Le Nozze di Figaro, Act I 293 FIGARO ‘se (wwol sipnor kor‘tino so vuol signor Contino, fr -you wish to mister Count," 41 Kitarrrino ‘Te swone'ro il chitarrino le suonord. the little guitar ‘Tl play for you. (you want to dance, my dear little Count, Ill play the tune on my guitar.) ‘se ywol vernire ‘nella ‘mia ‘skwola Se -vuol venire nella mia scuola, ff youwantto come to my school, ‘a kapriola ‘le inseppe'ro la capriola lo insognerd. the cabriole"” ‘I will teach you. satpro ‘ma ‘pjano Saprd... ma _ piano: Twill know how to... but quietly: ‘meffo ‘onpi arkano dis:simu'lando —_sko’prir po'tro ‘moglio ogni arcano dissimulando scoprir otro. best every secret dissembling discover I can. (Ill know how to...but wait: best I pretend (that I'm not on to you) to so I can best discover your every secret plan.) ‘arte skermendo ‘larte adsprando Larte schermendo, Tarte edoprando, Your cunning outwitting, © my cunning employing, (By outwitting your cunning and employing my cunning.) ‘kwa pun'dgendo ‘di ‘la skertsando diqua pungendo, dila__scherzando, here stinging, there joking, “tutte ‘le ‘mak:kine soveffe'ro tutte le macchine rovescierd. all your plots I will upset. "Contino is in this caso a deprecating diminutive, “mister little Count’. The ino/ina diminutive perticles will be used later on with the Countess, as Cherubino (little cherub) addresses her as Contessing The latter is used affectionately, however, Which is not the case here with Figaro. 7 ? 14 cabriole in ballet terms is a vertical loap during which the dancer moves his foot back and forth as fast as he can keoy ‘ff the ground before gravity brings him down again. In equitaion, itis a stunt taught to horses, more or less demanding the ‘same defiance of gravity, Goats (capre) are known to do somersaults (from which tho ballet term is derived), and there bs ‘© subtle inference here having to do with a horned animal. Figaro is now aware that the Count has intentions of ewekoldine, © him with Susanne, that is, Figaro will develop the infamous horas of the cuckold, a matter of grave concern to the a Moditerranean man's ogo. ‘Asa humorous aside, whon I travelled to Japan with the Metropolitan in the 70s, we were invited by 1s aside, when Peer no tne inn re ot eign ty a rg Ashe sang the words Se ruol venir nella mi suole, after the word scuola, on that quarter note rst he executed y few a somersault lending on he fetta me to sing the next word, cpriola olay unperturbed, looking reese sc Proveess. We were all duly amazed.. king rathor smug at his athlatic