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IL TROVATORE Opera in four acts. Libretto by Salvatore Cammarano Based on the Spanish play EI Trovador, by Antonio Garcia Gutiérrez First performed at the Teatro Apollo in Rome on January 19, 1853 CHARACTERS Count Di Luna, a young nobleman of Aragon: baritone Ferrando, Di Luna's Captain of the guard: bass Manrico, a chieftein in love with Leonora: tenor Leonora, a noblewoman in lova with Manrico: soprano Inez, Leonora’s confidante: mezzo-soprano Azucena, « Gypsy, reputed mother of Manrico: mezzo-soprano Ruiz, @ captain in Manrico’s service: tenor An old Gypsy: baritone ‘A Messenger: tenor Followers of Count Di Luna, Gypsies, Nuns, followers of Mantico, soldiers ‘The action takes place in Northern Spain, in the provinces of Aragon and Biscaya. The time is the fifteenth century ‘THE PLOT ACTI Scene One The retainers of Count Di Luna listen to old Ferrando, their captain, who tells them the story of how the Count's father once burned a gypsy at the stake for witchcraft. In revenge, this gypsy woman's daughter stole from his cradle and bumed to death the infant brother of the present Count, The clock strikes midnight and all curse the wicked gypsy who caused the old Count such horrible agony. Scene Two The beautiful Leonora is confiding in her companion Inez, while she strolls about the gardens of the palace. The tells her how she has fallen in love with an unknown troubadour-knight who has been coming to serenade her. Inez has her misgivings but Leonora is fascinated by her mysterious nocturnal admirer. After the two women re-enter the palace, Leonora’s other admirer, Count Di Lune appears. He too is in love with her and wants to marry her. His musings are interrupted by tho strains of en off-stage lute and a serenade. The troubadour, Manrico, enters. ‘The two rivals face each other, Leonora comes out, but in the darkness, runs to the wrong admirer, causing the expected jealous reaction, The troubadour reveals himsolf as Manrico, follower of a rebel prince, and therefore Di Luna's enemy. The two men rush off to fight a duel and Dofia Leonora faints. 332 ACT IL A gypsy camp in the mountains. Old Azucena is crouched by a fire, with Manrico nearby. As day breaks the gypsies go about their tasks, hammering on their anvils and singing lustily about the carefree gypsy life. Azucona, as in a trance, sings about her mother's execution, the subsequent abduction of the old Count’s son and the burning of the child. ‘The child she burned to death, however, through some twist of fate turned out to be her own son instead of the old Count’s. Manrico, who has always believed himself to be Azucene’s son, is puzzled, but she refuses to explain telling him only that he is indeed her son and thet Di Luna is his mortal enemy. ‘A messenger arrives. Manrico is being summoned to defend the fortress at Castellor, ‘The messenger also relates the news that after hearing rumors that Manrico was dead, Leonora has entered a convent and is about to take the vows. In the cloister of the convent, Di Luna and his men ere planning to carry her off. But so is Manrico! Both men and their followers interrupt the religious ceremony and Manrico succeeds in routing Di Lune’s men and carries off his beloved Leonora ACT I Count Di Luna is besieging Cestellor. An old gypsy women is brought into the camp and Ferrando recognizes her as the abductress and murderess of Di Luna's brother. In despair she utter's the name "Manrico", making Di Luna even more furious. He orders Azucena to be burned at the stake immediately. Inside the fortress of Castellor, Manrico and Leonora are about to be married but Ruiz, Manrico’s friend, brings word that Azucena hes been captured and is about to be burned al the stake, The nuptials are interrupted as Manrico flies off to rescue Azucena, ACTIV Monrico is unsuccessful in his attempt to rescue Azucena and has now also been imprisoned. Outside the tower, Leonora has come to try to save her lover. whom she hears singing inside. When Di Luna appears, sho offors herself to him in exchange for Manrico’s life. Di Luna accepts and gives orders to his guards. Leonora swallows poison from a ring, so that Di luna's reward will be nothing but her lifeless corpse. Inside the dungeon Azucena is dreaming of her Biscayan mountains as Manrico tries to comfort her. Leonora gains admission to the dungeon and. informs Manrico that he is fres, but he suspects the price of his freedom and predictably curses her in a jealous rage. But Leonora is dying and as the Count appears, she confesses to Manrico thet she preferred death then life with another man. She dies and the Count sends Mantico to his death. Azucena, also close to death now reveals to the Count that he has just executed his own brother, Azucena’s mother has been avenged at last ACTI II Duello (The Duel) Scene One A hell in the palace of Aliaferia (There is a door on one side that leads into Count Di Luna's apartments. Ferrando and a group of the Count's retainers are resting near the door. Some soldiers are pacing back and forth in the background.) FERRANDO (to the retainers, who are about to fall asleep) abllerta ‘il ‘konte ‘ne ‘dwopo alitender vidsi'lands Allertal Conte n'sd'uopo —attender_—_vigilando; Take care! ‘The Count wemust serve (with) vigilance; edexsi tallor ‘Presiso i ‘veroni Ed egli lalor presso i veroni And he sometimes near the balconies della ‘sua ‘kara pasisa le ‘nottti dolla sua cara passa le notti, of his beloved spends the nights. RETAINERS dyelozia le jeri ‘serpi Ai avventa im ‘petsto Gelosia le fier serpi gli avventa in petto. Jealousy the —_fierce serpents pours out _into his breast. (His jealousy is pouring out the fierce serpents that are writhing in his breast.) FERRANDO ‘nel trovailor ke ‘dai dsardini ‘move not:turno ‘i ‘kant, Nel ‘Trovator, che dai siardini move nottumo —il_— canto, In the Troubadour, who fromthe gardens — raises. nightly his song, ‘dun rivale a ‘rit ei teme d'un rivale a dritto ei temo. a rival rightfully he fear: RETAINERS ‘dalle ‘gravi_ palpebre it ‘sonna a diska'ttfar Dalle gravi palpebro —il_~— sonno.a_—_discacciar, From our heavy eyelids the sleep to drive off, la vera ‘storja. fi ‘narra ‘di gardzia dermans ‘al nostro ‘konte Ia vera storia cinarra = di_— Garzia, germano —al_—_ nostro Conte, the true story tell us of Garzia,” brother of our Count. ‘This is the only time in the opera that we hear the real name of Manrico as a hoy before his abduction. It is an unlikely first name, as it sounds much like Garcia, a very popular Spanish surname. Also the following word germano, is a poetic form for “brother”, the « fratello mmon word being 334 1 Trovatore, Act 1 FERRANDO la di venite intoms a'mme La dira; venite intormo ame. I will tell its come around me. SOLDIERS (approaching) ‘noi pare Noi pure... We — too, RETAINERS: wdite Udite... Listen. FERRANDO di due fikdi__vivea padre be'at> il won ‘konte di Di duo figli_vivea padre beato... il buon Conte Di Of two sons there lived e father happy the — good Count Di ‘fida nutitfe ‘del sekonds ‘nat Fida nutrice del secondo nato (the)Paithful nurse of the second born dormia resis la ‘kuna dormia presso le cuna slopt neal his cradle. ‘sul romper :laurora umbels matitino Sul romper doll'aurora. un — bel mattino At the breaking ofdawn one fine day ella diskjude i ‘tai ecki ‘ova, ella dischiude i rai; @ chi trova she opened her eyes: and whom — does she find akkanto —a'kwel bambino accanto aa quel bambino? next to that baby? RETAINERS, SOLDIERS ‘Ki fa'velia ki ‘ki'mai Chit... Chi? Chi mai? Who?. Who? Who was it? hhis story is complicated. ‘Therelore 1 feal a clarification for the confused is in order: Ferrando alking about the old Count Di Luna, father of the present Count Di Luna the baritone villain of the opera is U Trovatore, Act 1 335 FERRANDO abbjetta ‘dzingara ‘foska ve kKarda Abbiotta zingera, fosca vogliarda! (A) despicable gypsy woman, dark old! (A despicablo dark and old gypsy hag!) i ‘simboli ‘di maliarda Cingeva = i —ssimboli di maliarta; Wearing the symbols. of (a)_sorceross: e ‘sul fantfullo kom ‘vizo_artfippo E sul fanciullo, con viso_arcigno, And over the boy, with face sullen, lokikjo. aftfid:dsea —torva satjgwinno Tocchio —_—_affiggea torvo, her eyo she cast, grim, dorror kom'preza e la nutritfe. Dorror compresa 8 la nutrice... With horror seized is the nurse... akuto ‘uy grida aliaura ‘ffoxke Acuto un gridoall'aura scioglie; (Aj sharp cryin the air she utters edek:ko ‘im meno ‘ke il lab:bro il ditfe Ed ecco, in meno che il labbro i dice, And lo! In less than the lip tells it, (And lo! In less time than it takes the lips to say it,) i ‘ser akkorrono in, kwekle ‘sokde. i servi accorrono in quelle soglie; the servants hasten into those thresholds; (the servants come running to that room.) e ‘fra —minatitye ‘urli perkos: E fra minaccie, —_urli, percosse, And with threats, shouts (and) blows. ‘la tea diskattfano — kentearvi a2 la rea discacciano ch'entrarvi 080, the culprit they expel who to enter there dared. (they expel the culprit who dared to enter there.) RETAINERS, SOLDIERS ‘dzusto wei petti wdeppo kommosise Giusto quei peti sdegno commosse, Righteous those breasts anger moved, (Those breasts were moved by righteous anger.) 336 1 Trovatore, Act 1 linjlame vek:kia Ip provoko Vinfame ——_vecchia lo provacé. the wicked — crone provoked it. FERRANDO asise'ri ke tear ‘del fantfulstino Asseri che tirar del fanciullino Sho claimed that cast the baby's Isroskopo volea budgarda Vorescopo volea.. bugienda! the horoscope she wanted... liar! (Sho claimed that she wanted to cast the baby's horoscops...the liar!) lenta feb:bre ‘del meskino la saltite strrd:dsea Lenta fobbre dei meschino la salute struggea! (A) slow fever of the poor child the health was destroying! (A slow fever began to destroy the poor child's heslth!) koverto di pallor ‘lagwids atfifrants citremaya la sera Coverto di pallor, languido, —affranto oi remava_—la_—_— sera, Covered with pallor, weak broken, he shivered in the ovening, © Wi tracva in Jamenteval janis eld traova in lamentevol pianto; and the day he spent in pitiful woopin; amuma'ljato exkera ammaliato —egl'era! Bewitched he was! (The chorus is horrified.) la fattwkjera —persegwitala ‘fu ‘preza € ‘al royo ‘fu konda'nnata La fattuchiera perseguitata, fu presa e —al_—~—=Ssrugo. fu. —_condannata! The witch was pursued. was seized and to the stake was condemned! ‘ma. rimaneva ‘la maledetta fikka ministra, ‘di ‘sua vendetta Ma —rimaneva la maledetta figlia, ministra di sua vendottal... But there remained the accursed daughter instrument of her revenge! kom'pi kwestempja nefanda ebtfesisa Compi quest’empia nofando ——_eccessol... Committed this wicked woman (an) abominable act! (This wicked woman committed an abominable act!...) sparve il fantful:to e ‘sirinjvenme ‘mal ‘spenta "bradse Sparve il fanciulle © ——sirinvenne mal spenta brage Disappeared the boy and they found barely consumed —_ embers “Lam leaving wothing to chance in this lurid tale of mistaken barbecues...Ferrando is referring to Azuena, the old crone's daughter. very much involved in the present action of the opera. 1 Trovatore, Act I 337 nel ‘sito. stesso ovarsa un‘djoma la ‘strega'ven:ne nel istesso ovarsa ungiomo —lastrega vena... inthe site same where burned once the witch had been... (in the very same site where the witch had once been burned...) € ‘dum bantbino aime Io'sssame brutfat amed:dzo E — d'un bambino, —_ahimet.. Tossame bruciato a mezzo And ofa child, alas, the skeleton burned half firmante ankor fumante ancor! smouldering still! {and they found, alas, @ child's helf-burned skeleton, still smouldering!) RETAINERS, SOLDIERS a Sfelite'rata 9 ‘donna inyfame Ah scellerata! Oh — donna infame! Ah, wicked woman! = Oh ~— woman infemous! ‘del ‘par mimjveste —‘odja ‘ed orxor e il padre del par minveste odio. @ ——_orror! E il padre? both itfillsme hate and horror! And the — father? (she fills me both with hate and horror! And the father?) FERRANDO brevi ¢ ‘risti ‘d3omi_ ‘visise Brevi ¢ —tristi_giorni visse, Brief and sad days he lived, (His remaining days were few and sed,] pur ipgato del kar presentimento i ditfeva Pur — ignoto del cor __presentimento sli diceva Yet an undefined in his heart presentiment told him (Yet an undefined presentiment at heart told him) ‘ke ‘spent no'nera fii ed ‘morir vitfino cho spento non era figlio. Ed, a morir_vieino, that dead wasnot his son. And, to dying close. (that his son was not dead. And, whon he was close to dying.) bramo. ‘ke ‘il sippor ‘nosira a ui su se brama che il signor nostroa —lui_—_giurasse ho desired that the master ours to him — swear (be wished that our master swear to him) di non tfe'ssar Ne in'dadsini a fur ‘vane di non cessar le indagini... ah! fur vane! to not _—_ cease the soarch. Ah! It was in vain! “The present Count Bi Luna. 338 H Trovatore, Act 1 SOLDIERS e kolei ‘non sebsbe kontettsa mai E colei non s'ebbe contezza mai? And her — wasn't there received nows ever? (And was no news ever received of her’) FERRANDO ‘nukla kontettsa 9 “dato mi ‘fosise Nulla contezza. Oh! dato mi fosse No news. Oh! That it should be granted me to intrattfarla un ti rintracciarla un di! tack her down some day! RETAINERS ma rav.vizarla pores Ma ravvisarla—_potresti’ But recognize her could you? FERRANDO kalkslands —‘Xjan:ni traskorsi Io potrei Calcolando gli anni trascorsi... lo potrei. Calculating the years that have passed... I could SOLDIERS savrebsbe ‘Tempo ‘pres:s3 la madre allimfems Sarebbe tempo presso la madre all'inferno Itwould be time near her — mother to hell (it would be time to send her to her mother in hell.) speldirla spedirla. to send her, FERRANDO allimfems — ¢ kredentsa ke dimori ankor Allinforno?... EF credenza che __dimori ancor Tohell?.., It's (a) belief that it lives still ‘nel ‘mondo ‘lanima Pperduta del:lempja ‘strega_ nel mondo Vanima perduta dell'empia _ strega, in the world the soul lost of the wicked witch (To holl?...1t is a common belief thet the wicked witch's damned soul still lives in the world,) e ‘kwando ‘il tfelo ic “nero, e quando il cielo & nero and when the sky is black im ‘varje forme altnui si'mostri in varie forme altrui si mostri. in various shapes to others she shows hersel RETAINERS AND SOLDIERS e wero ¢ E vero! E I's tno! It's sutlorlo ‘dei Sullorlo dei On the edge of in ‘upnpa o In upupao Into a hoopos or "wer ver! true! tetti tetti rooftops stridge strige screech-owl I Trovatore, Act f 339 atkun ‘la veduta alcun I’ha veduta! some have seen her! talora talora sometimes ‘si'muta si muta! she changes! in korvo tailaltra ‘piu 'spesiso. in tfivetsta In corvo tal'altra; pitt spesso in civotta, Into @ crow at other times, more often into an owl, sublalba fuddgente ‘al ‘par di saetila sull'alba fuggento al par di__saetta! through the dawn — flying like an arrow! FERRANDO mori di paura “un ‘servo ‘del ‘konte Moni di paura un servo del Conte, Died of fright a servant of the Count, ‘ke ayea ‘della. ‘dzingara perkos:sa Ya frome che avea della _zingara percossa la_—fronte! who had — of the gypsy struck the forehead, (A servant of the Count died of fright because he struck the gypsy's forehead, } FERRANDO AND CHORUS a mori di pawa Ah! mori di paura! Ah! He died of fright! FERRANDO alpparve a kostui ‘duq‘gufo in’ sembjantsa Apparve a ~—costui d'un gufo in —_sembianza, She appeared to him ofan owl in form, (She appeared to him in the form of an owl,) neblalta kwiete ‘di tatfita ‘stantsa nellalta quiete di tacita stanza! inthe deep calm of (a). silent room! kotnak:kjo lutfente gwardava ‘i 'tfel> Con occhie _lucenta guardava —_illcielo With eye gleaming she stared _the heavens sau I Trovatore, Act 1 atiristando ‘dun urlo feral attristando d'un urlo feral! saddening it with a howl bestial! (With a gleaming eye she stared at the heavens, saddening it with a bestial howl!) (Suddenly a bell strikes midnight.) ALL ae sia maledetita Ja 'strega_ infernal a Ah! Ah! Sia maledetta le strega infernal! Ah! Ah! Ah! May she be cursed, the witch infernal! Abt (The retainers run towards the door and the soldiers hurry to the back.) Scene Two The gardens of the palace {It is night. Thick clouds conceal the moon. To ono side can be seen a marble staircase that Jeads to the opartments. Leonora and Inez ore strolling } INEZ ‘ke pu tarresti lora © tarda ‘'yjeni Che pia tarresti Lora ® tarda, vieni Why any longer — delay’ Thehour is late. Come, dt. la regal ‘donna ‘kjeze hedisti Dito la_—regal_ donna chiese, Vudisti. For you the royal lady asked, you hoard her. (The Princess* asked for you. you heard her.) LEONORA vnaltra notte aykor ‘sentsa ve'derlo Un'altra notte ancor senza vederlo! Another night again without —_seoing hin! INEZ perixsoza ——fjam:ma te utr Perigliosa —_fiamma tu nu Adangerous flame you are nurturing! ° ‘kkome ‘dove la primjera fa'vilila in te saippreze Oh come, dove la primiera avila in te s'appreso? Oh how, where (did) its first spark in you take fire? LEONORA mei tornei va'piparve “brine ‘le vesti dil tfimjer Nei tomei Viapparve, bruno le —vesti ed il cimier, Atthe tourneys. There appeared, dark the armor and the helmet, *Loonora is a noblewoinan and she is a lady-in-waiting (o the Princess of Aragon, ‘That is who the regal signora (royal lady) is. Hl Trovatore, Act I 341 lo 'skudo ‘bruno e ‘di na ippudo skonoffuts — gwerrjer loscudo brunoe —di_—stemma ignudo sconosciuto guerrier, the shield dark and of —_ crest devoid an unknown warrior, (At the tourneys. An unknown warrior appeared, wearing dark armor and helmet, and dark shield devoid of any crest,) ‘ke debla'gone = Xi_— novi che dell'agone gli. onori ottenne. who of the jousts the honors received... ‘al intfitor sul ‘krine ‘il serto io. pozi Al vincitor sul crine il sero io posi. To the victor on his head the — crown [ placed, (1 placed the crown on the victor's head...) tfivil gwenra intanto ‘arse ‘nol vidi Civil guerra intanto arse... Nol vidi Civil war meanwhile raged... didn't see him anymore! kome dauivato sonpo fird:dsente maga Come d'aurato —sogno fuggente —_imago! As ofagolden dream fleting image! (Like the fleeting image of a golden dream!...) edera ‘volta ‘Iga sta'dson ‘ma Ed era volta Tunga stagion, == ma Anddid pass long season, but then... (And a long time passed, but then...) INE ke a'viventne Che — avvenne?. What happened”. LEONORA askolta tatfea ta notte ‘platfida e'bbelila in fel sereno Ascolta! —Tacea la notte placida o bolla in ciel serono; Listen! Was silent the night serene and lovely in (the) sky calm; (Listen! The serene night was silent and lovely in the calm sky;) ta hima iil ‘vizoardsenteo—smostrava Ijeto ¢ ‘pieno. La luna il viso argenteo —mostrava_—idieto. e ©—_pieno... The moon its face silvery revealed happy and full, wands swoinar per laere imfing altior ‘si muta Quando suonar per Vaere, infino allor si muto, When resounding through —_the air, until then so quiet, dolt{i_sudico © flebiti Kjakikordi dun lito dolci s'udiro 2 Alebili gli accordi dun tuto sweet were heard and sad the sounds ofa lute. (sweet and sad were heard the sounds of a lute,) 342 WU Trovatore, Act I © ‘wersi_melayjkonitfi un trovator Kanto e versi_ melanconici un trovator canto. and verses melencholy a troubadour sang. (and o troubadour sang melancholy verses.) versi ‘di pretfe. edumili “kwal dwom ke 'prega id:dio Versi di prece od umili qual d'uomo che — proga Idi Verses of prayer and humble, as if fromaman who prayed (to) God: (Besoeching and humble verses, as if from a man praying to God:) iny ‘kwella ripeteasi um ‘nome ‘il ‘nome In quella ripetessi = un nome, il_~— nome mio}. In them were repeated a name, the name imine! (And in those verses a name was name!) ‘korsi al vero solstetfita ckkera ‘ekAjera des:so Corsi al veron sollecita.. egli era, _—_egli era desso!... Tran tothe balcony eagerly itwashe. it was het, ‘dgoja provai ‘ke aXfandseli_ ‘sala provar kontfesiso Gioia provai che agl'angeli solo ~—_provar concessol... Joy [felt that toangels alone is to feel allowed! (felt a joy that only angels are allowed to feel!...) al kore al ywarls estatico la lerra, un tfel sem'bro Al core, al —guardo estatico la terra un ciel sembro! ‘To my heart, to my gaze ecstatic, the earth a heaven _—_seemed! (The earth seemed like heaven to my heart and my gaze!) INEZ ‘kwanto na'rrasti di lurba'mento, ‘ma ‘pjena lalma io ‘tremo Quanto narrasti di turbamento” mha pena almal. Io tremo... Alll that you told me with anguish fills my soul!... I fear... LEONORA imvano Invano!... In vain! INEZ ‘dub:bjo. ma listo presentimento: im me rizvekha Dubbio ma tristo presentimento in me risveglia (A] vague but —sad_presentiment in me is stirred kwestwomo — arkano tenta ob:bliarls. quest'uomo —_arcanol. tenta obbliarlo.., {by} this man mysterious!... Try to forget him. LEONORA ke ‘dditfi 9 ‘bbast Che dici?... oh basti What are you saying?... Enough! 1 Trovatore, Act I 343 INEZ ‘tfedi ‘al ——kon'si Chiio ti vegga @ dup che tu miintenda..._vengo, Thet I see you is necessary. that you hear me... I'm coming. (Iimust see must hear me...'m coming...) a ‘noi su'prems e tal ‘momento A noi supremo 8 tal momento. For us supreme —is_—ssuch a moment. (This is our supreme moment.) (Blinded by love he neurs the steps but the sound of a harp stays him.) il = rovator io frema, 0 Trovator! — lo__fremo! The Troubadour! 1 tremble (with rage}! MANRICO (off stage) de'zerts. ‘sukla ‘terra ‘kol io destino in) qwenra Deserto sulla terra, col tio destino in guerra, Allalone on earth, with his evil fata at war, {All alone on earth at war with his evil fate,) e sola ‘speme wy kor uk al uovator 8 sola spomeun cor, un coral Trovator! is only hope a heart, a heart for the Troubedour! (His only hope is in one heart, a hoart for the Troubadour!) I Trovatore, Act I 345 DI LUNA °° ‘detti ‘io frem> Oh — dettit... io fremo! Oh words!... 1 tremble (with rage)! MANRICO ma ’sei kwel ‘kor pos:sjede ‘bello ‘di ‘kasta ‘fede Ma soi quel cor —_possiede, -—_ bello casta fede, But ifhe thet heart possesses, lovely with chaste promise, © doppi re maddyor = il trovator 2 dogni re maggior ~—il_——Trovator! is thaneny king _ greater the Troubadour! (if the troubadour possesses that heart so lovely with chaste promise, he will be greater than any king!) DI LUNA ‘nom minfyan:no ‘ella ‘ffende Non minganno... ella _scende! I'm not mistaken... she's coming down! (Di Luna wraps himself in his cloak. In the dark, Leonora mistakenly runs to him.) LEONORA ‘anima ‘mia Anima mia! My soul! DILUNA ke lar (Che far?) (What to do?) LEONORA piu detluzaiy ee tarla tora Pia doll'usato, = @ tarda Tora; More than usual is late the hour; io ne kontai sistant ko ‘palpiti el ‘kore Jo necontai_—glistanti_ co’ palpi del core! I counted of it tho instants with the beatings. of my_ heart alin ti gwida pietozo mor ‘fra ‘kweste bratsfa Alfin ti guida pietoso amor fra queste braccia... At last youareled (by) merciful. love. to. my arms MANRICO (his voice coming from among the trees) inyfida Infida! Faithless one! 346 LEONORA kwal voife Qual voce! That voicet (Tho moon comes from behind the clouds and reveals visor.) LEONORA (recognizing both men and throw! adable tenebre ‘tratta ‘in Ah, dalle tenebre tratta in Ah, bythe darkness led to (1 was deceived by the darkness!) a We kredea nivaldsere A te credea rivolgere To you Tthought to address a te ke alma ‘mia te che alma mi To you whom the soul mine id lama “Hl dgura. ‘tam Io amo, il giuro, amo, Tlove you, I swear it, I love you DI LUNA edozi Ed osi! And you dere! MANRICO (taking L a piu ‘nom ‘bramo. nora in his arms} Ah, — pitt non bramo! Ah, Task no more! DI LUNA avivampo ‘di furor Avvampo di furor! T'm burning with fury! LEONORA io tama To t'amo! Hove you! DILUNA se um ill nnon sei Se oun vil non sei, Ia coward you are not, I Trovatore, Act 1 re “io errore io anerror lattfento © T'accento e my words and sol kjede sol chiede, alone asks for, dim:mens> d'immenso, with immense. roveal yourself! aman whose face is concealed by his ing herself at Manricu's feet) fui fui! was! ‘non tui non a lui... not to him. sol dezia sol desia... alone desires. etema amor eterno amor! eternal love! 1 Trovatore, Act I 347 LEONORA sime (Ohimat) (Alas!) DI LUNA paleza il Palesa il nom Tell your name! LEONORA (softly, to Manrico) ‘de ‘per pjeta Deh, per ictal Ah, for —_pity's sake! MANRICO (lifting the visor on his helmet) ravvizami mani io ‘son Ravvisami, Manrico io. son. Knowme, Manrico 1 am. DI LUNA kome insana teme'rarja durdgel se'gwatfe Come’. Insano, temerario! DUrgel seguace, Whet?.. Mad, foolhardy man! Of Urgel" _a follower, a ‘morte proskritto —_ardiffi woldgenti ——a'kweste—'redge_ porte morte proscritto, —_ardisci volgorti aquosto regio porte? to doath sentenced, you dare come tothese royal doors? MANRICO ‘ke “Mardi ‘or ‘via le ‘gwardje appelila Che tandi?... Or via, le guardie appolla, Why do you delay? Come now, the guards call, (Why do you delay?...Come now, call the guards.) edil tivale al ‘ferro ‘del karoefitfe konseppa od il rivale al ferro® del carnefice_consegna! and your rival to the sword of the executioner hand over! (and hand over your rival to the executioner's sword!) I quote by permission Glass’; ‘vim George Jellinck’s indispensable book "History Throough the Opera "Neighboring Aragon found itself in @ state of turbulence following the death of its king, Martin | in 1410. ‘Three protenders sought the throne: Ferdinand do Trastamara, a Castillian princa and nephew of the late king; Count Fradique De Luna, of a poworful noble: house; and Jaime, Count of Urgel. A council of electors settled on Fettiinand as a compromise choice, but Urgol refused to abide by their decision Wis this Urgol whom Di Luna is referving to, the mau whose cause is espoused by Manrico. We will again encounter his name in the convent scone, as Manrico’s men attempt to rescun Lnonora. “As explained in previous footnotes, the word for sword is spada. In poetic italian it assumes other forms, like ferro (iron), acciarofasciaiofacciar (steel), lama (blade) and brando (weapon). 348 Il Trovatore, Act 1 DILUNA ita Fatale istante esssai_‘pju prosssima e I tuo fatale istante assai_piil pros: a, Your fatel moment much nearer is, to "yjeni dissennato!.... vieni madmen!... Com: (Your last moment is much nearer than that, madman!...Come...) LEONORA Contel... Count!... DILUNA ‘al mio. “zdeppo Al mio sdegno To my contempt _victim. kill you, victim of my contempt...) LEONORA > Yel tarsesta Oh ciel, tarresta! Oh heaven, stop! DI LUNA segwimi Seguim Follow me! MANRICO andjam Andiam!... Let's go! LEONORA ke ‘mai fatro un sol mio 'yridoperdere. (Che mai fara? Un solo mio grido perder (Whatever canIdo? One single my cry undo (What can [ do? One cry from me can undo him!) edwops —'kio ti zveni @d'uopo —ch'io ti sven it's necessary that I kill you... Io pwote lo puote!) him can!) “Imagine deveining a shrimp without killing it! Svenare (not to be confused with svonire, which means to faint) is literally “taking out your veins" (venol. It is again, a pootic form of the verb “lo kill’, which can also assume other forms, such as ammaxzare, trucidaro, uccidere, and spegnore, I Trovatore, Act E 349 DI LUNA no ‘di dgeloz> amor spretisala: No! Di geloso amor sprezzato No! Of jealous love spurned ‘arde ‘im ‘me tre'mendo ‘fwoko arde in me tremendo il__fuoco! burns in me terrible the fla: (No! My spumed and jealous love burns in me with e terrible fleme!) if tus ‘sangwe 2 Jagurata —_adestingwerlo fia ‘poke tuo sangue oh sciagurato ad estinguerlo fia poco! Your blood, ch wretch, to put it out would be hardly enough! (Your blood, wretch, would be hardly enough (to put out that fire!) (To Leonora.) ‘dirki 2 ‘folie ‘io ‘tamo ardisti Dirgli, 0 folle, “io tamo" aniistit... To tell him, oh foolish girl, "I love you" you dared ci ‘piu wivere nom'pwo un attfenta.——_proferisti Ei pit vivero non pud.... un —_accento proferisti he no longer live cannot one word you uttered. ke a motir Is konda'n:ino che a — morir Jo condann that to die has condemned him! (Foolish girl, you dared to tell him "I love you’... He can no longer live! You have uttered one word that has condemned him to death!) LEONORA unistante almen ‘dia ‘loko Un istante almen dia loco For a moment at least let make room two ‘zdeppo ‘abla ratdsone il tuo sdegno alla ragione: your scorn to reason (Let your scorn make room for reason for a moment:} io solio “di tama ‘foko som purtrapp> —la_—_—ikavdsone To, solio di tanto foco son purtroppo—la_—_—_cagiono! 1 only! of such fire am unfortunately the reason! ‘pjombi ‘il wo furore ‘sulla ‘rea ke toltrad:dso Piombi il tuo furore sulla rea che toltraggio... Let fall your fury onthe guilty gill that offended you. vibra ‘il ferro ‘ig ‘kwest ore Vibra il ferro in questo core Plunge your sword in this heart 350 I Trovatore, Act 1 ‘ke te amar ‘nony 'vwol ne ‘pwo che te amar non vuol ne pua. that you love doesn't want nor can. (that cannot and will not love you.) MANRICO ‘del superba € vana Tica ei Del —superbo 8 vena l'ira; ei Of tho haughty one is vain the rage: he (The haughty one's rago is in vain: il mortal ‘ke ator tinspira 1 mortal che amor tinspira The mortal who love inspires in you datlamor ‘fu 'rezo injvitto dall'amor fu reso invitto. by love was made invulnerable. kadra dame trafitto cadra da me trafitto: will fall by me run through: He will fall run throngh by me:} (L the mortal who inspires love in you, has been made invulnerable by that love.) la tua ‘sorte & ‘dja kompita La tua sorte & gia compita.. Your fate is already sealed. ‘Tora smai ‘per te swan Lora omai per te —_suone! Thehour now for you _ has struck! il'suo kore e€ la tua ‘vita ‘ildesting a suo com e — latua vila ildestino a Her heart and your life, fate to (The two mon loave, svords in hand. Leonora faints.) END OF ACTI me serbo me serbo! mo has given! 1 Trovatore, Act It 351 ACTO La Gitana (The Gypsy) Scene One A gypsy camp {A groat fire is burning in the center of a ruined dwelling on the slope of @ mountain in Biscay. Azucena is sitting by a fire and Manrico is lying near her, wrapped in his cloak and distractedly holding on to his sword. A group of gypsies is scattered around thom. It is early dawn.) GYPSIES vedi ‘le ‘foske notume ‘spokde Vedi! le fosche nottume spoglie See! The gloomy nighttime tatters de “Yell ‘zveste im:imensa ‘volta de! sveste immensa volta: ofthe heavens removes _—the immense vault; (See! The heavens’ great vault removes its gloomy, nighttime tatters: gr vy, nigl ‘sembra ‘una ‘vedova eal fin Si (KKE Sembra ama —vedova chealfin si toglie Like a widow who at last takes off i bruni ‘pansni ondera imvolia i bruni panni ond'era volta, the dark clothes with which — she was clothed. (They pick up their tools.) aklopra ‘daséi_ martella Allopra! agli, Martella. To work! At it. Hemmer it. ‘ki ‘del dgitana ‘dgomi a’bibella Che del gitano i giomi_ abbella? Who of the gypsy the days brightens? (They interrupt their work briefly, saying to the women:) ‘versamii un ‘trata, ‘lena € Versami un _tratto: Tena ° Pourme a draught: ~— Strength and il ‘korpa c ‘anima trag:gon dat il copa o anima traggon dal the body and — soul draw from (The women pour wine into erude cups.) la dzingarella La zingarella! The — gypsy girl! ko'rad:d3o, coraggio courage bere bere. drinking,