bo lige d Spo281 LE NOZZE DI FIGARO (The Marriage of Figaro) Opera buffa in four acts. Libretto by Lorenzo da Ponte, based on a Beaumarchais comedy, Le Marriage de Figaro First performed at the Vienna Burgtheater, on May 1, 1786 CHARACTERS Countess Almaviva: soprano Count Almaviva, her husband: baritone or bass/baritone Figaro, his valet: bass or bass/baritone Susanna, Figaro’s betrothed and personal maid to the Countess: soprano Cherubino, a page: mezzo-soprano Doctor Bartolo: basso buffo Marcellina, Dr. Bartolo's housemaid: mezzo-soprano Don Basilio, a music teacher and intriguer: tenor Don Curzio, a lawyer: tenor Antonio, a gardener and uncle of Susanna: bass Barbarina, Antonio's daughter: soprano Peasants, ‘Townspeople, Servants The action takes place at the estate of Count Almaviva, in Seville, Spain. ‘The time is the XVII century. THE PLOT ACTI The opera begins with a scena for Figaro and Susanna, servants of the household. Figaro is measuring the room which Count Almaviva has given the pair to occupy after they are married, and Susanna is trying on her new wedding bonnet. Figaro is delighted with the room but Susanna is not quite so enchanted, since it is a bit too close to the Count's quarters. She informs Figaro that the Count has of late been importuning her with amorousadvances. He hopesto exercise his droit du seigneur(the feudal tight to bed a maid in his service on her wedding night) and she is having a hard time checking his attentions. Figaro is astounded and resolutely decides to get back at the Count with some tricks of his own. Anew pair of chracters now enters: Doctor Bartolo and Marcellina. The doctor dislikes Figaro because of his meddling earlier on when Almaviva first courted Rosina (now the Countess Almaviva). Marcellina, on the other hand, wants to marry Figaro even though she is old enough to be his mother. In fact sh has lent him money and received in exchange a guarantee that he will marry her if it is not repaid. Bartolo swears vengeance on Figaro. Marcellina then meets her rival Susanna, and they engage in a round of pleasantries in which the old woman gets properly trounced by the sprightly Susanna. Left alone, Susanna receives a visit from the young page Cherubino, a teenager perpetually in love with one girl or another, a fact that has gotten him in quite a predicament. ‘The Count has threatened him with dismissal when he was found alone with the gardener’s young daughter Barbarina. He confides in Susanna that the Countess herself is now his latest crush and that he wishes the Countess would intercede on his behalf with the Count.282 ake Count is heard approaching and Cherubino quickly hides. The Count's advances to Susanna tum interrupted by the sleazy 1 Don Basilio, the music master, forcing the Count also to hide "in Basilio's gose py conversation with Susanna, the Count hears that Cherubino has been over.gyj; "mn with the Countess, This bit of news makes the Count come out of hiding and reveal himself <'"ug Counttells of how he found Cherubino hiding in Barbarina’s house, he discovers the page huddleq ung, a cloth in an arm chair. Susanna by this time is a nervous mess, Basilio is delighted with the ler intrigue and the Count is nonplussed by the turn of events. He tells Basilio to fetch Figaro and to him that Susanna has been deceiving him with Cherubino. He changes his mind however, When el Tealizes that the Page has overheard every word of his amorous advances to Susanna just ta fow m, before, oments Presontly Figaro returns with a group of peasants singing a song in praise of the Count. The receive them graciously, of course, and calm is restored for the moment. Figaro tells the Co: Count min celebration is to honor ) Unt that, his decision to revoke the laws of feudal priviledge, adding that he and grt wish to be the first to take advantage of his enlightened action by being married this very day. jie *eduests the Count put the bridal veil on Susanna’s head. The Count sees through Figaro's Tuse ang requests that the wedding celebration be postponed till evening, After the Peasants have left, the ¢,, decides to get Cherubino out of the way and gives him a commision in one of his regiments out of to He hopes this way to be rid of the bothersome adolescent. After he leaves with Basilio, Figaro describe to the distraught Cherubino the joys of military life. ACT II Alone in her room, the Countess sings of the lost love of her husband the Count. This is followed @ scene with Susanna and Figaro, all of whom want to make the Count behave better, that is, to sto; making advances to Susanna and pay more attention to his own wife. They decide that Susanna shoul write a note to the Count, inviting him to a rendezvous in the garden at night. The page Cherubino, disguised as a woman, is to keep this appointment. Then the Countess is to surprise them and thus they hope to embarass the Count sufficiently into making him behave more to their liking. Figaro informs them that he himself has also sent an anonymous letter to the Count through Basilio warning him that the Countess is having an assignation with an unknown man in the garden tonight. Cherubino (not yet having left to join the army) comes to Susanna looking for solace and urges him to sing a song he himself has written (a love song, of course), to Susanna's guitar accompaniment, Susanna and the countess start to dress Cherubino as a girl, but have difficulty as the young boy is constantly gawking at the amused Countess. Suddenly they hear the Count approaching. The women quickly hide the page in a room and lock the door. As the Count enters the room, he is holding the letter in his hand and is immediately suspicious about the Countess’ nervousness. The page stumbles over something inside the room and the Count becomes more suspicious, demanding to know who is in there. When the nervous Countess refuses to open the door, he asks her to accompany him to get some tools to break itdown. After they leave the room Susanna quickly opens the door for Cherubino, who in utter fright jumps out of the window, and Susanna takes his place inside the room. Thus, when the Count and Countess return, both are dumbfounded to find that it is Susanna behind so since the Countess has already admitted to the Count that Cherub! Figaro enters to invite the Count to the wedding festivities, but is te: i asking him who wrote the anonymous letter. By using his wits he manages for the moment to extricate himself, but things grow more complicated with the appearance of the tipsy gardener Antonio, who complains about someone jumping out of the window on top of his carnations. The quick-thinking Figaro manages to explain it all away with a series of clever fibs, but the Count is still suspicious. the door in the room, especially ino was there. A moment later mporarily nonplussed by the Counts Finally, to top off the confusion, Bartolo, Basilio and Marcellina enter. The old woman insists that haw must marry her, not Susanna, Basilio states that he wants to be a witness, and Bartolo offers his lega services. The Count announces that he will decide this at a later time. The act closes in a rollicking Finale in which everyone comments on the complicated situation.283 Act I ‘The Count is conftsed by all that has happened, Susanna entem and as part of her plan, assures him that she will meet him in the garden and do whatever he wishes, Atal wees follows, in which the lawyer Don Curzio announces that since Figaro apparently can not repay his loan to Marcellina, he is obligated to marry her as he promised he would. Figaro protests, saying that he needs the consent of his unknown noble parents. In the course of the argument, Figaro also makes mention of a birthmark on his right arm, which will definitely serve some day to prove his noble descent. At the mention of the birthmark, Marcellina goes over to him, looks at his arm and tearfully realizes that Figaro is her long lost own son! And who is the father? Marcellina points to Bartolo. In the ensuing sextet Susanna enters to find Figaro in the arms of Marcellina. At first furious, she slaps him but is soon informed that Marcellina is not her rival but her future mother-in-law, and the scene ends with everyone commenting on the situation. The second scene has Bartolo and Marcellina de: Susanna. The Countess then sings her second herself and her cruel husband. Si to the Count confirming Susan dressed as a woman, is to cai ciding to get married on the same day as Figaro and soliloquy in which she laments the lost love between ‘usanna enters and the Countess’ spirits are revived as they write a letter ina's assignation with him that night (the assignation that Cherubino, Try out). This letter is sealed with a pin. Now everyone comes on stage, including the chorus, to prepare for the marriage festivities. A group of peasant girls offers flowers to the Countess and amidst them is Cherubino dressed as a girl. The irate gardener Antonio spots him and pulls off his wig, Thi ' : . furious Count is about to punish the page when Barbarina steps in. She reminds the Count in no uncertain terms of the promises he had made every time he kissed and fondled her. The embarassed Count finally has to accede to her wish, which is to marry Cherubino. Dancing follows and Susanna's note reaches the Count, who pricks his finger on the pin as he tries to open it and read it. The pin falls to the floor. Figaro, who does not know about this part of the plot sees this and becomes suspicious. The whole scene ends with rejoicing by everyone as the happy couples are about to be married. ACT IV Into the palace garden with arbors on both sides, Barbarina enters carrying a lantern and lamenting over something she has lost. Figaro and Marcellina appear. Barbarinba tells them that she has lost the pin that the Count had given her to take back to Susanna with the message that he would be waiting for her by the pine trees. Figaro assumes, of course, that his fiancée is deceiving him with the Count, and rushes furiously away swearing to avenge himself on the whole female sex. Marcellina decides to warn Susanna of this. Figaro reappears and sings his aria of invective against all women, warning all men to be on their guard. ‘The Countess and Susanna enter, dressed in each other's clothing. Deliberately raising their voices the Countess and Susanna talk about the rendezvous and then the maid asks to be left alone. She sings an aria expressing her feelings for her beloved. The eavesdropping Figaro, still seething with unjustified jealousy, misunderstands the words and assumes she is addressing her song to the Count. Susanna Jeavesand the Countess enters, dressed in Susanna’s clothes. Cherubino appears and obeying his natural impulse to woo everything in skirts, he promptly begins to make love to the woman he believes to be Susanna, not realizing of course, that it is the Countess in disguise. While she tries to fend off the page the Count rushes in with an ardent greeting to the supposed Susanna. Just as Cherubino is about to kiss her, the Count interposos himself, and Cherubino mistakenly kisses him. ‘The Count starts to slap the Page, but the latter ducks and Figaro, who has at this point rushed into the melée, gets hit. The frightened Cherubino escapes. Figaro and Susanna withdraw separately to different parts of the garden, while the Count makes ardent love to his own wife, thinking she is Susanna. He gives hera ring as a pledge of his devotion. Figaro Teturns in time to see the Count lead the disguised Countess toward the arbor on the other side. Lurkingos about in the darkne: counters Susanna and, believing her to be the Countess tells her that can trap the falthies® Pee Baan tine teal mstaet voles bat in a unguarded moment sho ot) and Figaro realizes who she is. Ho deliberately continues the ee anata Te Dag PoUntess, passionately declares his love. Susanna, provoked to fury by that Susanne mee en kicks him. Figaro happily accepts the blows, convinced by this show of temper while eluded 1 .°°°*himn, The Count now enters looking for the supposed Susanna, who has mean’ i oe ES im. Fj 0, catching sight of him, kneols before his "Countess" with exaggerated gestures of adoration, then both he and Susanna rush off to the other side of the garden. 284 The Count catches Figaro and shouts for his servants in a raging fury. As Peo Hatals and Curzig rush in, he denounces Figaro and declares that he will now unmask his pai nat lity. ‘Stor into the arbor, the Count drags forth, in comical procession, eneraine Ee ae qeelling and Susanna. The others, seeing Susanna still dressed as the Countess, are dum! ae a ‘usanina asks the Count to forgive her, the Countess herself emerges from one of the “ os a ei situation now becomes clear to the Count. Throroughly chastened and repentant, he begs his wife for forgiveness ang is duly pardoned by her. All express their gladness over the outcome.Le Nozze di Figaro, Act I 285 ActI Scone on Kaa half-furnished room with an in . oe in hand and Susanna stor oe in the middle, Figaro measures space with a measuring ror trying on a hat decorated with flowers.) NO. 1 DUETTINO FIGARO (measuring) ‘ti ‘djetfi_ ‘venti 4 aos dots veatl hn tents decent i ten... ae ims 1. arant feos Bre... twenty... thirty. thirty six... forty three... SUSANNA (to herself, looking in the mirror) ‘ora ‘St ‘Kio son kontenta On st chio son contenta; Now yes thatI am happy: (Now I'm truly happy;) ‘sembra ‘fatto imver ‘per ‘me Sombra fatto inver per mo, It seems made truly for mo. (Continuing to look at herself in the mirror.) ‘gwarda ‘um 'po mio ‘karo. Figaro Guarda un po’, mio caro Figaro, Look abit, my dear Figaro, ‘gwarda adesso ‘il mio ka'ppel:lo guarda adesso il mio cappello. look now atmy hat. FIGARO si mio. kore oor ig ‘piu ‘bello Si mio core or pia bello Yes, my heart now it's more beautiful ‘sembra fatto im'ver ‘per ‘te sembra fatto inver por te. it seems made truly for — you. SUSANNA, FIGARO a ‘il matttino ‘alsle —‘notttse vitfino Ah il mattino alle nozze vicino Ab, the morning to the wedding near (Ah this morning, so close to our wedding this evening) ‘kwanto e ‘doltfe ‘al ‘tuo. ‘mio. ‘tener ‘spozo. quanto a dolce al tuo _—_(mio) tener _sposo" how much is sweet for your (my) tender bridegroom ‘kwesto ‘bel kap:pe'l:lino ve'tsts0z0. questo bel cappellino ‘vezzoso this lovely little hat charming SS 1 mis a spore. But sposo can also mean “husband”, altho Pe ‘ ‘be confusing: A bridegroos =P 5 » although a mor ae ee Ate fiancé isa fidanzato. A bride/fiancée can be sposa or fidemzata and a wife is definitely moglio 'n current Italian, although one sees sposa used in Iibrett == Le Nozze di Figaro, Act I ‘ke sv'zanma ‘chla ‘stesisa_ ‘si fe che Susanna olla _stessa_si fe’. that Susanna she herself made for herself. Recitative SUSANNA ‘koza'stai_-—mizu'rando ‘karo ‘il mio figa'ret:to Cosa stai misurando caro il mio Figaretto? What are you measuring, dear my — Figaretto? FIGARO ‘io 'gwards ‘se kwel ‘lett To guardo so quol_ lotto I am looking if that bed ‘ke ‘fi destina ‘il ‘konte che ci destina il Conte that has destined for us the Count fara “bbwona figura ‘iy ‘kwesto ‘loko fara buona’ figura in questo loco. will make good figure in this place. (will look good in this place.) SUSANNA ‘in ‘kwesta ‘stantsa In questa stanzi In this FIGARO ‘Yferto a ‘noi la fede dsencrow il Corto: a noi la cede generoso il Certainly. To us it gives generous the (Certainly, the master has generously given it to us.) SUSANNA ‘io per‘me ‘te ‘la ‘dono Io pormo to la dono, I as far as I'm concemed, give it to you. (As far as I am concerned, you can have it.) FIGARO e la ra'dgone E la —_ragiono?. And the reason’ pa'drone padrone. master. 2The ettojetta diminutives are loving appendages to Italian names, She calls him Figaretto and he calls her Susamnetta later on. In English it's equivelent to something like "Joenic’ for "Joan’, "Ricky" for “Richard” or "Barbie" for “Barbara” * Tho rules of Phrasel Doubling (Raddoppiamento Sintaitico) state that whenever a word in a phrase onds in a vowel with a.written accant, ara buona) it will cause the following consonant in the next word to double. This is why you see it transcribed [fa'ra bbwona].Le Nozze di Figaro, Act I SUSANNA (pointing to her head) tatdgone ‘lo ‘a ‘kwi La Tagione Tho i The ‘reason T have it here. FIGARO (doing the same) perke ‘nnom'pwoi far cas in BH E perch non puoi far “e,Passi um “po ‘kwi z © passi un po’ quit And why camtyou manage to passit abit here? (And why can't you let me in on it?) SUSANNA. perke ‘nnom 'voAKo Perch® non voglio, Because I don't want to. ‘sei ‘tu ‘mio servo 2 ‘tio. Sei tu mio somo ° no? Are you my servant or not? FIGARO ‘ma ‘non ka'pisko perke ‘ttanto “ti 'spjatfe Ma non capisco Perch tanto ti spiace But I don't understand why — so much it displeases you ‘a ‘piu ‘kkomoda ‘stantsa ‘del pallatstso la pit’ ~— comoda stanza del palazzo. the most comfortable room in the palace. SUSANNA perkio ‘son ‘la suzanna_ se ‘uw sei 'patso Perchiio son aSusanna, tu sei_——pazzo. Because I am Susanna and you are _feeble-brained. FIGARO ‘grattsje ‘non ‘tanti e'lodgi Grazie; non tanti ologi! Thanks! Not so many praises! (Thanks a lot for your praise!) ‘gwarda ‘um 'poko ‘se pottriasi ‘star ‘meéko ‘in ‘altro Guarda un poco se potriasi star meglio in altro Go see if we could be better off in some other NO. 2 DUETTINO FIGARO ‘ akazo ma‘dama la ‘notte ‘ti ‘kjama © a caso Madama la notte ti chiama: If by chance Madame at night calls you: ‘din ‘din in ‘due ‘passi ‘da ‘kwella 'pwoi ‘d3ir Din din, Sn duo passi_ da quella puoi 7 Ding-a-ling, in two steps to her — you can es “The sonse here is: "Aro you going to obey me or nol 287 ‘loko loco. place.288 Le Nozze di Figaro, Act I ‘vjem ‘poi Jok:ka'zjone ‘ke ‘vwolmi “il pa‘drone Vien poi loccasione che —vuolmi il padrone: Comes then the occasion that —_ wants me the ‘don ‘don ‘in ‘we ‘salti ‘lo vad a servir Don don, in tre salti lo vado a servir. Dong dong, in three bounds him I go to serve. SUSANNA kozi ‘seal ma'ttino ‘il ‘karo kon'tino Cosi so al mattino il caro Contino: Thus if in the morning the dear little Count: ‘din ‘din e ‘i ‘manda ‘we = 'mikéa_lontan Din din, ° ti manda tre miglia_Iontan; Ding-a-ling, and __ he sends you off three miles away; ‘don ‘don © a ‘mia ‘porta’ ‘il ‘djavol ‘Io ‘porta Don don, ° a mia porta il diavol lo porta, Dong dong, and at my door the devil brings him, ‘ed 'ek:ko ‘in ‘we ‘salti ed = ecco. in tre salti.. and there, in three bounds... FIGARO su'zan:na ‘piam ‘pjan Susanna, Pian pian. Susanna, hush hush. SUSANNA askolta Ascolta. Listen. FIGARO ‘fa ‘presto Fa’ presto. Hurry up. SUSANNA ‘se dir 'brami rT ‘resto Se udir — brami il resto, If hear you wish the rest, diskattfa i sos'petti ‘ke torto. ‘mi ‘fan discaccia i sospetti che torto mi fan. Dismiss your suspicions — which wrong do me. (Dismiss your suspicions, which do me wrong.) FIGARO udir — ‘bramo ‘il ‘resto Udir bramo il resto: Hear I wish the rest: >Le Nozze di Figaro, Act I 289 ‘dubsbi i Sos'petti F i . Petsti dse'lare ‘mi fan 1 dubbi, i Sospetti are mi The doubts, the suspicions a freeze_make me. (These doubts and suspicions make my blood run cold.) Rocitativo SUSANNA orbene askolta ¢ ‘tatfi Orbene, ascolta 0 taci, Well then, listen and be quiet, FIGARO (troubled) parla ‘ke = "Yfe ‘di ‘nwovs Parla, che — c'a di nuovo? Speak, what _ is there to tell? SUSANNA ‘il sinnor ‘konte I signor Conte, Mister Count, ‘Stanko “di an‘dar ka'tttfando ‘le Stra'njere be'liletitse forastjere stanco di andar cacciando le straniere bellezze forastiere, tired of pursuing the unknown beauties foreign, (tired of chasing new foreign beauties,) wale ankor ‘nel kastek:lo ritentar ‘ta ‘sua ‘sorte vuole ancor nel —_castello Titontar la sua sorte; wants once more in his castle totryagain his —_ luck; whe ‘asa ‘Ai ‘sua —_konisorte ‘bada ‘bene ‘Ki ‘vjene NO gia di sua _consorte, bada bene, appetito gli viene. But not for his wife, mind you, —_ appetite to him comes, (But his amorous appetites, mind you, are not for his own wife.) FIGARO e di ‘ki ‘dunkwe Edis chi,_-— dunque? And for whom, then? SUSANNA della ‘tua suzainmnetita Della tua © Susannetta. For your —Susannetta. FIGARO (surprised) di te Di te? For you? SUSANNA. . ‘me medezma ‘ed a spe'rantsa me medesma. Ed ha _sporanza ‘ my very self. And he has hopes“ Le Nozze di Figaro. Act I ‘ke al ‘nobil ‘suo _protdget:to che al nobil suo _progotto that forthe noble his project ‘lisisima ‘sia tal—_vitfitnantsa issima sia tal’_~—svicinanza. Most useful be such closeness. ful (And he hopes that having us so near him will be most use for his noble schemes.) FIGARO ‘bravo ti'gjamo a'vanti Bravo! Tiriamo avanti. Bravo! Let's go on! SUSANNA ‘kweste ‘le ‘grattsje ‘son ‘kwesta ‘a kura Queste le grazie ‘son, questa Ja cura These the favors are, this (is) the ~~ ca ‘prende ‘di te. ~—“deltla. "wa Spaz Pronde dite, dolla. tua sposa. that he takes in you, in your bride. ; (This is reason for all his favors, and for the care he lavishes on you and on your bride.) FIGARO ° ‘gwarda ‘um 'po ‘ke karita ppe'loza Oh, —guarda un po! che —_carité_pelosa!® Oh, look here what charity hairy! (Oh, look here, thanks a lot!) SUSANNA ‘ketati ‘or ‘vjene ‘il ‘mekho Chetati: or viene il meglio. Hush, now comes the _ best part. dom baziljo ‘mio ma'estro ‘di kanto ‘suo fak'totum Don Basilio, mio maestro di musica e suo —_foctotum, Don Basilio, my — teacher of music and his —_factotum,* ‘nel ‘darmi ‘la 'mia_le'tusone nel darmi Ja mia lezione while givingme my _ lesson ‘mi ri'pete ‘onpi ‘di ‘kwesta karitsone mi ripete ogni di questa canzone. repeats tome evory day this song. (repeats the same old tune every time he gives me a lesson.) SCarita polosa, (litorally "hairy charity") is an idiomatic expression |mplying when someone does something for another person with strings allackod. expecting some kind of rtum favor not exactly welcome te the ales party. 4 . ‘Both foctotum es well 5 mezzano {ne'dstzano] appear inthe original Da Pon - val to Ws; “middle is a go-betwoon as is focotum in this case. The final decision rests with ibe fhonmeeLe Nozze di Figaro, Act I 2 birbante ” Oh __birbante! Who? Basilio? Oh, scoundrel! SUSANNA é ‘te kredevi ‘ke fosse ‘la 'mia ‘dote E tu credevi che fosse la mia dote And you believed that itwas my dowry ‘merto ‘del “tuo ‘bel ‘muzo, raarto del tuo bel muso? a reward for your handsome —_ puss? 291 (And you thought the dowry he promised me was on account of your lovely puss?)’ FIGARO ‘me ‘nera luzinygato Me n'era lusingato. Solhadme flattered. (Id flattered myself so.) SUSANNA ‘ei ‘la destina ‘per ote'ner ‘dass me ~—'tferte._ me'd:dzore Ei la destina per ottenerda me certo. mozz'ore He intends it to obtain from me certain half hours ke il diritsts fewdale che il diritto feudale... which his right feudal...* FIGARO ‘kome ‘ne feudi ‘swoi ‘non ‘la ‘il ‘konte abo'lito Come! Ne’ feudi suoi non lha il Conte abolito? How so? In the estates his has not the Count abolished it? SUSANNA ebben ora & penttito Ebben, cra 8 pentito; Well, now he's sorry, e ‘par ke tent riska'ttarlo ‘da ‘me ° per che tonti riscattarlo dame. and it seems that __ he's trying to bring it back for me. FIGARO. bravo ‘mi ‘pjatfe ‘ke ‘karo sippor ‘konte Bravo! ace! Che caro signor Conte! Bravo! | like that! What a dear Mister Count! 7The Count promised Susanna a dowry on her woding, abit of "hairy charity", so to speak...This matter of the dowry will arise later on in the oper. ®This is the droit du seigneur, ("lord's right’) also called Jus prima noctis (Latis ‘right of the first night"). The right of the lord to share the bed of the bride of any of his vassals on the wedding night. The custom seems to have existed in early medieval Europe to limited extent but was more often the excuso for levying taxes in lieuLe Nozze di Figaro, Act I 292 ‘Yi vo'KAam divertir trovato avele Ci vogliam divortir: Trovato er ° You'd like to have some fun! Found you have. (A boll is heard ringing.) FIGARO ‘ki ‘swona ‘la kon'tes:sa Chi suona? La _—_ Contessa. Who is ringing? The Countess. SUSANNA a'd:dio "fi fi ‘figaro ‘bel:lo Addio fi... fi... Figaro. bello. Farewell, fi... fix Figaro handsome. FIGARO ko'rad:dgo ‘mio te'zoro Coraggio, mio _tesoro. Have courage, my _ treasure. ‘SUSANNA © ‘tu tfervel:lo E tu, cervello. And you, brain! (And you, be clever.) (And you, use your brain!) Scene Two FIGARO ‘bravo sipnor pa‘drone ‘ora inko'mintfo Bravo, signor padrone! Ora —_incomincio Bravo, mister master! Now I begin a ka'pic ‘il misters € a veder 'skjetto a capir il mistero... e a veder schietto to understand the mystery... and tose. clearly ‘tatto ‘il vostro proidgetsto a ‘londra € 'vvero tutto il vostro progetto: a Londra, & vero? (the) entire your scheme... to London, indeed? ‘voi ministro "io kornrjero e ‘lasu'zan:na voi _—_ministro, io corriero, ° la Susanna you minister, 1 courier, and Susanna se'kreta ambaffa'tritfe secreta ambasciatrice. secret ambassadress... ‘non sa'ra ‘figaro ‘il ‘ditfe Non sara: Figaro il dice. It won't happen, Figaro says so. *Trovato avete, the phrase that is imterrupted by tho ringing of the boll implies "you have found your match!"Le Nozze di Figaro, Act I 293 NO. 3 CAVATINA FIGARO ‘ewwol baltlare sipnor koritino Se vuol ballare, signor Contino, If you wish to dance, mister Count,’ ‘il kita'rrino ‘le swone'ro il chitarrino Ie suonerd. the little guitar. —-‘TMl play for you. {if you want to dance, my dear little Count, Ill play the tune on my guitar.) ‘se ‘ywoll venire ‘nella ‘mia — ‘skwola Se vuol venire nella mia scuola, If you want to come to my school, ‘jas kapri‘ola ‘Je insepne'ro la capriola le insegnerd. the cabriole™ I will teach you. sa'pro ‘ma ‘pjano Sapro... ma __ piano: Twill know how to... but —_ quietly: ‘meso ‘onni arkano dis:simu'lando — skoprir potro meglio ogni arcano dissimulando scoprir potrd. best every secret dissembling discover T can. (Ill know how to...but wait: best I pretend (that I'm not on to you) to so I can best discover your every secret plan.) ‘Tarte skermends _‘larte ado'prando Larte schermendo, T'arte adoprando, Your cunning outwitting, © mycunning employing, (By outwitting your cunning and employing my cunning.) ‘di ‘kwa_pun'dgendo skertsando di qua pungendo, scherzando, here — stinging, joking, ‘tutte le ‘mak:kine roveffe'ro tutte le macchine rovescierd. all your plots I will upset. hs *°Conting is in this case a deprecating diminutive, "mister little Count". The ino/ina diminutive particles will be used ser on with tho Countess, as Cherubino (little cherub) addresses her as Contessina. The latter is used affecti which is not the case here with Figaro. avehonatey However: n 'A cabriole in ballet terms is a vertical leap during which the dancer moves his feet back and forth as off tho ground before gravity brings him down again. In equitation, it is a stunt taught to horses, more or Leeda i samme defiance of gravity. Goats (capre) are known to do somersaults, (from which the ballet term is derived), and there ie £0 subtle inference here having to do with « homed animal. Figaro is now aware that the Count has intentior paet him with Susanna, that is, Figaro will develop the infamous horns of the cuckold, « matter of grave conce ions of cuckolding Mediterranean man's ego. rn to the Ase humorous aside, when I travelled to Japan with the Metropolitan in the 70s, we wore invited : Tokyo to come hear some of his pupils sing. One of them sang the above aria, standing rather ning nico or living in ‘As ho sang the words Se ruol venire nella mia scuola, after the word scuola, on that quarter note rost he execnted c ten pe? somersault, landing on his foot in tim to sing the next word, cepriola, totally unperturbed, looking rather erent ge ess Prowess. We were all duly amazed.. smug at his athlotic294 Le Nozze di Figaro, Act I (He goes off.) Scene Three (areellina and Bartolo.) Recitativo BARTOLO ‘ed aspe'titaste ‘il ‘dgorno Ed _aspettaste il giorno And you waited for the day fistsato ‘per Je ‘notitse a parlami ‘di ito per le nozze a parlarmi di fixed for the wedding to speak tome about MARCELLINA. (holding a contract in her hand) ‘io ‘non ‘mi 'perdo — do'ttor ‘mio “di ko'rad:dgo To non mi perdo, dottor mio, di coraggio; 1 haven't lost, doctor mine, my courage; ‘per ‘romper ‘de spon'sali ‘pju avanttsati ‘di Per romper de'sponsali pid —_avanzati di To break off engagements more advanced than basto ‘spesiso ‘um _pre'testo ‘ed "ekki basto Spesso un Ppretesto; ed egli ha sufficed often a pretext; and he has ‘oltre a ‘kwesto kontratto ‘Yertiimpepni oltre @ questo contratto corti impogni... besides this contract certain obligations... 's0 'io ‘basta komjvjene ‘la suzan:na So io. Basta: conviene Ja Susanna T should know... Enough now. We must Susanna komyyjen ‘kon ‘arte impunti'ffarla_ a tifjutare Convien. con arte impuntigliarla a rifiutare We must with art persuade her to reject (We must cunningly persuade her to reject the Count's advances.) ‘ekki ‘per vendi'karsi_prende'ta Egli per vendicarsi_prendera He out of revenge will take © ‘figaro ko'zi fia ‘mio ° Figaro cosi fia — mio and Figaro thus will be my BARTOLO (asking for the contract) ‘bene tio ‘tutto fa'ro Bene, io tutto far: Well, | all will do; ‘il'mio _partito il mio partito, my side, ma'rito marito. husband. ‘sentsa senza without ti'serve riserve reserve "kwesto, questo? this? ‘kwesto questo this one ‘meko meco with me atterrir, frighten; ‘il ‘Konte il Conte. the Count.Le Nozze di Figaro, Act I 298 ‘eutto a ‘me _pale'zate ae a me _palesato. to me reveal. everything (Very well, Ill do all Ican, but you must tell me everything without holding anything back.) (To himself.) aviel Parson ‘di‘dar im ‘moske ‘la ‘mia ‘serva anttika Avroi pur gusto | didar in moglio la mia ‘sorva antica How I would relish giving as wife my servant old ak ‘mi ‘fetfe ‘un ‘di ; ; | rapir — lamika 2 chi sai foce andi ee teu - pir Yamica. to the one (who) from me did some time ago steal my sweetheart."* (How I'd relish giving my old servant in marriage to the one who some time ago managed to have my sweetheart stolen from me.) NO. 4 ARIA BARTOLO ‘Ya vendetta 0 ‘la vendetta La vendetta, oh, la vendetta Vengeange, oh, vengeance € ‘um pja'tfer serbats ‘ai ‘sad:d3i é un _—piacer serbato ai saggi; is a pleasure reserved for the wise; lobliar ‘lonte € “hi oltrad:dsi Liobliar Tonte 0 gli —_oltraggi, To forget insults and the outrages, € bba's:set:tsa ~ oppor vil'ta a bassezza e ognor vilta. is baseness and always cowardice. ‘kon lastuttsja ‘kon —_larguttsja Con —_'astuzia, con T'arguzia, With cunning, with cleverness, ‘kel dgudittsjo ‘kol ——_kri'terjo col giudizio, col criterio, with judgement, with discernment, ‘il fatto © "serjo il fatto 8 serio; the caso is serious; ‘ma _kre'dete ‘si fa'ra Ma _credete, si fara. believe me, ee 2 this is reference to the first part of ‘was instrumental in the ploy t fo unite Count Al it will be done. the story of these Beaumorchais charactors, The Barber of Seville, whore Figaro Imaviv and Rosina thereby rescuing her from marriage to her ward, Dr. Bartolo.— Le Nozze di Figaro, Act I tutto ‘koditfe dovesisi woldsere : z ere, ir flo Codiee dovess! Se addb aul all the (legal) code _—_I should have to ‘se ‘tutto ‘linditfe aovesist ‘led:d3ere so tutto Tindico dovossi leasere, if the entire index I should have to read, ‘Kon ‘un ekwivoko ‘kon ‘un si'nonimo con un equivoco, con un___ sinonimo ‘with; ta quibble, with a paraphrase ‘kwalke garbukso ‘si uove'ra qualche Sarbuglio si trovera. some entanglement will be found> ‘tutta si'vikka ko!noffe ‘bartolo Tutta Siviglia conosce Bartolo: All of Seville knows Bartolo: ‘i ‘birbo figaro ‘vinto sa'ra 0 birbo Figaro vinto sara. That rascal Figaro bettered shall be. (11 get the better of that rascal Figaro.) (He goes off.) Scene Four (Marcellina, then Susanna) Recitativo MARCELLINA “tutto. ankor ‘non > ‘perso ‘mi ‘resta ‘la spe'rantsa Tutto ancor non ho perso: Mi resta la speranza. Everything still have not lost: I still have hope. (Susanna enters carrying a ribbon, a cap and a dross.) MARCELLINA (aside) ‘ma su'zan:na sa'vantsa is vo prolvansit Ma Susanna s'avanza. lo vo’ provatiiai:.. But Susanna is coming. I want to try... fin'd3am ‘di ‘nom velderla Fingiam di non vederla... Let me pretend not to see her... (Aloud.) e ‘kwel:la ‘bwona ‘perla ‘la vo'rnrebzbe —_spo'zar E quolla buona perla la vorrobbe —spocar! And that good pearl he'd like to. marry! (And that's the wondorful gem he (Figaro) would like to marry!)Le Nozze di Figaro, Act I 207 SUSANNA (aside) ‘ime ~—sfa'velsla Dime _—favella. About me she's talking. MARCELLINA. ‘ma ‘da ‘figaro alfine Ma da Figaro alfine But from Figaro, after all ‘nom 'pwo ‘meKKo_ spe'rarsi lar3a non pud meglio sperarsi: Torgent one cannot better hope for; money SUSANNA (as before) ‘ke ‘lingwa. ‘manko ‘male ‘ke Che lingua! Manco male cho What a tongue! Good thing that MARCELLINA "brava. ‘kwesto © dgu‘dittsjo. Brava! Questo & giudizio! Brava! This is discretion! (Brava!...that's real discretion!...) ‘kon ‘Kwesi ‘okki-mo'desti Con quegli occhi modest, With those eyes modest, ‘kon = kwe'l:larja pje'toza con _ quell'aria pietosa, with — that look compassionate, SUSANNA (as before) ‘mekho © partir Moglio a partir. Better itis to leave. {it's better if I go.) MARCELLINA ‘ke ‘kkara ‘spoza Cho cara sposa! What (a) lovely bride! fe tw fait tout. means everything. oppun ‘sa kwanto ‘vale ognun sa quanto vale. everyone knows what it's worth. eppoi e poi... and then... (They both make as if to leave and meet in the doorway) NO. 5 DUET MARCELLINA (curtsying) ‘via ‘resti. —ser'vita ma'dama Vie, resti__servita,"” madama Come, be served, madame (After you, gracious lady.) TT tp this cae sorvita implies thet by allowing Suse sarcastic obeisance. brislante brillante. sparkling. ‘nna to go first, Marcellina is her servant, showing her a fake and298 Le Nozze di Figaro, Act I SUSANNA (also curtsying) ‘non ‘sono ‘si ardita ma'dama pikckante Non sono si ardita, madama —_piccante. Tm not so bold, madame piquant. (I'd not be so bold, saucy lady.) MARCELLINA (as before) ‘no ‘prima a ‘lei ‘tok:ka No, prima i toca. No, first it's your turn, (No, you go first.) SUSANNA (as before) ‘no ‘no ‘tok:ka a ‘lei No, no, _tocca a lei. No, no, it's your turn. (No, no, after you.) SUSANNA, MARCELLINA. ‘io ‘80 i dover ‘mjei ‘nom fo intfivil'ta To so i dover miei, non fo incivilta. I know the duties mine, 1 wouldn't commit (an) incivility. { know my position, 'd not be so rude,) (Iknow my duty; Td never be so uncivil as to not let you go first.) MARCELLINA la ‘spoza_novelila La —_—sposa_ novella! The bride new! SUSANNA ‘la ‘dama do'nore La = dama_d'onore... The lady of honor... MARCELLINA ‘del ‘konte ‘la ‘bella Del Conte la bella... Of the Count the lovely one... (The favorite of the Count...) SUSANNA ‘di ‘spanna la'more Di _— Spagna Tamore... Of — Spain the love... (The love of all Spain...)'* ™*Tho inference here is a bit more biting than "the love of all Spain’: Sho is really saying that every man in Spain has received her favors.Le Nozze di Figaro, Act 1 29 0 Your SUSANNA. (maliciously) leta Leta! Your age! MARCELLINA ‘per ‘bak:ko ‘se aykor ‘resto. ‘kwa Per Bacco, precipito, se ancor resto qua By Bacchus, Tllexplode if still stay here. (By Jove, if I don't leave I'll explode!) SUSANNA (aside) sibilila de‘krepita ‘da ‘rider ‘mi ‘fa Sibilla decrepit! © Daridor mi fa. Sibyl decrepit! To laugh she makes me! (The decrepit old witch makes me laugh!) (Marcellina leaves in a huff.) Rocitativo SUSANNA va'la ‘vekikja pe'dante dottoressa_-_arroigante Vala, vecchia pedante, dottoressa® —_arrogante! Go on, old pedant, scholar arrogant! (Go on, you pedantic old witch, you arrogant supposed scholar!) perke ‘ai ‘letto ‘due ‘bri Perchd hai lotto duo libri Gust) because you've read acoupleof — books & sekikato madama ‘in dgoven'tu e seccato madama in gioventa... and bothered madame in (her) youth... (and bothered my lady the Countess when she was a young girl...) (Sho drapes the dress over tho armchair as Cherubino enters hurriedly.) 52h Sibyls wore certain women consulted as propholessas or oracles by the anciont Crooks and Romans. The word also Means a sorceress or witch. *®susanna may be cleverly calling her dottoressa, which truly means e ledy scholar’, "a lady doctor’, but reelly implying that she and Bartolo have enjoyed more than « professional relationship throughout the years. He's a doctor, and she is her dottoressa... Let's not forget that the Bartolo/Marcellina pair has been around for quite a while.se Le Nozze di Figaro, Act 1 CHERUBINO suzannetta ‘sei Susanetta, sei Susannetta, is it SUSANNA. ‘son ‘io ‘koza_—vollete Son io; cosa volete? Itis I; what do you want? CHERUBINO a ‘kor ‘mio ‘ke attfidente Ah, cor mio, che accidente! Ah, dear heart, what (a) disaster! SUSANNA ‘kor ‘vostro ‘Koza avivenme Cor vostro? Cosa avvenne? Your dear heart? What has happened! CHERUBINO al *konte jeri by Conte, ieri, The Count, yesterday, Perke ttro'vom:mi ‘sol ‘kom —_barba'rina perch trovommi sol con _Barbarina, because he found me alone with Barbarina, ‘il kon'dgedo ‘mi ‘djede il congedo mi diede; the dismissal gave me; (dismissed me;) © ‘se ‘la konte's:sina ‘la ‘mia ‘bella ko'mare E se la Contessina, —_la mia bella comare, and if the Countess, my beautiful godmother, ‘grattsja ‘nom ‘mintertfede ‘io “vado ‘via grazia non miintercede, io vado via, pardon not intercedes for me, I am going away, (does not intercede on my behalf, I will have to leave,) ‘io ‘non 'ti ‘vedo ‘pju su'zanma ‘mia io non ti vedo pia Susanna mia! I will not see you anymore, Susanna mine! SUSANNA ‘nom ve'dete ‘pju me ‘bravo ma “ugkwe Non vedete pitt me! Brave! Ma dungque You won't see any more me! Bravo! But then ‘nom ‘pju per 'la_——kon'tesssa non pit por la Contessa no longer for the CountessLe Nozze di Figaro, Act I 301 segretamente ‘il ‘vostro ‘kor sospira segretamente il vostro cor oeplint secretly . your heart sighs? (You won't see me any more! Bravo! So your heart no longer secretly sighs for the Countess?) CHERUBINO a ‘ke ‘trop:po. ris'petto ‘ela is pit Ht tla mispira Ah, che troppo rispetto ella satetea Ah, for — too much Tespect she inspires in me! (Ob, I respect her too much for that!) felitfe te ‘ke ‘pwoi velderla ‘kwando ‘vwoi Felice te che puoi vederla quando vuoi! Lucky you that you can see her whenever you want! ‘ke ‘la ‘vesti ‘al ‘ino ‘ke a "sera ‘la 'spofhi i posi cho la vet al mattino, cho la sora la spogli, Who dress her in the morning, who inthe evening undress her, ‘ke ‘le 'mettti ‘Ki spikloni i merlet:ti che _le metti gli spilloni, i who put on her the pins, the a ‘se in "tua ‘Toko Ah, se in tuo loco... in your place... Ah, if (Ab..:if only I ‘kozai were in your place...) Mi ‘dim:mi ‘um ‘poko Cos‘hai li? Dimmi un poco... What have you there? Tell me... (But what have you got there? Let me see...) SUSANNA (holding the ribbon and imitating him) a ‘il ‘vago ‘nastro € fla notrtuma ‘kufifja Ab, il vago nastro 0 la —_notturna cuffia Ah, the pretty ribbon and the _ night cap ‘di ko'mare ‘si ‘pbelsla di comare bella... of godmother so _lovely... CHERUBINO ‘de ‘dammelo so'rel:la ‘dam:melo ‘per pjeta Deh, dammelo sorella, dammelo per _pieta. Please give it to me, sister, give ittome for pity's sake. (He snatches the ribbon away from Susanna) SUSANNA. ‘presto ‘kwel — ‘nastro Presto, quel _nastro! Quickly, that __ ribbon! (Give me back that ribbon now!) (Susanna tries to get it from Cherubino but he manages to elude her.)te Le Nozze di Figaro, Act I CHERUBINO ‘nastro 2 ‘Kkaro 2 ‘bbel:lo 0 ffortunats a tro! O caro, e bello, 0 fortunato astro! Oh dearest, oh lovely, oh _—_lucky mom (Oh dearest, oh beautiful, oh luckiest of ribbons!) (He kisses the ribbon over and over) ‘io ‘non ‘tel rende'ro a ‘wis To non tel renderd cho con Ia vita, I will not give it back to you except with my life. SUSANNA (continuing to chase him) ko'ze ‘kwesta insollentsa Cos'a questa insolenza? What is this insolence? CHERUBINO € via ‘sta ‘keta Eh, via, _sta chota! Eh, goon, calm down! ‘in rikom'pensa_ ‘poi ‘kwesta ‘mia In ricompensa, poi, questa. mia In exchange then, this my (He pulls out a song from his pocket.) SUSANNA e ‘ke ‘ne ‘deb:bo ‘fare E che ne debbo fare? And what with it should I do? (And what am I supposed to do with it?) (She takes the song from him.) CHERUBINO ‘led:dgila ‘alla pa'drona Loggila alla Padrona, Read it to your mistress, ‘led:d3ila a barba'rina a loggila a Barbarina, a read it to Barbarina, —to ‘led:dgila ‘ad ‘omni ‘donna loggila ed ogni. donna read it to every woman SUSANNA ‘povero keru’bin ‘siete ‘voi ‘patitso Povero Cherubin, siete voi pazzo? Poor Cherubino, are._—-you crazy? kanso'net:ta ‘io canzonetta io little song wu read it yo martfe'tlina Marvellina, Marcellina, ‘del Pallat:tso del palazzo! in the Palace! 'ti'vo. tivo’ to you will me‘dezma medesma, yourself, ‘dare dare. give.NO. 6 ARIA CHERUBINO ‘non ‘so 'pju Non so pid [ don't know any longer ‘or di. “fwoko ‘ora or di _‘fuoco, ora now of fire, now Le Nozze di Figaro, Act I ‘koza ‘son cosa son, what Iam, ‘sono ‘di sono di Tam of 303 ‘koza ‘fatto cosa _faccio.. what I'm doing... ‘gjattfo ghiaccio... ice... (sometimes I'm all fire and sometimes all ice...) ‘onni ‘donna kan'dsar di élbe ogni donna cangiar di colore, every woman change at © eelbe ‘oni ‘donna ‘mi ‘fa palpi'tar ogni donna mi fa palpitar. every woman makes me throb. (every woman makes me change color and makes my heart throb.) ‘solo ‘ai ‘nomi da'mor Solo ai nomi d'amor, Only atthe names of love, of delight, ‘mi'si‘turba ‘mi ‘saltera ‘il ‘petto misiturba, misialtora ill petto, perturbs me, unsettles me the breast, (The mere mention of love or delight perturbs me and unsettles my heart,) e a parlare ‘mi ‘sfortsa da'more e a parlare misforza d'amore and to talk I'm forced of love ‘un de'zio ‘ki ‘nom ‘posso. —spje'gar un desio. chiio. non posso _—spiegar! desire thatI cannot explain! (and I find myself talking about love from a need that I cannot even explain!) ‘parlo da'mor ve'f4ando Parlo d'amor vegliando, I speak of love (when I'm) —_ awake, ‘parlo da'mor soinpando Parlo d'amor sognando, I speak of love (when I'm) dreaming, allak:kwe a':lombre ‘ai ‘monti all'acque, all'ombre, ai monti, to the waters, to the shadows, to the hills, ‘ai ‘Fiori allerbe ‘ai ‘fonti ial fiori, all'erbo, ai fonti, tothe flowers, to the grasses, to the fountains, altleko atllarja ‘ai ‘venti all'eco, all'aria, ai venti tothe echo, to the air, to the winds,“ Le Nozze di Figaro, Act I ke if ‘swon ‘de ‘vani_—_atttfenti che i suon de’ vani_—_accenti which the sounds of my useless words Pportano ‘via ‘kon ‘se eae via con Se... take away with them... . 1 (tothe echo, the air, and the winds, which eamy oway with them the sound of my useless word, s ‘sse nono ‘ki ‘mmoda E so non ho chi m'oda, And if — Tdon't have anyone who will hoar me, ‘parlo damor ‘kon ‘me parlo damor can” me. Tspaek of love to myself (He starts to leave but sees the Count approaching and in utter terror tries to find a place to hide) Scone Six (Susanna and Cherubino, then the Count.) Recitativo SUSANNA ‘tatfi ‘vjen ‘dgente ‘il ‘konte Taci, vion gont 1 Conte! Be quiet, arecoming people... The —_Count! (Be quiet, someone is coming... The Count!) ° ‘me meskina Oh me meschina! Oh, poor me! (She hurriedly tries to hido Cherubino in several places, finally deciding in despair to hide him behind the armchair over which she has draped the dress.) COUNT (entering) su'zanna ‘tu = mi'sembri—adsitata e komfuza Susanna, tu mi sembri agitata e confusa.. Susanna, you seemtome agitated and confused. SUSANNA (nervously) sippor io 'kjedo 'skuza ‘ma 'se- mai 'kwi—sorpreza Signor... io —_chiedo scusa... me se mai. qui sorprosa... My Lord. I beg your pardon... but if ever, Here surprised... (My Lord...I beg your pardon...but if ever...someone surprises you here with me...) per _—_karita partite Per —_carita, partite. For pity's sake, —_go. ¥70n the repetition of this phrase pario amor con mo it will be help, at the fester tempo, to assimilate the n of con and pronounce it [parts da'mor ‘kom me). a—<— COUNT ‘um momento e Un momento ° One moment and Le Nozze di Figaro, Act I ‘ti affo ‘odi ti lascio. Odi. TM leave you. Listen. 305 (Hie sits down in the armchair, drawing Susanna close to him.) SUSANNA. tnotnodo ‘nulla Noa odo nulla. Tm not listening to anything.. COUNT due patrole ‘tu ‘sai ke ambaffattore a Due parole. Tu sai che ambasciatore a two words. You know that ambassador to rn ‘re ‘mi dikja'ro ‘di kon'dur ‘meko il re mi dichiard; di condur meco the king declared me; to take with me ‘londra Londra London ‘figaro destinai Figaro destinai... Figaro I've decided... (just a couple of words. You know that the king has appointed me as ambassador to London; I've decided to take along Figaro with me...) o'zasisi osassi. I dared... e ‘kon ‘kwel ° con quel and by that ‘su ‘me finke su me fincho from me foras long as preskrivi prescrivi. direct. SUSANNA (timidly) sinnor ‘se Signor, se My Lord, if (only) COUNT (getting more and more amorous) ‘parla. ‘parla ‘mia ‘kara Parla, parla, mia cara, Speak, speak my dearest, ‘kodid3i ‘prendi ch'oggi prendi that today you claim ‘kjedi im'poni chiedi, imponi, ask, command, la'ffatemi sinnor Lasciatemi, signor, Let me go, (my) Lord, ‘non ‘ne in'tendo ° non ne intendo... Oh, Tdo not intend to... Oh, COUNT a ‘nnd su'zanna Ah, no, Susanna, Ah, no, Susanna, (ask me, command me, direct me to do anything you wish...) SUSANNA (trying as best she can to disengage horself all the ‘dritsti dritti rights ‘nom ‘prends non prendo: Ido not claim: ‘me imfellitfe me infelice! Ym so unhappy! jo tivo far io ti vo! far I want to make you dritto right ‘tu vivi tu vivi, you live, while from the Count's embrace) ‘non “ne ‘vo non ne vo’, Ido not want any, felitfe folice! happy!e Nozze di Figaro, Act I 306 Li ‘tu ‘ben sai ‘kant ‘jo tama Tu ben sai quanto io tao: You well know howmuch | love you: a te ba’ziljo ‘tutto ‘dga ‘diese A te —_—Basilio tutto i ates To you Basilio everything __already told. (Basilio has already told you everything) (Getting a bit more intimate and amorous.) ‘or ‘senti ‘se ‘per ‘poki momenti Or —senti: Se per ~—_pochi_ momenti Now listen: If for a few. moments ‘meko ‘in dgardin sul:limbrynir ‘del ‘dgorno meco"® in giardin sull'imbrunir del giorno... with me inthe garden at the darkening of the day... (Now listen: if for a fow moments (you (He offers her some money.) would) come with me to the garden at dusk...) a ‘per ‘kwesto fa'vore ‘is page'rei Ah, per = questo favore io paghorei Ab, for this favor_I would pay. BASILIO (offstage) € uffito 'poko ‘fa uscito poco fa. He has gone out a short while ag 10. COUNT (suddenly letting go of Susanna and becoming concerned) ki ‘parla Chi ? Who _ is talking? SUSANNA ° ‘ddei Oh, Dei! Oh gods! COUNT ‘effi e al'kun ‘non ‘entri Esci, e alcun non entri. Go out, and anyone let not come in. (Go out and don't let anyone in.) SUSANNA (frantic) ‘kio ‘vi ‘laffi ‘kwi ‘solo Chio vi lasci qui solo? here alone? I should leave you "Meco, teco, seco, three archaic forms for con me (with me), Spanish as conmigo, contigo and consigo. From mecum (it goes with me). on te (with you} t ) and seco (with him). It survives in the Latin mecum, tecum, secum, The Catholic Missal is called the VadeLe Nozze di Figaro, Act I BASILIO (as before) da ma'dama sa'ta vad: Da Madama sara: = with Madame he must be; Py] go to COUNT (pointing to the armchair) ‘xwi‘djetro. ‘mi po'rro i dietro mi porno. Here behind I'l place myself. (ll hide behind this chair.) SUSANNA ‘nom 'vi tfe'late Non vi celate. Don't hide there. COUNT ‘tatfi e ‘Yerka ‘kei ‘pata Taci, ° corca ch’ei__parta, Be quiet, and see to it that he leaves, SUSANNA oime ‘ke fate Ohimé! che fate? Oh dear! What are you doing? (The Count begins to hide behind the chair. Chorubin Count quickly throwns himsolf into the chair, curling up with the dress which she has draped there.) Scene Seven (Susanna, Count, Cherubino and Basilio.) BASILIO (entering) suzan:na ‘ll Yel ‘vi ‘salvi Susanna, il ciel vi salvis Susanna, heaven may it bless you; avreste a'kazo velduto ‘ll Avreste @ caso veduto il Would you by chance —have seen _—the SUSANNA (annoyed) e ‘koza ‘deve far ‘meko E cosa deve far meco And what would be doing with me BASILIO (oilier and cilior) aspettitate senttite figaro ‘di ‘lui Aspettate, sontite: Figaro di lui Wait, listen: Figaro for him SUSANNA (aside) 2 ‘Yelo Oh, cielo! Oh heaven! tYerkarl> corcarlo. look for him. 307 0 somehow slides out and unseen by the ‘konte Conte? Count? ‘il ‘konte ‘animo il Conte? Animo, the — Count? Come on, ‘Yerka cerca. is looking. himself up while Susanna quickly covers him uffite uscite. leave.308 (Fo Basilio) ‘ei Yferka ‘ki Fi cerca chi He is looking for the one (Figaro is looking for the man (the Count) who after you, Le Nozze di Figaro, Act I ‘dopo ‘voi = piu “Modja dopo voi pid Todi who after you most __ hates him. COUNT (aside, from his hiding place) ve'djam ‘kome ‘mi ‘serve Vediam come mi serve. Let's see how _ he serves me. BASILIO ‘io ‘non 9 ‘mai ‘nella mo’ral senttito lo non ho mai nella moral sentito I have never in the moral codes _ heard it said ‘kun ‘kama Ja 'mokke ‘odi ‘i ch'uno ch'ama la moglie odii ill that one who loves the wife must hate the hates him most.) ma'rito marito. husband. (There's no such law that says that if the Count loves you he should hate Figaro. ‘per ‘dir ‘ke il ‘konte 'vama per dir che il Conte v'ama.. which is to say that the — Count loves you... SUSANNA (most irritated) sorttite ‘vil ministro dellattrui sfrena'tetztsa Sortite, vil ministro dell'altrui sfrenatezza: Get out, (you) vile agent of another's licentiousness. ‘io ‘non 9 ‘dwopo ‘della ‘vostra_ mo'rale Io non ho d'uopo della vostra morale, iE have no use for your moral code, ‘del ‘konte ‘del ‘sua amor del Conte, del suo amor... the Count, of his love... BASILIO ‘non ‘Ye alkum ‘male a Yaskuno i'swoi ‘gust Non c’a alcun male. Ha ciascuno isuoi gusti. ‘There's no harm done. Has everyone his tastes, (There nothing wrong with it. Each to his own tastes.) jo = 'mikredea = ke_—_—oprefe'rir doveste ‘per a'mante Io micredea — che _preferir doveste per amante, I believed that prefer youshould for —_a lover, ‘kome ‘fan ‘tutte ‘kwante come fan tutte quante, as do all women, ‘un sipnor libe'ral pritdente e “ssad:d3o un signor liberal, prudente, ° saggio; a lord liberal, prudent and wise,Le Nozze di Figaro, Act I ‘ ‘un dgovinastro a 4 ‘pads un _giovinastro, a kee eeu to ‘a mere youngster, to a page... SUSANNA (anxiously) 4 Kkerubino ‘A Cherubino? To Cherubino? BASILIO (ever so salacious and maliciously insinuating) a kkeru’bino kenubin damore A Cherubino, — Cherubin d'amore, To | Cherubino, —_ cherub of love, ‘kodsdsi ‘sul far ‘el’ agen chioggi sul far del giomo who today at the beginning ofthe day (who today at dawn) pasise’d:dgava —‘kwi din'tomo ‘per entrar passoggiava qui d'intomo por ceiver. was prowling around here trying to get in...1° SUSANNA (vehemently) ‘wom — mallinno unimposturae ‘kwesta Uom maligno! Un'impostura & questa! Man wicked! A lie is this! (You wicked man, that's a lie!) BASILIO € ‘um mallinno ‘kom Voi Oki *hokcki E un __ maligno con voi chi ha __ gli occhi Isa wickedman to you who has __his eyes (ust because a man has eyes in his head is he wicked?) (He picks up Cherubino's song, which is lying on the ground.) € ‘kwesta kansonettta —_‘ditemi ‘in —_-omfidentsa E questa canzonetta? _Ditemi in _confidenza: And this little song? —Tell me in confidence; io ‘sono. amiko e ‘ad altri ‘nulla To sono amico e ad altrui nulla 1 am __a friend and to — anyone else _—_ nothing (1am your friend and will say nothing to anyone else.) € ‘per 'voi_~=s‘per._=—smatdama E per voi, per Madama? Isit_ for you, for Madame? 309 ‘in ‘testa in testa? in his head? ‘diko dico: I say; 181 ig a known fact that Da Ponte hed a checkered reputation. His libretti are full of soxual allusions that one has to read betwoon the lines Mozart as well had e ribald bent in him, as can be seen in some of the salty letters to his sister Nannerl, Mozart and Da Ponte must have had a good time with all the double entendres contained in these libretti. I will leave it up to the ronder to figure them out and in future instances, I will refer back fo this footnote,Le Nozze di Figaro, Act I 310 SUSANNA (aside and obviously upset) ki ‘djavol {Kjella ‘det:to Chi diavol gliel'ha detto? Who the devil told him that? BASILIO a pro'pozito ‘fikka istruitelo ‘meso A proposito, figlia, istruitelo meglio: By the way, (my dear) daughter instruct him _ better; ‘efi ‘la ‘qwarda a ‘tavola ‘si 'spesiso Egli la guarda a tavola si spesso, He looks ather at the table so often, e ‘kon tale im:mo‘destja ° con tale —_immodostia, and with such _impudence, ‘ke se ‘il ‘konte sak:kordse che se il Conte s'accorge... that if the Count takes notice... ‘ei ‘su ‘tal ‘punto sa'pete ‘eKhi eg ‘una bestja Ehi, su tal punto, sapete, ogli 8 una __ bestia. Hey, on that point, you know, he is a beast.” SUSANNA Jelle'rato e perke andate ‘voi ‘tai_~—smen'tsonne spardgendo Scollerato! = E percha andate voi tai = menzogne —_—spargendo? Scoundrel! And why goaround you such _lies spreading? (You scoundrel! Why do you go around spreading such lies?) BASILIO ‘io ‘ke indgustittsja = ‘kwel_ ‘ke ~—‘kompro ‘io ‘vendo To! che _iingiustizia! © Quel che compro io vendo. L what — injustice! What I buy I sell, (I just repeat what I hear.) a ‘kwel ‘ke ‘tutti ‘dikono A quel che tutti dicono To that which everyone is saying ‘io ‘non 'tfi a'd:d3ungo ‘um pelo io non ci aggiungo un pelo. a hair. T don't add | ? (I don't add a thing to what everyone is saying.) **tn other words, the well known Spanish double standard: A man may dally with his female servants, exercise his foudal rights by spending the night with a servant about to become a bride, but God forbid someone should show the slightest attention to his wife, or his wife reveal the slightest intoest in another man...the beast will come out in him, and, Hike cotain beasts, he will fol the fgnominious specter of cuckoldry appear om his forohead..the horns! ‘Those infamous appendages foared by Masetto in Don Giovanni, by Ford in Falstaff and so many others.Le Nozze di Figaro, Act 1 COUNT (stepping out of his hiding place) 4 ‘dikon ‘kome ‘ke “tutti Come! che —dicon tat? Hows that! What, is saying every (How's that!! What is everyone saying?) BASILIO (gleefully aside) ° ‘bbel:la Oh, _ bella! Oh, how lovely! SUSANNA 6 ‘tfelo Oh, cielo! Oh heaven! NO. 7 TRIO COUNT ‘koza—‘sento ‘tosto andate € ska'ttfate ‘il Cosa sento! Tosto andate, e scacciate il What do I hear! At once go and throw out the BASILIO ‘im ‘mal ‘punto. ‘son ‘kwi_— ‘unto In mal punto son qui_giunto! Ata bad time, havel here come! perdo'nate ° ‘mio sifppor Perdonate, ° mio __ signor. Forgive me, oh my Lord. SUSANNA (swooning) ‘ke mina ‘me meskina — ‘son ‘O'pipres:sa_ ‘dal dolor Che ruina, mo meschina! Son oppressa dal dolor. What ruin, poor me! Im oppressed by grief. COUNT, BASILIO (holding up the fainting Susanna) a ‘da ‘avjen ‘la —_pove'rina Ah, gia svien la poverina! Ah, already faints the poor girl! ‘kome o'd:dio ‘le ‘batite ‘il ‘kor Come, oddio,* le batte il cor! How, oh God beats her heart! BASILIO (leading her to sit down on the armchair) ‘Piam pja'nin ‘su "kwesto ‘sed:d30 Pian, pianin: su Easynow, on this_—_ chai a 311 sedu'ttor seduttor. seducer. a | Doubling (Raddoppiamento Sintattico) requires th ‘As can be read in the introduction, Phrasal ‘ requires that God always be spelled Phonetically in a group of words with a double d, thus: Oh Dio: [odio]. However, sometimes one finds the cxpuaion wilh the raddoppi the wos »piamento spelled into ith God". re wit as above, as is the case in the word Addio, which really means "go to God’, OF "go,312 Le Nozze di Figaro, Act I SUSANNA (aware of the danger, suddenly reviving) ‘dove 'ssono Dove sono? Where am I? ‘ke insollentsa andate ‘fwor Che _insolenza! Andate fuor! What _insolence! Go away! COUNT ‘siamo ‘kwi ‘per —ajutarti ‘non turbarti =o. ‘mio te'zor Siamo qui per aiutarti, non turbarti, o mio _tesor. We'te here to help you, don't be upset, oh my treasure. BASILIO (maliciously) ‘sjamo ‘kwi ‘per —ajutarvi e sikuro ‘il ‘vostro onor Siamo qui per __aiutarvi, 8 sicuro il vostro onor. We're here to help you, is safe your honor. (We're here to help you, your honor is safe with us.) (To the Count.) a ‘del ‘pad:d3o ‘kwel ‘ko ‘detto Ah, del Paggio quel ch'ho detto, Ah, about the page, that whichI said, ‘era solo. ‘um ‘mio sospetito era solo un mio sospetto! was only anofmine suspicion! (What I said about the page was only a suspicion of mine!) SUSANNA e ‘un in'sidja ‘una perfidja E un' _insidia, una __porfidia: Its a plot, a treachery, ‘non kre'dete non credete _all'impostor don't believe _ that liar. COUNT ‘parta ‘il dame'rino Parta! il damerino! He must go! = That __little fop! BASILIO, SUSANNA pove'rino Poverino! Poor boy! COUNT (sarcastically) pove'rino ‘ma ‘da_—'me_—sor’prezo ankor Poverino! Ma da = me __sorpreso ancor. Poor boy! But by me __ surprised oaainiLe Nozze di Figaro, Act I 313 SUSANNA ‘Kome Come? How so? BASILIO ‘ke Che? What? COUNT ‘da ‘tua kudgina ‘ufo ‘jer tro'vai finykjuzo Da tua —cugin Tuscio ior trovai rinchiuso; At your cousin's the door yesterday I found locked. ‘pikekjo ‘mapre barbe'rina paviroza ‘fwor — de'l:luz0 Picchio, miapre Barbarina _paurosa fuor _ doll'uso. Iknock (and) opens forme Barbarina flustered more than usual. io ‘dal ‘muzo__insospetttito lo dal muso_insospettito, 1 by her look suspicious, ‘gwardo ‘tferco ‘in ‘oppi_ ‘sito lo, corco in ogni. sito, Took, I search in every place, ‘ed a'tsando ‘pian pja'nino Ed alzando pian pianino And lifting very gently il tappeto ‘al tavollino ‘vedo il ‘pad:d3o il tappeto al tavolino vedo il Paggio! the cover from the little table Isee the page! (As he shows how he did it, he lifts the dress off the chair and sees Chorubino huddled up inside the chair. The Count is amazed and furious.) a ‘koza_—‘ved:d39 Ah, cosa _veggio! Ah, what do I see! SUSANNA (fearfully) a ‘krude ‘stelle Ah, crude stelle! Ah, cruel __ stars! (Ah, cruel fate!) BASILIO (chuckling gleefuly) a ‘me&Ko anjkora Ah, meglio ancora! Ah, better yet! COUNT | | onestisisima _siipnora ‘or ——_kalpisko mone! Onestissi nore or _capisco come Most honest lady, now Lunderstand how va va. it goes.‘figaro Figaro Figaro 314 SUSANNA ak:ka'der ‘nom ‘pwo ‘di 'ped:d3o ‘dust Accader non pud di poggio: —giusti Happen cannot worse; merciful (Nothing worse could happen! Merciful gods, what will be!) BASILIO ko'zi ‘fan ‘tutte ‘le ‘bel:le ‘non 'tfe fan tutte le belle, non c’® Thus do all the _ beauties, there is Recitativo COUNT ‘in ‘ratifa ‘tosto ‘di in traccia tosto di Basilio, in search at once of (Basilio, fly at once and get Figaro.) ‘io vo ‘kei. ‘veda To vo' ch’ei_ veda... 1 want _ that he see.. (I want him to see...) Le Nozze di Figaro, Act I sa'ra sara! will be! ‘ke ‘mai che mai what ‘ddei Dei gods novi'tta novita. new. al'kuna alcuna nothing vollate volate: fly SUSANNA (gaily removing from her cleavage the money that the Count had offered her earlier) ‘ed ‘io ‘ke ‘senta an‘date Ed io che senta: anda! And I that he hear; Go on. (And I want him to hear about how his master offered me money to meet him in the garden at dusk for a few moments...go on, hurry and get him!) COUNT (flustered to Basilio) restate Restate! Stay! (To Susanna) ‘ke —bbal'dantsa se ‘kwale ‘skuza ‘se Che _baldanza! E quale scusa se What _ boldness! And what excuse if (You're quite sure of yourself! SUSANNA no'na ‘dwopo ‘di 'skuza unin:no'tfente Non ha d'uopo di scusa un‘innocente. Needs no excuse an innocent person. (One who is innocent doesn't need excuses.) COUNT ‘ma __kostui_ ‘kwando "ven:ne Ma _costui_ quando venne? But he when did he come? (But when did Cherubino come in?) ‘la la your ‘kolpa evi'dente colpa @ evidente? guilt is evident? What excuse have you got, since your guilt is obvious?)SUSANNA ‘ekki ‘era 'meko Fgli era © meco Bal was with me e ‘mi kje'dea «mi chiedea and _ he was asking me . 8 wn (He was asking me to beg the Countess to inter x were about to dismiss him for havi once in a while...) ‘il ‘vostro a'nrivo ‘in Le Nozze di Figaro, Act I 315 ‘kwando ‘voi ‘kwi—_dgun'dgeste ‘Tando voi qui giungeste, when you here arrived, dimpepar —la-_——ppaidrona a intertfedersi ‘grattsja dimpognar la —_padrona a _infercedorgli grazia: to be; lady to intercede for him. rivo i skom'piéko ‘Io 'poze Il vostro arrivo in scompiglio lo pose, Your arrival in confusion threw him, ‘ed allor ‘in ‘kwel ‘loko ‘si naskoze od allor in quel loco si nascose. and then in that place he hid himself, COUNT ‘ma ‘si ‘stesso ma‘s:sizi ‘kwando ‘in Ma siio_— stesso massisi quando in But I myself sat down when into the (But I myself sat there when I came in.) CHERUBINO (timidly) ‘ed alllora_‘di ‘djetro ‘mi tfe'lai Ed allora di dietro mi celai. And then behind there I hid myself. COUNT e ‘kwando ‘io ‘la ‘mi ‘pozi E quando io la miposi? And when 1 there placed myself? (And when I went back there?) CHERUBINO aklor io ‘pjam ‘mi ‘volsi © ‘kwi maskozi Allor io pian mi volsi, e qui miascosi. Then I quietly crept around and = here hid. COUNT (to Susanna) 2 ‘tfel ‘dunkwe a sentito ‘kwel:lo ‘kio Oh, ciel! Dunque ha sentito quello ch'io Oh heaven! Then he has heard what I CHERUBINO ‘fetfi ‘per ‘non sentir ‘kwanto potea Feci per non sentir quanto potea. Itried to not listen as muchas —_ I could. COUNT 2 perfidja Oh, —_perfidia! Oh, perfidy! rcede in his favor with you,) (subtext...because you Ing found him alone with Barbarina, with whom you also dally ‘kamera enttrai camera entrai! room I entered. ‘ti ditfea ti dicoa? was saying to you?Le Nozze di Figaro, Act 316 BASILIO frenatevi ‘vjen ‘dente Frenatevi: vien gente. Control yourself, people are coming. COUNT (angrily to Cherubino) e ‘voi restate ‘kwi —_/pittfol_ serpente E voi restate qui, _picciol serpente! And you stay _here, little serpent! Scene Eight I (Figaro, carrying a white dress in his hand, enters followed by peasant men and women. The women are dressed in white and are holding flowers to scatter in front of the Count.) NO. 8 CHORUS ‘dgovani ‘ete fjori spardgete Giovani liete, fiori spargete Young maidens happy, flowers scatter da‘vanti ‘al ‘nobile ‘nostro. sippor davanti al nobile nostro signor. in front ofthe noble our master. ‘il'sus ‘gran ‘kore ‘vi'serba intatts Ilsuo gran core viserba intatto His great heart for you keeps intact ‘dum 'pju— ‘bel. ~—fjore.‘lalmo kan‘dor d'un pia bel fiore T'almo candor. ofa more fair flower the chaste _ purity. (His generous heart has preserved intact for you the purity o Recitative COUNT (to Figaro, annoyed) ‘kwesta ko'm:medja ko'ze Cos's questa commedia? What is this nonsense? FIGARO (quietly, to Susanna) ‘ek:kotfi ‘in ‘dantsa sekondami ‘kor ‘mio Eccoci in danza. Secondami, cor mio, Here we are in the dance.* Back me up, my darling. SUSANNA (aside) ‘non 'tfi spe'rantsa Non ci ho speranza. I have no hope. 221m other words, by no longor exercizing his droit du seignour, tho Co young maidens in his palace. f a still fairer flower.) ‘unt is keeping intact the "flower of virginity’ of the 2phis is tho first dance alluded to in Fignr's aria Se vuol ballre (Do you wish to dance, my dear little Count...) dance, my dear little Count...Le Nozze di Figaro, Act I au FIGARO (to the Count) sinnor Ton. ae ‘kwesto ‘del ‘nostro. afffetto meritato tritbuto Signor, ae legnate questo del nostro affetto meritato tributo. My lord, lo not reject this of our affection deserved tribute. (My lord, do not reject this token of our affection for you.) ‘or ke ~—aboliste i ‘un diritto ‘si ingrato a= ki_— ‘ben ‘ama Or che abolisto un diritto si ingrato a chi _ ben ama. Now that you've abolished a right so —painfulto. who _is in love... (Now that you've abolished a right so painful to all truo lovers...) COUNT ‘kwel dititto ‘or ‘nom ‘ve 'pju ‘koza ‘si ‘brama Quel diritto or non v’ pit: cosa si brama? That right now doosn't exist anymore, what is it you want? FIGARO della 'vostra_ sa'd:dgetitsa ‘il ‘primo ‘frutto ‘odid3i ‘noi —_-koAe'rem Della vostra saggezza il Primo frutto oggi noi —coglierem: Of your wisdom the first fruit today we will gather; ‘le ‘nostre ‘nottise ‘si'son ‘da stabiflite Le nostre nozze sison gi stabilite. Our wodding hes already been arranged. ‘ot = a'voi'tokka —ostei ‘ke = ‘um/‘Vostro.-— ‘dono Or a voi tocca costei, che —_un vostro dono Now it'supto you her, whom your gift iltlibata serbo koprir ‘di ‘kwesta illibata sorb, coprir di quosta, spotless preserved, to cover with — this, ‘simbalo donesta ‘kandida ‘vesta simbolo d'onesta, candida vesta. symbol of virtue white veil. (Now it is up to you to place this white veil, a symbol of virtue, on the head of the maiden who Tomained unsullied thanks to your gift.) COUNT (aside) ; diabolika astuttsja ‘ma Tindsere konjvjen Dabolica astuzia! Ma __fingere convien, Diabolical cunning! -—-But_—_—pretend T must (Aloud) ‘son ‘grato amitfi ‘ad = ‘un ‘senso ‘si onesto Son grato, , ad un senso si onesto. Tm thankful, friends, for your _ feelings so honest. ‘ma ‘nom ‘merto ‘per ‘kwesto ne tributi ‘ne edi Ma non merto per questo nd tributi nd lodi: But I do not deserve for this _ neither tributes Nor _ praises.ate Le Nozze di Figaro, Act I ‘mjei 'feudi abo'lendo e ‘un ‘drit:to _in'dgusto ‘ne ‘di abolendo, E un —dritto_ ingiusto ne miei foudi oe ich And (a right unjust in my estates abolishing, (And by abolishing an unjust priviledge in my estates,) a natura ‘al dover ‘lor —‘dritati_ ‘io ‘ena a natura, al dover lor diritti io rende- to nature, to duty, their rights 1 restore. (I've restored to nature and duty their rights.) ALL e’vviva eviviva Evviva, evviva! Hurrah, hurrah! SUSANNA (maliciously) ‘ke vvirtu Che virta! What virtue! FIGARO (also maliciously) ‘ke ddgusttittsja Che _giustizia! What justice! COUNT (to Figaro and Susanna) a ‘voi prometto kom'pjer ‘la YYerimonja. A voi _prometto compier la cerimonia. To you I promise to perform the —_ceremony. ‘kjedo ‘sol —‘breve_in'dud3o Chiedo sol breve _indugio: Iask only a brief delay. ‘io ‘vokKo ‘im fautfa ‘de “mjei_—‘pju ‘ffidi Io voglio in faccia de' —miei_pia fidi, I wish to in the presence of my most faithful subjects, e ‘kom 'pju ‘tikka ‘pompa_‘rendervi alppjem felltfi ° con pia _—ricca_ pompa rendervi appien folici. and with more rich pomp make you fully happy. (Aside, to Basilio.) martfellina ‘si 'trovi Marcellina _ si trovi. Marcellina must be found. (Aloud.) anidate a'mitfi Andate, amici. Go, (my) _ friends. CHORUS (scattering the remaining flowers as they leave.) Giovani liete, fiori spargete, etc._— Le Nozze di Figaro, Act I Recitativo FIGARO, then SUSANNA, then BASILIO eviviva Evviva! Hurrah! FIGARO (to Cherubino) ‘non ap:plau'dite e ‘vvoi — voi_non applandit And you don't applaud? SUSANNA e a'f:flit:to pove'ret:to E afflitto, poveretto, He's miserable, _poor boy, ‘dal_—_kastel:lo perke ‘il pa'dron ‘lo 'skatst{a perchd il padron lo scaccia dal _castelllo. because the master is throwing him out of the castle. FIGARO a ‘in ‘un ‘domo ‘si ‘bbel:l9 Ah, in un giorno si bello! Ah, on a day so beautiful! (Ah, on such a happy day!) SUSANNA. ‘in ‘un ‘dgorno ‘di mnotitse In un giorno di nozze! On a day of wedding! (On the day of our wedding!) FIGARO (to the Count) ‘kwando ojppuns va'im:mira Quando ognuno vammira! When everyone admires you! (On a day when everyone applauds you!) CHERUBINO (kneeling) per'dono ‘mio sifpnor Perdono, mio _ signor... Forgive me, my _ lord... COUNT ‘nol meri'tate Nol meritate. You don't deserve it. SUSANNA ‘ekki og ankora fan'tful:lo Fgli a ancora fanciullo. He is still (a) boy. 319= Le Nozze di Figaro, Act I COUNT ‘men ‘di'kwel'ke tu kredi Men diquelche tu credi. Less so than you think. CHERUBINO € ‘vver — manjkai ‘ma ‘dal ‘mio ‘lab:bro_al'fine Ever, mancais ma dal_—smio_labbro alfine... Its true, Iwas wrong; but from my lips _ afterall... {it's true, I was wrong, but my lips would be sealed forever...) COUNT "raising him off his knees.) ‘bem ‘bel ‘io ‘vi perdono ‘antsi. fa'ro ‘di ‘pju Ben, ta io viperdono. Anzi, fard di pid: Well then, I forgive you. And I'lldo even more; va'kante e ‘um ‘posto duftfi'ttsjal ‘nel ‘mio Vacante a a posto d'uffizial nel reggimento mio; Vacant is place for anofficer inthe regiment mine. (I have an officer's place vacant in my regiment.) ‘io Ffelgo ‘voi partite ‘tosto —adidio To scelgo voi. Partito tosto; addio. I choose you. Leave soon; goodbye. SUSANNA, FIGARO (stopping he from leaving) a ‘fin do'mani Ah! fin domani sel Ah, until tomorrow only... COUNT "no ‘parta "tosto No, _ parta tosto. No, he must leave soon. CHERUBINO (sighing) a ub:bi'dirvi sipnor ‘son — ‘dga disposto A ubbidirvi, signor, son _ gia disposto. To obey you, lord, I'm ready. COUNT ‘via ‘per ‘ultima ‘volta ‘la su'zanma —_—abrbra'ttfate Via, por I'ultima volta laSusanna —_abbracciate. Come, for the last time Susanna embrace. Aside.) inaspe'ttato e ‘il ‘kolpo Inaspettato a il colpo. Unexpected is the — move, (I took them by surprise.) (Cherubino embraces Susanna)Le Nozze di Figaro, Act I FIGARO (making sure Cherubino doesn't 2 overdo it) a kapi'tano a ‘me pure a ‘mano capitano, a me pure la mano. Hey, captain, to me also the hand. (Hey there captain, shake hands with me too.) (Softly, to the page.) io VO parlarti 'pria ‘ke hi 4 : ‘parta Io vol parlarti Pria che ta _parta. I want to talk to you before you leave. (Aloud.) addio ‘pittfolo kerubino ‘kome 'kkandsa Addio, picciolo Cherubino. Come cangia Farewell, little Cherubino How __it changes ‘in ‘um ‘punto ‘il'tuo destino in un punto iltuo destino. in a brief moment your destiny. (Goodbye, little Cherubino; how your destiny changes in one brief moment!) NO. 9 ARIA FIGARO ‘nom ‘pju an‘drai farfa'l:lone amo'rozo Non pia andrai farfallono amoroso, No longer will you go —_—big butterfly amorous, ‘notte ‘dgomo_ din'torno dgi'rando notte @ giorno d'intorno girando, night and day around flitting about, ‘delle belle turbando ‘il riipozo delle belle turbando il riposo, of the girls disturbing the _rest, (No longer will you go flitting about disturbing young girls’ rest, you big amorous butterfly,) nartfi'zetsts adon'tfino damor Narcisotto, Adoncino d'amor. My little Narcissus, my little Adonis of love. ‘nom ‘pju a'vrai ‘kwesti ‘bei —_ pen:na'ktkini Non pitt avrai questi bei —_ pennacchini, No longer will you have these lovely fancy feathers, ‘kwel ka'p:pelslo le'd:dgero e eC quel cappello leggiero e galante, that hat (so) light and dashing, kweltla ‘kjoma kwe'llarja brilante quella chioma, quell'aria brillanto, those curls, that look lively, 321322 Le Nozze di Figaro, Act I =wel vermikso donmesko olor quel vermiglio, donnesco color. frat Psy girlish coloring. (those rosy, girlish cheeks.) ra gwenrjeri pofifarbak:ko Tra guerrieri, poffarbacco! Among warriors, by Jove, ‘gram mustak:ki ‘stret:to ‘sakiko gran mustacchi, stretto sacco, great mustachios, tightly held knapsack, 'skjop:po ‘in ig i B " i palila fabla ‘al seoepo in spalla, sciabla al aul on (your) shoulder, saber at (your) ‘koko “drit:to ‘muzo ‘frank: collo — dritto, muso Sent, neck straight, puss bold (with your neck straight and bold of face,) ‘up ‘gran 'kasko oo ‘un ‘gran —_turbante un gran casco, o un gran_turbanto, a great helmet or a large turban, ‘molto onor ‘poke __kon'tante molto onor, poco contante, much honor, little cash, ‘ed imyvetfe ‘del fan'dango od invece del —_fandango, and instead ofa — fandango, ‘una —‘martfa ‘per ‘il ‘fangs una marcia por fango. a march through the mud. ‘per montanne ‘per va':loni Per montagne, per valloni, Through mountains, through big valleys, ‘kon le ‘nevi e i solljoni con le nevi e i sollioni, with the snows and the dog days (of heat), ‘al kon'tferto ‘di trom’boni al concerto di tromboni, atthe sound of trumpets, ‘di bom'barde ‘di ka'n:noni di bombarde, = di cannoni, of shells, of cannons, ie le ‘palle ‘in ‘tutti i ‘twoni che le palle in tutti i tuoni, which the bullets in all _ sounds,