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Deh vieni, non tardar

from Le Nozze di Figaro

• AJIegro vivace assa~


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Ir
Wolfgang Amadeus Mozan

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Performance tradit/qn dictates that
Asterisks mark sug­
this becomes a 5/4 f1easure. with the
voice beginning on beat 2. geste\; o! giaturas,
4 ~ Susanna

4 r ,. y r r ,. ,. {£"'(
Giun-se aI- fin il rno-rnen-to, che go - dro sen-za af-f " - np in

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e

4 IjjiIIII ~ fill" "d-____


e: ~ e: • -- -.....,

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Make this recitative Interesting and theatrical throughout. not sedate and timid. It Is a

charade. after all. a~ould have some fun about It. Use the "aI/an words colorfully.

4
brae-cio all' i - dol mi - o .
.
~ ;ole ~ Ir_

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The Introduction and this Interlude are good clues , , )
10 from Mozart of the delight of the situation
III ' "
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-r
• r
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• - .. . -- . -F- ---
Ti - rni - de eu - re! u

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Each phrase of the recitative should have a sllghlly different inflection (TrJink subtext in
13
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'"'iT r r , r r r
sci • te dal mio pet to, a tur - bar non ve - ni - te i I mio di -let-to!

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...
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J.­

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----. 1..­ .,.. ...
fr

These arpeggioted melody notes


between phrases. What is she thinking need to be sung very legato.
16 In additfon to what she is saying?)
J"
4l
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-, -...
Oh co - me par che all' a - mo ro - 80

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tr
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U - p"tj9­
• • •
··

191'l
Make the words very descriptive andt~catlve- •
4 ... ...
~
fo - co 1'a . me-niota del
r
10 - co,
r r r
la ter ­ ra
y r
e it del ri - spon- da,

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41!
:...-~

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.......
"---"
-
This last phrase of recitative Is your last chance
to set up the arlo. Sing especially seductively.
22 fI
* *
14
co - me la­
• .
not - te
r
i fur - ti
I
miei se - con - da.!

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t ..... -6J­

---­ -;;-. I,A


[Andante]
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,...,...., . . . .:..~.~
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...... ... ~ ..:. ..:.
---
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-
..:. ..:.
-
...... Il1lJJ 1:x:r/",f.l .:.
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Be sure to sing through pick-up notes


The arpeggiated melody w/ll sound
to phrases, making certain that the
disjunct if not sung very legato.
30 note is tuned and has full vocal tone.
~ ~

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t \
Deh vie - ni, non tar - dar, 0 gio - ja bel - lei.

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-----

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Sing with an even tone not accenting the high notes

Vie-ni o-ve a. - mo - re
........

- per go - der t'ap - pel­ lao


.
,....o'!'I

~
Fin - chi!

"
No portamento

non splen-de in

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.::::::::::---.
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Make this descent into chest voice as smoothly This phrase is a musical answer to
38~

..
---.
an d grace full Y as possible.

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th e preced'Ing one.
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--­
ean-cor """"""'
ciel not - tur - na. fa. - ce, fin - ('he l'a.-ria. bru- nil, e il mon - do


~

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----- L.,...,I.o.I
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Create a graceful arch to the phrase,

*3---SF==-- -~.c==~:=R====ln,,*~dLg~
• =!
ta - ('t'. QUI nlOr - mo - ra il ru -

AgainJhls phrase Is a musical response


46 to the previous phrase
~ .--- ~
.

t
Rcel, qui scher - za
r
l'au ra,

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eh" col dol - ce su - sur-ro il
..
cor ri ­

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.. ~ "':"
q~ ~ ~
"':" "':" "':" "':" '7 '7 ~ '!'


--
i9¥.-
-
The Introduction of dotted rhythms Is a signal to sing with
added playfulness here, Begin the grace notes on the beat,
50
~ ~ ~ ... . ~
. .
• stau

ra,
-fIi-.
qUI ri - do - no i rio
r - r
- -
ret - ti e
r
l'er - ba e- fro - sea,

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• .. I I

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I

The strings begin playing w;lh the bolV,


54
~
- Signalling more insistent sensllCJlity,

,
ai -­
p~a __-~e =-Ii d'a
... ....../
- mor qui tut - to a -
~

de - s(;a.
!
Vie -
r
ni, ben

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11 l ~ r-_ .;-~

.. ~ ~ ~ -4f ~ "':" -4f


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.......
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I
Don't slow down: keep a tlov..1ng line.
58
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;;;:-..... ,.......
,
, /
41 I
mi - 0, tra
.......
que - ate
r
pian - te a. - seo -
...
se, vie - ni,
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• •
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...
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i
....-:::.

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--
.......
...
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... -- ~ ,- n .,
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f1
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i
l
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Very sensuously. There Is a pause I·
before laU(lchlng back into tempo Sing the hfgh A as vocally part of the

--
at"Ti vo' Idfronte.' ptyrase. not singled out In some way.

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,
....
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62 ~ . \. t:\ i
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t
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t -
vie - nil Ti vo' la -­
fron - te in . co - ro - - nar di
'---""
ro -

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. 1 ... ... ...


.•
colla voce
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I
fermaw on the tied F on


Trv a subito piano here­
the downbeat, followed by a
a ,fI'p pause be r.o~",Ing 0 n.
--
I on the cutoff
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......
...
. r­ -- ..#

• se, ti vo' la
.......
fron - te
-- Ijjjiij
in - eo - ro - nar,
.'.""
in - co . ro ­

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...- -~ ..--- .....


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.
very tenderly
t:'\

nar _ __ di ro se,

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