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CONTENTS
6
AIDA
28
Celeste Aida
Giuseppe Verdi
ALCINA
23
E un folle, e un vile affetto
ANDREA CHENIER
34
Come un bel di di maggio
Umberto Giordano
L'ARLESIANA
38
E la solita storia
Francesco Cilea
UN BALLO IN MASCHERA
42
Di'to se fedele
48
Ma se m'e forza perderti
Giuseppe Verdi
IL BARBIERE DI SIVIGLIA
Gioachino Rossini
54
Ecco ridente in cielo
60
Se it mio nome saper bramate (Serenata)
LA BOHEME
63
Che gelida marina
I CAPULETI E I MONTECCHI
~ 68
E serbata a questo acciaro
Giacomo Puccini
Vincenzo Bellini
CAVALLERIA RUSTICANA
Pietro Mascagni
77
O Lola, bianca come fior di spino
LA CENERENTOLA
80
Si, ritrovarla io giuro
Gioachino Rossini
LA CLEMENZA DI TITO
92
Del piu sublime soglio
DON GIOVANNI
100
Il mio tesoro
DON PASQUALE
108
Come gentil
Gaetano Donizetti
L'ELISIR D'AMORE
118
Una furtiva lagrima
Gaetano Donizetti
Giacomo Puccini
LA FAVORITA
113
Spirto gentil
Gaetano Donizetti
LA FINTA GIARDINIERA
Che belts, the leggiadria
124
Giuseppe Verdi
GIANNI SCHICCHI
Avete torto!
~- 138
Giacomo Puccini
L'INCORONAZIONE DI POPPEA
Sento un certo non so the
129
Claudio Monteverdi
IRIS
144
Pietro Mascagni
Apri la tua finestra
LUCIA DI LAMMERMOOR
Fra poco a me ricovero
~- 147
Gaetano Donizetti
LUISA MILLER
Quando le sere al placido
154
Giuseppe Verdi
MADAMA BUTTERFLY
Addio,fiorito asil
164
Giacomo Puccini
MANON LESCAUT
Donna non vidi mai
161
Giacomo Puccini
MEFISTOFELE
Dai campi, dai prati
166
Arrigo Boito
PAGLIACCI
Vesti la giubba
168
Ruggero Leoncavallo
IL PIRATA
Tu vedrai la sventurata
~ 171
Vincenzo Bellini
RIGOLETTO
Parmi veder le lagrime
~- 178
La donna e mobile
192
Giuseppe Verdi
TOSCA
Recondita armonia
196
E lucevan le stelle
199
Giacomo Puccini
LA TRAVIATA
Dei miei bollenti spiriti
202
Giuseppe Verdi
IL TROVATORE
Deserto sulla terra
208
Giuseppe Verdi
TURANDOT
Nessun dorms
210
Giacomo Puccini
INDEX
Vincenzo Bellini
68 E serbata a questo acciaro
(I Capuleti e i Montecchi)
171 Tu vedrai la sventurata (Il pinata)
Amigo Boito
166 Dai campi, dai prati (Mefistofele)
Francesco Cilea
38 E la solita storia (L'Arlesiana)
Gaetano Donizetti
108 Come gentil(Don Pasquale)
147 Fra poco a me ricovero
(Lucia di Lammermoor)
113 Spirto gentil(Lafavorita)
118 Una furtiva lagrima (L'elisir d'amore)
Umberto Giordano
34 Come un bel di di maggio(Andrea Chenier)
George Frideric Handel
23 E un folle, e un vile affetto (Alcina)
Ruggero Leoncavallo
168 Vesti la giubba (Pagliacci)
Pietro Mascagni
144 Apri la tua finestra (Iris)
77 O Lola,Bianca come fior di spino
(Cavalleria rusticana)
Claudio Monteverdi
129 Sento un certo non so the
(L'incoronazione di Poppea)
Wolfgang Amadeus Mozart
124 Che belts, the leggiadria (Lafinta giardiniera)
92 Del piu sublime soglio (La clemenza di Tito)
100 Il mio tesoro(Don Giovanni)
96 Un'aura amoroso (Cosifan tutte)
Giacomo Puccini
164 Addio,fiorito asil(Madams Butterfly)
138 Avete torto!(Gianni Schicchi)
63 Che gelida marina (La boheme)
122 Ch'ella mi creda (Lafanciulla del West)
161 Donna non vidi mai(Manor Lescaut)
199 E lucevan le stelle (Tosca)
210 Nessun dorms(Turandot)
196 Recondita armonia (Tosca)
Gioachino Rossini
54 Ecco ridente in cielo (Il barbiere di Siviglia)
60 Se it mio nome saper bramate (Serenata)
(Il barbiere di Siviglia)
80 Si, ritrovarla io giuro (La Cenerentola)
Giuseppe Verdi
28 Celeste Aida (Aida)
202 Dei miei bollenti spiriti(La traviata)
208 Deserto sulla terra (Il trovatore)
42 Di tu' se fedele(Un hallo in maschera)
192 La donna e mobile (Kigoletto)
48 Ma se m'e forza perderti
(Un hallo in maschera)
132 O to the in seno agli angeli
(Laforza del destino)
178 Parmi veder le lagrime (Rigoletto)
154 Quando le sere al placido (Luisa Miller)
AIDA
Music: Giuseppe Verdi. Libretto: Antonio Ghislanzoni, after the French prose of Camille du Locle; plot by August Mariette.
First performance: Opera House,Cairo,24 December 1871 (not for the opening of the Suez Canal,as sometimes said). Setting:
Memphis,Egypt; ancient times;a hall in the king's palace.
Celeste Aida
from Act I
Dramatic context: The priests of Isis are offering sacrifices to learn from the goddess whom she will choose to lead the
Egyptian army against the invading Ethiopian forces. Radames,captain of the Egyptian guard,hopes that he will be chosen.
Imagining a victorious return, he believes he will then be able to receive permission to marry Aida,an Ethiopian slave girl
who belongs to Amneris,the daughter of the Egyptian king.
Se quel guerrier
io fossil se it mio sogno
si avverasse! Un esercito di prodi
da me guidato... e la vittoria... e it plauso
di Menfi tutta! E a te, mia dolce Aida,
tornar di lauri cinto...
dirti: per to ho pugnato, per to ho vinto!
If that warrior
were I! if my dream
were to come true! An army of valiant men
led by me... and the victory... and the acclaim
ofall Memphis! And to you, my sweet Aida,
return with laurel crowned...
to say to you:for you I havefought,for you I have won!
ALCINA
Music: George Frideric Handel. Libretto: Anonymous,adapted from Antonio Fanzaglia's libretto L'Isola della Alcina, after
Ludovico Ariosto's epic poem Orlando Furioso. First performance:Covent Garden, London,l6 Apri11735. Setting: Alcina's
enchanted island.
un folle, e un vile affetto
from Act II
Dramatic context: Alcina's servant Oronte is in love with Morgana,Alcina's sister. Morgana,however,has fallen in love with
Ricciardo (actually Bradamante, a woman posing as a man to rescue her fiance Ruggiero from the clutches of the sorceress
Alcina). Once again rebuffed by Morgana,Oronte vows to steel his heart against her charms.
$ un folle,e un vile affetto,
non e la sus belts,
the trionfar la fa
superba del mio tor.
ANDREA CHENIER
Music: Umberto Giordano. Libretto: Luigi Illica, inspired by the life of the French poet Andrea Chenier. First performance:
Teatro alla Scala, Milan,28 March 1896. Setting: Paris, after the French Revolution.
Come un bel di di maggio
from Act N
Dramatic context: The poet Andrea Chenier,falsely accused as acounter-revolutionary, has been sentenced to death. In the
courtyard of St. Lazare Prison he writes a poem as he awaits the cart that will carry him to his execution. His friend Roucher
asks him to read the poem,which describes his feelings as a poet facing death.
Come un bel di di maggio
the con bacio di vento
e carezza di raggio
si spegne in firmamento,
L'ARLESIANA
(The Girl from Arles)
Music: Francesco Cilea. Libretto: Leopoldo Marenco,based on the play L'Arlesienne by Alphonse Daudet. First performance:
Teatro Lirico, Milan,27 November 1897. Setting: Provence,nineteenth century.
E la solita storia
from Act II
Dramatic context: Federico is in love with a girl from Arles, but his mother Rosa Mamai and her godchild Vivetta, who loves
him,show Federico letters proving the girl has been the mistress of Metifio, the stablehand. Though Federico consents to
marry Vivetta, his passion and pain are very much alive.
$ la solita storia del pastore
ii povero ragazzo
voleva raccontarla, e s'addormi.
C'e nel sonno 1'oblio. Come 1'invidio!
Anch'io vorrei dormir cosi;
nel sonno almen 1'oblio trovar!
La pace Sol cercando io vo'!
Vorrei poter tutto scordar!
Pur ogni sforzo e vano... davanti
ho sempre di lei it dolce sembiante!
La pace tolta e sempre a me!
Perche degg'io tanto penar?...
Lei, sempre lei dinanzi a me! Fatale
vision, mi lascia! Mi fai tanto male!
Ahime!
UN BALLO IN MASCHERA
(A Masked Ball)
Music: Giuseppe Verdi. Libretto: Antonio Somma,after Eugene Scribe's libretto for Daniel-Francois-Esprit Auber's opera
Gustave III, ou Le Bal Masque,based on the assasination of Gustave III of Sweden at a masked ball in 1792. First performance:
Teatro Apollo, Rome,17 February 1859. Setting: The opera was originally planned to follow the Gustave III setting in late
eighteenth century Sweden,but because of censorship the king was changed to a governor in Boston.
Di' to se fedele
from Act I, scene 2
Dramatic context: Riccardo,the governor of Boston, has disguised himself as a fisherman. In the but of the old fortune-teller
Ulrica, he waits his turn to test her powers of divination,singing a barcarolle in which he declares that nothing can hold him
from the sea or from the woman he loves.
Di to se fedele
it Hutto m'aspetta,
se molle di pianto
la donna diletta
dicendomi addio,
tradi 1'amor mio.
Tell me iffaithful
the sea awaits me,
if, weakened by tears,
my beloved lady,
in sayingfarewell,
betrayed my love.
Sollecita esplora,
divina gli eventi:
non possono i fulmin,
la rabbia de' venti,
la morte,l'amore
sviarmi dal mar.
Urgently explore,
predict thefuture;
neither lightning,
fury of the winds,
death, nor love
turn mefrom the sea.
Sull'agile prora
the m'agita in grembo,
se scosso mi sveglio
ai fischi del nembo,
ripeto fra' tuoni
le dolci canzoni.
Le dolci canzoni
del tetto natio,
the i baci ricordan
dell'ultimo addio,
e tutte raccendon
le forze del cor.
Su dunque,risuoni
la tua profezia,
di' cio the puo Borger
dal fato qual sia;
nell'anime nostre
non entra terror.
On agile prow
that wrenches my breast,
ifshaken 1 awake
to the howling storm,
I repeat amid the thunder
the sweet songs.
The sweet songs
of my native home,
which remind me of the kisses
of my lastfarewell,
and rekindle all
the courage of my heart.
Onward, then, soundforth
your prophecy;
tell what might come
from whatever destiny brings;
in our souls
will enter no terror.
IL BARBIERE DI SIVIGLIA
(The Barber of Seville)
Music: Gioachino Rossini, originally titled Almaviva, ossia L'inutile precauzione(Almaviva,or The Useless Precaution). Libretto:
Cesare Sterbini, based on Le Barbier de Seville, a play by Pierre-Auguste Caron de Beaumarchais and the libretto for Giovanni
Paisiello's Il barbiere di Siviglia. First performance: Teatro Argentina,Rome,20 February 1816. Setting: Seville, eighteenth
century.
Ecco ridente in cielo
from Act I, scene 1
Dramatic context:In the pre-dawn light of a public square outside the house of Don Bartolo,Count Almaviva serenades the
beautiful Rosina,Bartolo's ward. Disguised as the student "Lindoro," and accompanied by a band of professional musicians,
he sings that Rosina will bring happiness to his life in the same way that the coming dawn drives away the darkness.
Ecco ridente in cielo
spunta la Bella aurora,
e to non sorgi ancora
e puoi dormir cosi?
Oh istante d'amore!
Felice momento!
Oh dolce contento
the equal no,non ha.
Io son Lindoro
the lido v'adoro,
the sposa vi bramo,
the a nome vi chiamo
di voi sempre parlando cosi
dall'aurora al tramonto del di.
I am Lindoro,
who loves you dearly,
who hopes to marry you,
who calls your name,
who always speaks of you thus,
from dawn to dusk.
LA BOHEME
(The Bohemian Life)
Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after Henri Murger's novel Scenes de la Vie de Boheme.
First performance: Teatro Regio, Turin,l February 1896. Setting: Paris, c1830.
10
CAPULETI E I MONTECCHI
(The Capulets and the Montagues)
Music: Vincenzo Bellini. Libretto: Felice Romani,based on his libretto for Nicola Vaccai's Giulietta e Romeo,in turn based on
Luigi Scevola's tragedy of the same name. First performance: Teatro La Fenice, Venice,11 March 1830. Setting: Verona,
thirteenth century.
E serbata a questo acciaro
from Act I, scene 1
Dramatic context: In a hall in Capulets' palace, Capellio, head of the family, waits with his followers for an emissary's news of
the Montagues, their enemies. Capellio's son was killed in battle by Romeo,the son of Montague. Tebaldo,in love with
Capellio's daughter Giulietta, affirms Capellio's vow to have bloody revenge on the Montagues.
E serbata a questo acciaro
del tuo sangue la vendetta:
1'ho giurato per Giulietta:
tatty Italia, it ciel to sa.
Tu d'un nodo a me si caro
solo affretta it dolce istante;
ed it voto dell'amante
it consorte adempira.
11
CAVALLERIA RUSTICANA
(Rustic Chivalry)
Music: Pietro Mascagni. Libretto: Giovanni Targioni-Tozzetti and Guido Menasci, based on a short story by Giovanni Verga.
First performance: Teatro Costanzi, Rome,17 May 1890. Setting: A Sicilian village, on an Easter Day in the nineteenth
century.
O Lola,Bianca come fior di spino
Dramatic context: Turiddu,a young soldier returning from war,sings a serenade to Lola, his beloved. Turridu's Siciliana is
part of the orchestral prelude and is sung from behind the curtain.
O Lola,Bianca come fior di spino,
quando t'affacci to s'affaccia it sole;
chi t'ha baciato it labbro porporino
grazia piu Bella a Dio chieder non vole!
C'e scritto sangue sopra la tua ports;
ma di restarci a me non me n'importa.
Se per to mojo e vado in paradiso,
non c'entro se non vedo it tuo Bel viso.
LA CENERENTOLA
(ossia, La Bonta in Trionfo)
(Cinderella, or The Triumph of Goodness)
Music: Gioachino Rossini. Libretto: Jacopo Ferretti, after Charles Perrault's Cendrillon and probably both Charles-Guillaume
$tienne's libretto for Niccolo Isouard's Cendrillon and the libretto for Stefano Pavesis Agatina; also after the fairy tale. First
performance: Teatro Valle, Rome,25 January 1817.
Si, ritrovarla io giuro
from Act II,scene 1
Dramatic context: Don Ramiro, prince of Salerno, has traded places with his valet Danduu. While in disguise, Ramiro
encounters Angelina (Cenerentola), and the two fall in love at first sight. Ramiro resolves to find her again and win her as his
bride.
Si, ritrovarla io giuro.
Amore,amor mi muove:
se fosse in grembo a Giove
io la ritrovero.
Noi voleremo,domanderemo,
ricercheremo,ritroveremo.
Dolce speranza,freddo timore
dentro al mio core stanno a pugnar.
Amore,amore, m'hai da guidar.
We willfly, inquire,
search, discover.
Sweet hope, chillingfear,
within my heart are wrestling.
Love, love, you must guide me.
LA CLEMENZA DI TITO
(The Clemency of Titus)
Music: Wolfgang Amadeus Mozart. Libretto: Caterino Mazzola, adapted from a libretto by Pietro Metastasio. First
performance: National Theatre,Prague,6 September 1791. Setting: Rome,c80 A.D.
Del piu sublime soglio
from Act I
Dramatic context: Tito, who contemplates marrying his friend Sesto's sister Servilia, promises Sesto a great and powerful
position at his palace. Tito extols the privilege of generosity enjoyed by men of great power.
Del piiz sublime soglio
1'unico frutto e questo:
tutto e tormento it resto,
e tutto e servitu.
12
DON GIOVANNI
(Don Juan)
Music: Wolfgang Amadeus Mozart. Libretto: Lorenzo da Ponte, after Giovanni Bertati's libretto for Giuseppe Gazzaniga's
opera Il convitato di pietra; also based on the Don Juan legends. First performance: National Theatre,Prague,29 October 1787.
Setting: Seville, sixteenth century.
Il mio tesoro
from Act II,scene 2
Dramatic context: Don Ottavio is finally convinced that it was Don Giovanni who killed the Commendatore,the father of his
fiancee Donna Anna. He asserts that he will punish this wrong and bring solace to his beloved.
Il mio tesoro intanto
andate a consolar,
e del bel Giglio it pianto
cercate di asciugar.
My beloved, meanwhile,
go to comfort,
andfrom her lovely lash the tears
attempt to dry.
DON PASQUALE
Music: Gaetano Donizetti. Libretto: Donizetti and Giovaruli Ruffini, based on Anellis libretto for Stefano Pavesi's opera Ser
Marcantonio. First performance: Theatre-Italien, Paris,3 January 1843. Setting: Rome,early nineteenth century.
13
Come gentil
from Act III, scene 2
Dramatic context: From Don Pasquale's garden,Ernesto serenades his beloved Norina. He describes the beauty of the moonlit
night and longs for "Nina" to be with him. In the opera, this aria is sung offstage, accompanied by guitars, with a chorus
responding throughout.
Come gentil la notte a mezzo april!
E azzurro it ciel, la Luna e senza vel:
tutt'e languor, pace, mistero, amor.
Ben mio,perche ancor non vieni a me?
Formano 1'aure
d'amore accenti,
del rio nel murmure
sospiri senti;
ben mio,perche ancor non vieni a me?
Poi quando saro morto, piangerai,
ma richiamarmi in vita non potrai.
L'ELISIR D'AMORE
(The Elixir of Love)
Music: Gaetano Donizetti. Libretto: Felice Romani,after Eugene Scribe's libretto for Daniel-Francois Auber's opera Le Philtre.
First performance: Teatro Bella Canobbiana, Milan,l2 May 1832. Setting: A small Italian village, nineteenth century; the
village square.
Una furtiva lagrima
from Act II, scene 2
Dramatic context: Nemorino,a simple peasant, has fallen in love with Adina,a rich farm owner in the village. He believes that
his instant success with the girls is due to Doctor Dulcamara's elixir (actually Bordeaux wine) which he has just taken. He
doesrit yet know what the girls know: he is about to inherit a large fortune left by his rich uncle. Wandering away from the
village dance, Nemorino can think only of Adina, who seemed upset by his new indifference and by the attention he was
receiving from the village girls.
Una furtiva lagrima
negli occhi suoi spunto:
quelle festose giovani
invidiar sembro.
Che piiz cercando io vo?
Mama, mama,to vedo.
A secret tear
sprung to her eyes;
she seemed to envy
thosefestive maidens.
What more do I seek?
She loves me,she loves me,I see it.
14
LA FAVORITA
(The Favorite)
Music: Gaetano Donizetti. Libretto: Alphonse Royer and Gustave Vaez,after Baculard d'Arnaud's drama Le Comte de
Comminges; additions by Eugene Scribe, based in part on his libretto for Donizetti's L'Ange de Nisida. The opera was originally
sung in French (La Favorite), but performance in Italian has long been standard. First performance: Opera,Paris,2 December
1840. Setting: Compostela,Spain;1340; a courtyard of the monastery of Saint James.
Spirto gentil
from Act IV
Dramatic context: Fernando,a monastic novice turned Spanish army officer, was granted a reward by the king for his bravery
on the battlefield. Unaware that Leonora, who refused to reveal her identity, was the king's mistress, Fernando asked for her
hand in marriage and was granted it. Now discovering the truth,Fernando has disavowed his military honors and returned to
the monastery, where he reminisces about his love for Leonora.
Favorita del re! Qual nero abisso,
qual mat trama infernal
la gloria mia awolse in un istante,
e ogni speme tronco del core amante!
LA FINTA GIARDINIERA
(The Feigned Gardeness)
Music: Wolfgang Amadeus Mozart. Libretto: Author unknown. First performance: Court Theatre, Munich,l3 January 1775.
Setting: The garden of Don Anchises.
Che belts, the leggiadria
from Act I
Dramatic context: Belfiore arrives in a carriage and as he looks at a portrait of his betrothed, Arminda,he praises her beauty
and radiance.
Che belts,the leggiadria,
the splendore,eterni Dei!
Guardo it sole e guardo lei,
e colpito da quei rat
parmi,oh Dio! di vacillar.
15
GIANNI SCHICCHI
Music: Giacomo Puccini. Libretto: Giovacchino Forzano,suggested by an episode in Dante's Inferno. First performance:
Metropolitan Opera House, New York,14 December 1918. Setting: Florence, 1299.
Avete torto!
Dramatic context: T'he recently-deceased Buoso Donati is surrounded by falsely grieving relatives who become outraged
when they learn that his will leaves his entire estate to a monastery. Rinuccio, one of Donati's young nephews,is in love with
Lauretta, but his family disapproves of this union. Rinuccio attempts to persuade the family to engage the cunning Gianni
Schicchi, Lauretta's father, to help them out of their dilemma. He extols Florence's past glories and acclaims Schicchi as yet
another in the city's rich heritage of noble citizens.
Avete torto!
E fine! astuto...
Ogni malizia
di leggi e codici
conosce e sa.
Motteggiatore! Beffeggiatore!
C'e da fare una beffa nuova e rara?
E Gianni Schicchi the la prepara!
Gli occhi furbi gli illuminan di riso
to sirano viso,
ombreggiato da quel suo gran nasone
the pare un torracchione
per cosi!
Vien dal contado? Ebbene? Che vuol dire?
Basta con queste ubbie grette e piccine!
16
L'INCORONAZIONE DI POPPEA
(The Coronation of Poppea)
Music: Claudio Monteverdi. Libretto: Giovanni Francesco Busenello, based on the Annals by first-century Roman historian
Tacitus. First performance: Teatro Santi Giovanni e Paolo, Venice, 1642. Setting: Rome,during the rule of Nero,65 A.D.
Sento un certo non so the
from Act II
Dramatic context: Valletto is page to the Empress Ottavia, wife of Nero. He sings a playful song of love to Damigella,
Ottavia's lady-in-waiting.
Sento un certo non so che,
the mi pizzica,e diletta:
dixnxni to the cosa egli e,
damigella amorosetta.
Ti farei,
ti direi,
ma non so quel ch'io vorrei.
IRIS
Music: Pietro Mascagni. Libretto: Luigi Illica. First performance: Teatro Costanzi, Rome,22 November 1898. Setting: Japan,
nineteenth century.
Apri la tua finestra
from Act I
Dramatic context: The nobleman Osaka is playing the role of the son of the Sun God in a marionette show. He serenades the
watching Iris with a love song,but she is unaware that it is intended for her.
Apri la tua finestra! Jor son io
the vengo al tuo chiamar, povera Dhia!
Apri la tua finestra al raggio mio!
Apri it tuo cor a mia calda malia!
LUCIA DI LAMMERMOOR
(Lucy of Lammermoor)
Music: Gaetano Donizetti. Libretto: Salvadore Cammarano,based on Sir Walter Scott's novel The Bride ofLammermoor. First
performance: Teatro San Carlo, Naples,26 September 1835. Setting: Scotland,late seventeenth century.
17
LUISA MILLER
Music: Giuseppe Verdi. Libretto: Salvadore Cammarano,based on Friedrich von Schiller's play Kabale and Liebe. First
performance: Teatro San Carlo, Naples,S December 1849. Setting: The Tyrol,seventeenth century.
Quando le sere al placido
from Act II, scene 3
Dramatic context: Luisa was compelled to renounce her love for Roldolfo in order to save her father from prison. Rodolfo has
just read the letter she was forced to write,saying that she never loved him. Remembering the many times she whispered "I
love you;' Rodolfo is devastated.
Oh! fede
negar potessi agli occhi miei!... Se cielo
e terra, se mortali
ed angeli attestarmi
volesser ch'ella non e rea,"mentite!"
io risponder dovrei,"tutu mentite!"
Son cifre sue!
Tanta perfidial... un'alma
si nera! si mendace!
Ben la conobbe it padre!...
Ma dunque i giuri,
le speranze,la gioia,
le lagrime,l'affano?
Tutto e menzogna,tradimento,inganno!
18
MADAMA BUTTERFLY
Music: Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, after the play by David Belasco, based on a story by John
Luther Long. First performance: Teatro alla Scala, Milan,17 February 1904. Setting: Nagasaki,early twentieth century.
Addio,fiorito asil
from Act III
Dramatic context: After an absence of three years, U.S. Navy Lieutenant B.F. Pinkerton returns to the home of Butterfly,
his
Japanese "wife." Butterfly's maid Suzuki tells him that Butterfly has gone out. Deciding that it would be too painful to say
goodbye to Butterfly, Pinkerton bids farewell to the house in which he and Butterfly spent many rapturous hours.
Addio,fiorito asil,
di letizia e d'amor...
Sempre it mite suo sembiante
con strazio airoce vedro.
Non reggo al tuo squallor,
Fuggo,fuggo,son vil!
Farewell,florid refuge
ofhappiness and of love...
Forever her gentle countenance
wracked with anguish I will envision.
I cannot resist your misery,
1flee; Iflee, I am a coward!
MANON LESCAUT
Music: Giacomo Puccini. Libretto: Domenico Oliva, Marco Praga, Luigi Illica, after Abbe Prevost's novel L'Histoire du Chevalier
des Grieux et de Manon Lescaut. First performance: Teatro Regio,Turin,l February 1893. Setting: Amiens,eighteenth century.
Donna non vidi mai
from Act I
Dramatic context: In front of an inn,the Chevalier des Grieux has seen Manon Lescaut for the first time. She is on her way to a
convent, under the care of her brother. Des Grieux speaks to her, they fall immediately in love, and run away to Paris.
Donna non vidi mai simile a questa!
A dirle: io t'amo,
a nuova vita Palma mia si desta.
"Manon Lescaut mi chiamo!"
Come queste parole profumate
mi vagan nello spirto
e ascose fibre vanno a carezzare.
O sussurro gentil, deh! non cessare!
MEFISTOFELE
(Mephistofeles)
Music: Arrigo Boito. Libretto: Boito, based on Johann Wolfgang von Goethe's Faust. First performance: Teatro alla Scala,
Milan,5 March 1868. Setting: Germany,sixteenth century.
Dai campi,dai prati
from Act I
Dramatic context: In his laboratory on Easter Day,the aged Dr. Faust reflects upon the beauty and goodness of the world.
19
PAGLIACCI
(Clowns)
First performance:
Music: Ruggero Leoncavallo. Libretto: Leoncavallo, based on a court case his father heard as a judge.
late 1860s.
Calabria),
of
province
Italian
in
the
(a
village
Montalto
Setting:
1892.
May
21
Teatro del Verme,Milan,
Vesti la giubba
from Act I
an affair with
Dramatic context: Canio and his wife Nedda are members of a traveling troupe of actors. Nedda is having
of his broken
Silvio, a villager. Canio suspects her infidelity. As he applies his clown make-up before a show,Canio sings
heart.
Recitar!... Mentre preso dal delirio
non so piiz quel the dico e quel the Eaccio!
Eppur e d'uopo... sforzati!
Bah... sei to forse un uom? Tu se'Pagliaccio!
IL PIRATA
(The Pirate)
Bertram, ou Le pirate, itself derived from a
Music: Vincenzo Bellini. Libretto: Felice Romani,after Isidore Taylor's melodrama
1827. Setting: Sicily, thirteenth century.
October
tragedy by Charles Maturin. First performance: Teatro alla Scala, Milan,27
Tu vedrai la sventurata
from Act II, scene 10
repay the wrongs he suffered and to win back his beloved Imogene.
to
order
in
a
pirate
became
Gualtiero
context:
Dramatic
him to a duel. Having submitted to a trial by the knights, he has
challenged
Gualtiero killed Imogene's husband Ernesto, who
to his beloved.
been sentenced to die. He asks Adele,Imogene's lady-in-waiting, to defend his memory
Tu vedrai la sveniurata
the di pianto oggetto io resit
le dirai the s'io 1'offesi,
pur la seppi vendicar.
Forse un di, con me placata,
alzera per me preghiera,
e verra pietosa a sera
Sul mio Sasso a lagrimar.
Ma non fia sempre odiata
la mia memoria,io Spero;
se fui spietato e fiero,
fuisventurato ancor.
E parlera la tomba
alle pietose genti
de'lunghi miei tormenti,
del mio tradito amor.
zo
RIGOLETTO
Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, based on Victor Hugo's play Le Roi
S'amuse. First performance:
Teatro La Fenice, Venice,11 March 1851. Setting: Mantua,sixteenth century.
Parmi veder le lagrime
from Act II
Dramatic context: Following a tryst with Gilda,the daughter
of his hump-backed jester Rigoletto, the Duke has returned
to
her house and discovered that she has been abducted. In a salon
in his palace, he dejectedly laments his loss. In the second
part, courtiers rush into the room to inform the Duke that they have
abducted Gilda, and in an aside he expresses his joyous
relief.
Ella mi fu rapita!
E quando,o ciel?... ne' brevi istanti, prima
the it mio presagio interno
sull'orma corsa ancora mi spingesse!...
Schiuso era 1'uscio!... e la magion deserta!
E dove ora Sara quell'angiol taro?...
Colei the prima potea in questo core
destar la fiamma di costanti affetti?...
Colei si pura, al cui modesto sguardo
quasi spinto a virtu talor mi credo!...
Ella mi fu rapital...
E chi 1'ardiva?... ma ne avro vendetta!
to chiede it pianto della mia diletta!
La donna e mobile
from Act III
Dramatic context: The Duke,disguised as a soldier, has gone to the run-down inn
of the gypsy assasin Sparafucile on the
outskirts of town. As he awaits an assignation with Sparafucile's sister Maddalena,
he orders wine and a room for the night,
singing a song about the capricious nature of women.
La donna e mobile
qual piuma al vento,
muta d'accento e di pensier.
Sempre un amabile
leggiadro viso,
in pianto o in riso, e menzogner.
A woman is capricious
like afeather in the wind,
fickle in word and in thought.
Unfailingly a sweet,
prettyface,
whether in tears or in laughter, is insincere.
$ sempre misero
chi a lei s'affida,
chi le confida mal cauto it tor!
Pur mai non sentesi
felice appieno
chi su quel seno non liba amor!
21
TOSCA
Music. Giacomo Puccini. Libretto: Giuseppe Giacosa and Luigi Illica, based on the play La Tosca by Victorien Sardou. First
performance: Teatro Costanzi, Rome,14 January 1900. Setting: Rome,June 1800.
Recondita armonia
from Act I
Dramatic context: The painter Mario Cavaradossi is in love with Floria Tosca, a famous singer. While working on a mural in
the church of Sant'Andrea Bella Valle, he compares the portrait of Mary Magdalene he is painting to the dark-eyed Tosca.
Recondita armonia
di bellezze diverse! E bruna Floria,
1'ardente amante mia,
e te, beltade ignota,
cinta di chiome bionde!
Tu azzurro hai 1'occhio, Tosca ha 1'occhio Hero!
L'arte nel suo mistero
le diverse bellezze insiem confonde:
ma nel ritrar costei...
it mio solo pensiero, Tosca,to sei!
Enigmatic harrrion~
of differe3~t beatisties! Dark-haired is Flora,
my passionate lover,
and you, na~vieless benut~,
crowned zvitlz blonde tresses!
Yoii have blue ekes; Tosca's ekes are black!
Art in its mystery
blends the different beauties together;
but irT portraying her...
my only thought, Tosca, is you!
E lucevan le stelle
from Act III
Dramatic context: For lending aid to an escaped political prisoner, Cavaradossi has been sentenced to die before a firing
squad. In the pre-dawn light atop the Castel Sant'Angelo, he begins writing a letter, but soon stops to remember Tosca and
their love.
E lucevan le stelle... e olezzava
la terra... stridea 1'uscio
dell'orto... e un passo sfiorava la rena.
Entrava ella, fragrante,
mi cadea fra le braccia.
Oh! dolci baci, o languide carezze,
mentr'io fremente
le belle forme disciogliea dai veli!
Svani per sempre it sogno mio d'amore
fora e fuggita
e muoio disperato!...
E non ho amato mai tanto la vita!
LA TRAVIATA
(The Fallen Woman)
Music: Giuseppe Verdi. Libretto: Francesco Maria Piave, after the play La Darne aitx Carrtelias by Alexander Dumas,Jr. First
perfortnanee: Teatro La Fenice, Venice,6 March 1853. Setting: Paris, 1850s.
Dei miei bollenti spiriti
from Act II
Dramatic context: Alfredo Germont has fallen in love with the Parisian courtesan Violetta Valery. They now share a country
house. Alfredo enters the salon in sporting attire, reflecting upon the three blissful months they have spent together.
Lunge da lei per me non v'ha diletto!...
Volaron gia tre Lune
dacche la mia Violetta
agi per me lascio, dovizie, amori,
e le pompose feste,
ov'agli omaggi avvezza,
vedea schiavo ciascun di sua bellezza...
Ed or contenta in questi ameni luoghi
tutto scorda per me... Qui presso a lei
io rinascer mi sento,
e dal soffio d'amor rigenerato
scordo ne' gaudi suoi tutto it passato.
22
My ]tot-blooded spirit,
youthftcl passion,
she tempered with a peaceful
sniffle of love!
From the drzy she said: to live
faithful to Jou is w11at I desire,
oblivious to the universe
I III but live iii paradise.
IL TROVATORE
(The Troubador)
Music: Giuseppe Verdi. Libretto: Salvadore Cainmarano (completed by Leone Emanuele Bardare after Cammarano's
death in
1852), based on the Spanish play EI Trovador by Antonio Garcia Gutierrez. First performance: Teatro Apollo, Rome,
19 January
1853. Setting: Spain, fifteenth century.
Deserto sulla terra
from Act I, scene 2
Dramatic context: In the palace garden, thick clouds hide t11e tnooil. From a thicket, accompanied by a lute, wines the
voice of
the Troubador (Manrico), serenading his beloved Leonora.
Deserto sulla terra,
col rio destino in guerra,
e sola speme un cor
al Trovator!
TURANDOT
Music: Giacomo Puccini. Libretto: Giusej~pe Adami and Renato Siinoni, after Friedrich von Schiller's adaptation the
of
play
Tt~randotte by Carlo Gozzi. First performance: Teatro ally Scala, Milan,25 April 1926. Setting: Ancient Beijing.
Nessun dorma
from Act III
Dramatic context: The princess Turandot will marry the man who can solve three riddles; those who fail are summarily
beheaded. Calaf, the exiled prince of Tartary, is captured by her beauty. He submits to the riddle contest and wins, but
Turandot still will not marry hiin. He,in turn, poses his own riddle for her: if she can tell him his name before daybreak,
he
will submit to execution. Turandot declares that no one shall sleep until the mine of the prince is known, upon
penalty of
death. Calaf hears the injunction, but is unmoved,stating that he alone will unveil the secret and that Turandot will indeed
be
his bride.
Nessun dormal... Tu pure, n Principessa,
nella tua fredda stanza
guardi le stelle
the tremano d'amore e di Speranza!
Ma it mio mistero e chiuso in me,
i1 nome mio nessun saga!
Nn, no,sully tua bocca In diro,
quando la lute splendera!
Ed it mio bacio sciogliera it silenzio
the ti fa inia!
Dilegua, o notte! tramontate, stelle
All'alba vincero!
23
-t
ALCII~T1~
George Frideric Handel
(168-159)
Allegro
,v
Oronte
12
a cura di J.M.t~.
CopS~right OO 2002 by CASA RICORDIBMG RICORDI S.p.A.
Tutti i diiitti riservati All Rights Reserved
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1
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3
_?
si, _
sf
92
;~`
~
c, ~
to
`.~
93
18
22
26
JO
~~,.,~
94
~~
38
42
47
)5
~:~
~9
C
~J
96
2.
a
`~
~ ~ ~~
a'
~.
15
97
~n
.~
47
53
~~
..
~~
59
~~
~ '
~~Q:=ice. _.~.~.
~_
~i.~
~,~~
~i.~
~ ~~I'
100
Il mio tesoro
DON GIOVANNI
Wolfgang Amadeus Mozart
(1756-1791)
Andante grazioso
~~
i
~~
~~
Y0111'~~~~
~
.~~~~~
~~.~~~~~~~i~~~~
~~1
~~~~.~~~~~~~~~
~1
Don Ottavio
i2
101
r-~_
~n
~~
102
30
~%i~i~
~
~
~r~~
~i~~r~~~
t
~arm
~~~~
!~
~
~~~
~~
i
~~~~~i~
i
i
~~~i~~
~~
i
~
~~4t
Y0~~~
35
37
:J
t
~
~~
~~
103
_~
40
43
49
104
53
57
60
f I Il
64
t . ,.
105
FR
71
~~
n
N
V
~
{~
0
107
90
92
'ai~=
~
~ ~r~
~~
-_~.~~~~~I~~~~~~~~~~~~
'
~~~
r~~ !!
~~
~~~~~
~~~~
~~'
~~
1:
Come gentil
DON PASQUALE
Gaetano Donizetti
(1797-1848)
Andante mosso
109
~~
i--~
110
io T,.~.... ~,.
111
~n
~--~
112
Pochissimo piu mosso
90
oc
7.00
r1
opp I
113
Spirto gentll
LA FAVORITA
Gaetano Donizetti
(1797-1848)
Larghetto
~'~~~
\\\
'}Q'
~~L~~~~~~
I~/.
1
~~~~
~
LVI
~~~
~~
~~~~~
.r~~`~~~~
.--
~~~~~c.~r~s~~~~
~R~~~~~~~~~i~~~~~s~
~
Fernanr~~
recitativo
Maestoso
._
,
~
rrta
gloi
re
est
efi - glou -~
12
~~~~~~~~~~~~~_~~~~~~~~~
~~~~~~~~~~~~~~
~
I~~wm~~~~~~
'~~~
~1'~
er a-~~~~ ~~
~T' i~T' J:77' 1~'i
~~~r`~
___~
__
~~s_~~~~~~~-'
-'~~_
~~I''~
_'~~
I
r ~~ Amtit ~i,
-~~~T
_~
.
~~~r ~r s~
~
~T .~~I~~
~`~~
~r .
r~
114
1C>
~-~
ti
e,
et
de mon tris - to
Coeur
1'es - pe-ranee
sor
est
ti
e.
Larghetto
23
dolce
Spir
An
to
ge
gen-til,
si pur,
ne'
que
so - gni mie
daps
un son
i
ge
bril
j'ai
la - sti un di,
cru
trou-ver,
26
w
~
-~
~~
r~~n~=i
/.
7
r~J~~r~ir~~~~I~ice
~'\
~~~~/~~~'~~~~,
I/
S~
~V
~~~~~r~~~~
~~~~~~~~~~~~~~~~~~~
t
Y~~
~~~~~~
~~
~~
115
smorz.
__"~'~
29
~~>
>
>
lar
en
lar
et
d'a-mor,
ve
vo - lez-vous
fug - gi - to in - sie
en - vo - iez - vous
d'a-mor,
ja-mais,
ve
pour
En
35
d'u
ne
'
o tvmnn
r~11
32
pour 1'a-moxr
moi,
me,
~
--_
fem
i~.sa=
~~.~
de
nie,
1'a - mour
Dieu
a - vait
fai
pi
bli;
~r~T~i~~~r~
~if~sa~~~..~~
~~~rsair ~~~~i~
r~~~~i~~
~~~
~~i~r~~~~
~~~~~~~~~
~i~~~~~~~~~~~~~~~~~~~
~r~~~~.~~~~~i~~~~~~~~
i
~t .
~~~
~
.
~
~-!~~~t
~~~~~~~~
Y
116
38
tie!
41
je
t'ai
ren - du
mon
~_
bli,
pi - tie,
me,
pi - tie,
/~
pi
tie!
I Tempo
44
117
47
~~~~_'
~
,~~~~~~
~Vr~~~~i~
~iw~r~i~1rST~f~~T~~'
~~~~I~i~
~~Ia~~
~~~
'
~~~
~~i/~~~~~~~~~'
~
.
.~~~~~'~~
~
~_
~~
i
DIY
~~
iii
stringendo
~~~~~i~~~7~~~~t~~1~~'~'V~i~.
Y~~1~~~~~~~~ ~~~~['L
~3J
rail.
50
lar
et
[ten.]
Pte
' ~~
lar
me, _
fug - gi - to in-sie en - vo - lez-vous, en - vo - lez - vous,
d'a-mor,
ja-mais,
ve
pour
>~.~
ve d'a
et pour'
jr~ n
rall.
[col canto]
n
~~
rail.
56
siem,
vous
in
et
siem,
pour_
q
- ,.~
3
lar - ve d'a - mor.
mais.
ja
n
_~
p
rail.
n
~~
118
calando
t,
P ~~
Nemorino dolce
~-~-~
119
1Q
120
34
37
121
~a
f
>
--
42
rall.
(f)
45
46
r1
do.
Si puo mo-rir,
(P)
si puo mo-rir
/1
d'a
122
Ch'ella mi creda
LA FANCIULLA DEL WEST
Giacomo Puccini
(1858-1924)
..
~i
.~:7~~'I~li:~~~~:
~
t
.l~~SL
-,
~.~~'
ITT
.~~~'~.
r-
. , ... .
~
~.tiu~r~~~~~~
~
~
~'~1
r.~~~~~.
~r~~.ter
.~~~~
~~~r~
allargando
~
CYL'SCP11Ll~
..
123
io
a temtio
rail.
13
,-i~
20
/1
_---------~
mio so - to
vi - to
'"'~~~
/
fior!
n
i
~~
~
~
~
124
Andante maestoso
.~C7~S~~.~~~~~~S~
~
~i'
i~S.~'~~~~~*~~~~~~~5.~
'
~
't ~~~~
~
Y
_
~
y
~
~~
~~~
~
~~
~~~~~~~~
~
~
~~~
+
I
~~~~~~~~~~
~~~~~~r~~~
~
i7~r~
~r~~~~~~~~r~~~r~~~~~~
~~~~~~
~Y Q~/lam'~~
~~~fi~~~~~~~~r~
~
i~ti~~~s~~ ~~
~~~~~~~r~
ric~~
~~~~c~-~~~~
f~~rl~~~~~~~~~~~r
~~~~~r
~~~~~~aL~trls ~~.~ .mss
~~~~r~
t .s.~i~~f .~~r -~.
~~
6i~~
12
RolFinrn
ZJ
125
21
~a
y~
126
30
33
36
39
~-
127
43
47
50
53
128
56
59
62
6~
129
[Allegro]
Valletto
io
14
a cura di P.T.
I S.p.A
Copyright OO 2002 by CASA RICORDIBMG RICORD
Tutti i diritti riservati All Rights Reserved
130
is
Zz
27
31
131
35
~a
132
,
, Andante mosso (.~. = 56)
Don Alvaro
~~~~a
.~:11
~
<Vi~~
recitativo
1
~i~'.
III=~~ _~~~~~
.~r~~~~~ a
,
1~I~~I~~~
~~
~~~~I~
i
l ~~i~.a~i~~
~~~~iir~~~a~~
~v'~'~~~~~~r~~~~~~~
:~i~
Y
.O~~~~~~~r~~~~~
~~
IIt
~~
~/
i~~
~ .sa~~~w~i~~~~ii:
~
~r~~i~~~~
~~~
~
~
I
~I ~
IIAS
1[~/
mo
I
:
~
i
~~~~~~
~~~J~Nrr/~-s~~
13
w
.~.
i
r~~~~~~~~~~~~~~~~~~~~
I
.S7~~r~+'i
~~t~i
ii~~
~~~~r +~~~a~~~
~~~~~~t~
ra~,~~~
~~
~Vr~~~
r~~~~ ~~~~~~~~~~~~~
.
~
~~~'
r~s
Y arr
/
~.7~~
~:
s~~r~~r
i
~r
~/~r~t
~
..~++~+~
~~~~~~~
~~~r.~~
Iii,
17Ti
19w
~~
~
dolce
-`
recitativo
~~~~~~~~
.~
~r
~
~.~r
~
~~
.~~
~~r~~
~~~
~~~
~
..~w~~~~~~~~~~~~
~
i~~~~~~~~~~~~
~..~
~r
~
+~~~srr=~o~r ~r~~ a
~~~~~~~~~~~~~~~~~~
~~~~~
~a~r~~~~~~~~~
~~
~~:~~~~"~
~i~ ~~a~a~~
vr~==~=~~
~r
/ ,
yr
:
~I
i
r~~~~~~~~~~~~
r
is~~r~~r~
la~w~r~
~
~:_ ~
s
~r ~~[i
r.
~,
~
~
ST
~~I~
I
t
~:4'.
~vr~~~
~t~!~
~1~
133
Allegro moderato (~ = 96)
24
con semplicitd
--~
r- 3 , r 3
o~
134
.f
45
49
morendo
,,,~
53
w
.
~.
ia~r~~~~~~~~~~~~~
~~~~
.
vr
~~r~~~t~~~~~~..ter s~~~..~
i~~.
~~
r~
~-~r~~u~~~~~~~ =ter
~
~
~ar~.
t~~~~r~~~~~
ivi~r~~~~r~~~~~r~~
s~a~~~~~r~~~~~a~~~~~r~~~
~~~~~
i
~
~.
~.
i
1
/
4~~~~r~~~
~
~i~
~
r~~~r~
O~~\~~~
~~
q~
~~t~ -
135
57
.a
sa
li
sti bel
lapin - co
a.
~~
tia
--------~
dal
lu - me
la
mor-tal
jat -
136
6s
sti
no,chie-doa-ne-lan
do~ahi
~1
____/
~n
col canto
cantabile
a..,_ .
137
ten.
138
Avete torto!
GIANNI SCHICCHI
Giacomo Puccini
(1858-1924)
1Vloderato (~ = 60>
R;,,,,~~,~,
6
w
~~ iF
~
~7t~I~~~~~~~t~Jr~~~
~~~
~'~~~~~~~~~~.
-~~
Yd:TO{t:~~_.~~~~~r~~~~~r.~~~~~~~
~.
~jy
it
~-3 I
i-
I 3 ~
a rigor di tempo
r---3---,
i
~
~
~murasu~~ _ ~~~~~.~irii:i:~.
~
~~
_'~~
~~~
16
sostenendo
139
poco rit.
21
25
,,;_,
a tempo
r-=3--~
'~`f
>
a>
r 3.--~ r- 3-~
35
~i
~i~i~~~~iii~i~~iiu~~i~i
..~~..~.sue.~..~i~i~
l~i~~i~
~~~
i
.~/~!/~i~r~~!/~i~~Il~~~l~~:!'l
/.:f~~1~:~ t
t
~~~t~!
i~.~~i=~~~'
~i7.~
i
~t~ ~~ ~~.~1.Y~
~~.~~~
~~~i~~~r~~~~~~
.~~~~~~~~~~"
Y
~r~~~~~
__
~~~~
~ ~~~~
~~~~~~~~~s
~
~
140
~~
crescendo
poco allargando
43
crescendo
A
i
S~<~11
r--3--~
!~'
r~ 3~
~
l~.~~~~~t~r='
~~Y.
!.
7~~~~
'~
~.t
~a~~~~~~
~~r.~i
'
~~~.~1
I I
/ I
~1a~
~
.~~~~~;7~~'
~.~r~~~~
~~~~~1
~
~
~i~~~~~
I~~" ~
~1
'
~ -3J
Andante sostenuto
ar,
L'Ar,
~-.
LVI
no, pri - ma
di
cor
re-re al
la
~R.
~~T
'
`
.
~
~~~
-~ ~
/ I
~
~
/I
~Ls~~~r~~~~~~~~~~~~~a~
~~~
..
_:
141
5s
e it
suo
can
toe
si
dol
ce e
si
so -
no
ro
the a
142
67
72
Un po'sostenuto
(con baldanza)
77
.--_- z~
crescendo
80
~3--i
~ __
~ z-~
143
83
poco rit.
sempre c~ tempo
86
w
>
r 3--t
t' 3 ~
>
~r~~~~~G
~~i
~~~~11
i.
'
>-
/I
~~~/~
iin
i
i
i
r~
~~
------'
r~~~~~r-r
orsar---i
f~i:
.
'
ter
~~~~~
~
~~~~~~~~~o~~~~~~~~~
~c,~
~~~n~
.~~~~~
___-.__s~r~~
i
~f:
__-
marcato
a temt~o
r3t ~-3,
144
13
p dolce ed espressivo
rm
v~n a tembo
ra11
~,f rail.
rresrendn
dnlrn
mn
nnrn i~nllvntov~dn
a tempo
~~,o~~,
145
p a tempo
1~
cresc. ed animando
~,
allarg. e cresc.
25
29
dim. e rall.
~7~1 dolcissimo
r 2--~
.f
crescendo
rit.
146
32
35
41
ailnrg. moltissimo
con gran Galore
~
poco affrett.
~-----4
crescendo
allargando
a tempo
molto rail.
poco rit.
147
Maestoso
~.
.
11
b'~
>
14
,~_~
i'
1~
i~~t/l~i
.r!f~r
/
Iry~~
I ---~
\~~
\~ti
r~~~~r~~
~~~
~~'
~~~~~~~
'~!
'~~
'i~~`i~/
~~f'~l~r
i~~~
~~
~Ta~~
I
~
II~/~
'~
~
YlSI~~
.~
/~f~~ ~~
S.p.A.
-~
~
.~
148
~~
~~
~/~~IJ~~r~
~
.~Cf~~<r~~
~
~~
~
~a~
~.~t
Sri
X17
Zo
Z3
Zs
~,
Edgardo
~'--~,
~.
149
34
Lar~hetto
~~
4o
43
Allegro
150
=~~
Lar~hetto
~n
a piacere
r~
oppure
~~
v
io...
s~
Lar~hetto
del
--z~
la _
mor
te!
151
62
z __.--~
66
_~-----~._\
69
quel
fin
Ah!
lo!
de - gli e - stin-t~i
mi -
se - ro!
~_.~
a tempo
~ Wit
73
>
rr:s:ri~~~~~~3~..f~~.a
~~~1~~
r~A~r~
/~~i~~
/.711t~:T~
i
~
r~a:a~
r~r~.
ii
i~~i~~~~~~~
~~~~i~~i~~~i~~~~
~~~~~~~
~~~
~~~
a~~~~~i~~
T
T
T
~
T
~
152
7h
79
82
~.
'~~
rit.
85
r"-3--~ r-3
M-,
153
s~
cresc.
.~'
,,,,
...~
con Galore
~'
T~
+o,Mr
rrescendo
,fP
,gyp
~~
n (a piacere]
a tempo
154
Allegro
Rnrinlfn
varifnfivin
11
w
~~~~~..f.s~t~..~r~~~'7
~~
~
.~.
!..
~--
~v'
--~~
II. ~
~~
r~"
r~
~
~
>
16w
vre - i,
"tut - ti
men - ti
te!"
Son
v
u
~~
ci - fre
su
e!
155
~n
7_.S
36
Andante (~ = 44)
j~
~fJ `
J~
156
~
46
appassionatissi~rio
157
50
____.----
con espressione
158
58
p6--~ ~'3~,
di
a!
ah! mi tra-di
a!
r-- 3 i
J ~.
J ~.
L3~
~3~
q.~ ~
b.~ ,~
159
~
67
69
~2
~~
~3~~
160
con molta espressione
~~
~_ 6~ ~3~
~~
83
._ ,
ff
~~--~
pp
/1
morendo
con disperazione
r_ z
161
L^I
p con semplicitd
call.
11
nuo - va
vi-ta 1'al-ma
mia
si
de
J
~
"Ma-non
sta.
~~ pp d0lCiss.
mi
~3 call. ~3J
3
Copyright OO 2002 by CASA RICORDIBMG RICORDI S.p.A.
Tutti i diritti riservati All Rights Reserved
Les-caut
L3J
162
14
a tempo
~-3-~
.
J
16
~~
ro
le
pro
fu
ma
>
to
mi
va-gan nel-lo
~~
_ ~
~
3
6
_~
~~
ten.
19
>
~~
~--~
21
m
163
poco rall.
23
.~
.-
.-
~
~
~~~
t
~=
~~~~~
~r~
~
/I
:ate
~:
~
~~~~~
~.
~~..~~~~~.
ra~r~~~~~~
f con anima
r 3~
29
r--3~ ~3 i
Les-caut
"Ma -non
sar!
mi
chia
mo!"
b
L 3 ~
l 3J
~
~
I_.3J
~3i
~ 3~
lPP)
~,
~~n
~3~
~--3 J
rall.
pp dolciss.
~3_~
rit.
3~
~
~~~3~-
r-3~ ~3~ i
~
32
te a, r-3_ ._~,
.t~~~~'1
7~-~~
~.~ ~
-r~~
~.~
~
~~..~~-~~~
fitiS~~
~~~1=~
t
~
'
~r~
.~:7t~~~~~~~r~
/
~S'1
~.
~~\~~~'~
~~~'~~~~5
t ~~~~c~'
~~~
.~.7~T~~t
I
~t
~
~~~.
~~='1
.rY ~~~~~
~~r~~~~~
~~~~
~~~-S~1
~~~~~~~
~~
~~~~~~
1
~~~~~~~.
~~
r
~
~~
t
~=
~
~r
~~
r
~~
1a
~
I
~I~~
~~
~
~I~~~~~~~~
~~ ~~~~
~~1
Y
~~
7~~~~~~~~~
~:
5~~-~~~~
~
1'
~~'
I
~3J
~3_..I
3_1
x--
Addio,fiorito asil
164
MADAMA BUTTERFLY
Giacomo Puccini
(1858-1924)
Andante sostenuto (.~ =48)
T~;,,1.,,..a-,,,,
A'1
dnlrvmvrrta
~
'"~"~
r--- 3._
6
z
r---.
165
con slancio
f
16
_---
f ~.
Yit.
19
reg
~.
Fug - go,
fug
go,
son
m.s.
~_~
~_
col canto
`'
166
p meditabondo
~--/~.
.
----.__
~~~~~~~~~
i
~.
~
~
i~~
i~
~
~
iv~~~~iv~~~r~i~
~
~tr~:
~~~
I~
Y~t=~~~~~~~
~
~
~7
~~~~~~~i
~
i
~
r-
not - te,
the
in -non - da
la
~r~~~~~~~~~~
t
~
~'~~
ti
ri
I
~
------------_-~~>~.
not - te,
Dom.
~~
da - i
que - ti ~ sen
~~
~
.
~
~.
~t
I
tier
ri
~~~
~~
r~~~~~~~~~~~~~~~~~r
~~~~r~~~~.~.~~~~~~~~~
j
~~
~i
~i
~
~
r~~f
~~t~
'1l,.
~
\lrr~
]
_
'
~~
~~
~~
~.~
~~~~~I
~
~
~
~~t
~
~~~~~t~~
r
~~~~~
~~~
~
~~~r~~
~~,
f
/
1~~~~~4~
~~~\~~~
Y ~'~M~~~L~~~
r~~~1~~~
~~~~~~~~~~r~
r
~~~R~
i~~~~t =~.~./L~
~~~~5~~~~~~~~
~~~~S.Ir.~
16~
rz tempo
~d
ti
~
~:
a tempo
~ all.
~
p voice
~~~~raw~r~r ~~ ~,.~~~r~~..~~r.
~
Ii/~
~~i~1~
~
~
~
~~~~~
~7
~.~a~r.~~~r.
~~~r ,
'
~~ .~I
~----^
~~~~~~\~
~~
.~
~~.~r ~~r
,.. ,
~~~~~~~~~~~~~~~r~~~~
~~~ ~~~
~~
i
vim+
i
167
~-
_
~~
25
~~
-
cresc.
gel
35
mi
m'ac
cin -
go
me
di -
168
Vesti la giubba
PAGLIACCI
Ruggero Leoncavallo
(1858-1919)
Sostenuto assai (~ = 60)
('anin
'
~
~~~
~
~w
affi~ett.
string. un poco
~~
,~ _ ~~---~,
~
.~s
:~s~~ir ar~ ~ ~r a~~~r~~~~ a
a~~~~~a~~~~r~~~~~~
a~~~~r
:
s:5 ~ii~ii
~~~r~~
~~~r~rri~
~~~
I
~
.
i.
~
~
~~~c+~~~nr,~
r.~:,~n~ra~~r~~
~~
~~~~r~~r
~+:a~~~~~~~cr~~
.r~r~w~ ~~~~~c~..~
~r ate' ~~ ~
~~:rr~~v~~ara~~~~~
~~ ~ ~
~z
r~
r~c~
_
11 r~
.,.
~., ~,
,.~ r
, ,,
~~~~rre~~~~~~~a
~~.~~~~=..~i
r~~~w~~ry~.~~
i~s~
~r~~~~~~~ ~~~~~r~~r~~~~w~~
~~~.~~~w~~
r~~~~~~~.~~~
_
~
~
> ~
_ _ _
_-->
YZf.
>
169
Adagio (~ = 46)
darlamandn inn dnlnrP
portando
,Q
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_ _,_ _ , _
.poco rit.
a tempo
170
39
42
>~---~
46
Ytt.
affi~ett.
34
Lo stesso rnovimento
_,
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171
Tu vedrai la sventurafa
IL PIRATA
Vincenzo Bellini
(1801-1835)
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Allegro
Il Duca di Mantua recitativo
22
stan - ti,
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29
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ges-se!...
la ma-gionde -
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conforza
181
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109
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192
La donna e mobile
RIGOLETTO
Giuseppe Verdi
(1813-1901)
Allegretto (.~ = 138) >
10
brio
Tl T~nra rli Man+iia con
_---_
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71
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Recondita armonia
TOSCA
Giacomo Puccini
(1858-1924)
13
C'avarad~.~si
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p
197
sostenendo
17
rail.
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ver
a tempo
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198
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tnorendo
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dim
1:
Manrico
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209
25
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con forza
210
Nessun dorma
TURANDOT
Giacomo Puccini
(1858-1924)
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Il Principe (Calaf) ~
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Contents,41 arias: ADRIANA LECOUVREUR (Cilea): Io son 1'umile ancella Poveri fiori
IN
BALLO
UN
AGRIPPINA (Handel): Bel piacere ALCINA (Handel): Ah, mio cor!
i):
MASCHERA (Verdi): Morro, ma prima in grazia (with solo cello part) BELFAGOR (Respigh
D'onde
vo
men
Quando
Mimi
o
Mi
chiaman
):
E
O mamma,mamma LA BOHEM (Puccini
lieta LA CALISTO {Cavalli): Piante ombrose I CAPULETI I MONTECCHI (Bellini): Oh!
quante volte LA CLEMENZA DI TITO (Mozart): S'altro the lacrime COSI FAN TUTTE
ma
(Mozart): Come scoglio DON GIOVANNI(Mozart): Ah! fuggi it traditor! Mi tradi quell'al
magica
virtu
la
anch'io
...
So
cavaliere
it
guardo
Quel
ti):
ALE
(Donizet
ingrata DON PASQU
babbino
ERNANI(Verdi): Ernani!... Ernani, involami GIANNI SCHICCHI(Puccini): Oh! mio
infranto
it
legno
e
tempest
Da
mia
Caro GIULIO CESARE(Handel) Piangero la sorte
Regnava
IDOMENEO (Mozart): Zeffiretti lusingheri LUCIA DI LAMMERMOOR (Donizetti):
MADAMA
nel silenzio LUCREZIA BORGIA (Donizetti): Come'e bello! Quale incanto
sa): Dovrei
(Cimaro
ATO
BUTTERFLY (Puccini): Un bel di, vedremo IL MARITO DISPER
FIGARO
DI
LE
NOZZE
al
mare
fondo
in
punirti MEFISTOFELE (Boito): L'altra notte
IL RE
lasso
o
Stridon
allo):
(Leoncav
CCI
PAGLIA
i
(Mozart): Dove Sono i bei moment
PADRONA
SERVA
LA
part}
violin
solo
(with
costante
,
saro
L'amero
):
(Mozart
PASTORE
non credea mirarti... Ah!
(Pergolesi): Stizzoso, mio stizzoso LA SONNAMBULA (Bellini): Ah!
E (Vivaldi): Squarciami
TIGRAN
IL
mamma
Senza
):
non giunge SUOR ANGELICA (Puccini
): Vissi d'arte, vissi
(Puccini
TOSCA
Amor?
,
consigli
mi
Che
(Cesti):
pure it seno IL TITO
TORE (Verdi):
TROVA
IL
libera
d'amore LA TRAVIATA (Verdi): Ah,forse e lui... Sempre
segreto LE
amore,
):
Tanto
(Puccini
DOT
TURAN
D'amor sull'ali rosee Tacea la notte placida
lontana.
Ne
andro
.
Ebben?..
i):
(Catalan
WALLY
LA
piccina
VILLI(Puccini): Se come voi
incanto
per
the
parea
Ah!
loco...
giorno ANNA BOLENA (Donizetti): E sgombro it
un inferno
ARIODANTE (Handel): Dopo notte L'ARLESIANA (Cilea): Esser madre e
ERA (Verdi): Re
IN
MASCH
BALLO
UN
ata
disprezz
son
Sposa
li):
BAJAZET (attr. Giacomel
I CAPULETI E I
fa
poco
voce
):
dell'abisso, affrettati IL BARBIERE DI SIVIGLIA (Rossini Una
): Nacqui
(Rossini
A
ENTOL
CENER
LA
mesta
all'affano e al pianto... Non piu
COSI FAN
lato
a
di
Tito
Torna
part)
clarinet
solo
(with
mio
tu,
ben
ma
Parto,
istante solo
LA DONNA DEL
TUTTE (Mozart): Smanie implacabili DON CARLO (Verdi): O don fatale
(Puccini): Tu it cuor mi
LAGO (Rossini): Mora felici Tanti affetti in tal momento EDGAR
DESTINO (Verdi): Al
DEL
FOIZZA
LA
o
Fernand
mio
O
ti):
strazi LA FAVORITA (Donizet
(Mozart): Il padre
NEO
soon del tamburo GIULIO CESARE (Handel): Presti omai IDOME
IANA IN
L'ITAL
Roma
dio,
A
erdi):
adorato L'INCORONAZIONE DI POPPEA (Montev
Cari
ti):
(Donizet
UNIX
CHAMO
DI
A
LIND
tirrano!
ALGEIZI(Rossini): Cruda sorte! Amor
DI
NOZZE
LE
sospiri
miei
o
Addio,
FIGARO (Mozart): Non so piu OIZFEO ED EURIDICE (Gluck):
OTELLO (Rossini): Assisa a pie
ORLANDO FINTO PAZZO (Vivaldi): Andero, volero, gridero
si
barbara sciagura
In
er
lusinghi
raggio
Bel
):
(Rossini
d'un salice SEMIRA.MIDE
la vampa Condotta
TANCREDI(Rossini): Di tanti palpiti IL TROVATORE (Verdi): Stride
ell'era in ceppi.
sorte
mia
calunnia e un venticello A un dottor della
nini LA CLEMENZA DI TITO (Mozart):
LA CENERENTOLA (Rossini): Miei rampoli femmi
): Ella giammai m'amo DON
Tardi s'avvede d'un tradimento DON CARLO (Verdi
Il catalogo e questo DON
ina!
GIOVANNI(Mozart): Ho capito, Signor, si? Madam
ORE (Donizetti): Udite, udite, o
D'AM
SIR
L'ELI
to
insoli
PASQUALE (Donizetti): Ah! un foco
GAZZA LADRA (Rossini): Il mio piano e
rustici ERNANI(Verdi): Infelice! e tuo credevi LA
ella de'! GIULIO CESARE (Handel): Se a me
preparato LA GIOCONDA (Ponchielli): Si, morir
(Monteverdi): Ecco la sconsolata... Ringratia
EA
POPP
non sei crudele L'INCORONAZIONE DI
Gia d'insolito ardore L'ITALIANA IN
la fortuna L'ITALIANA IN ALGERI(Rossini):
I LOMBARDI(Verdi): Sciagurata, hai to
LONDRA (Cimarosa): Van girando per la testa
A
OOR (Donizetti): Dalle stanze, ove Lucia LUIS
creduto... O Speranza LUCIA DI LAMMEIZM
ita
MACBETH (Verdi): Come dal ciel precip
MILLER (Verdi): Il mio sangue la vita darei
Tu
spirito NABUCCO (Verdi): Vieni, o Levital...
to
Son
o
MEFISTOFELE (Boito): Ecco it mond
O
ORFE
rai
and
piu
Non
La vendetta
Sul labbro LE NOZZE DI FIGARO (Mozart):
ORLANDO (Handel): Sorge infausta una
rive
a
queste
morte
anzi
ch'inn
to
O
):
verdi
(Monte
tuo trono, o sommo Iddio SEMIRAMIDE
procella I PROMESSI SPOSI (Ponchielli): Al
LA SERVA PADRONA (Pergolesi): Sempre in
(Rossini): Deh, ti ferma... Que'numi furenti
lacerato spirito LA SONNAMBULA (Bellini): Vi
contrasts SIMON BOCCANEGRA (Verdi): Il
): Di due figli vivea, padre beato I VESPRI
ravviso, o luoghi amens IL TROVATORE (Verdi
a.
SICILIANI (Verdi): O tu,Palermo, terra adorat