BELLINI ᵴ I PURITANI
SARAH COBURN LAWRENCE BROWNLEE
CONSTANTINE ORBELIAN, conductor DE 3537 KAUNAS CITY SYMPHONY ORCHESTRA
KAUNAS STATE1 CHOIR
VINCENZO BELLINI (1801-1835) I PURITANI Opera in three acts
Libretto: Count Carlo Pepoli, after the French playTêtes Rondes et Cavaliers, by Jacques-François Ancelot and Xavier Boniface Saintine
Lord Arturo tALbo: Lawrence Brownlee, tenor ELvirA: Sarah Coburn, soprano Sir riccArdo Forth: Azamat Zheltyrguzov, baritone Sir GiorGio WALton: Tadas Girininkas, bass Lord GuALtiEro WALton: Liudas Norvaišas, bass Sir bruno robErton: Tomas Pavilionis, tenor EnrichEttA di FrAnciA: Jovita Vaškevičiūtė, mezzo-soprano
Constantine Orbelian, conductor Kaunas City Symphony Orchestra Kaunas State Choir
2 VINCENZO BELLINI (1801-1835) BELLINI ᵴ I PURITANI
CD 1 (37:05) 7. T’appellan le schiere (4:17) I PURITANI (Bruno, Riccardo) p. 14 1. Sinfonia (3:02) Opera in three acts SCENE IV ACT I 8. O amato zio (2:13) Libretto: Count Carlo Pepoli, after the French playTêtes Rondes et Cavaliers, SCENE I (Elvira, Giorgio) p. 15 by Jacques-François Ancelot and Xavier Boniface Saintine 2. All’erta! All’erta (5:03) 9. Sai com’arde in petto mio (6:49) (Bruno, Coro) Libretto: p. 10 (Elvira, Giorgio) p. 16
3. O di Cromwell guerrieri (3:13) 10. Odi ... qual suon si desta? (3:47) (Bruno, Elvira, Arturo, Riccardo, Giorgio, (Elvira, Giorgio, Coro) p. 20 Coro) p. 11
SCENE II CD 2 (55:31)
4. A festa! (2:40) SCENE V (Coro) p. 12 1. Ad Arturo onore (3:11) SCENE III (Coro) p. 23
5. Or dove fuggo io mai (2:45) 2. A te, o cara (5:48) (Riccardo, Bruno) p. 12 (Arturo, Giorgio, Walton, Elvira, Coro) p. 23
6. Ah! Per sempre io ti perdei (3:12) SCENE VI (Riccardo) p. 14 3. Il rito augusto si compia senza me (2:05) (Arturo, Giorgio, Walton, Enrichetta) p. 25
3 SCENE VII ACT II
4. Com’io, v’unisca (4:14) SCENE I: (Walton, Enrichetta, Arturo) p. 26 11. Ah, dolor! Ah terror! (5:40) SCENE VIII (Coro) p. 45
5. Son vergin vezzosa (4:17) SCENE II (Elvira, Enrichetta, Arturo, Giorgio, Walton, Coro) p. 29 12. Qual novella? (1:49) (Coro, Giorgio) p. 46 SCENE IX 13. Cinta di fori e col bel crin disciolto (4:47) 6. Sulla verginea testa (:45) (Giorgio, Coro) p. 46 (Enrichetta, Arturo) p. 33 14. E di morte lo stral non sarà lento (4:08) SCENE X (Riccardo, Coro, Giorgio) p. 49
7. Ferma! Invan rapir pretendi (5:26) (Ricccardo, Arturo, Enrichetta, Coro) CD 3 (69:31) p. 34 SCENE III 8. È già al ponte - passa il forte (4:18) (Riccardo, Walton, Bruno, Coro, Elvira, 1. O rendetemi la speme (10:37) Giorgio) p. 38 (Giorgio, Riccardo, Elvira) p. 50
9. O, vieni al tempio (5:10) 2. Tornò il riso sul suo aspetto (1:22) (Elvira, Riccardo, Giorgio, Bruno, Coro) (Giorgio, Riccardo, Elvira) p. 54 p. 41 3. Vien, diletto, è in ciel la luna! (5:20) 10. Ma tu già mi fuggi? (3:48) (Elvira, Riccardo, Giorgio) p. 54 (Elvira, Coro) p. 44
4 SCENE IV SCENE II
4. Il rival salvar tu dei (4:21) 12. Finì ... me lassa! (3:20) (Riccardo, Giorgio) p. 55 (Elvira, Arturo) p. 64
5. Se tra il buio un fantasma vedrai (2:43) 13. Che provo lontan da me? (3:15) (Riccardo, Giorgio) p. 57 (Elvira, Arturo) p. 66
6. Riccardo! Riccardo! (1:49) 14. Vieni, vieni fra queste braccia (5:09) (Giorgio, Riccardo) p. 58 (Elvira, Arturo) p. 68
7. Suoni la tromba, e intrepido (3:19) 15. Ancor s’ascolta questo suon molesto (1:29) (Giorgio, Riccardo) p. 59 (Arturo, Elvira) p. 70
ACT III 16. Alto là! (1:13) (Coro, Arturo, Elvira) SCENE I: p. 71
. on sal o alfn son sal o (4: ) SCENE III (Arturo) p. 61 17. Cavalier, ti colse il Dio (1:39) . na onte a itto e solo (4:1 ) (Riccardo, Giorgio, Coro, Elvira) p. 72 (Elvira, Arturo) p. 62 18. Credeasi, misera! (5:52) 10. Qual suon! Alcun s’appressa! (1:44) (Arturo, Elvira, Giorgio, Riccardo, Coro) (Arturo, Coro) p. 62 p. 73
11. Son già lontani (4:12) 19. Suon d’araldi? (3:46) (Arturo) p. 63 (Riccardo, Giorgio, Coro, Elvira, Arturo) p. 78
5 Introduction: complished bass Liudas Norvaišas, who depicts Lord Walton (Gualtiero) impeccably; and mezzo enor Lawrence Brownlee has thus far been the o ita a e i i t o brin s t e role o een Tglittering star of two recordings on Delos: The Enrichetta to radiant life. Grammy-nominated Virtuoso Rossini Arias (DE 3455) in 2014, followed in 2016 by the critically Notes: acclaimed Allegro io son (DE 3515)—featuring bel Vincenzo Bellini (1801-1835) was born in Cat- canto arias by Donizetti and Bellini. And he does ania, Sicily, to a musical family. His father, an brilliant justice to the role of Arturo in this 2017 re- organist, sent him to study at the Naples Con- cording of I Puritani incen o ellini s fnal o era. servatory, where he gained the patronage of a As has been pointed out by music historians, Bel- distinguished impresario who commissioned lini composed I Puritani or se eral o t e fnest is frst o era Bianca and Fernando. Composed singers of his day, thereby setting very high vocal while the young composer was still a student, standards for interpreters ever since. Such stan- the work’s success earned him further commis- dards apply in particular to the artists interpret- sions, one of which resulted in another early ing the lead roles of Arturo and Elvira. One could opera, Il Pirata (1827). Composed for Milan’s La ardl cast a fner sin er or t e role o rt ro Scala, it was a work that gained him something than Mr. Brownlee. Similarly, the same high vo- approaching an international reputation. With a cal standards apply—in particular—to the female public image to match, he was tall, handsome lead role of Elvira, sung ravishingly in this record- and something of an elegantly dressed dandy, ing by the acclaimed soprano Sarah Coburn, who who looked more like a glamorous stage per- has established herself as a leading international former than a composer. superstar. The important role of Riccardo—Ar- The precocious quality of his work soon brought turo’s rival for the love of Elvira—is impeccably him to the attention of the important theater sung by the renowned Kazakh baritone Azamat poet Felice Romani, who served him as the li- Zheltyrguzov. The remaining roles are beautiful- brettist for his next six operas. These included ly performed by Lithuanian artists, two of whom three more works of note: I Capuleti e i Mon- have graced Delos’s Grammy-nominated record- tecchi (1830), La sonnambula (1831) and Norma ing of Giuseppe Verdi’s Rigoletto, starring the (1831), which some consider to be Bellini’s mas- late, great baritone Dmitri Hvorostovsky. These terpiece. After a brief stay in London, he moved gentlemen are the gifted bass Tadas Girininkas, to Paris, where fellow bel canto composer Gio- who performs the role of Giorgio, and the charis- achino Rossini arranged for him a commission matic tenor Tomas Pavilionis, who sings the role to create an opera for Paris’s Theatre-Italien: the of Bruno. The remaining Lithuanian artists are ac- result was I Puritani.
6 But Bellini’s choice of librettist, the inexperienced public preoccupation with rebellion and civil strife. Count Carlo Pepoli, was not altogether fortunate. And given the fractured nature (and culture) of Ita- He produced a second-rate libretto, which was ly’s separately ruled cities and provinces, such pre- based on a French play, Têtes Rondes et Cavaliers occupation held particularly intense meaning for by Jacques-François Ancelot and Xavier Boniface Italians, both in Bellini’s day and afterwards. While Saintine, which in turn was inspired by Sir Walter Bellini’s inimitable bel canto style captivates oper- Scott’s novel, Old Mortality. However, whatever agoers with its sheer beauty and rich melodic in- Pepoli may have lacked as a librettist, he made up vention, the opera can hardly stand as an accurate for with his understanding of the favored stage history lesson, given the broad artistic license that techniques of his day, and how to use them to was accorded to exceptional composers at the generate audience appeal. Still, his libretto was time. Perhaps I Puritani’s most remarkably por- overlong, and made for a rather convoluted and trayed human characteristic was its extraordinary awkward plot. But Bellini’s music was absolutely depiction of insanity, especially as it applies to the exquisite: a paragon of the art of the bel canto Puritan heroine Elvira. The work implies—among style of singing, with its elegant, long-breathed other things— that the facade of sanity is fragile melodies and brilliant musical embellishments. and can fall apart at any moment. Many consider I Puritani to be Bellini’s loveliest and most enterprising work, and with good rea- While I Puritani became a smash hit across Eu- son. Sadly, it turned out to be the composer’s rope after its January 1835 premiere at Paris’s fnal o era. e to o er or and t e ri ors o Theatre-Italien, it was subsequently subjected to a cold Venetian winter, he contracted an amoe- many cuts and other alterations to both the li- bic infection that killed him six weeks short of his bretto and the music, due mainly to its inordinate 34th birthday, just as he was assured of broad length and often awkward plot. Our research for international success as a composer. As with Mo- this release revealed several different versions of zart and Schubert, Bellini’s outrageously early the libretto. In unfortunate fact, the opera was death has left the musical public wondering— soon rele ated to obsc rit : t e orid bel canto even grieving—ever since about sublime musical style was on its way out of fashion by mid-cen- treasures that might have been. tury; in fact, after 1845, its performances were few and far between. It is widely believed that Puritani is set in the 1640s at the time of the En- the apparent lack of singers trained in the often glish Civil War, when the country was divided into orbiddin l di fc lt bel canto tec ni es as two factions: The Royalists (or Cavaliers) were loyal one of the reasons why the opera fell into unfair to the crown, and the Puritans (or Roundheads) neglect. Interest in the work was not revived until supported the rebellious Parliament. The opera’s some of the greatest of brilliant mid-20th-centu- background encapsulated the era’s widespread ry opera singers (Callas, Sutherland, Di Stefano
7 and Pavarotti) began performing it in the 1950s. public. Heartbroken, Riccardo reveals his grief to his In more recent years, given today’s abundance best friend Bruno, who advises him to disregard his of fabulous voices, it has become a staple of the feelings and concentrate his efforts on leading the operatic repertoire, full of vocal showpieces— Puritans to victory in battle. such as Arturo’s long-breathed and passionate Act I aria, “A te, o cara.” Similarly, Elvira’s ravishing Elvira’s uncle, Sir Giorgio Walton, stops by her Act II aria, “Qui la voce,” depends largely on the chambers to inform her of her father Gualtierio’s soprano’s ability to spin a graceful and artfully initial announcement that she is to wed Riccar- decorated melodic line. These are but two of I do. Infuriated, she declares that she’d rather die Puritani’s many standout arias. Thus, with this bel than marry Riccardo. Giorgio soothes her anger canto treasure, we are blessed to be able to thrill and tells her that he (with some help from Ar- once again to the wondrous operatic art com- turo) has convinced her father to permit her to poser extraordinaire Vincenzo Bellini: one of the marry Arturo instead. Overcome with love, Elvira music world’s supreme aesthetic wonders. effusively thanks her doting uncle. Trumpets are heard, heralding Arturo’s arrival at the castle. — Lindsay Koob Elvira joyfully greets Arturo, Lord Walton and Sir Giorgio. Delighted by their warm reception, Ar- turo thanks them sincerely. Lord Walton grants Bellini’s I Puritani is set in the 1640s at the time Arturo safe passage but remorsefully says that of the English Civil War, when the country was di- he won’t be able to attend the wedding. A mys- vided into two factions: The Royalists loyal to the terious woman interrupts their conversation, crown and the Puritans supporting the Parliament. and Arturo overhears Lord Walton tell her that he ACT I will provide escort to London, where she will ap- pear before the Parliament. Arturo consults Gior- As dawn breaks, Puritan soldiers have gathered in a gio, who tells him that she is thought to be a Roy- castle stronghold, anticipating an attack by Royalist alist spy. Eager to prepare for the wedding, Elvira forces. It is announced that Lord Gualtiero Walton’s departs. After things have settled down, Arturo daughter, Elvira, will wed the Puritan leader Riccar- searc es or t e o an on fndin er s e do, prompting celebratory cheers. While this would reveals that she is Queen Enrichetta, the escaped seem to be a happy occasion for all, Riccardo is widow of King Charles I, who had been executed obviously distressed; despite his love for Elvira, he by Parliament forces, whereupon Arturo offers to is aware that she is in love with Arturo, a Royalist. help her escape. Enter Elvira, wearing her bridal But Lord Walton—wishing only her happiness—will veil. She interrupts Arturo and the woman, whom allow her to marry Arturo instead, even after her she doesn’t know is the queen, and bids her to impending wedding to Riccardo is known to the help her style her hair. Elvira removes her brid- 8 al veil and places it on the Queen’s head so she ACT III can start arranging her hair. Arturo realizes this is probably the perfect chance for an escape— Three months have passed and Arturo remains a and when Elvira leaves the room momentarily, he fugitive. But he secretly returns to Elvira for a brief and the Queen make a sudden attempt to leave. visit. In the forest near the castle, he hears her Riccardo confronts them just as they are about singing and calls out to her, but gets no response. to depart the castle. Believing the veiled Queen Recalling how they used to sing together while to be l ira iccardo re ares to f t rt ro to strolling through the castle gardens, he begins the death. But the Queen intervenes, removing singing their favorite song, pausing intermittently the veil and revealing her identity. Riccardo— to hide from passing Puritan soldiers. Elvira soon seeking to ruin Arturo’s life and clear the way for appears and becomes upset when he stops sing- him to marry Elvira—devises a plan on the spot ing. Despite her fractured state of mind, she con- and allows Arturo to escape with the Queen. El- fronts the source of the song and—in a moment vira returns only to learn that Arturo has just run of sanity—realizes that Arturo has come back to away with the other woman. Her sudden feelings her. He declares his undying love and explains of betrayal drive her to the brink of madness. that the woman he ran off with on their wedding day was actually Queen Enrichetta, whom he was ACT II trying to save from certain execution. Elvira’s san- ity is almost fully restored, but she reverts to in- Giorgio speaks of Elvira’s grief and mental decline stability when she hears drums drawing near and amid the people’s expressions of concern. Enter realizes that her beloved is about to be arrested. Riccardo with news of Arturo, whom the Parliament Giorgio and Riccardo appear with the soldiers has sentenced to death after his involvement with and pronounce Arturo’s death sentence. Shocked the Queen’s escape was revealed. Elvira appears, in bac into realit l ira can fnall t in rational- a state of mental confusion. While speaking with ly again, and even Riccardo is moved when he her uncle Giorgio, she sees Riccardo and mistakenly hears the lovers’ ardent pleas that Arturo be thinks he is Arturo, but leaves after the men per- spared. But the soldiers do not relent, demand- suade her to return to her chambers and rest. Gior- ing even more vehemently that he be executed. gio—wishing only to restore her sanity—earnestly As they prepare to take him to a prison cell, an asks Riccardo to help save Arturo’s life. Although envoy from the Parliament arrives and declares Riccardo initially rejects his requests, Giorgio ap- that the Royalists have been defeated. He further eals to is eart elt e otions and fnall ins i reveals that Oliver Cromwell has pardoned all over. Riccardo agrees, but on one condition: wheth- Royalist prisoners, whereupon Arturo is released, er Arturo returns to the castle as friend or foe will giving way to an evening of celebration for all. ultimately determine Riccardo’s actions. — Lindsay Koob 9 CD 1
(tr. 1) Sinfonia
ATTO I ACT I
SCENE I SCENE I
(tr. 2) Spazioso terrapieno nella fortezza. Si veggo- A spacious rampart in the fortress. In view are a u e te t rr ed a tre e e d rt a me ty a t er a d t er d rt - con ponti levatoi, ecc. Da lontano si scorgono mon- cations, with drawbridges, etc. A distant glimpse tagne, che fanno bellissima veduta; mentre il sole of mountains forms a splendid vista: the rising che nasce, va gradatamente illuminandole, siccome sun gradually lights up the peaks, as later it will poi rischiara tutta la scena. Sopra de’ baluardi si brighten the whole scene. On the ramparts can be veggono scambiare le sentinelle. seen the changing of the guard.
BRUNO, SENTINELLE BRUNO, GUARDS (di dentro) (From within) All’erta! All’erta! L’alba apparì. Alert! Alert! Day has broken! La tromba rimbomba, nunzia del dì. The trumpet is sounding, herald of the dawn.
BRUNO, SOLDATI BRUNO, SOLDIERS (sulla scena) (Onstage) Quando la tromba squilla When the trumpet rings out, Ratto il guerrier si desta: Swiftly the warrior awakens: L’arme tremende appresta, He readies his fearsome weapons Alla vittoria va! To take him to victory! Pari del ferro al lampo, Like iron in lightning Se l’ira in cor sfavilla, If anger sparks in his heart, Degli Stuardi il campo The camp of the Stuarts In cenere cadrà. In ashes will fall.
(tr. 3) (Odesi un suono di campana, poi un (A bell is heard tolling, then the prelude of a preludio di armonia religiosa.) religious melody.)
10 BRUNO BRUNO O di Cromwell guerrieri O warriors of Cromwell, Pieghiam la mente e il cor Let us turn our minds and hearts A’ mattutini cantici To the morning canticles Sacri al divin Fattor. Sacred to the divine Creator.
(I soldati s’inginocchiano.) (The soldiers kneel.)
ELVIRA, ARTURO, RICCARDO, GIORGIO ELVIRA, ARTURO, RICCARDO, GIORGIO (di dentro il castello) (From within the castle) La luna, il sol, le stelle, The moon, the sun, the stars, Le tenebre, il fulgor, Darkness, splendor Dan gloria al Creator Glorify the Creator In lor favelle. In their discourse. La terra e i firmamenti e eart and t e fr a ent Esaltano il Signor. Exalt the Lord. A lui dian laudi e onore, Let all people give Onor al Creator, Praise and honor to Him, Tutte le genti. Honor to the Creator.
BRUNO BRUNO Udisti? Did you hear?
SOLDATI SOLDATI Udii. I heard.
BRUNO BRUNO Finì. It is over.
SOLDATI SOLDIERS Finì. It is over.
BRUNO, SOLDATI BRUNO, SOLDIERS Al re che fece il dì To the Lord who made the day
11 L’inno dei puri cor The pure hearts’ hymn Salì su’ venti. Has gone up on the winds.
SCENA II SCENE II
(tr. 4) CASTELLANI, CASTELLANE LORDS AND LADIES (escono) (Coming out) A festa! Make merry! A tutti, a tutti rida il cor. Let all hearts rejoice, Cantate un santo amor. Sing of a holy love. A festa! Make merry! Garzon, che mira Elvira, The lad with eyes for Elvira, Sì bella verginella, So fair a maiden, L’appella la sua stella, Makes her his guiding star, Regina dell’amor. Queen of love. Ah! È il riso e il caro viso Ah! Her smile and darling face Beltà di paradiso; Match the splendor of Paradise; È rosa sul suo stel, She is a rose on the stem. È un angiolo del ciel. She is an angel of heaven. Se a nozze invita amor If love invites us to the wedding, A tutti rida il cor. Let all hearts rejoice. Cantiam un sacro amor. Let us sing of a sacred love. A festa andiam! Let us go make merry!
(Tutti partono: Bruno si ferma in disparte, ve- (All leave. Bruno stays to the side, seeing dendo Riccardo.) Riccardo.)
SCENA III SCENE III
(tr.5) RICCARDO RICCARDO (a sé) (Aside) Or dove fuggo io mai? ... Dove mai celo ere can ee ... ere can ide orren- Gli orrendi affanni miei? Come quei canti dous suffering? How those songs Mi risuonano all’alma amari pianti! Bring bitter tears once more to my soul! O Elvira, Elvira, o mio sospir soave, O Elvira, Elvira, o my sweet yearning,
12 Per sempre, per sempre, io ti perdei! Forever, forever I lost you! Senza speme ed amor, in questa vita Without hope and love, in this life Or che rimane a me? What is there left for me?
BRUNO BRUNO La patria e il cielo! Homeland and heaven!
RICCARDO RICCARDO Qual voce? Che dicesti ... What was that voice? What did you say … It is È vero, è vero! true, it is true!
BRUNO BRUNO Apri il tuo core intero Open your heart wide All’amistà, n’avrai conforto ... o riends i o ill fnd co ort
RICCARDO RICCARDO È vano. There is no use. Ma pur t’appagherò. Sai che d’Elvira Yet I will do as you say. You know Il genitor m’acconsentia la mano, That Elvira’s father gave me her hand Quando al campo volai. en r s ed to t e battlefeld. Ieri, alla tarda sera, Yesterday, late in the evening, Qui giunto con mia schiera, Back here with my troops, Pien d’amorosa idea Full of amorous hopes Vo’ al padre ... I went to the father …
BRUNO BRUNO Ed ei dicea? And he said?
RICCARDO RICCARDO “Sospira Elvira a Talbo cavaliero, “Elvira longs for the Cavalier Talbo, E sovra il cor non v’ha paterno impero.” And a father has no power over the heart.”
BRUNO BRUNO Ti calma, amico. Stay calm, my friend.
13 RICCARDO RICCARDO Il duol che al cor mi piomba The sorrow weighing on my heart Sol calma avrà nel sonno della tomba. Will have calm only in the sleep of the tomb.
(tr. 6) Ah! Per sempre io ti perdei, Ah! I have lost you forever, Fior d’amore, o mia speranza; Flower of love, o my hope; Ah! La vita che m’avanza Ah! The rest of my life Sarà piena di dolor! Will be full of sorrow! Quando errai per anni ed anni When I wandered for years and years In poter della ventura, At the mercy of fortune, o sfdai scia ra e a anni I defied misfortune and suffering Nella speme del tuo amor. In the hope of your love.
(tr. 7) (I soldati trapassano la scena per andare (The soldiers cross the scene on their way to alle rassegne.) review.)
BRUNO BRUNO T’appellan le schiere Your troops are summoning A lor condottier. Their leader.
RICCARDO RICCARDO Di gloria il sentiero My thoughts of glory M’è chiuso al pensier. Are gone forever.
BRUNO BRUNO A patria ed onore Does your heart no longer burn Non arde il tuo cor? For country and honor?
RICCARDO RICCARDO Io ardo, e il mio ardore Indeed I burn, and my ardor È amore, è furor. Is love, is rage.
BRUNO BRUNO. Deh! Poni in oblio I beg of you, forget et c e fori a That time that blossomed
14 Di speme e d’amor. With hope and love!
RICCARDO RICCARDO Bel sogno beato Beautiful and blessed dream Di pace e contento, Of peace and contentment, O cangia il mio fato, If you will not change my fate O cangia il mio cor. Then change my heart. Oh! Come è tormento Oh! What a torment Nel dì del dolore In a day of sorrow La dolce memoria Is the sweet memory D’un tenero amor. Of a tender love.
BRUNO BRUNO Senti! Senti! T’appellan le schiere Listen! Listen! Your troops are summoning A lor condottier, ecc. their leader, etc.
RICCARDO RICCARDO Di gloria il sentiero My thoughts of glory M’è chiuso as pensier, ecc. are gone forever, etc. (Partono.) (They leave.)
SCENA IV SCENE IV (tr. 8) ta e d ra e e tre t e (Elvira’s rooms. The Gothic windows are open. a erte ed e rt a rt at a e ee
ELVIRA ELVIRA O amato zio, o mio secondo padre! O beloved uncle, my second father!
GIORGIO GIORGIO Perché mesta così? M’abbraccia, Elvira. Why so sad? Embrace me, Elvira.
ELVIRA ELVIRA c ia a i t a f lia. Ah, call me your daughter!
15 GIORGIO GIORGIO f lia o no e O daughter, that name Che la vecchiezza mia consola e alletta, That consoles and enchants my old age. Pel dolce tempo ch’io ti veglio accanto, On this day full of happiness, Pel palpitar del mio paterno core My breast is bathed in tender tears E pel soave pianto For that sweet time when I watched over you Che in questo giorno d’allegrezza pieno closely, Piove dal ciglio ad inondarmi il seno ... For the beating of this fatherly heart. f lia ia diletta O my dearest daughter, Oggi sposa sarai! Today you are to be married!
ELVIRA ELVIRA Sposa! No, mai! Married! No, never!
(tr. 9) Sai com’arde in petto mio You know how my breast is all ablaze ella fa a onni ossente it a bea ti l di ine a e Sai che puro è il mio desio, You know my desire is pure, Che innocente è questo core. How innocent is this heart. Se tremante all’ara innante If I am to be dragged Strascinata To the altar someday, Un dì sarò ... Trembling and Forsennata - Out of my mind … In quell’istante In that instant Di dolore io morirò! I shall die of sorrow!
GIORGIO GIORGIO Scaccia omai pensier si nero. Away with such dark thoughts.
ELVIRA ELVIRA Morir, sì ... sposa, non mai! Die, yes … Marry, never!
GIORGIO GIORGIO Che dirai se il cavaliero What would you say if the cavalier Qui vedrai, you will be seeing here se tuo sarà? Is the one you have chosen?
16 ELVIRA ELVIRA, Ciel! ripeti, chi verrà? say that again! Who is coming?
GIORGIO GIORGIO Egli stesso ... He himself …
ELVIRA ELVIRA Egli ... Chi? He … Who?
GIORGIO GIORGIO Arturo! Arturo!
ELVIRA ELVIRA fa ero How can this be true?
GIORGIO GIORGIO f lia il i ro O daughter, I swear it so!
ELVIRA ELVIRA Egli? Arturo? He? Arturo
GIORGIO GIORGIO Arturo. Arturo.
ELVIRA ELVIRA ciel fa ero O heaven! But can this be true?
GIORGIO GIORGIO Sì, oh! sì t’allegra, mia buona Elvira, Yes! Oh, you can be happy, my good Elvira. Ah, Ah! sì, t’allegra. yes! Be happy.
ELVIRA ELVIRA O gioia! O gioia! O gioia! Oh, joy! Oh, joy! Oh, joy!
17 ELVIRA, GIORGIO ELVIRA, GIORGIO Non è sogno ... It is not just a dream … O Arturo!/O Elvira! O Arturo!/O Elvira! O amor! O love!
(Elvira s’abbandona fra le braccia dello zio.) (Elvira throws itself into her uncle’s arms.)
GIORGIO GIORGIO ian i o f lia s l io seno: Weep, o daughter, on my breast: Piangi, ah! piangi di contento. Weep, ah, weep from happiness. Ti cancelli ogni tormento These tears of love Questa lacrima d’amor. Dispel all your pain. E tu mira, o Dio pietoso, And behold, o merciful God, L’innocenza in uman velo; Innocence in human form; Benedici tu dal cielo May you bless from heaven Questo giglio di candor. This lily of purity.
ELVIRA ELVIRA Ah! quest’alma, al duolo avvezza, Ah, this soul, accustomed to grief, È sì vinta dal gioire, Is so vanquished by joy Che ormai non può capir That now it cannot take in Sì gran dolcezza! Such great pleasure! Chi mosse a’ miei desir Who persuaded my father Il genitor? To go with my wishes?
GIORGIO GIORGIO Ascolta. Listen. Sorgea la notte folta, The night grew dark, Tacea la terra e il cielo, Heaven and earth were silent, Parea natura avvolta, Nature seemed cloaked, Avvolta in mesto vel. Cloaked in a gloomy veil. L’ora propizia ai miseri, The hour that favors the unfortunate, Il tuo pregar, tue lacrime, Your pleas, your tears, M’avvalorar sì l’anima So sparked my spirits Che volo al genitor. That I sped to your father.
18 ELVIRA ELVIRA Oh! mio consolator! Oh! How you console me!
GIORGIO GIORGIO Io cominciai: “Germano”, I began, “Brother”, Né più potei parlar; But could speak no more; Allor bagnai sua mano Then I bathed his hand D’un muto lagrimar. With silent tears. Poi ripigliai tra gemiti: Next I began again, sobbing: “L’angelica tua Elvira “Your precious Elvira Pel prode Artur sospira; Longs for the valiant Arturo; Se ad altre nozze andrà ... If she must wed another … Misera, perirà!” She will die from sorrow.”
ELVIRA ELVIRA O angiol di pietà O angel of mercy Sceso dal ciel per me! Sent down from heaven for me! E il padre? And my father?
GIORGIO GIORGIO Ognor tacea ... He was still silent …
ELVIRA ELVIRA E poi? And then?
GIORGIO GIORGIO Ei dicea: “Riccardo He said: “Riccardo Chiese e ottenea mia fede ... Asked for my word and I gave it … i la ia f lia a r It is he who will have my daughter!”
ELVIRA ELVIRA Ciel! Solo a udirti io palpito! Heaven! I shudder just to hear you! E tu? And as for you?
19 GIORGIO GIORGIO a f lia isera “Your unhappy daughter,” Io ripetea, “morrà!” I persisted, “will die!” “Ah, viva!” ei mi dicea, “Ah, let her live!” he told me E stringemi al cor. And clasped me to his bosom. “Sia Elvira felice, “May Elvira be happy, Sia lieta d’amor.” May she be happy in love.”
(tr. 10) (Odesi in lontananza un suono di corni (Hunting horns are heard in da caccia.) the distance.)
ELVIRA ELVIRA Odi ... qual suon si desta? Listen ... That sound out there?
GIORGIO GIORGIO Ascoltiam! Let us listen! È il segnal di gente d’arme. It is the signal of the men-at-arms.
(Elvira resta immobile per l’attenzione che (Elvira pays rapt attention, Her face presterà. Nel suo volto si devono scorgere i gradi showing the stages of a joy that d’una gioia che alle parole “Arturo Talbo” deve becomes even greater at the words, essere all’entusiasmo.) “Arturo Talbo.”)
SOLDATI SOLDIERS (fuori della fortezza) (Outside the fortress) Viene il prode e nobil conte. Here comes the valiant and noble earl.
GIORGIO GIORGIO Senti? Do you hear?
ELVIRA ELVIRA Taci. Quiet now …
SOLDATI SOLDIERS Arturo Talbo! Arturo Talbo!
20 GIORGIO GIORGIO Ah! non tel dissi? Ah! Did I not tell you so?
ELVIRA ELVIRA Ah, non resisto! Ah, I can’t stand it!
GIORGIO GIORGIO Deh! ti calma! Please calm down!
SOLDATI SOLDIERS Cavalier! Cavalier!
ELVIRA ELVIRA (abbracciando Giorgio) (Embracing Giorgio) Ah! padre mio! Ah! My father!
SOLDATI SOLDIERS (dentro la fortezza) (Within the fortress) Lord Arturo varchi il ponte. Let Lord Arturo cross over the drawbridge. Fate campo al pro’ guerriero. Make way for the brave warrior.
ELVIRA ELVIRA A quel nome, al mio contento, In that name, in my happiness, Al mio core io credo appena. In my heart I can hardly believe. Tanta gioia, o Dio, pavento, Such joy, o God, I fear Non ho lena a sostener! I do not have the will to bear.
GIORGIO GIORGIO A quel suono, al nome amato, In that sound, in that cherished name, Al tuo core or presta fede! In your heart you can now believe! Questo giorno venturato May this fortunate day D’ogni gioia sia forier. rin t e frst o an o s.
SOLDATI, CASTELLANI, CASTELLANE SOLDIERS, LORDS AND LADIES, Ad Arturo de’ cavalier Maidens and warriors
21 Bel campione in giostra e amore Celebrate and honor Le donzelle ed i guerrieri The peerless Arturo Fanno festa e fanno onor. Bold champion in the joust and in love.
ELVIRA ELVIRA Senti? Do you hear?
GIORGIO GIORGIO Sei paga? o are o satisfed
ELVIRA ELVIRA Appieno. Oh, yes, I am.
GIORGIO GIORGIO Le grida ascolta di gioia e onore. Just listen to those shouts of joy and honor.
ELVIRA ELVIRA Gli fanno onor! How they honor him! Lo senti? Do you hear? A quel nome, al mio contento, ecc. In that name, in my happiness, etc.
GIORGIO GIORGIO A quel suono, al nome amato, ecc. In that name. in that cherished name, etc.
ELVIRA ELVIRA Ah, non ho forza a a sostener! Ah, no. Ah, I do not have the will to bear it! Ah, no.
GIORGIO GIORGIO Sì, d’ogni gioia bel forier. es it ill tr l brin t e frst o an o s.
22 CD 2
SCENA V SCENE V (tr. 1) Sala d’arme. Il fondo della scena è aperto. An armory. The background is open. Among the Fra le colonne si veggono sempre alcune trace del- um ut e t e rt at et are t e rt a e a at de tr e e rd r- visible. From the right, Lord Arturo comes out turo con alcuni scuderi e paggi, i quali recano vari with some squires and pages carrying various doni nuziali, e fra questi si vedrà u ma e edd t ud a ma e t te e bianco. Dal lato sinistro escono Elvira, Walton, Sir From the left, enter Elvira, Walton, Sir Giorgio Giorgio, damigelle con castellani e castellane, por- and ladies in waiting with lords and ladies. They tano festoni di r e tre a a e e arry ar a d f er t at t ey tert e Dal fondo della scena escono i soldati guidati da around the columns. From the background en- Bruno, che fanno corteggio e danno compimento ters the retinue of soldiers commanded by Bruno, al decoro della festa. adding to the dignity of the festivities.
CASTELLANI, CASTELLANE LORDS AND LADIES Ad Arturo onore, ad Elvira onore. To Arturo be honor, to Elvira honor. Coroni amor beltà e valor! May love crown beauty and valor! CASTELLANE LADIES Rosa ell’è di verginelle, She is the rose among maidens Bella al par di primavera; As beautiful as springtime; Come l’astro della sera Like the evening star, Spira all’alma pace e amor! Imparting peace and love to the soul! CASTELLANI, CASTELLANE LORDS AND LADIES Bello egli è tra cavalieri, Handsome is he among his peers, Com’è il cedro alla foresta: Like a cedar in the forest: In battaglia egli è tempesta, In battle a raging storm, È campione in giostra e amor. A champion in jousting and love. (tr. 2) ARTURO ARTURO A te, o cara, amor talora O darling, love once led me to you Mi guidò furtivo e in pianto; Stealthily, in tears; Or mi guida a te d’accanto Now it guides me to your side Tra la gioia e l’esultar. Triumphant and with joy. 23 ELVIRA ELVIRA O contento! Such happiness!
ARTURO ARTURO Ah, mio bene! Ah, my love!
ELVIRA ELVIRA Ah! mio Arturo! Or son tua! Ah, my Arturo! Now I am yours!
ARTURO ARTURO Ah, Elvira mia, sì, mia tu sei! Ah, my Elvira. Yes, you are mine!
GIORGIO, WALTON GIORGIO, WALTON Senza occaso quest’aurora May this day never set. Mai null’ombra, o duol vi dia, Be free from doubts and sorrow. anta in oi la fa a sia a t e a e b rn ol in o Pace ognor v’allieti il cor! And peace gladden your two hearts.
CASTELLANI, CASTELLANE LORDS AND LADIES Cielo arridi a’ voti miei, Heaven, smile on my wishes, Benedici a tanto amor. Blessing so great love.
ARTURO ARTURO Al brillar di sì bell’ora, In the brilliance of so fair an hour, Se rammento il mio tormento As I remember my torment Si raddoppia il mio contento, My happiness is doubled, M’è più caro il palpitar. The more fondly I tremble.
GIORGIO, WALTON GIORGIO, WALTON Senza occaso quest’aurora, ecc. May this day never set, etc.
CASTELLANI, CASTELLANE LORDS AND LADIES Cielo arridi a voti miei, ecc. Heaven, smile on my wishes, etc.
24 SCENA VI SCENE VI
(tr. 3) WALTON WALTON Il rito augusto si compia senza me. Perform the august ceremony without me. (ad Arturo) (To Arturo) Mercè di questo foglio This paper will give you free passage Voi sino al tempio libero passo avrete. All the way to the church. (a Giorgio) (To Giorgio) Tu gli accompagnerai. You will accompany them. (ad Enrichetta, che esce accompagnata (To Enrichetta, who comes out accompanied by da Bruno) Bruno) O, nobil dama, O noble lady, L’alto Anglican sovrano Parlamento The High Sovereign English Parliament Ti chiama al suo cospetto: io ti son scorta. Summons you: I will escort you.
ENRICHETTA ENRICHETTA (a sé) (Aside) Ahimè, che sento! Alas, what do I hear? (a Walton) (To Walton) E che si vuol da me? And what do they want of me? (a sé) (Aside) Mia speme è morta! My hope is dead.
WALTON WALTON A me s’addice It is best that I obey Obbedir e tacer. Altro non lice. And say no more.
ARTURO ARTURO (a Giorgio in disparte) (To the side, to Giorgio) È de’ Stuardi amica? Is she a supporter of the Stuarts?
GIORGIO GIORGIO È prigioniera She has been held prisoner Da molte lune, e fu da ognun creduta For many months, suspected by all Amica de’ Stuardi e messaggera To be a supporter of the Stuarts
25 Sotto mentito nome. And a spy under a false name.
ARTURO ARTURO (guardando pietosamente Enrichetta) (Looking with pity at Enrichetta) O Dio! Che ascolto! O God! What do I hear? Deciso è il suo fato: essa è perduta. Her fate is sealed: She is lost, O sventurata! Unfortunate woman!
ENRICHETTA ENRICHETTA (accorgendosi d’Arturo) (Catching sight of Arturo) Qual pietade in quel volto! What pity in that face!
WALTON WALTON f li al rito alle o ose este Oh, children! Let everyone hasten S’appresti ognun. La nuziale veste To the ceremony Va, o diletta, a indossar. and grand celebrations. (alle damigelle) The charming bride is putting on Ite voi seco. Her wedding dress. (a Bruno) (To the ladies in waiting) Fuori del vallo i miei destrier sian presti. Go with them, all of you. (ad Enrichetta) (To Bruno) La nostra andata c’è forza d’affrettar. Get my horses ready outside the walls. a (To Enrichetta) (tr. 4) Com’io v’unisca il cielo, o coppia amata. Quickly! We must go! (To the wedding couple) May heaven join you as do I, beloved couple.
SCENA VII SCENE VII
Walton parte colle guardie: Giorgio ed Elvira Walton leaves with the guards: Giorgio and partono colle damigelle. Arturo fa sembiante Elvira go out with the ladies in waiting. Arturo di partire, ma guarda attentamente all’intorno, pretends to leave, but looks around cautiously, quasi per assicurarsi che tutti sono andati. as if to be sure that everyone has gone.
26 ENRICHETTA ENRICHETTA (guardando attentamente Arturo) (Looking at Arturo attentively) Pietà e dolore ha in fronte! Pity and sorrow weigh on his brow! (dopo un poco di silenzio) (After a short silence) Cavalier! Cavalier!
ARTURO ARTURO Se t’è d’uopo di consiglio, If you need counsel i soccorso d aita in e t a fda r el confde in e
ENRICHETTA ENRICHETTA Se mi stesse sul capo alto periglio? But if my head were in grave danger?
ARTURO ARTURO Ah! parla ... O Dio! che temi? Ah, speak … O God! What do you fear?
ENRICHETTA ENRICHETTA Brev’ora e sarò spenta! Ma tu fremi! In a short time, I shall be dead! But you tremble!
ARTURO ARTURO Per te, per me, pel padre mio che spento For you, for me and for the father Cadea fdo ai t ardi. Who fell faithful to the Stuarts.
ENRICHETTA ENRICHETTA Ah! Ah!
ARTURO ARTURO Ma tu chi sei? But who are you? Ah! chi tu sii, ti vo’ salvar. Ah, whoever you are, I want to save you!
ENRICHETTA ENRICHETTA È tardi! Too late! Figlia a Enrico, a Carlo sposa, The daughter of Enrico, wife of Carlo, Pari ad essi avrò la sorte. I will suffer the same fate as theirs.
27 ARTURO ARTURO (s’inginocchia) (Kneeling) Ah! tu, regina! Ah! It is you, my Queen!
ENRICHETTA ENRICHETTA Sì ... Attendo morte! Yes … I await my death!
ARTURO ARTURO Taci, taci, per pietà! Say no more, be quiet, for pity’s sake! Fuor le mura, a tutti ascosa Out of these walls, hiding you from all, Ti trarrò per vie sicure. I will lead you along safe pathways. Tu n’andrai, di qui n’andrai. You will go away, away from here.
ENRICHETTA ENRICHETTA Di qui, di qui alla scure! From here, from here to the axe! Scampo e speme, Artur, non v’è. Escape and hope, Arturo, there cannot be.
ARTURO ARTURO No, Reina. No, my Queen.
ENRICHETTA ENRICHETTA No, ah! non v’è speme. No, ah! There is no hope.
ARTURO ARTURO No, Reina, ancor v’ha speme: No, my Queen, there is still hope: o te salva, o spenti insieme. You will be saved, or we die together.
ENRICHETTA ENRICHETTA Cangia, ah cangia di consiglio, Change, ah change your mind! Pensa, o Arturo, al tuo periglio, Think, o Arturo, of your own peril! Pensa, Artur, pensa a Elvira, il tuo tesor Think, Arturo, of your dearest Elvira, Che t’attende al sacro altar! Awaiting you at the sacred altar!
ARTURO ARTURO Ah! cessa, per pietà! Ah, stop, I beg of you!
28 ENRICHETTA ENRICHETTA Va! Go!
ARTURO ARTURO Ah! cessa, per pietà! Ah, stop, I beg of you! Non parlar di lei che adoro; Do not speak of the woman I adore; Di valor non mi spogliar. Do not strip me of my valor. Sarai salva, o sventurata, You will be saved, o unfortunate woman, O la morte incontrerò; Or I will confront death; E la vergin mia adorata And while dying call out Nel morire invocherò. For my cherished maiden.
ELVIRA ELVIRA Ah! Sì! Ah! Yes!
SCENA VIII SCENE VIII
(tr. 5) Escono Elvira e Giorgio. Lei ha il capo corona- Giorgio and Elvira come out. Her hair is crowned to di rose, ha un bellissimo monile di perle al collo; with roses and she wears a pearl necklace, wait- si vede peraltro che le manca il compimento della ing for the wedding ceremony to begin. She pompa nuziale. Entra in scena avendo nelle mani il me t t e e e d a ma e t ma e a re a at e da rtur white veil, Arturo’s gift to her.
ELVIRA ELVIRA Son vergin vezzosa I am a lovely maiden In vesta di sposa; In her bridal dress; Son bianca ed umile I am as white and humble Qual giglio d’april; As a lily in April; Ho chiome odorose My hair is scented Cui cinser tue rose; By your wreath of roses; Ho il seno gentile Your necklace Del tuo monil. Graces my breast. ELVIRA ELVIRA (ad Enrichetta) (To Enrichetta) Dimmi, s’è ver che m’ami ... Tell me, if you truly love me … 29 ENRICHETTA ENRICHETTA Dimmi, o gentil, che brami? Tell me, my dear, what do you want?
ELVIRA ELVIRA Qual mattutina stella Just like the morning star Bella voglio brillar: I want to shine: Del crin le molli anella Help me to arrange Mi giova ad aggraziar. The soft curls of my hair.
ENRICHETTA ENRICHETTA Sì, son presta al tuo pregar, Yes, I will gladly do as you ask, Diletta fanciulletta, son presta, Dear girl, most gladly, Son presta al tuo pregar, I will gladly do as you ask, O vera Dea d’april. O true Goddess of April.
ELVIRA ELVIRA A illegiadrir la prova, Please take no offense, Deh! non aver a vil I will try a new fashion Il velo in foggia nuova As I adorn your noble head Sul capo tuo gentil. With the veil.
ARTURO ARTURO Sull’ali della vita e is st a ed lin Cominicia or a volar In the ways of life. Deh! scusa e tu l’aita Please excuse her simple playfulness Nel semplice aleggiar And help her Ti presta al suo pregar; Do what she asks; Se miro il suo candor As I look at her purity, Mi par la luna allor She is like the moon Che tra le nubi appar, Appearing through the clouds La notte a consolar. To brighten the night.
GIORGIO GIORGIO Deh! scusa, l’aita Please excuse her simple playfulness Nel semplice aleggiar And help her
30 Ti presta al suo pregar; Do what she asks; Se miro il suo candor When I look at her purity, Mi par la luna allor She is like the moon Che tra le nubi appar, Appearing through the clouds La notte a consolar. To brighten the night.
ELVIRA, ENRICHETTA, ARTURO, GIORGIO ELVIRA, ENRICHETTA, ARTURO, GIORGIO Sì, sì, sì! Yes, yes, yes!
(Elvira pone il velo sul capo d’Enrichetta.) (Elvira puts the veil on Enrichetta’s head.)
ELVIRA ELVIRA O bella, ti celo Oh, beautiful lady, I am hiding Le anella del crin, The curls of your hair, Com’io nel bel velo st as in t at fne eil Mi voglio celar. Want to hide mine. Ascosa vezzosa Now so prettily hidden Nel velo divin Behind that heavenly veil Or sembri la sposa You now look like a bride Che vassi all’altar. On her way to the altar.
ENRICHETTA ENRICHETTA (a sé) (Aside) Ascosa dentro il vel, Hidden behind this veil, Or posso almen celar At least now I can conceal L’affanno, il palpitar, My suffering, my trembling, L’angoscia del mio cor! The anguish in my heart! Deh! tu, pietoso ciel, I pray, merciful heaven, Raccogli con favor Receive with favor La prece ch’oso a te levar! The prayer I dare lift up to thee!
ARTURO ARTURO (a sé) (Aside) Oh! come da quel vel Oh, as with that veil Che le nasconde il crin That hides her hair,
31 Veggio un splendor divin see a as Di speme a balenar. Of divine radiance of hope! Deh! tu, pietoso ciel, I pray, merciful heaven, M’accorda il tuo favor Grant me thy favor La vittima salvar! To save this victim!
GIORGIO GIORGIO Elvira col suo vel With her veil, Elvira n e fretto a ar Is like a gentle zephyr. Un’iride sul mar, A rainbow over the sea, n sil o in re bo ai for. s l at rest on t e o ers. T’arrida, o cara, il ciel May heaven, my darling, smile upon you Col roseo suo favor, With its brightest favor. Tal ch’io ti vegga ognor gioir So may I see you forever happy, Tra vezzi a giubiliar. Rejoicing in your blessings.
WALTON, CASTELLANI, CASTELLANE WALTON, LORDS AND LADIES (di dentro) (From within) Elvira, Elvira, il dì, l’ora, avanza! Elvira, Elvira, the day, the hour grows late!
ELVIRA ELVIRA Ah! se il padre s’adira Ah! If my father is angry, Io volo a mia stanza. I must rush to my room.
ENRICHETTA ENRICHETTA (a sé) (Aside) Ascosa dentro il vel, ecc. Hidden behind this veil, etc.
ARTURO ARTURO (a sé) (Aside) Deh tu, pietoso ciel, ecc. I pray, merciful heaven, etc. GIORGIO GIORGIO Deh! riedi a tua stanza; Go back, then, to your room; Sarà il tuo fedele Your beloved will be there Che t’orni del vel. To put the veil on you. 32 WALTON, CASTELLANI, CASTELLANE WALTON, LORDS AND LADIES (di dentro) (From inside) Elvira, Elvira, il dì, l’ora, avanza! Elvira, Elvira, the day, the hour grows late!
ELVIRA ELVIRA Ah! poscia, o fedel, Ah! Then, my beloved, Tu posami il vel, ah! Put the veil on me yourself, ah! Mi posa il vel. Put the veil on me.
ARTURO ARTURO (a sé, poi a Elvira) (Aside, then to Elvira) Deh! tu, pietoso ciel, I pray, merciful heaven, Raccogli con favor Receive with favor La prece di dolor The prayer of sorrow Che oso a te levar, That I am bold to lift up to Thee La vittima salvar. To save this victim. Il tuo fedel sarà Your beloved will be there Che t’orni del vel, ecc. To put the veil on you, etc.
ENRICHETTA ENRICHETTA (a sé) (Aside) Deh! tu, pietoso ciel, ecc. I pray, merciful heaven, etc.
GIORGIO GIORGIO Deh! riedi a tua stanza, ecc. Go back, then, to your room, etc. (Elvira parte colle damigelle e con Giorgio.) (Elvira leaves with her ladies in waiting and Giorgio.)
SCENA IX SCENE IX
(tr. 6) ENRICHETTA ENRICHETTA Sulla verginea testa d’una felice A white veil suits Un bianco vel s’addice, The head of a happy maiden, A me non già ... But no, not mine … (in atto di deporre il velo) (Just as she is putting down the veil)
33 ARTURO ARTURO T’arresta! Stop! È chiaro don del ciel! This is plainly a gift from heaven! Così ravvolta Wrapped like that you will fool Deluderai la vigilante scolta! the vigilant escort! Mia sposa parrai. You will look like my bride! Vieni. Come!
ENRICHETTA ENRICHETTA Che dici mai? What are you saying? Tu corri a tua ruina, a infame sorte! You are rushing to your ruin, to a dreadful fate!
ARTURO ARTURO (afferrandole la mano in atto di forzarla a (Seizing her hand, to force her to go) partire) Come, ah come, I beg of you … Vieni, ah, vieni, per pietà ... t’involo a certa morte. I am stealing you from certain death.
SCENA X SCENE X
(tr. 7) RICCARDO RICCARDO (colla spada sguainata) (With sword drawn) Ferma! Stop there! Invan, invan rapir pretendi In vain, in vain do you hope to abduct Ogni ben ch’io aveva in terra! All I once held dear on earth! Invan! Invan! Ferma! In vain, in vain! Stop there! i ti sfdo a ortal erra I challenge you here to mortal combat, Trema, ah! trema del mio acciar! Tremble, ah! Tremble at my blade!
ARTURO ARTURO Sprezzo, audace, il tuo furore; I scorn your fury, brazen one; a ortal disfda accetto I accept your challenge to the death! Vien, vien, vieni! Come, come, come! Questo ferro nel tuo petto I want to drive this steel Sino all’elsa io vo’ piantar. To the hilt into your breast. No, non ti temo, ti sprezzo, audace; No, I do not fear you. I scorn you, brazen one;
34 a t a ortale disfda accetto I accept your challenge to the death, Non temo il tuo furor. I do not fear your fury. Non temo, indegno, I do not fear, o villain, Ti sprezzo e non temo il tuo furor. I scorn you and do not fear your fury.
ENRICHETTA ENRICHETTA V’arrestate. Pace, ah! pace; Desist, both of you. Peace, ah, peace! Per me sangue, ah, non versate! Ah, shed no blood for my sake.
RICCARDO RICCARDO Va, ti scosta! Go, move away!
ARTURO ARTURO Oh! ciel, che fai? Oh heaven, what are you doing?
ENRICHETTA ENRICHETTA (scoprendosi e gettandosi in mezzo (Uncovering her face and throwing herself ad essi) between them) No, v’arrestate; Desist, both of you. Peace, ah, peace! Per me sangue, ah! non versate. Ah, shed no blood for my sake.
ARTURO ARTURO Ah! che festi? Ah, what have you done?
RICCARDO RICCARDO (con stupore) (Astonished) La prigioniera! The prisoner!
ENRICHETTA ENRICHETTA Dessa io son. Truly I am.
ARTURO ARTURO Vien ... Come … Tua voce altera Now enforce your noble words Or col ferro sosterrai. With my steel.
35 RICCARDO RICCARDO (freddamente) (Dispassionately) No, con lei tu illeso andrai. No, you shall go unharmed with her.
ARTURO ARTURO Con lei fa er With her? Can it be so?
ENRICHETTA ENRICHETTA Qual favellar! What words!
RICCARDO RICCARDO Più non vieto a voi l’andar. I will no longer block your passage.
ENRICHETTA ENRICHETTA (a sé) (Aside) Sogno? Am I dreaming?
ARTURO ARTURO Andiam, andiam. Let us go, let us go.
RICCARDO RICCARDO Parti. Now leave.
ARTURO ARTURO Andiam. Let us go.
RICCARDO RICCARDO (a sé) (Aside) O stolto! O foolish one!
ARTURO ARTURO (a sé) (Aside) Addio, o Elvira, Farewell, o Elvira, Addio, mio ben. Farewell, my love.
36 CASTELLANI, CASTELLANE LORDS AND LADIES (di dentro) (From within) Al tempio andiam, To the church, let us go! A festa andiam! To the wedding feast!
ARTURO ARTURO Ah! partiam ... alcun s’appressa. Ah, let us depart … Someone is approaching.
RICCARDO RICCARDO Sì, n’andate ... il vuole Iddio. Yes, away with you … God wills it.
CASTELLANI, CASTELLANE LORDS AND LADIES (di dentro) (From within) A festa! To the wedding feast!
ARTURO ARTURO Pria che siam oltre le mura Before we pass the fortress walls Parlerai? Will you tell the others?
RICCARDO RICCARDO No, t’assicura. No, I assure you.
ARTURO ARTURO Ebben, lo giura. Then swear to it.
RICCARDO RICCARDO Sì, lo giuro. Yes, I swear.
ENRICHETTA, ARTURO ENRICHETTA, ARTURO Addio. Farewell.
RICCARDO RICCARDO Addio. Farewell.
37 ARTURO ARTURO Ah! Elvira mia io lungi e in guai Ah yes, my Elvira, far away and in distress, Sì, t’amerò com’io t’amai. I will love you as I loved you before.
ENRICHETTA ENRICHETTA Ah! sì, n’andrò al f lio accanto. Ah yes, I will go from here to be with my son.
RICCARDO RICCARDO Sì, patria, amor, tu perderai, Yes, homeland and love you will lose. Sarà la tua vita un mar di guai. Your life will be a sea of troubles.
(Enrichetta e Arturo partono.) (Enrichetta and Arturo depart.)
(tr. 8) RICCARDO RICCARDO (osservando) (Watching them) È già al ponte, passa il forte, Now to the drawbridge, past the fort and to È alla porta, già ne andò. the gate and away.
(Sortono Elvira, Giorgio, Walton, Bruno, castel- (Enter Elvira, Giorgio, Walton, Bruno, lords and lani e castellane.) ladies.)
ELVIRA ELVIRA Dov’e Arturo? Where is Arturo?
RICCARDO RICCARDO Egli era qui. He was just here.
ELVIRA, GIORGIO, WALTON ELVIRA, GIORGIO, WALTON Ove sei, o Arturo? Where are you, o Arturo?
CASTELLANI, CASTELLANE CASTELLANI, CASTELLANE Artur! Artur! Arturo! Arturo!
GIORGIO, WALTON GIORGIO, WALTON Ove sei? Where are you?
38 BRUNO BRUNO Partì da qui. He is gone from here.
GIORGIO, WALTON GIORGIO, WALTON Partì? Gone?
CASTELLANI, CASTELLANE LORDS AND LADIES Partì! Gone!
GIORGIO GIORGIO Già fuor delle mura. Already outside the walls.
ELVIRA, CASTELLANE ELVIRA, LADIES Laggiù alla pianura. Down on the plain.
GIORGIO, CASTELLANI GIORGIO, LORDS La tua prigioniera! Your prisoner!
ELVIRA, CASTELLANE ELVIRA, LADIES La rea messaggiera! The guilty spy!
GIORGIO, CASTELLANI GIORGIO, LORDS Col vil cavaliero! With the craven knight!
CASTELLANI, CASTELLANE LORDS AND LADIES Ciascun su un destriero Everyone, mount up! Spronando, volando mirate colà! Spur your horses and head out!
ELVIRA ELVIRA Ah! Ah!
RICCARDO, GIORGIO RICCARDO, GIORGIO Soldati, correte, coi bronzi tuonate, oldiers co e r nnin fre t e cannons All’arme appellate, correte, volate. Sound an alarm, run quickly, Pel crin trascinate i due traditor! Drag the two traitors back in shame!
39 CASTELLANI LORDS All’arme! All’arme! To arms! To arms!
CASTELLANI, CASTELLANE LORDS AND LADIES Correte sui traditor. Run the traitors down.
BRUNO, RICCARDO, GIORGIO, WALTON BRUNO, RICCARDO, GIORGIO, WALTON Soldati, correte, coi bronzi tuonate, oldiers co e r nnin fre t e cannons ra Pel crin trascinate i due traditor. the two traitors back in shame!
CASTELLANI LORDS All’arme! All’arme! To arms! To arms! Pel crin trascinate i traditor! Drag the two traitors back in shame!
ELVIRA ELVIRA Ahimè! Ahimè! Ahimè! Alas! Alas! Alas!
RICCARDO, WALTON RICCARDO, WALTON Ah! come nel seno Ah, how the poison Si mesce il veleno Of scorn and love Di sdegno e d’amor! Pours into my breast!
GIORGIO GIORGIO Coi bronzi tuonate, Fire the cannons! Pel crin trascinate i traditor! Drag the two traitors back in shame!
CASTELLANI, CASTELLANE LORDS AND LADIES Ciel! Oh, heaven!
ELVIRA ELVIRA (con dolore) (Sorrowfully) La dama d’Arturo è in bianco velata Arturo’s lady is veiled in white. La guarda e sospira - He looks at her and sighs – Sua sposa la chiama. He calls her his bride. Elvira è la dama? Elvira is the lady?
40 Non sono più Elvira? Am I no longer Elvira? La dama? The lady?
CASTELLANI, CASTELLANE LORDS AND LADIES La misera è pallida. The poor girl is pale. È immobile e squallida. She stands motionless and wretched. Ciel! Oh, heaven!
ELVIRA ELVIRA Arturo! Arturo!
CASTELLANI, CASTELLANE LORDS AND LADIES O Ciel! O Heaven!
ELVIRA ELVIRA Ahimè! Alas!
CASTELLANI, CASTELLANE LORDS AND LADIES Elvira! Che dici? Elvira! What are you saying?
ELVIRA ELVIRA Io Elvira! No, no! Am I Elvira? No. no!
CASTELLANI, CASTELLANE LORDS AND LADIES Ti scuota, o Elvira. You are shaken, o Elvira. Demente vivrà, demente vivrà. Mad she shall live, mad she shall live. Dolente morrà! Sorrowful she shall die!
ELVIRA ELVIRA (nel suo delirio, crede vedere Arturo) (In her frenzy, she thinks she sees Arturo) Arturo, tu ritorni? T’appressa ancor ... Arturo, have you come back? Come closer … ancor ... Still closer … Oh! Vieni, oh! Vieni. Ah, come! Ah, come!
(tr. 9) O! viene al tempio, fedele Arturo, Oh, come to the church, faithful Arturo,
41 Eterna fede, mio ben, ti giuro! Eternal troth, my love, I pledge you! Com’ oggi è puro, As the day is pure, Sempre avrò il cor. So I will keep my heart. Ah! vieni, con te vivrò d’amor, Ah, come, with you I shall live in love, D’amor morrò. In love I shall die.
CASTELLANI, CASTELLANE LORDS AND LADIES Oh ciel, pietà! Heaven, have mercy!
RICCARDO RICCARDO Oh come ho l’anima triste e dolente Oh, how my sad soul suffers Udendo i pianti dell’innocente! To hear that innocent weeping!
GIORGIO GIORGIO Oh come ho l’anima triste e dolente Oh, how my sad soul suffers! co e erfdo il traditor Oh, how wicked was the traitor!
ELVIRA ELVIRA Oh contento! Ah! mio bene! Vieni a me! Oh happiness! Ah, my love! Come to me!
BRUNO, CASTELLANI, CASTELLANE BRUNO, LORDS AND LADIES Oh come ho l’anima triste e dolente! Oh, how my sad soul suffers!
RICCARDO, GIORGIO RICCARDO, GIORGIO Fia sempre infame il traditor, May the traitor be infamous forever, Che in tante pene lascia quel cor. Who leaves that heart such pain.
ELVIRA ELVIRA Ah! vieni al tempio, fedele Arturo, ecc, Ah, come to the church, faithful Arturo, etc.
CASTELLANE LADIES Oh come ho l’alma lassa e dolente, Oh, how my sad soul suffers Udendo i pianti dell’innocente! To hear that innocent weeping! Oh come crudo fu il traditor Oh, how cruel was the traitor Che in tante pene lasciò quel cor! Who left that heart in such pain!
42 CASTELLANI LORDS Sì crede all’ara, giura She thinks she is at the altar, exchanging vows ad Arturo, with Arturo -- lla s fda ei s s er i ro She so faithful, he so false, Ella sì pura, ei traditore! She so pure, and he a traitor! isera f lia orr d a or. The wretched girl will die for love. O traditor! O traitor!
ELVIRA ELVIRA Ah! vieni, t’affretta, o Arturo. Ah! come quickly, o Arturo. Ah! vieni, ah! vieni a me. Ah! come, ah! come to me. Ah! vieni, Artur, vivrò d’amor, Ah! come, Arturo, I shall live for love, Morrò d’amor, ecc. I shall die for love, etc.
RICCARDO RICCARDO O come ho l’alma triste e dolente, Oh, how my sad soul suffers Udendo i pianti dell’innocente! To hear that innocent weeping! O come crudo fu il traditore! Oh, how cruel was the traitor! Sì, più la miro, ho più Yes, the more I look at her, doglia profonda, the deeper my pain, E più l’alma s’accende in amor, And the more my soul lights up with love. Ma più avvampa tremendo il furore, t r ares t e ore Contro chi tanto ben m’involò! Against the man who stole my dearest love.
GIORGIO GIORGIO Dio di clemenza, t’offro mia vita God of mercy, I offer my life Se all’innocenza giovi d’aita. If you come to the aid of innocence. Deh sii clemente a un puro core; I pray, have mercy on a pure heart; Sì, la mia prece pietosa e profonda Yes, hear my pious and fervent prayer Che a te vien sui sospir del dolor, Coming with sighs of sorrow Tu, clemente, consola, o Signore, to Thee, merciful Lord, Per la vergin cui l’empio immolò! For the maid so cruelly betrayed!
CASTELLANE LADIES Sì crede all’ara, giura She thinks she is at the altar, exchanging vows
43 ad Arturo, with Arturo -- lla s fda ei si s er i ro She so faithful, he so false, Ella sì pura, ei traditore! She so pure, and he a traitor! isera f lia orr d a or The wretched girl will die for love.
CASTELLANI LORDS Oh come ho l’alma triste e dolente, Oh, how my sad soul suffers Udendo i pianti dell’innocente! To hear that innocent weeping! Oh come crudo fu il traditore, Oh, how cruel was the traitor Che in tante pene lasciò quel cor! Who left that heart in such pain! isera f lia orr d’amor. The wretched girl will die for love.
(tr. 10) ELVIRA ELVIRA (fa un moto, quasi tornando a vedere Arturo, M e a ut a t at t e fee rtur che fugge) But are you still running away from me? Ma tu già mi fuggi? Crudele, abbandoni How cruel to abandon Chi tanto t’amò! Ah, crudel! the woman who loved you so! Ah, cruel one!
CASTELLANI, CASTELLANE LORDS AND LADIES Ahi! dura sciagura! Ah, woe! Cruel misfortune!
CASTELLANI LORDS Ahi! lutto e dolore! Ah! Grief and woe!
ELVIRA ELVIRA Qual febbre vorace A fever consumes me, M’uccide mi sface. It kills me, destroys me. al fa a s c a a e Ah, qual ira m’avvampa! an er ares inside e Fantasmi perversi, Foul specters, Fuggite dispersi, rea and a a Oh in tanto furor Oh, how furiously Sbranetemi il cor! You tear apart my heart!
44 CASTELLANI, CASTELLANE LORDS AND LADIES Ahi! lutto e dolor! ahi! Ah, woe! Cruel misfortune! Woe! Ahi dolor! Ella sì pura! Oh, sorrow! She, so pure! Sì bella, sì pura, So beautiful, so pure! Del ciel creatura! Heavenly creature! Ahi! avrà vendetta! Woe! She will be avenged! Ahi! dolor! Oh, sorrow! Ahi! sta maledetta, Yes, accursed be The guilty couple. S la co ia rea s la f lia a r endetta Yes, the girl will be avenged, Andrà maledetta la coppia fuggente c rse ill ollo t e eein co le Vendetta cadrà sul vil traditor, sì! Vengeance will fall on the vile traitor, yes! Non casa, non spiaggia raccolga i fuggenti! Let no house or shore receive the fugitives! In odio del cielo, in odio ai viventi Hated in heaven and here below, Battuti dai venti, Assailed by the winds Da orrende tempeste, le odiate nd earso e stor s a t e fnd Lor teste non possan posar. No place to rest their loathsome heads. Erranti piangenti Weeping as they wander In orrida guerra, In frightful struggle Col cielo e la terra, With heaven and earth, Il mar, gli elementi, The sea, the elements, Ognor maledetti, Forever accursed In vita ed in morte, In life and death, Sia eterna lor sorte, May their fate be eternal, Eterno il penar. Eternal their pain.
ATTO SECONDO SECOND ACT
SCENA I SCENE I
(tr. 11) Sala con porte laterali. Vedesi per una di A hall with doors to the side, from one of which e e am e e e ua e rt a e t e am a d rt at a e ee
CASTELLANI, CASTELLANE LORDS AND LADIES Ah! dolor! Ah! terror! Ah! terror! Ah! pietà! Ah, sorrow! Ah, horror! Ah, horror! Ah, pity! Piangon le ciglia si spezza il cor. As we weep, our hearts are breaking.
45 a itta orr d a or. The lovelorn girl will die of love! Ah! terror! Ah! dolor! Ah, horror! Ah, sorrow! Il duol l’invase. Grief has overwhelmed her. La vidi errante tra folte piante I saw her wandering deep into the woods. Per le sue case gridando va. She goes wailing from room to room. Pietà!, ecc. Pity!, etc.
SCENA II SCENE II
(tr. 12) Giorgio esce dagli appartamenti d’Elvira: Giorgio comes from Elvira’s apartments: then poi Riccardo con foglio. Riccardo with a sheet of paper.
CASTELLANI, CASTELLANE LORDS AND LADIES (a Giorgio) (To Giorgio) Qual novella? What news?
GIORGIO GIORGIO Or prende posa. She is resting now.
CASTELLANI, CASTELLANE LORDS AND LADIES Miserella! Miserella! The poor girl! The poor girl! E ognor dolente? And still grieving?
GIORGIO GIORGIO Mesta ... e lieta ... She is sad … and happy …
CASTELLANI, CASTELLANE LORDS AND LADIES Ma ... non ha tregua? But … has she no peace?
GIORGIO GIORGIO Splende il senno … e si dilegua Her wits return … and then Alla misera innocente. The poor girl loses them again.
CASTELLANI, CASTELLANE LORDS AND LADIES Come mai? Come mai? But how? How?
46 GIORGIO GIORGIO Dirlo poss’io? How can I say it? Tanto affanno m’ange il seno So much grief weighs on my breast Ch’ogni voce trema e muor! That every word dies on my trembling lips!
CASTELLANI, CASTELLANE LORDS AND LADIES Ah! favella. Ah, speak!
GIORGIO GIORGIO Voi chiedete? Must you ask me?
CASTELLANI, CASTELLANE LORDS AND LADIES Ten preghiam. We beseech you.
GIORGIO GIORGIO Ah! cessate. Ah, do not ask.
CASTELLANI, CASTELLANE LORDS AND LADIES Ten preghiam. We beseech you.
GIORGIO GIORGIO Deh! cessate. Do not ask, I pray you.
CASTELLANI, CASTELLANE LORDS AND LADIES Ten preghiam per quel dolor We beseech you because of the pain Che soffriamo al tuo dolor. That your sorrow brings us.
GIORGIO GIORGIO Ebben, se volete, v’appressate. Well, then. If you wish, draw near. (tr. 13) Cinta di fori e col bel crin disciolto it o ers in er ild air Talor la cara vergine s’aggira, The dear maiden can be seen to roam, c iede all a ra ai for con esto olto: Downcast as she asks the open air “Ove andò Elvira? and t e o ers: Ove andò? “Where has Elvira gone? Where? Ove andò?” Where has she gone?”
47 CASTELLANI, CASTELLANE LORDS AND LADIES Misero cor! Unhappy soul!
GIORGIO GIORGIO Bianco vestita, e qual se all’ara innante Clad in white as if at the altar Adempie il rito, e va cantado: “il giuro”; For the ceremony, singing, “I do”; Poi grida, per amor tutta tremante: Then she cries all atremble with love: “Ah, vieni, Arturo, ah, vieni, Artur!” “Ah come, Arturo! Ah come, Arturo!”
CASTELLANI, CASTELLANE LORD AND LADIES Ah! quanto fu barbaro il traditor! Ah, how brutal was the traitor! Misero cor, morrà d’amor! Unhappy soul! She shall die for love.
GIORGIO GIORGIO Geme talor qual tortora amorosa, Sometimes she coos like a loving dove, Or cade vinta da mortal sudore, Then she falls into a deathly sweat, Or l’odi, al suon dell’arpa lamentosa, Or you can hear her play her plaintive harp Cantar d’amor, d’amor. Singing of love, of love.
CASTELLANI, CASTELLANE LORDS AND LADIES Misero cor! Unhappy soul!
GIORGIO GIORGIO Or scorge Arturo nell’altrui sembiante, Now she sees Arturo in others’ faces. Poi del suo inganno accorta, Then she awakens from her error e di sua sorte, and to her fate, Geme, piange, s’affanna She moans and weeps, e ognor più amante, And stricken even more by love, Invoca morte, morte. Calls for death, death.
GIORGIO, CASTELLANI, CASTELLANE GIORGIO, LORDS AND LADIES Cada il folgor sul traditor! May lightning strike the traitor! Ahi! la misera morrà d’amor! Ah, woe! The poor girl will die for love! Cada il folgor sul traditor, sì! May lightning strike the traitor, yes!
48 GIORGIO GIORGIO Oh ciel, prendi pietà al suo dolor! Oh heaven, take pity on her pain!
(tr. 14) RICCARDO RICCARDO (entra con un foglio) (Entering with a sheet of paper) E di morte lo stral non sarà lento! Death will not be long in coming! Alla scure Artur Talbo è condannato To the axe Arturo Talbo is condemned Dall’Anglican Sovrano Parlamento. By the Sovereign English Parliament. Ecco il suo fato! Here is his sentence!
RICCARDO, GIORGIO, CASTELLANI, CASTELLANE RICCARDO, GIORGIO, LORDS AND LADIES Quaggiù nel mal che questa valle serra, Here in this vale of tears, Ai buoni e ai tristi è memorando esempio It is a lesson for good Se la destra di Dio and wicked alike to heed possente afferra When almighty God’s right hand Il crin dell’empio. Smites the head of the guilty.
RICCARDO RICCARDO Di Walton l’innocenza a voi proclama Parliament proclaims Walton’s innocence Il Parlamento e ai primi onor lo chiama. And restores his honors.
CASTELLANI, CASTELLANE LORDS AND LADIES Qual doglia, Walton, se vedran tue ciglia What pain, Walton, should your eyes nsana ancor la t a diletta f lia Behold your dearest child as mad as ever!
RICCARDO RICCARDO E non v’ha speme alcuna? So is there no hope?
GIORGIO GIORGIO Medic’ arte n’assicura che una We know from medical arts subita gioia, that sudden joy O gran sciagura potria sanare la Or great misfortune mente sua smarrita. Could heal her distracted mind.
49 CASTELLANI, CASTELLANE LORDS AND LADIES al ai erita rt r ena infnita How deeply Arturo deserves eternal punishment!
RICCARDO RICCARDO In me, duce primiero, parla Cromvello. n e is frst in co and Cro ell s ea s. Il vil, che ancora è in fuga, Go now, all of you. Pursue E di sangue civil bagnò Inghilterra, The vile fugitive Ite, cercate or voi. Who has drenched England E se sua rea fortuna, In civil blood. O malizia, lo tragga a questa terra, And if his vile fortune, Non abbia grazia, né pietade alcuna. Or treachery, bring him into this land, (Partono i castellani e le castellane.) a e fnd no ardon or it . (Lords and Ladies leave.)
CD 3
SCENA III SCENE III
(tr. 1) ELVIRA ELVIRA (di dentro) (Aside) O rendetemi la speme, Restore my hope O lasciate, lasciatemi morir! Or let me, let me die.
GIORGIO GIORGIO Essa qui vien … la senti? She is coming here … Do you hear her?
GIORGIO, RICCARDO GIORGIO, RICCARDO Oh! com’è grave il suon de’ suoi lamenti. Oh, how miserable, the sound of her lamenting.
(Esce Elvira scapigliata. Il volto, il guardo o ogni (Elvira comes out disheveled. Her face, her expres- passo di Elvira palesano la sua pazzia.) sions and every step betray Elvira’s madness.)
ELVIRA ELVIRA Qui la voce sua soave Just now his tender voice
50 Mi chiamava e poi sparì. Was calling me, but vanished. Qui giurava esser fedele, Just now his troth Qui il giurava, He was pledging, E poi crudele, ei mi fuggì! nd t en t e cr el an ed ro e Ah! mai più qui assorti insieme Ah, never again to be caught up Nella gioia dei sospir. In our sighs of joy. Ah! rendetemi la speme, Ah, restore my hope, O lasciate, lasciatemi morir! Or let me, let me die.
GIORGIO, RICCARDO GIORGIO, RICCARDO Quanto amor è mai raccolto How much love I see In quel volto, in quel dolor! In that face and in that pain!
(Elvira a poco a poco si avvicina a Giorgio, lo (Little by little, Elvira approaches Giorgio, gazes guarda, e sforzandosi di risovvenirsi chi esso sia, at him and, trying to remember who he is, says gli dice:) to him:)
ELVIRA ELVIRA Chi sei tu? Who are you?
GIORGIO GIORGIO Non mi ravvisi? Do you not recognize me?
ELVIRA ELVIRA (riconoscendolo con allegrezza) (Delighted to recognize him) Sì … sì … mio padre … E Arturo? Yes … yes … my father … And Arturo? And love? E l’amore? Speak, speak … Parla, parla … Ah, you are smiling and drying Ah! tu sorridi e asciughi your tears! il pianto! To the altar, to the altar you are leading me … A Imene, a Imen mi guidi … al ballo, al canto! to dance, to sing! Ognun s’appresta a nozze, a festa, Everyone is hurrying to the wedding, E meco in danze esulterà. to the feast A festa! And dance their joy with me. To the feast! (a Giorgio) (To Giorgio)
51 Tu pur meco danzerai? Will you dance with me? Vieni a nozze. Vien. Come to the wedding. Come. (si volge e vede Riccardo, lo prende per mano) (Turns and sees Riccardo, taking his hand.) Egli piange! He is weeping!
RICCARDO RICCARDO O Dio! O God!
GIORGIO GIORGIO O Dio! O God!
ELVIRA ELVIRA (a Giorgio) (To Giorgio) Egli piange … forse amò. He is weeping … Perhaps once he loved. (fra sé) (Aside) Piange … He is weeping … (risoluto) (Firmly) … amò! … Once he loved!
GIORGIO, RICCARDO GIORGIO, RICCARDO (fra sé) (Aside) Or chi il pianto frenar può? Who can hold back the tears now? Chi frenar lo può? Who can hold them back?
ELVIRA ELVIRA (a Riccardo) (To Riccardo) M’odi, e dimmi: amasti mai? Hear me, and tell me: have you ever loved?
RICCARDO RICCARDO li occ i a fssa s l io olto Fix your eyes on my face, Ben mi guarda e lo vedrai … Look at me closely and you will see …
ELVIRA ELVIRA Ah! sé piangi … ancor tu sai Ah! If you weep … you still know C e n cor fdo nell a or That a heart faithful in love Sempre vive nel dolor! Always lives in sorrow! 52 GIORGIO GIORGIO (abbracciandola) (Embracing her) Deh! t’acqueta, o mia diletta. Please be still, o my darling. Tregua al duol dal cielo aspetta. Wait for heaven to comfort you.
ELVIRA ELVIRA (scorrendo la scena, fra sé) (Moving about the stage, aside) Mai! Never!
RICCARDO, GIORGIO RICCARDO, GIORGIO Cle ente il ciel ti fa. May heaven be merciful to you!
ELVIRA ELVIRA Mai! Never!
RICCARDO, GIORGIO RICCARDO, GIORGIO L’ingrato oblia, ah, sì! Forget the ingrate, ah, yes!
ELVIRA ELVIRA Mai! Never! Ah! mai più ti rivedrò. Ah, never again will I see you. (con tutta la disperazione del dolore) (With all the desperation of her pain) Ah! toglietemi la vita Ah, take my life O rendete, rendetemi il mio amor! Or return my love to me! (Resta abbattuta ed immobile.) (She stands despondent and motionless.)
RICCARDO, GIORGIO RICCARDO, GIORGIO Ah! si fa mia la sua ferita, Ah, she makes her pain my own. Mi dispera e squarcia il cor. She aggrieves me and rends my heart.
(Elvira si volge in atto furente verso Riccardo e (Elvira turns in a fury toward Riccardo and Gi- Giorgio. Dopo un poco ella sorride e atteggia il orgio. After a brief moment, she smiles and her volto alla maniera de’ pazzi.) face is one of a madwoman.)
53 (tr. 2) GIORGIO GIORGIO Tornò il riso sul suo aspetto. She has begun to smile again.
RICCARDO, GIORGIO RICCARDO Qual pensiero a lei brillò? What thought has come to her?
ELVIRA ELVIRA (crede esser con Arturo) (Believing herself with Arturo) Non temer del padre mio, Have no fear of my father, lla fne lo lac er . In the end I will bring him around. Ah, non temer, lo placherò. Ah, have no fear, I will bring him around. Ogni duolo andrà in oblio; Every sorrow will be forgotten; Sì, felice io ti farò. Yes, I will make you happy. Non, temer del padre mio, Have no fear of my father, Vien, felice ti farò. Come, I will make you happy.
RICCARDO RICCARDO Qual bell’alma innamorata Such a beautiful, loving soul Un rival toglieva a me! sì! A rival was taking from me! Yes!
GIORGIO GIORGIO Ella in pene abbandonata In sorrow, abandoned, Sogna il bene che perdè! sì! She dreams of the love she lost! Yes!
(tr. 3) ELVIRA ELVIRA Vien, diletto, è in ciel la luna! Come, my dearest, the moon is high! Tutto tace intorno, intorno; All is quiet all about, everywhere; fnc s nti in ciel il iorno Ah, come rest on my heart Ah, vien, ti posa sul mio cor! Until the sun rises in the sky! Deh! t’affretta, o Arturo mio, O my Arthur, I beg you, Riedi, o caro, alla tua Elvira; Hurry back to your Elvira, my love; Essa piange e ti sospira, She weeps and sighs for you, Vien, o caro, all’amore. Come, my darling, to love.
54 RICCARDO, GIORGIO RICCARDO, GIORGIO Possa tu, bell’infelice, a o fnd n a bea t Mercè aver di tanto affetto, Pity for your such loving feelings. Possa un giorno nel diletto May you one day forget Obliare il suo dolor, sì. Your sorrow in happiness, yes!
ELVIRA ELVIRA Vien, diletto, è in ciel la luna, ecc. Come, my dearest, the moon is high, etc. Artur, riedi al primo amor. rt ro co e bac to o r frst lo e.
RICCARDO, GIORGIO RICCARDO, GIORGIO Ah! Ricovrarti omai t’addice, Ah, it is time for you to retire! Stende notte il cupo orror, sì. Night’s dark gloom is falling. (Parte Elvira.) (Elvira leaves.)
SCENA IV SCENE IV
(tr. 4) GIORGIO GIORGIO Il rival salvar tu dêi, You must save your rival, Il rival salvar tu puoi. You can save your rival.
RICCARDO RICCARDO Io nol posso. I cannot.
GIORGIO GIORGIO No? Tu nol vuoi. No? You do not want to.
RICCARDO RICCARDO (con sdegno) (Scornfully) No. No.
GIORGIO GIORGIO Tu il salva! Do it, save him!
55 RICCARDO RICCARDO No, ah! no, ei perirà! No! Ah, he will perish!
GIORGIO GIORGIO Tu quell’ora or ben rimembri Clearly you remember that time Che fuggì la prigioniera. en t e risoner ed.
RICCARDO RICCORDO Sì. Yes.
GIORGIO GIORGIO E d’Arturo fu colpa intera? And did Arturo bear the full blame?
RICCARDO RICCARDO (quasi sdegnandosi) (Starting to take offense) Tua favella ormai … Are you telling me …
GIORGIO GIORGIO È vera. The truth.
RICCARDO RICCARDO Parla aperto. Out with it.
GIORGIO GIORGIO Ho detto assai. I have said enough.
RICCARDO RICCARDO Fu voler del Parlamento, It was the will of Parliament Se ha colui la pena estrema; To condemn him to death; Dei ribelli l’ardimento In Arturo we shall quell In Artur si domerà. The zeal of the rebels. Io non l’odio, io nol pavento, I do not hate him, I do not fear him, Ma l’indegno perirà. But the culprit must perish.
56 GIORGIO GIORGIO No! Un reo tormento No! A wicked torment Or t’invade e acceca … Overwhelms and blinds you … ah! trema! Ah, tremble! Il rimorso e lo spavento Remorse and dread La tua vita strazierà. Will plague your life. e il ri al er te fa s ento Should you cause your rival’s death, Un’altr’alma seco andrà. Another soul will go with him.
RICCARDO RICCARDO Chi? Whose?
GIORGIO GIORGIO ensa o f lio Think, my son! Due vittime farai! You will make two victims! E dovunque tu n’andrai And wherever you go L’ombra lor ti seguirà! Their shades will follow!
(tr. 5) Se tra il buio un fantasma vedrai If in the dark you see a ghost, Bianco, lieve … che geme e sospira, White, faint … moaning and sighing, Sarà Elvira che s’aggira, It will be Elvira out wandering, E ti grida: io son morta per te. And she cries, “I am dead because of you.” Quando il cielo è in tempesta più scuro, When a storm darkens the sky, S’odi un’ombra affannosa, che freme, You hear a gasping shadow atremble, Sarà Artur che t’incalza, ti preme, It will be Arturo chasing and bearing down, Ti minaccia de’ morti il furor. Menacing with the furor of the dead!
RICCARDO RICCARDO Se d’Elvira il fantasma dolente If the doleful ghost of Elvira M’apparisca e m’incalzi e s’adiri, Appears to me, pursuing and entreating, Le mie preci, i sospiri, my prayers, my sighs Mi sapranno ottenere mercè. will vouchsafe me pardon. Se l’odiato fantasma d’Arturo If the loathsome ghost of Arturo Sanguinoso sorgesse d’Averno, Comes forth bloody from Ripiombarlo agli the very gates of Hell,
57 abissi in eterno My great furor will plunge him back Lo farebbe il mio immenso furor. into the depths forevermore.
GIORGIO GIORGIO Sarà Elvira che mesta s’aggira, ecc. It will leave Elvira out wandering, unhappy, etc.
RICCARDO RICCARDO Se d’Elvira il fantasma dolente, ecc. If the doleful ghost of Elvira, etc.
(tr. 6) GIORGIO GIORGIO (abbracciando Riccardo) (Embracing Riccardo) Riccardo! Riccardo! Riccardo! Riccardo! Il duol che si mi accora et t e sorro t at so a icts e Vinca la tua bell’anima. in o er o r fne so l.
RICCARDO RICCARDO Han vinto le tue lacrime … Your tears have done so … Vedi, ho bagnato il ciglio. See? My eyes are bathed in tears.
GIORGIO, RICCARDO GIORGIO, RICCARDO Chi ben la patria adora Those who truly love their homeland Onora la pietà! Act with mercy.
RICCARDO RICCARDO Forse, forse dell’alba al sorgere Perhaps, perhaps at the break of dawn L’oste ci assalirà. An army attacks us; S’ei vi sarà … And he is there ..
GIORGIO GIORGIO S’ei vi sarà? Ei perirà. If he is there? He will perish.
RICCARDO RICCARDO Ei perirà, sì, perirà. He will perish. Yes, he will perish.
58 GIORGIO GIORGIO Mia man non è ancor gelida! My hand is not yet frozen with age! Con te combatterò, sì, sì. ill f t it o . es es
RICCARDO RICCARDO Se armato ei poi verrà, If he comes armed, Per questa mano ei perirà. Then he will perish by this hand.
GIORGIO GIORGIO Sia voce di terror: May our war cry wreak terror: Patria, vittoria, vittoria, onor. Homeland and victory, victory and honor.
(tr. 7) Suoni la tromba, e intrepido Sound the trumpet, and boldly Io pugnerò da forte; all f t it all stren t : Bello è affrontar la morte How sweet to confront death, Gridando: libertà! Shouting: “Liberty!” Amor di patria impavido May intrepid love for the homeland mieta i sanguigni allori, Reap gory laurels Poi terga i bei sudori As mercy wipes away E i pianti la pietà. The brave sweat and tears.
RICCARDO, GIORGIO RICCARDO, GIORGIO All’alba! Until dawn!
GIORGIO GIORGIO Bello è affrontar la morte How sweet to confront death, Gridando: libertà! Shouting: “Liberty!”
RICCARDO RICCARDO Suoni la tromba, e intrepido, Sound the trumpet, and boldly Tu pugnerai da forte, ecc. ill o f t it all o r stren t etc.
RICCARDO, GIORGIO RICCARDO, GIORGIO All’alba! Until dawn!
59 RICCARDO RICCARDO Bello è affrontar la morte How sweet to confront death, Gridando: libertà! Shouting: “Liberty!”
GIORGIO GIORGIO Suoni la tromba, e intrepido Sound the trumpet, and boldly Io pugnerò da forte. all f t it all stren t .
RICCARDO RICCARDO Forse, forse dell’alba -- Perhaps, perhaps at the break of dawn --
GIORGIO GIORGIO All’alba! Until dawn!
RICCARDO RICCARDO -- al sorgere -- an enemy L’oste ci assalirà. attacks us; S’ei vi sarà … And he is there …
GIORGIO GIORGIO Morrà! He shall die!
RICCARDO RICCARDO Sia voce di terror: May our war cry wreak terror: Patria, vittoria. Homeland and victory.
RICCARDO, GEORGIO RICCARDO, GEORGIO Suoni la tromba, e intrepido Sound the trumpet, and boldly Io pugnerò da forte; all f t it all stren t : Bello è affrontar la morte How sweet to confront death, Gridando: libertà! Shouting: “Liberty!”
RICCARDO RICCARDO Amor di patria impavido May intrepid love for the homeland
60 GIORGIO GIORGIO Mieta i sanguigni allori Reap gory laurels
RICCARDO RICCARDO Poi terga i bei sudori As mercy wipes away
GIORGIO GIORGIO E i pianti la pietà. The brave sweat and tears.
RICCARDO, GIORGIO RICCARDO, GIORGIO All’alba! Until dawn! Bello è affrontar la morte How sweet to confront death Gridando: libertà! Shouting: “Liberty!” Sia voce di terror: May our war cry wreak terror: Patria, vittoria, onor. Homeland, victory and honor.
ATTO TERZO THIRD ACT
SCENA I SCENE I Un giardino e boschetto, vicino alla fortezza. A garden and grove near the fortress. A storm is L’uragano è al colmo. Entra Arturo pallido, an- raging at full force. Arturo enters, pallid and out sante; si toglie il grande mantello che l’avvolge. of breath; he takes off the large cloak in which he is wrapped.
(tr. 8) ARTURO ARTURO on sal o alfn son sal o. iei ne ici I am safe, safe at last. My enemies Falliro il colpo, e mi smarrir di traccia. Have missed their mark O patria … o amore, onnipossenti nomi! and lost my trail. Ad ogni passo O homeland … o love, all-powerful words! Mi balza il cor nel seno, e benedico With each step Ogni fronda, ogni sasso. My heart leaps, as I bless Oh! come dolce è un esule infelice Every bough, every stone. Vedere il suo tesoro Oh, how sweet it is for an unhappy exile E, dopo tanto errar To see his beloved
61 di riva in riva, And, after long wandering from shore to shore, aciar alfn la terra s a nati a To kiss at last his native soil! Qual suon! What is that sound?
(tr. 9) ELVIRA ELVIRA (di dentro) (From within) na onte a itto e solo By a fountain, troubled and alone, S’assideva un trovator, Sat a troubadour, E a sfogar l’immenso duolo And to voice his great sadness Sciolse un cantico d’amor. He burst into a song of love. Ah! Ah!
ARTURO ARTURO La mia canzon d’amore! O Elvira, o Elvira, My love song! O Elvira, o Elvira, Ove t’aggiri tu? Nessun risponde, nessun. Where are you now? No answer, none. A te così cantava I used to sing like that to you Di queste selve tra le dense fronde, Amid the dense boughs of these woods, E tu allor eco facevi al canto mio! Where you echoed my singing. Deh! Se ascoltasti l’amoroso canto … I pray, if once you listened Odi quel dell’esiglio, to that loving song … Odi il mio pianto. Hear now one of exile, na onte a itto e solo Hear my weeping, S’assideva un trovator; By a fountain, troubled and alone, Toccò l’arpa e suonò duolo, Sat a troubadour. Sciolse un canto, e fu dolor. He struck his harp and sounded his grief, Brama il sol allor ch’è sera, Breaking into a song that was all sorrow. Brama sera allor ch’è sol. He yearns for the sun Gli par verno primavera, when evening has fallen, Ogni gioia gli par duol! He yearns for the evening when the sun is shining. Springtime seems winter to him, Every joy seems sorrow!
(tr. 10) (Odesi il suono di tamburo.) (The sound of a drum is heard.) Qual suon! What sound is that?
62 Alcun s’appressa! Someone is approaching! (va a coprirsi col suo mantello e cerca di celarsi) (He tries cover himself under his cloak.)
SOLDATI SOLDIERS (di dentro) (From within) Agli spalti. Alle torri andiam. To the ramparts. We are going to the towers.
ARTURO ARTURO Ancor di me in traccia? Are they still tracking me?
SOLDATI SOLDIERS Si cercherà … si troverà … ee searc in e ill fnd i
ARTURO ARTURO O Dio! Ove m’ascondo? O God! Where shall I hide?
SOLDATI SOLDIERS No, no, non fuggirà. No, no, he will not get away. Si troverà. He will be found. Agli spalti, alle torri, Search ramparts, search the towers. Si cercherà, non sfuggirà! He will not get away!
ARTURO ARTURO Al altro lato vanno i furenti. Those relentless troops are coming the other way. (Si ritira, e vedesi un drappello d’armigeri tra- (He pulls back and a band of versare il fondo della scena; appena men-at-arms can be seen crossing in the back- che sono passati, Arturo esce e guarda lor ground; as soon as they have passed by, Arturo dietro.) comes out, looking after them.)
(tr. 11) Son già lontani. Perché mai non posso They are far gone. Why can I not Porre il piede dentro l’adorate soglie, Cross that beloved threshold Dire a Elvira il mio duol, la fede mia? o tell l ira o ain and fdelit Ah! no … perder potrei Ah, no! … I could doom Me stesso e lei. Or si ripigli il canto. Myself and her as well. Let me begin Forse a me verrà, se al cor le suona the song again.
63 Come ne dì felici, Perhaps she will come to me Quando uniti dicemmo: io t’amo, io t’amo. if it touches her heart As is happier days together Corre a valle, corre a monte When we said, “I love you, I love you.” L’esiliato pellegrin, Ma il dolor gli è sempre a fronte, The exiled pilgrim, Gli è compagno nel cammin. Runs over hill and vale. Cerca il sonno a notte scura But his sorrow always lies ahead, L’esiliato pellegrin; His companion on the road. Sogna, e il desta la sciagura The exiled pilgrim Della patria e il suo destin. Hopes to sleep late at night; Sempre eguali ha i luoghi e l’ore He dreams, and awakes to the woes L’infelice trovator. Of his homeland and his fate! L’esiliato allor che muore Places and hours make the same difference Ha sol posa al suo dolor. To the hapless troubadour. The exiled man has repose Only in the moment of his death.
SCENA II SCENE II
(tr. 12) ELVIRA ELVIRA (si mostra e porge l’orecchio) (Comes out to listen) Finì … me lassa! O! come dolce all’alma It has ceased … What a pity! Oh, how sweetly i scendea ella oce io fn that voice caressed my soul … O God! Mi parve … Ahi! rimembranze! Ahi! vani sogni! It has ceased … It seemed … Ah, woe! Ah! mio Arturo, ah! dove sei? Memories! Ah, woe! Vain dreams! Ah, my Arturo! Ah, where are you?
ARTURO ARTURO (inginocchiandosi) (Kneeling) A’ piedi tuoi, At your feet, Elvira, ah! mi perdona! Elvira. Ah, forgive me!
64 ELVIRA ELVIRA Arturo? Sì, è desso! Arturo? Yes, it is he! Artur! Mio ben! O gioia! Arturo! My love! Oh, joy!
ARTURO ARTURO Ah! mia Elvira! Ah, my Elvira!
ELVIRA ELVIRA Mio ben! My love! Sei pur tu? Or non m’inganni? Can it really be you? Are you deceiving me now?
ARTURO ARTURO Ingannarti? Ah! no, giammai. Deceiving you? Ah, no, never!
ELVIRA ELVIRA n e an fn er e li a anni Then are my sorrows over?
ARTURO ARTURO Non temer … Never fear … Your troubles are over once and fniro i ai for all.
ELVIRA ELVIRA Sì … Yes …
ARTURO ARTURO on te er fniro i ai Never fear, your troubles are over; ra alfn ci nisce a or. Now at last love brings us together.
ELVIRA ELVIRA O Arturo! Arturo, per mai più lasciarci? O Arturo! Arturo, never again to part?
ARTURO ARTURO Lo credi, mio ben, per mai più lasciarci; Believe it, my love, never again to part; io ben non te er fniro i ai My love, never fear … Your troubles are over … ra alfn ci nisce a or Now at last love brings us together!
65 ELVIRA ELVIRA c e alfn ci nisce a or Ah! So at last love brings us together!
ARTURO ARTURO Nel mirarti un solo istante Seeing you for just one instant, Io sospiro e mi consolo I sigh and am consoled D’ogni pianto e d’ogni duolo For every tear and every sorrow Che provai lontan da te. That I endured far away from you.
ELVIRA ELVIRA (fra se, cercando di risovvenirsi) (Aside, trying to recall) (tr. 13) Che provò lontan da me? That he endured far away from me? Quanto tempo? Lo rammenti? For how long? Does he remember?
ARTURO ARTURO Fur tre mesi … It was three months …
ELVIRA ELVIRA No, no; fur tre secoli No, no; it was three centuries Di sospiri e di tormenti; Of sighs and torment; Fur tre secoli d’orror! It was three centuries of horror! Ti chiamava ad ogni istante: I called out for you at every instant: Riedi, Arturo, e mi consola. “Come back, Arturo, and console me.” Ti chiamava ad ogni istante: I called out to you at every instant: Vieni, ah! vieni, e mi consola, “Come, ah, come and console me.” E rompeva la parola And my heartfelt sobs Il singulto del mio cor! Choked my words.
ARTURO ARTURO Ah! perdona … Ell’era misera, Ah, forgive me! … She was desolate, Prigioniera … abbandonata, in periglio… A prisoner … abandoned.
ELVIRA ELVIRA Di’: sé a te non era cara, Then tell me: If you did not love her, A che mai seguir colei? Why did you go off with her?
66 ARTURO ARTURO r t infn i o i nori c ella How could you not have known Presso a morte … That she was about to die?
ELVIRA ELVIRA Chi? Favella. Who? Tell me.
ARTURO ARTURO Tu non sai? La regina! You do not know? The Queen!
ELVIRA ELVIRA La regina! The Queen!
ARTURO ARTURO Un indugio … e la meschina Just in time … or else the poor woman Su d’un palco a morte orrenda … would face ghastly death on a scaffold.
ELVIRA ELVIRA fa er al l e ra ido Ah, can it be true? A sudden light Or la mente mi rischiara! Clears my mind! Dunque m’ami? So you do love me?
ARTURO ARTURO E puoi temere? Can you still doubt?
ELVIRA ELVIRA Dunque vuoi? Then you want … ?
ARTURO ARTURO Star teco ognor … To keep you forever Tra gli amplessi dell’amore. In my loving caresses.
ELVIRA ELVIRA Dunque m’ami, mio Arturo? Sì? So you do love me, my Arturo? Yes?
67 (tr. 14) ARTURO ARTURO Vieni, vieni fra queste braccia, Come, come to these arms, Amor, delizia e vita, My love, my delight and my life. Vieni, non mi sarai rapita Come, you will not be taken from me Finchè ti stringo al cor. Now that I hold you to my breast. Ad ogni istante ansante Breathless, at every instant Ti chiamo e te sol bramo. I call for you, wanting you alone. Ah! vieni, vien, tel ripeto t’amo, Ah, come! Come, let me tell you again, Ah, t’amo d’immenso amore. “I love you with boundless love.”
ELVIRA ELVIRA Caro, caro, non ho parola My dear, I have no words Ch’esprima il mio contento; To express my happiness; L’alma elevar mi sento I feel my soul rise high, In estasi d’amor. Ecstatic with love. Ad ogni istante ansante Breathless, at every instant Ti chiamo e te sol bramo, I call for you, wanting you alone. Ah! caro, vien, tel ripeto, t’amo, Ah, dearest, come! Come, let me tell you again, T’amo d’immenso amore, “I love you with boundless love.” Sì, tel ripeto, sentilo, Artur, dal mio cor. Yes, hear it once more, Arturo, from my heart.
ARTURO ARTURO Sì, mel ripeti, ah! mio ben! Yes, say it once more. Ah, my love! Ad ogni istante ansante Breathless, at every instant Ti chiamo e te sol bramo! I call for you, wanting you alone.
ELVIRA ELVIRA Ad ogni istante ansante, ecc. Breathless, at every instant, etc.
ARTURO ARTURO Ah! mio ben! Ah, my love!
ELVIRA ELVIRA Ah! mio Arturo! Ah, my Arturo!
68 ARTURO ARTURO Sempre uniti! Together forever!
ELVIRA ELVIRA Sempre insieme! Together forever!
ARTURO ARTURO Sempre insieme! Forever!
ELVIRA ELVIRA Dunque m’ami, mio Arturo, sì! So you do love me, Arturo. Yes! Caro, caro, non ho parola My dear, I have no words Ch’esprima il mio contento, ecc To express my happiness, etc.
ARTURO ARTURO Vieni fra queste braccia, Come, come to these arms, Amor, delizia, e vita, ecc. My love, my delight and my life, etc.
ELVIRA ELVIRA Ad ogni instante ansante Breathless, at every instant Ti chiamo e te sol bramo. I call for you, wanting you alone.
ELVIRA, ARTURO ELVIRA, ARTURO Ah! deh! vieni, vien, ti ripeto, t’amo, Ah, I pray! Come, let me tell you again, T’amo d’immenso amore, ecc. “I love you with boundless love.”
ELVIRA ELVIRA Mio ben! My love!
ARTURO ARTURO Mia vita! My life!
ELVIRA, ARTURO ELVIRA, ARTURO Sempre con te vivrò d’amor! Forever with you I will live in love!
69 (Elvira si pone sul core la mano d’Arturo. Odesi (Elvira puts Arturo’s hand over her heart. The ancora il suon del tamburo.) sound of the drum is heard again.)
(tr. 15) ARTURO ARTURO (s’agita e va a spiare) (Shaken, he goes to see) Ancor s’ascolta questo suon molesto. That vexing sound again. I miei nemici! My enemies!
ELVIRA ELVIRA (comincia a vacillare) (Starting to falter) Sì, quel suono funesto; Yes, that dismal sound: Io conosco quel suon … ma tu non sai I know that sound well … but Che più nol temo, you do not know Ah! no, io più nol temo ormai. That I no longer fear it. Nella mia stanza Ah, now I no longer fear it. Squarciai quel vel di cui ornò sua testa, In my room, Calpestai le sue pompe … ed all’aurora … I tore up the veil that adorned her head, Con me tu ancora trod er fner nder oot and at da n Verrai a festa, Will you still come a danza? Dance with me at the festivities?
ARTURO ARTURO O Dio! che dici? O God! What are you saying?
ELVIRA ELVIRA Così come tu mi guardi, Just as you are looking at me, Mi guardan essi, e intender non sanno So does everyone else, not knowing what Il mio parlar … il duol, l’affanno! To make of my words … of my pain, my suffering!
ARTURO ARTURO (spaventato dallo stato di follia che investe (Frightened by the state of madness that is Elvira) striking Elvira) Oh, ti scuoti … o ciel! Oh, come out of it … Oh, heaven! Vaneggi! Your mind is drifting!
70 (tr. 16) ALCUNI SOLDATI SOME SOLDIERS (di dentro) (From within) Alto là! Halt! Who goes there?
ALTRI SOLDATI OTHER SOLDIERS Fedel drappello! A faithful squad!
ARTURO ARTURO Vien, vien! Come, come!
ALCUNI SOLDATI SOME SOLDIERS E chi viva? And the password?
ELVIRA ELVIRA Ah! tu vuoi fuggirmi ancor? Ah! You want to leave me again?
ALTRI SOLDATI OTHER SOLDIERS Anglia, Cromwell! England, Cromwell!
ARTURO ARTURO Ah! no. Ah, no!
SOLDATI SOLDIERS Viva! Hurrah!
ELVIRA ELVIRA No, no, colei più non t’avrà! No, no, she can no longer have you!
SOLDATI SOLDIERS Vincerà! Vincerà! Victory! Victory!
ELVIRA ELVIRA No! No!
ARTURO ARTURO Taci! ah! taci, infelice, ah! Be still! Ah, be still, unhappy girl, ah! 71 Taci per pietade, Be still, for pity’s sake. Ah! non ti fuggirò … Ah, I will not leave you …
ELVIRA ELVIRA Ah! t’arresti, t’arresti il mio dolore. Ah! May my sorrow keep you here. Aiuto! O genti! Help! You there! Aiuto! Help!
(Si sente da tutte le parti calpestio di gente che (The approaching footsteps of people running s’avanza correndo.) can be heard.)
ARTURO ARTURO Ah! taci! Ah, be quiet!
ELVIRA ELVIRA Pietà! Pietà! Have pity! Have pity!
SCENA III SCENE III Arturo resta impietrito di dolore, guardando im- Frozen with grief, Arturo looks at Elvira with no moto Elvira né curandosi di tutto ciò che accade regard for all that is happening d’intorno a lui. around him.
CASTELLANI, CASTELLANE LORDS AND LADIES Arturo? Arturo? Lo sciagurato! Arturo? Arturo? That scoundrel!
(tr. 17) RICCARDO RICCARDO Cavalier, ti colse il Dio Cavalier, God, the punisher Punitor de’ tradimenti. Of betrayals, has caught you.
GIORGIO, DONNE GIORGIO, LADIES Tu qui, o Arturo? Qual destin rio You, here, Arturo? How cruel a fate A tal spiaggia te guidò! That led you to this shore!
SOLDATI SOLDIERS Pera ucciso fra tormenti May he die, perishing in tortures, Chi tradiva patria e onor! For betraying homeland and honor! 72 ELVIRA ELVIRA Credi, o Arturo, ella non t’ama; Believe me, o Arturo, she does Sol felice io ti farò, sì. not love you; Only I can make you happy, yes!
SOLDATI SOLDIERS Talbo Arturo, la patria e Dio Arturo Talbo, the homeland and God Te alla morte condannò! Have condemned you to death!
GIORGIO, DONNE GIORGIO, LADIES Che orror! Horror!
ELVIRA ELVIRA Morte! To death!
(Alla parola “Morte” vedesi che Elvira cangia di as- (On the words “To death”, a change in Elvira’s ap- petto, ed ogni suo moto ed atto palesa che questo pearance can be seen, and each of her movements avvenimento produsse una commozione nel suo and gestures reveal that this event has moved her cervello ed un totale cangiamento intellettuale.) mind and totally changed her perspective.)
RICCARDO, GIORGIO, DONNE RICCARDO, GIORGIO, LADIES Ah! qual terror! Ah, what terror!
SOLDATI SOLDIERS Dio raggiunge i traditor. The hand of God seizes traitors.
ELVIRA ELVIRA Che ascoltai? What did I just hear?
CASTELLANI, CASTELLANE LORDS AND LADIES Si tramutò! She has changed! Si fè smorta ed avvampò! o er ale ace no ares
(tr. 18) ARTURO ARTURO Credeasi, misera! She believed, the poor girl! Da me tradita, Betrayed by me
73 Traea sua vita She went on living, In tal martir! Enduring such suffering! r sfdo i l ini I defy heaven’s storm, Disprezzo il fato, Scorning my fate, Se teco allato If only I can die Potrò morir! Close to you!
ELVIRA ELVIRA Qual mai funerea Oh, such grim Voce funesta And fatal words Mi scuote e desta Stir me and awaken me Dal mio martir! From my suffering! Se fui sì barbara Were I so cruel Nel trarlo a morte As to cause his death, M’avrà consorte I will accompany him Nel suo morir! As he dies!
GIORGIO GIORGIO Qual suon funereo Oh, how grim Feral rimbomba And frightful that sound Nel sen mi piomba, Resounds deep within my breast, M’agghiaccia il cor! Freezing my heart! Non ha più lagrime My pain Il mio dolor. Has no more tears to shed.
ALCUNI SOLDATI SOME SOLDIERS Quel suon funereo, That grim sound Ch’apre una tomba, Opening a tomb Cupo rimbomba, Resounds so darkly Mi piomba al cor. Deep in my heart. E Dio terribile And wrathful God In sua vendetta In his vengeance Gli empi saetta Strikes down the wicked Con rigor. With a severe hand.
74 ALTRI SOLDATI OTHER SOLDIERS Quel suon funereo, That grim sound Ch’apre una tomba, Opening a tomb Cupo rimbomba, Resounds so darkly Mi piomba al cor. Deep in my heart. E Dio lo vuol And God works his will Senza pietà! Without pity!
RICCARDO RICCARDO Quel suon funereo That grim sound Ch’apre una tomba Opening a tomb Al cor mi piomba, icts eart. Lor sorte orribil Their horrible fate Mi piomba al cor. icts eart. Ah, pietà. Ah, have mercy,
DONNE LADIES Quel suon funereo That grim sound Di tromba ci piomba al cor. tr ets a icts eart. Pur fra le lagrime Yet through our tears e e ci a fda e can still fnd o e Sì, che Dio Yes, that God in his mercy Ci arrida con pietà. Will smile up us.
ARTURO ARTURO Traea sua vita She went on living, In tal martir! Enduring such suffering! Ah! sì, disprezzo il fato, Ah, yes! I scorn my fate, Se teco allato If only I can die Potrò morir! Close to you!
(I soldati, impazienti, si rivolgono a Giorgio ed a (The soldiers turn impatiently to Giorgio and Riccardo, e dicono loro sotto voce.) Riccardo, whispering.)
75 SOLDATI SOLDIERS Che s’aspetta? What are we waiting for? Alla vendetta! Let us take vengeance!
ELVIRA ELVIRA (s’avvicina ad Arturo) (Approaching Arturo) Arturo! Arturo!
ARTURO ARTURO Elvira, Elvira! Elvira, Elvira!
RICCARDO, GIORGIO, DONNE RICCARDO, GIORGIO, LADIES Sol ferocia or parla in vol! Those words betray your ferocity!
SOLDATI SOLDIERS io co anda a f li s oi God is commanding his sons Che giustizia ormai si renda. To render swift justice. Cada alfn l ltrice s ada Let the avenging sword fall Sovra il capo al traditor! At last on the traitor’s head!
ELVIRA ELVIRA (lo abbraccia) (Embracing him) Artur! Artur, tu vivi ancor! Arturo! Arturo, you are still alive!
RICCARDO, GIORGIO, DONNE RICCARDO, GIORGIO, LADIES La pietade Iddio v’apprenda! May merciful God instruct you!
ARTURO ARTURO Teco io sono. I am with you.
ELVIRA ELVIRA (piangendo) (Weeping) Il tuo perdono! Forgive me! Per me a morte, o Arturo mio! Your death is my fault!
76 ARTURO ARTURO Ah, un amplesso! Ah, embrace me!
ELVIRA ELVIRA Sì, mio bene. Yes, my love.
ARTURO ARTURO Ah, un addio! Ah, one last farewell! (Ai gridi feroci dei Puritani, Elvira tutta tremante (At the ferocious cries of the Puritans, Elvira, si stringe ad Arturo come per fargli scudo.) trembling, clings to Arturo as if to shield him.)
ELVIRA ELVIRA Un addio! One last farewell!
ARTURO ARTURO Arrestatevi , scostate, Stop, stand back! Crudeli, crudeli! Cruel men! Cruel men! Ella è tremante, She is shuddering. Ella è spirante, This is killing her. ni e erfde erfdio s so ls Sorde a pietà. Deaf to all pity. Un solo istante, For one brief instant Ah, l’ira frenate Curb your anger Poi vi straziate Before unleashing Di crudeltà. Your cruelty.
RICCARDO, GIORGIO RICCARDO, GIORGIO Cessate, cessate un istante, Stop, stop for an instant, Un istante per pietà! For an instant, for pity’s sake! Deh! cessate! Stop, we pray!
SOLDATI SOLDIERS Vendetta s’affretta, Dio lo vuole, Our vengeance cannot wait. God wills it, Non si tardi! Delay no longer!
77 DONNE LADIES Deh cessate per pietà, We pray you, stop, for pity’s sake. Un istante, deh, cessate! For an instant, please stop!
(tr. 19) (Odesi un suono di corni da caccia.) (A hunting horn is heard.)
CASTELLANI, CASTELLANE LORDS AND LADIES Suon d’araldi? A herald’s call? Un messaggio? A message?
ARTURO, RICCARDO, GIORGIO ARTURO, RICCARDO, GIORGIO Che sarà? What can it be?
SOLDATI SOLDIERS Esploriam. et s fnd o t.
(Fanno un movimento per sortire, ma s’arrestano (They start to go out, but stop on seeing a vedendo entrare un messaggero che reca delle messenger enter, carrying letters. Riccardo and lettere. Riccardo e Giorgio le leggono.) Giorgio read them.)
GIORGIO GIORGIO Esultate! Rejoice!
RICCARDO RICCARDO Esultate! Rejoice!
GIORGIO GIORGIO Già Stuardi vinti sono … The Stuarts have been defeated …
RICCARDO RICCARDO I cattivi han già perdono … The guilty have been pardoned …
GIORGIO, RICCARDO GIORGIO, RICCARDO L’Anglia terra ha libertà! Our English homeland is free!
78 CASTELLANI, CASTELLANE LORDS AND LADIES L’Anglia terra ha libertà. Our English homeland is free! A Cromvello eterna gloria! Everlasting glory to Cromwell! La vittoria il guiderà. Victory will guide him. Siam liete, alme amorose Our souls are happy and loving, Qual già foste un dì dolente No longer sorrowful as before. Lunghi dì per voi ridenti This occasion is a sign Quest’istante segnerà. Of long, happy days for you.
ARTURO ARTURO Ah! mia Elvira! Ah, my Elvira!
ELVIRA ELVIRA Oh! contento! Oh, happiness! Ah! sento, o mio bell’angelo, Ah, I feel, o my dearest angel, Che poco intera è un’anima That my soul has yet Ad esaltar nel giubilo To rejoice in the happiness Che amor ci donerà. That love will give us. Benedite le lacrime, Blessed be the tears, L’ansia, i sospiri, The yearning, the sighs, I gemiti; vaneggerò nel palpito The sobbing; I will be lost in the rapture Di tanta cara voluttà! Of so much sweet pleasure!
RICCARDO, GIORGIO, CASTELLANI, CASTELLANE RICCARDO, GIORGIO, LORDS AND LADIES Sì, sì, l’amor coronerà di giubilo Yes, yes, love will crown with joy Gli spasimi di tanta fedeltà. The pain of such great faithfulness. Amor pietoso e tenero Devoted and tender love Coronerà di giubilo Will crown with joy L’ansia, i sospiri, i palpiti The yearning, sighs, the pains Di tanta fedeltà. Of such great faithfulness.
ELVIRA, RICCARDO ELVIRA, RICCARDO Ogni angoscia oblio già! Now I can forget all my troubles!
FINE THE END
79 Lawrence Brownlee is a leadin f re in o era expand opera audiences. His critically acclaimed both as a singer on the world’s top stages, and as solo recital program Cycles of My Being, a song a voice for activism and diversity in the industry. cycle that centers on the black male experience Captivating audiences and critics around the in America today, has toured across the country globe, he has been hailed as “an international three times since 2018, including performances star in the bel canto operatic repertory” (The at Carnegie Hall, the Kennedy Center and virtual New York Times), “one of the world’s leading broadcasts throughout 2020. Following the suc- bel canto stars” (The Guardian), and “one of cessful Lawrence Brownlee and Friends concert the most in-demand opera singers in the world at Lyric Opera of Chicago in 2019, Brownlee per- today” (NPR). formed Giving Voice at Houston Grand Opera, a concert created to celebrate Houston’s diverse With an ever-increasing presence in opera, re- community, and reprised his concert at Lyric cital and concerts, Mr. Brownlee has cemented Opera with the virtual performance of Lawrence his place as one of the top artists in classical Brownlee and Friends: The Next Chapter in July music. He is a regular guest at the world’s most 2020. important opera houses, including the Me- tropolitan Opera, Teatro alla Scala, Royal Opera He serves as artistic advisor for Opera Philadel- House--Covent Garden, Bayerische Staatsoper, phia, where his responsibilities include increas- Staatsoper Unter den Linden, Deutsche Oper ing and expanding audience diversity, advocat- Berlin, Opéra national de Paris, Gran Teatre del ing for new works, and liaising with the General Liceu, Teatro Real, Opernhaus Zürich and Wie- Director from the perspective of a performing ner taatso er. e is a f t re at t e orld s to artist. “As an artist, I think it is important that recital venues, including Carnegie Hall, Wig- we are actively advocating for this beautiful art more Hall and the Kennedy Center. His con- form we love so much,” said Brownlee, “ensuring cert performances include collaborations with that it will be alive and well for many years to the Cleveland Orchestra, Chicago Symphony, come.” Mr. Brownlee also serves as an Ambassa- Philadelphia Orchestra, San Francisco Sympho- dor for Lyric Opera of Chicago’s Lyric Unlimited ny, Amsterdam’s Concertgebouw, Orchestra and is a Peace Ambassador for a new initiative dell’Accademia Nazionale di Santa Cecilia, and called Opera for Peace. the festivals of Baden-Baden and Salzburg. Brownlee has received a Grammy nomination A passionate advocate for diversity initiatives, for his album Virtuoso Rossini Arias recorded Mr. Brownlee works with companies and en- with Constantine Orbelian and the Kaunas City gages civic organizations in the cities he visits Symphony Orchestra for Delos Records. Brown- to create programs and experiences seeking to lee was awarded a Masters of Music from Indi-
80 81 ana University and went on to win a Grand Prize Symphony No. 4 with the Tulsa Symphony; con- in the 2001 Metropolitan Opera National Coun- certs with tenor Lawrence Brownlee at both the cil auditions. Brownlee is a winner of numerous Tivoli Festival with the Copenhagen Philhar- awards and distinctions, including “Male Singer monic and in Jurmala, Latvia; and Rossini’s Sta- of the Year” (2017 International Opera Awards), bat Mater with the Choral Arts Society of Wash- the Kennedy Center’s Marian Anderson Award ington at the Kennedy Center. and the Opera News Award (2021). Ms. Coburn has performed the roles of Prin- A native of Ohio, Mr. Brownlee is the fourth of cess Yue-Yang in the world premiere of Tan si c ildren. e frst disco ered sic en e Dun’s The First Emperor at the Metropolitan Opera learned to play bass, drums, and piano at his opposite Placido Domingo, Rosina in Il Barbiere family’s church in Youngstown. Mr. Brownlee, his di Siviglia with Florida Grand Opera, Los Angeles wife Kendra and their two children make their Opera, Tulsa Opera, Seattle Opera, Opera San An- home in Florida. tonio and Boston Lyric Opera; the title role in Lucia di Lammermoor with Washington National Opera, Lyric Opera of Kansas City, Tulsa Opera and Utah American soprano Sarah Coburn is captivat- Opera; Gilda in Rigoletto with Welsh National ing international audiences with her “precision Opera, Opéra de Montréal, Los Angeles Opera, placement, mercury speed, and a gorgeous liq- Portland Opera, Arizona Opera and Cincinnati uid gold tone, gilded by a thrilling top and bot- Opera; Asteria in Tamerlano with Washington tom register” (The Globe and Mail). National Opera and Los Angeles Opera; Vittoria in Pedrotti’s Tutti in maschera at Wexford Festival Recent performance highlights include the role of Opera; Euridice and Genio in Haydn’s L’anima del Amina in La sonnambula with the Wiener Staat- with the Handel & Haydn Society and soper, Adele in Le Comte Ory and Zerbinetta in Ari- Glimmerglass Opera; Elvira in I puritani with the adne auf Naxos with Seattle Opera, Marie in a e Tivoli Festival, Boston Lyric Opera and Washing- du regiment with Seattle Opera, Tulsa Opera and ton Concert Opera; Lakmé with Tulsa Opera; Lucia Opera Carolina, Juliette in Roméo et Juliette with de Lammermoor with both Cincinnati Opera and Tulsa Opera, the title role of Manon with Opera Glimmerglass Opera; Linda di Chamounix at the Santa Barbara, Konstanze in Die Entführung aus Caramoor Festival, and Giulietta in I Capuleti e i dem Serail with Atlanta Opera and Adina in L’elisir Montecchi with Glimmerglass Opera. Ms. Coburn d’amore with Washington National Opera. also performed with Glimmerglass as the title character in Gilbert and Sullivan’s Patience, as well On the concert stage, recent seasons have in- as Sister Constance in Dialogues of the Carmelites, cluded Strauss’s Four Last Songs and Mahler’s a role she reprised for New York City Opera.
82 83 Ms. Coburn created the role of Kitty in the world Ms. Coburn has received awards from the premiere of David Carlson’s Anna Karenina at George London Foundation, the Richard Tucker Florida Grand Opera and Opera Theatre of Saint Foundation, the Jensen Foundation, the Lieder- Louis. She has sung Adele in Die Fledermaus with kranz Foundation, Opera Index, and was a Na- both Seattle Opera and Michigan Opera Theatre, tional Grand Finalist in the 2001 Metropolitan Oscar in Un ballo in maschera with Opera Com- Opera National Council Auditions. pany of Philadelphia, Florida Grand Opera and Cincinnati Opera, Olympia in Les Contes d’Hoff- mann and Sophie in Der Rosenkavalier with Cin- Baritone Azamat Zheltyrguzov was born in cinnati Opera, and Norina in Don Pasquale, San- the Kazakhstani city of Taldykorgan in 1986. Af- drina in a ta ard era and Susanna in Le ter graduating from the Tlendiev Music School nozze di Figaro with Florida Grand Opera. there, he was accepted into the Choral Con- ducting Department of the Kazakhstan National Ms. Coburn has appeared in concert with Cincin- Academy of Music. In 2005, he transferred to the nati Chamber Orchestra, the Moscow Philharmon- Solo Singing Department, where he completed ic, Oklahoma City Philharmonic, Russian National a full course of study leading to a bachelor’s de- Orchestra, Copenhagen Philharmonic at the Tivoli gree in Vocal Art in 2009. Festival, the Tulsa Symphony and Handel & Haydn Society as soloist for Elijah and Messiah. She has While still a student, Zheltyrguzov appeared reg- also sung Messiah with the Seattle Symphony and ularly at theaters in cities throughout Kazakhstan, Philadelphia Orchestra; Carmina Burana with the and toured with the Capriccio Violin Ensemble in New Jersey Symphony, National Chorale at Avery American states, including Florida, New Jersey Fisher Hall, National Symphony Orchestra and the and New York. He also took part in the Kazakh- Dallas Wind Symphony; and has joined the Seattle stan Days of Culture program in Russia, China, Symphony for Mozart’s Mass in C Minor and Japan, Turkey, Switzerland, United Arab Emir- Bach’s Mass in B Minor. ates, Saudi Arabia, Jordan, Belarus, Austria, India, South Korea and Kyrgyzstan, among others. Ms. Coburn has appeared in concert with Bryn Terfel with Florida Grand Opera, as well as in a From 2005 to 2006, he performed with the Song duo-recital for the U.S. Supreme Court; in recital and Dance Company of the Ministry of Internal with Lawrence Brownlee for the Vocal Arts Soci- Affairs of the Republic of Kazakhstan. His reper- ety, with Los Angeles Opera and the Mark Mor- toire there included a wide range of arias and ris Dance Group in Handel’s L’allegro, il pensero- folk songs, as well as art songs (romances) by so, ed il moderato and in recital at the National Kazakh and Russian composers. Since 2006, he Museum of Women in the Arts. has performed with the State Philharmonic So-
84 ciety of Astana, leading to his 2020 appointment as Head of the Astana Opera.
From 2007 to 2013, Zheltyrguzov was a soloist with the Bayseitova National Theater of Opera and Ballet, where he performed leading roles in a wide range of operas, including Germont in La traviata, Montano in Otello, the title role in Eu- gene Onegin and Robert in Iolanta. He has also appeared in many operas by composers whose music is virtually unknown in the West. From 2009 to 2012, he was a teacher at the Kazakh National University of Arts (KAZNUA), and from 2012 to 2017 an associate professor and head of the department of vocal art and conducting there. He currently serves as a professor at KA- ZNUA.
Since 2005, Zheltyrguzov has won top prizes and honors at competitions associated with the Philharmonic Society of Astana and other Ka- zakh institutions, as well as a wide range of con- tests in Ukraine, Azerbaijan, Armenia, Poland, Russia, Finland, Italy and Switzerland. He has participated in festivals in Poland, Switzerland, Turkey and Cyprus. in 2011, he was awarded the title of Honored Worker of the Republic of Ka- zakhstan.
After earning his master’s degree at the Lithu- anian Academy of Music and Theater in 2009, bass Tadas Girininkas spent the formative years of his rapidly developing career perform- ing assorted bass roles in theaters throughout
85 his native Lithuania. Among his successful ear- ly performances were Rocco (Fidelio), De Sil- va (Ernani), Heinrich (Lohengrin) and Maliuta Skuratov (The Tsar’s Bride). Other notable roles during this period include Colline (La bohème), Bartolo (Le nozze di Figaro), Arkel (Pelleas et Me- lisande) and Angelotti (Tosca).
Girininkas’s more prominent bass roles in- clude Escamillo and Zuniga (Carmen), Spara- fucile (Rigoletto), Zweiter Geharnischter (Die au erf te), Johan (Werther), Don Alfonso (Cosi fan tutte), Capuletti (Roméo et Juliette), Wag- ner (Faust), Raimondo (Lucia di Lammermo- or), Attila (Attila), Coronte (L’Orfeo) and Sene- ca (L’incarnazione di Poppea). His international debut roles (from the 2016/17 to 2019/2020 seasons) have taken him to prominent theaters in Germany and Switzerland, as well as others closer to home. These include Wurm (Luisa Mill- er), Oroveso (Norma), Don Alfonso (Cosi fan tutte), Bonze (Madama Butterfy), efsto e- le (Faust) a fs (Aida), Cardinal de Brogny (La Juive), Cadmus and Somnus (Semele) and Oral- to in Vivaldi’s a da a.
His extensive oratorio and other sacred reper- toire roles include Handel’s Alexander’s Feast, Franck’s Les Béatitudes, Haydn’s Die Jahreszeiten and Missa Brevis, Mozart’s Requiem, Verdi’s Mes- sa da Requiem, Puccini’s Messa di Gloria, Schnitt- ke’s Faust Cantata and Britten’s War Requiem.
Girininkas has worked with distinguished con- ductors such as Constantine Orbelian, James
86 a f an ol ec os C ra and Modestas Pitr nas, among many others. He has also ap- peared with many well-known orchestras, in- cluding the Lucerne Festival Orchestra, Aalborg Symphony Orchestra, Budapest Festival Orche- stra, Lithuanian National Symphony, Sinfonia Riga and the Kaunas City Symphony Orchestra. In 2017, he performed the role of Count Cepra- no in Delos’s Grammy-nominated recording of Verdi’s Rigoletto, starring the revered baritone Dmitri Hvorostovsky.
Girininkas was named Lithuanian Opera Solo- ist of the Year 2013, and he recently received the Gold Stage Cross award for the roles of Heinrich (Lohengrin) and De Silva (Ernani).
Liudas Norvaišas graduated in 1993 from the Lithuanian Academy of Music and Theater, and undertook further studies at the Salzburg High- er School of Music (Mozarteum).
He began his musical career earlier, having sung in the chorus of the Lithuanian National Opera and Ballet Theater since 1982. After becoming a soloist there in 1990, he made his debut as the Monk in Don Carlo.
From 1996 to 2000, Norvaišas sang at the op- era houses of Bremen and Erfurt in Germany, and performed often with the Kaunas Musical Theater. Beginning in 1991, he sang in many productions at the Lithuanian Opera in Chicago, including Ponchielli’s The Lithuanians, Vytautas
87 Klova’s a , Un ballo in maschera, Lucia di Lammermoor and Les pêcheurs de perles.
He also regularly gives solo concerts and takes part in performances of large vocal symphonic works. He collaborates with the Lithuanian Na- tional and Lithuanian State Symphony Orches- tras, the Lithuanian Chamber Orchestra, and has taught at the Lithuanian Academy of Music and Theater since 2007.
Norvaišas has toured Estonia, Latvia, Russia, Fin- land, Italy, the United States, Austria, Germany, the Netherlands and Japan. He has participated in music festivals in Malmö (Finland), Sinmina- to (Japan), DomStufen (Germany) and Bregenz (Austria), among others.
His operatic roles include Oroveso (Norma), Rai- mondo (Lucia di Lammermoor), Leporello (Don Giovanni), the title role in Le nozze de Figaro, Cesare Angelotti (Tosca), Don Basilio (Il barbiere di Siviglia), Philip and The Grand Inquisitor (Don Carlo), Banco (Macbeth), Tom (Un ballo in ma- schera), Baron and Doctor (La Traviata), Count Monterone (Rigoletto), Pimen (Boris Godunov), Daland (The Flying Dutchman), Escamillo and Zuniga (Carmen), The Soldier and the Nazarene (Salome), Lodovico (Otello), Cardinal de Brogni (La Juive), and Gremin (Eugene Onegin).
After his vocal studies at the Lithuanian Acade- my of Music and Theatre in Vilnius, Tomas Pa- vilionis joined the Lithuanian National Opera
88 Theater, where he is one of the leading tenors. graduated from the Lithu- He performs such important lyric roles as Alma- anian Academy of Music and Theater in 2004. viva in Il barbiere di Siviglia, Nemorino in L’elisir Soon thereafter, she completed an internship at d’amore, Lensky in Eugene Onegin, Alfredo in La the Opera Studio of the Lithuanian National Op- Traviata, Ferrando in Cosí fan tutte, and Don Ot- era and Ballet Theater (LNOBT). tavio in Don Giovanni. Recent new roles include Idamante in Idomeneo ar is in ro ofe s s. a e i i t ade er deb t at t e The Gambler and the title role in Bernstein’s in 2006 as Ulrica in Un ballo in maschera. She Candide. has performed regularly at the Vanemuine The- ater in Estonia and various Latvian theaters, and Pavilionis’ broad repertoire also encompass- has collaborated with the Lithuanian National es Tebaldo in I Capuletti e i Montecchi, Pong in Symphony and Lithuanian State Symphony Or- Turandot, Rodolfo in La Bohème, the title role chestras. She has also performed in Russia, Italy, in Faust, Jaquino in Fidelio, Rinuccio in Gianni Germany, Spain, and the United States. In 2006, Schicchi. He is also happy to take on operetta she received the “Operos Švyturiai” award in the roles such as the Count in Johann Strauss II’s category of “Opera Hope of the Year” for her Wiener Blut or Camille de Rosillon in Franz Le- role as Suzuki in Madama Butterfy. hár’s Die Lustige Witwe. He has also sung the solo tenor parts in many sacred pieces, includ- But the role of Dominga de Advento in the ing Rossini’s Stabat Mater and Petite Messe opera Love and Other Demons by Péter Eötvös Solennelle, Mozart’s Requiem and Coronation bro t ider acclai to s. a e i i t . er Mass, Beethoven’s Missa Solemnis and Gounod’s successful career in Europe was launched in Messe Sollenelle de Sainte Cecille. 2010 when Eötvös invited her to sing Domin- ga in the premiere of Love and Other Demons Due to his charismatic singing and remarkable with the Cologne Opera. Later, she made her stage presence, Pavilionis has been in great de- debut in Strasbourg in the same role. These per- mand as a guest artist with the most prominent formances were conducted by Eötvös himself, Lithuanian orchestras and music theaters. He is o as stated t at a e i i t is t e fnest also a frequent performer in foreign countries, interpreter of Dominga he knows. In 2014, she including the United States, South Korea, China was invited to return to Cologne to perform the and various European nations. He has worked role of Pasqualita in John Adams’ Doctor Ato- with many important stage directors and presti- mic. Later that same year, she took part in the gious conductors. Macao Festival (China) on tour with the Latvian National Opera.
89 s. a e i i t as in ited bac to Colo ne to sing Amneris in six performances of Aida, as well as eight performances as the mezzo so- loist in Verdi’s Messa da Requiem. In 2015, she made her debut at the Teatro de la Maestranza (Spain), reprising the role of Pasqualita in Doc- tor Atomic. In 2017, she again performed Eöt- vös’s Dominga, this time at the Hungarian State Opera. In 2018, she made her debut as Olga in another Eötvös opera, Tri Sestry, at the Teatro Colón in Buenos Aires.
2019 saw her debut at the Estonia National Op- era in the role of Lyubasha in The Tsar’s Bride and she also performed Lel in Tchaikovsky’s The Snow Maiden at the Palais des Beaux-Arts in Brussels.
a e i i t as been no inated or olden Stage Cross awards for her depictions of Azuce- na in Il trovatore, Countess/Marquise in Narbu- tait s Cornet, Mother in Hansel und Gretel, and in 2020, for her interpretation of the Old Lady in Bernstein’s Candide. A reviewer for the Buenos Aires newspaper La Prensa described her sing- ing as “... memorable, drawing attention to her characters with her affecting and powerful voice and her wide vocal register.”
Opera consultant John Fisher’s multifaceted international career encompasses distinguished accomplishments as an opera director, opera manager, conductor, vocal coach and record producer.
90 A native of Glasgow, he is a graduate of Glasgow University, the Royal Academy of Music and the London Opera Centre.
His operatic career began in 1972, when he be- came the Music Director of the Welsh Nation- al Opera’s “Opera For All” project, designed to enhance modern audiences’ appreciation of the genre. From 1973-1975 he was a repetiteur and vocal coach as well as Music Director of the Op- era Studio at La Monnaie in Brussels.
In 1975, Fisher joined the Music Staff at De Nederlandse Opera in Amsterdam, working there until 1977, when he was appointed Head of Music Staff at La Scala, Milan, and served as the company’s Artistic Administrator from 1981 until 1988. He further served Pesaro’s Rossini Opera Festival as an artistic/musical consultant from 1983 to 1988. In 1989, he became Artistic irector at a enice enice: t e frst non talian to hold that position.
From there, Fisher moved on in 1994 to the staff of Deutsche Grammophon Gesellschaft in Ham- burg, where he was Director of Opera and Vocal Productions and Executive Producer. In 1997 he was became Director of Music Administration at New York’s Metropolitan Opera, moving on in 2006 to the position of General Director with the Welsh National Opera. John is currently in demand around the world as a master teacher, conductor and opera consultant.
91 In addition, John has been closely associated with the BBC’s “Cardiff Singer of the World” competition, the Lisa Gasteen Opera Summer School, and the Juilliard School, among many others worldwide. He has worked extensively it ecca records and it nitel fl s col- laborating with Jean-Pierre Ponnelle on several o era fl s.
n st 14 in t e fnal concert o t e 14 a aislis sic esti al is er cond cted t e Kaunas City Symphony Orchestra and State Choir (heard here) in a performance of Verdi’s Requiem, in commemoration of the 70th anni- versary of the liquidation of the Jewish ghetto in Kaunas.
Elisabetta Maschio, assistant conductor for this recording, was awarded her degree in piano in 1988 by the conservatory “G. Verdi” in Milan. A pupil of renowned pianist and teacher Riccardo Risaliti, she started her career in 1988 as a repetiteur with Lawrence Foster in Paris. Ms. Maschio’s conducting debut took place in Budapest in 1991 with Il Trovatore. That same year she scored a great success conducting Madama Butterfy at the Macerata Festival. Since then she has regularly worked in both the operatic and symphonic repertoires, invited by many theaters in Italy and abroad, including the Teatro Comunale, Bologna; Teatro Comunale, Modena; Teatro Sistina, Rome; Teatro Filarmonico, Verona; Teatro Verdi, Trieste; and the Prague National Theater. 92 Ms. Maschio has worked with such artists as Anna Caterina Antonacci, Ghena Dimitrova, Giorgio Merighi, Roberto Servile, Bruno Practico, Andrea Bocelli, Benedetto Lupo, Pavel Berman, Thomas Demenga, Lucero Tena, Yasuko Hayashij and Leonidas Kavakos.
She has conducted video productions of Falstaff, Don Giovanni, Cavalleria Rusticana and Pagliacci, Carmen and Cin Ci La for DVD release on the Kicco Classic label.
Ms. Maschio is currently Professor of Conducting at the Conservatory of Music Nino Rota in Monopoli. She is also artistic director of the international youth festival Gioie Musicali in Asolo.
Stefano M. Lanza, a Lithuania-based univer- sity professor from Bologna, was the language coach for this recording. His knowledge of Ital- ian and musical education led to his appoint- ment as a coach to Italian opera singers at the Music Academy of Kaunas and at the Philhar- monic of the city of Kaunas. Although linguis- tics studies and teaching of Italian as a second lan a e are no is ain feld o acti it e devotes himself to music as an accompanist for singers as well.
Grammy-nominated conductor Constantine Orbelian “stands astride two great societies, and fnds and ro otes s ner istic ar on from the best of each.” (Fanfare)
93 94 Recently appointed Music Director and Principal My Brothers? and Moscow Nights, as well as their Conductor of New York City Opera, the brilliant 2015 recording in the same series, Wait for Me. American pianist and conductor has for over 25 Orbelian has conducted historic live telecasts ears been a central f re in ssia s and ast- from Moscow’s Red Square, with such artists as ern Europe’s musical life. He has served as Music Hvorostovsky and Anna Netrebko. Director of the Moscow Chamber Orchestra and Philharmonia of Russia, and as Chief Conductor Born in San Francisco to Russian and Armenian of the Kaunas City Symphony Orchestra in Lithu- emigré parents, Constantine Orbelian made his ania. Orbelian founded the annual Palaces of St. debut as a piano prodigy with the San Fran- Petersburg International Music Festival and in cisco Symphony at the age of 11. After grad- 2016 also became Artistic Director of the State uating from The Juilliard School, he embarked Academic Opera and Ballet Theatre in Yerevan, on a career as a piano virtuoso that included Armenia. appearances with major symphony orchestras throughout the United States, United King- Opera News calls Constantine Orbelian “the dom, Europe, and Russia. His recording of the singer’s dream collaborator,” and commented Khachaturian piano concerto with conductor that he conducts vocal repertoire “with the sen- Neeme Järvi won the “Best Concerto Recording sitivity of a lieder pianist.” The California-based of the Year” award in the United Kingdom. conductor tours and records with American stars such as Sondra Radvanovsky and Lawrence Orbelian’s appointment in 1991 as Music Di- Brownlee, and made numerous celebrated re- rector of the Moscow Chamber Orchestra was cordings for Delos with Dmitri Hvorostovsky be- a brea t ro e ent: e is t e frst erican fore the legendary singer’s untimely death. ever to become music director of an ensemble in Russia. A tireless champion of Russian-Amer- “Orbelian has star quality, and his orchestras ican cultural exchange and international ambas- play with passion and precision,” The Audio Critic sadorship through his worldwide tours, he was wrote of his acclaimed series of over 50 record- awarded the coveted title “Honored Artist of ings on Delos. Among his concert and televised Russia” in 2004, a title never before bestowed appearances are collaborations with stars Renée on a non-Russian citizen. In May 2010, Orbeli- Fleming and Dmitri Hvorostovsky, and with Van an led the opening Ceremonial Concert for the Cliburn in Cliburn’s sentimental return to Mos- Cultural Olympics in Sochi, setting the stage for cow, the great pianist’s last performance. Orbe- Russia’s hosting of the Olympic Games in 2014. lian’s frequent collaborations with Hvorostovsky In 2012 the Consulate in San Francisco award- included repertoire from their Delos recordings ed him the Russian Order of Friendship Medal, of universal sentimental songs Where Are You, whose illustrious ranks include pianist Van Cli- 95 burn and conductor Riccardo Muti, and which both in Russia and the United States. In 2001 singles out non-Russians whose work contrib- Orbelian was awarded the Ellis Island Medal of utes to the betterment of international relations Honor, an award given to immigrants, or chil- with the Russian Federation and its people. dren of immigrants, who have made outstand- ing contributions to the United States. From his 1995 performance at the 50th Anniver- sary Celebrations of the United Nations in San Francisco, to his 2004 performance at the U.S. The Kaunas City Symphony Orchestra (KCSO) State Department commemorating 70 years of evolved from the Kaunas Chamber Orchestra, diplomatic relations between Washington and which was founded in 1988. Since 2000, the Moscow, and a repeat State Department ap- orchestra has been managed by Algimantas pearance in 2007, all with the Moscow Chamber Treikauskas, with Constantine Orbelian as its Orchestra, Orbelian continues to use his artistic principal conductor. eminence in the cause of international goodwill. He and his orchestras have also participated in A prestigious Grammy Awards Nominee, the cultural enrichment programs for young people, Kaunas City Symphony Orchestra is an integral
96 part of the cultural life of Kaunas, Lithuania and The orchestra‘s discography consists of over the entire Baltic region. twenty CDs recorded with Maestro Constantine Orbelian and released in collaboration with the The orchestra performs more than 60 concerts legendary classical record label Delos. These a year. It has appeared at Lithuanian music festi- recordings have received great critical acclaim vals – the International Young Musicians festival, and have been nominated for prestigious in- t e esti als o co osers . . i rlionis and d- ternational classical music honors such as the ard rie t e a aislis sic esti al and t e Grammy Awards, the International Classical Mu- international contemporary music festivals “Iš arti” sic Awards (ICMA) and others. (Kaunas), “Fjord Cadenza” in Norway, and “Murten Classics” in Switzerland. The Kaunas City Sympho- ny Orchestra gives concerts not only in Lithuania, Founded in Kaunas, Lithuania, in 1969, the but also in foreign countries such as Latvia, Esto- Kaunas State Choir was led thereafter by its nia, Norway, Croatia, Italy, Germany and Finland. founder, Petras Bingelis, who was a professor at the Lithuanian Academy of Music and Theatre, 2020 marked the orchestra’s 15-year anniver- and winner of the Lithuanian National Prize. sary; during that span, a number of major and Bingelis, who died of Covid-19 in December of si nifcant ro ects too lace. e orable con- 2020, developed for the chorus an extensive rep- certs – not only of classical but also popular mu- ertoire ranging from medieval to modern music sic – have been added to the KCSO’s biography. and including more than 150 large-scale compo- The orchestra has made a remarkable series of sitions: oratorios, cantatas, Masses and Passions, recordings, produced tremendously successful as well as staged and concert versions of operas. projects and had the honor of performing to- gether with some of the world’s most famous After Lithuania regained its independence in soloists, who are welcome guests at the most 1990, the choir’s concert life became extreme- important opera houses, such as the Metropol- ly active and eventful, especially when it be- itan Opera in New York, the Royal Opera House gan collaborating with the legendary violinist in London, Milan’s La Scala, and the Vienna State and conductor Yehudi Menuhin. In 1992, with Opera. Dmitri Hvorostovsky, Lawrence Brown- Menuhin on the podium, the chorus took part lee, Charles Castronovo, Stephen Costello, John in theatrical performances in Spain of Handel’s Osborn, José Carreras, Ildar Abdrazakov, Nadine Messiah during the New and Old Ways to In- ierra l na aran a ara Cob rn s i ri - dia Festival, dedicated to the 500th anniversa- orian, Sarah Brightman and Barbara Frittoli are ry of the discovery of America, and mounted some of the greats who have performed with extensive concert tours to France, Italy, Spain, the Kaunas City Symphony Orchestra. Germany, Egypt and Russia, among other coun-
97 tries. Collaborating with the renowned German has been led by such maestri as Dmitri Kitaenko, pianist and conductor Justus Frantz, cellist and Yan Pascal Tortelier, John Axelrod, Vladimir Spi- conductor Mstislav Rostropovich, and composer vakov and Valery Gergiev. While performing Krzystof Penderecki, the chorus also performed most of its concerts with the Lithuanian National a concert version of Messiah in Buenos Aires and Symphony Orchestra, the choir has also collab- the Chilean capital of Santiago. orated with other orchestras from London, Paris, Bordeaux, Dresden, Leipzig, Moscow and St. Pe- Over the half century since its founding, the tersburg, among many others. Kaunas State Choir has given more than three thousand concerts in Lithuania and abroad and
98 This recording is dedicated to the memory of Petras Bingelis (1943-2020), Kaunas State Choir founder and conductor, with whom we collaborated on many recordings
Special thanks to Algimantas Treikauskas, General Director of the Kaunas City Symphony Orchestra, for his invaluable help in producing this recording
Recorded at Kaunas Philharmonic, July 3-14, 2017 Recording producers and engineers: Vilius Keras and le sandra erien Assistant engineer: Justinas Giedraitis Mastering: Vilius Keras, Baltic Mobile Recordings www.bmr.lt Booklet editor: Lindsay Koob Art design/layout: Lonnie Kunkel
Photo credits: Lawrence Brownlee cover photo: Ken Howard; booklet photo: Shervin-Lainez Sarah Coburn cover photo: Eric Antoniou Photography; booklet photo: Rodebush Photography
Italian-English libretto translation: Dennis Adams
© 2021 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com
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