215 I MASNADIERI Opera in four acts. Libretto by Andrea Maffei, based on the play Die Rauber by Schiller First performed at Her Majesty's Theater, London, July 22, 1847 CHARACTERS Massimiliano, Count of Moor: bass Carlo, his first born son: tenor Francesco, also a son of tho Count: baritone Amelia, an orphan and nioce to the Count: soprano Arminio, a servant of the Moor family: tenor Moser, a clergyman: bass Rolla, companion of Carlo: tenor Errant Youths who later become Robbers, Servants, Women and Children The timo is the beginning of the XVIII Century in Germany and Bohemia ‘THE PLOT ACTI ‘Scene One Ina tavom on the Saxon border, Carlo is roeding Plutarch and the oxploits of heroes from en. earlier time. Their nobility and heroism are quite different from his band of revelling student companions with whom he has decided to associate, and who can be heard carousing outside. He regrets the life he has been leading and has written a letter to his father Messimiliano asking his forgiveness. He longs to go back home and be with his cousin Amelia, whom he hes loved since childhood. Rolla enters with some othor mon and brings Carlo a letter. Carlo takes it eagerly, assured that it is his father's pardon. Instead it is from his brother Francesco, writing that his father has not forgiven him at all, and that if he dere return, he will heve him placed in solitary confinement on a diet of bread and water. Not knowing that his father never received his letter because it was intercepted by his villainous brother Francesco, Carlo impulsively agroes to his companions’ suggestion thet they become bendits under his command. ‘They swear eternal allegiance under his leadership. Scene Two Inaroom in Count Moor's castle in Franconie, Francesco congratulates himself on his villainy. He rails at his subordinate position as second son. We learn that he has intercepted the letter where Carlo had asked his father for forgiveness for his waywardness and has substituted for it one forged by himself, Not content with this, Francesco looks forward to his father's death, so that ho can then become master of the Count's property. He orders the family servant Amminio (whom he boliovos he can trust) to go to Massimiliano in disguiso and announce that Carlo has died in battle outside Prague. Francesco is confident thet the shock of such news will certainly hasten his father's deeth,216 ‘Scone Throo Ina bedroom in the castle, Amalia watches over the sleeping, aged Count Massimiliano Moor. Sho sings of her love for Carlo and her disappointment at his desertion of her. The old man ‘awakens from a dream of his favorite son, Carlo and longs to see him again before he dies. Francesco ontors, loading tho disguised Arminio who has, he says, sad news for the Count. Arminio dutifully lies that he and Carlo were among the troops who fought for King Fredrick outside of Prague, and that Garlo hed been mortally wounded. However, before dying, Carlo handed Arminio his sword and said: "Teke this bloodstained sword to my father and tell him that his unwanted son has died a desperate death in battle." Francesco points out that Carlo has writton, in blood, on his sword, "My doath, Amalia, reloases you from your vow. Francesco, you must merry Amalia." Amelia is disconsolete. Massimiliano blemes himsolf for his son's death, and weighed down by his overwhelming grief, falls to the ground, apparently dead. The evil Francesco exults and declares himself the new Count of Moor. ACT IL Scene One The scene takes place in a graveyard of the church attached to the castle. Amalia has stpped away from a banquot being given by Francesco, and has como to shed a tear at hor Massimiliano's tomb. A repentant Arminio now enters end informs Amalia of his oe Ho tells Amalia not only that Garlo is not dead but thet her uncle is alive and well. He rushes away before she can can question him. Amalia is jubilant, but her happiness is short lived, as Francesco appears,wondering why she has left the banquet. He makes her a proposal of marriage, which sho vehemently refuses. He throatons to take her by force, but Amalia snatches away his dagger and temporarily fonds him off. ‘Scene Two In a Bohomian forest outside of Praguo, Rolla, Carlo's right hand man has been captured and is threatened with execution. The bandits tell how Carlo is out to rescue his companion and set fire to Prague. The flames can be seen through the trees end terrified women cry that it is the end of the world. Rolla enters with some of the bandits, describing the rescue operetion. Later Carlo returns and cannot come to terms with his lawless life. He reviles himself for his Jost honor and thinks longingly of Amalia until his mon inform them thet the forest has been surrounded. Carlo exhorts his mon to battle. ACT I Scene One To ascape Francesco, Amalia has fled to a forest not far from Count Moor’s castle, She hears the sound of the epproeching bendits and feers for her safety. Her apprehension turns to joy when she sees Carlo, He dossn't tell her he is the leader of the bandits. They are overjoyed at finding each other. When Carlo questions her as to the reason for her wandering alone through the forest, sho tells Carlo about his brother Francesco's treachery and attack on her virtue.217 Scene Two In another part of the forest the bandits are gathered near a ruined tower and sing of the joys of a bandit's life. Carlo muses on his fate and in ¢ fit of depression actually puts a pistol to his hoad, considering suicide, but mekes up his mind to live end continue to suffer. Arminio enters stoalthily and approaches the tower. Ho leaves some food inside and is about to leave when Carlo bars his way. Carlo demands to know who is detained inside the tower, but Arminio managgs to flee before giving an explanation. Carlo enters the dungeon and soon is seen coming cut leading an emaciated, white haired old man by the arm. It is his own father Massimiliano, whom everyone hed thought deed. He does not recognize his son, but in gratitude for his deliverance, he tells his story; how he lost consciousness at the nows of his son's doath; how Francesco laid him out in a coffin and then thrust him into that dungeon, and how only Arminio's davotion saved him from certain death by starvation. Carlo now urges his men to punish Francesco for his perfidy. ACTIV Scone One Inside his room in the castle, Francesco has just awakened from a terrifying nightmare of the day of judgement. His conscience is bothoring him. Ho sends a sorvant for a pastor, and asks tho holy man which of his sins is the least forgivable. The pastor roplios parricide and fratricide. Francesco asks for absolution but the pastor replies that only God can do that. Francesco rushes out shouting that he will outwit the fires of hell. Scene Two It is dawn in the forest and Carlo, still concealing his identity asks his father for his blessing. The bandits return from their ettack on the castle, saying that Francesco hed escaped them. In his place they drag in Amalia. She calls on Carlo to protect her. Realizing that he can no longer hide his identily as the leader of the bandits from his father or from Amelia, he confesses his identity and his guilt. Amalie and Massimiliano are horrified at discovering the kind of company Carlo has bean keeping, but Amalia swears that she will be true to him, no matter what he is. The bandits reply that Carlo is pledged to them for life and Carlo realizes thet he is trapped by his oath. Amalia begs him to kill her rather then leave her. Carlo, rather then have her involved in the shame and disgrace thet envelop him, stabs her to death, as he rushes off to give himeolf up to justice.218 ACTI Scene One A Tavon on the Saxon Bordor (Carlo Moor is immersed in reading a book.) CARLO ‘kwando ‘io ‘leggo ‘in plutarko Quando io leggo in ——Phutarco. When 1 read in Plutarch 2 noja 2 ‘skifo ‘di kwesteta dimbel:li ho noia, ho schifo di quest'eta d'imbellit... Tm annoyed, T'm disgusted with this age _of weaklings! oh, ‘se ‘nel “fred:do. ‘fenere ‘de ‘mjei_‘padri Oh, se nel froddo conore do! miei padri Oh, if only in the cold ashes of my —_forefathors ayjkor vivesse ‘dello spirit darminjo una_—_fintilla ancor vivesse dello spirto d'Arminio una scintilla! still lived of tho spirit of Arminius! a spark! vorrei Jamanpa ‘tutta Yar ‘libera ko7zi ‘ke Vorei Lamagna’ tutta far —_libera cosi, che Iwould wish Germeny all make free so that ‘sparta e atene sariens ‘al paralgon ‘serve ‘in ka'tene Sparta e Atene sarieno al paragon serve in catene. Sparta end Athens wouldbe by comperison servants. ~—_ in chains, (Cd wish to make Germany completely free so that by comparison Sparta and Athens would soom like cervants in chains.) VOICES (within) ‘una ‘banda eri ‘di ‘strada_ ‘kol pupnale Una banda; eroi di strada.. col pugnale A band; heroes of highway... with the dagger ‘kol bikikjer nessun) ‘vale ‘il mazna‘djer ecol bicchier nessun vale il masnadier! and with the goblet no one can match a bandit! To avoid confusion right at the outsot, Carlo is not referring to Arminio, the steward of his family. He is referring to Arminfus (A.D. 21) (Hermann in German) who was a famous chief of the Cherusci in the area of presont day Hanover, when the Romans were pushing from the Rhine toward the Elbe. Ha was at the haad of an army that completely defeated the Roman logions undor Varus. Arminfus was considered a great national hero and a statue of him was erected in Detmold. *The modern word in Italian for Gormany is Gormania. In pootry one finds Allomagna, Almagna ‘and Lamagna.I Masnadieri, Act 1 219 CARLO ‘son ‘Ki ebb imverekondi ‘tmjei kompappi —_de'rrore Son gli obbri, inverecondi miei compagni — d'errorel... They're the drunken, shameless my — compenions in error! (Theyre the drunken, shameless companions of my erring ways!...) ‘towanto 2 padre mi tarda ‘tuo _perdono Quanto, 0 _padro, mitarda _—ilttuo_pordono How long, oh —_ father, is delayed your forgiveness per laffar tai perversi inab:bandono por — lasciar tai i in abbandono! to leave such depraved mon in abandon! (Oh father, why do yon delay your forgiveness so much, which delays me abandoning such depraved men!)* © tmio_—_kastel_ pa'temo ‘kolti ‘di verde etemo OQ — mio castel patomo, colli di_—_verde otomo, Oh my castle paternal, hills. -of green eternal, ‘kome ‘fra ‘voi kwestanima —redenta eaulte'ra, come fra voi quest’anima redenta _—esultera! how among you mysoul redeemed —_will exult! (Oh castle of my father, oh ever green hills, how my soul will exult among you once it has een redeemed!) malja a ‘te ma'ppresso'mapri ‘tus ‘kasto am'plesiso Amelia, a —to._—m'appresso, m‘apri il tuo casto amplosso! Amalia, to you.-Tcome, —opantome your chaste embrace! ‘fam:mi © dyes rivivere nella ‘mia ‘prima eta Fammi, 0 —_—_gentil, rivivere nella. mia_ prima eta. Make me, oh —gentloono, live again in my fret’ ago. (Make me liva again, oh gantla one, as in my early youth.) (Several young men enter hurriedly.) CHORUS (to Carlo) ‘ekcko ‘um ‘foxko a te diretta Ecco un foglio a to _—_—diretto... Heres a letter to —-you_ addressed... (Carlos snatches it away from their hands.) ‘tremi Tu ‘Tromi tu? ‘You tremble? °Carlo had written to his father Count Massimiliano Moor, but the letter was intercepted by his evil brother Francasco.220 I Masnodieri, Act 1 CARLO belts io ‘sono. ‘kwesto © ‘il 'mio perdono Beato io sono! Questo, — amici, ® il mio perdono! Happy! am!_—This, friends, is my __perdon! (Lam happy, my friends! ‘This is my (father's) forgivencss!) (He opens and reads the letter.) CHORUS (among themselves) ‘kome imbjanka = ¢ == ‘muta aspetito Como imbianca 0 muta aspotto! How he goes pale and chenges _{his) face! CARLO ‘isto ‘me ‘di ‘mio fratello Tristo me! di mio _fratollo! Woe is me! From my brother! (He rushes out and drops the letter.) ROLLA (picking it up) per mia. fe = lo. skritts © © “bhelio Per mia fe, lo scrittoe bello! By my faith, the letter is lovely! ta'nmuntfa iL 'padre ‘tuo per ‘a ‘mia ‘bok:ka "Tannuncia il padre tuo per Jamia bocca "Lets you know the father yours through my _—_mouth ‘di ‘nom ‘for ‘sul ritomo atkum_pea'sjero di non for sul ritomo aleun pensioro, of not ‘making about retuming any _thought, (Your fether lets you know through me not to entertain any thoughts about returning.) ‘se ‘nom ‘wwoi solitarjo © ——_—pridsonjero se non vuoi, solitario ¢ ~_prigioniero if you don't want alone and prisoner ‘dakkwa © ‘pane tfibarti ‘in ‘una ‘rok:ka daqua e _——pane._cibanti in una récea" thrice 4, ode tied Jord youre Sy, liciphhcuagean. (lest you be imprisoned in a solitary dungeon on a diet of bread and water.) CHORUS ‘pane cdakkwa il__—~—tfibo € ‘grasiso Pane ed acqual il cibo 8 —grasso! Broad end water! The food is fattening!I Masnadiori, Act 1 221 CARLO (returning in fierce agitation) ‘fjere mane ‘dure ‘pju dalpestre 'sasiso Fiore umane, dure pit d'elpestre sassol. Beasts humen, hard more then mountain rock! (Human beasts, even harder than a mountain rock! koi ‘kkalde e ‘pie pregjere ‘non Jan tolcko intenerito cost calde @ pio preghiero non Than _tocco, intanerito? such passionste and pious entreaties didn'thim __ touch, move? (didn't my passionate and pious entreaties touch or move him?) a potessi ‘il ‘mar la terra sollevar kon. un risdgito Ah potessi il mar, Ia terra, sollevar —con_un__ruggito, Ahifonly!could the sea, the —_ earth, raise with a roer, ‘kontrs ‘Iwomo unielt in (gwerra contro Tuomo vunili in guerra! against menkind —unitathem in war! (Ab, if only I could raise the earth end the sea in a roer and unite them to wage wer against menkind!) CHORUS ‘senti a ‘mor Senti, © Moor! Listen, oh Moor! ‘CARLO dove ‘la ‘spada ‘ke «= 'da_—Ss morte a tai serpenti Dove la spada che da morte a tai serponti Whersis the sword thet gives death to such serpents? CHORUS, ROLLA ‘noi la’bbjam ‘ti ‘kalma e ‘senti Noi Yabbiam. Ti calma © senti. We haveit Calm yourself and listen. kompo'rremo ‘una maznada Comporremo una masnada... We will forma gang. CARLO fivith a start) ‘Tadri ‘noi Ladri noi? Thieves, we? ‘spirti inikwi ict iniqui, souls wicked, ‘ki va pjo'vuto Chi vha piovuto,* Who has rained on you ‘un ‘tal perisjero un tal ponsioro? such a thought? (We? Thievas? Wicked souls, who inspired you with such a thought?) “An unusual expression used by Maffei. Piovere Is “to rain". The inference is "How did this thought rain down from heaven into your minds?” Everything is allowed in poesy...222 I Mosnadieri, Act 1 CHORUS © w ‘kapo kondstitjero E tu capo condottiero. And (with) you (es) head leader. CARLO ‘per ‘la‘morte fo. ‘non rifjuto Por lamorte, io —_non rifiutol By — deeth, 1 wont refuse! CHORUS, ROLLA ‘nostro Nostro? Ours? (Will you be one of us?) CARLO ‘vaste ‘ekko ‘la ‘mano Vostro! Ecco la mano. ‘Yours! Hore is my hend (on it). CHORUS, ROLLA (drawing thoir swords) ‘viva ‘L kepitana Viva il capitano! Longlive our _ceptain! CARLO nelardgikla maleldetta ‘lira ‘mia ‘kwe ‘fersi im:merga Nell'argilla maledotta Tira mia que’ fern immarga! Inthe clay accursed © theanger mine these swords Jet them phinge! (Lot my anger plunge those swords into the accursed cley!) vo ‘la'stradge ‘ale ‘mia terga ‘Jo spa'vento inmantsi. =a ‘me Vo! lastrage alle mia terga, lo spavento innanzi a mo. Iwant destruction at my beck, fear before me. ‘furje ‘voi della vendetta —'meko evwolti inuna ‘sorte Furie voi della vendetta, moco avvolti in una sorto, Furies you of vengeance, withme _linked in one fate, (You furies of vengeance, who are linked with me in one fate,) ‘kwi dovete ‘kwesta ‘forte ‘mano ‘mia dsu'rare qui dovote 2 questa forto mano mia giurare here youmust on this strong hand mine swear ‘Carlo is vowing to be as General Sherman during the American Civil war: Everything quakes before his advancing march, and once he passes through, all that is left is destruction and slaughter.I Mesnadieri, Act 1 223 ‘noi dgu'rjamo a ‘kwesta, forte mano tua Ja ‘nostra ‘fe Noi giuriamo a quota forte mano tua lanostra fal We swear on this strong hand yours our feith! (They exit noisily.) Scene Two A Hall in the Moor Castle (Francesco Moor is alone.) FRANCESCO (efter somo reflection) vek:kjo spik:kai ” we kweklodjato —primodjenito tuo Vecchi spiccai te quell'odiatoprimogenito tuo! Old men! I plucked ee you thethated first born _of yours! la pjangoloza_—‘letttera ‘kei ti'skrisse foo distrutta La —_piangolosa _lettera choi tiscrisse io —_—'ho distrutta: The whining letter that he wrote you I destroyed it: ‘una ='mia_ ‘ne le'dsdgesti ‘ove —'ttel pinsi kon ‘si ‘kari ko'lori Una mia ne leggesti, ove tel pinsi con si cari_ colori. One mine youread, where I painted him in such dear color: (You read instead one of my letters, in which I painted Carlo in such deer colors...) alfin a ‘Kolpa ‘della natura ‘ke minor mi'fetfe Alfin la colpa della naturache minor mi fece, At last the fault of nature which lesser mede me, kastigai ‘nel fratello castigai nel fratello: I've punished on my brother: (At last I have punished my brother for nature's misdesd, which made me a lesser man than hs by virtue of being second born.) ‘oa. nel padre. pani ‘adebbo —il'dritto. tae kalffentsa Ora nel padre punir ladebbo.. Mdritto!. La coscienza! Now onmy father punish it Imust.. Rights! Conscience! spaurakki —eigredsi per le fakke anitmutsfe Spauracchi _ogregi per le — fiacche animucce. Scarecrows eminent for the _ feeble little souls. (Rights! Conscience! Such eminent scerecrows fit for feeble little foolish men.) ‘ozafrantfesko —_‘spatitfati ‘del Osa, Francesco! Spicciali dol Dare, Francesco! Get rid of the old man... vivo a'stento ——_‘kwesto ‘Jogoro oisisame E vivo astento questo logoro ossame: He's alive barely, that worn out pile of bones:224 | Masnadieri, Act 1 ‘um ‘bufifo © ‘spento Un bufio... & sponte. heis dead. ‘ta ‘sua ‘lampada vitale langwe ewer ‘ma ‘troppo = ‘dura La sua lampada —vitalo langue, ver, ma troppo dura, His lamp of life bums low, its true but too long it lasts. (The lamp of his life burns low, it’s true, but it's lasting too long.) ‘se ‘va ‘ente Ta natura ‘duro val fel Jaf:frette’ro So va —_lonta la natura, giuro al ciel! Veffrotterd. If moves slowly nature, Teweer to heaven! _ will speod it! (if nature moves slowly, I will speed it along, I swear by heaven!) ‘mente ‘mia ‘trova ‘um puppale ‘ke trapasssi ‘il ‘kore wmano Mente mia, trove un pugnalo cho trapassi_ © il_~=—= core. umang, Brain mine, find a dagger that will pierce the heart human, ‘ne tvelare ‘posisa ta ‘mano ‘ke ‘lo ‘strinse e ‘lo vibro ne svelare possa la mano che lostrinse © —_lovibro. without eingable to reveal tho hand that graspedit and _ wielded it. (He relapses into his thoughts, then goes on.) triomfo kol’pito ° ‘nel ‘Seppo. ta'vantsa Trionfol Colpito. == ho._—nel_—sogno. Yavanza! Triumph! Hit Thave on the bulls-eye. come here! (Triumph! I have the solution! Arminio, come here!) (Arminio onters.) ARMINIO sippor ‘ke yolete Signor, che — volote? Sir, what do you wish? FRANCESCO 1 we fedele Mi sci tu fodelo? Are you to me faithful? ARMINIO ‘kwal ‘dubddjo navvete Quel dubbio navote? What doubt have you? FRANCESCO ‘or ‘ben sekondami ‘tu ‘devi “un di'zepno Orben! ——secondarmi tu devi un disegno. Well then! Aidme you must (in) a plan.I Masnadieri, Act 1 225 travestiti ‘im ‘modo ‘ke jun i ravwizi Travestiti in modo che niun ti ravvisi; Disguise yourself so that no one can recognize you. poi vanne a ‘mi padre ‘Ki narra Poi vanne mio padre, gli narra Then go to my father (and) tell him ‘ke ‘spenta ‘sul kampo di 'praga che — spento sul campo di Praga thet deed on the battlefield in. Prague um ‘monte duttfizi la ffasti ‘l'su> ‘karlo un monte diuccisi —lasciasti_ il’ uo Carlo. a heap of corpses you left his Carlo. ‘Vi korisents da'rammi ‘poi ‘fede vi consento, darammi poi fede? But [ff consent todo it _will he then believe me? FRANCESCO berrra ‘la tua ‘nova mel kredi Bora la tua nova, mol credi. He will swallow your news, believe me. forniti voskio ‘di tale ‘une ‘prova Fomirti —voglio di talouna_—_—_prova, Provide you I want with such proof, ‘ke wom ‘piu sagatfe kadrebbe in. errore cho Tuom pid sagaco cadrebbo in —_errore. that theman —most clever would fall into error. {1 want to provide you with such proof that the cleverest man would fall into error and believe your story.) (Arminio loaves.) ‘fra poko —framtfesko sara ‘wi sipore Fra poco, Francesco, sarai qui signore! Soon, Francesco, you will be here master! tremate omizei voi ‘mivedrete ‘nel 'mio._veratfe Tremate, omiser, voi_-mivedrote nel mio verace Tremble, oh wretches, you willseeme in my true teribile _aspettts terribile —_aspotto; terrible aspect; ‘dum ‘vekckjo ‘debole ‘ke ‘non. temete Dun vecchio —_debole. cho non tomoto, Ofen oldman —_ weak whom you don't fear,226 1 Masnadieri, Act 1 ‘pi ‘nom'vi modera la. 'staka ‘man pia non vimodera = la._—stanca man. nolonger are youruled (by) his tired hand. (You are no longer ruled by the hand of a weak old man whom you do not foar.) ‘al ‘rizo ‘al ‘dgubilo sutstfede'ran:no Al iso, al giubilo succederanno To laughter, to joy will follow sigigulti © Yagrime ‘rimor sos'petto singulti 0 —lagrimo, _timor, sospotto: sobs and — tears, fear, suspicion: linedja ‘'kartfere —tonta Linedia, _il'carcere, —_'onta, Starvetion, prison, shame, ‘strattsjo ineT:fabile ‘di ‘voi faran strazio ineffabile di voi_—faran. destruction unspeakable of you _ will make, (Prison, starvation, shame and enguish will wreak unspeakable havoc on you all.) (He leaves.) ‘Scene Three A Bodroom in the Castlo (Count Massimiliano Moor is asleep in a chair. Amalia approaches very quietly and stops to Took at him.) ‘AMALIA vene'rabile ° ‘padre & ‘its sembjante Venerabile, o padre, @ —_iltuo_sembianto Venerable, oh father, is your face ‘kome ‘il ‘volto ‘dun ‘santo o ‘sia trajkwiklo il ‘sonmo ‘tuo come il volto d'un santo. Oh, sia tranquillo il sonno tuo! as the face ofa saint. Oh, be trenquil the _ sleep yours! (Father, your face is as venerable as a saint's. Mey your slesp be peaceful!) tirqvoli ‘al dolor ‘detla ‘vitae ‘ti korisoli Tinvoli al dolor della vita @ ti consoli. May it take you away fromthe grief of life and console you. ‘mai bandito ‘il'mip ‘karl Mhai bandito il mio Carlo; Youhave banished = my — Carl ‘oppi ‘mia “‘dgoja._ ‘per ‘tua ka'dgon perdei Ogni mia gioia_pertuacagion —_—perdei, Every my joy because of you _—I lost,I Masnadieri, Act 1 ma kon te korrt:tfarmi ‘nom potrei ma con te _corrucciarmi non potrei. but with you to got angry I couldn't. Io ‘zgwardo —a'vea dedAjandseli ke —“‘ddiokre’> ‘dun rizo Lo sguardo avea degli angeli che Dio cred dun iso. The face _ ho had ofangels that God created ofa smile... (He had the faco with a smilo of angols that only God could have croatod...) i ‘balfi_ ‘swoi stiklavano —dgo'ir ‘ai paraidizo T baci sui stillavano —_gioir a paradiso. The kisses his distilled —_—_the joy of paradise. ‘nelle ‘sue ‘bratitfa ‘um ‘vortitfe debxbrettsa navivatdgea Nelle sue — braccia un vortices debbrezza niavvolgea, In his arms whirlpool of intoxication enveloped us, ‘kome ‘ddue ‘votfi wnisone ‘sul kore il ‘kor batttea come duo voci unisone sul. com il cor — battea. ‘As two voices in unison, upon heert the (other's) heart beet. ‘anima uniasi adanima fuze acum ‘foko istes:so Anima uniasi adanima fuso ad un foco i Soul merged to soul fused asa fire (Our souls merged into one, fused by a single flame:) © terrae Yel poreans ——_stem’prarsi kwellamplesiso E tera eo cio pareano ——_stamprarsi quell'amplosso. And arth and heaven seemed to molt that embrace. doltfetise innate alestazi ‘dun immortal gustai Dolcezze _ignote all'estasi d'un immortal — gustai; Swostnesses unknown to the ectasies. ofan immortal I tasted: (tasted the sweetnasses unknown even to the ecstasies of an immortal being.) ‘sonpo divin ma sparero ue = tommeran pj mai Sogno divin! ma sparvero, nd torneran _ pitt mai. Droam divine! But itvanished, nor will it return ever again. MASSIMILIANO (dreaming) ‘mio ‘karls Mio Carlo.. My Carlo. ‘AMALIA ‘ei 'sonna sogne... Ho is droaming... MASSIMILIANO o ‘kwanto ‘mizero ‘sei Ob, quanto misero sei! Oh, how unhappy —_you are!I Mosnadieri, Act 1 ‘AMALIA ‘ti zvekha a'mato ‘padre e ‘le tue ‘larve ‘spari'ran Ti sveglia, — amato padre, e — letue larva spariran. Wake up, beloved —_—_ father, end your phantoms will venish. MASSIMILIANO (continuing to dream) frantfesko ‘pur ‘nel_— ‘sono. ‘mel tok Francesco! pur nel sogno moll togli! Francesco! even in my dream you tear him from me! ‘son ‘mi ‘gwarda— ‘a “fda ‘tua son, mi guarda, la figlia tua em, lookatme, your daughter MASSIMILIANO (opening his oyes) ‘tu puror somnava ‘di “karl ‘nostra Pur or sognava i Carlo nostro. Justnow Iwasdreaming of ours. oipovera —fantfulla april ‘delle we ‘doje ‘io disfprai Opovera —fanciulla, april dello tue gioio io disfiorai. Oh poor _ girl, the April of -your joys have violated. (Oh my poor girl, I have violated the springtime of your joys.) ‘nom —male'dirmi Non malodirmi. Don't curse m AMALIA male'disti ‘mmai Malodirti? mail! Curse you? never! MASSIMILIANO ‘karla ‘io mwojo dai ‘wim sei netlultimore Carlo, io muoi od, ahit tu mi sei nell'ultim'ore; Carlo, Iam dying... and ch! youre from mo —_in my last hours; ‘una = ‘fred:da ingrata ‘vel ‘mi kompo'rra Una fredda, ingrata mano nellavel mi comporra. A cold, ungratoful hand in my tomb will lay me. ‘karo ‘il ‘pjanto al:twom ‘ke ‘mwore ilpianto —alluom == che muore, the weeping tothe men who is dying, ‘me1 Masnadiori, Act 1 AMALIA 2 deffarti ‘io ‘pur vorrei doloroza = umana vita Oh, lasciarti io pur vorrei, dolorosa = umana vita, Oh, leave you Td also wish, painful human life, ‘or ke =~ tutto io ‘kwi perdei ne la tera um for mi ‘da or che tutto io qui perdei, nd laterra un fior mi da now that all There havelost, nor earth flower _gives mo! © ‘per'sempre a —‘karlo._whita spatisiar letemita persempro a Carlo unite, spaziar Yoternita! end forever to Carlo united, roam (through) eternity! (Francesco and Arminio in disguise now enter.) FRANCESCO ‘um messsatddsero ‘di trista_ novel: ‘vi'pjatfe —_udirlo Un —mossaggoro di trista novella! © Vipiace _udirlo? A messenger with sad news! De you wish to hear him? MASSIMILIANO (to the disguised Arminio) ‘ke ‘porti fa'velia Che _porti? Favollat What do you bring? Speak! ARMINIO ‘di ‘karl ‘Vostro kontettsa —‘vi'reko Di Carlo vostro contezza vi reco.. From Carlo yours, news Thring you. AMALIA dove Dove? Where is he? MASSIMILIANO vives&i Viv'ogli? Is he alive? ARMINIO kom'pao fu‘ meko fra le kolonme = di_—S ste ~—_—sfederriko Compagno fu meco fra le colonne = di'_—sRe_—Federico Acomrado howaswithme in the columns of _~—‘King Fredrick ke Jo rakckolse — fud:dsasko men'diko che lo raccolse —fuggiasco, mendico. which took him in, a fleeing man, a beggar. AMALIA ‘mizero Misero! Poor man! 229230 I Masnadieri, Act 1 ARMINIO a 'praga paipno kwellardito A Praga pugnd quell'ardito, In Prague fought that brave man, ‘figke ‘del ‘korpo ‘fu ‘wtto ferito finch’ dol corpo fu tutto ferito... until in his body he was all wounded... FRANCESCO (rushing at Arminio) Yatfi spjetato Taci, spiotato! Silence, _pitiless man! (Massimiliano makes a sign for Arminio to continue.) ARMINIO parlavami a ‘siento Parlavami astento... He spoke tomo _faltoringly... ‘porta a mio padre kwel ‘ferro kniento "Porta a — mio. padre quel ferro cruento, "Take to my father that ‘sword bloody, e ‘didi ‘il fidko da ‘voi ributtats e 7 Hfiglio da_—voi_ributtato and tellhim: theson by _—-you_ cast off, ‘fra lari e ‘Te ‘stradsi mori dispe'rato Tarmi e le strogi mori disperato.” amid the weapons and slaughter died _in despair.” MASSIMILIANO (In an outburst of griof) sonio kwel padre ‘dal ‘tfel maledetto. Son io quel padre dal ciel maledetto! Its], thet fether by heaven accursed! ARMINIO edera lestremo: ‘suo det:to Ed ora Testremo suo _dotto. ‘And was the last’ his word. AMALIA (in dospair) la trista ‘son ‘io = ke_—'al_~—pjanto. sorvisise La trista son io che al _pianto sorvisse! Tho sad one an I who to tears survived! (And [ am the sad one, who has to survive all this to lament!) FRANCESCO (showing the sword to Amalia) led:d3i il ‘tus ‘karlo ‘kol ‘sangwe Loggi! tuo Carlo col sangue Read! Your Carlo with his bloodI Masnadieri, Act 1 231 ‘dal ‘dsuro. amalja ‘tfi [force ‘a morte "Dal giuro, Amalia, ci scioglie Ja morte "From your oath, Amalia, we are released by death. ‘si tus frantfesko © damalja kon'sorte sii tu, Francesco, d'Amalia consorte." be you, Francesco, of Amalia__husband." (I went you, Francesco, to be Amalia's husband.") AMALIA ‘karlo ‘mai ‘nom = me'masti Carlo, mai_ non m’amasti! Carlo, never not you loved me! (Ah Carlo, you never did love me!) MASSIMILIANO (to himsolf) ‘tigre ferotfe ‘kwal ‘sangwe versasti Tigre feroce, qual sangue vorsasti! Tiger ferocious, what blood have you shed! ‘sul ‘kaps'mio —kolpevole ‘ica ‘del ‘fel diffenda Sul capo mio colpevole Tira dol ciel discenda! (May) on myhead guilty the wrath of heaven —_ descend! (Throwing himself on Francosco,) ma ww ‘ke “zvelta 2 ‘perfido Ma tu che svelta, 0 perfido But you who wrenched, o evilone, ‘mai ‘ta bestemmyja orrenda mhai a bestommia orrenda, have from me the blasphemy horrendous, (But you, evil ono, who wronched from me this horrendous blesphomy,) ‘rendimi uw lttfizo ‘mio fikkwol rendimi tu Tucciso mio. figliuol! give beck tome you, thekilled my son! (givo me back my slain son!) AMALIA ‘padre ‘bo a’sssunse vai “mantic il ‘ddio ‘dei trava'Kéati Padre! Lo assunse oi martici il Dio dei travagliati, Father! Ho was gathored —_to tho martyrs (by) the God of the afflicted, perke kwathdsu “non) ‘fos:simo_ ‘ome ‘nnel ‘tel be'ati perch quaggitt non fossimo come nel ciel boati; so that down here weshouldnotbe as in _heaven, blissful; ‘ma ‘lo ve'drem kon'solati la ‘ta ‘Te 'stel:le el'sol Ma lo vedrem, consolati, la tra_lestolle ~—- ol sol. But we will see him, console yourself, there, amid the stars and the sun.232 I Masnadiori, Act 1 FRANCESCO (to himself) “grattsje 9 ddimon ‘bassalgono dolor rimorso Grazie, odiman! Lo assalgono dolor, imorso ‘Thanks, ‘oh devil! He's assailed (by) grief, remorse Ja disperantsa. or —mefivi potente ‘ultima La disperanza or —smescivi, —potente, ultima powerful, last (and) ‘fenda ‘kwel ‘la ‘poka Fenda quel cor! i la poca Broak open his its little (Devil, broak the old man's heert, and scatter the little bresth of life left in him!) ARMINIO (to himself) ‘non ‘so ‘pju ‘redidsere ‘al ‘suo dolor patemo Non so pia reggere —al suo dolor _petemo! Tecan no longer —_ stand his grief paternal! {0.can no longer stand Massimiliano’s paternal grief!) ‘kwesta mentsoppa orsibile ‘mi ‘fia rimorso e'temo Quosta menzogna ommibile mi fia rimorso _otomo; This lie horrible __will be for me remorse _etemal; {This lio (which I have perpetrated), will cause me eternal remorse.) ‘fit ‘to ‘da neTanima ‘kome imfo'kato ‘stral Fitto Tho gia nell'anima come infocato _stral. Rooted Thave it alrecdy in mysoul like abuming arrow. (Massimiliano faints.) AMALIA ei ‘mwore, © mmorto Eis muore! E morte... Ho's dying! Hes daad... (She cries out and flees.) FRANCESCO (jubilantly) ‘mort sinpor sonio Signor son io! Mester Tam! (He's dead?... Iam master now!)I Masnadiori, Act It 233 (To one side rise several Gothic tombs. Amalia is kneoling in front of a recent one, on which the name of Massimiliano is carved. After a short silence she rises.) AMALIA ‘fame bayketto = ‘io. mimvollai Dall'infame banchetto io minvolai, From the infamous banquet I have gotten away, ‘padre © ‘kwi ‘mi r'fug.go se'polkro ‘wo padre, equi mi rifuggo, sopolcro tuo father, end here I take refuge, at the forgotten grave yours “ke ‘sola ‘la furtiva ‘mia = ‘Jagrima kon'sola che sola Ja fartiva mia lagrima —_—_consola. which in my solitude tho furtive my — toer consoles. (have gotten away from that infamous banquet, father, and I take refuge here at your forgotten grave, which in my solitude consoles my furtive tears.) CHORUS (from within) geidjam ‘ke futgatfi ‘son ‘lore ‘del ‘rizo Godiam che _fugaci son ore dol riso: Let's rejoice, for fleeting are. the hours © of_—‘laughter: ‘dai ‘kalitfi ‘ai ‘batfi ‘ne'gwida = il_—pjatfer Dai calici ei baci noguida —il_—_piacor. From the _ goblets tothe kissos, we're guided by pleasure. ‘a fossa mma ‘oie ne manda ‘un av.vizo Ta fossa, una croce ne manda un The grave, a cross sendsus a | ‘la ‘vita 2 velotfe ta'ifretta La vita 2 veloce, taffretia Life is swift, hasten AMALIA ‘empjo Empio! ‘You wretch! ‘CHORUS laffamo i Ta'menti ‘i ‘stupid. ‘ito Lasciamo i lamenti = di_—stupido—_—rito; Let usleave the lamentations of (a) foolish rite; plorar ‘suki ‘spenti ec —‘folle dolor Plorar sugli sponti 8 —_folle dolor. To weep overthe dead is-_-—_foolish grief.234 I Masnadiori, Act It AMALIA: Empio! CHORUS ‘non ‘turbino 4 ‘negri_ kolori ‘il ‘konyvito Non turbino i negri colori il —_convito; Let them not disturb the black colors the party; (Let black shedows not disturb the party’) ‘kwi ‘brill e nal:legri ‘a ‘tatlsa € la'mor Qui brilli e —mllegri «= da_—ttazza @ = amor. Here letitshine end cheerus the cup and _love. (Here let wine and love shine end cheer us up.) ‘AMALIA tripudja_ ezulta, sut:losisa ‘di wo = ‘padre: Tripudia, —_esulta, sullossa di tuo padre! Rejoice, exalt, over the bones of.-—-your_fathor! CHORUS ‘la ‘sorte futura ‘de “fjakki_ e terrore La sorte futura de’ seo, 2 terrore, The fate future of is terror, (Future fato is the torror of tie ) ‘ma ‘sillaba oskura, ‘de “fort val pen'sjer ma sillaba oscura de forti al pensier. Dut asyllable dark of tho strong in the thought, {but a little known word in tho thoughts of the strong.) Godiam, che fugaci son Tore dol tiso, etc. AMALIA, 2 ma ‘la'patfe ke nelda ‘vita “Ci rapisth Oh! ma la paco cho nella vita gli rapisti, Oh, but thepeace that in life you robbed him, jim morte funestar—— ‘non Ai'pwoi in morte —funestar ~—_non gli puoi! indeath _ afflict you cannot for him! (Oh, but you cannot disturb in death the peace of which you robbed him in life!) ‘no “nom ‘penetra leze'krata ‘wa = ‘votfe ‘in ‘kwelda No! non penetra Yesocrata tua voco in quolla No! It doesn't penetrate the heted — your voice into that (No! Your hated voice cannot penetrate the stone of this tomb.) (Turning to the tomb.) ‘tw ‘del ‘mio karlo ‘al ‘seno_vollasti ‘alma beata Tu del mio Carlo al —seno_volasti, alma beata, You to my Carlo inhis bosom flew soul blessed, (Father, your blessed soul has flown to the bosom of my Carlo,)I Mosnadieri, Act I 235 © il'wo so'fifrir terreno ‘or ‘si ‘fa ‘vel © iltuo sofftir terreno or sifa ciol. and your suffering earthly now becomes heaven. ‘sol io kwi vivo im ‘pjanto devena e skonsolata Sol io qui vivo in pianto, desorta © sconsolata; Only I hore live in tears, dosortod and __disconsolato; 9 kwanto injvidjo ‘two felitfe avel Oh — quanto invidio, _—iltuo felice avel! Oh, how Tenvy, your happy tomb! ARMINIO (entering agitatedly) a sippora Ah, _ signora! Ab, my lady! AMALIA ke vwoi Che vuoi? What do you went? ARMINIO ‘dun ‘gram misfatto ‘kiegigo perdon Dun gran misfatto chieggo—_—peruion... Fora great misdesd laskfor forgiveness... AMALIA ‘mi ‘taffa Mi lascia! Leave me! ARMINIO uditemi Uditemi... Hear me out... AMALIA. jimpor'tuno Importuno! You annoying fellow! ARMINIO ‘vostro “Karla ‘vive vostro Caro... vive! ‘Your Carlo... is alive! AMALIA ‘ke ‘parti Che pari What are you saying?...236 I Mosnadieri, Act I ARMINIO. a1 ‘wero e ‘vostro tisio ‘vive amjkor ‘esis0 vere: © vostro zio vivo ancor esso.. The truth: and your uncle lives still he... (Tho truth, and your uncle is still alive...) (Ho runs off.) AMALIA arresiati ‘gran. ‘dio Arrestati!.... Gran Dio! Stop! Great God! (After a moment of amazement.) ‘karlo ‘vive 9 Kkaro atzfento = melodia ‘di Carlo vive? O caro accento, melodia «di Carlo alive? Oh dear word, melody of ‘dio ralekolse il’ mio lament fu —_pietozo ‘al ‘mio dolor Dio raccolse -—illmio lamento, = fu_pietoso al mio dolor. God received my lament, © was _pitying to my sriof. ‘karlo ‘vive ‘or terrae tel ‘siriveston ‘dun so'rtizo Carlo Or terrae cislo siriveston d'un sorriso; Carlo Now arth end heaven are wreathed ina smile; ‘i ‘sol nonam ‘pj ‘velo Git sol non han pid velo; ‘The sun nolonger havea —_ veil; luniverso = © «= tutto. eimor Liuniverso 8 tutto amor. Tho universe is all_—_love, (Enter Francesco.) FRANCESCO perke ‘fudvdgisti ‘al kant “del_—_festivo komjvito Porchd fuggisti al canto del _—_festivo convito? Why did you leave the song. at tho fostive party? AMALIA vnaltra ‘votfe ‘mi swonava nel ‘kor Unialtra voce. misuonava nel cor; Another voice sounded —in my heart; jo = pia_—pregjera ke trasse. a‘kwelsla tomb ‘il tuo ‘padre La pia_preghi che trasse aquolla —tomba il tuo padre. The pious prayer thet brought to that tomb your father. (The pious prayer thet accompenied your father to that tomb.)I Mesnadiori, Act Il 237 FRANCESCO ‘wai ‘pjandserloinetemo Vuoi piangerlo in oterno? Do you want to weep for him for all eternity? @ "meta alfine ‘kwesto kordokfo ke mirsita ‘Ah, — smetti alfine questo cordoglio cho mirrita, ‘Ah, coaso at last this mourning that irritates me, ekwesta ‘ke mi tfela itwoi ‘vetasi oskura ‘vesta equesta che micela ituoi vezzi escura vest. end that that _hidos from mo your charms dark attire. (end stop woaring those dark (mourning) clothes that hide your (womanly) charms from mo.) ‘jo amo amalja dimmenso ardente aimore To amo, Amalia, d'immonso, ardente amore! 1 love you, © Amalia, with immense, erdent love! ‘meko a ‘repnar ‘i ‘kjamo Meco a regnar ti chiamo, With me to._— reign I call upon you, ‘toftiro ja mano ‘© kore toffro la mance il cory; loffer you my hand and my _ heart; ‘tua sovrano etdarbitro ‘Wkade ai pje Ituo sovrano od arbitro ticade al pia! Your sovereign and master, a slave, falls at your fect! AMALIA wu ke par'djantsi a ‘monte treevi il’ mio difletro Tu che pur dianzi a morte traevi ill mio diletto, You, who onlyashortwhileago to death sent my beloved, minyviti or tua -konisonte = atts banjkettto minviti tua consorte = a_—nuzial banchetto? invite me your wife toa nuptial banquet? ‘empjo Yalamo ‘non salitcai ‘kom ‘me talamo non salirai con me! To the infamous wedding bed you won't mount —_ with me! (You villain! You eren't going to mount the marriage bed with mo!) FRANCESCO trakottante ‘or ‘ben sa'pran:no- rabbba’s:sar Tracotantel or ben sapranno rabbassar Haughty one! Now surely will know how to bow238 1 Mosnaddieri, Act I ‘Ja'ta tfervitje —‘kwattro. = ‘mura la tua cervice’ quattro, mura... your head four walls. (You haughty one! Confinement within four walls will curely know how to make you bow your head!) AMALIA ° ‘vil Gianna ‘date tundsi ‘io ‘som fe'litfe O vil firanno, da to _—itungi io —son_folice. Oh vile tyrant, from you far I | em _ happy. FRANCESCO: ‘um ‘To 'speri > ‘nna proterva Tu lo spori? Oh no, proterva! You hope for thet? Oh no, insolent one! ‘kwista’rai ‘mia ‘druda € ‘serva Qui starai! mia druda © seve Hore you will stay! (as) my mistress. and _sorvant. AMALIA: e AL... FRANCESCO ‘si ‘mia ‘druda ‘al ‘sol ‘wo ‘nome Si, mia druda! Al sol tuo nome Yes, my mistress! At only your name vo ‘ke atrros:si ‘onpi persona vo! che arrossi ogni persona: Iwant that blushes _every_ person: (Yes, my mistress! I want that every person should blush et only the mention of your name:) ‘waka ‘warti ‘per le ‘kjome Voglio trarti per lo chiom 1 want to drag you by = your hair... ‘ame perdona toffosi... ‘a mo pordonal offended you. forgive me! (Sho pretends to embrace him and snatches his dagger.) ‘ti'skosta 9s malinata ‘se pur'non te ‘karo Tiscosta, 0 — malnato se pur non t’ caro Stand back, oh — misbegotten one, _if you have no desire “The word for “head” in Italian is festa, or capo. Cervice is really the back of the neck, where the gervical vertebrae are located (not to be confused with the cervix, in the cervical pelvic region). This is a rare choice for "head" indeod. Actually, whon one bows one's hoad, one doos indeed bend the neck at that precise cervical juncture.I Masnadieri, Act It 239 sentirti latttfar> konjfitio ‘nel “kor sentirti Yacciaro —confitto ©=—nal cor! tofeel in you my steel plunged ~—into your _ heart! j‘redde —mi‘gwida ‘la. ‘pada omitfida Mi regge, mi gui Ia spada omicida It supports, itguides my sword homicidal Jo ‘spirto indippato del tuo. dgenitor lo spirto indignato del tuo _gonitor. the spirit outraged of your father. (Your father’s outraged spirit guides and supports my homicidal steel.) FRANCESCO o ‘wil femminetta Kisii ‘non ‘sai O vil fomminotta, chi sfidi non sai Oh base little wench, whom youre defying you don't know; ‘kol ‘sangwe doveai Ioltrad:dgo—_skonttar Col sangue doveai Toltraggio _ scontar. With your blood you will this outrage pay for. katene fladselli —tormenti_ nove Catene, Alagelli, tormenti —_novolli Chains, whips, torments new per te lavvendetta mi debbe—_insepnar per te lavendetta midebbe —_insegnar. for you vengoanco mustmo _toach. (Vengeance must teach me new torments for you, such as whips, chains...) ‘Scene Two ‘The Bohemian Forest (im the background is Prague, half hiddon among the trees. Some members of a band of bandits enter.) SOME (entering) ‘tutto kwestodidsi ‘Te ‘mani ‘im ‘mano Tutto quostioggi lo mani in mano. All of today sitting on our hands. (All day long with nothing to do.) OTHERS (running in) © ‘non sapete Oh! non sapote? Oh! Don't you know? ‘THE FIRST ‘ke va ‘di ‘strana Che vha di strano? What is there that's strange?240 1 Masnadiori, Act If ‘THE SECOND ONES ‘rola © pridgone Rolla 8 __prigionel Rolle is (a) prisoner! ‘THE FIRST pridgon ‘ke ‘sento Prigion? = Cho _sento! Prisoner? What do [ heer! ‘THE SECOND dara ‘vi ‘dike ‘de'kaltfi ‘al vento Dara, vi dico, do'calci = al~— vont? Hell give _Itellyou, somekicks to the wind. (Hell swing, I tell you.) ‘THE FIRST ke ‘disse “il ‘kapo Che disso il capo? What said the boss? (What did Carlo, our captain say?) ‘THE SECOND ‘disse e dyura ‘ke ‘far ‘di Praga ‘vwole ‘um fa'lo Disse e giurd che far di Praga vuole un falo, He said and swore thet make of Praguehe wants —_a bonfire. (He said and swore thet he wants to turn Prague into a bonfire.) ‘THE FIRST se Ta dsurato ‘lo mantersra povera Praga So ha giurato, lo manterra. Povera Praga! If ha swore it, he'll keep his word. Poor Praguo! THE SECOND tu nai pjeta Tu nai iota? You forithave pity? (You feel sorry for Prague?) THE FIRST ‘povers ‘Dolla ke va ‘tra jpoko Povero ilRolla —cho_-va tra poco... Poor Rolla who isgoing soon... (A distant flame can be seen, glowing red through the trees.) *Dare calei al vento, or Dare caict a Rovaio are both expressions that mean ‘swing from the noose". One has to visualize a person in his last agony kicking his feet in desperation. Literally "kick the wind’, or "kick the north wind" (Rovaio).I Mosnadieri, Act I 241 ‘THE SECOND © ‘nom veldete ‘kwel ‘vasta ‘fwoko Oh! non vedete quel vasto. fuoco? Oh! Doyounotsee that huge fire? THE FIRST ‘ekkovi ‘I tfero ‘andne ‘fala Eccovi il cero! La none fola! There's the blaze! It's no illusio: ‘il kapitans = tenne parola 1 —Capitano—_tenne parola. The Captain kept (his) word. ALL ‘ke ‘fwoko o'rrend>. ‘ke ‘mai se’gwi Che fuoco orrendo! Che mai segui? What fire fearful! What can have followed? (Screaming is heard from inside, Dishevelled women and children emorgo from tho trees.) WOMEN ja era ‘ema sabbyja li Le terra trema, sebbuia il, The arth trembles, darkens the day, ‘noi perdute sok:kors ajuto noi perdutel.... Soccorso! aiuto! Wore lost!. Help! help! ‘il finimondo ‘yea © venuto I finimondo certo a ‘venuto. The end of the world certainly hes come. (hey disappear again among the trees. Rolla enters, accompanied by other bandits.) BANDITS ‘morte © = demonjo = ki_— ‘si fa resis Morto © damonio! ~—Chi_si fa prosso? Death and thedevill © Who is coming? ombra ‘del rola per ‘dio Ate ‘desso Lombra del Rolla’. Por gli @ desso! The ghost of _Rolle?.. By God, it's he! ‘donde ‘ne ‘Vjeni kozi serrata Dionde ne vioni cosi serrato? From whore have youcome insuch _haste? ROLLA (broathlessly) ‘to ‘dalla “forka ‘dritto fi'lato ot... dalla forca dritto filato, 12. From the gallows, _straight here,242 1 Masnadieri, Act IT deltak:kwa vite non reg:go ‘pj Dell'acquavite! non reggo pitt. (Givo me) Somo brandy! —_I can't stand it any moro. BANDITS (pouring him a cup of brandy) ‘devi eppoi ‘narra Bovi © poi narra. Drink and then tell us. ROLLA (to one of the band) natrralo ‘ta Narralo tu. ‘You tell thom. SOME BANDITS i fittadint = korreano ‘abla festa I cittadini -—correano alla festa Tho citizons _—_wore running to the feast e ‘noi lantfate ‘piu ‘kanape ardenti gridam:ms e noi lanciate pid canape ardent, —_gridammo: and wo having thrown — more ‘firebrands burning ~—_ shouted: ‘al foko "Al foco!” da questa e da quolla. "Fire!" from ell sides. edekiko ‘presisa tuimulto, Edecco _—pressa, ‘tumulto, And now crowds, —tummult, lamentations... Ya palvarjera sko'ppio. ‘kon tem'pesta La _polvoriera scoppid con _tempesta, ‘The powder-magazine exploded —with a roar, € ‘la pa’ura ‘konjfuze i serdzenti e lapaura confuse = i_—sorgenti, end foar confused tho _sorgoants; ‘i “dutfe a'ilora_pjom’bo ‘sulla ‘fol:la 1 — duce allora piombo ~—sulla_folla Our leader then fell upon the crowd e ‘trasise ‘l= atstfo ‘dal ‘kapo ‘di ‘rola e trasse il laccio dal capo di Rolla. end snatched the noose fromthe © head of Rolla. ‘di ‘bratt{o e pen'sjer di braccio, = @—oéponsior, of arm and thought;I Mesnadieri, Act If ‘ki ‘Ai so'vrasti nona ill chi sovrasti non ha il who can get the better of him —_not has the (A bandit has no one who can get the better of him.) ROLLA ‘i matirats —‘fwor ‘della fossa Si mhatirato fuor della fossa. Yes, he pulled me out fromthe —gravo. (Carlo enters deep in thought) BANDITS: ‘ekikolo a ‘larja ‘mesta © Eccolo! Ha Yaria mesta 0 ‘There he is! He has look sad and kapitano kwale ‘la ‘tua ‘mente Cepitano, qual ® la tua mento? Captain, what is your intention? CARLO ‘noi partjam koklaurora veppente Noi partiam ——colf'aurora__vegnento. Wo _loave atthe dawn coming. (We will leave at the coming dawn.) (he band go off into the woods.) BANDITS ‘viva ‘i mazna‘djer Viva il masnadier! Longlive the _bendit! (Carlo remains alono, contomplating the sotting sun.) CARLO ‘kome ‘splendido © ‘grande il ‘sol Come splendido e grande i ool How splendid and big tho sun ‘deppo e'ben ke saidori ‘in'kwesta. forma Degno @ ben che _s'adori! In questa forma Itis worthy indeed 10 be edored! In this way natura ° ‘sei ‘pur ‘bella Natura! oh, sei pur bella! Nature! Oh, youare —_— indeed lovely! ‘sei ‘pur ‘belle © stupenda Sei pur bella © stupenda; You're indeed lovely and stupendous; 243 mamadjer masnadier, bandit. kom:mosisa ‘commossa! disturbed! tramonta ‘tramonta! sots! ‘kade cade falls uneroe un erve!... a hero!.244 TMasnadieri, Act It edio deforme orribile koi edio deforme, —ormibile cost. ‘and I, twisted, horrible —_thus!, ‘mutts io ‘sol. trove _limyferns ‘im paraidizo Io sol trovo Tinfemo —in_paradisol 1 alone find hell in paradisol ‘di latdroni atiomiato ‘al delitto inkatenata Di ladroni attorniate, al dolitto incatenato, By thieves surrounded, to crime enchained, ‘dalle ‘terra ‘io ‘son rejetto maleidettto ‘io ‘son ‘dal ‘Yel dalla torra io son reietto, maledstto io son dal_—_ciel, from earth 1 am rejected, —cursed Tam by __ heaven. ‘kara ‘verdsine innotfente ‘se ‘mi ‘korre a te ‘a ‘mente Cara vergine ——_innocente, micore 2 to la mento, Doar virgin innocent, if it runs to you my mind, (Dear innocent virgin (Amalie), if my mind flies to you,) ‘piu ‘mi ‘dwol ‘la 'mia katena ‘la'mia ‘pena ‘piu knidel pit, miduel —_la mia catena, Jamia pona 8 pi crudal. more me pains my chain, my grief is more cruel (my chain pains me even more and more cruel becomes my grief.) (The gang rushes in.) BANDITS kapitans ‘noi Capitano, noi Captain, we are surrouns CARLO da kwantami Da quant‘armi? By how many arms? BANDITS ‘da ‘mille sobdati Da mille soldati. By a thousand soldiers. CARLO ‘a fratebti strindsetevi e'sisjeme Su, — fratolli, stringetovi essiome, Up, brothers, band yourselves together,I Masnadieri, Act IT 245 ‘non temete ‘ditdente ke teme non temete digente che _teme! do not fear men who fear you. ALL ‘su fratelti korrjam> ‘alla ‘punpa Su, fratelli, corriamo alla pugna Up, brothers —le’srun —_—to the fight ‘kome ‘up ‘di kwesta boskaska come lupi di questa boscaglia! as (the) wolves of this forest! triomfar ‘duna_‘skjava ‘furmacka Trionfar una schiava —_—ciurmaglia Tho triumph ofa servile rabble ‘ne fara dispe'rats valor no fara disperato valor. calls for desperate valor. ‘nella “desira unevenfito —imipunpa Nolla destra un esercito impugna Inits righthand enarmy —_brandishes its weapons ‘Ki brandijfe ‘la libera ‘spada chi brandisce la —_libera_ spada; wielding its sword; ‘basta ‘un ‘sol ‘della ‘nostra. maznada Besta un sol della nostra masna Suffices oneman lone from our band ‘per la rota “di tutti kostor per Ia rotta di tutti costor. for the rout of all of them. (hoy all leave hurriedly.)246 I Masnadieri, Act Itt ACT I Scene One ‘A desert Place Loading to the Forest Near the Castle AMALIA ‘dio ‘ti rirygrattsjo Dio, ti ringrazio! God, 1 thank Thee! ‘in kwesta solitudine —ippota In questa solitudine —ignota In this solitude unknown ‘io ‘mi sotrasssi ‘addi artixéi del:lempjo io mi sotrassi agli axtigli dell'empio... 1 escaped fromthe —clutchas._-—_—of that wicked man... “ove ‘sson io ‘kwal de'zert ‘mi tfindse Ove son io? Qual desorto mi cingo? Whore am I? What desert surrounds me? orma ‘nom ‘veg:go ‘di battuto sentjer ‘ma ‘sterpi € Orma non veggo di battuto_sentier, ma sterpi e A trece Idon't see ofa beaten path, but stumps and ‘ke fanno intfampo ‘akki‘staki ‘mei ‘passsi che fanno inciampo agli stanchi_ ~—miei_passi. that form obstacles _to the tired my steps. ‘sassi sassi stones (don't s00 a trace of a beaten path, only stumps and stones that form obstacles for my tired stops.) (There are cries and singing from within the forest.) VOICES Ve 'rube. ‘ki ‘stupri Kintfendi ‘te 'morti Lerube, gli stupr, —gliincendi, le morti, Thievery, rape, arson, killings, ‘per ‘noi ‘som belli ‘som ‘meri diporti per noi con balocchi, son mori diporti for us are pastimes, are. mere amusements, AMALIA ‘ewai ‘votfi ojme ke'duta Quai v Ohimd caduta What voices?... Ales, fallen’ ‘im ‘man ‘de la'droni in man into the handsI Masnadieri, Act IIL o'tfel ma‘juta Ociel m'aiuta! Oh heaven, help me! (Carlo Moor enters.) sappressano S'appressano... ‘They'r0 coming closer... CARLO (recognizing her) ‘gran ‘ddio Gran Dio! Great God! AMALIA (without looking) knrdeli ‘dun imfetitfe crudeli, d'un infelico! Have pity, cruel men, for an unhappy women! CARLO amalja Amalia! AMALIA 2 Kio mappetla Oh, chi m'appella? Oh, who is calling mo? CARLO ‘gwardami Guardami. Look at me. AMALIA (looking up) sei Chi sei tu? Who are you? CARLO piu vnon ravivii ‘nel ‘mio ‘volta. absbrontdzato Pid non ravvis nel mio volto abbronzato... No longer do you recognize in my face _ sunburned AMALIA ei ‘nom ‘me ‘novo Ei nonm’® ~—novo. It isn'ttome _ now. (Your face is not unknown to me...) 247248, 1 Masnadieri, Act I CARLO ‘karla Carlo... AMALIA ‘spit ‘del tfel. alfin ti 'trovo Spirti del ciel, alfin fi trovo! Spirits of heaven, —at last I have found you! (She throws herself into Garlo's arms.) AMALIA AND CARLO tabratiifo 2 ‘karlo amalja atbibratstfami T'abbraccio, ° Carlo (Amelia), ebbracciami! Tembrace you, oh _~— Carlo (Amelia), embrace me! ‘premi ‘il'tus ‘kor ‘sul ‘mio 'mai'pju ——dvidertfi Premi iltuo cor sul mio! Mai pia —_dividerci Press your heart onto mine! Never again separate us potra ‘ne ‘wom ne potra nd Tuom na will either man nor AMALIA (frooing herself from his embrace) ‘karlo fuddsamo = rrende —‘votfi_ ‘mi dgunseropuror Carlo, fuggiamo! Orrende—voci_mi giunsero purr... Carlo, lot us flee! Horrendous voices reached me _just now... CARLO ‘dike paventi ‘se kwiteko soinio Di__che__ paventi se qui_—teco ‘son Of what ersyouafraid of if here withyou Tam? (To himself.) ‘non ‘saprpja ‘mai a'ke ‘mostri dabis:so 0 ‘mi le'gai Non sappia mai ache mostri debisso io mi legai! May she never know towhet monsters of the abyss _I joined myself! (May che nover know to what monsters of hell I am bound!) AMALIA wal ‘mare ‘kwal terra dame —_ta divizo Qual mare, qual terra da me _ thadiviso? What sea, what land from me has soparated you? CARLO de ‘fess imfelitfe ligkiesta. rude! Deh! Cesse, infelice, Vinchiesta crudel! Ah! Stop, unhappy ono, the question cruel! (Ah! unhappy one, do not ask me these cruel questions!)I Mosnedieri, Act It 249 AMALIA menidatfi noVvelile sero wttfizo Mendaci novelle ti dissero ucciso. Falso reports reported you killed. CARLO be'ats ‘se ‘kjuzo mavvesise la'vel Beato se chiuso ‘m'avesse Tavel! Happy me, if enclosed hadme _the grave! (Happy me, if only the grave hed enclosed me!) AMALIA tw ‘dugkwe ‘mio karl provasti Ai o'fefanznit Tu dunqu mio Carlo, provasti gli affani? You then, my Carlo experienced suffering? CARLO ‘li 'pos:sa ‘il'tuo ‘kore per'sempre —innovrar Li possa iltuo core per sempre ignorar! May it beable to your heart forever never know it! (May your heart never know it!) AMALIA aykio derelitta ‘ti pjansi Juygansni Anchio, derelitta, ti piansi_—_ungh’anni, Also I, forsaken, wept for you for many years. CARLO © unandgelo vava ‘per me —Jagrimar E unangelo osava per me lagrimar? And anangel dared for mo to woop? AMALIA AND CARLO ‘maw nici ‘di ‘patfe fugo ‘te tempeste Ma un‘iri di pace fugd lo tempeste: But arainbow of peace dispersed the storms: fico i tormenti =e. angoffe ——finir Finiro i torment, le angoscie intr.’ Finished the torments, tho anguish —_ finished. (The torment is over, and so is the anguish) € ‘estazi okkaro okkara dunora, Ueleste © Pestasi, © caro (ocar) —d'un'nora_—_ celeste end theecstasy, oh dearest (oh dearest) ofan hour heavenly *As explained elsewhere in this series, the use of the circumflex accent on finir indicates a past tonso of the vorb finire. Had tho acoont not been used, the verb finir means "to finish", ‘This is strictly a pootic form, not used in normal situations.250 1 Masnadieri, Act II karitfella 4 rikond ai tanto softiir cancella = i ——ricordi di tanto soffrir. erases the memory of — somuch suffering. CARLO ‘kwi nel basko sollinga ama'rrita Qui nol bosco? solinga? _—_smarrita? Here in the woods? Alone? Lost? perke ‘ssei ‘dal kastello fuddsiva Porch sei dal castello _fuggita? Why did you from the —_cestle run eway? (Why did you run away from the castle, and come here alone, to got lost in these woods?) AMALIA. ‘odi 9 'karlo ‘wo ‘padre sepolto Odi, © Carlo: tuo padre sopolto... Listen, ‘oh Carlo: (with) your father buried... CARLO (to himself) a “kwal ‘pjanto. a kwallonta ‘fu 'tolto. A quel _pianto, a qualonta —_fu tolto! From what weeping, from what shame _he was removed! (He was spared this sheme and this lementation!) AMALIA, ‘ma fraritfesko il nd'velo signore Mha Francesco, il _novello. signore, Tomedid Francesco, the new master, minattfato ‘la vita. lonore minacciato Ia vita, 'onore. threaten my life, _ my honor. (Listen, Carlo, once your father was buried, Francesco, as new master, threatened my life and my honor.) CARLO a ibaldo Ab, —ribaldo! Ah, scoundrel! AMALIA ‘ma ‘dio ‘mi ti‘gwida Ma Dio mi ti guida! But God loads you to me! CARLO ‘nel tuo ‘karla. ‘kor ‘mio ‘ikonjfida ‘vient ‘meko Nel tuo Carlo, cormio, _ticonfida. Vieni meco! In your Carlo, my darling, have trust. Come with me.IT Masnadiori, Act II] AMALIA ‘kon te ‘nella ‘vita ‘poi ‘nel ‘tfelo Con to nella vite, poi nol ciolol With you in life, afterwards in heaven! CARLO (to himself) bel:ialma tratdita Bell'alma tradital Beautiful soul betrayed! AMALIA AND CARLO lassu rigplendere Wjeta ‘bela Lessit tisplondere, pit lista ¢ bella Upthere shine, more happy end lovely vedrem ‘la ‘stella “del ‘nostro. e'mor vodrom la stella dol nostro amor. wewillsee the star of | our _ love. lasssu fra anime beate in ‘ddio Lassi fra Tanimo boate in Dio Up there amid thosouls blissful in God berrem oblio ‘donni dolor borrem Yoblio ogni dolor. wo will drink the oblivion of every sorrow. ‘Scone Two Inside the Forest 251 (in tho conter riso tho ruins of an anciont fortress. It is night, and the bandits are stretched out on the ground.) CHORUS ‘Te 'rube ‘Te morti Lo mube, Jo morti Pillege, Killings ‘per ‘noi ‘som ‘meri per noi son son meri for us they are thoy ero mare allegri frateldi kwestod:dsi la Allegri fratelli, quostioggi la Happy brothers, let us banish today our ‘ke ‘forse domani ‘fi 'strangola a cho forse domani ci strangola il for meybe tomorrow well be hanged (by) the ‘noi menjam ‘vita libera vita kolma ‘di Noi meniam —_—la vita libora, vita colma ai We — lead alife free, life brimful with disporti disporti; sport; ‘noja noia, annoyance, ‘boja boia. executioner. piatfer piacer, pleasure,252 ‘pordse wnantr> porge um antro provides a cave ‘serve ‘um'bosko di serve unbosco di serves aforest as I Masnadieri, Act IIT a ‘noi tikovera a noi ricovero, for us refuge, Awartjer quartier. lodging. (A cave provides us with shelter and the forest serves as our lodging.) ‘kwi Yi 'sfama ‘una__pintsokera Qui cisfama una __pinzochera, Here we're fed (by) a —_ pious woman, ‘a tfimmpindza un fittajwol la cimpinza un fittaiuol, there we're stuffed (by) @ tenant farmer, ‘tjem — merkurjo ‘nostro, "bandolo tien = Marcurio il nostro bandolo, holds Mercury our patronage, e ‘la ‘luna ‘il ‘nostro ‘sol & — Ia_—tuna_ilrnostro sol. is the moon our sun. (Mercury is our patron, and the moon is our sun.) Ajestremi aineliti. dutafizi ‘padri Gli ostremi anoliti d'uccisi padri, The last gasps _of murdered fathers, ‘ye ‘grida “gululi ‘di ‘spor ‘madri lo grida, gliululi di sposo © ~—madr, tho screams, the wails. of_~— wives end mothers, ‘sono ‘una = ‘muzika ‘sono "Und = ‘spasiso sono une musica, sone uno spasso ero a = music, ero en entertainment ‘pel ‘nostro ‘nuvido: ‘kwojo ‘di ‘sasiso, pel nostro ruvido cuoio di asso, for our harsh skin of stone. ‘ma = ‘kwando kwel:lora ‘dun ‘tratzto riswoni Ma quando —quolllora._——d'un tratto_risuoni But when that hour suddenly soundsI Masnadieri, Act IIT ‘ke ‘il boja ‘ne ‘kont fit ‘dal di ‘delle feste che il boia neconci dal di delle feste, inwhich the executioner _threshes us _for a feast day,” (But when tho hour comes when the excutioner cuts off our heads.) ‘abrattati ‘dal = ‘fango_stivali ¢ d3ub:boni sbrattati del fango stivalie —_giubboni, cloned of + mud boots and _ greatcoats, (having cleaned our boots and greatcoats from mud,] koAKam ‘la mertfede de yklite ‘dseste cogliam la_—smercode—delfinclite geste. lotus reap tho reward of our glorious deeds. ‘poi tokka ‘la ‘meta ‘del ‘breve ka'm:mino Poi tocca la meta_del_—breve cammino Then having reached the end of the short road Ye ‘kane ina'ffjando ‘vino le canne inaffiando vino... our throats wetting wins nandremo ‘dun ‘salto ‘nel ‘mondo ‘ila niandromo d'un salto nel mondo dla. we'll go withone leap intothe world over there. (We'll take one leap into the next world.) (Enter Carlo Moor. The bandits rise and greet him.) CHORUS ‘ben ‘gut 9 Kapitano Ben giunto, 0 Capitano! Welcome, ch Captain! CARLO a kwal ‘senmoe ta te A qual sogno 8 la_—_notte? At what point is the night? (CHORUS a ‘medsdzo il ‘korso A mezzo il corso, At helf its course. *Conciaro uno pel di dolle jeste , literally, to thrash someone for a foast day", meaning nothing whatsoever to an English speaker, but in Italian it is an expression meaning "to give someone a severe thrashing." This is exactly what Marcello tells Musetta in act III of La Bohéme: Jo tasconcio por lo foste!. ‘Tho bandits hore are using tho same expression, except that in this case the executioner {s not going to be content with thrashing them, but possibly meting out a considerably more serious punishment!254 I Masnadiori, Act III CARLO dormite ‘i “veh ho Dormite. io _veglio. Sloep, Twill keep watch. CHORUS: La ra la la ra, etc. (Tho bandits lio down and go to sloop.) CARLO ‘ti deluzi amalja ‘wo ‘per'sempre mi ‘kredi Ti dolusi, Amali Tuo por sempre mi credi, Ideceived you, Amalial Yours forever you think I em, dio ‘per'sempre ‘son di'vizo ‘da te edio persempre son diviso da tom and forever em separated from you... (He contemplates the gang. After a pause:) ‘anke ‘i malvadsi = “trovano ‘il'sonmo—edio_ “nol avo Anche i malvagi trovano ilsonno... ed io nol trovol. Evon the villains find sleep... andI don‘ find it! © ‘Vita’ tenebrozo—mistera O vita, tenebroso —mistero! Oh life, dark mystery! ‘voi ‘nom 'meno morte edetemita —profondi_ ar kani E voi non meno, morte ed etemita, profondi arcani, And you no less, death and eternity, deep secrets, ‘ki visa penetrar chi visa ponatrar? who knows how to penetrate you? (And you, death and eternity, who are no less of a deep secret, who knows how to penetrate you?) (He takes out a pistol from his belt.) kwestama ‘vile ‘frandyer mi pouebbe ‘il ‘gran sidilo Ques'arma vile franger mi potrebbe il gran__sigillo... This woapon cowardly broek could forme the great seal... (This cowardly weapon could break open for me that great seal of mystery about death and eternity...) “frangasi Frangasi! Lot me break it! (He loads the pistol)I Masnadiori, Act II © ‘fara ‘per lo zgomento ‘dum viver —angoffozo_'n9 Elo fard per lo sgomento d'un viver angoscioso? No! ‘And shallIdoit from thefear ofalifo troubled? No! [He throws down tho weapon.) softtire io "vokKo de sul dolore triomjfer Soffrire io Doe sul dolore trionfar Tosuffor 1 Must overmy grief triumph (Lwish to suffer; my prida must triumph over my grief.) ARMINIO (entering) ‘uta © bajo © sifentsjo Tutto 8 buio 0 _silenzio... All is dark and _ silent... ‘effi ‘al kantfelo ‘mizero abitator ‘di kwesta Esci al cancello, misoro di quosta Come out to the grating, poor of this ‘dgunta e© ta Yena wa siunta 2 la cena tua arrived has the supper yours. [He stands near the grille of the tower.) CARLO, ‘ke ‘Sento Cho onto? What do I hoar? A VOICE (from underground) armino sei tw Arminio! soi tu? Amminio! isit you? ARMINIO: sonio ‘ti tfiba Son io, ticiba. Itis I, eat. VOICE ‘omai ‘1a fame ‘mi divorava Omai la famo mi divorava. Till now hunger was devouring me. ARMINIO addio ‘kala nekla tua fossa Addio! cala nolla tua fossa; Farowolll © Godown into your hole; 255 lorgoxto Torgoglio. my pride. ‘rok:ka_ reeca, dungeon,258 I Masnodieri, Act It e ‘mal — kon'sikfo ‘lo'starsene = kwi_ steko. E mal consiglio _—lostarsene qui _teco! Its bad —advico toremain herewith you! (Going away.) inikwo “fikKo Iniquo figlio! Wicked son! CARLO (barring his way) tarresta Tarrestal Stop! ARMINIO (frightened) oime 'soq ‘kolto Ohima! Son célto! Alas! Tve bean caught! CARLO Ki ‘sei Chi sei? Who are you? ARMINIO pje'ta ‘sinnore ‘son ‘reo. noebsbi ‘a ‘kore Piota, signore! Son reo... nonebbi il core... Marcy, master! © Tem guilty.. Ididn'thave the heart... VOICE (from underground) arminjo wnaltro askolto Anninio!.. un'altro ascolto... Amninio!... someone else I hear... CARLO ‘ki parla ‘ig ‘kwella ‘torre Chi parla in quella torre? Who speaks in that tower? (Carlo goes near the grille and Arminio trios to hold him back.) ARMINIO sinpor Signor! Sir! CARLO (threcteningly) ‘ti 'skosta ‘9 Kio: Tiscosta, 0 chiio.. Stand back, or Ill.I Masnadieri, Act Il 257 (Arminio runs off. Carlo shakes and opens the grille, goes in and returns shortly after Teading an old man reduced to a skeleton.) ‘kimi sokkorre Chi mi soccorre? Chi soi? Who are you? © Who is helping me? CARLO ‘kwal ‘votfe il padre mio ‘ombra del ‘mor Qual padre miol. Ombra del Moor! ‘That My fether!... Ghost of Moor! ‘ke ‘pena ‘da ‘mori a ‘noi ‘ti ‘mena Che pena da! mori a noi_ti mona’ What sentence fromthe dead tous _leads you? MASSIMILIANO ‘ombra ‘non'son ‘ne privo ‘di vita aykor Ombra nonson — nd_—privo di vita ancor. Ghost Tamnot, nor deprived of life yet. (1am not a ghost and I am still elive,) CARLO (with growing stupor) ‘sotterra ‘posto ‘non ‘tan Sotterra —_posto non than? Underground buried did they not? (Didn't they bury you underground?) MASSIMILIANO (pointing to the dungeon) ‘i 'vivo. la “dentro Si, vive, 1a dentro! Yes, olive, thore inside! CARLO ° ‘Yelo ¢ ‘terra ‘kwal ‘anima dinjfemo ‘Vi ti katifo. Oh cielo © terra! Quel anima diinferno vi ti caccid? Oh heaven and earth! What soul of hell thrust you in there? MASSIMILIANO ‘mio ‘fitAo frantfesko Mio figlio Francesco. My son Francesco. CARLO 2 ‘kaos etemo Oh aos temo! Oh chaos eternal!258 I Masnadieri, Act 111 MASSIMILIANO ‘od ed fnarka il Ufikho Odi, ed inarca il —_ciglio! Listen, and arch your eyebrow! (Listen and be amezed!) CARLO Oh caos aterno! MASSIMILIANO ‘un ippoto we Tune ‘or sairanno Un — ignoto, tre lune or —_saranno, An unknown, three moons now it will be, ‘ninarso ke —il'mio ‘karl ‘era ‘spento mina che ilmio Carlo ora __spento; toldme thet my Carlo was dead; ‘venti opipresiso. da subito affan:ng Svenni, oppresso — da_—subito affenno, Tfainted, overcome by ~—asudden —anguich, © kredduts fu = morte I sopor e creduto, = fu_—smorte i sopor. and believed was death my swoon. (and my swoon was thought to bo doath.) risenisandy ‘mi trovo serrrato ra kwattrassi Risonsando, mi trovo serrato fra quattr‘assi: Reviving, Ifound myself enclosed amid._four boards: ‘mi ‘skwoto laments ‘saltsa ‘il ‘panno Mi scuoto, Jamento... salza il panno... Timove about, cried for help... raised was the shroud... frantfesko 0 da ‘lato ‘kome esklama Froncesco ho da lato. "Come? —_—_(osclama), Francesco I have by my side. "How so?" (he exclaims). risuffii arfkor "risusciti ancor?" “have you revived again?” rikomposto ¢ = ‘kwi ‘rato il feretro Ricomposto qui tratto il ferdtro, Reclosed and here brought — tho _coffin, ‘ne le'varo ‘il operkjo ‘di 'nwavo ne levaro fl coperchio di nuovo; they didn't open the lid egain; (Having closed and brought the coffin here, they never opened the lid again;)I Masnadieri, Act 1it 259 roveffate —atdsdgu ‘kweldo ‘spettro troppo ei vissse "Rovesciate laggiit quello spettro, troppo ei visa!” "Throw down there that specter, toomuch he _ has lived!" ‘mio ‘fikko grids mio figlio grid. my son __ shouted. ‘pregi swonarono —imjvano Proghi, suonarono —_ invano, (My) Entresties, weeping sounded —_in vain, ‘man dgittata ‘ig kwelforsido ‘Koyo m/han gittato in quell'orrido ovo: they throw mo in thethorrid don: e ‘fu. ‘dessso ‘il mio "NAKo inumano E fa —_desso, il mio figlio inumano, and itwas he, my son inhuman ‘ke delilantrs ‘le ‘porte se'rrs che dell'antro Je porte sera. who of the dungeon the doors _ locked. (Ho faints. Carlo remains motionloss for a short whil his pistol in the air.) CHORUS (springing to their feet) having recovered himself, he shoots ke fu ki nassale Cho fu? Chi n'assale? What was it? Who is attacking us? CARLO (pointing to the fainted Massimiliano) veldete ‘kwel ‘vekkjo sotterra —_vivente Vodeto qual vocchio? Sottorra—_vivonto Do you ses that old man? Underground alive ‘tam itt te bramke ‘dum "Ko imfernale han fitto le branche d'un figlio. infernale! he was dragged by the claws ofa son infernal! © kwessi © mio padre E —— quegli 2 mio padre! And he is my father! CHORUS fameazed) ‘kwel vekckjo katdente Quel vecchio _—_cadente? That oldman —_ declining? (That frail old man?)260 1 Mosnadiori, Act It CARLO venidetita ‘la grida ‘a twoi eli Vendetta! —_la grido a tuoi ciel Revenge! —[ cry it to javens, divin punitore ‘di perversi Divin Punitore di tutti: i perversi! Divine Punishor of all_—‘the _porvorso men! ke ‘tenebra etema lo ‘zgwardo: ‘mi ‘veli Che tenebra —oterna lo sguardo mi voli May darkness eternal my sight veil ‘se. 'pria. delau'rora—kwel__‘sangwe fo ‘nom ‘versi se pria_ dell'aurora. quel sangue jo non versi. if before dawn that blood 1 don't spill. (May sternal darkness veil my sight if I don't spill my brother's blood before dawn.) e ‘voi maznadjeri — kwestod:d3i_—sairete ministri E voi, _masnadi¢ quest'oggi —sarote ministri And you, bandits, today you will be ministers delalia ‘dgusttitt divina pje'gate le “fronti doll'lta —-Giustizia_-—_ divine! Piogato lo frontit of the high Justice divine! Bow your heads! ‘nel “fango ka'dete dinantsi a potente nol fango cadote dinanzi il__—_—potonto Inthe mud falldown before the Mighty One ‘ka ‘tal vi destina ch'a tal vi destina: who for such destines you; (Fall down in the mud bafore the Mighty One, who destines you for such a task:) ‘poi = Wt sor'dyeie sublimi ‘ue'mendi komandjeli_ ‘dita Poi tutti sorgete sublimi, tremendi—_com’angeli_d'ira! ‘Thon all rise again sublime, terrible. §=—asangels of wrath! (The bandits kneel.) CHORUS ‘ke "ywoi ‘tfe le'piprendi Cho vuoi? Co l'approndi. What do you want? Toll us. CARLO (placing one hand on the old man) ‘dsuri oppun ‘kwesto, katnuto ‘santo ‘krin ‘di vendikar Giuri_ ognun questo canuto santo crin di vendicar. Swear, each one of you this, gray saintly hair to avenge.I Masnadieri, Act It 261 CHORUS ‘Ui dgu'rjam ‘kwesto ka'nuto ‘santo ‘krin ‘di vendikar Ti giuriam questo canuto santo crin di vendicar! We swear to you this gray saintly hair to avenge! CARLO ‘di kwi tram il Di qui trarmi il To here dragtome the ‘dal barfket:to > dalialtar dal banchetto 0 —dallaltar! from the banquet. or _from the altar! (Swear to drag to me from the banquet or the alter that "father killer".) CHORUS Di qui trarti il parricida, etc. ‘CARLO ‘di serbarlo ‘al ‘ferro ‘mio ‘vivo inttat:to Di serbarlo al forro mio vivo, intatto! To keephim for the sword mine, alive, intact! (To keep him live and intact for my sword!) CHORUS ‘lo dsu'rjam Lo giuriam! ‘We swear it! CHORUS, CARLO struddsitritfe ‘ira di Struggitrice ira di Destroying wrath of ‘la'tua ‘spada ‘od:dsi ‘noi latua spada oggi_ noi Your sword today wa are. (We swear it! God's destroying wrath, today we are Your sword!) (All rush out tumultuously. Carlo remains and falls on his knees before his father.) END OF ACT I262 I-Masnadieri, Act IV ACTIV ‘Scene One A Suite of Several Rooms in the Moor Castle (Francesco enters, hastily and very perturbed.) FRANCESCO tradimento risorgono i deffunti_ mi 'gridano ‘Tradimonto!... Risorgono i defunti!...__ mi gridano: Botreyall... Are rising the dead!...__ they shout at me: assassing ola "Assassino!" Ola! "Murderer!" Ho there! Didn't you hear (a) noise? ARMINIO ‘no sifpnor ‘mio No, — signor mio. No, my lord. FRANCESCO ‘nova. kori “al —_pastore © wi lo ‘gwida No?... Va com al —_Pastoro © qui lo guide. No?... Go, run to the priast and here lead him. (To Arminio, who has started to go off.) simanti unaltro injvia Rimanti!, Unaltro—invia. Stay here! Another —_sond. (Stay here! Send someone else.) (The servants go off.) ARMINIO ‘ke ‘vor tre'mate Che! voi — tromate? What! You are trembling? FRANCESCO fo n9— non tremo arminjo Jo? no, non tremo... Amminio, 1t.. No, ['mnot trembling. Arminio,I Masnadieri, Act 1V 263 (Crabbing him by the arm.) risorgono i mort risorgono i morti?, do they rise again, the dead? ova ‘ne'soppi aula ‘ai ovha ne'sogni nulla ai Oris there indreams nothing —of, puirora ‘un terribile ‘io Purora = un_terribile io Justnow one terrible (dream) 1 ARMINIO © ‘kome ‘im'volto ‘pallida ‘sjote Oh, come in volto _pallido siote! Oh, how in yourface pale you are! FRANCESCO askoltarni Ascoltami! Listen to me! ARMINIO vaskolto Viascolto, Tim listening to you. FRANCESCO pareami ‘ke ‘sorto ‘da laut konjvito Pareami che sorto da auto convito Itseemed tome that _havingrisen from e sumptuous benquet ‘fra lombre ‘di jets fra Tombre —di_lieto I was slooping in theshade ofa __ pleasant kwanidek:ko perkosss ‘da. 'sordo._mud:dsito Quand’ecco, percosso = da._—ssordo. muggito, When suddenly, struck bya hollow bellowing edim ‘jamme = ta_—terra_mappar ed in fiamme — la._—terra_mappar: end in flames tho earth eppoarod before me. etdentro —‘kwel_“fwoko skwaittati —kon'sunti——_Ajumani tui Edentro quel fuoco squagliati, consunti gli umani__abitur. And inside that fire molted down, consumed the human _ dwellings. ‘poi ‘sordgere =m gtidoo Poi sorgere un grido: ‘Then arose a ay:264 I Masnadieri, Act IV 2 ‘terra ridgetsta ‘dal ‘grembo i defunti "Oo terra, rigetta dal grembo i defunti! "Oh arth, giveup from your bosom the dead! ridgetta i de'funti ‘dal ‘baratro a ‘mar Rigotta i defunti dal baratro, © mar!" Giveup your dead fromthe _ebyss, ch spa!" edosisa ‘infinite koprir Ie pja‘nure Edossa infinite. ©~—coprir le pi And bones numborless covered tho ‘fui ‘tratto ‘in ‘kwel ‘punto ‘sui ‘dsogi ‘del ‘sina Fuitratto in quel punto sui gioghi del Sin Twas carried at that point tothe ridges of — Sinei; e ‘we — mabrba'dCaro. splenidenti figure tre mabbagliaro splendenti figure. end three dazzled me resplendent _figur (and threo resplendent figures dazzled me...) ARMINIO limmadsine ‘kwesia det:luitimo immagine 2 questa delfultimo di! The picture is this of the last day! (That is the picture of the Day of Judgement!) FRANCESCO armata, la ‘prima ‘duy ‘koditfe arkano Armata — la_—prima d'un codice arcano, Boaring the first @ manuscript mysterious, (The first figure, carrying a mysterious manuscript,) sklamava imfelitfe ki ‘manka di ‘fede sclamava: “infelice chi. manca di fede!" exclaimed: "unlucky ho who lacks of faith!” e ‘laltra ‘und ‘spekko. rekandosi ditfea efaltra uno speglio recandosi in mano —dicea: And the other a mirror carrying in its hand was saying: ‘la mentsoppa komjfondesi ‘kwi "La confondosi qui.” "Falsehood is confounded hore.” inalt> ‘una lantfe la tertsa_Iibrava gridando In alto una lanco la terza librava, —_gridando: Uphigh a scale the third held, scroaming: venite ‘fikkwoli dadamo "Venite figliuoli —d'Adamo." "Como ye, sons of Adam.” (The third figure, holding up e scale sramed: "Come yo, sons of Adam.")I Mosnadieri, Act IV 265 € ‘primo ‘il'mio ‘nome ‘fra. ‘nembi twonava E primo il mio nome fra nembi tuonava, And first’ my name amid clouds thundered (And my name was the first to thunder amid the clouds) ‘ke il ‘sina kopriano © ‘dun_—_‘orsrido ‘vel che il Sina copriano —d'un_orrido vol. that the Sinai covered _—_with a horrid veil. (that covered Sinai like a horrid veil.) onpora pasando ‘dun ‘nwovo misfatsto Ogn'ora ——passando, d'un _ nuovo misfatto Every hour that passed, with anew misdeed gra'vava ‘una ‘koppa ‘ke ‘krebsbe wal ‘monte gravava una coppa cho crobbo qual monte. ‘was weighed down a scala plete’, which grew like a hill. (With each passing hour, with each misdeed, the scale plate grew to the size of a hill.) ‘mail ‘saggwe nelilaltra ‘del nostro. riskatto Ma il sanguo noll'altra _dol__nostro riscatto But the blood inthe other of our — redemption tenea ‘la ‘gram ‘mole sospeza nel fel tenea la gran mole sospesa —nel_— ciel. ithad tho great mass suspended from heaven. (But the other scale plate had the blood of our redemption suspended like a groat mess from the sky.) kewan'dekcko ‘um ve'sKard> per fame distrutto Quand'ecco un vogliardo por fame distrutto When suddenly anoldmen by hunger dostrayed spitkkossi un fok:ka di lank kapelsli spiccossi una ciocca di bianchi —_capelli, plucked out a lock of white hair, evento a tattsa ‘di ‘kolpe ‘di lutto edentro la tazza di colpe, di Iutto and inside the scele plate (full) of sins and sorrows kkwel 'vekko ‘a'me ‘nto te Yokika dgitto quel voglio ame noto la ciocea itt. that old man, known to me, his lock threw. tfigolands la kopypa ‘dsu ‘ffeze cigolando la —_coppa itt scose, creaking, the scale plate descended, "Were talking hera about the scale which blind justice holds in her hand, and the two plates that hang from its crossbar above.266 I Masnadieri, Act 1V baltso lav.versarja sublime ‘al “oubi balzd Vavversaria sublime alle aubi, sprang the other high unto the clouds, (and the scale plate on the other side sprang high onto the clouds.) © — tosio una vorfe di twon> ——sinteze e testo una voce dituono _ siintese: and soon a voice of thunder was hoard: ‘per te —maledetto ‘wom ‘Adio ‘nom pe'ns "Per te, meledetto, ~'Uom Dio non pend.” “For you. cursedone, theMan God did not suffer.”” ("For you, cursed ono, the Son of God did not suffer.") (Arminio leaves horrified. Moser enters.) MOSER ‘mai kja'mato, Mhai chiamato Have you called me a farti ‘dswoko a farti__giuoco to make sport ° ‘da tinkaltsa letemita o gia tincalza TEternita? or already is pursuing you _otommity? (Oris eternity already pursuing you?) (Or are you about to die?) FRANCESCO kimere Chimere. Mlusions. MOSER @ me ‘to'zvela il tuo._palor ‘tu tremi A mo losvola_il tuo_ pallor: Tu tromi. To me itshows your _palllor: You are trembling. (Your pallor shows me: You are trembling.) FRANCESCO ‘dike Di cho? At whet? *God in human form (the sacrificed Christ) did not suffer on the cross for the likes of you"I Masnadiori, Act IV 267 MOSER ‘del ‘dio ‘ke ~—‘negi © ke ‘ituddse —neklanima —_konjfuza Del Dio che noghi echo tiruggo —nelfanima__confusa... Atthe God that youdeny and who roars. in your soul confused FRANCESCO (trembling) a An! MOSER ‘ha ‘lo ‘senti ‘kjederti raidgon ‘de Gia lo senti chiederti ragion de Alroady you heer Him domending of you satisfaction for FRANCESCO ‘ke ‘far ‘mi ‘pwo ‘se ‘lalma none = mortale Che far mi pud? Se Telma non 8 mortale, What con Hedotome? If thosoul _—is mot mortal, provokar ‘vo ‘tanto. ‘kwel ‘tuo ‘ddio tke ‘a 'strug:ga provocer vo’ tanto quel tuoDio —che Ia strugge. provoke Iwill so that God of yours so that he may destroy it. (What can Ho do to me? If the soul is immortal I will s0 provoke that God of yours 60 that Ho will destroy it) ‘or ‘kwal pe'‘kckato ‘Jo Mette ‘pju im ‘furor Or qual peccato lo motte. =— pitt __in furor? Now, what sin sotshim more in fury? (Now, whet sin angers Him the most?) MOSER ‘on ‘due le “Kolpe “il parsitfidjo ¢ il fratitfidjo Son due le colpe: il paicidio © __il fratricidio. Thoy're two, tho sins: particide ond __fratricido, FRANCESCO (angrily) ‘at fi ‘spirto mentso'ppero Taci, spirto monsognoro! Silence, spirit lying! (Silence, you lying spirit!) MOSER ‘ma ‘nom'pwo _kontfepirle viman penisjero Ma non pud _concopirlo uman ponsicro. But itcannot _concsiva them humen thought, (ut human thought cannot conceive such crimes.) (Arminio returns, very frightened.) ARMINIO pretfipita ‘dal ‘monte ‘un furibondo ——_'stwolo ‘di Precipita dal monte un furibondo —_stuolo di Ischarging fromthe hill e furious troop of268 I Mesnadiori, Act IV FRANCESCO (in great agitation) ‘al ‘tempjo ‘rst ‘tt 'pregin ‘perme Al tompio tutti! Tutti preghin per me! ! To tho church all of you! Everyone pray for mo! VOICES AND OFFSTAGE CRIES a ‘tokka ‘im ‘polve La —réeca in polvel The fortress (is) in dust! (The fortress has been reduced to dust!) FRANCESCO (lo Moser, menacingly) ma'ssalvi Massolvi! Absolve me! MOSER idiio ‘To pwo Iwom ‘non te'ssolve Tddio lo pud, Tuom non tassolve. God candoit, men cannot ebsolve you. ‘ema inikwo ‘il Tampo i twono Yi'sta sopra ‘Troma, iniquo! il lampo, il tuono ti sta sopra... Tremble, wicked one! The lightning, the thunder —_are above you... ‘dio ‘tinega ‘il'suo perdono —‘sta_—labisiso inmentsi atte Dio ti nega ilsuo perdono, —sta_—_‘T'abisso innanzi ate. God denies you His pardon, is theabyss before you. (God denies you His pardon. The ebyss lies before you.) FRANCESCO (kneeling) © ‘a ‘prima "odirmi 8 la primal. Odimi, Its the first! Hear me, {its the first time that I prey!._lear me, Eternal Ono. © sara ‘la volta estrema = Kio. ‘prego ° sara la volta estrema chio ti prego... end itwillbe the-—‘time last. that pray to Thee. (Rising in a furor.) inns) linyferna ‘non'si'de —befifar ‘ame Ah no, Yinfemo — non sidee —_beffar dime! Ah no, hell must not make jest. «of me!I Masnadieri, Act IV 209 Scene Two Inside the Forest {it is becoming daylight. Massimiliano is seated on a rock, with Carlo by his side.) MASSIMILIANO franitjesko ‘mio fikKo Francesco! mio figlio! Francesco! My — son! CARLO ‘lo kom'pjandsi lo compiangi? What! You feel sorry for him! MASSIMILIANO ‘me ‘nony ‘vendika il tfel ‘per ‘Je we ‘mani Me non vendica ciel per Ie tue mani, Me doesn't avenge heaven through your hands, me ‘sol_—_—Kastiga me sol castigat, me only _ it punishes!... (Heaven does not avonge mo through your hands, it only punishes mel...) ‘al ‘padre two perdona —“spirto “del mio ‘Kerlo Al padre tuo perdona, —spirto del. = mio Carlo! To the father yours forgive, spirit of my Carlo! (Forgive your father, oh spirit of my Carlo?)* CARLO (touched) ‘ei ‘ti perdona Ei tiperdona. Ho forgives you. MASSIMILIANO ‘per’sempre io lo perduto Per sempre io tho perduto. Forever I have lost him, CARLO a si per ‘sempre Ah si!__ por sempre! Ah yes! Forever! °At this point it's obvious that the frail Massimiliano is also totally blind, not realizing that the man sitting next to him is indeed, Carlo, his flesh and blood son!270 I Mesnadieri, Act IV MASSIMILIANO edio ‘mizero ‘vivo Ed io misero vivo? AndI in sorrow live? (And I must live on in sorrow?) CARLO (to himself) ‘tel minspira se (0 ciel minspiral. se (Heaven _ inspires me! if ‘or ‘dam:mi ‘i prettso Or — dammi il prezzo Now giveme the price 9 yekikjo © ° vocchio, 0 ch oldman, and (He kneels.) MASSIMILIANO mizerikorde kozi ‘ssia_—'teko Misericorde cosi sia teco Merciful thus. be —_with you katpir carpir i.) extract I could from him...) ‘del tuo riskatto del tuo riscatto, of your ransom, ‘al ‘tuo liberator ‘al tuo liberator! your deliverer! io ‘kome ‘l'sei tu Iddio come ilsoi tu! God as are you! (May God be as merciful to you as you yourself have mercy!) CARLO mi‘batja 9 ‘vekkjo ‘pio Mibecia, 0 —-vecchio pio. Kissmo, ch old man _ pious. MASSIMILIANO (kissing him) ‘kome il ‘baifo ‘dum ‘padre amo'rozo Come il bacio dun padre amoroso As a kiss froma father loving Tab:bi ‘tu ‘ben amato stra'njer Yabbi tu, ben amato _stranier; take it, well beloved stranger; ‘kome il ‘batfo ‘dum fikKo pjetozo come il bacio dun figlio pictoso asthe kiss froma son pitying a ‘me pur to figuri i pensjer a me pur lofigui —il_—_pensier. to me also itimagines it my thought. (and lot my thoughts imagine it as the kiss of a pitying son.)I Mosnadieri, Act IV an CARLO ‘tutto il doltfe ‘dun ‘labibro paterno Tutto il d'un labbro paterno All the ofa lip paternal ‘dal ‘tuo latbtbro ‘nel = ‘kor — ‘mi pa'siso. dal tuo labbro nel cor __mi passd. from your lip tomy heart me passed. (All the sweetness of a father's lips passed from your lips to my heart.) ‘del ‘mio fel perduto inetemo Del mio ciclo perduto —ineterno From my — heaven lost forever um —fudidsente splendor = 'mi be'o un fuggente splendor _—_—mi bed. e looting splendor __has brought me bliss. {A fleeting splendor of that heeven which I have lost forever has brought me bliss.) (Several bandits enter and approach Carlo with slow steps and lowered heads.) CARLO (horror-struck) ‘kwi Qui CARLO (without looking) Ki 'sjete ‘voi Chi siete voi? Who ara you? BANDITS none ‘kwa nuffi ‘di mans Non & qua... n'usci di mano... He isn't here... he slipped through our fingers... CARLO (lifting his hands to heaven) ‘grattsje a ‘te ‘ke tutto. ‘pwoi Grario a Te che tutto puoi! Thanks to ‘Thee, who all _cando! (Thanks to Thee, omnipotent God!) (Other bandits ontor with Amalia)272 I Masnadieri, Act IV BANDITS (dragging in Amalia) allslegri kompappi _stu’pendo bottttino Allegri, compagni! stupondo _ottino! Behappy, companions, stupendous booty! AMALIA (her hair dishovelled) laJfatemi oO ‘krudi ‘mis ‘karlo ‘ove ‘sei Lasciatemi, o — crudi... mio Carlo, ove sei? Let me go, oh cruel ones... my Carlo, where aro you? MASSIMILIANO amalja Amalia! AMALIA u ‘vivo Tu, vivo? You, alive? CARLO ‘ki ‘gwida costet Chi guida costei? Who loads her? (Who brought her here?) AMALIA (seeing Carlo and throwing her arms around his neck) ‘mi difendi mi difendi! defend me! ‘uw Tu, tu ‘You, you CARLO (trying to free himself from her) vinitfesti © destino Vincesti, 0 — dostino! ‘You've won, ch fate! AMALIA (in astonishment) vaned:dgi ‘mio ‘spozo Vanoggi mio sposo? Are you raving, © my _ bridegroom? MASSIMILIANO tus 'spoza Tuo sposo? Your bridegroom? CARLO (10 the bandits) strafppate —kostei ‘dal tmio ‘koko Strappato _costai dal mio cello! Tear her from my neck! ‘towel ‘vekkjo rvenate ‘ei pur wafid:dsete Quel veechio svonate! = Lei pur _trafiggoto, That oldman kill! Her too kill,I Mosnadieri, Act 1V 273 ‘want tutti! all! i ‘dun i vivi d'un ip the living withone blow destroyed! BANDITS (to themselves) delira Delira? Is he delirious? CARLO (to his father) ‘kwelfifKo “date maledetzo Quel figlio da to —_malodetto. That son by you cursed ‘fu ‘pur ‘dal_—sinpore perkosso —rejetto fa pur dal Signore —percosso, _reietto! was also by the Lord smitten (and) rejected! (He draws his sword and rushes at the bandits, menacing and ferocious.) ‘ma ‘voi ‘ke ‘nel ‘fondo ‘dal tfel mi traeste Ma voi che nel fondo dal cial mi traosto, But you who tothe depths from heaven dreggad me, ministri eze’krati delilica teleste ministri —osecrati_——dollira coleste. ministers hated of the wreath celestial... (Turning with a sudden gesture to Amalia and his father) amalja maskolia —askoltami_—e'mwori_———mizersrimo padre Amalia, _—m'ascolta!. —Ascoltami muori, —_—misorrimo padro! Amelia, hears! © Hearme and die, _—most wretched father! ‘kwe salvatori ‘son ‘tad assaissi Que’ salvatori son _ledri, assassi Those your rescuers are _thiaves, murderers! ‘gwida ilu ‘karla Li guida iltuo Carlo! Thoy’ra led by your Carlo! (There is general amazement.) MASSIMILIANO, AMALIA AND BANDITS ventura274 BANDITS perke Porchd ‘Why ‘anon felarla non celarlo? not conceal this? CARLO (after a Jong pause, dejectodly) ka‘duto © ‘il ‘reprobo ‘la ‘kolto, Cadutod —il_—reprobo!_—Tha cdlto Fallon is the reprobate! He was caught by God. ‘soppi ‘di ‘gaudjo ‘per'sempre aididio Sogni di gaudio, per sempre addio! Dreams of happiness, _ forever farewell! i tfeppi ‘lkartfere la 'skure il rag Icoppi, _—ilcarvere, la scure, il rogo, Fottors, prison, the ax, the stake, ‘son ‘kwesti_ i ‘pronubi ‘del ‘nostro. a'mor son questi 4 pronubi_ del nostro amor. these are the bridalatiendants of + our love. AMALIA (recovering from hor amazoment, throwing herself again into his arms) ‘andgelo o ‘demone ‘n> ‘non tab:ban'dono Angelo 0 demone, — no, _non abbandono! Angel or demon, no, _I won't leave you! linsepa'rabile ‘tua ‘spoza_ ‘sono Linsoparabile tua sposa sono: The inseparable your bride I am: (Cam your bride and nothing will separate us:) ‘kon te dividere. = vo ‘ffettro © ‘dogo Con te dividere —vo'_—_scottro. © giogo, With you share T want scepter and yoke, vo "tfel> ederebo ‘dgoja_ © ‘ddolor vol cielo ederobo, gioia 0 —_dolor. T want heaven end hell, joys and grief. CARLO (in an oxcoss of bliss) ‘mama kwestand3elo. ‘mama ‘ed oblia amalja Mama ‘quest angelo... mama ed oblia! Amelia! She loves me, this angel... she loves me and forgets! Amalia! AMALIA AND CARLO ‘per'sempre ‘mio ‘mia morranno i ‘sekoli Per sempre (mia)! morranno i secoli Forever. mine (mine)! will pass the centuriesI Masnadieri, Act IV 275 kadranno i ‘mondi in wi ko lanima lémor vivra cadranno i mondi, in noi coll'anima Vamor vivra. will fall the worlds, in us _with our souls love shall live on. (Forever mine! Centuries will pass and worlds will fall but our love will live on, elong with our souls.) MASSIMILIANO (aside, also having recovered from his amazomont) edio kotpevole ‘di ‘kwesta ‘prole Edio colpevole di questa prole And I, guilty one, of this son Aa 215 kon'tamino jutfe ‘del ‘sole la pia_—_contamino luce dol sole? the pure I contaminate light of the sun? (And do I, in my guilt, conteminate the pure sunlight of this son of mine?) ‘ne ‘sapre ‘um —‘baratro "ke mi sprofondi Na sepre un baratro che — mi sprofondi? Not opens an abyss that will swallow me up? (is there no abyss that will swallow me up?) uemwoti = turbini ‘dio ‘pjundna Tremuoti @ —_turbini Dio pitt non hat Earthquakes and whirlwinds God _ no longer has? (Does God no longer have earthquakes and whirlwinds?) CHORUS (coming forward) sperdsuro _askoltatfi ‘piu ‘non rammenti Spergiure, _ascoltaci! pitt non rammenti Perjurer, listen to us! do you no longer remember Kirrevokabili ‘twoi dsura'menti stirevocabili tuoi giuramenti? the irrevocable your oaths? CARLO ewer Ever! I's true! AMALIA Ah! CHORUS (baring their chests) ‘nostro “kweste ferite Nostro questo forito; Ours mede you these wounds; (You were made one of ours by these wounds;) ‘mirale 2 'perfido le absbjam ‘per te Miralo ° Jo abbiam per te, Look at them, oh We have them Decause of you.276 T Masnadiori, Act 1V CARLO e ‘vver ‘mi ‘strap:pano ‘daAKi vokcki ‘il ‘velo £ ver! mi strappano dagli occhi volo; Its true! They tear frommy eyes. the veil; dal ‘mio _pretfipito sofppats ‘Yelo dal mio _procipito sognato cielo! from my | fall headlong dreamed of _ heaven! (fall hie from my dreamed of heaven!) ‘di ‘me sonarbitre ‘kwestempje ‘vite Di mo sonarbitre quost'empio vite, Of ma aroarbiters these wicked lives, (These wicked beings are arbiters of my life.) mingoja ‘um ‘vortitje ‘mi trae ‘kon 'se mingoia un vortica mi trae con 8. Tm swallowed up (by) a whirlpool, itdragsme with it. {{'m being swallowed up by a whirlpoo! that drags me down with it.) AMALIA ‘se ‘nom pwoi—frandsere ata katena Se non puoi —frangere —latua catena, If youcannot break your chain, ‘van:ne allontanati ‘ma 'pria._ ‘mi ‘zvena vane, allontanati.... ma pria_mi svena! go, faraway... but first kill me! insopeportabil ‘vita ‘mi testa Insopportabilo vita mi resta... Unbearable lifa is left to me... ‘dammi kwestultimo ‘pepo damor Demmi quest'ultimo pegno d'amor. Givome this last token of love. ‘MASSIMILIANO ‘Tremuoti ¢ turbini, etc. CARLO (to tho gang) mutdite © ‘demoni ma'vete ofiferts Mudite, 0 — damoni!_ = Mavete offerto Hearme, oh demons! _—_—_You have offered mo ‘uy ‘kapo orribile ‘donta koperts ‘io ‘volefo unandselo un capo orribile donta copert Io vofiro un angelo! a head horrible —with shame _covered. I offer you an angel! (Hear me, oh demons, You've offered me a head covered in shame... now sacrifice an angel to you!) AMALIA AhtI Mosnadiori, Act IV (He takes out his dagger and stabs Amalia) BANDITS ke fai tarresta Che fai? Yarrestat What are you doing? Stop! CARLO ‘ora ‘al__pattibolo Ora al __patibolo! Now to the gallows! (He loaves.) BANDITS (surrounding Amalia) ‘terdi ‘ella = 'mwor Tardi ella = muor! Too late! She is dying! END OF THE OPERA 277