DENNARDA ALDH NOT FOR SALE PROPERTY OF 229 West 28" Street + 11" Floor * New York, NY 10001 Tel 800/400.8160 or 212/564.4000 + Fax 212/268.1245 ‘www.rntheatricals.com IMPORTANT WARNING! DO NOT affix inserts into this material by any means whatsoever including staples, tape, paste or glue, Make marks lightly in black pencil only and erase thoroughly before returning. Charges will be assessed for all unerased, damaged, missing and overdue material per the signed License Agreement relating to this rental materi——-RENIRDA ALBA] Words and Music By Michael John LaChiusa Based on the play “The House of Bernarda Alba” by Federico Garcia Lorca BERNARDA ALBA was otiginally produced by Lincoln Center Theater, New York City, 2006 Orchestration By Michael Starobin For This Edition: Music Preparation By Emily Grishman Mesie Preparation Vocal Score Prepared By Wayne A. Blood 229 West 28 Street + 11"" Floor * New York, NY 10001 ‘Tel 800/400.8160 or 212/564.4000 » Fax 212/268.1245 www.rohtheatricals.com “This Piano—Vocal Score Edition Copyright © 2007 by Michacl John LaChiusa. Intemational copyright secured. All Rights Reserved,15. 16, 17, 18, 19, 20, TABLE OF CONTENTS PROLOGUE Prologue... acti ‘The Funeral no On the Day That I Marry (Part 1). Bemarda’s Prayer... On the Day That I Marry (Part 2) Love, Let Me Sing You.. Let Me Go to the Sea ACTII ‘Magdalena Angustias Amelia Martirio.. Adela, 1 Will Dream of What I Saw.. ‘Thirty Odd Years. Limbrada’s Daughter. ACTIN One Moorish Gitl/ The Smallest Stream feereernettae see ‘The Stallion. . seni OB Latllaby. : eae Open The Door... See eeeeeee eee eG Finale..... ce : : : oe Postlude (Exit Music).. : 124PIANO-VOCAL, No. 1 Prologue HESASRAS (COMPANY) Piano Palmas Poncia Palmas Poncia CCopysgt ©2006 Michael John LaChiasa Ioxernatioal Copyright Sesued. All Rights Reserve1. Prologue 8 dd Poneia lived 8 woman snd her five daughters. Poncia Palmas PalmasPoncia Palmas Poncia far = da wet the wo = man's Pro. Poneia 1. Prologue PONCIA: Sho had 8 daugh-ter1. Prologue Poncia 2 , he by her fist us-band Poncia Palmas PalmasPho. Palmas Pao, Palmas Poncia 1. Prologue PONCIA: Her second husband was not1. Prologue huind-some man ah Her fue band owned 9 sa Bie of Poncia DAUGHTERS: Ap-10-mo— the Fa. ther! Ane SANTONIO": ALL (save Berna Aa-toomo— the Hos Pho, PalmasPrologue E » PONCIA: Poncia (0 - ao left Bee nar = eos ad Te Pro. Poncia | His step = danghter, Angus tess, Pro. Poncia Or the ser = vant of | YOUNG MAID and "ANTONIO": Ai ANGUSTIAS | | Pao,1. Prologue Poncia : == add ALLWOMEN “Ait ‘dd AMELIA: Gave Bernards): SQUALL WOMEN (Gave Bera Pro. a Molto crescendo Ponca Pro.Poncia Poncia Pao, 1, Prologue bi For wint che was se PONCIA; eee Ber nar-da shut ber eyes 101. Prologue as dd (3) Poneia is-ciplived tee other four daughters: MAGDALENA: Mag defn Palmas Poncia UUked tO sleep though the day) Pro. Palmas 101. Prologue Poncia (Whose uptiness scars men away) (The youngest. And prettbest MARTIRIO: | | Pro. | I Palmas = 4-y02 Faster PONCIA: Poncia And mest lke ber father ie | me : 5 MP legato, mola wusonaio | > | Palmas1. Prologue Poncia Pro, | | 1 | Poncia Pho, | Poncia | [MARIA JOSEPHA: Pro.1. Prologue Poneia Pro, Poncia Poncia Hiap-py. hap-py MARIA JOSEPHA: * DAUGHTERS: Hap px, hap-p¥ Hap-py, tap-py fa - mi ~ Wy Happy, teey é 4 a: ‘ peieteie | 13Poneia Pro, Poncia Pro, Palmas 19, Ponca: Happy, happy suld ALL WOMEN ‘Save Berwarda): gh Happy. tappy Happy. happy 1. Prologue Happy p-py Happy. tappy 4 ace One Happy, hep-py. happy oy yt Happy. bp-9y, happy Happy Dy, heey be ww-on be Hop-py, happy Hep-py. hap-py Hop-py. MapPY Happy. Inpy Hip-pr, happy eae BE1. Prologue z | Poncia «eR in Spain Le wwe in He town i | Palmas Poneia Palmas1. Prologue So they lived con - tent with pride, with in this house where sll s-bides un + DAUGHTERS: With ~ jn this howse where all a-bides ALL (cave Bernarda): Poco a poco crescendo the Hs the Hs band, An bend, An the Hus ~ band, Xa - to the Hus = band, Aa t= aio, Poco a poco crescendo Poneia ‘ugh - test laugh ~ test Pho. Palmas Ponca the day An = 10 8h, — ona, the cay An Pro, 161. Prologue ["ANTONIO® sucidenty freezes and collapses. BERNARDA knocks over a chai - "Antonio" s char.) | sxxnasoa 1, ™ Poncia Sad deny Sudden ly vw we 4 eee Segue as One 17 | | | | |The Funeral Seclaeeates | (BERNARDA, WOMEN) BERNARDA: "And the Hovse of Antonio became the House of Bernards Alla” J=90 [i Slow, Solemn march zs chiones continue, rardlom, out of time) be) tbe) > > Piano 5 @ Freely peewanpa: Bernarda | Bemarda 7 | God Al-might-y be With the Arch -an - gel Saint | Women Pro, Invention! Copyright Secured. All ight Raserved 18 yg 2 Mah ai2. The Funeral YOUNG MAID: (Tongue ike aki.) a all Berarda a__s anit SE chad. and big s¥ord of us oe, And te key that 0 pane Women Pro, PONCIA: (Sanctintonioes sake.) Berard and that "un Jocks, ‘Will the blessed and the lost, With the souls on anda 868 Bemarda Grant rest t Thy Servant, ANto-ni-o Mi Ben-a-vides And ive him Women Pro, 19 | | |Bernard the Crown of Thy Glory! Women Poo. Pro, 2. The Funeral [SATETY Gp on ene) 20 chimes gy (pay ten tinesPIANO-VOCAT. BERNARDA ALBA No.3 On The Day That I Marry" (Part 1) (YOUNG MAID) PONCIA: "What are you going to do?" ) BERNARDA (Overlapping) YOUNG MAID: Start puting the dead ona's clothes avay. ‘Young Maid On the day that To mntenya, my cheeks Wi be 10-49, Like @ cola voce, softly Piano feingr stops afer ne cue, Ivete continue underscoring) pee ‘oung Maid ple that eve = 1y-008 wants to ue ion Poo. ‘oung Maid Pao, Copyeiht ©2006 Michael Joba LaChinsa nematonal Copyright Secured. All Rights Reserved, 2PIANO-VOCAL, t BERNARDA ALBA No 4 Bernarda's Prayer —sstinticine (BERNARDA) [BERNARDA:*Make sore his things are pu away in he chest” TPONCHA evts, BERNARDA gh, SHE prays quel] Freely, declaimed BERNARDA: Bemarda i N / ~ Mo - ther of God === ave Mer ey on me : DJ m3 (Tempo Rubato) (poken:) Bernards Pro. Bemarda seta (od 1b) | Pro, | | | Bemarda ‘nine tat Twas Blind? "could wot fee? Pro, Copyright ©2006 Michael John LaChiusa. | rato See. ih ese 224, Bemarda's Prayer Bemarda, think 1 did) ot Bow how you sinned? ‘yas = band Pro, Bemarda Pro, Bemarda Pao, 23Bernard Pao, Bernard Pho. Bemarda Pro, ATempo 4, Bernarda's Prayer oe ny Piu mosso Pu took what you want «ed love, my love, my love, snd made Crescendo poco a poco ‘hen you took more me your 244. Bemada’s Prayer Bomarda Z - z = sme me your where! oe | | J... Molto crescendo, =70 Accelerando % Poco rit. Bernarda Je me ¢ lone But | Pro, Poco Bemarda in not asf Twill not moum you, my pe ~ nance is pi Pro, 254, Bemarda's Prayer 4A, On The Day That I Marry (Pact 2) Bemarda Berard ‘YOUNG MAID: ‘oung Maid No. 4A On The Day That I Marry (Part 2) (BERNARDA, YOUNG MAID, SERVANT, PONCIA) (uring) On the [E]_ Softly, Freely ‘oung Maid E = Se - F ay. that 1 marry my checks will be 10 5% Se ereeescee ee ceeee |4A. On The Day That I Marty (Part 2) “4 [4] Allegretto. Sasg0 ‘oung Maid Servant PONCIA: Poneia On the tay Allegretto 439 Pro, ‘oung Maid eve = ry-one Servant | =z eve = ry-one Poncia Pao, On the day that 1 mar = ry my cheeks will — 7 ‘het4A. On The Day That! Marry (Part 2) ‘oung Maid Servant Poncia Pro, ‘oung Maid Servant Poncia { | Poo. 28Servant Poneia Pro. ‘oung Maid Servant Poncia Pro, 4A. On The Day That I Marry (Patt 2) 29 { |‘oung Maid ‘Servant Poncia Bomarda ‘oung Maid Pro. Bemarda Pro, ple that 4A. On The Day That I Marry (Part 2) nexnarna: [1 Slower, Deliberate On the day ttt slower cola voee — 2 pepo checks will be 30 10-8 ry-ene vans 0 like «jis ey red ap~ ple thotPIANO-VOCAL. No.5 — Love, Let Me Sing You *ts'ietsons (AMELIA, MARTIRIO, MAGDALENA, ADELA, "PEPE") SEQUE fmm a4 d=60 In2 [erwarpaeri, Gently AMELIA es) a [5] AMEtaa (naming: Piano piel Love, etme sing you do Slower (quietly under dialogue) —— Pro, Pro, Pro, P Copyeight ©2006 Michal John LaChinsa leerrtionl Copyeght Scud. All Rights Reserved. 315. Love, Let Me Sing You Gentle habanera 4 MARTIRIO: Love, let me sing you. Eve-ry part of your per-feet fae! 7, AMELIA: —— Love, ler ine Sag” your Let me make you a songl————__— i MARTIRIO: ce ee Love, Ist me ang you; peer ; a AMELIA: Molto crescendo | ‘These. we your brows: — tan-gled gold, ke ti "auTama wheat Like the arches of Pro, 325, Love, Let Me Sing You pa Rie Slightten, A tempo Y oo aa = ver your eyes, whch you o-pem and aight be-comes day. Sere = eer ver your eyes. AMELIA: _—-—————_ Love, let me sing you; — Love, let me sing you; Tt ‘ar ‘These ore your tears ike the pours tom a eee TFTA way, Colla voce SSS SS : once 1 have Sung you, Pho, 335. Love, Let Me Sing You 2 ‘A tempo 1 wil keep you, for my-self, my for may-sel my enn = th fal song penises Brighter, more dramatic IMAGDALENA and ADELA hove entered, MAGDALENA: —— MARTIRIO & AMELIA: diab thc sisters reverie] ‘Whatare you doing? _We'e Peps! MARTIRIO (Mocking Pepe: eee Love, it we Sia youl Let me make you a song! MARTIRIO: Er me make you a song! MAGDALENA: ES me make you a song! ‘THis is your nose ben-ing Fed Ue the =——. Pro.5. Love, Let Me Sing You m ADELA: | ‘These are your pe. Map-ping loose the Poo. % Tel [vane] Slower (ander ciologue) Sob Mts posse Pro. MAGDALENA: "free wells” [5] tempo ws, Con Moto In 4 Rit. me [MARTIRIO: I's Pepe! . _— | Love, et me sing you~ | | | Pho, PP sustained, delicate guitor| aoe is atlu ee iw wnat oT cle as 355. Love, Let Me Sing You pat of your per = feet fae, Love, let we sing you Let mo make you a ” WMQAMIELIA: hs: tan-pled gold ie de au - uma whest____ ‘These are your brows: arninto: ‘add MAGDALENA: ——— Like theo = tamn wheat ‘These we your~ | tangled gold Ue thea ~ tama wheat Pro, 36Pro. 5, Love, Let Me Sing You Molto crescendo Rit. Like the ar = ches of hea A tempo exe —— met 9 var yaar eyes! = ver your = event rows: Life the ar = ches of hea = ven tht mex @ er your eyest (PEPE) ches of ea = van fer met ge gt Molto crescendo A A temo eee Night becomes day Night be-comes dy, Cir Which you @ pen and bevcomes da 375. Love, Let Me Sing You Abt ‘Thusoere your tars,____Like the pearls These sre yogr tors: Like the pearls Like the passe Pao, Crescendo y aecelerando poco a poco Love, et me sing you; m, et me sing Ime sing Love, Ist me-sing you Crescendo y accelerando poco a poco igs ees eT from from & tom @ 38 HaPTa - way. farsa = way. Rit. fea = tore, Ry pt eve-ry pan |5. Love, Let Me Sing You Colla voce PEPE je senunEET eee: 1 have sung you, 1 willkeep you, for my-eelf, my Pho, 120 (pt vocal omamentation) SS j ieee erent be = Gal song oy suases ses eeees ses sciaes Pro. 39PIANO-VOCAL, BERNARDA ALBA. No.6 Let Me Go To The Sea tiesstiantic (MARIA JOSEPHA, DAUGHTERS, WOMEN) PONCIA: “Bema, please!” BERNARDA: What i my sotr doing ost Freely, Colla Voce YOUNG MAID: She po say fom me MARIA JOSEPHA: Maria Josepha Let me goto the seu; Let me mar = ry a many Let me omar = ry a man Piano Maria Jos. Sr Saas = = iz cont Lat me tive by the sem farsa way fiom tis hous, where my skin in at whem 8 Pro Bolero Moderato In 34-09 genni ou in ee een Maria Jos. SS — Tet me fee fom this town were the Pro Copyright 22006 Michael Joba LaChiuso Intemational Copyright Secured, All Right Reserved 406, Let Me Go to the Sea BERNARDA: 2 Mother bo gviet. Maria Jos, js tke a Pro, Maria Jos, to the seat Pho, Maria Tos, nd who woot Pho, Maria Jos. Pro, 416. Let Me Go to the Sea p41 oe —=— ee SSS = | or ‘hig Women 2 Women 1 Women 2. Women 1. Women2. 426. Let Me Go tothe Sea 0 (ing bres) Women 1 Singin) Vm Women 2. Pro Crescendo poco a poco Cl tee Women | = I uy Tron ti town, whe the fe fon fom tsa we the fee fom Women 2. SS from_tis town, am Pro, 43Women Women 2 Pro. Women | ‘Women 2. Pho, te few. of 6, Let Me Go to the Sea Fret. 44 Lot me ¢0 tothe Accelerando6, Let Me Go to the Sea blood and who wont fn a= wy Lot_me five on the coast of de | Women I and who and who Women 2, ct. Pro. Molto crescendo Women 1 ‘Women 2. Pho, 456. Let Me Go to the Sea fare cae Women L Women 2 | | n, Poco ritard Molto rit Women 1. Women 2 MF barshy theo hammer paceeeettg | ‘Segue 46PIANO-VOCAL, BERNARDA ALBA. No. 7 Magdalena hata ache (MAGDALENA) A cappella, vocal ad lib (opt ornamentation) sachin GE meee JET fh = te "A young. man goes to Vil-ls__ Re-all A - long the road etl Tose his way. Se — vem dys with ae ‘owt 4 meal, Se-ven days to nd hell pray. My pains, Mo-ther are not pains of hun ger. 4 an i siete eee eee Noe GE SSS = oF a SSS The young man looks up at. the sky and onthe ill, just ‘up a-head, | | » | ae sey eye, The high - land girl 1 Koow hell wed" ‘There shell be, with — one Copysight ©2006 Michel Joba Tachi. Intemtionl Copyright Seowed. All Rights Reserved 47s BERNARDA ALBA 1 No. 8 Angustias Michael John LaChiusa (ANGUSTIAS, WOMEN) AAMUILLA: "Lots gt some arin boxe” CANGUSTIAS gets and goes the door] Ind J=110 ANGUSTIAS (second tine ony: Angustias euiieiile | Women Piano Palmas o-ver's song is sing 50 swe ‘Women | Pro. P | sustained Palmas Finger eymial Copyeight ©2006 Michee John LaChines, Intemational Copyright Secured, All Rights Reserved 48,8, Angustias Ee Angust Soe singing bent I And 1 should bea Women Palmas » [aj Crescendo poco a poco Angust He sings song an soft as anit that vi ces up and ba. } se ? 1 cavt bear him in my beat, Poo, | Palmas 49Angust, Palmas Angust, Pho, Palmas Angust Pro, Palmas vai shes, but vam | Nc 2 him about fou 2x hese bien 8. Angustias fe my heat (Dialogue tongue eck” hosts MAGDALENA: Angustias? ‘Angistne? She's ignoring os. ‘VAMP | ANG: My st sie only)8. Angustias Angst ——— a loovers face is cloaked ia cha dow Women Palmas Angust ‘And Tshauld be a happy wo-man Women Palmas 318. Angustias : Crescendo poco a poco Angust But though fie song f=. sing forme, ite not for —— Women Palmas Angust. Women (oh ploy rehearsal ont) a eee Palmas 52Angust Women Palmas sn & 1 cant 8, Angustias hear — hin 53 ini pa ete No.9 Amelia (AMELIA, YOUNG MAID, SERVANT) sues AMELIA: "This kind of talk always embrasses me." 4 0 Delicately, elegant tango ‘YOUNG MAID & SERVANT: MaidServant Piano “vel ve “4 v4 sid/Servant umn. of you. Sweet A-mel-i-al_— No one e-ver thinks Iust-ful thoughts of yo, raf Palmas Amelia But to = day boy down by theo = ver 4 ___ Youn man a senvanr: Pro, Palmas Copyright 22006 Michael fon LaChisn. sereatianal Copyright Secwed. All Rights Reserve, 349. Amelia Amelia Str-ing at me aidiServant Amelia What was that feel = ing? sid/Servant Pao. Palmas FT Amelia rum made of sheep - skin, On-ly yes-ter-day_ it was sidiServant Pro, PalmasAmelia sidiServant Pro. Palmas Amelia sidlServant Pao. Palmas cat = ing ass bout 9. Amelia 56 Pum = pum pam = pum -9. Amelia Amelia si@/Servant Pum ~ pun-pump 1, g Aftempo se Amelia What was that feel - ing. aid/Servant No one ever spreads +more of you. Sweet Acoli Amelia Whar was that feel aid/Servant Tra-rum pump! Pro, Palmas 37 |VOCAL, No. 10 Martirio Micha Toba Lathe (MARTIRIO, MAGDALENA) cues AMELIA: "They need io be treated like children, Ment MARTIRIO: "Boys." In 1 J=73 Brisk, urgent Cumbia VAMP] MARTIRUO: Moartiio Conary Tey ait and they curse when 1 wale down the Piano stated thonghont on staccata Pca aes pee perc Palmas | Thats. how Pro, Palmas Mart Thats bow the boys talk Palmas Copyright ©2006 Michel John LaChiosa Iotermationl Copyright Sceued, Al Rights Reserved | 5810. Martti Mart. S Wd were bem =) = fp Pho, Palmas Mart. spetk in the — an-guage of lo = vers Palmas ‘ Molto crescendo Mart. Palmas 59Palmas Palmas Pro, Palmas 10. Matirio Ide ~ serve ny Uae ene a i aCe PRS es PE ECE PREC OAE Fe ao Gh ae Qe liad ler ly og if ee eee now they will howl at the size of my feet and the hook of my nose and the” crook of my back For ™ more intense, aceite sere eee se 60 |Mart Pro, Palmas Pro, Palmas Mart. Palmas 10. Mattirio row they will spt For now they will caii=— ee ‘more tego, oeo dim ‘Thats how the —hoys tak 10 Se eae ‘Tats how the 61 |10, Mantitio Mart Pao, | Palmas Mart, MAGDALENA: Mag, Child willbe a bish-op—orPope,and theyTIbe happy And Hl growoldand Pro. Palmas (cutoff on ADELA’s entrance) dined of hope wile young, ten seek and Scone ther wes. | 1g f-continaes ADELA: "Stop staring at me! You ugly hag! Get your fee away fom me.” 2% py fot) MAGDALINA: Mag. “My pains, Mother are not pains of an = ge 62PIANO-VOCAL, E | No. 10 Adela Shuto cha (ADELA, DAUGHTERS) SEGUE from #10 Freely (Moderato) In 4 ADELA: Adele 1 wont be locked away like you Piano colle voce) Adela My skin wont mm 1 grey ike your, E want to know de = Pao, | Adela 1 west to know what pas-sion ie while Tam young, — | Pho, Copyright 22006 Michel Joh LaChissa Inwemationl Copyright Secured. Aliph Reserved. 664 M.Adela 0 [al A tempo J~6 Adela E = = 5 = fre, be-tween my legs and on my lps and on my tongue 1 wont give up and die ke Pho. | Fans Fans ig, Crescendo poco a poco J=76 Paco pitt mosso Adela cast hold ie like wear my Pao. see ‘open Fe To | | | Fons Adela and 11 step Fans. 6411, Adela 65 Adela (tance inthe stoes in the arme of: my fave for the world wear my Poo. Fans Adela PU have no = thing to hide Pro. | Fans. J.J 2, "Gracioso Daniele" Adela Tove while (can inthe time that [ haves 1 will dance with the man | Fans 65Fans Fans Fans 66 With brio and panache 2B . ‘mf (gto od 1) aaa H. Adela 66Pans Fans Pro, Fans Pro, Fans. 11, Adsla 67 (Ade gerne) 27 67Fans Pro. Colla voce 2, ADELA: Adela 71 wear my Pro, a srcen sess. In 2 Poco Rubato PH have nothing 10 ide 68. 1 will tove wail 1 canMh Adela 9 Adela who loves {] In4 Moderato, lyrically Adela Amelia i MAGDALENA: | Magdalena | | 00 1. Adela é | ‘Crescendo poco a poco Rit. a Amelia ‘MARTIRIO: Marttio 1 deserve my ANGUSTIAS: Angustias Magdalene Pro, A tempo, accel. Adela Amelia Martirio Angustias | cant bean him Magdalena Pro, 0Adela Amelia Martirio ‘Angustias Magdalena Pro, 1.Adela ot pains Mo = ther, not pains My pains, (ANGUSTIAS) My pins, ot pains (MAGPALENA) n n | |n U. Adela Adela Mo = the — Amelia Martirio the pains ‘Angustias Magdalena, Pro. 2PIANO-VOCAL. N MAGDALENA: "I won't be sewing a single stitch.” Bright, sexy J.-80 1 Vamp] > [Vamp BERNARDA ALBA. Michael John LaChiusa 12 I Will Dream of What I Saw (OMEN AND BOYS", DAUGHTERS, PONCIA) Piano P Percussion [Vamp] MAG: *- nat xen cur eyes se oar om" Le] »aten ano Boys": er SS SSS == ¢ oF FSF ae are In + tothe har ~ vest, in = tothe ayy Pro, Pero “Men” Pere be mai m= tothe feds and in = = dows best ng hour to the bes, vets with ‘Copyright ©2006 Michel Joho LaChiuss Interational Copyright Secured, All RightsReserved. B a day! da PONCIA: Lis dedi Ald Castine (x id) &,12, 1 Will Dream of What I Saw ” a SS i ae Li dadi = de, Li = do-ti-ea-te Li > da Lido sh = Lida) = og Lied a " eee eee wep eee fg fe Pee ee eee eee fee Pere, HE = —== = = = | | Ment | Weclasts la te Lavi da 0 pen your win ~ dows in ~ 10 the sheet Pro. Pere, | "Men" (© pon your shat ter, wake from your map! 2 flow = er down wo me and 1 will weer it Pro. Pers. 7412, LWill Dream of What I Saw "Men" Pro. Pore. a ~ meat FG z3 S- ai Jo te teeta te Pao. Pere,alers!Pone. ae Pro, Perce pers/Pone. "Men" Poo. Pere. 12. 1 Will Dream of What 1 Saw PONCIA: 1 will dream of what EES Eee Thyough your win PONCIA & DAUGHTERS: ‘Through your win = dow 0 = pen widel en wile! 76atersPoue, Pro. sters/Pone, seitte Pao, Pere. of what 12, 1Will Drearm of What 1 Saw saw! your Your z is dt de lips lips a fat part = ed Si that pa 1 yoo sighed? Si you sighed! | |12, Will Dream of What I Sew sters/Pone. Heda Lis do- da- ta "Men" PONCIA: Theyre ting the comer "Men" Soren | fn = tothe feds and in = t0 the heat Ins tothe bar > 0p more seine gradual fang ay Pro. Pere 7Bae Poo. Per. een Pro, Per. "Men" Pro, Pere 12, 1Will Dream of What I Saw ADELA: Welt ce them rom my wind! PONGIA: Dont open t too wide, yo fll ot [antes MAcDALeNA wd PONCIA ny op} Gradually fading away to the ay Bye - ey mai ~ des) beat ing heart vole with ur twice a day, 9 od oePIANO-VOCAL No.13 Thirty Odd Years seistiniscen (PONCIA) BERNARDA: "You're a serventhere, nothing more. don sien (0 you" [RERNARDA exits} Freely, colla voce J=75 a a PONCIA: Poncia = = ‘hic ty odd years of laundering. your shes Piano Poncia Woveh-ing trough the night when you're i ‘Thirsty long years of spy-ing in the strees Pro, Poncia F Set = ting your taps Snap ~ ping up the gos = sip just w fill youn. in se G-a-ble need to know Pro, Copyright 92006 Micho! John LaChiesa Ievemaional Copyright Secured, All Right Reserved 80 |13. Thirty Odd Years Poncia Radio rule You may think you ave power. o-¥er » fm) Energico J=75 Ponei you ae wrong ‘0c0 piti Mosso Poncia nee, youre the fog ‘hie ~ ty cold years, youve Pro, Poncia fing. my aid You can smell ¢ sin Pro, 81 | |13. Thiety Odd Years By Accel. Poncia Prey = lng on der fess, you've kept your chil-dren fom she sun, Pro, I Poneia = | sand on-fned who are bled | Pro. Poncia tell you whos blind: You muy shut the world out ‘You may bol every door. | tho | | Poncia You may lock us all be = ind your pi Pao, 82,13. Thirty Odd Years Ponca You may seem my ad ~ vice ‘And my war ings ig = nore Pro. Poncia when die House Pro. su.) -Atempo ee Molto ritard Poncia Pho. Go) Freely Poncia — | ty odd years13. Thirty Odd Years Poncia when you call. poorer But all ‘this will end, Pro, aa Cres. poco a poco Poin = E | sed shout 0 thing Pao, : | Poncia | Pao. t | Poncia | | | Pro, | 84PIANO-VOCAL, No. 14. Limbrada's Daughter sonar (BERNARDA, DAUGHTERS, WOMEN) MARTIRIO: “None of ws wil hve hi" BERNARDA: cat, revtanve vame| Bernards Piano Bermarda Poo. Bernarda Pro, Bemarda Let her be marked Lat her te “fr les echoing vocal Pro. Copyeight 02006 noha John LeChinsa, Interaonal Copyright Secured, AI Rights Reserved, 85 |14, Limbrada's Daughter Bernarda with the 0 = ve whip. fesinite Pa Pro. | | | Bernarda with the cane la er. know the pai _—————— : Atempo J=150 Intensely, roiling ADELA:No- tbr got Bemarda | af soning Rei cries ctr ene een 86Bemarda Whore. Women Pro, ADELA: Please - no! Bornarda Women Pro, 14, Limbrad's Daughter 87 Pun - ish her and Ki ber and ill het for ber14, Limbrada's Daughter (oERNARDA:) ernarda F 7 =e ——— Wornen oned Bomanda Bemarda oe 88.14, Limbrads's Daughter Bernaria Pao, Bemarda Women Pro, Bemarda Women Pro, 89)14, Limbrada's Daughter Bemarda | Women E vor = og | Pro . I | », Meno mosso, rit [yaw14, Limbrade's Daughter | 4, Diminuendo, poco a poco Bemaréa Adela 1 will team of what Pro, Adela ‘ever ml (v0 rit) Pro, ENDOFACT IL : ‘Segue 91PIANO-VOCAL BERNARDAALBA No. 15 One Moorish Girl/ _ se=tnntsc The Smallest Stream (YOUNG MAID, SERVANT, PONCIA, BERNARDA) (GUE fiom #14 YOUNG MAID, PONCIA, anda SERVANT re bth or BERNARD evant 1 Allegretto 4=150 [i] Youn maw: a ‘One Moorish gic <9 young and so Piano Went to pick o-lves found her self plucked ‘Two Moor ish git, sald SERVANT: ‘Two Moor-ish gis, Pho, 2 young snd $0 fove-ly and him-gry, Went 1 pik nd found themselves young and so Tove-ly and hun-ery, Went 10 pice ‘snd found themselves Pao, Copyright ©2006 Michael Lon Lachine International Copyright Secured. All Rights Reserved 9215, One Moorish Girl/The Smallest Stream Rit. * (roune main ‘Three Moorish git, young and so lovely and han gry and (SERVANT) plucked “Three Moorish ‘ada PONCIA: 39 young and 80 love “Ty and funy and pee eee plucked Thee Moorish gils so young and so lovey and hun Bry and snd found. themselves “ind found. thern-selver Wo pick @ = Hives. “tnd found themselves fm J.) Liistesso ‘YOUNG MAID: 0 young and so lovesty,——__ Went to pick Pro, Psion very detoae, sustaned 9315, One Moorish GiriThe Smallest Stream Bemarda Beane E = voice has a = ban ~ domed — Pro, Bemarda Pro, 9415, One Moorish GirlThe Smallest Stream Bonarda . Pao, Bernarda Pro, Berarda Pro, Bemarda, (guitar solo) Pho, 9515, One Moorish Girl"The Smallest Stream Bemaia itis | tema Jong -cr sleep. | eo bea to | | aay | 2 PP EEE RSS Li | Bada : == ee | | Pho. | 96E I 15, One Moorish Girl The Smallest Stream | Berard = Cae ht wo = man st ve - a Pro. ny Molto ritard A tempo Bemarda = —= Pro,PIANO-VOCAL, ' No. 16 The Stallion Mihetobn ahi | (ANGUSTIAS, MAGDALENA, AMELIA, MARTIRIO, ADELA) MAGDALENA: "Leave me alone. ‘Why cant you leave me in peace?” PONCIA: emardet Bermards! The mire’ assaped 2x] Allegro J=150 Piano Footwork = BERNARDA: Who le her ou"? Bx] PONCIA: No one! She kicked er way out! Pro, Footwork { 5 MARTIRIO: Daughters 2 Ber mme is | Poo. | Footwork Copyright ©2006 Michae! Joba LaChiuse Iotemstioal Copyright Secured. Al Rights Reserved 98,16, The Stallion Daughters Hee oes ae Pro, Footwork i ANGUSTIAS: | Daughters a+ cross the pas = te Pro. Daughters Pro. Footwork. 9916, The Stallion Daughters Pro, Footwork Danghters Daughters She Poo. Footwork Daughters ——- pss him | | Pro, Footwork 10016, The Stallion AMELIA: Daughters emit es = cape im an Pro, Footwork. ALLEIVE 2 DAUGHTERS (a): Daughters Daughters Pro, | Footwork 10116. The Staion Daughters Weis there ready and not him to stop but no 10 Daughters waite there: renedy and noe wants him to stop but not to Footwork Daughters =, nearly buck-le fom the force of his weight Daughters fegs nearly buckle from the of his weight as he | | | Pro, | Footwork 10216. The Staion Daughters from be - hind sod libs Daughters from be = hind Pro. | Footwork, ; Poco rit. Daughters Daughters Pho. | | Footwork 10316, The Stallion Daughters Daughters | | | | Pao. ; | | Footwork Daughters Daughters | | | | Footwork 10416, The Stallion Daughters Daughters yee See Seely SaaS lise Saree sere eee | Pno. i eee eee =e Daughters Daughters 10516, The Stallion Daughters Daughters Poo. BERNARDA: "Go bed. Allofyeu, Now" a ” a Pho. 106 | |PIANO-VOCAL BERNARDA ALBA No. 17 Lullaby Michel So LaCie (MARIA JOSEPHA) cue: PONCIA: "They're going to keep us awake." [PONCIA and YOUNG MAID exit. MARIA JOSEPHA enters] 39 22113. Softly, like a Barcarolle Wamp (oacal last es) Maria Josepha Come Tittle baby, Stay Piano Maia Jos. Yo my breast. Our journey will be long and hard and we Poo. Copyright ©2006 Michael fn Labia ternational Copyright Secured. All Rights Reserved 10717.Lallaby " ‘ "0c0 pit mosso Maria fos, fore thedawn breaks. Te Pho, “ Poco accel. Maria Jos. = —te- ee Ne packed for you a sat-chel full of swoot al-mond cakes. us vs os - cape, Pho, four dream of map-ping ‘neath the pals of De-thel hem. Pao, 108 |17. Lallaby Maria dos. Pro, [i] Tempo, a bit slower = 107 Maria Jos. Be ereaeeees eer ete fet F { come vleba=by, be - fire TEs; Be - foe they go fom house Wo home and why the cid who Pro, | | | | Maria Jos | | Pro | 109PIANO-VOCAL BERNARDA ALBA No. 18 Open the Door Micat nin Lain (ADELA, WOMEN) SEGUE from #17 den Piano GI 2x [7] apeta: Adela Who's knoek-ing at my door? Women ‘he door, = pen the door. Pro, Adela Women © = pen the door, 9 = pen the doost | Pho, Copyright ©2006 Michael Job LaChinsa, Inertial Copyright Secured, AIF Rights Reserve. 10Adela Women Pho, Adela Women Pao, Adela Women Bp yy 18, Open The Door (ADELA How SSS ean you come to ° MH ¢, pen the door, 0 ~ pen tho doer! o (O-pon the door, 0 pen the dood! |p 4,8) — ‘The hovse will hoor it We mist be18, Open The Door Adela Women Poo. tf Adela can 1 know its you? (rowing more insistent) How Women mp © pen the door, © - pen the-doot! Pro, Adela dark and 1 cannot gee | nf Women Sees es Sieieietie ales Pro, 4218, Open The Door Adela Clo = ser and fet me Took — £ Women SSS sees (© ~ pen the door, 0 ~ pen the doost Pro, Adela Adela Are these your 1318, Open The Door | : | these your | Women these your see ee eee ee ee eEERE : | | ie SS [2] Poco pitt mosso J = 138 { Adela = ] 1 Women Pro, 418, Open The Door Adela ‘Women see = pen the door! Pao, Adela Pro. Adela, Pro. 15Pro, Pro. Pro, 6 “Bp sietly, under datogue 18. Open The Door 116 06418, Open The DoorWomen Pro, Women Poo. Women hor 18, Open The Door 18 c= cape ‘and18. Open The Door ‘Women: ‘ + oa = 2 == hes - ees Mis ham » ees — = 7 —— oe 5 5 s Crescendo poco a poco Women ply tea te Pro, I | i | | | 1918, Open The Door Women bue = le from the | Women, snd climbs on Pao, Pro, 120Women Pro, Women Pro, 18. Open The Door ADELA: a ib 121 | |RIANO-VOCAL No. 19 Finale Meanie (BERNARDA) BURNARDA: "Be quiet. Stop it. Angostias, be quiet! Mario, enough. Leam ook at death face fe" e Colla voce, quasi recitativo BERNARDA: (poten) (ome) Bemarda & ——— My daughter died fa vie - gin. You ‘ill tel the worl: My Piano Bemarda dhughster died "a vie = gin Pro. ’ a | Bemarda douph-tee. My dough-ten. My daughter died air mf, Pro. | bg Copyeight ©2006 Michal John LaChiuse Intemational Copyright Secured. All Rights Reserved. 12219. Finale Bemaréa Ex = cept whon wee 9 = lone Pro, vel Bemarda * ver of eor-rom! Berarda Pro, 123, ss wen we are alone, we will drown ourselves ina ‘you will keep your si-leneel__ BERNARDA (poten): Slenee [Dhe House of Bernarda Alba “folds in on its shadows. ‘Slow fade to Black.) ‘THE END,PIANO-VOCAL, No. 20 Postlude (Exit Music) Gently J=100 Harp Cello Copycight 2006 Michel John LaChivsa Intemational Copyright Secured ll Right Reserve. 124 BERNARDA ALBA Michael John LaChiusa | |Postlude (Exit Music) 2s ny Hp. Ve. 0, Hp. Ve. 125ob. Ve. ob. Hp. Ve. Postlude (Exit Music) Poco Rall. way a = ee 126 | | {Posthude (Exit Music) A tempo 127Postlude (Exit Music) 2 Rit. Accel. Rit. pla mosso PF sSs> Atempo J= 110 ais 0b, Hp. Ve. 128Postlude (Exit Music) Rit, [=] Meno Mosso J=90 on. Hp. | | | Gu. | Ve. 0b, { Hp. aden a Hb Gur | Ve. | 129Postlude (Exit Music) | | |