248643302 Arias Soprano Opera Repertoire for Coloratura Soprano Wilfrid Pelletier Opera

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REPERTOIRE c and Edited by Compiled , I

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

1

Foreuord Dutiog my years with some of the great singers of today and yesteryear, I bavc observed a considerabre evolution in the art of singiog. vhether today's artists are superiot siagers may be debatabre, but judging -rtyi" from writings and records of the past cent'ty, I am convioced that the singets of today have t"tt"" una possibly mote respect fot the musical text. !7e know froo historians and biographers with what uobelievable audacity sooe singer approached tleit toles. Bizeq for example, was obliged to rewdte the entraoce atia of CARMEN twelve times to Dlease GalliMarie, the creator of the role. Thea, there is the amazing anecdote alrcut Garcia, who is teport"d to b"vu told Rossini he wourd rather sing his own seleoadeat the b€gidniog of rHE BARBER oF SEVILLE instcad of the cavatina, "Ecco Ridente." And it was only at tbe third pefotmance that Garcia fdally sang Rossini,s serenade instead of his own- An eotettaining volume could be writtin about the quarrels between ;oductols, singersand composersof any era. Today, the music itself is assumingits Ploper importance in the singing profession,This preseotcollection will befound free of the innumerable ouuhoded cadenzas. whicb flourished in a bygoae age, and are not accepted b5r today's audienceswith musicar tastesgready' advanced,In my library of ord opera scores,one frds page after page of originally simple melodies transformed into a deluge of staccati, scales,arpeggios and high notes. That highly subjective, personalized approach to written ousic is fast vanishiog. Toda.y we begin to ippleciate the melodic value of a Bellini, Donizetti, Rossini and Verdi. In pieseating this collection of opetatic Arias for coloratun, r have tried to biiog to altists aod studeots sooe of the oost important arias of the rast century and of morc modern composers. rt is my eardest hope that this collectioo will be fouod helpful to youdg students of siaging io the pursuit of their careet in music. For the very singabre and sensibleEnglish translationsia rris,collectioo we ate indebted to Mr. ,ohn Briggs,

editor of ETUDE.

\filfrid

t:j.

Pelletier. C. M. G.

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(lPERA R E P E R T ( l q)I R E fo,

C(lL(lRATURA S()PRAN(} Compi I ed,'and,E d,ir ed, bj,

Wilfrid Pelletier

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

Copyriaht 19t1 by Theodole PresserCo. Prioredin U. S. A.

i1,

Contents

llo.

opcrt Bellini...

2. LA SONNAMBULA

A.f,i_i

3. LA PERLI DU BRESIL

x ti t e a r. . . , . David ... .. .. .. .. ...Aria . .. .... ..Cbarmao

,.

J-'

LAKME

D e l i b e s. .

. . . . A h . n o n o e d e am i r a r t i . '' JAria..... t R o n d o. . . . . . . 4 b , n o ng i u n g e. . .

.Aria....

15 18 24

. . . . O ) t a l a j e a n ei n d o r e .

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

4t

Dodizetti .

. Cavatioa . ....So aacb'iola lirti ndgica... .. .. .

47

7. LA FILLE DU REGIMENT

Donizetti .

.Canzone. .. .. .Chacanle sit

>U

8. LA -FILLE DU REGIMENT

Donizetti.

. Romanza . . . . . Il faut Parth

9. LA FILLE DU REGIMENT

D o n i z e t t i. . . . . . . . . . A r i a . . . . . . . . . P d tl e l a n ge t P d rl ' o p r . t l e n c. .e... . .

6'

D o n i z e t t i. . . . . . . . . . . . C a v e t i n a . . . . . O l * e d i g r e t t !a n i m a . .. . , . . . . . .

84

II.

'-

''''''

6. DON PASQUALE

-l ro. uNoa Dr cHAMouNrx

-

Pi!a

( Scena . . . . . . . . O r e n d e t e nl ai r p e t t e . . . . . . . . . . . . . . . J C a v a t i n .a . . . . Q z i l a v o r e { C a b a l e t t.a. . . . V i e , 1 d i l e u o

1. I PURITANI

4. LAKME \

Ail

LUCIA DI LAMMIRMOOR

Donizetti.

. S c e n .a. . . . . . . R e g x a onae lt i l e n z i .o. . . . . . . . . . . .

12. MAX.THA

Flotow...

. A t i a . . . . . . . . . T b e L a s t R o s e o l S l n m e f . . . . . .t04 .,..

13. MIREILLE

Gounod . . . . . . . . . . . . . Aria . . . .. .. ..O ligite birondelle,.,

108

14. ROMEO ET JULTETTE

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

717

15. ANACRXON CHEZ POLYCRATE

G!6try ...

16, DINORAH

M e y e r b e .e. r. . . . . . . . . S c e n a & . R o m a n z a. . . . . O m b r e l l g i r e

t 7 . THE MAGIC FT., UTE

M o z a r t . . . . . . . . . . . . . A r i a. . . . . . . . . D e rH 6 l l eR a c h .e. . . . . . . . . . . . . . . 147

18. TALES OF HOFFMANN

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

HIPPOLYTE DT ARICIE

. A r i a , . . . . . . . . E p r i r c d ' z n l e r t ; n i l a i r e. , , . . . . . . 126

R a m e a u. . . . . . . . . . . . . A r i a . . . . . . . . . R o t t i g n o ah m o l t r e t ., - . . . . . . . . . - 160

20. LE COQD'OR

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

21. THE BARBER OF SEVILLE

Rossitri . . . . . . . . . . . . . Cavatina ... ..l|na.,o.e pocold

22. MIGNON

I ' l r o m a s. . . . . . . . . . .

ATTILA 24. THE MASKDD BALL RIGOLETTO

9t

. . P o l o n a i s. .e. . . l e v h T i t d x i a. . .

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

. 165 171 180

I Puritani

YincenzoBellini, t80r-1835

"Qui Ia vocesuasoave" "Vien diletto" Operain tlree acts.Lib.etto by Pepoli,basedon a work of Sir Valter Scoa. ' Fitst performance, Paris,18t5. SYNOPSIS Locale: Near Plymouttr, Eogland

Time: Abour 1635

The Pudtars aod Royalists are engagedio civil war. The Puritan Lord Walton, fathe! of Elvira, declinesto force her into marriage wit! Sir Richatd Forth, who loves her. Elvita is in love with . the Royalist Lotd Arthur, who has been given permissior to visit her at tle puritan stronghold, Plymouth Casde.He briogs with t';m a bridal veil for het, and the two are planning their marriage whel oews comesof tle imprisooment and impending execution of Henrietta, widow of Chades I. Arthur goes to Heodeta's aid, and assistsher to escapeby having her wear Elvira,s btidal veil as a disguise. Elvira believes herself betrayed, aod goes insane. The puritans swear vcogeanceagainst Lord Arthur. Patliameot has condemnedArthur to death for his assistanceto Heorietta. M6ved by the pleadiog of Elvira s unde, Sir Richatd agreesto patdoo Arthur on condition that Afthur comesunatmed ard that he agreesto ccasehostilities against the Puritans, Lotd Arthur is ia fight from his enemiesand plans to leave Englaod, but feels impelled to see Elvin oace mote. He 6ods her io her garden; aod her sanity is restored at sight of her lover. Dstaat drums souad, aod fear for Arthur agaia robs her of her sanity. Athur is captured and seatencedto death. His life is savedby an eleventh-hour pardoo to att political pdsonets. Elvira petmanedtly regains her saoity, aad the two are rcunited.

I Puritani "Qui la voce: Vien diletto" English tr.a.nslation by Joho

Vince nzo Belliai

Briggls

lalks broodtr€ly ln tie garden (Act II, where shs and Arlhur Elvlla hls gentle volcs lllled *lth proElsss of a happy future,

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La Sonnambula

VincenzoBellini. 1801-1835

"Ah, non credea mimrti" "Ah, non giunge" Operain two acts.Librctto by FeliceRomani.Fitst perfomance,Milatr, 1831, SYNOPSTS Locale: Swissvillage

Time: Eady 19th century

Amina, adopted daughtet of Teresa, and Elvino are celebrating their engagement \rirh the happy villagers when Rodolfo, lord of the casde, comes amoog them incogaito. His well-schooled eye appraises Amina's beauty, and she listens sympathetically to his compliments. Later, Rodolfo is led to his room by Lisa, the innkeeper, who herself is in love with Elvino, She engagesin a mildly flirtatious conversation with him, dropping her kerchief as she leaves the room. Elvitro had noticed the exchangeof glancesbetween the stranger aodAmina, and his fears are justifed when that night he is triumphandy led by Lisa to the stranger's room to find Amina asleep alone in the suanger's bed. Actually, Amina is a sleep-walker, and Rodolfo, astonishedupon seeiog the scantily-clad girl enter his !oom, and comprehending her situation, did the gendemanly thing aod .left by a window. Amina wakes to fad herself in the stranget's bed, surrounded by the guests. Her confusion is mistaken for guilt by. the unhappy Elvino, who rejects her. Rodolfo has tried to coovince Elvino that Amina is a sleepwalker, but Elvioo turns his attentions to Lisa, whom heplans to marry with the riog take[ ftom Amina. While passingby a mill on theit way to be martied, Elvino and Lisa are confrontqd by Teresa who, as a lait resort, ploduces the kerchief which Lisa had dlopped in the stranger's room. Elvino now believes all *omeo to be unfaithful. Suddeoly, their atteotion is drawJr to the mill wheel. Aoina has emerged through a window and is making her way down the pedlous wheel in het sleep. Elvino is theteby convinced of the tnrth, and the two are once agaio teunited,

t6

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Ro ndo 'A\ non giunge" English traDslationby Jobn Briggs Vincenzo Beilini The ml]l scen€ (Act u) ts the setttnq of thts erta whtch ts dtvtded tnto two aartr_ s€cfions. Tl1ofhst, .,Ah lor credea,,tts sung by Amlna aftsr he! doscent down th6 mul.whe€l. sttu aslsep,shs srnss or hsr.rost:lovo *hr"h, i[;;;"";;,;;o"i""T'ro, ror n aay andthsn dted But Elvtno ls sttu ln her heartand she engrsv€d \v111 alvays.lov-etri.. rrrd *"o.a r.aii t-iru".iu"*t"grnnrns ''Al:' nonslunqe,"ls sunFarter Elvlno, convtnc€dof her lnnocenc€ ana noved.ry her.tov€,has ,"p1.";-;;;"i ;;;;;er rjn6sr."itl, she avakensto fird her rcpetrtant lover at her side, aail shs bursts tnto a. song of ioy r". tla. r.tr."-iappi.;;; ;;;il;.

Andante cantabile (.1=s2)

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Or sa-lut, Nowa-dieu,

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109

LE NOZ Z E D I F IG A R O WoLFcANc A. MozART Opera in four acts. Librctto by Lorenzo da Ponte, based on Beaumqrchais. First performance: N\tional Theate, Vienna, May 1, 1786, Mozort corrd.ucting, SYNOPSIS lClRO, while ia his new station as major-domo for Count Almaviva, has cooceived a passion for Susanna, the prctty waiting-woman of the Countess, and they are shortly to be maried. U ortunately the gay ex-barber ha! forgotten a previous pledge to marry an old but ch spinster, Malcellina. This lady, with the assistanceof Doctor Bartolo who owes Figaro an old grudge,makes secretpreparationsto interrupt the nuptial festivities with a temendous thudder snower, Meanwhile the Count Alnaviva has become etramoured of Susanna. At the same time he exhibits an unreasonablyiealous disposition towards the countess. Figaro, aonoyed by his master's behavio! towards SusaDna, and truly sorry about his goundless jealousy towards the Coudtess, coDceives a plan to bring the couot back within the bounds of propdety. In rhe first place he sends a letter to the count informint him that the Countess has aD assignatiotr to meet someone at the evening's ball. Then SusaDnais to send a m;ssage to the count that she will meet him in the ga.den that night. The young page cherubino is to act susanna's part, and the Countessto surplise her frail husband with the supposedSusanna, While the Countess and SusanDa are dlessing the page for his ferEinitre role behind locked doors i{ the Countess' chambers they are itrte$upted by the CouDt, who tries the door then knocks vehemently. Cherubino quickly runs ioto aq inner chamber, atrd Susaana persuades him to jump out the witrdow before the suspicious couot is able to discover him. whed the count, who has wruDg a cotrfession oI the page's presence from the countess, folces the door with a crowbar he fidds susa'Da there alone. The countess quickly regains her colDposurc, and the two worneD rro\{ turn the tables od the coudt, who ruefully asks his wife's forgiveness for his uojust suspicions. Figaro coEes in to accompany Susannato the wedding, A little while after him the gardener Antonio appears with a complaint against someone who jumped out of the window from the countessi room, breaking some of his flower-pots and escapingthrough the'garden, Figaro with great diffculty quiets the couat by pretendi0g to be the culpdt. At this momeot Marcellina, accompaniedby her counsel,appeaN and lodges a complaint wtih the Count against Figaro for breach of promise. Almaviva, rejoicing at this tum of affairs, evinces great iorerest ir the case. Wheo it comes to tdal, however, it is discoveredthat Figaro is the child of MarcelliDa and Doctor Bartolo, by which ttqely discoyery every obstacle to Figaro's aqd Susaooa's uoion is removed. The mauiage festivities begio. Io the meantime Susanna, at the advice of the Couotess, and without the koowledge of Figaro, carries otr the iotdgue origiDally plotted by Figaro. This time, however, the countess lather tbad cherubino will play susantra's part. she wdtes a note to tbe court---dictated by the countessappoiqtidg time and place of a meeting, Figaro gets'lriod of the appoirtmetrt atrd collects a numbe! of villagels who are to give the Coutrt a sound beating u[der cover of dalkness, Tbat eved[g the two ladies-the countess dressed as susaona a'ld susa'Da as the countess-go to the spot aPPoiatedio the letter, a secludedpart of the park with a pavilion on either side. Susanoawlthdraws, leaviqg her mistess aloae waititrg for the count; and Figaro lays iD waiting. suddenly cherubino comes iD. He bad made a.u appoidtmeot with Barbarina, the gardete!'s daughter, oo the same spot. Mistaking the Coutrtess fo! Susaona, he begins kissitrg her much agaiost her will, until at last the Count interferes. The bov rutrs itlto the pavilion to the left, where Barbarina is already waiting for him. Tbe counress now receivei gaaciouslythe passionatewords of her husbadd, ioteoded for susanna. Figaro, duped as much as the count, makes a noise and the count seods the supposed susadna into the pavilion on the right, expectidg to join her shortly. The ieal Susannamanagesto meet Figaro. Tbe barber sooq seesthrough her disguise,and then takes all active part io the joke by addressing her as the Countess in passioDate language. This is well done. for the Count overhearshim ind seizeshim by the collar. Susaonaruns iato the pavilion on the left. The Count theo, without releasiqghis hold or! Figalo, calls his servantsand gueststo be witnessesof his dishotro!. After disposing of cherubino and Barbarina, he drags out the supposed couDtess, .who falls down on het knees before him, imploritrg his forgiveoes. But the Coutrt acts the erraged husband iD earnest. Suddel1iv the real, Countess appears from the paviliod on the right. Before the Count can fully reatize his awkward Position the Coudtess,with the assistatrceof Susannaaad Figaro, hushesmattels up atrd hurries the witnesses of this extraoldinary denouement off to the festivities ia honor of Figaro's marriage, which are going oo io the castle.The count, like the great gentlemanhe is, begs the countess to forgive him, and the properiy assorted pairs move also to the castle.

110

Deh vieni, non tardar (Delightlul ioy, o come) from *Le Nozze di F i g a r o " Susanna'sRecitative and Ari&

Act IV EDglish translation by Nathan

Haskell

Wofgang

Dole

A. Mozat!'

?he Coun: has been pu.suing Susarna and refusing !o sanction FiSaro's _mafIia8e to his wtfe's maid-in-waiting.- fn this scene theCountess anit Snsanna have conceiv€il the iilea of excianging clothing anal idefltity, inviting the Count to a supposeal meeiing with S sanna and thereby exPosing the Count's persistent infidelity to his wtfF'

Recit.

tranquiUo ed espress.

Giun - se_alfin

il

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Recit. Ti - mi - de cu - ie! Ye faint fore - bocl- ings,

'.:

sci - te dal mio in tuI heart re -

@ copyright 1956 by fheodore Presser Co. ,ttl-41005-149

- to! a tur - bar non -bling Ceaseto tise, sueet

mi-o! d,ar-ling!

171 cun anulut

Oh Oh,

Dar. heafl

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- c o lb - me-oi - ti del bright - en1tl, hou is the beau-t1,

1o - co, height-en|L

la ter - ra or na - tufe

co -me uhere the

e il ciel ri Ln aLL nef

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spoo - da! phos - esj

Co - me

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la

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miei

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Vie-ni o-Ye a - mo - re Come niw, ihe t:oice of

Fin - chd nonsplen-dQin ciel torch Vhile dark the gol.d. - ei

fin - che lbria d ancor Vhih the shad,)6ws are

ta - ce. bru-nae il mon - tlo dense ind, si - lence reigl-eth!

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fre seD -

41t-41005-149

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che col dol- ce Eo - et cheer-ing

ret Jl,ou'rs

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146

The Magic Flute

Wolfgang

Amadeus Moz^tt, U56-7791

'Der H6Ile Rache" Fantasyid four (sometimesthtee) acts.Libretto by Schikaneder.First Performadce,Vi enna,l79l'

SYNOPSIS Time: Ancient Days

Locale: Egypt

Young Prince Tamiao is saved from a serpent in the fotest by three handmaideos of the Queen o.f Night. The Queer enlists hir aid in rescuing her daughtel Pamioa flom the high priest of Isis, Sarastto, She gives Tamino a magic flute and provides his compaoion, Papageno, with magic chimes.These iostrumeots will plotect them from danger during their seatch for Pamina' At Samstro'spalace,the Moor Monostatos is forcing his attentionsupon Pamina when Papageno, &essed as a bird, frightens him away. Meanwhile, Tamino has entered a grove of the palace where one of the priests informs him that Sarastro is merely Protecting Pamina from her wicked mother. The sceneshifts again to Pamina and Papageno whose attemPt to escapeis foiled by Monostatos. But Sarastro appears and, informed of the Moor's behaviot, punishes him. He decidesto put Tamino and Papageirothrough the otdeab of the temPle to test theit worthiness belore allowing Paoina tb marry the Prince, The 6rst ordeal is that of silence,aod the Prioce bravely resists all tcmptations to speak. Meanwhile, the Queen of Mght has secretly entered the palace to give Pamina a dagger with which she must kill Sarasuo. Late!, when Pamina speaks to Tamino, he still keeps silent, aod the unhappy P:mjna believes that he no longer loves her.

;.

Tamino aud Pamioa uadergo several ordeals of fre and wate!, but they emerge triumphant by teasoa of their inner sueogth alrd with the aid of the magic dute. Satastro blesses the union of Tarnino aod Pamioa, preseoti Papageno with a lovely bride, Papageoa, and banishes Monostatos and the Queen of Night.

I4Z

The Magic Ftute " D e r H d 1 1 eR a c h e "

Wolfgang Amadeus Mozart

Eaglist trarxstatioo by Joh! Briggs

--As oue€o of Nt€ht pr€sses a dager i4to panlads hatrd Ad [D,sfu telb her tho $T€th oflrcll ls lq her hea.lt.If E,mira does lot aveqe the i,roog by Sarastro-*tti th6 dagg€r, Lhe Qu6ea of Nklrt th.reaters ftat sho relu rejeot he! daughtet ard wtll never agaln see lei. Ullllt

A-llesro assai Der H6l-le Tleflonaof

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D'ex-tase ou d'a - mou - reu - se oJ ec - sta - sy ot atn-o -rotra

L67

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rou - ge Qtimonteau for himthose ou:n one

fir - ma - Erent, da! she uill be?

Voit-oa tou - jours,-4n1,d,otheir eJ,es-

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se- l116ed'6 - toi be-neaththe star -

sous leurs grands still shlr.erDithe -

168 dim. moko rit:

lent? dcqt?

ltieq- dra At nigM

d'uD eh4ll

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170'

The Barbef of Seville

Gioacchino Antonio Rossini, LTgz-B6a

"Una voce poco fa" Opera in two acts. Libtetto by Stetbini, based oo Beauoarchais' comedy. Fitst peforoaoce, Roine, 1816.

SYNOPSIs Locale: Seville

Time: 17th Centuiy

The Count of Almaviva has fallen in love with Rosina, iealously-guarded ward of &e eldedy Doo Bartolo, who is alrxious to marry hei for het fortune. Almaviva is known to Rosina only as ,"Lindoro," a poor student Figaro, the towa barber, suggests to Almaviva that he gaio entry to the house by donniog a ddier's garb and pretending he is to be billeted drere. Befole he executes this plan, the pining Rosina pens a dote to her Liadoro which she entrusts to Figaro. The suJpicions of Bartolo and Don Basilio, her singiog teache!, have beeo roused, add they accuse her of writiog letten. The quick-witted gid easily disPels their doubts. At this point, Almaviva enters as a drunkec soldier, maoages to slip a lettet to Rosioa, aod is fnally Bartolo.

eiec,ted by the enraBed

one ruse, the sly Figaro and Almaviva eoter into another plan. Almaviva goes to Rosioa's home disguised as a singing teacher who has come to substitute for a supposedly

Having failed *ith

ailing Don Basilio. There ensues a very amusing scene in which Figaro shaves the suspicious Bartolo rcltilc Rosioa aod Almaviva pretend to go thtough a singing lessoo, IThen Basilio appears, he is quickly penuaded to feign illdess and leave, for Figaro bribes him *ith a full purse. The ever wary Battolo frially detectr foul play. He ejects everyone and tushes ofi to find a ootary who will marry him to Rosina. Once again bribery plays its part, and the marriage contract ii erecufed with Almaviva's name instead of Battolo's. Rosina's fortuoe is turned over to tle eoraged Batolo-whidr quickly appeases him-and Almaviva aod Rosioa live happily ever after.

lJ

t7l

The Barber of Seville Cavatina Eaglish

traaslatioa

by John

I

BrigBS

"U*

voce poco fa"

Gioacchino R ossini

Act I, Scsne 2 (usually call€d Act II)- Rosina. has bson setsnadod by Ltndoro, Sha slts ln her dravlng room and reslnlscesaboul the "voloo latoly hsard" whlch so fllls her *lth lovo.

mi riuith.ln

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Mighon

AmbroiseThomas.1811.1896

'Je suis Titania" Opera in three acts. Libretto by Batbier and Catr6, based on Goethe's "ITithelm Ffust Perfotmance, Pads, 1866'

Meister'"

SYNOPSIS+ Time: 18thCentury

Locale: Germany an&lltali

a demeoted Italian count, has been wandeting as a minslrel thtough ltaly and Gcrmaoy in seatch of his daughter, whose theft as an infant robbed hlm of his reasqn. He enters a tavero courtyard in Germaoy *here a uoupe of actors sit discussing dreir futufe engagements. A band of roving gypsies enters the courtyald to eDteftain the gtouP and earn a fe* pennies. one

Lotiatio,

of tl-reir number, the beautiful youog gid Mignon, refuses to dance when commanded by the gypsy chief, who aogtily threatens her' Lotlario and Wilhelm Meister, a student, jump to her assisance. vilhelm putchases her fteedom from the gypsies: In gtatitude to hef atuactive rescuef, Mignoa ofiets him ber services as a page' Wilhelm has succumbed to the charms of Philioe, ooe of tle actors, aod when he goes ofi with her to the castle where the ttoupe is to perform, Mignon follows him in the disguise of a page. arrays herself in one of Phi[ne's gowns and Jealousof Wilhelm's aftectiooforlhiline, Mig'non jealous girl's rage, Wilhelm discourages her, and in the attempts to entice Wilhelm. Recogoiziog Lothario and conides her solrow to him, . despair, Migoon goes oft to drotn herself. She meets expressing her ardent hope tlat the castle io which the uoupe is perfolming will butn down' ds the players emerge from tle castle praisiog Philine's acting, Lothario enters the building aod sets fre to it in older to satisfy Mignon. Meanwhile, Philine has asked Migoon to fetch from the Suddenly they notice that the castle a bouquet of flowers which was given her by vilhelm. buildiag is ablaze, aod IVilhelm rushes in to rescue Mignott' have gone together to ltaly, and they stoP at CiPliari castle, 'mention of tiis name, Lothario suddenly is whose master he5 beeo away for maoy yeais. At the shocked ioto saDig, for he is noqe other than count Lothario, lord of the castle. Mignon is 'haipily consents to her malriage with !(ilhelm' identifed as hl! lost daughterl ,and Lothiuio

I-othario, Mignoo aqd Wilhelru

r Thh qnop.i.

il)

.or$DoniL

to abc.l$t .didon ol Mtsnon vbi'b

dtfi'B tolncwh't

from 'arlic!

v'6ion!'

180

Mignon .Je suls

l ltanla-

Erglish translatio! by John

Briggs Ambroise Thomas Phlllne,has-lust porfo.rnotl as Tltanta.tn 'h_Mtdsulnmer Ntght's D.oam'j.,{s Lhecrowdsmergesfrom ihe cas e slnslDg ,hsr prals€s(Act ID, and b€tor€ st tls castlotlo areat flro breaks.out, shelaat€s a trtu:aphat ;trancs smooga" assertiea-cro:#iij si!*tnLt"cerebrated a;a l! wruch"Ttt4nla'' tolls of hsr sD€atacuref tlavelstiroudr$o skt6s-

At!_ Atd_

pour ce soir, fot ta-niaht,

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lei - wn queen-

rie--

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of f"i,

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I@A

d!-

Moderatotempo suis ld

r) To be swg le$ata ,nt at flv rtut'ut l,jjtL Atso it r/u&t be L teln}o. i;i

Copyrlglt 1951by TheodoreP'resser Co

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GiuseppeVerdi, 1813-1901

"O nel fuggente nuvolo" Opera widr Prologue and TLrce Acts. Libretto by Solefa. First performance, Venice, 1846.

SYNOPSIS Ircalei

Tirne: Middle of 5th Century

Nea! Rome

The Prologue ukes place amid the ruins of the city of Aquilea. As Attila, the Hun, surveys the havoc wrought by his armies, he is fred by the coutage of an Aquilean woioan, Odabella, who bravely confronts hioo thleateoing veogeaoce. Suddealy the Romao General, Ezio, enlets the sceoe to speak with [is enemy, Attila. Ht proposes a pact wheleby Attila will conceotrate on the .est of the Romao Empire, leaviog the Italiao cities to Ezio. But the Hun scoros the ofter, aod Ezio leaves in anger. 6tst Act opeas io Attila's caap where Odabella has remained witl the conquelols,' adaiting her opportudity to avenge her family and coudtrt'men. She explains this to Foresto, her lover, whom she meets unexpectedly io Attila's tte

camp, aod who i3 himself plottiog Attila's murdeq having gaioed the Huo's conidence disguised as one of his soldiers, Meanwhile, Attila has misgiviags about further ionquests o9 Italian soil, for he has been wained by a ghosdy spectre to cease futher

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Still shaken by the spectre's \rords, Attila sends for Ezio to reoew tleir disccssions. One of the oessengers who bling the iovitatioo to the Roman is Fotesto. He reveals his identity to Ezio aad utges him to prepare the Roman almies fo! an ooslaught against Attita's forces, sioce he plans to mutder the Hun that night. Ezio and his oficers come to Attila's tent and a-toast is ptoposed. Suddeoly, Odabella waros Attila his cup is poisoned, for she wishes to have the pleasure of killing him by her own haod. Foresto adoits his grrilt,. and escapesio the ensuing confusion. Enraged at dre conspiracy, Attila angouraes his teoewed hatted of his enemies, and plans to march oo Rome. Moved by what he believes a de[ton. scation of Odabeila's affectiori io tlus saviog his life, Attila aDoounceshe will trlafr/ her. Eziots soldiers lie io preparedoess aeat Attila's

camp while Ezio aod Foresto stand bittetly

discussing Odabella's .

ueacher/, for eveo as tley speak, the mardage ceternory is,.being performed io Attila's ca4p, Suddenly, Odabella ri$his out to tlem, followed by Attila. All three dedoooce hid, aod,as the Rooan soldiets swarm into his camp, Attila is subbed by Odabella.

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181

A ttila 'O .nel fuggeite. truvplo"

Giuseppo Verdi

Elglt b t.an6tario! by Joh.D Briggs

Odabslla fil€s out for her hour of vergsa.oce to coa6 qutckly (begiidng of Act I). Shefears h6r sorloes ar€ aff€ctrngber ml|4 ad s!6 ss€ns to ssehor fathrls s?lilt l! ths clouds,chasttslng her for th€ delay€dve!gea@€.Shols furtt€r shoc&edat hsartng the farnltar volc€of lbr€dr nearbs snd shs aatls out to a[ natrrio to bs 6tlt til ord6r that sxs Eay tlststr to tho volc€of her lover whoa sle bollevosdead.

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LA TRAVIATA GIUSEPPE VERDI Opera in three acts. Librctto by Francesco Mmia Piave, based on the play "La Dame aux Camelias" by Alexandre Dumas, fils. First perlormance: Fenice Theatre, yenice, March 6, 1853. SYNOPSIS tt I HE FIRST.4Cf commetrceswith a gay party in the house of Violetta, a young and beautiful cou esan, l- throwD by circumstancesand the loss of her paredts iD childhood into a course of voluptuous living. She is slrrounded by a circle of gay aDd thougbtlessbeingslike herself, who devote their lives to pleasure.Among the thong who crowd to her shrhe is Alfred Germont, a youDg man, who falls in love with her. Touched by the sinc€rity of his passion, a lrew love springs up in Violetta's heart, aDd for the frst time she becomes conscious of the misery of her position, aad the hollowness of her life. Iq the second act, we discover her livitrg id seclusioo with ber lover three months later, in a countryhouse aear Paris. Aured accidentally discoversthat Violetta has been secretiy selling her housesand property in Paris in order to maiatain this establishmetrt,RevoltiDg at the idea of being dependentoD her bounty, he leaveshuffiedly for Paris to redeem his honor flom this disgrace.During his absencehis father, who has discovered his retreat, arrives and lepresentsto Violetta that his son's connection with her is Dot only loweling him ir the opinion of the world, but will be ruinous to his family. Alfred's sister, he says, is betrothed to a wealthy noble who has declared his idteltion of renouncing her udess Alfred gives up Violetta. Ileariog this, the geaerous girl resolves to sacrifce her affections and happiness for her lover's sake, and returns alone to Paris. Alfred, overwhelmed wirh despair when he discoveA her flight, follows her, Io Pads Alfred again meets Violetta, now under the protection of the Barcn Dauphol. Unaware of the getrerousmotive which made her deJeathim, he overwhelmsher with rcproachesand flings a purse co[taining moqey at her felt in the prcsenceof the company. Degradedand heartbroken, the unfortunate Violetta leturns home to die; and iD the last act we 6nd the sad romance of her life daawingto its close. Alfred, too late, leams the truth aod discoversthe sacrifice she has made to securehis happiness.Overcome with grief and shame he hastens,with his father, to comfort and console her, aod to ofier her his hatrd and name in reDarationof the wrong he has done her. His words bring her a few momentsof happinessas she dies in his arms.

92

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