Sei sulla pagina 1di 80
331 IL TROVATORE Opera in four acts. Libretto by Salvatore Cammarano Based on the Spanish play £! 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 chieftain in love with Leonora: tenor Leonora, a noblewoman in love with Manrico: soprano Inez, Leonora's confidante: mezzo-soprano Azucene, a Gypsy, reputed mother of Manrico: mezzo-soprano Ruiz, a captain in Manrico's service: tenor ‘An old Gypsy: baritone ‘A Messenger: tenor Followers of Count Di Luna, Gypsies, Nuns, followers of Manrico, 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 bumed a gypsy at the stake for witchcraft. In revenge, this gypsy women's daughter stole from his cradle and burned 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 troubedour-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 Luna appears. He too is in love with her and wants to merry her. His musings are interrupted by the strains of an 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 himself ‘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 Azucens 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. Azucena, 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 that 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 are 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 mon and carries off his beloved Leonora. ACT I Count Di Luna is besieging Castellor. An old gypsy woman is brought into the camp and Ferrando recognizes her as the abductress and murderess of Di Luna's brother. In despair she utters the name "Manrico", making Di Luna even more furious. He orders Azucena to be bumed at the stake immediately. Inside the fortress of Castellor, Manrico and Leonora are about tobe married but Ruiz, Manrico's friend, brings word that Azucena has been captured and is about to be burned at the stake, The nuptials are interrupted as Manrico flies off to rescue Azucena. ACTIV Manrico 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, she offers herself to him in exchange for Menrico's life. Di Luna accepts and gives orders to his guards. Loonora 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 Menrico that he is free, 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 that she preferred death than life with another man. Sho dies and the Count sends Manrico to his death. Azucena, also close to death now reveals to the Count that he has just executed his own brother. Azucene’s mother has been avenged at last. 333, ACTI I Duello (The Duel) Scene One A hall in the palace of Aliaferia (There is a door on one side that leads into Count Di Lunds 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) alllerta a ‘konte ‘ne ‘dwopo atitender vidgilando Allerta! 1 Conte n’sd'uopo attender_—_vigilando; Take care! The Count womust serve (with) vigilance; edeski tatlor ‘presiso i ‘veroni Ed ogli talor presso i veroni And he sometimes near the balconies ‘delta ‘sua ‘kara ‘passa Ye not dolla sua cara passa le nolti. of his beloved — spends the nights. RETAINERS djelovia = le feri_‘sempi ‘Ki avventa ‘im ‘peta Golosia le fiere 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 trovattor ‘ke ‘dai dsardini ‘move not:tumo ‘i ‘kanto Nel Trovator, che dai giordini move notturno —il_—canto, Inthe Troubadour, who fromthe gardens — raises. nightly his song, ‘dun rivvale a ‘dritsto ‘ei ‘teme dun rivale a dritto ei a rival rightfully he —fears. RETAINERS ‘dalle ‘gravi_ palpebre il, ‘sono a diskattfar Dalle gravi palpebre il, ~= sonno.a_—diiscacciar, From our heavy eyelids the sleep to drive off, la vera ‘storja ‘tfi'narra di gardzia dsermano —‘al_—_ ‘nostro. 'konte Ja vera storia cinarra = di Gazi 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 boy 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 common word being fratello. 334 II Trovatore, Act I FERRANDO ‘ta diro venite intomo a'mme La dird; venite intorno ame. I will tell it; come around me. SOLDIERS (approaching) ‘noi ‘pure Noi pure... We too... RETAINERS udite Udite... Listen... FERRANDO ‘di ‘due fiXKi vi'vea ‘padre be'ato a ‘bwon ‘konte ‘di ‘luna Di due figli_vivoa padre beato.,. il buon Conte Di Luna. Of two sons thereliveda father happy... the good Count Di Luna.’ nutritfe ‘del sekondo: ‘nato: nutrice del secondo _—nato (the)Faithful nurse of the second born dormia ‘presiso ‘ta kuna dormia presso lacuna, slept near his cradle. ‘sul ‘romper dellaurora um ‘bel matitino Sul romper del'aurcra. un bel maitino At the breaking © ofdawn = one‘ fine day ‘ella diskjude i eki ‘wova olla dischiude i e chi trova she opened her eyes; and whom does she find ak:kanto a ‘kwel bambino ‘accanto a quel bambino? next to that baby? RETAINERS, SOLDIERS ‘ki fa'vella ‘ki ‘ki ‘mai Chit... Favella.. Chi? Chi mai? Who’... Speak... Who? Who was it? is story is complicated. ‘Therefore | feel a clarification for the confused is in order: Ferrando is talking about the old Count Di Luna, father of the present Count Di Luna the baritone villain of the opera, I Trovatore, Act I 335 FERRANDO abbjetta ‘dzingara “Toska Abbiotta zingera, fosca (A) despicable gypsy women, dark (A despicable dark and old gypsy hag!) \tfindgeva simboli ‘éi—maliarda Cingeva = i ——simboli di maliarda; Wearing the symbols -—of (a)__ sorceress; e ‘sul fantfuklo ‘kom ‘vizo_artfinpo E sul fanciullo, con viso_arcigno, ‘And over the boy, with face sullen, ‘Tokikjo idgea—torvo saxjgwinno Yocchio affiggea ——torvo, sanguigno! her eye she cast, grim, bloody! dorsror kompreza c= la._—_—oattritfe Dorror compressa 8 la _nutrice... With horror seized is the nurse... akuto ‘uy —‘grido al:laura ‘Ifokke ‘Acuto un grido_all'aura scioglio; (A) sharp cry intheair she utters; edek:ko im meno ‘ke il ‘absbro ‘diye Ed ecco, in meno che il —labbro il dice, And lo! In less than the lip tells it, (And lo! In less time then it takes the lips to say it,) i ‘servi akckorrono ‘iy kwelle ‘sokke i servi accorrono in quelle soglie; the servants —_ hasten into those thresholds; (the servants come running to that room.) € ‘fra minats ‘urli perkos:se, E fra minac uri, percosse, ‘And with threats, shouts (and) blows, ‘la ‘rea diskattfano — ken'trarvi O20 la rea discacciano chontrarvi os. the culprit they expel who to enter there dared. (they expel the culprit who dared to enter there.) RETAINERS, SOLDIERS ‘dgusto ‘kwei ‘pel “zdepno z Giusto quei_potti sdegno commosse, Righteous those breasts anger moved, (Those breasts were moved by righteous anger,) Ja salute strud:dgea la salute struggea! 336 Il Trovatore, Act I linyfame ‘vekskja. ‘lo provoko. Yinfame vecchia _lo provocd. the wicked —crone provoked it. FERRANDO asise'ri ‘ke tirar ‘del fantfu'l:lino Assert che tirar del fanciullino She claimed that cast the baby’s Is'roskopo_ volea budgarda Yoroscopo voles... the horoscope sho wanted... liar! (Sho claimod that she wanted to cast the baby's horoscope...the liar!) ‘lenta ‘feb:bre ‘del meskino Lenta febbre dei meschino (A) slow fever of the poor child (A slow fever began to destroy the poor child's health!) ko'verto ‘di paslor ‘langwido a'fifranto Coverto — di_ pallor, languido, _affranto Covered with pallor, weak, broken, e ‘di traeva ‘in lamentevol e ildi traeva in lamentevol and theday he spent _in pitiful ammalljato — ekkera ammaliato — eglieral Bewitched he was! (he chorus is horrified.) la fattukjera persegwitata ‘fu ‘preza € La fattuchiera persoguitata, fu prusa e The witch was pursued, was seized and ‘ma rima'neva ‘la maledettta ‘fikka Ma rimaneva Ja malodetta figlia, But there remained _—the accursed daughter,’ kompi kwestempja nefando Compi questempia nefando Committed _ this wicked woman (an) _ abominable (This wicked woman committed an abominable act!...) ‘sparve ‘il fantfulo =e ‘si cimjvenmne Sparve il fanciullo ~@ _sirinvenne Disappeared the boy and they found the health was destroying! ‘ei tremava ‘la ‘sera citremava la sera, he shivered in the evening, ‘pjanto pianto; ‘weeping; ‘al ‘ogo ‘fu. —konda'nnata al rogo fu. —_condannata! totho stake was condemned! ministra ‘di ‘sua vendetta ministra _di sua vendettal... instrument of her revenge! etitfesiso eccesso!... act. ‘mal ‘spenta ‘bradge mal spenta brage barely consumed embers “Lam leaving nothing to chance in this lurid tale of mistaken barbecues...Ferrando is roforring to Azucena, the old crone's daughter, very much involved in the present action of the opera. I Trovatore, Act I 337 ‘nel ‘sito istesiso ovarsa ‘un‘dgom ‘la ‘strega. = 'Venine. nel sito _istesso ov'ersa ungiomo _lastrega —-venne... inthe site samo where burned once the witch had been... (in tho very same site where the witch had once been burned...) e ‘dum bambino aime Iossame brutfato a med:dzo E d'un bambino, ahima!.... Tossame —bruciato §=——aa mezzo And ofa child, ales, tho skeleton burned helf fumante anjkor fumante ancor! smouldering still! and they found, alas, a child's half-burned skeleton, still smouldering!) RETAINERS, SOLDIERS a Jfelse'rata a ‘donna injfame ‘Ah scellerata! Oh donna infame! Ah, wicked women! Oh ‘woman infamous! ‘del 'par minjveste ‘ojo ‘ed orror e il ‘padre del par minveste odio. @ ——_orror! E il __ padre? doth itfillsme hate and horror! And the —fathor? (she fills me both with hate and horror! And the father?) FERRANDO ‘brevi & ‘risti ‘dsomi se Brevi e _tristi_giomni visso, Brief and sad days _ he lived, (His remaining days wore few and sad,) ‘pue —ipnoto ‘del ‘kor —_presentimento ditfeva Pur —ignoto del cor _presentimento gli diceva Yet an undefined in his heart presentiment told him (Yet an undefined presentiment at heart told him) ‘ke ‘spent: nonera a ‘fikko ‘ed a ‘morir vitfino cho —spento nonera il_—figlio. Ed, a mori vicino, that dead wasnot his son. And, to dying close, (that his son was not dead. And, when he was close to dying,) bramo ‘ke ll sinpor ‘nostro a Tui dgurasise bramé che il __ signor nostroa Iui_—giturasse hodesired that the master ours to him swear (he wished that our master* swear to him) ‘di ‘non tfe'sssar Je indadgini a fur ‘vane di non cess: le indagini... ah! fur vane! to not cease the — search.. Ab! It was in vain! “Phe present Count Di Luna 338 U Trovatore, Act I SOLDIERS e ‘di kollei_ ‘non ‘sebsbe kontettsa ‘mai Edi colei_ nons'ebbe contezza —mai? And of her — wasn't there received news ever? (And was no news ever received of hor?) FERRANDO ‘nulla kontettsa >_——_‘dato mi fosise Nulla contezza. Oh! dato mi fosse No news. Oh! That it should be granted me to. rintrattfarla ‘un ‘di rintracciarla un track her down _—some day! RETAINERS ‘ma rav:vi'zarla potresti Ma ravvisarla_potresti? But recognize her could you? speidirla spedirla, to send her. FERRANDO kalkolando —‘Ajan:ni traskorsi ‘Yo potrei Calcolando glianni _trascorsi... Io potrei. Calculating the years that have passed... T could. SOLDIERS sarebibe ‘tempo ‘pres: la ‘madre {fema Sarebbe —_ tempo presso la madre allinforno Itwould be time near her mother to hell (it would be time to send her to her mother in hell.) FERRANDO’ allimjfems kredentsa ‘ke ~—dimori ankor Allinferno?... E credenza_-—che_—_dimori ancor Tohell?... It's (a) beliof that it lives still ‘nel ‘mondo ‘anima perduta dellempja —‘strega nel mondo Yanima perduta —dell'ampia__stroga, in the world the soul —_ lost of the wicked witch. (To hell?,..It is a common boliof that the wicked witch's dammed soul still lives in the world,) e ‘kwando, ‘il ‘Yelo e ‘nero © quando il cielo 8 nero and when the sky black ‘im varje ‘forme altri ‘si 'mostri in varie forme altrui mostri, in various shapes to others _she shows herself. I Trovatore, Act I 339 RETAINERS AND SOLDIERS © wero e ‘wer z vero! & vor! Its true! It's true! svllorlo dei afkun ‘la veduta Sullode dei alcun Tha voduta! On the edge of some have seen her! ‘in ‘pupa 0 stridse talora ‘si'muta In upupao _strige. talora si muta! Into a hoopoe or —_sereech-owl sometimes _she changes! ‘in korvo. tallaltra ‘piu 'spesso ‘in z In corvo talaltra; pitt spesso in civetta, Into a crow at other times, more often into an owl, sul:lalba fuddsente ‘al par “di saletta sull'alba fuggento al par di sacttal through the dawn flying like en arrow! FERRANDO mori ‘di paura ‘un ‘servo ‘del ‘komte Moni di paura un servo del Conte, Died of fright a servant ~—of the Count, ‘ke avea ‘della ‘dzingara. ©—perkossa—'la._—‘fronte cho avea della zingara -—percossa’ © la_fronte! who had of the gypsy struck the forchoad, (A servant of the Count died of fright because he struck the gypsy's forehead.) FERRANDO AND CHORUS a mori ‘di palura, Ab! = mori di paura! Ah! Hedied of __ fright! FERRANDO a'psparve a kostui ‘duy ‘gufo ‘in sembjantsa ‘Apparve @_~—scostui dun gufo in sembianza, She appeared to him ofan owl in form, (She appeared to him in the form of an owl,) neklalta kwiete ‘di ‘tatfita ‘stantsa nell'alta quiet di_—_tacita stanza! in the deep calm of (a) silent room!... konokkjo ——_—luitfente gwardava ‘il tfelo Con occhio lucente guardava il cielo With eye gleaming —shestared _—_the heavens 340 II Trovatore, Act 1 tristando ‘dun ule 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 a a_ ‘sia maledeta ‘la ‘strega_imfernal a Ab! Ah! Sia maledetta la stroga infernal! Ah! Ab! Ah! May shebe cursed, the witch infernal! Ab! (The retainers run towards the door and the soldiers hurry to the back.) Scene Two ‘The gardens of the palace (lt is night. Thick clouds conceal the moon. To one side can be seen a marble staircase that Jeads to the apartments. Leonora and Inez are strolling.) INEZ ‘ke ‘piu ‘lora e ‘tarda 'vjeni Che pid Lora & tarda, vier Why any longer The hour is late. Come. ‘di te la regal ‘dona ‘kjeze Iudisti Dito la_regal_ donna chiese, Tudisti. For you the royal lady asked, you heard her. (The Princess? asked for you, you heard her.) LEONORA unaltra ‘notte ayykor ‘sentsa velerio Un'altra notte ancor ‘senza vederlo! Another night again without _seeing him! INEZ periéfoza ——‘fjamima ‘tw nutri Perigliosa fiamma = tu__—nutril... Adangerous flame you are nurturing!... ° 'kkome ‘dove Ja primjera favilila ‘in te salpypreze Oh come, dove Ia primiora —_favilla in te _s'apprese? Oh how, where (did) its first spark in you _ take fire? LEONORA ‘nei tornei va'piparve: ‘bruno ‘te 'vesti edi Uimjer Nei tornei. Viepparve, bruno le vesti__ed il cimier, Atthe tourneys. There appeared, dark the armor and the —_—_—ihelmet, “Leonora is a noblewoman and she is ¢ lady-in-waiting to the Princess of Aragon. ‘That is who the regal signora (royal lady) is. Il Trovatore, Act I 341 ‘lo 'skudo ‘bruno € ‘di ‘stemma ippudo skono/ffuto gwe'rrjer loscudo brunoe —di_—sstemma ~—ignudo sconosciute guerrier, tho shield dark and of crest devoid an unknown warrior, (At the tourneys. An unknown warrior appeared, wearing dark armor and helmet, and a dark shield devoid of any crest,) ‘ke del:la'gone ‘Ki onori ottten:ne che dell'agone—gli_—onori ottenne.. who ofthe jousts the honors received. ‘al —_vintfitor ‘sul 'krine “il = ‘serto. ‘io ‘poz Al vincitor sul crine il —serto io posi. To the victor onhis head the crown _ placed... (I placed the crown on the victor's head...) yivil ‘gwerra intanto ‘arse ‘nol ‘Vidi Civil guorra intanto arse... Nol vidi Civil war meanwhile raged...I didn't soe him "kome dauirato ‘soppo fud:dgente Come d'aurato sogno fuggente ‘As ofagolden dream fleeting (Like the fleoting image of a golden dream...) edera ‘volta ‘lunga_sta'dson ‘ma ‘ppoi Ed era volta Iunga stagion, ma poi... ‘And did pass long _ season, but then... (And a long time passed, but then...) INEZ ‘ke alviventne Che —avvenne?... What happened? LEONORA askolta tatfea ‘a ‘notte ‘platfida e bbelila ‘in ‘Yel se'reno ‘Ascolta! —Tacea Ia notte placida ebolla in ciel sereno; Listen! Was silent the —_night_serene and lovely in (the) sky calm; (Listen! The serene night was silent and lovely in the calm sky:) ‘la ‘tuna ill ‘vizo ardgenteo mostrava ‘Ijeto ‘pjeno Ia luna il viso. argontoo -—mostrava . lieto e —_pieno... The moon its face silvery revealed happy and full “kwando swo'nar ‘per ‘Taere imfino allor ‘si ‘muto Quando —suonar per Yeore, infino aller si muto, ‘When resounding through _the air, until then so quiet, ‘doltfi_ sudico € flebili Ajakkikordi ‘dun lituto dolci s'udiro 2 flebili gli accordi dun liuto, sweet were heard and sad the sounds ofa lute, (sweet and sad were heard the sounds of a lute,) 342 II Trovatore, Act I e ‘wersi melankonitfi ‘un trovator kan'to e vorsi. melanconici un trovator cant. and verses melancholy a troubadour sang. (and a troubadour sang melancholy verses.) ‘versi ‘di ‘pretfe e’dumili ‘kwal ‘dwom ‘ke ‘prega id:dio Versi di prece ed umili qual d'uomo che prega Iddio: Verses of prayer and humble, as if fromaman who prayed (to) God: (Beseeching and humble verses, as if from a man praying to God:) ‘ig ‘kwelsla ripeteasi_ un ‘nome ‘il ~— ‘nome. ‘mio In quella ripeteasi. = un nome, il nome mil... In them were repeateda name, the name minel... (And in those verses a name was repeated,..my name!) ‘korsi ‘al ve'ron solletfita &kera ‘e&Kjera ‘desiso Corsi al veron sollecita... gli ora, _—_egli era desso!. Iran tothe balcony eagerly... it washe, —_it was he... ‘dsoja_provai ‘ke a'fKandseli_ ‘solo Gioia provai che agl'angoli_ solo. 8 Joy [felt that toangels alone is {1 felt a joy that only angols are allowed to feell...) provar kontfesiso rovar concess to feel allowed... ‘al kore ‘al ‘gwardo estatico Ya terra un tfel sem'bro Al core, al —_guardo estatico la terra un ciel sembro! To my heart, to my gaze ecstatic, the earth © aheaven _— seemed! (The earth seomod like heaven to my heart and my gaze!) INEZ ‘kwanto narrasti ‘di turbamento ‘ma ‘pjena ‘io ‘remo Quanto narrasti di turbamento m‘ba piena Io tremo.. Alll that you told me with anguish fills 1 fear. LEONORA imyvano Invanol... In vein INEZ ‘dubsbjo ‘ma ‘tristo_presentimento ‘im me sizveséa Dubbio ma tristo_presentimento in me risvoglia (A) vague but sad_presentiment in me is stirred kwestwomo —arkano quest'uomo —arcan (by) this man mysterious! LEONORA ‘ke ‘dditfi Che dici?, What are you saying?... . Try to forget him... ‘tenta obsbli'arlo tenta_obbliarl ‘9 ‘bbasti oh bastil.. Enough... II Trovatore, Act I 343 INEZ ‘tfedi ‘al —_konisi«£o dellamista ‘tfedi Codi el consiglio —dll'amista. Codi. Give way to the advice of friendship. Give way. LEONORA ob:bliarlo uw parlasti ‘det:to Obbliarlo! tu parlasti detto Forget him! you spoke (a) word ‘ke intender ‘alma ‘non ‘sa che intender —‘'alma non sa. thet understand my soul —_ cannot. (that my soul cannot understand.) ‘di tale amor ‘ke ‘dirsi_ ‘mal ‘pwo ‘dalla pa'rola Di tale amor che dirsi_ melpud —dalla_parola, With such (@) love that tell scarcely by word, (With such a love that words can scarcely tell,) damor ‘ke intends ‘io ‘sola il ‘kor — sinnebri'o d'amor che intendo —io-—sola” il = cor_sinnobrid. ofalove that understand I alone, my heart “is intoxicated. ‘l'mio destino ‘kompjersi ‘nom 'pwo ke aint dapppresiso Ii mio dostino compiersi non pud che alu dappresso.. My — destiny be fulfilled cannot unless to him oar... (My destiny cannot be fulfilled unless I am near him...) ‘sia ‘nom vi'vro peresiso, mori a 'ssi S'io non vivrd per esso, morird, ah sk. TfI can't live for him, I will die, eh yes. NOTE: The scene usually ends here. If Leonora wishes to sing the cabaletta a second time, which is hardly ever the caso, the following line for Inez is added: INEZ ‘non ‘deb:ba ‘mai pentirsi ‘Ki ‘tanto ‘un ‘dgomo_ am {Non debba mai pentirsi chi tanto un giome (May she never have to rogrot it who somuch oneday —_—_loved.) (May one who loved so much not have to regret it some day.) (Chey re-enter the apartments. Then Count Di Luna comes in.) "Ono of the words for "to forget” is obliare. "Oblivion" is oblio. However, one finds the older spelling of this word with a double b as obbliare, or obblio. ‘It is very difficult to got the triphthong amor che intendo jo sola on the eighth note allowed for this syllable in the music. ‘The singer may opt to make an elision, thus: d'amor che intondio sola, leaving out the o of intendo. 344 II Trovatore, Act I DILUNA ‘tatfe Ja‘notte —immersa_ nel ‘sonma.© = la._—sre'gal__sippora Tace lanotte!.. Immersa nel sonno& ~—la_—regal’_signora, Is silent the night!.. Immersed in sleep is the _—_royal_ lady. (The night is quiet... The Princess is asleep...) ‘ma, ‘vekKa ‘la ‘sua ‘dama ° leonora. ‘tw ‘desta ‘sei Ma —veglia la sua dama... Oh —_Leonora!. tu desta sei... But on watch (is) her lady-in-waiting.. Oh, Leonora!... You awake are. ‘mel ‘ditfe ‘da. "kwel_ ve'rone temollante ‘un ‘radsd30 Mel dice da quel_verone tremolante un _raggio Itis told me from that balcony (by) quavering a ray ‘della not:tuma ‘lampa a lamoroza ‘fjam:ma della notturia —_lampa. Ah! Tamorosa —_fiamma of the night lamp. Ab! The loving flame ‘marde ‘opni ‘fibra m'arde ogni fibra! bums (my) _ every fiber! (1'm told by the quavering ray from the night lamp coming from that balcony that you are awake...Ah, the flame of love burns my every fiber!) ‘kio "ti 'veg:ga e ‘dwopo ‘ke tu ——smintenda venga Chiio ti vegga & d'uopo... che tu mintenda..._ vengo... That I see you is necessary... that you hear me... I'm coming... (must see you...you must hear me...!'m coming...) a noi suiprems etal momento An supremo 8 tal momento. For us supreme is such a moment. (This is our supreme moment.) (Blinded by love he nears the steps but the sound of a harp stays him.) ‘i trova'tor ‘io ‘fremo 1 —Trovator!. © Io_—_—fremo! The Troubadour! I _ tremble (with rago)! MANRICO (off stage] dezerto ‘suka ‘terra ‘kol tio destino ‘i ‘gwerra Deserto sulla terra, col tio destino in guerra, Allalone - on earth, withhis evil fate at war, {All alone on earth at war with his evil fate,) © ‘sola. ‘speme un kor uy kor al trovator @ sola spemeun cor, un cor al Trovator! is only hope a heart, a _heart_for the Troubadour! (His only hope is in one heart, a heart for the Troubadour!) I Trovatore, Act I 345 DILUNA ‘0 ‘detsti ‘io ‘fremo Oh detti!, io fremo! Oh words!.. [tremble (with rage}! MANRICO ‘ma ‘sei ‘kwel ‘kor —po'sisjede ‘bello ‘div ‘kasta ‘fede Ma sei quel cor possiede, bello di casta fede, But ifhe that heart possesses, lovely with ° chaste promise, e ‘doppi ‘re maddgor = 'il_——strovattor a dogni re maggior ~—sil_—Trovator! is thaneny —_king greater the Troubadour! the troubadour possesses that heart so lovely with chaste promise, he will be greater than any king!) DILUNA ‘nom misjgan:no ‘ehla ‘fJende Non minganno... ella_scende! T'm not mistaken... she's coming down! (Di Luna wraps himself in his cloak. In the dark, Leonora mistakenly runs to him.) DI LUNA ke ‘ffar (Che far?) (What to do?) LEONORA ‘pu deliluzato == tarda ‘tora Pit del'usato. «= ~— tarda Tora; More thanusuel is late the hour; jo me kontai —_Aistanti "ko ‘palpiti ‘del ‘kore To necontai _glistanti_— co’ palpiti del corel... IT counted of it the instants with the beatings of my heart... alfin ‘ti'gwida pjetozo amor ‘fra ‘kweste ‘bratatfa Alfin ti guida pistoso amor fra queste bbraccia... At last youareled (by) merciful love to my arms... MANRICO (his voice coming from among the trees) injfida Infida! Faithless one!