259 DON GIOVANNI Opera in two acts. Libretto by Lorenzo da Ponte, based on Tirso de Moline’s 7 Burlador de Sevilla Fitst performance at the National ‘Theater in Prague, October 29, 1787 CHARACTERS Don Giovanni, a libertine: bass/baritone ‘The Commendatore: bass Donna Anna, his daughter: soprano Don Ottavio, her betrothed: tenor Leporello, Don Giovanni's servant: bass Donna Elvira, a lady of Burgos, abandoned by Don Giovanni: soprano Zerlina, a peasant girl: soprano or high mezzo Masetto, hor betrothed: baritone Servants, attendants, musicians, peasant girls and men The action takes place in Seville, in the seventeenth century. ‘THE PLOT ACTI It is night and Leporello, pacing outside in front of the house of the Commendatore, grumbles about his unploasant work, having to serve someone like Don Giovanni, While he eats and sleeps poorly his master womanizes night and day. His musings are interrupted as a raging Donna Anna flies out of her house pursuing the masked Don Giovanni, who has just tried to seduce her. She tries to unmask him and ho fights her off. When the lady's father (The Cominendatore) comes out to defend his daughter, Don Giovanni kills him ina duel. Anna runs off to get help and soon returns with Don Ottavio, her fiancé, and beholding her father's body, bemoans her fate as Ottavio tries to console her with his protestations of love. Don Giovanni, now on the prow! again, encounters Donna Elvira, a lady whom he had used, and then abandoned. She is still lamenting her loss, and Don Giovanni cleverly asks Leporello to distract her, which the latter does in his famous recitation, reading from the catalogue of his master's love affairs. Don Giovanni escapes. “There isa peasant gathering in which Zerlina and her fiancé Masotto are celebrating their coming ‘marviage. Don Giovanni is immediately smitten by the pretty girl and manages to have Leporollo drog Masotto off while he makes his advances on the peasant girl. His progress is interrupted by the rv: appearance of Donna Elvira, who spoils his plans by leading Zerlina away and warning her about the Nbertine. ‘Momontarily thwarted, Don Giovanni runs into Don Ottavio and Donna Anna, the latter now dressed in mourning, and as he gallantly says farewoll and kisses her hand, Anna recognizes his voice as the man who tried to seduce her and then killed her fathor. She swears vengeance and enlists the help of Ottavio. She leaves and Ottavio sings about how much he loves her. At his palace, Don Giovanni toasts with champagne the revelty to come. As Zerlina and Masetto approach the palace to join the party, Zerlina asks Masetto to forgive her apparent infidelity. Elvira, ‘Anna and Ottavio appear, masked and cloaked. Giovanni tells Leporello to invite them in, while the three vow to punish the Ubertine. Guests begin to arrive and as the orchestra strikes up a minuet, Giovanni asks Leporello to distract Masetto and takes Zerlina off into his house. When the ght] cries for help, Anna, Elvira and Ottavio unmask and confront Giovanni, who manages to escape with Leporello.260 ACT IL Itis night and Elvira's house can be seen in the background. Giovanni and Leporello are having a mild argument, Leporello asserting that he is truly fed up with his master's behavior. Giovanni appeases Leporello with a few coins and then asks him to change cloaks and hat with him, so that he (Giovanni) may better serenade and woo Elvira's maid, who is the latest damsel to strike his fancy. They conduct this charade under Elvira's window, and whon she finally comes down, Leporello, feigning his master's voice and abetted by darkness, manages to take her off into the night, leaving the Don free to serenade his lady love. ‘When Masetto appears leading a band of peasants bent on punishing Giovanni, the disguised rake gives thom instructions to spread out, but keeps Masetio with him. Once the others are gone, he mercilessly beats the poor Masetto and escapes. Zerlina hears Masotto's moans and gently comforts him and helps him off the street. Elvira has followed the disguised Leporello to Anna's house, and now Anna, Ottavio, Zerlina and ‘Masetto, all of them mistaking servant for master, join in denouncing him. Frightened, Loporello finally unmasks and manages to escape. Elvira is furions at having been deceived once again by the Don. Loporello finds Giovanni in a deserted cometery, whore a statue of the slain Commendatore, suddenly comes to life, addresses Giovanni in sepulchral tones of impending doom. Giovanni orders the frightened Leporelio to invite the statue to supper, which invitation it accepts by nodding its head. In Anna's house, Ottavio again pleads his love but the grieving Anna asks him to postpone their marriage yet another year. In his banqueiting hall, Giovanni orders Loporello to serve supper, as a stage orchestra provides musical accompaniment. Utterly distraught, Blvira enters and begs Giovanni to repent but he dismisses her contemptuously. As she leaves, sho screams in terror ~ the stone guest has arrived for supper. Refusing to open the door, Leporello hides. Giovanni boldly goes into the corridor, but a moment later retums backing up into the room receding before the heavy-footed statue of the Commendatore, ‘The statue speaks: "Don Giovanni, you have invited me to supper.’ Giovanni orders Leporello to sorve supper to the statue. ‘The statue replies that "they who feast on the food of angels, eat no more the corrupt food of mortals." Now the statue invites Giovanni to supper, which he accepts by pledging his hand. The moment the statue seizes his hand, Don Giovanni is in agonizing pain and terror, and eventually is dragged down to hell in a burst of flames and smoke. ‘The other principals appear and sing a hymn telling of how this is the way evildoers end their days.Don Giovanni, Act I 261 act ‘Scone Ono No. 1 Introduction {it is night. Leporello is pacing in front of Donna Annds house.) LEPORELLO ‘notte —‘dgomo fatikar Notto © giomo faticar Night and day to slave per ki ‘sa cratdir por chi sa gradir; for one who —_ nothing can appreciate; (To slave night and day for one who doesn't appreciate it) ‘pjova © ‘vento soprportar piova 0 vento sopportar, rain and wind to endure, mantdsar ‘male e ‘mal dormir mangiar malo @ mal dormir! to eat badly and badly to sleop! ‘vokko fare ‘il dgentitwomo Voglio fare il —_gentiluomo, Twantto play the ~—_ gentlemen, © ‘nom 'vokko ‘pit servir ‘no ‘mn © non vogtio pitt sorvir, no, no! and [don't want any longer to serve, no, no! 0 tke Kkaro_galantwomo Oh, che caro galantuomo! Oh, what a dear gontleman! ‘voi ‘star “dentro ‘kolla ‘bella Voi star dentro colla bella, You stay inside _with the lovely lady, ed io fara ed io fara and 1 play tho sentinel! ‘ma ‘mi'par ‘ke ‘venga ‘agente Ma — mi par cho venga gente... But itseems to me that there are coming —_—_peoplk “nom 'mi ok ‘far non mi voglio far Idon't want to ((don't want them to hear me.) (He withdraws, as Giovanni comes out of the Commendatore's house, masked and wrapped in a cloak, trying desperately to keep an angry Donna Anna at bay.)262 Don Giovanni, Act I ANNA (holding Giovanni back) inon spe'rar ‘se ‘non muttfidi Non sporar so non mluceidi Do not hope, if you don't kill me ‘Kio ti Laffi fut ‘mai chio ti lasci mai. that I should let you escape ever. (Unless you kill me, do not hope that I will ever allow you to es GIOVANNI (always trying to conceal himself) ‘ona fokle intdamo ‘grid Donna folle indamno arid; Woman foolish, in vain you scream; ‘ki sono tw hom stra chi son io — tu_—_nom saprai. who am 1 you won't learn, LEPORELLO (coming forward) ‘ke twmulto 2 ‘ke grid (Che tumulto!... Oh che gridil (What tumult! Oh heaven; what screams! il padron in ‘nwavi ‘gwai il padron in nuovi_guail the master in new —_troublest...) ‘servi ‘al traditore sorvil al traditore!... Servants! At the traitor! GIOVANNI talfi © ‘tema ‘al ‘mio favrore Paci, © toma al mio furore. Be silent, and _—_ tremble at my —_ fury, ANNA Jellerats Scollorato! Scoundrel! GIOVANNI skonsiKata “kwesta Turia dispe'rata Sconsigliata! (Quosta furia disporata Rash woman! (This Fury’ desperate Tho Furies, according to Roman mythology, were daughtors of Night or of Earth and Daskness. Thoy were three in ‘number: Tisiptone (the Avenger of Blood), Alscto (tho Implacabl}, and Mogaora (the Jealous One). Thay were moreiloss goddesses of vengeance end punishod all ransprossors, aspocially those who neglected filial duty or claims of kinship, el ‘Their puishments continued afler death, ‘These Furies were known by tho Greeks as the EumantdiosDon Giovanni, Act 1 263 ‘mi 'vwol far pretfipitar Mi vuol far procipitar.)* wants to make me do something rash.) ANNA ‘kome ‘ffurja dispe'rata satpro persegwiltar Como furia disporata ti saprd porsoguitar. Like a Fury desperate I willl know how to pursue you. LEPORELLO ‘sta aveder ‘ke == il_—«dtibertino ‘mi fara pretfipitar (Staavoder cho ill_—_—tbortino? mi fara precipitar)) (One can see that tho libertine -—will make me _ do something rash.) COMMENDATORE (coming out of the house, sword in hand) ‘affala invdenno “batt meko Lasciala, -indegno! Batti maoco. Lether go, base man! ‘Fight with me, (Anno, hearing the voice of her father, lots go of Giovanni and runs into the house.) GIOVANNI ‘va ‘nom'mi'denpo “di puignar ‘teko Val non mi degno di —_pugnar teco. Gol donot deign to fight with you, COMMENDATORE koi pretend ‘da mme —fetddsir Cosi protendi da mo —_fuggir! Thus you wish from me _to escape! LEPORELLO potesssi aieno di kwa—_ partir (Potossi almeno di qua __ partir!) (Could 1 at least from hore get away!) (fonly I could get away from hers!) GIOVANNI Misoro! vuoi mori, Wretch! you want to die. (They fight. Tho Commendatore is stabbed and falls.) rh expression for preciptar ot fare un precipixio occurs frequently in the Mozart-DaPonto oporas. Procipiaio rally mans the obvious: a precipice. The word precipita is «verb meaning to precipitate, bu not quite In the English sens rath to "du somthing est as whon one goes to a precipice with the tntostons of doing somathing rash or foolish, like dling onosf barn, or eomtting sueide by jumping of, to roach the brink, sometime in old scores oF in oer recordings one finds molandrin, moaning *rogus' "rascal. Tho original Da Ponta breto, howaver, has iberino. Moco, tec, soco aro all old forins of Com me with me), con te (with Telian of this period. It survives patil sn Spanish In th three words rma Caltolc miss scaled the Vaele mecum (tho book tht goo “with me" ‘nd con so (with him). Its only usd In pootic ‘the sam, Le. conmigo, contigo, consige. The264 COMMENDATORE a sokckorso Ah soccorsol.. Ah, — helpl.. lassa'ssino Liassassin ‘The murderer. © al ° dal and from my “anima Tanima my soul Don Giovanni, Act I Tm tratdito ‘ma fe'ito mba forito.. has wounded me. ‘seno_palpitante breast leaving (me).. (The Commendatore dies.) GIOVANNI a tsa ‘kadide ‘il fagurato (ah! gia caddo il sciagurato... (AhI Already fell the wretch... affanmoza €+—agonidzante Affannosa 0 ——_agonizzante Anguished and agonizing ‘da ‘det ‘seno_palpitante gia dol sono palpitante already from his breast throbbing ‘vegigo ‘lenima partir voggo anima partir) Tsee his soul doparting,) LEPORELLO ‘kwal mi “kwal (Qual misfatto! qual What a misdood! What an ‘entro ‘il ‘sen “dail spa'vento Entro il sen, dallo_spavento, Inside my breast, from fright, palpitar ‘kor ‘mi sento palpitar cor mi sento. beating the heart I feel in mo. jo tons ke Marke ir Io non so che far, cho dir) T don't know what todo, what to say.)Don Giovanni, Act I Scono Two GIOVANNI (in a whisper) epo'rello ‘ove ‘380k Leporollo, ove soi? Leporelio, where are you? LEPORELLO (also in a whisper) ‘son 'kwi per mia diggratisja = ei Son qui, per mia disgrazia; = Evo? Tm here to my — misfortune; and you? GIOVANNI ‘son ‘kw Son Tm LEPORELLO ‘ki © mmorto'vi «0 Wektkjo Chi 8 — morto? Voi 0 =~ il_—_vocchio? Who is doad? You or the —_ old man? GIOVANNI ke ddomanda = “da_—=—Ubestja l= ‘vekchjo Cho domanda —da_—bostial tl ——_vocchio! What aquestion of (a)_ fool! The old man! (What a stupid question! The old man!) LEPORELLO tbravo ‘due impreze le'dsdsadre Bravo! Due imprese loggiado; enterprises charming! sfortsar ta Tikka ed amimateisar Sforzar Ja ighia ed ammazzar il To violato the © daughter. «and kill the GIOVANNI ‘ta voluto ‘suo “danino Uha volute: suo danno. He wanted it: too bad for him. LEPORELLO ‘ma donnanna = Koza voluto Ma Donm'Anna... cosa ha voluto? But Donna Anna... what did she want? GIOVANNI “ath ‘nom ‘mi selekar ‘viem —‘meko Taci, non mi seccar. ion moco Be quiet, don’t annoy me. with me ‘se ‘nom'vwoi | kwalke ikkoza aqkor ‘tu so non vuoi qualche cosa ancor tu. if you don't want some thing also you. {or else Tl do something to you that you will regret.) padre padro. father. 265266 Don Giovanni, Act I LEPORELLO ‘nom vo ‘aula sinpor ‘nom ‘pario ‘pj Non vo" nulla, signor, non parlo pil Tdon't want anything, sir, Twon'tsay more, (Leporello picks up his cape and lantorn and follows his master out.) ‘Scone Throo (Donna Anna and Don Ottavio come in followed by servants with lights.) ANNA a “Wel ‘padre ‘im —_—perikgo ‘in sokkorso——voljam. Ah! del padre in —_poriglio in soccorso ~—voliam. ‘Ab! Ofmy father in peril in aid lot us fly. (Ab! Let us fly to the aid of my father in danger!) OTTAVIO (with drawn sword in his hand) ‘tutto il'mio.‘saygwe verse'ro ‘sse—btzonna Tutto il mio sanguo versord so bisogna. All my — blood Twill spill if need be. ‘ma dove I _‘felterats Ma ov il scollorato? But whore is the scoundrel? ANNA in ‘kwesto ‘loko In quosto loco... In this place, NO, 2 RECITATIVO ACCOMPAGNATO AND DUET ANNA ‘ma kwal_ ‘mai ‘softfre siddei Ma qual mai_—soffro, © Doi But what ever offers itself, oh Gods, spettakolo —_fulnesto akfokcki ‘jet spettacolo _funestoi agli occhi miei spectacle tragic to the eyes mine? (Ah! But what tragic spectacle, oh gods, is offered to my eyes!) I padre ‘padre ‘mio mio ‘karo ‘padre 0 padre! padre mio!... mio caro padre! My — father. Father min‘ My dear father! OTTAVIO Stn some scores, one sees Signorg, Oltavlo, soaing that the Commendatore is hopelessly dea, offrs « word of comfort to his beloved by blurting out the word "my lady’. Howaver, the Da Ponte autogrph shows signore, suggesting that Otlavio ks not entirely convinced that the Commendatore is quite dead ye, and tras to addrwss him to seo If ho can go a responseDon Giovanni, Act 1 ANNA. a assa'ssino ‘mel trutfido ‘kwel‘sangwe ‘Ah! Tassassino mol trucidd: quel sangu Ah! The murderer killed him. that blood... ‘kel ‘vollo ‘into € = koperto ‘dei kollor ‘di quel volto tinto © coperto dei color di that face tinged and covered by the colors of ‘ei ‘non respira piv ‘redde ate Ei non respira pid... frodde ha lo He doesn't breathe any longer... cold are his ‘padre ‘mio karo ‘padre ‘padre atmato Padro mio! caro padro!.. padre amato! Father_min¢ Dear father! Father beloved. ‘io ‘manko is 'mora Io manco. io moro. 1 amfainting.. 1 am dying... OTTAvIO a sokkkornrete—almitfi ‘W'mio e210 Ah! —soccorrete, amici, i mio tesor ‘Ah! Succor, friends, my beloved. Yerkatemi ——rekatemi kwalke dor Gorcatomi, rocatomi qualche odor, Look for (me), bringme some (Look for and bring me some smelling salts, some spirits...) a “on tardate—donnan:na ‘spoza mika Ah! — non tardote! Donn‘Anna! sposal.. amica! Ah! Don't delay! Donna Anna Bride. i ‘dwola__estremo ‘la meskinella tide TH duolo._estrmo Ja moschinolla__uccido! The grief extreme the poor lady is killing! (The poor lady is being killed by hor extreme grief!) ANNA Ahi Oh! OTTAVIO ‘aa Finjyjene ‘datele ‘nwovi Gia Finvione Datolo nuovi Already she's regaining consciousness. Give her new (Sho's coming to already. Renew your assistance to her:) jmorous appellations like “my love smelling salts, some 267 “kwella ‘pjaga quella piage. that wound. ‘mmorte ‘membra mombra.. limbs... aj aiuti. help. "my beloved” have many variations in poate Malan: Mio amore is the obvious tnd the closest in meaning to “my love". Then there ars mio bona (r it's trineaed form mio ben or it inverted form ben mio), mio corleor ani (my het, mia vitevita mia (my ils), ie gioalgiosa mia ny jy}, and mio tasorftesore mio (my treasury), These will be an entire aia devoted to Otavio's treasurable lady love in Act I268 ANNA ‘padre ‘mio Padre mio! Father mino! orravio Yelate allontanate Colato, allontanate Hide, remove kwelloddsetto quell'oggetto that object Don Giovanni, Act I “akai ‘oki agli occhi from the eyes doirrore dorrore. of horror. suoi hors (The Commondatore's body .is carried off by the servants.) ‘anima ‘mia on'solat ‘ta Anima mia... consolati... fa My beloved... console yourself... take ANNA. “fuddsi_ krudele ‘fuddsi ‘laffa 'kio ‘mora artkio Fuggi, crudel fuggi! Lascia cho mora _anchio Flee, cruel man, flee! Allow thatl die also ‘ora ‘ke ‘mart othdio Kio ame ta Vita ie ora ch’s__morto, oh Dio! chi a mo lavita dia, now that is dead, oh God! who to me life gave. (Flee, cruel man! Let me also die, now that the man who gave me life is dead.) OTTAVIO ‘senti_ kor mio ‘de ‘senti ‘gwardami_ =n ‘solo Sonti, cor mio, doh! guardami un _— solo Listen, my beloved, please Look ate one sole ti parla ‘il ‘karo otmante ‘ke vive Ti parla il caro amante che vivo Is talking to you the dear lover who lives ANNA. ‘tu ‘sei perdon ‘mio'bene ——laftfanno ‘mio Tu — soi.. _pordon.. mio bono... Taffano mio. You are... forgive me... my beloved... the grief mine. le ‘pene ail tpadre ‘mio dove lo pone... Ah! il pad» mio dove? the sufferings... Ah! The father mine where is he? ortavio ‘i padre ‘laffa 9 kkara la rimemrantsa Tpadre.. _lascia, 0 cara, Ja rimembranza Your father.. leave, oh, dear one, tho -—_remembrance ‘ai ‘spor © ‘padre ‘im me Hei sposo © padre in me. Youhave husband and — father in mo, istante istanto; moment; ‘sol sol only ‘per per for you. amara bitter:Don Giovanni, Act I 269 ANNA a vendikar—3e il pwoi ‘Ah! vendicar soil pao, Ah! Toavenge if’ —youcan, ‘dguca ‘kwel‘sangwe oppor giura quel sangue ognor. swear that blood always. (Swear to me that you will always avenge my fathor's blood.) orravio ‘Yo 'ésuro kKokcki ‘woi To 'dsuro ‘al ‘nostro amor Lo giuro aglocchi tuoi, lo giuro al nostro. amor. Tswearit by the eyes yours, Iswearit by our_love. OTTAVIO, ANNA. ‘ke dguramento «9 ‘dei “ke =~ ‘barbara momento Che giuramento, 0 Deil, Cho _barbaro momento! What oath, coh gods! What barbarous moment! ‘a ‘ent affett © fents ‘vammi ondeddsando ‘il ‘kor Tra conto affotti © conto vammi ondeggiando il cor. Amonga hundred affections. and ahundred_—is(me) fluttering = my —_heart, (My heart is fluttering among hundreds upon hundred: (hey both loave.) Scone Four sof emotions) (it is dawn on a street. Don Giovanni and Leporello enter engaged in conversation.) GIOVANNI osu “spitfai presto ‘koza"Ywai Orsi, spicciati presto. Cosa vuoi Come now, hurry up, quiokly. What do you want? LEPORELLO leffar “di i's rat importante Laffar i cui si tratta importante. ‘The matter in question is_—_important. GIOVANNI “lo redo Lo credo. Tbelieve i LEPORELLO © importantisssimo E ——_importantissimo. Its vory important. GIOVANNI ‘mekko arjkora finifila Meglio ancora! Finiscila. Better yet! Finish itDon Giovanni, Act I 270 LEPORELLO dzutrate ‘non andar ‘iy'kollera Giurate non andar in collora. Swear not get angry. GIOVANNI ‘to ‘éguc0 ‘sul ‘mio nore Lo giuro sul mio —_onory, Tswear it, on my _—_honor, purke “nom ‘mi ‘parti “ael purchd non mi pari dol aslong as you don't speak to me about the LEPORELLO ‘sjam ‘soli Siam soli? ‘Are we alone? GIOVANNI o'vedo Lo vedo. Tecan soe that. LEPORELLO ne'ssun “yi 'semte Nossun, ci sonto? No one can hear us? GIOVANNI Via. Go on. LEPORELLO ‘Vi'passo ‘dire tutto liberamente Viposso diy tutto Iiberamente Cantyou tell everything _ freely? GIOVANNI Si. Yos. LEPORELLO ‘dugkwe kwando © koa Dunquo quando > Cosi, Wall if itis like that, ‘karo sippor paldrone a vila tke caro signor padrono, La vita che dear mister master, The life that (He now speaks into Giovanni's ear, but loudly.) ‘Commendatoro. Commendatore, menate monato you leadDon Giovanni, Act 1 271 ea Drikckone os briccono, is thatofa rogue. GIOVANNI (reacting violently, about to strike him) teme'rarjo ‘in tal ‘gwiza ‘Tomorario! in tal guisa. Reckless man! In sucha manner. LEPORELLO (cowering) e tl dguraimento E il giuramonto? ‘And the oath? GIOVANNI “nom 'so ‘ai duratmenti tat o'kio No so di giuramenti,—Taci, © chic. Idon't know of oaths. Quiet, orl. LEPORELLO “nom ‘parto ‘non ato © paérom ‘mio Non parlo non fiato, © pedron mio. Twon't spoak anymore, I won't breathe, oh master mine. GIOVANNI ko2i ssalremo amitfi ‘or ‘adi tum poke Cosi saromo amici. Or od un Like that we willbe friends. Now listen a ‘sai tu perke son “kwi Sai tu porchd son qui? Know you why [am here? LEPORELLO ‘non ‘ne so ‘nulla ‘ma esssendo “alba "kjaca Non ne so null Ma, — essondo Talba chiara? I know nothing about it But, being the dawn bright, (I know nothing about it, but since it is the bright dawn,) ‘non sa'rebibe ‘kwalke ‘nwovakorfkwista non sarebbe qualche nuova conquista? wouldn't it be some new conquest? io ‘lo'devo sdper ‘per 'porla ‘insta Io lo dovo saper per porla in lista, I must about it know to putit onthe list. GIOVANNI va'la ‘ke ‘sell gratdwom Valli, che soil grand'uom! Goon, but you're a great man! {ogeaph cost tad (90 Its) was used instead of Polbachiora. change made by an unknown hond. Tho ‘ironziter cow shows cos tard, but from my 40 yoare of listening to this operat heve always heard Taba chiara, The final Aocision will hiv to be made by the conductou/producer272 Don Giovanni, Act 1 sappi ‘kio ‘sono inmamsirato ‘dna “bela “dama Sappichio sono innamorato d'una olla dama, Know that! am enamored of a lovely. lady, © son “ferto ke mmama © son corto che mama, and Tm certain that she loves me. ta id “le parla “meko ‘al ka'zino La vidi, lo parlai, ——-moco al casino Tsaw her, spoke to hor, with me tomy little house ‘kwesta ‘notte venta quosta notte vorra. this night she will come... ‘sitto ‘mi pare sentir odor ‘di femmina Zitto: mi pare sentir odor di fommina... Silence... I think Ismell (the) scent of (a) woman.. LEPORELLO kospetits ‘ke odstrato perfetto (Gospatto! Che odorato porfotto!) (Darn! What sense of smoll perfect!) GIOVANNI athtarja ‘mi ‘par ‘bela Alleria mi par bella. By her air she seems to be beautiful LEPORELLO © ke ‘9kikjo. ‘dike (E che __oechio, dico!) (And what an eye, Tsay!) GIOVANNI ritiejamotfi ‘um ‘poko © skspramo——_terrren Ritiriamoci un poco @ —scopriamo —_torron. Lot us go off, a bit —and_—_ chock out (the) terrain. (Lot us go off a bit and soe which way the land lies.) LEPORELLO = (Gia Already (He's on fire already.) (hey go off to one side) Scono Five (Enter Donna Elvira in traveling clothes.)Don Giovanni, Act I NO. 3 ARIA ELVIRA a Kimi “ditfe ‘mai Ah! chi mi dice mai Ah! Who will tell me (ever) ‘wel ‘barbara dove quol_barbaro dovd that barbarous man where is he, (Ah! Who can ever tell me where that barbarous man is,) ‘ke per mio ‘skomo_atmai che per mio scomo amai, who to my shame I loved, ‘ke 'mimagko dif che mimancd di? who botrayed me of —_faith? (who betrayed his faith to mo?) ase Fittovo “Tempio Ah! so ritrovo Yompio, Ab! If Tfind again that impious man, ee ne into) aykor @ 80 a me non torna ancor, and if to _—me_hedossn'tretum _—still, (and if he still doesn't return to me,) vo ‘Tame ornrends ‘Sfempjo vol famo orendo scompio, Td like to make of him _ horrible slaughter, (Fa like to staughtor him horribly,) Ki Wo. kavare ‘ ‘kor vo! cavaro il cor. tohim I'd like to tear out the heart. ({ like to tear out his heart.) GIOVANNI (softly, to Leporella) waist “kwalke “bbelila Usisti! Qualcho bella Did you hear! Some lovely lady ‘dal ‘vago absbandonata pove'ina dal vago abbandonata... Povorina! by her swain abandoned. Poor little thing! tferkjam ‘di —onssllare “lsu tormento Cerchiam di consolare suo tormento. Ietustry to. console her torment. LEPORELLO Kosi ‘ane konsolo ‘mile e Cosi no consol millo ° Thus of them he has consoled athousand and (Thus he has consoled a thousand and eight hundred of them.) autotfento ottoconto, eight hundred. 273274 Don Giovanni, Act I GIOVANNI (approaching her) sinpotrina Signorina... Young lady... ELVIRA pe al chi da? Who is there? GIOVANNI ‘stelle ‘ke 'wedo Stolle! che vedo! Stars! What do I st LEPORELLO 2 bella ‘donna etvira Oh olla!’ Donna Elvire Oh, splendid! Donna Elvira! ELVIRA sei ‘kwi—mostro felon ‘nido dinigan:ni Sei qui, mostro, follon, nido d'ingannit... You're here, monster, criminal, —nest_of deceit. LEPORELLO ‘ke —titoli_kruskanti ——'manko ‘male ‘ke To ko!noffe ‘bene (Cho titoli_cruscan manco malo che lo conosce bone!) (What titles academic!” It's a good thing that she knows him woll!) GIOVANNI ‘via ‘kara donmelvira katate “kwella kollera cara Donn'Elvira, calmate quella Come, dear Donna Elvira, calm that sentite laffatemi ——_parlar sontite... lasciatomi park listen. let me speak.. ELVIRA ‘koza ‘pwoi ‘dice ‘dopo ation ‘si nnera Cosa puoi dire dopo azion si nora? What can you say, after (a) deed so black? Weal know that boa means lovely or bogutifl in Hlion. Howover, Oh bella! in this ease doss aot mean “oh, lovely Donna Elvira’. Oh boll! is ‘when one reacts surprised xpression often found in these bret and means "Splendit, "Wonderful, "Oh. ge sudden unexpocted sitution. “The Accademia dalla Crusca was the largest Itullan linguistic acedemy, founded in Florence at the end of the XVI contr, infont on prosarving the purl of tho Tain langage. Crsea ls means "ban, and the name of tha suid Academy sros meant fo sgt tat tas thao where god Ingngy tae (ho bra’) was sopra fom tho ad orb) Laporte esing the arm erecent to sg thw fc tht Evins rly chosen somo apt, cadomic pias to hurl a her fits tertDon Giovanni, Act I 275 ‘in kaze mia entri furtivamente In casa mia ontri furtivamente. In house mino you enter ~ furtively. (You come into my house furtively.) a fartsa ‘date ‘6 gucatmenti. «ei tzinge A forza darte, di giuramenti = @ = di_—_tusingho, By dint ofcunning, of -— oaths and of _ flattery, aerivi a sedurte or ‘mio arrivi a sodure il cor — mio: you manage to seduce the heart mine: minna'mori © knvdele Minnamori, © cmudole! You make me fall in love, oh cruel man! ‘mi dikjari ‘ua ‘spoza Mi dichiari tua sposa. You declare me your bride, © 'ppai markands ‘det: © del Yelo ‘al ‘santo ‘dritto E poi, mancando dolla terra @ —dol_— colo al santo. dritto, ' Andthen, flaunting of -— earth and of heaventhe holy law “kon enorme delitto ‘dopo wedi da “burgos tallontani con enorme te di da_—_ Burgos” fallontani. with (your) enormous crime, after three days from Burgos you go away. (And then, flaunting the holy law of earth and heaven with your enormous crime, after threc days you leave Burgos.) mabsbanidoni ‘i Tucci Mabbandoni, mi fuggi, You abandon me, you run away from m | © tals im ‘preda ‘al rimorso ‘ed ‘al pjanto © Mascé in proda al rimorso ed al__pianto and youleaveme in prey to remorse and of weeping | ‘im ‘pena ‘forse ke taimai koitants in pona forse cho tamai cotanto. as punishment perhaps for having loved you so much, LEPORELLO ‘pare ‘un r>stam‘pato (Pare un libro stampato!) She seems a —__book _ printed!) (She seems (to be talking as if from) a printed book!) GIOVANNI ° iy kwanto a ‘kwesto bi ‘le'mie raldsoni Oh! in quanto a quosto ebbi Te mie ragioni! Oh! Asto all © that Thad my purgoe i wcty in noxthora Spain reasons!276 Don Giovanni, Act 1 (Fo Leporello,) gE vero? Isit, true? LEPORELLO (ironically) ‘2 wero © © kke —redgoni “ort B vere. E cho ragioni forti! Its true, And what reasons strong! ELVIRA © ‘kwali ‘sono se ‘non ‘awa perfidja E quali son so non_latua_porfidia, ‘And what are they if not your perfidy, ‘le lededserettsa "twa ‘mail usto ‘elo Ta eggorezza— tua? Ma il giusto civlo the fickleness yours? But righteous. heaven ‘kio i tevassi per Tar le sue ‘le mie venidette voli cho titrovassi por far Io suo, Jo mio_vondott wished that I find you to cayout — its (and) my _—_vengeanci GIOVANNI e'wia ‘sjate ‘piu —_radyonevole Eh, vial siata pitt _ragionovol Comenow! Be — more reasonable. ‘mi pone a tymento kostei (Mi pone a cimento costei,) (She's putting me to (the) trial, this woman.) ‘se ‘non kredete ‘al tabsbro ‘mio So non credoto al labbro mio, If you won't believe the -—ilips.-—-mine, kredete a ‘kwesto galantwomo crodete a quosto galantuomo, believe (to) this gentleman, LEPORELLO ‘salvo vero (Salvo il vero) (Except the — truth.) (il toll her anything but the truth.) GIOVANNI ‘via ‘dite Via, dille Come on, _tell her LEPORELLO © 'koza ‘devo “dirle E cosa dovo dirle? And what must [ tell her?Don Giovanni, Act 1 277 GIOVANNI ‘si ‘ssi “ile pur ‘tutto a, dille pur titto Yes, yes, tell her ‘everything. (He loaves unsoon by Elvira} ELVIRA etbiben ‘fa ‘presto Ebbon, fa prosto. Well then, be quick. LEPORELLO ma‘dama veramente —“ig_—_‘kwesto ‘mondo voramente.... in quosto mondo truly. inthis world Kontfossiakozakwandofosseke SL “kwadro no'ne ‘tondo conciossiaquandofossocho" i ——quadro no tondo. since the square is not round. ELVIRA, faguirats kozi ‘ddel_ ‘mio dolor “doko ‘ti 'prendi Sciagurato! Cosi del mio dolor gioco ti prendi? Wretch! Thus of my — grief you make sport? (She turns around to talk to Giovanni.) a wi ‘stelle Wtnikwo fudsesi Ah, vo Stelle! tiniquo fuga Ab, you Stars! The wicked man has fled!... ‘dove “in ‘wal ‘parte dove? In qual parto?... Whore? Where to?.. LEPORELLO © laffate ‘ke Wada Eh! Iasciato cho ved Eh! Let that he go. (Eh! Let him go.) ‘ekki ‘nom 'merta ‘ke di uff perisjate Egli non morta cho di Iui_—_ ck ponsiate. He doesn't deserve that of him you should think. (He isn't worthy of your thinking about him.) ELVIRA I ffetierats ——miggatnino ‘mi tradi Tl —_scollerato mi tradi. The — wretch betrayed me. Mphis is a made up (ong) word by Da Ponte, to axpress Laporell's uneasiness a explining matte to the distraught Elvir. Thore isa word conciossiacosoch®, meaning "ines, a8 in the sense of "since a square isnot round..". However, tho bret translation yet Is the one used by my dear and brillant colleague and fellow-translaor at the Metropolitan, Susan Webb, ‘who in her translation of “Don Glovant in "The Matropoitan Opere Book of Mozart Operas” uses the following \withthatmaybewhenworeitso, {hereby se i with her kind permission in this footnote.278 LEPORELLO © konsoflatevi Eh! —_consolatovis Eh! Console yourself; ne ‘la prima ‘ne no la prima either the first or gwardate ——‘kwesto ‘nom Guardato quosto non Look at this not © “tlt 'pjena “dei tutto piono dei is all full of the ‘oni ‘vila ‘onni Ogni villa, ogni Every town, overy © tesimon dt a testimon di is (a) witness of NO. 4 ARIA LEPORELLO madamina a Madamina, i My dear lady, the ‘dele ‘belle ke delle bello che of the beauties that Don Giovanni, Act I ‘non siete ‘nom foste non sioto non fosto not are you, not were you and ‘tuhtima Yultima, the last. ‘pittjol “libro picciol libro; small book; ‘nomi ‘di ‘sue ele nomi di sue __ bolle; names of his beauties; “borg ‘omni pateze borgo, ogni paoso every country ‘sue douneske ——_imipreze sue donnesche —_improso. his womanizing enterprises. kattalogo © kwesto catalogo ® questo catalogue is_—_—this one amo il ‘padrom ‘mio amd il loved the (My dear lady, this is the catalogue of the beauties my master has loved) ‘uy —_-kattaloge ‘ekki @ = Ke fatto Un catalogo egli 3 cho ho fat A catalogue = it’ —is_—that-‘Thave made myself; osservate ‘kom ‘me ossorvate, con me. observe, with me. ‘in talja_seftfento © kwaranta In Italia soicento © quaranta, In Italy six hundred and forty, in Iatmapna duetfento. = trerftuna In Lamagna’*—duecento. = @-—tront'una, in Germany, two hundred and thirty one, ‘non sateete non sareto not will be you Germany in mortem Malis is Germania. However, one finds in older postry Lamcgna. For yours Leporelli used to say Almas which I mie say seater to sing fer tho word in, and porsonaly, prafr it. The Birenritrecore and tha original a Ponte libretto however do sy Lama, and the final decision is going to bo a mattor of choice by the conductor or conch,Don Giovanni, Act I “yfento ‘im frantja in turkia novantuna conto in Francia, in Turchia novantuna, ahundred in France, in Turkey ninety one, ‘main ispanna ‘son ‘mile e ma in Ispagna” son mille ° but in Spain, there are already athousand and vam ‘fea ‘kweste Kontadine Vhhan fra quosto contadine, There are among these country girls, kame'iere © tfittadine camoriore © cittadino, maids and city women, ‘van kontes: baronessse vhan contosso, _baronosso, there are countesses,_baronesses, marke'zane printfipesise ‘marchosane, prineipesse, marchionesses, princesses, evan ‘donne “donpi ‘grado © vhan donne ogni grado, and there are women. of every rank, “donpi fora ‘donni et dtogni forma, d'ogni ofa. of overy shape, of every age. nella ‘bjonda ksi a Intzantsa Nola bionda egli ha Tusanza Inthe blond one —ha—has_—_ the habit ‘di oda ta dgentitetisa di Iodar** la gontilezza; of praising her gentleness; ‘nella ‘bruna ‘la kostantsa nella bruna, Ja costanz intho dark one, her —_ constancy; ‘netla “bjanka a doftfettsa nella bianca, la doleozz. inthe very fair one, her sweetness; 279 ‘we tre. three. (Ho has the habit of praising the blond ones for their gentleness, the dark ones for their constancy and the very fair ones for their sweetness.) lan is Spagna. However, since the word in th Sprgna would be particularly difficult fr Halans accustomed to lots of vowels to lan facilitate tho pronunciation, making tin Ispagn rer than in Spegre. This is ealled ia comes after the particle in, tho consonant elustormsp i, ‘Therefor, leter iis inserted to some scores show Di lodara Ia gontilezes. This is wrong. The phrase should rend Di lodar la gentilecac, without that280 ‘wo inves Vuol dinvorno He wants in winter ‘ywal destate vuol dostato he wants in summer eta ‘grande a la_— grande is the large one a e la piccina a the litleone is Don Giovanni, Act I la gra’ssotta Ia grassotta, the plump one, ta magrotta Ja magrotta; the lean one; maestoza maestosa, majestic, onnorvetttsoza ognor vozzosa; always charmin (The large one is majestic and the little one is always charming.) ‘delle ‘vekckje ‘ta korkwista dolle vecchie fa conquista Of the old ladies. he makes conquest (He seduces old ladies) ‘pel piatfer ‘di porte pel i di porle for the of putting them pa'ssiom predominante passion prodominante passion predominant cee la is the non 'si‘pikika non si picca he dosn't care if she's purke purcha as long as Noi sapete voi sapeto you know (He leaves.) ‘asovim print{ipjante giovin principianto; young beginner; if “brutta. ‘se bratta, so ugly, if ‘pporti porti she wears, "hwel ‘ke quel che what sia she's ta gdnnetia la gonnella, a skirt, ‘a fa, he does, on (the)Don Giovanni, Act 1 281 Scono Six ELVIRA® ‘in kwesta Torma “aunkwe In questa forma dunquo In this manner then ‘mi tradi il © tkwesto il ‘premio mi tradi B questo il ~—promio. betrayed me the scoundrel! = Is-_—this. the = reward ‘ke ‘kwel ‘barbaro ‘rende allamor ‘mio cho quel barbaro rondo all'amor mio? that that barbarous man gives forthe love mine? a vendikar voXkkio Tinganmato ‘mio kor Ah! vendicar ——_voglio Tingannato mio cor. Ah! Avenge Iwish the betrayed my — heart, (Ah! I wish to avenge my betrayed heart.) ‘pia kei ‘Tug:ga ‘si etkorra ‘si'vada Pria choi fugga, si ricorra... si vada, Before that he flees,’ let me resort to. let me go... ‘io ‘sento. im —“petto ‘sol venidetta ~—=—palar rabibja © dispetto io sento in —_petto sol vondotta ~—parlar, rabbia © ——_dispotto. 1 fool in my breast only vengeance speak, anger and contempt (Lhear only revenge speaking within me, only anger and contempt.) (Sho loaves.) ‘Scono Soven (A Villoge next to Don Giovanni's palace. Peasant men and women are having a wedding celebration with dancing and music. Among them are Zerlina and Masetto, the bride and groom.) No. 5 DUETTO E CORO ‘ZERLINA" dovinetic ke Tate alla ore Giovinette, cho fate all'amoro Young girls, who trifle with love “non la'ffate ke passi eta non lasciate cho passi Tota; do not allow that pass the age; (do not let time pass you by) ‘se nel ‘seno vi ‘bulika il kore 0 nol sono vibulica il. core, if in your bosom boils your heart, "his socitative by Elvim is usually omitted in performance. Ste character of Zeina should be pronounced [dzertina) and not (seta. The later is « German choice, since in Corman, ell z's are pronounced (ts. In another opera (Ariedna Auf Naxos) the character Zerbinetta, which in Italian should bo {deerbinetis} is pronounced (serbinetza, but this isa Garman opera always sung in German, and therefore Germans will pronounce her name the German way, with e ts, which Is acceptable282 Don Giovanni, Act I i rimedjo vedetels “kwa il rimodio vedatelo qua. the remedy 00 it here. (Uf your heart boils in your bosom, you can see hore (in this wedding) what the cure for it is) ke pjatfer ‘ke satra Che piacer che s What pleasure it will be! cHoRUS Che piacor cho sara! La ra Ia ra la! MASETTO dsovinetti —_Leddgeri ‘ai testa Giovinotti __loggiori di tosta, Young men light of head, ‘non anfdate —dstrando kwa eta non andate — girando quae lk don't go about turning here and there; (Young fickle men, don't go roaming here and there:) poko ‘dura ‘de = mati la esta poco dura de! mati la fasta, alittle lasts ofa fool the holiday, (a fool's holiday doesn't last long.) ‘ma ‘perme komintfato noma ma por me —cominciato non ha. but for me _—_begun it hasn't. (but for me it has not yet begun.) ‘ke pjatfer ‘ke sara Che piacer che sara! What pleasure it will be! CHORUS OF PEASANT GIRLS La ra la ra la ral ZERLINA AND MASETTO ‘yjeni_ karina keatrino © ga'djamo Vieni, carina (caring), © godiamo, Come, dear one (dear one), and _ let us enjoy ourselves, © karttjamo e —_ balkijamo © saltjamo © cantiamo © balliamo © saltiamo, and — let us sing, and let us dance and — let us skip, vioni vient carino (carina) godiamo, che piacer cho sar Scono Eight (Don Giovanni and Loporello appear at the wedding scene.)Don Giovanni, Act I GIOVANNI ‘manko ‘male © partita ° Manco male a Oh It’s a good thing she Oh (its a good thing (Elvira) is gone...oh look,) ‘ke dsoventtu ‘ke hele cho bella giovonti, che bolle what lovely young people, what lovely LEPORELLO ‘ra ttante ‘per mia fe (Fra tanto, per mia (Among somany, by my _—_faith, ‘Vi sara “ewalke iekoza ‘anke ‘per vi sara qualche cosa ancho por there will be some thing also for GIOVANNI “kari almitfi "bwon ‘domo segwitate Cari amici, buon giomo. Soguitato Dear friends, good day. Continue a ‘Stare allegramente —segwitate a stare allegramente, seguitato a to enjoy yourselves, continue —to Ye ‘kwalke spozallttsio co qualche sposalizio? Is there some ‘wedding? ZERLINA ‘si ssinpore © ta ‘spoza ‘son Si, signore, © la sposa son Yes, sit, andthe bride am (Yes sir, and [am the bride.) GIOVANNI ‘me ‘ne kon'solo lo ‘spozo Mo no consolo. Lo sposo? Tm happy to hear that. The bridegroom? MASETTO ‘io per servirla Jo, por —_sorvirla. 1 to serve you. (it is 1, at your service.) GIOVANNI a bravo ‘per ser'vimmi ‘kwesto © (Ah, bravo per . sorvirmi; questo & (Ah, good to serveme; this is parlar ‘da galanttwomo parlar da galantuomo.) talk of (a) gentleman.) ‘gwarda guarda, look, “dont donne! women! mo) me) play, ob ‘wero true ‘bbwona buona good ‘dsente gente. poople. 283284 LEPORELLO (to himsel} Don Giovanni, Act I “basta "ke a matrito Basta cho sia marito! It'senough that he bea husband! ZERLINA a ‘mio. mazetto © ‘un Wom dottims Ah, il mio Masotto a un utom_—_dottimo ‘Ab, my — Masstto is a man _of the very best GIOVANNI o—ankio veldete Oh, —anchiio, vodote! Oh, also I, as you can see! ‘vokko ‘ke ‘sjamo aimitfi “i vostro ‘nome Voglio cho siamo amici. IL vostro nome? Twish that wo be friends. Your namo? ZERLINA daerlina Zorlina. GIOVANNI © ito E — iltuo? ‘And yours?!” MASETTO maze Masotto. GIOVANNI > karo “il mio ma'zetito ‘kara la ‘mia dzerlina Ob, caro il mio. Masotto! Cara la mia Zorlina! Ob, dear my — Masetto! Dear my — Zerlinal veribisko Ta ‘mia. protettsjone Visibisco la mia_protezione. Toffer you my —_ protection. (To Loporello, who is dallying with a peasant girl, who emits a shriok.) lepoelio ‘Koza ai i irbone Leporello! cosa fai B, _ bisbono? Leporello! What are you doing there, rascal? LEPORELLO arjkio karo patdrone exibisko Anchio, caro padrono, —_—ssibisco Also. doar, master, am offering my "kore hart. ‘a ‘mia prote'usjone Ia mia protozione. protection. php singer should observe the obvious change in addressing Masotto, Giovannl uses the formal manner with Zevlin (I vostro nome?) yet chooses the falar form with Masatto oa purpose (jl tw) to show his diminished respect forthe man he {nlends to cuckoldDon Giovanni, Act 1 285 GIOVANNI ‘presto va ‘kon kostor ‘nel ‘mio. paliattso Prosto, va con costo: Nel mio palazzo Quickly, go.—with_ them: To = my_—_ villa konidutfili ‘sul fatto ‘ordina ‘kabibjano | conducili sul fatto. Ordina ch'abbiano | lead them immediately. Give orders that they should have | Afokotatte Kaffe ‘vii pre'ffu ciocolatte, caffe, vin, _presciutti"” | chocolate, coffee, wines, hams, ‘erka divertir ‘tutti Corca divortir tutti: Try to amuse everyone: ‘mostra ‘loro il dgardino ‘la galleria te ‘kamere Mostra loro il —giardino, —la._—galloria, lo camera; Show them the garden, the gallery, the bedrooms; ‘in efetto fake testi “Kontento in offatto, fa cho resti contonto in fact, make that he should remain happy ‘mio ma‘zetto ai kepito il mio Masotto. Hai capito? my Masetto. Have you understood? (in fact, see that Masetto is kept happy. Do you understand me?) LEPORELLO 2 kapito Ho capito. Thave understood. (To the peasants.) antdjam Andiam. : Lats go. MASETTO sipnore Signore... Si GIOVANNI ‘koza Ye Cosa cla? What is it? ona seas in different scores eoccolataciocolta, eoccolte, and also prosciuti (which happens to be the corect odor spollig for that dalicious Wallan ham). However, the Da Ponte autograph and Barenslter score show thasa wo ios ts shown In the above tex. I quickly haston to add, howover, that tho Barenrollor Neue Mozart Ausgabe is not exactly five of ‘zor, as wil bo soon lator.286 Don Giovanni, Act I MASETTO ‘ta ‘ddzerlina ‘sentsa ‘me ‘nom'pwo ‘star La Zerlina sonza me“ non pud star. (The) Zerlina without me cannot stay. (Zerlina cannot stay without me.) LEPORELLO ‘im ‘Vastra ‘loko fi sara ‘sua ettfetentsa In vostro loco ci sara sua occollenza, tn your place there willbe his __excollency, © sara ‘obene far ‘le 'vostre parti © sapra bene far le vostro. parti. and he will know well act your part, (and he will know well how to take your place.) GIOVANNI ola dzerling =e iw Oh! la Zorlina a in Ob! (The) Zerlina is in (the) ‘va ‘pur ‘fra 'pako ‘ella ‘meko Va' pur fra poco ella meco Just go: shortly she with me ZERLINA, ‘va ‘non temere —nelele ‘mani so'nio “dun Ve, non temere; nelle mani son io dun Go, donttfear; inthe hands Tam ofa MASETTO © per"kwesto E per quosto?... ‘And so! ZERLINA, e — 'per'kwesta ‘non Ye ‘aa E — porquosto non cd da And 50 there's no reason to (And so, there's no reason for suspicion...) MASETTO eidiokospetto Ed io, cospetto! ‘And I, by God!, le dispute ‘se. “subito Ola, finiam le dispute; se subito Ho, let us end the arguments; if immediately ‘non te ‘ne vai matzetto ‘gwarda ‘ben non to no vai, Masetto, guarda ben, you do not leave, Masetto, ook out, (He shows him his sword.) ‘man ‘dug —kavaljer man d'un cave hands of a cavalier. vera vorni. will come. kavaljere ‘cavaliere. cavalier. dubitar dubitar... doubt. sentzaltro ——replitkai sonz‘altro —_replicar without other objections ti pentirai ti pontirai. you will be sorry. eeDon Giovanni, Act 1 NO. 6 ARIA MASETTO 2 kkalpito Singor'si Ho capito, signor sil Ive understood, yes sit! ‘kino il kapo ¢ = 'mene vo Chino il capo. 9 =~ mo no vo; Tbow my head and — Igo; dsatcke ‘priatfe avi ko2i giacchd piace voi cosi, since itpleases you __like that, ‘altre ‘eplike ‘nom fo ‘no alte replicho non fo, no. further objections Iwon't make, no. kavatljer ‘voi sete sa Cavalior voi sioto gi (A) cavalier you are —_indeed, dubitar inom 'posiso—affe dubitar non posso, aff; todoubt I cannot in faith; ‘me‘loditfe le borita molodico la_—_bonta Ican tell by the kindness ‘ke volete aver ‘perme che volete that you wish to (To Zerlina, aside.) brikotnattfa Briconaccia, You little rogue, “fost connor fosti ognor you were always aver por me. have for me. ‘malantdrina malandrine, ‘you little rascal, a ‘mia rina Jamia ruina. my — downfall (To Leporelto, who is trying to get him away.) ‘vengo Vengo! Tm coming! (Back to Zerlina) e a Stay! Its (You stay! It’s the very ‘una ‘koza_ ‘molto. otnesta una cosa molto _onesta; a thing very honest. upright thing to do!) 287288 ‘rata i nostro Faccia il nostro Let him make, our kavaljera arkora ‘te cavaliera ancora te. “cavalioress' also you. (Lot our cavalier mak Don Giovanni, Act I kavaljere cavalion cavalier ‘cavalioress" out of you too.) (Masotto is draggod off by Leporello, followed by all the peasants. Giovanni and Zerlina remain alone.) Scono Nine GIOVANNI afin ‘sjam — fiberati dzerlinetta dent “da "kwel_Jotkekone Alfin sim liberati, Zorlinotta —_gontil, da quel_scioccone. At last we're freed, Zerlinetta gentle, from that —_ great bor. ke ‘ne ‘dite ‘mio ‘ben ‘90 ‘tar putito Che no dito, mio ben, so far pulito? What do you say, my dearest, dotknow — todoit neatly?, (What do you say, my dearest, didn't I handle it neatly?) ZERLINA, sijnore emis matito Signore, & mio marito.. Sir, he's my — husband... GIOVANNI i oli vi ‘par ‘ke tun anestwomo Chi! Colui? Vi par cho un __onest'uomo, Who! Him? Do you think that an honest man, ‘un 'nabil_kavatljer ‘kwal ‘mio mi vant un nobil_cavalior qual mio mii vanto, a noble cavalier ast pride myself to be, ‘posisa sofifrir ‘ke kwel_vizetto ‘oro possa soffrir che quel visetto dor, could suffer that your little faco of gold, ‘kwel‘vizo intsuicke'rato quel viso inzuccherato that face deliciously sweet ‘Ja ‘um biforkattfo vil sia_—_strapattsato da un bifoleaccio.--vil_~—sia_—_strapazzato? by a plloughman base be _ill-treatod? (should be ill-treated by a base ploughman like Masetto?) ZERLINA ‘ma sinnor ‘io paola ‘di spatzarla Ma signor, io. gli diodi parola di sposarlo. But si, 1 gavehim(my) word to marry him.Don Giovanni, Act I 289 GIOVANNI tal paola ‘nom'vale = un ‘ddzero Tal paola non vale un zero, Such a word isntworth a zero. (Such a promise is worth nothing.) vesser paczana ossor paosana. bo (a) peasant. ‘voi ‘non 'sjete Voi non sieto You aren't vinalira ‘sorte ‘vi prokuran “kweski ‘okeki_—brikkontfellt Un‘altra sorte vi procuran quogli occhi bricconcolli, Another fate will be procured for you (by) those eyes roguish, ‘kwei labretti quoi labbretti those little lips ‘kwelle ditutafe "kandide © odoroze quolle ditucce candide © odorese: those little fingers white and perfumed: ‘parmi tokikar dégunkata © fitar ‘rove parmi toccar giuncata”™ © fiutar 1050. itfeels as if [am touching buttermilk and smelling roses. ZERLINA a ‘nom vorrei hl... non vorrei Ah! I wouldn't want... GIOVANNI (pressing his suit) ‘ke ‘nom vorrreste Che non vorresto? What wouldn't you want? ZERLINA altfine ingsnnata ——_restar Alfine ingannata roster, Inthe ond —decelved tobe left” (To be left deceived in the end:) io ke rao ‘donne To so cho rao donne 1 know that rarely with women ‘voi ‘altri kavaljeri sjete onesie sitfert voi altri cavalieri siotoonesti © ——_sincori. you cavaliers are_—honest and sincere. *%Giuncota is milk thal has ben curled end allowed to drain into litle mats of woven reeds (glunch). It was a favorito delicacy of tho time. The only modem dairy product known to Amrleuns that eccurs to mo possibly baving th san ‘onions deity fingers is butormilk, pudding, a bod of Schlegsalne or maybe even yoghurt feel ws his line gives a clear cus about Zatline's charactor. Sha's boon softened up and obviously willing to yiold to Giovanni's amorous edvancis, forgetting oll about Masetto and her vows, bu, will he sill respect hor in the morning? ‘That is her primary ‘concern here and not necessuily hr loyalty to er mirrage vows290 Don Giovanni, Act I GIOVANNI © unimpostura ‘della ‘dgente_ple'bea unimpostura dolla gente pleboa. Its adecoption of the people common. (ts a common people's deception.) anobitta a dtpinta neéfokki ——_lonesta Lanobilta ha dipinta negli occhi _Tonesta. Nobility has painted inits eyes honesty. (You can tell a noble person's honesty by his eyes.) ofsu ‘nom perdjam ‘tempo Orsi, non pordiam tompo; Come, let us not lose tim ‘in “Kwesto istante ‘io vi VakKo spovar In quosto istanto io vi voglio——_sposar. In this instant I want to you marry. ZERLINA, Voit You! GIOVANNI ‘ert ‘is tkwel © ‘mmio Corto, io. Quel casinotto = mio: Certainly, 1 That ‘tle house is.——mine: ‘soli satremo © la dgajetto ‘mio ‘fi spoze'remo soli saremo, © _ gioiello mio, ci sposeremo. alone wewillbe, and there, jewel mine, we will got married, NO. 7 DUETTINO GIOVANNI la fi da'rem ‘amano La cidarem la mano ‘There we will give each other the hand, (There we will hold hands.) ‘a rai ‘ai'ssi la midirai dia. there you will tell me “yos". ‘vedi none lontano partjam ‘bem'mio ‘da kwi Vedi, non 8 Iontano: partiam bon mio da qui. Look, itisn't far, Jot us leave, my beloved, from here. ZERLINA (to herself) Vorrei © non vorrvin. I would like to and not like to.. ‘mi trema ‘um 'poko lor mitrema un poco il cor. metrembles a bit the _heatt.Don Giovanni, Act I 291 felife © ver Felice, 8 vor, Happy, it's true, ma ‘pwo burtarmi aykor ma pud burlarmi ——_ancor. but he can deceive me still. (but he could just be tricking me.) GIOVANNI Vieni ‘mio “bel ett Vieni, mio bel dilotto! Come, my _ lovely dolight! ZERLINA (to herself) imi fa pieta ma'zetito Mifa piota Masotto. To me gives pity Masotto. (( feel sony for Masetto.) GIOVANNI ‘io kandyevo = ‘tua “sorte To cangero tua sorte. 1 willchange your fate. ZERLINA (to herself) ‘presto ‘non ‘som, iu “Torte Presto non son pit forte. Soon’ Tam not any longer strong. (Soon I won't bo able to resist.) GIOVANNI, ZERLINA anidjam ‘mio "bene a istorar Ye pene Andiam, mio bono, a ristorar Te pone Letusgo, my beloved, —to._— soothe the pangs dun inmstfente amor d'un ‘amor. ofan love. (Entwined, they start going towards the house.) Scone Ton, (Elvira enters and stops Giovanni with desperate gestures.) ELVIRA, “fermati Jfetierats I fel ‘mi fetfe wir ‘le‘tue perfigje Formati, scollorato! Il ciel mi foco udir le tue perfidi Stop, scoundrel! — Heaven has granted me to hear your _ treacheries. his line is somewhat ambiguous. Certainly tho about to be consummated lovemaking belwoen the two isnot innocent (One must assume therefore that the love between Masetto and Zerina before thele wadding i "inaocent, or platonic, end these tre the pangs about to bo soothed inthis flirtation292 ‘io ‘sono To sono 1 am ‘dal tuo dal tuo from your ZERLINA meskina Moschinal Poor me! GIOVANNI (to himself) kon'siko (Amor, consigtio!) (Love, advise me!) (Softly, to Elvira) ‘idol ‘mio Idol mio, My beloved, ELVIRA (loudly) Divortirti? Amuse yourself? ‘kome "tt come tu how you ZERLINA ‘ma sippor Ma signor But sir Don Giovanni, Act I a tempo ‘per satvar ‘kwesta ‘mizera inmnotfente a tompo per salvar quosta misora innocento in time to save this wretched —innocent woman “barbaro artigso barbaro artiglio, cruel clutches. ova ‘sento cosa sonto? What do I hear? ‘nom veldete ‘kis "voKfo divertinmi non vedeto cho _voglio. divortirmi? can't you soe that 1 want to amuse myself? 'e ‘wera divertitt ‘io snide E vero! divortirti. Io 80, crudele, Its true! Amuse yoursolf. 1 know, cruel man, amuse yoursel. kavaljere © «= ‘wer ‘kwel ‘kell ‘aitfe cavaliore, 8 ver quel chrella dice? cavalier, isit true that which she _is saying? (But your lordship, is it true what she is saying?) GIOVANNI (sofily, to Zerlina) a La The ‘povera imfelitfe povera infolice unhappy woman = is with, (That poor unhappy woman is in love with me,) poor © per oper pi and out of pity ‘Kio ‘som ‘per chiio son, per for! am, to wom ‘di ‘bwon wom di buon aman of good e ‘i a di amore doggio fingere ‘amore, Imust pretend love, diggratsja disgrazia, misfortune, "kore heart. ‘me ms'rata mo innamorata, me enamored,Don Giovanni, Act I 293 NO. 8 ARIA ELVIRA (to Zer!: a Tudsdsi Ah, faggi il ‘Ab, flee the traitor, ‘non lo la'ffar ‘piu ‘air non Io lasciar pit dir dont let him any more say. (don't lot him say any more.) ‘iL abibro © ——_-mentitor fatklatfe il Yikko Tl labbro &~—montitor, ——_fallace il ciglio. The lip is lying, false the eyolash. (His lips are lying and his eyes are false.) ‘da 'mjei__ tor menti impara Da! miei tormonti——_impara From my — torments lean a ireder a ‘kwel_ kor a creder a= quol_ cor, to believe in that__heart, (Loam from my torments how to trust his heart.) e ‘naska ‘iltus timor ‘dal ‘mio _peri€so © nasca iltuo timor dal mio _periglio ‘and letitbe bom your fear from my — danger. (and let your foar be born from my danger.) (She leaves, taking Zerlina with her. Giovanni is left alone.) Scono Elovon GIOVANNI ‘mi ‘par odidsi ‘il de'monjo si diventa Mi par ch’oggi il demonio_si diverta It soems to me that today the devil is amusing himsolf doipspor a'mjei_pjatfevoli dopporsi. _a' miei piacovoli by opposing my pleasurable ‘vanno ‘mal ‘tutti ‘kwanti Vanno mal tutti quanti. ‘Thoy'ro going badly, all of them. (Don Ottavio and Donna Anna enter.) OTTAVvIO a kore “idolo ‘mio Ah! ch‘ora, idolo mio, Ah! Now that,” my beloved, progres: progr proceedings. ‘som vant i are vain the ‘pjanti pianti, tears,294 Don Giovanni, Act I di venidetta = ‘si'parli a don dsovanini di vendetta si pari. Ah, Don Giovanni! of vengeance let us speak... Ah, Don _ Giovanni! (My beloved, now that tears are useless, Iet us talk of vengeance...Ah, Don Giovanni) GIOVANNI (to himself) mmakava ——‘kwesto “im ver (Mancava quosto in vor!) (Was lacking this in truth!) (Really, this is all I nooded!) ANNA (to Giovanni) sinnore a ‘tempo. vi ritro'vjam Signore, a tempo vi ritroviam, s in time we've found you, (We've met up with you at an opportune moment.) avete kare alvele ‘anima dyene'roza avoto core, avote anima gonerosa? have you (a) heart, have you(a) soul generous? GIOVANNI ‘sta a vedere ‘kel “Mjavolo ‘le adetto —“kwalke kkoza (Sta a vedoro cho il diavolo Iohadotto qualche cosa.) (Ono can see that the devil has told her something.) ‘ke dotmanda petke Cho domanda! —_ percha? What a question! Why? OTTAVIO bizonno atibjamo “della ‘vostra_amitfiisia Bisogno abbiamo —dolla_vostra amicizia. Need ‘we have of your _ friendship. GIOVANNI ‘mi ‘toma ‘jato ‘ig ‘korpo (Mi toma fiato in corpo.) (treturns to me the breath in (my) body.) (‘can breathe again!) komantdate i kondgunti i patrenti ‘kwesta ‘man Comandate i i parenti, questa man, Command me... my my kin, this hand, ‘kwesto ‘ferro ‘i ‘beni i_~—=—samgwe spende'ro ‘per servirvi questo forro, i il sangue sponderd por sorvirvi this sword, my goods, my blood Iwill expend to sorvé you, ma ‘voi bella donmanna —‘perke _kko'zi _ppjanidsete Ma voi,_bella Donn'Anna, _porchd cosi__piangoto? But you, lovely Donna Anna, why thus do you weep? ‘il krudele Kf crude chi fu ‘The cruel man who was he,Don Giovanni, Act I ke 90 la ‘kala urbar ‘del iver ‘vostro cho 08d Ia calma turbar dol viver vostro... who dared to the calm disturb of the life yours. (Who was the cruel man who dared disturb the calm of your life...) Scono Twelve (Elvira onters agitatedly and goos toward Giovanni.) ELVIRA a ritrova ——aykor _‘perfido ‘mostro Ah! tiritrovo ——_ancor, porfide mostro! Ab! [find you again, perfidious monster! NO. 9 QUARTET ELVIRA (to Anna) non ti fidar 0 wizera Non tifider, 0 —— misora, De not trust, oh unhappy woman, ‘i‘kwel ibaldo kor di quol ribaldo cor. in that faithless heart. ‘meds tradi “kwel‘barbaro Mo gid tradi, quel barbaro: Me — already he betrayed, that barbarous man, te wot watdir agkor to vuol tradir ancor. you he wishes to betray also. ANNA, OTTAVIO (to themselves) ‘ke aspetto ‘nobile cho aspetto nobile! Heavens! What appearance noble! ‘ke ‘dollfe maesta Cho dolce maesta! What sweet majesty! ‘i'sua pallor “le Tagrime ‘mempjons “di Hsuo pallor, lo lagrime, —mompiono di Her pallor, her tears, fill me with GIOVANNI (to Anna and Ottavio) la ‘povera ralgatitsa © ‘ppattsa aimitfi. ‘mei La povera ragazza © ~——pazza, amici miei; The poor git! is crazy, friends mine; leffatemi ‘kon ‘lei forse ‘si kalme'ra Lasciatomi con lei, forso si calmord. Leave me with her, maybe she will calm down. 295296 Don Giovanni, Act I ELVIRA (vehemently, to Anna and Ottavio} a ‘non kredete ‘al ‘perfido Ah, nonecredoto al —_porfido! ‘Ab, donttbelieve the _perfidious man! GIOVANNI © ‘ppattsa ‘nom batdate E ——pazza, non badate... She's crazy, don't pay any attention... ELVIRA restate > ‘dei restate Restato, 0 Dei restat Stay, oh gods, stay. ANNA, OTTAVIO, GIOVANNI ‘Yerto ‘moto dignoto torimento Corto moto dignoto tormento, Acertain stirring of an unknown torment, ‘dentro ‘lalma dsirare imi sento dontro Talma ‘giraro mi sonto, inside my soul whirling feel, ‘ke 'mi'ditfe ‘per ‘kwella imfetlitfe cho mi dice per quolla infelico that speak tome for that unhappy woman. ‘ifento ‘kore "ke = intender ‘non conto cose cho intendor ——_nonsa. ahundred things that understand —_ it cannot) ((feol the stirring of an unknown torment whirling inside my soul telling me a hundred things about that unhappy women which my soul cannot understand.) ELVIRA "zdenno ‘rabibja dispetto tormento (Sdogno, __—rabbia, dispetto, _—_tormento (Scom, rage, "spite (and) torment ‘dentro ‘Laima ‘mi 'sento dontro Talma ‘giraro mi sonto, inside my soul whirling feel, ‘ke mi ditfe ‘di “kwel_traditore cho mi dice di quol__traditore that tell me about that — traitor fento ‘koze ke —_intender ‘non sa conto cose che intender non sa, abundred things that understand —_it cannot.) OTTAVIO (to Anno) F io ‘kwa ‘nom ‘vado via To di qua nonvado via 1 from here won't go awayDon Giovanni, Act I 297 i ‘se ‘non 'skopro kwesto afifar so mon scopro quosto affar.* if don't uncover this "matter. (I won't leave here until T find out the truth.) ANNA (to hersolf) ona ‘lacja “di patttsia ‘i'su0 ‘volto ‘i'suo parler i (Non ha Varia di pazzia il suo volto, ilsuo parler) ' (it doesn't have the air of madness her face (nor) her speech.) GIOVANNI ‘se ‘meny'vado ‘si potria ‘kwalke sospe'ttar (Se mon vado, _si potria qualcho sospottar.) @ — Tleave, one could some suspect.) | ELVIRA ; ‘da ‘kwelUefifo si potria Ye ne'ralma dgudikar Da quel coffo dipotia = la_—nor'alma ‘gindicar. From that mug onecould the __black soul judge. (From (Giovanni's) mug one could judge his black soul.) OTTAVIO (to Giovanni, pointing to Elvira) ‘dunkwe “kwetla { Dunque quolla | Then that woman, i GIOVANNI © pattsevella | E pazzarolla. Is abitcrazy. ANNA (to Elvira, indicating Giovanni) “dugkwe ‘kweski Dunquo quogli? Then that man? ; ELVIRA, © un traditore Eg un _traditore. \ Isa traitor GIOVANNI imfetiye Infelice! Unhappy woman! ELVIRA mentitore Mantitore! Liar! 22h line appears aslo di qua non vado via se non 20 com falar in tho orginal Da same as the other line iter and some other scores have it the way [have writin it above. Some others have ita i fappeers in this footnote, They are both perfectly accoptablo.298 Don Giovanni, Act I OTTAVIO, ANNA inkominfo a dubiter Incomincio a —_dubitar. Tm beginning to doubt. (Some poasants pass by.) GIOVANNI (softly, to Elvira) ‘sitio ‘ke la thente ‘siraduna = anol Zitto che la gonto sireduna = an Hush, for the people are gathering to us around. (Keep quiet, for people are starting to gather around us.) ‘sjate ‘wm'poko pj —_padente ‘Vi farete 0 un poco pit, prudent, _vi faroto be abit more prudent, _—_you will have yourself criticized. (be a bit more prudent, you will bring criticism upon yourself.) ELVIRA (strongly, to Giovanni) ‘non spe'rarlo 2 ffelletrato Non sperario, © scollerato: Do not hope for that, oh scoundrel. > perduta ‘la pntdentsa Ho perduta la prudenza. Thave lost my caution. Je 'tue ‘kolpe eil ‘mio “stato Lo tuo colpo od il mio stato Your guilt and my stato voKfo @ ‘tutti pale'zar voglio a tutti palesar. Iwant to everyone —_—teveal. ANNA, OTTAVIO (aside, looking at Giovanni) ‘kwessi atttfenti ‘si solmmessi Quegli accenti si sommessi, ‘Those words so subdued, ‘kwel kantdsarsi—di_——kolore quel cangiarsi = di_— colors, his change of color, ‘sono intdittsi ‘troppa espressi sono indizi troppo osprossi are indications too explicit ‘ke ‘mi Tan determinar che mi fan dotorminar. that make me determine (the truth). (Elvira loaves.)Don Giovanni, Act I 299 GIOVANNI ‘povera zventurata i ‘passi ‘swoivako seguir Povera svonturata, i —passi_suoi__voglio soguir, Poor hapless one, the steps. hers Iwantto _ follow, (Poor woman, I want to go after hei ‘nom vos ke attfa “um pretfipiusjo Non voglio cho faccia un procipizio: Tdon't want that she do something rash." perdoinate na Pordonate, bellissima Donn'Anna Forgive me, _ lovely Donna Anna, se servirvi po'ssio ‘im ‘mia Kaza__vaspetto wadio so sorvirvi possio in mia casa vaspotto, addio! if serve you can, in my home Tawait you, friends, farewell! {if 1 can be of service to you, I await you in my home. Farowoll, friends!) Scono Thirtoon NO. 10 RECITATIVO ACCOMPAGNATO AND ARIA. ANNA ‘don otetavjo ‘som ‘morta Don _Ottavio, son morta! Don —Ottavio, Tm — dead! oTTAvIO kolze ‘stato Cos’ stato? What has happened? ANNA per pjeta sok:korretemi Por — piota, soccorrotam For pity's sake, help me! OTTAvIO ‘mis ‘bene “Tate ko'radkdso Mio bono, fate coraggio. My beloved, tako courage. ANNA siddei ‘kwessiic —il_—katnefitfe del ‘padre mio Oh Dei quogli il camofice ~—dol_—padro_ mio... Oh gods! He the murderer of the father“ mine. orravio ‘ke dite Cho dite? What are you saying? F559 footnote No. 2.on page 262300 Don Giovanni, Act I ANNA ‘non dubitate ju Non dubitato pid. Do not doubt any longer. “eultimi "ke = lempjo profeti Gli ultimi accent cho Vompio profori, Those last words that the wicked man uttered, ‘tutta a otfe tutta Ia voce everything (about) his voice sfkjamar nel “kor ‘mio “di_—_eweltlindeppo richiamar nel cor mio. di_—_quellindegno recalled inthe heart mine of that worthloss man. ke ‘nel ‘mio aprpartamento cho nel mio appartamento... who in my —_ apartment. (ecalled in my heart that worthless man who in my apartment...) OTTAVIO 2 tel possibile Oh iol! possibile Oh heaven! (Could it be) possible ke ‘sottlo “il ‘sake. ‘manto damitfitsja che sotto. il —sacro._manto d'amicizia... that under the sacred mantle of friendship. ‘ma ‘kome fa natrratemi Ma come fu, narratomi But how did it happen, relate to me ‘fo ‘strana av:venimento lo strana avvenimonto. the strange event. atkwants —avantsata = la. notte alquanto —avanzata. «slant Was already somewhat advanced the _night, (It was already somewhat late at night,) “kwando ‘nelle ‘mie ‘stantse quando nelle mio stanze when in my rooms ‘ove ssoletta ‘mitrovai ‘per averftura ove solotta mitroval por svontura, where quite alone I found myself to (my) misfortune, cenitrar io Vidi ‘in um —maritels——alvvalta ontrar io vidi un mantello—_avvolto enter 1 saw in a cloak wrappedDon Giovanni, Act I 301 cm wom "ke al primo ivtante avea 'prezo per un wom cho al_—_primo_istanto faveaproso. per a man who at first momont Thad taken for ma rikonobbi poi, Keun ijgamno, = ‘eral ma riconobbi_-poi_- cho un_—inganno = ora id but recognized then that a mistake was tho (but I then realized that I was mistaken...) OTTAVIO (anxiously) e segwite soguite. Stars! Continue. ‘ANNA “atfito a me saippressa == mitwwole = absbra'tfar Tacito @ mo —sapprossa_ == mivvuolo——_abbracciar; Silently to me —_heapproaches and wants me to. embrace: (He silently approaches me and wants to embrace me:) ‘fokkermi ——ferko ‘piu ‘mi'strindge—“grido Sciogliormi coro, pitt mi strings; grido: Froe myself try, he more grasps me; I scream: (Ltry to free myself but he grasps me tighter; I scream:) ‘nom viene atkun ‘kon una ‘mano ‘tferka non viono —_alcun: con una mano cerca Comes no one, With one hand he tries dimpedire ta votfe © ©——_—kailaltra mafferra dimpodiro la voce, @ _—colfaltra == mafforra, to stifle my voice, and with the other he saizes me ‘stretia kozi ke ha ‘mi kredo ‘vinta strotta cosi, cho gid mi credo vinta, tightly thus, that already Ideliove myself overcome. orravio 'perfido © alin Perfido!... ° alfint. Perfidious man! and — finally?. ANNA. alfine 1 dwol lorrore Alfine il duol, Yorrore At ast the sorrow, the horror delingfame atientaty —alkkrebsbe si Ta ena mia ke. dollinfamo attentato —accrebbo. «== sis Ia_—slona’_—smia_—_ che, of the infamous attack increased so. the_~—eergy mine that, a fortsa “di vigkollarmi tortfermi © pietgami a forza svincolarmi, torcormi © piogarmi by dint of disengaging myself, twisting myself and bending myself302 Don Giovanni, Act I ‘da ui tm ffolsi da tui_——misciolsi. from him I freed myselt orravio ime respiro Ohima! respiro. Ah me! I breathe (again)! ANNA alora rinyfortso i stiai ‘mjei‘kjamo Alllora rinforzo i stridi chiamo Then [redouble the screams mine, I call (for) ‘Tudidse ‘il feltlon arditamente ‘il 'segwo fuggo il follon: arditamonte ill soguo flees the felon, Boldly 1 follow him fin nella ‘strada ‘per —_fermarlo fin nella strada per formarlo, even into the street to stop him, e ‘sono dassalita © sono assalite: sotktkorso help, and [become (a) pursuer instead of the pursued one: ‘il padre vakikorre = ‘wwal koinofferlo N—padro vaccorre, —vuol ‘conoscorlo, My father runs out, he wants to identify him, e ‘ke del 'povero ‘vekikjo ‘era © Tiniquo, cho del povoro vocchio ora and the wicked man, who than the poor old man was (and the wicked man, who was stronger than my poor old father.) ‘kompie a misfatio ‘suo arxendo ‘Kol darki compio il misfatto suo orrendo col dargli completes the —_misdeed his horrendous by —_ giving him (completes his horrendous misdeed by killing him.) ‘or sai ‘Ki onore rapire a me volse Or sai chi Yonore rapiro a = me_—_volso: Now youknow who myhonor —ravish of | me wanted; Ki fu traditore ‘ke ‘padre mi tolse chi fa il_—traditore. = che il_—padro_ mi tolso: who was the traitor who the father took from me: vertetta 'i'kjeggo ‘a kjede ‘ius Yor Vendetta _—tichioggo, —lacchiede —il tuo cor. Vengeance ask of you, it asks for it your heart (Cask you for vengeance, your own heart asks for it.) rammenta ‘la ‘pjaga._ ‘del 'mizero ‘seno Rammenta la piaga_del_—_-misoro sono; Remember the wound inthe poor breast; ‘pju ‘forte pit forte, stronger, ‘morte morte. death,Don Giovanni, Act 1 303 rimira ‘i terreno rimira di sanguo coperto il terreno, see again with blood covered the ground, ‘se lira inte langwe dun ‘dsusto futcor so Vira in te —_languo dun giusto furor. if theangor —in_-~—-you_languishes ofa _— righteous —_ fury. (and if the angor of a righteous fury languishes in you, see again my father’s blood covering the ground.) {She loaves, leaving Ottavio alone.) ‘Scone Fourteen orravio ‘Kome ‘mai ‘kreder ‘dedidso'di—'si_—anero_delitto ketpatfe ‘uy —_kavalljero Como mai creder doggio di si_— nore _dolitto capace un cavaliero! How ever believe canl, of sucha black crime capable a cavalier! (How can I ever believe a cavalier capable of such a black crime!) a ‘di skoprire vero. ‘omni ‘med:dz0 ‘si‘tferki Ah, di scoprire il vero ogni mezzo si corchi. ‘Ab, of discovering the truth every means be sought, io ‘sent im petio © ‘di “spozo © datmiko To sonto in potto © — di_—_sposo © damico 1 feel in (my) breast (and) of betrothed and _—_of friend il dover ‘ke =a 'parla il dovor cho mi parla: the duty that speaks to me, (As Anna's friend and betrothed I feel duty speaking to my heart.) dizinga'nmarla ‘VokKo 9 disingannarla voglio, 0 Undeceive her I wish, or vondicarla. avenge her, NO. 108 ARIA* ‘dala ‘sua ‘patfe a ‘mia dipende Dalla sua aco la mia dipende, On her peace of mind mine depends, ‘evel Ke aici plate ‘vita ‘mi ‘rende quol che alei piace vita mi rende, that which her pleases, life gives me, (whatever pleases her gives me life,) ‘kwel ‘ke lifkreffe ‘morte ‘mi ‘da quel che Tincresce morto. mi d that which is unpleasant to her death gives me. the arla Dalla Sua Pace was not performed in the orginal Praguo promo. ‘Msrenreiter score, but It appears hore in its proper soquonco,bouring No. 10-A. appears es an appendix in the304 sospira sospiro aijkio sospira, sospiro anchiio, sighs, sigh also I, © ‘mia kweltlica “kwel a mia quoll quel is mine that anger, that (hor anger and her weeping are mine) © nana ‘bene @ — nonho bone and Thaveno _ happiness. (and I cannot be happy if she is not.) (Ho loaves.) Scone Fiftoon (Leporelio alono, then Don Giovanni.) LEPORELLO ‘io “dedds0'ad oni ‘pat To doggio ad ogni _patto, 1 must, on any —_ terms, ‘per'sempre absbandsinar —_“‘kwesto por sompre abbandonar questo forever abandon this ‘ekckolo ‘kwi gwardate ‘kon, Eccolo qua: guardate con There he is: Look with GIOVANNI (entering) 2 Iepovello = mio. va Ob, —Loporello mio, va Ob, —Leporelio mine, goes (Oh, my Leporello, all is going well!) LEPORELLO ‘don dgovatnnino ‘mio. va Don Giovannino mio, va Don Giovannino mine, goes Don Giovanni, Act I ‘pjanto ‘mmio pianto wooping ‘sella ‘non ‘ta sella non tha. if'she doesn't have it. ‘bel me bol matto.. fine lunatic... ‘kwale indifferentsa ‘se ‘ne ‘vjene qual indifferenza_ so no vione! what indifference he is coming here! ‘tutto ‘bene tutto bono! all well! ‘tutto ‘mate tutto malo! all badly! (My Don Giovannino, all is going badly!) GIOVANNI ‘kome ‘wa ‘tutto ‘male Come va tutto male? How goes all _ badly? LEPORELLO ‘vado a kaza ‘kome ‘wo lordinaste Vado casa, como voi ordinaste, Igo home, as you. ordered,Don Giovanni, Act 1 ‘kon ‘tutta “kwel:la “dsente con tutta quolla gente. with all those people. GIOVANNI ‘brava Bravo! Bravo! LEPORELLO a fortsa “di “Kjakikjere diets A forza di chiacchiow, di vozzi By dint of chatter, of endearments ‘ko. impa'rato —'si_—=bbene a “stare chtho imparato si_——sbeno a starw which [have learned so woll by being “Yferks dintratternert corco diintrattonerli.. Tuy to keep them amuse GIOVANNI brava Bravo! LEPORELLO ‘diko ‘il ‘kore a matzetto ‘per Dico mille coso a — Masetto per Tsay athousand things to Masetto to per trarki ‘dal penisjer per trargli dal ponsior to remove from him fromthe thought (to got his mind off his jealousy...) GIOVANNI ‘bravo i kofentsa mia Bravo, in coscionza mia! Bravo, by (the) conscience mine! (Well done, by my conscience!) LEPORELLO fatstfo ‘ke ‘bevano © womnin Faccio che bevano © gli uomine I make that they drink, andthe men. (Cmake the mon and women drink;) ‘son ‘ya ‘medxdzo ubriaki son gia mozz0 ubriachi, they're already halt drunk, ‘altri ‘Kenta ‘altri “‘skertsa ‘altri ‘segwita Altri canta, altri schorza, alti soguita Some sing, some joke, some continue 305 © i atdgie © di bugio, and of lies, ‘kom ‘voi with plakarls placarlo, placate him, ta dgelozia Ia —_gelosia, the jealousy... © te Wonme © lo donne; and the ~— women; ater a bor. to drink,306 ‘in ‘sul pj bbeto In sul pit bollo, ki At the height of it all, who GIOVANNI dzerlina Zorlina! LEPORELLO ‘bravo e@ kon ei ki Bravo! @ con loi_— chi Bravo! And with her — who GIOVANNI donnetvira Donn Elvira! LEPORELLO ‘bravo 'e “disse ‘ai Bravo! 0 disso ai Bravo! And she said about GIOVANNI ‘tutto wel ‘mal ‘ke Tutto quel mal cho Everything the bad_—_ that (Everything bad about me that LEPORELLO bravo ‘in Kolffentsa mia Bravo, in coscionza—_mial Bravo, by conscience mine! GIOVANNI eu kara fattfesti E tu cosa _facosti? And you, what did you do? LEPORELLO ‘akkwi Tacqui. Tkopt silent. GIOVANNI eel Ed olla? ‘And sho? LEPORELLO se'gwi a gridar Seguit a gridar. She continued to scrsam. GIOVANNI ew ry And you? Don Giovanni, Act I kredete ‘ke kapit crodote cho capiti? do you think (that) arrives? "venmne comes? you? im ‘bokka ‘Te vernia in bocca le vonia? inher mouth came to her? came into her mouth?)Don Giovanni, Act 1 307 LEPORELLO "kwando ini ‘pave ke “ta fosse sfoigata Quando mi parvo cho git fosso sfogata, When it seemed to me that already she had gotten it off her chest, doltfemente twor detlorto “a tras: dolcemente fuor _ dall'orto Ja tras gently out of the garden — I drew her, © kom beliarte ‘kjuza ‘la ‘porta a kjave © con__bell'arto chiusa la porta a chiava, ‘and with fine cunning (once 1) locked the door with key, jo miksvai =e) ‘subla via sdletia “a laffat io micavai, = ~— sulla via solotta 1a lasciai. T escaped, and onthe street quite alone left her. GIOVANNI "brava ‘bravo artfibravo latfifar inom 'pwo andar 'meéKo Bravo! bravo! arcibravo! Laffar non pud andar meglio. Bravo! Well done! Triple well done! ~The affair cannot go better. inkominitfasti io sara tterminar Incominciasti, io saprd torminar, You began it, 1 will know (how to) finish; ‘wop:po ‘mi premono kweste ‘Troppo mi premono questo Too much _are weighing (on my mind) these ‘io ‘le'vokéo.——divertir fig’ke ‘wien ‘notte To le voglio —_divertir finch vin notte. 1 them want to. amuse until comes night. (L.want to amuse them until night comes.) NO. 11. ARIA ‘ip ‘kan ‘dal vino ‘Kala la testa Fin chhan dal vino calda la —_tosta, While they have from wine hot the head, (While their heads are still hot from the wine.) ‘una ‘gram ‘festa Ya prepatrar una gran” fosta fa! proparar a grand celebration make prepare. (havo them prepare a great celebration.) ‘se ‘trovi Sim pjattsa kwalke raigattsa So trovi in piazza qualche ragazza, If you find in the square some sit, teko ‘ankor ‘kwela ‘tferka me'nar toco ancor quella corca monar. with you also” her try toring along.308 Don Giovanni, Act I ‘sentsa atkun ‘ordine ‘la ‘dantsa ‘sia Sonza alcun ordino Ia danza_sia, Without any order the — darice let itbe, (Let the dancing be without any order,) ‘kil minietio kita chil minuotto, chi la who the minuet, who the “follia’ ‘ki Jalemanna — farai battlar chi Yalomenna —farai ballar. who (the) “alemanna" you'll make them dance. (You'll make them all dance minuets, “follias',“alemannas")* ‘ed io ratttanto datttaltra ‘kanto Ed io _frattanto dalfeltro canto And I meanwhile in the other comer kon ‘kwesta © kwella vo amore'd:dsar con quosta © quella vol amoroggiar. with — this one and that one Twantto make love, a ‘a'mia iste domam matttina Ah! lamia list doman matting Ah! My — list tomorrow = morning ‘éuna detfina ‘devi ‘aumentar d'una decina dovi aumontar. by tenor so -youmust_—_increase, (Ah! My Leporello, by tomorrow morning you will have to increase my lists names by ten or so.) (They both leave laughing.) Scono Sixtoon (Masetto and Zerlina are in a garden.) ZERLINA, mavzetito Masott Masotto. ma’zetio Masetto, Masetto, ik fico... Tsay. ‘senti ‘um 'po sonti un po’. listen for a moment... MASETTO ‘nom 'mi tokckar Non mi toccar! Don't touch me! ZERLINA, perke Porch? Why? rhs follia is a dance that originated fm Portugal in 24 time similar to tho passacagia and chaconne. The Aletmanina (know by its Fronch name in English: Allemand) the German dance in 2/2 time. Both were popular daness in the 15, 16th and 17th conturis.