ROMEO AND JULIET Opera in Five Acts Libretto by J. BARBIER and M. CARRE Music by CHARLES GOUNOD ‘The English Version by DR. THEO. BAKER With on th Story of the Opera by W. J. HENDERSON G. SCHIRMER, Inc.RoMEO AND JULIET. Faas ranronto ar rae Twtirar Leegut, Pans, Arai 27, 1867. Characters of the Drama, ‘With the Original Cast as presented at the first Performance. JULIET. ©... Soprano 5. Mme, CARVALHO STEPHANO . . . . Soprano... Mme, DARAM. GERTRUDE. . . . Mezzo-aoprano.. ‘Mme, DUCLOS. ROMEO. . «Tenor ++ M, MICHOT TYBALT =... Tener. =... M. PUGET BENVOLIO.. . Tener. =. |). M. LAURENT MERCU 0 . 7 Baritone +. M. BARRE PARIS. : Baritone... M. LAVEISSIERE. GREGORIO : Baritone + M. TROY (jeune) CAPULET + Basso castante . . M TROY FRIAR LAURENCE . . Bass... |) -M. CAZAUX THE DUKE. . . . Bas. . + M, CHRISTOPHE Quests of the Capulets; ot ‘the Capulets and Montagues. SCENE, VERONA, ‘Act L—Capuiet’s Patace, Act I—Twe Garoew oF Juuier. Act Ill.—Tue Ceut (OF FRIAR LAURENCE; THEN A PUBLIC SqUARE BEFORE CaPULET'S PALACE. ‘Act 1V,—Juuer’s Cuamper. Act V.—Toms oF THE CaPULeTs. “Romeo and Juliet.” ‘Charles Gounod was born in Paris, June 17, 1818, and died in that city, October 18, 1893. His “Roméo et Juliette” occupies the second position of merit on the brief list of his operas, the first place, of course, being awarded to “Faust”. The excellence of the libretto of the latter opera naturally led Gounod to go to its makers, when he conceived the desire to write a lyric work on the familiar love-tragedy of ‘Shakespeare. That he should have entertained such an idea was almost inevitable, for he must have felt that the situations of the story offered abundant opportunities for the composition of pure lyric music, in which he excelled. The tragedy ofjet” had tempted many opera-composers before Gounod. Among ioned Dalayrac, Steibelt, Zingareli, Vaccai, Bellini, and Marchetti, while Hector Berlioz had made it the subject of a dramaticsymphony. The librettsts of ““Faust”, Jules Barbier and Michael Carré, arranged the book, which some dramatic critics have praised as being an admirable adaptation of Shakespeare's play. Mile. de Bovet, a French biographer of Gounod, has very sensibly said, however, that ‘all Jules Barbier’s cleverness could not make the plot other than a love-duet, or rather a succession of love-duets ". While this is true, itis also a fact that the libretto presents the salient incidents of Shakespeare's tragedy in a compact and well-connected manner. In the endeavor to increase the number of parts for young women singers, the librettists introduced Stephano, the page, a character not found in the original play, and having no neces sary connection with the story. They may be forgiven this concession to the demands of operatic tradition, for the sake of the other excellences of their work. Gounod’s music has been censured for its monotony, and the critics have generally agreed that this is due to the con- tinual love-duet, A more pointed criticism is that which notes the similarity in the general style of these love-passages to those in “Faust”. This similarity cannot well be questioned, and it forces comparisons which are not favorable to the music of "Romeo and Juliet”. The love-scenes in ‘‘Faust” are the products of genuine inspiration, and they rise to a level of real greatness, seldom attained by the music of “Romeo and Juliet". In regard to this aspect of the work, M. Arthur Pougin has well said: “If one wished to enter into what might be called a psychological analysis of the score, it would be necessary to discover how great were the difficulties of the composer in writing ‘Romeo’ without repeating himself, after having written ‘Faust’. For, although the subjects of the two works differ widely, we see the same situations reproduced in each, under the same scenic conditions, and the stumbling-block was all the more troublesome, since these situations were the most salient ones, and con- ted, as it were, the very core of the dramatic action, Witness the balcony-scene ‘of ‘Romeo’ and the garden-scene of *Faust', or the duel of Romeo and Tybalt, with the death of the latter in the first, and the duel of Faust and Valentine, also mortal, in the second, Truly, a musician must have a singular power, faculty of reiteration, to attempt, successfully, such a repetition of Gounod was not the only man of high ability who attempted to do a second time what he had done at first to perfection. His failure to equal his first perform- ance is certainly a demonstration of the limited power of his imagination ; but, outside of the ranks of geniuses of the first order, such as Shakespeare and Goethe, no one hhas produced a second work so similar in character to a first, and yet so crowded with new beauties, as Gounod did in his ““ Romeo and Juliet”. It is, beyond dispute, an opera of genuine and notable beauty. Inthe hands of artists, this work never fails to touch the heart of public enthusiasm; and in America, it has certainly grown greatly in favor since, in recent years, it has been performed by a company of singers of the first rank.It would be uncomplimentary to the reader to tell the familiar story of “Romeo and Juliet, but it is necessary to outline it as it is given in the libretto of Barbier and Carré. ‘The prelude contains a scene in which all the characters are grouped on the stage, and reference is made to the unhappy feud between the houses of Montague and Capulet. The first act takes place in the home of the Capulets. A ball is in progress in honor of Julie's début in society. Juliet is formally introduced by her father, and subsequently expresses her happiness in the vocal waltz. To the ball, as maskers, come Romeo, Mercutio, and some of their friends. The first meeting of Romeo and Juliet takes place, and love at first sight follows. The appearance of ‘Tybalt, who recognizes Romeo, gives rise to some dialogue, revealing to the lovers the identity of their respective families. Romeo and his friends leave the ball. In the second act, we have the familiar balcony-scene of the Shakespearean drama. The watch, whose suspicions of the presence of a stranger in the grounds are put to rest by the nurse. The love-scene then continues til the fall of the curtain. In the fol- lowing scene, Romeo and Juliet go to the cell of Friar Laurence, and are married. In the third act, the feud between the two houses breaks out. Stephano, Romeo's page, fights with Tybalt, and Mercutio also fights with him, and is stain. Tybalt tries to force a quarrel with Romeo, but he declines the combat, until he is impelled to take vengeance for the death of Mercutio, his kinsman. Then he kills Tybalt, and is in- stantly overcome with horror and remorse, because Tybalt is Juliet’s cousin. The Duke arrives upon the scene, and Capulet lays his complaint before him. The Duke sentences Romeo to exile, but the young man declares that he prefers death. The rising of the curtain on the fourth act discovers Romeo and Juliet together in Julie’s chamber. Their love-scene is ended by the breaking of day, and Romeo is compelled to depart. Capulet enters and informs his daughter that he has chosen for her a husband, the Count Paris. In despair, she asks the aid of the Friar, who is present. He gives her a phial containing a drug to put her in a condition closely re- sembling death. The final scene shows us Juliet in her tomb. Romeo, returning to seek her, finds her, as he believes, dead. He slays himself, but before he breathes his last, Juliet revives, and the lovers join in one final outburst of despairing love before both die. It will be seen from this outline that the libretists succeeded in preserving the entire tragic action of the original play, while omitting the lighter scenes, such as those of Juliet with her mother and the nurse. It'is not necessary to enter into a detailed consideration of the music, which is very well able to speak for itselt. In the first act, the most melodious and pleasing ‘numbers are the solo of Capulet, the song of Mercutio desc waltz-song, and the first duet of the iovers. The waltz-song, aia, altogether out of place, and inserted only out of deference to a long-established custom, The second act consists almost wholly of the balcony-scene, and here Gounod's ability as a lyric writer is delightfully displayed. The music is, perhaps, a litte too sentimental and not sufficiently passionate, but it is melodious nd poetic. In the next scene, there is nothing remarkable, though the passage sung after the wedding usually pleases the hearers.The following scene, in which Mercutio and Tybalt are killed, leans somewhat toward the style of Meyerbeer, but it licks the theatrical vigor of that composer. On the other hand, the declamatory air of the tenor at its close is one of Gounod’s most effective passages. In the fourth act, the composer is indeed at home, and here we meet with the most satisfving music of the opera. The duet, “Non, ce n'est pas le i finely dramatic piece of composition, and ranks with the best products ofits In the remainder of the opera, the only things to which especial attention need be called, are the charming orchestral accompaniment to Fr Laurence’s announcement of his plan to save Juliet—heard again when she sleeps in the tomb—and the final love-duet. “Roméo et Juliette” was produced at the Théatre Lyrique, Paris, April 27. 1867, with Mme. Miolan-Carvalho as Juliet, and M. Michot as Romeo. The role of Juliet is been one of Mme. Adelina Patti's favorites, but the best cast of ‘Romeo and Juliet” in recent times, and probably the best ever brought together, was that of the Metropolitan Opera House at the opening of the season of 1894-95. It consisted of Mme. Melba as Juliet, Mlle. de Vigne as Stephano, Mlle. Bauermeister as the Nurse, M. Jean de Reszké 2s Romeo, M. Edouard de Reszké as Friar Laurence, M. Plangon as Capulet, Signor Gromzeski as Mercutio, M. Castelmary as the Duke, and M. Mau- sguiere as Tybalt. W. J. Henvenson.Index. Me Pace Overture-Prologue . Vérone vit jadis deux familles rivales (Chorus) x ACT 1. 1, Introduction . . _L’heure s'envole (Chorus; Juliet, Paris, Tybalt, Capulet) 9 2, Ballad of Queen Mab dea mensonges (Mercutio) ar) 3 Arete. 1 4 Madrigal : s 5 Finale . | | Quelgu'an! C'est mon cousin Tybalt Juliet, Romeo, ‘Tybalt, Mercutio, Paris, Capulet) 64 ACT 11, 6 Entracte and Chorus Mystérieux et sombre. 2s 7. Cavatina L'amour, oui, son ardeur a troublé (Romeo) - a & Scene and Choruses _Hélas | moi le hale! (Juliet, Gertrude, Rome Gregorio) 88 9% Duet... Onuit divine, je timplore Julie, Romeo). 103 ACT IIL to, Entr'acte and Scene Mon ptre, Dieu vous garde! (Juliet, Romeo, Friar Laurence) 119 Dieu, qui fis "homme A ton image (F. Laurence, ete.) 126 Depus ere eherehe en vain mon mare Stephane) 135 Ant ah! voici nos gens! ar ACT IV. 14 Duet... Val Jet'al pardonné Juliet, Romeo). - tr 1S. Quartet | {Juliette abt Te ciel soit lone! (Juliet, Gertrude, let, F. Laurence) 200 16, Scene ++ Mon pire! tout miaccable' (Jalet; F. Laurence). 208 47, Sceneand Aria | Dieu! quel fisson! (Juliet). > ssa, BALLET. 28, Noptial Procession fe eg 1854 Epithalamism = —. —O Juliette, sols heureusel | |] aa 1, Finle . . . Mafilleychdeaurvauz =) )] ag ACT V. 20. nae PCR ee cs 200i 1 “Bh bient ima lettre d Romeo? (F, Laurence) 24g 21. JalevsSimber 2. 5 ce) 22, Sceneand Duet | C'est I Salut! tombeau! (Juliet, Romeo) | | 248Romeo and Juliet. Overture-Prologue with Chorus. Attegro maestoso. CHARLES GOUNOD. SopranoslaI Tenors. Chorus. Basses. Allegro maestoso.(d gr? “poco aninato. ae ~ Awe ee ae? e @ * ight, 1897 by G. Schirmer (Inc) __ Copyright renewal assigned, 1925, toG. Schirmer (Inc) 19208 Printed inthe U. 8, A.Be2084 |r * of if Wy i324 34s (cortsi™ Andante. 4:60 SOPRANOS Ia. 7 Vé-| ro- ne vit ja| 5 0 olds, no-ble Pea ‘Two {house-holds, — no-bl vel ro- ne vit Ja 7 Two |house-holds, —_no-ble| ©|BassEs. e-ro- ne vit ja- Two householis, noble PP tf St |S reccompto ad tib. 2 BR a ae *) This Chorus is to be sung by all the artiste who interpret the s0// of this score. 9208dis deux fa-mil-les ri -| va-les, Les Mon-tai-| gus,— les Ca-pu | lets, both, in _Vé-ro- nat fair From an-cient | grudge break to new| fray, dis deux fa-mil-les ri - i pa} ets,” both, in _Ve-ro~ nats fair | cit new fray,— is deux fa-mil-fes Ti - va-les, Les Mon-tai- gus, les Ca-pu- lets, doth, in Vero-nas fair cit-y,’ From ancient grudge break to new fray, De leurs guer-ressans| fin, 4 tou-tesdeux fa -| ta - les, En-sanglan - il blood now is | shed, with-out remorse or | pit- y:' On this we je leurs guer-ressans| fin, 4 {ou-tes deux fa -| ta - les, En-sanglan - Civ-il blood now is | shed, without remorse or | pit- y:' On this we Deleurs guer-ressans fin, 4 tou-tes deux fa - ta - les, En-sanglan - Giv-il blood now is shed, without remorse or pit - On this we ter le seuil de ses jomme un rayon ver-| found the traf -fic of From forth the fa - tal ter leseuil de ses me in fayon ver- und the traffic of From forth the fa - tal ter le seuil de ses . Comme un fayon ver- found the traf-fic of oa From forth the fa - tal [pad We, s8208 faemeilbrille en un ciel do-| ra - ge, Toing of foomen so di-| vid - ed, meilbrille én un ciel do foins of foemen so di 58e, meil brille en un ciel @o- oins of foemen so di et Ro-mé-o0 Ro- meo and Ju - et Ro-mé-o0 Ro- meo and Ju - et ~ m6 = 0 Ro - meo and Ju - (Oreh,) ese, ant le hate, were naught ese, nom qui les ou -| tra-'ge, to them love -| guid- ed, ant Ie nom qui les ou -| tra - ge, hate, .were naught to them love -| gui ant Ie hate, were nay nom qui les ou - tra - ge, t_to_them love - guid ed, sa208 ‘Take their life chil-dren Sa-li- et-te pa- Take their life chil-dren ju-li'- et- te pa- ju- li - et-te pa- ‘Take their life chil-dren tous rents! tous rents? ——— dim. Unméme a -|mour les en - For e.- qual |love their hearts did ai Unméme a - fmour les en - flam- For e - qual |love their hearts did Unméme a - mour les en - flam- For e- qual love their hearts did— lSort fu - nes - te! Hap-less_lov — ers! rt fu - nes - fet Hyp-less_lov - ers! Sort fu- nes - te! Hap-less. lov - ers! >—$=== Ces mal-heu-reux a Fear - ful and strange the fmants pa pas - sage Ces mal-heu-reux Fear- ful and strange the Imants pas - sage Ces mal-Reu-reux a - mants pa Fear-ful and strange the pas - sage lai rend hhai-nes 86 - sac- ri fico lai rend heart - Iai rend. 18208 pa - yo -rent grese. 2 - veu- gles Full, gad was a - veu- gles Full, sad was ‘dress a - veu- gles Full sad was + yé-rent de leurs ‘of their death-markld de leurs of their death-markY Teurs = ye rent de ‘of their death: mark'd ui vi - rent e hate of, ~ ing = res ing Qui vi - rent The hate of dim. ~ res + ing Qui vi - rent ‘The hate of(Curtain) nai-tre leurs @ -|_ mours!_ ‘a - ges could re -| movel— nai-tre leurs a -| mours!_ a- ges could re -|, movel_ nai- tre leurs a - moursl_ ages could re- movel_ (Orch) a BB e an 07D? on 7D? (deme) P. an aP7P7 9” ey eee see ssz0aAct I. NOL. The Capulets’ Ball. Introduction. Allegro maestoso. Juliet. ‘Tybalt. Paris. Capulet. Sopranos. ‘Tenors. Chorus. Basses. Allegro maestoso.(d.: 56) Piano. (Curtain rises) Copyright, 1997, by G.Schirmer. 18208,SOPRANOs. n|Eheu- re sen | vo swift hours of | [plea Vheu- re sen-| vo Swift hours of {plea il | faut Ia. them,|while on— they aa | faut 1a them |while on 18208 Joy-euse et Pass_ to gay Joy-euse et Pass_to gayCheil -lons les | ro - ses |Pour_nous é -| clo - Dans la Ros - es are | blush - ing, | Fair_ fac-es | flush - Why. for - Cueil-lons les | ro - ses [Pour nous é -| clo - Dans Ros - es are | blush - ing, | Fair fac-es | flush - Why — plat -| sir mayen -| joy? jaans te plai -| sir. — all, mayen -| joy? 19208TENORS. Chour fan -[tas - Hap asks BASSES, Chocur fan = ‘a mours, Hap - py fair_maid, eve I ‘Ton_em - [pi - charm they shade]. Half con - fecal - ‘De_ve - lours, Nous at - ‘charm they_shade__Half-con - ceal- ing, Half-re - ~~ ‘Diun_sou -| ri Love_in__| ev - 'ry Dun.soa = ri- re, Lovelin— ev ='ry=—_», = erese. ht com-[pi_- ce |Le cour | glis Sli = ly |steal - ing, Soft com -| pel ——_ |p ———— Ft com-pli - ce Le cour lis Si -_ly steal - ing, Soft com - pel rT aim pri - ce ua | will ing | Hearts in dim. p- ce Du ha will > ing Hearts in 19208a SOPRANOS, nous All thy i - vres = sel Fol - le nul ton night, Night of fan. = cy, wan — Le moins ten - dre Ya se Light foot te.Sweet laugh call — ing, ren - dre Ft se pren - dre Dans nos ets! thrall - ing Well, == or_— it fall > ing, Sense-en - e jel = te Qui Tap bel = de, Toute 2 der leam_- ty's splen - dor AL sur — im. = Te Les at - traits! ren - der To her will —— ‘1208.JJoy-euse et | for Pass_to gay |mea Joy - euse et | fol Pass to gay [mea Toy-euse et fol Pass to gay mea age [flu di | tin |olei-tons en [ro - Joh them [white on— they) fii [Ros - er” are unk - ‘sage _il_| faut Ia sai_-| siz, |Cueil-lons les [ro - Joy them [while on they [Roses are fptush - sage il faut_‘Ia sai - sir, Cueil-lons les ro - ses joy them while on they fly Roses are blush - ing, Pburnous € | clo - ses Joie— et faans_te_plai | sir. flush ~ ings bear—when | all_may_en -| joy? Pour nous é | clo - ses joie & plans Te plai 4 sir. Fair fac-es | flush - ing, bear,_when | all may en -| joy? Pour nous € - elo - joie et dans le plai - sir, Fair fac-es flush - bear, when “all may en - joy? — PB, s380816 ‘Cueil - ions, iff hours, ‘Cubil- ions, ft hours, ‘Cutil- Tons, Swift hours, dans while on Jeueil-Tons tes swift hours of feueil-Tons tes [swift hours of cdeil-lone les ‘swift hours of lai -| sire fly plat | si? ‘nous, Fly ~ ing [Pour nous, Fly - ing uF NOUS, Fly - ing ;~—_ —fie at eof them joe t en -[joy them Ta joie et Oh, en - joy them R et [dans te pla joy them [while on they ia fioie et [dans le plai ea -[joy them while on they in joe ct dame To plat = oe them wile ont gto mao on _ they[Cueil-Tons tes yur nous é | clo - ses Roses are [Fair faces "|flush ~~ ing, (Cieil-tone few (Pour nous & | clo - sew Rox ses are [Fair fuc- es "flush - ing, Cueil-Ions Tes Pour hous € ~~ clo - ats i Ros “es are Fair fac- es "flush ~ ing, ‘danse plat amy 2m joe et | dans_le—piai -| bear, when | all—may_en joe et | dans fe plat | | bear, when | all may en - joe et dans le plat = bear, when “ail may: n> 18208Allegretto.(4.92) It. 1 bien? chér Pa-risl que vous semble How now, my dearPa ~ rist Art thou gaz - ing . —, 4 Paris. De Ia {8 - te des Ca-pu - lets? Ri - chesse et beauté tout en- On our fest-al and fair ar - ray? What rich. es and beau - ty a - = rnzosB of 19 ble Sont les hd - tes de co pa- li ing Are with- in this pal- ace_to - day! al~ ace to - day} 2 £32 Tybalt. Vous nfen voy-ez pas fa mer - veil-le, Le tré- sor u-niyue et sans But as yet no note hast thou tak-en Of the rar-est trea - sure we ?,——<—_ Paris. = Prix, Quon des - tine i Theureux Pa - ris. Si mon coeur en - own, That ig des-tind for thee a - lone! If naught yet my a co re som-meil-le, Le moment est proche ot Ta - mour Viendra Iéveil-ler & son heart could a-wak-en, Now the time is near that shall move It to. a-wak-en un-to A | Re a = —<—<—<——— Tybalt. T s6-veil-le - ra, il sB-veil-le - ra, je Ves-pe - Jove! It shall yet a - wake, it shallyet a - wake,or I won - 12208Lo ktesso movimento. — = Bar - dex! i - cl, con-dui- te par son on-ly — see! hand her fa- ther leads her pe = re. yon- dert Moderato‘ .24) ‘Soy-ez les bien - ve - T bid ye wel-come rns, &- mis__ dans ma mai- son! cette fe - te de fa - all,my friends,within my homel_———_This_ is a joy -_ fulcel-e - tee Stat Aat mil - le, La joie est al - son, la joie est sal — bra - tion, This day whereon ye come, this Way where-on ye z fa ~~ __Pa-reil_ jour. vit nai-tre ma fil- fe! Mon cceurbat de plai- come! And my Hart beats high in e - la-tion, For on this day was Be, OO SF sir en-core__en y = geant! Mais ex-cu - sez ma ten-dresse in- dis - born my on - ly davghter dear! Par-don, I pray you, a fu-ther's fond dim, Voi- cima Ju-li - et- tel Ac-cueil-lez - ‘You seo my daughter Ju-liet! May you re - Ya dun re-gard in-dul gard her in-dul-gent-lya2 gp TENORS. (admiringly.) Abt quette Est ‘Ah! she is BASSES. bel - Ie! ‘charm - in ht An! quelle est she ix bel - Ie! charm - ing! ait u-ne fleur nou pears like an op'- ning. vel - Ie flow = ef rait u-ne fleur nou - vel- le ears like an op'- ning flow er SOPRANOS, Abt quielle est Ah! “she is bel - Ie! charm.ing! vv sem-ble or-ter en el -le way kind-ly fate doth show. er 18208 ‘ah! quelle est Ah! “she is bel = lel On Jcharm - ing! She ah! quelle st Ab! she is bel - Ie! On charm - ing! She ui s'6-|pa-ndu-it au ma ‘That un -|{folds in morning so Qui s'%- pa-nou-it au ma - ‘That un - folds in morn-ing so bel - let ccharm- ing! ! quelle est Ahl she is El-le On her =| Tou-tes les fa-veursdu des :fin> Ev'ry boonthatheart can de - lightAllegro. EJ ‘Ant quetle eat | wet - te! quate eat | fel- le Ant “She” is Jeharming! she is | charm Ting! ‘TENORS. ht qlelle est | bel - lel quelle est | bel- ant “she is |charméing! she is | charm- BASSES. PP cou ~ feat. Gest te son ly > heart ‘How the tones a jes in-stru-ments joy - eux ii nous ap - pelle et nous con- air-i's ly ring and risel— fow they in > vite, woo -ing -lyble naitre tora - vish et men sion _un- sae08 aeSé - lan - co dans fa vi- In rap. ture o - ver-flow- Gom-the Tol seau sen -vole———— aux eleux, com-me Tol Pain would it oar to gain————— yom skies, fain would it Sf a ~_ gion - vole aux to gain, sae0826 P8t> ren Allegro. (d St ‘Al-lonst jeu-nes gens! Al- ‘A hall = mer-ry ment A a \f mot mo Belles da-mes! Aux plus-di- li - gents Ces yeux_ pleins de bon-ny In-dies!Who will not_ be. won_Where beau- ty ar - aS — flam-mes! Ces yeux, ces yeux pleins de» flam- ray is? Be won,” where beau - ty ar ray'd 18208ar £ AN ~ = Nar-gue! nar-gue des_ con - seurs, Qui, gron-dent, qui Down them, downthem, gsm Dlers all, Who're eid - ing, who! St y~ Ene sel Fé - in fa - vor, fair gron-dent qui, gron- dent sans ces-sel FG - ten Ia jeu ~ ne Chid - ing, who're Chid- ing for ev-erl Fair youth is P as ey fez la_ jeu - nes-sel Fe - tez Place aux dan - youth is) ‘in. fa-vor, fair youthis. in fe potltlake way for the Quireste & sa place Bt nedan-se pas, De quelque di An-y la-dy here Whoisdain-ty now; Shedothwear a tsz03gri-ce Fait 'a-vou thut bas! Qui reste & sa place Et ne dan - se corn Up-on her toe, I vow! An-y — la-dy here Who is dain - ty Pas; De quel-que dis - gra - ce Fait 'a- veu tout bas! Te- gret ex - how,Shedoth wear a” corn Up-on her toe, 1. vow! -By'_La-dy! My 2 ‘moins vieux, Je gui-dais moi - mé-mo Vos 6 - bats jo- gone, Tho’ gallantmore gay never vis - or put yeux! Les dou-oeppa - ro -les Ne me coutaient rienl Que on! «© To—sda- dysear oft I love-tale would tell, And fa - veux fri - vo - les Dont whis-per-ing soft, 1 could tat0afol - lesan - né- ~es Quem - por- Ja - dy and lov- ert My beard Prin-temps Aja mo. more, My gay ae of Sf mais fa -né- ‘Al-lons! jeunes gens! Al- time is o- A hall! merry men! = A oe vamweE: ons! belles da-mes! Aux plus_di - li - gents Ces yeux pleins do hall! bon-ny la-diesl Who will_not_be won Where beauty ar - a> ss lam - mestCes yeux, ces yeux pleinsde— flam- ray is! Be Won, where beau -ty__ar - ray’- + aN <> > Nar - guel nar- gue! des = seurs, Oui gron-dent, qui, Down’ fem, down them, gram: -blers sil’, Whore hiding,’ who're S, y grondent, qui gron-dent sans ces-sel Fé - ez la— jeu - nes-sel Fe - chid-ing,who're chid-ing for. ev-erlFair youth is in_ fa-vor, fair > BR Se hk s fez la_ jeu - nes-se! Fé -tez la_jeu-nes-se, Et placeaux dan - youth is_ in_ fa - vor, fair youth is_ in_ fa-vorlMake way_for the — ZZ sours, Et place aux dan - seurs, Et pla- ball, make way_for the ball, make way. fat ) SOPRANOS. = > Nar- gue!! nar-gue | des__ seurs, Qui | grondent, qui, | grondent, qui Down themownthem, grum — all, Who're| chid-ing, who're] chid-ing, who're Nar - guell nar-gue | des seurs, Qui | grondent, qui | grondent, qui Dowsthemdownthem: grum all, — Who're} chiding; who're] chid-ing, who're BASSES, ea) > fi m-dent sans |ces-se! Fé - tons Ja— je - |nes-se! Fé -|tons la_jeu- fgron-dent sans Joes-del Fé - tons In jeu - |nes-sel Fe - [tons Ia_jeu- hid ving for fever! Fair youth is— in— [fa vor, fair fyouth isin nes - se! fa - vor, fair youth nes- sel Fé -ltbns fa — fe, place favor, fair youth is in—|fa~ vor! Make |way sa2N? 1 bis. Scene. * a Moderato. Mercutio. En-fin la placeest libre, a - mist Myffriends,we are a - lone, at last! a Piano. (on, non, vous P'a-Vex pro- No, no, for yourword you Pour un in-stant_quill soit per-misd%-ter son masque. Now I may doff_ my vis-or for a mo-ment on - ly. joy-ons pru-dents! J - of nul ne doit nous con-naj -tre! "4! Let us be-ware, for here to be known were dis-as - ter! Quittons cet-te mai-son sans en bra-ver fe ma -tre. Now let us leave the house be-fore we brave its mas (ote BN ‘Meroutio.—— siles Ca- pu-lets sont gens 4 se fi- cher,Cestla-che-t6 denous ca - If theythink wecame to quar- rel or de - ride, Weshouldbe cow'rdswere we to ‘Tempo moderato.” ritmato. cher, Carnousa-vonstous 1a de quoi leur te-nir 18 - te! hides For ev-ry man of us has wherewithal to curb them! fee Sg —~ ‘Oui, nous a-vonstous Ta de quoileurte-nir té Ay, ev-ryminof us has wherewithal to curb TENORS. Oui, ndas dvdns fous Ta de quoiléur te-nir 1 Ay evcryman of us has wherewithal to curb i, BASSES. ‘Oui, ndus &vonstous 1a- de quoileur fe-Hir 18 ‘Ay, everyman of us has wherewithal to curb 18208,Romeo. Reeit. Mieux eit va-lu, ne pas nous ma - Bet-ter by far,we never had Moreutio. Andante. Romeo. (mysteriously) ler & la f@- tel Pour - quoi? Tai fait un re ve come to dis-turbthem! For why? T havebeen dream - ing! Sf Meroutio. (with feigned terror) i e Allegro. D_— présege a - lar - mani! Om A'warming” of doom! Grotty) 2 Romeo. (astonished) ba rei-ne Mab fa vi- si - tél Com - ment! "Tis from Queen Mab you've had a call! From whom? s520336 NO 2. Ballade of Queen Mab. 100) Mercutio} Piano. Bp leggerissino. = Fer - ne des men- son— = ges Pre- side aux son- queen of dreamsand vi - = sions, Of vain il- I~ ———— nr PP Te, pus Te - re que— Te en te - ven Ught- er than— the = —— De- ¢e - vant, Travers es rer the ~ trees, thro’ night __-_Ty — Ta nuit, the skiedpas - pass - es, H- le pas ev - er pass En-trai - ne dans Her trac - es are faitdu-ne noi -set-te vi-deParver de ter - fe,le_char- ron! car is from squir-rel,the join-er,Andof a H- Ie ev - er — fon char, que Ta-to-me ra — Her team is of a-tom-ies 18- ther lim - pi than cob - web fin Lbs far ha -el-nut ‘tis made! Fora PPwuais, sub-ti - le den - telle,Ont e- t¢ de-cou ~ pes dans Tai top’ a grass-hop-pers wing,And a this tle-down spring! Her Ariv Te Dequel que ver - fe sau- fe - rel - le Par son eo - er, A small grey gnat, he made the cov _ er, Thatshe may Te mou-che - Font ‘Un os de gril-lon _sert de well in the shade. A film is the lash of her dont Ta _mi-che blanche Eat ig a erick-et - bone, "Twas of Prise au ra- yon qui s6- panche DePhoe-bé rassem-Dlant___ 88 wound fromthe rays of the moonWhenhighit shone in the sky. a. —— —Cha - que mult, dans cet BV = 'ry night, 60. air- pa- ge, Mb vi- si- te, sur son pas-sa- ge, Lépoux qui re. ve de—veu- ear. ried,Mab doth” wan-der, andwhereshestarried The spousewill dream that hes un- vage_ Et ‘mant qui ré-ve da-mour! A son ap- pro-che, la_ co - mar- ried, Andthe lov - ‘er dreameth of ovel And the co-quetteywhen Mab is quet - te Re - veda-tours et de toi-let- te, Le cour-ti- san fait la cour- ear-ing,Dreams of ap - par - el gay shes wear-ing,Suitors to bow dream of pre— te ri-me ses ster rim-eth his40 a mt - te som- bre,Elle ou-vre des tré- sors sans = _did_slum - ber, Sees rich-esmore than he. can NF nom - bre, Et la li-ber- 6 rit dans lombre ‘Au pris-on ~ num - ber, And the pris-on- cell chill and som - bre,Brightens in miler char-gé de fers. Le sol - dat r6- vedembus- free-dom’s ray sub- limel__ And the sol-dler dreamsof am-but ea - des, De ba- tail - les et des-to-oa- > cades,— Ofheaithsfive fath-om deep, and Span-ish blades,—___ . poco PiTard Te Tui ver - se les ra-sa - des Wak - end by roar- ing can-non-ades__ Ile ——<— ‘poco ritardando. $8208Dont ses Iau riers sont ar- To - 86. Et swears a ppager or €¥0, then steeps > alt And. (oi, quun sou - pir thot, Whom ‘a Agh Quand tu re- po-sessur ta cou- = che, — vierget elle ef - When soft thine eye in slum-ber clos - ces) 0 maid! she thy fleu-re ta bou- - che Et te fait re- ver lip light-ly cross- es,‘ Mak-ing thee to dream kiss-es ‘Mab, la fel-ne des_men- Mab} the queen of dreams andPré-side aux son - «sions, Of vain il- Iu — —— que— Te vent Dé - ce - vant, “ven Heht er than the breeze Ober the” trees eae? Bi-lepas-se, El-le fuit, Ey-er passes, Ev-er flies,43 NO2bis. Recit.and Scene. Moderato. Recit. Romeo. bien! que Ta-ver-tis -semént Me Yienke de Mab ou dun Wellsaid! Now, be it _as_ it will,From Mab orfrom an-y good Piano. Rect. misurato. % Sous ce toit qui mest point le nd-tre Je me sens at - tris - ry, In this house we shouldnev-er tar-ry, For I feel in my isurato. —— Allegretto scherzando. 2 lercutio. (banteringly), té dun noir pres-sen-ti - ment! Ta tris - tes- se, jeart a sad pre-sage of iil! Of thy — sad-ness vi - ney Est de ne point trou - ver i - ei rea-son, , For if thy Ro-sa - line were here, Ti ne; Cent au - tres dans le bal te fe-ront ou-bli - trea-son! A hun - dred others here soon will make you de - ert Reeit.er Ton fol_a-mour de-cu ny Your fool-ish love, sil-ly Allegro.d=96) Lf, Romeo. Moderato. ht = Ant be- Romeo. ex!__ Cet-teheauté 6 -les - te Qui sembleun Fayondansla hold! Yon-der ce- les - tial beau - ty, That beamslikea ray in the Mercutio. ‘Quest-ce dono? What is yon? * Mercutio. eee ga a ee me Gapoteae. gu pases y ae pokeRomeo.(passionately) plus mo-des - tel tré- sor di-ghe des cieux! ~ or! on du ty! Ob, a ele clar-t star meet for the skies! wat sudden ray fa, a/ a/ daine a des-sil-{6 mes yeux! Je ne con-nais-sais pas ‘vine un-seals Ta beau-té ve H- wondring ‘eyes! For nev-er did they yet un- to beau-ty loroutio. > mS, usa eit ai- jeai- me? Bont Have “ST” fod? Good! dim. Py Pp voi-Is Ro-sa-line au dia - Ble! Now is Ro-sa-line for- sak — ‘nous avions pré-¥u co en: we foresaw it long a - P, P gol Friends of Romeo. ‘On la con- gé Nowhethrowsher, TENORS. Nous, a-vions pré- Yu xe mé-fa ce | oil Nowe a-vione peda o | fore sw z foresaw Mt tong ‘J [6 BASSES. wae es a felai - © Sans plus de su- ci, © - ver With nomore a - do sit true? TENORS. PB On fa ‘con-gé | ai Chorus. Nowhethrowsher| 0 = BASSES. p On Ia con-gé - di - Nowhethrows hero = fi-"e Se termine ain - |sit lov- er Ev-er heart so |true? di-e Se termine ain - sit Jov-er Ev-er heart so true? Et la _co-mé-di-@ Had a sighing lov-er © Sanephs do eo0~ oh oe ie me a ‘Se ter-mine ain - Ey-erheart xo Et la co-mé. Had a sigh-ing| Et Is 0o-mé- Had a sighing’a Allegro.(d=96.) ; Sf, ‘Voy-ons, nour- Fi - ¢, ‘Whatwill you, Nursey? ft Gertrude. Recit. onmattend, par-le vi- Res-pi-rez un mo- Do be quick, they are waiting! Let us wait for a S f. Juliet. (teasingty) a ment! est-oe moiguon 6. vi-te, Ou le com-te Pi-ris que Yon cher-che? breath! Is it me’ a-voiding, Oryoung Pa-ris, the county, theyre seeking?(laughing) Ah! ah! Je son ‘Ant abl My mind on Vous au-rez Ta, dit - on, la per-{e des ma - ris, ‘A ver-y flowr! A flowt! How hap-py shallyou bel fen vraiment au ma-ri- a- gel such a dream nev-er has tar. ried! ma ver - tu! jé-tais tha- ri - ‘Why la. dy mine! When I was your Sf font non! je _ne veux pas 6-cou-ter plu Nol_nol— “I will no morehearthesong you ‘temps! Lais se mon , laisse mon amo__ son sing! 0, let my, heart,” 0, let my heart re-joice StNO 3. Arietta. 0 Tempo di Valse animato. Juliet.ia208= mqun tré - sort will re - store s3208Cette i-vres - se De jeunes se Nedurehé- las! quun Hours en-tic - ing, Youth re. ing, Will all too soon be —, Puis vient Pheu > re 00 fon pleu- ‘Tear - ful hours" Send their #how- =e, Leewur ce - deh Ta - mour, ‘seurs, Qui grondent, qui grondent, qui gron-dent sans ces-ee! Fe - all, Who'e chid-ing,whoke chid-ing,whore chiding for. ev-er! Fair —, tex la— jeu -nes-sel FS - tex la jeu -nes-sel FB - tex Ia— jeu- youth is_ in fa- vor, fair youth is_ in_ fa-vor, fair youth. is_ in 7s > aan an nes-se, Bt placeaux dan - seurs, Et placeaux dan - seurs, Et fa-voriMake way_for the ball, make way_for the ball, make 18208an ‘veuts, Qui | ofaignent, qui | eraignent, Downthem,|downthem, | drink ~ Mie Who | deren who | Gare ty Sho far-guell nar-gue | des ‘Yeurs, Qui | ofaignent, qui | oraignent, qui Down themJdownthem, | drigk - all, 'Who | dare not,’ who | dare not,” who ‘Nar-guel nar-gue des ‘veurs, Qui craignent, qui oraignent, qui Down them, downthem, drink - all,_'Who dare not, who dare not, ‘who ff ‘raignent Ii - |vresde! 6 -|tOna la jeu-[nes-se, Fe -|t ja dare not per -|sev-er! Fair [youth is in_ | fa-vor, fair | youth is in_ a 5 1 Fe -[tdns Ia jea-|nes-se, FE -| tons Ia Jou dare not per -|sev-ert Fair {youth is in__| fa-vor, fajr {youth ig in_ ‘raignent Ti - vkesde! Fé - tons la jeu dare not per - sev-er! fair youth is in— s208ss2037 Act II. ‘The Garden of Juliet. — N@ 6, Entr’acte and Chorus. Andante. Romeo. Mercutio. Tenors. ¢ Z| Basses. 0 Andante. (Q)=10.) pp _ (Curtain rises) Piano. Pp pp * Ga c= sa208a Romeo. Allegretto. 0 nuit’ sous tes ai- les obs- t= Oh night In thy shel-ter - ing ppoolla v Moroutio. (calting rom without) =Uri- te moll Ro-mé-o! con-ceal_ me now! Rovmecal Romeo. Ro-mé-ol “Cest Ia voix de Mer-Gu-fi- o! Ce-lui - la se rit des bles- Ro-me-ol__Tis_Mer - cu-tio! I knowthevoice! He doth well,whojest-eth at oe Ie Ta- 1820880 Allegretto. (= 112.) su-ros Qui en re- gut ja - maist sears, and nev-er felt ‘a wound! , ’ ——— Chorus. (behind the scenes.) (OR Mys-(6- fi-eux et | som-bre, Ro-mé -| 0 Hendus én -tEnd] pas! Wan-dring a-lone and| sad - fy,’ To our [call he will notre 4 ply \SSES.. Mys-{@- ri-eux et som-bre, Ro-mé - 0 nenous en-tend pas! Wan-dring a-lone and sad- ly,” To our call he will not re ~ ply ys {6 - Fi-cux ot] sombre,Ho-mé 0 denous en-tdnifpas! La-mour se plait dans jan-d'ring a-lone and| sad-ly, "To our call hewill not re -[ply! Iq shadelove hid ~ eth Mys- 4 - ri-eux et som-bre,Ho-mé- 0 menous en-tend pas! L'a-mour se plait dans Wan-d'ing alone and sadly. "To our call he will not re'~ ply! In shadelowe hid. ~ eth Tom-tfe, 1k- mbur lait dins [Yom-bre, Phis-se a -|mour gui - der ses gladly,’ in shade love hid -eth |glad-ly,’ Well may he [now on_ love re- Yom - bre, la- mour se plait dans Yom-bre, Puis-Se Ta - mour gui - der ses glad- ty,’ in shade love hid eth glad-ly,” Well may he now on love _re~ s208Puis - be Well may he Pa Welt se Ta may he der love moyr gui now on ses re 1, der 58 love re mour gui pas! Puis - ge T's yt Well may he pas! ty! Well may he mour gui - der gui - der on— love pasl_t iy Puis Well se Ta- may he jour gui Inow on z i may he - mour gui now on der ‘Well fove re love re -No 7. Cavatina. Ta-mour! Ta-mour! oui, sonar - deur a troublé tout mon On love! © Ontovel Ay, for my heart inhhis bondage is Piano. Adagio. (d= Mais quelle sou -dai-ne clar-i6 re-splen- But what sud-den lightdoth mine eye now be - — ait & cet-te fo - nd- tre? Cest Te que dans Ia holdthro’yon win-dow breaking? ‘The ray of morn-ing Listesso tempo. (d=s0.) nuit ray-on - ne da beau- — -té——— ‘tis, and Ju - liet is the ‘sunL_—_ 1820883. = Ye - tol, sol- eill__ of the morn, a - risel— a; ¢# fais a - lir les 6 - tol “les Qui, dine Ts - zur sans And yon moon shall be fail- cing, En -vious be - fore thee = Bril- —-Iént du fir - ha - ment. -ing, For thou art fairer fart. * Sa ereso. fe - Yo - tot_____ of the moral.@ tempo. (ben deciso ¢ sensa sleutare,) ‘mantl_? starl__ aes ara —, sele de che - veux, Qui -es of her hair, That as vient ca-res-ser sa jou--el ‘A - mour! soft on her cheek are ‘ly- -ing! Oh ove! | rere. ey Bea? *ss208 dim. por - fe tui mes voouxl i. May shehear = my pray'rl— She is aL par - let Quelle est tel- Ie! Ah! je nairien en. speak - ing! Ta - dore | her! Ab! it on - ly a fais ses youx par- lent pour el- But her eyes are ‘speaking for omur 8 heart sends= toi, sol-eill the mora, @ - ri fais pa - dir Tes 6 - tol - les And yon moon wall be fail - ing, = are i, dins Ta - Zur sans in vious be - fore thee en * voi - les, Bril- fir - fia - ment pal - ing, For fairer ~ fart. ~\_ fa -rais! -rise,_ a - rise! ee ee ee | Pa As- tro pur et char - mantl_? Be of love thou the —starl_88 NO 8. Scene and Choruses. Adagio. Juliet appears on the balcony, where she leans with » melancholy air. Tulict. Gertrude. Romeo. Grogorio. Tenors. Chorus. Basses. Piano. Un poco. pli animato. iede fol - les & - murs, ‘ART je ten eon ~ ut a fond light-o - love, Ahl "To con - jure thee then, — parcetteheu - re di - vres - se, Ne me fo-vois pi by this mo - ment of pas - sion, Nev - er seo me mor dou - de - * 2. Si Lo stesso movimento. sur qui rempli - ta - that life will neer AR Lo stesso movimento. P— de te Vaidit, je ta - do fel Dis - si XT say again, ‘I a- dore thee! Dis - pel * oa. a creso. g. = aa huitl’sois Tau-ro - re, sols Tau-rore Ou va mon nightl. Send before thee, Send be - fore thy rays, oh 2 aim. cour, ol vont mes yeux!" jis - pose sun re- joice mine eyes! 4 My ~ heart * Ga, ma vi thou will & mon ame 1 - nts-sou - vi - all my soul with_rap-ture fill - ‘oN fto.f 407 — ‘& mon ame in-assoh - vi - = Toute fa lumid - re des all my soul with rapture fill - 7 oth Ashe aun reo coe ‘ co Sf ae * Za. ae * Allegro moderato. {S¢rtt tle} epoken) guliot. = On nPap-pel- let mmshe is call-ing! cleus! — Allegro moderato. gro mode a. {Gertrude} Suter. yore") Jue Tonnous vole én - semble! ‘hat she may see thee near me! ‘tremble @ Plus ba fear me’ je viens — L Be - warel 1 come! jeou-te - moi! non, =~ m~ Amoment morel_ No, Ww J plus par - le plus be-ware! Pray_theo,be - ‘non, on ne Yappel-le past ‘ot'Therésno one eating therel 18208,108 Allegretto .d = 100) un poco agitato. Romeo. Ah! ne fuis pas en- co- re! Ab! tin-ger yet_a.__mo-ment! Ah! ne fuis pas en- co - rel Lais. Ab! lin-ger yet @ mo-ment! Let Juliet. Ant Yon peut nous sur-pren-dre! _—____Ant y_stir-prise ust soub-li-er dans ta — main! thy dearhand in my own! ——s Juliot. —_ ‘Ant Ton pout nous sur-pren-dre! Lais se, lais - se ma main Ahtsomeone_may sur-prise us! Let. me, Let __mewith.draw —> 13208109 SEchapper de ta mai A ~ dieut_ my hand _fromth Fare - well! f—_——_"it. a tempo arene, De cet a - dicu si welll Fare- Of this _fure - well, 80 De cet a - dieu si Of this fare - well so tempo. P——= | ‘oreso. Quasi anaante. polo rilensto. a somo. ——= cresp. AS golto ritenuto. douce est Ia tris tes - se, Que je vou- draistedire a - dieu jusqua de- ten = der is the sor- row, That I were fain, to-sayfare-well “un-til the = P a Oren. douce est Ia tris- tes - se, Que je vou-drais tedire a - dieu jus-quié de - ten - der is the sor. row, That I were fain tosayfare-well, un-til the a @ tempo. quasi retem. I —_ |p —— a ? a raz08110 douce est tes - se, Que Beep der sor- row, That douce est la tris- tes - se ten - der sor- row, That ———— dim. oom fe voudrais te dire a - dieu, que ea T were fain to say fare- well, that say fare - dim. —— > dire a - dieu, que je voud-rais te dire a - to say fare- well, that were fain to say fare - Je voudrais T were fain rit, a tempo. dieu jus- qua de - main! eet a - dieu well until, the — dawn! this fare - well ite a tempo. dieu jus- qué de - main! well un-til the dawn! colla woce. PP. mostt est la tris-tes- se, Que je voudrais dire a- dieu der is the sor- row, That I were fain to say fare-well__ dire a- dieu say fare-well__ est la tris. tes- se, Que je voudrais ten - der is the sor- row, That I were fain rszoa112 Allegro moderato. Juliet . Main-te - nant, J ten sup-pli - ey ‘My be - lov, T now im-plore Adagio. Poliequoi te rhppe- But why did I re- ah! cru-el - let Ah! how cru - ell gen oa | a AnD eru- el - fet An! how cru = ell —— = io — Allegro moderato. ais - je? 3 Ki. et A peine es- tu pres de call thee? fol - ly! For hard- ly art thou re - ee ‘mol, que soud-ain mon eur You - bli- el je te voud-Fais par - turs{d, Than my heart for - gets it whol- ly! T would, thou wert 120313 Lo stesso movimento. pastrop loin ce-pendant___ Comme un of-seaucap-tif. que yet not too far a- way, but ike a cap-tivebird, by FO poco animato, lamaind'unen-fant__ Tient en-chainé dun fil de soi-e, A pei - nevole- child-ish handcon-fined, held by « silk-em thread re - straining, Thatscarcebeginsto ores. « 5 : t-ilydansfes-pace em-por-{6, Quelen-fant le ra- mene a-vee deseris de fly,Andwouldwing to the skysThanthe child draws him down, him joy-ful-ly re- tf Tempo I. e, Tant__ son a-mour Ja - loux_ lui plaint ln li-ber- ing; So. lov-ing- jealous he, The cap - tivemay go 13208a4 Allegro. wi freel___ Romeo. “an ne fuis pas en - Stay. but a lit -tle font is pas bn Stay_—_but a lit-tle dieu!. well Fit ‘a - dieut Fare - welll fare - welll a ‘Moderato. SF rolto ritenuto reso. ye doth - dien a fouce est Ia tris - Of this fare - well 50 HSwoito rit. S€¢_18_the ‘douce— est tat ten - der is the a De cot a - diew hig,fare - well jerato. ——— ioe 15208,Smolto ritenuto. ttennte ——= reso. je vou- drals te dire a - dieu jas-qia de - that I were fain, to say fare - yell “un- til the sae were bee. sell ea til_ ths Que je vou- drais te dire a - diew jus-qua de - that I were fain to say fare - yell _un- til the Pe | erence. a p a tempo. erese - : ‘si douce est la so ten, der is reso. sl douce est_Ia so ten - der is —— dim. — Vou-drais fe ~ dieu, were fain___to fare - well ——, Vou-drais: dire a - dieu, que were fain say fare- well; that dim. rit. a tempo. rea fen jus - qua ‘say fare- well ‘un - til ea = dew jus Say fare well tm - til olla voce. PP, 19208,116 cota - dieu est latris-tes-se, Que jevoudrais te of thisfare-well so ten - der isthe sor-row, that I werefain to ceta- dieu si douce est latris-tes-se, Que jevoudrais te of thisfare-well so ten - der isthe sor-row, that Iwerefain to rit. = @ tempo. rit. = a tempo. direa-dieu jus - qua jus = qv de- main,—— swyfarenell_ un, - til the un- til the dawn, bia F za rt. ale dire a-dieu jus - qva sayfare-well_ “un — til rit, - jus - qua de~ main, molto rit. on Wis- qua de- maim ‘um Hl the” dawnt moltosrit. On jus- qua de - main) un til =the dawn! molto rit. a tempo, — i f ¢ —<—<——— a PPP sae0na7 Andante. im come al principio dell atto. PP A-diew — mil-le Fare-well for a fois! while! Te-pose en paix Besweet thy rest, som - meil - thy dream — Quun sou- ri - re den-fant sur ta bou- che ver-meil - le On thy Hip ros-y red be _a smile ev- er beam ings ee Rt 13208Dou - ce- ment May the smile “y_— vien-ne se po - serl. for thy lov- er be, a= —_~ TH ‘Ht mur-mur-ant en-cor:—— Je faime! & ton 0 - reil - le Murmi-ring a-gain;‘I love theel”A-gain nearthee in seem - ing! i aa Ga, # Ga, * * Sa * fa. * poco rit. a tempo. bri - se des nuits—— te por-te ce bai - ser! breezes of night bear on_my kissto thee! ———~ poco pit, g tena — 2 —— —_-s (curtain) fa, * Sa. * Sa ® ta, * PI a * Sa, ad * 12208 @a. End of Act II.Act III. Ato ‘Tho Coll of Friar Laur NQ 10. Entr’acte and Scene. 1st Tableau. Moderato. Juliet. Romeo. F. Laurence. ‘Moderato. Piano. a * f * BM * Fa we POP PR OF FOFaz Allegro agitato. (/-96) 2a _—~ p— Romeo. Moderato. sae08tat pe- rel Dieu vous gar - det Dieu vous gar - de! mor-row, ho- ly Fa-ther! Fair good mior - row! —= le jour & pei-ne Se lé- ve. et le sommeil te ‘The day buthard-ly is break-ing,And slum-ber fleesthine Hownow? Reeit. fait? Quel trans-port versmoi te con- duit? Quel amoureux sou-ci ta- eye2_ Why to me so enr-tydost hie? Whatcares oflove compel thy Vous Tavex de-vi - ndmon pi- ro, cost Ta- You divine it a - rightmy Fa-ther; it is saz08see. Z Quel nom prononces - ‘hat name I have for - Lamour! en - cor Pin-di-gne Ro-sa- li - ne. *Tis love! A - gain thlunwor-thy Ro- sa - line@_ b, Sf Moderato e misurato. vous? je no lo connais Teil got, andwith it all my sou - vrant & Inclarté di - vi the soul awakesin lightdi — vine, hate shake £ Se souvient-il | en- cor des. ombres i-ci- Can it re-mem — ber still thy loomlefthere be- son Ba * aa * Ga badbreve. ab 123 bas? Ai-me-ton Ro-sa - li-ne, ay-ant vu_Ju- li - et - low? Canone love Ro-sa- line, hiv-ing seencharming Ju - F.Laurenog, (Enter Juliet. followed by Gertrude) te? ‘a voi - ol et? She is herel__ Quoi? Juli-et-teCapu - lot? What, Ju--liet Cap-u-let? Sf Lf, Mon i. me Cappe- My soul in-vit - ed ie = fe ___ Juliet, lait! Je te voist__ ma bouche est miu-et - tel ‘Mon pd- re, thine! I behold thes My lip shallbe si-lent! My Father, sx08Voi-ci mon é - poux!_ Vous connais - sez ce our que je lui be-hold__ my spouse! You knowthis heart that un - to him T don - ne! A son amour jo mfaban,- don. ne; Devant le prof fest Unto. his love my life I offer! Insight of F. Laurence. ciel u - nis.sex - nous! Ouit dus- 86 - je affron - heav'n hallow our vow Ay! the'blind” be their ter une a-veu-gle co - 18- re, Jevous pré-te- rai mon se- ire when of-fense may be giv- en, I will lend my aid to you os ab fe ts208425 cours; Puis-se de vos mai - sons_ la hai-ne sé-cu-lai- re S¥%- now; May cen-tu-ries of hate, thathathyourhous-es riven, Be —__ s__ e Romeo. (to Gertrude) (exit Gertrude) ‘Toi, veille au de - horst_ Nurseywatch atthe door! teind-reenvos jeu-nes a - mours! ‘Té.mioin do vos pro- quenciid in the love you a - vow! ‘To wit-nessyour pro- mes - ses, Gar-dion de vos ten-dres - ses Que le Sei- fes - sion, To guard your ten - der pas - sion, May our dear Arsslowly) gueur soit a-veo vous! Lord see and re - dee: A ge - mort A ge Kneel to Him! Kneel to fol taz08426 NO 11 Trio and Quartet. Adagio. Juliet. Gortrude, Romeo. F. Laurence noux! Adaglo, W240 Piano. f Gtter tht word Flay bith lemnity) a = Andante. fa * Dieu,qui fis Phommed toni - ma - Be, fo sa chair et _de son ‘Thou,whomadstman inThineown im- -age, Andofhisflesh and of his A ‘Et, Pu-nissant & Phommeparle ma-ri- And un-to him uw - nit-edst her inbondsof a - ge, Con-sa-cras duhautde Si- on Leurin-sé-pa-rable ou - ni- mar riage,FromThyheavin-lymansion above Pu-ri-fy and hal - low their sno 'sser Re - gar- de @unceil fa-vo - ra Te oré-a - tu-remi-sé. What - eer theiroffense or transg: Look onthem now in Thy com- ares conten Sei-gneur! nous pro-met- Qh Lord! Tru-ly we Lomeo. ra- ble Qui sepros-ter- ne devant toil Seigneur! nous pro-met- pas-sion, Whobow be-foreThineaw-ful throne! Oh Lord! Truly we tons do-bé-ir & ta loi vow to o-bey Thee a - lonel__ E Laurence. tons do-bé-ir i ta lok. vow to o-bey Thee a - lonel__ a En- fends ma pri-8 - ro fer- May He, Who mypray'r_yon.der Fais que le jougde ta ser-van- - -te Soit un Grant, that theyokeHishandmaidbear- «th, Be a een = sa203 *@amour et de paix! Que Ia ver-tu soit sa ri- of Jove _un-al - loy'd! Ev. ermay virtue be her che - 86, Que poursoute-nir, sa fai- blesselllear-me son cur du dow - er, Guid-edandsustaindby Thy powsMayshe in Thy fear eer — Ba, Sei - gneur,sois mon ap - pui,—sois mon es - poir! 0 Lord!Ber be my stay, cer be my guide! Romeo. F Lauronco. Que leur viellesse heu - reuse_ voie Leurs en- fants marchant dans ta May their old age be bless-ed,mayTheirchil-dren ev - er walk in Thy 13203Juliet. aay Sei-gneur! du noir pe'= 0 “Lord, fiom mor-tal Romeo. vwo-ie, Bt les en - fants de leurs en - faitsl— way,” And be their chil-drens chil - dren Thine! \ i-gneur! du noir pe= 0 ‘Lord, from mor-tal _—_—_—_—__ PP. oo Rr. 2 iy che” sin eest tof qui nous de ward us Thy pows di > vine! F.Laurence. che c'est toi qui nous dé - fends! Que ce cou - ple chaste et fi- sin_guard_us Thy pow di - vinel—_ May this puir, ip love chaste -ly =. ae U- ni dans la vie e’-ter - nel light - ed, For - ev. - er by mar-siage u - nit 2 ed, For = ev, - er by mar. riage, Sci - gneut! sur notre 8 - mouF daigne a bais - -a@ im 0” Lord, her us, we pray, deign Thou to Toy-au- me des ciewx! Sei — gnedr! surntre &—” mour dane &-tais - the Kingdom a ~ bove! — | hear us, we’ Dray, delgn Thou to 18208 * Sa ® gat 2 ta180 . 2 Adagio. Andante. F. Laurence, (addressing Romeo.) ser les yeux! ‘Ro-mé- ol tu choi -sis Ju-li- et - te pour bless our Ro - meol_ For thy wife dost thou take this Andante. . —_———_ Ba. * Romeo, Tuliet. F Laurenoe. (to Ju fem-me? "Oui, mon ‘Tu prends Ro-mé- o pour ¢ - poux? wo-man? Yes, my Dost thou for thy spouse take this man? F Laurence, De-vant Dieu, qui lit dans votre 4 - me, In His name, Who know-eth all hearts, jo 5 Allegro moderato.(d -76) hoderato.(¢=76) Je vous Re - le - vez T join your Rise! ye are 1320811 Juliet. p 0 pur bon- © bliss - fal pur bon - bliss - ful pur bon- bliss - ful Gertrude returns) F. Laurence. 0 pur bon- © bliss - ful erese. molto. 5 © joie im-men-sel Le ciel méme a re - gu nos ser- hour! 0 joy un-end-ing!Heavin it - self seals the bond een that ereso. molto. 9 = - 5 - d. 0 jofe im-me se! Le ciel méme a re- gu mos ser - © joy un-end-ing!Heavh it - self seals the bond een that erene.molto. ~~ : - yoo © joie im-men-sel Le ciel méme a. re- qu nos ser - © joy un-end-ing! Heavh it - self seals the bond e’en that eres. molto, a - : a ne 0 joie im-men-se! Le ciel méme © a re - gu mos ser - © joy un-end-ing!Heavn it - self seals the bond SX 3 | ereso. molto. ss208,of 5 —_ rere) — pit SS aaere Uments a-mou-reuxl_ Dieu de bon-té_ Dieu de cld-men-cet Sois bé - parts! Fa-ther of love, gra-cious-ly bend-ing, Blest be erese. f 2S == | ments == de bon - té_ Dieu de el Ié-men- eel Sois bé - death nev-er partsl_ Fa-ther of love, gra-cious-ly bend-ing, Blest be - erexe. hippos SS ments a-mou-reux!_ Dieu de bon-té___Dieu de clé-men- Sois bé - death nev-er parts Father of lovey. grecious-ly bend-ing, Blest be wees pe myer ett a SSS Be Tents a-mou-reuxl— Dieu de bon Dieu de elé-men-ce! S0is be - death nev-er partsl_ Fa-ther of love, gracious-ly bend-ing, Blest be t sat == iain i pte lhe * a. .—S iB orene. ” t= z= Diew de bon- té— Fa-ther of love, Diew de clé-men-ce! grt-cious-ly bend-ing, rena. ‘Thou by two grate - ful a a ni par deux Dieu de bon- tel Dieu de clé-men-ce! Thou by two Fa-ther of love, gni-cious-ly bend-ing, _— P, erent. g = = et ni par deux coeurs heu - reux! Dieu de bon- tél Dieu de clé-men- ce! Thou by two grate-ful heartsl Fa-ther of love, gri-cious-ly bent _—S, = Pp. crese. = aS SS SS St — 2 ni par deux ours hen - reux Dieu de bon- tél Dieu de lé-men-c hearts! Fa-ther of love, gra-cious-ly bend- "alk sae Ss erese. tte! spate t ots TK}133 ritard. a tempo. oreso, molto. wok Sois___bé seis bé = Blest_— be blest__ be ozene. molto. - : : pitard. @ tempo. Sois! be sois be - Blest be blest, | be orese. molto. 5 : ritard. a tempo. Sos bé it sols bé - Blesi_— be Thou, — ‘Thow,— lest >be ereno. molto. . : eo Pate fempo. sols 5 blest ve = be i sols) Thou blest ES fard. a tepupo. Sa ae ow Un poco phi lent ni par deux coeurs heu - grate - ful dim. Sols ~ nil Blest be Thou! ni par deux coours hen - ‘by two grate - ful dim. Thou deux cours heu - two gnite - ful —_heartsl— Blest be dim. P, cceurs eu - reuxl__ Seis be two grate - ful hearts! Blest_ be Thou! —, Un poco pi lento. P ss203134 Pit allegro. . = cree, fp ———_ sols bé - ni par deux ewurs hew - Blest be Thow— by two grate - ful orene. 2 sols bé ~ Blest, be oreso. ar dew creas ew two grate- ful y grate - ful sols bé - ni. Blest, be erexe. par deux cours heu - ‘by two. grate- ful Am sols be - par deux cccurs heu - Blest be ‘by two grate - ful Pi allegro. f. hearts! razoaPublic square before the palace of the Capulets. ad N@ 12. Chanson. 24 Tableau. Allegretto.(d= Piano. P (Curtain rises) Stephano. Heat Moderato. A (eyeing the balcony of De puis hi-tech Ytnmon mal-tetB-t dn-cdre ces ce Sioce yer ter eve T vain = ly seek my mas-ter, Can pe still be with- Recit. Moderato. ‘the palace.) Jnisurato. (arrogantly) 9, ‘vous,Messei-gneurs Ga- pi - lete?. ‘Yoy-ons un peu si vos di- gies ¥a- in with a foe that he hates? Now let me see, Messei- gneurs Cap-a — ‘p misurato. jets A” ma voix ce, mia - fin se-ront re “pa — 1 lets, If you dare walk a- broad to re-pair your dis - ae isz08136 Allegretto. d=68) Poco meno mosso.'d=72) Que fais - tu, _blan-che tour-fe - Dain-ty dove, where-foreart thou SS 7 Ran. * Fa Ba Dans conid de vau - tours? Quel - que In a wild vul- ture’s_nest?. Soon or youn dé = ploy-ant fon ai - Ie, Tu sul vras ‘Inte, far shalt thou be fly - ing, Foll-wing love's A 1208437 Poco animato. ‘Aux vau-tours, il faut la ba- tail - fe, Pour frap- For the jval'> tues would fain fige ag, Aad tite [p poco animato. per de-stoo et de tail - fe, Leurs bees sont ai gui- enka am wet = ed for anit © ing; Pall sharp fre they, end b. ‘Tempo I. ’ ST Lais-se la ces ols - eaux pri - ¢, Tuur- fe - strongl Fly a - way, then, from birds_ of prey, lovel Thou wert ten. ten. P Pane * 2 rel - le qui fais fa joi - & Des made” on - ly to. re- pay, love, Fond Gar- dex bien la— wel - let Guard ye well her— dwell - ing, 1208138 2 <= Qui vi- wri ve drat Yo - tre tour. te - They who live shall see! For your dain - ty 2 —— — Z fous 6 - chap-pe - ra, Vo - tre—tour- te - rel- le_Vos—_e - May one_day go free, For—your-dain- ty dar ling. May one— Pit lento, dex bien la bel_- - le, Vo-tre tour-te dye well her dwell. = ing, For your dainty Je Vous é-chap-pe - ra! uag Mayone dap Go tree! 2, attacca.144 NO 13. Finale. Lo stesso movimento,un poco animato. Stephano. ‘Ah! ah! — vol. of nos gens! A-~ hal They're coming out! Romeo. Benvolio, Tybalt. ‘Mercutio. Paris. Gregorio. Capulet. Sopran it 2nd Ten Basses. Lo stesso movimento, un poco animato. Piano. Gregorio. Qui diable & Wha no -tre por- te Sten vient rowcou-ler de la is yon fel-low do -ing Tn front of our door with his 19208142 Teur a6 - plait, La chan - son ata song, how they fume Ce = Tui que nous chas-sions hi - er la dague au whom yester-day we scard a - way? The ver y, lest - ce point Ist not “he = z poco riten. tempo dell’ aria di Stephano) for - 1 brew - ing! fandace est for - tel ‘There's danger brew =Stephano. far - dex bien Ia Qui vi- wa ver Guard ye well her. They who live shall fo four - te For your_dain - ty —y Tybalt. Mois promp-te que le bras! Gest Fe alin thu-arait My arm—is readier still = Sore Hy yout need it a ar sa #* Mercutio. (Qferoutio and Tybalt engegey Gest de que fu ver- ras! ‘Try me wheneler you will! oa * ‘at the samo instant, Romeo rushes in and tres to separate them. = e rene naea ris toner 2 imeos40 Mercutio. Tybalt (vindictively) r= r6- tex!!! Ro-mé- olf! Have a care! Ro-meo here! a son dé-mon the Tha - Tis thy de - mon doth f Pf a m Un poco pi lento. (to Mereutio, with ironical politeness ) deciso ’ Per - thet - tez, — per - met- By your leave, by your tex que sur vous je lui eave, he shall go be- fore 003450 (to Romeo, baughtily.) AL- tons! vil Mon-fai - gu! How now, thou wretched boy! senza accelerare flam-bérge.gu Hast thow vent! quindus f-sul- arm, — whodost e- ven =qlen no the amai- us all in our tot i por-ter la now thou sore- ly shalt re MF cotta voce jecette In-di - gre tra- hi - sont ‘That ev-er thith-er thou hast come! snz08‘Toi dont la bou-che mau - dt - te A Ju-li-ette in-ter- di - te 0- Thy curs-ed lip e-ven newr-ing Si-ly to Ju-li-et' hear - ing, Where |S: Vv: a tempo (dsdsinfully,) oa, fo cholal qhr-tor tout tae, con. fo Io coul mot quo mins it’ were best for ever dumb! Now hear the ony, mms that my fompo t 7 5 pi- re ma hai - net nies quun li - chet hate can pre-sent thee! ‘Thowart a vil ;_ iain! _(Romeo seizes and haltdraws =| molto f° / hia eword; after a moment's hesitation, ho returns it to the scabbard) ‘Andante. Romeo (ogatained and dignified.) Al- Tonst tu no,me con-nais pas, Ty-balt, Not sol Ty’ - baltjthou knowst me not! x == 2 |? r3208,2 et fon ih- sult And all in vain 2 =. fai - mer, sons to love thee, Je te suis pas un moi me vien - nent dé-sar- mer. Villain am I all, —— disarm wak-en-ing ire. —— Tybalt. Ti-chel_a- diew! ‘Tucrois peut-étre db-tb-mnir fe pardon de tes of - nonel_ Fare-welll Dost thou en- deav- or To move me to par-don thy of - Lf. Jo ne tai ja-mais of - fen- batt, I ne'er have of - fen - ses? trai - fre! fens - es? Nev - erl Ty - LSsé, ‘Ty-balt; mes fe temps est pas- fend - ed thee; of our hate is gone Tiche, 0 Ro-mé- ol Tai- Je enten- -hon-ra-ble sub- mis- sion To a foe never I Eh bien, done! si fon bras dit fail-lir & sa T tell thee, if thine arm will not lay his ag- Sha 2g ta - che, ‘Gest & moi dé-sor- mais que Thomneur en est Xe eal now bo to" mine— Aint the bon = or it Sf" Allegro. Romeo. I—> ‘Meroutio. Mer-cu- ti - of ye ten con- ju - ret Hold, Mer - cu - tio! I do im plore thee! ater a Allegro. (d= 64.) Xo Si v'Je ven-ge-rai_ ton in- ju rel Mi-s6-ra - ble Ty- T will to hon-or re-store thee, ‘And a-venge thee on — — COSI ore 7 Tybalt. Je suis &

y te QF ~ ern ew" nant re - monte au ciel Pru-dence in - fa - slain! A > way to heav'n,—— oh shameful eau - eg = aN gS s5208.163 Et tol, And thet, —~ Sois de mon cour Tu- mi- que loit® — Ty - bait! Now of my heart the law shalt be! ‘Ty- balt! Mest i - ci dau- tre Th - che que None oth - er here is vil = Iain, but (they engage)(Go Tybalt, with a thrust) Romeo. a — Have at __theel © Grand Dieu! ~ balti!__ tht Hewrast Ts Benvolio. Sa bles-cure est mor - tel - lel i sans perdreun ins- He “is mor-tal-ly wound ed! 'Be- gone while thoa sa208105, Romeo. int! Abt quai- je fait? it mau - dit par may! What have IT done? ! ev - er will Benvolio. Romeo. Gest {a mort qui tat- tend! Quel-le vien-ne Te is denth if thou stay! Dir er far than — Adagio. Tybalt. (to Capulet, with « final effort) done, je Vap- pel - ale! fn dernier mot! et sur votre death may a- wait me! On-ly a word, and on your PP a) Capulet . (solemnly). Tu se-ras 0 - 66 - is, je ten don-ne ma On my hon - or, I swear! Do on me thou re - a 15208$66 * antegro.(de 90) ‘toit_ ly SOPRANOS IL. vest - ce at is SOPRANOS I. — Adagio. (dz 50.) dono? quest- ce donc? dest ty - baltl_ here? is here? Th it” Ty-baltt Capulet.(to Tybatt) = Reviens & tol! PRANOS Tan, __Re-vive a- gain! eurt! dest ‘meurt! dies!SOPRANOS IL. 3 8 : 3 & oO — — — BASSES. Paris with 1 BASSES, Gregorio with 24 BaSSFs,______——_ 0 jour— ans 6 Jour— ° aay ° ‘ay Pp mn &-lveu - Ensanglan - te Blind re-venge ‘Blades In theirblood now be -lven- Blind re-venge P, Un- a-veu- ~"gle——-eourroux Blind re-venge hhath— our blades In theirblood now been168 sae09 Tn a | veu- ing! Blind_re + venge = lest {| ven- weep - "ing! Blind te | venge ~ gle coursoux Kn-sang-lan - fe leurs ath— theirplades fn our blood now been in-ekng-lan - te fos y—— theirBlades In our blood now been in-ekng-lan fos 7 a weep ing! = vege Hath theirblades In” our Blood now been ate te = ey dim,P wrese_ molto. le mal - bale - ful ie mal - bale = fal cresc. molto. le mal - bale - ful Moderato. 10 169 Te mal - bale - ful le mal ~ bale - ful le mal - Bale - ful170 Allegro. BASSES. TENORS. ¢ , — Le Duol_— The Princel— a (Ceputet turns toward the Prince, who now enters.) A to 5 Moderato. Capulet. Tuoi BASSES. All the Gapulets. ame ‘Moderato. pe DEDEDE t tu. & par Ro-mé- twas Ro- - meo took his remier, frap- pe Mer-cu- ti — fo Rad'siain ore’ sought an=y stmt Ja ven-gé mon a mi, que mon sort sac-com - plis - set weng-ed my” friend; with my life “I will ‘an swert FF Fs Ju Justi cet ‘A venge— us! ‘A= venge— ust Jus-ti- cel ‘Justi. cel ‘AN Yonge” ts! ‘Ar venge_“ts! Benrolio. . Sas ti- - oot, ual - ~ ce! Paris, Gregorio, Capulet. ieee ceed pa fone, ust Justi. -eet ‘A- venge— us! ‘TENORS.The Montaguos. Andante. BASSES. The Capule' Lento. ‘The Prince. Eh quoi? toujours dy sang! de vos curs in-humains What now? For ev - er blood? Of your heartstent on harm, NS SS‘Rien ne pour-ra cal-mer les fur-reursori-mi- nel - les! Rien ne fe-ra tom- Naught ev--er can al - lay the in- bu-mancon-ten- tions! Naught ev.or can your —— SS ‘ber les ar- mes do vos mains, Bt je so-rai moi-méme _at-teint par vos ring handsforonce dis- arm,’ And I may be my- self | a prey to your (to Romeo) rel - les! =Ton nos lois, ton crime a mé-ri- 16 Ie gen - “stons! For thy of - fense, the for-feit of our law is Sf aestoso, Ciel ‘Ban- ish! mort. Mais tu nes pas Ta-gres - seur— ye tex - i - lel death But, as’twas he who be - gan,— tow art ben-ishfat ‘Moderato maestoso. f The Prince. (to the Montagues and Capulets) ——_+* Bt vous, dont Ia haino en proto. tos fer- ‘And'ye, who in ato ev-er prone to. 00178 En-tretient la dis - corde et Tef-froi_ dans la Do in-flame in our town wo-ful strife and ag- aa be 7 * a * oe iS Pré- teztous de-vant moi le serment so-lon- Swear ye all, on your lives, or athome or a - = Jp nel_ Do-bé - is-sanceaux lois et du prince et du broad, Ye will o-bey the laws of the Prince and of £ vS Romeo. ey Ah! jour de deuil et @hor- reur et da- lar - mes, Abi dire - ful day, day of woe and of mourn - ing, ss208‘Mon cur ee brise 6 - per- du ie dou - lourl. Break - ing, myheart fails in pain and de - spairl__ In juste ar-rét qu tfop tard nous dé sar - mes ow un-time - the warn - ing? ‘Tho! “we dis-arm, eS mets le comble & ce jour de mal - heur! we may nev - er thy ‘rav - age re - pairl___ fet LEP wis pé-rir dans le sang et les lar - mies ‘ry de-sire, ev - ‘ry hope —grim- Jy scorn = ing, bee #° poco rit. Tes es - poirs ét tous les veux de nfon ing and blood a - lone ia thee may we ‘ poco rit. ss208175, a tempo. rese. molto. owur! Your @hor-reur et share! Day of woe and e Prince. ores. a a Ant jour de deuil et @hor-reur ‘Ant ire ful day, of Woe ‘Capulet. ‘oreso. “ARI jour le deuil Thor-reur et Ant dire - fal day, of woe and itephano (with {st SOPR.) cresc. crese.motto.. Ant jour ae faeuil @horfreur et wi ire ful | day, of | [woe and jo at ‘rese. motto, “ART de faeuil Phorfreur et Ah! - tut [day, of foe and ‘rest. gue ‘crese.molto.. a tempo. se brise my heart cou - Ter T see se brise my heart brise my heart ‘brise my heart‘dou ~ leur! de = 5 Te Teurl ory - where Tour spairl erese. molto. F Wop tard ua tine - sé-mous - sent too late comes trop tot am-time - ly sé-fmous seni 100 [exc matSem TP lte | My®07 co dur thy “ray ce Jour thy ‘rav ee jour thy “rav ce [Jour thy] rav - ce [jour thy] ravmalta Dy fa, * es - poirs’ tous les veux de nfon apd blood we in thee on a - 6 que Ton frappe en mon my heart in Ve - ro - na they es - poirs— tous les veux de mon and blood is in thee all our 8 Tre oe fom and | blood thee all our t] phe voir et Pifon= for | get danger, for6 on, 18208 179 Recit. misurato.) Tu quit - Do thou ras la a-void the vil - Ie cit = oy des ce ere the Recit. dé-ses - Tam Te - xill De - spai Fan isha! wf“se Andante maestoso. rai_Mais je veux la re die, I will see her a - Capulet. La paix? SOPRANOS. Dis - arm? TENORS. Andante maestoso. (curtain) 19208 Sa, * End of Act III.Act IV. jst NO 14. The Chamber of Juliet. 1 Tableau. (it is still night) Duet. Andantino. Juliet. Romeo. ‘Andantino. @=68). x D> Piano. — = lerese. motto| - PoP P ETF z RF RP je fai par-don - né, ‘Ty-balt. vou- lait ta Thy life ‘Ty-balt sought, and I par-don thysez mort! Sil na-vait succom-bé, fa duo -com-bais foi-mé-me! Loin de blow; For if hewere a-live, I should no lon-ger have thee! Naught of Sf, moi fa dou-leurl__ loin de mot 7 TI te ha- sor-rowI feel, m0. re-morse He did bear thee Sf. Moderato. sait_ et je tai-inel hate,— and T-_ love thee! 4 ée mot $i doux! re-peat thy vows!Andante. (¢.- 68). 183 poux!— spousel———~ Julio. Nuit adiy-mé - ne dou-ce nuit d’a- Night ove-in - vit tender night di- 2 ‘Nuit @hy-mé = né 6 dou-ce nuit d'a- Night love-in - vit ten-der aight di- “pp molto sosten. tof sans fe - ayo un - to184 6 charsnes tout pus - sents 0,—— how is life "so. fairl 6. ra-vit_ mes my soul ‘Ton—ddux regard men - i - vre, Te wix ‘Thy lov-ing gaze doth rav - ish, ‘Thy voice. ‘Ton——doux fe-gard men -i - re, Te ‘Thy loving gaze doth ray - ish, ‘Thy S= P. Sous tes bai-sers de flam'- me snare! Glow - ing in fond e - mo - tion, Ya-vit_ mes sens! Soux tes bal-sers de my soul en - snare! Glow - ing in fond e - = sae08185 ‘poco a poco orese. molto, - : : : : ‘Sous—tes bai-sers fe flam Le ciel, _le clel_ ow - ingin fond e - mo ‘The joys; the joys Booo a pococrese, molto, - ee Es flam- me Sous tes bai-sers de flam- me Leciel ra- ‘mo - tion, glow - ing in fond © - mo - tion The joys of —— poco @ poco crese. molto. + Je____ tai don-né mon a - me, ‘Thine is my hearts de - vo - tion, Je tai don-né mon & - me, heavn are mine, Thine is my hearts de - vo - tion, toi, tou-jours & toi, tou - jours—_ fhine,— for aye_'tis. thine, for ayo rim. ‘tis thinel__ P to tou-jours toi, a toll ‘thine, for aye ‘tis thine, for aye tis thinel__ J | oe s208186 P = O— vo-mp-té_ de vi - vret__ ‘charmes tout_puis- 0, how is love so Tay - ish! 0, how is life_ so Pp — vo-lup-té_ de vi - vre! how is love so lav - ish! sants!____ ‘Ton doux Thy 0 gard men- i - ing gaze doth rav - ish, 6 char mes tout puis - sants!— Ton doux re-gard men- 0, how is life so fair! Thy lov inggaze doth SEPEEF FEF RESSEET [ voix. ra-vit mes sens! — de voice my soul en - snar ‘Ta voix ra-vit mes sens! Sous tes Uai- ‘Thy voice my soul en - snarel__ In fond e - RF EEF 13208 SaLAN =—_—_—_— P flam- = me Le ciel mo - * tion The joys. tou- jours. for “aye. tou - jours. for aye. poco rit. - ~ Tempo I. ‘Thy-1he- ng - Tove - in - vit - @hy-mé-nd- fovea vit — a tees toe188 douce nuit dam tendernightdi-vine! fe nuit '.-mour!, tendernightdi - vine! io > — Men-chame ‘toi sans fe - tour! My heart for aye un- to thinel Men-chaine ‘toi sans re - tourl ‘My heart for aye un - to thinel 102 jo. =r) De {x —muit_Ies flambéwwx pa lis — break_. “Ing; Pai-titngttwanes be" fore’ Au ~ ro. Pome bi SN * ee Tau To Dans Tes va-peurs do 1'0- ri- - +38 a! Wak Zing, Veil in ist-y morning pio ee * ‘Tempo, come prima ont No, = antl 2 rise] bP g'Tempo come prima. P on, ce niest pas fe jour, Cr ne no!’ it is not the day, Yon__light _so wan, 90 — — P ta, * Se * "Ga, * fest que le doux Ts but a pale isos ta, ta, Pa *193 ‘du bel as-tre des ~ nuits! from the dim-beam-ing — moon!. Romeo. Allegro. Hf Revit. ‘Abt vien-ne done la Ah! Be thou wel-come, Andante molto appassioato. mort, Deathi. Je res - tel 1 tar- ry! (con del an Sf (During this entire ritournelle, Juliet and Romeo remain entwined in each other's arms.) Pea rae0a104 Juliet, Allegro. (d=72) (disengaging herself from Romeo's arms.) Ant tu dis vrai, cest_le jourl—— Ful il faut quit- Abl it is true, tis the “day! Fly! Thou must for- \e Moderato, Romeo. (passionately), ter ta Ju-li- et - tel Non! non! ce west par fe suke me, oh my dar- ling! No! no! it _is_not_the —S fe fa, * Ce mest par, Fa-lou- et - Nor the lnrk’s ear - ly call - a — > ‘poco stringendo. (est le doux ros- si - gnol, com-fi-dent de Ta - mou Ys the sweet night-in - gale, that of love sings a lay! ica atringendo. rareaee * Ga # Sa Wl Juliet. = Allegro agitato.(d=76) Gest Ta - low ette, hd Ins! ‘Ah, ‘tis the ask, a - Ins sse02195 Pars!— vi-et Loi clu- Go, be - lov-ed! Taw de- Rome Un tai- sen tt je pars ye a GS, ana Yar iterd. ma pochiss Roméo. al = del an res = el spite - full An! stay, lovel ritard. ma poekiss. z reste en - cor_en mes bras en- Ia - césl Yet re = main so en twind in my arma ‘dim. P ee a tempo. reste en- cor! un jour il se mainl_ Yet’ = re- maint In faith - fut rit, a tempo. — Pp notre a-mour fi- d5- fe De se res-sou- ve- nir de ses tour-ments pas- day ‘twitl_be_de-- light-ful When we re-call to mem-o- ry our past = la Tee.196 Allegretto agitato.d=68) surict, ses, TL faut par tir, —hé- last arms! ‘Thou must in- deed a way, ter ces bras 0 je te pres - se, arms de - lay. Where I en- fold thee, cher & cette ar - dente i= wes - set heart o - bey, that fain hold thee! Romeo. TL faut quit- Nor in these Bt tar-ra- Nor yet thy, Tl faut par - ‘Thou must in - Ti faut par - T must in - yorese. - faut quit - ter ces bras. deed a - way, Nor in these arms de - lay. A- lors que dans ses bras. Nor in these arms de - lay. reoa Oi je te ene ‘That now en -dim. pres - 86 Et tar-ra - cher a cette ar dente i= vies - sel fold — thee, Nor yet thy heart, o-bey, that fal ‘would hold” thee! bres - se Et Tar- ri - cher & cette ar- dente ie fold me, Nor yet my heart o-bey,that fain would hold met Le dim. PR, ‘Ani que le sort qui de toi___ me s6- pa - rey by fa=tal how; that from thes— me di - vid eth, sort. qui de toi me sé- pa - ‘Te, emt ety, th tom thee me a> Mia > ot —_. ss AS dim. P, Plus que la mort est cru- el e&t_ bar- ba - ret ciizel yowr more than death” clen be = fd = thi Plus que la cru - el et bar- ba - rel ‘Thy — cru-al more than death en be - tid - — ethl — yerese. Ti faut par - tir, “He-last TI faut quit - ter ces bras Oi jo te ‘Thou must in - deed a-way, Nor in these arms de-lay_— Where‘ en - rest. Ti faut par ~ tir, “hé-last A-lors que dans ses bras El- le me Nor ‘in. These arms de lny-—— That now en_- T must in - deed a-way,ae oresc. molto. . te ar-dente i ~ = ‘dey, that fain would a ° de celte ar-dente 1 - © - bey, that_ fain would S, 7 wes - se, & cette ar-dente i- vres - sel hold thee, thy heart, that fain would hold. ‘the ‘res - $e, de celte ar-dento i - vres hold me, my heart, that fain would hold f, GF 7 ‘tow rs 8 toil, i Gabe Sea — orvently, ‘An-ges du ciel! & vous, & vous Je fe con- ‘An-gels of heava, to ye to ye do I con- Aga — Vi200 NO 15. Quartet. Allegro agitato. Juliet. Gertrude. Gapulet. F. Laurence, ‘Allegro agitato.d = 90) Piano. f P Sf? (enters in great agitationy —__ (reassured) WT et-tet Where is Ju-liet? ant Ab le cfel sbit Iou- ‘thanks be to Juliet. Gi Votre é-poux est par-ti! voi-ci vo-tre pé- fel Dieu! saurait-il? Heava that your hus-band is gone!Your {a-ther is com-ing! Heav'ns! doesheknow? af Pp St Gertrude. Juliet , Rien! rien, Jes - pd- re! Fré- re Lau-rent le suit! Sei-gneur! Nol_ I am cer-tain! And Fa-ther Lawrence too! Oh Lord! P sag0a201 _pro-té- ge - nous!_____ Allegretto. = 100) — Thywill be done! cee Gapulet. __Reeit. Quoitmafil-fe, la mnit a peineest a- che- How, mydaughter! The nightherleave ishard-ly wu vé-0, Et tes yeuxsont ou-verts, et te voi-la le- vé-et tak-ing,And I find thee a - rousd? ‘Tis ear-ly for thy wak-ing! 12208202 —<— Wé-last__—_no-tresouci, je le vois, est pa rei, A- Ins! Our lowingcaresyas I sep’ are the same, ——_1— Kt les mé-mes re - grets_ ha - tent no-tre ré- veil! Andourwak-en-ing thoughts own a like wo-ful aim! f f Andantino. 0 72) rt Que Thym-ne mup- ti - al suo - cbde aux cris da- ‘A wed-dingsong shall soon o'er - bear the wail of,208 iar-mest FT - dele auder-nier vou—— que Ty - balt_— sor-row! To Ty - baltsdy-ing will let thy heart a Re-gois de Tui Tepoux que sa bouche & nom. From him) re ceivethespo wiomfor thee he de DSF a mé,— Sou - ris ‘au mi - lieu de tes lar- sigmd, And smile Ymid thy tearson the — mor - Y ) Juliet. Get 6 - poux— quel est - 2! Andthe spouse who is he?_ ous; Lecomte Pa - ri of them all. the coun-ty Paris! —— 15208,204 Gertrude. Cal-mez-vous! Cal- mez - vous! Calm your-self!Caim your - self1__ len - cel Cal-mez - vous! si - lent! Caim your - self!__ est pré- pa - ré, "a. ris a oma pa tar is pre- pared, the groom bath ap- pro- = ites a ‘de- maint. Que - more de-lay!_____ May Ty - — re de Ty - Its wand'ringsn208 alt, pré-sente a cethy-men,— Sh - pai - 80, a shade, ap - prov - ingusto-day, Be laid then, —be iF = Bry? er gre Paiseen-fin et te con- so - Jaid in fi- nal con-so- Ia - La vo-lonté des morts,— com-me cel - le de Dieu Ini - mé - me, All wish-es of the dead, the man-date of Him a-bove us, 2 u-ne loi ou - pro -mel to o-bey should move us:208 Ia vo-lon - 18 des let us re - gard their * i ° . Juliet. rains rien, -Ro-%6-o, mon cur est sans fe - mords! Rete, — __Ro-mo-o, my _eart is faithful stil ‘Dans Teur tom - be, dans leur tom - be Let them | slum_. ber, let them — slum-ber Nous devons —respeo - ter. Ts vo-lon- 18 des Bipythgdeet rest in pence; — let us re - gard their Laure i trem - ble, iT She _"_is trem _-bling, she is ocrainsrien, To -méo, Fear theo not, Ro-me-o, lais - sons en paix dor - mir morte — well in their tomb, _nor, dream ill ‘Nous devons respeo - ter_— la vo-ln - 16 morts,— may thedeed rest in peace, let use - gard their will, et c@ur,— mon cwur par-{a-go ees re - mords,— and heart) my eartSadfore-bodingsnow fil ny Dy i owe ao, sn208207 emur eStsinsre-mords,mon cteur est sansfe - mords! heart isfaithful still, “my heart is faithful still! Iaissons en paix dor- mir les well may they sleep nor,dream of vo-lon - 16 des let us re - gard, their vill monceurpar - ta - ge ses re - mordsl heartsad fore - bod - ings now do _—filt. a ERG EY Capulet. Fre - relau - rent. sau-ra_ te dic-ter ton de - voir. You, ho-ly—Fa-ther, cam in- structher du - ty, I trow:__ Nos a-mis vontve - nir. les re - ce - voir. But our friendst = rive; go to meet them now.208 N° 16. Scene. Juliet. F. Lat once. Allegro. (J:78) Piano. fon Reeit. ‘pS - rel tout mac - ca - ble! tout dst per-dul Fa-ther! All iso -ver! Hope have I none! { Sf (a - ché mon dé-ses - poir o-beyyour will, 1 sti-fled myde - spair,_— F, Sf,209 et mon a-mour dou - pa - ble; Obst & vous de me se-cbu- Nor did my love dis - cov - er; *Tis on you I _a-lone re- vous de mar-ra - cher & mon sort mi-dé - ta-ble! Par - you on-ly I look to re-storeme my lov- lez, mon pé - re, Par-lez!__ ou bien je suis préte & mou - speak,my’ Father! Oh speck. Or tor-tar by an-guish “T F Laem cit =~ Juliet. fn ~ si, Ia mort__ne trouble pointvotre & And ,50,,,for you,— Death has nomore of ter-ror? Nol Moderato, non! plu-tot la "mort— que ce mensohge ‘in - fa - mel nol Far bet-ter die, _ than live in shameful error! sa20810 Andante. (/=68) F, Laurence. vez dono ée Breu - va ‘What this phi-al en - clos - Etdes membres au Ya sou-dain se ré- If you drink, then a From the limbs to the ——~ |PP——_ indreni-ne froi-de lan - gueur, De la mort_men-son-gere 1- tart siiyourframosallder =thrily’———_ ‘That as dead yourwarmiifo re _———__, —, z = ep— ——__ 2 Danstos vei - nes sou-dain_ fe sang sarré-te- Tnyour veins, _at_once, thebloodeasing to odensing to mne03att - tot w-ne paleur fi - vide ef - fa-de-ra Les soon to pal-y ash-es turn, where all a-glowAre —_——, to - des de vo -tre vi fos yeux. Font fer bloom-ing the fair-est of Your eyes shall lose their —~ inf ain - si dansfa mort” sight, and close as if in doathi__ ry ry Pry Py g 6 = clacteront a - lors les— cris de - lar- mes, —_»El-le est cries of a-larm shall sound and_ seek to wak - en; “She is no an =>plus Tra ‘more! Shall mournyour comps <— it Tes an - ges du ge And the an - gels of oa Te she but... si dort! sleeps! aS re PIBT PTET Allegro moderato. (/=76.) ey p/ va) 8) a wa ratoaaa F. Laurence. Cest Ii qwaprésun jour vo. tre corps et votre_A - me, Com- And there,within a day, shallyourheart feel a Striv-_ing, As me dunfoyer mort se ra- ni - me Ia flam- me Sor-ti- ronten- when onchil-ly hearth for-mer flame is re - viv = ing, Andyourheavy pF Tin de co Iourd dom-meil; Par Tombre pro.t6 - gés votre - steep _you shall then forsake! O'er-shadow'd by the night, withyour [a ees poux et moi-mé - me Nous é- pi-ronsnous 6- pi-rons vo- tre ré- spouse I'll e - spy you; We shall be nigh,weshall be nighwhenyou a — tip Ss veil Et vous fui. rez aubras de ce- lui quivons ai - me, wake, And youshall flee a-way with himwhomthey de - ny — you, WSsvous ful - rez au bras de ce- ui qui vous al- you shall flee a-way with himwhomthey de - ny. — We-si-tez - vous? Doyou re - pent? io. Liistesso movimento, ‘& vo. tre main jab-ban-don- me ma vi - I will con - fide “e- ven life to your keep ~ ——— Tulict. (tirmy) (exit F Laurencats NO 17% Seene and Ai Andante. (d= 6s) Tuli Piano. accelerando, steronerernere? Tulict. Recit. Dieu! quel fris - son couirtdansmes vei - nes? Heavin! what a chilldoth o-ver-run me! a ff Recit. ® At the Opera. this sir is omitted 1208216 Si ce breu-vage 6-tait sans pou - voir What if this po-tionwork not at — all2_ (rosohutely) ‘pr lwith confidence) Moderato. Craintes —vai-nes Je wappartiendrai pas au I~ dle ter-rors! ‘They can-not make me wed the a Comte _-mal-gré moi! Nontnon! ce poi- gnard,— ce pol- count 'gainst my will! No! no! Forthis poignard, this S, t g ma gnard se- ra lo gar-dien poi-gnard shall be the guard of my treoau7 Moderato ben risoluto, (¢ = x4) Et de mon cour And from my heart =< “Hé - si- ter, Now to doubt, Trem - ble, est. un manque de To fear were my love to be- S ta208toi.mé - me fordead may Tempo I. ‘Verse ce breu- va - ge! for_dead be- moan me! gplta voce ye — * = Tempo I. A _Recit. ‘Mais si de- But if to- ae =~ 18203s5208 ato ‘main pour-tantdans ce caveaux fu- nébres Je méveillais avant son re - ‘mor-row mornjere he re-turn, I wak-en, A-mid the lone-lychill of the tour? Diew puissant! Cet. te pensée horrible_a gla-cé tout mon tomb: Heay’n-ly Pow'rs! ‘This hor-ri-ble conceit ehillsthe blood in my Misarato. (= 76) sang! Que deviendrai-jeences 6 - nd - bres Dans so séjour de veins! Whatshould I do, loneandfor - sak - en, In yon abode of iF t et de gé-mis.se - ments, Que les sidcles pas- nonenear toheed my moan: ‘Thatthecen-tu-ries ip rempli dos se - ments? Ob Tybalt, tout sai- re-plen - ishwith bones? Andwhereinbloody =gnant en - cor. de sables-su- re, Pres de moi, dans la nuit obs- Ty-balt, fes tringyet,is Ix - ing, Close at hand inthe gloom e- ——~ horrified) cu - re Dor- mi - ra! Diewi!!___—ma main rencon-tre-ra sa spy - ing, Tshould view_ Heavns! And if his hand were touching ms ite (in bewilderment, as if seeing Tybalt's ghost.) yudlle eat cbtte dmbre '& famort 6- chap- jat_is this shade,fromthe tomb grim-ly Gest Ty - bait! It is hel i f. w nw . de mon che -min H- ar-ter mon” ¢ - pour! love! —~ il veut He calls me to do pert from the one whom I mS sa208 = Uaat et sa fa-talo 6 - pe Tis fatal blade upraising— ~ =~ =nes- {fe 16 - vel oh vi sion fright - full am a “E fa, to, fu-nes-fe re - vol way, oh vi sion fright - full oo = Te; ve de - light - ful,‘Tempo J. = és! by! Fom-bre des tourments bove the gloom of woes gon Viens!. ‘ome! = dim. mour!— fa-ni - me mon cou - ra love! revive myfond de - vo etree = se Pef - froll © ish. dis - mays —S— +$§j$~——s =~ s te faire ou - tra that were to dis- own ———_, 2 bier, est un man-que do foil {eer wore my love ta. be - tray! Se eas ra 1208 |}‘Tempo I. Ver - s0 tol mé-mo ce breu-va - Ra * ther fordead may he be-moan 6 6 Ver - se toi mé-me ce breu-va - Ra - ther fordead may he be- moan pence BN s ’ Ver-se ce brow- for dead be -aaa a tempo. — — va - gel © Ro-mé - 0, Je bois & toil moan me! 0 my be - lov, T will 0 - beyi > colla voce. vi aa. End’of Act IV. 19208 Gh ordinary stage-penformancesNO 18. Nuptial Procession. Allegro maestoso. (d= 12) GWind-instes on stage.) Piano. = ACOrchestra) $7 eS don stage) Sf (on stage.) (reh.) 7 (Oren), Sf (on stage) i Coren) gM ft88) (Oroh) _» (” staeed 2 : | | | | sa200227 allarg. - s200 (Continue with the Finale, on p. 228)228 Ne 18. Epithalamium.*) Allegro maestoso. Juliet. P Gertrude. Loi ri-gou-reu - se, Heart-rending pow- er, Toi Ti gou-reu - se! heart-rending pow-er! Pp Paris. 0 Ju-li- et-te, sols heu- reu - selMon ame a - mou-reu-se Su- On fairest Jutiet! Joy - ful hour! My heartowns thy pow-er, And Capule 0 Ju-li- et-te, sois hou - re se!Son dme a - mou-reu-se Su- Onfairest Ju-tiet! Joy - ful hourl_ His heartowns thy pow-er, And P © Juli - et-te, Sois_heu - reu-selSon ame a - mou-reu-se Su- Ohfairest Ju-tiet! Joy - ful hourl__ His heartowns thy pow-er, And P, Popita. 0 Ju-li - et-te, sois heu - reu- aime @ - mou-reu-se Su- Oh fairest Juliet! Joy - ful_ hourl_. His heart ownsth} pow-er, And Pp Angelo. 0 Juli -et - te, Vois son ame a- mou-reu-se Su- ‘Oh fairest Ju - liet! Nowhis heart ownsthy pow-er, And Father E Laurence. O Ju-li- et-te! ton & -mePut 0 fairest Ju-tiet! Thyheartyet may Sopranos. noore. § é Basses. Allegro maestoso. (¢- 92.) @Accomp ad lib.) = Piano. +) This mumber is omitted in performance. 18208SS Ss Ah! je~ trem-ble! Ah! I__ trem-ble! ae et - te, mal-heu- Juliet! ful = eee 2 # Sore PabeE 2 vit fa lil O Ju-H-e- te glows form thee. Ob faircest Ju_tiett ome eet Ses =F bit ta lol! 0 Ju-li-et- te, glows for thee, Oh fairest Juliet! = eres. -— oo. ibe eS = tt dail 0 Juli ete sols heu-rou-e! Son glows for thee. Oh fairest Juliet! Joy - ful hour! His oreso.. _~ - - SSeS Ju-li-et-te sols heu- reu-se!_ Son fairest Juliet! Joy- ful hour! His oreso, - -- - a v=? SS - 2 ii Ju-li- et - te sois heu-reu-se! Son glows for thee Oh fairest Juliet! —“Toy- fal “hour! His oreso. Ry — . Le E Py eroire en mol! 0 Juli trust in mel Oh fairest _ Lal ae SS SS See ig é erese.- -|. 0. phy E f Iss ¢ [et Alt a hh razon230 = molto. = f din. ae peat: SS Se vous! 0 mor-tel ef - — froil Sa fen dres-se power! Woe, ah woe is me! ‘They have tak- en ~ molt. fy dim. # 7680. - = = Se Toi ri- gou-reu - se! Mor- tel ef ~_froil heartrending pow- er! Ah woe is mel = molto, . ‘s Fe 4 pt dim. sp et re == ime a-mou-reu- se Su- dit ta loi! Quand Dieu mé- me heartownsthy pow- er, And glowsfor thee, Since of Heav-en = molto. - f 5 din. P aa = = = 5 ‘ame a= mou-reu- se Su - bit ta 1oit QuandDiew mé-me heartowns thy pow- er, And glowsfor thee. Since of Heav-en See, dim. p= orese.- : ooo 6 ters geet = ESS ime a-mou-reu-se Su - bit ff toitquand Dieu mé-me ty em heartownsthy pow-er, And glows for theoSince of Heaven tis the =,molto. ff 2 dim. = erene.- : = Ee ee ‘ime 8-mou-reu- se Su- bit ta Toil Quand Dieu mé-me ty con heartownsthy pow - er, And glows for ‘theeSince of Heay-en ‘tis the = molto, - : dip = oreno.-, : Ss SS =| ‘me a= mou-reu- se Su- dit ta ToilQuandDiew mé-me ty oon- heartownsthy pow - er, And glows for ‘thee.Since of Heay-en ‘tis the -_molto, din, Po cree.» »- ee as 2 ze $= EE ‘ame a- mou-reu- se Peut croire en moiluand Dieu mé-me ty con- darknessmay low - er, Yet trust in mel Since of Hea ‘tis the Om se St = Tr SS dim. Pz aot = f=231 2B) Pip hn e Sette ore ee mest ra. vi- ef 6 lol ri-gou-rew- sol Mor-tel effroi! Lui him, my treasure! Oh heart-rending pow er! Ah woe is mel In - = molto . Sf. . SSS Ses test ra- vi- e, Aux maux de la vi - e Ré- si- gnetoil Du hope is ban- ist, Yet tho joy be van~ ishld, Re-sign-ed be! What - fg - molto - f__,- "2-9 » pa fe ty con- vi- e, Sou-ris_& Is vi- © Quisouvre & tol! Mon ‘tis the pleasure, Re - joice_ in the trea- sure Con-fid- ed thee! My = ——= = = tt = et la vi- e Quisouvre a toi! Son the trea - sure Con - fid - ed thee! His - ff te = be vi - e Quisouvre & toi! Son the trea sure Con- fid - edthee! His ff = = SSS sou- ris Ia vi - © Quisbuvre & toi! re - joice_ in the trea- sure Con- fid - ed thee! . » = le & la vi - © Quisouvre a toi! Son in the trea-sure Con- fid - ed thee! His sn208.2 = "eee te = eae fs 2st = o— 5 + seul_ est ma vi - ¢, A lui ma fol, Le sort sans pi- ti Ta s¢- pa- him was all my plea - sure, My life was he, Yet for-tune un-kindholdshim a - ee 5 Ty == — ae == Se = o sort im-pla-cable Il faut fate hath in store,our hearts can, su-bir la loi, Du sort im-pla-cable Il faut su- néer for-see! What fate hath in storaourheartscan pf pp te ee map tee et — cwur vapour ja- mais Ten - ga-ger sa fol, Mon corur pour ja-mais va t’en- ga - heart for aye to thine. shall uw - 2 nit - ed be, My heart shall for aye to thine w'- 2 heart owns thy a =e = SSS 5 ama ime a--mou-reu - se Su-bit {a Ioi, Son cur pour ja~ mais va en ga - pow - er, And 2 «lows for thee, His heart shall for aye to thine w - 2 ht eS faire = me a-mou heart owns thy pow - ex, And teu = se Su- bit ta loi, Son cceur pour ja- mais va t'en - ga - lows for thee,His heart shall for aye tothine w ff 2 ie = = & SSS SSS 5 Son & me su- bit ta lol, Son coour pour ja~ mais va en- ga - His heart on - ly glowsfor thee! His heart shall for aye to thine w - 2 +. Jets lee =e cur va pour ja- mais Ten- ga- heart for aye to thine shall u- ger sa foi, Son coeur pour ja-mais va ten- ga - nit- ed be, His heart shall for aye to thine u- Sf ’ ee = > = = SSS Ton & - me peuteroire en moi. Le ciel te pro-tége et veil-le- ‘Thy heart yet _may trust in me, For heav'n shall pro-tect and shall watch a th — i= Se ee ary |e pet — ee = Se | 18208238 eer it ra sur o - ver SOPRANOS 1 & II. is 2 0 Juli | et-tel Sois___heu - | reu- sel 5] oh fairest | Juliet! Joy - ful. | hour! Sl O Suli | et- tet Sois passes. 2i| 0% fairest | Ju-tiett joy - SOPRANOS I & II. Ju-li-| et -te! fair-est | Ju-liett est | Ju- littToi ri-gou- reu - Is ‘se! Mor- tel ef-froi! Lui A me a- mou | reu - heart owns thy | pow - i-mea-mou-| rea - heart owns thy | pow — feu sel Son hour! His heart se_ bu [dit ta Joi, Son er, And glows for thee, His se Su | bit ta loi, Son er, And |glows for thee, His ‘Son His Son His me su -| bit ta lob on ~ ly _ [glows for thee! me su -[ bit fa loi, Son on - ly [glows for thee! His ‘feul_est ma 2 2 vi- eA heart-rending pow - er! Ah woe is me! In himwasall my plea -sure,My &- me a-mou[ reu-se Su- pow-er And heart owns thy ‘a= me a-mou hear owns thy reu~ se Su- pow-er And &- me a-mou - reu- se heart owns thy pow- er &- me a-mou - reu - se pow- er heart thy Bon His & -'me a-mou heart owns thy ‘Son His L. heart on-1y reu- se Su. pow-er And. a-me Su- heart on = Iylui ma foi, Le sort sans pi- tié Te sé-pa-ré de life was he, Yet for-tune un-kindholdshim a - part from bit ta lol, lcmur pour ja -fmais va ten - ga glows for thee! His |heart shall for Jaye to thine u - bit ta loi, leeur pour ja -|mais va Yen - ga glows for theet heart shall for faye, to thine w -| itt 10i, Son four pour ja -|mais va lows for thee! His |Reartshall for [aye, to dit ta lol, focur pour ja. fmais va lows for thee! fheartshall for faye, to saz0alo Ff, 0 ‘mortel &f - ‘0 mor- ‘Woe, ahwoe is mel Woe, ah -reu-se!Mor-tel ef - froi!_ Du sort im-placable Il faut su- heartrending pow-er! Ah woe is mel_What fate hath in store ourheartscan ime a-mou - reu-se Su- bit Toli_ Mon cour pour ja-mais va fen-ga- heartowns thy pow-er,and glows theel My heartshall for aye to thine u- ‘ime a-mou - reu-se Su- bit joll_ Son cour pour ja-mais va Yen-ga- heartowns thy pow-er, and glows thee! His heartshall for aye to thine u - ToT 80 coeur ja-mais va fen-ga- thee! His heart shall for aye to thine u- ‘ime _a-mou - re ofl. Son cour pour ja-mais va fen ka- heart ownsthy pow-er, and glows thee! His heart shall for aye to thine u- i@ a-mou- reu-se Su- bit jolt” Son oceur pour ja-mhis va Pen-ga- heart owns thy pow-erand glows thee! His heart shall for aye to thine w— ‘ime_a-mou - reu-sePeut crolre ‘moll Le ciel te pro-tége et vell -le- dark-ness may low-er, Yet trust ‘me!_ For Heav'n shall pro-tect and shall watch ym Heur pour His heart shall £0 jon eceur pour His heart shall 48208fae tel ef - froit Let woe is_ mel Cra-el bir la loi, Oui, du neler fore - see. Qur eer foi, Pour ja - nit - be; shall a - foi, Pour ja bey shall w foi, Pour ja be, shall u foi, Pour ja. bey shall ‘a foi, Pour ja be; shall w toi, Oui, le ver thee, Yes, — loi, Pour ja bey shalt ‘w foi, Pour ja [bey shall w sort Ya sé -pa - r6_ fatoholdshim a - part sort il faut su - bir_ heartscan ne'encas neler maisva ten-ga - ger nit-ed be to thine mais va ten-ge - ger nit-ed be ‘ thine mais va fon-ge - ger = nit-ed be to thine va ten-ga - ger id be thine mais va ten-ga- ger nit=ed be to thine ciel, veil-le - ra_ Heavin cer shall watch mais va ten ait- ed be to mais va Con-ga ! ger nit ed be fo | thine mais va thn a | bok nit'- ed be ine mais va fen-ga + ge ait-ed be to | thine 287238 N¢ 19. Finale. Andante moderato. Juliet. Gertrude. Paris. Gapulet. Sopranos. ‘Tenors. Chorus. Basses. Andante moderato. (J Piano. oieTil-le, ebde auxvoux du fi-an- 06 qui tai- met Le. ciel va vous u- daughter, yield thy heart, lovehim whodoth | a - dore thee! E - ter - nalare the nir par des nouds é- ter - nels! De cet hy-men bé- ni’ vol ties that your love shally in — vei Now is the hour su - preme_ of 2 = =_: AS ci Tin-stant su - pré - met Le bonheur vous at - tend au_ pied des wedded life be - fore. thee! Sweet the joys that a - wait thee at_ yon ena ? saints au -tels, Le bon-heur vous at-tend au pied des saints me al - tar blest, sweet the joys that a-wait thee at_ yon al- -tar ? Moderato. a pee sse08Andante. Juliet. haine est. le ber- a -ges ‘tis the = =—— de cet a-mour fa - tall this fa-tal love hath bred! == Un poco animato, cueil—— soit, mon lit _nup-ti - al! grave, be mar'- riage-bedL——______ tf t =< Juliet. og et - re-viens & toil” Ah! sou-te-nez-moi Juliet! Whathast thou done? Ah! _—_Let me not sink! ss2082 cel-le! Quel-le nuit m’en-vi - ron - ne? et quel-le voix mup- falling! ‘Why so dark all a - round me? What are thesevoic-es —* pel -le? Est-ce la mort? calling? Can it be death? dieu! ‘welll. (dazed) Coryshea) Capulet. Ju-li-et- tel! oma fil I To My Ju--liet! «My daughter! abl__ ‘mor-tell24g Gortrud Adagionge Morte! Dead! aris. jus - fe I, Morte! , ius - te Denti Gespairingly? Pm Capulet. te Chorus. jus - te SOPRANOS. Gra-cious “Morte! Dead! ‘ENORS. “Morte! pial eineee Gra Heav'al _— Dieu! Heavnl___ TO (SF Curtain)248 Act V. N9 20. Entr'acte. Moderato. (d=e0, Piano. nf (Organ) P > om. (Curtain soa) Adagio.No 208, Scene. Moderato. _Recit. F. Jean. F. Laurence. Eh bien! ma lettre Ro-mé- 0? 'Tis you! ©‘ Hath Ro-me-o my note? Piano. At-ta-qué par les Ca-pu - lets, vient dé - tre ra - me-né bles-86 set up-on by the Capu - lets, was wounded there,and borne a - way, Dansle pa-lais de sonmai-tre, et nla pusacquit - ter du mes-sa - in-to thehouse of his mas-ter, fail-ing so to. de - liv-eryour mes - F, Laurence. ge. Voi-oi Ia let-tre! 6 fu-nes-te ha- sard! Quiunan-tre messager sage. Here is the let-ter! Oh, untoward re- turn! Let one this very night