ra.191 DON GIOVANNI An Opera in Two Acts Libretto by LORENZO DA PONTE Music by W. A. MOZART VOCAL SCORE Including the Secce Recitation English Version by NATALIE MACFARREN With an Essay on the Story of the Opera by H. E, KREHBIEL G. SCHIRMER, Inc., NEW YORKDON GIOVANNI, a liceatious young nobleman. DONOTTAVIO 2. 2 1 we LEPORELLO, servant of Don Giovanni... IL COMMENDATORE, Donna Anna's father. MASETTO, «peasant DONNA ANNA, betrothed to Don Ottario . ZERLINA, betrothed to Masetto . s01i7 Dramatis persona. Peasants, Musicians, Dancers, Demons. Don GIOVANNI. DONNA ELVIRA, a lady of Burgos, abandoned by Don Giovanni . Baritone Tenor Base Bass Soprano Soprano THE SCENE JS LAID IN SEVILLA IN THE MIDDLE OF THE 1714 CENTURY. utGrdaflich Nostitz’sches Nationaltheater IL ay OTTOBRE i787 Ocet, en LA PRIMA VOLTA? DON GIOVANNI IL DISSOLUTO PUNITO DRAMMA GrOCOSO IN DUE ATTI CON BALLI ANALOGHI Parole del SIGN. ABBATE DA PONTE Musica del celebre maestro SIGN. AMADEO MOZART Personaggi DON GIOVANNI, - .. SIGN. LUIGI BASSI IL COMMENDATORE,, | +. SIGN. GIUS, LOLLT DONNA ELVIRA, | -. SIGNORA CAT. MICELLE DON OTTAVIO, DONNA ANNA, . . |. 1 ||| SIGNORA TERESA SAPORIT! : | SIGN. ANT. BAGLIONI LEPORELLO,, » . . . +. . SIGN, FELICE PONZIANI ZERLINA,. |! I] 1 SIGNORA TERESINA BONDINE MASETTO, il auo spos0, - : | SIGN. GIUS, LOLLI Cori di Contadini, Dame, Damigelle, Ballabili di Contadi ini, Contadine, ec, Don Giovanni. Despite the most diligent and patient searches through theatrical archives, private collections and public libraries, the original house-bill for the first per- formance of Mozart's “Don Giovanni” has not been found. Copies of the libretto used on that occasion have been preserved, however, and the evidence which it and other old publications give leads to the belief that the bill read like the announcement with which I have introduced this prefatory essay. The story of how the opera came to be written is short and simple. The opera vseason of 1786-87 in Prague had been rendered brilliant beyond compare by representations of “Le Nozze'di Figaro.” The theatre had been. saved from ruin by its popularity, and its melodies resounded in all conceivable arrange- ments from all sides. The intoxication was still at its height when Mozart went thither in January, 1787.‘ Nothing is talked of here but ‘ Figaro,””” he wrote to his friend Gottfried von Jacquin on January 15; ‘‘no opera is cared for but ‘Figaro’; always ' Figaro'—truly a great honor for me." The composer was profoundly moved at such enthusiastic and general appreciation, and in a moment of exuberant joy declared to Pasquale Bondini, the manager, that he should be glad to write an opera especially for the Bohemian people, who understood him so well, Bondini jumped at the opportunity, and on the spot concluded an engagement with him to write an opera for the next season, for the customary honorarium of one hundred ducats. On his return to Vienna Mozart commissioned Lorenzo Da Ponte, official poet to the imperial Theatres of Austria, who had written the libretto of “Le Nozze di Figaro,"’ to write the book for the new work, A somewhat fantastic account of how he proceeded to the execution of his task is given by Da Ponte in his “ Memoric,"* written and published in New York, where the poct spent the last thirty-five years of his life. He had two other opera books in hand at the time, Tarare'’ for Salieri and “‘Arbore di Diana” for Martini, Joseph II. remonstrated with him for attempting too much; Da Ponte answered that he could write for Mozart at night and imagine himself reading Dante's ‘‘Inferno;" for Martini in the forenoon and be reminded of Petrarch ; for Salieri in the afternoon and think of Tasso. He set to work with a bottle of wine beside him, a box of snuff handy, and his hostess’ pretty daughter bard by to inspire him. In sixty-three days anni” and the * Arbore” were finished. Da Ponte writes of it as a great achievement, but forgets to tell that much of his work on ‘ Don Giovanni” ‘was a mere parodying of the libretto of Gazzaniga’s ‘II Convitato di Pietra," an ‘opera that had-just been brought out in Venice and already had great vogue throughout Europe, It was performed in London in 1794, twenty-three years before Mozart's work, Not until 1888 was the extent of not only Da Ponte’s but also Mozart's obligations to Gazzaniga’s opera made known, and then by Dr. Chrysander. Even Otto Jahn’s industry had failed to discover book or score of “Il Convitato."” The author of Gazzaniga's libretto was a theatrical poet named Bertati, against whom Da Ponte seems to have borne a grudge. When “Il Convitato” was brought forward in London, Da Ponte was poet to the opera (as he was a generation, later in New York), and to him fell the task of making the London edition of the book. He tried to persuade the nmanage- ment to give Mozart's work instead, but failed, and in all likelihood took a malicious delight in inserting portions of his own libretto, paraphrasing his rival veluminously, and then claiming the lion's share of the credit. When the London management got through with it, indeed, Gazzaniga’s work was a mere pasticcio. ‘The libretto bore the title: “Il Don Giovanni. a tragi.comic opera srin one act. The Music by Messrs. Gazzaniga, Sarti, Frederici, and Guglielmi. ‘The Words are new, by Lorenzo Da Ponte, poet of this theatre, except those - that are not marked with inverted commas." The pages which were free from quotation marks were eight out of twenty-one, However, as we shall see presently, Bertati was as little the inventor of the story of “Don Giovanni” as Da Ponte. The genesis of Mozart's music is less plain, In the autograph catalogue which Mozart kept there is no entry between June 24 and August to, and it seems a fair inference that he gave up the month of July to the opera. He entered the overture under date of October 28, one day before its public Production, Evidently he had brought the unfinished score with him to Prague in September and there completed it, working principally in a summer house of friends, the Duscheks, who lived in the suburbs of thecity, On the evening of the day on which the first performance was announced, the overture had not been begun. How it was written is a familiar story. Until a late hour at night he sat with a party of merry friends. Then he went to his hotel and prepared towork, On the table was a glass of punch, and his wife sat beside him to keep him awake by telling him stories. In spite of all sleep overcame him, and he was obliged to interrupt his work for several hours ; yet at seven o'clock in the morning the copyist was sent for and the overture was ready for him. The tardy work delayed the representation in the evening and the orchestra had to play the overture at sight; but it was a capital band, and Mozart, who conducted, complimented it when he started into the introduction to the first air, The performance was completely successful and floated buoyantly on a tide of enthusiasm. which set in when Mozart entered the orchestra, and rose higher and higher as the music went on. On November 4 Mozart wrote toa friend: “On October 29 my opera ‘Don Giovanni” was put im scena with the most unqualified success. Yesterday it was performed for the fourth time, for my benefit, . . . I only wish my good friends (particularly Bridi and your- self) could be here for a single evening to share in my triumph. Perhaps it will be performed in Vienna, I hope so, They are trying all they can to persuade me to remain two months longer and write another opera; but, flattering as the proposal is, I cannot accept That Mozart was far from occupying the supereminent position amongst composers a century ago that he does now is obvious from the early history of “Don Giovanni.” It was six months before the opera was brought out in Vienna, though Gluck had died meanwhile and Mozart had been appointed Chamber Musician by the Emperor Joseph IT. Mozart had been dead twenty-six years before the opera was given in London. The incidents connected with its first appearance in one city after another the world over are extremely interesting, and might be read with profit, but to narrate even half of them would swell this preface out of all proportion. I select three of the most important premitres— ‘those of Vienna, London, and New York: amaCASTS OF SOME FIRST PERFORMANCES, PRAGUE, VIENNA. LONDON, NEW YORK, CHARACTERS. Ocroste 39, (787. May, 1768. Att 12, 181y. MAY 35, 18: Don Giovanni Ci [FencescoAlbertarei Giuseppe Ambrogett aanuelCatca Donna Anna jaysia Lange | Violante Camporese |— Barbieri Donna Elvira [Caterina Migetii {Caterina Cavalieri | Hughes [Madame Garcia Don Ottavie Antonio Bagliont [Franeece Mola [Gaetano Crveti | — Mion Leporello Felice Ponsiani | —RBemucci [Giuseppe Naldi [Manuel Garcia, J. Bon Pedro Giuseppe Loli [Francesco Bussani [Carlo Angrisani—_|Catlo-Angrisani Zealina Teresa Bondini Luisa Mombelli [Josephine Fodor |Maria Garcia Despite the success in Prague, “Don jenna, though Mozart good-naturedly made changes in and additions to the score in order to humor the singers and add to its attractiveness, Signora Cavalieri claimed her privilege of a grand air, and Mozart wrote the recitative and air Ja quadi eccessi and Mi trad) guelf alma ingrata for her. The tenor Morella found /? mio tesoro too much for his powers, and Mozart gave him the simpler Daila sua pace as a substitute. ‘The duct Per queste tue manine was introduced for Signorina Mombelli and Signor Benucei. In time the Viennese came to like the work more and it had fifteen performances in the first year. ‘Then it disappeared from the active list, and when it returned, four years after- ward, it was in a German adaptation. According to Da Ponte, Joseph Il, after hearing the work, said: ‘The opera is divine, perhaps even more beautiful than * Figaro,” but it will try the teeth of my Viennese ;"" to which Mozart answered: ‘We will give them time to chew it." The singer who imper- sonated Donna Anna was Mozart's sisterinelaw, with whom he had been violently in love before he married his wife. In London, though the music appears to have been known and liked by the amateurs, it required the breaking down of the opposition of a vexatious cabal to win a hearing for the opera. Mr. Ayrton, manager of The King’s Theatre, was a man of energy, however, and was rewarded for his persistency by seeing it make a hit, which saved the season, as“ Figaro” had saved the season at Prague. “It filled the boxes and ‘benches of the theatre for the whole season,” says Mr, Ebers in his“ Seven Years of The King’s Theatre,” ‘and restored to a flourishing condition the finances of the concern, which were almost in an exhausted state." It was given twenty-three times in the season to overflowing houses. In New York the production of the opera was due to the presence in the city of Lorenzo Da Ponte, The Garcia company, which came to the city from London in 1825, does not seem to have contemplated performing ‘ Don Giovanni,”" though in it was Carlo Angrisani, who had participated in the first London performances, and 2the younger Crivelli (Domenico), son of the representative of Don Ottavio in the original London production. But Domenico was only second tenor in London, and too poor a singer ta undertake the part of Dow Oltavio. He developed into * ‘a respectable composer and teacher, Garcia, the head of the troupe, though a tenor, had sung the part of Dow Giovann in London and Paris (following an example set in the latter city by Tacchinardi in 1811), and his wife, daughter and son, all of whom were in his company, could be relied on to do their tasks satisfactorily. A tenor had to be secured, however, and onc was found in a Frenchman named Milon, whom I have not yet succeeded in identifying, unless he be the musician who played the violoncello in the first years of the New York Philharmonic Society, and died only a few years ago in Philadelphia, having reached the age of ninety-nine. Castil-Blaze in his ‘* Moliére Musicien” relates of the first performance in New York that everything went wrong at the conclusion of the first finale, whereupon Garcia, who had vainly been trying to keep the orchestra and singers in time and tune, at last came to the footlights, swerd in hand, stopped the performance, and ordered a new start, Then the finale came happily to an end. The Maria Garcia who was the Zerlina on this occasion was famous afterward as Malibran ; her brother, who enacted the part of Leporetio, is still alive in London at the age of ninety-five years. ‘Don Giovanni” was given cleven times in the course of Garcia's season, and the interest which it created, together with the specdily-won popularity of Signorina Garcia, was probably the reason why an English. version of the opera which dominated the New York stage for nearly @ quarter of a century made its appearance almost immediately at the Chatham Theatre, in which the part of the dissolute Dom was enacted by H. Wallack, the uncle of Lester Wallack, so long an admired figure on the American stage. Malibran took part in many of the English performances of the opera, which kept the Italian off the local stage until 1850, when Max Maretzek revived it at the Astor Place Opera House. In Maretzek's company was Amalia Patti, the ‘eldest sister of Adelina Patti, who sang the part of E/vira, and Signorina Bertucca (Zerlina), who afterward became Madame Maretzck, and is still living in New York. The experience of The King’s Theatre was repeated by the Astor Place Opera House in this revival. Says Mr. Maretzek in his ‘' Crotchets and Quavers"’: ‘‘ The opera of ‘Don Giovanni’ brought me support from all classes, and attracted persons of all professions and every description to the Opera House. Fourteen consecutive evenings was it played to crowded houses. This opera alone enables me to conclude the season and satisfy all demands made upon my exchequer.” ‘The origin of the story at the bottom of ‘* Don Giovanni has not yet been discovered. The tale is doubtless of great antiquity, and either gave rise to the legend of Don Juan Tenorio of Seville or grew out of it. Don Juan Tenorio, according to the legend, kills an enemy in a duel, insults his memory by inviting his statue to dinner, and is sent to perdition because of his refusal to id vurepent him of his sins. The story is supposed to have been treated in monkish plays in the middle ages, and it occupied the dramatic mind of the seventeenth and eighteenth centuries in Spain, Italy, France, Germany, and England. The most eminent men who treated it at greater or lesser intervals of time were the Spaniard known as Tirza de Molina; the Frenchman Moligre; the Italian Goldoni; and the Englishman Thomas Shadwell, whose “ Libertine Destroyed " was brought forward in 1676. Before Morart, Gluck had treated it asa ballet, Le Tellier asa French comic opera, and Righini and Gazzanigaasan opera. The Convitato di Pietra” of the last was the model followed by Mozart and his rettist. The story of "Don Giovanni’ scarcely needs telling. A dissolute nobleman has entered the house of Donna Anna and put an indignity upon her inthe dark. She calls for help, he attempts to escape, but the father of the lady intercepts him. They fight and the Commendatore is slain. Don Giovanns pursues his adventures, and next attempts the scduction of a rustic bride, Zerlina, whom he had invited into his palace with her friends. He is frustrated by Donna Anna, Donna Elvira (to whom he had promised marriage, who is pursuing him, and whom he had turned over to his rascally servant, Leporello), and Don Ottavia, the affianced lover of Donna Anna, In the progress of one of their escapades master and servant find themselves at the foot of a statue erected to the memory of the Commendatore. Don Giovanni compels Leporelle to invite the statue to supper, and the invitation is accepted by a nod of the marble head and a sepulchral “Yes!” While Dox Giovanni is supping, Efctra comes to plead with him for the last time to change his mode of life, but is put aside contumely, Then the statue enters, declines to sup, but demands a return of the visit. Don Giovanni accepts in a spirit of bravado, and gives his hand as a pledge. The ghostly visitor calls on the rake to repent, but his admonitions are spurned with contempt. The statue departs, darkness settles on the scene, hell opens, demons surround. Dox Giovannd and drag him inte the abyss. This the fixate as it is enacted, with variations, on the stage to-day. Touching the real finale 1 beg to offer a comment which I wrote ten years ago for use elsewhere = No real student can have studied the score deeply or listened discriminatingly toa good per= formance without discovering that there is a tremendous chasm between the conventional the Htalian poct in the book of the opera and the work which emerged from the composer's pro- found imagination. Da Ponte conteraplited a drama gioco; Mozart bumored him until his imagination eame within the shadow east before by the catastrophe, and then he transformed the poet's comedy into a tragedy af erushing power. Theelimax of Da Ponte's picture of the dissolute Dew wrestling ia idle desperation with a host of spectacular devi finally disappearing through a trap, while fire bursts out on Kaperttle ‘satisfied the tastes of the public of his time, and nothing incongruous i to the scene immediaicly aftcrward of all the characters save the reprobate who had gone & reward, 1g hear a description of the catastrophe from the buffoon under the table, and. plas ously to moralize that the perfidious wretch, having been stored away safely in the realm of Pluto and Proserpine, nothing remained for them to do except to raise thelf voices in the words of "the ss do the wicked find their end, dying as they lived:Lips, Mar, ¢ Zerl, esti dungus quel birben Com Praserpina ¢ Pluten , E mei tutti, buona gente, Ripetiam altegremente Questo di fin di chi fo ma: E dei perf la srle Alla vite} sempre ugual, This fusle was long ago discarded, and though Mozart set it to music, he did it in a manner which tells more plainly than the situation that it is an antielimax, that the opera reached its ead with the death of its hero. “' Don Giovanni" has three times outlived the period which an eminent German critic has set down as the average life of an opera hailed at its birth, or shortly after, as immortal.” As I write, one hundred and twelve years have Passed over the head of Mozart's masterpiece, and turning to the statistics of the operatic year, September, 1898, to August, 1899, I find that within that year it was performed once for every year that it has lived in Germany alone, So far as the active list in America is concerned, “* Don Giovanni "’ has only two seniors, its companion, “ Le Nozze di Figaro," and Gluck's " Orfeo," Even in Europe, where influences besides popular liking keep operas alive, scarcely half a dozen older than it can yet be heard. France has forgotten Rameau, and all but forgotten Gluck and Grétry ; Italy ignores her Pergolesi, Paisiello, and Cimarosa ; Austria her Dittersdorf, In Germany one may still, at long intervals, witness a representation of one or the other of Gluck’s “ Iphigénies” or ‘' Alceste;”" but besides the works which I have mentioned, all others that weré rivals of ‘‘ Don Giovanni" in 1787 have gone into the limbo of forgotten things. At the end of the nineteenth century "Don Giovanni" seems to be still young and lusty. In fact it meets less prejudice in the popular and critical mind now than it did a hundred years ago. The revolution accomplished by Wagner has left it Practically untouched, so far as appreciation of its beauties goes, and it is still a point of vantage from which to overlook the historical field in both directions, Only in Prague did it achieve instantaneous success ; in Vienna ** Tarare" won a greater triumph when first brought forward. But no work has kept pace with it in the admiration of the great ones in art, Under its influence Goethe wrote to Schiller that Mozart was the man to compose “ Faust."” Schiller, in a letter to the poet of “*Faust,"" wrote that he had a certain confidence in the operatic form, a belief that through it tragedy might develop into a nobler form than that existing, as it had been developed out of the choruses in the ancient Bacchic festivals. Goethe answered; “ You would have observed a realization in a high degree of the hopes touching the operatic form if you had recently scen ‘ Don Juan’; but this work is completely isolated, and all prospect of something else of its kind dashed by Mozart's death.'’ Tradition says that ieBeethoven kept a transcript of the trombone parts in the second finale before him on his writing-desk as he did the Egyptian inscription. Shortly after Madame Viardot-Garcia acquired the autograph score of ' Don Giovanni" Rossini called upon her and asked the privilege of inspecting it, adding, “' I wish to bow the knee before this sacred relic.” After poring over a few pages of the score, he placed his hand on Mozart's writing and said, solemnly : “* He is the greatest—the master of them all—the only composer who had as much science as he had genius, and as much genius as he had seience."" On another occasion he said: " Vous vonlee connatire celui de mes ouvrages que j'aime le mieux ; eh bien, c'est ‘Don Giovanni !’"” Gounod celebrated the centenary of the opera by writing a commentary on the work, which he characterized in the preface of his book as an “' unequalled and immortal masterpiece,” the ““ apogee of the lyrical drama," a “wondrous example of tiuth, beauty of form, appro- priateness of characterization, deep insight into the drama, purity of styl richness and restraint in instrumentation, charm and tenderness in the love passages, and power in pathos—in one word, this finished model of dramatic music," adding: ‘The score of ‘Don Giovanni’ has exercised the influence of a revelation upon the whole of my life; it has been and remains for me a kind of incarnation of dramatic and musical impeccability. I regard it as a work without blemish, of uninterrupted perfection, and this commentary is but the humble testimony of my veneration and gratitude for the genius te whom I owe the purest and mest permanent joys of my life as a musician.” In his “ Autobiographical Sketch,"’ Wagner confesses that as a lad he cared only for “Die Zauberfidte,"" and that ‘‘Don Giovanni’ was distasteful to him on account of the Italian text, which seemed to him rubbish. But in “Opera and Drama,” he says: ‘Is it possible to find anything more perfect than every piece in ‘Don Juan’?” Also, ‘Oh, how doubly dear and above all honor is Mozart to me that it was not possible for him to invent music for ‘ Tito‘ like that of “Don Giovanni,’ for *Cosi fan tutte” like that of ‘Figaro’! How shamefully would it have desecrated music!" And again, “Where else has music won so infinitely rich an individuality, been able to characterize so surely, so definitely, and in such exuberant plenitude as here?” H. E. KReHBIEL. ‘New York, January, 1900. xrACT IL. Notte giorno faticar (Leporello) Non sperar, se non m’uccidi (Deana Ansa). Lasciala, indeguo! (The Commandant) . | | Leporelio, ove sei? (Don Giovanni) . Ma gual nal fore of De (Doan Ata Deo Ora) Orsb, spicciat! presto (Don Giovanni). Ab! chi mi dice mai (Donna Elvira, Don Giov., Lens Chi2 4? (Donna Elvira, ete.) . | 5 Madamina | il eataloge b questo (Leporsilo) In questa forma dunque (Donna Elvis) . || Giowinette, che fate all'amore (Zerlina, Masettoy ‘Manco male, # partita (Don Giovanni) Ho eapite, Signer, sl! (Masetto) | ‘Alfa sia Uberati, Zerlinetta (Doa Giovanci) . Laci darem la mano (Don Giovanni, Zerlina) Feraati, scellerato! (Donsa Elvira) . ‘ABI foggi il traditor! (Donna Elvira). Mi par ch'oggt il demesio si diverta (Doa Giovanni) | Non fda, o miner (Donna Elvira, D, Anca, D. Otte vio, D: Giovanni). : : Poverasventuratal (Don Giovanni) || Don Ottario, son morta! (Deana Anns) . Or sai, chi Vonore rapire a me volse (Donna Anna) . Come mai creder deggio(Don Ottavio) Dalla sua pace Ia mia dipende (Don Ottavioy . To deggio ad ogai patto (Leporelle) . to Flncben dal van elds tert (Don Giovanl) ‘ ‘Masetto, seati un po'l (Zerlina)y. oe Batti, batti, obel Masetto (Zerlina) . Guarda ua po’, come seppe questa streie (Masettoy ‘Presto, presto, pria ch’ei venga (Masetto) Protegea il giusto cielo (Dosa Anna, D. Elvira, D. Ottavio) . : Riposate, vestose ragazsel (Dod Giovaadi) ||| [Minaetto} re Troma, trems, scellerato| (Septet) | USSLS BRS ETS ESssase RS36. Canzonetta are, Recit, and Aria? a3 Recit, and Aria The numbers manead with ACT IL Eh via, buffone, aoa mi seccar! (Don Glovanal, Le- porello. - : Leporelle (Don Giovanai) | Ak, taci, inginate core | (Douna E| Amico, che ti par? (Don Giovanni Deb vieni alla finestra (Doa Giovanni) : am ‘V2 gente alla finestra (Doa Giovanni, Mauetts) || 376 Meld di vol qua vadano (Doa Giowanai) . 7 Zitto, Inacia ct ita 1 (Don Giovanni) . oe aba ‘Vedrai, carino (Zestina) Dok 84 Di molti tact iliume s'avvicina (Leporelioy - 187 Sola, sola ja byje loco (Doama Elvira, Leporello, D. ‘Ottavio, D. Ansa, Zerlina, Masetto) . Dunque quello sei tu(Zerlina) . ‘Ak, piethl signori miei! (Leporello) - Ferma, perfido, ferma! (Donna Elvira) 5. Ll mio tetora intante (Dea Ottavio) ©... Restati qual (Zerlima), 5. hod Per queste tue manine (Leporello, Zevlina) Amico, per pieta (Leporelloy . i eccossi, o Numi (Donna Elvira). Mi tradi quell'sima ingrate(Donaa Elvira). ‘Ab, questa & buona, of lesciala cercar (Don Giovan2:) jssima (Leporel . ‘Calmateri, idol mio (Don Ottavioy . Crudele? Ab no, mio bene! (Deana Anna) =... Non mi dir, bell'idol mio (Donna Anna) fe ‘Ab, si sequal suo passe (Don Ottavio) Gid la mensa 2 preparata (Doa Giovanal, Leparelto) Liultima preva dell! amor mio(Denaa Elvira)... Dou Giovanni! acenar teco m invitasti (The Commandant) 273 sateriak ware composed far the ‘second representation of the opera, xmDon Giovanni. Overture. | Andante. W. A. MOZART. 1197 Printed ta the U. 8, A.Moderato. = £ s514716187wi07amarAct I. N@ 1. Introduction. A Garden, Nicht, Porello, in a cloak, diseavered watehing before the house of Denna Anna; then Donna Anna and jon Giovanni, afterwards the Commandant. Molto allegro. Seeae Piano, , Ey ‘wrapt ina dark mantle, impatiently pacing to and fro before the steps A te the palace) Not-tee gier-no fa. ti ci nulla sa gra - dir; Rest I've none by night or fare and doubtful pay, a P ae yen. to sop-por- tar, mangiar ma-te.e mal dor - mir! whim I must ful. fil; Take my place who-ev- er will! a7 P glio far il gen. til - uo- mo, my = self will go a - courting, 2 Sak ow ek+ vo- gio pli ser - © non vo-glio pli ser - vir, no, 10, no, gen= tle - man will But with him “no more Til ~ stay, No, no, no, facing the palace) TO, no, no, non ¥o-glio pia hehe ca-ro galant- no, nozbut with him no more Gaily’ he with-in + id vrs eC wom Voi star den-trocol-la vel-la, ed io far 1k sen- sporting, [must keep off all intrusion, For his lordshipneeds se- Te mel - la. 1a sen- fl. oel- ia, la sen- fi - nel - [at clusion, he needs | se clu-sion, he needs se- elu- sion, Tar gen- tl . ton Vo-glio pil ser - self will go i the gen-tle- man will vir, € non vo-glio pik ser- vir, No, no, no, 0, no, no, non vo- glia play, But with him no more Til stay, No, ng, no, no, no, but’ with him no ! 1197Ser-vir, Ma mi par, che venga gente; mami par, che venga Til stay. Hark, 1 think I hear him coming, Ill keep safe out of his £ gen-te; non mi vo-glio far sen- ir, ah non mi vo-glio far sen -tir, way,hereDll keep safe out of his way;,here Till keep safe out of his way, £ vo. glia - tir, Xo, mo, ne, no, no, non mi vo-glio far sen him no stay, No, no, no, no; no, but with him no more Pll (Hides himself) Donna Anna. (Holding Don Giot ni firmly by the ary ) Non spe-rar, «non muc-ci - dicho ti la. sei fug-gir mai. know, unless thou slay me, vile in- tru-der, who thow art. Tutt her voice sti- fled by agita- | tion) Yip” Sp f Sf W187uw Donna Anna. (her Don Giovanni. (Trying to « Non $pe- . z _ Lwill of Don-na fol-le!indar-no gri-di, chi son jo, ti non sa- prai. Stay me not, fair maid, I pray thee, I this in-stant must de- part Che "Tis 2 ining strength) rar, se non clio ti la-sei fog- gir mai, non spe- know, wn. less vile in - tru-der, who thou act, [will Don-na_fol-teli Stay me not, fair maid ; chi son fo tu non sa- pray thee, [ this instantmustde - 2 a mul - to! o ciell che gri- di! Tl pa - mas - ter! these eyes, be - tray me, Or to rar, chio ti la stifug-gir mai. Gen- tel ser-vilal tra-di- to- re! know, vile — in-tru- der, whothou art! Help, oh heavintwill none befriend me%imost 6] Sa- prai. de - part. pral, 10, Ta -ci,e part, yes, May the @ron in uo - vi gual. fly he has at heart, 147(frecing herself) See. le. ra- to! Vile be-tray- See - le= ra-t Vile be-tray-e1 hisainace tries to cover her mouth * mio fu-ro- ret fue ries all at-tend thee! > sig Fair en-sta Sian ve ‘Tis my, a sea turning to the palace? > ter servi Help, as-sistance! ¢« Tome fu-riadi-spe- tata ti sa- her roushlyy Heavenycome to. my as = sistance, Tilpur. Que-sta fucria di-spe- Thoushalt ruethymad re - ell l= ber-ti- no mi fa. ra pre-ci- pi - tar. ‘makes re-sistance, Hush, I'll list to wha saith. ee, 7? batt ta my Co-me fu-ria di- spe - ra- ta, di. spe- expiitavens oh, in. mercy come to) my as ~ pro. pers se- gui - tar sue thee un- to death. pi - tar, Que-sta fu- ria di - spe- breath! Thoushalt rue thy mad re - rat mivtol far pre- istance, Silence, speak not *bowe thy - che gri-dit my mas-ter! “mul = tof mas - ter! warTa - ta, sistance, Ta. (x sistance, iwavederchell li ber-ti-no mi pre-ci- pi- tar, Staa vedercl Tis my master makes resistance, Hush, !l list to what he saith, Tis my master makes re~ ~gui- tar. ~ rat See - le- to death. Help, as-sistane J, Help, as- ~pi- tar. Scon-si-glint ‘Scon-si- thy — breath, Hush, or tremble! Hush, or li-no mi fa-ra preei-pi- tar sistance,hush,[illist towhathe sait! f, Gen - te! ser-vil Co-me fu- ria di- spe Help, assistance! Heavenjcome_ to. my as - Ta- che tre-ma! Hush or tremble! 2 Que -sta Thoushalt uf ve-derchejl li- ber-ti-no mi fa- ra pre-ci- pi - my mas-termakes re-sistanee, I will list to what + tar. he saith, wat4 fas proper sé - gm 5 _ til pur- sue thee un to_ tar. co-me fu- ria di - spe - death. y —Heaven, oh in. mercy tac ta mi vuol far pre-el - pl ¢, Si-lence,speak not "hove thy tar, que-sta Turia di- spe - breath, thou shalt rue thy madre = sist Che tu-mul - to, oh ciel, che gri- dit "Tis my mas-ter, it is) my_mas-ter! ra- ta, (1 - spe - Fa tay come to my. as - sistance. pur - mi ‘yuol Hush, nor Ta via di. spe-ra- a rue thy mad taavederchell li-ber-ti-no mi fa-ri pre-cl- pi- Tis my master makes re-sistance, 1 will list to what he ‘ bh foags & Ste tar. death. pre ~ pi star. ‘& = bove thy breath, f- ber-ti-no mi fa-ra pre-ei- pi - tar, stanvederch makes resistance, { willlist to what he saith,'tis my master makes re- waymi rar hush, ‘speak tino” mi fa-ra pre-e1- pi-tar, siaavederchell I~ ber-ti-no mi fara preci pi- sistance, | will list to what hesaith‘tis” my master makes re-sistance, I will list to What he 2 (Seeing the Commandant approach, she rung into the houst re esth. (on Giovanni haughtily confronts the Commandant tar. breath. (The Commandant enters hastily. « to) a sword in his right.) tar. tail saith. £ Sf The Commandant, (vith agitation, but energetically) Laseia-lain -de-gn0, ba- - i me-cot Miscreani,unhand her, draw, and de-fend thee! —F Don giovanni. lighting!) non mi de-gno Pu-gnar t- co, or [warn thee, todeath T'll_send thee. Co- si pre- ten Caitiffand cow wiaz4 non imi de = gno, no! Bewaremy an - ger, fly! lame fug-gir? Co-s] pre-ten- di da us wouidstthon fl # Caitiff and cow-ard, thus TPo-tessial- me — 110 qua par- tir! (Howean 1 safe ly frombither fl —_ oo no fe © essa rove Pe corner) a = de ror MT = se rot (Die he must! __Die “thoumust! _ Grey me fug-gir? Ba- fit wouldst thaw fly?, Guard thyseit? a7 di qua par- jowcanT safe | ly from Bae fly ef Zp t tie Z \He strikes the torch out of (First bout: the Com - the Commandant’. hand.) mandant attacks.) be. rola! - ten- di <* vuol m= beard, come nm if thou wilt die! They fick) "te (and bout: Don G. (ard bout) wounded) = tel‘The moon rises stowlys 7 Andante: Don Giovanni. arf rove. oi oh we ~ * — t be be = (sinking slowly.teaning Ah! Kia deilscia- gu. Tha Commandant. 0 hig word) Rash ‘old I have un — — £. oe — 2 * BE — E ‘son Tas = sas sept at ‘Rewcest‘On _— SS = mi - —sfat tot Andante, my mas — ter! lights appeag in the pale within: servants hasten with torches across the ‘avkground behind the closed eat no- sora- go - niz wanete gia pangs of death thourt [y-ing! Mine's ra-to, done thee! In thi fe vito un friended, no mha a- lone Qual ~ so! naught will En- trail sen dal- lo spa- Thou wilt rue this woe-ful se = 10 pal “hi kn veg) go Te. noma per Why to fight was 1 be- ven = to pal tar jl cor mi sen = to! er = rorDeed of durk-ness,deed of ter -_ ror! wae8 (Servants return with Don Octavio, and hasten with him from the street into the palace? ~ ceo Ta. i= ma par- (ir, gi dal to fight’ was 1 be - guilll? Mine’s the tir, veg guild? why sen - to Ta = nb ma Heavh pro- tect and guard par - tir, my child! che dir, en. ti lo spa- beguila? He will ruethis wo. fal To non 56 elle farsche dir, io non sé che f Why tostaywas I beguilil? why tostay was I “go la. mi-ma par- to fight was 1 be - se no pal - pi- tante ver jeed, theres no de - nying, Why ~ ni ~ ma pare and guard my en - - to Tae Heavh pro - tect » io non sd che far, che ven-[ pal-pi-tar il cor mi sen-to, ionon sé chefar, che di Why tostaywas I be- ‘er ror,Deed of darkneesdeed of terror,Why tostay-was | be-g1itty cuce, throughout this seen) 19 ni Leporello. LES po. rel. loo. te se- i? op Le po- rel - fo, where are you? 2 (Don G. sheathes his sword and dons his cloak) Don Giovanni. Lepareita, qui per mia 6 wo. i? Son qui. Chie here, to my mis - for-tune, and you Sir? Tim here Who's 7 ee a ———: ee — t SSS isp p eo st mor. to, vol, oll vec-ehio? Che do- manda da be- siial il vee-chio, dead,tWold man _@r_you,Sir? _Q_most_ stupid of questions, _he surely. Lapa Bra- vol die im-pre-se leg-giadre! Sfor-zar la fi-glia, ed a-mac-zar i Well dene, the in-ten-tion was pret-ty, Seduce the daughter, and then dis-patch {he — Don Giovansi. padre! [ka vo- lu to, suo dan- nol fa-ther! He in-sist-ed on fighting! ‘Madonna’ An-na, cosa’ha to- fu. to? And Done’ An-na, did She in-sist, to (Threatening to strike him.) Pa se non vuoi qual-che co-saan-cor t _Sirlence, Tit not be vexdl_acway now, unless you too on something $e i= gnor, non par- lo pit. Pray, ex-cuse me, from com- ments I de - sist.lagitatedly descending the steps with D.Octavio, D Oetavio. Donne Anna. and servants bearing torches) (Raising his drawn sword.) ‘Ah! delpadre in pe-ri-glio {sor cor-so vo-liam®Tutoll mio ean- gue Ah! my fa-thers in dan-ger, let_us haste to his aid! [will _de-fend him Reon yO — Donna Anna. verte. ra, se bieso.gna: tha dov withthissword,with my life-biood! Butwhere is shoal. In que-sto la. ca, the as-sas-sin? ‘Twashere I left him. Attacea. NO 2.“ Ma qual mai s’offre, oh Dei.,, Rocit. and Duet. Allegro assa i be be f oe ao (Seeing the corpse'Donna Anna. sof-freoh Dei, spet- What is this I be- hold? Can (sinks down beside the body) th-co.10 fuen agli.ors I. believe mysenses? Ah ine un- happy!(hrows herself a upon the corpse? D.Oetavie, —_D-Anna, 2» Padre, padre mi mio ca-ropadre! Si - gnorél Ah, Nass no mel fru -ci- Father ‘oh my father, look but upon me! Oh tereror! Ahy by tiias-sas-sinart thow un = z - = == —_ (examining the corpse more carefully) uel -fa Blood is ‘ A ol or ai e el valto_ tin-toe €o- per - to del co. lor di mor.te, “te bp this pallor! lent_and pale, thou heed-est not my ery-ing! _ fl Ei + P ——— - (D. Octavio offers to raise her: she refuses ) Ei non fe-spi- ra pi fred-de le I cannot hearhim breathe! Cold, cold as sh Gehe rises) (she reels membrat mi-o! Caro padre! padre a - mato! marble! father, best of fa an - swerme, father! \Fa Ts Sf aaand stone seat ) 22 (D. Octavio supports he leads her to th Don Octavio. (to the servants) To manco! Peohelpme! vn moro! hi socdor- mics Th die! Oh, by this dire efefliction_hermindsdice Maestoso. 50 - ro! cer» ca. te. mi, te - Ca. fe fhi quatene 6 - tract-e As — sist me, friends, oh leave us ot,» Give me "A maid servant hurries into the palace, and returns immediatel with asmelling-bottle, which the offers to D.Anna) Andante. dor, qual-che spirto! &h non tar- da- fe! Donm Anna! Sposal aid___bring some wa-ter, oh bring it quickly! Donn’ Annal |_| dearest} B Ne a-mi = eat ~ il duolo_e . stre-mo -nellawe-ci = det oh hear me! ef =v her: —elltrtiet h o.verwhelndher . { P. Dopna Anna (with advep sigh) sop Tin -vie- he! Pande mio! ARN Gs a-wakens, | New-ly re-viveshet sorrow, 5 © Oh my father! Don Octavia, ‘to servants) ‘e-[a-te, al - lon-ta-na-teaglioc - chi suo quel-[ég- get-to dor. Oh hasten, and bear a-way, ere she per - c ve it, this me-mo-rial of 18728 (Serving-men raise the Commandant, and bear him inte the palace) roe! ~ ni-tha Mi-a, con-so-1a-tit terror! Lookupymy dearest, oh,turnto me! Poe ——" Allegro. #e Donna Anna. ‘springing up and repulsing Don Octavio as if insane) Fug - gi,cru-de-le, fug-gi! la— s che mora anch iol Cru - elwhy art thou near me? Leave me alone to perish! © - ractiémorte,o Di-o! chia me Sincehe I most did cherish Is lost P Don Octavio. Seni, cor mio, deh sen- ti, uar - da-miun so Listen tome, oh, list -en, rn but thine eyes ‘stante, i par- lajl ca-rOpmante, che vi- THe. so) on me, 1 know thow'lt not disown me, Who love thee ev= ee ee sieaya4 Denna Anna, (Perceiving hererror. and giving Don Octavio her hand) te. Tu sei_ per-don, mio be - ne, laf- fan- no mi-o, le more. ‘Tis thou. for- give, oh, dear - est, Of all now left me the ae (approaching the spot where the Commandant fell) Den Octavio. pe-ne. Ah,il pa-dre mio dow’ &? Il padre? nearest, My father T would see! Your father? tn ' Lascia, 0 ca-ra, la ri-membran-zaa - ma-ta! dearest, Breathe not the word thou fearest, oy pi. SS nf Fp hai. spo-s0 @ pa- drejh me, Thow'st hus-band and fa - ther Don Octavio. padre, il pa-dre mio dov’ 8? Lasei ra, fa-ther, my fa-ther I would see! Hush, oh dearests waLa ri-mem-bren-za.a- ma-ra! pa - dre, hi Breathe not_the world thou fearest, thou’st hus-band and fa ~ thersthou'st . =~ fof P (D. Anna, going to the other side, stands with lofty demeanor ‘opposite Don Octavio) ~gpo.soe. pa are fh me. husbandand fa - ther im) me. Donna Anna Maestoso. Don Octavio.(raising jhis ~~ Ah! Vendi Al o, lo 1 in swear ity meggror’ io a-bove! T ary seilpuo - i, giu- raquel Sai ‘thou canst, a-venge swear it by hea ‘ & jhand as for iaking an oath) Adagio in tempo. a >. fu-Fo, ‘fo giu-roa-glioc-rmt. {uo - 1, Lo giu-roalno- — -stron swear it, bys heavn Twill avenge him, T swear it’ by our Tempo I. Donna Anna. 18197che bar - ba-ro mo-men-to! Oh night of dread 1a~ ment-ing! che bar =ro momento! Oh night” of dread la-menteing! “G0"" Sp tra cen-toaf.fet - tie cen-to vammion-deg-gian-doil cor, tra Oh when willheavin re -lent-ing grantus of hope a ray, Oh tra cen-toaftet - tie een-to vammion-deg-gian-dojl cor, tre Oh whenwill heav'n re -lent-ing grantus of hope a ray, On =e cen-toaf - fet ~ tie n- deg n- dojl cor. when will “heav’n fe — lent) ope. a ray cen-toat - fet. tie “fo varwmion=deg- gian- dol cor. 2 When will “heavn re - ing, ‘grants of hope a ray, f Ven-di- car quel san- gue, Tf thou eanst, a - venge him, Lo ro al sear ith gya7 chi tuo - i, & -venge him, Che giu- ra-men-tooh De - Ddctavie, Oh vow of wrath and ter- ror! Che ‘giu- ra-men-to.oh De - i! vow of w = ror! Oh vow of wrath and ter-= ror! che bar - ba-ro Tra cen-toaf-fet Oh night of wild la - menting! Oh when will heav che bar - Ba-ro mo- men-to! Tra con—toat- Oh night of wild la- menting! Oh when wi — —~ «= vam-mi on-deg-gian-do i] tra cento at - fet- tie grant us of hope @ Oh whenwill heavn re - ‘vam-mi on-deg-gian-do jl tra cendo af - fet- tig lent-ing grant us of hope a Oh when will heavnre - ‘teeta = ‘en S147 ——Yari-mion-deg - gi com. vamemron = grant us of he ray,_ oh when will Thmmioa-deg = ian > dail cor, grant us of = hope = @ ray, ___—______ -doon - deg-gian- -dojl grant of” fope mion-deg - gian il cor. vam- ~mbon- deggian - adil when will heav'n. lent - ing grant of hope & > iF, vammbon-deg - gist ~ do,on-de, oh. when will heavn ____ grant of tren wil Reavia ee Sf, vorvam - mion. deg - gi ~ojl cor, Stubs SiN nee Brent“ es mion - deg-gian- dojl corvam - mign - deg - gian- -doji cor, grant of hope @ ray,when will heav' grant to us,Vam-mion -deg - gian- doi) ae Vam-mion-deg - gian-doil Grant -doileor, —to us, = doil cor, “to us, mion . deggian- doll cor, When” wilfheae —-en Grant mion - de in - dail cor, will heav - en Grant m- mion- deg-gian- cor, ope a ray, When will_heavngrant cor, vam = mion. deg. g ray,When will_heavn grant f hope a a — — ‘vammiondeg- giar-doil Grant us of hope a vamimi ondeg-gian-do, Grant as of hope a4 ~ mion-deggian-doil cor, on ~deg-gian-doil to of hope a Grant of hope a mon - deg-gian-doil ray,Grant of hope a mion- deggian ai to us of hope tort ray! (Bxeunt slowly into palace)Scena A Streets Barly morning Don Giovanni, Leporelto. fi - ni-sei-lat Giu- ra-fe di non an - dar in col-le- bet-ter, come, out with ati First promise that this time you'll not punish —_———~~ £ bh Leporetto, ginro sulmiog-nore, pur-che non par-li lel _Commep-da-to-Fe. Stato _Bromise on_my Honor, vat_iss pro - vid-ed theCom-mandant’s not mention'd. No one 2 ‘a sen - te? Vial V lis-tens? Of course not. No one’s ap - proch = ing?Stuff! Then I can speak out tut = be - ra. mente? wands © Ca.- vo Si- gior pa-dro-ne, _Ligelyss tle [romyour anger? Yes. Tent Ghee Til beg = Wa 2 lg gE ‘aster, the = = — Ghouts inh .— vi-ta che me-na.te @ da bricco-ne! Te-me-ra- rio, in tal gui - sa! life thatyouareleading is that of @ raseall Fool, howdare you? this shall teach you! ————ere[ewwe —— Don Giovanni. on Giavana ee # f= == 2 iu-ra-men-to! Non sd di giu-ra - men- ta-ci, oO Think What you promis! Such promis - es I ‘keep mols si-lence, or a2 = _per. Then I restore my mi - 1, diun po - cot ierche sonqui? Nom ne 50 oF sai fa - vor, _Some-thing ['ll_tell_yo Why think you _1_am here? “I__“think_of — 2 “onqul lo wylight,what so likely assome new love adventure? Youmust 6 —— © jmullal maessendo Pal—ba ” chiara, non sa-reb-be qualche nothing. Bul, as 8 Just_now 4 — a n-ha-mora- to du-na bel 1am in love Da-ma, © soncer - to chemia-Ina; reature, she re-turns my de-vo-tion, ee eens ee 30-10 tell you; le parla = i, mecoalcasi- no questanoite ver. ra: Zit- (0! Zi pare addressdheryshe is” to meetme earbor to-night;Hush'theresano-dor, a perplto. = _——_s ~—— : 5 ep fff] sentir © -dor di fem-mi-na! (Co - spet-to, cheodo-ra-to per-fel-to th'a-ro-ma sweet of woman-kind!(I re Be wher, call that a re-find sense of smelling!) Don Gigpanni. bs pererene - Ta- ria, mi par bel-la. (E che oc - chio! di - co!) _— She's hand-some at this dis-tance.(What an eye — sight, gra-cious!) i147Leporelle.casidey Bz (Hoth retires i-ti-tia-thoclun poco, ¢ sco- pria-mo ter-ren, (Gia pre-se fo-For) Let uswatchthis fair lady, step a - Side here withme. (On fire akready!) “Ah! chi mi dice mai.,, Trio. Donna Elvira Gna travelling-dress): Don Giovanni, and Leporello. Allegro. vig ~ vis ~ (facing the auditorium throughout the entire scene hi aiel bar-ba -ro dove? Where snail L to guide my steps to thee? Ps — @: £ f - che mi oman - €O the mwerld is dark Seon > tea ma, io near - ly bro - keny P toraa3 mi man-cd di fe? all is dark to met jovani se ri - tro. -vo empio, If he stood be - fore me, — ‘op “care op (Ceporelto busies himself with Don Giovanni's attire, helps him draw on me non tor. -na.an -¢ot Fierce - ly his vows Td spurn, his gloves,ete.) Tar- =ne.or - ren- love that once Se il cor, gli vo ca - var re - turn, can nev-er - more 1107a4 Don Giovanni. ‘to Leporeilo) cor! = di- st qualche bel - Ia, dal_ va - goabban - do~ turn! Look yon-der, ‘te dam.sel Whok by her swain for- —_— neor-ren - that once Den Giovanni, (with contemptuous pity? il cor! Po - ve - rina! Po - ve- ri- na! re- turn! An, poor girl, her grief be - comesher! =a Sp Donna Elvira. yo! ca = var aly yo! ca = var Can never - more re - turn, no, fan nev-er — more Don Giovanni. to Leporello) ~ ralle (aside) im di con-so - la-reil suo tor - men-to.Co-si ne conso- try just to con ~ soleher, No doubt,iike maDonna Elvi Ib mil-keot-to —_cen- to. chi mi di - ce oth ers you'll ca - jole her. Where shall T_find = — —_ Fi , P (Leporetlo steals about Donna Elvira to catch sight of be face; unsuccessful, he mai, quel bar ba-re dov’ é? che per mio scor - token to euide my steps to thee? My_beart is r Pp master pantomimically of his failure) ma. i, che mi man - ca broken, the world is dark to me, ‘tea Pp f —— mi man- cd is duck — al be. fore me, S “a « val | swa736 me non for. + ly his vows fe "4 far = ueor-ren do scem - pio, gio cavar il love that once he bore mie Can nev = er-more re ~ fe fe Donna Elvira Gli vo ca - var Can nev-er - more Po-ve- ri nal Po- ve - oor girl, her grief be - con P Don Giovani. gli vo ca - var T— cor! Cerchiam di con-so- turn, no, can nev-er = more re - turn, I think I'l go and rello (aside) li - reil suo tor men-to. Co- 5 con-s0 - Io mil-Ie¢ot-to try just te con - sole her. No doubt like many — oth-ers youll ca 16187a7 Donna Elvies, | Gli vo" His love can ne'er. = reill €or gli vo ca-va~ re - turn,his lovecan neer cen-to, jole her. (Don Giovanni clears his throat sever -reil cor, re - turn, Donna Elvira's notice: she does not hear him, bui grows more and more excited. Finally his patience cavar il cor, ca : il cannéer — re-turn, re. : ee ee tf ives way, and be steps up to pon Gievanni. (zaisin, ynna Elvira boldly,but politely.) Sh- gno - ri- Fair Se - fo-r 16107Stel - Ie! che She? oh! con- ve fu. Donna Elvira. in- Don Gio - re? ui? mostro! fel-lon'_ni-do Fa Isest of men! Monster of busene: ~ gannit ! (Now compliments are passing! 2 ?>vWw ————- “man-co ma - Te che Waste of words vi = tay ea] - ma pray you, re -strai Den Giovanni. lo ¢o-no- sce be - fe Via, ca~ ra Donna_El - he by this time ought to ee = fe que - sta in that voice Donna Elvira know him.) Els vie ra dear, “1 eol = le - ral fen ti - te, la = im - pet— uous! mow lix-ten, and sseia -te- mi par-lar! T will tell you ail. W Co- faploi di - re, oh y that will ex. cuse your falsehood? First you be - hat can you sa e -poa-zion si mt A -men. fe, ¢ you, wit re you wi a for-ga dar-te, di ramen- tie gi ith vows of fond-ness, oaths of de-vo =] SS dur -reil cor n 0; in- na you loved me, im your0 crudde, 4 = or con-fid = ri tua spo st, P you de-clared me; then om a al san. to drit-f0, sud-den, ‘y tie of earth and heaven’ that our hearts had : et SSS SS da Bur-gos tul- Jon - ta- ni, mub-ban-do — ni from Bur-gos you de - part-ed; 1, for- sa-ken, SS ¥ 4 + = fh la-seiinpre-dhal ri-nfor- & ed al pian-to per pe-na for-se tract-ed, was left a prey to re-morse and bit-ter Weep-ing, for I, a-las, had : =— caside) Leporeie Don Giovanni. - * ps ee et | “che ta-mai_ co-tan - to. (Pa-reun li - bro -fo!) Ob im quanto que-sto Jearnt to love you dearly, (She suys it off like a lesson.) For my de par-ture = yee —— to Leporello) onically 6! ty mie ra - gio- ni @ ve - 10? Eve - ro! ~port-ant rea-soms. You know them? [know them. Donna Elvirasto Don Giovanni) EB qua-li so-ne, se non la (ua per- What oth-er reasons than your in-con-stant40 cie-lo Yol-le chia ti tro - Mail giu - sto f d me hither that 1 might But heav'n bas vas- Si, per far ia te pit ra — to stay your vome, You'll not let me ex ne - ¥0-le pate my-self_( ft po-nea ci-men-{e co - st his_Woman will soon driv mad.) Sinee you, &-las, are-doateaquesto galant - uo -mo. (Salvgil ve- Then let this Honest ‘el-low tell you. (Honest track Si, si, dil - le pur tut - to. Yes, yes, keep nothing from her. q] — ben, fa pre-slo! Ma da-ma, ve ~ ra-men- te, in que - slo coed, what is it? Well, Macdam, it is cer-tain this world we ae ee Oe ——2. che Iquadro non & ton-do! mean, You cannot square a circle! Heartless. (Turning as if to Don Giovanni) Co - si del mio do - lor gio-co li pren- di? ‘Ah Dare you thus to im - sult my just re-osent-ment? And pment AM 16 47a4 Leporello. ‘voi! stele! ~qho it’ mi-se - ra me! do-ve? | inqualpar-te? Bh, la- you,chheavia!_he busely has fled! oh wretched melwhither? | wax it that way? Come, be ff Donna Elvira. L E soia-te che va- da; © - eli nonmer-ta | che di lui ci pen-siate.” “il sceble. Ahanbfel bes Iefigonjunstenot your an-ger, | es mot worth a Fear, But BY his 2g. SS Fa ——— ell0.(Donna Elvira turns to the bench before the mingan-no, mi tra -|di! Eh, con-so-la~ te -vi! non sie-te Tin deceiv'd, 'm_be - tray'dtPray,Ma'am.be com-fort-ed, for _yow are ee mb comfort ned, for you are ra - to falsehood “2 2 rete om ki pri-ma, me will be or the first, or = house, and seats herself sadly.) voi, mon fo - ste, e non sa - not, mor have been, and_nei-ther bor- go, o-gni pa- pie-no del no-mi ai suo bel- fe; nt countries, ves, foreign full of the names of his fair ones a « tions. t a # =H42 N¢ 4.“Madamina. ,, Allegro. que - sto, shew you, elie, che ho fat-fei- 05 di ly ws-sort-ed, me! 05 - ser-va - te, look, in my writing, del-le bel - leche a-moil padron mi -0; Of the fair ones my master hus courted, Aria. Leporeito Maeda - mi 1 ca-ta-lo-goe Pretty, Here's a list, [would > To-goe- Here you'll find them all os-ser-va = te, leg = ge = In my writing, wilt please lee - ge te con me! willt please you —to._‘Took. oes T tacli-asei cen-oe qua It-a-ly six hun-dredand tee a 4in Al ma-gna due cen-toe trent'u - na, France is down for five bun-dred and twen - ty. f cen = [0 Franciain Turehia noxant’ u-na; ma, in 1 ~ y two hun-dred the Rhin¢-land supplied him,But mark the nT ~ spa-gna son gia mille etre! mil-lee — tre! in has al-rea-dy one thousand and three, thousand and three. —, ~ 3 ri te 2 mil - lee in fra que-ste coma - di - ne, thousand Here are Countesses in plen-ty, le ‘Vhan contesse, ba-ro-nes-se, Rustic beauties, Marchio:archesa- fe, prin-ci-pesse, Vhandon-ne do-gni grado, do-gni forma, d'ogni ¢- En'ty grade his pow'r confesses Here are courtly dames and maidens Young and handsomeold and rs ta, do -gni_ for-ma, do-gnie-ta -ta-li-a plain Young and handsom,old and_ plain is It-a-ly, rae 2 Pp sei cen-toe qua-ran- ta, Six hun-dred and for - ty, die cen- to e trent wna > toin Fran- five hun-dredand twenty ly two bun - dre a no - vant u-na, ma, ma,— ma in T-spa-gna! main[ - - land Sup-plied him, But, but Spain is the cli-mar! Here are al -‘spagnason gidmil-lee ire, mil-lee tre, -lee ready one thousan@andthree, ___ thousand and three, thousandand ire! Vhanfraqueste conta - di-ne, ca-me —rie -Te, ¢i- e,vhan cont esse, three!Herearecountessesin_ et vp He ‘ba-ro - lenty: Wa iting-maids nineteen or twenty, Rustic beauties Murchige vn 2 nesse,marchesa - nie.prin-ti-peste, ¢ Vhandonne do-gni gra-do, do-gni for-ma,doguie- _nesses, Ev'ry grade his pow} confesses, Hereare courtlydamesandmaidens young andhandsomejoldand poppet ie Pee ks |g ‘ores plain, Young ta! do = plain, young46 Andante con moto. — as Nel - Ia bionda Ts 4 maiden fai e > glitalw- sana di lo - dur-la and slfndes He will. praiseher tt fe P. la gen-ti = lez - za, wel = da bru-na for modest sweetness, ‘Then the dark ones a eet f stanza, nel - Ta bian - ca la tender! Lint - white — tress_- es . ste dol - cea~ za, dis - creetness; 4) ‘Vuol din-ver no a grassot taywol de -sta te la ma- When tis cold___helikesher port _- iy In. the sum _—_meryslim and gran -de haugh -ty, tf wirwea la gran ~~ de larmshim, and haugh ty, _ neer b et ala pie - ci-na agnor vez - 20 - sa, eognor vez- tiny, If she'sti-ny, very ti-ny, ti-ny, ti- ny, no ess she charms bim, no_less she —— ratty ZO - sa,@ognor vez - 20 - veechie fa con - qui-sta charmshimjno less she charmisbim. Ripe du - en-nas he en - gag-es, h».te, SS : 107pel pla - cer ‘di por-lein li - sta, sta passion pre -do- Thut__their names may grave these pag -es, But hat most he’ bent on ~ ‘grace th nan - te la gio - vin prin-ci - pian-te; win - ning. is of youth the sweet be = ginning, non si pie - case sia rie - ase sia brut - fa.se sia Poor or wraith = _viwan or health - _y.State-ly dame x or wgalth = _viwan or hgslth = _uState-ty dy je - ea, brut-ta, se bel - la, ty.State - ly dame,or youthful modest beau-ty << —~ ¢: a gon nel - I makes__his du voi Sa pe -te And, you know it, isasa > pe-te you know it, che por ti la gon -nel-la, vol sa - pe-te quel che to win them makes his du-ty, And, you know it, not _You_know_i - —— fa. Vol sa pe~ te. vol Su ~ pe-fe quel che fay vain. Yes, you know it, ,» Yes, you know it, not in vain, J ys tgt_know Ob gee : quel che fa, quel che notin vain, in ' pe ie 2, oa” into villa.) £ . z fe 114750 Recit. Donna Elvira. Calone> @ questo il trusted, he betrays and de -rides me; and shall T In que-sta isthe man I pre-mio che quelbar-ba -ro ren-de all’ a - mor mi - 0! ‘Ah, ve1 ar vo = bear it, that bis in -so-lent ser-vant mocksmy anguish? No. Twill call on a cor! priachei mi fug-ga, si ri = cor=1a, wrongs Til a -venge,Ere he escape me, friendsshall aid me ee Justice! to (Exit into, the house) io sentoin pet-to sol ven-det -fa find bim, and to chastise bint. Lovehas fled from © dispet -to! ccrewnt! T despisehim! 5.“Giovinette, che fate all’ amore.., Duet and Chorus. Scone. —Dhe open Conmtry Zevlina, Masetto,and Chorus of Villagers. dancing and singing. Allegro. ist(turning to-# lidens. who press sbout her. while Masetto. SL Zerlina, on the ether side. Iy surroundad i Bio-vi - net -(e, che fa-téalla - mo-fe, che fa-teall'a - mo - fe, Won la- Let's en ~ joy,while the season in - vites us, the season in - vites us. "Tis not x ig & Fee stia-te. che pas-Si fe - (ay che pas-si Te - ta che pas-si le = ta! wel Jong that its pleasure will Stay, its pleasure will stay, its pleasure will ot While the dream of — youth Yi bu cull co - Fe, Vi of youth yet de ~ lights us, while youth yet de me-dio ve-de-fe-fe quat.— SS che pia ~ swain let no maid-en say $$$ to ber Ter. che placer che Sarit swain let nomaiden say nay! the maidens form a ring. and dance around Zrlina . maidens form a rin Chorus. SOPRAXO 4 ALTO. che pias cersche piacer che sa- to her swain let noinaiden say 2 2&2,Masetto. to the lads) “ pS z Oh ye swainsand young lassestake ie sia, leggie-ri di te- ste. non an-da-le gi-ran-do di qm oe la ¢ warning, Vo lasses take Wyrning, Lest your truelove ye trifle a = Way, alway in 2 equa 6 du-rademat=ti la fe a le a way in on of joy turn ta mourning, y turn to oye 2 Ee? ha, 0 fo non cay, When its vi- sions de —} - a2 mia perme When your youth's sid-dy f—f- = che pia= cer. che piacer che sa = ral when youryouthSgiddy visions de ay! ng and dance?53 fis Nath Felh ~ las tall feats ol anddance andbe gay, la la rela la, la la_re_la =e al whe pla cerche piaver che sa — - Let ius e: fp SP (Zerlina and Macetto leave the groups and advance to vente Zerling. where the young chorus forms a great cing around them vie-li Ca -ri-no, go dia-mo, e can= tiamo.e bal-liamo.e suo- hap-py with thee.ohomy treasure, All our days are contentment and 2 . : ‘* ™ Vie-ni ea ri-no. go- dia-mo, © can (iamo.e bal-liamo.e suo hap-py withthee,on,my treasure, AIL our days are contentment and ia mo. vie -ni ta Fi fo, fo - Ma mo. che pia - pleasure, Ev-er” bap-py withtheeohymiy — tzeasune, Let ts nia-mo, vie-ni, Vie-ni ca-ri-no, go = dia-mo, che eer.che pia pleasure, Ev-er hap-py withthee,obmy treasure, Letis car-ol_and danceand be £) £ t ' ; che pia = cer.che pia-cer che sa = Let us eur-ol and dance and be che pia = cer.ehe pia-cer che sa Let us ear-ol_and dance and be 15197(D.Giowanni and Leporello come out of the Villa: beth stop to look on.) che gia] cer, che pin-cer che sa -| ‘Let us | car- ol and dance and be Chorus. the pia~ cer. che pia-ctr che Sa Lets) carsol and dance and be f£tee4 - la, Te- la la = Ia - re- la- are da la In re la slay res ta la - Ta = res la = re la la are la Ja, re-le-la, Fe-la-| lat ja, rela la rela | la, Ia, re-la-la, rela - lat la rela la rela la.Recit. Don Giavanni. tto Leporeito.) f 3B Man-co pile par-li tay Oh guarda, guarda che gio-venta! che bel-le day attire, what pretty wr-Ficful riddance But softly, See there, in (Fra tan — te, per mia fe, es!__(A-mongst so man -) L = 2 Dun Giovanni. (stepping between buon you ood ‘Rlor =| morn -i rliga and Masetto. while Leporello turns to the maidens) + por men-fe. _se-gui-fa-tea suo nano buo-na hearted, pray conti y and your sand ‘yon my faithym qal-che co~Saan-che per iy find some-thing for my - Se-gui- ta-tea sla-real-le - gra Tam glad fo see you se light gen-te! Cr qualche spo-sa—Ii - 2100 funcing. This surely ix _a wedding’ Zerlina. (with a self-satisfied curtsey:) iy ST - BNO - *Pis_in-deed,Sir and ‘t Masette. (with scrape) Spo - 80? Im, per Ser—vir - la bridegroom? e- Fo par-lar da ga-lant -u0 - mo. Spo -S4_ son L_am the Ty ut youryser-vice, Oh, ch Don Giovanni eporello ; (Ba-stache sia ma-ri - tof life, that’ the word of a true gul-lant. Quite like Te Me ue con-se - bride. Jon Gievanni. lo o Much joy 1 wish you! The per Ser-vir- at__my_ser-vic Zerlina, Ohl nfo Ma = mod-el husband), Yes, my Ma - Oh ach ‘eri Jue ike my - ave - de —tel i> che sia-ma a self, then; we are good friends al - rm; _we_are_good friends ato Zerlina) Zerlina Don Gievanni. | Masetto z s ir vostro ww ome? der ~ ie io? Ma How shall Teall you? Zor =a. you ure— Ma - ca-roil mie Ma - set- to! ca-ra la mia Zer- li - na! My ter sf dear Ma my_suretest of Zer = Hi = nus ve-si-bi -seo la mia pro-te From this hour you are un-der my pro - tee - tio! po-rel - lo! = _ — — the peasant-girls) Leporelio. 4-10 pa-dro-ne. © = si - my Worthy mas -ter, to. these io. too, * Vir -bo = ne do - i co- sa fai ii, Ane Ras - cal, what are_you Tia prote ~ zi Ta con castor; ne iemers am offing my protection. .ewvethe ‘OF di -hachiabbia = no eioc-eo-la te caffe. there with refreshments you will provide them. ithw seuit - ty cer-ca di - ver-tir sweet- ments; Tet them all take their pleas-ure, let them roum in the gareden, Ta ga-le-ri-a. le ca-me- in ef-fet-to fa che re = sti con- shew them the pictures, the fur -ni-ture, and_a-bove all, let your care be to 2 SSSMo the ‘pokes La Fatih villagers) Masette. ae ee ten-toil mio Ma-set-to, hai ca- pi- to” Ho ca-pi-to, an-diam. Si please miy friend Maset-to: You perceive me? I perceive you. Now come. Yourlordst — = ostfo loco ci Sa-ra sta Ke f-li-na eanmolstay Without me, Whal,not_if here instead of you stays his Don Gievanni. Ten - ma. e Sa-pra be-ne fa-re le vo-siti par-ti, Oh, la Zer- Jord-ship? You may be sure that_he will es - cort her brave-ly, _Oh__yes, Zer - Lerlina, Ti-na ejnmandun Ca-va -liers va pur ra po-cecl-la me-¢o ver ra. =na shall be my speci care; now go, she is ima _gen-tle-manshands. Masstto. non te-me - fe! per que-sto?™ and fearnothing, in_a_gen-tle-man'shands youcanleave me, _And why must_I? -e- per que-sio non ce Yes, you must do what jad veer you are — bj Se (atepping betmven them.) 1a, finiam le di-spu-te' Se su- come, nomoredisput— ing; At =a" non te ne ito sen-zual-tro re - ence you gofor if youbreathe a word | shall re - Ma - set — to, guar- da ~ set -to mine, be - ware, sent ith 3 Touching his sword.) a758 2 6.“ Ho capito., Aria. Allegro di molto. Masette. (dumbfounded staring st Don Giovanni) Ho ca-pi- to, Si-gnor, a! Ob, of courseSix, I perceive, guonsil Chi mgjl_ ca. pi hehe vo, giacche Te perceive: At” your wish "thy dear and dumb, ST watt * - ja cea vol 00 - Si, alte Fe-pli-che non fo. 110, 10,10, no, no, no,non rum -bly take my’ nebrto common seasesuc_cumb.No, no, 00, 00, no never ae eo = Sv Can. lier voi siete Youre «gentleman, ¢ ieee tar non pos.soaf-fe, me lo di ja, bon ta che vo - le-tea-ver doubtweretrong indeed, Vul-gar lovesyoucant al - low Gentle wishes to as #.. 2 + ieraside to Zerlina me, aver per om, aver per me, Bricco-naccia, malan-dri-ha, fostio- ede, “gentle | wishes to im > pede. Bythe Powers) Twill shuathee, Outhow \ , (To Leporello who wants to lead him off) nor la mia ru-i - ua.fos-tio-«nor la mia ri - i — nat Yonago vena rt, thoubast undone me, oh, thou flirt.thou bast un - done me! ii “rect Fo fe. o + es eee e (to Zerlina) Aaside, bitterly ‘a, re stat mol - too-ne stat ‘behind her thought to find bere (to Zerlina and Don 6.) = * eee » Faccia il AL - way’ on # no-stro Ca - vi trust a n0- bles tte = Tieste Cas va -raaneo-ra te, C&_va donor thfssbould be the wisets creed this should on #2 # re (aside to Zeelina) lieraanco- ra te. Blic-co — naccla, TO-stivo— be the vassals creed. By the Powers, Twill shuothee, Oh thou wia7eo ghor tk mia ru- i - na,fo . stio-gnor la mia ru - i - na! flirt, thouhast un-doné méyeh thou flirt thowhast un - done me! (io Leporello) (to Zerling) ‘Yen - go, ven-go! Re-sia, re-sia! Qt co. sa Yes, di-rect-ly! Stay be-hind here, , mot = what T__ mol - to -ne-sta! facciajl no-stroCa-va- lie-re Ca-va . thought t9 find here! Alwaystrust a no-bles hon-or. Thisshould # fete lieragn-co-ra t no - stroCa - va- be the vassal® creed, Thisshould be the vassals creed, Al-ways trust a no —ble’s . ten —a ss Tie. re Ca. Ya. lie-Faan-co- ra te, faccia il no - stroCa - va, hon = or, This should be the vas - salt creed, Al - Ways trust a no - bles / P Tie - te Ca - va - lie- raanco-ra te, Ca - va - lie - ra anco- ra hon ~ or, This should be thé vas - salS creed, This should be - the vas. salS Pp Ca. va - lie- ra a te! (Exit with Leporelio,who hurries him intothe this should be the vas - n Is creed, Tavern.) Ye : 2—8-f5 x ¥ | AL-fin s be-ra- ti, Zerli iagen.til, daqualscioceo- ne, che hedi -te,mi ‘At last we huve disputelid him,Zerli-net-ta,to leave the boo.by liked not; did T manage it ast we huve disputed him, Zerli-met -ta oo 2 ~e oa == trying to embrace her) Zerlina.(drawing back.) fon Giovanni ig +r ben? sd far pu.li-to? vell, my pretty dai-sy? My ford hes my af i-gnoseemiomari-to! Chi? co- Ini? vi parcheyn onest™ wd! Who? that clown? thinkyoua man of 2 2 107uo-mo, un no-bil Ca-va - lier, qual mi van-to, pos - $a sof- au wellsborn Cava — lier, such evn as I am, tame—ly can feel. ings SSS SSS ~set-to do. ro, qual visoinzue.che. ra frir che qual + a ate per-fee- tions all thrown a-way up- see such sweet anddain-ty freshness, such de we i = gnor, fo gli die- di pa- vil sia stra — i my word, T have prom-isd to on a sense - ro-la di spo-sar-lo. fal pa. ro- la mon va-leun voi non mar-ry him to-mor-row. Who could help break-ing such ap ‘You were SSS SS pS == SS ~te fat-ta per es-ser pa-e - sana, un al. tra sor vi pro- nol ja-tend.ed by necture for « pessant;__a brighter for tune is in * = = pelle, dl gue. ie iat smowy brow where al igc.chi bric-concel-liy quei lab.bret-ti si bel-li, ou = ran gue = store for those alm-y cheeks of ros-es, wheresly Cu.pid reposes, z candideeodo-ro- se) par-mi toc-car giun-ea-ta, @ fiu- tar ro-se. Ab.nonvor- not a shadow low-ers, that pret-ty mouth of cor-al, that breathes of flowers. Ab,but I “a a= ——.. mayaa Don Gievanni. Zerlina. won Te. i Che nonvor-re = ste? © Al - fi. ne would noi Whit ist_ you would not? 1” would not in “my love be de- Ehunimpo-stu-ra -—del-la.gen-te _ple.be . That's a_vile slander, cious in-ven-tion; with noble =ta neglioc-chi lo-ne - sta. Or - si, non per-diam ners al-ways hand in hand, Tl shew you ‘an ex = Zerlina. ‘Voi? tem-po; ‘You? am-ple; in que-stoj-stan - te this ver- yin - stant io vi vo - gio spo - sar. I will make you my wife. Don Giovanni. (pointing to his castle) Quel ca-si-net-tg® mi - 0, so-li sa. remo. E tain: Come to my qui-et_dwelLing, if youdontdreadme, ob = —_. ‘Cer-t0, I, for la, gio - jel - lo mi - 0, ei spo. se - re - mo. come, my fair-est an g there will wed thee. t1ar“ Ne7.“La ci darem la mano.,, Duettino, Andante. wetiino, Don Giovanni. G. La ci dasrem Ia ma.na Ia mi divrat di, ol Give me thyhandyoh fairest, Whisper a gentle “Yes;” BP strings: Lertina, vnon® lon- ta-no, par - tiam,ben mio, da— qui Vor= rel, © Hon vor. Come, if for me thou car-est, With joy my life’ to— bless. 1 would,andyet I 'P, Str: re. i, mi tremaun po-cojl 0% Wer Sa- re = jj would not, [dare not give as - sent, ist’ T know [should aot Don Giovanni. on ma. pud burlar-mian - For, ma puo burt. lar-mian.cor! Vie ~ ni,miobel di Toolate I may ré - pent, Ah! toolateI may re - pent! | Come,dearest,let me ratt let i fa pre-th— Ma — set- to! fer tuo guide thee, Ma — set-to sure will chide me! Danger shali ner come ee, —— P atts wsi765 Zerlina. for ~ fe, non son pi sor— tet — could,that [ could de - Pre - sto non son— forte non son pi nigh thee! Ah— that I coui jd de - ny thee, ohy that att on P Donna Donna, Flying appears on the verandah of the ‘watches what is going on.) Don Giovanni. Vie- ni! vie ci da-rem la Come then, Come me thy hand, oh ae Ae, “ttl, ¢ non vor- ra. iy Mi tremaun_ po -c ‘would,and yet I would not, U dare tot give ay - La mi di-rai di sl, Whisper a gentle “yes? Pe ud bur. lar ~~ ut may. par-{iam,ben mio, da With joy my life’ thouttcor. iw fa— pie - ti Ma - set - fo; i pent! cap nin aS rot Ths Will chide me. hy —— Vie ~ hi, jo can-Bie- rd. tue Come, dear Dan_gershalineer come Ss. hergelf, and eseaping tocther side.) = alojuon gon, pili f0r-fe, won 4on pil OF; te, nen son pit for. te — that [could de - ny theeoh that I could,that I could de - ny th sor - te. nigh thee. P Chrowing herself thio higaarms) Allegro. ‘An = diam! fn - diamyan-diam, mio be ~ ne—— U gomet thi fe, my treasure,— iam, mio be = ne — ee, my treasure, — ‘With thee, wi Allegro. no. cen. tea - mor! My heart is fond fy thine! as to-rar le pe-ne— dun in - cen tea - mor! life ismaught but pleasure, My heart i fond = ly thine waz‘An-diam,an-diammio be-ne,— 4 ri-sto-rar le pe-ne— With thee, with thee, my treasure, This life isaanght but pleasure,— “An - diam, an ye-he,' a ri -sto-rar le pe- he With theerwith thee; my treasuré, This life” “Ismaught but pleasure, (Donna Elvira descends the steps, and ‘An-diamymio bene, An-diam, le pends ti - sto- rar My heart is fond=ly thine, my heart is fond -ly thine, -diam, ne ri - sto- thine, hy tear 2 fond-"y thin a. 16147(Bxeunt, arm in arm.) Recit. Donna Elvira (desperately. intercepting Don Giovanni.) fer- ma. (i, scel-le~ra-to! il elel, mi fe-cen-dir le tue per- Leave her, thou vile se-du-cer! By heavn Im sent, thy per-fi-dy to To 30. nga tem - po que - ste ness, and to prevent thee fromde - ud - ing this poor girls in — ex — # + cen - te dal tuo bar - ba pe-rience with thy treach - e 1? ti. gliot = Me-schi. na! eo - sa n.guage! I wooden, says she Sa annitaside) —— (yortiy to Bivira) tey cllio vo.glio di - ver sen-to! (Amor, con-si-glio!) I.dol mio, non v ray a lit-tle harmless tru-ly! (Cupid inspire me!) Canyou chide,dear El ~ ee Elvira (aloud) ® tir - mi? ji -ver-tir - ti? e ve - ro! ~ver-tir- ti! io 80, eru- ie? Harmless pas-time? In - deed, Sir! harmless pastime! _De.eeit.ful — a75 co-me tu ti di. ver- Ma,Si-gnor Ca. va-lie-re, & verqueldifel-la man, I know toomuch of your pas-time. But,my lord,pleaseto tellme, has she the right to Don Giovanni (softly to Zerlina.) di - ce? say this? La, po-ve-ra infe -li- ce @ di mejnna-mo-ra-ta, E perpie- She's so in-fat-u - ated! But I must treatherkindly, she cannot —_—— th deggio fin ge.re amore; chifo son permia dis - gra-ziauom di buon co-re. Attacca bearfrommy side to be parted, un-fort-u-nately [am too tenderhearted, d’4ria N@ 8.“ Ah! fuggi il traditor!,, Aria. Allegro. Donna Elvi Ah! tus - - gil tra- di — Strings, romghent ‘The trai = - “tor meansde ~ Lt jon fo lawciar piu dir; il lab.bred men - ti His flatt/ry heed thou not, While yettherestime, re waror, fal-la - ~~ eejlei -' = glial treat, Or woe Be-fall theet vs Da miei tormen - tlim - pa- ra a From wrong. unjust and cruel, From ere - der a qtel cor; ¢ ma - iltue ti - mor lox remorse and tears,From wast - ed, lone - ly years tr fug - gil tra - di - tor! la-seiar trai - tor means deceit! flattry heed thou not, warn labbre¢ men - ti - tor, fal-la - ¢ il glio, i yetthere'stime, re - treat, Or woe - thee. While fal-la = = = = lab - bre men - ti = tor, Or woe yet there's time, re-treat, gl si, thee, Yes, —~ CExit, lending off Zerlina.) Ff = Blio! — De-fall__— thee! ___ (Enter Donna Anna and D. Octavio, dressed in Reeit. bon Giovanni. meureiog) ee ‘Mi par etrog; It seems as dop-por-sia miei pia-ce-vo- li pro- imp of mischief, this day were bent on thwarting all my isaDon Octavio, Eres. Si; pleasures; nothing goes as Tw wreeiving Don G.) == == pian - ti, Yen-det- ta si par ii! Oh Don Gio- van = 4 fu-ture, let usspeak but of Vengeance! Ah, Don Gi tem- po vi Ti- tro- Glan ox - va yuestejn ver") i ~ Fe, this meet-ing is op - por- Here comes the Ti - nal blow!) Don Gievanni. viam tune: ~ve- te co-e? f&-e-fe a - ni-ma ge-he-ro-sa? Gtaa ve- I know yourcourage, have you_a heart that can feel com 2 (Now | eo ‘aloud.to D.Anna do- re chejl avo - oe lea det fo qualhe 20. sa.) he per-che? onder if thatsamefiendhasset her on to track me.) @ question! And why? Donna Anna. Don Giovannisaside.) sognoabbia-mo del- la vo-straami - ci- ai (Mi torna jl fia-tajn We are in trouble, and have need of your friendship. (Thistimelin out of (aloud) gar-po) Co -man- de> te i com = giun=ti, aren ti, dan-ger. ~ st Pray command me, ati T'” fan doy friends Andvassals, “My right much warmth.) man, que-sto fe 7 i be - ni, il san-gue spen-de- rd per ser - hand, my pos-sessions, my sword, nay, life it-self I give to your > ——_ __— + 147cry ma voi, bel - la but why, fair - est AN = m8 An - nay cele co = si pian thus for ev = er + i = : te? il cru-de~-le chi fa cal - ma tur-bar del vi - ver ng? Who husdar'd to in-vade nquil peace of thatheart,with grief in- SS Donna Elvira centering vo - stro? si = dious? Aly Ah, ti lo mo = stro” do ri-tro-voam - cor, yer = fi - Mon = ster per - fi - we meet a = gain? N? 9. “Non ti fidar, o misera.,, Andante. ‘Quartet. Donna Elvira.(to D.Anna.P Voice. bt mi- sc-ra, di quel ri-bal-do cor! him, beware, His heart is cold as stone, Piano. 4 tra- div his vows me gi quel bar - ba-ro, Know that are writ te vuol tra-dir an - cor. I their de-ceit have known. Donna Anna. (aside, withdrawing a eheaspetto no - bi-le! che dol-ce ma-es - ta! ql ano-ble la-dy this! She sore- ly seems i+ tranght! Her chepspetto mo - bi-le! a no-ble — la- dy this! a. “ee che dol-ce ma-es - ta! ry She sore - ly seems dis - traught! Her * — IAThe geasps her right (Don G. tries to persuade Donna Ej to step aside, but she refuses; finally 74 Rend and drawe her away towerd ‘bla right) sno do-lor, le la- gri-me mempiono di pie- ta, mem-piono di pie- warn-ing voice, her mien of woe, By bitter grief were taught! by bittergriefwere suo do-lor, fe la-gri-eme mempiono di pic- ta, menrpionlo di pie- warn-ing voice, her mien ofwoe, By bitter grief were taught! by, bittergriet were ig. go 3 ta! taught! pon Giovanni (whispers, D.Elvi ens.) ti! La po- ve-ra fa- area 6 pagzaya-mi - Ci miei! lascia-te-mi cou taught?Poorgirl, she's quite de-mented, believe me, quite de-mented, Isore-ly do la blgcrese! & paz - zaja-mi - ci mie-i, for-se sical-me-ra, for - The fit may be pre-vent-ed If she's by me be-sought, se Denna El ‘Abtnon cre-We-teal per - fi-do! ‘Thetrai - tor, oh_ be-lieve | ‘mot! si eal-me - TA! E paz-za, non ba- by_ me be - sought. Poorthingsshe'squite de- ie —? mar6 Jonna Anna. (aside.) A chi si cre-de - ri? Can I a chi si ere -de- delieve in aught?.can I believ Re-sta - teohDei_ re - sta - I pray te! You, friends,stay near_ me! Don Octavio. aside) A chi sicre-de- 1a? a chi si cre-de- Can I believe in aught? can I believe ia + & pazrat demented! n £ af ra! si cre 1? aught? can I bedievecan I believe — in aught? Re-sta-te! Ah non ere-deteal per - fi-do! re - Stay near m The traitor, oh be- lieve him not, stay +; y —t—¥ > rs ra? a chi Si ere-de - ra? si cre - de - ra? aught? can I betieve,can I believe in aught? « te © bh wise78 Certo mo- fo di-gno-to tor - men-to Suresomeeause there must be for this raving! sta. te!” near me! Cer-to mo-to di-gno-to tor- men- to resonieeause there must be for this rav. ing! 2 aside) Cer- to mo-to di-gno-to tor- men to Would to heavn I could stop all this rav- ing! > 4 2 2 2 Pon £ Den-tro Valema gi- rare mi sen Al-most like one de-ment-ed be - hav to, ing! ven- to den-tro Val-ma gi - ra~réti braving! [ll pur-sue thee, for vengeance Den-tro Val-ma yi-ru- re mi sen- to, Al-mostlike one dv-ment~ed be - hav - ing! Den-tro V'al-ma gi-ra- re mi sea- to, Quitelikeone who is madshe’s be - hav - ing! Z = wagn a che mi di- ce per quel» lain - fe - ~~ ce None can tell, none can tell be-fell__ thee, Che mi di - ce uel tra - di - Who will tell thee, who'll tell what be- Che mi di ce per None can tell, none ean 6. mi di = ce oper quel - lain -» fe- tell, none can tell what be- Sf en - to co - se, chein-ten-der,cheinten- der ton sa, 0, None can tell what this grief, what thisgrief on thee brought, No, to - re cen- to co- se,chejnten- der non sa, no, Che mi fell met Who this grief, who this grief on me brought, No, none can quel-lain - fe-li - de cen - fo Co- sechejn-ten- der mon sa, ‘no, tell what be-fell thee,what this grief,whatthis grief on thee brought, No, li-ee cen - to co- se, chejnten-der mon sa, no, fell her, But be cer-tain, hersor-rows are maught, No, — vd 72 wiz3 al ehein - ten~ - Yer nom ah 0, none ¢an ef co di quel tra-di-to - re,di quel tra-di- to - Te cen-to eo - secheintender non tell thee, ah mo, none can tell thee, alt no, nonecan tell thee who this grief hath up-on me — chejn - ten der ah no, - der non een - to co - se chei oh be cer = tain, her sor al 3a, chein - ten - der non sa! tell! Ah = no, sone can tell! = sa, che mi di- ce, mi di ce diquel tra-di-to- re, cen-to co- se cheintendernon sa! brought, none can (ell,none cantell thee, ah mo, nonecan tell thee who this griefhathup-on me brought! of ———— | ee chejn = ten - der won sal Ah no, none can tell! ol > SS Se] 3a, cen = to co - se cheinten - der non sat anught, Oh be cer - tain, hersor - rows aremaught. ta tia i1472 Jo di qua non va- do jur'd or de - ceiv=i non so com’ ¢ laf - fart i ere we part from here Id know! Donna Anna ‘aside.) Non haTa-ria hi paz - zi-a TL suo trattol sto par- lar. Great her sorrow, past re - liewi > But no madness doth she shew. Den Giovanni Se men While they _— Donna Elvira. to ja quel Friends, his si po- tri-a qual-che co-sa so-spet = tar. un-be- lieving, From their presence I'll not go. Don .,in exasperation.) Don Octavia tte D.Giov.) cel - fo si ja ner’ al-ma giu-di- car. Vunque quella? wiles are past con-ceiving, Falsehood hewill ne'er for - go. Is this madness? ° B paz-za- i Tomy great80 Boona Anna (to Donna Ely (tw Dou 6.) uitra - di-- to - re, Ihheed my prayer! bps men = ti ~ eo Nile be- ‘Don Giovanni. ten rele in fe - li - sor-row! quite de- ment « ed! a 2 x I - Soon, ‘Don Octavi to- re, men - ti- fo - re, men In - tray-er, be-tray-er, vile bi we'll = tar know. min- ciga du - thinks, the truth du - yh = a truth welll know. «oftly to Donna Elvira.) min - cl thinks, 1 Zit - ta, zit-ta.ehe Ia gen-te si ra-dunaa noi d'in- rea Hush, be still,thy sil -ly rav-ing will a rab-ble gath-er Stole WAT81 (or fo, Sia-telun po- co pir prn-den-(e, vi fa~ rete cri- ti- round us, thy un-wom-an - ly be- hav-ingmakes me quite of thee a - Donna Elvira tle Don Giovanni.) mn dperarlo,o doe fe - ra - to, fo per-du-ta fa pruden - 2a, jn, darest thou to blame me? Through theworld I will pursue thee, voglio.a tut-ti pa-le-sar, vo-glioa For by thee I am de-famY, for by Donna Anna (aside, observing Don Giovanni.) Que - glize-cen - ti Is he threat - ‘ning? Gut pa Me-sart ‘Non spertirla,o dee - le-fa - to! thee 1am defamll! gasiae) Villain darest thou to blame me? Que = glise-cen = ti on Giovanni. Is threat - ‘ning? ‘it- ta, zit-tache la gen-te Silence, hush, thy __ aanoidin- ly raving. Will a rabble gather wiadBz ru - den faa pur - sue per- du - will Thro’ the world 1 quel why siate tin po- co pia pru- be - Thy un-wom-an . ly orese. Sf. 2 2 = $ - . OS di co. lo- re, son in. = gry whispers? These are gir. and an : colpeed il mio sta - to vo- glia ful. tie pale - For by _thee IL am de pes asa trai-tor “Ill proclaim thee, jo - rey son in- ‘These are whispers? mya7. oni not trop - pac -spres + Sis hard ing, o perdu - ta la pru-den-za! fam. Thro the world 1 will pur sue thee. di. Ti trop - pos -spres - Sin che mi signs not hard in read — ing, That her P, sia-teun po - co pru- den Hush and stay thy sil - ly ray - fan de = ter - mi. nary griefs by him — were framd, That her Non spe-rar-fo! ho per-du-ta la pru- AS a traitor! As a trai-tor Til pro- fan Me - ter - mi - nan, chemi sriets ty were fram, a zit - to, ait- to! si, radu-mag moi din-tor- no! Hush, be si- tent! Thouit a rab-ble gather round ust We ——+} smia7fan deste - i - nar, che mi by him were framd, honsperarla,ascele-ra Villain darest thoutoblameme! letuecolpeyedil mio Asa traitorlllpro- le = ter by che That mi her mi = mar, hin were fram, to, ail -totche lagente Hushand stay thy sikly raving, siateum poco pia pruden - te! ‘Thoult « rabblegather round us! —? fa griefs de - ter =o mi- nar! by him were fram! By Sta-fo vo - ~ glina tut- claim thee, For by thee 1 mi - nar! griefs by him were framt og Donna Elvira by rads her away. and Then Vi fa-re-te, vi fa- re -fe eri-ti- cart Thy be-having makes me quite of thee a-shamd! 11085 Po-ve - ra sven-tu-ra-ta! i = si sto. i vo~ glio se-guir: non Ah poor af-fliet-ed crea-ture! She needs a friend to watch oer her steps; vo-glio che fice gothat no ¢-¥ mpre- ei - pi - zioz - be. fall her. Then for- give me,dear la-dy “Exit hastily as if following D. Elvira 6. =, in mia ca-sa vi-spet-to. A - mi-ei, ad-di — of and me, now andev-er de-vot-ed, your servant, command met by vir-vi poss’ sum-mons de- —— attacca N@ 108" Don Ottavio! son morta!,, Recitative. Allegro assai. Cinextreme agitation) e Donna Anna. a1 jon OL ta-viol son DonOc-ta-vio, oh P ——_ ane Chrowingher- self into his Den Octavio. Donna hana. 7) 4 ap sta to? Per pie-t4, soc-cor- help me! What dis-turbs thee? 1 cannot compre-88 Den Octavio. Donna Anna, 29% pe- it Oh Heav- en! re-fe-thi” Mio be- ne, fa. te co- rag-gia! hend it yet! My dear-est,say,what hath hap-peni? ‘Pointing after Don G., with uplifted arm) Don Qeta Donna Anna. ne- fi-ce del fa-dre mi-o! Che di. fe?" Non du-bi- ta- te mar-der-er of my dear Pa -ther! What savsi thou? No fong-er can I Ghe Vem fie pro- fe = ri tur fa Ta part-ing— his soft and honseyd voice, all “bring be - po? —_—— $e ee SS Se vo-ce, ri-chia-mar nel cor milo gi quell’ in - deg-no, che nel mmigapparta-mento fore me, past the chance of a doubt, ihe'vile in tre der, who dard in - to mychamber_Oh = x ca AF 4 ote fot-tell Sa-re man-to aa oi a— ma bis_that neath “t thatneain ‘he sacred mantle of long friendshipenrepress. Denna Anna sing her einotiqns) 8? fi, nar-ra- te-fni lo strandav. ve - ni-ntento. E~ Fa gig abquanta a-van- ceed! the whole,oh tell me,of this dark ad.venture. Shadows of ~ mid-night all a se za ta Ta notte, quando nel- le mie stan- ze, 0 - ve so-let -ta mi troval persven- round me were gatheredsin my own qui-et cham-ber _a- lone by mis-advensure, and fo tn tomeheal primoi - tis, tt mano Bethe Iw Fa, en-trar io Gi - P difin un man, dreaming,) when all at once there came in,wrappa sfan-tea-¥ea pre-s0 per oi; "ma ri eo-nob- bi polohepm in - mo-ment 1 had ta-ken for thee. But soon 1 had dis - cover: how Bonns Anna. ‘an-noe-rajl mi-o! “ Stel-fe! Se - gui - tet fa- i toa me Sap ~ Front "Wes "hy srcrort forerert cou = etal Tent-Ty he drew pAnda pres-84,_@ fai yuo-leab - brace scio-glier. mi der - bo, i pian near me, and my hand would caress; quick “1 with-drew an. then he stringendo tl tempo 5197sirin - ge viene al - Seized me 1 Strugigled: Tempo I No one con - fa ma-ho cer - ca dim - pe - - re la vo. ce, one hand up-on my mouth he placed, my seream- ing to sti- fle, coll’ al - tra maf- fer . ra stret co. s che gia mi cre- fo with the oth-er he pressii me close in his grasp; I scarce. ly could re- Don Octaviosinextrome agitation, Denna Anna. n> Per fi- do! elal. fin? Al. fi-ne jl auol, lor- Fo - Fe dell’ fn-fa-meat-ten- Mis-creant'and then? . At last my dread,my hor-ror of the das-tard-ly a-to ac- cred be sl Ia le- na mi-f, che’a for - ba svin- bo - ruf-fiany lent strength un-won-ted for the _mo-ment; rug-gled with tor~ tuous Den Octavio. “fui, {or-cer-ini ¢._ pie-gar-ini i ‘Ohi-me! re- writhings fearfully, with an ef- fort Oh joy! that Se < z___ wrDonna Anna. “spi. fo. Allo fa forad) stri- di sav thee! A-loud then clamord for as. sistance, ‘or -& household, 2 fug - geil he sought ua fin nel - fa f stra = into the street, 1 miel, ch 2 calld on the Boe a = ce das-sa- li we of my as-snil-ant the ascsai ~ dre vie. hat my cor=re, vuol co - ho - a fa. ther straightaway cha Fa pi for- con-pie il 0'- ter pow stay not 5 ro ‘by whose tragin | he mi - sat -fo su — 0 guilty nd-ness,a0 agony of grief, st collapsing.) com - pieil mi-sfat - to su - 0, col dar- cli mor - te. stay not his guil - ty mad - ness, ave him the death - blow. bites é “Or sai, chi l’onore.,, Aria. Donna Anna. (coll Andante. ing herself, with lofty energy) Voice. +4 Or sai, chi To - Strhugse The wretch now thou, 2 7] SSS oereses ieee vol che tra di - to-re,chojl padre, che jl tray - ing, And ven - — geance thon owest_myfather’s, my o, =dre__ mi tel - se. Vendet - ta ti - chieg - gio, fa ther's_foul slay - ing. For jus- tice 1_— ‘sue thee,chie = deil {to cor. Ram- men - ask af thy troth. Re- mem - san ; gue Co- per - ts = shriv - en, He heard not, heheard fot my re-no, 4e W- rain te lan-gue dun giu- sto fj - ror, cry ing, My heart will be riv- én, If thou break thy — omtht on ret. —~ tfaz largamente Px dim giv sto fu - ror! Re-mem-ber thy oath! ae Ta-pl- Fea who sought tra = di - to- re, cheil dreche jl pa- dre, — mi geance thot ow. esi__my father's, my fa - ther's_ foul ay SO 2 ven-del in hie ~ 70, For jus - tice sue thee, hie - deal ask of chie- dell to Ram- mena Ja _pia-Bay ask of thy trot Re - member, whenwounded, Pp PB, Pete —e SS SS s4 ‘ wiVen-det - ta ti chieg -gi0, For jus - tive 1 sue’ “thee, Yt 4 om |p a uv chie - de jl tue cor, oO la ask of thy troth, ——— I wT ee 7 chie-dejl tno cor ven-det- ta ti chieg-pio, Ia chie - deil fio ask Of — thy” troth, Por jus- tice I stie— thee, 1 ask of thy vendetta ti chieg-gio, Ia chie-deil uo cor, la chie - dell Por justice 1 sue thee, Task Of thy trothyfor jus > Tice re £ rf — tuo cor, In ehie tuo_ cor, = 1 sue, Taste thy troth, eo.chie - dejl tuo cors ven -det-ta ti chicgmio, la jus - tice I sue for jus-tice 1 sue thee, 1 _ ge ~chie-dejl tuo cort ask of thy troth! f Recit. Don Qctavip. (atone.) Co-me mai dre-der deg- gio, ne - ro de-lit- to cAa- 1 can searce-ly be-lieve it, that of crimes so_de-grad-ing a ee >=. - 80~ - rejl re. FO - gni Ty Twill “pur-sue him, til” the e_him, ti De ————— pa-ceuin ano - ble o fo pen- ton pet- td di Spo- ko a mez-20 si cer ~ chis } evry @ - mo.tion, my al-le-giance to th vee yer truth is dis cov-erd,No 10>“Dalla sua pace.,, Aria. Don feta Dal-fa sua pa- ce i On her, my trea-sure, All P vi- ta mi ren-dey But that she sendeth, pia - ce plea- su te, mor-te mi da. ture, tor - ture my heart. ‘stace, bo spi My sighs — 2 oh mia di joy de - quel che lejn-c Sor-rows that grieve her To dan-chi-o, € waken, And joy it os quel chea lei n= dey re Life hath no pend - eth, mi da, ure myheart sce, mor Sel - la s0- Ben whenshe quell’? ~ fa, quel di-eth, By ———— be mia eat te tet ton ho be = saken,Ohyworst of mi- 0; @ ey sella. non968 te-ne, sella non Tha, = enon ho torments, Fromher to part, Oh worst of Dal-la sua pa-ce la mi - pen = de, quel cha lei pia - ce, On her, my trea-sure,all joy de - pend - eth, life hath no plea - sure,— Ten-de, quel che Ie¢in-ere - scey mor-te mi day mor e sendethsorrows thet grieve her, tor-turemyheart, — tor morte mid ial-Ta sua pa-ee la ‘ia di- pen-de, qtelchea lei torture my heart. On her, my trea-sure,all joy de- pend-eth, life hath no Fen.de— quel che Ten ere - sce, mor- te mit pleasure, but that she sendeth, sor-rows that grieve her, tor - ture my heart, H wine TY: nf, @ ’ wa= te, morte mi dit, mor-te ‘mii dit, quelche Ie in= - ture,tor-ture my heart, om tor-ture my art; sorrows that morte mi dil torture my heart. ‘Exit EN re. eek Wale Me ig (ENterS from the tavern: after him ‘ello “Don Giovanni. from his villa) To deggi¢ads-gni pal-to per sempre abbandonar questo bel mato! ee - co - lo quis 1 stay wth nolonger. | willnothavethismad-manfor a master! Se es, rr) See, there he comes, _——————————— ct guarda -te, conqual in-dif-fe-ren-za se ne vie-ne! itt st him, 20 cook justag If nothing e'orhad bappen’a, Welle jon Gio -va—ni-no mi-o, watut- to Co-me va tut-to ma-le? Vadoa rello?Much worsetheyseareely could be, my KAY Young master Worsésay’stthouhowcanthat be? To your my BAY Young master Worsesay’st houhowcanthal be? Teyour DSSS SSS Bop Giovanni. Bra-vo! Bra -vo! €o- me mor-di - na - ste, con tut-fa quel-la gen -te. I_took all those peasants, ac-cording to your, or -de mia98 Leporalio. A 4 i == =A K tor-fa ai ‘chiacche -re, di sver-zi e di bu-gie, eho im-pa - By dint_of _per-sua-sion, much flat-try and some ly -ing, Which your rato Si be-nea starcon ¥o- i, eer-co din-trat-te-ner- li. Bra-vo! shining ex-am-pie well has taught me, 1 for a while detaindthem— Bri -ing_ex-am-ple well has taught me, __| thom — Bra-vol Di - co mil-le co-sea Ma-set-to per pla - car - lo, per trar- ‘Then T hadsometrouble to qui -et. that dal pen - fa - set -to, _no_ea sy task to ge rec Sier Ta ge-To-si-a— Bra-vo! in co- scien-za mi soothe his jeal-ous an-ger. Bra-vo! nothing could be bet -ter Well, there I be-va- no, e gli uo-mi-ni ‘eit izacpe fe gid mez-zi_wib- bri - ac - chi: feast-ed them, the wine was flowing free-ly, they _re-gal'd them-selves no - bly, se -guiclag ber in sul pit some did noth-ing but drini all on a some were singing, some were dancing, is = 2 el - 10 chicre-de- te che ea - pi den n_ you guess who burst in on i vie-ne? Donna il - vi - ral Now guesswhowas with her? Why El - vi- ra! Just #0,99 Don Giovanni. (humorously) Leporeita Voi- Tutto quel mal ehejn boe-ca le ve - ni- ra - Vo, in you~ As of a wretch whomhangingweretoo good fort Shrewdly guessi, nothing could be better! What sai ? -do mi par-ve che git fos - se sfo - ga-ta. dol-¢e-men-te fuor del wu? When it appearil as if the stormweresub - siding, fromthe house 1 gen-tiy con Bell” ar — te, chin -sa a ndthere | _left her, lockll fast thedoor, pul_the key in=to my ia — hil-fa tia so - fet-ta la la-stia~1 ra = vel Bock -eti out-side she may pur _- sue her lam-en -ta-tions, Le = po bra - Volar — ej - Bra -vor f ~~ far non piandar me rel -lo,thou'rt_a_gen-ius!_ ‘twas managed to per-fect oe = n= €- min Soon 1 will o———— — — (SSS a cia = sft io sa-pro (er mi = nar. Trop-po mi pre-mo-no finish’ __what_so Well _you've be_= gui, But now these etn try girls que-ste conta — vo-glio di-ver-tir finche vien tot -fe- with theirgaysportsinvite me, we me, _We return tothem, I'll now de iT asia7100 N° IL“Fincl? han dal vino.,, Aria. Presto. Float BPP, Page Sf Don Giovanni Finchthandal vi-no — cal-da te-sia, ou - fagran For a ca-rousal Whereallis madness, Where all is (to Leporetlo), fa pre-pa -rar! ‘Se tro-vijn piaz-2a qual -che ra-gaz-2a, ladness, Do thou pre-pare Maids that are pret-ty, Damesthatare wit -ty, ean-cor quel All tomy | cas - tle s ta ba ver ca me nar, cor - ca me onza_aleun id themre - pair. bid themre-pal Til have no: I i 2 - 2 15187a7 104 or-di-me la danza si-a, chil menu -et-to, chi la fo - li-a. Ais-cipline, Fol-lyshall ruleit,, Some minu - ettingy Each omeshall fool it, y P 1-lar, chil me-nu - et - to fa - rai bal- fair,,,Some_ _minu - et-ting, so theyare lar, chi la fol- li-a fa -raibal-lar, chi Ta-le -ma-na fair, Each oneshall fool it, so theyare fair, Some a fan-dan- go, ache eee ee be Ed loftat-tan-to dali’ altro ean-to conquestae quella so theyare fair! ‘Then inthe gloaming, Pen - sively roaming, Somepretty damsel £29 4h gel4 ‘ola = moreggiar, ven ‘Ah, Tamia With mewillstray,with me will stray,with me will Beauties in tb, =e. 6 PR oe 2 bgt #4| Jf fb.102 be Tr- sta do-man mat - ti i fade -ci-na de - viaumentar, yen My Tt a dorning, Will, erethe morning, Not siy me nay, famia I~ sta i je — viguimen- in plenty Not say me tar. Se trov aay. Muidsthat ate pret-iy, Damesthatare wit ty, Tati za qual-che Fa-gaz-za, te-cqancor quel-la cerca me - All to my cas.tle bid themre- Ah la sta do-manrhat - ti - na Por a ca - rousal where all is madness, big Sey ~ ha de ~ ei ~ na le - viaumen -tar! Sen-zagl-cun fu Where all is gladness, do thou pre-pare! —'ll have no . atti ania?surat 103 la danza si chil menu -et-to, chi la fol-li-a, chi la-le-ma-na Fol-lyshall rule it, Someminu-et-ting, Each oneshallfool it, Some a fan-dan-go, fa- rai Bal = Tar, Ah, Tamia Ti-stado-manmat-ti - na Sotheyare — fair Beautiesin plenty My list a - dorning, me oe my fp |. fu - da de -ci-na de - visumen-tar, du - made- ci - na Will, erethe morning, Not say me nay, Will, erethe morn-ing, Not say me r~ far, diy = me do Gt = na de -vigum - far, de -viaumen-far. — nay, Will ere the morn - ing, Not say m _— 191 _— ay, ng, say me ma none say me nay, f |p tf — > (signs 10 Leporelio to de =v] aumen - tar, de - vi, de - - viau-men-tar! Ronesay me nay, mone,’ none Say__me nay! mnesay me DRY, — ne, — ay__me ney! did2| [eta | [fds | [eT4404 fitch the pexsants from the tavern: he then hastens into his villa, Leparello going to the tavern) othe Srene.—A Garden. Two closed doors in the wail. Two alcoves. Zerlina, Masetto, Chorus af Peasants, scattered here and there, sitting or lying on banks of turf. Reeit. _Zertina, (coming with Masetto from tavern: tries to take his hand) Masetto. zn Ma-get- fo, sen-titm po"! Ma-set -to. di - co! Non mi toc ~ Ma-set-to, hear me speak, I say, Ma-set-to- Let _me a- 2 Lerlina. mye Per - che? Per -che mi chie - di? And why? And why, you ask me? man in fe - de ~ le? since no long - er you love me ta-ei, eru-de fe, fo non mer-to Ga fe tal trat -ta-men- to no, you are mis-tak-en, Oh,how can you be-havewithsuch un. ed hai lar-di-men-to i seu - sar- star so -la con un And have you the face to make ex = cus- es? A__stranger leads you ‘= 2 - shat| wom; ab-bande- nar - mi il di del-le mie noz-ze!_porre jn fron-tea.un vil-la-no do - on, forhimyou leave me ontheeve of our marriage,bothyourfaith and my honor for - no-reque-sta mar-ca din - famia! Ah, se non fos-se, senonfos-se lo scanda -Lo, getting,yourushon to your ru-int Oh it is toomuch, if I did not contain my-self ————— “| 1 yor-re - i- Ma se col-pajonon ho, ma se da lui In-gan-na-ta. ri TM strike you. But it was not my fanlt; if for the mo-ment his flatter-y «| ma-si, e poi che fe-mi? tran - quil-la-ti, mia vi-ta: mon mi too- Pleasedme, howcould I help it?__Now think of him no long-er, there was no pte See pg ec) Ta pun-ta del-le di-ta: nonme lo cre- di? ‘In-gra-#o! vien harm, his words I scarcely answered. Say you be - lieve me! un-grateful!__ come ‘a (agitatedly) qui: sfo - ga-ti, a maz ra tlt fo di me quelche ti here, strike me then, I'll bear it all, me youthink my fault so pia-ce; Ma poi, Ma-set - heinous, and then, my own Ma - = set - to, a peace be be - tween us. t Farr tur attacca Varia108 Nel2. “Batti, batti, o bel Masetto.,, Andante grazioso. ATi. Zerling Ma = set - to, - for- giv -en, He =ro qui comea-gnel- li - fia le tue bot-tend a= spet— 20h Ma - set - to, end ‘thy an. uishComeand let's be_ friends a - eae a fat -ti, bat la tua Zer - Ht - naj sta-ré Canst thou see me here atand and Tang ~ angus Mlasetto crosses owe) ui staré Qui’ Te tte bottend f- spet-tar. set- toendmy anguish,Comeand let's be friends.a - gain. =f _soemdmy anguish Comean Es 4Laseie-rd cavar-mi gligcchi, e_ le ea - re tué ma- a —But I did not under - ‘stand, Come,no long - er then re - ome - 4 4 —s ne lie-ta pol_sa-pro. ba - char, it, give me kind - ly thy dear hand, FP, Sp Sb, Masetto goes away again, but not so crossly: he even steals a few glances at Zerlina.) lar. tf, battio— bel M hand. = ma (anst thou see me, un - for- b. sn Wed Cov: rurtohn. |g ————~_ set-to, la_ tua po- ve - ra jer - li - na! sta. ro qui ‘come_a -gnel - giv-en, Here in_ sor-rowstand and languish®0h Ma - set - to, end my 16187108 (still trying to get ane of Masetto’s hands: he always draws back) li-ma le tue bottead a - spet-tar. bel Ma-set-t anguish,Comeand let's be friends a - gain. canst thou see mé Bat. li, bat-ti! sta-rd qui, sta-rd qui le tue bottead. a - spet- Stand and languish.OhMa- set - toendmy anguishCome,and let's be friends a - ania7 ahnon hai Ahthon = no ~~ “Lestina seixos_one of his hands) Allegro. co = reah, lo ve = do,non hai co-re. ce, pace vi - ta long - er,thou no long - ercanst withstand m Peaceand joy once moreshall = ftoo mi. a! pace, par- cep wr - da mi - a! im— con-ten-tordal. Ie « bless us, Not a” frownshalle'er dis-tress us, While_u - nit - ed and de - = a mor fee dl— vo- @lam pa: light-ed All our days shall sweet. ly not - tee di vo~ gliam pas-sar, All_ our days shall sweet-ly glide ‘di vo- gliam pas- sar, hot - fee di vo-gliam pas- day shall sweet ty "glide, All our days shall sweet -iy to ey cep vi- fa Peaccand Joy—f- gain-shall Bess us, Pence and foy_e- gain_shall Str >. J —— 15107 Pe de110. in com. ten- toed al-le- = - gri- & not - tee Nota frown shall_ eer dis- tress - us, All our — _— (Maset{g. quite persunded, gazes joyfully on his bride, + f = yo. giinm— pas- sar, si, a, 8, §, 6, 4, tes shall sweet - weet. ly glide,yes, yes, yes, yes, yes, yes, our " a Ft Er “di vo- gliam pas- sar,si, si, si, sl, 8, 8, not. tee di vo- gliam pas- days shall sweet ly glidegenyesyeayesyes, yes, All our days shall sweet -ly Ps _——_—. Yo - gitam,vo- glam pas- sar, vo elam,yn~ gliam pas- shall sweetly Sweet-ly glide, shall sweetly, sweetly Sr, glide 1197Recit. Masetto. (gai itt ) Guardaym_ po, Tis dam tee co-me sep-pe que-sta stre - ga se-dur-mi! sia -mo my re-sist-ing, lit-tle witch,you've ca-jold me! When a > Don Giovanni (within) pu-re i ‘woman’ de-term{n'd,who can s tut = to ap-na gran em-ble, let all be Ma-set- to, Ma - set- to, hark,'tis his lord-ship, Eb-ben, che cl? voicomakes me tremble! Why should it, pray? ‘Ver = ra! He comes. 1 La-scia che do not sna ar _ me TE Di co-sa te-mi. per - Whydo youtremble? Why i chédi-ven-ti — pal-li-da? Ah, doyouthus changecountenance? Ah, — pi-scot ca - pi-seo, bric-coneel = la: hai t 1 see it, there issomething betweenyouandyou ; ts _t (ered crm tk mor chic com-pren-da com’ & tra vol = pas-sa-fa la fne- cen-da_ dread I should know it, flirt thatyou are, your terrors plainly shew it. 3nr N° 13. “ Presto, presto, pria ch’ei venga.,, Finale. Allegro assai. Masett Pre-sto.pre-a4o, pria hel Ye pormi vo daqual - che Quickly,quickly Tl out-withim, Tnsomenook Tilereep and Stre pia buy (pointing at the arbor) — : la = to; cena _nie-chia— qui ce -Ia-t0, —_che-to, watchhim; None will see me, ,, Twill watchhim, Here in te (going) Zerlina. Cretains him) mi vo" star. Sen-fi, sen dove Ya-1? ah non fa - sconder, o Ma- 1 ___can wait. Softly, softly, Whythishiding? Oh dear Ma - set-to, do not ae 4 he set-to! se fi tro-va, po - ve -ret — {o! m sai quel che pud grieveme, Think that if my lord perceive thee, s_an-ger will be te. (angrily) 2. . fe far. po - Ve - ret-to! tu mon sai quel che pud far. Fac-cia, di-ca quel che Greatsure his anger, oh his an = ger will be_grent. Let him say what-rer he f 15718 Zarling. h, non gio-van Te pa (Al he wish-es straight he Ta for-tae qui Par - ‘Whyjspeak out,what art thou Sf 2 = = + = = The ed = pric-cio ha nel- fa te - sta, che ca - prie- elo hia nel-la Do not baw! SO in my hear-ing,Do not buwl 0 in my Par- Ia for-te,e qui tar Why, speak out, wilt art thou (Sotto voce) in-gta-to, ‘quel cFu-d og - gi fedoth use me most un-kind-ly, He's to- sem fe - de - le, ein qual modo if she would blind me, and my anger iol day pre-ci-pi- far; quel? ih.gra-to,quel cru-dete, of gf wiol pro-ci-pi- insur-ly mood, Hee dathuse memost un-kindly, He's to-day in surly an-do Paffar! ‘a-pi - 7 shall be subdued, T must know. — oy se me fe . de -Te, if she would ‘blind me, oF ria714 tar, quell” in- gra-to, quel cru - de - le, mood, He doth use memost un - kind-ly, se me fe-de-Te, elnqual mo-doan a> T- far, in ial Yes_I must know ad my an - ger shall be sub - dued,yes, my ‘of-g1 Yuol pro-cl-pi - tar. (Enter Don Giovanni with four gaily dressed servants) les to - day In surly “mood. Don Giavanni.to mo - dean - do Pat far. in the arber Si! sve- tn geFehall be subdued, Hides Im the arbor) te LO, et a Tallé calsety ye the peasants) glia - te-vi_ da bra-vi cO- rag — giq,0 buo - na all bemirth and gladn Deer,» ly quaff thedraught of fe re Tm oo a ‘vogliam sta-re al-le-gra- men-(e, vogliam i - de - F Letyour rev-els have mo meas-uré, Wewill turn the ni F (to the servants) war. Al - le stanza del din - a con - du - do-fe tut - tf day. Thpse_who are for yj. row- et - ing, ye them ma. the —_—115 quan-fi, ed a tut-tia ab bon . dan-za, gran ri ball-room,Those whose turn fs for co - quett-ing, in the gar den let them es re 7 ioe a no lee | dar! gran ri- fre - sehi fa ~ Hi i cert Leporeiloacign stray, gai = ly pass the time ‘vants into the vill £ £ £ Chorus of Servants. TENOR & BASS. Si, We-glia - te-vi da bra- let all bemirth and glad-ness! Pa. _ fr o- rag = gioobuo - na gen-fe! —_vo-gliam sta-real -le - gra- Deep, ly auaft , thedraugh of pleasure! Our ‘cle lightsshallhare ‘no men-te, vo- gliam ri - de-ree — sefer-zar, Vo-gliam —sta-real - le-gra- measure, We ‘ill turn the might t day, Our “de - Hghts shall hes no aster116 (going off) men-te, vo-gliam ri - de-ree scher-zar, yo - glam ti - de-ree — scher - measure, We will turn thenight to day, we will_turn the night te Spe ge “—— vo - glam ri - de-ree scher-zar, we Will_turn— thenight today, x — = Andante. Zerlina Grying to hide herself) ‘Tra quest” (oxeunt peasants.) In this — — t — =! So ar- = bo- thee - Is - fa, 4) pao dar che. noni ar- = bor I will hide_ me, None my pres - ence here per - —— —— ek e+ 2 Don Giovanni 4 ~ 2 fe fate. du der mia gar - ba - ta. ceiving. Sweet Zer - Tm be - side_ thee.7 Zerlina. (trying to escape) xe ‘tho gia vi-sto,tho gia vi - sto, m \h, Ia- scia - te-miandar To ‘escape a lov-ers giance-will n H ‘Ah my Lord, I'm greatly C SL Don Giovanni. Zerlina. NOs ia,gio-ja__mi- al Se pit ta - dba-¥e- tein with co-lor heighten'd! If thourtkind, I pray thee, Den Giovanni, t 2] a 6o-re— Si, ben mio, son tu. ton- mo. re, vie- - -mium leave me All my heart's thine own, be - lieve me, To ‘on £ | he ay backwards, drawing Zerlina after him) ‘po-eqinque- - slo —‘lo- eo! for - > > ma-tajo fiw ar- bor let guide thee, There a ten- der tale acre wi we. dellspo +o 80 how would Ma- set - - chide me, If let_me guide thee, There a.118 fo quel che pud far, sb ben io, sd ben io, quel— che pub should heed, he would ehide,he would thee 1 could na-tajo ti yo far! for - ten-der_tale Wl plead __ There lu- na-taio ti vo a ten-der tale Tit pud far! could heed. far,_sb ben io, so ben heed, he would chide,he wouldehide, if — quel__— che thee. I na. talo fh yo" far! ten-der tale Til plead. Sr Corsi t’” Si, Ma- set ranni goes towards the arbor, sves oes towards the arboi Yes, Ma = Se 10! pon and stands petrified.) Ma - set - to? Ma . set - to? iste cor fiped) * - so Ta, per - che? ~ la twa Zer ~ ly? Wherefore pray? + na here, is a719 , la po-w- ni eve the nur are fly 2 ie 6e een —. or sen- za di__ from her a= te, non way, and ud pin star. fhoa,ané thou —~ Masette. (ironically) te. Ca- pi -sco, sii_— Si- gno - - re A. des. so fa-te way, Your kind-ness would_— 1 might re. pay! Come, think of no un - L . Allegretto. (steps between Masetio and Zerlina,givipg gagh an arm). co-re, Taste ¢o-Té Kindness, no un-kindness. lariet ob.and horn . -to-rin. di-te, ve - in jesus, We'll Zertina Si, si, fae-cia-ino Co. te, si, si, fac-ciamo He = meansus no wn-kindness, he means us no un - 0 ni-teg- mal con Si, si, fac-ciamo fro- lic, danceand play. He’ meansus no un- wwia7eda bal-lar co-glial-ri_an-dia-mo fut-li tre, Where mu-sic gay in - vites us, Come let us haste a - way, ve- ni-teo-mai con me, come iat “SEinaste a” way, al-tri_an- dia-mo dia - movan-dia- mo tut. ti mu. sic'in- vites us, haste a - ni- teve- ni- teo- mai con me, te, ve- ni = mu-sicin-vites us, haste a - way, Where mu - sic in. vite: dia- moyan- dia- mo tut ti tre, an- dia- mo, an- dia - mo i es us, haste & - way, Where mu- sie iut- ti re, an-dia-mo tutti tre, an— dia-mo tui-ti__tret haste a. way, Come let ushasien - way, Come let ushastea - way! mai con ve- ni-tep-maicon me, ve - ni-feo-maicon me} haste a. way, Come let ushasten- way, Come let ushaste a - way! tut = Hi ire, in dia-mo tut-ti tre, in digo tui-ti {ret haste a - way, Come let ushastea. wey, Come let ushaste a - wayt (Ext (Enter Don Octavio, Donna Anna, and Donna Elvira, masked.) ig Ne12 Donna Elvira. Bi- ~maa-ver CO = o ca-ria-mi-ci — mie- i ome ina By just re-sent-ment guided, To 5-0, We come innight and darkness, Don Getavie. So}, ml-pfat — 1 Sco- prir po-tfe-rhaal- lor. heayn'we have con - tid. ed our Trust hicwoe to end, —— mi-ca dj-ce be-ne! co - iga-ver con. vie-ne; ‘seac-Ciagy Vi-ta grevione AL sh thy Tea dar-ingerimesre - sent-ing, Her greviouswrongs lt- menting, 0 ma - - seer— qual - cheim - bro ir path ig full of dan Str,sez, te- -mo pel ca. ro spo - so, pel trem - ble for thee, oh dear. est, for x mo pel ca - spo - 80, pel ca - fear for thee, oh. dear est, for thee, x x ¥ sporello opens the window from within)Leporelio. stance.on the starny, Si Anor marda-t€un poo, che thas-che-re Meguetto.(am the ditance,onthe st1F0)y sir "see those charmingmasitcrs,hcrestandine et he \P Don Gisvanni. (at the window. Fal le pas-sar_&-van - tiy che ci fan - nop= Hop-ing they may not know us, Askgwillthey please as ~ asiara Al vol - toed al- la Donna Eira, That voice, and manner, 1 vol - toed al la [Bon Octavio. That voice, and manner, Al vol toed al- la ‘That voice, and manner, pUtll three have seen Don Giovannir vo-ce surely vo- ce surely vo- ce surely “Tis he whom we are 123 si $co-prejl tradi - to - seek . seo-preil tradi - to he whom we are seek . ing? seo. prejl tradi - to - re! he whom we are seek . ing! Via ri-spon-de-te, Whatwould he ask us? jo— softly) zi! Si-gno-te ma-schere! ‘st! ye gentle maskerastay Don Octavio. ‘What would ait zit ‘st! “st! ‘o-8a, What is i-gno-re ye gentle wey ma-schere! ‘kers, stay. spon-de-te. e askus? chie-de-te? your pleasure? AL dal ~ = To, My mas tersendstin.do Donna mio Si-gnor. Gra - zie di tantoo-no- re! to ithhim to spend. Thanks, we ac.ceptwith plea- sure His = Anna and D. Blvira) diam, com La. mi. eganche eu quel - le cour’- teous: tion, With- out pre-me.di- ‘ta tion, a Adagio. Donna Anna all three unmask and Pro - teg,- gall giu - sto_ Thou powr a-- bove, be— Den Octay L °. pro-va fa-ra da- — - mor! Pro - teg.- gajl giu - sto Straighivay theycondes Egat core jin and shuts the windowThou powr a- bove, be— Brbestes P advance to front) il ze - lo_ del_ mio_ Our hopes on. thee de — = cie - lo hear us, Donna Elvira. Fioa” Ven- di-chiilgiu - sto cie-lo il mio tradi - + foa- ‘Thowwilt a. Venge— and hear ust To me thowlt jus - ~ tige cie- lo il To. del cor! near us, __Our hopes on_thee de = pend! Wind 3 4na7eie - lo il mio f1 ~ tha Thouwilt a - vengeand hear us: To me thoult jus- tice pro- feg- gail giu-sto —cie - lo w-lo del mio Thou powr a. _hove, be near us: hopes on_thee de - ® hopes" on thee de - = oh e J Si £ = ——] mor, il mio tra - - di- to, tre-di- tos - mor! send, to me for - lorn____thowt justice send!__ E H Ven-di-chiil gm - sto cie - lo il mio_tra- di - toa- Thouwilt a. vengeand— hear us, To —me_thoult jus - tice = f ; pr-ttg-gail gin- sto cie- i fl ze- fo del mio Oh powr a - ove, be near_us, Our hopes on_thee de - ee ee ee Ee > _ A ——= # +s zZ = + mar~ lo del__ mio__ cor, pro- __ on_thee_ de ~~ pend! Thou mio tradi - — -te.a-monven-dichi,ven-dichiil giusto Torn thouit jus. tice send! Thouwiltavengessittavengeand Tl celo,il ze. Io del mio cor, pend, _our_hopes,our «hopes on thee de - pend az il ze. lo del_—_ mio Our hopes on thee de - gail gu. sto cie-lo a bove, be - near us, tee powr cie- lo i milo ted to, tra- di - toa - mor, tra - toa hear us, To me farlornshouwilt jus-tice send, — thouit jus - tite feg- gail giu- sto cie-lo il ze- -fo del io powr a - bove be- near us, Our hopes on thee de- cart pend! (All resume their masks) mor! send! (Rxcunt) (Scene changes to a brilliantly Lighted ballroom.) cor! ao pend! oser \ding some young girls to seats. Leporello is amongst the men; a dance is just over) . —, a 107 Don Giovanni. Ri- po. sa- te, vez-z0- sc ra - gaz~ze! Pret. ty maidens, now restfrom your dancing, Rin-fre- -eea - te-vi, bei gio- vi - Cooling drinksye allwant to re- Torne. re-tea far presto le paz-ze, tor- ne - Torn Te. (¢a acher-zar ¢ bal- losenow yourpresence en-tranc-ing, you must promise me soonto re- net - fir afar presto le paz-te, for-ne - re-tea scherzar ¢ bal- fresh yey If he los & your presenoe-en -tranc.ing, you must promisé him soon to re- tf P Tar, a scher-zar Ehi, ) Caf fe! CRetreshmenta turn, pro-mise soon Here, some ice! are handed) lar, a scher-zar turn, pro-mise soonMasetto (holding Zerlina anxiously by her gown) Don Giovanni. Cioc- eo - la-te! Ah, Zer- li- ma! giu- di - champagnehere!Oh Zer-li- na, be pru-dent seer etettE Con-fet- fi! Ah, Ber- li- nat gin - di - Zio! wine here! Oh Zer- li- na, be pru- dent! (aside in great confusion), Trop-po dol. ce éo-min~ cia Ia sce - na, ‘Theres too much of this gid - dy ca- reer,. ing, Masette, . . Trop-po dol - ce co-min~ cla Ia sce - na, Theres too much of this gid - dy ca~ reer- ing, - ro po-tria ter. mi- mar, si, that to” grief it turn, yes, ~ To po. tria that te grief it’ will turn,fermi - hari it will turn, Don Giovanni. Cenressingly) ter-mi- nar! Sei pur va- ga, brillan-te Zer-1) ~ nat it will turn, E-vercharmingmy pretty Zer_ |i _ nal Wn Yee (Ammonia! the girls, imitating his marter.) fal Sei pur ca- ra,Gia-not-ta, San-dri- na! kind! — masetts. ‘*8i2R-a) Al. ways lovely, co na fa fe. stal abhic - co ——Howthe flirt 1s co.quet ting! Zedlina aside; looking at Masetto) Quel Ma. set-to mi par stralu- ma - to, brut - fo, That Ma set-to willget_in to trou. ble, All my. purche ti ca-da la te - sta eaneto thybackI were set ting! bfut-to Si faquest’at~ far! Qitel Ma set = fo. mi par stra-lu- planshe is sure to” oer- tura! at Ma set © to_will get in - to “Ma set tra-lu- na - to, Ma. set n= to_ trou - ble, Ma- set to mi par cfra.Iu. na - to, Ma- set - to will get — in- to trou. ble,130 =~ Brut-{o, brut (0 si fr— quest y plans he is sure— to oer- 6. ui bi- so - gna cer. vel - loa-do-prar, ow to pun ish this tus ~ tte 1 burnt jui bi-So0 - gna cer-vel - loa-do-prar. ‘growing Howto pun- ish thistus - tic I burnt Masato Ereries La Bric-ro - na fa How theflirt is co-quet fel Ma- set-fo mi par atra-lu- wat Ma_set-to will get in - to uel Ma-set-to mi par stralu- hat Ma-set-to will get_in-to The-ca purche ti ca-da [a (e-sta! Quel Ma-set-to mi par stra-lu- That my caneto thybackT were set-ting! That Ma-set-to will get in- to —— ry 2 ria -{0, beutto, brutte si faquestaf-far, si fa quest’ af far! gael Na trou-ble, Ajl my plansge is sure tg oer-turn, sure to over. turn! Thgt Ma- na = to, Ger -— ¥el= Toa-do-prar! quel Ma burnt wat Ma- iui bi - S0.gua cer-vel -log-do- pra trouble, H low to pun-ish thistus-tie 1 burn, to pun - ish T qui bi- soguacer-vel log-do-prar, cer - vel - loa-do-prar! quel Ma- fo burn, to pun-ish I. burn! | That Ma- le, How to pun-ish this rus-ti¢ 1 ni trou-bI Toeea, toc - ca! See__thee! Pp |v 48107sat brutto, brut-to All my faquest’ af - far, si planshe issureto er - turn, is setfo miparstralu - na - fo, set-towill get in-to trou - ble, qui bi - sognacervellga-do - prar, T burn, sel-to miparstralu - na - to, set-to willget inte trou. ble, Howto punishthisrus qui bi - Sognacervello a-do- prer, 1 burn, to Setto miparstralu- na - to, set-towillget in-to trou ble, Howto punishthisru rm Ahbriceo - na! ah bric-co flirty see thee! Faithless flirt, thy af - quest’at-far, brat-to, brut - to si to Cer-turn, All my plans he is fet fa questa? far! sure to oer-turn mi bi- so - jow to pun urn; vel ~ los-do -prar, gui bi so - gna cer-vel - lewdo-prant iter Den Oot pun - ish T burn, Howto pun = ish this rustic I bu ma, and a) Er Sree vuoi di-spe-rar; ahbric-co - na! mi vuoi di-spe-rart fection I. spyrn, yes I spurn, yes I spurnyes spurnt Maestoso. Leporello. {to the, threg.) Ve-ni- fe pur a - van-ti, vez - z0- se masche. —~, Ye mask-ers fair, to greelyols My master is ad - siaDon Giovanni.(*aluting, them, Ka-per-toatut- (1 quan-ti, Come near - er, 1 en- treat you, Donna Anna. (curtseying)< iam gra-tia tan- ti We thank your kindly join your fes-tiv Siam gra-tta fan- fi We thank your kind-Ly Den Octavio. “bowing.) i di ge- mero. 8 - We join your festive li-ber . ta. say to all! =\ vi-va la ‘Wel- come .1 a tan. ti nk your kind=ly greet-ing, We —~ in your fes-tive ay Siam gra - ti ball, We thank ta, di ge. me. ro. si - ball,We — join your fes - tive tay iam gra = ti ball, We thank you, geome ro Al join your frs = tive th, di ge-ne-ro- si - thy ball, We join your fes-tive ball, Don siam gra - ti We thank you, jovanni. eper-tog tat. ti, a tutti pray you en-ter, I_ pray come a133, 4] a tan-ti se-gni di ge. ne.ro. si- ta! yourkind-ly greet-ing,We joinyour fes-tive ball. R tan-tise-yni di ge-ne-ro- ita! yourkind-ly greet-ing,We joinyour fes-tive ball. ne -ro - si- ta! inyour fesetive ball. a (anti se-gni di your kind-ly greet-ing, We sway vi-va la li ta! we 1 say to al Str iee Garni beg: 2 tyepent quanti, ¥ nearer, Wel- come, wel. S (servants place three chairs at left, front.) Donna Anna. ad Denna Elvira. va la li -ber- tat, Ia li - ber. ta, Wel-come is said to all, issaid to all ye 1 Don Octavio. va la li-ber- ta! la li ber. ta, ‘Wel-come is said to all,______ issaid to all, _—————— Don Giovanni. ya la liber. tat wer. tay ‘Welcome I say to all, __________ I say to all, — Leporatlo la li. ber. ta, ishere for all, Vi-va la li- ber- ‘Welcome is here for all, 16147134 _—_———__ i-va fa li-ber- ta, Ti- ber. ta, vi. Ya, Wel-come is said to all, aid to all, Welcome, la li- ber - th Wel-come is said to all, la liber fa, vi- va, issaid to all, Welcome, va la li-ber- ta, Welcome I say to all, ——————— Ta li- ber - ta, wi- va, Tsay to all, Wel-come, Vi-va la li-ber- ta, Wel-come is here for . all, Ta li- ber- th, ishere for all, vieva Ia li = ber-ta, vis va, vieva Ta li. ber-ta, la l.ber-ta, a li-ben ‘Welcome is said to all, Welcome,Welcome issaid to all, issaidto all, — issaidto vi-wa Ta li - ber-ta, vi- wa, vi-va fa li - ber-ta, la li-ber-ta, la li-ber ‘Welcome is said to all, Welcome Welcome issaid to all, issaidto all, — issaidto vi-va la | Welcome I say - ber-ta, vi-va, vi-va la li - ber-ta, Ta li-ber-ta, fa li-ber. to all, Welcome Wetcome I say to ail, I say to all, I sayto Fli- ber-ta, vi- va, viva ln li- ber-ta, icome is here for all, WelcomeWelcome is here for ali, ver-ta, herefor all,135, Minuetto. (to the musicians.) {fo Leporello.} Ri-co -min-cia-t¢ il suo-no! twaceoppia j bal Nowplay an-oth-er measure! Go thou and place the Mimuetto. * Don Giovanni. (to Zerlina.) Oh te di tel omy Une Chesen thee fer pact ser Donna Elvira. (fo Donna Anna. Quella} la con-ta « (Here Don Giovanni begins to dance with That is the peasant im wer gD ~rasaate Hina dance with ma!) Leporetio, @° the peasants.) u Da bra-vi via bal - la-te! Quite joysous they ap - pear not. *) These two phs in small notes are not included in the score, but are found in the earliest copied jce-parts, and were probably’ inserted at the first rehearsals.Bon Octavio. (to Donna Anna.) Si. fm - la-te. __Cour = age, fear not. Va be - nejnve- ri Shes mine, Be-yond re Masetto. (ironically) Va be - ave - ri Va be - a ne, Shes his eayond re What says he? = What ays A ba- datien Ma-set-fo. Just keep a-way Ma-set-to. TY > ORT re = cali? (to Zerlina.d Leporelle. (compassionately, fo Masetto.) TI tuocompagnejo Neer such a_charmin, Nonbal-li, po-ve-ret-lo, _ po-ve-ret-to! ‘Why dortt youdance,Ma-set-to? Poor Ma-set-to! Come, let ‘us dance a137 to kiss hery Zerlina opposes him, the dancers, re - na, li - fa, ce! (erosely, opposing him.) Veet agg OE OPPO ca-r0, ca = ro! bit torgeth ~ er, — no, ballar non No, noy — I will not _~ No. Mturn - Leporelle. Masetto, ratio. urn x. Eh, bal - a,ami-co mi-o! No Comedance, alfeyes are on thee! Not ing him.) Denna Anna. ite-si_ = ster nonposs'T - o! My ter = rorhath un - done me! Donna E in-ge - fe per ple Be firm, thy wrongsre Don Octavia, ‘ Fin.ge - te per ple Be firm, thy wrongs re [Lepesatis. Masetto. Lepor Masetto. ca-ro Ma-set-to! Comecome, Ma-set -t Bal-{a!No,no, non vo-glio! —_Bal-[x!No,no, non Dancethen!] will not bear it! Dancethen!{ will not thay198 Passing between the dancers, lias gradually approached the door at right; here Don | Giovanni reaches her, puts his arm about her waist, and draws her towards the doo1 tA ah Leporello._ - lwami - co mi - o! fac -cinm quel chlal-tri ce, all eyes are on__thee, come,showthou'rt full of Don Giovanni. Vie. mi con me, mia vi- tal Dear. est, a grace concede me, Masetto, (struggling) Lascia-mi! Ann ‘¢(Forces Masetto to dance with him.) Let me got let got Donna Anna. ALi - His Zerlina mu-mi! sontra - di-ta. Li- His Don Oct 0 Ah whither dostthou lead me? “LA His vie-nil fead thee.(Lteds her off against her will) Leporelio, Quinascen.na ru-i-na. This fel-low willundous! (Exit hastily after them.) a7180 ni - quoda se stes.so nel lac se ne val guilt “= y course ful. fill. ing, © He rush his fall! ni = quoda se stes- 0 nel lac = cio se ne vat guil - course ful - fill- ing, ni - quoda se Stes guilt ~ y course ful - fill- ing, © He rush = — Allegro ass: joe -Cor- Not_an ~ Zerlina. (from within.) Gen - tea - ju - taa-ju - to! gente! Help, ob help me, friends, oh hasteye! Don Octavio. stage orchestras ceate, the main orchestra secomm Soe - cor- recommences.) : ‘ a Allegro assai. Not an - (all turn towards door.) ‘ + e tia-ino Tin -ho - cente, Soc-cor- ria-mo Tin-no - cen. tet oth-er mo-ment wastewe, Not an. other moment waste we! | Tia-ino Tin- fo - cente, Tin-ho - cen. tel other mo-ment waste we, Not an — other moment waste we! Masetto.terri- #. " E | Ah, Zer- Oh, Zer— ooo eet ie~ Ip orese: sniay140 bly excited.) (all hasten to the door.) rd al the other side.) Donna Anna & Donna Elvira to! O-ra tor! She is Bon Octavio. O.ra She is a gFi-da_ da quel da quel Ia - to! there, oh__let_us haste to” ex-tri - cate her! _Zerlina, 2 . See - le - ra- - _ _ On thou trai- - gri-da— da quel Ia. to, da quel la - tot there, oh let us haste to” ex-tri- cate her! A Fr bk Donna Anna & Denna Elvi Ah git. tia. Force the lock, mo git) Im or Tet the Ah git- tia. Force the lock, mo_ git la_ or let the ‘fF 18147 orese. Zer por - tal Soc.cor - por. ta, git la_ shat-terl! Ah a — door once be por- ta, gia la_ por- ta! door at_ once be_ shat-terd! Ptat (They try to forca the door.) Donna Anna ow Siam qui We are Siam q We are siamqui noi per sa, per tua we are near, thou edthou art siamqui noi 3a, per tua we are near, edthou art siamqui- noi per Sa, per tua we are near, ed siam qui sayper tua we Bre edthouart(they break open the door) fe - sa, per tua di fe ~ sal ~ ed! thow, art pro - _—tevt- ed! ' =a = = ~ sa, per tua di ~~ ote - sat ed thou, art fe sa, per tua tect = ed thou, art pro - # ——" te A fe - Sa, per tua li ed thou, art (Don Giovanni comes out holding Leporello by the arm,he pretends axthough he would stab him,but docs aot lake aatumond out of the seaboard ® ‘s ni Andante maestoso. git” Giovanni. Ee-e i chi tha of fe - sat Here’s _ just de ~ tected! mela pe - maa- vrai, la pe - maa - vra! mo - ni ceive thy just_re - ward, thy just re - ward! Wretchthoudi Oh pray,have i927a ri, di - Cot mo - Ti, di - eo! thou’ li - est churl, thou’ li - gst! m0 churi, fa ~ tet done, sir! fh €o- sa fa ob pray, ive fone, 3 ah eo - &a oh pray, have é S, P, p— Don Octavia(taking out « pistol to Don Giovanni.) Nol Get nol she - spe-ra — tel get you_gone, you gone, sir) fa tel done, sir! Donna Elvira. ‘unmasking? Lem pio cre- de con tal False - hood here will not oa - Don Octavio. unmasking) Vem - ‘pio ere - de con tal fro ie, False - = tiood here will not a - Wail___ thee! not ow Donna Anna.(unmasking) fro = de = Vail thee! io cre-de don tal i fascon - der fem - ple - od here will nota Lem - pi Fae 2 fo ‘Thou thy-self art now en - ~ der Fem - pie - fro de, con tal fro - de art mow en ~ vail__thes, hot a - vail thee! rem - pie art now en = con tal fro - de ~ de, not_a - vail. thee! vail__thee, fe’ 1mia744 ay - ple — tat yes, en- snared! pie - tit , maLvaggio! fn - snared! be-hold met yes, Tem - pie - ti! yes, en. snared! lets Leporelio go) (disconcerted, Donna Eby Donna Elvira? Donna Anna. a- di-th-fe, tra- di-to - reftra - rel Shame up ontheeshame up-on thee,shame up-on thee! Donna Elvira. Tra- dito - refra- di -fo-ret Shame up-on thee,shame wp-on thee! Zerlina. Tra - di-to - re,tra - di-fo-re! (o, Shame up-on — thee,shume up-on thee! Naught can Don Octavio. : P ve gno-re. Tra- di-to - re,tra - di- do-re! know you. Shame up-on thee.shame up-on thee! Don Giovangi. 6. KtoDonna Ahctedet! Anes) On myhonor— Masetto. ‘Tra - dito — re, fra - di- to-ret Shame up-on thee,shame up-on thee! : ‘Stra, Win sustain terazTut - tout - fo gia Naught cunnow thy fite i sa, re turd, to,tut - fogia si sa, annow thyfate retard, tut = fo wow thy tut = fo, tut- to gia si Naught can now thy fite re - Tut - to,tut - togit si sa, Naught cinnow thyfite —restard, Tut-to, tut - to kid tut - to Naught can now thy fute retard Naught can fut = toytut - to g aught cunnow th si sa, fe retard, tut-to, tut - to gia aughtean now thy fite re - tut - (o,tut — to gia Naught cmnow thy si sa, tut-fo, fut- fo gia si re-tard, Nuughtcun now thy fate re fo, tut = fo gia si 5a, gia wht can mow thy fate re - tard, © Naught can tut - to, tut - Naught ra cru. del tit | ab-horr'a! Ja tua ev-er-more ab-horrd, be thou fie-ra cru-del-ia, la tua fie - ra cru - del ev-er-moreab-horrd, be thon ey = er more ab-horri! E confu - sa Not my cus-tom racru-del-é& la tua fie - ra cru - del tit | -er-moreab-horrd, be thon ev = er~ more ab-horrdl! ev ‘Tre - ma! tre. ma! Trai- tor! ‘trai -tor! Tamia te - sta, non so pi quel chil mi fac-cia, evn ‘tis to tremble, T no longer an dis-sem-ble, Tem ~ fadua te sta, minke piu quel chibi fac ~ cia, tis to trem-ble, He no longer can dis-sem-ble, ‘Tre - mal tre - mat ‘Trai - tor trai-tor! swaya Anna and Zerling, ma, (re - - ~ ble, trem - - - tre ‘trem ma, tre ma, ble, trem - ble, ~ mia, - ble, Don Octavio. Trem tre - ma, fre- ma, tre - ma, ‘Trem - ble trem- ble, trem - ble, Ti bi-lé tem-pe-sta imi- nac- cian-doo Dio, mi va. wild around me gathers, All my sense it) doth ap - pal. ri - bi-le tem-pesia mi-nac - cian-do,o “To wild around himgathers, All his sense it) doth) up - re - mia, tre- ma, tre ~ ma, ‘Trem - ble, trem-ble, trem - ble, Te - Fa - tol betray -er! tre-ma, 0 ~ Te- ra - tot trem-ble, oh be. tray- er! tre- ma, 0 trem-ble, oh ~ le- ra - to! be- tray- er! E con-fu-sa Ta mia te-sfa,non sé pitt quel chiomi But my courage ne'er for-sook me, And I'll face the matter E con-fu-sa fa sua fe-sta,non Sa pili quel chiei si But his courage ne'er for-sook him,He will face the matter z& ™. tre-ma, 0 sce - le-ra - tol trem-ble, oh wile be-tray-er! 1Biaz154 D. Anna, 0. Elvira and Zerlina, 0 dij tuon del-la wen - dettal Fear the wrath of heav'n of - fended! Don Octavio. O - diil tuon del-la ven - deta! Fear the wrath of heavn of . fended! «| Tace enn or-ri- bi- fe (em sta minacciando,o Dio, mi All their threats shallnot wit sme{Tho'a sign from beevinshould sta minaeciando,9 Dio, sshallnot withhold himTho'a sigu frombeay lo shoul eunor-ri - bi- fe fempe boldly, All theic th > dij tuon del-la ven - dettal tite wrath of heavin of - fended! ce rH tuon del - Ia ven - det-ta, che the wrath of heavn of - fended, Fear fi schia_jn-tor - ng jn its thun-ders or thee tion del - fa ven - det-ta, che fi i- schia in-tor - ngin wrth of heavn of - fend-ed, Fear its thun-ders oer thee Fear Val { Don Giovanni, behind whom Leporello shelters himself. allempts {o Clear path for himself with fiullt his sword, but is hindered by Don 0: ) i} tuon del - la ven - det-ta, che ti fi -schia in-tor - nei ar the wrath of heavn of . fend-ed, Fear its thun-ders o'er thee fe 16187152, tor. no, sul €a-poin que - stv jor no il suo ful breaking, That thy —reck-less course o'er — tak . On thy for-no, sul tuo ca. poin que - sto giorno il suo ful-mi_ne ca. breaking, That thy reck-less course o'er = tak ing, Ou thy guilty head will - ca - sto : Yo head will fo gior- nw ovr. for-no, sul tuo ea poin que brenking, That thy reek-less cour | 5] === dri, il suo ful - ea dt fall, On thy guilt twill felt be ge ot - 3 = + 5 dra, il suo ful - omi-ne — ea-drit fall, On thy guilt = y head will fall! E con-fu - sa lamia te - sta, Not my cus «tom ‘tis to trem-ble, con-fu - sa la sua Not his cus-tom ‘tis to Masetto. — ES pS SS dra, il suo ful - mi - ae cae drat fall, On thy guilt - y head allt be 9 gp aS : ’ 16187153. tre - trai-tor! fre -ma! trai- tor! non $6 pity quel eWio mi fac- cia, or - T no lon-ger candissem-ble, Te pest te-sta, non ka pity quel chei Gi fac cia, tremble, He no lon- ger can dis-sem-ble,Tem - fre ma, ffe- ma, fre- ma, {re-ma,o Trem. ble; tremble, trem-ble, _trem-ble, 0 Seay ire = ma, fre-ma, fre- ma, fre-ma,o ‘Trem - ble, tremble, trem-ble, — trem-ble, 0 va! ap. pal! = ; 5 epee tts, tre ~ a, tre-ma, tre-ma, —{re-ma,o Trem . ble, tremble, tremble. tremble,O aayDonna Anna, Donna Elvira & Zerlina. 0 - dil Fear the vile be -trayer! see - le - ra-tot vile be -trayer! sce - le - ra-tot vile be-trayer! E confu-%2 lamlia te-sta,non si piaqueleliomi faccia, Butmycouragencer for-sook mé,And I'll facethe matter bgldly, eonfu = fe sta;non sa piuquelchei si faccia, _p_Bythlscouragenctr' far-sookhien Andbell este matter bolaty, sce - le - ra-to! vile be - trayer! fear tion del— la, ven ~ det-tal wrath of heav'n of - fended! tuon del - la ven - det-ta! wrath of heav'n of - fended? em or ti - bi-16 tem -pe-sta mi-naceiands.o Did, mi alitheirthreats shallnotwithhold me, Tho’ a sign fromheayn should eum or - fi - bi-1é tm pe-sta mi-nacciando,o Dio, To alltheirthreats shall not withhold him,Tho’ a sign from heavinshould tuon del - la. ven wrath of heav'n of -155 fuon del- la ven- det-ta, che fi T-schig ju—tor - wrath of heawn of - fend-ed, Fear thunders o'er lel- la. ven det-ta, che {i a of heavin of - fend-ed, Fear thunders ™. djl ton del- la ven- det-ta, che the wrath of heavn of - fend-ed, Fear its tH oe a ™ © o=t SS f i for-no, sul tuo ca pun que - sto breaking,That thy reckless course oer - iT suo ful- mi-ne ca - on thy guilt- y head will = — SS] a-pojn que - slo il suo ful- mi-ne —¢: reckless course oer - tik - ing, on thy guilt y bend w sul tuo ea-pojn que - sto thy reekless course oer - = tor-no, sul breaking, That thy ca - dpa, thy head, sto ful- mii-ne da- di thy guilt - y head will si, ca dra, thy head, suo ful- mi-ne ca - dra! thy guilt - y bead will fall! Don Gi ca = dri, il suo ful - mi-ne thy head, £ ca- dra! Ma non thy guilt =" head will full No, my 2 Wn ~ P iar156 Tan tain me co-rag- gio, cour = lage neler forsook me, eporallo. Ma non manca. No, his couryj O - divi tuon! On ‘tly head 0 - diil tuon! On thy head i o-rag £10, forsook him, “0 = di jl tuon! On thy bead tf = dogs im the mat “on-fon matter bold - ly. = dial tu will fall! 0 They 46147187 aS ye Sul fuo capo jn que-sto gior-no 0 ful-mi-ne cada, il suo ful-mi - Fear the wrath of heavin of-fend-ed, That thy reckless coursecertaking, Up-on thy ‘ Sul tuo ca - po in que-sto gior - no a suo ful- mi - Fear the thun - ders ‘of heavin of - fend - ed, That up-on thy £ 2e > + «4 des-se an-co-ra jl mon-do, _¢a-desse.an-co- rail mon-do,, nul-la mai te- Tho'a sign,a threats shall notwitbhold me, their threutsshall not with-hold m s des-segn-co-ra jl mon- desse gn-co-rajl_mon-do,, threats) will not withhold him, their threats willnot with bold him, Tho mai te-mer, te - sign,a sign from Sul tuo ca - po in questo gior - no GW suo ful-mi - Fear the thun = ders of hewn of - fend - ed, That up-on thy os ne = dra, tuo ca-pojnque-sto. gior-no, if suoful-mi-ne ca - head will fall, the wrath ofheavinof - fend-ed, Thatthyrecklesscoursecer me ca - dra, sul toca - po, in que-sto gior - no, head will fall, Fear the thun - ders of heavn of - fend - ed mer mi fa,se ca -dessean-corajlmon-do, se ¢a-dessegn-co-rail_mon-do, heavin should. fillAll their threatsshallnotwithbold me, all their threats shallnot withhold me, = mer lo fa,se ca -dessean-coraji mondo, ce ca-dessegn-co-rajl mondo, heavn should fall,All their threats willnot withhold him,all their threats will not withhold him, me ca. dra, sul tuoca - po, in que-sto gio - no, head will fall, Fear the thin - ders of heav'n of = fend - ed, su1a7suo ful- mi - Up - on thy ne head mii -21e | Ca - dri, it-y head will full, i silo i fall) On ‘hy eu on thy al ‘That i suo fe, on thy ra, il suo mi - Te ci fall, On thy guilty head will so ful- mi - ne up-on thy head mr fa, nulla mal te-mer_mi ta, mul la pul- fa mal te -mer, te - mi ign frombea“ashouldfall,tho’ a ‘Tho’ a sign, a sign’ from heavn should fall, tho” a mar te = sign, 4 Ta i er, te - mer. fa, nul la mai fe-mer lo fa, nul - la Tho! @ lo sign from heavin should full, tho? a sign frombeavashould fall, tho’ a suo ful - mi - up- on thy ie WT suo head will fall, On thy guilty head will fall, on thy 2 iT so ful mii — ne on thy guilt-y head ful- fi he — dra, guilt-y head will fail, ral mai —n6 i suo ful-mi-ne ca - mn GTOYanAT e177 : il puaied sucking hima on before, eabce guilt-y head on thy guilt-y head will fais Seek the men meter ashes mai te-mer, mi fs, nul-la mai _{e-mer, mi sign fromheavashould fall, tho’ a sigm from henv'n should mai te-mer lo fa, mul-la mai {e-mer, lo sign | from heavn should fall, tho’ a sign from heav'n should fall! ‘suo ful-mi-ne ca - dra on thy guilt-y head will fall! ~ mi -ne polity head will” fall159 Act II. NO 14.“ Eh via, buffone, eh via.,, Duet. Scentom A Street. Leporelto. Allegro assai Bor Voice. (: Eh via, buf-fo- le, wbuffo-ne, nommi seo-car’No,no, pa- Til not’ be-lievethee, [Il not’ bel: ievethée!Whateerthousay! Twouldnet Piano. Don Giovar Lep dro-neno, no, pa-dro-ne! nonye re-star! Sen-li-miami-co— Vo'andar, vi grieveye, Iwould not grieveye, but Tit not stay! Dol ill Suse thee? Prily, siryex - fe 2 fe f ip Don Giovanni Leporelle. che vuoi la-sciar-mi? O niente afl qua-si_ammaz- say-whathaschilldthee? Oh,a mere trifle, You'venear-ly Don Giovanni. a] ‘a che sei mat-{o, ra chesei matto, mato, matto, fa per bur-lar. ‘Thou fool.ish fel - low;thou foolish, foolish, foolish fellow;TWwasall in fun. zar-mi. fd ionon killd me. Such fun 1 vy. tr tr, jf P 459874180 - fo, ed fo tion bur-lo, bur-lo, bur - lo, ma vo-glie_an - dar! not, such fun I like not, no, I ‘thank you,With me youve done! ne a £: f op f £¢ £ £ | To - ne, gen - W-iza- mi - coy va ghe sei mato, va chesel lieve thee, Do Till. use thee! Thou fool-ish fel-lgxthoufoo fa No, mo, pa - dro - ne! di - &o, No, I’ would not grieve ye. cuse = me) No, te. — >a £ff 2 £4, f F P Pr P P (0 0,n0.00,n0, no,no,n0,n0,n0, je se] mal-{o, va che sel ao Thou foolish fel - Igyytwas all in Tio,No,nano,ne,no, non yo" re-star, no, non vo" re, = star, si, no,no,nqnene.no, Such fun I like nok, ith me you've done, yes,tut a. Tat-(o,va che sel mat-to,va che sel mat_to, mat-to, mat-to, . ‘mat-to! fun, ij was all in fun. fel- low! i, oi, Si, ST, no\no indeed, Fu si, si, si, sisi, si, 31 7, yorliqan-dar, 31 =i, vor deed you must excuse me, syrh m-dart fun I~ like nok, With me youve done. Pi 0-1, use thee, ~To=ne, non my sec~ car. Va 1 - use thee ? asall in fun, thou fool che sc mi io, 1a fe che scr low,thow fool - ish fro-ne, no, m6, pa-dro-NNe, cuse me,pray, siryex-ciyst tt non vo fe - star! ed To non jur-fo, td 10 With me youvedone, such fun T like nof, such fun T P * Taito, fu per bur- ar, Y Tu per bur- lar,, fu per bur- lar, . fw per bur - lar! fel-low, “Twasall in fun a ‘owas al fon,"twas all_in__ fun, "twas all_in__ fun! Durlo, _ma vogli andar, tha vogliqan-dar, ma vogliqg-dar, ma togliqan-dart Hi ek gXith me youtvedone(yyith me youve done,yrith me youve done, ith me you've done! to co. Dan Giegan eet fa may182 Recit. Don Giovanni. Leporelto. Lepo-rel-lo! gho-fel Vien qui, facco ott Esporte! TY rel-lo! hear,sir. Come here, thiswill make p cle . = nt te, er questa vol Ti. monigaccet-to; __m now lis-ter, ais the lest tine Tit take acai memuaccct tion, you'll piec-es. non vi clav-vez-za-ste; non cre - de - i ~dur-rjiniei pa-zi, co- me le Jind yourself mis-ta_ken, if’ you think to soothe a man of my metiiclike those poor Don Giovanni. & forza di da - ha- fi. Non par-tiam pia di hy coin’ and emp. ty phras-es. Therese - nough ‘on that Leporeito. cid! ti ba-sta Ta-ni- mo di far quel chiio ti di- co? Pur - score! _Say,are you read-y now to do me a small ser-vice? So che man-gio, pil del - Tifeymore than theBread that feeds me, or the n= nar- le poi Ta = i = ai We che or tall be de - am breath ie co- Te ten. tion163 Don Giovanni. & é te? tut- top-mo ua bo-lap fe- de-le, ver-30 Ial-tre cru celvé thus? For love Todo ie Wise one de-vot-ed, to the rest must be io cheinme sen- to sle-ste-so sen-ti-men-to, vo bene tut- te faithless; mine _is_.a heart of such_in.fi-nite af_feo-tion, there is not one 1 SS don san - no, lear_un-reasn-ing crea- tures, ti- te th - Ten-to, a thousand others, i no yess feel quite ‘non — si in__the cre = du - fi her heart to ~ Questo, adn so punted, Shall I presto! che bel cal- petiq = Canted! —_ Poorgirishe’quiteen. fin qieltientia ee Great isthe pow of470 ‘ya-do, non 59 fuse now,or shall aue-sle, che Bet — ante shes quite Tabbro tornaa' Truly the io _re-sto! Dei!che ci-men-to® que-sto, nom 1 geant it” For this myhearthas panted, Shall T at a Bio va-d0,0 re-fuse OF col pets ‘Spe-re che ca-da pre-sto, enachsr ted, che bel col She thinks Thave re - canted, i Poorgirlshu git ovel men-da-ce labbro Tr great is thepowrof — ly-ing, wis tue pe ‘Ah pro > tg - ge-te By some —__ em — chantment_— piu fer-ii-le fa-len-to del mio no non st ‘Totrickathousand others T feelquite in the deh pro = teg - No great a ens ge -te. deavor. mia fled 1 tay = fa fi rin, her heurt to gain, _— BaGdisappears trom mia__ere= du - fi. ta, la mia cre=du- li. ta! fled is__ my_dis-dain, quite fled is__my_dis-dai no non_si to non_si da! quite _in_the v ite in_the vein. : ere - du - fi - 1a! her heart to gain, her heart tog: # ~mi-eo, ehe ti Fell,am I not in pur? Mi pi ‘a-ni-ma dibronwe. Va Tuck? Youmay be Tuck - y, but you've a heartofmarble. Come, 8 2 ———— SS (pointing at the window che seit grangenzo! A-seol-ta be - come, youre grow-ing prosy! quan-do ce -stel qui vie - ne, now learn your — part, when she makes her ip-pear-an 4 s 1S SSS = tu cor-riad ab-brac-ciar -la, ele quat=tro cA-rez-ze, fin- £i In vo Me «i spare your caresses, em - u-hite well your poi cdn bell’ ar- te cer-ca te - eo next yourmust fini pretext that calls con - dur - 1a mas-ter; you both off te some Don Giovanni. Leperallo. par-te. Ma, Si-gno-re Non piti distance, But supposing — That is re-pli- che! settled, se poi Mi ¢o-no - sce? vn, And should she re-cog-nize me? 5H£72 boy Giovanni (softly Won VuO ~ i; ‘blorkheid zit-to; el Non ti co - no-sce-ra, se fi Silence, she's __Afshe should re-cognieyouyou're a He runs off to the side, fea Leporello, Don Giovanni watches 1 to Leporelio) _Den Giovanni Leporellojayide? Donna, Elvira enters from the house, and advances to meet movements from this im Vin - to quel cor iunque pen-ti-to, Ta-ma-to Don ith touchilthy hes Andnowrepentant, — my dea io - al suo do-ve-re, eal a-mor mie'ri-(or -na? Si, ca-ri-nal Cru. fo me_return-ing. hire more to joy restoresme? Yes my treasure! eee — ae de - ier ge sa faithless! T peste quan-te “gri-mee quan-t_sbs-pir Yel imi fo not tell thee all i _mix-er- ¥, the sighs and the tears that thou hast Lope Deana ever — Fe mi # Vo. i Po - ve - ri = ae! Lr tove sy csr < ture? Who” else? ‘Oh poor dar = nto mi di-spiace! fug - gi- re Pi recsteobal to 50. Youll leave me nev-er-more? No’ prvt-tY creatuce! And you aremine Leporetic. Oonna Elvira. sighing) Th ris = Si - me Mawelear you ever? Eveer! intr173 Donna Elvi Leporeita. Donna Elvira.(embracing him) Mio te - so - ro! ‘Son per voi tut ta be - lov one yes: ! How I love thee thou To tut-to ce. ne-re seems ein min-gan - v- er- more Then swear it me. a— \ 3 as giu-roa que-sta ma-no, che -ei0 con {ra-spor-{o, ea quel bei this white hand 1 swear it,’ whieh you please IM Kiss, dt By_ those bright (a Ee (escapes with Leporeito) Oh Naa ea ent Don Giovanni. (pretends to waylay them) Lanai , ) & & De Tu - Th, eh, ah, ah; sei mor- to! Oh Nu-mi! Th, . Thy eh, ah) uh; Sur. gender! 0 beaw ent Ih, (taking up the eh, ih,eh,an,ah! Par che la sor-te mi se-com- di; veg - gia-tho! th, ih, eh, uh, wh! Now fortune help me to persuade her; all's qui-et. mandolin which Leporelle left leaning sgainst the houge) Le Q - ra Can-tia - mo. This, T think, i Th se reenade ber. isiar4 N16.“ Deh vieni alla finestra.,, Allegretto. Canzonetta staccato Atavtodinn Pp cra, © mio te- so - Fo, deh out_ thy casement glance - ing, Oh smile up- on ____ me, With a con- so - lar pian - to mi of hap-less love sing this dit Se ne-ghia me— di dar qual ~ Thy bo- som would move, Thou = ri. sto = 70, da-van - tlaglioe-ehi tuor THO - un-done me, Obgrant the prayr of love, and 1187rir. shew some. Cy 2 cihai la boc- ca dol - ce ja ——— che il mile - fe, Fox = es art “thow nin, g han ‘ho-nry sweet - er + 1 zue-che por- ti in mez-zoal co - re? ; Tiswhen thou Sightestthun west-ern breez est Non es - Oh,come,, me crus de Ta scia-tial- men —ve- der, mio Tens treat Death shall ry torments end, if + a - mo thee pleas176 Recit,(Don Giovanni: afterwards Masetto, armed with gun and pistol. and some armed villagers.) Don Giovanni Masette, lo the VE gen-teal tra: 5a des-rat ‘There's some one at the win-dow, ist my char-mer? cor wi di-ce che tro- n(Qual-cu- no par- la!) Fer - T have a no.tion that we may find him here. (Theressome onesperk-ing.) Hush, Don Giovanni. ‘folding hix cloak clos es, and pulling hat over eves ma-te-vi; mi pa- feclicaleu-no qui si muo-va. (Senonfal-lo.@ Ma-set-to!) what wasthat? it seemd as if” T heard some one whisper, CAs | live,thits Macset to!) (io the peasants.) Mande.) ~Spon-Ge; a — nf mo, Schioppo_al ma T va Who goes there? No one an-swers, bold. ly now, gun to should-er! Who goes a ion & so - I ci vuol gin - di-zio) A. mi- cil! (Non mi there? (There are_sev'ral, I_must he cautious) Good comrades, (that_be - SSS SS Masette, (astonished.) ion feo-prir.) tu, Ma -set-to? i 5 * = pun to quello: gip-nings not “bad) Sure thats Ma - Set _ to? You're not_far_out_there: and Don Gisvanni G tu? Non mi ¢o- no - sei? 11 ser-vo som fo di Don Gio e- po - you? Why, dont you know me? The ser-vant_am I of Don Gio Le-po - net Don Giovanni ba £ uf ] (PSS eee SS ee | quell’ in - de-gno ca -va -lie-re? Cer - to, bi hon - or - a - ble vil - lain? A. las,quel brie co-ne! Di quell wom sen- za that_same_ras~ that man lost to all bra-vis-si- mo, Maset-to! auch’ ie con voi mu-mi-sco Per ‘ea good head, Ma-set-to! I'll do mybest to help you, and indenzione Targlie-laaquelbirbo di pa - dro-ne, orsentigm po qu 5 himfasies. play'a trick up-onmygrace-less mas.tery_ I have a plan will help tot NO 17." Meta di voi qua vadano.,, Aria. Andante con moto. hall to left,andhalf toright, Str.8 rion stadt quan bbe far from here, _ (going from one to another.) Seunuonte_una ra ~ ga pas am per Vi a, se_sot-toaima fi If a. ny youcatch straying, Some youth and maid de ~ ing, Or“neath & Window , _ ~ _ . Tetra fa-realta-morsen- fists fe. te pur Te. rite, Tr— sighing, An amrous uit-iy” plying Thenstrikeh ntweitandsparends thenstrikehinie ( ~ 4} — (a5 TT ( jE mio pa-dron —&i spare noi, emias ter then is near! . eet St uneap~ pel - 10 con candi di pen- is hat a? feath-er, Aclowk hietorm Pot Matt tend, tajor ti mialos - soun-gran ars in ey. Vs spa - dial Tr knew he dow f Spada fin -coe ——e spiedaval fan-ea-e = ites he doubt ‘or er Lnew be doubt OF t.2 tote + (repeating his directions 5 brates Sean vom Sean neérknew he doubt or os 2 Fjandneyaitotina epee or eed Pe a ( d= 1siaT60 shenstike hil 22 # ri-te, fe- ris fe, pur fe- ri- te, fe-ri - te! Me- te jt <0, spare nct,Thenstrike himwell and spare not and spare m half to right. eer “ the = oe QD HY. Oh Cor, cesta. ® glial-tri va~dan bi Theroad to pi- 0-neer, ali piinpianin fo cer-chi-no Won sit by. theway look ev Andi te fy Anco ay Bye di181 off al wither side.) 10, Andacte, fa-te pre-sto, fa - te pre-sio,{a-tepre-sto fa. ie presto fa te tected, Away ag Fvedi ected, Ha AWAY as, tedibe -ed Haste, aay as Tye di - - " .~ — ir — rh PR, Kto Masetto. ‘Tusol ver-rai con me, iu sol verraiconmeserfal Con me,verrai con Thoafriend abide with me, Thy friend ghidewithme,abidewith me, abidesith P. <= (putting his arm familiarly around Masetto. me, Noi— far dobbiami il re=ste, © gia ve-drai cos &, me] Sonve-what Ihave re-flected, ‘The end you soonshall se, You soon See Ee ye y = gy te — far dobbiam il re-sto, © gle what I have re - flected, The end ep fe Be bet (promenading te and fro with Masetto.) + $ cos, cose, € gia vedraicos ©, cose, cos &, — ¢ gia ve-dral cos see, yousoon shall see, theendyousoonshall sce, yousoon shall see, theend you saoashail > yous hal xe masoon shall »tz (goes off holding Masettod e gia vedrai cos © gia ve-drai cos’ & ste, theend yousoonshallsee, theend yousoonshall se ~ setts - e gia vedrai eo: the end you soonshalls ~ 2 er” rrr et, TF Reeit. (on Giovanni returns. leading Macetto hy the hand.) Den Giovanni id-to, Ia-scia chlo sen-ta! Ot-ti- ma - men-te: dun-que dob-biam Soft-ly, first let_us_list-en, —that_mo ones cumn-ing, So yolre re. solv ol Marttte. bon Giovanni. ci-der-lo? Si-cu - rol non fi ba-ste-ria rom-per-gli Tos-sa, fracas Kill-ing him? De-termin'd.“Twould do if with a blow youwWereto stun hith, or to give b Shaile? No.0, voglie amma, We fi hiding. No,no, Fifsure-ly kill him, [Ml Don Giovanni Hai buonear-mi? Co Shew vour weapons! They're cento bran him insto pigces. Pass Pop Giovanni, (hands musket and pistol to Don Gioyanni.) Masrtto. spetto! ho priaque-sto mo-schet-to, ¢ poi, que-sta pi - sto-la goodonestLook here, have a musket, bewidesthere is this pistol: E po- i? Non Besides these? I» iatfa pi sloda, que-sla per for your pistol, theressomethi: Don Gievas b Ihe n_ Masttta. corying out and falling.» Bhatt Nh .

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