386 Le Nozze di Figaro, Act II ‘SUSANNA ‘afi ‘sentsa avvokato ai “tha ‘vinta ‘la ‘kawza Taci. Senza avvocato hai git vinta la causa. Be silent. Without (a) _ lawyer you've already won the case. (Hlush, you've won your case (against Marcellina) without the need of a lawyer because I've got the Count o wrapped around my finger that he will do anything I ask.) FIGARO ‘korea € halo Cosa 8 ato? What has — happened? Chey go off) ‘Scone Fourteen (The Count alone.) NO. 17 RECITATIVE AND ARIA COUNT ‘aie ‘vinta ‘la “kauza_ ‘koza‘sento Hai gia vinta. la causa! Cosa sonto! You've already won the case! What am I hearing! ‘in Kwal ‘lattfo kaldea ‘perfidi In qual_laccio cadoa Porfidi! In what trap have I fallen! Wicked ones! ‘io Vokko ‘di tal. ‘modo To voglio di tal modo 1 want in sucha manner to punish you... a pjatfer ‘mio a senttentsa sara A piacor mio la sontonza sara. At my pleasure the sentence ——_will be. (The sentence will be according to my wish...) ‘ma sei_—_patgassse ta vekckja pretentdente Ma sei pagasse la vecchia pretendonte? But ifhe paidback the old claimant? (But supposing he paid back the old woman (Marcellina) who claims to hold Figaro to his agreement to marry her if he can't repay the money she lent him...) patgarla ‘in Pagarla! In Pay her! In (Pay her back! How?... - he's got no money...) © 'ppoi ve anitonjo ke = a2 tun_—ijkonito——figaro_rikuza E poi ve Antonio cho =a © un_ incognito” Figaro. ricusa And then there's Antonio, who to an unknown —_—_—Figaro_ refuses This isan allusion to Figao's obscure origins. The Count obviously knows that be is « foundling, as will be seen later in ‘the next scone.Lo Nozze di Figaro, Act Il 387 di “dare. ‘sua_—nifpote ‘im —_matrimonjo di dare Ja —_nipoto in matrimonio. to give his niece in marriage. (Then there's Antonio, who won't want to give his niece in marriage to Figaro, a man about whom nothing is known.) ‘kwesto mente'kat koltivando —_lorgokko ‘a Coltivando Torgoglio —«di_—_qusto. montocatto. By cultivating the pride of _—this _half-wit.. (Now...if I just can play on the pride of that half-wit Antonio...) ‘tutto ‘un ratddsiro Tato un raggiro.. Everything requires a trick. (it all calls for some trick on my part...) ‘il Kolpp © fatto —colpo 8 fatto! The blow is done! (That's how I will strike the blow!) (The die is cast!) vero menitrio sospico felitfe un ‘servo ‘mio Vodro montrio sospiro, folice un servo mio? Shall {see while I breathe happy a servant mine? (While I'm alive, shall I soe a servant of mine so happy...) © um ten ‘ke imjvan_ de'zio ‘ei posselder. = do'vra E un ben che — invan desio ei posseder —dovra? And a treasure that in vain I desire, he possess will. (while possessing a treasure that I desire to no avail?) vedro ‘per ‘man datmore Vedro por man d'amore Shall Isee through (the) hand of love vnita a ‘um Vile otddsetto unita a un vile oggotto joined to a base object. (Shall I see her joined (in marriage) by the hand of love to a base servant) ‘Ki imme desto ‘un chi in mo dost un who in me awakened a (she who aroused me to passion) ‘ke perme “poi nona che per me poi non ha? that for me then she does not feel? ann taffarti ‘im patfe ‘Ah, nol Lasciarti = in paco Ah = nol_—_ Leave to you in peace .388 Le Nozze di Figaro, Act IIT ‘nom ‘vo ‘kwesto Kontento non vo! questo contento! Tdon't wish this contentment! (Ah no! I won't let you enjoy this happiness in poace!) ‘tu ‘non na'ffesti__aurdatfe Tu non nascesti, audace! You weren't born, bold one, ‘per dave a= 'me_—_tormento por dare a — mo__tormento! To give to me _ torment! (You bold Figaro, you were not put on this earth to torment me) © forse ankor ‘per ridere ‘i= 'mia_—_ifeligita © forso ancor por rider di mia_infolicita. and maybe even to laugh at = my —_ unhappiness. ‘asa ‘a sperantsa ‘sola Gia la sporanza sola Already the hope alone ‘detle vendetic tie dolle vondetto mio of the vengeance mine kwestanima —_Kon'sola © dgubilar ‘mi fa questalma —_consola © giubilar mi fa. my soul comforts and _ rejoice makes me. (The mere hope of my vengeance comforts my soul and makes me rejoice.) (He starts to leave but meets Don Curzio, who is followed by Bartolo, Marcellina, Figaro and later, Susanna) Scono Five Rocitative CURZIO* e— ddetfiza ‘alte EB docisa la ite: T's decided, the -—_ argument; (The case is settled;) © ppagarla © spozarla ‘ora amimuitite 0 © sposarla ora ammutite. "Bither pay her or marry her’, now keep quiet. (No discussion.) ‘tho part of Curso is traditionally done with slight stutter. The ost way to accomplish this to follow the phonetics x shown, taking edvaniagy of al the possble Phrasal Doublings, which cause th intial consonants to bo dovbledanywey. ‘Thus, &ddscsa lait, o ppogara 0 ssporarla ors emmotit. Bont dd sua eccellnza Duma possi ddur. 1! tection, sa mmr oe Liat the sttering tote taialva only, string during tho onan sextet would use problems with eect mustal entrences.