Sei sulla pagina 1di 76
IL VIAGGIO A REIMS By GIOACCHINO ANTONIO ROSSINI Introduzione SCENA I: Sala che da adito a varie camere a destra ed a sinistra. Una tavola in fondo adestra, Maddalena, Contadini, Contadine, Giardiniere, Servitori. ALLEGRO MODERATO 317 IL VIAGGIO A REIMS (Ossia L'ALBERGO DEL GIGLIO D'ORO) (or The Inn of the Golden Lily) Dramma Giocoso in one act by Gioacchino Rossini Libretto by Luigi Balocebi ‘Composed for the coronation of His Majesty King Charles X of France First performed at the ThéAire Italien in Paris on June 19, 1825 CHARACTERS Corinna, a famous Roman improvising poetess: soprano ‘Marchesa Melibea, a Polish lady, widow of an Italian general killed on their ‘wedding day during a surprise enemy attack: mezzo-soprano Contessa di Folleville, a young widow, very graceful and fashion-crazed: soprano Madama Cortese, a lively and friendly Tyrolean lady married to a French businessman owner of the "Golden Lily" spa hotel: soprano Cavaliere Belfiore, a young French officer, dashing and elegant, who pays court to the ladies, especially to the Countess of Folleville: tenor Don Profondo, an academician and fanatic antiquarian: bass Conte di benskof, a Russian general, an impetuous type, in love with Marchesa Melibea and extremely jealous: tenor Lord Sidney, an English colonel, secretely in love with Corinna: bass Barone di Trombonok, a German major and a passionate music lover: bass Don Alvaro, a Spanish grandee, in love with Marchesa Melibea: baritone Don Prudenzio, doctor at the spa hotel: baritone Don Luigino, cousin of the Contessa di Folleville: baritone Maddalena, housekeeper at the spa hotel: mezzo-soprano Delia, a Greek orphan girl, Corinna's protégée and travelling companion: soprano ‘Modestina, a distracted and slow young girl, the Contessa di Folleville's chambermaid: mezzo-soprano Antonio, the hotel's major-domo: baritone Zefitino, a courier: tenor 318 Gelsomino, a valet: tenor Four strolling players, chorus of country men and women, gardeners, hotel staf, ‘dancers, servants of the hotel guests THE PLOT The opera takes place during the Bourbon Restoration on May 28, 1825, the eve of the coronation of Charles X of France. The setting is a metaphorical spa hotel in Plombidres named for the symbol of French royalty, the Golden Lily. An illustrious company of bons vivants hailing from the four comers of Europe has gathered there and, after testing the restorative waters, has laid plans to set off that day on an unlikely intemational deputation to the coronation, to be held, as tradition decreed, in the city of Reims. Anxious that the Golden Lily's good name go with them, the ‘patronne, Madame Cortese, has instructed hor staff to supervise closely all preparations for the voyage. First the zealous Maddalena and then the buffoonish house doctor, Don Prudenzio, arrive to chide the servants and inspect the day's meals. Madame Cortese herself takes charge after musing regretfully that duty bids her stay behind Calling everyone to order, she explains how each guest is to be treated with great solicitude 30 as to safeguard the reputation of the Golden Lily. For the flighty and fashion-crazed Parisian, the Countess of Folleville, however, the ‘voyage to Reims would be an affront to honor and country without the proper wardrobe. And when she learns from her foppish cousin, Don Luigino, that her finery has been destroyed en route to the inn she swoons. Reviving in spite of the diagnosis of Don Pradenzio, who attributes the spell to "a syncope", she Jaments her Joss and implores the pity of the women in attendance. Despair ss way o transports of joy and contentment, much to the amusement of onlookers, when her chambermaid Modestina produces a fetching bonnet salvaged from the mishap. The imirthful dilettante the Baron Trombonok, keeper of the harmony and the travellers’ purse, is left to proceed with arrangements, Don Profondo, an academician and fanatic antiquarian arrives to pay his travel dues, and not far behind is the Spanish admiral Don Alvaro, escorting the charming ‘Marquise Melibea, the Polish widow of an Italian general, whom he bas invited to join them, In blindly furious pursuit of ber is an impetuous Russian general, Count Libenskof. By the time a worried Madame Cortese appears to explain why their departure has been delayed, she finds the two rivals poised for a duel. Disaster is averted only by the "diplomacy" of Corinna, the famous Roman poetess, who can be heard behind the scenes improvising a disarming ode to peace and fraternal love. Her closing apostrophe to the Cross prompts the company to rally around the ‘universal symbol in an enthusiastic display of statesmanship. Still awaiting word from the courier sent to procure horses, Madame Cortese contemplates the romantic plight of yet another guest, the brooding English officer Lord Sidney, who, tormented by his undeclared love for Corinna, has come today as every day to place bouquets of flowers near her room. Inspired by country girls singing her praises to hope that the flowers will speak nobly for his heart, he abandons himself to vows of eternal love. 319 Don Profondo, engrossed in his own passion, waylays Lord Sidney with some preposterous inquiries about the whereabouts of certain British historical relies, but the distracted Englishman refers him to a museum, Don Profondo then greets Corinna and her travel companion, the Greek orphan Delia, with some reassuring news about the Greek War of Independence. Left alone to admire Lord Sidney's flowers and the welcome sentiments they represent, Corinna must now suffer the impertinent advances of the Cavalier Belfiore, a debonair ladies' man who numbers the Countess among his conquests. He launches an eloquent campaign to win the lovely improviser, but artifice and romantic excess only elicit her disdain. Don Profondo, who has derived a certain academic satisfaction from seeing the Cavalier Belfiore routed, retums to compile a list of the travellers’ valuables, turning the exercise into a series of sung caricatures. Pronouncing everything in order, he cexults that the great occasion is nearly at hand. As the excitement mounts the suspicious Countess tries to locate Cavalier Belfiore and is none too surprised to learn from Don Profondo of his recent "poetry lesson", When Baron Trombonok and Zefirino arrive to tell the travellers that the voyage must be called off since not a single horse is to be bought or hired in all of Plombiéres, the unlucky group reels with horror. Fortunately Madame Cortese appears with a consoling letter from her husband in Paris describing the preparations for the King's homecoming. The Countess offers the company her hospitality there for the oceasion, and all rejoice in this twist of fate, resolving to take the daily coach to the capital the next morning, In the meantime, it is agreed, the celebration wall be celebrated after all, by using part of the travel fund for a public banquet to be held that very evening and giving the rest to charity. The only discordant note left sounding is the lovers’ quarrel between Melibea and Count Libenskof, and in the interest of harmony, Baron Trombonok suggests a resolution. Faced with Melibea's indignation, the Count first pleads his cease, then, repentant, makes a last bold play for her hand. She yields quickly to his tenderness and the breathless pair is finally reconciled. ‘The closing tableau unfolds in the illuminated garden of the Golden Lily, where a rich table has been laid. While awaiting her guests, Maddalena marvels at the miracles the hotel master, Antonio has worked at such short notice and tells him about the troupe the Baron has hired. As the dinner gets underway, these strolling musicians and dancers entertain the assembled until the Baron proposes a round of, musical toasts to the royal family, to be delivered in the national style of each guest. ‘Then, by popular demand, Corinna favors them with an improvisation on a theme drawn from requests concerning the highlights of French history: Charles X, King of France. Moved by the solemnity of the occesion, all join her in acclaiming the glory of king and country. 320 Ii Viaggio a Reims (The scene represents the spa hotel at Plombiéres, atthe sign of the Golden Lily.) Scene One (A hall giving on 10 various rooms right and left. On the right, a table in the background. Maddalena, men and women servants, and female gardeners are seen busily making ‘tante ‘statwe mi sem'brate ‘Tante statue mi sembrat Somany statues you look like; (Youre hanging around like so many statues;) gram ‘vjaddgo gran viaggio, great voyage, aspetttar aspettar, waiting, ma nom ‘basta ma nom basta, but that isn't enough, ‘skappa la pattsjentsa . preparations.) MADDALENA (to the chorus) presto su kgraddso Presto... su, __coraggio! Quickly... come, get on with it! ‘oddsi_ © il “dono det Ogi & = il_— giorno del Today is the + day -— of the now kongyjene “farsi non conviene farsi it's not good to keep things cHORUS “tutto © ‘pronto Tutto & pronto; Everything is ready; a voi 'pjatfe di gridar avoi piace geidar. you like to shout, MADDALENA kwal ardir ke insolentsa Qual ardir! Che insotenzat What impudence! What insolencel wai se Guai se Watch out if CHORUS (laughing) La pazienza! MADDALENA (severely) ke ywol dir Che — vnol dir? What do you mean? CHORUS hahaha Aht ah! ah! oh! Ha ha hal Oh! seappa Ia pazienza... Tlose patience... I Viaggio a Reims MADDALENA di rispeto mi mankate Di rispetto mi maneate. Of respect ‘you're lacking for me, (You're lacking in respect for me.) CHORUS vingatnnate ir verita Vringannate in verita. sYoute mistaken, in (all) truth, MADDALENA (approaching the table on which the meals are set) ‘kweste mele prelibate “kome son — dis'poste ‘male Queste mele prelibate come son disposte. -—mallet These apples delicious how theyre arranged —_badly! ‘CHORUS fattentsjone kon ei nomy "vale L'attenzione con lei non vale, Diligence with her doesn't pays a uy gran ‘gusto a brontolar ha un gran gusto a brontolar. shetkes great pleasure in grumbling MADDALENA (furiously) insollenti Insolontit Insolent ones! CHORUS ‘flemma il ‘sangwe nel tfervello. ——pwo Flemma! = 1 sangue nel cervelio. pud Keep cool! Your _ blood to your brain may (Don’t let the blood rush to your head!) MADDALENA 2 kom =me —_ noni kantsona Oh! con me non si canzona, Oh! With me you can't joke, © 89 ‘farmi sispettar es farmi rispettar. and Iknow how to make myself respected. CHORUS wwol far ‘sempre la pa'drona Vuol far sompre Ja padrona, She wants toact always (like) the mistress, € e and sifa poi korbellar sifa poi corbellar. shemakesherself then be ridiouled. 321 montar montar. rush. 322 11 Viaggio a Reims Scene Two (The above, Don Prudenzio, then various women serving in the spa and Antonio.) DON PRUDENZIO benke ‘gratisje al mio talento Bench’, grazie al mio talento, Although, thanks to my _ talent, ‘stian dga ‘ttt ‘mesho a'ssai stian gia tutti meglio assai, they are already all much better, lalitfentsa nondarei di_—partire in. tal «momento Inlicenza -nondarei_ = di_—partirein —tal_~— momentos license Iwouldn't give to depart at —sucha_ ime. (Although, thanks to my talent, they are all much better, I wouldn't allow them to leave at such a time as this.) ma tenerli nom potrel ed © ——'mesKo dabbon'dar ma tenerli non pote, ed &@ — meglio @abbondar, But hold themhere Tshouldn't, and it's, —_better to give in, (to the women) velo'detto velripets —‘oddsi_ il ‘banpo non si ‘prende Velho detto, ¢ velripeto, ogi il bagno non si prende; Tvetold you and repeat it, today the bath — will not be taken,’ son sos'peze Je faittfende Son sospese Je faceende, Is suspended the -—_business, non si ‘pensa ke a —_vjatddsar non si pensa che a viaggiar. cone thinks ofnothing but of _ travelling. (Business [as usual] is suspended; the journey is all that's being thought about.) ‘ ‘CHORUS o ke ‘gusto almen potremo Oh! che — gusto! Almen potremo Ob! What pleasure! At least well be able ‘oddsi_anidace a passetddsar oggi andare a today togoout for (The spa attendants depart.) DON PRUDENZIO ma yedjam je kolatttsjoni Ma ~~ yediam le colazioni But letmesee the _—mealls, * Sine the Golden Lily is a spa, one assumes these are thermal, curative baths. II Viaggio a Reims 323 sea mje ‘ordin 50 konjformi se a — miei ordin son conformi, if to -my _ specifications they're in accordance. (But let me see if the meals are in accordance with my specifications.) ANTONIO asi ezamini sinyformi Abt si, esamini, —_s'informi, Ah! Yes, examine them, be satisfied, ‘tutto in'tegola —_veldra tutto imregola ——_vedr. everything in order ‘you will find, DON PRUDENZIO si dispoggona a partire ma non kal Si dispongono a partires ma —_noneal, Theyre making ready to depart; but nonetheless, kwestoddsi agkora kwi kostreto. «=a garantire quest'oggi ancora qui costretto. = a_—S—garrantire today still here constrained to guarantee son la toro sanita son Ialoro sanita, Tmust their health. (Cm obliged, even today, to safeguard their health.) CHORUS, ANTONIO a koq_—‘kwestogran dottore'stanno ‘freski im verita (Ab! con questo gran dottorestanno freschi in verith.) (Ah! With this great doctor they'te in good hands, in all truth.) (The Doctor examines the meals that Antonio shows him.) Scene Three (The above, Madame Cortese) ARIA MADAMA CORTESE di Vagi “raddsi a’domo in tfel risplende il 'sole Di vaghi raggi adorno, in ciel lende il soles With beauteous rays resplendent, inthe sky blazes the sun; sara unsi aimeno ‘dzomo propittsjo ai vjaddsator si Sara unsi ameno giorno propizio ai viaggiator, si. Ttshall be so fair aday, favorable to the travellers,yes. alla felitfe ‘sponda se'gwirli jo pur vole’ Alla felice spondase io pur_—_vorreis ‘Tothat happy shore to follow them I too would like; 324 1 Viaggio a Reims ma il'fato non sekonda i'voti del miokor mn ma ilfato non seconda i voti del miocor, no. but fate does not further the desires ofmy heart, no. dottore maddatena _antonjo ame badate Dottore, Maddalena, Antonio, ame badate; Doctor, Maddalena, Antonio, _listen to me; (to the others) voi tutti ame badate ¢ — ‘destri poi Yerkate Voi tutti amebadate e destri poi cercate Allofyou —listentome, and —_resourcefully then try i pjan di sekon'dar i pian di secondar. my plans to further. (to further my plans.) (AU draw near.) ALL OTHERS madama favellate ~—vi'stjamo ad askoltar Madama, —favellate, —vistiamo —_ad ascoltar. Madame, speak, we ate listening to you. MADAMA CORTESE silentsjo Silenzio! Silence! ALL OTHERS Silenzio! MADAMA CORTESE or State aitemti ‘bene ‘ Or — state attenti, bene, Now pay attention, mark me well, i fovestjeri—— presto semy 'vanno i forestieri_ presto sen vanno... the travellers. quickly will be leaving... ALL OTHERS Bene, bene, MADAMA CORTESE se aprender ‘bappi kwi — tome'ranno Se a __prender bagni qui torneranno If to take (the) baths here they wall return ne'ssum per ‘ora pwo assikuar nessun per ora pud_assicurar... nobody for now can besure... 11 Viaggio a Reims 325 ALL OTHERS Bene, hene. MADAMA CORTESE Or state attenti, badate bene, ete. ma della ‘kaza ‘nella lor ‘mente Ma della casa nella lor mente But ofthis house in their minds ‘bwona me'morja ——komjvjen——daffare buona memoria —_convien agood memory itfs necessary ANTONIO, DON PRUDENZIO, CHORUS non dubitate pju dilidsente ‘oddsi Non dubitate... piitdiligente ogi Have no doubt. more diligent today oppum mostrar ognun mostrar. willknow everyone -—_to show themselves (Have no doubt that today everyone will show themselves to be more diligent.) Ja —_konte'ssina no ‘na pattsjentsa La contessina non ha pazienza, The — young Countess* has no patience, ‘rapido il fatto suttfeda al dir rapido il fatto succeda al dir, quickly the action mayit follow the word. (we must quiekly do everything she says.) MADAMA CORTESE fate attenttsjone —badate ame Fate attenzione, —_badate ame. Pay attention, mark what I say. kollantitewarjo di karta’pekore Col'antiquario di cartapecore With the antiquarian of |—_parchments, di belle femmine kal kavatljere di belle fommine col cavalicre, of lovely women with the Cavaliere, kom dide fanitastike con idee fantastiche, with of ideas fantastic, 2 phi refers to the Contessa di Folleville, the fashion-crazed noble lady in the entourage, 326 I Viaggio a Reims kot moskovita del -vasto_impero col ‘Moscovita del_—vasto_impero, with the Muscovite of his vast empire, del kampidoto‘kolla romana del. Campidoglio cola Romana, of the Capitol with the Roman lady, kollalemanno del —_Kontra‘ppunto coll'Alemanno del _contrappunto,” ‘with the German about counterpoint, kon foko ed arte. ko'fendo il punto con foco ed arte, cogliendo —il'_—~—— punto, with ardor and art, ifyouget_ © the -—_—point, pju delluzato si parletra pit dell'usato_si parler’. more than usual you must talk. (eyou get my point, youl talk more than usual with ardor and art to the antiquarian about parchments to the Cavaliere about beautiful women, to Melibea about fantastic idens t the Fran from Moscow about his vast empire, with the Roman lady about the [Roman] Capitol, and with the German man about counterpoint.) MADDALENA, ANTONIO, DON PRUDENZIO Bene, Bene. ANTONIO, CHORUS, DON PRUDENZIO _ Dieartapecore, di belle femmine, d'idee fantastiche, di contrappunto, pli dell'usaio, ‘cogliendo il punto, non dubitate si parle'ra non dubitate, si parlera. have no doubt, wwe will talk, del ‘ésifKo oro in ‘oni ‘sponda ‘ Del Giglio d'Oro Ofthe Golden Lily la ‘nobil ‘fama Ja nobil_ fama the noble fame in ogni sponda, on every shore, si spande'ra sispander’. will be spread. MADAMA CORTESE, MADDALENA in'dsepno ed Ingegno ed Skill and ‘arte koi ado'prando arte cosi adoprando at thus applying 2 There are several disyllabic words in Italian that cause Phrasal Doubling (Raddoppiamento Sintattico). One of them is contra. In a word like contrappunto this "dovbling” is already incorporated in the word itself with a double pp. Other examlpes are contrabbasso (a bass fiddle) or contraddire (to contradic!) 11 Viaggio a Reims 327 Itnnato ‘dsenjo ‘destti allettands Tinnato genio destri allettando, your inmate talent adroitly bringing, e paisa un_rapido ‘gomfjo torrente e pari. a un_rapido gonfio torrente, and like a swift quick, swollen torrent, ke tutto. alllagae = in 'atja_ va che tutto allagae = in aria va, that all floods and inthe air rises, del Giglio d'Oro in ogni sponda Ia nobil fama si spandera. (All leave except Madama Cortese.) Scene Four (Madama Cortese, La Contessa, then Modestina) MADAMA CORTESE partire io pur vorrei ma illmio kon'sorte Partire io pur _ vorrei; ma ilmio consorte Togo T also wouldlike; but = my husband © assente © — nommitiitfe taffar koi @ ——assente e — nonmilice — laselar cos. is absent and Teannot leave like this. a ‘ewando veder potro un so'vrano si “gusto roc ‘Ak! Quando —veder potrd un sovrano = si_—_giusto, - Ah! When see canf a sovereign so. just, si eal si. ‘grande € — uimano si Teal, si_—_ grande © wmano? so loyal, so _ great and human? (Ab! When shall I be able to see a more just, loyal, great and human sovereign?) CONTESSA DI FOLLEVILLE (rom within) modestina ‘ove sei ‘Modestina? Ove sei? Modestina! ‘Where are you? MADAMA CORTESE Ta paridsina = pekkkato ‘ella e dgerttil vettsozae ‘kara La Pariginal —Peecato! «=—Ella_gentil, venosae — caras The Parisian lady! Toobad! She is courteous, charming and dear; lo ‘spirito'e = da “grattsja ofnun ne ammira Lo spiritoe la grazia ognun no ammiras Her wit and her grace everyone admires; ma per_—_le ‘mode ‘notte e = di delira Ma per lemode notte e di delira, But — about fashion night and day she raves on, 328 11 Viaggio a Reims CONTESSA DI FOLLEVILLE (entering) modestina ‘ove sta Modestina? Ove sta? ‘Modestina? Where is she? MADAMA CORTESE ‘volo a tferkarla Voto a cerearla, Tm flying off to look for her. @he leaves.) CONTESSA DI FOLLEVILLE trovarsi a ‘una gram ‘festa ‘Trovarsi a uma gran festa To find oneself ata great celebration e© non avere le = ‘koze pju alla ‘moda e mon avere lo cose. pitt alla moda, and not have the things most in fashion, e piu freske © = pju— ‘belle e pid freschee pit bellel and = most fresh and most _beautifull kwal dizonore 0 ‘stelle Qual disonore, 0 _ stelle! What dishonor, oh stars! ‘(Ohheavens!! What dishonor!) MODESTINA (entering) sipnora Signora? My lady? CONTESSA DI FOLLEVILLE (impatient with her slow servant) ‘ um popu adadso Un po’ _pittadagio. A bit slower, MODESTINA 2 la_—mikranja Ho la micrania, Thave a migraine headache. CONTESSA DI FOLLEVILLE eke mimporta —_ofppora voi mi fate Eche m'importal.... Ognora voi mi fate What doTeare!... Always you make me la isposta © we'nuta La risposta & — venuta? The — answer, hhas it arrived? motice dimpetttsjentsa morire d'impazienza. die of impatience. I Viaggio a Reims MODESTINA non ankora Non ancora. Not yet. CONTESSA DI FOLLEVILLE a ki desi la ettera A chi desti Ia dettera? To whom didyougive the —_letter? MODESTINA al ‘vostro bel exdsino Al vostro bel ceugino, To your handsome cousin, ke ‘disse a'ver unokka'zjon —sikura che disse aver untoccasion _sicura. who said_-he had an opportunity sure. (who said he had a sure opportunity.) CONTESSA DI FOLLEVILLE ‘korri -kwal diza'ppunto ‘aikKi ke kwi Corri..qual disappunto! Digli che qui Run... what a frustration! Tell him that here MODESTINA ei ‘dsundse atppunts Ei giunge appunto, He —iscoming —_ just now. (he leaves slowly.) Scene Five (Contessa di Folleville, Don Luigino) DON LUIGINO aimabil Konte'ssina _var'mate di Ko'raddgo Amabil Contessina, viarmate di coragi Dearest Contessina, arm yourself with courage... CONTESSA DI FOLLEVILLE © perke -mmai E __perché mai? And why 50? DON LUIGINO fatal 'kazo impenisato Fatal caso impensato, A fatal occurence, unforeseen... CONTESSA DI FOLLEVILLE e kwal Equal? What? 329 las'petto Faspetto... Tawait him... 330 II Viaggio a Reims DON LUIGINO la dilidsentsa a ribalttato La diligenza —ha_ribaltato, ‘The stagecoach has overtumed, CONTESSA DI FOLLEVILLE, aime Ahimé! ‘Oh dear! DON LUIGINO Ai effetti fradsili le ka’ssette le ‘skatole Gli effetti frag Te cassette le scatolen. The effects fragile. the cases... the boxes... ‘CONTESSA DI FOLLEVILLE atatfete tutto komprends a tfel. io 'manko io ‘moro Ah! tacetel!_ Tutto comprendo... Obi ciel! Yo manco.. To moro Ab! Silencet Tunderstand itll... Ohheavent .1 am fainting... T'm dying... (She swoons.) DON LUIGINO si ‘zyjene Si svien She's fainted! (calling out) alla akkorrete ‘presto sokkorso = a_—Ssdei_—por'dgete lat accorretel Presto. Soccorso 2 —lei_—porgete. Hotheret Comehere! Quickly... —_—elp for her bring. (Come to her aid.) Scene Six (The above, Baron Trombonok, Maddalena, Antonio with servants, then Don Prudenzio) ‘ MADDALENA ke alkkade Che —accade? ‘What happened? BARONE DI TROMBONOK (after having looked at her) > kome © bjanka ‘morta ofpqun ladiria On! come @ __ bianca! Morta ognun Ia divia... Oh, How sheis white! Dead everyone ——_ would say she were. DON LUIGINO (fo the Baron) sie zvenuta Sig svenuta. She's fainted. I Viaggio a Reims 331 BARONE DI TROMBONOK (taking a phial from his pocket) spruttsatele il bel ‘Volto fregatele le Spruzzatele il —bol__—_volto. Fregatele le Sprinkle her lovely face. Rub her (Maddalena takes the phial and approaches the Countess.) DON PRUDENZIO (running in) ola ke ‘fate ‘tokka a me sol Olat che fate? Tocca a me sol; Ho there! What _are you doing? This is my concer; profani vi skostate Profani, ‘vi scostate! Laymen, stand aside! (All stand aside. He takes the Countess' pulse.) aime stain gram _perikolo Abimat Sta im gran _pericol Oh dear! She's in grave danger. (Don Luigino speaks in the Baron's ear.) yollate dal spetisjale sal volatil_ —_—kjeddete ed uy —_kordjale Volate dal speziale, _—salvolatil —chiedete. = ed._—SSsun’_—cordiale, Run tothe apothecary, smelling salts ask for and a cordial. (A servant leaves hurriedly.) BARONE DI TROMBONOK (to the other servants) atfeto ed ‘akkwa ‘freska Aceto ed acqua fresea, Vinegar and fresh water, (Another servant rushes off) DON PRUDENZIO son sospeze le furitsjoni_ vital Son sospese le funzioni——vitali.. ‘Are suspended the functions —_vital (Pier vital functions have been suspended...) BARONE DI TROMBONOK non satpete ‘kwello ke ‘dite Non sapete quelloche dite... You don't know what you are saying.. 332 Il Viaggio a Reims DON PRUDENZIO ‘ome la ‘sistole Ja ‘diastole Com la sistole. la diastole... ‘What. Her systole. her diastole... DON LUIGINO an'date al ‘djavolo Andate al diavolo, Go tothe devil, DON PRUDENZIO il ‘polsoa'ffende dga Nl polo ascende gid. Her pulse is rising already... BARONE DITROMBONOK vetdjam Vediam.. Let's see. (He takes the Countess' pulse.) ke ‘bbestia insipne (Che bestia insigne!) (What an utter ignoramus!) DON PRUDENZIO morita Moriral She will diet CONTESSA DI FOLLEVILLE ke ‘ssento ‘dove sson ‘sono ° Che — sentol. dove son? Sogno, ° What dothear!... Where amI?.., AmIdreaming or am I delirious?... BARONE DI TROMBONOK (fo the Doctor, mocking him) Morirat DON PRUDENZIO fu ‘una ‘sigkope Fu una ___sincope... Itwas a syncope. (fainting ft.) BARONE DI TROMBONOK (laughing) la'sinkope si si fa ‘molto ‘effetto Lasincope, si, si, fa molto effetto; Syncopation,’ yes, yes, ithas great effect; “The hear's dual systolic and diastolic pumping actions, making the blood flow in and out of ts hamibers * In Italian, @ syncope and musical syncopation are both sincope, I Viaggio a Reims 333 ‘moddzart —hajdn betoven bax Mozart, Haydn, Beethoven, Bach, Mozart, Haydn, Beethoven, Bach, ne ‘trassero gram _partito ne trassero gran partite, from it derived great use. (made good use of it) DON PRUDENZIO (again taking the Countess' pulse) vedjamo —adesso il —‘polso Vediamo —adesso il —_—polso.. Let's see now the pulse. CONTESSA DI FOLLEVILLE nion tokkate audsel di = mal awgurjo vi skostate Non toceate; Augel di mal augurio vi scostate... Donttouch.. Bird of ill, © omen, stand aside... (Don Prudenzio withdravts,) DON LUIGINO (to the Countess) de kalmatevi 0 kara Deh! Calmatevi, 0 cara, Please! Calm down, oh dearest. BARONE DI TROMBONOK (fo te Countess) Koza'vete Cos'ayete? What is wrong with you? CONTESSA DI FOLLEVILLE il mio ‘male katpir voi nom potete mio male capir voi non potete. My illness understand you cannot. ARIA CONTESSA DI FOLLEVILLE partir 29 tel dezio e pj partir non ‘itfe Partir, oh ciel! desio, © pit partir non lice, Toleave, oh _heaven,Iwish, and no longer leave Tean, Jo vjeta lonormio fa ‘patria il vjeta aykora Jo vieta Vonor mio, In patria ill vieta ancora, itforbidsit myhonor, my homeland —_forbids itas well ‘kome ‘spjegate 9 ddio laffanns dels mio. kor Come spiegare, oh Dio, Vaffanno del_— mio cor? How toexplain, oh God, the anguish in = my —_ heart? ‘donne voi sol -kombprenderepotete il mio dolore Donne, voi ‘sol comprendere potete ilmio dolore: ‘Women, you alone understand can my grief; 334 II Viaggio a Reims piu fect aimaci_palpiti no no pro'vato ankor Pit fieri, amari_palpiti non ho provato ancor. More fierce, bitter throbbing have Inot —_—felt, ever. ALL OTHERS sippora vikatmate de tfessi il tio martor Signora, _viealmate!_ Deh! cessi ‘rio martor. Madame, calm yourself! Please cease thiscruel torment, CONTESSA DI FOLLEVILLE Partir, oh ciel! desio, ¢ piit partir non lice, Oh Dio! Donne, vol sol comprendere, ete, ‘Scene Seven (The above, Modestina, who arrives with a large box, in which ts a beautiful bonnet in latest Parisian style. The Countess admires it lovingly before launching into the following cabaletta,) ke ‘miro a kwal sorpreza Che miro! Ab! qual sorpresi What dol see! Oh! What (a) surprise! ‘asi ‘oki io ‘kredo._e'ppena Agli ocehi io eredo_appena; My eyes I believe hardly; (Loan hardly believe my eyes;) (contemplating the little bonnet) ‘karo dal reo nawfradgo tut salvasti—allmen Caro, dal reo tu tisalvasti_ —almen, Dearest, from that cruel shipwreck you. were saved at least, e frent im parte i palit dellaffanato sen e frent in parte i —_palpiti dell'affannato sen. and curb in part the ~—throbbings. of my agitated bosom. ‘grattsje vi ‘tendo ke uldiste i 'voti mjei Grazie virendo, che —udiste ivoti miei; ‘Thanks Igivetoyou, oh godswho heard my prayers; a tal_—fa'vor kwestanima ben ‘grata onpor sara A tal favor quest'alma ben grata ognor sara. For sucha favor this soul very — thankful always shall be. ALL OTHERS la ‘barbara sta ‘pena katmands —omai siva La barbara sua pena ealmando — omai siva, The cruel her grief calming down from now on is. (Her cruel grief is lessening from now on.) 2 ‘komika la Yfena e = sidere {fifa (E comica la scena ¢€ ridere ci fa.) (is comical the scene and taugh it makes us.) Hi Viaggio a Reims 335 CONTESSA DI FLORVILLE Caro! tu ti salvasti almeno, ete, (All leave except the Baron and Antonio.) Scene Fight (The Baron, Antonio) BARONE DI TROMBONOK (to Antonio, detaining him) © ‘senti_ ‘mastro antonjo Eh! — senti, mastro Antonio... Hey, listen, master Antonio... ANTONIO. ke ko'manda Che comanda? ‘What are your commands? (What can T do for you?) BARONE DI TROMBONOK sai ke partjam sta'sera per Tes Sai che — partiam stasera per Reims; Youknow that we'releaving thisevening for Reims; tua ‘kura sia di far ‘porre sul fel ‘delle _katrrottse tua cura sian di_—— far —porre sul ciel delle. carrozze your care willbe to make put onthe roof ofthe carriages vestiti © bjankeri vestiti ¢ _biancheria. clothing and linen. (you will see to it that [packages of} clothing and linen are put on the roofs of the carriages.) se okkorre ‘kwalke ‘speza falla ed io Se —_occorre qualche spesa, falla ed io, If there are any expenses, deal withit and, ke —eleito a pjeni ‘voti per katssjere che eletto a ——pieni_ voi per _cassiere who elected by afl vote as treasurer fai amabil konmpappia fui amabil compagnia was by the illustrious, amiable company page'ro Iokkorrente intendi pagherd Yoceorrente. Intondi? shall pay what is necessary. Do you understand? (If there are any expenses, lay out the cash and I, who was unanimously elected as treasurer by our distinguished company, shall reimburse you whatever is necessary. Do you understand?) 336 II Viaggio a Reims ANTONIO. si ssippor nom ‘pensi a ‘njente Si,signor, non pensia niente. Yes, Sir, don't give ita thought. (he leaves) BARONE DI TROMBONOK a ‘kwando ‘penso a kwel zveni’mento Ab, quando penso a quel ‘Ah! When Tthink of that mivjem = proprio da 'tidere mi vien proprio da ridere... itmakesme really Jaugh... Ja kaldgon ‘delle ‘zmanje La cagion delle smanie The reason for her frenzy indovinar kis mai_—po'tuto a'vria indovinar chi mai_potuto avria? to guess who ever could have? (Who ever could have guessed the cause of her frenzy?) ma oppun, nel ‘mondo a un = tamo_ di Ma — ognun. nel mondoha un amo di But everyone inthis world has @ touch of, NO. 3 SEXTET BARONE DI TROMBONOK sisi ‘matt una gray ‘gabbja Si, di matti una = gran gabbia Yes, of madmen a great cage ben si pwo_kjamar it ‘mondo ben si pud—chiamar il mondo; well it can be called the world; (The world may well be called a great cage of madmen;) ‘forse a'ppunto perke e ‘tondo Forse appunto perchd 8 tondo, Perhaps precisely ‘because its round, “testa ‘kwadra nom vi sta testa quadra non vista. ahead square there isn't in it. (there are no level headed minds in it,)* patsia pazzia. madness. In Talian quacra means "square" inthe sense of “straight, even-sided". ‘The reference to a "square head! should not be interpreted in the American sense ofa "bird brain" ora dolt. The play on words between a "round" world and a "square" head cannot be accurately translated into English. Compare with the saying "you can't put a square peg into a round hole*, II Viaggio a Reims Scene Nine (The Baron, Don Profondo, Don Alvaro with Marchesa Melibea) DON PROFONDO (arriving) Ja mia‘kwota avoi konseypo —perdonate se ‘La mia quota avoi consegno, _perdonate, se My contribution toyou Ihandover, forgiveme if, (He gives money to the Baron, who puts it in a large bag.) a vedere io ‘sono anidato ‘una ‘rara__antikita A vedere io sono andatouna rara antichita. To seo I have gone a rare antiquity, (Chad gone to see a rare antiquity.) DON ALVARO (entering with Marchesa Melibea) ‘kwesta'vaga e —— aimabil ‘dama Questa vaga © amabil dama, This lovely and charming lady, miei sipnod io vi pre'zento miei signori, io _vipresento gentlemen, I _infroduce to you; far il vjaddgo kon noi ‘brama far il viaggio con noi_—brama, to make the journey with us she desires, € — opnum ‘pago ne sara © ogaun pago ne sara. and everyone glad _— shall be. MARCHESA MELIBEA kon si ‘dotia @ ~—‘nobil_‘dgente Con si dotta © —nobil_gonte, With such earned and noble persons, di fanal ke ‘serve al ‘mondo di fanal che serve al mondo, as beacons who serve the world, (who serve as beacons to the world,) ilvjaddsar mi fia dgokondo == == gram ‘bene mi fa'ra ilviaggiar —mifia giocondo, ¢ gran bene mi fara. travelling willbe ajoytome, and great good it will dome, Scene Ten (The above and Conte di Libenskof) CONTE DI LIBENSKOF (behind, having heard Marchesa's last words) ‘donna ingrata a'stento im ‘petto @onna ingrata, astento in petto (Woman ungrateful, barely inmy breast 337 9 tardato ho tardato; I've delayed; 338 ‘freno il freno il Tcontain the just (Ungrateful woman! Barely can I contain the. per lei fido Per = lei fido For her faithfully © ilmio ardore e — ilmfo ardore and my ardor II Viaggio a Reims ‘dsusto mio furore giusto mio furo my fury; just fury in my breast;) awampa il kore avwampa il core isaflame my heart sprettsando va sprezzando va.) she despises.) DON ALVARO (seeing the Count) il rival rival!) (My —rivalt) MARCHESA MELIBEA ne'éKokki ail oko (Neglocchi ha il_—foco,) (Inhiseyes hehas the fire.) CONTE DI LIBENSKOF (approaching) non si ‘parte Non si parte? Aren't we leaving? BARONE DI TROMBONOK si fra'poko =i skalvallisol si attendon Si, frapoco; i_—cavalli sol_—_ si attendon; Yes, soon; the horses only we're waiting for; (seeing Madame Cortese) se il —_ko'mjere © tornato Se il corriere 2 tornato, If the courier has retumed, da madama si se'pra da Madama _—_—sisapra. from Madame wwe will find out, (Madame will let us know if the courier has returned.) Scene Eleven (The above, Madame Cortese) MADAMA CORTESE natuicale e ——_timpattsjentsa il ritardo Naturale = @ ~——impazienza, ilritardo Natural is your impatience, this delay non komiprenda non comprendos T cannot understand; Ul Viaggio a Reims 339 ‘vado torno ‘salgo e ‘fends Vaio, torno, salgo e — seendo, Igo, Iretura, T go up and Teome down, e — uaykwillo il kor — none e tranquillo il cor noma and atease my — heart isnot. (and my heart is ill at ease.) CONTE DI LIBENSKOF (fo Marchesa Melibea) : mi ta'dite i tradite... You betray me... MARCHESA MELIBEA kwal fa'vella Qual favella? What are you talking about? CONTE DI LIBENSKOF (drawing his sword with concentrated rage) don alvar Don Alvar. Don Alvar(o)... MARCHESA MELIBEA ke dir vollete Che — dir volete? What do you mean by that? CONTE DI LIBENSKOF ‘donna injfida injvam Donna infida, invan Woman unfaithfil, — invain il rival ketdra al mio pie il rival cadra al mio pi. my rival shall fall at my — feet. MARCHESA MELIBEA. ‘Yfeko ardor vatbbata il Yikso Cieco ardor v'abbaglia il ciglio. Ablind passion is dazzling your eyes.” CONTE DI LIBENSKOF (approaching Don Alvaro, fiercely) Don Alvar... DON ALVARO (fiercely) ke pretendete Che _ pretendete? What do you want? 7 The organs of vision in poetic Italian come in many forms: The common word is occhi. Then there are ciglo, luni, rai, puplle, mongibel,fuochi and maybe e few more, 340 I Viaggio a Reims ‘CONTE DI LIBENSKOF (as ifto leave) mi segwite Mi seguite... Follow me... MARCHESA MELIBEA (holding him back) a nom partite ‘troppo in'dgusto e un tal furor Ah! ain partite... troppo ingiusto é un tal furor. Ab! Donttleave... too unjust is such a fury. ‘CONTE DI LIBENSKOF, then DON ALVARO nom pa'vento alkum pe'ti (Who has yet seen a woman like her?) akkoppja —al_~—merito ‘grattsjae——_pudor ‘Accoppia al_—smerito grazie pudor. She couples to merit grace and modesty. (Her grace and modesty are coupled to her merit.) LORD SIDNEY Soavi e teneri, ete, 346 II Viaggio a Reims dellalma ‘diva al primo asppetto Dell'alma diva al primo aspetto, Of the divine goddess atthe first sight, . (At the first sight of that divine goddess.) kia kor — kalpatfe dum ‘puro afffetto chi ha cor capace d'un puro affetto, who has aheart capable of pure affection, ‘rapido ‘sente ‘naffer lardore rapido sente nascer Vardore, quickly feels springing forth the ardor ‘fida e dollente kwestalma oppora fida e dolente quest'alma —ognora faithfally and painfully my soul always per lei damore palpite'ra per ei d'amore palpitera. for her withlove ~—_ shall throb. (This faithful, grieving heart of mine will always throb with love for her.) CHORUS ‘donna piu amabile = ki ha mai veiduta ankor Donna pit amabile chi ha mai veduto ancor? Awoman more lovable who has ever yet seen? Accoppia al merito grazia e — bonttade ‘oppor e —bontade ognor. and goodness always. LORD SIDNEY Soavi e teneri, ete. CHORUS Accoppia ognor grazia e belta, (The chorus withdraws.) Scene Thirteen (Lord Sidney, Don Profondo) DON PROFONDO (to Lord Sidney, detaining him) milord ‘una paola Milora, una parola... Milord, a word... LORD SIDNEY (seriously) ke bra'mate Che — bramate? What do you wish? It Viaggio a Reims DON PROFONDO brittaniko sipporee sol ka'patfe dappa'gac Brittanico —signoreé. sol capace. dappagar You British Sir are alone able to satisty LORD SIDNEY (always serious and quickly) ke vi okkorre Che vi occorre? What is ityou desire? DON PROFONDO 2 bizopno daver ‘Yerte noltttsje Ho bisogno d'aver corte notizie... 1 need to have certain information... LORD SIDNEY non'sono uy) gaddzettjere Nonsono un gazzettiere... Lam not a gazetteer... DON PROFONDO mi ‘spjego Mi spic Tl explain... LORD SIDNEY ‘presto Presto... Quickly... DON PROFONDO votre ke mindikaste ‘ove tro'var_pottrei Vorrei che m'indicaste ove —_trovar potrel Td like for you to tell me where Icould find il “brando dit fin'gallo la ko'rattsa il brando di —_‘Fingallo, la corazza the weapon of Fingal,’ the breastplate ‘tarpa dalfred Tarpa @Alfred... the harp of Alfred... LORD SIDNEY (starting to leave) 2 ‘mato mato!) (He's crazy!) 347 i vot ‘wishes... dartur d'Artur, of (King) Arthur, "YA noted Scotsman who dwelt ina basaltic cavern partly filled with seawater in the Staffa islands in ‘Scotland, known as Fingal's Cave. 348 Il Viaggio a Reims DON PROFONDO (following him) ebbene voi nom mi cispondete Ebbene? —-Voi_ non mi rispondete? Well? You — aren't answering me? LORD SIDNEY ne muzei Jerkar konjvjen di pju_dir non saiprei Ne! musel cerear conviens dipit dir non saprei. In museums —_—search youmust; mote I cannot tell you, (He leaves.) DON PROFONDO none ‘teoppo dgenttil ma il kompattisko Noné troppo gentil; ma il ompatiscos He isn't too polite; but feel sorry for him; © innamoato ‘della _poettessa = innamorato della _poetessa, He's enamored of the _poetess, © perduta ala ‘speme ‘ella sa‘ppressa © _perduta hala speme... Ella _s'appressas and he's lost, alt hope... She's coming; a tei alppunto io ‘deddgo A lei appunto fo deggio To her —_ indeed 1 must komunikar la "Tettera di toma comunicar la —lettera di. = Roma. communicate the letter from Rome. Scene Fourteen (Don Profondo, Corinna, Delia) DON PROFONDO won ‘dgorno lustre amika Buon giorno, iflustre amical Good moming, (my) illustrious friend! CORINNA (greeting him) Kwai nottitisje Quai notizie? ‘What news? DON PROFONDO leddgete ‘kwesta ‘lettera Leggete questa lettera. Read this letter. (to Delia, while Corinna reads the letter) H Viaggio a Reims 349 konsolatevi 9 ‘deja le koze ‘vanno Consolatevi, 0 Delia; le cose vanno Beconsoled, oh Delia; things are going DELIA dawver Davver? Really? DON PROFONDO ve lassiteuro Ve Vassicuro. Tassure you. CORINNA (returning the letter to Don Profondo) vi cinygrattsjo ‘kwando si parte Viringrazio. Quando si parte? 1 thank you. When do we leave? DON PROFONDO ‘presto vo avelere © eS ‘lor poi io vi falro sapere Prestosvo avedere, = e-—S ora poi io —_vifard sapere. Soon; Tigo see, and the time then I will let you know. He leaves, followed by Delia a few moments later.) CORINNA (examining the flowers) ke vagi ameni fjor Che vaghi, ament fior! What pretty, delightful flowers! son di milord il dgommaljero. don. son di Milordil_—giormaliero don, they're from Milord the daily offering, ‘pena damore ‘KeAki ‘timido oppor ‘preme nel ‘kore pegno d'amore ch'egli timido ognor preme nel core. apledge of love which he _timidly always presses to his heart. (She detaches a flower and holds it to her breast.) Scene Fifteen (Corinna, Cavalier Belfiore) DUET CAVALIER BELFIORE (in the background) ‘sola ritrovo alfin la ‘bella ddea (Sola ritrovo alfin la bella Dea, (Alone Ifind again at last the beautiful goddess, ke imyvintfibil si ‘krede © a kui pju'wolte che invincibil _sicrede, ea cui volte who invincible believesherselfto be, and to whom on many occasions