Mi

lusinga il dolce affetto

Alcina: Act 2, Scene 3 (HWV 34)
G.F. Händel

                 
         


Recitative

         
  
Ruggiero

     
   
Chi scuo preal mio pen sie ro, se tra di to pur son, o s'o do il ve ro?

  
      


        
Aria

     
   



   
Andante larghetto  = 110


Ruggiero

            
             
            
Mi lu sin gail dol ceaf fet to

                
 
                 
    
        
  

                             
        


 
7

 

                           
con l'a spet to del mio be ne. Pur chi sà? Te mer con vie ne che m'in gan

               
             
 
            


                                               
  


12

 
                      
nia man doan cor.

        
  

   

                                 
 
          
         


18

 
            
             
                     
Mi lu sin gail dol ceaf fet to

    
     
   
                           

      

             

               
           


24

 

     
        
con l'a spet to del mio be ne, Pur chi sà? Te mer con vie ne, che m'in gan

                                

            
                  



  
                                     
 


29

     
ni, che m'in gan nia man doan cor,

    
   
               
             


               

              

                     
   


   
34



 
                      
               
che m'in gan nia man


 
                  
    
                  
       
            
Adagio a tempo


41

  
 
  
          
    
                  
do, che m'in gan nia man doan cor.

                
  


        
               
           


 
                


 
fine

 
47


 
   
  
Ma se quel la fos se mai, chea do rai,

                                 

      

              
 
   

  

  
        

               
  


             
53

     


  
e l'ab ban do no; in fe de le, in gra toio so no, son cru de lee tra di tor,

     
   
   
                         
    

              
             
  

  Adagio
    
          
a tempo


D.S. al Fine

 
58

         
son cru de le e tra di tor.

    
 
    

                     
   
 
                 
            
  