I / fe- 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/cu31924090833116 ITALIAN AND ENGLISH TEXT AND MUSIC OF THE PRINCIPAL AIRS #|.1 RIGOLETTO BY VERDI /L JOu JZL M I OUVER DITSON COMRAJNY . BOSTON ii.*a i? :.YOM ^ HEAi: Chicago ieWiii-n™ «■!«" " ^^ -T« f-p" OPERA SCORES C NOTE:— We have the largest stock iii the country of Opera Scores by American and European composers. New works are added as fast as putdished; e. Public, School, and College Libraries will do well to get our quotations before ordering elsewhere. GRAND OPERAS ▼OCAL SCORES iiDA. Giuaeppe Verdi. Paper S2.00 Ib four acts, with Italian and English text; trans- lated and adapted bj T. T. Barker. BOHEHIAH GIRL. M. W. Balfe. Paper 1.50 la three acts. Full libretto, including' dialogue, adapted, with business and stage directions, by Leon. K.each. 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NEW YORK LYON ft HEALY CHICAGO Order of your neme dealer or the above house* RIGOLETTO L3 1924 090 833 116 Opera in Three Acts BY GIUSEPPE VERDI Italian Text, \A/ith an English Translation AND THE MUSIC OF THE PRINCIPAL AIRS BOSTON OLIVEK DITSON COMPANY New York Chicago CHAS. H. DITSON £r CO LYON «r HEALY lopjTight, MDCCCLXXXVIII. by Oliver Ditson fr Co. DRAMATIS PERSONi€> THE DUKE OF MANTUA RIGOLETTO, His Jester THE COUNT CEPRANO ). THE COUNT MONTERONE [ Nobles of the Dukedom OF Mantua SPARAFUCILE, A Hireling Assassin BORSA, A Domestic of the Duke's THE COUNTESS CEFRANO GILD A, The Jajghter of Rigoletto . GIOVANNA, Her Duenna . MADDELENE, A Cyprian, Sister of Sparafvcile BaRITONI); Bass Bass Bass Tenor Mezz Sopranc Soprano Mezzo Soprano Altc Courtiers, Cavaliers, Pages, Attendants, Etc. THE STORY OF "RIGOLETTO" RIGOLETTO, a hunchback bufifoon, 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 jpassions 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 buffoon 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, theyform 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 tfte 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 have carried off the jester's mistress, but he knows full well from their description that it is Gilda they have abduc- ted, and the' unfortunate girl soon becomes 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 the 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 form of his be- loved daughter, who almost immediately 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 ACT I. SCENE I — Magnificent salon in the Ducal Palace, with opening in the back scene, through which other salons are seen, the whole brilliantly lighted for a Fete, which is at its height. Nobles and ladies in magnificent costumes moving in all directions. Pages passing to and fro. Music heard in the distance, and occasional bursts of merriment. (Enter the Duke and Borsa, from the back.) Duke. Beautiful as youthful is my unknown charmer, And to the end I will pursue the adven- . ture. Borsa. The maiden, you mean, whom you see at the church? Duie. For three months past, on every Sunday. Borsa. Know you where she lives? Duke. In a remote part of the city. Where a mysterious man visits her nightly. Borsa. And do you not know who he is? Is he her lover? Duke. I do not know. (A group of ladies and gentlemen cross the stage.) Borsa. What beauty! — Do you not admire it? Duke. Ceprano's wife surpasses the handsomest of them. Borsa. Mind the. Count does not hear you, Duke. (Softly.) Duke. What care I for him? Borsa. It may get talked about. ATTO I. SCENA I — Sala magnifica nel Palazzo Ducale, con porte nel fondo, che mettono' ad altre sale, pure splendldamente illuminate,' folia di cavalieri e dame in gran costume nel fondo delle sale; paggi che vanno e vengono. La festa e nel suo pieno. Musica interna da lontano e serosci di risa di tratto in tratto. (II DuCA e BoRSA, che vengono da una porta del fondo.) Duca. Delia mia bella incognita borghese, Toccare il fin dell' avventura io voglio. Borsa. Di quella giovinche vedete al tempio ? , Duca. Da tre lune ogni festa. Borsa. La sua dimora? Duca. In un remote calle ; Misterioso un uom v'entra ogni notte. Borsa. E sa colei chi sia L'amante suo? Duca. Lo ignora. (Un gruppo di dame e cavalieri attraversan la sala.) Borsa. Quante belta! — Mirate. Duca. Le vince tutte di Cepran la sposa. Borsa. Non v'oda il Conte, o Duca — (Piano.) Duca. A me che importa? Borsa. Dirlo ad altra ei potria — RIGOLETTO Duke. That would not much affect me. Dt Ne sventura per me certo saria. QUESTA QUELLA— '.Wi) the: F.4/R THFOKG Air (Duke) ^ £ m £ i 7 y fc^ ^ ^ ^ ^ 5^ ^ Ques-ta_p quel- la per me pa - ri so- no A quan»t'al - tre d'in- 'Mid the fair throng that sparables a - round me, Not one o'er my fe fe - ^7 7 ^? M^J^ ^ tor - no, _ heart— no!_ d'in- tor -no mi ve do, not one o'er my heart holds: sway; Del mio co - re Though u, sii^eei smile. m fe^ i J: ^ ^- . . I'im-pe - ro non ce - do_^ one mo - ment may charm ine, . Meg-lio_ad u A glance from some bright eye. F^^ ^ * m m m ) i^ P P -^f-^- ^ *: ^ fc chead al - tra . bel - ta. its spell drives u way. i * m^ La CO bto-ro_av- ve - nen-z!j_e qual All a • like may at - tract, each in m ^a -r-T^ do no Di che^il fa to nejn - fio - - ra la turn may please; Now with one I may iri - - fie and i ' *• * 5fc f m m *. t m ^ P vi - ta;. play, S'og-gi que - sta. Then an - oth - er mi tor - na gra - di ta, For-sejin' may sport with and tease — Yet all my i#^ ji * m ii ^ p -p M I r al - tra, for se^n' al - tra heart to en - slave their wiles dis - play, . do - man lo sa - ra, un' al - my heart to en - slave their wiles. M ^T if F £ tra do - man lo sa ra. tra, for-seun' al - tra do - man lo sa ra. dis -play, their wiles dis - play, s^ their wiles dis play. RIGOLETTO As a dove flies, alarmed, to seek shelter, Pursued by some vulture, to bear it aloft in flight. Thus do I fly from constancy's fetter: E'en women's spells I shun — all their ef- forts I slight. A husband that's jealous I scorn and de- spise, And I laugh at and heed not a lover's sighs ; If a fair one take my heart by surprise, I heed not scornful tongues or prying eyes. (Enter Count Ceprano, watching his wife, who is seen advancing from the distance, attended by a cavalier. Lords and ladies promenading at back.) Duke (meeting the Countess, and addressing her with gallantry). Are you already going, cruel one? Countess. I must obey my husband : Ceprano desires me to leave. Duke. The light of your face Sheds upon the court more lustre than the sun; For your smile all alike must sigh ; For you love's flame doth all around con- sume; Enslaved, enchanted, for you ray heart is breaking. (Kissing her hand with warmth.) Countess. Be more circumspect. Duke. No' ' (Giving her his arm, and leading her oif.) (Enter Rigoletto, meeting the Count Cepeano and nobles.) Rigoletto. What troubles your thoughts. Signer Ceprano? (Count shows impatience, and goes off after the Duke.) Rigoletto ,^ ^t /- i- ^ ^ (to the Cavaliers). He is out of temper, I see. Chorus. What sport! Rigoletto. Indeed ! La costanza tiranna del core Detestiamo qual morbo crudele, Sol chi vuole si serbi fedele; Non v' ha amor, se non v' e liberta, De' mariti il geloso furore, Degli amanti le smanie derido, Anco d'Argo i cent' occhi disfide Se mi punge una qualche belta. (Entra; il Conte di Ceprano, che segue da lungi la sua sposa, seguita da altre cavaliere. Dame e signor. entrano du varie parti.) Duca (alia Signora de Ceprano, movendo ad incontrarla con molta galanterie). Pjlrtite? Crudele! Conte. Seguire lo sposo. M' e forza a Ceprano. Duca. Ma dee luminoso In Corte tal astro qual sole brillar. Per voi qui ciascuno dovra palpitar. Per voi gia possente la fiamma d'amore Inebria, conquide, distrugge il mio core. (Con enfasi baciandole la mano.) Conte. Calmatevi — Duca. No' (Ce da il braccio, ed esce con lei.) Entra e Rtgoletto, che s'incontra nel Signor di Cepranoj poi cortigiani.) Rigoletto. In testa che avete, Signor di Ceprano? (Ceprano fa un gesto d'impazienza, e segue il DucA.J Rigoletto /•,-•»■■ •^ ^ (ai Cortigiani). Ei sbuffa, vedete? Coro. Che f esta ! Rigoletto. Oh SI— 8 RIGOLETTO Borsa. The Duke is having his diversion. Rigoletto. Is it not always so? What is there new in it? Gambling and drinking, feasting and danc- ing, Fighting and banqueting, all come to him alike. Now 'gainst the Countess siege he is laying, Her husband's jealousy wholly deriding. (Exit.) (Enter Maeullo.) Marullo (eagerly) . Oh, such news! such news I have! Chorus. What has happened? Tell us! Marullo. You will be quite surprised. Chorus. Narrate it! narrate it! Marullo. Ah ! ah ! Rigoletto — Chorus. What of him? Marullo. A strange adventure. Chorus. Has he lost his hump? Is he no longer deformed ? Marullo. Stranger much than that! The idiot has taken — Chorus. Taken what? Marullo. An inamorata! Chorus. An inamorata ! — Incredible. Marullo. Into a Cupid the hunchback is transformed. Chorus. Oh, what a Cupid! — ^What a comical Cupid ! (Enter the Duke, followed by Rigoletto, and Ceprano in the background.) Borsa. II Duca qui pur si diverte. Rigoletto. Cosi non e sempre ? che nuove scoperte ! II giuoco ed il vino, le feste, la danza, Battaglie, conviti, ben tutto gli sta. Or della Contessa I'assedio egli avanza, E intanto il marito f remendo ne va. (Esce.) (Entra Marullo.) Marullo (premuroso). Gran nuova! gran nuova! Coro. ____ Che avvenne ? parlate ! Marullo. Stupir ne dovrete — Coro. Narrate, narrate — Marullo. Ah! ah! — Rigoletto — Coro. Ebben ? Marullo. Caso enorme! — Coro. Perduto ha la gobba? non e piu difforme? Marullo. Piii strana e la cosa ! — II pazzo possiede — Coro. Infine ? Marullo. Un' amante! Coro. Amante! Chi il crede? Marullo. II gobbo in Cupido or s' e trasformato ! — Coro. Quel mostro Cupido! — Cupido beato! — (Entra il Ddca, seguito da Rigoletto, indi Ceprano.) Duke ,^ _ , (to RiGOLETTO). What a troublesome fellow is that Ceprapo ! But his wife — to my mind she's an angel! Rigoletto. Then carry her off. Duke. That is easily said — but how to do it ? Rigoletto. Do it to-night. Duke. You do not consider the Count. Rigoletto. Can you not put him in prison? Duke. Ah ! no. Rigoletto. Then why not banish him? Duke. Buffoon, I dare not. Rigoletto. His head, then. (Making signs of cutting it ofi.) Ceprano ^^^^^^^ forward), (Black-hearted villain!) Duke. Is this the head you speak of ? (Placing his hand on the shoulder of the Count.) Rigoletto (laughing). Of what value is such a head as that ? Ceprano. Miscreant ! (Furiously, and drawing his sword.) Duke. Forbear. Rigoletto. He only makes me laugh. Chorus. He is frantic with rage. (Among themselves.) Duke. Buffoon, come hither. (To Rigoletto.) You always carry your jokes top far ; — The anger you provoke may one, day on your head alight. Rigoletto. Who can hurt me? — I have no fear. RIGOLETTO Diica (To Ceprano.) (a Rigoletto). Ah, quanto Ceprano, importuno niun v' e. La cara sua posa e un angiol per nie! Rigoletto. Rapitela. Duca. E detto; ma il farlo? Rigoletto. Stassera. Duca. Ne pensi tu al Conte? Rigoletto. Non c' e la prigione? Duca. Ah, no. Rigoletto. Ebben — s'esilia. Duca. Nemmeno, buffone. Rigoletto. Adunque la testa — (Indicando di farla tagliare.) Ceprano. (Oh, I'anima nera!) Duca. Che di' questa testa? — (Battendo colla mano una spalla al Conte.) Rigoletto. Che far di tal testa? — A cosa ella vale? Ceprano. Marrano. (Infuriate, battendo la spada.) Duca. Fermate- Rigoletto. Da rider mi fa. Coro. In furia e montato! (Tra loro.) Duca. Buffone, vien qua. (A Rigoletto.) Ah ! senipre tu spingi lo scherzo all' estremo, Quell' ira che sfida colpir ti potra. Rigoletto.- Che coglier mi puote ? Di loro non temo ; (A Cepkano.) 10 RIGOLETTO The Duke's protege no one dares to injure! Ceprano (aside to Courtiers). Vengeance on the buffoon! Chorus. And who amongst us Has not some wrong to be avenged! Ceprano. And they shall be avenged ! Chorus. But how? Ceprano. To-morrow, let all who have the courage, By my side, and armed, appear. Chorus. Be it so. Ceprano. At night. Chorus. Agreed. (Groups of Dancers appear.) All here is joyful — all here is festive; To pleasure all here invites; Oh, look around, and in all faces see The reign of voluptuous delights. Count Monterone (from without). I will speak to him. (Enter Count Monterone.) Duke. No. Monterone. But I will. Chorus. Monterone ! Monterone (looking scornfully at the Duke). Yes, Monterone — against crimes like thine There is yet one to raise a voice. Rigoletto (to the Duke, mimicking the voice of Monterone). I will speak to him. (With mock gravity.) Against us you have conspired, signor, And we, in our clemency, have pardoned you. 'Tis madness in all seasons to come here, Wailing about the honor of your daughter. Del Duca un protetto nessun tocchera. Ceprano (ai Cortigiani, a parte). Vendetta del pazzo — Coro. Contr' esso un rancore Pei tristi suoi modi, di noi chi non ha? Ceprano. Vendetta. Coro. Ma come ? Ceprano. Domani, chi ha core, Sia in armi da me. Tutti. Si. Ceprano. A notte. Tutti. Sara. (La folia de' danzatori invade la sala.) Tutto e gioja, tutto e festa, Tutto invitaci a goder! Oh, guardate, non par questa, Or la reggia del piacer! Conte di Monterone Ch' io gli parli. (Entra il CoNTE DI MONTEEONE.) Duca. No. Monterone. II voglio. Tutti. Monterone ! Monterone (fissando il Duca con nobile orgoglio). Si Monteron — ^la voce mia qual tuono Vi scuotera dovunque — Rigcletto (al Duca. contraffacondo la voce di Monteronej. Ch' io gli parli. (Si avanza con ridicola gravita.) Vol congiuraste contro noi, signore, E noi, dementi in verb, perdonammo — Qual vi piglia or delirio — a tutte I'ore Di vostra figlia reclamar I'onore? (dall intorno). RIGOLETTO 11 Monterone (looking acorHfully at Rigolitto). Despicable bufEoon 1 — (To Duu.) Ah ! thus will I Thy vile orgies ever disturb. In all places Shall my weeping voice attend you, , While unavenged shall remain The gross insult on my family inflicted. And if to the hangman you consign me, As a spirit will I again visit thee. Till the vengeance of God and man o'er- whelm thee. Duke. No more of this — arrest him. Rigoletto. He is mad ! Chorus. What ravingf ! Monterone. Oh! on both of ye be my malediction! (To the Duke and Rigoletto.) 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 1 A parent's curse be on ye both I Rigoletto. (What do I hear? Oh, horror!) (Greatly agitated.) (except Rigoletto). Audaciously thou hast this fete disturbed. By an infernal spirit hither led. Vain are thy words — ^deaf to thefti our ears. Go, tremble, old man, at the sovereign anger Thou hast provoked. No hope for thee re- All Monterone (guardando Rigoletto con ira sprcsaante). mains ; Fatal will this day prove to thee. Monterone is marched ofif between halberdiei-^ follow the Duke.) -the others SCENE II-J-The extremity of a street that has no thor-- oughfare. On the left a house of retired appearance, within a court-yard, from which there is a doorway into the street. In the court-yard are seen a tall tree and a marble seat. At the top of the wall, a terrace, supported by arches, and reached by a flight of steps in front. On the right of the passage is the highest wall of th^ garden, and the gable end of the palace of Ceprano. It is night.' (Enter Rigoletto, enveloped in a cloak, followed by Spar- AFUCILE, who has a long Sword under, his cloak.) Rigoletto. (How fearfully that man cursed me!) Novello insulto! — (Al DucA.) Ah, si a turbare Saro vestr' orgie — verro a gridare, Fino a che vegga restarsi inulto Di mia famiglia I'atroce insulto; E se al carnefice pur mi darete Spettro terribile mi rivedrete, Portante in mano il teschio mio, Vendetta chiedere al mondo e a Dio, Duca. Non pill, arrestatelo. Rigoletto. E matto! Coro. Quai detti! Monterone. Oh, siate entrambi voi maledetti. (Al Duca e Rigoletto.) Slanciare il cane al leon morente E vile, o Duca — e tu serpente, (A Rigoletto.) Tu che d'un padre rida al dolore, Sii maledetto! Rigoletto. (Che sen to? orrore!) (Colpito.) Tutti (meno Rigoletto). Oh, tu che la festa audace hai turbit'o, Da un genio d'infdrno qui fosti guidato; E vano ogni detto, di' qua t'allontana-^ Va, trema, o vegliardo, dell' ira sovrana — Tu 1' hai provocata, piii spheme non v' e. Un' ora fatale fu questa per te. (Monterone parte fra due alabardieri; , tutti gK altri seguirono il Duca in altra stanza.) SCENA II — L'estremita piu deserta d'una Via Cieca. A sinistra, una casa di discre'ta apparenza, con un'a piccola corte circondato da muro.' Nella corte un grosso ed alto albero ed un sedile di marmo; nel muro una porta che mette ella strada; sopra il muro un terrazzo practicabile, sostenuto da arcate. La porta del primo piano da su detto terrazzo, a cui si ascende per una scala di fronte. A destra, della via e il muro altissimo del giardino, e un fiance del Palazzo di Ceprano. E notte. (Rigoletto chiuso nel suo mantello. SpaSafucile lo segue, portando sotto il mantello una lunga spada.) Rigoletto. (Quel vecchift maledivami!) 12 RIGOLETTO Sparafucile. Signor — Rigoletto. Go : I have no need of you. Sparafucile. Be that as it may, you have before you A man who knows how to use a sword. Rigoletto. A robber? Sparafucile. No — a man who; for a trifle, Will from a rival free you; — And have you not one?^ Rigoletto. Who is he? Sparafucile. Have you not a mistress here? Rigoletto. (What do I hear?) What vyould it cost me To rid me of a signor? Sparafucile. More than for a lesser man. Rigoletto. When must it be paid? Sparafucile. One-half beforehand, The other when the deed is done. Rigoletto. (O demon!) And how can you Be sure of success ? Sparafucile. In the street sometimes they fall. At other times in my own house ; — I waylay my man at night — A single blow, and he is dead. ^ Rigoletto. And how in your own house? Sparafucile. 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 — Rigoletto. I comprehend. Sparafucile. Signor ? Rigoletto. Va non ho niente. Sparafucile. Ne il chiesi — a voi presente Un uom di spada sta. RigolettcH Un ladro ? Sparafucile. Un uom che libera Per poco da un rivale, E voi ne avete — Rigoletto. Quale? Sparafucile. La vostra donna e la. Rigoletto. (Che sento?) E quanto spendesro Per un signor dovrei ? Sparafucile. Prezzo maggior vorrei — Rigoletto. Com' usasi pagar? Sparafucile. Una meta s'anticipa, II resto si da poi — Rigoletto. (Dimonio!) E come puoi Tanto securo oprar ? Sparafucile. Soglio in cittade uccidere, Oppure nel mio tetto. L'uomo di sera aspetto — Une stoccata, e muor. Rigoletto. E come in casa? Sparafucile. E facile — M'ainta mia sorella — Per le vie danza — e bella — Chi voglio attira — e allor — Rigoletto. Comprendo — RIGOLETTO B Sparafucile. There is nothing to fear; My trusty weapon never betrays me. * (Showing his sword.) Can I serve you? Rigoletto. No; not at present. Sparafucile. The worse for you. Rigoletto. Your name? Sparafucile. Sparafucile is my name. Rigoletto. A foreigner? Sparafucile. From Burgundy. (About to go.) Rigoletto. Where are you to be found ? Sparafucile. Hereabouts, every night. Rigoletto. ' r (Exit Spakafucile.) How like are we! — the tongue my weapon, the dagger his! To make others laugh is my vocation — his to make them weep ! How that old man cursed me ! O man! — O human nature! What scoundrels dost thou make of us ! O rage! To be deformed — the buffoon to have no play ! Whether one will or not, to be obliged to laugh ! Tears, the common solace of humanity, Are to me prohibited ! Youthful, joyous, high-born, handsome, An imperious master gives the word — "Amuse me, buffoon," — and I must obey. Perdition! How do I not despise ye all. Ye sycophants — ye hollow courtiers ! If I am deformed, 'tis ye have made me so; But a changed man will I now become. Sparafucile. Senza strepito — E qiiesto il mio stromento. (Mostra la spada.) Vi serve? Rigoletto. No — al momento — Sparafucile. Peggio per voi — Rigoletto. Chi sa? Sparafucile. Sparafucile mi nomino — Rigoletto. Straniero ? — Sparafucile. Borgognone — (Per andarsene.) Rigoletto. E dove all' occasione? — Sparafucile. Qui scmpre a sera. Rigoletto. Va (Sparafucile parte.) Pari siamo! — lo la lingua, egli ha il pug- nalc ; L'uomo son io che ride, ei quel che spegne ! Quel vecchio maledivami ! O uomini ! — o natura ! Vil scellerato mi faceste vol! Oh rabbia !— esser difforme! — esser buffone! Non dover, non poter altro che ridere! II retaggio d'ogni uom m' e tolto — il pianto ! Questo padrone mio, Giovin, giocondo, si possente, hello Sonnecchiando mi dice; Fa ch'io rida, buffone. Forzarmi deggio, e farlo! Oh, dannazione! Odio a voi, cortigiani schernitorl! Quanta in mordervi ho gioia! Se iniquo so, per cangion vostra e solo — Ma il altr' uom qui mi cangiol Quel vecchio malediami! Tal pensiero PercKe conturba ognor la mente mia? 14 RIGOLETTO That old man cursed me! Why does that curse Thus ever haunt my harassed mind ? What have I to fear? Ah, no, this is mere folly! (Opens a door with a key, and enters the yard.) (Enter Gilda, coming from the house, and throwing her- self into her father's arms.) Rigoletto. My daughter ! Gilda. My dear father! > Rigoletto. Only when near to thee Does my oppressed heart know joy. Gilda. Oh, what affection ! Rigoletto. My only life art thou ! What other earthly happiness have I? (Sighing.) Gilda. Why do you sigh ? What ails you ? Open your mind to your poor daughter. If any secret you have, to her confide it; And do about her family inform her. Rigoletto. Thou hast not any. Gilda. What is your real name ? Rigoletto. What matters it to thee? Gilda. If you are not willing Of your family to speak — Rigoletto. Do you ever go out? (Interrupting her.) Gilda. Only when I go to church. Rigoletto. In that thou dost right. Gilda. If of yourself you will not speak, At least tell me something of my mother. Mi cogliera sventura? Ah no, e folHa. (Apre con chiave, ad entra nel cortile.) (Entra Gilda, ch'esco dalla casa e segetta nelle sue braccia.j Rigoletto. Figlia! Gilda. Mio padre! Rigoletto. A te dapresso Trova sol gioia il core oppresso. Gij^a. Oh, quanto amore ! Rigoletto. Mia vita sei ! Senza te in terra qual bene avrei ? (Sospira.) Gilda. 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 famiglia. Rigoletto. Tu non ne hai — Gilda. Qual nome avete ? Rigoletto. A te che importa? Gilda. Se non volete Di voi parlarmi — Rigoletto. Non uscir mai. (Interrompendola.) Gilda. Non vo che al tempio. Rigoletto. Or ben tu fai. Gilda. Se non di voi, almen chi sia. Fate ch'io sappia la madre mia. RIGOLETTO OEH NON PARLARE SPEAK NOT OF OffE Mt (Rig-olette) \5 >j:^V[. ijT r ^ p- p I f F r m ji ^ m Oeh non par-la - re_a.l mi-se-ro Speak not of one, uhuse loss to thee. Del suo per-du - to be - ne; All earth ca7i boast could ne'er re-»tore; ^ f r t c- g I r s^ r F ' ^\ Rfr-jfe t El - la sen - tia, quell' an - ge - lo, Pie - ta del - le mie I[i>r an -gel form me - thinks I sec. Who loved me, though de ■ form'd and as U p ., I Mff P t ^ F i-M P pe - ne; poor, So-lo, dif-for-me, Pi-ty, Gil -da; po-ve-ro, Per com-pas- sion mija ■ spare me! Ask it, my child, no i^a ^^^jP^ \ h ^U? ^ P I T~p y 2/^ f' g-|-f^jp^^ M g ^ mo. Ah! mo - ri - a, more. Ah! she died;^ mo - ri-a, le zol le co-pra-no Lie-viquel ca-poa- may earth rest light-ly on her; To me she's lost for - ^ hi r r Tir'^FKP g^^F F iT^F P^ r\ ^^ ma -to; ev - er. So-laor tu re . sti, Thou art my on • ly hope, .3 ^ ^So-laor tu res-tijil mi - fie - ro; Thou art my on - ly hope, iny child! 5ffi f !^' gf f F if g M f F ^^ i i II Di - (>, sii rin - gra - zia Fa - thcr of all! oh! bless her Gilda. Alas ! what anguish ! such bitter grief What language can express ! Father, dear father, calm yourself, Or my heart will surely breal:. To me your name pray tell ; The grief that saddens you impart. Rigoletto. 'Twere useless myself to discover; Suffice it that thy father I am. Some in the world there are who fear me, In others, perhaps, envy I excite ; But one there is who has cursed me ! to, SI rin • gra zia- to! with T/iv mer - cy mild! Gilda. Quanto dolor ! che spremere Si amaro pianto puo? Padre, non piu, calmatevi — Mi lacera tal vista — II nome vostro ditemi, II duel che si v'attrista — Rigoletto. A che nomarmi ? e inutile ! Padre ti sono, e basti — Me forse al mondo temono, D' alcuno ho forse gli asti: Altri mi maledicono— 16 RIGOLETTO Gilda, Country, family, friends. Possess you none of them? Riffoletto. Country, family, friends, say'st thou? Thou art my country, family, and friends ! The whole universe thou art to me ! (Passionately.) Gilda. Ah ! if happier I could render you, What joy to my heart it would bring! Three months full it is since hither I came, And nothing yet have I of the city seen. With your permission I should like to see it. Riffoletto. Never! never! Hast thou ever left the house ? Gilda. No. Riffoletto. That's well. Gilda. (What have I said?) Riffoletto. I'll take care thou shalt not! ( She might be followed — stolen from me ! • To dishonor the daughter of a buffoon Would here be laughed at. Horror!) Ho, there ! (Turning towards tlie house.) (Enter GrovANNA, from the house.) Giovanna. Signor ? Riffoletto. Has any one seen me come hither? Mind — speak the truth. Giovanna. Oh, no — no one. Riffoletto. , That is well. The gate that to the bastion leads — Is that always closed ."■ Giovanna. It is, and shall De Gilda. Patria, parent!, amici, Voi dunque non avete? Riffoletto. Patria! parenti! dici? Culto, famiglia, patria, II mio universo e in te! (Con effusione.) Gilda. Ah ! se puo lieto rendervi, Gioia e la vita a me! Gia da tre lune son qui venuta, Ne la cittade ho ancor veduta ; Se il concedete, farlo or potrei — Riffoletto. Mai! mai! uscita, dimmi, unqua sei? Gilda. No. Riffoletto. Guai ! Gilda. (Che dissi?) Riffoletto. Ben te ne guarda! Potrian seguirla, rapirla ancora! Qui d'uh buffone si disonora La figlia, e ridesi — Orror! Ola? (Verso la casa.) (Entra Giovanna, dalla casa.) Giovanna. Signor ? Riffoletto. Venendo, mi vide alcuno? Bada, di' il vero — Giovanna. Ah, no, nessuno. Riffoletto. Sta ben — la porta che da al bastione E sempre chiusa? Giovanna. Lo fu e sara. VEGLIA DONNA- RIGOLETTO RIGOLETTO t% SAFELY GUARD THIS TENDER BLOSSOM Duet CRigoletto and Gilda) na^' ^ £ E ^ i£ £ ±2 Ve-glii3Lj3 don - ha,ques- to fio Safe - ly guard this ten - der bios re, Cheji te som.Which to thee. ro con - f i - / aw con • S -fn^n '^Ff f f ^ ^ da fid S i; Ve-gli_at - ten . t'fig, /» her gV'ile F f ^ f F f 'P f mai dis-vel-to_o fran to Ques-to_a heart bears life with - in it, 'Twill de voi di - let to_ fior. fy !_ each art ful snare. 18 RIGOLETTO (The Duke, in disguise, is seen to arrive in the street.) Rigoletto. There is some one outside. (RiGOLETTO comes through the garden-gate, and looks about the street; while doing so, the Duke stealthily glides m, and hides himself behind a tree, throwing a purse to Gio- /ANNA.) Gilda. Oh, Heavens! He is always suspicious. " (returning to Gilda.) Does any one ever follow you to church ? Gilda. No. Duke. (Rigoletto.) Rigoletto. Should any one knock, On no account admit him. Giovanna. Not even the Duke? Rigoletto. Above all others keep him out. Daughter, adieu ! Duke. (His daughter!) Gilda. Adieu, dear father. (They embrace, and Rigoletto departs, closing the door after iiim,) Gilda /• 11, J^ (m the yard). Giovanna, I am struck with remorse. Giovanna. What about, pray? Gilda. I did not tell him of the youth who follows me to church. Giovanna. Why should you tell him? Do you hate the youth. And would you thus dismiss him? Gilda. No, no ! his looks are pleasing to me. Giovanna. And he has the appearance of a wealthy signor. Gilda. Neither signor nor wealth do I wish to have ; (Entra il Dvck, in costume borgheEe, della strada.) Rigoletto. Alcuno e fuori — (Apre la porta della corte e, mentre esce a guardar sulla strada, il Duca guizza furtive nella corte, e si nascopde dietro I'albero; gettando a Giovanna una borsa la fa tace^re.) Gilda. Cielo! Sempre novel sospetto — Rigoletto ^^ (,^^^^_ tornando). Vi seguiva alia chiesa mai nessuno ? Gilda. Mai. Duca. (Rigoletto.) Rigoletto. Se talor qui picchiano Guardatevi d'aprire — Giovanna. Nemmeno al Duca? Rigoletto. Meno che a tutti a lui. Mia figlia, addio. Duca. (Sua figlia!) Gilda. Addio, mio padre. (S'abbraciano, e Rigoletto parte, chiudendosi dietro la porta.) Gilda , „ ^ , (nella corte). Giovanna, ho dei rimorsi — Giovanna. E perche mai ? Gilda. Tacqui che un giovin ne sequiva al tempio. Giovanna. Perche cio dirgli? — I'odiate dunque Cotesto giovin, voi ? Gilda. No, no, che troppo e bello, e spira amore — Giovanna. E magnanimo sembra e gran signore. Gilda. Signor ne principe — io lo vorrei; JIIGOLETTO 19 The poorer he prove, the more shall I love him. Sleeping or waking, my thoughts are all of him. And my heart longs to tell him I lo — Duke (suddenly coming forward, motioning Giovanna to retire, and kneeling at the feet of Gilda). I love thee ! The words repeat ! Such delicious accents Open to me a heaven of enjoyment. Gilda. Giovanna ? Alas, no one answers me ! There's no one here! Oh, heavens, I'm alone! Duke. No ! I am here ; and to thee I respond^ Against all the world I will protect thee ! Qilda. Why thus address yourself to me? Duke. Whate'er yoiir state, to me it matters not — I love thee! Gilda. Oh, go away. Dike. Go away! No, not yet! If love's fire within us both be lighted, Inseparable we should henceforth be; O maiden bright, thy lot with mine unite ! Sento che povero — piii I'amerei. Sognando o vigile — -sempre lo chiamo, E I'alma in estasi — gli dice t'a — Duca (esce improvviso, fa cenno a Giovanna d'andarsene, e IB ginocchiandosi a' pied di GiLDA terming la fr^se). T'amo ! T'amo, ripetilo — si caro accento, Un pure schiudimi — ciel di contento ! Gilda. Giovanna ? Ahi, misera ! non v' e piii alcuno Che qui rifepondami ! Oh Dio ! nessuno 1 Duca. Son io coir anima — che ti rispondo — Ah, que che s'amano — son tutto un mondo ! Gilda. Chi mai, chi giungere-'— vi fece a me? Duca. S'angelo o demone — che importa a te? Io t'amo — Gilda. Uscitene. Duca. Uscire! adesso! Ora che accendene — un fuoco istesso! Ah, inseparabile — d'amore, il dio Stringeva, o vergine — tuo fato al mio! E IL SOL DELL' ANIMA LOVE IS THE SUN Air (Duke) i m CVS 1/ 't ^-_ >^ — m F — P W P P I Q-p -^ f? E 2= E Hz Ejl sol deir a - ni - ma, la vi-ta,,e^ - mo - re. Sua vo-ce^£Jl pal-pi -to del Lnve is the sun by which pas-sinn is light-cd, How blest the mor - tal who i plg-p MP p p 1 ^ p I' II ' P p IQ-p T-p no-stro CO - re, feels its fow - er; E fam - a_e glo - ria po - ten-za e tro - no, U- Each fleas -ure once frized with -out it seems blighl-ed, With i ^y ^ I^LgiP ^' I P f^ ma- ne, fra-gi-li qui co - se so no lV we heed not what fate may. show - er. I U - na pur av- ve-ne, Feel-vng ce - les - Hal, 20 ' RIGOLETTO ^m £ P^ P F l?=F^ £ SO - la, di ■"<> joy 'er vi . na, Ea - mor che^ gl'an res - trial Can e'er to me" suc/t szueet ^^ H ^g- g I ^ ^ M I P J i gl'an-ge-li piu neav-vi - ci - na! . rap - ture im - fart Ah!. , A - dun-quea - mia ^ mo - ci, May no blight ev - er this f c ■<:>■ V-^ ^T \^ f t E don- na ce le ste, D'in-vi heart frotn thee scv - er-, Rest in di a g'l'uo- mi ■ ni sa ro per my bos pin. ne'er, . to de p ^ M ^ I p-^p J' I r Mr te, D'in - vi - dia_a - gl'un fart. Rest in my bos Gilda. (Ah! how these words my ears delight! His tones, how tender — and how pure his love!) Duke. That you love me — oh, the words repeat — Gilda. You have heard. Duke. O joy unlocked for! Gilda. Your name, now, I pray you tell me; For I never yet have heard it. (Enter Ceprano and Boesa, from the street.) Ceprano ^^^ ^^^^^^_ This is the place. Duke My name is- Borsa All right. (to Gilda). (Considering.) (to Ceprano). (They depart.) Duke. Walter Malde. I am a student — a poor student. mi ni sa - ro per te. om., and - ne'er de ■ fart. Gilda. (Ah de' miei vergini — sogni son queste — Le voci tenere — si care a me!) Duca. Che m'ami — deh ! ripetimi — Gilda. L'udiste. Duca. Oh, me felice! Gilda. II nome vostro ditemi ; Saperlo non mi lice? (Entra Ceprano e Borsa sulla via.) Ceprano , „„ ,., '^ (a Boesa). II loco e qui — Duca Mi nomino- Borsa Sta ben — Dt (a Gilda). (Pensando.) (a Cepkano). (E partono. ) Gaultler Malde. Studento sonb, povero. Giovanna. . (In alarm.) I ilfiar footsteps, outside. Giiaa. , : . : ■ Perhaps it is my father. Duke. - Ah ! could I the traitor catch Who thus presumes to interrupt The joy I have in being with thee ! Gilda „ _ ^ (to Giovanna). (Quickly away! To the bastion conduct him — go.') Duke. First say that you love me? Gilda. And you? Duke. With my whole heart I swear it. Gilda: No more, no more, at once depart. Both. Farewell, my hope, my soul, farewell; For thee alone henceforth I'll live; Farewell ! Immutable as Fate Shall be my love and truth to thee. (Exit the Duke, escorted by Giovanna, Gilda following bis steps with her eyes.) Gilda , , , (alone). Walter Malde ! What a romantic name ! Already is it on my heart engraven ! RIGOLETTO 21 (a Giovanna) Giovanna. ,^ ( apaventata.) . ' JRumor di'passi e furore. Gilda. ' Forse mio padre. Duca. Ah! cogliere Potessi il traditore Che 81 mi sturba ! Gilda (Adducilo Di qua al bastione, ite!) Duca. Di m'amerai tu? Gilda. E voi? Duca. L'intera vita, poi. Gilda. Non piij, non piu, partite. J 2. Addio, speranza ed anima Sol tu sari per me. Addio, vivra immutabile L'affretto mio per te. (Parte il DucA scortato da Oiovanna, Gilda resta fissando e partito.) , Gilda , . , (sola). Gualtier Malde! nome di lui si amato. Scolpiciti nel core innamorato ! CARO NOME CHE IL MIO COR — DEAR NAME WITHIN THIS BREAST Mi (Gilda) Hi P^p l p vb V JW J'v I J. p-jlJ'v J^: Ji-, ^ Ca-ro no - me chejl mio cor Fes-ti pri - mo pal - pi • Dear name, with - in ' ihis breast^ Thy mem - 'ry will re - m J\ JH i)r h ^ M ^ -^g^ ^p HJ. P^^ M tar, Le de - li - zie dell' a main- Mff love, for thee con m ^ mor Mi dei sem pre ram - men Jess's, No — __ fow - er can -re ■ ^^ ^ i V' ^m ^ ^ Be P tar! Col pen-sier il mio de - sir A te sem - pre vo • le strain: ' Ahl-Li yes, 'Us bliss to own The^ joy that fills tny. 22 m ^ r ■ F^ f w M^_ . ^>^ RIGOLETTO ^ *• Pt/?'il/^iJ - P'^irr ^^^j^'^'LJ^ ra, E fin I'ul ti - mo so hearf} "TwiU beat for thee a spir, Ca-ro no - me, tuo_ lone; Till death 'twill ne'er sa ft e ^^^m M^L g l P P t^ P ^ ra. j^artl Col pen-sier il mio de-sir A te sem-pre vo-le-ra — 'Twill heat for thee a - lone; Ahl till death'iwill ne'er de -fartL W=^ ^' U ii d ^^ J {*r n' E fin I'ul - ti - mo mi - o_ 'Twill beat, 'twill b%at for thee a SO spir, Ca - ro no ■ lone, Ahl till death. me, tuo sa - ra, 'twill ne'er de - fart. (She ascends the terrace, with a lantern in her hand.) (Enter Marullo, Ceprano, and BoRSA, accompanied by courtiers, in masks, and armed.) Borsa. Look there! (Pointing towards Gilda.) Ceprano. Ah ! there she is — Chorus. Oh ! how beautiful she is ! Marullo. A fairy or an angel ! Chorus. Can that the mistress be Of Rigoletto? (They all laugh.', (Enter Rigoletto, absorbed in thought.) Rigoletto. (Laughing! what can it mean?) Borsa. Silence, to our work; we've no time for laughing. Rigoletto. (Ah, how fiercely that old man cursed me!) Who is there? (San al terrazzo con una lanterna, che tono entra in casa.) (Entrano Marullo, Ceprano, e Borsa, cortigiani, armati e mascherati, dalia via.) Borsa. Ela. (Indicanda Gilda.) Ceprano. Miratela — Coro. Oh ! quanto e bella ! Marullo. Par fata od angiol ! Coro. L'amante e quella Di Rigoletto? (Entra Rigoletto, concentrate.) Rigoletto. (Riedo! perche?) Borsa. Silenzio, all' opra, badate a me. Rigoletto. (Ah da quel vecchio fui maledetto!) Chi e la? Borsa (to his companions). Be silent, 'tis Rigoletto. Ceprand. A double capture ! We can also slay him. Borsa. No ; to-morrow it will make more sport. MaruUo. But now everything is ready. Rigoletto. (Who is speaking there?) MaruUo. Is't you, Rigoletto — say. Rigoletto ., ,, (considerably agitated). Who goes there? MaruUo. You will not betray us-r— I am — Rigoletto. Who? MaruUo. MaruUo. Rigoletto. In the dead of night for good you are not here. MaruUo. 'Tis a ridiculous frolic brings us here; Ceprano's wife we mean to carry off. Rigoletto. (Once more do I breathe.) But how do you enter ? MaruUo (to CErKANO). Hand here the keys ! (To Rigoletto.) Doubt us not ; We are not to be foiled in a stratagem. (Handing him the keys taken from Cephano.) Here are the keys. Rigoletto (feeling the keys). I feel that this is his crest. (Ah! then all my terrors have been need- less!) (He breathes more treely.) Yonder is his palace — I will go with you, MaruUo. We are all disguised. RIGOLETTO Borsa (ai compagni). Tacete, c' e Rigoletto. Ceprano. Vittoria doppia! L'uccideremo. Borsa. No: che domani piu rideremo. MaruUo. Of tutto aggiusto. Rigoletto. (Chi parla qua?) MaruUo. Ehi, Rigoletto? — di Rigoletto (con voce, terribile). Chi va la? MaruUo. Eh, non mangiarci — son — Rigoletto. Chi? MaruUo. Marulb. Rigoletto. In tanto bugo lo squardo e nullo. MaruUo. Qui ne condusse ridevol cosa; Torre a Ceprano vogliam la sposa. Rigoletto. (Ohime, respirx).) Ma come entrare? MaruUo (a Ceprano). La vostra chiave ? (A Rigoletto.) Non dubitare; Non de mancarci lo stratagemma. (Gli da chiave avuta da Ceprano.) Ecco le chlavi. Rigoletto (palpandole). Sento il suo stemma. (Ah, terror vano fu dunque il mio!) (Respirando.) N' e la palazzo — con vio son io. MaruUo. Siam mascberati. 24 RIGOLETTO RtgoleUo. Then so will 1 be; Give me here a mask. Marullo. Well, here is one. You shall hold the ladder. (Puts, a mask on the face of Rigoletto, fastens it by a handkerchief across his eyes, and places him at a ladder, against the terrace wall, to keep it steady.) Rigoletto. How very dark it has become! Marullo. The bandage renders him both blind and deaf. (To his companions.) All. Silence ! silence ! while vengeance we seek ; In his own trap now let him be caught ; The jester who constantly makes us his sport, Shall now, in his turn, our laughter provoke. Hush ! be quiet ! his mistress we'll seize, And, to-morrow, at court have our laugh. (Some ascend to the terrace, force a window, by which they enter, and descend to the door, which they open to others, who enter and drag out Gilda. She has her mouth gagged with a handkerchief. While being dragged across the stage, a scarf falls from her.) Gilda. Help ! help ! Father, dear, help ! Chorus. Victory ! Gilda. Help! help! (At a distance.) Rigoletto. Is it not yet done ? What a capital joke ! (Putting his hands to his face.) Why, my eyes are bandaged! (He snatches off the bandage and mask, and, by the light of the lantern, recognizes the scarf, and sees the door open; he rushes in, and, drags out Giovanna, greatly fright- ened; he fixes his eyes upon her in stupefaction, tears his hair in agony, and, after many ineffectual efforts to speak, exclaims;) Ah! this is the Malediction! (Swoons.) END OF ACT I. Rigoletto. Ch' io pur mi mascheri; A me una larva? Marullo. Si pronta e gia. Terrai la scala. (Gli mette una maschera, e nello stesso tempo lo benda con un fazzoletto, e lo pone a reggere una scala, che avranna ap- postata al terrazzo.) Rigoletto. Fitta e la tenebra ! Marullo. La benda cieco e sordo il fa. (A compagni.) Tutti. 7Att\, zittl, moviamo a vendetta, Ne sia colto, or che meno I'aspetta. Derisore si audace constante A sua volta schernito sara ! Cheti, cheti, rubiamgli I'amante, E la Corte doman ridera. (Alcuni salgono al terrazzo, rompon la porta del primo piano, scendono, aprono ad altri ch'entrano dalla strada, e riescono, trascinando Gilda, la quale avra la bocca chiusa da un fazzoletto. Nel traversare la scena ella perde una sciarpa.) Gilda. Soccorso, padre mio — - Coro. Vittoria ! Gilda. Aita! (Pill lontano.) Rigoletto. Non han finito ancor! qual derisione! fc (Si tocca gli occhi.) Bono bendato! (Si strappa impetuosamente la benda e la maschera, ed al chiarore d'una lanterna scordata riconosce la sciarpa; vede la porta aperta, enfra, nt trae Giovanna spaventata; la fissa con istapore. si strappa i capelli senza pote-r gridare; finalmente, dopo molti sforzi, esclama:) Ah! — ^la Maledizione! Fine dell' atto primo. RIGOLETTO 25 ACT n. ATTO II. 'r SCENE - 1— Salo* in th« ' Duke's ' Palace.' Large folding- doors in l!iackTSce^e^ arid smaller ones-- oji each side, above which hang portraits- of the Ddke and the Duchess. A table covered with velvet, hajidsome chairs, and other ap- propriate furniture. ' ' ' ' (Enter the Duke, by centre doorway, much agitated.) Duke. She has been stolen from me I But how, and by whom ? Oh, heavens ! Thus to lose her at the very moment When my passion most demanded her! The door was wide open — the house de- serted ! Whither can the dear angel have flown ! She who first within this wandering heart The joys of a true love hath awakened — She so pure that, by her modest bearing, To truthfulness I feel me now inclined. She has been stolen from me ! But, to do it, Who has dared! On him shall vengeance • alight ! Grief for my beloved one vengeance de- mands ! PARMI VEDER LE LAGRIUB — DEAS MAID, EACH TEAR Air (Duke) SCENA- I— Salotto nel Palazzo DucAtE.' Vi sono due porte Jaterali, una' maggiore nel fondd che si chiude. A' suoi lati" pendono i ritrati,' in tufta figura, a sinistra, del DuCA, -a destra della sua sposa. , V' ha un,seggiolone presso una tavola coperta di vellu'tb, ed altri mobili. (Entra il Du'cA, dal mezzo, agitato.) Duca. Ella mia fu rapita! E quando, o del? — ne' brevi istanti, prima. Che un mio presagio interno Suir orma corsa ancora mi spingesse ! Schiuso era I'uscio ! la magion deserta ! E dove ora sara quell' angiol caro ! Colei che pote prima in questo core Destar la fiamma di costanti affetti ? Colei si pura, al cui modesto accento Quasi tratto a virtu talor mi credo ! Ella mi fu rapita! E chi I'ardiva? — ma ne avro vendetta: Lo chiede il pianto della mia diletta. r P TMp-^r vp i r J r? ^' Par- mi ve-der ie la - gri-me Seor-ren-ti da quel ci - glio, Dear maid, each tear of thine that falls, Each sad sigh that bos - om heav - ing. I te m i ^ p- g r "P ir-rr ^ £ Quand - do fr^ dub - bioe Tan - sia Del Pin - ing with - in some dark walls, Fills su •me...™ bi - to pe tvith fain and * p M' i l l r ^p y '' tj M M reg - lio, Dejl' a - mor no - stro me - mo - re, griev - ing. Ahl vain-ly didst thou cry tome. Dell' a - mor no-stre Ah! vain- ly didst thou . %^ p I? ^ M^p p ^^ i j M i me - mo • re, II suo Gual-tier chia - mo. cry...,.^ to me, "Help me, dear Wal - ter, helfl" Ned ei pe-tea soc- J then, a • lasl was 26 RIGOLETTO M i' r M > I T=p=g p ir r cor - rer - ti, far u. - way. Ca - ra fan - ciiil No aid could I Igji - ma - ta; af • ford thee; fe P ^ m p- ^ p- ''p 1? ^ fe Ei che vor-ria col? a ni nia_ ye<, could my life thy woes re - fay,. Far ti quag-giu be Glad - ly ex- changed it p M M r ^P V '' Q- p [ 7 ?■ P a ta; Ei che le sfe- rea gl'an - ge li, should he. Not e'en the an-gels' blest a - bode #^^ Ei che le sfe -rea Could peace to me re - M M y P 'g ^ J F ;> gl'an store,. i ge - li Per te non in vi to me re - store, from thee a ^ dio, fart; Ei che le Could feace to ^'1.V Ql? 1 !; ^^ ^ffT i f r, -? ^^ sfe - re; Le sfe-rea gl'an-ge li Per te, per te me re-store: Not e'en the an - gels' . blest a - bode.. -fv Le sfe - rea- Could feace to ^'# F' ff ff ; f! "tT? ''p ^'i' JB 3^ non in - vi - dio, non in - vi gl'an - ge - li Per te me re-store, Could peace to me re -store, from thee a diu. fart. (Enter Maeullo, Ceprano, Borsa, and other courtiers.) All. Oh, Duke! oh, Duke! Duke. What news? All. From Rigoletto We have carried ofE his mistress. Duke. Capital! Where is she? All. In your palace. Duke. Ah, ah! tell me how 'twas done? (Entrano Makullo, Cepkaho, Bobsa, ed altii cortigiani.j Tutti. Duca, Duca! Duca. ' Ebben ? Tutti. L'amante Fu rapita a Rigoletto. Duca. Bella! e d'onde? Tutti. Dal suo tetto. Duca. Ah, ah ; dite, come fu ? RIGOLETTO SCORRENDO UNITI— ^S WE WITH GLEE (Chorus) 27 ^ ^ E ^ ^ S Scor- ren As 2ve dou wiih ni glee ti on mis re - mo chief bent ta last ii' J. J i j'i 1 Ji„r^r^ ijTl J-' ; ^J' V p ^ vi - a Bre - v'o , - ra do po ca du - tojl night rovedj When hush'd in feace - ful sleep the world seem'il tl f -p- ^ n- ^ I JLJ' J- p ^ Jm J' V r P >M F di, Co- me pre - vi - sto ben s'e - rajn pri - a, Ra-ra bel- btt - ried, The one vie sought we met, a - lone^ mis - trust - ing, Be -side the ^¥ J\7 Ji Jm J^ J' ?j,i , ^ j U j t V V^ Ji ta ci si SCO- pri, ci si sco - pri. house in which we guess'd the bird was caged. E - ra I'a - The charm . ing I fcfe ^fe ^ y ? Jl tJ' ^ J^ man - te fair was Ri di Ri - go go - let - to's let - to Che, vis - taap- Wts - tress; But she af - ¥_r7]j^:/.^j'vpvt i-ii rt^ i^' '" ^ pe - na, si di - le fright - ed to her home then guo Gia di ra - pir - la s'a-veail pro ran; The jeit - er then ap-pear'd, with whom we ft J/., I | j»p , ^^, l ■^■v jij. .? J)J' ^ ^^ get - to, Quan-dojl buf - fon ver noi spun-to, ver noi spun- spori - ed: "Give us thy aid, Ce - pra - no's wife to steal a - ft } I 'Mj), j; .III I I I ' Mr -f" h^ i' to; Che di Ce - pra - no noi la Con-tes - sa Ra-pir vo- ipayl"; The trap he fell in; oh, sport worth tell • ingi A han-dagff RIGOLETTO '«' j! •^^■- ^J-i J^U ^''U' fa* ^ ^^ "*": •■ Jr les - si - mo, stol-to, ere - de;.' then we placed he -fore his £yes; La sea - la quin - A lad - der quick - di all' uo - po ly placed to the te ^E^ ^ -^. ^L-^ J.. P r mes - sa, Ben- da - tOj^i stes - so win • dow, We bade him stand by, fer - ma te and firm - ly ffi'" I' ?.i i > .7 ^ I .i»J J' .n^^ i gj^f ^ p ff ^'^ ^ yig i f 7/ I I 1 ne, La sea - laquin- d|ei stes - so^i stes - so fer-ma, fer-ma te-ne. hold. Ah, yes, he firm - ly held the lad - der; the lad - der firm-ly held. All. In haste we mounted, and searched the chambers. And with the lady away we sped ; But when he'd found out the trick we'd played him, He raved for vengeance upon our heads. Duke. (What do I hear? Of my own charmer they are speaking! I have yet a chance of regaining her.) But where is the poor creature to be found ? (To the Chorus.) All. All proper care we have taken of her. Tutti. Salimmo, e rapida la giovinetta, Ci venne, fatte quinci asportar. Quand' ei s'accorse della vendetta Resto scornato ad imprecar. Duca. (Che sento? — e dessa la rnia diletta! Ah, tutto il cielo non mi rapi!) Ma dove or trovasi, la poveretta? (Al Core.) Tutti. Fu da noi stessi addotta or qui. Hi i vi^ POSSENTE AMOR — TO HER I LOVE Air (Duke) T ^ ^ ^ Pos - sen - tea- mor mi To her I love wUh ma, Vo-lar io deg - gio a ture, J must with speed flee a i ^ m f I r r ^^ 'i * ^ le , i; II ser - to mio da - rei . way; All thought of her base cap Per con- so- lar quel ture I'll gen- ily soothe a • ^¥^ ^ 29 g m Eg cor. II ser - to mio da - rei . way; All thought of her base cap Per con- so lar_,. quel_ ture I'll gen-ily soolhe- a m ^ =r=^ ^ cor. Ah! sap-pial-fin chi I'a way. From, her my name and sia ± ^ ma Co - no-scajil-fin chi tion I can - not now con m fc so - no, Ap-pren-do ch'an-coin tro ceal, Yet, free from oh ser - va no Ha deg li schia-vt_A- tion, I may my . ■ love re - # r V \J^U\r\i r-ppF ?EEEE mor; veal; Ap / _ ^^ f=rf pren- do ■may ch'an - CO in tro - no, my love re - veal ch'an - CO in / may m/y fes tro - no Ha deg ~ li schia - vi, love, yes, my love to her— re -veal. Ha_ deg-li schVa-vi A - mor. My— love to her may re ■ veal. (What new thought now has seized him— A sudden change has just come o'er him.) Marullo. Unlucky Rigoletto! — Chorus. Here he comes — be silent, all. (Enter Rigoletto.) Good morning to you, Rigoletto. Rigoletto. (They are all of them in the plot.) Ceprano. What news do you bring, Buffoon ? Rigoletto. More than ever Are you wearisome to me. All. Ah! ah! ah! (O qual pensiero I'agita Come congio d' umor!) Marullo. Povero Rigoletto! — Coro. Ei vien — silenzio. (Entra Rigoletto.> Tutti. Buon giorno, Rigoletto — Rigoletto. (Han tutti fatto il colpo!), Ceprano. Ch' hai di nuovo, Buffon? Rigoletto. Che dell' usato Pill noioso voi siete Tutti. Ah! ah! ah! 30 RIGOLETTO Rigoletto. (Whither can they have carried her?) (Looking about anxiously.) All. ( See how uneasy he appears ! ) " (sardonically). Happy I am To see that no hurt you have taken From the cold air of last night. Marullo. Last night, said you? Rigoletto. Yes — ^Ah ! 'twas a capital trick. Marullo. I was asleep, all night. Rigoletto. Oh! you were asleep! then I have been dreaming I (He is about to go, when, seeing a handkerchief on the table, he anxiously examines the cipher on it.) All. (See how everything he scrutinizes!) Rigoletto. (It is not hers.) (Throwing it down.) Is the Duke still sleeping? All. Yes, he is still sleeping! (Enter a Page of the Duchess.) Page. The Duchess desires to speak to her lord. Ceprano. He sleeps. Page. Was he not here but lately? Borsa. He has gone hunting. Page. Without his suite! without arms! All. Canst thou not understand, That for a short time he cannot be seen ? Rigoletto Non lasciamo d'osservar.) (Escon dal mezzo f^ chindon la porta.)- Rigoletto. Parla^-siam soli. Gilda. (Ciel, dammi corraggio!) Tutte le feste al tempio Mentre pregava Iddio, Bello e fatale un giovane S'ofierse al guardo mio — Se i labbri nostri tacquero, Dagli occhi il cor parlo. Furtivo f ra le tenebre Sol iera a me giungeva ; Sono studente, povero, Commosso mi diceva, E con ardente palpito Amor mi protesto. Parti — il mio core aprivasi A speme piii gradita, Quando improwisi apparvere Color che m' han rapita, RIGOLETTO And hither forcibly brought me, To my ruin and dismay. Rigoletto. Stop — say no more, my angel — (I know all! Avenging Heaven, Upon my head falls the infamy I have of thee invoked!) O God! That she might be exalted, How miserably have I fallen! Ah! often near the altar The scaffold should be reared ; 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. Gilda. Father, like an angel you speak to me These words of consolation. Rigoletto. .What must be done I will quickly dispose of, And then for ever will we quit this fatal place. Gilda. Yes! Rigoletto. How changed in one short day may be our destiny ! (Enter a Herald and the Count Monterone, who is marched across the back of the stage, between guards.) Herald. Make way; he is ordered to the prison of Castiglion. (To the guards.) 'Monterone. Since in vain thou hast by me been cursed, (Stopping before the portrait.) The wrath of neither heaven nor earth can reach thee, And happy wilt thou yet live, O Duke ! (Exit, between the guards.) Rigoletto. No, old man, not so — thou shalt be avenged ! Yes, vengeance, dire vengeance, awaits thee! The one hope of my soul is thee to punish! And the hour of retribution is nigh That to thee shall prove fatal. E a forza qui m'addussero Nell' ansia piii crudel. Rigoletto. Non dir ; non piu, mio angelo. (T'intendo, avverso ciel! Solo per me I'infamia A te chiedeva, o Dio! Ch' ella potesse ascendere Quanto caduto er' io; Ah ! presso del patibolo Bisogna ben I'altare! Ma tutto ora scompare; L'altar si roverscio!) Piangi, fanciulla, e scorrere Fa il pianto sul mio cor. Gilda. Padre, in voi parla un angelo Per me consolator. Rigoletto. Compiuto pur quanto a fare mi resta, Lasciare potremo quest' aura funesta. Gilda. Si. Rigoletto. ( E tutto un sol giorno cangiare pote ! ) (Entra un Usciere ed il Conte di Monterone, che dalla destra attraversa il fondo- della sala fra gli alabardieri.) Usciere. Schiudete — ire al carcere Castiglion dee. (AUe guardie.) Monterone. Poiche fosti invano da me maledetto, (Fermandosi verso il ritratto.) Ne un fulmine o un ferro colpiva il tuo petto, Felice per anco, o Duca, vivrai — (Esce fra le guardie dal mezzo.) Rigoletto. ' No, vecchio, t'inganni — un vindice avrai. Si, vendetta, tremenda vendetta Di quest', anima e solo desio — Di punirti gie — I'ora s'affretta, Che fatale per te tuonera. ■1'T RIGOLETTO Like thunder from the heavens hurled, Shall fall the blow of the despised buffoon. Gilda. father dear, what joy ferocious 1 see your flashing eyes light up ! Ah ! 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 door.) END OF THE SECOND ACT. ACT III. SCENE I — A desolate place on the banks of the Mincio. On the right, v/ith its front to the audience, a house, two Btories high, in a very dilapidated state, which is neverthe- less used as an inn. The doors and walls are so full of crevices, that whatever is going on within can be seen from without. In front, the road and the river. In the distance, the city of Mantua. It is night. (Gilda and Higoletto discovered, in apparent alterc.ition, Sparafucile seen in the house, cleaning his belt, unconscious of what is going on outside.) Rigoletto. Yet you love him ? Gilda. I cannot help it. Riffoletio. Surely This madness ere now you should have con- quered. Gilda. Yet I love him! Riffoletto. How weak is the heart of woman! Her vile seducer she'd forgive — But avenged thou shalt be, my Gilda. Gilda. Have pity on him, dear father! Riffoletto. If of his treachery I convince you, Will you then from your heart discard him ? Gilda. I do not know ; — but he to me is true. Riffoletto. He! Come fulmin scagliato da Dio II buffone colpirti sapra. Gilda. O, mio padre, qual gioja feroce, Balenarvi negli occhi vegg' io! Perdonate — a nol pure una voce Di perdono dal cielo verra. (Mi tradiva, pur I'amo, gran Dio, Per I'ingrato ti chiedo pieta!) (Escon dal mezzo.) FINE DELL^ ATTO SECONDO. ATTO III. SCENA I — Deserta sponda del Mincio. A sinistra e una casa in due piani, mezzo diroccata, la cui fronts, volta alio spettatore, lascia vedere per una grande areata rinterno d'una rustica ostcria; il muro poi n* e si pien di fessure, che dal di fuori si puo facilmente scorgere quanto avviene nell' interne. Al di la del fiume e Mantova. E notte. (Gilda c Rigoletto inquieto, sono sulla strada. Spaeaftt- ciLE neir interno dell' osteria, seduto prcsso una tavola sta ripulendo il suo cinturone, senza nulla intenders di quanto accade al di fuori.) Riffoletto. E I'ami? Gilda. Sempre. Riffoletto. Pure Tempo a guarirne t' ho lasciato. Gilda. Io I'amo. Riffoletto. Povero cor di donna! Ah, il vile infame! Ma avrai vendetta, o Gilda — Gilda. Pieta, mio padre— Riffoletto. E se tu certa fossi Ch' ei ti tradisse, I'ameresti ancora? Gilda. Nol so, ma pur m'adora. Riffoletto. Egli! RIGOLETTO 35 Gilda. Yes. Rigoletto. Well, then, this way come, and see, (He conducts her' to one of the crevices in the wall, and motions her to look through.) Gilda. A man, surely^ I see! Rigoletto. Wait a little longer. (Enter the Duke, dressed as a private soldier, through a door on the left, opening into the ground^floor room.) Gilda. - "■ Ah, my father! (Surprised.) Duke. Two things I want, and quickly. (To Sparafucile.) Sparafucile. What are they? Duke. A room and some wine. , Rigfilefto. (His usual custom, no doubt.) Sparafucile. (Oh! the fine gentleman!) (Goes off into an adjoining room.) Gilda, Si. Rigoletto. Ebbene, osserva dunque. (La conduce presso iina delle fezzure del muro, ed ella vi guarda.) Gilda. Un uomp Vedo. Rigoletto. Per poco attendi. (Entra il DucA, in assisa di semplice officiale di cavalleria, nella sala terrena per un aporta a sinistra.) Gilda. Ah, padre mio ! (Trasalendo.) Duca. Due cose, e tosto — (A Sparafucile.) '' Sparafucile. Quali? Duca. Una stanza e del vino — Rigoletto. (Son questi i suoi costumi!) Sparafucile. (Oh, il bel zerbino!) (Parte nella vicina stanza.) LA DONNA E MOBILE — HOW FICKLE WOMEN ARE Air (Duke) m M M^" P r i M MG'r iM " ^ La don-na^ ' .How fick - le mo - bi - le Qua! piu-majl ven - to, Mu - ta d'ac wo • tnen are, Fleet-ing as fall- ing star, Chan-ging for th^'f^. \ i p ^. .\'un\ I li 1 .1 ^^ cen - toj E di pen - sie - ro. Sem-preim-a - ma - bi - le et) - er; Con - slant, aU nev - er^ Like feath- ers fly - ing, I p p ? I Q* r I M p ' "^ ^ Leg-gia-dro vi - so On the wind hie - ing In pian-toojn ri - so, Ev - er in mo • Hon, E men - zo Like waves of 36 RIGOLETTO P \ \ n J I ^ fH-fP .v r I O^^ ¥ La don-nae - mo - bil Yet ihere'e ne feet ■ - ing Qual piu-maal ven - to, Love's fleas-v/rt steal - ing, Vh Q F ^ J-Jt -y — f-^ X £ ^ V^f^ Mu - ta . d'ac - cen - to e di pen - sier, Like thai of seal - ing Their lips with a kiss, Their hr-^ Q(j\ r ^- 1 1 g?nir ^ e di pen - sier I e, lips with a kissi Their. e di pen - sier! lips zuiih E qui spento il vostr' uomo — Rigoletto. Oh, gioja! un lume! 44 RIGOLETTO Sparafucile. A light? No — first the money. (RiGOLETTo hands him a purse.) Sparafucile. Let us into the river cast him. Rigoletto. No! alone I'll do it. Sparafucile. As you please; but this place is not the best: Higher up, the stream is deeper. Be quick, That no one may observe you. Good night. (He i-e-enters the house.) Rigoletto. Here he is! — dead. I should like to see him! But virhat matters? 'Tis done! Here are his spurs. Now will the world again look well witL me! Here is the buffoon, and here his master! At my feet he lies. It is he ! It is he ! Now hath my grief its just revenge at- tained ! In the sea shall be his sepulchre, This sack his winding-sheet! (He tries to drag the sack towards the river, when he is surprised at hearing the voice of the Duke^ who passes along the background.) What voice is that ! Or is it an illusion ? No ! no ! it is he ! it is he himself 1 (Greatly alarmed.) The Malediction! Oh, there! demon of hell! (Nearing the house with the sack.) But who, instead of him, can Be in the sack! (Tearing open the sack.) I tremble. It is a human body! (Lightning.) My daughter ! O God, my daughter ! Ah, no! it is impossible; Towards Verona she journey eth ; A dreadful vision this must be. (Kneeling down.) O my Gilda! Tell me who this has done? The assassin to me reveal ! Hoi who's here ? (Knocking violently at the door.) No one! Oh, my daughter! Sparafucile. Un lume? No, il danaro. (Rigoletto gli da una borsa.) Sparafucile. Lesti air onda il gettiam — Rigoletto. No — basto io solo. Sparafucile. Come pi piace — Qui men atto e il sito — Piii avanti e piii profondo il gorgo — Presto Che alcun non vi sorprenda — Buono notte. (Rientra in casa.) Rigoletto. Egli e la ! morto ! O si — vorrei vederlo ! Ma che importa I e ben desso ! Ecco i suoi sproni ! Ora mi guardo, o mondo — Quest' e un buffone, ed un potente e questo! Ei sta sotto a' miei piedi. E desso! E desso \ E giunta alfin la tua vendetta, o duolo ! Sia I'onda a lui sepolcro, Un sacco il stio lenzuolo! (Fa per trascinare il sacco verso la sponda, quando t sorpreso dalla lontana voce del DuCA, che nel fondo attrar versa la scena.) Qua! voce! illusion notturna e questa! No ! no ! egli e desso ! e desso ! Maledizione! Ola — dimon bandito? (Trasalendo verso la casa.) Chi e mai, chi e qui in sua voce; (Taglio il sacco.) Io tremo — E umano corpo! (Lampeggia.) Mia figlia! Dio! mia figlia! Ah no — e impossibil ! per Verona e in via ! Fu vision ! E dessa ! (Inginocchiandosi.) Oh, mia Gilda ! Janciulla a me rispondi! L' assassino mi svela — Ola? Nessuno! (Picchia disperatamente alia casa.) Nessun ! mia figlia — RIGOLETTO 43 Gilda. Who calls on me ? Rigoletto. She speaks! she moves! she lives! Oh, heaven ! Ah ! my only worldly solace, Look on me; dost thou not know me? Gilda. Father! Riffoletto. Unveil this mystery ! Art thou wounded ? Gilda. The sword pierced me here. (Points to her breast.) Riffoletto. Who was it stabbed you? Gilda. I have deceived you ! I am guilty ! Too much I loved him — now I die for him ! Riffoletto. (O awful fate, by my hand hath she fallen, Of my righteous vengeance the sole victim.) Angel dear, look on me, to me listen ; Speak, oh, speak to nle, my darling daughter ! Gilda. More I cannot say; pardon me and him! O my father, bless your dying daughter. Gilda. Chi mi chiama? Riffoletto. Ella parla! si move! e viva! oh Die! Ah! mio ben solo in terra; Mi guarda — mi conosci — Gilda. Ah, padre mio — Riffoletto. Qual mistero! che fu! sei tu ferita? Gilda. L'acciar qui mi piago — (Indicando il core.) Riffoletto. Chi t' ha colpita? Gilda. V ho ingannata — colpevole fui; L'amai troppo — ora muoio per lui! Riffoletto. (Dio.tremendo! ella stesso fu colta Dallo stral di mia giusta vendetta!) Angiol caro; mi guarda, m'ascolta. Parla; parlami, figlia diletta! Gilda. Ah ! ch'io tacchia ! a me — a lui perdqnate r Benedite alia figlia, o mio padre. LASSU IN GIELO — IN HRAV'N ABOVE Duet (Rig-oletto and Gilda) GILDA , ^-- ^ ^ E ^m £ Las- sii in cie - lo, vi- ci-naal-la ma- dre, In e - In heav'n a - hove, at the side of- my moth - er. There shall my RIGOLETTO ^ ^ \ k r'gXi' J ^- ^ I f ''-r O I f' ^ p ter - no per voi pre-ghe- ro. Non mo - - rir, mio te-so - ro pie- frayVs be up -lift - ed for thee! Ahl leave me not here a- lone, my on-ly ^ r f h\T [^ ^^ ^ ^ ta. te, Mi a CO - lorn - ba, ■ Ja- sciar - ■ mi non ireas ■ ure. Part . ed from thee, ten - der dove. all dark i)i>ill 46 Q I I Gi: GILDA RIGOLETTO I i» — ft £ S ^ ^ RIG. Las - su in cie - lo, vi - ci - naal - la In heav'n a - bove^ at the side of my , ^S r r r F F f ;^ dei, no la-sciar-mi non dei te. all darhi all dark will bel ^ ^ ^ ^ £ S ipa moth dre In e - «r, There shall m-y ter no per voi pre - ghe ■ fray'rs be up - lift - ed for m ^ P P P Oh mia fi glia! Oh, stay, dear childl ^ w ^ s thee! Pre ( ghe • ro, There I will fray, ^ gf fj Per voi pre - ghe- I will fray for ■0 P- E^2 No, la - sciar - mi non dei Ah, VfO, ■ thou rmifSt not die! non mo - rir leave me notl ^ ro thee. li H ff M f P r?rrF i ^p- ^^ ^ nfff^ ^ p a^ m Set'in-vo-li - qui sol qui sol ri-mar- rei,.Non mo-ri - rep qui te - co mor- Ah! do not leave me here a- lone,^my child. Part-ed from thee, my chUdjoll dark will RIGOLETTO 47, ^^ ^ m m % i P^ :E Non piu A lui And when I'm gone. per- do - na-te, give him far-don. mio pa- dre, m.y fa - ther! Ad- Then nh.^r i j ^n,. ..p p fel=£ ro! O mia fi- glial o mia Gil- da! no, la-sciar-mi non be.' OW stay, my childl Oh! my Gil- da! Leave me not here a - te J&. i|j » J "r ip g ^=i cqC di - ^ ^^ ol well! las Jn su heav'n in ciel, 6 OOP, la's - sii 7ii heav'n ^^l dei, lone! non mo/- nr, ^ ^g E ^ i r\ ^S ciel hove. Pre - ghc - ro, There shall my fray'rs per vol, pre be raised ghe fur ^ M M P .y /Ts ^2 ^ No, la-sciar-mi non dei, Leave me' not here a - lone! non mo - nr, do not die! ,11, n rnmr i -fN^"^- ^'riH ? Gil-da! mia Gil-da! E mor - ta! Gil-da! my Gil-da! All's dark, now! Ah! la ma-le - di - zio ne! Ah! yes, Ilia curse is on me! CFalling and tearing his hair over the corpse of his daughter.) ' t (Strappendosi e capelli, cade sul cadavere della figlia.) END OF THE OPERA. Standc ird Op era Li brettos All librettos have Englisn text. Additional texts are indicated by Italic letters, as follows: /, Italian; G, German; F, French. Those marked with (*) contain no music and are 15 cents a copy. All the others have the music of the principal airs and are 25 cents each. A- -G Title Text Composer Title Text Composer Africaine, L' /. Giacomo Meyerbeer Don Giovanni /. W.A. Mozart Aida I. Giuseppe Verdi Don Pasquale I. Gaetano Donizetti *Amico Fritz, L' (Friend ♦Dorothy Alfred Cellier Fritz) I. Pietro Mascagni Elisire d'amore, L' I. Gaetano Donizetti Armide F. C. W. von Gluck *Erminie I. Edward Jakobowski Ballo in Maschera, Tin (Tiie Masl2 inches. Soprano Son^s from the Operas Contains twenty-three numbers by nineteen composers. The music covers l88 pages, the prefatory matter 25 pages. Portraits are given of Beethoven, Bellini, Gluck, Gounod, Meyerbeer, Mozart, Rossini, Verdi and Weber. PI Mezzo-Soprano ^gsi^s! from the Operas Contains thirty numbers by twenty-five composers. The music covers 186 pages, the prefatory matter 29 pages. Portraits are given of Auber, Bizet, Donizetti, Handel, Massenet, Saint-Saens, Spontini, Thomas and Wagner. Alto Son^s from the Operas Contains twenty-nine numbers by twenty-two composers. The music covers 176 pages, the prefatory matter 20 pages. . Portraits are given of Glinka, Gluck, Jlandel, Lully, Meyerbeer, Purcell, Rossini, Thomas and Verdi. Tenor Son^s from the Operas Contains twenty-nine numbers by twenty-one composers. The music covers 192 pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Gluck, Gounod, Mascagni, Massenet, Verdi, Wagner and Weber. Baritone and Bass Sonj^s from the Operas *J Contains twenty-seven numbers by twenty-four composers. The music covers L188 pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cheru- bini, Gounod, Halevy, Handel, Mozart, Ponchielli and Tchaikovsky. ii