Grant Park Music Festival Notes...Grand Opera studio and the apprentice singer Program at santa Fe...

Grant Park Music FestivalSeventy-seventh Season

Grant Park Orchestra and ChorusCarlos Kalmar, Principal ConductorChristopher Bell, Chorus Director

Seventh Program: Ryan Opera CenterFriday, August 5, 2011 at 6:30 p.m.

Saturday, August 6, 2011 at 7:30 p.m. Harris Theater for Music and Dance

GRanT PaRK ORCHesTRaCarlos Kalmar, Conductor

ensemble members of The Patrick G. and shirley W. Ryan Opera CenterJack Zimmerman, Narrator

MOZARTThe Impresario, a Comedy with Music in One act, K. 486

Madame Goldentrill ............Kiri Deonarine Miss silverpeal ............emily Birsan Mr. angel ............Bernard Holcomb Mr. Bluff ............Joseph Lim

DONIZETTIact II of Don Pasquale

ernesto, Pasquale’s nephew ............René Barbera Don Pasquale, an elderly bachelor ............David Govertsen Dr. Malatesta, his friend ............Paul La Rosa norina, ernesto’s beloved ............Jennifer Jakob a notary ............Joseph Lim

ROSSINIact II of La Cenerentola

DonMagnifico, Baronof Montefiascone ............evan Boyer Tisbe,DonMagnifico’sdaughter ............Cecelia Hall Clorinda,DonMagnifico’sdaughter ............emily Birsan Don Ramiro, Prince of salerno ............James Kryshak Dandini, his valet ............Paul scholten angelina (Cenerentola), DonMagnifico’sstep-daughter ............emily Fons alidoro, a philosopher, Don Ramiro’s tutor ............David Govertsen

This program is partially underwritten by a generous gift from Rose Ann Grundman, a member of

the Grant Park Orchestral Association Board of Directors

A2 Program Notes

Friday, august 5 and saturday, august 6, 2011 GRanT PaRK MUsIC FesTIVaL

Program Notes A3


The PATRICk G. AND ShIRlEy W. RyAN OPERA CENTER was established in 1974 as theprofessionalartist-developmentprogramforLyricOperaof Chicago.Sinceitsinception,theRyan Opera Center has been recognized as one of the premier programs of its kind in the world. Thatstandingismaintainedbyprovidingthefinestup-and-comingsingerswithunparalleledtrain-ing and experience. Gianna Rolandi is Director of the program. selected from some 400 singers who audition annually, the Ryan Opera Center ensemble members are in residence for twelve months. Over the course of the year they receive advanced instruction in numerous aspects of operatic performance, including voice lessons and coachings, language and acting training, and master classes with some of opera’s most renowned artists. ensemble members gain valuable per-formingexperiencebyparticipatinginrecitalsandconcertsatmanyChicago-areavenues.DuringLyric Opera’s mainstage season, they perform and understudy roles at all levels. This presents an extraordinary opportunity to work with the world’s greatest opera singers, conductors, directors, orchestra and chorus. a testament to the Ryan Opera Center’s caliber and success is the roster of distinguished alumni who perform regularly on the stages of leading international opera houses. It includes Harolyn Blackwell, nicole Cabell, David Cangelosi, andriana Chuchman, Mark s. Doss, Christopher Feigum, elizabeth Futral, Roger Honeywell, Joseph Kaiser, Maria Kanyova, Quinn Kelsey, Dina Kuznetsova, Gary Lehman, emily Magee, Marlin Miller, susanna Phillips, Matthew Polenzani, Franco Pomponi, Wayne Tigges, amber Wagner, erin Wall and Guang Yang.

Tenor RENé BARBERA,athird-yearRyanOperaCentermember,wasa winner of the 2008 Metropolitan Opera national Council auditions GrandFinals.TheSanAntonionativemadehisLyricdebutin2009-2010as Riccardo in Ernani, later singing nemorino in L’elisir d’amore (student matinees). after his 2010 appearances with the Grant Park Music Festival and in the “stars of Lyric Opera at Millennium Park” concert, he was seen at Lyric in Carmen, A Masked Ball, The Girl of the Golden West and Lohengrin.In2011-2012,RenéBarberawillbefeaturedinThe Daughter of

the Regiment at Opera Theatre of st. Louis and in Lyric’s Lucia di Lammermoor, Ariadne auf Naxos and The Magic Flute (student matinees).

soprano EMIly BIRSAN,anativeof Neenah,Wisconsin,isafirst-year Ryan Opera Center member. In both 2008 and 2009 she received an encouragement award from the Metropolitan Opera national Council RegionalAuditions.Previouslyshewastherecipientof thefirstawardfor Outstanding Female singer and First Place senior Women at the na-tional association of Teachers of singing competition. Ms. Birsan was a member of the 2010 Young artist Program at Des Moines Metro Opera and debuted last fall with Madison Opera in The Marriage of Figaro. In Lyric’s2011-2012season,shemakeshercompanydebutasStellainThe Tales of Hoffmann and later appears as Xenia in Boris Godunov.

Bass EvAN BOyERisasecond-yearRyanOperaCentermember.TheLouisville,Kentuckynativewasa2009nationalsemi-finalistintheMet-ropolitan Opera national Council auditions. He has received awards fromtheUnionLeagueCivicandArtsFoundation,LiciaAlbanese-Puc-cini Foundation and american Opera society. His recent performances include concerts with the Grant Park Music Festival and Creon in Char-pentier’s Medea at Chicago Opera Theater. Mr. Boyer appeared at Lyric in2009-2010inMacbeth (debut), The Girl of the Golden West, Lohengrin and

Carmen (student matinees). This season he performs in The Tales of Hoffmann, Boris Godunov, Ariadne auf Naxos, The Magic Flute (student matinees) and Aida.

soprano kIRI DEONARINE,afirst-yearRyanOperaCentermem-ber, has spent the past two seasons as a member of both the Houston Grand Opera studio and the apprentice singer Program at santa Fe Op-era. Originally from Fair Lawn, new Jersey, she received a 2010 George LondonVocalCompetitionAward,firstplaceinthe2010DallasOperaGuild Competition, and was a Grand Finalist in the 2009 Metropolitan Opera national Council auditions. Ms. Deonarine recently sang with the Milwaukee symphony under edo de Waart and with Mercury Baroque

(Houston).In2011-2012,KiriDeonarinemakesherLyricdebutinAriadne auf Naxos, later per-forming in The Magic Flute (student matinees) and Rinaldo.

Mezzo-soprano EMIly FONS, a second-year Ryan Opera Centermember, was a santa Fe Opera apprentice artist for two seasons, where she sang Flora in La Traviata, and previously participated in the India-napolis Opera Young artist Program. Her recent awards include Re-gional Winner in the Metropolitan Opera national Council auditions and top prizes from the american Opera society and the Musicians Club of Women. after performing with the Grant Park Music Festival and in the “stars of Lyric Opera at Millennium Park” concert, the Milwaukee native appeared in Carmen (debut), The Mikado and Lohengrinduringthe2010-2011Lyricseason.This season at Lyric, emily Fons portrays nicklausse in The Tales of Hoffmann and Fyodor in Boris Godunov.

Bass-baritoneDAvID GOvERTSEN,afirst-yearRyanOperaCentermember, spent two summers in santa Fe Opera’s apprentice program. Recent engagements for the Wheaton, Illinois native include concerts with the santa Fe symphony, Handel’s Messiah with the northwest In-diana symphony, Haydn’s Creation with the elmhurst symphony, and simone in Gianni Schicchi with DuPage Opera Theatre. Last spring he made his Carnegie Hall debut as the Herald in Otello with the Chicago symphony Orchestra conducted by Riccardo Muti. David Govertsen ap-

pearsinLyric’s2011-2012seasonasNikitichinBoris Godunov (debut), the second armed Man in The Magic Flute (regular performances), and the speaker in The Magic Flute (student matinees).

Mezzo-soprano CECElIA hAll, a native of Durham, north Caro-lina,isafirst-yearRyanOperaCentermember.SherecentlymadeherMetropolitan Opera debut in Iphigénie en Tauride (also Live in HD simul-cast). Her other engagements include the Tanglewood Music Festival with Christoph von Dohnányi, her new York Philharmonic debut, the ensemble aCJW with Thomas adès, and recitals at Glimmerglass Op-era (in collaboration with the new York Festival of song) and London’s Wigmore Hall (with sir Thomas allen). a previous participant in the young-artistprogramsof OperaTheatreof SaintLouis andGlimmerglassOpera,CeceliaHallwillbeheardatLyricduring2011-2012inLucia di Lammermoor (debut), The Magic Flute, Aida and Rinaldo.

Tenor BERNARD hOlCOMB,afirst-yearRyanOperaCentermem-ber, was a winner of the Michigan District Metropolitan Opera national Council auditions. He is a former apprentice artist and studio Program member at sarasota Opera and has performed with Michigan Opera Theatre. In 2008 the Detroit native participated in an international tour of Porgy and Bess with appearances in Russia, Poland, Greece, Latvia, es-tonia and Germany. His orchestral engagements include concerts with the new Hampshire symphony Holiday Pops, Rochester Philharmonic

andDetroitSymphonyOrchestra.DuringLyric’s2011-2012seasonHolcombsingsinThe Tales of Hoffmann (debut), Boris Godunov, Ariadne auf Naxos, The Magic Flute and Aida.

A4 Program Notes


Program Notes A5


soprano JENNIFER JAkOB is a second-year Ryan Opera Centermember. The Kempten, Germany native has appeared with the Grant Park Orchestra, newark symphony Orchestra and santa Fe symphony. Her awards include second place in the Metropolitan Opera national Council auditions Midwest Region, Donald and Luke Graham Memo-rial award from santa Fe Opera, and Virginia Cooper Maier scholarship fromtheMusiciansClubof Women.Formerlyayoung-artistprogrammember at Opera Theatre of st. Louis and santa Fe Opera, Jennifer

Jakob debuted at Lyric Opera last year in Macbeth and sang in Carmen and Lohengrin. In Lyric’s 2011-2012seasonsheperformsinThe Magic Flute and Rinaldo.

Tenor JAMES kRyShAk is a second-year Ryan Opera Center member. a native of Baldwinsville, new York, he made his professional opera debut as Don Ottavio in Don Giovanni at Raylynmor Opera (new Hampshire). He was in the 2009 Metropolitan Opera national Council auditions, and, in 2010, a winner in the american Opera society and Union League Civic and arts Foundation competitions. after perform-ing with the Grant Park Music Festival last summer, Mr. Kryshak made his Lyric debut in A Midsummer Night’s Dream and appeared in A Masked Ball, The Girl of the Golden West and Lohengrin. This season at Lyric James Kryshak performs in Ariadne auf Naxos, The Magic Flute and Rinaldo.

Baritone PAul lA ROSA, a third-yearRyanOperaCentermember,has performed under the baton of Lorin Maazel as Junius in The Rape of Lucretia at the Castleton Festival and soloist in Brahms’ A German Requiem (his european debut). Other recent debuts for the Union, new Jersey native include the Los angeles Philharmonic and Chicago Opera Theater (Oronte in Charpentier’s Medea). He is a former Young artist at Glimmerglass Opera and participant in the Merola program at san Francisco Opera. His Lyric Opera appearances include Katya Kabanova,

The Merry Widow, Carmen, A Masked Ball and The Girl of the Golden West.During2011-2012Paul La Rosa performs in The Tales of Hoffmann and The Magic Flute (student matinees).

Baritone JOSEPh lIM, born in Korea, is a first-year Ryan Opera Center member. In 2011 he was a Grand Finals winner in the Metropolitan Opera national Council auditions. a year earlier he received encouragement awards from the Marilyn Horne song Compe-tition and the Loren L. Zachary national Competition. His other recent honors include first place in the Palm Springs Opera Guild Vocal Competition, scholarships from Opera Buffs, Inc., and being named University of southern California Thornton school of Music’s Marilyn Horne Scholar. JosephLimmakes hisLyric debut during the 2011-2012 season as Schlémil in The Tales of Hoffmann and later appears as the Frontier Guard in Boris Godunov.

Baritone PAul SChOlTEN, a second-year Ryan Opera Center member, recently made his Carnegie Hall debut under the auspices of the Marilyn Horne Foundation’s “The song Continues” 2010 festival. Anativeof Muskegon,Michigan,Mr.Scholtenwasathree-timefellowof the Tanglewood Music Center, performing Don alfonso in Così fan tutte with James Levine, and participated in san Francisco Opera’s Merola program. an award winner in the Florida Grand Opera/Young Patron-esses of the Opera national Vocal Competition, he appeared at Lyric in

Carmen (debut), A Midsummer Night’s Dream and The Girl of the Golden West.Inthe2011-2012Lyricseason, Paul scholten performs in Lucia di Lammermoor, Ariadne auf Naxos and The Magic Flute.

The ImpresarIo, a Comedy wITh musIC In one aCT, K. 486 (1786)Wolfgang Amadeus Mozart (1756-1791)The Impresario is scored for pairs of woodwinds, horns and trumpets, timpani and strings. The performance time is 22 minutes. This is the first performance of this opera by the Grant Park Orchestra.

“SpringFestivalonaMid-Winter’sDay,”itwascalled:anelaboratereceptiongivenbyEmperorJo-sephIIinhonorof DukeAlbertvonSachsen-Teschen,Governor-Generalof theAustrianNether-lands, and his wife, the archduchess Maria Christine, on February 7, 1786. The site chosen for this Mayish revel was one of the few greens spots in Vienna at that time of the year — the Orangerie at schönbrunn Palace, on the outskirts of town. along with the preparations for the banquet and the plansforthedecorationsof exoticflowers,blossomsandfruits,theroyalstewardsissuedordersfortheevening’sentertainment,whichwastoconsistof anewlycomposed,one-actopera buffa by Court Composer antonio salieri (Prima la musica e poi le parole — “First the Music and then the Words,” a theme treated again 150 years later by Richard strauss in his last opera, Capriccio)andaone-actfarceby the playwright Gottlieb stephanie the Younger (Der Schauspieldirektor — “The Impresario”) with a few interpolated musical numbers by Mozart. (stephanie and Mozart had worked together four years earlier when they produced The Abduction from the Seraglio.) Mozart’s feelings upon receiving the commission early in 1786 were mixed. His greatest ambition was always to compose operas, perhapsevensomedaytotakeoverSalieri’spositionatcourt,andthischancetocomposespecifi-cally for the imperial ear was welcome. On the other hand, he was frantically busy with preparations forhisownconcerts.HehadjustfinishedthePianoConcertosK.467and482,andwasreadyingtwo more such pieces (K. 488 and 491) for his Lenten programs. Most pressing, however, were the preparations for The Marriage of Figaro, which was scheduled for its premiere at the Burgtheater on May 1st. He put Figarobrieflyaside,however,andcomposedanoverture,twosopranoarias,atrioandanensemblefinaleforThe Impresario between January 18th and February 3rd.

On the afternoon of February 7, 1786, according to several press reports, the invited noble guests lefttheirwinterlodgingsinViennaaboardelegantcarriagesforthefour-mileridetotheHabsburgsummer palace, schönbrunn. There they were treated to a rich feast, consumed to the strains of a wind band playing selections from salieri’s opera La Grotto di Trofonio, premiered at the Burgtheater during the previous season. Two stages were erected at opposite ends of the schönbrunn Orange-rie for the “spring Festival,” one for stephanie’s German comedy with Mozart’s music, the other for salieri’s little opera buffa. (This double bill was given publicly three times during ensuing weeks at the Kärntnertor Theater.) The Impresario, performed by the German troupe of the Burgtheater, was along-windedandheavy-handedfarceonthetrialsof anoperaproducerinsettlingthedisputesand calming the rivalry of two competing sopranos. The play’s topicality and its unusual structure soon rendered it obsolete, and several later attempts were made to incorporate Mozart’s stranded music into other theatrical vehicles, notably one by Goethe in 1797, but, except for its sparkling overture, The Impressario remains a delightful but infrequently performed entry in Mozart’s catalog.

A6 Program Notes


Program Notes A7


aCT II of don pasQuaLe (1843)Gaetano Donizetti (1797-1848) Don Pasquale is scored for pairs for woodwinds, four horns, two trumpets, three trombones, timpani, percussion, harp, two guitars and strings. The performance time of the Second Act is 35 minutes. The Grant Park Orchestra first performed this opera on July 25, 1953. Leo Kopp conducted and the soloists were Laurel Hurley, Charles Rich, Davis Cunningham, Frank Valention and Lawrence Davidson.

Gaetano Donizetti was born in 1797 in Bergamo to a family of limited means, but his talent was recognized early by the maestro di cappella of the city’s cathedral, the German émigré opera composer GiovanniSimoneMayr,whogavehimhisfirstformalmusicinstructionandarrangedforhimtoattend Bologna’s prestigious Liceo Filarmonico Comunale to study with Padre stanislao Mattei. Donizetti showed skill in writing instrumental music and sacred pieces, but his real passion was op-era.HecomposedtwooperasbeforefinishinghisstudiesinBolognain1817(neitherwasstaged),and made his public debut with Enrico di Borgogna (“Henry of Burgundy”) in Venice in november 1818. He polished his craft and built a solid reputation over the next decade with 29 operas in a wide range of styles — comico, eroica (“heroic”), semiseria, tragico, romantica — and won international success with Anna Bolena, premiered in Milan on December 26, 1830.

Demand for Donizetti’s work soared and his operas were performed in every major house in Italy. Confirmationof hisgrowingrenowncameintheformof aninvitationtocomposeanewworkfromGioacchinoRossini,whowasthenheadingtheThéâtre-ItalieninParis,theheadquartersforItalian-languageopera inEurope’sculturalMeccaat the timewhen theaugustParisOpéra stillallowed only works in French to be presented on its stage. Marino Faliero achieved only a modest successwhen itwaspremiered at theThéâtre-ItalienonMarch12, 1835,butDonizetti’s stockcontinued to rise when Lucia di Lammermoor was introduced in naples in september. after premier-ing four operas in 1836, two more (including Roberto Devereux) in 1837, and one in 1838, Donizetti composed Poliuto for the Teatro di san Carlo in naples, but he became infuriated when the work was banned from performance by the local censor for depicting the martyrdom of a Christian saint onstage. When he was denied the directorship of the city’s conservatory at that same time, Doni-zettiquitItalyandmovedtoParisinOctober1838.HisfirstprojectsinhisnewhomewereLa Fille de Régiment (“The Daughter of the Regiment”),premieredattheOpéra-ComiqueonFebruary11,1840,and a thorough reworking of Poliuto with a new French text (newly titled Les Martyrs)bythewell-established librettist and dramatist eugène scribe for presentation at the Paris Opéra in april 1840; La Favorite, his greatest success at the Opéra during his lifetime, opened eight months later.

Donizetti traveled to Rome, Venice and Vienna for premieres during the following year and a half, and when he returned to Paris in september 1842 he signed a contract for a new opera buffa with JulesJanin,whohadtakenoverfromRossiniasdirectorof theThéâtre-Italien.Thepremierewasset for January and the subject chosen was Ser Marc’Antonio,alibrettobytheprolificAngeloAnellithat had originally been set to music in 1810 for La scala by stefano Pavesi. Donizetti engaged GiovanniRuffini, an Italianwriter andpolitical émigré (andolderbrotherof AgostinoRuffini,who had helped the composer with the text of Marino Faliero in 1835), to rework anelli’s libretto, which they renamed Don Pasquale.Ruffiniwascompelledtoworkatbreakneckspeedtokeepupwith Donizetti (Don Pasquale was his 68th opera), and in October he wrote to his mother that “the versifying machine continues to grind out a given quantity every day…. It’s not a question of doing itwellordoingitbadly,butof doingitfast.”DonizettidemandedsomanyrevisionsfromRuffiniand made so many of his own that the writer refused to have his name attached to the libretto when Ricordi published it in Milan in 1843.

Despite the furious pace of its creation — Donizetti claimed to have written it in eleven days, thoughthatincludedjustsketchingthevocallines;theorchestrationandfinalpolishingtookhimabout two months more — Don Pasquale, featuring a cast including Luigi Lablache, Giulia Grisi, Ma-rio di Candia and antonio Tamburini, names that have gone down in opera legend, was a triumph

atitspremiereattheThéâtre-ItalienonJanuary3,1843,oneof thegreatestsuccessesitscomposerever knew. It was staged in Milan in april, in Vienna in May, and in London in June, and reached the United states on January 7, 1845 with a performance in new Orleans. Don Pasquale has since been regarded as one of the masterpieces of opera buffa. Philip Gossett, Professor emeritus at the Universityof Chicagoandoneof theworld’sleadingexpertson19th-centuryItalianopera,wrote,“Don Pasquale is the fruit of an intense lifetime devoted to the theater, of Donizetti’s genius as a composer of opera buffa, and as a sensitive observer of the human soul.”

* * *

In act I, Don Pasquale, a rich old bachelor, is upset that his nephew and heir, ernesto, has re-fused to marry the woman Pasquale has chosen for him. ernesto declares he will have no one but norina, whom Pasquale has never met. Pasquale thereupon vows to disinherit ernesto andfindhisownwife so thathe canhave amoredirectheir.He enlists his friendDr.Malat-esta to help, not knowing that Malatesta is actually siding with ernesto and norina in this affair.

act II is set in the living room of Don Pasquale’s house. ernesto, alone, laments the rejection byhisuncle, the lossof hisbeloved, andhis impending lonely existence in some far-off land.He leaves. Pasquale, dressed to kill, struts into the room and instructs a servant to admit Malat-estaand thepersonwithhimbutnooneelse.Pasqualepreens inhopeof reclaiminghis long-vanished youth as the Doctor leads in his “sister sofronio,” actually the clever norina heavily veiled, who feigns shyness and fright. Malatesta explains to Pasquale that she has just left the convent and that it will be up to him to “tame her.” Pasquale is enraptured by her “voice, ges-tures,deportment,simplicity,”andSofronio/Norinaoffersthefirstof severalasidesaboutteach-ing the “silly old fool” a lesson. When sofronio/norina threatens to run away at the sight of a man, Malatesta restrains her in front of Pasquale but compliments her sly, teasing behavior to the audience. she extends her hand bashfully to Pasquale, who is almost speechless at the thought thatthebeautyof herstill-veiledfacemightequalthedelightof hertouch.Pasqualeregainshiscomposure sufficiently to inquire if she likes company in the eveningor perhaps going to thetheater,butshe timidly replies thatshe isquitesatisfiedwith“sewing,embroidery,knittingandseeing to the cooking.” Pasquale asks to see her face and Malatesta instructs her to remove her veil. “she’s knocked me into a heap!,” Pasquale stammers at the sight, and asks Malatesta to see if she will have him for her husband. “Sì,” comes the reply. Malatesta fetches the notary (re-ally his cousin in disguise), whom he has conveniently stationed in the hallway. Pasquale and the notary draw up the marriage document, in which Pasquale grants her half of his wealth and makes her “complete and absolute mistress … to be waited upon and obeyed by all in the house.”

Pasquale signs the papers and just as sofronio/norina is about to do the same, ernesto, knowing nothing of the scheme unfolding in the living room, is heard demanding to be admitted to bid farewell to his uncle. ernesto angrily bursts in and becomes irate when Pasquale introduces norina ashisbride-to-be.MalatestatriestocalmErnestobypullinghimoff tothesideandexplainingthat he and norina are really doing this for him, so, trusting but still confused, he reluctantly witnesses the marriage contract with his signature. as soon as the notary declares Pasquale and norina to be husband and wife, she announces that “the fun’s about to begin!” she immediately takes on the role of the shrew, refusing Pasquale’s embrace and his offer to escort her on a walk, declaring that ernesto will “be my cavalier.” When Pasquale objects, norina reminds him that she is now the only one who can give orders in the house. The argument escalates, Pasquale’s outrage rising, Malatesta observing that the crucial moment is approaching, norina hoping that Pasquale will see reason, and ernesto coming to understand the scheme. norina rings a bell and the servants, all three of them, enter. after informing the delighted head steward that she will doublehiswages,shedemandsapairof carriages,newfurniture,adinnerpartyforfifty,acom-plete renovation of the house, a hairdresser, a tailor, a jeweler — and more servants, all young and good-looking,of course.WhenPasqualeasks,“Who’sgoingtopay?”andNorinaresponds,“Why,you are,” he begins to realize that “I’ve been deceived, made a fool of.” While Malatesta tries to gethisfurious“brother-in-law”off tobed,NorinaandErnestoreaffirmtheirlovewhileexpress-ing some sympathy for “poor old Don Pasquale” as act II comes to its riotous conclusion. In act III, all is put right: Pasquale is freed from his termagant and norina and ernesto are married.

A8 Program Notes


Program Notes A9


aCT II of La CenerenToLa (“CIndereLLa”), or Goodness TrIumphanT (1817)Gioacchino Rossini (1792-1868)La Cenerentola is scored for pairs of woodwinds with piccolo, two horns, two trum-pets, trombone, timpani, percussion and strings. The performance time of the Second Act is sixty minutes. The Grant Park Orchestra first performed excerpts from this opera on July 7, 1966, with Julius Rudel conducting; Beverly Wolff, Michele Molese and Raymond Michalski were the soloists.

On February 29, 1816, his 24th birthday, Rossini signed a contract with the impresario Pietro Cartoni to provide an opera buffa for the Teatro della Valle in Rome for performance on December 26th to mark the beginning of the local Carnival season that year. Rossini could pay little attention to the commission just then, however, since he was still clearing up the details from the premiere of The Barber of Seville, miserably launched in Rome to boos and catcalls only the week before, and was already obligated to compose and stage three operas before he could attend to the new Rome commission.Hepassedmostof theyear1816inNaples,supervisingthefirstperformancesof Le Nozze di Teti e di Peleo (april 24th), La Gazzetta (september 24th) and Otello (December 4th), and turnedupinRomeinmid-DecemberonlytolearnthatCartonihadbeenunabletogetanyof sev-eral proposals for a subject for the new opera past the Papal censor. The premiere was postponed, and Rossini and Cartoni met with the librettist, Jacobo Ferretti, at the impresario’s home two days before Christmas. Chilled to the bone and drinking “Jamaica tea,” Ferretti reported, they consid-ered “twenty or thirty subjects for a melodramma.” Rossini climbed into bed, “so as better to con-centrate”(hewasCartoni’shouse-guestforthedurationof theproject),butsatboltuprightwhenFerrettimurmured,“Cinderella.”“WouldyouhavethecouragetowritemeaCinderella?”thecom-poserasked.“Wouldyouhavethecouragetosetit?”thewritercountered.“Youcanhaveit[i.e.,the scenario] in the morning if I go without sleep tonight.” Ferretti did, and Rossini did. The verses for La Cenerentola were completed during the next 22 days; Rossini set them as soon as they arrived, and,exceptforfiveitems,finishedtheoperajusttwodaysafterreceivingthelastlines.Twosolovocalnumbersof lesserimportance,aso-calledarie di sorbetto (so called because iced refreshments were served during their performance) and one chorus, were solicited from the local composer Luca agolini. Rossini himself refashioned an aria for the title character from a number originally written for the Barber, and borrowed the Overture intact from La Gazzetta (a frothy comedy about a fatherwhoadvertisesinanewspaperforahusbandforhisflirtatiousdaughter),whichhadfloppedin naples three months before. The premiere, given at the Teatro della Valle on January 25, 1817, waspoorlyreceived,butthe24-year-oldRossiniretainedhisfaithinthis,histwentieth(!)opera.“Itwill be very popular in Rome before the end of the season,” he prophesied, “in the whole of Italy by the end of the year, and in France and england within two years. Impresarios and, still more, primadonnaswillendbyfightingforit.”Hewasright.La Cenerentolawasahitbeforeitfinishedits run of twenty performances at the Valle on February 18th; it played in Genoa and Milan before the end of the year, conquered London in 1820 and Paris in 1822, and reached new York in 1826. OnFebruary12,1844,itbecamethefirstoperatobestagedinAustralia.La Cenerentola’s popularity among comic operas was rivaled throughout the 19th century only by that of The Barber of Seville, and it has been performed and recorded with singular success in recent years.

Thestoryof CinderellaismostfamiliarinCharlesPerrault’sclassicretellingof 1697,whichisfilledwithelementsof magicandfantasy.ThetaleservedasthebasisforoperasbyCharles-GuillaumeÉtienne (libretto) and niccolò Isouard (music) in 1810 (Cendrillon, premiered in Paris), and Felice Romani and stefano Pavesi (Agatina, Milan) in 1814. Rossini may well have heard this latter effort during his residence in Milan while preparing for the premiere of Il Turco in Italia. Ferretti (the au-thorof oversixtylibrettidespitehisfull-timepositionasadministratorof thetobaccomonopolyfor the Papal states) cobbled his verses from all of these sources, but excised the fantastic com-ponents to make the plot suitable to Rossini’s rationalistic buffastyle,substitutingthephilosopher-tutor alidoro for the fairy godmother and alidoro’s very human intervention for Perrault’s magical happenings.

In act I, alidoro, the tutor of Don Ramiro, Prince of salerno, disguises himself as a beggar to reconnoiterthelocalmaidenstofindasuitablebrideforhismaster,andhecallsatthehomeof DonMagnificoandhistwovaindaughters,ClorindaandTisbe.Alidoroisignoredbythegirlsbuttreatedkindlybytheirstep-sister,Angelina(knownasCenerentola—Cinderella—becausesheiscovered with ashes from the hearth from the endless work she is forced to do around the house). alidoro reports on the beautiful and kind woman he has met to Don Ramiro, who visits Don Mag-nifico’shomehimself disguisedashisownvalet,Dandini,andthenarrangesaballatwhichheandDandini will continue their switched identities to further test his tutor’s observation. Cenerentola, aided by alidoro, arrives among the guests at the palace beautifully attired.

act II, scene 1a room in Don Ramiro’s palace

DonMagnifico sings of the prospects for the family’s advancement shouldClorinda or Tisbemarry the Prince. after they all depart, Ramiro (still disguised as his valet, Dandini) enters to muse upon the resemblance of the mysterious guest to the girl who had received him warmly on his own visit (dressedasDandini) toDonMagnifico’shouse thatmorning.HehideswhenCenerentolaand Dandini (still disguised as the Prince) appear. Dandini, also smitten with the girl, pleads with her to allow him to confess his love, but she forbids it, saying that her heart belongs to his lowly servant. Ramiro, convinced that Cenerentola loves him without regard for his royal station, reveals himself and his true identity. now, however, it is her turn to test Ramiro, and she tells him that shewillbehisonlyif heseeksheroutandconfirmsheridentitybymatchingthebraceletthatshegives him to its mate, which she wears on her wrist. she leaves. alidoro enters and counsels Ramiro to do as his heart dictates. Ramiro demotes Dandini to his former valet’s position, and orders him to have his coach readied for the search. Ramiro hurries away with his retinue, and alidoro follows to make sure the coach breaks down directly in front of Cenerentola’s house. Don Mag-nificopacesin,anxioustoknowthe“Prince’s”decision.DandiniexplainsthedeceptiontoMag-nifico,whovowstoseekredressfromtherealPrince.Dandiniadviseshimnottowastehistime.

scene 2AroominDonMagnifico’shouse

Cenerentola, in rags once more, sings her wistful song from act I and muses upon the bracelet whose mate the Prince now holds. Dandini enters to beg shelter for himself and his master, whose carriage has been overturned outside. Ramiro sees the bracelet on Cenerentola’s wrist, and realizes that he has found his true love. The characters express their varied emotions in a splendid ensemble. Alidoroarrivestoannouncethathehaspreparedthenuptialfeast,andhewarnsMagnificoandhiscrest-fallendaughtersthattheynowhaveachoice:“Endyourdaysinmisery,orthrowyourself onthe Princess’ mercy.” alidoro declares that his plan to see Ramiro properly married has succeeded.

scene 3The throne room of Don Ramiro’s palace

Cenerentola,stilldazedbytherecentevents, imploresRamiroto joinher inforgivingherstep-fatherandstep-sisters.Heassents.IntheariaNacqui all’affanno e al pianto, Cenerentola sings of the happy changes in her fortune, and bids her family to fear nothing. The opera ends jubilantly as the assembled company proclaims the new Princess worthy to occupy the throne with her husband.

©2011 Dr. Richard e. Rodda

A10 Program Notes


Program Notes A11


MozARt: the IMpResARIo

Overture

ariettaMaDaMe GOLDenTRILL

Da schlägt die abschiedsstunde, now the hour of farewell tolls, um grausam uns zu trennen. cruelly to part us. Wie werd’ ich leben können, How can I go on living, ODamon,ohnedich? ODamon,whenyou’regone?Ich will dich begleiten, I want to keep you company, im Geist dir zur seiten in spirit by your side, schweben um dich. to hover about you. Und du, vielleicht auf ewig and you will forget me, vergisst dafor auch mich! perhaps forever, when I’m away! Dochnein!Wiefälltmirsowasein? Butno!HowcanIthinksuchthings?

Du kannst gewiss nicht treulos sein, I’m sure you cannot be unfaithful, ach nein! oh no!

ein Herz, das so der abschied kränket, a heart that feels such pain at a farewell dem ist kein Wankelmut bekannt! knows nothing of inconstancy! Wohin es auch das schicksal lenket, Wherever fate may lead it, nichts trennt das festgeknüpfte Band. nothing shall sever the tight knot that binds us.

RondoMIss sILVeRPeaL

Bester Jüngling! Mit entzücken Best of youths! I am delighted nehm’ ich deine Liebe an, to welcome your love, da in deinen holden Blicken for in your charming glance ich mein Glück entdecken kann. I can discern my happiness. aber ach! wenn düstres Leiden But oh! what if pain and sorrow unsrerLiebefolgensoll, shouldensuefromourlove?lohnendiesderLiebeFreuden? Dothejoysof lovemakeupforthat?Jüngling, das bedenke wohl! Youth, have a care!nichts ist mir so wert und teuer nothing is so precious and dear to me als dein Herz und deine Hand, as your heart and hand. vollvomreinstenLiebesfeuer Filledwiththepurestfireof lovegeb’ ich dir mein Herz zum Pfand. I offer you my heart as pledge.

Trio

MIss sILVeRPeaL

Ich bin die erste sängerin! I am the prima donna!

MaDaMe GOLDenTRILL

Das glaub’ ich, ja, nach ihrem sinn! I have no doubt that’s what you think!

MIss sILVeRPeaL

Das sollen sie mir nicht bestreiten! How dare you dispute it with me!

MaDaMe GOLDenTRILL

Ich will es Ihnen nicht bestreiten! I don’t intend to dispute it with you!

MR. anGeL

ei, lassen sie sich doch bedeuten ... If you will be advised by me ...

MIss sILVeRPeaL

Ich bin die erste sängerin! I am the prima donna! Das sollen sie mir nicht bestreiten! How dare you dispute it with me!

MaDaMe GOLDenTRILL

Das glaub’ ich, ja, nach ihrem sinn! I have no doubt that’s what you think! Ich will es Ihnen nicht bestreiten! I don’t intend to dispute it with you!

MIss sILVeRPeaL

Ich bin von keiner zu erreichen, no one can compare with me, das wird mir jeder zugestehn. anyone would grant as much.

MaDaMe GOLDenTRILL

Gewiss, ich habe Ihresgleichen Quite right, the likes of you noch nie gehört und nie gesehn. I’ve never heard or seen before.

MR. anGeL

Was wollen sie sich erst entrüsten, Why must you get so worked up,miteinemleerenVorzugbrüsten? whyboastof pointlesstitles?ein jedes hat besondern Wert. every individual has his own special talent.

MaDaMe GOLDenTRILL, MIss sILVeRPeaL


MR. anGeL

ei, ei, was wollen sie sich erst entrüsten, Hey, hey, why must you get so worked up, miteinemleerenVorzugbrüsten? whyboastof pointlesstitles?


Mich lobt ein jeder, der mich hört! I’m praised by anyone who hears me!

MR. anGeL

ei, ei, ein jedes hat Hey, hey, every individual has besondern Wert. his own special talent.

MaDaMe GOLDenTRILL

adagio! adagio!

MIss sILVeRPeaL

allegro, allegrissimo! allegro, allegrissimo!

MR. anGeL

Pian, piano, pianissimo! pianississimo! Pian, piano, pianissimo! pianississimo! Kein Künstler muss den andern tadeln, no artist should criticize another, es setzt die Kunst zu sehr herab. it detracts from art too much.

A12 Program Notes


Program Notes A13



Wohlan, nichts kann die Kunst mehr adeln, Why, nothing lends art more distinction. ich steh’ von meiner Ford’rung ab. I will forego my claim.

MaDaMe GOLDenTRILL

Ich bin die erste! I am the star!

MIss sILVeRPeaL

Ich bin die erste! I am the star!

MaDaMe GOLDenTRILL


MIss sILVeRPeaL


MR. anGeL

Piano! Pianissimo! Piano! Pianissimo! Calando! Mancando! Diminuendo! Calando! Mancando! Diminuendo! Decrescendo! Decrescendo! Pianissimo! Pianissimo!

Vaudeville

MIss sILVeRPeaL

Jeder Künstler strebt nach ehre, every artist aims for honors, wünscht der einzige zu sein, wants to be the one and only,und wenn dieser Trieb nicht wäre, and if this impulse didn’t move us, bliebejedeKunstnurklein. artwouldbeatriflingmatter.

MaDaMe GOLDenTRILL, MIss sILVeRPeaL, MR. anGeL

Künstier müssen freilich streben, artists naturally must strive stets des Vorzugs wert zu sein, always to deserve top billing, doch sich selbst den Vorzug geben, but to claim they are headliners, Ober andre sich erheben, ranking themselves over others,macht den grössten Künstler klein. makes the greatest artists petty.

MR. anGeL

einigkeit rühm’ ich vor allen Harmony’s the greatest virtue andern Tugenden uns an, I can recommend to us,denn das Ganze muss gefallen, for the ensemble is what matters und nicht bloss ein einz’lner Mann. and not just the individual.


Künstier müssen freilich streben, usw. artists naturally must strive, etc.

MaDaMe GOLDenTRILL

Jedes leiste, was ihm eigen, everyone should perform as suits him, halte Kunst, natur gleich wert. balancing art and nature.Lässt das Publikum dann zeigen, Then let the audience reach a verdict wem das grösste Lob gehört. who deserves the highest praise.


Künstler müssen freilich streben, usw. artists naturally must strive, etc.

MR. BLUFF

Ich bin hier unter diesen sängern In this group of singers der erste Buffo, das ist klar. I’m the leading buffo, that much is clear. Ich heisse Buff: nur um ein O I’m known as Buff, I need only brauch’ ich den namen zu verlängern, add an O to my name so heiss’ ich ohne streit: Buffo; to be known, no doubt about it, as Buffo. ergo bin ich der erste Buffo, ergo, I am the leading buffo. und dass wie ich keins singen kann, To prove no one can sing like me sieht man den herren doch wohl an. listen to these other folks.


Künstler müssen freilich streben, artists naturally must strive stets des Vorzugs wert zu sein, always to deserve top billing, doch sich selbst den Vorzug geben, but to claim they are headliners, über andre sich erheben, ranking themselves over others,macht den grössten Künstler klein. makes the greatest artists petty.

DonIzettI: Don pAsquAle, ACt IIa room in Don Pasquale’s house

eRnesTO

Povero ernesto! Dallo zio cacciato, Poor ernesto! Thrown out by my uncle, da tutti abbandonato, deserted by all, mi restava un amico one friend remained to me euncopertonemico andIfindinhimanenemyindisguisediscopro in lui, che a’ danni miei congiura. who is conspiring to bring me down.Perder norina, oh Dio! Ben feci a lei Lose norma, oh heaven! How right I was to d’esprimere in un foglio i sensi miei. make her party to my sentiments in a letter.Ora in altra contrada In some other region now i giorni grami a trascinar si vada. let me endure my wretched remaining days.

Cercherólontanaterra Iwillseeksomefar-off landdove gemer sconosciuto, where I can sigh unknown.là vivrò col cuore in guerra There I shall live, with my heart at war, deplorando il ben perduto. lamenting my lost beloved. Ma nè sorte a me nemica, But neither unkind fate, nè frapposti monti e mar, nor seas and mountains in between, ti potranno, dolce amica, will be able, sweetest friend, dal mio core cancellar, to efface your image from my heart, non ti potranno dal mio core cancellar, ecc. they cannot efface you from my heart, etc.

Esefiacheadaltrooggetto Andif itshouldbefallthatyourhearttu rivolga un giorno il core, should turn some day towards another, semaifiacheunaltroaffetto if itshouldevercomeaboutthat some new affection spengaintel’anticoardore, shouldextinguishtheoldflame,non temer che un infelice never fear that your unhappy swain te spergiura accusi al ciel; will accuse you before heaven for being untrue; se tu sei, ben mio, felice, if, my precious, you are happy,

A14 Program Notes


Program Notes A15


saràpagoiltuofedel,ecc. yourfaithfulloverwillbesatisfied,etc.Cercheròlontanaterra Iwillgoseeksomefar-off landdove gemer sconosciuto, sì! wherein to sigh unknown, I will! Ah!esefiacheadaltrooggetto,ecc. Oh!Andwereittobefallsomeday,etc.

PasQUaLe(entering, dressed to kill, as ernesto withdraws. He speaks to a servant.)

Quando avrete introdotto When you’ve shown inil dottor Malatesta e chi è con lui Doctor Malatesta and the person with him,ricordatevi bene, remember, you’re not to nessuno ha più d’entrar: guai se lasciate let anybody else enter: rompere la consegna! you’ll pay for it, if you don’t obey my orders.adesso andate. now go.

(when the servant has gone)

Per un uom sui settanta ... For a man who’s nearly seventy ...Zitto, che non mi senta la sposina … Hush, mustn’t let my little bride hear me ...convien dir che son lesto e ben portante one has to admit I’m active and well preserved.Conquestobocconpoiditoilette... Andthenwiththisdreamof aget-up...

(He struts about preening himself)

alcun viene ... someone’s coming ... eccoli. a te mi raccomando, Imene. Here they are. Your favor I implore, Hymen.

(Dr. Malatesta enters leading norina, who is heavily veiled.)

MaLaTesTa

Via, da brava. Come along now, be a brave girl.

nORIna

Reggo appena ... I can hardly stand up ... Tremo tutta ... I’m trembling all over ...

MaLaTesTa

V’inoltrate. Come forward.

(Malatesta gestures to Don Pasquale to step to one side so norma will not see him immediately.)

nORIna

ah fratel, non mi lasciate. Don’t leave me, brother.

MaLaTesTa

non temete. Don’t be afraid.

nORIna

Per pietà! For mercy’s sake!

MaLaTesTa

Via, coraggio ... Come along, be brave ...

nORIna

Per pietà! For mercy’s sake!

MaLaTesTa

… v’inoltrate! … come forward.

nORIna

Per pietà! Have mercy!

MaLaTesTa(leaving norma for a moment to speak with Pasquale)

Fresca uscita di convento, Fresh from a convent,naturale è il turbamento. her confusion is natural.Per natura un po’ selvatica, she’s rather shy by nature,mansuefarla a voi si sta. so it’ll be up to you to tame her.

PasQUaLe

Mosse ... Gestures ...

nORIna(aside)

sta a vedere, sì, sta a vedere, vecchio matto, We’ll see, you silly old fool, just you wait,ch’or ti servo, sì, sì, ti servo come va. now I’ll treat you, yes, I’ll treat you as you deserve.

PasQUaLe, MaLaTesTa

… voce, mosse, voce, portamento, … voice, gestures, voice, deportment, tutto, tutto è in lei semplicità. everything about her is simplicity itself.

MaLaTesTa

Tutto è in lei semplicità. everything about her is sweet simplicity!

nORIna

sta a vedere, ecc. We’ll see, etc.

PasQUaLe

La dichiaro un gran portento, I’ll say she really is a wonder,se risponde la beltà, ecc. if she has looks to match, etc.

MaLaTesTa

Mosse, voce, portamento, ecc. Gestures, voice, deportment, etc.

nORIna ah fratello! Oh brother!

MaLaTesTa

non temete, non temete. Don’t be frightened, never fear.

nORIna

a star sola mi fa male. The very idea of having to stay alone makes me feel bad.

A16 Program Notes


Program Notes A17


MaLaTesTa(revealing Pasquale’s presence)

Cara mia, sola non siete; My dear, you’re not alone;ci son io, c’è Don Pasquale ... I’m here, there’s Don Pasquale ...

nORIna(feigning terror)

Come?unuom!Ah,memeschina! What?Aman!Alas,poorme!

MaLaTesTa

Coraggio ... Courage ...

nORIna

Presto ... Quick ...

MaLaTesTa

… non temete. … don’t be afraid.

nORIna

… andiamo ... … let’s go …

PasQUaLe

Dottore! Doctor!

nORIna

... fuggiam ... … let’s run away...

PasQUaLe

Dottore! Doctor!

nORIna

… di qua: … from here!unuomo!unuomo!fuggiamo. Aman,aman!Let’sfly!

PasQUaLe

Com’è cara, com’è cara! How adorable she is! How sweet!

nORIna

sta a vedere ... You’ll see ...sì, sta a vedere, o vecchio matto, ecc. yes, you’ll see, you silly old fool, etc.

PasQUaLe

Com’è cara, modestina How sweet she is, so modestnella sua semplicità! in her artlessness!

MaLaTesTa

Com’è scaltra, malandrina! How artful she is, the sly minx! Impazzire lo farà! she’ll drive him out of his mind!

nORIna

ah! fratello ... Oh, brother ...

PasQUaLe

Com’è cara e modestina ... How sweet she is and modest ...

MaLaTesTa

Com’è scaltra, malandrina! How sly ... the cunning little minx!

nORIna

… tremo tutta! I’m trembling all over!

PasQUaLe

… nella sua semplicità! … in her artlessness.

nORIna

sta a vedere ... You’ll see ...

MaLaTesTa

non abbiate paura, è Don Pasquale, Don’t be frightened, it’s only Don Pasquale,padrone e amico mio, my patron and friend,ilredeigalantuomini. theveryflowerof chivalryandhonor.

(DonPasqualebows,butNorinadoesnotnoticehimatfirst.)

Rispondete al saluto. acknowledge his greeting.

nORIna(curtseying low to Pasquale)

Grazie, serva. Thank you kindly, your servant!

PasQUaLe

Oh ciel! Che bella mano! Oh heavens, what a pretty little hand!

MaLaTesTa(aside)

È già cotto a quest’ora. He’s already quite besotted!

nORIna(aside)

Oh che baggiano! Oh, what an idiot!

MaLaTesTa (aside to Pasquale)

Chenedite? Whatdoyouthinkof her?

PasQUaLe

È un incanto, ma quel velo ... she’s absolutely delightful, but that veil ...

MaLaTesTa

non oseria, son certo, I’m certain she’d never dare a sembiante scoperto talk to a manparlare a un uom. Prima l’interrogate, with her face uncovered. ask her aquestionortwofirst,vedete se nei gusti v’incontrate, see if you have the same tastes;poscia vedrem. afterwards, we’ll see.

A18 Program Notes


Program Notes A19


PasQUaLe

Capisco, andiam, coraggio. I understand. Come on then, courage.

(to norina)

Posto che ho l’avvantaggio ... since I have the honor …

(stammering with embarrassment, getting his words mixed up)

anzi il signor fratello … In fact, your brother ... Il dottor Malatesta ... Doctor Malatesta ...cioè voleva dir ... I meant to say, that is ...

MaLaTesTa

Perde la testa. He’s losing his head.

(to norina)

Rispondete. answer.

nORIna

son serva, mille grazie. at your service, a thousand thanks.

PasQUaLe

Volea dir che alla sera I want to say that the lady la signora amerà la compagnia. likes company of an evening, no doubt.

nORIna

niente affatto. nothing of the sort. al convento si stava sempre sole. at the convent we were always alone.

PasQUaLe

Qualchevoltaalteatro? Perhapsyouliketogotothe theatersometimes?

nORIna

non so che cosa sia, nè saper bramo. I don’t know what that might be, nor do I wish to.

PasQUaLe

sentimenti ch’io lodo. sentiments which I applaud.Ma il tempo uopo è passarlo in qualche modo. But one has to pass the time somehow.

nORIna

Cucire, ricamar, far la calzetta, What with sewing, embroidery, knitting badare alla cucina, and seeing to the cooking, il tempo passa presto. time passes quickly.

MaLaTesTa(aside)

ah, malandrina! Oh, you little rogue!

PasQUaLe(to himself)

Fa proprio al caso mio. she’s exactly what I want.

(to Malatesta)

Quel vel, per carità! That veil … please!

MaLaTesTa

Cara sofronia, rimovete quel velo Dear sofronia, remove your veil.

nORIna(overcome with shyness)

non oso ... in faccia a un uom. I wouldn’t dare … before a man!

MaLaTesTa

Ve lo comando. I order you to.

nORIna (taking off her veil)

Obbedisco, fratel. I do as you bid me, brother.

PasQUaLe

Misericordia! Mercy!

MaLaTesTa

Chefu?dite... What’sthematter?Tellme...

PasQUaLe

Una bomba in mezzo al core. she’s knocked me into a heap!Per carità, dottore, For pity’s sake, doctor,ditele, ditele se mi vuole. ask her … ask her if she’ll have me.Mi mancan le parole. I’ve quite lost my tongue.sudo, agghiaccio, son morto. I’ve gone all hot and cold, I’m expiring!

MaLaTesTa

Via, coraggio, Come on, buck up,mi sembra ben disposta. she looks to me quite well disposed.Ora le parlo. I’ll ask her now.

(to norina)

sorellina mia cara, My dear sweet little sister,dite ... vorreste ... in breve, tell me ... would you like … in short,quelsignore...vipiace? doyoulike…thisgentleman?

nORIna

a dirlo ho soggezione ... I’m too shy to say ...

MaLaTesTa

Coraggio. Come along.

A20 Program Notes


Program Notes A21


nORIna

sì. Yes.

PasQUaLe(scarcely able to believe his ears)

sì! Yes!

nORIna(aside)

sei pure il gran babbione! You really are a great big fool!

MaLaTesTa

Consente. È vostra. she says yes. she’s yours.

PasQUaLe

Oh giubilo! Oh what happiness!Beato me! How lucky I am!

nORIna(aside)

Te n’avvedrai fra poco! You’ll learn just how lucky in a moment!

PasQUaLe

Or presto, pel notaro. Quickly now, the notary.

MaLaTesTa

Per tutti i casi dabili, In preparation for every emergency,ho tolto meco il mio ch’è in anticamera. I’ve brought mine along, he’s waiting outside.Or l’introduco ... I’ll bring him in now ...

PasQUaLe

Oh caro, Oh, that good doctor, quel dottor pensa a tutto. he thinks of everything!

MaLaTesTa

ecco il notaro. Here’s the notary.

(dictating to the notary)

Fra da un parte etcetera, Between on the one hand etcetera, sofronia Malatesta, sofronia Malatesta,domiciliata etcetera, domiciled etcetera, con tutto quel che resta; and all the rest of it; e d’altra parte etcetera, and on the other hand etcetera, Pasquale da Corneto etcetera .... Pasquale of Corneto etcetera ...

nOTaRY

etcetera. etcetera.

MaLaTesTa

… coi titoli … with the titles secondo il consueto ... as is customary ...

nOTaRY etcetera. etcetera.

MaLaTesTa

… entrambi qui presenti, ... both being here present, volenti e consenzienti ... willing and consenting ...

nOTaRY

... enti. … enting.

MaLaTesTa

… un matrimonio in regola ... a lawful marriage a stringere si va. will herewith be contracted.

PasQUaLe(to the notary)

Avetemesso? Haveyouputthat?

nOTaRY

Ho messo. I have.

PasQUaLe

sta ben. scrivete appresso. Good. now write next to it. Ilqualprefatoetcetera, Theafore-saidetcetera,di quanto egli possiede donates during his lifetime, and makes over inmobiliedimmobili, totheabove-mentionedetcetera,dona tra i vivi e cede his adorable wife alla suddetta etcetera, from now onwards the half sua moglie dilettissima, of everything of which he stands possessed, find’oralametà. inhouseholdgoodsandrealestate.

nOTaRY

sta scritto. It’s in writing.

PasQUaLe

e intende ed ordina ... and intends and orders ...

nOTaRY

… na. … ders.

PasQUaLe

… che sia riconosciuta ... … that she shall be recognized ...

nOTaRY

… uta. … ized.

PasQUaLe

… in questa casa e fuori ... … within these four walls and outside, too ...

A22 Program Notes


Program Notes A23


nOTaRY

... ori. … oo.

PasQUaLe

… padrona ampia assoluta, … as complete and absolute mistress, e sia da tutti e singoli and be respected by all di casa riverita ... and sundry in the house ...

nOTaRY

… ita. … ouse.

PasQUaLe

… servita ed obbedita ... ... and zealously and faithfully ...

nOTaRY

... ita … … ully …

PasQUaLe

... con zelo e fedeltà. … waited upon and obeyed.

MaLaTesTa

Rivela il vostro core This generous dispositionquest’ atto di bontà. reveals your good heart.

nORIna

Rivela il vostro core, ecc. This generous disposition, etc.

nOTaRY

steso è il contratto. The deed is drawn up.Lefirme... Thesignatures...

PasQUaLe

ecco la mia. Here’s mine.

MaLaTesTa(gently forcing norina toward the table)

Cara sorella, or via, Come along now, my dear little sister,si tratta di segnar. it’s only a matter of signing ...

nOTaRY

non vedo i testimoni, I don’t see the witnesses;un solo non può star. one won’t do.

eRnesTO’s VOICe(Heard outside the door. norina drops the pen in the midst of signing.)

Indietro, indietro, mascalzoni. Out of the way, you scoundrels!

nORIna

ernesto! ernesto!

MaLaTesTa

ernesto! e non sa niente. ernesto! and he isn’t in the know!

nORIna

Or veramente mi viene da tremar! I tremble in earnest now!

eRnesTO

Indietro, indietro! stand back, out of my way!

MaLaTesTa

ernesto può tutto rovinar! ernesto can easily ruin everything!

eRnesTO

Io voglio entrar! Let me in!

PasQUaLe

Mio nipote! My nephew!

eRnesTO

Io voglio entrar! Let me in!

MaLaTesTa

e non sa niente. and he doesn’t know a thing!

eRnesTO

Mascalzoni ... You rascals ...

nORIna

Or tutto veramente ... ci viene a rovinar! now everything will really ... be ruined!

MaLaTesTa

Or tutto veramente, ecc. now all our plans will really, etc.

eRnesTO … sì, io voglio entrar! ... l want to go in!

eRnesTO(bursting onto the scene; to Don Pasquale)

Pria di partir, signore, Before leaving, sir, vengo per dirvi addio, I come to say goodbye to you e come un malfattore and I’m prevented from enteringmi vien conteso entrar! like a criminal!

PasQUaLe

s’era in faccende: giunto We were busy ... However,però voi siete in punto. you’ve arrived just at the right moment.a fare il matrimonio mancava un testimonio. a witness to the marriage was needed.Giunto voi siete in punto. You’ve come just in the nick of time.

(turning to norina)

Or venga la sposina! now it’s the turn of my dear little bride!

A24 Program Notes


Program Notes A25


eRnesTO(catching sight of norina)

Chevedo? What’sthisIsee?

MaLaTesTa

Per carità ... For pity’s sake ...

eRnesTO

O ciel ... Oh heavens ...

MaLaTesTa

... sta zitto ... … keep quiet ...

eRnesTO

norina! norina!

MaLaTesTa

… ci vuoi precipitar! … or you’ll upset everything!

eRnesTO

Mi sembra di sognar! I must be dreaming!

PasQUaLe

La sposa è quella. This is the bride.

eRnesTO

Ma questo non può star. But this can’t be!

MaLaTesTa(taking ernesto to one side)

ah! Figliuol, non mi far scene, Oh, don’t make a scene, my son,è tutto per tuo bene. it’s all for your good.se vuoi norma perdere If you want to lose normanon hai che a seguitar. you’ve only to keep on like this.

nORIna

adesso veramente ... now, I’m beginning ...

eRnesTO

sofronia! sua sorella ... His sister sofronia ...

PasQUaLe

Gli punge: compatitelo ... He’s upset, have pity on him ...

MaLaTesTa

Figliuol, non mi far scene ... Don’t make a scene, my son ... …figliuolnonmifarscene... …don’tcreateascene,sonny...

nORIna

… mi viene da tremare ... … to tremble in real earnest ...

eRnesTO

... Comincio ad impazzare ... … I must be going mad ...

PasQUaLe

… Lo vo’ capacitare ... … I want to bring him to his senses ...

MaLaTesTa

… è tutto per tuo bene. it’s all for your own good.

nORIna

… sì, sì, mi viene, ecc. … yes, I am, etc.ah! sì, mi viene da tremar! Oh dear, yes, I’m trembling all right, now!

eRnesTO

… sì, sì, comincio ad impazzar, ecc. … yes, I must be! etc.

PasQUaLe

… sì, sì, lo vo’ capacitar, ecc. … yes, I want to make him see, etc.

MaLaTesTa(expostulating with ernesto)

se vuoi norma perdere If you want to lose norma,non hai che a seguitar, you’re going about it the right way.seconda la commedia, aid and abet the comedy,lascia far, sì, lascia far! let it proceed, yes, let it run its course!

Questo contratto, adunque, Let’s ratifysi vada ad ultimar. this contract, then.

(The Doctor succeeds in overcoming the feigned reluctance of norina and the very real reluctance of ernesto and both sign.)

nOTaRY(to Pasquale and norina)

siete marito e moglie. now you are man and wife.

PasQUaLe

Mi sento liquifar. I’m turning to a jelly!

nORIna, MaLaTesTa

Va il bello a cominciar. The fun’s about to begin!

PasQUaLe(trying to embrace norina)

Carina! Darling!

nORIna(resuming her normal manner)

adagio un poco, not so fast,calmate quel, gran foco. cool your ardor.Sichiedeprialicenza. Oneaskspermissionfirst.

A26 Program Notes


Program Notes A27


PasQUaLe

Mel’accordate? Willyougrantittome?

nORIna

no. no.

(The notary tactfully withdraws.)

eRnesTO

ah! ah! ah! ah! Ha ha! Ha ha!

PasQUaLe

Chec’èdaridere,impertinente? Whatistheretolaughabout,impudentone?Partite subito, immantinente. Get out at once, immediately.Via, fuor di casa ... Go on, get out of my house ...

nORIna

Oibò! Oh dear!Modi villani e rustici such rude and boorish ways che tollerar non so. I can’t abide!

(to ernesto)

Restate. stay.

(to Pasquale)

altre maniere apprender vi farò. I’ll teach you better manners.

PasQUaLe

Dottore! Doctor!

MaLaTesTa

Don Pasquale! Don Pasquale!

PasQUaLe

È un’altra! she’s changed!

MaLaTesTa

son di sale! I’m completely dumbfounded!

PasQUaLe

Chedirvorrà? Whatdoesitmean?

nORIna, eRnesTO

In fede mia dal ridere ... Truly I don’t know how ...

MaLaTesTa(to Don Pasquale)

Calmatevi, sentire … Don’t upset yourself; I’ll make ...

nORIna, eRnesTO

... frenarmi più non so! ... to keep a straight face!

MaLaTesTa

… mi farò, sì, sentire mi farò. ... my voice heard, yes, she’ll have to listen to me.

nORIna(to Don Pasquale)

Un uom qual voi decrepito, It’s really hardly becoming

(carrying on remorselessly despite Don Pasquale’s gasps of outrage and astonishment)

qual voi pesante e grasso, for a man as decrepit as you are, condur non può una giovane stout and heavy like you,decentemente a spasso. to take a young lady out walking.Bisogno ho d’un bracciere, I need an escort;

(indicating ernesto)

sarà mio cavaliere. he’ll be my cavalier.

PasQUaLe

Oh questo poi, scusatemi, Oh, as to that, excuse me,oh questo non può star. but that’s quite out of the question.

nORIna

Nonpuòstar? Outof thequestion?Perchè? Why?

PasQUaLe

Perchè non voglio. Because I don’t want it.

nORIna

Nonlovolete? Youdon’twantit?

PasQUaLe

no. no.

nORIna

No? No?Idolo mio, vi supplico My dear, I beg youscordar questa parola; to forget these words:voglio, per vostra regola, “I want.” I’ll have you remember, voglio, lo dico io sola. I alone am empowered to say them.

PasQUaLe

Dottore! Doctor!

nORIna

Tutti obbedir qui devono, everyone here has to obey me;io sola ho a comandar. I alone am to give orders.

MaLaTesTa

ecco il momento ... critico. We’ve reached the crucial ... moment.

A28 Program Notes


Program Notes A29


PasQUaLe

Ma ... ma questo non può star. But ... but it’s out of the question.

nORIna

non voglio replica. I don’t want any answering back.

PasQUaLe

Costui non può. That fellow can’t go.

nORIna

Chema?Taci,buffone. What’sthat?Bequiet,youbigfool!

PasQUaLe

Io?Voi?Lui? Me?You?Him?

nORIna

Taci,taci! Shutup,willyou?

PasQUaLe

Io? Me?

nORIna

Zitto ... Quiet …

PasQUaLe

Questi! ah! This fellow! Oh!

eRnesTO, MaLaTesTa

Vediamo che sa far. Let’s see what he’ll do.

nORIna

... taci! Be quiet.

(The outraged Pasquale attempts to remonstrate but is prevented by Malatesta.)

Provato ho a prenderti I’ve tried to treat you finoracollebuone. gentlyuptillnow.saprò, se tu mi stuzzichi, If you provoke me, though, I canle mani adoperar. make good use of my hands.

MaLaTesTa

È rimasto là impietrato. He’s completely dumbfounded!

PasQUaLe

Sogno?veglio? AmIdreamingorawake?

nORIna, eRnesTO

Vegli, o sogni, non sa bene. He doesn’t know if he’s awake or asleep.

PasQUaLe

Cos’èstato?Sogno? Whathashappened?AmIdreaming?

MaLaTesTa

Sembraunuomcuimancailfiato. Helooksasif it’squitetakenhisbreathaway.

PasQUaLe

Calci?Schiaffi? Kicks?Slaps?

nORIna, eRnesTO

Nonhasanguenellevene. Theverybloodinhisveinshasceasedtoflow!

PasQUaLe

Brava! Bene! Bravo! excellent!

eRnesTO

Or l’intrico, manco male, ah, now, thank goodness, I’m beginningincomincio a decifrare, ecc. to make out the plot, etc.

MaLaTesTa

Via, coraggio, Don Pasquale, no, Come on, take heart, Don Pasquale,non vi state a sgomentare, ecc. you’re not going to let it put you out of sorts, surely, etc.

nORIna

non ha sangue nelle vene. He hasn’t a drop of blood left in his veins!Or l’amico, manco male, now, thank goodness, it should be possiblesi potrà capacitar, ecc. to make our friend see reason, etc.

PasQUaLe

Buon per me, che m’ha avvisato, Lucky for me she’s given me fair warning;or vedrem che cos’avvien, ecc. now, we’ll see what’ll happen, etc.Or vedrem, vedremo. now, we’ll see.Bada bene, Don Pasquale, bada, ecc. Look out, Don Pasquale, be on your guard, etc.... bada ben, bada ben, ... look out, look out for yourself, Don Pasquale, Don Pasquale,è una donna a far tremar, ecc. she’s a woman to beware of, etc.

nORIna

... capacitar, ecc. ... make him see reason, etc.

eRnesTO

... a decifrar, ecc. ... to make things out, etc.

MaLaTesTa

... a sgomentar, ecc. ... put you out of sorts, etc.

nORIna(ringing the bell violently; to the servant who enters)

Riunita immantinente la servitù qui voglio. I want all the servants here immediately.

PasQUaLe(to himself)

Chevuoldallamiagente? Whatdoesshewantwithmyservants?

A30 Program Notes


Program Notes A31


MaLaTesTa(aside)

Or nasce un altro imbroglio. Here’s more trouble brewing.

nORIna(bursting into laughter as two servants and the head steward present themselves)

Treintutto!Ahahahah!Vabenissimo! Threeinall!Hahahaha!That’sfine!C’è poco da contar. There’s not many to count.

(addressing the head steward)

a voi. Da quanto sembrami You there. as far as I can see, voi siete il Maggiordomo, you are the head steward. subito v’incomincio Immediately from today la paga a raddoppiar. I’ll double your wages.

(disregarding Pasquale’s attempted remonstrance)

Ora attendete agli ordini now listen carefully to the orders che mi dispongo a dar. I’m about to give. Di servitù novella see about providing me pensate a provvedermi. with some new servants. Siagentefrescaebella, Letthembeyoungandnice-looking,tale da farci onor. such as we can be proud of.

PasQUaLe(to norina)

Poiquandoavràfinito... Whenyou’vequitefinished...

nORIna

Nonhofinitoancora. I’venotfinishedyet.

(to the head steward)

Di legni un paio sia Let there be a pair of carriages domani in scuderia; in the coach house tomorrow; quant’ai cavalli poi as for the horses, lascio la scelta a voi. I leave the choice to you.

PasQUaLe

Poiquandoavràfinito... Whenyou’vefinishedthere...

nORIna

Nonhofinitoancora. Ihaven’tfinishedyet.

PasQUaLe

Bene. Fine.

MaLaTesTa

Meglio. Better still.

nORIna

La casa è mal disposta. The house is badly planned.

PasQUaLe

Lacasa? Thehouse?

nORIna

Lavo’rifardiposta... Iwanttore-doitatonce...

(all talking at once, each regardless of the others)

... son anticaglie i mobili ... … the furniture is antiquated rubbish ...

PasQUaLe

Avetemaifinito? Haven’tyoufinishedyet?

nORIna

… si debbon rinnovar. … it must be renewed.

MaLaTesTa

Vedi? Yousee?

PasQUaLe

ancora ... What next ...

nORIna

Vi son mill’altre cose ... There are thousands of other things ...

MaLaTesTa

Senti? Doyouhear?

PasQUaLe

Ebben? Well?

nORIna

... urgenti, imperiose ... … very urgent, absolutely imperative ..

MaLaTesTa

Meglio! Better and better!

PasQUaLe

Che?What?

MaLaTesTa

Chetenepar? Whatdoyouthinkof that?

nORIna

Un parrucchiere scegliere, a hairdresser to choose,un sarto, un gioielliere ... a tailor, a jeweler ...

PasQUaLe

se ... io ... voi ... If ... I ... you ...

A32 Program Notes


Program Notes A33


MaLaTesTa

Chetenepar? Whatdoyouthink?

PasQUaLe

Avetemaifinito? Haveyouquitefinished?

nORIna

Fate le cose in regola. Do things in a proper manner.

eRnesTO, MaLaTesTa

Comincia a lampeggiar. Things are beginning to heat up.

PasQUaLe

Ma dico ... But I say ...

nORIna

Fate le cose in regola ... Do things the right way ...

PasQUaLe

sto quasi per schiattar ... I’m almost bursting ...

nORIna

… non ci facciam burlar. … and don’t let’s make an exhibition of ourselves!

PasQUaLe

Chipaga? Who’sgoingtopay?

nORIna

Oh bella! Voi. Why, you are, of course.

PasQUaLe

a dirla qui fra noi, Just between ourselves,non pago mica. I haven’t the slightest intention of paying.

nORIna

No? No?

PasQUaLe

No!Sonoononsonpadrone? No!AmIoramInotthemaster?

nORIna

Mi fate compassione. I really feel quite sorry for you.Padroneov’iocomando? Master?WhereIgivetheorders?

MaLaTesTa

sorella ... sister …

nORIna

Or or vi mando. I’ll deal with you in a minute ...

eRnesTO

Bene! Fine!

nORIna

siete un villano ... You’re a boor ...

MaLaTesTa

sorella! sister!

PasQUaLe

È vero ... It’s true ...

nORIna … un tanghero ... ... a blockhead ...

PasQUaLe

... v’ho sposata. … I’ve married you.

nORIna

... un pazzo ... … an impudent ...

eRnesTO

Meglio! even better!

nORIna

… temerario ... … madman ...

PasQUaLe Io?… Me?...

MaLaTesTa

Percarità...cognato. Forpity’ssake...brother-in-law.

PasQUaLe Voi sola siete pazza! You’re the one that’s mad!

nORIna

siete un villano, You’re a boor whomche presto alla ragione I’ll soon bringrimettere saprò. to his senses.

MaLaTesTa

Sorella,sorella,cognato,cognato, Sister,sister,brother-in-law,prudenza, prudenza. restrain yourselves, do!

eRnesTO

Il cielo si rannuvola, The sky’s looking black. comincia a lampeggiar. we’re in for a storm!

A34 Program Notes


Program Notes A35


PasQUaLe

Io sono qui il padrone! I’m master here!

nORIna

Villano,villano,villano! Ajumped-uppeasant,aboor!

PasQUaLe

Io?io? Me?Me?son tradito, beffeggiato. I’ve been deceived, made a fool of. Mille furie ho dentro il petto. I’m mad with rage. Quest’inferno anticipato I won’t put up with non lo voglio sopportar. this foretaste of hell. no, non lo voglio, ecc. no, that I won’t do, etc.

eRnesTO(apologetically, to norina)

sono, o cara ... Dearest, I’m ...

MaLaTesTa(remonstrating with Pasquale)

siete un poco ... You’re a bit ...

nORIna(reproachfully, to ernesto)

Or t’avvedi, core ingrato ... now, perceive, ungrateful heart ...or t’avvedi, core ingrato, just you see now, unkind love, che fu ingiusto il tuo sospetto; how unfounded your suspicions were! solo amor m’ha consigliato Love alone it was that prompted me questa parte a recitar. to play this part.

eRnesTO

... sincerato, … entirely convinced, momentaneo fu il sospetto; my suspicions were but momentary; solo amor m’ha consigliato love alone it was that prompted you questa parte a recitar. to play that part.

MaLaTesTa

… siete un poco riscaldato, … just a wee bit worked up, miocognato,andatealetto; gotobed,brother-in-law.son stordito, son sdegnato, I’m absolutely stunned, I’m most indignant; l’ha costei con me da far! that girl will have to deal with me!

PasQUaLe

Quest’inferno anticipato I won’t put up with non lo voglio sopportar ... this foretaste of hell ...son tradito, beffeggiato ... I’ve been deceived, made a fool of ...... mille furie ho dentro il petto, ecc. I’m boiling with rage, etc.

nORIna, eRnesTO

Don Pasquale, poveretto! Don Pasquale, poor old thing, èvicinoadaffogar,sì, isfittochokewithrage,yes,èvicino,ecc. he’sfittochoke,etc.

MaLaTesTa

sì, Don Pasquale, poveretto! Yes, poor old Don Pasquale, Nonviveggaamoreggiar,no, don’tlethimseeyouflirting,no,non vi vegga, ecc. don’t let him, etc. attenzione, attenzione! Mind now, be careful!

PasQUaLe

La casa è mal disposta ... The house is badly planned, indeed!

nORIna

sì. Yes.

MaLaTesTa

Sonanticaglieimobili... Thefurniture’santiquatedrubbish,isit?

nORIna

sì. Yes.

PasQUaLe

Unpranzopercinquanta... Adinnerpartyforfifty...

nORIna

sì. Yes.

PasQUaLe

Un sarto, un gioielliere, a tailor, a jeweler,la casa, il pranzo ... the house, the dinner ...

nORIna(as ernesto and Maletesta burst out laughing)

sì, sì, sì, sì! Yes, yes, yes, yes!

PasQUaLe

sì, sì! ah, son ... Yes, yes! Oh, I’ve been … … tradito, son tradito, beffeggiato. … sold out, made a fool of.

MaLaTesTa

andate un poco a letto! Be off with you to bed!

nORIna, eRnesTO

O Don Pasquale, poveretto! Oh Don Pasquale, you poor thing!

PasQUaLe

Mille furie, mile furie ho dentro petto! I’ve a thousand furies in my breast!

MaLaTesTa

Miocognato,andatealetto! Brother-in-law,off tobed!

nORIna, eRnesTO

È vicino ad affogar! He’s fairly choked with rage!

A36 Program Notes


Program Notes A37


PasQUaLe

Dalla rabbia, dal dispetto With rage and furyson vicino a soffocar, ecc. I’m near choked, etc.

nORIna

Or t’avvedi, core ingrato, ecc. now perceive, ungrateful heart, etc.

eRnesTO

sono, o cara, sincerato, ecc. Dearest, I’m completely convinced, etc.

MaLaTesTa

attenzione, che il vecchietto Mind the old chapnonviveggaamoreggiar,ecc. doesn’tseeyouflirting,etc.

RossInI: lA CeneRentolA, ACt II

sCene IAroominDonRamiro’spalace.DonMagnificoenteringwithClorindaandTisbe.

ReCITaTIVe

MaGnIFICO(with comic rage)

Mi par che quei birbanti I have a feeling that those scoundrels Ridessero di noi sotto cappotto. were laughing up their sleeves at us. Corpo del mosto cotto I swear that Founcavaliericidio. I’llslaughterthosefinegentlemen.

TIsBe

Papa, non v’inquietate. Papa, don’t fret.

MaGnIFICO(walking up and down)

Ho nella testa My head is teeming with worries. Quattromila pensieri. Ci mancava all I needed was that anonymous Quella madama anonima. belle of the ball.

CLORInDa

e credete Do you believe that she will ChedelPrincipeilcorecicontrasti? rivalusforthePrince’sheart?somiglia a Cenerentola, e vi basti. she looks like Cinderella and that’s all.

MaGnIFICO

somiglia tanto tanto she certainly does look like Cinderella —Che son due goccie d’acqua, they’re as alike as two peas in a pod. e quando a pranzo and when at supper Faceva un certo verso con la bocca, I caught a certain expression on her face, Brontolavo fra me: I said to myself: Perbacco è lei. by Jove, it’s her.

Ma come dagli ebrei But would she really have Prender l’abito a nolo, the sort of nerve it takes Avercorragiodivenirtranoi? tocomehereamongus?e per parlar coi linci e squinci To converse with all and sundry, Epoistarseneconsìgrandisinvoltura tocarryherself soconfidently,Enontemereunaschiaffeggiatura? withoutanyfearof havingherearsboxed?

TIsBe

Giàgiàquestafigliastra Whethershe’syourstepdaughterFino in chi la somiglia è a noi funesta. or her double, it’s bad news for us.

MaGnIFICO

Ma sai tu che tempesta But do you realize Mi piomberebbe addosso, what trouble there would be se scopre alcuno if someone were to discover Come ho dilapidato how I had squandered awayIlpatrimoniosuo? herinheritance?Per abbigliarvi, so as to dress you two al verde l’ho ridotta, I’ve reduced her to penury, e diventata un vero sacco d’ossa. and she has become a real bag of bones. Ah!sesiscopre Ah!If anyoneweretofindout,avrei trovato il resto del Carlino. there’d be the devil to pay.

CLORInDa

e paventar potete a noi vicino! Well might you be worried!

MaGnIFICO

Visonbuonesperanze? Havewenoreasontohope?

TIsBe

ah! niente, niente posso dir ch’è certezza. ah! I can’t be certain, but ...

CLORInDa

Io quasi quasi I wouldn’t mind Potrei dar delle cariche. giving him a few good slaps.

TIsBe

In segreto m’ha detto: When we were alone together, anima mia. he called me his soulmate. Ha fatto un gran sospiro, He sighed deeply, È andato via. and then disappeared.

CLORInDa

Unsospirocos’è? Sowhat’sinasigh?Quando mi vede, subito ride. When he sees me, he bursts out laughing.

MaGnIFICO(thoughtfully, looking at them both in turn)

ah dunque qui sospira e qui ride. so he sighs with one and laughs with the other.

A38 Program Notes


Program Notes A39


CLORInDa

Dite, papà Barone, Tell us, dear papa, Voicheaveteuntestone, inyourinfinitewisdom,Qual è il vostro pensier what is your honest opinion Diteloschietto. onthismatter?

MaGnIFICO

Giocato ho un ambo, I have two cards in my hand, e vincerò un eletto. and one of them is bound to win. Da voi due non si scappa. He won’t escape from you two. Oh come! oh come, Come now, Figlie mie benedette, my blessed daughters, si parlerà di me nelle gazzette! I’ll make it into the newspapers yet! Quest’è il tempo opportuno This is your chance Per rimettermi in piedi; to put me back on my feet again. Lo sapete, io sono indebitato, You know all about my impecunious state: Finoistivaliatrombahoipotecato. I’mknee-deepindebt.Macheflussoeriflusso Butsoonthey’llbequeuingupavrò di memoriali! to present petitions to me! ah questo solo è il paterno desio, My only wish as a father is that you should Che facciate il rescritto a modo mio. draft the replies according to my instructions. C’intenderem fra noi: I hope that is understood: Viscere mie, mi raccomando a voi. my children, I rely on you.

MaGnIFICO

Siaqualunquedellefiglie, Whicheveroneof you,mydaughters,Che fra poco andrà sul trono, will soon ascend the throne, ah! non lasci in abbandono oh, do not abandon Unmagnificopapà. yourmagnificentpapa.Già mi par che questo e quello I can already see this one and that one Conficcandomiauncantone, gettingmeintoacornere cavandosi il cappello, and taking off his hat, Incominci: sior Barone, beginning: “My Lord Baron, Allafigliasuareale wouldyoudeliverapetitionPorterebbeunmemoriale? toyourroyaldaughter?Prenda: per la cioccolata, Here — for chocolate,”e una doppia ben coniata and he slips a newly minted Faccia intanto scivolar. doubloon into my hand. Io rispondo: eh sì, vedremo. I reply — “Well, yes, we’ll see. Giàèdipeso?Parleremo. Now,isitweighingonyourmind?Da palazzo può passar. We’ll have a talk. Yes, it can go to the palace.”Mi rivolto: e vezzosetta I turn — and charmingly, Tutta odori, e tutta unguenti, all scents and pomades, Mis’inchinaunascuffietta alittlebonnetcurtsiestome,Fra sospiri e complimenti: amid sighs and compliments:Baroncino! si ricordi Baron dear! Remember that matter I mentioned,Quell’affare, e già m’intende … and she understands me perfectly …senza argento parla ai sordi. without money her words fall on deaf ears. La manina alquanto stende, she extends her tiny hand slightly Fa una piastra sdrucciolar. and lets a coin drop. Io galante: occhietti bei! I, gallantly — oh, what wouldn’t ah! per voi che non farei! I do for you, pretty eyes!

Io vi voglio contentar! I want to make you happy!Mi risveglio a mezzogiorno: I wake at noon: suono appena il campanello, I hardly ring the bell Che mi vedo al letto intorno before I see around my bed supplichevole drappello: a troop of suppliants: Questo cerca protezione: this one is seeking patronage: Quello ha torte, e vuol ragione; that one is wrong and wants to be right; Chi vorrebbe un impieguccio, someone would like a nice little job, Chi una cattedra ed è un ciuccio, someone a professorship and he’s an ass, Chi l’appalto delle spille, one man the monopoly of brooches Chilapescadelleanguille, anotherafishingpreserveforeels,ed intanto in ogni lato and meanwhile on every side Saròzeppoecontornato Ishallbechock-a-blockandsurroundedDi memorie e petizioni, by memoranda and petitions, Di galline, di storioni, by hens and sturgeons, Di bottiglie, di broccati, bottles and brocades, Di candele e marinati, candles and pickles, Di ciambelle e pasticcetti, buns and pies, Di canditi, di confetti, candies and sweets, Di piastroni, di dobloni, guineas and doubloons, Di vaniglia e di caffè. vanilla and coffee.Basta, basta: non portate: enough, enough — don’t bring any more. Terminate:ven’andate! Stop—willyougoaway?Basta, basta, in carità. That’s enough, for pity’s sake! serro l’uscio a catenaccio: I lock and bolt: Importuni, seccatori, Pests, bores, Fuori, fuori — via da me. Be off with you — get away from me. Presto, presto, via di qua. Quickly — get away from here.

(He leaves.)

TIsBe

Ti sogni ancora You still think CheilPrincipevadapensandoate? thatthePrincehashiseyeonyou?

CLORInDa

Melodomandi? Youdaretoaskme?

TIsBe

serva di Vostra altezza. Your servant, Your Highness.

CLORInDa

a’ suoi comandi. at your command.

(They exit.)

sCene IIRamiro, then Cinderella followed by Dandini. Later alidoro.

RaMIRO

ah! questa bella incognita, Oh, this lovely unknown, Con quella somiglianza all’infelice, who resembles that unhappy girl Che mi colpi stamane, whom I found so striking this morning, Mi va destando in petto is awakening in my heart

A40 Program Notes


Program Notes A41


Certa ignota premura ... anche Dandini some mysterious longing ... Dandini, too,ne sembra innamorato. seems to be in love with her. Here they come —eccoli: udirli or qui potrò celato. hidden in here I’ll be able to overhear them.

(He hides.)

DanDInI

Ma non fuggir, per bacco! quattro volte But don’t run away, good heavens! Four times Mi hai fatto misurar la galleria. you’ve had me marching up and down the gallery.

CeneRenTOLa

O mutate linguaggio o vado via. Change the subject or I shall leave.

DanDInI

Mache?ilparlard’amore Butwhy?TellingyouIloveyouÈforseunastoccata! isnotharmingyou,isit?

CeneRenTOLa

Mas’iod’unaltrosoninnamorata! Butif I’minlovewithsomeoneelse?

DanDInI

Emelodiciinfaccia? Andyousayittomyface?

CeneRenTOLa

ah, mio signore, Oh, my lord, Deh! non andate in collera pray, don’t be angry Quando parlo sincero. if I speak honestly to you.

DanDInI

Edami? Andwhomdoyoulove?

CeneRenTOLa

scusi … Forgive me …

DanDInI

Edami? Whoisityoulove?

CeneRenTOLa

Il suo scudiero. Your equerry.

RaMIRO(revealing himself)

ah gioia! anima mia! Oh, joy! My dearest!

aLIDORO(entering, aside)

Va a meraviglia! It’s going wonderfully well.

RaMIRO

Ma il grado e la ricchezza But do rank and riches Nonseduceiltuocore? notappealtoyourheart?

CeneRenTOLa

Mio fasto è la virtù, My pomp is virtue, Ricchezza è amore. my wealth is love.

RaMIRO

Dunquesarestimia? Thenyou’llbemine?

CeneRenTOLa

Piano,tudevipria Gently—firstyoumustRicercarmi, conoscermi, vedermi, seek me out, know me, see enough of me, esaminar la mia fortuna. survey my fortunes.

RaMIRO

Ioteco,cara,verròvolando. Dearone,I’llcomeflyingtoyou.

CeneRenTOLa

Fermati: non seguirmi. Hold. Do not follow me. Io tel comando. I command you.

RaMIRO

Ecomedunque? WhatmustIdothen?

CeneRenTOLa(giving him one of her bracelets)

Tieni, cercami, e alla mia destra Take this. search for me and on my right wrist Il compagno vedrai; you will see the companion to it e allor... se non ti spiaccio … and then ... if you still like me …allor m’avrai. then you shall have me.

(she leaves.)

RaMIRO

Dandini,chenedici? Dandini,whatdoyousaytothat?

DanDInI

eh! dico che da principe Well, I say that from being a prince sono passato a far da testimonio. I’ve changed over to a witness.

RaMIRO

e allor ... se non ti spiaccio … and then... if you still like me …allor m’avrai. then you shall have me. Qualiaccentisonquesti? Whatdoesitallmean?

(noticing alidoro)

ah! mio sapiente, ah, my wise, esteemed tutor. My heart is Venerato maestro. Il cor m’ingombra burdened with a mysterious love. Misteriosoamore.Chefardegg’io? WhatamItodo?

aLIDORO

Quel che consiglia il core. What your heart counsels you.

A42 Program Notes


Program Notes A43


RaMIRO(to Dandini)

Principe più non sei: di tante sciocche You are prince no more: get that gaggle si vuoti il mio palazzo. of simpletons out of my house.

(summoning his followers)

Olà,mieifidi, Hothere,mytrustymen,sia pronto il nostro cocchio, get the coach ready at once … e fra momenti … Così potessi aver l’ali dei venti. oh, could I but have the wings of the wind!

Sì,ritrovarlaiogiuro. Yes,Isweartofindheragain.amor, amor mi muove: Love. Love spurs me on: se fosse in grembo a Giove were she in Jove’s arms Iolaritroverò. Iwouldfindheroncemore.

(gazing at the bracelet)

Pegno adorato e caro Dear and adored token Che mi lusinghi almeno. that gives me hope at least,ah, come al labbro e al seno, oh, how I will press you Come ti stringerò! to my lips and to my heart!

CHORUs

Oh! qual tumulto ha in seno! Oh, what a tumult rages in his breast! Comprenderlo non so. I cannot understand it.

RaMIRO and CHORUs

noi voleremo, domanderemo. We’ll hasten — we’ll inquire. Ricercheremo,ritroveremo. We’llseek—we’llfind.Dolce speranza, freddo timore sweet hope and cold fear Dentro al mio/suo core stanno a pugnar, within my (his) heart are vying. amore, amore m’hai/l’hai da guidar. Love, love, you must guide me (him).

(Ramiro hurries away with his retinue.)

sCene III/IV

aLIDORO

La notte è omai vicina. The night is drawing closer. Col favor delle tenebre Under shadow of darkness, Rovesciandosi ad arte la carrozza I’ll make sure that the Prince’s carriage Presso la casa del Baron, breaks down right outside the Barons house. Potrei ... Then ... Sonviciniallametaidesirmiei. Mydesignsarealmostfulfilled.

(He leaves. enter Dandini.)

DanDInI(pacing back and forth)

Ma dunque io son un ex. so I’m an ex. Dal tutto al niente From all to nothing Precipitoinuntratto? doItumbleinatrice?Veramente ci ho fatto Really, I do cut Unabellafigura. afinefigure!

MaGnIFICO(bustling in)

scusi la mia premura. Pardon my haste. Ma quelle due ragazze But those two girls stan con la febbre a freddo. are in a cold sweat. Sipotrebbesollecitarlascelta? MayIurgeyoutomakeyourchoice?

DanDInI

È fatta, amico. My choice is made, friend.

MaGnIFICO

È fatta! ah, per pietà! dite, parlate! It’s made! Oh, for pity’s sake! Tell me! speak! È fatta! e i miei germogli … It’s made! and my offspring ... will theyInquestestanzeavegetarverranno? becomingtoflourishintheseapartments?

DanDInI

Tutti poi lo sapranno: everyone will know in good time: Per ora è un gran segreto. for the moment it’s a big secret.

MaGnIFICO

Equale,equale? Butwhichisit?Which?Clorindina,oTisbetta? LittleClorindaorpreciousTisbe?

DanDInI

non giudicate in fretta. Don’t be so impatient.

MaGnIFICO

Lo dica ad un papà. Come now, tell Papa!

DanDInI

Ma silenzio. Don’t breathe a word, then.

MaGnIFICO

si sa, via, dica presto. I know, go on, tell me quickly.

DanDInI

Nonciodealcuno? Noonecanhearus?

MaGnIFICO

Inarianonsivedeunamosca. There’snotevenaflybuzzingabout.

DanDInI

È un certo arcano There’s a certain mystery Che farà sbalordir. that will astound you.

MaGnIFICO(impatiently)

sto sulle spine. I’m on tenterhooks.

A44 Program Notes


Program Notes A45


DanDInI(bringing a chair)

Poniamoci a sedere. Let’s sit down.

MaGnIFICO

Presto, per carità. Be quick, for heaven’s sake.

DanDInI

Voi sentirete You are about to hear Un caso assai bizzarro. a most fantastic case.

MaGnIFICO(aside)

Chevolessemaritarsiconme? Surelyhedoesn’twanttomarryme?

DanDInI

Mi raccomando. Please listen.

MaGnIFICO(with growing impatience)

Ma si lasci servir. at your service.

DanDInI

sia sigillato Let what you Quanto ora udrete dalla bocca mia. hear from my lips remain closely guarded.

MaGnIFICO

Io tengo in corpo una segreteria. I have a secrétaire inside me.

DUeT

DanDInI

Un segreto d’importanza, a secret of importance, Un arcano interessante an absorbing mystery Io vi devo palesar: I must reveal to you: È una cosa stravagante, it’s something quite extraordinary, Vi farà trasecolar. you’ll be amazed.

MaGnIFICO

senza battere le ciglia, Without batting an eyelid, Senzamancotrarreilfiato, withoutevendrawingbreath,Io mi pongo ad ascoltar; I prepare to listen; Staròquipietrificato I’llstayherepetrifiedOgni sillaba a contar. counting every syllable.

DanDInI

Uomo saggio e stagionato a wise and mature man sempre meglio ci consiglia; can always offer the best advice; Sesposassiunasuafiglia, if Imarriedoneof yourdaughters,Comemail’hodatrattar? howshouldIhavetotreather?

MaGnIFICO(to himself)

Consiglier son già stampato. I’m appointed counselor now!

(aloud)

Ma che eccesso di clemenza! But what an excess of graciousness! Mi stia dunque sua eccellenza … Then listen to me, Your excellency …Bestia, altezza, ad ascoltar. I mean Your Highness. abbia sempre pronti in sala always have ready in the hall Trenta servi in piena gala, thirty servants in full livery, Centosedici cavalli, one hundred and sixteen horses, Duchi, Conti e Marescialli, dukes, counts and marshals, a dozzine convitati, guests by the dozen, Pranzi sempre coi gelati, always dinners with ices on the menu, Poi carrozze e poi bombè. then carriages and travelling trunks.

DanDInI

Vi rispondo senza arcani, In reply I’ll make no secret of it Che noi siamo assai lontani. that we’re very far from that.Iononusofarde’pranzi, I’mnotinthehabitof givingdinner-parties,Mangio sempre degli avanzi, I always eat up the scraps, Nonm’accostoagransignori, Idon’thobnobwithfinegentlemen,Tratto sempre servitori, always mix with servants, Me ne vado sempre a pie’. always travel on foot.

MaGnIFICO

Micorbella? Youmustbejoking.

DanDInI

Gliel prometto. I promise you I’m not.

MaGnIFICO

Questodunque? Thenallthis...?

DanDInI

È un romanzetto, … is a hoax, È una burla il principato, my princely power is a jest, sono un uomo mascherato; I’m a man masquerading; Ma venuto è il vero principe, but the real prince has returned M’hastrappataalfinlamaschera. andhasatlastremovedmymask.Io ritorno al mio mestiere: I’m going back to my job:son Dandini il cameriere; I’m Dandini, the valet, Rifar letti, spazzar abiti, I make the beds, brush the clothes, Far la barba e pettinar. do the shaving and dress the hair.

MaGnIFICO

Farlabarbaepettinar? Dotheshavinganddressthehair?Di quest’ingiuria, di quest’affronto For this insult, for this affront Il vero principe mi renda conto. the real prince will account to me.

A46 Program Notes


Program Notes A47


DanDInI

Oh! non s’incomodi, Oh, don’t trouble! non farà niente: He won’t do a thing: Ma parta subito, But leave at once, Immantinente. immediately.

MaGnIFICO

non partirò. I’m not going.

DanDInI

Lei partirà. You are, you know.

MaGnIFICO

sono un barone. I am a baron.

DanDInI

Pronto è il bastone. I’ve got a stick here.

MaGnIFICO

Ci rivedremo. We’ll see about this!

DanDInI

Ci rivedremo. We certainly will!

MaGnIFICO

Ci parleremo. I’ll have something to say about this!

DanDInI

Ci parleremo. and so will I!

MaGnIFICO

Tengonelcerebro I’vegotadouble-bassUn contrabbasso, rumbling in my brain Che basso basso that deep down Frullando va goes whirling around Da cima a fondo, from top to bottom, Poter del mondo! almighty God! Che scivolata, What a landslide, Che gran cascata! what a slump! eccolo, eccolo, “Look, there he is,” Tutti diranno, they’ll all say, Mi burleranno they’ll poke fun at me Per la città. all over town.

DanDInI

Povero diavolo! Poor devil! È un gran sconquasso, It’s a mighty smash Che d’alto in basso that makes him plunge Piombar lo fa. from the heights to the depths.Vostr’ eccellenza Your excellency, abbia prudenza: be sensible:

se vuol rasoio, If you need a razor, sapone e pettine, soap and comb, saprò arricciarla, I can curl you, Sbarbificarla. shaveyou.ah, ah! guardatelo, Ha, ha! Just look at him, L’allocco è là. there’s that great ninny!

(They leave. alidoro enters, alone.)

aLIDORO

Mi seconda il destino. Fate is on my side. amor pietoso favorisce il disegno. Benign Cupid favors my plan. anche la notte procellosa ed oscura even the darkness and turbulence of night Rende più natural quest’avventura. make things easier to arrange. La carrozza già è in pronto. The carriage is ready, Ov’èDandini? butwhereisDandini?seco lo vuol net suo viaggio. His master wants him to travel with him. Oh come indocile s’è fatto ed impaziente! Oh, how determined and impatient the Prince has become! Che lo pizzica amor segno evidente. Cupid’s darts have found their mark.

(He leaves.)

sCene VAground-floorroomwithfireplaceinDonMagnifico’scastle.Cinderella,onceagaininrags.

CeneRenTOLa

Una volta c’era un re Once upon a time there was a king Che a star solo s’annoiò; who was bored with being all alone; Cerca, cerca, ritrovò: he searched and searched until he found! Ma il volean sposare in tre. But they wanted him to marry all three. Cosafa? Whatdoeshedo?sprezza il fasto e la beltà He scorns pomp and beauty, Eallafinscelsepersé andintheendhechoosesforhimself L’innocenza e la bontà. innocence and goodness.

(looking at her remaining bracelet)

Quanto sei caro! e quegli, How precious you are! and he Cui dato ho il tuo compagno, to whom I gave your companion È più caro di te. is even more precious than you. Quel signor Principe But why was the Prince Chepretendeaconquellesmorfie? pullingsuchfaces?Oh bella! io non bado a ricami, Well, I’m not afraid to say it: ed amo solo bel volto e cor sincero, I love only a handsome face and a sincere heart, e do la preferenza al suo scudiero. and the valet’s by far the better of the two. Le mie sorelle intanto ... Whereas my sisters ... Ma che occhiate! How they ogled him! Pareano stralunate! Rolling their eyes like that! Qual rumore! What a din! Ah,chivedo!checeffi!Diritorno! Oh,whatdoIsee?They’reback!non credea che tornaste avanti giorno. I didn’t think they’d be here before dawn.

A48 Program Notes


Program Notes A49


sCene VIDonMagnifico,Clorinda,TisbeandCinderella.

CLORInDa(entering and indicating Cinderella)

Ma ve l’avevo detto … But I told you so …

MaGnIFICO

Ma cospetto, cospetto! But, good heavens, they’re as like similissime sono affatto affatto. as two peas in a pod. The other one Quella è l’original, questa è il ritratto. is the original, this one’s the living image. Haifattotutto? Haveyoudoneeverything?

CeneRenTOLa

Tutto. Perché quel ceffo brutto everything. Why are you giving Voimifatecosì? mesuchuglylooks?

MaGnIFICO

Perché, perché ... Per una certa strega, Because, because ... there’s a certain witch Che rassomiglia a te. who looks like you.

CLORInDa

su le tue spalle I could almost vent Quasi mi sfogherei. my spleen on your back.

CeneRenTOLa

Povere spalle mie! My poor back! Cosacihannoachefar? Whathasthatgottodowithit?

(a storm now breaks with thunder and lightning. Then the sound of a carriage overturning is heard.)

TIsBe

Oh, fa mal tempo! Oh, what bad weather! Minaccia un temporale. a storm is blowing up.

MaGnIFICO

altro che temporale! I should say so! Un fulmine vorrei and I’d like a thunderbolt Che incenerisse il cameriere. to burn the valet to ashes.

CeneRenTOLa

Ma dite, But tell me, Cosaèaccaduto?avete what’shappened?HaveyouQualchesegretapena? gotsomesecrettrouble?

MaGnIFICO (violently)

sciocca, va là: Get along with you, you stupid hussy: Va a preparar la cena. go and prepare supper.

CeneRenTOLa

Vado, sì, vado. all right, I’m going.

(aside)

ah che cattivo umore! Oh, what an evil temper! ah! lo scudiero mio mi sta nel core. ah, my equerry has won my heart.

(she goes out.)

sTORM MUsIC

sCene VIIDonMagnifico,Tisbe,Clorinda,thenRamiroasthePrince,andDandini.

DanDInI

scusate, amici; Your pardon, my friends, La carrozza del principe the Prince’s carriage Ribaltò…Machivedo? hasoverturned...ButwhomdoIsee?

(recognizingDonMagnifico)

MaGnIFICO(surprised)

ah! siete voi! Oh, it’s you! Mailprincipedov’è? Butwhere’sthePrince?

DanDInI(pointing to Ramiro)

Loconoscete? Don’tyouknowhim?

MaGnIFICO

Lo scudiero! oh, guardate … The groom! Oh, just look at that!

RaMIRO

signore, perdonate sir, forgive me se una combinazione … if by chance ...

MaGnIFICO

Chedice?sifiguri,miopadrone. Nonsense,don’tmentionit,myliege.

(to Clorinda and Tisbe)

eh! non senza perché venuto è qua. Look! He hasn’t come here for nothing. Lasposa,figliemie,fravoisarà. Thebride,mydaughters,willbeoneof youyet.ehi! presto, Cenerentola, Hey there, quickly, Cinderella, Porta la sedia nobile. bring the ancestral chair.

RaMIRO

no, no: pochi minuti; altra carrozza no, no: I’m only staying a few minutes. Pronta ritornerà. another carriage will be here presently.

MaGnIFICO

Mache!glipare? Butmustyougososoon?

A50 Program Notes


Program Notes A51


CLORInDa

Ti sbriga, Cenerentola. Hurry up, Cinderella.

sCene VIIICinderella entering and bringing a chair to Dandini, whom she still believes to be the Prince.

CeneRenTOLa

son qui. Here I am.

Magnifico

Dalla al Principe, bestia, eccolo lì. Give it to the Prince, imbecile. There he is!

CeneRenTOLa(recognizing Ramiro in the Prince, she covers her face with her hands and turns to run away)

Questo...ah,chevedo!Principe! Thisman...oh,whatdoIsee?ThePrince!

RaMIRO

T’arresta.Che!losmaniglio! Stay!What?Thebracelet!È lei: che gioia è questa! ’Tis she! What joy this is!

seXTeT

RaMIRO

Sietevoi?… Isitreallyyou?

CeneRenTOLa(looking at the Prince’s apparel)

Voiprencesiete? Areyoureallyaprince?

TIsBe, CLORInDa(to each other, amazed)

Qual sorpresa! What a surprise!

DanDInI

Il caso è bello. This is delightful!

MaGnIFICO(trying to attract Ramiro’s attention)

Ma … But …

RaMIRO

Tacete. Hold your tongue.

MaGnIFICO(as above)

addio, cervello. se … Farewell, sanity! If …

RaMIRO, DanDInI

silenzio. silence.

THe sIX

Chesarà! Whatafix!Questo è un nodo avviluppato This is a snarled knot, this is a tangled web, Questo è un gruppo rintrecciato, he who tries to unravel it tangles it all the more; Chi sviluppa più inviluppa; he who tries to untie it pulls it tighter still; Chi più sgruppa più raggruppa; and meanwhile my brain ed intanto la mia testa spins, spins, Vola, vola, e poi s’arresta, and then stalls. Vo tenton per l’aria oscura, I go groping about in the dark e comincio a delirar. and am beginning to rave.

CLORInDa

Donnasciocca,almadifango, Stupidwoman,filthyslut,Cosacerchi?chepretendi? whatdoyouwant?Whodoyouthinkyouare?Fra noi gente d’alto rango It’s sheer bad manners to plant yourself L’arrestarsi è inciviltà. among us people of high rank.

MaGnIFICO

serva audace, e chi t’insegna Brazen skivvy, and who taught you Astarquifratantieroi? tostandhereinsuchselectcompany?Va in cucina, serva indegna, Go to the kitchen, you worthless slave, non tornar mai più di qua. and never come back here!

RaMIRO

alme vili, invan tentate Vile creatures, in vain you attempt D’insultar colei che adoro; to insult the girl I adore; alme vili, paventate: take care, you wretches: Il mio fulmine cadrà. my fury will fall upon you.

DanDInI

Già sapea che la commedia I knew from the start that the comedy si cangiava al second’atto: would change in the second act: ecco aperta la tragedia; now the tragedy begins; Me la godo in verità. I’m really enjoying it!

CLORInDa, TIsBe(to each other)

son di gelo. I’ve turned to ice!

MaGnIFICO(aside)

son di stucco. I’m quite dumbfounded!

DanDInI(aside)

Diventato è un mammalucco. He’s become a complete idiot.

MaGnIFICO, CLORInDa, DanDInI

Ma una serva … But a kitchen maid …

A52 Program Notes


Program Notes A53


RaMIRO

Olà, tacete: silence there: L’ira mia più fren non ha. I can contain my rage no longer.

CeneRenTOLa

ah, signor, s’è ver che in petto Oh, my lord, if it be true that in your breast Qualche amor per me serbate, you cherish some love for me, Compatite, perdonate have pity on them, pardon them Etrionfilabontà. andletkindnessprevail.

DanDInI, RaMIRO

Queue lagrime mirate; Look at those tears; Qual candore, qual bontà! What sincerity, what generosity!

CLORInDa, TIsBe, MaGnIFICO

ah, l’ipocrita! guardate! Oh, what a hypocrite! Just look at her!Oh che bile che mi fa! Oh, how galling it is!

MaGnIFICO

Ma in somma delle somme, But after all is said and done, Altezza,cosavuole? whatdoesyourHighnesswant?

RaMIRO(taking Cinderella by the hand)

Piano: non più parole: Quiet: no more talk. Questa sarà mia sposa. This young lady shall be my bride.

CLORInDa, TIsBe

ah! ah! dirà per ridere. Ha ha! He must be joking.

CLORInDa, TIsBe, MaGnIFICO(to Cinderella)

Nonvedichetiburlano? Can’tyouseethatthey’remakingfunof you?

RaMIRO

Lo giuro: mia sarà. I swear it: she shall be mine.

MaGnIFICO

Ma fra i rampolli miei, But of my offspring, Mi par che a creder mio … I should think ...

RaMIRO(contemptuously)

Per loro non son io. I am not for them. Ho l’anima plebea, I have a plebeian soul Ho l’aria dozzinale. and I look common.

DanDInI

Alfinesulbracciale Theballhasreturnedecco il pallon tornò; to the armlet at last; e il giocator maestro and the ace player In aria il ribalzò. has bounced it up into the air again.

RaMIRO(to Cinderella)

Vieni a regnar: vieni, impongo. Come and reign with me: I insist.

CeneRenTOLa

su questa mano almeno; On this hand at least …Eprimaaquestoseno... andfirsttomybreast…

(AttemptingtokissDonMagnifico’shandandembracehersisters,sheisroughlyrebuffed.)

MaGnIFICO

Ti scosta. Get away!

CLORInDa, TIsBe

Ti allontana. Be off with you!

RaMIRO

Perfidagenteinsana! Youtreacherous,insanepeople!Io vi farò tremar. I shall make you tremble.

CeneRenTOLa

Doveson!cheincantoèquesto! WhereamI?Whatenchantmentisthis?Io felice! oh, quale evento! Happy at last! Oh, what a moment! Èuninganno?ah!semidesto, Isitatrick?Oh,if Iwake,Che improvviso cangiamento! what a sudden change! sta in tempesta il mio cervello, My brain is in turmoil, Posso appena respirar. I can hardly breathe.

THe OTHeRs

Quello brontola e borbotta, One man grumbles and complains, Questo strepita e s’adira, another shouts and raves, Quellofreme,questofiotta, thatonefumes,thisonewhines;Chi minaccia, chi sospira; it’ll end up with them Vaafinirchea’pazzarelli draggingusoff Ci dovranno strascinar. with the rest of the loonies.

RaMIRO, DanDInI

Vieni, vieni; amor ti guida Come, come; Love will guide a regnar, a trïonfar. you to reign and triumph.

(RamiroleadsCinderellaawaywithhim,followedbyDandiniandDonMagnifico.)

TIsBe

Dunquenoisiamburlate’? So,we’vebeenmadefoolsof?

CLORInDa

Dalla rabbia io non vedo più lume. I’m so angry. I can hardly see straight.

TIsBe

Mi pare di sognar … Tisbe I can hardly believe it, La Cenerentola ... that Cinderella ...

A54 Program Notes


Program Notes A55


aLIDORO(entering)

Principessa sarà. Is to be a Princess.

CLORInDa

Chisiete? Whoareyou?

aLIDORO

Io vi cercai la carità, I came here seeking charity, Voi mi scacciaste. and you repulsed me. e l’angiolina, But angelina, Quella che non fu sorda ai miseri, who took pity on my misery,Che voi teneste come vile ancella, who you treated like a skivvy,Fra la cenere e i cenci, will now rise from the cinders Or salirà sul trono. and ascend her throne. Il padre vostro Your father owes her Le è debitor d’immense somme. an enormous sum of money. Tutta si mangiò la sua dote. He has squandered her entire dowry, e forse forse questa reliquia di palazzo, and it’s likely now that this old ruin of a palace Questi non troppo ricchi mobili and all this rather faded furniture saranno posti al pubblico incanto. will soon be put up for auction.

TIsBe

Chefiadinoifrattanto? Whatwillbecomeof usthen?

aLIDORO

Il bivio è questo. You have a choice. O terminar fra la miseria i giorni, either you end your days in misery, O curve a piè del trono or you may throw yourselves on Implorar grazia ed impetrar perdono. the Princess’s mercy and beg her to forgive you. nel vicin atrio io stesso. The celebrations are about to begin; Presago dell’evento, I myself have prepared La festa nuziale ho preparata: the nuptial feast. Questo, questo è il momento. now is your opportunity.

CLORInDa

Abbassarmiconlei?Sondisperata! What,crawltoher?Youmustbejoking!

(she leaves.)

aLIDORO

La pillola è un po dura: It’s a bitter pill to swallow, Ma inghiottir la dovrà; but swallow it you must. non v’è rimedio. It’s the only way. Evoicosapensate? Andyou,whatdoyouthink?

TIsBe

Cosapenso? WhatdoIthink?Mi accomodo alla sorte: I suppose I’ll have to accept my fate: Semiumilioallafin, it’sbettertoeathumblepienon vado a morte. than to starve to death.

(she leaves.)

aLIDORO

Giusto ciel! ti ringrazio! I voti miei Righteous Heaven, I thank you! My wishes non han più che sperar. have no more to hope for. L’orgoglio è oppresso, Pride has been humbled, sarà felice il caro alunno. In trono my dear pupil will be happy. Upon the throne Trionfa la bontà. Contento io sono. goodness of heart triumphs. I am content.

(He leaves.)

FInaLeThe throne room in Don Ramiro’s palace. Ramiro, Cinderella, Dandini,

Courtiers,Magnifico,Alidoro,Clorinda,Tisbe.

CHORUs

Della Fortuna instabile la revolubil Fickle Fortune’s revolving wheel Ruota mentre ne giunge al vertice as it reaches the vertex Per te s’arresta immota; slows to a halt for you; Cadde l’orgoglio in polvere, pride is ground into the dust, Trionfa la bontà. goodness is triumphant.

RaMIRO(to Cinderella, taking her gently by her arm)

sposa … My bride …

CeneRenTOLa(dazed with joy)

signore, perdona My lord, forgive La tenera incertezza the tender bewilderment Che mi confonde ancor. Poc’anzi, il sai, that still confuses me. a short while ago, Fralacenereimmonda... asyouknow,filthyamongthecinders…ed or sul trono ... and now upon the throne …e un serto mi circonda. and a crown encircling my brow.

MaGnIFICO(running to kneel before Cinderella)

altezza ... a voi mi prostro … Your Highness ... I kneel before you …

CeneRenTOLa

Ném’udròmaichiamarlafigliavostra? ShallIneverhearyoucallmeyourdaughter?

RaMIRO(nodding towards the other two daughters)

Quelleorgogliose… Asforthosearrogantcreatures?

A56 Program Notes


CeneRenTOLa

ah, prence, Oh, prince, Io cado ai vostri pie’. I fall at your feet.Le antiche ingiurie The old wrongs Mi svanir dalla mente. have vanished from my mind. sul trono io salgo, e voglio I ascend the throne and wish starvi maggior del trono, to be greater than the throne, e sarà mia vendetta il lor perdono. and my revenge shall be their forgiveness.

nacqui all’affanno e al pianto, I was born to anguish and tears,soffrì tacendo il core; I suffered in silence;Ma per soave incanto but by some sweet magic spell,Dell’etàmianelfiore, intheflowerof myyouth,Come un balen rapido swift as a shaft of lightning,La sorte mia cangiò. my lot has changed.

(to her sisters and her father)

no, no, tergete il pianto; no, no, dry your tears.Perchètremar,perché? Whydoyoufear?Why?Aquestosenvolate; Comeflytomybreast—Figlia, sorella, amica, daughter, sister, friend,Tuttotrovateinme. allof themyou’llfindinme.

(embracing her sisters)

aLL eXCePT CeneRenTOLa

M’intenerisce e m’agita. she stirs and moves me. È un nume agli occhi miei; she is a goddess in my eyes. Degna del tron tu sei, You are worthy of the throne, Ma è poco un trono a te. but a throne is small reward for you.

CeneRenTOLa

Padre … sposo... amico ... Father … husband... friend ... Oh, istante! Oh, what a moment!

Nonpiùmestaaccantoalfuoco Nolongersadbesidethefirestarò sola a gorgheggiar; shall I sit singing alone;Ah,fuunlampo,unsogno,ungiuoco oh,mylong-drawn-outdistressIlmiolungopalpitar. wasbutaflash,adream,agame.

CHORUs

Tutto cangia a poco a poco: everything changes little by little,Cessaalfindisospirar. andatlastceasesighing.

Date post:	24-May-2018
Category:	Documents
Upload:	phungnga
View:	218 times
Download:	0 times

Grant Park Music Festival Notes...Grand Opera studio and the apprentice singer Program at santa Fe...

Documents