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TENOR

Antholo~y of

Edited by Paolo Toscano

This edition is not authorized for sale in the EU or other European countries.

Assistant Editor: J. Mark Baker


Cover: II bacio (The Kiss), 1859, Francesco Hayez

ISBN 0-634-04388-9

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CONTENTS
6

Aria Plots and Translations

AIDA
28
Celeste Aida

Giuseppe Verdi

ALCINA
23
E un folle, e un vile affetto

George Frideric Handel

ANDREA CHENIER
34
Come un bel di di maggio

Umberto Giordano

L'ARLESIANA
38
E la solita storia

Francesco Cilea

UN BALLO IN MASCHERA
42
Di'to se fedele
48
Ma se m'e forza perderti

Giuseppe Verdi

IL BARBIERE DI SIVIGLIA
Gioachino Rossini
54
Ecco ridente in cielo
60
Se it mio nome saper bramate (Serenata)
LA BOHEME
63
Che gelida marina
I CAPULETI E I MONTECCHI
~ 68
E serbata a questo acciaro

Giacomo Puccini
Vincenzo Bellini

CAVALLERIA RUSTICANA
Pietro Mascagni
77
O Lola, bianca come fior di spino
LA CENERENTOLA
80
Si, ritrovarla io giuro

Gioachino Rossini

LA CLEMENZA DI TITO
92
Del piu sublime soglio

Wolfgang Amadeus Mozart

COSI FAN TUTTE


96
Un'aura amorosa

Wolfgang Amadeus Mozart

DON GIOVANNI
100
Il mio tesoro

Wolfgang Amadeus Mozart

DON PASQUALE
108
Come gentil

Gaetano Donizetti

L'ELISIR D'AMORE
118
Una furtiva lagrima

Gaetano Donizetti

LA FANCIULLA DEL WEST


122
Ch'ella mi creda

Giacomo Puccini

LA FAVORITA
113
Spirto gentil

Gaetano Donizetti

LA FINTA GIARDINIERA
Che belts, the leggiadria
124

Wolfgang Amadeus Mozart

LA FORZA DEL DESTINO


132
O to the in seno agli angeli

Giuseppe Verdi

GIANNI SCHICCHI
Avete torto!
~- 138

Giacomo Puccini

L'INCORONAZIONE DI POPPEA
Sento un certo non so the
129

Claudio Monteverdi

IRIS
144

Pietro Mascagni
Apri la tua finestra

LUCIA DI LAMMERMOOR
Fra poco a me ricovero
~- 147

Gaetano Donizetti

LUISA MILLER
Quando le sere al placido
154

Giuseppe Verdi

MADAMA BUTTERFLY
Addio,fiorito asil
164

Giacomo Puccini

MANON LESCAUT
Donna non vidi mai
161

Giacomo Puccini

MEFISTOFELE
Dai campi, dai prati
166

Arrigo Boito

PAGLIACCI
Vesti la giubba
168

Ruggero Leoncavallo

IL PIRATA
Tu vedrai la sventurata
~ 171

Vincenzo Bellini

RIGOLETTO
Parmi veder le lagrime
~- 178
La donna e mobile
192

Giuseppe Verdi

TOSCA
Recondita armonia
196
E lucevan le stelle
199

Giacomo Puccini

LA TRAVIATA
Dei miei bollenti spiriti
202

Giuseppe Verdi

IL TROVATORE
Deserto sulla terra
208

Giuseppe Verdi

TURANDOT
Nessun dorms
210

Giacomo Puccini

INDEX
Vincenzo Bellini
68 E serbata a questo acciaro
(I Capuleti e i Montecchi)
171 Tu vedrai la sventurata (Il pinata)
Amigo Boito
166 Dai campi, dai prati (Mefistofele)
Francesco Cilea
38 E la solita storia (L'Arlesiana)
Gaetano Donizetti
108 Come gentil(Don Pasquale)
147 Fra poco a me ricovero
(Lucia di Lammermoor)
113 Spirto gentil(Lafavorita)
118 Una furtiva lagrima (L'elisir d'amore)
Umberto Giordano
34 Come un bel di di maggio(Andrea Chenier)
George Frideric Handel
23 E un folle, e un vile affetto (Alcina)
Ruggero Leoncavallo
168 Vesti la giubba (Pagliacci)
Pietro Mascagni
144 Apri la tua finestra (Iris)
77 O Lola,Bianca come fior di spino
(Cavalleria rusticana)
Claudio Monteverdi
129 Sento un certo non so the
(L'incoronazione di Poppea)
Wolfgang Amadeus Mozart
124 Che belts, the leggiadria (Lafinta giardiniera)
92 Del piu sublime soglio (La clemenza di Tito)
100 Il mio tesoro(Don Giovanni)
96 Un'aura amoroso (Cosifan tutte)

Giacomo Puccini
164 Addio,fiorito asil(Madams Butterfly)
138 Avete torto!(Gianni Schicchi)
63 Che gelida marina (La boheme)
122 Ch'ella mi creda (Lafanciulla del West)
161 Donna non vidi mai(Manor Lescaut)
199 E lucevan le stelle (Tosca)
210 Nessun dorms(Turandot)
196 Recondita armonia (Tosca)
Gioachino Rossini
54 Ecco ridente in cielo (Il barbiere di Siviglia)
60 Se it mio nome saper bramate (Serenata)
(Il barbiere di Siviglia)
80 Si, ritrovarla io giuro (La Cenerentola)
Giuseppe Verdi
28 Celeste Aida (Aida)
202 Dei miei bollenti spiriti(La traviata)
208 Deserto sulla terra (Il trovatore)
42 Di tu' se fedele(Un hallo in maschera)
192 La donna e mobile (Kigoletto)
48 Ma se m'e forza perderti
(Un hallo in maschera)
132 O to the in seno agli angeli
(Laforza del destino)
178 Parmi veder le lagrime (Rigoletto)
154 Quando le sere al placido (Luisa Miller)

Aria Plots and Translations

AIDA
Music: Giuseppe Verdi. Libretto: Antonio Ghislanzoni, after the French prose of Camille du Locle; plot by August Mariette.
First performance: Opera House,Cairo,24 December 1871 (not for the opening of the Suez Canal,as sometimes said). Setting:
Memphis,Egypt; ancient times;a hall in the king's palace.
Celeste Aida
from Act I
Dramatic context: The priests of Isis are offering sacrifices to learn from the goddess whom she will choose to lead the
Egyptian army against the invading Ethiopian forces. Radames,captain of the Egyptian guard,hopes that he will be chosen.
Imagining a victorious return, he believes he will then be able to receive permission to marry Aida,an Ethiopian slave girl
who belongs to Amneris,the daughter of the Egyptian king.
Se quel guerrier
io fossil se it mio sogno
si avverasse! Un esercito di prodi
da me guidato... e la vittoria... e it plauso
di Menfi tutta! E a te, mia dolce Aida,
tornar di lauri cinto...
dirti: per to ho pugnato, per to ho vinto!

If that warrior
were I! if my dream
were to come true! An army of valiant men
led by me... and the victory... and the acclaim
ofall Memphis! And to you, my sweet Aida,
return with laurel crowned...
to say to you:for you I havefought,for you I have won!

Celeste Aida,forma divina,


mistico serto di lute e fior;
del mio pensiero to sei regina,
to di mia vita sei to splendor.
Il tuo bel cielo vorrei ridarti,
le dolci brezze del patrio suol;
un regal serto sul crin posarti,
ergerti un trono vicino al sol.

Heavenly Aida, presence divine,


mystic garland bright and blooming;
ofmy thoughts you are queen,
you of my life are the splendor.
Your beautiful skies I would restore to you,
the sweet breezes ofyour native soil;
a royal crown upon your brow 1 would pose,
build you a throne beside the sun.

ALCINA
Music: George Frideric Handel. Libretto: Anonymous,adapted from Antonio Fanzaglia's libretto L'Isola della Alcina, after
Ludovico Ariosto's epic poem Orlando Furioso. First performance:Covent Garden, London,l6 Apri11735. Setting: Alcina's
enchanted island.
un folle, e un vile affetto
from Act II
Dramatic context: Alcina's servant Oronte is in love with Morgana,Alcina's sister. Morgana,however,has fallen in love with
Ricciardo (actually Bradamante, a woman posing as a man to rescue her fiance Ruggiero from the clutches of the sorceress
Alcina). Once again rebuffed by Morgana,Oronte vows to steel his heart against her charms.
$ un folle,e un vile affetto,
non e la sus belts,
the trionfar la fa
superba del mio tor.

It is madness, it is a base emotion,


not her beauty,
that triumphant makes her
immodest of my heart.

Vieni sul labbro e al Giglio,


sdegno,the nutro in petto,
figlio d'offeso amor.

Come to my lip and brow


indignation, which 1 nurture in my breast,
born of offended love.

ANDREA CHENIER
Music: Umberto Giordano. Libretto: Luigi Illica, inspired by the life of the French poet Andrea Chenier. First performance:
Teatro alla Scala, Milan,28 March 1896. Setting: Paris, after the French Revolution.
Come un bel di di maggio
from Act N
Dramatic context: The poet Andrea Chenier,falsely accused as acounter-revolutionary, has been sentenced to death. In the
courtyard of St. Lazare Prison he writes a poem as he awaits the cart that will carry him to his execution. His friend Roucher
asks him to read the poem,which describes his feelings as a poet facing death.
Come un bel di di maggio
the con bacio di vento
e carezza di raggio
si spegne in firmamento,

Like a lovely day in May


that, with the kiss ofa breeze
and caress ofa sunbeam,
fades in the sky,

col bacio io d'una rima,


carezza di poesia,
salgo 1'estrema circa
dell'esistenza mia.

I, with the kiss ofa rhyme,


the caress ofpoetry,
climb thefinal heights
of my existence.

La sfera the cammina


per ogni umana sorte
ecco gia mi awicina
all'ora della morte,
e forse pria the 1'ultima
mia strofa sia finita,
m'annunciera it carnefice
la fine Bella vita.

The cyclic course


ofall human destiny
now already draws me
near the hour of death,
and perhaps before my last
verse is done,
it will bring my executioner,
the end oflife.

Sia! Strofe, ultima Dea!


ancor Bona al tuo poeta
la sfolgorante idea,
la fiamma consueta;
io,a te, mentre to vivida
a me sgorghi dal cuore,
darn per rima it gelido Spiro
d'un uom the muore.

So be it! Verse, supreme Goddess!


once more grant your poet
the brilliant thought,
the accustomedflame;
Ito you,as you vividly
rushforthfrom my heart,
will return in rhyme the chilled
breath ofa man about to die.

L'ARLESIANA
(The Girl from Arles)
Music: Francesco Cilea. Libretto: Leopoldo Marenco,based on the play L'Arlesienne by Alphonse Daudet. First performance:
Teatro Lirico, Milan,27 November 1897. Setting: Provence,nineteenth century.
E la solita storia
from Act II
Dramatic context: Federico is in love with a girl from Arles, but his mother Rosa Mamai and her godchild Vivetta, who loves
him,show Federico letters proving the girl has been the mistress of Metifio, the stablehand. Though Federico consents to
marry Vivetta, his passion and pain are very much alive.
$ la solita storia del pastore
ii povero ragazzo
voleva raccontarla, e s'addormi.
C'e nel sonno 1'oblio. Come 1'invidio!
Anch'io vorrei dormir cosi;
nel sonno almen 1'oblio trovar!
La pace Sol cercando io vo'!
Vorrei poter tutto scordar!
Pur ogni sforzo e vano... davanti
ho sempre di lei it dolce sembiante!
La pace tolta e sempre a me!
Perche degg'io tanto penar?...
Lei, sempre lei dinanzi a me! Fatale
vision, mi lascia! Mi fai tanto male!
Ahime!

It is the usual story ofa shepherd...


The poor lad
wanted to tell the tale, and hefell asleep.
There is oblivion in sleep. How I envy him!
I too would like to sleep so;
in sleep at least oblivion tofind!
Peace alone I seek!
I wish that I couldforget it all!
Yet every effort is in vain... before me
I have always her sweet image!
Peace is takenforeverfrom me!
Why must I suffer so?...
Her, always her before me!Inescapable
vision, leave me! You hurt me so!
Alas!

UN BALLO IN MASCHERA
(A Masked Ball)
Music: Giuseppe Verdi. Libretto: Antonio Somma,after Eugene Scribe's libretto for Daniel-Francois-Esprit Auber's opera
Gustave III, ou Le Bal Masque,based on the assasination of Gustave III of Sweden at a masked ball in 1792. First performance:
Teatro Apollo, Rome,17 February 1859. Setting: The opera was originally planned to follow the Gustave III setting in late
eighteenth century Sweden,but because of censorship the king was changed to a governor in Boston.
Di' to se fedele
from Act I, scene 2
Dramatic context: Riccardo,the governor of Boston, has disguised himself as a fisherman. In the but of the old fortune-teller
Ulrica, he waits his turn to test her powers of divination,singing a barcarolle in which he declares that nothing can hold him
from the sea or from the woman he loves.

Di to se fedele
it Hutto m'aspetta,
se molle di pianto
la donna diletta
dicendomi addio,
tradi 1'amor mio.

Tell me iffaithful
the sea awaits me,
if, weakened by tears,
my beloved lady,
in sayingfarewell,
betrayed my love.

Con lacere vele


e Palma in tempesta,
i solchi so franger
dell'onda funesta,
1'averno ed it cielo
irati sfidar.

With tattered sails


and soul in storm,
the crest I can break
of the deadly wave,
hell and heaven
irate I can defy.

Sollecita esplora,
divina gli eventi:
non possono i fulmin,
la rabbia de' venti,
la morte,l'amore
sviarmi dal mar.

Urgently explore,
predict thefuture;
neither lightning,
fury of the winds,
death, nor love
turn mefrom the sea.

Sull'agile prora
the m'agita in grembo,
se scosso mi sveglio
ai fischi del nembo,
ripeto fra' tuoni
le dolci canzoni.
Le dolci canzoni
del tetto natio,
the i baci ricordan
dell'ultimo addio,
e tutte raccendon
le forze del cor.
Su dunque,risuoni
la tua profezia,
di' cio the puo Borger
dal fato qual sia;
nell'anime nostre
non entra terror.

On agile prow
that wrenches my breast,
ifshaken 1 awake
to the howling storm,
I repeat amid the thunder
the sweet songs.
The sweet songs
of my native home,
which remind me of the kisses
of my lastfarewell,
and rekindle all
the courage of my heart.
Onward, then, soundforth
your prophecy;
tell what might come
from whatever destiny brings;
in our souls
will enter no terror.

Ma se m'e forza perderti


from Act III, scene 2
Dramatic context: Riccardo, musing alone in a room in his house, realizes that his love for Amelia, the wife of his friend and
advisor Renato,is misguided. He decides to send Renato as an envoy to England,accompanied by Amelia,so that his friend
may retain his honor.
Forse la soglia attinse,
e posa alfin! L'onore
ed it dower fra i nostri petti han rotto
1'abisso. Ah! si, Renato
rivedra 1'Inghilterra... e la sua sposa
to seguira. Senza un addio,l'immenso
ocean ne separi... e taccia it core.
Esito ancor? ma,o ciel, non to degg'io?
Ah,l'ho segnato it sacrifizio mio!

Perhaps she has reached home,


and rests at last! Honor
and duty have opened between our hearts
an abyss. Ah! yes, Renato
will again see England... and his consort
willfollow him. Without afarewell, the immense
ocean will divide us... and silence the heart.
Yet I hesitate? but, O heaven, must I not do so?
Ah,I have signed my own sacrifice!

Ma se m'e forza perderti


per sempre,o Luce mia,
a to verra it mio palpito
sotto qual ciel to sia,
chiusa la tua memoria
nell'intimo del cor.

But ifI must lose you


forever, O light of my life,
for you my heart will beat
no matter where you may be;
closed is your memory
deep within my heart.

Ed or qual reo presagio


to spirito m'assale,
the it rivederti annunzia
quasi un desio fatale,
come se fosse 1'ultima
ora del nostro amor?

And now what evilforeboding


assails my spirit,
that makes seeing you again
almost an obsessive wish,
as if it were the last
hour ofour love?

IL BARBIERE DI SIVIGLIA
(The Barber of Seville)
Music: Gioachino Rossini, originally titled Almaviva, ossia L'inutile precauzione(Almaviva,or The Useless Precaution). Libretto:
Cesare Sterbini, based on Le Barbier de Seville, a play by Pierre-Auguste Caron de Beaumarchais and the libretto for Giovanni
Paisiello's Il barbiere di Siviglia. First performance: Teatro Argentina,Rome,20 February 1816. Setting: Seville, eighteenth
century.
Ecco ridente in cielo
from Act I, scene 1
Dramatic context:In the pre-dawn light of a public square outside the house of Don Bartolo,Count Almaviva serenades the
beautiful Rosina,Bartolo's ward. Disguised as the student "Lindoro," and accompanied by a band of professional musicians,
he sings that Rosina will bring happiness to his life in the same way that the coming dawn drives away the darkness.
Ecco ridente in cielo
spunta la Bella aurora,
e to non sorgi ancora
e puoi dormir cosi?

There,glorious in the heavens,


breaks the beautiful dawn;
and you still do not rise,
and you go on sleeping?

Sorgi, mia dolce speme,


vieni, bell'idol mio,
rendi men crudo,oh Dio!
to stral the mi feri.

Arise, my dear hope;


come, my beautiful idol;
make less cruel, oh Lord!
the arrow that wounded me!

Tacete! gia veggo


quel caro sembiante:
quest'anima amante
ottenne pieta.

Silence! already I see


that dear countenance:
this lover's soul
has obtained compassion.

Oh istante d'amore!
Felice momento!
Oh dolce contento
the equal no,non ha.

Oh, moment oflove!


Happy moment!
Oh sweet joy
that has no equal, none..

Se it mio nome saper bramate (Serenata)


from Act I, scene 3
Dramatic context: Disguised as "Lindoro," a poor student, Count Almaviva serenades Rosina,the ward and intended bride of
Dr. Bartolo. He does not want her to know his true identity, hoping to win her love on his own merits, not those of his station.
Se it mio nome saper voi bramate,
dal mio labbro it mio nome ascoltate.

If my name you wish to know,


from my own lips my name you will hear.

Io son Lindoro
the lido v'adoro,
the sposa vi bramo,
the a nome vi chiamo
di voi sempre parlando cosi
dall'aurora al tramonto del di.

I am Lindoro,
who loves you dearly,
who hopes to marry you,
who calls your name,
who always speaks of you thus,
from dawn to dusk.

L'amoroso e sincero Lindoro


non puo darvi, mia Cara, un tesoro.
Ricco non Sono,
ma un core vi dono,
un'anima amante
the fida e constante
per voi Bola sospira cosi
dall'aurora al tramonto del di.

The loving and sincere Lindoro


cannot give you, my dear, a treasure.
Rich I am not,
but I offer you a heart,
a loving soul that,
trustworthy and constant,
for you alone yearns thus
from dawn to dusk.

LA BOHEME
(The Bohemian Life)
Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after Henri Murger's novel Scenes de la Vie de Boheme.
First performance: Teatro Regio, Turin,l February 1896. Setting: Paris, c1830.

10

Che gelida manina


from Act I
Dramatic context: It is Christmas Eve in the Latin Quarter. Alone in his sparse, cold garret apartment,Rodolfo tries to finish a
newspaper article while his friends have gone to celebrate. His neighbor Mimi,a seamstress, knocks on the door and asks him
to light her candle. After both their candles go out,they search for Munis lost doorkey. Clasping her hand in the moonlit
room,Rodolfo introduces himself.
Che gelida marina!
Se la lasci riscaldar.
Cercar the giova? Al buffo non si trova.
Ma per fortuna e una notte di luna,
e qui la luna 1'abbiamo vicina.
Aspetti, signorina:
le dird con due parole
chi son,e the faccio, come vivo. Vuole?
Chi son? Sono un poeta.
Che cosa faccio? Scrivo.
E come vivo? Vivo.
In poverty mia lieta
scialo da gran signore
rime ed iruu d'amore.
Per sogni e per chimere
e per castelli in aria
1'anima ho milionaria.
Talor dal mio forziere
ruban tutti i gioielli
due ladri: gli occhi Belli.
V'entrar con voi pur ora,
ed i miei sogni usati,
e i bei sogni miei
tosto si dileguar!
Ma it furto non m'accora,
poiche v'ha preso stanza
la dolce Speranza!
Or the mi conoscete,
parlate voi, deh! Chi siete?
Vi piaccia dir!

YVhat afrozen little hand!


Let me warm itfor you.
What good to search? In the dark it cannot befound.
But thank heaven it is a moonlit night,
and here we have the moon close by.
Wait, miss:
I will tell you in afew words
who I am,and what I do, how I live. Shall I?
Who am I? I am a poet.
What do I do? I write.
And how do I live? I live.
In my cheerful poverty
I squander as a great lord
rhymes and hymns to love.
For dreams andfantasies
and castles in the air
my soul is a millionaire.
Sometimes my treasure chest
is robbed ofall its jewels by
two thieves: beautiful eyes.
They entered with you just now,
and my usual dreams,
and my beautiful dreams
quickly vanished!
But the theft does not dishearten me,
because their place has been taken by
sweet hope!
Now that you know me,
speak of yourself, please! YVho are you?
Would you like to tell me?

CAPULETI E I MONTECCHI
(The Capulets and the Montagues)
Music: Vincenzo Bellini. Libretto: Felice Romani,based on his libretto for Nicola Vaccai's Giulietta e Romeo,in turn based on
Luigi Scevola's tragedy of the same name. First performance: Teatro La Fenice, Venice,11 March 1830. Setting: Verona,
thirteenth century.
E serbata a questo acciaro
from Act I, scene 1
Dramatic context: In a hall in Capulets' palace, Capellio, head of the family, waits with his followers for an emissary's news of
the Montagues, their enemies. Capellio's son was killed in battle by Romeo,the son of Montague. Tebaldo,in love with
Capellio's daughter Giulietta, affirms Capellio's vow to have bloody revenge on the Montagues.
E serbata a questo acciaro
del tuo sangue la vendetta:
1'ho giurato per Giulietta:
tatty Italia, it ciel to sa.
Tu d'un nodo a me si caro
solo affretta it dolce istante;
ed it voto dell'amante
it consorte adempira.

This sword is destined


to seek revengefor your blood:
I have sworn sofor Juliet;
all ofItaly, heaven itselfknows this.
You, toward a bond I so desire,
only hasten the sweet moment;
and the promise of her lover
will befulfilled by her betrothed.

L'amo tanto, e m'e si Cara,


piiz del Sol the mi rischiara;
e riposta, e viva in lei
ogni gioia del mio cor.
Ma se avesse it mio contento
a costarle un Sol lamento,
Ah! piuttosto io sceglierei
mille giorni di dolor.

I love her so, and she is so dear to me,


more than the sun that shines;
in her resides and thrives
every joy of my heart.
But if to please myself
I were to cause her a single discomfort,
Ah!I would sooner choose
a thousand days of pain.

11

CAVALLERIA RUSTICANA
(Rustic Chivalry)
Music: Pietro Mascagni. Libretto: Giovanni Targioni-Tozzetti and Guido Menasci, based on a short story by Giovanni Verga.
First performance: Teatro Costanzi, Rome,17 May 1890. Setting: A Sicilian village, on an Easter Day in the nineteenth
century.
O Lola,Bianca come fior di spino
Dramatic context: Turiddu,a young soldier returning from war,sings a serenade to Lola, his beloved. Turridu's Siciliana is
part of the orchestral prelude and is sung from behind the curtain.
O Lola,Bianca come fior di spino,
quando t'affacci to s'affaccia it sole;
chi t'ha baciato it labbro porporino
grazia piu Bella a Dio chieder non vole!
C'e scritto sangue sopra la tua ports;
ma di restarci a me non me n'importa.
Se per to mojo e vado in paradiso,
non c'entro se non vedo it tuo Bel viso.

O Lola, white as the thorned blossom,


when you appear, so appears the sun;
he who has kissed your ruby lips
no gift more wonderfulfrom God would aspire!
There is written blood over your portal,
but I will remain; if has no importance.
Iffor you I die and go to paradise,
I will not enter there ifI do not see your beautifulface.

LA CENERENTOLA
(ossia, La Bonta in Trionfo)
(Cinderella, or The Triumph of Goodness)
Music: Gioachino Rossini. Libretto: Jacopo Ferretti, after Charles Perrault's Cendrillon and probably both Charles-Guillaume
$tienne's libretto for Niccolo Isouard's Cendrillon and the libretto for Stefano Pavesis Agatina; also after the fairy tale. First
performance: Teatro Valle, Rome,25 January 1817.
Si, ritrovarla io giuro
from Act II,scene 1
Dramatic context: Don Ramiro, prince of Salerno, has traded places with his valet Danduu. While in disguise, Ramiro
encounters Angelina (Cenerentola), and the two fall in love at first sight. Ramiro resolves to find her again and win her as his
bride.
Si, ritrovarla io giuro.
Amore,amor mi muove:
se fosse in grembo a Giove
io la ritrovero.

Yes,I swear I willfind her.


Love, love moves me:
were she hidden by Jove himself
I wouldfind her.

Pegno adorato e caro


the mi lusinghi almeno.
Oh,come al labbro, al seno
come ti stringero!

Beloved token, and precious,


you might at least give me hope.
Oh, how to my lips, my breast,
how I will embrace you!

Noi voleremo,domanderemo,
ricercheremo,ritroveremo.
Dolce speranza,freddo timore
dentro al mio core stanno a pugnar.
Amore,amore, m'hai da guidar.

We willfly, inquire,
search, discover.
Sweet hope, chillingfear,
within my heart are wrestling.
Love, love, you must guide me.

LA CLEMENZA DI TITO
(The Clemency of Titus)
Music: Wolfgang Amadeus Mozart. Libretto: Caterino Mazzola, adapted from a libretto by Pietro Metastasio. First
performance: National Theatre,Prague,6 September 1791. Setting: Rome,c80 A.D.
Del piu sublime soglio
from Act I
Dramatic context: Tito, who contemplates marrying his friend Sesto's sister Servilia, promises Sesto a great and powerful
position at his palace. Tito extols the privilege of generosity enjoyed by men of great power.
Del piiz sublime soglio
1'unico frutto e questo:
tutto e tormento it resto,
e tutto e servitu.

Ofthe highest throne


the singlefruit is this:
all else is torment,
and all is servitude.

12

Che avrei,se ancor perdessi


le sole ore felici
ch'ho nel giovar gli oppressi,
nel sollevar gli amici,
nel dispensar tesori
al merto,e alla virtu?

What would I have, were I also to lose


the only happy hours
I pass in aiding the oppressed,
in helpingfriends,
in dispensing wealth
to the deserving, and the virtuous?

COSI FAN TUTTE


(ossia La Scuola degli Amanti)
(Women are Like That, or The School for Lovers)
Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte. First performance: Burgtheater, Vienna,26 January 1790.
Setting: Naples,eighteenth century.
Un'aura amorosa
from Act I, scene 12
Dramatic context: Two young Neapolitan soldiers, Ferrando and Guglielmo,have disguised themselves as Albanians in a plot
devised by their friend Don Alfonso: they will test whether or not their girlfriends, the sisters Fiordiligi and Dorabella, are
faithful. Having completed the first exercise in deception,Ferrando addresses his two co-conspirators on the nurturing power
of love.
Un'aura amorosa
del nostro tesoro
un dolce ristoro
al cor porgera.

The loving glow


ofour beloved,
a sweet restorative
to the heart will supply.

Al cor the nudrito


da speme, da amore,
d'un'esca migliore
bisogno non ha.

To the heart nourished


by hope, by love,
no greater temptation
is needed.

DON GIOVANNI
(Don Juan)
Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte, after Giovanni Bertati's libretto for Giuseppe Gazzaniga's
opera Il convitato di pietra; also based on the Don Juan legends. First performance: National Theatre,Prague,29 October 1787.
Setting: Seville, sixteenth century.
Il mio tesoro
from Act II,scene 2
Dramatic context: Don Ottavio is finally convinced that it was Don Giovanni who killed the Commendatore,the father of his
fiancee Donna Anna. He asserts that he will punish this wrong and bring solace to his beloved.
Il mio tesoro intanto
andate a consolar,
e del bel Giglio it pianto
cercate di asciugar.

My beloved, meanwhile,
go to comfort,
andfrom her lovely lash the tears
attempt to dry.

Ditele the i suoi torti


a vendicar io vado;
the sol di stragi e morti
nunzio vogl'io tornar.

Tell her thatfor the wrongs she has suffered


to revenge I am gone;
that only destruction and death
will I return proclaiming.

DON PASQUALE
Music: Gaetano Donizetti. Libretto: Donizetti and Giovaruli Ruffini, based on Anellis libretto for Stefano Pavesi's opera Ser
Marcantonio. First performance: Theatre-Italien, Paris,3 January 1843. Setting: Rome,early nineteenth century.

13

Come gentil
from Act III, scene 2
Dramatic context: From Don Pasquale's garden,Ernesto serenades his beloved Norina. He describes the beauty of the moonlit
night and longs for "Nina" to be with him. In the opera, this aria is sung offstage, accompanied by guitars, with a chorus
responding throughout.
Come gentil la notte a mezzo april!
E azzurro it ciel, la Luna e senza vel:
tutt'e languor, pace, mistero, amor.
Ben mio,perche ancor non vieni a me?
Formano 1'aure
d'amore accenti,
del rio nel murmure
sospiri senti;
ben mio,perche ancor non vieni a me?
Poi quando saro morto, piangerai,
ma richiamarmi in vita non potrai.

How gentle is the night in mid-April!


The sky is blue, the moon is clear:
all is calm, peace, mystery, love.
My beloved, why do you not yet come to me?
The air gives shape
to sounds of love,
in the brook as it murmurs
you can hear sighs oflonging;
my beloved, why do you not yet come to me?
Then, when I am dead, you will cry,
but bring me back to life you cannot.

Il tuo fedel si strugge di desir,


Nina crudel, mi vuoi veder morir?

Your devoted is consumed with desire;


Nina unmerciful, do you wish to see me die?

L'ELISIR D'AMORE
(The Elixir of Love)
Music: Gaetano Donizetti. Libretto: Felice Romani,after Eugene Scribe's libretto for Daniel-Francois Auber's opera Le Philtre.
First performance: Teatro Bella Canobbiana, Milan,l2 May 1832. Setting: A small Italian village, nineteenth century; the
village square.
Una furtiva lagrima
from Act II, scene 2
Dramatic context: Nemorino,a simple peasant, has fallen in love with Adina,a rich farm owner in the village. He believes that
his instant success with the girls is due to Doctor Dulcamara's elixir (actually Bordeaux wine) which he has just taken. He
doesrit yet know what the girls know: he is about to inherit a large fortune left by his rich uncle. Wandering away from the
village dance, Nemorino can think only of Adina, who seemed upset by his new indifference and by the attention he was
receiving from the village girls.
Una furtiva lagrima
negli occhi suoi spunto:
quelle festose giovani
invidiar sembro.
Che piiz cercando io vo?
Mama, mama,to vedo.

A secret tear
sprung to her eyes;
she seemed to envy
thosefestive maidens.
What more do I seek?
She loves me,she loves me,I see it.

Un solo istante i palpiti


del suo bel cor senor!
I miei sospir confondere
per poco a'suoi sospir!
I palpiti senor!
confondere i miei co'suoi sospir!
Cielo, si puo morir;
di piu non chiedo.

Tofeelfor only an instant


the beating ofher beautiful heart!
To mingle my sighs
briefly with her sighs!
Feel the pulse!
Mingle her sighs with mine!
Heaven, one can die;
no more do I ask.

LA FANCIULLA DEL WEST


(The Girl of the Golden West)
Music: Giacomo Puccini. Libretto: Carlo Zangarini and Guelfo Civinini, after David Belasco's play. First performance:
Metropolitan Opera,New York,10 December 1910. Setting: California mining camp during the 1849 gold rush.
Ch'ella mi creda
from Act III
Dramatic context: Dick Johnson (actually the bandit Ramerrez)is about to be hanged. With a noose around his neck, he asks
the miners to let his beloved Minnie believe he has escaped. Misuue rides in and begs the miners, who dote on her, to allow the
two of them to leave together. The miners agree, and Minnie and Dick ride off into the sunset.

14

Ch'ella mi creda libero e lontano,


sopra una nuova via di redenzione!
Aspettera ch'io torni...
E passeranno i giorni,
ed io non tornero...
Minnie, della mia vita mio solo fiore,
Minnie, the mhai voluto tanto bene!

She must believe I amfree andfar away,


following a new path to redemption!
She will waitfor me to return...
And the days will pass,
and I will not return...
Minnie, who of my life has been my onlyflower,
Minnie, who loved me so much!

LA FAVORITA
(The Favorite)
Music: Gaetano Donizetti. Libretto: Alphonse Royer and Gustave Vaez,after Baculard d'Arnaud's drama Le Comte de
Comminges; additions by Eugene Scribe, based in part on his libretto for Donizetti's L'Ange de Nisida. The opera was originally
sung in French (La Favorite), but performance in Italian has long been standard. First performance: Opera,Paris,2 December
1840. Setting: Compostela,Spain;1340; a courtyard of the monastery of Saint James.

Spirto gentil
from Act IV
Dramatic context: Fernando,a monastic novice turned Spanish army officer, was granted a reward by the king for his bravery
on the battlefield. Unaware that Leonora, who refused to reveal her identity, was the king's mistress, Fernando asked for her
hand in marriage and was granted it. Now discovering the truth,Fernando has disavowed his military honors and returned to
the monastery, where he reminisces about his love for Leonora.
Favorita del re! Qual nero abisso,
qual mat trama infernal
la gloria mia awolse in un istante,
e ogni speme tronco del core amante!

The king'sfavorite! YVhat black depths,


what infernal plot
enveloped my honor in an instant,
and severed every hope ofa lover's heart!

Spirto gentil, ne'sogni miei


brillasti un di, ma ti perdei:
fuggi dal cor mentita speme,
larve d'amor,fuggite insieme.

A delicate soul, in my dreams


you once appeared to me, but I lost you:
leave my heart, betrayed hope;
ghosts oflove, leave as well.

A to d'accanto del genitore


scordava it pianto,la patria, it ciel.
Donna sleal; in tanto amore
segnasti it core d'onta mortal,chime!

Beside you,of myfather


Iforgot his tears, my homeland, my world.
Dishonest woman;in so much love
you marked my heart with a deadly stain, alas!

LA FINTA GIARDINIERA
(The Feigned Gardeness)
Music: Wolfgang Amadeus Mozart. Libretto: Author unknown. First performance: Court Theatre, Munich,l3 January 1775.
Setting: The garden of Don Anchises.
Che belts, the leggiadria
from Act I
Dramatic context: Belfiore arrives in a carriage and as he looks at a portrait of his betrothed, Arminda,he praises her beauty
and radiance.
Che belts,the leggiadria,
the splendore,eterni Dei!
Guardo it sole e guardo lei,
e colpito da quei rat
parmi,oh Dio! di vacillar.

What beauty, what grace,


what splendor, eternal Gods!
Igaze at the sun and Igaze upon her,
and,stricken by those rays,
I seem, O God! to reel.

LA FORZA DEL DESTINO


(The Force of Destiny)
Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on the Spanish drama Don Alvaro, o La Fuerza del Sino by Angel
de Saavedra,Duke of Rivas. First performance:Imperial Theatre, St. Petersburg,l0 November 1862. Setting: Spain, mideighteenth century.

O to the in seno agli angeli


from Act III, scene 1
Dramatic context: After a long series of misfortunes, Don Alvaro remembers with anguish the violent and cruel events which
have plagued him. He addresses his lament to his beloved Leonora, whom he believes dead.

15

La vita e inferno all'infelice... Invano


morte desio!... Siviglial... Leonoral..
Oh,rimembranzal... Oh,notte
ch'ogni ben mi rapisti!...
Sand infelice eternamente... e scritto.

Life is hellfor an unhappy person... In vain


do I desire death!... Seville!... Leonoral...
Oh, the memories!... Oh, the night
that robbed me ofeverything dear!...
I shall beforever unhappy... it must be so.

Della natal sua terra it padre volle


spezzar 1'estranio giogo,e coll'unirsi
all'ultima degl'Incas la corona
cingere confido... Fu vana impresa!

Ofhis homeland myfather wished


to break theforeign yoke,and by joiningforces
with the last of the Incas the crown
he hoped to secure... It was a doomed enterprise!

In un carcere nacqui; m'educava


it deserto; sol vivo perche ignota
e mia regale stirpe!... I miei parenti
sognarono un trono,e li desto la scure!...
Oh,quando fine avran le mie sventure?

I was born in a prison; my school was


the desert; I survive only because no one knows of
my royal lineage!... My relatives
dreamed ofa throne, but awoke to the ax!...
Oh, when will my misfortunes come to an end?

O to the in seno agli angeli,


eternamente pura
salisti Bella,incolume
dalla mortal jattura,
non iscordar di volgere
to sguardo a me tapino,
the senza nome ed esule,
in odio del destino,
chiedo anelando,ahi misero,
la morte d'incontrar...
Leonora mia,soccorrimi,
pieta del mio penar.

O you who among the angels,


eternally pure,
rose in your beauty untouched
by mortal calamity;
do notforget to turn
your gaze to my wretched self,
who, without a name and exiled,
scorned by destiny,
asks eagerly, ah miserable me,
to meet death....
My Leonora, comfort me,
take pity on my suffering.

GIANNI SCHICCHI
Music: Giacomo Puccini. Libretto: Giovacchino Forzano,suggested by an episode in Dante's Inferno. First performance:
Metropolitan Opera House, New York,14 December 1918. Setting: Florence, 1299.
Avete torto!
Dramatic context: T'he recently-deceased Buoso Donati is surrounded by falsely grieving relatives who become outraged
when they learn that his will leaves his entire estate to a monastery. Rinuccio, one of Donati's young nephews,is in love with
Lauretta, but his family disapproves of this union. Rinuccio attempts to persuade the family to engage the cunning Gianni
Schicchi, Lauretta's father, to help them out of their dilemma. He extols Florence's past glories and acclaims Schicchi as yet
another in the city's rich heritage of noble citizens.
Avete torto!
E fine! astuto...
Ogni malizia
di leggi e codici
conosce e sa.
Motteggiatore! Beffeggiatore!
C'e da fare una beffa nuova e rara?
E Gianni Schicchi the la prepara!
Gli occhi furbi gli illuminan di riso
to sirano viso,
ombreggiato da quel suo gran nasone
the pare un torracchione
per cosi!
Vien dal contado? Ebbene? Che vuol dire?
Basta con queste ubbie grette e piccine!

You are mistaken!


He is clever! Cunning...
Every loophole
in the laws and regulations
he knows and understands.
Jester! Mocker!
Is there needfor some prank new and choice?
Gianni Schicchi will prepare it.
His artful eyes mirthfully light up
his strangeface,
with a shadow cast by that enormous nose ofhis,
which seems an ugly tower
turned sideways!
He comesfrom the country? And so? What does that mean?
Enough of these narrow-minded and short-sighted whims!

Firenze e come un albero fiorito


the in piazza dei Signori ha tronco e fronde,
ma le radici forze nuove apportano
dalle convalli limpide e feconde!
E Firenze germoglia ed alle stelle
salgon palagi saldi e torri snelle!

Florence is like a tree in bloom,


which in Piazza dei Signori has its trunk and branch,
but the roots drawfresh strength
from neighboring valleys clear andfertile!
And Florence grows,and to the stars
reach its solid palaces and slender towers!

L'Arno, prima di correre alla foce,


canta baciando piazza Santa Croce,
e it suo canto e si dolce e si sonoro
the a lui son scesi i ruscelletti in Coro!

The Arno, before itflows into its estuary,


serenades Piazza Santa Croce with a caress,
and its song is so sweet and sofull
that the rills run down to meet it in chorus!

16

Cosi scendanvi dotti in arti e scienze


a far piit ricca e splendida Firenze!

So likewise descended men learned in art and science


to enrichers and enlighten Florence all the more!

E di val d'Elsa giix dalle castella


ben venga Arnolfo a far la torre Bella!
E venga Giotto dal Mugel selvoso,
e it Medici mercante coraggioso!
Basta con gli odi gretti e coi ripicchi!
Viva la gente nova e Gianni Schicchi!

Andfrom the Elsa valley, downfrom the castles,


welcome is Arnolfo to build thefine tower!
And welcome is Giottofrom theforests of Mugello,
and Medici, the daring merchant!
Enough with intolerant loathing and revenge!
All hail the new populace and Gianni Schicchi!

L'INCORONAZIONE DI POPPEA
(The Coronation of Poppea)
Music: Claudio Monteverdi. Libretto: Giovanni Francesco Busenello, based on the Annals by first-century Roman historian
Tacitus. First performance: Teatro Santi Giovanni e Paolo, Venice, 1642. Setting: Rome,during the rule of Nero,65 A.D.
Sento un certo non so the
from Act II
Dramatic context: Valletto is page to the Empress Ottavia, wife of Nero. He sings a playful song of love to Damigella,
Ottavia's lady-in-waiting.
Sento un certo non so che,
the mi pizzica,e diletta:
dixnxni to the cosa egli e,
damigella amorosetta.
Ti farei,
ti direi,
ma non so quel ch'io vorrei.

Ifeel a certain something


that pricks me and delights me;
tell me what it is,
fair coquette.
I would have you,
I would tell you,
but I know not what.

Se sto teco '1 cor mi batte,


se to parti,io sto melenso,
al tuo sen di vivo latte
sempre aspiro e sempre penso.

IfI am with you my heart pounds;


f
i you leave, Ifeel listless;
for your nourishing breast
always I yearn and always I dream.

IRIS
Music: Pietro Mascagni. Libretto: Luigi Illica. First performance: Teatro Costanzi, Rome,22 November 1898. Setting: Japan,
nineteenth century.
Apri la tua finestra
from Act I
Dramatic context: The nobleman Osaka is playing the role of the son of the Sun God in a marionette show. He serenades the
watching Iris with a love song,but she is unaware that it is intended for her.
Apri la tua finestra! Jor son io
the vengo al tuo chiamar, povera Dhia!
Apri la tua finestra al raggio mio!
Apri it tuo cor a mia calda malia!

Open your window!I am Jor,


who responds to your call, poor Dhia!
Open your window to my light!
Open your heart to my passionate charm!

Jor ha ascoltata, o Dhia,la tua preghiera!


Apri 1'anima tua,fanciulla, al Sole!
Apri 1'anima tua alle mie parole!
Apri it tuo cuore a me,fanciulla, e spera!

Jor has listened, O Dhia, to your prayer!


Open your soul,fair maiden, to the Sun!
Open your soul to my words!
Open your heart to me, maiden, and hope!

Tu vuoi morir? Morire io ti faro,


ma ti faro morir dal Sol baciata,
poscia al paese eterno ti trarro,
ove,o fanciulla, to sarai amata!

You wish to die? I will make you die,


but I will make you die only kissed by the Sun;
then I'll take you to the eternal land
where, O maiden, you will be loved!

LUCIA DI LAMMERMOOR
(Lucy of Lammermoor)
Music: Gaetano Donizetti. Libretto: Salvadore Cammarano,based on Sir Walter Scott's novel The Bride ofLammermoor. First
performance: Teatro San Carlo, Naples,26 September 1835. Setting: Scotland,late seventeenth century.

17

Fra poco a me ricovero


from Act III, scene 2
Dramatic context: In the Ravenswood cemetery,Edgardo says he hopes to die in the upcoming duel with Enrico because his
beloved Lucia has married another. Unaware that Enrico has forced Lucia into the marriage with Arturo and that Lucia has
killed her new spouse in their wedding chamber,Edgardo believes she is joyous. He is grief-stricken and welcomes his own
death.
Tombe degli avi miei,l'ultimo avanzo
d'una stirpe infelice,
deh! raccogliete voi. Cesso dell'ira
it breve foco; sul nemico acciaro
abbandonar mi vo'. Per me la vita
e orrendo peso! L'universo intern
e un deserto per me senza Lucia!
Di faci tuttavia
splende it Castello... Ah! scarsa
fu la notte al tripudio! Ingrata donna!
Mentr'io mi struggo in disperato pianto,
to ridi, esulti accanto
al felice consorte!
Tu delle gioie in seno,io... della morte!

Tombs of my ancestors, the last descendant


ofan unhappy lineage,
alas! Bid me shelter. Extinguished by anger
was the briefflame; to the enemy's blade
I would abandon myself. For me life
is a horrendous burden! The entire universe
is a desertfor me without Lucia!
Yet with torches
the castle is bright... Ah! wanting
was the night in jubilation! Ungrateful woman!
While I am consumed in desperate weeping,
you laugh, you rejoice beside
your happy groom!
You with joy in your heart, I... with death!

Fra poco a me ricovero


dara negletto avello;
una pietosa lagrima
non scendera su quello!
Fin degli estinti, ahi misero!
manca it conforto a me.
Tu pur,to pur dimentica
quel marmo dispregiato:
mai non passarvi, o barbara,
del tun consorte a lato...
Rispetta almen le ceneri
di chi moria per te,
mai non passarvi, to to dimentica,
rispetta almeno chi muore per te,
o barbara,io morn per te.

Soon I willfind shelter


in the neglected crypt;
a tear of pity
will not be shed upon it!
The last ofthose extinct, ah wretch!
no comfort do I have.
May you, may youforget
that marble left to disregard:
never pass that way,oh cruel woman,
with your consort beside you...
Respect at least the ashes
ofone who diesfor you;
never pass that way,forget him;
respect at least he who diesfor you;
o cruel woman,I diefor you.

LUISA MILLER
Music: Giuseppe Verdi. Libretto: Salvadore Cammarano,based on Friedrich von Schiller's play Kabale and Liebe. First
performance: Teatro San Carlo, Naples,S December 1849. Setting: The Tyrol,seventeenth century.
Quando le sere al placido
from Act II, scene 3
Dramatic context: Luisa was compelled to renounce her love for Roldolfo in order to save her father from prison. Rodolfo has
just read the letter she was forced to write,saying that she never loved him. Remembering the many times she whispered "I
love you;' Rodolfo is devastated.
Oh! fede
negar potessi agli occhi miei!... Se cielo
e terra, se mortali
ed angeli attestarmi
volesser ch'ella non e rea,"mentite!"
io risponder dovrei,"tutu mentite!"
Son cifre sue!
Tanta perfidial... un'alma
si nera! si mendace!
Ben la conobbe it padre!...
Ma dunque i giuri,
le speranze,la gioia,
le lagrime,l'affano?
Tutto e menzogna,tradimento,inganno!

Oh! would that


1 could disbelieve my eyes!... Even if heaven
and earth, if men
and angels would wish
to affirm that she is not guilty, "You lie!"
I must respond, "you all lie!"
That is her writing!
Such perfidy!... a heart
so black! so mendacious!
Myfather understood her well!...
But what then ofthe vows,
the hopes, the joy,
the tears, the worry?
It is all dishonesty, betrayal, deceit!

18

Quando le sere al placido


chiaror d'un ciel stellato,
meco figgea nell'etere
to sguardo innamorato,
e questa mano stringermi
dalla sua man sentia...
Ah!... mi tradia!

When,ofan evening calmly


brightened by a starry sky,
she would turn with me to the heavens
her enamored gaze,
and this hand clasped
by hers 1 wouldfeel...
Ah!... she betrayed me!

Allor, ch'io muto,estatico


da'labbri suoi pendea,
ed ella in suon angelico
"amo to sol" dicea,
tal the sembro 1'empireo
aprirsi all'alma mia!
Ah!... mi tradia!

Then, with me silent, ecstatic,


clinging to her every word,
and she, in angelic tones,
"I love you only" would say,
so that it seemed like paradise
had opened to my soul!
Ah!... she betrayed me!

MADAMA BUTTERFLY
Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after the play by David Belasco, based on a story by John
Luther Long. First performance: Teatro alla Scala, Milan,17 February 1904. Setting: Nagasaki,early twentieth century.
Addio,fiorito asil
from Act III
Dramatic context: After an absence of three years, U.S. Navy Lieutenant B.F. Pinkerton returns to the home of Butterfly,
his
Japanese "wife." Butterfly's maid Suzuki tells him that Butterfly has gone out. Deciding that it would be too painful to say
goodbye to Butterfly, Pinkerton bids farewell to the house in which he and Butterfly spent many rapturous hours.
Addio,fiorito asil,
di letizia e d'amor...
Sempre it mite suo sembiante
con strazio airoce vedro.
Non reggo al tuo squallor,
Fuggo,fuggo,son vil!

Farewell,florid refuge
ofhappiness and of love...
Forever her gentle countenance
wracked with anguish I will envision.
I cannot resist your misery,
1flee; Iflee, I am a coward!

MANON LESCAUT
Music: Giacomo Puccini. Libretto: Domenico Oliva, Marco Praga, Luigi Illica, after Abbe Prevost's novel L'Histoire du Chevalier
des Grieux et de Manon Lescaut. First performance: Teatro Regio,Turin,l February 1893. Setting: Amiens,eighteenth century.
Donna non vidi mai
from Act I
Dramatic context: In front of an inn,the Chevalier des Grieux has seen Manon Lescaut for the first time. She is on her way to a
convent, under the care of her brother. Des Grieux speaks to her, they fall immediately in love, and run away to Paris.
Donna non vidi mai simile a questa!
A dirle: io t'amo,
a nuova vita Palma mia si desta.
"Manon Lescaut mi chiamo!"
Come queste parole profumate
mi vagan nello spirto
e ascose fibre vanno a carezzare.
O sussurro gentil, deh! non cessare!

Woman I have never seen similar to her!


When I tell her: I love you,
to life renewed my soul awakens.
"Manon Lescaut I am called!"
How these scented words
wander within my spirit,
and its hidden strains venture to caress.
O whisper so kind, ah! do not cease!

MEFISTOFELE
(Mephistofeles)
Music: Arrigo Boito. Libretto: Boito, based on Johann Wolfgang von Goethe's Faust. First performance: Teatro alla Scala,
Milan,5 March 1868. Setting: Germany,sixteenth century.
Dai campi,dai prati
from Act I
Dramatic context: In his laboratory on Easter Day,the aged Dr. Faust reflects upon the beauty and goodness of the world.

19

Dai campi,dai prati, the innonda


la notte, dai queti sentier
ritorno e di pace, di calma profonda
son pieno e di sacro mister.
Le torve passioni del core
s'assonnano in placido obblio,
mi ferve soltanto 1'amore
dell'uomo!
1'amore di Dio!
Dai campi,dai prati ritorno
e verso 1'Evangel
mi sento attratto,
m'accingo a meditar.

From fields,from meadows bedewed


by the night,from quiet by-ways
I return, and ofpeace, ofprofound calm
1 amfull, and ofsacred mystery.
The grim passions ofthe heart
slumber in peaceful oblivion;
1 am stirred only by my love
for man!
my lovefor God!
Fromfields,from meadows I return
and toward the Gospel
1feel drawn,
I prepare to ponder.

PAGLIACCI
(Clowns)
First performance:
Music: Ruggero Leoncavallo. Libretto: Leoncavallo, based on a court case his father heard as a judge.
late 1860s.
Calabria),
of
province
Italian
in
the
(a
village
Montalto
Setting:
1892.
May
21
Teatro del Verme,Milan,
Vesti la giubba
from Act I
an affair with
Dramatic context: Canio and his wife Nedda are members of a traveling troupe of actors. Nedda is having
of his broken
Silvio, a villager. Canio suspects her infidelity. As he applies his clown make-up before a show,Canio sings
heart.
Recitar!... Mentre preso dal delirio
non so piiz quel the dico e quel the Eaccio!
Eppur e d'uopo... sforzati!
Bah... sei to forse un uom? Tu se'Pagliaccio!

To perform!... While, stricken with madness,


I no longer know what I say and what I do!
And yet it is necessary... Force yourselfi
Bah... Would you be perhaps a man? You are a clown!

Vesti la guibba e la faccia infarina.


La gente paga e rider vuole qua.
E se Arlecchin t'invola Colombina,
ridi, Pagliaccio... e ognun applaudira!
Tramuta in lazzi to spasmo ed it pianto;
in una smorfia it singhiozzo e'1 dolor...
Ridi, Pagliaccio,sul tuo amore infranto!
Ridi del duol the t'awelena it cor!

Put on your tunic and whiten yourface.


The public pays and wants to laugh here.
And ifHarlequin steals Columbinefrom you,
laugh, Clown,and everyone will applaud!
Transform into gags the pangs and tears,
into a grimace the sobbing and the pain...
Laugh, Clown, at your shattered love!
Laugh at the pain that poisons your heart!

IL PIRATA
(The Pirate)
Bertram, ou Le pirate, itself derived from a
Music: Vincenzo Bellini. Libretto: Felice Romani,after Isidore Taylor's melodrama
1827. Setting: Sicily, thirteenth century.
October
tragedy by Charles Maturin. First performance: Teatro alla Scala, Milan,27
Tu vedrai la sventurata
from Act II, scene 10
repay the wrongs he suffered and to win back his beloved Imogene.
to
order
in
a
pirate
became
Gualtiero
context:
Dramatic
him to a duel. Having submitted to a trial by the knights, he has
challenged
Gualtiero killed Imogene's husband Ernesto, who
to his beloved.
been sentenced to die. He asks Adele,Imogene's lady-in-waiting, to defend his memory
Tu vedrai la sveniurata
the di pianto oggetto io resit
le dirai the s'io 1'offesi,
pur la seppi vendicar.
Forse un di, con me placata,
alzera per me preghiera,
e verra pietosa a sera
Sul mio Sasso a lagrimar.
Ma non fia sempre odiata
la mia memoria,io Spero;
se fui spietato e fiero,
fuisventurato ancor.
E parlera la tomba
alle pietose genti
de'lunghi miei tormenti,
del mio tradito amor.

You will see the unfortunate wretch


whom I rendered the object of tears;
you will tell her that ifI offended her,
still I was able to avenge her.
Perhaps one day, with me silenced,
she will evokefor me a prayer,
and will come in pity ofan evening
upon my gravestone to weep.
But would that notforever be despised
the memory of me,l hope;
though I may have been pitiless andfierce,
I was still more unfortunate.
And speak will the tomb
to the pitying people
ofmy lengthy suffering,
ofmy betrayed heart.

zo

RIGOLETTO
Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on Victor Hugo's play Le Roi
S'amuse. First performance:
Teatro La Fenice, Venice,11 March 1851. Setting: Mantua,sixteenth century.
Parmi veder le lagrime
from Act II
Dramatic context: Following a tryst with Gilda,the daughter
of his hump-backed jester Rigoletto, the Duke has returned
to
her house and discovered that she has been abducted. In a salon
in his palace, he dejectedly laments his loss. In the second
part, courtiers rush into the room to inform the Duke that they have
abducted Gilda, and in an aside he expresses his joyous
relief.
Ella mi fu rapita!
E quando,o ciel?... ne' brevi istanti, prima
the it mio presagio interno
sull'orma corsa ancora mi spingesse!...
Schiuso era 1'uscio!... e la magion deserta!
E dove ora Sara quell'angiol taro?...
Colei the prima potea in questo core
destar la fiamma di costanti affetti?...
Colei si pura, al cui modesto sguardo
quasi spinto a virtu talor mi credo!...
Ella mi fu rapital...
E chi 1'ardiva?... ma ne avro vendetta!
to chiede it pianto della mia diletta!

She was stolenfrom me!


And when, O heavens?... in those brief moments before
a strange premonition
urged me to rush back retracing myfootsteps!...
The door was open!... and the house empty!
And now where could that dear angel be?...
She who before could, in this heart,
light theflame offaithful affection?...
She so pure, whose modest gaze
almost makes mefeel inspired to virtue!...
She was stolenfrom me!...
And who could have dared?... but I shall have revenge!
the tears of my darling demand it!

Parmi veder le lagrime


scorrenti da quel Giglio,
quando fra it dubbin e 1'ansia
del subito periglio,
dell'amor nostro memore,
it sun Gualtier chiamo.
Ned ei pote soccorrerti,
Cara fanciulla amata;
ei the vorria coll'anima
farti quaggiu beata;
ei the le sfere agli angeli
per to non invidio.

1 can almost see those tears


running down her cheek
when,filled with doubt and anguish
ofimminent danger,
and remembering our love,
she will have calledfor her Gualtier.
Yet he could not rescue you,
dear beloved maiden,
he who with all his soul would desire
to make you blessedly happy on earth;
and who even the company ofangels,
because of you, did not covet.

(Possente amor mi chiama


volar io deggio a lei;
it serto min darei
per consolar quel tor!
Ah,sappia alfin chi Tama,
conosca alfin chi sono,
apprenda the anco in trono
ha degli schiavi amor.)

(Overwhelming love beckons;


1 mustfly to her;
my crown 1 would give
to comfort that heart!
Ah,she must know at last who loves her,
learn who I am,
understand that even on the throne
there are slaves to love.)

La donna e mobile
from Act III
Dramatic context: The Duke,disguised as a soldier, has gone to the run-down inn
of the gypsy assasin Sparafucile on the
outskirts of town. As he awaits an assignation with Sparafucile's sister Maddalena,
he orders wine and a room for the night,
singing a song about the capricious nature of women.
La donna e mobile
qual piuma al vento,
muta d'accento e di pensier.
Sempre un amabile
leggiadro viso,
in pianto o in riso, e menzogner.

A woman is capricious
like afeather in the wind,
fickle in word and in thought.
Unfailingly a sweet,
prettyface,
whether in tears or in laughter, is insincere.

$ sempre misero
chi a lei s'affida,
chi le confida mal cauto it tor!
Pur mai non sentesi
felice appieno
chi su quel seno non liba amor!

Always miserable will be


he who believes her,
who entrusts to her incautiously his heart!
Yet never will a manfeel
completely happy
unless at that breast he knows love!

21

TOSCA
Music. Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, based on the play La Tosca by Victorien Sardou. First
performance: Teatro Costanzi, Rome,14 January 1900. Setting: Rome,June 1800.
Recondita armonia
from Act I
Dramatic context: The painter Mario Cavaradossi is in love with Floria Tosca, a famous singer. While working on a mural in
the church of Sant'Andrea Bella Valle, he compares the portrait of Mary Magdalene he is painting to the dark-eyed Tosca.
Recondita armonia
di bellezze diverse! E bruna Floria,
1'ardente amante mia,
e te, beltade ignota,
cinta di chiome bionde!
Tu azzurro hai 1'occhio, Tosca ha 1'occhio Hero!
L'arte nel suo mistero
le diverse bellezze insiem confonde:
ma nel ritrar costei...
it mio solo pensiero, Tosca,to sei!

Enigmatic harrrion~
of differe3~t beatisties! Dark-haired is Flora,
my passionate lover,
and you, na~vieless benut~,
crowned zvitlz blonde tresses!
Yoii have blue ekes; Tosca's ekes are black!
Art in its mystery
blends the different beauties together;
but irT portraying her...
my only thought, Tosca, is you!

E lucevan le stelle
from Act III
Dramatic context: For lending aid to an escaped political prisoner, Cavaradossi has been sentenced to die before a firing
squad. In the pre-dawn light atop the Castel Sant'Angelo, he begins writing a letter, but soon stops to remember Tosca and
their love.
E lucevan le stelle... e olezzava
la terra... stridea 1'uscio
dell'orto... e un passo sfiorava la rena.
Entrava ella, fragrante,
mi cadea fra le braccia.
Oh! dolci baci, o languide carezze,
mentr'io fremente
le belle forme disciogliea dai veli!
Svani per sempre it sogno mio d'amore
fora e fuggita
e muoio disperato!...
E non ho amato mai tanto la vita!

Tlie stars sparkled... and sweetly smelled


tlae eartYa; there creaked the gate
of the garden... and afootstep brushed the sand.
She entered,fragrant;
shefell i~ito my arms.
Oh' sweet kisses, languid caresses,
while I, trembling,
unloosed the veils about leer be~utifi~lform!
Vanished forever is fay cirecsm of love...
the hour hasfled
and I die desperate!...
And 16ic~ve never loved life so much!

LA TRAVIATA
(The Fallen Woman)
Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, after the play La Darne aitx Carrtelias by Alexander Dumas,Jr. First
perfortnanee: Teatro La Fenice, Venice,6 March 1853. Setting: Paris, 1850s.
Dei miei bollenti spiriti
from Act II
Dramatic context: Alfredo Germont has fallen in love with the Parisian courtesan Violetta Valery. They now share a country
house. Alfredo enters the salon in sporting attire, reflecting upon the three blissful months they have spent together.
Lunge da lei per me non v'ha diletto!...
Volaron gia tre Lune
dacche la mia Violetta
agi per me lascio, dovizie, amori,
e le pompose feste,
ov'agli omaggi avvezza,
vedea schiavo ciascun di sua bellezza...
Ed or contenta in questi ameni luoghi
tutto scorda per me... Qui presso a lei
io rinascer mi sento,
e dal soffio d'amor rigenerato
scordo ne' gaudi suoi tutto it passato.

Farfrom vierforme there is no pleasure!


Flown already have three months
since any Violetta,
for n~ie, left ivenith, adoration,
and luxurious parties,
where, accustomed to homage,
she saw everyone a slave to her beauty...
And riow, co~~atent in these pleasant surroundings,
slie Iiasforgotten everythingfor me... Here close by her
1feel myselfreborn,
and, b~ tYie breath of loge rege~ierc~ted,
Iforget amidst her liapp~iness all that has passed.

22

Dei miei bollenti spiriti


it giovanile ardore
ella tempro col placido
sorriso dell'amor!
Dal di the disse: vivere
in voglio a to fedel,
delPuniverso immemore
io vivo quasi in ciel.

My ]tot-blooded spirit,
youthftcl passion,
she tempered with a peaceful
sniffle of love!
From the drzy she said: to live
faithful to Jou is w11at I desire,
oblivious to the universe
I III but live iii paradise.

IL TROVATORE
(The Troubador)
Music: Giuseppe Verdi. Libretto: Salvadore Cainmarano (completed by Leone Emanuele Bardare after Cammarano's
death in
1852), based on the Spanish play EI Trovador by Antonio Garcia Gutierrez. First performance: Teatro Apollo, Rome,
19 January
1853. Setting: Spain, fifteenth century.
Deserto sulla terra
from Act I, scene 2
Dramatic context: In the palace garden, thick clouds hide t11e tnooil. From a thicket, accompanied by a lute, wines the
voice of
the Troubador (Manrico), serenading his beloved Leonora.
Deserto sulla terra,
col rio destino in guerra,
e sola speme un cor
al Trovator!

Alone iri the world,


~oith the terrible destiny of zoar,
a loving heart is the only hope
for the Troubadour!

Ma s'ei quel cor possiede,


bello di casta fede,
e d'ogni re inaggior
it Trovator!

But if he can have that Faeart,


beautifi~tl in its purefaitlzfi~lness,
the~~ grerater than a king is
#lie Trou~b~zdour!

TURANDOT
Music: Giacomo Puccini. Libretto: Giusej~pe Adami and Renato Siinoni, after Friedrich von Schiller's adaptation the
of
play
Tt~randotte by Carlo Gozzi. First performance: Teatro ally Scala, Milan,25 April 1926. Setting: Ancient Beijing.
Nessun dorma
from Act III
Dramatic context: The princess Turandot will marry the man who can solve three riddles; those who fail are summarily
beheaded. Calaf, the exiled prince of Tartary, is captured by her beauty. He submits to the riddle contest and wins, but
Turandot still will not marry hiin. He,in turn, poses his own riddle for her: if she can tell him his name before daybreak,
he
will submit to execution. Turandot declares that no one shall sleep until the mine of the prince is known, upon
penalty of
death. Calaf hears the injunction, but is unmoved,stating that he alone will unveil the secret and that Turandot will indeed
be
his bride.
Nessun dormal... Tu pure, n Principessa,
nella tua fredda stanza
guardi le stelle
the tremano d'amore e di Speranza!
Ma it mio mistero e chiuso in me,
i1 nome mio nessun saga!
Nn, no,sully tua bocca In diro,
quando la lute splendera!
Ed it mio bacio sciogliera it silenzio
the ti fa inia!
Dilegua, o notte! tramontate, stelle
All'alba vincero!

Let no one sleep!... Even you, O Pri~~cess,


irT yoa~~r bleak roo~rt2,
gaze at the stars
as they sparkle with love ai d hope!
But 17iy secret lies locked within r~2e;
n~ati~ nnme no one will know!
No, no, on your lips I will pronounce it,
when the light of dc~y ret~2rns in splendor!
A nd my kiss wi11 break the sitene~
that n~~akes yoac mine!
Be gone, o ~iialit! vanish, o stars!
Witlz the sunrise I will be victorious!

23

-t

ALCII~T1~
George Frideric Handel
(168-159)
Allegro
,v

Oronte

12

a cura di J.M.t~.
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Tutti i diiitti riservati All Rights Reserved

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(1813-1901)
Radames
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recitatiz~o

Se quel guer-r.ier

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se it mio so - gno si av - ve - ras - se!

mf' recitati~o

1~IIe~Y~ V1V0 ~~ = 126)

crn1 entusia.rn7o

10

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in

,,. ~,,.,.

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61
a Pempo

13

16

18

21

,__~

_~'

~.

62
24

~~

1'7 fPi'1 _

3n

~~z

a felnpo

[rit
~_

63
a; ~ ~

fr

z
~`
~:

~lacOrrto I'Ucc1ni
(1b58-1924)
A~danti~a affetfnoso (~ = 5~~

p~, cto(cissirno

r~..,a ,,u,.

~~

ti

11

160

~----~

Ma

per

for - to

na e u - na

not

to

di

lu

na, _

rnllentando
_
~~
.~.

qui

la

~_._,.,/
_

Copyright OO 2002 by CASA RICOIZDI-BMG IZICORDI S.p.A.


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rctllentando

64
21

_~

r~ffr~ett.

j~~oco riE.

~ tempo

porn rcrlle,ltando
2~

porn affrett.

37

c~ ten2po

cr tempo

A~adante soskenttfio

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1a ~--3 ----i

dolcissin2o

65
41

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~~

52

allnrg.

1'a-ni-ma ho mi -

con rnoltiz espress.


~ rit.

~~---_____~

lio - na

Ta

ria.

for

dal

mio

for

sosten~nelo (largan~iente)

~lr~~rg.
!

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~~~ ~~~

,~

rit.

y y

mf con grcrrzde es~ress.

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t
P

~3~ ~3~ ~3~ ~~~

66

55

r---3~

~-~

zie

~---- 3 ~

re

ru -bail tut - ti i

r--- 3 ---~

gio - iel

li

dolcissin~o

r---3---~

----~

r---3 ~

due Ia

r---3--

dri: g1i oc

r------ 3 ~

r----- 3 _____-~
--~

y
~_3~

~----- 3

r----- 3----~

r 3 ---~

li.

57

~~

bet

chi

V'en - trar

t -3~ ~3 ~t

~3~

can voi

pur n

ra,

ed i iniei so - bi u-sa

~ 3--~

~t l l01Ce
3

ti,

~--- 3J

~ 3~

poco allal~gando
con anima
60

ei

dolciss. i~nolto call. --------

r
~..~ 3 _~ ~
~ 3~

~. ,3 --~

bei so

3 ---~

gni nlie - i

r--3 ~'

~~~

to - sto si

di

le

guar!

'

L_ 3~

~3~

f porn allar~ganc~o

3~
~

~
63

~3~ r~3--i

Ma it fur - to iron m'ac-

3
di~az. e molto call.

J
3

stem.

3~

p
~~

3
a tem o
p

~
,~ ~-~

~3~

~>

3
~3 ~

[~]

i----3 ~t

~------ 3---~

65

,---3~

op~ure

~----~[/~]

~~

con artt~~na

Or

allarg.

stentczrrdo

dolcissit7zo

the mi co-no-sce

par-la - to vo

te,

deh!Par-la-te. Chi sie

i,

~3--~

~3~

r-3~

te?

~---~

. _.,

~.~

pp allrtrg. sempre

~n

,~, YRII.

~____ 3 _~

f con nnirna

rj~

~3~

~3~

all~~rg.
~3~

p ----


Vincenzo Bellini
(1801-1835)
Andante
Tob,~l.ar.

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cnvrtahilP

c~ te~ripo

ZJ

~o
~~a~er-e
~~

19

r r_~ 1

a tempo

te~2.

.------__

,
o stentgndo

~ y ,.,_.... 22

~--~

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~~~

,.,.

rtert.t

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3~'

n ivrrin

72
41w

[a piczcere]

star - le,

44

~~~~~

co -star - le un sol

la - men

~
[col canto]

a~~itnando assai

to~a11! pint - to

sto

io sce

glie

~ ani~nrzizdo ~ssrzi

anima~xdo it ~err~ipo
,-~f~

iii

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~.~~

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~~~~~~~~~~ ~'7 ~

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~~~~~~~~~t~~~~~~~~~~~~~~~
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~~~~
~~

50

.,... ,. ,.. a..

73
53

56

ti~

h2

ten.]

rallerlt~zndo

a tea~2~o

74
65

[n pirzcercl

,,fit

68

7.3

arri~~r~rac~o assai

~r r~rrnart

~1BX i210~50

lle~~ipo

~5
76

80

84

88 ~

iii

~.,~

,.~

~~

i~

11~~
u,

P~~~
~~~~ :;
~~~~~~~
,.
~~~~

ii`~~

~ ~

~~

.
Pietro 1VIascagni
(1863-1945)

Andante (.~ = 144)


Turic~~lt7

13

m#'

affi~ett.

a ternvo

mf

rit.

cr tempo

~----

17 --

21

a tempo

affr~tt.

~f

porn rit.

stentrrndo

~y

~ do(cissinio

45

~ortc~ndo

rallorztan,

sempre clirninuendo porn a loco

perdendosi

80

LA CEEETLA
~l~~C~ll~t0 O~S1T~2
(1792-1868)

I'

Ramiro

n piacere

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Tutti i diritti riservati All Rights Rese~~ved

:i

~~

~~

83
38

~1

~~

~r

Aridlrif~ri0

84

St~CCgtO

~~

~8

1~1~^gY0 V1VdCe

h7

hh

70

86
7R

83

,----.~

RR

93

~------~

[e9

~-.-,

,-.,

a ~~acere
yr

n tvFvmn

..
113

123

128

----_ ~>~,~

89
134

>~--~

CJ

a }nacere
n fnvvrrin

90
ZJJ

~ ~~

162

~~

91

172

,----_

177
A

182

dar,

si,

si,

m'hai

da

gui

f
s

sf

sf

sf

sf'

sf

dar,

si,

si,

m'hai

da

gui

sf

sf

sf

sf

sf

sf

dar, _

sf

si, _

sf

,--~

,o~
1

3
3

_?

si, _

sf

92
;~`
~

c, ~

Wolfgang l~madeus Mozart


~1~56-191}
~ ~.

to

`.~

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93
18

22

26

JO

~~,.,~

94
~~

38

42

47

)5

~:~

~9

C
~J

96

2.

a
`~

~ ~ ~~

a'

~.

VVo~f~~n~ Amac~eus l~o~art


~1~56-1~91~
A~clante ca~atabil~
Frrranrin

15

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97

~n

.~

47

53
~~

..

~~

59

~~

~ '
~~Q:=ice. _.~.~.

~_

~i.~

~,~~

~i.~

~ ~~I'

100

Il mio tesoro
DON GIOVANNI
Wolfgang Amadeus Mozart
(1756-1791)

Andante grazioso
~~
i

~~

~~

Y0111'~~~~
~
.~~~~~

~~.~~~~~~~i~~~~

~~1

~~~~.~~~~~~~~~

~1

Don Ottavio

i2

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101
r-~_

~n

~~

102
30
~%i~i~
~
~
~r~~
~i~~r~~~
t

~arm

~~~~

!~
~

~~~
~~
i
~~~~~i~
i
i
~~~i~~
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i
~

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Y0~~~

35

37

:J

t
~

~~
~~

103

_~

40

43

49

104
53

57

60

f I Il

64

t . ,.

105
FR

71

~~

n
N

V
~

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0

107

90

92

'ai~=
~
~ ~r~

~~
-_~.~~~~~I~~~~~~~~~~~~
'
~~~

r~~ !!
~~

~~~~~
~~~~

~~'

~~

1:

Come gentil
DON PASQUALE
Gaetano Donizetti
(1797-1848)

Andante mosso

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109
~~

Pochissimo piiz mosso

i--~

110

io T,.~.... ~,.

111

~n

~--~

112
Pochissimo piu mosso

90

oc

7.00

r1

opp I

113

Spirto gentll
LA FAVORITA
Gaetano Donizetti
(1797-1848)
Larghetto

~'~~~

\\\

'}Q'

~~L~~~~~~
I~/.
1
~~~~
~
LVI

~~~
~~
~~~~~
.r~~`~~~~

.--

~~~~~c.~r~s~~~~
~R~~~~~~~~~i~~~~~s~
~

Fernanr~~

recitativo

Maestoso

._
,

~
rrta

gloi

re

est

efi - glou -~

12

~~~~~~~~~~~~~_~~~~~~~~~
~~~~~~~~~~~~~~

r.i~sr s~~::~r ar~~i~~~a~


r~~~~~~~~~~~~
~v.~r~~

~
I~~wm~~~~~~

.f~T16i~/" ~I"' ~i'V


I
~7~Ai~~~~
~

'~~~
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er a-~~~~ ~~
~T' i~T' J:77' 1~'i
~~~r`~

___~

__

~~s_~~~~~~~-'

-'~~_
~~I''~
_'~~
I

r ~~ Amtit ~i,

-~~~T

_~
.

~~~r ~r s~
~
~T .~~I~~

~`~~

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~r .

r~

114
1C>
~-~

ti

e,

et

de mon tris - to

Coeur

1'es - pe-ranee

sor

est

ti

e.

Larghetto

23

dolce

Spir
An

to
ge

gen-til,
si pur,

ne'
que

so - gni mie
daps
un son

i
ge

bril
j'ai

la - sti un di,
cru
trou-ver,

26
w
~
-~
~~
r~~n~=i
/.
7
r~J~~r~ir~~~~I~ice

~'\
~~~~/~~~'~~~~,

I/

S~
~V
~~~~~r~~~~
~~~~~~~~~~~~~~~~~~~
t

Y~~

~~~~~~
~~

~~

115
smorz.

__"~'~

29

~~>

>

>

lar
en

lar
et

d'a-mor,
ve
vo - lez-vous

fug - gi - to in - sie
en - vo - iez - vous

d'a-mor,
ja-mais,

ve
pour

En

35

d'u

ne

'

o tvmnn

r~11

32

pour 1'a-moxr

moi,

me,

~
--_
fem

i~.sa=
~~.~

de

nie,

1'a - mour

Dieu

a - vait

fai

pi

bli;

~r~T~i~~~r~

~if~sa~~~..~~
~~~rsair ~~~~i~
r~~~~i~~
~~~

~~i~r~~~~

~~~~~~~~~

~i~~~~~~~~~~~~~~~~~~~

~r~~~~.~~~~~i~~~~~~~~
i
~t .

~~~
~
.
~
~-!~~~t
~~~~~~~~
Y

116
38

tie!

41

je

t'ai

ren - du

mon

~_

bli,

pi - tie,

me,

pi - tie,

/~

pi

tie!

I Tempo

44

Sei -gneur, rends - moi 1'ou -

117
47
~~~~_'
~
,~~~~~~
~Vr~~~~i~

~iw~r~i~1rST~f~~T~~'
~~~~I~i~
~~Ia~~
~~~

'

~~~
~~i/~~~~~~~~~'
~
.
.~~~~~'~~
~
~_
~~
i

DIY
~~
iii

stringendo

~~~~~i~~~7~~~~t~~1~~'~'V~i~.
Y~~1~~~~~~~~ ~~~~['L

~3J

rail.

50

lar
et

[ten.]
Pte
' ~~

lar
me, _
fug - gi - to in-sie en - vo - lez-vous, en - vo - lez - vous,

d'a-mor,
ja-mais,

ve
pour

>~.~

ve d'a
et pour'

jr~ n

rall.

[col canto]
n

~~

rail.

56

siem,
vous

in
et

siem,
pour_

q
- ,.~

3
lar - ve d'a - mor.
mais.
ja
n
_~
p

rail.
n

~~

118

Una furtiva lagrima


L'ELISIR D'AMORE
Gaetano Donizetti
(1797-1848)
Lar~hetto

calando
t,

P ~~

Nemorino dolce

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~-~-~

119

1Q

120

34

37

121

~a

f
>

--

42

rall.

(f)

45

chie-do, non chie


. ~

46

r1

do.

Si puo mo-rir,

(P)

si puo mo-rir

/1

d'a

122

Ch'ella mi creda
LA FANCIULLA DEL WEST
Giacomo Puccini
(1858-1924)

Andante molto lento (~ = 40)


Dick Johnson (con grande espressione, esaltandosi, col viso quasi sorridente)

..

~i

.~:7~~'I~li:~~~~:
~

t
.l~~SL

-,

~.~~'
ITT
.~~~'~.

r-

. , ... .
~
~.tiu~r~~~~~~

~
~
~'~1

r.~~~~~.

~r~~.ter
.~~~~

~~~r~

allargando
~

CYL'SCP11Ll~

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..

123
io

a temtio

rail.

13

,-i~

20

/1

_---------~

mio so - to

vi - to
'"'~~~
/

fior!

n
i

~~
~

~
~

124

Che belts, the leggiadrla


LA FINTA GIARDINIERA
Wolfgang Amadeus Mozart
(1756-1791)

Andante maestoso

.~C7~S~~.~~~~~~S~
~
~i'
i~S.~'~~~~~*~~~~~~~5.~
'
~
't ~~~~
~

Y
_
~
y
~
~~
~~~
~
~~
~~~~~~~~
~
~
~~~
+
I
~~~~~~~~~~
~~~~~~r~~~
~

i7~r~

~r~~~~~~~~r~~~r~~~~~~

~~~~~~

~Y Q~/lam'~~

~~~fi~~~~~~~~r~
~
i~ti~~~s~~ ~~
~~~~~~~r~
ric~~
~~~~c~-~~~~
f~~rl~~~~~~~~~~~r
~~~~~r
~~~~~~aL~trls ~~.~ .mss
~~~~r~
t .s.~i~~f .~~r -~.
~~
6i~~

12

RolFinrn

ZJ

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125

21

~a

y~

126
30

33

36

39

~-

127

43

47

50

53

128
56

59

62

6~

129

Sento un certo non so the


L'INCORONAZIONE DI POPPEA
Claudio Monteverdi
(1567-1643)

[Allegro]

Valletto

io

14

a cura di P.T.
I S.p.A
Copyright OO 2002 by CASA RICORDIBMG RICORD
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130
is

Zz

27

31

131
35

~a

132

CJ to the in seno agli angeli


LA FORZA DEL DESTINO
Giuseppe Verdi
(1813-1901)

Allegro (triste, ma confoYza)

,
, Andante mosso (.~. = 56)

Don Alvaro

~~~~a
.~:11
~
<Vi~~

recitativo
1
~i~'.
III=~~ _~~~~~
.~r~~~~~ a
,
1~I~~I~~~
~~
~~~~I~

i
l ~~i~.a~i~~
~~~~iir~~~a~~
~v'~'~~~~~~r~~~~~~~
:~i~

Y
.O~~~~~~~r~~~~~
~~

IIt

~~
~/

Andante come prima

i~~
~ .sa~~~w~i~~~~ii:
~

~r~~i~~~~
~~~

~
~

I
~I ~

IIAS
1[~/

mo
I
:

~
i

~~~~~~
~~~J~Nrr/~-s~~

13
w
.~.
i

r~~~~~~~~~~~~~~~~~~~~

I
.S7~~r~+'i
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ii~~
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ra~,~~~
~~
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r~~~~ ~~~~~~~~~~~~~
.
~
~~~'

r~s

Y arr
/
~.7~~

~:

s~~r~~r

i
~r
~/~r~t

~
..~++~+~
~~~~~~~

~~~r.~~
Iii,
17Ti

19w
~~
~
dolce
-`
recitativo
~~~~~~~~
.~
~r
~
~.~r
~
~~
.~~
~~r~~
~~~
~~~
~
..~w~~~~~~~~~~~~
~
i~~~~~~~~~~~~
~..~
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~
+~~~srr=~o~r ~r~~ a
~~~~~~~~~~~~~~~~~~
~~~~~
~a~r~~~~~~~~~

~~
~~:~~~~"~
~i~ ~~a~a~~
vr~==~=~~

~r
/ ,
yr
:
~I
i

r~~~~~~~~~~~~
r
is~~r~~r~
la~w~r~
~
~:_ ~
s
~r ~~[i
r.
~,
~
~
ST
~~I~
I
t
~:4'.

CopyrightO 2002 by CASA RICORDIBMG RICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved

~vr~~~

~t~!~
~1~

133
Allegro moderato (~ = 96)
24

con semplicitd

--~
r- 3 , r 3
o~

134
.f

45

49

morendo

,,,~

Andante sostenuto (~ = 50)


core espress.

53
w

.
~.

ia~r~~~~~~~~~~~~~
~~~~
.
vr
~~r~~~t~~~~~~..ter s~~~..~
i~~.
~~
r~
~-~r~~u~~~~~~~ =ter

~
~

~ar~.
t~~~~r~~~~~
ivi~r~~~~r~~~~~r~~
s~a~~~~~r~~~~~a~~~~~r~~~
~~~~~
i
~
~.
~.
i
1
/
4~~~~r~~~

~
~i~

~
r~~~r~

O~~\~~~
~~

q~

~~t~ -

135

57

.a

sa

li

sti bel

lapin - co

a.

~~

tia

--------~

dal

lu - me

la

mor-tal

jat -

136

6s

sti

no,chie-doa-ne-lan

do~ahi

mi-se - ro,chie-doa-ne-lan-do, ahi mi - se - ro, la mor-te d'in-con

~1

____/

~n

col canto

cantabile
a..,_ .

137

ten.

138

Avete torto!
GIANNI SCHICCHI
Giacomo Puccini
(1858-1924)

1Vloderato (~ = 60>
R;,,,,~~,~,

6
w

~~ iF

~
~7t~I~~~~~~~t~Jr~~~
~~~
~'~~~~~~~~~~.

-~~

Yd:TO{t:~~_.~~~~~r~~~~~r.~~~~~~~

~.

~jy

it

~-3 I

i-

I 3 ~

a rigor di tempo

r---3---,

i
~

~
~murasu~~ _ ~~~~~.~irii:i:~.
~

~~

_'~~
~~~

16

sostenendo

Copyright OO 1918 by CASA IZICORDIBMG IZICORDI S.p.A.


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139
poco rit.
21

25

,,;_,

a tempo

Andante mosso un po' sostenuto (.~ = 92)


30

sostenuto, quasi a piacere

(ad use di stornello toscano)


n

r-=3--~

Ba - sta con que-ste ub-bie

Fi - ren- ze 2 co-me un al - be-ro fio-

gret-te e pic - ci- ne!

Andante mosso un po' sostenuto (~ = 92)


n

f sostenuto, gicasi a piacere

'~`f

>

a>

r 3.--~ r- 3-~

35

~i
~i~i~~~~iii~i~~iiu~~i~i
..~~..~.sue.~..~i~i~
l~i~~i~
~~~
i
.~/~!/~i~r~~!/~i~~Il~~~l~~:!'l
/.:f~~1~:~ t
t

~~~t~!
i~.~~i=~~~'

~i7.~
i
~t~ ~~ ~~.~1.Y~

~~~~~~~ ~''~ ~~!i~ia~~f


~Vr~~~~~~1~'~arr`~S

~~.~~~
~~~i~~~r~~~~~~
.~~~~~~~~~~"

Y
~r~~~~~

__

~~~~
~ ~~~~

~~~~~~~~~s

~
~

140
~~

crescendo

poco allargando

43

crescendo

A
i
S~<~11

r--3--~
!~'

r~ 3~

~
l~.~~~~~t~r='
~~Y.

!.
7~~~~
'~
~.t
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'
~~~.~1

I I

/ I

~1a~
~
.~~~~~;7~~'
~.~r~~~~
~~~~~1
~
~
~i~~~~~

I~~" ~

~1

'
~ -3J

Andante sostenuto
ar,

Come it tempo primo (Andante mosso)


49
a

L'Ar,

~-.

LVI

no, pri - ma

di

cor

re-re al

la

Come it tempo primo (Andante mosso)


1/~
14~.

~R.
~~T
'
`
.

~
~~~

-~ ~

/ I

~
~

/I

~Ls~~~r~~~~~~~~~~~~~a~

~~~

..

_:

141

5s

e it

suo

can

toe

si

dol

ce e

si

so -

no

ro

the a

142
67

72

Un po'sostenuto
(con baldanza)
77

.--_- z~

crescendo
80

~3--i

~ __

~ z-~

143
83

poco rit.

sempre c~ tempo
86
w

>

r 3--t

t' 3 ~

>

~r~~~~~G

~~i

~~~~11

i.

'

>-

/I

~~~/~

iin
i

i
i

r~

~~
------'
r~~~~~r-r
orsar---i
f~i:

.
'
ter
~~~~~
~
~~~~~~~~~o~~~~~~~~~

~c,~
~~~n~

.~~~~~
___-.__s~r~~

i
~f:

__-

marcato

a temt~o

r3t ~-3,

144

.~pri la tua finestra


IRIS
Pietro Mascagni
(1863-1945)
Andante sostenuto(~ = 96)
Osaka

13

p dolce ed espressivo

rm

v~n a tembo

ra11

~,f rail.

rresrendn

dnlrn

mn

nnrn i~nllvntov~dn

a tempo

CopyrightO 1898 Uy CASA RICORDIBMG RICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved

~~,o~~,

145

p a tempo
1~

cresc. ed animando

~,

allarg. e cresc.

25

29

dim. e rall.

~7~1 dolcissimo

r 2--~

.f

crescendo

rit.

146

32

35

41

ailnrg. moltissimo
con gran Galore
~

poco affrett.
~-----4

a tempo con grande espansione


m

crescendo

allargando

a tempo
molto rail.

poco rit.

147

Fra poco a me rlcovero


LUCIA DI LAMMERMOOR
Gaetano Donizetti
(1797-1848)

Maestoso

~.
.

11

b'~

>

14

,~_~

i'

1~

i~~t/l~i
.r!f~r
/

Iry~~

I ---~

\~~
\~ti

r~~~~r~~

~~~
~~'

~~~~~~~

'~!

'~~
'i~~`i~/
~~f'~l~r
i~~~
~~
~Ta~~
I
~
II~/~
'~
~
YlSI~~
.~
/~f~~ ~~

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Tuttii diritti riservati All Rights Reserved

S.p.A.

-~

~
.~

148
~~

~~

~/~~IJ~~r~
~
.~Cf~~<r~~
~
~~
~
~a~
~.~t
Sri
X17

Zo

Z3

Zs

~,

Edgardo

~'--~,

~.

149

34

Lar~hetto

~~

4o

43

Allegro

150
=~~

Lar~hetto

~n

a piacere
r~

oppure
~~
v
io...

s~

Lar~hetto

del

--z~
la _

mor

te!

151

62

z __.--~

66

_~-----~._\

69

quel

fin

Ah!

lo!

de - gli e - stin-t~i

mi -

se - ro!

~_.~

a tempo

~ Wit

73

>

rr:s:ri~~~~~~3~..f~~.a

~~~1~~

r~A~r~

/~~i~~
/.711t~:T~

i
~
r~a:a~
r~r~.

ii

i~~i~~~~~~~
~~~~i~~i~~~i~~~~
~~~~~~~
~~~
~~~
a~~~~~i~~
T
T
T
~
T
~

152
7h

79

82

~.
'~~

rit.

85

r"-3--~ r-3
M-,

153
s~

cresc.

Poco Uiu animato

.~'
,,,,

...~

con Galore

~'

T~

+o,Mr

rrescendo

,fP

,gyp
~~

n (a piacere]

a tempo

154

Quando le sere al placido


LUISA MILLER
Guiseppe Verdi
(1813-1901)

Allegro

Rnrinlfn

varifnfivin

11

w
~~~~~..f.s~t~..~r~~~'7

~~
~
.~.
!..

~--

~v'

--~~

II. ~
~~

r~"
r~

~
~

>

16w

vre - i,

"tut - ti

men - ti

te!"

Son

v
u
~~

CopyrightO 2002 by CASA RICORDI-BMG IZICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved

ci - fre

su

e!

155
~n

7_.S

36

Andante (~ = 44)

j~

~fJ `
J~

156
~

46

appassionatissi~rio

157
50

____.----

con espressione

158
58

p6--~ ~'3~,

di

a!

ah! mi tra-di

a!
r-- 3 i

J ~.

J ~.

L3~

~3~

q.~ ~

b.~ ,~

159
~

67

69

~2

~~

~3~~

160
con molta espressione

~~

~_ 6~ ~3~

~~

83

._ ,

ff

~~--~

pp

/1

morendo

con disperazione

r_ z

161

Donna non vidi mai


MANON LESCAUT
Giacomo Puccini
(1858-1924)
Allegretto vivace

Andante lento (J = 63)


Des Grieux
, con accento appassionato

L^I

p con semplicitd

call.

11

nuo - va

vi-ta 1'al-ma

mia

si

de

J
~

"Ma-non

sta.

~~ pp d0lCiss.

mi

~3 call. ~3J

3
Copyright OO 2002 by CASA RICORDIBMG RICORDI S.p.A.
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Les-caut

L3J

162
14

a tempo
~-3-~

.
J

16
~~

ro

le

pro

fu

ma

>

to

mi

va-gan nel-lo

~~

_ ~

~
3
6

_~

~~

ten.
19

>

~~

~--~

21
m

163

poco rall.

23

.~

.-

.-

~
~
~~~

t
~=

~~~~~

~r~
~
/I

:ate

~:
~
~~~~~
~.

~~..~~~~~.
ra~r~~~~~~

f con anima
r 3~

29

r--3~ ~3 i

Les-caut

"Ma -non

sar!

mi

chia

mo!"

b
L 3 ~

l 3J

~
~

I_.3J

~3i

~ 3~

lPP)

~,
~~n

~3~
~--3 J

con slancio ^3~

rall.

pp dolciss.

~3_~

rit.
3~
~
~~~3~-

r-3~ ~3~ i
~
32
te a, r-3_ ._~,
.t~~~~'1
7~-~~
~.~ ~
-r~~
~.~
~
~~..~~-~~~
fitiS~~
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t
~
'
~r~
.~:7t~~~~~~~r~
/

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~.

~~\~~~'~
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t ~~~~c~'

~~~
.~.7~T~~t
I

~t
~
~~~.
~~='1
.rY ~~~~~
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~~~~
~~~-S~1
~~~~~~~
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~~~~~~
1
~~~~~~~.
~~
r
~
~~
t
~=
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~~
r
~~
1a
~
I
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~~
~
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Y
~~
7~~~~~~~~~
~:
5~~-~~~~
~
1'
~~'
I

~3J

~3_..I

3_1
x--

Addio,fiorito asil

164

MADAMA BUTTERFLY
Giacomo Puccini
(1858-1924)
Andante sostenuto (.~ =48)
T~;,,1.,,..a-,,,,

A'1

dnlrvmvrrta

~
'"~"~

r--- 3._

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G RICORDI S.p.A.
Tutti i diritti riservati All Rights Reserv
ed

6
z
r---.

165
con slancio
f

16

_---

f ~.

Yit.
19

reg

~.

Fug - go,

go al tuo squal - lor!

fug

go,

son

m.s.

~_~

~_

col canto

`'

166

Dai campi, dai prati


MEFIST'OFELE
Arrigo Soito
(1842-1918)
Larghetto (J = 42)
Faust
~.~:~n

p meditabondo

~--/~.

.
----.__

~~~~~~~~M~~~~~~~ ter ar ~r~~~

~~~~~~~~~

i
~.
~

~
i~~

i~
~
~
iv~~~~iv~~~r~i~

~
~tr~:

~~~

I~

Y~t=~~~~~~~
~
~
~7
~~~~~~~i
~
i
~

r-

not - te,

the

in -non - da

la

~r~~~~~~~~~~

t
~
~'~~
ti
ri
I
~

------------_-~~>~.

not - te,

Dom.

~~

da - i

que - ti ~ sen

~~
~
.
~

~.

~t
I

tier

ri

~~~

~~

r~~~~~~~~~~~~~~~~~r

~~~~r~~~~.~.~~~~~~~~~
j

~~
~i
~i

~
~

r~~f
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'1l,.
~
\lrr~
]
_
'

~~

~~
~~
~.~
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~
~
~
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~
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r
~~~~~
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f

/
1~~~~~4~
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Y ~'~M~~~L~~~
r~~~1~~~
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r
~~~R~
i~~~~t =~.~./L~
~~~~5~~~~~~~~
~~~~S.Ir.~

16~

rz tempo

~d

ti
~
~:

a tempo

~ all.
~

p voice

~~~~raw~r~r ~~ ~,.~~~r~~..~~r.

~
Ii/~
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~
~

~
~~~~~

~7

~.~a~r.~~~r.

~~~r ,

'

~~ .~I

~----^
~~~~~~\~
~~

.~

~~.~r ~~r

,.. ,

~~~~~~~~~~~~~~~r~~~~
~~~ ~~~
~~
i
vim+
i

CopyrightO 2002 by CASA RICORDIBMG IZICORDI S.p.A.


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167

~-

_
~~

25

~~
-

cresc.

gel

35

mi

sen - to at-trat - to,

m'ac

cin -

go

me

di -

168

Vesti la giubba
PAGLIACCI
Ruggero Leoncavallo
(1858-1919)
Sostenuto assai (~ = 60)
('anin

'
~

~~~
~

~w

affi~ett.

string. un poco
~~
,~ _ ~~---~,
~
.~s
:~s~~ir ar~ ~ ~r a~~~r~~~~ a
a~~~~~a~~~~r~~~~~~
a~~~~r
:
s:5 ~ii~ii
~~~r~~
~~~r~rri~
~~~
I

~
.
i.

~
~
~~~c+~~~nr,~
r.~:,~n~ra~~r~~
~~
~~~~r~~r
~+:a~~~~~~~cr~~
.r~r~w~ ~~~~~c~..~
~r ate' ~~ ~
~~:rr~~v~~ara~~~~~
~~ ~ ~

~z

r~
r~c~
_
11 r~

(sghinazzando con dolore)


Ah! Ah! Ali! Ahl Ah!

.,.

~., ~,

,.~ r
, ,,

~~~~rre~~~~~~~a
~~.~~~~=..~i
r~~~w~~ry~.~~
i~s~
~r~~~~~~~ ~~~~~r~~r~~~~w~~
~~~.~~~w~~
r~~~~~~~.~~~
_
~
~
> ~
_ _ _
_-->
YZf.

Copyright OO 2002 by CASA RICORDI-B


MG RICORDI S.p.A.
Tuttiidiritti riservati All Rights
Reserved

>

169
Adagio (~ = 46)
darlamandn inn dnlnrP

portando

,Q

_..

_ _,_ _ , _

.poco rit.

a tempo

170

39

a plena voce, straziante

42

>~---~

46

Ytt.

affi~ett.

34

con grande espressione

Lo stesso rnovimento

_,

~---_ 3 _________^

171

Tu vedrai la sventurafa
IL PIRATA
Vincenzo Bellini
(1801-1835)

Larghetto maestoso

n
~

,A-

r1 fig' ~,~

~~~~~

~~~~~~~`

avr~~~~r ~~

>

L~\
..',

~---~~

i~

G
.i
~ .~~~
r~~~i~~~r
.V~~~

~~

~~~~
t~

.~~
~t~~
IY_
~l~~Y
i~~~
'i
~~
J

~~ ~~

C;ualtiPrn

~~~~~iia~~~~~~ri~t S.L Si

1.t~~r~~~~~ii~~~~~i~rt~:~7
l~r
.iif
/

L+~~~~~~~
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.~~~~r~~r~~~~~~
I
~~\r .fit.rte.~~'~.
~t .~~t .~~~.~~~~r.fit ,~~.~
.~r~~
.fit
~~
.
Vr~\t
~
1
I
III

Y~~L~=

~~~v~

~~~i

~~~

~~C'=

~~~

CopyrightO 2002 by CASA RICORDIBMG RICORDI S.p.A


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~~~+~~

~v~

172
i r,

a piacere

22

7h

,,,,,may

'~ ~

173
a piacere

33

,.,.,~ F,.-,.,

174
n

49

s.~

175

57

roll.
----

65

lun - ghi

miei

for

men

ti,

del

mi -

tra-di -

3
to a - mor, e par- le - ra _ del

rail. col canto


a tempo

/~=

>i-----~

oppure

par - le - ra

del

mio

tra

~ ~
di-to, tra - di - to a -~

176
~2

75

s~i

177

178

I'armi veder le lagrime


RIGOLETTO
Giuseppi Verdi
(1813-1901)

Allegro agitato assai(~ =100)

,~
>

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BMG RICORDI S.p.A
Tutti i diritti riservati All Rights Reser
ved

179
Allegro
Il Duca di Mantua recitativo

22

stan - ti,

pri - ma the it mio pre - sa - gio in-ter - no

sul - 1'or - ma

cor - sa

an - co - ra

mi spin -

29

Schiu-soe-ra

ges-se!...

la ma-gionde -

1'u-scio!...

P
~#

Adagio
dolce

33

~~~i
1

r~~
I~~~r~rrr~r~
~~~
~
~
~
~
l~~

~~

~;~%

r~

\7~~
l

~
r
1~
~~~~~"~:i~r~
~~~~~~~~r~ur
~l~~
~~~~~~~~
~~~~~r~.i'ii
.A'.~~~~'~~
~
~~
ll
~~
__
Ly~~~

~~~~~1~/
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4~l~~r~~
r~~~~l~~
~
~~r~~rr~r~~
Y~'

f
.~

~
~
1

' --'

~,
~

:1
cantabile

37

~,

Andante (~ = 66)

Allegro (J = 126)

~______\

conforza

181

a,

~~

Adagio

Adagio (~ = 50)
i.~:.~~.
.~

~i

~
)'
1
~~
Y~11

cantabile

182
----

opp

del - 1'a

F~

-i

mor

---~~

cresc.

r-3--i

r____ ~ _

dim.

,~
no

fiR

stro,

__

/,i
--

r-------- 2
-----_

3---~

183

70

-------------r--3 ~

73

pp'

r---3--~~
i
ei

~ ? --~
76

- 3"~
r'

~------~

le

the

184

app

t--

~
~ ~~
sfe

^i--~

re,
te, no, no, __. per tenon in - vi
---_

dio,
o,
~ 3 --i

r 3 1

r"3 1

----_
I'-- 3--t

o~
allar~.

dolciss.

185

Allegro (~ = 120)

87

g~

ari

deciso

,_ ~

..
i ns

106

109

112

con forza

ten.

187
ten.
..~ ~

~~c

~~

rnvi fnr~n

,~

121
.~::
~
~~t:~t~.~ ~.

~.

~--__ 2 _.

Piiz mosso (~ = 144)

.al
~~i~L~~'.~
~~1~'
~~~~~~
~~~~~~~~/~Ir
~~~~~
~~~~~~
~

1/.~i~~rs:l
/.r11~l~1
~
~vr~~

'

//

~
~i~~~.~.~iii.~.~.~.~~'
~
~
~

124

~~

~~

1~.~~~~`~i~

..
8va

-----------------------------------------------------

TO

139

147

.. ~.,.

..

~` con forza

ia~

i ii

con {orza

ten.

te~z.

190
157

~3~

160

164

167

r--3-,

f ~-

t~3~ r-~-,

Piu rnosso (.~ = 144)

~~_

191

i~o

.----_"___
.f

173

n
181

192

La donna e mobile
RIGOLETTO
Giuseppe Verdi
(1813-1901)
Allegretto (.~ = 138) >

10

brio
Tl T~nra rli Man+iia con
_---_

____ >

1h

71

,....

Copyright OO 2002 by CASA RICORDIBMG RICORDI S.p.A.


Tutti i diritti riservati All Rights Reserved

>

leQClto

193
f
~~

33

43

~p leggero

--~ ~_~on forzc~

194
49

GS

61

..

,___,_

195
^
~

,,,.,, IeQ~ero

f.~

~~

brilliante
:.
.:i~
~

m~

Or~~
~

di

pen

sier.
n

r:1
`'samie:~~i~
~
~vr~~s'~

:1
/

--!

196

Recondita armonia
TOSCA
Giacomo Puccini
(1858-1924)

13

C'avarad~.~si

Piix lento
p

CopyrightO 2002 by CASA IZICORDIBMG RICOR


DI S.p.A.
Tutti i diritti riservati All RighEs Reserved

197
sostenendo

17

rail.

----._.~

ver

a tempo

2~P

$ bru

se!

na

Flo

ri - a,

1'ar -den - to a-man - to

mi

_--~

sostenendo

.,.~

S
f

y y

y y

pp
rall.

a tempo

m.d.

a,

198

206

5~

56

'
f .-----__

per'

207

ppp

~1

63

tnorendo

dolcissimo
_

f ____---------

dolcissimo

--_--

dim

1:

Deserto sulla terra


IL TROVATORE
Giuseppe Verdi
(1813-1901)

Andante (.~ = 76)

Manrico

cantabile a mezzo voce

~n
tLLttQ {OYZCI

Copyright OO 2002 by CASA RICORDI-BMG RICORDI S.p.A.


Tutti i diritti riservati

A11 Rights Reserved

209

25

~~

con forza

210

Nessun dorma
TURANDOT
Giacomo Puccini
(1858-1924)
Andante sostenuto
Il Principe (Calaf) ~

__--------

~3~

Tu

~
-

pu -repo Prin - ci - pes

sa,

nel - la tua fred - da stan

za

guar

Copyright OO 1926 by G. RICORDI & C-S.p.A.-Milano


Copyright O renewed 1954
Tutti i diritti riservati All rights reserved

di

le

211

~~

10

no - me mio nes -sun

it

sa - pra!

No,

no, sul - la tua


I
""1

~.

vr~~i

a~
~~~~~:

1~'~i~~

y ~ ~-____

--

~----~'

~4"

i.
~

~
/

_`'!-` '14

~
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~
~

i~t'a
.~~
I
:
v
'

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~
~

~~
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\~~T.a
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i

~
~~
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~
i~
~~'~~~~
'A~~~1'~7~5
i'aAi~i
St.~~~~
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t .~tirl7uf :~~
ta~'~.~.
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r~~
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q"
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.
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ii
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r~
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s~~~~r .~~ .~~
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t /.~i~I~~~~~
te!~~.i~~~~~~n=

~vs~~~~---

Y Q'~
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g

~~

~
~

~i~
~
~
~
~~~
'~

~
~

212
Z3
con anin2a

26

poco rit.

poco rit.

'~~

~'~

a tempo

w ~,.
~
s
~. s
.~
~~
~~~~/rl~
7
.
/
r1
r~~.~~~
~~
~
~
~
r~r~~~~\~\'f
r~~~~~~~
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\~~~
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~

'~' ~nli~i
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~~
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a7r~~~
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~~
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~=
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V
4.
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I I1Q'i'
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Y ~:~

~
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.'~~
i
.~~

~~

'~
~~"<iaT
r

~~

~r

rn

ANTHOLOGY OF ITALIAN OPERA in 5 volumes


50484600 SOPRANO $19.95

Contents,41 arias: ADRIANA LECOUVREUR (Cilea): Io son 1'umile ancella Poveri fiori
IN
BALLO

UN
AGRIPPINA (Handel): Bel piacere ALCINA (Handel): Ah, mio cor!
i):
MASCHERA (Verdi): Morro, ma prima in grazia (with solo cello part) BELFAGOR (Respigh
D'onde

vo
men

Quando
Mimi
o
Mi
chiaman
):
E
O mamma,mamma LA BOHEM (Puccini
lieta LA CALISTO {Cavalli): Piante ombrose I CAPULETI I MONTECCHI (Bellini): Oh!
quante volte LA CLEMENZA DI TITO (Mozart): S'altro the lacrime COSI FAN TUTTE
ma
(Mozart): Come scoglio DON GIOVANNI(Mozart): Ah! fuggi it traditor! Mi tradi quell'al

magica
virtu
la
anch'io
...
So
cavaliere
it
guardo
Quel
ti):
ALE
(Donizet
ingrata DON PASQU
babbino
ERNANI(Verdi): Ernani!... Ernani, involami GIANNI SCHICCHI(Puccini): Oh! mio
infranto
it
legno
e
tempest

Da
mia
Caro GIULIO CESARE(Handel) Piangero la sorte
Regnava
IDOMENEO (Mozart): Zeffiretti lusingheri LUCIA DI LAMMERMOOR (Donizetti):

MADAMA
nel silenzio LUCREZIA BORGIA (Donizetti): Come'e bello! Quale incanto
sa): Dovrei
(Cimaro
ATO
BUTTERFLY (Puccini): Un bel di, vedremo IL MARITO DISPER
FIGARO
DI
LE
NOZZE

al
mare
fondo
in
punirti MEFISTOFELE (Boito): L'altra notte
IL RE
lasso
o
Stridon
allo):
(Leoncav
CCI
PAGLIA

i
(Mozart): Dove Sono i bei moment
PADRONA
SERVA
LA

part}
violin
solo
(with
costante
,
saro
L'amero
):
(Mozart
PASTORE
non credea mirarti... Ah!
(Pergolesi): Stizzoso, mio stizzoso LA SONNAMBULA (Bellini): Ah!
E (Vivaldi): Squarciami
TIGRAN
IL

mamma
Senza
):
non giunge SUOR ANGELICA (Puccini
): Vissi d'arte, vissi
(Puccini
TOSCA

Amor?
,
consigli
mi
Che
(Cesti):
pure it seno IL TITO
TORE (Verdi):
TROVA
IL

libera
d'amore LA TRAVIATA (Verdi): Ah,forse e lui... Sempre
segreto LE
amore,
):
Tanto
(Puccini
DOT
TURAN
D'amor sull'ali rosee Tacea la notte placida
lontana.
Ne
andro
.
Ebben?..
i):
(Catalan
WALLY
LA

piccina
VILLI(Puccini): Se come voi

50484601 MEZZO-SOPRANO $19.95


da stella
Contents,36 arias: ADRIANA LECOUVREUR (Cilea): Acerba volutta... O vagabon
the un
pallida,
O
ni):
ALCINA (Handel): Sta nell'Ircana pietrosa tana L'AMICO FRITZ(Mascag

incanto
per
the
parea
Ah!
loco...
giorno ANNA BOLENA (Donizetti): E sgombro it
un inferno
ARIODANTE (Handel): Dopo notte L'ARLESIANA (Cilea): Esser madre e
ERA (Verdi): Re
IN
MASCH
BALLO
UN

ata
disprezz
son
Sposa
li):
BAJAZET (attr. Giacomel
I CAPULETI E I
fa
poco
voce
):
dell'abisso, affrettati IL BARBIERE DI SIVIGLIA (Rossini Una
): Nacqui
(Rossini
A
ENTOL
CENER
LA

MONTECCHI(Bellini): Se Romeo t'uccise un figlio


questo
per
D2h,
):
(Mozart
TITO
DI
NZA
CLEME
LA

mesta
all'affano e al pianto... Non piu
COSI FAN

lato
a
di
Tito
Torna

part)
clarinet
solo
(with
mio
tu,
ben
ma
Parto,
istante solo
LA DONNA DEL
TUTTE (Mozart): Smanie implacabili DON CARLO (Verdi): O don fatale
(Puccini): Tu it cuor mi
LAGO (Rossini): Mora felici Tanti affetti in tal momento EDGAR
DESTINO (Verdi): Al
DEL
FOIZZA
LA

o
Fernand
mio
O
ti):
strazi LA FAVORITA (Donizet
(Mozart): Il padre
NEO
soon del tamburo GIULIO CESARE (Handel): Presti omai IDOME
IANA IN
L'ITAL

Roma
dio,
A
erdi):
adorato L'INCORONAZIONE DI POPPEA (Montev
Cari
ti):
(Donizet
UNIX
CHAMO
DI
A
LIND
tirrano!
ALGEIZI(Rossini): Cruda sorte! Amor
DI
NOZZE
LE

luoghi ov'io passai MAOMETTO II (Rossini): Guisto ciel, in tal periglio

sospiri
miei
o
Addio,
FIGARO (Mozart): Non so piu OIZFEO ED EURIDICE (Gluck):
OTELLO (Rossini): Assisa a pie
ORLANDO FINTO PAZZO (Vivaldi): Andero, volero, gridero
si
barbara sciagura
In

er
lusinghi
raggio
Bel
):
(Rossini
d'un salice SEMIRA.MIDE
la vampa Condotta
TANCREDI(Rossini): Di tanti palpiti IL TROVATORE (Verdi): Stride
ell'era in ceppi.

50484602 TENOR $19.95


Contents, 38 arias: AIDA (Verdi): Celeste Aida ALCINA (Handel): E un
folle, e un vile affetto
ANDREA CHENIER (Giordano): Come un bel di di maggio L'ARLE
SIANA (Cilea): E la solita
storia UN BALLO IN MASCHERA (Verdi): Di' to se fedele Ma se
m'e forza perderti IL
BARBIERE DI SIVIGLIA (Rossini): Ecco ridento in cielo Se it mio nome
saper bramate
(Serenata~ LA BOHEME (Puccini): Che gelida marina I CAPULETI
E I MONTECCHI
(Bellini): E serbata a questo acciaro CAVALLERIA RUSTICANA
(Mascagni): O Lola, bianca
come fior di spino LA CENERENTOLA (Rossini): Si, ritrovarla
io giuro LA CLEMENZA DI
TITO (Mozart): Del piu sublime soglio COSI FAN TUTTE (Mozart):
Uriaura amorosa DON
GIOVANNI(Mozart): Il mio tesoro DON PASQUALE (Donizetti):
Come gentil L'ELISIR
D'AMORE (Donizetti): Una furtiva lagrima LA FANCIULLA DEL
WEST (Puccini): Ch'ella mi
creda LA FAVORITA (Donizetti): Spirto gentil LA FINTA GIARDI
NIERA (Mozart): Che
belta, the leggiadria LA FORZA DEL DESTINO (Verdi): O to the in
seno agli angeli GIANNI
SCHICCHI(Puccini): Avete torto! L'INCORONAZIONE DI POPPE
R (Monteverdi): Sento un
certo non so the IRIS (Mascagni): Apri la tua finestra LUCIA DI LAMME
RMOOR (Donizetti):
Fra poco a me ricovero LUISA MILLER (Verdi): Quando le sere al
placido MADAMA
BUTTERFLY (Puccini): Addio,fiorito asil MANON LESCAUT (Puccini
): Donna non vidi mai
MEFISTOFELE (Boito): Dai campi, dai prati PAGLIACCI(Leoncavallo):
Vesti la giubba IL
PIRATA (Bellini): Tu vedrai la sventurata RIGOLETTO (Verdi): Parmi
veder le lagrime La
donna e mobile TOSCA (Puccini): Recondita armonia E lucevan
le stelle LA TRAVIATA
(Verdi): Dei miei bollenti spiriti IL TROVATORE (Verdi): Deserto
sulla terra TURANDOT
(Puccini): Nessun dorma.
50484603 BARITONE $19.95
Contents,40 arias: ADRIANA LECOLTVREUR (Cilea): Ecco it monolo
go L'AMORE DEI THE
RE (Montemezzi): Fiora! Piccolo fiore ANDREA CHENIER (Giorda
no): Nemico della patria
L'ARLESIANA (Cilea): Come due tizze accesi ATTILA (Verdi):
Dagi'immortali vertici UN
BALLO IN MASCHERA (Verdi): Alla vita the t'arride Eri to
the macchiavi quell'anima IL
BARBIERE DI SIVIGLIA (Rossini): Largo al factotum BELFAGOR
(Respighi): Sono un grosso
mercante ~ LA CALISTO (Cavalli): Va pur... Se non giovano LA
CENERENTOLA (Rossini):
Come un'ape ne' giorni d'aprile COSI FAN TUTTE (Mozart):
Rivolgete a lui to sguardo DON
CARLO (Verdi): Per me giunto DON PASQUALE (Donizetti):
Bella siccome un angelo I DUE
FOSCARI(Verdi): O vecchio cor, the batti EDGAR (Puccini):
Questo amor L'ELISIR
D'AMORE (Donizetti): Come Paride vezzoso LA FANCIULLA
DEL WEST (Puccini): Minnie,
dally mia casa son partito FALSTAFF (Verdi): E sogno? o realty?.
.. LA FAVORITA
(Donizetti): Viers Leonora, a' piedi tuoi IL FIGLIUOL PRODIGO
(Ponchielli): Raccogli e calma
LA FINTA GIARDINIERA (Mozart): A forza di martelli LA FOR.ZA
DEL DESTINO (Verdi):
Son Pereda,son ricco d'onore GIANNI SCHICCHI(Puccini): Si
corre dal notaio I GIOIELLI
DELLA MADONNA (Wolf-Ferrari): Bacio di lama LUCIA DI
LAMMEIZMOOR (Donizetti):
Cruda,funesta smania LUISA MILLER (Verdi): Sacra la scela e
d'un consorte MANON
LESCAUT (Puccini): Sei splendida e lucente NABUCCO (Verdi)
: Dio di Giuda LE NOZZE DI
FIGARO (Mozart): Hai gia vinta la causal... Vedro, mentr'io sospiri

se' morta PAGLIACCI(Leoncavallo): Si puo? I PURITANI (Bellini ORFEO (Monteverdi): Tu


): Ah! per sempre io ti
perdei RIGOLETTO (Verdi): Pari siamo! RINALDO (Handel):
Sibbilar gli angui d'Aletto IL
TABARIZO (Puccini): Nullal... Silenzio!... LA TRAVIATA (Verdi)
: Di Provenza it mar,i1 suol
IL TROVATORE (Verdi): Il baler del suo sorriso I VESPRI SICILI
ANI (Verdi):In braccio alle
dovizie LE VILLI(Puccini): No! possibil non e... Anima santa.

50484604 BASS $19.95


emezzi): Son quarant'anni ARIODANTE
Contents,39 arias: L'AMORE DEI THE RE (Mont
e gonfarsi 1'anima IL BARBIERE DI
(Handel): Voli colla sua tromba ATTILA (Verdi): Mentr
DI SIVIGLIA (Rossini): La
IERE
IL BARB
SIVIGLIA (Paisiello): La calunnia, mio signore
ME (Puccini): Vecchia zimarra
BOHE
LA

sorte
mia
calunnia e un venticello A un dottor della
nini LA CLEMENZA DI TITO (Mozart):
LA CENERENTOLA (Rossini): Miei rampoli femmi
): Ella giammai m'amo DON
Tardi s'avvede d'un tradimento DON CARLO (Verdi
Il catalogo e questo DON
ina!
GIOVANNI(Mozart): Ho capito, Signor, si? Madam
ORE (Donizetti): Udite, udite, o
D'AM
SIR
L'ELI

to
insoli
PASQUALE (Donizetti): Ah! un foco
GAZZA LADRA (Rossini): Il mio piano e
rustici ERNANI(Verdi): Infelice! e tuo credevi LA
ella de'! GIULIO CESARE (Handel): Se a me
preparato LA GIOCONDA (Ponchielli): Si, morir
(Monteverdi): Ecco la sconsolata... Ringratia
EA
POPP
non sei crudele L'INCORONAZIONE DI
Gia d'insolito ardore L'ITALIANA IN
la fortuna L'ITALIANA IN ALGERI(Rossini):
I LOMBARDI(Verdi): Sciagurata, hai to
LONDRA (Cimarosa): Van girando per la testa
A
OOR (Donizetti): Dalle stanze, ove Lucia LUIS
creduto... O Speranza LUCIA DI LAMMEIZM

ita
MACBETH (Verdi): Come dal ciel precip
MILLER (Verdi): Il mio sangue la vita darei
Tu
spirito NABUCCO (Verdi): Vieni, o Levital...
to
Son
o
MEFISTOFELE (Boito): Ecco it mond
O
ORFE

rai
and
piu
Non
La vendetta
Sul labbro LE NOZZE DI FIGARO (Mozart):
ORLANDO (Handel): Sorge infausta una
rive
a
queste
morte
anzi
ch'inn
to
O
):
verdi
(Monte
tuo trono, o sommo Iddio SEMIRAMIDE
procella I PROMESSI SPOSI (Ponchielli): Al
LA SERVA PADRONA (Pergolesi): Sempre in
(Rossini): Deh, ti ferma... Que'numi furenti
lacerato spirito LA SONNAMBULA (Bellini): Vi
contrasts SIMON BOCCANEGRA (Verdi): Il
): Di due figli vivea, padre beato I VESPRI
ravviso, o luoghi amens IL TROVATORE (Verdi
a.
SICILIANI (Verdi): O tu,Palermo, terra adorat