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 pisnissims 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.Il Barbiore di Siviglia, Act I 29 FIGARO ‘da ‘bravo Da bravo, Good for you! ALMAVIVA ‘vad 2 il mekto ‘mi skordavo ‘dimzmi ‘um po Vado. Ob, il —mogtio mi scordavo! Dimmi un po’, Tm going. Oh.. the most important Iwas forgetting! ‘Tell me (abit), ‘ta tua bottega ‘per trovarti ‘dove ‘sta la tua bottoga, per — trovarti, dove sta? your shop, to find you, where is it? FIGARO a bottega ‘non 'si‘zbakka ‘gwardi ‘bene ‘ekkola ‘a La _bottoga?. Non si sbaglia, guardi bene, eccola la. The shop’. You can't missit, look carefully, _—there it is. ‘numero “ewinditfi ‘mano ‘maka Numero quindici, © a mano manca, Number fifteen, on the left side, ‘kwattrs oraini fateyfata ‘Pjanka quattro gradini, facciata bianca, four stops, front white, ‘Yfinkwe patrrukcke ‘nella _vetrina cinque parrucche nella _votrina, five wigs inthe display window, ‘sopra. ‘uy kartello polmata ‘fina sopra un —_cartello "Pomata fine’, above, a —_ placard, "Pomade Fine’, {and above, a placard showing "Fine Pomade".) ‘mostra in adxdzurro ala mo'dema mostra in azzurro alla modema, display in blue, the modern way, ve per in'senna ‘una lasitema ta ‘sentsa ‘fall ‘mi toverra ve per insogna una lantoma.. la somza fallo mi trovera. there's for a sign a lantem.. there without fail you'll find me. ALMAVIVA 2 "ben kapito Ho ben capito. Tunderstand, FIGARO ‘or ‘vada ‘presto Or — vada presto. Now go quickly.30 Il Barbiere di Siviglia, Act I ALMAVIVA, ‘mu ‘gwarda ‘bene To — guarda bone. You, watch well. (And you keep a good look-out.) FIGARO io 'penso ‘al esto To ponso al resto. TM think about the rest. ALMAVIVA ‘4 te mi fido Di te mi fido. In you ‘I trust. FIGARO koa latttends Cola Yattondo. ‘There Til wait for you. ALMAVIVA ‘mio ‘karo figaro Mio caro Figaro... My dear Figaro... FIGARO intends Intondo. Tunderstand. ALMAVIVA porte'ro ‘mmeko Porterd moco...? Iwill bring with me... FIGARO ‘la ‘borsa_pjena La borsa_piena. The purse full. ALMAVIVA, ‘si “kwel ‘ke wo! ‘mal Yesta ‘poi Si, quol chevuci, ma il resto._ poi. Yes, whatever you wish, but the ~—rest_then. Meco, tooo, and seco are old forms of con me (with ma}, con te (with you) and con se (with him). These forms survive in Spanish as conmigo, contigo and consigo It coma from the Lalin mecum, tecum. secum. The Catholic Missal is called Vode mecuz, (it goes with ms). The rules of Phrasal Doubling (Raddopplamento Sinttico) state that e word with an accent on ie lst vowel wall ‘cause the initial consonant ofthe next word to double. Thorefore porter will cause th following word meco to double its {inital m. The phonetics above show this doubling.1 Barbbioro di Siviglia, Act 1 a1 FIGARO 2 ‘non si ‘uit ‘ke ‘bene aridra Oh —non_ si dubiti cho bone andr... Oh — don't have doubts, for _welll_it will go... (Ob, have no doubts. It will go splendidly- ALMAVIVA ake datmore ‘a fjamma ‘io sento ‘Ah, che d'amore 2 fiamma io sento, ‘Ah, (that) of love the flame I fecl, ‘nuntsja ‘di “gubilo © di_—_kontento nunzia ai giubilo 2 di_contento! messenger of joy and of _—_ contentment! dardore insolita kwestalma —_atttfende Drdore —_insolito quest'lma —_acconde, Of an ardor unusual my soul fires up, (Ab, what a flame of love I fool, a messenger of joy and contentment! My soul is fired up by am ‘umusual ardor.) © ‘i_—me'stesso——matdsdgor ‘mi fe © di-_—mosstesso. —maggior mi fa, and of myself a greater (an) makes me. (and makes a greater man of me.) ‘ekcko propitisja. = ‘kein. ‘sem_—'mi'ffende Ecco propizia che. in’ ~— som_—mi scondo Lo, favorable that_inmy bosom descends (The flame of love favorably fills my heart.3 @ di mo stosso maggior mi fa FIGARO ‘dotle monete ‘won esa ‘sento Delle moneto il suon gia sonto! Of the coins the sound already Theat! (Ican already hear the clink of money!) ‘foro ‘asa ‘Viene ‘vieme lardsents ——_‘ekekolo Lore gia vieno, vieme Yargonto; _occolo, Gold already comes, comes silver; here it is, ‘ke in ‘taska ‘Vemde “ekckolo ‘kwa cho in tasca scomde; eccolo qua. that in (my) pocket falls: here it is. Draniore insolito quest'alma accondo © di mo stosso maggior mi fa. (Figaro goes into Bartolo's house. The Count goes off. Fiorello re-enters.)32 I Barbiore di Siviglia, Act I FIORELLO™ evwiva ‘il'mio _patdrone Evviva il mio padrone! Well done, my master! ‘due ‘ore titto'im pe ‘la kome um palo, Duo ore, rittoin pi’, JA = come un —palo Two hours, standing there like a stick ‘mi fa aspettare ——eppoi ‘miienta ese neva mi fa aspottaro 0 poi mipianla 0 sono va. makesme wait and then he drops me and _—_ leaves. ‘Korpo ‘i bakiko ‘brutta ‘koza—servire ‘wm —padron ‘kome ‘kwesto Corpo di bacco! Bratta cosa sorvire un padron come questo. Oh dam it all! Abad thing, to sorve @ master like this one. ‘nobile dsovinotto — e=——_inmamstrato nobile siovinotto © —innamorato, noble, young and in love, ‘kwesta ‘Vita kospetto € ‘uy gran tormenta questa vita, cospetto, © 8 © un gran ttormento! this life, by Jove, is a big torment! a duraria koi “nom ‘me ‘la ‘sent ‘Ab, durarla cost non me la sento# To endure it —_like this I don't fee! liket Scone Two (A room in Dr. Bartolo's house, Rosina enters, looking lovely and animated.) NO. 5 CAVATINA ROSINA (holding a letter in her hand) ‘una vote ‘poke fa ‘wi nel ‘kor ni riswoino Una voce poco fa qui nel cor mi risuond; A voice awhile ago here inmy heart echoed; ‘mio ‘kor feito © ta © —lindor fu ke = “il pja'go Mmio cor farito a ga, © —_Lindor fu che _— il page. My heart wounded is already and Lindor was who pierced it. ‘si lintdoro ‘mio sara ‘lo dsurai ta vintfera Si, Lindoro mio sari; lo giurai, da vincerd. Yes, Lindoro mine shall be; —T've swormit, I will win. tutor ikuze'ra ‘io Tindsenno——aaguttse'ro Tl tutor’ ricuserd, io. Tingogno = guzzerd. My tutor will refuse, 1 my wits will sharpen. ‘abla fin sakcketera © koritenta io reste'ro Alla fin slacchotora © contenta io restord... At last he willcalm down and _—_ content 1 shall remain... “This rcittive is usually Cutt comes at an intrusive antéclimen afer that effervescent duet. tn the Met production it ‘was lft in, allowing time for the turntable to turn and presont the second scene of Act I. Usually the opera is done in three ‘cis, with the Count Figaro duet puting Biting end to ActIl Barbiere di Siviglia, Act 1 ‘sono ‘dotfile ‘son _rispetttoza To sono docile, son __rispottosa, I am docile, 'm_—_ respectful, ‘sono abibe'djente “doltfe_ amoroza sono obbediente, dolce, amorosa; Tam obedient, sweet, loving; ‘mi laff ‘redidsere ‘mi fo gwidar Milascio _reggore, mi fo guider. Tet myself be ruled, _—‘Tlet mysolf be guided. ma ‘se mi'tokkano dove ‘mio ‘debole Ma so —mitoccano dvi il mio debole, But if they touch me where is © my —_wreak spot sara ‘una Vipera sard una vipora, Iwill be a viper, © ‘ents ‘wappole ‘prima ‘di'edere fara. dgo'kar © conto trappole prima dicedere —fard_giocar. and abundred traps before givingim Twill set off. i ‘la vintfero potest atmeno mandarki —‘kwesta ‘letter Si, si Ja vincerd. Potosi almeno ‘mandargli questa lettora Yes, yes, Tl win, IfTcould at least. send him this _lettor. ‘ma kkome “di ——ne'ssun “kwi ‘mi ‘ido Ma come? Di nessun qui mi fido; But how? Of noone here Ihave trust; (Cdon't trust anyone here:) 1 titore @——tfenttokcki ‘basta sidsiljamola —_inftanto Ml tutore ha —_contocchi.. basta; sigiliamola —_intanto. My tutor has a hundredeyes... enough; let me seal it in the meantime. (Sho goos to the writing table and seals the letter.) ‘kom —figaro il —_barbjere ‘dalla finestra Con Figaro, il barbiore, dalla fimostra With Figaro, the barber, from the ‘window diskorrer ‘lo veduto—‘pju_—dutnora discorrer ‘Tho veduto pitt d'un‘ora. conversing _I saw him (for) more than an hour. (From my window I saw him talking with Figaro, the barber, for over an hour.) figaro © “uy galantwom> un “dsovin ‘di "bwon “kore Figewo 8 = un galantuomo, un _giovin di buon core. Figaro is a gentleman, a= young man ~— with good _ heart... ‘Kissa kei nom proteg:ga “i nostro amore Chi sa ch'ei_ non protegga ill nostro amore! Who knows ifhe may not be the protector (of) cur love! (Figaro enters.)34 Il Barbiore di Siviglia, Act 1 FIGARO 2 won ‘di Oh buon di Oh, good day, ROSINA ‘bwon ‘dsomo_sinnor ‘figars Buon giomo, signor Figaro. Good day, ” signor Figaro. FIGARO etibene ‘ke sia Ebbone, cho sifa? Well, how are you? ROSINA ‘si mwor ‘di oj Si muor di noia. Tm dying of boredom. FIGARO o'djavolo possibile tna ra'gattsa ‘bella € Ohdiavolo! Possible! = Una ragazza bella 0 Oh, the devil! (Ist) possible! A girl (so) lovely and ROSINA tho ‘mi fate ‘ridere ‘ke ‘mi serve ‘10 Ob, ob, mi fato Fidero! Cho misorve lo Oh, oh, you make me laugh! What use tome is my ‘ke ‘dyova a beelettsa che giova 1a bellezza, what use is my beauty, ‘se ‘kjuza ‘io ‘sempre ‘to tra ‘kwattro ‘rmura so chiusa io sompre sto fra quattro mura, if locked up 1 always am between four walls, ‘ke 'mi'par ‘desser ‘propria ‘in sepottura dossor proprio in sopoltura. tobe indeed in (my) tomb. sito seattite ‘io vokKo Ohiba! Sentite. jo voglia.. In a tomb?. Come on now! Listen, 1 want to... ROSINA ‘ecko 1 ttor Ecco il tutor. Here is my — guardian. FIGARO davivero Davvero? ‘Are you sure?It Benbiore di Siviglia, Act 1 35 ROSINA ‘Yferta e ‘l'suo ‘paso Corto, a il suo passo. Certainly, those are —his_—_footsteps. FIGARO ‘salva ‘ra poko “Yi rivetdremo ‘da “dirvi ‘kwalke koza Salva; fra poco i rivedremo: ho da dirvi qualche cosa. So long: soon welll meet again; Ihave to tell you something. ROSINA © agkor ‘io sipnor ‘figaro E —ancor io, signor Figaro. And also 1, signor Figaro. (And I have something to tell you, mister Figaro.) FIGARO bravvisssima ‘vado Bravissimal Vado. Excellent! Tm going, (He hides, then has a look from time to time.) ROSINA "wants © garbats Quanto 2 garbato! How much he is _ pleasant! (What a pleasant man!) (Enter Bartolo in a highly agitated state.) BARTOLO a diagrattsjato—_figars a infdepno maledetto —_felierato Ah, disgraziato Figaro! ‘Ah indogno! maledetto! _scollerate! Ah, wretched ‘Figaro! ‘Ab, — good-for-nothing! Cursed! Villain! ROSINA (to herself) ‘eleko ‘kwa ‘sempre ‘grida Ecco qua: sempre rida. ‘There he is, always shouting BARTOLO ‘ma 'si'pwo ‘dar ‘di pedsdso Ma sipud dar di poggio! But could there be —_—_ something worse! ‘uno speidale to di tutta ta fatemisca Uno spodalo di tutta, la famiglia A hospital hehasmade of all the ~— family a Tortsa ‘doppio sangwe © stramiti¢ca e forza aoppio, sangue © stmanutighia. by — dintof opium, bloodletting and snmff, (Turning to Rosina)36 Il Barbiere di Siviglia, Act 1 sinporina —il’_——_sbarbjere ‘fo vedeste Signorina, il -—barbiore, —_—io vedeste? Young lady, the barber, have you seen him? ROSINA perke Porch? Why? BARTOLO perke ‘llo'vo. salpere Perchd lo vo! sapere. Because Iwant to know. ROSINA ‘forse anjkeAAi vatdombra Forse anch'egi —_vadombra? Maybe even he makes you grumpy? BARTOLO © petke ‘uno E __perchd no? And why not? ROSINA ebsben ello diro si = loveduto ‘Kio parllato ‘mi piatfe Ebben, volodirs. Si, ‘Tho veduto, gli ho parlato, mi piace, Well then ‘Til tell you: Yes, ve seen him, Ive talked to him, I like him, ‘me simpatiko SI'sw0 diskorso ‘i's dgovjale aspetts M? simpatico suo discorso, _il'suo_gioviale aspetiio... Tmpleased (by) his conversation, his youthful appearance. ‘krepa ‘di rabsbja ‘velcko male'detto Cropa di rabbi, vecchio maledetto. Burst. with rage, (you) old man cursed. (Burst with rage, you cursed old man!) (She exits.) BARTOLO vedete "ke gratisjetta Vedeto che grazietta! Look, what a charmer! iu ‘lama © By ‘ni ‘sprettsa brikckona Pia Yamo ° pia mi sprezza briccona. The more Tloveher, (and) the more _she despises mo, rascal ‘ferto © ilbarbjere Kea mete “im malittsja Corto, 8 barbiero cho la motto in malizia. For sure itis the barber who makes her _ill-disposed (towards me), Ki ‘ssa koza_ “fi a detto ki ssa Chi sa cosa gli ha dotto! Chi sat? Who knows what he said to her! ‘Who knows?Il Baxbiore di Siviglia, Act I 37 ‘oro saipro ‘ei ‘berta ambrodso Or —losapro. Ei, Berta! Ambrogio! Now Iwill find out. Ho there, _—_—Bertal Ambrogio! (The two servants appear, Berta having fits of sneezing and Ambrogio looking half asleep,) BERTA efi Ecei! Atchoo! AMBROGIO (yawning) a ake kotmanda Ah, ah, che comanda? Ab, ah, — what do you want? BARTOLO (to Berta) ‘dimmi ‘i (barbjere parlatsa ‘kon Dimmi: il barbiere © parlatoha con Tellme: ‘The barber, has he spoken to BERTA Ecci! BARTOLO (turning to Ambrogio) rispondi atmen ‘tu babsbutino ‘ke Rispondi amen tu, _babbuino. Cho Answer at least you, you idiot. What AMBROGIO (yawning) 2a Ke'sonno Ab, ah, che sonno! Ah, ah, how sleepy Iam! BARTOLO etiben Ebbon? Well? BERTA Venne, mai Hecame but. (She sneezes some more.) BARTOLO (frustrated) ovina ‘ke ‘serve ‘ekkoli'kwa_— ‘som —"'medidz che serve! —_eccoli qua, son mezzo. what's the use! Here they are, they're half anidate e L_—“javol ‘ke vi port Andate, oh, il diavol cho vi porti! Be off, hey, (may) the devil take you! (Berta and Ambrogio exit. Don Basilio enters.) ro'zina Rosina? Rosina? pattsfentsa I patience! ‘monti morti. dead.38 II Barbiere di Siviglia, Act I a darbjere Ginfems ume a page'ai Ah! barbiere @infomo, tu_—_me Ia paghorai! Ah! Barber from hell, you __will pay for this! (Seeing Basilio.) ‘kwa ‘dom bavziljo — djuntgete a ‘tempo Qua, Don Basilio, giungoto a tempo! Here, Don Basilio, you've come at (the right) time! 2 ‘is oKKo per fortsa 0 ‘per. more ‘entra domani Oh! To —voglio, par forza o por amore, ontro domani Oh! 1 — wish, by force or by love, by tomorrow spo'zar ‘la ‘mia rozina avete intez0 sposar la mia Rosina. Avot inteso? marry my — Rosina. Do you understand? BASILIO © Voi ite. benissimo = atpspunto io kwiveniva davaitzarvi Eh, voi dite benissimo 6 © appunto. © io.-—«Squi_—voniva d'avvisami.. Eh, you sayit vorywell and precisely =—'T_~—=shere came to warn you.. (Eh, what you say is excellent and precisely why I came here to warn you...) ma segrettettsa © “dyunto il Konte_almaviva Ma —sogrotezzal... E — giunto il ~—Conto_Almaviva. But... keep ita secretl... Has arrived the Count Almaviva. BARTOLO ‘Ki ligkonpits ——amante ‘della rozina Chi? incognito amante dolla Rosina? Who? The unknown admirer of Rosina? BASILIO appunto ‘kweltlo Appunto quello. Precisely, he. BARTOLO 2 ‘djavolo a wifi wwol rimedjo Oh — diavolo! Ah, qui ci vuol rimodio! Oh, (the) devil! Ah, here we must have remedy! (Ah, we must remedy this situation.) BASILIO ‘Yerto ‘ma ‘alla sordina Corto; ma... alla sordina. Certainly, but... quietly. BARTOLO satebsbe, a ir Sarobbo a dir? That is to say?I Barbiore di Siviglia, Act I 39 BASILIO koi ‘kom —‘bwona ‘grattsia bizonna printfipjare Cosi con buona grazia bisogna principiare ‘Thus with fine art weneed —to start a imventar ——‘kwalke “favola a invontar qualche favola to invent some tale ‘ke ‘al pubrbliko © Jo'metta, = ‘im mala vista cho al pubblico lometta, = in. mala_ vista, that tothe public will puthim in abad light, ke komparir. =o fattfa. «un womoinjfame vnanima peatduta cho comperir lofaccia. © um uomo__infame, un'snima —-_pomduta... that appear makeshim a © man infamous, a soul lost. (that makes him appear like an infamous man, a lost soul...) jo Go Viserviro fra. tkwattro ‘dsomi kre'dete a'mme To, io —visorvirs: fra quattro giomi, credoto ame, LT will serve you; within four days, believe me, batzitio ‘ve lo dgura Basinlio vo lo giure, Basilio swears to you, ‘noi to fete Aoidsar da kweste ‘mura noi lofarem —_—sloggiar da questo mura. we will have him driven out (welll run him out of town.) from these walls. BARTOLO © woi—kre'dete E voi credote? And you believe so? BASILIO 2 ert € mio sistema e Oh corto! il mio sistema, E Oh, certainly! I's. | my — system, And BARTOLO € — vorreste ‘ma ‘una Keathunmja E —vorreste? =» Ma_— una cahunnia... And you'd doit? But. slander... BASILIO a ‘dunkwe ‘Ja kalunnja —ko'ze ‘Voi Ah, dunque Ja calumnnia cos’ voi ‘Ah, then’ slander what itis you (So you don't know what slander is?) BARTOLO ‘no da'vwvero No, davvero. No, inall truth. ‘non ‘zbakga non it doesn't fail. ‘non sa'pete don't know?40 1 Barbiore di Siviglia, Act I BASILIO ‘no wéitemi © tatfete No? Uditemi © tacote. No? Listen tome and —_be quiet. NO. 6 ARIA BASILIO ‘akalunnja © ‘um ventitfelo ~—umaurretta. «= a'ssai_dsentile Lacalunnia 2. un —venticello, um'aurotta © assai_ gentile Slander is a _ litle breeze, a zophyr very gentle. ‘ke insen’sibile _—sottile ledxdgermente doltfemente inkommintfa. a sussrrar cho insonsibile, _sottile, leggermente, dolcemente, incomincia a sussurrar. which imperceptibly, subtly, lightly, swootly, begins to whisper. ‘piano terra sottovorfe sibilands Piano, terra, sottovace, sibilando, softly at ground level, inan undertone, _hissing, va skorrrendo = 'Va_—ronfdizando va scorrndo, va_—ronzando; it goes spreading, it goes buzzing: ‘nelle orekekje ‘dela ‘dgente sintrodutfe _destratmente nelle orecchio dolla gonto sintroduco _destramente, into the cars of the people it penetrates insidiously © te teste ed i ervelti © lo testa od =i corvollt and the heads and the —_ brains fa stordire ‘a gonfjar fa _stordire, fa gonfiar. causes to bewilder, causes to _inflate. (and bewilders and inflates the mind and the brain.) ‘dalla ‘bokika ‘fwori uffends Jo skjamattss va kre'fendo Dalla bocca fuori uscondo lo_-—schiamazzo va __—crescendo, From the mouth out leaving the noise goes increasing, (Emerging from the mouth, the noise grows in volume,) ‘prende “fortsa ‘poko a “poko prondo forza poco a poco, itgathers strength little by little, ‘vola ‘asa ‘di oko in ‘oko vola sia di loco in loco; it goes flying now from place to place; ‘sembra Ltwons ta tempesta Sombra il tmono, Ja tempesta It sooms like thunder, like tempest. ke nel ‘sen “delta foresta che nelson della forosta that inthe heart of the forestUl Barbiore di Siviglia, Act I a1 ‘va fiskjando ——bronto'lando dorror éelar va fischiando, _brontolando e dorror golar. goes whistling © rumbling © and makes you with horror _ freeze. ‘abla fin tabokkka =e ‘skoppja Alla fin trabocca. = @——scoppia, Atthe end = itoverflows and breaks loose, ‘sipropaga sirad:doppja © ©——_produtfe unesplo’zjone si propaga, siraddoppia 0 produce un'esplosiono itspreads, _itredoubles, and produces —an explosion ‘kome ‘uy ‘Kolpo‘di_——ka'nnone come un colpo di cannone, like a shot froma cannon, ‘wm temwoto un tremuoto, an earthquake, ‘un tumult un tumalto a tumult e il meskino E — il_~ meschino And the wretched ~—_—slandered one, humbled, _—trampled on, ‘sotto il ‘pubibliko ——_fladeto sotto il pubblico —_—_flagello under the — public scourge ‘per ‘gran ‘sorte va a krepar per gran sorto va @ crepar.* if he is lucky, slinks off to. croak. BASILIO ke ne'dite Ah! che ne dite? ‘Ah! — What do you say to that? BARTOLO © sara ver ‘ma intanto ‘si perde ‘tempo Eh! sara vor, ma intanto si perde tempo Eh! Itmaybe true, but meanwhile we're losing time "Spying. in Taian, can uso sveral forms: The usual ome is mori. Thon there Is spirare (expe), spegnere (to snuff out} ‘and cropare a lsselogant word to which Ihave assigned the translation of croak’, an apt word that Baslo would enjoy ‘sing. SEnr, that most Italian of interjctions, with a slight rie inflection at the end, is unique. It cannot be compared to hey. ob, ah in English. It has to be heard from the mouth of en Taian. I shall try to give an example. T used to have some Italian, neighbors. Ho was « prompter atthe Mot, and there was la mamma, is wife. Both very Italian and proud to be so. On my ‘wip to Spoleto many years agp I booked passage on Alitalia and told them about it. Eh. was ther reponse, When once | ‘commented on the better tasa of imported lialian spaghett from the domestic brand: Ehi..When | commented on the quality of lain shoes versus my old pair of Thom McAnts their response was, as expected Eh.42 © kwi‘strindse ‘i bézonno © qui stringe il bisogno. and here _ presses the need. (and here need is pressing.) ve ‘fare a ‘modo ‘mio vo! fare a modo mio: Twantto doit my way; ‘im ‘mia ‘kamera antdjam ‘vokso ‘ke = insjeme In my ~—cameraandiam. ——_-Voglio. che insiome Into my room letusgo. I want that together D—kontratto =i ‘notise ‘ora stentdjamo il contratio © di_—nozze ora stondiamo. the contract of marriage = now we draw up. ‘ewands sara ‘mia mokke Quando sara mia moglie, When she willbe my — wife, ‘da kwesti dgerbinotti —_inmamsati da quosti_zorbinotti —-_innamorati from these lady-killers enamored ‘metterla ‘in'salvo sara pen'sjer ‘mio mottorla in salvo sar ponsior mio. tokeep her safe will be thought mine. (When she is my wife, I'll see to it that she is kept safe from those enamored lady-killers.) BASILIO (to himself) ‘vengan datnari ‘al resto. ‘son ka io ‘Vengen danari: al resto son quai. Let it come money; forthe rest. am here. (As long as there is money in it for me, I am ready for anything.) (hey leave. Figaro comes out of hiding.) FIGARO (ironically) ‘ma‘bravi_ ‘ma bbemone 0 itezo ‘tutto Mabravii © Mabenone! Ho — inteso tutto. Well done! Well indeed! I have heard everything evviva ‘il "bwon dottore Evviva il buon dottore! Long life to the good doctor! (Pox on the good doctor!) ‘povers babrbuino ‘tua ‘spoza_e ‘ia puligfiai I botekino Povero babbuina! Tua __sposa? Eh vial Puliscati i ——_-bocchino. Poor baboon! Your wife? Come on now! Wash out your mouth! ‘or ke “stanmo a kjuzi Or che stanno Ta chiusi Now that they are locked up in thereIl Barbiere di Siviglia, Act I 43 prokirjam —‘di_—palare ‘alla ragattsa ‘elckol a'prpunto procuriam di_—parlare alla ragazza. Eccola appunto. let me try to. — speak to the girl Here she is. ROSINA (entering) etibene sinnor figaro Ebbone, signor Figaro? Well then, _signor ‘Figaro? FIGARO ‘gran ‘Kove sinnorina Gran cose Great matters, young lady. ROSINA. ‘si davivero Si, davvoro? Yes, really? FIGARO mandge'rem ‘dei konifett Mangerem dei confetti. We will be eating some (wedding) cake. (We will be celebrating a wedding.) ROSINA How is that so? FIGARO satrebibe a ‘dire Ke il vostro tutore a Sarvbbe a dire che il_vostro —_tutore ha Tmean to say that your guardian has arranged ‘esser ‘dentro doman ‘vostro matito essor dentro doman vostro. marito. tobe, before tomorrow, your husband. ROSINA via Eh, vial Oh really!! FIGARO 2 Yello'dyuro a “stender i —_ontrattas Oh, velo giuro; a —_stonder jl contrattto Oh, I swear to you; to drawup the _— contract ‘ko maestro ‘gi muzika la “dentro ‘or ‘se setnrato col maestro di musical dentro: or ~— 8 servato. with the teacher of music there inside now he locked himself. (He locked himself in there with the music-master to draw wp the marriage contract.) ROSINA ‘sila ahalkata ative Sit Oh! ha sbagliata aff! Yes?’ Oh! He's mistaken —_indood!“4 Il Barbiere di Siviglia, Act I ‘povers ‘fokcko evra ‘da Povero sciocco! Lavra da Poor fool! Hell have to ma ite sinnor ‘figars ‘voi Ma dite, signor Figaro, vou But tell me, signor Figaro, you ‘sotto Te mie finestre parla'vate sotto Io mio finestre parlavato under my windows ~——_were talking FIGARO a ‘um —‘mio._—_kuldsino ‘um Ah, un mio cugino, un Ah a my cousin, a (Ab, a cousin of mine,) ‘ottimo ‘kor 'kwiVenme ottimo cor gui vonno excellent heart;_-here he came © poverrin ‘Yerka © il_—_—poverin corca and the —poorboy —_is seeking ROSINA fortuna 9 ta fara Fortuna? Oh, _— a fark. Fortune? Oh, _holll make it. FIGARO 2 ‘ne ‘dubits sai ‘a Oh, ne dubito —_asoai; in Ob, Idoubt it very much; in a uy gran dfetta a'ddosiso ha un gran_difetto addosso. hehas a great defect on him. (he has one great fault.) ROSINA ‘uy ‘gran diffetto Un gran difotto... A great fault. FIGARO a ‘grande © innamsrats Ah, grande: E — innamorato ‘Ah, abigone.. He's in love (He's dying of love.) ROSINA ‘si davvero “wel ‘dgovane Si, davvero? = Quel_giovane, Yes, —really?... That. young man, Yar ‘kom = 'me far con me. deal with me. ‘poko fa poco fa a while ago @ tun sinnore a un Signore... to a gentleman. ‘bravo dovinotts —‘bwona ‘testa bravo giovinotto; buona testa, fine young man, gaod head, ivswoi ‘sudi a komipire isuoi studio a campire, his studies to. —_fimish, ‘itor fortuna di far foxtune. to make (his) fortune. komfidentsa confidenze, confidence, ‘morta dying. veldete minteressat vedete, minterossa, you see, interests meIl Barbiore di Siviglia, Act I FIGARO ‘per "bakko Per Bacco! By —_Jovel”” ROSINA ‘non ‘fi kre'dete, Non ci credete? ‘You don't believe me? FIGARO 2 ssi Oh a! Oh yes! ROSINA © ‘la'sua ‘bella ‘di ‘abita Ionttano E — Iasua bella, dite, abita Tontano? And his sweetheart, tell me, does she live far away? thee cio’. that is. ROSINA ‘mae bela Ma ® __ bella? But isshe beautiful? FIGARO 2 bbella sai ‘ekckovi ‘suo eftratto O bella essai! Eccovi il suo ritratto Ob, beautiful indeed! Hore for you (is) her —_partrait in due parole ‘grassotta dsenjatotta in duo __ parole: grassotta, gonialotta, in two words: a little plump, somewhat talented, kapelslo ‘nero ‘gwantfa porpoirina capello nero, guancia orporina, hair black, cheek rosy, ‘okckjo ‘ke ‘pparla ‘mano ‘ke inmamora occhio che parla, ‘mano che innamora... eye(s) that speak, hand(s) that ROSINA eit ‘nome E il nome? And her name? Somehow the God of the grape, Bacchus, isnot use in mild English expletives. That is why I uso "by Jove". One onal also translate it as "bow about that" "wall, fashion that "well, Tl be.." et.46 Il Barbiere di Siviglia, Act I FIGARO ail ‘nome Ab, il nome... Ah, the name., ake ‘si'kjama ah che si chiama... ah, what hor name is. ROSINA ebsben ‘si'Kjama Ebben, ssi chiame?... ‘esse NO. 7 DUET ROSINA ‘dugkwe io ‘son tu hom mingganmi ‘dunkwe io'son ‘la Dunque fo son... tu. non minganni? Dunque io son la Then 1 am aren't deceiving me? ThenIam — the (To herself.) ‘asa immadsinata ‘lo saipevo ‘dite Gia immaginate, losapevo pia dite. Already Thad it guessed, _Iknewit before you did FIGARO ‘ai lindora Dvagoaidsetto ‘sjete ‘Voi ‘bella Di —_Lindoro il —-vago _oggetto sioto voi, bella Of — Lindoro the lovely object are you, beautiful (My beautiful Rosina, you are the lovely object of Lindoro's affections.) (To himself.) ke Wolpe sopraffina © 'ma_—la'vra ‘da far Oh, cho volpo ‘sopraffing,” ma avr da far Ob, what a vixen cunning, but she'llhave to. — deal fortwnata fortunate one! roizina Rosina. "0h che volpe sopraffina This phrase Wustraes two instances of the Phrasal Doubling or RaddoppiamaatoiSintattico explained at the beginning of this book. Che is one of those monosyllblas tht causss the following inital consonant inthe next word to double. Therefore the word volpe is tanscufbed phonetically with two [vv], an effective dramatic touch to bring fou the "vixen" word. Come, dove, sovra sopra qualche arv al disylabic words thet cause ths doubling. Sopealfina ie really ‘soprefina, but the sopra word bas caused ths fof fina to be doubled and amalgamated it into one word. Other such examples ‘are Jd giaoggi- chi safchissd- 1a su lass - 0 Dijoddio gla chelgiocché -I Barbiore di Siviglia, Act 1 a” ROSINA ‘venti ‘ma @—_—iintdor0 ‘per parler ‘kome ‘ssi fa Sent, ma a —_Lindoro per parlar come si fa? Listen, but to —_Lindoro to talk how _is it possible? (Listen, how is it possible to talk to Lindoro?) FIGARO ‘sitto 'sitto “kwi—Hindoro ‘per parlarvi ror sara Zitto, zitto qui Lindoro por parlarvi oror sara, Gently, gently, here _ Lindoro to talkto you soon _ willbe. (Gently, signorina, Lindoro will soon be here to talk with you.) ROSINA ‘per parlarmi rave ‘venga ‘pur ‘ma kom —pvdeatsa Por —_parlarmi?... bravo! Venga pur ma con prudaxza. To talk with me?.. Splendid! Let him come, but with caution. ‘io tsa ‘moro dimpattsjentsa ‘make tarda “kore fa To gia ‘moro impezionzal Ma che —_tarda?... cosa fa? Talready amdying —of impatience! But why does he delay?.. What is he doing? FIGARO ‘ekKi—atttende "ewalke ‘ssenno pove'in ‘del vostro atffetto Egliattondo qualche ‘segno, poverin, del vostro affottos He is awaiting some sign, poorboy, of your _ affection; ‘sol due fige di BiAfetto “6i mandate Sol due righe di _biglietto sli mandate Only two lines ina note send him (Send him a few lines in a note) © kw vera ke ‘ne ‘dite © qui vorra. Cho ne dite? and here he will come. What do you say? ROSINA (coyly) ‘nom vatrrei| Non vorrei... T shouldn't FIGARO ‘su koradsdso ‘Su, coraggio. Come, courage! ROSINA ‘non saprei Non saprei... T wouldn't know... FIGARO ‘sol ‘due ‘rige Sol duo righo... Only two — lines...48 ROSINA ‘mi vergonno Mi vergogno... Tm ashamed... FIGARO ‘madi eke ‘si'sa ‘presto kwa um ikKetto Ma di che? sisal Presto: qua un _bigliotto. But of | what? Tknow! Quickly, here a note! (Hurry and give me a note for him!) (Rosina takes the note out of her bosom and offers it to Figaro.) ROSINA ‘um bixfetto ‘elckolo ‘wa Un __bigliotto?. eccolo qua. A note?... Here it is. FIGARO ‘ta ‘era ‘skritto ve ke ‘bbestja Gia ora scritto! Vol che bestia! Already itwas written! See what a fool (I am)! maestro ‘fatifo a 1 maostro faccio a The teacher Iplay to her! (And I am playing the teacher to her!) a kein ‘kattedra malltsja ‘pwo deta ‘Ah, che incattodra malizia pad dettar. Ab, for a lecture cunning can deliver. (Ab, she can give a lecture on cunning!) ‘donne etemi ‘ddei ‘ki vatrriva a indovinar Donne, otoni Dei, chi varriva a indovinar? Women, eternal gods, who canattempt to make you out? ROSINA fortunati effetti ‘miei ‘io komintfo =a respirar Fortunati aot miei, io comincio © @_—_respirar. Lucky affections mine, 1 begin to breathe (again). (How fortunate I am in my affections!) atu S09 amor ‘tu 'sei_ ke mi devi konsollar Ab, tu solo, amor, tu sei chemi dovi consolar! ‘Ah, you alone, my love, you are that_«mustme —_—_console! {Vou are the one to bring me consolation!) ‘senti ‘senti ‘ma _—_lindoro Senti, sonti, ma Lindoro... Listen, listen, but Lindoro... FIGARO wi vera amomenti per parlarvi kwi sara Qui vorra. Amomenti per _parlarvi qui sara. Here he willcome. Inamoment to talktoyou here _he will be.I Barbiore di Siviglia, Act I ROSINA ‘Venga pur, ma con prudenzs FIGARO Zitto, zitto, qui verra. (Figaro leaves. Rosina stays alone for a moment and Bartolo enters.) ROSINA ‘ora. ‘mi ‘sent. ‘meso ‘kwesto figaro © = um "bravo Ora mi sento_ meglio. Questo Figaro 8 = un_— bravo Now I feel better. ‘This Figaro is a fine BARTOLO (entoring) in ‘somma “rolle bwone potrei saipere ‘data In somma, colle buono, potrei_ sapere dalla In sum, ina polite way, could I know from ‘ke venne a far kolui ‘kwesta matting cho vonno a far colui mattina? what came to do thatfellow this. morning? (What did that fellow come to do here this morning?) ROSINA ‘Figaro ‘non 's0 ‘nulla Figaro? Non so malle. Figaro? Idon't know anything, BARTOLO ‘ti pari ‘Ti parla? Did he speak to you? ROSINA ‘mi parlo Mi perio. He spoke to me. BARTOLO ‘ke Cho What did he say to you? ROSINA 2 ‘mi parle ‘adi Yerte bagatelte Ob! mi parla di corto Dagatelle... Oh! he spoke tome about some trifling matters. ‘det figurin ‘i Frantfo dol figurin di Francia, about the fashions in France, ‘acl ‘mal ‘della ‘sua Tikka martfetetina dol mal dolla sua ‘figlia Marcellin. about the illness of +—-his_daughter-_-~=—=‘Marcellina, 49 dsovinotts young fellow. ‘mia mia my Rosina50 Il Barbiore di Siviglia, Act I ‘ed io skoommetito Ed io —scommetto Really now!... And I bet ke porto ta risposta ‘al two —EKKetto che port la isposta al tuo _iglietto. that he brought the answer to your note. ROSINA (innocently) ‘Yewal bikKetto Qual bigtiotto? What note? BARTOLO ‘ke ‘serve latgjetta deLitnutil prekautsjone Cho sarve! Laristta dol! "inatil Procauzione” Dont even try (to play the innocent one!) The arietta _from “The Useless Precaution’ ‘ke ti "kadde staiman ‘dg “dal batcone cho ticaddo staman git dal balcone. that fell (from your hands) this morning down fromthe balcony. Vi Tate ‘ avessi indovitnato Vi fato rosea? (Avessi indovinato!) You're turing red? (should have guessed!) (Youre starting to blush?) (Ho examines her finger.) ke ‘vwol ‘die ‘Kwesto ‘dito koi ‘sporko. ingkjostro Che vuol dir questo dito cos sporce dinchiostro? What isthe meaning of this finger so stained with ink? ROSINA ‘sporko ovmulla ‘io 'me lavea skotttato ‘Sporco? oh nulla. Jo mo Tavoa scottato, Stained?.... Oh it's nothing. 1 had burned it, © koltigkjostro oor “Yo meditkats © collinchiostro or or Tho medicato. and with the ink just now ‘I medicated it. {and I treated it just now with ink.) BARTOLO (to himself) ‘Gavolo Diavolo! The devil! (Aloud, and counting the sheets of paper on his desk.) © ‘kwesti fokki ‘or ‘son E questi fogli.. or som cingue... ‘And these sheets of paper... now there are. a ‘eran there wereROSINA ‘ewe Toki ' Que’ fogli?.. a ‘Those papers?.. Its a manidar ‘dei a mandar dei to send some Il Barbiere di Siviglia, Act 1 51 ‘wero ‘duno vor, D'uno true. With one konifetti a confetti a sweets to BARTOLO (starting to got exasperated) bravi a e Bravissimal E Very good indeed! © And ROSINA (to horself) male'detto (Maledetto!) (Curses on you!) ‘la ‘penma perke ‘ff Ja ponna, percha fax the quill, why (Aloud, looking ever so innocent.) a BARTOLO ‘sul tamburo Sul tamburo! On the embroidery drum! ROSINA Un fiore. BARTOLO ‘um jor a Un fiore! Ahi A flower! Ah, (you) ROSINA (insolently) davvver Davver. That's true, BARTOLO ‘sitto Zito! Hush! ROSINA, kreldete Crodete. Believe me. BARTOLO ‘basta koi Besta cost. Enough of this! dizeypare = uy disognare design a ‘um hore Un fore? A flower? frasketta fraschotta! fresh one! ‘mai ‘son servita ai son sorvita, T used it martfel:lina Marcellina. Marcellina. temperrata ‘temperate? ‘was it sharpened? ‘ore ‘sul tamburo fore sul tamburo. flower on my embroidery drum.11 Barbiere di Siviglia, Act NO. 8 ARIA BARTOLO a tn dotior ella ‘mia. ‘sorte A un dottor dolla mia sorte To a doctor of |= my _ station “kweste ‘skuze siporina —vikon'si¢ko-—mia.—katrina quoste scaso, i 7 Viconsiglio, mia carina, such excuses, young lady? advise you, my dearest, ‘um po tmekko 2 impostirar un po! moglio. 2 imposturar. a bit better to deceive. (advise you, dearest young lady, to be cleverer in your attempts to deceive me.) i kompfetti ‘alla ratgatisa ‘I tkamo ‘sal tamburo 1 confetti alla ragazza? ricamo sal tamburo? The — swoots tothe girl? The embroidery on the drum? Vi sko'ttaste e'wia Vi scottaste? Eh vial ‘You bumed yourself? Go on now! “fi wal ‘altro ‘ikéa'mia ‘per potermi korbelilar Gi vuol altro, figla mia, per —_potormi corbellar. You'll need something different, my girl, to beable to fool me, perke ‘manka a “kwelfokko Porchd mance Ya — quel foglio? Why ismissing there that _ sheet of paper? vo saiper keotesto imrok> ‘sono inutili ‘le “zmorfje Vo! saper cotesto imbroglio. Sono inutile le _smaorfie; Twant to know about this messy affair. Are useless your sweet smiles. (Rosina attempts to calm Bartolo's apoplectic fit by touching him.) ta ‘nom ‘mi taickate Ta, non mi toccate! there! Don't touch me! ‘non ‘lo spe'rate = “kio. mi afi imfinskkjar non lo sporato chlo mi lasci infinocchiar.”” don't hope that I allow myself to be made a fool of. ™finocchire stems from finocehio, Nonne!" Anise is made from fennel, and in oldem times, uhe Liquor imbibed in quantity produced effects of lthargy and somnolence akin to being stupefied.II Barbiore di Siviglia, Act I 53 komfe'ssate ‘son disposto a perdsinar confossats; son —_disposto a pordoner. Come, dear girl, confess; Tm disposed —to._—_—forgive. ‘nom parlate ‘vi ostinate ‘Non parlato? ‘Vi ostinate? ‘You won't speak? _—_You're obstinate? ‘steno kwel ke oda far So ben io quolcho ho da_— far. Tknow well (1) what Thave to do. sipnorina ‘un ‘altra ‘volta kwando ‘bartolo andra ‘twori Signorina, um altra volta quando Bartolo andra fuori, Signorina, another time when Bartolo goes out, ta kon'senna ‘ai servitori Ja consegna ai sorvitori (the) handing you to the servants a ‘suo ‘modo Yer saipra @ suo modo far sapra. in his fashion do he will know. (he will know how to hand you over to the servants in his own fashion.) © —‘non'servon le == “amorfje Eh, nonsorvono le —_smorfio, Eh, it'sofnouse the sweet faces, “fattfa ‘pur ‘a ‘gata ‘morta faccia pur Ja gatta morta, even if you play the _ she-cat dead. (Even if you play the innocent and use sweet faces, it will be of no use to you!) Kospetttom ‘per ‘kwella ‘porta Cospetton! por quella porta By Jove! ‘Through that» door ‘nemmen erja entrar potra nommen ‘Tria entrar otra. noteven _the air to enter will be able. (not even the air will be able to pass inside.) © rozina inmnotfentina skonsslata ——disperata E Rosina ‘innocentina, sconsolate, disperata, And Rosina, the little innocent one, disconsolate, despairing, ‘in ‘sua “kamera se'rrata Yin Kio Yoko ‘sar dovra in sua camora sorrata fin chio voglio star dovra. in her room locked up, _until__‘I want to, stay she must. (will stay shut up in her room for as long as I wish.) (He leaves.) Fare Ja gtta morta (Uterally “to play the dead che-ca’ is an expression meaning "wo try to look harmless - etry to look fmnocent - to ty to pretend tbat you know nothing about anything’54 Il Barbiere di Siviglia, Act I ROSINA “brontola "wants wai ‘Kiudi porte ¢ —— fineste Brontola quanto vuoi, chiudi porto © finostre Grumble as muchas youwish, lock doors. and —_ windows. ‘io ‘me ‘ne ‘ido lo me ne rido. I Taugh over it! {it just makes me laugh!) ‘da “dino Temmine © “abla ‘piu marmotta Gia di noi fommine alla pid marmotta ‘Yes, for us, ‘women even the meekest ‘per agu'ttsar lindsenpo e ‘far ‘la spiri'toza “tutto ‘ad ‘un ‘trata per aguzzar Tingogno = far la spiritosa tutto ad un tratto to sharpen her wits and play the clever one at the same time ‘basta ‘Kjuderla =a Kjave © = Kolpo e fatto basta chiuderla a chiave il colpo @ fatto, itsenough tolockher with key and... thedeed +—_is done! (That's it! All it takes to make even the mookest girl sharpen her wits and become claver is to lock her under lock and key. } (She leaves. Berta enters) BERTA finora ‘ig ‘Kwesta ‘kamera‘mi pave “di_—ssentir. ‘um — mormorio Finora in questa camera mi parvo = di_—ssontir un —_mormorio; Justnow inthis room =Iseemed to hear some whispering: sara ‘stato lito Sara stato il Itmust have been the ‘Kotla pupilila nora ‘ben, Colla pupilla un'ora ben... With his = ward an hour peace... “Kweste raigattse ‘non katie Questo ragazz0 non la voglion —_capir... ‘These young girls don't want to understand... (Loud knocks are heard.) "battons Battono. Someone is knocking. ALMAVIVA (from outside, coarsely and loudly) sprite Aprite! Open up!II Barbiere di Siviglia, Act I 35, BERTA ‘vengo eth ayjkora ‘dura Vengo. cei! ancora dura, Tm coming, _Atchoo! Still it's continuing! (continue to sneeze!) "wel tatbakcko ‘ma posto in sepottura Quel tabacco mba posto in sopoltura. This tobacco has putme in (my) —_ grave. (She runs to open the door. The Count, disguised as a cavalry soldier and acting very drunk, staggers into the room, brandishing his sword and terrorizing Berta) NO. 9 FINALE ‘ALMAVIVA ‘ci i kaza ‘bwona ‘dente ‘ajum ‘mi ‘sente Ehi, di casal... buona gent niu mi sente! Hey, anyone home?!.. Good peoplel... No one hears me! BARTOLO (entering) Ke kort ‘ke “brutia ‘fattfa © © ubrfako ‘i ssara Chi 8 costui?... che ruta faccial & ubriaco! Chi sara! Who is thisfellow?... What ugly face! He's drunk! Who can he bel ALMAVIVA (oven more obstreperous) Ehi di casa! maledetti damn you alll... BARTOLO ‘Kora wal sipnor sofdato Cosa vuol, signor soldato? What do you want, mister soldier? ALMAVIVA (soeing Bartolo) a ‘sisi “bene obsbligato Abt. si. sh. bene obbligato. Abl... Yes... yes... much obliged. (He searches his pockets.) BARTOLO ‘wi Kost ‘ke mai vorra Qui costui che mai vorni? Here this fellow whatever _can he want? (What ever can that fellow want here?) ALMAVIVA (examining the paper he has just taken out of his pocket) aspetia ‘um ‘pak Aspetia un poco. Wait abit. ‘siete ‘voi dottor batordo Siete voi dottor Balordo? ‘Are you doctor Balordo? (idiot)Il Barbiere di Siviglia, Act I dottor Dottor Doctor benissimo bonissimo! Very good! she delays! ‘kwi—prdentsa here prudence 56 BARTOLO (insulted) ke bbattordo Cho balordo? What (do you mean) balordo? ALMAVIVA (examining his paper, quite amused by Bartolo's anger) a ha_—_bertoldo Ah ah, —_Bertoldo! Ha ha, —_Bertoldo! (blockhead) BARTOLO ‘ke bbertoldo «=e aidate ‘al “Wiavolo Cho Bertoldo? «Eh, andate al ~—diavolo! What Bertoldo? Hey, go tothe devil! ALMAVIVA a bravistsimo doutor ‘barbars Ah bravissimo; dottor Barbaro; Ah splendid; doctor Barbara! (barbarian) BARTOLO ‘wn ‘korno Un como! Go to hell! (Drop dead!) ALMAVIVA ‘va be'nissimo ‘dsa've oka differemtsa ‘Va bonissimo; giv poca differoma. ‘That's excellent; there's litte differemce. (To himself.) ‘non'si'vede ‘ke ~—impattsjentsa‘kwanto Non sivede! cho impazionza! Quanto Ican't see her! What impatience! How BARTOLO (to himself) ‘i ta ‘perds ‘1a pattsjentsa lo gia perdo 1a pazienza, 1 already am losing my patience; ALMAVIVA, ‘éunkwe ‘Voi ‘siete dottioce Dunque siote dottore? Then you.. are —adoctor? BARTOLO ‘son dotttore si Son dottore... si Tam a doctor. yes ‘bartolo Bartolo! Bartolo! ‘sta sta? is sho? Yi vo'rra ci vorna, will be needed.Il Barbiore di Siviglia, Act 87 ALMAVIVA ‘va benissimo ‘un absbrattfo—kwa kot Vabenissimo, un abbraccio, qua, Excellent! A hug... ‘come here, colleague. (He clumsily tries to embrace the protesting Bartolo.) BARTOLO (trying to ward him off) ‘ingjetr> Indietro! Back! ALMAVIVA (finally succeeding) ‘kwa ‘sono ag’kio dotaor ‘per fento Qua. Sono anchio dottor por conto, Come here! Tam also myself adoctor_-—_—for a hundred (horses), maniskalks ‘al redxisimento ‘maniscalco al_—_reggimonto. veterinary in the ‘regiment. (He takes out his billeting order and shows it to Bartolo.) deklattodsds0 ‘mul bikKetto osservate —‘tektkolo ‘kwa Dollalloggio sul biglietto, _—oaservate, —accolo qua. Of the billeting, on this paper, observe, there it is. (Observe, it says so on this billeting order.) (To himself.) a venisse il kara odidgetto dela. mia felitfita Ah, venisse i care oggetto dolla mia felicita! ‘Ab, ifonly she came, the dear_—_ object of my _happinoss! BARTOLO (to himself) dakla ‘rabbjae ‘dal dispetto io ga ‘krepo ‘im verita Dalla rabbiae — dal_—_dispotto fo gia crepo in vorita. From rage and from spite 1 already am bursting, in all truth. a tkio'fo ‘se mifi'metao ‘una ‘gram —bestjalita Ah, chiio fo s0 mi ci motto una gran bestialita! Ab, Iwill commit, if I got into this, a —_ big _stupidity! (EFI got myself into this business I may do something stupid.) (He reads the billeting order.) ALMAVIVA ‘vieni_ ‘il two ditto ‘pien datmor tattende ‘kwa Vieni, il tuo diletto pion d’amor tattonde qua. Come, your sweetheart full of ove awaits you here. (Rosina enters and at first does not recognize Almaviva) ROSINA ‘un soldat ‘il twtore “koma mai falramno “wa Un soldato... il tutore! Cosamai —faranno qua? A soldier... the tutor! Whatever can they be doing here?58 Il Barbiore di Siviglia, Act I (She advances very quietly.) ALMAVIVA (seeing her) e — rezina ‘ot son —_koritento z Rosina, or son __contento. Its Rosina, now Tam content ROSINA (to herself) ‘ei ‘mi ‘gwarda e Ei mi guarda, ° He islooking at me, and _—he's coming closer. ALMAVIVA (to Rosina removing his mustache for a socond) ‘son lintdoro) Son Lindoro. Jam Lindoro. ROSINA (softly, to the Count) tel Ke ‘sent a dydittsio © per peta Oh ciel! Che santo! Ah gindizio, per _—piota! Oh heavens! = What amIhearing! Ah takecare, for _pity's sake! BARTOLO (seeing Rosina) sinporina = ke~—tferkate ‘presto anidate ‘via Signorina, cho —_corcate? Presto, endato via. ‘Young lady, what are you looking for? Quickly, 30 away! ROSINA (petulantly) ‘vado ‘non oridate Vado, non gridate, Tm going, don't shout. BARTOLO Presto, presto, via di qua! ALMAVIVA ‘ei ratgatisa ‘vengo arjkio Ehi, ragazza, ‘vango anchiio. Hey, girl, Tm coming too. BARTOLO ‘dove ‘dove sinnor mio Dove, dove, signor mio? Where, where, my fine sir? ALMAVIVA ‘i kaverma 2 ‘kwesta e bella Tn casorma, oh questa 8 bella! To the billeting quarters, oh, this isa gowd one! BARTOLO ‘in ke'zerma bagattel In casorma’.. Ddagatella! To the billeting quarters? Nonsonso!ALMAVIVA ‘tara Dear onel... ROSINA sijuto Aiato! Help! BARTOLO ala on, Hoy there, 1 Barbiore di Siviglia, Act I kospett cospotto! by heaven! ALMAVIVA (starting to follow Rosina) ‘dunkwe Dunque Then BARTOLO > ‘nna Oh, 20, Ob, no, ALMAVIVA. ‘kome Come? How so? BARTOLO e ‘nom ve Eh, non va ‘vado vado. Tm going, sinpore ‘kwidalod:ds0 mom ‘pwo ‘star signore, qui. dalloggio = mon pud star. sir, here billeted youcannot be. ‘replika 2 il Rrevetto dezentsjone replica; ho il brevetto dosonzione. Eh, there'sno argument; —-Thave the certificate of exemption. ALMAVIVA I brevetto n Mio padrone, un momento ALMAVIVA (to ate Ah, 50 Ab, if ROSINA, ime Ohima, Oh dear, ‘um = momento =e =“ mostre'ra ‘i mostrerd. an, one + moment and I will show it (to you). Rosina, trying to pass her a note) ‘kwirestar ‘nom posso “de prentdete qui estar non posso, deh, prondete... here stay Tcannot, please, take this. ‘Ui owarda i guard! he's watching us! 5980 Il Barbiore di Siviglia, Act I BARTOLO (continuing to search) a wovarla agkor ‘nom ‘poss ‘Ab. trovarlo ——ancor_non poseo. Ah, tofindit still T cannot. (still cannot find it) ROSINA pridentsa Pradenza! Prudence! (Be careful!) BARTOLO ‘ma 'si'ssi ‘fo trove'ra Ma sii, Jo trover. But yes, yes, Tl find it. ALMAVIVA, ROSINA. ‘tfento “amanje ‘io ‘sents axdosso Cento smanio io sonto ‘addosso. Ahundred emotions —_—I foo! inside me, a piu ‘redxigere non ‘so Ah pia roggero non 50. ah, —anylonger stand it T cannot. (cannot stand it any longer.) BARTOLO (triumphantly waving a parchment and coming forward) ‘kon 'la—_prezente ‘ll dottor ‘bartato etfetera ezenitjamo Con la _presanto, il Dottor Bartolo, —otcotora... With the present (document) doctor Bartolo, etc. ALMAVIVA (roughly slapping the paper awvay from him) € — aridate ‘al ‘djavalo ‘nom ‘mi ‘state ‘piu a sekkar Eh, andate al_—_diavolo! Non mi stato pitt a seccar. Hey, go tothe devil! Don't me —anylonger_to.—bothor. (Don't bother me any more!) BARTOLO (intimidated) ‘hora Ya sinnor mis ‘karo Cosa fa, signor mio caro? What are you doing, sir mine dear? (my dear sir?) ALMAVIVA (menacingly) ‘tsitts ‘la dottorsimaro ‘Wms atisddyo =e kwi_—ftssato Zito a, Dottor somaro, il mio alloggio & qui fissato, Quiet there, Doctor Donkey, my — billeting is here fixed, (my quarters have been set here,) ein wi vo star ein qui vol star. and inmy here I wish to stay. BARTOLO ‘vwal restar Vuol rostar? You wish to stay?Il Barbiere di Siviglia, Act I ALMAVIVA restar stkuro Rostar, sicuro. To stay, for sure. BARTOLO (going to fetch a cane) 2 ‘son ‘stufo ‘mio patdrone Ob, son stufo mio padrone, Ob, have had enough, my good man, ‘presto ‘fwori © ‘um ‘bwom bastone presto fuori, © un_—-buon bastone quickly, outside, or a _— good stick ‘fara ‘di wa avidedsar 1o fara di qua sloggiar. will make you from here be driven out. (will drive you out of here.) ALMAVIVA “dukwe ‘ei vwol batttakéa = ben atttakka, ‘Te vo “dar Dunquo Joi vol attaglia? Ben, _battaglia Jo vo! dar. Then you want todo battle? Good, a battle Twill give you. ‘bella ‘Koza € ‘una bettakfa © ve la Vokko-‘kwi mostrar Bella cosa 2 una batteglia, vo la voglio qui mostrar. Lovely thing is a _ battle, Iwant to you here show. (1 want to show you here and now.) osservate —kwesto.e = ‘il_——fosso Osservate, questo 8 = il_—fosso.. Watch, this is the trench... Jimtrniko ‘oi satrete attentsjon Tinimico voi sareto... attonzion! theenemy you _—_will be. ay attention! (Tho Count has drawn his sword and measured out the "battle zone" on the floor.) (He drops a note near Rosina) “dgu ‘il fattsotletto cin il fazzoletto. Down with the handkerchief. (Let your handkerchief drop down over it) (She innocently drops her handkerchief on top of the note, prompted by the Count, while the confusion of Bartolo increases. To Bartolo.) © fi amitfi ‘stan di kwa attentsjon E gli amici stan di qua. Attenzion! And our friends stand over here. —_Pay attention!II Barbiere di Siviglia, Act 1 BARTOLO (catching the maneuver of Almaviva and Rosina) ALMAVIVA (pretending to suddenly soe the letter and handkerchief on the floor) 62 ‘Yema Ferma! Stop! ke koe Che cos8?... What is the matter? BARTOLO vo vedere Vo! vedere. Twant to see. ALMAVIVA ‘si se oss S, so fos Yes, if it were a Abt... Ant... ‘una sitfetta una ricetta! a _ prescription! ‘ma um_—_bitketto Ma un _biigliotto... But. a note. (He gallantly picks up the note and handkerchief for Rosina) & ‘mio dovere EB mio dovere... Its my — duty... ‘mi dovete —_perdsnar midovete _perdonar. you must forgive m ROSINA (charmingly coy, then quickly substituting another paper for the letter) ‘gratsje Grazie! Thanks! BARTOLO ‘grattsie ‘up komo Grazzio ‘un como! ‘Thanks my eye! ALMAVIVA Vuol battaglia? Attenzion! BARTOLO (to Rosina) a ki dik A chi dico? To whom am talking? ROSINA ‘ma ‘kwel_ Toko ‘ke Ma quel foglio cho But that paper that ela ista del EB la Hista dol Itis the list’ of the BARTOLO a frasketta ‘Ah, — fraschetta! ‘Ab, you little pixie! ‘wel qual that ‘kwa Qua Here (with) ‘presto Presto Quickly, (give it) Kjedete chiodote, you are asking for, butkato bucato. laundry. ‘presto Presto Quickly, (give it) “Tokko impertinente foglio, impertinente! Paper, (you) impertinent gixl! "rowa hore! ‘per atddzardo © tme kastkato per azzardo m? cascato; by accident Tet it fall; ‘wa qua. here!Il Barbiere di Siviglia, Act I 63 (Ho grabs the paper from Rosina and sees that it is the laundry list.) a ke wedo 9 'prezo atbsbakto ‘Ah, che vedo! Ho preso abbaglio! Ab, — what do I seo! Thave blundered! BERTA (entering) i barbjere ‘kwanta ‘agente 1 barbiere.. quanta gente! The barber how many —_ people! BARTOLO (dumbfounded) © la lista ‘son “i 'stukcko EB la lista, son di stucco! Its the list, Tam speechless! a ‘som proprio ‘um mammalukko a ‘ke ~—‘gram_—bestjalita Ah, som proprio un mammalucco!"Ah, che gran __bostialital Ab, Tm really a blockhead! Ah, © what big stupidity! "bravo mammatukko ‘ke nel 'sakiko enltraty © ya Bravo mammalucco che nel sacco entmafo3 gi. Bravo (for) blockhead © who inthe trap has walked already. BERTA ‘non ka'pisko ‘son ‘walle imbrosko‘kwifi'sta Non capisco, ‘son * qualche imbroglio qui cist. Idont understand, Iam speechless; some confusion here there is. BASILIO (entering and singing solfeggio off a paper) ‘ol ol el tema i Sol Sol, sol, sol, do, re mi fa? si sol do. ‘make ~—imbrokco se kwesto ‘Kwa Ma che imbroglio —-—=— questo qua? But what confusion is —this._here? ROSINA (starting to weep) ‘sempre unistorja ‘sempre oppressa = malirattata sompro unistoria; sempre. oppressa = maltrattata: Always the same story; always oppressed and _ill-treated; * Mammalucco originally designated the Mamelukas, a people from ancient Egypt who later were conscripted into the trmins of the time. They ware good warriors. Why thay developped the connotation that they wore stupid is unknown, but in [bro of this ora, blundoring charactors am often called manmalucco. stucco, plaster, spelled the sare way in English. Son di stucco Iarlly means Iam made of stucco, hardened plaster ‘that renders the person speechless tal do 1» mi fa the tnnocuoes colegio notes intone by Basile contain an "nok" by te mpc Roesnk. When angel Iba tis soldo re mif, it oans money Hing makes me, (money mahes me king}, an pt phrase for the money-hungry music master.64 Ul Barbiere di Si a ke Vita dispe'rata. = non ‘la'so.—_‘pju sop:portar ‘Ab, che vita. disperatal. © Non laso _pitt sopportar! ‘Ab what alife dismal! Icannot endure it any longer! BARTOLO a rozina pove'rina Ab, Rosina... —_—poverina.. ‘Ah, Rosina... poor litte gir... ALMAVIVA (threatening) ‘um Yjen wa Koza ‘ai fatto Ta vien qua, cosa ‘Thai fatto? You come here, what did you do to her? BARTOLO a fermate ‘njente afffatto Ab, formato... _nionto affatto... ‘Ab, stop... nothing at all... ALMAVIVA (drawing his sword) a katnakha traditore Ah, canaglia, ‘traditore! Ab, (you) wretch, (you) traitor! ALL (except the Count) via fermatevi sinnore Via, formatevi, . Come now, restrain yourself, _—_signor. ALMAVIVA, ‘inti Vokko subissar To tivoglio subissar! 1 want to flatten you! ALL (excopt the Count) ‘dsente auto sokkorretelo Gente! Aiuto, soccorretelo! People! Help, assist him! ALMAVIVA (pretending savage ferocity, brandishing his sword) lafatemi Lasciatemil! Leave me alone! ALL (except the Count) ‘agente to ‘per pjeta Gonto! Aiuto, per piota! People! Help, for pity’s sake! (Figaro comes in with a shaving basin in his hand.) FIGARO ‘alto ‘la Alto la! Stop it!Il Barbiere di Siviglia, Act 1 ‘ke kkoza = ackadide§——_sipnori ‘je’ Che cosa accadde, signori miei? What happened, good sirs? ‘ke "Kjass0 © kwesto etemi ‘dei Cho chiasso a 2 Etomni_ Dei! What uproar is this? Eternal gods! ‘az ‘mubla ‘strada a kwesto ‘strepito Gia sulla strada a questo strepito ‘Already onthe street, at this din ‘se radvinata ‘med:dza tfitta s% radunate mozza ita, has gathered half (the) — town. (Bocause of this din half the town has gathered on the street.) (Aside, softly to the Count.) sipnor dgudittsio Sir, be careful, BARTOLO kweste ‘um Quost’s un That one is a ALMAVIVA kweste ‘um brikikone Quest's un briccone! That one is a rogue! BARTOLO a dizgratsjato Ab disgraziato! ‘Ah, you wretch! ALMAVIVA a maledetto Ab, — maledetto! ‘Ab, curses on you! FIGARO (lifting his basin and threatening the Count) sinnor sotdato ‘porti rispetto Signor soldato, porti Hispetto, Mister: soldier, hhave (some) respect, © ‘kwesto fusto korpo ‘del ‘java ‘ora kreomtsa © questo fusto, corpo del diavolo.* —or__—In.croanza or this basin, body of the devil, now — manners (Aside, to the Count.) ‘e inseppe'a Jo insegnera. will teach you. A mild expletive moaning "by tho devil himeal?'; sometimes one finds corpo di Setanarso, which would trate as "by the big devil himsel.66 Il Barbiore di Siviglia, Act I sinnor dgudittsjo per karita Signor, giudizio, per carita, Sir, take care, for goodness’ sake. ALMAVIVA (to Bartolo) ‘brutio Jfimjotts Usly apel... BARTOLO (to the Count) ‘birbo ‘matnat Birbo malnato!* Rogue low-born! ALL (less the Count) ‘witto dottore Zitto, dottore... Hush, doctor... BARTOLO ‘vokko onidare Vogtio gridare... I want to scream... ALL (less the Count) ‘fermo sinpore Fermo, signore!... Stop it, sil. ALMAVIVA ‘voto ammatttsare Voglio ‘ammazzare!... I want to kill (him)! ALL Yate silentsjo ‘per karita Fate silenzio, per carita. Keep quiet, for goodness’ sake. ALMAVIVA ‘no vokko wrtfiderlo ‘nom ve pieta No, —_voglio ‘ucciderlo, non v8 pict No, Iwan tokill him, there'sno mercy! (A loud knocking on the street door is heard.) ROSINA, BERTA, FIGARO ‘siti ke "busssano Zitti, che ‘bussano... Hush, someone _is knocking... % Mal nao isa combination of mal (badly) and nato (bora) Its offen used as an insul in operatic Miblot, and its connotation could bea bit more insulting, more lke “bastard.II Barbiere di Siviglia, Act I 67 Who ever could it be? BARTOLO (timidly) woe Chia? Who sit? CHORUS (from within) ta fortsa abprite ’ La forza, aprite que. The guard, openup —_—here. ALL Ja fortsa 9 ‘djavalo La forza! Oh —_diavolo! ‘The guard! Oh _the devil! FIGARO, BASILIO lavete ‘atta Lavote fatal You've done it! ‘ALMAVIVA, BARTOLO ‘niente aura ‘venga ‘pur kwa, Niento paure, venga pur qua. Haveno fear, let it come here. ALL ewestaveventtura a koe “javolo ‘mai finira Quosttavventure, ah, come diavolo mai finiri? This adventure, ab, how thedevil © ever —_will it end? (The platoon of soldiers enters, preceded by their commanding officer.) ‘CHORUS ‘fermi ‘tutti ne'ssun ‘si'mwova mei sippori ke si fa Formi tutti, nossun simuova. Misi signori, che si fa? Stop everyone! Nobody move. Gentlemen, what is going on? BARTOLO (to the Officer) "kwesta ‘bestja ‘di sotdato ‘sissippor ‘ma maltrattato Questa bestia di soldato, sisignor,* ha maltrattato. This ignoramus of (a) _soldier, yes sir, has maltreated me. FIGARO oka Venmi_ ‘mio sippore —‘kwesto ‘kjasso ‘ad akkwettar —‘si'ssipnor Jo qua venni, mio signore, questo chiasso ad acquottar, si signor. 1 here came, sir, this disturbance to calm, yes sir rho un of Phrasal Doubling or Radoppiamentosntatico stat tat tb words (ys) one the next wort inital consonant to double, thus: sper). This ould be done by all nvoled inthis ensemble, After « wil ove starts to hear That ablatng trough the ensemble fore very funny eft. ii wortay to nol that somntinos the Phas! Doubling i thread spelled into the word, ths: sisigore, te accent on dropping of68 I Barbiere di Siviglia, Act I BASILIO, then BERTA fa ‘un imfemno ‘di etmore Fa un inferno di rumor, He's making a hell of = adin, ‘parla ‘sempre dammattsar ‘sissipnor parla ‘sampre @ammazer, si signor. he talks always of killing, yes sir. ALMAVIVA ‘in atklod:dgo ‘ewel brikkone In _alloggio quel briccone lodging in that rascal ‘nom ‘mi ‘vote ‘kwiattfettar ‘si ssipnor non mi volle qui accottar, si signor. did not want me here toaccept, —_yes sir. (That rascal did not want to let me be billeted here, yes sir.) ROSINA perdoinate ——poverino tutta effetto Tu ‘del vino Perdonate, poverino, tutto effetto fu del_—_ vino. Forgive him, poor thing, all effect itwas of wine. (it has all been the effect from the wine.) OFFICER 2 intezo Ho inteso. 1 understand. (Turning to Almaviva) galantwom —‘sjete in. aresto ‘twort ‘presto via ‘di kw Gelantuom, siote in arresto. Foor Presto, via di qua. Good sir, youre under arrest. Outside, quickly, away from here. ALMAVIVA in atrresto jo fermi ola In arresto? To! Formi, ola! Under arrest? Stop, hey there! (With an authoritative gesture he restrains the soldiers about to seize him. He calls the Officer to him and shows him a paper. The dumbfounded Officer essays a lame salute and clumsily bows. He makes a sign to his soldiers to retreat. Bartolo is speechless, and everyone else is astounded.) ROSINA, BASILIO, BERTA ‘fred:do ‘fred:da ‘ed immobile. kome ‘una ‘statua Fredda (freddo) ed immobile come una statua, Cold (cold) and motionless like a statue, ‘Fjato ‘non ‘estami ‘da respitar fiato non restami da respirar. breath isn't left to me to breathe.I! Barbiore di Siviglia, Act 1 69 ‘ALMAVIVA Freddo od immobile come una statua, ‘Fjato ‘non restai ‘da resptrar fiato non restagli da respiar. breath isn't left to him to breathe, FIGARO ‘gwarda ‘dom ‘bartolo ‘sembra ‘una ‘statua Guarda Don Bartolo, sombra una statua! Look at Don Bartolo, he looks like a statue! a ha dal idere ‘sto ‘per krefpar ‘Ah ah! dal ridore sto por crepar! Ha ha, from laughing =» Tm —about_ to burst! (At the end of this ensemble, someone waves a feather under Bartolo's nose and he sneezes, getting himself out of his freeze") BARTOLO (to the Officer) ‘ma sipgor Ma signor... But sir. HORUS ‘sitto ‘w Zitto tu! Shut up, you! BARTOLO ‘ma fun dottor Ma un __dottor... But a doctor... CHORUS 2 nom piu ‘Oh, non pia! Oh, no more! BARTOLO ‘ma se Ma so But if ‘CHORUS ‘nom parlar Non _ patlar. Don't talk. BARTOLO Ma — vorni... But I'd like to. ‘CHORUS ‘non gridar Non gridar.70 11 Barbiere di Siviglia, Act I BERTA, BARTOLO, BASILIO ‘ma 'se poi Ma so poi... But if then... CHORUS pen'sjam ‘noi Pensiam noi. Weill think about it. BERTA, BARTOLO, BASILIO Ma 60 poi..Ma se noi... CHORUS ‘nom parlar ‘vada oppum ‘pei atti ‘owoi ‘sifiniska © dalterkar Non parlar! Veda oguun pei fatti suoi, sifinisca daltercar. Dontttalk! Go everyone _—to the business his, stop ‘quarreling. (Everyone go about his own business! BERTA, ROSINA, ALMAVIVA, FIGARO, BASILIO ‘sitto "su ‘sitto ‘dgu ‘itt ‘kwa a Zitto su! Zitto gin! Zitto qua! Zitto la! Quiet up there! Quiet down:there!. Quiet here! Quiet there! ALL ‘mi par ‘desser “rota ‘esta jin unfonrida futfina Mi par aossor colla testa in unforrida ——fucina, Tseem tobe with my head in a horrid forge, ‘dove Kreffe © ‘mai ‘non ‘esta dove cresce emai non resta where it grows and never it stops deliiniudini sonore limportuns _strepitar dellincudini sonore Timportuno —stropitar. of the anvils loud the persistent ringing. (whore the ringing of the loud anvils grows and never stops.) ‘alternands —‘kwesto © © “kweli pezanitissimo martello Altemanto questo © quello pesantissimo martello ‘Altemating this and that most heavy hammer fa ‘kom ‘barbara armonia ‘muri € ‘volte rimbombar fa con barbara ammonia = muri_ @ ~—volte_rimbombar. makes with barbaric harmony walls. and_—_vaults_ resound. (The alternating hammer blows cause the walls and vaults to resound in barbaric harmony.) 1 fervelilo ~——pove'relto ‘asa stordito ‘abalordito E il corvello,-—_—poverello, gia stordito, sbalordito, And the brain, poor little thing, already stunned, stupefied,‘non ratdsona non ragiona, cannot reason, 11 Barbiore di Siviglia, Act I ‘sikomjfonde ‘siridufe ‘ad impatttsar siconfonde, si xiduce ed impazzar. is confounded, reduced to going mad. END OF ACT I 17” Ul Barbiore di Siviglia, Act I ACT IL Bartolo is alone in a 00m in his house furnished with a chair and a harpsichord on which are several pioces of sheot music.) BARTOLO ‘ma vedi ‘il'mio. destino ‘wel sotdato ‘per ‘kwanto ‘abbja_tferkato Ma vedi il mio destino! Quel soldato per quanto abbia corcato, But look at my fate! That soldier, as much as I tried, ‘njun Tokonoffe ‘in. “tutto ‘il red:dsimento miun lo conosce in tutto il —_—_reggimento. noone knowshim in all_—of the regiment. ‘io © kegpetito ‘ke dubitar Io eh, —cospetto, che dubitar? 1 hey, by Jove, what doubts? skommeto ke “dal_—‘konte _alma'viva Scommetto che dal Conte Almaviva Tbet that from Count Almaviva © ‘stato. wi spetito ‘ewel— sippore 2 stato qui spedito quel signore has boon here sent that man ‘ad esplorar ila rozina ‘il ‘kore ed esplorar —dolla_‘Rosina il core. to _recomnoiter of Rosina the heart. (1 bot that soldier was sent here by Count Almaviva in order to reconnoiter Rosina's heart.) nemmeno ‘in ‘kaza__ ‘propria. skuro ‘si pwo ‘star 'ma Nemmeno in casa _ propria sicuro si pud- star!“ Ma Noteven in house one'sown safe one can be! But. (One cannot be safe even in one's own house!) (A knocking is heard on the door.) i batt Chi matte? Who is knocking? (To the servants.) ‘i Kiel attono ‘non sentite Ehi, chi 8 dil. battono, non sontito? Hey, who is they're knocking, don't you hear? (Hey there, someone!) in kaza io ‘son. non ve timore sprite Tn casa io son; non v® timore, aprite. At home IT am; there'sno _—_fear, "open up. (don't be afraid) (The Count enters, disguised as a music master in the same manner as Basilio. He is very obsequious, and disguises his voice with a nasal twang.)ALMAVIVA ‘patfe ‘sia “kom “voi Paco e gioia sia con vol. Peace and joy be with you. BARTOLO ‘mille ‘gratis ‘non si komodi Mille grazie, non s'incomodi. Athousand — thanks, don't bother yourself ALMAVIVA ‘dsoja = patfe ‘per millanni Gioia © pace. por —mill'nni. Joy and peace for a thousand years. BARTOLO obsbligato im verita Obbligato, in vorith. Much obliged, in (all) truth. (To himself, aside.) “kwesto ‘volto ‘nom ‘me inpoto ‘ma ‘non ra'vivizo Questo volto non m’> ignoto, ma non ravviso... This face tomeisnot unknown, —but_I don't recognize it... ‘ma ‘kwel_ Volto ‘non katpisko i sata ma qual volto non capisco chi sark. but that face Idon't understand... who itcan be. ALMAVIVA (to himself, aside) ase tu kolpo © antdat a wwoto Ab so un colpo 8 ~—andato a vaoto ‘Ah, if one blow has fallen on empty (air) a gatvbar ‘kwesto ballordo a gabbar questo balordo; to dupe this idiot; ‘um novel travestimento ‘piu propittso = ame sara sm novel tevortmento pit propio © eeu. a disguise more favorable for ~me _—_ willl be. (a new dlaguise will favor me tore) (Aloud) Gioia © pace, pace 0 BARTOLO 2 Kkapito 2 fel ‘ke ‘amoja Ho capito. Oh cial! Cho noia! Ive understood you. © Oh_—_—heaven! What a bore! ALMAVIVA ‘dsoja © patfe ‘ben di kore Gioia e pace, ben di core. Joy and peace, happiness of -—_—heart. Il Barbiere di Siviglia, Act II 73 ‘non rikords non ricordo... I don't recall it.nm Il Barbiere di Siviglia, Act It BARTOLO ‘basta ‘basta ‘per peta Basta, basta, por iota. Enough, enough, for _pity's sake. (To himself.) ‘make ~—perfido destino ‘make ‘barbara ésornata Ma cho _perfido destino, ma cho barbara giomata! But what perfidious fate, but what abarbarous day! ‘weti‘kwanti ame avanti ‘ke knvdel_ fatalita Tutti quanti a = me —_davanti! Che crudel_ fatalita! Everybody to me _—_against! What cruel ill-luck! ALMAVIVA (to himself) il velckjon ‘nom imi ‘konoffe 1 —vecchion non _mi conosco: The silly old man doesn't recognize me; 2 mia ‘sorte fortinata Oh, mia sorte fortanata! Oh, my fate (is) _—_ fortunate! a mio ‘ben ‘fra poki_istanti parle'rem, ‘kon liberta Ab, mio bon! Fra pochi istanti parlorom con Liberta. ‘Ab, my beloved! = In. ~ afew moments we will speak in _ freedom! BARTOLO ‘in'somma ‘mio _—_sinnore Ketek ‘pwo satpere Insomme, mio _signore, chi 8 — lei, si pud sapere? Briefly, my goodsir, who are you, may! know? (if I may ask?) ALMAVIVA, ‘don allonso profe'ssore ‘di_—=— muzika ‘ed —allijevo ‘di ‘dom —_baiziljo Don Alonso, professore di_~—smusicaed —alliovo de Don_BBasilio. Don Alonso, professor of _~—s music and pupil of | Don Basilio. BARTOLO cebebene Ebbene? Well? ALMAVIVA, ‘dom bavziljo ‘tamale “il ~—poverrino «= ed Don Basilio sta male, il —poverine, ed = in. «sua vers Don Basilio is ill, the ~—poorthing, © and in his__—_pllace.. BARTOLO ‘ta ‘mal ‘koro a velderlo Sta mal?.... corro a vederlo. Hes ill... Tmrunning to _see him... [He starts to go off, but Almaviva holds him back.)Ul Barbiere di Siviglia, Act IT ALMAVIVA ‘Piano ‘pjano ‘none ‘mal kozi ‘grave Piano, Piano, non mal cosl grave. Gently, gently, itisn't illness so serious. (it’s not that serious an illness.) BARTOLO (to himself) ‘i kostui ‘nom ‘mi ido Di costui non mi fido. In thisfellow I dontt trust. (don't trust this fellow.) (Aloud) axidjam Andiamo. Let's go. ALMAVIVA ‘ma sinnore Ma ignore... But sir. BARTOLO ke fe Che 8? What is it? ALMAVIVA (almost whispered) voleva ‘dirvi Voleva dirvi.. Twanted to toll you... BARTOLO porlate Torte Parlato forts. Speak up. ALMAVIVA, ‘ma Ma. But... BARTOLO Yorte ‘vi'diko Forte, vi dico. Out loud, I'm telling you. ‘ALMAVIVA, ebsben ‘ome volete Ebben, come volote. Well then, as-_—_-you wish, {in a loud voice.) 776 II Barbiore di Siviglia, Act IT ‘ma Ki_— ‘sia. ‘don alonsoaprprende'rete Ma chi sia. Don Alonso apprendoreto. But who is Don Alonso you will lear. (But you will learn who Don Alonso is.) BARTOLO (soomingly worried) ‘piano ‘dite vaskolto Piano, dite, vascolto. Softly, tell me, Tim listening to you. ALMAVIVA (loudly) ‘il onte a ‘Conte... ‘The Count... BARTOLO ‘pjan per karita Pinn, por carita. Softly, for pity's sake. ALMAVIVA, stamane ‘nella ‘stessa Iokanda ‘era meko datttod:dso Stamane —nolla_stossa_locanda era moco d'alloggio, ‘This moming in the same inn he was with me lodged, (This morning he lodged in the same inn as 1,) ‘ed = im) tmia—mano ‘per ‘kazo._kapito ‘kwesto biKetto ed im mia. mano por caso capitd questo biglictto and in my hand by chance came this note, (Showing Bartolo the note.) ‘dalla ‘Yostrapurpilla a hi divetto dalla vostra pupilla «Iai dirotto. from your ward to him addressed. (addressed to him by your ward.) BARTOLO (taking the note and looking at it) ‘ke ‘Wedo © ‘ua skavttura Che vodol... & sua scrittura! What doTsoe!... Its her handwriting! ‘ALMAVIVA, ‘dom — ba’ziljo ‘nulla ‘sai kwel Toko Don Basilio nulla sa di_—quol’_foglio; Don Basilio nothing knows about this letter, ‘ed oper ui vernendo a ar _—_lettsjone ‘alla aigatisa ed io per iui vonondo «= aS dar_—_loziono alla ragazza, and 1 for him —_havingcome to give a lesson to the girl, (Don Basilio knows nothing about this letter, and since I was coming to give the girl a lesson in his place,)Il Barbiore di Siviglia, Act II voteva Yarmene um ‘merito ‘kom Voi volevo farmeno un —merito con voi... Iwanted tocar myself a merit with yor (I wanted to earn your favor...) perke ‘kon kwel__bikfetto ‘si potrebsbe porch con quel bigliotto si potrebbe... because with this note ‘one —_ would be able to... (With some embarassment, as if trying to find a way out.) BARTOLO "ke ‘kkoza Cho cose?... What... (What are you getting at?.. ALMAVIVA ‘vi diro ‘sio potessi parlare ‘alla agatitsa Vidird.. sio-—potessi parlare alla ragazza, Miltell you... if1 could speak to the girl, io ‘kreder verbigrattsja ‘Te farei jo creder... verbigrazia.. Je farei I believe... (by your leave)... would make her (1 would, by your leave, make her believe) ‘ke me ‘lo ‘je ‘del ‘konte unaltra aimante che me lo die’ del Conte un‘altra ‘amante, that it was given me by the Count’s another mistress, (by another of the Count's love interests.) ‘prova sipnifikante ‘ke ‘il konte ‘di roizina ‘si fa ‘dsoko © perto prova significanto che ill Conto di Rosina si fa gioca. E porcid... proof significant that theCount of +—_Rosina is making a fool, _therefore... (significant proof that the Count is trying to make a fool of Rosina, and therefore...) BARTOLO ‘piano ‘um poke ‘una kallunenja 2 ‘twavo Piano un poco! Una Oh —buavo! Softly, abit! A Oh splendid! (Speak softer! Slander!...Oh splendid...) ‘denno wero skola ‘di dom —_baailjo Dogno © vero scolar di Don Basilio! Worthy and true pupil of || Don Basilio! ‘is saipro ‘kome ‘merita rikompenisar_ ‘si ‘bbel_—_smddserimento To saprd come merita ricompenser si bel imonto. IT shall know, as it merits, to reward such a lovely smggestion. (I shall know how to reward so fine a suggestion as it merits.) voa Kjomar a ratgattsa Voa chiamar la. ragazza; Tim going to call the girl;7" I Barbiere di Siviglia, Act II poike ‘ttanto ‘perme -—_vintere'ssate ‘mi rakikomands a wo Poichd tanto Per me —_vinteressate, ‘mi raccomando a voi. Since somuch for me —_youconcern yourself, I put my trust in you. (And since you seem to concer yourself so much in my interest, I put my trust in you.) ALMAVIVA, ‘non dubitate Non dubitate. Have no doubts. (Bartolo goes into Rosinds room.) laffare ‘del bixKetto dala ‘bolcka ‘me uifito ‘nom volendo Laffare dol biglistto dalla bocca mi’ uscito non volendo. The business of the note from my mouth itcame out against my will. ‘ma ‘kome ‘far ‘sentsa ‘un tal ripjego Ma come far? Senza un tal ripiego But What could do? Without ~— such _an expedient ‘mi toickava andar ‘via ‘kome ‘um ba'd:dsano mi toccava andar via come un i Iwould have had too away like a _ simpleton. ‘mio dtzenno @ ei ora paleze'ra Timio disogno a Iei_—ora_palosard; My plans to her now _[ shall reveal; ‘sella kon'sente io. 'som—elliyfe_aip-pjeno Sella consente, io —son_folicoappiono. Ifshe consents, 1 am happy fully. (will be completely happy.) (He soos her being brought in by Bartolo.) ‘ekekola al kor ‘Sento baltsarmi in ‘seno Eccola. Ah il cor sento belzarmi in. sono. Hore she is. Ah, my heart [feel beating in (my) breast. BARTOLO vehite sinnorina ‘don lonso ke kwi_—vedete Vonite, signorina, Don Alonso, cho qui_—_vodete, Come young lady, Don Alonso whom here you see, ‘or Vidara lettsjone or videra ozione. now will give you a lesson. ROSINA (recognizing Almaviva)Il Barbiere di Siviglia, Act IL rT) ROSINA, © uy ‘orankjo ‘al ‘piede g un granchio al piods. Its a cramp in (my) foot. ALMAVIVA ‘nulls sedete a me —vitfin bela fantfulla Oh nal: sedete a me —vicin, bella fanciulla. Oh, itsnothing; sitdown —to.~— me_— close, lovely girl. (Git close to me,) ‘se ‘nom vi ‘spjatfe ‘um "poko di —_—lettsjone Se non vi spiace, un poco di —_lezione, If itdoesn't displease you, © a_—Sstbit = ofa_—_ lesson, ‘di dom bavziljo ‘im verfe ‘vi datro di Don Basilio in voce vider’. in Don Basilio's stead I shall give you. (if you don't mind, instead of Don Basilio, I shall give you a little lesson.) ROSINA 2 kom mio ‘gran_piattfere ‘la prende'rs Oh, con mio gran_ piacere Ia pronders. Oh, with my great pleasure —_—I shall take it. (I shall accept with great pleasure.) ALMAVIVA ke vollete kantar Che —_voloto cantar? What do you wish to sing? ROSINA io Kanto ‘se Teaigigrada «il romidodekfnutil To canto, se le aggrada, il_=—rond®_ dell! “Inutil Tl sing, if youagree, the ~—rondo_from "Useless BARTOLO © ‘sempre ‘im ‘bokcka_linutil prekavtsjone Eh, sempre in bocca "Linutil Precauzions". Eh, always on her mouth "The Useless Precaution”. (You never stop talking about the “The Useless Precaution’.) ROSINA io ve To detto € il titolo de'elopera Io ve Tho detto: 2 titolo. dolfopera novella. 1 told you; its the title of the opera new. BARTOLO orbene intezi anidjams Orbone, intosi, andiamo. Yes yes, Tunderstand, carry on. ROSINA ‘elckolo ‘kwa Eccolo qua. Here it is.80 Il Barbiere di Siviglia, Act It ALMAVIVA ‘da ‘brava, inkomiatfamo Da brava, incominciamo. That's a good girl, let's start. (The Count sits at the harpsichord and accompanios Rosina as she sings. Bartolo sits in an armchair and listens. As tho song goas on, ho bogins to nod off intermittently.) NO. 11 ARIA ROSINA “Kontro ‘uy kor ke att fende amore Contro un cor che accende amore Against a heart where burns love ‘di veratfe imvitto ‘adore di —_verace, invitto ardore, with true, unquenchable ardor, ‘sara poter tiranno ‘di rigor ‘gi kudeta Sarma poter tiranno di igor, di crudolta. ams itself in vain power tyrannical with _sternness, with _crualty. (No tyrannical power can arm itself with sternness and cruelty against a heart where love bums with true unquenchable ardor.) (Bartolo is now asleep.) a Tintdoro ‘mio tezoro ‘se setpessi se vedessi Ah Lindoro mio tesoro, so sapessi 80 vedossi! Ab, Lindoro, my treasure, if_ == syouknew, —if-——_-you could see! "kwesto ‘kane ‘di ttore ake rabibja “ke mi fa questo cane’ di tutore, ah, cho rabbia cho mi fa! This dog ofa guardian, ah’ ~-how_— angry he makes me! ‘karo @ te mi rakikomando ‘tu mi'salva ‘per peta Caro, a te miraccomando, ta misalva = por_—piota. Dearest, in you ‘I put my trust, you saveme, for _pitys sake. ALMAVIVA ‘non temer ‘irassikura ‘sorte mika a noi sara Non — tomer, timassicura, sorte amica @ noi sara. Do not fear, be assured, fate friendly tous will be. (fate will be friendly to us.) ROSINA “dunkwe ‘spero, Dunque sper? ‘Then shall I hope? ALMAVIVA a me taffida A mo taffida. To me _ entrust yourself. ‘Cane literally means “dog’. However itis 4 pejorative adjective when applied to a person, developing an unflattering connotation. Thus, un cane dun cantante, sa "miserable singer’; un cane di tutore could be "a dog of a tutor’, "a miserable trI Barbiore di Siviglia, Act I a1 ROSINA © 'il'mio ‘tor E — ilmio cor? And my — heart? ALMAVIVA ubile'ra Giubilora! It will rejoice! ROSINA ‘kara immadsine —ridemte ‘doltfe idea ‘dun jet atmor Cara immagine —_ridonto, idea d'un listo amor, Dear image smiling, sweet notion ofa joyful love, ‘mu mattfendi im ‘petto il kore: tu mfaccondi in potto il core, you setonfire in (my) breast my —_ heart, um port a delicar tu mi porti a dolirar. you transport me to delirium. {you transport me with delight.) ALMAVIVA ‘bela ‘votfe | bravissima Bella voce, bravissima! Beautiful voice, bravissima! ROSINA o mille ‘grattsie Ob, mille grazie! Oh, athousand thanks! BARTOLO ‘Yerto ‘ma kweftarja—_kaspetito © assainojoza Corto, Ma questaria, cospetto!. «= assai_nmoiosa. Certainly, . But thisaria, good heavens, is very _boring! ‘ta ‘muzika ‘tempi ‘era ‘altra tora La musica tempi cra altra cosa. Music time was another matter. a ‘kwando ‘per ezempjo kantava kaftfatjelo Ah! Quando per —esempio cantava Caffariello ‘Ah! When’ for instance sang Caffariello kwellarja —portenitoea «aaa quelferia ——portontosa, la, ra, da, that aria wonderful, lara, da sentite ‘don atlonso ‘ekkola kwa Sentite, Don Alonso, eccola qua. Listen, Don Alonso, here it is.82 NO. 12 ARIETTA BARTOLO "kwando ‘mi i vitfine Quando mii vicina, When tome you are near, (Gallantly, to Rosina) ‘aria ‘ditfe dganmina = ma Laria dico Giannina, ma The aria says Giannina, but Quando mi soi vicina, amabile Rosina, or mila im cor mibrilla in My heart glows in (my) © balla “il mimyetto © balla il —mimuctto... and dances the —_minuet. ‘petto petto, breast, Ul Barbiere di Siviglia, Act 11 ro'zina Rosina... Rosina, amabile amabile adorable (While Bartolo sings Figaro enters with a shaving basin under his arm. He positions himself, unnoticed, behind Bartolo and mimics his movements.” BARTOLO (angered) ‘bravo sinnor barbjere ‘ma ‘bravo Bravo, signor barbiere, ma bravo! Bravo, signor barber, ‘well done indeed! FIGARO © njente atfatto ‘skuzi ‘son debollettse Eh, niente affatto; seus, son debolezze. Eh, it was nothing; ‘excuse me they're. weaknesses (of mine). BARTOLO etbiben gwidone ‘ke Yeni a Tare Ebben, guidone, —che_—_vieni a faro? Well then you rascal, what come you to_—do? (what have you come for?) FIGARO "beta ‘vengo a farvi ‘a barba ‘oddgi ‘Vi tokcka ‘Oh bella! Vengo a farvi labarba: ogi vi tocca. Now really! I'mcoming to do —_yourbeard; today it's your tum. (shave you;) BARTOLO ‘adkdsi ‘nom ‘vokKo Oggi non voglio. ‘Today 1 don't want to. At this point in most productions of this opera Bartolo "dances" with Rosina, by holding her hand and aftr a few well timed gyrations Figaro defly takes over for Rosine and the bumbling Bartolo kisses Fgar's hand instead, which makes him very testy,Il Barbiere di Siviglia, Act It FIGARO ‘odidsi ‘nom ‘wal aimani ‘nom'potra io Oggi non vuol?... Dimani nom potrs io. Today you don't want?.. © Tomorrow I cannot doit myself. (Tomorrow I won't be able to come.) BARTOLO perke Percha? Why? FIGARO (he puts his basin down and takes out a memo pad) ‘perke > ‘dafarea = ‘tutti “Ki fifttsiali “del ‘nwovo redxisimento Porchd ho = dafaroa = tutti gli uffiaiali del nuovo reggimento Because Thave todo to all the _— officers ofthe new regiment ‘aba © testa barba e = beard and (shave and haircut...) ‘abla ‘_—‘bjomdo panniickig koi Alla il biomdo parucchin coi For the the blond little wig with ‘al ‘Yoffa kampatnile Al ciuffo a campanile... For the hairdo "tower" style... purgante ‘al Purganto = al_—aavvocato Anenema for the lawyer ke jeri sam:matlo cho ior semmald who yesterday —_got sick © poi ‘ke serve doman ‘nom ‘poss E poi... che serve! Doman? nom posso. ‘And then... What's the use! Tomorrow — Team BARTOLO orsu ‘meno parole ‘odds ‘nom vo “far barba Orsi, mono parvle. Oggi non vo! far barba. Come on, less chatter. Today Idon't wamt a shave FIGARO ‘no kospetts gwardate ‘ke ~—avawentori No? Cospetto! Guardat cho avwentori! No? By heaven! Look what clients (I have)! Ste word tomorow" canbe spelled in diferent ways in poetic Hin. The usual way is domi ov its truncated form oman, In this reiatve Figaro says doten, but are in the reciatve Bm ss the other, lde form dimen, which can alo te tavoaied a dimen4 Il Barbiere di Siviglia, Act II ‘Vengo. sraimane in kaza ve injferno Vengo stamane: in casa’ -vd_—_‘Tinfemo... Tcome this morning, at home there's an infernal uproar... ritorms ‘dopo ‘prandzo ‘odkdsi ‘nom v9KKo Ritomo dopo pranzo: “oggi non voglio”... Tretum after lunch, “today I don't want to*.. ‘ma ‘ke mavete ‘prezo ‘per ‘kwalke barbjer ‘da —_kontatdini Ma che? —-Mravete preso per qualche barbier da contadini? What's this? Have you taken me for some barber for peasants? (for some peasant barber?) ‘kjamate ‘por wnaltro io me ‘ne vado Chiamato = pur un‘altro, fo mone vedo. Call ‘then another, 1 am leaving. (He takes his basin and makes as if to go.) BARTOLO (to himself) ‘ke ‘serve ‘a modo ‘suo ‘vedi ke = fanta'zia Che serve?.. a modo suo; vedi che fantasia! ‘What isthe use? let him have his way; see, what whim! (Aloud) vain “Kameraa—pikar ‘la bjankeria Va in camerna _—pighiar Ia_—_—iancheria. Go tothe room and get the linen. Ge takes out a bunch of keys, starts to give them to Figaro but stops himself) no ‘vado ‘io'stesso No, vado io stesso. No, Tamgoing myself. (He goes.) FIGARO (to Rosina) ‘dite ‘none fra ‘kwelle la kjave ke = ‘apre“kwellla dgelo'zia Dito: non’ fra quelle la chiave che aproquollia._gelosia? Tell me: isnt it among those the key that opens those shutters? (Isnt the key that opens those shutters among those?) ROSINA ‘i Yeo © ta Pj nwova Si, corto; @ la pitt mova. Yes, certainly; it's. the ~—_newest one. BARTOLO (returning) a ‘som 'pur‘bwono a sdeffar ‘kwi‘kwel ‘djavol “di barbjere Ah, son purbuono a ——lasciar qui quel diavol d'un —_barbizore! Ab, Tmagoodone to leave here that devil ofa barber! (Aloud, to Figaro, giving him the keys.)Il Barbiere di Siviglia, Act If 85 ‘anim va stesso Animo, va tustesso. Look lively, go yourself. pa'ssato Korridor ‘sopra larmadjo I "tutto troverai Passato il comidor, sopra Yarmadio il tutto ‘troverai. Past the hallway, ontop (of) the cupboard, everything you will find. ‘ada ‘non teckar ‘nulla Bada, non toccer nulla... Watch out, dont touch anything... FIGARO © ‘non'som ‘matto Eh, non son mato, Eh, lamnot crazy. (To the lovers.) adegti Allloge! Cheer up! (To Bartolo.) ‘vado © tomo Vado © tomo. T'm going and Il be (right) back. (To the lovers.) ‘il kolpp © fatto 1 colpo & fatto. The blow is struck. (He leaves. Bartolo calls the Count to him and whispers.) BARTOLO (confidentially) © kwelbrikekon ke fal “Konte. a portato © WbiAfetio © di rotina E quel briccon, che al_— Conte haportato. =I biglietto, di‘ Rosina. That isthe rascal who tothe Count took tho note from Rosina. ALMAVIVA ‘mi sembra ‘un imbrogkon “di ‘prima ‘sfera Mi sombra un imbroglion di prima sfera. Ho seems to me an intriguer of the first. rank. BARTOLO © ame ‘nom me "la Tikka Eh, ame non mo laficca.. Eh, ho won't put one over on me... (A loud noise of shattering glass and crockery is heard within.) 2 dizgrattsjato On, Oh, unlucky ‘me mo! me!86 Il Barbiore di Siviglia, Act I ROSINA (innocently) a kenmore Ah, che rumore! ‘Ah, — what noise! BARTOLO 0 ‘ke briktkon kor Oh, cho _briccon! Mo lo dicova core. Oh, that rascal! Itwas told me by my _ heart. (My heart told me so!) (He exits.) ALMAVIVA (softly, to Rosina) ‘kwel Tigao © uy grandwom> or ke sjam ‘soli Quel Figaro 8 = un = granduomo; or cho siam soli, That Figaro is a= great man; now that we are alone, ‘ditemi o'kkara ‘Vostro ‘al ‘mio destino ditomi, © care: 4 vostro al mio destino tell me, ohdearest, yours to my _— destiny dunir ‘siete kontenta fraykettsa @unir siote contenta? Franchezzel... of uniting are you happy? Be frank. (tell me, my dearest, would you be happy to unite your lot with mine?) (to share my life\to marry me?) ROSINA a ‘mio * lindara ‘altro ‘io ‘nom ‘bramo Ah, mio Lindor, altro io non bramo. Ah, my Lindoro, _—anythingelse I —_ don't wish for. (don't wish for anything else.) (As Bartolo re-enters with Figaro, Rosina and the Count assume serious stances.) ALMAVIVA ebiben Ebbon? Well? BARTOLO ‘ttt ‘ma 'rotto ‘sei jatti ‘otto —_bikkjeri ‘una teria Oh, tutto mharotto; sei. piatti, otto bicchior, © una_—terrima. Oh, everything he broke; six dishes, eight glasses, a turreen. (Figaro surreptitiously shows the Count the key to the shutters which he has managed to steal from the bunch) FIGARO vedete ke ‘gray Koza Vodeto cho gran cosa! See what abig deal! (So what if I broke a fow dishes!)87 ‘ad na Kjave ‘se io Ad una chiave se = i.——non mi attacava per fortuna, To a key if 1 __hadntheldon, fortunately, (if, luckily I hadn't held on to a key [protruding off a door)) ‘per ‘kwel_maledetitissimo koridor koi oskuro per quel’ maledetissimo corridor cosi oscuro, along that most cursed hallway so dark, spettsats -tme'sarei_ «la testa ‘al ‘muro spezzeto = mosarei = da tosta al muro. broken Iwould have my — head against (the) wall. (Td have broken my head against the wall.) ‘ene ‘onpi ‘stantsa ‘al © ‘bujo © 'ppoi Tione ogni stanza all —_buio, © poi... He keeps every room imthe dark, and furthermore... BARTOLO (interrupting him) 2 nom piu Ob, non pit. Oh, no more. FIGARO (preparing his shaving meeds) ‘éunkwe anidjam Dunque andiam. Then let us get started. (Aside, to the Count and Rosina) ayuiaittsio Gindizio! Be careful! BARTOLO uno} Anoi. Let's go. (Bartolo begins to sit down for hits shave. At that moment Basilio enters. General sumprise.) NO. 13 QUINTET BARTOLO ‘dom — baziljo Don Basilio! intop:p> intoppo! unexpected obstaate!38 I Barbiero di Siviglia, Act IT BARTOLO ‘kome ‘kwa Come que? How (come you are) here? BASILIO servitor ‘gi ‘tutti kwanti Servitor di tutti quanti. Servant of —allof you. (Your servant, ono and all.) BARTOLO (to himself) ke ‘Ywol ‘dir ‘al novita Cho vuol dir tal novita? What means this surprise? (What does this surprise mean?) ROSINA ‘di oi ke mai sara Di noi che mai sara? Of us what will become? FIGARO, ALMAVIVA ‘owifraykettsa = fi vorra Qui franchezza ci vorra. Here boldness —_will be needed. BARTOLO ‘dom —batzljo ‘kome ‘state Don Basilio, come state? Don Basilio, how are you? (how are you feeling?) BASILIO “ome sto Come sto? How [am feeling? FIGARO (intervening quickly) or ke saspetta ‘kwesta ‘barba beneddetta Or che saspetta? Questa barba_bonedetta Now what's the hold up? This shave blessed, BARTOLO (to Figaro) ‘ora 'vengo Ora —_vengo! Now I'm coming! (To Basilio.) © kujate EB. il curiale? And... your substitute cleric? (How about this substitute of yours?) ‘ta faetfamo Ia facciamo do we do it, i a yes no?1 Barbiere di Siviglia, Act It BASILIO (confused) I kvrale Tl curiale?!... Tho substitute... ALMAVIVA (to Basilio, interrupting) jo Rjonanratn ke a ‘tutto © kombinato Jo glihonarrato che gid tutto 2 ——combinato. 1 have told him that already everything is arranged. (To Bartolo.) ‘non © ver Non @ vor? Isn't it so? BARTOLO ‘si tutto io Si, tutto io oo. Yes, everything I know. BASILIO (oven more confused) ‘ma ‘dom bartolo—spjegatevi Ma, Don Bartolo, —spingetovi... But, Don Bartolo, explain yourself... ALMAVIVA (to Bartolo, interrupting him) ‘ei dotore ‘una paola Ehi, Dottore, una parole... Hey, doctor, a word... (To Basilio.) ‘dom be2iljo ‘son ‘da Wo Don Basilio, son da woi. Don Basilio, Tbe with you. (To Bartolo.) askottate —‘um'poko‘kwa Ascoltate un poco qua. Listen a moment —_ here. (Liston here a moment.) (Surreptitiously, to Bartolo.) ‘fate ‘um 'po ‘Kei'vada via Kei Wi'skopra, => un ‘gran Feto un po! choi vada via, sei ciscopm = ho un gran Make aneffort forhim to go away, afhe exposesus I have a great (Make him go away, otherwise I am afraid he may expose us.) ROSINA io mi‘sento l= ‘kor—tre'mar Io misento = il_— cor tremart I feslinme the heart tremblimg! (I feel my heart quivering!) 89 timore timore. fear.20 I Barbiore di Siviglia, Act FIGARO (to Rosina) ‘nom 'vi‘state a dispe'rar Non vi stato a disporar. Don't despair. ALMAVIVA (to Bartolo) ‘deta ‘ettera sipnore ‘ei lafifar ‘agkor ‘non ‘sa Della lottera, signore, oi affare ancor_non sa. About the letter, sir, he the matter still doesn't know. (That letter, sir, he still knows nothing of that matter.) BASILIO (to himself) a kw ert ve um —_pastittfo Ah, qui corto ve un _pasticcio; ‘Ab, here for sure is a muddle ‘non satrriva a non sarriva @——_indovinar. Tcan't begin to guess (what itis.) BARTOLO (to Almaviva) ‘dite ‘bene ‘mio stpnore ‘or ‘bb ‘mando ‘di kw Dito bene, mio signore, or lomande via «di qua, What you say is right, my sir, (right) now Tlsend him away from here. (Figaro has boon listening attentively and now prepares himself to support the Count.) ALMAVIVA (to Basilio) ‘Kolla febsbre ‘dom — ba'ziljo ‘Ki vintsenna a passed:dsare Colla febbre, Don Basilio, chi Vinsegna = @_~—_—passoggiare? With a fever, Don Basilio, who advised yout» _stroll about? BASILIO (surprised) ‘kokla febsbre Colla fobbro? With a fever? ALMAVIVA © ke vi pare ‘sjete ‘salto ‘kome tam E cho vipare? Siote giallo come um And what do you think? You're yellow like BASILIO ‘sono ‘salto ‘kome ‘um —‘morto Sono giallo come un —morto? Tm yellow like a corpse? FIGARO (taking Basilio's pulse) bagatel Kospetton ‘ke_-—=—stremarella. «= ‘kwesta © ©——_‘febrbre skarlatttina Bagatella! _Cospetton! © Che tremarella! Questa ® —_febbre scarlattinal... Zounds! By Jove! What shakes! This fis scarlet fever... (He's got the shakes!) BASILIO skarlattina ‘Scarlattina!? Scarlet fever!?Il Barbiore di Siviglia, Act It ALMAVIVA (surreptitiously slipping a purse of money to Basilio) via prenidete —=smeditfina. = ‘non vi ‘state a rovinar Via, prondoto —modicina, non vi stato a rovinar. Come, take some medicine; don't bring yourself to ruin. FIGARO ‘presto aridate a ‘etto Presto, andato.a lett... Quickly, go. to_—sibeed... ALMAVIVA ‘voi patura ‘im ver Voi paura in vor You fear in truth (You really frighten me...) ROSINA ‘ditfe bene anfdate a Dico bons, —_andato a He's right, goto ALL ‘presto andete a ripo'zar Presto, andate a ——_riposar. Quickly, go. to rest. BASILIO (to himself sorting to enjoy tho situction) ‘borsa aridate a ‘lett Une bore! Andale ltt A purse! Go to bed! ‘make Wt ‘sian datkckords Ma che tutti But (that) all of them sian d'accordo! are in agrooment! (They are all in this together!) ALL Presto a lotto! BASILIO e ‘non ‘son ‘sordo ‘nom ‘mi fat:tfo ‘piu pre'gar Eh, non son sordo! Non mi faccio pia roger. Hey, Iamnot deaf! Iwonttlet myself anymore beg. (I don't have to be asked any more.) FIGARO ‘ke. kotor Che color! What color! ALMAVIVA ‘ke ‘brutta ‘era ‘Che —brutta coral What bad complexion! on82 I Barbiore di Siviglia, Act It CONTE, FIGARO, BARTOLO ruta assai Oh, ratte assail Oh, bad indeed... BASILIO ‘dunkwe ‘vads Dunquo vado... Then Tm leaving... ALL ‘vada Veda! Got ALMAVIVA, ROSINA, FIGARO ‘bwona ‘sera mio sinnore ‘presto ‘di kwa Buona sora, mio signore. Presto di qua. Good night, my (dear) sir. Quickly get out of here. BASILIO ‘bwona ‘sera ‘ben ‘di kore poi diman ‘si parle'ra Buona sera, bon di core, poi diman si parloma. Good night, with all my heart, then tomorrow —_we'll talk. ROSINA, FIGARO maledetto —_sek:katore Maledetto —_seccatore! ‘Accursed nuisance! BASILIO ‘non gridate ake in'saktko vad Non gridate! Ah, che in sacco vail Don't shout! Ab, — (for) tothe devil goes the (The tutor can go to the devil!) ALL Buona sora, mio signare, ‘patfe ‘sono © sania Pace, sonno e —sanif, Peace, sleep and health. ALL Prosto, presto, andate via di qua! (on Basilio finally leaves.) FIGARO osu sinnor ‘dom Ors, signor Don Now then, _signor Don BARTOLO ‘son kwa Son qua. Tm here.Il Barbiere di Siviglia, Act I 93 Bartolo sits down. Preparing to shave him, Figaro drapes an apron around his neck, shielding the two lovers in the process.) ‘strindsi bravvissimo Stringi, bravissimo. ‘Tighten it, very good. ALMAVIVA ro'tina ‘de askoftaterni Rosina, deh, ascoltatemi. Rosina, please, listen to me. ROSINA vaskolto ‘ekckomi ‘kwa Viascolto; eccomi qua. Tm listening: here I am. ALMAVIVA (to Rosina, cautiously) 2 medxiza'notte ‘im ‘punto a —‘prendervi © kwi_—‘sjamo A mezzmotio in punto a =—prondervi_ = qui siamo: At midnight onthe dot, to take you away here we will be; ‘or ke la Kjaveatbibjamo ‘non ve ‘da dubitar Or che la —chiave abbiamo non vo da dubiter. Now that the key wehave, _—there'sno_— doubt (we have the key, you needn't have any doubt.) (Bartolo soems to be taking notice of the lovers' proximity to one another, and gazes suspiciously at them. Figaro immediately blocks his view.) FIGARO (distracting Bartolo) ‘ai ai Ahil.... ahi. Ouch! Ouch! BARTOLO ‘ke ‘koza ‘stato Che cosa stato?... What is the mattor?... FIGARO ‘un ‘non ‘ke neokikjo Un non so che _nell'occhio! An "Idon't know what" in my eye! (have something, [I don't know what it is] in my eye!) gwardate ‘non tokkate —_sofffjate ‘per pieta Guardate... non toccate.... soffiate per pita. Have a look... don't touch... blow (on it) for __pity’s sake. (Bartolo blows into Figaro's eye. Figaro resumes his shaving, but somehow he himself is distracted by the cooing going on and eventually Bartolo slinks off his chair and overhears the following conversation.) ROSINA a medsdzinoute ‘im'punto ‘anima ‘mia. —_taspetto A mezzanotte in punto, anima mia_—_taspotto. At midnight on the dot, my beloved —_I shall await you.4 Il Barbiore di Siviglia, Act IL io a Histante appresss ke = ate mi strindge'ra logit Vistanto appreso che. «sas tos miistringord. I already the moment hasten, that to you __will unite me. (Already I wish to hasten the moment when I shall be bound to you.) ALMAVIVA (socretively, to Rosina, while the unnoticed Bartolo approaches.) ‘ora avvertir ‘Vi VoKKo "kara ke il Vostro ‘Yoko Ore avvertir vivoglio, care, cho il vostro foglio, Now to warn Twant you, dearest, that your letter, perke “anor Tose inutile il mio travestimento percha non fosse inutile il mio travestimento... so that it shouldn't have been in vain my disguise... (Now I want to warn you, dearest, that your letter, so that my disguise shouldn't have beem in vain... Bartolo is now close to the lovers. Figaro desperately tries to wam them with gestures in vain) BARTOLO ‘suo travestimento a‘ha_ ‘bravo bravissi ‘sor allonss ‘bravo ‘avi I suo travestimento? Ah ah! bravo, bravissimo, Sor Alonso, bravo, bavi! His disguise? Ha hal Bravo, well done, mister Alonso, bravo, brovil brilekoni birbanti a voi tut kwanti Bricconi, birbanti! §= Ah, _voi tutti quanti Rogues, rascals! ‘Ab, all of you avete dsurato ‘di farmi avoto giurato di farmi have swom to make me ‘su fwori furfanti vi'vokso ——akkoippar Su, fuori, furfanti, vivoglio _accoppar. Come, get out, (you) scoundrels, to murder you. ALMAVIVA, ROSINA, FIGARO la esta vi 'dsira ‘ma sito dottore burlar La testa vi gira, ma zitto dottore, burlar. Your head isspinning, but hush, doctor, youre being ridiculous. tatfete ‘non'serve _gridare Tacete, non serve _gridare. Be quiet, itsnouse —_to shout. (To themselves.) Jaimiko detira intezi “dsa ‘sjamo ‘nom ‘ve replikar Lamico dolira, intesi gid siamo, non vo replicar. Our friend is raving, agreed already we are, there's no way to reply. BARTOLO ‘di rabbja ‘di ‘zdeppo ‘mi‘sento ——_kretpar Di rabbia, di sdegno misonto _crepar. Out of rage, out of indignation, I feel myself bursting, (The three leave gfter a lively chase. Bartolo falls onto a chair, exhausted.)1 Barbiore di Siviglia, Act It BARTOLO a dizgra'tsato ‘me ‘ma ‘ome Ah! disgraziato mo! Ma come? ‘Ah! How stupid Tam! But how (could it happen)? ‘ed jo. nommatktkorsi ‘di ul Ed io non miacconi di ula! And I didn't notice anything! a ‘dom ‘kwalke ‘ekoza Ab! Don ‘qualche cosa. Ah! Don something. tio oe Ehi, chi 9 dila? Hey, who is there? (Ambrogio appears.) ‘senti ambrodgo kori “dado —batzljo “kw rimpetto Sonti, Anbrogio; cori da Don Basilio qui rimpotto, Listen, Ambrogio; run to.‘ Don_ Basilio nearby, “aiKai ‘Kio kwa_—_lastpetto ke venga immantimente digli chio qua Taspetto, che venga immantimonto toll him that I here await him, that he should come immediately ke gran ‘koma ‘da irk cho ho gran cosa da — dirgli, that Ihave an important matter to tell him, © ‘Kio ‘nom 'vado perke 2 ‘gran radgoni © cho non vado percha ho = di gran_ragioni. and that I am not going myself because Thave some special reasons. AMBROGIO ‘ma aidesso Ma —adesso... But now. BARTOLO ‘va ‘subito Va — subito. Go atonce. (Ambrogio leaves; Berta enters.) BARTOLO (to Berta) ‘di ‘gwardja ‘tu Pjamtati ‘ala porta © ‘ppoi Di guardia tu piamtati alla porta, © pol, On guard you place yourself at the door’ and then, ‘9 ‘no nom ‘me ne fido ‘io ‘stessi “Yi sara no. non me ne fido. To stesso Gi sard. no. T don't trust her. 1 myself will be there. (Bartolo exits.)96 I! Barbiere di Siviglia, Act IT finke ‘trepa finchd crepe! till you die! ‘sempre ‘oridi tumult in ‘kwesta ‘kaza Sempre gridit tumult in questa casa; Always shouting © and_— uproar in this house; ‘si itiga ‘si pjandse si minatafa Si litige, si piange, si minaccia... ‘They quarrel, they weep, they threaten. ‘si nom'vie = utnora ‘di patfe S, non vid un‘ora di pace Yes, thereisn't © onehour of_~—peace ‘kon ‘kwesto ‘velakjo vara € ——_brontolone con questo vocchio avaro © ——_brontolone! with this old man stingy and grumbling! 9 ke kkaza in Komfuvzjone Ob, che casa in confusione! Oh, what a house in turmoil! NO. 14 ARIA BERTA I velkjotto ——tferka ‘mokke ‘wwol matito a rafgattsa Tl vecchiotto cerca moglio, vuol marito Ja ragazza; The old man looks for a wife, wants ahusband the —_ gil; (The old man is looking for a wife and the girl wants a husband;) Yewels Yreme ‘kwesta © pattsa Quello. fremo, questa 8 pazza, That one —_—rages, this one is crazy, ‘wut e due ‘son da le'gar Tutti o duo son da leger. Both of them worthy of being bound. (They make 2 good paix) mma ke koza © —‘kwesto amore ‘ke = fa ttt éelivar Ma checosa = questo amore che fa_— tutti dolirar? But what is this love, that makes everyone —go crazy? ‘chi © == um male universale una’ “zmanja um pittsikore Egi 3 un male universal, una smania, un _pizzicore... It is a sickness universal, © @—=—craze, a twinge. tm solletiko ‘un tormento un —solletico, un_tormento. an itch, a _ torment.11 Baxbiore di Siviglia, Act It 97 poverina aykio ‘lo'sento ‘ne 's0 “kome finira Poverina, _anchio losento, nds come finira. Poor me, also feel it, Idon't know how it will end. 2 vekkjaja maledetia ‘son “da_—=— tutti dispre'utsata Oh! vocchiaia -—maledetia!... son da _—tutti_ disprezzata... Oh! Old age accursed!.. Iam by all despised... © vekjetta disperata ‘mi komvjen kozikretpar © vecchietta —disporata, mi convien cos cropar. and old spinster _ desperate, I must thus die. (Oh cursed old ago! Despised by all, I must thus die an old spinster!) (She loaves. Bartolo ushers in Basilio.) BARTOLO ‘dunkwe ‘voi ‘don alonso ‘non kono'ffete afrfat:to Dunque voi Don Alonso non comoscete affatto? Then you Don Alonso do not know _ really? (Then you really have no knowledge of Don Alonso?) BASILIO afffatto Affatto. None at all. BARTOLO a Yerto ‘ll ‘konte Yo mando Ah, corto il Conte lo manda. Ah, for sure the Count. sent him. "kwalke ‘gran tradimento —‘kwa_—_ “si prepara Qualche gran tradimonto qua _—_si propara. Some big betrayal here is being prepared. BASILIO ‘io ‘poi ‘diko “ke ~—kwellaimiko ‘era. ‘l= ‘konte ‘im To poi dico che quelfamico era il’_~— conto. in T then say that ourfriend © was the = Count in BARTOLO il “konte D — Conte? The Count? BASILIO "kote 1 Conte. The Count. (Aside) ‘a orsa ‘parla ‘kjaro {La borsa parla chiaro,) (The purse speaks clearly.) (That purse [he gave me} makes it very plain.) persona persona. person.Ul Barbiere di Siviglia, Act It amiks ‘dal ngtaro ‘Yo i kwesto ‘punto anfdare Amico, dal notaro vo! in questo punto _amdare; My friend, tothe notary Iwant in this instant to go: (My friend, I want to go to the notary's this very instant;) in kwesta ‘sera stipwlar ‘ai In questa sora stipuler ai Within this evening todrawup of += my ~—_nuptials. io vo onitratts fo vo’ il, contratto. 1 want the contract. (I want to draw up my marriage contract this very evening.) BASILIO Dnata ‘siete ‘mato ‘pjove a torrenti TD notar? Siete matto? Piove a torrenti, The notary? Are you mad? It'sraining im torrents, © psi “kwesta ‘sera ‘il notaro © impe’ppato 2° poi, questa sora il notaro 8 ——_impognato and furthermore, this evening the notary is busy ‘kom figaro ‘il —_—barbjere matrita ‘sua nilpote con Figaro; il —_barbiere marita sua nipote. with Figaro: The barber is marrying off his niece. BARTOLO ‘una nifpote ‘ke nitpote ‘i —_barbjere nana ni'poti Una — nipote? Cho nipote? 1 barbiero non ha nipoti. A niece? What niece? The barber hhas no nieces. a kwi ve ‘kwalke imrokko Ah, qui ve qualche imbroglio. ‘Ab, here there's some imbroglio. "kwesta notte i britckoni ‘me ‘la vokKono ‘fer Questa notte i bricconi ‘me la vogliono far. Tonight those rascals are out to trick me. ‘presto ‘il ngtaro ‘ke ‘venga sublistante Presto, fl notaro che venga sulfistantis. Quickly, the notary, let him come this very iinstant. (He hands him a key.) ‘ekko ‘la Kjave.“del_—_portone Ecco la chiave del__portono: Here's the key to the front door; an‘date ‘presto ‘per. karita Andfato Presto, per carita, Go quickly, for goodness’ sake.