LE NOZZE DI FIGARO
world premiere:    Vienna, Burgtheater, May I, I 786 united states premiere:   New York, Park Theatre, May 10, 1824 metropolitan opera premiere:   January 31, 1894
LE NOZZE DI FIGARO
(The Marriage of Figaro)
Comic Opera in Four Acts
Libretto: Lorenzo Da Ponte English Translation: Judvth Schaubhut Smith
Music: Wolfgang Amadeus Mozart
PREFACE
On May 1, 1986, Le Nozze di Figaro was "200 years young." Beyond its playfulness of mood and complexity of plot, Figaro is especially noted for its characterizations. To each of the principals Mozart has given one or two arias that tell a great deal about his or her personality, and these traits are maintained in the ensembles and finales that he constructed with architectural skill. Small wonder that despite advanced age, Figaro remains as much fun as any opera in the repertory—entertaining, revealing musical theater, sparked bv a mischievous sense of people's foibles, warmed by a sense of the humanity that transcends them.
Wolfgang Amadeus Mozart (1756-91), an Austrian-born natural genius who adapted readily to all forms of music, had a predilection for opera seria and German singspiel, both of which he worked to bring to a nevy level of flexibility and expression. That he understood and appreciated Italian opera buffa as well became evident during 1786—90, when he responded to the demand for Italian-style comedies in Vienna and Prague. From this brief period, just before his death, date the three collaborations with erstwhile court poet Lorenzo da Ponti— U Nozze di Figaro, Don Giovanni, Cosi Fan Tutie—that mark the fullest flowering of this genre in musical historv.
Figaro, most overtly comic of the three, also stems from the most distinguished source— Le Manage de Figaro, ou La Folk Journee, second of a trilogy of plays by Pierre Augustin Caron de Beaumarchais, a lively satirist and theater-lover. Critical of the privileges of the nobilitv and looking toward a freer society, Figaro was judged controversial, and in fact kmanuel Schikaneder's troupe was banned by imperial order from presenting the comedy in Vienna in early 178S. By playing down the overt social criticism (though its message remains, from the very first scene onward), Da Ponte was able to placate opposition and make the subject acceptable in opera form. Incidentally, the other plays of Beaumarchais' trilogy were set to music too-—Le Barbier de Seville bv Paisiello and Rossini, La Mere Coupable bv Darius Milhaud in the twentieth century. After the premiere of Mozart's Figaro, Beaumarchais tried his hand at writing an opera libretto—for Tarare (Paris 1787), the major work of Antonio Salieri—and prefaced it with pithy comments on the principles of opera, not included in the Henle tdition published in Munich in 1978.
Mention of Salieri conjures up thoughts of the play and film Amadeus, Peter SchafTer's fanciful evocation of the rivalry between Mozart and Salieri that culminated, according to beliefs once held, in Salieri's poisoning of his colleague. Though the poisoning theory is widely discounted today, there is no doubt about the rivalry. Here is a first-hand account of the Figaro premiere in Vienna, Mav 1, 1786, from the memoirs of the Irish singer Michael Kelly, the first Don Curzio:
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There were three operas now on the tapis, one by Righini, another bv Salieri (The Grotto of Trophonius) and one by Mozart, by special command of the Emperor [Joseph II].... These three pieces were nearly ready for representation at the same time, and each composer claimed the right of producing his opera for this first. The contest raised much discord, and parties were formed. The characters of the three men were all verv different. Mozart was as touchy as gunpowder and swore he would put the score of his opera into the fire if it was not produced first. . . . Righini was working like a mole in the dark to get precedence. The third candidate [Salieri] was Maestro di Cappella to the court, a clever shrewd man, possessed of what Bacon called "crooked wisdom"; and his claims were backed bv three of the principal performers, who formed a cabal not easily put down I m rv one of the opera company took part in the contest. . . [which] was put an end to by His Majestv issuing a mandate for Mozart's Nozze di Figaro to be instantly put into rehearsal. . . .
All the original performers had the advantage of the instruction of the composer, who transfused into their minds his inspired meaning. I never shall forget his little animated countenance, when lighted up with the glowing rays of genius. It is as impossible to describe it as it would be to paint sunbeams.
Kelly goes on to describe the enthusiasm of the audience at the first evening, which caused the emperor to lay down a rule against encores at subsequent performances. "Never was anything more complete than the triumph of Mozart and his Nozze di Figaro, to which numerous overflowing audiences bore witness." The success was repeated when the opera reached Prague, occasioning Mozart to visit there for four months and write Don Giovanni for that city.
Since Beaumarchais' play had been introduced in Paris only two years before, Figaro was a timely success, given nine times in its first season and revived for a longer run three years later. Meanwhile, it traveled to other German-speaking stages—usually in translation, which proved that its appeal reached past the aristocracy to the larger audience that Mozart had been hoping to lure with German singspiels. Though the composition of Figaro had kept him busy for some months, he did find time to write his Piano Concertos Nos. 22 in E-flat, 23 in A and 24 in C minor, which proved scarcely less popular. By later standards the composer was not well compensated, but he certainly did not lack appreciation.
Unlike Don Giovanni and Cosi Fan Tune, Le Nozze di Figaro is not a problem opera, causing scholars and interpreters to probe for inner meanings. The backstairs shenanigans it depict' may have raised eyebrows, and indeed may still; the intricacies of the story remain hard to follow. But apart from the Countess' moments of sadness over her husband's wandering affections, there are few clouds dense enough to darken the prevailing sunshine of Beaumarchais' "day of madness." The sincerity of the count's plea for forgiveness at the end, ffl the gende understatement with which his wife grants it, are moving examples of B*f Icrmoyame at its least sentimental; but because thev are light touches, there is no need lor tears. Only as an afterthought may we realize that the Almavivas are not necessarily destine
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Le No
di Fi,
tgar,
to live happily ever after. As for the charming adolescent Cherubino, his descendants roam through manv a later opera, notably Richard Strauss' Der Rosenkaralier and Ariadne aufNaxos.
In both Don Giovanni and Cosi, Mozart related his overture to the score of the opera proper—in Don Giovanni with the Commendatore's music, in Cosi with the motto sung by Don Alfonso from which the work takes its title. For Figaro, however, Mozart supplied a musical description of the folk journee itself, a distillation of the spirit ol the work without quotations from it.
Not long after the premiere of Cosi, Da Ponte left Vienna—under a cloud, it was said, because of his intriguing, and perhaps more because of his romantic entanglements, not unlike those of his friend Casanova. In later life, a reformed man, the writer lived in New York and founded what is now the Italian Department at Columbia University In 1824, the voir after his memoirs were published, Figaro had its first American performance, at the Park Theatre, New York, in an English adaptation. In 1826 he fulfilled his dream ot seeing Don Giovanni once again, though this was not a U.S. premiere—the work had been performed at the Park Theatre eight years before. The music of Mozart, Da Ponte realized, was too sophisticated for public tastes in America of that period, but the operas, occasional novelties at first, usually attracted praise and attention. The day would arrive, though not for another century, when they would be considered indispensable.
The history of Mozart's operas on the stage of the Metropolitan bears this out. Don Giovanni was given during the company's first season, 1883-84, to be followed by Figaro a decade later, after a fire had occasioned restoration of the old Opera House's interior. In the cast on January 1, 1894, were Emma Fames as the Countess, Lillian Nordica (whose other Mozart roles included both Donna Anna and the Queen of the Night!) as Susanna, Sigrid Amoldson as Cherubino, Mario Ancona as Figaro and Edouard de Reszke as the Count, with Emilio Bevignani conducting. The letter duet was encored (shades of the world premiere in Vienna), and the press was favorable, but there were onlv three performances that season, with one the following. This pattern prevailed in subsequent revivals. In 1898-99, Marcella Sembrich (Susanna) and Giuseppe Campanari (Figaro) joined the cast, followed by Fritzi Scheff as Cherubino in 1902-03 and Antonio Scotti as the Count in 1902-03. The season after that, Heinrich Conried's first as general manager, saw a single performance with Johanna Gadski as the Countess. The next landmark date was 1908-09, when Gustav Mahler conducted a revival w ith Geraldine Farrar as Cherubino.
In spite of Mahler's efforts—he had led a production in Vienna for Mozart's 1 50th birth anniversary in Vienna in 1906—Le Nozze di Figaro was still considered occasional fare. It cropped up again in 1916-17 under Artur Bodanzkv, with Farrar joined bv Margarete Matzenauer (Countess), Frieda Hempel (Susanna), Giuseppe De Luca (Figaro) and Adamo Didur (Count) for five performances that and the next season, but Richard Aldrich noted in his review that only Hempel showed a grasp of Mozart stvle. Figaro finally had its redemption at the historic new production of February 20, 1940, under Ettore Panizza's energetic baton, with Herbert Graf as director and Jonel Jorgulescu as designer. This time the principals were unquestioned Mozarteans—Elisabeth Rethberg, Bidii Sayao, Rise Stevens, lira Petina, Ezio
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Pinza, John Brownlec—and the public, conditioned by records and reports from the Glvndebourne Festival performances of the mid-1930s, was ready.
Bruno Walter, Fritz Busch and Fritz Reiner conducted notable revivals in later seasons. For new productions Figaro had to await the managership of Rudolf Bing (1959-60 season— staged bv Cvril Ritchard and designed by Oliver Messel) and the new Opera House at Lincoln Center (1975-76—staged by Gunther Rennert and designed bv Robert O'Heaml For its 200th birthday, Mozart's liveliest comedy has a new investiture by designer-director Jean-Pierre Ponnelle, who already had overseen productions of Figaro for Salzburg, Vienna, Cologne, Paris, Chicago, Washington and television. Given the commitment of music director James Levine to Mozart's operas, their future has never looked brighter at the Met.
John W. Rusman
LE NOZZE DI FIGARO
CHARACTERS
Count Almaviva, a Spanish noble
Countess Almaviva, his wife
Susanna, the Countess' maid, fiancee of
Figaro, die Count's valet
cherubino, the Count's page
Marcellina, a governess
Bartolo, a doctor of Seville
Basilio, a music teacher
Don Curzio, a judge
Barbarina, the daughter of
antonio, the Count's gardener and Susanna's uncle
Chorus oh Peasant Men
Chorus of Peasant Women
Chorus of Various Classes of People
The action takes place in the castle of Count Almaviva.
Baritone Soprano Soprano
Soprano Soprano Bass Tenor Tenor Soprano Bass
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LE NOZZE DI FIGARO
SYNOPSIS
Act I
Figaro, former barber of Seville, measures the room he will occupy after his marriage to Susanna. Both are in the service of Count Almaviva, and when Susanna warns Figaro that the-Count has designs on her, he vows to outwit his master ("Se vuol ballare"). Into the now empty room comes Dr. Bartolo, the Countess' onetime guardian and suitor, eager for revenge on Figaro (who made him lose his ward to Almaviva), with his housekeeper, Marcellina. Since Figaro once gave Marcellina his promise of marriage as collateral on a loan, Bartolo persuades Marcellina to press charges ("La vendetta") and leaves; she then trades insults with Susanna ("Via resti servita"). Marcellina gone, the skirt-chasing page Cherubino steals in, begging Susanna's protection from the Count, who found him flirting with Barbarina, the gardener's daughter. After pouring out his amorous enthusiasm ("Non so piu"), he hides as the Count enters to woo Susanna. When the gossiping music master Don Basilio appears, the Count in turn hides, stepping forward when Basilio hints that Cherubino has a crush on the Countess. Figaro brings in a group of fellow servants to salute the Count for abolishing the droit du seigneur, an old custom giving the local lord the first night with anv bride among his retainers. The Count drafts Cherubino into his regiment and leaves Figaro to tease the boy unmercifully ("Non piu andrai").
Act II
In her boudoir, the Countess laments the waning of her husband's love ("Porgi, amor") but plots to chasten him, encouraged by Figaro and Susanna. Cherubino, disguised as Susanna, will meet with the Count. The page comes to serenade the Countess with a song of his own composition ("Voi che sapete"). While dressing the boy in girl's clothes, Susanna goes out for a ribbon, and the Count knocks, furious to find the door locked. The Countess locks Cherubino in a closet. The jealous Count hears a noise; the Countess insists it's Susanna, but he doesn't believe her. He takes her out to fetch some tools to force the lock, giving the eavesdropping Susanna a chance to help Cherubino from the closet and out a windo«.
The Metropolitan Opera Book of Mozart Operas
entering the closet herself and thus baffling the Count and Countess when they return. As the gardener, Antonio, appears with crushed carnations, Figaro, who has run in to sav the wedding ceremony is ready, claims he jumped from window to flower bed, faking a twisted ankle. When the Count questions a paper found among the flowers, Figaro identifies it as Cherubino's commission, given him for sealing. Marcellina, Bartolo and Basilio burst in and show Figaro's loan contract to the Count, who is delighted to postpone the wedding.
Act III
In the palace audience room, Susanna promises the Count a rendezvous ("Crudel! perche finora") but fires his suspicions when he overhears her laughing with Figaro. Enraged, he vows revenge ("Vedro mentr'io sospiro"). Marcellina now demands that Figaro pay his debt or marry her, but a birthmark proves he is her long-lost son by Bartolo, and the parents call off their suit, confounding the Count (sextet: "Riconosci in questo amplesso"). Alone, the Countess hopes to revive her husband's love ("Dove sono"). She dictates a note to Susanna, inviting the Count to the garden ("Che soave zeffiretto"). Peasants bring flowers to their lady; among them is the disguised Cherubino, whom Antonio spots. But the Count is distracted by the wedding, and Susanna slips him the note, which has been sealed with a pin.
Act IV
The pin is meant to accompany the Count's replv, and Barbarina, his messenger, has lost it in the dusky garden ("L'ho perduta, me meschina"). Figaro is hurt to hear of Susannas treachery but gives Barbarina another pin, planning to ambush his bride with the Count. He turns to Marcellina for comfort, and the mother tries to calm her son, but the craft) Basilio says it pays to play the fool. Figaro curses women ("Aprite un po' "), and Susanna rhapsode on her love for Figaro, without naming him ("Deh vieni"). The concealed Figaro is bes* himself, assuming she means the Count. Susanna and the Countess secretly exchange dresses, and in the darkness both Cherubino and the Count woo the Countess, thinking her to he Susanna ("Pian, pianin le andro piu presso"). Figaro at last perceives the joke and gets even hv —inh c—----i_i— r, y think*1
by wooing Susanna in her Countess disguise. Now the Count returns, seeing (or „ Figaro with his wife. He calls the whole company to witness his judgment but is s
the  r,-al  (      .„*---______I      i . . r ....
silenced
—----„„ UI>„ „llulc company to witness nis judgment uui 51U-
when the real Countess reveals the ruse. She grants the Count's pleas for forgiven* CContcssa, perdono"), and everyone celebrates.
Opera Ne*
LE NOZZE DI FIGARO
ACT ONE
A partly unfurnished room with an armchair in the middle.
Scene I
Susanna and Figaro
No. I Duet
FlGARO (measuring the room) Cinque  . . dieci . . . venti . . . Five . . . ten
trenta. . . thirty . . .
Trentasei. . . quarantatre . . . Thirtv-six . . . forty-three
twenty . .
Susanna (aside gating at herselfin the ^
Ota si ch'io ° V °" "        ^ tr""med mth >"•>
«si cn 10 son contenta: . v
^mbra fatto inver per me ' "°W ''m reallv h*P\n
You'd think it was made just for me.
Guarda un po', caro Figar0i Uarda ade^o il mio cappello
f' ">io«>re, ore piu belle, ^mbra fatto inver per te.
(*> Ftgaro, as she continues gazing at herself)
Figaro
Come and see, mv darling Figaro, Come and look at mv hat.
Yes, mv dear, it's much prettier: You'd think it was made just for you.
al -i      . Susanna and Figaro
AMmattmoallenozzevicino oh
Un, on the morning of our wedding
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THE METROPOLITAN  OPERA BOOK OF MOZART OPERAS
mio
Quantoedolceal[tuo tenero sposo
Qucsto bel cappellino vezzoso Che Susanna ella stessa si fe'.
How dear to|™Jur «nder
bridegroom Is this charming little hat That Susanna made all by herself.
Recitative
Cosa stai misurando, Caro il mio Hgaretto?
lo guardo se quel letto Che ci destina il Conte Kara buona figura in qucsto loco.
In questa stanza!
Certo: a noi la cede Cjcncroso il padrone.
lo per me te la dono.
Susanna
But what are you measuring, My dear Figaro?
Figaro
I'm seeing if the bed
That the Count's giving to us
Will go all right in this spot.
Susanna
In this room!
Figaro
But of course: It's been given to us By our generous lord and master.
Susanna
As for me, you can have it.
And you
Figaro
h. la ragione?
susanna (tapping her forehead) Li ragione l'ho qui. ,-ve got my up here
Figaro (doing the same) Perche non puoi
Farchepassiunpo'qui? Share them with me?
Susanna
Perche non voglio. Because I don't
Are you my humble servant, or
reason?
And why can't f>
*antt°-not?
Figaro
Ma non capisco Penhc tanto ti spiaccia Ij piii comoda stanza del palazzo.
Butldon'tnn^
Whv you're so unhappy wi* ,aC£. The most convenient room ■»
Perch'io son la Susanna, e tu sei
Le Nozze di Figaro Susanna
pazzo. Because I'm Susanna, and you're just
crazy.
Figaro
Grazie: non tanti elogi. Guarda un poco Thank vou: You're much too kind. But
why don't vou see
Se potria meglio stare in altro loco. If we'd be better off in some other place.
Se a caso Madama La notte ti chiama: Din din, in due passi Da quella puoi gir. Vien poi l'occasione Che vuolmi il padrone: Don, don, in tre salti Lo vado a servir.
Cosi se il mattino
II caro Contino:
Din din, e ti manda
Tre miglia lontan;
Don don, e a mia porta
11 diavol lo porta,
Hd ecco in tre salti . . .
Susanna, pian pian.
Ascolta.
Fa' presto.
Se udir brami il resto, Discaccia i sospetti Che torto mi fan.
No. 2 Duet
Susanna
Figaro
Susanna
Figaro
Susanna
If bv chance mv ladv Should call you at night: Ding dong, in two steps You can be at her door. And then when it happens That my master needs me: Ding dong, in three bounds I can be at his service.
And suppose some morning The dear little Count: Ding, dong, should send vou Three miles awav; Ding dong, and the devil Should lead him to mv door. And then in three bounds . . .
Susanna, be quiet. No, you listen to me.
Quick, tell me!
Well, if you want to hear the rest. Dismiss all those suspicions That are so unfair to me.
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The Metropolitan Opera Book of Mozart Operas Figaro
Udir bramo il resto: I dubbi, i sospetti Cielare mi fan.
Orbene, ascolta e Uci. Paria, che c'e di nuovo?
Yes, I must hear the rest: My doubts and suspicions Make my blood run cold.
Recitative
Susanna
Well then, just listen and keep quiet.
Figaro (anxious/)-)
Tell me, what's happened?
Susanna
II signor Conte, His lordship the Count,
Stanco di andar cacciando le straniere Who's tired of pursuing fresh
Mkne forastiere, Foreign beauties,
Vuole ancor nel castello Wants to try- his luck once again
Ritentar la sua sorte; In the castle;
No gia di sua consorte, bada bene, But it's not his wife, mind you,
Appclito gli vicne. Who whets his appetite.
H di chi, dunque? Delia tua Susannetta. Di te?
Figaro
Susanna
Your own little Susanna.
figaro (surprised)
It's you?
Who is it, tten?
Susanna t Di me medesma. Ed ha speranza The very same. And hes op
Che al nobil suo progetto That having us so near him
Utilissima sia tal vicinanza. Will be most useful to his nob e sc
Figaro
Bravo'. Tiriamo avanti.
Bravo! Now let's hear more.
Susanna . ^
Queste le grazie son, questa la cura So these are the favors, and 0
attention ^Je. That he's lavished on you and yo
Ch'egli prende di te, della tua spo
Oh, guarda un po' che caritä pelosa!
Le Mjzze di Figaro
Figaro
Oh, his kindness overwhelms me!
Susanna
Chetati: or \iene il meglio. Don Basilio, Just be quiet! Now comes the best part.
Don Basilio,
Mio maestro di canto e suo factotum, My singing teacher and his go-between,
Nel darmi la lezione Repeats the same old tune every day
Mi npete ogni di questa canzone. While he's giving me my lesson.
Chi? Basilio? Oh, birbante!
Figaro
Who? Basilio? That scoundrel! Susanna
E tu credevi And vou thought
Che fosse la mia dote That my dowry was
Merto del tuo be! muso? A reward for your handsome mug?
Me n'era lusin
igato.
Ei la destina Per ottener da me certe mezz'ore
Che il diritto feudale . . .
Come! ne' feudi suoi Non l'ha il Conte abolito?
Figaro
I'd flattered myself so.
Susanna
He's given it to me So he can claim those half-hours of
pleasure That feudal rights . . .
Figaro
What! On his own estates
Hasn't the Count already abolished them?
Susanna
Hbben, ora e pentito; e par che tenti Mavbe so, but now he's sorry: And it
seems that he's trying Riscattarlo da me. To buy them back again from me.
Figaro
Bravo! mi piace! Bravo! Very nice!
Che caro signor Conte! How kind of the Count!
Ci vogliam divertir: trovato avete ... So he's out for some fun: Well, he's
found . . .
(A bell rings.) 175
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The Metropolitan Opera Book of Mozart Operas
Le Nozze di Figaro
Chi suona? La Contessa.
Addio, addio, addio, Figaro bello.
Coraggio, mio tesoro.
E tu, cervello.
Figaro
Who's ringing? It's the Countess.
Susanna
Good-hye, good-bye, good-bye, Figaro darling.
Figaro
Be brave, mv treasure.
Susanna
And you be careful.
(She goes off.)
Scene II
Figaro alone
figaro (pacing feverishly up and domi the room and rubbing his hands) Bravo, signor padrone! Ora incomincio Bravo, my lord and master! Now I'm
A tapir il mistero . . . e a veder schietto
Tutto il vostro progetto: a Londra, e vero?
Voi ministro, io corriero, e la Susanna
Scgrcta ambasciatrice . . .
Non sari, non sara: Figaro il dice.
beginning To understand the mystery ... and to see
all too clearly Your entire scheme: So we're off to
London, are we? With you as the minister, me as your
courier, and Susanna as Your secret ambassadress
Well, that shall never be: Figaro
has said
No. 3 Cavatina
Sc vuol ballare. Signor Contino, II chitarrino Le suoneró.
Se vuol venire Nella mia scuola, l.i capriola Le insegnero.
Sapro . . . Ma, piano: Meglio ogni arcano, Dissimulando,
If you want to dance, My dear little Count, I'll play the tune On my guitar. If you want to come To my school, I'll teach you How to cut capers. I'll know how ... But wait-By dissembling I can best discover
Scoprir potro. L'arte schermendo, L'arte adoprando, Di qua pugnendo, Di la scherzando, Tutte le macchine Rovesceró. Se vuol ballare, Signor Contino, II chitarrino Le suoneró.
Every secret plan.
Outwitting your cunning
Bv using my cunning,
Stinging here,
And joking there.
All vour plots
I'll overthrow.
If you want to dance.
My dear little Count,
I'll play the tune
On my guitar.
(He goes off.)
Ed aspettaste il giorno Fissato per le nozze, A parlarmi di questo?
Scene III
Marcellina and Bartolo
Recitative
Bartolo
And you've waited for the dav Fixed for the wedding To tell me all about this?
Marcellina (holding Io non mi perdo, Dottor mio, di coraggio: Per romper de' sponsali Piíi avanzati di questo Bastó spesso un pretesto; ed egli ha meco,
Oltre a questo contratto, certi
impegni . . . So io. Basta: conviene La Susanna atterrir; convien con arte lmpuntigliarla a rifiutare il Conte. Egli per vendicarsi Prenderá il mio partito, E Figaro cosi fia mio marito.
Bartolo (taking the Bene, io tutto faro: senza riserve
Tutto a me palesate.
a contract in her hand)
Mv dear Doctor,
I've not yet lost heart: To break off engagements More advanced than this one Often a mere pretext's sufficed: And he's got
Other obligations to me, besides this
contract . . . I should know . . . But enough: We must Frighten Susanna; we must cunninglv Persuade her to reject the Count. And he, out of revenge, Will take my side,
And then Figaro will be mv husband. contract from Marcellina)
Well then, I'll do all that I can: But tell me
Everything without reserve.
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the metropolitan  opera book of mozart operas (aside)
Avrei pur gusto DJ dar in moglic la mia serva antica A chi mi fece un di rapir l'amica.
La vendetta, oh, la vendetta
fe un piacer serbato ai saggi;
L'obliar lonte, gli oltraggi,
t bassezza, é ognor vilta.
Con l'astuzia, con I'arguzia,
Col giudizio, col criterio
Si potrebbe ... II fatto ě serio;
Ma, credete, si farä.
Se tutto il codice
Dovessi volgere,
Se tutto I'indice
Dovessi leggere,
Con un equivoco.
Con un sinonimo
Qualche garbuglio
Si troverá.
Tutta Siviglia
Conosce Bartolo:
II birbo Figaro
Vinto sará!
Oh, how I'd relish Giving my old servant in marriage To the one who stole my sweetheart from me.
No. 4 Aria
Vengeance, yes, vengeance,
Is a pleasure reserved for the wise;
To forget affronts and insults
Is always baseness and cowardice.
With cunning and cleverness,
With judgment and discretion
I could . . . The case is serious,
But, believe me, it shall be done.
If I have to pore over
The whole legal code,
If I have to read
The whole index through,
With an ambiguity, or
Maybe a synonym
I'll find some way
To create confusion.
All of Seville
Knows Doctor Bartolo;
That rascal Figaro
Has met his match!
(He goes off.)
Scene IV
Marcellina, then Susanna
Recitative
Marcellina
Tutto ancor non ho perso: fift's not yet lost:
Mi resta la speranza. j stjn have hopes.
(Susanna enters carrying a cap, a ribbon and a dress.) (aside)
Ma Susanna si avanza. Io vo' provarmi ...        But Susanna's coming: Let's
Fingiam di non vederla .
just try ■
I'll pretend not to see her .
E quella buona perla La vorrebbe sposar!
Le Nozze di Figaro (aloud)
So that's the little gem He's going to marry.
susanna (aside, remaining backstage)
Di me favella. She's talking about me.
Marcellina
Ma da Figaro, alfine, But from Figaro, after all,
Non puo meglio sperarsi: I argent Jait tout. Nothing better can be expected: Money is
everything. Susanna (as before)
What a tongue! Luckily Everyone knows what it's worth. Marcellina
Well said! That's so sensible! With those modest eyes. And that pious look, And then . . .
Che lingua! Manco male Che ognun sa quanto vale
Brava! questo ě giudizio! Con quegli occhi modesti, Con quell'aria pietosa, E poi. ..
Meglio ě partir.
Susanna (as before)
Via.
resti servita,
Marcellina Che cara sposa!
(Both make as if to leave, and meet in the doorway.)
No. 5 Duet
Marcellina (curtsying)
I'd better go.
What a lovely bride!
Madama brillante.
Non sono si ardita, Madama piccante.
No, prima a lei tocca.
No, no, tocca a lei.
178
After you. My fine lady.
Susanna (curtsying)
I'd not be so bold, Mv pert lady.
Marcellina (as before)
No, you go first.
Susanna (as before)
No, no, after vou.
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Opera Book of Mozart Operas
Le Nozze di Figaro
Susanna and Marcellina Io so i dover miei, I know my position,
Non fo incivilta. I'd not be so rude.
Marcellina (as before) La sposa novella! The bride-to-be!
Susanna (as before) l.a dama d'onore . . . The matron of honor . . .
Marcellina (as before) Del Conte la bella . . . The Count's little favorite .
Di Spagna I'amore 1 meriti . . ■
L'abito . . -
ll posto
Leta!
Perbacco, precipito, Se ancor resto qua!
Sibilla decrepita! Da rider mi fa.
Va' la, vecchia pedante, Dottoressa arrogante!
Susanna
Marcellina
Susanna
The pride of all Spain ...
Your qualities .
Your dress
Marcellina
Susanna
Your position . ■
Your age
Marcellina (aside)
By God, I'll explode If I stay any longer!
Susanna (aside)
Decrepit old hag, You do make me laugh.
(Marcellina goes off in a fury.) Scene V
Susanna, then Cherubino Recitative
Susanna
Go on, you old pedant.
You arrogant old school-marm.
Perché hai letto due libri,
E seccato Madama in gioventu
Just because you managed to read a
couple of books, And bored my lady to death when she
was a girl . . .
(She drapes the dress over the armchair.)
CHERUBINO (entering hurriedly) Susannetta, sei tu?. .. My little Susanna, is that you?. . .
Son io; cosa volete?
Susanna
Yes, it's me: Now what do vou want?
Cherubino
Ah, cor mio, che accidente! Oh, my darling, what a disaster!
Cor vostro? Cosa awenne?
Susanna
Your darling? What's happened?
Cherubino
II Conte, ieri, Yesterday the Count
Perche trovommi sol con Barbarina, Found me alone with Barbarina,
II congedo mi diede; And sent me packing for good;
E se la Contessina, And if the Countess,
La mia bella comare, My beautiful godmother,
Grazia non m'intercede, io vado via, Doesn't intercede, I'll have to go away.
(anxiously)
lo non ti vedo piü, Susanna mia! I'll never see vou again, mv Susanna!
Susanna
Non vedete piü me! Bravo! Ma dunque Never see me again! Bravo! So then
Non piü per ]a Contessa It's no longer for the Countess
Segretamente il vostro cor sospira? That vour heart secretlv sighs?
Cherubino
Ah, che troppo rispetto ella m'ispira! Oh, I respect her too much for that!
Felice te che puoi You're so lucky to be able
Vederla quando vuoi! To see her whenever vou want to!
Che la vesti il mattino, You dress her each morning,
Che la sera la spogli, che le metti And at night vou undress her, and vou
put on
Gh spilloni, i merletti . . . Her pins and lace . . .
(sighing) 181
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THt  METROPOLITAN   OPERA  BOOK OF  MOZART OPERAS
Ah.se in tuo loco... Oh, if 1 were in your place ..
Cos'hai IU dimmi an poco . . . But what's that you've got there? Let me
see . . -
Susanna (imitating him) AkHvagonastrcelanotturnacuffia Di comare si bella . . .
For such a beautiful godmother .
Cherubino
Come on, give it to me, my sister, Give it to me, for pity's sake.
IVh, dammelo, sorella, Dammelo, per pitta
(He snatches the ribbon from her.) Susanna
Presto, quel nastro! Quick, give me that ribbon
(Susanna tries to take it back, but he starts running around the armchair.)
Cherubino
O caro, o bello, o fprtunato nastro! Oh, dearest, sweetest, luckiest of ribbons!
(He kisses the ribbon again and again.)
: with
lo non tel renderö che con la vita.
1 won't give it back to you except <
life.
Susanna
{She starts running after him, but then stops as if she were tired.) Cos'e quest'insolenza? just wnat is all this insolence?
Cherubino
Eh, via, sta' cheta! Come on now, just calm do«n
In rieompensa, poi, And m exchange,
Questa mia canzonetta io ti vo' dare. I'll give you this little song of mine.
(He pulls a song out of his pocket.)
E che ne debbo fare?
Lcggila alia padrona, Leggila tu medesma, Lcggila a Barbarina, a Marcellina,
Susanna ^ And what am I supposed to do w*
(She takes it from him.)
Cherubino
Read it to my lady, Read it to yourself, Bina, Read it to Barbanna, and to I»
Idomeneo
ABOVE: Ueana Cotrubas as Ilia, Luciano Pavarotti as Idomeneo and Frederica Von Stade as Idamante in the 1982 production, designed by Jam-Pierre Ponnelle (© Beth Bergman 1991)
rigkt: Luciano Pavarotti and Frederica Von Stade (© Beth Bergman 1991)
BOTTOM right: John Alexander as Arbace, Hildegard Behrens as Eletlra, Luciano Pavarotti, Ueana Cotrubas, and Frederica Von Stade (© Beih Bergman 1991)
BELOW: Hildegard Behrens (© Beth Bergman 1991)
182
Don Giovanni
TOP: Joan Sutherland as Donna Anna (James Heffeman)
Ct.NTfcR: Samuel Kamev as Don Gimanni in the 1990 production, designed by Franco Zeffirelli (© Beth Bergman 1991)
BOTTOM: Karita Manila as Donna Elvira, Jerry Hadlev as Don Ottavio, and Carol Vaness as Donna Anna (© Beth Beraman 1991)
Leggila ad ogni donna del palazzo! Pověro Cherubín, siete voi pazzo?
Le Nozze di Figaro
(transported with joy)
Read it to every woman in the palace! Susanna
My poor Cherubino, have you gone mad? Cherubino
No. 6 Aria
Non so piü cosa son, cosa faccio . . .
Or di fuoco, ora sono di
ghiaccio . . . Ogni donna cangiar di colore,
Ogni donna mi fa palpitar.
Solo ai nomi d'amor, di diletto Mi si turba, mi s'altera il petto, Ľ a parlare mi sforza d'amore Un desio ch'io non posso spiegar! Parlo d'amor vegliando, Parlo d'amor sognando: All'acque, all'ombre, ai monti,
Ai fiori, all'erbe, ai fonti,
All'eco, all'aria, ai venti Che il suon de' vani accenti Portano via con sé . . . E, se non ho chi m'oda, Parlo d'amor con me.
1 don't know what I am anvmore, or even what I'm doing . . .
Sometimes I'm on fire, and then I'm all ice . . .
Everv woman makes me change color.
Every woman makes mv heart throb.
The mere mention of love or delight Upsets me, and unsettles mv heart. And 1 find mvself talking about love From a need I can't even explain! I talk about love when I'm awake, I talk about love in my dreams: To the rivers, the shadows, the
mountains, The flowers, the grass, and the
fountains, To the echo, the air, and the winds, Which carrv awav with them The sound of mv useless words . . . And if there's no one to hear me, I talk about love to mvself.
(He starts to leave, but sees the Count in the distance, returns in terror and hides behind the armchair.)
Scene VI
Susanna and Cherubino, then the Count
Recitative
Susanna
Taci, vien gente . . . Il Conte! Oh, me meschina!
Be quiet, someone's coming . Count! Oh, poor me!
. It's the
18í
The Metropolitan Opera Book of Mozart Operas
(She tries to hide Cherubína.)
Susanna, tu mi sembri Agitata e confusa.
Signor . . . io chiedo scusa . . . Ma, se mai . . . qui sorpresa . . . Per caritá, partite.
COUNT (entering)
Susanna, you seem so Upset and confused.
Susanna (nervously)
My lord . . . txcuse me .. . But if anyone . . . sees you here .. For pity's sake, please go.
Count
Just one moment, and I'll leave you. Now listen to me.
Un momento, e ti lascio. Odi.
(He sits down in the armchair, and takes Susanna's hand; she tears it away.)
Non odo nulla.
Susanna
Count
I'll hear nothing.
Due parole. Tu sai just a couple of words. You kn°*
Che ambasciatore a Londra That the king's appointed me
II re mi dichiaro; di condur meco Ambassador to London; ana
Fg.ro destinai ... To take Figaro with me
Signor, se osassi
Susanna (timidly)
Count
My lord, ifl only dared-
Parla, parla, mia cara! E con quel dritto Speak up, my dear! And by that ng
(rising)
Ch'oggi prendi su me finche tu vivi, That you'll claim from me today or
Chiedi, imponi, prescrivi.
long as you live, (tenderly, trying to take her hand again)
You've only to ask, comman
d, or
decide
SUSANNA (in ajrenzy) ^ Lasciatemi, signor; dritti non prendo: Leave me, my lord; I've clai ■»
Non ne vo', non ne intendo . . . Oh, me Nor do I intend to . ■ °n'
infelice! I am!
Le .Vozze di Figaro
Count
Ah, no, Susanna, io ti vo' far felice! Oh no, Susanna, I want to make vou
Tu ben sai quanto io t'amo: a te Basilio happy!
Tuttogia disse. You know how much I love you! Basilio's
already Told you everything.
(as before)
Or senti: Se per pochi momenti Meco in giardin, suH'imbrunir del giorno .. .
Ah, per questo favore io pagherei. . . Oh, for this favor I'd pay . . .
Now listen: If you'll meet me in the garden For a few moments at dusk . . .
f: uscito poco fa
Chi parla
Basilio (off-stage)
He's just gone out.
Count Susanna
Who was that?
Oh, Dei!
Oh, my God!
Count
Esci, e alcun non entri.
Go on out, and don't let anyone in.
susanna (extremely agitated) Ch'io vi lasci qui solo? And leave you here alone?
Basilio (as bejore)
Da Madama ei sara: vado a cercarlo. He'll be with my ladv: I'll go and look for
him.
COUNT (pointing to the armchair) Qui dietro mi porro. I'll get behind here.
Susanna
Non vi celate. Oh, please don't hide there.
Count
Taci, e cerca ch'ei parta. Do be quiet, and make sure that he
leaves.
Susanna
Ohime! che fate? Oh dear! What are vou doing?
18s
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The Metropolitan Opera Book of Mozart Operas
he Nozze di Figaro
(The Count goes to hide behind the armchair, while Susanna stands between him and the page. The Count pushes her gently aside, and she retreats. Meanwhile, the page comes around to the front of the armchair, and throws himself into it, curling up as best he can. Susanna covers him with the dress which she had draped over the armchair.)
Scene VII
Susanna, Cherubino, the Count and Basilio Basilio (entering)
Susanna, il ciel vi salvi; avreste a caso God bless you, Susanna: Have you by any
chance
Veduto il Conte? Seen the Count?
Susanna
E cosa And what
Deve far meco il Conte? Animo, uscite. Would the Count be doing with me? For
heaven's sake, go away.
Basilio
Aspettate, sentite: Figaro di lui cerca.
Wait just a moment, and listen to me: Figaro's looking for him.
Oh, cielo!
Susanna (aside)
(to Basilio)
Oh, mv God!
Hi cerca
Chi dopo voi pill Podia.
Veggiam come mi serve.
The Count's The very one who, after you, must hate him most.
Count (aside)
Now we'll see how well he serves me.
Basilio
lo non ho mai nella moral sentito I've never heard any law that states
Ch'uno ch'ama la moglie odii il marito. That he who loves the wife must
therefore hate the husband. Per dir che il Conte v'ama . . . Which is to say that the Count loves
you . . .
susanna (resentfully) Sortite, vil ministro just get outi you vile agent
Dell'altrui sfrenatezza: io non ho d'uopo For someone else's lechery: I've no use
for
186
Delia vostra morale,
Del Conte, del suo amor . .
Your laws,
The Count, or his love . . .
Basilio
Non c'e alcun male. There's no harm done.
Ha ciascun i suoi gusti: io mi credea Each to his own tastes, I always say: I
onlv thought
Che preferir doveste per amante, That you'd prefer as a lover,
Come fan tutte quante, As all the other ladies do,
Un signor liberal, prudente e saggio; A generous lord, who's prudent and wise,
A un giovinastro, a un paggio ... lb a mere boy, a page . . .
Susanna (anxiously) A Cherubino!
lb Cherubino!
Basilio
A Cherubino, Cherubín d'amore,
Ch'oggi, sul far del giorno, Passeggiava qui intorno Per entrar .. .
Uom maligno! Uh impostura ě questa!
Yes, to Cherubino, that little cherub of love,
Who was prowling around here
Today at dawn,
Just trving to get in . ..
Susanna (vehemently)
You wicked man!
That':
s a vicious
lie!
Basilio
E un maligno con voi chi ha gli occhi in Anyone who's got eves in his head is
testa. bound to be wicked to vou.
E quella canzonetta? And what about that little song?
Ditemi in confidenza: io sono amico, Now tell me confidentiallv: I'm your
friend,
E ad altrui nulla dico: And I'll say nothing to anvone else:
E per voi, per Madama? Is it for you, or for my lady?
SUSANNA (aside, and obviously upset) Chi diavol gliel'ha detto? Who the devil told him that?
Basilio
A proposito, figlia,
Istruitelo meglio: egli la guarda
A tavola si spesso,
E con tale immodestia,
By the way, mv dear daughter. You'd do well to warn him: He looks at her
So often when he's waiting on table, And with such indiscretion,
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Thk Metropolitan Oplra Book of Mozart Opkras
Che se il Conte s'accorge . . . ehi, su tal That if the Count should ever notice ...
punto. Well, on that point,
Saprte, egli e una bestia. You know, he's a beast.
Susanna
Scellerato! Oh, you scoundrel!
E perche andate voi And why do you go around
Tai menzogne spargendo? Spreading such lies?
Basilio
lo! che ingiustizia! Quel che compro io Me! How unfair! I'm only repeating what
vendo. I've heard.
A quel che tutti dicono And I haven't added a thing
lo non aggiungo un pelo. To what everyone else is saying.
count (stepping forward)
How's that? And just what is everyone saying?
Come! Che dicon tutti?
Basilio (aside) Oh, bella! Oh, how perfect!
Susanna
Oh,cielo! Oh, my God!
No. 7 Trio
count (to Basilio)
Cosa sento! Tosto andate, Ľ scacciate il seduttor.
In mal punto son qui giunto! Perdonate, o mio signor.
Che ruina, me meschina! Son oppressa dal dolor.
Basilio
What do I hear? Go at once, And throw the seducer out.
I'm afraid I've arrived at a very time!
Do forgive me, my lord.
bad
Susanna (swooning)
Oh, what a disaster, I'm ruined
forever! And I'm overcome with gnefi
COUNT and BASILIO (supporting Susanna) ! Ah, gia svien la poverina! Oh, the poor girl's almost fam°n|
Come, oddio, le batte il cor! My God, how her heart's beating
Le Nozze di Figaro
Basilio
(leading her towards the armchair to get her to sit down) Pian pianin: su questo seggio . . . Easy now . . . right here in this
chair . . .
Dove sono?
Cosa veggio? Che insolenza! Andate fuor!
Susanna
Where am I?
(recovering)
What am I seeing? Such insolence! Just go away!
(She pulls back from both of them.)
Count
Siamo qui per aiutarti, Non turbarti, o mio tesor.
Siamo qui per aiutarvi: h sicuro il vostro onor.
We're only here to help vou. Don't be so upset, my darling.
Basilio (maliciously)
We're only here to help vou, Your honor's safe with us.
(to the Count)
Ah, del paggio quel ch'ho detto Hra solo un mio sospetto!
H un'insidia, una perfidia: Non credete all'impostor.
Parta! parta, il damerino!
Poverino!
Poverino! Ma da me sorpreso ancor.
Come!
Che!
Susanna
Count
Oh, what I said about the page Was just a suspicion of mine!
It's all a plot, a vicious lie: Don't you believe this impoMtr
No, he's got to go! That young rascal's got to go!
Basilio and Susanna
The poor boy! count (sarcastically )
The poor bov! And I've caught him at it again.
Susanna
How's that?
Basilio
What's this?
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The Metropolitan Opera Book of Mozart Operas
Recitative
Count
Da tua cugina L'uscio ier trovai rinchiuso; Picchio, m'apre Barbarina
Paurosa fuor dell'uso. Io dal tnuso insospettito, Guardo, cerco in ogni sito,
td alzando pian pianino II tappcto al tavolino, Vcdo il paggio!
Yesterday at vour cousin's I found the door locked; So I knocked, and when Barbarina
opened it, She looked more flustered than usual. Her appearance made me so suspicious That I looked and searched in every corner,
And when 1 very gently lifted The cover from the table, Who should I see but the page!
(He imitates his gesture with the dress, and discovers the page. In amazement)
Ah, cosa veggio! Oh, what am I seeing;
Susanna (fearfully)
Ah, crude stelle!
BasILIO (laughing) Ah, meglio ancora.
Oh, how cruel fate can be!
Oh, this is even better!
Onestissima signora. Or capisco come va.
Accader non puö di peggio: Giusti Dei! che mai sara!
Cosi fan tutte le belle! Non c'e alcuna novitä.
Basilio, in traccia tosto Di Figaro volate: lo vo' ch'ei veda . . .
Count
Susanna
Basilio
Recitative
Well, my virtuous ladv, Now I finally understand.
Nothing worse than this could happen:
Good heavens, now what's going to be?
All pretty women are the same! It's nothing new to me!
Count
Basilio, go at once In search of Figaro: I want him to see .
Le Nozze di Figaro (He points at Cherubino, who does not move from the spot.)
Susanna (gaily)
Ed io che senta: andate.
And I want him to hear: Go on.
Restate!
Count (to Basilio)
No, wait!
(to Susanna)
Che baldanza! E quale scusa, Se la colpa ě evidente?
You're so sure of yourself! And what excuse have you got, If vour guilt is more than clear?
Susanna
Non ha d'uopo di scusa un'innocente. Innocence needs no excuses.
Count
Ma costui quando venne? But when did he come in?
Susanna
tgli era meco He was with me
Quando voi qui giungeste, e mi chiedea When you got here, and he asked me
D'impegnar la padrona To beg my ladv
A intercedergli grazia: il vostro arrivo To intercede for him: Your arrival
In scompiglio lo pose, Alarmed him,
Hd allor in quel loco si nascose. And that's when he hid in the chair.
Ma s'io stesso m'assisi Quando in camera entrai!
Count
But I sat down there myself When I entered the room!
Cherubino (timidly) Ed allora di dietro io mi celai. And that's when I hid behind it.
t' quando io lä mi posi?
Count
And when I went back there?
Cherubino
Allor io pian mi volsi, e qui m'ascosi. I crept around quietly and hid in here.
COUNT (to Susanna) Oh, ciel! Dunque ha sentito Oh, God! Then he heard
Quello ch'io ti dicea? What I was saying to you?
Cherubino
Feci per non sentir quanta potea. I did all that I could not to listen.
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The Metropolitan Opera Book of Mozart Operas
Count
Oh, perfidia!
Oh, you traitor!
Basilio
Be careful: Someone's coming.
Frenatevi: vien gente.
COUNT (to Cherubino) F- voi restate qui, picciol serpente! And you stay right where you are, you
little snake!
(He drags him out of the armchair.)
Scene VIII
Susanna, Cherubino, the Count, basilio, Figaro, and peasant men and women (Figaro is carrying a white dress in his hand: The peasant men and women—the latter dressed in white—are holding little baskets of flowers to scatter in front of the Count.)
No. 8 Chorus
Chorus
Giovani liete, Fiori spargete Davanti al nobile Nostro signor.
11 suo gran core Vi serba intatto D'un piú bel fiore I almo candor.
Come, happv young maidens. And scatter your flowers Before our Noble lord.
For his generous heart Has kept intact for vou The purity Of a still fairer flower.
Recitative
COUNT (to Figaro, in amazement) Cos'c questa commedia? Just what's all this nonsense about.
figaro (to Susanna, sottovoce) Fccoci in danza. The fun's just no«
Secondami, cor mio. Bear with me, my darling.
begin*
Susanna (aside) Hiscoura^ . , Oh, I'm so dl*0" ~
Non ci ho —
Signor, non isdegnate
speranza.
Figaro (to the Count)
My lord, please don't reject
Le Nozze di Figaro
Questo del nostro affetto This worthy token
Meritato tribute Or che aboliste Of our affection. Now that you've
abolished
Un diritto si ingrato a chi ben ama ... A privilege so painful to all true
lovers . . .
Count
Quel diritto or non v'e piu: cosa si That right doesn't exist anymore: So what
brama? is it you wrant?
Figaro
Delia vostra saggezza il primo frutto Today we're about to gather the first
fruits
Oggi noi coglierem: le nostre nozze Of your wisdom, and our wedding
Si son gia stabilite. Or a voi tocca Is already arranged. Now we're asking
you to place
Costei, che un vostro dono This pure white veil
Illibata serbo, coprir di questa, On the head of the maiden
Simbolo d'onesta, Candida vesta. Who owes her virtue to vou.
Diabolica astuzia! Ma fingere convien.
Count (aside)
How devilishly clever! But I'll just play along.
(aloud)
Son grato, amici, I'm most grateful, my friends.
Ad un senso si onesto. For such loval devotion.
Ma non merto, per questo, But for this i don't deserve
Ne tributi ne lodi: e un dritto ingiusto tither tributes or praise: It was an unjust
privilege,
Ne' miei feudi abolendo, And by abolishing it on my own estates,
A natura, al dover lor dritti io rendo. I've merely restored their rightful claims
to both nature and duty.
All
Evviva, ewiva, evviva!
Three cheers for the Count!
Che virtů!
Susanna (maliciously)
How virtuous!
Figaro
Che giustizia!
And how just!
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THE  MtTKOPOLITAN  OPERA BOOK  OF MOZART OPHRAS
COUNT (to Figaro and Susanna) A voi prometto I promise vou both
Compier la ccrimonia. That I'll perform the ceremony.
Chiedo sol breve indugio: io voglio, in I'm only asking for a brief delay: For I
faccia want to have
l)e' miei piu fidi, e con piu ricca pompa, Mv most faithful subjects with me, and
with all the pomp I can muster, Rendervi appien felici. I'll make your happiness complete.
(aside)
Marcellina si trovi.
We must find Marcellina.
(aloud)
Mow go, my friends.
Andate, amici.
CHORUS (scattering the rest of the flowers) ___ i „
Giovani liete, Fiori spargete Davanti al nobile Nostro signor. II suo gran core Vi serba intatto D'un piu bel fiore L'almo candor.
Come, happy young maidens, And scatter your flowers Before our Noble lord. For his generous heart Has kept intact for you The puritv Of a still fairer flower.
(The peasant men and women go off.)
Recitative
Figaro
Hvviva!
Hvviva!
Three cheers! Susanna
Basilio
Three cheers!
Hvviva!
Three cheer*'-
H voi non applaudite?
figaro (to Cherubino)
And why aren't you applauding-'
Susanna
■ afflitto- Pereno, He's miserable, poor boy,
Pcrché il padron lo scaccia dal castello. Because my lord has thrown him out ot
the castle.
Ah, in un giorno si bello! In un giomo di nozze!
Le Nozze di Figaro Figaro
Oh, and on such a happy day!
Susanna
On the day of our wedding!
Figaro (to the Count)
Quando ognuno v'ammira! And just when everyone's singing your
praises!
Cherubino (kneeling down) Perdono, mio signor . . . Forgive me, my lord . . .
Count
Nol meritate. You don't deserve it.
Susanna
But he's only a child.
Count
Less so than vou think.
Cherubino
F- ver, mancai; ma dal mio labbro It's true, I was wrong: But I'd never
Egli ě ancora fanciullo. Men di quel che tu credi.
alfine . ,
tell
count (raising him from his knees) Ben, ben; io vi perdono. Well, then: I forgive you.
Anzi, faro di piu: vacante e un posto And I'll even do more: There's a place
free
D'uffizial nel reggimento mio; For an officer just now in my regiment;
Io scelgo voi. Partite tosto; addio. It's yours. Now leave at once; good-bye.
(The Count starts to leave, but Susanna and Figaro stop him.)
Susanna and Figaro Ah! fin domani sol . . . Oh! Just until tomorrow . . .
Count
No, parta tosto. No! He's got to leave right away.
Cherubino (sighing deeply) A ubbidirvi, signor, son gia disposto. I'm at your service, mv lord.
Count
Via, per I'ultima volta Come on now, and embrace vour Susanna
La Susanna abbracciate.
One last time.
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Opera Book of Mozart Oper,«
(aside)
Le Nozze di Figaro
lnaspettato ě il colpo
I've taken him by surprise (Cherubmo embraces Susanna, who seems embarrassed.)
Figaro
Bhi, capitano,
A me pure la mano.
Well then, my captain, Shake hands with me, too.
lo vo' parlarti
PrU che tu parta.
(softly to Cherubino)
Before you leave. (aloud, with assumed joy)
I want to speak to you
Addio, J^*!
,  „.     , . My little Cherubino.
Picciolo Cherubino. J                j    rliawwdiniust<
Come cangia in un punto il tuo destine! "^^^tt!
Molto onor, poco contante,
Ed invece del fandango, Una marcia per il fango.
Per montagne, per valloni,
Con le nevi e i sollioni, Al concerto di tromboni, Di bombarde, di cannoni, Che le palle in tutti i tuoni All'orecchio fan fischiar. Cherubino, alia vittoria! Alia gloria militar!
Lots of honors, but not much money,
And instead of the fandango. You'll be marching through the mud.
Over the mountains, through the valleys,
In the snow and scorching sun, To the sound of trumpets blaring, Shells and cannon-balls; And as thev whistle by. Your ears will surely ring. Cherubino, on to victory! And to military glory!
(They all leave in military style.)
Knd of Act One
No. 9 Aria
Non piü andrai, farfallone amoroso,
Notte e giorno d'intorno girando, Delle belle turbando il riposo, Narcisetto, Adoncino d'amor.
Non piü avrai questi bei
pennacchini, Quel cappello, leggero e galante, Quella chioma, quell'aria brillante.
Quel vermiglio, donnesco color.
Tra guerrieri, poffarbacco! Gran mustacchi, stretto sacco,
Schioppo in spalla, sciabla al fianco,
Collo dritto, muso franco,
Un gran casco, o un gran turbante.
No more vou'll wander, my
amorous butterfly, Flitting about both night and day, Disturbing all those pretty girls, My little Narcissus, Adonis of love. No more vou'll near those fancy
feathers, That smart jaunty cap, Those gorgeous curls, that lively
look,
Those rosy girlish cheeks. You'll be among warriors, by Jove! With your bushy whiskers, and
tightly held knapsack, A gun on your shoulder, a saber at
your side, With your head held high and boW
of face,
And some great helmet, or mavbe 3 turban,
ACT TWO
A magnificent room with an alcove. To the right is the entrance door, to the left a dressing-room. At the back is a door leading to the maids' quarters, on the side a window.
Porgi, amor, (jualche ristoro Al mio duolo, a' miei sospir. 0 mi rendi il mio tesoro,
O mi lascia almen morir.
Scene I
The Countess alone
Countess No. 10 Cavatina
Oh love, grant some relief
lb my sorrow and mv sighs.
And if vou won't give me back mv
loved one, At least, I beg you, let me die.
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Scene II
The Countess and Susanna, then Figaro (Susanna enters.)
Recitative
Countess (sitting down)
Come in, my dear Susanna, And tell me the rest of your story.
Vieni, cara Susanna: Finiscimi l'istoria.
Ě giä finita. Dunque, volle sedurti?
Susanna
It's already finished.
Countess
So he tried to seduce you?
Susanna Oh, il signor Conte Non fa tai complimenti Con Ic donne mie pari: hgli venne a contratto di danari.
Oh, mv lord the Count Doesn't waste any compliments On girls of my station: To him it was just a matter of money.
Ah, il crudel piii non m'ama!
Countess
Oh, the cruel man doesn't love me
anvmore
Susanna
E come.
t gcloso di voi?
po
Then why is i'
He's so jealous of you
Countess
Come lo sono 1 modemi mariti: per sistema Infcdeli, per genio capricciosi, t per orgoglio, poi, tutti gelosi. Ma so Figaro ťama, ei sol potria
He's just like all Modern husbands are: on principle Unfaithful, by nature fickle, And only jealous out of pride. But if Figaro loves you, he could surelv . . .
figaro (off-stage, humming) La, la la la, la la la, la la la, U la la la, la la la, la la b
La, la la la, la la la, la. La, la la la, la la la, la-
(He enters.)
tccolo. Vieni, amico: Madama impaziente .
Le Nozze di Figaro
Susanna
Here he is now. Come on in, my darling: My lady's getting impatient .. .
Figaro (gay and self-possessed) A voi non tocca
Stare in pena per questo.
Alfin, di che si tratta? Al signor Conte
Piace la sposa mia;
Indi segretamente
Ricuperar vorria
II diritto feudale:
Possibile e la cosa, e naturale.
Possibil!
Natural!
Naturalissima. E, se Susanna vuol, possibilissima.
Finiscila una volta.
Ho giä finito. Quindi, prese il partito Di sceglier me corriero, e la Susanna Consigliera segreta d'ambasciata: t, perch'ella ostinata ognor rifiuta II diploma d'onor ch'ei le destina,
Minaccia di protegger Marcellina. Questo ě tutto l'affare.
Hd hai coraggio di trattar scherzando Un negozio si serio?
You shouldn't Take all this to heart. After all, just what does it come down to?
My lord the Count Is attracted to my bride, And so secretly He'd like to reclaim His feudal right:
It's not only possible, it's natural.
Countess
It's possible?
Susanna
It's natural?
Figaro
It's perfectly natural. And if Susanna's willing, it's perfectly possible.
Susanna
Wdl you hurry up and finish?
Figaro
I already have.
So now he's decided To name me as his courier, and Susanna His secret ambassadress: And because she obstinately refuses The honorary title that he's offered to her,
He's threatening to take Marcellina's side. So now you know the whole story.
Susanna
And you have the nerve to joke about Such a serious matter?
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Figaro
Non vi bašta Che scherzando io ci pensi? Hcco il progetto.
Per Basilio an biglietto
Io gli fo capitar, che l'avvertisca
Di certo appuntamento
Che per l'ora del ballo
A un amante voi deste.
Aren't you glad That I can take it so lightly? Now listen to mv plan.
(to the Countess)
By way of Basilio I'll send him A little note, warning him About a certain assignation That you've made with a lover During the ball.
Countess
O ciel! che sento! Good heavens! What are you saying?
Ad un uom si geloso! .
When he's such a jealous man?
Figaro
Ancora meglio: Cosi potrem piü presto imbarazzarlo, Confonderlo, imbrogliarlo, Rovesciargli i progetti, I.mpierlo di sospetti, e porgli in těsta
Che la moderna festa,
Ch Vi di fare a me tenta, altri a lui faccia;
()nde qua perda il tempo, ivi la traccia.
Cosi, quasi ex abrupto, e senza ch'abbia Hatto per frastomarci alcun disegno, Vien ľora delle nozze,
So much the better: Then we can embarrass him more easily, And confuse him, embroil him, And upset his schemes; We'll fill him with suspicions, and make
him understand That these modern tricks, Which he's trying to play on me, can also
be played on him; He'll waste his time on a wild-goose
chase.
And all of a sudden, before he can Interfere with our plans any further, The hour will come for the wedding,
(to Susanna, pointing at the Countess) e in faccia a lei and in front of her
Non ha ch'osi d'opporsi ai voti miei. He won't dare to prevent our vows.
F \er; ma in di lui vece S'opporrä Marcellina.
Susanna
That's true; but instead of him Marcellina will oppose us.
Figaro (to Susanna) Aspetta: al Conte Just a moment:
Farai subito dir che verso sera My lord know at once that toward
evening
You'll 1«
Le Nozze di Figaro
Attěndati in giardino:
II picciol Cherubino,
Per mio consiglio non ancor partito,
Da femmina vestito,
Faremo che in tua vece ivi sen vada.
Questa ě 1'unica strada
Onde Monsú, sorpreso da Madama,
He should wait for you in the garden: Then we'll get our little Cherubino, Who's agreed not to leave yet, To dress up as a woman, And go there instead of you. This is the onlv way
That my lord, who'll be caught in the act
by my lady, Can be forced to do what we want.
Sia costretto a far poi quel che si brama.
countess (to Susanna) Che ti par? What do you think?
Susanna
Non e'e mal. It's not bad.
Countess
Nel nostro caso ... In our situation .
Susanna
Quand'egli e persuaso . . . h dove e il If he's sure that . . . But is there enough
tempo?
time?
Figaro
Ito e il Conte alia caccia, e per qualch'ora        The Count's gone hunting, and he won't
be back
Non sara di ritorno. For a couple of hours.
(leaving)
I'm off now, and I'll send Cherubino at once: I'm leaving it to you To get him dressed.
Countess
And then?
Io vado, e tosto Cherubino vi mando: lascio a voi La cura di vestirlo.
t poi?
E poi
Se vuol ballare, Signor Contino, II chitarrino Le suonero.
Figaro
(Reprise of No. 3)
If you want to dance, My dear litde Count, I'll play the tune On my guitar.
And then
(He goes off.)
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* -
Le Nazze di Figaro
Scene III
The Countess and Susanna, then Cherubino
Recitative
Quanto duolmi, Susanna,
Che questo giovinetto abbia del Conte
Le stravaganze udite, ah, tu non sai! . .
Ma per qual causa mai
Da me stessa ei non venne? . . .
Dov'e la canzonetta?
Ľccola: appunto Facciam che ce la canti. Zitto, vien gente: ě desso. Avanti, avanti
Countess
How it hurts me, Susanna, to think
That this voung boy overheard
The Count's foolish words. Oh, vou can't
imagine .. . But why in the world didn't he Come right to me?... Just where did you put his little song?
Susanna
Here it is: Yes, Let's have him sing it for us. Be quiet, someone's coming: It's him. Forward march,
Signor ufliziale.
Ah, non chiamarmi Con nome si fatale! ti mi rammenta Che abbandonar degg'io Comare tanto buona.
(Cherubino enters.)
My fine young officer. Cherubino
Oh, please don't call me By that terrible name! It just reminds me That I have to leave Such a kind, sweet godmother.
Susanna
Ľ tanto bella!
And so beautiful!
Ah . . . si . . . certo
Ah
Cherubino (sighing)
Oh ... yes ... of course ...
Susanna (imitating him)
certo... Oh ..ves...ofcoum-
(aside)
Ipocritone!
You little hypocrite'-
(aloud)
Via, presto! La canzone
Come on now, quickly! Just sing
Che stamane a me deste A Madama cantate.
My lady the song
That you gave me this morning.
Chi n'e l'autor?
Countess (unfolding it)
Who wrote this?
Di rossor sulla faccia
Susanna (pointing at Cherubino) Guardate: egli ha due braccia just look at him: He's blushing
Like a school-girl.
Countess
Prendi la mia chitarra e l'accompagna. You take my guitar and accompany him.
lo sono si tremante . . . Ma se Madama vuole . .
Cherubino
I'm trembling all over . But if my lady insists .
Susanna
Lo vuole, si, lo vuol . . . manco parole. Yes, she insists, and so do I . . . Now no
more talking.
(Susanna plays the refrain on the guitar.)
Cherubino No. 11 Canzone
Voi che sápete Che cosa ě amor, Donne, vedete S'io Pho nel cor.
Quello ch'io provo Vi ridiró; E per me nuovo, Capir nol so. Sento un affetto Pien di desir Ch bra ě diletto, Ch'ora ě martir.
Gelo, e poi sento Lalma avvampar, E in un momento Torno a gelar.
Oh, you who know What love's all about, Tell me, rav ladies. What's in mv heart.
I'll try to describe
My feelings for you.
But they're so new
That 1 can't understand them.
Sometimes I feel
A strange longing
That brings happiness
Or despair.
I freeze, and then My soul's on fire, And a moment later I'm freezing again.
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Ricerco un bene Fuori di me, Non so chi'l tiene, Non so cos'ě.
Sospiro e gemo Senza voler, Palpito e trémo Senza saper.
Non trovo pace Notte né di: Ma pur mi piace I.anguir cosi.
Voi che sápete Che cosa ě amor, Donne, vedete S'io Tho nel cor.
Bravo! che bella voce! Io non sapea Che eintaste si bene.
Oh, in veritá Kgli fa tutto ben quello ch'ei fa. Presto, a noi, bel soldato:
l i_j.tr. ■ v'informo . . .
Tutto mi disse.
Lasciatemi veder.
I'm seeking a pleasure That's beyond me, I don't know where to find it, Or even what it is.
I sigh and I moan Without meaning to, And I shake and tremble Without knowing why.
1 can find no peace Either night or dav, Yet I've come to enjoy My suffering.
Oh, you who know What love's all about, Tell me, mv ladies. What's in mv heart.
Recitative
Countess
Bravo! What a charming voice! 1 didn't know
You could sing so well. Susanna
Oh, to tell you the truth.
He does everything well. Now quickly, come here, my handsome
soldier: Figaro's already told you ...
Cherubino
He's told me all abo"1'1
Susanna
Now let's see.
(She measures Cherubino against herself.)
Andra benissimo: This will do just fine^
Siam d'uguale statura . . . Giu quel
vour coat.
This will do jusi..-We're the same height... Now
manto.
(She cakes off his coat.) 204
Che fai?
Niente paura.
E se qualcuno entrasse?
Hnrri: che mal facciamo? La porta chiuderö.
Ma come, poi, Acconciargli i capelli?
Le Nozze di Figaro
Countess (to Susanna)
What are you doing?
Susanna
There's nothing to fear.
Countess
And what if someone should come in?
Susanna
Let them come: We're not doing
anything wrong. I think I'll lock the door.
Prendi nel gabinetto Presto!
Una mia cuffia
(She locks the door.)
Do with his hair?
Countess
But what am I going to
Go and get one of my caps From the dressing-room. Quicklv now!
(Susanna goes into the dressing-room to get a cap. Cherubino approaches the Countess and shows her his commission, which is in his breast pocket; the Countess takes it and unfolds it, and notices that the
seal is missing.)
Che carta e quella? What is this document?
Cherubino La patente.
It's my commission.
Che sollecita gente! L'ebbi or da Basilio.
Countess
They didn't waste any time!
Cherubino
I got it from Basilio.
Countess
Dalla fretta obliato hanno il sigillo. In all the hurry he forgot the seal.
(She gives it back to him.)
susanna (returning with the cap)
■ The seal for what?
205
'I sigillo di che?
The Metropolitan Opera Book of Mozart Operas Countess
Le Nozze di Figaro
Delia patente.
Cospetto! Che premura! Ecco la cuffia.
For his commission.
Susanna
My goodness! How careless! But here's the cap.
Countess (to Susanna) Spicciati: va bene. Hurry up now: That's just fine
Miserabili noi, se il Conte viene. I'd feel sorry for us if the Count should
come in.
Susanna
(She takes Cherubino and makes him kneel down in front of her, a little distance away from the Countess, who has seated herself.)
Venite . . . inginocchiatevi . . Restate fermo li . . .
Pian piano, or via, giratevi ,
No. 12 Aria
Come here now . . . Kneel
down . . . And keep perfectly still ■ ■ ■
(She combs his hair on one side; then she takes him by the chin and turns his head as she wishes,)
Now turn your head around slowly . ..
Bravo . . . va ben cosi. Bravo . . . that's good.
La faccia ora volgetemi, Now turn your face towards me
(Wide Susanna is combing his hair, Cherubino gazes tenderly at the Countess)
Ola! quegli occhi a me . . . Hey! Look at me ...
Drittissimo . . . guardatemi . . . Right this way .. .
Madama qui non e. JUst pretend my lady's not here.
(She goes on combing his hair and then hands him the cap.) Piii alto quel colletto ... put your collar up a little higher
Quel ciglio un po' piii basso . . . Le mani sotto il petto . . .
And keep your eyes
down lower-■•
Vedremo poscia il passo, Quando sarete in piě.
Fold your hands across your
chest ... Now we'll see how you walk, When you're on your feet again
(softly to the Countess)
Mirate il bricconcello, Mirate quanto ě bello! Che furha guardatura, Che vezzo, che figura! Se ľamano le femmine, Han certo il lor perchě.
Quante buffonerie!
Just look at the little rogue,
Look how prettv he is!
What a cunning air,
What charm, and what a figure!
If the ladies fall in love with him,
I can certainly understand why.
Recitative
Countess
What utter nonsense! Susanna
Ma se ne sono
I'm even
Io medesma gelosa! Jealous of him myself!
(She takes Cherubino by the chin.)
Fhi, serpentello, Volete tralasciar d'esser si bello?
So, my little rascal, Who gave you the right to be so pretty?
Countess
Finiam le ragazzate. Or quelle maniche Now that's enough of these childish
pranks. Push those sleeves up Oltre il gomito gli alza, Above his elbows,
Onde piii agiatamente L'abito gli si adatti.
So that you can put on his dress More easily.
Cosi...
susanna (carrying out her instructions) Ecco. There now!
Countess Piu indietro.
Like that . . .
Even higher.
(discovering a ribbon that he has tied around his arm) Che nastro e quello? But what's this ribbon here?
Susanna
ii- It's the one he stole from me.
COUNTESS (She takes off the ribbon.) E questo sangue? And where did this blood come from?
F quel ch'esso involon
Cherubino (agitated) Quel sangue ... Io non so come . . . That blood ... I don't know how
Poco pria, sdrucciolando A little while ago, I stumbled over
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In un sasso ... la pelle io mi graffiai, A rock ... I scratched mv arm,
E la piaga col nastro io mi fasciai. And I bandaged myself with the ribbon.
Susanna
Mostrate: non e'e mal. Cospetto! Ha il Let's see it: It's nothing much. Good
braccio heavens! His arm
Piu candido del mio! Qualche ragazza ... Is whiter than mine! Just like a girl's...
countess
k. scgui a far la pazza? Are vou still fooling around?
Va' nel mio gabinetto, e prendi un poco Go into the dressing-room, and gel mei
little
D'inglese taffeta, ch'e sullo scrigno. Piece of sticking-plaster; it's on my desk.
(Susanna hurries off.) In quanto al nastro . . . And as for this ribbon . .
(She looks at the ribbon a moment. Cherubino, kneeling, watches her carefully)
inver ... per il colore ... To tell the truth ., beaux
color . . .
Mi spiacea di privarmene . . . I'm sorry to let it go . ..
Susanna
(Coming back in, she gives her the plaster and scissors.) Tenete:
h da legargli il braccio?
And what should we use to arm?
Here you w bandage His
Countess
Un altro nastro Go and get another nb
Prrndi insiem col mio vestito. Together with my dress.
(Susanna leaves by the door at the back and takes Cherubino's coat with her.) Cherubino
Ah. piu presto m'avria quello guarito! Oh, that one would have healed me
faster!
rVrché? Questo ě miglii
Countess
But whv? This one's even
better.
Le Kozze di Figaro Cherubino
Allorche un nastro Well, when a ribbon's
Lego la chioma, ovver tocco la pelle . . . Bound the hair, or touched the skin . . .
D'oggetto . . . Of someone . . .
COUNTESS (interrupting him) . . . Forastiero, . . . Who's a stranger,
E buon per le ferite; non e vero? It's good for vour wounds, am I right?
Guardate qualita ch'io non sapea! Those are powers I've never heard of!
Cherubino
Madama scherza, ed io frattanto parto. Mv ladv's teasing me, and just when I
have to leave.
Poverin, che sventura!
f the Or piange
Countess
You poor thing, how unlucky!
Cherubino
Oh, me infelice! Oh, how unhappv 1 am!
countess (agitated and moved)
Now he's crving!
Cherubino
O ciel! perché morir non lice! God help me! Whv can't I just die now!
Perhaps, when the final moment is
Forse, vicino all'ultimo momento .
near . . .
Questa bocca oseria   . . These lips might dare . . .
Countess
Siate
saggio: cos'e questa follia?
Be good now: What is all this nonsense?
(She dries his eyes with her handkerchief. Someone knocks at the door.)
Chi picchia alia mia porta?
Who's knocking at mv door?
Perché chiusa?
Scene iv
The Countess and Cherubino; the Count outside the door
Count (off-stage)
Why is it locked?
Countess (standing up) II mio sposo! O Dei, son morta! It's my husband! Oh God, i'm ruined!
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The Metropolitan Opera Book of Mozart Operas (to Cherubino)
Voi qui senza mantello, Here you are without vour coat,
In questo stato! Un ricevuto foglio . . . And in this condition! He received that
note . . .
La sua gran gelosia! And he's so horribly jealous!
Count (louder)
Cosa indugiate? Whv don't you open up.
Countess (confused)
Son sola . . . ah, si, son sola . . . I'm alone ... oh, yes, I'm all alone. ■
Count
E a chi parlate? Then who were you talking to'
Countess
A voi . . . certo ... A voi stesso ... To you ... of course ... Just to you.
Cherubino
Dopo quel ch'e successo, il suo furore . . .        After everything that's happene
fury . . .
Non trovo altro consiglio! I've got no other choice!
(He goes into the dressing-room, and closes the door.)
Countess
Ah. mi difenda il cielo, in tal periglio! Oh, may heaven protect me, in
of danger!
(She takes the key from the dressing-room door, and runs to open up jor the Court)
Scene V
The Countess, and the Count in hunting costume
:d, his
this hour
used
Count (entering)
Che novita! Non fu mai vostra usanza This is a new one! You never
Di rinchiudervi in stanza! To lock yourself up in your room-
Countess E ver; ma io . . . lo stava qui mettendo ... I was trying on .
renght>''
C°UNT -jn£«
Via: mettendo ... Go on: You were Vfi
Le Nozze di Figaro
Countess
Certe robe . . . Era meco la Susanna . , . Some of my things . . . And Susanna was
here with me . . .
Che in sua camera e andata. But she's gone off to her room.
COUNT (looking closely at her) Ad ogni modo, At any rate,
Voi non siete tranquilla. You seem upset.
Guardate questo foglio. And just take a look at this note.
Countess (aside) Numi! E il foglio My God! It's the note
Che Figaro gli scrisse! That Figaro wrote to him!
(Cherubino knocks over a little table and a chair in the dressing-room, making a loud noise.)
Cos'e codesto strepito?
In gabinetto
Qualche cosa e caduta.
Io non intesi niente.
Count
What's all this commotion? Something's fallen down In your dressing-room.
Countess
I didn't hear anything.
Count
Convien che abbiate i gran pensieri in I guess you've got lots of weighty thinPs
mente. .  , ° - 6
on your mind.
Di che?
La v'e qualcuno.
Chi volete che sia?
Countess
What things?
Count
I'm telling you, somebody's in there.
Countess
But who could it possibly be?
Count
Lo chiedo a voi . . . That's what I'm asking vou .
lo vengo in questo punto. I've only just come in.
Countess
Ah, si, Susanna . . . appunto . . . Oh yes, it's Susanna ... of course . ..
Count
Che passo, mi diceste, alia sua stanza! But vou told me she went to her room!
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The Metropolitan Opera Book of Mozart Operas Countess
AIU sua stanza, o qui: non vidi bene . . . To her room, or maybe she's still here: 1
really didn't notice .. .
Count
Susanna! Then just why Are you so upset?
Susanna! t donde viene Che siete si turbata?
COUNTESS (forcing a little laugh) Per la mia cameriera? You mean about my maid?
Count
Io non so nulla: Ma turbata, senz'altro.
Countess
I'm not sure what I mean But I do know vou're upset.
Ah! questa serva, Piii the non turba me, turba voi stesso. Upsets you a
Oh! This maid of mine lot more than she does me
Count
fc vero, é vero; e lo vedrete adesso.
True, true; and now you'll see just
whv
Scene VI
The Countess and the Count, Susanna on one side
(Susanna enters through the door by which she left, and stops when she sees the Count who is talking by the dressing-room door.)
No. 13 Trio
Count
Susanna, or via, sortite, Sortite! Cosi vo'.
Susanna, come on out now, Come out of there, 1 say!
Kermatevi . . . Sentite Sortire ella non puo.
Cos'e codesta lite? |jl paggio dove ando?
b chi vietarlo or osa?
Countess (distressed, to the Count)
No, stop . ■ ■ Just btt"' ■ She can't come out right
no*
Susanna (aside)
But what's this fighting all *f And where did the page g°
Count
212
And who dares to
forbid it'
Lo vieta I'onesta: Un abito da sposa Provando ella si sta.
Chiarissima é la cosa: L'amante qui sarä!
Bruttissima é la cosa: Chi sa cosa Sara.
Capisco qualche cosa: Veggiamo come va.
Ounque, parlate almeno, Susanna, se qui siete . . .
Le Nozze di Figaro
Countess
Decency forbids it: For she's trying on Her wedding-dress.
Count (aside)
Countess (aside)
i
Susanna (aside)
The reason's all too clear: She's got her lover here!
i
The situation's really desperate: Who knows what'11 happen next.
I'm beginning to catch on: Now let's see what'll happen next.
Count
Well, at least say something, Susanna, if you're really in there
Countess
Nemmen, nemmen, nemmeno! No, no, don't answer him!
(towards the door)
lo v'ordino, tacete! I order you, be quiet!
susanna (aside, as she hides in the alcove)
Oh heavens! A disaster.
O cielo! Un precipizio, Un scandalo, un disordine Qui certo nascerä.
Consorted m'a' giudiziol |mio, &
Un scandalo, un disordine LSch>viam, per caritä.
A scandal, a catastrophe
Will surelv come out of all this.
Count and Countess
fmv wife, AndyouJ   - be careful
(my husband,
We've got to avoid Any scandals.
Dunque, voi non aprite?
Recitative Count
So you still won't open up?
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The Metropolitan Opera Book of Mozart Operas
Countess H perché deggio
Le mie camere aprir?
And just whv should 1 Open up my rooms for you?
Count
Hbben, lasciate ... All right then, don't bother.
L'aprirem senza chiavi . . . Ehi gente! . . . We'll open it without the key... Hev,
servants!. ..
Porreste a repentaglio D'una dama l'onore?
Countess
Come? You'll do what!
You'd dare to compromise A lady's honor?
Count
E vero, io sbaglio. You're right, and I'm wTorg
Posso, senza rumore, Without the least bit of noise,
Senza scandalo alcun di nostra gente, Or breath of a scandal among the
servants,
Andar io stesso a prender l'occorrente: I myself can get all that's needed;
Attcndete pur qui . .  Ma, perche in Now wait right here ... But just so rm
tutto
Sia il mio dubbio distrutto, anco le porte Doubts are completely dispelled, I'm
lo prima chiudero. Locking the doors.
(Hi! locks the door that leads to the maids' quarters.)
Che imprudenza!
Vol la condiscendenza l)i vrnir meco avrete.
Countess (aside)
Oh, how impulsive he is!
Count
And now if you'd be good enough To come along with me.
(assuming an air of gaity) Madama, eccovi il braccio. Andiamo. My arm, my lady. And off we g°-
Countess (trembling) Andiamo.
count (aloud, as he points at the dressing-room) Susanna stara qui finche tomiamo. Susanna can just stay pu'
(They gooff.)
Yes,
until vp
retu''1
Le Nozze di Figaro
Scene VII
Susanna and Cherubino
No. 14 Duet
Susanna
(coming out of the alcove hurriedly and approaching the dressing-room door)
Aprite, presto, aprite! Aprite: ě la Susanna. Sortite, via, sortite . . Andate via di qua!
Open up, oh, hurrv, open up! Open up: It's me, Susanna. Come out now, come on out . . . And get away from here as fast as you can!
ChtERUBINO (entering breathless and confused) Ahime, che scena orribile! Oh dear, what a horrible mess!
Che gran fatalita! What a disaster this reallv is!
(They go first to one door and then another, andfnd them all locked.)
Susanna
Di qua, di qua, di la. Over here, no there, no here.
Susanna and Cherubino Le porte son serrate. The doors are all locked tight.
Che mai, che mai sara! Who knows what'11 happen next!
Cherubino
Qui perdersi non giova. I've got to keep mv wits about me.
Susanna
V'uccide, se vi trova. He'll kill you if he finds vou here.
Cherubino
Veggiamo un po' qui fuori. Just let me look outside a moment.
(standing by the window that overlooks the garden) Da proprio nel giardino. It looks right onto the garden.
(He makes as if to jump out; Susanna holds him back.)
Susanna
Fermate, Cherubino! Cherubino, stop!
(She also looks out, and then draws back.)
Herniate, per pieta!
Stop, for pity's sake!
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The Metropolitan Opera Book of Mozart Operas Cherubino
Qui perdersi non giova: M'uccide, se mi trova.
I've got to keep ray wits about me: He'll kill me if he finds me here.
Susanna (still holding him hack) Tropp'alto, per un salto. It's too high up to jump.
Herniate, per pieta! '    Stop, for pity's sake!
cherubino (He breaks away from Susanna.)
Lasciami: pria di nuocerle, Ncl foco volerei. Abbraccio te per lei, Addio. Cosi si fa.
Ki va a perire, oh, Dei! Fermate, per pietä.
Susanna
Let me go: Before I'd ever hurt her, I'd leap right into the fire. Give her this kiss for me. Good-bve forever. So be it.
Oh God, he'll kill himself. Stop, for pity's sake.
(Cherubino jumps out; Susanna utters a loud cry, sits down for a moment, and then goes to the window.)
Recitative
Oh, guarda il demonietto! Come fugge!
ť gii un miglio lontano!
Ma non perdiamci invano.
F.ntriam nel gabinetto:
Venga poi lo smargiasso, io qui l'aspetto.
Oh, just look how that little rascal can run!
He's already a mile away! But let's not waste any time. I'll just slip into the dressing-room: Let the bully come back, I'm ready for him now.
(She goes into the dressing-room and closes the door behind her.) Scene VIII
The Countess and the Count (Re-enter the Count and Countess, the former holding a hammer and pliers. As soon as he arrives, he examines all the doors, etc.)
Tutto ě come il lasciai: volete dunque Aprir voi stessa,
Count
o deggi(
Everything's just as I left it I***11 Unlock the door yourself,
(as he is about to force open the door)
Or must I • ■ ■
Le Nozze di Figaro Countess
Ahime, fermate, No, wait a moment,
E ascoltatemi un poco. Just listen to me.
(The Count throws the hammer and pliers onto a chair.)
Mi credete capace Di mancare al dover? .
Do you really think I could Ever betray you?. . .
Count
Come vi piace. As you please,
Entro quel gabinetto But I mean to see who's
Chi v'e chiuso vedro. Inside your dressing-room.
countess (in fear and trembling) Si, lo vedrete . . . Yes, of course vou'll see . . .
Ma uditemi tranquillo. But calm down for a moment and listen.
COUNT (suddenly angry) Non e dunque Susanna! So it's not Susanna after all!
Countess (as before)
No, ma invece e un oggetto No, it's not, but instead it's someone
Che ragion di sospetto Who could never arouse vour suspicions:
Non vi deve lasciar: per questa sera . . . We were just preparing . . .
Una burla innocente An innocent diversion
Di far si disponeva . . . ed io vi giuro . . . For this evening . . . And I swear to
you . . .
Che l'onor . . . l'onesta . . . That mv honor . . . vour good name . . .
count (angrier still) Chi e dunque? Dite! . . . Just who is it then? Tell me!. .
L'uccidero. I'll kill him.
Semite. Ah, non ho cor.
Countess
Listen to me. No, I haven't got the courage.
Parlate.
E un fanciullo . . .
Count
Countess
It's a bov . .
217
Well then, speak up
216
The Metropolitan Opera Book of Mozart Operas Count (as before)
Le Nozze di Figaro
Un fanciul
A boy .. .
Countess Si, Cherubino.
Yes, it's Cherubino.
Count (aside)
E mi fara il destino And it seems I'm condemned
Ritrovar questo paggio in ogni loco! To find that page every time I turn
around!
Come? non ě partito? Scellerati!
(to the Countess)
What's this? He hasn't gone yet? Oh, those scoundrels!
Ecoo i dubbi spiegati, ecco 1'imbroglio, So this is the reason for all my doubts,
and all your conniving;
Ecco il raggiro onde m'awerte il foglio. This is the plot the note warned me
about.
No. 15 Finale
COUNT (at the dressing-room door, in a rage) Hsci, omai, garzon malnato! Come out of there, vou low-life!
Sciagurato, non tardar. You ,ittle WTetch> fc quick about .t1
Countess
Ah, signore, quel furore oh my ^ al) thjs rage
(dragging the Count hack)
Makes my heart tremble for him.
Count
And you still have the nerve to
Per lui fammi il cor tremar. E d'oppon i ancor osate?
No, senrite
Countess
Count
interfere?
No, but listen . ■
Via, parlate.
Go ahead and have your ^
Countess (trembling with fear) Giuro al ciel ch'ogni sospetto ... I swear to God that all your
suspicions ■ • •
t lo stato in che il trovate . . . Sciolto il collo . .. nudo il petto .
Sciolto il collo . . .
Nudo il petto . . . Seguitate.
Per vestir femminee spoglie . . .
Ah, comprendo, indegna moglie; Mi vo' tosto vendicar!
Count
Countess
Count
And the state you'll find him in . . . With his collar off . . . and his chest bare . . .
With his collar off . . . And his chest bare . . . Well then, do go on.
So he could dress up as a woman . . .
Oh, now I understand, you
shameless creature; But I'll soon get my revenge!
(He approaches the dressing-room, and then turns back.)
Mi fa torto, quel trasporto; M'oltraggiate, a dubitar.
Countess (forcefully)
Qua la chiave.
Count
Countess
When you carry on like this. It's insulting and degrading.
Just give me the key.
Voi
tgli ě innocente,
But h
les innocent,
saPete  • • And you know it ,
(She gives the Count the kev.)
Count
Non so niente. VV lontan dagli occhi miei. Un'innda, un'empia sei . . . t mi cerchi d'infamar.
Vado .
Countess
Count
Non ascolto.
I know nothing of the son! Now get out of mv sight. You're unfaithful and wicked, And you've only tried to disgrace me.
All right, I'm going . . . but .. .
I'm not listening to vou.
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Le Nozze di Figaro
Countess
Non son rea . .
But I'm not guilty
Vel veggo in volto.
Count
Count
"Mora, mora, e piú non sia Ria cagion del mio penar!
Ah, la cieca gelosia
Qualche eccesso gli fa far! . . .
Countess
And I can see it on your face.
Let him die, and I'll finally get rid Of the source of all my suffering!
Oh, he's blinded by his jealous); And he's going to do something rash!. . .
(77k; Count opens the dressing-room door, and Susanna comes to the door completely straight-faced, where she stops.)
Scene IX
The Countess, the Count and Susanna
Susanna! Susanna!
Signore! Cos'e quel stupore?
Il brando prendete, II paggio uccidete; Quel paggio malnato Vedetelo qua.
Che scuola! La testa Girando mi va.
Che storia ě mai questa! Susanna v'e lä?
Count (astonished)
Susanna!
Countess (astonished)
Susanna!
Susanna
(ironically)
Count (aside)
My Lord! But why do you look so amazed;
So you'd take up your sword, And kill the page; Well, that poor little low-life Is standing right here.
"just what is all this? My head Has started to spin.
Countess (aside)
But what can have happened? Susanna's in there?
220
Confusa han la testa: Non san come va.
Sei sola? .
Guardate, Qui ascoso sara.
Guardiamo, guardiamo, Qui ascoso sara.
Susanna, son morta: Il fiato mi manca.
Susanna (aside)
Their minds are all confused: They don't know what to think.
COUNT (to Susanna)
Are you all alone?. ..
Susanna (to the Count)
Well, why don't vou just see Who might be hiding in there.
Count
Yes, let's just look and see Who might be hiding in there.
(He goes into the dressing-room.)
Countess
Susanna, I'm fainting:
I can't seem to catch my breath.
Susanna
(gaily, showing the Countess the windowJrom which Cherubino jumped)
Piu lieta, piu franca! In salvo é di giä.
Just stop worrying and be happv! He's already safe and sound!
Count
(coming out of the dressing-room in confusion)
Che sbaglio mai presi!
Appena lo credo. Se a torto v'offesi, Perdono vi chiedo; Ma far burla simile K poi crudeltä.
Oh, what a terrible mistake I've made!
I can hardlv believe it mvself. And if I've insulted vou unjustlv, I'm asking vour forgiveness; But plaving jokes like that Is really verv cruel.
Countess and Susanna
(The Countess is holding a handkerchief to her mouth to hide her embarrassment.)
Le vostre follie Your outrageous behavior
Non mertan pieta. Doesn't deserve anv pitv.
Count
Io v'amo! But I love vou!
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THfc Metropolitan Opera Book of Mozart Operas
countess (gradually recovering from her confusion)
Nol dite!
Don't sav that to me!
Count
I swear it! countess (forcefully and angrily)
Mentite! Son I'cmpia, 1'inHda Che ognora v'inganna.
QueO'Jn, Susanna, M'aiu a calmar.
Cosi si condanna [^Chi puö sospettar.
Adunque la fede I )'un'anima amante Si Hera mercede Doveva sperar?
Qurll'ira, Susanna, M'aita a calmar.
Sign
Hi >miij!
Crudele! Piii quel la non sono. Ma il misero oggetto Del vostro abbandono, Che avete diletto Di far disperar.
Count
Susanna
You're lying! I'm just wicked, and unfaithful, And I'm always deceiving you.
Oh, help me, Susanna, To calm her anger.
With all your wild suspicions You've brought this on yourself.
Countess (resentfully)
So this is the reward I should expect For my years of Love and devotion?
Count
Oh, help me, Susanna, To calm her anger.
Susanna (pleading)
My lady!
Count (pleading)
Rosina! Countess (to the Count)
Oh, you're so cruel! I'm not her anymore, I'm just the miserable object Of your neglect, And you take pleasure In making me suffer.
Le Nozze di Fi
igaro
Confuso, pentito, Sonl
£ itroppo punito: Abbiate pietä.
Crudele!
Soffrir si gran torto Quesťalma non sa.
Ma il paggio rinchiuso?. .
Count and Susanna ""I'm He's
Fu sol
per prováni.
Ma í tremiti, i palpiti?.
Fu sol per burlarvi.
Ľ un foglio si barbaro?.
Di Figaro ě il foglio, E a voi, per Basilio . .
Ah, perfidi! Io voglio .
Perdono non merta Chi agli altri nol dä.
Fbben, se vi piace, Comune ě la pace:
Countess
Count
Countess
Count
Countess
Count
so confused, and so sorry, /I've
Andi\ ,^ been punished enough:
I beg you, have pitv on
him.
How cruel you are!
This heart of mine can never
Forgive so terrible an insult.
And what about the page who was locked up in there?. . .
I was only trying to test you.
And your fears, and vour trembling?, . .
I was only trying to tease vou.
And so nastv a note?. . .
Countess and Susanna
The note was from Figaro, And he sent it bv Basilio . . .
Count
Oh, those traitors! I'd like to. . Countess and Susanna
He who can't forgive others Doesn't deserve to be forgiven himself.
COUNT (tenderly)
Well, if you like, Let's all make peace;
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Rosina inflessibile Con me non sara.
Ah, quanto, Susanna, Son dolce di core! Di donna al furore Chi piú crederá?
Cogli uomin, signora, Girate, volgete, Vcdrete che ognora Si cade poi lá.
Ciuardatcmi . . .
lngrato!
Countess
Susanna
And Rosina won't bear Any resentment towards me.
Oh, how soft-hearted 1 am, Susanna! Who can ever take seriously A woman's fury?
When it comes to men, my lady, No matter where vou turn, You'll see that you always End up like that.
count (tenderly) Countess Count
Oh, just look at me!.
For shame!
Ho lorto, e mi pento! I was ^0,^ and l'm sorry!
(He kisses the Countess' hand over and over again.)
Count, Countess and Susanna I )a qucsto momento prom tnis moment on
This heart will try to leam (you
To understand me better.
[her
fvi
Quest'alma a conoscen mi [la
Apprender poträ.
Signoři, di fuori Son giá i suonatori: Le trombe sentite, I pifleri udite. Tra canti, tra balli De' vostri vassalli, Corriamo, voliamo Le nozze a compir!
Scene X
The Countess, the Count, Susanna and Figaro figaro (entering)
My lord and ladv, The musicians are already ouU& Just listen to The trumpets and the pipes While your vassals Are singing and dancing, Let's hasten
To celebrate our \iedding!
(He takes Susanna by the arm and makes as if to leave; the Count holds him
Le Nozze di Figaro Count
Pian piano, men fretta. Just a moment, not so fast.
Figaro
La turba m'aspetta.
But the crowd's waiting for me.
Count
Un dubbio toglietemi Before you go, I want you
In pria di partir. To relieve a doubt of mine.
Count, Countess, Figaro and Susanna (aside)
La cosa e scabrosa; The situation's difficult;
Com'ha da finir? And how is it going to end?
Con arte le carte I've got to play
Convien qui scoprir. My cards just right.
Count
(showing him the note he received from Basilio. Figaro pretends to examine it.)
Conoscete, signor Figaro, Questo foglio chi vergö?
Nol conosco . . .
Figaro
Have you any idea, Master Figaro, Who might have w-ritten this note?
No, I don't
Susanna (to Figaro) Nol conosci? You don't know?
No.
Figaro
No, I don't.
Countess (to Figaro) Nol conosci? You don't know?
No.
Figaro
No, I don't.
Nol conosci?
Count (to Figaro)
You don't know?
No.
Figaro
No, I don't.
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The Metropolitan Opera Book of Mozart Operas
Nol conosci?
Count, Countess and Susanna
You don't know?
No, no, no!
t nol desti a Don Basilio
Per recarlo . . .
Oibo, oibô.
E non sai del damerino .
Che stasera, nel giardino .
Giá capisci .
Non lo so.
Cerchi invan difesa e scusa. II tuo ceffo giä t'accusa; Veggo ben che vuoi mentir.
Figaro
Susanna
Countess
Count
No, no, no!
And didn't you give it to Don Basilio . . .
So he'd take it . . .
Tu c'intendi . . .
Figaro
And you know all about it Oh dear, oh dear!
Susanna
Countess
Count
Figaro
Count
And what about the page
Who this evening, in the garden.
But now you un
derstand .
Oh no, I do'1
Don't bother to look for excuse. Your mug's already given r31 ' 1 can see that you're lying
Figaro (to the Count)
Mente il ceffo, io giä non mento.
Well then, my mug
must be I*
not me
Countess and Susanna (to Figaro
D talento aguzzi invano. Palesato abbiam I'arcano: Non v'é nulla da ridir.
Che rispondi?
You're wasting all vour eno We've already solved the ^
And there's nothing left » *V
Count
So what's your answer.
Le iVozze di Figaro Figaro
Niente, niente. 1 haven't got one.
Count
Dunque, accordi? Which means you admit it?
Figaro
Non accordo. No, I don't.
Countess and Susanna (to Figaro) Eh, via, chetati, balordo: Just keep quiet, you silly fool:
La burletta ha da finir. It's time the comedy was over.
Figaro
Per finirla lietamerite And so to have a happy ending
F all'usanza teatrale, In theatrical tradition,
(taking Susanna's arm)
Let's finish it up With a wedding celebration.
Un'azion matrimoniale Le faremo ora seguir.
Susanna, Figaro and Countess (to the Count) Deh, signor, nol contrastate: My lord, don't bar the wav:
Consolateij,  E desir. Uor
Just grant fondest wish.
Count (aside)
Marcellina, Marcellina, Marcellina, Marcellina,
Quanta tardi a comparir! What's taking vou so long?
Scene XI
The Countess, the Count, Susanna, Figaro and Antonio (Enter Antonio, the gardener, half drunk, carrying a broken pot of carnations.)
antonio (enraged)
Ah! signore . . . signor . . . Oh, my lord . . . mv lord . . .
COUNT (anxiously) Cosa é stato?. . .
What's the matter?. .
Antonio
Che insolenza! Chi 'I fece, chi fu? Oh, what nerve! Who did it? Who
was it?
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The Metropolitan Opera Book of Mozart Operas
Count, Countess, Figaro and Susanna (anxiously) Cosa dici, cos'hai, cosa e nato? What're you saying, what's the
matter, what happened?
Antonio
Ascoltate. Well now, listen to this.
Count, Countess, Figaro and Susanna Via, parla, di' su. Just hurrv up and tell us!
Antonio
Dal balcone che guarda in giardino 1 see a thousand things a day
Mille cose ogni di gittar veggio; Thrown off the balconv that
overlooks the garden; F. poc'anzi, puo darsi di peggio? And a little while ago, can you
imagine anything worse? Vidi un uom, signor mio, gittar giu! Somebody actuallv threw down a
Dal balcone?
Count (animatedly)
From the balcony?
ANTONIO (showing him the broken flower-pot) ( Vedete i garofani? Just look at these carnations.
In giardino?
Count
Antonio
From the garden?
sv ok ya!
Susanna and Countess (sottovoce to Figaro) Figaro, all'erta! Oh, Figaro, *** <*
Count
Cosa sento! What's this I hear?
Countess, Figaro and Susanna (aside)
Costui ci sconcerta.
He's getting us very up*
(aloud)
Quel briaco che viene a far qui? What's this old drunkard doing
here?
COUNT (excitedly, to Antonio)
But where t
dov'e gito? he? Where did he go?
Dunque un uom . . . Ma dov'e, So you saw a man .
he Nozze di Figaro
Antonio
Ratto ratto il birbone ě fuggito, t ad un tratto di vista m'usci.
The rascal took to his heels, And the next thing I knew, he was out of sight.
susanna (sottovoce to Figaro) Sai che il paggio .. . Did you know that the page . . .
FIGARO (sottovoce to Susanna) So tutto, lo vidi. I know everything I saw him.
(laughing loudly)
Ah, ah, ah, ah! Ha, ha, ha, ha!
count (to Figaro) Taci la. You be quiet!
Antonio (to Figaro) Cosa ridi? What's so funnv?
Figaro (to Antonio)
Tu sei cotto dal sorger del di! And you're tipsy from morning 'till
night!
COUNT (to Antonio)
Or ripetimi: un uom dal balcone . . . Now tell me again: A man fell off
the balcony . . .
Dal balcone.
Antonio
Count
Off the balconv.
In giardino
Antonio
In
giardino.
And into the garden . . . Into the garden.
Susanna, Countess and Figaro Ma, signore, se in lui parla il vino! But, my lord, he's drunk, can't you
see?
COUNT (to Antonio)
Segui pure. Ne in volto il vedesti? Just keep talking. And did you
his face?
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The Metropolitan Ophra Book of Mozart Operas Antonio
No, nol vidi. No, I didn't.
Susanna and Countess (sotiwoce to Figaro) Ola, Figaro, ascolta. Oh, Figaro, will vou listen to him!
Figaro (to Antonio)
Via, piangione, sta' zitto una volta:
Come on, stop the whining, just be quiet for once:
(touching the flowers contemptuously)
All this fuss over nothing! Well, if you must know the truth: I'm the one who jumped out of
Per tre soldi far tanto tumulto! Giacche il fatto non pud stare occulto:
Sono io stesso saltato di 11. there.
Count
Chi? vio stesso?
Who? It was you?
Countess and Susanna (aside) Che testa! che mgegno! How brilliant! How clever he,
Figaro (to the Count)
Che stupor?
Why are you so surprise
■J?
Count
Giä creder nol posso.
I just can't believe it-
Antonio (to Figaro)
Come mai diventaste si grosso? ^So how come you've g0*^ ^
I)opo il salto non foste cosi.
A chi salta succede cosi.
Figaro
Antonio
When you jumped youwerentl that at all.
That's what happens "hen you jump
Chi 'I direbbe?
F.d insiste, quel pazzo!
Tu che dici?
Who'd have
thought such a thing'
Susanna and Countess (aside)
He just doesn't give up.
that *'
Count (to Antonio)
And what have you got to
Le Xozze di Figaro
Antonio
A me parve il ragazzo. It looked like that boy to me.
Count (excitedly)
Cherubin!
Cherubino!
Susanna and Countess (aside) Maledetto! Oh, poor thing!
figaro (sarcastically) Esso appunto. Yes, of course it was him.
Da Siviglia a cavallo qui giunto, He's come all the way back from
Seville on horseback, Da Siviglia ov'ei forse sara. From Seville, where he's supposed
to be.
Antonio (slow and stupid) Questo no, questo no: che il cavallo No, that's not the way it was: I
didn't see
Io non vidi saltare di la. Any horse jump out of there.
Count
Che pazienza! Finiam questo ballo! This is really too much! That's
enough of this nonsense!
Countess and Susanna (aside) Come mai, giusto ciel, finira? Heaven knows how it's going to
end!
COUNT (to Figaro, excitedly) Dunque, tu . . . So it was you who . . .
figaro (nonchalantly)
Saltai giu.
Count
Ma perché?
Jumped down. But whv?
Figaro
II timor . . .
I was scared.
Count
Che timor?
You were scared?
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The Metropolitan Opera Book of Mozart Operas
figaro (pointing to the maids' quarters) La rinchiuso, I was in there.
Aspettando quel caro visetto . . . Waiting for that sweet little face
Tippc tappe, un susurro fuor When all of a sudden, I heard a lot
J'uso °f commotion ...
Voi gridaste . . . lo scritto You were shouting ... 1 thought
biglietto . . . about the note ...
Saltai gill dal terrore confuso ... So I jumped down scared to
death . . .
(rubbing his foot, as if he had hurt himself) t stravolto m'ho un nervo del pie! And I twisted my foot when I fell!
Antonio
Vostre, dunque, saran queste carte So these must be yours,
Che perdeste . . . And you lost them .
(He hands several folded papers to Figaro; the Count takes them away from him.)
Count
Ola, porgile a me. J«* give them to me.
figaro (sottovoce to Susanna and the Countess) Sono in trappola. I'm caught in a trap.
Susanna and Countess (sottovoce to Figaro) Figaro, all'erta! Oh, Figaro, watch out
Count
(He opens the document, then immediately folds it up again.) Dite un po\ questo foglio cos'e? Now tell me, what's this paper'
Figaro
Tbsto . . . tosto , . . n'ho tanti, aspettate.
Right away ...No, wait just a moment... I've got so many ot
them in here.
(He pulls some papers out of his pocket and pretends to look at them-) Antonio
Sara forse il sommario de' debiti. It's probably a list of his debt-
No, it's not, it's a list of * inn-keepers.
Figaro
No, la lisu degli osti.
232
Le Nozze di Figaro
COUNT (to Figaro) Parlate. Speak up, my man.
(to Antonio)
e tu, lascialo! And you, just let him be!
Countess, Susanna and Figaro (to Antonio)
Lasciaj.  ' E parti!
Just leave J^^alone! And get out!
Antonio
Parto, si, ma se torno a trovarti ... All right, I'm going, but if 1 ever
find you again . . .
(He goes off) Figaro
Vanne, vanne, non temo di te. Oh, go away, you can't scare me.
Count
(He unfolds the paper and then folds it up again at once. To Figaro) Dunque?. . . Well then?. . .
Countess (to Susanna, sottovoce) O ciel! La patente del paggio! Good heavens! The page's commission!
Susanna (sottovoce to Figaro) Giusti Dei! La patente! ... Oh, my God! The commission!. . .
COUNT (to Figaro, sarcastically) Coraggio!
How about it?
FIGARO (as if he suddenly remembered) Uh, che testa! Quest'e la patente Oh, how stupid of me! That's the
commission
Che poc'anzi il fanciullo mi die. I just got from the boy.
Count
Per che fare?
What for?
Figaro (in confusion). Vi manca . . . rt>s m
ing
233
Ii suggello
The Metropolitan Opera Book of Mozart Operas Count
Vi manca?
Countess (sottovoce to Susanna)
The seal . ..
It's missing1
What's your answer'
susanna (sottovoce to Figaro) II suggello! The seal!
count (to Figaro, who pretends to be thinking) Rispondi?
Figaro
t I'usanza . . . Well, it's usual ...
Count
Su via: ti confondi? Come on now: Are you
getting confused?
Figaro
t I'usanza di porvi il suggello. It's usual to seal a commission.
Count
(He looks and sees that the seal is missing; then tears up the paper-Aside.)
Questo birbo mi toglie il cervello. Tutto, tutto é un mistero per me.
"This rascal's driving me crazy. The whole thing's a mystery to «•
Se mi salvo da questa tempesta, Piů non hawi naufragio per me
Sbuffa invano, e la terra calpesta; Poverino, ne sa men di me.
(In an absolute fury he throwj down the paper.)
Countess and Susanna (aside)
If I can just weather this storm
Figaro (aside)
' '     i— -----
W'on't be shipwrecked after alt
He can huff and puff, and stamp 1» feet:
Poor thing, he knows less about it than me.
Scene XII
The Countess, the Count, Susanna, Figaro, Marcellma, Bartolo and Bosilio
Marcellina, Bartolo and Basiuo (entering, to the Count) Voi, signor, che giusto siete. Oh just and noble lord,
Ci dovete or ascoltar. We beg you, hear our case.
Le Nozze di Figaro
Count (aside)
Son venuti a vendicarmi. Io mi sento consolar.
They've come to avenge me. I already feel some relief.
Countess, Figaro and Susanna (aside)
Son venuti a sconcertarmi. Qual rimedio ritrovar?
Son tre stolidi, tre pazzi. Cosa mai vengono a far?
They've come to thwart mv plans What solution can I find?
Figaro (to the Count)
All three of them are stupid fools. What in the world are they up to now?
Pian pianin, senza schiamazzi Dica ognun quel che gli par.
Un impegno nuziale Ha costui con me contratto; E pretendo che il contratto Deva meco effettuar.
Count
Marcellina
That's enough of this commotion; Let everyone have his say.
This fellow's promised To marry me;
And I contend that the contract Must be carried out.
Come! ■
Countess, Figaro and Susanna
What's all this?
Ola, silenzio: Io son qui per giudicar.
Count
Bartolo
Quiet, everyone! I'm the one who's judging this case.
Io da lei scelto avvocato Vengo a far le sue difese, Le legittime prétese Io qui vengo a palesar.
H un birbante!
As her appointed lawyer, I've come in her defense. I'm also here to prove The legitimacv of her claim.
Countess, Figaro and Susanna
But he's a scoundrel!
Ola, silenzio! Io son qui per giudicar.
Io, com'uom al mondo cognito, Vengo qui per testimonio
Count
Basilio
Quiet, everyone! I'm the one who's judging this case.
As a man of the world, I've come here to testify
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The Metropolitan Opera Book of Mozart Operas
Le Nozze di Figaro
Del promesso matrimonio Con prestanza di danar.
Countess, Figaro and Susanna
Son tre matti!
Count
Lo vedremo: II contratto leggeremo
That he promised to marry her When she lent him some money.
All three of them are crazy!
Tutto in ordin deve andar.
Well, first we have to see: We'll just read over the contract. One thing at a time, I always say.
Count, Marcellina, Bartolo and Basilio (aside
Che bei colpo, che bel caso: Ě cresciuto a tutti il naso! Qualchc Nume a noi propizio
Quii^'. ha fatti capitar.
What a stroke of luck: Just look at those long faces! Some extraordinary power Must have brought £OSepeopk
here.
Countess, Figaro and Susanna (aside)
Son confus |*' son stordit j^'
Disperat |*' son sbalordit í* j
Certo, un diavol dell'inferno [_Qui li ha fatti capitar.
I'm confused, I'm dazed,
I'm desperate and dismayed! It was the devil himself, I'm sure. Who brought those people here.
End of Act Two
ACT THREE
A richly decorated hall, with two thrones, prepared for the wedding festivities.
Scene I
The Count alone
Recitative
Count (aside, pacing back and Jorth) . (
Che imbarazzo e mai questo! Un foglio What a terrible predicament s
anonimo . . . anonymous letter . ■ •
La cameriera in gabinetto chiusa .
The maid locked in the dressing-room . . .
La padrona confusa . . . un uom che salta Her mistress all in a dither . . . somebody-
jumps
Dal balcone in giardino . . . un altro, Off the balcony into the garden . . .
appresso, somebody else
Che dice esser quel desso . . . Who claims it was him . . .
Non so cosa pensar: potrebbe forse 1 don't know what to think: It might even
have been
Qualcun de'miei vassalli ... a simil razza One of mv servants . . . they're certainly
the type
E comune Pardir . . . Ma la Contessa . . . That would take such a chance . . . But
the Countess . . .
Ah, che un dubbio l'offende . . . ella Oh, any doubt on my part would only
rispetta insult her . . . she has
Troppo se stessa; e 1'onor mio .. . Too much respect for herself; and what
l'onore . . . about mv honor . . .
Dove diamin l'ha posto umano errore! Just look what human frailtv has done to
it now!
Scene II
The Count, the Countess and Susanna (Enter the Countess and Susanna, who stop at the rear of the stage, unnoticed by the Count.)
Countess
Come on now, just take heart: Tell him
Via, fatti core: digli Che ti attenda in giardino.
To wait for you in the garden.
Count (still aside)
Sapro se Cherubino I've got to make sure that Cherubino
Era giunto a Siviglia: a tale oggetto Really went to Seville: I've sent Basilio
Ho mandato Basilio ... To find out . . .
Susanna
Oh, cielo! e Figaro . . . Good heavens! And if Figaro .
Countess
a lui non dei dir nulla: in vece tua Don't say a word about it to him: I
mvself
Voglio andarci io medesma. Intend to go in your place.
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Count (as before) Avanti sera He should be back
Dovrebbe ritornar ... By this evening . . .
Susanna
Oildio! non oso. Oh, my God! I don't dare to.
Countess
Prnsa ch'e in tua mano il mio riposo. Just remember that mv happiness is in
your hands.
(She hides.) COUNT (as before)
E Susanna? Chi sa ch'ella tradito
And what about Susanna? Who know il she's betrayed
Abbia il segreto m,o . . . Oh, se ha My secret ... Oh, if she's talked,
,-IErlat°«r la vecchia « ™ke him « th" °'d
till lo sposar la veccnia.
Marcellina!
Susanna (aside)
Marcellina!
(to the Count)
Signor .
My lord .
COUNT (in earnest)
Whatisityou""'-
Cosa bramate?
Susanna
You seem so angry!
Count
Do you want something from me í
Mi par che siate in collera!
Volcte qualchc cosa?
Susanna
Signor ... la vostra sposa My lord . . . my lady
Ha i solid vapori, Has the vapors, as usual, [ts
E vi chiede il fiaschetto degli odori. And needs your flask of sme ing-
IVcndete.
Count
Just take it
Susanna
Or vel riporto.
And .11 bring it rights
Le Nozze di Figaro
Count
Eh, no: potete Oh, no: You can
Ritenerlo per voi. Keep it for yourself.
Susanna
Per me? Questi non son mali Da donne triviali.
For me?
But common girls
Don't have ailments like that.
Count
Un'amante che pcrde il caro sposo Even a girl who loses her bridegroom
Sul punto d'ottenerlo . . . Just before the wedding?. . .
Susanna
Pagando Marcellina But if we pay back Marcellina
Con la dote che voi mi prometteste .. . With the dowry you promised me . . .
Count
Ch'io vi promisi? Quando? I promised you? When was that?
Credea d'averlo inteso . .
Si, se voluto aveste Intendermi voi stessa.
Susanna
That's how 1 understood it . .
Count
Well ves, if vou'd cared To understand me as well.
Susanna
É mio dôvere; It's mv dutv to do so;
E quel di sua Ľccellenza e il mio volere. And my lordship's wish is mv command.
No. 16 Duet
Count
Crudel! Perché finora You cruel girl! Just why
Farmi languir cosi? Have vou made me suffer like this?
Susanna
Signor, la donna ognora My lord, there's always time
Tempo ha di dir di si. For a woman to sav ves.
Count
Dunque, in giardin verrai? So you'll come to the garden?
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The Metropolitan Opera Book of Mozart Operas Susanna
Se piace a voi, verro.
If that's what vou want, I will.
Count
And you won't disappoint me?
Susanna
H non mi mancherai?
No, non vi manchero.
Count (aside)
Mi sento dal contento I'm so happy 1 feel like
l'ieno di gioia il cor. I'm bursting with joy.
Susanna (aside)
Scusatemi se mento. All those who know what true
love's about,
Voi the intendete amor. Forgive me for my lie.
No, I won't disappoint you.
Recitative
Count
F perché fosti meco Stamattina si austera?
Col paggio ch'ivi c'era
But why were you so cold To me this morning?
Susanna
With the page there and all
Count
i Basilio.
Ed a Basilio, And you were also mean to
Che per me ti parlo .. . Who was speaking on my behal
Susanna , j
„ lw do we
Ma qual bisogno
Abbiam noi che un Basilio . . . Someone like Basilio .
But why do i
You're right, yo«'«^
Count
E vero, e vero.
fc mi prometti, poi . . . vou promjse me .
Se tu manchi, o cor mio . . . Ma la And if vou disappoint me, my dear
°*"«" But the Countess
Attenderi il fiaschetto. ]s waiting for the flask.
Susanna
Fh, fu un pretesto: Oh, that was just an cXrt
Pariato io non avrei, senza di questo. I wouldn't have dared to speak to you
without one.
he Nozze di Figaro
count (He takes her hand; she pulls back.) Carissima! My darling!
Susanna
Vien gente. Someone's coming.
Count (aside)
F mia senz'altro. Now she's really mine.
Susanna (aside)
Forbitevi la bocca, o signor scaltro. Wipe that smirk off your face, you sly old
fox.
(She tries to leave, and meets Figaro in the doorway.)
Scene III
The Count, Susanna and Figaro
Figaro
Ehi, Susanna, ove vai? Hey, Susanna, where are you going?
Susanna
Taci. Senza avvocato Just keep quiet. Even without a lawyer
Hai gia vinta la causa. You've alreadv won your case.
(She goes off.)
Figaro
Cosa e nato? Now what's happened?
(He follows her.)
Scene IV
The Count alone
Count
No. 17 Recitative and Aria Recitative
Hai gia vinta la causa! Cosa sento! You've already won your case? What's this
I hear?
In qual laccio cadea! Perfidi! Io voglio What trap did I fall into? Those traitors!
They'll get
Di tal modo punirvi ... A piacer mio What they deserve ... I'll decide
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The Metropolitan Opera
l.a sentenza sara . . . Ma s'ei pagasse
La vccchia prctendente? Pagarla! In qual maniera? . . . E poi v'e Antonio
Che a un incognito Figaro ricusa
Df dare una nipote in matrimonio.
Coltivando I'orgoglio Di questo mentecatto . . . Tutto giova a un raggiro ... II colpo e fatto!
Vedro, mentr'io sospiro, Felice un seno mio? E un ben che invan desio hi posseder dovra?
Vedro per man d'amore Unita a un vile oggetto Chi in me desto un affetto
Che per me poi non ha? Ah, no! Lasciarti in pace
Non vo' questo contento! Tu non nascesti, audace! Per dare a me tormento! E forse ancor per ridere Di mia infelicitá. Giá la speranza sola Delle vendette mie Quest'anima consola E giubilar mi fa.
Book of Mozart Operas
The punishment myself... But what if
he pavs off The old woman?
Pay her off? But how could he?... And
then there's Antonio, Who'll refuse to give his niece in
marriage
To someone like Figaro, whose past is a
mystery. Now if I can just play up lb that moron . ..
Everything's falling into place ... The die is cast!
Aria
Shall I live to see a servant of mine So happv, while I am left to sigh? And possessing a treasure That I desire in vain? Shall I live to see the hand of love Unite this good-for-nothing To the one who arouses those
passions in me That she doesn't feel herself? Oh, no! I'll never give you the
satisfaction Of getting what vou want! You weren't bom, mv bold one, To cause me all this torment, And maybe even to laugh At my unhappiness. The only hope I have left Is my revenge, Which consoles me And makes me rejoice.
(He starts to leave, and meets Don Curzio.)
Le Nozze di Figaro Scene V
The Count, Marcellina, Figaro, Bartolo and Don Curzio; then Susanna
Recitative Don Curzio
(entering, to Marcellina, Bartolo and Figaro, who are following him)
E decisa la lite: The case has just been settled:
«0 pagarla, o sposarla». Ora ammutite. "Either pay her, or marry her". Now
everyone hold your peace.
Marcellina
lo respiro. I can breathe again.
Figaro
Ed io moro. And I'm a goner.
Marcellina (aside)
Alfin sposa io saro d'un uom che adoro. I'm finallv marrving the man I adore.
Figaro (ro the Count) Hccellenza, m'appello . . . My lord, I want to appeal . . .
Count
t giusta la sentenza: The ruling is fair:
«0 pagar, o sposar». Bravo Don Curzio. "Either you pav up, or vou marry her"
Bontá di sua Eccellenza Che superba sentenza!
Siam tutti vendicati Io non la sposeró.
Bravo, Don Curzio.
Don Curzio
Your lordship's much too kind!
Bartolo
What a perfect ruling!
Figaro
In che, superba? And just whv is it so perfect?
Bartolo
Because we've all had our revenge. Figaro
Well, I'm not going to marry her. Bartolo
La sposerai. Oh ves, you are.
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The Metropolitan Opera Book of Mozart Operas Don Curzio
• O pagarla, o sposarla». Lei t'ha prestato "Either you pay up, or you marry her".
She lent you
Duemila pezzi duri. Two thousand crowns.
Figaro
Son gentiluomo, e senza But I'm a gentleman, and without
L'assenso de' miei nobili parenti . . . The consent of my noble parents ...
Count
Dove sono? chi sono?
Where are they? Who are they?
Figaro
Lasciate ancor cercarli: I wish someone would find them:
Dopo dieci anni io spero di trovarh. For ten years now I've been looking for
them.
Qualthe bambin trovato?
Bartolo
So they left you on the doorstep?...
Figaro
No. perduto, dottor; anzi rubato. No, my good doctor, I was lost; or ratkr.
I was kidnapped.
Count
Come? „   , .
How s that.'
Cosa?
La prova?
II testimonio?
Marcellina
Bartolo Don Curzio
What's this?
But where'* the pro*
And were there any witne.*'
Figaro
L'oro, le gcmme e i ricamati panni. The gold, the jewels and the embrokW
, clothes,
7T " P'U teneri mni Which the robbers found on me
Mi mrosaro addosso i masnadreri, When they kidnapped me as a your*
c       i.   i child,
aono gl indizi veri .            . f
. Are the real proof
i> mu nasau .Uustre; e sopra tutto Of my noble birth; and what's more,
Ouesto aJ mio braccio impresso There's this birthmark on my arm-
geroglinco.
Le Nozze di Figaro Marcellina
Una spatola impressa al braccio a .
destro . . A strawberry birthmark on your right
E a voi chi '1 disse?
Ľ egli...
Oddio!
Figaro
And who told you about it? Marchllina
It's him ...
Oh, my God!
E ver, son io.
Chi?
Figaro Don Curzio
Who?
You're right, it's me.
Chi? Chi?
Raffaello. E i ladri ti rapir?. . .
Presso un castello
Count
Who?
Bartolo
Who?
Marceluna
It's Raffaello.
Bartolo
And the robbers kidnapped vou? Figaro
Near a castle.
Ecco tua madre.
Balia . . .
Bartolo
This is your mother. Figaro
Bartolo
No, tua madre.
Sua madre? C<*<^ and Don Curz,o
His mother!
My nurse-maid
No, your mother.
Cosa sento!
Figaro
What's this I hear?
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The Metropolitan Opera Book of Mozart Operas Marcellina
F-cco tuo padre. And this is your father.
(She runs up to Figaro and embraces him.)
No. 18 Sextet
Riconosci in questo amplesso Lina madre, amato figlio.
Padre mio, fate lo stesso: Non mi fate piü arrossir.
My long-lost son, embrace me As your adoring mother.
Figaro (to Bartolo)
My father, you embrace me, too, And don't make me blush with shame.
bartolo (embracing Figaro) Resistenza la coscienza My conscience won't let me
Far non lascia al tuo desir. Refuse what you ask.
Don Curzio (aside)
Fi suo padre, ella sua madre: L'imeneo non puö seguir.
Son smarrito, son stordito: Meglio ě assai di qua partir.
Figlio amato! Figlio amato! Parent! amati!
Count (aside)
Marcellina
Bartolo
If he's his father, and she's his
mother, The wedding can't take place.
I'm astounded and bewildered: And I think it's best to get out of here.
Mv beloved son!
Mv beloved son!
Figaro
And my beloved parents!
(The Count qoes to Itnw c
Susanna stops him, as she enters with a purse in her hand. I
.1.    . Susanna Alto, a|,o, slgnor Conte.
Just a lord:
I've got a thousand double cmW
in here. I've come to pay for Figaro, And set him free for good.
moment, if you please,^'
Mille doppie son qui pronte.
A pagar vengo per Figaro, td a porlo in liberta.
Le \ozze di Figaro
Count and Don Curzio Non sappiam com'e la cosa: We're not sure what's going on:
Osservate un poco la. And now look over there.
(Susanna turns around and sees Figaro embracing Marcellina. She makes as if to leave.)
Susanna
Gia d'accordo colla sposa: Giusto del, che infedelta!
(to Figaro)
Lascia, iniquo!
Semi, o cara.
He's already made peace with his bride:
My God, how fickle he is! Leave her alone, you vile creature!
figaro (He tries to hold her back; she struggles.)
No, t'arresta.
No, wait.
And hear me out, my darling.
Susanna (slapping him) Senti questa.
And you hear this!
E un effetto di buon core Tutto amore ě quel che fa
Figaro, Bartolo and Marcellina
It's all because her heart's so full: She did it out of love.
Frem    smáni ° dal furore
ii j        fme la „ IldestinoJ , , fa gliela
Fremo, smanio dal furore, Una vecchia me la fa.
Count and Don Curzio I'm
Susanna
He's}tremming ano" seething with rage:
Hu}fate hasdoneWn-
I'm trembling and seething with rage:
That old woman has done me in.
Lo sdegno calmate, Mia cara figliuola, Sua madre abbracciate, Che vostra or sarä.
Marcellina (to Susanna)
Now calm vourself. My darling daughter, And come and embrace his mother, For I'll soon be vours as well. (She runs to embrace Susanna.)
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The Metropolitan Opera Book of Mozart Operas Susanna
Sua maclre?
His mother?
Sua maclre.
Ľ quello é mio padre, Che a te lo dira.
Suo padre?
Suo padre.
All
Figaro
Susanna
All
Figaro
His mother.
And here's my father, He'll tell vou so himself.
His father?
His father.
t quella é mia madre, Che a te lo dirä.
And here's my mother, She'll tell you so herself.
(All four run to embrace each other.) Susanna, Figaro, Marcellina and Bartolo
AI dolce contento Di questo momento, Quest'anima appena Resistere or sa.
Al fiero tormento Di questo momento, Quest'anima appena Resistere or sa.
This heart of mine Can hardly bear The sweet happiness Of this moment.
Count and Don Curzio
This heart of mine Can hardly bear The fierce torment Of this moment.
(The Count and Don Curzio go off.)
Scene VI
Susanna, Marcellina, Figaro and Bartolo Recitative
Marcellina (to Bartolo) ^ tccovi, o caro amico, il dolce frutto And there, my dear friend, is thesi
fruit
DeU'anlico amor nostra ... Of our young love . . ■
Le Nozze di Figaro Bartolo
Or non parliamo Now let's not talk
Di fatti si remoti. Egli e mio figlio: About things that happened so long ago.
He's my son:
Mia consorte voi siete; And you're my wife;
E le nozze farem quando volete. We'll be married as soon as you please.
Marcellina
Oggi, e doppie saranno. Today, and it'll be a double wedding.
(to Figaro, giving him the contract)
Prendi, questo e il biglietto Take this, it's the contract
Del danar che a me devi; ed e tua dote. For the monev you owe me; I want it to
be vour dowry.
susanna (throwing down the purse of money) Prendi ancor questa borsa. Take this purse, too.
bartolo (doing the same) E questa ancora. And this as well.
Figaro
Bravi. gettate pur, ch'io piglio ognora. Fine! I'll take as much of it as I can.
Susanna
Yoliamo ad informar d'ogni awentura Now let's run and tell my ladv and mv
uncle
Madama e nostra zio. About everything that's happened.
Chi al par di me contento? Who could be happier than I am?
Io.
lo.
Figaro
Bartolo
Marcellina
Me!
Io.
Me!
Me!
Susanna, Figaro, Marcellina and Bartolo E schiatti il signor Conte al gusto mio! And the Count can explode, for all I care!
(They go off arm in arm.)
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Barbarina and Cherubino
Barbarina
Andiamo, andiam, bel paggio: in casa mia Come on now, my dear litde page: At mv
house You'll find
All the prettiest girls in the castle. And vou'll certainly be the prettiest of all
Le Xozze di Figaro
Tutte ritroyerai
Le pill belle ragazze del castello. Di tutte sarai tu certo piii bello.
Ah! Se il Conte mi trova, Misero me! Tu sai
Che partito ei mi crede per Siviglia.
Oh, ve' che maravíglia! E se ti trova,
Non sara cosa nuova.
Odi, vogliam vestirti come noi:
Tutte insieme andrem poi
A presentar de' fiori a Madamina.
l;idati, o Cherubín, di Barbarina.
Cherubino
Oh! If the Count should ever find me, I'll really be in trouble! You know-That he thinks I've left for Seville.
Barbarina
How sillv you are! Even if he does find you,
It won't be anything new.
Now listen, we want to dress vou up lik
one of us: And then we'll all go together To present a bunch of flowers to my Up Just leave everything to your Barbarina
(They go off.) Scene VIII
The Countess alone
Countess No. 19 Recitative and Aria Recitative
E Susanna non vien! Son .
! Im
Di saper come il Conte
Aerobe la proposta. Alquanto ardito
" ptogetto mi par; e ad uno sposo
Si vivace e geloso . . .
Ma che mal c'ě? Cangiando i miei vestiti
And Susanna still hasn't come!
anxious To know how the Count Reacted to her proposal. The whole plan
seems
A bit risky to me; and with a husband So impulsive and jealous ... But what's the harm in it? I'm just changing clothes
Con quelli di Susanna, e i suoi co'
Al favor della notte . . . O cielo! A quale
Umil stato fatale io son ridotta
Da un consorte crudel; che, dopo avermi.
Con un misto inaudito
D'infedelta, di gelosie, di sdegni,
Prima amata, indi offesa, e alfin tradita,
Fammi or cercar da una mia serva aita!
With Susanna, and she's changing hers
with me . . . Under cover of night . . . Heavens!
What a
Pathetic state I've been reduced to By such a cruel husband; With an unheard-of mixture Of unfaithfulness, jealousy, and disdain. First he loved me, then he insulted me, And finally he betraved me. Now he's forcing me to get help from my maid!
Aria
Dove sono i bei momenti
Di dolcezza e di piacer, Dove andaro i giuramenti Di quel labbro menzogner?
Perchě mai, se in pianti e in pene
Per me tutto si cangiö, La memoria di quel bene Dal mio sen non trapassö?
Ah! se ahnen la mia costanza Nel languire amando ognor Mi portasse una speranza Di cangiar l'ingrato cor.
Where are those cherished
moments Of sweetness and pleasure? Where have they gone, The vows he so deceitfully made?
Why then, when everything's
changed Into tears and pain for me. Has the memory of that happiness Never left my breast?
Ah! If only mv devotion
In longing for his love
Could give me some hope
Of changing his ungrateful heart.
(She goes ojf.)
Scene IX
The Count and Antonio
Recitative
A.NTONIO (mth a hat in his hand) Io vi dico, signor, che Cherubino I'm telling vou, my lord, Cherubino
E ancora nel castello: Is still in the castle:
H vedete per prova il suo cappello. And here's his hat to prove it.
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Le Nozze di Figaro
Count
Mi come, se a quest'ora But how could that be? By now
Ksser giunto a Siviglia egli dovria? He should be in Seville.
Antonio
Scusate, oggi Siviglia e a casa mia. Pardon me, but todav Seville's at mv
house.
Ij vestissi da donna, e la lasciati He's been dressed up as girl there,
Ha gli altri abiti suoi. And he's left his own clothes, too.
Perfidi!
Count
Those traitors!
Antonio
Andiam, e li vedrete voi. Just come and see for yourself
(They go off.)
Scene X
The Countess and Susanna Countess
Cosa mi nam! h che ne disse, il Conte? What's this you're telling me! And what
did the Count have to say?
Gli si leggeva in fronte II disprtto e la rabbia.
Susanna
You could see by his face How upset and angry he was.
Countess
Piano: che meglio or lo porremo in Wait though: It's much easier to catch
gabbia. mm now
Dov> lappuntamento Where did you arrange
Che tu gli proponesti? To meet him?
Susanna
In giardino. In the garden.
rissiamgli un loco. Scrivi
Countess
Let's decide on a definite place. You him a note.
Susanna
Ch'io scriva .. . Ma,
signora
Me write him a note .. . But, my
ladv
Eh, scrivi, dico; e tutto lo prendo su me stessa.
Canzonetta sull'aria . . .
Countess
Just write to him, 1 say; And I'll take it all upon myself.
(Susanna sits down to write.)
A little song on the air . . .
Susanna
Sull'aria ... On the air . .
No. 20 Duet
Countess (dictating) «Che soave zeffiretto ...» "What a gentle breeze ..."
susanna (repeating the Countess' words) Zeffiretto . . . Breeze . . .
Countess (as before) «Questa sera spirera ...» "There'll be this evening . . ."
Susanna (as before) Questa sera spirera . . . There'll be this evening . . .
Countess (as before) «Sotto i pini del boschetto*. "Beneath the whispering pines".
Susanna (asking her) Sotto i pini? Beneath the pines?
(writing)
Sotto i pini del boschetto. Beneath the whispering pines.
Countess
Ei gia il resto capira. And the rest he'll understand.
Susanna
Certo, certo: il capira. Of course: he'll understand.
(They read the letter over together.)
Recitative
Susanna
Piegato e il foglio ... Or come si sigilla? I've folded up the letter . . . Now how do
we seal it?
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countess (She takes out a pm and gives it to her.)
hcco, prendi una spilla: S< r\irá di sigillo. Artendi . . . scrivi Sul riverso del foglio: «Rimandatc il sigillo».
Di quel delia patente.
K piü bizzarro
Here, take this pin: It'll serve as a seal. No, wait ...m On the back of the letter: "Send back the seal".
Susanna
It's stranger
Than the one on the commission.
Countess
Presto, nascondi . . . Io sento venir gente. Quick, hide it ... I can hear some people
coming.
(Susanna puts the note in her bosom.)
Scene XI
The Countess, Susanna, Barbarina, Cherubino and peasant girls (Enter several peasant girls with bunches of flowers, led by Barbarina. Among them is Cherubino dressed like them.)
No. 21 Chorus
Chorus
Ricevete, o padroncina, Queste rose e questi nor, Che abbiam colto stamattina Per mostrarvi il nostro amor.
Siamo tante contadine, b siam tutte poverine: Ma quel poco che rechiamo V'e lo diamo di buon cor.
My dear mistress, please accept These roses and these flowers, Which we picked this very momm2 To show you our affection. We're only simple peasant fftls. And we're all so very poor: But the little we possess
We give you
from our hearts.
Recitative
Barbarina
Queste sono, Madama, These, my lady, are
Le ragazze del loco, The girls from the village,
Who^ve come to offer what little the)
nave' so bold-
And beg your pardon for being
2S4
Che il poco ch'han vi vengono ad offrire, E vi chiedon perdon del loro ardire.
Oh, brave! Vi ringrazio. Come sono vezzose!
Le Nozze di Figaro
Countess
Oh, how kind! I thank vou.
Susanna
And how pretty thev all are!
countess (pointing to Cherubino) E chi e, narratemi, Now tell me,
QueH'amabil fanciulla Who's that sweet little girl
Ch'ha 1'aria si modesta? With such a modest air?
Barbarina
HU'e una mia cugina, e per le nozze She's a cousin of mine who arrived
H venuta ier sera. Last night for the wedding.
Countess
Onoriamo la bella forastiera. Well then, let's honor our pretty guest.
(to Cherubino)
Venite qui. . . datemi i vostri fiori. Come over here . . . and let me have your
flowers.
(She takes the Jlowers from Cherubino, and kisses him on the forehead. Then, aside) Comearrossi! How she blushes!
(id Susanna)
Susanna, e non ti pare Susanna, doesn't she
Che somigli ad alcuno? Remind you of someone?
Susanna
Al naturale . . . The spitting image . . .
Scene XII
The Countess, Susanna, Barbarina, Cherubino, the Count and .\ntomo
{Enter the Count and Antonio. The latter is carrying Cherubino's hat: He enters verv quietly, pulls the girl's cap off Cherubino's head, and puts the hat on him instead.)
Antonio
Hh, cospettaccio! H questi l'uffiziale. Well, I'll be ... ! There's vour officer.
Oh, stelle!
Countess (aside) ■
Oh, my heavens!
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The Metropolitan Opera Book of Mozart Operas Susanna (aside)
Malandrino! °h>that rascal!
count (to the Countess)
Hbben! Madama
Well, madam?.
Countess
lo sono, o signer mio, My lord, I'm just as
Irritata e sorpresa al par di voi. Annoyed and surprised as you are.
Ma stamane?
Stamane . . . Per 1'odiema festa Volcvam travestirlo al modo stesso Che Than vestito adesso.
E perché non partiste? Signor . . .
Sapró punire l.a sua disobbedienza.
Count
But what about this morning?
Countess
This morning
For today's festivities We wanted to dress him up the same «a; They've dressed him now.
count (to Cherubino)
And why didn't you leave?
cherubino (tearing his hat off his head) My lord . . .
Count
You'll be punished For not obeying your orders.
Barbarina
Hccellenza, Eccellenza, Oh, my lordship,
Voi mi dite si spesso. How often you've said, ^
Qual volta m'abbracciate e mi baciate: When you're hugging and kissing
- Barbarina, se m'ami, "Barbarina, if you'U just love me.
Ti daro quel che brami». I'll give you whatever you wan
lo. dissi questo?
Count
I said that?
Barbarina
Voi. Yes, you did.
Or datemi, padrone. Oh master, if you give me
In sposo Cherubino, Cherubino for a husband,
I'll love vou as much as my »
Ebbene: or tocca a voi ,
Le Nozze di Figaro
Countess (to the Count)
Well then . . . now it's up to you .
ANTONIO (to barbarina) Brava figliuola! Good girl!
Hai buon maestro che ti fa la scuola. You've learned your lesson well.
Count (aside)
Non so qual uom, qual demone, qual Dio I'd like to know what man or demon or
god
Rivolga tutto quanto a torto mio. Has turned everything against me.
Scene XIII
77ie Countess, Susanna, Barbarina, Cherubino, peasant girls, the Count, Antonio and Figaro figaro (entering)
Signor... se trattenete Tutte queste ragazze, Addio festa . . . addio danza . . .
My lord ... if you keep All these girls here,
That's the end of the feast ... the end of the dancing . . .
fc v'amero com'amo il mio gattino.
Count
E che! Vorresti What's this!
Ballar col pie stravolto? So you think you can dance with a
twisted ankle?
Figaro
(He pretends to stretch bis leg, and then tries a Jew steps.) Eh, non mi duol piu molto. Oh, it really doesn't hurt much anymore.
(fie calls all the girls, and starts to leave: the Count calls him back.) Andiam, belle fanciulle . . . Let's go, my pretty ones . . .
COUNTESS (sottovoce to Susanna) Come si cavera dall'imbarazzo? Now how's he going to get out of this?
susanna (sottovoce to the Countess) Lasciate fare a lui. Just leave it to him.
Count
Per buona sorte Luckily the flowerpots
I vasi eran di creta. Were made of clay.
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The Metropolitan Opera Book of Mozart Operas Figaro
Senza fallo. That's right.
Andiamo, dunque, andiamo. Come along now, let's get going.
(He starts to leave; Antonio calls him back.)
Antonio
fc intanto, a cavallo. And meanwhile the page
I )i galoppo a Siviglia andava il paggio. Was galloping off to Senile.
Figaro
Di galoppo o di passo . . . buon viaggio. Galloping or trotting .. . well, good luck
to him!
(as he is about to leave)
Venite, belle giovani. Come on then, girls.
count (bringing him back again) F a te la sua patente And his commission
hra in tasca rimasta . . . Somehow stayed in your pocket.
Figaro
Certamente. But of com*.
Che rasa di domande! What a question!
Antonio (to Susanna, who is making signs to Figaro) Via, non fargli piu motti: ei non t'intende.        Don't bother making signs to him: He
can't understand what you mean.
(He takes Cherubino by the hand and presents him to Figaro.)
Ed ecco chi pretende And here's the fellow
Che sia un bugiardo, il mio signor nipote. Who'll make a liar out of you, ■)
nephew.
Figaro
Cherubino! Cherubino!
dear
Or ci sei.
Antonio
Figaro (to the Count)
Now you're in
for it
Che diamin canta?
What the devil's he trying
tos»'
Count
Non canta, no, ma dice
He's not trying to say anything, told me
he's ju*t
Le Nozze di Figaro
Ch'egli salto stamane in sui garofani . . . That the boy jumped out on his
carnations this morning . . .
Figaro
Ei lo dice! . . . Sara . . . Se ho saltato io, He says that! . . . Well, maybe so ... If 1
jumped out,
Si puo dare che anch'esso It's just possible
Abbia fatto lo stesso. He did the same.
Count
Anch'esso? He, too?
Figaro
Perche no? Why not?
Io non impugno mai quel che non so. I never dispute what I don't know.
No. 22 Finale
(A Spanish march is heard in the distance.) Ecco la marcia . . . andiamo. There's the march . . . now let's go.
A' vostri posti, o belle, a' vostri My pretty ones, take your places,
posti.
Susanna, dammi il braccio. And Susanna, give me vour arm.
Susanna
Eccolo. Here I am.
(Figaro takes Antonio by one arm and Susanna by the other, and they all go off, except the Count and
Countess.)
Count (aside)
Temerari! They're just shameless!
Countess (aside)
Io son di ghiaccio. And I feel like I'm made of ice.
(The march gets gradually louder)
Count
Contessa . . . My lady . . .
Countess
Or non parliamo. Let's not say anything now.
Ecco qui le due nozze: Here come the two happy couples:
Riceverle dobbiam; alfin si tratta We've got to receive them well; and
at least
D'una vostra protetta. One of them's vour ward.
Seggiamo. Let's just go and sit down.
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Le Nozze ill Figaro
Seggiamo. ť meditiam vendetta.
Count
(aside)
Yes, let's just go and sit down.
And meditate on our revenge.
(They sit.) Scene XIV
The Count, the Countess, Figaro, Susanna, Bartolo, Marcellina, Cherubino, Barbarina, peasant girls, villagers and hunters (Enter hunters with rifles on their shoulders; lawyers; peasant men and women; two young girls carrying a bridal head-dress with white feathers; two more with a white veil; two more with gloves mi a bouquet offlowers; two more girls carrying a similar head-dressJor Susanna, etc.; Figaro Marcellina; Bartolo with Susanna; Antonio, Barbarina, etc.; Bartolo leads Susanna up to the Count, and she kneels down to receive the head-dress from him, etc.; Figaro leads Marcellina up to At Countess, and does the same.)
Two Peasant Women
Amanti costanti, Seguaci d'onor, Canute, lodate Si saggio signor.
A un dritto cedendo Che oltraggia, che offende, ť.i caste vi rende Ai vostri amator.
Come, all faithful lovers, And those in honor bound, Join us in singing the praises Of a wise and noble lord.
In renouncing a right That insults and offends, He has kept you chaste For the ones vou adore.
Chorus
Join us in singing the praises Of a wise and noble lord.
Cantiamo, lodiamo s'gg'o signor.
(Susanna, who remains kneeling during the duet, plucks the Count's sleeve, and shtms him the ** then she puts the hand nearest to the audience to her head, while the Count, who is pretend^ » adjust her head-dress, takes the note from her. The Count puts it furtively in his breast. Susonm^1 and curtsys to him: Figaro comes forward to receive her; and they begin to dance the jeak"!f Marcellina rises a little later: Bartolo comes forward to receive her from the hands of the Count* The Count stands aside, takes out the note, and seems to prick his finger: He shakes it, mi*r** •'. and such ,t; then he sees that the note has been sealed with the pin. which he thro*a0* ground as he speaks. Meanwhile the orchestra is playing very sojdy)
Count
Fh, giä, si sa; solita usanza:
Oh yes, of course; as usual,
Le donne ficcan gli aghi in ogni Women have to stick their pins
loco . . . wherever possible . . .
Ah! Ah! Capisco il gioco. Ha, ha! Now I get the point.
figaro (who has seen it all, to Susanna) Un biglietto amoroso It's just a love letter
Che gli die nel passar qualche That some lady gave him in passing;
galante;
Ed era sigillato d'una spilla It must've been sealed with a pin,
Ond'egli si punse il dito; And now he's pricked his finger.
(The Count reads the note and kisses it, looks for the pin,flnds it, and puts it in the cuff of his sleeve.)
II narciso or la cerca. Oh, che stordito!
Andate, amici! E sia per questa sera Disposto 1'apparato nuziale
Colla piu ricca pompa. Io vo' che sia
Magnifica la festa; e canti e fochi,
E gran cena e gran ballo. E ognuno impari
Com'io tratto color che a me son cari
Our little Narcissus is trving to find it. Oh, how stupid he is!
Count (Recitative)
Go now, my good friends! And let all the Arrangements for the wedding this evening
Be made with the greatest of splendor. I
want this celebration To be magnificent; with songs and
fireworks,
And a great banquet and ball. So each of
you will know How 1 treat those who are dear to me.
(TVie chorus and march are repeated, and everyone goes off.) Chorus
Amanti costanti, Come, all faithful lovers,
Seguaci d'onor, And those in honor bound,
Cantate, lodate Join us in singing the praises
Si saggio signor. Of a wise and noble lord.
A un dritto cedendo In renouncing a right
Che oltraggia, che offende, That insults and offends,
Ei caste vi rende He has kept you chaste
Ai vostri amator. For the ones vou adore.
Cantiamo, lodiamo Join us in singing the praises
gio signor. Of a wise and noble lord.
End of Act Three 261
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Le Nozze di Figaro
(angrily)
ACT FOUR
A lush garden with two arbors to the right and left. Night. Scene I
Barbarina alone Barbarina
(carrying a paper lantern and looking Jor something on the ground)
No. 23 Cavatina
L'ho perduta ... me meschina!
Ah, chi sa dove sari?
Non la trovo . . . H mia cugina .
b il padron, cosa dirä?
I've lost it . . . oh, dear me!... Oh, wherever can it be? I can't find it... And my
cousin . . . And the master, what will he say.'
Barbarina, cos'hai? L'ho perduta, cugino. Cosa?
Cosa?
Scene II
Barbarina, Figaro and Marcellina
Recitative
FlGARO (entering with Marcellina)
Barbarina, what's the matter?
Barbarina
I've gone and lost it, cousin.
Figaro
What?
Marcellina
What?
Barbarina
La spilla The pin
Che a me diede il padrone The master gave me
FVr recar a Susanna. To take back to Susanna.
Figaro
a Susanna? la spilla?
To Susanna? What pin?
F_ cosi tenerella . . 11 mestiere giä sai .
And at such a tender age, You're already learning . . .
(quietlv)
Di far tutto si bien quel che tu fai? To do everything as well as you do?
Barbarina
Cos'e? vai meco in collera? What's wrong? Are you angry with me?
Figaro
E non vedi ch'io scherzo? osserva . . . Can't you see that I'm joking? Look
here . . .
(He searches the ground for a moment, after adroitly removing a pin from Marcellina's dress or cap, and gives it to Barbarina.)
Questa This
e la spilla che il Conte Is the pin that the Count
Da recare ti diede alia Susanna, Gave you to take back to Susanna.
e servia di sigillo a un bigliettino. And it was used to seal a little note.
Vedi s'io sono istrutto. As you can see, I know all about it.
Barbarina
e perche il chiedi a me, quando sai tutto? So why are you asking me, if you already
know everything?
Figaro
Avea gusto d'udir come il padrone I just wanted to hear my lord's
Ti die la commissione. Exact instructions.
Barbarina
Che miracoli! Oh, is that all?
«Tieni, fanciulla, rcca questa spilla "Come here, my girl, and take this pin
Alia bella Susanna, e dille: "Questo "lb mv pretty little Susanna, and tell her:
'This
e il sigillo de' pini'V Is the seal of the pines' ".
Figaro
Ah, Ah! de' pini!
Aha! The pines!
Barbarina
e ver ch'ei mi soggiunse: That's right, and then he added:
«Guarda che alcun non veda»; "Make sure that no one sees you";
Ma tu, gia, tacerai. But you won't tell on me, will you?
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Le Nozze di Figaro
No, of course 1 won't.
A te, giä, niente preme
Figaro
Sicuramente.
Barbarina
And it's no concern of yours.
Figaro
Oh, niente, niente. Of course not.
Barbarina
Addio, mio bel cugino: Well, good-bye now, my dear cousin:
Vb da Susanna e poi da Cherubino. I must find Susanna and then Cherubino.
(She skips off.)
Scene III
Figaro and Marcellina
Figaro (dumbstruck) Mother!
Marcellina
Madn-
Figlio.
My dearest son!
Figaro
Son morto.
I'm done for
i .ilin.it i. figlio mio.
Marcellina
Now just calm down, my son.
Figaro
Son morto, dico.
rm done for, 1 teB*
Marcellina
Flcmma, flemma, e poi flemma: il fatto e Whatever you do, you must have
SCrK>' patience: I know it's serious,
P"**" con vien. Ma guarda un poco And requires a lot of thought. But do
realize
Che ancor non sai di chi si prenda gioco. That you don't even know who the joke
is really on?
AR° u   that's the **J
.Ah! quella spilla, o madre, e quella stessa Oh no, my dearest mother,
Che poc'anzi ei raccolse.
same pm He was just looking for.
Marcellina
t ver . . . Ma questo That's true .  . At most
Al piii ti porge un dritto This will keep you on your guard
Di stare in guardia e vivere in sospetto: And heighten your suspicions:
Ma non sai se in effetto ... . But you don't know if they actually . . .
Figaro
All'erta, dunque: il loco del congresso So dov'é stabilito.
On guard, then: At least I know Where they've agreed to meet.
Dove vai, figlio mio?
A vendicar tutti i mariti. Addio.
(He starts to leave.)
Marcellina
But where are you going, my son?
Figaro
To avenge all good husbands. Good-bye. (He goes off in a Jury.)
Scene IV
Marcellina alone
Marcellina
Presto, avvertiam Susanna . . . lo la credo innocente: quella faccia . . . Quell'aria di modestia . . . t caso ancora Ch'ella non fosse .. . Ah! quando il cor
non ci arma Personate interesse, Ogni donna e portata alia difesa Del suo povero sesso,
Da questi uomini ingrati a torto oppresso.
Quick, let me warn Susanna . . . I'm sure she's innocent: That face . . . That modest air . . . But then again, Supposing she's not . . . Ah! when
personal interest Doesn't harden our hearts, Everv woman's inclined lb come to the defense of her own poor
sex,
So wrongly oppressed by these ungrateful men.
No. 24 Aria
II capro e la capretta Son sempre in amistä; L'agnello all'agnelletta La guerra mai non fa;
The billy and the nanny-goat Are always the best of friends: And the ram would never wage war On the helpless ewe.
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Lc piii feroci belve Per selve e per campagne Lascian le lor compagne In pace e liberta.
Sol noi, povere femmine, Che tanto amiam questi uomini, Trattate siam dai perfidi Ognor con crudelta.
The most ferocious beasts In the woods or on the plains Are content to leave their mates In peace and liberty.
It's only us poor women, Though we dote so on our men, Who are treated so verv cruelly And betraved by all of them.
(She goes off.)
Scene V Barbarina alone
Recitative
barbarina (carrying fruit and cakes) ■ Nel padiglione a manca», ei cosi disse. "In the arbor on the left", I think he said.
E questo, é questo . . . E poi, se non venisse?
Ah. ah, che brava gente! A stento darmi
Un .11 .mu 1.1, una pera e una ciambella.
■ Per chi, madamigella?»
«Oh, per qualcun, signore!»
-i m.i lo sappiam». Ebbene:
II padron 1'odia, ed io gli voglio bene!
Pero costommi un bacio . . . E cosa
importa? Forse qualcun mel renderá . . .
Yes, this is it . . . But what if he doesn't come?
Oh, what a generous lot thev are! I COW
hardlv get them To give me an orange, a pear and a piece
of cake. "And who's this for, my dear?" "Oh, just for someone I know, kind sir
"Yes, I know that". Oh well My master
■hates him, and I love mm» But it cost me a kiss... And what doe>
it matter? Maybe somebody will give me one
back . . .
E Barbarina
(She hears someone coming.) Son mortal (She runs and hides m the arbor on the left.)
Scene VI
Figaro; then Bartolo, Basilio and workers
FlGARO (alone with a cape and a lantern) It's Barbarina . •
I'm in
for it *»•
Le Nozze di Figaro (He hears people coming.)
Chi va la?
Who's there?
Che invitasti a venir.
Che brutto ceffo! Sembri un cospirator. Che diamin sono
Quegli infausti apparati?
Lo vedrete tra poco. In questo stesso loco Celebrerem la festa Della mia sposa onesta H del feudal signor .. .
basilio (entering with Bartolo and a group of workers)
Son quelli You asked us to come.
And here we are.
Bartolo
What a frown you've got on your face! You look like a conspirator. And why the devil
All these strange preparations?
Figaro
You'll find out soon enough. On this very spot
We're going to celebrate the union
Of my virtuous bride
And the lord of the manor . . .
Basilio
Ah, buono, buono! Oh, so that's what it is!
Capisco come egli é. Now , see how ^ stand
(aside)
Accordati si son senza di me.
Voi da questi contorni
Non vi scostate. Intanto
Io vado a dar certi ordini
E tomo in pochi istanti:
A un fischio mio correte tutti quanti.
They've worked it out bv themselves.
Figaro
You there, just stav Near at hand. Meanwhile I'm going to give some instructions And I'll be back in just a few moments: And when I whisde, I want you all to come running.
Ha i diavoli nel corpo. Ma cosa nacque?
(They all go off, except for Bartolo and Basilio.)
Scene VII
Bartolo and Basilio
Basilio
He's out of his mind. Bartolo
But what's going on?
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Le Nozze di Figaro
Nulla:
Susanna piace al Conte. Ella, d'accordo,
Gli die un appuntamento Ch'a Figaro non piace.
E che, dunque: dovria soffrirlo in pace?
Quel che soffrono tanti
Ei soffrir non potrebbe? E poi, sentite:
Che guadagno puö far? Nel mondo, amico,
accozz.itl.i co' grandi Fu pcricolo ognora: Dan nnvanta per cento, e han vinto
ancora.
In quegli anni in cui val poco
La mal pratica ragion,
Ebbi anch'io lo stesso fuoco:
Fui quel pazzo ch'or non son.
Ma col tempo e coi perigli Donna flemma capitö; E i capricci ed i puntigli Dalla testa mi cavö.
Presso un picciolo abituro Seco lei mi trasse un giomo; E, togliendo giii dal muro Del paciheo soggiorno Una pelle di somaro: «Prendi», disse, «o figlio caro!» Poi disparve, e mi lascio.
Basilio
Nothing.
The Count likes our Susanna. She's
agreed To meet him here, And Figaro doesn't like it one bit,
BartolO
And he's supposed to put up with it and not say a thing?
Basilio
When so manv others have put up with
such nonsense, Why shouldn't he put up with it, too?
And then, listen: What would he stand to gain? In this
world, my friend, It's always been dangerous To clash with the powerful few: They give vou ninety percent, and the*1( still won over you.
No. 25 Aria
In those vears when inexperienced
reason Is of little or no avail, I too was impulsive and headstrong: 1 was just as big a fool. But with time no less than dinger* Mistress Mindful at last appeared. And drove all fancies and spite Right out of my sillv head.
One day she led me To a little hut;
And as she took down from the •* Of that quiet little place The hide of a donke\; she said: "Take this, mv dear son!' •And then disappeared, and left i*
Mentre ancor, tacito, Guardo quel dono, II ciel s'annuvola, Rimbomba il tuono, Mista alia grandine Scroscia la piova: Ecco, le membra Coprir mi giova Col manto d'asino Che mi donö.
Finisce il turbine, Né fo due passi, Che fiera orribile Dianzi a me fassi: Giá giä mi tocca, L'ingorda bocca; Gia di difendermi Speme non ho.
Ma il fiuto ignobile Del mio vestito Tolse alia belva Si l'appetito, Che, disprezzandomi, Si rinselvö.
Cosi conoscere Mi fe' la sorte Ch'onte, pericoli, Vergogna e morte Col cuoio d'asino Fuggir si puó.
While I was staring silently At her gift,
The sky had clouded over;
The thunder was crashing,
And mixed with hail,
The rain was pouring down:
So I managed
To cover mv limbs
With the donkey's hide
She gave me.
The storm was over, And I had just set forth, When a horrible beast Appeared in my path: As its greedy jaws Reached out for me, I lost all hope Of defending myself.
But the foul smell
Of my garment
So robbed the beast
Of his appetite,
That in utter disgust
He went back to the woods.
And that's how
Fate taught me
That insults and danger
And shame and death
Can all be avoided
Wearing the hide of an ass.
Tutto ě disposto: l'ora
Dovrebbe esser vicina; io sento gente
(They go off)
Scene VIII
Figaro alone Figaro
No. 26 Recitative and Aria Recitative
Everything's ready: It must be Nearly time; I hear someone coming
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Le Nozze di Figaro
ľ dessa . . . non ě alcun . . . Buia ô la
notte . . . Ed io comincio omai A fare il scimunito Mestiere di marito . . . Ingrata! nel momento Delia mia cerimonia . . . hi godeva leggendo: e nel vederlo
Io rideva di me senza saperlo.
(ill. Susanna! Susanna!
Quanta pena mi costi!
Con quell'ingenua faccia.
Con quegli occhi innocenti . . .
Chi creduto I'avria! . . .
Ah, the il fidarsi a donna ě ognor follia!
Aprite un po' quegli occhi I Ii .riumi incauti e sciocchi, Guardate queste feminine, Cuardate cosa son.
Queste chiamate Dee Dagli ingannati sensi, A cui tributa incensi La debole ragion, Son streghe che incantano
Per farci penar, Sirene che cantano Per farci affogar,
Civette che allettano Per trarci le piume, Comete che brillano Per toglierci il lume;
Son rose spinöse, Son volpi vezzose, Son orse benigne, Colombe maligne,
It's her . . . no, no one's there ... The
night is dark . . . And I'm already beginning To play the wretched part Of the jealous husband . . . That traitress! on the verv day Of our wedding ... He was enjoying her little note: and wh
I was watching I didn't even know I was laughing at
myself. Oh, Susanna, Susanna! You've caused me so much pain! With that sweet little face And those innocent eyes . . Who would ever believe it? Ah, it's sheer madness to trust in a
Aria
Open up vour eves, You rash and foolish men, Just look at these women, Just look what they are. You call them all goddesses When your senses are inflamed, And with your feeble reasoning You worship at their shrine. They're just witches casting their spells
To cause us terrible pain, They're sirens singing their sore* To drown us one and all, They're screech-owls that lure W To pluck out our feathers, They're comets that flash To take away our sight; They're roses with thorns, They're cunning little vixens, They're gentle she-bears. They're spiteful doves,
Maestre ďinganni, Amiche ďaffanni Che fingono, mentono, Amore non senton, Non senton pieta. No, no, no, no! II resto nol dico, Giä ognuno lo sa.
They're masters of deceit, Thev're friends of our troubles, They always lie and cheat, They feel no love at all, Nor mercy will thev show. No, no, no, no! I won't even say the rest, Because everyone already knows.
(He withdraws.)
Scene IX
The Countess, Susanna, Marcellina, and Figaro apart (Enter the Countess and Susanna, dressed m each others clothes, and .Marcellina.)
Signora, ella mi disse Che Figaro verrawi
Anzi, ě venuto: Abbassa un po' la voce.
Dunque, un ci ascolta, e l'altro
Dee venir a cercarmi. Incominciam.
Io voglio qui celarmi.
Recitative
Susanna
My ladv, Marcellina here says Figaro is coming.
Marcellina
He's already here: Lower vour voice just a little.
Susanna
So while one of them is listening, the other's
Due to meet me any moment. We might as well begin.
Marcellina
And I'll just hide in here.
(She enters where Barbarina went.)
Madama, voi tremate: avreste freddo?
Scene X
The Countess, Susanna and Figaro
Susanna
My lady, you're trembling: Are you cold?
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Le Nozze di Figaro
Countess
Parm. um.da la notte ...lomi ntiro. The night air feels rather damp
Eccoci della crisi al grande istante.
think I'll go on in.
Figaro (aside)
Here we all are at the height of the drama.
Susanna
If your ladvship allows it,
T1 P      ; I think rll'just stay here under the trees
Se Madama il permette, iww     j        ■ Mf ,n hour
Rosto a prendere il fresco una mezz'ora. And get some fresh arr for half an hour.
II fresco, il fresco!
Figaro (aside)
And get some fresh air!
Countess Restaci, in buonora.
(She hides.)
Stay as long as you want to.
II birbo é in sentinella, Divcrtiamci anche noi: Diamogli la mercé de' dubbi suoi.
Susanna (aside)
That rascal's watching,
But we'll have some fun, too:
Let's reward him for his doubts.
No. 27
Giun.se altin il momento
Che godrö senza affanno
In braccio all'idol mio! Timide eure,
Uscite dal mio petto,
A turbar non venite il mio diletto!
Oh, come par che all'amoroso foco
L'amenitä del loco,
La terra e ü ciel risponda!
Come la notte i furti miei seconda!
(aloud)
Recitative and Aria Recitative
The moment's finallv here
When I can freely rejoice
In the arms of mv idol! I've done Wf
With all those silly scruples,
Which would onh spoil my hippim*'-
Oh, how the beautv of this place,
And heaven and earth respond
To my burning passion!
How the night aids and abets my
Aria
Deh, viení, non tardar, o gioia bella, Vieni ove amore per goder t'appella,
Come now, my
darling,'
delaying, flo,ť. Come and answer the caU
Finché non splende in ciel notturna face
Finché I'aria ě ancor bruna e il mondo tace.
Qui mormora il ruscel, qui scherza I'aura,
Che col dolce susurro il cor ristaura;
Qui ridono i fioretti, e ľerba ě fŕesca:
Ai piaceri d'amor qui tutto adesca.
Vieni, ben mio: tra queste piante ascose
Ti vo' la fronte incoronar di rose.
Before heaven's torch shines bright
in the sky, While the night is still dark and the
world at rest.
Here the brook is babbling, and the
breezes are playing, And their sweet sounds refresh my
heart;
Here the flowers are laughing, and
the grass is cool: Here everything welcomes the
pleasures of love.
Come now, my dear one: and among these sheltered trees I'll crown your brow with roses.
Scene XI
The Countess, Susanna, Figaro and Cherubino; then the Count
Recitative
Figaro (aside)
Perfida! e in quella forma That traitress! so this is how
Meco mentia? Non so s'io vegli o dorma. She lied to me? 1 don't know whether I'm
awake or sleeping.
CHfcRUBINO (He enters humming.) La la la, la la la, la lera. La la la, la la la, la lera.
picciol paggio!
countess (aside, from her hiding place)
It's the litde page! Cherubino
Io sento gente: entriamo Ove entrö Barbarina.
I heard someone: I'll just go in Where Barbarina is.
Oh, vedo qui una donna!
(noticing the Countess)
Oh, there's a woman in there!
Countess (aside) Ahi, me meschina!
273
And now what'll 1 do?
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The Metropolitan Opera Book of Mozart Operas Cherubino
M'inganno! A quel cappello No, I'm wrong! From what 1 can see of
that hat
Susanna. In the dark, it's got to be Susanna in
there.
Che nell'ombra vegg'io, parmi
b se il Conte ora vien? Sorte tiranna
Countess (aside)
And what if the Count should show up? Oh, how cruel fate really is!
No. 28 Finale
Cherubino (aside)
Hian pianin le andro piu presso: Litde bv little I'll get closer to her
Tempo perso non sara. It won't be wasted time.
Countess (aside)
Ah, se il Conte arriva adesso. Oh, if the Count gets here right
now,
Qualche imbroglio accadera! What a disaster it will be!
Cherubino (to the Countess) Susannctta ... My dearest Susanna ...
(aside)
Non risponde: She won't answer
Colla mano il volto asconde . . . And she's hiding her face in her
hands.. .
Or la burlo, in verita. Now I can really tease her, 1 thi™1
(He takes her hand and caresses it; the Countess tries to free herself-)
countess (disguising her voice) Arditello! sfacciatello! You fresh little brat!
Ite presto via di qua. Get out of here at once!
Cherubino
Smornosa, maliziosa, lo giä so perché sei qua.
Don't be coy and cruel to me:
I already know why you're
Count
(peerinq at them from a distance) _ .,     ■  c There she is, my own **»
fccco qui la mia Susanna. 1"
274
he*
Le Nozze di Figaro
Figaro and Susanna (far apart from each other) Hcco qui l'uccellatore. And here comes the skirt-chaser
himself.
cherubino (once again to the Countess) Non far meco la tiranna! Don't play these games witb me!
Susanna, Count and Fkjaro (aside) Ah, nel sen mi batte il core! Oh, my heart's pounding in my
Unalt
r uom con lei si sta
breast!
There's another man with her.
countess (sottovoce to Cherubino) Via, partite, o chiamo gente. Get out, or I'll call for help.
Cherubino (still holding her hand) Dammi un bacio, o non fai niente. Just give me one little kiss, it won't
cost vou a thing.
Susanna, Count and Figaro (aside) Alia voce, e quegli il paggio. I can tell from his voice it's the
page.
Countess (as before) Anche un bacio! che coraggio! Just one little kiss! What nerve!
Cherubino
h perche far io non posso And why shouldn't I get
Quel che il Conte or or fara? What the Count gets every day?
Countess, Susanna, Count and Figaro (all aside) Temerario! Oh, that foolhardy boy!
Cherubino
Oh, ve' che smorfie! And just look at those faces
Sai ch'io fui dietro il sofa. You're making! You know I was
behind the chair.
Countess, Susanna, Count and Figaro (still aside) Se il ribaldo ancor sta saldo, If that rascal keeps on insisting,
La faccenda guastera: He'll ruin all our plans.
Cherubino
Prendi intanto . . . For a starter, how about this . ..
(77ie page tries to kiss the Countess; the Count steps between them, and receives the kiss himself)
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The Metropolitan Opera Book of Mozart Operas
Countess and Cherubino Oh, del! il Conte. Good heavens! It's the Count
(The page goes and hides with harbanna.)
Figaro (aside)
Vo' veder cosa fan la.
I wonder what they're doing in there.
Count
lust so you won't try that again, Perche vo, nol npetete, J      ^      ^ m insteai
Ricevete questo qua. J (The Count 9oes . slap Cherubino, Figaro comes up a, that moment, and rece.es the M W»
Figaro (aside)
Ah! ci ho fatto un bel guadagno, Colla mia curiositá!
fAh! It serves me right, Forteing so nosy!
(Susanna hears the slap, and laughs.)
Countess and Count
Ah! ci ha fatto un bel guadagno, Colla sua temerita!
Susanna
Ah! ci ha fatto un bel guadagno, Colla sua curiositá!
Ah! It serves him right, For being so bold!
Ah! It serves him right, For being so nosy!
Partito ě alfin 1'audace: Accostati, ben mio!
Giacché cosi vi piace, Eccomi qui, signor.
Che compiacente femmina! Che sposa di buon cor!
Porgimi la manina.
(Figaro withdraws.)
count (to the Countess) ,,.
Now that the little foohfi^
gone, , Come closer to me, my dear.
Countess
If that's what you want Then here I am, my
lord.
Figaro (aside)
Count
What an obedient littler AndsuchawiHingbr.de.
Now give me your hand.
Io ve la do.
he Nozze di Figaro
Countess
Here it is Count and Ficaro
Carina!
Che dita tenerelle!
Che delicata pelle!
Mi pizzica, mi stuzzica,
M'empie di un nuovo ardor.
Oh, my dear!
Count
What sweet little fingers you've got! And such lovely delicate skin! It makes me tingle all over, And sets me on fire again.
Susanna, Countess and Figaro La cieca prevenzione This blind infatuation of his
Delude la ragione, Has completely clouded his
lnganna i sensi ognor. judgment,
And tricked every one of his senses.
(77ien all Jour, with the Count repeating his verses.)
Count
Oltre la dote, o cara, Besides your dowry, my darling,
Ricevi anche un brillante, Accept this diamond ring,
Che a te porge un amante It's just a little token
In pegno del suo amor. Of my undying love.
(He gives her a ring.)
Countess
Tutto Susanna piglia Susanna can't thank you enough
Dal suo benefattor. For everything you've done.
Susanna, Count and Figaro (aside) Va tutto a maraviglia! Everything's going so perfectly!
Ma il meglio manca ancor. But the best is vet to come.
Countess (to the Count) Signor, d'accese fiaccole My Lord, I can see the glow
Io veggio il balenar. Of lighted torches fast approaching.
Count
Entriam, mia bella Venere. Let's go on in, my pretty Venus,
Let's go right now and hide.
Andiamoci a celar.
Susanna and Figaro (aside) Mariti scimuniti, Come, all you wretched husbands,
Venite ad imparar. And learn vour lesson well.
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The Metropolitan Opera Book of Mozart Operas Countess
Al buio, signor mio?
Ľ quello che vogl'io: Tu sai che lä per leggere lo non desio d'entrar.
Count
Figaro (aside)
La perfida lo seguita: F. vano il dubitar.
In the dark, my lord?
That's the way I want it: And you know I'm not going in
there Just so we can read.
That traitress is following him: There's no doubt at all.
Countess and Susanna (aside)
I furbi sono in trappola, [c'ammina ben I'affar.
Chi passa?
Passa gente! Ě Figaro: men vö.
The rogues are in the trap, Our plans are going well.
(Figaro passes by.)
COUNT (disguising his voice)
Who's there?
Figaro (angrily)
Just someone going1
COUNTESS (sottovoce to the Count)
It's Figaro: I'm leaving.
Count
Andate: io poi verro
Go iheid: I'll join vou very soon
(The Count appears among the trees, and the Countess enters the arbor on the ftfe I
_ Figaro lutto e tranquillo e placido-
tntro la bella Venere everything's peaceful and quiet
But like a modern-day Vulcan. I'll catch them in my net.
Nuovo Vulcan del secolo, In rete la potro.
susanna (disguising her voice) Ehi, Figaro, tacete!
Figaro
Oh, questa ě la Contessa . . .
Hey, Fig310 Oh, that must be the Count*
,>qulrI
Le Nozze di Figaro (to Susanna)
a tempo qui giungete . . . Vedrete lä voi stessa . . . II Conte e la mia sposa . . .
Di propria man la cosa Toccar io vi farö.
You've come just in time . . . You'll see it for yourself . . . The Count's in there with my
bride . . . And they're so close to us You can touch them with your
hand.
susanna (Jorgettmg to disguise her voice) Parlate un po' piu basso. Just speak a little lower
Di qua non muovo passo, I'm not moving from this spot
Ma vendicar mi vo*. Until I get revenge.
Figaro (aside)
Susanna!
Susanna!
Vendicarsi?
Si.
Come potria farsi?
La volpe vuol sorprendermi, E secondar la vo'.
(to Susanna)
Susanna
Figaro
(aside)
Oh,
Revenge?
And how can that be done?
If the little vixen's trying to catch me,
I'll help her with her plan.
Susanna (aside)
L'iniquo io vo' sorprendere, I'm trying to catch the villain,
Poi so quel che faro. And I know just what to do.
figaro (with comic exaggeration) Ah, se Madama il vuole! Well, if that's what my lady wants!
Susanna
Su via, manco parole. Come on, let's get going, and not
another word.
figaro (as before)
Eccomi ai vostri piedi . . . I'm kneeling here before vou . . .
Ho pieno il cor di fuoco. And mv heart is full of fire.
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hsaminate il loco . . Pensate al traditor.
Come la man mi pizzica! Che smania! che furor!
Just take a look around you . . And remember who betrayed you.
Susanna (aside)
How my hand is itching! How mad I am! I'm furious!
Figaro (aside)
Come il polmon mi si altera! How my bosom swells with love!
Che smania! che calor!
How mad she is! She's feverish!
susanna (disguising her voice a little)
t senza alcun affetto? .
Suppliscavi il dispetto. Non perdiam tempo invano, Datemi un po' la mano   . .
Figaro
Isn't there any affection at all between us?. . •
My respect for you forbade it. But we mustn't waste any time. Give me your hand for just a moment.
Susanna
(She slaps his face as she speaks in her own voice.)
Servitevi, signor! Che schiaffo! t questo, e questo
Figaro
Help yourself, fine sir!
Oh, what a slap!
Susanna (still slapping in time)
And take this, and this E ancora questo, e questo, e poi And this one, too, and here s
quest'altro! an°ther one!
Figaro
Non batter cosi presto.
I beg you, not so
hard.
F questo, signor scaltro, t questo, e poi quest'altro ancor!
Oh, schiaffi graziosissimi! Oh, mio felice amor!
Susanna (still slapping him)
And this, you rascal, ^ And this, and this one, too-
Figaro
Oh, those precious little slaP How happy is my love!
Le Nozze di Figaro Susanna
Impara, impara, o perfido, a fare il seduttor.
I'll teach you, you faithless wretch, To play the seducer with me.
FIGARO (falling on his knees) Pace, pace, mio dolce tesoro: Forgive me, my dearest treasure:
Io conobbi la voce che adoro, I recognized the voice I adore,
t che impressa ognor serbo nel cor. Which is always engraved in my
heart.
La mia voce?
SUSANNA (laughing in surprise)
My voice?
Figaro
La voce che adoro.
The voice I adore.
Figaro and Susanna Pace, pace, mio dolce tesoro, Forgive me, my dearest treasure.
Pace, pace, mio tenero amor. Forgive me, my sweet love.
count (aside, returning) Non la trovo, e girai tutto il bosco. I've combed the woods, and I can't
find her anywhere.
Susanna and Figaro Questi e il Conte, alia voce il Here comes the Count, I can tell by
his voice.
Count
(in the direction of the arbor which the Countess entered) Ehi, Susanna . . . sei sorda . . . sei Hey, Susanna . . . are you deaf. . .
muta? and dumb?
Susanna (sottovoce ta Figaro) Bella! bella! non l'ha conosciuta! Oh, that's perfect! He still hasn't
recognized her!
Chi?
Madama.
FlGARO (sottovoce to Susanna) Who?
Susanna (as before)
FlGARO (as before) Madama?
My ladv.
My lady?
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Le Nazze di Figaro
Susanna (as before) Madama.
Yes, mj ladv.
Susanna and Figaro (sottovoce) La commedia, idol mio, terminiamo: Let's end this farce, mv dearest:
Consoliamo il bizzarre amator. And console this poor lover at last.
Figaro
(aloud, throwing himself at Susannas feet) Si, Madama, voi siete il ben mio. Yes, mv lady, vou're all I'm living
for.
Count (aside)
La mia sposa! Ah, senz'arme son io! My wife! Ah, and I'm not even
armed!
FIGARO (still kneeling) U n ristoro al mio cor concedete. Won't vou grant some solace to this
heart of mine?
susanna (disguising her mice) lo son qui, faccio quel che volete. Here I am, and I'll do whatever _vou
want.
Ah, ribaldi!
Count (aside)
They're just shameless! Susanna and Figaro
Ah, corriamo, mio bene, E le pene compensi il piacer.
Ah, let's make haste, mv
Im
And let pleasure make up for ^ pain.
(Figaro rises, and they both go towards the arbor on the left.)
Scene XII
77k Count, the Countess. Susanna, Figaro, Marcellina, Bartolo, Cherubino, Barbarmo, Basiho, Don Curzio and servants
count (stopping Figaro) Gente, gente! AH'armi, aH'armi! Hey there, my men
i Bring y°ur
weapons!
(Susanna enters the arbor.) 282
II padrone! Gente, gente, aiuto, aiuto!
figaro ( pretending to be terrified)
It's the master!
Count
Help me, my men! Help me! Help me!
Figaro (as before)
Son perduto! Now I'm ruined!
(Antonio, Basilio, Bartolo, Don Curzio and servants with lighted torches come running.)
Basilio, Don Curzio, Antonio and Bartolo
What's happened?
Count
Il scellerato!
Cosa awenne?
M'ha tradito, m'ha infamato! E con chi, state a veder.
That villain! He's betrayed me, and insulted mv honor!
And wait 'till you see who he's with.
Basilio, Don Curzio, Antonio and Bartolo (aside)
Son stordito, sbalordito. Non mi par che ciö sia ver.
Son storditi, sbalorditi: Oh, che scena, che piacer!
Invan resistete, Uscite, Madama! II premio or avrete Di vostra onestä. II paggio!
Figaro
Count
I'm amazed and bewildered. And I can't believe it's true.
They're all amazed and bewildered. Oh, what a farce, what fun!
It's useless to resist, Madam, come on out! And you'll be justly rewarded For all your honesty. The page!
(The Count tugs on Cherubmo's arm, who struggles not to come out, and can only be half seen; after the page come Barbarina, Marcellina and Susanna, dressed in the Countess' clothes, she holds a handkerchief to her face, and kneels down in front of the Count.)
Mia figlia! Mia madre!
Antonio
Figaro
My daughter!
My mother!
28}
The Metropolitan Opera Book of Mozwr Operas
Le Nozze di Figaro
Basilio, Don Curzio, Antonio Bartolo and Figaro Madama! My lady!
Count
Scoperta e la trama. The plot is now uncovered,
La perfida e qua. And the traitress is right here.
(One after the other they all kneel down.)
Susanna
Forgive me, I beseech you!
Count
Oh no, don't even hope for it.
All
Perdono, perdono! No, no, non sperarlo! Perdono, perdono! No, no, non vo' darlo!
Figaro
Count
Forgive me, I beseech you!
Oh no, 1 never will
Susanna, Cherubino, Barbarina, Marcellina, Basilio, Don Curzio, Antonio, Bartolo and Figaro Perdono, perdono! Forgive us, we beseech you!
No, no, no, no, no!
Count (louder)
No, no, no, no, no!
COUNTESS (commg out of the other arbor) Almeno io per loro At least I can try
Perdono otterro. y0 plead their case.
(She tries to kneel but the Count will not let her)
Count, Basilio, Don Curzio, Antonio and Bartolo
Oh cielo! che veggio! Deliro! vaneggio! Che creder non so.
Contessa, perdono.
Piů docile io sono, t dico di si.
Oh, my heavens! What do I I'm raving! I've gone mad! And I can't believe my eyes
COUNT (begging her)
My Countess, please faff* "*
Countess
I'm more indulgent now, And I really can say y«'
Ah! tutti contenti Saremo cosi.
Questo giorno di tormenti, Di capricci e di follia, In contenti e in allegria Solo amor puo terminar.
Sposi, amici, al ballo! al gioco!
Alle mine date fuoco, Ed al suon di lieta marcia Corriam tutti a festeggiar.
The End
Ah! And so we'll All be content at last.
This day of torment, Whims and follv, Love alone can crown With happiness and jov.
Come, lovers and friends, let's dance
and play! Come, light the fireworks. And to the sounds of a lively march Let's make haste to celebrate.
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