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 an Essay on the Story of the Opera by W. J. HENDERSON oo G.SCHIRMER New YorkROMEO AND JULIET. Fuse ravonueo ar sue Twtiras Lesious, Pans, Are 27, 1Béq. Characters of the Drama, With the Original Cast as presented at the firet Performance. ATOUIB Tort ter ac tects Sopeone et Mme. CARVALHO STEPHANO | |. Soprano |. | Mme. DARAM. GERTRUDE. . |. Merzooprano - | Mme. DUCLOS ROMEO Tresor : lM. MICHOT TyeaLT ei ie vesee ear teC ata FUGET, BENVOLIO | |. | Tenor 2) M.LAURENT MERCU IO... |. Baritone 1M. BARRE PARIS... |. . Baritone lM. LAVEISSIERE GREGORIO | | |. Baritone. | -M. TROY (jeune) CAPULET | | | | Basso cantante . TROY FRIAR LAURENCE : ‘M. CAZAUX THE DUKE M, CHRISTOPHE Quests of tne Ca and Retainers of SCENE, VERONA. Act L—Caputer's Patace. Act IL—THe Ganven oF Juuier. Act Ill.—Twe Ceut (OF FRIAR LAURENCE; THEN A PUBLIC SQUARE BEFORE CaPULET'S PALACE ‘Act IV.—Juuer’s Cramer. Act V.—Toms oF THe CaPuLeTs. “Romeo and Juliet.” CChatles Gounod was born in Paris, June 17, 1818, and died in that city, October 18, 1893, Roméo et Juliette” occupies the second position of merit on the briet list of his operas, the first place, of course, being awarded to ‘‘Faust”. The excellence of the libretto of the lutter 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“Romeo and Juliet” had tempted many opera-composers before Gounod. Among them may be mentioned Dalayrac, Steibelt, Zingareli, Vaccai, Bellini, and Marchetti ‘while Hector Berlioz had made it the subject of a dramatic symphony. The librettsts 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, fr 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 libretists 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 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- stituted, 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, a very remarkable faculty of reiteration, to attempt, successfully, such a repetition of similar episodes 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 frst perform- ance is certainly a demonstration of the limited power of his imagination; but, outside fof the ranks of geniuses of the first order, such as Shakespeare and Goethe, no one hus 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. In the 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 ofthe first rank.It would be uncomplimentary to the reader to tell the familiar story of * Romeo and Juliet”, but itis necessary to outline it as itis 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 isin progress in honor of Julie's début in society. Juliet is formally introduced by her father, and subsequenily expresses her happiness in the vocal waltz. To the ball, 8 maskers, come Romeo, Mercutio, and some of their friends. The first meeting of Romeo and Juliet takes pice, 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 interview of the lovers is briefly interrupted by the passage of 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 till the fall of the curtain, In the fol= owing 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 slain. "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 Julie’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. Ibis not necessary to enter into a detailed consideration of the music, which is very well able to speak for itself. In the first act, the most melodious und pleasing numbers are the solo of Capulet, the song of Mercutio describing Queen Mut ‘waltz-song, and the first duet of the 1overs. The waltz-song is a mere exhibit aria, 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 little too sentimental and not sufficiently passionate, but it is melodious and 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 lacks the theatrical vigor ofthat 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 jour’, isa finely dramatic piece of composition, and ranks withthe best products of ‘writer's imagination. In the remainder of the opera the only things to which especial attention need be called, are the charming orchestral accompaniment to Friar 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 Thédtre Lyrique, Paris, April 27, 1867, with Mme, Miolan-Carvatho as Juliet, and M. Michot as Romeo. The role of Juliet hs been one of Mme. Adelina Pati’ 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, Mile. Bauermeister as the Nurse, M, Jean de Reszké as Romeo, M. Edouard de Reszké as Friar Laurence, M. Plangon as Capulet, Signor Gromzeski as Mercutio, M. Castelmary as the Duke, and M. Mau suiere as Tybalt, W. J. Henvensox,Index. Overture-Protogue . Vérone vit jadis deux famille rivales (Chorus) * ACT IL ® vole (Chores; Juliet, Paris, Tybalt, Capuiet) 9g ‘4 Ballad of Queen Mab Mab, ia reine des mensonges (Mercutio) Fd 3 Arietta. Jeveux vivre dansleréve uit) |p 4 Madsigal’ || Ange adorable Galiet, Romeo) s 5 Finale . | | Quelqu'un! C'est mon cousin Tybalt Juliet, Romeo, Tybalt, Mercutio, Para, Capalet) 64 ACT nL, 6 Entracte and Chorus Mystérieux et sombre... 2 Cavetinn + L'amour, ou, aon atdeur a trouble (Romeo) a & Scene and Choruses Hélas! moi le hate! (Jaliet, Gertrude, Romeo, Gregorio) 88 % Duet. . . Onuit diving, je timplore Jaiet, Romeo). 103, ACT IIL, Yo, Entracte and Scene Mon pire, Dieu vous garde! (Jliet, Romeo, Friar Laurence) 119 homme & ton image (F. Laurence, ec) 126 smaitre (Stephano) 135 s2, Teloand Quartet i Chanson 13. Floale (ofthe duele) AI ah! voici nos gens! ut ACT IV. % ‘Val jetai pardonné (Juliet, Romeo)... as Juliette ait Te ciel sot oust Galiet, Gertrude, Capulet,F. Lanrencs) 200 6, ‘Mon pare! tout maccable (Juliet, F. Laurence)» 208 " Dieu! quel frisson!uliet) ss sat, BALLET. 18 oa : te ae ae ea as cs O Joiiette,sois eureuse? 222] dae » Mafile,chdeauevoux ) )] oo) ) age. ACT V. 20. ae caesar a3 ao Eh bien! ma lettre Romeo? (F. Laurence) 4 2. ‘sSinmber 5 rat 348 a2, Scene and Duet | Crest iA! Salut! tombeau! Guliet, Romeo) | aeRomeo and Juliet. Overture-Prologue with Chorus. cee CHARLES GoUNoD. Sopranoslall| = ‘Tenors. Chorus. Ba ° ae = ta, Copyright, 1897, by @ Schirmer (nc) Copyright renewal assigned, 1925, toG. Schirmer (Ine) 13203 Printed inthe UA.1920(Curtai . ptises) Andante. J: 60 Ser — Peers", D i) ese) *) SOPRANOS ell, Vé-|ro- ne + vit ja Two jhouse-holds, — no-ble| Vélro- ne vit ja-| ‘Two fhouse-holds, —noLble| Olpasses. Vé-ro- ne vit fa- Two households, noble t s ccompto 0 1 iy 9) Sa fa # *) This Chorus isto be sung Dy all the artista who interpret tho sa of this eeore ss03ss203 dis deux fa-mil-les ri - both, in Véoro~ nals fair dis deux fa-mil-les both, in Ve-ro~ na's dis deax fa-mil-fes Fi - both, in Ve-ro- nal fair De leurs guer- res sans Civil blood now je Ieurs guer - res sans Civ-il blood now is De leure guer res sane Give Sood now fe ad Tid pe ieaiiies itea ai#| oon -y, From an-cient | grudge Toric, Les Montart gun,? Stine” Fron anetent | Ege va-les, Les Mon-tai - gus, city,” From an-cient grudge fin, tou-tes deux shed, with out” remorse fin, tou-tes deux shed, with out remorse fin, ton-tes deux shed, with- out remorse ter le seuil de ses pa found"the traf fic of our ter leseuil de ses pa fpund the traffic of our ter leseuil de ses pa- lnis, found the traf-fic of our play. (Ogeh, es Ca-pu-| break to new Yes Ca-pu- break te new] Tes Ca-pu- break to new En-sanglan - On ti ~~ in- sanglan - pit On. this, we ta - les, En-sanglan - pit = yz) On this we comme un. rayon ver- ‘From forth the fa - tal ‘omme tin fayon ver-| From forth the fa ~ tal Comme tn rayon ver- ‘From forth the fa - tal peal.eit brille en un ciel do - Ioing of foemen so di -| Ta = ge, vid = ed, meilbrille &m fn eel ao | loins of foomes so di + ra - ge, vid = ed, meilbrille en un ciel do- ra - ge, loins of foemen so di - vid - ed, Ii tet et Ro-mé-o Ro - meo and Ju - et Ro-mé-0 Ro- meo and Ju - Het et Ro-mé-o0 Ro = meo and Ju fai liet ant le nom qui Tes ou -| tra - ‘ge, hate, were naught to them love -| guid ed, ant fe nom qui Ite, were naught Jes ou -| tra - ge, "ae! ‘to them love -| guid ed, ant Je nom qui les ou - tra - go, hhate, were naught_to_them love - guid - ed, ‘208 Su-- et -te pa-| rate Take their life chil-dren | twain, juli - et-te pa -| rut, ‘Take their life children | twain, ja fi = et te pa rat Take their life” chi-dten twain, im. ie a -|mour les en - flam. qual [love their hearts did Tnmime a - Fore - qual jour Jes en - flam love their hearts did Unméme a - mour les Fore - qual en - flam- love their hearts didp eres lsort tunes - tet &- yeu gles 00 - Hapzless lovers! | Full, sad was their Isort fu - nes - fet a - veu- gles co - Hap-less_lov — ers! Full gad was their Sort fu- nes - te! a= veu- gles co - Hap-less lov - ers! Full sad was their >—$—== Ces mal-heu-reux 2 - (mants pa yé-rent de leurs Fear - ful and strange the | pas - sage of their death-mark'd Ces mal-heu-roux & - |mants pa - ye -rent de leurs Fear- ful and strange the | pas - sage of their death-markll Ces mal-Heu-reux a - mants pa- yé-rent de leurs Fear -ful and strange the pas - sage of their death~ mark dim. Nes 86 - Qui vi rent th fice heart — The hate of fin des hai-nes sé - cu — Qui vi - rent Jone their sac ri- fico heart ~ The hate of am. fin des hai-nes sé - cu - Qui vi - rent one their sac-ri- fice heart - ‘The hate of(Curtain) nai-tre eurs a -| mours!_ a -ges could re -| movel_ nai-tre leurs a -| -mours!_ a -ges could re -| movel_ nai-tre leurs a - mouré!. 2 ges could re - movel— iz (On) oS "7 aa Be a dem eit asta P. ——bo __ ae pr | | | ! |ActI. NO1.The Capulets’ Ball. Introduction. Allegro maestoso. Juliet. Tybalt. Paris. Capulet. Sopranos. ‘Tenors. Chorus. Basses Allegro maestoso.(d-: 56) Dp Piano. (Curtain rises) 13808 Copyright, 1897, by G.Schirmer,SOPRANos. a|Lhew- re sen | vo rENoRs B|Switt hours of” [plea =| Vheu - re sen -| vo |switt hours of {pea Joy-euse et Pass_ to gay Joy- euse et Pass to gay sege— it | faut Ia sai -| sir, joy them |while on— they sage il | taut la sai - icy. them |while on they fy! fy!hell - lons les Ros = es are Cueil - ons les Ros - es are IPour_nous é Fair fac -es blush - ing, blush - ing, IPour nous & Fair fac- es et dans le_ plai when ai et (a all may all may en - 8 lai - din. a ae NEE ERAS 2 clo flush ~ elo = flush - aTENORS. Chor fan -[tae - que Hap - py masks that BASSES. Chour fan - tas - que a - mours Hop - py masks that fair_maid, Fe Jour ‘Ton—em - [pi - charm they shaded Half con - feeal De_ve - lours, Ton_em- pi - re. charm they shad ‘Half con ~ ceal- ing, eee x08ss208 cour | glis com -| pet — Le cour gilis ‘Aw ‘com = pel All ua Hearts in a Du haSOPRANOS. Von nous All ‘thy Nuit Fo - le null Night of fam) > ey, wan = ton night eee P are Va se Von nous sult! Le moins ten - Light foot Tove in - vite.Sweet laugh call = ing; eas Bt se pren - dro Dans Sense-en - thrall = ing Well Hm. Les at - traits! To her © witSOPRANOS, Lheu - re sen | vo Swift hours of [plea TENO! Lheu- re sen{ vo - Swift hours of [plea Pass BASSES. Dheu - re sen- vo P age— ot [fluff - joy them }while—on— they ‘sage il faut Ia sal Joy them fwchilo on they sage faut Ta sal Jey them while on they Pour.nous € | clo - Fair—fac-es | flush ~ vhy for Pour nous € {elo - Ta Fair faces | flush — Pour nous é ~ clo le Fair faces "flush - y for - |soy- euse et Pass to pay Joy - euse et e Joy- euse et Swift hours of plea Pass Ia_| joie et for -| bear, when Jcheil-tons les ro - ses Ros - es are {blush - ing, (Cueil-lons les ro - ses Ros - es are [blush - ing, Cueil-lons les ro - ses Roses are blush ing, ins_le_plai 4 sir. all_imay_en -| joy? lans le plai sir, all may en -| joy? dans Te plai - sir, all) may en joy? ee BCueil - Ions, foueil- Tons [Four nous, Swift hours, [swift hours Fly - ing Gueil- Tons, jeuell- Tons [Pour nous. syift hours, [swift hours Fly - ing ‘Cueil- Tons, dell -Ibns ‘Phar nous, Swift hours, swift hours Fly - ing Ta—|itie et [dans en -[Joy them fwhile Ts fioi et | dams they ea -[Joy them white dans le pla - sir, Te joie et damm while on the} ann en = joy them while 7. Jey hi sa208sa208 Cueil-lons les Roses are Be | eer, rae | tenet for - bear, ‘allo mag. bo in he_ pm «imagen dans Te plat at may Em ‘dans le— plat ‘all_—may—en dans te plai | all may ‘tn - dans le plai - ail may &n > ur nous é [Fair fac - es [Fair fac - 9 Pour fous @ fue ~ es lo flush “elo flush lo flush ing, ing, ate ing,Allegretto.(4.92) pballt I bien? cher Pa (que vous semble How now, my dearPa ~ sist Art thou gain eo —~, (24 Paris. De Ia £6 - te des Ca-pu - let Ri - chesse et beaut tout en- On our fest-al and fair ar - ray? What rich - es and beau-ty a - =~ razoan of 19 Ble Sont les” hd - tes de co pa ing Are with-in this pal- ace to coe Puri) Tybalt. Vous afen Yoy-ez pas la mer - vell-Te, Le (ré- sor u-nique et sans But as yet no note hast thou tnk-en Of the rar-est trea- sure we Paris Quon des - tine i Theureux Pa - ris Si mion cour en ~ "Dhut is dex-tin'd for thee a - lone! If naught yet my a 2 £ ‘co Fo som-meil-le, Le moment est proche oi Ta - mour Viendra Féveil-ler @ son heart could a-wak-en, Now the time is near that shall move It to a-wak-en un-to a ee ee Fe = — —> Tybalt. TI sé-veil-le - ra il s€-veil-le - ra, je Pepe - It shall yet a - wake; it shall yet a - wakeor I won - 19208x Lo stesso movimento, —, fe- gar - deal, Only” sect La la Voi - ci, con-dui - te par son by the “hand her father leads her pe - re. yon- der! ‘Moderato(d.26) Boy.ez Ios. bien - ve - —— I bid ye welcome =< ms, on i= on a. Ge Be de ll, my’ friends, y homel——— This “ie joy ful eclee Fo 2\ tatemil - Ie, La joie est de sai - son, la joie est de sal - bra tion, This day whereon ye come, this day where-on ye Le a > Pa-reil jour. vit nai-tre ma fil- fe! Mon eoeur bat de plai— And my heart beats high in e - Ia-tion, For on this day was sir en- core en y con geant! Mais ex-cu - sez ma ten-dresce in- dis - born my on - ly divehter dear! Par-don, I pray you, a fa-ther's fond dim. p - Voi-ei__ma Ju-li - et - te! ‘You see__ my daughter Ju - Het! Andante.(d-sa) Ta dun resgard in-dull gent. gard her in-dulgent-ly kerei ia0a tx *Re pp TENORS. (admiringly.) bel - Ie! ‘charm ing! ‘Abt quelle Est Ah! "she is BASSES. ‘An! quelle st An! she is bet — le charming! ait w-ne fleur now | vel pears like an op’- ning: | flow Fait u-ne fleur now- vel - le ears like an op’- ning flow- er Ah! quelle est ‘Ah! she is bel - Ie! charm.ing! sem-ble por- ter en el - Ie way kind-ly fate doth show-er 18208 quelle est she is bel Tel On lcharm - ing! Ske quelle st she is bel - Ie! On charm - ing! She tin ‘ight — Qui s'é-[pa-ndu-it au ma ‘That un -| folds in morning so Qui s'é- pa-nou-it au ma - ‘That un = folds in morn-ing so ah! quelle est Al she is bel - let charm. ingt Bl-le On her | Tou-tes les fa-veurs-du des. : tin Ev- "ry boonthatheart ean de ~ light. ‘molto = am. | —F B brewAllegro, 8 Aan! quelle est | bel te! quelle eat | fel- of Ant “she” ‘is |charming!" she ‘is | charm- Ling! TENORS. hi qhelie est | bel - le! quelle est | bel- le! Ah! “she is |charmingt she is | charm- “ing! BASSES. PP. Allegro, @evo.) & con - teal Gest son On-Ay' hear How the tones a les in-stru-ments joy - eux, jui nous ap - pelle et nous con- Mir-fsIy "ring and ” fis fow they in = Nite, woo -ing = ly“ble maitre 8 mos tees tora - vish mine eyes! peanuts -lants bend- “ing, ‘Tou me— fete In one, vis 208 Fa.28 gt mon &-me fe - And =o my heart all a Com-me Toi- seau sen - vole com-me Toi- Fain would it soar to gain fain would it28 Al=lons!— jeu-nes gens! Al- AU hall! mer-ry ment A aa bel-es da-mes! Aux plus-di- li - gents Cos yeux. pleins de bon-ny Ia-dies!Who will not_ be. won_Where beau- ty ar ~ flam-mes! Ces yeux, ces yeux pleins de—» flam- Be won, where beau - ty__ ar - ray'dLt A a Rar gusl pars ga con = 07s, Qu] gron-dent, gal Dow them, down fem, Biers SE? whos Sd ieee be Sf ~ Ea gron-dent,qui, gron-dent sans cos-sel Fé - tez_la_ jeu - nes-se! Fo - hid “ing, hore Chid ing for- ev-er! Fair youth is In” Th Yor, fair SI tez “la jeu - mos-se! Fé -tez la_ jeu-nes-se, Et place aux dan - youth is” in. fa~wor, fair youth ix In. fu voilMaxe aye for the Quireste % sa place Et nedan-se pas, De quelque dis- An-y la-dy here Whois dain-ty now, Shedothwear a28 gra-oe Fait 'a-vou thut bas! Qui reste sa place Et ne dan - se corn Up-on her toe, I vow! An-y | ia-dy here Who is dain - ty as, De quel-que "dis gra ce Fait 'e- veu tout basi Te- gret ox - ‘now, She: joth wear a corn Up-on her toe, I vow! —-By's_La-dyl My 2, ‘tré-mel Quand j€ -taismoins vieux, Je gui-dale mol - mB-me Vos 6 bats jo- dayfor “a inea-sure is gone, Tho’ gallantmore gay never vis-or put dou-ces pa - ro - les Ne me coutaient —_ rien! Que eal To. In-dysenr oft Ta iove-tale would tell, And ‘@a - veuxfri_- vo-les Dont je mo sou - viens whis-per-ing soft, I could please her right welll 12209=es Quem - por- s fol - les an ~ ~erl___ My beard Gone la - dy and prin-temps A ja~ ‘no more, My gay i> Sy ‘mais fa -né- Al-lons! jeu-nes gens! Al time is o- A halll merry ment! A ae gents Ces yeux pleins de won Where beau - ty ar - aD ses flam-mesiCes yeux, ces yeux pleinsde— flam- ray’d is! Be won, where beau - ty__ar - ray'd30 18208 St, ae Nar - gue! nar- gue! des. Down’ them, down them, grya- con = seurs, cblers © ally Wits EUSisgy who're S, ‘grondent, qui gron-dent sans cos-sel Fé - tez la— jeu - nes-se! Fe - id-ing,who're chid-ing for— ev-erlFair youth is— in favor, fair ae Yer la_ jeu - nes-cel Fe —tez la jou-nes-se, Et placeaux dan - youth is in favor, fair youth is_ in fa-vor!Make way_for the — seurs, Et place aux dan - sours, Et ball, make way_for the ball, make o>SOPRANOS. Rar gue!l nar-gue| des eur ut] grondéht, qu, | grondent, qu oven themdownthem, grum a re| chiding, who'e| chiding, who're PENORS s aie eee Nar- guell nar-gue | des — seurs, Qui | grondent, qui | grondent, qui Down themdownthem, gram all, Who're| chiding, who're] chid-ing, who're BASSES, S\N ~ af gron -dent sans [ces-set Fé - tons Ta fea - |nes-del Fé - [tons Ia jeu- hid -ing for [ev ert Fair youth ie in |fa-vor, fair fyovth is_ in gron-dent sans [ees-Se! Fé - toms Ia jew - |ues-se! Fé - [tons Ia_jeu- chid ing for ever! Fair youth is— in_ |fa-vor, fair [youth isin nes-set Fé [tons a jeu-fnes- se, BE place favor, fair youth is— In [fa vor! Make {way nes-sol Fé -ltona [e— jeu - place favor, fair youth is— In_|fa- vor) Make | wayN? 1 bis.Scene. ee A ‘Moderato. Mercutio. En-fin la placeest libre, a - misi____ Myfriends,we are a - lone, at last Piano. oy fon, non, vous V'a-vex pro- No, no,” for your word you Pour un in-stant_qu’il soit permisdé-ter son masque. Now I may doff_ my visor for a mo-ment on -ly. mis! Soy-ons prudentst [ - ei mul ne doit nous con-nai - tre! passd! Let us be-ware, for here to be known were dis-as -ter! Quittons cet-te maison sans en bra-ver {fe —mai- tre. Now let us leave the house be-fore we brave its mas— (octer po Mercutio.bi be 4. siles Ca- pu-letssont gens 4 se fii - cher,Cestla- che -té denous ca - I theythink wecame to quar-rel or de - ride, Weshouldbe cowrdswere we t0 ben ritmato. ‘Tempo moderato cher, Carnousa-vonstousli de quoi leur te-nir 8 - tel hide; ‘ry man of us has whereswith-al to cur them! Ss ‘Oui, nous a-vonstous 1 de quoilourte-nir AYs evryman of us has wherewithal to OTENORS.. Oui, nds €-véns fous li de quoiléur te-nir Ay, evctyman of us has wherewithal to JS BASSES. Oui, ndus &-vonstous 1a de quoileur fe-tir 18 ‘Ay, ev-fryman of us has wherewithal to curb ra203Romeo. Recit. Mieux elit va- Iu, ne pas nous mo - Bet-ter ty far,we ney-er had Meroutio. Andante. Romeo. (mysteriously) Ter & la f8- tet Pour - quoi? fai fait un re. ve! come to dis-turbthem! Fer why? T havebwen dream - ing! Allegro. présage a — lar - mant! ‘a warning of | doom! Grolly) * Romeo. (astonished) La rei-me Mab fa vi- si - tél Com ~- ment? "Tis from Queen Mab you've bad a call From whom? s820836 N@ 2. Ballade of Queen Mab. Allegro.(¢: = 100) Mercutio} Piano. PP lekgerissimo. 6, Pré- side aux son- sions, Of vain il- lu - 5 For- no des men-son-- = queen ofdreamsand vi wee Vue Te gfe, plus Te oe ne— Te Slons. -Eyox_ven” fine ~ en? Pe". ven” afgnt er thane the travers Tes - thro'night Ty. Ta nuit, H the skied Ey.pas - se, El - le EI- le pas - se, EI-le pass - es, Ev —er ev- er pass." es, ever —— Son char, ‘que Ta-to-me ra - Her team is of a-tom-ies pide ‘Kn-trai- ne dans ie - ther lim - pl twain, Her trac - es are than cob- web fin faitdu-ne noi-set-te vi-deParver de ter ~te,le_char-ront Lbs Far- car is from squir-el,the join-er,Andof a ha zel-nut ‘is made! Fora ppnals, sub-ti- le den - telle,Ont e-t€ dé-eou - pes dans Tai top’ a grass-hop-per's wingAnd a this-tledown ghring! Her friv be Te Dequel - que ver - fe sau- {fe - rel - le Par sono - er, A small grey gnat, hemade the — cov er, Thatshe may Te mou-che - ron! Un 0s de gril-lon _sert de well in the shade, A film is the Tash of her ae manche A son fouet,—— And the stock, che blanche a crick-et ~ bone; Est "Twas a prise au ra-yon qui st - panche DePhoo-bé rassem-Dlant__& wound fromthe rays of the moonWhenhighit shone in the sky. a —— —_ sa203Cha - que _muit, dans eet 6 qui - Ev ory night, “so iri — ly a= ge, Mab vi-- si- te, sur son pas-sa- ge, Lépoux qui re - ve de—veu che-rlod,Mab doth” wander, andwheresbektarried Thespousewill dream that beS_un= vago_ Et Ta-mant qui r6-ve da-mour! A son ap- pro-che, Inco mar- ried, And tho lov - tr dreameth of lovel And the co-quetteywhen Mab Is = — quel te He veda- fours et do tol-let- te, Lecmur-ti- san fait In cour- hhear-ing,Dreams of ap - par ~ el gay shel wear-ing,Suitors to” bow dream of ‘pres bette, Le po- 6- te ri-me ses vers! par- ing, And the rime-ster rim-eth his rime ra0a40 m— — vare en son gi - te som- bre,Elle ou-vre des tré- sor mi - ser, in sor - did slum - ber,Sees rich-esmore than he. NN nombre, Et la M-ber - té rit dans lombre ‘Au prison num - ber, And the pris-on - cell chill and som - bre,Brightens de ier char-ge de fers, Le sol - dat re-vedembus- free-domisray sub - lime! And the sol-dier dreamsof am-bus- ca - des, De ba- tail - Tes et des-to- ca cates, — Ofhenithsfive fath-om deep, and Spanish blades, . poco ritardgndo. EI - le Tul ver - so les ra-sa - des Wak - en by roar- ing ean-non-ades_— lle poco ritargando. ecece 3208Tau riers ppiyer or toy oi, quun sou ~ pir hod, Whom x seh Quand tu re - sont ar- ro - s¢s.— then sleeps > gala ef - fa - rou is com - pos - sur fa cou - ‘viergel elle ef = When soft thine dye” in slumber clos - ald she ty fleu- re ta bou- ip light-ly cross - = che Bt to fait re-ver de bai- sere! es, — Mak-ing thee to dream kisses then! ‘Mab, Tei-ne des_men- Mab) the queen of dreams andPré-side aux gon - «sions, Of vain il Ia ake — ge - feplus 1é- gb - fe que le vent Dé - ce - vant, Hight - er, e- ven light- er than the breeze Over the trees, Seas? travers Tes On —thro’night - ly Hi-le pas-se, El-le full, Bi-ie pas-se, _El-lo Ev-er passes, Ev-er flies, ever pass-es, ever fit, ‘File paa- flies, vier ase -“a O2bis. Recit. and Scene. Moderato. cit. Romeo. tht bien! que Ta-ver-tis -semént Me vienne de Mab ou dun Wellsaid! Now, be it _as_ it will,From Mab orfrom an-y good Piano. Recit. # misurago. no-tre Je me sens at - tris - tar-ry, For I feel. in my au-tre, Sous ce qui mest point Te fai-ry, In this house we should nev- er misurato. — Allegretto scherzando. eae BLereutioigstericy) 2 té dum noir pres-sen-ti - ment! ‘Ta tris - tes- se, eart a sad pre-sage of illt Of thy sed-ness vi - ne, Est de ne point trou - ver 1 - ef rea-son, , For if thy Ro- se - line were here, Gent au - tres dans le bal te fe-ront_ow-bli A hun - dred oth-ers here soonwill make you de Recit 1209er Ton fol_a-mour dv-cu Viens! ny Your fool-ish love, sil-ly Come! Allegro.d.96) ff Romeo. Moderato. int voy Ant "be- ex! e 6 = te Qui sembletn Fayondans la doldl_ ty, That beamslikea ray in the Mercutio. Quer-te done? What is yon? por tere-apeo! qe sult Hous Wy co chermelbe Shek pl the guard of y jem fy _theRomeo. (passionately) 10 des cleux! Quol-le clar-t6 mF the skies! What sudden ray tre- sor dic star meet mo-des- tel © 6 on du- ty! Ob, a a/ e/ a, daine ides sil-Té mes yeux! Je ne concnaieaais pas In bemu.té ve- ‘ine’ un-seals my wondring eyes! For nev-er did they et un-to benu-Wy a lereutio. i ‘ta — ble! Ai-jeai- mé jus-qlli - ci? ai- jeai- me? Bon! wteceal mine SA” ova fant “owe Hive *P" over Goodt Sf, dim. p TF : line au dia - ble! nous avions pré- yu ce- ine for- sak — en: we foresaw it long a - P Got Friends of Romeo. é . Nous a-vions pré-yu ce 4 ei! Nous, a.vions pré-vu_ ce ci! We foresaw "i tong a | go! We foresaw it long a go! le Basses.@ - Sans plus de sou- ci, Et la co-mé-di-e Se termine ain- © ver With nomore a - do; Had a sighing lov-er Ev-erheart so ‘it true? TENORS. P On Ta “con-eé | ai Chorus. Now hethrows her} 0 BASSES. p On Ta con-gé - dt ‘e Sansplas de sou ci, Nowhethrows hero © wer With no more a'- dos — fi-"e Se termine ain - [sil lov-er By-er heart t0° |true? di-e Se termine ain - fov-er Ev-erheart 30 t3203 Ht la co-mél Had a sigh-ing| Ht In co-mé- Had a sigh-inga Allegro.(d=96.) : H Sf, Voy-ons, nour. Ti ~ Ge, What will you, Nursey? Gertrude. Recit. on mattend, parle vi. tel Res-pi-rez un mo- Do be quick, they are wait-ing! Let us wait for a St; Sf Suliot. (carelessly) (teasingly) z 1 est-ce motquon 6. vi-te, Ou le com-te Pi-ris que lon cher-che? fs it metheyte a-voiding, Oryoung Paris, thecouty, theyre seeking? re ei cee cana nae EEE ==Caughing) Ant ah! Jo son Ant ab! My mind on Vous au-rez la, dit - on, Is per-le des ma - ris. A’ ver-y flowi! A flowt! How hap-py shallyou bel Ly jen vraiment au ta-ri- a- gel such a dream nev-er has tar-ried! ma ver - tu! jétais ma-ri- Why Ie dy mine! When I was your St (ont non jo_ne wux pas té-cou-ter plus in Noi_nol-— “Twill ‘no morebearthosong you wou! temps! Lais-se mon &- he, Iais- se mon sing! 0, let my heart, 0, SNo 3. Arietta. 40 Tempo di Valse animato.be Com> Ber, = maun tré - sort will re - store!Cette i-vres - se De jeunes Se Nedurehé- las! quun Hours en-tic - ing, Youth re. joie ing, Will all too soon be Puis vient Thew > oi fon pleu- ‘Tear - fal hours — Send their show. = Fe, _Leewur 0b “Ta - mour, cers When by love hieartsare won, ma tour! done! iag08ry Un poco meno allegro, ma poco. ‘sor! Loin de thi - ver mo = TO - se, store! Far, from the win- -ter snows, 2 Gas moi, lals- so moi _som-meil - ler, wake, donot wake me to-day; f * fit. =e, fes-pi- rer la rose A~ vant the rose, Let megn- joy the rose Ere~- she eee ro ‘Tempo I. de lef - feuil-ler. wither a - wayl P saz08Lt Dou- ce flam - = mo, Likes a trea - sure Sf =e dans ton a fond ty will guardaoo™N er ca Comme tré- sor Long- Naught Will ro-storé When.37 NO 3bis. Ree! Allegro moderato. Romeo. Le nom de cet-te bel-legn - fant? ‘The name of yon-der charming maid? Gregorio. Vous 1 - gno - rez?__ Allegro moderato. Do you not know? Piano. \2 Gertrude (turning round). Plaitil? Your will? 3 z (Crest Gertru- de. ‘Trés gra-ci-eu-se da-me! Pourlessoinsdusouper Jo Tt is Ger-trate. Par-don me, charming In-dy! Theyare calling foryou Be- bp eeuae Gortrade (importantly). Juliet. Romeo. Cbst bien! me yoi-ei! Val De grace, de-meu-rezi In-deed! I willcomel Gol __T_ pray you,staya whilel_ ‘erois qu'on vous 1é-clame. low, supper is ready. sse08se NO4. Madrigal i due. Moderato Julict. Romeo. Moderato (¢-60) Piano. %-do - ra - Ble, ‘Ma main — cou 1 a- dore thee, My hand un- = fane, en To-sant tou - cher, Pro - fanes but in meet-ing thine, rita ji-ma-gi- ne Que— nul a droit dapsiro- decmit for-ty Bln to sa-lute it with saxona tempo. 59 La pé-ni- Pil grim of- ) a, tenee Quil con - vient do milm-po- ser," fending, Deign tqim-pose a gen-tle fines ralt. a tempo. To-Go Lin Gino tra ee De ina tain” yor un bai - ser! ren ~ tial Wait pen-e - ten-tial On thy leave Par io Wal - S00) ——— — Juliet. jal-mez vos crain- fest Calm your "e - mo tiont =— |p Ye - le-rin_pros-ter- nd Los sain - tos vo ~ tion prayor-ful pil - grim shall pine,— Ben saints will ra08m8 ~ mie, Pour- vu quil ai - me, Ontdn — vi pardon hear him, Bre he im-plore them, If his a tempo, ‘Mais % sa bou-che La main qvil vine. Yet, asa fa-vor, Bair hand may ¥) fa. BS B tou-che Prudem-ment doit re—fu - ser never To his lip its will re - sign; a. 2 rail. an-te - res-se Quil im - plo- be fond ce = rovecen, Win a0 femse__- "3™ 3 atempo. Romeo. Tes sain - tes ont pour- tant ‘The snints have lips _as well, 13208Juliet. oe Pour pri - er seu - te - mentL_ ‘Theyem- ploy them in prayer!_ u- ne bou - che ver-meil - le and they sure - ly may use — them! And ates — = dent-el-les pas ia voix, qui leur con-seil - Je Un ar- will they nev-er hear a voice that in-ly sues them, Or shall an Juliet. (poco animando. rot plus ofé - ment? Aux pri- @ - res da - mour_ lew faith eam de - spair?_ ‘To all prayers born of love tileir c@ur reste in-eon- si- ble, Méme— on les ¢ -xau- ganfl— hearts will nev-er heark-en, Tho! well they hear the vow! s208rit. EH - xau-coz done mes voeux— et gar- dex im-pas-si - ble Vo - Oh, hear my ardent vow! And tho’ biush-es may dark-en, Still fr ? ‘Tempo. (molto determinato) Tuliet. Abl— Je mat pu men dé - fon — dre! Jat pris on Ani_ Ne no powr to ro fuse itl Now my = trefront rowgis - sant —un-movid be your brow! ‘Tempo I. (molto determinato) pnalto: jo pé-ché pour moll Pour a-pai-ser vo-treé - moll Yousplait- own the sin shall bel Mine let the sin ev-er bol Give it, Julict. erese. Romeo. i me le ren - dre? Non! jo Vai pris! lis - sez - le moi! Yous, me, and you will Jose it! Nol it is mine! Ah, leave it me! Nol—=— ont je Fai prist—— ‘The sin_is__ mine ——= 2 pris, ren - dex -{e moi! Vous Ib-vex pris! is mine! Ab, give it me! The sin is mine ay poco rit. cree, dim. = Non,je Vai prisl— laissez -le moi! lais-sez - it Taissen - le ‘The'sin_is_ mine,— ah, leave it me, ah, legve it ‘ah, leave it ss rite dime ‘Yous Ta vor pris ren-dea ~le moll “renvdes - le ender - Io Thesin is ming ab, give it me, ab, give it aah, give it —— ——— ‘poco rit. porese. rit. molto. lais- sez - le ah, leave it ryt. molto. ah, give it PP rit molto.“ No 5. Finale. Allegro moderato. Juliet. Romeo. ‘Tybalt. Mercutio. Paris. Capul Chorus. ‘Allegro moderato. Piano. Romeo. _Juliet. Romeo. jelqvunt Cost akon dou-din Tybalt! EM quoi! wus 0 comes? Oh, tis my cou-sin Tybalt! And you? who St St Juliet. Romeo (aside) 5 testa fitte du seigneur “Ca-yn - let! Dieu! are you? "I am Lont Ca - pcteth daughter! Heavas! alt. Pardon! Coui-ne, nos a-mis 66- ee St ser-te-ront nos {8-tes Si vous fuy-ex ain- si leurs re - gards! Venez dono! ve-nex friendswill all be go-ing If you do” thus withdraw from their sight! Come away! come a - 1ag08softy) done! Quel Est ce beau ea - lant qui stst mas.qué si vite En me voy-aut ve - sway! Who is yon fineyoung blade who quickly donnid his mask when Twas coming Juliet. Diew vous garde, Seigneur!_ 1_o not_know!_ Fair good e-ven, my lord! hire On di-rait qrilmé-vi-te! near? He appears! to avoid me! "je le re-con-nais & T_do know him well by his Taliet. (xith alaym) Ro-mé-ol__— Ro - meol_ ‘oh; ra ma hai - nel Cost ult ome = oT voi by my ha = tredt "Tis hel it is)” Roomeat Ff, F ar sur Thonneur!— Je pu-ni-rai fe traitre et mort Gat Gor - fai nel By my soult——_TM_puncish yon-der slave, and hisdeath sas - sur~edl 0888 ‘Adagio. Tuliet.(terrtied). était Ro-mé - of *twas_Ro-meo him - self! ‘Ani | dim. é F Bi toobarly soon env, gad tnown too eA.) PS) I) Bay oD SSSS— (absorbedly, with fixed gaze) Je fai tu thptbt— sans lo con- fa haine est le ber-ceau do cet a-mour fa— as} ha - tred is the cradle of thisfa_- tal reed 1 dB fared PD, —— st hat Si fe ne puis etre If T nev-er his may YDB,) RAD reba) te Be P, —— a |, hi, pe Te cer-tuell soit mon “lit up - a — be, me the grave, then a bride - bed shall ,os ed 2 waz) obi) tmaoa‘Tybalt. a __Paris. To vol - of he is therel__ ‘Tybalt. dono? © Romé - ol bers Ro -—smeole Est um orime & des She doth hate een a=pu ~ let est son Cap-u - let is herMercutio (io Romeo.) Voy = ez! oy ~ ez de quol air fu-ri- See there! see there! howwitheye all a- \@ NG Jo tromble de A With fu - ry Tm eux Ty-balt nous ro -gar-de! Uno rage est dans flameWere fol -lowd by Ty-balt: There'sa storm in_ the air. Capujet. va > - gel Quoi! par-tez-vous d¢ - ja? de-meu - rez— un ins - shak - = ing! What! will you leave so oon? Wait a while ere you tant— de - miew - rea tm tis ~ antl Un Sou~ por joy eux vousat= fo, wait a While ere you gol ‘There is yet “x banquet be — fend Un sou-per joy-euxvousat ~ tend! low, there is yet a banquetbe - low!pbalt. Pati - én - cot pati - en - cet De cet-femortelie of - fen - se Romé- Onty pa -tiencelomly ya - tenceThis mortal affront, Tseng it, Yonder 0, jen fais ser- ment, Su—bi- ra le ehati - Malesgugntor to ste, Soon shall” an - swerwith his fercutio. a ze Dy ‘ser - ve, si-len-cel Il faul u~ ser de pru-don-col Nat-tendons watch us! Be silent, Andrather pra - dent than violent! Let us not Gapulet. fol - le -ment— Un fu-neste 6-vo-ne-ment. que la in a- maze. Till the house he in a Dlazel Rowse a- = fe -to_ re -com-men-ce! Que ibn bole aque Ton dan-se! Au - tre- gain the sound of pleasurelDrain the wine-cup,tread the measure! Time bas Sessa nes sao70 fois, jen fais. ser -ment, Nous dan-sions plus vail - lam-ment, Nous dan - been, I swear to. you, When I ancl anddrank for two, when I emote Het Pas sions plus vail - lam - ment, Nous = sions plus vail - lam - damcli and drank for two, when I___ ancl and_drank for erese. ‘ment! ‘two! SOPRANOS. F) Que la | f% - te re - cbm-men-oe! Que boive et_que Yon Rouse a 1 gain the sound of |pleasure! Drain wine-cupgtread the TENORS. Que te_ re - comemen-cel Que boive et que Rouse the sound of (pleasure! Drain ‘wine cup, tread BASSES. Que Ia f@ te_ re - com-men-cel Que boive et_ que Rouse a - gain the sound of pleasure! Drain the wine-cup, tread208 @ plaisir fe quan Jey. at ours will oom Le plaitsir na quun Jay, ~ fal fours wilt soon Le plaisir nla quun measure! Joy - fel hours will soon ‘ment! Le on! Joy sir ba quun ours will Soon ment! Le on! Joy ‘sir na quun ours will Soon meni! Le ‘onl Joy sir oa quun hours will Soon ment! Le ont Joy = plai [sir na quum ul fhours will soon ‘ment! Le plai -[ sir na qlun cat ky - fol fours will Soon ment! Le plai ~ sir fa qian nt Jey fal hours will soon ment! gone, Let be im] ment! te- | gone, Let ment gone, be Let ‘mo - ment! be }gone, ‘mo ment! be | gone, Ter mi Let the = ment! ‘gone, be ‘mo |ment! be |gone, Tmo - ment! be | gone, Ter - mi Let the ‘mo - ment! be gone, ‘Ter - mi-(nons the [night Ter - mi -(nons the {night ‘Ter = mi~- none the night night night night Te a fa mut gai -| un gai - fy fa mit gai - run fai - fi AA Ta nuit gat - run gai - Ie ‘nuit gai - gai - ly nuit gai gai - ty ‘mult gai ~ gai - ty12208 nent! ‘Ter-mijnons lauit gai -fntnt? Ter-mi-jndns Ia iuit gai -pment! on! Let the faight rungai ly | on! Let the fright run gaily. | on! ment! ‘Ter -mitnons fanuit gai -jment! Ter-mi-fuons ia nuit gai-}ment! cont Let the fright rungai -ty_ | on! Let the fright run gai- ly | on! ment! Ter-mi-nons [a nuit gai - ment! Ter-ai-néns fa nuit gai - ment! ont Let the night rungai-ly on! Let the night rungai-ly on! ir nia_quun mo -[ment! Le plai -| sir aa_quun mo -[ment! hhours will soon be— |gone, joy = fal hours will soon be |gone, sir ma_quun mo -|ment! Le plat | sir ma.quun mo -[ment! hhours will soon be |gone, joy = ful__ |hoyrs will sqoa be— [ego sir ma quuun mo - ment! Le plai ~ sir ma quun mo - ment! ‘hours will ‘soon be gone, joy =ful_hourswill soon be gone, ons, ter-mi none night, Tet the night nons,— ter-mi -nons night, let the [night Mah ie ightGuiveume sulvre? Jo lo. frappe-demongantauvi- Nowietus follow! Foc! tellyeathat I wil noten- = 4 Capulet, it moi, je ne veuxpasdes -~clan-dre! tw men- Go tol’ 1 siy,youshall en - dure him! — Do you Laisse enpaixce jeune hom For how-ser you de - test ‘Tempo I. i = gno -rer what it will, de quel nom Hse nommel none shall dare, to mo - lest him! 19203" Je te dé - fends de faireun pi And I for - bid you to take a stepl. Sf bee - Tons! jeunes gens! Al-lons! belles da-mes!Aux hall, mer-ry men! A hall, bonny —_tadies! Who Cae iS Pius—dl - 10 ~ gents Con yeux pleas da— fiammes! Ges yeux, vrillnot__ be won Where bena-ty— ar — rayll is, Be won, Sf, zs as yeuxpleinsde— flam —- mos! deauty_ar - rays? ‘Nar - gue! nar - gue des cen - Down them,down them, grum - blers —l|r_ = y =~ ‘Sours, Qui grondent, qui grondent, qui gron-dent sans ees-sel FS - all, Whore chiding, whoke chid-ingywhoke chiding for. ever! Fair tex la— jeu -nes-sel Fé - ez la— jeu - nes-sel F® - tez la jeu- youth is in fa-vor, fair youth is_ in fa-vor, fair youth is_ in_ z > ae nes-se, Et placeaux dan - sours, Kt placeaux dan - seurs, it fa-vorlMake way_for the ball, make way_for the ball, make sn208“Bop. ‘Nar-guelf nar- gue Downthem,|Jown them, Nar-guel| nar Down them}downthem, lBass. ari Chorus. ‘Nar-guel nar-gue Down them, down them, 2 Lf ‘raignent {i - |vresde! dare not per_-|sev-er! Fajr ignent Ti ~ re dare not per = |sev-ert Fair ‘raignent Ti - vresde! dare not per - sev-er! drink - ers a — drink - ers “| eats, Qui all, "Who ofaignent, qui fare not,” who ‘eus, Qui efaignent, qui all, "Who dare not,’ who bu - veurs, Qui all, Who ‘raignent, qui dare not, who ~ Ta jeu-|nes-se, Fe yea outh is in | favor, fair youth is in— [dns la— jeu-|nes-se, FS -| tons th is in_ | fa-vor, fajr Fé - tons la jeu fair youth i Mare [Fray for tee | Salle? [piece aux dan seurs, Make | way for— the— | pall place aux dan - seurs, Make way for the* sa208 a End of Act I.8 Act II. ‘The Garden of Juliet. NO §, Entracte and Chorus. Andante. Tenors. Basses. 5 Andante. ()=120) pp _(Curtainrises Piano. PPrT) tn Romeo. Allegretto. 0 nuit!" sous tes ai - les obs- t= Oh night In thy shel-ter- ing (eas = { ‘Mercutio. (calling from without.) co-tee k-th te Ho-mé-o! pin-ions con-ceal” me Ro-ine-of bd. ey Romeo. ‘Obst te voix de Mer-bu-fi- of Co-Iai - Ta Se rit des blos- Ro-me-ol__'Nis_Mer ou-tio! I knowthevoice! He doth well,who jesteth atsu-res Qui wen re- gut ja sears, and never felt “2 Chorus. (behind the scenes.) ‘ORS, alys {6 fi-eux et | som- bre, Ro-mé Hendus dn - inal past Wan-dring atone and| sadly,’ To our he will not) re |ASSES. Mys-{6- Fi-eux et som-bre, Ro-mé ‘enous on -tend. pas! Wan-dting alone and sad- yy” To our he will not fe ~ ply! Aye [6 Feeux et | some fomé 10, enous en-idndjpas! La-mour se plat dans ring atone and| sad-ly, "To our call he will not re -[ply! Tq shadelove hid — eth Mys-{6~ fi-cux et som-bre,Ho.ihé- 0 enous én-tend pas! Lia-mour se plait dans Wan-d'ring alone and sadly. "To our call he will not re - ply! In shadelove hid - eth Yom-tfe, k-mbur de plait alins [Yom-bre, Puis-se l'amour gui - der glad-ly,” in shade love hid eth |giad-ly,” Well may he [now on love Yom bre, la-mour se plait dans Yom-bre, Phis-e la - mour gui - der glad ly, shade love hid -eth” glad-Iy,” Well may he now on love ta208Puis - se 1a - [mou gui - der Well may he [now on. love Puls - se Te - mour fui - der Well may he now! on love Paccompto. ad Tid. -PP stace. Puis- se Ia-frour gui - der Well may he [now on love x mourgul - Pals. se la- mour gal - der now on Well may he now on love pas! Puis - ge yt Well may he fa - mour gai - der may he now on fove82 No 7. Cavatina. Ya-mour! Ta-mour! ow, sonar - deur a troublé tout mon On fovel On tovel yy. for my heart inhis bondage is Plano. at ‘Adagio. (Jzs2,) ‘Mais quel-le sou-dai-ne clar-té re~splen- But what sud-den lightdoth mine eye now be - ———— ‘As-tre pur. et char - mantl Be of love thou the —atarl__NO 8. Scene and Choruses. Adagio. “Tulied appears on the baleony, where she leans with a melancholy air. Tenors. Chorus. Basses. Piano. od * . Un pogo, pl anlmatocd: 50) Hé - las! moi, le ha - ir!__ haine a-veugle et Bar- Ah -— HowcanT hate him! Ro - meo, why art thow 7 © -Ro-mé-o! pourquoi ce nom_ est-il le ‘Tis but aname! Why art thou he, this name t‘Ab-fu - ro-le, Deny thy name, re le mien Mi for~ swear! Ths tu dit? i jou - te Diunowur trop heu- Act thou mine? dis-pel__eviry doubt of a heart o- ver- dim Moderato, Iuliet. roux. Qui m’é-cou-te forprend = orets dans Tomi bre de la Joy'd! Whodoth listen, And surprise my dis - course in shad - ow of the —— Romeo. Syligt. uit? se’enthe nommant,fe di - ro qui Je suis! Nestu pas to-Mé-o? night? I may no lon-ger darotell thee_ myname - right! Art thounot Romeo?80 Romeo. Non! je neveuxplus T8-tre Si co nom dé-tes- té me sé-pa - fo de No! Never will Town it, If a name so ab-horrishall di-vide thee from tf pie toil Pour fai - mer, lais - se-mol ro - nai mel Call me lovel So may I a - tone it, Se Allegro. au = tre que moll. love on-ly _theet Juliet, _Reeit. Moderato. aniee tu sais que la nuit to ca - che mon vi- ‘Thou know-est, the veil of night. my face con- Molto moderato. sa - gel Tu le sail sites yeux en voyaient Ia rou- coal - eth! Thou dost know! If thine eyes to per-celve had theot El-le fe rendrait té-moi-gna- ge De la pu-re- How a burn-ing blush now re- veal - eth All the ten-der ——S ‘-afeu Tes vains dé - ‘tours! ‘mai - mes - Lov'st thou de mon cceur! Fare-well all vain de - tours! in my heart! Pp je do - vi- noCoque tu ré-pon~ dfas: he fais pas de ber- welll Do aot swear by the ‘Fell me tru-Iy If thou dost love me de ses fay-ons in-con- stants, Ji- ma-gi - ne, in-con-stant clr, so they say, lov-eth fol - ly, jure Gt Se rit des B- clai - re le par- ‘vows,and on love lightly won! And smiles on hol-low92 ‘ot dis-moi foy-a- fe - ments thi - me! love! If on-ly thou wilt say: love thee!” Bes tte * eros &t mon hon-neur se fie mu tien, Hevel— _—andwill con-fide my soul to._‘thine; peux fe fi- er & mol mo ly as on Heay-en a - bove__ ? me! Nac-cu-se pas mon ccur,dont tu sais le se- oret, D¥-tre Ié- thee! Yet lay not an-y blame on myheart, I en treat, Nor deem me a a poco riten, ma poco. ger phur Wa-velr pu be tai-re- Mais ac-ou- sola nuitjdont Ie voile indis- light, be-cause of love oer-lav-ish; Lay all blameon the night,that with veil indis- s320893 a tempo Romeo (yith fire) chet A tachi le mys te evant Diew qui mien- crest Didimy se-cret so rav to thee Tam Adagio. fo fen-ga = ge ma foil SomayHeavh be my stay!_ * moderato(du 6 loi-gne-toi! Hasten a - way! sm2084 °* Chorus ‘sonnel Fer -| foncke! no one! ‘Theres| no one per- sone! ‘Le page au-ra_ fui! ‘There’ no one! ‘The page never stay! bie on Te | don- ne, Le diable est pour | 1uit = tan con found him, For Sa - tan’ his | aid? ‘diable on te fon- he, Le diable est pour Ii! Sa = tan con -found him, For Sa- tank his aid! ain, dom - ne, Le diable est pour found him, For Sa tar’s his don - he, Le diable bt pour found him, For Sa - tans his Per P ‘There| Per tonne! ‘There’ no one! Le page ‘The page ‘Au diable on May Sa - tan con iableon le May Sa_- tan con-Le four-be, fe [ifaitre, At-ten-dait son|mai-tre! Le des-tin Ja The vil-lain, im -|pos-tor, Wait-ed for his | master! Nothing will a — Le four-be, le trai-tre, At-tendait son faire! Le des-tin ja- ‘The vil-lain, im~ pos-tor, Wait-ed for his _mas-ter! Nothing will a - coups!. Et demain,peut|-é - tre, Il ri-ra de welll What a tale the fooast-er’ May to-mor-row Joux Liar-rache & nos Et demainpeut-é - tre, Tl ri-ra de vail! For him it What a tale the boast-er” May to-mor-row nous, Et demfainpeutlétre,” fh fifa ‘Le fourbe! tell, What a tale the [boastier May to-mor - ‘The vilaint nous, Et demainpeut-étre, Ml ri-ra Le fourbe! tell,” What a tale he boasterMay to-mor ~ The viklaint trai-tre, Le fourbe! “Ie trai The vilisiat Im pos Ye tral Im pos‘Per - son-nel son-ne! ‘There no one! 20. one! fon-net no onel fui! Au diable fe |don-ne, Le diable est pour stay’! May Sa - con - found him, For Sa - tan's his fu diable le don-ne, Le diable est pour May Sa con - found him, For Sa - — tan's hiscrest. dim Au diate on fe May Sa - tan con - don found ne, Le ‘him, For don = found ne, Le ‘him, For Le diable For Sa - il aid! est pour tant “his For Tail aid! Le dlable For Sa - fest. pour tank his fin-ble, le Sa-tan, for dia- tle, Ie Sa- tan, for Le diable est pour tars his sae est pour tals “his pour Tui! his aid! pour uit his aid!98 Pia moderato. Gertrude. : Je qui par-lez-vous done? Gregorio. Who is he you be - rate? Din pa - ge Des Montai - Pi moderato. A Page OF Mon-ta-gue’ 2 3 g 2 Maitre et va - let Kn pas - sant_no- tre ‘Mas -ter and man Inder - pass-ing our seull onto - sé faire ou - trage Au sel - gneur Ca - pu - thresh - old have thrown down a gage To the head of our —sT* Gertrude, 5 “Vous mio = fuer “vous? Are you in jest? sur ma te - Give at - ten - 1220899 Allegro moderato. Un des Mon-tai-gus sest per - mis De ve -nir a -voo ses a — On this ver-y night we have seen A Mon-ta -gue with mock-ing Gertrude, —_ OE: mis A notre f@ - tel "Un Montai-gu! Un Montai - gu! mien Withinourman - sion! This ver-y night? This ver-y night! t sf p* Gertrude. pril viemngen renoas, at hin se np (ounteringly) lst - & péur vos befux | yeux que Ie traitre est te > hu? Was, foro kind | fa -vor he dared such a |ight? Chorus Est - ce pour vos beaux yeux que le traitre est Ye ~ nu? Was it for your kind favor he dared such a flight? \ ase & | nee Sf stent et cect B ee co - rel etsurma vi-e, Je vous le ferai murcher turn, then! __T can es-sure him, He shalllikemy fa - vor 80s5208 400 “droit, i, i droll, bi droit, go ill, 50 il, — de re - commen - cert Gis him! elt not come a - gaint jregorio. TENORS. ‘you, Nurse, nour = Tice, you, Nurse, si droit, si so it, 50 adroit Quil mau-ra pas en - in, 1) warrant you I'l Sug. On vous ‘That you “eroit!___ will St Pour ee + We be |$01 P, Bon - nuit, char - Now — good-|night, fair Bon - he ‘mult, char - man - fe nour- Now good - night, fair heart = en - — pues 4 Joignez Ia grace ‘os ver -|tusl Que Ie joincharm to] vir= (Web homely floret My thy Joi - gnez la grice 8 Vos ver - tus! Que— te Join charm to vir tues, home - ly store! May the 2 3 po 4 vous bs -[nis-te Bt con -| fom - de— les Montai gus bless thee | ev-er, And con. | found our_foes ev-er-fnore! fa vous bé - ais-se Et_ con - fon - de les Montai-gus! bless thee ever, And__con - found our foes ev-er-more! ss200102 Gertrude. Bé-ni soit le ba - ton qui (ot ou tard me ven-go— De ces eo- Ev-er blest beth cud-gel thatshallonce he fall - ing__— Up-on your ger Efer Juliet. Cest toi, Ger-tru-de? de. Tt thou,dear Gertrude? quins! iui, mondel an =~ ge! A cettoheu - re oom- backs! Ayy pretty dar - = ting! Tellme why, at this Je tat-tenddis! ‘You were not here! ment ne re-posez-vous pas? hour, you arenot in the fold? (After glancing around, sho reénters the pavilion followed by Gertrude) Romeo. reappears)108 No 9. Duet. © muit di-vi-ne! jetim-plo-re, lais-se moncwur & ce reve énchan- On night of rapture! I im-ploretheestill leave my heart inthisdream of de - Andante. 4 = PP. = 2s OC‘ 8 rains de miGvell - ler et wo-se cfoirgen-core a ta ré-h-li - fear I shulla - wake! I gaynot daroas yet boiievoia it a bis eatin y — _? cy be 3 Juliet. Moderato. Douce a ~ mi- ef My be - lov ed! >——_—_ "Tempo, puis & - dieu! Quel-quun i-ra demain te trou - ver-" \/ surton then good-night! ‘To - mor-row I shallsend ua-to theo: By all that is 18808104 Andante. Moderato. ‘a= met Si fu she veux pour fem-me, ho-ly! Say, if thou love me_tra-ly! Fais-moi di -re quel Jouf, —& quelle Let me know onwhat day, at what Ss P = hheu-re, enquel Hew, Je re-gardde Dieu notrey-ni - on se - fa bé - hour,’ inwhat place We inthe sight of God, in ho-ly bonds shall be u- Wh Je te li - vreriavie'en - tie - re, Je te li - vremavie tn- bel Un-to thee allmy life I ten -der, un-to thee alllmy life I HD ere ee) Tout fe quiet pas al All else be slighted, All, that is not of thee! t— — r2208405 si fa ten-dres - se Ne veut, de mot if thy per - sua - siog_ Will naught of me 7 fol - tes & - mours, con = jure a - lors Dut a fond light-o - love, do con - jure thee then; — par eétishea - ro di ~ vres - 86, Ne me fo-vois — plia bby. this mo - ment of — pas - sion, Nev = er seo me more! Ey crese.,- mee - vois er see me S Lo stesso movimento. Teur,— a la dou - Yeur— qui repli - ta mes jours > spair, to the de - spairthatlifewill ncer re - _movel__ Romeo. a Lo stesso rmovbato. P108 —— Je fe Taidit, Je ta - do fel Dis - si - T say again, I a-dore thee! Dis — pel ® da, ot, erese. = 2 sois Yau -ro - re, sos Tau-rore Ok va mon night Send before thee Send be - fore thy rays, ob 3 in. cour, oi vont mos youx sun re Jolee mine yes! * a. ne, dis - po- se de ma vi ly’ de - sire what-eer thou will ee tan, * Ton ame i- nds-sou- Wi all my soul with rap-ture "fill- 107 Lf ‘i ‘A mon Ame in-assol - vi - = = @ Toute = all my soul with rapture fill — = est, As the by or Ga. Allegro moderato. { oe * {(epoken) Juliet. aa Gertrude Juliet. On nfap-pel-le! She is call-ing! 4 th dé - jal Ah So "boar ~ eN bEN ED Gertrude} Sutiets WoPok) tromble Que Fonnous voie on - semble! fear me Thatshe may see thee near me! Plus bas!_ Be- ware! jcou-te - moll non pace gan Amoment morel_ ‘Noy vw i plus bas Plus bas par - Ie plus beware! ‘be-ware! Pray.thee;be - non, on ne tap-pel-le ‘no! Therésno one calling108 Allegretto .d = 100) un poco agitato. Romeo. Ant no fuis pas en co- re! Abt lin-ger yet_a._mo-ment! AL ne fuis pas en-co- rel Lais- = se ma main Ah! lin-ger yet a mo-ment! Let me yet hold Joliet. ‘Ant Ton peut nous sur-pren dre! At y_sur-prise us! Soub-Ii-er dans ta — maint ‘hy dearhand in. my own! a pr t iP Juliet. a> ‘An! Ton pout nous sur-pren-drel Lais ~ se ma main ‘Abtsomeone may sur-prise ust Let. me withdraw pay aa raeos109 “erese. - SEehapper de ta main A - _diew!__ my hand _fromthy own! Fare - well!__ A - die Pare- welll pee rl a tempo. oreno. dieu! a - diew welll Fare - yell! De cet a - diew Of this fase - well an fee «i De cet a - dieu si Of this fare - well 50 atenpo. P——== | oreno. Quasi anaante. olto ritenuto. alte tae y a temp crese. SF moltoritenuto. 2=e Se oe pe 7” douce est la tris-fes - se, ‘Que je vou- draistedire a - dieu jus-qua de - ten - der is the sor- row, ‘That were fain tosay farewell un-til the 2 - Se irieet fae SS SS 6 douce est la tris-tes- se, Que je vou-drais tedire a - dieu jusqui de - ten - der is the sor- row, That I were fnin tosayfare-well _un-til the ‘quasi retenu. im gine a Sa tr pats SSS SS = = P—= |ereso, =—— ieee Sy140 0 tempo. corer. - De ect a - dieu douse OF this fare. well__ teen st latris- tes - se, Que ris the sor- row, That De cet a - dieu douce est la tris - tes - 80, Of this fare - well ten - der is the sor- row, That ——— dim. juste je voudrais fe dire a - dieu, que jo voud-raiste dire a - T were fain to say fare. well, that were fin to say fare - ae: Je voudrais T were fain dire say, a - dieu, que jo voudsrais te dire a - fare- well, that T were fain to say fart rit. a tempo. dieu jus- qua de - maint De ect a - dieu welt"un- il the dawnt of this fare well $0 dieu jus-qua de - maint De cot a dieu well until the dawal of thisfare- well 80 colla PP, iss03,a est In fris- tes- se, Que je voudrais te dire a- dieu der is the sor. row, That I were fain to say fare-well_— est Ia tris-tes- se, Que je voudrais te dire cu der is the sor- row, That I were fain to say fare-well__ rit. - jus - qua de - ua: til the dawn, rit. = ater fus- qua de - va. til the rit, - - Seas rit. = a tempo. fis qua de - main ‘mi the dawnt rem ate jus-quva de - maint un - til the dawn!: rit. - a tempos 18208a2 Allegro moderato. Tulit . Main-te - nant, 8 tendup-pli =e, My be - lovd, I nowim-plore thee, Adagio. ars! Polirquoi fe rhppe- gol But why id I re- Ant eru-el - fel ah! efu-el - et Abt how cru = el! Ah! how cru - el! eee cn — = — —Pigasic: —S Allegro moderato. ais - je? 3 li - et A peine es- tu pres call thee? fol - ly! For hard - ly art thow 2 mois que soud-ain mon eur Tou - bli-e! fe te vond-Fais par - turnld, Than my heart for - gets it whol-ly! I would, — thou wert sszoa43 Lo stesso movimento. pastrop loin ce-pendant___ Comme un oi-seaucap-tif que yet not too far a- way, but like a capztivedird, by ‘poco animato. fant___ Tient enchainé dun fil de soi-e, A pei - nevole- child-ish handcon-fined, eld by a silken thread re- straining,Thatscarcebeginsto t-ii,dansTes-pace em-por te, Quelen-fant le ra - méne__a-vee deseris de fly,Andwouldwing to the skysThanthe child drawshim down,— him joyful-ly re- ‘Tempo I. f. 1p ‘Tant__ son a-mour Ja - lowx_ tui plaint In li-ber- So lov-ing-jeatous he, The cap- tive may go #2 aim.AN Allegro. freel___ Romeo. a en = 00 Stay. tong - las! i le faut Ins! must gol ert but a lit-tle SS” = dieu! Fare - welll ‘Moderato. SF polto ritenuto———— e det i douce est Ia tris - Of this fare — fetwotte rit. der_is_the a ES os Beet a a oe his fare ee a Modetarés x ——= ss208Syolto ritenuto, — rene. fe vou- drals te dire a — dieu jus-qtia de - that T were” fig, to say fore - jyoll “until the Que je vou- drais te dire a - dieu jus-qva do - that T were fain to say fare - yell “un- til the f pes — p a tempo. crese - - ‘a - dieu si douce esta fare- well 50 ten = der is eel — sores. - a - dieu si dowce est Ia fare - well ten - der is — <4 oP Vou-drals dire 4 dieu, fue were fain. fire - well that Vou-drais dire a - diew,—— que were fain say fare-well, that dim. rit. a tempo. f= maim — the © dawn fii-drats fe dire 8 = dew Jus - que T were fain’ to say fare- well un — dawnt je vou-drats te dire fea jus q T were fain to say fare- well un - til fe the olla voce. PP. sa208116 ceta - diew Si douce est Iatris-tes-g0, Que jevoudrais te of thisfare-well so. ten - der isthe sor-row, that I werefain to De cota - diew si douce est latris-tes-se, Que jevoudrais te of re-well 80 ten - der isthe sor-row, that Iwerefain to rit. = a tempo. rit. = a tempo. irea-diew jus - qi jus-qva de- main, al _ say fare a = til un direa-dieu jus - qua Jus - qua ‘ayttrewell un - til ‘un - til rit, rit, ate dee alate net the” daw: a teny je - main! the dawal, at a sne08a7 Andante. Pp mm come al principio dell atto. ‘A-diew mil-le fois! Farewell for a while! Ps Te-pose en Besweet thy sou- ri - re den-fant sur ta bou- che ver-meil - le On thy lip ros-y red be _a smile ev- er beam- ings eam encesoee ao J-- Rt 13208Dou - ce- ment vien-ne se po- ser! the smile for thy lov-er be, ————— = ‘Et mur-murant en- cor: Jetaime! & ton o- reil - Ie Murmi-ring a-gain‘'I love thee!”A-gain nearthee in seem - ing! 6 ee ee aa. ® Sa. * * om # 8a. * poco rit. a tempo. bri. ge des nuits—— te por-te ce bai - ser breezes of night bear on_my kiss to 00g rit. ee ae (curtain) = it « 2 * snt08 Sa. End of Act II.Act III. 19 ‘Tho Cell of Friar Laurence. N@ 10. Entr’acte and Scene. 1st Tableau. Moderato. Tulict. Romeo. F Laurence. Moderato. Piano. ie Ten Greer IReionin TLC PPmene Moderato. sne08sat po- ret Dieu vous gar - d Dieu vous mor-row, bo- ly Father! Fair good ——= F. Laurence. Reeit. D Ehtquoi! le jour & pei-ne Se le- ve. et le sommeil to Hownow? The day buthard-ly is break-ing,Andslum.ber fleesthine fuit? Quel trans-port versmoi te con- duit? Quel amoureux sou-ci th eye? Why to me so enr-lydost hie? Whntcares of ove compel thy Vous Yavex de-vi - némon pi- re, cest fa You divine it a - righymy Fa-ther; it is t920812a ‘Quel nom prononeez.- ‘Phat name T have for- Lamour! on - cor Tin-di-gne Ro-sa- li - ne. ‘Tis love! A - gain thlun.wor-thy Ro- sa - line? Moderato ¢ misurato. vous? je ne le connais pas! Lait des &- got, andwith it all my woe', a borne on ,> sou - vrant A la elar-té di the "soul aswakesin light di iS Se souvient-il en- cor des. ombres di-ci- Can it) re-mem — ber stil]_____ the ploomleftere be- 4 sso iq. *a * abgere. 4h 123 bas? Ai-me-ton Ro-sa- li-ne,ay-ant vu_Ju- li - of - low? Canone love Ro-sa- line, hiv-ing seencharming Ja - F_Laureng Romeo. (Prtor dutict. followed hy Gertrude) te La voi - elf tet? She is herel__ Quoi? Ju-li-et-teCapu- lot? What, Ju. -liet Cap-u-tet? Sf My be- lov. Mon i - me Capye- My soul in-vit - ed je le voist__ __mabouche est ahu et - te! Mon pe- re, thine! TI behold thee! My lip shallbe silent! My Father, — ly saz00Yoi-ci mon 6 - poux!_ Vous connais - sez cecaur que je lui be-hold__ my spouse! You knowthis heart that un - to him T = ne; Devant le don. A son amour jo aban, . ~ fer! Insight of prof - fer! Un-to his love my life 1 F. Laurence. ‘Ouit dus s6- je_affron - As! tho'blind’ be their nous! vows! ciel uw - nis-soz - heav'n hal- low our ——=—=—=—T be a —— by veu-gle co - lb- re, Je vous pré-te- rai mon se- for une a giv- en, 1 will lend my aid to you ire when of-fense may be = fe 13008125 cours; Puis-se de vos mai - sons la hai-ne sé-cu- lai- re S%. now; May centuries of hate; thathathyourhous-es riven, Be Go Gertrute) Tol, veille au de - hors! Nurseywatchatthe door! teind-reenvos jeu-nes a - mours!. ‘Témoin do vos prow quenchid in the fove you a - vow! ‘To wit-nessyourpro- - ses, Gar-dien de vos ten-dres - ses Quo Ie Sei- = ‘To guard your ten - der pas - sion, May our dear ANGlowly) A ge - mouxt A gee Kneel to Hi A taeos126 NO 11. Trio and Quartet. Adagio. Juli Gertrude. Romeo. F. Laurence, noux! Him! Adagio. Piano. Pa. Andante. * Diew,qui fis Phommeatoni- ma- -ge, Et desachair et do son ‘Thou,whomadstman inThineown im- age, Andofhisflesh and of his sang cré-as la fem - me, Et, Tu-nissant & Thommeparle ma ri- blood creat - edst “4h = wan, And un-to him w - nit-edst her inbonds of ® - 6 Con-sa-oras duhautde Si- on Lourin-s6-pa. us oa mar - ringe,FromThyhea'n-lymansion above Pa-ri-fy and hal - low their427 om ————_Re - gar- de @unceil fa-vo- ra - What - eer their offense or transgres, Look onthem now in Thy com- ces ‘sostenuly, Sei- gneur! nous pro-met- Qh Lord! Tru-ly we Romeo. ra - ble Qui Sopros-ter- ne dovant toll passion, Whobow be-foreThineaw-fal throne! tons Wo-bé-ir 3 ta lof. vow to o-bey Thee a - lonel__ F Lauren: tons b-bé-ir ta loi. Tow te o-ey Thee ao net Bn- tends ma pri-8 - re fer- May He, Who ‘my pray_yon-der y Hey Whe my prags_yond Fais que le joug de ta ser-van- --te Soit un Grant, that theyokeHishandmaid bear th, Be a as128 —— @amour et de paix! Que la ver-tu soit sa ri- of Jove _un-al — loy'd! Ev- ermayvistue be her poursoute-nir, sa fai- blesseEllear-me son cur du do- Guid-ed and sustainit by Thy powrMayshe in Thy fear eer a- Sax f Juliet. sols mon es - poir! Sei - gneur,sois mon ap - pui, eer be my guidet 0 — LordlEer be my stay, Romeo. ‘Sol - gneur.sois mon ap - pul,—sois mon es - poir! be my guide! eee bide 0 Pp v E Lauronee. mail ta Que leur viellesse hen - reuse_ volo Leurs en- fants marchant dans ta May their old age be bless- ed, may Their chil-dren er walk in Thy = rav0aJuliet. ae) Sei-gneur! du wir pe 0 Lord, finn mor-tal Romeo, Yo-ie, Ht es on - fants de leurs én - fants way,’ And be their chil-drens chil - dren Thine EN 2 > "'Sei-gueur! du noir pe= © ‘Lord, from mor-tal ets ’ che cest toi qui nous de - fen sin guard us Thy powy di - vine! F Laurent che c'est toi qui nous dé - fends Que ce cou - plechaste et fi sin guard us Thy pow di - vinel—_ May this pair, ‘in love. chaste —Iy peta 4 Z Jy do-it, U - mi dans fa vic o'-ter- nel light = ed, For - ev, - er by marriage u - nit aa 2 3 3 3 Z 8 Sei - gneur! sur notre & - mouF daigne &-ba 9 omelatts eur ws, we pray, deign Thou to viene au roy-au-medes cleuxl— Sei - gneurl surndtre 8 - mouF daigne &-bais - ‘Thee, in, the Kingdom a ~ bovel 0” Lord, hear us, we pray, deign Thou to |430 2 Adagio. Andante. ser les yeuxl— bless our love! 2 F. Lauronce, (addressing, Romeo) Ho-me- ol tu thoi-sis Ju-li- et - te pour Ro - meol For thy wife dost thou take this ser les bless our ne fa. * Romeo, F.Laurenoe. (to Juliet) Juliet. ‘Oui, mon ret ‘Tu prends Ro-mé- 0 pour ¢ - poux? Yes, my Dost thow for thy spouse takethis man? ‘Oui, mon ‘Yes, my fa-ther! F. Laurence, + De-vant Diew, qui lit dans votre 8 In His name, Who know-eth all hearts, o———— F a7 Allegro moderato.(¢ :76) — Je vous wu - nist Re - le - vez T join your hands! Rise! ye are 1x0pur bon- bliss - ful pur bon - Dliss - fal pur bon- bliss - ful (Gertrude re 0 pur ton © bliss - fut erewe. molto, oye : : en © joie im-men-se! Le ciel méme a re - gu nos ser - © joy un-end-ingtHeavn it - self seals the bond cen — that orese. molto. _-9 _- ‘i a Ee) ‘i © joie im-me se! Le ciel méme a re- gu n08 ser - hourl 0 joy un-end-ing! Heavn it - self seals the bond een that oreno.malto. 5 - 5 : ee © joie im-men-se! Le ciel méme a. re- qu mos ser - LO joy un-end-ing! Heav it - self seals the bond een that erewe. molto, wae i : Ap © joie im-men-se! Le ciel méme - a re - qu nos ser - © joy un-end-ing!Heavn it - self seals the bond SINS Sa |e | erese. molto. : 13203,192 HS. » . _ereso. rete 22 pe Se ents a-mou-reux!— Dieu de bon-té— Dieu de elé-men- ee! Svis be death nev-er parts Fa-ther of love, gra-cious-ly bend-ing, Blest be ete os Sep . -TeixI— Dieu de bon-té—— Dieu de clé-men- eel rel ether of se greeny bending, [— Pp Se ae ‘Vments a-mou-reux!— Dieu de bon- te Dieu de clé-men- cel S0is bé - feat never parti Basther of lovey grciomly bending, Hist te eae ae PB eit et. ase ments a-mou-reux!_ Dieu de bon death nev-er parts. Father of propo = fre = Sa. oe = tl r PSS aera ni par deux eosurs heu - reuxl Dieu de bon- {é—— Dieu do elé-men-ce! Thou by two grate-ful Father of love. gri-elous-ly bend-ing, aw, P. greng. rctet a} if eat so W'ni par deux cosurs heu- roux! Diew de bon- tel Dieu de clé-men-ec! ‘Thou by two grateful hearts Fa-ther of love, gri-ciousely bend-ing, =f Sep ee acrewe ibe oes eS] pte == t E 2 bd ni par deux eccurs heu - reux!. Dieu de bon- tél Dieu de clé-men- cet ‘Thou by two grate-ful heartsl Fa-ther of love,-_gni-cious-ly bend-ing, 1—f, — P crene. 2 =e at eee ni yar deux cours heu - eux Dieu de bon- té— Dieu de clé-men- eet Thou by two grate-ful hearts! Fa-ther of love, grt-cious-ly bend-ing, ree, 4 SS fre =e # — ] a Veter tt 13208138 erese, molto. eee ritard. a tempo. eae ay Sois—_bé - nil sois 6 ~ Biest—— be Thou, — blest be Thou, — diest__ be g 0. molto. Bienes silare a tempo. foi BE sos be est e oa, — Dlest, be erese. molto. 2 rilard. a tempo, sols bé - blest be rutgrda Tempo, grese. molto, x Sois be = i sols ngieneant sols be Blest be Thou, — blest be Thou blest as Ff aw Un poeo pit len u 2 curs heu - reuxt_ Sols. De grate - ful heartsl_ lest be hearts Sols be Blest be Thou! ‘Wn poco Pid Lente, P. 13203134 Piit allegro. par deux curs heu - by two grate - ful DA deux coeurs heu - two grate ful Ta deux cceurs heu - two grate- ful 2A par deux ccours heu - by two grate - ful fe. ==> _Piiallegro. a F. eux! hearts! real hearts! ‘Tempo lL pol. anPublic square before the palace of the Capulets. 435 N12. Chanson. 24 Tableau. Allegretto. (d= 68) Piano. {(* P (Curtain rises.) Stephano. Recit. Moderato. fo _(sreing the baloony of Do- puis hi- er je cler-chgen vainmon mal-trel ist-il encore chez Ag Since yes- ter eve T vain - ly seek my mas-ter. Can Re still be with- ‘Recit. Moderato. = ‘the, palace.) ‘misurato, (arrogantly) 9, ‘vous, Messei-gneurs Ca-pur - lets?. ‘Yoy-ons un pew si vos di - ges a- in with a foe that he hates? Now let me see, Messei-gneursCap-n - ‘P_misurato. Tete A ma voix ce ma - tin 0 - sont re-pe lets, If you dare walk 'a- broad to re-pair your di razon430 Allegretto.(4=88) tf Poco meno mosso.‘d=73) ’ Que fais - tu, Dlan-che tour-te - Dain-ty dove, where-foreart thou a. 2 fa. a oa * Dans eonid de vau - tours? Tn a wild vul- ture’s_nest?. CoN * am, eM * dé - ploy-ant fon ai - le, ‘Tu sul vras far shalt thou be fly - ing, Foll’-wing love's Seen er