi un poco dove possiam trovarlo? Lo cerco con costor per trucidarlo!

Masetto; Of that dishonorable man. Tell me, where we can find him? We’re all looking to slaughter him!

Don Giovanni: (Bagattelle!) Bravissimo, Masetto! Anch’io con voi m’unisco, per fargliela a quel birbo di padrone. Ma udite un po’ qual è la mia intenzione.

Don Giovanni: (So that’s all!) Great, Masetto! I’ll join you to help you catch my wicked master. But listen a moment to what I have in mind.

Metà di voi qua vadano, e gli altri vadan là! E pian pianin lo cerchino. Lontan non fia di qua!

Half of you go this way, and the rest go that way! And we’ll look for him very quietly. He can’t be far from here!


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Se un uom e una ragazza passeggian per la piazza, se sotto a una finestra fare all’amor sentite, ferite pur, ferrite! Il mio padron sarà!

If you should see a man and a lady walk through the square, or if you hear someone making love under a window, then wound him! It will be my master.

In testa egli ha un cappello con candidi pennacchi. Addosso un gran mantello, e spada al fianco egli ha. Andate, fate presto!

He wears a hat on his head that has white plumes. There’s a large cloak on his shoulder, and a sword at his side. Go on, go quickly!

Don Giovanni pushes the peasants away to pursue their prey. Don Giovanni: Tu sol verrai con me. Noi far dobbiamo il resto, e già vedrai cos’è!

Don Giovanni: (to Masetto) But you come with me! We can do the rest ourselves, and you’ll soon see what that is!

Zitto, lascia ch’io senta! Ottimamente: dunque dobbiam ucciderlo?

Quiet, let me listen! Perfect. So why do you want to kill him?

Masetto: Sicuro!

Masetto: Certainly!

Don Giovanni: E non ti basterìa rompergli l’ossa, fracassargli le spalle?

Don Giovanni: Wouldn’t it be enough to break his bones and fracture his back?

Masetto: No, no, voglio ammazzarlo, vo’ farlo in cento brani.

Masetto: No, I want to kill him! I want to tear him into a hundred pieces.

Don Giovanni: Hai buone armi?

Don Giovanni: Do you have good weapons?

Masetto: Cospetto! Ho pria questo moschetto, e poi questa pistola.

Masetto: Of course! I have this musket, and then this pistol.

Masetto hands the musket and pistol to Don Giovanni. Don Giovanni: E poi?

Don Giovanni: And what else?

Masetto: Non basta?

Masetto: Isn’t that enough?


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Don Giovanni beats Masetto with the flat part of his sword. Don Giovanni: Eh, basta certo. Or prendi: questa per la pistola, questa per il moschetto.

Don Giovanni: Certainly enough. Now, take this for the pistol, and this for the musket.

Masetto: Ahi, ahi! La testa mia!

Masetto: (crying as he falls to the ground) Ay, ay! My head!

Don Giovanni: Taci, o t’uccido! Questi per ammazzarlo, questi per farlo in brani! Villano, mascalzon! Ceffo da cani!

Don Giovanni: Quiet, or you’ll get killed! This is for wanting to kill him, and this for wanting to tear him apart! Villain, bumpkin! Ugly dog!

Don Giovanni throws the weapons down before Masetto, and then leaves hastily. Masetto: Ahi! Ahi! La testa mia! Ahi, ahi! Le spalle e il petto!

Masetto: (crying loudly) Ay! Ay! My head! Ay, ay! My back! My chest!

Zerlina: Di sentire mi parve la voce di Masetto!

Zerlina: (approaching with a lantern) I thought I just heard Masetto’s voice!

Masetto: O Dio, Zerlina mia, soccorso!

Masetto: Oh god, Zerlina, help me!

Zerlina: Cosa è stato?

Zerlina: What happened?

Masetto: L’iniquo, il scellerato i ruppe l’ossa e i nervi.

Masetto: That villain and scoundrel broke all my bones.

Zerlina: Oh poveretta me! Chi?

Zerlina: Oh dear!! Who?

Masetto: Leporello! Qualche diavol che somiglia a lui!

Masetto: Leporello! Or else some devil who resembles him!

Zerlina: Crudel! Non te diss’io che con questa tua pazza gelosia ti ridurresti a qualche brutto passo? Dove ti duole?

Zerlina: (helping Masetto to rise) How cruel! Didn’t I tell you that your senseless jealousy would get you into trouble? Where does it hurt you?

Masetto: Qui.

Masetto: Here.


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Zerlina: E poi?

Zerlina: Where else?

Masetto: Qui, e ancora qui!

Masetto: Here, and also here!

Zerlina: E poi non ti duol altro?

Zerlina: And are you hurt anywhere else?

Masetto: Duolmi un poco questo pie’, questo braccio, e questa mano.

Masetto: I have some pain in this foot, this arm, and this hand.

Zerlina: Via, via, non è gran mal, se il resto è sano. Vientene meco a casa; purché tu mi prometta d’essere men geloso, io, io ti guarirò, caro il mio sposo.

Zerlina: Oh well, it’s not so bad. It’ll be back to health with a little rest. Come home with me. But now you must promise me not to be so jealous.

Vedrai, carino, se sei buonino, che bel rimedio ti voglio dar!

You’ll see, my love. I’ll cure you. You’ll see, dearest, if you are good, I’ll give you a beautiful remedy!

È naturale, non dà disgusto, e lo speziale non lo sa far.

It’s natural, not offensive, and the herbalist doesn’t make it.

È un certo balsamo ch’io porto addosso, dare tel posso, se il vuoi provar.

It’s a certain balm that I carry with me. If you want to try it I can give it to you.

Saper vorresti dove mi sta? Sentilo battere, toccami qua!

Would you like to know where I keep it? Feel it beating, touch me here!

Zerlina places Masetto’s hand on her heart, and then both leave.


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Act II – Scene 2

A dark courtyard before Donna Anna’s house. There are three doors. Leporello, wearing Don Giovanni’s hat and cloak, appears with Donna Elvira. Leporello: Di molte faci il lume s’avvicina, o mio ben: stiamo qui un poco finché da noi si scosta.

Leporello: Lots of torchlights are approaching. My love, let’s stay here awhile until they pass by..

Donna Elvira: Ma che temi, adorato mio sposo?

Donna Elvira: What are you so afraid of, my adored husband?

Leporello: Nulla, nulla. Certi riguardi, io vo’ veder se il lume è già lontano. (Ah, come da costei liberarmi?) Rimanti, anima bella!

Leporello: Nothing, nothing. I just want to see if the torchlights are far away. (How can I free myself from her?) My love, wait here a moment!

Donna Elvira:

Donna Elvira: (as Leporello moves further away) Oh, don’t leave me! Alone, alone here in this dark place, I feel my heart throbbing. And I’m overcome by such fear, that I feel like I’m going to die.

Ah! Non lasciarmi! Sola, sola in buio loco palpitar il cor mi sento, e m’assale un tal spavento, che mi sembra di morir.

Leporello: (Più che cerco, men ritrovo questa porta sciagurata; Piano, piano, l’ho trovata! Ecco il tempo di fuggir!)

Leporello: (groping his way around) (The more I search the more difficult to find that infernal door. Easy, easy! I’ve found it! Now is the time to escape from her!)

In the dark, Leporello finds a door, but then it eludes him. Don Octavio and Donna Anna arrive; she is dressed in mourning clothes. Don Ottavio: Tergi il ciglio, o vita mia, e dà calma a tuo dolore! L’ombra omai del genitore pena avrà de’ tuoi martir.

Don Octavio: Dry those tears, my love and calm your grieving! The spirit of your father will be upset by your agonizing.

Donna Anna: Lascia almen alla mia pena questo piccolo ristoro; sol la morte, o mio tesoro, il mio pianto può finir.

Donna Anna: At least there is some consolation in my sorrow. It is only death, my love, that can end my tears.

Donna Elvira: Ah dov’è lo sposo mio?

Donna Elvira: (unseen by the others) Oh, where is my husband?


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Leporello: (Se mi trova, son perduto!)

Leporello: (by the door, also unseen) (If she finds me, I’m finished!)

Donna Elvira: Una porta là vegg’io,

Donna Elvira: (approaches the door) I see a door there.

Leporello: Cheto, cheto, vo’partir!

Leporello: Quietly, quietly, here’s my chance to leave!

At the door, Leporello is confronted by Masetto and Zerlina. All surround Leporello, who fearfully hides his face in his cloak. Zerlina e Masetto: Ferma, briccone, dove ten vai?

Zerlina and Masetto: Stop, scoundrel! Where are you going?

Donna Anna e Don Ottavio: Ecco il fellone! Com’era qua?

Donna Anna and Don Octavio: Here’s the criminal! Why is he here?

Donna Anna, Zerlina, Don Ottavio, Masetto: Ah, mora il perfido che m’ha tradito!

Donna Anna Zerlina, Don Octavio, Masetto: Death to this perfidious scoundrel!

Donna Elvira: È mio marito! Pietà!

Donna Elvira: (unveils herself) He is my husband! Have mercy on him!

Donna Anna, Zerlina, Don Ottavio, Masetto: È Donna Elvira? Quella ch’io vedo? Appena il credo! No, no, morrà!

Donna Anna Zerlina, Don Octavio, Masetto: Is that Donna Elvira? Who do I see? I can’t believe it! No, no, death to him!

Leporello: Perdon, perdono, signori miei! Quello io non sono, sbaglia costei! Viver lasciatemi per carità!

Leporello: (as if crying) Forgive me, my lords! She is mistaken. I am not that man! For Heaven’s sake, let me live!

They are astonished to discover Leporello. Donna Anna, Zerlina, Don Ottavio, Masetto: Dei! Leporello! Che inganno è questo! Stupido resto! Che mai sarà?

Donna Anna Zerlina, Don Octavio, Masetto: Gods! Leporello! What a deception this is! I’m astonished! How can this be?

Leporello: (Mille torbidi pensieri mi s’aggiran per la testa; se mi salvo in tal tempesta, è un prodigio in verità.)

Leporello: (A thousand turbulent thoughts are spinning in my head. If I escape from such a storm, it will be a true miracle.)


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Donna Anna leaves. Leporello tries unsuccessfully to follow. Donna Anna, Zerlina, Don Ottavio, Masetto: (Mille torbidi pensieri Mi s’aggiran per la testa: Che giornata, o stelle, è questa! Che impensata novità!)

Donna Anna Zerlina, Don Octavio, Masetto: (A thousand turbulent thoughts are spinning in my head. Oh heavens, what a day this has become! What an unexpected event!)

Zerlina: Dunque quello sei tu, che il mio Masetto poco fa crudelmente maltrattasti!

Zerlina: (furiously to Leporello) So it was you, who only a short while ago cruelly maltreated Masetto!

Donna Elvira: Dunque tu m’ingannasti, o scellerato, spacciandoti con me per Don Giovanni!

Donna Elvira: (to Leporello) So it was you who wickedly deceived me, you rogue, by imitating Don Giovanni!

Don Ottavio: Dunque tu in questi panni venisti qui per qualche tradimento!

Don Octavio: So it was you who came here in that disguise to deceive us!

Donna Elvira: A me tocca punirlo.

Donna Elvira: Let me punish him.

Zerlina: Anzi a me.

Zerlina: Let me do it.

Don Ottavio: No, no, a me.

Don Octavio: No, no, let me.

Masetto: Accoppatelo meco tutti e tre.

Masetto: Let’s all three of us deal with him.

Leporello: Ah, pietà, signori miei! Dò ragione a voi, a lei ma il delitto mio non è. II padron con prepotenza, l’innocenza mi rubò.

Leporello: Have mercy, my lords! You are right, and so is she. But I’m not the guilty one. My tyrannical master robbed me of my innocence.

Donna Elvira, compatite! Voi capite come andò!

(to Donna Elvira) Donna Elvira, be compassionate! You understand that he made me do it!

Di Masetto non so nulla, vel dirà questa fanciulla.

(to Masetto and pointing to Donna Elvira) This girl will tell you, that I know nothing about Masetto.


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È un oretta circumcirca, che con lei girando vo.

I was going around with her for an hour or so.

A voi, signore, non dico niente, certo timore, certo accidente, di fuori chiaro, di dentro scuro, non c’è riparo, la porta, il muro. Io me ne vado verso quel lato, poi qui celato, l’affar si sa! Ma s’io sapeva, fuggìa per qua!

(to Don Octavio) To you, sir, I say nothing. Certain fears and certain mishaps are overtly clear, but obscure inside. There is no hiding place, the door, the wall (slyly moving toward the door) I’ll go that way, toward the side, and then hide there. But if I only knew how to escape from here!

Leporello runs out quickly. Donna Elvira: Ferma, perfido, ferma!

Donna Elvira: Stop scoundrel! Stop!

Masetto: Il birbo ha l’ali ai piedi!

Masetto: The rascal has wings on his feet!

Zerlina: Con qual arte si sottrasse l’iniquo.

Zerlina: He got out of here so skillfully.

Don Ottavio: Amici miei, dopo eccessi sì enormi, dubitar non possiam che Don Giovanni non sia l’empio uccisore del padre di Donn’Anna; in questa casa per poche ore fermatevi, un ricorso vo’far a chi si deve, e in pochi istanti vendicarvi prometto.

Don Octavio: My friends, after such enormous offences, we can no longer doubt that Don Giovanni was the merciless murderer of Donna Anna’s father. Stay here for a few hours. I’ll have recourse to justice, and I promise that you will have vengeance very soon.

Così vuole dover, pietade, affetto!

Duty demands it, compassion, and affection!

Donna Elvira, Zerlina and Masetto leave.

Il mio tesoro intanto andate a consolar, e del bel ciglio il pianto cercate di asciugar. Ditele che i suoi tortia cendicar io vado; Che sol di stragi e morti nunzio vogl’io tornar.

Meanwhile, my dearest treasure, console yourself, and wipe away the tears from your beautiful eyes. I am going to have vengeance against those who wronged her. I will only return only when I can announce that we have been avenged by carnage and death.


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Zerlina, with a razor in her hand, drags Leporello in. Zerlina: Restati qua!

Zerlina: You stay here!

Leporello: Per carità, Zerlina!

Leporello: (trying to free himself) Zerlina, for heaven’s sake!

Zerlina: Eh! Non c’è carità pei pari tuoi.

Zerlina: There’s no mercy for what you’re going to suffer.

Leporello: Dunque cavar mi vuoi?

Leporello: Do you want to bury me?

Zerlina: I capelli, la testa, il cor e gli occhi!

Zerlina: I’ll cut the hair on your head, and gouge out your eyes!

Leporello: Senti, carina mia!

Leporello: (trying to dissuade her) Listen, my dear!

Zerlina: Guai se mi tocchi! Vedrai, schiuma de’ birbi, qual premio n’ha chi le ragazze ingiuria.

Zerlina: (repelling him) Careful not to touch me! You’ll see, you rogue, what gift you’ll get from an injured girl.

Leporello: (Liberatemi, o Dei, da questa furia!)

Leporello: (Gods, free me from this woman’s fury!)

Zerlina: Masetto, olà, Masetto! Dove diavolo è ito? Servi! Gente! Nessun vien, nessun sente.

Zerlina: Masetto, Masetto! Where the devil has he gone? Servants! People! No one comes, no one hears.

Leporello: Fa piano, per pietà! Non trascinarmi a coda di cavallo!

Leporello: (a peasant enters) Easy, for heaven’s sake! Don’t drag me like a sack of grain!

Zerlina: Vedrai, vedrai come finisce il ballo! Presto qua quella sedia!

Zerlina: You’ll see that I haven’t even started! Quickly, here in this seat!

Leporello: Eccola!

Leporello: Here!

Zerlina: Siedi!

Zerlina: Sit!


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Leporello: Stanco non son.

Leporello: I’m not tired.

Zerlina: Siedi, o con queste mani ti strappo il cor e poi lo getto ai cani.

Zerlina: Sit, or with these I’ll tie you up and throw you to the dogs.

Leporello: Siedo, ma tu, di grazia, metti giù quel rasoio mi vuoi forse sbarbar?

Leporello: (sits down) I’m seated, but for Heaven’s sake, put down that razor. Do you want to shave me?

Zerlina: Sì, mascalzone! Io sbarbare ti vo’ senza sapone.

Zerlina: Yes, you rascal! I want to shave you without soap.

Leporello: Eterni Dei!

Leporello: Eternal gods!

Zerlina: Dammi la man!

Zerlina: Give me your hand!

Leporello: La mano?

Leporello: My hand?

Zerlina: L’altra!

Zerlina: Now the other one!

Leporello: Ma che vuoi farmi?

Leporello: What do you want to do with me?

Zerlina: Voglio far, voglio far quello che parmi!

Zerlina: I want to do; I want to do what pleases me!

Zerlina ties Leporello’s hands, assisted by the peasant. Leporello: Per queste tue manine candide e tenerelle, per questa fresca pelle, abbi pietà di me!

Leporello: Have pity on me! Have mercy on these two white and tender hands and this soft skin!

Zerlina: Non v’è pietà, briccone; son una tigre irata, un aspide, un leone. No, no, non v’è pietà!

Zerlina: There is no pity, rogue. I am an inflamed tiger, an asp, and a lion. No, no, there is no mercy for you!

Leporello: Ah! Di fuggir si provi!

Leporello: Oh! If I could only try to escape!

Zerlina: Sei morto se ti movi!

Zerlina: Your dead if you move!


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Leporello: Barbari, ingiusti Dei! In mano di costei chi capitar mi fe’?

Leporello: Barbarian, unjust gods! Who would believe that my fate is in your hands?

Zerlina: Barbaro traditore! Del tuo padrone il core avessi qui con te!

Zerlina: (ties Leporello to the chair) Barbarous traitor! You too have your master’s evil heart!

Leporello: Deh! Non mi stringer tanto, l’anima mia sen va!

Leporello: Heh! Don’t tie me so tight!

Zerlina: Sen vada o resti, intanto non partirai di qua!

Zerlina: Faint or relax, but you won’t get away from here!

Leporello: Che strette, o Dei, che botte! E giorno, ovver è notte? Che scosse di tremuoto! Che buia oscurità!

Leporello: So tight, oh gods, what a disaster! Is it day or is it night? What shaking and quivering! What a gloomy execution!

Zerlina: Di gioia e di diletto sento brillarmi il petto. Così, così, cogli uomini, così, così si fa!

Zerlina: I feel sparkles of joy and delight in my breast. This is the only way to treat men!

Zerlina departs. Leporello is tied in the chair. In desperation, he asks help from the peasant. Leporello: Leporello: Amico, per pietà, un poco d’acqua fresca o Friend, for mercy’s sake, a little fresh ch’io mi moro! water or I’ll die! Guarda un po’ come stretto mi legò Look how tightly that assassin tied me! l’assassina! After the peasant departs, Leporello struggles to free himself. Se potessi liberarmi coi denti? Oh, venga il diavolo a disfar questi gruppi! Io vo’ veder di rompere la corda come è forte! Paura della morte! E tu, Mercurio, protettor de’ ladri, proteggi un galantuomo coraggio!

Could I free myself by using my teeth? Or, maybe the devil will come to cut these cords! Let me see how strong the cord is, and if I can break it! I fear that I’m going to die And you, Mercury, protector of robbers, assist a gallant and courageous man!

Leporello pulls hard. The window, to which the cord was fastened, falls. Bravo! Pria che costei ritorni bisogna dar di sprone alle calcagna, e trascinar, se occorre una montagna.

Great! Before they return, I’ll need spurs on my heels to run and cross the mountain.

Leporello escapes, dragging the chair and window with him.


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Zerlina enters, with Donna Elvira, Masetto and peasants. Zerlina: Andiam, andiam, Signora! Vedrete in qual maniera ho concio il scellerato.

Zerlina: Madam! Let’s go and see how I punished the scoundrel.

Donna Elvira: Ah! Sopra lui si sfoghi il mio furore!

Donna Elvira: Oh! You have vented my fury on him!

Zerlina: Stelle! In qual modo si salvò il briccone?

Zerlina: Heavens! How could the scoundrel have escaped?

Donna Elvira: L’avrà sottratto l’empio suo padrone.

Donna Elvira: He has stolen the villainy of his master.

Zerlina: Fu desso senza fallo: anche di questo informiam Don Ottavio; a lui si spetta far per noi tutti, o domandar vendetta!

Zerlina: You’re absolutely right! We must inform Don Octavio about this. He wants to exact revenge for all of us.

Masetto and the peasants leave. Donna Elvira: In quali eccessi, o Numi, in quai misfatti orribili, tremendi è avvolto il sciagurato! Ah no! Non puote tardar l’ira del cielo, la giustizia tardar. Sentir già parmi la fatale saetta, che gli piomba sul capo! Aperto veggio il baratro mortal! Misera Elvira! Che contrasto d’affetti, in sen ti nasce! Perchè questi sospiri? E queste ambascie?

Donna Elvira: Oh gods, this wretch is involved in such horrible and tremendous excesses! Oh no! Heaven’s anger cannot be delayed, or justice postponed! I already feel the fatal thunderbolt falling on his head! I see the deadly abyss open! Poor Elvira! What conflicting emotions have emerged in your heart! Why these sighs? Why this anguish?

Mi tradì, quell’alma ingrata, infelice, o Dio, mi fa. Ma tradita e abbandonata, provo ancor per lui pietà.

Oh god, that ungrateful soul betrayed me and has made me unhappy. But even though he betrayed and abandoned me, I still feel pity for him.


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Quando sento il mio tormento, di vendetta il cor favella, ma se guardo il suo cimento, palpitando il cor mi va.

When I feel my anguish, my heart cries in jeopardy, my heart starts throbbing for him.

Act II - Scene 3 A walled cemetery with several statues, among them, a statue of the Commandant. Don Giovanni leaps over the wall, still wearing Leporello’s hat. Don Giovanni: Ah, ah, ah, questa è buona, or lasciala cercar; che bella notte! È più chiara del giorno, sembra fatta per gir a zonzo a caccia di ragazze. È tardi? Oh, ancor non sono due della notte; Avrei voglia un po’di saper come è finito l’affar tra Leporello e Donna Elvira, s’egli ha avuto giudizio!

Don Giovanni: (laughing) Ha, ha, ha, this is good. Now let her try to find me! What a beautiful night! It’s brighter than the day; and seems to urge me to rove about and hunt for pretty girls. Is it late? Oh, it’s not yet two in the morning. I would really like to know how things went with Leporello and Donna Elvira, and if he was successful with her!

Leporello: Alfin vuole ch’io faccia un precipizio.

Leporello: (from behind the wall) Surely, he wishes to ruin me!

Don Giovanni: (È desso.) Oh, Leporello!

Don Giovanni: (That’s him.) Oh, Leporello!

Leporello: Chi mi chiama?

Leporello: Who’s calling me?

Don Giovanni: Non conosci il padron?

Don Giovanni: Don’t you recognize your master?

Leporello: Così non conoscessi!

Leporello: I wish I never knew him!

Don Giovanni: Come, birbo?

Don Giovanni: What did you say, you rogue?

Leporello: Ah, siete voi? Scusate!

Leporello: Oh, is that you? Excuse me!

Don Giovanni: Cosa è stato?

Don Giovanni: What happened?

Leporello: Per cagion vostra io fui quasi accoppato.

Leporello: Because of you, I was almost killed.


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Don Giovanni: Ebben, non era questo un onore per te?

Don Giovanni: Well, wasn’t that an honor for you?

Leporello: Signor, vel dono.

Leporello: Sir, you can have the honor.

Don Giovanni: Via, via, vien qua! Che belle cose ti deggio dir.

Don Giovanni: Come, come this way! I’ve some great things to tell you!

Leporello: Ma cosa fate qui?

Leporello: But what are you doing here?

Don Giovanni: Vien dentro e lo saprai. Diverse storielle che accadute mi son da che partisti, ti dirò un’altra volta: or la più bella ti vo’solo narrar.

Don Giovanni: Come inside and you’ll find out. Several things happened to me since you were away. I’ll tell you another time, but the best one I’ll tell you now.

Leporello climbs over the wall and exchanges hat and cloak with Don Giovanni. Leporello: Donnesca al certo?

Leporello: Is it about women?

Don Giovanni: C’è dubbio? Una fanciulla, bella, giovin, galante, per la strada incontrai; le vado appresso, la prendo per la man, fuggir mi vuole; dico poche parole, ella mi piglia, sai per chi?

Don Giovanni: Do you doubt it? I met a charming and beautiful young girl while I was on the road. I approached her, but when I took her hand, she tried to run away. After a few words she took me for. Whom do you think?

Leporello: Non lo so.

Leporello: I don’t know.

Don Giovanni: Per Leporello!

Don Giovanni: For Leporello!

Leporello: Per me?

Leporello: For me?

Don Giovanni: Per te.

Don Giovanni: For you.

Leporello: Va bene.

Leporello: Good.

Don Giovanni: Per la mano essa allora mi prende.

Don Giovanni: Then she took me by the hand.


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Leporello: Ancora meglio.

Leporello: Even better.

Don Giovanni: M’accarezza, mi abbraccia: ”Caro il mio Leporello! Leporello, mio caro!” Allor m’accorsi ch’era qualche tua bella.

Don Giovanni: She kissed me, she embraced me: “My dearest Leporello! Leporello, my dear!” Then I realized that she was one of your girls.

Leporello: (Oh maledetto!)

Leporello: (Damn it!)

Don Giovanni: Dell’inganno approfitto; non so come mi riconosce, grida; sento gente, a fuggire mi metto, e pronto pronto per quel muretto in questo loco io monto.

Don Giovanni: I took advantage of it. Unfortunately, somehow she recognized me and began to shout. People approached and then it was time to run away. So quick as light, I jumped here over this wall.

Leporello: E mi dite la cosa con tanta indifferenza?

Leporello: And why do you tell this to me so casually?

Don Giovanni: Perché no?

Don Giovanni: Why not?

Leporello: Ma se fosse costei stata mia moglie?

Leporello: But what if that pretty girl was my wife?

Don Giovanni: Meglio ancora!

Don Giovanni: (laughing loudly) Even better!

The moon breaks through the clouds, casting light on the Statue of the Commandant. Then the Statue speaks. La Statua: Di rider finirai pria dell’aurora!

The Statue: Your laughter will end before dawn!

Don Giovanni: Chi ha parlato?

Don Giovanni: Who spoke?

Leporello: Ah! Qualche anima sarà dell’altro mondo, che vi conosce a fondo.

Leporello: (in extreme fear) Oh, some ghost from another world, who recognizes you well.

Don Giovanni: Taci, sciocco! Chi va là?

Don Giovanni: (striking some statues with his sword) Quiet, you fool! Who goes there?

La Statua: Ribaldo, audace! Lascia a’ morti la pace!

The Statue: Insolent rogue! Let the dead sleep in peace!


Page 223

Leporello: Ve l’ho detto!

Leporello: (trembling) I told you!

Don Giovanni: Sarà qualcun di fuori che si burla di noi!

Don Giovanni: It’s someone outside playing a joke on us!

Ehi, del Commendatore non è questa la statua? Leggi un poco quella iscrizion.

(with indifference and contempt) Hey, isn’t that the statue of the Commandant? Read me the inscription.

Leporello: Scusate. Non ho imparato a leggere ai raggi della luna.

Leporello: Excuse me: I never learned to read by moonlight.

Don Giovanni: Leggi, dico!

Don Giovanni: (grasps his sword to threaten Leporello) Read it!

Leporello: “Dell’empio che mi trasse al passo estremo qui attendo la vendetta.” Udiste? Io tremo!

Leporello: (reads the inscription) “Here, I await vengeance upon the evil man who ended my life.” Did you hear that? I’m trembling!

Don Giovanni: O vecchio buffonissimo! Digli che questa sera l’attendo a cenar meco!

Don Giovanni: You old buffoon! Tell him that I expect him to join me for dinner tonight!

Leporello: Che pazzia ! Ma vi par, oh Dei, mirate, che terribili occhiate egli ci dà! Par vivo! Par che senta, e che voglia parlar!

Leporello: What madness! I won’t. Oh heavens, look at how sternly he glares at us! He seems alive! He seems to hear! He wants to speak!

Don Giovanni: Orsù, va là! O qui t’ammazzo, e poi ti seppellisco!

Don Giovanni: Go on! Or I’ll kill you, and then bury you!

Leporello: Piano, piano, signore, ora ubbidisco. O statua gentilissima del gran Commendatore. Padron! Mi trema il core, non posso terminar!

Leporello: Master, easy, easy. As you please. Oh, most illustrious statue of the great Commandant. Master! My heart is trembling, I can’t go on!

Don Giovanni: Finiscila, o nel petto ti metto questo acciar!

Don Giovanni: Finish it, or I’ll put this steel through your heart!

Leporello: (Che impiccio, che capriccio!)

Leporello: (What a mess! What a caprice!)


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Don Giovanni: (Che gusto! Che spassetto!)

Don Giovanni: (What fun! What amusement!)

Leporello: Io sentomi gelar!

Leporello: I feel a chill!

Don Giovanni: Lo voglio far tremar!

Don Giovanni: I want to make him tremble!

Leporello: O statua gentillissima, benchè di marmo siate. Ah padron mio! Mirate! Che seguita a guardar!

Leporello: Oh, most illustrious statue, even though you are of marble. Master! Look! His eyes are glowing!

Don Giovanni:

Don Giovanni: (advances menacingly toward the Statue) Die!

Mori! Leporello: No, no, attendete! Signor, il padron mio, badate ben, non io, vorria con voi cenar! Ah che scena è questa! Oh ciel! Chinò la testa!

Leporello: No, wait! (to the Statue) My lord, my master, not I, would like to dine with you! What a scene this is! (the Statue nods in approval) Oh heavens! He nodded his head!

Don Giovanni: Va là, che sei un buffone!

Don Giovanni: (not looking at the Statue) You’re a buffoon!

Leporello: Guardate ancor, padrone!

Leporello: Master, look again!

Don Giovanni: E che degg’io guardar?

Don Giovanni: What should I look at?

Leporello: Colla marmorea testa, ei fa così, così!

Leporello: (imitating the statue) He goes like this with his marble head!

Don Giovanni e Leporello: Colla marmorea testa, ei fa così, così!

Don Giovanni and Leporello: (the statue bends its head) He goes like this with his marble head!

Don Giovanni: Parlate, se potete! Verrete a cena?

Don Giovanni: (to the Statue) Speak if you can! Will you come to dinner?

La Statua: Sì!

The Statue: (inclining its head) Yes!


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Leporello: Mover mi posso, appena, mi manca, o Dei, la lena! Per carità, partiamo, partiamo via di qua! Andiamo via di qua!

Leporello: I can hardly move. I have no strength. For mercy’s sake, let’s go! For heaven’s sake, let’s leave. Let’s leave here! Let’s go!

Don Giovanni: Bizzarra è inver la scena, verrà il buon vecchio a cena a prepararla andiamo, partiamo via di qua! Andiamo via di qua!

Don Giovanni: The scene is indeed bizarre. The old man will come to dinner. Let’s go and prepare dinner. Let’s leave here! Let’s go!

Act II – Scene 4 A room in Donna Anna’s house. Don Ottavio: Calmatevi, idol mio! Di quel ribaldo vedrem puniti in breve i gravi eccessi, vendicati sarem.

Don Octavio: Be calm, my love! Soon this libertine shall be punished for his grave excesses. We shall be avenged.

Donna Anna: Ma il padre, o Dio!

Donna Anna: Oh god, my poor father!

Don Ottavio: Convien chinare il ciglio al volere del ciel. Respira, o cara! Di tua perdita amara fia doman, se vuoi, dolce compenso, questo cor, questa mano, che il mio tenero amor.

Don Octavio: But we must bow our heads to the will of heaven. Rest my dear! For tomorrow your bitter loss will be sweetly rewarded by my tender love, my heart, and my hand.

Donna Anna: O dei, che dite in sì tristi momenti?

Donna Anna: What do you talk about at such sad moments?

Don Ottavio: E che? Vorresti con indugi novelli accrescer le mie pene? Ah! Crudele!

Don Octavio: What? Do you want to increase my pain with renewed postponements? Oh, you are so cruel!

Donna Anna: Crudele? Ah no, giammai mio ben! Troppo mi spiace allontanarti un ben che lungamente la nostr’alma desia. Ma il mondo, o Dio!

Donna Anna: Cruel? Oh, no, my love! I regret so much that I must turn you away from a happiness our souls have long desired. Oh god, it is this horrible world!

Non sedur la costanza del sensibil mio core; ahbastanza per te mi parla amore!

Do not tempt the faithfulness of my sensitive heart! It is enough for you that love speaks to me!


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Non mi dir, bell’idol mio, che son io crudel con te.

Don’t tell me, my dear love, that I am cruel to you.

Tu ben sai quant’io t’amai, tu conosci la mia fè! Calma, calma il tuo tormento, se di duol non vuoi ch’io mora! Forse un giorno il cielo ancora sentirà pietà di me!

You know well how much I have loved you, and you know my faith! Calm your torment if you do not want me to die of sorrow! Perhaps one day, heaven will yet feel mercy for me!

Don Ottavio: Ah si segua il suo passo; io vo’ con lei dividere i martiri. Saran meco men gravi i suoi sospiri

(Donna Anna exits) Don Octavio: Ah! Let me follow her footsteps. I’ll share her grieving. Her sorrows will be less if she shares them with me.

Act II – Scene 5 A large illuminated hall. A sumptuous banquet has been prepared. Don Giovanni: Già la mensa è preparata. Voi suonate, amici cari! Giacché spendo i miei danari, io mi voglio divertir. Leporello, questa tavola!

Don Giovanni: The table is already prepared. Play music, dear friends! Since I’m spending my money, I want to enjoy myself. Leporello, serve!

Leporello: Son prontissimo a servir.

Leporello: Sir, I’m ready to serve.

The musicians play a melody from Martin’s “Una cosa rara.” Leporello: Bravi! “Cosa rara!”

Leporello: Terrific! “Cosa rara!”

Don Giovanni: Che ti par del bel concerto?

Don Giovanni: How do you like the concert?

Leporello: È conforme al vostro merto.

Leporello: It’s consistent with your excellence.

Don Giovanni: Ah che piatto saporito!

Don Giovanni: Such delicious food!


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Leporello: (Ah che barbaro appetito! Che bocconi da gigante! Mi par proprio di svenir!)

Leporello: (Such a barbarous appetite! What gigantic mouthfuls! I think I’m going to faint from hunger!)

Don Giovanni: (Nel veder i miei bocconi gli par proprio di svenir.) Piatto!

Don Giovanni: (Watching my mouthfuls, I think he’s going to faint from hunger.) Another plate here!

Leporello: Servo.

Leporello: I’ll serve it to you.

The musicians begin to play Paisiello’s “Fra I due litiganti il terzo gode.” Evvivano “I litiganti.”

Cheers for “The litigants.”

Don Giovanni: Versa il vino! Eccellente marzimino!

Don Giovanni: Pour more wine! Excellent red wine!

Leporello: (Questo pezzo di fagiano, piano piano vo’inghiottir.)

Leporello: (I’ll eat this piece of pheasant quietly.)

Don Giovanni: (Sta mangiando, quel marrano! Fingerò di non capir.)

Don Giovanni: (That rascal is eating! I’ll pretend not to see.)

The musicians play music from Mozart’s “The Marriage of Figaro.” Leporello: Questa poi la conosco pur troppo.

Leporello: I know this one too well.

Don Giovanni: Leporello!

Don Giovanni: (ignoring Leporello) Leporello!

Leporello: Padron mio!

Leporello: (with his mouth full) Yes, my master!

Don Giovanni: Parla schietto, mascalzone.

Don Giovanni: Speak more clearly, you rogue.

Leporello: Non mi lascia una flussione le parole proferir.

Leporello: (clearing his throat) My mouth is hoarse.

Don Giovanni: Mentre io mangio fischia un poco.

Don Giovanni: Whistle a little something while I’m eating.

Leporello: Non so far.

Leporello: I don’t know how to whistle.


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Don Giovanni: Cos’è?

Don Giovanni: (looking at Leporello) What’s that you say?

Leporello: Scusate! Sì eccellente è il vostro cuoco, che lo volli anch’io provar.

Leporello: Excuse me! Your cook is so wonderful that I wanted to taste it too.

Don Giovanni: (Sì eccellente è il cuoco mio, che lo volle anch’ei provar.)

Don Giovanni: (Yes, my cook is so excellent, that he wanted to taste it too.)

Donna Elvira: L’ultima prova dell’amor mio ancor vogl’io fare con te. Più non rammento gl’inganni tuoi, pietade io sento.

Donna Elvira: (entering desperately) I want to make the last test of my love for you. I will forget your betrayals. I will be merciful to you.

Don Giovanni e Leporello: Cos’è?

Don Giovanni and Leporello: What is this?

Donna Elvira:

Donna Elvira: (kneeling before Don Giovanni) This injured soul asks mercy from you.

Da te non chiede quest’alma oppressa della sua fede qualche mercè.

Thunder is heard from an approaching storm. Don Giovanni: Don Giovanni: (trying to raise her) Mi maraviglio! Cosa volete? I am amazed! What do you want? Se non sorgete non resto in piè. If you don’t rise, I’ll kneel with you. Donna Elvira: Ah non deridere gli affani miei!

Donna Elvira: Don’t mock my anguish!

Leporello: (Quasi da piangere mi fa costei.)

Leporello: (She almost makes me cry.)

Don Giovanni: Io te deridere? Cielo, e perché? Che vuoi, mio bene?

Don Giovanni: (raising Elvira tenderly) Would I mock you? Heavens, why? What is it you want, my love?

Donna Elvira: Che vita cangi!

Donna Elvira: That you change your life!

Don Giovanni: Brava!

Don Giovanni: Excellent!

Donna Elvira: Cor perfido!

Donna Elvira: Faithless heart!


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Don Giovanni: Lascia ch’io mangi, e se ti piace, mangia con me.

Don Giovanni: (sitting down at the table) Let me eat. And if you wish, join me.

Donna Elvira: Rèstati, barbaro! Nel lezzo immondo esempio orribile d’iniquità!

Donna Elvira: (disdainfully) Barbarian! Then remain in your indecent filth and dreadful wickedness!

Don Giovanni: Vivan le femmine. Viva il buon vino! Sostegno e gloria d’umanità!

Don Giovanni: ( raising his glass) Here’s to women! Here’s to good wine! They are the nourishment and glory of humanity!

Leporello: (Se non si muove al suo dolore, di sasso ha il core, o cor non ha.)

Leporello: (She cannot move him with her suffering. His heart is of stone, or he has no heart.)

Donna Elvira rushes out to the door and becomes terrified when she sees the Statue. Then she departs through another door. Donna Elvira: Ah!

Donna Elvira: Ah!

Don Giovanni e Leporello: Che grido è questo mai?

Don Giovanni and Leporello: What was the reason for that scream?

Don Giovanni: Va a veder che cosa è stato!

Don Giovanni: Go and see what happened!

Leporello: Ah!

Leporello: (upon seeing the Statue) Ah!

Don Giovanni: Che grido indiavolato! Leporello, che cos’è?

Don Giovanni: What a diabolic shout! Leporello, what is it?

Leporello: Ah, signor, per carità! Non andate fuor di qua! L’uom di sasso, l’uomo bianco. Ah padrone! Io gelo, io manco. Se vedeste che figura, se sentiste come fa ta ta ta ta!

Leporello: (in fright) Ah, sir, for heaven’s sake! Don’t go out there! The man of stone, the man of marble. Master! I’m chilled, I’m fainting. If you saw that figure. If you hear his ta ta ta ta!

Don Giovanni: Non capisco niente affatto. Tu sei matto in verità.

Don Giovanni: I don’t understand it at all. You’re indeed mad.

There is knocking on the door. Leporello: Ah sentite!

Leporello: Listen!


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Don Giovanni: Qualcun batte! Apri!

Don Giovanni: Someone’s knocking! Open it!

Leporello: Io tremo!

Leporello: I’m trembling!

Don Giovanni: Apri, dico!

Don Giovanni: Open the door!

Leporello: Ah!

Leporello: No!

Don Giovanni: Matto! Per togliermi d’intrico ad aprir io stesso andrò.

Don Giovanni: Idiot! To solve this puzzle I’ll go and open it myself.

Leporello: (Non vo’ più veder l’amico pian pianin m’asconderò.)

Leporello: (I’ll never see our friend again. I’ll quietly hide.)

Don Giovanni opens the door. Leporello hides under the table. Amid a clap of thunder, the Statue of the Commandant appears. La Statua: Don Giovanni, a cenar teco m’invitasti e son venuto!

The Statue: Don Giovanni, you invited me to dine with you, and I have come!

Don Giovanni: Non l’avrei giammai creduto; ma farò quel che potrò. Leporello, un altra cena fa che subito si porti!

Don Giovanni: I would never have believed it, but I’ll do what I can. Leporello, another dinner. Have it brought immediately!

Leporello: Ah padron! Siam tutti morti!

Leporello: (peeking from under the table) Oh master! We’re all going to die!

Don Giovanni: Vanne dico!

Don Giovanni: Listen to me!

La Statua: Ferma un po’! Non si pasce di cibo mortale chi si pasce di cibo celeste; altra cure più gravi di queste, altra brama quaggiù mi guidò!

The Statue: Stop a moment! No nourishment from mortal food for one who is nourished by celestial food. I am guided here by other cares and cravings that are more solemn than these!

Leporello: (La terzana d’avere mi sembra e le membra fermar più non sò.)

Leporello: (It’s like having a fever. My limbs won’t stop shaking.)


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Don Giovanni: Parla dunque! Che chiedi! Che vuoi?

Don Giovanni: Then speak! What do you ask for? What do you want?

La Statua: Parlo; ascolta! Più tempo non ho!

The Statue: I’ll speak and you listen! I have little time!

Don Giovanni: Parla, parla, ascoltando ti sto.

Don Giovanni: (angrily and defiantly) Then speak. I am listening to you.

La Statua: Tu m’invitasti a cena, il tuo dover or sai. Rispondimi: verrai tu a cenar meco?

The Statue: You invited me to dinner. You now know your duty. Answer me: will you come to dine with me?

Leporello: Oibò; tempo non ha, scusate.

Leporello: (trembling from far away) Tell him you have no time now.

Don Giovanni: A torto di viltate tacciato mai sarò!

Don Giovanni: (calmly and coldly) I shall never be accused of cowardice!

La Statua: Risolvi!

The Statue: (impatiently) Then decide!

Don Giovanni: Ho già risolto!

Don Giovanni: I have decided!

La Statua: Verrai?

The Statue: Will you come?

Leporello: Dite di no!

Leporello: (to Don Giovanni) Say no!

Don Giovanni: Ho fermo il cuore in petto: non ho timor: verrò!

Don Giovanni: My heart is beating steadily. I’m not afraid. I’ll come!

La Statua: Dammi la mano in pegno!

The Statue: (offering his left hand) Give me your hand as a pledge!

Don Giovanni: Eccola! Ohimé!

Don Giovanni: (offering his right hand) Here it is! Let go!

La Statua: Cos’hai?

The Statue: What is it?

Don Giovanni: Che gelo è questo mai?

Don Giovanni: What is this deadly coldness?


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La Statua: Pentiti, cangia vita. È l’ultimo momento!

The Statue: Repent and change your life! This is your last chance!

Don Giovanni: No, no, ch’io non mi pento. Vanne lontan da me!

Don Giovanni: (vainly tries to free himself) No, no, I won’t repent! Get far away from me!

La Statua: Pentiti, scellerato!

The Statue: Repent, you scoundrel!

Don Giovanni: No, vecchio infatuato!

Don Giovanni: No, old fool!

La Statua: Pentiti!

The Statue: Repent!

Don Giovanni: No!

Don Giovanni: No!

La Statua: Sì!

The Statue: Yes!

Don Giovanni: No!

Don Giovanni: No!

La Statua: Ah! Tempo più non v’è!

The Statue: There is no more time!

As the Statue disappears, the earth trembles, and flames rise from all sides. Don Giovanni: Da qual tremore insolito sento assalir gli spiriti! Dond’escono quei vortici di foco pien d’orror?

Don Giovanni: What strange fears! I feel the spirits assailing me! Where have those whirlpools of fire and terror come from?

Coro di diavoli: Tutto a tue colpe è poco! Vieni, c’è un mal peggior!

Chorus of Devils: (from below) It is too little punishment for your sins! Come, there is even worse for you!

Don Giovanni: Chi l’anima mi lacera! Chi m’agita le viscere! Che strazio, ohimé, che smania! Che inferno, che terror!

Don Giovanni: They rip my soul! They agitate my insides! What torture, what delirium! What hell! What terror!

Leporello: (Che ceffo disperato! Che gesti da dannato! Che gridi, che lamenti! Come mi fa terror!)

Leporello: (What desperate cries! What noise from the damned! What shouts, what laments! How if fills me with terror!)


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Don Giovanni: Ah!

Don Giovanni: (the flames engulf him) Ah!

Leporello: Ah!

Leporello: Ah! Act II – Scene 6 Donna Anna, Donna Elvira, Zerlina, Don Octavio and Masetto, accompanied by ministers of justice.

Donna Elvira, Zerlina, Don Ottavio e Masetto: Ah, dov’è il perfido? Dov’è l’indegno? Tutto il mio sdegno sfogar io vo’!

Donna Elvira, Zerlina, Don Octavio and Masetto: Where is that perfidious man? Where is that contemptible man? I want to unleash all of my anger!

Donna Anna: Solo mirandolo stretto in catene alle mie pene calma darò.

Donna Anna: My pain can only be calmed if I see him bound in chains.

Leporello: Più non sperate di ritrovarlo, più non cercate. Lontano andò.

Leporello: (pale and trembling) Don’t expect to see him again. Search no more. He’s gone far away.

Tutti: Cos’è? Favella! Via presto, sbrigati!

All: What is it? Tell us! Hurry up!

Leporello: Venne un colosso.

Leporello: A gigantic statue came.

Tutti: Via presto, sbrigati!

All: Tell us! Hurry up!

Leporello: Ma se non posso. Tra fumo e fuoco. Badate un poco. L’uomo di sasso... Fermate il passo. Giusto là sotto, diede il gran botto. Giusto là il diavolo. Sel trangugiò!

Leporello: But I can’t go on. Listen a moment. It was amidst smoke and fire. The man of stone… He seized him. Just there in the ground, he gave the great blow. The devil swallowed him up and he vanished!

Tutti: Stelle, che sento!

All: Heavens, what do I hear!

Leporello: Vero è l’evento!

Leporello: It’s all quite true!


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Donna Elvira: Ah, certo è l’ombra che m’incontrò.

Donna Elvira: It must have been the ghost I met.

Donna Anna, Zerlina, Don Ottavio e Masetto: Ah, certo è l’ombra che l’incontrò.

Donna Anna, Zerlina, Don Octavio and Masetto: It must have been the ghost she met.

Don Ottavio: Or che tutti, o mio tesoro, vendicati siam dal cielo. Porgi, porgi a me un ristoro, non mi far languire ancor.

Don Octavio: (to Donna Anna) My treasure, now that all of us are vindicated by heaven, console me; and don’t let me languish any more.

Donna Anna: Lascia, o caro, un anno ancora allo sfogo del mio cor.

Donna Anna: My dear, let another year pass for my grief to run its course.

Don Ottavio: Al desio di chi m’adora ceder deve un fido amor.

Don Octavio: A faithful love must submit to the desires of one who adores him.

Donna Anna: Al desio di chi t’adora ceder deve un fido amor.

Donna Anna: (offers Octavio her hand) A faithful love must submit to the desires of one whom he loves.

Donna Elvira: Io men vado in un ritiro a finir la vita mia!

Donna Elvira: (to Donna Anna and Don Octavio) I’ll go into a convent for the rest of my life!

Zerlina: Noi, Masetto, a casa andiamo! A cenar in compagnia!

Zerlina: Masetto, let’s go home and dine together!

Masetto: Noi, Zerlina, a casa andiamo! A cenar in compagnia!

Masetto: Zerlina, let’s go home and dine together!

Leporello: Ed io vado all’osteria a trovar padron miglior.

Leporello: And I’m going to the inn to find a better master.

Zerlina, Masetto e Leporello: Resti dunque quel birboncon Proserpina e Pluton. E noi tutti, o buona gente, ripetiam allegramente l’antichissima canzon.

Zerlina, Masetto and Leporello: Let the scoundrel remain with Persephene and Pluto. And now good people, let’s all repeat the old, old song again.

Tutti: Questo è il fin di chi fa mal; e de’ perfidi la morte alla vita è sempre ugual.

All: This is how all evildoers end. All the wicked die as they have lived.

END OF OPERA


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Così fan tutte

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Così fan tutte (“All women behave that way”)

Subtitled Ossia la scuola degli amanti “The School for Lovers”

Opera buffa in Italian in two acts


Libretto by Lorenzo da Ponte

Premiere: Vienna, I790


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Così fan tutte

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Principal Characters in Così fan tutte The Officers: Ferrando, betrothed to Dorabella Guglielmo, betrothed to Fiordiligi

Tenor Baritone

The Sisters: Fiordiligi, a well-to-do young woman from Ferrara residing in Naples Dorabella, sister of Fiordiligi

Soprano Mezzo-soprano

The Conspirators: Don Alfonso, a cynical philosopher Despina, the sisters’ maid

Bass Soprano

Soldiers, townspeople, servants, and musicians TIME: Early 19th century PLACE: A village near Naples, Italy

Brief Story Synopsis In Act I, Don Alfonso, a cynical old philosopher, declares to two young officer friends, Ferrando and Guglielmo, that women cannot be trusted, particularly their respective fiancées, the sisters Dorabella and Fiordiligi. The officers become enraged at Don Alfonso’s affront and challenge him to prove his point. A wager is agreed upon with the provision that Don Alfonso has 24 hours to prove that all women are inconstant and fickle. Don Alfonso initiates his grand scheme, the first part of which is to announce to the two sisters that their sweethearts have been ordered off to the wars. After their lovers’ departure the sisters are lonely and despondent. Their maid Despina castigates them and advises them not to lament because one man is pretty much like any other; very simply, go out and have fun. Don Alfonso enlists the aid of Despina in his plot and introduces two young, wealthy “Albanians” Ferrando and Guglielmo in disguise - who claim to be enamored with the sisters. Fiordiligi and Dorabella are outraged at the intrusion of the “Albanians” and angrily order the two foreigners to leave. In despair, the men pretend to take poison. Despina appears in the disguise of a doctor and revives the “Albanians” by extracting their poison with a huge magnet. Afterwards, the “Albanians” renew their ardent attack on the sisters but are still spurned by them. In Act II, after Despina derides the sisters’ fidelity, the sisters weaken and decide that a little innocent flirtation will do no harm. Each chooses one of the “Albanians,” and each chooses the other’s fiancé: Dorabella picks Guglielmo, and Fiordiligi favors Ferrando. Guglielmo gives Dorabella a golden locket in return for a picture of her betrothed, Ferrando. Initially, Fiordiligi refuses to yield to Ferrando and decides to disguise herself as a man and join her


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betrothed at the front. However, when Ferrando threatens suicide, she too yields. Guglielmo and Ferrando become utterly downcast: their sweetheart’s are indeed fickle, and, of course, they are losing their wager to Don Alfonso. Don Alfonso promises to fix everything. He arranges a marriage ceremony: the “Albanians” are to marry the sisters with the help of Despina who is disguised as a notary, but, overturning the original relationships from Act I, Ferrando is to marry Fiordiligi, and Dorabella is to marry Guglielmo. Military music is heard and it is announced that the two officers have returned from the wars. In the confusion, Ferrando and Guglielmo appear without their “Albanian” disguises. They pretend to fly into a rage when they find the marriage contract. The sisters blame Don Alfonso and Despina for leading them astray, and then Ferrando and Guglielmo reveal that it was all a masquerade: they were the “Albanians.” The sisters are properly chastened, and all ends in apparent reconciliation as Don Alfonso proclaims reason the victor.

Story Narrative with Music Highlight Examples When the Overture to Così fan tutte arrives at its 12th measure, the orchestra plays the musical motive that will later underscore the words Co-sì fan tu-tte, the refrain sung by Don Alfonso, Guglielmo, and Ferrando toward the close of Act II. The signature theme is followed by gay, bubbling musical sequences interspersed with rapid exchanges between leading instruments.

Act 1: A tavern in Naples. Two young officers, Ferrando and Guglielmo, together with the elderly cynic and selfproclaimed philosopher, Don Alfonso, argue about the fidelity of women. Ferrando and Guglielmo both proclaim that their respective sweethearts, Dorabella and Fiordiligi, are the paragons of virtue. Trio: “La mia Dorabella”

Don Alfonso claims that the officers are naïve; he knows better — all women are fickle. Irritated by Don Alfonso’s arrogance, the young men challenge him and decide to resolve their argument in a wager on their mistresses’ honors, agreeing to do everything Don Alfonso prescribes for the next 24 hours. Don Alfonso’s caveat is that no inkling of this wager may be communicated to their “Penelopes,” his ironic reference to their fiancées. Don Alfonso propounds his cynicism about women’s constancy and fidelity: “They’re all the same. Women’s fidelity is the purest fiction, like the Albanian phoenix, everyone says it exists, but nobody knows where it is.”

Così fan tutte

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Ferrando and Guglielmo are so certain of their victory in the wager that they begin to speculate how they will spend their winnings. Finally, all three drink a toast to the wager.

The garden of a villa overlooking the Bay of Naples. Dorabella and Fiordiligi gaze ecstatically and adoringly at lockets containing miniature pictures of their lovers, Ferrando and Guglielmo. Each of the sisters tries to outdo the other in praising her respective hero. Both are rhapsodic in their happiness and contentment, eagerly contemplating their forthcoming marriages. “Ah guarda sorella”

Don Alfonso appears on the scene and initiates his scheme. He announces the bad news that their lovers’ regiment has been called off to the wars. The ladies become desolate, unable to bring up the courage to bid their lovers farewell. But Don Alfonso prompts the young women to withstand the pain of their parting, signals the officers, and as if by magic, they appear. A Quintet between Don Alfonso and the four lovers expresses elaborate farewells and the lovers’ undying passion for each other. “Sento, o Dio”

A drum roll announces the imminent departure of the officers’ ship. Ferrando and Guglielmo fall in line as the tearful ladies wish them a bon voyage and beg them to write daily. The ship leaves and Don Alfonso joins the ladies in a prayer for their safe voyage. “Soave sia il vento”


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Left alone, Don Alfonso’s laughter indicates his smugness, an assurance to himself of the success of his scheme, and an opportunity to sneer again about women’s inconstancy.

A room in the villa. In a diatribe against domestic service, the sisters’ maid, Despina, grumbles and complains about her work, alternating between shrewdness and impudence. Dorabella and Fiordiligi arrive in a rebellious mood and display exaggerated grief: a sword, poison, or anything to overcome the misery of their loneliness, and their fear that their lovers may be killed. “Smanie implacabili”

Despina, using her purely self-arrogated powers, advises the ladies to take love lightly. She expresses her contempt for all males and their philandering traits, further advising her mistresses that their hero lovers are certainly not faithful saints; they are probably having a good time and chasing a girl in every port. Despina offers some womanly advice to the sisters, telling them to open their eyes to the certainty that other men are waiting for them. “In uomini, in soldati”

With righteous indignation and outrage, the sisters leave their response to Despina’s capricious approach to love. After the sisters depart, Don Alfonso arrives and bribes Despina to aid him in his scheme. Don Alfonso introduces two comically and extravagantly dressed “Albanian” noblemen — Guglielmo and Ferrando in disguise. He begs Despina to persuade her mistresses to let these two men console the sisters in their loneliness. Don Alfonso hides as Despina summons her mistresses. The returning sisters are scandalized and duly horrified at the presence of these two strangers, the men’s disguises so heavy that they do not recognize their respective lovers. Don Alfonso reappears and with due formality feigns elation at seeing these “Albanian” gentlemen, claiming that they are his very good friends.

Così fan tutte

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The girls are indignant and protest at the intrusion of what they perceive as repulsive foreigners. But the “Albanians” plead with them, telling them they have fallen passionately in love with them. Fiordiligi rebuffs them and asserts her faithfulness to her fiancé Guglielmo by likening her fidelity to a rock. “Come scoglio”

After hearing Fiordiligi’s steadfastness, the officers claim victory in their bet with Don Alfonso, but Don Alfonso cautions them that the bet has not been won as yet. Guglielmo proceeds to try his charms on Fiordiligi, begging her not to be so shy. “Non siate ritrosi”

And then Ferrando tries his charms on Dorabella “Un’ aura amorosa”


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The garden of the sisters’ house. Dorabella and Fiordiligi are melancholy as they mourn their lovers’ absence. Suddenly, the “Albanians” stagger in, condemning the ladies for the cruelty of their inattention. They pretend to be driven to suicide, telling the sisters that they have taken poison in despair over their rejection, further proving their point by pretending to roll about in agony and sinking lifeless to the ground. Don Alfonso and Despina run off to call a doctor. The sisters, not unsympathetic to the men’s agony, kneel beside the “Albanians” and show compassion for them by feeling their pulses and stroking their brows. Don Alfonso returns with the “doctor” — none other than Despina in a grotesque disguise and spouting bogus Latin. The “doctor” produces an oversized magnet, topically referred to as an invention of the celebrated Dr. Mesmer, waves it over the patients’ bodies to draw out the poison, and miraculously, the “Albanians” are restored to health. As the “Albanians” come out of their feigned trances, they renew their amorous ardor and beg the sisters for kisses. The women are outraged, spurn the men, and leave in disapproval.

Act II: A room in the sisters’ house. Despina urges her mistresses that for the sake of womanhood they should stop being stubborn and seek adventure; take advantage of a romantic opportunity with those wealthy and handsome “Albanian” suitors, and take control of the situation and console their loneliness. Despina lectures them that any girl, by the time she is fifteen, intuitively knows how to pursue a woman’s mission: how to be expertise in managing men; know when to amuse; know when to confuse. The cynical but omniscient Despina concludes that love is a woman’s kingdom in which man must surrender and serve. “Una donna a quindici anni”

The sisters initially reject Despina’s suggestions, considering them sheer madness. But Dorabella weakens and envisions that it could all be a harmless joke and innocent diversion rather than a breach of faith. Initially, Fiordiligi tries to remain firm, but then decides to accede to her sister’s wishes, provided, however, that all is done with care and propriety. They decide who will pair off with whom. Dorabella selects the “dark Albanian” — Guglielmo — for herself, and Fiordiligi decides to pursue the big blond, Ferrando — each in fact, choosing the other’s fiancé. Both sigh about the romantic enchantment of the idea, as well as the naughtiness and amusement of their intrigue.

Così fan tutte

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“Prenderò quel brunettino”

A garden beside the sea. A boat is at the quay. Don Alfonso has arranged a party in the garden. Ferrando and Guglielmo — still disguised as the “Albanians” — are encouraged by Don Alfonso to woo the sisters. Guglielmo walks arm-in-arm with Dorabella; Ferrando walks with Fiordiligi. The four lovers seem embarrassed; they sigh, giggle, and engage in small talk about the weather and the beautiful flowers. Guglielmo pretends he has a fever and seeks compassion from Dorabella. He tells her that he loves her madly and gives her a locket to symbolize his love. Hesitantly, Dorabella accepts, and then Guglielmo replaces the portrait of her lover Ferrando with his locket. Both rejoice about the sweet discovery of their love and leave arm in arm. “Il core vi dono”

Ferrando professes his increasing ardor toward Fiordiligi; she displays proportionately diminishing resistance. Ferrando begs her to stop being cold and unheeding: to surrender and yield to his pleas of love. When Fiordiligi is left alone, she reproaches herself for listening to a new lover’s pleas, but she also confesses her inner sense of guilt that this stranger has aroused passions in her heart. Fiordiligi senses that she has embraced temptation and broken her vows of love. She proceeds to condemn herself as a faithless betrayer, begging pardon and forgiveness from her true love, Guglielmo, and praying that the secret of her errors should remain unknown. “Per pieta”


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Ferrando and Guglielmo compare notes about their respective amorous adventures. Ferrando assures Guglielmo that Fiordiligi stood firm and was faithful to her betrothed. But Guglielmo infuriates Ferrando and shows him the portrait he had earlier given Dorabella as a token of their love. Ferrando concludes that Dorabella has betrayed him, not at all consoled by Guglielmo’s commentary on the waywardness and deceit of women. “Donne mie, la fate a tanti”

Left alone, Ferrando feels betrayed and scorned, the prey of woman’s ruthless deception. He is disillusioned, defeated, and hopeless, asserting finally that the cynical Don Alfonso was right about female inconstancy. In his torment, he cries for revenge. “Tradito, schernito”

A room in the sisters’ house. Dorabella tells Despina that she was not able to resist Guglielmo’s temptation. Fiordiligi rebukes Dorabella for being fickle, but then admits the sudden change in her own heart: she has succumbed to the stranger — Guglielmo — and loves him. Dorabella tries to coax her sister into deciding to marry the “Albanians,” explaining that love is like a thief, a wily rogue that can be divine, and can be cruel and spiteful, but in the end, so delightful. “E amore un ladroncello”

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Fiordiligi decides that they must save their honor. She orders Despina to fetch the officers’ uniforms they left behind and concludes that their only solution to protect their integrity and honor is to don those uniforms and join their fiancées at the front. As Fiordiligi speaks of being reunited with Guglielmo, the “Albanian” Ferrando arrives and threatens her that if she decides to leave, she should plunge a sword into his heart. Fiordiligi cannot resist temptation and surrenders by admitting her love for Ferrando. Guglielmo has overheard them and is in shock: Guglielmo is now tormented and feels betrayed by his fiancé Fiordiligi; his model of virtue has become a vixen and he wants revenge and punishment. Don Alfonso cautions Ferrando and Guglielmo that without their women, they will spend the rest of their days as lonely bachelors. He tells them that they might as well admit that they indeed love sweethearts, and even though their fiancées have been unfaithful, Don Alfonso advises that they marry them. Don Alfonso says: “Women cannot be faithful, but I don’t mind it, for I can see the principle behind it. You are wrong to upbraid them. You have to take them as they are, as Mother Nature made them. There is only one conclusion; women are always untrue; it’s no illusion. All your ancestors, fathers, and brothers went through it. Women always betray, that’s how it is: Co-sì fan tut-te. Don Alfonso, Guglielmo and Ferrando:

Don Alfonso has arranged a double wedding between the sisters and the “Albanians.” Each man is now paired off with the other’s betrothed. Don Alfonso announces that the notary has arrived with the marriage contracts — Despina in disguise. With due courtesy, the contract arrangements are agreed upon, but just as the ladies are about to sign, a distant drum roll is heard, and Don Alfonso announces that Ferrando and Guglielmo have returned from the wars. In panic, the sisters push their intended “Albanian” husbands away; the “Albanians” go off to hide themselves. Don Alfonso arrives to console the terrified and understandably very penitent sisters. The “real” Ferrando and Guglielmo reappear dressed in their military uniforms. Both express surprise at the presence of the notary, and more importantly, the rather tame welcome from their sweethearts. Ferrando notices the marriage contract — purposely dropped by Don Alfonso — and proceeds to storm at the ladies. Don Alfonso asks the young men to look into the other room, from which, after some seconds for a quick change, Ferrando and Guglielmo emerge, this time dressed as the “Albanians.”


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The truth of the charade and deception is now revealed. The sisters tremble as they admit that they were preparing a wedding, but now the men duly surprise them by confessing the charade. Guglielmo returns the miniature portrait of Ferrando to Dorabella, and both men sarcastically shower praise on the “doctor” who saw them safely through a dose of poison. The “notary” astonishes the girls when she reveals herself as Despina. The sisters know everything and feel completely humiliated. Don Alfonso declares himself the winner of his wager with the officers, and the sisters — still chaste — are reunited with their original lovers. Don Alfonso reasons that true happiness lies not in romantic illusion, but in accepting things as they are. The entire charade is over and the lovers are reconciled.

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Così fan tutte - Commentary and Analysis

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revival of The Marriage of Figaro in 1789 was such a huge success that Mozart’s supreme devotee, Emperor Joseph II, promptly commissioned him to write a new opera, further inspiring him by offering him double the usual fee. For this new opera, Così fan tutte, Mozart chose as his librettist that peripatetic scholar, entrepreneur, and erstwhile crony of Casanova, the man who had supplied the texts for his The Marriage of Figaro and Don Giovanni, Lorenzo da Ponte. No one knows the exact genesis of the work, or where da Ponte found the story. There is no hard evidence to back popular legend that the plot was based on a real-life intrigue and scandal in the court of Joseph II in which, supposedly, two Viennese officers bet that they would succeed in proving their girlfriends’ infidelities. Nevertheless, the essential ingredients of the story had considerable literary ancestry; there have been many traditional tales containing bets against chastity from as far back as the Greek theater (the Procris story), works of Ovid, Shakespeare (Cymbeline), stories of Boccaccio and Cervantes, as well as the Renaissance Commedia dell’arte plots which were saturated with stock situation comedy in which wives’ fidelities were constantly being tested. The essence of good comedy is not that it has necessarily happened, but that it could happen. Therefore, comedy must have a link with reality so that it does not degenerate into farce. The situations in the plot of Così fan tutte in which two young women, Dorabella and Fiordiligi, are respectively engaged to lovers Ferrando and Guglielmo, who pretend to leave for the wars but instead return, disguised, and prove their mistresses’ infidelities by each seducing the other’s fiancée, is a situation which if it did not in fact happen in real life — real or imagined — it is certainly credible enough to have happened, and therefore, inherently, the events in the plot are indeed convincing Nevertheless, Mozart’s contemporary audience failed to perceive any inner truth within the story. Da Ponte’s ironic words appeared to mock the conventions of faithful love and were considered downright immoral. In fact, at best, they considered the plot a series of trivial and artificial intrigues, ridiculous and preposterous situations, and even, a marionette show. The opera’s plot very quickly suffered a stigma of shabbiness and inferiority that resulted from its 24-hour time-span, its full day of intrigue between lunch and dinner, its frank sexuality, its scenes involving touching and feeling, its outlandish disguises, its seductions at lightning speed, and its switching of partners. In addition, the audience was shocked by the thought that any “well-bred” woman could simultaneously be in love with two different men, and even plan to marry, escape, pack up and leave her original lover. In particular, German audiences became horrified by the immorality of the plot and its treatment and by the disrespect shown for the sacred and noble figure of “Woman.” Germans would spend the better part of the nineteenth century “improving” the libretto of Così fan tutte. German idealism was in conflict with the eighteenth century repugnance for women that was concealed under the veneer of Enlightenment ideals; attitudes that would eventually be transformed into the nineteenth century Romantic movement’s reverence and ennoblement of women. Beethoven, who admittedly loved Mozart’s music, was just like his nineteenth-century Romantic contemporaries, detesting the plots of Don Giovanni, The Marriage of Figaro, and Così fan tutte, distraught by their downright depravity, and lamenting that Mozart had squandered his genius on such trivial and immoral subjects. Beethoven would counter that triviality with his own ideal of womanhood, Leonora in Fidelio, by carrying the conception of Goethe’s “femme eterne,” the “Eternal Woman,” to new heights, and placing woman on a pedestal to be revered. Richard Wagner expressed his own nineteenth century Romantic ideal


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of the “Eternal Woman” by ennobling her as the understanding and sacrificing woman who alone could bring redemption and salvation to man’s innate egoism and his yearnings for love. Nevertheless, the general dissatisfaction with the plot itself, irrespective of Mozart’s music, caused Così fan tutte to virtually disappear from the opera stages for much of the nineteenth century. In an almost hypocritical sense, many nineteenth-century critics, who did not balk at some of the most farfetched coincidences in opera librettos, or at those most absurd plot convolutions involving singing dragons and informative birds, found da Ponte’s plot disgusting and unrealistic. But in 1896, Herman Levi produced a revival at Munich, followed in the early 1900s with Richard Strauss’s “rediscovery” of the work. Strauss became Così fan tutte’s acknowledged propagandist and started a full-scale revival in 1910. As a result, Così fan tutte bounced back and became recognized as a long underrated masterpiece; to this day, it has remained a repertory staple, no longer looked upon condescendingly, and generally canonized by every opera lover; it is certainly no longer condemned as a mildly amusing piece satirizing immorality, or a farcical plot clothed in Mozart’s sublime and magical music. In our modern opera world, we have surrendered to Così fan tutte’s extraordinary charm, wit, and gaiety, as well as Mozart’s exceptionally sublime music.

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ozart wrote Così fan tutte while the Bastille was being stormed in 1789; that event, the onset of the French Revolution, was the quintessential manifestation of the ideals of the eighteenth- century Age of Enlightenment and the Age of Reason. In fact, the da Ponte trilogy, The Marriage of Figaro, Don Giovanni, and Così fan tutte, all satirically deal with despicable aspects of human character whose transformation was the very focus of Enlightenment idealism. In The Marriage of Figaro and Don Giovanni, the stories deal with aristocratic men — the Count Almaviva and the Don himself. These men can be perceived by our standards as criminals: unstable, wildly libidinous men, who feel themselves above the law. Similarly, in Così fan tutte, the actions of the women can be perceived as being beyond moral law. In all three works, their themes deal with seduction, but in these stories, that seduction ends in hapless failure: a subtle forecast to the demise of the ancien régime, the end of the old world order and the beginning of Enlightenment reason. Così fan tutte’s preoccupation with female inconstancy — the engine that drives the plot — suggests that its story reveals a dark side of the Enlightenment, even an expression of antifeminist sadism and misogyny. The Enlightenment was imbedded with contradictions and dichotomies; underneath the surface of Enlightenment ideals, it was man, not woman, who possessed the great gift of reason. Inferentially, the Enlightenment and the Age of Reason had an attitude of contempt and distaste for women, considering them fleshly, unspiritual, devoid of reason, faithless, and fickle. The superficial gallantry of the era, in many ways, represented a disguise for a deep-seated hatred and fear of women. Therefore, to Mozart’s eighteenth-century audience — all children of the Enlightenment — the plot of Così fan tutte and its presumed negative view about the infidelity and inconstancy of women seemed all too realistic, quite in keeping with the paradoxical contemporary male view that women’s reprehensible proclivity to philander and sleep around was widespread. Those standards of virtue and morality were hypocritical and represented the classic double standard; being faithful was a virtue that only applied to women, not to men. Philandering by men, whenever they felt inclined, was socially acceptable, and, of course, their divine right. In eighteenth-century terms, these one-sided struggles of the senses with the intellect were perfectly shipshape and correct, by-products of the Enlightenment and the Age of Reason, and certainly in


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line with the views of Mozart, all the gentry in Vienna, and particularly, the libertine da Ponte. Nevertheless, the repudiation of women in the Così fan tutte story could be accepted by contemporary male audiences, but placing unfaithful men on the stage was unacceptable. In its eighteenth century perspective, the Così fan tutte story can be viewed as a gender class conflict that evolves into a highly sophisticated battle of the sexes, its inner truth, a reflection of the social realities, and tensions prevalent in contemporary times. The theme of the opera specifically portrays a satire on the fidelity of both the female and male sex, but on its higher level of meaning, it is an innocent exploration of the sanctity of love. In certain respects, the story depicts the coming to awareness of the state of love, as well as human yearning for love. The story explores a wide range of feelings and nuances of emotion in contemplating love, and, therefore, the effects of love: erotic entanglements, tenderness, devotion, deceit, infatuation, lust, frivolity, jealousy, obsession, as well as man’s foibles and his silly pride and folly.

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ll great art provokes different and higher levels of meaning. In that sense, they can have various interpretations. Is the Così fan tutte story a highly artificial frolic based on disguises of absurd improbability? Is the story a darker commentary on human frailty? Musicologists never cease to explore its possible subtext or inner meaning. The opera’s title, Così fan tutte, is not untranslatable. Its most literal translation, “All women behave that way” means that all women show fickleness in love. Other translations could similarly apply: “Never trust a woman,” or even, “Girls will be girls.” Since the title words are actually sung in the course of the opera — in five syllables with an emphasis on the fourth — a perfect English translation that fits the cadence might simply be “just like a woman!” Nevertheless, Così fan tutte bears a subtitle which may provide a clearer intent for its plot: The School for Lovers. In a school, one learns, and one raises consciousness to awareness. Così fan tutte’s school is intended to teach moral lessons: to men, don’t trust your girlfriend; to women, if you are unfaithful, likewise beware; it can lead to disaster. The title could easily have been Così fan tutti, applying the Italian plural tutti meaning male and female, thus conveying the idea that infidelity applied to men and women. But in taking da Ponte’s libretto at face value — and particularly its subtitle School for Lovers — Così fan tutte is simply an artificial comedy in which foolish lovers learn moral lessons, are raised to a higher level of consciousness by exposing their folly, and in the end, celebrating by glorifying reason. Its simplest underlying meaning is that with wisdom, reason and intellect, emotions are conquered. Mozart’s Overture anticipates the final moral lesson: Così fan tutte. A short Andante features the oboe, in this opera, an instrument frequently associated with the cynical chuckling of Don Alfonso. The motto theme is heard three times in the opera: after the 12th measure of the Overture; a very subtle hearing at the end of the Overture; and at the end of Act II when it is sung by Don Alfonso and his “students.” After the Andante, the tempo changes to Presto in which Mozart’s symphonic development does nothing more than create an atmosphere of general good humor and exuberance to frame our mind and put us in a receptive mood for the humorous story which follows. Naples was the center of the Italian Enlightenment, so it seems perfectly logical that there we find one of its principal residents: Don Alfonso, the blithely spiritual old philosopher and cynical catalyst of the plot. In the spirit of this Age of Reason, he is the enlightened force seeking good and truth, the teacher and sermonizer in this School for Lovers, who, in spite of his rather harsh teaching methods, manipulates and slows down the infantile relationships of the lovers long enough for them to see each other realistically rather than in disguise.


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ozart’s music score continuously alternates between farce and seriousness; the styles of opera buffa and opera seria are continually interacting. The opening three trios are pure opera buffa and establish the presumed absurdity of the plot as Don Alfonso and the two officers, Ferrando and Guglielmo, decide on their wager: Are their fiancés unfaithful like all women? The officers are resolute in their individual convictions, but Don Alfonso is confident that he can prove women’s inconstancy. Nevertheless, the officers proclaim their faith in their women and are so assured of their victory that they celebrate in advance. In the second scene, farce is replaced with dead seriousness and genuine human sentiment as we meet the two infatuated sisters from Ferrara: Dorabella and Fiordiligi, the latter’s name meaning “flower of loyalty.” Like ordinary young women, their thoughts are preoccupied with getting married as soon as possible: marriage seems to be their primary objective, more important to them than their specific partners — their lack of seriousness and reason the premise upon which the whole adventure is built. The sisters have simply fallen in love with love; they are love-sick maidens, and in their duet, “Ah, Guarda sorella,” in which they gloat over portraits of their lovers, Mozart’s lush music leaves no doubt that love dominates their souls: his luscious cavatina on the word A-m-o-r-e. Pursuing the first stage of his scheme to prove the sisters unfaithful, Don Alfonso arrives to bring them bad news: their lovers must go off to war, a comic simulation combining grief and anxiety that returns the score to opera buffa comedy and farce. But in the Quintet that follows, “Sento a Dio,” there is a return to seriousness as the sisters, the lovers, and the cynical Don Alfonso, all reflect their profound sadness and sorrow that fate has decreed their parting. In a bon voyage trio, “O soave sia,” the sisters persuade us — or at least Mozart’s music persuades us — that they are genuinely heartbroken. The music is filled with pathos, feeling and sentiment; at the same time it brilliantly captures the gentle Neapolitan warm evening breezes and the slapping of waves. Mozart dazzles us as the quintessential stage painter with his uncanny affinity to translate sights into musical sound. The plot returns to farce and opera buffa when we meet the sisters’ maid, the 15-year old Despina, the name meaning “thorn” in Italian. Despina is seen preparing chocolate for her employers, and in the true tradition of the servant of opera buffa, she is inevitably complaining about her lot. She is quick witted, and eternally hungry, just escaping being found tasting the chocolate when her mistresses Fiordiligi and Dorabella arrive. In Despina, da Ponte has provided us with Don Alfonso’s soul-mate, a teenage cynic who believes intuitively and instinctively that virtue does not last. She is particularly convincing when she condemns men as fickle and untrustworthy, that “girl-in- everyport” addiction of men that she describes in her cynical little aria: “In uomini, in soldati.” Pure opera buffa and satire abound when the “Albanians” arrive and the sisters’ expression of outrage. Fiordiligi has an opportunity to avow her faithfulness and believability, her seriousness and protestations of immovable fidelity expressed in the old fashioned heroic style of opera seria, a simile aria on a grand scale in which she likens her love to the strength of a rock: the aria “Come scoglio,” a gem of almost comic sentiments juxtaposed against the solemn coloratura in which they are expressed, and providing an intriguing paradox of parody and caricature that requires a first-rate vocal acrobat and juggler. Mozart’s music for the finale of the first act is saturated with convincing sincerity with its mood of high tragedy, but da Ponte’s libretto delivers farce, burlesque, and satire. The “Albanians” try every possible ruse to be accepted by the sisters, but they are spurned, eventually having to feign taking poison as the solution to their hopeless passion. The sisters seem to be sincerely affected; the two male practical jokers sound equally sincere and convincing, but express an incongruity of words and music in ideas — all comic, irrelevant and surprising — that tumble over each other with immense and fantastic spontaneity and profusion. Nevertheless, the sisters’


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anxiety and helplessness leads to weakness: both admit that they are moved to tears at the plight of the outrageous men; and Ferrando and Guglielmo — the “Albanians” — wonder whether the young ladies’ new sympathy may not ripen into love. Despina, in the disguise of Dr. Mesmer, the famed eighteenth-century German physician and hypnotist, virtually “mesmerizes” the “Albanians” to recovery by magnetically removing their poison. Mozart provides a perfect musical caricature of Despina in the charade of Dr. Mesmer, the music accented with trills that seem like giggles and horselaughs. Da Ponte’s text surely portrays the sisters as the antithesis of the Age of Reason, pretty shallow creatures with a limited education: they cannot comprehend even a few simple words of Dr. Mesmer’s Latin; only love, whatever its meaning, permeates their thoughts. When the “Albanians” have fully recovered, they aggressively seek kisses, but the outraged sisters spurn them. As the first act closes in a brilliant ensemble climax, the sisters have not betrayed their fiancées, and it would seem that Guglielmo and Ferrando have won their bet. Nevertheless, Don Alfonso has 24 hours, and the clock still runs in his favor: the man born of wisdom and experience is convinced he will prove the sisters’ inconstancy and have the last laugh. In Act II, Mozart comes to grips with deep emotions. Each of the lovers becomes transformed into a more elevated sense of awareness and consciousness as they matriculate — and are transformed — in Don Alfonso’s School for Lovers. Da Ponte wanted his story to be simply funny, so he spun a perfect opera buffa, a satirical and exaggerated story about betrayal. Who really loves who is another part of the story? Indeed, in the second act, Mozart treats da Ponte’s intended comic predicaments of the characters with profound seriousness. All of the characters will become victims of their emotions as they profess true love to the other’s betrothed and unwittingly surrendering to love. Not only will female inconstancy be proven, but male inconstancy as well. Mozart tends to confuse us because he provides us with an unending stream of very poignant amorous arias and duets lavished on apparently worthless characters and contemptible situations. This is an artificial comedy, but Mozart’s music convinces us that if human beings ever found themselves having to express emotions depicted in Così fan tutte, they would certainly do so to the highly expressive and often moving music he placed in this score, music containing an unexpected beauty and depth, music that is almost superhuman in its unrelenting intensity and seriousness. With Mozart’s musical pen, all is not a joke. Mozart is so subtle and vague in his character delineation that he places us in conflict: his musical language can be so serious that our emotions are jolted. As a result, there is a tension between da Ponte’s text and Mozart’s music, each at odds with the other, an identical scenario as Boito’s libretto fighting against Verdi’s music in Otello; in that instance, Boito’s text reflected the fall of the lover; Verdi’s music showed the fall of the hero. In that same context, Mozart’s music switches without warning from parody in the comic tradition of opera buffa, to moments of music as emotionally stirring and intentionally opera seria as almost anything he had ever written. The dividing line between parody and sincerity is extremely narrow, and at times, difficult to distinguish. In other words, in Così fan tutte’s second act, it is at times impossible to distinguish between fantasy and reality, between farce and seriousness.

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s Act II opens, Despina just about persuades the sisters to “live for today” in her delicious parody, “In uomini, in soldati,” an overstatement and exaggeration whose words seems riotous, yet musically, dead serious. She tells her mistresses to behave like grown-up women and not sit around moping, iterating her philosophy that they should behave as their soldier-lovers (and indeed all soldier-lovers) behave when they are out of sight. The sisters


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become receptive to the idea of flirtation and fun and have arrived at the borderline of betraying their lovers. They conclude that, after all, it would not do much harm to flirt a little, provided, of course, that one is discreet and careful about it. Mozart provides sublime musical sensuousness as the two sisters settle down, pick their love-players, and pleasantly anticipate the joys ahead. Each new pair of lovers has an opportunity to test their fidelity; each will lose their will power and surrender. Their confrontations contain sincere, heartfelt, and seductive music. The words and music are genuine; there is no satire in these scenes between prospective lovers other than the fact that their words are supposed to be feigned. Mozart’s musical serenades are exploring deep emotions and passions within the human psyche. As a result, his music for these “new” prospective lovers is extremely persuasive so that the seducers as well as their victims become extremely credible. At first, both pairs of lovers are tongue-tied and bashful — an almost awkward silence — even though the boys have apparently entered the masquerade with verve and enthusiasm. And then each of the men tries to seduce the other’s fiancé: Ferrando romances Fiordiligi; Guglielmo romances Dorabella. Dorabella and Guglielmo sing the duet “Il core vi dono, bell’idol mio.” Dorabella quickly surrenders to her emotions and Guglielmo gives her a golden locket in exchange for her betrothed’s portrait, both forgoing resistance and by no means unresponsive to the passions of the moment. Ferrando’s music establishes him as an idealizing romantic, a man of noble qualities and lofty sentiments; he begs the agitated Fiordiligi not to spurn his passionate and ardent declarations of love for her, in “Ah lo veggio quell’anima bella.” After he departs, Fiordiligi is bewildered, ridden with guilt and apologizes to her “true” love Guglielmo for betraying him in her thoughts: the stirring and brilliant “Per pieta,” an expression of her conflict between desire and conscience, and an aria requiring incredible vocal technique to negotiate its wide leaps, its musical flourishes, and vigorous decorations.. Later, when the two young men compare notes on their activities, the general complacency is broken when Guglielmo breaks the embarrassing news to Ferrando of Dorabella’s inconstancy by showing him the locket she has returned to him: the “smoking gun.” Mozart provides amorous outpourings of excessive sentiment as well as fiery passions in “Tradito, schernito,” Ferrando’s conclusion that Dorabella has betrayed him, but in spite of everything, he still adores her. When Fiordiligi is alone and sings “Fra gli amplessi,” she is guilt-ridden and proclaims that she will search out her lover and die at his side if need be, another protestation like “Come scoglio” of rock-like devotion and eternal fidelity. But when Ferrando comes out from hiding and pours his heart out to her, we witness the ultimate seduction scene in which both admit their passionate love for each other. Fiordiligi’s resistance has been broken; she has surrendered; and has been conquered, but also, she has arrived at a higher level of consciousness and awareness, realizing the power of emotion and sexuality.

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he conclusion to Così fan tutte’s School for Lovers is an artificial resolution, in many senses, failing to bring the action to a satisfying close. In the end, nothing happens. In the end, we are left with an unsolvable enigma in these love relationships in which everything seems to be shrugged off with a laugh. We do not know what happens after the curtain falls. Perhaps the new pairs formed in the course of Act II remain together? Perhaps the four lovers stand separate and alone, raising the question whether anybody will marry anybody? Or, perhaps the original pairs are re-matched at the conclusion, but this time with doubt and suspicion?


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The maddening absence of closure is a consequence of the delicate balance that Mozart and da Ponte had to strike in an opera designed to “prove” the outrageous thesis of its title. They achieve their illusion because they have omitted a vital element of the story: we never see the original lovers alone together, neither Fiordiligi alone with Guglielmo nor Dorabella alone with Ferrando. In the Act I parting scenes, stage directions dictate that the men and women are to be paired by sex — Ferrando with Guglielmo, Fiordiligi with Dorabella — all on stage together, voicing generic emotions that seem to be exaggerated to the point of parody. Because we have had no musical or emotional investment in the original couples in terms of witnessing intimacy, we can watch Dorabella and Fiordiligi succumb to the Act II seductions by the “Albanians” without a sense of indignation or betrayal. The plot has fostered a disinterest because we cannot suddenly feel one way or another about the future of couples we do not really know. The parting in the first act is impersonal and superficial, but in the second act, the passions are real, and that sense of confusion is what the story is all about. The incompleteness of the conclusion is thus arguably compatible with the theme of the opera, and perhaps, the reason that its plot is controversial and perhaps misunderstood. We do not know the original couples, and likewise, the original lovers do not know each other, or even themselves. Knowing oneself is the lesson of reason underlying the plot. Don Alfonso and Despina, the cynical catalysts of the story, must continually remind the lovers that they are dealing with human beings, flesh-and-blood creatures, not gods and goddesses. The sisters constantly echo stock poses; the men repeatedly parrot received wisdom. But in this School for Lovers, in the end, they must evaluate their personal experiences. In other words, at the end of school, graduation implies that something has been learned, and one of those lessons is that before one can know love, one must know one’s self. But what has been learned? In this story, both the men and the women are inconstant: the women clearly through their actions, and later those of the men, however unwittingly. Punishment is not the solution, as Don Alfonso succinctly expresses in his remedy to the dilemma: just marry them. But Don Alfonso does not stipulate who is to marry whom, and the stage directions, which are equally uninformative, underscore the either/or possibilities hinted at in the finale. At the climax, the score indicates that Ferrando and Guglielmo come out of the room without their hats, capes, and beards, but in “Albanian” costume, in other words, with one foot in each camp: Who are they? The reconciliation is equally unclear when the men state to their respective ladies: “I believe you ... but I don’t want to try to prove it.” So, unlike the specific clarity of da Ponte’s other collaborations with Mozart, The Marriage of Figaro and Don Giovanni, this opera’s conclusion is noncommittal, if not enigmatic. Don Alfonso’s final words in the closing ensemble indicate that a universal human lesson of propriety and correctness are now in order: reason. He says: “Happy is the man of reason who can face the world in season. Firm and steadfast and uncomplaining, he will go his cheerful way. Things that make his brothers sorrowful, he will answer with knowing laughter. He has learned that life’s adversities turn to joy another day.” If good sense and logical thinking are the moral within this story, then the lesson is that love is not a frivolity: the nobility of love — beauty, desire, and fulfillment — are to be achieved through intellect and reason. The old cynical philosopher has told us that in terms of constancy, women are like that, but he also tells us that we can’t live without them: a truth has been exposed, an hypocrisy unmasked.


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Two centuries after Così fan tutte’s premiere, the final debate about the opera, and for that matter, the entire Age of Enlightenment, has not yet been resolved: the dialogue between reason and sensuality, between desire and conscience. Così fan tutte’s stylized eighteenth-century story is indeed a very serious — yet subtle — analysis of the necessary ingredients of amorous relationships. Below the glitter and possible nonsense of its farcical actions, the men are naïve and heartless lovers, the women perhaps just as idiotic, but there is much more fabric in da Ponte’s text than whipped-cream comedy. In the story, the powerful passions of love are uncontrollable, all triggered without reason. Essentially, the moral of the story is to remedy and correct that fault. As a result, debate continues to mark Così fan tutte productions. Contemporary productions have varied in their focus: a slapstick affair with overblown physical histrionics; homage to the sexual revolution with emphasis on the exchanging of lovers; expression of the feminist movement and its cardinal rule of the parity between sexes — all men do it, too. An English National Opera revival, directed by Nicolette Molnar, had the sisters overhear the plotting of Don Alfonso and then take feminist revenge with a masquerade of their own. After they dupe the men into a wedding ceremony with a pair of surrogates, they pack their suitcases and make a getaway.

C

osì fan tutte remains one of the greatest masterpieces of comedy in music. Mozart’s melodies are enormously faithful to character and situation that contain a charm, a sparkle, a technical perfection of form, an expressive virtuosity, and an utter spontaneity. Often, a serious musical number apes the style of the lamenting, heroic opera seria aria style and switches immediately to comic opera buffa, if anything, underscoring the gentle irony of the work. In the end, we are left with Così fan tutte’s ultimate irony: who loves who? Who marries whom? Those questions have spurred the search for and the attribution of an arcane subtext to the plot. There is a complex web of conflicting emotions and entanglements that are insoluble, if not elusive. Notwithstanding controversy, the opera is nevertheless a magnificent monument to the invention and ingenuity of the greatest musico-dramatic partnership in the history of opera: Mozart and da Ponte. That combination of Mozart’s sublime music together with da Ponte’s shrewdly contrived libretto has become one of the gems of opera: a perfect comic opera, full of subtleties, always inspiring us to debate whether to laugh or to cry. Is Così fan tutte opera buffa or opera seria? We assume that the enlightened couples have discovered reason in Don Alfonso’s School for Lovers. We assume that they have all grown and matured. Don Alfonso, after all, was primarily a philosopher, and he may well have engineered the whole scenario to prevent two marriages taking place that he regarded as ill-conceived — long before the curtain rose. We can only assume that they all live happily ever after in a world in which reason triumphs. After all, the essence of the entire Enlightenment was that man act with reason rather than emotion. Così fan tutte should also be viewed as hyperbole; it is an exaggeration for effect that is not meant to be taken seriously. In da Ponte’s hands, it most assuredly has undertones — and overtones — of Enlightenment conflicts, ideology, and contradictions: those historic prejudices against women, their lack of power, the gender divide and the hypocrisies inherent in male attitudes to women. In the end, Così fan tutte may simple be a skeptical questioning of the Enlightenment, and in a certain sense, a bridge to nineteenth-century Romanticism, and eventually, to twentieth-century feminism. Così fan tutte’s story involves the wheels that turn in our lives: a story to make us think


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whether we are fools of time or of love or of fortune or of ourselves. If we are fools of love, Così fan tutte is trying to bring us to a higher level of consciousness where love is not trivial or folly, where conscience overcomes desire, where the senses are overcome by intellect, where reason overcomes emotion. In the end, the message may be not to trivialize love or don’t do stupid things when in love. The eighteenth-century Enlightenment thinkers placed their faith in rationality; in this story, its propagandist is Don Alfonso. The Romantics who followed embraced irrationalism and rejected the Enlightenment’s cold calculations and rigid categories of philosophy, and firmly denied their tidy, reasonable solutions for humanity. Romanticism considered the Enlightenment an arrogant pretense to universal truth, and their movement focused on the senses of freedom and feeling and eventually provided perhaps the greatest transformation of Western consciousness. Così fan tutte and its tension between emotion and reason represent a bridge between the Enlightenment and Romanticism. Mozart and da Ponte stood in the middle of the bridge — at the center of those two great ideologies — not quite sure on which side they belonged. Nevertheless, Così fan tutte is a magic: a supremely lovely, funny, highly entertaining, enchanting, and satisfying comic opera. The rest.... is commentary.


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Così fan tutte Libretto - Act I

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Così fan tutte Libretto Act I

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Act II

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Act I Naples, Italy. The officers, Ferrando and Guglielmo, sit at a cafe with their friend, the cynical philosopher, Don Alfonso.

Ferrando: La mia Dorabella capace non è: fedel quanto bella il cielo la fè.

Ferrando: My Dorabella could not be unfaithful: God gave her beauty and faith.

Guglielmo: La mia Fiordiligi tradirmi non sa: uguale in lei credo costanza e beltà.

Guglielmo: My Fiordiligi would never betray me: her constancy is equal to her beauty.

Don Alfonso: Ho i crini già grigi, Ex cathedra parlo; ma tali litigi finiscano quà.

Don Alfonso: I’m well over sixty and experienced, but these arguments must cease.

Ferrando e Guglielmo: No, detto ci avete che infide esser ponno; provar ce’l dovete, se avete onestà.

Ferrando and Guglielmo: No, you declared them to be unfaithful: if you’re honorable, you must prove it.

Don Alfonso: Tai prove lasciamo.

Don Alfonso: Let’s forget about proof.

Ferrando e Guglielmo: No, no, le vogliamo: o, fuori la spada, rompiam l’amistà.

Ferrando and Guglielmo: (their hands on their swords threateningly) No, no, we want proof: or else, draw your sword, and our friendship is over.

(Sul vivo mi tocca chi lascia di bocca sortire un accento che torto le fa.)

(to themselves) (He’s touched a sensitive spot by slandering the woman I love and adore.)

Don Alfonso: (O pazzo desire!) Cercar di scoprire quel mal che, trovato, meschini ci fa.

Don Alfonso: (What insane yearning!) I was only trying to save you trouble and warn you of what awaits you.

Ferrando e Guglielmo: Fuor la spada! Scegliete qual di noi più vi piace.

Ferrando and Guglielmo: Draw your sword! Choose one of us.


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Don Alfonso: Io son uomo di pace, e duelli non fo, se non a mensa.

Don Alfonso: (calmly) I’m a peace-loving man, who achieves satisfaction at the dining table.

Ferrando: O battervi, o dir subito perchè d’infedeltà le nostre amanti sospettate capaci!

Ferrando: Either fight or apologize for doubting the integrity of our sweethearts!

Don Alfonso: Cara semplicità, quanto mi piaci!

Don Alfonso: Your naiveté overwhelms me!

Ferrando: Cessate di scherzar, o giuro al cielo!

Ferrando: I swear to Heaven, stop this joking!

Don Alfonso: Ed io, giuro alla terra, non scherzo, amici miei; solo saper vorrei che razza di animali son queste belle, se han come tutti noi carne, ossa e pelle, se mangian come noi, se veston gonne, alfin, se Dee, se donne son.

Don Alfonso: And I swear to you, my friends, that I’m not joking. I only want to know what sort of creatures your girlfriends are. Are they like us, made of flesh and bone, and eat meat? Do they wear skirts? Are they goddesses? Or women?

Ferrando e Guglielmo: Son donne, ma son tali, son tali.

Ferrando and Guglielmo: They are women, but very special women.

Don Alfonso: E in donne pretendete di trovar fedeltà? Quanto mi piaci mai, semplicità?

Don Alfonso: Do you expect women to be faithful? Are you so naive and inexperienced?

Don Alfonso: È la fede delle femmine come l’araba fenice: che vi sia, ciascun lo dice, dove sia, nessun lo sa.

Don Alfonso: (jokingly) Woman’s fidelity is like the phoenix of Arabia: everyone tells you it exists, but no one knows where it is.

Ferrando: La fenice è Dorabella!

Ferrando: (impassioned) Dorabella is the phoenix!

Guglielmo: La fenice è Fiordiligi!

Guglielmo: Fiordiligi is the phoenix!

Don Alfonso: Non è questa, non è quella, non fu mai, non vi sarà. È la fede delle femmine come l’araba fenice: che vi sia, ciascun lo dice; dove sia, nessun lo sa.

Don Alfonso: It’s neither one nor the other. It never existed and it never will. Woman’s fidelity is like the phoenix of Arabia: everyone tells you it exists, but no one knows where it is.

Ferrando: Scioccherie di poeti!

Ferrando: Poetic nonsense!

Guglielmo: Scempiaggini di vecchi!

Guglielmo: An old man’s foolishness!


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Don Alfonso: Or bene, udite, ma senza andare in collera: qual prova avete voi che ognor costanti vi sien le vostre amanti; chi vi fe’ sicurtà che invariabili sono i lor cori?

Don Alfonso: Then listen, but without getting angry: What proof do you have that your lovers will always be faithful? What has made you so sure of the integrity of their hearts?

Ferrando: Lunga esperienza.

Ferrando: Long experience.

Guglielmo: Nobil educazion.

Guglielmo: Good breeding.

Ferrando: Pensar sublime.

Ferrando: Sublime thoughts.

Guglielmo: Analogia d’umor.

Guglielmo: Intelligent logic.

Ferrando: Disinteresse.

Ferrando: Unselfishness.

Guglielmo: Immutabil carattere.

Guglielmo: Strength of character.

Ferrando: Promesse.

Ferrando: Promises.

Guglielmo: Proteste.

Guglielmo: Protestations.

Ferrando: Giuramenti.

Ferrando: Vows.

Don Alfonso: Pianti, sospir, carezze, svenimenti. Lasciatemi un po’ ridere.

Don Alfonso: Tears, sighs, kisses, and swooning. Let me have my little laugh.

Ferrando: Cospetto! Finite di deriderci?

Ferrando: Damn it! Will you stop deriding us?

Don Alfonso: Pian piano: e se toccar con mano oggi vi fo che come l’altre sono?

Don Alfonso: Calm down. What if I could convince you this very day that they’re like all the others?

Guglielmo: Non si può dar!

Guglielmo: You can’t do it!

Ferrando: Non è!

Ferrando: It can’t be!


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Don Alfonso: Giochiam!

Don Alfonso: Let’s bet!

Ferrando: Giochiam!

Ferrando: Let’s bet!

Don Alfonso: Cento zecchini.

Don Alfonso: A hundred sovereigns.

Guglielmo: E mille se volete.

Guglielmo: A thousand, if you like.

Don Alfonso: Parola.

Don Alfonso: Your word.

Ferrando: Parolissima.

Ferrando: On my word.

Don Alfonso: E un cenno, un motto, un gesto giurate di non far di tutto questo alle vostre Penelopi.

Don Alfonso: But promise. No inkling, mention, or suggestion of this wager to your Penelopes.

Ferrando: Giuriamo.

Ferrando: We swear.

Don Alfonso: Da soldati d’onore?

Don Alfonso: On a soldier’s honor?

Guglielmo: Da soldati d’onore.

Guglielmo: On a soldier’s honor.

Don Alfonso: E tutto quel farete ch’io vi dirò di far?

Don Alfonso: Will you do everything I tell you to do?

Ferrando: Tutto!

Ferrando: Everything!

Guglielmo: Tuttissimo!

Guglielmo: Absolutely everything!

Don Alfonso: Bravissimi!

Don Alfonso: Excellent!

Ferrando e Guglielmo: Bravissimo, Signor Don Alfonsetto!

Ferrando and Guglielmo: Excellent, Don Alfonso!

Ferrando: (A spese vostre or ci divertiremo.)

Ferrando: (aside to Guglielmo) (We’ll enjoy ourselves at his expense.)

Guglielmo: (E de’ cento zecchini, che faremo?)

Guglielmo: (aside to Ferrando) (How shall we spend the 100 sovereigns?)


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Ferrando: Una bella serenata far io voglio alla mia Dea.

Ferrando: I want to sing a beautiful serenade to my goddess.

Guglielmo: In onor di Citerea un convito io voglio far.

Guglielmo: I’ll honor my Venus with a banquet.

Don Alfonso: Sarò anch’io de’ convitati?

Don Alfonso: May I also be invited?

Ferrando e Guglielmo: Ci sarete, sì signor.

Ferrando and Guglielmo: Of course you’ll be there.

Ferrando, Guglielmo e Don Alfonso: E che brindisi replicati far vogliamo al Dio d’amor!

Ferrando, Guglielmo and Don Alfonso: We’ll toast the god of love over and over again!

All three depart.

A garden at the seashore. Fiordiligi and Dorabella gaze at lockets bearing portraits of their respective lovers.

Fiordiligi: Ah, guarda, sorella, se bocca più bella, se petto più nobile si può ritrovar.

Fiordiligi: Look, sister, could you ever find such a beautiful mouth, or such noble features?

Dorabella: Osserva tu un poco, che fuoco ha ne’ sguardi! Se fiamma, se dardi non sembran scoccar.

Dorabella: Just look a moment. What fire is in his eyes, with darts shooting from them.

Fiordiligi: Si vede un sembiante guerriero ed amante.

Fiordiligi: He has the face of both hero and lover.

Dorabella: Si vede una faccia che alletta e minaccia.

Dorabella: His face is expressive and threatening.

Fiordiligi: Io sono felice.

Fiordiligi: I’m so happy.


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Dorabella: Felice son io.

Dorabella: I’m so happy.

Fiordiligi e Dorabella: Se questo mio core mai cangia desio, amore mi faccia vivendo penar.

Fiordiligi and Dorabella: If my desires should ever change, let love bring me a life of pain.

Fiordiligi: Mi par che stamattina volentieri farei la pazzarella: ho un certo foco, un certo pizzicor entro le vene. Quando Guglielmo viene se sapessi che burla gli vo’ far!

Fiordiligi: I feel like doing something roguish this morning: I have a fire and a sense of mischief in my veins. When Guglielmo comes, I feel like playing a trick on him!

Dorabella: Per dirti il vero, qualche cosa di nuovo anch’io nell’alma provo: io giurerei che lontane non siam dagli imenei.

Dorabella: To be honest, I also have a feeling that something is about to happen. I swear that we’ll soon be married.

Fiordiligi: Dammi la mano: io voglio astrologarti. Uh, che bell’Emme! E questo è un Pi! Va bene: matrimonio presto.

Fiordiligi: Give me your hand. I want to read your future. There’s an M and a P: marriage presently.

Dorabella: Affé che ci avrei gusto!

Dorabella: That would really please me!

Fiordiligi: Ed io non ci avrei rabbia.

Fiordiligi: I wouldn’t mind it either.

Dorabella: Ma che diavol vuol dir che i nostri sposi ritardano a venir? Son già le sei.

Dorabella: But what devil has detained our sweethearts? It’s already six o’clock.

Fiordiligi: Eccoli.

Fiordiligi: Here they are.

Don Alfonso arrives. Fiordiligi: Non son essi: è Don Alfonso, l’amico lor.

Fiordiligi: It’s not them. It’s their friend, Don Alfonso.

Dorabella: Ben venga il signor Don Alfonso!

Dorabella: Welcome, Don Alfonso.

Don Alfonso: Riverisco.

Don Alfonso: My respects.


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Fiordiligi: Cos’è? Perchè qui solo? Voi piangete? Parlate, per pietà: che cosa è nato? L’amante...

Fiordiligi: What has happened? Why are you here alone? Are you crying? For heaven’s sake, tell us what’s happened? My lover...

Dorabella: L’idol mio...

Dorabella: My beloved...

Don Alfonso: Barbaro fato!

Don Alfonso: Cruel fate!

Vorrei dir, e cor non ho, balbettando il labbro va. Fuor la voce uscir non può, ma mi resta mezza quà. Che farete? Che farò? Oh, che gran fatalità! Dar di peggio non si può, ho di voi, di lor pietà.

I’d like to speak, but I haven’t the heart, and my lips refuse to move. I must speak, but it seems that I’ve lost my voice. What will you do? What shall I do? Oh, what a terrible misfortune! There couldn’t be anything worse, I have such pity for them and for you.

Fiordiligi: Stelle! Per carità, signor Alfonso, non ci fate morir.

Fiordiligi: For goodness sake, Don Alfonso, don’t make us suffer.

Don Alfonso: Convien armarvi, figlie mie, di costanza.

Don Alfonso: Have courage, my girls, be prepared for a shock.

Dorabella: Oh Dei! Qual male e addivenuto mai, qual caso rio? Forse è morto il mio bene?

Dorabella: Oh Heavens! What terrible thing has happened? Is my beloved dead?

Fiordiligi: E morto il mio?

Fiordiligi: Is mine dead?

Don Alfonso: Morti non son, ma poco men che morti.

Don Alfonso: They aren’t dead, but just as well might be.

Dorabella: Feriti?

Dorabella: Wounded?

Don Alfonso: No.

Don Alfonso: No.

Fiordiligi: Ammalati?

Fiordiligi: Ill?

Don Alfonso: Neppur.

Don Alfonso: Not that either.


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Fiordiligi: Che cosa, dunque?

Fiordiligi: Then what is it?

Don Alfonso: Al marzial campo ordin regio li chiama.

Don Alfonso: They’ve been called to the front by royal order.

Fiordiligi e Dorabella: Ohimè, che sento!

Fiordiligi and Dorabella: Oh my, how dreadful!

Fiordiligi: E partiran?

Fiordiligi: When do they leave?

Don Alfonso: Sul fatto!

Don Alfonso: Immediately!

Dorabella: E non v’è modo d’impedirlo?

Dorabella: Isn’t there a way to prevent it?

Don Alfonso: Non v’è.

Don Alfonso: No way.

Fiordiligi: Nè un solo addio?

Fiordiligi: Not even a good-bye?

Don Alfonso: Gli infelici non hanno coraggio di vedervi. Ma se voi lo bramate, son pronti.

Don Alfonso: The unfortunate men don’t have the courage to face you. But if you can bear it, I’ll call them.

Dorabella: Dove son?

Dorabella: Where are they?

Don Alfonso: Amici, entrate!

Don Alfonso: My friends, come here!

Ferrando and Guglielmo arrive; they wear traveling clothes.

Guglielmo: Sento, o Dio, che questo piede è restio nel girle avante.

Guglielmo: Oh God, I feel that my feet resist moving forward.


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Ferrando: Il mio labbro palpitante non può detto pronunziar.

Ferrando: My lips are trembling, and I can’t utter a word.

Don Alfonso: Nei momenti più terribili sua virtù l’eroe palesa.

Don Alfonso: The hero shows his courage in moments of danger.

Fiordiligi e Dorabella: Or che abbiam la nuova intesa, a voi resta a fare il meno; fate core, a entrambe in seno immergeteci l’acciar.

Fiordiligi e Dorabella: We’ve already heard the news. Now there’s but one thing to do; plunge your swords into our breasts.

Ferrando e Guglielmo: Idol mio! La sorte incolpa se ti deggio abbandonar!

Ferrando e Guglielmo: My angel! Destiny has decreed that we must part!

Dorabella: Ah, no, no, non partirai!

Dorabella: (to Ferrando) Oh, no, no, don’t leave!

Fiordiligi: No, crudel, non te n’andrai!

Fiordiligi: (to Guglielmo) No, it’s cruel for you to leave me!

Dorabella: Voglio pria cavarmi il core!

Dorabella: I’d rather tear out my heart!

Fiordiligi: Pria ti vo’ morire ai piedi!

Fiordiligi: Let me die at your feet!

Ferrando: (Cosa dici? )

Ferrando: (aside to Don Alfonso) (What do you say?)

Guglielmo: (Te n’avvedi?)

Guglielmo: (aside to Don Alfonso) (Do you see it?)

Don Alfonso: (Saldo, amico: finem lauda...)

Don Alfonso: (aside to the men) (Steady, friends, he who laughs last...)

Tutti: Il destin così defrauda le speranze de’ mortali. Ah, chi mai fra tanti mali, chi mai può la vita amar?

All: Destiny crushes human hopes. Who could love life amid such misfortune?

Guglielmo: Non piangere, idol mio!

Guglielmo: (to Fiordiligi) Don’t cry, my beloved!

Ferrando: Non disperarti, adorata mia sposa!

Ferrando: (to Dorabella) Don’t despair, my sweetheart!


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Don Alfonso: Lasciate lor tal sfogo; è troppo giusta la cagion di quel pianto.

Don Alfonso: My friends, be patient. Let them have a good cry.

The lovers embrace tenderly. Fiordiligi: Chi sa s’io più ti veggio!

Fiordiligi: Who knows if I’ll ever see you again!

Dorabella: Chi sa se più ritorni!

Dorabella: Who knows if you’ll ever return!

Fiordiligi: Lasciami questo ferro: ei mi dia morte, se mai barbara sorte in quel seno a me caro.

Fiordiligi: Give me that sword: since fate is so cruel, only death can console me.

Dorabella: Morrei di duol; d’uopo non ho d’acciaro.

Dorabella: I will die of grief; I don’t need a weapon.

Ferrando e Guglielmo: Non farmi, anima mia, quest’infausti presagi! Proteggeran gli Dei la pace del tuo cor ne’ giorni miei.

Ferrando and Guglielmo: My dearest, don’t commit a fatal act! The gods will protect your grieving heart during the days we are gone.

Al fato dan legge quegli occhi vezzosi: amor li protegge, nè i loro riposi le barbare stelle ardiscon turbar. Il ciglio sereno, mio bene, a me gira: felice al tuo seno io spero tornar.

Love is a force that will guide and protect us from the cruel fate that has befallen us. Wait and be patient, for nothing can divide us. Soon we’ll be happily reunited.

Don Alfonso: (La commedia è graziosa, e tutti due fan ben la loro parte.)

Don Alfonso: (to himself) (The performance is charming, and all of them are acting their part wonderfully.)

Drums are heard in the distance. Ferrando: Oh cielo! Questo è il tamburo funesto che a divider mi vien dal mio tesoro.

Ferrando: Oh Heavens! That is the ominous drum roll that announces separation from my treasure.

Don Alfonso: Ecco, amici, la barca.

Don Alfonso: Friends, here comes your boat.

Fiordiligi: Io manco.

Fiordiligi: I’m fainting.

Dorabella: Io moro.

Dorabella: I’m dying.


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A military march is heard in the distance. A boat arrives at the landing, and then a troop of soldiers, accompanied by villagers.

Soldati e Popolani: Bella vita militar! Ogni dì si cangia loco; oggi molto, doman poco, ora in terra ed or sul mar. Il fragor di trombe e pifferi, lo sparar di schioppi e bombe, forza accresce al braccio e all’anima vaga sol di trionfar. Bella vita militar!

Soldiers and villagers: A military life is beautiful! There’s a new place every day; today there’s much, but little tomorrow, sometimes on land, sometimes on the sea. There’s the din of trumpets and fifes, guns and bombs exploding, that strengthens your arm and spirit in order to be victorious. A military life is beautiful!

Don Alfonso: Non v’è più tempo, amici: andar conviene ove il destino, anzi il dover, v’invita.

Don Alfonso: Friends, time has run out. Go and follow the call of destiny, or rather, your duty.

Fiordiligi: Mio cor.

Fiordiligi: My heart.

Dorabella: Idolo mio.

Dorabella: My beloved.

Ferrando: Mio ben.

Ferrando: My dearest.

Guglielmo: Mia vita.

Guglielmo: My life.

Fiordiligi: Ah, per un sol momento.

Fiordiligi: Oh, just for a moment.

Don Alfonso: Del vostro reggimento già è partita la barca; raggiungerla convien coi pochi amici che su legno più lieve attendendo vi stanno.

Don Alfonso: Your regiment’s ship has already left. You can join it by taking the boat that is waiting.

Ferrando e Guglielmo: Abbracciami, idol mio.

Ferrando and Guglielmo: Kiss me, my beloved.

Fiordiligi e Dorabella: Muoio d’affanno.

Fiordiligi and Dorabella: The anguish is killing me.

Fiordiligi: Di scrivermi ogni giorno giurami, vita mia!

Fiordiligi: My love, promise that you’ll write to me every day!


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Dorabella: Due volte ancora tu scrivimi, se puoi.

Dorabella: Write to me twice a day if you can.

Ferrando: Sii certa, o cara.

Ferrando: Certainly, my darling.

Guglielmo: Non dubitar, mio bene.

Guglielmo: Don’t worry, my dearest.

Don Alfonso: (Io crepo, se non rido!)

Don Alfonso: (I’ll burst if I don’t laugh right away!)

Fiordiligi: Sii costante a me sol.

Fiordiligi: Be faithful to me alone.

Dorabella: Serbati fido.

Dorabella: Remain faithful.

Ferrando: Addio.

Ferrando: Good-bye.

Guglielmo: Addio.

Guglielmo: Good-bye.

Fiordiligi e Dorabella: Addio.

Fiordiligi and Dorabella: Good-bye.

Fiordiligi, Dorabella, Ferrando e Guglielmo: Mi si divide il cor, bell’idol mio! Addio! Addio! Addio!

Fiordiligi, Dorabella, Ferrando and Guglielmo: My heart is breaking, my beloved! Good-bye! Good-bye! Good-bye!

Soldati e Popolani: Bella vita militar! Ecc.

Soldiers and Villagers: Military life is beautiful! Etc.

Ferrando and Guglielmo board the ship. Their lovers, Fiordiligi and Dorabella, remain at the shore, pensive and saddened. Dorabella: Dove son?

Dorabella: Where are they?

Don Alfonso: Son partiti.

Don Alfonso: (consoling their sadness) They’ve gone.

Fiordiligi: Oh dipartenza crudelissima, amara!

Fiordiligi: What bitterness in parting!

Don Alfonso: Fate core, carissime figliuole. Guardate: da lontano vi fan cenno con mano i cari sposi.

Don Alfonso: Be brave, my dear girls. Look! They’re waving to their dear lovers from the distance.


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Fiordiligi: Buon viaggio, mia vita!

Fiordiligi: (waving to the ship) Bon voyage, my darling.

Dorabella: Buon viaggio!

Dorabella: (also waving) Bon voyage!

Fiordiligi: Oh Dei! Come veloce ae ne va quella barca! Già sparisce, già non si vede più. Deh, faccia il cielo ch’abbia prospero corso.

Fiordiligi: Oh Heavens! How fast the boat sails! It already disappeared. May Heaven grant it a successful journey.

Dorabella: Faccia che al campo giunga con fortunati auspici.

Dorabella: May it arrive at the battle with signs of good fortune.

Don Alfonso: E a voi salvi gli amanti, a me gli amici.

Don Alfonso: May your lovers and my friends be protected.

Fiordiligi, Dorabella e Don Alfonso: Soave sia il vento, tranquilla sia l’onda, ed ogni elemento benigno risponda ai nostri/vostri desir.

Fiordiligi, Dorabella and Don Alfonso: May the wind be gentle, may the sea be calm, may all the elements respond favorably to our/your wishes.

Fiordiligi and Dorabella depart, leaving Don Alfonso alone.

Don Alfonso: Non son cattivo comico! Va bene. Al concertato loco i due campioni di Ciprigna e di Marte mi staranno attendendo: or senza indugio raggiungerli conviene. Quante smorfie, quante buffonerie! Tanto meglio per me. Cadran più facilmente: questa razza di gente è la più presta a cangiarsi d’umore. Oh, poverini! Per femmina giocar cento zecchini?

Don Alfonso: I’m not a bad actor! Well done. The two champions of Venus and Mars are waiting for me at the place we agreed on: I must meet them without delay. So many grimaces! So much play acting! So much the better for me. They’ll fall much easier. This type of person is quick to change their moods. Poor men! Staking 100 sovereigns on womanhood?


“Nel mare solca e nell’arena semina e il vago vento spera in rete accogliere chi fonda sue speranze in cor di femmina.”

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“He who ploughs the sea, sows in the desert, and tries to catch the wind in a net, places his hopes in a woman’s heart.”

A room in the sister’s house. Despina, their maid, is alone, whipping chocolate. Despina: Che vita maledetta è il far la cameriera! Dal mattino alla sera si fa, si suda, si lavora, e poi di tanto che si fa nulla è per noi. È mezza ora che sbatto; il cioccolate è fatto, ed a me tocca restar ad odorarlo a secca bocca?

Despina: What a terrible life a maid has! From morning till night you sweat, you work, and you do nothing for yourself. I’ve been churning the chocolate for half an hour, and when it’s done, why can’t I place it in my dry mouth?

Non è forse la mia come la vostra, o garbate signore, che a voi dèssi l’essenza, e a me l’odore? Per Bacco, vo’ assaggiarlo: cospettaccio! Com’ è buono!

My ladies, my fate is not yours. Why should you have the real thing, while all I get is the aroma? I’m going to taste it. Oh, it’s so good!

Vien gente. Oh ciel, son le padrone!

Someone is coming. Heavens, it’s my mistresses!

Fiordiligi and Dorabella enter in despair. Despina offers them chocolate. Madame, ecco la vostra colazione. Diamine, cosa fate?

Ladies, here’s your breakfast. Heavens, what happened?

Fiordiligi: Ah!

Fiordiligi: Ah!

Dorabella: Ah!

Dorabella: Ah!

Despina: Che cosa è nato?

Despina: What has happened?

Fiordiligi: Ov’è un acciaro?

Fiordiligi: Where is a dagger?

Dorabella: Un veleno dov’è?

Dorabella: Where is poison?


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Despina: Padrone, dico!

Despina: Ladies, speak!

Dorabella: Ah, scostati! Paventa il tristo effetto d’un disperato affetto: chiudi quelle finestre! Odio la luce, odio l’aria che spiro, odio me stessa. Chi schernisce il mio duol? Chi mi consola? Deh, fuggi per pietà, lasciami sola!

Dorabella: Out of my way! Beware of the unhappy feelings of a despairing heart. Close those windows! I hate the light, I hate the air I breathe, I hate myself. Who mocks my grief? Who can console me? Go, for pity’s sake, leave me alone!

Smanie implacabili che m’agitate, entro quest’anima più non cessate fin che l’angoscia mi fa morir.

Implacable rage stirs within me. It does not leave my heart in peace. It is an unceasing anguish that will kill me.

Esempio misero d’amor funesto darò all’Eumenidi, se viva resto, col suono orribile de’ miei sospir.

If I remain alive, the horrible sound of my sighs, will make me a miserable example of tragic love for the Furies.

Despina: Signora Dorabella, Signora Fiordiligi, ditemi: che cos’è stato?

Despina: Madame Dorabella, Madame Fiordiligi, tell me what has happened?

Dorabella: Oh, terribil disgrazia!

Dorabella: A terrible misfortune!

Despina: Sbrigatevi in buon’ora.

Despina: Hurry, tell me right away.

Fiordiligi: Da Napoli partiti sono gli amanti nostri.

Fiordiligi: Our lovers have left Naples.

Despina: Non c’è altro? Ritorneran.

Despina: (laughing) Is that all? They’ll come back.

Dorabella: Chi sa?

Dorabella: Who knows?

Despina: Come, chi sa? Dove son iti?

Despina: What do you mean, who knows? Where have they gone?


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Dorabella: Al campo di battaglia.

Dorabella: To battle.

Despina: Tanto meglio per loro: li vedrete tornar carchi d’alloro.

Despina: Good for them: they’ll return decorated with laurels.

Fiordiligi: Ma ponno anche perir.

Fiordiligi: But they might die.

Despina: Allora, poi, tanto meglio per voi.

Despina: Then, all the better for you.

Fiordiligi: Sciocca, che dici?

Fiordiligi: You idiot. What are you saying?

Despina: La pura verità: due ne perdete, vi restan tutti gli altri.

Despina: The honest truth. You may lose two, but all the rest are left.

Fiordiligi: Ah, perdendo Guglielmo mi pare ch’io morrei!

Fiordiligi: If I lost Guglielmo, I would die!

Dorabella: Ah, Ferrando perdendo mi par che viva a seppellirmi andrei!

Dorabella: If I lost Ferrando, I would want to be buried alive!

Despina: Brave, vi par, ma non è ver: ancora Non vi fu donna che d’amor sia morta. Per un uomo morir! Altri ve n’ hanno che compensano il danno.

Despina: That’s what you think, but it’s not the truth. No woman has ever died from love. To die for a man! There are plenty to take their place.

Dorabella: E credi che potria altr’uom amar chi s’ebbe per amante...

Dorabella: Do you think I could love another when I’ve loved...

Fiordiligi: Guglielmo.

Fiordiligi: Guglielmo.

Dorabella: Ferrando.

Dorabella: Ferrando.

Despina: Han gli altri ancora tutto quello ch’hanno essi. Un uom adesso amate, un altro n’amerete: uno val l’altro, perché nessun val nulla.

Despina: Other men have the same qualities that they have. Now you love one man, but you’ll love another. One is as good as another, but no one of them is worth anything.


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Ma non parliam di ciò; sono ancor vivi e vivi torneran; ma son lontani, e piuttosto che in vani pianti perdere il tempo, pensate a divertirvi.

But that’s enough; they’re still alive and they’ll come back alive, and while they’re away, rather than wasting time crying, think about enjoying yourselves

Fiordiligi: Divertirci?

Fiordiligi: (indignantly) Enjoy ourselves?

Despina: Sicuro! E quel ch’è meglio, far all’amor come assassine, e come faranno al campo i vostri cari amanti.

Despina: Of course! The best thing is to make love with passion, just like your lovers will be doing in the field.

Dorabella: Non offender così quell’alme belle, di fedeltà, d’intatto amore esempi.

Dorabella: Don’t insult those noble souls, those models of fidelity and chaste love.

Despina: Via, via! Passaro i tempi da spacciar queste favole ai bambini.

Despina: The time is long past to believe in such children’s fairytales.

In uomini, in soldati sperare fedeltà?

In men, and in soldiers, are you hoping they’ll be faithful?

Non vi fate sentir, per carità! Di pasta simile son tutti quanti: le fronde mobili, l’aure incostanti han più degli uomini stabilità. Mentite lagrime, fallaci sguardi, voci ingannevoli, vezzi bugiardi, son le primarie lor qualità.

For goodness sake, don’t let anyone hear you! They’re all made of the same stuff. Swaying branches and changing winds are steadier than men. Their main qualities are deceptive tears, false looks, lying words and flattery, and bad habits.

In noi non amano che il lor diletto; poi ci dispregiano, neganci affetto, né val da’ barbari chieder pietà.

They love us for their own pleasure. Then they cast us aside and deny us love. There’s no point in asking for mercy from barbarians.

Paghiam, o femmine, d’ugual moneta questa malefica razza indiscreta; amiam per comodo, per vanità! La ra la, la ra la, la ra la, la.

Ladies, let’s reimburse this evil and indiscreet breed in kind. Let’s love for convenience, for vanity. La ra la, la ra la, la ra la, la. Despina departs.


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Don Alfonso: Che silenzio! Che aspetto di tristezza spirano queste stanze.

Don Alfonso: Not a sound here! What sadness pervades the air?

Poverette! Non han già tutto il torto: bisogna consolarle; infin che vanno i due creduli sposi, com’io loro commisi, a mascherarsi, pensiam cosa può farsi.

Poor girls! They’re not totally at fault: they need to be comforted. Meanwhile I’ll go and meet my two disguised friends. I’m optimistic that I will succeed.

Temo un po’ per Despina: quella furba potrebbe riconoscerli; potrebbe rovesciarmi le macchine. Vedremo.

I’m a little worried about Despina. She might recognize them and then ruin my plans. Let’s see.

Se mai farà bisogno, un regaletto a tempo: un zecchinetto per una cameriera è un gran scongiuro. Ma, per esser sicuro, si potria metterla in parte a parte del segreto. Eccellente è il progetto. La sua camera è questa.

I know just how to handle a girl like Despina. A little money can always become a great inspiration. But, to be sure, I could ask her to be my partner in this secret. It’s an excellent project. Her room is here.

Don Alfonso knocks on the door. Despinetta!

Despinetta!

Despina: Chi batte?

Despina: Who’s knocking?

Don Alfonso: Oh!

Don Alfonso: Oh!

Despina: Oh!

Despina: Oh!

Don Alfonso: Despina mia, di te bisogno avrei.

Don Alfonso: Despina, I might need your help.

Despina: Ed io niente di lei.

Despina: And I wouldn’t need yours.

Don Alfonso: Ti vo’ fare del ben.

Don Alfonso: I’d like to do a favor for you.

Despina: A una fanciulla un vecchio come lei non può far nulla.

Despina: An old man like you can’t do anything for a young girl.

Don Alfonso: Parla piano, ed osserva.

Don Alfonso: (displaying a purse with money) Keep your voice down and look.


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Despina: Me la dona?

Despina: Is that for me?

Don Alfonso: Sì, se meco sei buona.

Don Alfonso: Yes, if you’re nice to me.

Despina: E che vorebbe? È l’oro il mio giulebbe.

Despina: What do you want? I’ve a weakness for gold.

Don Alfonso: Ed oro avrai; ma ci vuol fedeltà.

Don Alfonso: You can have gold, but it will require loyalty.

Despina: Non c’è altro? Son qua.

Despina: Is that all? I’m ready.

Don Alfonso: Prendi ed ascolta. Sai che le tue padrone han perduti gli amanti.

Don Alfonso: Listen. You know well that your mistresses have lost their lovers.

Despina: Lo so.

Despina: I know all about it.

Don Alfonso: Tutti i lor pianti, tutti i deliri loro anco tu sai.

Don Alfonso: You know that they’re overcome by despair and are always crying.

Despina: So tutto.

Despina: I know it well.

Don Alfonso: Or ben, se mai per consolarle un poco e trar, come diciam, chiodo per chiodo, tu ritrovassi il modo da metter in lor grazia due soggetti di garbo che vorrieno provar. Già mi capisci? C’è una mancia per te di venti scudi, se li fai riuscir.

Don Alfonso: Well, suppose in order to console them, or, as they say, make the best of a bad situation, you help me to persuade them to meet two nice gentlemen who have romantic intentions. Do you understand me? There’s a gift of twenty scudos if you can make it succeed.

Despina: Non mi dispiace questa proposizione. Ma con quelle buffone. Basta, udite: Son giovani? Son belli? E, sopra tutto, hanno una buona borsa i vostri concorrenti?

Despina: I’m not averse to this proposition. But those two foolish women. Enough, listen: Are they young? Handsome? And above all, do your prospects have plenty of money?

Don Alfonso: Han tutto quello che piacer può alle donne di giudizio. Li vuoi veder?

Don Alfonso: They have everything women of taste could want. Do you want to see them?


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Despina: E dove son?

Despina: Where are they?

Don Alfonso: Son lì. Li posso far entrar?

Don Alfonso: They’re here. Can I invite them in?

Despina: Direi di sì.

Despina: Of course.

Don Alfonso opens the door. Ferrando and Guglielmo enter, disguised as Albanians. Don Alfonso: Alla bella Despinetta, vi presento, amici miei; non dipende che da lei consolar il vostro cor.

Don Alfonso: I present my friends to the lovely Despinetta. Depend on her to console your hearts.

Ferrando e Guglielmo: Per la man, che lieto io bacio, per quei rai di grazia pieni, fa’ che volga a me sereni i begli occhi il mio tesor.

Ferrando and Guglielmo: I happily kiss this hand, and I am deeply honored by your kindness in helping me win the goddess of my soul.

Despina: Che sembianze! Che vestiti! Che figure! Che mustacchi! Io non so se son Valacchi o se Turchi son costor.

Despina: (laughing to herself) What an appearance! What clothes! What figures! What mustaches! I can’t tell if they’re Walachians or Turks.

Don Alfonso: (Che ti par di quell’aspetto?)

Don Alfonso: (aside to Despina) (What do you think of them?)

Despina: (Per parlarvi schietto schietto, hanno un muso fuor dell’uso, vero antidoto d’amor.)

Despina: (aside to Don Alfonso) (To be honest, they look so odd, that they’ll be an antidote to love.)

Ferrando, Guglielmo e Don Alfonso: Or la cosa è appien decisa; se costei non li/ci ravvisa non c’è più nessun timor.

Ferrando, Guglielmo and Don Alfonso: She is fooled by the disguises; barring unforeseen surprises, there is nothing more to fear.

Despina: Che figure! Che mustacchi! Io non so se son Valacchi o se Turchi son costor.

Despina: (laughing to herself) What figures! What mustaches! I can’t tell if they’re Walachians or Turks.


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Fiordiligi and Dorabella enter. Fiordiligi e Dorabella: Eh, Despina! Olà, Despina!

Fiordiligi and Dorabella: Hey, Despina! Hello, Despina!

Despina: Le padrone!

Despina: My mistresses!

Don Alfonso: Ecco l’istante! Fa’ con arte; io qui m’ascondo.

Don Alfonso: This is the moment! Use your skill while I hide myself here. Don Alfonso hides.

Fiordiligi e Dorabella: Ragazzaccia tracotante! Che fai lì con simil gente? Falli uscire immantinente, o ti fo pentir con lor.

Fiordiligi and Dorabella: Shameless girl! What are you doing here with these people? Tell them to leave at once, or you’ll all be sorry.

Despina, Ferrando e Guglielmo: Ah, madama, perdonate! Al bel piè languir mirate due meschin, di vostro merto spasimanti adorator.

Despina, Ferrando and Guglielmo: (all on bended knee) Have mercy, ladies! Two wretched fellows kneel at your lovely feet, throbbing as they adore your beauty.

Fiordiligi e Dorabella: Giusti Numi! Cosa sento? Dell’enorme tradimento chi fu mai l’indegno autor?

Fiordiligi and Dorabella: Good Heavens! What am I hearing? Who is responsible for this outrageous treachery?

Despina, Ferrando e Guglielmo: Deh, calmante quello sdegno!

Despina, Ferrando and Guglielmo: Restrain your anger!

Fiordiligi e Dorabella: Ah, che più non ho ritegno! Tutta piena ho l’alma in petto si dispetto e di furor!

Fiordiligi and Dorabella: Nothing can restrain me! My soul is infuriated by your haughtiness!

Despina e Don Alfonso: Mi dà un poco di sospetto quella rabbia e quel furor!

Despina and Don Alfonso: (to each other) I’m a little suspicious about that anger and fury!

Ferrando e Guglielmo: Qual diletto è a questo petto quella rabbia e quel furor!

Ferrando and Guglielmo: (to themselves) I’m sure they are sincere in their anger and fury!

Fiordiligi e Dorabella: Ah, perdon, mio bel diletto! Innocente è questo cor.

Fiordiligi and Dorabella: Forgive my transgression! My heart is innocent.


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Don Alfonso: Che sussurro! Che strepito! Che scompiglio è mai questo! Siete pazze, Care le mie ragazze? Volete sollevar il vicinato? Cos’avete? Ch’è nato?

Don Alfonso: What murmuring! What a commotion! What confusion there is here! Girls, have you lost your minds? Are you trying to rouse the whole neighborhood? What has happened?

Dorabella: Oh, ciel! Mirate: uomini in casa nostra!

Dorabella: (furiously) Heavens! Look at the men in our house!

Don Alfonso: Che male c’è?

Don Alfonso: What’s wrong with that?

Fiordiligi: Che male? In questo giorno! Dopo il caso funesto!

Fiordiligi: What’s wrong? On this day! After our terrible misfortune!

Don Alfonso: Stelle! Sogno o son desto? Amici miei, miei dolcissimi amici! Voi qui? Come? Perchè? Quando? In qual modo? Numi! Quanto ne godo!

Don Alfonso: Good Heavens! Am I dreaming? My friends, my dearest friends! You’re here? How? Why? When?

(Secondatemi.)

Gods! What a pleasure! (aside) (Play along.)

Ferrando: Amico Don Alfonso!

Ferrando: My friend Don Alfonso!

Guglielmo: Amico caro!

Guglielmo: My dear friend!

Don Alfonso: Oh la bella improvvisata!

Don Alfonso: What a happy coincidence!

Despina: Li conoscete voi?

Despina: (to Don Alfonso) Do you know them?

Don Alfonso: Se li conosco! Questi sono i più dolci amici ch’io mai abbia in questo mondo, e i vostri ancor saranno.

Don Alfonso: I know them! These are the dearest friends I have in this world, and they will be yours as well.

Fiordiligi: E in casa mia che fanno?

Fiordiligi: What are they doing in my house?

Guglielmo: Ai vostri piedi due rei, due delinquenti, ecco madama! Amor...

Guglielmo: Here Madame, two rogues, two delinquents, are at your feet! Love...


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Dorabella: Numi, che sento?

Dorabella: Gods, what am I hearing?

Ferrando: Amor, il Nume sì possente per voi qui ci conduce.

Ferrando: The powerful god of love drew us here.

Guglielmo: Vista appena la luce di vostre fulgidissime pupille...

Guglielmo: The moment we saw the light from your eyes...

Ferrando: Che alle vive faville...

Ferrando: We were attracted by their sparkling...

Guglielmo: Farfallette amorose e agonizzanti...

Guglielmo: Like loving butterflies in agony...

Ferrando: Vi voliamo davanti...

Ferrando: We flew before you...

Guglielmo: Ed ai lati, ed a retro...

Guglielmo: Beside you, and behind you...

Ferrando e Guglielmo: per implorar pietade in flebil metro.

Ferrando and Guglielmo: to beg for mercy in plaintive verse.

Fiordiligi: Stelle! Che ardir!

Fiordiligi: Heavens! What boldness!

Dorabella: Sorella, che facciamo?

Dorabella: Sister, what shall we do?

Fiordiligi: Temerari, sortite, fuori di questo loco, e non profani l’alito infausto degli infami detti nostro cor, nostro orecchio e nostri affetti!

Fiordiligi: Get out of this house, you reckless men, and do not profane our hearts, our ears, or our affections with your scandalous words!

Invan per voi, per gli altri invan si cerca le nostr’alme sedur: l’intatta fede che per noi già si diede ai cari amanti, saprem loro serbar infino a morte, a dispetto del mondo e della sorte.

It is in vain for you or anyone else to try to lure us or seduce us: we have given our word to the dear men we love, and we shall keep that faith until death, defying the world and destiny.


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Come scoglio immoto resta contro i venti e la tempesta, così ognor quest’alma è forte nella fede e nell’amor.

Like a rock standing firm against wind and storm, in faithfulness and love; that is how strong my soul will always be.

Con noi nacque quella facce che ci piace, e ci consola, e potrà la morte sola far che cangi affetto il cor.

Within us burns the flame, that delights and comforts us, and only death can change our heart’s affections.

Rispettate, anime ingrate, quest’esempio di costanza; e una barbara speranza non vi renda audaci ancor!

Worthless men, show respect for our example of constancy; and let no savage hope embolden you! The sisters attempt to leave.

Ferrando: Ah, non partite!

Ferrando: (to Fiordiligi) Please don’t leave!

Guglielmo: Ah, barbare, restate!

Guglielmo: (to Dorabella) Stay, you’re so cruel!

(Che vi pare?)

(to Don Alfonso) (See, didn’t I tell you?)

Don Alfonso: Aspettate!

Don Alfonso: (aside to Guglielmo) Wait!

Per carità, ragazze, non mi fate più far trista figura.

(to Fiordiligi and Dorabella) I implore you ladies, don’t make me look like such a fool.

Dorabella: E che pretendereste?

Dorabella: (furiously) What do you want?

Don Alfonso: Eh, nulla, ma mi pare, che un pochin di dolcezza. Alfin son galantuomini, e sono amici miei.

Don Alfonso: Nothing, but I think you could show a little kindness. After all, they’re gentlemen, and they’re my friends.

Fiordiligi: Come! E udire dovrei?

Fiordiligi: What! Do I have to listen to this?

Guglielmo: Le nostre pene, e sentirne pietà! La celeste beltà degli occhi vostri la piaga aprì nei nostri, cui rimediar può solo il balsamo d’amore. Un solo istante il core aprite, o belle, a sue dolci facelle, o a voi davanti spirar vedrete i più fedeli amanti.

Guglielmo: Feel pity for our pain! The heavenly beauty of your eyes wounded our hearts. Only love can soothe the wound. Open your hearts for just one moment, and you will see the most faithful lovers die before you.


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Non siate ritrosi, occhietti vezzosi; due lampi amorosi vibrate un po’ qua.

Don’t be shy, pretty eyes; shine a loving light over here.

Felici rendeteci, amate con noi; e noi felicissime faremo anche voi.

Make us happy and love us, and in return, we’ll make you very happy.

Guardate, toccate, il tutto osservate: siam forti e ben fatti, e come ognun vede, sia merto, sia caso, Abbiamo bel piede, bell’occhio, bel naso; guardate, bel piede, osservate, bell’occhio, toccate, bel naso, il tutto osservate.

Look, touch, observe everything: we’re strong and well-built, as anyone can see, whether by chance or we deserve it. We have nice feet, pretty eyes, pretty noses; look, nice feet, nice eyes, touch, a pretty nose, observe it all.

E questi mustacchi chiamare si possono trionfi degli uomini, pennacchi d’amor.

And these moustaches you could call the triumphs of men, the plumes of love.

Fiordiligi and Dorabella depart, raging furiously.

Don Alfonso: E voi ridete?

Don Alfonso: Are you laughing?

Ferrando e Guglielmo: Certo, ridiamo.

Ferrando and Guglielmo: Of course we are.

Don Alfonso: Ma cosa avete?

Don Alfonso: What is the reason?

Ferrando e Guglielmo: Già lo sappiamo.

Ferrando and Guglielmo: We now have won.

Don Alfonso: Ridete piano!

Don Alfonso: Keep quiet!


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Ferrando e Guglielmo: Parlate invano.

Ferrando and Guglielmo: You can’t deny it.

Don Alfonso: Se vi sentissero, se vi scoprissero, si guasterebbe tutto l’affar.

Don Alfonso: If they heard you it would ruin everything. If you would only be patient for one more day.

Ferrando e Guglielmo: Ah, che dal ridere l’alma dividere, ah, che le viscere sento scoppiar!

Ferrando and Guglielmo: We’re bursting with laughter. My soul is breaking up. Ah, what feelings. I feel like exploding!

Don Alfonso: (Si può sapere un poco la cagion di quel riso?)

Don Alfonso: (to himself) (If I could only know the reason why he’s laughing?)

Guglielmo: Oh cospettaccio! Non vi pare che abbiam giusta ragione, il mio caro padrone?

Guglielmo: For goodness sake! Don’t we have good reason to laugh, my dear master?

Ferrando: Quanto pagar volete, e a monte è la scommessa?

Ferrando: How much do you want to pay, and is the bet still on?

Guglielmo: Pagate la metà.

Guglielmo: Pay half.

Ferrando: Pagate solo ventiquattro zecchini.

Ferrando: Pay just twenty-four sovereigns.

Don Alfonso: Poveri innocentini! Venite qua, vi voglio porre il ditino in bocca!

Don Alfonso: Poor innocents! Come here, I want you to suck your thumbs!

Guglielmo: E avete ancora coraggio di fiatar?

Guglielmo: And you still dare to have courage to breathe?

Don Alfonso: Avanti sera ci parlerem.

Don Alfonso: We’ll discuss it before tonight.

Ferrando: Quando volete.

Ferrando: Whenever you wish.

Don Alfonso: Intanto, silenzio e ubbidienza fino a doman mattina.

Don Alfonso: Meanwhile, stay quiet and obedient until tomorrow morning.


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Guglielmo: Siam soldati, e amiam la disciplina.

Guglielmo: We’re soldiers, and we like discipline.

Don Alfonso: Orbene, andate un poco ad attendermi entrambi in giardinetto, colà vi manderò gli ordini miei.

Don Alfonso: Better yet, go and wait for me in the garden. I’ll send my orders to you there.

Guglielmo: Ed oggi non si mangia?

Guglielmo: And won’t we eat today?

Ferrando: Cosa serve? A battaglia finita fia la cena per noi più saporita.

Ferrando: What for? When the battle is over, dinner will taste all the better.

Ferrando: Un’aura amorosa del nostro tesoro un dolce ristoro al cor porgerà; al cor che, nudrito da speme, da amore, di un’esca migliore bisogno non ha.

Ferrando: A breath of love from our treasures, will bring sweet comfort to our hearts; a heart nourished on the hope of love, needs nothing more to entice it. Ferrando and Guglielmo depart.

Don Alfonso is alone, later joined by Despina. Don Alfonso: Oh, la faria da ridere: sì poche son le donne costanti, in questo mondo, e qui ve ne son due! Non sarà nulla.

Don Alfonso: It’s ridiculous! I’ve never found a faithful woman in this entire world, and now I find two! It’s impossible. Despina enters.

Vieni, vieni, fanciulla, e dimmi un poco Dove sono e che fan le tue padrone.

Come here, here girl, and tell me where your two mistresses are.


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Despina: Le povere buffone atanno nel giardinetto a lagnarsi coll’aria e colle mosche d’aver perso gli amanti.

Despina: Those simpleminded creatures are in the little garden, telling the birds and the bees about the loss of their lovers.

Don Alfonso: E come credi che l’affar finirà? Vogliam sperare che faranno giudizio?

Don Alfonso: How do you think this will end? We have to be wise to achieve our objective?

Despina: Io lo farei; e dove piangon esse io riderei. Disperarsi, strozzarsi perchè parte un amante? Guardate che pazzia! Se ne pigliano due, s’uno va via.

Despina: Don’t worry. The more they lament, the more I laugh. Why all this despair and raving for a lover who has gone? It’s downright foolish! For each man who is gone, one can catch two.

Don Alfonso: Brava, questa è prudenza! (Bisogna impuntigliarla.)

Don Alfonso: Splendid, that is intelligence! (to himself) (A little flattery never hurts.)

Despina: E legge di natura, e non prudenza sola. Amor cos’è? Piacer, comodo, gusto, gioia, divertimento, passatempo, allegria: non è più amore se incomodo diventa, se invece di piacer nuoce e tormenta.

Despina: It doesn’t take much wisdom when it’s female intuition. What is love? It’s fun, pleasant, joy, diversion, pastime, and laughter: once it gets serious, it’s no longer love, because then it becomes a burden and pain.

Don Alfonso: Ma intanto quelle pazze.

Don Alfonso: But let’s think about our ladies.

Despina: Quelle pazze? Faranno a modo nostro. È buon che sappiano d’essere amate da color.

Despina: Are they insane? They’ll do what we tell them. It’s good they realize how much they mean to our friends.

Don Alfonso: Lo sanno.

Don Alfonso: They do.

Despina: Dunque riameranno. Diglielo, si suol dire, e lascia fare al diavolo.

Despina: Then let’s prepare the groundwork. Present temptation, and leave the rest to me.

Don Alfonso: E come far vuoi perchè ritornino or che partiti sono, e che li sentano e tentare si lascino queste due bestioline?

Don Alfonso: And tell me, now that your mistresses are so angry, how will you manage to calm them sufficiently enough to make them reconsider?

Despina: A me lasciate. La briglia di condur tutta la macchina.

Despina: Leave it to me. In such matters there is no one who can equal me.


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Quando Despina macchina una cosa non può mancar d’effetto: ho già menati mill’uomini pel naso, saprò menar due femmine. Son ricchi i due monsù mustacchi?

When Despina manages a romance, she does not miss a thing. I have succeeded in fooling a thousand men, so I can fool a foolish woman.

Don Alfonso: Son ricchissimi.

Don Alfonso: Lots of money.

Despina: Dove son?

Despina: Where are they?

Don Alfonso: Sulla strada attendendo mi stanno.

Don Alfonso: They’re waiting to hear from me.

Despina: Ite e sul fatto! Per la picciola porta a me riconduceteli; v’aspetto nella camera mia. Purché tutto facciate quel ch’io v’ordinerò, pria di domani i vostri amici canteran vittoria; ed essi avranno il gusto, ed io la gloria.

Despina: Splendid! Bring them to me through the small gate. I’ll wait in my room. But only do what I tell you. Then, by tomorrow, your two friends will be tasting victory; and you will win your wager, and I your money.

Did you say your friends are wealthy?

Fiordiligi and Dorabella sit in the garden. Fiordiligi e Dorabella: Ah, che tutta in un momento si cangiò la sorte mia, Ah, che un mar pien di tormento è la vita ormai per me!

Fiordiligi and Dorabella: In just a moment, my fate has changed. What a sea of torment my life has become!

Finché meco il caro bene mi lasciar le ingrate stelle, non sapea cos’eran pene, non sapea languir cos’è.

When my beloved was with me the cruel stars stayed way; I didn’t know what pain was, and I didn’t know what suffering was.

Don Alfonso arrives with Ferrando and Guglielmo. Ferrando e Guglielmo: Si mora, sì, si mora onde appagar le ingrate.

Ferrando and Guglielmo: Let’s satisfy these cruel women by dying.

Don Alfonso: C’è una speranza ancora; Non fate, o Dei, non fate!

Don Alfonso: There’s still hope yet. Don’t do it, oh Gods, don’t do it!


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Fiordiligi e Dorabella: Stelle, che grida orribili!

Fiordiligi and Dorabella: Heavens, what awful cries!

Ferrando e Guglielmo: Lasciatemi!

Ferrando and Guglielmo: Leave us!

Don Alfonso: Aspettate!

Don Alfonso: Wait!

Ferrando and Guglielmo carry a jug. They are followed by Don Alfonso. Ferrando e Guglielmo: L’arsenico mi liberi di tanta crudeltà!

Ferrando and Guglielmo: Arsenic will free me from this cruelty!

They drink and spin around. Fiordiligi e Dorabella: Stelle, un velen fu quello?

Fiordiligi and Dorabella: Heavens, was that poison?

Don Alfonso: Veleno buono e bello, che ad essi in pochi istanti la vita toglierà.

Don Alfonso: Good and beautiful poison that will kill them instantly.

Fiordiligi e Dorabella: Il tragico spettacolo gelare il cor mi fa!

Fiordiligi and Dorabella: This tragic display turns my heart to ice!

Ferrando e Guglielmo: Barbare, avvicinatevi; d’un disperato affetto Mirate il triste effetto e abbiate almen pietà.

Ferrando and Guglielmo: Cruel ones, come closer; see the terrible effect of despairing love and have some pity.

Fiordiligi e Dorabella: Il tragico spettacolo gelare il cor mi fa!

Fiordiligi and Dorabella: This tragic display turns my heart to ice!

Ferrando e Guglielmo: Ah, che del sole il raggio fosco per me diventa!

Ferrando and Guglielmo: The day has turned dark and become tragic for me!

Don Alfonso, Fiordiligi e Dorabella: Tremo: le fibre e l’anima par che mancar si senta, né può la lingua o il labbro accenti articolar!

Don Alfonso, Fiordiligi and Dorabella: I’m trembling: I feel my fiber and soul weakening. I can’t move my tongue, or my lips, or speak a word!

Ferrando and Guglielmo fall to the ground. Don Alfonso: Giacché a morir vicini sono quei meschinelli, pietade almeno a quelli cercate di mostrar.

Don Alfonso: (to the sisters) Since these poor wretches are close to death, you could at least try to show them some pity.


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Fiordiligi e Dorabella: Gente, accorrete, gente! Nessuno, oddio, ci sente! Despina!

Fiordiligi and Dorabella: Help, come quickly! No one can hear us! Despina!

Despina: Chi mi chiama?

Despina: (from inside) Who’s calling?

Fiordiligi e Dorabella: Despina!

Fiordiligi and Dorabella: Despina!

Despina: Cosa vedo? Morti i meschini io credo, o prossimi a spirar!

Despina: (entering) What’s this? I think the poor chaps are dead, or close to death!

Don Alfonso: Ah, che purtroppo è vero! Furenti, disperati, si sono avvelenati. Oh, amore singolar!

Don Alfonso: Unfortunately, it’s true! In their despair, they took poison. What extraordinary love!

Despina: Abbandonar i miseri saria per voi vergogna: soccorrerli bisogna.

Despina: It would be shameful to abandon them. We have to help them.

Fiordiligi, Dorabella e Don Alfonso: Cosa possiam mai far?

Fiordiligi, Dorabella and Don Alfonso: What can we do?

Despina: Di vita ancor dan segno; colle pietose mani fate un po’ lor sostegno.

Despina: There are still signs of life; try to hold them with your hands to sustain them. (to Don Alfonso) Come with me to find a doctor and an antidote. We’ll seek help.

E voi con me correte: un medico, un antidoto. Voliamo a ricercar.

Despina and Don Alfonso depart. Fiordiligi e Dorabella: Dei, che cimento è questo! Evento più funesto non si potea trovar.

Fiordiligi and Dorabella: This is a terrible trial! One could not find a more horrible event.

Ferrando e Guglielmo: (Più bella commediola non si potea trovar!)

Ferrando and Guglielmo: (You couldn’t imagine anything more comic!) (in a loud voice)

Ah!

Ah!

Fiordiligi e Dorabella: Sospiran gli infelici.

Fiordiligi and Dorabella: The poor men are sighing.


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Fiordiligi: Che facciamo?

Fiordiligi: What shall we do?

Dorabella: Tu che dici?

Dorabella: What do you suggest?

Fiordiligi: In momenti sì dolenti, chi potriali abbandonar?

Fiordiligi: Who could abandon them at a time like this?

Dorabella: Che figure interessanti!

Dorabella: Such interesting faces!

Fiordiligi: Possiam farci un poco avanti.

Fiordiligi: Perhaps we could get a little closer to them.

Dorabella: Ha freddissima la testa.

Dorabella: His head is very cold.

Fiordiligi: Fredda fredda è ancora questa.

Fiordiligi: And also this one.

Dorabella: Ed il polso?

Dorabella: Is there a pulse?

Fiordiligi: Io non gliel sento.

Fiordiligi: I can’t feel it.

Dorabella: Questo batte lento lento.

Dorabella: This pulse is very slow.

Fiordiligi e Dorabella: Ah, se tarda ancor l’aita, speme più non v’è di vita!

Fiordiligi and Dorabella: If help doesn’t come soon, they’ll die!

Ferrando e Guglielmo: (Più domestiche e trattabili sono entrambe diventate; sta’ a veder che lor pietade va in amore a terminar.)

Ferrando and Guglielmo: (to themselves) (They’ve become much more tame and amenable. Look at their compassion; they’ll end up loving us.)

Fiordiligi e Dorabella: Poverini! La lor morte mi farebbe lagrimar.

Fiordiligi and Dorabella: Poor men! I’d weep if they died.

Despina, dressed as a doctor, enters with Don Alfonso. Don Alfonso: Eccovi il medico, Signore belle!

Don Alfonso: Here is the doctor, lovely ladies!


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Ferrando e Guglielmo: (Despina in maschera: che trista pelle!)

Ferrando and Guglielmo: (to themselves) (Despina in disguise!)

Despina: Salvete, amabiles buonae puellae!

Despina: Salvete, amabiles buonae puellae!

Fiordiligi e Dorabella: Parla un linguaggio che non sappiamo.

Fiordiligi and Dorabella: We don’t know what language he speaks.

Despina: Come comandano dunque parliamo: so il greco e l’arabo, so il turco e il vandalo; lo svevo e il tartaro. So ancor parlar.

Despina: Whichever one you want: I know Greek and Arabic, I know Turkish and Vandalic; Swabian and Tartar. I can speak them all.

Don Alfonso: Tanti linguaggi per sè conservi. Quei miserabili per ora osservi; preso hanno il tossico, che si può far?

Don Alfonso: Keep all your languages to yourself. Look at these poor chaps who have taken poison. What can be done?

Fiordiligi e Dorabella: Signor dottore, che si può far?

Fiordiligi and Dorabella: Doctor, what can be done?

Despina: Saper bisognami pria la cagione, e quinci l’indole della pozione: se calda o frigida, se poca o molta, se in una volta bebberla o in più.

Despina: First I must know the reason, then the type of poison: whether warm or cold, whether a little or a lot, whether swallowed in one or many gulps.

Fiordiligi, Dorabella e Don Alfonso: Preso han l’arsenico, Signor dottore; qui dentro il bebbero. La causa è amore, ed in un sorso se ‘l mandar giù.

Fiordiligi, Dorabella and Don Alfonso: They’ve taken arsenic, doctor; the reason was love, and they took it in one gulp.

Despina: Non vi affannate, non vi turbate: ecco una prova di mia virtù.

Despina: Don’t worry, don’t be upset: here is a proof of my power.

Fiordiligi e Dorabella: Egli ha di un ferro la man fornita.

Fiordiligi and Dorabella: He has picked up an iron rod

Despina gently moves her magnet over the bodies of Ferrando and Guglielmo. Despina: Questo è quel pezzo di calamita, pietra mesmerica, ch’ebbe l’origine nell’Alemagna, che poi sì celebre là in Francia fu.

Despina: This is the magnet, from the Mesmeric stone, first discovered in Germany, then made famous in France.


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Fiordiligi, Dorabella e Don Alfonso: Come si muovono, torcono, scuotono, in terra il cranio presto percuotono.

Fiordiligi, Dorabella and Don Alfonso: They’re moving, turning, twisting their heads.

Despina: Ah, lor la fronte tenete su.

Despina: Hold their heads up.

Fiordiligi e Dorabella: Eccoci pronte!

Fiordiligi e Dorabella: We’re ready!

Despina: Tenete forte! Corraggio; or liberi siete da morte.

Despina: Be strong! Be brave; now you’re freed from death.

Despina places her hands on their foreheads. Fiordiligi e Dorabella: Attorno guardano, forze riprendono. Ah, questo medico vale un Perù!

Fiordiligi and Dorabella: They’re looking around, regaining strength. This doctor’s worth all the gold in Peru!

Ferrando e Guglielmo: Dove son? Che loco è questo? Chi è colui? Color chi sono? Son di Giove innanzi al trono?

Ferrando and Guglielmo: Where am I? Where is this place? Who are these people? Am I at the throne of Jupiter?

Ferrando to Fiordiligi, and Guglielmo to Dorabella. Sei tu Palla o Citerea? No, tu sei l’alma mia Dea! Ti ravviso al dolce viso e alla man ch’or ben conosco e che sola è il mio tesor.

Are you Athena or Venus? No, you are the goddess of my soul! I recognize your sweet face, and that hand that I know so well is my only treasure.

The lovers embrace the girls tenderly and kiss their hands. Despina e Don Alfonso: Sono effetti ancor del tosco: non abbiate alcun timor.

Despina and Don Alfonso: They’re still affected by the poison: but don’t be afraid.

Fiordiligi e Dorabella: Sarà ver, ma tante smorfie fanno torto al nostro onor.

Fiordiligi and Dorabella: Perhaps, but such behavior puts our honor at risk.

Ferrando e Guglielmo: Ferrando and Guglielmo: (to themselves) (Dalla voglia ch’ho di ridere il polmon mi (My lungs are about to burst from laughter.) scoppia or or.) Ferrando to Fiordiligi, and Guglielmo to Dorabella. Per pietà. bell’idol mio. For pity’s sake, my beloved. Fiordiligi e Dorabella: Più resister non poss’io.

Fiordiligi and Dorabella: I can no longer resist.

Ferrando e Guglielmo: Volgi a me le luci liete!

Ferrando and Guglielmo: Turn your eyes to me!


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Despina e Don Alfonso: In poch’ore, lo vedrete, per virtù del magnetismo. Finirà quel parossismo, torneranno al primo umor.

Despina and Don Alfonso: In a short while, you’ll see the effect of the magnet. The convulsions will end, and they’ll return to themselves.

Ferrando e Guglielmo: Dammi un bacio, o mio tesoro; un sol bacio, o qui mi moro.

Ferrando and Guglielmo: Give me a kiss, my beloved. One kiss, or I’ll die.

Fiordiligi e Dorabella: Stelle, un bacio?

Fiordiligi and Dorabella: Heavens, a kiss?

Despina: Secondate per effetto di bontate.

Despina: Do what they want, to be kind.

Fiordiligi e Dorabella: Ah, che troppo si richiede da una fida onesta amante! Oltraggiata è la mia fede, oltraggiato è questo cor!

Fiordiligi and Dorabella: Oh, you’re asking too much of a faithful honest lover! This is an outrage to my fidelity and to my heart!

Despina, Ferrando, Guglielmo e Don Alfonso: Un quadretto più giocondo non si vide in tutto il mondo; quel che più mi fa da ridere e quell’ira e quel furor.

Despina, Ferrando, Guglielmo and Don Alfonso: There’s never been a more comic picture in the entire world; what makes me laugh most is their anger and fury.

Fiordiligi e Dorabella: Disperati, attossicati, ite al diavol quanti siete; tardi inver vi pentirete se più cresce il mio furor!

Fiordiligi and Dorabella: Go to the devil, you desperate and wicked madmen; you’ll be sorry if my rage increases.

Despina e Don Alfonso: Un quadretto più giocondo non si vide in tutto il mondo. quel che più mi fa da ridere e quell’ira e quel furor.

Despina and Don Alfonso: There’s never been a more comic picture in the entire world; what makes me laugh most is their anger and fury.

Ch’io ben so che tanto foco cangerassi in quel d’amor.

I’m convinced that sooner or later their disdain will turn to love.

Ferrando e Guglielmo: Un quadretto più giocondo non si vide in tutto il mondo. Ma non so se finta o vera sian quell’ira e quel furor. Né vorrei che tanto foco terminasse in quel d’amor.

Ferrando and Guglielmo: There’s never been a more comic picture in the entire world. But I have never witnessed such ire and furor. I wish that sooner or later this disdain will turn to love. END OF ACT I


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Act II - Scene 1 The bedroom of Fiordiligi and Dorabella. Despina is present. Despina: Andate là, che siete due bizzarre ragazze!

Despina: Honestly, you are two strange girls!

Fiordiligi: Oh, cospettaccio! Cosa pretenderesti?

Fiordiligi: You little devil! What would you have us do?

Despina: Per me nulla.

Despina: For me, nothing.

Fiordiligi: Per chi dunque?

Fiordiligi: Then for whom?

Despina: Per voi.

Despina: For yourselves.

Dorabella: Per noi?

Dorabella: For ourselves?

Despina: Per voi: siete voi donne, o no?

Despina: For you. Are you women or aren’t you?

Fiordiligi: E per questo?

Fiordiligi: What about it?

Despina: E per questo dovete far da donne.

Despina: You should act like women.

Dorabella: Cioè?

Dorabella: Meaning what?

Despina: Trattar l’amore en bagatelle; le occasioni belle non negliger giammai; cangiar a tempo, a tempo esser costanti; Coquettizzar con grazia; prevenir la disgrazia, sì comune a chi si fida in uomo; mangiar il fico e non gittare il pomo.

Despina: Treat love lightly. Never let opportunities slip away. Choose the right time to change or to remain constant. Be coquettish gracefully, and escape the fate of those women who trust men. Have your cake and eat it too.

Fiordiligi: (Che diavolo!) Tai cose falle tu, se n’hai voglia.

Fiordiligi: (What a devil!) You do things like that, if you want to.

Despina: Io già le faccio. Ma vorrei che anche voi per gloria del bel sesso, faceste un po’ lo stesso.

Despina: I’ve always done them. But I wish that for the sake of all womanhood, you would both follow my example.

Così fan tutte Libretto - Act II

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Per esemplo, i vostri Ganimedi son andati alla guerra; infin che tornano fate alla militare: reclutate.

For example: now that your two romeos have gone to war, do as they did; until they return, seek your own adventures, and do it quickly.

Dorabella: Il cielo ce ne guardi!

Dorabella: May heaven protect me!

Despina: Eh! Che noi siamo in terra, e non in cielo! Fidatevi al mio zelo: già che questi forastieri v’adorano, lasciatevi adorar. Son ricchi, belli, nobili, generosi, come fede fece a voi Don Alfonso; avean coraggio di morire per voi; questi son merti che sprezzar non si denno da giovani qual voi belle e galanti, che pon star senza amor, non senza amanti. (Par che ci trovin gusto!)

Despina: Heh! Be glad we’re not yet in Heaven! Have faith in my zeal: you’ve met two nice young suitors. Let them adore you. As Don Alfonso told you, they’re wealthy, handsome, generous, and well-bred. They had the courage to die for your sake, and that’s proof that they mean what they’re saying. You are lovable women who deserve to be loved and adored. (It seems that I’m making progress!)

Fiordiligi: Per Bacco, ci faresti far delle belle cose! Credi tu che vogliamo favola diventar degli oziosi? Ai nostri cari sposi credi tu che vogliam dar tal tormento?

Fiordiligi: I’m inclined to think you want to lead us into mischief! Are you really proposing that we become a topic for gossip? And as for our dear fiancés, do you think we want to inflict such torture on them?

Despina: E chi dice che abbiate a far loro alcun torto?

Despina: And who says you’re being bad?

Dorabella: Non ti pare che sia torto bastante se noto si facesse che trattiamo costor?

Dorabella: In my opinion, it would be bad enough if anybody knew that we met another man?

Despina: Anche per questo c’è un mezzo sicurissimo: io voglio sparger fama che vengono da me.

Despina: For that, there’s a solution. I’ll simply spread a rumor that they came to visit me.

Dorabella: Chi vuoi che il creda?

Dorabella: Who would believe it?

Despina: Oh bella! Non ha forse merto una cameriera d’aver due cicisbei? Di me fidatevi.

Despina: Why not? Why couldn’t a maid have two lovers? Have faith in me!

Fiordiligi: No, no; son troppo audaci, questi tuoi forastieri. non ebber la baldanza fin di chieder dei baci?

Fiordiligi: No, no! It’s too audacious. Those two men are so reckless. Didn’t they even dare to beg us for kisses.

Despina: (Che disgrazia!)

Despina: (How disgraceful!)


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Io posso assicurarvi che le cose che han fatto furo effetti del tossico che han preso: convulsioni, deliri, follie, vaneggiamenti. Ma or vedrete come son discreti, manierosi, modesti e mansueti. Lasciateli venir.

I give you my assurance that your suitors’ behavior was due to the influence of poison; it caused all their tantrums, raving, fits and antics. Get to know them as they really are. They’re modest, decent, polished and bashful. You’ll see it yourselves.

Dorabella: E poi?

Dorabella: And then?

Despina: E poi: caspita, fate voi! (L’ho detto che cadrebbero.)

Despina: And then, that’s your business! (I knew that I could handle them.)

Fiordiligi: Cosa dobbiamo far?

Fiordiligi: What do you suggest we do?

Despina: Quel che volete: siete d’ossa e di carne, o cosa siete?

Despina: Follow your heart. Are you made of flesh and blood? Or what are you?

Una donna a quindici anni dèe saper ogni gran moda, dove il diavolo ha la coda, cosa è bene e mal cos’è.

By the time a girl is fifteen, she should know it all: where the devil has his tail, what’s right, and what’s wrong.

Dèe saper le maliziette che innamorano gli amanti, finger riso, finger pianti, inventar i bei perché.

She must know all the tricks that bring lovers together: pretend to laugh, pretend to cry, and think up excuses.

Dèe in un momento dar retta a cento; colle pupille parlar con mille; dar speme a tutti, sien belli o brutti; saper nascondersi senza confondersi; senza arrossire saper mentire; e, qual regina dall’alto soglio, col “posso e voglio” farsi ubbidir.

She must pay attention to a hundred men at the same time; speak to a thousand with her eyes; offer hope to all, good-looking or not; know how to be deceptive without becoming confused; and know how to lie without blushing; and make men obey her like a queen, saying “I might” and “I’d like to” to make herself obliging.

(Par ch’abbian gusto di tal dottrina. Viva Despina che sa servir!)

(I think they like the advice. Hurrah for Despina, who knows how to serve!) Despina departs.


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Fiordiligi: Sorella, cosa dici?

Fiordiligi: What do you say, sister?

Dorabella: Io son stordita dallo spirito infernal di tal ragazza.

Dorabella: I’m shocked by the devilish spirit of that girl.

Fiordiligi: Ma credimi, è una pazza. Ti par che siamo in caso di seguir suoi consigli?

Fiordiligi: Believe me, she’s crazy. Do you think we should follow her advice?

Dorabella: Oh, certo, se tu pigli pel rovescio il negozio.

Dorabella: Of course, if you turn it upside down.

Fiordiligi: Anzi, io lo piglio per il suo verso dritto: non credi tu delitto, per due giovani omai promesse spose, il far di queste cose?

Fiordiligi: On the contrary, I’m taking it the proper way. Don’t you think it’s a crime for two engaged young women to do these things?

Dorabella: Ella non dice che facciamo alcun mal.

Dorabella: She didn’t say we’d be doing anything wrong.

Fiordiligi: È mal che basta il far parlar di noi.

Fiordiligi: It’s wrong to get ourselves talked about.

Dorabella: Quando si dice che vengon per Despina!

Dorabella: If we say they’ve come for Despina!

Fiordiligi: Oh, tu sei troppo larga di coscienza! E che diran gli sposi nostri?

Fiordiligi: You’re too broad-minded. And what will our fiancés say?

Dorabella: Nulla: o non sapran l’affare, ed è tutto finito; o sapran qualche cosa, e allor diremo che vennero per lei.

Dorabella: Nothing. Either they won’t find out, or they’ll find out something else, and then we’ll say that the men came for Despina.

Fiordiligi: Ma i nostri cori?

Fiordiligi: But what about our feelings?

Dorabella: Restano quel che sono: per divertirsi un poco, e non morire dalla malinconia non si manca di fè, sorella mia.

Dorabella: They’ll stay as they are. A little entertainment so as not to die of melancholy is not a loss of faith.

Fiordiligi: Questo è ver.

Fiordiligi: That’s true.


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Dorabella: Dunque?

Dorabella: So?

Fiordiligi: Dunque, fa un po’ tu: ma non voglio aver la colpa se poi nasce un imbroglio.

Fiordiligi: Therefore, go ahead, but I don’t want to be blamed if there’s any trouble.

Dorabella: Che imbroglio nascer deve con tanta precauzion? Per altro ascolta: per intenderci bene, qual vuoi sceglier per te de’ due Narcisi?

Dorabella: What trouble could there be if we’re very careful? Just so that everything is clear beforehand, which one of the two handsome young men would you choose?

Fiordiligi: Decidi tu, sorella.

Fiordiligi: You decide, sister.

Dorabella: Io già decisi.

Dorabella: I already have.

Prenderò quel brunettino, che più lepido mi par.

I’ll take the dark one, who seems more witty.

Fiordiligi: Ed intanto io col biondino. Vo’ un po’ ridere e burlar.

Fiordiligi: And meanwhile, I’ll take the fair one. I want to laugh and joke a little.

Dorabella: Scherzosetta ai dolci detti io di quel risponderò.

Dorabella: I’ll answer him with playful words.

Fiordiligi: Sospirando i sospiretti io dell’altro imiterò.

Fiordiligi: I’ll sigh and mimic the other’s sighs

Dorabella: Mi dirà: ”Ben mio, mi moro.”

Dorabella: He’ll say: “Beloved, I am dying.”

Fiordiligi: Mi dirà: “Mio bel tesoro.”

Fiordiligi: He’ll say: “My beautiful treasure.”

Fiordiligi e Dorabella: Ed intanto che diletto, che spassetto io proverò!

Fiordiligi and Dorabella: Meanwhile, what pleasure, what fun I’ll have!

As the ladies start to leave, they meet Don Alfonso.


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Don Alfonso: Ah, correte al giardino, le mie care ragazze! Che allegria! Che musica! Che canto! Che brillante spettacolo! Che incanto! Fate presto, correte!

Don Alfonso: My dear girls, hurry to the garden! What gaiety! What music! What song! Such a spectacle! It’s enchanting! Hurry up, run!

Dorabella: Che diamine esser può?

Dorabella: What on earth can it be?

Don Alfonso: Tosto vedrete.

Don Alfonso: You’ll soon discover.

A garden at the shore, with grass seats and two small stone tables. A barge appears, bearing the disguised Ferrando and Guglielmo; it is decorated with flowers, and there are musicians and servants in elaborate costumes. Ferrando e Guglielmo: Secondate, aurette amiche, secondate i miei desiri, e portate i miei sospiri alla Dea di questo cor. Voi che udiste mille volte il tenor delle mie pene, ripetete al caro bene tutto quel che udiste allor.

Ferrando and Guglielmo: Follow, friendly breezes, follow my desires, and carry my sighs to the goddess of my heart. I want you to hear the essence of my pain a thousand times. Tell my adored one, all that you have heard.

Coro: Secondate, aurette amiche, il desir di sì bei cor.

Chorus: Follow, friendly breezes, bear their message to the dear ones they adore.

Don Alfonso and Despina lead Ferrando and Guglielmo to the two women, who look at them, astonished and speechless. Don Alfonso: Il tutto deponete sopra quei tavolini, e nella barca ritiratevi, amici.

Don Alfonso: (to the servants) Friends, just leave all the flowers on the tables, and then retire to the barge.

Fiordiligi e Dorabella: Cos’è tal mascherata?

Fiordiligi and Dorabella: What is this masquerade?

Despina: Animo, via, coraggio: avete perso l’uso della favella?

Despina: (to Ferrando and Guglielmo) Come on, be brave! Have you lost your power to speak?

Ferrando: Io tremo e palpito dalla testa alle piante.

Ferrando: I’m trembling and shaking from head to toe.


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Guglielmo: Amor lega le membra a vero amante.

Guglielmo: Love ties the limbs of a true lover.

Don Alfonso: Da brave, incoraggiateli.

Don Alfonso: (to the women) Be good girls and encourage them.

Fiordiligi: Parlate.

Fiordiligi: Speak.

Dorabella: Liberi dite pur quel che bramate.

Dorabella: Be free to say what you want.

Ferrando: Madama.

Ferrando: My lady.

Guglielmo: Anzi, madama.

Guglielmo: My lady.

Ferrando: Parla pur tu.

Ferrando: (to Guglielmo) You speak.

Guglielmo: No, no, parla pur tu.

Guglielmo: (to Ferrando) No, you speak.

Don Alfonso: Oh cospetto del diavolo, lasciate tali smorfie del secolo passato. Despinetta, terminiam questa festa, fa’ tu con lei quel ch’io farò con questa.

Don Alfonso: For goodness sake, drop those old-fashioned manners. Despina, let’s put an end to this. I’ll speak for them, you for the ladies.

La mano a me date, movetevi un po’. Se voi non parlate, ser voi parlerò.

Give me your hand, move it a little. If you don’t speak, I’ll speak for you.

Perdono vi chiede un schiavo tremante; v’offese, lo vede, ma solo un istante. Or pena, ma tace.

(to the ladies) A trembling slave asks to be forgiven. If he’s offended you, it’s only momentary. Now he feels pain but remains silent.

Ferrando e Guglielmo: Tace.

Ferrando and Guglielmo: Quiet.

Don Alfonso: Or lasciavi in pace.

Don Alfonso: Or leave in peace.

Ferrando e Guglielmo: In pace.

Ferrando and Guglielmo: In peace.

Don Alfonso: Non può quel che vuole, vorrà quel che può.

Don Alfonso: He can’t do what he wants, but he’ll want what he can do.


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Ferrando e Guglielmo: Non può quel che vuole, vorrà quel che può.

Ferrando and Guglielmo: He can’t do what he wants, but he’ll want what he can do.

Don Alfonso: Su via rispondete, Guardate e ridete?

Don Alfonso: (to the ladies) Come on, answer. Look and laugh?

Despina: Per voi la risposta a loro darò. Quello che è stato è stato, scordiamci del passato. Rompasi omai quel laccio, segno di servitù.

Despina: (to the ladies) I’ll answer them on your behalf. What’s done is done, and let’s forget the past. Break the bond that is the sign of slavery.

Despina takes Dorabella’s hand; Don Alfonso takes Fiordiligi’s hand. The two ladies break the flower garlands around the two lovers. A me porgete il braccio, né sospirate più.

Give me your arm. Sigh no more.

Despina e Don Alfonso: Per carità, partiamo: quel che san far veggiamo; le stimo più del diavolo s’ora non cascan giù.

Despina and Don Alfonso: Let’s leave and see what they can do. I’ll have more respect for the girls than for the devil if they don’t tumble now.

The four look at each other uneasily; they are embarrassed and shy, at a loss for words to communicate with each other.

Fiordiligi: Oh che bella giornata!

Fiordiligi: What a lovely day!

Ferrando: Caldetta anzi che no.

Ferrando: Rather warm.

Dorabella: Che vezzosi arboscelli!

Dorabella: What charming bushes!

Guglielmo: Certo, certo: son belli, han più foglie che frutti.

Guglielmo: Certainly, they’re lovely. They have more leaves than fruit.

Fiordiligi: Quei viali come son leggiadri. Volete passeggiar?

Fiordiligi: (to Ferrando) How nice these paths are. Would you like to take a stroll?

Ferrando: Son pronto, o cara, ad ogni vostro cenno.

Ferrando: I’m ready, my dear, to answer your every wish.


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Fiordiligi: Troppa grazia!

Fiordiligi: How kind!

Ferrando: (Eccoci alla gran crisi.)

Ferrando: (to Guglielmo while passing) (This is the critical moment.)

Fiordiligi: Cosa gli avete detto?

Fiordiligi: What did you say to him?

Ferrando: Eh, gli raccomandai di divertirla bene.

Ferrando: I told him to enjoy himself.

Dorabella: Passeggiamo anche noi.

Dorabella: (to Guglielmo) Shall we take a stroll as well?

Guglielmo: Come vi piace.

Guglielmo: If you would like. Fiordiligi strolls off with Ferrando.

Ahimè!

Oh no!

Dorabella: Che cosa avete?

Dorabella: What’s wrong?

Guglielmo: Io mi sento sì male, sì male, anima mia, che mi par di morire.

Guglielmo: I feel so sick my beloved, that I think I’m dying.

Dorabella: (Non otterrà nientissimo.)

Dorabella: (I don’t believe a word of it.)

Saranno rimasugli del velen che beveste.

You’re still feeling the effects of the poison you drank.

Guglielmo: Ah, che un veleno assai più forte io bevo in que’ crudi e focosi mongibelli amorosi!

Guglielmo: I’d drink a far more deadly poison because of the fatal flames of your glorious eyes!

Dorabella: Sarà veleno calido: Fatevi un poco fresco.

Dorabella: A flattering comparison! You ought to write a poem.

Guglielmo: Ingrata, voi burlate ed intanto io mi moro!

Guglielmo: You’re ungrateful. You make fun of me while I am dying! (I can’t see them. Are they hiding on purpose?)

(Son spariti: Dove diamin son iti?)


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Dorabella: Eh, via, non fate.

Dorabella: Don’t be so silly.

Guglielmo: Io mi moro, crudele, e voi burlate?

Guglielmo: I am dying, and you’re jesting cruelly.

Dorabella: Io burlo? Io burlo?

Dorabella: Am I making fun of you?

Guglielmo: Dunque datemi qualche segno, anima bella, della vostra pietà.

Guglielmo: Then give me some sign that you have pity for me.

Dorabella: Due, se volete; Dite quel che far deggio, e lo vedrete.

Dorabella: Two, if you want. Tell me what I should do.

Guglielmo: (Scherza, o dice davvero?)

Guglielmo: (Is she joking, or telling the truth?)

Questa picciola offerta d’accettare degnatevi.

Accept this little offering to honor you.

Dorabella: Un core?

Dorabella: A heart?

Guglielmo: Un core: è simbolo di quello ch’arde, languisce e spasima per voi.

Guglielmo: A symbol of the man who ardently pines for you.

Dorabella: (Che dono prezioso! )

Dorabella: (What a precious gift!)

Guglielmo: L’accettate?

Guglielmo: Do you accept it?

Dorabella: Crudele! di sedur non tentate un cor fedele.

Dorabella: You are cruel to tempt a faithful heart.

Guglielmo: (La montagna vacilla. Mi spiace; ma impegnato è l’onor di soldato.) V’adoro!

Guglielmo: (She’s wavering, I don’t like it, but I gave my word as a soldier.) (to Dorabella) I adore you!

Dorabella: Per pietà.

Dorabella: Oh Heavens.

Guglielmo: Son tutto vostro!

Guglielmo: I’m all yours!


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Dorabella: Oh, Dei!

Dorabella: Oh, Heavens!

Guglielmo: Cedete, o cara!

Guglielmo: Give in, darling!

Dorabella: Mi farete morir.

Dorabella: You’re killing me.

Guglielmo: Morremo insieme, amorosa mia speme. L’accettate?

Guglielmo: We’ll die together, an amorous hope. Will you accept it?

Dorabella: L’accetto.

Dorabella: I will.

Guglielmo: (Infelice Ferrando!) O che diletto!

Guglielmo: (Poor Ferrando!) (to Dorabella) What a pleasure!

Il core vi dono, bell’idolo mio; ma il vostro vo’ anch’io, via, datelo a me.

I give you this heart, my beloved, but I want yours in return. Go on, give it to me.

Dorabella: Mel date, lo prendo, ma il mio non vi rendo: invan mel chiedete, più meco ei non è.

Dorabella: I’ll take this heart, but won’t give you mine. You ask in vain, for it is no longer mine.

Guglielmo: Se teco non l’hai, perchè batte qui?

Guglielmo: If you don’t have it, why is it beating here?

Dorabella: Se a me tu lo dai, che mai balza lì?

Dorabella: You’re giving it to me but what’s pounding here?

Dorabella e Guglielmo: È il mio coricino che più non è meco: ei venne a star teco, ei batte così.

Dorabella and Guglielmo: It’s my little heart which is mine no longer: it’s mine no longer because now it’s yours.

Guglielmo: Qui lascia che il metta.

Guglielmo: Let me put it on for you.

Dorabella: Ei qui non può star.

Dorabella: It can’t go here.


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Guglielmo: T’intendo, furbetta.

Guglielmo: I understand you, you crafty girl.

Dorabella: Che fai?

Dorabella: What are you doing?

Guglielmo: Non guardar.

Guglielmo: Don’t look. Guglielmo gently removes the locket and replaces it with a heart.

Dorabella: (Nel petto un Vesuvio d’avere mi par.)

Dorabella: (There’s a volcano in my breast.)

Guglielmo: Ferrando meschino! Possibil non par. L’occhietto a me gira.

Guglielmo: (Poor Ferrando!) (to Dorabella) Turn your eyes to me.

Dorabella: Che brami?

Dorabella: What do you want?

Guglielmo: Rimira se meglio può andar.

Guglielmo: Look, see if it could be any better.

Dorabella e Guglielmo: Oh cambio felice di cori e d’affetti!

Dorabella and Guglielmo: Such a happy exchange of hearts and affections! New delight and sweet suffering

Che nuovi diletti, che dolce penar!

Dorabella and Guglielmo depart, arm in arm.

Fiordiligi enters extremely agitated, followed by Ferrando. Ferrando: Barbara! Perchè fuggi?

Ferrando: You are cruel! Why do you run away?

Fiordiligi: Ho visto un aspide, un’idra, un basilisco!

Fiordiligi: I’ve seen an asp, a hydra, a basilisk!

Ferrando: Ah, crudel, ti capisco! L’aspide, l’idra, il basilisco, e quanto i libici deserti han di più fiero, in me solo tu vedi.

Ferrando: I understand you, cruel woman! All that you see in me is the hydra, the basilisk, and the beasts of the desert.

Fiordiligi: È vero, è vero! Tu vuoi tormi la pace.

Fiordiligi: It’s true! You want to rob me of my peace.


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Ferrando: Ma per farti felice.

Ferrando: But only to make you happy.

Fiordiligi: Cessa di molestarmi.

Fiordiligi: Stop tormenting me.

Ferrando: Non ti chiedo che un guardo.

Ferrando: I only ask that you look at me.

Fiordiligi: Pàrtiti.

Fiordiligi: Leave!

Ferrando: Non sperarlo se pria gli occhi men fieri a me non giri. O ciel! Ma tu mi guardi, e poi sospiri?

Ferrando: Not until you look at me less harshly. Heavens! Why do you look at me with such sighs?

Ah, lo veggio, quell’anima bella al mio pianto resister non sa; non è fatta per esser rubella agli affetti di amica pietà.

I understand. That beautiful heart cannot resist my tears. You don’t really mean to be cold and unheeding to the affections of a friend.

In quel guardo, in quei cari sospiri dolce raggio lampeggia al mio cor: Già rispondi a’ miei caldi desiri, già tu cedi al più tenero amor.

My heart glows with radiance from your longing and gentle glances. It already responds to my warm desires; you are already yielding to tender love.

Ma tu fuggi, spietata, tu taci ed invano mi senti languir? Ah, cessate, speranze fallaci: la crudel mi condanna a morir.

But why do you spurn me with disdain, and coldly leave me to languish and sigh? Ah! False hopes. You are cruel and condemn me to die.

Ferrando exits, leaving Fiordiligi alone. .

Fiordiligi: Ei parte, senti, ah no, partir si lasci. Si tolga ai sguardi miei l’infausto oggetto della mia debolezza. A qual cimento il barbaro mi pose! Un premio è questo ben dovuto a mie colpe!

Fiordiligi: He’s going, listen, ah no, let him go. Take this object from my sight; it weakens me. What a test he has put me to! It’s the just reward for the wrongs I’ve done!

In tale istante dovea di nuovo amante i sospiri ascoltar? L’altrui querele dovea volger in gioco? Ah, questo core a ragione condanni, o giusto amore!

At this time, should I be listening to the yearnings of a new lover? Should I be sympathetic to his complaints? Righteous love, you do well to condemn me!


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Io ardo, e l’ardor mio non è più effetto d’un amor virtuoso: è smania, affanno, rimorso, pentimento, leggerezza, perfidia e tradimento!

I burn, and my ardor is not with a virtuous love. It’s a craving, uneasiness, remorse, regret, penitence, flightiness, treachery, and betrayal!

Guglielmo, anima mia! Perché sei tanto ora lungi da me? Solo potresti, ahimè! Tu mi detesti, mi rigetti, m’aborri, io già ti veggio minaccioso, sdegnato; io sento i rimproveri amari, e il tuo tormento.

Guglielmo, my love! Why are you so far away from me? I am powerless! You would detest me, reject me, and hate me. I already see you, menacing and scornful. I feel bitter reproach and your anguish.

Per pietà, ben mio, perdona all’error di un’alma amante; Fra quest’ombre e queste piante sempre ascoso, oh Dio, sarà! Svenerà quest’empia voglia l’ardir mio, la mia costanza; perderà la rimembranza che vergogna e orror mi fa. A chi mai mancò di fede questo vano ingrato cor! Si dovea miglior mercede, caro bene, al tuo candor. Fiordiligi

Show pity, my love, forgive the mistakes of a loving heart. Amid these shadows and in this garden, it will remain hidden for ever! It will! My courage and constancy will stifle this evil longing. I shall forget what makes me feel shame and horror. I embraced temptation and lacked faith: my heart is ungrateful! Dearest love, I beg your forgiveness. Your honesty deserved a more noble reward. departs.

Ferrando and Guglielmo enter. Ferrando is deliriously happy. Ferrando: Amico, abbiamo vinto!

Ferrando: My friend, we’ve won!

Guglielmo: Un ambo o un terno?

Guglielmo: The double, or the jackpot?

Ferrando: Una cinquina, amico: Fiordiligi è la modestia in carne.

Ferrando: A clean sweep. Fiordiligi is a model of propriety.


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Guglielmo: Niente meno?

Guglielmo: Nothing less?

Ferrando: Nientissimo. Sta’ attento e ascolta come fu.

Ferrando: Nothing. Listen and I’ll tell you how it went.

Guglielmo: T’ascolto: di’ pur su.

Guglielmo: I’m listening. Go ahead.

Ferrando: Pel giardinetto, come eravam d’accordo, a passeggiar mi metto; le dò il braccio, si parla di mille cose differenti; alfine viensi all’amor.

Ferrando: As we agreed, we strolled in the garden together; arm in arm, chatting about a thousand different things, and finally about love.

Guglielmo: Avanti.

Guglielmo: Go ahead.

Ferrando: Fingo labbra tremanti, fingo di pianger, fingo di morir al suo piè.

Ferrando: I pretended to stutter, I pretended to cry, I pretended to die at her feet.

Guglielmo: Bravo assai, per mia fè. Ed ella?

Guglielmo: Terrific, you did well. And she?

Ferrando: Ella da prima ride, scherza, mi burla.

Ferrando: At first she laughed, joked and teased me.

Guglielmo: E poi?

Guglielmo: And then?

Ferrando: E poi finge d’impietosirsi.

Ferrando: And then she pretended to pity.

Guglielmo: O cospettaccio!

Guglielmo: That vixen!

Ferrando: Alfin scoppia la bomba: pura come colomba al suo caro Guglielmo ella si serba; mi discaccia superba, mi maltratta, mi fugge, testimonio rendendomi e messaggio che una femmina ell’è senza paraggio.

Ferrando: But then, the bomb exploded. She was as pure as Columbine to her Guglielmo. She chased me away, abused me, and then left me, proving to me that she’s a woman without equal.

Guglielmo: Bravo tu, bravo io, brava la mia Penelope! Lascia un po’ ch’io ti abbracci per sì felice augurio, o mio fido Mercurio!

Guglielmo: Good for you, good for me, good for my Penelope! Let me embrace you for such good news, my faithful messenger!


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Ferrando: E la mia Dorabella? Come s’è diportata? Ah, non ci ho neppur dubbio! Assai conosco quella sensibil alma.

Ferrando: And how did my Dorabella behave? How did she handle herself? I have no doubts! I know that sensitive soul too well.

Guglielmo: Eppur un dubbio, parlandoti a quattr’occhi, non saria mal, se tu l’avessi.

Guglielmo: Between us, it wouldn’t hurt to have a doubt or two.

Ferrando: Come?

Ferrando: What do you mean?

Guglielmo: Dico così per dir! (Avrei piacere d’indorargli la pillola.)

Guglielmo: Just a thought! (I love to sugarcoat the pill.)

Ferrando: Stelle! Cesse ella forse alle lusinghe tue? Ah, s’io potessi sospettarlo soltanto!

Ferrando: Heavens! Are you implying that she yielded to you ? I would never be suspicious of her!

Guglielmo: È sempre bene il sospettare un poco in questo mondo.

Guglielmo: In this world, it would be wiser to leave a little room for some suspicion.

Ferrando: Eterni Dei! Favella: a foco lento non mi far qui morir, ma no, tu vuoi. Prenderti meco spasso: ella non ama, non adora che me.

Ferrando: What do you mean? Speak up! If you must poison me, must it be drop by drop? Stop joking with me; I am her love, and she loves only me.

Guglielmo: Certo! Anzi in prova di suo amor, di sua fede, questo bel ritrattino ella mi diede.

Guglielmo: Of course! To prove her love and faith she gave me this little portrait.

Guglielmo shows Ferrando his portrait that he removed from the locket. Ferrando: Il mio ritratto! Ah, perfida!

Ferrando (furiously) My portrait! That traitor! Ferrando gestures to depart.

Guglielmo: Ove vai?

Guglielmo: Where are you going?

Ferrando: A trarle il cor dal scellerato petto e a vendicar il mio tradito affetto.

Ferrando: To tear out her heart and avenge my betrayed affections.


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Guglielmo Fermati!

Guglielmo: Stop!

Ferrando: No, mi lascia!

Ferrando: No, leave me alone!

Guglielmo: Sei tu pazzo? Vuoi tu precipitarti per una donna che non val due soldi?

Guglielmo: Are you mad? Do you want to ruin yourself for a worthless woman?

(Non vorrei che facesse qualche corbelleria.)

(I don’t want him to do anything stupid.)

Ferrando: Numi! Tante promesse, e lagrime, e sospiri, e giuramenti, in sì pochi momenti come l’empia obliò?

Ferrando: Gods! All of those promises, tears, sighs, and vows. How could everything turn so wicked in just a few moments?

Guglielmo: Per Bacco, io non lo so.

Guglielmo: I don’t know.

Ferrando: Che fare or deggio? A qual partito, a qual idea m’appiglio? Abbi di me pietà, dammi consiglio.

Ferrando: Now what shall I do? What can I cling to? Have pity on me, and tell me what to do.

Guglielmo: Amico, non saprei qual consiglio a te dar.

Guglielmo: My friend, I wouldn’t know what to tell you.

Ferrando: Barbara! Ingrata! In un giorno! In poche ore!

Ferrando: The cruel, ungrateful woman! In one day! In just a few hours!

Guglielmo: Certo, un caso quest’è da far stupore.

Guglielmo: It’s certainly an astonishing case.

Donne mie, la fate a tanti, che, se il ver vi deggio dir, se si lagnano gli amanti li comincio a compatir.

My ladies, you take in so many men, that to tell the truth, I’ve begun to sympathize with lovers who complain.

Io vo’ bene al sesso vostro, lo sapete, ognun lo sa: ogni giorno ve lo mostro, vi dò segno d’amistà;

I love womanhood. You know it’s true, as does everyone. I show my friendship to you every day,


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But the way you play with so many men really repulses me.

ma quel farla a tanti e tanti m’avvilisce in verità.

I’ve taken up my sword a thousand times to defend your honor. A thousand times I’ve defended you with my words and with my heart. But the way you play with so many men is a tiresome vice.

Mille volte il brando presi per salvar il vostro onor, mille volte vi difesi colla bocca, e più col cor. Ma quel farla a tanti e tanti è un vizietto seccator.

You’re pretty and lovable, with many gifts from Heaven, you’re covered in charm from head to toe; but you play with so many men that it’s beyond belief. If lovers complain they certainly must have good reason.

Siete vaghe, siete amabili, più tesori il ciel vi diè, e le grazie vi circondano dalla testa sin ai piè; ma la fate a tanti e tanti, che credibile non è. Che, se gridano gli amanti, hanno certo un gran perché.

Guglielmo departs.

Ferrando: In qual fiero contrasto, in qual disordine di pensieri e di affetti io mi ritrovo? Tanto insolito e novo è il caso mio, che non altri, non io basto per consigliarmi. Alfonso, Alfonso, quanto rider vorrai della mia stupidezza! Ma mi vendicherò: saprò dal seno cancellar quell’iniqua, cancellarla? Troppo, odio, questo cor per lei mi parla.

Ferrando: Why do I feel such a cruel conflict of thoughts and affections? This is something so unusual, that I don’t know what to do, and no one can advise me. Alfonso, Alfonso, you will laugh at my stupidity! But I’ll have vengeance. I’ll wipe that wicked woman from my heart. Wipe her away? My heart speaks with so much hatred.

From hiding, Don Alfonso and Guglielmo overhear Ferrando.

Tradito, schernito dal perfido cor, io sento che ancora quest’alma l’adora, io sento per essa le voci d’amor.

Betrayed and scorned by her treacherous heart, yet I feel I that still love that adored soul. I hear the voice of love speaking on her behalf.


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Don Alfonso: Bravo, questa è costanza!

Don Alfonso: Well done, this is constancy!

Ferrando: Andate, o barbaro! Per voi misero sono.

Ferrando: Go away! I’m miserable because of you.

Don Alfonso: Via, se sarete buono vi tornerò l’antica calma. Udite: Fiordiligi a Guglielmo si conserva fedel, e Dorabella infedel a voi fu.

Don Alfonso: But if you’re good, I’ll bring back your former peace of mind. Listen! Fiordiligi stayed faithful to Guglielmo. But Dorabella was unfaithful to you.

Ferrando: Per mia vergogna.

Ferrando: To my shame.

Guglielmo: Caro amico, bisogna far delle differenza in ogni cosa. Ti pare che una sposa mancar possa a un Guglielmo? Un picciuol calcolo, non parlo per lodarmi, se facciamo tra noi. Tu vedi, amico, che un poco più di merto.

Guglielmo: Dear friend, distinctions have to be made in everything. Do you think a fiancée has the strength to betray Guglielmo? I’m not boasting, but just compare the two of us. You’ll see, my friend, there’s more to be considered.

Don Alfonso: Eh, anch’io lo dico.

Don Alfonso. I agree.

Guglielmo: Intanto mi darete cinquanta zecchinetti.

Guglielmo: Give me my fifty sovereigns.

Don Alfonso: Volentieri. Pria però di pagar, vo’ che facciamo qualche altra esperienza.

Don Alfonso: Gladly, but before I pay I want to make another attempt

Guglielmo: Come!

Guglielmo: What!

Don Alfonso: Abbiate pazienza; infin domani siete entrambi miei schiavi, a me voi deste parola da soldati di far quel ch’io dirò. Venite, io spero mostrarvi ben che folle è quel cervello che sulla frasca ancor vende l’uccello.

Don Alfonso: Be patient. You are both my slaves until tomorrow, and as soldiers, you promised to do as I say. Come, I’m hoping to show you clearly that it makes no sense to count your chickens before they’ve hatched.

Don Alfonso departs, leaving Ferrando and Guglielmo confounded.


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A room with several doors, a mirror, and a small table. Despina: Ora vedo che siete una donna di garbo.

Despina: Now I can see you’re a woman of taste.

Dorabella: Invan, Despina, di resister tentai: quel demonetto ha un artifizio, un’eloquenza, un tratto che ti fa cader giù se sei di sasso.

Dorabella: I tried in vain to resist temptation. That wicked man has a cunning, an eloquence, and a bearing that makes me drop like a stone.

Despina: Corpo di Satanasso! Questo vuol dir saper! Tanto di raro noi povere ragazze abbiamo un po’ di bene, che bisogna pigliarlo allor ch’ei viene.

Despina: The devil! Now you’re talking logic! It’s so seldom that we poor girls have some pleasure, so you have to take the pickings as they come.

Ma ecco la sorella. Che ceffo!

Fiordiligi enters. Here’s your sister. Look at her face!

Fiordiligi: Sciagurate! Ecco per colpa vostra in che stato mi trovo!

Fiordiligi: Disgraceful! It’s your fault that I’m in this state!

Despina: Cosa è nato, cara madamigella?

Despina: Dear madam, what’s happened?

Dorabella: Hai qualche mal, sorella?

Dorabella: Sister, is there something wrong?

Fiordiligi: Ho il diavolo che porti me, te, lei, Don Alfonso, i forestieri e quanti pazzi ha il mondo.

Fiordiligi: I want the devil to take me, you, you, Don Alfonso, the strangers, and all the crazy people in the world.

Dorabella: Hai perduto il giudizio?

Dorabella: Have you lost your senses?

Fiordiligi: Peggio, peggio. Inorridisci: io amo, e l’amor mio non è sol per Guglielmo.

Fiordiligi: Worse. Prepare to be shocked. I’m in love, and not just with Guglielmo.

Despina: Meglio, meglio!

Despina: That’s better!

Dorabella: E che forse anche tu se’ innamorata del galante biondino?

Dorabella: And perhaps you are also in love with the handsome blonde man?


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Fiordiligi: Ah, purtroppo per noi.

Fiordiligi: Unfortunately for us.

Despina: Mo’ brava!

Despina: Delightful!

Dorabella: Tieni settantamila baci: Tu il biondino, io il brunetto, Eccoci entrambe spose!

Dorabella: There were seventy thousand kisses. You with the blonde, and I with the brunette. And we’re both affianced!

Fiordiligi: Cosa dici? Non pensi agli infelici che staman e partir? Ai loro pianti, alla lor fedeltà tu più non pensi? Così barbari sensi dove, dove apprendesti? Sì diversa da te come ti festi?

Fiordiligi: What are you saying? Don’t you think of our poor soldiers who have gone to the wars? Don’t you think about their tears and faithfulness? How could we deceive them? Are you enjoying and celebrating?

Dorabella: Odimi: sei tu certa che non muoiano in guerra i nostri vecchi amanti? E allora entrambe resterem colle man piene di mosche.tra un ben certo e un incerto c’è sempre gran divario! Fiordiligi: E se poi torneranno?

Dorabella: Listen to me. How sure are you that our lovers didn’t fall in battle? You know the saying, a bird in hand is worth two in the bush. It’s a big difference because you’re uncertain! . Fiordiligi: But if they should return?

Dorabella: Se torneran, lor danno! Noi saremo allor mogli, noi saremo lontane mille miglia.

Dorabella: If they return, it’s their loss! We’ll be married, and what’s more, we’ll be far away from here.

Fiordiligi: Ma non so come mai si può cangiar in un sol giorno un core.

Fiordiligi: But how can one change the way they feel in just one day?

Dorabella: Che domanda ridicola! Siam donne! E poi, tu com’hai fatto?

Dorabella: That’s a ridiculous question! We’re women! Therefore, you do what you have to do?

Fiordiligi: Io saprò vincermi.

Fiordiligi: But I’m not surrendering!

Despina: Voi non saprete nulla.

Despina: You are quite mistaken!

Fiordiligi: Farò che tu lo veda.

Fiordiligi I won’t! I’ll never do it!


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Dorabella: Credi, sorella, è meglio che tu ceda.

Dorabella: Believe me, sister, it’s better to give in.

È amore un ladroncello, un serpentello è amor; ei toglie e dà la pace, come gli piace, ai cor. Per gli occhi al seno appena un varco aprir si fa, che l’anima incatena e toglie libertà. Porta dolcezza e gusto se tu lo lasci far, ma t’empie di disgusto se tenti di pugnar. Se nel tuo petto ei siede, s’egli ti becca qui, fa’ tutto quel ch’ei chiede, che anch’io farò così

Love is a little thief, a little serpent. It brings peace or takes it away, according to its whim. He barely opens a route to our hearts, and a soul is trapped and robbed of its freedom. If you let him, he will bring you sweetness and pleasure. But if he fills you with longing, you try to fight him off. If he’s seated in your heart, he feeds there, doing anything he wishes; and I shall do the same. Despina leaves with Dorabella.

Fiordiligi: Come tutto congiura a sedurre il mio cor! Ma no, si mora e non si ceda, errai quando alla suora io mi scopersi, ed alla serva mia.

Fiordiligi: How they’re plotting to seduce my heart! But no, I’d rather die, and I won’t yield. I shouldn’t have talked to Dorabella or Despina.

Esse a lui diran tutto, ed ei più audace, fia di tutto capace, agli occhi miei mai più non comparisca, a tutti i servi minaccerò il congedo se lo lascian passar, veder nol voglio, quel seduttor.

They might tell him everything, and thus encouraged, he’d act wildly. I must avoid him, not even let him see me. I’ll order my servants, or dismiss them immediately if they should dare let the seducer near me.

Guglielmo has been listening at the door, unseen by Fiordiligi.


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Guglielmo: (Bravissima! La mia casta Artemisia! La sentite?)

Guglielmo: (to this friends) (By Jupiter! What a model of virtue! Let’s hear more!)

Fiordiligi: Ma potria Dorabella, senza saputa mia.. Piano, un pensiero per la mente mi passa: in casa mia restar molte uniformi di Guglielmo e di Ferrando, ardir! Despina! Despina!

Fiordiligi: I’m afraid Dorabella cannot be persuaded. Wait! An idea! Now I know what to do! By some good fortune Guglielmo and Ferrando left some uniforms. That’s lucky! Despina! Despina!

Despina: Cosa c’è?

Despina: What is it?

Fiordiligi: Tieni un po’ questa chiave, e senza replica, senza replica alcuna, prendi nel guardaroba e qui mi porta due spade, due cappelli e due vestiti de’ nostri sposi.

Fiordiligi: Take this key, and without asking any questions, go to the wardrobe and bring me two swords, two helmets, and two of our fiancé’s uniforms.

Despina: E che volete fare?

Despina: What are you going to do?

Fiordiligi: Vanne, non replicare.

Fiordiligi: Go, and don’t question me.

Despina: (Comanda in abregedonna Arroganza!)

Despina: (Madam Arrogance has commanded!) Despina departs.

Fiordiligi: Non c’è altro, ho speranza che Dorabella stessa seguirà il bell’esempio. Al campo, al campo: altra strada non resta per serbarci innocenti.

Fiordiligi: There’s no other way. I hope Dorabella will follow my good example. To the battlefield; there’s no other way for us to maintain our honor.

Don Alfonso: Ho capito abbastanza. Vanne pur, non temer.

Don Alfonso: (to Despina) I understand what’s happening Go, don’t be afraid.

Despina: Eccomi.

Despina: (to Fiordiligi) Here I am.

Fiordiligi: Vanne. Sei cavalli di posta voli un servo a ordinar. Di’ a Dorabella che parlar le vorrei

Fiordiligi: Go. Have a servant order six horses. Tell Dorabella that I want to speak to her.

Despina: Sarà servita. (Questa donna mi par di senno uscita.)

Despina: It will be done. (I think she’s gone mad.) Despina leaves.


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Fiordiligi: L’abito di Ferrando sarà buono per me; può Dorabella prender quel di Guglielmo. In questi arnesi raggiungerem gli sposi nostri, al loro fianco pugnar potremo e morir se fa d’uopo.

Fiordiligi: Ferrando’s uniform will be perfect for me; Dorabella can wear one of Guglielmo’s. Disguised as soldiers, we two can go and find our fiancées. If it must be, we shall fight beside them. Even death shall not part us.

Ite in malora, ornamenti fatali! Io vi detesto.

Off with this headgear, this inane decoration! Oh, how I hate it.

Guglielmo: (Si può dar un amor simile a questo?)

Guglielmo: (to his friends) (What can one give such a devoted lover?)

Fiordiligi: Di tornar non sperate alla mia fronte pria ch’io qui torni col mio ben; in vostro loco porrò questo cappello, oh, come ei mi trasforma le sembianze e il viso! Come appena io medesma or mi ravviso!

Fiordiligi: It shall adorn my forehead only after I return with my beloved, and in its stead, this helmet will disguise me! How my appearance has been transformed; I’m certain no one will suspect I am a woman!

Fra gli amplessi in pochi istanti giungerò del fido sposo, sconosciuta a lui davanti in quest’abito verrò. Oh, che gioia il suo bel core proverà nel ravvisarmi!

In a few moments I’ll arrive in the arms of my beloved. I’ll appear before him disguised in this uniform. Oh, how joyful his heart will be when he sees me again!

Ferrando: Ed intanto di dolore meschinello io mi morrò.

Ferrando: (appears before Fiordiligi) And meanwhile I’ll die of grief.

Fiordiligi: Cosa veggio! Son tradita. Deh, partite!

Fiordiligi: What is this? I’ve been betrayed. Please go!

Ferrando: Ah no, mia vita! Con quel ferro di tua mano questo cor tu ferirai, e se forza oddio non hai io la man ti reggerò.

Ferrando: No, my beloved! You must take that sword and strike this wounded heart. And if you haven’t the strength, I’ll hold your hand steady.

Fiordiligi: Taci, ahimè! Son abbastanza tormentata ed infelice!

Fiordiligi: Never! I have endured too much unhappiness already!

Fiordiligi e Ferrando: Ah, che omai la mia/sua costanza a quei sguardi, a quel che dice, incomincia a vacillar!

Fiordiligi and Ferrando: Her/my resistance is weakening. How her/my courage is less steady, and my will is failing!


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Fiordiligi: Sorgi, sorgi...

Fiordiligi: Get up!

Ferrando: Invan lo credi.

Ferrando: You hope in vain.

Fiordiligi: Per pietà, da me che chiedi?

Fiordiligi: For pity’s sake, what do you want from me?

Ferrando: Il tuo cor, o la mia morte.

Ferrando: Your heart, or my death.

Fiordiligi: Ah, non son, non son più forte...

Fiordiligi: My strength has gone.

Ferrando: Cedi, cara!

Ferrando: Give in, my darling!

Fiordiligi: Dei, consiglio!

Fiordiligi: Gods, tell me what to do!

Ferrando: Volgi a me pietoso il ciglio: in me sol trovar tu puoi sposo, amante, e più se vuoi. idol mio, più non tardar.

Ferrando: Turn your eyes to me in pity. In me alone you can find a husband and lover, and more if you want. My beloved, don’t delay.

Fiordiligi: Giusto ciel! Crudel, hai vinto, fa’ di me quel che ti par.

Fiordiligi: Good Heavens, you are cruel to me. You have won, do with me what you want.

Fiordiligi e Ferrando: E un conforto a tante pene sia languir di dolce affetto, di diletto sospirar!

Fiordiligi and Ferrando: All that we have suffered will be soothed by our love, and our delightful yearning! Fiordiligi and Ferrando depart.

Guglielmo: Oh poveretto me! Cosa ho veduto, cosa ho sentito mai!

Guglielmo: Ah poor me! What a thing I have just seen and heard!

Don Alfonso: Per carità, silenzio!

Don Alfonso: For pity’s sake, keep quiet!

Guglielmo: Mi pelerei la barba, mi graffierei la pelle, e darei colle corna entro le stelle! Fu quella Fiordiligi! La Penelope, l’Artemisia del secolo! Briccona! Assassina! Furfante! Ladra! Cagna!

Guglielmo: I want to pull out my beard and tear my flesh, and charge into the stars with my horns! That was Fiordiligi, the Penelope and Artemis of our century! Rascal! Assassin! Vixen! Scoundrel! Robber! Bitch!


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Don Alfonso: (Lasciamolo sfogar.)

Don Alfonso: (Let him get it off his chest.)

Ferrando: Ebben!

Ferrando: (entering) Well!

Guglielmo: Dov’è?

Guglielmo: Where is she?

Ferrando: Chi? La tua Fiordiligi?

Ferrando: Who? Your Fiordiligi?

Guglielmo: La mia Fior, fior di diavolo, che strozzi lei prima e dopo me!

Guglielmo: My Flower of the devil. First I’ll strangle her, and then myself!

Ferrando: Tu vedi bene: v’han delle differenze in ogni cosa. Un poco di più merto.

Ferrando: (ironically) You see, distinctions have to be made in all things. There are more considerations.

Guglielmo: Ah, cessa amico, cessa di tormentarmi ed una via piuttosto studiam di castigarle sonoramente.

Guglielmo: Stop my friend, stop tormenting me, and more importantly let’s think up a way of punishing them.

Don Alfonso: Io so qual è: sposarle.

Don Alfonso: I know how: marry them.

Guglielmo: Vorrei sposar piuttosto la barca di Caronte!

Guglielmo: I’d sooner marry Charon’s boat!

Ferrando: La grotta di Vulcano.

Ferrando: Vulcan’s cave.

Guglielmo: La porta dell’inferno.

Guglielmo: The gates of hell.

Don Alfonso: Dunque, restate celibi in eterno.

Don Alfonso: Then stay bachelors for ever.

Ferrando: Mancheran forse donne ad uomin come noi?

Ferrando: Will men like us ever lack women?

Don Alfonso: Non c’è abbondanza d’altro. Ma l’altre che faran, se ciò fer queste? In fondo, voi le amate queste vostre cornacchie spennacchiate.

Don Alfonso: There are plenty of them. But others behave just like these! Deep down you loved your crows, but you got plucked.

Guglielmo: Ah pur troppo!

Guglielmo: That’s enough already!


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Ferrando: Pur troppo!

Ferrando: Enough already!

Don Alfonso: Ebben pigliatele com’elle son. Natura non potea fare l’eccezione, il privilegio di creare due donne d’altra pasta per i vostri bei musi; in ogni cosa ci vuol filosofia. Venite meco; di combinar la cosa studierem la maniera. Vo’ che ancor questa sera doppie nozze si facciano. Frattanto un’ottava ascoltate: felicissimi voi, se la imparate.

Don Alfonso: Then take them as they are. Nature does not make an exception and create two superb human women, just because you would like it. In matters like these, there is need for philosophy. Come with me and we’ll arrange to make your future happy. I want a double wedding to take place this evening. Meanwhile, listen to an old adage; take it to heart, and learn it well.

Tutti accusan le donne, ed io le scuso se mille volte al dì cangiano amore. Altri un vizio lo chiama ed altri un uso, ed a me par necessità del core. L’amante che si trova alfin deluso non condanni l’altrui, ma il proprio errore; già che giovani, vecchie, e belle e brutte, ripetetelo con me: “Così fan tutte!”

All men blame women, and I forgive them if they change their affections a thousand times. Some call this a vice, some a habit. To me it seems a necessity of the heart. The lover who finds himself disappointed should not blame others but himself. For young, old, beautiful and ugly, repeat after me: “That’s how all women behave!”

Tutti: Così fan tutte!

All: All women behave that way!


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Despina enters. Despina: Vittoria, padroncini! A sposarvi disposte son le care madame; a nome vostro loro io promisi che in tre giorni circa partiranno con voi. L’ordin mi diero di trovar un notaio che stipuli il contratto; alla lor camera attendendo vi stanno. Siete così contenti?

Despina: Victory! The dear ladies have decided to consent to the wedding, and shortly after, according to your wishes, they will depart with you. They gave me orders to find a notary to arrange all the details. They are in their room and await you. Well, are you sufficiently pleased?

Ferrando, Guglielmo e Don Alfonso: Contentissimi.

Ferrando, Guglielmo and Don Alfonso: Overwhelmingly!

Despina: Non è mai senza effetto quand’entra la Despina in un progetto.

Despina: In affairs of this kind, depend upon Despina to mastermind them!

A hall, richly decorated and illuminated. An orchestra is in the back. A table with silver candlesticks is set for four people. Four servants surround the table.

Despina: Fate presto, o cari amici, alle faci il fuoco date e la mensa preparate con ricchezza e nobiltà. Delle nostre padroncine gli imenei son già disposti.

Despina: Hurry, dear friends! Light the torches and prepare a table that is dignified and sumptuous! Our mistresses’ wedding is almost ready.

E voi gite ai vostri posti, finché i sposi vengon qua.

Go to your places until the couples arrive.

Coro di Servi e Suonatori: Facciam presto, o cari amici, alle faci il fuoco diamo e la mensa prepariamo con ricchezza e nobiltà.

Chorus of Servants and Musicians: Let’s hurry, dear friends! Light the candles and prepare a table, that is dignified and sumptuous!

Don Alfonso: Bravi, bravi! Ottimamente! Che abbondanza! Che eleganza! Una mancia conveniente l’un e l’altro a voi darà.

Don Alfonso: Excellent! Spectacular! What richness! What elegance! I’ll give an adequate tip to each of you.

Le due coppie omai si avanzano,

The two couples are coming.


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fate plauso al loro arrivo, lieto canto e suon giulivo empia il ciel d’ilarità.

Applaud them when they arrive, and fill the air with cheerful songs.

Despina e Don Alfonso: (No, più bella commediola non s’è vista, o si vedrà!)

Despina and Don Alfonso: It’s the best comedy I’ve ever seen, or will ever be seen!)

The two sets of lovers enter. Coro: Benedetti i doppi coniugi e le amabili sposine! Splenda lor il ciel benefico ed a guisa di galline sien di figli ognor prolifiche, che le agguaglino in beltà.

Chorus: .A blessing to the two bridegrooms and the two lovely brides! Let heaven look kindly upon them. May they have many children as beautiful as they are.

Fiordiligi, Dorabella, Ferrando e Guglielmo: Come par che qui prometta tutto gioia e tutto amore! Della cara Despinetta certo il merito sarà. Raddoppiate il lieto suono, replicate il dolce canto, e noi qui seggiamo intanto in maggior giovialità.

Fiordiligi, Dorabella, Ferrando and Guglielmo: Life can hold no greater promise, when it is filled with love and joy! Thank you dearest Despinetta for arranging our happiness. Dearest friends, continue singing your bright and merry song of a happy future and a life of pleasures.

The couples sit at the table. Ferrando e Guglielmo: Tutto, tutto, o vita mia, al mio fuoco or ben risponde.

Ferrando and Guglielmo: Everything responds wonderfully to my passionate feelings, my beloved.

Fiordiligi e Dorabella: Pel mio sangue l’allegria cresce, cresce e si diffonde.

Fiordiligi and Dorabella: Joy is rushing through my veins, increasing and spreading.

Ferrando e Guglielmo: Sei pur bella!

Ferrando and Guglielmo: How lovely you are!

Fiordiligi e Dorabella: Sei pur vago!

Fiordiligi and Dorabella: How handsome you are!

Ferrando e Guglielmo: Che bei rai!

Ferrando and Guglielmo: What lovely eyes!

Fiordiligi e Dorabella: Che bella bocca!

Fiordiligi and Dorabella: What a lovely mouth!


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Ferrando e Guglielmo: Tocca e bevi!

Ferrando e Guglielmo: Touch glasses and drink!

Fiordiligi e Dorabella: Bevi e tocca!

Fiordiligi and Dorabella: Touch glasses and drink!

Fiordiligi, Dorabella e Ferrando: E nel tuo, nel mio bicchiero si sommerga ogni pensiero. E non resti più memoria del passato ai nostri cor.

Fiordiligi, Dorabella and Ferrando: In your glass and in mine, let all thoughts vanish. Let no memory remain of the past.

Guglielmo: (Ah, bevessero del tossico, queste volpi senza onor!)

Guglielmo: (I wish they were drinking poison, these dishonorable vixens!

Don Alfonso: Miei signori, tutto è fatto. Col contratto nuziale il notaio è sulle scale e ipso facto qui verrà.

Don Alfonso: My friend, everything is ready. The notary will be here shortly with the marriage contract.

Fiordiligi, Dorabella, Ferrando e Guglielmo: Bravo, bravo! Passi subito.

Fiordiligi, Dorabella, Ferrando and Guglielmo: Terrific! I hope he comes soon.

Don Alfonso: Vo a chiamarlo: eccolo qua.

Don Alfonso: I’ll call him. Here he is.

Despina is disguised as the notary and speaks in a nasal voice. Despina: Augurandovi ogni bene il notaio Beccavivi coll’usata a voi sen viene notarile dignità. E il contratto stipulato colle regole ordinarie nelle forme giudiziarie, pria tossendo, poi sedendo, clara voce leggerà.

Despina: The notary Beccavivi wishes you well. He comes to you from his dignified office with the contract with the usual judicial regulations. First a cough, then I’ll sit, and with a clear voice I’ll read aloud.

Fiordiligi, Dorabella, Ferrando e Guglielmo: Bravo, bravo in verità!

Fiordiligi, Dorabella, Ferrando and Guglielmo: Marvelous!

Despina: Per contratto da me fatto, si congiunge in matrimonio Fiordiligi con Sempronio, e con Tizio Dorabella sua legittima sorella, quelle, dame ferraresi, questi, nobili albanesi. e, per dote e contradote...

Despina: According to the contract I’ve written, to be joined in matrimony are Fiordiligi with Sempronio, and Tizio with her sister Dorabella; ladies from Ferrara with Albanian nobles. And, the dowry and endowment...


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Fiordiligi, Dorabella, Ferrando e Guglielmo: Cose note, cose note, Vi crediamo, ci fidiamo: Soscriviam, date pur qua.

Fiordiligi, Dorabella, Ferrando and Guglielmo: Never mind. We believe you, we trust you. Give it to us, and we’ll sign.

Despina e Don Alfonso: (Bravi, bravi in verità!)

Despina and Don Alfonso: (Marvelous, indeed!)

Only the two women sign the contract. Don Alfonso takes the contract. The sound of drums and singing is heard. Coro: Bella vita militar! Ogni dì si cangia loco, Oggi molto e doman poco, Ora in terra ed or sul mar.

Chorus: A military life is beautiful! There’s a new place every day; today there’s much, but little tomorrow, sometimes on land, sometimes on the sea.

Fiordiligi, Dorabella, Despina, Ferrando e Guglielmo: Che rumor! Che canto è questo!

Fiordiligi, Dorabella, Despina, Ferrando and Guglielmo: What noise! What is that song?

Don Alfonso: State cheti; io vo a guardar.

Don Alfonso: Stay calm, I’ll go and see.

Misericordia! Numi del cielo! Che caso orribile! Io tremo, io gelo! Gli sposi vostri.

Mercy! Gods in Heaven! What a terrible situation! I’m shaking! I’m dumbfounded! Your fiancés.

Fiordiligi e Dorabella: Lo sposo mio.

Fiordiligi and Dorabella: My fiancé.

Don Alfonso: In questo istante tornaro, oddio! Ed alla riva sbarcano già!

Don Alfonso. Right at this moment, they’re returning and disembarking at the shore.

Fiordiligi, Dorabella, Ferrando e Guglielmo: Cosa mai sento! Barbare stelle! In tal momento che si farà?

Fiordiligi, Dorabella, Ferrando and Guglielmo: What am I hearing? What a cruel fate! What can be done at a moment like this?

Fiordiligi e Dorabella: Presto partite!

Fiordiligi and Dorabella (to their lovers) Quickly, go!

Ferrando e Guglielmo: Ma se ci veggono?

Ferrando and Guglielmo: But what if they see us?

Fiordiligi e Dorabella: Presto fuggite!

Fiordiligi and Dorabella: Hurry, leave!


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Ferrando e Guglielmo: Ma se ci incontrano?

Ferrando and Guglielmo: But what if they see us?

Fiordiligi e Dorabella: Là, là, celatevi, per carità! Numi, soccorso!

Fiordiligi and Dorabella: Over there, hide, for pity’s sake! Gods, help us!

The servants remove the table, and the musicians hurry off. Ferrando and Guglielmo are led to a room to hide. Don Alfonso leads Despina to another room. Don Alfonso: Rasserenatevi.

Don Alfonso: Don’t panic.

Fiordiligi e Dorabella: Numi, consiglio!

Fiordiligi and Dorabella: Gods, help us!

Don Alfonso: Ritranquillatevi...

Don Alfonso: Calm yourselves.

Fiordiligi e Dorabella: Chi dal periglio ci salverà?

Fiordiligi and Dorabella: Who can save us from this danger?

Don Alfonso: In me fidatevi, ben tutto andrà.

Don Alfonso: Trust me, everything will be all right.

Fiordiligi e Dorabella: Mille barbari pensieri tormentando il cor mi vanno. Se discoprono l’inganno, ah di noi che mai sarà?

Fiordiligi and Dorabella: I’m tormented by a thousand terrible thoughts. If they discover our deceit, what will happen to us?

Ferrando and Guglielmo enter, wearing their soldier’s uniforms. Ferrando e Guglielmo: Sani e salvi, agli amplessi amorosi delle nostre fidissime amanti. Ritorniamo, di gioia esultanti, per dar premio alla lor fedeltà.

Ferrando and Guglielmo: We return to the embrace of our faithful lovers safe and sound. We return in exultant joy to reward them for their faithfulness.

Don Alfonso: Giusti numi, Guglielmo! Ferrando! Oh, che giubilo, qui, come, e quando?

Don Alfonso: Good heavens, Guglielmo! Ferrando! What joy! Here! How and when?

Ferrando e Guglielmo: Richiamati da regio contrordine, pieno il cor di contento e di giolito, ritorniamo alle spose adorabili, ritorniamo alla vostra amistà.

Ferrando and Guglielmo: We were recalled by a counter-order. With joyful hearts we return to our delightful fiancées. And we return to you, our friend.


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Guglielmo: Ma cos’è quel pallor, quel silenzio?

Guglielmo: (to Fiordiligi) Why are you so pale and quiet?

Ferrando: L’idol mio perché mesto si sta?

Ferrando: (to Dorabella) Why so sad, my love?

Don Alfonso: Dal diletto confuse ed attonite mute mute si restano là.

Don Alfonso: They’re confused and astonished; they’re stunned.

Fiordiligi e Dorabella: (Ah, che al labbro le voci mi mancano, se non moro un prodigio sarà.)

Fiordiligi and Dorabella: (I have no strength to talk. It will be a miracle if I don’t die.)

Guglielmo: Permettete che sia posto quel baul in quella stanza.

Guglielmo: Please allow me to place my trunk in that room.

The servants carry Guglielmo’s trunk. Despina enters, without her notary’s hat. Dei, che veggio! Un uom nascosto? Un notaio? Qui che fa?

What’s this? A man hiding? A notary? What is he doing here?

Despina: No, signor, non è un notaio; è Despina mascherata Che dal ballo or è tornata e a spogliarsi or venne qua.

Despina: No, sir, it is not a notary. It is Despina in disguise. I’ve come back from a ball, and I was changing here.

Ferrando e Guglielmo: (Una furba uguale a questa dove mai si troverà!)

Ferrando and Guglielmo: (She’s a sly one, and you won’t find anyone like her!)

Despina: Una furba che m’agguagli Dove mai si troverà?

Despina: A sly one without equal. Where can you ever find one like me?

Don Alfonso indiscreetly lets the signed marriage contract fall to the floor. Fiordiligi e Dorabella: La Despina? La Despina? Non capisco come va.

Fiordiligi and Dorabella: Despina? Despina? I can’t understand how it could be.

Don Alfonso: Già cader lasciai le carte, raccoglietele con arte.

Don Alfonso: (softly to the lovers) Here’s the evidence you need. Take this document and read it.

Ferrando: Ma che carte sono queste?

Ferrando: (taking the paper) What is this paper?


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Guglielmo: Un contratto nuziale?

Guglielmo: A marriage contract?

Ferrando e Guglielmo: Giusto ciel! Voi qui scriveste; contradirci omai non vale: Tradimento, tradimento! Ah si faccia il scoprimento e a torrenti, a fiumi, a mari Indi il sangue scorrerà!

Ferrando and Guglielmo: (to the ladies) Good heavens! You signed it! You can’t deny it. You betrayed us! All will be revealed and torrential rivers, of blood will flow!

The ladies try to escape, but they are restrained. Fiordiligi e Dorabella: Ah, signor, son rea di morte e la morte io sol vi chiedo. Il mio fallo tardi vedo: con quel ferro un sen ferite che non merita pietà!

Fiordiligi and Dorabella: Sir, I am guilty, and death is the only punishment that I ask for. I see my wrongs too late. Take your sword and strike my breast. It deserves no pity!

Ferrando e Guglielmo: Cosa fu?

Ferrando and Guglielmo: What happened?

Fiordiligi points to Despina and Don Alfonso. Fiordiligi e Dorabella: Per noi favelli il crudel, la seduttrice!

Fiordiligi and Dorabella: Speak for us, cruel man and temptress!

Don Alfonso: Troppo vero è quel che dice, e la prova è chiusa lì.

Don Alfonso: It’s true what they say, and the proof is in here.

Fiordiligi e Dorabella: (Dal timor io gelo, io palpito; perchè mai li discoprì!)

Fiordiligi and Dorabella: (I’m shaking with fear. Why did they have to find out?)

Don Alfonso points to the room where the lovers had gone. Ferrando and Guglielmo go into the room for a moment, and them come out, without their hats, coats and beards, but with the outer clothing of their former disguise. Ferrando: A voi s’inchina, bella damina, il cavaliere dell’Albania!

Ferrando: (to Fiordiligi) Lovely lady, before you, bows the knight from Albania!

Guglielmo: Il ritrattino pel coricino ecco io le rendo, signora mia.

Guglielmo: (to Dorabella) The little portrait for your heart. I return it to you, my lady.

Ferrando e Guglielmo: Ed al magnetico signor dottore rendo l’onore che meritò!

Ferrando and Guglielmo: (to Despina) And the doctor with the magnet, I give the honor he deserves!


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Fiordiligi, Dorabella e Despina: Stelle, che veggo!

Fiordiligi, Dorabella and Despina: Heavens, what I’m seeing!

Ferrando, Guglielmo e Don Alfonso: Son stupefatte!

Ferrando, Guglielmo and Don Alfonso: They’re stunned!

Fiordiligi, Dorabella e Despina: Al duol non reggo!

Fiordiligi, Dorabella and Despina: I can’t bear the pain!

Ferrando, Guglielmo e Don Alfonso: Son mezze matte.

Ferrando, Guglielmo and Don Alfonso: They’ve almost lost their senses.

Fiordiligi e Dorabella: Ecco là il barbaro che c’ingannò.

Fiordiligi and Dorabella: (to Don Alfonso) Here is the cruel man who deceived us.

Don Alfonso: V’ingannai, ma fu l’inganno disinganno ai vostri amanti, che più saggi omai saranno, che faran quel ch’io vorrò.

Don Alfonso: I deceived you, but its purpose was to disillusion your lovers. They’re wiser now, and they will do what I wish them to do.

Qua le destre, siete sposi. abbracciatevi e tacete. Tutti quattro ora ridete, ch’io già risi e riderò.

Take each other’s hand, you are betrothed. Embrace each other and say nothing. All four of you laugh, and laugh along with me.

Fiordiligi e Dorabella: Idol mio, se questo è vero, colla fede e coll’amore compensar saprò il tuo core, adorarti ognor saprò.

Fiordiligi and Dorabella: My love, if this is so, I’ll make it up to you with love and faithfulness. I shall always love you.

Ferrando e Guglielmo: Te lo credo, gioia bella, ma la prova io far non vo’.

Ferrando and Guglielmo: I believe you, my love, but I shall not put you to the test.

Despina: Io non so se veglio o sogno, mi confondo, mi vergogno. Manco mal, se a me l’han fatta, che a molt’altri anch’io la fo.

Despina: I don’t know if it’s real or a dream. I’m confounded, and I’m ashamed. At least, if they did it to me, there were many others I deceived.

Tutti: Fortunato l’uom che prende ogni cosa pel buon verso, e tra i casi e le vicende da ragion guidar si fa. Quel che suole altrui far piangere fia per lui cagion di riso, e del mondo in mezzo ai turbini bella calma proverà.

All: Happy is the man who takes everything for the best, and uses reason to guide him in every situation. What causes others to weep will be a reason for laughter for him. In the midst of the world’s turmoil he will find peace. END OF OPERA


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DICTIONARY OF OPERA AND MUSICAL TERMS Accelerando - Play the music faster, but gradually. Adagio - At a slow or gliding tempo, not as slow as largo, but not as fast as andante. Agitato - Restless or agitated. Allegro - At a brisk or lively tempo, faster than andante but not as fast as presto. Andante - A moderately slow, easy-going tempo. Appoggiatura - An extra or embellishing note preceding a main melodic note. Usually written as a note of smaller size, it shares the time value of the main note. Arabesque - Flourishes or fancy patterns usually applying to vocal virtuosity. Aria - A solo song usually structured in a formal pattern. Arias generally convey reflective and introspective thoughts rather than descriptive action. Arietta - A shortened form of aria. Arioso - A musical passage or composition having a mixture of free recitative and metrical song. Arpeggio - Producing the tones of a chord in succession rather than simultaneously. Atonal - Music that is not anchored in traditional musical tonality; it does not use the diatonic scale and has no keynote or tonal center. Ballad opera - Eighteenth-century English opera consisting of spoken dialogue and music derived from popular ballad and folksong sources. The most famous is The Beggar’s Opera, which is a satire of the Italian opera seria. Bar - A vertical line across the stave that divides the music into measures. Baritone - A male singing voice ranging between bass and tenor. th

Baroque - A style of artistic expression prevalent in the 17 century that is marked by the use of complex forms, bold ornamentation, and florid decoration. The Baroque period extends from approximately 1600 to 1750 and includes the works of the original creators of modern opera, the Camerata, as well as the later works by Bach and Handel.


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Bass - The lowest male voice, usually divided into categories such as: Basso buffo - A bass voice that specializes in comic roles: Dr. Bartolo in Rossini’s The Barber of Seville. Basso cantante - A bass voice that demonstrates melodic singing quality: King Philip in Verdi’s Don Carlos. Basso profundo - the deepest, most profound, or most dramatic of bass voices: Sarastro in Mozart’s The Magic Flute. th

Bel canto - Literally, “beautiful singing.” It originated in Italian opera of the 17 and th 18 centuries and stressed beautiful tones produced with ease, clarity, purity, and evenness, together with an agile vocal technique and virtuosity. Bel canto flourished in th the first half of the 19 century in the works of Rossini, Bellini, and Donizetti. Cabaletta - A lively, concluding portion of an aria or duet. The term is derived from the Italian word “cavallo,” or horse: it metaphorically describes a horse galloping to the finish line. Cadenza - A flourish or brilliant part of an aria (or concerto) commonly inserted just before a finale. It is usually performed without accompaniment. Camerata - A gathering of Florentine writers and musicians between 1590 and 1600 who attempted to recreate what they believed was the ancient Greek theatrical synthesis of drama, music, and stage spectacle; their experimentation led to the creation of the early structural forms of modern opera. Cantabile - An indication that the singer should sing sweetly. Cantata - A choral piece generally containing Scriptural narrative texts: the St. Matthew Passion of Bach. Cantilena - Literally, “little song.” A lyrical melody meant to be played or sung “cantabile,” or with sweetness and expression. Canzone - A short, lyrical operatic song usually containing no narrative association with the drama but rather simply reflecting the character’s state of mind: Cherubino’s “Voi che sapete” in Mozart’s The Marriage of Figaro. Castrato - A young male singer who was surgically castrated to retain his treble voice. Cavatina - A short aria popular in 18th and 19th century opera that usually heralded the entrance of a principal singer.


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Classical Period - A period roughly between the Baroque and Romantic periods, the late 18th through the early 19th centuries. Stylistically, the music of the period stresses clarity, precision, and rigid structural forms. Coda - A trailer added on by the composer after the music’s natural conclusion. The coda serves as a formal closing to the piece. Coloratura - Literally, “colored”: it refers to a soprano singing in the bel canto tradition. It is a singing technique that requires great agility, virtuosity, embellishments and ornamentation: The Queen of the Night’s aria, “Zum Leiden bin ich auserkoren,” from Mozart’s The Magic Flute. Commedia dell’arte - A popular form of dramatic presentation originating in Renaissance Italy in which highly stylized characters were involved in comic plots involving mistaken identities and misunderstandings. Two of the standard characters were Harlequin and Colombine: The “play within a play” in Leoncavallo’s I Pagliacci. Comprimario - A singer who performs secondary character roles such as confidantes, servants, and messengers. Continuo, Basso continuo - A bass part (as for a keyboard or stringed instrument) that was used especially in baroque ensemble music; it consists of an independent succession of bass notes that indicate the required chords and their appropriate harmonies. Also called figured bass, thoroughbass. Contralto - The lowest female voice, derived from “contra” against, and “alto” voice; a voice between the tenor and mezzo-soprano. Countertenor - A high male voice generally singing within the female high soprano ranges. Counterpoint - The combination of two or more independent melodies into a single harmonic texture in which each retains its linear character. The most sophisticated form of counterpoint is the fugue form, in which from two to six melodies can be used; the voices are combined, each providing a variation on the basic theme but each retaining its relation to the whole. Crescendo - A gradual increase in the volume of a musical passage. Da capo - Literally, “from the top”; repeat. Early 17th-century da capo arias were in the form of A B A, with the second A section repeating the first, but with ornamentation. Deus ex machina - Literally “god out of a machine.” A dramatic technique in which a person or thing appears or is introduced suddenly and unexpectedly; it provides a contrived solution to an apparently insoluble dramatic difficulty.


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Diatonic - A major or minor musical scale that comprises intervals of five whole steps and two half steps. Diminuendo - Gradually becoming softer; the opposite of crescendo. Dissonance - A mingling of discordant sounds that do not harmonize within the diatonic scale. Diva - Literally, “goddess”; generally the term refers to a leading female opera star who either possesses, or pretends to possess, great rank. Dominant - The fifth tone of the diatonic scale; in the key of C, the dominant is G. Dramatic soprano or tenor - A voice that is powerful, possesses endurance, and is generally projected in a declamatory style. Dramma giocoso - Literally, “amusing (or humorous) drama.” An opera whose story combines both serious and comic elements: Mozart’s Don Giovanni. Falsetto - A lighter or “false” voice; an artificially-produced high singing voice that extends above the range of the full voice. Fioritura - It., “flowering”; a flowering ornamentation or embellishment of the vocal line within an aria. Forte, fortissimo - Forte (f) means loud; mezzo forte (mf) is fairly loud; fortissimo (ff) is even louder; additional fff’s indicate greater degrees of loudness. Glissando - Literally, “gliding.” A rapid sliding up or down the scale. Grand opera - An opera in which there is no spoken dialogue and the entire text is set to music, frequently treating serious and tragic subjects. Grand opera flourished in France in the 19th century (Meyerbeer); the genre is epic in scale and combines spectacle, large choruses, scenery, and huge orchestras. Heldentenor - A tenor with a powerful dramatic voice who possesses brilliant top notes and vocal stamina. Heldentenors are well suited to heroic (Wagnerian) roles: Lauritz Melchior in Wagner’s Tristan und Isolde. Imbroglio - Literally, “intrigue”; an operatic scene portraying chaos and confusion, with appropriate diverse melodies and rhythms. Largo or larghetto - Largo indicates a very slow tempo, broad and with dignity. Larghetto is at a slightly faster tempo than largo.


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Legato - Literally, “tied” or “bound”; successive tones that are connected smoothly. The opposite of legato is staccato (short and plucked tones.) Leitmotif - Literally, “leading motive.” A musical fragment characterizing a person, thing, feeling, or idea that provides associations when it recurs. Libretto - Literally, “little book”; the text of an opera. Lied - A German song; the plural is “lieder.” Originally, a German art song of the late 18th century. Lyric - A voice that is light and delicate. Maestro - From the Italian “master”; a term of respect to conductors, composers, directors, and great musicians. Melodrama - Words spoken over music. Melodrama appears in Beethoven’s Fidelio th and flourished during the late 19 century in the operas of Massenet (Manon and Werther). Mezza voce - Literally, “medium voice”; singing with medium or half volume. It is sometimes intended as a vocal means to intensify emotion. Mezzo-soprano - A woman’s voice with a range between soprano and contralto. Obbligato - An accompaniment to a solo or principal melody that is usually played by an important, single instrument. Octave - A musical interval embracing eight diatonic degrees; from C to C is an octave. Opera - Literally, “work”; a dramatic or comic play in which music is the primary vehicle that conveys its story. Opera buffa - Italian comic opera that flourished during the bel canto era. Highlighting the opera buffa genre were buffo characters who were usually basses singing patter songs: Dr. Bartolo in Rossini’s The Barber of Seville; Dr. Dulcamara in Donizetti’s The Elixir of Love. Opéra comique - A French opera characterized by spoken dialogue interspersed between the musical numbers, as opposed to grand opera in which there is no spoken dialogue. Opéra comique subjects can be either comic or tragic. Operetta, or light opera - Operas that contain comic elements and generally a light romantic plot: Strauss’s Die Fledermaus, Offenbach’s La Périchole, and Lehar’s The Merry Widow. In operettas, there is usually much spoken dialogue, dancing, practical jokes, and mistaken identities.


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Oratorio - A lengthy choral work, usually of a religious nature and consisting chiefly of recitatives, arias, and choruses, but performed without action or scenery: Handel’s Messiah. Ornamentation - Extra embellishing notes—appoggiaturas, trills, roulades, or cadenzas—that enhance a melodic line. Overture - The orchestral introduction to a musical dramatic work that sometimes incorporates musical themes within the work. Overtures are instrumental pieces that are generally performed independently of their respective operas in concert. Parlando - Literally, “speaking”; the imitation of speech while singing, or singing that is almost speaking over the music. Parlando sections are usually short and have minimal orchestral accompaniment. Patter song - A song with words that are rapidly and quickly delivered. Figaro’s “Largo al factotum” in Rossini’s The Barber of Seville is a patter song. Pentatonic - A five-note scale. Pentatonic music is most prevalent in Far Eastern countries. Piano - A performance indication for soft volume. Pitch - The property of a musical tone that is determined by the frequency of the waves producing it. Pizzicato - An indication that notes are to be played by plucking the strings instead of stroking the string with the bow. Polyphony - Literally, “many voices.” A style of musical composition in which two or more independent melodies are juxtaposed; counterpoint. Polytonal - Several tonal schemes used simultaneously. Portamento - A continuous gliding movement from one tone to another through all the intervening pitches. Prelude - An orchestral introduction to an act or a whole opera that precedes the opening scene. Presto, prestissimo - Vigorous, and with the utmost speed. Prima donna - Literally, “first lady.” The female star or principal singer in an opera cast or opera company.


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Prologue - A piece sung before the curtain goes up on the opera proper: Tonio’s Prologue in Leoncavallo’s I Pagliacci. Quaver - An eighth note. Range - The span of tonal pitch of a particular voice: soprano, mezzo-soprano, contralto, tenor, baritone, and bass. Recitative - A formal device used to advance the plot. It is usually sung in a rhythmically free vocal style that imitates the natural inflections of speech; it conveys the dialogue and narrative in operas and oratorios. Secco, or dry, recitative is accompanied by harpsichord and sometimes with other continuo instruments; accompagnato indicates that the recitative is accompanied by the orchestra. Ritornello - A refrain, or short recurrent instrumental passage between elements of a vocal composition. Romanza - A solo song that is usually sentimental; it is shorter and less complex than an aria and rarely deals with terror, rage, or anger. Romantic Period - The Romantic period is usually considered to be between the early 19th and early 20th centuries. Romanticists found inspiration in nature and man. Von Weber’s Der Freischütz and Beethoven’s Fidelio (1805) are considered the first German Romantic operas; many of Verdi’s operas as well as the early operas of Wagner are also considered Romantic operas. Roulade - A florid, embellished melody sung to one syllable. Rubato - An expressive technique, literally meaning “robbed”; it is a fluctuation of tempo within a musical phrase, often against a rhythmically steady accompaniment. Secco - “Dry”; the type of accompaniment for recitative played by the harpsichord and sometimes continuo instruments. Semitone - A half step, the smallest distance between two notes. In the key of C, the half steps are from E to F and from B to C. Serial music - Music based on a series of tones in a chosen pattern without regard for traditional tonality. Sforzando - Sudden loudness and force; it must stand out from the texture and be emphasized by an accent. Singspiel - Literally, “song drama.” Early German style of opera employing spoken dialogue between songs: Mozart’s The Magic Flute.


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Soprano - The highest range of the female voice ranging from lyric (light and graceful quality) to dramatic (fuller and heavier in tone). Sotto voce - Literally, “below the voice”; sung softly between a whisper and a quiet conversational tone. Soubrette - A soprano who sings supporting roles in comic opera: Adele in Strauss’s Die Fledermaus; Despina in Mozart’s Così fan tutte. Spinto - From the Italian “spingere” (to push); a singer with lyric vocal qualities who “pushes” the voice to achieve heavier dramatic qualities. Sprechstimme - Literally, “speaking voice.” The singer half sings a note and half speaks; the declamation sounds like speaking but the duration of pitch makes it seem almost like singing. Staccato - Short, clipped, detached, rapid articulation; the opposite of legato. Stretto - Literally, “narrow.” A concluding passage performed in a quick tempo to create a musical climax. Strophe - Strophe is a rhythmic system of repeating lines. A musical setting of a strophic text is characterized by the repetition of the same music for all strophes. Syncopation - A shifting of the beat forward or back from its usual place in the bar; a temporary displacement of the regular metrical accent in music caused typically by stressing the weak beat. Supernumerary - A “super”; a performer with a non-singing and non-speaking role: “Spear-carrier.” Symphonic poem - A large orchestral work in one continuous movement, usually narrative or descriptive in character: Franz Liszt’s Les Preludes; Richard Strauss’s Don Juan, Till Eulenspiegel, and Ein Heldenleben. Tempo - The speed at which music is performed. Tenor - The highest natural male voice. Tessitura - The usual range of a voice part. Tonality - The organization of all the tones and harmonies of a piece of music in relation to a tonic (the first tone of its scale).


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Tone poem - An orchestral piece with a program. Tonic - The principal tone of the key in which a piece is written. C is the tonic of C major. Trill - Two adjacent notes rapidly and repeatedly alternated. Tutti - All together. Twelve-tone - The twelve chromatic tones of the octave placed in a chosen fixed order and constituting, with some permitted permutations and derivations, the melodic and harmonic material of a serial musical piece. Each note of the chromatic scale is used as part of the melody before any other note is repeated. Verismo - Literally “truth”; the artistic use of contemporary everyday material in preference to the heroic or legendary in opera. A movement particularly in Italian opera during the late 19th and early 20th centuries: Mascagni’s Cavalleria rusticana. Vibrato - A “vibration”; a slightly tremulous effect imparted to vocal or instrumental tone to enrich and intensify sound, and add warmth and expressiveness through slight and rapid variations in pitch.


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