COSI FAN TUTTE world premiere: Vienna, Burgtheater, January 26, 1 790 united states premiere: New York, Metropolitan Opera, March 24, 1922 LA SCUOLA DEGLI AMANTI (THE SCHOOL FOR LOVERS) OR COSI FAN TUTTE (ALL WOMEN ARE THE SAME) Comic Opera in Two Acts Libretto: Lorenzo Da Ponte English Translation: Judyth Schaubhut Smith Music: Wolfgang Amadeus Mozart COS! FAN TUTTE CHARACTERS FlORDlLIGI sisters Jwm Ferrara living in Naples dorabella guglielmo, Fiordihgi'sfiance officers ferrando, Dorabella's fiance despina, a chamber maid Don Alfonso, an old phibspher Chorus of Soldiers and Townspeople Chorus of Sailors Chorus of Servants The action takes place in Naples. Soprano Mezzo-Soprano Baritone Tenor Soprano Bass COSI FAN TUTTE SYNOPSIS Act I In eighteenth-century Naples, the elderly cynic Don Alfonso discusses women with two young officers, Ferrando and Guglielmo. The two gallants insist their sweethearts are paragons of virtue ("La mia Dorabella") and accept Alfonso's bet that he can prove the girls fickle. In their garden, the sisters Fiordiligi and Dorabella revel in their love for Guglielmo and Ferrando, respectively, showing pictures they carry in their lockets ("Ah, guarda, sorella"). Alfonso comes in with sad news: the young men have been called to their regiment. Thev appear, and the five make elaborate farewells ("Sento, o Dio"). As soldiers march by, Ferrando and Guglielmo fall in, lamented in a trio ("Soave sia il vento"). Alfonso, alone, delivers one last jeer at women's inconstancy. The maid, Despina, offers the girls morning chocolate and advice about forgetting old lovers with the help of new ones ("In uomini, in soldati"), but her mistresses, hysterical with grief, resent her capricious approach to love. Dorabella in fact is outraged ("Smanie implacabili"). When they leave, Alfonso comes to bribe Despina to help introduce two foreign friends of his to the ladies. When they arrive, the ladies are scandalized to see the strangers, whom they do not recognize as their lovers in disguise. The "Albanians" declare their admiration for the sisters, but both repulse them, and Fiordiligi likens her fidelity to an immovable rock ("Come scoglio"). The men are thrilled, but Alfonso warns the bet isn't won yet; Ferrando blissfully reiterates his passion for Dorabella ("Un'aura amorosa"). Alone in their garden, the sisters unite in despair. Suddenly the men stagger in, pretending to have poisoned themselves. Alfonso and Despina run for a doctor while the ladies begin to waiver: their pity for the newcomers will be their undoing. Now Despina returns, disguised as a doctor, using Dr. Mesmer's invention, the magnet, to draw out the poison. The men revive ("Dove son?"), but the girls angrily refuse to grant them a kiss. 389 The Metropolitan Opera Book of Mozart Operas Cost Fan Tutte Act II Attending the ladies in their boudoir, Despina urges them to relent and give in to their suitors ("Una donna a quindici anni"). Dorabella thinks they ought to, the reluctant Fiordiligigives M and thev decide who will pair off with whom ("Prendero quel brunettino"). The voting men have arranged a serenade in the garden. Seeing the wager through, Guglielmo pairs off with Dorabella while Ferrando woos Fiordiligi ("Ah, lo veggie qurll'amrna bella"), who admits to herself that he has touched her heart ("Per pieti"!, hoping her absent lover will forgive her. When the men compare notes, Guglielmo is glad to nct Fiordiligi standing fast—or so he thinks—but Ferrando is dismayed that Dorabella has given Guglit-lmo a locket. His anger amuses Guglielmo, who comments on the waywardness of the fair sex ("Donne mie, la fate a tantil"). Left alone, Ferrando expresses his love for I >. ii.tlx ll.i, though he feels betrayed ("Tradito, schemito"). On the terrace, the sisters tell Despina thev have lost their hearts—Fiordiligi with misgivings, Dorabella with enthusiasm. Love is a thief, the maid replies, and people get robbed every day ("E amore un ladroncello"). Alone, the troubled Fiordiligi decides to drag Dorabella off to join their sweethearts at the front. Favesdropping, Guglielmo is in ecstasy until Ferrando pursues the wager by threatening suicide, and Fiordiligi gives in to him. No» Guglielmo is furious, but Alfonso counsels forgiveness: that's just the way women are, he ■ Tii— ("Tutti accusan le donne"). Now for a double wedding between the sisters and the "Albanians." Servants, musicians and guests salute the two couples as Alfonso brings in a notary—Despina in another diiguivr Just as the ladies have signed the marriage contract, familiar martial strains outside draw Alfonso to a window: the girls' former lovers are returning with their regiment. In pan*.. Fiordiligi and Dorabella push their intended husbands from the room and go more or \ns to pieces when the men reappear without their "Albanian" mufti. Ferrando an Guglielmo play their true identities to the hilt, storming at the ladies when the contract is dncovercd. But Alfonso reveals the disguises and hails the triumph of reason over unreab* expectations, as forgiveness prevails. Opera News PREFACE The fifteenth of Mozart's operas, Cost Fan Tutte dates from the final period of his life- w'thft ■Vmw 6 Figaro and Don Giovanni behind him and his last three symphonies recently completed, the composer was yet to undertake Die Zauberflote and La Clemenza di Tito.IntroduC', in Vienna on the eve of Mozart's thirty-fourth birthday, Coil Fon Tutte is a quintes*1* example of Italian-style opera buffa. It was w ritten at the request of Emperor Joseph P, «» is believed to have suggested to the librettist, Lorenzo da Ponte, a subject drawn from current gossip in the city: disguised lovers court each other's sweethearts to test the girls' fidelity. The nineteenth century tended to reject this out of hand, finding the subject trivial and scandalous, degrading to the romantic idealization of women. Until modern times Cos! Fan Tutte remained, therefore, the least known or performed of Mozart's major operas. "Perhaps the modern public does not fully appreciate the parodistic style," gently remarked Richard Strauss, a champion of the work and one of its legendary conductors. According to the eminent critic Hdward J. Dent, modern listeners "cannot bear to feel that it [the sheer beauty of the music itself] is a deliberate expression of sham feeling and sometimes of comically exaggerated passion." But as he points out, "The artificiality of the comedy makes its charm." Commentators today are more likely to dwell on the warmth and humanity found in Cosi Fan Tutte. Alfred Einstein writes, "There is an evening glow over this whole score. Mozart is full of sympathy for his two victims, the representatives of frail femininity. . . . There is a touch of melancholy in the moral of the burlesque incident, and we can hear it alreadv in the andante of the overture." Virgil Thomson commends the opera "for tenderness, for human compassion and philosophic toleration of human weakness." Mozart lived in what afterward was soon considered a period of appalling moral laxitv, and perhaps it helps to know that shortly before composing Cosi he wrote to his wife, Constanze, gently remonstrating with her for behaving flirtatiously while away on vacation. He himself was no stranger to flirtation, and in his comic operas he knew whereof he wrote. The dramatic crux of Cosi had special meaning for him, because he had been in love with Constanze's sister before marrying her. People still argue about which lover ends up with which at the opera's end, and productions often leave it up to the audience by simply having all the characters hold hands. Eighteenth-century symmetry, plus a few clues in the libretto, make it seem that Mozart and Da Ponte took for granted a return to the original pairing. Yet the moral of the opera—and it is certainly no immoral work, as the nineteenth century assumed—can be read differently for our owti time, when priorities, assumptions and conventions have changed. The truth about Cosi, as w ith Mozart's other comedies, is that on one level it is artificial, on another absolutely real. The sense of emotional rightness and verisimilitude is conveyed by the music, which treats situations seriously even when exaggerating or spoofing them. This split-level approach, particularly in Don Giovanni and Cos}, has always worried the literal-minded while delighting those who sense universality in Mozart's art. There are plenty of moments in real life when one is torn between tears and laughter, between thought and sensuality, between practical considerations and inmost wishes. Mozart, unlike other purveyors of opera buffa, did not narrow his vision to create an unreal world of comedv: he insisted on giving it all, rendering the artifice in terms of the full range of feelings even, one has. When Mozart received the libretto, in early November 1789, his fortunes were at a low ebb. The middle of that month, one of his children died shortly after birth. The Mozarts had been obliged to leave their suburban apartment for a less expensive one in the city. It helped 391 390 The Metropolitan Opera Book of Mozart Operas liirn in the work to focus his attention on the performers destined for the premiere. Mme, Frrrarese del Bene, for example, the current mistress of Da Ponte, was a type of singer the composer did not particularly like, using several different registers of her voice for display effects. He treated her somewhat ironically, exploiting the tricks she could do while infusing (hem with expressive depth beyond her usual range. The result is the role of Fiordiligi(Italian for Fleur-de-lis), one of the paragons of flexibility and endurance for a soprano withspintoor di.im.iiii n\ertones and an absolute command of coloratura technique. hmperor Joseph II never lived to hear Cosi Fan Tune. He died at forty-eight, a month after l he ojx-ra's premiere at the Burgtheater on January 26, 1790. His death in fact interrupted the run of performances. Cosi had seven repetitions that season and was not revived in what little remained of Mozart's lifetime. A true ensemble opera, with more ensembles than solos, Cost continued to attract the serious-minded Romantic Hra with its music but not with its libretto, which was heavily adapted bv many translators, especially in Germany. It was in France, however, that impresario Leon Carvalho hatched the scheme of fitting an entirely new libretto, based on Shakespeare's Love's Labours Lost, a somewhat comparable plot, to the music. Though his librettists were Barbier and Carre, who provided the texts tor Carmen and Lbs ui.ft d'liojjminn, their efforts went for naught. That was in 1863. As late as 1909, after German-language t mi re\ ivals under Hermann Levi and Gustav Mahler, the singer Karl ScfieidemanS-ooncocted a version based on Calderon's Dame Kobold. The breakthrough did not come until 1920, when Strauss led a revival in Vienna, quickly if briefly followed by the first Metropolitan ()|x-ra production—a dozen performances between 1922 and 1928. During the l9J0's Cosi became a favorite at the Glvndebourne Festival. The Rudolf Bing management ■cored a great success with its production at the Met in 19S1. Thirty seasons later, the company took a fresh look at Cosi through the eyes of two dewgners new to the Met, Hayden Griffin (sets) and Deirdre Clancy (costumes), who chose a *ttge-within-a-stage concept. Having been seen from different perspectives in vano* modem productions, Cosi Fan Tutu seems to be the Mozart comedy for today, dealing wjn intimate way with the ambiguities, perplexities and joys of life. John W Freeh* COSI FAN TUTTE ACT I Scene I A coffee-house. Ferrando, Gughelmo and Don Alfonso No. 1 Trio La mia Dorabella Capace non ě: Fedel quanta bella II cielo la fe'. La mia Fiordiligi Tradirmi non sa: Uguale in lei credo Costanza e beltä. Ferrando guglielmo My Dorabella Couldn't do such a thing: Heaven made her as faithful As she is beautiful. My Fiordiligi Would never betray me: I'm sure her loyalty Equals her beauty. Ho i crini giä grigi, Ex cathedra parlo; Ma tali litigi Finiscano qua. No, detto ci avete Che infide esser ponno: Don Alfonso My hair's already gray, And 1 speak from years of experience; But let's stop this bickering Right here and now. Ferrando and Guglielmo Oh no, you've told us They could be untrue: 393 392 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tune Provař ce 'I dovete, Se a\ete onestá. Tai prove No, no, le vogliamo: (), fuoh la spada, Kompiam l'amistä. O i'.!//(i desire! Orcar di scoprire Quel mal che, trovato, Mesthini ci fa. SuJ vivo mi tocca l hi lascia di bocca Sortire un accento the torto le fa. Fuor U spada! Sccgliete Qua! di run piu vi piace. lo son uomo di pace, ^ duelh non fo, se non a mensa. Now you've got to prove it, If you're as good as your word. Don Alfonso Let's just forget about the proof ferrando and GuGLIELMO (putting their hands on their swords) No, no, we insist on having it: Or else you can take out your sword, And we'll put an end to this friendship. Don Alfonso (aside) "Oh, what an insane idea! To try to root out The worm in the apple That's the bane of our existence. Ferrando and Guglielmo (aside) Anybody who dares Say one word Against her Cuts me to the quick. Secco Recitative Guglielmo Now out with your sword'. And choose Which one of us you like. Don Alfonso (calmly) I'm just a peace-loving fellow, And the only duels I fight are at table- 0 battervi, o dir subito rVrchí d'infedeltä le nostre amanti Sosprttate capaci! i'U tell us right Ferrando Either you'll fight, or you'll now How you could possibly suspect our sweethearts Of any infidelity at all! 394 Don Alfonso Cara semplicitá, quanto mi piaci! Oh, how innocent you are! It really makes me laugh! Ferrando Cessate di scherzar, o giuro al cielo!. . . And if you don't stop joking, I swear by heaven!.. . Don Alfonso Ed io, giuro alia terra, Non scherzo, amid miei. Solo saper vorrei Che razza d'animali Son queste vostre belle, Se han come tutti noi came, ossa e pelle, Se mangian come noi, se veston gonne, Alfin, se Dee, se donne son . . . And I swear by this earth, I'm not joking, my friends. I'd just like to know What breed of beast These beauties of yours really are, If they're made of flesh and blood like everyone else, If they eat like us, if they wear long skirts, In fact, if they're goddesses, or women . .. Ma son tali . . . son tali E in donne pretendete Di trovar fedeltä? Quanto mi piaci mai, semplicita! E la fede delle femmine Come I'araba fenice: Che vi sia, ciascun lo dice; Dove sia, nessun lo sa. La fenice ě Dorabella! La fenice ě Fiordiligi! Ferrando and Guglielmo Son donne, Thev're women, But ... the likes ... of them . . . Don Alfonso And you really expect Women to be faithful? Oh, how 1 love your innocence! No. 2 Trio (jokingly) Women's faithfulness Is like the Arabian phoenix: Everyone savs it exists; But no one knows where it is. Ferrando (eagerly) Dorabella's the Phoenix! Guglielmo (eagerly) Fiordi] 395 ji's the Phoenix! Thh Metropolitan Opera Book of Mozart Operas Cosi Fan Tune Don Alfonso 111a: No, it's not one or the other, I'm afraid: Non fu mai, non vi sara. It never existed, and it never will Non ŕ questa, non é quell ViiHihľrii- di poeti! V rmpiaggini di vecchi! Secco Recitative Ferrando Oh, what poetic nonsense! Guglielmo Oh, what senile foolishness! Don Alfonso Orbene, udite, Just hear me out. Ma «-nza andar in collera: And don't fly off the handle: Qual |>m\j wete voi che ognor costanti What proof have you got \ i M.n It Mistři amanti; That your sweethearts are faithful; I In 11 lr' sicurta che invariabili What makes you so sure Sono i k>r cori? They aren't fickle instead? Ferrando Lunga esperienza . . . We've known them so long Guglielmo Nobil rdui a/ion . . . They're so well brought up . ■ ■ Ferrando Pensar sublime . . . Their thoughts are sublime Guglielmo Analogu d'umor . . . They're ever so compatible • • Ferrando fault - • ■ Disinteresse . . . Immuubil carattere . . . Proteste They're generous to a i Guglielmo Their attitudes never change . • Ferrando Promesse ... The promises they've m* Guglielmo And all their protests, too . ■ • Ferrando it Giuramenti And their vows of10*" Don Alfonso Pianti, sospir, carezze, svenimenti. And their tears, their sighs, their caresses, and their fainting-fits. Lasciatemi un po' ridere I'm sorry, but I can't help laughing Ferrando Cospetto! Confound it! Finite di deriderci? Are you through making fun of us? Don Alfonso Pian piano: Hold on just a moment: E se toccar con mano What if I could show you right now Oggi vi fo che come Paltre sono? That they're exactly like the others? Non si puó dar! Guglielmo That's ridiculous! Ferrando Non ě! That's impossible! Don Alfonso Giochiam! Let's bet on it then! Cento zecchini. Ferrando Giochiamo! Don Alfonso A hundred gold pieces. You're on! E mille, se volete. Parola . Guglielmo Don Alfonso Your word . . Ferrando A thousand, if vou like. Parolissima. Our solemn word. Don Alfonso E un cenno, un motto, un gesto And you swear vou won't give Giurate di non far di tutto questo The slightest sign, or whisper, or hint Alle vostre Penelopi. Of all this to your Penelopes? Giuriamo. Ferrando 397 We swear it. 396 The Metropolitan Opera Book of Mozart Operas Cosi fan Tutte Da soldáti d'onore. Da vildati d'onore. E tutto quel farete Cti'io vi dirö di far. Tutto! Don Alfonso On your honor as soldiers. guglielmo On our honor as soldiers. Don Alfonso And you'll do everything I tell you to do. Ferrando Everything! Anything at jB! Bra\ i smith! guglielmo Tuttissimo! Don Alfonso Good for you! Ferrando and Guglielmo Bravissimo, And good for you, too, Stgrvor Don Alfonsetto! My dear Don Alfonso! Ferrando A spese vostre Now we'll have a little 6 At your expense. Or ci di>ertiremo. Guglielmo (to Ferrando) t de' cento zecchini, che faremo? And what'll we do with the hundred gold pieces? Uru Sella serenata Far to voglio alia mia Dea. In onor di Citerea Un convito io voglio far. Sard anch'io de' convitati? Ci iarete, si signor. No. 3 Trio Ferrando Guglielmo Don Alfonso I'm going to have My goddess serenaded in style. I'm going to give a banquet In honor of my Venus. Will I be one of the guests? Ferrando and Guglielmo Yes sir, of course vou will Ferrando, Guglielmo and Don Alfonso E che brindis replicati And many a toast we'll propose Far vogliamo al Dio d'amor! To the god of love! (.They go off) Scene II A garden by the seashore. Fiordiligi and Dorabella (The two girls are each gazing at miniature portraits hanging at their waists.) No. 4 Duet Fiordiligi Ah, guarda, sorella, Se bocca piu bella, Se aspetto piú nobile Si puö ritrovar. Osserva tu un poco Che fuoco ha ne' sguardi! Se fiamma. se dardi Non sembran scoccar. Si vede un sembiante Guerriero ed amante. Si vede una faccia Che alletta e minaccia. Dorabella Fiordiligi Dorabella Ah, tell me, my sister. If vou could ever find A sweeter mouth. Or a nobler face. And just look at That fiery glance! Doesn't it seem like it's Shooting off darts and flames? He's got the face Of a fighter and a lover. He's got a look That fascinates and scares me, too. lo sono felice! Se questo mio core Mai cangia desio, Amore mi faccia Vivendo penar Fiordiligi and Dorabella Oh, how happy 1 am! If my feelings for him Should ever change, May love make me Live in misery! 399 398 The Metropolitan Opera Book of Mozart Oplras Cosi Fan Tutie Secco Recitative Mi [Mr che vt.im.mina volentieri hrči U pazyarella: ho un certo fuoco, I In lerto i u//k <>r entro le vene . . . i.iii.ii.d i Guglielmo viene, se sapessi (.Im- burla gli vo' far. FlORDILIGl This morning I reallv feel like Getting into mischief; I've got a kind of fever, A tingling in my veins . .. If vou only knew the joke I'm going to play On Guglielmo when he gets here. DORABELLA Per dirti il vero, To tell you the mii Quak'hr COM di nuovo I feel a little peculiar myself: hat li'in in-!Talma provo: io giurerei I'd swear that our wedding Che lontane non siam dagli imenei. Isn't very far away. FlORDILIGl I lwimi la mano, io voglio astrologarti. Just let me see your hand a moment, 1 want to tell vour fortune. Oh, what a nice M! And here's A P, too! So that's it: matrimony freseodv. Uh, ehe belľ F.mme\ H questo h un ŕV Va bene: matrimonio presto. Affe, ehe d avrei gusto! rd 10 non ci a\Tci rabbia. Ma che diaxtil vuol dir che i nostri spos Kiiar lain> a venir? Son giä le sei . . . DORABELLA Oh, I'd like that a lot! FlORDILIGl And I wouldn't mind a bit. DORABELLA But why on earth are our nances So late? It's already six o'clock . Eooofe. FlORDILIGl There they are now. Scene III Fiordiligi, Dorabelh and Don Alfonso dorabella Non son essi: ě Don Alfonso, 1 am no lor. No, it's not them: It's their In* Don Alfonso. Ben venga II signor Don Alfonso! Good morning, FlORDILIGl Don Alfonso! Don Alfonso Riverisco. Young ladies, good morning to you! dorabella Cos'é? perché qui solo? Voi piangete? Parlate, per pietä: che cosa é nato? L'amante . . . What's the matter? Where are the others? You're crying? Speak up, for pity's sake: What's happened? My lover . . . FlORDILIGl L'idol mio . Don Alfonso Barbaro fato! My darling . . . Oh, how cruel fate can be! No. 5 Aria Vorrei dir, e cor non ho, Balbettando il labbro va; Fuor la voce uscir non puö, Ma mi resta mezza qua. Che farete? che farö? Oh, che gran fatalita! Dar di peggio non si puö: Ho di voi, di lor pieta! I'd like to tell you, but 1 just don't dare, All I can do is stammer and stutter; I just can't get the words out, Thev seem to be stuck in my throat. What'll you do? What'll I do? Oh, what a horrible mess! Nothing worse could happen, How I grieve for you and them both! Secco Recitative FlORDILIGl Stelle! Per caritä, signor Alfonso, Non ci fate morir. Oh, heavens! For pity's sake, Don Alfonso, Don't keep us in suspense. Don Alfonso Convien armarvi, Now's the time, my dear girls, Figlie mie, di costanza. 401 To muster all the strength you've got. 400 The Metropolitan Opera Book of Mozart Oper« Cosi Fan Tutte Dorabllla 0 Dei! Qua) male Oh, God! What terrible ttoj 1 .iddntnuto mai, qual caso rio? Has happened, what disaster has there been? Horse c morto il mio bene? Are you saying my lover is dead; Fiordiligi F. morto il mio? And is mine dead, toe: Don Alfonso Morti . . . non son; ma poco men che They're ... not dead; but they might I mom I c-rilľ well be. Dorabella Are thev wounded? Don Alfonso No. Fiordiligi Ammalati? No, they're not. Are thev a* Neppur Don Alfonso No, it's not that either. Fiordiligi Che losa, dunque? Just w hat is it Don Alfonso . Al marzial campo They've been C* Ordin rcgio li chiama. To battle by a roval command. Fiordiligi and Dorabllla Ohimě, che sento! Good heavens! What am fc partiran? Fiordiligi When will they have to leave? Don Alfonso Sul fatto. They've got to leaver Dorabella D'mnpcdirio? K non v'e modo Andth^: No way to stop them? Don Alfonso Non v'e. No, there's not. Fiordiligi Né un solo addio?. . . Can't we even say good-bye?. Gli infelici non hanno Coraggio di vedervi. Ma se voi lo bramate, Son pronti . . . Dove son? Don Alfonso The poor wretches Don't dare to see you. But if you really want to, They're ready . . . Dorabllla Where are thev? Don Alfonso Amici, entrate. Come on ahead, my friends. Scene IV Fiordiligi, Dorabella, Don Alfonso; Ferrando and Guglielmo m travelling clothes, etc. No. 6 Quintet guglillmo Sento, oddio, che questo piede My God, I'm dragging my feet, E restio nel girle avante. Ferrando Il mio labbro palpitante My lips are trembling so badly Non puô detto pronunziar. I can hardly show my face. Mv lips are trembling so ba< That I can hardly say a word. Don Alfonso Nei momenti i piu terribili When things are at their worst, Sua virtu 1'eroe palesa. A hero shows his stuff. Fiordiligi and Dorabella Or che abbiam la nuova intesa, And now that we've heard the news, A voi resta a fare il meno. There's one more thing you must do. Fate core: a entrambe in seno Be brave, and plunge your swords Immergeteci l'acciar. Right through our hearts. 403 402 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tulte Ferrando and Guglielmo Idol mio, la sorte incolpa, Se ti dcggio abbandonar. Ah, no, no, non partirai! No, i-mdel, non te ne andrai! Voglio pria cavarmi il core! IVia ti vo' morire ai piedi! Cosa dici? Dorabella fiordiligi Dorabella Fiordiligi My darling, it's not my fault If I've got to leave you. Oh, no, no, you can't leave! Oh no, you're so cruel, you cat J away! I'd sooner tear my heart out! I'd rather die at your feet! ferrando (sottovoce to Don Alfonso) What do you think? Guglielmo (sottovoce to Don Alfonso) Ten'avvedi? Do your*- DON alfonso (sottovoce to the two young men) Saldo, amico: fnem huda. Hold on, my friends: It's not <*« yet. Fiordiligi, Dorabelh, Ferrando, Guglielmo and Don Alfonso II drstm cosi defrauda That's how fate plays havoc Le sprranze de' mortali. With the hopes of mortal men- Ah, who could still love life When there's so much pain ^ grief? Ah, chi mai fra tanti mali, Chi mai puč la vita amar? Non ptangcre, idol mio! Secco Recitative Guglielmo Oh, please don't cry, my dearest! Ferrando Adorau mia sposa! Non disperarti, Don't give in Uscutc lor tal sfogo: ě troppo giusta La cagion di quel pianto. My sweetheart! Don Alfonso Let them have a good cry: They Plenty to cry about. 've So1 (The lovers embrace each other tenderly.) Fiordiligi Chi sa s'io piii ti veggio! Who knows if I'll ever see you again! Dorabella Chi sa se piii ritomi! Who knows if you'll ever come back! Fiordiligi Lasciami questo ferro: ei mi dia morte, Leave your dagger with me: I'll take my own life If a cruel fate should ever pierce That breast so dear to me . . . Se mai barbara sorte In'quel seno a me caro . . . Dorabella Morrei di duol; d'uopo non ho d'acciaro. And I would die of grief; I wouldn't need a dagger. Ferrando and Guglielmo Non farmi, anima mia, Oh, my love, please don't make Questi infausti presagi. Such dire predictions to me. Proteggeran gli Dei As long as I live, I promise you, La pace del tuo cor ne' giorni miei. The gods will protect your peace of mind. No. 7 Duet AI fato dán legge Quegli occhi vezzosi: Amor li protegge, Né i loro riposi Le barbare stelle Ardiscon turbar. II ciglio sereno, Mio bene, a me gira: Felice al tuo seno Io spero tomar. Those precious little eyes Will alone decide our fate: Love will surely protect them, And even the crudest stars Won't dare disturb Their rest. Now give me a sweet smile, Mv darling, And in no time at all I'll be back in vour arms again. Secco Recitative Don Alfonso (aside) La commedia e graziosa, e tutti e due This farce is most amusing, and they're Fan ben la loro parte. both Playing their parts well. (A drum is heard in the distance.) 405 404 THE MfcTROPOLITAN OPERA BOOK OF MOZART OPERAS Cosi Fan Tutte Ferrando O cielo! questo God help me! There's F il tamburo funesto The fatal drum Che a divider mi vien dal mio tesoro. That's come to take me away from my love. ht-co, amici, la barca. Don Alfonso The boat's arrived, my friends. Io manco. Fiordiligi Dorabella Io moro. I'm fainting. And I'm dying. Scene V Fiordiligi, Dorabella. Don Alfonso, Ferrando, Guglielmo, soldiers and townspeople No. 8 Chorus (A military march in the distance. A boat arrives at the shore; then a troop of soldiers enters, accompanied by men and women.) chorus (soldiers and people) Bella vita militar! A soldier's life for me! Ogni di si cangia loco, Every- day a change of scene, Oggi molto, doman poco, Today a lot, tomorrow a little, Ora in terra ed or sul mar. First on land and then at sea. II fragor di trombe e pifferi, Lo sparar di schioppi e bombe Fora accresce al braccio e all'anima, Vaga sol di trionfar. Bella \ ita militar! The sound of trumpets and fifes, While shells and bombs explode Makes your body and soul much stronger, You who only fight to win! A soldier's life for me! Secco Recitative Don Alfonso Non v'c piii tempo, amici: andar conviene There's no more time, my friends: Duty calls, Ovr il destino, anzi il dover v'invita. And you've got to meet your fate. 406 Mio cor . . . Fiordiligi My dearest . Dorabella Idolo mio ... My darling Ferrando Mio ben . . . Guglielmo Mia vita . . . Mv love . . . My life . . . Ah, per un sol momento Fiordiligi Ah, for just one moment Don Alfonso Del vostro reggimento Your regiment's ship Giá ě partita la barca. Has already left. Raggiungerla convien coi pochi amici Now you'll have to join it with a few friends Che su legno piu lieve Who're waiting for you Attendendo vi stanno. [n a smaller boat. Ferrando and Guglielmo Abbracciami, idol mio! Embrace me, my love! Fiordiligi and Dorabella Muoio d'affanno. I'm dving of grief. Di scrivermi ogni giorno Giurami, vita mia! No. 9 Quintet Fiordiligi (in tears) My darling, promise me You'll wTite everv dav! Dorabella (in tears) Due volte ancora _Tu scrivimi, se puoi. Ferrando Sii čerta, o cara. Non dubitar, mio bene. Guglielmo 407 Write me twice as often. If you can. Of course I will, mv dearest. I swear I will, my love. Thk Metropolitan Opera Book of Mozart Operas Don Alfonso (aside, together with the other four, who repeat the preceding verses) lo crepo, se non rido! If I don't laugh, I'll bust! fiordiligi Sii costantc a me sol . . . Be faithful only to me ... Addi. Dorabella Sěrbati fido. Ferrando Guglielmo Don't ever be untrue. Good-bye! Addio! Good-bye! Fiordiligi and Dorabella Addio! Goodbye! Fiordiligi, Dorabella, Ferrando and Guglielmo Mi si divide il cor, bell'idol mio! You're breaking my heart, my darling! Addio, addio, addio! Good-bye, good-bye, good-bye! 10 crepo, se non rido! Bella vita militar! Ogni di si cangia loco, Oggi molto, doman poco, Ora in terra ed or sul mar. 11 fragor di trombe e pifferi, Lo sparar di schioppi e bombe Korza accresce al braccio e all'anima, Vaga sol di trionfar. Bella vita militar! Don Alfonso (aside) (_lf I don't laugh, I'll bust! Chorus A soldier's life for me! Every day a change of scene Todav a lot, tomorrow a ttle, First on land and then at sea. The sound of trumpets and hies. While shells and bombs expire Makes vour bodv and soul muC stronger, You who only fight to win! A soldier's life for me! (IWiifc the chorus is repeated, Ferrando and Guglielmo get into the boat, which then sails 0*9 the sound of drums, etc. The soldiers go off followed by the townspeople. The sisters remain ~ on the shore.) 0» Dove son? Cosi Fan Tune Scene VI Fiorddigi, Dorabella and Don Alfonso Secco Recitative Dorabella (as if coming out of a trance) Where are they? Don Alfonso Son partiti. They've already gone, I'm afraid. Fiordiligi Oh, dipartenza Crudelissima! amara! Oh, that was The cruelest, most bitter good-bye! Don Alfonso Fate core, Now you've got to be brave, Carissime figliuole. My darling girls. (A handkerchief is seen waving m the distance.) Guardate, da lontano Look at that: Your sweethearts Vi fan cenno con mano i cari sposi. Are waving at you from so far away. Fiordiligi (waring back) Buon viaggio, mia vita! God bless you, my love! Dorabella (waving bací) Buon viaggio! God bless you! Fiordiligi 0 Dei, come veloce Good gracious, look how fast Se ne va quella barca! Gia sparisce, Their boat's moving away! It's almost disappeared, Gia non si vede piii. Deh, faccia il cielo It's already out of sight. May heaven Ch'abbia prospero corso. Guide them on their way. Dorabella Faccia die al campo giunga And may they reach the battlefield Con fortunati auspici. Safe and sound. Don Alfonso E a voi salvi gli amanti, a me gli amici. May it preserve your sweethearts for you, and my good friends for me. 409 408 The Metropolitan Opera Book of Mozart Operas Fiordiligi, Dorabella and Don Alfonso No. 10 Terzettino Soave sia il vento, Tranquilla sia I'onda, hd ogni elemento Benigno risponda Ai nostri desir. Non son cattivo comico! Va bene . . . Al comertato loco i due campioni I>i Ciprigru e di Mařte Mi -t.ir.uino attendendo: or senza indugio Raggiungerli conviene. Quante smorfie, Quante buffonerie! Tanto mevjlio per me . . . C'adran piii facibmente: Quciti razza di gente ě la piii presta A cangiarsi d'umore. Oh, poverini! IVr fcmmina giocar cento zecchini? May the breezes blow gently, May the waves be calm; And may all the elements Be as kind as they can In answer to our prayers. (The two sisters go off) Scene VII Don Alfonso alone Secco Recitative Don Alfonso I'm not such a bad actor after all! Now then . . . Those two champions of Venus and Mars Are already waiting for me Where we said: I'd better go and meet them Without any further delay. Pulling all those faces, And all that carrying on! So much the better for me . .. They'll give in far more easily: People like that are always so quick To change their minds. Oh, those poor bovs! Who'd bother to bet a hundred gold pieces on a couple of fickle girls? Accompanied Recitative Nd mare solca e nell'arena semina Basing your hopes on a womans heart . Is like trying to plow the seas an sow the sands E il vago vento spera in rete aecogliere Chi fonda sue speranze in cor di femmina. Or catch the wild wind in your net Cosi Fan Tune Scene VIII Che vita maledetta Ě il far la cameriera! Dal mattino alia sera Si fa, si suda, si lavora, e poi Di tanto che si fa nulla ě Ě mezz'ora che sbatto; II cioccolatte ě fatto, ed a me tocca Restar ad odorarlo a secca bocca? A pleasant room with several chairs, a little table, etc.; three doors, two at the sides, and one at the back. Despina alone Secco Recitative DESPINA (stirring her chocolate) There's nothing more miserable Than being a maid! From morning till night You're busy, you're sweating and slaving, and then 10L When you're done, there's nothing left for you. I've been stirring this for half an hour: The chocolate's ready, and all I can do Is stand here with my tongue hanging out? Isn't mv taste the same as yours. My dear young ladies, But vou get the substance and I get the smell? By God, I'm going to try it! Oh, how delicious it is! per Non é forse la mia come la vostra, O garbate signore, Che a voi dessi l'essenza e a me l'odore? Perbacco, vo' assaggiarlo! Com'e buono! (She wipes her mouth.) Viene gente. O ciel, son le padrone! Someone's coming. (He goes off.) Egad, it's my mistresses! Scene IX Despina, Fiordiligi and Dorabella (Fiordiligi and Dorabella enter in despair.) Despina (serving the chocolate on a tray) Madame, ecco la vostra colazione. My ladies, here's your breakfast. (Dorabella throws everything on the floor.) Diamine! Cosa fate? Goodness! What're you doing? 411 410 Thl Metropolitan Opera Book of Mozart Operas Cos) Fan Tutte Ah! FlORDILIGI All! dorabella Ah! Ah! (Both of them tear off their jewelry.) Despina Che cosa e nato? What's happened? FlORDILIGI Ov'e un accia lln \rleno dov'e? Despina Ov'e un acciaro? Is there a dagger Have we got any poison at all? Padrone, dico! ... Dorabella Accompanied Recitative Ah, scostati! Paventa il triste effetto My ladies, 1 beg you' I I'un disperato atlet to! Chiudi quelle finestre! Odio la luce, Odio I aria che spiro, odio me strssa. Chi schemisce il mio duol, chi mi consola? . . . Deh, fuggi, per pieta: lasciami sola! Oh, just get away from me! I'm afraid I'm going To do some thing really desperate. Hurry up and close those windows! I hate the light of day, I hate the air I'm breathing, and I even hate myself. Who could soothe my pin. * could possibly console me? • Get out of here,' for pity's sake! Just leave me alone! No. 11 Aria Smanie implacabili Che m'agitate, I utni quest'anima Piů non cessate Finch*1 I angoscia Mi fa morir! taempio misero D'amor funesto May those terrible pangs That torment me so, Not subside Within my breast Until my anguish Brings me death! And if I'm still alive, I'll show the Furies Daró all'Humenidi, Se viva resto, Col suono orribile De' miei sospir! How wretched is This tragic love With the horrible sound Of my sighs! (The two girh collapse in their chairs in utter despair.) Signora Dorabella, Signora Fiordiligi, Ditemi: che cosa ě stato? Oh, terribil disgrazia! Sbrigatevi, in buonora! Da Napoli partiti Sono gli amanti nostra. Secco Recitative Despina Miss Dorabella, Miss Fiordiligi, Just tell me: What's happened now? Dorabella Oh, what a disaster! Despina Hurry up, I can't wait any longer! Fiordiligi Our fiances Have both left Naples. Ritomcran. Despina (laughing) Non c'e altro? That's all? They'll be coming back, I'm sure. Chi sa! Dorabella Despina (as before) Who knows! Come, chi sa? Dove son iti? What do you mean. Who knows? Where have thev gone off to? Dor\bella Al campo di battaglia. Tanto meglio per loro: Li vedrete tornar carchi d'alloro. Ma ponno anche perir. They're off to the batdefield. Despina So much the better for them: When they come back they'll be covered with medals. Fiordiligi But they could also be killed. 413 412 The Metropolitan Opera Book of Mozart Oper.« Cosi fan Tutte Despina All Tanto meglio per voi. ora, poi. In Ait ca So much the better for you. FlORDILIGI (rising angrily) Sciocca! che dici? You silly girl! What're you trying to sj- la pura veritá: due ne perdete, Vi n-.t.in tutti gli altri. Ah, perdendo Guglielmo Mi pare ch'io morrei! Ah, Ferrando perdendo Mi par che viva a seppellirmi andrei! Despina I'm telling you the truth: Even if vou lose those two, There are lots more fish in the sea. FlORDILIGI Ah, I think I'd die If I ever lost Guglielmo! dorabella Ah, I think I'd bury myself alive If I ever lost Ferrando! Brave, * vi par», ma non ě ver: ancora Non vi fa donna che d'amor sia morta. rVr un uomo morir! . . . Altri ve n'hanno Che compen-sano il danno. Despina Good for you! "You think," but it's just not so: There's never been a woman yet who actually died of love. Die for a man! . . . There're plenty of others Who'll be more than happy to console vou. Dorabella F irrdi che potria And vou think we could love Ahr'uotno amar chi s'ebbe per amante Anyone else after we've been loved bj Un Guglielmo, un Ferrando? The likes of Guglielmo and Ferrando' Despina Han gli altri ancora Tutlo qurllo ch'han essi. Un uomo adesso amate, Un ahro n'amerete: uno val l'altro rVrche nessun val nulla. Ma non parliam di ciö: sono ancor vivi. But all the <*» Have just what they've got. Right now you're in love with them, And tomorrow you'll love someone - One's as good as the other, Because none of them's worth a rap-But let's not talk about that: They re alive and kicking, E vivi tomeran; ma son lontani, E, piuttosto che in vani Pianti perdere il tempo, Pensate a divertirvi. Divertirci? And they'll both be back safe and sound; but thev're far away, And instead of wasting your time Crying useless tears, Why don't vou go and amuse yourselves? FlORDILIGI (in a rage) Go and amuse ourselves? Sicuro! E, quel ch'e meglio, Far all'amor come assassine e come Faranno al campo i vostri cari amanti. Despina Of course! And what's even better, Make love for all you're worth, which is Just what your sweethearts are doing in the field. Dorabella Non offender cosi quelle alme belle, Don't insult those pure souls like that, Di fedelta, d'intatto amore esempi! Those shining examples of love and devotion. Despina Oh, come on now! The time for fain-tales Da spacciar queste favole ai bambini! Has long since passed! Via, via! Passaro i tempi No. 12 Aria In uomini, in soldáti Sperare fedelta? Non vi fate sentir, per caritá! Di pasta simile Son tutti quanti: Le fronde mobiii, L'aure incostanti Han piu degli uomini Stabilita. Mentite lagrime, Fallaci sguardi, Voci ingannevoli, (laughing) So you really hold out hopes That men and soldiers can be faithful? Don't let anvone hear vou, for goodness sake! Every one of them's made Of the same old stuff: Even the quivering leaves And the fickle breezes Have more stabilitv Than men. Those crocodile tears, Those longing looks, Those deceitful words. 415 414 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte Vezzi bugiardi Son If primarie I or i: 1.11-i.i In noi non amano Che '1 lor diletto; Poi ci dispregiano, Neganci affetto, Nc val da' barbari Chieder pietä. ľaghiam, o femmine, D'ugual moneta Qiicsta n i alefic ,i Ka/ya indiscreta: Amiam per comodo, l'er \anita! La ra la, la ra la, la ra la, la. Those charming lies Are all their outstanding Qualities. All thev want from us Is to take their own pleasure; And then thev despise us. And denv their affection. You might as well ask A barbarian for mercv. Mv ladies, let's pay back In kind This evil, Impudent breed: Let's love for our own good. And for our vanity! Tra la la, la la la, la la la, k (They all go off.) Scene X Don Alfonso alone; then Despma Secco Recitative Don Alfonso t hr sílen/lo! che aspetto di tristezza spirano queste stanze! Poverette! Son han gia tutto il torto: Ktwigna consolarle. Infin che vanno I dur crrduli sposi. Com'» loro commisi, a mascherarsi, rVmiam cosa puö farsi. Irmo un po* per Despina: quella furba FVHrrhhc riconoscerli, potrebbe Rmr-vciarmi le macchine. Vedremo . . . How quiet it is! And what a Gloomy atmosphere I can feel in oV* rooms! Those poor girJs! It s certainlv not all their fault. I really should comfort them a bit (■* while Those two naive voung fools Are going to get their disguises, as! ^ them to, Let's think for a moment ibout un*"' do next. I'm a little worried about Despirx i* sly little minx Could recognize them, and then-*" Upset mv whole scheme. Well jW St mai fara bi isogno. see . . . .l. rjd Mavbe a nice little bribe a. then? Un regaletto a tempo: un zecchinetto Per una cameriera e un gran scongiuro. Ma, per esser sicuro, si potria Metterla in parte a parte del segreto . . F.ccellente e il progetto .. . I .a sua camera e questa: Would come in handy: A gold piece For a maid is always good insurance. But just to be sure, I could Let her in on the secret . . . That's an excellent idea . . . Her room's this one here, I think: Despinetta! (He knocks.) Despinetta! Despina Chi batte? Oh! Ih! Despina mia, Di te bisogno avrei. Fd io niente di lei. Ti vo' fare del ben. Who's there? Don Alfonso Oh! Despina Eeh! Don Alfonso My dear Despina, I need your help. Despina And I don't need anything from you. Don Alfonso But 1 want to do vou a favor. A una fanciulla U n vecchio come lei non puö far nulla. Despina An old geezer like you Can't do much for a girl like me. Parla piano, ed osserva. Don Alfonso Keep your voice down, and look at this. (He shows her a gold piece.) Despina Me la dona? Is that for me? Si se meco sei buona. Don Alfonso Yes it is, if you'll be a good girl and do what I sav. 417 416 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte É I'oro il mio giulebbe. Ma ci vuol fedeltä. Non c'c altro? Son qua Despina E che vorrebbe? What is it you want? Gold's always been a weakness of mine. Sai che le tue padrone Han pcrduto gli amanti. Lo so. Tutti i lor pianti Tiitti i deliri loro anco tu sai. So tutto. Orben, se mai. Per consolarle un poco E trar, come diciam, chiodo per chiodo Tu ritrovassi il modo I >a metter in lor grazia Due soggetti di garbo Che vorrieno provař . . . giá mi capisci ... Cc una mancia per te di venti scudi, Sc li fai riuscir. Non mi displace Qucsta proposizione. Don Alfonso Ed oro avrai; And gold you shall have. But I need your support. Despina Is that all there is to it? Well then, here I am. Don Alfonso Prendi, ed ascolta: Now take this, and listen: You know your mistresses Have lost their lovers. Despina Yes, I do. Don Alfonso And you've heard All their weeping and wailing. Despina I've heard everything. Don Alfonso All right then, if you could Give them a little consolation, Or, as they say, make the best of a bad situation; If you could just find the way To make them accept Two nice young men Who'd like to try . . . I'm sure you get what I mean . . . There'll be a tip of twenty crowns for you, If you can help them pull it off. Despina Well, your suggestion Sounds pretty good to me. 418 Ma con quelle buffone . . . Basta, udite: But with those two silly girls . . . Never mind, just listen to this: Son giovani? Son belli? E, sopra tutto. Are these admirers of yours voung? Are they handsome? And above all, Hanno una buona borsa Have they got I vostri concorrenti? A big fat purse? Don Alfonso Han tutto quello They've got everything Che piacer pud alle donne di giudizio. A sensible girl could ever want. Li vuoi veder? Now would you like to see them? Despina E dove son? Where are they? Don Alfonso Son li. They're right here. Li posso far entrar? Is it all right to bring them in? Despina Direi di si. I don't see whv not. (Don Alfonso brings in the young men, who are in disguise.) Scene XI Don Alfonso, Despina, Ferrando, Guglielmo; then Fiordiligi and Dorabella No. 13 Sextet Don Alfonso Alia bella Despinetta Vi presento, amici miei; Non dipende che da lei Consolar il vostro cor. My friends, may I present vou lb my pretty Despinetta; The consolation of vour hearts Depends entirely on her. Ferrando and Guglielmo (with ajjected tenderness) Per la man che lieto io bacio, By this hand I gladly kiss, Per quei rai di grazie pieni, By this smile so full of grace, Fa' che volga a me sereni Make my darling look at me I begli occhi il mio tesor. With her sweet and gentle eves. despina (aside, laughing) Che sembianze! che vestiti! What faces! W'hat clothes! Che figure! che mustacchi! What get-ups! What beards! 419 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tune lo non so se son valacchi, () sc turchi son costor. I can't even tell If they're Wallachians or Turks. Don Alfonso (sottovoce to Despina) Che ti par di quell'aspetto? What do you think of their bob? Despina (sottovoce to Don Alfonso) Per parlarvi schietto schietto, To be perfectly frank about it, llanno un muso fuor dell'uso, Their mugs are so peculiar Vero antidoto d'amor. They'd make me give up love for good. Ora la cosa ě appien decisa: (li ravvisa Sc costei nor\\ . [a Don Alfonso, Ferrando and Guglielmo (aside) Now we're reallv on our way: fthem And if she doesn't recognize! Non c'ě piCi nessun timor. There's nothing more to fear. Despina (aside, laughing) Che figure! che mustacchi! lo non so se son valacchi, () se turchi son costor. What get-ups! What beards! I can't even tell If they're Wallachians or Turks. Fiordiligi and Dorabella (from within) hhi. Despina! Olä, Despina! Oh, Despina, Despina! I c padrone! Despina It's my mistresses! Don Alfonso (to Despina) Ecco l'istante! Fa' con arte: io qui m'ascondo. The moment's arrived! Now use vour wits: I'll hide oyer j here. (He retires.) Fiordiligi and Dorabella (enuring) Ragazzaccia tracotante, You obnoxious litde gutter-snipe, Che fai, li, con simil gente? What're you doing with those people? Filli uscire immantinente, Get them out of here at once, O ti fo pentir con lor. Qr I'll make you regret it along with them. 420 Despina, Ferrando and Guglielmo Ah, madame, perdonate! Oh, my ladies, please forgive us! Al bel pie languir mirate Look at these two poor wretches Due meschin, di vostro merto Who've thrown themselves at vour feet, Spasimanti adorator. They can't help it, thev absolutely adore you. Fiordiligi and Dorabella Giusti Numi! cosa sento? Good heavens! What am I hearing? Dell'enorme tradimento Chi fu mai ľindepno autor? Who on earth was the fiend behind Such a terrible betrayal? Despina, Ferrando and Guglielmo Deh, calmate quello sdegno . . . Please don't be so indignant . . . Fiordiligi and Dorabella Ah, che piu non ho ritegno! Oh, I can't contain myself anymore! Tutta piena ho l'alma in petto My heart's bursting in my breast Di dispetto e di furor! With outrage and disgust! Oh, forgive me, my dearest darling! This heart of mine is innocent. Ah, perdon, mio bei diletto! Innocente ě questo cor. Ferrando and Guglielmo (aside) Qual diletto e a questo petto Quella rabbia e quel furor! All this ranting and raving Is music to mv ears. Despina and Don Alfonso (aside; Don Alfonso from the door) Mi da un poco di sospetto Quella rabbia e quel furor. All this ranting and raving Makes me a little suspicious. Secco Recitative DON ALFONSO (as though entering) Che sussurro! che strepito! What an uproar! What a commotion! Che scompiglio e mai questo! Siete pazze. And what's all this confusion? Mv dear young ladies, Care le mie ragazze? Have you both gone berserk? Volete sollevar il vicinato? Do you want to rouse the whole neighborhood? 421 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte Cosa avete? ehe ě nato? What's the matter? What's happened now? Ch'io m'abbia in questo mondo, E vostri ancor saranno. I've got in the whole wide world. And they'll soon be yours as well. dorabella (Juriously) Oh, del! Mirate: Oh, God! Just look at this: ll< urnm in casa nostra! There are men in our house! don alfonso (without looking at the young men) Che male c*e? So what's wrong with that? fiordiligi (excitedly) Che male? In questo giorno! . . . What's wrong? And especially todav!. ■ ■ I »i>|mi il idsn funcsto! . . . After everything we've been through!.. Don Alfonso Accompanied Recitative Stelle! Sogno o son desto? Amici Ye Gods! Am I awake or dreaming? mid. My friends, Miei dolcissimi amici! My dearest friends! Vui qui? Come? perche? quando? in You here? How? Why? When? By qual modo? what means? Numi! Quanto ne godo! Goodness gracious! How delighted I am! Secco Recitative (sottovoce to the two young men) Secondatemi. Now play along with me. Ferrando Amico Don Alfonso! [t*s my dear friend Don Alfonso! guglihlmo Amico caro! it>s my good old friend! (They embrace one another warmly.) Don Alfonso Oh, che bella improwisata! oh, what an unexpected pleasure! Despsna (to Don Alfonso) Do you really know these two? Don Alfonso Do I know them! These Are the dearest friends Li conoscete, voi? Se li conosco! Questi Sono i pin dolci amici Ľ in casa mia che fanno? Fiordiligi And what're they doing in my house? guglielmo Ai vostri piedi My dear ladies, we're just Due rei, due delinquenti, ecco, madame! A couple of culprits and criminals who've thrown themselves at your feet! Accompanied Recitative Amor ... It was love . . . Fiordiligi Numi! Che sento! My God! What am 1 hearing? Ferrando Amor, il Nume It was Almighty Si possente, per voi qui ci conduce. Love that brought us here to you. (The girls retreat, pursued by the young men.) guglielmo ... Vista appena la luce ... As soon as we saw that light Di vostre fulgidissime pupille . . . Gleaming in your eyes . . . Ferrando . . . Che alle vive faville ... ... With all those bright little sparks . . . guglielmo . . . Farfallette amorose e Like moths dying of love . . . agonizzanti . . . Ferrando ■ . . Vi voliamo davanti ... ... We fluttered here before you . .. guglielmo . . . Ed ai lad, ed a retro ... ... And around you, and behind you . . . Ferrando and Guglielmo ... Per implorar pietade in flebil ... To beg for mercy in a pitiful metro! voice! 422 423 THh Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte FlORDILIGl Stelle! Che ardir! Good heavens! How dare you Dorabella Sorella, che facciamo? Tcmerari! sortite I uon di questo loco! F non profani Ľalito inŕausto degl'infami detti Nostra cor, nostro orecchio e nostri aflľetti! Invan per voi, per gli altri invan si cerca Le nostre alme sedur: I'intatta fede Che per noi giä si diede ai can amanti Saprem loro serbar inŕino a morte, A dispetto del mondo e delia sorte. Dear sister, what do we do now? (Despina goes off in a fright.) FlORDILIGl Have you ever seen such nerve! Now just get out Of this house! We won't let you corrupt Our hearts and minds and senses With your terrible, vile words! It's useless for vou, and all the others To try to win our trust: We'll keep the faith We've pledged to our sweethearts Until the dav we die, In spite of the rest of world and our fate. No. 14 Aria Come scoglio immoto resta Contro i venti c la tempesta, Cosi ognor quest'alma ě forte Nella fede e nell'amore. Con noi nacque quella face Che ci puce e ci consola; t poträ la morte sola Far che cangi affetto il cor. Rispettate, anime ingrate, Questo esempio di costanza; k una barbara speranza Non vi renda audaci ancor. (She starts to have. Ferrando Like a rocky fortress Against the winds and storms, This heart stands ever strong In its faith and love. Together we've kindled the flame That warms us and consoles us; And only death itself Could bring a change of heart. Show some respect for our vows, You two miserable souls, And don't ever let such outrageous hopes Make you so reckless again. calls her back; Guglielmo calls back her sister.) Secco Recitative Ferrando (to Fiordiligi) Ah, non partite! Oh, please don't go! Guglielmo (to Dorabella) Ah, barbara, restate! Oh, you mean, cruel girl, just stay! (sottovoce to Don Alfonso) Che vi pare? What do you think of all this? Don Alfonso (sottovoce to Guglielmo) Aspettate. Hold on for just a moment. (to the two sisters) Per caritä, ragazze, Non mi fate piů far trista figura! E che pretendereste? Eh, nulla . . . Ma mi pare . . Che un pochin di dolcezza Alfn, son galantuomini t sono amici miei. Come! E udire dovrei . For pity's sake, my girls. Don't make me look any worse! Dorabella (angrily) Just what did you expect? Don Alfonso Oh, nothing . . . But it seems to me . . . With a little bit of kindness . . . After all, they're gentlemen, And they're both good friends of mine. FlORDILIGl What! I'm supposed to stand here and listen . . . Guglielmo Le nostre pene, Ľ sentime pieta! La celeste beltä degli occhi vostri La piaga apri nei nostri Cui rimediar puô solo II balsamo d'amore: Un solo istante il core aprite, o belle, A sue dolci facelle, o a voi davanti Spirar vedrete i piu fedeli amanti. To our suffering, And take pity on us! The heavenly beauty of vour eves Opened up a wound in our own That onlv the salve of love Could ever hope to heal: My beautiful girls, open up your hearts to its sweet words For just one moment, or you'll see the most faithful of lovers Die right before your eyes. 424 425 The Metropolitan Opera Book of Mozart Oper« Cosi Fan Tuzce No. 15 Aria Non siatc ritrosi, Don't be so reluctant, Occhietti vezzosi: You charming little eyes; Due lampi amorosi Just flash two bolts of lightning Vibrate un po' qua. Lovingly at us. Felici rendeteci. If you choose to make us happy, Amate con noi. And love us as we do vou, E noi felicissime We'll make you very happy, Fart-mo anche voi. As much as we are, too. Guardate, toccate, Just look at us, reach out and touch, II tutto osservate: Look us over well: Siam forti e ben fatti. We're big strapping men, E, come ognun vede, And, as anyone can see, Sia mirito o caso. Whether or not it's our own doing, Abbiamo bel piede. We've got good feet, Bell'occhio, bel naso; Good eyes, and good noses; F qucsti mustacchi And as for these moustaches, l human- si possono You might even call them Trionli « innanzi al trono? ^ { standing in front 0f Jove's throne? (Ferrando to Fiordilig,, Guglielmo to Dorabella) 438 Sei tu Palla o Citerea? No .. . tu sei Palma mia Dea: Ti rawiso al dolce viso E alia man ch'or ben conosco E che sola e il mio tesor. Are you Pallas or Venus? No . . . you're the goddess I adore: I recognize vour own sweet face And the hand I know so well: It's mv onlv treasure on earth. (They embrace the sisters tenderly and kiss their hands.) Despina and Don Alfonso (to the girls) Son effetti ancor del tosco: Those are still the effects of the poison: There's nothing for you to fear. Non abbiate alcun timor. Fiordiligi and Dorabella Sara ver, ma tante smorfie Maybe so, but when they get carried away like that Fanno torto al nostra onor. It insults our reputation. Ferrando and Guglielmo (aside, together with the other four, who repeat their verses) Dalla voglia ch'ho di ridere I'm trying so hard not to laugh II polmon mi scoppia or or. That mv lungs are ready to burst. (Ferrando to Fiordiligi, Guglielmo to Dorabella) Per pieta, bell'idol mio ... I beg vou, mv adorable girl . . . Fiordiligi and Dorabella Piii resister non poss'io. I can't hold out any longer. Ferrando and Guglielmo (as before) Volgi a me le luci liete! Just shine those bright little eyes on me! Despina and Don Alfonso (to the girls) In poch'ore, lo vedrete, In a couple of hours, vou'11 see, Per virtu del magnetismo Thanks to the magnet's effect Finira quel parossismo, These spasms will come to an end, Tomeranno al primo umor. And they'll be themselves again. (The six characters repeat together part of their last lines.) Ferrando and Guglielmo (as before) Dammi un bacio, o mio tesoro; Give me a kiss, my darling; Un sol bacio, o qui mi moro! Just one little kiss, or I'll die right here 439 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte Stelle! Un bacio? Fiordiligi and Dorabella Good God! A kiss? despina and Don alfonso (to the girls) Secondate Try to be kind Per effetto di bontate. And humor them a little. Fiordiligi and Dorabella Ah, che troppo si richiede Ah, now you're asking too much Da una Hda, onesta amante. From such an honest girl. ( )ltraggiata ě la mia fede, It's an insult to my devotion, ()ltraggiato ě questo cor! It's an insult to my love! Despina and Don Alfonso (aside) Un quadretto piu giocondo Non si vide in tutto il mondo. Quel che piii mi fa da ridere E quclPira e quel furor. [~A more amusing little picture You couldn't find in all the world. What makes me laugh the most Is all this ranting and raving. Un quadretto piu giocondo Non s'i ijsto, in questo mondo. Ma non so se finta o vera Ferrando and Guglielmo (aside) _SU qucll'ira e quel furor. A more amusing little picture You couldn't find in all the world. But I don't know if this ranting and raving Is a sham, or if it's real. Disperati, attossicati, Ite al diavol quanti siete! lirdi inver vi pentirete, Sc piii cresce il mio furor! Fiordiligi and Dorabella I don't care if you're desperate, or poisoned, Go to the devil the lot of you! It'll be too late to be sorry, If my anger gets any worse! Despina and Don Alfonso (aside, together with Fiordiligi and Dorabella, who repeat their quartina Un quadretto piii giocondo Non si vide in tutto il mondo. Quel che piii mi fa da ridere F. quell'ira e quel furor, Ch'io ben so che tanto fuoco Cangerassi in quel d'amor. A more amusing little picture You couldn't find in all the world What makes me laugh the most Is all this ranting and raving, Because I'm sure that so much passion Can onlv turn into love. Ferrando and Guglielmo (aside, together with Fiordiligi and Dorabella. Un quadretto piu giocondo Non s'e visto, in questo mondo. Ma non so se finta o vera Sia quell'ira e quel furor. Ne vorrei che tanto fuoco Terminasse in quel d'amor. who repeat their quartina) A more amusing little picture You couldn't find in all the world. But I don't know if this ranting and raving Is a sham, or if it's real. And I wouldn't want so much passion To end up being love. End of Act One ACT TWO Scene I A room. Fiordiligi, Dorabella and Despina Secco Recitative Andate lä, che siete Due bizzarre ragazze! Despina Well, I must say, you girls Are the strangest creatures! Fiordiligi Oh, cospettaccio! Oh, for heaven's sake! Cosa pretenderesti? What're you after now? Per me nulla. Per chi, dunque? Despina Fiordiligi For who then? Despina Nothing for me. Per voi. For you. 441 440 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte dorabella Per noi? For us? Siete voi donne, o no? F |XT qucsto? H per questo Dovcte far da donne. CUT Despina Per voi: Yes, for jot: Are you two supposed to be women or not? FlORDILIGI And just what do you mean by that? Despina What I'm trying to say is You should both start acting like women. Dorabella How's that? Trattar I'amore en bagatelle: Lr occasion i belle Non negliger giammai; cangiar a tempo, A tempo esscr costanti; ( ,\]uet:usar con grazia; Prrvrnir la disgrazia, si comune A chi si hda in uomo; Mangtar it fico e non gittare il porno. C "he diavolo! Tai cose Fille tu. se n'hai voglia. Io giä le faccio Ma vorrei che anche voi. Per gloria del bel sesso, Fleeste tin po' lo stesso. Per esempio: I vmtn gantmcdi Despina Take love ever so lightly: And never miss Your golden opportunities: Be fickle when you want to, And when you feel like it, be faithful; Flirt as gracefully as you can; Try to avoid disaster: That's what happens When you trust in men; And above all, have your cake and eat it, too. FlORDILIGI (aside) Good gracious! (to Despina) Go ahead and do those things yourself. If that's your attitude. Despina I'm already doing them-But I wish both of you Would follow in my footsteps, For the sake of the fairer sex. For example: Your young Romeos 442 Son andati alia guerra? Infin che tornano, Have gone off to war? Until they come back. Fate alia militare: reclutate. You can be soldiers, too: Hnlist everyone you can. II cielo ce ne guardi! Dorabella Heaven forbid! Despina Eh, che noi siamo in terra, e non in cielo! Fidatevi al mio zelo: giacehé questi Forastieri v'adorano, Lasciatevi adorar. Son ricchi, belli, Nobili, generosi, come fede Fece a voi Don Alfonso; avean coraggio Di morire per voi: questi son merti Che sprezzar non si denno Da giovani qual voi belle e galanti, Che pon star senza amor, non senza amanti. But we're not in heaven, we're here on earth! Just trust me, I won't let you down: Since these Foreigners adore you. Why not let them have their way? They're rich and handsome, And noble and generous, Don Alfonso Swears it; thev were brave enough To die for you: These are qualities Not to be sneezed at By charming, beautiful girls like you, Who can live without love, but not without lovers. (aside) Par che ci trovin gusto. Maybe I'm making some headway. FlORDILIGI Perbacco, ci faresti Far delle belle cose! Credi tu che vogliamo Favola diventar degli oziosi? Ai nostri cari sposi Credi tu che vogliam dar tal tormento? E chi dice che abbiate A far loro alcun torto? Non ti pare che sia torto bastante, Se noto si facesse Che trattiamo costor? My God, you're asking us to do Some pretty awful things! Do you really think we want To be the talk of idle gossips? Do you really think we want To torment our fiances like that? Despina And who says you'd be Doing them any harm? Dorabella Don't you think it's harm enough If anybody sees We're entertaining the others? 443 The Metropolitan Opera Book of Mozart Operas Cos) Fan Tutte Despina Anche per questo Ah, for that C'e un mezzo sicurissimo: I've got a perfectly safe method: lo voglio sparger fama I'll just spread it around Che vengono da me. That they're really after me. dorabella Chi vuoi che il creda? Do you really expect anvbody To believe that? Oh, bella! Non ha forse Merto una cameriera D'aver due cicisbei? Di me fidatevi. No. no: son troppo audaci, Questi tuoi forastieri. Non ebber la baldanza hn di chieder dei baci? Despina Oh, come on now! Hasn't a maid got the right To have a couple of lovers? Just trust me for a change. Fiordiligi Oh, no: Those foreigners of yours Are just too bold. Didn't they already try lb steal kisses from us? Che disgrazia! Despina (aside) Oh, ho« shocking! (to her mistresses) lo posso assicurarvi Che le cose che han fatto Furo effetti del tossico che han preso: Convulsioni, deliri, Folhc, \ancggiamenti. Ma or vedrete come son discreti, ManieroM. modesti e mansueti. Lancuteli venir. I can assure you both That everything they did Was because of the poison they took: Their fits, their frenzy, Their outbursts and explosions. But now you'll see how discreet they are, How polite and modest and mild Just let them come back again. Dorabella K poi? And then what? Despina poi . . . Caspita! Fate voi! LT» detto che cadrebbero. And then. Blast it all! It's up to you! (aside) Cosa dobbiamo far? Quel che volete: Siete d'ossa e di carne, o cosa siete? Una donna a quindici anni Dee saper ogni gran moda, Dove il diavolo ha la coda, Cosa ě bene e mal cos'e; Dee saper le maliziette Che innamorano gli amanti: Finger riso, finger pianti, Inventar i bei perché; Dee in un momento Dar retta a cento; Colle pupille Parlar con mille; Dar speme a tutti, Sien belli o brutti; Saper nascondersi Senza confondersi; Senza arrossire Saper mentire; L% qual regina Dall'alto soglio, Col «posso e voglio» Farsi ubbidir. Par ch'abbian gusto Di tal dottrina. Viva Despina Che sa servir! I said they'd cave in. Fiordiligi But what're we supposed to do? Despina Anything you want: Are you made of flesh and blood, or aren't vou? No. 19 Aria (aside) By the time she's reached fifteen, A girl should be worldly wise. She should know where the devil hides his tail, And be able to tell right from wrong; She should know all the little tricks That make lovers fall in love: How to feign laughter or tears, And come up w ith good excuses; She should listen to a hundred men All at the same time, And speak with her eyes lb a thousand of them; She should give everyone hope, Whether handsome or ugly; She should know how to hide things Without getting flustered, And without ever blushing She should know how to lie; And like a queen On her lofty throne, With "I can and I will" She should get her own way. It looks like my message Is getting through. Hurray for Despina, Who's serving them well! (She goes off.) 445 444 The Metropolitan Opera Book of Mozart Operas Cosi Fan Time Sorella, cosa dici? Scene II Fiordiligi and Dorabella Secco Recitative FlORDILIGl Sister, what do vou sav? Dorabella Io son stordita i'm amazed I Mk spino infernal di tal ragazza. At how fiendish that girl can be. FlORDILIGl Ma. i rcdnni: e una pazza. Believe me, she's a little crazy. II par i he siamo in caso But do you think it makes any sense I >i vguir suoi consigli? To follow her advice? Dorabella Oh, ccrto, se tu pigli Qh, of course, if vou turn PH rovescio il negozio. Everything upside down. FlORDILIGl Anzi, io lo piglio No, I'd rather ''' ' M" ' "™ s a crime Per due giovani omai promesse spose, For two young girls who're already engaged, II far di queste cose? To be doing things like that? Dorabella tlla non dice But she says Che faociamo alcun mal. We vvouldn>t be doing anvthing wrong. FlORDILIGl E mal che basta, it wouid be bad enough U far parlar di noi. To ^ peopk talking about us. Dorabella Quando si dice But wnat if « ^ ■engon per Despina. . They were after Despina?.. FlORDILIGl Oh, tu sei troppo Oh vou're j*1 Urga di coscienza! E che diranno, Too broad.minded! And what will Cíli sposi nostri? Our sweethearts sav? Nulla: O non sapran l'affare, Dorabella Nothing: Either thev won't know anything about it, Ed e tutto finito; And it'll all be oxer and done with; O sapran qualche cosa, e allor diremo Or they'll find something out, and then we'll sav Che vennero per lei. It was her they were after. FlORDILIGl Ma i nostri cori? But what about our feelings? Dorabella Restano quel che sono: They don't have to change at all: Per divertirsi un poco e non morire If we kick up our heels Dalla malinconia, Instead of moping around Non si manca di ft, sorella mia. We can still be faithful, dear sister. Questo ě ver. FlORDILIGl I guess you're right. Dorabella Dunque? Well then? FlORDILIGl Dunque, we" the". Fa' un po' tu; ma non voglio You decide what to do; but I don't want Aver colpa, se poi nasce un imbroglio. To be blamed if it causes a scandal. Dorabella Che imbroglio r.ascer deve, How could there be any scandal, Con tanta precauzion? Per altro, ascolta: When we're being so careful? But hear me out: Per intenderci bene. Just to make sure we understand each other, Qua! vuoi sceglier per te de' due narcisi? Which of the two Narcissuses do you want for yourself? Decidi tu, sorella. FlORDILIGl It's up to vou, my sister. Io giá decisi: Dorabella 447 I've already made mv choice: 446 The Metropolitan Opera Book of Mozart Operas Cost Fan Tutte No. 20 Duet Don Alfonso i'rendern quel brunettino, Che piü lepido mi par. I il intanto io col biondino Vo' un po' ridere e burlar. Scherzosetta, ai dolci detti Io di quel rísponderó. Sospirando, i sospiretti Io dell'altro imiterö. Mi dirá: «Ben mio, mi moro!» Mi dirä: «Mio bel tesoro!» Fiordiligi Dorabella Fiordiligi Dorabella Fiordiligi I think I'll take the dark one, He looks like more fun to me. And I guess I'll take the blond one, Maybe he'll be good for a couple of laughs. I'll answer him ever so coyly When he whispers sweet nothings in my ear. And every time he moans and sighs. I'll just sigh gendy back. He'll say: "My love, I'm dying!" He'll say: "My precious one!" Fiordiligi and Dorabella bd intanto, che diletto. And meanwhile, I'll be having Che spassetto io provero! The time of my life! (They start to leave, and run into Don Alfonso.) Scene III Fiordiligi, Dorabella and Don Alfonso Secco Recitative Don Alfonso Ah. correte al giardino, An> nurry up and go out to the garden, Lc mie care ragazze! Che allegria! My dear girls! What fun! Che musical che canto! W'hat music! what sjnging! Cite brillante spettacolo! che incanto! What a spectacular show! It's just Kw magic! Fate presto, correte! Hurry up now go on out! Dorabella Che diamine esser puo? what in the world is going on? 448 Tosto vedrete. You'll soon see for yourselves. (They go off.) Scene IV A garden bv the seashore, with grass seats and two little stone tables. At the dock a boat decorated with flowers. Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella, Don Alfonso, sailors and servants (Ferrando and Guglielmo are in the boat with a band of singers and musicians; Despina is in the garden; Fiordiligi and Dorabella, accompanied by Don Alfonso, enter from one side; attendants in rich liveries are standing by to receive them.) No. 21 Duet and Chorus Ferrando and Guglielmo Secondate, aurette amiche, Secondate i miei desiri, F portate i miei sospiri Alia Dea di questo cor. Voi che udiste mille volte II tenor delle mie pene, Ripetete al caro bene Tutto quel che udiste allor. Secondate, aurette amiche, Il desir di si bei cor. Chorus Oh, friendly breezes, help me, Help me make my dreams come true, And carry the sound of my sighs To the goddess I adore. Oh, you who have heard a thousand times The strains of mv laments, Repeat to the one I love All that you heard then. Oh, friendly breezes, help them, Help them make their dreams come true. (During the chorus, Ferrando and Guglielmo come off the boat carrying garlands of flowers. Don Alfonso and Despina lead them over to the two sisters, who are stunned into silence.) Secco Recitative Don Alfonso (to the servants, who are carrying baskets of flowers) II tutto deponete Sopra quei tavolini, e nella barca Ritiratevi, amici. 449 Just leave everything On those tables, my friends, And then go back to vour boat. The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutte . FlORDILIGI and DORABELLA Cos'* tal mascherata? What's this charade all about? Despina (to Ferrando and Guglielmo) Animo, via, coraggio! Avete perso Come on now, show vour stuff! Speak up for yourselves! L'uso della favella? Has the cat got your tongue? (The boat moves awayjrom the shore.) Ferrando lo tremo e palpito I'm trembling and shakily Dalla testa alle piante. From head to toe. Guglielmo Amor lega Ic membra a vero amante. I'm so much in love that I can't movent all. Da brave, incoraggiateli! Don Alfonso (to the girls) Be good now, and give them a little encouragement! FlORDILIGI (to the two young men) Parlate. Speak up, then. DORABELLA (to the two young men) Ijheri dite pur quel che bramate. You can sav whatever you want. Mailama Ferrando My lady . . . Guglielmo Anzi, madame ... Or rather, my ladies • Ferrando (to Gughelmo) Parla pur tu. You go ahead and say something first. Guglielmo (to Ferrando) No, no, parla pur tu. Oh no, you should do the talk"* Don Alfonso Oh, cospetto del diavolo! oh the devil ^ vou both! Lasciate tali smorfie Just stop actjng like a couple Del secolo passato. Despinetta, of old fogies. Despinetta, Jerm.num questa festa: j^,,. thh business over with: Fa' tu con lei quel ch'io faro con questa. You handle that one and I'll handle this No. 22 Quartet (He takes Dorabella by the hand; Despina takes Fiordiligt's.) La mano a me date, Movetevi un po'. (to the two young men) Se voi non parlate, If you won't speak for yourselves, Now give me your hand. And come over here with me. Per voi parlero. Perdono vi chiede Un schiavo tremante: V'offese, lo vede, Ma solo un istante. Or pena, ma tace . . . Then I'll speak for you instead. (to the two girls) A trembling slave Is asking your forgiveness: He's offended you, he knows it, But onlv for a moment, And now he's suffering in silence . . . Ferrando and Guglielmo (repeating the last two words in the same tone) Tace ... In silence . . . Don Alfonso . . . Or lasciavi in pace ... • ■ • He's left you in peace . . . Ferrando and Guglielmo (as before) ___III pace ... ... In peace . . . Don Alfonso . . . Non puo quel che vuole, ... And since he can't do what he Vorra quel che puo. wants, He'll do whatever he can. Ferrando and Guglielmo (repeating the last two lines, with a sigh) ... Non puo quel che vuole, ... And since he can't do what he wants, Vorra quel che puo. He'll do whatever he can. Don Alfonso (to the two girls) Su, via, rispondete! Come on now, give them an answer! Guardate . . . e ridete? You're standing there gawking .. . and giggling? 451 450 The Metropolitan Opera Book of Mozart Operas Cosi Fan Tutu Per voi la nsposta A loro darö. Quello ch'e state ě stato. Scordiamci del passato: Rompasi ornai quel laccio, Segno di servitii. Despina (moving m front of the two girls) I'll give them an answer For you. Recitative What's done is done, And the less said, the better. Let's break all ties to the past, As a symbol of servitude. (Despina takes Dorabella's hand and Don Alfonso takes Fiordiligi's; they have them break their garlands and then lace them around the arms of the two young wen.) (to the two young men) A me porgete il braccio. Now give me your arm, N* sospirate piu. And stop all that sighing. Despina and Don Alfonso (aside, sottovoce) Per carita, partiamo; For heaven's sake, let's get out of here; Quel che san far veggiamo. Then we'll see what they can do. Le stimo piu del diavolo, \% think more of them than the devil, S'ora non cascan giu. if tnev don't give in this time. (They gooff.) Scene V Fiordiligi, Dorabella, Ferrando and Guglielmo {DotaMia on GuglKlmos arm; Fiordiligi with Ferrando, mthout giving him her arm. Thiv ' brief pantomime, gazing at each other, sighing, laughing, etc.) Secco Recitative Oh. che bell» giomata! I altletta anziehe no. Fiordiligi Oh, what a beautiful day! Ferrando I think it's a little too warm. Che vezzosi arboscelli! Certo, certo, son belli: Han piü foglie che frutti Dorabella Oh, look how pretty those trees are! Guglielmo Yes, of course they're pretty: They've got more leaves than fruit. Fiordiligi Quei viali Oh, those paths Come sono leggiadri! Look so inviting! Volete passeggiar? Would you like to go for a walk? Ferrando Son pronto, o cara, Your every wish Ad ogni vostro cenno. Is my command. Fiordiligi Troppa grazia! You're really much too kind! Ferrando (sottovoce. as he goes by Guglielmo) Lccoci alia gran crisi. This is our big moment. Fiordiligi Cosa gli avete detto? What did you just say to him? Ferrando Eh, gli raccomandai Oh, I only told him to make sure Di divertirla bene. She's having a good time. Dorabella (to GuaJieJmo) Passeggiamo anche noi. Let's take a little walk ourselves. Guglielmo Come vi piace. Whatever you like. (They stroll around. Then after a moment of silence) Ahime! Oh, my God! Dorabella Che cosa avete? what's the matter now:' lo mi sento si male, Si male, anima mia, Che mi par di morire. Guglielmo Sweetheart, I feel so bad, So absolutely awful, That 1 think I'm going to die. 453 452 The Metropolitan Opera Book of Mozart Operas (77ie other two can be seen pantomiming m the distance.) Nun ottcra nicntissimo. dorabella (aside) He'll get nothing out of this from me. (to Guglielmo) Saranno hmasugli IVI vclen che beveste. It's probably just the after-effects Of the poison that you drank. GuGLIELMO (extremely agitated) Ah, che un veleno assai piu forte io bevo Ah, those fiery eyes, In que' crudi e focosi Those volcanoes of love, M. .ngilxlli amorosi! Are a much deadlier poison for me! Sara veleno cálido: fatrvj un poco fresco. Ingrata, voi burlate, ■ntanto io mi moro! (Fiordiligi and Ferrando stroll off-stage.) dorabella You're probablv feverish from the poison: Just fan yourself a little. guglielmo You're making fun of me, you heartl creature. And all the while I'm dying! (aside) Son spariti: They've disappeared from sigh' Unr ',,im,n iti? Where the devil have they gone off to? dorabella Eh, via, non fate ... Oh, come on now, don't be so. ■ Gugliel.mo Io m. moro, crudele, e voi burlate? You mean, cruel girl, how can you make fun of me When I'm dying right in front of vour eyes? Io burio? io burlo? dorabella What do vou mean? Making fun ot'vou' Guglielmo Dunque, I >a