Verdi Rigoletto

Verdi ◆ rigoletto dmitri HVorostoVsky

DE 3522 NadiNe Sierra FraNceSco demuro aNdrea maStroNi okSaNa VolkoVa coNStaNtiNe orbeliaN, conductor DELOS DE DELOS DE GIUSEPPE VERDI (1813-1901) RIGOLETTO 3522 3522

Rigoletto, the Duke’s jester: Dmitri Hvorostovsky, baritone gilda, his daughter: Nadine Sierra, soprano the duke of Mantua: Francesco Demuro, tenor

VERDI ◆ RIGOLETTO SpaRafucile, an assassin: Andrea Mastroni, bass VERDI ◆ RIGOLETTO Maddalena, his sister: Oksana Volkova, contralto

Kaunas City Symphony Orchestra Men of the Kaunas State Choir Constantine Orbelian, conductor

CD 1 (1–18) Total Time: 59:28 CD 2 (1–22) Total Time: 67:36 ORIGINAL ORIGINAL DIGITAL DIGITAL Special thanks go to Algimantas Treikauskas, General Director of the Kaunas City Symphony Orchestra— GIUSEPPE VERDI (1813-1901) as well as his staff—for their invaluable help in producing this recording.

Also much appreciated are the invaluable contributions of Artistic Consultant John Fisher and pianist/ RIGOLETTO vocal coach Svetlana Efimova.

Opera in three acts Recorded at Kaunas Philharmonic July 1–9, 2016

Libretto: Francesco Maria Piave, after the Producers: Vilius Keras and Aleksandra Kerienė play Le roi s’amuse by Victor Hugo Recording Engineer: Vytautas Kederys Editing/mastering: Vilius Keras and Aleksandra Kerienė Program notes and synopsis: Lindsay Koob Rigoletto, the Duke’s jester: Matteo BoRSa, a courtier: Booklet editors/proofers: Lindsay Koob, Anne Maley, David Brin Dmitri Hvorostovsky, baritone Tomas Pavilionis, tenor Art Design/Layout: Lonnie Kunkel Photo Credits: Andrea Mastroni portrait: Nicola Garzetti; Francesco Demuro in rear booklet cover: gilda, his daughter: count MonteRone: Javier del Real; Demuro portrait: Andrzej Swietlik; Nadine Sierra portrait: Merri Cyr. Nadine Sierra, soprano Kostas Smoriginas, baritone the duke of Mantua: MaRullo: Original Italian-English libretto translation: Dennis Adams Francesco Demuro, tenor Andrius Apšega, baritone

SpaRafucile, an assassin: a couRt uSheR: Andrea Mastroni, bass Liudas Mikalauskas, bass

Maddalena, his sister: a page: Oksana Volkova, contralto Eglė Šidlauskaitė, mezzo-soprano giovanna, Gilda’s nurse: Male choRuS: The Duke’s courtiers and guests Eglė Šidlauskaitė, mezzo-soprano count cepRano: Constantine Orbelian, conductor © 2017 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 Tadas Girininkas, bass Kaunas City Symphony Orchestra Men of the Kaunas State Choir (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 counteSS cepRano, his wife: [email protected] • www.delosmusic.com Eglė Šidlauskaitė, mezzo-soprano Made in USA 2 99 Roberto Focosi’s illustration from the variant first edition of Giuseppe Verdi’s vocal score for Rigoletto. 3 CD 1 (59:28)

ACT I 9. Pari siamo … io la Lingua (4:02) Scene 1 (Rigoletto) p. 24

1. Prelude (2:28) 10. Figlia! Mio padre! (5:23) (Orchestra) (Rigoletto, Gilda) p. 25

2. Della mia bella incognita Borghese (1:40) 11. Già da tre lune son qui venuta (1:13) (Duke, Borsa) Libretto: p. 11 (Gilda, Rigoletto, Giovanna) p. 28

3. Questa o quella (1:41) 12. Ah, veglia, o donna, questo fiore (5:53) (Duke) p. 12 (Rigoletto, Gilda, Giovanna, Duke) p. 29

4. Partite? Crudele! (2:11) 13. Giovanna, ho dei rimorsi (3:03) (Duke, Countess, Rigoletto, Borsa, Chorus) p. 13 (Gilda, Giovanna, Duke) p. 31

5. Gran Nuova! (0:41) 14. È il sol dell’anima, la vita è amore (3:32) (Marullo, Borsa, Chorus) p. 14 (Gilda, Duke) p. 32

6. Ah, piu di Ceprano (2:00) 15. Che m’ami, deh, ripetimi (2:10) (Duke, Rigoletto, Ceprano, Borsa, Merullo, (Gilda, Duke, Ceprano, Borsa, Giovanna) p. 33 Chorus) p. 15 16. Gualtier Maldè...nome di lui sì amato (8:14) 7. Ch’io gli parli (4:58) (Gilda, Borsa, Ceprano, Marullo, Chorus) p. 35 (Monterone, Duke, Rigoletto, Ceprano, Borsa, Marullo, Chorus) p. 19 17. Riedo!...perché? (2:23) (Rigoletto, Borsa, Ceprano, Marullo) p. 36

Scene 2 18. Zitti, zitti, moviamo a vendetta (3:02) (Chorus, Gilda, Rigoletto) p. 38 8. Quel vecchio maledivami (4:50) (Rigoletto, Sparafucile) p. 21

4 CD 2 (67:36)

ACT II 12. Sì, vendetta, tremenda vendetta (2:17) (Rigoletto, Gilda) p. 50 1. Ella mi fu rapita! (2:31) (Duke) p. 40 ACT III 2. Parmi veder le lagrime (2:51) (Duke) p. 40 13. E l’ami? (2:17) (Rigoletto, Gilda, Duke, Sparafucile) p. 51 3. Duca, Duca! (2:24) (Borsa, Marullo, Ceprano, Duke, Chorus) p. 41 14. La donna è mobile (3:02) (Duke, Sparafucile, Rigoletto) p. 53 4. Possento amor mi chiama (3:13) (Duke, Borsa, Marullo, Ceprano, Chorus) p. 42 15. Un dì, se ben rammentomi (1:39) (Duke, Gilda, Maddalena, Rigoletto) p. 54 5. Povero Rigoletto! (3:55) (Rigoletto, Borsa, Marullo, Ceprano, Chorus, 16. Bella figlia dell’amore (4:20) Paggio) p. 43 (Duke, Maddalena, Gilda, Rigoletto) p. 57

6. Cortigiani, vil razza dannata (4:58) 17. M’odi! Ritorna a casa (1:45) (Rigoletto) p. 46 (Rigoletto, Gilda, Sparafucile) p. 58

7. Mio Padre! (1:57) 18. Maddalena? (2:59) (Gilda, Rigoletto, Borsa, Marullo, Ceprano, (Duke, Maddalena, Sparafucile) p. 60 Chorus) p. 47 19. È amabile invero (6:43) 8. Tutte le feste al tempio (3:26) (Maddalena, Sparafucile, Gilda) p. 62 (Gilda) p. 48 20. Della vendetta alfin giunge l’istante! (5:14) 9. Ah! Solo per me l’infamia (0:53) (Rigoletto, Sparafucile, Duke) p. 68 (Rigoletto, Gilda) p. 49 21. Chi è mai, chi è qui in sua vece? (1:57) 10. Ah! Piangi, fanciulla, piangi (2:56) (Rigoletto, Gilda) p. 70 (Rigoletto, Gilda) p. 49 22. V’ho ingannato...colpevole fui (5:04) 11. Schiudete: ire al carcere Monteron dee (1:12) (Gilda, Rigoletto) p. 71 (Usher, Monterone, Rigoletto, Gilda) p. 49

5 RIGOLETTO NOTES and SYNOPSIS Thus it seems ironic that—despite Hvorostovsky hav- ing recorded excerpts from the opera—a complete INTRODUCTION CD production of Rigoletto starring Hvorostovsky has never graced any record label’s catalog. Opera fans Giuseppe Verdi may have written his most glamorous everywhere have no doubt also questioned why such and heroic roles for tenors, but he often assigned his a recording has never been made. But they need wait more psychologically complex and conflicted male no longer. We at Delos are thrilled to bless the world of roles to baritones, among them: Iago in Othello, Re- great music with this long-awaited release, featuring a nato in Un ballo in maschera and the title characters brilliant cast of supporting roles and choral-orchestral of Macbeth and Simon Boccanegra. And few would splendor. And it’s about time. argue that Rigoletto—perhaps the composer’s signa- ture baritone role—is just such a character.

Rigoletto’s effective portrayal demands not only an ex- NOTES ON THE OPERA ceptional voice, but also the skills of a particularly gift- ed stage actor, one who is able to convey to his audi- In 1850, Venice’s La Fenice opera house commissioned ence an especially broad range of emotions and inner Verdi—by that time a highly respected composer—to subtleties. On top of expressing Rigoletto’s elemental write a new opera. Given limited creative license to bitterness at being a deformed hunchback who has choose his own subject matter, he asked Francesco suffered ridicule all his life, his interpreter must also Maria Piave, who had furnished librettos for five of project the overlapping natures of a tender and loving his previous operas, to consider Alexandre Dumas’s father (and widower) and a vicious schemer hell-bent play Kean—but Verdi soon rejected it, feeling that he upon revenge. needed a more rousing story on which to base his new work. Enter the universally acclaimed and beloved baritone Dmitri Hvorostovsky, who has often portrayed the role As a passionate patriot and lifelong advocate of lib- of Rigoletto on the world’s most prominent operatic eration from the yoke of tyrannical oppression, Ver- stages. The resplendent beauty and supreme versa- di relished controversial operatic subjects that often tility of his voice is matched only by his depth of in- depicted heroic attempts to overthrow monarchs or terpretive soul; he has the uncanny ability to realize a otherwise portrayed aristocracy in a negative light. panoply of even the most subtle psychological com- On the other hand, authoritarian regimes disapproved plexities and emotions, and to project them in such a strongly of royal villains in opera—especially licentious way as to burrow straight into any audience’s collec- ones. Thus Verdi’s operas often ran afoul of royal- tive psyche. Who better, then, to sing what is thought ty-sponsored censors, frequently limiting (or altogeth- by many to be the greatest part ever written for a high er preventing) performance opportunities. baritone voice?

6 Still, when Verdi chanced upon Victor Hugo’s drama listed the support of La Fenice’s secretary, Guglielmo Le roi s’amuse (The King Is Amused), he was captivat- Brenna, who proceeded to help mediate the quarrel ed by the story, and was determined to adapt it for by (among other means) submitting correspondence the operatic stage, even though he knew that his new and published articles pointing out Verdi’s unassailable opera—initially entitled La maledizione (The Curse)— value as a great Italian artist, despite his reputation as was likely to meet with strong official censure. As he a pugnacious anti-establishment figure. wrote in a letter to Piave, After much bickering, the matter was finally resolved “I have in mind a subject that would be one of the in January of 1851, provided Verdi and Piave met cer- greatest creations of the modern theater if the police tain compromise requirements. The scenario was to would only allow it. Who knows? At least there are no be moved from the French court to a lesser duchy in conspiracies in it. . . . The subject is grand, immense Italy, and the king would become a lesser aristocrat, and there’s a character in it who is one of the greatest the Duke of Mantua of the long-extinct Gonzaga dy- creations that the theaters of all countries and all times nasty (so that no offense could be taken by existing can boast. . . . The character I speak of is Triboulet” royal families); a licentious bedroom scene would also (Triboulet’s name was soon changed to Rigoletto). be deleted, and some name changes would be made.

The original play, which had been banned by French But the final victory was Verdi’s. Official censure and censors twenty years earlier, was deemed scandalous significant compromises notwithstanding, he still man- and politically inflammatory, and was emphatically aged to realize his original goal of producing a gritty, rejected as an operatic subject by Austrian censors. morally ambiguous, exciting and intensely dramatic After all, much of northern Italy was then controlled smash hit that would do much to enhance his popu- by Austria—and its rulers were doing everything they larity, make its political point and propel his art in an could to suppress the ongoing movement to unify Italy. entirely new and different direction. And, as he also intended, his title character was highly unusual and Most Austrian officials were fearful of Verdi—who was enigmatic—not to a vital cultural symbol of the unification movement— mention downright grotesque—and Verdi felt he and thought of him as a rabble-rousing revolution- could never have portrayed him otherwise. As he ary. But Verdi and Piave dug in their heels, bracing wrote to La Fenice’s directors, for a fight with the Austrian authorities, one of whom condemned the first edition of the work as a tale of “A hunchback who sings? Why not? Will it be effective? “repugnant immorality and obscene triviality.” I don’t know. . . . To me there is something really fine in representing on stage this character; outwardly so ugly Rather than alter the essential story beyond recogni- and ridiculous, inwardly so impassioned and full of love.“ tion, the pair resolved to negotiate the dispute directly with the censors, pleading their case in nit-picking de- And what new direction did Verdi’s art take? Begin- tail. After some modification of the libretto, they en- ning with Rigoletto, Verdi forever abandoned the

7 prevailing bel canto conventions of earlier times. The SYNOPSIS more stylized musical formulas of Rossini, Bellini, and Donizetti—with their staid choral introductions, fol- ACT I lowed by recitatives leading into arias—were now behind him, and there was no turning back. His style Scene 1: The curtain opens to a glittering ball in the was now more graphically direct and realistic, with a Duke of Mantua’s palace. The Duke sings of his inten- new sense of headlong impetus leading into devas- tion to have his way with a beautiful stranger whom tating conclusions. He now sought to project a much he has seen in church, before expressing his promiscu- greater sense of dramatic immediacy and power. And ous nature in “Questa o quello” (This Woman or That); not all of Verdi’s characters would sing truly beautiful then he declares his more immediate goal of seduc- music or show-stopping arias. In Rigoletto, Gilda gets ing Countess Ceprano. As he flirts with her, Rigolet- the loveliest musical moments, while the womanizing to—the malicious hunchbacked court jester—mocks Duke delivers thrilling and memorable arias. Rigoletto, the courtiers in his usual nasty and insulting manner. on the other hand, sings in a punchier and more gutsy Rigoletto, being a favorite of the Duke, knows he can manner, softening only in his more tender and doting get away with it. He singles out Count Ceprano and moments. angers him by suggesting to the Duke that the Count either be executed or imprisoned. Rigoletto finally got its wildly triumphant premiere on March 11, 1851, playing to a sold-out La Fenice crowd. Marullo, a nobleman in the Duke’s entourage, falsely Parts of it—especially the melody of the signature ten- informs his astonished fellow courtiers that Rigoletto or aria “La donna è mobile”—were sung in the streets has a “mistress” (actually his daughter, Gilda), inciting of Venice the next morning. Its initial popularity led to them to take vengeance upon the grotesque jester for enthusiastically received performances worldwide well the vicious “fun” he has made of them. The elderly before the decade was out. And, of course, Rigoletto Count Monterone enters and interrupts the party, has remained a frequently staged staple of the oper- angrily confronting the Duke about the previous se- atic repertoire ever since, universally regarded as the duction of his daughter. Rigoletto further aggravates first true masterpiece of the composer’s middle period him by mocking his inability to avenge his daughter’s . . . not to mention one of the greatest Italian operas dishonor. Monterone rails at the Duke, who has him of all time. arrested. But as he is taken away, he vehemently curs- es not only the Duke, but also the horrified Rigolet- — Lindsay Koob to, who believes the prevailing superstition about the power of an old man’s curse.

Scene 2: As Rigoletto approaches his house, mutter- ing about the curse, the assassin Sparafucile accosts him, offering his services. After they briefly discuss his methods and terms, Rigoletto declines, but leaves

8 future possibilities open. After Sparafucile leaves him, and are preparing to abduct Gilda, believing her to be Rigoletto muses about what they have in common: Rigoletto’s alleged mistress. They call out to Rigoletto, the assassin kills with his sword, whereas he “stabs” his convincing him they are actually abducting Countess victims with his viciously sharp tongue. Ceprano. He asks for a mask as well; as they tie it on, he is also blindfolded. They then lead him to what Upon arriving in the courtyard of his house, Rigoletto is actually Gilda’s second-story bedroom, and he is and his daughter greet each other with great affec- bidden to hold a ladder while the kidnappers abduct tion, revealing a different side of the deformed and his gagged and bound daughter and carry her away. bitter old jester’s psyche: that of a tender and doting Alone again, Rigoletto removes his mask and blind- father. He has kept Gilda ignorant of both his profes- fold and realizes that it was his own daughter he has sion and even his actual name. Fearing for her safety helped to abduct. Remembering Monterone’s curse, and honor, he has kept her hidden from the Duke, and he collapses in despair. forbidden her to appear anywhere in public—except for church. ACT II

After Rigoletto leaves, Gilda confides to her nurse Back at his palace, the Duke is worried that Gilda has Giovanna that she feels ashamed that she hadn’t told somehow vanished, singing “Ella mi fu rapita” (She her father about the young man (actually the Duke Was Stolen from Me). The courtiers return, proclaim- in commoner’s garb) whom she had met at church. ing that they have abducted Rigoletto’s mistress; but She had immediately fallen in love with him and tells as they describe her, the Duke realizes that she is Gil- Giovanna that her love for him would grow, even if da, and hurries off to the chamber where she is being he were a poor student. The nurse then exits into the held. Rigoletto enters, and the courtiers, encouraged house. Hiding in the courtyard, the disguised Duke by the Duke’s veiled excitement, make fun of Rigolet- has joyfully overheard Gilda’s declaration of love for to, who is trying to mask his terrible grief by singing him, and approaches her. She calls out for Giovan- aimlessly. But he soon admits that he’s looking for his na, but he has bribed her to stay away. He proceeds daughter; weeping, he implores the courtiers to return to sing passionately, convincing her of his love. She her to him. They block his way when he tries to run to asks his name, and he tells her he is Gualtier Maldè, a the room where Gilda is held, but she enters as the poor student. Upon hearing suspicious sounds, they courtiers—thinking that Rigoletto has gone mad—de- exchange hurried vows of love before she sends him part. She throws herself into her father’s arms, weep- away, then ecstatically sings her melting aria “Caro ing for shame, and confessing that the Duke has had nome” (Dear Name). his way with her in the palace. In a duet expressing conflicting points of view, Rigoletto swears that he will Rigoletto soon arrives home, announcing his return. wreak vengeance upon the Duke, while Gilda pleads The vengeful courtiers and their entourage (Cepra- for her lover. no, Borsa, Marullo and men’s chorus, all armed and masked) have gathered outside the courtyard wall,

9 ACT III Horrified, Gilda resolves to sacrifice her own life for both her father’s and the Duke’s, and hammers on the Rigoletto and Gilda arrive outside the assassin Spara- door, saying that she’s a beggar seeking shelter for fucile’s house, with parts of two inside rooms visible. the night. Sparafucile, valuing the money above all, Rigoletto asks Gilda if she still loves the Duke, and she unsheathes his dagger and (unseen) as Gilda enters, replies that he loves her, and that she will love him for- strikes—wounding her mortally. ever. Rigoletto leads her to a crack in the wall and tells her to look inside. The assassin’s pretty sister, Madd- With the storm over, Rigoletto returns to pay Spara- alena, has lured the Duke to the house, and Gilda fucile the rest of the money and collects what he be- watches as he asks Sparafucile for a room and some lieves to be the Duke’s corpse in a sack. He drags it wine, after which the Duke sings the opera’s most to the nearby river, and is about to cast it in when he famous aria “La donna è mobile” (Woman Is Fickle). hears the distant voice of the Duke singing a reprise Outside, Sparafucile approaches Rigoletto to confirm of “La donna è mobile.” Confused, Rigoletto opens the that this man is the one who must die—and Rigoletto sack, and—to his horror—finds Gilda, near death. She says he will come back soon to wrap up the deal. briefly revives, telling her father that she has deceived him and that she’s willing to die for her beloved. She Meanwhile, Gilda is devastated as she witnesses the dies in his arms, and Rigoletto cries out in despair, Duke flirting with Maddalena, using the same words of “The curse!” before collapsing over her body. love that he had used with her before. Rigoletto orders Gilda to go home to fetch money and a strong horse, — Lindsay Koob dress in men’s clothing that he has laid out for her, and ride off to Verona, where he will meet her later. When she leaves, Rigoletto finds Sparafucile and pays him half of the blood money.

With a violent storm about to break, Maddalena and the Duke continue to flirt. Aside, Sparafucile shows her the money, offering to give shelter to the Duke for the night. Aware of the plan to murder their “guest,” Madd- alena urges him to leave—but he declines and soon falls asleep. Gilda appears, dressed as a man, and overhears Maddalena—now enamored of the Duke—trying tearful- ly to convince her brother to spare the Duke, and instead kill Rigoletto when he returns with the rest of the money. Sparafucile refuses to betray a paying customer, but reluc- tantly says that he will kill in the Duke’s stead anyone who comes to the house before Rigoletto returns.

10 ACT I

PRELUDE and INTRODUCTON

Mantova: Sala magnifica nel palazzo ducale. Mantua: Magnificent hall of the Duke’s palace, with doors in Porte nel fondo mettono ad altre sale, pure splendi- the background leading to other rooms, also splendidly lit. damente illuminate; folla di cavalieri e dame in gran Crowds of ladies and noblemen strolling in the rooms costume nel fondo delle sale; paggi che vanno e in the background. Pages coming and going. Dancing vengono. La festa è nel suo pieno. Musica interna da can be seen in the rooms in the background. The ontano. Il Duca e Borsa vengono da una porta Duke and Borsa come out from one of the rooms, del fondo. speaking to one another.

Duca Duke 2. Della mia bella incognita borghese I’m off to town to win that unknown bourgeois toccare il fin dell’avventura io voglio. beauty.

Borsa Borsa Di quella giovin che vedete al tempio? The young girl you see at church?

Duca Duke Da tre mesi ogni festa. Every feast day for the past three months.

Borsa Borsa La sua dimora? Where does she live?

Duca Duke In un remoto calle; On some dead-end street; misterioso un uom v’entra ogni notte. Every night a mysterious man goes inside.

Borsa Borsa E sa colei chi sia l’amante suo? Has she guessed who her lover is?

Duca Duke Lo ignora. She hasn’t a clue. (Un gruppo di dame e cavalieri attraversano la sala.) (A group of ladies and noblemen cross the room.)

11 Borsa Borsa Quante beltà!... Mirate. Just look at all those beauties!

Duca Duke Le vince tutte di Cepran la sposa. They are no match for Ceprano’s wife.

Borsa Borsa Non v’oda il conte, o Duca... If the Count should hear you, Duke…

Duca Duke A me che importa? I couldn’t care less.

Borsa Borsa Dirlo ad altra ei potria... Should he tell a certain woman...

Duca Duke Nè sventura per me certo saria. No loss for me, in the least.

Duca Duke 3. Questa o quella per me pari sono This woman or that one, and as many others a quant’altre d’intorno, d’intorno mi vedo; in the room, they’re the same to me; del mio core l’impero non cedo No beauty has more sway over my heart than meglio ad una che ad altra beltà. another. La costoro avvenenza è qual dono Women’s charms are the spice fate gives to life; di che il fato ne infiora la vita; The woman who pleases me today s’oggi questa mi torna gradita, may not be my choice tomorrow. forse un’altra, forse un’altra doman lo sarà, Tomorrow another may take her place. un’altra, forse un’altra doman lo sarà. Constancy oppresses the heart— La costanza, tiranna del core, Let us scorn this plague, this cruel pestilence; detestiamo qual morbo, qual morbo crudele; let those who want fidelity keep it; sol chi vuole si serbe fidele; there can be no love without freedom. non v’ha amor, se non v’è libertà. I laugh when jealous husbands rage De’mariti il geloso furore, And when lovers pine and sigh; Degli amanti le smanie derido; To hell with Argus’s hundred eyes, anco d’Argo i cent’occhi disfido If I’m stricken—when I’m se mi punge, se mi punge una qualche beltà, stricken by some new beauty, se mi punge una qualche beltà. If I’m stricken by some new beauty.

12 (Entrano Dame e Cavalieri. Intanto nella sala in fondo (Ladies and noblemen enter, while in the room in the si ballerà il Minuetto.) background people are dancing the minuet.)

Duca (va ad incontrare la Contessa di Ceprano e le Duke (approaches the Countess of Ceprano, saying dice con molta galanteria:) with great gallantry:)

4. Partite?... crudele!... Are you leaving? … Don’t be so cruel! …

Contessa di Ceprano Countess of Ceprano Seguire lo sposo I’m obliged to follow m’è forza a Ceprano. my husband to Ceprano.

Duca Duke Ma dee luminoso But it is here in this court in Corte tal astro qual sole brillare. that such a bright star must shine. Per voi qui ciascuno dovrà palpitare. It’s here you set each heart aflutter. Per voi già possente la fiamma d’amore Already the blazing flame of my love for you (con enfasi baciandole la mano) (pompously kissing her hand) inebria, conquide, distrugge il mio core. enraptures, conquers, melts my heart.

Contessa di Ceprano Countess of Ceprano Calmatevi... Calm down…

Duca Duke La fiamma d’amore My blazing love for you inebria, conquide, distrugge il mio core. enraptures, conquers, shatters my heart. Per voi già possente Already the blazing flame

Contessa di Ceprano Countess di Ceprano Calmatevi, calmatevi... Calm down, mind what you say! …

Duca Duke la fiamma d’amore of my love for you inebria, conquide, enraptures, conquers, (dà il braccio alla Contessa ed esce con lei) (gives his arm to the Countess and goes out with her) distrugge il mio core. melts my heart

13 Rigoletto (al Conte Ceprano) Rigoletto (to Count Ceprano) In testa che avete, signor di Ceprano? What’s that sprouting from your head, Count Ceprano? (Ceprano fa un gesto d’impazienza e segue il Duca.) (Ceprano gestures impatiently and follows the Duke.)

Rigoletto (ai Cortigiani) Rigoletto (to the Courtiers) Ei sbuffa! Vedete? Ha! Did you hear him snort?

Borsa, Coro Borsa, Chorus Che festa! What a laugh!

Rigoletto Rigoletto Oh sì!.. Oh, yes!...

Borsa, Coro Borsa, Chorus Il Duca qui pur si diverte!... The Duke is having a high time!...

Rigoletto Rigoletto Così non è sempre? che nuove scoperte! As always. So what else is new? Il giuoco ed il vino, le feste, la danza, Gambling and wine, parties and dancing, battaglie, conviti, ben tutto gli sta. brawls and feasting, his favorite things. Or della Contessa l’assedio egli avanza, Now he’s set his sights on the Countess e intanto il marito fremendo ne va. while the husband leaves in a huff. (Esce. Entra Marullo premuroso.) (He exits. Marullo rushes in.)

Marullo Marullo 5. Gran nuova! Gran nuova! Big news! Big news!

Coro Chorus Che avvenne? parlate! What happened? Speak up!

Marullo Marullo Stupir ne dovrete! You’ll be astounded!

Coro, Borsa Chorus, Borsa Narrate, narrate. Speak up. Tell us.

14 Marullo Marullo Ah! ah! Rigoletto... Ah! Ah! Rigoletto...

Coro, Borsa Chorus, Borsa Ebben? Well, then?

Marullo Marullo Caso enorme! Incredible!

Coro, Borsa Chorus, Borsa Perduto ha la gobba? Did he lose his hump? Non è più difforme? He’s no longer a hunchback?

Marullo Marullo Più strana è la cosa! Il pazzo possiede... It’s something even stranger! The lunatic has…

Coro, Borsa Chorus, Borsa Infine? Out with it!

Marullo Marullo Un’amante. A mistress.

Coro, Borsa Chorus, Borsa Un’amante! Chi il crede? A mistress! Who would have thought?

Marullo Marullo Il gobbo in Cupido or s’è trasformato. The hunchback has turned into Cupid.

Coro, Borsa Chorus, Borsa Quel mostro? Cupido!...Cupido beato! That freak? Cupid!... A fine Cupid! (Ritorna il Duca seguito da Rigoletto, poi da Ceprano.) (The Duke enters, followed by Rigoletto, then Ceprano.)

Duca (a Rigoletto) Duke (to Rigoletto) 6. Ah, più di Ceprano importuno non v’è! Ah, there’s no bigger boor than Ceprano! La cara sua sposa è un angiol per me! Yet his dear wife—such an angel!

15 Rigoletto Rigoletto Rapitela. So abduct her.

Duca Duke È detto; ma il farlo? More easily said than done.

Rigoletto Rigoletto Stasera. Do it tonight.

Duca Duke Non pensi tu al Conte? What do we do with the Count?

Rigoletto Rigoletto Non c’è la prigione? Why not lock him up?

Duca Duke Ah, no. Ah, no.

Rigoletto Rigoletto Ebben, s’esilia. Well, then, exile.

Duca Duke Nemmeno, buffone. No, fool. Not that either.

Rigoletto (indicando di farla tagliare) Rigoletto (with a cutting motion) Allora la testa... Off with his head …

Ceprano (fra sé) Ceprano (aside) Quell’anima nera! Such a black soul!

Duca (battendo colla mano una spalla al Conte) Che Duke (slapping the Count on the shoulder) di’, questa testa? Do you mean this head?

Rigoletto Rigoletto È ben naturale. Why not? Che fare di tal testa?...A cosa ella vale? It’s not good for anything else.

16 Ceprano (infuriato, brandendo la spada) Ceprano (enraged, brandishing his sword) Marrano! You lout!

Duca (a Ceprano) Duke (to Ceprano) Fermate! Back off!

Rigoletto Rigoletto Da rider mi fa. Don’t make me laugh!

Borsa, Marullo, Coro (tra loro) Borsa, Marullo, Chorus (among themselves) In furia è montato! He’s beside himself with rage.

Duca (a Rigoletto) Duke (to Rigoletto) Buffone, vien qua. Come here, fool.

Borsa, Marullo, Coro Borsa, Marullo, Chorus (among themselves) In furia è montato! He’s beside himself with rage.

Duca Duke Ah, sempre tu spingi lo scherzo all’estremo. Ah, you never know when to stop with your pranks. Quell’ira che sfidi colpirti potrà. You may come to regret scoffing at such anger.

Ceprano (ai cortigiani a parte) Ceprano (to the courtiers) Vendetta del pazzo! We’ll take our revenge on that fool!

Rigoletto Rigoletto Che coglier mi puote? Di loro non temo; What could you possibly do to me? These people del Duca un protetto nessun toccherà. don’t frighten me. None of you dares to touch a favorite of the Duke.

Ceprano Ceprano Contr’esso un rancore Who here doesn’t bear a grudge against him? di noi chi non ha? Vendetta! Vengeance!

Borsa, Marullo, Coro (a Ceprano) Borsa, Marullo, Chorus (to Ceprano) Ma come? But how?

17 Ceprano Ceprano In armi chi ha core Tomorrow each of you come armed and willing doman sia da me. to my house.

Borsa, Marullo, Coro Borsa, Marullo, Chorus Sì. Yes.

Ceprano Ceprano A notte. At night.

Borsa, Marullo, Coro Borsa, Marullo, Chorus Sarà. Agreed.

Rigoletto Rigoletto Che coglier mi puote? ecc. What could you possibly do to me?, etc.

Duca Duke Ah, sempre tu spingi lo scherzo, ecc. Ah, you never know when to stop with your pranks, etc.

Borsa, Ceprano, Marullo, Coro Borsa, Ceprano, Marullo, Chorus Vendetta del pazzo! We’ll take our revenge on that fool! Contr’esso un rancore Who here doesn’t bear pei tristi suoi modi a grudge against him di noi chi non ha? for his nasty tricks? Sì, vendetta! ecc. Yes, take vengeance! Sì, vendetta! Yes, take vengeance!

Duca, Rigoletto Duke, Rigoletto Tutto è gioia, tutto è festa! Everyone’s merry, such a grand party! (La folla de’ danzatori invade la scena.) (The crowd of dancers rushes in.)

Tutti All Tutto è gioia, tutto è festa! Everyone’s merry, such a grand party! Tutto invitaci a goder! Everything entices us to pleasure! Oh, guardate, non par questa Just look around you. Could Paradise be or la reggia del piacer? more delightful? (Entra il Conte di Monterone.) (Enter the Count of Monterone.)

18 Monterone Monterone 7. Ch’io gli parli. I would have a word with him.

Duca Duke No. No.

Monterone (avanzando) Monterone (coming forward) Il voglio. I insist.

Borsa, Rigoletto, Ceprano, Marullo, Coro Borsa, Rigoletto, Ceprano, Marullo, Chorus Monterone! Monterone!

Monterone (fissando il Duca, con nobile orgoglio) Monterone (casting a gaze of noble pride at the Duke) Sì, Monteron. La voce mia qual tuono Yes, Monterone, whose voice will thunder and shake vi scuoterà dovunque... you wherever you may go.

Rigoletto Rigoletto (ai Duca, contraffacendo la voce di Monterone) (to the Duke, mimicking the voice of Monterone) Ch’io gli parli. I would have a word with him. (si avanza con ridicola gravità.) (coming forward with mock seriousness.) Voi congiuraste contro noi, signore, You conspired against us, my Lord, e noi, clementi invero, perdonammo. and we, with utmost lenience, forgave you. Qual vi piglia or delirio a tutte l’ore What madness possesses you, to rage forever about di vostra figlia a reclamar l’onore? your daughter’s honor?

Monterone Monterone (guardando Rigoletto con ira sprezzante) (eying Rigoletto with scornful rage) Novello insulto! Another insult! (al Duca) (to the Duke) Ah sì, a turbare Be sure of this—I will be there sarò vostr’orgie; verrò a gridare to disturb your orgies; I will come fino a che vegga restarsi inulto to denounce you until my family is avenged of that di mia famiglia l’atroce insulto; atrocious offense; e se al carnefice pur mi darete, and even if you send me to the hangman, spettro terribile mi rivedrete, you will see my fearful specter, portante in mano il teschio mio, my head in my hand, vendetta chiedere al mondo e a Dio. crying vengeance from earth and heaven.

19 Duca Duke Non più, arrestatelo. Enough! Arrest him.

Rigoletto Rigoletto È matto. He’s gone mad.

Coro Chorus Quai detti! Outrageous!

Monterone (al Duca e Rigoletto) Monterone (to the Duke and Rigoletto) Oh, siate entrambi voi maledetti! Ah, may you both be cursed!

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Ah! Ah!

Monterone Monterone Slanciare il cane a leon morente Siccing your dog on a dying lion. è vile, o Duca. How vile of you, Duke. (a Rigoletto) (to Rigoletto) E tu, serpente, And you, viper! tu che d’un padre ridi al dolore, You who mocks a father’s grief— sii maledetto! I curse you!

Rigoletto (da sé, colpito) Rigoletto (aside, horrified) Che sento! orrore! I can’t believe my ears! What horror!

Tutti (meno Rigoletto) All (except Rigoletto) (a Monterone) (to Monterone) O tu che la festa audace hai turbato You who dare to spoil our merriment, da un genio d’inferno qui fosti guidato; some fiend must have sent you from hell; è vano ogni detto, di qua t’allontana, we’re deaf to your words, so get away, va, trema, o vegliardo, dell’ira sovrana, ecc. go, old man, and tremble at your lord’s anger, etc.

Rigoletto Rigoletto Orrore! Horror! Che orrore! ecc. Such horror! etc.

20 Monterone Monterone Sii maledetto! E tu serpente! ecc. I curse you! And you, viper! etc.

Tutti (meno Rigoletto) All (except Rigoletto) Tu l’hai provocata, più speme von v’è, You brought this on yourself, wretched man—an evil un’ora fatale fu questa per te. hour for you. (Monterone parte fra due alabardieri; tutti gli altri (Monterone exits with two men armed with halberds; seguono il Duca in altra stanza.) all the others follow the Duke into another room.)

SCENA 2 SCENE 2

L’estremità d’una via cieca. The end of a blind alley. A sinistra, una casa di discreta apparenza con una At left, a modest house with a small, walled courtyard. piccola corte circondata da mura. Nella corte un grosso In the yard is a marble seat and in the wall a gate ed alto albero ed un sedile di marmo; nel muro, una leading to the street; above the wall stands a terrace porta che mette alla strada; sopra il muro, un terrazzo over an arcade. The second story door opens onto sostenuto da arcate. La porta del primo piano dà sul the terrace, to which a stairway leads in front. To the detto terrazzo, a cui si ascende per una scala di fronte. right of the alley is a high wall and a side of Ceprano’s A destra della via è il muro altissimo del giardino e un palace. It is night. Rigoletto enters, wrapped up in his fianco del palazzo di Ceprano. È notte. Entra Rigoletto cloak; Sparafucile follows him, carrying a long sword chiuso nel suo mantello; Sparafucile lo segue, portando under his cape. sotto il mantello una lunga spada.

Rigoletto (a sé) Rigoletto (aside) 8. Quel vecchio maledivami! That old man—he cursed me!

Sparafucile Sparafucile Signor?... My Lord?...

Rigoletto Rigoletto Va, non ho niente. Go, I have nothing to say.

Sparafucile Sparafucile Né il chiesi: a voi presente Nor did I ask: but I am a swordsman un uom di spada sta. at your service.

21 Rigoletto Rigoletto Un ladro? A robber?

Sparafucile Sparafucile Un uom che libera Rather a man who can rid you per poco da un rivale, of a rival— e voi ne avete. for indeed you have one.

Rigoletto Rigoletto Quale? How do you mean?

Sparafucile Sparafucile La vostra donna è là. Your lady, over there.

Rigoletto (da sé) Rigoletto (aside) Che sento! What did he say? (a Sparafucile) (to Sparafucile) E quanto spendere And how much would I have to pay per un signor dovrei? for a nobleman?

Sparafucile Sparafucile Prezzo maggior vorrei. I’d ask a higher price.

Rigoletto Rigoletto Com’usasi pagar? What are your terms?

Sparafucile Sparafucile Una metà s’anticipa, il resto si dà poi. Half in advance, the balance due after the job’s done.

Rigoletto (da sé) Rigoletto (aside) Demonio! The fiend! (a Sparafucile) (to Sparafucile) E come puoi And how can you tanto securo oprar? work so, out in the open?

22 Sparafucile Sparafucile Soglio in cittade uccidere, I do my killing in town oppure nel mio tetto. or under my own roof. L’uomo di sera aspetto; I wait for nightfall— una stoccata e muor. One strike, and its over.

Rigoletto (da sé) Rigoletto (aside) Demonio! The fiend! (a Sparafucile) (to Sparafucile) E come in casa? And how do you lure them in?

Sparafucile Sparafucile È facile. Easily enough. M’aiuta mia sorella. My sister helps me. Per le vie danza...è bella... She’s a street dancer, and pretty … Chi voglio attira, e allor... She leads my victims in, and then …

Rigoletto Rigoletto Comprendo. I see.

Sparafucile Sparafucile Senza strepito... No fuss...

Rigoletto Rigoletto Comprendo. I see.

Sparafucile Sparafucile È questo il mio strumento. And this is my tool. (Mostra la spada.) (He shows his sword.) Vi serve? Does it suit you?

Rigoletto Rigoletto No...al momento. No...not right now.

Sparafucile Sparafucile Peggio per voi. More’s the pity.

23 Rigoletto Rigoletto Chi sa? Who knows?

Sparafucile Sparafucile Sparafucil mi nomino. Sparafucile is my name.

Rigoletto Rigoletto Straniero? A foreigner?

Sparafucile (per andarsene) Sparafucile (about to leave) Borgognone. From Burgundy.

Rigoletto Rigoletto E dove all’occasione? And where can I find you, just in case?

Sparafucile Sparafucile Qui sempre a sera. I’m always here at night.

Rigoletto Rigoletto Va. Go.

Sparafucile Sparafucile Sparafucil, Sparafucil. Sparafucile, Sparafucile. (Sparafucile parte.) (Sparafucile exits.)

Rigoletto (guarda dietro a Sparafucile) Rigoletto (gazing after Sparafucile) Va, va, va, va. Go, then. Go, go, go. 9. Pari siamo!...io la lingua, We are both the same under the skin!... egli ha il pugnale. I wield my tongue, he a dagger. L’uomo son io che ride, I am all laughs, he a grim reaper. ei quel che spegne! That old man—he cursed me! Quel vecchio maledivami... O humanity! O nature! O uomini! O natura! A fine villain you’ve made of me! Vil scellerato mi faceste voi! This crooked jester’s body drives me mad! O rabbia! esser difforme, esser buffone! Always bound to laugh, capable of nothing else! Non dover, non poter altro che ridere! Bereft of other men’s birthright, I cannot weep. Il retaggio d’ogni uom m’è tolto, il pianto. This young man I call my master, carefree and

24 Questo padrone mio, giovin, giocondo, sì possente, bello, powerful, handsome, sonnecchiando mi dice: Dozing off, he tells me: Fa ch’io rida, buffone! Make me laugh, fool! Forzarmi deggio e farlo! Oh dannazione! I must force myself to do it! Oh, damnation! Odio a voi, cortigiani schernitori! How I loathe you, jeering courtiers! Quanta in mordervi ho gioia! How it pleases me to sting your pride! Se iniquo son, per cagion vostra è solo. If I am vile, it is all your fault. Ma in altr’uomo qui mi cangio!... But here I’m quite another man!... Quel vecchio maledivami!...Tal pensiero That old man—he cursed me!... How that thought perché conturba ognor la mente mia? keeps vexing my mind! Mi coglierà sventura? Am I doomed to ruin? Ah no, è follia! Ah no, what madness! (Apre con chiave ed entra nel cortile. Gilda esce dalla (Unlocks the gate and enters the courtyard. Gilda casa e si getta nelle sue braccia.) comes out of the house and rushes into his arms.) 10. Figlia! My daughter!

Gilda Gilda Mio padre! Father!

Rigoletto Rigoletto A te d’appresso Only when you are near trova sol gioia il core oppresso. can my sad heart rejoice. . Gilda Gilda Oh, quanto amore, padre mio! Oh, my loving father!

Rigoletto Rigoletto Mia vita sei! You are my life! Senza te in terra qual bene avrei? Without you, what on earth would matter? Ah, figlia mia! Ah, daughter!

Gilda Gilda Voi sospirate! che v’ange tanto? You are sighing! Why so unhappy? Lo dite a questa povera figlia. Tell your poor daughter. Se v’ha mistero, per lei sia franto: Let me partake in your sorrow ch’ella conosca la sua famiglia. Let her know about her family.

25 Rigoletto Rigoletto Tu non ne hai. You have none.

Gilda Gilda Qual nome avete? Tell me your name.

Rigoletto Rigoletto A te che importa? Why do you care to know?

Gilda Gilda Se non volete If you don’t wish di voi parlarmi... to talk to me about yourself...

Rigoletto (interrompendola) Rigoletto (interrupting her) Non uscir mai. Never go out of the house.

Gilda Gilda Non vo che al tempio. Only to church.

Rigoletto Rigoletto Oh, ben tu fai. Oh, you do well.

Gilda Gilda Se non di voi, almen chi sia If you won’t talk about yourself, can I know fate ch’io sappia la madre mia. who my mother was?

Rigoletto Rigoletto Deh, non parlare al misero I beg you, don’t ask me about my del suo perduto bene. saddest loss. Ella sentia, quell’angelo, That angel pietà delle mie pene. took pity on my sorrows. Solo, difforme, povero, With compassion she loved per compassion mi amò. this abandoned, misshapen wretch. Morìa...le zolle coprano She died... may the earth gently cover lievi quel capo amato. that dear head. Sola or tu resti al misero... You’re all that’s left to this unhappy man… O Dio, sii ringraziato! Thanks be to God!

26 Gilda (singhiozzando) Gilda (sobbing) Oh quanto dolor! che spremere Oh, such pain! What has brought on sì amaro pianto può? such bitter tears? Padre, non più, calmatevi... Father, no more of this, calm yourself... Mi lacera tal vista. The very sight is breaking my heart.

Rigoletto Rigoletto Tu sola resti al misero, ecc. You’re all that this unhappy man, etc.

Gilda Gilda Il nome vostro ditemi, Tell me your name, il duol che sì v’attrista. and name the sorrow that pains you.

Rigoletto Rigoletto A che nomarmi? è inutile! Why tell my name? There’s no point! Padre ti sono, e basti. I am your father, that is enough. Me forse al mondo temono, In this world, some people fear me, d’alcuno ho forse gli asti. and some despise me. Altri mi maledicono... Others curse me…

Gilda Gilda Patria, parenti, amici Homeland, family, friends— voi dunque non avete? What of these?

Rigoletto Rigoletto Patria! parenti! amici! Homeland, family, friends— Culto, famiglia, la patria, All that I believe, my hearth and homeland, il mio universo è in te! my entire world is in you!

Gilda Gilda Ah, se può lieto rendervi, Ah, if only I could make you happier, gioia è la vita a me! the more my life would be a joy for me.

Rigoletto Rigoletto Culto, famiglia, ecc. All that I believe, my hearth, etc.

27 Gilda Gilda 11. Già da tre lune son qui venuta It’s been three months since I came here né la cittade ho ancor veduta; without ever seeing the town; se il concedete, farlo or potrei... if you will let me, I could do that now…

Rigoletto Rigoletto Mai! mai! Uscita, dimmi, unqua sei? Never! Never! Tell me. Have you ever gone out?

Gilda Gilda No. No.

Rigoletto Rigoletto Guai! God help you if you do!

Gilda (da sé) Gilda (aside) Ah! Che dissi! Ah! What have I said?

Rigoletto Rigoletto Ben te ne guarda! See that you don’t! (da sé) (aside) Potrien seguirla, rapirla ancora! They can always follow her, abduct her! Qui d’un buffone si disonora How they will laugh when a fool’s daughter is la figlia e se ne ride...Orror! dishonored… What horror!

(forte) (from within the house) Olà? Hello! (Giovanna esce dalla casa.) (Giovanna comes out.)

Giovanna Giovanna Signor? My Lord?

Rigoletto Rigoletto Venendo mi vede alcuno? Did anyone see me come here? Bada, di’ il vero. See that you tell the truth.

Giovanna Giovanna Oh, no, nessuno. No, no one.

28 Rigoletto Rigoletto Sta ben. La porta che dà al bastione Very well. Do you always lock the gate è sempre chiusa? to the ramparts?

Giovanna Giovanna Ognor si sta. It always is.

Rigoletto Rigoletto Bada, di’ il ver. Take care to tell the truth. 12. Ah, veglia, o donna, questo fiore Ah, woman, I have trusted you che a te puro confidai; to keep this flower in all her purity; veglia, attenta, e non fia mai watch over her, without fail, and che s’offuschi il suo candor. let nothing tarnish her virtue. Tu dei venti dal furore Defend her from the ill winds ch’altri fiori hanno piegato, that have crushed other flowers lo difendi, e immacolato and bring her spotless lo ridona al genitor. to her father.

Gilda Gilda Quanto affetto! quali cure! How loving you are, but how troubled! Che temete, padre mio? What do you fear, my father? Lassù in cielo presso Dio Up in heaven, close to God veglia un angiol protettor. a guardian angel watches. Da noi stoglie le sventure My mother’s holy prayers di mia madre il priego santo; protect us from all misfortune; non fia mai disvelto o franto This flower you love so dearly questo a voi diletto fior. will never be plucked or broken.

(Il Duca in costume borghese viene dalla strada.) (The Duke enters from the street, dressed as a commoner.)

Rigoletto Rigoletto Ah, veglia, o donna, questo fiore Ah, woman, I have trusted you che a te puro confi... to keep this… Alcun v’è fuori! There is someone outside!

(Apre la porta della corte e, mentre esce a guarder (He opens the courtyard gate and, while he goes sulla strada, il Duca guizza furtivo nella corte e si out to look onto the street, the Duke darts into the

29 nasconde dietro l’albero; gettando a Giovanna una yard and hides behind the tree; he throws a purse to borsa la fa tacere.) Giovanna to silence her.)

Gilda Gilda Cielo! Heavens! Sempre novel sospetto! Always some new suspicion!

Rigoletto (a Giovanna tornando) Rigoletto (turning to Giovanna) Alla chiesa vi seguiva mai nessuno? Has anyone ever followed you to church?

Giovanna Giovanna Mai. Never.

Duca (da sé) Duke (aside) Rigoletto! Rigoletto!

Rigoletto Rigoletto Se talor qui picchian, If anyone knocks, guardatevi d’aprire... refuse to open the door…

Giovanna Giovanna Nemmeno al Duca? Not even for the Duke?

Rigoletto Rigoletto Non che ad altri a lui. Not to him, above all. Mia figlia, addio. Goodbye, my daughter.

Duca (da sé) Duke (aside) Sua figlia! His daughter!

Gilda Gilda Addio, mio padre. Goodbye, my father.

Rigoletto Rigoletto Ah! veglia, o donna, ecc. Ah, woman, I have trusted you, etc. Figlia, addio! Goodbye, daughter!

30 Gilda Gilda Oh, quanto affetto! ecc. How loving you are, but how troubled! etc. Mio padre, addio! Goodbye, my father! (S’abbracciano e Rigoletto parte chiudendosi dietro la (They embrace and Rigoletto leaves, closing the door porta. Gilda, Giovanna e il Duca restano behind him. Gilda, Giovanna and Duke remain in the nella corte.) courtyard.)

Gilda Gilda 13. Giovanna, ho dei rimorsi... Giovanna, I feel so guilty...

Giovanna Giovanna E perché mai? Why ever should you?

Gilda Gilda Tacqui che un giovin I did not say that a young man ne seguiva al tempio. followed us to church.

Giovanna Giovanna Perché ciò dirgli? L’odiate dunque There is no reason to tell him. So do you dislike cotesto giovin, voi? this young man?

Gilda Gilda No, no, ché troppo è bello No, no, he’s too handsome e spira amore. and I see love in his eyes.

Giovanna Giovanna E magnanimo sembra e gran signore. He seems bighearted and a noble gentleman.

Gilda Gilda Signor né principe io lo vorrei; I hope he isn’t a gentleman or a prince; sento che povero più l’amerei. I feel I’d love him more if he were poor. Sognando o vigile sempre lo chiamo, Sleeping and waking I call for him, e l’alma in estasi gli dice: t’a... and my blissful soul tells him: I lo…

31 Duca Duke (esce improvviso, fa cenno a Giovanna d’andarsene, (suddenly exits and beckons Giovanna away from e inginocchiandosi ai piedi di Gilda termina the courtyard; kneeling at Gilda’s feet, he completes la frase) her words)

T’amo! I love you! T’amo; ripetilo sì caro accento: I love you; say these dear words again un puro schiudimi ciel di contento! to unlock the doors of blissful paradise!

Gilda Gilda Giovanna? Ahi, misera! Non v’è più alcuno Giovanna? Ah, poor me! No one is there to answer che qui rispondami! Oh Dio! nessuno? me? Oh, God! Is no one there?

Duca Duke Son io coll’anima che ti rispondo. I am here, to answer with my soul. Ah, due che s’amano son tutto un mondo! Ah, two lovers make a world apart!

Gilda Gilda Chi mai, chi giungere vi fece a me? Whoever was it who brought you to me?

Duca Duke Se angelo o demone, che importa a te? Angel or demon, why should you care? Io t’amo. I love you.

Gilda Gilda Uscitene. Please go.

Duca Duke Uscire!...adesso!... Go?... Now?... Ora che accendene un fuoco istesso! Now that we burn with the same fire? Ah, inseparabile d’amore il dio Ah, my dear girl, we are both stringeva, o vergine, tuo fato al mio! caught up tight in Cupid’s bonds! 14. È il sol dell’anima, la vita è amore, For us, love is the sun, and our whole life, sua voce è il palpito del nostro core. its voice marks the beating of our hearts. E fama e gloria, potenza e trono, Fame and glory, power and thrones, umane, fragili qui cose sono, These are all too frail and mortal. una pur avvene sola, divina: One divine thing stands out alone:

32 è amor che agl’angeli più ne avvicina! Love, which brings us up to the angels! Adunque amiamoci, donna celeste; Come, let us love, you heavenly woman; d’invidia agli uomini sarò per te. You will make me the envy of every man.

Gilda (da sé) Gilda (aside) Ah, de’ miei vergini sogni son queste Ah, these are those tender words le voci tenere sì care a me! ecc. that as a girl I always dreamed! etc.

Duca Duke Amiamoci, Let us love, d’invidia agl’uomini sarò per te, ecc. you will make me the envy of every man, etc. 15. Che m’ami, deh, ripetimi. Pray, tell me again that you love me.

Gilda Gilda L’udiste. Just now you caught me saying it.

Duca Duke Oh, me felice Oh, how happy I am!

Gilda Gilda Il nome vostro ditemi... Tell me your name... Saperlo a me non lice? Won’t you tell me?

(Ceprano e Borsa compariscono sulla strada.) (Ceprano and Borsa appear together on the street.)

Ceprano (a Borsa) Ceprano (to Borsa) Il loco è qui. This is the place.

Duca (pensando) Duke (thinking it over) Mi nomino... My name is...

Borsa (a Ceprano) Borsa (to Ceprano) Sta ben. Very well.

(Ceprano e Borsa partono.) (Ceprano and Borsa leave.)

33 Duca Duke Gualtier Maldè. Walter Maldè. Studente sono, e povero... I am just a poor student...

Giovanna (tornando spaventata) Giovanna (returning, worried) Rumor di passi è fuori! Footsteps!

Gilda Gilda Forse mio padre... It could be my father...

Duca (da sé) Duke (aside) Ah, cogliere potessi il traditore Ah, if I could get my hands che sì mi sturba! on that bumbling traitor!

Gilda Gilda Adducilo Take him out of here di qua al bastione...or ite... to the ramparts ..Go, now...

Duca Duke Di’, m’amerai tu?! But first—do you really love me?

Gilda Gilda E voi? And you?

Duca Duke L’intera vita...poi... For the rest of my life... and now...

Gilda Gilda Non più, non più...partite. No more, no more... Go!

Tutte Due Together Addio! speranza ed anima Farewell! You will always be sol tu sarai per me. my hope and my soul. Addio! vivrà immutabile Farewell! My love for you l’affetto mio per te. will never fail. Addio, ecc. Farewell, etc.

34 (Il Duca esce scortato da Giovanna. Gilda resta (The Duke exits with Giovanna. Gilda stays behind, fissando la porta ond’è partito.) looking at the gate through which he has left.)

Gilda (sola) Gilda (alone) 16. Gualtier Maldè...nome di lui sì amato, Walter Maldè...how I cherish his name, ti scolpisci nel core innamorato! be engraved upon my lovesick heart! Caro nome che il mio cor Cherished name, the first festi primo palpitar, to stir my heart, le delizie dell’amor you will always lead my thoughts mi dêi sempre rammentar! to love’s delights! Col pensier il mio desir In my thoughts my desire a te sempre volerà, will always rise to you, e fin l’ultimo mio sospir, and even my last breath, caro nome, tuo sarà. cherished name, will be yours. Col pensier, ecc. In my thoughts, etc. (Sale al terrazzo con una lanterna.) (Going out onto the terrace with a lantern.) Gualtier Maldè! Walter Maldè!

(Marullo, Ceprano, Borsa, cortigiani, armati e (Marullo, Ceprano, Borsa and courtiers, armed and mascherati, vengono dalla via. Gilda entra tosto masked, come in from the street. Gilda goes quickly in casa.) into the house.)

Caro nome, ecc. Cherished name, etc.

Borsa Borsa È là. This is the place.

Ceprano Ceprano Miratela. Just look at her.

Coro Chorus Oh quanto è bella! Oh, how beautiful she is!

Marullo Marullo Par fata od angiol. You might say a fairy, or an angel.

35 Coro Chorus L’amante è quella Could this be di Rigoletto. Rigoletto’s mistress? Oh, quanto è bella! Oh, how beautiful she is!

(Rigoletto, concentrato, entra.) (Rigoletto enters, lost in thought.)

Rigoletto (da sé) Rigoletto (aside) 17. Riedo!...perché? I’ve come home again!... But why?

Borsa Borsa Silenzio. All’opra...badate a me. Silence. Get to work... Follow my lead.

Rigoletto (da sé) Rigoletto (aside) Ah, da quel vecchio fui maledetto! Ah, that old man cursed me! (urta in Borsa) (bumping into Borsa) Chi va là? Who’s there?

Borsa (ai compagni) Borsa (to his companions) Tacete...c’è Rigoletto. Be quiet... It’s Rigoletto.

Ceprano Ceprano Vittoria doppia! l’uccideremo. A twofold victory! Let’s kill him.

Borsa Borsa No, ché domani più rideremo. No, for we’ll laugh all the more tomorrow.

Marullo Marullo Or tutto aggiusto... Everything’s already settled...

Rigoletto Rigoletto Chi parla qua? Who’s talking over there?

Marullo Marullo Ehi, Rigoletto?...Di’? Hey, Rigoletto!... Answer us!

36 Rigoletto Rigoletto Chi va là? Who’s there?

Marullo Marullo Eh, non mangiarci!...Son... Hey! Easy there... I am...

Rigoletto Rigoletto Chi? Who?

Marullo Marullo Marullo. Marullo.

Rigoletto Rigoletto In tanto buio lo sguardo è nullo. It’s too dark to see anyone’s face.

Marullo Marullo Qui ne condusse ridevol cosa... What we are doing here will make you laugh... We’re Torre a Ceprano vogliam la sposa. abducting Ceprano’s wife.

Rigoletto (da sé) Rigoletto (aside) Ahimè! respiro! Aha! Now I can breathe! (a Marullo) (to Marullo) Ma come entrare? But how will you get in?

Marullo (a Ceprano) Marullo (to Ceprano) La vostra chiave! Give me your key! (a Rigoletto) (to Rigoletto) Non dubitare. Have no fear. Non dee mancarci lo stratagemma... Our plan cannot fail... (Gli dà la chiave avuta da Ceprano.) (He hands over Ceprano’s key.) Ecco la chiave. Here is the key.

RIgoletto (palpando) RIgoletto (fingering it) Sento il suo stemma. I can feel the shape of his crest. (da sé) (aside) Ah, terror vano fu dunque il mio! Ah, my fears were all for naught! (a Marullo) (to Marullo) N’è là il palazzo. Con voi son io. The palace is over here. I’m with you. 37 Marullo Marullo Siam mascherati... We are wearing masks...

Rigoletto Rigoletto Ch’io pur mi mascheri; I’ll wear one, too; a me una larva. hand me a disguise.

Marullo Marullo Sì, pronta è già. Right. Here you are.

(Gli mette una maschera e nello stesso tempo lo (Marullo puts a mask on Rigoletto while at the same benda con un fazzoletto, e lo pone a reggere una time blindfolding him with a handkerchief. He makes scala, che hanno appostata al terrazzo.) him hold a ladder leaning against the terrace.)

Terrai la scala. Come hold the ladder.

Rigoletto Rigoletto Fitta è la tenebra. It’s pitch dark out here.

Marullo Marullo La benda cieco e sordo il fa. He can’t hear or see with that blindfold.

Coro Chorus 18. Zitti, zitti, moviamo a vendetta; Hush now, hush, stealing to our vengeance, ne sia colto or che meno l’aspetta. let’s strike him who least expects it. Derisore sì audace e costante He who dares to jeer so often a sua volta schernito sarà! will be mocked in his own turn! Cheti, cheti, rubiamgli l’amante Hush now, hush, let us steal his lover e la Corte doman riderà. and tomorrow the court will laugh out loud. Cheti, cheti, ecc. Hush now, hush, etc. Derisore sì audace, ecc. He who dares to jeer, etc. Zitti, zitti, zitti, zitti, Hush now, hush, hush now, hush, cheti, cheti, cheti, cheti, Hush now, hush, attenti all’opra, all’opra. let’s all get to work.

(Alcuni salgono al terrazzo, rompono la porta del (Some courtiers go onto the terrace, break in the primo piano, scendono, aprono ad altri che entrano door and go down to let others in from the street

38 dalla strada e riescono trascinando Gilda, la quale level. They drag out Gilda, who had been gagged ha la bocca chiusa da un fazzoletto; nel traversare la with a handkerchief, and she drops her scarf along scenaella perde una sciarpa.) the way.)

Gilda (da lontano) Gilda (in the distance) Soccorso, padre mio! Help me, father!

Coro (da lontano) Chorus (in the distance) Vittoria! We got her!

Gilda (più lontano) Gilda (far off) Aita! Help!

Rigoletto Rigoletto Non han finito ancor!...qual derisione! They’re still at it!... A fine prank indeed! (Si tocca gli occhi.) (He touches his eyes.) Sono bendato! I’ve been blindfolded! Gilda!...Gilda! Gilda!...Gilda!

(Si strappa impetuosamente la benda e la maschera, (He tears off the blindfold and the mask, and by the ed al chiarore d’una lanterna scordata riconosce la light of a forgotten lantern he recognizes the scarf, sciarpa, vede la porta aperta: entra, ne trae Giovanna and sees the open door; he goes in and drags out the spaventata; la fissa con istupore, si strappa i capelli terrified Giovanna; he stares at her, stupefied, tearing senza poter gridare; finalmente, dopo molti sforzi, at his hair, unable to cry out; finally, through sheer esclama:) force of will, he exclaims:)

Ah! la maledizione! Ah! The curse!

(Sviene.) (He faints.)

39 Act II

Salotto nel palazzo ducale. A drawing room of the Duke’s palace. Vi sono due porte laterali, una maggiore nel fondo A door on either side. In the background there is a chesi chiude. Ai suoi lati pendono i ritratti, in tutta fig- larger one, closed and flanked by two full-length por- ura, a sinistra del Duca, a destra della sua sposa. V’ha traits: to the left, one of the Duke, and his wife to the un seggiolone presso una tavola coperta di velluto e right. Among other furniture, there is a a high-backed altri mobili. chair next to a table with a velvet cover.

Duca (entrando, agitato) Duke (enters, upset) 1. Ella mi fu rapita! They stole her away from me! E quando, o ciel?... ne’ brevi And when, in God’s name? istanti, prima che il mio presagio interno Just before that nagging thought sull’orma corsa ancora mi spingesse! turned me around in my tracks! Schiuso era l’uscio! E la magion deserta! The gate was shut! And the hovel deserted! E dove ora sarà quell’angiol caro? And what has become of that dear angel? Colei che prima potè in questo core The first woman ever for whom this heart destar la fiamma di costanti affetti? burned with the flame of faithful affection? Colei sì pura, al cui modesto sguardo So pure she was, whose shy face quasi spinto a virtù talor mi credo! nearly made an honest man of me! Ella mi fu rapita! They stole her away from me! E chi l’ardiva?...ma ne avrò vendetta. And who dared it?…I’ll have my revenge. Lo chiede il pianto della mia diletta. My dear one’s tears cry out for it. 2. Parmi veder le lagrime I can almost see her lashes, scorrenti da quel ciglio, wet from those flowing tears, quando fra il dubbio e l’ansia when stricken by doubt and worry del subito periglio, she faced the sudden threat. dell’amor nostro memore The thought of our love consoled her il suo Gualtier chiamò. and she called out for her Walter. Ned ei potea soccorrerti, But he could not help you, you dear, cara fanciulla amata; beloved girl; ei che vorria coll’anima the man whose soul farti quaggiù beata; wished to give you bliss on earth; ei che le sfere agli angeli he who would never trade per te non invidiò. a place in heaven for your love. Ei che le sfere, ecc. He who would never trade, etc.

40 (Marullo, Ceprano, Borsa ed altri cortigiani entrano (Marullo, Ceprano, Borsa and other courtiers enter dal mezzo.) from the upstage door.)

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus 3. Duca, Duca! Duke, Duke!

Duca Duke Ebben? What is it?

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus L’amante They’ve just carried off fu rapita a Rigoletto. Rigoletto’s lover.

Duca Duke Come? E d’onde? How? And where did they take her?

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Coro Dal suo tetto. From under his own roof.

Duca Duke Ah! Ah! dite, come fu? Ah! Ah! Tell me everything!

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Scorrendo uniti remota via, Rushing down a back street, brev’ora dopo caduto il dì, all together, just before sunset, come previsto ben s’era in pria, just so, according to plan, rara beltà ci si scoprì. we found that striking beauty. Era l’amante di Rigoletto, She was Rigoletto’s lover, che vista appena si dileguò. who vanished as soon as we saw her. Già di rapirla s’avea il progetto, Right as we moved to take her, quando il buffone ver noi spuntò; that fool bumbled toward us; che di Ceprano noi la contessa stupidly, he thought we all intended rapir volessimo, stolto, credè; to abduct Countess Ceprano; la scala, quindi, all’uopo messa, after we thought to set up a ladder, bendato ei stesso ferma tenè. blindfolded, he himself held the thing up. La scala, quindi, ecc. After we thought, etc. Salimmo, e rapidi la giovinetta Meanwhile, up we went, and managed a noi riusciva quindi asportar. to whisk the girl straight away.

41 Duca (da sé) Duke (aside) Cielo! Dear God!

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Quand’ei s’accorse della vendetta When he realized that he’d been tricked, restò scornato ad imprecar. the cuckhold could only curse.

Duca (da sé) Duke (aside) È dessa, la mia diletta! They’re talking about my beloved! (forte) (aloud) Ma dove or trovasi la poveretta? But where’s the poor girl now?

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Fu da noi stessi addotta or qui. We’ve brought her here just now ourselves.

Duca (da sé) Duke (aside) Ah, tutto il ciel non mi rapì! Ah, heaven has not yet taken all from me!

(alzandisi con gioia) (joyfully, rising)

4. Possente amor mi chiama, Love’s power calls me, volar io deggio a lei: and I must hurry to her: Il serto mio darei I would give up my crown Per consolarquel cor. to comfort her heart. Ah! Sappia alfin chi l’ama, Ah, at last she’ll know who loves her Conosca alfinchi sono, and discover who I really am: Apprenda ch’anco in trono She shall learn that love Ha degli schiavi Amor. counts even those on thrones among its slaves.

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Oh qual pensier or l’agita? Oh, what thought now excites him? Copme cangiò d’umor! How his mood has changed!

(Il Duca esce frettoloso dal mezzo. Rigoletto (The Duke hurries off through the center door. entra canterellantocon represso dolore.) Rigoletto enters, singing to himself and trying to disguise his grief.)

42 Marullo Marullo 5. Povero Rigoletto! Poor Rigoletto!

Rigoletto Rigoletto La rà, la rà, la rà, ecc. Tra la, tra la, tra la, etc.

Coro Chorus Ei vien...Silenzio. Here he comes... Keep quiet.

Rigoletto Rigoletto La rà, la rà, la rà, ecc. Tra la, tra la, tra la, etc.

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Oh, buon giorno, Rigoletto. Oh, good day, Rigoletto.

Rigoletto (da sé) Rigoletto (aside) Han tutti fatto il colpo! They’re all guilty as sin!

Ceprano Ceprano Ch’hai di nuovo, buffon? What’s new, fool?

Rigoletto Rigoletto Ch’hai di nuovo, buffon? What’s new, fool? Che dell’usato Just this: You’re even più noioso voi siete. more of a headache than ever.

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Ah! ah! ah! Ha! Ha! Ha!

Rigoletto Rigoletto La rà, la rà, la rà, ecc. Tra la, tra la, tra la, etc.

(spiando inquieto dovunque, da sé) (aside, worried, looking everywhere about the room)

Ove l’avran nascosta? Where can they have hidden her?

43 Borsa, Marullo, Ceprano, Coro (fra loro) Borsa, Marullo, Ceprano, Chorus (to themselves) Guardate com’è inquieto! See how worried he is!

Rigoletto Rigoletto La rà, la rà, la rà, ecc. Tra la, tra la, tra, etc.

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus Sì! Guardate com’è inquieto! Yes, see how worried he is!

Rigoletto (a Marullo) Rigoletto (to Marullo) Son felice I’m glad to see che nulla a voi nuocesse that you are none the worse l’aria di questa notte... for the night air...

Marullo Marullo Questa notte! Last night!

Rigoletto Rigoletto Sì...Ah, fu il bel colpo! Yes... Ah, you really pulled it off!

Marullo Marullo S’ho dormito sempre! When I was sound asleep?

Rigoletto Rigoletto Ah, voi dormiste! Avrò dunque sognato! Oh, so you were sleeping! I must have dreamed it La rà, la rà, la rà, ecc. all up! Tra la, tra la, tra, etc. (S’allontana e vedendo un fazzoletto sopra una tavola (He moves away and, seeing a handkerchief on a ne osserva inquieto la cifra.) table, nervously inspects the monogram.)

Coro (fra loro) Chorus (to themselves) Ve’ come tutto osserva! Look! He’s leaving no leaf unturned!

Rigoletto Rigoletto (gettandolo; fra sé) (throwing the handkerchief down; aside) Non è il suo. It’s not hers. (forte) (aloud) Dorme il Duca tuttor? Is the Duke still asleep?

44 Coro Chorus Sì, dorme ancora. Yes, still asleep. (Comparisce un paggio della Duchessa.) (One of the Duchess’s pages appears.)

Paggio Page Al suo sposo parlar vuol la Duchessa. The Duchess would speak with her husband.

Ceprano Ceprano Dorme. He’s sleeping.

Paggio Page Qui or or con voi non era? But wasn’t he just here with you?

Borsa Borsa È a caccia. He’s out hunting.

Paggio Page Senza paggi! senz’armi! With no pages? Without arms?

Tutti All E non capisci Isn’t it clear che per ora vedere non può alcuno? that he can’t see anyone right now?

Rigoletto Rigoletto (che a parte è stato attentissimo al dialogo, balzando (who has been listening closely to the dialogue, hurry- improvviso tra loro prorompe:) ing among them. Suddenly he bursts out:) Ah, so she Ah, ell’è qui dunque! Ell’è col Duca! is here! She is with the Duke!

Tutti All Chi? Who?

Rigoletto Rigoletto La giovin che stanotte The girl you took al mio tetto rapiste. last night from under my roof. Ma la saprò riprender. But I will take her back! Ella è là! She is here!

45 Tutti All Se l’amante perdesti, If you lost your lover, la ricerca altrove. why not go find her somewhere else?

Rigoletto Rigoletto Io vo’ mia figlia! I want my daughter back!

Tutti All La sua figlia! His daughter!

Rigoletto Rigoletto Sì, la mia figlia! d’una tal vittoria, Yes, my daughter! What? Your victory che? adesso non ridete? isn’t so funny anymore? Ella è là...la vogl’io...la renderete. She is in there...I want her...Give her back. (Corre verso la porta di mezzo, ma i cortigiani gli (He runs toward the upstage door, but the courtiers attraversano il passaggio.) block his way.)

6. Cortigiani, vil razza dannata, Courtiers! Damn the whole lot of you, per qual prezzo vendeste il mio bene? how cheaply you have sold my happiness! A voi nulla per l’oro sconviene, What wouldn’t you do for a price? 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 this bare hand questa man per voi fora cruenta; will wreak bloody havoc on you; nulla in terra più l’uomo paventa, A man fears nothing on earth se dei figli difende l’onor. while defending his children’s honor. Quella porta, assassini, m’aprite! Open! Open that door, you assassins!

(Si getta ancor sulla porta che gli è nuovamente (He throws himself against the door once again, but contesa dai gentiluomini; lotta alquanto, poi ritorna is blocked by the noblemen; they struggle, he comes spossato.) away exhausted.)

La porta, la porta, assassini, m’aprite. Open, open, assassins, open the door. Ah! voi tutti a me contro venite! Ah! Are all of you against me? Tutti contro me! All against me! (piange) (He weeps) Ah! Ebben, piango. Marullo, signore, Ah! See how I weep. My Lord Marullo, tu ch’hai l’alma gentil come il core, you whose soul is as kind as your heart,

46 dimmi tu dove l’hanno nascosta? please tell me where they’ve hidden her? Marullo, signore, dimmi tu dove l’hanno nascosta? My Lord, won’t you tell me where they have hidden her? È là...non è vero?...È là?... She’s in there … Right? … In there? non è vero?...è là?...non è vero? Right? … In there? … Right? Tu taci!...ohimè! You won’t tell me! ... Alas! Miei signori, perdono, pietate! Forgive me, my lords, have pity! Al vegliardo la figlia ridate! Give this old wretch his daughter back! Ridonarla a voi nulla ora costa, It would cost you nothing now, tutto al mondo tal figlia è per me. though such a daughter means all the world to me. Signori, perdono, ecc. Forgive me, my lords, etc. (Gilda esce dalla stanza a sinistra e si getta nelle (Gilda comes out from the room at left and throws paterne braccia.) herself into her father’s arms.)

Gilda Gilda 7. Mio padre! Father!

Rigoletto Rigoletto Dio! mia Gilda! Good Lord! My Gilda! Signori, in essa è tutta My lords, in her you see la mia famiglia. my only family. Non temer più nulla, angelo mio... You’ve nothing more to fear, my angel … (ai cortigiani) (to the courtiers) Fu scherzo, non è vero? It was all a joke, right? Io, che pur piansi, or rido. I, who was weeping just now, now laugh out loud. (a Gilda) (to Gilda) E tu a che piangi? But why are you crying now?

Gilda Gilda Ah, l’onta, padre mio! Oh, for shame, father!

Rigoletto Rigoletto Cielo! che dici? Heavens! What do you mean?

Gilda Gilda Arrossir voglio innanzi a voi soltanto... I’d be ashamed to tell anyone but you...

47 Rigoletto (ai cortigiani) Rigoletto (to the courtiers) Ite di qua voi tutti! Get out of here, all of you! Se il Duca vostro d’appressarsi osasse, If your Duke ventures to come here, ch’ei non entri, gli dite, e ch’io qui sono. tell him not to come in. Say that I am here.

Borsa, Marullo, Ceprano, Coro Borsa, Marullo, Ceprano, Chorus (fra loro) (to themselves) Coi fanciulli e co’ dementi Often when it comes to children and lunatics, spesso giova il simular; it’s best to hide the truth; partiam pur, ma quel ch’ei tenti So let’s go, but keep watching non lasciamo d’osservar. what he may be up to. (Escono.) (They exit.)

Rigoletto Rigoletto Parla...siam soli. Speak...we are alone.

Gilda (da sé) Gilda (aside) Ciel! dammi coraggio! Dear Lord, give me strength! (a Rigoletto) (to Rigoletto) 8. Tutte le feste al tempio In church, at each service, mentre pregava Iddio, while I was praying to God, bello e fatale un giovine a young man—so fatally handsome— offriasi al guardo mio... sat there in my plain view… Se i labbri nostri tacquero, Our lips may have been silent, dagli occhi il cor parlò. but our hearts spoke through our eyes. Furtivo fra le tenebre Only yesterday did he come to me, sol ieri a me giungeva... secretly in the dark… “Sono studente e povero”, “I am just a poor student,” commosso mi diceva, he told me with such tendermess, e con ardente palpito and trembling with his passion, amor mi protestò. he confessed his love to me. Partì...il mio core aprivasi He left ... My heart opened up a speme più gradita, to the sweetest hopes, quando improvvisi apparvero while those who abducted me color che m’han rapita, suddenly rushed up e a forza qui m’addussero to bring me here by force nell’ansia più crudel. in utter distress.

48 Rigoletto (da sé) Rigoletto (aside) 9. Ah! Solo per me l’infamia Ah! It was for me alone a te chiedeva, O Dio... that I asked for disgrace, O God… ch’ella potesse ascendere to raise her up high quanto caduto er’io. even as I had fallen. Ah, presso del patibolo Ah, but every gallows bisogna ben l’altare! must have an altar! Ma tutto ora scompare, So now everything is gone, l’altar si rovesciò! and the altar has toppled! (a Gilda) (to Gilda) 10. Piangi, fanciulla, piangi... Weep, my girl, weep...

Gilda Gilda Padre! Father!

Rigoletto Rigoletto ...scorrer fa il pianto sul mio cor. ...let your tears flow on my breast...

Gilda Gilda Padre, in voi parla un angiol per me consolator, ecc. Father, in you I hear a consoling angel, etc.

Rigoletto Rigoletto Piangi, fanciulla, ecc. Weep, my girl, weep...etc. Compiuto pur quanto a fare mi resta, After my task ahead is done, lasciare potremo quest’aura funesta. we’ll leave this ghastly place.

Gilda Gilda Sì. Yes.

Rigoletto (da sé) Rigoletto (aside) E tutto un sol giorno cangiare potè! Just one day has changed so much! (Entra un usciere ed il Conte di Monterone, che attra- (An usher enters as Count Monterone crosses the back- versa il fondo della sala fra gli alabardieri.) ground accompanied by men armed with halberds.)

Usciere Usher 11. Schiudete: ire al carcere Monteron dee. Open the door: Monterone is on his way to the dungeon.

49 Monterone Monterone (fermandosi verso il ritratto) (stopping in front of the portrait) Poiché fosti invano da me maledetto, And so, my curse was useless. né un fulmine o un ferro No lightning or blade colpisce il tuo petto, has struck your breast. felice pur anco, o Duca, vivrai. You will live on, O Duke, happily after all. (Esce fra le guardie dal mezzo.) (He exits with the guards through the upstage door.)

Rigoletto Rigoletto No, vecchio, t’inganni... No, old man, you are mistaken... un vindice avrai. Vengeance you shall have. (Si volge con impeto al ritratto.) (He turns forcefully to the portrait.) 12. Sì, vendetta, tremenda vendetta Yes, vengeance, but a dreadful vengeance di quest’anima è solo desio. is this soul’s only desire. Di punirti già l’ora s’affretta, Hasten the hour of your punishment, che fatale per te suonerà. when your death knell rings! Come fulmin scagliato da Dio, Like a bolt from God’s own hand, te colpire il buffone saprà. this fool will strike you dead.

Gilda Gilda O mio padre, qual gioia feroce O father, I can see such fierce joy balenarvi negli occhi vegg’io! flashing in your eyes!

Rigoletto Rigoletto Vendetta! Vengeance!

Gilda Gilda Perdonate: a noi pure una voce Forgive him, so that we, too, may hear a voice di perdono dal cielo verrà. of forgiveness from heaven above…

Rigoletto Rigoletto Vendetta! Vengeance!

Gilda Gilda Perdonate...” Forgive him...

50 Rigoletto Rigoletto No! No!

Gilda (fra sé) Gilda (aside) Mi tradiva, pur l’amo; gran Dio, He betrayed me, but I still love him; dear Lord, I beg per l’ingrato ti chiedo pietà! mercy for that deceitful man!

Rigoletto Rigoletto Come fulmin scagliato da Dio, ecc. Like a bolt from God’s own hand, etc.

Gilda Gilda Perdonate, ecc. Forgive him, etc.

(Escono dal mezzo.) (They exit upstage.)

Act III

La sponda destra del Mincio. The right bank of the River Mincio. A sinistra è una casa a due piani, mezzo diroccata, la On the left is a half-ruined two-story house, at ground cui fronte lascia vedere per una grande arcata l’inter- level, behind an arcade, the interior of a rustic wine shop no d’una rustica osteria al pian terreno, ed una rozza is seen, with a rough stone staircase leading to a loft scala che mette al granaio, entro cui, da un balcone with a small bed—which, lacking shutters, is fully visible. senza imposte, si vede un lettuccio. Nella facciata che Downstairs, on the wall adjoining the outside road, is a guarda la strada è una porta che s’apre per di dentro; door that opens inward. The wall is riddled with cracks il muro poi è sì pieno di fessure, che dal di fuori si può and holes, such that whatever happens inside can be facilmente scorgere quanto avviene nell’interno. In clearly seen. In the background are the deserted fields fondo, la deserta parte del Mincio, che scorre dietro un along the river, which runs behind a crumbling embank- parapetto in mezza ruina; di là dal fiume è Mantova. ment. Beyond the river lies Mantua. In the darkness of È notte. Gilda e Rigoletto inquieti sono sulla strada, night, Gilda and Rigoletto, both uneasy, are standing in Sparafucile nell’interno dell’osteria. the road; Sparafucile sits at a table in the wine shop.

Rigoletto Rigoletto 13. E l’ami? So you love him?

Gilda Gilda Sempre. And I will forever!

51 Rigoletto Rigoletto Pure tempo a guarirne t’ho lasciato. I’ve given you time to get over him.

Gilda Gilda Io l’amo. I love him.

Rigoletto Rigoletto Povero cor di donna! Ah, il vile infame! You and your poor, woman’s heart. Ah, that wicked Ma ne avrai vendetta, o Gilda. devil! We will be avenged yet, Gilda.

Gilda Gilda Pietà, mio padre! Have pity, father!

Rigoletto Rigoletto E se tu certa fossi And if you knew that he was betraying you, you ch’ei ti tradisse, l’ameresti ancora? would still love him?

Gilda Gilda Nol so, ma pur m’adora. I don’t know, yet he adores me.

Rigoletto Rigoletto Egli? He does?

Gilda Gilda Sì. Yes.

Rigoletto Rigoletto Ebben, osserva dunque. Well, then. Look for yourself. (La conduce presso una delle fessure del muro, ed ella (He takes her over to one of the cracks in the wall, vi guarda.) where she looks in.)

Gilda Gilda Un uomo vedo. I see a man.

52 Rigoletto Rigoletto Per poco attendi. Now just wait.

(Il Duca, in assisa di semplice ufficiale di cavalleria,en- (The Duke, in a simple cavalry officer’s uniform, enters tra nella sala terrena per una porta a sinistra.) the ground-floor room from a door at left.)

Gilda (trasalendo) Gilda (startled) Ah, padre mio! Ah, father!

Duca (a Sparafucile) Duke (to Sparafucile) Due cose e tosto... Bring me two things—quickly …

Sparafucile Sparafucile Quali? What do you need?

Duca Duke Una stanza e del vino! A room and some wine!

Rigoletto Rigoletto Son questi i suoi costumi! Such are his ways!

Sparafucile Sparafucile Oh, il bel zerbino! Oh, what a sly rake! (Entra nella stanza vicina.) (He goes into the adjoining room.)

Duca Duke 14. La donna è mobile A woman is flighty, qual piuma al vento, like a feather in the wind., muta d’accento Laid-back when speaking e di pensier. and when she’s thinking. Sempre un amabile Every sweet face. leggiadro viso, however lovely, in pianto o in riso weeping or laughing è menzognero. always deceives you. La donna è mobile, ecc. A woman is flighty, etc. È sempre misero How miserable is he chi a lei s’affida, who dares to trust her,

53 chi le confida who carelessly hands mal cauto il cor! his heart over to her! Pur mai non sentesi But who can ever felice appieno know true contentment chi su quel seno unless he’s drunk non liba amor! his fill of love? La donna è mobile, ecc. A woman is flighty, etc

(Sparafucile rientra con una bottiglia di vino e due (Sparafucile returns with a bottle of wine and two glasses, bicchieri che depone sulla tavola: quindi batte col which he places on the table: then he strikes the ceiling pomo della sua lunga spada due colpi al soffitto. A twice with the pommel of his long sword. At this signal, a quel segnale una ridente giovane, in costume di zinga- laughing young woman, in gypsy garb, comes hopping ra, scende a salti la scala. Il Duca corre per abbracciar- down the stairway. The Duke rushes to embrace her, but la, ma ella gli sfugge. Frattanto Sparafucile, uscito sulla she dodges him. Meanwhile, Sparafucile has come out via, dice a parte a Rigoletto:) onto the street and speaks into Rigoletto’s ear:)

Sparafucile Sparafucile È là il vostr’uomo. Viver dee o morire? There’s your man. Should he live or die?

Rigoletto Rigoletto Più tardi tornerò l’opra a compire. I’ll come back later to seal our deal.

(Sparafucile s’allontana dietro la casa verso (Sparafucile goes behind the house, in the direction of il fiume.) the river.)

Duca Duke 15. Un dì, se ben rammentomi, One day, if memory serves me, o bella, t’incontrai... I met you, my lovely… Mi piacque di te chiedere How I loved to seek you out e intesi che qui stai. And to learn that you live here. Or sappi che d’allora Know now that from that day forward sol te quest’alma adora. This soul of mine adores only you.

Gilda (da sé) Gilda (aside) Iniquo! How wicked!

54 Maddalena Maddelena Ah! Ah!...e vent’altre appresso Ah! Ah!... and what about those twenty other girls. le scorda forse adesso? Have you forgotten them already? Ha un’aria il signorino da vero libertino. My boyfriend seems quite the libertine.

Duca Duke Sì, un mostro son. Yes, I’m a beast.

Gilda Gilda Ah, padre! Ah, father!

Maddalena Maddalena Lasciatemi, stordito! Let me go, you dimwit!

Duca Duke Ah, che fracasso! Ah, don’t struggle so!

Maddalena Maddalena Stia saggio! Behave yourself!

Duca Duke E tu sii docile, And you, be gentle, non farmi tanto, chiasso. don’t put up such a fight. Ogni saggezza chiudesi Why can’t we behave ourselves nel gaudio e nell’amore. with happiness and love. (Le prende la mano.) (He takes her hand.) La bella mano candida! A hand white as snow!

Maddalena Maddalena Scherzate voi, signore. You jest, sir.

Duca Duke No, no. No, no.

55 Maddalena Maddalena Son brutta. I’m ugly.

Duca Duke Abbracciami. Kiss me.

Gilda (da sé) Gilda (aside) Iniquo! How wicked!

Maddalena Maddalena Ebbro! Drunkard!

Duca Duke D’amore ardente. Flushed with love.

Maddalena Maddalena Signor l’indifferente, Jaded fellow … vi piace canzonar? do you like teasing me?

Duca Duke No, no, ti vo’ sposar... No, no, I want to marry you...

Maddalena Maddalena Ne voglio la parola. I want your word on it.

Duca (ironico) Duke (ironic) Amabile figliuola! How I love this girl!

Rigoletto (a Gilda che avrà tutto osservato Rigoletto (to Gilda, who now has seen and ed inteso) understood everything) E non ti basta ancor? Is this not enough for you?

Gilda Gilda Iniquo traditor! ecc. That wicked cheater! etc.

Maddalena Maddalena Ne voglio la parola! ecc. I want your word on it! etc.

56 Duca Duke 16. Bella figlia dell’amore, Love’s own lovely child, schiavo son dei vezzi tuoi; I am a slave to your charms; con un detto sol tu puoi with just one word you can le mie pene consolar. comfort my suffering. Vieni e senti del mio core Come and feel how fast il frequente palpitar. my heart is beating. Con un detto, ecc. With just one word, etc.

Maddalena Maddalena Ah! Ah! rido ben di core, Ah! Ah! How heartily I laugh che tai baie costan poco... to hear such worthless prattling…

Gilda Gilda Ah, così parlar d’amore... Ah, I’ve heard that scoundrel talk…

Maddalena Maddalena ...quanto valga il vostro gioco, mel credete, ...I know what to make of your silliness, so apprezzar. believe me.

Gilda Gilda ...a me l’infame ho udito! ...about love like that to me!

Rigoletto (a Gilda) Rigoletto (to Gilda) Taci, il piangere non vale, ecc. Be quiet, there’s no use in crying, etc.

Gilda Gilda Infelice cor tradito, Unhappy, jilted heart, per angoscia non scoppiar. don’t break from grief…

Maddalena Maddalena Son avvezza, bel signore, I am accustomed, dear sir, ad un simile scherzar, to this sort of jest, mio bel signor! my dear sir!

57 Duca Duke Con un detto sol tu puoi With just one word you can le mie pene consolar. comfort my suffering.

Gilda Gilda Infelice cor tradito, Unhappy, jilted heart, per angoscia non scoppiar, ecc. don’t break from grief, etc.

Maddalena Maddalena Ah! Ah! Rido ben di core! Ah! Ah! How heartily I laugh Che tai baie costan poco, ecc. to hear such worthless prattle, etc.

Duca Duke Bella figlia dell’amore, Love’s own lovely child, schiavo son de’ vezzi tuoi, ecc. I am a slave to your charms, etc.

Rigoletto (a Gilda) Rigoletto (to Gilda) Ch’ei mentiva sei sicura. Now you are certain he was lying. Taci, e mia sarà la cura Be quiet, and I will take care of this, la vendetta d’affrettar. Revenge will be swift. Pronta fia, sarà fatale, It will be quick, it will be fatal, io saprollo fulminar, ecc. I will strike him hard, etc. 17. M’odi! Ritorna a casa. Listen to me! Go back home, Oro prendi, un destriero, Fetch our gold, and a strong horse. una veste viril che t’apprestai, I’ve put some men’s clothes aside for you, e per Verona parti. and go straight away to Verona. Sarovvi io pur doman. I’ll be there early tomorrow.

Gilda Gilda Or venite... You come now, too...

Rigoletto Rigoletto Impossibil. Impossible!

Gilda Gilda Tremo. I am trembling with fear.

58 Rigoletto Rigoletto Va. Go.

(Il Duca e Maddalena stanno sempre fra loro par- (The Duke and Maddalena still stand talking to each lando, ridendo, bevendo. Partita Gilda, Rigoletto va other, laughing and drinking. After Gilda has gone, dietro la casa, e ritorna parlando con Sparafucile e Rigoletto goes behind the house and comes back contandogli delle monete.) talking to Sparafucile, counting out coins.)

Venti scudi hai tu detto? Eccone dieci, Twenty scudi, did you say? Here are ten, e dopo l’opra il resto. and the rest after the deed. Ei qui rimane? He will be staying here?

Sparafucile Sparafucile Sì. Yes.

Rigoletto Rigoletto Alla mezzanotte ritornerò. I’ll be back at midnight.

Sparafucile Sparafucile Non cale; Why bother? a gettarlo nel fiume basto io solo. I can throw him into the river by myself.

Rigoletto Rigoletto No, no; il vo’ far io stesso. No, no! I want to do it with my own hands.

Sparafucile Sparafucile Sia...il suo nome? As you wish… What is his name?

Rigoletto Rigoletto Vuoi sapere anche il mio? Would you have mine, too? Egli è Delitto, Punizion son io. His name is Crime. Punishment is mine.

(Parte; il cielo si oscura e tuona.) (He exits; the sky darkens as thunder rolls.)

Sparafucile Sparafucile La tempesta è vicina! Here comes the storm! Più scura fia la notte. Night will be getting darker.

59 Duca Duke 18. Maddalena? Maddalena? (per prenderla) (groping to catch her)

Maddalena (sfuggendogli) Maddalena (dodging him) Aspettate...mio fratello viene. Wait… my brother is coming.

Duca Duke Che importa? I don’t care.

Maddalena Maddalena Tuona! Thunder!

Sparafucile (entrando) Sparafucile (entering) E pioverà tra poco. And rain very soon.

Duca Duke Tanto meglio. So much the better. Tu dormirai in scuderia... You can sleep out in the stable... all’inferno...ove vorrai. in hell ... or wherever.

Sparafucile Sparafucile Oh, grazie. Oh, thanks.

Maddalena (piano al Duca) Maddalena (to the Duke, in a whisper) Ah no!...partite. Ah no!... Get out of here.

Sparafucile (piano a Maddalena) Sparafucile (to Maddalena, in a whisper) Son venti scudi d’oro. Look! I have twenty golden scudi. (al Duca) (to the Duke) Ben felice d’offrirvi la mia stanza. I’m more than happy to give you my room. Se a voi piace tosto a vederla andiamo. If you’d like, we can go up and see it right away.

(Prende un lume e s’avvia per la scala.) (He takes a lamp and heads toward the stairs.)

60 Duca Duke Ebben, sono con te...presto, vediamo. All right, I’ll be right with you... just a moment. (Dice una parola all’orecchio di Maddalena e (Whispers to Maddalena and segue Sparafucile.) follows Sparafucile.)

Maddalena Maddalena Povero giovin!...grazioso tanto! Poor young man!... and so handsome! Dio! qual notte è questa! God, what a foul night!

Duca Duke (giunto al granaio, vedendone il balcone senza imposte.) (up in the loft, seeing the shutterless balcony.) Si dorme all’aria aperta? Bene, bene. You sleep in the open air? Well, well. Buona notte. Good night.

Sparafucile Sparafucile Signor, vi guardi Iddio. May God keep you, sir.

Duca Duke Breve sonno dormiam; stanco son io. We won’t be sleeping for long; I’m too tired for that.

(Depone il cappello, la spada e si stende sul (He takes off his hat and sword and stretches out letto. Maddalena frattanto siede presso la tavola. on the bed. Meanwhile, Maddalena sits at the table. Sparafucile beve dalla bottiglia lasciata dal Duca. Sparafucile drinks from the bottle that the Duke has Rimangono ambedue taciturni per qualche istante, e left behind. Both sit silently for a few moments, deep preoccupati da gravi pensieri.) in thought.)

La donna è mobile, A woman is flighty, qual piuma al vento, like a feather in the wind, muta d’accento Laid-back when speaking e di pensiero... and when she’s thinking. muta d’accento Laid-back when speaking e di pen... and when she’s think… la donna...è mobil...ecc. A woman… is flighty… etc. (s’addormenta) (He falls asleep.)

61 Maddalena Maddalena 19. È amabile invero I really do like cotal giovinotto. that young man.

Sparafucile Sparafucile Oh sì...venti scudi Oh, yes...twenty scudi ne dà di prodotto. are nothing to sneeze at.

Maddalena Maddalena Sol venti!... son pochi! Only twenty!... So little! valeva di più. He was worth more than that.

Sparafucile Sparafucile La spada, s’ei dorme, His sword. Bring it down to me, va, portami giù. if he’s asleep.

(Maddalena sale al granaio e contempla il dormente, (Maddalena goes up to the loft and looks at the sleep- poi ripara alla meglio il balcone e scende portando ing man, then does her best to secure the balcony. She con sé la spada. Nel frattempo Gilda comparisce nel goes down, bringing the sword with her. Meanwhile, fondo della via in costume virile, con stivali e speroni, Gilda appears at the end of the street in man’s dress, e lentamente si avanza verso l’osteria, mentre Spara- with boots and spurs, and comes up to the tavern, fucile continua a bere. Spessi lampi e tuoni.) as Sparafucile keeps drinking. Heavy lightning and thunder.) Gilda (da sé) Ah, più non ragiono! Gilda (aside) Amor mi trascina... Ah, I must be out of my mind! mio padre, perdono! Love has drawn me back here... (tuono) Father, forgive me! Qual notte d’orrore! (thunder) Gran Dio, che accadrà? What a horrible night! Great God, what is about to happen? Maddalena (posata la spada del Duca sulla tavola) Maddalena Fratello? (having placed the Duke’s sword on the table) Brother?

62 Gilda (osservando per la fessura) Gilda (looking through the crack) Chi parla? Who is speaking?

Sparafucile (frugando in un credenzone) Sparafucile (rummaging through a sideboard) Al diavol ten va! Go straight to the devil!

Maddalena Maddalena Somiglia un Apollo, He looks like an Apollo, quel giovane, io l’amo, that young man. I love him ei m’ama...riposi... and he loves me... Let this one pass… né più l’uccidiamo. Let’s ditch our plans to kill him.

Gilda (ascoltando) Gilda (listening) Oh cielo! Oh, heavens!

Sparafucile (gettandole un sacco) Sparafucile (tossing down a sack) Rattoppa quel sacco! Patch up this sack!

Maddalena Maddalena Perché? Why?

Sparafucile Sparafucile Entr’esso il tuo Apollo, sgozzato da me, I’ll use it to throw your Apollo into the river, gettar dovrò al fiume. after I’ve slit his throat.

Gilda Gilda L’inferno qui vedo! What hell am I seeing?

Maddalena Maddalena Eppure il denaro salvarti scommetto I wager I can let you keep your money and serbandolo in vita. still save his life.

Sparafucile Sparafucile Difficile il credo. That won’t be easy.

63 Maddalena Maddalena M’ascolta...anzi facil ti svelo un progetto. Just hear me out... My plan’s simple enough. De’ scudi già dieci dal gobbo ne avesti; You’ve already gotten ten scudi from the hunchback. venire cogli altri più tardi il vedrai... When he brings you the other ten, kill him, and Uccidilo, e venti... you have…

Gilda Gilda Che sento! What am I hearing!

Maddalena Maddalena ...allor ne avrai...... all twenty...

Gilda Gilda Mio padre! My father!

Maddalena Maddalena ...così tutto il prezzo goder si potrà. ...and so you keep the whole amount.

Sparafucile Sparafucile Uccider quel gobbo! che diavol dicesti! Kill that hunchback! What the devil are you talking about? Un ladro son forse? Son forse un bandito? Do you take me for a thief? A bandit? Have I ever be- Qual altro cliente da me fu tradito? trayed another patron? If this man pays, I’m his man. Mi paga quest’uomo, fedele m’avrà. Maddalena Maddalena Ah, have pity on him! Ah, grazia per esso! Sparafucile Sparafucile There’s no way out—he will die. È d’uopo ch’ei muoia. Maddalena Maddalena I must help him escape. Fuggire il fo adesso. (She begins to go upstairs.) (Va per salire.) Gilda Gilda Oh, you kindhearted girl! Oh, buona figliuola!

64 Sparafucile (trattenendola) Sparafucile (stopping her) Gli scudi perdiamo. We’ll lose those scudi.

Maddalena Maddalena È ver! That is true!

Sparafucile Sparafucile Lascia fare. Let me do my job.

Maddalena Maddalena Salvarlo dobbiamo. We must save him.

Sparafucile Sparafucile Se pria ch’abbia il mezzo la notte toccato Anyone who comes here before midnight sounds alcuno qui giunga, per esso morrà. will die in his place.

Maddalena Maddalena È buia la notte, il ciel troppo irato, The night is dark, the sky is threatening. nessuno a quest’ora da qui passerà. No one will come this way at this hour.

Gilda Gilda Oh, qual tentazione! morir per l’ingrato? Oh, what a temptation! To die for that ingrate? Morire!...e mio padre!... To die!...and my father!... Oh cielo, pietà! Oh, heaven, have pity!

Maddalena Maddalena È buia la notte, ecc. The night is dark, etc.

Sparafucile Sparafucile Se pria ch’abbia, ecc. Anyone who comes here, etc.

Gilda Gilda Oh cielo, pietà, ecc. Oh heaven, have pity, etc.

(Battono le undici e mezzo.) (The clock strikes half past eleven.)

65 Sparafucile Sparafucile Ancor c’è mezz’ora. Still a half hour to go.

Maddalena (piangendo) Maddalena (weeping) Attendi, fratello... Wait, brother...

Gilda Gilda Che! piange tal donna! né a lui darò aita! What? Can a woman like her weep, Ah, s’egli al mio amore divenne rubello, while I stand here helpless? io vo’ per la sua gettar Ah, even if he spurned my love, la mia vita. I will give up my life for his. (Picchia alla porta.) (She knocks at the door.)

Maddalena Maddalena Si picchia? Is someone knocking?

Sparafucile Sparafucile Fu il vento. It was just the wind. (Gilda torna a bussare.) (Gilda knocks again.)

Maddalena Maddalena Si picchia, ti dico. Someone is knocking, I tell you.

Sparafucile Sparafucile È strano!...Chi è? That’s strange!... Who is it?

Gilda Gilda Pietà d’un mendico; Have pity on a beggar; asil per la notte a lui concedete. grant him shelter for the night.

Maddalena Maddalena Fia lunga tal notte! It will be a long night indeed!

66 Sparafucile Sparafucile Alquanto attendete. Just a moment. (Va a cercare nel credenzone.) (He looks into the sideboard.)

Maddalena Maddalena Su, spicciati, presto, fa l’opra compita: Go, just do it, quickly, do the deed: anelo una vita con altra salvar. I beg you, trade this life for the other!

Sparafucile Sparafucile Ebbene, son pronto; quell’uscio dischiudi, Very well, I’m ready; open the door. più ch’altro gli scudi mi preme salvar. Above all, I want to save the scudi.

Gilda (da sé) Gilda (aside) Ah! presso alla morte, sì giovine sono! Ah, my death is near! And so young! Oh ciel, per quegl’empi ti chieggo perdono! Oh heaven, I ask forgiveness for these sinners! Perdona tu, O padre, a quest’infelice! And you, father, forgive this unhappy daughter! Sia l’uomo felice ch’or vado a salvar. May the man I save be happy.

Maddalena Maddalena Spicciati, presto, ecc. Go, just do it, quickly, etc.

Sparafucile Sparafucile Bene, son pronto, ecc. Very well, I’m ready, etc

Maddalena Maddalena Spicciati! Just do it!

Sparafucile Sparafucile Apri! Open the door!

Maddalena Maddalena Entrate! Come in!

Gilda (da sé) Gilda (to herself) Dio! Loro perdonate! God! Forgive them!

67 Maddalena, Sparafucile Maddalena, Sparafucile Entrate! Come in!

(Sparafucile va a postarsi con un pugnale dietro alla (Sparafucile hides behind the door with a dagger; porta; Maddalena apre e poi corre a chiudere la Maddalena opens the door and quickly shuts the grande arcata di fronte, mentre entra Gilda, dietro a big archway entrance at the front. Gilda enters, as cui Sparafucile chiude la porta, e tutto resta sepolto Sparafucile closes the door behind her. Everything nel silenzio e nel buio.) sinks into sepulchral silence and gloom.)

(Rigoletto solo si avanza chiuso nel suo mantello. La (Outside, Rigoletto comes forward alone, wrapped violenza del temporale è diminuita, né più si vede e in his cloak. The storm has calmed, with scattered sente che qualche lampo e tuono.) lightning and thunder.)

Rigoletto Rigoletto 20. Della vendetta alfin giunge l’istante! My hour of vengeance has finally come! Da trenta dì l’aspetto I’ve waited thirty days for this, di vivo sangue a lagrime piangendo, shedding hot tears of blood sotto la larva del buffon. behind this jester’s mask. Quest’uscio.,.. (esaminando la casa) This door... è chiuso!...Ah, non è tempo ancor! (examining the house) S’attenda. … is shut!... Ah, it’s not time yet! Qual notte di mistero! I’ll have to wait. Una tempesta in cielo, How mysterious is the night! in terra un omicidio! A storm on high, Oh, come invero qui grande mi sento! a murder down below! (Suona mezzanotte.) Oh, how mighty I feel, standing here. (Midnight sounds.) Mezzanotte! Midnight! Sparafucile (uscendo di casa) Chi è là? Sparafucile (coming outside) Who is there? Rigoletto (per entrare) Son io. Rigoletto (starting to come in) It is I.

68 Sparafucile Sparafucile Sostate. Stay right here.

(Rientra e torna trascinando un sacco.) (He goes back inside and returns dragging a sack.) È qua spento il vostro’uomo. Here is your man, stone dead.

Rigoletto Rigoletto Oh gioia!...un lume! Oh, what joy!... Give me a lamp!

Sparafucile Sparafucile Un lume?...No, il denaro. A lamp?... No, the money. (Rigoletto gli dà una borsa.) (Rigoletto gives him a purse.) Lesti all’onda il gettiam... Quick! Let’s throw him into the river...

Rigoletto Rigoletto No, basto io solo. No, I can do this myself.

Sparafucile Sparafucile Come vi piace. Qui men atto è il sito. As you wish. This is a bad place to do it. Più avanti è più profondo il gorgo. The current is deeper upstream. Presto, che alcun non vi sorprenda. Buona notte. Hurry, don’t let anyone spot you. Good night. (Rientra in casa.) (He goes back into the house.)

Rigoletto Rigoletto Egli è là!...morto! There he is!... Dead! Oh sì...vorrei vederlo! Oh yes... I want to see him! Ma che importa?...è ben desso! But why bother?... It is surely he! Ecco i suoi sproni! Here are his spurs! Behold me, O world! Ora mi guarda, O mondo! Here stands a fool, and there lies a powerful man! Quest’è un buffone, ed un potente è questo! He’s dead at my feet!! Oh, what joy! Ei sta sotto ai miei piedi! È desso! O gioia! Your vengeance has come at last, O my suffering! È giunta alfine la tua vendetta, O duolo! May the river be his tomb, Sia l’onda a lui sepolcro, a sack his shroud. un sacco il suo lenzuolo. Into the river with him! All’onda! All’onda! The river!

69 (Fa per trascinare il sacco verso la sponda, quando è (Just as he starts dragging the sack to the riverbank, sorpreso dalla lontana voce del Duca, che nel fondo he is startled by the voice of the Duke coming from attraversa la scena.) the background.)

Duca Duke La donna è mobile, ecc. A woman is flighty, etc.

Rigoletto Rigoletto Qual voce!...illusion notturna è questa! That voice!... Just a quirk of the night! (trasalendo) (recoiling) No!...No! egli è desso... No!... No! This is he... (verso la casa) (toward the house) Damn you! Maledizione! Olà...dimon bandito! Hey, there... you infernal bandit! (Taglia il sacco.) (cuts the sack.) 21. Chi è mai, chi è qui in sua vece? Who is this, then? Who in his place? (lampeggia) (a flash of lightning) Io tremo...È umano corpo! I shudder... It’s a human body! Mia figlia!...Dio!...mia figlia! My daughter!... God!... My daughter! Ah no...è impossibil! Ah, no... this is impossible! Per Verona è in via! She’s on her way to Verona! (inginocchiandosi) (kneeling) Fu vision...È dessa! It was only a foul vision... It is she! O mia Gilda: fanciulla, a me rispondi! O my Gilda: my dear girl, answer me! L’assassino mi svela...Olà?... Give me your killer’s name ... Hey, there! … Nessuno? Will no one answer? (Picchia disperatamente alla porta.) (Knocks at the door in desperation.) Nessun!... (tornando presso Gilda) No one!... (coming again to Gilda) Mia figlia? Mia Gilda?...Oh, mia figlia! My daughter? My Gilda?... Oh, my daughter!

Gilda Gilda Chi mi chiama? Who’s calling my name?

Rigoletto Rigoletto Ella parla!...si muove!... She’s speaking!...She’s moving!... È viva!...oh Dio! She’s alive!... Oh, God! Ah, mio ben solo in terra... Ah, everything that I have on this earth! Mi guarda...mi conosci... Look at me... Do you know who I am?

70 Gilda Gilda Ah, padre mio! Ah, my father!

Rigoletto Rigoletto Qual mistero!...Che fu?... How baffling!.. Who did this to you?... Sei tu ferita?...Dimmi... Are you hurt?... Tell me...

Gilda (indicando al core) Gilda (pointing to her heart) L’acciar qui mi piagò. The blade cut me here.

Rigoletto Rigoletto Chi t’ha colpita? Who struck you?

Gilda Gilda 22. V’ho ingannato...colpevole fui... I deceived you... It was my fault... I loved him too L’amai troppo...ora muoio per lui! much... now I am dying for him!

Rigoletto (da sé) Rigoletto (aside) Dio tremendo! Ella stessa fu colta Great God! It was she who took the brunt of dallo stral di mia giusta vendetta! my just revenge! (a Gilda) (to Gilda) Angiol caro! mi guarda, m’ascolta! My dearest angel! Look at me, listen! Speak! Parla, parlami, figlia diletta. Speak to me, my cherished daughter.

Gilda Gilda Ah, ch’io taccia! A me, a lui perdonate. Ah, I’ve said enough! Forgive me, and forgive him. Benedite alla figlia, O mio padre... Now bless your daughter, O my father… In heaven Lassù in cielo, vicina alla madre, above, beside my mother, in eterno per voi pregherò. I will pray for you forever.

Rigoletto Rigoletto Non morire, mio tesoro, pietade! Don’t die, my treasure, for pity’s sake! Mia colomba, lasciarmi non dêi! My own dove, you must not leave me!

Gilda Gilda Lassù in cielo, ecc. In heaven above, etc.

71 Rigoletto Rigoletto Oh, mia figlia! Oh, my daughter! No, lasciarmi non dêi, non morir. No, you must not leave me, don’t die. Se t’involi, qui sol rimarrei. If you leave me, I will be all alone here below. Non morire, o ch’io teco morrò! Don’t die, or I die with you.

Gilda Gilda Non più...a lui perdonate. Enough now... Forgive him. Mio padre...Addio! Father... Farewell! Lassù in ciel, ecc. In heaven above, etc.

Rigoletto Rigoletto Oh mia figlia! Oh mia Gilda! Oh, my daughter! Oh, my Gilda! No, lasciarmi non dêi, non morir! No, you must not leave me, don’t die! (Gilda muore.) (Gilda dies.)

Rigoletto Rigoletto Gilda! mia Gilda!...È morta! Gilda! My Gilda!... She’s dead! Ah, la maledizione! Ah, the curse!

(Strappandosi i capelli, cade sul cadavere della figlia. (Tearing at his hair, he collapses on his daughter’s body.)

72 73 Internationally acclaimed Russian baritone Dmitri invitation of President Putin, singing to hundreds of Hvorostovsky (Rigoletto) was born and studied thousands of people to commemorate the soldiers in Krasnoyarsk, Siberia. From the start, audiences of the Second World War. Dmitri has major annual were bowled over by his cultivated voice, innate tours throughout Russia and C.I.S. countries. sense of musical line and natural legato. His career has taken him to all the world’s major opera houses Dmitri’s extensive discography spans recitals and and renowned international festivals, including complete operas. He has also starred in Don the Royal Opera House in Covent Garden, New Giovanni Unmasked, an award-winning film (by York’s Metropolitan Opera, Paris Opera, Bayerische Rhombus Media) based on the Mozart opera, Staatsoper Munich, Salzburg Festival, La Scala tackling the dual roles of Don Giovanni and Milan, Vienna State Opera and Chicago Lyric Leporello. Recent CD recordings include Wait for Opera. Me (Russian War Songs with orchestra conducted by Constantine Orbelian) and Simon Boccanegra A celebrated recitalist in demand in every corner (with Barbara Frittoli, Ildar Abdrazakov, Stefano of the globe — from the Far East to the Middle Secco and Constantine Orbelian), which have been East; from Australia to the Americas — Dmitri has met with much critical acclaim. For a complete appeared at such venues as Wigmore Hall, London; discography, please visit his website. Carnegie Hall, New York; the Teatro alla Scala, Milan; the Tchaikovsky Conservatoire, Moscow; the Dmitri has established great collaboration with the Liceu, Barcelona; the Suntory Hall, Tokyo; and the Russian popular composer Igor Krutoi, with very Musikverein, Vienna. successful concerts in Moscow, St Petersburg, Sochi, Kiev and New York. Dmitri retains a strong musical and personal contact with Russia. He became the first opera www.hvorostovsky.com singer to give a solo concert with orchestra and chorus on Red Square in Moscow, a concert televised in over 25 countries. Dmitri has gone on to sing a number of prestigious concerts Tenor Francesco Demuro (Duke) was born in in Moscow as a part of his own special series, Porto Torres, Sardinia, in 1978. Between 2003 and “Dmitri Hvorostovsky and Friends,“ to which 2004, he studied at the conservatory at Sassa- he has invited such celebrated artists as Renée ri, then enrolled at the Conservatory in Cagliari, Fleming, Barbara Frittoli, Elina Garanca, Sumi Jo, where he had lessons with Elisabetta Scanu. Sondra Radvanovsky, Jonas Kaufmann, Marcello Giordani and Ildar Abdrazakov. In 2005 he gave a His 2007 debut in Parma with Luisa Miller was a historic tour throughout the cities of Russia at the great success with both critics and the audience, 74 75 leading to invitations from some of the most im- Staatsoper; Falstaff in Verona; Rigoletto in Hamburg; portant Italian and foreign opera houses. Between Don Pasquale at Théâtre des Champs-Élysées; and 2007 and 2009, he sang Luisa Miller again in Sassa- Macbeth in Munich. ri, before his debut in Turin with Rigoletto, which he also sang in Hong Kong on tour with Teatro Regio Later highlights included his debut at the Metro- di Parma. Further highlights of those seasons in- politan Opera in New York as Alfredo in La traviata clude Simon Boccanegra at the Megaron in Ath- and as Rodolfo in La bohème—as well as primary ens, Rigoletto in Dresden and at the Festival Verdi roles in Rigoletto, Così fan tutte, and Falstaff in San in Parma, and La bohème in Bari. He received great Francisco; La traviata at the Berlin Staatsoper, Mu- acclaim from public and critics alike for his Spanish nich Staatsoper, Oper Frankfurt, the Royal Opera debut in Roberto di Devereux in Las Palmas, and he House in London, La Fenice in Venice, and Teatro sang La traviata at Teatro Municipal in Santiago, Real de Madrid, among others; Don Pasquale in Chile, and Rigoletto in Beijing, again on tour with Verona; Falstaff at La Scala; La bohème and Rigo- Teatro Regio di Parma. letto in Seattle, and in Tokyo on tour with La Scala; and Roméo et Juliette at Arena di Verona and in In October 2009 he made his debut in the United Seoul, among other engagements. States, singing La traviata at the Seattle Opera to great acclaim, before scoring a huge success at Sun- On concert stages, he has performed Mozart’s Re- tory Hall in Tokyo with Così fan tutte. Further high- quiem in Verona, Verdi’s Requiem with the Houston lights include La traviata in Valencia, Lucia di Lam- Symphony, Rossini’s Stabat Mater at the Palace of mermoor in Hamburg and Warsaw, La traviata and the Arts in Budapest, and Maria Stuarda in Australia. Der Rosenkavalier in Dresden, L’elisir d’amore at his La Scala debut, La bohème in Detroit, Maria Stuarda in Athens, L’elisir d’amore and La bohème at Wiener “There was no way to listen to soprano Nadine Sierra . . . Staatsoper, and a new production of Rigoletto at the and feel anything but awe and delight―a combination of Wiener Festwochen. admiration for her current gifts and eager anticipation at what the future surely holds for her.” In the summer of 2011 he earned great acclaim from ―San Francisco Chronicle the public as well as critics at Arena di Verona, where he opened the summer season singing La traviata. Such praise is entirely typical for the American so- His subsequent debut at the Royal Opera House in prano Nadine Sierra (Gilda), whose vocal beau- London with Gianni Schicchi was a huge success, ty, seamless technique, and abundant musicality and he was brought back again to sing Alfredo in have gained her an ever-growing reputation as La traviata. The season continued with La traviata at one of the most promising new talents in opera the Berlin Staatsoper, in Limoges, and at the Vienna today. Having made successful debuts last season 76 77 with the Metropolitan Opera, La Scala, the Paris with the San Francisco Symphony, has performed at Opera, and the Berlin State Opera, she is quickly the Arena di Verona and Vienna’s Musikverein, and on her way to becoming a regular performer at has been featured in televised concerts from Lincoln many of the world’s top houses. Center and Venice’s Teatro la Fenice. In recital, she has appeared at venues ranging from Carnegie’s Nadine Sierra made her professional debut as a Weill Hall to the U.S. Supreme Court. teenager with the Palm Beach Opera and received her first national exposure at age 15, when she performed on NPR’s young artist showcase From Bass Andrea Mastroni (Sparafucile) projects a the Top. After graduating from New York’s Mannes uniquely dark-toned and velvety deep sound; but with College of Music, she entered the Adler Fellowship its broad tessitura and great agility, he has also scored Program at the San Francisco Opera, where she triumphs in the Verdi baritone roles that he has begun continues to return frequently in leading roles. She to add to his repertoire, including Rigoletto and Simon is the youngest winner to date both of the Marilyn Boccanegra. He is also an expert on Mozart and Ros- Horne Foundation Vocal Competition and the Met- sini, as well as on the Baroque composers Handel and ropolitan Opera National Council Auditions. Vivaldi. His wide-ranging vocal resources have been further refined through his devotion to the art song Sierra returned to the Paris Opera in 2016–2017 to repertoire: music that has helped to develop his re- open its season at the Palais Garnier as Flavia in a nowned ability to craft a uniquely supple, expressive, new production of Cavalli’s Eliogabalo, and was lat- and very dramatic style of phrasing, with special atten- er seen at the Opéra Bastille as Pamina in Die Zau- tion given to nuance and tone color. berflöte and Gilda in Rigoletto. Other roles in her growing repertoire include Zerlina in Don Giovanni Born in Milan, Mastroni began his musical journey by and in a performance of Mozart’s Idomeneo—both studying clarinet before moving on to singing under at the Met. Highlights of the 2016 summer season the tutelage of Lella Cuberli, Rita Antoniazzi, and Fer- included debuts with Lincoln Center’s Mostly Mo- nando Cordeiro Opa. He made his operatic debut as zart Festival on its opening night program (titled Ramphis in Aida, followed by appearances in operas The Illuminated Heart) and with the Boston Sym- of different eras and styles, including Sarastro in Die phony Orchestra at Tanglewood. Zauberflöte, Leporello in Don Giovanni, the title cha- racter in Don Pasquale, Don Basilio in Il barbiere di Other notable engagements include appearances Siviglia, Raimondo in Lucia di Lammermoor, Sparafu- with the Palau de les Arts Reina Sofia in Valencia, cile in Rigoletto, Ferrando in Il trovatore, Timur in Tu- the Teatro di San Carlo in Naples, and the Teatro randot, Colline in La bohème, Vater in Kurt Weill’s Die Massimo in Palermo. On the concert stage, Sierra sieben Todsünden and the world premiere of Romeo has been a soloist with the Cleveland Orchestra and e Giulietta by Marchetti—among others. 78 79 Subsequently he has expanded his repertoire to Belarusian mezzo-soprano Oksana Volkova include roles such as Lord Sidney in Il Viaggio a (Maddalena) was born in Minsk and studied at Reims, Oroveso in Norma, Frère Laurent in Roméo the Belarusian State Academy of Music. Her many et Juliette, Osmin in Die Entführung aus dem Se- awards include first prizes at the Glinka and An- rail, Pirro in I Lombardi, Banquo in Macbeth, Frate tonín Dvořák competitions. in Don Carlo, Oroe in Semiramide, and Caronte in L’Orfeo. In 2002 she was invited to join the opera company of the National Academic Bolshoi Opera and Bal- Andrea Mastroni has performed in the main op- let Theatre of the Republic of Belarus, where she era houses and festivals in Italy, Spain, Germany, performed the roles of Carmen, Amneris in Aida, and Austria, and his recordings include the operas Marina in Boris Godunov, Konchakovna in Prince I Vespri Siciliani (Naxos, DVD and CD), Gounod’s Igor, Marfa in Khovanshina, and others. Roméo et Juliette (Decca), Semiramide (Naxos, She made her first appearance as a guest soloist at Grammy winner 2012) and Lamento (Brilliant Clas- the Bolshoi Theater in 2010; her roles there since sics), presenting Henri Duparc´s songs for voice and include Carmen, Lyubasha in The Tsar’s Bride, Olga piano. Art songs make up a very important facet in Eugene Onegin, Fenena in Nabucco, Laura in The of his career, with a focus on song cycles such as Stone Guest, and Boy in The Legend of the Invisible Schubert´s Die Schöne Müllerin and Die Winterreise City of Kitezh and the Maiden Fevroniya. as well as Schumann´s Dichterliebe. His concert rep- ertoire features pieces such as Mozart´s Requiem, Krönungsmesse, and Litaniae Lauretanae; Rossini´s Her international engagements include Olga in Eu- Petite Messe Solennelle; and Verdi´s Requiem. gene Onegin for Madrid’s Teatro Real and the Met- ropolitan Opera; Carmen for Teatro Colon, Latvian He performed in the world premieres of Messa National Opera, Salzburg Landestheater, Savona, Chigiana by Lavagnino, Hazon´s Requiem, Arn- Tallin, Tokyo, and Beijing; Olga and Maddalena in aboldi´s Dante Raccontal’Inferno, and La Signora di Rigoletto and Sonetka in Lady Macbeth of Mtsensk Monza by Belisario. After opening the 2016–2017 for the Metropolitan Opera; Santuzza in Cavalleria season at La Fenice in Venice with the premiere rusticana for Teatro di San Carlo, Naples; Laura in performance of Filippo Perocco’s Aquagranda, he La gioconda in Palermo; Marguerite in La damna- made his debut at New York’s Metropolitan Opera tion de Faust for Opéra de Nice; Maddalena for the as Sparafucile in Rigoletto—and, after singing the Bavarian State Opera; Dalila in Samson et Dalila in role of Fiesco in Simon Boccanegra for the first time Beijing; Jane Seymour in Anna Bolena for the Esto- (in Montecarlo and Paris), he made his debut at nian National Opera; and Olga at London’s Royal London’s Royal Opera House in Don Carlo. Opera House and the Hamburg Staatsoper.

80 81 Volkova’s concert appearances include a tour with the Moscow Virtuosos; La Damnation de Faust and May Night in concert with the Russian National Orchestra; Tchaikovsky’s Moscow Cantata in Co- penhagen; the Moscow Cantata and Prokofiev’s Alexander Nevsky with the Dublin Symphony Or- chestra; Tchaikovsky’s The Queen of Spades in con- cert at the Munich Gasteig; Verdi’s Requiem with Opéra de Nice; and Mussorgsky’s Boris Godunov with the Russian State Academic Symphony Or- chestra.

Bass Tadas Girininkas (Count Ceprano) was born in Lithuania, and earned his master’s degree at the Lithuanian Academy of Music and Theater.

His 2016–2017 season highlights include his de- but as Méphistophélès in Gounod’s Faust at Vilnius City Opera. He also performed the roles of Cad- mus and Somnus in Handel’s Semele and Oralto in Vivaldi’s La fida Ninfa.

In previous seasons, Mr. Girininkas sang prominent bass roles in La bohème, Fidelio, Le nozze di Figaro, and in Handel’s ode Alexander’s Feast at the Lith- uanian National Opera. At the Vilnius City Opera he performed in Pelléas et Mélisande, Tosca, and Il trovatore. Notable earlier appearances include sig- nificant roles in Fidelio, Ernani, Lohengrin, and The Tsar’s Bride. Girininkas’s repertoire further includes major bass roles in Carmen, Rigoletto, Die Zau- berflöte, Werther, Cosi fan tutte, Roméo et Juliette, Lucia di Lammermoor, Attila, L’Orfeo, and L’incar- naione di Poppea. 82 As an oratorio singer, he has sung in Haydn’s Die Jahreszeiten, the Missa Brevis and Requiem by Mozart, Verdi’s Requiem, Puccini’s Messa di gloria, Schnittke’s Faust cantate and Britten’s War Requiem, among others.

Art Song recitals are an important part of Girin- inkas’s artistic life. In recent years he has collab- orated with pianist Justas Šervenikas on the song cycles of Shostakovich, Kabalevsky, Mussorgsky, and Wolf.

Girininkas was named the Lithuanian Opera Soloist of the Year in 2013 and recently received the Gold Stage Cross Award for the roles of Heinrich in Lo- hengrin and De Silva in Ernani.

Lithuanian singer Tomas Pavilionis (Borsa) is a leading tenor at the Lithuanian Opera and Ballet Theater. Pavilionis’s musical activities began at the music school of Kaunas, where he studied choral conducting. Since then, he has won top prizes at multiple local vocal competitions, including the Dainųdainelė National Children’s Song Compe- tition and the Stasys Baras vocal competition in 2009 and 2010.

In 2010, Pavilionis earned a master’s degree in vo- cal studies from the Lithuanian Academy of Music and Theater. He made his debut as a professional artist in 2009 at the Klaipeda State Music Theater, where he worked until 2014. Pavilionis regularly participates in classical music projects and im- proves his professional skills at international mas- 83 ter classes. He has worked with prominent vocal Giovanni (Teatro alla Scala; Aix-en-Provence Fes- coaches, most recently with the distinguished tenor tival); Leporello in Don Giovanni (Opéra National Roman Sadnik. Mr. Pavilionis is in demand as a reg- de Bordeaux); the title role in Don Giovanni (Teatro ular guest vocalist with Lithuania’s primary orches- Municipal de Santiago, Chile; Toulouse); as well as tras and music theaters. He has also performed in the title role in Eugene Onegin, Guglielmo in Così countries throughout Europe as well as in the Unit- fan tutte, and Count Almaviva in Le nozze di Figaro ed States, South Korea, Russia, and China. (Vilnius City Opera).

Pavilionis’s opera repertoire includes Aeneas in His concert repertoire includes the Requiems of Dido and Aeneas, Alfredo in La traviata, Ottavio Verdi, Mozart and Fauré; Handel’s Messiah, Men- in Don Giovanni, Faust in Gounod’s Faust, Jaqui- delssohn’s Elijah, Janáček’s Glagolitic Mass, Dvořák’s no in Fidelio, Lensky in Eugene Onegin, Nemorino Te Deum and Szymanowski’s Stabat Mater, which in L’elisir d’amore, and Rodolfo in La bohème. His he sang with Ed Gardner and the City of Birming- concert repertoire includes the solo tenor parts ham Symphony Orchestra and with the London in Mozart’s Requiem, Franck’s Les beatitudes, Symphony Orchestra under Valery Gergiev. Kostas Gounod’s Messe solennelle de sainte Cecile, and won rave reviews for his BBC Proms debut in Stra- Rossini’s Stabat Mater. vinsky’s Les Noces under the baton of Ed Gardner at the Royal Albert Hall. He has won acclaim for his interpretations of Dvořak’s Te Deum with the Or- Kostas Smoriginas (Monterone), one of the chestre de Paris and Rachmaninoff’s The Bells with Baltic region’s leading baritones, studied at the the Boston Symphony Orchestra, conducted by Lithuanian Music and Theatre Academy, the Royal Andris Nelsons. A native Russian speaker, his song College of Music in London and was a member of repertoire features a great variety of Russian Song. the Jette Parker young artist program at the Royal Opera House (ROH). He represented his country at Kostas’s current engagements include his return to the BBC Cardiff Singer of the World in 2005. the BBC Proms in 2015, concerts with the Pacif- ic Symphony Orchestra and the Latvian National His regular roles include Escamillo in Carmen (Ber- Symphony Orchestra; the title role in Le nozze di lin Staatsoper, Beijing’s National Centre for the Per- Figaro at New Orleans Opera, Aleko with La Mon- forming Arts, Semperoper Dresden, ROH, Santa naie Brussels; as well as his return to Santa Fe and Fe Opera, and Salzburg Easter Festival’s Carmen Toulouse plus several further appearances at Cov- with the Berlin Philharmonic under Simon Rattle, ent Garden. recorded for EMI); the title role in Le nozze di Figa- ro (San Francisco Opera, Washington National Op- era); Colline in La bohème (ROH); Masetto in Don 84 85 86 Mezzo-soprano Eglė Šidlauskaitė (Giovanna, Countess, Page) was born was born in Kaunas and studied at the Lithuanian Academy of Theater and Music in her home town as well as the Conservatorio di Musica Giuseppe Verdi in Milan. She has competed successfully in several international singing competi- tions, including winning first prizes at the Capriolo Franciacorta and G. Cobelli competitions and being a finalist and special prizewinner in the Competizione dell’Opera 2011. Ms. Eglė won scholarships to join the 2013 Verbier Festival Academy for young singers and in 2010 the Solti Te Kanawa Academy to work intensively on vocal technique and performance.

She toured in Germany, Austria and France in 2010 as Azucena in Il trovatore with Opera Itali- ana di Milano. In the 2011/2012 season, she was a member of the newly established Opera Studio at the State Theater in Kassel, where her roles in- cluded Third Lady in Mozart’s Die Zauberflöte, Third Flowermaiden in Wagner’s Parsifal and Son- jetka in Shostakovich’s Lady Macbeth of Mtsensk. In 2012/2013 Eglė performed Fenena in Verdi’s Nabucco and the Composer in R. Strauss’s Ari- adne auf Naxos at the Freiburg Opera; also Olga in Tchaikovsky’s Eugene Onegin at the Lithuanian National Opera House.

Eglė has worked with many distinguished interna- tional artists including Richard Bonynge, Giacomo Aragall, Dame Kiri Te Kanawa and Thomas Quasthoff.

Baritone Andrius Apsega (Marullo), Pandelys, Lithuania, graduated with a magister degree from the Academy of Music at Vytautas Magnus University 87 in 2013. He has won first places and grand prizes in a number of international competitions, and has sung in festivals and concerts in Lithuania and abroad, including the Czech Republic, Slovakia, Estonia, Ukraine, Germany, Russia, Poland, and Belarus. He has also performed with the Kaunas City Symphony, the Kaunas State Musical Theatre, and the Moscow State Academic National Orchestra. Among his many operatic roles are Don Alfonso in Mozart’s Così fan tutte, Tobias Mill in Rossini’s La cambiale di matrimo- nio, Rambaldo in Puccini’s La Rondine, Betto di Sinja in Puccini’s Gianni Schicchi, and Raich in Nicolai’s Die lustigen Weiber von Windsor. In addition, he has sung the roles of Homonai in Johann Strauss’s operetta Der Zigeunerbaron and Falke in Strauss’s Die Fledermaus, as well as Tasilo in Kalman’s operetta Grafin Mariza. For this recording, he is heard in the aria “A te, o cara” from Bellini’s I Puritani.

Bass Liudas Mikalauskas (Usher) is a soloist with the Lithuanian National Opera and Ballet Theatre and teaches at Vytautas Magnus University Mu- sic Academy. In 2011 he completed his studies at the Lithuanian Academy of Music and Theatre in Kaunas as well as at Vytautas Magnus University Music Academy, where he studied with professor Sabina Martinaitytė. Liudas has won Grand Prix and first prizes at twelve international singing com- petitions and received the Lithuanian Ministry of Culture Prize for the Best Professional Arts Debut in 2006. In 2007 he was granted an internship at the United Kingdom’s Royal Welsh College of Mu- sic and Drama. Liudas’ current repertoire includes roles in twenty-five operatic productions, most no- 88 tably Figaro in Mozart’s Le nozze di Figaro, Raimondo The California-based conductor tours and records in Donizetti’s Lucia di Lammermoor, Mephistophe- with American stars such as Sondra Radvanovsky les in Gounod’s Faust, Don Basilio and Don Bartolo and Lawrence Brownlee, and with Hvorostovsky and in Rossini’s Il barbiere di Siviglia, and Dulcamara in other renowned Russian singers in European, North Donizetti’s L’elisir d’amore. He has also participated American, Russian and Asian music centers. He is in international festivals in Lithuania, Poland, Esto- the founder and Music Director of the annual Pal- nia, Ukraine, Russia, Germany, Great Britain, Israel, aces of St. Petersburg International Music Festival. Slovakia, Sweden and the United States. In this re- cording, he is heard in the aria “A te, o cara” from “Orbelian has star quality, and his orchestra plays Bellini’s I Puritani as well as in the sequence linking with passion and precision,” The Audio Critic wrote sections of the aria “Ah! mes amis” from Donizetti’s of his acclaimed series of over 50 recordings on La fille du régiment. Delos. Among his concert and televised appear- ances are collaborations with stars Renée Fleming and Dmitri Hvorostovsky, and with Van Cliburn in Grammy-nominated conductor Constantine Cliburn’s sentimental return to Moscow, the great Orbelian “stands astride two great societies, and pianist’s last performance. Orbelian’s frequent col- finds and promotes synergistic harmony from the laborations with Hvorostovsky include repertoire best of each.” (Fanfare) For over 20 years the bril- from their Delos recordings of universal sentimen- liant American pianist /conductor has been a cen- tal songs Where Are You, My Brothers? and Moscow tral figure in Russia’s musical life — first as Music Nights, as well as their 2015 recording in the same Director of the Moscow Chamber Orchestra and series, Wait for Me. On several occasions Orbelian the Philharmonia of Russia, and more recently as has conducted historic live telecasts from Moscow’s guest conductor with a number of illustrious Rus- Red Square, with such artists as Hvorostovsky and sian orchestras. Currently Chief Conductor of the Anna Netrebko. Kaunas City Symphony Orchestra in Lithuania, Orbelian leads concerts and recordings there with Born in San Francisco to Russian and Armenian emi- some of the world’s greatest singers, in projects gré parents, Constantine Orbelian made his debut as such as a recording of Simon Boccanegra, with a piano prodigy with the San Francisco Symphony at Dmitri Hvorostovsky in the title role. In 2016 he be- the age of 11. After graduating from Juilliard in New came Artistic Director of the State Academic Opera York, he embarked on a career as a piano virtuoso and Ballet Theater in Yerevan, Armenia. that included appearances with major symphony or- chestras throughout the U.S., U.K., Europe, and Rus- Opera News calls Orbelian “the singer’s dream col- sia. His recording of the Khachaturian piano concerto laborator,” and commented that he conducts vocal with conductor Neeme Järvi won “Best Concerto repertoire “with the sensitivity of a lieder pianist.” Recording of the Year” award in the United Kingdom. 89 90 Orbelian’s appointment in 1991 as Music Director of the Moscow Chamber Orchestra was a breakthrough event: he is the first American ever to become music director of an ensemble in Russia. A tireless champion of Russian-American cultural exchange and interna- tional ambassadorship through his worldwide tours, he was awarded the coveted title “Honored Artist of Russia” in 2004, a title never before bestowed on a non-Russian citizen. In May 2010, Orbelian led the opening Ceremonial Concert for the Cultural Olym- pics in Sochi — the first event setting the stage for Russia’s hosting of the Olympic Games in 2014. In 2012 the Consulate in San Francisco awarded him the Russian Order of Friendship Medal, whose illustri- ous ranks include pianist Van Cliburn and conductor Riccardo Muti, and which singles out non-Russians whose work contributes to improving of international relations with the Russian Federation and its people.

From his 1995 performance at the 50th Anniversa- ry Celebrations of the United Nations in San Fran- cisco, to his 2004 performance at the U.S. State Department commemorating 70 years of diplo- matic relations between Washington and Moscow, and a repeat State Department appearance in 2007, all with the Moscow Chamber Orchestra, Or- belian continues to use his artistic eminence in the cause of international goodwill. He and his orches- tras have also participated in cultural enrichment programs for young people, both in Russia and the U.S. In 2001 Orbelian was awarded the Ellis Island Medal of Honor, an award given to immigrants, or John Fisher’s multifaceted international career children of immigrants, who have made outstand- encompasses distinguished accomplishments as ing contributions to the United States. an opera director, opera manager, conductor, vocal coach and record producer. 91 A native of Glasgow, he is a graduate of Glasgow He has worked extensively with Decca records and University, the Royal Academy of Music and the with Unitel films, collaborating with Jean-Pierre London Opera Centre. Ponnelle on several opera films.

His operatic career began in 1972, when he be- In August 2014, in the final concert of the 2014 came the Music Director of the Welsh National Pažaislis Music Festival, Fisher conducted the Opera’s “Opera For All” project, designed to en- Kaunas City Symphony Orchestra and Kaunas State hance modern audiences’ appreciation of the Choir (heard here) in a performance of Verdi’s Re- genre. From 1973-1975 he was a repetiteur and quiem, in commemoration of the 70th anniversary vocal coach as well as Music Director of the Opera of the liquidation of the Jewish ghetto in Kaunas. Studio at La Monnaie in Brussels.

In 1975, Fisher joined the Music Staff at De Ned- The Kaunas City Symphony Orchestra grew erlandse Opera in Amsterdam, working there until from the Kaunas Chamber Orchestra, which was 1977, when he was appointed Head of Music Staff founded in 1988 and since 2000 has been managed at La Scala, Milan, and served as the company’s by Algimantas Treikauskas. Its previous principal Artistic Administrator from 1981 until 1988. He conductors were Pavel Berman, Modestas Pitrenas, further served Pesaro’s Rossini Opera Festival as and Imants Resnis; the position now belongs to an artistic/musical consultant from 1983 to 1988. American maestro Constantine Orbelian. In 1989, he became Artistic Director at La Fenice, Venice: the first non-Italian to hold that position. The Kaunas City Symphony Orchestra gives concerts at home in Lithuania and abroad— From there, Fisher moved on in 1994 to the staff of including Latvia, Estonia, Norway, Switzerland, Deutsche Grammophon Gesellschaft in Hamburg, Germany, Finland, and Italy. It appears regularly where he was Director of Opera and Vocal Produc- at various international festivals, presents special tions and Executive Producer. In 1997 he became concert projects, and gives theme-oriented Director of Music Administration at New York’s Met- concerts. Many famous Lithuanian as well as ropolitan Opera, moving on in 2006 to the position foreign soloists and conductors have collaborated of General Director with the Welsh National Opera. with the orchestra, which organizes and appears in around 50 concerts per year. A highly versatile In addition, John has been closely associated with ensemble, the orchestra specializes in various the BBC’s Cardiff Singer of the World competition, genres of classical and contemporary music, the Lisa Gasteen Opera Summer School, and the including cross-over projects with such groups Juilliard School, among many others worldwide. as The Scorpions, Smokie, and the Electric Light Orchestra, to name a few. 92 The orchestra also appeared at the opera Founded in Kaunas, Lithuania, in 1969, the Kaunas contest show Arc of Triumph for two years on State Choir has been led ever since by its founder, Lithuanian National Television. Among the group’s Petras Bingelis, a professor at the Lithuanian Acade- prominent highlights in the 2012/2013 season my of Music and Theatre and winner of the Lithua- were its collaboration with famous baritone Dmitri nian National Prize. Under his direction, the chorus Hvorostovsky and Maestro Orbelian, as well as has developed an extensive repertoire ranging from its appearance at the Murten Classics festival in medieval to modern music and including more than Switzerland under the baton of Kaspar Zehnder. 150 large-scale compositions: oratorios, cantatas, A number of recent projects were recorded for Masses and Passions, as well as staged and concert Delos with several of today’s most notable voices, versions of operas. conducted by Maestro Orbelian. The complete Simon Boccanegra, with Dmitri Hvorostovsky in the After Lithuania regained its independence in 1990, title role (DE 3457), was released by Delos in 2015. the choir’s concert life became extremely active Tenor Lawrence Brownlee stars in a Delos 2014 and eventful, especially when it began collaborat- release showcasing Rossini arias (DE 3455), which ing with the legendary violinist and conductor Ye- received a Grammy nomination. hudi Menuhin. In 1992, with Menuhin on the con- ductor’s podium, the chorus took part in theatrical Gilbert Duprez as Fernand and Rosina93 Stoltz as Leonor in La favorite DE 3532 performances of Handel’s Messiah during the New Over the many years since its founding, The Kaunas and Old Ways to India Festival (Spain), dedicated State Choir has given more than three thousand to the 500th anniversary of the discovery of Amer- concerts in Lithuania and abroad and has been led ica, and began extensive concert tours to France, by such maestri as Dmitri Kitaenko, Yan Pascal Tor- Italy, Spain, Germany, Egypt, and Russia, among telier, John Axelrod, Vladimir Spivakov, and Valery other countries. Collaborating with the renowned Gergiev. While performing most of its concerts with German pianist and conductor Justus Frantz, cellist the Lithuanian National Symphony Orchestra, the and conductor Mstislav Rostropovich, and Krzysz- choir has also collaborated with a number of other tof Penderecki, the chorus also performed a con- orchestras from London, Paris, Bordeaux, Dresden, cert version of The Messiah in Buenos Aires(Argen- Leipzig, Moscow and St. Petersburg, among many tina) and Santiago (Chile). others.

94 Left to right: Dmitri Hvorostovsky, Aleksandra Kerienė, Constantine Orbelian, Vilius Keras

95 Dmitri Hvorostovsky as Rigoletto at Covent Garden.

96 Dmitri Hvorostovsky as Rigoletto in the Metropolitan Opera production

97 Left to right: Svetlana Efimova, Constantine Orbelian, Nadine Sierra, Dmitri Hvorostovsky 98 Special thanks go to Algimantas Treikauskas, General Director of the Kaunas City Symphony Orchestra— GIUSEPPE VERDI (1813-1901) as well as his staff—for their invaluable help in producing this recording.

Also much appreciated are the invaluable contributions of Artistic Consultant John Fisher and pianist/ RIGOLETTO vocal coach Svetlana Efimova.

Opera in three acts Recorded at Kaunas Philharmonic July 1–9, 2016

Libretto: Francesco Maria Piave, after the Producers: Vilius Keras and Aleksandra Kerienė play Le roi s’amuse by Victor Hugo Recording Engineer: Vytautas Kederys Editing/mastering: Vilius Keras and Aleksandra Kerienė Program notes and synopsis: Lindsay Koob Rigoletto, the Duke’s jester: Matteo BoRSa, a courtier: Booklet editors/proofers: Lindsay Koob, Anne Maley, David Brin Dmitri Hvorostovsky, baritone Tomas Pavilionis, tenor Art Design/Layout: Lonnie Kunkel Photo Credits: Andrea Mastroni portrait: Nicola Garzetti; Francesco Demuro in rear booklet cover: gilda, his daughter: count MonteRone: Javier del Real; Demuro portrait: Andrzej Swietlik; Nadine Sierra portrait: Merri Cyr. Nadine Sierra, soprano Kostas Smoriginas, baritone the duke of Mantua: MaRullo: Original Italian-English libretto translation: Dennis Adams Francesco Demuro, tenor Andrius Apšega, baritone

SpaRafucile, an assassin: a couRt uSheR: Andrea Mastroni, bass Liudas Mikalauskas, bass

Maddalena, his sister: a page: Oksana Volkova, contralto Eglė Šidlauskaitė, mezzo-soprano giovanna, Gilda’s nurse: Male choRuS: The Duke’s courtiers and guests Eglė Šidlauskaitė, mezzo-soprano count cepRano: Constantine Orbelian, conductor © 2017 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 Tadas Girininkas, bass Kaunas City Symphony Orchestra Men of the Kaunas State Choir (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 counteSS cepRano, his wife: [email protected] • www.delosmusic.com Eglė Šidlauskaitė, mezzo-soprano Made in USA 2 99 DE 3522

Verdi ◆ rigoletto dmitri HVorostoVsky VERDI ◆ rigoletto

DE 3522 Francesco Demuro in Teatro Real production of Rigoletto NadiNe Sierra FraNceSco demuro aNdrea maStroNi okSaNa VolkoVa DE 3522 Francesco Demuro in Teatro Real production of Rigoletto coNStaNtiNe orbeliaN, conductor