IL BARBIERE DI SIVIGLIA (The Barber of Seville) in two acts. Libretto by Cesare Sterbini, based on Beaumarchais' Le Barbier de Séville First porformed at the Teatro Argentina, Rome, February 20, 1816 CHARACTERS Count Almaviva, Grandee of Spain: tenor Doctor Bartolo, guardian of Rosina: basso-buffo Don Basilio, a slimy intriguer and Rosina’s voice teacher: basso Figaro, a barber: baritone Fiorello, servant to Count Almaviva: bass or baritone Berta, housekeoper of Dr. Bartolo: mezzo-soprano Rosina, a young girl, ward of Dr. Bartolo: coloratura soprano or mezzo-soprano ‘Ambrogio, a servant of Dr. Bartolo, bass or baritone ‘An Officer: tenor or baritone A Notary: bass or baritone Soldiers, neighbors, constables, musicians. ‘The action takes place in Seville in the XVIII century. ‘THE PLOT ‘ACT ONE, ‘Scene Ono ‘On the street beneath a window of Dr. Bartolo's house, Count Almaviva, who is desperately in love with Rosina, the ward of Dr. Bartolo, serenades her accompanied by his servant Fiorello and a small band of musicians. As there is no response, he dejectedly pays off the musicians and tells them to go away quietly, but his generosity provokes a hubbub of appreciation with endless, noisy thanks. Just then Figaro, the barber, the general factotum and busybody of the town, enters and proceeds to tell us about his charmed life as a go-between, as a tonsorial expert, matchmaker and more. He sees the Count, recognizes him, and the Count states that he wishes to remain incognito under the name of Lindoro. Figaro immediately starts plotting with the Count on how to get him into Dr. Bartolo’s house to meet Rosina. Rosina is strictly watched by Dr. Bartolo, who plans to marry her himself since she is both beautiful and rich. In this he is assisted by Basilio, the music master. Rosina, however, despises the old man and is intent on winning the handsome Lindoro ( who is, unbeknownst to her, Count Almaviva) for herself by employing her pixyish wiles. The Count is encouraged by Figaro to sing another song. This time Rosina does appear at her balcony, and manages to drop a note onto the street. She declares her passion for the Count, at the same time asking about his intentions. ‘The scene ends with a clever duet in which Figaro comes up with ideas on how to get the Count into Bartolo's house. A drunk soldier {s finally agreed upon, and with the incentive of gold as a reward, Figaro and the Count exult in their respective anticipation. Scene Two Rosina enters a room in Dr. Bartolo's house, writes a note and tells us of her plan to "catch" Lindoro. Meanwhile Dr. Bartolo has made known to Basilio his suspicions that Count Almaviva is in town and ‘moreover in love with Rosina. Basilio advises to start a scandal about the Count to disgrace him. Figaro ‘comes in and an animated conversation ensues during which he tells Rosina that the young man's name is Lindoro, a cousin of his, who is deeply in love with her. Rosina is delighted and gives Figaro the note she had written, for him to give "Lindoro’. Bartolo grumbles at Rosina for having dropped a note from her balcony, and, even though she has a ready answer to all his questions, he continues to disbelieve4 all her excuses, and reads her a lecture on the futility of trying to dupe him. The Count has disguised himsolf as a drunken soldier, and now knocks on Bartolo’s door, yelling obstreperously. He forces his ‘way into Bartolo's house, much to Bartolo's annoyance. Much shouting and horseplay ensues, during which Rosina is delighted when she recognizes Lindoro in disguise, the latter shouting that he is ready to kill the doctor. The noise and tumult brings in Figaro, who tries to calm down the Count, but the latter is adamant and the shouting with Bartolo continues. ‘The police arrive, and an officer is about to arrest the perpetrator Lindoro; the latter presents him with a ring, showing that he is a Grandee of Spain. ‘The Officer is stunned into silence and salutes him. Bartolo, on seeing this, becomes speechless. The act ends with a soxtet finale, including principals and chorus, all in utter confusion. ACT IL Scone One ‘The Count, this time disguised as a timid music master, enters Bartolo's house. He assumes the name Don Alonso and pretends that he has been sent by an ailing Basilio, to give a singing lesson to Rosina. Bartolo is suspicious but the Count obtains his confidence by producing Rosina's letter to himself and ‘trying to persuade Bartolo that this letter was given him by a mistress of the Count. The music lesson ensues. Rosina lets out a squeak as she recognizes Lindoro under his disguise. He promptly sits at the harpsichord and she sings an aria. Bartolo insists that music in his youth was much better and begins himself to sing an arietta. Figaro bounds in. It is time for the Doctor's shave, and even though the latter protests a while, he finally sends Figaro off to look for the necessary implements. Managing to momentarily distract Bartolo, Figaro shows the two lovers the ring of keys he has managed to lift. The real Basilio now unexpectedly comes in to the lovers’ discomfiture. They manage to convince Basilio that he is trembling with scarlet fever, and with a few purses of gold, he gets the point that itis better to leave. The shaving begins, while the two lovers plot to elope at midnight. Somehow Bartolo manages to overhear the Count admit that he is only disguised as Don Alonso. In a rage, Bartolo pursues them with his shaving towel, and the scene ends with a rollicking chase. When the Count and Figaro have left, Bartolo, who has the letter Rosina wrote to Almaviva. suceeds in telling Rosina he secured it from another lady-love of the Count. Rosina, feeling betrayed, agrees to marry Bartolo in the moming. She tells him of the plan to escape at midnight. She is heartbroken. ‘Scone Two Itis midnight. With the help of a ladder, Figaro and the Count come in through a window of Bartolo's house. Rosina appears and in a rage accuses her lover of being a procurer for “the vile Count Almaviva". ‘Tho Count opens his cape and reveals to her that he is Count Almaviva, and not Lindoro. Rosina is overwhelmed, the Count is ecstatic and Figaro is impatient to get out of the house. A Notary (hired by Bartolo for his own marriage) and Basilio enter. ‘The Count forces Basilio at gunpoint to act as witness to his marriage, the notary obliges and by the time Bartolo arrives, all is over, and he bewails all of his “useless precautions’. A Tolicking finale ends the opera.ACTI ‘Scone One Il Barbiere di Siviglia, Act I (in a square in Seville it is dawn. To one side is Dr. Bartolo's house with a windowed balcony. Fiorello, lantern in hand, is telling some musicians to take their places umder the window.) NO. 1 INTRODUCTION FIORELLO ‘ana pisnissimo Piano, Planissimo, Quitly, very quietly, suet ‘kom me ttt con me everyone with me, ‘CHORUS Piano, panissimo, ‘elckotfi‘kwa eccoci qua. hore we are. FIORELLO ‘tutto © silentsjo Tutto & — silenzio; All is silent, ‘ke i nostri “kanti cho inostri canti that our songs ALMAVIVA (entering and addressing Fiorello) forelo ola Fiorello... Fiorello... “Ki amitfi gli amici? our friends? ‘pronti “dsa. pronti gia. They're (They are here ready to serve you.) ALMAVIVA ‘bravi bravissimi fate Bravi, bravissimi, fate Bravi, very good, be. ready already. ‘sentsa parlar sonza parlar, without talking, venite ‘kwa vonite qua. come here. ne'ssuy ‘kwi sta nessun qui sta nobody is here ‘possa_turbar Posse turber. could disturb. sientsjo jana pjanissims —‘sentsa silenzio; Piano, Pianissimo, sonza silent, quietly, very quietly, without parlar parler.6 11 Barbiore di Siviglia, Act I FIORELLO Senza parlar. CHORUS NO. 2 CAVATINA ALMAVIVA (placing himself under th window) ‘ek:ko ridente ‘Yelo ‘spunta ‘la bella aurora Ecco ridento in ciclo spunta la bella aurora, Soe, smiling in (the) sky breaks the beautiful © dawn, © tu ‘non 'sordsiakore © © pwoi dormir koi eta nonsorgi = ancora = puoi. dormir cosi? and you haventtrisen yet and can sleep s0? (how can you sleep with the beautiful dawn breaking on the smiling sky?) ‘sordgi ‘mia ‘doltfe ‘speme ‘vjeni Sorgi, mia dolce spome, vioni, ‘Arise, my sweet hope, come my lovely angel; ‘rendi ‘men ‘krud>__ 9 “ddio oral ke = tmi feri Rondi men crudo oh Dio Jo stral cho mi fori. Make less harsh, ohCupid, the arrow that has wounded me. sorte “esa ‘vegigo ‘kwel ‘karo sembjante Oh sorte! Gia veggo quel caro sombianto; Ohluck! Already Tsoe that dear countenance! kwestanima —_atmante stttenine pieta Questanima amanto ottenne pieta. This soul loving hasbeen granted mercy. 2 istante damore felitfe momento Oh —istanto d'amore! “Felice momento! Oh _ instant loving! Happy moment! (Oh what a loving instant!) © ‘doltfekoritento ‘ke egwal_ nena Oh dolce contento. che egual_ non ha! Oh sweet happiness that equal_-has not! (Oh, sweet contentment that has no equal!) (lt is gradually getting brighter) Loving appellations in Taian are many and varied. Perhaps the one most often used is mio amorejamore mio (my love). However, one also soe: dolo (idl), speme (hope), angelofangioliangiolo, (angel), mio tesorojtesore mio, (my treasure), mio bene) ben ino (ray love), mia gioia,gioia mia (ty joy), mia vitevita mia (my life) and afew more. tn the so-called "critical edition” ofthis opers, one finds many minute discrepancies from the time-tested scores that have been used for decade upon decede, such es Ricord and Schirmer. One of the nonsensicel changes isto ave the Count bepin the Beacon of his song by saying Terele!, meaning "be qula™ When in all our years of soeing this oper has the group of ‘musicians stopped plaving and kept aut! NEVER! Infact, at the fast tempo of the section, they “play” thei instruments with renewed vigor.I Barbiere di Siviglia, Act 1 ‘ei figretlo ‘ai ‘la vedi Di, la vedi? Tell me, do you see her? FIORELLO sipnor ‘no Signor no. Myon, no. ALMAVIVA a ‘ke vana‘opni—spe'rantsa Ah! Che vana ogni sporanza! Ah! —Itis vain every hope! (Ah! Every hope is useless!) FIORELLO sinnor konte il ‘30m atvantsa Signor Conte, il giomo avanza... My Lord, the day is breaking... ALMAVIVA ake ‘penso ‘ke fat ‘wets ‘vano Ah! che penso! che far? Tutto vano. Ah! What am'Ithinking! What shall Ido? Allis in vain. CHORUS (softly) ‘mio sipnor Mio signor. My lord. ALMAVIVA. avanti Avanti. Come forward. (Ho gives a purse to Fiorello, who distributes the money to all.) iu ‘Ai 'swoni ‘piu'dikanti_ io —bizonno ormai nono Pin di suoni, ——pid'dicanti io —_bisogno ormai non ho. No more music, no more songs I need no longer not have. {Ino longer have need for any more music oF songs.) FIORELLO ‘bwona ‘notte a ‘tutti kwantipjudi_= Voi. ‘ke. = far ‘nom so Buona notte a —tuttiquanti, pitt di voi~=sche- far nomso. Good night to allofyou, more with you what todo I know not. (Ihave no more use for you.)8 1H Barbiere di Siviglia, Act I (Tho musicians, delighted with the Count’s genorosity, noisily surround him with expressions of thanks and appreciation. Annoyed by the noise they are making, he chases them away. Fierello does the same.) cHoRUS ‘mille ‘gratisie ‘mio sipnore ‘el favore deliornore Mille ie mio signore... _-del_favore, doll'onorn.. A thousand my — ord... for the favor, for the honor... a i “im verita Ab, di in vorita. ‘Ab, for such courtesy indeed! 2 ke ijkontro ‘un sinnor ‘ai Ob, che incontro —_—fortunat, un signor a Oh’ what encounter a gentleman of ALMAVIVA “basta ‘nom palate ‘ma ‘non ‘serve Basta! Non parlate! Ma non serve! Enough! Don't talk! It's no use! male'detti aidate via =a kainaffa ‘di kwa Maledetti, andato vie, ah, canaglia, via. «di qua. You cursed ones, go away, ah, —yourabble, away from _herel ‘tutta ‘kwanto il_——_vitfinato “kwesto ‘jasso wekke'ra Tutto quanto il —_vicinato ‘quosto chiasso svegliora. All of the — neighborhood this din will awaken. (The whole neighborhood awaken with this FIORELLO ‘sit: ‘ke mmore che rumor... Quiet what a noise! Malodotti, via di qua! Ah, canaglia, via di qua! ve Ke kjasiso indjavolats) ake Ve! cho chiasso indiavolato, ah, cho See here! What _ uproar devilish, ah, what rage that (This devilish uproar makes me furious!) (The musicians go off.) ALMAVIVA ‘dsente indiskreta Gente indiscrota! People indiscreet! (What indiscreet fellows!) FIORELLO a ‘kwazi kon kwel_"Kjas:so Ah, quasi con quel chiasso ‘Ah, almost with that uproar importuno importuno ill-timed kwaltta qualita, quality! mi fal it gives me!Il Barbiere di Siviglia, Act I ‘tutto ‘kwanto ‘il kwartjere. = 'an_—riave'éKato. afin ‘sono. partit tutto quanto il quartiere, ~=—shan_—risveglato. Alfin sono partiti! all of the quarter they've roused. Atlast they have left! (they have roused the whole neighborhood.) ALMAVIVA (looking up at the window) © ‘non'si'Vede © inutile sperar E _ nonsivede. = inutile sporar. (And) Icannot see her. tis useless to hope. eppur “kwi“VokKKoaspetiar ‘di velderla (Eppur qui voglio aspettar @i—vederla. (And yet here want to wait until Isee her. ‘onni matting ‘ella ‘su kwel__balkone Ognimattina ella su quel_balcone Every moming she at_—that_—balcony, aprender “Tresko ‘viene sullaurora. —_pro'vjamo aprender fresco vione sull'aurore, Proviamo.) to take the air ‘comes at dawn. Let me try my luck) (Bvery dawn she comes to her balcony for some fresh air.) olla ‘tw agora ritirati fared Ol, tu ancora —_ritirati Fiorel. Ho there, you there, you can go _—_—Fiorello. FIORELLO ‘vado Ja im fondo. attende'ro —‘swoi‘ordini Vado. La in fondo attonder> —suoi_onini. Tam going There in back Iwillawait your orders. (ite leaves.) ‘ALMAVIVA ‘kon ‘lei «se parlar ‘mirieffe ‘nom vokfo —_testimoni Con loi so pasar miriesce, non voglio _testimoni. With her if to speak Tmanage, I don't want witnesses. (fT manage to speak with her, I want to have no witnesses.) ke a kwestora ‘kwivengo Cho a — quostiora qui vongo That at this hour here come ‘per Tei devessersi por lei dov‘essorsi for her sho must have noticed. (By now she must have noticed that I come every day at this hour) vedi amore a ‘un ‘womo “del mio. rango Oh, vodi, amore a = un tomo del mio rango Oh, 508 how love to a man of my __ station “ome what _it has done! (Seo what love has done to a man of my station!)10 Il Barbiere di Siviglia, Act 1 eppure 2 devessere mia “spoza Eppure! Oh! devessoro mia _—_sposa. Nevertheless! Oh! She mustbe my wile. (Figaro is heard singing from a distance.) a ‘mai kwestimpormno laffamolo —_pa'ssar Chi mai questimportuno?... Lasciamolo _passar; Who is ever this trouble-maker?.... Let me let him pass; ‘sotto ‘kweX{i ‘arki_ ‘nom ve'duto.—_vedro ‘Kanto bi'zonna Sotto quegli archi, non veduto, vedrd quanto bisogne; Under those arches, unseen, Iwill see alls T want; ‘tsa Iba alpspare © amor ‘non 'si vergonna Gia Yalba apparo © amor non si vergogna. Already dawn is breaking and_— love _is not ashamed. (and there is no shame in love.) NO. 4 CAVATINA FIGARO (from behind the scone) ‘aera lata tk Ss (Appearing on stage.) ‘arg ‘al faktotum = “delela_fitta ‘largo Largo al factotum —dolla_citta, largo! Make way for the factotum of the city, make way! La ran Ja Ja ran Ja la ran la. ‘presto a bottega ‘ke alba © ds presto Prosto a bottoga cho alba 8 gid, presto! Quickly to my shop for dawn is here, quickly! a ke bel Vivere ke bel pattfere ‘Ah, cho bol _vivore, cho bel_piacero ‘Ah, what a good life, what lovely pleasures. ‘per ‘um —_barjere ‘a kwalita per un _barbiere ai qualita! for a barber of quality! a ‘bravo figaro ‘bravo bralvisssims ‘bravo Ah, bravo Figaro! Bravo bravissimo, bravo! Ah, bravo Figaro! Bravo, bravissimo, bravo! fortunattsssimo ‘per verita Fortunatissimo per —_vorita! Most fortunate in (all) truth! ‘pronto a Yar ‘tutto ‘la'notte © égomo Prontoa far _—_ tutto, Ja notte © il'giorno, Ready to do anything, -—night. and day,11 Barbiere di Siviglia, Act 1 a ‘sempre dintorno ‘in “Asia ‘sta sompre dintome, in giro sta, always about, on the go ho is. (am.) mikkor Javickanpa per um barbjere vita ‘pju'nobile ‘nom 'si‘da Miglior cuccagna per un barbiore, vita pit nobile no, non si da. A better abundance for abarber, | alife nobler cannot be found. razori € —‘pettini lantfette =e Torbitfi Rasori © —_pottini, lancotte © forbici® Razors and combs, lancets and scissors ‘al mio komandy ‘tutto “eo ‘sta al mio. comando tutto qui sta at my command — everything is ready here. ‘ve ta sisorsa ‘poi ‘del mestjere olla donnetta va la tisorsa, poi, dol mestiore cola donnotta... There are the -—_—perks, then, of the trade, with the young ladies... ‘Kol kavailjere col cavaliere... with the young cavaliers... Ah, che bol vivere, che bel mestiere, etc. ‘ttt ‘mi‘kiedono tutti ‘mi vokKon9 Tutti mi chiedono, tutti mi vogliono, Everybody asks forme, everybody wants me, ‘donne ‘velcki fantfulle donne, vocchi, fanciulle; women, oldsters, young girls; “kwa ‘presto Qua presto Here a quickly ‘kwa ‘la sajgwinpa “presto L—_bikketto ‘Figaro Qua la —sanguigna, presto. il iglietto. Figaro Here the leech, quickly the billet doux. Figaro! (love note.) aime ‘ke Tarja ke = folta Ahima, che faria! Cho folla! Alas, what a fury! What a crowd! Another insignificant change occurs hore in the “eitical edition’. Rasor e pettini,lancete ¢ forbii tbe first time, but ancette ¢ forbic,resori 0 potini tho second time, From Titta Ruffo through Stacciari, Amato, Granforte, Warren, Tibbett, Milnes, Mori, a gyand gallery of Figaros that inversion was naver done. My advice, repeat the phrase as writen above, with the words ithe same onder. Its easier to remember and sing. “Fore barba(\terlly,"wo make ben”) isan expression meening “Yo shave”. In our modern days of electric razon, the ‘word ridere ie used.2 1 Barbiore di Siviglia, Act 1 ‘moa ta Wolta per arta Uno a la _— volta per carita! One at a time, for charity's sake! ‘ci figaro ‘son wa ‘ei_—figaro ‘sons Ehi.. Figaro, son qua. Ehi.. Figaro, son qua... Hey... Figaro! 'm . here! Hey, Figaro! I'm here... ‘figaro ‘kwa figaro ‘la igaro ‘su = figar>.‘dyu Figaro qua, Figaro la, Figaro su, Figaro git. Figaro here, Figaro there, Figaro up, Figaro down. ‘pronto pronitissimo ‘son “komme ‘fulmine Pronto prontissimo son come fulmine: Quick, very quick, Tam like lightning: ‘sono ‘il faktotum = “della Sono il —factotum lla Tam tho factotum —of the. Ah bravo Figaro, bravo, bravissimo, fortunattis'simo ‘per verita fortunatissimo por verita! ‘most fortunate indeed!* Sono il factotum della citta, etc. 2 hake bela ‘Vita fatikar ‘poko — divertisi Ah! Ab! Cho faticar poco, divortirsi Hal Hal What To work little, amuse oneself much, (have a good time,) © fin taska ‘sempre aver "rwalke doblone © in tasca_sempro aver qualche doblone, and in pocket always to have some doubloon, (and always to have some money in my pocket,) ‘gram ‘frutio. “della ‘mia riputatisjone gran frutto della mia riputazione. great fruit of my reputation. ‘ekcko kwa ‘sentsa ‘Figaro Ecco qua: Sonza Figaro Here's how it is: Without Figaro “This line of text is sometimes changed to "A te fortuna non mancherd. you & a To ‘Also make use ofthe two essimilations ta per um brbiere, end nom mancherd These Dllor sections like these, Without them the articulation of the text ts almost impossible fortuna ‘nom magkeve fortuna ‘0m manchert. ood luck wall not lack. imilations are very necessary in fast that tempo.Il Barbiere di Siviglia, Act I 13 ‘non ‘si alckaza in sivigta ‘une raigatitsa non si accasa in Siviglia una ragazza; doesnot get married in —_Soville one gil; (not even one gir! can get married in Seville:) a me Ta_—svedo'vela = ritkorre ‘pel matrito A me. Ia_—vodovella_—ricorre pol_—marito: To me the _ widow comes for a husband: (Widows come to me for a husband:) io ‘kolla ‘skuza “del ‘petting ‘di “yoo To olla scusa del pottine di giao, L by using the comb by day, ‘della Kitarra ‘Kol favor ‘dela ‘notte a tutti onesta'mente dolla chitarra col favor della notis, a _— tutti onostamonte, the guitar by night, to all__—_fairly, ‘nom Yo ‘per ‘dir maidatto afar pjatfere non fo por dir, madatto afar piacere. it goos without saying, Iam well able to. please. (it goes without saying that with my comb by day, and with the help of my guitar at night, 1 am well able to please everybody fairly.) © ke wita ke “bhel_—-mestiere orsu presto a botttega Oh cho. vital! Cho bol mostiore!._ Orsi, presto a Oh what allifel What lovely profession! © Now quickly to (my) shop. ALMAVIVA (coming forward, to himself) € ——‘dessso.oppur ‘mig ganno EB dosso, o pur minganno? Isit he, | or am I wrong? FIGARO (noticing the man, to himself) ‘ki stra ‘mai ostui Chi sara mai costui? Who can this be, that man?, ALMAVIVA (to himself) 2 eth senitsaltro Ob, 8 —Iai_—sonzaltro! Oh, itis he —_without a doubt! (Aloud) ‘Figaro Figero! FIGARO ‘mio pafdrone Mio padrone. My — master.. (At your service...) (Recognizing the Count.)“4 UI Barbiere di Sivi 2K ettjeentsa Oh, chi voggo! Eccollonza!... Oh, whom dol see! Your Excellenc} ALMAVIVA ‘isitto pritdentsa —_—_‘kwi ‘non ‘son kono'/futo ‘ne ‘vo farmi koinoffere Zitto, prudenza! _ Qui non son conosciuto _n6 vo' farmi conoscore. Quiet, be carefull Here nobody knows me and do not wish to make myself known. ‘per ‘kwesto 9 Te'mie ‘gran radzoni Por questo ho lemie gran ragioni. For this Ihave my good reasons. FIGARO ivtendo ‘a taffo in liberta Intendo, Ja lascio in liberta. Tunderstand, Tl leave you in freedom. ALMAVIVA. ‘no No. No... FIGARO ‘ke ‘serve Che serve? Oh, what's the use? ALMAVIVA, ‘no ‘diko testa ‘kwa No, ico; resta qua; No, Tsay, stay here; forse ‘ai dizenni ‘mjei ‘non ‘égundsi Forse ai disogni misi non giungi Maybe for the plans mine your arrival is not inopportune. ma kospettto. == “dimmi ‘um ‘po bwona ‘lana Ma —cospetto, —dimmi un buona lana, But heavens, —tellmea_—bit,-—_-you rogue, ‘kome ti trove come ti trovo how I find you poter ‘del ‘mondo ‘grassoe —‘tondo Poter del mondo, voggo grasso © ond. By all that's mighty, you're looking fat and _—_round., FIGARO (ironically) ‘ia mizerja sinnore La misoria, signore! Poverty, my lord ALMAVIVA a birbo Ah birbo! ‘Ah, — scoundrel!Il Barbiere di Siviglia, Act 1 15 FIGARO ‘grattsje Grazio. ‘Thanks. ALMAVIVA ‘ai ‘m agkor dsudittjo Hai ‘meso ancor_giudizio? Have you acquired (some) more reason? (Are you smarter now?) FIGARO 2 e'kkome ‘ed ela “kore in siviksa Oh! ecome.. Ed olla, come in Siviglia? Ob, andhow.. And _—_you, sir, how is it that (you are here) in Seville? ALMAVIVA ‘or telo‘spjego ‘al prado vidi um flor. Wi_—eettsa Or —tolospiego. Al Prado vidi un ior di —bellezza, Now Iwilltell you. Onthe Prado Isaw a flower of beauty, ‘una fanitfulla——fikha ‘dun ‘ert ‘mediko barbodso, una fanciulla, ——figlia dun certo medico barbogio agit, daughter. ofa _ certain doctor senile ‘ke = kwa da oki ‘di ‘se stabilito che qua da pochi cit 88 stabilito. who here recently sottled. joi “kwesta imvatgito lafai ‘patra © patrenti To di_— questa invaghito, —lasciai patria © parenti, l by her charmed, left. homeland = and_— relatives, (Charmed by her, I left my house and my people,) © ‘kwaimem'venni «ce «=—kwi_— Ta notte © somo © qua menvenni. © E quia notto © il giomo and here I'came. And here night and day ‘pasiso a ‘kwei__batkoni ‘in ‘torno asso sirando @ que! balconi intorno. I spond walking about (to) those balconies around. (I pace about to and fro under that balcony.) FIGARO a kwe —balkoni ‘um ‘mediks A que! balconi?... un —_medico?. Round that balcony? A doctor 2 kospetts sete bem — Fortunato Oh —cospetto! ~—-Sieto ben _fortunato; Oh heavens! You're indeed fortunate; "Pochi dl, Werlly, “ow days", and by extension, “recently”16 11 Barbiere di Siviglia, Act I ‘sui makkeroni il kato ve kaskato Sui maccheroni il —cacio va cascato.” Over your macaroni the -—_chese has fallen on it. ALMAVIVA ome Come? How so? FIGARO ‘Yerto a “dentro io ‘som _—_bar ber perniickier — kirurgo Corto. La dentro io son__barbier, perrucchier, — chirurgo, Certainly. There inside I © am __batber, wigmaker, surgeon, bottaniko spettsjal veterinarjo “il’_—~—fatfenidjer ‘di kaze botanico, _—_spezial, votorinario, il ~—‘faccondier di casa, gardener, herbalist, vetorinary, the jack-of-all-trades inthe household. ALMAVIVA > ke Oh che Oh = what FIGARO ‘nom ‘basta la ratgatitsa ‘Tikka none ‘del 'mediko Non baste. La ragazza figlia non del madico. That's not all. The — gitl daughter isnot of the dactor. © softants ‘la'sua_pupitla E soltanto Ja sua pupilla! She is only his ward! ALMAVIVA 2 ‘ke_~—_konsolatisjone Oh che consolazione! Oh, what _a consolation! ALMAVIVA. koe Cos? ‘What is it? This isan expression meaning “nothing could go better”. "You've decked to ea plate of macaroni, and it has boon sven you with the cheese alrady gated over it- you need not do any work.” The matter ofthe lotr xn an intl poston an ito problemi in Taian. Although al the god dictionaries ike “ingurl, Garni, Zanichel and others st tha iia voila] sound, most Itlians proponce ies a voled (dl. 1 isa mater of minal speech babi. Later on, nthe al io it it plan pmo, I mst soncede that using the [de sound at that fest tempo is definitely easier to sing.1 Barbiere di Siviglia, Act 1 FIGARO ‘sapre ‘il batkone Sapro il balcone. Isopening the _balcony. (The balcony window is opening.) (They both hide under the portico.) ROSINA (appearing at the balcony) ” none venuts aaykora “Torse Non vonuto ancora. Forse. He hasn't come yet. Perhaps... ALMAVIVA (still in hiding) 2 ‘mia’ vita ‘mio ‘nume ‘mio tezor9 ‘wivesgs ——alfine Oh, mia vita! “Mio Numo! Mio tesoro! vivoggo ——alfine. Oh my _—iife!. ~My — goddess!’ «= My _—treasure! Tsee you at last. ROSINA © ke_—_vergonna vorrei ‘darai I bikketto Oh, che —_vergognal Vorrei darglt il bigliotto. Ob, what ashame (heisn'there!) Id liketo give him this _—_note. BARTOLO (appearing from inside) ebiben ragatisa ‘1 ‘tempo © ‘bwona kolze ‘kwella ‘arta Ebon, ragazza? = Tl_——tompo @ buono. Cos’s quella carta? Well," young lady? The weather fs good. What is that paper? ROSINA ‘njente sinnore “son parole Nionte, signore: son parole Nothing, sir; it’s ‘words dettarja éekinutil prekautsjone doltaria dell "inutil Precauzione™, ofthe aria from the “useless precaution". FIGARO ‘ke ffurba Cho furba! How sly (she is)! BARTOLO koe “kwesta inutil prekautsjone Cos's questa “Inutil Procauzione"? What is this "Useless Procaution"? ROSINA 2 'bbeliia © il itolo “del ‘nwova ‘dram:ma im uika Ob,bollt E il titolo del nuovo dramma im musica, Oh please!! I's the tile of the new drama (set) tw music, (Oh, for goodness sake! Don't you know it's the title of the new opera?) ° This is Rossini’s alternate name for this opera -- "I! Barbiere di Sivilglia’ ossia"Inutil Precauzione".18 Il Barbiere di Siviglia, Act I BARTOLO ‘un ‘dramma ‘bella ‘koza sera ‘al ‘solito ‘un “dram:ma semiserjo Un dramma! Bolla cosa! Sari al solito un drumma semiserio, A drama! Fine thing! Itis as usual a drama semi-serious, ‘un Tuygo € = maliykoniko © =——nojoza_ pat strambotits| Un —Tungo © ——malinconico © —_noioso, postico strambotto. A long and sad and boring, poetic piece of drivel. ‘barbaro ‘gusto ‘sekolo keirrotto Barbaro gusto! Secolo corrotto! Terrible taste! Contury corrupted! (How our century has beon corrupted by bad taste!) ROSINA (allowing the note to drop to the street below) 2 ‘me meskina “lagja ‘me keduta —rakko€Aetela Ob, mo meschina! Laria mi ceduta. Raccogliotela Oh, — foolish me! ‘The aria fell down, Pick it up BARTOLO ‘ado Vado. Tam going. ROSINA (calling to Lindoro below) Ps, ps. ALMAVIVA © intezo Ho intoso. Tse. ROSINA ‘presto Prosto. Quickly! ALMAVIVA, ‘non te'mete Non temete. Don't fear. BARTOLO (at street level) ‘son kwa dove Son qua. Dove? Tm here. Where is it? ROSINA a il_— vento la portata = Via_—_gwardate Ah, il vento Tha portata via. Guardato. ‘Ab, the wind has carried it away. Look. BARTOLO (annoyed) ‘io ‘non'la'veggo © —sipnrina ‘nom vorxei Jo non Ja veggo. Eh, signorina, non vorrei... I dontsee it. Hey, young lady, I don't want... ‘presto presto. quickly.Il Barbiere di Siviglia, Act I 19 ostei_malvesse ‘prezo costal m'avosso preso!) She almost tricked me!) ‘in "kaza‘animo ‘madi ‘presto In casa, animo, ou A chi dico? Presto. Into (the) house! Come on! © Now! To whom am I talking? Quickly! (Do you hear me?) ROSINA, ‘vado ‘ke ffurja Vado. Cho faria! Tam going. What fury! BARTOLO “kwel balkone ‘oko far murare ‘dentro ‘Aico Quel balcono Jo voglio far murare. Dentro, dico. That balcony, —‘T'want tohave it bricked up. Inside, say! ROSINA (starting to leave the balcony) ake Wita. ‘da kre’pare Ah, cho vita. da croparo! ‘Ah, what alife to die! (Ah, what an awful life!) ALMAVIVA ‘povera diagrattsjata ‘isu ‘stato imgfetinge ‘sempre ‘pjumintevessa Povora disgraziata! suo stato inffolice sompre pit mintoressa. Poor unfortunate gil! Her existence. += umhappy = evermore ~—_— interests me. FIGARO ‘presto vedjams ——‘koza_‘skrive Presto, vediamo . cosa scrive. Quickly, let's soe what she's written. ALMAVIVA apipunto teadsi Appunto. —_Leggi. Yes. Read. FIGARO (reading the note) Te vostre a premure ‘anno etitfitats ‘1a mia Kusjozita "Le vostro assidue premure hanno ecitato la mia curiosita. "Your frequent attention has aroused. my curiosity. ‘W'mio twtore ‘sta per ufir ‘ikea mio tutore sta per uscir di coma; My tutor is about to leave the —-hawse; appens ‘si sara alonte'nats —_prokttrate kon ‘kwalke Appona si sara allontanato, procurate con qualche ‘As soon as he goes off, ty in some ‘med:dzo indsenjozo ——_dindtkarmi AD Wostro ‘nome mezzo ingonioso —_dindicarmi A wostro nome, way ingenious __ to let me know your name,20 Il Barbiore di Siviglia, Act 1 ‘i vostro ‘stato © Te vostre ——_imtenttsjoni il vostro stato @ — levostre ——intenzioni. your position and your intentions. ‘io ‘nom'posiso-—dgammai_-=—=—skompatrire © ‘al__~—_—wbakone Jo nom posso —giammai ~=—comparire © al_—ibalicono, 1 cannot over go out on the balcony, ‘sentsa lindivizibite Kompaynia del mio.—_tranno sonza Tindivisibile compagnia dol mio _tirenno. without the inseparable company of += my_tyrant. ‘sjate pero ‘Yerts ‘ke ‘ttt e a fare Siato perd certo, che tutto a a fare Be however _— certain that everything is. to do ‘per rompere ‘le'sue katene ‘la wventurata. = rozina per. rompere Jo suo catone la sventurata’ Rosina.” to break her chains the unfortunate Rosina.” (But rest assured that your unfortunate Rosina is ready to do anything to break her chains.) ‘ALMAVIVA, ‘si sie rompera ‘su ‘dimmi “um ‘poko Si, silo rompora. Su, dimmi un poco: Yes, yes, she will break them. Come, tell me a bit: ‘ke rattsa ‘dwomo € ——ewesto ‘suo titore cho raza duomo questo suo tutore? what kind ofaman is this. guardian of hers? FIGARO ‘um ‘vekikjo indjavo'iaio —_a'varo sospetitozo _brontollone Un vecchio indiavolato, avaro, sospottoso, _brontolone, An old man frenzied, avaricious, suspicious, —_grumbler, avra tfentanmni indosso © ‘wwol fare il gaflante Avra contanni indosso © vuol fare il galanter He must have a hundred years on him and wants to play the — swain; indovinate ‘per mantdsare = aS rozina ‘tutta leredita Indovinate? Por mangiaro a_—=Rosina tutta Teredita Can you guess? To eat up from Rosina all__her inheritance (To get his hands on Rosina's inheritance) ‘se Tito ‘a ‘kapo si fitto in ‘capo he's gotten it into (his) head ‘di volerla sporzare juts di volerla sposare. Aiuto! to want to marry her. Help! (he's got this idea in his head to marry her.) ALMAVIVA. ke Cho? What!Il Barbiore di Siviglia, Act I a FIGARO ‘sapre ta ‘porta Stapre la porta. Is opening the —_door. (The door is opening.) (Almaviva and Figaro hide. Bartolo appears and talks to his servant Ambrogio.) BARTOLO ‘fra momenti io tomo ‘non aprite a ne'sssuno Fra momenti io. tomo; non aprite a ——_nessuno, Ina few moments I will retum; donot open to anyone. ‘se ‘dom —balziljo venisse a itferkarmi ke maspetti Se Don Basilio vonisso a ricorcarmi, cho miaspetti. If Don Basilio should come to look for me, _let him wait for me. (He painstakingly locks and bolts the door.) “le mie ‘nottse ‘kon ei mekko © afifrettare Le mie nozze con lei megliod ——affrottare. My marriage = to.—=—sher_—‘better hasten. ‘si dentodidsi——_ fiir vo kwestafifare Si, dontroggi fini vo! quostaffare! Yes, this very day to settle Lwish this matter! (He leaves. The Count and Figaro come out of hiding.) ALMAVIVA dentrod:dsi Te ‘ue “nottse ‘kon rozina a'vekkjo ——_rimbamibito Dentroggi Ie su nozzo con Rosina! ‘Ah, vecchio rimbambitot This very day his marriage to_—_—&Rosinal ‘Ah, old man doddering! (Marry Rosina this very day!! Ah, you doddering old man!) ‘ma ‘dimmi or = taki © kwesto ‘dom ba'ziljo Ma dimmi or tu! Chi. questo Don Basilio? But tell me now (you); Who is this Don Basilio? FIGARO © in soflenme imbro€son “di matrimont & un __solenne imbroglion di matrimoni, He's a notorious. = meddler_ = in_~—matrimonfal affairs, ‘uy ‘koko ‘torts ‘um = "Vero._— = ‘ke. =~ ‘nome Vi 'kjamo che sposa vibramo, che m nome _vi chiamo. who (fora) wife desires you, who ty name calls you. (who wishes to marry you, who calls you by name.)24 Il Barbiere di Siviglia, Act I ‘ai voi ‘sempre parlando kozi Di voi sempre parlando cost Of — you always speaking thus, (Always speaking of you like this.) Gablavrora. ‘al tremonto. deli dalfaurora al tramonto = dol’_— di. from dawn till the end of day. (From behind the shutters Rosind’s voice sings the last tune of the song.) ROSINA (from within) ‘segwi otkkaro ‘de ‘segwi koizi Segui, caro, doh, sogui cosi! Continue, oh my dearest, please continue _— thus. FIGARO senttte a ikke Vi pare Sontito. Ah! cho vi pare? Listen. Ah! — What do you think about that? ALMAVIVA ome felitfe Oh, me felice! Oh’ happy mo! FIGARO ‘da'bravo a Wo setgwite Dabravo, a voi, soguits. Well done, now you — continue, ALMAVIVA lamoroz0 =e sinitfero lindoro Lamoroso 0 _—sincero Lindoro ‘The enamored and sincere Lindoro ‘nom pwo‘darvi ‘mia kara ‘un tez010 non pud ——darvi, mia cara, un tesoro. cannot give you, my —_ dearest, a treasure, ‘Tilcko ‘non'sono = ma ‘u_— “kore ‘vi dono Ricco nonsono, ma un —_core_vi dono, Rich Tam not, but a —_heart__I give you, vnanima amante ke ida © © kostante un‘nima amanto cho fida © ——_costante a soul loving that true and constant ‘per voi ‘sola sospira.kozi per voi sola _sospira cosi for you alone sighs thus dall'aurora al tramonto del di.ROSINA (from within) lamoroza eS sinttfera. Liamorosa 0 _— sincera ‘The enamored and sincere Il Barbiore di Siviglia, Act I rozina “del ‘suo ‘kore lindo Rosina del suo core_Lindo... Rosina from her heart _Lindo.. (There's a squeak of surprise from Rosina caught mid-sentonce, and the shutters noisily slam shut) ALMAVIVA 2 els Oh cielo! Oh heaven! FIGARO ‘neta ‘stantsa komvjen'‘dir ‘ke kwalkuno = entrato ‘sia Nola stanza convion dir che qualcuno—ontrato sia. Into the room Imust say that someone has come in. ALMAVIVA, a Kospetone «io ha aeliro avwampo Ah —cospettons! lo gia doliro... ‘evvampo... ‘Ah, byheaven! I already am delirious... [am burning... 2 ‘ad omni “Kosto_vederla ‘io Wok vo Oh, ad ogni costo vederla io —_voglie. vo! Ob, at all, cost’. tosooher = T-—— want. I want a tu mi devi ajuter Ah fy tu midevi aiutar. Ah, you, you must me —_ help. (you must help me.) FIGARO i hike ura si vajute'ro Th, ih, che furial Si, vaiutord. Hee hee, what fury! Yes, yes, I will help you. ALMAVIVA ‘dabravo—entroddsi. «= Vo ‘ke = tu —mintretduka in Da bravo: ontroggi che tu —minfroduca in Good for you; this very day Iwant that you get me into ‘dim:mi Dea 7 Tell me how will you do it?... ‘del tuo ‘spirito.ve'djam "ewalke del tuo spirito vediam qualche from your wits let's soe some (let's see your wits come up with a brilliant idea.) FIGARO ‘del ‘mio ‘spirits ‘bene ve'dro ‘ma ‘in’od:dsi Del mio spirite! vedrs. main oggi. My Ti see. but ‘ella Ella She ‘sie rittrata sid ritirata, has withdrawn, parlarle parlarlo!... to speak to her. "kwella ‘kaza quella casa. that house.26 I Barbiere di Siviglia, Act I ALMAVIVA, e'wia tintendo ‘va ‘la ‘non dubitar Eh viel intondo. Val, non dubitar: Come now, Tunderstand you. Go ahead, have no doubt: ‘gi tue fatike ‘largo kompenso vrai di tuo ‘fatiche largo componso vrai. for your efforts a large reward you shall have. FIGARO davivero Davvero? Really? ‘ALMAVIVA, parola Parola, (My) word (on it). FIGARO “dunkwe ‘219 diskrettsjone Dunque, oro a discrezione? Then, gold at (my) discretion? ALMAVIVA ‘ma (idle “animo via Oro a _—biizzoffe. Animo, via. Gold in abundance. Look lively. go to it. FIGARO ‘som ‘pronto @ ‘non sapete i simpatityi effetti prodidsozi Som pronto. Ah, non sapeto i simpatici —effetti_prodigiosi Tm ready. Ah, — you don't know the agreeable _—effects._ prodigious (the prodigiously agreeable effects) ‘ke ‘ad appa'gare il mio sinnor_lindaro che, ad appagaro —il!mio signor Lindoro, that, to satisfy my —signor Lindoro, pro‘dutfe ‘im me ‘la doltfe idea dettloro produce in mo dolce idea dolforo. produces in me the —sweet idea of gold. NO. 4 DUET FIGARO aliidea ‘gi kwel_ metals ortenttozo —_onmipa'ssente Aldea di quel motallo portentoso, _onnipossente, At the thought of that metal, splendid, | all-powerful, ‘um vulkano ‘Ja'mia ‘mente ‘asa inkominfa a diveritar un —_vuleano Jamia monte gia incomincia a divontar. a volcano my — mind already begins to become. (my mind already begins to orupt with ideas like a volcano.) ALMAVIVA ‘ua vedjam ‘ai kwel) metals ‘kwalke effets sorprenidente Su, vodiam di quel metallo qualcho offette sorprendente, Come, let's see of that metal some effect astounding,Il Barbiere di Siviglia, Act I 27 ‘del vul'kan ‘della ‘tua ‘mente ‘kwalke ‘mostro singolar del vulean dolla tua monte qualche mostro singolar. of the volcano of your mind some display singular. {show me some singular display from that volcanic mind of yours.) FIGARO voi dovreste travestirvi ‘per e'zempjo da soldato Voi dovreste —travestirvi, per esompio. soldato. You — should disguise yourself, for example asa — soldier. ALMAVIVA Da soldato? FIGARO ‘si ssinnore Si, signore. Yes, my lord. ALMAVIVA ‘da soldat eke site Da —_soldato?. © che sife?.. Asa soldier?.. ‘And what do I do then?. FIGARO ‘oddsi arriva ‘un redtdsimento Oggi arriva un —_reggimento. Today arrives a regiment. ALMAVIVA ‘ie min amiko il —_olsmnella Si, 2 ilmio amico il _colonello. Yes, is my friend the colonel (Yes, and the colonel is my friend.) FIGARO "va bbe'non ‘Va bonon! Splendid! ‘ALMAVIVA, eppoi Eppoit ‘And then? FIGARO Kospetts ——_delilaklodsds0 ‘Kol bikketto “kwella ‘porta saprira Cospotto! —_Delfalloggio col biglietto quella porta saprira. Good heavens! Of the billeting with the note that door will open. (That door will open to you with the billeting note.) ‘ke ne dite sipnore ‘nom ‘vi ‘par ‘non lo trsvata Cho ne dite, mio signor? Non vi par? Non Tho trovata? What do you say to it, my —lord?- How does it seem to you? ~—_Have I not found it? FIGARO, ALMAVIVA ‘ke imvertisjone —_prelibata Che invenziono —_prolibata What invention delicious!U1 Barbioro di Siviglia, Act I “im verita in vorital truly! idea ‘veda ‘oro kona fa idea! Veda Toro cosa fa. idea! See gold what it does. (See what gold can do!) ‘mio sinnor ‘si findse'ra mio signor si fingora. my lord —_you will pretend to be. 28 ‘beta "bravo Bolla, (bravo) Lovely, (bravo) FIGARO ‘piano wnaltra Piano... un‘atra Softly... another brik ‘si ubrfako Ubriaco... si, ubriaco Drunk... yes, drunk ALMAVIVA Ubriaco? FIGARO ‘si ssippore Si, signore. Yes sir. ALMAVIVA brake ‘ma perke Ubriaco?.. Ma —_ perch? Drunk?... But why? FIGARO perke ‘ddun ke Porchd dun cho Because of one that is iL tvtor kredete il tutor, credoto the guardian, _ believe poko ine ke dal Vino poco in 50, che dal vino litle in himself, who from wine ame ‘si fidera ame, si fidera. me, will trust. ‘kaska dye casca gia, reels already, (Because the guardian, believe me, will be more trusting of one who's tipsy and reeling from wine.) FIGARO, ALMAVIVA Che invenzione prolibata! ALMAVIVA ‘dunkwe Dunque? Then? FIGARO alidopra Alfopra. ‘To work. ALMAVIVA an’djamo Andiamo. Let's go! "pxsere poco in se, literally "wo bea bit out of onesell, Wo be out of control" because of too much alcohol, and by ‘exonsion, tipsy.