Don Giovanni WORLD PREMIERE: Prague, National Theater, October 29, 1787 UNITED STATES PREMIERE: New York, Park Theater, November 7, 1817 METROPOLITAN OPERA PREMIERE: November 28, 1883 IL DISSOLUTO PUNITO (THE PROFLIGATE PUNISHED) OR DON GIOVANNI Dramma giocoso in two acts Libretto: Lorenzo da Ponte English Translation: David Stivender and Susan Webb Music: Wolfgang Amadeus Mozart DON GIOVANNI characters don giovanni, an extremely licentious young cavalier donna anna, promised bride of Don Ottavio the commendatore, JatAer to Donna Anna Don Ottavio donna elvira, lady of Burgos, abandoned by Don Giovanni leporello, servant to Don Giovanni ZERL1NA, peasant girl, promised bride of Masetto masetto, peasant lad Peasants of both sexes. Servants and Musicians. The action takes place in a Spanish city. Bass Soprano Bass Tenor Soprano Bass Soprano Bass DON GIOVANNI synopsis Act I At night, in front of the palace of the Commendatore (Commander), Leporello grumbles about his fatiguing duties as servant to Don Giovanni, a dissolute nobleman ("Notte e giomo faticar"). Suddenly the Commendatore's daughter, Donna Anna, appears, struggling with the masked Giovanni, who has entered her chamber and tried to seduce her ("Non sperar, se non m'uecidi"). When the lady's father comes out in answer to her cries, Giovanni kills the old man in a duel. Anna, having fled to get aid, returns with her fiance, Don Ottavio, onlv to discover her father's bodv. Anna makes Ottavio swear vengeance ("Fuggi, crudele"). Giovanni accidentally encounters Donna Elvira, whom he abandoned in Burgos. She is still lamenting her loss ("Ah! chi mi dice mai"). As Leporello tries to discourage and distract her by reciting his master's catalog of lady loves ("Madamina! 11 catalogo e questo"), Giovanni escapes. Peasants celebrate the wedding of Masetto and Zerlina. Giovanni is attracted bv the bride-to-be, bidding Leporello get rid of the groom, who departs under protest. Alone with Zerlina, the nobleman suavely persuades her to come with him to his little house ("La ci darem la mano"). Elvira steps forth, warns the girl about her new suitor and leads her away. Momentarily thwarted, Giovanni greets Anna, now dressed in mourning, and Ottavio, only to be embarrassed by the persistent Elvira, who denounces him as a seducer (quartet: "Non ti fidar, o misera!"). Trying to dismiss her as a madwoman, he ushers Klvira off. Anna, in horror, recognizes his voice as that of her father's murderer. She calls on Ottavio to avenge her honor ("Or sai chi l'onore"), leaving him to thoughts of love ("Dalla sua pace"). At his palace, Giovanni prepares for a feast he has arranged, toasting the revelry to come ("Finch' han dal vino"). As Zerlina and the jealous Masetto approach the palace gate, she begs him to forgive her apparent infidelity ("Batti, batti, o bel Masetto"). Anna, Elvira and Ottavio arrive, masked and cloaked (trio: "Protegga il giusto cielo"); after Giovanni tells Leporello to invite them in, they vow to punish the libertine. Guests crowd the ballroom, dancing to three different ensembles. While Leporello distracts Masetto, the host dances with Zerlina, enticing her to a nearbv chamber. When the 293 THb MfcTROPOLITAN OpHRA BOOK OF MOZART OPERAS Don Giovanni giri cries for help, Anna, Elvira and Ottavio unmask, and confront Giovanni, who escapes with leporello. Act II I fader Elvira's balcony, Leporello exchanges cloaks with Giovanni in order to woo the lid)'in hi- master's stead. Leporello and Elvira go off, leaving Giovanni free to serenade Bvira's maid ("IK-h. ueni alia finestra"). When Masetto leads in a band of peasants bent on punishing Giovanni, the disguised rake gives them false directions, then beats up Masetto. Zerlina tcnderlv consoles the victim ("Vedrai, carino"). hlvira follows the disguised Leporello to Donna Anna's house, where they are surprised by Anna and Ottavio. Zerlina and Masetto also arrive and, mistaking servant for master, join in denouncing the supposed Don, despite Elvira's protests. Frightened, Leporello unmasks, and escapes Ottavio reaffirms his love for Anna and leaves in search of the culprit ("H m» tesoro"). blvira can only add fury at her betrayal by Giovanni ("Mi tradi"). I eporelk) finds Giovanni in a deserted cemetery, where a statue of the slain Commen-.Utorc warns Giovanni of his doom. The Don forces the terrified Leporello to invite the MK to dinner ("O statua gentilissima"). The statue nods acceptance. In Anna's house, Ottavio urges his fiancee to stop grieving and accept his love, hut implores him to wait until her father is avenged ("Non mi dir"). In his banquet hall, Giovanni orders Leporello to serve supper, as a stage orchestra provides music, hlvira begs Giovanni to reform, but he waves her aside. Leaving, she scream in terror: the stone guest has arrived. Refusing to open the door, Leporello hides. GioW* hravrly greets the statue, which bids him repent ("Don Giovanni, a cenar teco"). Wbs rvfuv-s, llames engulf his palace and he is dragged down to hell. ^ (As day breaks over the city) Elvira, Anna, Ottavio, Zerlina, Masetto and Leporello ga^ " «o plan their futures and state the moral: sad is a libertine's fate ("Questo e il fin di c mal"). Opera News Italian language questions; I was fortunate enough to have him at my elbow, and we had some hilarious moments trying to invent English phrases ambiguous enough to allow for the double meanings of which librettist—and composer—were so fond. (A few inventions are my own, and Fabrizio is not to blame.) I am also indebted to Leslie Koenig for her valuable suggestions. The Met uses the Barenreiter edition of the score: this translation is based on that text, and on the photocopied libretto which David was using, for which no original has yet been found. (It is not the Lecaldano edition of Da Ponte's Tre Libretti per Mozart, Rizzoli, 1956; David was well on his way into the Don Giovanni translation before he acquired a copv of that in the summer of 1989.) The stage directions are quite brief in this version, and no numbers or instrumentation appear. The entire libretto is printed, including text that was added after the Prague premiere on October 29, 1787. The tenor aria "Dalla sua pace," composed for the 1788 Vienna production, follows after Donna Anna's dramatic aria describing Don Giovanni's attempted seduction; Don Ottavio's second aria "II mio tesoro," which was cut from this same production, remains in its second act position. Four other changes were made for Vienna: the addition of a low-comedy scene for Zerlina and Leporello, a solo recitative for Leporello, a recitative for Zerlina, Donna Elvira and Masetto (printed here in full) and finally, Elvira's great scena "In qual eccessi ... Mi tradi," the only one of the four new scenes which was integrated into performances of the opera. Since the Met includes Elvira's aria in its production, it is printed in sequence after "II mio tesoro"; the other three changes appear as an appendix. A note about spellings: two or more spellings of words appear in the various versions of the libretto, both acceptable in the infant days of the "Italian" language: giovinetti/giovinotti; cade/cadde; prosciutti/prcsciutti; miele/mele; piccolo/picciolo; marchesine/marchesane; Almagna/Lamagna; meraviglia/maraviglia; cioccolate/cioccolata/cioccolatte; and alberi/al-bori/arbori, to name a few. In the stage directions, both Donna Anna and Donna Elvira are listed as Donna; in the sung text, "Donn'Anna" and "Donn'Elvira" usually appear instead. Susan Wkbb TRANSLATOR'S NOTE l>»vid Stivender was working on his translation of Don G,ovanni when his health mhWcti and untimely death in February 1990 stunned us all. Since what he had are accomplished—a draft of nearly the whole libretto—was so valuable, we set about to I to completion. I agreed to play Alfano to David's Puccini—a humbling and enr experience D»vid turned to Fabrizio Melano, the distinguished Met stage director, for advice bring about The vertical black lines to the left of the text indicate portions of the libretto not performed at the Metropolitan Opera. 295 294 DON GIOVANNI ACT ONE Notte e giorno faticar per chi nulla sa gradir; piova e vento sopportar, mangiar male e mal dormir! Voglio far il gentiluomo, e non voglio piü servir. Oh che caro galantuomo! Voi star dentro col la bella, ed io far la sentinella! Voglio far il gentiluomo, e non voglio piü servir. Ma mi par che venga gente Non mi voglio far sentir. Scene I Garden. Night. Leporello, cloaked, who walks injront of Donna Anna's house; later, Don Giovanni and Donna Anna, and finally the Commendatore. Lkporello To work hard night and day for one whom nothing can please; to endure rain and wind, to eat badly and not to sleep! I wish to play the gentleman, and don't want to serve any longer. Oh, what a precious man of honor! You stay inside with the lovely lady, and I play the sentinel! I wish to play the gentleman, and don't want to serve any longer. But it seems to me that people are coming . . . I don't want to be heard. (He withdraws.) {Don Giovanni from the Commendatore's palace followed by Donna Anna; he tries to cover hisjace and is wrapped in a long cloak.) anna (holding Don Giovanni back) Non sperar, se non m'uccidi Unless you kill me, do not hope ch'io ti lasci fuggir mai. that I will ever let you escape. Giovanni (always trying to conceal himself) Donna folle! indarno gridi; chi son io tu non saprai. Foolish woman! in vain vou scream; You will not learn who I am. 297 The Metropolitan Opera Book of Mozart Operas LtPORELLO (coming forward) 11 Ik iiiiuultii' . . . Oh ciel; che gridi! (What a tumult! ... Oh heaven; what screams! II [miIii hi in nuovi guai! . . .) The master in new troubles!...) Anna IkiMc! . . . scrvi! al traditore! . . . People! . . . servants! At the traitor!. Giovanni T*ci. c trema al mio furore. Vrllrralo! Scons igliata! ii.)in-v«j I li i i.i disperata mi \uol far precipitar.) i ■ hui Im i.i disperata ti vipró perseguitar. Be silent, and tremble at my fury Anna Scoundrel! Giovanni Rash woman! (This desperate Fury wants to make me do something rash.) Anna Like a desperate Fury I shall pursue you. LtPORELLO !ifart*dcr che 11 libertino (°ne can see that the Uber,ine precipitar.) wi]] make me do something rash.) Commendatore (with sword and torch) Let her go, base man! <*Ww Anne. htormg the votce of her father, lets go of Don Oman/ and enters the fa* ■) right with me. V«': ncm mi degno d> pugrtar teco. Com pretendi cU me fuggir? (Potcisi almeno di qua partir' i -igh Giovanni Go: I do not deign to fight with you. Commendatore You wish thus to escape me? Leporello (At least if I were able to get away from here!) Don Giovanni Giovanni Misero! attendi si vuoi morir. Miserable man! Stay then if you wish to die, (They fight. The Commendatore is wounded.) Commendatore Ah soccorso! ... son tradito . . . Ah, help! ... I am betrayed . . . L'assassino . .. m'ha ferito . . . The assassin . . . has wounded me . . t dal seno palpitante . . . And from my throbbing breast . . . Sento . . . l'anima partir ... I feel . . . my soul depart . . . (The Commendatore dies.) Giovanni (Ah! the wretch already falls . . . Already from his throbbing breast I see his anguished and agonizing soul depart.) (Ah! giä cade il sciagurato . Affannosa e agonizzante giä dal seno palpitante veggo l'anima partir.) Leporello (Qual misfatto! qual eccesso! (What a misdeed! what excess! kntro il sen, dallo spavento, In my breast, I feel my heart palpitar il cor mi sento.- throbbing from terror, lo non so che far, che dir.) I don't know what to do, what to say.) Leporello, ove sei? Scene II Giovanni (still under his breath) Leporello, where are you? Leporello (stdl under his breath) Son qui, per mia disgrazia. E voi? I'm here, to my misfortune. And you? Giovanni Son qui. I'm here. Leporello Chi e morto? voi o il vecchio? Who is dead? vou or the old man? Giovanni Che domanda da bestia! II vecchio. What a stupid question! The old man. Leporello Bravo! Bravo! Two charming enterprises; 299 Due imprese leggiadre; 298 The Metropolitan Opera Book of Mozart Operas sforzar U folia, ed ammazzar il padre. Violating the daughter and killing the father. Signo Don Giovanni Ottavio Signore . . . I 'lu »oluto: suo danno. Giovanni He wanted it: so much the worse for him. Leporello Ma Donn' Anna ... But Donn' Anna.. C'o&a ha voluto? What did she want? Giovanni Taci, Quiet, non mi scccar. Vien meco, se non vuoi don't annov me. Come with me, if you don't want cjuali he DM ancor tu. something yourself. Leporello Non vo' nulla, signor; non parlo piú. I don't want anything, sir; I say nothmž more. (Leporello picks up the lantern and cloak from the ground, and ihey leave.) Scene III Don Ottavio, Donna Anna and Servants with lights Anna Ah! drl padre in periglio in Kiccorso vol urn Ah! let us fly to the aid of my father in danger. ottavio (with a naked sword in his hand) All mv Tutto il mio sangue ^neAsebisogna: shall 1 shed, if need be: mi dov'c il scellerato? but where is the scoundrel. Anna In questo loco In (sees the body) Ma qual mai s'offre, o Dei, But what tragic spectacle, oh iprttacolo funesto agli occhi miei! is offered to my eyes. II padre!. . . padre mio! ... mio caro Father! ... my father! padre!. . . father! . . • Anna Ah! l'assassino Ah! the assassin has mel trucido . . . Quel sangue . . . murdered him . . , That blood . . . quella piaga . . . quel volto that wound . . . that face tinto e coperto dei color di morte . . . Tinged and covered with the colors of death . .. Ei non respira piu ., . fredde ha le He is no longer breathing ... his limbs membra ... are cold . . . Padre mio!. . . caro padre!. . . padre Mv father! . . . dear father! . . . beloved amato! . . . father! lo manco . . . io moro ... I am fainting ... I am dying . . . (She swoons.) Ottavio Ah! soccorrete, amici, il mio tesoro. Ah! friends, help mv treasured one. Cercatemi, recatemi Find me, bring me Qualche odor, qualche spirto . . . Ah! non some salts, some spirits . . . Ah! do not tardate! delay! Donn' Anna! . . . sposa! . . . arnica! duolo estremo la meschinella uccide! Donn' Anna! . . . bride! . . . friend! . . . her extreme sorrow is killing the poor lady! Anna Ahi! Ah! Datele nuovi aiuti. Ottavio Giä rinviene. She is already recovering. Renew vour assistance to her. Anna Padre mio! My father! Ottavio Celate, allontanate agli occhi suoi Hide, and take from her sight quell'oggetto d'orrore. that object of horror. (the corpse is carried away.) Anima mia, . . . consolati, ... fa core! . . . My soul, . . . console yourself, . . . take heart! . . . 301 300 The. Metropolitan Opera Book of Mozart Operas Don Giovanni Fuggi, crudelc, fuggi'-Uwu ih'io mora anch'io on ch'o mono, oh Dio! ihi a mo U vita die'. Nrnli, cor mio, dch! senti: guardami un solo istante; ti i'.li l.i il caro amantc ihr vivc sol per te. Tu iri . . . perdon, mio bene . I .1II.1MIKi mio . . . le pene . . . Ah! il padre mio dov'e? II 1 mi In . . . lascia, o cara, la nmrmbran/a amara: li.ii n|mim> e padre in me. Ah' \ondicar, se il puoi, giura quel sangue ognor. 1 o giuro agl' occhi tuoi, lo giuro aJ nostra amor. Che giuramento, oh Dei! Che barbaro momento! fn crnio aifetti e cento wmnn ondeggiando il cor. Anna (desperately) Flee, cruel man, flee! Let me die also now that he who gave me life, oh God! is dead. Ottavio Listen, my heart, ah! listen: look at me for one moment; a loving heart is speaking that lives onlv for vou. Anna You are . . . pardon, rav beloved . ■ My anguish . . . mv afflictions.. Ah! where is my father? Ottavio Your father . . . forget, oh dear one, the bitter remembrance: you have husband and father in me. Anna Ah! swear always to avenge, if you can, that blood. Ottavio I swear it by your eyes, I swear it by our love. Both What an oath, oh Gods! What a barbarous moment! Mv heart is wavering among hundreds upon hundreds of emotion* (They leave.) Scene IV A street. Dami. Don Giovanni and Leporello. later Donna Elvira in travelling dress. L'affar di cui si tratta ě importante. Lo credo. Leporello The matter in question is important. Giovanni 1 believe it. Leporello t importantissimo. It's very important. Giovanni Meglio ancora! Finiscila: Even better! Finish it. Leporello Giurate Swear di non andar in collera. not to get angrv. Giovanni Lo giuro sul mio onore, I swear it on my honor, purche non parli del Commendatore. provided you don't speak about the Commendatore. Siamo soli? Lo vedo. Nessun ci sente? Via. Vi posso dire tutto liberamente?. . . Si. Dunque, quando é cosi, caro signor padrone, la vita che menate Ora&, spiccuti presto. Cosa vuoi? Giovanni a Come on, be quick. What do f» Leporello Are we alone? Giovanni As far as I can see. Leporello No one is listening to us? Giovanni Come on. Leporello Can I freely tell you everything?. . . Giovanni Yes. Leporello Well, when it's like that, dear Signor Padrone, the life you are leading (in his ear, but loudly) 303 302 the metropolitan opera book of mozart operas Don Giovanni i- da briccone. is that of a rogue. Giovanni Reckless man! in such a manner Tcmcrario! in tal guisa . . . Leporello E il giuramento? Giovanni N.»n vi cli giuramenti. Taci, o ch'io ... I know nothing about oaths. Quiet,or And the oik :'ll Leporello Non parlo piii, non hato, o padron mio. I won't speak any more, not a master mine. breath, Giovanni Co»» sarcmo amici. Or odi un poco: Thus we shall be friends. Now listen i ui tu prrchc son qui? bit: do you know why I am here? Leporello Non ne so nulla. I don't know anything abo« * Ma. rnvndo l'alba chiara, non sarebbe But, since it's dawn, would it not be qiulihr nuova conquista? Some new conquest? lo lo drvo sapor per porla in lista. I must know about it to put it on n! Kn°" v. i, . , Giovanni - d pWuon,! Sappi ch,0 We)1> aren,t yQu ^ man: "nrumorMod'unabelUdama *h»tlun , e wn crno cho mama enamored of a lovely lady, L» vidi. le iu rlii m„ i an<^ arn certain that she loves me. Pmat, meco al casino , ^ her , ^ ^ ^ ^ j cwW i.r odor di femmina . . S to scent the odor of a woman. ■ Leporello Che odorato perfetto!) All'ana mi par bella. (Cospetto! What a perfect sense of smell!) Giovanni By her air she seems beautiful to t* (And what an eye, I say!) Leporello (E che occhio, dico!) Giovanni Ritiriamori un poco, Let's withdraw a bit, e scopriamo terren. and study the lie of the land. Leporello (Gia prese foco.) (He's catching fire already.) (They go to one side.) Scene V Donna Elvira and the abovementioned Elvira Ah! chi mi dice mai quel barbaro dov'ě, che per mio scomo amai, che mi mancó di fě? Ah! se ritrovo Pempio, e a me non torna ancor, vo' fame orrendo scempio, gli vo' cavare il cor. Ah, who can tell me where that barbarous man is, who to my shame I loved, who betrayed his faith to me? Ah! if I find the impious man again, and he still does not return to me, I'd like to butcher him horribly. I'd like to tear out his heart. Giovanni (softly to Leporello) Udisti? qualche bella Did you hear? some lovely lady dal vago abbandonata . . . Poverina! abandoned by her charmer . . . poor little thing! Cerchiam di consolare il suo tormento. Let us try to console her in her torment. Leporello (Cos! ne consolo mille e ottocento.) (Thus he has consoled a thousand eight hundred of them.) Signorina . . . Giovanni Signorina . . . Elvira Chi ě lä? Who is there? Oh bella! Donna Elvira! Giovanni Stelle! che vedo! Stars! what do 1 see! Leporello Oh splendid! Donna Elvira! 305 304 The Metropolitan Opera Book of Mozart Operas Elvira Don Giovanni! Are you here, monster, treacherous man, nest of deceits? . . . Don Giovanni! . . . Sei qui, mostro, fellon, nido d'inganni?. . . LeporellO (Che titoli cruscanti! Manco male (Such academic titles!' All the better that che 1<> conosce bene!) she knows him so well!) Giovanni Come, dear Donn' Elvira, calm that anger . . . listen let me speak . . . Via, cara Donn' Elvira, . .ilii..in- quella collera . . . sentite . . . lasciatemi parlar . . . Elvira Cosa puoi dire, What can you say, dopo azion si nera? In casa mia after such a dark deed? Furtively you enter t-ntri furtivamente. A forza d'arte, my house. With the aid of cunning, di giuramenti e di lusinghe, arrivi of oaths and of flattery, you succeed a sedurre il cor mio: in seducing my heart: m'innamori, o crudele! You make me fall in love, oh cruel man! Mi dichiari tua sposa. E poi, mancando You declare me your wife. And then, flaunting della terra e del ciel al santo dritto, the holv law of earth and heaven con enorme delitto with your monstrous crime dopo tre di da Burgos t'allontani. after three davs vou leave Burgos. M'abhandoni, mi fuggi, e lasci in preda You abandon me, you flee from me, and leave me prey al rimorso ed al pianto to remorse and to weeping per pena forse che t'amai cotanto! As a punishment perhaps for loving you too much! (Pare un libro stampato!) ebbi Ic mie ragioni1 Leporello (She seems like a printed book!) Giovanni Oh! In quanto a questo Oh! As to alltnat I had my reasons! (to Leporello) E vero? Isn't it true? •TV Accademia uVlh Crusca, founded in Florence in 1583, was relentlesslv dedicated to separating go*1 linguistic mage from bad: hence "crusca" or "chaff". Don Giovanni Leporello (ironically) E che ragioni fořti! It's true. And what strong reasons! And what are thev, Elvira E quali sono, se non la tua perfidia, apart from your perfidy, la leggerezza tua? Ma il giusto cielo your fickleness? But righteous heaven voile ch'io ti trovassi wished that I find you per far le sue, le mie vendette. to wreak its vengeance and mine. Giovanni Eh, via! Come, come! Siate piu ragionevole ... (Mi pone Be more reasonable . . . (She's putting a cimento costei.) Se non credete me to the test.) If you don't believe al labbro mio, credete me, believe a questo galantuomo. this man of honor. Leporello (Salvo il vero.) (I tell everything except the truth.) Giovanni Via, dille un poco .. . Come on, say something . . . leporello (under his breath to Don Giovanni) E cosa devo dirle? And what must I tell her? Giovanni Si, si, dille pur tutto. Yes, yes, tell her everything. (He leaves unseen bv Donna Elvira) Elvira Ebben, fa presto. Well, be quick. Leporello Madama veramente ... in questo mondo conciossiacosaquandofosseché 'I quadro non é tondo , . . Madame . . . truly ... in this world withthatmaybewhenwereitso the square is not round . . . Elvira Sciagurato! Wretch! Cost del mio dolor gioco ti prendi? Are you thus making sport of my sorrow? voi ■ • Ah you . . . 306 307 The MtTROPOLiTAN Opera Book of Mozart Operas Don Giovanni Stelle! l'iniquo fuggi . misera me! . Dove? in qual parte?. . . (towards Don Giovanni who she thinks has not left) Stars! the wicked man has fled! . . . poor me! . . . Where is he? Where has he gone? . . . Eh! lasciate ehe vada. Egli non merta che di lui ci pensiate. Leporello Eh! let him go. He is not worthy of your thinking about him. Elvira II scellerato m'ingannö, mi tradi The scoundrel has deceived me, betrayed me . . . Leporello Eh! consolatevi; non siete voi, non foste e non sarete no la prima, ne I'ultima. Guardate questo non picciol libro; e tutto pieno doi nomi di sue belle; ogni villa, ogni borgo, ogni paese c n Mimon di sue donnesche imprese. M.kI.imiiii.i. il catalogo e questo iHlt- lx-lle che amö it padron mio: un i atalogo c-gli e che ho fatt'io; ourrvate, leggete con me. In Italia seicento e quaranta, in I amagna duecento e trentuna, cento in Francia, in Turchia novantuna, ma in Ispagna son gia mille e tre. V'han fra queste contadine, camoriere e cittadine, v'han contesse, baronesse, marchesano, principesse, e v'han donne d'ogni grado, d'ogni forma, d'ogni etä. Nclla bionda egli ha l'usanza di lodar la gcntilezza; nclla bruna, la costanza; nclla bum a. la dolcezza; vuoj d'invemo la grassotta, vuol d'estate la magrotta; Eh! console yourself; you are not, were not and will not be either the first or the last. Look at this not small book; it's completely full of the names of his beauties; every villa, every town, everv country is witness to his womanizing enterprises. Dear madame, this is the catalogue of the beauties my master has loved: a catalogue that I have made; observe, read along with me. In Italy six hundred and forty, In Germany two hundred and thirty-one, a hundred in France, in Turkey ninety-one, but in Spain there are already one thousand and three. Among these are country girls, maids and city women. There are countesses, baronesses, marchionesses, princesses, there are women of every rank, of every shape, of every age. He habitually praises the gentleness of a blond one; of a dark one, her constancy; of a pale one, her sweetness; in the winter he wants a plump one, in the summer he wants a lean one; e la grande maestosa, la piccina e ognor vezzosa; delle vecchie fa conquista pel piacer di porle in lista; sua passion predominante e la giovin principiante; non si picea se sia ricca, se sia brutta, se sia bella; purche porti la gonnella, voi sapete quel che fa. the large one is imposing, the small one is always charming; he makes conquest of the old ladies for the pleasure of putting them on the list; but his predominant passion is the young beginner; he doesn't care if she is rich if she is ugly, if she is lovely; as long as she wears a skirt, you know what he does. (He leaves.) Scene VI Donna Elvira alone In questa forma dunque mi tradi il scellerato! É questo il premio che quel barbaro rende all'amor mio? Ah! vendicar vogl'io l'ingannato mio cor. Pria ch'ei mi fugga si ricorra ... si vada . . . Io sento in petto sol vendetta parlar, rabbia e dispetto. Elvira So in this way the scoundrel has betrayed me! Is this the reward that the barbarous man gives for mv love? Ah! I must avenge my deceived heart. Before he flees me let me run after ... let me go ... I feel only vengeance, rage and contempt contending in mv bosom. (leaves) Scene VII Zerlma, Masetto and Chorus of Peasants of both sexes, who sing, play and dance. Zerlina Young ladies, who plav at love, do not let time pass you by; if vour heart boils in vour breast, look there for the remedy. La ra la, la ra la, la ra la. What pleasure! what pleasure it will be! 309 Giovinette, che fate all'amore, non lasciate che passi l'eta; se nel seno vi bulica il core, ■1 rimedio vedetelo qua. La ra la, la ra la, la ra la. Che piacer! che piacer che sarä! 308 THE MbTROPOLlTAN O PERA BOOK OF MOZART OPERAS Don Giovanni Chorus (of peasant girls) La ra la, etc. Masetto Young men, frivolous and fickle, don't turn from here to there; the party doesn't last long for crazy fools, for me it hasn't yet begun. La ra la, la ra la, la ra la. What pleasure! what pleasure it will be! Chorus (of peasant girls) I a ra la, etc. La ra la, etc. Zerlina and Masetto Vieni, vieni, carinj e godiamo, Come, come, dear one, let us revel, I . uitiamo e balliamo c saltiamo, and sing and dance and skip. Come, come, dear one, let us revel, what pleasure! what pleasure it will be! la ra la, etc. Giovinctti, leggeri di testa, mm andate girando qua e la; poco dura de' matti la festa, ma |x-r me cominciato non ha. la ra la, la ra la, la ra la. Che piacer! che piacer che sarä! Vicni, vieni, caring e godiamo, che piacer! che piacer che sarä! Scene VIII Don Giovanni, Leporello and the above mentioned Giovanni Manco male, c partita . . . Oh guarda, Thank Heaven she's gone ... Oh, look, guarda the bella gioventü, che belle donne! look what attractive young people, what lovely Leporello (rra tante, per mia fe\ (Among so manv, bv my faith, \ i sari qualche cosa anche per me.) there will be something for me too.) Can .imiii. buon giomo. Seguitate a stare allegramente, «■guitate a suonar, o buona gente. C'c quale he sposalizio? Giovanni Dear friends, good day. Continue to enjoy yourselves, go on playing the music, good people Is there some sort of marriage? e la sposa son io. Si, signc Zerlina and I am the bride. 310 Yes, sin Giovanni Me ne console I'm terribly glad to hear it. Lo sPoso? The bridegroom? Masetto Io, per servirla. , at vour service. Giovanni Oh, bravo! per servirmi; questo e vero Oh, bravo! at my service; this is trulv the parlar da galantuomo. speech of a man of honor. Leporello Basta che sia marito! It's enough that he be a husband! Zerlina Oh! il mio Masetto Oh! mv Masetto e un uom d'ottimo core. is a man of the very best heart. Giovanni Oh, anch'io, vedete! Oh, so am I, as vou can see! Voglio che siamo amici. II vostro nome? I want us to be friends. Your name? Zerlina. Zlruna Zerlina. Giovanni E il tuo? And yours? Masetto Masetto! Masetto! Giovanni Oh! caro il mio Masetto! Oh! my dear Masetto! Cara la mia Zerlina! v'esibisco My dear Zerlina! I offer you la mia protezTone . . . Leporello? . . . my protection . . . Leporello?. . . (to Leporello who is dallying with the other peasant girls) Cosa fai li, birbone? What are vou doing there, rascal? Leporello Anch'io, caro padrone, 1 too, dear master, esibisco la mia protezione. am offering my protection. Giovanni Presto; va con costor: nel mio palazzo Quick; go with them: take them immediately 311 The Metropolitan Opera Book of Mozart Operas conduoili sul fatto: ordina che abbiano to my palazzo: give orders that they be given chocolate, coffee, wine, ham: try to amuse everyone, show them the garden, the gallery, the bedrooms: in fact iKxcolata, cafle, vini, prosciutti: crrca divertir tutti, mostra loro il giardino, la .-.ilii-i le camere; in effetto (In passing near Zeihna he takes her by the waist.) fa' the resti contento il mio Masetto. make sure that my Masetto stays content. Mai capito? Have you understood? Ho capito. Leporello I've understood. (to the peasants) Andiam. Let's go. Sign Cosa c'ř? Masetto Giovanni What is it? Signa La /Vr lina Scnza me non puô star. Masetto Zerlina Cannot stay without me. Leporello In vostro loco His Excellency farTk CttC"CnZa' C bene ^ ^ here. and he will know very well ostn parti. how to stand in your stead. Giovanni Oh! la Zerlina Oh! Zerlina • m nun d'un cavalier. Va' pUr; fra poco is in the hands of a cavalier. Just go; shortly she will come with me. rlU mcio verra. Zerlina Va', non temere; ncttc mani son io d'un cavaliere. E per questo?. Go, do not fear, I am in the hands of a cavalier. Masetto And so?. 312 Ľ per questo Non e'e da dubitar Don Giovanni Zerlina And so, there is no reason for suspicion . . . Masetto Ed io, cospetto!. . . And I, by God! . . Giovanni Ola, fmiam le dispute; se subito, Ho, let's end these arguments; if vou do not go immediately without further objections, Masetto, look out, vou will regret it. (showing him his sword) senz'altro replkrar, non te ne vai, Masetto, guarda ben, ti pentirai. Ho capito, signor si! Chino il capo e me ne vo; giacchě piace a voi cosi, altre repliche non fo. Cavalier voi siete giá, dubitar non posso, affe; me Io dice la bontá che volete aver per me. M.asetto (to Don Gioranni) I've understood, yes, sir! 1 bow my head and go; since that is what pleases you I make no further objections. You are indeed a cavalier, I cannot doubt it, in faith; I can tell by the consideration you have for me. (aside, to Zerlina) Bricconaccia, malandrina, fosti ognor la mia ruina. Vengo, vengo! Resta, resta! Ľ una cosa molto onesta; faccia il nostro cavaliere cavaliera ancora te. Little rogue, little rascal, You always were mv downfall. (to Leporello who wants to lead him off) I am coming, I am coming! (io Zerlina) It is a very upright business; let our cavalier make a "cavaliera" of vou too. (Masetto leaves with Leporello and the Peasants) 313 Stav, stav! THt Metropolitan Opera Book of Mozart Operas Don Giovanni Scene IX Don Giovanni and Zerl'ma ZhRLINA Alfine To be left Mtin Mam liberati, ZtlHueUl gentil, da quel scioccone. Che no dilc, mio ben, so far pulito? Signore, ě mio marito Giovanni At last we are freed, gentle Zerlinetta, from that great fool. What do you say, my beloved, wasn't it neatly done? Zerlina Sir, he is my husband . . . Giovanni Chi! colui? Vi par the un onest'uomo, un nobil cavalier, com'io mi vanto, Miffrir, .In quel visetto d'oro, quel viso inzuccherato hi" voglio divertirmi? (softly, to Donna Elvira) My idol, do you not see that I wish to amuse myself? £ vcro! divertirti . . . ■ ■nu tu ti divcrti. Divertirti? Io so, crudele, Ma, signor cavaliere, é vrr quel ch'ella dice? Elvira (loudly) Amuse yourself' It is true! amuse yourself... 1 kn°w' cruel man, how you amuse yourself. Zerlina But, signor cavalier, is it true what she is saying? La povrra infelice i- di me innamorata, e per pieta degg'io fingere amore, ch'to son, per mia disgrazia, uom di buon cuore. Giovanni (softly to Zerlina) The poor, unhappy woman is in love with me, and out of pity I must pretend love, since I am, to my misfortune, a man o good heart. 316 Ah, fuggi il traditor, non lo lasciar piü dir: il labbro ě mentitor, fallace il ciglio. Da' miei tormenti impara a creder a quel cor, e nasca il tuo timor. dal mio periglio. Ah, flee the traitor, do not let him sav any more: his lips are liars, false his face. Learn from mv torments how best to believe that heart, and let your fear be born from my danger. (She leaves leading off Zerlina) Scene XI Don Giovanni, later Don Oitavio and Donna Anna, who is dressed in mourning Giovanni Mi par ch'oggi il demonio si diverta I think that today the devil is amusing d'opporsi a' miei piacevoli progressi; vanno mal tutti quanti. himself by opposing my pleasing proceedings; they are all going badly. ottavio (to Donna Anna) Ah! ch'ora, idolo mio, son vani i pianti, Ah! now that, mv idol, tears are useless, di vendetta si parli . . . Ah, Don Giovanni! let us speak of vengeance . . . Oh, Don Giovanni! (Mancava questo inver!) Giovanni (Only this was lacking!) Anna Signore, a tempo vi ritroviam, avete core, avete anima generosa? Signore, we have found vou in time: do vou have a heart? do vou have a generous soul? Giovanni (Sta'a vedere (One can see Che il diavolo le ha detto qualche cosa.) That the devil has told her something.) Che domanda! perche? What a question! why? OTTAVIO Delia vostra amicizia. Bisogno abbiamo We have need Of your friendshi] 317 The Metropolitan Opera Book of Mozart Operas Don Giovanni Giovanni (Mi tonu il tiato in corpo.) (. nmandatc . . . I congiunti, i parenti, quota man, qucsto ferro, i beni, il sangue spcnderô per servirvi. Ma voi, bclla Donn'Anna, pcrchc cosi piangete? II i rucK'le chi ŕu che oso la calma turhar del viver vostro . . . (The breath returns to mv body.) Command me . .. Relations, kindred, this hand, this sword, goods, blood shall I expend to serve you. But you, lovely Donn' Anna, why do you weep so? Who was the cruel man who dared disturb the calm of your life . . . Scene XII Donna Elvira and the abovementioned elvira (to Don Giovanni) Ah! ti ritrovo ancor, perfido mostro! Ah! I find you again, perfidious monster! (to Donna Anna) \i hi li lidar, o misera, di tjuel ribaldo cor; mc gia tradi quel barbaro, «c vuol tradire ancor. iC'h-Ii, che aspetto nobile! Chc dolce maesta! II »uo pallor, le lagrime, m'rmpiono di pieta.) la ptm-ra ragazza e pazza. amici miei; Lasoatemi con lei, (one si calmerä. Ah! non credete al perfido! mute ancor. restate . . . Dp not trust, oh unhappy woman, in that villainous heart; that barbarous man has already betrayed me, he wishes to betrav vou as well. Anna and Ottavio (Heavens, what a noble appearance! What gentle bearing! Her pallor, her tears fill me with pity.) Giovanni (aside; Donna Elvira listens.) The poor girl is crazy, my friends; Leave me with her, perhaps she will calm down. Elvira Ah, do not believe the treacherous man-yet stay, stay • • ■ E pazza, non badate . . . A chi si credera? (Certo moto d'ignoto tormento dentro 1 alma girare mi sento, che mi dice per quella infelice cento cose che intender non sa.) Giovanni She is crazy, pav no mind . . . Anna and Ottavio Who is to be believed? (I feel a certain unknown torment disturbing my soul, and telling me a hundred things about that unhappv woman which my soul cannot understand.) Elvira (Sdegno, rabbia, dispetto, tormento dentro l'alma girare mi sento, che mi dice di quel traditore cento cose che intender non sa.) (Indignation, rage, contempt, torment Disturb my soul and tell me a hundred things about that traitor, which mv soul cannot understand.) 10 di qua non vado via se non scopro quest'affar. Non ha l'aria di pazzia 11 suo volto, il suo parlar. (Se men vado, si potria qualche cosa sospettar.) Da quel ceíío si dovria la ner'alma giudicar. Dunque quella?. . . ottavio (to Donna Anna) 1 am not leaving here until 1 discover how this matter stands. Anna (to Ottavio) Her face, her manner of speaking do not have the air of madness. Giovanni (If I leave, one could suspect something.) Elvira From that cruel face one should pass judgement on that black soul. Ottavio (to Don Giovanni) Then that woman?. Giovanni E pazzerella. Is a little crazv. Dunque quegli?. anna (to Donna Elvira) Then that man? Ľ un traditore. Elvira 319 Is a traitor. 318 The Metropolitan Opera Book of Mozart Operas Don Giovanni Infrlice! Mcntitore! Incomincio a dubitar. &«to, zitto, ché la gente m i.i.lun.i a noi d'intomo: Male un poco piü prudente, vi farctc criticar. Non sperarlo, o scellerato: ho pcrdulo la prudenza. I r tut- colpc cd il mio stato \<>glii> a tutti palesar. Qucgh accenti si sommessi, quel cangiarsi di colore, sono indizi troppo espressi chr mi fan determinar. Giovanni Unhappy woman! Elvira Liar! Anna and Ottavio I am beginning to doubt. (Some peasants pass by.) Giovanni (softly to Donna Elvira) Quiet, quiet, since people are gathering around us: be a little more prudent, you will bring criticism on yourself. Elvira (strongly to Don Giovanni) Do not hope for that, oh scoundrel: I have lost all caution. I wish to reveal to everyone your guilt and my state. Anna and Ottavio (aside, looking at Don Giovanni) His words so subdued, that change of color, are such explicit indications that they are helping me decide. (Donna Elvira leaves.) Pmrra sventurata! i passi suoi TOglio seguir, non vogli che faccia un precipizio: prnlonate, hellissima Donn'Anna: we ■ervirvi poss'io, in mu casa v'aspetto, amici, addio! Giovanni Poor unfortunate ladv! I want to follow her, I do not want her to do something rash: pardon me, loveliest Donn' Anna: If I can serve you, I await you at my home; friends, fere«* • (We leaves hurriedly.) 320 Scene XIII Donna Anna and Don ottavio Anna Don Ottavio . . . son mortal Per pieta, soccorretemi fate coraggio del padre mio , Don Ottavio ... I am dying! Ottavio Cos'e stato? What has happened? Anna For pity's sake, help me. Ottavio Mio bene. My beloved, take courage. Anna Oh Dei! quegli e il carnefice Oh Gods! that man is the murderer of my father Ottavio Che dite? What are vou saving? Non dubitate piü. Gli ulthni accenti, che l'empio proferi, tutta la voce richiamar nel cor mio di quell'indegno che nel mio appartamento . , . Anna Doubt it no longer. The last words that the impious man proffered, everything about his voice recalled in my heart that base man who in my apartment. . . Ottavio Oh ciel! possibile Oh heaven! is it possible che sotto il sacro manto d'amicizia . . . that under the sacred mantle of friendship . . . Ma come fu, narratemi But how did it happen, relate lo strano avvenimento. the strange event to me. Anna Era gia alquanto The night avanzata la notte, was already somewhat advanced, quando nelle mie stanze, ove soletta when into my rooms, where to my misfortune mi trovai per sventura, entrar io vidi I found myself all alone, I saw enter, in un mantello avvolto wrapped in a cloak, 321 Thl Metropolitan Opera Book of Mozart Operas Don Giovanni un uom che al primo istante avea prrvi per voi; ma riconobbi poi che un inganno era il mio . . a man who at the first moment I had taken for you; but then 1 recognized that I had been mistaken . . OtTAVIO (with anxiety) Stelle! seguite. Stars! continue. Anna Tacito a me s'appressa, c mi vuole abbracciar; sciogliermi cerco, ri piii mi stringe; grido: non viene alcun: con una mano ccrca d'imprdire la voce, c .. ill'.ilti .1 m'afferra ■•trrtta cosi, che giä mi credo vinta. IVrtido! . . . e alfin?. Silently he approaches me, and wishes to embrace me; I try to free myself, he grasps me tighter; I cry out: no one comes: with one hand he tries to stifle my voice, with the other he seizes me so tightly that I already believe myself vanquished. Ottavio Treacherous man!. . . and finally?. • ■ Anna Alfine il duol, l'orrore ilrll'infamc attentato .i. ■ n fU M l.i lnu tma che, a torza di »vinoolarmi, torcermi e piegarmi. da lui mi sciolsi. Finally the sorrow, the horror of the infamous attack so increased my energy that by disengaging myself, twisting myself and bending myself, 1 loosed mvself from him. Ottavio Ohime! respiro. Ah! I breath again. Anna Allora nntor/i • i stridi miei, chiamo soccorso, fuj>gc il fellon: arditamente il scguo fin nrlla strada per fermarlo, e sono aualitrice ed assalita: il padre v'accoiTe, vuol conoscerlo, e l'iniquo, thr dd povero vecchio era piu forte, cotnpie il misfatto suo col dargli morte. Then I redouble my cries, 1 call for help, the traitor flees: I boldly follow him even into the street to stop him, and I a"1 assailant and assailed: mv father runs out, tries to identify him, and the wicked man who was stronger than the poor old one crowns his misdeed by giring him death Or sai chi 1'onore rapire a me volse: chi fu il traditore, che il padre mi tolse: vendetta ti chieggo, la chiede il tuo cor. Rammenta la piaga del misero seno: rimira di sangue coperto il terreno, se l'ira in te langue d'un giusto furor. Now vou know who wanted to ravish my honor: who was the traitor, who took mv father from me: 1 ask you for vengeance, vour own heart asks for it. Remember the wound in the poor breast: see again the ground covered with blood, if the anger of a righteous fury languishes in you. (She leaves.) Scene XIV Ottavio alone Come mai creder deggio di si nero delitto capace un cavaliero! Ah, di scoprire il vero ogni mezzo si cerchi. Io sento in petto e di sposo e d'amico il dover che mi parla: disingannarla voglio, o vendicarla. Dalla sua pace la mia dipende, quel che a lei piace vita mi rende, quel che le incresce morte mi da. S'ella sospira, sospiro anch'io, ě mia quell'ira, quel pianto ě mio e non ho bene s'ella non l'ha. Ottavio How can I ever believe a cavalier capable of such a black crime! Ah, let everv means of discovering the truth be sought. I feel in my breast, both as betrothed and as friend the duty that speaks to me: 1 must undeceive her or avenge her. On her peace of mind mine depends, that which pleases her gives me life, that which wearies her gives me death. If she sighs, I sigh also, her anger is mine, her weeping is mine and I have no happiness if she has none. (He leaves.) Scene XV Leporello alone, then Don Giovanni LbPORELLO Io deggio, ad ogni patto, per sempře abbandonar questo bel matto . . . I must, on any terms, abandon this arch-madman for ever 323 322 The Metropolitan Opera Book of Mozart Operas Don Giovanni Ecrolo qui: guardate Here he is now: see o>n qual indifferenza se ne viene! with what indifference he comes along! Giovanni Oh Lcporello mio! va tutto bene. Oh, my Leporello! everything is going well. Leporello Don Giovannino mio! va tutto male. My Don Giovannino! everything is going badly. Come va tutto male? Giovanni How is everything going badly? Leporello Vadoacasa, lg°hon*: come voi I'ordinaste, as you ordered, con tutu quetla gente. with all those people. Giovanni Bravo! Bravo! Leporello Aforza By means of di dliacchiere, di vezzi e di bugie, chatter, endearments and lies, ctTho imparato si bene a star con voi, which I have learned so well by being with you, cerco d'intrattenerli ... I try to keep them amused . . . Giovanni Bravo! Bravo! Leporello Dico milU- cose a Masetto per placarlo, a thousand things to Masetto to pla«tt him, per trargli dal pensier la gelosia ... to draw the jealousy out of his thoughts . . . Bravo, in coscienza mia! Giovanni Bravo, on my conscience! Leporello Faccio che bevano 1 get both e gli uomini e le donne; the men and women to drink; son giä mezzo ubbriachi, they are already half drunk, altri canta, altri scherza, some sing, some dally, altri seguita a ber . . . In sul piü bello, others continue to drink . . . And best of all, chi credete che capiti? who do you think arrives? Giovanni Zerlina! Zerlina! Bravo! e con lei chi venne? Leporello Bravo! and who comes with her? Giovanni Donn' Elvira! Bravo! e disse di voi? Donn' Elvira! Leporello Bravo! and she said about you? Giovanni Tutto quel mal che in bocca le venia? Everything vile that came to her mouth? Leporello Bravo, in coscienza mia! Bravo, on my conscience! Giovanni E tu cosa facesti? And what did you do? Leporello Tacqui. I was silent. Giovanni Ed ella? And she? Leporello Segui a gridar. she continued to scream. Giovanni E tu? And you? Leporello Quando mi parve When it seemed to me che gia fosse sfogata, dolcemente that she had exhausted herself, gently fuor deH'orto la trassi, e con bell'arte I drew her out of the garden, and with great cunning, chiusa la porta a chiave, locking the door, io mi cavai, I escaped, e sulla via soletta la lasciai. and left her all by herself in the street. 325 324 THE METROPOLITAN OPERA BOOK OF MOZART OPERAS Don Giovanni Bravo! bravo! arcibravo! L'attar non puo andar meglio. Incominciasti, in sapro terminar; troppo mi premono quostc contadinotte: If voglio divertir finche vien notte. I in ih'han dal vino • .ilil.i la testa, una gran testa ta'preparar. Sc trovi in piazza ; mI. In ragazza, tBOO amor quella OCKi menar. Vn/a .ili ini ordine la il.m/.i sia: ch'il minuetto, chi U !• illi.i. i hi I'.il. iii.iiin.i larai 1 mII.it hd to frattanto •UH'altro canto ion quosta <• quella »)' amoreggiar. Ah! la iiu.i lista .1. .ni.iii m.ittinj i'uii.i decina clrvi aumentar. Giovanni Bravo! bravo! triple bravo! The affair cannot go better. What you began, I know how to finish; I prize these lustv country girls too much: I'd like to amuse them until night arrive* While they still have heads hot from the wine, have a grand celebration prepared. If you find some girl in the piazza, try to carrv her along with vou too. j Let the dancing be without anv order: let whoever wants dance the minuet, the follia, the alemanna. And meanwhile I on the other hand am going to make love to this or that girl. Ah! by tomorrow morning will have to add ten or so to my list. (They leave.) Zerlina Perche? Why? Scene XVI Garden with two doors locked from the outside. Two niches. Zerlina, Masetto and Peasants Zerlina Masetto . . . senti un po* . . . Masetto, Masetto . . . listen a moment . *«> • • - I say . . . Masetto Perche mi chiedi? Non mi toccar! Masetto Don't touch me! 326 Perfida! il tatto sopportar dovrei d'una mano infedele? Ah! no: taci, crudele! lo non merto da te tal trattamento. Come! ed hai l'ardimento di scusarti? Star sola con un uom! abbandonarmi il di delle mie nozze! porre in fronte a un villano d'onore questa marca d'infamia! Ah! se non fosse so non fosse lo scandalo, vorrei . . . Ma se colpa io non ho: ma se da lui ingannata rimasi; e poi, che temi? Tranquillati, mia vita, non mi tocco la punta delle dita. Non me lo credi? Ingrato! Vien qui, sfogati, ammazzami, fa' tutto di me quel che ti piace, ma poi, Masetto mio, ma poi fa pace. Batti, batti, o bel Masetto, la tua povera Zerlina: staro qui come agnellina le tue botte ad aspettar. Lascero straziarmi il crine, You ask me why? Treacherous girl! must I bear the touch of a faithless hand? Zerlina Ah! no: be silent, cruel man! 1 do not deserve such treatment from you. Masetto What! and vou have the boldness to excuse yourself? To be alone with a man! to abandon me on the day of my wedding! to put this mark of infamv on the forehead of an honorable villager! Ah! if it weren't, if it weren't for the scandal, I would like . . . Zerlina But what if I am not guiltv: what if I ended up tricked bv him; then, what do vou fear? Calm yourself, my life. He didn't touch the tip of mv finger. Don't you believe me? Ungrateful man! Come here, give vent to your feelings, kill me, do whatever you like to me, but then, mv Masetto, but then make peace. Beat, beat your poor Zerlina, oh handsome Masetto; I shall stand here like a little lamb waiting for vour blows. 1 shall let vou pull out mv hair, 327 The Metropolitan Opera Book of Mozart Operas Don Giovanni Li» i'm cavarmi gli occhi; c lo tart- tue manině lii-u poi saprö baciar. Ah! Io vedo, non hai core: pace, pace, o vita mia! In contenti ed allegria notte e di vogliam passar. I shall let you tear out my eyes; and then, happy, I shall be able to kiss your dear little hands. Ah! I see it, you have no heart for it: peace, peace, oh my life! In delights and gladness let us pass the night and day. Scene XVII Masetto, then Don Giovanni within and Zerlina again Masetto i .11.11 un po' come seppe Just look how this witch qut-Ma strega sedurmi! Siamo pure was able to seduce me! We are really i tlrholi di testa! weak in the head! Giovanni (from within) Su preparato tutto a una gran festa. Let all be prepared for a grand celebration. Ah! Masetto, Masetto, odi la voce del monsu cavaliero! Lbben, che c'ě? Zerlina Ah! Masetto, Masetto, listen. The voice of Monsieur Cavalier! \irrra Masetto Zerlina He will come . .. Masetto Well, what of it; 1.1-1 i.i che vei nga. un huco da fuggir Zerlina Ah! se vi fosse a hole to climb into . Let him come. Ah! if there masetto Di cosa temi? rVrchč diventi pallida? . . . Ah! capisco: oapuco, bricconcella, hai timor ch' io comprenda What are you afraid ii Ah'! Why are you becoming pale? ■ ■ understand: I understand, little rogue, you are afraid 1 might understand com'ě tra voi passata la faccenda. Presto, presto . . . pria che venga. por mi vo' da qualche lato . . . C'é una nicchia . . . qui celato cheto, cheto mi vo' star Senti, senti .. . dove vai? Ah non l'asconder, O Masetto. Se ti trava, poveretto! tu non sai quel che puö far. Faccia, dica quel che vuole. Ah, non giovan le parole . . . Parla forte, e qui ti arresta. Che capricco ha nella testa! (Capirö se m'e fedele, e in qual modo andö l'affar.) (Quell'ingrato, quel crudele oggi vuol precipitar.) how the business between you two went. Quick, quick . . . before he comes, I must place myself off to this side . . . Here is a niche ... I will stav here quietly hidden. Zerlina Listen, listen . . . where are you going? Don't hide yourself, Masetto. If he finds you, poor boy! You don't know what he can do. Masetto Let him do and sav what he wants to. ZERLINA (under her breath) Ah, words are useless . . . MASETTO Speak up, and stay here. Zerlina What a whim he has in his head! Masetto (I shall leam if she is faithful to me, and how the matter went.) (He enters the niche.) Zerlina (That ungrateful, cruel man wants to act rashlv todav. | Scene XVIII Don Giovanni, Peasants and Servants, Zerlina and Masetto, hidden. Giovanni Su, svegliatevi; da brav Su, coraggio, o buona gente; vogliam stare allegramente, vogliam rider e scherzar. Up, wake yourselves up; like good fellows! Up, have courage, oh good people; Let us be cheerful. Let us laugh and flirt. (iö the servants) 329 328 The Metropolitan Opera Book of Mozart Operas Don Giovanni Alia stanza della danza conduccte tutti quanti cd a tutti in abbondanza gran rifrcschi fate dar. Su, svegliatevi; ecc. Lead the whole lot to the ballroom and let refreshments in abundance be given to everyone. chorus (leaving with the servants) Up, wake yourselves up; etc. Masetto Scene XIX Don Giovanni, Zerlina and Masetto, hidden Ira quest' arbori celata *i puö dar che non mi veda. A-rlinetta mia garbata, ti ho gia visto, non scappar. Ah! Li-, iatemi andar via . No. no, rcsta, gioia mia! Sc pieiadc avete in core! SI, ben mio, son tutto amore . Vieru un poco in questo loco, Fortunata io ti vo' far. (Ah! s'ci vede il sposo mio, m> ben io quel che puö far.) Zerlina' Maybe he won't see me hidden among these trees. (tries to hide) Giovanni My graceful little Zerlina, I have already seen you, don't run away. (He catches hold of her) Zerlina Ah! let me go ... Giovanni No, no, stay, my joy! Zerlina If you have pity in your heart! Giovanni Yes, my beloved! I am all love . . Come here for a moment, I want to make you happy- Zerlina (Ah! if he sees my betrothed I know well what he can do.) (Don Giovanni, in opening the niche, discovers Masetto.) Masetto! Giovanni Masetto! 330 Si, Masetto. E chiuso lä, perchě? La bella tua Zerlina non puö, la poverina, piu star senza di te. Capisco, si, signore. Adesso fate core. I suonatori udite: venite omai con me. Si, si, facciamo core, ed a ballar cogli altri andiamo tutti e tre. Yes, Masetto. Giovanni (somewhat confused) And why hidden in there? Your lovely Zerlina, poor little girl, cannot be without vou. Masetto (somewhat ironic) I understand, yes, sir. Giovanni (to Zerlina) Now take heart. (An orchestra is heard in the distance.) Listen to the plavers: come now with me. Masetto and Zerlina Yes, yes, let us take heart, and let us all three go to dance with the others. (They leave.) Scene XX Don Ottavio, Donna Anna and Donna Elvira in masks; later Leporello and Don Giovanni at the window. Bisogna aver coraggio, o cari amici miei, e i suoi misfatti rei scoprir potremo allor. L'amica dice bene; coraggio aver conviene. Elvira We must have courage, oh mv dear friends, and then we will be able to uncover his guilty crimes. Ottavio Our friend speaks well; it is necessary- to have courage. (to Donna Anna)' 331 The Metropolitan Opera Book of Mozart Operas Don Giovanni Dúcaccia, o vita mia, I'affanno cd il timor. II passo č perioglioso, puó nascor qualchc imbroglio; •■in., pel caro sposo E OCT noi temo ancor. Dismiss, oh my life, anguish and fear. Anna It is a dangerous step, some trouble could come of it; I fear for my dear betrothed. And I fear for us as well. Signor, guardate un poco che maschcre galanti! lalle passar avanti, «Ii* che ci fanno onor. (AI voltu ed alia voce m m.opre il traditor.) Zi, zl, sonore maschere; ZÍ. zl . . . leporello (opening the window) Signor, just look, what elegant maskers! Giovanni (at the window) Have them come forward, say that they do us honor. Anna, Elvira and Ottavio (By his face and his voice the traitor reveals himself.) Leporello Pst, pst, lady maskers, Pst, pst. . . Anna and Elvira (softly to Don Ottavio) Via rispondete. Come, answer. Zl, zi Leporello Pst, pst Ottavio Cosa chiedete? What do vou ask? Al hallo, sc vi piace, x'invita il min signore. Grazie di tamo onore. Andiam, compagne belle. (L'amico anche su quelle prova fara d'amor.) Leporello If it please you, my lord invites you to the ball. Ottavio Thank you for such an honor. Let us go, lovely companions. Leporello (My friend will test his love on these ladies as well.) Protegga il giusto cielo il zelo del mio cor. Vendichi il giusto cielo il mio tradito amor. (goes in, closing the window) Anna and Ottavio May righteous heaven protect the zeal of my heart. Elvira May righteous heaven protect mv betrayed heart. (They enter.) Scene XXI Hall in Don Giovanni's house, illuminated and prepared for a grand ball. Don Giovanni, Leporello, Zerlina, Masetto, Peasants of both sexes, servants with refreshments; later Don Ottavio, Donna Anna and Donna Elvira, masked. Don Giovanni seats the girls and Leporello the boys who have just finished dancing. Riposate, vezzose ragazze. Rinfrescatevi, bei giovinotti. Giovanni Rest, charming girls. Leporello Refresh yourselves, handsome fellows. Giovanni and Leporello Tomerete a far presto le pazze, Soon you will again be behaving madly, tornerete a scherzare, a ballar. you will again be flirting, dancing. Ehi! caffe. Cioccolata. Ah! Zerlina, giudizio! Giovanni Hey! coffee. Leporello Chocolate. Masetto (softly to Zerlina) Ah! Zerlina, be careful! Giovanni Sorbetti. Sherbets. Confetti Leporello 333 Sweets. 332 The Metropolitan Opera Book of Mozart Operas Don Giovanni Zerlina and Masetto (aside) (Troppo dolce comincia la scena. (The scene begins too mildly. In amaro potria terminar.) It could end in bitterness.) (Refreshments are brought and distributed.) giovanni (caressing Zerlina) Sd pur vaga, brillante Zerlina! You are truly beautiful, radiant Zerlina! Zerlina Sua bonta. You are kind. masetto (trembling with rage) (I j briccona fa festa.) (The roguish girl is having a good time.) leporello (imitating his master with the other girls) Sci pur cara, Giannotta, Sandrina! You are truly dear, Giannotta, Sandrina! Masetto (observing Don Giovanni) (Tocca pur, che ti cada la testa.) (Just touch her, your head will fall.) Zerlina (It looks like Masetto is beside himself. This affair is becoming really ugly) Giovanni and Leporello (<^ut-l Masetto mi par stralunato. (It looks like Masetto is beside himself. Qui hisogna cervello adoprar.) Now one must put one's brain to use.) Masetto Tbcca, tocca! Just touch her! Ah, briccona! mi mii n disperar. (Quel M Ml Hfl mi par stralunato. Brutto, brutto si fa quest'affar.) Ah, little rogue! You want to drive me to despair. Scene XXII Don Ottano, Donna Anna, Donna Elvira and the abovementioned Wnitc pur avanti, \raose mascherette. fc apcTto a tutti quanti. Viva la liberta! Leporello Just come forward, Charming maskers. Giovanni It is open to everyone. All Long live liberty! 334 Siam grati a tanti segni di generosita. Anna, Elvira and Ottavio We are grateful for so many signs of generosity. Ricominiciate il suono. Giovanni Let the plaving begin again. (to Leporello) Tu accoppia i ballerini. Couple the dancers. (Don Ottavio dances the minuet with Donna Anna.) Leporello Come, dance, like good fellows. (They dance.) Elvira (to Donna Anna) That is the peasant girl. Anna (to Ottavio) I am dying! Ottavio Keep up appearances. Leporello and Don Giovanni It's going well, trulv! Masetto (ironically) It's going well, trulv! Giovanni (to Leporello) Keep Masetto at bav. (to Zerlina) Da bravi, via, ballate. Quella ě la contadina. Io moro! Simulate. Va bene, in veritá! Va bene, in veritá! A bada tien Masetto. H tuo compagno io sono, Zerlina, vien pur qua . . . I am vour partner, Zerlina, just come here . . . Non balli, poveretto? Vien qua, Masetto caro, facciam quel ch'altri fa. (He begins to dance a contredance with Zerlina.) Leporello (to Masetto) You're not dancing, poor fellow? Come here, dear Masetto, let's do what the others are doing. (He forces Masetto to dance.) 33S The Metropolitan Opera Book of Mozart Operas Don Giovanni No, no, ballar non voglio. Masetto No, no, I don't want to dance. leporello Hey! dance, mv friend. Eh! balla, amico mio. anna (to Donna Elvira) Rcsister non poss'io! I cannot endure it! Elvira and OttaviO (to Donna Anna) Fingctc, per pieta. Pretend, for pity's sake. (Leporello dances the Deutsch with Masetto.) Giovanni Vicni con me, mia vita . . . Come with me, my life . .. {Dancing, he leads Zerlina off.) Masetto 1 .im i.uni ... Ah ... no .. . Zerlina! Let me go ... Ah ... no .. . Zerlina! (He goes in shaking himself loose from LeporeUo.) ()h Numi! son tradita! . (Qui rvasoe una ruina.) Zerlina Oh Gods! 1 am betrayed! . Leporello (Here disaster is born.) (Hegoes in.) Anna, Elvira and Ottavio (among themselves) L'iniquo da se stesso ncl lan io se ne va. The wicked man, on his own initiative, goes into the snare. Zerlina Gentc!. . . aiuto! . . . aiuto! gente! People!. . . help! . . . help! people! Anna, Elvira and Ottavio Soccorriamo l'innocente ... Let us help the innocent girl . ■ (The musicians leave.) Ah! Zerlina! Masetto ■ Ah! Zerlina!. 336 Zerlina (from within) Scellerato! Scoundrel! Anna, Elvira and Ottavio Ora grida da quel lato . . . Now she is crying out from that side . . . Ah! gettiamo giu la porta . . . Soccorretemi o son morta! . . Ah! let us break down the door . . Zerlina Help me, or I am done for! . . . Anna, Elvira, Ottavio and Masetto Siam qui noi per tua difesa. We are here in your defense. (Giovanni comes out with sword in hand, leading Leporello by an arm, and pretends to be unable lo unsheathe his sword so as to wound Leporello.) Giovanni Ecco il birbo che t'ha offesa, Here is the rascal who has offended you, ma da me la pena avra. but he will have punishment from me. Mori, iniquo! Die, wicked fellow! Leporello Ah! cosa fate?. . . Ah, what are vou doing?. . . Giovanni Mori, dico!. . . Die, I say! . . . Ottavio (pulling out a pistol) Nol sperate ... Do not hope for that . . . Anna, Elvira and Ottavio (L'empio crede con tal frode (The impious man believes with such a fraud di nasconder l'empieta.) to hide his wickedness.) (They pull off their masks.) Donn' Elvira! Giovanni Donn' Elvira! Elvira Si, malvagio! Yes, wicked man! Don Ottavio! Giovanni Don Ottavio! 337 The Metropolitan Opera Book of Mozart Operas Don Giovanni Si, signore! Ah! credete . Traditore! Tutto, tutto giä si sa. Ottavio Yes, signore! Giovanni (to Donna Anna) Ah! believe . ... Anna, Elvira, Zerlina, Ottavio, Masetto Traitor! Everything is known now, everything. Trema, tremo, o scellerato, ..i|>r.i tosto il mondo intero il misfatto orrendo e nero, la tua in i .i crudelta. Odi il tuon della vendetta che ti •]-. In.i intomo, intorno; sul ttio capo in questo giomo il vim fulmine cadrä. k confusa la|m,a testa. ALL (except Giovanni and Leporello) Tremble, tremble, scoundrel, soon the whole world will know of the horrible and black deed, of your fierce cruelty. Hear the thundering of the vengeance that whistles all round vou; on your head today its bolt will fall. 'I- Giovanni and Leporello My His head is confused, Non j " piu quel ch' ™' faccia, k un'orribilc tempesta Minacciando, oh DioJ I™ va! vi • fme Ma non manca inj | . coraggio, [mi perdo fmi confondo: Non{ , , o\ . , , tsi perdo [ si contonde: Sc cadesse ancora il mondo fmi I don't know He doesn't know doing, And a horrible tempest, Oh God, menaces h jm. vlonger what he is me, nulla ma i temer fmi 11° But courage is not lacking inj^ !. I will neither bsel"^ way nor become HeJ [his confused: Even though the world may fall fme. him. nothing frightens End of Act One ACT TWO Scene I Street. Don Giovanni with a mandolin in his hand and Leporello Giovanni Lh via, buffone, non mi seccar. Come on, buffoon, don't annoy me. Leporello No, no, padrone, non vo' restar. No, no, master, ! don't want to stay. Giovanni Sentimi, amico . . . Listen to me, friend . . . Leporello Vo' andar, vi dico. I must go, I tell you. Giovanni Ma che ti ho fatto, che vuoi lasciarmi? But what have I done to you, that you want to leave me? Leporello Oh, niente affatto, quasi ammazzarmi. Oh, nothing at all, almost killed me. Giovanni Va', che sei matto, fu per burlar. Go on, you're crazy, it was meant as a joke. Leporello td io non burlo, ma voglio andar. And I'm not joking, 1 want to go. Giovanni Leporello. Leporello. Leporello Signore. Signor. Giovanni Vien qui, facciamo pace. Prendi . . . Come here, let's make peace. Take this . . . 338 339 THE MfcTROPOLITAN OPERA BOOK OF MOZART OPERAS Don Giovanni Leporello Cosa? Wtf Giovanni (gives him some money) Ouattro doppie. Four doubloons. Leporello Oh! sentite: Oh! listen: per quesU volta This one time la cerimonia accetto; 1 agree to the ceremony; manonvici avvezzate: non credete but don't accustom yourself to it don't think di scdurre i miei pari, to seduce my sort (taking the purse) come lo donne, a forza di denari. as you do the women, by means of money. Giovanni Non parliam piu di cio. Ti basta l'animo Let's not speak of that anymore. Do you have enough courage ill far quel ch'io ti dico? to do what I tell you? Purche lasciam le donne. Leporello As long as we leave the women alone. Giovanni Lasciar lc donne? Pazzo! Leave the women alone? Crazy fellow- Sai chVlle per me Don't you know that they are more »on necessane piu del pan che mangio, necessarv for me than the bread I (ft piu dell'aria che spiro? more than the air 1 breathe.' Leporello H avete core And do you have the heart d'ingannarle poi tutte? to deceive them all then? Giovanni K tutto amore. Chi a una sola e fedcle, veno Pahre e crudele. lo, che in me sento si esteso sentimento, vo" bene a tutte quante. It's entirely l«ve Whoever is faithful to one alone is cruel to the others. I, who sense in myself such expansive feelings, love all of them. Le donne poi, che calcolar non sanno, So that women who are unable to grasp the distinction il mio buon natural chiamano inganno. call my natural instinct deceit. Leporello Non ho veduto mai I have never seen naturale piü vasto e piii benigno. a greater or more generous natural instinct. Orsü, cosa vorreste? All right, what do you want? Giovanni Odi. Vedesti tu la cameriera Listen. Did you see the chambermaid di Donn' Elvira? of Donn' Hlvira? Leporello lo? No! I? No! Giovanni Non hai veduto You have never seen qualche cosa di bello, such a thing of beauty, caro il mio Leporello! Ora io con lei my dear Leporello! Now I wish to trv vo' tentar la mia sorte, ed ho pensato my luck with her, and since it's getting giacche siam verso sera, on towards evening, I thought per aguzzarle meglio 1'appetito, to better whet her appetite, di presentarmi a lei col tuo vestito. by presenting myself to her in your clothes. H perche non potreste presentarvi col vostro? Con gente di tal rango Gli abiti signorili. Leporello And why could vou not present yourself in vour own? Giovanni Han poco credito Aristocratic clothing Has little credit With people of that class. (He pulls off his cloak.) Sbrigati, via! Make haste, come! Leporello Signor, per piu ragioni . . . Sir, for more reasons . .. Giovanni (with anger) Finiscila; non soffro opposizioni. Stop it; I will not suffer opposition. (They exchange cloaks and hats.) 341 340 The Metropolitan Ophra Book of Mozart Operas Don Giovanni Scene II (Don Giovanni, Uporello and Donna Elvira at the window. It gradually becomes nigh.) Ah! taii, ingiusto core, non palpitarmi in seno; ě un cmpio, un traditore, c colpa aver pieta. Zitto . . . di Donna Elvira, Mgnor, la voce io sento. t'ogliere io wo' il momento. Tu fermatí un po' lá. Hlvira, idolo mio! . . . Non ě costui I'ingrato? Si, vita mia, son io. t chiedo carítä. iNumi, che strano afTetto mi si risveglia in petto!) i State a veder la pazza, i he ancor gli crederä!) Discvndí, o gioia bella! Vcdraj che tu sei quella che adora Palma mia: prntito io sono giä. No, non ti credo, o barbaro. Elvira Ah! be silent, unfair heart, do not throb in my breast; he is an impious man, a traitor, It is a sin to have pity. leporello (under his breath) Silence ... I hear the voice, signor, of Donna Elvira. Giovanni I must seize the moment. You stay there for a bit. (He places himself behind Leporello.) Elvira, mv idol! . . . Elvira Is that not the ungrateful man? Giovanni Yes, my life, it is I. And I beg your forgiveness. Elvira (Gods, what strange passion Is reawakened in my heart!) Leporello ( Just look at the crazy woman, who still will believe him!) Giovanni Come down, oh lovely jewel! You will see that you are the one whom mv soul adores: I am already repentant. Elvira No, I don't believe you, oh barbarou Ah, credimi, o m'uecido. Se seguitate, io rido. Idolo mio, vien qua. (Dei, che cimento ě questo, non so s'io vado o resto . . . Ah! proteggete voi la mia credulitá.) (Spero che cada presto; che bel colpetto e questo! Piii fertile talento del mio, no, non si da.) (Giä quel mendace labbro toma a sedur costei; deh, proteggete, o Dei, la sua credulitá.) Amico, che ti par? Giovanni (with rapture and almost weeping) Ah, believe me, or I will kill myself. Leporello (under his breath to Don Giovanni) If you continue, I'll laugh. Giovanni My idol, come here. Elvira (Gods, what a trial this is, I don't know if I am going or staying . . Ah, protect, ye Gods, my credulity.) (She goes in.) Giovanni (I hope she falls quickly; what a lovely litde stroke this is! A more fertile talent than mine, no, is not granted.) Leporello (Those lying lips are returning to seduce that woman again; ah, protect, oh Gods, her credulity.) Giovanni (very cheerful) Friend, how does it seem to you? Mi par che abbiate Un'anima di bronzo. Leporello It seems to me that vou hav A soul of bronze. Giovanni Va la, che se' il gran gonzo. Ascolta bene: Go on, you're a great simpleton. Listen well: quando costei qui viene, when that woman comes here, tu corn ad abbracciarla, you run to embrace her, falle quattro carezze, give her a few caresses, 343 342 The Metropolitan Opera Book of Mozart Operas tingi la voce mia; poi con bell'arte g(R| teOO condurla in altra parte. Ma signore . . . use my voice; then with great cunning try to lead her somewhere else. Leporello But signore . . . Giovanni Non piu repliche. No more objections. Leporello Ma m- poi mi conosce? But what if she recognizes me? Giovanni Non ti conoscera, se tu non vuoi. She won't recognize you, if you don't want her to. Silence: she is opening the door; be careful. Zitto: rU'aprr; ehi, giudizio. (Vrggumo che fara.) (He goes to one side.) Scene III Donna Elvira and the abovementioned Elvira Hccomiavoi. Here I am for you Giovanni (Let's see what he will do.) Leporello (Che imbroglio!) (What a mess!l Elvira Dunquc crcder potro che i pianti miei Then can I believe that my tears ahhun vinto quel cor? Dunque pentito have vanquished that heart? That repentant I'anuto Don Giovanni al suo dovere mv beloved Don Giovanni returns c all'amor mio ritorna? to his duty and my love? leporello (always changing his voice) Si, carina! Yes, dear! Elvira Crudde! se sapeste quante Ugrime e quanti sospir voi mi costate! Cruel man! if you knew how many tears and how many sighs you cost me! Io, vita mia? Voi. Don Giovanni Leporello Elvira You. Leporello I, my life? Poverina! quanto mi dispiace! Poor little girl! how sorry I am! Elvira Mi fuggirete piü? You will not flee from me again? Leporello No, muso bello. No, sweet face. Sarete sempre mio? Elvira You will alwavs be mine? Leporello Dearest! Sempre. Always Elvira Carissimo! Leporello Carissima! (La burla mi dá gusto.) Dearest! (The prank gives me pleasure.) Elvira Mio tesoro! My treasure! Leporello Mia Venere! Mv Venus! Elvira Son per voi tutta foco. For you I am all fire. Leporello Io tutto cenere. I, all ash. (II birbo si riscalda.) E non m'ingannerete? Giovanni (The rascal is warming up.) Elvira And you will not deceive me? Leporello No, sicuro. No, of course not. 34S 344 THt Metropolitan Opera Book of Mozart Oper.« Don Giovanni < iiui -11«- ■ 111 ■Elvira Swear to me. Leporello Zi zi . . . Pst, pst . Lo giuro a questa mano, che bacio con trasporto, a quei bei lumi . . . 1 swear it by this hand, that 1 kiss with rapture, by those beautiful eyes . . . Giovanni (pretending to kill someone) Ah! eh! ih! ah! ih! ah! sei motto . . . Ah! hey! hee! ah! hee! ah! you are dead . . . Elvira and Leporello Oh Numi! (Theyßee together.) Giovanni OhGoi! Ih! oh! par che la sorte mi socondi. Veggiamo; i. hiK-sin son queste. Ora cantiamb. (He sings, accompanying IVh! vieni alia tinestra, o mio tesoro. I >< Ii, \uiii a consolar il pianto mio. V neghi a mc di dar qualche ristoro, davanti agli occhi tuoi morir vogl'io. Til ch'hai la bocca dolce piú che il miele, tu che il zucchero porti in mezzo il core, non esscr, gioia mia, con me crudele, Um. uti almen veder, mio bell'amore! (laughing) Ha! ha! it seems that fate is assisting me. Let's see: these are the windows. Now let us sing. himself on the mandolin.) Ah! come to the window, oh my treas^-Ah, come to console my weeping If you refuse to give me some comfort. I wish to die before your eyes. You who have a mouth sweeter than honey you who have sugar at the core of your heart, my joy, do not be cruel to me, at least let yourself be seen, my I love! Scene IV Masetto, armed nith an musket and a pistol, Peasants and the abovementionei V'e gentc alia linestra: «ri dcs&a. Giovanni There's someone at the window: it must be she. (calling) Masetto Non ci stanchiamo. II cor mi dice Let's not tire ourselves. My heart tells me che trovarlo dobbiam. (Qualcuno park.) Fermatevi; mi pare che alcuno qui si muova. (Se non fallo ě Masetto.) Chi va lá?. . . non risponde. Animo, schioppo al muso: chi va la? (Non e solo: ci vuol giudizio.) that we must find him. Giovanni {Someone's speaking.) MASETTO (to the Peasants) Stop; it seems to me that someone is moving about. Giovanni (If I'm not mistaken, it's Masetto.) Masetto Who goes there? He doesn't answer. (id his men) Courage, musket at the ready. (louder) Who goes there? Giovanni (He's not alone: I'd best be careful.) (He attempts to imitate Leporello's voice) Amici . . . Friends .. . (Non mi voglio scoprir.) Sei tu, Masetto? (I don't want to reveal myself.) Is it you, Masetto? Appunto quello. E tu? Non mi conosci? 11 servo son io di Don Giovanni. Leporello! Seno di quell'indegno cavaliere! Masetto (angrily) It just happens to be. And you? Giovanni You don't recognize me? I am Don Giovanni's servant. Masetto Leporello! Servant of that base cavalier! 347 346 The Metropolitan Opera Book of Mozart Operas Don Giovanni Ccrto, di quel briccone. Giovanni Certainly, of that rogue. Masetto l)i quell'uom senza onore! Ah, dimmi un Of that man without honor! Ah, tell me, poco. dove possum trovarlo? Ijo ccrco con costor per trucidarlo. (Hagattt-llr!) Bravissimo, Masetto, anch'io con voi m'unisco, per farglicla a quel birbo di padrone. < h scnti un po' qual'e la mia intenzione. where can we find him? I am looking for him with these fellows, to murder him. Giovanni (A mere trifle!) Bravissimo, Masetto, 1 too, will join you, to do the same to that rascal of a master. Now listen a bit to what rav intention is. Mrtá di voi qua vadano. r gli altri %.i.l.iii la, r pun pianin lo cerchino, lonun non ha di qua. V un uom e una ragazza paurggian per la piazza, v joito a una tinestra fare all'amor scntite, fcntc pur. fcrite, il mi. i padron sara! In te»u egli ha un cappello ton i jndidi pennacchi. Aiidosso un gran mantello ■ tpada al Banco egli ha. (indicating to the right) Half of you go there, (indicating to the left) and the others go there and very quietly look for him, he won't be far from here. If a man and a girl stroll through the piazza, if under a window you hear someone making love, strike, just strike, it will be my master! On his head he has a large hat with white plumes. On his back he has a great cloak and he has a sword at his side. Andate, fate presto! "Hi >ol vrrrai con me. Noi far dobbiamo il resto fc gu vedra i cos'e. (to the Peasants) Go, do it quickly! (to Masetto) You'll go with me alone. We have to do the rest, and now you'll see what it is. (The Peasants leave m opposite directions.) 348 Scene V Don Giovanni. Masetto Giovanni Silence . . . Let me listen . . . Very good. Zitto . . . Lascia ch'io senta . . . Ottimamente. (being assured that the peasants are alreadv far away) Dunque dobbiam ucciderlo? Then we must kill him? Masetto Sicuro. E non ti basteria rompergli l'ossa, fracassargli le spalle?. . . No, no; voglio ammazzarlo, vo' farlo in cento brani. Hai buon' arme? Of course. Giovanni And it wouldn't be enough for you to break his bones, to smash his shoulders?. . . Masetto No, no; I want to kill him, I want to tear him into a hundred pieces. Giovanni Have you good weapons? Masetto Cospetto! Ho pria questo moschetto. e poi questa pistola. By God! I have this musket, and this pistol. (He gives the musket and pistol to Don Giovanni) Giovanni H poi? And? Masetto Non basta? It's not enough? Giovanni Oh! basta certo. Or prendi: Oh! certainly it's enough. Now take: (He beats Masetto with the jlat of his sword.) Questa, per la pistola, . . . questa, per il moschetto . . , This, for the pistol, . . . this, for the musket. .. 349 The Metropolitan Opera Book of Mozart Operas Don Giovanni Ahi, ahi! . . . soccorso! Ahi, ahi! Masetto Ahi, ahi! . . . help! Ahi, ahi! Giovanni Taci, o sei morto . . . Quiet, or you're < Questa, per ammazzarlo. This, for killing him. Quota, per farlo in brani. This, for tearing him to pieces. \illan»! mascalzon! ceffo da cani! Peasant! ruffian! dog snout! (Masetto folk and Don Giovanni leaves.) Scene VI Masetto, then Zerlina with a lantern. Ahi1 ahi! la testa mia! Ahi! ahi! le spalle, e il petto! I)i m-ntirr mi parve la voce di Masetto. ()h l)to! Zerlina mia, •OCCOT50. Cosa c stato? I iniquo, il scellerato mi ruppe I'ossa e i nervi. Oh poveretta me! Chi? Leporello, o quak he diavol che somiglia a lui. Crudcl! non tel diss'io die con questa tua pazza gelosia «1 ndurresti a quak he brutto passo? Omv b duole? Masetto Ahi! ahi! mv head! Ahi! ahi! my shoulders and chest! Zerlina I think I hear Masetto's voice. Masetto Oh God! My Zerlina, help. Zerlina What happened? Masetto The wicked man, the scoundrel has broken my bones and sinews. Zerlina Oh, poor me! Who? Masetto Leporello, or some devil that resembles him Zerlina Cruel man! did I not tell you that with this crazy jealousy of you" you would be reduced to such a state Where does it hurt you? Qui. : poi! Qui E poi non ti duol altro? Duolmi un Questo piě', questo braccio e questa Masetto Zerlina Masetto Here Here. And? . and also . here. Zerlina And then does anything else hurt you? Masetto poco This foot Hurts me a bit, this arm and this hand. Via, via, non e gran mal, se il resto e sano. Vientene meco a casa: purche tu mi prometta d'essere men geloso, io, io ti guarirö, caro il mio sposo. Vedrai, carino, se sei buonino, che bei rimedio ti voglio dar. H naturale, non da disgusto, e lo speziale non lo sa far. E un certo balsamo the porto addosso, dare tel posso se il vuoi provar. Saper vorresti dove mi sta; sentilo battere, toccami qua. Zerlina Come, come, that's not so very bad, if the rest is healthv. Come home with me: provided that vou promise me to be less jealous, I will heal you, my dear betrothed. You will see, dear one, if you are really good, what a lovely remedy I want to give you. It's natural, it isn't distasteful, and the apothecary doesn't know how to make it. It is a certain balm that I carry about me. I can give it to you if you want to try it. If you would like to know where it is on me; feel it beat, touch me here. (She has him touch her heart, then they leave.) 351 350 thl metropolitan opera book of mozart operas Don Giovanni Scene VII A dark atrium with three doors, in Donna Anna's house. Donna Elvira and Leporefo. l.eporello (mimicking the voice of his master) Di molte faci il lume The light of many torches fa 11. ma, o mio ben; stiamci qui ascosi is approaching, oh my beloved; let us stt hidden here until thev move away from us. hni he da noi si scosta. Ma che temi, adorato mio sposo? Elvira mv adored husband? Llporello But what do you feat. Nulla, nulla . . . Nothing, nothing ■• Ccrti riguardi . . . lo vo' veder se il lume Certain precautions ... I want to see it the light * gii lontano. (Ah, come is far enough away. (Ah, how da eostei liberarmi?) to free myself from this woman?) Km..mli. anima bella . . . Remain, lovely soul . Elvira Ah! non lasciarmi. Ah! do not kff » Sola, sob, in buio loco. All alone, in this dark place, (ulpitar il cor mi sento, I feel my heart throbbing, e m'aualr un tal spavento and such terror assails me die mi sombra di morir. that I seem to be dying. leporello {feeling his way) < I'm chc cerco, men ritrovo (The more I search, the less 1 find qur*ta porta sciagurata . . . this wretched door . .. Huno, piano, l'ho trovata: Gently now, I've found it: ecco il tempo di fuggir.) now is the time to flee.) (He mistakes the exit.) Scene VIII Oonno Aima. Don Ottaxm, both dressed in mourning. Servants with lights, and the ate"""1 tlXmna Elrira, at the arrival of the lights, hides in one corner, Leporelh in anoi the) Tcrgi il ciglio, o vita mia! e da" i alma al fuo dolore; Ottavio Dry your eyes, oh my life! and calm vour sorrow; l'ombra omai del genitore pena avra de' tuoi martir. Lascia almeno alia mia pena questo picciolo ristoro; sol la morte, o mio tesoro, il mio pianto puo finir. or the shade of your father will be distressed bv vour anguish. Anna At least allow me this small comfort in my pain; onlv death, oh my treasure, can end my weeping. elvira (without being seen) (Ah! dov'e lo sposo mio?) (Ah! where is my husband?) leporello (at the door, without being seen) (Se mi trova, son perduto.) (If she finds me, I'm lost.) Elvira and Leporello Una porta la vegg'io. I see a door there. Chet cnet|0'° vo' partir. I must leave very quietly. (Leporello, in leaving, meets Masetto and Zerlina.) Scene IX Masetto with a stick, Zerlina and the above mentioned Zerlina and Masetto Ferma, briccone! Dove ten vai? Stop, rogue! Where are you going? (Leporello hides his face.) Anna and Ottavio beco il fellone . . . Com'era qua? Here is the traitor . . . How did he get here? Anna, Zerlina, Ottavio and Masetto Ah! mora il perfido che m'ha tradito. Ah! let the treacherous man die who hi betrayed me. Elvira E mio marito . . . Pieta! pieta! He is my husband .. . Mercv! Have mercy! Anna, Zerlina, Ottavio and Masetto £ Donna Elvira, quella ch'io vedo? Is that Donna Elvira 1 see? Appena il credo . . I scarcely believe it. . . 353 352 The Metropolitan Opera Book of Mozart Operas Don Giovanni Elvira Zerlina Pieti! pieti! Have mercy! have mercy! Anna, Zerlina, Ottavio and Masetto No, morra. N° he w"1 &e- (As Don Ottavio is about to kill him, Leporello reveals himself and kneels.) Leporello IVrdon, perdono, signoři miei: .111>-Hi > io non sono, sbaglia costei . Vivcr lasciatemi, per caritä! Pardon, pardon, your lordships: I am not he, she is mistaken . Let me live, please! The Others Dei! Leporello! . . . Che inganno e questo! Gods! Leporello!. . What deceit is this! Stupid J * resto!—che mai sarä? I am thunderstruck!—what will happen' (Milk torbidi pensieri mi s'aggiran per la testa; sr mi salvo in tal tcmpesta r un prodigo in veritä.) Leporello (A thousand troubled thoughts are whirling in my head; if I save myself in such a storm it will truly be a marvel.) The Others (Mille torbidi pensieri (A thousand troubled thoughts mi s'aggiran per la testa ... are whirling in my head .. . Che gionuu, o stelle, e questa! What a day, oh stars, is this! Che impensata novita!) What an unexpected new event.) (Donna Anna leaves) zerlina (to Leporello, furiously) Dunque quello sei tu che il mio Masetto Then you are the one who a short vdiik poco fa crudelmente maltrattasti. ago cruelly mistreated my Masetto. Elvira Dunque tu m'ingannasti, o scellerato, Then vou deceived me, oh scouw spacoandoti con me da Don Giovanni? passing yourself off with me as Don Giovanni? drei, by Dunque tu in questi panni trniMi qui per qualche tradimento. Ottavio Then you came here in these clothes to carrv out some betrav31 A me tocca punirlo. Anzi a me. No, no, a me. Accoppatelo meco tutti e tre. Ah! pieta, signoři miei! Do ragione a voi . .. a lei . . . Ma il delitto mio non ě. II padron con prepotenza l'innocenza mi rubo. Donna Elvira! compatite: giä capite come andö. Di Masetto non so nulla, It falls to me to punish him. Elvira Rather to me. Ottavio No, no, to me. Masetto All three beat him to death w ith me. Leporello Ah! have mercy, my Lords! You are right... so is she . .. But the crime is not mine. My master arrogantly robbed me of my innocence. (softly to Donna Elvira) Donna Elvira! take pity: you alreadv understand how it went. I don't know anything about Masetto, (indicating Donna Elvira) This young lady will tell you that; I have been wandering around with her for an hour, more or less. vel dira questa fanciulla; e un'oretta circumcirca che con lei girando vo. (to Don Ottavio, in confusion) To you, sir, I don't say anything . . . A certain fear ... or certain misfortune . . . Di fuori chiaro . . . di dentro scuro . . . Outside clear . . . dark within . . . Non e'e riparo ... la porta, il muro . . . There's no shelter . . . the door, the wall . . . (indicating the door where he concealed himself bv mistake) A voi, signore, non dico niente . . . Certo timore . . . certo accidente . . Lo . . . il - . . la . . . vo da quel lato . Poi qui celato, l'affar si sa . . . Ma s'io sapeva, higgia per qua! . . . I'm going towards that side . . . Then hidden here, one understands the matter . . . But if I knew, I could have fled through there! .. . (Heßees hastily.) 355 354 THfc Metropolitan Opera Book of Mozart Operas Don Giovanni Scene X Don Ottavio, Donna Elvira, Zerlma and Masetto Herma, pertido; ferma . II birbo ha I'ali ai piedi u sottrassc I'iniquo! Elvira Stop, treacherous man; stop .. Masetto The rogue has wings on his feet. Zerlina Con qual arte With what the wicked man rescued himself! Amici miei! I)opo cccessi si enormi, •lubitar non possiam che Don Giovanni non -i.i 1'empio uccisore ilrl |>adrr di Donn'Anna. In questa casa per ptxho ore fermatevi: un ricorso vo' far a chi si deve, e in pochi istanti »Tndkar>i prometto; cosi vuolr dover, pietade, affetto. II mio tcsoro intanto andair a consolar: c \ .tl< i; chf sol di stragi e morti nutuio vogho tomar Ottavio Mv friends! After such monstrous excesses, we cannot doubt that Don Giovanni is the impious killer of Donn' Anna's father. Stay for a feu hours in this house: I wish to make a complaint to whomever one should, and in a few moments, I promise to avenge you Thus duty, compassion, love demand. Meanwhile, go and console my treasure and seek to dry the tears from her lovely eyes. Tell her that I am going to avenge her wrongs; that I wish to return only as herald of slaughter and death. (Thev leave.) Scene XI Donna Elvira alone Elvira In quali eccessi, o Numi! in quai misfatti In what excesses, oh Gods! in wW horrible, ocnbih. in-mendi, tremendous misdeeds, <• .»%,,!<,, il sciagurato! js tne wTetch entangled! Ah no, non puote tardar l'ira del cielo, la giustizia tardar. Sentir giä parmi la fatale saetta, che gli piomba sul capo! Aperto veggio il baratro mortal . . . Misera Elvira! Che contrasto d'affetti in sen ti nasce! Perche questi sospiri e queste ambasce? Mi tradi quell'alma ingrata, infelice, oh Dio! mi fa. Ma tradita, e abbandonata, provo ancor per lui pietä. Quando sento il mio tormento di Vendetta il cor favella, ma se guardo il suo eimento palpitando il cor mi va. Ah no, the anger of heaven cannot be delaved, nor justice held back. It seems 1 already hear the fatal lightning bolt that falls on his head! I see the deadly abyss open . . . Miserable Elvira! What a conflict of affections is bom in vour breast! Why these sighs and these griefs? That ungrateful soul betrayed me, makes me, oh God! unhappy. Yet betrayed and abandoned, I still feel pity for him. When I feel mv torment my heart speaks of vengeance but when I see his danger my heart begins to throb. (Leaves) Scene XII .4ji enclosed place in the shape of a cemetery, with several equestrian statues, among them that of the Commendatore. Don Giovanni, later Leporello. Giovanni (laughing, enters over the low wall) Ah! ah! ah! ah! questa ě buona! Or lasciala cercar! Che bella notte! Ľ piů chiara del giorno; sembra fatta per gir a zonzo a caccia di ragazze. t tardi? Ah! ah! ah! ah! this is good! Now let her search! What a beautiful night! It's brighter than dav; it seems made for sauntering about, hunting for girls. Is it late? (looking at the clock) Oh, ancor non sono due delta notte. Avrei voglia un po' di saper com'e finito 1'affar tra Leporello e Donn'Elvira, s'egli ha avuto giudizio . . . Oh, it's not yet two o'clock at night. I'd like to know something of how the affair between Leporello and Donn'Elvira ended, if he had the judgement . . . 357 356 Thk Metropolitan Ophra Book of Mozart Operas Don Giovanni Leporello Allin vuolc ih'io faccia un precipizio. At last he wants me to act rashlv. Giovanni from another world, che v, conosce a fondo. who ]mmn you thoroughly. Giovanni . Taci, sciocco! Quiet, fool! Oi va U? chi va la? who ^ there? who goes there? (He places his hand on his sword, searches here and there in the cemeten\ giving several blows to the statues.) commendatore ! Ribaldo audace! Audacious^ Leave the dead in peace. rat a morti la pace Leporello (trembling) Ve l'ho detto?. . . Didn't I tell you?. Sara qualcun di fuori che si burla di noi . . Giovanni It must be someone outside who is mocking us . . . (with indifference and disdain.) Ehi! del Commendatore Ah! isn't this the statue non e questa la statua? Leggi un poco of the Commendatore? Read out quella iscrizion. that inscription. Scusate . . . Non ho imparato a leggere a' raggi della luna. Leggi, dico. Leporello Excuse me . . I've not learned how to read by the rays of the moon. Giovanni Read, I say. Leporello (reading) «DeH'empio, che mi trasse al passo "Upon the impious man who drove me estremo to the extreme step Qui attendo la vendetta» . . . Udiste?. . . Here 1 wait for vengeance" ... Do you Io tremo! hear?... I tremble! Oh, vecchio beffonissimo! Digli che questa sera Pattendo a cena meco. Giovanni Oh, most foolish old man! Tell him that this evening I wait for him to have supper with me. Leporello Che pazzia! Ma vi par?. . . Oh Dei! What madness! But does it seem to mirate you?. . , O Gods', see che terribili occhiate egli ci da . . . what terrible intense looks he gives us ... Par vivo ... par che senta ... He seems alive ... it seems that he hears . . . E che voglia parlar ... And that he wants to speak . . . Giovanni Orsu, va la. Come on, get on with it. O qui t'ammazzo e poi ti seppellisco. Or I will kill you and bury you right here. 361 360 The Metropolitan Opera Book of Mozart Oper.« Don Giovanni l'ui«) . . . piano . . . , signore ubhidisco. 0 >t.nu.i gentilissima vntomi gelar!) <) ttatua gcntilissima, \tth hé i i marmo siate . . . Ah' padron mio . . . mirate . . ihe trguiu ... a guardar . . . No, no... attendete **P**. J padron mio . Kulíte hen . . . non io *fe*T»a con voi cenar . . Leporello Softlv . . . softly . . . sir... now I ol 0 most noble statue of the great Commendatore ... Master ... my heart is trembling. . . . I can . .. not . . . end . Giovanni Finish it, or in your breast 1 will put this sword. (What pleasure! what amusement! I want to make him tremble.) Leporello (What a nuisance.! what a caprice! I feel myself freezing!) Oh most noble statue, although you are of marble .. • Ah, master . . . look . .. how he continues ... to look at ■ Giovanni Die . . . Colla marmorea testa Leporello (to the statue) No, no .. . wait. ■ JJ *h< ah! ehe scéna ě questa! <* od! chinö la testa .. . V* U, che sc- un buffone. «cor ..padrone., t che tJegg'io guardar? Signor, my master .. • Listen carefully, not I ■ ■ ■ Would like to have supper (The statue bows its head in assent.) with von Ah! ah! ah! what a scene this is! -O heavens! . . . he bowed his Giovanni Go on, what a fool you are. Leporello Look again . . . master . • Giovanni And what should I look at? e i fa . cosi . . . cosi . (Colla marmorea testa ei fa cosi. . . cosi!) Parkte, se potete: verrete a cena? SI. Mover . . mi . . . posso appena Mi manca, oh Dei!... la lena . . Per carita . . . partiamo . . . Andiamo—via di qui. Bizzarra ě inver la scéna! Verrä il buon vecehio a cena! A prepararla andiamo: partiamo—via di qui. Leporello With his marble head (imitating the statue) he does . . . like that . . . like that . . . Giovanni (With his marble head he does . . . like that . . . like that!) (towards the statue) Speak, if you can: will you come to supper? Commendatore Leporello I . . . can . . . scarcely . . . move . . . I lack, oh Gods! . . . the energy . . . For heaven's sake . . . let's leave . . . Let's go—away from here. Giovanni The scene is truly bizarre! The good old man will come to supper! Let us go to prepare it: Let us go—away from here. (They leave.) Scene XIII Dark room in Donna Anna's house Don Ottavio and Donna Anna Calmatevi, idol mio; di quel ribaldo vedrem puniti in breve i gravi eccessi: vendicati sarem. Ottavio Calm yourself, my idol; we shall soon see the grave excesses of this scoundrel punished: we shall be avenged. Ma il padre, oh Dio! Anna 363 But my father, oh God!. 362 The Metropolitan Opera Book of Mozart Operas Don Giovanni Convien chinare il ciglio ai voleri dcl ciel. Respira, o cara! I ' tua 11, rdi ta amara ha ili unani, se vuoi, dolce compenso questo cor, qucsta mano, chc il mio tenero amor . . . Ottavio It is necessary to bow one's head to the will of heaven. Breathe, oh dor one! Tomorrow, if you wish, For vour bitter loss will be sweet im" j this heart, this hand, which my tender love ... Anna Oh Dei! che dite! In si tristi momenti i i'ii indugi novelli, an rescer le mie pene? Crudelc! Oh Gods! what are you apt In such sad moments ... Ottavio . ■ u i What' would h che! vorresti, "IUL with new- delays, to increase my afflictions? Cruel! Anna Crudele? Ah no, mio ben! troppo mi spiace allontanarti un ben che lungamente la mntr'alma desia . . . Ma il mondo, oh Mol Non srdur la costanza ifc-l scnsibil mio core: ahbastanza per te mi parla amore. Non mi dir, bell'idol mio, che son io crudel con te: tu ben sai quant'io t'amai, tu conosci la mia hV. Calma, t alma il tuo tormento, « di duol non vuoi ch'io mora; (orse un giorno il cielo ancora srntiri pieta di me. Cruel? Ah no, my beloved! it displeases me too much to withdraw from you' blessing which for a long time our have desired ... But the world, oh God-Do not tempt the faithfulness of my sensitive heart: love speaks to me sufficiently in vour favor. Do not tell me, mv beautiful idol, that I am cruel to you; you know well how much 1 loved)* you know my loyalty. Calm, calm your torment, if you do not wish me to die of g*f- perhaps one dav heaven will ag*" feel compassion for me. Ah. si segua il suo passo; io vo' con lei dividerr i martin. (She leaves.) Ottavio Oh, let me to share the torture follow her; I wi* with her. Saran meco men gravi i suoi sospiri. With me there, her sighs will be less grievous. (He leaves.) Scene XIV Hall in Don Giovanni's house, with a table prepared. Don Giovanni and Leporello. Servants, some musicians. A table laidjor a banquet Giä la mensa ě preparata: voi suonate, amici can; giacehé spendo i miei denari io mi voglio divertir. Leporello, presto in tavola. Son prontissimo a servir. Bravi! Cosa rara. Giovanni Alreadv the table is laid: Plav, dear friends; Since 1 am spending mv wealth 1 want to amuse myself. (Sits down to table.) Leporello, quickly to the table. Leporello I am most readv to serve. (77ie musicians begin.) Bravi! A Rare Thing. (alluding to a piece of music from the opera La Cosa Rara)* Che ti par del bel concerto? Giovanni How does the beautiful concert seem to vou? E conforme al vostro merto. Ah, che piatto saporito! (Ah, che barbaro appetito! Che bocconi da gigante! Mi par proprio di svenir.) Leporello It is in accordance with vour worth. Giovanni (eating) Ah, what a tasty dish! Leporello (Ah, what a barbarous appetite! What gigantic mouthfuls! I am about to faint.) * Una Cosa Rara is a opera written in Vienna in 1786 by the Spanish composer Vicenta Martin y Soler, with i libretto by Da Ponte. 365 364 The Metropolitan Opera Book of Mozart Operas Don Giovanni N.I wfirr i unci hocconi gli par proprio di svenir.) I'utto. Servo Ivvivano i ütiganti.* \<-r%a il vino. Kcrllentc marzimino! (Qurcto ptv/o di fagiano ptano, piano vo' inghiottir.) i Ma mangiando quel marrano; hngcrö di non capir.) Giovanni (Seeing my mouthfuls he seems about to faint.) Next course. Leporello (changing the plate) Your servant. (The musicians change the music.) Leporello Long live the Litigants* (Alluding to another opera of this title) Giovanni Pour the wine. Excellent marzimino wine! Leporello (eating and drinking stealthily) (Very quietly I am going to swallow this piece of pheasant.) Giovanni (That lout is eating; 1 will pretend not to understand.) Leporello Leporello (with his mouth Jull) (to the musicians who again change the tune) guc»tj poi la conosco pur troppo. This one I know only too well. Giovanni (without looking at him) Leporello! Lcporrtlo! •Ifnl fW Uagom, d Term Code (In a Quarrel Between Two. a Third Forty Benefits) is an opera written in Venice i» I* K UV I, Jun conposcr Giuseppe Sarti with a libretto by Carlo Goldoni. The third "tune" which Up"* k*Km""J> 100 * *»- Mo^nS own Le Nozze di Figaro, Act I: Figaro's "Non piii andrai." At the WT f™"'1"" b> Luig. Bassi and Leporello bv Felice Ponziani, the s.ngers who had p^"1 Com and hgaro in Prague a year earlier. 366 Padron mio, Parla schietto, mascalzone. Non mi lascia una flussione le parole proferir. Mentre io mangio fischia un poco. Non so far. Master? Cos'e? Scusate. Si eccellente ě il vostro cuoco che lo volli anch'io provar. (Si eccellente ě il cuoco mio che lo voile anch'ei provar.) Giovanni Speak clearly, rascal. Leporello A bad cold doesn't allow me to utter a word. Giovanni While I am eating, whistle a bit. Leporello I don't know how to. Giovanni (aware that he is eating) What? Leporello (eating) Excuse me. Your cook is so excellent that 1 also wanted to try him out. Giovanni (My cook is so excellent that he also wanted to try him out.) L'ultima prova dell'amor mio ancor vogl'io fare con te. Piii non rammento gl'inganni tuoi; pietade io sento . . . Scene XV Donna Elvira and the above mentioned elvira (entering m desperation) I wish to make the ultimate test of my love for you. 1 recall your deceits no more; 1 feel only compassion 367 The Metropolitan Opera Book of Mozart Operas Don Giovanni Cos'e, cos'e? Da te non chiede , :. ' 11111. i oppressa drlla sua fede cjtiak he merco'. Mi maraviglio! Cosa volete? Sc non sorgete non rcsto in pic'. Don Giovanni and Leporello What is it? What's the matter? Elvira (kneels) This oppressed soul does not ask for any reward from you for her loyalty. Giovanni 1 am amazed! What do you want? (To mock her, he kneels.) If you do not rise I will not remain standing. Ah. non dcridere gli .llt.iiiiu mui Elvira Ah, do not deride my anguish. Leporello (Quasi da piangcre mi fa costei.) (She almost makes me weep.) Giovanni (standing up and helping Donna Elvira stand) I deride you! Heavens! Why? (with affected tenderness) Che vuoi, mio bene! What do you want, mv beloved! Elvira Che vita cangi. por you to change your life. Giovanni (mocking her) Brava! lo «c dcridere! CVh! pervhe? Brava' Cor pcrfido! Elvira Perfidious heart! Lascia ch'io mangi; Giovanni Let me eat; (Returns to sit and eat) 368 E, se ti piace, mangia con me. Restati, barbaro, nel lezzo immondo, esempi orribile d'iniquiti. And if you would like, eat with me. Elvira Stay then, barbarous man, in foul filth, horrible example of wickedness. (Leaves) Leporello (If he is not moved by her sorrow, he has a heart of stone or no heart at all.) Giovanni Long live the ladies! Hurrah for good wine! Sustenance and glorv of mankind! Elvira Ah! Ah! (From within; then she re-enters, crosses the stage in flight, goes om on the other side.) Giovanni and Leporello Che grido e questo mai? What is this screaming? (Se non si muove del suo dolore, di sasso ha il core, o cor non ha.) Vivan le femmine! Viva il buon vino! Sostegno e gloria d'umanita! Va a veder che cos'e stato. Ah! Che grido indiavolato! Leporello, che cos'e? Giovanni Go see what has happened. (Leporello goes out.) Leporello {from within) Ah! Giovanni What a diabolical scream! Leporello, what is the matter? leporello (Enters terrified and closes the door.) Ah! ... sir ... for heaven's sake . . . Non an ... da ... te fuor . . . di qua . . . Don't go out of here . . . Ah!. . . signor . . . per caritá 369 The Metropolitan Opera Book of Mozart Operas l.'uom . . . di . . . sasso . . . l'uomo . . . The stone . . . man ... the white... bianco . . . man . . . Ah, padron . . . io gelo . . . io manco . . . Ah, master . . . I'm freezing ... I'm fainting . . . Se vcdeste . . . che . . . figura ... If you were to see . . . what a ... figure . . . Se .. . sentiste . . . come . . . fa . . . If you were to hear ... how ... he... walks . . . Ta U ta ta ta ta ta ta. Ta ta ta ta ta ta ta ta (imitating the walk of the Commendatore) Non capisco niente affatto: tu sei matto in veritá. Ah! sontite! Giovanni I understand absolutely nothing: You are truly insane. (Knocking is heard at the door.) leporello Ah! Listen! Apri. L)ualcun batte. Io tremo . . . Apri, dico. .Ah!. Giovanni Open. Leporello Giovanni Leporello Ah! Someone is knocking. I am trembling Openit,ltdl«* Matto! Ker togliermi d'intrico ad aprir io stesso andrô. Giovanni Madman! To get out of this tangle I myself will go to open the door. (Takes the light and the unsheathed sword and goes to open the door.) I Non to' piii veder I'amico; pun pianin m'asconderö.) Leporello (I'm not going to see very quietly I'll hide myself mv friend^ Don Giovanni Scene XVI (The Commendatore and the abovementioned) Commendatore Don Giovanni, a cenar teco Don Giovanni, vou invited me to have m'invitasti, e son venuto. Non I'avrei giammai creduto: ma farö quel che potrö. Leporello, un'altra cena fa che subito si porti. supper with you, and I have come. Giovanni I never would have believed it: but I will do what I can. Leporello, let another supper be quickly brought. Leporello (peeping out from under the table) Ah! padron . . . siam tutti morti . . . Ah! master ... we are all dead . . Vanne, dico. Giovanni (pulling him out) Go do it, I tell you. Commendatore (to Leporello, who is in the act of leaving) Ferma un po'. Non si pasce di eibo mortale chi si pasce di eibo Celeste; altre eure piü gravi di queste, altra brama quaggiü mi guido. (La terzana d'avere mi sembra . . . H le membra fermar piü non so.) Paria dunque: che chiedi? che vuoi? Parlo, ascolta: piü tempo non ho. Paria, paria: ascoltando ti sto. (Conceals himself under the table) Wait a moment. He is not nourished bv mortal food who is nourished bv celestial food; other cares more grave than these, other desires guided me here below. Leporello (I feel as if I have a fever .. . and mv limbs—I don't know how to stop them from shaking.) Giovanni Speak then: what are you asking? what do you want? Commendatore I will speak, you listen: I have time for no more than that. Giovanni Speak, speak: I am listening to you. 371 370 The Metropolitan Opera Book of Mozart Operas Don Giovanni lu m'invitasti a cena: il tin) clover or sai. Kispondimi: verrai tu a cenar meco? Oibo! 'Iŕmpo non ha . . . scusate. A torto di viltate, • i . it.. íl i.u sarö. Kľ-ilvi commendatore You invited me to supper: now learn your obligation. Answer me: will vou come to supper with me? Leporello (Jrom a distance, still trembling) Alas! He doesn't have time .. . pardon. Giovanni I will never be wrongfully charged with cowardice. commendatore Decide. Ho gia risolto. Wrrai? Dite di no, dite di no! Ho frrmo il core in petto: no« ho ümor, verrö. Daními U mano in pegno. txvola . . . Ohimé! Giovanni I have already decided. commendatore Will you come? leporello (to Don Giovanni) Say no, say no. Giovanni Mv heart is steady in my breast: 1 am not afraid, I will come. commendatore Give me your hand in pledge. Giovanni (offering him his hand) Here it is . . . Ah!. . . commendatore Cos'hai? What is the matter with** Che gelo ř quosto mai! Giovanni What is this chill! Pěntiti, cangia vita: e l'ultimo momenta. No, no, ch'io non mi pento vanne lontan da me Pentiti, scellerato. No, vecchio infatuato. Pentiti. No. Si. No. commendatore Repent, change vour life: it is the last opportunity. giovanni (wants to tear himself away, but m vain) No, no, I don't repent; get away from me. commendatore Repent, scoundrel. Giovanni No, silly old man. commendatore Repent. Giovanni No. commendatore and leporello Yes. Giovanni commendatore No. Ah! tempo piü non v'é. Ah! there is no more time left to you. (fire from various locations, the Commendatore disappears and a chasm opens.) Giovanni Da qual tremore insolito ... By what extraordinary tremor Sento . . . assalir • . . gli spiriti . . . Do I feel . . . my spirits . . . assailed . . Donde escono quei vortici Where do these fiery whirlwinds di foco pien d'orror! . . . full of horror come from . . . ! chorus (Jrom under the earth, with dark voices) Tutto a tue colpe e poco: These are not enough, considering all your sins: vieni; c'é un mal peggior. come; there is worse pain. Chi I'anima mi lacera! . Chi m'agita le viscere! Giovanni Who rends my spirit! . Who tears my bowels! 373 372 The Metropolitan Opera Book of Mozart Operas Che strazio! ohime! che smania! Che inferno! . . . che terror! . . . (Che ceffo disperato!. . . Che gc*ti da dannato! . . Che gridi! che lamentu . Come mi fa terror! . . .) Tutto a tue colpe ě poco: What torment! ah! what frenzv! What hell! . . . what terror!... Leporello (What a desperate grimace!.. What gestures of a damned man! What screams! what cries of pain! How it terrifies me! . ..) Chorus These are not enough, considering a your sins: come; there is worse pain. vioni; e'e un mal peggior. (The fire mounts, several Furies appear, take possession of Don Giovanni, and sink dom Mr' 1 Last Scene Uportlh, Donna Elvira, Donna Anna, Zerlina, Don Ottavio, Masetto, with ministers of jwa All Ah! dov* il perhdo? IX»* I'indegno? Tuno il mio sdegno >ť v'.l! K) vo'. Solo mirartdolo rtrrtto in catene alle mu- pene calnu díro. Phi non sperate dl ntrovarlo . . . Phi non cercate . . Lonuno andô. Co»*? Havdla! Vrnnc un colosso (except Jor Leporelio) Ah! where is the perfidious man? Where is the base man? I must give vent to all my indignation. Anna Only seeing him tightly in chains would calm my afflictions. Leporello Do not hope to find him anymore do not search any further. ■ • He has gone far away. All What? tell us! Leporello A colossus came Don Giovanni All Via, presto, sbrigati! Ma, se non posso . . . Presto! Favella! Sbrigati! Come on, quickly, hurry! Leporello But if I can't . . . All Quickly! tell us! hurry! Leporello Tra fumo e fiioco . . . badate un poco . . . Through smoke and fire . . . heed a little L'uomo di sasso . . . fermatě il passo The man of stone . . stop where you Giusto la sotto . . . diede il gran botto . . . Right there below ... he struck a great blow . .. Giusto la il diavolo se'l trangugid. Right there the devil gulped him down. Stelle! che sento! All Stars! what do 1 hear! Leporello Vero é ľevento. True is the outcome. All Ah, certo e ľombra cheí incontrô Im Or che tutti, o mio tesoro, vendkati siam dal cielo, porgi, porgi a me un ristoro, non mi far languire ancor. Lascia, o caro, un anno ancora alio sfogo del mio cor. Ah, certainly it is the shade that J ^6 met. Ottavio Now that we are completely avenged by heaven, oh my treasure, pour, pour for me a restorative; do not cause me to languish any longer. Anna Allow, oh dear one, another vear for the relief of my heart. Anna and Ottavio Al desio di chi ( , adora |m ceder deve un fido amor. Jo men vado in un ritiro a finir la vita mia! To the desire of the one who loves { A faithful love must yield. Llvira I will go into a convent to finish out my life! 375 374 Thh Metropolitan Opera Book of Mozart Oper*s Don Giovanni . (Zerlina, ,. \, ,i a casa andiamo. I Masetto, A cenar in compagnia. kd io vado all'osteria a trovar padron miglior. Kt-sti dunquc quel birbon um Proserpina e Pluton; e noi tutti, 0 buona gente, njK-t iam allegramente lantichissima canzon: Zerlina and Masetto [Zerlina ... . We,{ will go home [Masetto b To have supper together. Leporello And 1 will go to the inn to find a better master. Zerlina, Masetto and Leporello Let this knave remain with Proserpina and Pluto; and let us all, oh good people, repeat cheerfully the oldest of songs: All (Questo e il fin di chi fa mal! E fir' pertidi la morte .illj Mta ě sempře ugual. This is the end of evildoers! And the death of the wicked is no better than the life. The End Scene XI Appendix Mr the Vienna premiere, these scenes appeared after Act II, Scene A ) Zerlina, with a lantern in her hand, leads Leporello out by the hair. Knuti qua. Per caritä, Zerlina! bh! non e'e carita pei pari tuoi. iHinque cavarmi vuoi? . . . Zerlina Stop here. Leporello Zerlina For pity's sake, Zerlina! litv for the like* of ^ Eh! there is no pity Leporello So you want to tear from me-' Zerlina j u-; I capelli, la testa, il core e gli occhi! Your hair, your head, your heart Senti, carina mia! Leporello Listen, my dear one! (fries to make advances to her.) Zerlina (repulses him) Guai se mi tocchi! Beware if you touch me! Vedrai, schiuma de' birbi, You will see, scum of rascals, qual premio n'ha chi le ragazze ingiuria. what reward he has who wrongs young women. Leporello (Liberatemi, o Dei, da questa furia!) (Liberate me, O Gods, from this Fury!) Zerlina (calling towards the wings) Masetto, ola, Masetto! Masetto, hey, Masetto! dove diavolo e ito . . . servi, gente! Where the devil has he gone . . . Servants, people! Nessun vien . . . nessun sente. No one comes ... no one hears. (She drags Leporello behind her all around the stage.) Leporello Take it easy, please, don't drag me Fa' piano, per pieta, non trascinarmi a coda di cavallo. Vedrai, vedrai come finisce il ballo! Presto qua quella sedia. Eccola! Siedi! Stanco non son. by the ponytail. Zerlina You will see, you will see how the dance will end. Bring that chair, quickly. Leporello Here it is! Zerlina Leporello I am not tired. Zerlina Sit down! (draws a razor out of her pocket) Siedi, o con queste mani Sit down, or with these hands I ti strappo il cor e poi lo getto ai cani. will tear out your heart and throw it to the dogs. 377 376 The Metropolitan Opera Book of Mozart Operas Don Giovanni Siedo, ma tu, di grazia, mctti giü quel rasoio: mi vuol fbrse sbarbar? Si, mascalzone! I<> sbarbare ti vo* senza sapone. htirni Dei! Dammi la man! La mano? Leporello I will sit, but please, put that razor away: or maybe you just want to shave me? Zerlina Yes, scoundrel! I want to shave™ without soap. Leporello Eternal Gods! Zerlina Give me your hand! Leporello (hesitates) Zerlina My k ĽaUra. (threatening him) The other one. Ma che vuoi farmi? Leporello Zerlina But what do you want to do to* Voglio far . . . voglio far quello ehe parmi! I want to do ... 1 want to dovito* Her queste tue manině candkle e tenerelle, per questa rresca pelle, abbi pieta di me! Non v'e pieta, briccone; »on una tigre irata, un aspidc. un leone, no, no, pieta non v'ě. (Ties up Leporello's hands with a handkerchief) Leporello By these your hands white and tender, by this fresh skin, have mercy on me! Zerlina There is no mercy, rogue; I am an angry tiger, an asp, a lion, no, no, there is no mercy. Ah! di fuggir si provi . . Sei morto se ti muovi. Barbari, ingiusti Dei! In mano di costei chi capitar mi fe? Leporello Ah, if I tried to flee . . . Zerlina You are dead if you move. Leporello Barbarous, unjust Gods! Who caused me to fall into her hands? Zerlina Barbarous man, traitor! Barbaro, traditore! (She ties him to the chair with a rope, and ties the rope to the window.) Del tuo padrone il core avessi qui con te. Deh! non mi stringer tanto, l'anima mia sen va. Sen vada o resti, intanto non partirai de qua! Che strette, o Dei, che botte! E giorno, owero ě notte? Che scosse di tremuoto! Che buia oscuritä! Di gioia, e di diletto sento brillarmi il petto. Cosi, cosi, cogli uomini, cosi, cosi si fa. If only I had the heart of your master here with you. Leporello Oof! don't bind me so tightly, my spirit is going out of me. Zerlina Let it go or stay, but you will not be leaving here. Leporello What straits, o Gods, what blows! Is it day, or is it night? What shaking of earth! What murky darkness! Zerlina I feel joy and delight sparkling within my breast. Thus, thus, with men, this is how it's done. (She leaves.) 379 378 The Metropolitan Opera Book of Mozart Operas Don Giovanni Scene XII Leporello seated and bound LepORELLO (to a peasant man who is passing at the back of the stage) Amico, per pieta, un poco d'acqua fresca o ch'io mi moro! Guard* un po' come stretto mi legö 1'assassina! Se potessi hl* i .mni coi denti . . . Oh, venga il diavolo t dufar questi gmppi! lo vo' vedere di rompere la corda . . . Come c forte! Paura delia morte, e tu, Meixurio, protettor de' ladri, proteggi un galantuom. Coraggio . . . Bravo! Friend, for pity's sake, a little fresh water or 1 will die! See how tightly the assassin tied me! If 1 could free myself with my teeth . Oh, if only the devil would come to untie these knots! I must try to break the rope .. ■ how strong it is! Fear of death, and you, Mercury, patron of thieves, Protect a man of honor. Courage.. • Bravo! (flfafcn an effort to untie himself; the window to which the end of the rope is tiedftAm'-) Ciel, che non serve; Heavens! What do I see . . . It's no use; Before she returns I had better set spurs to my heels, Pru i he costei ritomi btmgna dar di sprone alle calcagna, e uraicinar, se occorre, una montagna. dragging an entire mountain if I have to. (Runs away dragging chair and window with him.) Scene XIII Donna Elvira and Zerlina, then Masetto with two peasant boys Zerlina Andiam. andiam, signora. Vedrete in qual My ladv, let's go. You will see maruera ho tonoo il scellerato. I have trussed up the rogue. how AW vopra lui si sfoghi il mio furor. Elvira Ah! let my fury be vented upon him- Stelle' in qual modo si salvö il briccone? Lavra sott rat to I'empio suo padrone. Zerlina Stars! how did the rogue save himse'1 Elvira His impious master has tab* I*"* No, non si trova un'anima piü nera. Ah, Masetto, Masetto, dove fosti finor? Un' infelice Volle il ciel ch'io salvassi. Era io sol pochi passi Iontan da te, quando gridare io sento nell' opposto sentiero; Con lor v'aecorro, veggio una donna che piange, ed un uomo che fugge; vo' inseguirlo; mi sparisce dagli occhi ma da quel che mi disse la fancuilla, ai tratti, alle sembianze, alle maniere, lo credo quel briecon del Cavaliere. Masetto No, a blacker soul is not to be found. Zerlina Ah, Masetto, Masetto, where were you until now? Masetto Heaven wanted me to save an unfortunate. I was only a few steps away from you when I hear screaming in the opposite direction; With these fellows I run, I see a woman who is crying, and a man fleeing; I try to follow him; He disappears from my view, but from what the girl tells me, about his gestures, his features, his behavior, 1 believe it was that rogue of a cavalier. Zerlina E desso senza fallo: anche di questo It was he, without fail: let's inform informiam Don Ottavio; a lui si aspetta Don Ottavio about this too; it is his far per noi tutti, o domandar responsibility to act for all of us vendetta. himself, or to demand vengeance. (They leave.) 381 380