ey TID z&ACTI: Romanza Duet Terzet Scene and Ensemble Battle-hymn Scene Chorus of Priestesses Prayer ACT II: Chorus of Women Scene and Duet Finale and Chorus Chorus of Victory Scene, Ensemble, and Chorus ACT OL: Prayer Romanza Scene and Duet Duet Terzet ACTIV: Scene Duet Judgment-scene Scene and Duet Finale INDEX AIDA Celeste Aida (Radamés) Quale insolita gioia (Amneris and Radames) Dessa! (Amneris, Radamés, Aida) ‘Alta cagion v’ aduna (the above with the King, Ramphis, Messenger, and Chorus) Su! del Nilo al sacro lido (The King, etc.) Ritorna vincitor! (Aida) L’insana parola (Aida) Possente Ftha! Nume, custode a vindice (Ramphis and Chorus) Chi mai, fra gli inni ¢i plausi Fu la sorte dell’ armi (Aida, Amneris) ‘Amore, amore, gaudio tormentoso (Aida, Amneris) Gloria all” Egitto Vieni, 0 guerriero vindice Salvator della patria O tu, che sei d’Osiride (Chorus of Priests and Priestesses) O cieli azzurmi (Aida) Ciel! mio padre! (Aida, Amonasto) Rivedrai le foreste imbalsamate (Aida, Amonasro) Pur ti riveggo (Radamés, Aida) To son disonorato! (Radamés, Aida, Amonasto) L’abborrita rivale a me sfuggia (Amneris) Gia i sacerdoti adunansi (Amneris, Radamés) Spirto del Nume (Ramphis and Chorus; Amneris) La fatal pietra (Radames) Morir, si pura ¢ bella (Radames, Aida) Chorus of Priests and Priestesses 431 Page 10 14 14 15 7 19 21 2 28 29 38 39 41 52 55 56 61 67 68AIDA Opera in four acts. Libretto by Giuseppe Ghislanzoni From tho French prose of Camille du Locle First performed, in Cairo, December 24, 1871 CHARACTERS Aida, an Ethiopian slave: soprano Amneris, daughter of the king of Egypt: mezzo-soprano Amonesro, king of Ethiopia and father of Aida: baritone Radamés, captain of the Egyptian Guard, secretly in love with Aida: tenor Ramfis, the High Priest: bass The King of Egypt: bass A priestess: mezzo-soprano or soprano ‘A messenger: tenor Priests, Soldiors, Ethiopian Slaves, Prisoners, Egyptians, Handmaidens of Amneris ‘Tho place is Memphis and Thebes in Ancient Egypt at the time of the Pharaohs. THE PLOT ActI A hall in the King's palace Ramfis, the High Priest tells the young warrior Radamés that tho King of Egypt will soon announce the eppointment of « leader to command the Egyptian forces against Amonasro, King of tho threatening Ethiopians. Left alone, Radamés dreams of being chosen for that post so that, upon returning victorious he can then ask the King of Egypt for the hand of Aida, young Ethiopian slave git] with whom he is secretly in love, not knowing thet she is the daughter of ‘Amonasro, the enemy ruler. Amneris, tho daughter of tho King of Egypt, is in love with Radames, and is disturbed by the obvious interest shown by him towards her slave girl Aida, who soon follows after her. ‘Tho King and his court enter. The King calls for a Messenger to bring the news of the Ethiopian invasion, and names Radamés commender of the Egyptian army. Aida is tom between her love for her father and country and her love for Radamés. Later on, in the temple of Vulcan, Ramfis and all the other priests are gathered to invest Radamés with the sacred armor and the symbols of his exalted mission, while a Priestess intones a sacred chant and all hail the god Ptah.Act It ‘The hall in Amnoris' apartments ‘Amnoris, attonded by her handmaidens, propares for the victory celebration and dreams of the victorious roturn of Radamés. She adopts a strategy to discover if her slave returns the passion she suspects in Radamés, and soon finds that she and Aida are rivals for the affections of the same man. ‘After the elaborate procession of the victorious Egyptian troops the King asks Radamés what he wishes as a reward. The young general first has the prisoners brought in. Among them, disguised as a simple warrior and unrecognized by all except Aida, is her father, King ‘Amonasro, leader of the Ethiopians. Radamés requests that the Ethiopian prisoners be freed, believing that their King Amonasro is dead and that thir spirirt therefore is utterly broken. The priests object vigorously, but the King grants this request for clemency and at the same time announces that he will grant his daughter Amnoris! hand in marriage to the young victorious general in the hopes that one day the royal couple will rule over Egypt together. Amneris exults, but Radamas and Aida are deoply distraught at this tum of events. Act I ‘A moonlit night by the banks of the Nile Ramfis accompanies Amneris to the temple of Isis, whore sho is to pray and keep vigil in preparation for her coming marriage to Radamas. Once they have gone inside, Aida appears. Sho is expecting to moet Radamés and is startled to soo her own father Amonasro appear suddenly. He entreats Aida to obtain from Redamés the name of the pass the Egyptian amy is to take, so that the Ethiopians cen lay in ambush and destroy them. Aida is horrified by this request and Amonesro repudiates his daughter by accusing her of being the slave of the Pharaohs. Amonasro hides and Radamés appears to keop his appointment with Aida, She pleads with him to flee to Ethiopia with her and then manages to make him reveal the secret. Onco Radamés has spoken, Amonasro stops forward and roveels his true identity. Radamés is horrified at having betrayed a military socret, and voluntarily gives himself up to the High Priest Ramfis, who has appeared with Amneris just in time to overhear the betrayal. Guards aro sent after the fleeing Aida and Amonesro. Despite Radamés' act of treason, Amneris still loves him, and as the priests gather to decide his fato, she offers him a final opportunity to save himself by forsaking Aida. He staunchly refuses and as he goes off to be sentenced by the priests, Amneris in despair curses thom for their cruelty. Radamas has been condemned to be buried alive in a crypt. Once inside he contemplates his fate and then notices that Aida, unable to live without him, has hidden herself inside the crypt to be with him. As Amnoris kneels above in prayer the lovers unite in a last dying embrace.Aida, Act 1 5 Act I ‘Scene One A hall in the King's palace (On each side is a colonnade with statues and flowering bushes. There is a great door at the back through which can be soen the temples and palaces of Memphis and the Pyramids. Ramfis and Radamés are conversing.) RAMFIS ‘si ‘kore ‘votfe ‘ke letiope ‘ardiska sfidartfi atjkora Si, corre voce che IEtiope —_—ardisca sfidarci ancora Yes, thero'sarumor thet ‘the Ethiopian dares to challenge us again e ‘del ‘nila ‘la ‘valle ¢ ‘tebe minattfar e del Nilo la valle @ —‘Tebe minacciar. and ofthe Nile the valley and _Thobos throaten. (There's a rumor that the Ethiopians may dare to challenge us again and threaten the valley of the Nile and Thebes.) ‘fra‘breve um mess reke'ra ‘ver Fra breve un —_messo rechera = il. vor. Soon @ messenger will bring the —_ truth. RADAMES la ‘sakra ‘izide konsultasti La sacra _Iside consultasti? The sacred Isis did you consult? ngmato deliedsittsje falandgil ——kondottjer _—_suipremo nomato dell Egi felangi il condottier supremo. named ofthe Egyptian _—troops the leader suprome. (isis has named the supreme leader of the Egyptian troops.) RADAMES o uj felitfe Oh lui folicot Oh he happy! (Oh, happy man!) RAMFIS (looking meaningfully at Radamés) ‘dsovane =e prode Giovane @ _—prode & dens. ‘Young end brave is he. ‘ora del ‘nme ‘reko i dekreti ‘alte Ora del Nume reco i docroti al Re. Now oftho Deity I'm taking the —decreo to the King. (Now I am taking the Deity Isis’ decree to the King.) (Ramfis leaves.)6 Aida, Act 1 RADAMES se ‘kwel ‘gwerrjer. ‘io 'fosssi Se quel guerrier _io fossi! If that warrior I were! (if only 1 wore that warrior!) ‘se il ‘mio ‘soppo si av:ve'ras:si Se il mio sogno si avverasse.. If (only) my dream came true!... ‘un evzentfito di ‘dame Un esercito di da me An army of bravemen by mo e © ‘il ‘plauzo ‘di e — levittoria.. @ il plauso di and victory... andthe acclaim of, e a te ‘mia ‘doltfe aida tornar di E a te mia dolce Aida, tomer di ‘dirti ‘per "te ° pulnpato ‘per Dirti: per te ho pugnato, —per. Totell you: for you I've fought, for Yelleste aida ‘forma di'vina ‘mistiko Celeste Aida, forma divine, mistico Heavenly Aida, form divine, mystic di ‘lutfe e ‘fjor di luce e for, of light and flowers. ‘del ‘mio _pen'sjera tu redgina Del mio pensiero tu regina, Of my thoughts you are queen, ‘tw ‘di ‘mia ‘via ‘sei ‘lo ‘splendor tu dis mia vita sei lo splendor. you of my life are the _ splendor. ‘H'two bel Yfelo_vornrej Fidanti tuo bel cielo vorrei ridarti, ‘Tauri Jeuri And to you my — swost Aida, return with laurels (And return to you, my sweet Aida, crowned with laurels...) te 0 to ho you I've 'serto sorto! wreath Your lovely sky I would wish to give you again, ‘vvinto vinto! won! On the repeat of this phrase in the aria the word sorto is replaced by raggio, [rad:dso] meaning “ray”. In other words, a "mystic ray of light and flowers" as opposed to a "mystic wreath of light and flowers" in the first verse.Aida, Act 1 7 Je ‘doltfi ‘bred:dze ‘del ‘patrjo.‘'swol le — dolci_brezze del patrio_suol; the sweet breezes of the native soil; (I would like to give you back the lovely sky and the sweet breezes of your native land.) ‘un regal ‘seto ‘sul ‘krim —pozarti Un regal sorto sul crin _posarti A royal crown on locks to place you (To place a royal crown on your heed.) erdgerti ‘un “trono vitfino ‘al ‘sol ergerti un trono vicino al sol. Raise for you a _throne near the sun, (Amneris enters.) AMNERIS ‘kwale insolita ‘dsoja ‘nel two "zgwardo Quale insolita gioia nel tuo —_sguardo! Whet unaccustomed joy in your gaze! ‘di kwal_nobil fjeretitsa ti balena ‘il ‘voto Di qual nobil fierezza _—ti balena il volto! With what noble pride in you flashes the face! (How your face flashes with ‘noble pride!) ‘denpa dinjvidja 0 ‘kwanto sattia la ‘donna Degna dinvidia oh! quanto saria Ja donna Worthy ofenvy oh! howmuch © wouldbe the. ~- women ‘il'kuj bramato —aspetto = tanta “lutfe ‘di ‘gaudjo'in © te.—destasise ilcui bramato —_aspotto tanta luco di gaudioin te —destasse whose longed for appearance such light of joy in you _ awakened. (Oh! How worthy of envy would be the woman whose lovely appearance could waken such a light of joy in you!) RADAMES ‘dun ‘soppo aviventirozo ‘si'beava il mio ‘kore Din sogno avventuroso siboava il mio core. Ofe dream of adventure was rejoicing my heart, (My hoart was rejoicing in « droam of adventure.) ‘odidsi ‘la diva profiferse ‘il ~— ‘nome ‘del gwe'nrjer Oggi la Diva profferso il nome del guerrier Today the Goddess uttered +=» the-—name of the warrior ‘ke ‘al ‘kampo te ‘skjere edgittsje kondurra che al campo le schiere condurra... who to the field the — troops Egyptian _will lead, (who will lead the Egyptian troops into the field of battle...)8 Aida, Act 1 a sio Yossi a —tal_— oor _pre'felto Ab! sio fossi a tal ~—onor_prescelto. Ah! Ifonly Iwere to such honor chosen... AMNERIS ‘ne wnaltro —‘sopno ‘mai ‘pu ‘dsentil pu sdiave ‘al ‘kore ‘i parls Naun'altro sogno mai pit gentil, pid’ soave al core ti parla? Hes no other dream ever, more gentle, more sweet to your heart to you spoken? (Hasn't another dream, gentler and sweeter, ever spoken to your heart?) noinaj ‘wu immemfi_—dezideri_——sperantse Nonhei tu inMonfi__—_desideri. Havenot you in Momphis desire: (Have you no desires in Memphis...No hopes?...) RADAMES io ‘kwale inkjesta “forse larkano amore Jo? (Quale inchiosta? Forse. Yercano | amore 1? (Whet questioning? Perhaps... the secret love skopri ‘ke = 'marda igkore scopri cho miarda in core...) she has discovered that me burns _ in the heart...) (1? How she's questioning me! Perhaps sho has discovered the secret love that bums in my heart...) AMNERIS 0 (gwai ‘se unaltro, amore ardes:se alu ‘nel ‘kore (Oh! guai se un'altro. amore arose nel corel) (Oh! woe if another — love bummed = in him in the heart!) (Oh! Woo if he is burning with love for another woman!) RADAMES ‘della ‘sua ‘skjava ‘il ‘nome lesise nel pe (Dolla sua schiava == il_—~—Ssnome mi_—_less nel pensior!) (Of her slave tho name mo sheread —_in the thought!) (She has road into my thoughts and guessed that I love her slave girl, whose name is Aida!) AMNERIS- gwai ‘se ilmio ‘zgwardo ‘penetra (Guai se il mio sguardo ——ponetra (Woe if my — gaze should penetrate ‘kwesto fatal mister ° ‘gwai quosto fatal mister oh, gual this fatal mystery oh, woo...) (Aida enters.) RADAMES (seeing Aida) ‘desisa ‘Dessa! She!Aida, Act 1 9 AMNERIS (to herself, observing) ‘ei'si'turba =e = kwale ‘zgwardo a (Eisiturba © quale sguardo a (He's upset and what look to (He's upset, and how he looked at her!...) aida ame rivale sattia ‘kostei (Aid ame rivale... forse saria costei?) Aida!... my rival. maybe could it be she?) (Turning to Aida) ‘vjeni_ o ——diletta apppressati ‘skjava ‘non ‘sei ‘ne Vieni o ——_dilotta ‘appressati.;. schiava non sei nd ancolla Come oh beloved girl approach... slave youaren't nor hendmaiden ‘ewi dove in doltfe faffino io ti kjamai sorella qui. dove in dolce fascino io ti chiamai_—_—sorella... here whore in sweet spell I you called (my) sister... ‘pjandsi ‘delle ‘we ‘lagrime ‘wela il segreto a ‘mme i delle tue —lagrime svola il segreto ame. You weep? of your tears reveal the secret tome. AIDA ojme ‘di gwerra ‘fremere latrotfe ‘grids io ‘sento Ohima! di guorra fremere _'atroce grido io sento.. Alas! of war ringing tho atrocious cry I hear... (Alas! I hear the atrocious cry of war ringing...) ‘per limfellitfe ——‘patrja ‘per ‘me ‘per 'voj_—pa'vento Per Tinfelice —_ patria, per me... per voi pavento, For mywnhappy country, for mo... for you _I fear. (Aida lowers her eyes and tries to conceal her own turmoil.) AMNERIS: favelii il ver Favolli* il ver? ‘Are you speaking the —_ truth? ‘ne ‘sadsita ‘pu ‘grave “ura te Na s'agita pid grave cura te? Not isstirring more serious concern you? ([sn't there a more serious concern agitating you?) (To herself, looking at Aida.) *Ravellaro in old Italian (from the Latin Fabulare) means "to speak’. The modem form is parlare, but favellaro is used quite often by librettists in Verdi's time.10 Aida, Act 1 ‘tema, ° ‘ea ‘skjava ‘kio ‘nel ‘tuo (Troma! oh_—srwa_—schiava, cho nal (Tremble! oh guilty slave girl, —_let me into RADAMES ‘nel volta. a = tej-_—balenalo—_‘zdepno (Nel volto a —lei_—balonalo —_sdegno Inthe face in her flashes the anger (in Amneris' face there flashes anger and suspicion...) gwai ‘se larkano atte a ‘noj Guai so arcano affotto a noi Woe if thesecret love in us (Woe if she reads the secret love which is in our hearts!) -AMNERIS: ‘ema ‘ke il ‘ver ma'p:prenda (Crema che il ver_m’eppronda (Tremble that the truth ‘I may learn. ‘kwel ‘pjanto e ‘kwel _ ro'sisor quel Pianto © quel _rossor!) (by) that weeping and_ that _blushing!) AIDA @ ‘no ‘sula ‘mia patrja ‘non ‘dseme Ab no, sulla. mia patria non gomo ‘kor diffenda tuo cor — discenda!, your heart descend! vs) edil sos'petito ed il sospotto. and the suspicion... led:dgesise. inkore leggesse _in corel) she reads in our hearts!) ‘kor soltanto il cor Oh no, over my country — not woeps tho heart _ only; (Oh, no, my heart weeps not only for my country:) ‘kwello ‘kio ‘verso €& ‘pjanto ‘di zventurato amor Quello chio verso 8 panto di _—_sventurato amor!) That whichI shed is tears of (an) unfortunete love!) (The King enters, followed by his guards and Ramfis, the ministers, priests, captains, a palace official and a messenger.) THE KING ‘alta kadgon vaduna oid Alta cagion vaduna o fii (A) lofty occasion you gathers oh faithful ‘al "vostro ‘te al vostro Re diintomno. to your King around, (On this lofty occasion you are gathered around your King, oh faithful Egyptians.)‘dai Dai From the confin ‘gravi_novvelile Gravi_novelle Grave news (To an official.) konyfin border Aida, Act 1 er messsad:dsero ‘djantsi dgnkea messaggero dianzi sgiungoa, messenger udirlo udirlo. Vi piaccia May it pleaso you to hear him. not long ago arrived. ‘il mes:sad:dger_—sa'vantsi ci messagger —_s'avanzi! The messenger, let him approach! MESSENGER ‘il ‘sakro ‘swolo del:le e ‘injvazo ‘dai ‘barbari etiopi 1 sacro. suolo dell gitto 8 —_invaso dai barbari Etiopi. The sacred soil of Egypt is_—s invaded ~—by the barbaric —_—Ethiopians... i nostri ‘kampi ‘fur devastati ‘arse: de ‘messi L nostri campi fur devastati...arso le mos Our fields were destroyed... burned the harvests... © ‘baldi “fatfil i predatori ° baldi della facil i predatori fend emboldened by the easy victory, the -—_plunderers sa ‘martfano su tebe sia marciano su Tebe.. already are marching on —_Thebes... ALL edozan ‘tanto Ed osan tanto! ‘And they dare so much! MESSENGER ‘un gwerrjero indomabile —_fe'rotfe ti kon‘dutfe amo'nazro- Un guerriero —indomabile, feroce, li. conduce, — Amonasro! ‘A warrior — indomitable, ferocious them leads, Amonesro! ALL ‘i ‘re 1 Ret Tho King! Ethiopia” and "Ethiopian’ are frequently used in this opera. "Ethiopia" is Etiopia, and is pronounced [etjopja]. ithiopian’ or "Ethiopians", spelled Etiope or Btfopi respectively, are pronounced [etiope - etiopi] respectively.12 Aida, Act 1 AIDA (aside) ‘mio ‘padre (Mio padre!) (My — father!) ‘MESSENGER ‘dsa ‘tebe inarmi e dalle ‘Yfento porte Gia Tebe in armi e dalle conto porto Already Thebes inerms and fromthe ~—hundred ~—_gates sul ‘barbara imvazore sul barbaro invasore over tho barbarous invader proompera ‘gwerra tekando © = 'mmorte prorompera guerra recendo @——smorte. will break forth war bringing and death. (Thebes is already in arms, and will break forth from its hundred gates, bringing war and death to the barbarous invader.) ‘THE KING ‘si ‘gwerra © morte “l'nostrs——‘grida. ‘sia Si: guerra © morte ilnostro ——grido ‘Yes: war and death our cry be. (Yes, let our cry be war and death.) ALL ‘gwera tremenda inezdrata Guerra! ‘Tremenda, inosorata! War! Terrible (and) —_ ruthless! THE KING (approaching Radamés) izide venerata ‘di ‘nostre.‘skjere imyvit: Iside vonorata di_—_nostre schiere invite Isis venerated, of | our __ troops undefeated ‘dsa dezipnava i ondot supremo gia designava il condottier supremo: already named the captain supreme: Radamis! (Our venerated Isis has already named the supreme leader of our undefeated troops: Radamas!) ALL radames Radamos! RADAMES a ‘sjen‘grattsje ‘ai ‘mum ‘som ‘pagi i Voti Ah! Sion grazio ai Numi! Son paghi i vot Ah! Be thanked the gods! Aro answered the -—_ prayers (Ah! May the gods be thanked! My prayers have been answered!)Aida, Act 1 13 THE KING ‘or “ vulkano ‘al ttempjo ‘mwovi o gwerirjer Or di Vuleano = al_—stompio muovi, © guorrier; Now of — Vulcan the temple, ——_g0, oh warrior; (Warrior, now go the temple of Vulcan;) Je ‘sakre ‘ami titfindgi =e abla ‘vola Le sacri _armi ti cingi e alla vola. The sacred weapons _—gird yourself and to the victory fly. (Strap yourself with the sacred weapons and fly off to victory.) ‘su del ‘nila ‘al'sakro. ido akkkorrete —editsi eri Su! Del Nilo alsacro ido accorreto—Egizii eroi; Come! To the Nile's sacred shore, hasten Egyptian _heroes; datoppi ‘kor proompa il Daogni cor prorompa il From every heart let burst the ‘gwerra © ‘morte ‘morte guerra e morte, morte allo war and death, death to the foreigner! RAMFIS ‘glorja ‘ai ‘numi_oppun rammenti ‘ke ‘regigono——_Aje'venti Gloria ai Numi! ognun rammenti ch'ossi reggono _ gli event Glory tothe gods! Let everyone remember that they control tho events, ‘ke im poter ‘de ‘mui ‘solo ‘stan ‘te —‘sorti_ ‘del_— gwe'rxjer cho in poter de’ Numi solo stan le — sorti del guerrier. that in (the) power of the Gods alone rest the fates _ of the warrior. RADAMES ‘sakro ‘fremi ‘di ‘glorja tutta ‘anima minjveste Sacro fremito di gloria tutta l'anima miinvesto. Sacred thrill of glory all = mysoul _—fills. 'm —korrrjamo = alla vittorja ‘wera © morte ‘allo strainjer Su, cormiamo alla vittoria! ~=—- Guerra © morte allo stranier. On, lesrun to victory! «= War and death to the foreigner. AiDA per ki Pango. ‘per ki ‘prego (Per chi piango? per chi__ prego? (For whom dol weep? for whom do I pray? ‘kwal poter mavv.vintfe Quel poter m'avvince What power me binds ‘ded:dso amarlo ede kostui un nemiko ‘uno stra'njer Doggio amarlo... _ed’@costui. un nemico, —uno__stranier!) I must love him... andheis an enemy, a foreigner!)14 Aida, Act 1 AMNERIS (giving a banner to Radamés) ‘di mia man ritfer o — ‘dutje il gloriozo Di mia man_ricovi, 0 — duce, il —_vessillo glorioso; hand receive, oh leader the banner glorious; ‘gwida ‘i 'sia ‘lutfe ‘delta ‘glorja ‘sul sentjer guida, ti luce della gloria sul sentier. May it bo to you (a) guide. may it be to you (a) light of the glory on the path. (May this banner be to you a guide and a light on your path to glory.) RAMFIS AND PRIESTS Gloria ai Numi ognun rammenti, ote. ‘THE KING, MINISTERS AND CAPTAINS Su! Del sacro Nilo al sacro lido, otc. RADAMES AND MESSENGER Su! Corriamo alla vittoria! otc. AIDA (Por chi piango? otc.) ‘THE KING AND RAMFIS ‘gwerra Guerra! War! ALL ‘gwerra sterminjo —_allimjva'zor Guerra! Storminio _all'invasor. War! Destruction to the invader. AMNERIS ritoma vintfitor Ritorna vineitor! Return, victorious! ALL Ritomna vincitor! AIDA ritoma vintfitor ‘dal ‘mio ‘Yempja patrola Ritorna vincitor! E dal mio Yompia parola! Return victorious! And from my came the wicked word! vintfitor ‘del ‘di Tui keimpupna lami ‘perme. Vincitor* del di Tui cho impugna Yarmi per me... Conqueror of the father mine. of him who takes up arms for me... *Vincitor as in ritorna vincitor means "victorious". However in this phrase, vincitor means "conqueror", "victor" or "winner", or by extension, "victorious over someone’, (in this case, victorious over Alda's father.)Aida, Act 1 15, ‘per rido'‘narmi ‘una ‘patrja. ‘una ‘red:dga Per ridonarmi una patria, una reggia to give me again a homeland, a palace e il ‘nome il:lustre ‘ke ‘kwi fear ‘me ‘fortsa e il nome che qui colar rm’? forze! and the name illustrious. which here _ to hide Tm forced to! (Conqueror of my father, who takes up arms to give me again my homeland, a palace, and the illustrious name of princess, which here in Egypt I am forced to hide.) vintfitor de ‘ondio ‘lo veg:ga Vincitor de! ondio lo vegga, Conqueror of sothatI may soe him, into ‘del amato tinto del amato, stained with their blood beloved, tiomfar ‘nel dekledsittsje kotorti trionfar nel plauso doll Egizio corti triumph inthe applause of the Egyptian —_—_ cohorts! (Radamés, conqueror of my brothers, by consequence of which I may see him stained with their beloved blood and see him triumph in the applause of the Egyptian cohorts!) e ‘djetro a ‘kar:ro ‘un ‘re ‘mmio‘padre ‘di_—skattene a'v:vinto E dietro il caro, unre... mio padre... di _catene avvinto! and behind the chariot, aking... my father... with chains bound! lin'sana parola 0 ‘nmumi_sperdete Linsana perola oh —- Numi, sperdete! The insane word oh gods, obliterate! ‘al ‘seno ‘dum ‘padre ‘la fikka Al sono dun padre la figlia To the bosom ofa father the — daughtor (Oh gods, oblitorate the insane word "victorious" which I have uttered and restore a daughter to the bosom of her father.) stru‘ddgete ‘le ‘skwadre ‘dei ‘nostri oprpre’s:sor Struggete le squadre—dei_nostri_ oppressor! Destroy the ranks of our —_ oppressors! a zyentu' ‘ke Ah! sventurata! che ‘Ah! hapless me! What havo I said? © lamor ‘mio ‘dugkwe ——skordar pass EE Tamor . Dunque scorer. ——_poss' And tholove —mine?. Then forget can I ‘kwesto. ‘fervido amore ‘ke oppresisa =e 'skjava questo forvido amore che, oppressa. 0 ~—_—schiava, this ardent love which, oppressed and a slave,16 Aida, Act 1 ‘kome ‘rad:d3o ‘di ‘sol ‘kwi mi bbe'ava come raggio di sol qui mi_boava? asa ray of sun here me — made happy? (And my beloved?...Can I then forget this ardent love which, like a ray of sunshine, gladdened me, an oppressed girl reduced to slavery?) impreke'r> amore Imprechero lamorte a Shall I invoke death on a ‘ui ‘kamo purtanto_ a lui ch'amo pur tanto! on him thatI love so much! a ‘nom fu ‘terra ‘mai Ah! non fu terra mai ‘Ah! not was earth evor ‘da ‘pju krudeli angoffe ‘uy ‘kore a'f:franto da pia crudeli angoscio. un core _affranto! by more cruel anguish a heart overcome! (Ah! Never was a heart on earth overcome by a more cruel anguish!) i ‘sakri ‘nomi ‘di ‘padre da'mante 1 sacri. nomi di padre. —- d'amanto The sacred names of father. of lover ‘ne profiferir ——_pasisio ‘ne nd profferir —_poss'io, nd not utter can I, nor ‘per ‘per ‘altro komfuza ——_tremante Por per altro... confusa _tremante... For for tho other... confused... trembling... ‘io pjandsere vorrei vorrei pregar io piangere vorrei. vorrei progar. 1 weep would wish... I wish to pray. (Confused and trembling I wish to weep and pray for the one and the other...) ‘ma Tamia ‘pretfe ‘im —bestem:mja ‘si muta Ma lamia preco in bestommia si muta... But my prayer into blasphemy is turned... delitts e al ‘pjanto amme ‘kolpa ‘ll sospir Delitto a il pianto a me. colpa il sospit Acrime —are_the guilt my sighing... (My tears are a crime and my sighs are guilty...) ‘in ‘notte ‘kupa ‘la ‘mente perduta In notte cupa la mente® ~—_porduta... In night dark my mindis _ ott...\ Aida, Act 1 wv e net:lansja_ knidel vorrei motir e nell'ansia —_crudel vorrei morir. end inenxiety cruel I would wish to dio, ‘mi pjeta ‘del ‘mio soffrir ‘speme nonjva ‘pel ‘mio dolor Numi, piota del mio soffrir! Speme nonva —pel_— mio dolor... Gods, pity on my suffering! © Hope there isn't for my — grief... amor fatal tre'mendo amor ‘spetitsami ‘il ‘kor ‘fam:mi_ motir Amor fatel, tremendo amor, spezzami__— il cor, fammi morir! Love fatal, terrible love, breakme the heart, makeme _ del (Fatal, terrible love, break my heart and make me die!) Scene two Tho interior of the Temple of Vulcan in Momphis (A mysterious light shines from above. A long row of columns is lost in the shadows; statues of various Egyptian diotias are seon. In the canter of the scene, on a platform covered by rugs, one can see the altar surmounted by sacred emblems. Smoke rises from golden tripods. Ramfis is at the foot of the altar.) HIGH PRIESTESS (from off stage) po'sisente ‘ta ‘del mondo ‘spirito animator ‘noi timvokjamo Possonto —‘Ftha, del mondo spirito animator, noi _tinvocchiamo! Mighty Ptih,* of the world spirit life-giving we —_ invoke you! PRIESTESSES ‘noi timvokjamo Noi tinvochiamo! We invoke you! RAMFIS AND PRIESTS ‘uw ‘ke ‘dal ‘nulla ‘ai ‘watts ‘londe ‘la ‘terra ‘il ‘tfel Tu che dal nulla hai tratto onde, la terra, il cial, You who fromthe void have drawn the waves, the earth, the sky, ‘noi timvotkjamo Noi tinvochiamo! We invoke you! HIGH PRIESTESS (from off stago) ‘Ra ‘del ‘mondo fekondator ‘noi _—_timvakkjamo Immenso Ftha, del mondo fecondator, noi tinvochiamo! Immense Ptah of the world (the) soed-giver, wo — invoke you! PRIESTESSES ‘noi tinvokjamo Noi tinvochiamo! We invoke you! ‘Ptah was the chief god of Memphis in ancient Egypt, creator of gods and men.18 Alda, Act 1 RAMFIS AND PRIESTS ‘nume ‘ke ‘del uo fikko © dgenitor = noi_—_timvokkjamo Tame the del tuo spitito sei figlio. @—gonitor, noi tinvochiamo! Cod, who of your spirit are son and _ father, we invoke you! HIGH PRIESTESS (from off stage) ‘fwoko inkre'ats etm ‘onidebsbe ‘ue ‘il Sol Fuoco incrato, _ eterno, ond'ebbe luce il sol, Firo uncreated, eternal, from whence had light the sun, (Uncreated fire, from whence the sun had its light!) ‘noi timvokjamo noi tinvochiam we invoke you! RAMFIS AND PRIESTS vita delluniverso ‘mito detemo amor ‘noi timvokjamo Vita dell’Universo, mito d'eterno amor, noi tinvochiamo! Life of tho Universe, myth ofeternal love, we invoke you! HIGH PRIESTESS AND PRIESTESSES immenso ‘fla Immenso—_Ftha! Immense’ Ptah! (Radames, bearing no weapons, is led in. As he goes to the altar, the priestesses perform the sacred dance. A silver veil is placed over Rademés' head.) RAMPHIS (to Radamés) mortal, diletsto ‘ai ‘numi a te fidate: ‘son Mortal diletto ai Numi, a te _—_fidate son Mortal beloved of the gods, to you entrusted are de'd3ittto ‘le 'sorti dE gitto le sorti. of Egypt the fates. {Redam’s, you beloved mortal of the gods, the fate of Egypt is entrusted to you.) ‘il ’sakro ‘brando ‘dal ‘dio tem'prato 1 sacro_ brando dal Dio temprato ‘The sacred weapon _— by the god tempered, ‘per tua—man_—diventi ‘ainemitfi terror ‘folgore ‘monte por tua man diventi ainemici terror, folgore, —-—morto! by your hand mey it become to the enemies, terror, lighting, death! (May this sacred weapon, tempered by the God, become in your hand, death, lighting and terror to our enomies!) PRIESTS. ® immenso moans immense, mighty, huge. I use the adjective immonse, because it is a cognato of the Italian immonso, but the true sense of immonso is more mighty, than huge in size, although we fare aware that some of tho ancient Egyptian statues of deities wore, indeed, hugo.Aida, Act 1 19 1 sacro_brando dal Dio temprato, ete. RAMFIS (turning to the god) ‘nume kustode © ‘vinditfe ‘di kwesta ‘sakra ‘terra Nume, custode = @~—vindice di questa sacra terra, God, guardian and avenger = of_— this sacred land, ‘la mano tua distendi ‘sovra ledsittsjo —_'swol la mano tua distendi_—sovra ‘I'Egizio suol. the hand yours hold out over _the Egyptian soil. RADAMES ‘ume ‘ke — ‘dutfe edarbitrs ‘sei “donnjumana ‘gwerra Nume che duce ed arbitro sei_—_d’ogni umana guerra, God who leader and erbiter are ofall. human wars, proteddsi = tw difendi dedgitts il 'sakro. ‘swol proteggi tu, —difendi d'Egitto il sacro_suol. protect you, defend of Egypt the sacred soil. (God, you who are the leader and arbiter of all human wars, may you protect and defend the sacred soil of Egypt.) RAMFIS AND PRIESTS Nume custode @ vindice di questa sacra terra, etc. ALL ‘noi timvokjam po'sisente ‘fa Noi tinvochiam! Possente —_Fthal We invoke you! Mighty Ptah! END OF ACTI20 Aida, Act II Act IL Scene One A room in Amnoeris' apartments (Amneris is surrounded by slave girls who are dressing her for tho triumphal celebration Porfumed vapors rise from tripods. Young Moorish slaves wave plumed fans.) SLAVE GIRLS ‘ki mai fra ‘Kincni e ‘plauzi ‘erdge ‘alla ‘glorja ‘il ‘vol Chimai fra gl'inni © plausi ergo alla il vol, Who, amid anthems and cheers lifts to glory the flight, ‘al‘par ‘dun = ‘ddio_-_te'rrribile ful'dgente ‘al ‘par ‘del ‘sol alpar dun Dio termbile, _—fulgonto al par del sol? as a god terrible, —radiant as tho sun? (Who, terrible as a god and radiant as the sun is taking flight towards glory amid anthems end cheers?) ‘vjeni ‘sul ‘krin ‘ti'pjovano —_Kontezi ai Tauri i fjor Vieni: sul crn tipiovano —_contesi ei lauri i fior; Come; on your hair _ Jet rain competing with laurels the flowers; (Come, let flowers rain on your heir, competing with the laurels:) ‘swonin: ‘di ‘glorja i ‘kantitfi ‘koi ‘kantitfi da'mor Suonin di glori cantici coi cantici amor. Let sound of __— glory ‘the songs with the songs of love. (Let the songs of glory sound together with the sounds of love.) AMNERIS: a vjeni ‘vjeni amor'mio —minebrja ‘fam:mi be'ato ‘kor (Ah! vieni, vioni amormio — m'inebria... fammi beato il cor!) (Ah! come, come my love intoxicate me... make me blissful the heart!) (Ah! come my love, intoxicate me and make my heart blissful!) SLAVE GIRLS ‘or ‘dove ‘sson ‘le —‘barbare ‘orde ‘dello. stranjer Or dove son le barbare orde dello stranier? Now where are the barbarian hordes of the foreigner? ‘nebibja ‘sparvero ‘al ‘el gwersjer nebbia sparvero al soffio_ dol guerrier. mist they vanished at the breath of the warrior. ‘glorja il ‘premjo rakkofsi 0 ——_vintfitor gloria il premio raccogli, 0 —_vincitor; glory the prize receive, oh vi (Come, victor, receive the prize of victory.) tarsi tarride’ra la'mor Terriso tarridera Yemor. Smiled on you victory, _will smile on you love. (Victory smiled on you, and so will love.)Aida, Act II 2a AMNERIS a jeni_‘vjeni amor ‘mio ravivivami ‘du ‘karo. attfento. = angkor (Ah! vieni, vieni amor mio ravvivami d'un caro _accento ancor.) (Ah! come, come my love —restoreme witha dear_ word again.) (The slave girls continue to dress Amneris. The little blackamoor slaves perform a dance.) SLAVE GIRLS Vieni, sul crin ti piovano contesi ai lauri i fior, otc. AMNERIS (Ah! Vieni, vieni amor mio m'inebria, otc, flentsjo aida’ ‘verso ‘noi sa'vantsa Silenzio! Aida verso noi s'avanza... Silence! Aida towards us _ is advancing... ‘fikKa ‘dei vin suo dolor ‘me ‘sakro Figlia dei vinti, il suo dolor m' sacro. Daughter of the vanquished, her grief tomeis sacred. (At a sign from Amneris, the slave girls withdraw. Aida enters, carrying a crown.) ‘nel rivederla il ‘dubsbjo atrotfe imme si ‘desta (Nel rivederla, il dubbio atroce in me (As I see her again, the doubt atrocious =~ in me ‘il mistero fatal ‘si ‘skwartfi alfine 1 mistero fatal si squarci alfino!) The mystery —_— fatal _let it be be torn away at last!) (To Aida, with fake loving concern.) fu la sorte detlarmi ‘a two i funesta povera aida Fu la sorte doll'armi =a’ tuoi funesta, —_povera Aida! Was the fate of arms to your people dire, poor Aida! (The outcome of battle was dire for your people, poor Aida!) ‘tutto ‘ke ti peza ‘sul tu ‘kor teko divido 1 lutto cho ti posa sul tuo cor _teco divido. The mourning that weighs on you over your heart with you I share. (share with you the mourning thet weighs upon your heart.) io ‘son ‘wa Jo son tua. 1 am_ the friend ~—_yours.. ‘tutto dame tu aval vivrai tutto dame tu_—aavrai. vivrai everything from me you will have... you'll ive _ happily! (am your friend...you will receive everything from me...you will live happily!)22 Aida, Act II aipa felitfe ‘esser posssio —Tundsi ‘dal ‘swol nati esser possio Tungi dal suol _natio, can I be, far fromthe —_—soil_native, ‘dove innota ‘me a ‘sorte “del padre © © dei dove. ignota me Ia sorte del padre o dei where unknown tomeis the fate of my father and my (Can I be happy far from my native soil? Here where the fato of my father and my brothers is unknown to me?) AMNERIS: ‘ben ti kompjango pure ‘anno un konjfine i ‘mali ‘di Ben ti compiango! Pure hanno unconfine i male di I groatly feel for you! Yet there's a limit (to) the ills of (( greatly feel for you! Yet, thoro are limits to the ills of this world...) ‘del tua kore sane'ra le Sanera le del tuo ‘Will heal the of your (Time will heal the anguish in your heart...) € ‘piu ‘ke ‘il tempo ‘wl ‘ddiopo's:sente amore ° pit che iltempo, un Dio _possente..._ amore. end more then timo, a god powerful... love. AIDA (highly moved) amore ‘gaudjo torments sdave ebibrettsa —‘ansja krudel (Amore! gaudio... tormento... soave ebbrezza, _ansia crudel! (Lovet bliss... torment... soft ecstasy, anxiety cruel. ‘ne ‘twoi dolori ‘la ‘vita ' ‘sento Ne! tuoi dolori la vit sento.. In your pains life feel. ‘un tuo sorrizo un tuo sorriso mi schiudo il One of your smiles tome opens the heaven!) AMNERIS (observing Aida fixedly) a ‘kwel pa'l:lore ‘kwel turba'mento —_‘zvelan larkana ‘feb:bre da'mor (Ah! quel pallore.. quel turbamento svelan Yarcana —febbro d'amor (Ab! thet palo that turmoil reveal the secret _—_fevor of love. dinterrro'garla ‘kwazi 0 zgomento —divido ansje ‘del suo terror Dinterrogarla quasi_ho sgomonto...divido Yansio del suo terror.) To question her almost I'm afraid... I share thoanxiety of her terror!) (Watching Aida attentively.) ebiben ‘kwal ‘nwovo ‘fremito ta'sisal_ dgenttil aida Ebben: qual nuovo fremito tassal, gontil Aida? Why, whet new trembling seizes you, gentle Aida?Aida, Act Il 23 i'twoi se'greti ‘zvelami allamor ‘mio ta'fifida Ituoi segreti svelami, _all'amor mio. taffide... Your secrets reveal tome, to my love entrust yourself. (Reveal your secrets to me, trust in my love for you...) ‘tra i ‘fort ‘ke punparono ‘della ‘tua ‘patrja_ a ‘danno Tra i forti cho pugnarono dolla tua patria a danno... Among the strong ones who fought of your country against... (Among the strong men who fought against your country...) kwatkuno un doltfe afifanno forse qualcuno.... un dolce affanno.... forse... someone... a swoet longing... maybe... a@ te igkor desto ate in cor dost? to you in your heart awakened? (perhaps someone has awakened a swest longing in your heart?) AIDA ‘ke 'parli Che parli? What aro you saying? AMNERIS- a ‘barbara ‘non ‘si mostro Ja ‘sorte A barbara non si mostra sorte... To all men cruel not showed itself fate... (Fate was not cruel to all of the men...) ‘se inkampo il “dutfe:impavido —‘kadide raft a Se _incampo il duce impavido _cadde trafitto a Even if in the field the leader fearless fell wounded _to (Eventhough the fearless leader (Radamés) fell fatelly wounded in the field of battle, AIDA ‘ke ‘mai ditfesti ‘mizera Cho mai ——_dicesti, misera!... What did you say, wretched me! AMNERIS si radames da twoi ‘fu ‘spento Si. Redamds de’ tuoi fu spento... Yes... Radamés by your people was killed... AIDA ‘mizera Misoral Wretched me!24 Aida, Act II ‘pwoi E pianger puoi? ‘And weep you can? AIDA ‘per ‘sempre ‘io pjandse'ra Per sempre io._—_—piang For ever Twill weep! AMNERIS “Ki ‘ddei_ ‘tan vendikata_ Gli Dei t'han vendicata.. The gods have avenged yout AIDA avversi ame ‘sempre ‘furo i Avversi ame sempre furo’ it Against me — always were the AMNERIS (bursting out in angor) ‘tema inkor tiles:si ‘w ‘Troma! in cor ti lossi. tu Tromble! in your heart I havo read... you (Tremble! I have read in your heart thet...you love him...) “ AIDA ‘io Tol... Be. ‘AMNERIS ‘nom —menttire ‘un ‘detito_anfkora e il vero. satpro Non un detto ancora e il vero sapré.. Don't Iie!... one word more and the truth I will learn... ‘fisssami imjvotto ‘io tinganmava radames vive Fissami in volto.. io —_tinganna Radam’s vive... Tastatme inimy face... 1 was decaiving you Radam8s is alive AIDA [in groat exaltation, falling on her knees) a ‘sien ‘grattsje ° “noumi Abt sion grazie o Numi! ‘Ah! be thanked oh _—_ gods! ¥Yuro is a truncated postic form of furono the thied person plural of the vorb essere (to be) in the passato remoto or remote preterit.Aida, Act IT 25 AMNERIS e —— agkor mentir tu speri E ancor mentir tu speri? And still to lio you hope? (And you still hope to continue to lie to me?) (in the height of her furor.) tw ‘ma Tama arjkio intendi tw tu ma amo anch'io.., _intendi tu?. You but Tlove him too... do you understand?... ‘son tua “tikka ‘de faraoni Son tua _rivale... figlia do! Faraoni, Tam your rival... daughter of the Pharaohs... AIDA (rising, with pride) ‘mia ‘rivale ebiben ‘sia ‘pure ankio ‘son tal Mia ebben anch'io son tal... My Allright so beit.. also am. (Controlling herself and falling at the feet of Amneris.) a ke ~—“disssi'mai__—pjeta_perdono a Ah! che — dissi mai...?- pieta? perdono! ah! ‘Ah! what didIsay?... pity? forgiveness! Ah! pieta tti'prenda —del_— ‘mio. dolor Piota ti pronda —dol_—smio_ dolor. Have pity on my _—_ grief. © ‘wero io tamo dimmenso amor vero... io amo dimmenso amor... Its true. 1 lovehim —_with immense love... uw sei felltfe tu sei_—_—pasisente Tu soi folico, tu sei__possente... You are happy, you ere powerful... ‘io vivo. ‘solo. per ‘kwesto io vivo solo per questo live only for this AMNERIS ‘tema vil ‘skjava ‘spetisa itu ‘kore Troma, vil schiaval —spezza il tuo core... Tremble, vile slave! break your heart... separ tua ‘morte 'pwo kovestamore Sognar tua morte pud quost'amore. Sign your death can be this love.. (This love can be the sign of your death...)26 Aida, Act II ‘del ‘tuo ‘arbitra ‘sono Del tuo destino arbitra sono, Of your destiny arbiter am, ‘dodo e vendetta = te furje (0 igkor odio e vendetta le ~—furie ho incor. of hate and revenge the fury have in my hoart. (Cam the arbiter of your fate and I have the fury of hate and revenge in my heart.) , tu sei possente, etc. Trema, vil schiava, otc. CHORUS (from offstage) Su, del Nilo al sacro lido, otc. AMNERIS- ‘abla ‘pompa ‘ke Alla pompa che. s'appresta, To the festivity that _is boing roadied, ‘meko ‘skjava asisiste'rai meco,” schiava, assisterai; with me, slave, you'll attend; (Slave, you will attend with mo the festivity that is being prepared;) tu prostrata nella. 'polvere jo ‘sul yono akkanto fale Tu prostrata nella polvere, io -—sul_trono accanto = al_—S Re. You, prostrate in the dust, I, onthe throne beside the King. AIDA a pjeta ‘ke ‘pju ‘mi testa ‘un deverto e ‘Ya 'mia ‘vit Ah! pieta! che pitt miresta? un —_deserto ® la mia vita; Ah! Pity! what else is left tome? a _desort is my life; (Ah! Pity! What else is left to me? My life is a desert.) Vivi e ‘reppa il'tuo furore io tra'breve—_plake'ro Vivi © regne, iltuo furore io trabreve —_placherd. Live and reign, your anger I soon will placate. kwestamore ‘ke tirrita, ‘nel:la ‘tomba speppe'ro Quest'amore che tirrita nella tomba spognerd. This love that annoys you in my grave ‘I will extinguish. 2We have now seen the words teco and meco used in this act by Amneris. They come from the Latin focum and mecum meaning respectively "with you’ and "with me", It is an arcaic form of Italian, which now uses the more modern forms con te and con me instead. However, meco, toco and even seco (with him/her) appear quite often in Italian librettiAida, Act It 27 -AMNERIS ‘yjen mi 'segwi yprende'rai ‘se lotttar ‘tu 'pwoi kom ‘me Vien... mi segui, apprenderai se _lottar tu puoi con me... Come..follow me, you will lea if | competo you can AIDA a pjeta kwestamor ‘nel:la_‘tomba ‘io ‘speppe'ro: pjeta Ah! piota! questamor nella tomba io _spognerd, piota! Ah! Pity! thislove in my grave I will extinguish, pity! CHORUS (from off stage) ‘gwerra e ‘morte ‘allo — stranjer Guerra © morte allo stranior! ‘War and death to the foreigner! (Amneris leaves.) AIDA ‘numi pjeta ‘del mio martir 'speme ‘nom ‘va pel ‘mio dolor Numi, piota del mio martir, spemenonvha pels mio dolor. Gods, pity on my suffering, hope thoreis't for my grief. ‘numi pjeta del ‘Numi, pieta del Gods, pity on softrir soffrir... suffering... (She goos off, painfully.) Scene Two One of the gates of the city of Thebes. {A group of palm trees is seen in the foroground. In the background is a triumphal arch, on the right the temple of Ammon and to the left a throne beneath a purple canopy. The stage is crowded with people. The King enters followed by his ministers, priests, captains, fan bearers and standard bearers and finally Amneris, with Aida and slavo girls. The King sits on his throne and Amnoris takes her place at his left.) PEOPLE ‘glorja alleldsitts — atdizide ‘ke il ‘sakro ‘swol_protedsdse Gloria all'Egitto, ad Iside che il_~—sacro_suol_ protege! Glory toEgypt, andIsis who the sacred soil protects! ‘al re =the delta redsdse Al Re che il Delta rego Tothe King who tho Delta rules festozi altsjam ‘glorja ‘al ‘Te festosi alziam! Gloria al_—Ret festive let us raise! Glory to the King!28 Aida, Act It WOMEN sintretsfi GL toto. ‘al Tauro ‘sul “krin “dei vintfitori S'ntrecci il oto. al ~—auro sul crin dei_vincitori! Let it be entwined the lotus to the laurel on the hair of the victors! (Let the lotus be entwined with the laurel on the hair of the victors!) ‘nembo dgenttil ‘di ‘fjori ‘stenda sul:larmit unjvel Nembo gentil di fiori_stenda sull'armi un vel. ‘Acloud _gontle of flowers let it cast over the arms a veil. (May a gentle cloud of flowors cast a veil over the weapons.) dantsjam fantfulile edgittsje ‘le ‘mistike ka'role Danziam, —fanciulle —_—egizio, Te mistiche carole, Let us dance, girls Egyptian, the mystic songs, ‘kome din'torno ad ‘sole ‘dantsano “Kjastri ‘in ‘fel come dintomo il sole danzano—gliastri_ = in_— cial. as around the sun dance the stars in heaven, (Egyptian girls, let us dance the mystic songs just as the stars in heaven dance around the sun.) RAMFIS AND PRIESTS della vi ‘akdjarbitri supremi ‘i ‘gwardo erdgete Della vittoria agli arbitri supremi —il’_—~—guardo ergeto; Of victory the arbiters suprome the _—_sight lift; (Lift up your eyes to the supreme arbiters of victory.) ‘grattsje ‘akai ‘dei renidete ‘nel fortunato ‘di Grazio gli Dei rendete —nel_—_fortunato ai. Thanks to the gods give in the of good fortune — day. (Give thanks to the gods on this day of good fortune.) (Proceded by fanfares, the Egyptian troops file before the King, followed by the war chariots, the banners, the sacred vessels, and the statues of the gods. Dancing girls carry the treasures of the conquered. Finally Radamés appears under a canopy held up by twelve officers.) PEOPLE ‘vjeni 0 gwerjero —‘vinditfe ‘vjeni a dsoir ‘kon ‘noi Vieni, 0 guerriero.—_—vindice, vieni a _—gioir._ con noi Come, oh warrior victorious, come to rejoice with us; ‘sul ‘pasiso ‘deXAi eroi i= tau ior versjam iglocja Sul passo degli eroi i Jauri, i fior versiam! Glori: Inthe path of the heroes the —laurels,tho flowers lot us strew! Glory! (Lot us strew flowers and laurels in the path of the heroes! Glory!) PRIESTS ‘akki sulpremi il ‘gwardo erdgete Agli supremi il ~—guardo ergote, To the arbiters supreme the _ sight lift, (Lift your eyes to the supreme arbiters.)Aida, Act IT 29 ‘gratisje ‘akki ‘dei ren'dete ‘nel fortunato ‘di Grazio agli Dei rendete —nol_fortunato di. Thanks to the gods _ give in the of good fortune day. (Give thanks to the gods on this day of good fortune.) (The King comes down from his throne and embraces Radamés.) THE KING salvator ‘dela ‘patrja ‘jo tisaluto Salvator della _patria, io tisaluto. Savior ofthe country, 1 hail you. ‘vjeni_ © mia fidka ‘di ‘sua man Vieni, @ mia fighia di suasman Come, and my daughter by her hand ‘ti 'porga, al ‘serto trionjfale ti porga il serto_ trionfale. let her give you the —_ crown triumphal. (Como, and lot my daughter personally present you with the triumphal crown.) (Radamés bows before Amneris, who gives him the crown.) THE KING (to Radamés) ‘ora ame Kjedi_kwanto ‘piu ‘beami Ora a me _chiedi quanto pia brami. Now of me ask whet most you desire. ‘nulla ate ne'gato sara in tal di Nulla a te _—_negato sora in tal di, Nothing to you denied willbeon sucha day. ‘To d3ur0 per ‘la.——ko'rona ‘mia ‘pei ‘sakri_‘numi Logiuro per la corona mia, pei sacri Numi. Iswear it by the crown mine, by the sacred gods. RADAMES Kontfedi ——_im'pria ke inmantsi ate Concedi in pria che innanzi ate Grant first that before you ‘sien ‘tratti i pridsonjer sion tratti i prigionier... be brought —the _prisoners.. (First grant that the prisoners be brought before you...) (Under guard the Ethiopian prisoners are brought in, Amonasro is among them dressed as an Ethiopian officer.) RAMFIS AND PRIESTS Grazie agli Dei rendete, etc.30 Aida, Act IT AIDA (rushing towards Amonasro) ‘ke ‘vegigo ‘ekki ‘mio ‘padre Che —_veggol. ogli?... mio padre! What dol eel... he?.... my father! ALL ‘suo ‘padre Suo padre! Her father! AMNERIS im poter ‘nostro In poter —_nostrol.. In power our (In our power!...) AIDA ‘tw —_pridsonjer Tu! ior! You! a prisoner! AMONASRO (softly, to Aida) ‘nom ‘mi tra‘dir Non mi tradir! Don't give me away! THE KING (to Amonasro) ta'pipresisa ‘dunkwe ‘tu ‘sei ‘Tappressa... dunque.. tu Approach... then. you AMONASRO ‘suo ‘padre aykio pupnai ‘vinti ‘noi Suo padre. Anchio ——_pugnai. vinti noi Her father. Also T fought. vanquished wo ‘morte im'van tferkai ‘kwesta'ssiza ‘kio —'vesto morte in van corcai. Quest'assisa chiio vesto vi dica death in vain Tsought. This uniform that! wear let it tell you ‘ke il'mio ‘re ‘la ‘mia ‘patrja ° i'fez0 che ilmio Re la mia patria ho — difeso; thet my King, my country Tve defended. fu la ‘sorte a nostrammi ——netmika Fu la sorte a —_—nostr'armi —_nemice. Was the fate to ourarms _ inimical... (Fate was hostile to our weapons...)torno tornd it became Aida, Act IT 31 “vvano ‘de ‘fori lardir vano de! fort Tardir. useless of the strong the dering. (the daring deeds of our strong warriors becamo useless.) ‘al mio pje ‘nella ‘pole distezo Al mio pid nella _polve distoso At my foot inthe dust stretched out ‘dakkwe = il re da pj ‘kolpi trafitts siecque = il,_~=Ss Re da_—pid colpi_ trafitt: lay the King, by several -—_—blows pierced; ‘se lamor “della ‘patrja © delitt mm rei tutti Se amor della patria 8 —_delitto jam rei tutti, If love of country is (a) crime were guilty all of us, ‘sjam pronti as morir ‘mature tu sipore posssente siam prontia mori. Ma tu Re, tu__—signore-——_—possento, wore ready to die, But you, King, you lord powerful, a kostora tivoldsi ——_klemente a costoro ti volgi clomente. to them turn clement (show yourself clement towards them...) ‘odidsi ‘noi ‘sjamo perkossi dal ‘fato Oggi noi siamo percossi dal fato, Today we are smitten by _ fate, a doman ‘voi potria. ‘i fato kolpir Ah! doman voi potria il fato colpir. Ah! tomorrow you could fato strike, (Ah! tomorrow fete could strike you.) AIDA Ma tu Re, tu signore possonte, etc. SLAVE GIRLS AND PRISONERS si ‘dai ‘nmi perkossi' noi ‘sjamo Si: dai Numi percossi. —noi_ siamo; Yes, bythe gods smitten © we are; wa pjeta ‘tua —klementsa_—_implorjamo tua iota, tua clemenza__imploriamo; your pity, your clemency we implore; ‘a dsammai_—_ di soffrir'vi‘si'dato Ah! giammai i sofirir vi sia dato Ah! never may you be made to suffer32 Aida, Act It Yo ke inod:dsi ‘ne ‘dato soilir cid che _ in oggi n’ddato —soffrir that which today to us is given to suffer, RAMFIS AND PRIESTS ‘strud:d3i ° Te ‘kweste ‘tfurme: ferotfi Struggi, ° Re, — queste ciurme feroci, Destroy, oh King, these hordes fierce, ‘kjudi_ ‘il ‘kor ‘alle ‘perfidi ‘votfi chiudi il cor alle _perfidi voci; close your heart tothe perfidious voices; ‘fur ‘dal ‘nume vata ‘monte Fur del Nume votati morte, They wore by the god marked death, ‘or ‘de ‘numi_ ‘si ‘kompja ‘i a ‘morte or de’ Numi_ si com il a mort now of the gods let it be done the to death! (Now let the will of the gods be done. To death!) PEOPLE satferdoti ‘zdepni plakate Sacerdoti, gli —_sdegni placate; Priests, the scorn allay ‘Tumil ‘pretfe ‘dei 'vinti askoltate Yumil prece dei vinti ascoltate; the humble prayer of the vanquished hear; e wre tm passente ‘tu Tone ° tu Re, tu_possente, tu forte, and you King, you powerful one, you strong one, a klementsa ‘il pensjer a clemenza il ponsior. to clemency your thoughts. AMNERIS- ‘kwali ‘zgwardi so'vres a rivolti_ (Quali sguardi sovressa ha rivoltit (What looks towards her he hes turned! ‘di ‘kwal 'fjam:ma balenano i ‘volti di qual fiamma -—balonano i voll! with whet flame aro flashing their faces! edio ‘sola rejetita ‘la vendetta, ‘mi 'mud:dge Edio sola avvilita, _—rejetta’.... la_—=svendetta’ ~—mi rugge and! alone, sad, rejected... the revenge — roars in me ‘nel kor nel cor) in my heart.)Aida, Act I 33 RADAMES. ‘il dolor ‘ke ‘in ‘kwel ‘volta fa'vel:la (1 dolor che in quel volto favella (The pain that in that face speaks ‘al ‘mio ‘zgwardo ‘a ‘rende 'pju —‘bbel:la al mio sguardo = la_—srende pid’ bella; to my _—_ eyes her makes more beautiful; ‘pjanto adorato di pianto adorato of tears adored ‘nel ‘mio ‘pets ra'v:viva lardor nel mio potto raviva —_T'erdor) in my _broast rekindles _the ardor.) (Bvery adored teardrop rekindles the ardor in my heart.) THE KING ‘or = ‘ke ~—“fausti neatrridon Aje'venti Or che fausti ne arridon ali eventi Now that favorable onus ere smiling the events a ‘kostoro ‘mostrjamtfi ‘kle'menti 4 — costoro. ——mostriamei clement... to those people let us show ourselves clement... (Now that the events are smiling favorably on us, let us show clemency to those people,) ‘la pieta ‘sale ai numi_gratdita Ia pita salo ai Numi gradita, mercy rises tothe gods welcome, © —rafiferma ‘de ‘prentfi ‘il poter ° raffrma de! prenci and strengthens of the princes _the (Mercy rises and is welcome to the gods. It strengthens the power of the princes.) Beton RADAMES ote ‘per ‘lo splendor dela. tua—_ko'rona © Re, pei sacri. Numi, per lo splendor — dalla. tua_—_corona, Oh King, by the sacred gods, by the splendor. + of_-—s-your_ crown, kompjer dgurrasti “voto compier giurasti. §=—il_—voto . togrant you swore the wish "mine... (you swore to grant my wish...) ‘THE KING dural Giurai. I swore.34 Aida, Act Il RADAMES ebbene a te pei_—pridsoinjeri—etiopi Ebbene: a —te._—pei_prigionieri_—Etiopi Well then, of you forthe prisoners Ethiopian ‘vita demands ¢ —_—iiberta vita. domando 0 _liberta. life [askfor and __ freedom. (Well then, I ask you for life and freedom for the Ethiopian prisoners.) AMNERIS ‘per ‘tutti | (Por tutti!) (For all!) PRIESTS ‘morte ‘ai ne'mitfi ‘della ‘patrja Morte ai nemici dolla patri Death to the enemies of our country! PEOPLE ‘grattsja ‘per kimfellitfi Grazia por — gl'infolici! Mercy for tho unfortunate ones! RAMFIS askolta oe Ascolta, 0 Re. Listen, oh King. (Turning to Radames.) tw ‘pure ‘dgovine eroe — ‘sad:dgo kon'sixfo tu pure, giovine —erve,_saggio consiglio you too, young hero, wise advice (You too, young hero, listen to some wise advico:) ‘son nemit| € 'prodi ‘sono Son nemici e prodi sono, They're enemies and fighters they are, ‘la vendetta ‘anno ‘nel ‘kor Ja vendetta hanno nel cor, revenge they have in their —heart, ‘fatti audatfi ‘dal perdono fatti audaci dal_—_perdono made bold by the pardon askolta ascolta: listen to:Aida, Act IT 35 korre'ran:no allan ankor correranno all'armi ancor! they will hasten to arms ~— again! (They will hasten to arms again once they aro emboldened by the pardon.) RADAMES ‘spento amonazro l= re gwerrjer Spento Amonasro, il Re —_guertier Dead Amonasro, the King warrior ‘non ‘Testa spe'rantsa ‘ai ‘vinti non resta speranza ai_—svin not remains hope to the vanquished. (With Amonasro, the warrior king dead, the vanquished remain with no hope.) RAMFIS al'mel aera di ‘pate sekurta, ‘Almeno, ara di paco e —_securta, ‘At least, (as) pledge of peace and security, “fra ‘noi esti ol padre aida fra noi resti col padre Aida, among us letstay with her__—_father Aida. (At least as a pledge of peace and security, let Aida and hor father remain with us.) ‘THE KING ‘al tuo—konsisko feds. di sekurta di patfe Al tuo consiglio —_cedo. Di securtd, = di_—pace To your advice Ibow, Of security, of peace ‘um ‘mixgor ‘pepo ofio ‘vo ‘darvi un miglior pegno orio vo! darvi. a better pledge nowI wish to give you. radames —la_—patrja ‘utto a te deve Radamds, la patria tutlo @ te dev Radamés, the country all to you owes, damneris ‘la mano. ‘premjo ‘i sia D'amneris la mano _ premio ti sia OfAmneris tho hand a prize foryou be. (May Amneris' hand be your prizo.) ‘un ‘dgomo ko'nes:sa renne'rai un giomo con essa —_regnerai. Over Egypt one day withher —_you will reign. AMNERIS venga ‘la ‘skjava ‘venga 2 rapimmi (Venga la schiava, venga a rapirmi (Let her como, the slavegirl, let her come to steal from me36 Aida, Act Il lamor ‘mio ‘se ‘loza Yamor mio so osal) the love mine if she dares!) (Lot that slave girl Aida come, let her steal my love away from me, if she dares!) THE KING AND PEOPLE ‘glorja alile'dsitto —_adizide ‘ke il ‘sakro ‘swol di'fende Gloria all'Egitto ad Iside, che il’_~—sacro_suol__difende, Glory to Egypt _to Isis, who the sacred soil defends, sintrettfi ‘il ‘loto val Tauro ‘sul ‘krin ‘del vint{itor Sintrecci il Toto al —lauro sul crin del__vincitor. Let it be entwined the lotus to the laurel on the hair of the victor. PRISONERS AND SLAVE GIRLS ‘glorja ‘al —kle'mente edsittsjo ke i ‘nostri ‘Yeppi a ‘foto Gloria el clomente—_Egizio, che i nostri coppi ha sciolto, Glory to the clement Egyptian, who our bonds has undone, ‘ke ‘yf ridona ‘ai ‘liberi ‘solki ‘del 'patrjo ‘swol che ci ridona ai liberi solchi del patrio suol. who us gives again tothe free furrows —_of our native land. | RAMFIS AND PRIESTS ‘ins le'vjamo adizide ‘ke il ‘sakro ‘swol di'fende | Inni leviamo adiside, che il__~—sacro. suol_difende! Hymns let us raiso to Isis, who the sacred land defends! pre'gjam ‘ke ‘ifati a'rridano “fausti ‘ala ‘patrja oppor Proghiam cho ifati arridano —_fausti alla patria ognor. Lot's pray that fato may smile fevorably on our country always, ] AIDA ‘kwal ‘speme omai ‘ju ‘restami a hi la glorja ‘Strona. (Qual speme omai pid —_restami? a lui la gloria, il trono... (What hope now more remains tome? © For him the glory, the throne. ame ‘Je ‘lakrime ‘dun dispe'rats.—— amor «me Je lecrime d'un disperato amor.) for me the — toars ofa desperate —_love.) RADAMES daviverso ‘ume ‘il ‘folgore ‘sul ‘kapo ‘mio diffende (Davverso Nume il _folgore, sul capo mio discende... (Cfahostile god the thunderbolt, on the head mine descend @ ‘nna dedsitto. il soko nom'val ~—datida il kor Ah no! dEgitto il soglio non val ~—d'Aida. il cor) Ah nol OfEgypt the _—_ throne is not worth of Aida tho heart.) (Ah! The thunderbolt of a hostile god descends over my head. Tho throne of Egypt is not worth the heart of Aida.)Aida, Act IT 37 ‘dgubilo ine’bibrjata ‘sono (Dallinnateso giubilo inobbriata io sono; (With this unexpected joy intoxicated am; ‘tutti in ‘un ‘di si‘kompjono i ‘sonpi ‘del = ‘mio ‘kor. tutti in un di_sicompiono i sogni del mio cor.) all in one day aregranted the dreamsof my _ heart) AMONASRO (softly, to Aida) ‘fa ‘kor ‘della ‘tua ‘patrja i ‘ljeti_—e'venti_ ast Fa cor: dolla tua patria i Tieti_eventi aspetta; Take heart! of | your country the glad events await; ‘per ‘noi ‘della vendetta —'dga_—prossimo © © ~—lalbor per noi della vendetta gia prossimo = 8 —Talbor. for us of revenge _alroady near is tho dawn. (Take hart! Await the glad events of your country, which awaits the dawn of our revenge, which is alroady near.) ‘THE KING AND PEOPLE Gloria all Egitto, otc. RAMFIS AND PRIESTS Inni leviam ad Iside, otc. AIDA A me I'oblio, otc. AMNERIS Tutti in un di si compiono, etc. RADAMES Qual inatteso folgore, etc. AMONASRO Fa cor, etc. END OF ACT IL38 Aida, Act Ill Act I ‘The banks of the Nile river {In the starry and moonlit night rocky cliffs and palm trees are seen. Half hidden by palms is tho Templo of Isis.) CHORUS (from inside the temple) o tu ke sei doziride ‘madre © ‘spoza O tu che soi d'Osiride madre ° Oh you who are ofOsiris mother immortal and wife, ‘diva ke i Kasti_ ‘palpi ‘desti ‘akki—umani in kor diva che i casti_palpiti dosti agli umani in cor; goddess who the chaste beating awake of tho humans _in the heart; (Oh you, Isis, who are the immortal wife and mother of Osiris; goddess who wakens the chaste beating of human hearts;) sokkorri a ‘noi_pjetoza ‘madre dimmenso amor Soccori anoi_pistosa, madre dimmenso amor. Succor us pityingly, mother of immense love. (A boat draws up to the river bank and Amneris stops out followed by Ramfis, some heavily veiled women and some guards.) RAMBIS (to Amneris) ‘vjeni ‘dizide ‘al tempjo Vieni d'side al —_tompio: Come tolsis the temple: delle ‘we —‘notise delle tue nozze of your wedding injvoka ‘della ‘diva ‘il fa'vore invoca della il favore. implore of the goddess the favor. jizide ‘led:dge ‘dei mortali ‘nel ‘kore Iside lego dei mortali nel core; Isis reads of. mortals in the heart, (On the eve of your wedding come to the temple of Isis and implore the favor of the goddess. Isis reads into the hoarts of mortals.) ‘onni mistero ‘deksi mani a tei nto Ogni mistoro dogli umani a lei nto. Every mystery of the humans to.-—sher_ is. known. AMNERIS ‘si io —_pregero ‘ke radames mi oni ‘tutto “il'suo ‘kor Si, io pregherd che. Radam’s = midoni__— tutto. ill suo. cor, Yes, I willpray that Radamas —giveme _—allof_ his heart, ‘ome ‘kor a ‘sakro © ‘per'sempre come cor a sacro ® per sempre. heart to consecrated is forever.Aida, Act IIT 39 RAMFIS an'djamo prege'rai ‘fino allalba ‘io sara, ‘teko Andiamo. Pregherai fino all'alba. lo sard teco. Let us go. You'll pray till, dawn. 1 willbe with you. (They all go inside the temple.) CHORUS (from inside) Soccorri, soccorri a noi, etc. (Aida enters cautiously, covered by a veil.) AIDA ‘kwi radames ——verrra ‘ke vorrra ‘dgirmi ‘io remo Qui Redamas che vor dirmi? Io tremo! Here Redamas what willhewantto —tellme?_—_— tremble! a se ty jent ae rekarmi Aht so tu vieni a —_recarmi, Ah! if you come to bid me, o knidel ‘tultimo aidsdio 0 erudel, Yultimo —_addio, oh cruelone, _the lest farewell, ‘del nil i kup ‘mi davan ‘tomba del Nilo i cupi mi daran tomba... ofthe Nilo the dark eddies me willgive a grave... © pate forse e © pace forse... e and peace maybe... and _ forgetfulness. (tho dark eddies of the Nile will give me a grave, perhaps peace and forgetfulness.) 2 patria mia ‘mai pju ti riveldro Oh, patria mia, mai pid —_ti rivedrol Oh, country mine, never again will I see you! 0 Yfeli addausi =o doltfi_ “ure native O — cieli azzuri, = 0 ~— dolce. auro. native, Oh skies blue, oh gentle breezes native, ‘dove ‘ssereno il mio matin 0 dove sereno il mio mattin brilld... where serene my morning _ shone. (Where the morning of my life shone in serenity...) ° verdi ‘kolo profumate ‘tive 0 verdi colli... 0 profumate rive... Oh green hills...oh perfumed —_ shores...40 Aida, Act IIT ° ‘patrja ‘mia ‘mai ‘pju ti rive'dro. © patria mia, mej pid ti rivedra! oh country mine, never again will I see you! ° freske ‘val:li ° ‘kueto ail — be'ato. O fresche valli, © — queto asil —_boato Oh cool valleys, oh quiet refuge happy ‘ke ‘un ‘di promes:so dal:lamor mi ‘fu che un di_—promosso—dall'amor~—mi fu... that one day promised bylove —to me was. (that were lovingly promised to me one day, long ago...) ‘or ‘ke ~—damore ‘il ‘sonpo © dile¢gwato Or cho d'amore —il__—sogno 8 _dileguato.. Now that of love the dream has vanished... © patrja mia ‘non ti ve'dro ‘mai piu © patria mia, non ti vedrd mai pit! oh my homeland, Twon't see you —_—_ever again! (Aida turns towards Amonasro, who has just appeared.) Yel ‘mio ‘padre Ciel! mio _ padre! Heaven! my father! AMONASRO ate ‘grave ka‘dgon maddutfe A to grave cagion miadduce, To you (a) serious matter brings me, (A serious matter brings me to you, Aida.) ‘nulla ‘sfudidge ‘al 'mio ‘zgwardo Nulla sfugge al mio sguardo. Nothing ‘escapes my sight. damor ti ‘strud:d3i ‘per rada'mes ‘ei ‘tama D'amor ‘ti struggi per Radamés, ei tame... With love you're consumed for--Redamés, he __lovas you... ‘kwi ‘lo attstendi ‘dei faraon ‘la “fikka e ‘tua qui lo attondi. Dei Faraon la figlia @ tua here youawait him. Ofthe Pharaohs tho daughter_ is your (You are waiting for him here, The Pharaohs’ daughter is your rival.) ‘rattsa injfame ab:borrrita e a ‘noi fatale Rezza infamo, abborita 0 a —noi_fatal Race infamous, detested, and to us _fatal! (A race that is infamous, detested and to us fatal!) rivale rival rival.AIDA e in ‘suo poter Ein suo poter i And in her power AMONASRO ‘im ‘poter'di‘lei_ ‘no In_poter dil In her powor!... No, Ya posisente rival la possento rival the powerful rival © patrja e © patria, ° and homeland, and rive'drai le Rivedrai lo You will see again the ‘freske fresche cool le lo the AIDA (ocstatic) rive'dro Rivedrd I will see again ‘freske fresche cool te lo the AMONASRO ‘spoza felitfe a Sposa felico @ Bride happy to tripudi ims tripudii immensi bliss immense Aida, Act II a1 ‘io ‘sto ‘io damo'nazro ‘fikka jo sto, io, d'Amonasro figlial... I em, I, of Amonasro (the) daughter!.. ‘se lo brami se lo brami if you wish it uw vintfe'rai tu vincerai, you — will defeat, ‘tron © amor tutto tm avr trono, e mor, tutto tu avrai. throne, and love, all you will have. fo'reste imbalsaimate foreste imbalsamatel... forests aromatic!, i nostri ‘templi ‘dor i nostri tompli dor! our temples golden! fo'reste imbalsa'mate foreste imbalsamatel... forests eromatic!... ‘templi ‘dor tompli dor! temples golden! ‘ke amasti ‘tanto che amasti tanto, whom you loved so much, ‘ivi potrai dso’ ivi potrai gioir.. there you will enjoy (You will enjoy great bliss there as the happy bride of the man you love so much.) AIDA. (expansively) ‘un ‘dgomo ‘solo ‘di Un —giomo solo di A day single of si si such ‘doltfe inkants dolco incanto... sweet enchantment...42 Aida, Act Ill uniora ‘di tal “dsoja © = poi morir un‘ora ital = gioia © © —poi_—morir! enhour of _ such joy and then to dio! AMONASRO ‘pur rammenta ke =a 'noi_—te'dsittsjo. ims Pur rammenta che a noi ‘I'Egizio immite Yet remember that to us _the Egyptian cruel le ‘kaze i templie tare profaino le caso, i tompli Tere profand the houses, the temples, _— the altars_—_profaned. (Remember however that the cruel Egyptian profaned our temples, altars and houses ‘rasise ‘in tfeppi le verdsini_——rapite Trasso in coppi lo vergini rapite... Dragged off in chains the maidens —_ captured... ‘madri ‘vekcki fantfulli ei Madri, vocchi, fanciulli oi trucida. Mothers, oldmen, children ho _ slaughtered. AiDA a ben rammento —_kwesinyfausti ‘dsomi Ah! ben rammoento —_quogl'infausti siomi! ‘Ah! well Iremember those unhappy _— days! remmento i ‘Tutti ‘ke il'mio ‘kor softfri rammento i lutti cho ilmio cor _ soffii! Iremember the mourning that my heart suffered! ‘de fate, «0 |= ‘numi_ ‘ke §=— ‘per ‘noi ritomi Deh! fate, o | Numi, che per noi _ritorni Ah! grant oh gods, that for us —_may return ‘lalba imyokata ‘de sereni ‘di Yelba invocata —de’_—sereni di. thodawn — prayed-for of the peaceful days. (Grant, oh gods, that the prayed+ AMONASRO ‘nom 'fia'ke ‘tardi—inarmi ‘ora sidesta Non fia che tardi. In armi ora, desta Do not delay. In arms now are rising (Don't delay. Our people are already rising to arms.) vitttorja, a'vrem ‘solo a sa'per Vittoria = avrem... solo a sper Victory shell bo ours... only to. know for dawn of peaceful days may return to us.) ‘il ‘popal ‘nostra il popol nostro; the people ours; ‘mi testa mi resta there remains to meAida, Act IIT 43 ‘kwal sentjer il ne'miko segwira quel sentior il nemico —seguira... what path the enemy will follow... (Victory shall be ours. All that is left is for me to know is what path our enemy will follow...) Aiba ‘ki skoprirlo ——_potria Chi scoprirlo _potria? Who discover it could? (Who could over discover it?) ‘AMONASRO ‘tm ‘stesisa Tu stessa! You yourself! AIDA ‘io Io? Yr AMONASRO radames ‘so ‘ke. ‘kwiattitendi Redamés so che qui__attendi. Radamés I know that here you await... (insinuatingly.) ‘ei = tama i konidutfe intendi ei tame... ei conduce _gli Egizzi... Intendi He loves you... he leads the Egyptians... Do you understand?... AIDA orrore ‘ke ‘mi konisi€ai tu ‘no Orrore! Che mi consigli tu? No! No! Horror! What do you advise me? No! No! Never! AMONASRO su ‘dunkwe sordgete —edgitsje.——kolorth Su, dunque, —_sorgete Egizio coorti! On, then, arise, Egyptian _cohorts! ‘fwoko struid:dgete ‘le ‘nostre fuoco struggete —_le nostre. With fire destroy our spardgete ‘il terrore ‘Te ‘stradsi ‘le ‘morti Spargeto il terrore, —lestragi, —‘le mori... Sproad terror, slaughter, death...44 Aida, Act Il ‘al ‘vostro. fitrore ‘pj “fren ‘nom va Al vostro furore pitt freno non vha. To your fury more restraint _there isn't. (in that caso, Aida, this is what will happen: The Egyptian cohorts will arise, they will destroy our cities and spread terror, slaughter and death. There is no more restraint to their fury.) AIDA a ‘padre ‘padre Ah! padre! padre!... Ah! father father AMONASRO (pushing her away) ‘mia ‘fikKa ‘ti kjami Mia figlia ti chiamit My daughter you call yourself! AIDA (terrified and pleading) ‘pieta Pieta! Have pity! AMONASRO ‘uti di ‘sangwe ‘skorirono ‘sulle ta dei vintt Flutti di sangue scorrono sulle citta dei vinti.. Rivers of blood flow over the _citties of the vanquished... vedi dai ‘negri ‘vonttfi ‘si'levano —_jestin Vedi... dai negri_ vortici si levano You see?... from their black eddies rise ‘ti adeditan ‘es © ‘gridano per te ta patrja ‘mwor Tiedditen esi © ~—gridano: "Per te la patria muor"! They point at you and shout: "Bocause of you the homeland —_ dies"! AiDaA pieta ‘padre pjeta Pieta, padre, pi Have pity, father, have pity! AMONASRO ‘una larva orribile {ta Tombre a ‘noi satfatctfa Una larva omibile fra. ‘Yombro a noi s'saffaccia... A form horrible among the shadows. toward us comes... ‘ema le 'skame ‘bratitfa ‘sul ‘kapo tus evo Troma! lo scame bracci sul copo tuo levo... Tremble! the emaciated arms over the head yours it raised... (Tremble! It raised its emaciated arms over your head...)ADA a ‘padre Ah! Ah! AMONASRO ‘ma ‘madre Tua madro Your mother Aida, Act IIT an ah! no! ah! no! ‘ti maleditfe ti maledic she curses you. ravvizala rawvisala. recognize her... AIDA (gripped by terror) a na ‘no Ah! no! no! Ah! No! No! AMONASRO (pushing her away) ‘non ‘sei Non sei mia You aren't my AIDA (with acry) a peta Ah, iota! Ah, have pity! ‘padre pjeta padre, piotat Father, have pity! ‘fikka ‘dei fara‘oni tu la figlia... dei Faraoni tu la daughter... of the Pharaohs you the (dragging herself painfully to the feot of her father.) ‘padre a Padrel... a Father... to ‘nom male'dirmi Non maledirmi.. Do not curse me kostoro 'skiava “non ‘sono costoro... non sono, them. 1am not.. nonimprekarmi non imprecarmi... do not revile me... ankor ‘tua fikka ‘potrai_ ancor tua — figlia potrai chiamarmi. still your daughter —_you will be able to call me... (You will still be able to call me your daughter...) della ‘mia patrj “deppa sao dolla mia patria dogna sero. of my country —_worthy shall be. AMONASRO- ‘pensa ‘ke — um'popolo—'vinto. strattsjato Pensa che un popolo _vinto, straziato Think that people defeated, tormented ‘per te softants risordger——'pwo per te soltanto risorger pud... through you alone rise again can. skjava slave!46 Aida, Act Ill Aiba opatrja ° patrja “kwanto ‘mi ‘kosti Oh patria! oh quanto mi costi! Oh homeland! Oh homeland... how much —_you cost me! AMONASRO koraddso —‘ei_=—dgundse._— Ta tutto wdro Coreggio! oi ~—giunge.. + 1a_—tutto udrd. Courage! he's. coming... there overything _I will hear.,, (Amonasro hides among the palm trocs. Radamés arrives.) mi “doltfe aida mia dolca Aid Tse you again, my sweet Aide AIDA (arresta —‘vanine ‘ke 'speri ankor Tarreste, vane... che _—_speri ancor? Stop, goaway... what can you hope for still? RADAMES ate dappresiso Jaimor ‘mi 'gwida Ate dappresso ——‘'amor mi guida, Near you love leads me. (My love leads me to be near you.) AIDA tei tattendons —duinaltro. amor damtneris Te i tattondono d'un altro amor. D’Amnaris You the rites await ofanother love. Of Amneris (The rites of another love await you. The husband of Amneris...) RADAMES ‘ke ‘parli mai te ‘sola aida te “‘dedid30 Cho parli mai. Te sola Aida, to —_doggio What are you saying? You only, Aida, you can! ‘Ki ‘dei maskoltano tu mia sata Gli Dei _m'ascoltano, tu mia sarai, The gods hearme, you mine will be. AIDA ‘duno sperd3uro non ti makekjar Diuno spergiuro non ti macchiar! With perjury don't stain yourself! ‘spozo sposo... husband... amar amar, love...Aida, Act IIT 47 'prode tamai ‘non tame'ei sperdguro Prode tamei, non t'amerei sporgiuro. (Asa) brave man I loved you, I wouldn't love you (as a) porjurer. (loved you as a brave man; I wouldn't love you as a liar.) RADAMES ‘del:lamor ‘mio ‘dubiti Dell'amor mio dubiti, Of my love do you doubt, ADA e — ‘kome ‘speri damneris ai 'vettsi E come speri sottrarti d’Amneris_ ai. vezzi, And how do youhopsto —_ elude of Amneris the charms, del re = 'al_~— voller del tuo popolo'ai_— ‘vot dol Re al_—voler, del tuo popoloai—_voti, ofthe King the will, of the your people the desire, ‘dei satferdoti —alilira doi sacerdoti_—_allira? of the priests the anger? (And how do you hops to elude Amneris’ charms, the King's will, your people's desire and the priosts' anger?) RADAMES “odimi aida Odimi, Aida. Hear me, Aida. ‘il swolo etiope il suolo Etiope ‘nel ero. anelito Nel fiero anclito In the fierce desire ‘di nwova ‘gwenra di nuova guerra for (a) now war the soil Ethiopian _has reawakened... (Hear me, Aida: The Ethiopian soil has reawakened in a fierce desire for new war.) i two ‘da imjvadono ‘Ta ‘nostra ‘terra I tuoi gia invadono lanostra —_ terra, Your people already —are invading our land, ‘io ‘desAi e'dgittsi ‘dutfe sa'ro. io degli duco sar. 1 of the Egyptians leader will be. ‘fra ‘swon ‘fra i ‘plauzi ‘del:la vitstorja Fra suon, fra i plausi dolla vittoria, In din, in the cheers of |—_victory, ‘al ‘re ‘mi ‘prostro ‘Ki ‘zvelo il kor al Re mi prostro, sli svelo il cor. before the King I prostrate myself, Topen to him my heart...48 Aida, Act Il sat ‘il ‘serto ‘glorja Seraitu il_~—sorto gloria, Youllbe the crown glory, vivrem be'ati amore vivrem boati amore. welll live blissful with eternal love. AIDA ‘ne damneris pa'venti it Vinditfe furor Na d'Amnoris paventi il vindice furor? Don't you of Amneris fear tho vengeful fury? Ja ‘sua : ‘kome ‘folgor tremenda La sua vendetta como _folgor ‘tremenda Hor revenge _—ilike _a thunderbolt terrible ke‘dra ‘ume sul ‘padre mio ‘su. tutti cadra sume, sul padremio, su _ tutti, will fall on me, on myfather, on everyone. RADAMES 5 vi difendo Jo _vidifondo. 1 will defend you all. AIDA imjvan ‘tu ‘nol potresti ‘pur ‘tw In van! Tu nol potresti. pur... tu In vain! You couldn't do it. yet.. if you love me.. an'kor ‘sapre ‘una via ‘di 'skampo a2 noi ancor s'apro una via di scampo = @_—ntoi. still there opens itsolf a path of —_ escape to Us. (if you love me, there is still an escape open to us...) RADAMES ‘kwale Quale? What? AlDA fuddsire Fuggire... To flee... RADAMES fididsire Fuggire! To flee!Aida, Act I 49 AIDA (with groatest excitement) fud:dsam_ Ajardori inospiti di ‘kweste ‘lande itppude Fuggiam —gliardori_—inospiti_ © di_—quoste lande ignude; Let's floo the hoat unfriendly of _—these plains barren; ‘una novella ‘patrja al ‘nostro almor ‘si ‘skjude Una novella patri nostro amor si schiude... A new homeland to our love _ opens up... la vas le_—sf reste ‘verdsini ‘di fiori profumate La tra le —_foresto vorgini, di_—_fiori profumate, There among the forests virgin, with flowers perfumed, ‘estas be'ate ‘la ‘terra skorde'rem estas boate la terra scordorem. in ecstasies _ blissful the earth we will forget. (A now homeland opens to our love....There among the virgin forests perfumed with flowers ‘wo will forget the earth in blissful ecstasy.) ‘terra estranja ‘teko dovrei terra estrania —_—teco dovreit land foreign with you Ishould! ta patrja “tare ‘dei ‘nostri. ‘ddei la patria, Yare doi nostri Dei! abandon the homeland, tho altars. of _— our _gods! {1 should flee into a foreign land with you, and abandon my homeland and the altars of our gods!) ‘il 'swol do'vio rakikolsi ‘di ‘gloria i ‘primi all: 1 suol_ dovio raccolsi di gloria i_—primi_allori, The soil where! gathered of-—glory ‘tho first laurels, ‘il fel “de nostri. amori ‘kome skordar potrem il ciel de’ nostri amori, come scordar potrem? the sky of our love, how toforget could we? (How could we forget the sky of our love and the soil where I gathered the first laurels of glory?) AIDA La, tra le foreste vergini, otc. RADAMES I ciel do! nostri amori, etc. AIDA ‘sotto ‘il'mio ‘fel ‘piu. ‘Tibero. lamor ‘ne ‘fia Kontfesiso Sotto ilmio ciel pit libero T'amor ne fia concesso; Under my sky more free love wouldbetous granted; (Under my sky a freer love would be granted to us:)50 Aida, Act Il ‘ivi ‘nel tempjo Ki ‘numi a'vrem fud:dsam Ivinel__tempio gli stessi. Numi avrem. Foggiam. There in the temple same the same gods welll have. Let's flee. (There in the same tomple, wo will have the same gods. Let's flee.) RADAMES (hesitantly) aida Aida! AIDA w= ‘nom ‘mami va Tu non mami. Val You don't loveme.. Go! RADAMES mortal djamimai ‘ne ‘dio. ‘arse damor ‘al par ‘del ‘mio Mortal giammai nd ‘Dio arse d'amor al par del mio Mortal ever nor god bumed with love like mine powerful. (No mortal or god over burned with such powerful love as mine.) ‘va tattende aklara amneris va... tattende all'ara Amneris... go... youawaits atthe altar Amneris... RADAMES dga'mmai Giammai! Never! dgaim:mai al:lor ‘pjombi ta ‘skure ‘sume Giemmai, Allor piombi la scure sume, Never, Then let fall the ax on me, ‘sul ‘padre ‘mio sul padre mio... on the father mine... (You said never? Then let the ax fall on me and on my father...) RADAMES a ‘ng fwdidgamo—'si_—sfutddgam == ‘da. kweste ‘mura Ah no! fuggiamo! = Si,_—sfuggiam = da. questo mura, Ah no! let's flee! Yes, let's flee © from those walls, ‘kwi ‘sol renna ‘la sventura ta ‘si'skjude ‘un fel damor qui sol regna lasventura, 1a sischiude un ciel d'amor. here only reigns misfortune, there opens a sky of love. i dezenti interminati a ‘noi talamo sa'ranno I deserti interminati a noi talamo saranno, ‘The — deserts boundless to us _ nuptial bed will be,Aida, Act IIT 51 ‘su ‘nol ‘Ajastri brilleranno ‘di ‘pju_—_‘Timpido futgor su noi gli astri brilleranno di pid limpido—_—_fulgor. over us thestars —willshine with more _limpid radiance. AiDA ‘netla ‘terra aviventurata ‘de ‘mjei_‘padri neatttende Nella terra avventurata de! miei padri ne attondo; In the land blessed of my fathers, us awaits; ‘ivi ‘laura © =~ imbalsamata ‘ivi ‘il, ‘swolo ‘for Ii Yaura 8 —imbelsamata, ivi il —_suolo fior. hore the air is perfumed, there ‘the soil flowers. “freske ‘valli e€ ——verdi_ ‘prati a salran:no Fresche valli. @ —_—_vordi_prati a saranno, Cool valleys and green meadows to will be, ‘su ‘noi ‘Ajastri brikleranns ‘i piu su noi gli astri brilleranno di pid over us thestars —willshine with more radiance, AIDA AND RADAMES ‘vjeni_ ‘meko in'sjem fvd:dsamo ‘kwesta terra ‘di dolor Vieni meco, insiom fuggiamo questa terra di dolor. Come with me —together_—let's floo (from) —_this land of grief. vvjeni_ 'meko ‘amo a ‘noi “Wutfe fia amor Vieni meco. tamo! a noi duce fia amor, Come withme.. Ilove you! to us guide be —_love. (Come with me...I love you! Let love be our guide.) (They start to go off quickly, but suddenly Aida stops.) er per by ‘desksi degli of the armed men? ‘felto scelto chosen sul "kwal qual what armati ‘via via road armati? nemiko AIDA ‘ma ‘dim:mi Ma = dimmi: But tell me: Te 'skjere lo schiere the hosts RADAMES ‘il sen'tjer 0 sentior The path a pjombar 2 piombar to fall sul nemico on the enemy “dai dai by eviterem eviterem can we avoid ‘nostri nostri our people fia. dezento fia deserto will be deserted52 Aida, Act Ill AIDA e E And which path’ RADAMES Te ‘gole i Le gole di The gorges of AMONASRO (appearing) ‘di ‘napata Ie ‘gole ‘ivi sa'ranino Di Napata le gole! Ivi__saranno Of _Napate tho gorges! There will be ‘My men will be there...) oki fi askolta Oh! chi ci ascolta?. Oh! who us _ listens to?... (Oh! Who is listening to us’ AMONASRO dai il ‘padre e€ ——de&K_etiopi ‘ll Didida il padre © degli Etiopi il Of Aida the father and of the Ethiopians the (The father of Aida and King of the Ethiopians.) RADAMES (in utmost agitation and greatly surprised) ‘ws amonazro tlre tum ke. mo none'ver Tul... Amonesrol... tu!... il Re? Numi che — dissi... no... non d ver... You!... Amonasro!.,, you!... the King? Gods what didIsay?... no... it isn't true... ‘no ‘sonno detirjo © kkwesto Nol... sogno... dolirio & questo... Nol... adream.,. a nightmare... is this AIDA a ‘no tikalma——_askoltami taffida Ah no! Ticalma _ascoltami, _all'amor mio t'affida. Ah no! Calm yourself listen to me, in my love put your trust. AMONASRO ate lamor daida ‘un ‘Soko innaltsera A te ‘amor Aida un soglio innalzera. For you thelove of Aida a throne will orect. (Aide's love will erect a throne for you.) RADAMES io ‘son. dizonorato. per te tradi Ta patrja To son disonorato! Per to _tradii la patria! Tam dishonored! For you Ibotrayed the homeland!AIDA ‘ti'kalma a Ti calmal... ah Calm yourself!.., Ah AMONASRO ‘no tu non sei No: Ta non sei No, you are not ‘yjen ‘oltre il ilo Vion: oltre il Nilo Come: beyond the Nile Ta ‘del tu kore La del tuo core There of your heart Aida, Act IIT 53 no nol... no! kolpevole ‘era voller ‘del ‘Tato colpevole, era_—_volor dol fato... guilty, itwas thewill of _—_ fate. attendono i prod a noi de'voti attondono i prodi a noi devoti. are awaiting tho bravemen to us _ devoted. i voti koroneta ——laimor ‘vjeni_‘yjeni i voti coronera amor. Vieni, vieni. tho wishes will crown love. Come, come. (There love will fulfill the wishes of your heart. Come, come.) (Amonasro starts to draw Radamés away. Amneris comes out of the temple, later followed by Ramfis and guards.) AMNERIS traditor Traditor! Traitor! AIDA ‘a ‘mia rival! arresta Arresta, Stop, AMONASRO 0 Tabbja Oh rabbia! Oh! rage! RAMFIS ‘gwardje Guardio, Guards, ola olat Here! a ‘struddser a strugger to destroy ‘vjeni ‘mwori vienit Muori! youcome! Die!54 Aida, Act IIT RADAMES (to Aida and Amonasro) ‘presto fu'd:dgite Presto!... Fuggitel... Quickly!... Flee... AMONASRO (dragging Aida off with him) ‘vjeni_ 0 tikka Vieni, 0 _figlial Come, ch daughter! RAMFIS (to the guards) linse'gwite Linseguite! Follow them! RADAMES satferdote io resto ate Sacordote, resto ate, Priest, I remain here for you. END OF ACT IAida, Act IV 85 Act IV Scone One A hall in the King's palace (At the left there is a door that leads to the subterranean judgement chamber. At the right there is acorridor leading to Radamés' prison. Amneris is standing sadly outside the dungeon door.) AMNERIS labsborrita rivale ame sfurdidsia Labborritarivale ame sfuggia... The detested rival fromme escaped... 5 satferdoti _radames Dei sacerdoti © Radamds —_attonde From the priests Radamd — awaits ‘dei traditor ‘la 'pena traditor ‘ekfi none doi traditor la pena... Traditor ——ogli_non &.. of the traitors the punishment... (a) Traitor he isn't. (Radamés is awaiting a traitor’s punishment from the priests...He isn’t a traitor. ‘pur rivello ‘di ‘gwerra ‘alto segreto Pur riveld di guerra alto sogreto. Yet he revealed of war the high secret... (And yet he revealed the war's deep secret...) ‘ekki fld:dsir vollea ‘kon lei fudsdgire eli fuggir volea.. con lei fuggire... he to flee wished... with her to fles... traditori ‘tutti a monte o ke ‘mai ‘parla Traditori tutti! amorte! © Oh! chemai _parlo? Traitors all! Todoath! + Oh! what am I saying? ‘io lama sempre disperats —_inlsano © ‘kwesto amor Tolamo sempre... isperato, _insano & questo amor Tlove him still... desperate, insane is this love ‘ke la mia vita strudidge =o Sci_—_potes mami che lamia vita strugge. Oh! s'ei_potessi amermil. which my life destroys. Oh, ifhe could love mel. vorsei satvarls © kome_ si tenti Vorrei salvarl © come? Si tonti! Iwant to savehim... and how? Let mo try! ‘gwardie radames —‘kwi_ ‘venga Guardio! Redamés — qui__vonga. Guards! (have) Radamas here come. (Guards! Have Radamés come here.) (Radamés is brought in by the guards.) “56 Aida, Act IV AMNERIS ‘ésa salferdoti ‘arbitri ‘del tus ‘fato Gia i sacerdoti adunansi_—arbitri del tuo ato; Already the _ priests are meeting, arbiters of -~—-your fate; ‘pur detlakuza —_oreribile skotparti aykor tedato pur doll'acusa —_orzibile scolparti ancor t dato; yet of the charge horrible to defend yourself _still_ you're allowed; (and yet you'r still allowed to defend yourself of the horrible charge of treason.) ‘ti'skolpa © ta tua ‘grattsja ‘io prege'ro ‘dal ‘trons Ti scolpa e — latua grazia io progherd dal trono Defend yourself and your pardon I will plead fromthe —_—throne © ‘nuntsja ‘di. perdono = dis ita ®t sar © nunzia di pordono, di_—svita. a = to sara. and amessenger of pardon, —of_—iife,,- to. = you‘ willl be. RADAMES ‘di mie diskolpe i isuditfi ‘mai nonuidran latafento Di mio discolpp ~=—i_—giudici mai non udran —_—'accento; Of my self-defense the judges never will hear a word; (The judges will never hear a word from me in self-defense.) dinantsi‘ai ‘numi a'4jwomini ne vil ‘ne ‘reo 'mi'sento Dinanzi ai Numi, agli uomini nd vil ne reo mi sento. Before gods, of men nor — base, nor guilty I feel. (feel neither guilty nor baso before the gods or men.) profferse ‘il Tabsbro iykauto fatal seigreto © vers Profferse il__—‘Iabbro incauto —_—fatal_segreto, & vero, Revealed the lips careless (a) fatal secret, its true, ma ‘puro. ‘il'mio pensjero © ~—tonor ‘mio resto ma puro ilmio pensiero 6 + —‘Tonor mio restd. but pure my thoughts and_thehonor —mine_ remained. (It's true that my careless lips revealed a fatal secret, but my thoughts and my honor remained pure.) AMNERIS ‘salvati ‘dunkwe © ‘skolpati Salvati dunque © scolpati. Save yourself then, and — defend yourself. RADAMES ‘no No. No.Aida, Act IV 57 AMNERIS ‘uw morrai Tu — morrai. You will di RADAMES Ia vita abiborrs ——‘doppi ‘gaudjo ‘la Fonte La vite abborro; — d'ogni gaudio la fonte Life Tabhor; of every joy the source dried up, wanita ‘onni sperantsa ‘sol. "bramo ‘di morir svanita ogni speranza, sol bramo di morir. vanished _ every hope, only I desire to dic (Labhor life, The source of every joy has dried up, every hope has vanished and my only desire is to die.) aw dei vivere ‘si allamor == mio. vi » Ah! tu dei vivere!... si, all'amor = mio._vivrai; Todiel.. Ab! you must livel... yes, forthe love mine you'll ive; ‘per te le angoffe ‘di ‘morte ‘io sa provai Por to Te angoscio orribili di morto io gid provai; Because of you the anguish horrible of -— death Talready experienced; tamai sofifersi tanto vekKai Je ‘notti im ‘pjanto Tamai, sofforsi tanto... vesliai le notti_ in pianto... Tloved you, Isuffered somuch... Ilayawake the nights in toars e ‘patria e —‘rono © vita tuts darei ‘per te E patria, © trono, e vita tutto darei per te. And country, and throne, and life, all I would give for you. RADAMES peresisa ankio Ta patrja © Ionor ‘mio tra'dia Por essa —_anch'io la patria e —— Tonor mio For her I too the country and thehonor ~—mino_ betrayed... (too betrayed my country and my honor for her...) AMNERIS ‘di Tei ‘nom ju Di Iei_—_—onon pi. Of her no more... (Don't speak of her any more...) mattende = € —‘wwoi kio ‘viva miattende 0 = vuoi chiio vive Dishonor awaitsme and you want _—thatI_ should live?...58 Aida, Act IV appjiem ‘mi esti da ame tAkes appion mi fosti, Aida a — mo__togliosti, completely you made me, Aida from mo you took away, ‘spenta ‘lai “Forse evin'dons ‘offi ‘la vita a ‘mme sponta l'hai forse... ein dono offi Ja vita a mo? you killed her pothaps... ands prize you offer life to me? AMNERIS jo ‘di ‘sua’ morte ridsine. = no. vive aida To.. di sua morte origins! No! vive Aide... 1. of her death the causo!... No! Is alive Aida... ({ the cause of her death!... No! Aida is alive...) RADAMES ‘vive Vive! She's alive! AMNERIS ‘nei dispe'rati_ © aneliti del:lorde-—fudgitive ‘sol kadde i= padre Noi disporati _anoliti dell'orde fugitive sol. caddo il ~—_padre... In the desperate _desiro of the hordes fleoing only fell the — father. (in the desperate dosire (to fles) of the flooing Ethiopian hordes, only her father fell...) RADAMES eddella Ed olla’. And she?.. AMNERIS ‘sparve ‘ne ‘pj novella sebibe Sparvo, nd pid novella bbe... She disappeared, nor any more news wo had of her... RADAMES ‘Si ‘dei laid:dukano ‘salva ‘alte ‘patrje ‘mura Gli Dei Tadducano salva alle patrie mura, The gods may they lead her safely to the native walls, © innort ‘la sventura = di ki per eis mora © ignori la sventura = dis chi_— por_‘ei_—morral and meyshenotknow the misfortune of who for her _ will die! (May the gods lead her safely to the native walls of her country, and may she never know the misfortune of the one who will die for her!) AMNERIS- ‘ma ‘sio 'ti'salvo ‘dgucami ‘ke 'pju ‘non ‘la ve'drai Ma, siio tisalvo, —giurami ~— che pitinon _Ia vedrai But, iff saveyou, swear tome that notagain _ you will see her.Aida, Act IV 59 RADAMES ‘nol 'posiso Nol posso! I cannot do it! AMNERIS a ‘ei rinuntsja ‘per ‘sempre ew vivrai A lei rinunzia por sempre. e tu __vivrail Give her up for ever. and you will livel. RADAMES. ‘nal ‘poss Nol possol... I cannot do AMNERIS ‘ako ‘una ‘volta a Tei rinuntsja ‘Anco una volta: a lei rinunzia... Once agein: give her up... RADAMES © ‘vans E vano. Its in vain. AMNERIS motir ‘ywoi ‘dunkwe infsano Morir vuoi dunque, _insano? To die you wish then, madman? RADAMES ‘pronto a morir ‘son ‘da Pronto a morir son gia. Propared to dio. Tam _alroady. Jagurato ‘dalla ‘sorte ‘ke taspetita sciagurato, dalla sorte che taspetta? wretch, fromthe fate that awaits you? ‘im furore ‘ai ‘tu kan‘dgato unamor ke'gwal mona In__ furore hai tu cangiato © unamor — che egual_—_non ha. Into fury youhave changed —a love that equal doesn’t have. ‘de ‘pjanti ‘la vendetta «or = ‘dale ‘si kompira De’ pianti la vendetta = or dal_— ciel si compira, Of my tears the revenge now by _heaven will be fulfilled. (You have changed into fury a love that has no equal, and now the revenge for my weeping will be fulfilled by heaven.)60 Aida, Act IV RADAMES © la'morte = um_— ‘ben suipremo ~~ lamorte = un_—ben_— supremo Is death a gift supreme ‘se ‘per Tei morir_ me ‘dato per lei mori m'a dato; for her to die to mois given; (Death would be a supreme gift for me if I were permitted to die for her;) ‘nel subir lestremo ‘fato ‘gaudi_im:mensi ‘il ‘kor a'vra Nel subir Testremo ato gaudii immensi_ il_~—scor_—avra. In suffering my final ~— fate, joy immense the —_heart_ will have. (My heart will feel immense joy as I suffer my final fate.) ‘AMNERIS- Chi ti salva? Dei miei pianti la vendetta, etc. RADAMES Tira umana ‘pju ‘non temo ‘temo ‘sol ‘la ‘tua pje'ta Lira umana pid non temo, temo sol tua pieta. The wrath — human no longer I fear, fear only your pity. (Ino longer fear human wrath. I only fear your pity.) (Amnoris falls desolate on a chair. Radamés loaves, surrounded by guards.) AMNERIS o Kio ‘salva morir misento... Oh! chi _ lo salva? to die I fool like... Oh! who will save him? (Choked with toars.) e — impoter —‘di_—_—kostoro ‘io ‘stesssa E — inpoter —di_—_costoro io stossa And inthe power of them 1 mysolf cast him!... (And I myself cast him into their power! ‘ora ate impreko —attrotfe dselozia Ora ate impreco, —_atroce Now you Icurse terrible jealousy, ‘ke la'sua ‘morte e€ =i tutto etemo del mio ‘kor se’pnasti che lasua morte e —il_lutto eterno del mio cor —_segnasti! who his death and the mourning eternalof © my heart determined! (Now I curse you, terrible jealousy, who has determined his death and the eternal mourning of my heart!) (The priests cross the stage and go into the dungeon.)Aida, Act IV 61 AMNERIS (seeing the priests) ‘ekiko: i fatali Ainezo'rati ministri ‘di Ecco i fatali, gl'inesorati ministi di ‘There are the fatal, the inexorable ministers of, ° ‘kio ‘nom ‘veg:ga ‘kwel:le ‘bjanke ‘larve Oh! chiio non vega quelle bianche lave! Oh! Letmenot see those white forms! (She covers her face with her hands.) poter ‘di kostoro ‘io Ein poter di costoro io And into (the) power of | thosomen I RAMEFIS AND PRIESTS (from the dungeon) ‘spirto ‘del ‘nume ‘sovra ‘nnoi diffendi Spirto del Nume, sovra noi discondi! Spirit of the god, upon us descend! nea'v:viva, al ‘rad:d3o del:le'terma ‘lutfe Neavviva al —_raggio doll'sterna luce; Animate us at the ray of the eternel light; ‘pel ‘labibro ‘nostro ‘la ‘tua dsustittsja apprendi Pol labbro nostro la tua giustizi apprendi. Through —ourlips. your justice. express. (Express your justice through our lips.) AMNERIS ‘numi pjeta ‘del ‘mio strattsjato Numi, piota del mio straziato Gods, have pity on my _ tormented ‘ekki © © inmotfente to satvate 0 egli & — innocente, lo salvate, 0 he is innocent, savehim_ oh. disperats uemendo ee ~—il mio dolore Disperato, tremendo 2 _il mio dolore! Desperate, terrible is my grief! (Radamés, among the guards, crosses the stage and goes down into the dungeon. Sooing him, Amneris cries out.) ° ‘ki ‘lo ‘salva, oime ‘mi 'sento morir Oh, chi lo salva? hima! misento —_morir! Ob! who willsavehim? Alas! Tfeel Tam dying!62 Aida, Act IV radimes = tu—rivelasti ‘patrja tu rivolasti patria you revealed of the fatherland ‘allo stratnjero ——_diskolpati allo stranioro....discolpati! to the foreigner... defend yourself! PRIESTS diskolpati Discolpati! Defend yourself! RAMFIS ‘ehsi tatfe traditor Egli tace. Traditor! He issilont.. Traitor! PRIESTS traditor Traditor! Traitor! AMNERIS a pjeta ekki © ——inmotfente —‘numi_pjeta Ah! _ piotat. egli 8 — innocente, Numi, piota! Ah! have pity... he is innocent, Gods, have pity! ‘tw dizertasti ‘il ‘kampo tu disertesti. il ‘campo you deserted the field ‘ke pretfedea = 'Ia._—‘pupna. che precodea = la pugna. the day that preceded the _ battle. (Radamés, you desorted on the eve of the battle, Defend yourself!) PRIESTS diskolpati Discolpati! Defend yourself! RAMFIS, ‘eksi tatfe traditor Egli_tace. Traditor! He issilont.... Traitor!Aida, Act IV PRIESTS traditor ‘Traditor! Traitor! AMNERIS a pjeta to satvate —‘numi Ah! piota! lo salvate, Numi ‘Ah! havo pity! save him, —_ gods, RAMFIS radames tua fe —_Yjolasti Redami tua —violasti Radamés!.... your oath you violated ‘alla ‘patrja sperdsuro alla patria spergiuro, to your country, a perjurer, 63 pieta piotal havo pity! ‘al re alionor diskolpati al Re, al'onor. _Discolpati! to your King, to honor. Defend yoursolf! (Radamés, you violated your oath and you perjured yourself to your country, your King and your honor. Defend yourself!) PRIESTS diskolpati Discolpati! Defend yourself! RAMFIS ‘ekki tatfe traditor Egli taco! ‘Traditor! He issilent! Traitor! PRIESTS traditor Traditor! Traitor! AMNERIS a pj ‘fo salvate ‘num Ah! pi lo salvato, Numi, Ah! Have pity! save him, —_gods, RAMFIS AND PRIESTS radames € ~—detfizo ‘iw Redam’s, 8 — deciso il tuo Radam’s, is decided your (Redamas, your fate has been sealed.) ek injfami ‘la ‘morte ‘tw Degli infami la morte tu Ofthe disgraced the death you (You will have a disgraced man's death;) avai avrai; will have;64 Aida, Act IV ‘sotto ‘lara ‘del ‘nume zde'ppato Sotto Yara dol Nume sdegnato Under the alter of the god outraged a te vivo. fia ‘skjuzo lavel @ te vivo fia schiuso I's to you alive be opened tho tomb! (You will be buried alive under the altar of the outraged god!) AMNERIS ahi vivo ‘la tomba © Ainjfami A lui vivo. la tomba.. = 0 glinfamit To him alive... the tomb... ob, the detestable ones! ‘ne di ‘Sangwe ‘som ‘pagi dsammai No di sanguo son i Nor of blood arethey sated over... e ministri ‘del tel © sichiaman ministi del_—_ciel! and thoy call themselves ministers of heaven! (The priests come out of the dungeon.) RAMFIS AND PRIESTS traditor Traditor! Traitor! AMNERIS (fulminating against the priests) satferd kompisti ‘un deli un dolitto! you've comitted a crime! igri injfami di ‘sagwe assetate igh infami di sanguo assetate... Tigers infamous of —_ blood thirsty... (You infamous tigers thirsty for blood...) voi ‘la ‘terra edi ‘numi oltra'd:dgate ‘voi unite: ‘ki ‘kolpe nona Voi la terra ediNumi oltraggiato.. voi punito chi colpe none. You the earth and the gods outrage... you punish who guilt hasnot. (you outrage the gods and the earth. You punish an innocent man.) RAMEIS AND PRIESTS © traditor mornra E tradit morra! He's traitor! He will die!AMNERIS (to Ramis.) Aida, Act IV 65 satferdote kwestwomo ‘ke ~—uttfidi ‘wil 's Sacerdote: quest'uomo che _uccidi, tulo Priest, thisman who you are killing, you know it ‘da ‘me ‘un ‘dgomo ‘fu mato Janatema ‘duy ‘kore stra'ttsjato. da me un giomofu amato. Lianatema d'un core straziato by me one day was _loved.. the curse ofa heart tormented ‘kol ‘si ‘saggwe ‘ute rikatdra col suo sangue su te —_ricadra! with his — blood on you will fall! (The curso of a tormented heart wili fall upon you with his blood!) RAMFIS AND PRIESTS (slowly going away) e morra gE morra! He's traitor! —_he will dio! AMNERIS: ‘voi ‘la ‘terra edi ‘numi oltrald:dgate Voi la terra od i Numi _oltraggiate.. You the earth and the gods outrage... ‘Voi puinite ki ‘kolpe nona @ nna none_traditor pieta Voi punite chi colpe non he. Ah no, non traditor.. _pieta! You punish who is innocent. Ah no, __ he isn'ta traitor... Have pity! RAMFIS AND PRIESTS traditor ‘Traditor! Traitor! AMNERIS ‘empja a anatema ‘su "voi Empia rezza! Anatema _su voi! Wicked race! Curses on you! la vendetta ‘del tfel. Jende'ra La vendetta del_— ciel ‘scondera! The revenge of _~— Heaven —_will descend! (She leaves in despair.)66 ‘Scone two Aida, Act IV (The scone shows the interior of the resplendent Temple of Vulcan with long arcades vanishing into the darkness and on a lower levol tho crypt. Colossal statues of Osiris with crossed hands support the pillars of the vault. Radamés is discovered in the crypt on the stops of the stairs leading into the vault. Above, two priests are letting down the stone which closes the subterranean tomb.) RADAMES ‘la fatal ‘pjetra ‘sovra. mme si kjuse La fatal pietra sovra mo si chiuse... The fatal stone over me closed... ‘kiko ‘la 'tomba ‘mia del di Ma Ecco la tomba mia. Del di la Here's the tomb mine. Of the day tho (Here's my tomb. I will never see the light of day again...) ‘non rivetdro ‘piu aida aida Non rivedrd pid Aida... Aida, Not willl see again Aide... Aida, ‘posisa ‘tu. —almeno ‘viver felitfe Possa tu almeno viver felice May you at least live happily e ‘la ‘mia ‘sorte o'srenda ‘sempre © lamia sorte orrenda sempre. and my fete horrendous always (and may you never know my horrendous fate!) ‘kwal ‘dsemito ‘una larva ‘una Qual gemito!. una larva... una What moan! a form... a ‘no forma mana © ‘kwesta No! forma umana & questa... No! form humen is this one., (No! It's a human form...Heavens!...Aida!) sonio Son io, Itis L.. RADAMES ‘tu inykwesta = ‘tomba Tu... in questa tombe! You... in this tomb! Tutfe ‘pju'nom ——ve'dro luce piinon _vedra... light not ever will I soo... ‘ove ‘ssei_ tu ove soi tu? where are you? innotar ignorar! not know!Aida, Act IV 67 AIDA prevago it kore ‘dela ‘wa Presago core della tua Foreseeing my heart of your sentence, (My heart having foresoon your sentence,) in‘kwesta. 'tomba ‘ke per te —sa'priva ‘io penetrai_—furtiva in questa tomba che per to —_s'apriva io penetraifurti in this, tomb that for you wasbeing opened ntered _furtively. ((furtively entered this tomb that was being opened for you...) e ‘kwi_lontana da‘oppi umano “zgwardo e qui lontana = daogni_ = umano sguardo and here faraway from every human glance, ‘nelle ‘tue ‘bratitfa deziai morice nelle tue braccia —desiai morire. in your arms Iwished to die. ‘si pura. e "bella morir ‘per ‘me —_damore Si pura bella! Morir per me d'amore... So pure and lovely! To die for me out of love... ‘twoi ‘nel fjore furd:dsir ‘la ‘vita Degli enni tuoi nel fiore _fuggir Ia vite! Of the years yours in the flower to flee from life! (In the bloom of your years, to flee from life!) ‘il Yelo ‘per lamor kre'ata il cielo per amor creata, Hed you — Heaven — for love created, (Hoaven hed created you for love,) edio — trtstfido pera'verti amata ‘no ‘nom mo'rrai odio tuccido per averti emata! No, non morrai! andI kill you because I you had loved! No, —_you will not die! ‘troppo taimai oppo ‘sei ‘bela ‘Troppo tamai, troppo sei bella! Too much loved you, too much you're lovely! AIDA (delirious) ‘vedi ‘di ‘morte ‘landselo raidjante a ‘noi salppresisa di morte langelo -—radiante. = a_—S—noi_s'approssa... of death the angel radiant to us comes close... (Sec?...The radiant angel of death is approaching us...) nea‘d:dutfe a etemi Neadduco a —etemni He leads us to eternal68 Aida, Act IV ‘el diskjudersi ‘ivi ‘onpi—afifan:no ‘Yfesisa ciel dischiudersi, ivi ogni affanno cossa... sky openup, there all cares coase. ‘lestazi ‘dun im:mortale amor Testasi d'un immortalo amor, the ecstasy ofan immortal —_ love PRIESTESSES (in the temple) immenso ‘fla Immenso tha... Mighty Ptah! AIDA ‘triste ‘kanto Triste canto. Sad chant... RADAMES I tripudjo ‘dei satferdoti Il tripudio ~—doi_—_sacerdoti. The celebration of the priests... PRIESTESSES ‘del ‘mondo ‘spirts animator Del mondo i animator... Of the world it animating... (Life-giving spirit of the world...) Ala ‘nostro = inno “di morte Inostro inno di morte. Our hymn of death... RADAMES (trying to move the stone of the vault) ‘ne le mie Torti ‘bratstfa ‘mmwoveni —potrann =o No le mie forti _braccia smuoverti potranno, 0 Nor my strong arms move you can, oh (Nor can my strong arms move you, oh fatal stone!) aAiDA im ‘van In van!. In vein! PRIESTS AND PRIESTESSES a ‘noi_—timvakiam Ab! noi tinvochiam... Ah! we invoke you... fatal ‘pjetra fatal _piotra! fatal stone!Aida, Act IV 69 Aiba ‘tutto © fifnito ‘sulla terra per ‘noi Tutto 8 finito sulla terra por noi All is finished on earth for RADAMES (with desolate resignation) © ‘wero gE vero! ‘valle ‘di ‘pjanti addio valle di farewell _valley of sojnno ‘gaudjo ‘ke dolor zvatni Sognot gaudio cho dolor svani... Dream joy which in grief vanished... a ‘noi_—ssi'skjude =f A noi si schiude il ciel To us opensup the _ heaven e ‘alme erranti ‘volano ‘ai, ‘rad:dgi del:letemo li ° V'alme erranti volano ai —raggi dell'storno di. and thesouls wandering _fly tothe glow ofeternal day. (Oh dream of joy which vanished in grief... Heaven opens up to us and our wandering souls fly to the glow of eternal day.) PRIESTS AND PRIESTESSES immenso ta timvokiam Immenso —-Ftha, ‘noi tinvochiam! Mighty Ptah, we invoke you... (Amneris, dressed in mourning, appears in the temple, She comes and prostrates herself over the stone that soals tho tomb.) AMNERIS ‘patfe timploro salma adorata Pace timploro, salma adorate.. Peace I implore for you, corpse adored... zi plakkata ‘ti 'skuda ‘il yel Isi___ placa ti schiuda il ciel... Isis placated may she open to you tho Hoaven... (May placated Isis, open up Heaven to you, adored corpse, for whom I implore peace.) "The word for "dream", sogno is pronounced fsonno}, but the musical accent in the phrase puts the stress on the second syllable of the word and that is the reason for the indicated "wrong’ stress.70 Aida, Act IV AIDA AND RADAMES ‘si'skjude il fel Sischiude il i (Aida dies in the arms of Radamés.) AMNERIS ‘patfe timploro ‘patfe patfe Pace timploro, ace, pace! Peace Iimplore for you, peace, peace! END OF THE OPERA