Libretto by Henri Meilhac (1831-1897) and Ludovic Halévy (1834-1908) (D'après La Nouvelle Carmen De Prosper Mérimée) (After the Novel Carmen by Prosper Mérimée)

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Track 2 • Georges Bizet: CARMEN Track 2 • Georges Bizet: CARMEN Livret d'Henri Meilhac (1831-1897) et Ludovic Halévy (1834-1908) Libretto by Henri Meilhac (1831-1897) and Ludovic Halévy (1834-1908) (d'après la nouvelle Carmen de Prosper Mérimée) (after the novel Carmen by Prosper Mérimée)

Acte II – Couplet d'Escamillo Act II – Escamillo: Couplet

AMIS D’ESCAMILLO FRIENDS OF ESCAMILLO Vivat, vivat le torero! Long live the Toreador! Vivat, vivat Escamillo! Long love Escamillo!

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

AMIS D’ESCAMILLO FRIENDS OF ESCAMILLO Toréador, en garde! Toreador, on guard! toréador, toréador! Toreador! Toreador! Et songe bien, oui, songe en combattant And remember, remember as you fight qu’un oeil noir te regarde, That a pair of dark eyes are watching you et que l’amour t’attend, toreador, And love awaits you, l’amour, l’amour t’attend! Toreador, love awaits you!

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

Carlo Colombara - The Art of the Bass 2.110612 www.naxos.com/catalogue/item.asp?item_code=2.110612

FRASQUITA FRASQUITA L’amour! Love!

ESCAMILLO ESCAMILLO L’amour! Love!

MERCEDES MERCEDES L’amour! Love!

ESCAMILLO ESCAMILLO L’amour! Love!

CARMEN CARMEN L’amour! Love!

ESCAMILLO ESCAMILLO L’amour! Love!

AMIS D’ESCAMILLO FRIENDS OF ESCAMILLO Toreador! Toreador! L’amour t’attend! Toreador! Toreador! Love awaits you!

Track 3 • Giuseppe Verdi: DON CARLO Track 3 • Giuseppe Verdi: DON CARLO Libretto di Joseph Méry (1797-1866) et Camille du Locle (1832-1903) Libretto by Joseph Méry (1797-1866) and Camille du Locle (1832-1903) Traduzione italiana di Achille de Lauzières-Themines (1818-1894) Italian translation by Achille de Lauzières-Themines (1818-1894) (dal dramma Don Carlos, Infant von Spanien di Friedrich Schiller) (from the dramma Don Carlos, Infant von Spanien by Friedrich Schiller)

Atto III – Aria di Filippo II Act III – Philip II: Aria

FILIPPO II PHILIP II Ella giammai m’amò! She never loved me! No, quel cor chiuso è a me, No, that heart is closed to me, amor per me non ha! Love for me she never has. Io la rivedo ancor contemplar triste in volto I still remember how sad she looked il mio crin bianco il dì che qui di Francia venne. When fresh from France she noticed my white hair. No, amor per me non ha, No, love for me she does not have! Ove son?... Quei doppier presso a finir!... Where am I?...Those candles will soon finish! L’aurora imbianca il mio veron! Dawn whitens my balcony! Già spunta il dì! passar veggo i miei giorni lenti! Day is already breaking! I see my days pass slowly by! Il sonno, o Dio! Sparì Sleep, oh God! has disappeared from my languishing eyes! dai miei occhi languenti! I shall sleep alone in my royal mantle, Dormirò sol nel manto mio regal When my day becomes evening. quando la mia giornata è giunta a sera, I shall sleep alone under the black vault dormirò sol sotto la vôlta nera, There in the tomb of the Escurial. là, nell’avello dell’Escurial. If the royal crown gave me the power Se il serto regal a me desse il poter To read in the hearts what God alone could see! di leggere nei cor, che Dio può sol veder!... Ah! If the royal crown gave me the power Ah! Se il serto regal a me desse il poter To read in the hearts what God alone could see! di leggere nei cor, che Dio può sol veder!... If the prince is asleep, Se dorme il prence, The traitor is awake watching, veglia il traditore; The king loses his crown, his consort and his honour! il serto perde il re, il consorte l’onore! I shall sleep along in my royal mantle… Dormirò sol nel manto mio regal When my day becomes evening. quando la mia giornata è giunta a sera, I shall sleep alone under the black vault dormirò sol sotto la vôlta nera, There in the tomb of the Escurial. là, nell’avello dell’Escurial. To read in the hearts… Ah! Se il serto regal a me desse il poter She never loved me. di leggere nei cor… No, that heart is closed to me, love for me she never has. Ella giammai m’amò! No, quel cor chiuso è a me, amor per me non ha!

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Track 4 • Gioachino Rossini: IL BARBIERE DI SIVIGLIA Track 4 • Gioachino Rossini: IL BARBIERE DI SIVIGLIA Libretto di Cesare Sterbini (1784-1831) Libretto bu Cesare Sterbini (1784-1831) (dalla commedia Le barbier de Seville di Pierre Augustin Caron de (from the comedy Le barbier de Seville by Pierre Augustin Caron de Beaumarchais) Beaumarchais)

Atto II – Aria di Don Basilio Act II –Don Basilio: Aria

DON BASILIO DON BASILIO La calunnia è un venticello, Slander is a little breeze, un’auretta assai gentile a very gentle zephir che insensibile, sottile, which imperceptibly, leggermente, dolcemente subtly, lightly, sweetly, incomincia, incomincia a sussurrar. begins to whisper. Piano piano, terra terra, Softly, at ground level, sottovoce, sibilando, in an undertone, hissing, va scorrendo, va scorrendo, it goes spreading, it goes buzzing. va ronzando, va ronzando; Into the ears of people nelle orecchie della gente It penetrates insidiously, s’introduce destramente and the heads and the brains e le teste ed i cervelli become bewildered and inflated. fa stordire e fa gonfiar. Once it leaves the mouth Dalla bocca fuori uscendo The noise keeps increasing, lo schiamazzo va crescendo, gathering strength little by little, prende forza a poco a poco, already flying from place to place; vola già di loco in loco; like thunder, like a storm sembra il tuono, la tempesta that rips through a forest che nel sen della foresta whistling and rumbling, va fischiando, brontolando it freezes you in terror. e ti fa d’orror gelar. At the end it overflows and breaks loose, Alla fin trabocca e scoppia, it spreads, redoubles si propaga, si raddoppia and produces an explosion e produce un’esplosione like a cannon shot, come un colpo di cannone, like a cannon shot, come un colpo di cannone, an earthquake, a fierce gust, un tremuoto, un temporale, an earthquake, a fierce gust, un tremuoto, un temporale, an all round shake-up un tumulto generale, that sends the air a-buzzing. che fa l’aria rimbombar. And the wretched slandered one, E il meschino calunniato, humbled and trampled on avvilito, calpestato, by the public whipping, sotto il pubblico flagello with a bit of luck, goes off and dies. per gran sorte ha crepar.

Track 5 • Giuseppe Verdi: SIMON BOCCANEGRA Track 5 • Giuseppe Verdi: SIMON BOCCANEGRA Libretto di Francesco Maria Piave (1784-1831), adattamento di Arrigo Libretto by Francesco Maria Piave (1810-1876), revised by Arrigo Boito Boito (1842-1918) (1842-1918) (dal dramma Simón Bocanegra di Antonio García Gutiérrez) (after Antonio García Gutiérrez’s play Simón Bocanegra)

Prologo – Aria di Jacopo Fiesco (Andrea Grimaldi) Prologue – Jacopo Fiesco (Andrea Grimaldi): Aria

FIESCO FIESCO A te l’estremo addio, palagio altero, I bid you a final farewell, freddo sepolcro dell’angiolo mio! noble mansion, icy sepulchre Nè a proteggerti valsi! of my beloved angel! Oh maledetto! Oh vile seduttore! I failed to protect you! E tu, Vergin, soffristi Oh wretch! Oh cowardly seducer! rapita a lei la verginal corona? And you, Virgin, did you allow Ah! che dissi? Deliro! Ah, mi perdona! her virginal crown to be stolen? Il lacerato spirito del mesto genitore Ah! what have I said? I am delirious! era serbato a strazio d’infamia e di dolore. Ah, forgive me! This desperate father’s broken spirit was destined to be destroyed by dishonour and grief.

WOMEN’S CHORUS WOMEN’S CHORUS! ? morta! ? morta! She is dead! She is dead!

MEN’S CHORUS MEN’S CHORUS Miserere!... miserere!... Miserere!... miserere!...

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FIESCO FIESCO Il serto a lei de’martir pietoso il cielo diè... Merciful heaven has given her a martyr’s crown. Resa al fulgor degli angeli, Now on high, amid the angels’ radiance, prega, Maria, per me. Maria, pray for me.

CHORUS CHORUS Mai più!... mai più non la vedremo in terra!... Never more!... never more shall we see her on earth!...

MEN’S CHORUS MEN’S CHORUS Miserere!... miserere!... Miserere!... miserere!...

FIESCO FIESCO Resa al fulgor degli angeli, Now on high, amid the angels’ radiance, prega, Maria, per me... Maria, pray for me.

CHORUS CHORUS Mai più!... mai più non la vedremo in terra!... Never more!... never more shall we see her on earth!... Miserere!... miserere!... Miserere!... miserere!...

FIESCO FIESCO Prega, Maria, per me! Maria, pray for me!

Track 6 • Charles Gounod: FAUST Track 6 • Charles Gounod: FAUST Livret de Jules Barbier (1825-1901) et Michel Carré (1821-1872) Libretto by Jules Barbier (1825-1901) and Michel Carré (1821-1872) (basé sur la légende du même nom et la pièce de Johann Wolfgang von (based on the legend of the same title by Johann Wolfgang von Goethe) Goethe)

Acte IV – Sérénade de Méphistophélès Act IV –Mephistopheles: Serenade

MÉPHISTOPHÉLÈS MEPHISTOPHELES Vous qui faites l’endormie, You who pretend to sleep, n’entendez-vous pas... can you not hear… n’entendez-vous pas! Can you not hear! O Catherine, ma mie, Oh Catherine my love? n’entendez-vous pas Can you not hear ma voix et mes pas? my voice and my steps? Ainsi ton galant t’appelle... And so your young man calls… ainsi ton galant t’appelle... And so your young man calls… et ton coeur l’en croit. And your heart believes him!... Ah! ah! ah! ah!... Ha, ha! N’ouvre ta porte, ma belle, Do not open the door, my beauty, que la bague au doigt! till the ring is on your finger! Catherine que j’adore. Catherine whom I adore, Pourquoi refuser... why refuse a l’amant qui vous implore, a lover who begs you, pourquoi refuser un si doux baiser? why refuse a sweet little kiss? Ainsi ton galant supplie... And so your young man pleads, et ton coeur l’en croit. and your heart believes him!... Ah! ah! ah! ah!... Ha, ha! Ne donne un baiser, ma mie, Do not kiss him, my love, que la bague au doigt... till the ring is on your finger! Ah! ah! ah! ah!... Ha, ha!...

Track 7 • Giuseppe Verdi: NABUCCO Track 7 • Giuseppe Verdi: NABUCCO Libretto di Temistocle Solera (1815-1878) Libretto by Temistocle Solera (1815-1878) (dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois) (from the play Nabuchodonosor by Auguste Anicet-Bourgeois)

Atto II – Preghiera di Zaccaria Act II – Zaccaria: Invocation

ZACCARIA ZACCARIA Vieni, o Levita!... Come, O Levite, Il Santo Codice reca! and bring forth the Holy Law! Di novel portento Law of new portents! me vuol ministro Iddio!... God wants me as His minister! Me servo manda, He commands me, per gloria d’Israele, For the glory of Israel, le tenebre a squarciar d’un’infedele. to expel the darkness of an infidel. Tu sul labbro de’ veggenti On the lips of the prophets fulminasti, o sommo Iddio! Though hast fulminated, o almighty God!

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All’Assiria in forti accenti To Assyria in dark intonation parla or tu col labbro mio!... Thou speak now through mine lips! E di canti a te sacrati Songs devoted to Thee ogni tempio suonerà; Will ring from every temple; sovra gl’idoli spezzati Above the broken idols la tua Legge sorgerà, Thy Law will rise. e di canti a te sacrati Songs devoted to Thee ogni tempio suonerà! Will ring from every temple!

Track 8 • Arrigo Boito: MEFISTOFELE Track 8 • Arrigo Boito: MEFISTOFELE Libretto del compositore Libretto by the composer (liberamente tratto dal Faust di Johann Wolfgang von Goethe) (freely adapted from Johann Wolfgang von Goethe’s Faust)

Atto II – Aria di Mefistofele Act II – Mephistopheles: Aria

Ecco il mondo, Behold the world, vuoto e tondo, an empty sphere, s’alza, scende, it rises and falls, balza e splende. pulses and shines. Fa carole intorno al sole, It dances around the sun, trema, rugge, dà e distrugge, trembles, roars, creates and destroys, ora sterile, or fecondo. sometimes barren, sometimes fertile. Ecco il mondo. Behold the worUpon its wide Sul suo grosso and ancient surface antico dosso lives a foul and v’è una schiatta foolish people, e sozza e matta, proud, base, evil, sly, fiera, vile, ria, sottile, continually devouring itself che ad ogn’ora si divora from the heights to the depths dalla cima sino al fondo of this wicked world. del reo mondo. It sees Satan as an idle tale, Fola vana è a lei Satàna, it laughs and sneers riso e scherno at the idea of hell, è a lei l’Inferno, it laughs and sneers scherno e riso at paradise. il Paradiso. Oh, by God! Oh! per Dio! how I too laugh now Che or rido anch’io, when I think of what nel pensare ciò I’m hiding from it. che le ascondo. Ha, ha, ha, ha!... Ah! ah! ah! ah!... Behold the world! Ecco il mondo!

Track 9 • Giuseppe Verdi: ATTILA Track 9 • Giuseppe Verdi: ATTILA Libretto di Temistocle Solera (1815-1878); revisione di Francesco Maria Libretto by Temistocle Solera (1815-1878); revised by Francesco Maria Piave (1810-1876) Piave (1810-1876) (dal dramma Attila, König der Hunnen di Zacharias Werner) (after Zacharias Werner’s play Attila, König der Hunnen)

Atto I – Recitativo, Aria e Cabaletta di Attila Act I – Attila: Recitative, Aria and Cabaletta

ATTILA ATTILA Uldino! Uldin! Uldino! Uldino!

ULDINO ULDINO Mio re! My king!

ATTILA ATTILA Non hai veduto? Did you not see him?

ULDINO ULDINO Che mai? What?

ATTILA ATTILA Tu non udisti? Did you not hear him?

ULDINO ULDINO Io? Nulla. I? No, nothing.

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ATTILA ATTILA Eppur feroce qui s’aggirava. And yet he here did grimly tread. Ei mi parlò... sua voce He spoke to me... his voice parea vento in caverna! echoed like the wind in a cave!

ULDINO ULDINO Oh re, d’intorno tutto è silenzio... My lord, all around is silence… della vigil scolta broken only by the pacing batte soltanto il piè. of the sentry back and forth.

ATTILA ATTILA Mio fido, ascolta! Faithful servant, listen to me! Mentre gonfiarsi l’anima As my heart seemed to swell parea dinanzi a Roma, at the thought of Rome, m’apparve immane un veglio, a terrifying old man appeared to me che m’afferrò la chioma... and grabbed hold of my hair… Il senso ebb’io travolto, My senses were overwhelmed, la man gelò sul brando; my hand froze on my sword; ei mi sorrise in volto, he smiled at me e tal mi fe’ commando: and did command me thus: di flagellar l’incarco “You will bring only contro i mortali hai sol. suffering to mortal men. T’arretra!... or chiuso è il varco; Retreat!... the way is closed to you; questo de’ Numi è il suol! this is the land of the gods!” In me tai detti suonano Such words sounded cupi, fatali ancor, the knell of doom within me, e l’alma in petto ad Attila and Attila’s heart did freeze s’agghiaccia pel terror. with fear within his breast.

ULDINO ULDINO Raccapriccio! E che far pensi? Oh horror! What will you do?

ATTILA ATTILA Or son liberi i miei sensi! I have returned to my senses! Ho rossor del mio spavento! I am ashamed of my fearfulness! Chiama i druidi, i duci, i re. Summon the druids, leaders and kings. Già più rapido del vento, Iniquitous Rome, I fly to you Roma iniqua, volo a te. now, swifter than the wind. Oltre a quel limite I shall await you, o spectre, t’attendo, o spettro! beyond the enemy line. Vietarlo ad Attila Who will have the power chi mai potrà? to stop Attila now? Vedrai se pavido You will see whether I retreat io là m’arretro, in trepidation, se alfin me vindice or whether I at last il mondo avrà. claim vengeance for the world.

Track 10 • Sergey Rachmaninov: ALEKO Track 10 • Sergey Rachmaninov: ALEKO Libretto by Vladimir Nemirovich-Danchenko (1858-1943), after Pushkin’s Libretto by Vladimir Nemirovich-Danchenko (1858-1943), after Pushkin’s poem The Gypsies poem The Gypsies

Cavatina Cavatina

Ves’ tabor spit. Luna nad nim polnochnoy krasotoyu bleshchet. The gipsy camp is asleep. The moon above it shines with midnight beauty. Chto zh serdtse bednoye trepeshchet? Kakoyu grust’yu ya tomim? Why is my poor heart flutters so? What saddens me? Ya bez zabot, bez sozhalen’ya vedu kochuyushchiye dni, I live my wandering days without troubles or regret, Prezrev okovï prosveshchen’ya, ya volen tak zhe kak oni. I detest the bounds of enlightenment, and I am free. Ya zhil, ne priznavaya vlasti sud’bï kovarnoy i slepoy. I do not recognise the power of perfidious and blind fate. No, Bozhe, kak igrayut strasti moey poslushnoyu dushoy! But oh, God, how passions torment my obedient soul! Zemfira! Kak ona lyubila! Zemfira! How she loved me! Kak nezhno preklonyas ko mne, v pustïnnoy tishine chasï nochnïye How gently she leaned to me, as we spent the night hours in desert’s provodila! stillness! Kak chasto milïm lepetan’yem, upoitel’nïm lobzan’yem, How often with sweet whispers, with delightful kisses, Zadumchivost’ moyu v minutu razognat’ umela! She could chase away in one moment my thoughtfulness! Ya pomnyu: s negoy polnoy strasti, sheptala mne ona togda: I remember: with a full passion, she whispered then to me: ‘Lyublyu tebya! V tvoyey ya vlasti! Tvoya, Aleko, navsegda!’ ‘I love you! I am in your power! I am yours forever, Aleko!’ I vsyo togda ya zabïval, kogda recham eyo vnimal. And when I heard such words, I forgot everything else. I, kak bezumnïy, tseloval eyo charuyushchiye ochi, And, as a madman, I kissed her enchanting eyes, Kos chudnïkh pryad temneye nochi, usta Zemfirï… The waves of her hair, blacker than the night, and Zemfira’s lips…

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A ona vsya negoy strast’yu polna pril’nuv ko mne, v glaza glyadela… And she looked into my eyes, all overcome with passion… I chto zh? Zemfira ne verna! Moya Zemfira okhadela! And now? Zemfira is not loyal! My Zemfira grew cold!

Track 11 • Modest Mussorgsky: BORIS GODUNOV Track 11 • Modest Mussorgsky: BORIS GODUNOV Libretto by the composer Libretto by the composer

Act IV – Proshchay moy sïn Act IV – Goodbye, my son

BORIS GODUNOV BORIS GODUNOV Oy, dushno! Dushno! Svetu! Oh, I cannot breathe! Let in the light! Tsarevicha skorey! Okh, tyazhko mne, skhimu! Quick, call the tsarevich! Oh, I suffer, bring me my monastic robes! Ostav’te nas! Uydite vse! Leave us alone! All leave!

Proshchay moy sïn, umirayu… Farewell, my son, I am dying… Seychas tï tsarstvovat’ nachnyosh’. Now you will begin your reign. Ne sprashivay, kakim putyom ya tsarstvo priobryol… Do not ask me how I became a tsar… Tebe ne nuzhno znat’. Tï tsarstvovat’ po pravu budesh’, You need not know, you will reign as a rightful ruler, Kak moy naslednik, kak sïn moy pervorodnïy… As my heir, my firstborn son. Sïn moy! Ditya moyo, rodnoye! My son! My dear child! Venets tebe dostalsya v tyazhkuyu godinu. You inherit the crown at a difficult time. Silyon zloy Samozvanets! On imenem uzhasnïm opolchyon. The Pretender is strong. He goes under a terrifying name… Vokrug tebya boyar kramola, izmena voyska… Glad i mor… Around you is boyar’s rebellion, treachery of the army… Hunger and Slushay, Fyodor: ne vveryaysya sovetam boyar kramol’nïkh, plague… Zorko sledi za ikh snosheniyami taynïmi s Litvoyu, Listen, Fyodor, do not listen to the advice of rebellious boyars, Izmenu karay bez poshchadï, bez milosti karay; Follow closely all their secret dealings with Lithuania, Strogo vnikay v sud narodnïy, sud nelitsemernïy, Punish betrayal without mercy, Stoy na strazhe bortsom za veru pravuyu, Be attentive to your people and their wisdom, Svyato chti svyatïkh ugodnikov bozh’ikh. Be the guardian of our faith, Soblyudi tï chistotu svoyu Fyodor, v ney moshch’ tvoya i sila, And respect the God’s saints. I razuma krepost’, i spasen’ye. Stay pure, Fyodor, this will give you strength and power, Sestru svoyu, tsarevnu, sberegi, moy sïn, tï yey odin khranitel’ And clarity of mind, and bring salvation. ostayosh’sya… Take care of your sister, you are her only guardian now… Nashey Ksenii, golubke chistoy. Our Kseniya, our pure little dove. Gospodi! Gospodi, vozzri, molyu, na slyozï greshnogo otsa; God, please look at the tears of this sinful father; Ne za sebya molyu, ne za sebya, moy Bozhe!.. I am not praying for myself, my God! S gornoy nepristupnoy vïsotï proley tï blagodatnïy svet na chad moikh, Send your blessed light from the unreachable heights onto my children, Nevinnïkh, krotkikh, chistïkh… Innocent, humble, pure… Silï nebesnïye!.. Strazhi trona predvechnogo… Heavenly powers! Guardians of the eternal throne… Krïlami svetlïmi vï okhranite moye ditya rodnoye ot bed i zol… ot Shield my dear children with your shining wings from harm and temptation. iskusheniy… The bells! I hear funeral bells! The funeral dirge! Zvon!.. Pogrebal’nïy zvon!... Nadgrobnïy vopl’, My holy monastic robes! I want to die a monk. Skhima… svyataya skhima… v monakhi tsar’ idyot.

FYODOR: FYODOR Gosudar’, uspokoysya! Gospod’ pomozhet… My lord, be calm! God will help you!

BORIS GODUNOV BORIS GODUNOV Net! net, sïn moy, chas moy probil… No, no, my son, my hour has come… Bozhe! Bozhe! Tyazhko mne! Uzhel’ grekha ne zamolyu! God! God! I suffer! Will you not forgive my sin? O, zlaya smert’! Kak muchish tï zhestoko! Oh, evil death! How you torment me! Povremenite… ya tsar’ eshchyo! Ya tsar’ eshchyo… Wait… I am still your tsar! Bozhe! Smert’! Prosti menya! Vot, vot tsar’ vash… tsar’… prostite… God! Death! Forgive me! Here, here is your… tsar… prostite… Forgive me… forgive me…

English translations by Diana Liao, Susannah Howe and Anastasia Belina