ad:dio — dorati_ sonini 1 Addio, dorati_ sogni, Farewell, golden dreams, kari fantazmi at 2 Cari fantasmi, addiot dear spirits, farewell. ritfetsto nel kor mio 3 Ricetto nel cor mio Shelter in-the heart mine pju non avete 4 Pia non avete. more not you-have. baski solipgi ¢ — valsli 5 Boschi solinghi e valli, Woods lonely and valleys, e podisie — kweto rio GE poggi e queto rio and knolls and quiet river, per sempre adzdjo Ade per sempre, addio. Farewell for always, farewell. pju mjei non sjete nd 8 Pii miei non siete, no. More mine not you-are, no. Background Nicola Vaccai received a diploma in music from the Accademia di Santa Cecilia in Rome and went ‘on to study operatic composition with Giovanni Paisiello (1740- 1816) in Naples. ‘Vaccai’s most successful opera was Giulietta e Romeo (1825). When the famous mezzo-soprano Maria Malibran (1808-1836) sang the role of Romeo in Bellini’s 7 Capuletie i Montecchi, she insisted ‘on singing Vaccai’s final scene in- stead of Bellini’s. After Malibran’s tragic death in a riding accident, Vaccai, together with Donizetti, Mercadante and others wrote a fu- neral cantata in her honor. ‘Vaccai was destined to leave his name in music history not as a ‘composer of operas but rather as a singing teacher. Rossini said: “He le steltle ed Nicola Vaccai [nikgla vakrkai} (Tolentino, 1790-Pesaro, 1848) il silentsjo 9 Le stelle ed il silenzio The stars and the silence di_ngtste or non vaszsio 10 Di notte or non yogl'io. of night now not want-L. ad:dio miei dgaje ad:dio 11 Addi, miei gioie, addi Farewell, my joys, farewell. 0 Ja fu patfe adrdio ‘2 Fuggo la pace. Addio! Iflee ai nel 13 Ahi, nel rumor del rumor del the peace. Farewell. mondo mondo, Alas, in-the uproar of-the world il dwol 14 Il duol the sorrow la morte 15 La morte é is the only farewell The death kora 16 Chora which-now had a profound knowledge of the physiology of the human voice and ‘was able to keep his students with- in their natural limits, thanks to a method which allowed them, at the same time, to sing in the most natural and heartfelt manner.” Singing and teaching in Lon- don in 1830-33, Vaceai published his Practical Method of Italian Singing, still used by voice stu- dents everywhere. He also com- posed at least 36 romanze. “L’Addio,” written for Vaccai's student Luigia Branca, appeared for the first time in Ricordi’s maga- zine, Glissons n’appuyons pas, Dec. 3, 1836. The first two stanzas of the poem together form the first part of the aria, which moves from the mi- nor key to the relative major. The final words, “Addio, addio,” make an abrupt transition back to minor. : fe TS aR mi pjatfe mi piace, Ia me pleases, the death. non trova ob:blio non trova obbli not finds forgetting. il solo adsdio solo addio, la morte morte! The second part of the aria has some interesting variations in the vocal line; it ends as the first one id, with an abrupt return to minor. Vaceai's Practical Method demonstrates the precise rhytht notation of appoggiaturas (al- though the note values are distort- ed in all modern editions except that of G. Schirmer, Inc.). Follow- ing Vaccai’s examples, the appog- giatura in measure 10 completely replaces the note of resolution; the dissonance is resolved on the sec- ond beat of the measure, not be- fore. Also, the appoggiaturas in measures 37 and 41 replace the succeeding notes. ‘The custom of using an appog- giatura to notate a dissonance went out of style during Vaccai’s career; later composers were more specific about their wishes.Nicola Vaceai Poco agitato > Ad - dio, do-ra s0- gni, ca si ti fan - ta-smi, ad di e o! cet-to nel mi-o, pi non a - ve-te, O tobe prtmes: GO| SY ve-te, pi Literal translation: Farewell, golden dreams; dear spirits, farewell. There is no room for you in my heart anymore. LAddio @ 2Bdio, fan ta smi,ad - di Bo-schi so-lin - ghig ® pog-gi ¢ que - to ri-o, neers miei non siete, pid miei non sig -te, no, @ Tobe performed: e-g cqe w Lonely woods and valleys, hills and quict streams, farewell forever. You are no longer mine. rsmiei non sie =te, pit or non © Tore perme: GHEY wie. Ad. Terave the stars and the silence of the night no longer.Ad - dio, mie gio porns) Se: Fe ee Ne dio, mie gio Abi! nel ru-mor del = Farewell, all joys. I fly from peace. Woe is me, in the strife of the world sorrow cannot be forgotten. ‘Death is the only true farewell: 26 B L‘Addio *- logd-di - 0, la mor- te, ch’o pia- ce, ch’o ra mi pia-ce Gil so-lg gd - dio, ra mi pia-ce, ch’o the only farewell is death, which pleases me. LAddio © 2