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TENOR

Antholo~y of

Edited by Paolo Toscano

This edition is not authorized for sale in the EU or other European countries.

Assistant Editor: J. Mark Baker

Cover: II bacio (The Kiss), 1859, Francesco Hayez

ISBN 0-634-04388-9

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CONTENTS

6 Aria Plots and Translations

AIDA Giuseppe Verdi


28 Celeste Aida
ALCINA George Frideric Handel
23 E un folle, e un vile affetto

ANDREA CHENIER Umberto Giordano


34 Come un bel di di maggio

L'ARLESIANA Francesco Cilea


38 E la solita storia

UN BALLO IN MASCHERA Giuseppe Verdi


42 Di'to se fedele
48 Ma se m'e forza perderti

IL BARBIERE DI SIVIGLIA Gioachino Rossini


54 Ecco ridente in cielo
60 Se it mio nome saper bramate (Serenata)

LA BOHEME Giacomo Puccini


63 Che gelida marina

I CAPULETI E I MONTECCHI Vincenzo Bellini


~ 68 E serbata a questo acciaro

CAVALLERIA RUSTICANA Pietro Mascagni


77 O Lola, bianca come fior di spino

LA CENERENTOLA Gioachino Rossini


80 Si, ritrovarla io giuro

LA CLEMENZA DI TITO Wolfgang Amadeus Mozart


92 Del piu sublime soglio

COSI FAN TUTTE Wolfgang Amadeus Mozart


96 Un'aura amorosa

DON GIOVANNI Wolfgang Amadeus Mozart


100 Il mio tesoro

DON PASQUALE Gaetano Donizetti


108 Come gentil

L'ELISIR D'AMORE Gaetano Donizetti


118 Una furtiva lagrima

LA FANCIULLA DEL WEST Giacomo Puccini


122 Ch'ella mi creda

LA FAVORITA Gaetano Donizetti


113 Spirto gentil
LA FINTA GIARDINIERA Wolfgang Amadeus Mozart
124 Che belts, the leggiadria

LA FORZA DEL DESTINO Giuseppe Verdi


132 O to the in seno agli angeli

GIANNI SCHICCHI Giacomo Puccini


~- 138 Avete torto!

L'INCORONAZIONE DI POPPEA Claudio Monteverdi


129 Sento un certo non so the

IRIS Pietro Mascagni


144 Apri la tua finestra

LUCIA DI LAMMERMOOR Gaetano Donizetti


~- 147 Fra poco a me ricovero

LUISA MILLER Giuseppe Verdi


154 Quando le sere al placido

MADAMA BUTTERFLY Giacomo Puccini


164 Addio,fiorito asil

MANON LESCAUT Giacomo Puccini


161 Donna non vidi mai

MEFISTOFELE Arrigo Boito


166 Dai campi, dai prati

PAGLIACCI Ruggero Leoncavallo


168 Vesti la giubba

IL PIRATA Vincenzo Bellini


~ 171 Tu vedrai la sventurata

RIGOLETTO Giuseppe Verdi


~- 178 Parmi veder le lagrime
192 La donna e mobile

TOSCA Giacomo Puccini


196 Recondita armonia
199 E lucevan le stelle

LA TRAVIATA Giuseppe Verdi


202 Dei miei bollenti spiriti

IL TROVATORE Giuseppe Verdi


208 Deserto sulla terra

TURANDOT Giacomo Puccini


210 Nessun dorms
INDEX

Vincenzo Bellini Giacomo Puccini


68 E serbata a questo acciaro 164 Addio,fiorito asil(Madams Butterfly)
(I Capuleti e i Montecchi) 138 Avete torto!(Gianni Schicchi)
171 Tu vedrai la sventurata (Il pinata) 63 Che gelida marina (La boheme)
122 Ch'ella mi creda (Lafanciulla del West)
Amigo Boito 161 Donna non vidi mai(Manor Lescaut)
166 Dai campi, dai prati (Mefistofele) 199 E lucevan le stelle (Tosca)
210 Nessun dorms(Turandot)
Francesco Cilea 196 Recondita armonia (Tosca)
38 E la solita storia (L'Arlesiana)
Gioachino Rossini
Gaetano Donizetti 54 Ecco ridente in cielo (Il barbiere di Siviglia)
108 Come gentil(Don Pasquale) 60 Se it mio nome saper bramate (Serenata)
147 Fra poco a me ricovero (Il barbiere di Siviglia)
(Lucia di Lammermoor) 80 Si, ritrovarla io giuro (La Cenerentola)
113 Spirto gentil(Lafavorita)
118 Una furtiva lagrima (L'elisir d'amore) Giuseppe Verdi
28 Celeste Aida (Aida)
Umberto Giordano 202 Dei miei bollenti spiriti(La traviata)
34 Come un bel di di maggio(Andrea Chenier) 208 Deserto sulla terra (Il trovatore)
42 Di tu' se fedele(Un hallo in maschera)
George Frideric Handel 192 La donna e mobile (Kigoletto)
23 E un folle, e un vile affetto (Alcina) 48 Ma se m'e forza perderti
(Un hallo in maschera)
Ruggero Leoncavallo 132 O to the in seno agli angeli
168 Vesti la giubba (Pagliacci) (Laforza del destino)
178 Parmi veder le lagrime (Rigoletto)
Pietro Mascagni 154 Quando le sere al placido (Luisa Miller)
144 Apri la tua finestra (Iris)
77 O Lola,Bianca come fior di spino
(Cavalleria rusticana)

Claudio Monteverdi
129 Sento un certo non so the
(L'incoronazione di Poppea)

Wolfgang Amadeus Mozart


124 Che belts, the leggiadria (Lafinta giardiniera)
92 Del piu sublime soglio (La clemenza di Tito)
100 Il mio tesoro(Don Giovanni)
96 Un'aura amoroso (Cosifan tutte)
Aria Plots and Translations
AIDA
Music: Giuseppe Verdi. Libretto: Antonio Ghislanzoni, after the French prose of Camille du Locle; plot by August Mariette.
First performance: Opera House,Cairo,24 December 1871 (not for the opening of the Suez Canal,as sometimes said). Setting:
Memphis,Egypt; ancient times;a hall in the king's palace.

Celeste Aida
from Act I
Dramatic context: The priests of Isis are offering sacrifices to learn from the goddess whom she will choose to lead the
Egyptian army against the invading Ethiopian forces. Radames,captain of the Egyptian guard,hopes that he will be chosen.
Imagining a victorious return, he believes he will then be able to receive permission to marry Aida,an Ethiopian slave girl
who belongs to Amneris,the daughter of the Egyptian king.

Se quel guerrier If that warrior


io fossil se it mio sogno were I! if my dream
si avverasse! Un esercito di prodi were to come true! An army of valiant men
da me guidato... e la vittoria... e it plauso led by me... and the victory... and the acclaim
di Menfi tutta! E a te, mia dolce Aida, ofall Memphis! And to you, my sweet Aida,
tornar di lauri cinto... return with laurel crowned...
dirti: per to ho pugnato, per to ho vinto! to say to you:for you I havefought,for you I have won!

Celeste Aida,forma divina, Heavenly Aida, presence divine,


mistico serto di lute e fior; mystic garland bright and blooming;
del mio pensiero to sei regina, ofmy thoughts you are queen,
to di mia vita sei to splendor. you of my life are the splendor.
Il tuo bel cielo vorrei ridarti, Your beautiful skies I would restore to you,
le dolci brezze del patrio suol; the sweet breezes ofyour native soil;
un regal serto sul crin posarti, a royal crown upon your brow 1 would pose,
ergerti un trono vicino al sol. build you a throne beside the sun.

ALCINA
Music: George Frideric Handel. Libretto: Anonymous,adapted from Antonio Fanzaglia's libretto L'Isola della Alcina, after
Ludovico Ariosto's epic poem Orlando Furioso. First performance:Covent Garden, London,l6 Apri11735. Setting: Alcina's
enchanted island.

un folle, e un vile affetto


from Act II
Dramatic context: Alcina's servant Oronte is in love with Morgana,Alcina's sister. Morgana,however,has fallen in love with
Ricciardo (actually Bradamante, a woman posing as a man to rescue her fiance Ruggiero from the clutches of the sorceress
Alcina). Once again rebuffed by Morgana,Oronte vows to steel his heart against her charms.

$ un folle,e un vile affetto, It is madness, it is a base emotion,


non e la sus belts, not her beauty,
the trionfar la fa that triumphant makes her
superba del mio tor. immodest of my heart.

Vieni sul labbro e al Giglio, Come to my lip and brow


sdegno,the nutro in petto, indignation, which 1 nurture in my breast,
figlio d'offeso amor. born of offended love.

ANDREA CHENIER
Music: Umberto Giordano. Libretto: Luigi Illica, inspired by the life of the French poet Andrea Chenier. First performance:
Teatro alla Scala, Milan,28 March 1896. Setting: Paris, after the French Revolution.

Come un bel di di maggio


from Act N
Dramatic context: The poet Andrea Chenier,falsely accused as acounter-revolutionary, has been sentenced to death. In the
courtyard of St. Lazare Prison he writes a poem as he awaits the cart that will carry him to his execution. His friend Roucher
asks him to read the poem,which describes his feelings as a poet facing death.

Come un bel di di maggio Like a lovely day in May


the con bacio di vento that, with the kiss ofa breeze
e carezza di raggio and caress ofa sunbeam,
si spegne in firmamento, fades in the sky,
col bacio io d'una rima, I, with the kiss ofa rhyme,
carezza di poesia, the caress ofpoetry,
salgo 1'estrema circa climb thefinal heights
dell'esistenza mia. of my existence.

La sfera the cammina The cyclic course


per ogni umana sorte ofall human destiny
ecco gia mi awicina now already draws me
all'ora della morte, near the hour of death,
e forse pria the 1'ultima and perhaps before my last
mia strofa sia finita, verse is done,
m'annunciera it carnefice it will bring my executioner,
la fine Bella vita. the end oflife.

Sia! Strofe, ultima Dea! So be it! Verse, supreme Goddess!


ancor Bona al tuo poeta once more grant your poet
la sfolgorante idea, the brilliant thought,
la fiamma consueta; the accustomedflame;
io,a te, mentre to vivida Ito you,as you vividly
a me sgorghi dal cuore, rushforthfrom my heart,
darn per rima it gelido Spiro will return in rhyme the chilled
d'un uom the muore. breath ofa man about to die.

L'ARLESIANA
(The Girl from Arles)

Music: Francesco Cilea. Libretto: Leopoldo Marenco,based on the play L'Arlesienne by Alphonse Daudet. First performance:
Teatro Lirico, Milan,27 November 1897. Setting: Provence,nineteenth century.

E la solita storia
from Act II
Dramatic context: Federico is in love with a girl from Arles, but his mother Rosa Mamai and her godchild Vivetta, who loves
him,show Federico letters proving the girl has been the mistress of Metifio, the stablehand. Though Federico consents to
marry Vivetta, his passion and pain are very much alive.

$ la solita storia del pastore It is the usual story ofa shepherd...


ii povero ragazzo The poor lad
voleva raccontarla, e s'addormi. wanted to tell the tale, and hefell asleep.
C'e nel sonno 1'oblio. Come 1'invidio! There is oblivion in sleep. How I envy him!
Anch'io vorrei dormir cosi; I too would like to sleep so;
nel sonno almen 1'oblio trovar! in sleep at least oblivion tofind!
La pace Sol cercando io vo'! Peace alone I seek!
Vorrei poter tutto scordar! I wish that I couldforget it all!
Pur ogni sforzo e vano... davanti Yet every effort is in vain... before me
ho sempre di lei it dolce sembiante! I have always her sweet image!
La pace tolta e sempre a me! Peace is takenforeverfrom me!
Perche degg'io tanto penar?... Why must I suffer so?...
Lei, sempre lei dinanzi a me! Fatale Her, always her before me!Inescapable
vision, mi lascia! Mi fai tanto male! vision, leave me! You hurt me so!
Ahime! Alas!

UN BALLO IN MASCHERA
(A Masked Ball)

Music: Giuseppe Verdi. Libretto: Antonio Somma,after Eugene Scribe's libretto for Daniel-Francois-Esprit Auber's opera
Gustave III, ou Le Bal Masque,based on the assasination of Gustave III of Sweden at a masked ball in 1792. First performance:
Teatro Apollo, Rome,17 February 1859. Setting: The opera was originally planned to follow the Gustave III setting in late
eighteenth century Sweden,but because of censorship the king was changed to a governor in Boston.
Di' to se fedele
from Act I, scene 2
Dramatic context: Riccardo,the governor of Boston, has disguised himself as a fisherman. In the but of the old fortune-teller
Ulrica, he waits his turn to test her powers of divination,singing a barcarolle in which he declares that nothing can hold him
from the sea or from the woman he loves.
Di to se fedele Tell me iffaithful
it Hutto m'aspetta, the sea awaits me,
se molle di pianto if, weakened by tears,
la donna diletta my beloved lady,
dicendomi addio, in sayingfarewell,
tradi 1'amor mio. betrayed my love.

Con lacere vele With tattered sails


e Palma in tempesta, and soul in storm,
i solchi so franger the crest I can break
dell'onda funesta, of the deadly wave,
1'averno ed it cielo hell and heaven
irati sfidar. irate I can defy.

Sollecita esplora, Urgently explore,


divina gli eventi: predict thefuture;
non possono i fulmin, neither lightning,
la rabbia de' venti, fury of the winds,
la morte,l'amore death, nor love
sviarmi dal mar. turn mefrom the sea.

Sull'agile prora On agile prow


the m'agita in grembo, that wrenches my breast,
se scosso mi sveglio ifshaken 1 awake
ai fischi del nembo, to the howling storm,
ripeto fra' tuoni I repeat amid the thunder
le dolci canzoni. the sweet songs.
Le dolci canzoni The sweet songs
del tetto natio, of my native home,
the i baci ricordan which remind me of the kisses
dell'ultimo addio, of my lastfarewell,
e tutte raccendon and rekindle all
le forze del cor. the courage of my heart.
Su dunque,risuoni Onward, then, soundforth
la tua profezia, your prophecy;
di' cio the puo Borger tell what might come
dal fato qual sia; from whatever destiny brings;
nell'anime nostre in our souls
non entra terror. will enter no terror.

Ma se m'e forza perderti


from Act III, scene 2
Dramatic context: Riccardo, musing alone in a room in his house, realizes that his love for Amelia, the wife of his friend and
advisor Renato,is misguided. He decides to send Renato as an envoy to England,accompanied by Amelia,so that his friend
may retain his honor.

Forse la soglia attinse, Perhaps she has reached home,


e posa alfin! L'onore and rests at last! Honor
ed it dower fra i nostri petti han rotto and duty have opened between our hearts
1'abisso. Ah! si, Renato an abyss. Ah! yes, Renato
rivedra 1'Inghilterra... e la sua sposa will again see England... and his consort
to seguira. Senza un addio,l'immenso willfollow him. Without afarewell, the immense
ocean ne separi... e taccia it core. ocean will divide us... and silence the heart.
Esito ancor? ma,o ciel, non to degg'io? Yet I hesitate? but, O heaven, must I not do so?
Ah,l'ho segnato it sacrifizio mio! Ah,I have signed my own sacrifice!

Ma se m'e forza perderti But ifI must lose you


per sempre,o Luce mia, forever, O light of my life,
a to verra it mio palpito for you my heart will beat
sotto qual ciel to sia, no matter where you may be;
chiusa la tua memoria closed is your memory
nell'intimo del cor. deep within my heart.

Ed or qual reo presagio And now what evilforeboding


to spirito m'assale, assails my spirit,
the it rivederti annunzia that makes seeing you again
quasi un desio fatale, almost an obsessive wish,
come se fosse 1'ultima as if it were the last
ora del nostro amor? hour ofour love?
IL BARBIERE DI SIVIGLIA
(The Barber of Seville)

Music: Gioachino Rossini, originally titled Almaviva, ossia L'inutile precauzione(Almaviva,or The Useless Precaution). Libretto:
Cesare Sterbini, based on Le Barbier de Seville, a play by Pierre-Auguste Caron de Beaumarchais and the libretto for Giovanni
Paisiello's Il barbiere di Siviglia. First performance: Teatro Argentina,Rome,20 February 1816. Setting: Seville, eighteenth
century.

Ecco ridente in cielo


from Act I, scene 1
Dramatic context:In the pre-dawn light of a public square outside the house of Don Bartolo,Count Almaviva serenades the
beautiful Rosina,Bartolo's ward. Disguised as the student "Lindoro," and accompanied by a band of professional musicians,
he sings that Rosina will bring happiness to his life in the same way that the coming dawn drives away the darkness.

Ecco ridente in cielo There,glorious in the heavens,


spunta la Bella aurora, breaks the beautiful dawn;
e to non sorgi ancora and you still do not rise,
e puoi dormir cosi? and you go on sleeping?

Sorgi, mia dolce speme, Arise, my dear hope;


vieni, bell'idol mio, come, my beautiful idol;
rendi men crudo,oh Dio! make less cruel, oh Lord!
to stral the mi feri. the arrow that wounded me!

Tacete! gia veggo Silence! already I see


quel caro sembiante: that dear countenance:
quest'anima amante this lover's soul
ottenne pieta. has obtained compassion.

Oh istante d'amore! Oh, moment oflove!


Felice momento! Happy moment!
Oh dolce contento Oh sweet joy
the equal no,non ha. that has no equal, none..

Se it mio nome saper bramate (Serenata)


from Act I, scene 3
Dramatic context: Disguised as "Lindoro," a poor student, Count Almaviva serenades Rosina,the ward and intended bride of
Dr. Bartolo. He does not want her to know his true identity, hoping to win her love on his own merits, not those of his station.

Se it mio nome saper voi bramate, If my name you wish to know,


dal mio labbro it mio nome ascoltate. from my own lips my name you will hear.

Io son Lindoro I am Lindoro,


the lido v'adoro, who loves you dearly,
the sposa vi bramo, who hopes to marry you,
the a nome vi chiamo who calls your name,
di voi sempre parlando cosi who always speaks of you thus,
dall'aurora al tramonto del di. from dawn to dusk.

L'amoroso e sincero Lindoro The loving and sincere Lindoro


non puo darvi, mia Cara, un tesoro. cannot give you, my dear, a treasure.
Ricco non Sono, Rich I am not,
ma un core vi dono, but I offer you a heart,
un'anima amante a loving soul that,
the fida e constante trustworthy and constant,
per voi Bola sospira cosi for you alone yearns thus
dall'aurora al tramonto del di. from dawn to dusk.

LA BOHEME
(The Bohemian Life)

Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after Henri Murger's novel Scenes de la Vie de Boheme.
First performance: Teatro Regio, Turin,l February 1896. Setting: Paris, c1830.
10

Che gelida manina


from Act I
Dramatic context: It is Christmas Eve in the Latin Quarter. Alone in his sparse, cold garret apartment,Rodolfo tries to finish a
newspaper article while his friends have gone to celebrate. His neighbor Mimi,a seamstress, knocks on the door and asks him
to light her candle. After both their candles go out,they search for Munis lost doorkey. Clasping her hand in the moonlit
room,Rodolfo introduces himself.

Che gelida marina! YVhat afrozen little hand!


Se la lasci riscaldar. Let me warm itfor you.
Cercar the giova? Al buffo non si trova. What good to search? In the dark it cannot befound.
Ma per fortuna e una notte di luna, But thank heaven it is a moonlit night,
e qui la luna 1'abbiamo vicina. and here we have the moon close by.
Aspetti, signorina: Wait, miss:
le dird con due parole I will tell you in afew words
chi son,e the faccio, come vivo. Vuole? who I am,and what I do, how I live. Shall I?
Chi son? Sono un poeta. Who am I? I am a poet.
Che cosa faccio? Scrivo. What do I do? I write.
E come vivo? Vivo. And how do I live? I live.
In poverty mia lieta In my cheerful poverty
scialo da gran signore I squander as a great lord
rime ed iruu d'amore. rhymes and hymns to love.
Per sogni e per chimere For dreams andfantasies
e per castelli in aria and castles in the air
1'anima ho milionaria. my soul is a millionaire.
Talor dal mio forziere Sometimes my treasure chest
ruban tutti i gioielli is robbed ofall its jewels by
due ladri: gli occhi Belli. two thieves: beautiful eyes.
V'entrar con voi pur ora, They entered with you just now,
ed i miei sogni usati, and my usual dreams,
e i bei sogni miei and my beautiful dreams
tosto si dileguar! quickly vanished!
Ma it furto non m'accora, But the theft does not dishearten me,
poiche v'ha preso stanza because their place has been taken by
la dolce Speranza! sweet hope!
Or the mi conoscete, Now that you know me,
parlate voi, deh! Chi siete? speak of yourself, please! YVho are you?
Vi piaccia dir! Would you like to tell me?

CAPULETI E I MONTECCHI
(The Capulets and the Montagues)

Music: Vincenzo Bellini. Libretto: Felice Romani,based on his libretto for Nicola Vaccai's Giulietta e Romeo,in turn based on
Luigi Scevola's tragedy of the same name. First performance: Teatro La Fenice, Venice,11 March 1830. Setting: Verona,
thirteenth century.

E serbata a questo acciaro


from Act I, scene 1
Dramatic context: In a hall in Capulets' palace, Capellio, head of the family, waits with his followers for an emissary's news of
the Montagues, their enemies. Capellio's son was killed in battle by Romeo,the son of Montague. Tebaldo,in love with
Capellio's daughter Giulietta, affirms Capellio's vow to have bloody revenge on the Montagues.

E serbata a questo acciaro This sword is destined


del tuo sangue la vendetta: to seek revengefor your blood:
1'ho giurato per Giulietta: I have sworn sofor Juliet;
tatty Italia, it ciel to sa. all ofItaly, heaven itselfknows this.
Tu d'un nodo a me si caro You, toward a bond I so desire,
solo affretta it dolce istante; only hasten the sweet moment;
ed it voto dell'amante and the promise of her lover
it consorte adempira. will befulfilled by her betrothed.

L'amo tanto, e m'e si Cara, I love her so, and she is so dear to me,
piiz del Sol the mi rischiara; more than the sun that shines;
e riposta, e viva in lei in her resides and thrives
ogni gioia del mio cor. every joy of my heart.
Ma se avesse it mio contento But if to please myself
a costarle un Sol lamento, I were to cause her a single discomfort,
Ah! piuttosto io sceglierei Ah!I would sooner choose
mille giorni di dolor. a thousand days of pain.
11

CAVALLERIA RUSTICANA
(Rustic Chivalry)

Music: Pietro Mascagni. Libretto: Giovanni Targioni-Tozzetti and Guido Menasci, based on a short story by Giovanni Verga.
First performance: Teatro Costanzi, Rome,17 May 1890. Setting: A Sicilian village, on an Easter Day in the nineteenth
century.

O Lola,Bianca come fior di spino


Dramatic context: Turiddu,a young soldier returning from war,sings a serenade to Lola, his beloved. Turridu's Siciliana is
part of the orchestral prelude and is sung from behind the curtain.

O Lola,Bianca come fior di spino, O Lola, white as the thorned blossom,


quando t'affacci to s'affaccia it sole; when you appear, so appears the sun;
chi t'ha baciato it labbro porporino he who has kissed your ruby lips
grazia piu Bella a Dio chieder non vole! no gift more wonderfulfrom God would aspire!
C'e scritto sangue sopra la tua ports; There is written blood over your portal,
ma di restarci a me non me n'importa. but I will remain; if has no importance.
Se per to mojo e vado in paradiso, Iffor you I die and go to paradise,
non c'entro se non vedo it tuo Bel viso. I will not enter there ifI do not see your beautifulface.

LA CENERENTOLA
(ossia, La Bonta in Trionfo)
(Cinderella, or The Triumph of Goodness)

Music: Gioachino Rossini. Libretto: Jacopo Ferretti, after Charles Perrault's Cendrillon and probably both Charles-Guillaume
$tienne's libretto for Niccolo Isouard's Cendrillon and the libretto for Stefano Pavesis Agatina; also after the fairy tale. First
performance: Teatro Valle, Rome,25 January 1817.

Si, ritrovarla io giuro


from Act II,scene 1
Dramatic context: Don Ramiro, prince of Salerno, has traded places with his valet Danduu. While in disguise, Ramiro
encounters Angelina (Cenerentola), and the two fall in love at first sight. Ramiro resolves to find her again and win her as his
bride.

Si, ritrovarla io giuro. Yes,I swear I willfind her.


Amore,amor mi muove: Love, love moves me:
se fosse in grembo a Giove were she hidden by Jove himself
io la ritrovero. I wouldfind her.

Pegno adorato e caro Beloved token, and precious,


the mi lusinghi almeno. you might at least give me hope.
Oh,come al labbro, al seno Oh, how to my lips, my breast,
come ti stringero! how I will embrace you!

Noi voleremo,domanderemo, We willfly, inquire,


ricercheremo,ritroveremo. search, discover.
Dolce speranza,freddo timore Sweet hope, chillingfear,
dentro al mio core stanno a pugnar. within my heart are wrestling.
Amore,amore, m'hai da guidar. Love, love, you must guide me.

LA CLEMENZA DI TITO
(The Clemency of Titus)

Music: Wolfgang Amadeus Mozart. Libretto: Caterino Mazzola, adapted from a libretto by Pietro Metastasio. First
performance: National Theatre,Prague,6 September 1791. Setting: Rome,c80 A.D.

Del piu sublime soglio


from Act I
Dramatic context: Tito, who contemplates marrying his friend Sesto's sister Servilia, promises Sesto a great and powerful
position at his palace. Tito extols the privilege of generosity enjoyed by men of great power.

Del piiz sublime soglio Ofthe highest throne


1'unico frutto e questo: the singlefruit is this:
tutto e tormento it resto, all else is torment,
e tutto e servitu. and all is servitude.
12

Che avrei,se ancor perdessi What would I have, were I also to lose
le sole ore felici the only happy hours
ch'ho nel giovar gli oppressi, I pass in aiding the oppressed,
nel sollevar gli amici, in helpingfriends,
nel dispensar tesori in dispensing wealth
al merto,e alla virtu? to the deserving, and the virtuous?

COSI FAN TUTTE


(ossia La Scuola degli Amanti)
(Women are Like That, or The School for Lovers)

Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte. First performance: Burgtheater, Vienna,26 January 1790.
Setting: Naples,eighteenth century.

Un'aura amorosa
from Act I, scene 12
Dramatic context: Two young Neapolitan soldiers, Ferrando and Guglielmo,have disguised themselves as Albanians in a plot
devised by their friend Don Alfonso: they will test whether or not their girlfriends, the sisters Fiordiligi and Dorabella, are
faithful. Having completed the first exercise in deception,Ferrando addresses his two co-conspirators on the nurturing power
of love.

Un'aura amorosa The loving glow


del nostro tesoro ofour beloved,
un dolce ristoro a sweet restorative
al cor porgera. to the heart will supply.

Al cor the nudrito To the heart nourished


da speme, da amore, by hope, by love,
d'un'esca migliore no greater temptation
bisogno non ha. is needed.

DON GIOVANNI
(Don Juan)

Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte, after Giovanni Bertati's libretto for Giuseppe Gazzaniga's
opera Il convitato di pietra; also based on the Don Juan legends. First performance: National Theatre,Prague,29 October 1787.
Setting: Seville, sixteenth century.

Il mio tesoro
from Act II,scene 2
Dramatic context: Don Ottavio is finally convinced that it was Don Giovanni who killed the Commendatore,the father of his
fiancee Donna Anna. He asserts that he will punish this wrong and bring solace to his beloved.

Il mio tesoro intanto My beloved, meanwhile,


andate a consolar, go to comfort,
e del bel Giglio it pianto andfrom her lovely lash the tears
cercate di asciugar. attempt to dry.

Ditele the i suoi torti Tell her thatfor the wrongs she has suffered
a vendicar io vado; to revenge I am gone;
the sol di stragi e morti that only destruction and death
nunzio vogl'io tornar. will I return proclaiming.

DON PASQUALE
Music: Gaetano Donizetti. Libretto: Donizetti and Giovaruli Ruffini, based on Anellis libretto for Stefano Pavesi's opera Ser
Marcantonio. First performance: Theatre-Italien, Paris,3 January 1843. Setting: Rome,early nineteenth century.
13

Come gentil
from Act III, scene 2
Dramatic context: From Don Pasquale's garden,Ernesto serenades his beloved Norina. He describes the beauty of the moonlit
night and longs for "Nina" to be with him. In the opera, this aria is sung offstage, accompanied by guitars, with a chorus
responding throughout.

Come gentil la notte a mezzo april! How gentle is the night in mid-April!
E azzurro it ciel, la Luna e senza vel: The sky is blue, the moon is clear:
tutt'e languor, pace, mistero, amor. all is calm, peace, mystery, love.
Ben mio,perche ancor non vieni a me? My beloved, why do you not yet come to me?
Formano 1'aure The air gives shape
d'amore accenti, to sounds of love,
del rio nel murmure in the brook as it murmurs
sospiri senti; you can hear sighs oflonging;
ben mio,perche ancor non vieni a me? my beloved, why do you not yet come to me?
Poi quando saro morto, piangerai, Then, when I am dead, you will cry,
ma richiamarmi in vita non potrai. but bring me back to life you cannot.

Il tuo fedel si strugge di desir, Your devoted is consumed with desire;


Nina crudel, mi vuoi veder morir? Nina unmerciful, do you wish to see me die?

L'ELISIR D'AMORE
(The Elixir of Love)

Music: Gaetano Donizetti. Libretto: Felice Romani,after Eugene Scribe's libretto for Daniel-Francois Auber's opera Le Philtre.
First performance: Teatro Bella Canobbiana, Milan,l2 May 1832. Setting: A small Italian village, nineteenth century; the
village square.

Una furtiva lagrima


from Act II, scene 2
Dramatic context: Nemorino,a simple peasant, has fallen in love with Adina,a rich farm owner in the village. He believes that
his instant success with the girls is due to Doctor Dulcamara's elixir (actually Bordeaux wine) which he has just taken. He
doesrit yet know what the girls know: he is about to inherit a large fortune left by his rich uncle. Wandering away from the
village dance, Nemorino can think only of Adina, who seemed upset by his new indifference and by the attention he was
receiving from the village girls.

Una furtiva lagrima A secret tear


negli occhi suoi spunto: sprung to her eyes;
quelle festose giovani she seemed to envy
invidiar sembro. thosefestive maidens.
Che piiz cercando io vo? What more do I seek?
Mama, mama,to vedo. She loves me,she loves me,I see it.

Un solo istante i palpiti Tofeelfor only an instant


del suo bel cor senor! the beating ofher beautiful heart!
I miei sospir confondere To mingle my sighs
per poco a'suoi sospir! briefly with her sighs!
I palpiti senor! Feel the pulse!
confondere i miei co'suoi sospir! Mingle her sighs with mine!
Cielo, si puo morir; Heaven, one can die;
di piu non chiedo. no more do I ask.

LA FANCIULLA DEL WEST


(The Girl of the Golden West)

Music: Giacomo Puccini. Libretto: Carlo Zangarini and Guelfo Civinini, after David Belasco's play. First performance:
Metropolitan Opera,New York,10 December 1910. Setting: California mining camp during the 1849 gold rush.

Ch'ella mi creda
from Act III
Dramatic context: Dick Johnson (actually the bandit Ramerrez)is about to be hanged. With a noose around his neck, he asks
the miners to let his beloved Minnie believe he has escaped. Misuue rides in and begs the miners, who dote on her, to allow the
two of them to leave together. The miners agree, and Minnie and Dick ride off into the sunset.
14

Ch'ella mi creda libero e lontano, She must believe I amfree andfar away,
sopra una nuova via di redenzione! following a new path to redemption!
Aspettera ch'io torni... She will waitfor me to return...
E passeranno i giorni, And the days will pass,
ed io non tornero... and I will not return...

Minnie, della mia vita mio solo fiore, Minnie, who of my life has been my onlyflower,
Minnie, the mhai voluto tanto bene! Minnie, who loved me so much!

LA FAVORITA
(The Favorite)

Music: Gaetano Donizetti. Libretto: Alphonse Royer and Gustave Vaez,after Baculard d'Arnaud's drama Le Comte de
Comminges; additions by Eugene Scribe, based in part on his libretto for Donizetti's L'Ange de Nisida. The opera was originally
sung in French (La Favorite), but performance in Italian has long been standard. First performance: Opera,Paris,2 December
1840. Setting: Compostela,Spain;1340; a courtyard of the monastery of Saint James.

Spirto gentil
from Act IV
Dramatic context: Fernando,a monastic novice turned Spanish army officer, was granted a reward by the king for his bravery
on the battlefield. Unaware that Leonora, who refused to reveal her identity, was the king's mistress, Fernando asked for her
hand in marriage and was granted it. Now discovering the truth,Fernando has disavowed his military honors and returned to
the monastery, where he reminisces about his love for Leonora.

Favorita del re! Qual nero abisso, The king'sfavorite! YVhat black depths,
qual mat trama infernal what infernal plot
la gloria mia awolse in un istante, enveloped my honor in an instant,
e ogni speme tronco del core amante! and severed every hope ofa lover's heart!

Spirto gentil, ne'sogni miei A delicate soul, in my dreams


brillasti un di, ma ti perdei: you once appeared to me, but I lost you:
fuggi dal cor mentita speme, leave my heart, betrayed hope;
larve d'amor,fuggite insieme. ghosts oflove, leave as well.

A to d'accanto del genitore Beside you,of myfather


scordava it pianto,la patria, it ciel. Iforgot his tears, my homeland, my world.
Donna sleal; in tanto amore Dishonest woman;in so much love
segnasti it core d'onta mortal,chime! you marked my heart with a deadly stain, alas!

LA FINTA GIARDINIERA
(The Feigned Gardeness)

Music: Wolfgang Amadeus Mozart. Libretto: Author unknown. First performance: Court Theatre, Munich,l3 January 1775.
Setting: The garden of Don Anchises.

Che belts, the leggiadria


from Act I
Dramatic context: Belfiore arrives in a carriage and as he looks at a portrait of his betrothed, Arminda,he praises her beauty
and radiance.

Che belts,the leggiadria, What beauty, what grace,


the splendore,eterni Dei! what splendor, eternal Gods!
Guardo it sole e guardo lei, Igaze at the sun and Igaze upon her,
e colpito da quei rat and,stricken by those rays,
parmi,oh Dio! di vacillar. I seem, O God! to reel.

LA FORZA DEL DESTINO


(The Force of Destiny)

Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on the Spanish drama Don Alvaro, o La Fuerza del Sino by Angel
de Saavedra,Duke of Rivas. First performance:Imperial Theatre, St. Petersburg,l0 November 1862. Setting: Spain, mid-
eighteenth century.

O to the in seno agli angeli


from Act III, scene 1
Dramatic context: After a long series of misfortunes, Don Alvaro remembers with anguish the violent and cruel events which
have plagued him. He addresses his lament to his beloved Leonora, whom he believes dead.
15

La vita e inferno all'infelice... Invano Life is hellfor an unhappy person... In vain


morte desio!... Siviglial... Leonoral.. do I desire death!... Seville!... Leonoral...
Oh,rimembranzal... Oh,notte Oh, the memories!... Oh, the night
ch'ogni ben mi rapisti!... that robbed me ofeverything dear!...
Sand infelice eternamente... e scritto. I shall beforever unhappy... it must be so.

Della natal sua terra it padre volle Ofhis homeland myfather wished
spezzar 1'estranio giogo,e coll'unirsi to break theforeign yoke,and by joiningforces
all'ultima degl'Incas la corona with the last of the Incas the crown
cingere confido... Fu vana impresa! he hoped to secure... It was a doomed enterprise!

In un carcere nacqui; m'educava I was born in a prison; my school was


it deserto; sol vivo perche ignota the desert; I survive only because no one knows of
e mia regale stirpe!... I miei parenti my royal lineage!... My relatives
sognarono un trono,e li desto la scure!... dreamed ofa throne, but awoke to the ax!...
Oh,quando fine avran le mie sventure? Oh, when will my misfortunes come to an end?

O to the in seno agli angeli, O you who among the angels,


eternamente pura eternally pure,
salisti Bella,incolume rose in your beauty untouched
dalla mortal jattura, by mortal calamity;
non iscordar di volgere do notforget to turn
to sguardo a me tapino, your gaze to my wretched self,
the senza nome ed esule, who, without a name and exiled,
in odio del destino, scorned by destiny,
chiedo anelando,ahi misero, asks eagerly, ah miserable me,
la morte d'incontrar... to meet death....
Leonora mia,soccorrimi, My Leonora, comfort me,
pieta del mio penar. take pity on my suffering.

GIANNI SCHICCHI
Music: Giacomo Puccini. Libretto: Giovacchino Forzano,suggested by an episode in Dante's Inferno. First performance:
Metropolitan Opera House, New York,14 December 1918. Setting: Florence, 1299.

Avete torto!
Dramatic context: T'he recently-deceased Buoso Donati is surrounded by falsely grieving relatives who become outraged
when they learn that his will leaves his entire estate to a monastery. Rinuccio, one of Donati's young nephews,is in love with
Lauretta, but his family disapproves of this union. Rinuccio attempts to persuade the family to engage the cunning Gianni
Schicchi, Lauretta's father, to help them out of their dilemma. He extols Florence's past glories and acclaims Schicchi as yet
another in the city's rich heritage of noble citizens.

Avete torto! You are mistaken!


E fine! astuto... He is clever! Cunning...
Ogni malizia Every loophole
di leggi e codici in the laws and regulations
conosce e sa. he knows and understands.
Motteggiatore! Beffeggiatore! Jester! Mocker!
C'e da fare una beffa nuova e rara? Is there needfor some prank new and choice?
E Gianni Schicchi the la prepara! Gianni Schicchi will prepare it.
Gli occhi furbi gli illuminan di riso His artful eyes mirthfully light up
to sirano viso, his strangeface,
ombreggiato da quel suo gran nasone with a shadow cast by that enormous nose ofhis,
the pare un torracchione which seems an ugly tower
per cosi! turned sideways!
Vien dal contado? Ebbene? Che vuol dire? He comesfrom the country? And so? What does that mean?
Basta con queste ubbie grette e piccine! Enough of these narrow-minded and short-sighted whims!

Firenze e come un albero fiorito Florence is like a tree in bloom,


the in piazza dei Signori ha tronco e fronde, which in Piazza dei Signori has its trunk and branch,
ma le radici forze nuove apportano but the roots drawfresh strength
dalle convalli limpide e feconde! from neighboring valleys clear andfertile!
E Firenze germoglia ed alle stelle And Florence grows,and to the stars
salgon palagi saldi e torri snelle! reach its solid palaces and slender towers!

L'Arno, prima di correre alla foce, The Arno, before itflows into its estuary,
canta baciando piazza Santa Croce, serenades Piazza Santa Croce with a caress,
e it suo canto e si dolce e si sonoro and its song is so sweet and sofull
the a lui son scesi i ruscelletti in Coro! that the rills run down to meet it in chorus!
16

Cosi scendanvi dotti in arti e scienze So likewise descended men learned in art and science
a far piit ricca e splendida Firenze! to enrichers and enlighten Florence all the more!

E di val d'Elsa giix dalle castella Andfrom the Elsa valley, downfrom the castles,
ben venga Arnolfo a far la torre Bella! welcome is Arnolfo to build thefine tower!
E venga Giotto dal Mugel selvoso, And welcome is Giottofrom theforests of Mugello,
e it Medici mercante coraggioso! and Medici, the daring merchant!
Basta con gli odi gretti e coi ripicchi! Enough with intolerant loathing and revenge!
Viva la gente nova e Gianni Schicchi! All hail the new populace and Gianni Schicchi!

L'INCORONAZIONE DI POPPEA
(The Coronation of Poppea)

Music: Claudio Monteverdi. Libretto: Giovanni Francesco Busenello, based on the Annals by first-century Roman historian
Tacitus. First performance: Teatro Santi Giovanni e Paolo, Venice, 1642. Setting: Rome,during the rule of Nero,65 A.D.

Sento un certo non so the


from Act II
Dramatic context: Valletto is page to the Empress Ottavia, wife of Nero. He sings a playful song of love to Damigella,
Ottavia's lady-in-waiting.

Sento un certo non so che, Ifeel a certain something


the mi pizzica,e diletta: that pricks me and delights me;
dixnxni to the cosa egli e, tell me what it is,
damigella amorosetta. fair coquette.
Ti farei, I would have you,
ti direi, I would tell you,
ma non so quel ch'io vorrei. but I know not what.

Se sto teco '1 cor mi batte, IfI am with you my heart pounds;
se to parti,io sto melenso, f
i you leave, Ifeel listless;
al tuo sen di vivo latte for your nourishing breast
sempre aspiro e sempre penso. always I yearn and always I dream.

IRIS
Music: Pietro Mascagni. Libretto: Luigi Illica. First performance: Teatro Costanzi, Rome,22 November 1898. Setting: Japan,
nineteenth century.

Apri la tua finestra


from Act I
Dramatic context: The nobleman Osaka is playing the role of the son of the Sun God in a marionette show. He serenades the
watching Iris with a love song,but she is unaware that it is intended for her.

Apri la tua finestra! Jor son io Open your window!I am Jor,


the vengo al tuo chiamar, povera Dhia! who responds to your call, poor Dhia!
Apri la tua finestra al raggio mio! Open your window to my light!
Apri it tuo cor a mia calda malia! Open your heart to my passionate charm!

Jor ha ascoltata, o Dhia,la tua preghiera! Jor has listened, O Dhia, to your prayer!
Apri 1'anima tua,fanciulla, al Sole! Open your soul,fair maiden, to the Sun!
Apri 1'anima tua alle mie parole! Open your soul to my words!
Apri it tuo cuore a me,fanciulla, e spera! Open your heart to me, maiden, and hope!

Tu vuoi morir? Morire io ti faro, You wish to die? I will make you die,
ma ti faro morir dal Sol baciata, but I will make you die only kissed by the Sun;
poscia al paese eterno ti trarro, then I'll take you to the eternal land
ove,o fanciulla, to sarai amata! where, O maiden, you will be loved!

LUCIA DI LAMMERMOOR
(Lucy of Lammermoor)

Music: Gaetano Donizetti. Libretto: Salvadore Cammarano,based on Sir Walter Scott's novel The Bride ofLammermoor. First
performance: Teatro San Carlo, Naples,26 September 1835. Setting: Scotland,late seventeenth century.
17

Fra poco a me ricovero


from Act III, scene 2
Dramatic context: In the Ravenswood cemetery,Edgardo says he hopes to die in the upcoming duel with Enrico because his
beloved Lucia has married another. Unaware that Enrico has forced Lucia into the marriage with Arturo and that Lucia has
killed her new spouse in their wedding chamber,Edgardo believes she is joyous. He is grief-stricken and welcomes his own
death.

Tombe degli avi miei,l'ultimo avanzo Tombs of my ancestors, the last descendant
d'una stirpe infelice, ofan unhappy lineage,
deh! raccogliete voi. Cesso dell'ira alas! Bid me shelter. Extinguished by anger
it breve foco; sul nemico acciaro was the briefflame; to the enemy's blade
abbandonar mi vo'. Per me la vita I would abandon myself. For me life
e orrendo peso! L'universo intern is a horrendous burden! The entire universe
e un deserto per me senza Lucia! is a desertfor me without Lucia!
Di faci tuttavia Yet with torches
splende it Castello... Ah! scarsa the castle is bright... Ah! wanting
fu la notte al tripudio! Ingrata donna! was the night in jubilation! Ungrateful woman!
Mentr'io mi struggo in disperato pianto, While I am consumed in desperate weeping,
to ridi, esulti accanto you laugh, you rejoice beside
al felice consorte! your happy groom!
Tu delle gioie in seno,io... della morte! You with joy in your heart, I... with death!

Fra poco a me ricovero Soon I willfind shelter


dara negletto avello; in the neglected crypt;
una pietosa lagrima a tear of pity
non scendera su quello! will not be shed upon it!
Fin degli estinti, ahi misero! The last ofthose extinct, ah wretch!
manca it conforto a me. no comfort do I have.
Tu pur,to pur dimentica May you, may youforget
quel marmo dispregiato: that marble left to disregard:
mai non passarvi, o barbara, never pass that way,oh cruel woman,
del tun consorte a lato... with your consort beside you...
Rispetta almen le ceneri Respect at least the ashes
di chi moria per te, ofone who diesfor you;
mai non passarvi, to to dimentica, never pass that way,forget him;
rispetta almeno chi muore per te, respect at least he who diesfor you;
o barbara,io morn per te. o cruel woman,I diefor you.

LUISA MILLER
Music: Giuseppe Verdi. Libretto: Salvadore Cammarano,based on Friedrich von Schiller's play Kabale and Liebe. First
performance: Teatro San Carlo, Naples,S December 1849. Setting: The Tyrol,seventeenth century.

Quando le sere al placido


from Act II, scene 3
Dramatic context: Luisa was compelled to renounce her love for Roldolfo in order to save her father from prison. Rodolfo has
just read the letter she was forced to write,saying that she never loved him. Remembering the many times she whispered "I
love you;' Rodolfo is devastated.

Oh! fede Oh! would that


negar potessi agli occhi miei!... Se cielo 1 could disbelieve my eyes!... Even if heaven
e terra, se mortali and earth, if men
ed angeli attestarmi and angels would wish
volesser ch'ella non e rea,"mentite!" to affirm that she is not guilty, "You lie!"
io risponder dovrei,"tutu mentite!" I must respond, "you all lie!"
Son cifre sue! That is her writing!
Tanta perfidial... un'alma Such perfidy!... a heart
si nera! si mendace! so black! so mendacious!
Ben la conobbe it padre!... Myfather understood her well!...
Ma dunque i giuri, But what then ofthe vows,
le speranze,la gioia, the hopes, the joy,
le lagrime,l'affano? the tears, the worry?
Tutto e menzogna,tradimento,inganno! It is all dishonesty, betrayal, deceit!
18

Quando le sere al placido When,ofan evening calmly


chiaror d'un ciel stellato, brightened by a starry sky,
meco figgea nell'etere she would turn with me to the heavens
to sguardo innamorato, her enamored gaze,
e questa mano stringermi and this hand clasped
dalla sua man sentia... by hers 1 wouldfeel...
Ah!... mi tradia! Ah!... she betrayed me!
Allor, ch'io muto,estatico Then, with me silent, ecstatic,
da'labbri suoi pendea, clinging to her every word,
ed ella in suon angelico and she, in angelic tones,
"amo to sol" dicea, "I love you only" would say,
tal the sembro 1'empireo so that it seemed like paradise
aprirsi all'alma mia! had opened to my soul!
Ah!... mi tradia! Ah!... she betrayed me!

MADAMA BUTTERFLY
Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after the play by David Belasco, based on a story by John
Luther Long. First performance: Teatro alla Scala, Milan,17 February 1904. Setting: Nagasaki,early twentieth century.

Addio,fiorito asil
from Act III
Dramatic context: After an absence of three years, U.S. Navy Lieutenant B.F. Pinkerton returns to the home of Butterfly,
his
Japanese "wife." Butterfly's maid Suzuki tells him that Butterfly has gone out. Deciding that it would be too painful to say
goodbye to Butterfly, Pinkerton bids farewell to the house in which he and Butterfly spent many rapturous hours.

Addio,fiorito asil, Farewell,florid refuge


di letizia e d'amor... ofhappiness and of love...
Sempre it mite suo sembiante Forever her gentle countenance
con strazio airoce vedro. wracked with anguish I will envision.
Non reggo al tuo squallor, I cannot resist your misery,
Fuggo,fuggo,son vil! 1flee; Iflee, I am a coward!

MANON LESCAUT
Music: Giacomo Puccini. Libretto: Domenico Oliva, Marco Praga, Luigi Illica, after Abbe Prevost's novel L'Histoire du Chevalier
des Grieux et de Manon Lescaut. First performance: Teatro Regio,Turin,l February 1893. Setting: Amiens,eighteenth century.

Donna non vidi mai


from Act I
Dramatic context: In front of an inn,the Chevalier des Grieux has seen Manon Lescaut for the first time. She is on her way to a
convent, under the care of her brother. Des Grieux speaks to her, they fall immediately in love, and run away to Paris.

Donna non vidi mai simile a questa! Woman I have never seen similar to her!
A dirle: io t'amo, When I tell her: I love you,
a nuova vita Palma mia si desta. to life renewed my soul awakens.
"Manon Lescaut mi chiamo!" "Manon Lescaut I am called!"
Come queste parole profumate How these scented words
mi vagan nello spirto wander within my spirit,
e ascose fibre vanno a carezzare. and its hidden strains venture to caress.
O sussurro gentil, deh! non cessare! O whisper so kind, ah! do not cease!

MEFISTOFELE
(Mephistofeles)

Music: Arrigo Boito. Libretto: Boito, based on Johann Wolfgang von Goethe's Faust. First performance: Teatro alla Scala,
Milan,5 March 1868. Setting: Germany,sixteenth century.

Dai campi,dai prati


from Act I
Dramatic context: In his laboratory on Easter Day,the aged Dr. Faust reflects upon the beauty and goodness of the world.
19

Dai campi,dai prati, the innonda From fields,from meadows bedewed


la notte, dai queti sentier by the night,from quiet by-ways
ritorno e di pace, di calma profonda I return, and ofpeace, ofprofound calm
son pieno e di sacro mister. 1 amfull, and ofsacred mystery.
Le torve passioni del core The grim passions ofthe heart
s'assonnano in placido obblio, slumber in peaceful oblivion;
mi ferve soltanto 1'amore 1 am stirred only by my love
dell'uomo! for man!
1'amore di Dio! my lovefor God!
Dai campi,dai prati ritorno Fromfields,from meadows I return
e verso 1'Evangel and toward the Gospel
mi sento attratto, 1feel drawn,
m'accingo a meditar. I prepare to ponder.

PAGLIACCI
(Clowns)
First performance:
Music: Ruggero Leoncavallo. Libretto: Leoncavallo, based on a court case his father heard as a judge.
Teatro del Verme,Milan, 21 May 1892. Setting: Montalto (a village in the Italian province of Calabria), late 1860s.

Vesti la giubba
from Act I
an affair with
Dramatic context: Canio and his wife Nedda are members of a traveling troupe of actors. Nedda is having
of his broken
Silvio, a villager. Canio suspects her infidelity. As he applies his clown make-up before a show,Canio sings
heart.

Recitar!... Mentre preso dal delirio To perform!... While, stricken with madness,
non so piiz quel the dico e quel the Eaccio! I no longer know what I say and what I do!
Eppur e d'uopo... sforzati! And yet it is necessary... Force yourselfi
Bah... sei to forse un uom? Tu se'Pagliaccio! Bah... Would you be perhaps a man? You are a clown!

Vesti la guibba e la faccia infarina. Put on your tunic and whiten yourface.
La gente paga e rider vuole qua. The public pays and wants to laugh here.
E se Arlecchin t'invola Colombina, And ifHarlequin steals Columbinefrom you,
ridi, Pagliaccio... e ognun applaudira! laugh, Clown,and everyone will applaud!
Tramuta in lazzi to spasmo ed it pianto; Transform into gags the pangs and tears,
in una smorfia it singhiozzo e'1 dolor... into a grimace the sobbing and the pain...
Ridi, Pagliaccio,sul tuo amore infranto! Laugh, Clown, at your shattered love!
Ridi del duol the t'awelena it cor! Laugh at the pain that poisons your heart!

IL PIRATA
(The Pirate)

Bertram, ou Le pirate, itself derived from a


Music: Vincenzo Bellini. Libretto: Felice Romani,after Isidore Taylor's melodrama
October 1827. Setting: Sicily, thirteenth century.
tragedy by Charles Maturin. First performance: Teatro alla Scala, Milan,27
Tu vedrai la sventurata
from Act II, scene 10
Dramatic context: Gualtiero became a pirate in order to repay the wrongs he suffered and to win back his beloved Imogene.
Gualtiero killed Imogene's husband Ernesto, who challenged him to a duel. Having submitted to a trial by the knights, he has
to his beloved.
been sentenced to die. He asks Adele,Imogene's lady-in-waiting, to defend his memory

Tu vedrai la sveniurata You will see the unfortunate wretch


the di pianto oggetto io resit whom I rendered the object of tears;
le dirai the s'io 1'offesi, you will tell her that ifI offended her,
pur la seppi vendicar. still I was able to avenge her.
Forse un di, con me placata, Perhaps one day, with me silenced,
alzera per me preghiera, she will evokefor me a prayer,
e verra pietosa a sera and will come in pity ofan evening
Sul mio Sasso a lagrimar. upon my gravestone to weep.
Ma non fia sempre odiata But would that notforever be despised
la mia memoria,io Spero; the memory of me,l hope;
se fui spietato e fiero, though I may have been pitiless andfierce,
fuisventurato ancor. I was still more unfortunate.
E parlera la tomba And speak will the tomb
alle pietose genti to the pitying people
de'lunghi miei tormenti, ofmy lengthy suffering,
del mio tradito amor. ofmy betrayed heart.
zo

RIGOLETTO
Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on Victor Hugo's play Le Roi
S'amuse. First performance:
Teatro La Fenice, Venice,11 March 1851. Setting: Mantua,sixteenth century.

Parmi veder le lagrime


from Act II
Dramatic context: Following a tryst with Gilda,the daughter
of his hump-backed jester Rigoletto, the Duke has returned
her house and discovered that she has been abducted. In a salon to
in his palace, he dejectedly laments his loss. In the second
part, courtiers rush into the room to inform the Duke that they have
abducted Gilda, and in an aside he expresses his joyous
relief.

Ella mi fu rapita! She was stolenfrom me!


E quando,o ciel?... ne' brevi istanti, prima And when, O heavens?... in those brief moments before
the it mio presagio interno a strange premonition
sull'orma corsa ancora mi spingesse!... urged me to rush back retracing myfootsteps!...
Schiuso era 1'uscio!... e la magion deserta! The door was open!... and the house empty!
E dove ora Sara quell'angiol taro?... And now where could that dear angel be?...
Colei the prima potea in questo core She who before could, in this heart,
destar la fiamma di costanti affetti?... light theflame offaithful affection?...
Colei si pura, al cui modesto sguardo She so pure, whose modest gaze
quasi spinto a virtu talor mi credo!... almost makes mefeel inspired to virtue!...
Ella mi fu rapital... She was stolenfrom me!...
E chi 1'ardiva?... ma ne avro vendetta! And who could have dared?... but I shall have revenge!
to chiede it pianto della mia diletta! the tears of my darling demand it!
Parmi veder le lagrime 1 can almost see those tears
scorrenti da quel Giglio, running down her cheek
quando fra it dubbin e 1'ansia when,filled with doubt and anguish
del subito periglio, ofimminent danger,
dell'amor nostro memore, and remembering our love,
it sun Gualtier chiamo. she will have calledfor her Gualtier.
Ned ei pote soccorrerti, Yet he could not rescue you,
Cara fanciulla amata; dear beloved maiden,
ei the vorria coll'anima he who with all his soul would desire
farti quaggiu beata; to make you blessedly happy on earth;
ei the le sfere agli angeli and who even the company ofangels,
per to non invidio. because of you, did not covet.
(Possente amor mi chiama (Overwhelming love beckons;
volar io deggio a lei; 1 mustfly to her;
it serto min darei my crown 1 would give
per consolar quel tor! to comfort that heart!
Ah,sappia alfin chi Tama, Ah,she must know at last who loves her,
conosca alfin chi sono, learn who I am,
apprenda the anco in trono understand that even on the throne
ha degli schiavi amor.) there are slaves to love.)

La donna e mobile
from Act III
Dramatic context: The Duke,disguised as a soldier, has gone to the run-down inn
of the gypsy assasin Sparafucile on the
outskirts of town. As he awaits an assignation with Sparafucile's sister Maddalena,
he orders wine and a room for the night,
singing a song about the capricious nature of women.

La donna e mobile A woman is capricious


qual piuma al vento, like afeather in the wind,
muta d'accento e di pensier. fickle in word and in thought.
Sempre un amabile Unfailingly a sweet,
leggiadro viso, prettyface,
in pianto o in riso, e menzogner. whether in tears or in laughter, is insincere.
$ sempre misero Always miserable will be
chi a lei s'affida, he who believes her,
chi le confida mal cauto it tor! who entrusts to her incautiously his heart!
Pur mai non sentesi Yet never will a manfeel
felice appieno completely happy
chi su quel seno non liba amor! unless at that breast he knows love!
21

TOSCA
Music. Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, based on the play La Tosca by Victorien Sardou. First
performance: Teatro Costanzi, Rome,14 January 1900. Setting: Rome,June 1800.

Recondita armonia
from Act I
Dramatic context: The painter Mario Cavaradossi is in love with Floria Tosca, a famous singer. While working on a mural in
the church of Sant'Andrea Bella Valle, he compares the portrait of Mary Magdalene he is painting to the dark-eyed Tosca.

Recondita armonia Enigmatic harrrion~


di bellezze diverse! E bruna Floria, of differe3~t beatisties! Dark-haired is Flora,
1'ardente amante mia, my passionate lover,
e te, beltade ignota, and you, na~vieless benut~,
cinta di chiome bionde! crowned zvitlz blonde tresses!
Tu azzurro hai 1'occhio, Tosca ha 1'occhio Hero! Yoii have blue ekes; Tosca's ekes are black!
L'arte nel suo mistero Art in its mystery
le diverse bellezze insiem confonde: blends the different beauties together;
ma nel ritrar costei... but irT portraying her...
it mio solo pensiero, Tosca,to sei! my only thought, Tosca, is you!

E lucevan le stelle
from Act III
Dramatic context: For lending aid to an escaped political prisoner, Cavaradossi has been sentenced to die before a firing
squad. In the pre-dawn light atop the Castel Sant'Angelo, he begins writing a letter, but soon stops to remember Tosca and
their love.

E lucevan le stelle... e olezzava Tlie stars sparkled... and sweetly smelled


la terra... stridea 1'uscio tlae eartYa; there creaked the gate
dell'orto... e un passo sfiorava la rena. of the garden... and afootstep brushed the sand.
Entrava ella, fragrante, She entered,fragrant;
mi cadea fra le braccia. shefell i~ito my arms.
Oh! dolci baci, o languide carezze, Oh' sweet kisses, languid caresses,
mentr'io fremente while I, trembling,
le belle forme disciogliea dai veli! unloosed the veils about leer be~utifi~lform!
Svani per sempre it sogno mio d'amore Vanished forever is fay cirecsm of love...
fora e fuggita the hour hasfled
e muoio disperato!... and I die desperate!...
E non ho amato mai tanto la vita! And 16ic~ve never loved life so much!

LA TRAVIATA
(The Fallen Woman)

Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, after the play La Darne aitx Carrtelias by Alexander Dumas,Jr. First
perfortnanee: Teatro La Fenice, Venice,6 March 1853. Setting: Paris, 1850s.

Dei miei bollenti spiriti


from Act II
Dramatic context: Alfredo Germont has fallen in love with the Parisian courtesan Violetta Valery. They now share a country
house. Alfredo enters the salon in sporting attire, reflecting upon the three blissful months they have spent together.

Lunge da lei per me non v'ha diletto!... Farfrom vierforme there is no pleasure!
Volaron gia tre Lune Flown already have three months
dacche la mia Violetta since any Violetta,
agi per me lascio, dovizie, amori, for n~ie, left ivenith, adoration,
e le pompose feste, and luxurious parties,
ov'agli omaggi avvezza, where, accustomed to homage,
vedea schiavo ciascun di sua bellezza... she saw everyone a slave to her beauty...

Ed or contenta in questi ameni luoghi And riow, co~~atent in these pleasant surroundings,
tutto scorda per me... Qui presso a lei slie Iiasforgotten everythingfor me... Here close by her
io rinascer mi sento, 1feel myselfreborn,
e dal soffio d'amor rigenerato and, b~ tYie breath of loge rege~ierc~ted,
scordo ne' gaudi suoi tutto it passato. Iforget amidst her liapp~iness all that has passed.
22

Dei miei bollenti spiriti My ]tot-blooded spirit,


it giovanile ardore youthftcl passion,
ella tempro col placido she tempered with a peaceful
sorriso dell'amor! sniffle of love!
Dal di the disse: vivere From the drzy she said: to live
in voglio a to fedel, faithful to Jou is w11at I desire,
delPuniverso immemore oblivious to the universe
io vivo quasi in ciel. I III but live iii paradise.

IL TROVATORE
(The Troubador)

Music: Giuseppe Verdi. Libretto: Salvadore Cainmarano (completed by Leone Emanuele Bardare after Cammarano's
death in
1852), based on the Spanish play EI Trovador by Antonio Garcia Gutierrez. First performance: Teatro Apollo, Rome,
19 January
1853. Setting: Spain, fifteenth century.

Deserto sulla terra


from Act I, scene 2
Dramatic context: In the palace garden, thick clouds hide t11e tnooil. From a thicket, accompanied by a lute, wines the
voice of
the Troubador (Manrico), serenading his beloved Leonora.

Deserto sulla terra, Alone iri the world,


col rio destino in guerra, ~oith the terrible destiny of zoar,
e sola speme un cor a loving heart is the only hope
al Trovator! for the Troubadour!

Ma s'ei quel cor possiede, But if he can have that Faeart,


bello di casta fede, beautifi~tl in its purefaitlzfi~lness,
e d'ogni re inaggior the~~ grerater than a king is
it Trovator! #lie Trou~b~zdour!

TURANDOT
Music: Giacomo Puccini. Libretto: Giusej~pe Adami and Renato Siinoni, after Friedrich von Schiller's adaptation the
of play
Tt~randotte by Carlo Gozzi. First performance: Teatro ally Scala, Milan,25 April 1926. Setting: Ancient Beijing.

Nessun dorma
from Act III
Dramatic context: The princess Turandot will marry the man who can solve three riddles; those who fail are summarily
beheaded. Calaf, the exiled prince of Tartary, is captured by her beauty. He submits to the riddle contest and wins, but
Turandot still will not marry hiin. He,in turn, poses his own riddle for her: if she can tell him his name before daybreak,
he
will submit to execution. Turandot declares that no one shall sleep until the mine of the prince is known, upon
penalty of
death. Calaf hears the injunction, but is unmoved,stating that he alone will unveil the secret and that Turandot will indeed
be
his bride.

Nessun dormal... Tu pure, n Principessa, Let no one sleep!... Even you, O Pri~~cess,
nella tua fredda stanza irT yoa~~r• bleak r•oo~rt2,
guardi le stelle gaze at the stars
the tremano d'amore e di Speranza! as they sparkle with love ai d hope!
Ma it mio mistero e chiuso in me, But 17iy secret lies locked within r~2e;
i1 nome mio nessun saga! n~ati~ nnme no one will know!
Nn, no,sully tua bocca In diro, No, no, on your lips I will pronounce it,
quando la lute splendera! when the light of dc~y ret~2rns in splendor!
Ed it mio bacio sciogliera it silenzio A nd my kiss wi11 break the sitene~
the ti fa inia! that n~~akes yoac mine!
Dilegua, o notte! tramontate, stelle Be gone, o ~iialit! vanish, o stars!
All'alba vincero! Witlz the sunrise I will be victorious!
23

i -t
ALCII~T1~

George Frideric Handel


(168-159)

Allegro
,v

5 Oronte

12

a cura di J.M.t~.

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24

14

7 ,~„„

ZO

23
25
26

29

;~

35
26

38 ~~

(
3 Fi~a~

49
27

52

5~

58

D.S. ~ al Fi1ie
28
• ~ • ~ •~

~
~~~~~~

Giuseppe Verdi
(1813-1901)

Radames
~y recitatiz~o

Se quel guer-r.ier io fos - si! se it mio so - gno si av - ve - ras - se!

mf' recitati~o

4 1~IIe~Y~ V1V0 ~~ = 126) crn1 entusia.rn7o

10

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29

1A

~~

Andantino (.I~ = 116)


con espressione_______
30

3~ por#ate la voce
--~

40 sempre dolciss.
JI

cie - to vor - rei ri - dar - ti, le dot - ci brez - ze del pa - - trio


---" > --

ar2i~rrando un poca

opp~n~e

I ~-~--~ ~v
' -- --r -~-- = __ _.~
' s~i; ,n!
~„
32

~~ --
33

c~ni~7Tnndo
r P.~ pip

~~ pp n~torendo

~a ., r°r
34

~'
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Umberto Giordano
(1867-1948}
1~ndarttino(~ = 1Q~)
Anc3r~a ,
C hP»iPr

72 rflnettendOsi
n ub

ri - - - ma, ca - rez - - za di poe - si - - - a,

~' ~ a,
— slargarzdo e sonoro col canto ri~nefiten~osi

.• ~.
35

roll. ,,, dirn.


15

s
f

l~ n tea~rpo flit xs~osso (J =~72)

23 ,.-- 3---~

porn trattenendo
29
, . ~
w
i ~~ .~r~ t
~ =
f.7■~~~►~I~

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vies~~s~ i~►~i~•~ i ~ _
il
—._.~

r~~~a ~~~ ~~~~ ~~e;s_~~~ r~


~~r__::a~~~~~~~~r~c.~:~~~~
33

37 Meno mosso (J = 56)


stenfate r---3---, q tempo

s9 Piu animato

47

8 a
37

43

4~ Ciffrett. r— 3~ ~j —~ ~3~ Ytf. _ ~

~~~~i~~~i ~
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~. • •. • •, t ~'

~~~~1A7~ ~~~~~~~'~~~t~i~.~11f-~~ 11 I
fS-~ fi t:-U•►i~Ii
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~~lrr~~~~i
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/ /

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r I I I I I I ~ ~
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ge - li - do
38

la soli stoma
L`A.IZLESIAI~TA

Francesco Cilea
(1866-1950)

Lentamente (in 6)

(colpito sinistra~nente)

s Federico ~-3—~

E l~ so- li - to sto - ria del pa - sto - re...

se,ztrto ~~
- m~' --------- P

8 r~ ~~iacere
w ~
a te»ipo
1. A 1. ~. ~ ~

Il po-ve-ro ra-gaz - zo vo-le-va rac-con - tar - la, e s'ad-dor -


YCZ1I

~ CI t~172~0 ~"'~

mf' p
--~~. b
~., p
11 ~ sen2pre in tem}~o
39

1fi

poCO Ytt.
~1 SOS$E%1171$O —
~ I— 3--> > 9 ~'—t ~ ~

An-ch'i-o vor - re - i dor-inir co - si; nel son-no al - meil 1'0 - blio tro -

~~sfe~u~o
3 3
~ y. ~r 3 3

~~ ~olcant

~~ ~ rit.
a ten~ipo

a ten2tio
40

31 ~

GIL~Glg20
34 ,-ro~~~,~~1„ f ~ ~3~

~~ niotto,'it.
I° Tempo

.e. 8
41

n~ r_resrenrin ,~ stmt. ~ tempo

~ ~ —

46

~~
42
~ ~- ~ aks ~a Y ~ ~ ~ ~~
A ~ 3~ fi~~ S

y~ ;i ~ ,

~~~sepp~ Ver~dz
~181~-1901

A1~~~~~ ~iust~ f~. = 63)

_..__
~ Riccar o co~2 brio p ___

~n

_ ~
14 —_________'.'_-- --

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43

-
--- dim. rriorerido

~~ ~

V V V V V

Zs

II

7R -- P_1 —~ cfn~~ nccni n YYY)


44
31

con slnncio

42 ~ e
45

~~

51 -- 7vrr»
46

63 —~~ anorendo--~~~ dolcissimo

6h

tie ~-- ~ —_

~Z ,~ staccato e leggeriss.
47

~~

~€ con s(c~ncio

U~
48

~ 1. ~ ~ ~ ~.

~lUS~~~?~ ~~Y'dl
(1813-1901)

Ara~anEe rrtolto quasa allegro (~ = 63~

~ Riccardo recitr~tivo

~~

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49

z~

~~
31 ,f

~„ Anc3ayst~ (~ _ ~7~ est~l~essi~o

43 -~'-- --'~
51

46

~ stmt. J~ mvrendo
,~, _.

(ciipo)
52
52

61 ~ dolcissifno

con slrznct~o
53

,.. ~~~r~ ------ _ ,.~.,

(cut~o) ,.,.

~._,___,_,- 3
74 ~ ----~ r--3--,

~~ t~'p
54
o
1
IL, AIZ IEI~ZE ICI ~I~TIGLII~

G10ciC~11110 OSSlI"11
(1792-18b8}

Largo
--~-----

f7~------_~

13 Alrnav;~~a

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55

1h ,--~ it

~~

___—_~-------- c~ piacer~e
~ti ~,
56

30

,~3 1~llegro
------~
57

d~

sff'

48

sf'

51 ~-----~ --_`—`---~
~Q

c~

rz piacerre
59

73 [a tempo]

~a ternpo~
60

i' i! 1

Gioachino Rossini
(1792-1868)

A~clante 17'1B2ZC1 UOCL'


Alma~riva

in ,,. ~,,.,.

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61

13 a Pempo _~'

16 ,__~ ~.

18

21
62

24

~~ 1'7 fPi'1 _

3n a felnpo

[rit
~~z ~_
63
a; ~ ~ _
z fr
~`
~:

~lacOrrto I'Ucc1ni
(1b58-1924)

A~danti~a affetfnoso (~ = 5~~ p~, cto(cissirno


r~..,a ,,u,. ~~

ti

11

rnllentando
160 Q ~----~ _ ~~ .~.

Ma per for - to - na e u - na not - to di lu - na, _ e qui la

~— —

~_._,.,/
_ rctllentando

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64

21 _~ r~ffr~ett. j~~oco riE. c~ ten2po

porn rcrlle,ltando ~ tempo


2~ a

porn affrett. cr tempo ~~allentgf~do

A~adante soskenttfio
37 _f 1a ~--3 ----i dolcissin2o
65

41 ~- z —.

~ ~

~~

con rnoltiz espress.


allnrg. ~~---_____~ ~ rit.
52

1'a-ni-ma ho mi - lio - na - - - ria. Ta - for dal mio for -


sosten~nelo (largan~iente)

~ ~
~lr~~rg. ~'--- ,~ rit.
y
~3~ ~3~ ~3~ ~~~
y y ~
r--3 —i
!— ~~~ ~~~ ~ mf con grcrrzde es~ress.

~
t

P
66

55
r---3—~ dolcissin~o ----~
~-~ ~---- 3 —~ r---3---~
r--- 3 ---~ r---3 —~ r---3--

zie - re ru -bail tut - ti i gio - iel - li due Ia - dri: g1i oc - chi

r------ 3 —~
r----- 3 _____-~
---~ r----- 3----~
3 ~----- 3 i

y y y y y y ~ y
~ y _ ~ ~ ~
~_3~

~ ~~ ~
57 t— -3~ ~3 ~t
r— 3 ---~ ~3~

bet - li. V'en - trar can voi pur n - ra, ed i iniei so - bi u-sa - ti,

~— 3--~ 3
~t l l01Ce ~ 3~ ~--- 3J

3 3 ~ ~

3 3 ; 3 3
3
poco allal~gando
con anima dolciss. i~nolto call. --------
60 ~.— ,3 --~ r—
~..~ 3 _~ ~
~ 3~
3 ---~ r--3 —~' ~~~ ~ 3 i ~3~ r~3--i

ei bei so - gni nlie - i to - sto si di - le - guar! Ma it fur - to iron m'ac-


~ ~
,~ ~-~ 3 3 stem.

~3~ ' L_ 3~ ~3~ -


~ 3~ ~ 3—~ 3
f porn allar~ganc~o p 3 3
~~ ~ di~az. e molto call. ~>

~ J J
3 3 3 3
a tem o
63 p ~3 —~ i----3 —~t

[~]
~------ 3---~
65 op~ure ,---3—~ ~----~[/~]

~~ 6

con artt~~na
dolcissit7zo stentczrrdo allarg.

Or the mi co-no-sce - te, par-la - to vo - i, deh!Par-la-te. Chi sie - te?

r-3~ ~3~ ~3--~

. _., ~---~ ~ 3 ~.~


3
pp allrtrg. sempre p f con nnirna all~~rg. p ----
rj~ ~3~ ~3~ ~3~

~n ,~, YRII. ~____ 3 _~


Vincenzo Bellini
(1801-1835)
Andante
Tob,~l.ar. cnvrtahilP

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.•

c~ te~ripo

ZJ
~o
~~a~er-e
.------__ te~2.
~~ r r_~ 1

19 a tempo ,o stentgndo

~ y ,.,_.... 22

~--•~
~2

~~~

,.,. rtert.t

;,; ~ rczllentnnclo

3~' n ivrri»n
72

41w [a piczcere] ~ a~~itnando assai

star - le, a co -star - le un sol la - men - - to~a11! pint - to - sto io sce - glie -

y ~ 7
[col canto] ~ ani~nrzizdo ~ssrzi

anima~xdo it ~err~ipo
44 ,-~f~»

_..
~~~~~ iii -`~~:~~'_~~~rt
~.~~

~-!
~~~~~~~~~~ ~'7 ~

Y~~~~~~~~~~~~ ~.~~~~~~~~~
~~~~~~~~~~t~~~~~~~~~~~~~~~
~~~~~ ~~

50 .,... ,. ,.. a..


73

53

ten.]
56 _

ti~ rallerlt~zndo

h2 a tea~2~o
74

65 [n pirzcercl ~„ arri~~r~rac~o assai

,,fit ~ ~r r~rrnart lle~~ipo


68

7.3 ~ ~ ~1BX i210~50


~5
76

80

84

88 ~
~ ~
iii ii`~~

P~~~
~~~~ :;
~~~~~~~
,.
~~~~
11~~
u,
i~
i

~~

,.~

~.,~
~~

. .
Pietro 1VIascagni
(1863-1945)
Andante (.~ = 144)
Turic~~lt7 m#'

5 affi~ett. a ternvo

9 mf

rit. cr tempo ~----


13
17 -- —~ affr~tt.

21 a tempo „~f porn rit.

stentrrndo
~y

~ do(cissinio sempre clirninuendo porn a loco

45 _ ~ortc~ndo rallorztan, perdendosi


80 ~

LA CEEETLA

~l~~C~ll~t0 O~S1T~2
(1792-1868)

I'

4 Ramiro n piacere

Co~~yi'ight OO 2002 by CASA RICORDI—BMG IZICORDI S.p.A


Tutti i diritti riservati All Rights Rese~~ved
:i
~~

~~
83

38

~1 ~r Aridlrif~ri0

~~
84

St~CCgtO

~~

~8
1~1~^gY0 V1VdCe
h7

hh

70
86

7R

83 ,----.~ ,-.,

RR

93 ~------~ ~-.-,

[e9
a ~~acere
yr

n tvFvmn
..

113

123

----_ ~-
128 >~,~
89

134 >~--~

CJ

a }nacere
n fnvvrrin
90

ZJJ

~ ~~

162 ~~
91

172 ,----_

177
A

dar, si, si, m'hai da gui - dar, si, si, m'hai da gui - dar, _ si, _ si, _

f
s sf sf sf sf' sf sf sf sf sf sf sf sf sf sf

182 ,--~

,o~ 3
1 _? n

3
3
3 3
3 ~

3
92

;~`
~ c, ~

Wolfgang l~madeus Mozart


~1~56-191}
~ ~.

to

`.~

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93

18

22

26 ~~,.,~

JO
94

~~ _

38

42

47
)5

~:~

~9

C
~J
96
2. a + r ~ ~ ~~ a'

`~ ~.

VVo~f~~n~ Amac~eus l~o~art


~1~56-1~91~
A~clante ca~atabil~
Frrranrin

15

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97

~n
.~

47

53
~~
..

~~
59

~_ ~,~~
~~

~i.~ ~ ~~I'
~i.~
~ '
~~Q:=ice. _.~.~.
100

Il mio tesoro
DON GIOVANNI

Wolfgang Amadeus Mozart


(1756-1791)

Andante grazioso
~~—
i ~~ ~~
~ ~

Y0111'~~~~~.~~~~~ ~~.~~~~~~~i~~~~
~~~~.~~~~~~~~~

5 ~~1 ~1

8 Don Ottavio

i2

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101

r-~_

~n

~~
102

30
~%i~i~
~
~
~r~~~i~~r~~~
~~~~ !~
t • •
~ ~

~arm ~
•~~~~~
i
i
i ~~~~~i~
~~•~i~~
~~

i
~

~~4t
Y0~~~ :J t ~~
~ ~~ •I

35

37
103

40 _~

43

49
104

53

57

60 f I Il

64

• t . ,.
105

FR

71

~~
n V {—~
N ~ 0
107

90

92

~'ai~= ~~
-_~.~~~~~I~~~~~~~~~~~~
~ ~r~
- ' ~~~

r~■~ !! ~~~~~ ~~'

~~ ~~~~ ~~
1:

Come gentil
DON PASQUALE

Gaetano Donizetti
(1797-1848)

Andante mosso

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109

~~

r i--~

Pochissimo piiz mosso


110

io T,.~.... ~,.
111

~--~
~n
112

Pochissimo piu mosso

90

oc

r1
7.00
opp• I 1
113

Spirto gentll
LA FAVORITA

Gaetano Donizetti
(1797-1848)
Larghetto \\\ ~'~—~~
N '}Q'

»~~ ~~~

.--
~~L~~~~~~
I~/.
LVI
1 ~~~~
~
~■
~~~~~
.r~~`~~~~
r
i

~~~~~c.~r~s~—~~~
~R~~~~~~~~~i~~~~~s~
v
~

4 Fernanr~~ recitativo

Maestoso

—._—

~ ,
rrta gloi - r•e est efi - glou -~

12 ~
~~~~~~~~~~~~~_~~~~~~~~~
r.i~sr s~~::~r ar~~i~~~a~ ~~~~~~~~~~~~~~
~v.~r~~ r~~~~~~~~~~~~
• •
• ~ •
~ i

'~~~ ~~~~ ~~ er a►-- -'~~_


I~~wm~~~~~~ ~1'~• ~T' i~T' J:77' 1~'i ~~I''~
I.f~T16i~/" ~I"' ~i'V _'~~
___~ ~~~r`~
~~7~Ai~~~~
I
~ /

__ — _~
.
-~~- ~~~r ~r s~ ~r .
~~s_~~~~~~~-' ~T• ~
~T .~~I~~ r~
r ~~ Amtit ~i,

~`~~

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114

1C>
~-~ n

ti - e, et de mon tris - to Coeur 1'es - pe-ranee est sor - ti - e.

Larghetto

23 dolce
w

Spir - to gen-til, ne' so - gni mie - i bril - la - sti un di,


An - ge si pur, que daps un son - ge j'ai cru trou-ver,

26
w ~ --
~•~~ ~'\
r~~n~=i
■/.
7 r~J~~r~ir~~~~I~►ice
~~~~/~~~'~~~~,

I/ 1

S~

~V►
~~~~~r~~~~•
~~~~~~~~~~~~~~~~~~~
t

Y~~
~~~~~~~~ ~~
115

smorz.
__"~'~
29 ~~> > > _
w

d'a-mor, fug - gi - to in - sie - me,


lar - ve d'a-mor, lar - ve
et pour ja-mais, en - vo - iez - vous
en - vo - lez-vous

moi, pour 1'a-moxr d'u - ne


En

'
32 r~11 o tvmnn

35 ~

-—--
_ pi -
1'a - mour a - vait fai - bli;
- nie, de Dieu
fem

~r~T~i~~~r~
~if~sa~~~..~~
i~.sa= ~~~rsair ~~~~i~ r~~~~i~~ ~~~
~~.~ ~~i~r~~~~
1•
•. •. ~ •.
• •

~~~~~~~~~
~i~~~~~~~~~~~~~~~~~~~
~r~~~~.~~~~~i~~~~~~~~
■i
~t .

~ ~~~ .
~
~-!~~~t
~~~~~~~~
Y
116

38

tie! je t'ai ren - du mon a - me, pi - tie, Sei -gneur, rends - moi 1'ou -

41 ~_ /~

bli, pi - tie, pi - tie!

I° Tempo

44
117

47 ~ stringendo
~
-
~~~~_'
,~~~~~~ ~iw~r~i~1rST~f~~T~~'
~~~ ~~Ia~~~~~~I~i~
~Vr~~~~i~

•' • •
• •
I I •
I•

~~~
~~i/~~~~~~~~~'
DIY ~ .~~~~~'~~
~_ ~
.
i iii ~~
~~ i

~~~~~i~~~7~~~~t~~1~~'~'V~i~.
Y~~1~~~~~~~~ ~~~~['L

- ~3J —

[ten.]
50 rail. Pte
' ~~ >~—.~

ve d'a-mor, fug - gi - to in-sie - me, _ lar - ve d'a -


lar -
pour ja-mais, en - vo - lez-vous, en - vo - lez - vous, et pour' jr~ -
et
n

rall. [col canto]


n

~~ p

rail. q
56
- ,.~

3
siem, in - siem,— lar - ve d'a - mor.
vous et pour_ ja - mais.

_~ ~~
rail. p
n
118

Una furtiva lagrima


L'ELISIR D'AMORE

Gaetano Donizetti
(1797-1848)

Lar~hetto

calando
t, P ~~ ~-~-~

Nemorino dolce

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119

1Q
120

34

37
121

f
~a > --

42

rall.
45 (f) ~ (P) /1

chie-do, non chie - - - - - do. Si puo mo-rir, si puo mo-rir d'a -

. ~ i r1 n

46
122

Ch'ella mi creda
LA FANCIULLA DEL WEST

Giacomo Puccini
(1858-1924)

Andante molto lento (~ = 40)


Dick Johnson (con grande espressione, esaltandosi, col viso quasi sorridente)

.. ~ ~ ~ ~i

~.~:7~~'I~li:~~~~: t.l~~SL ~.~~'ITT


.~~~'~.
~ -, r- -
. , ... .
~~.tiu~r~~~~~~ r.~~~~~. ~r~~.ter
.~~~~

~
~ ~'~1 ~~~r~

allargando
~ CYL'SCP11Ll~

Copyright OO 1910,1911 by CASA RICORDI—BMG RICORDI S.p.A.


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..
1
123

io ~ rail. a temtio

13

,-i~

20 n
_---------~ /1

vi - to mio so - to fior!

/'"'~~~ - n

i ~

~
/

~~~

~ •

~ i

M
124

Che belts, the leggiadrla


LA FINTA GIARDINIERA

Wolfgang Amadeus Mozart


(1756-1791)
Andante maestoso

— ~

~.~C7~S~~.~~~~~~S~
~i'i~S.~'~~~~•~*~~~~~~~5.~
'~'t ~~~~

~ I ~

Y
—_
~ y
~
~~ ~~~~~~~~~~~~~~~~~~~+ I
~~~~~~~~~~
~~~~~~r~~~
~

■i7~r~ ~r~~~~~~~~r~~~r~~~~~~
~~~~~~

~Y Q~/lam'~~
~i~ti~~~s~~ ~~
f~~rl~~~~~~~~~~~r
~~~fi~~~~~~~~r~
ric~~ ~~~~c~-~~~~ ~~~~~~~r~
~~~~~~aL~trls ~~.~ .mss ~~~~~r
•t .s.~i~~f .~~r -~. ~~~~►r~
~~ 6i~~

12 RolFinrn

ZJ

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125

21

~a

y~
126

30

33 ~-

36

39
127

43

47

50

53
128

56

59

62

6~
129

Sento un certo non so the


L'INCORONAZIONE DI POPPEA

Claudio Monteverdi
(1567-1643)

[Allegro]

Valletto

io

14

a cura di P.T.
I S.p.A
Copyright OO 2002 by CASA RICORDI—BMG RICORD
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130

is

Zz

27

31
131

35

~a
132

CJ to the in seno agli angeli


LA FORZA DEL DESTINO
Giuseppe Verdi
(1813-1901)

Allegro (triste, ma confoYza)


, Andante mosso (.~. = 56)
, Don Alvaro
~~~~a
recitativo
~.~:11 1
III=~~ _~~~~~ ~i~'.
<Vi~~ .~r~~~~~ a
,
1~I~~I~~~ ~~~~~~I~


i
l ~~i~.a~i~~ ~~~~iir~~~a~~
~v'~'~~~~~~r~~~~~~~
:~i~

Y.O~~~~~~~r~~~~~
IIt

~~ ~~
~/

~ Andante come prima


w

i~~~ .sa~~~w~i~~~~ii:
~r~~i~~~~~~~
~ •- ~
~ ~ r
i

I
~I ~
IIAS ~~~~~~•
Imo
:
1[~/ ~~~J~Nrr/~-s~~

13
w

i.~.
r~~~~~~~~~~~~~~~~~~~~
~
-• • • • •

I
.S7~~r~+'i
ii~~ ~~t~i
~~~~r +~~~a~~~
i
~Vr~~~
~~~~~~t~
ra~,~~~ ~~
r~~~~ ~~~~~~~~~~~~~
~~~~' .

r~s ~:
Y arr
/~.7~~ ~
..~++~+~ s~~r~~r
i ~~~r.~~
~~~~~~~ ~r
~/~r~t Iii,
17Ti

19w ~~ ~ dolce -` recitativo


~~~~~~~~ .~ ~r ~ ~.~r
~.~~ ~~~ ~~~ ~ ~~ ~~r~~
■i~~~~~~~~~~~~ ..~w~~~~~~~~~~~~ ~..~
~~~~~~~~~~~~~~~~~~ ~r~ ~
+~~~srr=~o~r ~r~~ a
~~~~~► ~a~r~~~~~~~~~
• • ~-
~

~~:~~~~"~~i~ ~~a~a~~
vr~==•~=~~ ~r / , yr
: ~I

i •
r~~~~~~~~~~~~
r la~w~r~ is~~r~~r~
~
~,
~
~:_ ~ ~r ~~[i s r. ~vr~~~
~~~I~
I ST t ~:4'. ~t►~!~
~1~

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133

Allegro moderato (~ = 96)


_ con semplicitd
24

--~
r- 3 —, r— 3
o~
134

.f

45 ~ _ morendo

49 _
,,,~

Andante sostenuto (~ = 50)


core espress.
53
w .~.

■ia~r~~~~~~~~~~~~~
.v►r i~~. ~~ ~~~~
r~ ~~r~~~t~~~~~~..ter s~~~..~
~-~r~~u~~~~~~~ =ter
• •
~
• • ~ ~ ~
~•ar~. t~~~~r~~~~~
■ivi~r~~~~r~~~~~r~~
s~a~~~~~r~~~~~a~~~~~r~~~
~~~~~
i ~ ~.
i ~.

1
/ 4~~~~r~~~
~
~r~~~r~
~~i~
O~~\~~~
~~ ~~t~ -
~ ~ z q~

r
135

57 .a•
w

lapin - co - lu - me dal - la mor-tal jat -


sa - li - sti bel -

• a.

~~

tia --------~
136

6s p

sti - no,chie-doa-ne-lan - do~ahi mi-se - ro,chie-doa-ne-lan-do, ahi mi - se - ro, la mor-te d'in-con

~1

____/ col canto

~n cantabile
a..,_ .
137

— ten.

f
138
Avete torto!
GIANNI SCHICCHI

Giacomo Puccini
(1858-1924)
1Vloderato (~ = 60>
R;,,,,~~,~,

6
w ~~ iF l

~~7t~I~~~~~~~t~Jr~~~~~~~'~~~~~~~~~~.

• i

-~~

Yd:TO{t:~~_.-
~~~~~r~~~~~r.~~~~~~~ ~

~jy ~. ~ I— 3 —~

it a rigor di tempo
u i- — ~-3 —I r---3---,

i
~ • •- • •

~~murasu~~ _ ~~~~~- _'~~


~.~irii:i:~. ~~ r ~~~

16 sostenendo

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139

poco rit.
21

a tempo _ ,,;_,
25

Andante mosso un po' sostenuto (.~ = 92)


30
sostenuto, quasi a piacere (ad use di stornello toscano)
r-=3--~ n

Ba - sta con que-ste ub-bie gret-te e pic - ci- ne! Fi - ren- ze 2 co-me un al - be-ro fio-

Andante mosso un po' sostenuto (~ = 92)


n

f sostenuto, gicasi a piacere f '~`f


n

q a> >

35 r— 3.--~ r- 3-~
~i~i~~~~iii~i~~iiu~~i~i ~i
i~~~ ..~~..~.sue.~..~i~i~
.~/~!/~i~r~~!/~i~~Il~~~l~~:!'l
l~i~~i~
/.:f~~1~:~ t
t

~i7.~i
~~~t~! ~t~ ~►~ ~~.~1.Y~
i~.~~i=~~~'
~~~~~~~ ~''~ ~~»!i~ia~~f
~Vr~~~~~~1~'~arr`~S

~~~i~~~r~~~~~~ ~~.~~~ ~
Y
~r~~~~~ .~~~~~~~~~~" ~~~~ ~~~~~~~~~s
__ ~• ~~~~
J ~
J
140

~~ M crescendo

43
poco allargando
A i
crescendo r--3--~ r~ 3~
S~<~11
!~' ~l~.~~~~~t~r='~~Y.

■!.
7~~~~
'~~.t~a~~~~~~~~r.~i '~~~.~1

~
I• I / •I •

~1a~
~ .~~~~~;7~~'~.~r~~~~
~~~~~1
~~i~~~~~~
I~~" ~ ~1

~ -3J
'
Andante sostenuto
ar, — —

Come it tempo primo (Andante mosso)


49
a i
r -~ —~ t

L'Ar, - no, pri - ma di cor - re-re al - la


~-. Come it tempo primo (Andante mosso)

LVI 1/~ ~R.


14~. •~
~~T ~
'`.

/ 1 / I /I

~~~~
~Ls~~~r~~~~~~~~~~~~~a~
~~~

_ ..
i _: .
141

5s p ~

e it suo can - toe si dol - ce e si so - no - ro the a

— 6— — — b _
142

67

72

Un po'sostenuto
(con baldanza)
77 .--_- z~ ~ __ ~ z-~

crescendo
80 ~3--i
143

83

sempre c~ tempo poco rit.


86 > > t'— 3 —~ >-
w r— 3--t
~~i ~r~~~~~G
~~~~11

• •
i. • 1 • •

' /I

~~~/~

i i i m
iin i
i

~~ r~ •

ter.
' ~c,~
r~~~~~r-- -
------' ~ ~~~~~ - ~~~n~
r orsar---- ~~~~~~~~~o~~~~~~~~~
.~~~~~ ~f:i
i
f~i: ___-.__s~r~~
__-

marcato

a temt~o

a r3—t ~-3—,
144

.~pri la tua finestra


IRIS
Pietro Mascagni
(1863-1945)
Andante sostenuto(~ = 96)
Osaka p dolce ed espressivo

5 rm ra11

9 v~n a tembo rresrendn ~,f rail.

13 m dnlrn mn nnrn i~nllvntov~dn a tempo ~~,o~~,

CopyrightO 1898 Uy CASA RICORDI—BMG RICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved
145

p a tempo
1~

cresc. ed animando
~,

r— 2--~ rit.
allarg. e cresc. .f
25

~7~1 dolcissimo crescendo


29 dim. e rall.
146

ailnrg. moltissimo
con gran Galore poco affrett.
32 ~ a tempo con grande espansione
~-----4 m

35 crescendo f allargando

a tempo poco rit.


„~ molto rail.

41
147

Fra poco a me rlcovero


LUCIA DI LAMMERMOOR

Gaetano Donizetti
(1797-1848)

Maestoso

.~.— ~

11 > b'~

i i'
1~

14 . I I ---~ — --
,~_~ ~ \~~ \
►~~~
►~~' ►~
i~~t/l~i
/.r!f~r r
r~~~~r~~
\~ti ~~~~~~~
Iry~~

'i~~`i~/ '~~ '~!


~~f'~l~r ~
~Ta~~ ~~ i~~~ .~
I '~ ~ II~/~
YlSI~~ .~ ~
/~f~~ ~~

S.p.A.
Copyright OO 2002 by CASA RICORDI—BMG RICORDI
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148

~~ ~~ ~'--~,

~/~~IJ~~r~
.~Cf~~<r~~
~ ~ ~~~~a~
~.~tSri
X17
~.

Zo

Edgardo
Z3

Zs

~,
149

34 Lar~hetto

~~

Allegro
4o

43
150

=~~
Lar~hetto

~n

oppure a piacere
r~
~~

v --z~
io... del - la _ mor - - - - - - - te!

s~ Lar~hetto
151

62

z __.--~
66

_~------
~ ~._\
69

fin de - gli e - stin-t~i mi - se - ro!


quel - - - lo! Ah!

•~_.~

I >
~ i

73 ~ Wit• a tempo
rr:s:ri~~~~~~3~..f~~.a r~A~r~
/~~i~~ ~~~1~~
■/.711t~:T~

• •
• • •

i r

~ ii

~~~~i~~i~~~i~~~~i~~i~~~~~~~
r~a:a~
~~~ ~~~ ~~~~~~~
r~r~. a~~~~~i~~
T ~ T T T
~
152

7h

79

82 ~.
'~~

85 rit. r"-3--~ r-3


M-,

r
153

s~ Poco Uiu animato cresc. con Galore

.~' ~' T~

,,,, ...~ „ +o,Mr„ rrescendo

,gyp ,fP
~~ n (a piacere] „~ a tempo
154

Quando le sere al placido


LUISA MILLER

Guiseppe Verdi
(1813-1901)
Allegro Rnrinlfn varifnfivin

11
w
~~~~~..f.s~t~..~r~~~'7 ~

~~
~.~.
■!.. ~--
~v' --~~— ~

~ II—. ~
~~

~~• r~"
r~
> v

16w ~

vre - i, "tut - ti men - ti - te!" Son ci - fre su - e!

v
u

~~

CopyrightO 2002 by CASA RICORDI-BMG IZICORDI S.p.A.


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155

~n

7_.S

36 Andante (~ = 44)

j~ ~fJ `J~
156

~„ appassionatissi~rio

46
157

50 ____.----

con espressione
158

58 p6--~ ~'3~,

di - - a! ah! mi tra-di - a!
r-- 3 —i

J ~. J ~. L3~ ~3~ ~

q.•~ ~ b.~ ,~ ~ b—
159

~ ,
67

~3~~
69 ~~

~2
160

con molta espressione

~~ ~_ 6~ ~3~ con disperazione r_ z

~~ ._ ,

83 ff ~~--~ pp /1 morendo
161

Donna non vidi mai


MANON LESCAUT
Giacomo Puccini
(1858-1924)
Allegretto vivace

Andante lento (J = 63)


Des Grieux
L^I
,„ con accento appassionato

J
p con semplicitd call.
11

"Ma-non Les-caut mi
vi-ta 1'al-ma mia si de - sta.
nuo - va

~ ~ ~J ~~ pp d0lCiss. ~3 call. ~3J

3 L3J

Copyright OO 2002 by CASA RICORDI—BMG RICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved
162

14 a tempo
~-3-~

.J

16
~~

ro - le pro - - fu - ma - to mi va-gan nel-lo

> ~~

~ _ ~
~
3
6

_~ ~~

ten.
19
>

~~
~--~

21
m z o
163

poco rall.
23

~
.~

.- •
• .- •

~~

t ~~~
~=
~~~~~
~~r~
/I

~~: :ate
~.~~~~~
~~..~~~~~.
ra~r~~~~~~

f con anima
r— 3~ r--3~ ~3 —i
29

Les-caut mi chia - - mo!"


"Ma -non
sar!

b
L— 3 —~ I_.3J lPP)
~~ l— 3J ~,
~
~ 3~ ~3—i
- ~~n
~3~

6 ~--3 —J

6 6
~3_~ J

con slancio ^3~ rit.


pp dolciss. rall.
~
~~~3~- 3~
32 te a—, r-3_ ._~—, r-3~ ~3~ i .t~-
~
-r~~ 7~-~~ ~.~ ~~~~'1
~.~ ~ ~~..~~-~~~
~ ~~~1=~ '
~r~ t fitiS~~
/.~:7t~~~~~~~r~

\ ~
\ ~.~S'1
~ \ ~~\~~~'~
~~~'~~~~5
~~~ t ~~~~c~'
.~.7~T~~t
I

~ ~t
~.~~- ~~='1
.rY ~~~~~ ~~r~~~~~
~~~~~~~. ~~ ~~~~ •~~~~~~~ ~~ ~~~~~~ ~~~-S~11
1a ~~ t ~~ ~r ~= r ~~ ~ r ~ - ~
I ~I~~ ~~ -
~~ ~~~~ ~I~~~~~~~~ ~
Y~: 7~~~~~~~~~
~~1
5~~-~~~~
~~
~ I~~' 1'
3_1 ~ 3
~3J 3 ~3_..I x--
164
Addio,fiorito asil
MADAMA BUTTERFLY

Giacomo Puccini
(1858-1924)
Andante sostenuto (.~ =48)
T~;,,1.,,..a-,,,, dnlrvmvrrta

A'1 6 6
~'"~"~
r---.
z

A r--- 3._

CopyrightO 2002 by CASA RICORDI—BM


G RICORDI S.p.A.
Tutti i diritti riservati All Rights Reserv
ed
165

con slancio
16 f _---

f ~.

Yit. —`'
19

Fug - go, fug - go, — son


reg - go al tuo squal - lor!

~. ~ ~ £~

m.s. col canto

~_
~_~
166

Dai campi, dai prati


MEFIST'OFELE

Arrigo Soito
(1842-1918)

Larghetto (J = 42) p meditabondo


Faust ~---
.----.__ /~.
~.~:~n ~~~~~~~~M~~~~~~~ ter ar ~r~~~
~~~~~~~~~
i ~ ~-
~. • •. • •.
~ ~ i~
~ ~
i~~ ~ -
iv~~~~iv~~~r~i~
~~tr~: ~~~ ~ ~r~~~~~~~~~~
i I~

Y~t=~~~~~~~
~~7 ~ t~ ~'~~
~~~~~~~i
~ i ti ri
~ I ~

C r- ------- ------_--
~ ~~>~. ~~

not - te, the in -non - da la not - te, da - i que - ti ~ sen - tier ri -


Dom. ~~~
. ~~~
~t
~ I f I I - ~~

r~~~~~~~~~~~~~~~~~r
~~~~r~~~~.~.~~~~~~~~~
j

~~ ~~ /

~ ~i ~~~~
~ ~i ~.~
~~~~~I

r~~f ~~
~~t~
'1l,. ~ ~~t
~ \lrr~ ~~~~~t~~ ~ r
] _ ~~~ ~~~~~
~~~~r~~ ~~,
'
f

1~~~~~4~
/
Y ~'~M~~~L~~~► ~~~\~~~
~~~~~~~~~~r~r~~~1~~~
~~~R~ r
i~~~~t =~.~./L~
~~~~5~~~~~~~~
~~~~S.Ir.~

16~ rz tempo ~d ~ •all. a tempo p voice


~
ti
~: ~ ~ ~~~~raw~r~r ~~ ~,.~~~r~~..~~r.
~ ~Ii/~~~i~1~ ~~ .~I
~
~ ~

• •. • •' •

~~~~~~ ~----^
~7 ~~~~~~\~
~~
~.~a~r.~~~r. ~~~r , r ~~.~r ~~r

,.. ,
.~

~~~~~~~~~~~~~~~r~~~~
~~~ ~~~
~~ i vim+ i

CopyrightO 2002 by CASA RICORDI—BMG IZICORDI S.p.A.


Tuttii diritEi riservati All Rights Reserved
167

_ ~-
25 ~~

-
~ ~-
cresc.

me - di -
m'ac - cin - go a
gel mi sen - to at-trat - to,

35
168

Vesti la giubba
PAGLIACCI
Ruggero Leoncavallo
(1858-1919)
Sostenuto assai (~ = 60)
('anin

'~
~~~
~

~w affi~ett.
~~ string. un poco ,~ _ ~~---~,
~
.~s:~s~~ir ar~ ~ ~r a~~~r~~~~ a
a~~~~~a~~~~r~~~~~~ a~~~~r
: s:5 ~ii~ii
~~~r~~ ~~~r~rri~ ~~~

I
• ~
~. ~
■i. ~~~c+~~~nr,~
~~ ~~~~r~~r r.~:,~n~ra~~r~~

~., ~,
►~+:a~~~~~~~cr~~
.r~r~w~ ~~~~~c~..~ ~r ate' ~~ ~
~~:rr~~v~~ara~~~~~

~z ~~ ~• ~
.,.
r~
r~c~ ~~~~rre~~~~~~~a
~~.~~~~=..~i
,.~ r
, ,,
r~~~w~~ry~.~~ i~s~
_ ~r~~~~~~~ ~~~~~r~~r~~~~w~~
~~~.~~~w~~ r~~~~~~~.~~~
_ ~ > ~ _ _ _ ~
_-->
(sghinazzando con dolore)
11 r~ Ah! Ah! Ali! Ahl Ah! YZf. ~ >

Copyright OO 2002 by CASA RICORDI-B


MG RICORDI S.p.A.
Tuttiidiritti riservati All Rights
Reserved
169

Adagio (~ = 46)
darlamandn inn dnlnrP

,Q portando

_ _,_ _ , _ .poco rit. a tempo


_..
170

Ytt.
34 affi~ett.

39 a plena voce, straziante ~ ~ ~ ~---_ 3 _________^

42 >~---~ con grande espressione _,

Lo stesso rnovimento
46
171

Tu vedrai la sventurafa
IL PIRATA

Vincenzo Bellini
(1801-1835)

Larghetto maestoso
n n
~ r1 fig►' ~,►—~ ,A- ~---~~ L~\
..', >
~
~~~~~~~` ~~~~~
avr~~~~r ~~

i~

G
.i t• ~~
r~~~i~~►~r ~ .~~~ ~~~~
~t~~
IY_— .V~~~
.~~
t~
i~~~
'i ~l~~Y

~~ ~~ ~~ ~
J

~
5 C;ualtiPrn

~ ~
9
~~~~~iia~~~~~~ri~t S.L Si
/.iif 1.t~~r~~~~~ii~~~~~i~rt~:~7
l~r

• • • •• • •

~rC~~~~~~ L+~~~~~~~
I.~~~~r~~r~~~~~~
~~\r .fit.rte.~~'~.
Vr~\t ~~
. .fit .~r~~ ~t .~~t .~~~.~~~~r.fit ,~~.~
~ 1
III I

~~~+~~
~~C'=
Y~~L~= ~~~i
~~~ ~~~ ~v~
~~~v~

CopyrightO 2002 by CASA RICORDI—BMG RICORDI S.p.A


Tuttii diritti riservati All Rights Reserved
172

i r,

a piacere „ „,,,,,may„

22 '~ ~

7h
173

a piacere

33 ,.,.,~ F,.-,.,
174

49

s.~
175

57

roll.
----
65

men - ti, del — mi - o tra-di - to a - mor, e par- le - ra _ del —


lun - ghi miei for -

rail. col canto


a tempo

>i-----~ /~=
oppure

~ ~
del mio tra - di-to, tra - di - to a -~
e par - le - ra
176

~2

75

s~i
177
178

I'armi veder le lagrime


RIGOLETTO

Giuseppi Verdi
(1813-1901)

Allegro agitato assai(~ =100)

,~
>

CopyrightO 2002 by CASA RICORDI—


BMG RICORDI S.p.A
Tutti i diritti riservati All Rights Reser
ved
179

Allegro
22 Il Duca di Mantua recitativo

sul - 1'or - ma cor - sa an - co - ra mi spin -


stan - ti, pri - ma the it mio pre - sa - gio in-ter - no

29

1'u-scio!... e la ma-gionde -
ges-se!... Schiu-soe-ra

P
~#

Adagio
dolce
33
r~~ ~~~i
I~~~r~rrr~r~
~;~% ~~ ~~~ 1
l~~ ~~ ~~
l\7~~ r~
t •
•t •

• t • 1
~
r ~
~~~~~"~:i~r~1~ ~
~~~~~~~~ ~~~~~~~~r~ur ~l~~
~~~~~r~.i'ii f• 1
~.A'.~~~~'~~ ~~ ll ~~

' --'
__ .~
Ly~~~

4~l~~r~~
~
i

~~~l~r~~
~~r~~rr~r~~
~~~~~1~/
r~~~~l~~
~ ~
I
~,
~

Y~'►
:1
cantabile
37 Andante (~ = 66) ~______\

~, Allegro (J = 126) conforza


181

~~ a, Adagio

Adagio (~ = 50)
i.~:.~~.

.~

~i

1 ■
~~ )'
1 ~
Y~11

cantabile
182

- ----

opp ~ 3 -i

del - 1'a - mor ,


---~~
F~ cresc. r-3--i r____ ~ _ dim.

,~
no - stro,

fiR
__ /,---i r-------- 2
-----_ r— 3---~
183

70

--------------
r--3 —~
73

°pp' r---3--~~
i

ei the le

r'- 3"~ z
~— ? --~ ~------~
76
184

~
~ ~~ —t-- app ^i--~

sfe - - re,
te, no, no, __. per tenon in - vi
---_

dio,

o, ----_
~ 3 --i r 3 —1 r"3 —1 I'-- 3--t

o~
allar~. dolciss.
185

87 Allegro (~ = 120)

deciso ,_ ~
g~

ari
..

i ns

ten.
106 con forza

109

112
187

ten.
..~ ~ rnvi fnr~n ~—~
~~c

_ ~. — ,
~--__ 2 _.

Piiz mosso (~ = 144)


121 ,~ ~ n
~ .~::
~~t:~t~.~ ~.
~~i~L~~'.~ .al
~~1~'
~~~~~~»
1/.~i~~rs:l ~~~~~~~~/~Ir ~~~~~
■/.r11~l~1 ~ ~•~~~~~
~vr~~ ~

'
• •

• t

//

1~.~~~~`~i~
~
~i~~~.~.~iii.~.~.~.~~'
~
~~ ~~ ~~

124
..

8va
-----------------------------------------------------

TO T i I .. ~.,.

139

147
..

te~z.
~` con forza
ia~

i ii

_ con {orza ten.


190

157 ~3~ r--3-, ~ t~3~ r-~-,

160 _ Piu rnosso (.~ = 144)

164 f ~- ~~_

167
191

.----_"___
i~o .f

173

»~

n
181
192

La donna e mobile
RIGOLETTO

Giuseppe Verdi
(1813-1901)

Allegretto (.~ = 138) >

10 Tl T~nra rli Man+iia con brio


_---_ ____ > > leQClto

1h

71
,....

Copyright OO 2002 by CASA RICORDI—BMG RICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved
193
f
~~

33 ~p leggero

43 --~ ~_~on forzc~


194

49
_

GS
,___,_

61

..
195

^—~ f.—~

,,,.,, IeQ~ero ~—~

a
brilliante
:.
~.:i~ m~
~Or~~

di pen - sier.
n
r:1
~`'samie:~~i~
~vr~~s'~

:1
/ ^ --!
196

Recondita armonia
TOSCA

Giacomo Puccini
(1858-1924)

13 Piix lento
C'avarad~.~si p

CopyrightO 2002 by CASA IZICORDI—BMG RICOR


DI S.p.A.
Tutti i diritti riservati All RighEs Reserved
197

17 sostenendo rail. a tempo


----._.~ 2~P

Flo - ri - a, 1'ar -den - to a-man - to mi - a,


ver - se! $ bru - na

_--~

sostenendo
pp a tempo
rall. m.d.
~ ~ y y y y y 7

.,.~ S
f
198

206

5~ '
f .-----__ per'

56
207

~1 ppp tnorendo

dolcissimo
63 _

f ____--------- dim

dolcissimo --_--
1:

Deserto sulla terra


IL TROVATORE

Giuseppe Verdi
(1813-1901)

Andante (.~ = 76)

~ Manrico cantabile a mezzo voce

~n
tLLttQ {OYZCI

Copyright OO 2002 by CASA RICORDI-BMG RICORDI S.p.A.


Tutti i diritti riservati A11 Rights Reserved
209

25

~~

con forza
210

Nessun dorma
TURANDOT

Giacomo Puccini
(1858-1924)

Andante sostenuto
Il Principe (Calaf) ~

4
~3~ __--------

Tu pu -repo Prin - ci - pes - sa, nel - la tua fred - da stan - za guar - di le

~ — —
- — - ~

Copyright OO 1926 by G. RICORDI & C-S.p.A.-Milano


Copyright O renewed 1954
Tutti i diritti riservati All rights reserved
211

10 — ~~

it no - me mio nes -sun sa - pra! No, no, sul - la tua


• •-
I
""1
~.

~~~~~:a~
vr~~i
1~'~i~~
y ~ ~-____
,• „ -- ~-----
~4" ~'
~i.
J
/~•

_`'!-` '-
n
14 ~ ~ ~~
~r~rl~~ ~ \~~T.a
~%~r~~~ ~~~r~~r~~ ~I`~i
i~t'a ~ ~Ir~ ~ ~ ~ ~ti
I.~~ ~ i
':
v

• ••
• •
••

~~ ~
i~ ~ ~~~~f' ~~'~~~~
i'aAi~i 'A~~~1'~7~5
t°a~'~.~.~~f' ~~~i~T~~ ~►'~r~ t .~tirl7uf :~~ •St.~~~~
~~ •r~~
~ q" ~i~ e~ .~tar ~a~s ~ .
s~~~~r .~~ .~~
~r ~r ii ~u ~~
'i~f»~~..
.rr~ r~
te!~~.i~~~~~~n=
I
t /.~i~I~~~~~ •r
~vs~~~~--- ~
~

—~
~
- ~i~ ~ ~
Y Q'~ ~~~
~~~
~•
'~
g

~~
212

Z3
con anin2a ~'—~

poco rit.
26 '—~~ poco rit. a tempo
w ~,. ~ s ~. s .~•
~~ ~~~~/rl~ 7
.
/ ~~ ~~ r~~.~~~ r1
~ r~~~~~~~ r~r~~~~\~\'f
/r~~r~ ~~~~~rr~ir \~~~
~~~inf i~

• r


•.

~~~r~~-'~►'~' ~nli~i
-~~~~~SI~
~a7r~~~ ~~
~~~~~~i1~
i ~~ ~~ ~=
i~~t.~.~Z .Ra
/'~ii~t.~7'~
~ 4. V
/I

/I

I I1Q'i'
~
Y ~:~ .'~~i
.~~ '~~~"<iaT
r ~~

~~' ~~
~r
J ~ I i
u

rn
ANTHOLOGY OF ITALIAN OPERA in 5 volumes
50484600 SOPRANO $19.95

Contents,41 arias: ADRIANA LECOUVREUR (Cilea): Io son 1'umile ancella • Poveri fiori
AGRIPPINA (Handel): Bel piacere • ALCINA (Handel): Ah, mio cor! • UN BALLO IN
i):
MASCHERA (Verdi): Morro, ma prima in grazia (with solo cello part)• BELFAGOR (Respigh
O mamma,mamma • LA BOHEM (Puccini E ): Mi chiaman o Mimi • Quando men vo • D'onde
lieta • LA CALISTO {Cavalli): Piante ombrose • I CAPULETI I MONTECCHI (Bellini): Oh!
quante volte • LA CLEMENZA DI TITO (Mozart): S'altro the lacrime • COSI FAN TUTTE
ma
(Mozart): Come scoglio •DON GIOVANNI(Mozart): Ah! fuggi it traditor! • Mi tradi quell'al •
ALE (Donizet ti): Quel guardo it cavaliere ... So anch'io la virtu magica
ingrata •DON PASQU
babbino
ERNANI(Verdi): Ernani!... Ernani, involami • GIANNI SCHICCHI(Puccini): Oh! mio
Caro • GIULIO CESARE(Handel)• Piangero la sorte mia • Da tempest e it legno infranto
Regnava
IDOMENEO (Mozart): Zeffiretti lusingheri •LUCIA DI LAMMERMOOR (Donizetti):
MADAMA
nel silenzio • LUCREZIA BORGIA (Donizetti): Come'e bello! Quale incanto •
ATO (Cimaro sa): Dovrei
BUTTERFLY (Puccini): Un bel di, vedremo • IL MARITO DISPER
in fondo al mare • LE NOZZE DI FIGARO
punirti • MEFISTOFELE (Boito): L'altra notte
i • PAGLIA CCI (Leoncav allo): Stridon o lasso • IL RE
(Mozart): Dove Sono i bei moment
(Mozart ): L'amero , saro costante (with solo violin part} • LA SERVA PADRONA
PASTORE
non credea mirarti... Ah!
(Pergolesi): Stizzoso, mio stizzoso • LA SONNAMBULA (Bellini): Ah!
): Senza mamma • IL TIGRAN E (Vivaldi): Squarciami
non giunge • SUOR ANGELICA (Puccini
(Cesti): Che mi consigli , Amor? • TOSCA (Puccini ): Vissi d'arte, vissi
pure it seno • IL TITO
libera • IL TROVA TORE (Verdi):
d'amore • LA TRAVIATA (Verdi): Ah,forse e lui... Sempre
TURAN DOT (Puccini ): Tanto amore, segreto • LE
D'amor sull'ali rosee • Tacea la notte placida •
piccina • LA WALLY (Catalan i): Ebben?.. . Ne andro lontana.
VILLI(Puccini): Se come voi

50484601 MEZZO-SOPRANO $19.95


da stella •
Contents,36 arias: ADRIANA LECOUVREUR (Cilea): Acerba volutta... O vagabon the un
ni): O pallida,
ALCINA (Handel): Sta nell'Ircana pietrosa tana • L'AMICO FRITZ(Mascag •
loco... Ah! parea the per incanto
giorno •ANNA BOLENA (Donizetti): E sgombro it
un inferno •
ARIODANTE (Handel): Dopo notte • L'ARLESIANA (Cilea): Esser madre e
li): Sposa son disprezz ata • UN BALLO IN MASCH ERA (Verdi): Re
BAJAZET (attr. Giacomel fa • I CAPULETI E I
dell'abisso, affrettati • IL BARBIERE DI SIVIGLIA (Rossini Una ): voce poco
• LA CENER ENTOL A (Rossini ): Nacqui
MONTECCHI(Bellini): Se Romeo t'uccise un figlio
mesta • LA CLEME NZA DI TITO (Mozart ): D2h, per questo
all'affano e al pianto... Non piu COSI FAN
Parto, ma tu, ben mio (with solo clarinet part) • Torna di Tito a lato •
istante solo •
• LA DONNA DEL
TUTTE (Mozart): Smanie implacabili •DON CARLO (Verdi): O don fatale
(Puccini): Tu it cuor mi
LAGO (Rossini): Mora felici • Tanti affetti in tal momento •EDGAR
ti): O mio Fernand o • LA FOIZZA DEL DESTINO (Verdi): Al
strazi • LA FAVORITA (Donizet
NEO (Mozart): Il padre
soon del tamburo • GIULIO CESARE (Handel): Presti omai •IDOME IANA IN
erdi): A dio, Roma • L'ITAL
adorato • L'INCORONAZIONE DI POPPEA (Montev Cari
tirrano! •LIND A DI CHAMO UNIX (Donizet ti):
ALGEIZI(Rossini): Cruda sorte! Amor
• LE NOZZE DI
luoghi ov'io passai • MAOMETTO II (Rossini): Guisto ciel, in tal periglio
Addio, o miei sospiri •
FIGARO (Mozart): Non so piu • OIZFEO ED EURIDICE (Gluck):
OTELLO (Rossini): Assisa a pie
ORLANDO FINTO PAZZO (Vivaldi): Andero, volero, gridero •
d'un salice • SEMIRA.MIDE (Rossini ): Bel raggio lusinghi er • In si barbara sciagura •
la vampa • Condotta
TANCREDI(Rossini): Di tanti palpiti • IL TROVATORE (Verdi): Stride
ell'era in ceppi.
50484602 TENOR $19.95
Contents, 38 arias: AIDA (Verdi): Celeste Aida • ALCINA (Handel): E un
folle, e un vile affetto •
ANDREA CHENIER (Giordano): Come un bel di di maggio • L'ARLE
SIANA (Cilea): E la solita
storia • UN BALLO IN MASCHERA (Verdi): Di' to se fedele • Ma se
m'e forza perderti • IL
BARBIERE DI SIVIGLIA (Rossini): Ecco ridento in cielo • Se it mio nome
saper bramate
(Serenata~ • LA BOHEME (Puccini): Che gelida marina • I CAPULETI
E I MONTECCHI
(Bellini): E serbata a questo acciaro • CAVALLERIA RUSTICANA
(Mascagni): O Lola, bianca
come fior di spino • LA CENERENTOLA (Rossini): Si, ritrovarla
io giuro • LA CLEMENZA DI
TITO (Mozart): Del piu sublime soglio • COSI FAN TUTTE (Mozart):
Uriaura amorosa •DON
GIOVANNI(Mozart): Il mio tesoro •DON PASQUALE (Donizetti):
Come gentil • L'ELISIR
D'AMORE (Donizetti): Una furtiva lagrima • LA FANCIULLA DEL
WEST (Puccini): Ch'ella mi
creda • LA FAVORITA (Donizetti): Spirto gentil • LA FINTA GIARDI
NIERA (Mozart): Che
belta, the leggiadria • LA FORZA DEL DESTINO (Verdi): O to the in
seno agli angeli • GIANNI
SCHICCHI(Puccini): Avete torto!• L'INCORONAZIONE DI POPPE
R (Monteverdi): Sento un
certo non so the •IRIS (Mascagni): Apri la tua finestra •LUCIA DI LAMME
Fra poco a me ricovero • LUISA MILLER (Verdi): Quando le sere al RMOOR (Donizetti):
placido • MADAMA
BUTTERFLY (Puccini): Addio,fiorito asil • MANON LESCAUT (Puccini
): Donna non vidi mai •
MEFISTOFELE (Boito): Dai campi, dai prati • PAGLIACCI(Leoncavallo):
Vesti la giubba • IL
PIRATA (Bellini): Tu vedrai la sventurata • RIGOLETTO (Verdi): Parmi
veder le lagrime • La
donna e mobile • TOSCA (Puccini): Recondita armonia • E lucevan
le stelle • LA TRAVIATA
(Verdi): Dei miei bollenti spiriti • IL TROVATORE (Verdi): Deserto
sulla terra • TURANDOT
(Puccini): Nessun dorma.

50484603 BARITONE $19.95


Contents,40 arias: ADRIANA LECOLTVREUR (Cilea): Ecco it monolo
go • L'AMORE DEI THE
RE (Montemezzi): Fiora! Piccolo fiore •ANDREA CHENIER (Giorda
no): Nemico della patria •
L'ARLESIANA (Cilea): Come due tizze accesi • ATTILA (Verdi):
Dagi'immortali vertici • UN
BALLO IN MASCHERA (Verdi): Alla vita the t'arride • Eri to
the macchiavi quell'anima • IL
BARBIERE DI SIVIGLIA (Rossini): Largo al factotum • BELFAGOR
(Respighi): Sono un grosso
mercante ~ LA CALISTO (Cavalli): Va pur... Se non giovano • LA
CENERENTOLA (Rossini):
Come un'ape ne' giorni d'aprile • COSI FAN TUTTE (Mozart):
Rivolgete a lui to sguardo •DON
CARLO (Verdi): Per me giunto •DON PASQUALE (Donizetti):
Bella siccome un angelo • I DUE
FOSCARI(Verdi): O vecchio cor, the batti •EDGAR (Puccini):
Questo amor • L'ELISIR
D'AMORE (Donizetti): Come Paride vezzoso • LA FANCIULLA
DEL WEST (Puccini): Minnie,
dally mia casa son partito • FALSTAFF (Verdi): E sogno? o realty?.
.. • LA FAVORITA
(Donizetti): Viers Leonora, a' piedi tuoi • IL FIGLIUOL PRODIGO
(Ponchielli): Raccogli e calma •
LA FINTA GIARDINIERA (Mozart): A forza di martelli • LA FOR.ZA
DEL DESTINO (Verdi):
Son Pereda,son ricco d'onore • GIANNI SCHICCHI(Puccini): Si
corre dal notaio • I GIOIELLI
DELLA MADONNA (Wolf-Ferrari): Bacio di lama •LUCIA DI
LAMMEIZMOOR (Donizetti):
Cruda,funesta smania • LUISA MILLER (Verdi): Sacra la scela e
d'un consorte • MANON
LESCAUT (Puccini): Sei splendida e lucente • NABUCCO (Verdi)
: Dio di Giuda • LE NOZZE DI
FIGARO (Mozart): Hai gia vinta la causal... Vedro, mentr'io sospiri

se' morta • PAGLIACCI(Leoncavallo): Si puo? • I PURITANI (Bellini ORFEO (Monteverdi): Tu
): Ah! per sempre io ti
perdei • RIGOLETTO (Verdi): Pari siamo!• RINALDO (Handel):
Sibbilar gli angui d'Aletto • IL
TABARIZO (Puccini): Nullal... Silenzio!... • LA TRAVIATA (Verdi)
: Di Provenza it mar,i1 suol •
IL TROVATORE (Verdi): Il baler del suo sorriso • I VESPRI SICILI
ANI (Verdi):In braccio alle
dovizie • LE VILLI(Puccini): No! possibil non e... Anima santa.
50484604 BASS $19.95
emezzi): Son quarant'anni • ARIODANTE
Contents,39 arias: L'AMORE DEI THE RE (Mont
e gonfarsi 1'anima • IL BARBIERE DI
(Handel): Voli colla sua tromba • ATTILA (Verdi): Mentr
IL BARB IERE DI SIVIGLIA (Rossini): La
SIVIGLIA (Paisiello): La calunnia, mio signore • ME (Puccini): Vecchia zimarra
mia sorte • LA BOHE
calunnia e un venticello • A un dottor della
nini • LA CLEMENZA DI TITO (Mozart):
• LA CENERENTOLA (Rossini): Miei rampoli femmi
): Ella giammai m'amo •DON
Tardi s'avvede d'un tradimento •DON CARLO (Verdi
ina! Il catalogo e questo •DON
GIOVANNI(Mozart): Ho capito, Signor, si? • Madam
insoli to • L'ELI SIR D'AM ORE (Donizetti): Udite, udite, o
PASQUALE (Donizetti): Ah! un foco
GAZZA LADRA (Rossini): Il mio piano e
rustici • ERNANI(Verdi): Infelice! e tuo credevi • LA
ella de'! • GIULIO CESARE (Handel): Se a me
preparato • LA GIOCONDA (Ponchielli): Si, morir
POPP EA (Monteverdi): Ecco la sconsolata... Ringratia
non sei crudele • L'INCORONAZIONE DI
Gia d'insolito ardore • L'ITALIANA IN
la fortuna • L'ITALIANA IN ALGERI(Rossini):
I LOMBARDI(Verdi): Sciagurata, hai to
LONDRA (Cimarosa): Van girando per la testa • A
OOR (Donizetti): Dalle stanze, ove Lucia • LUIS
creduto... O Speranza •LUCIA DI LAMMEIZM ita •
MACBETH (Verdi): Come dal ciel precip
MILLER (Verdi): Il mio sangue la vita darei • Tu
o •Son to spirito • NABUCCO (Verdi): Vieni, o Levital...
MEFISTOFELE (Boito): Ecco it mond piu and rai • ORFE O
La vendetta •Non
Sul labbro • LE NOZZE DI FIGARO (Mozart):
verdi ): O to ch'inn anzi morte a queste rive •ORLANDO (Handel): Sorge infausta una
(Monte
tuo trono, o sommo Iddio • SEMIRAMIDE
procella • I PROMESSI SPOSI (Ponchielli): Al
LA SERVA PADRONA (Pergolesi): Sempre in
(Rossini): Deh, ti ferma... Que'numi furenti •
lacerato spirito • LA SONNAMBULA (Bellini): Vi
contrasts • SIMON BOCCANEGRA (Verdi): Il
): Di due figli vivea, padre beato • I VESPRI
ravviso, o luoghi amens • IL TROVATORE (Verdi
a.
SICILIANI (Verdi): O tu,Palermo, terra adorat