Best Loved Opera Arias – Booming Bass and Baritone 8.578191

Home , Bass (voice type), Carrozza, Guillaume Tell (Grétry), Les Huguenots

Gioachino ROSSINI (1792–1868) Il barbiere di Siviglia (‘The Barber of Seville’) (1816) [1] Act I: Cavatina: Largo al factotum della città (Figaro)

Là là làlera... La, la, la, la... làralirà... la, la, la, la... Largo al factotum Make way for della città. the city factotum! Là là là là... La, la, la, la... Presto a bottega, Dashing to his shop, che l’alba è già. for day’s already broken. Là là là là... La, la, la, la... Ah, che bel vivere, Ah, what a fine life, che bel piacere what a pleasure per un barbiere for a barber di qualità! of quality! Ah, bravo Figaro Ah, bravo Figaro, bravo bravissimo bravo, bravissimo! Là là là là... La, la, la, la... fortunatissimo the luckiest of men per verità! he is indeed! Là là là là... La, la, la, la... Pronto a far tutto Ready for anything, la notte e il giorno night and day, sempre d’intorno he’s always there, in giro sta. round and about. Miglior cuccagna For a barber per un barbiere there can be vita più nobile no easier living, no, non si dà. no nobler way of life. Là là là là... La, la, la, la... Rasori e pettini Rasors and combs, lancette e forbici lancets and scissors, al mio commando I have all here tutto qui sta. at my command. V’è la risorsa, Here are the tools poi, del mestiere of my trade, con la donnetta for ladies, col cavaliere... for gentlemen... con la donnetta... for ladies... là là lallallero La, la, lallallero, col cavaliere... for gentlemen... à là lallallà! la la la la!

Ah, che bel vivere, Ah, what a fine life, che bel piacere what a pleasure per un barbiere for a barber di qualità! of quality! Tutti mi chiedono Everyone asks for me, tutti mi vogliono everyone wants me, donne, ragazzi, women, young lads, vecchi, fanciulle, old men and girls. qua la parrucca... One needs a wig... presto la barba... another his beard trimmed... qua la sanguigna... this one needs bleeding... presto il biglietto... here’s a letter to deliver... Ahi!... Figaro... Figaro... Heavens!... Figaro... Figaro... Ohimè che furia, Dear me, what a racket, ohimè che folla, dear me, what a crowd, uno alla volta one at a time per carità. for pity’s sake. Figaro... Figaro...

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

Son qua! Here I am! Ehi, pst! Figaro... Hey, pst! Figaro... Son qua! Here I am! Figaro qua, Figaro là, Figaro here, Figaro there, Figaro su, Figaro giu... Figaro up, Figaro down... Pronto prontissimo Always ready and on the spot, son come un fulmine as quick as lightning, sono il factotum the city factotum della città. am I. Ah bravo Figaro Ah, bravo Figaro, bravo bravissimo bravo bravissimo, fortunatissimo luckiest of men, a te fortuna non mancherà! fortune will always smile on you! Là là là lallera La la la lallera, la la là lallà! la la la lalla! Sono il factotum the city factotum della città! am I!

Georges BIZET (1838–1875) Carmen (1875) [2] Act II: Couplets: Votre toast, je peux vous les rendre (Toreador Song) (Escamillo)

Votre toast, je peux vous le rendre, I toast you in return, señors, señors, car avec les soldats good sirs, for bullfighters oui, les toreros peuvent s’entendre; and soldiers understand each other; pour plaisirs, pour plaisirs, ils ont les combats! both take pleasure in their battles! Le cirque est plein, c’est jour de fête! The ring is full, it’s a holiday! Le cirque est plein du haut en bas; The ring is full from top to bottom; les spectateurs perdant la tête, the people in the crowd, losing their heads, les spectateurs s’interpellent à grands fracas! call to each other at the tops of their voices. Apostrophes, cris et tapage Insults, shouting, uproar, poussés jusques à la fureur! whipped up to fury pitch! Car c’est la fête du courage! For it’s a celebration of courage! C’est la fête des gens de coeur! It’s the day for men of valour! Allons! en garde! Let’s go! On guard! allons! allons! ah! let’s go! let’s go! ah! Toréador, en garde! Toreador, on guard! Toréador! Toréador! Toreador! Toreador! Et songe bien, oui, songe en combatant And remember, remember as you fight qu’un œil noir te regarde et que l’amour t’attend, that a pair of dark eyes are watching you Toréador, l’amour, l’amour t’attend!... and love awaits you, Toreador, love awaits you!...

Tout d’un coup, on fait silence, Suddenly, the crowd falls silent, on fait silence...ah! que se passe-t-il? falls silent...ah! what’s happening? Plus de cris, c’est l’instant! No more shouting, the moment’s arrived! Plus de cris, c’est l’instant! No more shouting, the moment’s arrived! Le taureau s’élance en bondissant The bull comes bounding headlong hors du toril! Il s’élance! out of the pen! Bounding headlong! Il entre, il frappe!...un cheval roule, It enters the ring and strikes!...a horse rolls, entraînant un picador. dragging a picador with it. “Ah! Bravo! Toro!” hurle la foule; “Ah! Bravo! Toro!” yells the crowd; le taureau va...il vient...il vient et frappe encore! the bull backs off, then turns...and strikes again! En secouant ses banderilles, Shaking off the darts, plein de fureur, il court!... raging, it charges!... le cirque est plein de sang! the arena’s full of blood! On se sauve...on franchit les grilles!.. Everyone runs...and jumps the barriers!... C’est ton tour maintenant! Now it’s your turn! Allons! en garde! Let’s go! On guard! allons! allons! ah! let’s go! let’s go! ah! Toréador, en garde! Toreador, on guard! Toréador! Toréador! Toreador! Toreador! Et songe bien, oui, songe en combatant And remember, remember as you fight qu’un œil noir te regarde that a pair of dark eyes are watching you et que l’amour t’attend, and love awaits you,

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

Toréador, l’amour, l’amour t’attend! Toreador, love awaits you! Toréador! Toréador! Toreador! Toreador! L’amour t’attend! Love awaits you!

Charles GOUNOD (1818–1893) Faust (1859, revised version 1864) [3] Act II, Scene 3: Ronde du Veau d’or: Le Veau d’or est toujours debout! (Méphistophélès)

Le veau d’or est toujours debout! The calf of gold is still standing! On encense sa puissance, One adulates his power, On encense sa puissance, One adulates his power, D’un bout du monde à l’autre bout! From one end of the world to the other end! Pour fêter l’infàme idole, To celebrate the infamous idol, Rois et peuples confondu, Kings and the people mixed together, Au bruit sombre des écus, To the somber sound of golden coins, Danse une ronde folle They dance a wild round Autour de son piédestale, Around his pedestal Autour de son piédestale, Around his pedestal Et Satan conduit le bal, etc, etc. And Satan leads the dance, etc, etc.

Le veau d’or est vainqueur des dieux! The calf of gold is the victor over the gods! Dans sa gloire dérisoire, In its derisory (absurde) glory, Dans sa gloire dérisoire, In its derisory (absurde) glory, Le monstre abject insulte aux cieux! The abject monster insults heaven! Il contemple, ô rage étrange! It contemplates, oh weird frenzy! A ses pieds le genre humain, At his feet the human race, Se ruant, le fer en main, Hurling itself about, iron in hand, Dans le sang et dans la fange In blood and in the mire, Où brille l’ardent métal, Where gleams the burning metal, Où brille l’ardent métal, Where gleams the burning metal, Et Satan conduit le bal,etc. And Satan leads the dance, etc.

Charles GOUNOD (1818–1893) Faust (1859, revised version 1864) [4] Act III, Scene 10: Il était temps! (Méphistophélès)

Il était temps! Sous le feuillage sombre Just in time! Under this dark folliage Voici nos amoureux qui reviennent! Here are our lovers who are returning! C’est bien! Gardons-nous de troubler That’s good! Lets guard against disturbing un si doux entretien! Such a sweet conversation! Ô nuit, étends sur eux ton ombre! O night, extend on them your shadow! Amour, ferme leur âme Love, close their souls aux remords importuns! to tiresome remorse! Et vous, fleurs aux subtils parfums, And you, flowers with subtle perfumes, Epanouissez-vous sous cette main maudite! Blossom under this cursed hand! Achevez de troubler le coeur de Marguerite! End by disturbing the heart of Marguerite!

Arrigo BOITO (1842–1918) Mefistofele (1868, revised version 1875) [5] Act II, Scene 2: Ecco il mondo (Mefistofele)

Ecco il mondo, Behold the world, Vuoto e tondo, empty and round, S’alza, scende, it rises and falls, Balza e splende. it bounces and shines. Fa caròle intorno al sole, It dances around the sun, Trema, rugge, dà e distrugge, it trembles, roars, gives and takes, Ora sterile, or fecondo. now barren, now fertile. Ecco il mondo. Behold the world.

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

Sul suo grosso On its wide, Antico dosso ancient back V’è una schiatta there lives a race E sozza e matta, filthy and mad, Fiera, vile, ria, sottile, proud, vile, evil and subtle, Che ad ogn’ora si divora forever at each other’s throat Dalla cima sino al fondo from one end to the other Del reo mondo. of the wicked world. Fola vana è a lei Satàna, Satan is a fairy-tale for them, Riso e scherno hell is a laughing matter, something to mock, È a lei l’Inferno, paradise is mocked and derided as well. Scherno e riso il Paradiso. Oh, by God! Oh per Dio! Let me have a good laugh, Che or rido anch’io, oh, by God! etc. Nel pensare ciò When I think Che le ascondo. of what I’m hiding from them. Ah! Ah! Ah!... Ha! Ha! Ha! Ha! Ecco il mondo! Behold the world!

Jacques OFFENBACH (1819–1880) Les Contes d’Hoffmann (‘The Tales of Hoffmann’) (1881) [6] Act II: Scintille, diamant! (Dappertutto)

Allez! ... pour te livrer combat Go! ... to fight you off Les yeux de Giulietta sont une arme certaine. Giulietta’s eyes are a sure weapon. Il a fallu que Schlemil succombât ... It was necessary that Schlemil succumbed ... Foi de diable et de capitaine! Faith of devil and captain! Tu feras comme lui. You will do like him. Je veux que Giulietta t’ensorcelle aujourd’hui. I want Giulietta to beguiling you today.

Scintille, diamant, miroir où se prend l’alouette, Shimmers, diamond, mirror where the lark is caught, Scintille, diamant, fascine, attire-la … Shimmers, diamond, fascinates, attracts ... L’alouette ou la femme The lark or the woman A cet appât vainqueur To this conquering lure Vont de l’aile ou du cœur; Go wing or heart; L’une y laisse sa vie et l’autre y perd son âme. One leaves his life there and the other loses his soul. Scintille, diamant, miroir ou se prend l’alouette. Shimmers, diamond, mirror or catch the lark. Scintille, diamant, fascine, attire-la. Shimmers, diamonds, fascinates, attracts her.

Source: www.opera-arias.com

Wolfgang Amadeus MOZART (1756–1791) Le nozze di Figaro (‘The Marriage of Figaro’) (1786) [7] Act I, No. 10 – Aria: Non più andrai (Figaro)

Non più andrai, farfallone amoroso, You won’t go any more, amorous butterfly, notte e giorno d’intorno girando; Fluttering around inside night and day, delle belle turbando il riposo Disturbing the sleep of beauties, Narcisetto, Adoncino d’amor. A little Narcissus and Adonis of love. Non più avrai questi bei pennacchini, You won’t have those fine feathers any more, quel cappello leggero e galante, That light and jaunty hat, quella chioma, quell’aria brillante, That hair, that shining aspect, quel vermiglio donnesco color. That womanish red color [in your face]! Tra guerrieri, poffar Bacco! Among soldiers, by Bacchus! Gran mustacchi, stretto sacco. A huge moustache, a little knapsack, Schioppo in spalla, sciabla al fianco, Gun on your back, sword at your side, collo dritto, muso franco, Your neck straight, your nose exposed, un gran casco, o un gran turbante, A big helmet, or a big turban, molto onor, poco contante! A lot of honour, very little pay. Ed invece del fandango, And in place of the dance una marcia per il fango. A march through the mud. Per montagne, per valloni, Over mountains, through valleys,

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

con le nevi e i sollioni. With snow, and heat-stroke, Al concerto di tromboni, To the music of trumpets, di bombarde, di cannoni, Of bombards, and of cannons, che le palle in tutti i tuoni Which, at every boom, all’orecchio fan fischiar. Will make bullets whistle past your ear. Cherubino alla vittoria: Cherubino, go to victory! alla gloria militar. To military glory!

English translation by © Jane Bishop Source: The Arias Database

Wolfgang Amadeus MOZART (1756–1791) Die Zauberflöte (‘The Magic Flute’) (1791) [8] Act II, No. 10 – Aria and Chorus: O Isis und Osiris (Sarastro, Chorus)

Sarastro: Sarastro: O Isis und Osiris, schenket O Isis and Osiris, give Der Weisheit Geist dem neuen Paarl The spirit of wisdom, To the new pair! Die ihr der Wand’rer Schritte lenket. May that which guides the wanderer’s steps, Stärkt mit Geduld sie in Gefahr. Strengthen them with patience in danger,

Chor: Chorus: Stärkt mit Geduld sie in Gefahr! Strengthen them with patience in danger,

Sarastro: Sarastro: Laßt sie der Prüfung Früchte sehen; Let them see the fruits of the test, Doch sollten sie zu Grabe gehen, Though they should go to their graves So lohnt der Tugend kühnen Lauf, Thus the reward of virtues valiant course, Nehmt sie in euren Wohnsitz auf. Take them up into your abode,

Chor: Chorus: Nehmt sie in euren Wohnsitz auf. Take them up into your abode. etc.

English translation by © Lea Frey Source: The Arias Database

Richard WAGNER (1813–1883) Der fliegende Holländer (‘The Flying Dutchman’) (1843) [9] Act I, No. 2 – Aria: Die Frist ist um (Daland)

Die Frist ist um, The time is up und abermals verstrichen sind sieben Jahr’. and seven more years have gone. Voll Überdruß wirft mich das Meer ans Land Weary of it the sea casts me up on land. Ha, Stolzer Ozean! Ha! proud ocean! In kurzer Frist sollst du mich wieder tragen! Soon you shall bear me again! Dein Trotz ist beugsam, Your spite is fitful, doch ewig meine Qual! but my torment is eternal! Das Heil, das auf dem Land ich suche, The grace I seek on land never nie werd’ ich es finden! shall I find! Euch, des Weltmeers Fluten; bleib’ ich getreu, To you, ocean-tides, I shall be true, bis eure letzte Welle sich bricht, until your last wave und euer letztes Naß versiegt! breaks, and you are drained dry. Wie oft in Meeres tiefsten Schund How often into the sea’s deepest maw stürzt’ ich voll Sehnsucht mich hinab: have I longingly hurled myself, doch ach! den Tod, ich fand ihn nicht! yet death, ah, I found it not! Da, wo der Schiffe furchtbar’ Grab, There, in the awful tomb of ships, trieb mein Schiff ich zum Klippengrund; I drove mine on to the rocks, Doch ach! mein Grab, es schloß sich nicht. but alas, no tomb closed over me! Verhöhnend droht’ ich dem Piraten, Mockingly, I defied the pirate, in wildem Kampfe erhofft ich Tod. in fierce combat I hoped for death. „Hier,“ rief ich, „zeige deine Taten, Here – I cried – Von Schätzen voll sind Schiff und Boot!“

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

Doch ach! des Meer’s barbar’scher Sohn Show your prowess. schlägt bang das Kreuz und flïgt davon. With treasure my ship is filled. Wie oft in Meeres tiefsten Schlund Alas, the sea’s barbarous son stürzt’ ich voll Sehnsucht mich hinab. crossed himself in terror and fled! Da, wo der Schiffe fürchtbar Grab Nowhere a grave! Never death! trieb mein Schiff ich im Klippengrund: This is damnation’s dread command! Nirgends ein Grab! Niemals der Tod! Dies der Verdammis Schreckgebot.

Source: DM’s opera site © Murashev.com

Richard WAGNER (1813–1883) Die Walküre (‘The Valkyrie’) (1870) [10] Act III, Scene 3 – Leb’ wohl, du kühnes, herrliches Kind! (Wotan’s Farewell) (Wotan)

Leb wohl, du kühnes, herrliches Kind! Farewell, thou valiant, glorious child! Du meines Herzens heiligster Stolz! Thou once the holiest pride of my heart! Leb’ wohl! leb’ wohl! leb’ wohl! Farewell! farewell! farewell! Muß ich dich meiden, Must I forsake thee, und darf nicht mining and may my welcome mein Gruß dich mehr grüßen; of love no more greet thee; sollst du nun nicht mehr neben mir reiten, may’st thou now ne’er more ride as my comrade, noch Meth beim Mahl mir reichen; nor bear me mead at banquet; muß ich verlieren dich, die ich liebe, must I abandon thee, whom I loved so, du lachende Lust meines Auges: thou laughing delight of my eyes? ein bräutliches Feuer soll dir nun brennen, Such a bridal fire for thee shall be kindled wie nie einer Braut es gebrannt! as ne’er yet has burned for a bride! Flammende Gluth umglühe den Fels; Threatening flames shall flare round the fell: mit zehrenden Schrecken scheuch’ es den Zagen; let withering terrors daunt the craven! der Feige fliehe Brünnhildes Fels! let cowards fly from Brünnhilde’s rock! Denn Einer nur freie die Braut, For one alone winneth the bride; der freier als ich, der Gott! one freer than I, the god!

Gioachino ROSSINI (1792–1868) Guillaume Tell (‘William Tell’) (1829) [11] Act III, Finale – Aria: Sois immobile (Guillaume)

Sois immobile, et vers la terre Stay quite still, and bend incline un genou suppliant. an imploring knee to the ground. Invoque dieu: c’est lui seul, mon enfant, Call upon God, call upon God, it is He alone, my child, qui dans le fils peut épargner le père. who through the son can save the father. Demeure ainsi, mais regarde les cieux. Stay like that, but look up at the sky, En menaçant une tête si chère, In threatening this beloved head cette pointe d’acier peut effrayer tes yeux. this steel tip may startle your eyes. Le moindre mouvement… Move as little as you can, as little as you can... Jemmy, songe à ta mère! Jemmy, Jemmy, think of your mother! Elle nous attend tous les deux! She waits for us both!

Source: DM’s opera site © Murashev.com

Giuseppe VERDI (1813–1901) Nabucco (1842) [12] Act II, Scene 2 – Recitative: Vieni, o Levita! (Zaccaria)

Vieni, o Levita! Come, Levite! Il santo codice reca! Bring me the Sacred Tablets! Di novel portento God wants me as the minister me vuol ministro Iddio! of a new miracle! Me servo manda, He sends me, his servant,

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

per gloria d’Israele, for the glory of Israel, le tenebre a squarciar d’un’infedele. to rend the darkness of an unbeliever. Tu sul labbro de’ veggenti Through the words of the prophets, fulminasti, o sommo Iddio! you chastised us, Almighty God! All’Assiria in forti accenti Speak now, with strong words, parla or tu col labbro mio! to the Assyrians through my lips! E di canti a te sacrati And every temple shall resound ogni tempio suonerà; with hymns sung in your honour; sovra gl’idoli spezzati your law shall triumph la tua legge sorgerà. over their broken idols.

Giuseppe VERDI (1813–1901) Rigoletto (1851) [13] Act II – Cortigiani, vil razza dannata (Rigoletto)

Cortigiani, vil razza dannata, Courtiers, vile cursèd kind, Per qual prezzo vendeste il mio bene? at what price did you sell my love? A voi nulla per l’oro sconviene, For gold you do everything, Ma mia figlia è impagabil tesor. but my daughter is a priceless treasure. La rendete o, se pur disarmata, Give her back to me...or, even if unarmed Questa man per voi fora cruenta; this hand will be merciless with you; Nulla in terra più l’uomo paventa, man doesn’t fear more than Se dei figli difende l’onor. when he has to defend his children’s honour. Quella porta, assassini, m’aprite: Open that door, you murderers, open up.

Ah! Voi tutti a me contro venite! Ah! you are all against me!

Ebben, piango, Marullo signore, See, I weep... Marullo... my lord, Tu ch’hai l’alma gentil come il core, you have a kind soul and heart, Dimmi or tu dove l’hanno nascosta? speak up,tell me, where have they hidden her?... È là? È vero? Is she there?...Is it?... Tu taci! perché? you are silent!...why?... Miei signori perdono, pietate My lords...forgive, have mercy... Al vegliardo la figlia ridate Give back the daughter to this old man... Ridonarla a voi nulla ora costa, It doesn’t cost you a thing to return her, Tutto il mondo è tal figlia per me. while such a daughter is all the world to me. Pietà, pietà, signori, pietà. Lords, forgive me.

English translation by © Guia K. Monti Source: The Arias Database

Giacomo PUCCINI (1858–1924) La Bohème (1896) [14] Act IV – Vecchia zimarra, senti (Colline)

Vecchia zimarra, senti, Dear old coat, listen, io resto al pian, tu ascendere I stay here below, il sacro monte or devi. but you must now Le mie grazie ricevi. ascend the mount of piety! Mai non curvasti il logoro Receive my thanks. dorso ai ricchi ed ai potenti. You never bent your threadbare Passâr nelle tue tasche back to the rich and powerful. come in antri tranquilli You have sheltered in your pockets filosofi e poeti. like peaceful caves, Ora che i giorni lieti philosophers and poets. fuggîr, ti dico: addio, Now that happy days fedele amico mio. have fled, I bid you farewell, Addio, addio. my faithful friend, farewell, farewell.

Source: www.opera-arias.com

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

George Frideric HANDEL (1685–1759) Acis and Galatea (1718) [15] Act II – Aria: O ruddier than the cherry (Polyphemus)

O ruddier than the cherry, O sweeter than the berry, O nymph more bright Than moonshine night, Like kidlings blithe and merry! Ripe as the melting cluster, No lily has such lustre; Yet hard to tame As raging flame And fierce as storms that bluster! O ruddier…

Gioachino ROSSINI (1792–1868) Mosè in Egitto (‘Moses in Egypt’) (1818, Naples version 1819) [16] Act II – Dal Re de’ Regi (Mosè)

Dal Re de’ Regi infranta The King of Kings shall break sarà la rea catena. the wicked fetters. Tu pagherai la pena You will pay the price Della tradita fè. of your betrayed faith. Quest’empio m’incatena. This evil man has me in chains. Ma, o Dio, riposo in te. But, oh God, I rest in Thee. Paventa, o fier tiranno! Beware, cruel tyrant! Gli stral’ dal ciel cadranno. Punishment shall be sent from Heaven. Il duol, l’estremo affano, tutto verrà da te. You will experience every pain and anguish.

Giacomo MEYERBEER (1791–1864) Les Huguenots (‘The Huguenots’) (1836) [17] Act I – Piff, paff, piff, cernons-les! (Marcel)

Marcel: Marcel: Piff, paff, piff, cernons-les ! Piff, paff, piff, let’s beleaguer them! Piff, paff, piff, frappons-les ! Piff, paff, piff, let’s strike them! Piff, paff, piff, paff ! Piff, paff, piff, paff! Qu’ils pleurent, Let them cry, Qu’ils meurent ; Let them die; Mais grâce, jamais, But mercy never, Non, non, non, jamais ! etc. no, no, no, never! Etc.

Nobles: Nobles: Ah ! ah ! ah ! ah ! ah ! Ha ha ha ha ha! Admirez sa douceur ! How sweet he is! Grâce, grâce pour nos alarmes ! Have pity, we’re trembling with fear!

Tavannes: Grâce ! Tavannes: Have pity! Cossé: Merci ! Cossé: Pity!

Marcel: Marcel: Jamais mon bras ne trembla My arm never faltered Aux plaintes des femmes ! at the weeping of women! Malheur à ces Dalila Cursed be those Delilahs Qui perdent les âmes ! who damn men’s souls! Brisons au tranchant du fer Let us break their infernal spells Leurs charmes d’enfer ! with the sharp blade of our swords! Brisons leurs charmes d’enfer ! Let us break their infernal spells! Ces beaux démons, chassez-les, Let us drive those beautiful demons away,

Best Loved Opera Arias – Booming Bass and Baritone 8.578191

Traquez-les, frappez-les ! track them down, strike them! Piff, paff, pouff, chassez-les ! Piff, paff, pouff, drive them away! Piff, paff, pouff, traquez-les ! Piff, paff, pouff, track them down! Piff, paff, piff, paff ! Piff, paff, piff, paff! Qu’ils pleurent, Let them cry Qu’ils meurent, let them die, Mais grâce, jamais, but mercy never, Non, non, non, jamais ! etc. no, no, no, never! Etc.

Giacomo PUCCINI Tosca (1900) [18] Act I – Tre sbirri, una carrozza (Te Deum) (Scarpia, Chorus)

Scarpia: Scarpia: Tre sbirri... Una carrozza... Three men and a carriage … Presto!... seguila Quick, follow dovunque vada!... non visto!... provvedi! Wherever she goes! And take care!

Spoletta: Spoletta: Sta bene! Il convegno? Yes Sir. And where do we meet?

Scarpia: Scarpia: Palazzo Farnese! Farnese Palace!

Va, Tosca! Nel tuo cuor s’annida Scarpia!... Now Scarpia digs a nest within your heart! È Scarpia che scioglie a volo Go, Tosca. Scarpia now sets loose il falco della tua gelosia. The roaring falcon of your jealousy! Quanta promessa nel tuo pronto sospetto! How great a promise in your quick suspicions! Now Scarpia digs a nest within your heart! Chorus: Adjutorum nostrum in nomine Domini Chorus: Qui fecit coelum et terram Adjutorum nostrum in nomine Domini Sit nomen Domini benedictum Qui fecit coelum et terram Et hoc nunc et usquem in saeculum. Sit nomen Domini benedictum Et hoc nunc et usque in saeculum. Scarpia: A doppia mira Scarpia: tendo il voler, né il capo del ribelle My will takes aim è la più preziosa. Ah di quegli occhi now at a double target, vittoriosi veder la fiamma Nor is the rebel’s head the bigger prize … illanguidir con spasimo d’amor, Ah, to see the flame of those imperious eyes fra le mie braccia... Grow faint and languid with passion … L’uno al capestro, For him, the rope, l’altra fra le mie braccia... And for her, my arms …

Folla: Chorus: Te Deum laudamus: Te Deum laudamus: Te Dominum confitemur! Te Dominum confitemur!

Scarpia: Scarpia: Tosca, mi fai dimenticare Iddio! Tosca you make me forget God!

Tutti: Tutti: Te aeternum Patrem Te aeternum Patrem omnis terra veneratur! omnis terra veneratur!

Source: www.opera-arias.com