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bel Sejtine 395 LA FORZA DEL DESTINO Opera in four acts. Libretto by Francesco Maria Piave based on the Spanish play Don Alvaro or La Fuerza del Sino, by Angel Perez de Saavedra, Duke of Riva First performed at the Imperial Theater, St. Petersburgh, Russia, on November 10, 1862 Later revised, with the help of librettist Antonio Ghislanzoni and presented for the first time at La Scala, Milan on February 20, 1869 CHARACTERS ‘The Marquis of Calatrava: bass Leonora Di Vargas, his daughter: soprano Curra, Leonore’s maid: mezzo-soprano Don Alvaro, in love with Leonora: tenor Don Carlo di Vargas, Leonora's brother: baritone Trabucco, muleteor and peddler: tenor Preziosilla, a young gypsy: mezzo-soprano ‘The Mayor of the Village of Hornachuelos (Alcade): bass Padre Guardiano, a Franciscan monk: bass Fra Melitone, a Franciscan monk: baritone A Spanish army Surgeon: tenor Muleteers, Spanish and Italian Soldiers, Peasants, Camp Followers (Vivandiéres), Ordorlies, Franciscan Monks, Beggars, Tavern Host and Hostess, Tavern Servants, Hawkers and Peddlers. The timo is in the mid-XVII century, in Spain and Italy THE PLOT ACTI Leonore's room in the castle of the Marquis of Calatrava, noar Seville ‘The Marquis is bidding his daughter Leonora good night, hoping that she has gotten over her infatuation with a foreigner whom he considers unworthy of her. After he leaves, Leonora and her maid Curra have a conversation in which it is revealed that not only has Leonora not given up hor foreign lover, but that she plans to elope with him thet very night. However, she has mixed feclings about the matter and is torn between her love for her father and her love for Alvaro. The appointed time has come and gone and Alvaro has not arrived. She hopes that perhaps he will not come, but no sooner have these thoughts been expressed than he bounds through the window and takes her in his arms, expressing his love for her. His passionate description of the preparations for their elopement evokes, after somo hesitation, a similar response from Leonora, but the delay proves disastrous. The Marquis of Calatrava, awakened by the noise, re-enters the room and denounces his daughter's seducer. Alvaro protests his innocence and throws down his pistol as token of his surrender to the infuriated old man, but upon hitting the ground, the gun accidentally goes off, mortally wounding the Marquis, who dies cursing his daughter. 396 ACT Scene One An Inn in the Village of Hornachuelos Leonora hes been separated from Alvaro in their flight and each believes the other to be dead. Leonora, disguised as a man is staying for the night at the Inn, where there is a lively gathering of peasants, muleteers, gypsies, soldiers and vivandidres. Also at the Inn is a mysterious man passing himself off as a student. He is actually none other than Don Carlo, Leonore’s brother, disguised and in search for his sister whom he wants to kill for the disgrace he feels she has brought to their family and also to avenge the death of their father. The company sings and dances, and as Leonora appears at the door she recognizes her brother and withdraws. He also catches a glimpse of her but doesn't quite recognize her. Presently Preziosilla, a lively gypsy, enters and announces that war has just broken out and that all men should not lose time in going off to Italy to fight the Germans. She begins to tell fortunes, and after Don Carlo (under the assumed name of Pereda) finishes his story, she let's him know that she hasn't believed one single word of it. Pilgrims can be heard outside and all join in their prayer, not least Leonora, who prays to be delivered from her brother's vengeance.. Don Carlo, his suspicions growing, plies the muletesr Trabucco with questions about the travelling companion who accompanied him to the Inn. "Is ita man or a women”, he asks. The Alcade (Mayor) now rises saying that it is late and the people disperse. Scene Two Outside the Monastery of the "Madonna degli Angeli’, outside Homachuelos Leonora has been sent to this monastery for sanctuary. She lifts a prayer to the Madonna, asking for help in forgetting her lover, whom, she believes, has deserted her. She now rings the bell and Fra Molitone appears, soon going off to got the Father Superior, Padre Guardiano. He receives her kindly, but warns her of the extremely solitary existence she will have to lead as a hermit in a cave nearby, where another woman once before ended her days in penitence, Sho is steadfast in her purpose and Guardiano tells hor that he himself will bring her sustenance every seventh day. He then gathers the monks and tells them that once again the cave shall be occupied, and that no one should approach it or make any effort to discover the identity of the penitent. ACT I ‘A military camp near Vellotri, Italy Both Don Carlo and Alvaro, under assumed names and unknown to each other, have enlisted in the Spanish contingent fighting the Germans in Italy. Sounds of gambling are heard and Alvaro soliloquizes about his noble ancestry, his prison birth, his mixed blood and his present state of torture, having deserted the woman he loves and inadvertently killing her father. The sound of a fierce quarrel is heard and Alvaro rushes off to answer a call for help. He returns with Carlo, having saved his life and the two men exchange vows of eternal brotherhood, though each other give the other a false name. At the sound of a call to arms, they both rush off in the direction of the fighting. swam 397 Outside the officers’ quarters near the battleground, an army surgeon and some soldiers are watching the progress of the battle from a window. The Spanish grenediers, under the leadership of Alvaro have put the Germens to flight, but Alvaro is wounded. He is carried in ona stretcher, followed by Carlo, who attempts to comfort him. When Carlo assures Alvaro that for his bravery he will be awarded the "Order of Calatrava", Alvaro exclaims "Never!". ‘Thinking himself close to death he gives Carlo the key to the casket he always carries with him ‘and mekes him swear to extract from ite letter which he is to burn without opening it. Carlo swears to carry out his friend's wish faithfully. Alvaro is carried off by the surgeon and Carlo ‘muses on the secret hidden in his friend's fateful casket. He recalls how Alvaro trembled at the mention of "Calatrava". Could this be his enemy in disguise? He soliloquizes on the temptation this casket offers him and opens it, and finds a picture, It is Leonora's! The secret has been revealed: His “friend” is his worst enemy! At this moment, nows arrives that Alvaro is out of danger and he exults fiercely about the prospects of vengeance. A patrol passes by and Alvaro, recovered from his injury enters followed by Carlo who, having satisfied himself that Alvaro is strong enough to fight a duel, reveals himself and challenges him. Alvaro is first reluctant to fight a man who saved his life and he tries to convince Carlo that the killing of his father was accidental. He himself lost Leonora that night in their flight and searched for her for a year before being convinced of her death. Carlo tells him that he believes his sister to be alive and that he hopes to find her only to kill her. The discussion between the two men heats up and eventually draws them into a fight. A patrol manages to separate them. Carlo is dragged away and the wretched Alvaro decides to enter a monastery. The sun rises. Soldiers polish their equipment, peddlers offer their wares, and food and drink are for sale. Preziosilla tells fortunes and begins leading a tarantella to dispel the gloom. Mixed up in the dance is Fra Melitone, who now treats the assembled to a clever sermon on vices, peppered with amusing puns’. The chastising sermon leads to a fight and Preziosilla restores order by leading a chorus of "Rataplen’. ACTIV Scene One Outside the "Madonna degli Angeli" Monastery in Spain The war is over. A crowd of beggars is assembling to collect the free soup which the monks dole out regularly. Fra Melitone is in charge and he is annoyed at being constantly compared to benevolent Father Raffaello (really Alvaro, now tuned monk). Finally, in a fit of pique, he kicks the soup cauldron over. Father Guardiano reproaches his lack of patience and bids him not to complain if the beggars prefer Father Raffaello over him. Melitone says he likes Raffaello but is disturbed by his haunted look and his strange moods. The Monastery door bell now rings violently and Molitone admits Don Carlo, who has come looking for Father Raffaello. ‘When Alvaro appears Carlo immediately challenges him to a duel, producing two swords from under his cloak. At first Alvaro refuses to fight, but after Carlo insults him and finally slaps his face, he can stand the outrage no longer and the two men go off in a rage to fight their duel. *This section, with Melitone's punning sermon was lifted directly from Schiller’s play Wallestein's Lager. Verdi urged Piave to do it, as Verdi had seen the play and thought the address irresistibly clever. His long time friend Andrea Maffei translated it and it appears thus in Act Ill 398 Scene Two Outside Loonora's Cave Leonora is still in love with Alvaro, and wishing her life to be over, prays for death. She hears the sounds of fighting nearby and retreats into her cave. Carlo's voice is heard calling for a priest, and Alvaro enters the cave, sword in hand, calling for someone to comfort a dying man. ‘At first Leonora refuses but then she rings a bell to summon help and in doing so, Alvaro and Leonora recognize each other. Alvaro tells her to stay away from him, for his hands are again stained with the blood of someone from her family. Leonora runs to her dying brother, who manages to stab her in his last moments. Father Guardiano now enters and supports the expiring Leonora, who dies serenely in his arms. Alvaro in despair cries "She's dead!" Guardiano replies: "Ascended to Heaven!". La Forza Del Destino, Act I 399 ACTI A hall in the home of the Marquis of Calatrava (The hall is decorated with tapestries and family portraits hanging on the walls. There is an open window through which a moon-lit sky can be soen. There are several doors leading to the rooms of the Marquis, Curra and Leonora respectively. The Marquis, a candle stick in his hand, is bidding his preoccupied daughter good night.) MARQUIS (embracing her affectionately) ‘bwona ‘notte ‘mia ‘fikka aldsdio diletta Buona notte, mia _figlia... addio, dilotta, Good night, my daughter... farewell, my doar. a'perto e arkora ‘kwel ve'ron Aperto a ancora quel veron? Open is still that balcony? (Is that balcony (window) still open’) LEONORA (aside) 2 angoffa (Oh —angoscia!) (Oh anguish!) MARQUIS (turning to her) ‘nulla ‘ditfe ‘il'tus amor perke ‘triste Nulla dice iltuo amor?.. Perch si triste? Nothing says your love Why so sad? (Your love has nothing to say to me? Why are you so sad?) LEONORA. ‘padre i Padre... Signor. Father... my Lord. MARQUIS ‘a ‘pura ‘aura ‘de ‘kampi ‘patfe ‘al tuo ‘kor = donava La pura aura de’ campi pace al tuo cor donava... The pure air ofthe country — peace to your heart brought... fudidsisti To stranjero dite. —inidenpo Fuggisti lo —straniero © di_—S sto -—indegno. You've fled the foreigner of 1+ you _unworth: (You've given up thet foreigner unworthy of you...) ‘ame Tafa aura a lescia la cure to me leave the care ‘nel ‘padre ‘tuo —_konyfida ‘ke tama, tanto Nel padre tuo confida che tama tanto! In the father yours trust who loves you _so much! (Trust your father who loves you so much to take care of the future!) 400 La Forza Del Destino, Act I ebiben ‘ke = tandge ‘nom ‘pjandser Ebben, che — tange?... Non pianger. Sowell, what is troubling you?.... Don't weep. (Oh {1 fool so guilty!) MARQUIS ‘ti Taffo Ti lascio. Tl leave you. LEONORA (throwing horself offusively into her father's arms) a ‘padre ‘mio Ah, padre mio! Ab, father mine! MARQUIS ‘ti bene'dika ‘il 'tfelo ald:dio Ti benedica Cielo... addio. May it bless you Heaven... farewell. (Farewell, may Heaven bless you.) (The Marquis kisses her, takes his candlestick and goes into his room. Curra follows the Marquis and closes the door once he is gone. She returns to Leonora, who has abandoned herself in tears onto the chair.) ‘CURRA temea Testasse ‘kwi fino a ‘domani Temoa restasse qui fino adomanit I was foaring he would stay here until tomorrow! ‘il veron ‘tutto sa}pspronti © — andjamo il veron. tutto s'appronti ° andiamo. Let's reopen the balcony... everything must be readied and _let us go. (She takes some linen and clothes and puts them in a bag which she takes out of the cupboard.) La Forza Del Destino, Act I 401 LEONORA. esi amorozo ‘padre avverso fia ‘tanto Es amoroso _—padre_avverso fia tanto And sucha loving father against can be so much a 'voti ‘mjei ‘no detfidermi ‘non 'so a! voti miei? No, decidermi non so. to the wishes mine? No, make up my mind I cannot. (And could such a loving father be so much against my wishes? No, I cannot make up my mind.) CURRA (bustling about) ‘ke ‘dite Che dite? What are you saying? avafenti ‘nel ‘kor ‘komme puinpali Sfentdevammi accenti nel cor come pugnali —_—_scondevanni... words in my heart as daggers penetrated into me... (His words ponetrated my heart like daggers...) ‘se ankor restava a'prprezo ‘al ‘ver Aja'vrei Se ancor restava, appreso —il_~—ver_ gli avrei... If _ longer he had stayed, told the truth I would have to him... (If he hed stayed any longer, I would have told him the truth...) CURRA (stopping her work) domani altlor ‘nel ‘sangwe ‘suo sata ‘don al'varo Domani —allor nel sangue suo saria Don Alvaro, Tomorrow then in the blood his wouldlie Don Alvaro, (Then tomorrow Don Alvaro would be lying in his own blood.) ‘oda sivvikka pridsonjero “forse ‘al patibol ‘poi oda Siviglia prigioniero © forse al patibol Pe orto Seville (asa) prisoner and maybe tothe scaffold afterwards... (or sont to Seville as a prisoner, with the scaffold to follow...) LEONORA. ‘tatfi Taci. Be silent. CURRA tuto ‘kwesto perkessi volte amar'ki ‘non amava E tutto questo porch'egli vole amerchi non T'amava. And all this because he wished tolove who didn't love him. (And all this because he loved someone who didn't love him.) LEONORA ‘io ‘non amarlo ‘tu ‘ben ‘sai io ‘lami Io, non amarlo? Tu ben sai io Nami, I, not lovehim? You well know ifI love him... 402 La Forza Del Destino, Act I ‘patrja famika ‘padre ‘per ‘lui ‘non ab:ban'dono Patria, famiglia, padre, per lui non abbandono? Homeland, family, father, for him am I not abandoning? ‘ai ‘woprpo zventurata ‘sono Abi Troppo sventurata sono! Oh Very unfortunate I am! ‘me pelilegrina —_edorfana ‘Tundsi_ ‘dal ‘patrjo ‘nido Me pollegrina ed orfane, —lungi_ dal patrio nido, 1,a wanderer andorphan, far frommy _native nest, ‘um ‘fato. inezdrabile sospindse a ‘stranjo ido un fato inesorabile sospingo a _stranio lido... a fate inexorable drives me on toan alien shore. kolmo ‘di tisti_tmmadsin’ da swoi_rimorsi ranto Colmo di tristi immagini, da’_—suoi_rimorsi affranto, Filled with sad fancies, by its. remorse —_—rbroken, cil ‘kor “di “kwesta ‘mizera danmato a eterno ‘pjanto ail cor di questa misera dennato a_—_ temo panto... isthe heart of this wretched one damned to _ eternal weeping. (This wretched girl is condemned to etemel weeping and her heart is filled with sad fancies and broken by remorse.) tilasfo aime ‘kon Takrime ‘doltfe ‘mia ‘terra aiddio Tilascio, —_ahima, con lacrime, dolce mia terra! _addio. Tleave you, alas, with tears, sweet my land! farewell. (My sweet homeland, alas, I leave you in tears! farewell.) aime nona'vra termine Ahima, non avra termine Ales, it won't have an end CURRA majuti sinnorina _‘pju ppresto Maiuti signorina... pid presto Helpme miss... faster LEONORA (looking at the clock) ‘sei ‘nom veisse © —ttardi S'ei_ non venisse? E tardi! Ihe didn't come? It's late! swonata suonata! sounded! meddzanotte € Mezzanotte & Midnight has (Happily relieved.) ‘si ‘gran dolore si gran dolore! such great grief! andrem andrem... welll be able to leave... La Forza Del Destino, Act I @ ‘ano ‘pju ‘nom verrra Ah no, _pitinon vernal! Ah no, he won't come now! CURRA ‘kwale rvmore kalpestio “di_—ka'valli Quele rumore!.... calpestio di caval! What noise aclatter of |—_—horses' (hooves)... LEONORA (running to the balcony) 2 dessa gE desso! It’s he! CURRA ‘era impossibil kei ‘nom venis:se Era impossibil _ch'ei non venisse! Itwas impossible thethe shouldn't come! LEONORA oiddio Oh Dio! Oh god! CURRA ‘bands ‘al timore Bando al timore! Banish the fear! 403 (Don Alvaro, without a cloak, booted and spurred with a wide sleeved shirt now enters. through the balcony window and throws himself into Leonords arms.) ALVARO a ‘per'sempre 0. ‘mio beltlandsol Ah per sempre, o mio _bell'angiol, Ah forever, oh = my _lovely angel, ‘ne kon'dsundse ‘il 'tfelo aldes:so ne congiunge __il cielo adesso! us ‘unites heaven now! luniverso ‘in ‘kwesto. = amplesso. io. mi ‘veg:go Luniverso in questo amplesso io ~_—smi veggo The universe in this embrace I see (I s00 the universe rejoicing in this embrace.) LEONORA ‘don alvaro Don Alvaro! dsubilar siubilar. rejoice. 404 La Forza Del Destino, Act I ALVARO ‘Yel ‘ke = tadgita Ciel, cho tagita? Heaven, what is troubling you? LEONORA ‘press e iil “domo Presso a oil Near is the (itis almost daylight...) ALVARO ‘da luyjgora ‘mike Da lungora mille Foralongtime athousand obstacles ‘wa dimora ‘mam vjetato penetar tua dimora m'han viotato penetrar, your home have prevented mo to enter; (A thousand obstacles have, for a long time, prevented me from entering your home;) ‘ma damor ‘si puro e ‘santo Ma = d'amor puro e santo si But toalove so pure and__ holy ‘nulla oprporsi ‘pwo nulla opporsi ud _all'incanto, nothing oppose itself can to the enchantment, (But nothing can resist the enchantment of a love so pure and holy as ours,) e ‘dio ‘stes:so ‘I nostro ‘palpito ‘in letittsja tramuto E Dio stesso ilnostro _palpito in Ietizia tramutd. And God himself out anxicty in. joy transformed. (and God himself transformed our anxiety into joy.) (To Curra) ‘kwel:le ‘vesti ‘dal ve'rone ‘dsetta Quelle vosti dal verone gotta. Those clothes from the balcony _—throw. (Throw those clothes down off the veranda.) LEONORA (to Curra) atrresta Arresta. Stop. ALVARO (to Curra) ‘0 ‘no No, no... No, no... (To Leonora) La Forza Del Destino, Act I ‘segwimi Tafa. dmai_ ‘a tua pridone Seguimi, lascia omai la tua prigione... Follow me, leave now your prison... LEONORA ‘Yel risolvermi ‘non 'so Ciel! risolvermi non 50. Heaven! make up my mind I cannot, ALVARO ‘pronti destrjeri di ‘ddga ‘ne attendono Pronti destrieri di gia ne attendono; Swift steeds already are awaiting us; ‘un satferdote ‘ne aspetta atlara Un —sacerdote —_ne aspotta all'ara. A priest is awaiting us at the altar. ‘vjeni_ damore ‘in'sen ripara ‘ke ‘ddio ‘dal tfelo —_benedira Vieni, d'amore in son ripara che Dio dal cielo _benedira. Come, a love in your bosom __— shelter that God from heaven will bless. (Come, shelter yourself in the bosom of a love that God will bless from heaven.) e ‘kwando i= ‘sole‘nume delllindja E quando —il'_— sole,‘ nume dell'india And when the sun, god of the Indies? ‘di ‘mia _—_re'gale 'stirpe sinpore di mia__regele stirpe signore, of my royal lineage the Lord, a ‘mondo inondi ‘del ‘suo splen’dore il mondo inondi del suo _splendore, the world it will fill__with its splendor, (And when the sun, god of the Indies and my royal lineage, shell fill the world with its splendor.) ‘spozi ‘°° diletta ‘ne trove'ra sposi, o — diletta no trovera. (as)man and wife, oh dearest, -—_—ihe will find us. LEONORA € ‘tarda ‘lora E tarda Tora Is late the hour. Alvaro is reforring to his Peruvian Inca ancestry. Originally the Americas were thought to be “the Indies", To this day, the national monetary unit of Peru is the Sol (sun). 406 La Forza Del Destino, Act 1 ALVARO (to Curra) ‘su ‘via. taffifretta Su via, Yaffretta! Come on, Hurry up! LEONORA (to Curra) aykor sospendi Ancor sospendi... Wait a bit. ALVARO eleonora Eleonora!’ LEONORA. diman Diman... Tomorrow... ALVARO ‘ke = ‘parli Cho pari? What are you saying? LEONORA ‘tem ‘prego aspetta Ton prego, _aspetta... Tbeg you, wait... ALVARO (very worried) diman Diman! Tomorrow! LEONORA domani ‘si partira ‘anko ‘una ‘volta Domani si partira. Anco una volta Tomorrow we will go. Once more ‘povero ‘padre velder de'zio e povero padre, veder desio; e poor father, to see I wish; and “Kie ‘ver ne'sei ‘si perke glidver, ne soi? si, porchd its true, youre? yes, because: (She becomes confused.) °Several times in the opera Alvaro calls his lady Eleonora. Most times, howover, it is Leonora. La Forza Del Destino, Act I 407 ‘ne opsport ‘dei arjkio wu i'sai ‘amo 4 ‘tanto Na opporti dii... anch'io tu il sai... tamoio —_tanto! ‘You wouldn't deny me... also I you knowit.. Ilove you so much! ‘ne ‘som felitfe 2 Yfelo ‘kwanto oh ciclo, ch heaven, (She begins to weep.) ‘gomfjo ‘i ‘kor restjamo Gonfio di il cor! Restiamo... Swollen with joy Ihave my _ heart! Lot us stay... ‘si ‘mio alvaro ‘io tamo Si, mio Alvaro, io tame Yes, my Alvaro, Tove you! (Her weeping chokes her.) ALVARO ‘gomfjo ‘ai ‘kore e —Tagrimi Gonfio hai core... e —— lagrimit Swollen you have heart... and you weep! ‘kome ‘un sepolkro. = tua’ mano © ©~—gelida Come un sopolero tua_—s mano & _—golidal Like a tomb your hand is icy! ‘tutto Kom'prendo ‘tutto sippora Tutto comprendo... tutto, signoral Everything I understand... everything, my lady! LEONORA alvaro Alvaro! ALVARO elesnora =i sol_—salpro softftire ‘tolga id:dio Eleonora! Io —sol_saprd soffrire. Tolga Iddio Leonoral I alone shall lean to suffer... God forbid ‘ke i passi‘mjei per debolletisa —‘segwa che i passi mioi per debolezza _sogua... that the s mine out of weakness _ you should follow... (Leonora! I shall learn to suffer alone...God forbid thet you should follow me out of weakness...) ‘folgo Sciolgo I dissolve 408 La Forza Del Destino, Act I sarebibero ‘per ‘noi_—sse‘nnal ‘di ‘morte sarebbero per noi sognal di morte. The marriage torches wouldbe for us (a) signal of death... ‘se tu kormio “nom ‘mami ti Se tu comio non m'ami. se _pentita.. If you, _asIdo, donot love me... if _regretful. (if you don't love me as I do...if you are sorry.. LEONORA (interrupting him) ‘son ‘tua ‘kol ‘kore € ‘kol:la ‘vita a Son tua col core e@ —colla vite. Ah! Tm yours with my heart and with my life. Ah! se'gwirti ‘fino aXAultimi_ konjfini ‘terra Soguirti fino aglultimi —_confini terra; To follow you to thelast — ends earth; ‘kon te sfidar impavida “di_—'rio.— destin ta ‘gwerrra Con to sfidar impavida di rio._—_ destin la guerra, With you to defy fearlessly of evil destiny the -—_war, (To defy foarlessly with you, the war that evil destiny wages on us.) ‘mi ‘fia pe'ren:ne ‘gaudjo deterea voluttta: mi fia perenne —_gaudio doterea ——_volutta. let it be forme endless _—_biliss of ethereal delight. (Lot all those things be for me the endless bliss of ethereal delight.) ‘ti'segwo andjam ‘il fato ‘no ‘nom potra Tiseguo, Andiam, il fato, no, non potra. Tfollow you. Let us go, separate us fate, no, it cannot. {[ follow you. Let us go. No, fate cannot separate us.) ALVARO sospiro ‘lutfe edanima ‘di ‘kwesto ‘kor ke ‘tama Sospiro, luce edanima di questo cor che tama; (You are)The wish, light and soul of _—_this, heart that loves you; finyke ‘mmi 'batta ‘um ‘palpito “far ‘paga ‘omni. ‘tua ‘brama Finchd mibatta —_un palpito far page ogni. tua = brama While in me beats breath of life to satisfy every your desire i ‘solo ed im:mutabile ‘me sara il solo ed immutebile me sara. the sole and immutable me shell be. (My only immutable wish shall be to satisfy every desire of yours, while a breath of lifo still beats in my heert, for you are my heart's only wish, light, soul and its only love.) ‘mi 'segwi andjam_ dividertfi 9 Nd ‘nom potra Mi sogui. © Andiam, —diividerci_—il fato, no, _non potra. Follow me. Letusgo, separateus fate, no, it cannot. (The sound of a door opening can be heard.) La Forza Del Destino, Act I LEONORA. ‘kwale rumor Quele rumor! What noise! CURRA (listening) a'ffendono ‘le ‘skate ‘Ascendono le scale. They're coming up the stairs! ALVARO, then LEONORA partjam Partiam... Lot us leave... ALVARO Mi sogui, invan dividerci, tc. LEONORA Ti seguo, invan dividerci, otc. (They quickly run to the balcony.) LEONORA ec tard E tardi! Its (too) late! LEONORA (to Alvaro, pointing to her room) kola — taskondi Cola tascondi. There, hide yourself. ALVARO (taking out his pistol) ‘no difenderti_—_ded:dsio No! Difendorti —_degg'io. No! Defend you I must. LEONORA Tipon kwel:larma ‘kontro ‘al dgenitore Ripon quell'arma... contro al genitore Put back that weapon... against my — father vorresti vorresti? would you? 409 410 La Forza Del Destino, Act I ALVARO ‘no ‘kontro ‘mme ‘stes:so No, contro me stosso... No, against myself... (He puts away his pistol) LEONORA. orrore Orrore! Horror! (After several knocks the rear door is noisily broken open, and the Marquis of Calatrava enters, furiously brandishing his sword, followed by several servants with candles.) MARQUIS ‘vil seduttor ——_injfame “fikKa Vil seduttor! ——Infame figlia! Vile seducer! Shameless daughter! LEONORA (running to throw herself at his foet) ‘no ‘padre ‘mio No, padre mio... No, father mine... MARQUIS (pushing her back) ‘io ‘pju ‘nol ‘sono To _ pid nol sono. Tam no longer (your father). ALVARO (to the Marquis) ‘i ‘solo kol'pevole ‘io solo colpevole son _io. The sole guiltyone is =. (Lelone am the guilty one (Offering his chest to him.) ferite vendikatevi Ferite, vendicatevi... Strike, avenge yourself... MARQUIS (to Alvaro) ‘no ta_—sikonidotta’ = ‘vostra No, Ia condotta —_vostra No, the conduct —_yours. ‘da ‘trop:po abibjetta oridgine uffito ‘vi dimostra da troppo abbietta —_origine. uscito vi dimostra, of too abject origins come from shows you. (No, your conduct reveals the too abject origins from which you've come.) La ALVARO (offended) sipnor markeze Signor Marchese! Marquis! MARQUIS (to his daughter) ‘skostati ‘Scostati.. Stand aside... (To the servants.) Forza Del Destino, Act I 411 sa'rresti ‘lempjo S'arresti Tempio. Arrest the wretch. ALVARO (again taking out his pistol, pointing it at the servants, who move back) ‘gwai ‘se alkun ‘di ‘voi_— ‘si ‘move Guai se alcun di voi_— si move... Woe if any of you move. LEONORA. (running to him) atvaro 2 tfel ke fai Alvaro, O ciel, che fail... Alvaro, coh heaven, what are you doing!... ALVARO (to the Marquis) ‘tfedo a oi ‘sol—ferite Cedo a voi sol, _ferite. yield to you _ alone, strike... MARQUIS motir ‘per ‘mano ‘mia ‘per‘mano ‘del karnefitfe ‘tal ‘vita ‘spenta ‘fia Morir per mano mia! © Permano del camefice _tal vita spenta fia. To die by hand mine! Byhand of theax man —_your life —_be ended. (You want to die by my hand! No...the ax man shall end your life!) kalatrava ‘pura sik:kome ‘jandgeli e ‘vostra ‘fikka Calatrava!... Pura siccome gli angeli 8 ~—_vostra figlia, Calatraval... Pure as the angels is your daughter, ‘Teo so'nio ‘solo Reo son io solo, The guilty one am I alone. ‘ke lardir'mio wi ‘desta cho Tardirmio qui desta thet my boldness hore has aroused ‘si ‘tolga ‘kol:la ‘vita. 'ek:komi_ inerme si tolga colla vita, _Eecomi inerme. be removed with my —_—iife._- Here stand, unarm 412 La Forza Del Destino, Act I (Ho throws down his pistol, which goes off as it hits the ground mortally wounding the Marquis.) MARQUIS ‘io ‘mwoj: lo muoio! Tm — dying! ALVARO ‘ama fu'nesta Arma funestal Weapon —_— deadly! LEONORA (running to her father) aita Aital Help! MARQUIS (to Leonora) ‘lundsi ‘dame konitamina © 'tua_— ‘Vista ‘a ‘mia ‘morte Lungi da me! Contamina tua vista la mia morte. ‘Away from me! Contaminetes your sight my death. (Got away from me! The very sight of you contaminates my death.) LEONORA ‘padre Padre! Father! MARQUIS ‘ti male'diko Ti maledico! Tcurse you! (He falls dead in his servants’ arms.) LEONORA (desperately) ‘Yfelo pjetade Cielo, piotade! Heaven have mercy! ALVARO 2 ‘sorte Oh sorte! Oh fate! (The servants take the Marquis to his rooms, while Alvaro takes the unhappy Leonora towards the balcony.) END OF ACTI La Forza Del Destino, Act I 413 ACT ‘Tho Village Inn (in the large ground floor kitchen of the Inn is a cupboard with dishes and other artifacts and tables with bottles and glasses on them. A couple is dancing a seguidilla. The fireplace in the background has several pots boiling. The Alcade (town Mayor) is sitting near the fire, while a student (Don Carlo in disguise) is near a table. The host and hostess are preparing dinner. Trabuco and several of his fellow-muleteors are near their pack saddles. There aro peasants and other families sitting and standing about.) VILLAGE GIRLS, MULETEERS, PEASANTS olla ‘ben ‘dsundsio mulattjer la ‘notte a ripozar ala Hola! Ben giungi, o mulattior, la notte a —_—riposar. Hola! Ho there! Welcome, oh muleteers, the night to rest. Ho there! ‘kwi devi ‘koi Te ‘fortse ritemprar Qui devi lo forze ritemprar! Here youmust withthe cups your strength —_renew! ‘ben ‘dsundsi 9 mulattjere ta "x ‘dei pozar Bon giungi, o mulatiere, la notie ——déi posar. Welcome, oh muleteers, tis night you must —_ rest. {Tho village gils and the muleteors danco while tho hostess sets a large soup turean on the table.) ALCADE (sitting down at a table) ‘la ‘tfena e ‘pronta La cena 2 pronta. The dinner is ready. GIRLS, MULETEERS, PEASANTS (taking their places at the tables) a Yfena A cena, To — dinner. STUDENT (CARLO) ritferko imvan la ‘swora ‘i sedutttore _‘perfidi (Ricerco —invan Ja suora e —il_—seduttore..._perfidi!) (soarch in vain (for) my sister and her seducer...._ wretches!) MULETEERS AND PEASANTS (to the Alcade) ‘voi ‘la —_‘mensa benedite Voi la —_mensa benedite. You the table bless. (Say grace, your Honor.) ALCADE ‘pwo ‘farlo ‘il litfentsjato Pud farlo il _licenziato. Can doit the leamed scholar. (The learned scholar can do it.) 414 La Forza Del Destino, Act II STUDENT (CARLO) ‘ai ‘bwon ‘grado Di buon grado. Gladly. ‘in ‘nomini ‘patris ‘et ‘spiritu ‘sankti LATIN: In nomini Patris, et Spiritus Samet In the name of the Father, PEASANTS, MULETEERS AND GIRLS amen Amen, Amen. Ghost Holy. (Leonora, in man's clothing appears timidly at the door of the room at one side, holding it jar.) LEONORA. ‘ke ‘vedo ‘mio fratello Mio fratello!) My brother!) (She withdraws. The hostess has already served the rice and sits with the guests. Another dish is served immediately after. Trabuco is standing aside, always leaning on his pack- saddle.) ALCADE (tasting the food) ‘bwono Buono. Good. STUDENT (eating) ettfeltiente Eccollente. Excellent. GIRLS, MULETEERS, PEASANTS ‘par ‘ke ‘dica ‘mandsami Per che dice: "mangiami". Itseems _to say: “eat me". STUDENT ‘tu ‘das. ‘epulis akkumbere —‘divum LATIN: Ta das epulis accumbere divum. You prepare (a) banquet (worthy of a) reclining —_lord. ALCADE ‘nom ‘sa latino ‘ma — kutfina ‘bene Non sa latino ma cucina bone. She doesn't know Latin but she cooks well. La Forza Del Destino, Act II STUDENT ‘viva lostes:sa Viva TOstessa! Longlive _the Hostess! MULETEERS AND PEASANTS evviva Evvival Hurreh! STUDENT ‘nom vem —‘mastro tratbuko Non vien astro ‘Trabuco? Isn't coming Master Trabuco? (isn't Master Trabuco coming to table?) TRABUCO Appunto! That's right! STUDENT e ‘kwella persontfina kon ‘lei ‘dsunta E quella personcina con lei _giunta? And that little person with you arrived? (And that little person who came with you?) PREZIOSILLA (skipping in) va ‘la ‘gwerra Ta guerra! Hurrah for war! STUDENT, ALCADE, MULETEERS, PEASANTS prettsjosil:la ‘brava ‘kwi‘presiso a'mme Preziosilla! Brava! Qui, presso ame. Preziosilla! Brava! Here, near to me. MULETEERS, PEASANTS ‘tu Ta ventura ‘dime potrai Tu la ventura — dime _potrai. You our fortune tell us can. (You can tell us our fortunes.) 415 416 La Forza Del Destino, Act I PREZIOSILLA ‘ki ‘brama “far fortuna Chi brama far fortuna? Who wishes to make his fortune? MULETEERS AND PEASANTS “tutti “il vo'xKam_ Tutti il vogliam, Allofus want PREZIOSILLA korrrete alllor soldati initalja Correte allor soldati in Italia Run then soldiers to Italy dove ‘rotzta la ‘gwerra ‘kontro ‘al te'desko: dove rotta la guerra contro al Tedesco.’ where has broken out the war against the Germans. STUDENT, ALCADE, GIRLS, MULETEERS, PEASANTS ‘monte ‘ai te'deski Morte ai Tedeschi! Death to the Germans! PREZIOSILLA fla'dsel ditalja. eltemo e ‘de fiXAwoli_ Flagel Alitalia eterno ede’ figliuoli Scourge _of Italy eternal and of the sons (Eternal scourgo of Italy and its sons.) MULETEERS AND PEASANTS ‘tutti van'drem Tutti Vandrem. Allofus will go there. PREZIOSILLA edio sara ‘kon ‘voi Edio sard con voi. And I will be with you. STUDENT, ALCADE, GIRLS, MULETEERS, PEASANTS ‘viva Viva! Hurrah! ‘swoi suoi. its. “The war she is referring to is really the one waged in 1744 against the Austrians, who wore constantly beleaguering their Southern neighbors. A curious note, when Italy and Germany were part of the Fascist "Axis" during the second World War, a 1944 score changed Tedeschi (Germans) to znemici (enemies)! La Forza Del Destino, Act I 417 PREZIOSILLA ‘al ‘swon ‘del tam'buro: ‘al ‘brio ‘del kor'sjero AL suon del tamburo, al brio del corsiero, At the sound of the drum, at the mettle of the steed, al ‘nugolo ad:dzur:ro ‘del ‘brondzo gwe'rrjer al nugolo ezzurro—dol_—bronzo?—_guorrier; atthe cloud blue ofthe cannon —warring; ‘dei ‘kampi val ‘su'surro sevalta ‘il pen'sjer dei campi al susurm —stesalta il pensier! of the fields the noise inflame the __ thoughts! (at the noise of the battlefields our souls are inflamed!) © ‘bella ‘a‘gwerra, evi ‘la '‘gwerra = bella Ja guerra! Evviva Ia guerra! Is beautiful the war! «= Hurrah = for war! STUDENT, ALCADE, GIRLS, MULETEERS, PEASANTS E bella la guerra, evviva la guerra! PREZIOSILLA e ‘solo obli'ato ‘da vile ki ‘mwore E solo obliato da vile. chi muore; Heis alone forgotten as acoward who dies; (He elone is forgotten who dies a coward.) ‘al ‘bravo soldato ‘al ‘vero va'lor Al bravo soldato, al_—=—svoro._valor To the brave soldier, to true valor € ‘premjo serbato ‘di ‘gloria donor z premio serbato —di_— gloria donor! is (the) reward reserved of _ glory, of honor! (The reward of glory and honor is reserved for the brave soldier of true valor.) E bella la guerra, evviva la guerra! STUDENT, ALCADE, GIRLS, MULETEERS, PEASANTS E bella la guerra, evviva la guerra! PREZIOSILLA ‘se ‘yjeni fratello kaporale Se vieni, fratello, caporale; If youcome, brother, —youllbe-— a corporal; ‘tu kolonel:lo e ww dgene'rale e e tu colonel, 6 tu and you colonel, and you *Bronzo really means "bronze". However, in pootic libretto language we find bronzo applied to several objects made out of bronze: cannons and church bells. 418 La Forza Del Destino, Act I ‘il ‘dio furfantel:lo —de':larko im:mortale 1 dio furfantello doll'arco immortal The god roguish of the bow immortal fara‘dikappello ‘al_—"bravo_uffittsjal fara dicappello al_—rbravo uffizial. will pay homage —_to the brave officer. (The roguish god with the immortal bow (Cupid) will pay hommage to the brave officer by making him lucky in love.) E bella la guerra, evviva la guerra! STUDENT, ALCADE, GIRLS, MULETEERS, PEASANTS Evviva la guerra! STUDENT e ke —riserbasi_—— alto stuidente E che riserbasi_ allo studente? And what is reserved for the student? PREZIOSILLA (reading his palm) en) crime vitfende avai Oh, tu miserrime vicondo vrai Oh, you most wretched — fortune will have. STUDENTE ke di Cho di’? What are you saying? PREZIOSILLA (fixing her eyes on him) ‘nom ‘mente ‘il ‘lab:bro ‘mai Non mento il labbro mai... Don'tlie my —_ lips never... (My lips never lie...) (Staring at him even more fixedly.) ‘ma ate ka'ris:simo ‘nom 'presto ‘fe Ma ate, carissmo, —_non presto But you, dearest, I don't believe. ‘non ‘sei studente ‘nondiro.—‘njente Non sei studente.. non dird niente.. You aren't astudent... I won't say anything... ‘ma ‘nnafife a ‘me ‘non ‘se ‘la ‘fa Ma — gnaffo, ‘ame non se la fa, But by my faith, you can't fool me, E bella la guorra, evviva la guerra! La Forza Del Destino, Act II 419 STUDENT, ALCADE, GIRLS, MULETEERS, PEASANTS E bella la guerra, evviva la guerra! (A band of pilgrims passes by outside.) CHORUS OF PILGRIMS (from far away) ‘padre etemo sipnor pjeta di ‘noi Padre Etorno Signor.. pita di noi. Father Eternal Lord.. mercy on us. STUDENT, MULETEERS, PEASANTS (rising and taking off their hats) ‘ki ‘sono Chi sono? Who aro they? ALCADE ‘som pellegrini ‘ke = ‘vanino ‘al dgubiteo Son pellegrini che -_vanno al giubileo. Theyre pilgrims + who are going _to the celebration. LEONORA (reappearing in great agitation at the same door) fuddsir potesisi (Fuggir potessi!) (if only I could flee!) ‘STUDENT, MULETEERS, PEASANTS ‘ke ‘pass attendjamo Che passino _—attendiamo. That they pass let us wait. (Let us wait until they pass.) ALCADE pre'gjams ‘kon ‘Tor’ —_pre'gjamo Proghiamo con lor, _preghiamo. Let us pray with them, let us pray. PREZIOSILLA, STUDENT, GIRLS, MULETEERS, PEASANTS. pre'gjamo Preghiamo. Lot us pray. CHORUS OF PILGRIMS divin ‘fidko sippor pjeta ‘di noi Di Figlio Signor. piota di noi, Divine Son, Lord. (have) mercy on us. (All leave the table and fall on their knees.) ALL (except Leonora) ‘sa ‘noi prostrati_ === ‘suppplitfi_—‘stendi la. ‘man_—sipore Su noi prostrati =e supplict man, Signore; Over us prostrate and supplicant extend Thy hand, Lord; 420 La Forza Del Destino, Act IT ‘ne'salvi ‘tua bonta ne salvi tua bonta. save us your goodness. Ab, (May your goodness save us from infernal perdition. Ab, have mercy, Lot dal:limfernal ma'lore Dall'infernal malore From the infernal _perdition LEONORA a ‘dal fratello ‘salvami (Ah, dal fratello salvami, (Ah from the brother save me, 'se wo ‘nal ‘vwoi ‘gran ‘ddio Se tu nol vuoi, i If — Thou wilt not, PILGRIMS ‘santo ‘spirto sippor Santo Spirto Signor. Holy Spirit Lord... have mercy on us... ‘ke anela che anela who thirsts One sipnor Signor! ‘il 'sangwe ‘mio il sangue mio. for the blood mine. ‘misalvera —_pjeta_sipnor mi salvera! Pieta, can save me! Mercy, Lord!) e e and Three Lord. (Leonora re-enters her room and closes the door. All return to their places. A flask is passed around.) STUDENT ‘viva Ya ‘bwona. ‘kompa'ppia Viva la buona ‘compagnia! Longlive the good company! ‘ALL ‘viva Viva! Long live! STUDENT (raising his glass) salute ‘kwi letema Salute qui, eterna Hoalth here, eternal ‘Kosai coglt with the ‘kon, Con ‘andseli angeli, angels, ‘kwestinjferno quest'inferno? With this hell? trabuko ‘Trabuco? ‘Trabuco? La Forza Del Destino, Act II STUDENT . e kwel‘la persontfina ‘kon ‘lei ‘dgunta ‘venine. Ee ella personcina, con lei giunta, venne Pe Kayinet Little person, who came with you, did he come for the ‘TRABUCO ‘nal ‘so Nol so. I don't know. STUDENT perraltro, & ‘gallo oppur gall fina Per altro, 8 gallo, oppur gellina? By the way is ita cockerel, ora hen? TRABUCO ‘de vjad:dsator ‘nom‘bado ke = ‘l= datnaro De’ viaggiator ~nonbado che al danaro. Ofthe travellers Idon'tcare but the money. (only care about my travellers’ money, nothing else!) STUDENTE ‘molto pridente Molto prudente! Very prudent! (Turning to the Alcade,) edekla ‘ke ‘dgundgere ‘la ‘vide Ed lla che giungore la vide, ‘And you who arrive hor saw, perke atfena ‘nom ‘yjen perchd ac non vien? why todinner doesn't she come? (And you, Mayor, who saw her come, tell mo, why dossn't she come to ALCADE lipporo. Lignoro. I don't know. kje'des:se ‘ak:kwa edattfeto a ‘per chiedesse —acqua ed aceto.. ah! per he asked for water and vineger... ah! to It is obvious that the Student is suspicious of that personcina, that "little come in with Trabuco. He is now trying to fish for an answer: "Is it a male o 4a. dgubileo giubileo? celebration? dinner?)* rimfreskarsi tinfrescersi. refresh himself! person’ whom he saw ra female?" “It is also obvious from his question to the Mayor that Carlo has already made up his mind that the traveller was a woman, 422 La Forza Del Destino, Act I ALCADE. sara Sard. It could be. STUDENT © ver ke dgentile © ‘sentsa ‘barba E ver ch’8 gentile, e senza barba? Isit true thatheis gentle, and beardless? ALCADE ‘non ‘so ‘nukla Non so nulla. Idon't know anything. STUDENT parlar “nom ‘vwol (arlar non vuol!) (To speak —_he doesn't want to!) (He doesn't want to tell me anything!) (Now turning to Trabuco.) arjkora a ‘lei ‘stava ‘sul ‘mul se'duta a kavaltfoni Ancora a lei: Stava sul mulo seduta oa cavalcioni? Again I come to you: Washe on the mule, astride or side-saddle? (Let mo ask you again: was he riding the mule astride or side-saddle’ ‘TRABUCO (growing impatient) ‘ke ‘nnoja Che noja! What en —_ annoyance! STUDENT ‘onde veniva ‘Onde voniva? From where did he come from? TRABUCO (rising) ‘so ke andro ‘presto 2 tardi ‘im —_paratdizo So che andro presto o —tardi in —_paradiso. Tknow that Tl go sooner or later to paradise. STUDENT perke Perch? Why? ‘TRABUCO ‘ella il purgatorjo mi ‘fa Ella il purgetorio mi fa You the purgatory make me _suffer... (Because you make me suffer the annoyance of purgatory itself!) . La Forza Del Destino, Act II 423 STUDENT ‘or dove wa Or dove va? Now where are you going? ‘TRABUCO ‘inistakla =a dormir ‘kolle ‘mie ‘mule ‘ke ‘non ‘san ‘di latino Inistalla a dormir colle mie mule che non san dilatino, To the stable to sleep with my mules who don't know of Latin, ‘ne ‘sono batstfe'l nd sono baccelli nor are Bachelors of Arts. (He takes his saddle and leaves, somewhat annoyed.) PREZIOSILLA, ALCADE. STUDENT. GIRLS, MULETEERS, PEASANTS haha fud:dgito Ah! ah! a fuggito! Ha! he! he hes fled! STUDENT poike imberbe e-—_tinykonpito Poichd imberbe 8 —_ incognito, Since beardless is__the unknown one, (Since this person whom nobody seems to know is beardless,) fattfamsi ‘kol ‘nero ‘due baifetti doman ‘ne ride'remo Facciamgli col nero due baffotti,” doman ne rideremo. aint on him with lamp-black a mustache, tomorrow _ welll laugh about it. (Let's paint a mustache on him with lamp-black. Tomorrow welll laugh about it.) SOME VOICES proted:dger —‘debsbo i vjad:dgator — mo'p:pongo Protegger dobbo i __—_viaggiator; _m'oppongo. Protect Imust the travellers; I'm against it. ‘meio farebsbe ‘dime ‘donde ‘venga ‘Meglio farebbe dime donde venga, It would be better for you to tell us whence you come, SDue baffotti is really only one (and not two) mustache. This is the type of mustache that has two halves, separated by a space under the nose. ‘This matter of mustache-description has come up before in this series under Puccini's "La Rondine", where the same two-halved hair growth mado its appearance. 424 La Forza Del Destino, Act II ‘ove ‘Wada © Ki ella sia ove vada e chi ella sia. where you're going and who you maybe. STUDENT ‘lo 'vwol sa'per ‘ek:ko listorja ‘mia Lo vuol saper? Ecco Tistoria mia. Do you want to know? ‘Here's the story mine. ‘son pereda ‘son donore batafe'tjere ‘mi ‘fe salamanka Son Pereda, son dionore, _baccelliere mi fe Salamanca Tm Pereda, I'm (My neme is Pereda, I am rich in honors; I received my Bachelor of Arts degree from the University of Salamanca.) sara 'ppresto ‘in utrokwe —dottore Sard Presto in utroque _ dottore, Ishall be soon a full fledged doctor, ‘ke ‘di__—‘studjo ankor 'poko ‘mi 'manka che di studio ancor poco mi manca. for of study yet little I'm lacking. (for I'm lacking very little to complete my studies.) ‘di ‘la “vargas ‘mi tolse ‘da unan:no Di «a Vargas mitolse da un anno, From there Vargas tookme a year ago, e a ‘kon ‘se ‘mi gwido e a __ Siviglia con sd _—_ mi guida. and to Seville with him — brought me. ‘non tratttenme —_pe'reda atkun ‘dan:no Non trattenne —Pereda algun danno, Not held back —_Pereda any harm, (The harm that his departure might cause Perede's studies would not hold him back.) ‘per la'miko. ‘suo ‘kore parlo per T'amico ilsuo core parla. for his friend his heart spoke out. ‘della ‘swora unamante —_stra'njero kola trutfidato Della suora un amante stranioro cola il trucidato, Of the sister a lover foreign there his father had murdered, (His sister's foreign lover had murdered his father there,) edil 'fixko ‘da ‘pro kava'ljero ‘la ven‘detita ‘ne a'vea dgu'rato ed il figlio da pro! cavaliero la vendetta ne avea giurato... and the son, like the brave knight he is, vengeance he had over it sworn... (and the son, like the brave knight he is, had sworn vengeance over it...) in honors, a Bachelor of Arts I was made by Salamanca. NS Ainse'gwim:mo Glinseguimmo We followed them ‘ne ‘Ta ‘koppja nd la coppi not _ the pair La Forza Del Destino, Act It 425 ‘kaditfe ‘in iva di Cadico in riva, to the Cadiz coast, fatal ‘sitrovo fatal si trovo. guilty was found. (We followed them to the coast by Cadiz but the guilty couple was not found.) ‘per lamiko pe'reda sof:friva Per Yamico Pereda soffriva, For hisfriend — Pereda suffered, ‘ke ‘il'suo ‘kor ~—_pe'res:so parlo cha ilsuo cor peresso _parld. and his heart forhim spoke out. la dovunkwe = natrrar ‘ke el pari Lae — dovunque—narrér che del pari There and everywhere they told that together ‘la sedotita ‘kol ‘vekikjo peria la sedotta col vecchio _peria, the seduced girl withthe oldman _had perished. (It was said everywhere that the seduced girl had died together with her father,) ‘ke a ‘una ‘ddzuf:fa ‘ua ‘servi e sikari cho a una zuffa tra servi e sicari that from a scuffle between servants. and_—_ assassins ‘solo il ‘vil sedutstore sfwd:dsia solo il vil seduttore —_sfuggia. only the vile seducer —_—_escaped. ‘io ‘mi stak:kava lo mi staccava; I soparated myself; lasisa’sisino—d3uro. Tessassino — giurd. He tofollow the murderer swore. ‘verso: amerika a ‘mare = solkava Verso America il_~—mare__solcava, Towards America the sea_he ploughed, e pe'reda a ‘swoi ‘studi torna © Pereda soi studi toma. and Pereda to his studies returned. (He set sail for America and I returned to my studies.) 426 La Forza Del Destino, Act I GIRLS, MULETEERS, PEASANTS ‘trutfe 'storja pereda narrava —dgene'rozo_—il'suo “kore most Truce storia Peroda narrava! —generoso.il'suo core mostro! Grim story Pereda told! generous his heart he showed! (Pereda told a grim story, but he showed what a gonerous heart he had!) ALCADE ‘sta ‘bene Sta bone. All right. PREZIOSILLA uttfiso ‘fu ‘kwel markeze Ucciso fa quel Marchese? Killed was that Marquis? (So that Marquis was killed?) STUDENT ebiben Ebben? Well then? PREZIOSILLA lasisa'sisino rapia ‘sua fikka Lassassino rapia sua figlia? The murderer abducted his daughter? STUDENT ‘si Si. Yes. PREZIOSILLA e ‘voi lamiko ‘fido korteze E voi_T'amico fido, cortese, And you thefriend faithful, —kind, andaste a ‘kaditfe e ‘pia a si'vikka andasto a —Cadice e pra a Siviglia? ‘went to Cadiz and first to Seville? (And you, the faithful and kind friend went with him to Seville first and then to Cadiz?) a ‘ma ‘pnafife ame ‘non'se ‘la ‘fa tra. ‘a ‘ja ‘Ab! ma_— gnaffo,* amenonselafa, Tra la lal ‘Ah! but by my faith! noone foolsme, Tra la la! °Gnaffe is a contraction and vulgarization of mia fé, which was an interjection meaning "by my faith’. It can also be “upon my word’, by golly!" or any such expression with the same intent. T hasten to add that gnaffe is a somewhat dated interjection. La Forza Del Destino, Act II 427 ALCADE (rising, looking at the clock) fi AAwoli & ‘tardi poike jam, tfe'nato Figluoli, 8 —tardi. Poichd ebbiam ——_conato Mysons, its late, Since wehave eaten dinner ‘si'tendan —‘grattsje a ‘dio e partjam rendan raz a Dio © _ partiam, lot us give thanks to God and let us leave. PREZIOSILLA, then STUDENT, then GIRLS, MULETEERS, PEASANTS partjam Partiam. Let us leave. STUDENT, then GIRLS, MULETEERS, PEASANTS, PREZIOSILLA ‘bwona ‘notte Buona notte. Good night. GIRLS, MULETEERS, PEASANTS olla © ora ‘di pozar_alldegri © mulatjer Hola! & Tora di posar. Allogri, o ——mulattior! Ho there! i's. time to rest. Behappy, oh —_muletoors! STUDENT Son Poreda, ricco d’onore, etc ALCADE ‘sta ‘ben ‘si ‘sta bene Staben, si, sta bone. Allright, yes, all right. PREZIOSILLA Ma gnaffo, a me non se la fa... etc. STUDENT Buona notte. PREZIOSILLA Buona notte. ALL andjam Andiam. Let's go. (They all leave.) 428 La Forza Del Destino, Act I Scene Two Outside the Monastery of "Madonna degli Angeli" in the environs of Hoachuelos {fn a small level clearing on the slope of a steep mountain a door to the monastery is seen. In the middle of it is a small grille, with a bell next to it. In the background the mountains of the Village of Hornachuelos can be seen. The church door is closed but lights can be seen through a window. To one side is a stone cross, worn by time. A bright moonlight illuminates the scene. Leonora enters, exhausted after her climb. She is dressed as a man, in awide-sleeved cloak, broad-brimmed hat and riding boots.) LEONORA ‘son ‘dsunta ‘gratisje siddio Son giunta! grazie, 0 Di Tve arrived! thanks be to you oh God! estremo ——avzil_-kweste ‘per ‘son ‘dsunta Estremo —asil quest’ per i The last refuge this is for io emo ‘la mia orrrenda ‘nota ‘in kweltlalbergo To —_tremo! Ja mia orrenda nota in quell'elborgo, I my — horrid known in thet inn, e ‘mio fratel e mio fratel and my _ brother ‘se skoperta. ©=—smavesse ~—tfelo ‘ei Se scoperta —mlavessel... Cielo! Ei If Heaven! He (if he had discovered me! Heaven! He said) ‘naviga versok:kazo ‘don al'varo nan vers'occaso Don Alvaro! issailing towards the West Don Alvaro! (that Alvaro is sailing westwards!) ‘io ‘ne ‘mort ‘kad:de ‘kwella ‘notte Na morto cadde quella notte i io, Not dead fell he that night i L jo del ‘sangwe ‘ai intriza io del sangue di intrisa, I withthe blood of soaked, ‘lo se’gwito e — ‘ilperdei edo ‘mi taffa Tho seguito © ilperdei! Ed or mi lascia, 1 followed him and losthim! And now _he leaves me, (He did not fall dead thet night in which I, soaked in my father's blood followed him and then lost him. And now he leaves me,) La Forza Del Destino, Act I 429 ‘mi ‘fud:dse a oime ‘non ‘eg:go a tantambalfa. Mi fuggo! ah! obim, non rego a tantambascia! He floes from me! ah! —_ als, I cannot stand such anguish! (She falls on her knees.) ‘madre pjetoza ‘verdsine perdona-—‘al mio pekkato Madre, pictosa Vergine, perdona —_—al mio peccato. Mother, _pitying Virgin, pardon my sin. maita kwelliqjgrato ‘dal ‘kore a kantfel:tar Maita quell'ingrato dal core a _cancellar. Help me _ that ingrate from my heart to erase. ‘in "kweste espie'ro lerrore In queste espierd Yorrore. In this Iwill expiate my error ‘de ‘nom mab:bando'nar deh _ non m'abbandoner. please don't abandon me. pieta ‘di ‘me Pista di me, Mercy on me, (The organ accompanies the morning chant of the monks.) CHORUS OF MONKS (from within) venite adsremus ‘et_—protfetdamus ‘ante ‘deum LATIN: Venite adoremus et __—procedamus ante Deum Come, let us adore and proceed —_—before God ploremus —“koram ‘domino ‘kwi“fetfit ‘nos ploremus —_coram Domino — qui_fecit nos. let us weep in the presence of the Lord © who mede us. LEONORA (rising) a ‘kwe — sublimi. ‘kantitfi dellorgano i kon'tfenti Ah! que’ sublimi dell'organo i concenti, Ah! thet sublime chant the organ's harmonies, ‘ke ‘kome intfenso a'ffendono a ‘ddio ‘sui firmamenti che come incenso ascendono a ‘Dio sui_firmamenti, that as incense — ascend to God in the firmaments, inspirano aS “kwestalma fede komforts. «=e = kalma inspirano a quest'alma fede, conforto e —_calma! inspiring to this soul -—faith, comfort and calm! ‘al ‘santo a’zilo akckorrasi Al santo asilo accorrasi.. To the holy refuge let me hasten... (She starts to go.) 430 La Forza Del Destino, Act I © lovero a kwestora E Yosore a quest'ora? And shall dareit at this hour? (Stopping.) alkum Ppotria sorprendermi 2 ‘mizera leonora Alcun potria sorprendermi! Oh, misora Leonora, Someone could surprise me! Oh, wretched Leonora, ‘wemi a ‘pio ‘frate akkofKerti ‘no. ‘non rikuze'ra Tremi? D pio rate accoglierti no, _non ricusera. Do you tremble? The pious monk receive you no, _he won't refuse. (Are you trembling? No, the pious monk won't refuse to receive you.) ‘nom ‘mi la'ffar sokkorrimi pjeta _sipnor Non milasciar, _—soccorrimi, _piet, Signor! Don'tleave me, helpme, mercy, Lord! ‘de ‘nom mabibandonarpjeta ‘ddi_ ‘me sippor Deh! non miabbandoner, pita di me, Signo Please! don't abandon me, mercy on me, Lord... CHORUS OF MONKS (from within) Ploremus coram Domino, qui fecit nos. (Leonora rings the monastery bell and the small window opens and a light shines outward, illuminating Leonora, who steps back, frightened. Fra Melitone speaks to her from within.) MELITONE ki ‘sjete Chi siote? Who are you? LEONORA ‘kjedo ‘il supe'rjore Chiedo il Superiore. Tmaskingtosee the Superior. MELITONE ‘sapre ‘alle tfinkwe ‘la ‘kjeza ‘se ‘al dzubileo vernite S'apre alle cinquo Ja chiesa seal sgiubiloo venite, Ttopens _at five the church iftothe celebration you come. (if you're coming to the celebration, the church opens at five o'clock.) LEONORA ‘il superjore = ‘per_—karita Superiore, per —_carita. The Superior, for _ charity's sake! La Forza Del Destino, Act I 431 MELITONE ‘ke karita a kwestora Che carita &@ —— quest’ora! What charity at this hour! LEONORA. ‘mi'manda—il'padre_ = ‘kleto Mimanda ilpadre —Cleto. Tm sent by Father Cleto. MELITONE ‘kwel santwomo il, motivo Quel sent'uomo? I motivo? That holy man? The reason? LEONORA urdgente Urgente. Urgent. MELITONE perke ‘mmai Porch’ mai? How so? LEONORA, unimfelitfe Uniinfelice... An unfortunate... MELITONE ‘brutta ‘solfa pero ‘vapro onderityjate Brutta solfal” perd vapro ond'entriate. Same old song! however _—I'lopen_so that you can come in. LEONORA ‘nom ‘pos'so ‘Non posso, I can't. MELITONE skomunikato 'sjete ‘ke ‘strano ‘fia aspettar scomunicato sioto? Che strano fia _aspottar ere you excomunicated? How strange to wait *Solfa is a combination of the two notes, sol and fa. It is used to mean a thing that is always repeatedly monotonous, "the same old tune", "the same sad song", "to harp on the same string’, "same old story’, etc. 432 La Forza Del Destino, Act I vannunt{o © ‘se ‘non tomo ‘bwona ‘notte V'annuncio... e se non tomo, buona notte... TMlannounce you... and if I don't return, good night. (Ho closes the window.) LEONORA ‘ma ‘sei_—mirespindsesse fama pjetozo ‘i ditfe Ma sei mirespingesso! © fama pictoso il dice... But ifhe should reject me! reputation merciful _says of him... (But what if he rejects me! It is said that he is merciful...) ‘ei ‘mi proted:dse'ra ‘verdgin ma‘ssisti Ei mi protoggera. Vergin, assis He will protect me. Virgin, help me. (Padre Guardiano and Melitone come out of the church.) GUARDIANO ‘ki mi tferea Chi mi cere: Who is looking for me? LEONORA GUARDIANO an‘date melitone Andate, _—-Molitone. Go, Melitone. MELITONE (leaving) ‘sempre segreti © ‘kwesti ‘santi ‘soli ‘an ‘da sa'perli (Sempre _sogroti! © questi santi soli han da saperli! (Always secrets! and these holy men alone must know them! ‘noi ‘sjamo.‘tanti ‘kavoli Noi siamo tanti cavoli...) We are somany —cabbages...) GUARDIANO fratello Fratello, Brother, MELITONE ibe Oibat Oh dear! La Forza Del Destino, Act I mormorate mormorate? are you muttering? ‘diko ke —_pe'zante dico ch’ _pesante Isaid that is heavy 433 la fpota © = fa_—rutmore la porta. @ = fa._—rumore. the door and makes noise. (Oh dear! I said that the door is heavy and that it is noisy...) GUARDIANO ob:be'dite Obbedi Obey! MELITONE, ‘ke (Che (Whet a ‘won ‘da supe'rore tuon da Superiore!) tone of Superior!) (Molitone re-enters the monastery and shuts the door.) GUARDIANO ‘soli soli. sonio son io. am I. GUARDIANO ‘una ‘donna a kwestora ‘gran ‘ddio Una donna 4 — questora! «Gran Dio! A women at this hour! Great God! LEONORA. imfelitfe deluza rejetta ‘dalla ‘terra edal ‘fel male'dets Infelice, _—delusa, rojetta, dalla terra odal ciel maledetta, Unhappy, deceived, rejected, by earth andbyheaven —_— accursed, ‘ke ‘nel pjanto_prostratavi ‘al pjede cho nel _pianto prostratavi al piode who in tears throws herself at your fost ‘di sottrarla—allinjfemo ‘vi kjede di sottrarla —all'infeno vi chiede. to rescue hor from hell__begs you. + (fm an unhappy, deceived and rejected women, accursed by heaven and earth, who now in toars throws herself at your feot and implores you to rescue her from hell.) 434 La Forza Del Destino, Act I GUARDIANO ‘kome ‘um —'povero ‘frate To pwo Come un —_povero frate lo pud? How a poor monk can do that? (How can I, a poor monk, do that?) LEONORA ‘padre ‘kKleto ‘un ‘suo ‘foKKo._vinjvjo Padre Cleto un suo _foglio vinvid? Father Cleto one his note sent you? (Did Father Cleto send you a note?) GUARDIANO ‘ei 'vi'manda Ei vimanda? He sends you? LEONORA ‘si si. Yes. GUARDIANO (surprised) ‘dunkwe ‘voi ‘sjete leonora ‘di ‘vargas Dunque —-voi_ siete Leonora di_—‘Vargas? Then you are Leonora di Vargas? LEONORA fremete Frometo! ‘You shudder! GUARDIANO ‘no —venite fidente ‘alla ‘krotfe No... venite fidente alla Croce, No... come, trusting, to the Cross, la ‘del tfelo vispici ‘la votfe la del_— cielo vispi la voce. there of Heaven _—mayit inspire you the —_voice. (Come trustingly to the Cross and may the voice of Heaven inspire you there.) (Leonora kneels before the Cross, kisses it and then returns to Guardiano less agitated.) LEONORA. ‘piu traykwikla —‘lalma ‘sents dake 'premo ‘kwesta ‘terra Pid tranquilla_‘'alma sonto dacchd promo questa terra: More peaceful © mysoul _—‘I feel _sinco T tread this ground; La Forza Del Destino, Act II 435 ‘de fantazmi ‘Io spa'vento —_‘pju nom 'provo. “farmi ‘gwerra De’ —fantasmi Jo spavento _piii non provo farmi guerra... Ofthe phantoms the fright no longer I feel making on me war..? ((no longer feel the fright of phantoms making war on my soul...) ‘pju non ‘sordge sangwinante ‘di ‘mio ‘padre ‘lombra inmante Pinon —_sorgo sanguinante di mio padre Yombra _innante; No longer _rises bleeding of my father the shade in front of me; (My father’s bloody ghost no longer rises before me.) ‘ne terribile laskolto ‘la ‘sua ‘fikka maledir Na terribile —ascolto ~—la sua figlia maledir. Nor terribly Thearhim his daughter (Nor do I hear him terribly cursing his daughter.) GUARDIANO ‘sempre indarms ‘kwi ri'valto ‘fu ‘di ‘satana lardir Sempre indamo —qui rivolto fu di_—‘Satana Yardir. Always in vain turned against here was of Satan the daring. (Satan's daring has always been powerless in this place.) LEONORA pertfo ‘tomba ‘kwide'zio Percid tomba qui desio ‘That's why a tomb here I wish ‘fra ‘le ‘rupi ovaltra ‘visise fra lo rupi ovialtra visse. among the rocks where another woman _lived. GUARDIANO ‘ke sapete Chet, Pan What!... you know (about her)?... LEONORA ‘kleto ‘disse Cleto il disse. Cleto told me. GUARDIANO e volete E volete? And you wish to...? “Guerra means *wa:". Howover, as explained elsewhere in this series, in Italian poetic language, the use of the expression fare guerra implies "the war waged on one's spirit or soul by the vicissitudes of life’. 436 La Forza Del Destino, Act I itludere ‘dal delirjo ‘dum momento illudere dal delirio d'un momento! Woe to him who lets himself be misled by the delirium of a moment! ‘pu fatal ‘per ‘voi ‘si_~—“dgovane dgundge'rebibe ‘il —_pentitmento Pit fatal per voi si giovane ~—giungerebbe il _pentimento... More fatal for you, so young would prove the regret... (Regret would prove fatal for one so young as you...) LEONORA Ah, tranquilla l'alma sonto, otc. GUARDIANO Guai per chi si lascia illudere, otc. ‘ki 'pwo ‘led:dger ‘nel futuro kim:mutabil ‘farvi ‘il kore Chi pud logger nel futuro, chi immutabil farvi il core? Who can read the future, who immutable can make your heart? e la'mante E Tamante? And your lover? LEONORA imvolontarjo mutitfize il dgenitor Involontario miuccise —il__—_genitor. Involuntarily he killed my — father. GUARDIANO e a fratel:lo E il fratello? And your brother? LEONORA ‘la ‘mia ‘morte ‘di ‘sua ‘mano ‘effi dgutro La mia morto di sua mano ogli_giurd. My death by his hand he swore. GUARDIANO ‘mekko a ‘voi ‘le ‘ante ‘porte ‘skjuda ‘un ‘kjostro Meglio a voi le santo porte schiuda © un _chiostro. Better to you the holy doors opened @ convent. (It would be better if a convent opened its holy doors to you.)