¥2 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924082581640 GRAND OPERA LIBRETTOS 1 *■• -.p- •'.••■ ■ •■I ITALIAN AND ENGLISH TEXT AND MUSIC OF THE PRINCIPAL AIRS RIGOLETTO BY VERDI A. OUVER DITSON COMR BOSTON I^XV^&HEALY ChicagGl ||PH'DITSON&C97] (JYewYorkj) ^mm^^ \ W. ^^f ^^ [*!!!^!!!!!!!!!!lf!!.'T"'f!'-Tn-!T!!T?!!!!!!!!!!!fy '!!! . ' in! !!!T!! ! l!?! "n !!l! n ' .n !!!!i f. '! M !l!!!)?'f THE VOCAL AND PIANO SCORES OF THIS OPERA CAlso the separate Vocal and Instrumental arrangements (or selections) can be piir- chased at our various stores. CA complete list of Librettos published by us will be found on back cover pages. ^ :: :: :: OLIVER DITSON COMPANY, Boston CHAS. H. DITSON CSi, CO., New York J. E. DITSON GSb CO., Philadelphia VERDI'S OPERA RIGOLETTO / CONTAINING THE ITALIAN TEXT, WITH AN ENGLISH TRANSLATION AND THE MUSIC OF ALL THE PRINCIPAL AIRS BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO PHILADELPHIA CHAS. H. DITSON & CO. LYON & HEALY J. E. DITSON & CO. Cofyright, MDCCCLX, by Oliver Dilson &= Co. Copyright, MDCCCLX XXVIII, by Oliver Ditson 6= Co. DRAMATIS PERSONS THE DUKE OF MANTUA RIGOLETTO, His Jester THE COUNT CEPRANO Nobles of the Dukedom OF Mantua THE COUNT MONTERONE J SPARAFUCILE, a Hireling Assassin BORSA, A Domestic of the Duke's THE COUNTESS CEPRANO GILDA, THE Daughter of Rigoletto GIOVANNA, Her Duenna . MADDELENE, a Cyprian, Sister of Sparafucile Tenor Baritone Bass Bass Bass Tenor Soprano Soprano Soprano Contralto Courtiers, Cavaliers, Pages, Attendants, Etc. THE STORY OF "RIGOLETTO 99 RIGOLETTO, a hunchback buffoon, or jester to the libertine Duke of Mantua, and willing pander to his licentious habits, has by his ribald and un- feeling jests, together with his villanous con- nivance at the Duke's open disdain for all con- siderations of honor, rendered himSelf highly objectionable to the courtiers, particularly the Counts of Ceprano and Monterone, whose wife and daughter respectively have become victims to the unbridled passions of the Duke. Mon- terone, in indignation at the dishonor to which he is subjected, seeks the Duke's presence and boldly denounces his conduct, and that of his vile abettor, Rigoletto, who is inwardly terror- stricken by his vehement maledictions. Rigoletto has a young and beautiful daughter, whom he conceals from public observation with the most jealous care; so strictly has she been guarded that she has not been allowed to leave her home, except to attend her religious observ- ances at church. She, however, has not es- caped the notice of the Duke, who has repeat- edly observed her at her devotions, and con- trived to track her to her humble habitation, where, by bribing her servant, he gains access to her. Representing himself to be a poor student deeply impressed with her attractions, he suc- ceeds in inspiring her with reciprocal sentiments, never dreaming that it is the daughter of his bufiEoon he is thus beguiling. The fact of the existence of a young and lovely woman in the dwelling of Rigoletto becoming known to the courtiers, they form a plot to abduct her therefrom by force and deliver her to the Duke. At a late hour in the evening they as- semble (masked) in the neighborhood of Rigo- letto's dwelling, and, under pretence that they are going to carry off the wife of Ceprano, whose house adjoins Rigoletto's, they induce him to assist. He is accordingly masked and ban- daged, and is made to hold the ladder by which some of the party ascend to the window of his house, which they enter, and tear away the be- wildered Gilda, whose mouth they cover, to pre- vent her giving any alarm, and carry her off triumphantly to the Ducal Palace. The outwitted jester, finding himself deserted, immediately suspects that all is not right, and tearing off the bandage, perceives the scarf of his daughter, which has been dropped in the flight; he is instantly struck with the conviction that he has been robbed of his beloved Gilda, his only treasure, and that the curse of Count Monterone has already begun to work. The courtiers relate to the Duke as a good joke how they had carried off the jester's mis- tress, but he knew full well from their descrip- tion that it was Gilda they had abducted, and the unfortunate girl soon became a prey to his insatiate passions. Rigoletto hastens to the palace, and demands his daughter from the courtiers, who treat him with contempt and derision, baffling all his en- deavors to obtain access to the Duke. He is presently joined by his daughter, who has at length freed herself from the vicious attentions of the Duke, and after mutual condolence they quit the place, cursing the scene of their dis- grace. Resolving to be revenged on the author of his daughter's and his own misery, Rigoletto hires a bravo named Sparafucile, for a stip- ulated sum, to assassinate the Duke, who is en- ticed by tfie blandishments of Maddelene, the sister of Sparafucile, to the bravo's house, a ruinous and lonely inn. Gilda has been desired by her father to put on male attire and fly to Verona, but previous to starting, in order to extinguish the lingering affection which she still entertains for her un- principled seducer, she is made an eye-witness, through crevices in the wall of the inn, of his inconstancy and perfidy. She overhears the sister of the bravo earnestly endeavoring to dis- suade him from murdering the handsome guest; but he resolutely persists in his determination to » fulfil his contract, unless some person should chance to come to the inn before midnight whom he might kill instead, and pass the body in a sack to Rigoletto as that of the murdered Duke. Upon hearing this Gilda at once re- solves to save the life of the undeserving object of her affections by sacrificing her own. She knocks at the door of the inn, is admitted, and instantly stabbed by the cold-blooded assassin. Shortly after, Rigoletto appears, pays the bravo, and receives from him the sack containing (as he supposes) the body of the Duke; he proceeds to throw it into the river which runs at the back of the inn, but before he has time to accomplish it, he is astounded by the voice of the living Duke, which he hears at a short distance; he instantly suspects foul play, tears open the sack, and is horrified to find, instead of the dead body of the hated Duke, the dying^orm of his be- loved daughter, who almost inmiediately ex- pires. Overwhelmed with terror and anguish at the fulfilment of the dreaded malediction, he falls senseless on the body of his unfortunate daughter. RIGOLETTO. ATTO I, APT I. 8CSKA 1. — Sola magnajica nd PaUazo Duade, eon poru net Jimdo, die jnettono ad aitn tale, pure ijJendidamenie iliu- minate ; faUa di Cavalieri e Dame m gran cottume neljbndo dtUe tale ; Paggi che vanno e vengono. La fata i nd mu pieno. Attuica interna da lontano e terosci di rita di tratto •n tratto. n DroA e BoRBA, che vengono da una porta del Jbndo. Due. Delia mia bella incognita borghese, Toccare^il fin dell' avrentora io roelio. Bor. Di qaella giorinche vedete al tempio f Due. Da tre lane ogni festa. Bor. La sua dimora 1 Due. In an remoto calle ; Misterioso an nom t' entra ogni nottr Bar. E ea colei chi sia L' amante aao * Doe. Lo ignora. [Vh gruppo di Dame e Cavalien attravertan ia tola. Bor. Qaante belt^ I — Mirate. Due. Le rince tntta di Cepran la spoia. Bor. Non r" oda il Conte, o Dnca — [Picmo. Due. A in« che importaf Bor. Dirlo ad altra ei potria — Due. N% Bventora per me certo saria. SCEI^ l.—ifamifieent Saloon in the Ducal Palnce, mtt opening in the back tcene, through which other Saioont an men, tM u>hcU brilliantly lighted Jor a Ftte, which it at itt height — Nobles arid Ladia in magnificent costumes movim in all directiont — Pages passing to and fro— Music heard m the distance, and occasional bursts of merriment Enter the Duke and Bossa, from the back Duht. Beantiihl as youthful is my unknown charmer, And to the end I will pursue the adventare. Bor. The maiden you mean whom you see at the chaidi 1 Duke. For three months past, on every Sunday Bor. Know yon where she lives 1 Duke. In a remote pan of the dty, Where a mysterious man visits her nightly. Bor. And do you not know who he is 1 la he her lover ? Duka. I do not know. [A group of Ladies and Gentlemen crosses the flag^ Bor. What beauty I — ^Do you not admire it ? Duke. Ceprano's wife surpasses the handsomest of them. Bor. Mind the Count does not bear you, Duke. [Softlg Duke. What care I for him ! Bor. It may get talked about. Duke. That would not much affect ma QUESTA O QUELLA—'i/nS THE FAIR THRONG. Air. Dukr. ^ 15 ^ ^^^^ g^E Vn^^ 1 T :& Qnes-taoqnel - la..'. per me pa - il lo - no 'Mid the fair throng that tpar -kit a • round A quant' al - - tre d'in- me, Not one,... o'er ajr ^^ ^^=^ IL-M- = g=J=rJ: V y 1 d t ^czzuz tor - iio>>>> d'ln - tor - no ml re - - • do, heart — not.. '• not one o'er ny heart holds tway; Del mio co - !«•••• Though a noeet tmiU rim- m :5=ri wm ^m pe - ro non c* - • do-> mt uuKt awiy cAarm aw,-. Meg - llo ad n - mi A glance from tome bright eye...' che ad al - tra its «mD irivs bel- RIGOLETTO. V^ LJ'" -?-'Mf— ^ ?m ^^ ■ ^^m&m may. Ls 00 - ito - ro arre-neii u ft qiul do - - no AU a-lik* map at-traet mcA in tMm wiappUa—; TH Che il fk - to ne in- Noie with one I map I tel3 S ^ §^ !S ^—f-Jt flo (ri n Ik and ti ta; piay, 8' og - Rl Dim an qua • ita. «a tb di Cbpkaho, d. A notte. Tutu. Sari. [La fbOa deT danatan uuade la lala. Tntto i gioja, tntto e feata, Tntto invitad a goder ! * Oh, guardate, non par qneata, Or la reggia del piacer I CbiKa di Monterone. [Doll intomo.] Ch' io gli parU. Enlra il CoNTic DI MoKlBaom. Dm No. Mm. D TogUo. futti Monterene I Mm. [Fissando il Duca con nobUe orgoglio.] SI Monteron — la voce mia qnal mono Vi Bcuoterti dovnnqne— JUo. lAl Duca, amtraffaamdo la voce di Monterone.] Ch' io gU psrlT [Si avama eon ridieeb pmOa. Mar. \Eagtrl;g.\ O, |nch newa I anch newa I hare 1 CKo. ! What has happened ? — lell w Mar. Ton will be qnite anrprised. Cho. Narrate it I narrate it I Mar. Ah I ah I Bigoletto— Clio. What of him « Mar. A strange adrentnre Clbo. Haf he loat hio hnmp 1 la he no longer deform'd * Mar. Stranger much than that ! — The idiot has taken — Cho. Taken what 1 Mar. An inamorata ! Cho. An inamorata ! — Incredible Mar. Into a cnpid the hunchback U transform'd. Cko. Oh, what a cnpid I — What a comical cupid 1 Enter iJu Duxs, fillowed by Rioolbtto, and Csr&Aso w the background. Diiht. [T» Biffiiletto.\ What a troublesome feUow Ui thai Ceprano I Bat his wiie — to my mind she's an angel ! Rig. Than carry her off. VvJot. That is easily said — but how to do it 1 Big. Do it to-night. Duke. Ton do not consider the Count. Big. Can you not put him in pr^MB 1 Duke. Ahl no. { Big. Than why not banish him ? Duke. Boifooa, I dare not Big. His head, then. \Making ligns of cutting it og Ctp. [Coming fonoard.] (Black-hearted rillain I) Duke. Is this the head you speak of? [Placing hit hand on the ihmdder of the CoaM Big. [Laughing.] Of what value is such a head as that ? Cep. Miscreant I [furiouely, and drawing hie tword Duke. Forbear. [To Cepram Big. He only makes me lauch. Cho. He is frantic with rage. [Among uiemeelvei Duke. Buffoon, come hither. [Y'o RigoUtte Ton always carry your jokea too far ; — The anger you provoke may one day on your owi head alight. Big. Who can hurt me f^-1 have no fear. The Duke'a protig^ no one dares to injure i Cm. Vengeance on the bnffiKin I [Atide to CourHen do. And who amongst as Has not some wrong to be avenged 1 Cat. And they shall be avenged I Cm. But how ? Cep. To-morrow, let all who have the conrage, By my aide, and armed, appear. Cho. Be it so. Cat. At night. Che. Agreed. [ Oroupi of Daaoert tippim All here is joyfhl — all here is festive ; To pleasure all here invites ; Oh, look around, and in all faces see "rhe reign of voluptuous delights. Comt Monterone. [From without.] I will speak to him Enter Comn MoMTXBOira. Duke. No. Mon. Bat I will. Cho. Monterone I Mon. [Dtoking icornfuUy at the Duke.] Yes, Monterene — against crimes like thine There is yet one to raise a voice. Big. [To the Duke, mimicking the voice of Monterone.] I will apeak to him. [ With mock gramti B WGOLETTO. V-oi oonginrute oontro noi, ai^ora, E noi, dementi in vero, perdonamino — Qoal vi piglia or delirio— -a tntw !' ore Di yostra figlia reclamar 1' onore < Uon. [Guardando Rigoletto con ira tprezzantt.] Novello insolto ! — [Al Duca.^ Ah, s\ a tnrhara Sarb vestr" orgie — ^verrb a gndare, Fino a che vegga restani inoltq Di mia famigUa 1' atroce insulto ; E se al carnefice pur mi darete Spettro terribUe mi rivedrete, Portante in mano il tescbio mio, Vendetta chiedere al mondo e a Die. Due. Non piit, amstatelo. St;. E matto ! Can Qnai dettil llim Oh, liate entrambi Toi maledetti. [Al Duea t Bigelttto. Slanciare il cane al leon morente E vile, Duca — e ta serpente, [A BigoteUo. To che d' nn padre rida al dolore, 8ii maledetto I Big. . (Che sento f onora !) [ColpUe. Tutti meno Bigoletto. Oh, tn che la festa aadace hai tnrb to, Da nn genio d' inferno qui fosti gnidato ; E vano ogni detto, di quk t' allontana — Va, trema, o Tegliardo, dell' ira sovrana — Tn r hai provocata, pih spheme non t" h. TTn' ora fatsle fn questa per te. [Monterone parte Jra due alabardieri ; tutti gU altri leg^T (mo il Duca m altra stanza. 8CENA n. — L' Estremita piii deserta eC una Via Citea. — A tinittra, Una casa di discreta apparenxa, am una piecola torte ciroondato da muro—Nella corte u» grouo ad aao alb»- ro ed un aedile di marmo ; net muro una porta che m^i* aUa Itrada ; topra il muro un terratzo practtcabile, woitauito da arcate — Iji porta del prime piano da gu dett* terrazm, a cm a OKxnde per una scala di frontt — A dettra, delta via i U muro altigsiTno del giardino, e un Jianco del Palaao di C»- praiu. — E notte. BiSOUTTO chiuio net sua mantdlo. SPAliJUOii>B i* M^w, portando sotto il mantello una iunga tpada. Big- (Qnel vecchio maledirami I) Spa- Signor ? Big- Va non ho niente. Spa- 'Sh il chieai — a voi presente Un nom di spada sta. Big- Un ladro f Spa. Un aom che libera Per podo da un rivale, B Toi ue avete— Rig- Quale ■> Spa- La vostra dunna i Id. lag. (Che sento ?) E quanto spenden Per un signor dorrei '> Spa. Prezzo maggior vorrei — ffi;. Com' usasi pagar ? Spa. Una meta s' anticipa, II resto si da poi — Big (Dimonio ! j E come pnoi Tanto secuTO oprar ' SfM Soglio in cittade accidere. Oppure nel mio tetto. Xi aomo di sera aspetto — Une stoccata, e mnor Sit. E come in cwa ' Against u* joa have oonspbed, signor. And we, in onr clemency, hare pudoned jou 'Tis madness in all seasons to come here. Wailing about the honor of your daughter. lion. Looking icomJuUy at BigoleUo.\ Despicable bnifoon \— [To Duke.] Ah, thns will I Thy rile orgies ever disturb. In all plaoef Shall my weeping voice attend yon, While unavenged shall remain The ^ss insult on my family inflicted. And if to the hangman yon consign me. As a spirit will I again visit thee. Till the vengeance of Ood and man o'erwhelm thet Duke. No more of this — arrest him. Big. He is nuul I Cho. What ravings ! Man. Oh ! on both of ye be my malediction I [To tht Duke and Higolelto Vile is he who hounds the dying lion,. But viler thou, O Duke, and thy serpent there, Who the anguish of a parent can deride I A parent's curse be on ye both I Big. (What do I bear I Oh, horror!) [ Grtatly agitated All except Bigoletto. Audaciously thou hast this ffete distorb'd. By an infernal spirit hither led. Vain are thy words — deaf to them our ears Go, tremble, old man, at the sovereign anger Thou hast provoked. No hope for you remains ; Fatal will this day prove to thee. [Monterone i$ marched off between Halberdiert — the otktrt fiUow the Duke. SCENE 'O.—The Extremity of a Street that hat no thomugK fan— On the left a Boute of retired appearance, mthin a oourt-yard,fom which there it a doonaay into the ttreet. — In the court-yard are seen a tail tree and a marble teat — at (Ac tap of the uxiU, a Terrace, supported by archet, and reached by a flight of Stent in front. — On the right of the pattagi it the highett wall of the garden, and the gable aidjfU^ Palace of Ceprano. — It w Night. Enter BioOLBTTO, enveloped in a Cloak, followed bf SeAjLj ruoiLS, who hat a Umg Sword unJer hit Cloak Big. (^0^ fearfully that man cursed me !) Spa- Signor — Big. Go : I have no need of you Spa, Be that as it may, yon have before yoo A man who knows how to nse a sword Rig. A robber 1 Spa. No — a man who, for a trifle. Will fi'om a rival free yon ; — And have yon not one ? Rig. Who is he ' Spa- Have you not a mistress here ? Rig. (What do I hear?) What would i' uyut x To rid me of a signor 1 Spa, More than for a lesser man. Big. When must it be paid ? Spa. One half beforehand. The other when the deed is done. Big- (O, demon!) And how can yon Be sure of success '> Spa. In the street sometimes thev fall. At other times in my own nonse , — I waylay my man at night — A single blow, and he is dead. Sia And how in your own house ' RIGOLETTO »?• Kg Spa Big. £g. Spa Rig Spa. E(scil«— M' aiu ji mia lureUa — Per le vie danza — ft bella — Chi TOglio attira— e allor — Comprando — Senza strepito — B :iQe8to il mio stxomento. Vi serve 1 No — al momento — Peggio per voi — Chi sal Sparafncil mi nomino— Straniero ■? — Borgognone— \8pa. [Moitra la ipada. [Per andanene. ^Sparafucil parte. E dove air ocoasione 1 — Qal sempre a sera Va. Pari siamu ! — lo la lingua, egli ha il pagnale ; L' uomo son io che ride, ei qael che apegne I Quel vecchio maledivami ! O aomini ! — o Datura ! Vil scellerato mi faceste voi I Oh rabbia ! — esser diflForme ! — esser bnffone I Non dover, non poter altro che ridere ! II retaggio d' ogni uom m' ft tolto— 11 pianto I Questo padrone mio, Giona, giocondo, si possente, hello, Sonnecchiando mi dice : Fa ch' io rida, buflbne. Forzarmi deggio, e farlo ! Oh, dannazione I Odio a voi, cortigiani schemitori I Quanta in mordervi ho gioia I Se iniquo so, per cangion vostra e solo- Ma il altr* uom qui mi cangio I Quel vpf-ohio malediami ! Tal pensiero Perch)' ooiiturba ognor la mente mia ? Mi cogUerik sventura 1 Ah no, ft follia. {Apre am chiave, ad entra nei cartiU Entra Gilda, ch' eaoe daUa caaa e m fatta tuOt tm bmoda. Ru. FigUa ! Gu. Mio padre I Rig. A te dapresso Trova sol gioia il core oppresso. Gil. Oh, quanto amore I Rig. Mia vita sei 1 Senza te in terra qnal bene avrei 1 [Sciptra. Oa. Voi sospirate !— che v* ange tanto ! Lo dite a questa povera figlia — Se v' ha mistero — per lei sia franto^ Ch' ella conosca la sua famigUa. Big. Tu non ue hai — Qnal nome avete 1 A te che imports '? Se non volete Di voi parlarmi — Rig Non uscir mai. \Intemmiptndata. tJil. Non vo che al tempio. Big Or ben ta ftL M. Se non di voi, almen chi sia. Vate cb' io aappia la madre mis' Rig. oa. Spa. Rig. Spa. Big. Spa. Rig. Spa. Rig. Spa. Enter Rig. GU. Rig. GU ^: ^: Rig. Gil. All the easier - I have a sister there who helps. She dances in the streets — she is handsome - Those I want she decoys — and then — I comprehend. There is nothing to fear : My trusty weapon never betrays me. [Showing hit lamra Can I serve you t No : not at present. The worse for you. Tour name ? Sparafucile is my name. A foreigner ? From Burgundy. [About Ui ge Where are you to be found ? Hereabouts, every night. Go. [Exit iSporq/Wu" How like are we ! — the tongue my weapon, the dai^ ger his I To make others laugh is my vocation — his to mat < them weep ! How that old man cursed me ! O, man ! — oh, human nature I MHiat scoundrels dost thou make of us ! Oh, rage I To be deformed — the buffoon to have v play I Whether one will or not, to be obliged to laugh t Tears, the common solace of humanity. Are to me prohibited I Youthful, joyous, high-bom, handsome. An imperious master gives the word — " Amuse me, buffoon," — and I must obey. Perdition I How do I not despise ye all, Ye sycophants — ye hollow courtiers ! If I am deform'd, 'tis ye have made me so ; But a changed man will I now become. That old man cursed me ! Why does that cum Thus ever haunt my harass'd mind ? What have I to fear ? Ah, no, this is mere foUy I [Opens a door with a key, and enteri the j/ain GiLDA, coming from the house, and throwing kemli into her father's arms. My daughter I My dear father I Only when near to thee Does my oppressed heart know joy. Oh, what affection I My only life art thon ! What other earthly happiness have I ? [Sigimt Why do yon sigh ? What ails yon 1 Open your mind to your poor daughter. If any secret you have, to her confide it ; And do about her family inform her. Thon has not any. What is your real namel What matters it to thee 1 If yon are not willing Of otir family to speak — Do you ever go out ' [/nterruptim v Only w^hen I go to church. In that thon dost right If of yourself yon will not speak. At least tell me something oi^ my mother lO RI60LETTO. DEH NON PARLARE—SPKAX. NOT OV OSB. Aim. Bioouno. ^^ ^ ^ ^ :^^ J — i Deb non par - U • re al mi - M Speak not of one wAom ion to ^^ :^^^ Dal ino per - da lo be AB earth can boatt could ne'er $^ :t :t. m £1 u Her a» sen - tU, quell' an ge - lo, 9a' ybrm iM - tMtUa I •••, PI* • A.... del ■ le Who lov'd nw, OouffA de - form'd ^~l ; ;y g i^^-rr^ fi s^NlfeiEi mle pe and poor. m. 89 - lo, dif - for-me, - po - Te - ro, Fi-t^, okt Oil-da; apart wul f\i L ■ ^ F > p » ' , T7^ Per com-pai-slon ml a-m5. Abl mo - ri - a, Ask it, mf child, no more. Aht the died ; — — — — — ^ ~»- -1- -^ -»-'^~ mo- ■ay 3^^ j' y u — I3=g ^ S ri -a; «artA le zol - le co-pra-no Lie - t1 qnel ca-po a-ma-to; So -la or -tn re - iti, reft light-lff on.... her; To me jMi lott for er - oo ' rel Clie te - me - - te, pa - dre ing, Ifalh-er dear,.... wAy tku* dit- One from whom... . there'e no eon - eeal 9 Te - glia nn an ing Ouidee me ev gllol pro - tet- «r on mp ^^^m^ m^a^m ^ i tor. way. Da JVo« noi Rto on ft($;A glie le sren - ta my tHoth ■ ti'e epir n IM mia it Leadt me ti4 ?= V I, ) V ^t- i - [i D !j -a: 5=?: ~ g~~g" fefeff dre 11 prie - go icitA (en - der ^^^^ ■an can,-. to Non fla mal... While (Ait Aenrt dU - Tel-to o fran bean life with -in. to Qnes-to a vol.... it, 'TwiU de fy.... di let - to fior, eacA art ful mare. tntra U DuOA, tn coetume borgheie, deUa itrada, Sjy. Alcnno i fiiori — \Apre la aorta della Corte e, nentre etce a guardar mOa Urada, il Ouca guizza Jurtivo neUa emit, e ti nat- conde dietro I' a&ero ; gettando a Gionanno una bona ta fa latere. Oil Cielo ! Sempre norel sospetto — Bis L^ Oitda, tomando.\ Vi segiiiTa alia chiesa ma.' ne^^nn: 1 68. Hai. Dm (Bigolettto.) gig, B» talor qnl picchiano Otuudatpri la apiir — O^B Nemmeno al Duca ^ The Dmu, in ditguite, u Men (o arrive in the street. Big. There ii some one oatside. [RigoUtto come* through the garden-gate, and look* abom the ttreet ; while doing to, the Duke iteaUtdlj gltdei in, and hide* himeelf behind a tree, throwing t pta* to Giovanna. Oil. O, Heavens I He is always snsplcions. Big. [iZeturnin^' to GSda.\ Does any one erer follow Ton to chnreh 1 an. No. Duke. (Bigoletto.) Big. Bhonld any one knock, Oo no acoonnt admit him. oho Not etan the Dnkft 19 RIGOLETTO. Rig. Meno che a tatti a Ini. Mis flglia, addio. Due. (SoafigUal) Gil. Addio, mia padre. [S" ahbradano, t BigoUtto parte, ehiudendogi dittro la porta. Oil. [Ndla corte.] Qioraima, ho dei rimoni — Git. E perchi mai t Oil Tacqai che on giovin ne sequira al tempio. Qia. Ferch^ cib dirgli 1 — 1' odiate donqae Cotesto gioTin, Toi 1 QU. No, no, chi trop- ■ e spira amore— Oia. E magnanimo s .a signora. QU. Signer nfe princnj>^ — io lo vorrei : Sento che povero — pih 1' amerei. Sognando o vigile— eempre lo chiamo, E P alma in estasi — gli dice t' a — Due. \Etce improwiso, fa cenno a Giovanna cT andarmn*, < inginocchianiiosi a' pied di Gilda ttrmina la fiaie.\ T' amol T' amo, ripetilo — si caro accento, Un pure schiudimi^iel di contento ! Q&, Gioranna 1 Ahi, misera ! non t' % piil alcnno Che qai rispondami I Oh Bio ! nessono I One. Son io coll' anima— che ti riepondo— Ah, qae che s' amano — son tatto nn mondo I on. Chi mai, chi giungere— vi fece a me f Dite. S' angelo o demone — che imporU a te 1 Io t" amo — Qi. Uscitene. Dme. Uscire! adeuol Ore che accendene — ^on fhoco istesio I Ah, inseparabile — d' amore, il dio Stringeva, o Tergine — tuo^ fato al mio I Big. AboTe all others keep him oat. Oangb The words repeat I Such delicious accents Open to me a hearen of enjoyment. GU. Gioranna 1 Alas, no one answers me 1 There's no one here I Oh, hearens, I'm alone ! Duke. No I I am here ; and to thee I respond — Against all the world I will protect thee I GU. Why thus address yourself to me t Duke. Whate'er your state, to me it matters not — I lore thee I GU. Oh, go away. Duke. Go awa^ ! No, not yst I If lore's firs within us both be lighted, Inseparable we should henceforth be ; O, maiden bright, thy lot with mine unite I E IL SOL DELL' ANIMA— UOTZ IS THE SUN. Aib. Dira. w h-3- • *- ^m I, I . I , -#-r -=3: ^si *i»-i — ^ — 1 E il sol dell' a - nl - ma, la rl-ta i a - mo - re, ZiOM u the fun by vjluch pat-tion ie light - ed. Sua ro • ce % U pal - pi - to del no - stro Hap-py the mor ■ tal tolto feels its ^ Ej^E^fi^^ il » I -j^ 5=3: tf-ipi ^mi^ CO - re, pou - «r ; £ fam - a e gio - ria, po - ten - za e tro - do U - ma - ne iVa - gi - 11 qui Each pleaturt once prix'd mth-out it leeme blight ed. With it toe heed not what iP^ :#^;P H»- co - se so no : TT - na pur ar - re - ne, to - la, di - rl - na, £ a - mor che 1 fate may thow er. Feel - ing e* - let tial, no joy t»r -rtt ■ trial Ev ■ er te ^ Sc S gy- ^^ 3^ gl'an - ge - 11 agl' an - ge - 11 plb ne ar-ri - d - me can nteh tweet joys tm -.part. na I A - dnn-qne a-mla-mo-d, don-na ce - le - it*. Akt May no blight ev-er this heart from thee 1 h^^m ^g^^ife^feg^ D inrldla agl' no - mi - ni sa - >{i per t«, D' in Beet in ny be mm, n^er to de - part. Beet dla agl' no - ml - ni ta - ro per ta. ^y be torn. Kef - er ta part. RIGOLETTO. 18 INZ (Ah de' miei vergini — sogni aon quests — Le Toci tenere — si care a me 1) Dih Che, m' ami — deh I ripetimi — Ou L' ndiste. Owe. Oh, me felice 1 W n nome Tostro ditemi ; Sapiirlo non mi lica * ErOra Cepbaho e Bobba, ndla ma. Ctp. E loco i qui — \A Bona. ZJue. [A Gilda.] Mi nomino — \Peruando. Bor [a Ceprano.] Sta ben — [E partono. Due Onaltier Mald^. Stndeute sono, povero. Gio. Rumor di passi i furore. | Spaventala Oii. Foi se mio padre. Due. Ah I cogliere Potessi il traditore Che s\ mi sturba I OH. [A Giovanna.] (Addncilo Di qu^ ai bastione, its I) Due. Di m' amerai ta f Oii. E voi ■> Due. L' intera vita, poi. Gil. Kon pill, non pih, partite. A 8. Addio, speranza ed anima Sol to sari per me. Addio, rivrk immatabile L' aflfratto mio per te. [Parteil Duca tcortato da GiovanHa — Oitda nMn finoM- do i partito. OH. [Sola.] Goaltier Mald^ I nome di Ini i\ amaio. Scolpiciti nel core innamorato ! Gil. (Ah ! how these words my ears delight ! His tones, how tender — and how pure his loTe I) Duke. That you love me — oh, the words repeat — GU. You have heard. Duke. O, joy unlooked-for ! Gil. Your name, now, I pray you tell me ; For I never yet have heard it. Enter Cbprano and Borsa, fiom the street. Cep. This is the place. Duke. [To Gilda.] My name is — Bor. [To Ceprano.] All right. [To Borta Duke. Gio Oil. DiJbt. 1 am a student — a poor student. I bear foots'ops outside. ^ Theu dqxui Walter Maldfe. I /n alarm Perfaapa it ny father. ^h I eoatd he traitor catch ' o tbn" T ■ mes to interrupt C'l^ \"v i L .u being with thee! Oil. ) /o (^tut^uima.] (Quickly away ! 'io the baotioa conduct him — go I) Dukt. Irint saj that yoa love me ? Oil. And yon ' Dwbi. With my whole heart I swear it. Gil. No more, no more, at once depart. Both. Farewell, my hope, my soul, farewell ; For thee alone henceforth I'll live ; Farewell I Immutable as Fate Shall be my love and truth to thee. [Exit the Duke, escorted hy Giovanna, Gilda ybUowmf his itepi unth her eyes. OH. [Solxu.] Walter Maldfe I What a romantic name 1 Already is it on my heart engraven I CARO NOME CHE IL MIO COii— DBAH NAME WITHIN THIS BREAST. Aib. Gilda. I ^^ y==if f-^-f-^ =F==F^ itrfcfc 3:? , >*Ca-ro no me chell mio cor Fes -tl prl mo pal pi tar, Le d« Dear name, viOi in tAtf breast Thy mem' ry will re - main; My fe ^^ S^J ^S ^^==tj^^ tl love, lie for dell' fhee mor Ml dil sem pre fu^i. No pow er ram can tar) strain. Col pen AM sler Q mio de - sir yet, 'Us bliss to own A te iem The joy pre TO that JtlU le rii, E fin I' ol - tl - mo my heart; 'Twin beat for thee ss -w-« * »S^' g^^^ss ^^=F ipir, Ca - ro no - me, tno lone ; TUl death 'twiU ne'er rk. parti Col pen • sier 11 mlo de ■ iii 'Twin beat for thee a • Ihm ; Si* B ^^3 aai ^ ^Tr=f5rnn^ ^^ mFl Fg ? ^^fg^ A te gem-pre vo - le r«, E fin AJil taideath'twittn^Tde parf/ 'TinS I'nl beat. tl '(wtO mo>«> •••• beat f* 14. RIGOLETTO. mio lo-ipii, Ca (Am a ■ • Ion*, AX I ro no tUalk. me, 'tmO tno ne'er Ctpram. Bcco le chiari. [PalpandoU.] Sento il lao itemma. (Ah, terror rano fh dnnqne il mio I) Bm. Or- am: Mar. ^ar ft Mm «?. Mar fiL N' h li palazzo — con Tio ion lo. Slam mascherati. Ch' io pur mi mai ehari ; A me ana larva 1 S\ pronta h gik. Terrai la scala. [ GU meae una maschera, e nelio tte—o ttmp* l» btHda eon un fazxaUtto, e U> pone a reggere una eeaia, eke ov- ranna appoetata al terrazxo. fltta i la tenebra ! . La benda deco e sordo il fa. {A' Cemtpagni. 1\tU. Zitti, zitti, moTiamo a vendetta, Ne sia cdlto, or che meno 1' aspetta Deriaore si andace costante A >aa voita schemito sari ! Cheti, cheti, ntbiamgli 1' amante, E la Corte doman rideri. \Alrwn talgono al terraxzo, rompon la porta del primo piano, tcendono, aprono ad aUri ch' entrano dalla $trada, e rteecono, traicinando OiUa, la quale osnk la bocoa chiuta da un fazxoletlo. ael t t au m mme <■ ■nmn ella p^nie uruL tciarpa. [She aeeendt the terrace, with a lantern in her Entar VLlkoujO, Ckfkaho, and Borba, euxmnpamed bf Courtiere, in Maela, and armed Bar. Look there I [Pointing towarde Oilitu Cep. Ah I there ahe is — Cho. Oh t how beaatifhl she ii I Mar. A fairy or an angel I Cho. Can that the mistress be Of Bigoletto •> [Thq all laugh Enter Bioolbtto, alaorbed in thought. Big. (Laughing I what can it mean t) Bar. Silence, to oar work ; we've no time for laoghiag. Big. (Ah I how fiercely that old man con'd me I) Who is there * Bar. i\To hit companiont.] Be silent, 'tis Bigoletto. Ctp. A doable captore ! We can also slay him. Bar. No : to-morrow it will make more sport. Mar. Bat now everything is ready. Big. (Who is speaking ta well ifor. Is't jaa, Bigoletto— say. Big. [ContidenMy agitated.] Who goes there * l/or. Ton will not betray ns — I am — Bu. Who? Mar. Marallo. Big. In the dead of night for ^ood yon are not here. Jmt. 'Tis a ridicoloaa frolic bnngs as here ; Ceprano's wife we mean to carry off. Big. (Once more do I breathe.) Bat how do yon enter < M!ar. [T» Ceprano.] Hand here the keys I [To Bigoletto. \ Donbt ns not ; We are not to be foiled in a stratagem. [Handing him the kegt taken from Ctpramt Here are the keys. Big. [Feeling the kqe.] I feel that this is his crest. (Ah ! then all my terrors have been needless I) [He breathei more fro^ Tonder is his palace— I will go with yon. Mar. We are all disgniied. Big. Then so. will I be ; Qive me here a mask. Mar. Well, here is one. Ton shall hold the ladder. [Puts n mruk on the face of Rigoletto, faetaii it bf a kaiwOeerchief aerou hit eget, and placet Aim at a lad- der, againit the terrace wall, to keep it tteady. Big. How very dark it has becc me! i£ir. The bandage renders him both blind and deaf. [ To hit compam u ut All. Silence 1 silence t while vengeance we seek ; In his own trap now let him be caught ; The jester who constantly makes as his sport, Shall now, in his turn, oar laughter provoke. Hush I be quiet I his mistress we'll seize. And, to-morrow, at conrt have our laugh [Some aecend to the Terrace, force a wtndow, bf tekut theg enter, and detcend to the door, which theg open u alhert, who enter and drag out Gildo—ehe hat km mouth gagged with a handherehitf- — wAUe ienv drw^ god oonMS the lage, a ooarf falv from W KIGOLETTO. 10 0i. Soeoono, padre mio— Ow Vittoiu I 0& Altai {Ptk Sif Ron ban finito anoor ! qoal deriiione ! \Si toeea gU eedu. Bono bendato 1 [SK ttmppa inmtuotamatle la benda t la matchera, ti al duarore ef una interna Kordala rieonoKx la idarpa ; vmie la porta aperta, entra, ne trae Giovanna ipavm- tata ; la JUia eon istuport, n itmppa i eaptik (oua fwto- gndare; fiuUmenU, d^to maU $foni, m- elama: Ah I — la Maledinone I rim Daix' atio rxivo. ATTO II. BCENA L—Saiotto mf Palaxzo Duealt—Vi mm tbm fmrU lattnUi, una mag^ion ne2 fondo eh* ri dUudi — A' nut lati ptndono i ritratt, in tutta figura, a nnutra, OF ACT I. ACT II. SCENE I.— Saloon in the Duhtfe Palai*— Large Foldtna. door* in Baek-eeone, and imalier onee on eaeh ride, abim wkteh hay portraitt of the Duhe and the Duehen—A tabU ee vM -ed wUh velvet, handeom* ehairt, and ethar appropriak finuture. Entor the Dukb, 6y centre doorwag, much agitattd. Ihke. She haa been stolen from me I Bat how, and bj whom ? Oh, heaveni I Thof to lose her at the very moment When my passion most demanded her I The door was wide open — ^the honse demtod I Whither can the dear angel have flown I She who first within this wandering heart The joys of a trae lore hath awaken'd — She so pore that, by her modest bearing, To trathinlness I feel me now inclin'd. She has been stolen from me 1 Bat, to do it, Who has dar'd I On him shall vengeance ^[ght I Grief for my bdoVd one rengeance demand* I PARMI VEDER LE LAGRIME—DKAS, MAID, EACH TEAB. Aik. Duu. I ^^ -r-t ^^i^^^ ^^ ^^eB ^4=* Par - mi re - der - le Dear ataui, eaeh tear tf grl - me Oua faUe, Soor-ren ' jaoekMii tl eigk da OuUbo quel cl - glio, Qnan-do tn 11 dnbUe e eom heav4ng Pin-ing wiikrin «« m £k s 4-- ^ ^^n^0^ ^^E ^^k4 =^ t? — 9~V' I'an - ila Dei in - - td - to pe-reg-Uo, Dell' a-mor no-f tro me - mo-re, Dell' a - mor no - itN droarp mUb, Fill* me with gritf Om^e no j*1i*v4ng. AXt vainlfdidet thou erf to me, Ahl eatn-Iy didt thou ^ M-4- g ^^ _SJ r ^SE KS - te a aoc ' cor rer - tl. ^^ :?=^ ^ mo - re, H no Qoal-tier ehia-md. Ved to m, "Bsftia*. lisar ITai-tsr.fti^r / pc - te a aoc ' cor a - laal wa* far 16 MGOLETTO. ?te ^ ^m^^^^^^^^^^ Ca - ra fbn-cinlla a-ma-ta; El cbe Tor - ila ooll' a • nl - ma Far - tl qnag-|[lA bt- 1^0 aid could I af-ford thee; Yet, could my life fky tooet re - pay, Olad - ly ex-ehang'd it | feifcbfe^ i5 ^ig ^ [.j^^ t?=^^g^^^gg =H=^- a - ta; El che le afere agl' an - ge - 11, Ei che 1^ sfere agl' an thould be. Not e'en the an - gelt' blett'd a - bode Could peace to me re - itore. ge - 11 P« to me re- fefe^f-f!-^ -» f^ J-sSz. 4-^-H^f^^ ^ ■^ X- te non In - t1 - dl6, store, from thee a -part; P^^ El che le afb - re ; Le sfere agl' an - CouXd peace to me re- etore : Not «'«n tAe an I - 11 Per • te per - gele' bleee'd a - ^^ii^^g^^g. =n: =>■ -^ te...... Le efe - re agl' an - ge - 11 bode Could peace to me restore, Entrano Kijtuixo, Cxpsiiro, Boui, ed cUtri Cor- tigiani. Tutu. Daea, Dacal Oik. Ebben 1 Tulti. L' amante Fn rapita a Rigoletto. Due. Bella I e d' onde « rWti. Dal ano tetto. U^. Ah, ah I dite, come fn 1 Per-te non In - t1 - did non In - t1 - dl6. Could pviee to me re- ttore, from the* a • part. Enter i/UMVLLO, Cipkiko, Bosba, and other Camr tier: AU. Oh, Duke I oh, Duke I Duke. What news ? AU. From Bigoletto We hare carried off his mistress. Duht. Capital I Where is she ^ AU. In yonr palace. Ouke. Ah, ah I tell me how 'twas done f lA SCORRENDO VNITI—AS WE WITH GLEB. Chobub. gjjg^(LgJ5ij |jEj5 yMf=JL^-3=p| g ^^33:^ ^ ^ Scor-ren - do n - nl - - • tl re mo Am we with glee on mi* chief bent U but Tl - night - a rov d. BreT'" o ^S -f-^-T ;~gi=g IS WTim huth'd -. ^ ra in SutliS^fe^ do po ca - dn • to 11 dl;..*. Co - me pre - ri - sto ben I'e-raln fid sleep the world —em'i bu - ried, Th* one we tougU we met, a - {one, mis- ^^^^g^^^^^^^E^^^^i dl si SCO • pr\. E - ¥a pri - k, trutt - ing, Ra ra Be -tide bel - tk th* houtt d si SCO - prl, t* wMeJk we guet^d th* bird wai eag'd. -N- E - 'fa 1' ^ The charm - ing ^ig-^^^^5R^ .f ^^=yy^ p^| ^,^j^j,j;±^ /lur mM iii dl Bl go - let go to'* ^— lel"^- to -Che,"Tls - ta ap - p« mil - tre**, -But th* af - fright n», to li dl - to- her home (kea Ei s 5fe4= l 'gnb. ' GuT dl ra - plT"- la s'a - Tea 11 pro - get ran; Th* jett er (Am ap-poar'd, with whom w* iport ^^^ it to, Qnan-do 11 bnf- m(.- "Oive M tfty fon* noi da ■ pra tpnn-tb, ^r - nol «o'i I I'/k (a SMir' spun ■ td; B - wan/" Che dl Oe - ptm no nol U Cob Th* 'foo h> fM in; ok. RIGOLETTO. 17 ■fsr Ir TO • let - il - mo, itol - to, cr« - d«; La aca - I« let - il - mo itun MM plae'i be - fert tea ten I i* aa ing I Ba - plr TO A ban - dagt mm hi* adesso non ridete 1 Ella i li, la vogl' io, la renderete. ( Carre verso la porta di mexxo, ma i Corligiani gli ottra- vtrsano il patsaggio. Cortigiani, ril razza dannata, Per qnal prezzo vendeste il mio bene ^ A voi nalla per 1' oro sconviene, Ma mia figlia i impagabil tesor. La rendete— o se pur disarmata Qnesta man per Toi fora omenta ; Nulla in terra piit I' nomo parenta, Se dei tigli difende 1' onor. Qnella porta, assassina, m' aprite : I Si getta arwar tulla porta che gli i ntiamnunte ecnteaa dm Gmtiluomim ; lotta atipianto, pot Coma aponote tut davanti del teatro. Ah I voi tnto a me contro Tenite I [Ptange Ebben piango — ^Mamllo — aignora. AU. (What new thonght now has seized him — A sndden change has just come o'ei him.) if or Unlucky Bigoletto I — Cho. Here he comes — be sileait ■!) KtUer Bigoletto. All. Good morning to yon, Bigoletto. Big CThey are all of them in the plot.) Cqi. What news do yon bring Buffoon 1 Big, More than ever Are yon wearisome to me. AU. Ah ! ah ! ah ! Big. (Whither can they hare carried her?) [Looking about aMewuHif AU. (See how nneasy he appears ! ) Big. [Sardonicalty.] Happy I am To see that no hnrt yon have taken From the cold air of last night. Mar. Last night, said yon 1 Big. Tes — Ah ! 'twas a capital trick. Mar. I was asleep, all night Big. Oh I yon were asleep ! then I have been dreaming ! [He it about to go, when, teeing a handkerchief on Ihi table, he anxiously examines the cipher on it. AU. ( See how everything he scrutinizes !) Bag. (It is not her's.) [Throwing it domm Is the Duke still sleeping ! AU. Tes, he is still sleeping ! Enter a Page of the Duchess. Pag*. The Dachess desires to apeak to her lord. Cep. He sleeps. Pag*. Was he not hate bat lately ? Bor. He has gone konting. Page. Without his suite I withont arms ! All. Canst thou not nndentand, That for a short time he cannot be seen < Big. I Who has been anxiously listening, suddenly miia amongst them, and exclaims — Ah I ahe is here, then. She is with the Duke t AU. Who « Big. The maiden whom last night From my honse you forced away. AU. Ton mnst be mad. Big. But I will have her back — she mnst be here. AU. If your mistress you have lost, elsewhere Seek for her. Big. I will have back my daughter I AU. His daughter, says ha ' Big. Yes, she is m^ daughter ; you will not now O'er such a victory ezidt. She is here, I will have her, give her back to me ! \Ht rushes towards the door in the centre, but th* Com tiers bar his progress. Minions, sycophants, panders, thieves. At what price have you my daughter sold t Your sordid souls no crime intimidates, But priceless is a daughter to her father. Bestore her, or, thon^ unarmed I am, Fearfully shall this hand assail ye ; Naught on earth can a father dismay. When the honor of his child he doth defend Assassins, open that door, and let me pass. 'Be again attempts to pass the door, but is restraitud tj the Courtiers ; he struggles with them for a whik and then sinks exhausted to the ground. Ah I come ye thus all against me t [ Wminif Well, see I weep I MaruUo— Signor, RIGOLETTO. 10 Ta ch' nai 1' alma sentil come il core Dimmi or ta, dove 1' hanno nascosta < E U ■? E vero ■! tn taci 1 perch% ' Miei signori — Perdono, pietate ; Al vegliardo la flglia ridate ; Ridomarla a ' M nulla ora ooBta, Tntto il mondo fe tal figlia per me. tmtra Glu>A, ch' hk* doUla itrama a mmttra, e m gelta tutl» pateme bracaa. (M. aa. Taut em. Kg an. llio padre ! Oio ! mia Oilda I Signori, in essa % cutta La mia famiglia. Noa temer pih nalia, Angelo mio — fh scherzo non e rero % {Ai Ctrtigiana. lo one pur piansi or ride — G tn a che piaagi f D ratto — 1' onta, o padre I Ciel I che did < Arrossir Toglio innanzi a roi aoltanto [JViiwfto ai Cortigiani, am imperwo modo.] Ite di quit, Toi tatti — Be il Duca Tostro d' appreasarsi osasae, Che non entri gli dite, e ch' io d Bono. [Si abbandomt «W itggulom (Co' fancinlli e coi dementi Tn Ion SpesBo giova il simalar. Partiam pur, ma quel ch' ei teno Non lasciamo d' osserrar.) \EKon dai mtzxB * da nim k ia pmta. Parla — Biam soli. (Ciel, dammi corranio I) Tntte le feste al tempio Mentre pregava Iddio, Bello e fatale nn giovane 8' offerse ii guardo mio — 8e i labbri nostri tacqaeit>, Dagli ocichi il cor parlii. Furtivo fra le tenebre Sol iera a me giungera ; Bono Btndente, poTero, CommoBBo mi dioera, E con ardente palpito Amor mi proteBt6. Parti — il mio core apriTaal A Bpeme piil gradita, Quando improvrisi apparrm Color che m' han rapita, E a forza qui m' addnsBero Neir ansia piil cmdel. Non dir ; non piii, mio angelo (T' intendo, avrerso ciel 1 Solo per me 1' infamia A le chiedera, o Dio ! Ch' ella potesse ascendere Quanlo caduto er' io ; Ah ! presBO del patibolo Bisogna ben I' altare ! Ma tntto ora scompare ; L' alta.- si rovescib !) Piangi, fancinlla, e scorrere Fa U pianto sol mio cor Padre, in voi parla nn angelo Per me consolator. Compinto par quanto a fare mi reata, LASCiare potremo quest' aara foneflta. 81. f K tatto an lol giomo cangiare poti 1 1 In heart and mien thon seemest gentle, — Tell me where they have my daughter hidden I b she here ' Tell me truly 1 Silent ! Why 1 O, my Lords, I pray yon to have pity on me— To an old man give back his danghMr I To restore her will you nothing cost. While to me my child is all the world. Erier Gilda, through the doontny an the left. She into the armt of her fathrr Gil Rig. an. Btg. All Oh, my lather 1 Oh, God ! my own Gilda I Signors, in her you behold My whole family. — Have no further fear, My angel child t It was a joke — was it not so 1 [ To the Courtun I wjpt, bat now I laugh. Tet thou — why weepen thoa< For shame, fitther ! I have been maltreated 1 Heaven I what Bay'st thot. ' What I have to say no one else most hear. [ Turning Unaardt the Courtur$, imperatimty. | Away, away I all of ye ! And if your Duke should hither dare approaek, Tell him not to enter — for I am here. Oil. Big, M. Big I FaUttig int» a i iWith children and madmen t IB sometimes well to simulate ; Therefore will we depart ; but what he doet We will not fail unseen to watch. ) [Exeunt through doorway in front, datmg it aftm ttmn. Now speak — we are alone. (Heaven, now grant ma oour»e* Whene'er to church I went, There my prayers to say, A youth of handsome mien Before me always stood. Although our lips were silent, Our hearts diacours'd through our eye* Stealthily, in night's darkness. While alone, he came to me "A student poor am I," Plamtively he said to me i And with ardent sighings His k>ve for me protested. Then he left me ; and my heart To hope's bright visions open'd. When men ferocious and unlook'd-f*r Tore me from our home away, And hither forcibly brought me. To my ruin and dismay. Stop — say no more, my ang«l — (1 know all 1 Avenging Heaven. Upon my head falls the infamy I nave of thee invoked !) O God I That she might be exalted, How miserably have I fallen ) Ah I often near the altar The scaffold should be rear'd ; But now all is out of order. And e'en the altar desecrated. Weep, my child, and let thy tears Within thy father's bosom fall. Father, like an angel you speak to me These words of consolation. What mnst be done I will quickly dispoee ot, And then for ever will we quit this fatal place Tes! How changed in one short day may be our dailllf ' ao RIGOLETTO. Kwlra en Utiat id il Coutb di M-zNTEKOKB, die dalla da- tra attraverta iljimdo della taia/ra gli alabardieri. (Tie. Schindete — ire al carcere Castiglion dee. \AUe GuardU. Mon Foichfe foati inrano da me iqaledetto, [Fennandosi veno il ritratto. 'Si an fiilmiae o un ferro colpiva il tno petto, Felice per anco, o Duea, yivrai — [Esce/ra k guardie dal maao. Kg. No, vecchio, t' inganni — nn vindice avrai. Si, vendetta, tromenda vendetta Di quest' anima ft solo desio^ Di punirti gife — 1' ora a' affretta, Che fatale per te taonerk. Come fulmin scagliato da Dio D bnffone colpirti sapri. QA O, mio padre, qual gioja feroce, Balenarvi negli opchi vegg' io ! Perdonate--a noi pure una voce Di perdono dal cielo verri. iMi tradiva, pur 1' amo, gran Dio, 'er r ingrato ti chiedo pietji I) [EKOHdai Timt CBU. ATTO gECOKSO. ATTO ill. 8CENA I. — Deaerta tponda del Mineu — A sinitra i vma caea in due ptani, mezzo diroccata, la cui fronte, oolta alio tpettatore, Uucia vedere per una grande areata I' in- temo d una ruttica osleria ; il muro poi n' i a pien di feuure, che dal di fuori si jnih facilmerUe tcoroere quanta amiene nell' intemo — Al dt & del fiumt i Mantovor—E notte. GiLDA c BiooLETTO inqmeto, tono lulla ttrada — Spakatu- OILK neU' intemo dell' otteria, teduto preuo una tayola tta ripulendo il luo cinturone, lenxa nulla inteadere di quanta aceade al di fuori. Big. E r ami ^ OS. Sempre. Big. Vnie Tempo a giurime t' ho lasdato. OS. Io 1' ■i»°' fi^. Povero cor di doima ! Ah, U rile infame I Ma avrai vendetta, o Gildar— OU. PietJl, mio padre — £^, E se tn certa fossi Ch' ei ti tradisse, 1' amereati ancora 1 OU. Hoi 80, ma par m' adoia. Big. Egli I Kg. Ebbene, osserva dooqae. 'La conduce presto una delle fetturt dd muro, »d lOa vi guarda. OS, Un aomo. Vedo. Big. Per poco actendi. Eatra n DnOA, in atti»a di tenplux offidale di Cavallena, neUa mil'' trrrena per un aporta a nnislra. on Ah, padre mio ' I Tratalendo. Dm DTeoo««evtto — \A Sparajudl*. Enter a Herald and the Count Montbsoni, wh» it •nreiM acrou the back of the stage, between Guard*. Herald. Make waj ; he is ordered to the prison of Caatig lion. [ To the Guarau Men. Since in vain thon hast hj me been cars'd, [Stopping before the portrait The wrath of neither heaven nor earth can reach thee And happy wilt thoa yet live, O Duke I [Exit, between the Guardi Rig- No, old man, not so — ^thoa shalt be aveng'd I Yes I vengeance, dire vengeance, awaits thee ! The one hope of my sonl is thee to pnnieh ! And the hoar of retribution is nigh That to thee shall prove fatal. Like thunder from the heavens hurl'd, Shall fall the blow of the despis'd baffbon. on. O, father dear, what joy ferocious I see your flashing eyes light up ! Ah I pardon him, as we ourselves The pardon of heaven hope to gain. (I dare not say how much I love him, And pity him who none for me hath shown !) [Exeunt, through centre ek»r UrS OF THE 8ECOin> AOT. ACT III. SCENE 1.—A desolate place on the Banks of the Mina»- On the right, with its front to the audience, a House, two sto- ries high, in a very dilapidated state, which is neverthdem used as an Inn — The doors and walls are so full of chances, that whatever is going on within can be seen from without — In front, the Bead and the Biver — In the distance, the Citf of Mantua. It is Night. QiLDA and Riooi,etto discovered, in apparent altercatum — Sfarai'UOIi.e seen in the house, deaniiy his bdt, uncom- sdous of what is going on outsidt. Big. Yet you love him ? Gu. I cannot help it. Big. Sorely This madness ere now yon shonld have oonqaer'd Gil. Yet I love him I Rig. How weak is the heart of woman I Her vile seducer she'd forgive — But aveng'd thoa shalt be, my Qilda. GU. Have pity on him, dear father ! Big. If of his treachery I convince yo*. Will you then from yoor heart discard him 1 GU. I do not know ; — bat he to me is trae. Rig. He ! GU. Yes. Rig. Well, then, this way come, and w*. \He conducts her to one rf the crevices in tkt wall, om motions her to look through. OU. A man, rarely, I aeet Rig. Wait a Uttle longer. Enter the DuKB, dressed as a Private Soldier, through « dtm on the left, opening into the gromid'JIoor room. GU. Ah, my father I [SurprimA Duke. Two things I want, andqaickly. [To SpanifiieBe Spa. What ai« they 1 KIOOLETTO. Oil IMe. Una stania e del rino— Big. (Son qaesti i suoi coitnmi I Spa (Oh, il bel zerbino I) ! Spa. [Partt neUa eidna ttanxa. I Dut». A room and KHne wine. Rig. (His oBiul cnitom, no doubt.) (Oh I tbe fine eentleman I| I Goa off tiUo on atgoimng i LA DONNA E MOBILE— HOW FICKLE WOMEN ABB. Ai«. Dnu. ^^rn^rn ^m U J ^^p=^ La don - na i mo - bi - le Qoal pin - ma al ven to, Mn ta d' ac Hme flc • kU ko ■ men art. Flat - ing at falling $tar, Chang ■ ing fbr can to; ^^ n^ s^ ^^^ =e ^^ £ di pen sle ro. Sem - pre nn' a - ma bl Con - ilant, all I nev er ; Likt fealh - trt fly • ■ m le ing, Leg - gla - dro On th* wind t1 Am to I *;-i #- ^^ S In plan-to o in rl Bv - tr in wu ■ io, E men - zo Hon, Likt wavtt »f gne TO. cean. La don - na i Yet then't no mo fta bOa tnft- Qual pln-maalren - to. Ma - ta d' ac-e«n - tO'>.. e."« Lowt't pUai^re tttal - ing,— Likt that of tecU-ing Their Hpi dl irt'tA pen - a lier— kit*- gjUjif^ f^^^i^ Their ttpi pen - iter I a kiul 9..... Their. lipt dl iota pen - fieri a kitil Biextra SpULirnoiui, am una hotti^lia di vino e due bie- ekieri, die depom tuUa tavoia, quindt batte col porno delia ma Unga epada due colpi al toffitto—A quel tegnale, una ridente Ouvane, in cottume di Zingara, tcende a tcdti la tailar-Il Duoa eorre per aibracdarla, mo ella gli ijugge — Frattanto Spara/ucile, utcito tuUa via, dice a parte a RtgolMo : E U il Tostr* nomo — river doe o morire 1 Al;. Pii> tardi tomero 1' opra a oompire. [Span^udle n alUmtana dietre la cata Iwigo U Chida e Rigoletto tuUa via. Dmt. Dn dl. Be ben rammentomi, O, bella, t* incontrai, Ifi piacqne di te chiedere, E intesi che qn\ stai. Or 8appi, che d' allora Sol te quest' alma adora. Mad. Ah, ah I — e rent' altre appreiso Le scorda forse adesso * iHa an' aria 11 signorino )a vero libertino.) Due. SI ; on mostro son I Mai. Lasciatemi, Stordito. Doc. Ih ! che iVacasso ! Mad. Stia sagg;io. One. £ tu sii docile, Non farmi tanto chiasso. Ogm saggezza chindesi Nel gnadio e nell' amore. La bella mano Candida t iiMt Schenate Toi, signr bene, bene — Buona notte. 8pa, Signor, vi guardi Iddio. Dite. Breve sonno dormlam — stanco son io. [Dqxme U cappello, la ipada, e n tUnde, mi lelto, dooe in breve addormentasi — Maddalena Jrattanto nede pre$- $0 la tavola — Spara/ucHe beve dalla bottigUa latdata dal Duea — Rimangono ambidue tacitumi per quaiche ietante, e preoccupati da gravi pemieri. Mad. E amabile invero cotal giovinotto. Spa. Oh si — rent! scndi ne dk di prodotto. Mad. Sol Tenti ! — son pochi — valeva di piil. Big. La spada, s' ei dorme, ra, portami gih Mad. [Sale, e contemplando U darmente.] Feccato I i par bello ! [Prende la tpada del Duea, e tcende. Enira Gilda, che compariace nel fondo delta via in cottume virile, con ttivali e tperoni, e lentamente ri avania verwo I' tHeria, mentre SparafiicUe continua a beve. Speui lampi i an. Ah, piil non ragiono ! Amor mi trascina ! — mio padre, perdono I [Tuona. Qnal notte d' orrore ! Gran Dio che accadri. iYatello I [Sara ditceea, ed avra posala la tpada del Jjuca ntUa tavola. Chi parU ' [ Ouerva pella famra. Al diavol ten ra. [Frugando in un eredenxone. Somislia on Apollo qnel giovine — io 1' amo— Ei m ama — riposi — ni pih I' nccidiamo. Oh, delo ! [AtooUando. Rattoppa quel sacco — Perche 1 Entr' esso il cuo Apollo, sgozzato da me, Oettar dorro al fiume. L' inferno qoi vedo I Eppare il danaro salrarti scommetto, Serbandolo in rita. DifiScile il credo. M' ascolta — anzi facil ti svelo an progetto. De' scndi, gi^ dieci dal gobbo ne avesti ; Venire cojjli altri piJi tardi il vedrai — Uccidilo, e venti allora ne arrai, Cosi tutto il prezzo goder si potrk. Spa. Uccider quel gobbo ! — che diavol dicesti ! Un ladro son forse ? Son forse an bandito 1 Qual altro clients da me fu tradito ? Mi paga quest' nomo — ^fedele m' avri. OH. Che sento ! mio padre ! Maa Ah, grazia per esso. E d' nopo ch' ei mnoia — Enggiie il fo aaesso. [Vapa Salxn. OH. Oh, bnona figlioola ' Mud. oa. Ifya. Mad. an. ^. Bpa. aa. Mad. Spa. Thank jon. Mad. (Ah, no — depart.) [Atide i> the Duke Duke. In inch weather as this 1 \To Maddeient Spa. Twenty crowns of gold, remember. [To Mad Signor, To offer yon my room I shall be happy : At once I'll show yon to it, if yon please. [Be tahee a light, and goee towards the ttaiream Duke. With all my heart — be quick, let me see it. [ Whitpen to Maddelene, and Jbllows Sparaptdi* Mad. (Poor young man ! so mnch, too, the gentleman I O, God ! — what' a fearful night it coming !) [Thunder Duke. Wbteroing that the vindow hat no thuttert.[ If here you sleep, plenty of air yoa get. Well, good night I Spa. May God protect yoa, signor. Duke. Qnickly I shall be asleep, so weary am I. [He layt doum hit hat and tword, throwt himtelf on tiu bed, and in a short time /alts asleep — Maddalena, b» low, stands by the table — Sparajucile Jinis/tes the con tents of the bottle left by the Duke— Both nsmani tilent/or awhile, ana apparently in deep thought. Mad. What pleasing manners the yonng man haa I Spa. Oh, truly ; but twenty crowns I'm to have. Mad. Only twenty ! too little I much more he's worth ! Spa. Go— and, if he sleeps, his sword bring hither. Mad. [Ascending, and contemplating him whM tleeping.] It is a sin to kill so nice a youth ! [She taket up the Lhike'i sword, and begint to tinoamt. Enter Gilda, approaching by the passage, in the attire of a youth, with whip and spurt ; the advancet tloaly tovardi the house ; Sparqfucile continue! drinking. It lightens and thunders. Gil. Mad. Gil. Spa. Mad. Gil. Spa. Mad. Spa. Gil. Mad. Spa. Mad. Spa. OH. Mad. Spa. Mad. Gil. Ah I my reason seems qnite to desert me ! Love overcomes me I Oh, father, pardon ! [Thunder What a night of horrors ! How will it end 1 Brother ! [Having descended, she deposits the Duke't tword on the table. Who speaks ? [Looking through the crencK*. To the devil be gone I [Seeking something in a cupboard Handsome as an ApoUo is this youth — 1 love him — he loves me— so slay him not. Oh, heavens 1 [lAstenut^ Mend the holes in that sack. Why' Thy beautiful Apollo I most kill. And into the river cast. O, hellhound ! •The promis'd money yon may yet obtain And spare his life. I think that difficult. Listen, and hear how easy my project. Ten crowns already from the hunchback Thou hast received. In a little time Hither with the other ten he will come ; Kill him, and then the twenty thou wilt have. Kill the hunchback I What dost thou snggeat 1 For a thief, or a swindler, do you take me ! Did I ever a client betray 1 No 1 The man who payi me niithfti] ever finds me ! What do I hear 1 My father I Ah, mercy on him ! He must die I 111 give him a hint to fly. [About to fi Oh, kind-hearted woman I 94 RIGOLETTO Spa. Mad. Spa. Mad. 6f>a. Mad. GO. Spa. Mad. GU. Mad. Spa. Mad. Spa. Mad. Gil. Mad. Spa. GU. Mad. Sua. I GU wndi p«nUamo. ETer! Luda fare — Salrarlo dobbiuno. Se pria ch' abbia il mezzo la none toccato Alcano qui ginoga, per esso morrd. E baia la notte, il ciel troppo irato, Messano a qaest' ora di qni paasenk. Oh, qual tentazione ! morir per 1' ingrato ' Moiire I e mio padre I Oh, clelo pieti ! [Battono le undid e Ancor c' % mezz' ora. Attendi, fraMlIo. \Piangendo. Che ! piange tal donna ! N% a lui darb a'ta I Ah, ■' egli al mio amore direnne mbello lo to' per la a'la gettar la mia yita. [Picehia alia porta. Si picehia < Full rento — Si picehia, ti dico. E itrano ! CSiifel Pietii d' on mendico ; Asil per la notte a loi concedete. Fia langa tal notte ! Alqnanto attendete. [ Ka a carcare nel eredaaone. Ah, presBo alia morte, A giovane, sono I Oh cielo, pegli empi ti chiedo perdono. Perdona tn, o padre, a qaesta infelice I Sia r nomo felice— -eh' or vado a salrar. Sn, BjNcciati, presto, fa I' opra compita : Anelo ana vita — con altra salvar. Ebbeae — son pronto, quell' ascio dischindi ; Piuech' altro U scadi — mi preme salvar. Va a pogtarti con un pugnaie dietro la porta — Madda- lena apre^ poi com a chiudere la grande areata di Jronte ; — mentre enira Gilda, dietro a cui Sparajucile chiude la porta, e tutto rata sepoUo nd tUemio t tie/ buai. Entra Biooutto, lolo, ti avama dal fondo ddia $eena diiuto nd no mantello — La violenza del temporale t dimi- tuiila, ni piu n vede e unit die qualche lampo « ttiono. Rig. Delia rendetta olfin ginnge 1' istanta ! Da trenta di 1' aspetto Di vivo sangue a lagrime piangendo Sotto la larva del buffon — Qaest' oBcio I [EKuninando ia casa. E chinso 1 Ah, non % tempo ancor t S' attenda. Qnal notte di mistero ! Una tempesto in cielo ! In terra an omicidio 1 Oh, come invero qui grande mi sento 1 Mezza notte I [a. Chi^lil Jiig, Son io. [Per entrare. Spa Sostate. [Rientra, t toma, tratdnando un taceo. E qui spento il rostr' nomo — Big. ' Oh, gioja 1 nn lame I Spa. tJn lame ^ No, il danaro. [Riguietto gli dk una bona. Spa. Lesti all' onda il gettiain — ^g. No — basto io soio. Spa. Come pi place — Qai men atto h il sito — Piii Bvnnti i pii> profondo U gorgo— Presto Spa. The leward w* ihall Iom. Mad. Thaf s tint. Spa. Let me do it. Mad. He must be saved. Spa. Should any other before midnight arrive, Him I will slay instead of him now here. Mad. The night is dark, through the sky the thunder foan No one at such a time this place will pass. Gil. Oh, what a temptation — for th' ingrate to die ' And for thee, father 1 Oh, heaven guide me ' [ The dock ttrikea the haJf-iou. Spa. There is still half an hoar. Mad. Brother, wait. [ Wexptnt Gil. What ! that woman weep, and I not help him ' Ah ! altbough to my love truthless he be. My life for Ma shall be the sacrifice ! [Knotia at the dour Mad. Who knocks ? Spa. 'Tis the wind. Mad. Some one knocks, I'm sure Spa. It is strange. Mad. Who's there 1 GU. Have pity on a stranger . A lodging gnmt him for this bitter night. Mad. A long night 'twill be for him I Spa. Wait awhile. [He tearchet the cupboard for tometluttit Gil. Ah t so near to death, and yet so young I Oh I for these wretches God's pardon I ask ; Forgive, O father, thine unhappy child 1 And happy live the man I die to save I Mad. Now hasten, quick, the fatal deed enact ; To save one life another I yield up. Spa. Well, I am ready the issue to abide, I care not so that the reward,! get. [He goes behind the doorway vnth a dagger — Maddalem opens • the door, and then runs fonvard, to dote tha in front — Gilda enters and Sparajueile dose* A door— all the rest is buried in silence and darknea. Enter Rioolbtto, enveloped in a cloak ; he advances Jrom the road to the fmnt of the scene. The violence of the storm has abated, the lightning and thunder still continuing occa- sionally. Rig- Spa. Rig. Spa. Rig. Spa. Spa. Rig. Spa. At last the hoar of my revenge is nigh ,; Foil thirty days and nights for this I ve waited, My soul with tears of blood consuming, Under the guise of a bafibon. That door [Examining the i Is shut ! 'Tis not yet the hour — I must wait What a night of foul mystery is this I The heavens in a tempest. On the earth a homicide I Oh, how truly gteat do I now feel I 'Tis midnight I ' The clock strike* ttteln Enter SrAsxrvaziM, from the house. Who is there t It is I. [About U, -mlm Wait where you are. [Rercnters the house, and rstums, dragging a sack Toar man is here disposed of. O, joy — a light ' A light ? No— first the money. [Rigoletto hands Mm a ptnti Let us into the river cast him. No ! alone I'll do H As yon please ; bat this place is not the best - "' W ap, the stream is deeper. Be qoi<^. mQOLBTTO ao ea. Kg. ea. Ug Gil. <%• alcnn non ri lorprenda — ^Bnono none. §[Biattra in am fli i Ik I morto ! O si— vorrei rederlo 1 B ehe importa I % ben desso I Ecoo 1 inoi (prooi I Ora ml guardo, o mondo^ Qnest' i an boffone, ed an potente k qnesto t Ei ita sotto a' miei piedi. Edessol B deasu 1 Bl_ ginnta alfin la tua vendetta, o daolo I 8U r onda a Ini sepolcro, Cn sacco il boo lenzaolo I \Fa ptr tnucinare il lacoo verso la tpanda, qaando i jor- prao dalla lontana voce del Duca, du net Jbndo at- traversa la acena. Qnal Toce I illaslon notturnt. h qaeata I No I no ! egli h desso ! h de»8o ! Halediiione ! 01& — dimon bandito f [ Tratalemio veno la eaia. Chi h mai, chi % qoi in saa voce ; [TWia C tacm. lo tremo — E amano corpo I [Lamptggia. ICa figlia I Dio ! mla figlia I All no— % impoesibil I per Verona i in ria I Fn vision I E deasa ! [Inaimxxliiantloti. Oh, mia Gilda I fancialla a me rispondi I L' assassino mi svela — Oli f Neaaano ! [Picchia dttperatamaOt aOa ea$a. Neuan ! mia figlia — Chi mi chiama 1 Ella parla I 8i move I h viva t oh Dio I Ah I mio ben aolo in terra ; Mi gnarda — ^mi conosci — Ah, padre mio— Qaal mistero t che fa I sei ta ferita ? L' acciar qui mi piagb — [Indicanda Q eon. Cla t' ha colpita f V ho ingannata — colpevole fiii ; L' amai troppo — ora maoio per lai I (iJio tremendo I ella etesso fti colta Dallo stral di mia giosta vendetta I) Angiol caro ; mi gnarda, m' ascolta. Parla ; parlami, figUa diletta I . Ah I ch io tacchia I a me — a Ini perdonate ; Benedite alia figlia, n mio padre. That I Big. aa. Sig. an. ^: Big. GU. no one may obMrre yon. Good night [He re-enteri the Aawi Here he is I— dead I I should like to see him I But what matters ? 'Tis done ! Here ai» hu span Now will the world again look well witn me I Here is the buffoon, and here his master ! At mr feet he lies. It is he ! It is he I Now hath my grief its just revenge attain'd ! In the sea shall be his sepnlchre, This sack his winding-sheet t [Ht triet to drag the tack Uncords the river, when he it turprited at hearing the voice of the Duke, who nuM along the background. What voice is that I Or is it an illusion ? No I not it is he I itis.iL himself! [Greatly alarmad. The Malediction I Oh, there ! demon of hell ! [Nmring the house with the Back Btt who, instead of him, can be in the sack ! [ Tearing open the toot: I tremble. It is a hnman body I [Ijuihimnf My daughter I Oh, God, my daughter ! Ah, no I it is impossible ; Towards Verona she joumeyeth ; A dreadful vision this must be. [Kneeling dawn Oh, my Gilda I Tell me who this has done » The assassin to me reveal ! Ho I who's here ' [Kru>cking violently at tie door No one I Oh, my daughter 1 Who calls on me 1 She speaks ! she moves I she lives I Oh, heaven ! Ah ! my only worldly solace, Look on me ; dost thou not know me ? Father! Unveil this mystery ! Art thou wounded » The sword pierced me here. [Poinu to ha- brteat Who was it stabbed yon f I have deceived yon I 1 am guilty I Too much I lovM him — now I die for him ' (O, avrful fate, by my hand hath she fallen. Of my righteous vengeance the sole victim.) Angel dear, look on me, to me hsten ; Speak, oh, speak to me, my darling dangbter 1 More I cannot speak : pardon me and him I O, my father, bless yonr dying daughter. LASSV IN CIELO—m HBAVN .4B0VB. Dimi. Biooutto and Gilda. ^ ^^ sank m =u=^ Las-su — in de Jn htav'n a - bove, EIO. lo, — vi - ci - na al - 1« ma - dre, at the tide of my moth - er, ^ In • ter no per vol pre - gb«- There than my prayrt be up- lift -ed for ^ijpjggL:^^ji3;=M=J^;^^Efpf^g^ijsg3^^ r6. Non mo - rir, mio te - so ro— pie ■ ta ■ to— HI a co-lom - ba, las-clar - mi non ikeel Ah I leave me not here a -lone, myon-ly treasure, Part-ed from thee, tender dove, aU dark wiB ^ ^^smm =*=^ w^ Las - su— in da - lo, t1 - d-na al la ma ' In heaven a • loM, at At tide =^ ^^ ^3=? No, Is-f du ■ mi non del— Ak, no, thou mutliutiut non mo-rir— iaaiw (M not/ a B Om. b*:. i^^ ff t ft r ^ irri-ti^Hl l^^^^^' SS 3E3^! ^ Se t'ln - TV - 11 — qui wl qui lol ri-mu - rel, Non morire o qui te - -co mor Aht tl» not Itav* nu htn • biu, ay ekOd I Parttd from Out, my diM, ai dark wtD *^ Iffiko ^I^ A 1'm4 via>_j1j> via 4a ^hIj*. ■>■
  • a hA At- Non plii A lol- And whtn Pm gont, per-do na „ givt turn par ■ don, mio p» *qr fa dre — Atrl :i^^_^-5E:: Ad - di- Then fart- milk fl-cU«I Okl Kay, my cWU/ mia011-d>l •*/ My Gildal no, lu-dAr-mi non del — Leavt m» not htr* a - Umtl fe ^ g^^=^^J JJ ^f^ ol la*^b in del— mS / In \ta^n abomt, iMnh In del In htar'n a - bmt, ^m t^^ Pi* - ghe-i6— perroi pie - cue — Thert f AoO my pniy'r* 6a rau'd /or tMnon. [BkodiH. i ^r rr fcf::?: ^ j^MrV-f S5 non morir— 40M(A«/ No, Iw-cai^mi non dd — Leavt Hit not hertalonti non morir — donatditt *!*■ -0- /*> -^ ^:^^L^. la^r^^ #^ ^ ^E— Oil - dAl mis Gil dal— E mor - Ul aa dal mt ea ■ dal Att'i dark, HOW I Ahl la m* - le • di - do Akl y»i, \u e«rw it on. nel |.8lr«qi})««iM > iMfMfit, (XKb ^. I [ J^aCwg aarf tearmg Ut iair tttr tkt etrpte of Ut thu g lm t TH> BMD. Standard Musical Works FOR READING AND STUDY OUTLINES OF MUSIC HISTORY By CLARENCE G. HAMILTON This book is based on a course of study prepared for the students of Wellesley College, by Clarence G. Hamilton, and thoroughly tested by him during a term of three years. It is now offered to schools, colleges, conservatories, musical clubs, as the best available work, both concise and full as needed, _aflfording sufficient material, yet pointing the way to exhaustive study if the piipil wishes to go further into certain subjects. Special features are the stud- ies of repregentative compositions, the many por- traits of composers, and illustrations of instruments, etc. Price, post-paid, $1.50 A GUIDE TO PARSIFAL By RICHARD ALDRICH The origins of the drama, its story and an expla- nation of its leading motives. The book also contains eight reproductions of photographs of scenes from the drama. The most practical and helpful manual on Wagner's great music drama. Price, in cloth, $1.00 A GUIDE TO THE RING OF THE NIBELUNG By RICHARD ALDRICH This book is on the plan of the author's very successful "Guide to Parsifal." The origin and story of the trilogy are given, and an analysis of its music with the principal motives in notation. Price, in cloth, $1.25 YOUNG PEOPLE'S ILLUSTRATED HISTORY OF MUSIC By J. C. MACY Briefly states the facts relative to the history of music, from the earliest times to the present era, and gives, in addition, short biographical sketches of famous musicians, with a chronological list of great composers. Portraits of each of the greatest masters are given, and the historical part of the book has illustrative music. This little book has been prepared for "young people," but will be interesting to all who choose to take it in hand, especially those who do not wish to study the larger histories. Price, in cloth, $1.00 MUSIC CLUB PROGRAMS FROM ALL NATIONS By ARTHUR ELSON Musical clubs, classes, and every executant who wishes material for recital programs will find use for this book, which is unique in that it furnishes, under one cover, what the student has hitherto been obliged to collate from a number of books. Each chapter is devoted to a national school of music; programs are given to illustrate the various chap- ters, and questions are added which can be used for study in classes. The programs are in three grades, — easy, medium, and difficult, — and in- clude music for the piano, violin, and voice. Illus- trated with over one hundred portraits of composers.' Price, post-paid, $1.23 THE SYMPHONY SINCE BEETHOVEN By FELIX WEINGARTNER A treatise on the highest form of musical art by one of the world's foremost conductors. It is a book not only for music students, but for all who listen to orchestra music, inspiring, as it does, a keener and more discriminating appreciation of the works of the masters who have wrought in this form. Price, $1.00 SKETCHES OF MUSICAL COMPOSERS By L. B. URBINO A compact work, containing the briefly told story of important events in the lives of about one hun- dred celebrated musicians; nearly all, in fact, who have "made the music of the world" since the year 1510. Price, in cloth, $ 1 .50 BEETHOVEN. A BIOGRAPHICAL ROMANCE By HERIBERT RAU MOZART, A BIOGRAPHICAL ROMANCE By HERIBERT RAU These books, partly biographical and partly story, have been inspired by sincere reverence for the masters of the tone-art. They aim to bring closer to the hearts of all the memory of the two great musicians 'and to awaken a. love, veneration, and enthusiasm for themselves and their creations. Price, each, in cloth, $1.50 NOTE.- -These works will be sent with return privilege to those with no accounts upon receipt of price, which will be cheerfully returned, less postage, if not satisfactory. OLIVER DITSON COMPANY. BOSTON CHAS. H. DITSON & CO., New York LYON & HEALY. Chicago }. E. DITSON & CO.. Philadelphia Quarter of i> Million Sold of the Famous "Half Dollar*' Series PIANO — Two Hands Forty Very Easy Piano Pieces. (First and Second Series) Thirty Easy Piano Pieces. (Second Grade) Easy Pieces in Easy Keys. Vols. I and II Easy Salon Music for the Piano. (First and Second Series) Popular Salon Music for the Piano ' Dance Waltzes ior the Piano Marches and Two-steps for the Piano School and Gymnasium Marches Familiar Melodies Transcribed for the Piano. Vols. I, U, and HI Richard Goerdeler. " Popular Piano Compositions. Vols. I and II Carl Heins. Popular Piano Compositions. Vol. I Eduard Hoist. Popular Piano Compositions. Vols. I and 11 PIANO — Four Hands Very Easy Piano Duets. (First and Second Grades) Easy Four-hand Pieces for the Piano. (Second and Third Grades) Fotir-hand Recreations for the Piano. (Third Grade) PIPE AND REED ORGAN Popular Church Organ Pieces Reed Organ Selections for Church VIOLIN. VIOLIN AND PIANO Favorite Duets for Violin and Piano Old-time Jigs and Reels for the Violin Favorite Reels, Jigs, and Hornpipes for the Violin and Piano SONGS Thirty Songs for Children Twenty Songs. By Stephen C. Foster MANDOLIN, GUITAR. AND BANJO Favorite Duets for Mandolin and Piano Favorite Duets for Mandolin and Guitar Twenty-four Guitar Solos Miijstrel Songs with Banjo Accompaniment Minstrel Songs with Guitar Accompaniment CORNET AND PIANO. CLARINET AND PIANO. TROMBONE OR BARITONE AND PIANO Easy Dance Music for Cornet and Piano Selected Duets for Cornet and Piano Popular Melodies for Bb Clarinet with Piano Accompaniment Popular Solos for Trombone or Baritone with Piano Accompaniment Twelve Flute Solos SO Cents Each. Post-paid Note. — A booklet containing complete table of contents of each book free on request. These works will be sent with return privilege to those with no accounts upon receipt of prfc«. which will be returned, less postage, if not satisfactory. OLIVER DITSON COMPANY, Boston Clias, H. Ditson & Co., New York Lyon & Healy, Chicago J. E, Ditson & Co., Philadelphia Order of your home dealei' or the above houses / If THE T ZS^S \\ lyTVUSICIANSllgRARYl THE MOST IMPORTANT SERIES OF VOLUMES of the master- pieces of song and piano music ever issued. Eighteen volumes have already appeared under this title, to be followed by others at fre- quent intervals, until the whole range of music of living interest (ex- cluding the choral and orchestral) has been covered. Each volume is independent, complete in itself, and sold by itself i and contains a portrait, elaborate introduction, bibliography and music in full folio size. Each volume is edited by an authority. Among the editors of volumes already published, and those about to be issued, are the following: — EUGEN d' ALBERT WM. F. APTHORP CARL ARMBRUSTER S. COLERIDGE-TAYLOR FRANK DAMROSCH A\. ESPOSITO HENRY T. FINCK WM. ARMS FISHER DR. PERCY GOETSCHIUS PHILIP HALE W. J. HENDERSON HELEN HOPEKIRK RUPERT HUGHES JAMES HUNEKER HENRY E. KREHBIEL MORITZ MOSZKOWSKI ERNEST NEWMAN ISIDOR PHILIPP DR. EBENEZER PROUT CARL REINECKE XAVER SCHARWENKA OTTO SINGER AUGUST SPANUTH BERTHA FEIRING TAPPER THOMAS TAPPER DR. CHARLES VINCENT No expense has been spared to insure perfection in every detail. The volumes are beautifully bound in paper, made expressly for The Musicians Library, and also in cloth, gilt. In editorship, accuracy, typography, engraving, binding ; in every- thing that contributes to artistic ensemble and a reliable text. The Musicians Library is an EPOCH-MAKING SERIES in the history of music publishing. Send {or our Musicians Library Booklet giving full particulars OLIVER DITSON COMPANY, BOSTON The Musicians Library This notable series has been planned to embrace all the master- pieces of song and piano literature ; to gather into superbly made volumes of uniform size and binding the best work of^the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. PIANO VOLUMES BACH PIANO ALBUM Vol. I. Shorter Compositions Edited by Dr. Ebenezer Prout BACH PIAHO ALBUM Vol. II. Larger Compositions Edited by Dr. Ebenezer Prout BEETHOVEN PIANO COMPOSITIONS Vols. I and n Edited by Eugen D'Albert CHOPIN, FRfiDERIC Forty Piano Compositions Edited by James Huneker CHOPIN, FRfiDfiRIC The Greater Chopin Edited by James Huneker GRIEG, EDVARD Larger Piano Compositions Edited by Bertha Feiring Tapper HAYDN, FRANZ JOSEF Twenty Piano Compositions Edited by Xaver Scharwenka LISZT, FRANZ Twenty Original Piano Compositions Edited by August Spanuth LISZT, FRANZ Twenty Piano Transcriptions Edited by August Spanuth LISZT, FRANZ Ten Hungarian Rhapsodies Edited by August Spanuth and John Orth MENDELSSOHN, FELIX , ^.j. j ,_ „ „ ,. „ ^ Thirty Piano Compositions Edited by Percy Goetschius, Mus. Doc. t With a Preface by Darnel Gregory Mason MOZART, WOLFGANG AMADEUS Twenty Piano Compositions Edited by Carl Reinecke SCHUMANN, ROBERT Fifty Piano Compositions Edited by Xaver Scharwenka WAGNER, RICHARD Selections from the Music Dramas Edited by Otto Singer ANTHOLOGY OF FRENCH PLAMO MUSIC Vol. I. Early Composers. Vol. n. Modem Composers Edited by Isidor Philipp EARLY ITALIAN PIANO MUSIC Edited by M. Esposito TWENTY-FOUR NEGRO MELODIES Transcribed (or Piano by S. Coleridge-Taylor Each volume in heavy paper, cloth back, $1.50; in full cloth, gilt, $2.50. Copies mailed post-paid. Other volumes in preparation. Booklets, giving full particulars, with portraits of Editors and con- tents of volumes published, FREE on request. Note — These works will be sent with return privilege to those with no accounts upon receipt of price, which will be returned, less postage, if not satisfactory.. OLIVER DITSON COMPANY. Boston CHAS. H. DITSON & CO. LYON & HEALY J. E. DITSON & CO. New York Chicago Philadelphia Order of your home dealer or the above houses The Musicians Library This notable series has been planned to embrace all the master- pieces of song and piano literature; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. SONG VOLUMES BRAHMS, JOHANBES Forty Songs. High Voice. Low Voice Edited by James Huneker FRANZ, ROBERT Fifty Songs. High Voice. Low Voice Edited by William Foster Aptborp GRIEG, EDVARD Fifty Songs. High Voice Edited by Henry T. Finck HAHDEL, GEORGE FRIDERIC Vol. I. Songs and Airs for High Voice. Vol. n. Songs and Airs for Low Voice Edited by Ebenezer Prout SCHUBERT, FRANZ Fifty Songs. High Voice. Low Voice Edited by Henry T. Finck SCHinSIAHN, ROBERT Fifty Songs. High Voice. Low Voice Edited by W. J. Henderson WAGNER, RICHARD Lyrics for Soprano Edited by Carl Armbruster WAGNER, RICHARD Lyrics for Tenor Edited by Carl Armbruster WAGNER, RICHARD Lyrics for Baritone and Bass Edited by Carl Armbruster WOLF, HUGO Fifty Songs. High Voice Edited by Ernest Newman FIFTY MASTERSONGS High Voice. Low Voice Edited by Henry T. Finck FIFTY SHAKSPERE SONGS High Voice. Low Voice Edited by Charles Vincent, Mus. Doc. lrt)DERN FRENCH SONGS Vol. I. Bemberg to Franck. High Voice. Low Voice. Vol. n. Georges to Wldor. High Voice. Low Voice Edited by Philip Hale SEVENTY SCOTTISH SONGS High Voice. Low Voice Edited by Helen Hopekirk SONGS BY THIRTY AMERICANS High Voice. Low Voice Edited by Rupert Hughes SONGS FROM THE OPERAS FOR SOPRANO Edited by H. E. Krehbiel SONGS FROM THE OPERAS FOR MEZZO-SOPRANO Edited by H. E. Krehbiel SONGS FROM THE OPERAS FOR ALTO Edited by H. E. Krehbiel Each volume in heavy paper, cloth back, $1.50; in full cloth, gilt, $2.50. Copies mailed post-paid. Other volumes in preparation. Booklets, giving full particulars, with portraits of Editors and con- tents of volumes pubh^ed, FREE on request. Note — These works will be sent with return privilege to those with no accounts «#o» receipt of trice, which will be returned, less postage, if not satisfactory. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO. LYON & HEALY J. E. DITSON & CO. New York Chicago Philadelphia Order of your home dealer or the above houses The Musician 15 cents per copy $1.50 per year A Monthly. Journal for Teachers, Students, and Lovers of Music 48 pages pf Reading. 24 pages of Music Endorsed by the leading American teachers and educators THE MUSICIAN pays special attention to educational work in music, and keeps in close touch with the leading teachers of the United States and Europe so as to bring before its readers the latest and most approved ideas of teaching and study Each number contains valuable articles of a historical, biographical, remmiscent, critical, pedagogic, and practical character, coveting in the course of a year every phase of the professional and business relations of the musician. LEADING FEATURES ARE Departments for Singers, Organists, Violinists, and the Children; Answers to Queries, News Items, and Personal Notes about Musicians, Reviews of New Books, Announce- ments of New Publications by the leading American music publishers, etc. Special Composer numbers (Beethoven, Schubert, Grieg £sf MacDowell, etc.). Handsome covers. Many illustrations. SEND FOR PREMIUM BOOK Many useful collections of music, musical literature, and music supplies can be obtained at a low price in connection with a subscription to The Musician OLIVER DITSON COMPANY 150 TREMONT STREET, BOSTON, MASS. ■ Stand ard < Opera Li brett OS PUBLISHED BY Oliver Ditson Company 1 SERIES ONE These librettos, with words of the opera, and including the music of the principal airs, are reliable and authoritative, and are the same as used by all the leading opera companies. Price, 25 cents each Africaine, L' Italian and English Meyerbeer Favorita, La Italian and English Donizetti Alda Italian and English Verdi Fidelio German and English Beethoven Amico Fritz, L' Italian and English Mascagni Fille de Madame Angot, La French and English Lecocq ■ ' Blue-Beard French and English Offenbach Fledermaus, Die German and English Strauss i: Barber of Seville Italian and English Rossini Fleur de Thfi French and English Hervi BeUe HeiSne, La French and English Offenbach Flying Dutchman, The English Wagner Bells of Corneville (Chimes Flying Dutchman, The German and English Wagner of Normandy) English Pla/nqtiette Fra Diavolo Italian and English Auber Billee Taylor English Solomon FreischUtz, Der Italian and English Weber Boccaccio English Sutti FreischQtz, Der German and English Weber Bohemian Girl, The Italian and English Balfe Gazza Ladra, La Italian and English Rossini Capuletti £ Montecchi, I Italian and English Bellini GeneviSve de Brabant French and English Offenbach Carmen Italian and English Bizet Gillette English Audran Carmen French and English Bizet Gioconda, La Italian and English Ponchieai CarniTal of Venice Italian and English Pelrdla 6irofl€-Girofla French and English Lecocq Cavalleria Rusticana Italian and English Mascagni Giuramento, H Italian and English Mercadante Cinderella Italian and English Rossini G0tterd3.mmerung, Die German and English Wagner Claude Duval English Solomon Grand Duchess of Gerolstein, The Crispino e La Comare English L. and F. Ricci French and English Offenbach Crown Diamonds, The French and English Atiber Hamjet English Thomas Dame Blanche, La English Boieldieu Huguenots, Les Italian and English Meyerbeer Damnation of Faust, The French and English, Berlioz Infanta's Dolls, The English Grisarl Daughter of the Regiment, Italian and English Dmizetli lone Italian and F"glish FetreOa The Jewess, The Italian and English Halivy . Dinorah Italian and English Meyerbeer Lakme I^ian and English DeUbes Doctor of Alcantara, The English Eichberg Lily of Killarney, The English Benedict Don Giovanni Italian and English Mozart Linda di Chamouniz Italian and English Donizetti Don Pasquale Italian and English Donizetti Little Duke, The English Lecocq Dorothy English CelUer Lohengrin Italian and English Wagner magaer ' Elaine French and English Bemberg Lohengrin German and English EUsire d'AmorCk V Italian and English DoMzetti Lombardi, I Italian alid English Verdi Erminie "*■ Italian and English Jakobowski Lovely Galatea, The English sutpe Italian atad English Verdi Love's Vow English Audran ■ itoile du Bord, L' Italian and English Meyerbeer Lucia di Lammermoor Italian and English Donizetti Fatinitza English Suppi Lucrezia Borgia Italian and English DonizeUi Faust Italian and English Gounod Luisa Miller Italian and English Verdi F»ijst French and English Gounod Lurline Italian and English Wallace Standi ird i 3pera Li brett OS PUBLISHED BY Oliver Ditson Company SERIES TWO These librettos, with words of the opera, and including the music of the principal airs, are reliable and authoritative, and are the same as used by all the leading opera companies. Price, 25 Cents each Madame Favart English Ofleniach Pinafore English Sullivan Magic Flute, The Italian and English Mozart Pirata, 11 Italian and English BelUni Manon French and English Massenet Princess de Trebizonde, La English Ogmbach Marriage of Figaro Italian and English Mozart Proph6te, Le Italian and English Meyerbeer Maria Di Rohao Italian and English Domzetti Puritani, I Italian and English PclUni Maritana English Wallace Queen of Sheba, The German and English Goldmark Martha Italian and English Flotow Heine Topaze, La English Massi Martiri, I Italian and English Donizetti Khinegold, The German and English Wagner Masaniello Mascot, The Masked Ball, The Mastersingers of Nuremberg, Italian and English English Italian and English The German and English Auber Audran Verdi Wagner Rigoletto Robert le Diable Robinsonade Romeo and Juliet Italian and English Italian and English English Italian and English Verdi Meyerbeer Dorr Gounod Mefistofele Italian and English Bmto Rose of Castile, The English Balle Merry Wives of Windsor, The English Kicolai Ruy Bias English Marchetti Mignon Italian and English Thomas Samson and Delilah French and English Saint-Sains 1 Mikado, The Mirella Mousqnetaires, Les Nadjy Nanon Norma Olivette English Italian and English English English English Italian and English English Std'.l -n Gounod Vamey Ckassaigne Genie BelUni Audran Semiramide Siegfried Sleeping Queen, The Sonnambula, La Sorcerer, The Spectre Knight, The Italian and English German and English English Italian and English English English Rossini Wagner Balle Bellini Siittivan CetUer i Ombra, L' French and English Flotow Stradella English Flotow Orpheus English Cluck Tannh^user German and English Wagner Or^s OteUb French and English Ofenbach Traviata, La Italian and English Verdi Italian and English Rossini Tristan and Isolde German and English Wagner Otell? Italian and English Verdi Trovatore, H Italian and English Verdi Pagliacci, I Italian and English Leoncavallo WalkUre, Die German and English Wagner Parsifal Wagner WiUiamTeU Italian and English Rossini Paul and Virginia English Massi Yeomen of the Guard, The English SuUivan Perichole, La French and English Oijeniach Zampa Italian and English Hirold