La clemenza di tito
WORLD PREMIERE: UNITED STATES PREMIERE:
METROPOLITAN OPERA PREMIERE:
Prague, National Theater, September 6, 179! Mutual Broadcasting System, June 22 and 29, 1940 (radio performance); Lenox, Mass., Janglewood, August 4, 1952 October 18, 1984
LA CLEMENZA DI TITO (THE CLEMENCY OF TITUS)
Opera seria in Two Acts
Libretto: Caterino Mazzola (after Pietro Metastasio) English translation and notes: David Stivender Music: Wolfgang Amadeus Mozart
LA CLEMENZA DI TITO
CHARACTERS
TlTO VESPAS1ANO (Titus Vespasian), Emperor of Rome VlTELLIA, daughter of the emperor Vitellius SERVILLIA, Sextus' sister, in love with Annio SESTO (Sextus), Titus'friend, in love with Vitellia ANNIO (Annius), Sextus'friend, in love with Servilia PUBLIO (Publius), prefect of the Praetorian Guard The action takes place in Rome.
Tenor Soprano Soprano Mezzo-soprano Mezzo-soprano Bass
LA CLEMENZA DI TITO
SYNOPSIS
Historical Background
The profligate Roman emperor Vitellius (reigned a.d. 69) was deposed bv the sober and popular Vespasian who reigned for ten years (69-79). He was the first Roman emperor to die a natural death and to be succeeded by his son. This son, the Titus of the opera, while serving in the Jewish campaign (67-70) fell in love with Queen Berenice, the eldest daughter of Herod Agrippa, King of the Jews. Though married several times, she lived in incest with her brother, King Agrippa II. She followed Vespasian to Rome and lived openlv there with Titus. Her liaison with her brother was well known (Juvenal refers to it in Satire VI), and was strongly resented by the Roman people. Titus sent her back to Jerusalem shordv after he succeeded his father as emperor in 79.
Act I
Vitellia, the daughter of the emperor Vitellius, has enlisted the aid of two Roman patricians, Sextus and Lentulus, in a plot against Titus. Sextus, though a trusted friend of the emperor, is smitten by Vitellia and has become a pawn in her hands. Vitellia upbraids Sextus for vacillating in carrying out her orders when Annius, a close friend of Sextus, enters and informs them that Titus has just sent Berenice back to Jerusalem. He tells Sextus that the emperor is asking for him. Vitellia, now hoping that Titus will choose her as empress, tells Sextus to postpone carrying out the plot for the time being. She leaves. Annius requests that Sextus now ask Titus for permission for him to marry Servilia, Sextus' sister. Sextus promises to do so.
The scene changes to a part of the Roman Forum. Titus, accompanied bv Publius, the prefect of the Praetorian Guard, is welcomed bv the Roman populace. After they leave, Titus announces to Sextus that he has chosen his sister, Servilia, to be his consort. Annius, rather than see his friend embarrassed, interrupts and assures Titus that he could not make a better
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choice Titus asks Annius to take the news to Servilia, and goes off with Sextus. Annius barely ha, ume to assure himself that what he has done is the proper thing for a generous lover, when Servilia enters. Annius tells her that she is to be the new empress and that they must forget their love.
In the imperial gardens, Publius warns Titus of slander against the Gram, but the emperor chooses to ignore it. Servilia enters and tells Titus that her heart is already given to Annius, hut that if he wishes she will still become his bride. Titus magnanimously refuses. No sooner have he and Publius gone off than Vitellia enters to offer ironically her congratulations to the new empress. Servilia says that perhaps the royal hand will be reserved for Vitellia and leaves. Sextus arrives and Vitellia again incites him to carry out the burning of the Capitol vshivh will serve as an opportunity for the murder of Titus. Sextus, after much hesitation, goes off to do as she demands. Annius and Publius now enter and inform Vitellia that Titus has chosen her to be his empress. Vitellia, knowing that Sextus is at that moment setting the plot in motion, runs off to find him. Annius and Publius follow. Sextus is now discovered before the Capitol. He has just decided that he cannot allow Titus to be murdered when he lima spring up around the building. Annius enters just as Sextus rushes off to try and ■ the life of the emperor and friend. Servilia hurries in, soon followed by Publius, and it is learned that the fire may not have been started by chance and that Titus' life could well be in danger. Vitellia enters looking for Sextus. He soon arrives, announcing that he has seen Titus dead. He is about to confess that he instigated the plot, but Vitellia silences him. The act , I. i-<-v .\ nli .1 luiicral dirge for Titus sung by the principal characters 00 stage and the cnM* in the distance.
Annius and Publius to go, but before he does so, Annius asks Titus to look in his heart and find mercy there. Left alone, Titus reflects on Sextus' betrayal and realizes he cannot condemn him without hearing him first. Sextus is brought in and rather than implicate Vitellia in the conspiracy refuses to explain why he attempted to kill his friend. Angered by Sextus' silence, Titus tells him that he will die, and returns Sextus to prison. Left alone a second time, Titus now signs Sextus' death warrant but then considers that he has already pardoned the man in his heart and that he will not have posterity sav his clemency was onlv a sham. He tears up the warrant. Publius enters and Titus tells him to bring Sextus to the arena. He leaves. As Publius is about to follow him, Vitellia accosts him and asks news of Sextus. Publius replies that he is to be brought to the arena on Titus' orders. After he leaves, Vitellia muses that it is obvious Sextus has weakened and revealed her part in the conspiracy. Annius and Servilia rush in to request her help in pardoning Sextus: she, after all, w ill be the emperor's wife. She sends them both off, saying that she will do what she can. Alone, she realizes that she had best confess to Titus that she was the main perpetrator of the plot, thereby at least mitigating Sextus' involvement.
The scene changes to the entrance to the arena. Acclaimed by the crowd, Titus enters and commands that Sextus be brought before him. After Sextus' arrival Titus is about to pardon him when Vitellia rushes in and, throwing herself at the emperor's feet, confesses all. Titus claims that this is but another trial of his clemency and pardons Vitellia, Sextus and the conspirators. All join in praising the emperor's goodness of heart.
MOZART
METASTAS
AND
M A Z Z O L A
Act II
< >n the Palatine Hill Annius informs Sextus that Titus did not die after all: someone else dn-s*cd m the imperial robes was struck down. Sextus does not believe him, whereupon Annius tells him to go to the emperor and see for himself. Sextus replies that he cannot do » it was he that instigated the plot. As he is leaving, Annius advises Sextus to go 'utcly and confess to Titus. Vitellia now arrives and counsels Sextus to flee for his life At this moment Publius comes in and arrests Sextus. He tells him that the man m the emperor's robes w ho was thought to be murdered was none other than Lentulus, Sextus «• conspirator, who in the event was only wounded. Sextus is taken away to prison. The scene changes to a large hall where Titus is congratulated by the Roman people on his escape. W they leaw. Publius informs Titus that Lentulus has admitted to his part in the plot and nam Stratus as a member of the conspiracy. Even now the Senate is hearing Sextus confess""1-Titus impatiently sends Publius to learn the outcome of the trial. Annius comes in an J about to plead for Sextus' life when Publius returns and says that Sextus has in** confirmed all that Lentulus said and admits that he is guilty of all he has been charged "i1 The Senate has condemned him to be torn apart by wild beasts in the arena. Titus ori&
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Throughout his life Mozart was no stranger to the opera sena. This form of musical drama, with its libretto based on the heroes of antiquity acting in a noble and generous manner and the music written for virtuoso singers was what the serious composer of Mozart's youth wrote if he expected the patronage of royalty and the aristocracy. During his career Mozart was to write four of them. The first two, Mandate (written at age 14) and Lucio Silla (at age 16), conform to the conventional rules of the day, always allowing, of course, for the extraordinary genius of the young man. The third, Idomeneo (written at age 25), is his first great opera. Though its exterior form is still that of the opera seria, musicallv it is something of a hybrid, with its dramatic choruses, trio and quartet. It inaugurates the series of great operas which was to begin the following year (1782) with Die Entführung aus dem Serail and continue with Le \ozze di Figaro, Don Giovanni, Cosi Fan Tune and Die Zauberflöte. In these works he raised the old traditions of the opera bujfa and Viennese pantomime to that species of musical drama which we today recognize as uniquely Mozartean.
It was in July of 1791, while he was at work on Die Zauberflöte, that Mozart received the commission for La Clemenza di Tito as part of the festivities for the coronation of Leopold [I as King of Bohemia. Since we know from his letters how careful he was in his selection of libretti and how closely he oversaw his librettists' shaping of them, it is therefore reasonable
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to assume that not only did he agree to set Tito in spite of the short time available to him for its composition, but that he also felt that there was still something left for him to say in the opera tetta form.
Mozart's first biographer, Franz Niemetschek, stated that he wrote the work in eighteen •lays, beginning its composition in the coach on the way from Vienna to Prague where it was to have its premiere. Though the premiere reportedly made a poor impression on Leopold and his Hmpress, the work was to remain popular throughout Europe for a number of years to come.
With the triumph of the romantic sensibility in the nineteenth century, Tito was all but forgotten, and it is only in the last few decades that it has been revived with any frequency The myths that have accumulated around it stated that the music was that of a tired man who « as .iIm >ut to die, that he had little interest in composing an opera in what was by then a dead lorm, and that in any case the work had to be composed so hurriedly that it could not merit any kind of serious attention. Yet in recent years, with the systematic and minute study of . fact of Mozart's life and work, it has gradually come to be realized that not only wis it imwiblr that Mozart had been considering a work on this very text for as long as two years, hot that the opera seria was, in the 1780's, a far from dead form. Musicians and scholars alike iw that Mozart's score, when approached on its own merits, demonstrated a profound m. i. *i in, and a unique interpretation of. this famous text
La Ciemtnza di Tito was one of the most celebrated and frequently composed libretti of the rminmt Pietro Metastasio (1698-1782), the man who was the single most influential force tn the history of the opera seria. He had written it in 1734 in Vienna at the command ol Charles VI, whose Court Poet he was. It was destined to be set over forty times by composers, among them Hasse, Gluck and Jomelli, to name onlv three of the best kno«n today. This libretto was greatly admired by the eighteenth century, especially the famous •orne in Mctastasio's Act III (Mozart's II), where Titus confronts Sextus. Voltaire himself said Ul HtM that it was "comparable, if not superior, to all that is most beautiful in Greek drama, worthy of Comeille when he is not being rhetorical, and Racine when he ism* , [it is] not based upon operatic love but on the noble sentiments of the heart." Ite (his last quality that appealed most to Mozart when he came to set it. Mctastasio's drama is in three acts, as are all of his twenty-six great opera seria texts. He it «H) loosely on Roman history, prefacing his drama with the following words:
\iitKjum did not know a better or better loved prince than Titus Vespasian. His virtue made him so beloved by everyone that he was called "the delight of mankind." And yet two young patricians, one of whom was his favorite, conspired against him. Once the conspiracy was discovered, however, they were condemned by the Senate to death. But the most clement Caesar, content with having admonished them paternally, J generous pardon to them and their accomplices.
Among other sources he named Suetonius' Lives of the Twelve Caesars; a reading °f*" •ork s chapters on Vitellius, Vespasian and Titus will yield many scraps of information nt*>
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which Metastasio built up his drama. To take a single example from manv: one of the dominating themes of the work, in addition to the emperor's elemenev, is friendship. In his dramas Metastasio wished to provide material for reflection as well as for entertainment and in Tito he examines the idea of friendship from many angles. That the historical Titus had a strong sense of this virtue was plain to him from his reading of Suetonius: "When Britannicus [Claudius' son] drank his fatal dose of poison [sent by Nero, who was said to be jealous of the boy's superior singing voice], Titus, who was reclining at the same table, is said to have emptied the glass in sympathy and to have been dangerous ill for some time." It is not too much to postulate that the close friendship of Titus and Sextus in Metastasio's drama had its origin in this passage. In any case, it makes Titus' sometimes too-clement actions seem more plausible.
The figure of Vitellia, though her name mav be invented, comes from a remark bv Suetonius that the emperor Vitellius had a daughter. She is without a doubt the strongest character in the work, though not the most sympathetic (that must surely be Sextus, in spite of his weakness and vacillation). Vitellia cast a long shadow over Italian opera: her prototype can be seen as late as Verdi's Abigaille (Nabucco). The character of Annius also plays a strong part in the friendship theme and his love for Sextus' sister Servilia seems natural and true to life.
It is curious that with all of the reverence Metastasio's contemporaries felt for him, this feeling did not extend to their fidelity to his text, since with the exception of the first composer of each of his dramas, those who came after almost never set the text as Metastasio published it. Cutting was inevitable, particularly in the dry recitative, and often new aria texts were substituted. The poet himself was, understandably, unhappv over the butchery his texts were subjected to.
On occasion, though, he consented to do it himself, if it was for a close friend. Consider the following letter written to his "dear twin," the famous castrato Farinelli: "I have already circumcised the first act of Alessandro: oh, what a slaughter! I have cut 266 verses and three arias. Dear gemello, this very ungrateful work could only be done for vou. To make oneself a eunuch with one's owti hand is a sacrifice that has few examples." In short, if it had to be done, do it oneself and do it right.
The text that Mozart finally set was quite different from the original and was arranged "a vera opera" ("into a real opera," as Mozart himself described it) by one Caterino Mazzola, the Court Poet to the Fleeter of Saxony at Dresden. He reduced Metastasio's three acts of two, cut over 700 lines of recitative and more than 100 lines of aria texts. Of his own manufacture he added, usually taking his cue from the author, over 70 lines of recitative and some 60 lines for the various ensembles that he provided for Mozart. The most important addition is certainly his creation of the finale for Mozart's Act I, with the Capitol burning in the distance, the principals lamenting Titus' murder onstage and the chorus off.
But Metastatio's carefully plotted drama is no more and his text, in the words of a modern commentator, is "distorted out of recognition." Where the original poet's dramaturgy moved smoothly and with a clockwork precision, where each character acted within his own bounds
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,,s ,J,.|,nc-«l In Ins individual personality, in Mazzola there- is a feeling ot breathless anJ m. ,,iiMNt.-n. v l<> jiir a single example, Metastasio was interested in the moral situation, am: his characters always earn their just rewards. Mazzola, however, says nothing of the disposition of the two pairs of lovers at the end. It is obvious that Annius and Servilia will marry, but not a word is said as to the future of Sextus and Vitellia. Metastasio, however, with his keen am) ironic sense of justice, has Titus announce at the very end of the drama:
Titus (to Vitellia) I wish you to be content At least partially. You will not see a rival On the throne, that I promise you. I want no other
Wife than Rome: my children will be
The subject populace;
For them my affections will be kept
undivided-Have your wedding at the same time As Annius and Servilia. Princess, if you like. Onlv grant Your hand to Sextus: this desired
acquisition Has already cost him enough.
Vitellia
As long as I live
Your wish shall be mv heart's command.
si il with his weakness of character, and Vitellia, with her never-ending scorn for others who do not think or act according to her mind, certainly deserve one another, and the ^Mctitor takes pleasure in contemplating their future life together.
pleasure is increased when we know that, according to Metastasio himself. U* did not love Sextus. Writing to a friend who requested a duet text for the opera, Metastasio rrpltrd: "The duet cannot fall anywhere else than at the end of Act II, in place of the last V ana* of Sesto and Vitellia. This lady not being in love with the aforesaid youth will make* tfafliruh to create a tender duet between them. The best expedient which has occurred ton* » to introduce in Vitellia, to the misfortune of a man blindly resigned to her, such a violent retnonr and such a lively compassion that she can confuse it with love."
Maxrala's versification is as weak as his dramaturgy. Metastasio was justly famous fern* mrlbfluous and smooth verse, and his style came to be widely imitated. That the imitate ■ to the level of the imitated can easily be seen by anyone who takes a glance at if*
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Italian libretti of Mozart's three earlier opera serie by Cigna-Santi (Mitridate), Gamerra {Lack) iilla)—who at least had the sense to ask Metastasio to make alterations in his verse—and Varesco (Idomeneo), and then compare them with La Clemenza di Tito. A prime example of Mazzola's fumbling in the midst of Metastasian verse is Publius' speech in Act II when he comes to arrest Sextus. Here he has to convey a good deal of information (it was Lentulus, dressed in Titus' robes, who was mistakenly struck down) in as short a time as possible. This information, though not the words, is a reduction of fourteen lines of Servilia in the original Act II, which Mazzola attempts to scale down to six. Mazzola's maze of subordinate clauses and welter of the letter "c" cannot be called a success on any level. It sits very uneasily among Metastasio's lines.
But however unsuccessful the details of Mazzola's revision for Mozart may be, the basic framework of this opera in two acts containing ensembles—surely the qualities which made it a "vera opera" for Mozart—served the composer's purpose. Though he was required to write it in a short time (even assigning the composition of the dry recitative to a pupil, probably Siissmayer), Mozart' score is a faithful realization of the climate of Metastasio's drama. Mozart had composed this poet's words since the age of nine—sixteen concert arias, Betulia Liberata, II Sogno di Scipione, 11 Re Pastore—and as a child of fourteen was presented with the nine volumes of the Turin edition of the complete works, so the composer knew and understood his poet well. As stated earlier, it is probable that Mozart discussed the shape of his Tito libretto with Mazzola and we can assume that in its general outlines it answered his demands for a modern opera text. Certainly the music in which he clothed it reflects his response to Metastasio's vision of antique Rome, and the characters' "noble sentiments of heart" were not far from the climate of Die Zauberpote, the opera he was writing concurrently. Indeed, it has long been noticed that La Clemenza di Tito breathes the same spirit of humanism, if not Masonry, that that opera does.
From the first bars of the Tito overture we know we are in the world of the opera seria, but with a marked difference. The surprisingjermare in the fourth and sixth bars serve to call attention to the "imperial" theme which is hammered out by the full orchestra. Whenever Titus and his concerns are center stage in the opera the musical atmosphere of this familiar rhythm will not be far away. A detail unique in Mozart's operatic overtures is to be noted in the last three unison C's at the close of the overture: these same notes, in the same rhythm, will bring down the final curtain.
The remainder of the opera is no less surprising. Metastasio's words and situations are familiar, Mozart's musical forms (especially in the large scale arias) retain vestiges of their old opera seria outlines, but the content, the music itself, now inhabits a new world, the world of late Mozart. For La Clemenza di Tito is written in that style which has all too few examples: Die Zauberflote, the clarinet concerto, the "Ave verum corpus" motet, the Requiem. Our world is not so rich in these late works that it can afford to ignore a single one of them. Surely the time has come for La Clemenza di Tito, the one outstanding omission in that list, to take its rightful place as a repertory piece. The combination of Mozart's last music and the words of the poet of his earliest years yields one of opera's most fascinating scores.
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A Noil: on the Translation
translation of Metastasio's text has been kept as literal as possible within rational i - •uii.lv More often than not, the inversion of the word order in the Italian text has been i. i .in. ■I in the English. One or two felicitous phrases from the Hoole translation (2 volumes, 1767; an expanded edition in 3 volumes was issued later) are used. John Hoole(1727-1803) was a member of the Johnson-Boswell-Reynolds circle and a great admirer and translator < la-uo, Ariosto) of Italian literature.
Ilw vertical black lines down the left hand sides of the Italian and English texts indicate .   in tin- dry recitative made at the Metropolitan Opera during the season of its prrmirre there, 1984-85. It is well known that Mozart did not compose the music for these rr» natives.
David Stivendm
LA CLEMENZA DI TITO
ACT ONE
Scene I
Vnellia's apartmenis. Vitellia and Sextus
Ma che! sempře ľistesso, Sesto, a dirmi verrai? So ehe sedotto
Fu Lentulo da te; ehe i suoi seguaci Son pronti giä; ehe il Campidoglio acceso Darä moto a un tumulto. Io tutto questo
Giä mille volte udii: la mia vendetta Mai non veggo perö. S'aspetta forse Che Tito a Berenice in faccia mia Offra, ďamore insano, Ľusurpato mio soglio e la sua mano? Paria! di'! ehe s'attende?
Oh Dio!
Vitellia
What? always the same thing, Sextus, will you come to tell me? I know
that Lentulus Was won over bv vou; that his followers Are now ready; that the burning Capitol Will signal an uproar. I've already heard all this
A thousand times; yet I still don't see My revenge. Perhaps you are waiting For Titus, mad with love for Berenice, To offer her, in my presence, My usurped throne and his hand? Speak! tell me! what are you waiting for?
Sextus
O God!
Vitellia
Sospii
You siph
Sextus
Pensaci meglio, o cara,
Pensaci meglio. Ah! non togliamo, in Tito,
Let us think more carefully, dearest, Let us think more carefully. Ah, let us not deprive,
S07
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I -i mm i Ii-I i/id al mondo, il padre a Roma,
I '.min li a noi. Fra le memorie antiche Trova 1'cgual, se puoi. Fingiti in mente
I rix- piCi generoso o piú elemente. I'arlagli di premiar: poveri a lui Srmbran gli erari sui. I -il I.ii'li di punir: scuse al delitto
Corca in ognun. Chi all'inesperta ei dona,
C hi .11l.i tanuta eta. Risparmia in uno
I i .inn del sangue illustre; il basso stato
i - 'li 111.it im i- nell'altro. Inutil chiama,
IVrduto il giomo ei dice,
In mi fatto non ha qualcun felice.
In Titus, the world of its delight, Rome of
its father, And us of our friend. Find, if you can, His equal in the records of antiquity. Let
your mind imagine A more generous or more clement hero. Speak to him of reward: his treasury Is not large enough. Speak to him of punishing: he attempts to
excuse
Each man's crime. He forgives some for
inexperience, Others for extreme old age. In one he
spares
The honor of an illustrious lineage; in another
He pities the man's lowly condition. He calls that day useless and lost In which he has not made someone happy.
VlTELLIA
I 'ilinjin a xantarmi in faccia Wtmti il mio nemico; e piú non pensi Chr . i Hi-Mo eroe elemente un soglio usurps
IXtl Mjo toko al mio padre?
Oir in'inganno, che mi riddusse (e questo
I- il Mjo fallo maggior) quasi ad amarlo? fc pot, prrftdo! e poi di nuovo al Tebro
lUhunur Berenice! Una rivale ^ww - i-lta almeno
. di m<- tra le beltä di Roma:
M» una barbara, o Sesto, UncMilr antrpormi! una regina!
N«i pur che Berenice tomo.
So you come to boast of my enemy In my presence; and vou no longer think That this clement hero fraudently
occupies A throne stolen from my father? That he cheated me, that he reduced me
(and this
Is his greatest fault) almost to loving him; And then, false man! and then to recall
Berenice Back to the Tiber! At least He could have chosen a rival Worthy of me from among the beauties
of Rome: But a barbarian, Sextus, To prefer an exile to me! a queen!
Sextus
Yet you know that Berenice Came back voluntarily.
Narra a' fanciulli Codeste fole. Io so gli antichi anion;
So le lagrime sparse allor che quindi
L'altra volta parti; so come adesso L'accolse e l'onoro. Chi non lo vede?
Il perfido l'adora.
VlTELLIA
Tell such nonsense To the children. I know about his old love;
I know about the tears shed when she left
Once before; I know that this time He received and honored her. Who
cannot see it? The treacherous man adores her.
Ah! princi
Tü sei gelosa.
pnncipessa,
Io!
Sextus
You are jealous. VlTELLIA
Sextus
Ah! princess,
I!
Si.
Gelosa io sono, Se non soffro un disprezzo?
pur
Non hai cor d'acquistarmi.
Yes.
VlTELLIA
I am jealous If I do not suffer to be despised?
Sextus
And yet . ,
VlTELLIA
F_ pure
And yet
You don't have the heart to win me.
Sextus
Io son
I am
VlTELLIA
Tu sei You are
Sciolto d'ogni promessa. A me non manca        Released from your every promise. I am
not lacking
Piu degno esecutor dell'odio mio. An even worthier executor of my hate.
Sentimi!
Intesi assai.
S08
Sextus
Listen to me!
VlTELLIA 509
I've listened enough.
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Fermati!
Addio.
Ah, Vitellia! ah, mio nume!
Non partir. Dove vai!
IVrdorumi, ti credo: io m'ingannai.
Come ti piacc, imponi: Krgoia i moti miei; II mm ilcstin tu sei, Tuttn farô per tc.
I'nma che il sol tramonti, I tftnto ki vo' I'indegno; Vii ch'rgh uNurpa un regno, ľhr in sorte il ciel mi die.
(•ta d tuo furor m'accende.
f Wien, che piú s'attende?
I In clnlce iguardo almeno Su f>rflint. alia mia fe!
han mille affetti insieme Kiitaglia in me spietata; Urwlrru Uterata r*»u <WU mia non v'e.
Amtco. d puso affretta, Ccsur a sc ti chiama.
sextus
VlTELLIA
Stop!
Farewell
Sextus
Ah, Vitellia! ah, my goddess!
Do not leave. Where are you going?
Forgive me, I believe vou: I was mistaken
No. I Duet
Sextus
Command me as you please: Control mv comings and goings; You are mv destiny, I will do everything for vou.
Vitellia
Before the sun sets, I want the worthless man dead; You know he stole a kingdom That heaven gave me as my destiny.
Sextus
Already your fury is igniting me. Vitellia
Well, what more are you waiting for'
Sextus
Let at least one sweet glance
Both
Be the reward of my faith!
A thousand emotions Are ruthlessly warring within me; There is no soul More wounded than mine.
(Enter Annius.)
Annius
My friend, hurry,
Caesar is calling for you.
Ah! non perdete Questi brevi momenti. A Berenice
Tito gli usurpa.
Vitellia
Ah! do not lose These few moments! Titus is stealing
them From Berenice.
Annius
Ingiustamente oltraggi, Vitellia, il nostra eroe: Tito ha l'impero
E del mondo e di se. Gia per suo cenno Berenice parti.
Vitellia, vou insult Our hero unjustly: Titus controls the empire,
The world and himself. At his bidding Berenice has already left.
Come!
Sextus Vitellia
What?
Che dici!
What are you saying
Annius
Voi stupite a ragion. Roma ne piange
Di meraviglia e di piacere. Io stesso
Quasi nol credo; ed io
Fui presente, o Vitellia, al grande addio.
You are surprised with good reason.
Rome is weeping With wonder and pleasure. 1 myself Almost do not believe it; and I Was present, Vitellia, at the grand
farewell.
(Oh speranze!)
Oh virtu!
Quella superba Oh, come volentieri udita avrei
Ksclamar contra Tito!
Anzi giammai Piii tenera non fu. Parti; ma vide
Che adorata partiva, e che al suo caro
Vitellia
(My hopes!)
Sextus
What virtue!
Vitellia
Oh, how gladlv Would 1 have listened to that proud
woman Inveigh against Titus!
Annius
Indeed, never Was she more tender. She left; but one
saw-That she left adored, and that the bitter
blow
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Men ch<- a lei non costava il colpo amaro.
Did not cost his feelings anv less than hers.
< >.• 11: n i puö lusingarsi.
F.h! si conobbe
C'hr bisognava a Tito
! in. I'c-riK- |ht superar l'amante.
Viruc, ma combattě. Non era oppresso,
Mj (ranquillo non era; ed in quel volto,
I >>< jm |x-r tua gloria,
Si \rt\ci la hattaglia e la vittoria.
VlTELLIA
Anyone can be mistaken.
Annius
Oh! one understood
That it was necessary For all the hero in Titus to conquer the lover.
He won, but had to fight. He was not
weighed down, But neither was he tranquil; and in his face,
Let it be said to his credit. One saw the battlefield and the victory:
(I pur forsc con me, quanto credei, Tito ingrato non .
Sesto, sospendi DVscguinr i miei cenni. II colpo ancora
Non e maturo.
VlTELLIA
(So in spite of what 1 believed, perhaps Titus
Is not unmindful of me.) (aside to Sextus)
Sextus, put off Doing my bidding. The time is not ready yet
For the blow.
SEXTUS (angrily)
K tu non vuoi ch'io vegga . . . You don't want me to see
CVio mi lagni, o crudele ... To complain, cruel woman . ..
Vh che ti pooi lagnar?
VlTELLIA (angrily) Or che vedesti? Now what do you **'
What are you complaining about;
Sextus (submissively) Di nulla. (Oh Dio! Nothing. (Oh
U» pro>o mai tormento eguale al mio?) Who has ever suffered torment equal to
mine?)
La Clemenza di Tito
No. 2 Aria
Deh! se piacer mi vuoi, Lascia i sospetti tuoi; Non mi stancar con questo Molesto dubitar.
Chi ciecamente crede, Impegna a serbar fede; Chi sempře inganni aspetta, Alletta ad inpannar.
Amico, ecco il momento
Di rendermi felice. All'amor mio
Servilia promettesti. Altro non manca Che d'Augusto l'assenso. Ora da lui Impetrar lo potresti.
Ogni tua brama, Annio, m'e legge. Impaziente anch'io Questo nuovo legame, Annio, desio.
VlTELLIA
Ah! if you wish to please me, Give up your suspicions. Don't weary me with this Tiresome doubting.
Whoever believes blindly; Pledges to keep faith; Whoever always expects deceit Delights in being deceived.
(She leaves.)
Annius
My friend, now is the moment In which to make me happy. You
promised Servilia to my love. Only the assent Of the Emperor is lacking. Now You could ask him for it.
Sextus
Annius,
Your every wish is my command. I, too, Impatiently desire this new bond, Annius.
No. 3 Duet
Both
Deh prendi un dolce amplesso, Amico mio fedel; H ognor per me lo stesso Ti serbi amico il ciel.
Ah, receive this warm embrace, My faithful friend; And may heaven always Keep you the same friend to me.
512
(They leave.)
Scene II
A part of the Roman Forum, magnificently adorned with arches, obelisks and trophies; facing the spectator, the exterior of the Capitol, and a magnificent avenue by which one may climb to it.
(Publius, the Roman senators and the legates of the subject provinces, who will present to the Senate the yearly tributes. As Titus, preceded by lictors, followed by Praetorian Guards, accompanied by Sextus and Annius, and surrounded by the numerous populace, descends from the Capitol, the
following is sung.)
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La Clemenza di Tito
Sorbite, o děi custodi Delia romana sorte, In Tito, il giusto, il forte, I 'onor di nostra etá.
No. 4 March No. 5 Chorus
Chorus
Preserve, oh custodian gods Of the Roman destiny, The honor of our age In the just and strong Titus.
(At the end of the chorus, Annius and Sextus enter from different sides.)
N- "dľlla patria il padre" (>ggi aprx-lla il Senato; e mai piu giusto Non lu nr' suoi decreti, o invitto Augusto.
PubliuS (to Titus)
"The father of your country" The Senate names you today; and never Has it been more just in its decrees, oh mighty Emperor.
Ne padre sol, ma sei
Suo numr tutelar. Piü che mortale
liiidhf altrui ti dimostri, a' voti altrui
Commit 1a ad awezzarti. Eccelso tempio
Ti ii U in.i il Senato; e la si vuole
Oie fra divini onori
Ant-he il nume di Tito il Tebro adori.
,<Kx-i (esori che vedi,
lerve province annui tributi,
MTupra coraacriam. Tito non sdegni
nostro amor pubblici segni.
Ri*rv*ru, unico oggetto
t del »tjO di Tito il vostro amore;
Via il vostro amor non passi
Tanto i con Km suoi,
Che dehhano anossime e Tito e voi.
Annius
Not only father, but you are Its tutelary god. Since you prove yourself More a god than a mortal, so must you begin
To accustom yourself to prayers for a god.
The Senate Has destined a high temple for you; and
there it is wished That Tiber may adore also the name of Titus
Among the gods' divine honors.
Publius
These treasures that you see, The annual tribute of the subject
provinces, We sanction for this work. Let not Titus disdain
These public signs of our love.
Titus
Romans, your love
Is the single object of Titus' prayers;
But let not your love pass
So far beyond its limits
That it embarrasses both Titus and vou.
Quegli offerti tesori
Non rieuso pero: cambiarne solo
Ľuso pretendo. Udite. Oltre ľusato
Terribile il Vesevo ardenti fiumi
Dalle fauci eruttô; scosse le rupi, Riempié di ruine I campi intorno e le cittä vicine. Le desolate genti
Fuggendo van; ma la miseria opprime Quei ehe al fuoco avanzar. Serva quelľoro
Di tanti afflitti a riparar lo scempio.
Questo, o Románi, é fabbricarmi il tempio.
These proffered treasures
I do not refuse, however: only change
Their expected use. Listen. Beyond its
accustomed Dread Vesuvius has belched forth burning
rivers
From its vents; shaken cliffs, Filled with ruins
The surrounding fields and nearbv cities. The disconsolate people Flee; but misfortune overwhelms Those who escape the fire. Let that gold
serve
To alleviate the slaughter of many afflicted people.
This, oh Romans, is the way to build a temple for me.
Oh vero eroe!
Quanto di te minori Tutti i přemi son mai, tutte le lodi!
Bašta, bašta, o miei fidi.
Sesto a me s'avvicini; Annio non parta;
Annius
j Oh, true hero!
Publius
How much less than you Are all rewards, all praise!
Titus
Enough, enough, my faithful people. Let Sextus approach; and Annius not
leave; All others depart.
Ogni altro si allontani.
(All retire from the atrium. Titus, Sextus and Annius remain.)
Annius
Parla per me.)
(Adesso, o Sesto,
Now, Sextus.)
(Speak for me
Sextus
Come, signor, potesti La tua bella regina . . .
Ah, Sesto, amico, Che terribil momento! Io non credei . .
How, my lord, could vou allow Your lovely queen . . .
Titus
Ah, Sextus, my friend, What a terrible moment! I did not believe . . .
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In) v into: parti. Iolga.%1 adcsso a Roma ogni sospetto I )i \cdrrla mia sposa. Una sua figlia Vuol vcder sul mio soglio; I appagarla convien. Giacche l'amore Ncrlse in vano i miei lacci, io vuo' che almcno
I amicizia gli scclga. Al tuo s'unisca, Sesto, il ccsareo sangue. Oggi mia sposa Sara la tua germana.
Servilia?
Enough, I conquered: she left. May Rome have no suspicion now Of seeing her my wife. I desire to see One of Rome's daughters on my throne; It is necessary to placate her. Since love Chose my bonds in vain, I desire that at least
Friendship shall choose them. Let the
royal blood Be joined to yours, Sextus. Today your
sister Shall be my wife.
Sextus
Servilia?
Titus
Appunto.
Precisely.
AnniuS
(Oh me infelice!)
(Unhappy Annius! I
Sextus
(Oh, děi!
ArtnHi e J mti hit a. i
Udisti?
Chr dici? Non rispondi?
E chi potrebbe Rnpandrrti, signor? M'opprime a segno
La tua bonti, che non ho cor . . . Vurrct ...
(Ohgods!
Annius is lost!)
Titus
Did you hear? What do you say? You don't answer'
Sextus
And who could
Answer you, my lord? Your goodness
overwhelms me So that I haven't the heart... I would
like . . .
(Soto é m peru per me.)
Annius
Titus
per tuo vantaggio.
Spiegati. Io tutto
(Sextus is in torment for me.)
Explain yourself. I shall J» Everything to your advantage.
La Clemenza di Tito
Sextus
(Ah! si serva l'amico.)
(Ah! let me help my friend.)
Annius
(Annio, coraggio!)
(Annius, courage!)
Tito!
Sextus (resolutely) Titus! .
ANNIUS (resolutely)
Augusto, io conosco Di Sesto il cor. Fin dalla cuna insieme
Tenero amor ne strinse. Ei, di se stesso
Modesto estimator, teme che sembri Sproporzionato il dono; e non s'avvede
Ch'ogni distanza eguaglia
D'un Cesare il favor. Ma tu consiglio
Da lui prender non dei. Come potresti Sposa elegger piu degna Dell'impero e di te? Virtu, bellezza,
Tutto ě in Servilia. io le conobbi in volto
Ch'era nata a regnar. De' miei presagi
L'adempimento ě questo.
(Annio parla cosi! Sogno o son desto?)
Emperor, I understand Sextus' heart. Since the cradle, tender love
Has bound us together. He, a modest
estimator Of himself, fears that this gift May seem out of proportion; and he
doesn't notice that The favor of Caesar
Makes all distances equal. But vou must not
Take advice from him. How could you Choose a wife more worthy Of the empire and of yourself? Virtue, beauty,
Servilia has everything. I knew by her face
That she was born to rule. This is the
realization Of my premonitions.
Sextus
(Annius speaking like this! Am I dreaming or awake?)
Titus
E ben! recane a lei,
Annio, tu la novella; e tu mi segui,
Amato Sesto, e queste
Tue dubbiezze deponi. Avrai tal parte
Tu ancor nel soglio, e tanto
T'innalzerö, che resterä ben poco
Well! you take her the news,
Annius; and you, beloved Sextus,
Follow me, and put aside
Your doubts. You shall yet
Have a part in the throne, and I shall
raise vou So high, that very little shall remain Of that tinv space
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La Clemenza di Tito
Dcllo spazio inŕinito,
I he Irapposcrgli děi fra Sesto e Tito.
(Questo ě troppo, o signor. Modera
almcno, Sc ingrati non ci vuoi. Mod. i.i.  Vnjjuslo. i henetízi tuoi.
Ma < he-! sc mi negate
i In- IkiuIko io sia, ehe mi lasciate?
Which the gods placed between Sextus and Titus.
Servilia
Sextus
This is too much, my lord. At least
moderate Your gifts, Emperor, Lest you wish us ungrateful.
Titus
What! if you deny mv being Beneficial, what do vou leave me?
No. 6 Aria
Titus
Del piú sublime soglio I 'unk'o frutto ě questo: liitto c tormento il resto, I tutto ě servitú.
Che avrei, se ancor perdessi
I r vile ore fclici
l Ik- h<i nel giovar gli oppressi,
Nrl villcvargli amici,
Ncl <li\pcnsar tesori,
Al mrrto c alia virtu?
Of the most subline throne This is the single fruit: All the rest is torment, And all is slavery.
What would I have, if I were yet to lose
The onlv happy hours
That I have in helping the oppressed,
In elevating mv friends,
In dispensing treasures
According to worth and virtue?
(He leaves with Sextus.) ANNiUS
Non d pmtum. D'un generoso amante Let us not be sorrv. This was the dun
I '•» questo il dover. Mio cor, deponi Of a generous lover. Mv heart, lay aside
I c tmcrr/a- antiche. £ tua sovrana Your former love. She is your sovereign
Chi fu I'idolo tuo. Cambiar conviene Who once was your idol. It is necessary
to change
In rapctto lamore. hccola. Oh dei! Love into respect. Here she is. Oh gods'
M*i non parve si bclla agli occhi miei. She never looked so lovely to my eyes.
Mio ben
Uihunurmi
Servilia
My love .. .
Annris
Tici, Servilia. Ora ě delitto Silence, Servilia. It is now I
lb call me thus.
518
Perchě?
Why?
Annius
Ti scelse Caesar Cesare (che martir!) per sua consorte. Has chosen you (what martvrdom!) as his
consort.
A te (morir mi sento!), a te m'impose lb bring (I feel I am dving!), to bring you
the news
Di recame l'avviso (oh penal), ed io . . . He commanded me (what pain!), and
I . . .
Io fui . . . (parlar non posso) . . . Augusta,        I was ... (I cannot speak) . . . Empress, addio! farewell!
Servilia
Come! Fermatu Io sposa Di Cesare! E perchě?
What? Stop! I the wife Of Caesar! And why?
Annius
Perchě non trova Because such
Beltá, virtu che sia Beauty and virtue cannot be found which
Piu degna d'un impero, anima . . . Oh Are more worthy of an empire; mv
stelle! soul ... Oh heavens!
Che diró? Lascia, Augusta, What shall I say? Allow me, Empress,
Deh! lasciami partir. Ah! allow me to leave.
Servilia
Cosi confusa In such a confused state
Abbandonar mi vuoi? Spiegati, dimmi: Do you wish to leave me? Explain to me,
tell me:
Come fu? per qual via? .. . How did it come about? by what
means? . . .
Annius
Mi perdo s'io non parto, anima mia. I am lost if I do not go, my soul.
No. 7 Duet
Annius
Ah! perdona al primo affetto Ah! forgive that former love
Questo accento sconsigliato: This ill-advised word:
Colpa fu del labbro, usato It was the fault of my lips, accustomed
A cosi chiamarti ognor. Alwavs to call you thus.
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La Clemenza di Tito
Servilia
Ah! tu fosti il primo oggetto Ah! you were the first man
Che sinor fedel amai, That I loved faithfully till now,
I in I'ultimo sarai And you shall be the last
( h'ahbia nido in questo cor. That will have a nest in my heart.
Annuls
iccenti del mio bene! Dear words of my beloved!
Serviua
()h, mia dolce, cara speme! Oh, my sweet, dear hope!
Both
Piu che ascolto i sensi tuoi, The more 1 listen to what you sav,
In me fresco piu I'ardor. The more my ardor increases.
<^uando un'alma e all'altra unita, When one soul is united to another
Qual piacer un cor risente! What pleasures a heart feels!
Ah, m tolga dalla vita Ah, let every thing that is not love
Tutto quel che non e amor. Be taken from life.
(They leave.)
Scene III
A delightful retreat in the imperial residence on the Palatine Hill. Titus and Publius with a sheet of paper TrTus
Che mi rechi in quel foglio? What are you bringing me in that paper'
Publius
I nomi ei chiude It holds the names
l>* m che osar con temerari accenti Of the guilty ones who dare with reckless
IV" levari gia spenti la memoria oitraggiar.
words Insult the memory Of those Caesars already dead.
Trrus
Barbara inchiesta, A barbarous investigation.
Che agli estinti non giova e sornministra Which is useless to the dead and prov*
Mdle tirade alia frode A thousand avenues for fraud
°"»udur gl'mnocenti! To lay , trap for me „,„^1!
Publius
But there is one, lord, who dares slander Even your name.
S20
» c. Mgnor. chi lacerare ardisce Whe il tuo name.
Titus
E che percio? Se il mosse So what? If it causes
Leggerezza, nol euro; Mirth, I don't care;
Se follia, lo compiango; If foolishness, I pitv him;
Se ragion, gli son grato; e se in lui sono If he is right, I am grateful; and if there
are
lmpeti di malizia, io gli perdono. Outbursts of malice I pardon him.
Almen
Publius
At least
(Enter Servilia.)
Servilia
Di Tito al pie
At Titus' feet .
Titus
Servilia! Augusta!
Servilia! Empress!
Servilia
Ah! signor, si gran nome Ah! my lord, do not yet bestow on me
Non darmi ancora: odimi prima. Io Such a great name: hear me first. I must
deggio Palesarti un arcan.
Reveal a secret to you.
Titus
Publio, ti scosta,
Ma non partir.
Publius, stand back,
But do not leave. (Publius withdraws.)
Servilia
Che del cesareo alloro That a generous monarch
Me, fra tante piu degne, Would urge me, from among others more
worthy,
Generoso monarca, inviti a parte, To the imperial laurel,
E dono tal, che desteria rumulto Is a gift such as would awaken tumult
Nel piu stupido cor ... In the most unconscious heart . . .
Parla .
Titus
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Speak . . .
The Metropolitan Opera Book of Mozart Operas
La Clemenza di Tito
II core,
Signor, non ě piú mio: giá da gran tempo
Annio me lo rapi. Valor che bašti,
Non ho per obbliarlo. Anche dal trono II solilo sentiero
I arebbe a mio dispetto il mio pensiero. So che oppormi ě delitto
IVun tesaře al voler; ma tutto almeno Sia noto al mio sovrano: Pt>i «• mi vuol sua sposa, ecco la mano.
tjrazie, o mimi del ciel! Pur si ritrova
t In s'jv\enturi a dispiacer col vero. Alia grandez/a tua la propria pace Annio propose! Tu ricusi un trono IVr evsrrgli fedele! Ed io dovrei lurhar lianimc si belle? Ah! non produce
S«-ntimrnti si rei di Tito il core.
Sgombra ogni tema. Io voglio Stnngrr nodo si degno e n'abbia poi t madam la patria eguali a voi.
0 In..' o Augusto! o vera
1 Vit/u de' mortali! io non saprei Come il grato mio cor . . .
Se grata appieno mi vuol, Servilia, agli altri inspira
II tuo candor. Di pubblicar procura Che grato a me si rende,
Pwii del falso che piace, il ver che offende.
Servilia
My heart
Lord, is no longer mine: for a long time now
Annius has stolen it from me. I have not
the boldness To forget him. Even from the throne My thought would take its usual course In spite of mvself.
I know that for me to oppose the will of Caesar
Is a crime; but at least everything Is known to mv sovereign: So if he wants me as his wife, here is mv hand.
Titus
Thanks, oh heavenly gods! at last one is found
Who ventures to displease with the truth. Annius defers his own peace To your glory! You refuse a throne To remain faithful to him! And should 1 Disturb such noble passions? Ah! Titus heart
Cannot produce such unworthy
sentiments. Banish all vour fears. I wish To tie such a worthy knot, and ever may Our country have citizens equal to you.
Servilia
Oh Titus! oh Emperor! oh true Delight of men! I wouldn't know How my grateful heart...
Titus
If you would wish i»f Full of gratitude, Servilia, let your honesty
Inspire others. Let it be proclaimed That the truth that offends makes me
more grateful Than the lie which pleases.
s22
No. 8 Aria
Titus
Ah! se fosse intomo al trono Ogni cor cost sincero, Non tormento un vasto impero, Ma saria felicita.
Non dovrebbero i regnanti Tollerar si grave affanno, Per distinguer dall'inganno I'insidiata verita.
Felic
Ah! if every heart around the throne Were as sincere as this, A vast empire would not be torment But happiness.
Rulers should not Tolerate such deep sorrow In distinguishing between lies And deceptive truth.
(He leaves.)
Servilia
Happy Servilia!
Vitellia (entering)
Posso alia mia sovrana Offrir del mio rispetto i primi omag Posso adorar quel volto, Per cui, d'amor ferito, Ha perduto il riposo il cor di Tito?
Non esser meco irata;
Forse la regia destra ě a te serbata.
Mav I offer the first tokens Of respect to my sovereign? May I adore that face, On account of which Titus' heart, Wounded by love, has lost its repose?
Serviua
Do not be angry with me;
Perhaps the royal hand is reserved for
you.
(She leaves.)
Vitellia
Ancora mi schemisce? Questo soffrir degg'io
Vergognoso disprezzo? Ah, con qual fasto
Qui mi lascia costei! Barbaro Tito! Ti parea dunque poco Berenice antepormi? Io dunque sono L'ultima de' viventi? Ah, trema, ingrato!
Trema d'avermi offesa! Oggi il tuo sangue . . .
She still scorns me? Must I suffer this
Shameful contempt? Ah, how
ostentatiously Did she leave me here! Cruel Titus! Did it seem such a small thing to you To prefer Berenice to me? Am I thus The last of the living? Ah, tremble,
ungrateful man! Tremble for having offended me! Today
your blood . . .
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La Clemenza di Tito
Sľxtu s
Mu viu.
Mv life.
VlTELLIA
E ben, che rechi? II Campidoglio Well, what news do you brin
I acceso? c incenerito? Is the Capitol burning? in ashes?
I rntulo dove sta? Tito e punito? Where is Lentulus? Has Titus been
punished?
Nulla intraprcsi ancor.
Sextus
I've begun nothing yet.
Vitelua
Nulla! E si franco Nothing? And you can return
Mi torni innanzi? e con qual merto ardisci I 'i chiamarmi tua vita?
To me so unconcerned? and on what basis
do you dare Call me your life?
II loipendere il colpo.
Sextus
E tuo comando It was your command
lb put off the blow.
VlTELLIA
E non udisti I miri novclli oltraggi? Un altro cenno Aipctti ancor? Ma ch'io ti creda amante,
I hmmi. tome pretendi,
Se co»l poco i miei pensieri intendi?
Sc una ragion potesse Almen giustihcarmi . . .
And have you not heard about The latest insults to me? Are you waiting For a second bidding? Tell me, how can
you expect That I consider you my lover If you understand my thoughts so little!
Sextus
Una ragione! ne avrai, qualunque sia I'affetto
IXa mi prenda il tuo cor regola e moto.
E la gloru i) tuo voto? Io ti propongo La patria a liberar. Sei d'un'illustre \mbuaon capace? Eccoti aperta
If one reason at least Were able to justify me ...
VlTELLIA
One reason!
You shall have a thousand of them, no
matter what the emotion may be From which your heart takes its law* *> pulses.
Is glory your wish? I propose that You free vour c__
, to the
country. Are you capable Of great ambition? Here is a way '
throne
Una strada all'impero. Renderti fortunato
Puö la mia mano? Corri,
Mi vendica, e son tua.
D'altri stimoli hai d'uopo?
Sappi che Tito amai, che del mio cor
l'acquisto Ei t'impedi; che, se rimane in vita,
Si puö pentir; ch'io ritornar potrei, Non mi fido di me, forse ad amarlo.
Or va: se non ti muove
Desio di gloria, ambizione, amore;
Se tolleri un rivale,
Che usurpö, che contrasta,
Che involarti poträ gli affetti miei,
Degli uomini il piú vil dirö che sei.
Open to you. Can my hand in marriage
Make you happy? Run,
Avenge me, and I am yours.
Do you need other incentives?
Then know that I loved Titus, that he
prevented The winning of mv heart; that if he
remains alive He will be sorry; that I could go back. Perhaps, to loving him: I don't trust
myself. Now go: if desire for Glory, ambition and love do not move
you;
If you can tolerate a rival Who stole, who resists, Who will steal my affections from you, Then I say you are the most cowardly of men.
Sextus
Quante vie ďassalirmi!
Bašta, bašta, non piú! Giä m'inspirasti,
Vitellia, il tuo furore. Arder vedrai
Fra poco il Campidoglio; e questo acciaro Nel sen di Tito . . . (Ah! sommi déi, qual gelo
Mi ricerca le vene!)
How many ways am I beset! Enough, enough, no more! Your fury, Vitellia, has already inspired me. Shortly you will
See the Capitol burning, and this sword In Titus' breast . . . (Ah, great gods, what ice
Touches my heart!)
Ed or che
pensi?
VlTELLIA
Sextus
And now what are vou thinking?
Ah, Vitellia!
Il previdi: Tu pentito giä sei . . .
Ah, Vitellia! Vitellia
1 knew it: You are already sorry . ..
Sextus
Ma .
Non son pentito;
I am not
But
sorry;
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\.in ~i.iiu.inni piii. Conosco, ingrato,
Che amor non hai per me. Folle ch'io fui!
i ,1.1 i:   i, ,1. .1. giá mi piacevi, e quasi
< •■miiiťiavo ad amarti. Agli occhi miei lrn.il.iu per sempre, I «nr.l.i'. di me.
Vitellia
Wearv me no longer. I know, ungrateful man, That you have no love for me. Foolish
woman that I was! I already believed vou, 1 already liked
you, and almost Was beginning to love you. Hide vourself From mv sight forever, And forget me.
Sextus
Fermati! io cedo; lo gia volo a servirti.
Hh! non ti credo. M'mgannerai <li nuovo. In mezzo all'opra RHorderai...
Stop! I yield; Alreadv I fly to serve you.
Vitellia
Oh! 1 don't believe yw You will deceive me once more. In the
midst of the work You will remember . . .
Sextus
No: mi punisca Amore, V (x-riso ad ingannarti.
No: may Love punish me If 1 think of deceiving you.
Vitellia
t Hmque. corn! Che fai? Perche non parti? Run then! What are you doing? Why
don't you leave?
No. 9 Aria
Sextus
Parto; ma tu, ben mio, ' ritorru in pace. Saro qual piu ti piace; Quel che vorrai faro.
Guardami, e tutto obblio, r a «Tttdicarti io volo. I qwito iguardo solo I Xi me m penserä.
Ah. qual poter, oh děi! Ikmatte alia beltä!
I am leaving; but you, my dearest, Must make peace with me again. I shall be whatever you like; Whatever vou wish I shall do.
Look at me, and I forget everything And I flv to avenge you. I shall think onlv Of that glance.
Ah, what power, oh gods! Did you give to beauty!
La Clemenza di Tito Vitellia
Vedrai, Tito, vedrai che al fin si vile One day you will see, Titus, that my face
Questo volto non e. Basta a sedurti Is not so wretched. At least it suffices
Gli amici ahnen, se ad invaghirti e poco. To seduce your friends, though it cannot
charm you.
Ti pentirai . . . You will be sorry . . .
(Enter Pubhus and Annius.) publius
Tu qui, Vitellia? Ah! corri: You here, Vitellia? Ah! run,
Va Tito alle tue stanze. Titus is going to your chambers.
Annius
Vitellia, hurry, Caesar is looking for you.
Vitellia
Caesar!
Vitellia, il passo affretta Cesare di te cerca.
Césare!
Ancor nol sai? sua consorte t'elesse
Publius
You don't know yet? he has chosen you as his consort.
Tu sei la nostra Augusta;
Annius
You are our Empress; E il primo omaggio giá da noi ti si rende. And already he makes you his first
obeisance through us.
Publius
Ah, principessa, andiam: Cesare attende. Ah, princess, let us go: Caesar is waiting.
Vengo! Aspettate! Sesto! Ahimě! Sesto! E partito? O sdegno mio funesto! O insano mio furor! Che angustia! che tormento! Io gelo, o Dio! d'orror.
O come un gran contento, Come confonde un cor!
(He leaves.)
No. 10 Trio
Vitellia
I am coming! Wait! Sextus! Alas! Sextus! Has he gone? Oh mv fatal scorn! Oh mv insane fury! What anxietv! what torment! Oh God! I freeze with horror.
Annius and Publius
Oh, how a great happiness Confuses a heart!
(Thev leave.)
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La Clemenm di Tito
Scene IV
The Capitol.
No. 11 Accompanied Recitative
SexTUS (alone)
No. 12 Quintet and Chorus
<)h dei, che smania e questa! Che tumulto ho nel cor! Palpito,
agghiaccio: M'incammino, m'arresto: ogni aura, Ogni ombra
Mi la «remare. lo non credea che fosse
Si ilitln ilc impresa csser malvagio. Ma compirla convien. Almen si vada
' «in wlnre a perir. Valore? E come Puö jvrnif un traditor? Sesto infelice, lu traditor' Che orribil nome! E pure
Ta/rrctti a meritarlo. E chi tradisci?
II piü grande, il piü giusto, il piü
<. Irmrntr l*r>nx ipr ilrlla terra, a cui tu devi CJiunto puoi, quanto sei. Bella mercede
< .Ii rrndi in vero! Ei t'innalzö per farti
B carnefior suo. M'inghiotta il suolo
Pnma ch'io tal divenga. Ah! non ho core,
\ rteflia. a ircondar gli sdegni tuoi. Mnmn. prima del colpo, in faccia a lui.
VffnproWa . . . Ma come, Anir gti ü Campidoglio? lln pran tumulto 10 sento I > imii. c d'armatt: *Ju' Urdo e ü pentimento.
Oh gods, what is this frenzy? What tumult do I have in my heart! I
tremble, 1 freeze: I make a start, I stop: even breeze, Every shadow
Makes me shiver. 1 didn't believe that it was
Such a difficult undertaking to be evil. But 1 have to accomplish it. At least one may
Die with courage. Courage? And how Can a traitor have any? Unhappy Sextus, You a traitor! What a horrible name. And yet
You are rushing off to earn it. And who
are you betraying? The greatest, most just, most clement
Prince of the earth, to whom you owe All you are able to do, all that you are. Truly,
You repay him handsomely! He has raised you up
So you can be his executioner. May the
ground swallow me Before 1 become such a thing. Ah! 1
haven't the heart, Vitellia, to support your scorn. I would die, before the blow, to his
presence. It must be prevented. . . What, Is the Capitol already burning? I hear a great noise Of weapons and armed men: Ah! mv regret is too late.
Deh conservate, o děi! A Roma il suo splendor; O almeno i giorni miei Coi suoi troncate ancor!
Amico, dove vai?
Io vado, lo vado . . . lo saprai O Dio, per mio rossor.
Io Sesto non intendo; Ma qui Servilia viene.
Ah! che tumulto orrendo!
Fuggi di qua, mio bene!
Si teme che 1'incendio Non sia dal caso nato, Ma con peggior disegno Ad arte suscitato.
Ah!
V'e in Roma una congiura; Per Tito, ahimě, pavento. Di questo tradimento Chi mai sarä l'autor?
Ah preserve, oh gods!
His glory for the sake of Rome;
Or at least cut short
My days with his!
(Annius enters.)
Annius
My friend, where are vou going?
Sextus
I am going
I am going . . . Oh God, You will know by my shame.
(He leaves.)
Annius
I don't understand Sextus; But Servilia is coming here.
Servilia (entering)
Ah! what a dreadful uproar!
Annius
Fly from here, my dearest!
Servilia
It is feared that the fire May not be born of chance, But deliberately provoked With the worst intent.
Chorus (in the distance) Ah!
publius
There is a conspiracy in Rome; Alas, I fear for Titus. Whoever could be the perpetrator Of this betrayal?
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La Ckmenza di Tito
Ah!
Chorus Ah!
Servilia, Annius and Publius I c grida, ahime! ch'io sento Alas! the screams that 1 hear
Mi tan gelar d'orror! Make me freeze with horror!
Ah!
Chi, per pietade, o Dio! M'addita dov'e Sesto? (In ikIhi a me son io, J d ho di me terror.)
l)i ijiic stu tradimento I hi irui sara I'autor?
\1.'
Chorus
Ah!
(Enter Vitellia.)
Vitelua
Oh God! who, for pitv's sake, Will show me w here Sextus is? (I hate myself, And am afraid of myself.)
Servilia, Annius and Publius
Whoever could be the perpetrator Of this betrayal?
Chorus Ah!
Servilia, Annius, Publius and VrrELLiA I e gnda. ahime! ch'io sento Alas! the screams that I hear
Ml Ijn gelar d'orror! Make me freeze with horror!
(Ah, dove mai m'ascondo? Apnti, o terra, inghiottimi!
tuo sen profondo kinvrrra un traditor!)
Nr»to!
SEXTUS (entering)
(Ah, where can I hide myself? Open, oh earth, swallow me! And in your fathomless breast Conceal a traitor!)
Vitelua
Sextus!
Sextus
I>a mc che vuoi?
Q»iai iguardi vibri intomo?
It U terror il giomo.
What do vou want of me.'
Vitellia
Why are your eves flashing?
Sextus
The day terrifies me.
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Tito? . . .
La nobil alma Versö dal sen trafitto!
Qual destra rea macchiarsi Potě d'un tal delitto?
Fu l'uom piij scellerato, L'orror della natura. Fu . . . fu . . .
Taci, forsennato, Deh! non ti palesar.
Ah! dunque 1'astro ě spento, Ě spento di pace apportator.
O nero tradimento! O giomo di dolor!
Vitellia
Titus?.
Sextus
His noble soul Poured forth from his wounded breast!
Servilia, Annius and Publius
What guilty hand was able
To stain itself with such a crime?
Sextus
It was a man most evil, The horror of nature. It was ... it was . . .
Vitellia (to Sextus)
Quiet, madman, Do not reveal yourself.
All
Ah! then our star is gone, The bringer of peace is gone.
Chorus
Oh, black betrayal! Oh, day of sorrow!
End of Act One
ACT TWO Scene I
A delightful retreat in the imperial residence on the Palatine Hill. Annius and Sextus
Annius
Sesto, come tu credi, Augusto non peri. Sextus, the Emperor did not die as you
thought.
| Calma il tuo duolo; | Calm your grief;
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La Clemenza di Tito
In questo punto ei torna ,ll<     dal 111111 > 111 (>
Eh! tu m'inganni: Io stesso lo mirai cader trafitto Da scellerato acciaro.
Dove?
Nel varco angusto, ove si ascende C>uinci presso al Tarpeo.
No, travedesti: Tra ii lunu i e tra il tumulto, Mm lito ti parve.
Altri? E chi mai
I Vllr cesarec vcsti
Ardirrhbe adornarsi? II sacro alloro,
I 'auguvto amtnanto . . .
Just now he returned Unharmed from the uproar.
Sextus
Ah! you are deceiving me I myself saw him fall wounded By the evd sword.
Annius
Where?
Sixtus
In the narrow passage, where from here You climb up to the Tarpeian Rock.
Annius
No, you were mistaken: Between the smoke and the uproar, You mistook someone else for Titus.
Sextus
Someone else? And whoever Would dare put on The imperial robes? The sacred laurel, The roval mantle ...
Annius
Ogni argomento ě vano: Vi»r Tito ed ŕ illeso. In questo istante
U> da lui mi divido.
All arguments are useless: Titus is alive and unharmed. A moment
ago I left him.
Sextus
Oh merciful gods! Oh dear prince! oh sweet friend! Ah!
Oh dei pietosi! l )h caro prence! oh dolce amico! Ah!
'*v permit me,
Che a qursto sen ... Ma non m'inganni? That to my breast... But you are not
deceiving me?
SI poca fe! Dunque tu stesso a lui Corn e 1 vedrai
Annius I o merto
Amlw°rth-
Of so little faith? Run to him yourself
then, And you will see.
Sextus
Ch'io mi presenti a Tito
Can I come before Titus
Dopo averlo tradito?
Tu lo tradisti?
After having betrayed him?
Io del tumulto, io sono
II primo autor.
Annius
You betrayed him?
Sextus
Of the uproar. Annius
I was the original perpetrator
Come! Perchě!
How? Why?
Sextus
Dirti di pid.
Non posso
I cannot
Tell you more.
Annius
Sesto ě infedele!
Sextus faithless!
Sextus
Amico,
M'ha perduto un istante. Addio. M'involo
Alia patria per sempre.
Ricordati di me. Tito difendi
Da nuove insidie. Io vo ramingo, afflitto
A pianger fra le selve il mio delitto.
My friend, A single moment was mv downfall.
Farewell. I am leaving My country forever. Remember me. Defend Titus From new dangers. I go a wanderer,
cursed
To bewail my crime in the forests.
Annius
Fermati! Oh děi! Pensiamo . .. Stop! Oh gods! Let us think . . .
Incolpan molti di questo incendio il caso; Many people are blaming chance for the
Ľ la congiura non ě certa finora .
fire;
And the conspiracv is still not proved . , .
Sextus
E ben, che vuoi?
Well, what do you want?
Annius
Che tu non parta ancora.
That vou not leave yet.
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La Clemenza di Tito
'Ibrna di Tito a lato, E Terror passato Con replicate emenda Prove di fedeltä.
L'acerbo tuo dolore I segno manifesto, Che di virtu nel core I  .inn Limine ti sta.
JVo. 13 Aria
Annius
Return to Titus' side, And make amends For your past mistake With repeated proofs of fidelity.
Your bitter sorrow Is an obvious sign That the image of virtue Is in your heart.
(He leaves.)
Sextus
Partir deggio, o restar? Must I go or stay?
Ut non ho mente per distinguer consigli. I have no mind for making distinctions
VlTELLIA (entering) NrMn. luggi, conserva Sextus, flee, save
I a tua vita, e il mio onor. Tu sei perduto, Your life and mv honor. You are lost
V- tk un ti scopre, e, se scoperto sei, If anyone discovers you, and if you are
discovered
I'uM.Iko e il mio segreto. My secret is known.
Sextus
In questo seno It wdl remain
Srpoho rrstrra. Nessuno il seppe: In mv breast. No one knew about it:
U. rmlolo morro. I shall die keeping it quiet.
buried
VlTELLIA
Mi fiderei, V minor (rnerezza her Tito in te vedessi. Il suo rigore Non trmo gii; la sua clemenza io temo: ' .•   -ti ti vincerä.
I would trust'*
If I saw vou felt
Less tenderness for Titus. 1 no longer tar His severity; I fear his clemency: This will conquer you.
(Enter Publius with guards.) publius
Sesto!
Sextus!
Sextus
Che chiedi?
What do
La tua spada.
E perché?
Colui, che cinto Delle spoglie regáli agli occhi tuoi,
Cadde trafitto al suolo,
Ed ingannato dall'apparenza
Tu credesti Tito, era Lentulo;
11 colpo la vita a lui non tolse;
II resto intendi.
Vieni.
Publius
Your sword.
Sextus
And why?
Publius
The man
Who to your eyes was dressed in royal robes,
Who fell wounded to the ground, And, deceived by his appearance, Whom you thought was Titus, was Lentulus;
The blow did not deprive him of life;
You understand the rest.
Come.
VlTELLIA
(Oh colpo fatale!)
Al fin, tiranna
Sesto, partir conviene. E giä raccolto
Per udirti il Senato, e non poss'io Differir di condurti.
(Oh fatal blow!)
Ingrata, addio!
Se al volto mai ti senti Lieve aura che s'aggiri, Gli estremi miei sospiri Quelľalito sarä.
(Per me vien tratto a morte:
(Sextus gives up his sword.) Sextus
... So at last, tyrannical woman . . .
Publius
Sextus, you must go. The Senate has
already assembled To hear you, and I am unable To delay escorting you.
Sextus
Ungrateful woman, farewell!
No. 14 Trio
Sextus
If ever you feel a light breeze Play around your face, That breath will be My last sighs.
VlTELLIA
(On account of me he is led to death:
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La Clemenza di Tito
Ah, dove mai m'ascondo? Era poco noto al mondo II i ill" mio -.11 a.)
\,.„,
Ti seguo .
Addio.
"vnii ... mi perdo ... oh Dio!
l'hr t nidelta!
Kammenta chi t'adora In <|ut-\!ii statu ancora. Men rdr al mio dolore Su »Ii11, ii la tua pietä.
(Mi ..i.. I .in il core. Kimono, orror, spavento! yuel che ncll'alma io sento 1 >i duol morir mi fa.)
(L'accrho amaro pianto, (V da" *>uoi lumi piove, t 'anuna mi commove, Ma tana ě la pieU.)
Ah, wherever can I hide?
Soon mv crime
Will be known to the world.)
Publius
Come .
Sextus (to Publius)
(to Vitellia)
VlTELLIA (to Sextus) Listen .
am following you .
Farewell
. 1 am lost... oh God!
(to Publius)
What cruelty!
Sextus (to Vitellia)
Remember the one who still Adores you in this condition. At least let your pity Be a recompense for my sorrow.
Vitellia
(Remorse, horror and terror Rend my heart! That which I feel in my soul Will make me die of sorrow.)
Publius
(The bitter and harsh tears Which fall from his eyes, Move my spirit, But pity is useless.)
(Sextus leaves with Publius and the guards.)
Scene II
A large hall designed jor public hearings. A throne, chair and table. Titus, Publius, patricians, Praetorian Guards and people.
No. 15 Chorus
Ah grazie si rendano Al sommo fattor, Che in Tito del trono Salvö lo splendor.
Ah no, sventurato Non sono cotanto, Se in Roma il mio fato Si trova compianto, Se voti per Tito Si formana ancor.
Ah grazie si rendano, ecc.
Giä de' pubblici giuochi, Signor, Tora trascorre. II di solenne
Sai che non soffre il trascurarli. E tutto
Cola, d'intorno alla festiva arena, Ii popolo raecolto, e non si attende Che la presenza tua. Ciascun sospira, Dopo il noto periglio, Di rivederti salvo. Alla tua Roma
Non differir si bei contento.
Andremo, Publio, fra poco. Io non avrei riposo,
Chorus
Ah let us give thanks To the almighty Creator, Who in Titus has kept The glory of the throne safe.
Titus
Ah no, I am not So unfortunate, If my fate finds Condolence in Rome, If prayers for Titus Are still offered.
Chorus
Ah let us give thanks, etc. (They leave.)
pubuus
Lord, the hour of the public games Already hastens on. You know that this
solemn dav
j
Does not suffer them to be neglected.
The public Is all gathered there, around the festive Arena, and only your presence Is wanting. Everyone longs To see you safe,
After your well-known danger. Do not deny
Your Rome such satisfaction.
Titus
We shall go In a moment, Publius. I would have no rest
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La Clemenza di Tito
Sc di Sesto il dcstino I'ru non sapessi. Avrä il Senato ormai I c sue discolpe udite; avrä scoperto, Vrdrai, ch'cgli ô innocente; e non
duvicUw
lardar molto l'avviso.
If I did not know Sextus' fate First. By now the Senate will have heard His defense: it will have discovered, You'll see, that he is innocent; and it
should not Delav its verdict too long.
publius
I rntulo favello.
Ah! troppo chiaro
Ah! Lentulus
Spoke all too clearly.
Titus
Lentulo forse Cm* al fallo un compagno, IVr avrrlo al perdono. Hi non ignora
<.Main, p Scsto m'e caro. Arte comune QucMa e de' rci. Pur dal Senato ancora Non torna alcun! Che mai sarä? Va, chiedi Che M fa. che s'attende. Io tutto voglio Viper pna di partir.
publius
Lentulus is perhaps Looking for a companion in crime, So as to be pardoned with him. He is not
ignorant
Of how dear Sextus is to me. This is tie
usual
Cunning of the guilty. Yet no one has
returned From the Senate! What can this mean: Go, ask
What thev are doing, what they are
waiting for. I want To know everything before leaving.
Vado: ma temo l)i non tomar nunzio felice.
am going
but!
That 1 shall not return a herald of lei*
Titus
E puoi Can)* Order Scsto infedele? Io dal mio core Believe Sextus faithless? I measure his
heart
M Hjo nusuro; e un impossibil parmi Ch'cgli m'ahbia tradito.
By my own: and it seems impossi me
That he has betrayed me.
ble to
PUBLIUS
, Mgnor. non han tutti il cor di Tito. But lord, not all have the heart of Tit*
Tardi s'avvede D'un tradimento Chi mai di fede Mancar non sa.
Un cor verace, Pieno d'onore, Non ě portento, Se ogni altro core Crede incapace D'infedeltä.
No, cosi scellerato 11 mio Sesto non credo. Io l'ho veduto Non sol fido ed amico, Ma tenero per me. Tanto cambiarsi Un'alma non potrebbe. Annio, che rechi?
L'innocenza di Sesto? Consolami.
No. 16 Aria
publius
He becomes aware Of betrayal too late Who has never been Faithless.
It is no miracle If a true heart, Full of honor. Believes every other heart Incapable Of faithlessness.
(He leaves.)
Titus
No, I do not believe
My Sextus to be so evil. I have seen him Not only loyal and friendly to me, But also tender. A soul Could not change so much. Annius, what
are you bringing? Sextus' innocence? Comfort me.
Annius (entering) Ah! signor, pieta per lui My lord, I come
Ad implorar io vengo. To beg pity for him.
(Enter Publius with a sheet of paper.)
Cesare, nol diss'io? Sesto ě l'autore Delia trama crudel.
Publio, ed é vero?
Pur troppo ei di sua bocca
Tutto affermö. Coi complici il Senato
Publius
Caesar, did I not say it? Sextus is the
perpetrator Of the cruel plot.
Titus
Is it true, Publius?
Publius
Unfortunately, he confirmed everything • With his own lips. The Senate has condemned
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Him and his accomplices to the wild
beasts. Here Is the harsh, but just, decree;
(giving the paper to Titus) Ne vi manca, o signor, che il nome Only your royal name, lord, is lacking.
Titus
All powerful gods! (He throws himself into a chair.)
.lllgllMo
(Mnipotenti déi!
Ah! pietoso monarca
I jvumi in pace.
Annuls
Ah! merciful monarch . ..
(kneeling)
Titus
Annio, per ora
Annius, leave im
Alia gran pompa unite Nai i he k- genti ormai . . .
In peace for now. (Annius rises.)
PUBLIUS
You know that by bo* The people are gathered at the solemnities . . .
Titus
Lo so. Partite.
(Publius withdraws.)
I bow. Lei*
IM», perdona. s'io parlo in favor d'un mno.
t»rUa mia cara sposa egli ě germano.
Annius
Pardon if I speak in a madman's favor-He is the brother of my dear bride.
Til fasti tradito: Ii degno e di morte, Hi i core di Tito r\MT Lutru sperar.
No. 17 Aria
Annius
You were betrayed: He is worthy of death, Yet the heart of Titus Still allows for hope.
La Clemenza di Tito
Deh prendi consiglio, Signor, dal tuo core: 11 nostra dolore Ti degna mirar.
Take counsel, Lord, from vour heart: Deign to look On our grief.
(He leaves.)
Accompanied Recitative
Titus
Che orror! che tradimento!
Che nera infedeltä! Fingersi amico,
Essermi sempře al fianco, ogni momento Hsiger dal mio core
Qualche prova d'amore; e starmi intanto Preparando la morte! Ed io sospendo Ancor la pena? e la sentenza ancora
Non segno? . . . Ah! si, lo scellerato mora.
What horror! what betrayal!
What black infidelity! To pretend to be
my friend, Be always at my side, every moment Exact proofs of love From my heart; and all the while Be preparing my death! And yet I Am to withhold punishment? and yet not
sign
The sentence? . . . Ah ves, let the evil man die.
(He takes up the pen to sign, but then stops.)
Mora! . . . Ma senza udirlo Mando Sesto a morir? ... Si, giá 1'intese Abbastanza il Senato. E s'egli avesse Qualche arcano a svelarmi? Ola!
Die! . . . Yet send Sextus to death Without hearing him? . . . Yes, the Senate Heard enough already. But what if he had Some secret to reveal to me? Ho!
(He puts down the pen as a guard appears.)
(S'ascolti, E poi vada al supplizio.) A me si guidi
Sesto.
(I'll hear him, Then let him go to the scaffold.) Bring Sextus to me.
(The guard leaves.)
Ě pur di chi regna Infelice il destiro!
The fate of a ruler
A noi si nega Cio che a' piu bassi e dato. In mezzo al bosco
Quel villanel mendico, a ciu circonda
Is trulv unhappy!
(He rises.)
We are denied that Which is given to the lowliest. In the
depths of the forest That mendicant peasant, whose rough side
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Huwda lana il rozzo franco, a cui I mil hdo riparo
Dallingiunc del ciel tugurio informe,
I Mat i<lo j m ■urn dorme.
Pais    tranquillo i di, molto non brama,
Va i In I'odia e chi I'ama, unito o solo
Torru sicuro alia foresta, al monte,
t vede il core a ciascheduno in fronte.
Noi fra tante grandezze
Sempře incerti viviam; chě in faccia a noi
La - j» i .iii/.i o il timore
SuIIj Ironte il'ognun trasforma il core.
t'hi tiall'inrido amico . . . Ola! ... chi mai
QhMO tcmer dovea?
Is encircled with coarse wool, whose Squalid hovel is
An untrustworthy shelter from the
injuries of heaven, Placidly and soundly sleeps, Passes the days tranquilly, does not long
for much, Knows who hates and who loves him, in
company or alone He returns safely to his forest, to his
mountain, And sees each one's heart mirrored in hi
face.
We always live uncertainly Amid such splendor; since in our
presence Hope or fear
Transforms the heart on the face. Who from a faithless friend ... Ho! ■
whoever Had to fear this?
(Publius enters.)
Trrus
Ma, Publio, ancora
Srtt.,
in-il \ienc.
But Publius, Sextos Has still not come.
Publius
Ad eseguir il cenno Gtš voUro i tust od i
lo non comprendo Un ti lungo tardar.
Pochi momenti •corn, o signor.
The guards are alreaJ» Hurrying to do your bidding.
Titus
Such a long delay. Publius
I don't understiK
Onlv a few moment-
Have passed, lord.
^flnrttaJo.
V'anne tu stesso;
Titus
Hurry it along. Publius
Go vourself;
llbbtdisco.
I obey.
La Clemenza di Tito I
(about to go)
I tuoi littori Veggonsi comparir: Sesto dovrebbe Non molto esser lontano. Hccolo.
Your lictors Can be seen appearing: Sextus should Not be too far off. Here he is.
Titus
Ingrato! Ungrateful man!
All'udir che s'appressa, Yet hearing that he approaches,
Gia mi parla a suo pro l'affetto antico. My old affection for him speaks on his
'behalf.
Ma no; trovi il suo prence e non l'amico. But no; let him find his prince and not
his friend.
(He sits and assumes an air of majesty.)
(Sextus and guards enter. Sextus, barely in the room, stops.)
No. 18 Trio
Sextus
(Quello di Tito ě il volto! Ah! dove, o stelle! ě andata La sua dolcezza usata! Or ei mi fa tremar!)
(Eterni děi! di Sesto Dunque il sembiante é questo! Oh come puö un delitto Un volto trasformar!)
(Mille diversi affetti In Tito guerra fanno, S'ei prova un tale affanno, Lo seguita ad amar.)
Awicinati!
(Oh voce che piombami sul core.) Non odi?
(Such is Titus' face! Ah where, oh stars, has Its accustomed sweetness gone! Now it makes me tremble!)
Titus
(Eternal gods! this then Is Sextus' aspect! Oh how a crime can Transform a face!)
Publius
(A thousand different emotions Are at war within Titus. If he experiences such sorrow He will follow it with love.)
TlTUS (to Sextus)
Come near!
Sextus
(Oh voice that falls heavilv on mv heart.)
Titus
Don't vou hear?
543
542
The Metropolitan Opera Book of Mozart Operas Sextus
La Clemenza di Tito
(Di sudore Mi sento, oh Dio! bagnar!)
(Oh God! I feel Bathed in sweat!)
Titus
V. v it in.iti.
Come near.
(Oh voce!)
Sextus
Titus
(That voice!)
Non odi?
(l )h I )io! Non puö chi muore di pill prrur.)
Don't vol heir:
Sextus
(Oh God! One who is dying couldn't suffer more.)
Titus and Publius
' I    hi. i il traditore, ne gli occhi ardisce (The traitor trembles, nor does he dare
raise his eyes.)
al/ar.)
Titus
(I pur mi fa pieta.) Publio, custodi,
I 4M lairmi con lui.
(Publius and the guards leave.) Sextus
(And yet he stirs my pity.) Publius,
guards, Leave me with him.
(No, di quel volto ho > i is tan/a a sostener l'impero.)
(No, I don't have the persisted To withstand the command of that face1
Titus
Ah! Sesto, dunque e vero? Ounqur ujoi la mia morte! E in che loffrse
0 two prence, il tuo padre,
11 tuo hrnefattor? Se Tito Augusto
Hai potuto ohbliar. di Tito amico
1 <wnc non ti sovvcnne? 11 premio e
qurMo
(Sow alone with Sextus, he lays aside his air of majesty.)
Ah, Sextus! then it is true? Then vou wish for my death! And is what
Did vour prince, your father. You/benefactor offend you? if J*
been able u^ Titus, why d*"*
To forget the Emperor
not remember Titus your friend? Is this there*
Delia tenera cura
Ch'ebbe sempře di te? Di chi fidarmi
In avvenir potrö, se giunse, oh děi! Anche Sesto a tradirmi? E lo potesti?
E il cor te lo sofferse?
Of the tender care
I have always taken of you? Who can I trust
In the future, if even Sextus, oh Gods! Came to betray me? And were you able to?
And did your heart allow it?
Sextus
(bursting into tears and throwing himself at Titus'Jeet) Ah, Tito! ah, mio
Clementissimo prence!
Non piíl, non piú. Se tu veder potessi
Questo misero cor, spetgiuro, ingrato,
Pur ti farei pieta. Tutte ho su gli occhi,
Tutte le colpe mie; tutti rammento
I benefizi tuoi: soffrir non posso
Ně l'idea di me stesso.
Ně la presenza tua. Quel sacro volto,
La voce tua, la tua clemenza istessa
Diventó mio supplizio. Affretta almeno,
Affretta il mio morir. Tbglimi presto
Questa vita infedel; lascia ch'io versi,
Se pietoso esser vuoi,
Questo perfido sangue a' piedi tuoi.
Ah, Titus! ah my Most clement prince! No more, no more. If you could see Into this unhappy heart, perjured,
ungrateful, Yet would it stir your pity. I have it all
before my eyes. All my guilt; I remember All your kindnesses: I cannot bear Either the idea of myself, Or your presence. That sacred face, Your voice, your clemency itself Become my punishment. At least hurry. Hurry my death. Take from me quicklv This faithless life; let me pour out, If you wish to be merciful, This perfidious blood at vour feet.
Titus
Sorgi, infelice!
Rise, unhappy man!
(Sextus rises.)
(Ii contenersi e pena A quel tenero pianto.) Or vedi a quale
Lagrimevole stato
Un delitto riduce, una sfrenata
Avidita d'impero! E che sperasti
Di trovar mai nel trono? Il sommo forse
D'ogni contento? Ah! sconsigliato, osserva
(It is difficult to contain oneself At that tender weeping.) Now see to
what A pathetic state
A crime can reduce one, an unchecked Greed for empire! And what did you Ever hope for in the throne? The summit, perhaps,
Of every contentment? Ah, rash man, look at
545
s44
THb Metropolitan Opera Book of Mozart Operas
Quai frutti io nc raccolgo; I liranuln. se puoi.
No, questa brama Nim fu ehe mi sedusse.
The fruits I gather from it, And desire it if you can.
Sextos
No, this was Not the desire that seduced me.
Titus
I hinque che fu?
Then what was?
Sextos
La debolezza mia,
I a mu I .it .ilu.i
My destiny.
My weakness,
Titus
Piii chiaro almeno
i >li Dio! non posso.
Odimi, o Sesto:
">um «>li, il tuo sovrano Skhi č prrsente. Apri il tuo core a Tito, i ■ 'nhil.tti all'amico; io ti prometto C"hr Augustu nol saprä. Del tuo delitto
IV la prima cagion. Cerchiamo insieme
Um sia di scusarti. Io ne sarei
forte di tr piü lieto.
More clearly.
Fxplain yourself
Sextus
Oh God! I cannot.
Titus
Hear me, Sextus: We are alone; your sovereign Is not present. Open your heart to Titus, Confide in your friend; 1 promise you That the Emperor will not know of it-Tell me
The prime reason for your crime. Let us
search together For a way to pardon you. Perhaps 1
would be Even happier than you to find it.
Sextus
V» ha difesa.
Ah! la mia colpa
Has no defense.
Ah! mv guilt
Titus
In contraccambio almeno I >'mih. u u Io chiedo. Io non celai AlU tua rede i piii gelosi arcani; Menu ben che Sesto Mi hdi un iuo segreto.
At least I ask it In exchange of friendship. I never hid From your trust my most jealous secrets; It well behooves Sextus To trust me with one of his secrets.
546
La Clemenza di Tito
I
Sextus
(Ecco una nuova Specie di pena! o dispiacere a Tito,
O Vitellia accusar.)
(Here is a new Kind of punishment! either displease
Titus Or accuse Vitellia.)
Titus
Dubiti ancora?
You still doubt?
(beginning to be uneasy)
Ma, Sesto, mi ferisci
Nel pill vivo del cor. Vedi che troppo
Tu l'amicizia oltraggi
Con questo diffidar. Pensaci.
Sextus, vou wound me
To the bottom of my heart. You see that
With this lack of confidence
You offend our friendship. Think about it.
(impatiently)
II mio giusto desio.
Appaga
Grant
Mv just request.
Sextus (desperately)
(Ma qual astro splendeva al nascer mio!) | (What star blazed at my birth?)
Titus
E taci? e non rispondi? Ah! gii che puoi You are silent? and do not answer? Ah!
since you are able
Tanto abusar di mia pieta ... To abuse my mercy so much  . .
Sappi dunque . . . (Che fo?)
Sextus
Signore ... Mv lord
You must know then . . . (What am I
doing?)
Titus
Siegui.
Sextus
Finirô di penar?)
(Ma quando
Continue.
(When
Shall I stop suffering?)
Titus
Parla una volta: Che mi volevi dir?
Speak only once: What did vou want to tell me?
547
Thk Metropolitan Opera Book of Mozart Operas
La Clemenza di Tito
Sextus
Ch'io son l'oggetto Dutin drgli děi; che la mia sorte
Sun ho |)iü torza a tollerar; ch'io stesso Traditor mi confesso, empio mi chiamo; ( bio mento la mořte e ch'io la bramo.
That 1 am the object Of the gods' anger; that I no longer have
the strength To tolerate my fate; that I mvself Confess I am a traitor, I call myself evil. That 1 am worthy of death and that 1
desire it.
Sťonosernte! e Pavrai!
TlTUS (resuming his air of majesty)
Thankless man, vou shall have it!
(to the guards who have entered)
Custodi! il reo
Guards! take
kältete
enu dinan/i.
II hacio estremo Su qurlla invitta man . . .
Parti.
Non e piii tempo; or tuo giudice sono.
The guilty man from mv sight. Sextus
On that invincible hand
One last kiss
TlTUS (not granting it)
Go.
There is no more time; I am now vour judge.
Sextus
Ah, íia questo. Signor, I'ultimo dono.
Ah, Lord, let this be your last gift.
No. Í9 Rondo
Sextus
Deh, per questo istante solo Ti rirorda il primo amor. Che morir mi fa di duolo 11 tuo sdegno, il tuo rigor.
Di pietade indegno, ě vero, Sol ipirar io deggio orror. Pur umu men severa. Se tedessi questo cor.
Disperato vado a mořte; Ma il monr non mi spaventa. II pensKTo mi tormenta Che fui teco un traditor!
Ah, for this moment onlv Remember our first love. Since your scorn, your severity Make me die of grief.
Unworthy of pity, it is true, I should only inspire horror. Yet you would be less severe If you could see into my heart.
Desperate 1 go to death; But dying does not frighten me. The thought that I was a traitor To you torments me.
548
(Tanto affanno soffre un core, Ně si more di dolor!)
(A heart can undergo such suffering, And not die of sorrow!)
(He leaves with the guards.) TlTUS
Ove s'intese mai
Piü contumace infedeltä!
Deggio alia mia negletta
Disprezzata clemenza una vendetta.
When was there ever heard Such obstinate faithlessness! I owe revenge to my Negligent, despised clemency.
(He goes scornfully to the table, and slops.)
Vendetta! II cor di Tito
Tali sensi produce? Eh! viva ... In vano
Parian dunque le leggi? Io lor custode Le eseguisco cosi? Di Sesto amico Non sa Tito scordarsi?
Ogni altro affetto D'amicizia e pietä taccia per ora.
Revenge! Can the heart of Titus Yield such sentiments? Ah! let him
live ... So Laws speak uselessly? I, their custodian. Carry them out like this? Is Titus unable To forget his friend Sextus?
(sitting)
Sesto ě reo: Sesto mora! . . .
Eccoci aspersi Di cittadino sangue, e s*incomincia Dal sangue ďun amico. Or che diranno
I posteri di noi? Diran che in Tito
Si stanco la clemenza, Come in Silla e in Augusto La crudeltá; che Tito Era Tolfeso, e che le proprie ořfese,
Senza ingiuria del giusto, Ben poteva obbliar . . . Ma dunque faccio
Si
gran forza al mio cor? Ně almen sicuro
For now
Let every sentiment of friendship and
mercy be silent. Sextus is guilty: let Sextus die! . . .
(signing the paper)
Behold us sprinkled With a citizen's blood, and beginning With the blood of a friend. Now what will
Posterity say about us? It will say that Titus
Wearied of clemency, Just as Augustus and Sulla wearied Of cruelty; that Titus Was the offended one, and yet he could
have forgotten. Without injury to the law, The offenses against him . . . Then shall 1 do
Such great violence to my heart? Nor even be sure
549
The Metropolitan Opera Book of Mozart Operas
La Clemenza di Tito
<vari> ch'altri m'approvi? Ah! non si lasci
II «ilito cammin.
(tearing up the paper)
That others will commend me? Ah, let us
not leave Our usual path.
Viva 1'amico, Hrm hř inledele; e, se accusarmi il mondo Vuol pur di qualche errore, M 'ai i um di pieta, non di rigore.
Let our friend live. Even faithless; and if the world wishes lb accuse me of any mistakes, Let them accuse me of mercy, not severity.
Mfeol
Cesarc
Andiamo Al pnpolo che attende.
E Sesto?
E Sesto
Vraga .illartna ancor.
Dunque il suo fato M. Puhl», e giä deciso.
(He throws the torn-up paper aside.)
Publius!
PUBLIUS (entering)
Caesar.
Titus
Let us go lb the awaiting people.
Publius
Titus
And Sextusř
Let Sextus
Still come to the arena. Publius
Then his fate
Titus
Yes, Publius, it is already decided.
Publius
(Oh sventurato!)
(Poor wretch!)
V all'impero, amici déi, Necessario ŕ un cor severo, O i. v'l"-t<- a me I'impcro, O a mr date un altro cor.
No. 20 Aria
Titus
If a severe heart, friendly gods. Is necessary for the empire, Either take the empire from me, Or give me another heart.
550
Se la fe de' regni miei Con I'amor non assicuro, D'una fede io non mi euro Che sia frutto del timor.
If 1 cannot insure the faith Of my realms with love, I will pay no attention to a faith That is the fruit of terror.
(He leaves.)
Vitellia
(Coming jrom an opposite door, she calls back Publius, who had followed Titus.)
Publio, ascolta.
Perdona; Deggio a Cesare appresso Andar . . .
Dove?
Vitellia
| Publius, listen.
Publius (about to leave)
Pardon me, But I must follow Caesar closely . . .
All'arena.
Vitellia
Publius (idem)
Vitellia
Where?
E Sesto?
To the arena.
And Sextus?
Publius
Anch'esso.
He also.
Dunque morrä?
Vitellia
Then he is to die?
Publius
Pur troppo.
Vitellia
Sesto ha parlato?
(Aimě!) Con Tito
Speak with Titus? Publius
E lungamente.
Vitellia
E sai
Quel ch'ei dicesse?
Unfortunately.
(Alas!) Did Sextus
At length.
Do you know
What he said?
551
The Metropolitan Opľra Book of Mozart Operas Publius
No. Solo con lui RrMar Césare voile: escluso io fui.
No. Caesar wished to remain Alone with him: I was excluded.
(He leaves.)
Non gKjva lusingarsi;
Sesto gii mi scoperse: a Publio istesso
v i ■ must ľ -nl Milto. Ei non lu mai Con me si ritenuto; ei higge; ei teme
Di restar meco. Ah! secondato avessi
(jl'impulsi del mio cor. Per tempo a Tito
l)u\rj svclarmi e confessar I'errore.
Vmprr in hocca d'un reo, che la detesta,
Vniu d'orror la colpa. Or questo ancora
Tuxli vina. Seppe il delitto Augusto,
ŕ. non da tne. Questa ragione istessa Ea piu grave . . .
VlTELLIA
It is no use deluding myself: Sextus has already exposed me: I knew it already
Bv Publius' own face. He was never So restrained with me; he shuns me; he is afraid
To remain with me. Ah! If I had only followed
The impulses of my heart. For sometime
now I should have Revealed myself to Titus and confessed
my mistake. When a crime is confessed and detested
by the guilty one, The horror of it is lessened. Now even this
Would be too late. The Emperor knows
my crime, And not from me. This reason alone Makes even more serious . . .
Ah, Vitellia!
II macro
grmvino
r rondotto a morir.
(Annius and Servilia enter from different sides.) SbRVILIA
Ah, Vitellia! Annius
Ah, principessa! ^ princess!
Serviua
My poor brother . . .
Annius
My dear friend ...
Servilia
Is condemned to death.
552
II caro amico .
La Clemenza di Tito Annius
Fra poco, in faccia Soon, in the presence
Di Roma spettatrice, Of an onlooking Rome,
Delle here sara pasto infelice. He will be made a wretched meal for the
wild beasts.
Ma che posso per lui?
Vitellia
But what can I do for him?
Tito lo donerä.
Servilia
Tutto. A' tuoi prieghi Everything. Titus will
Grant your request.
Non puô negarlo Alia novella Augusta.
Annius
To his new Empress. Vitellia
He cannot deny it
Annio, non sono My friend, I am not
Augusta ancor. The Empress yet.
Annius
Pria che tramonti il sole Before the sun goes down
Tito sara tuo sposo. Or, me presente, Titus will be your husband. Just now,
while I was there,
Per le pompe festive il cenno ei diede. He gave the order for the solemn
festivities.
Vitellia
(Dimque Sesto ha taciuto! Oh amore! oh (Then Sextus has remained silent! what
fede!) love! what faith!)
Annio, Servilia, andiam. (Ma dove corro Annius, Servilia, let us go. (But where am
I running to
Cosi, senza pensar?) Partite, amici: So thoughtlessly?) You go, my friends:
Vi seguiro. I will follow you.
Annius
Ma, se d'un tardo aiuto But if Sextus has to rely upon
Sesto fidar si dee, Sesto e perduto. Such tardy help, Sextus is lost.
(He leaves.) 5S3
The Metropolian Opera Book of Mozart Operas
La Clemenza di Tito
Andum. Quell'infelice
Tarru piü di se stesso; avca fra' labbri
Vmprc- il tuo nome; impallidia qualora Si |i.iiI.h.i di te. Tu piangi!
Ah! parti.
Ma tu perche restar? Vitellia, ah! Ii.irun . . .
(>h doi! parti, verrö: non tormentari!
Servilia
Let us go. That unhappy man
Loves vou more than himself; he ahvavs
had your name On his lips; he turned pale whenever You were spoken of. You weep!
Vitellia
Ah! go.
Servilia
But why are you staying here? Vitellia! it seems to me . . .
Vitellia
Oh gods! go, I shall come: do not torment me!
S'akro che lagrime Per lui non tcnti, liilto il tuo piangere Non giovera.
A qursta inutile rVta che senti. Oh, quanto * simile La crudclta!
hero d punto, o Vitellia, D esaminar la tua costanza. Avrai
No. 21 Aria
Servilia
If only tears You attempt for him, All of your weeping Will be of little moment.
To this useless Pity which vou feel, Oh, how similar Is cruelty!
(She leaves.)
No. 22 Accompanied Recitative Vitellia
Now is the time, Vitellia,
Valor che basti a rimirare esangue
0 tuo Sesto fedel? Sesto, che t'ama Piu dclla vita sua? che per tua colpa
I>»rnne reo? che ťubbidi crudele?
To examine your steadfastness. Will you have
The courage to look upon your faithful Sextus
Dead? Sextus, who loves you
More than his own life? who through
your crime Became guilty? who obeyed you even
when you were cruel?
Che ingiusta t'adorö?
Che in faccia a morte
Si gran fede ti serba? E tu frattanto,
Non ignota a te stessa, andrai tranquilla Al talamo d'Augusto? Ah! mi vedrei
Sempre Sesto d'intomo; e l'aure e i sassi
Temerei che loquaci
Mi scoprissero a Tito. A' piedi suoi
Vadasi il tutto a palesar. Si scemi II delitto di Sesto,
Se scusar non si puö col fallo mio. D'impero e d'imenei, speranze, addio.
Who adored you even when you were unfair?
Who in the presence of death
Keeps such great faith with vou? And in
the meantime vou, Not ignorant of all this, will tranquilly go To the Emperor's nuptial couch? Ah! I
would always see Sextus before me; and I would be afraid
that
The breezes and stones Would reveal me to Titus. Let me go and disclose
Everything at his feet. Let me lessen Sextus' crime
With my guilt, even if I can't excuse it. Farewell, hopes of empire and marriage.
Non piu di fiori Vaghe catene Discenda Imene Ad intrecciar.
Stretta fra barbare Aspre ritorte Veggo la morte Ver me avanzar.
Infelice! qual orrore! Ah, di me che si dira? Chi vedesse il mio dolore, Pur avria di me pietä.
No. 23 Rondo
Vitellia
No more will Hymen Descend to weave Lovely chains Of flowers.
Bound in barbarous Harsh chains I see death Advance toward me.
Unhappy woman! what horror! Ah, what will be said of me? Yet whoever could see my suffering Would take pity on me.
(She leaves.)
554
Scene III
A magnificent entrance to a spacious amphitheater, the inside of which can be seen through various "'ches. The members of the conspiracy, condemned to the wild beasts, can be seen m the arena already.
(During the singing of the chorus Titus enters, preceded by lictors, surrounded by Roman senators and patricians, and followed by the Praetorian Guard; later Annius and Servilia from different sides.)
sss
The Metropolitan Opera Book of Mozart Operas
No. 24 Chorus
Che del Ciel, che degli děi lü d pensirr, ľamor tu sei, Grand'eror, nel giro angusto Si BJJUtUÓ di questo di.
Ma cagion di meraviglia Non *• gii, felice Augusto, Che gli dri chi lor somiglia Ľustudiscano cosi.
Pria che principio a' lieti Sprttacoli si clia, custodi, innanzi Conduietemi il reo. (Piú di perdono
Spcmc non ha: quanto aspettato meno, Piti caro esscr gli dee.)
That you have the attention, The love of Heaven, Great hero, has been shown In the brief duration of this single day.
But there is indeed no reason To marvel, happy Emperor, Since the gods in this manner Look after those who resemble them.
Titus
Before the signal for the festive Entertainment is given, guards, lead The guiltv man before me. (He has no more
Hope of pardon: the less looked for, The more welcome will it be to him)
Annius
Pieta, signore!
Mercy, lord!
Signor, pieta!
Se a chiederla venite Per Snto, ě tardi. Ľ il suo destin deciso.
Servilia
My lord, have mercy!
Titus
If you come to sue For Sextus, it is too late. His fate has been decided.
Annius
f \\ tranquillo in viso I ■ condanni a morir?
Di Tito il core tame il dolce perdě costume antico?
And with such a tranquil mien You can condemn him to death?
Servilia
How can
Titus' heart lose its former generous habit?
Titus
ri s'lpprrssa. tacetě!
He is approaching: be silent!
Oh Sesto!
Servilia
556
Sextus!
La Clemenza di Tito I
Annius
Oh amico!
(Enter Publius, Sextus guarded by lictors, then Vitellia.)
Titus
Mv friend!
Sesto, de' tuoi delitti Tu sai la serie, e sai
Qual pena ti si dee. Roma sconvolta,
L'offesa maestä, le leggi offese, L'amicizia tradita, il mondo, il Cielo
Voglion la morte tua. De' tradimenti Sai pur ch'io son l'unico oggetto. Or senti.
Eccoti, eccelso Augusto. Eccoti al piě la piü confusa . . .
Che fai? che brami?
Sextus, vou know the extent Of your crimes, and vou know what
punishment Must be exacted from vou. Rome in
confusion, Offended majesty, offended laws, Betrayed friendship, the world and Heaven:
All demand your death. You know further That I was the one object of your betrayal. Now listen.
Vitellia
Here, exalted Emperor.
(She kneels.)
Here at your feet the most ashamed . . .
Titus
Ah! sorgi: Ah. ™*-
What are you doing? what do you wish?
Vitellia
Io ti conduco innanzi ' lead MoTe vou
L'autor dell'empia trama. The perpetrator of the esil plot.
Titus
Ov'e? chi mai where is he? whoever
Prepare tante insidie al viver mio? Laid so many snares for my life?
Nol crederai.
Vitellia
You will not believe it.
Titus
Perchě?
Whv?
Perchě son io.
Vitellia
557
Because it is I.
The Metropolitan Opera Book of Mozart Operas
La Clemenza di Tito
Tu incora!
Oh stelle!
Titus
Even you! Sextus and Servilia
Annius and Publius
Oh stars!
Oh numi!
Oh gods!
(„Kunti siřte a tradirmi?
Titus
E quanti mai. How many
How manv are there to betray me?
lo la piu rea
Son di ciascuno; io meditai la trama;
II pill ledele amico
lo ti sedussi; io del suo cieco amore
A tuo danno abusai.
Chi tu cagion?
Vitellia
I am the guiltiest Of all; I designed the plot; I seduced
Your most faithful friend; I took
advantage Of his blind love to harm vou.
I .1 tua bontä. Credei Che quesu fosse amor. La destra e il trono
1 '.i sp raw) in dono; e poi ne^letta KeMai due volte, e procurai vendetta.
Titus
Ma del tuo sdegno But what was the reason
For your scorn?
Vitellia
Your goodness, I mistook it For love. Your hand and vour throne
1 hoped for as a gift; and then I was Passed over twice, and sought revenge.
Ma che giomo e mai questo! Al punto
tun
Chi assolvo un reo, ne scopro un altro! h quando
Tfmrró, giusti numi! Un'anima fedel? Congiuran gli astri, Crrd lo, per obhligarmi, a mio dispetto,
No. 25 Accompanied Recitative
Titus
But what a day this is! In the very
moment in which I pardon one guilty person, I discover
another! And when, Just gods! shall I find A faithful soul? The stars are conspiring, I believe, to obligate me, against my
wishes,
A diventar crudel. No! non avranno Questo trionfo. A sostener la gara
Giä s'impegnö la mia virtu. Vediamo Se piii costante sia
L'altrui perfidia o la clemenza mia.
Ola! Sesto si sciolga: abbian di nuovo
Lentulo e i suoi seguaci
E vita e liberta. Sia noto a Roma
Ch'io son l'istesso, e ch'io
Tutto so, tutti assolvo e tutto obblio.
To become cruel. No! They will not have This victory. My virtue has already
pledged itself To continue the struggle. Let us see Whether the treachery of others or my
clemency Be the more constant. Ho! Free Sextus; let Lentulus And his accomplices have again both Life and liberty. Let it be known in Rome That I am still the same, that I Know all, pardon everyone and forget
everything.
No. 26 Sextet and Chorus
Sextus
Tu, e ver, m'assolvi, Augusto:
Ma non m'assolve il core, Che piangerä l'errore, Fin che memoria avra.
II vero pentimento, Di cui tu sei capace, Val piů ďuna verace Costante fedelta.
Emperor, it is true that you pardon
me:
But my heart does not pardon me; It will bewail mv mistake As long as it can remember.
Trrus
True repentance, Of which vou are capable. Is worth more than true Constant fidelity.
Vitellia, Servilia and Annius
5S8
Oh generoso! oh grande! E chi mai giunse a tanto? Mi trae dagli occhi il pianto L'eccelsa sua bonta.
Eterni děi, vegliate Sui sacri giorni suoi, A Roma in lui serbate La sua felicitä.
Generous one! great one! Who has ever attained so much? His lofty goodness Draws tears from mv eyes.
All (less Titus)
Eternal Gods, watch over His sacred life, In him preserve Rome's happiness
559
The Metropolitan Opera Book of Mozart Operas
Troncate, eterni děi, Troncate i giorni miei, Quel .Ii che il ben di Roma Mia cura non sari.
Titus
Cut short, eternal Gods, Cut short mv life, On that day in which The pood of Rome shall not be mv can-.
The End
Die zauberflöte
WORLD PREMIERE:    Vienna, Theater auf der Wieden, September 30, 1791
UNITED STATES PREMIERE:    New York, Park Theatre, April 11, 1833 METROPOLITAN OPERA PREMIERE:    March 30, 1900
560