Donizetti - Roberto Devereux (Castel)

3R <l&~ <!E3R Zlt<l& 1JB <!El} <!E3R <!Em!
)€
fljp
~aetano i!loni?etti
Reduite pour Ie Piano

Par Louis Messemaeckers
Larghetto.
Donizetti, marble bust made from life at Rome in 1840-1841

by Giovanni Maria Benzone of Bergamo, where it is now located.
417
ROBERTO DEVEREUX
Opera in three acts by Gaetano Donizetti

Libretto by Salvatore Cammarano after Ancelot's Elisabeth d'Angleterre
First performed at Naples, October 29, 1837
CHARACTERS
Elisabetta, (Elizabeth) Queen of England: soprano

Duke of Nottingham: baritone
Sara, (Sarah, Duchess of Nottingham) , his wife: mezzo-soprano
Roberto (Robert Devereux, Earl of Essex): tenor
Lord Cecil: tenor
Sir Walter Raleigh: bass
A Page: bass
Nottingham's Servant: bass
Soldiers, Guards, Pages, Ladies-in-Waiting, Tower Guards, Lords and Ladies
The action takes place in England in 1598
THE PLOT
ACT I
Robert Devereux, Earl of Essex has returned from his unsuccessful military mission to
Ireland and is about to stand trial. Sarah, Duchess of Nottingham, pines with love for Essex,
and cannot hide her tears from the other ladies of the court as she reads the story of fair
Rosamund l . The Queen enters and reveals to Sarah that she has consented to see Essex,
without whom her life has no meaning and whom she suspects, not of the treason of which
he is accused, but of infidelity to her. Cecil comes in to demand the Queen's approval of his
Peers' judgment on Essex, but she asks for further proof of treason and says she will see him,
giving unabated vent to her feelings for her subject.
Essex proclaims his fidelity to his Sovereign, but, in the course of a grandiose scena during
which the Queen refers to the ring she once gave him and which he has only to produce for
her to guarantee his safety, so far forgets himself as to fancy for a moment that the Queen
knows of his secret passion for Sarah. No amount of protestation can allay the suspicion he
has created and the unhappy Essex is left alone to lament the turn fate has taken against him.
His friend Nottingham (husband of the woman he is in love with, incidentally), comes to
assure him of his support in the Council. He also reveals his unhappiness that his wife
Sarah, a prey to grief and weeping, has planted the seed of suspicion and jealously in his
heart. Cecil summons Nottingham to the Council and Nottingham leaves reiterating his
devotion to Essex.
Essex comes to Sarah's apartments in Nottingham House, upbraids her for having married
another man and bids her farewell. She pleads that her father's sudden death while Essex
was abroad precipitated her into a loveless marriage to Nottingham and urges him to turn
towards the Queen. Protesting that his heart is dead to love, he tears the Queen's ring from
his finger and throws it on the table. In the course of their meeting Sarah gives him a blue
scarf she has embroidered and he swears to wear it near his heart.
1 The heroine, incidentally, ofDonizetti's opera Rosmunda d'lnghilterra.

i·
418
ACT II
In the hall at the Palace of Westminster, Lords and Ladies of the court brood on Essex's
likely fate. Without his Queen's aid he is lost, and her present mood suggests this will not be
forthcoming. Cecil enters to tell the Queen that the Council, in spite of Nottingham's
defense of his friend, has brought in a sentence of death, which now awaits only her
approval. Cecil leaves and Raleigh comes to tell Elizabeth that when Essex was arrested and
searched a silk scarf was found next to his heart. No sooner has the Queen recognized it as
Lady Nottingham's than Nottingham himself comes in to plead for Essex's life. Essex
himself is brought in under guard, and the Queen confronts him with the scarf, proof that he
had lied to her once when he denied being in love. Nottingham, too, recognizes his wife's
scarf and calls down the vengeance of Heaven on his faithless friend, as all assembled vent
their different emotions.
ACTID
In Sarah Nottingham's apartments, Sarah receives news of Essex's condemnation and plans
immediately to take the ring Essex had left at her house to the Queen in token for his plea for
mercy, only to look up into the unforgiving eyes of her husband. He denounces Essex, and
when the sounds of the procession are heard leading Essex to prison he makes it clear to his
wife that he will not allow her to take the ring to the Queen.
The scene changes to the Tower of London, where Essex waits for news of the pardon which
he believes will certainly follow the delivery of the ring to the Queen. He pictures offering
himself to the sword of Nottingham and with his dying breath assuring his friend that Sarah
has remained chaste in spite of all temptation. But the anticipated pardon does not arrive.
Instead he hears the funereal sound of the arriving guard ready to take him to his death.
The last scene takes place in the Great Hall, where Elizabeth, surrounded by her Ladies, is
anxiously awaiting the arrival of her trusted Sarah to comfort her, as well as a sight of the
ring which she believes Essex will send her (she does not, of course, connect the two
events). She now shows a forgiving side in her nature, not heretofore seen, but the sight of
the distraught Sarah bringing the ring, and her immediate recognition of a hated rival does
not sway her from her purpose. She orders a stay of execution at the very moment when a
cannon shot is heard giving the signal to the headsman. The Queen turns in misery to blame
Sarah until Nottingham himself reveals his guilt in preventing the ring from reaching the
Queen. Elizabeth, beside herself with grief, sees visions of the Crown bathed in blood, of a
man running through the palace corridors carrying his own head, of a tomb opening for her
where once her throne stood.
Roberto Devereux, Act I 419
ACT I
Scene One
(The Great Hall in Westminster Palace. The Ladies of the royal court work intently at
various tasks. Sarah, Duchess ofNottingham, sits silently at one side. Her tear-moistened
eyes are flXed upon the book she holds in her hands.)
LADIES
'd3eme pa'llor fu'nere:> Ie sta di'pinto ill) 'volto
Geme! ... pallor fiInereo lesta- dipiJito in vollo!
She is moaning! ... A pallor deathly is painted on her face!
un 'dw:>1:> un dw:>l te'rribile a 'tJert:> iJ] br se'polto

Un duolo, un duol terribile ha certo in cor sepolto.
A grief, a grief terrible she has surely in her heart buried.
(They approach Sarah.)
'sara du'kessa :> 'skw:>titi 'onde la tua mes'tittsja

Sara? Duchessa? Oh! scuotiti•.. onde la tua mestizia?
Sarah, Duchess! Oh, rouse yourself... whence your sadness?
SARA
mes'tittsja im me
Mestizia in me!
Sadness in me!
LADIES
n:> 'nai ba'.JlJ1ato il sen di 'lagriroe
Non hai bagnato il sen di lagrime?
Have you not bathed your bosom in tears?
SARA
a mi tra'diIJe il 'k:>re
(Ah! mi tradisce il core!)
(Ah! I am betrayed (by) my heart!)
(Ah! My heart is betraying me!)
'1essi d:>'lente is't:>rja pjan'd3ea di r:>za'monda

Lessi dolente istoria.•. piangea di Rosamonda.••
I was reading a painful story... I was weeping over Rosamond...
LADIES
a 'kjudi la 'trista 'pad3ina ke il tuo do'lor se'konda
Ah! chiudi la trista pagina che il tuo dolor seconda.
Ah! Close the sad page that your grief causes.
SARA
il mio do'lor
II mio dolor!
My grief!
420 Roberto Devereux, Act I
LADIES
si 'versab . dellamis'tade ill 'seno
Si! Versalo dell'amistade in seno.
Yes! Pour it out of our friendship in bosom.
(Pour out [your grief] onto our friendly hearts.)
SARA
'ledi e kre'dete
Lady, e credete? ..
Ladies, and you believe? '"
LADIES
a 'fidati
Ah! fidati...
Ah! Trust us ...
SARA
io n~ son 'ljeta a'ppjen~
lo?... No... son lieta appieno.
I?.. No... I am happy extremely.
LADIES
e kwel so'rrizo iIl)'fausto pju del sm 'pjant~aI]'kor
(E quel sorriso infausto piil del suo pianto aneor.)
(Is that smile unhappy more than her tears even.)
(That smile of hers is even more unhappy than her weeping.)
ROMANZA
SARA
a alla'flitt~ e 'doltJe il 'pjant~
(Ah! all' affiitto e dolce il pianto...
(Ah! To one who is sad is sweet the weeping...
e la 'd3~ja ke '(i'resta
e la gioia ehe gli resta...
it is the (only) joy that remains to him...
'una 'stella a me fu'nesta 'aI]ke il'pjanto mi vjeb

Una stell~ a me funesta anehe il pianto mi vieto!
A star to me ill-omened even to weep forbids me!
'della tua pju 'kruda ~ 'kwant~ rna'monda e la mia 's~rte

Della tua piil cruda, oh quanto, Rosamonda e la mia sorte!
Of yours more cruel, oh how much, Rosamond is my fate!
(Oh Rosamond, how much mqre cruel is my fate than yours!)
tu pe'risti a 'duna 'm~rte

Tu peristi ah! d'una morte,
You perished, ah, ill death,
io vi'vendo o'J1J1or m~rr~
io vivendo ognor morro!

I, while still alive, always I will be dying!
(mine will be a living death!)
Scene Two
(Elizabeth enters, preceded by her pages. At the Queen's appearance the ladies curtsy.
Acknowledging their greeting, she approaches Sarah in afriendly way.)
SCENA AND CAVATINA

ELISABETTA
du'kessa
Duchessa•..
Duchess ...
(The Queen takes Sarah's hand and kisses her cheek The ladies retire to the back of the
room.)
'aIle 'fervide 'pretJi del tu~ k~n's~rte al'fiIn ma'rrend~

AIle fervide preci del tuo consorte alfin m'arrendo;
To the eager requests of your husband at last I yield;
al'fin il 'konte rive'dr~

Alfin il Conte rivedro.
At last the Earll I shall see again.
(At last I shall see the Earl of Essex [Robert Devereux] again.)
rna db bn'tJeda ke per 'lultiIna 'v~lta

Ma ... Dio conceda che per l'ultima volta
But... (may) God grant that for the last tiIne
io nol ri'veda kio non Ai 'II erna il) 'bre

io nol riveda, ch'io non gli scerna in core
I not see hUn, that I not discover in (his) heart
'makleja di tradi'mento
Macchia di tradimento.
the stain of betrayal.
SARA (suddenly)
'eHi 'era 'sempre 'fid~ 'alla sua re'd3ina
Egli era sempre fido alIa sua regina.
He was always faithful to his queen.
ELISABETTA
'fid~ 'alla sua re'd3ina e 'basta ~ 'sara
Fido alIa sua regina? E basta, o Sara?
Faithful to his queen? And is that enough, oh Sarah?
'w~p~ e ke 'fido il 'tr~vi eliza'betta

Uopo e che fido il trovi Elisabetta.
Necessary it is that faithful should find hUn Elizabeth.
(It is necessary that [I,] Elizabeth, fmd hUn faithful.)
1 There is no word for "Earl" (as in the Earl of Essex) in Italian, therefore Conte (Count) is used.
SARA
l~ 'd3e1o
(10 gelo!)
(I am freezing!)
(I am chilled to the bone with fear!)
ELISABETTA
a te zve'lai 'tutto i1 mi~
'bre
A te svelai tutto ilmio core...
To you 1 revealed all my heart...
un ~'rrend~ s~s'pett~ al'kuno im me des't~
Un orrendo sospetto alcuno in me desto.

A dreadful suspicion someone in me aroused~
dir'landa ill 'riva 10 'trasse un 'tJenno mio

D'Irlanda in riva 10 trasse un cenno mio.
Of Ireland to the shore he was sent by my order.
(By my orders he was sent to Ireland's shores.)
ke 'lund3e il 'v~l1i da 'londra

cbe lunge il volli da Londra..•
because faraway 1 wanted him (to be) from London...
'e,{,{i vi'torna ed akku'zato di fello'nia

Egli vi torna, ed accusato di fellonia;
He returns to London, (and) accused of betrayal;
rna 'daltra 'kolpa l~ 'tem~ deli1;]'kwente sa'perlo

rna d'altra colpa io terno delinquente saperlo...
but of another cnme I fear delinquent to know him...
(But I fear to find him guilty of another crime ... )
'una ri'vale sio disko'prissi ~ 'kwale

Una rivale s'io discoprissi, ob! quale,
A rival, if! should discover, oh, what,
~ 'kwanta n~n sa'rebbe la mia ven'detta

oh! quanta non sarebbe la rnia vendetta!
oh how wouldn't be my vengeance! ,
(A rival perhaps, but who could it be? ...Ah, what vengeance I would wreak if! only knew!)
SARA
'ove mas'kondo
(Ove m'ascondo? .•)
(Where shall I hide? ..)
ELISABETTA
i1 'bre 't~AAermi di r~'bert~
II core togliermi di Roberto! ...
The heart to rob me of Robert!. ..
(To rob me of Robert's heart!..)
Q'M4
'pari 'kolpa sa'ria 't:>AAermi il 'sert:>

Pari colpa saria togliermi il serto.
A similar crime it would be to rob me of my crown.
la'mor suo mife be'ata mi sem'br:> del 'tIdo un 'dono

L'amorsuo mife' beata, misembro del cielo un dono
His love made me blissful, seemed to me from Heaven a gift,
per kwes'talma innam:>'rata

per quest'alma innamorata
for this soul in love
'era urn ben ma'dd30r del 'tr:>n:>

era un ben maggior del trono.
it was a happiness greater than my throne.
a se fui tra'dita
Ah! se fui tradita,
Ah! If 1 have been betrayed,
se kwel br pju mi:> u:>'ne

se quel cor piiI mio non e,
if that heart any longer mine is,
Ie de'littsje 'della 'vita

Ie delizie della vita
the delights of life
'lutto e 'pjanto s:>n per me

Iutto e pianto son per me!
.mourning and weeping are for me!
(Ifhis heart is no longer mine, then the delights of life will for me tum into mourning and
tears!)
Scene Three
(Enter Cecil, Walter Raleigh, and other Lords.)
CECIL (bowing)
'nuntsjo son del parla'mento
Nunzio son del Parlamento.
Spokesman I am of Parliament.
SARA
'trem:>
(Tremo!)
(1 tremble!)
ELISABETTA
es'poni
Esponi.
Speak.
424 Roberto Devereux, Act 1
SARA
a 'skulto in) 'fronte 'bdjo suo
(Ha sculto in fronte l'odio suo!)
(He has carved on his brow his hatred!)
CECIL
di tradi'mento si ma'kkj~ de'sseks il 'konte
Di tradimento si macchio d'Essex il Conte!
Of treason has been besmirched of Essex the Earl!
(The Earl of Essex has been besmirched [with the charge] of treason!)
ettIe'ssiva in te kle'mentsa i1 d3u'dittsjo ne s~s'pende

Eccessiva in te clemenza il giudizio ne sospende:
Excessive in you clemency the judgment is holding up;
(The judgment is being held up by your excessive clemency [towards him];)
proffe'rir di lui sen'tentsa e st~r'nar sue 'trame ~'rrende

Profferir di lui sentenza e stornar sue trame orrende
To pronounce on him sentence and foil his plots dreadfUl
ben b sai de 'pari e 'dritto
ben 10 sai de' Pari e dritto.
well you know of the Peers is the right.
(You know very well that it is the Peers' right to pronounce sentence on him for his dreadfUl
plots.)
'kwesto 'dritt~ a te si 'kjede

Questo dritto a te si chiede.
This right from you is being asked.
([parliament] is asking you [for permission to exercise] this right.)
ELISABETTA
ben 'daltre 'pr~ve il suo de'litt~ 'brdi a 'dw~p~
Ben d'altre prove il suo delitto, Lordi, ha d'uopo.
Many other proofs his crime Lords, has need.
(My Lords, you need [to present me] with much better proof of his crime.)
Scene Six
(A Page enters and bows to the Queen.)
A PAGE
al 'red3~ 'pjede di ve'nirne e'sseks im'pbra
Al regio piede di venirne Essex implora.
To the royal foot to approach it Essex implores.
([The Earl of] Essex begs to prostrate himself at your royal feet.)
CECIL, RALEIGH
'eAM
Egli! .. .
He! .. .
ELISABETTA (casting afurious glance at Cecil and Raleigh)

'vel)ga u'dirlo io vo
Venga. Udirlo io yo'.
Let him come. Hear him out I wish.
(The Page exits.)
CECIL, RALEIGH·
a la'rabbja mi di'vora
(Ah! la rabbia ml. d·lvora '•.•.)
(Ah! Rage . devounng
IS . me I ....)
SARA
a 'kome il br mi palpi'to
(Ah! come il cor mi palpito!)
(Ah! How my heart leapt!)
ELISABETTA
a ri'toma kwal ti'spero
Ah! ritorna qual ti spero
Ah! Return, as I hope you to be,
kwal ne 'd30rni pju fe'litJi

qual ne' giorni pin felici,
as in days more happy,
e ka'dranno i twoi ne'mitJi 'nella 'polve i'nnantsi a tte

e cadranno i tuoi nemici nella polve innanzi ate.
and shall fall your enemies in the dust before you.
il mio 'reJ1J1o il 'mondo in'tero

TImio regno, il mondo intero,
My kingdom, the world entire,
'reo di 'morte iIIJ'van ti 'grida

reo di morte invan ti grida.
guilty of death in vain may call you.
(My kingdom and the entire world may call you a guilty man worthy of the death penalty.)
se al mio 'pjede a'mor ti 'gwida

Se al mio piede amor ti guida,
If to my foot love leads you,·
a inno'tJente sei per me

ah! innocente sei per me.
ah, innocent you are for me.
(But if love brings you to my side, then you are innocent to me.)
SARA
a lui 'fausto il tJel so'rrida
(A lui fausto il ciel sorrida
(To him auspicious Heaven smiles
e fu'nesto sia per me

e funesto sia per me.)
and tragic it would be for me.)
(May Heaven smile on him auspiciously, and be tragic for me.)
CECIL, RALEIGH, LORDS

de sw:>i 'd30mi un 'astr:> e 'gwida
(De' suoi giorni un astro e guida,
(Of his days a star IS the guide,
ke al tra'mont:> al]'kor n:>'ne n:>

che al tramonto ancor non e, no!)
that at setting still is not, no!)
(The star that controls his life is not yet set.)
ELISABETTA
'vjeni ta'ffretta
Vieni, t' affretta.
Come, hasten.
Ah! ritorna qual ti spero, etc.
Scene Five
(Robert, Earl of Essex, enters and prostrates himself before the Queen.)
GRAN SCENA AND DUET

ROBERTO
'd:>nna re'ale a 'pjedi tw:>i
Donna reale, a' piedi tuoi. ..
Lady royal, at the feet yours ...
(My royal Lady, here I am at your feet...)
ELISABETTA
r:>'bert:> 'konte 's:>rd3i io lim'pol]go
Roberto! Conte, sorgi, io impongo.
Robert! Earl, rise, I command you.
(to Cecil)
il vo'ler mb 'n:>t:> im 'breve fa'r:>

II voler mio noto in breve faro.
My wish known soon I will make.
(I will shortly inform you of my wishes.)
sipJ10ri a'ddio
Signori, addio.
Milords, farewell.
(Everyone exits except Robert.)
in sem'bjantsa di 're:> t:>r'nasti 'dul)kwe

In sembianza di reo tornasti dunque
In the guise of a guilty man you have returned then
Roberto Devereux, Act 1 427
al mb kos'petto e me tra'dir o'zavi

al mio cospetto! E me tradir osavi?
to my presence! And me betray you dared?
(And you dared to betray me?)
e insi'djar de'ilavi a 'kwesto 'krine i1 'serto

e insidiar degl'avi a questo crine il serto?
And plot (to seize) of my ancestors from my head the crown?
(And plot to seize from my head the crown of my ancestors?)
ROBERTO
il 'petto mio 'pjeno di tJika'tritJi
n pettomio, pieno di cicatrici,
My chest full of scars,
ke il 'brando vi la'fJo de twoi ne'mitJi

che il brando vi lascio de' tuoi nemici,
that the weapon there left of your enemies,
per me ris'ponda
per me risponda.
for me answer.
(Let my chest full of scars left there by your enemies' weapons answer for me.)
ELISABETTA
rna la'kkuza
Ma l'accusa? ••
But the accusation? ...
ROBERTO
e 'kwale
E quale? ..
And·· what (accusation)? ..
do'mata iIJ 'kampo la ri'belle 'skjera

Domata in campo la ribelle schiera,
Routed on the battlefield the rebellious forces,
kol 'vinto u'zai k1e'mentsa

col vinto usai clemenza;
with the vanquished I employed clemency;
(I was merciful to the vanquished after I routed their forces on the battlefield;)
'ekko la 'kolpa 'onde al suo 'dutJe

ecco la colpa onde al suo duce
that's the crime for which for her leader
i'nnaltsa urn 'palko in)'fame deliza'betta il 'tJenno

innalza un palco infame d'Elisabetta il cenno.
raises a scaffold infamous of Elizabeth the order.
(That is the crime for which Elizabeth orders the infamous scaffold to be erected for the
leader [of her armies].)
ELISABETTA
i1 'tJenno mio diffe'ri skono'IJente la tua sen'tentsa
n cenno mio differi, sconoscente, la tua sentenza;
The order mine postponed, you ingrate, your sentence;
i1 'tJenno mio ti'laIJa in liber'tade aIJ'kor

n cenno mio ti las cia in libertade ancor.
My order leaves you at liberty still.
rna ke fa'velli di 'palko

Ma che favelli di palco?
But why are you talking about a scaffold?
a te d3a'mmai ri'gor di 'ledd3e

A te giammai rigor di legge
To you never a severity of law
'skjuder nom pwo la 'tomba

schiuder nonpuo la tomba.
open cannot the grave.
(Never could a law's harshness open up the grave for you.)
(You could never perish as a result of one of my harsh laws.)
'kwando kja'mo la 'tromba i mjei gwe'rrjeri

Quando chiamo la tromba i miei guerrieri
When summoned the trumpet my warriors
(When the trumpet summoned my warriors)
ad espupjlar Ie 'torri 'della su'perba 'kaditJe

ad espugnar Ie torri della superba Cadice,
to lay waste the towers of proud Cadiz,2
te'mesti ke la ro'vina makki'nar po'tesse

temesti che la rovina macchinar potesse
you feared that your ruin plot could
di te Ion'tano a'trotJe 'ill)vida 'rabbja

di te lontano atroce, invida rabbia:
from you far atrocious envious rage:
(you feared that [someone filled with] atrocious, envious rage could be plotting your ruin
from afar;)
(She points to the ring on Roberto'sfinger.)
ti 'porsi 'kwesto a'nello e ti par'lai la pa'rola dei re

Ti porsi questo anello, e ti parlai la parola dei re,
I gave you that ring, and I gave you my word royal,
ke ad 'ojlJIi e'vento o'ffrirlo a'A:Aokki mjei

che ad ogni evento offrirlo agl'occhi miei
that on any occasion to place it before my eyes
lThe Queen is referring to a quite successful raid on the Spanish Annada in Cadiz, Spain, in the year
1587.
di tua sal'vettsa 'pe]1]1~ sa'rebbe

di tua salvezza pegno sarebbe.
of your safety a pledge it would be.
(that to place it before my eyes would be a pledge of your safety.)
(that all you had to do was to bring me that ring and your safety would be assured.)
abl pen'sjer~ io 'torn~ a sta'd30n pju fi'dente

Ah!col pensiero io torno a stagion pin ridente!
Ah! With my thoughts I return to a season more happy!
a'llora i 'd30rni mjei sk~'rrean s~'avi al par 'della spe'rantsa

Allora i giorni miei scorrean soavi aI par della speranza!
Then my days flowed by gently, like hope (itself)!
0 'd30rni avventu'rati 0 rimem'brantsa

Oh giorni avventurati! Oh rimembranza!
Oh days fortunate! Oh memories!
un 'tener~ 'k~re mi'reze fe'litJe

Un tenero core mi rese felice,
A tender heart made me happy,
pr::>'vai kwel kon'tento ke 'labbro non 'ditJe

provai queI contento che Iabbro non dice...
I knew that happiness that lips cannot express ...
un 'so]1]1::> da'rnore la 'vita mi 'parve

Un sogno d'amore la vita mi parve,
A dream of love life seemed to me,
rna il 'S0]1]10 dis'parve dis'parve kwel k::>r

ma iI sogno disparve, disparve quel cor!
but the dream vanished, disappeared that heart!
(that heart changed!)
ROBERTO
in'darn::> la's::>rte un 'tr::>ll:) rna'ddita
(Indarno la sorte un trono m'addita;
(In vain fate a throne points out to me;
per me di spe'rantse non 'ride la'vita

per me di speranze non ride la vita.
for me with hope not smiles life,
(my life does not smile with hope,)
per me luni'vers::> e 'rnut::> e de'zert::>

per me l'universo e muto e deserto.
for me the universe is mute and deserted.
Ie 'd3emme del 'sert~ n::>'nann::> splen'dor

Le gemme del serto nonhanno splendor.)
The jewels of the crown hold no allure [for me].)
ELISABETTA
'mut:J 'n:sti
Muto resti?
Silent you remain?
(in a tone ofgentle reprimand)
e 'dU1Jkwe 'vero sei kan'd3at:J

E dunque vero! sei cangiato? ...
It is then true! You have changed? ..
ROBERTO
n:J ke 'dditJi 'pada un 'detto
No•.• che dici? Parla un detto
No ... what are you saying! Utter one word
ed il gwe'rrjer:J 's:Jrd3e e 'fuga i tW:Ji ne'mitJi
ed il guerriero sorge e fuga i tuoi nemici.
and your warrior arises and disperses your enemies.
d:Jbbe'djentsa di va'lore 'pr:Jve a'vrai

D'obbedienza, di valore prove avrai.
Of obedience, of valor proof you shall have.
(You shall have proof of my obedience and valor.)
ELISABETTA
rna non da'more vW:Ji pu:JlJlar
(Ma non d'amore!) Vuoi pugnar!
(But not oflove!) You want to fight!
(fixing Rohert with a searching glance, with feigned calm)
rna di nom 'pensi ke ba}l]1ar fa'resti

Ma di, non pensi che bagnar faresti
But tell me, don't you think that bathe you'd cause
un 'tJWo kwi di 'pjant:J
un ciglio qui di pianto?
an eye here with tears?
(But pray tell, wouldn't you then cause someone here [at court] to fill her eyes with tears?)
ROBERTO
ai'me kwai 'sensi
(Ahime! qual. .,
sensI ...•)
(Alas! What does she mean!...)
ELISABETTA
ke li'dea del tuo pe'riAAo palpi'tar fa'rebbe uI] br
..• che l'idea del tuo periglio palpitar farebbe un cor?
...that the notion of your peril beat wildly would make a heart?
(...that the [very] notion of your endangerment would cause [someone's] heart to beat
wildly?)
p.n,a: ,
'P r A M
ROBERTO
Palpitar? .•
ELISABETTA
di tal ke a'more 'teko 'strinse
Di tal che amore teco strinse.
Of one that love to you binds.
(Of one [woman] who is bound to you by love.)
ROBERTO
a 'dUl]kwe sai
Ah! dunque sal.?•...
Ah! Then youknow? ..
tJel ke 'diko
(Ciel! che dico!)
(Heaven! What have I said!)
ELISABETTA
e'bben fi'niJJi 'lalma tua mi 'zvela :>'mai
Ebben? .. finisci: l'alma tua misvela omai.
Well? .. Out with it! The soul yours reveal to me now.
ke pa'venti ardiJJi
Che paventi? .. ardisci:
What are you afraid of? .. Be bold;
'noma pur la tua di'letta allal'tare io vi tra'rr:>

Noma pur la tua diletta... all'altare io vi trarro.
Name then your beloved one... to the altar I shall lead you both.
ROBERTO
mal ta'pponi
Mal t'apponi.
You're mistaken.
ELISABETTA
o mia ven'detta
(0 mia vendetta!)
(Oh my vengeance!)
(drawing herself up with terrifying majesty)
e n:>'nami 'bada n:>'nami

E non ami? Bada! Non ami?
And you're not in love? Beware! Are you not in love?
ROBERTO (hesitating)
i:> n:>
lo?.. No.
I?.. No.
ELISABETTA
un 'lampo o'rribile a'Hokki mjei splen'dea
(Un lampo orribile agl'occhi mlel splendea!
(A flash horrible before the eyes mine flared!
n::> dal mio 'zdejljlo 'vinditJe
No! dal mio sdegno vindice
No! From my wrath avenging
fu'dd3ire n::>m pw::> la 'rea m::>'rra lin]fido

fuggire nonpuo la rea. ~orra l'infido,
flee cannot that guilty woman. He will die, that faithless man,
il 'perfid::> m::>'rra di lmrte a'tJerba
il perfido, morra dimorte acerba,
that treacherous man, shall die a death bitter,
e la ri'val su'perba pU'nita in lui sa'ra
e la rival superba punita in lui sara.)
and the rival haughty punished through him shall be.)
ROBERTO
nas'kondi 'frena 'palpiti ::> 'mizero mb 'k::>re
(Nascondi, frena i palpiti, 0 misero mio core;
(Hide, cease your wild throbbing, oh wretched heart of mine;
ti 'paJIi sol di 'lagrime ::> zventu'rato a'more
ti pasci sol di lagrime, o sventurato amore.
feed only on tears, oh unfortunate love.
kb 'kada 'solo 'vittirna del su::> fa'tal sos'pett::>
Cb'io cada solo vittima del suo fatal sospetto ...
Letme fall alone a victim of her fatal suspicion.. .
kom me latkano a'ffett::> e 'm::>rte e 'tomba a'vra

Con me l'arcano affetto e morte e tomb a avra.)
With me this secret love both death and grave shall have.)
(With me my secret love will find both its death and its burial.)
re'd3ina
Regina! ...
(My) Queen!. ..
ELISABETTA
e'bben fi'niJIi 'konte
Ebben? finisci. Conte!
Well then? Continue. Earl!
ROBERTO
Regina!
Roberto Devereux, Act 1 433
ELISABETTA
n:'l'nami
Non ami?
Aren't you in love?
ROBERTO
n:'l'nam:'l
Nonamo.
I am not in love.
(Nascondi, frena i palpiti,) etc.
ELISABETTA
ka'dra
(Cadra.)
(He will fall.)
(1 will destroy him.)
ELISABETTA
Si, la rival superba punita in lui sara. etc.
ROBERTO
Ch'io cada solo vittima del suo fatal sospetto, etc.
(Elizabeth sweeps into her own apartments. Robert remains in profound silence, staring at
the floor. Nottingham enters and comes up to Robert to embrace him.)
Scene Six
SCENA AND CAVATINA

NOTTINGHAM
r:'l'bert::>
Roberto!
ROBERTO (taken by surprise)

ke fra Ie tue 'brattJa
Che? .. fra Ie tue braccia! ...
What? .. In your embrace!...
NOTTINGHAM
es'trem:'l pa'llor ti 'sjede iII] 'fronte
Estremo pallor ti siede in fronte!
Extreme pallor sits on your brow!
(You look extremely pale!)
a 'forse 'tremo dinterm'garti

Ah! forse? .. Tremo d'interrogarti.
Ah, perhaps? .. 1 shudder to 'question you.
ROBERTO
aI)'kora la mia sen'tentsa nom proffe'ri b'lei
Ancor la mia sentenza non profferi colei;
Still my sentence not ordered she;
(That woman [Queen Elizabeth] has not ordered my execution yet;)
rna nel tre'mend:J 'zgward:J

ma nel tremendo sguardo
but in her frightening gaze
Ie'vidi sblg:J'rar la 'brama del 'saJ]gwe mio

Ie vidi sfolgorar la brama del sangue mio.
I saw in her flashing the desire for my blood.
NOTTINGHAM
nom prose'gwir dam'baJJa 'lanima
Non proseguir•.• d'ambascia l'anima
Do not go on... with anguish my soul
:J 'pjena e di spa'vent:J
ho piena e di spavento!
I have filled and of fright!
(My soul is filled with anguish and fear!)
ROBERTO
a 'laJJa ke il mio des'tino 'kompja
Ah! las cia che ilmio destino compia,
Ah! Allow that my fate be fulfilled,
e 'nelle 'brattJa di 'kara 'sp:Jza un il1)fe'litJ e o'bblia

e nelle bracciadi cara sposa un infelice obblia.
and in the arms of (your) dear wife this unhappy man forget.
NOTTINGHAM
ke 'parli a 'fera 's:)rte . ne a'miko
Che parli? •. Ah! fera sorte ne arnico
What are you saying? Ah! Cruel fate neither friend
ne bn's:Jrte 'ljeto mi .'v:)lle

ne consorte lieto rni volle!
nor husband happy wished me to be!
(My cruel fate wanted me to be neither a friend nor a happy husband!)
ROBERTO
:) 'narra
Oh! narra!
Oh tell me!
NOTTINGHAM
un ar'kan:J mar'tir di 'sara a'ttrista 1 'd3orni
Un arcano martir di Sara attrista i giorni
A secret suffering of Sarah saddens the days
e lenta'mente la kon'dutJe 'alla 'tomba

e lentamente la conduce alIa tomba.
and slowly is leading her to her grave.
ROBERTO
rea ma zventu'rata
cE rea, rna sventurata!)
(She's guilty, but unfortunate!)
NOTTINGHAM
'jeri ta'tJeva i1 'd30rno 'kwando pria dellu'zat:)
Jeri taceva il giorno, quando pria dell'usato
Yesterday was quiet the day, when earlier than usual
al mio so'dd30rno mi'trassi

al mio soggiorno mi trassi,
to my rest I took myself,
(The day was quiet yesterday, and when earlier than usual I went to have a rest,)
e 'nelle 'stantse 'ove so'liI]9a 'ella res'tar si 'pjatJe

e nelle stanze ove solinga ella restar si piace,
and into the rooms where alone she to remain prefers,
'm:)ssi re'pente
mossi repente...
I went unexpectedly ...
(I went unexpectedly into the rooms where she [usually] prefers to remain alone.)
un 'sw:)no di 'tatIiti siI:J'gulti

Un suono di taciti singulti
A sound of suppressed sobs
'app:) la 's:)AAa marresb nOIl) ve'duto

appo la soglia m'arresto non veduto.
near the threshold stopped me unseen.
'essa fre'd3ava dau'rate 'fila 'una tJe'ru1ea 'faIJa

Essa fregiava d'aurate fila una cerulea fascia.
She was embroidering with golden thread a blue scarf.
ma 'spess:) 'bpra interrom'pea bl 'pjant:)

Ma spesso l'opra interrompea col pianto,
But often her work she interrupted with tears,
e iII]v:)'kava la'm:)rte io mi ri'trassi

e invocava la morte. 10 mi ritrassi:
and prayed for death. I went away;
a'vea 'lalma ill tU'multo a'vea la 'mente ko'zi tur'bata

Avea l'alma in tumulto; avea la mente cosi turbata,
I had my soul ill tumult; I had my mind so distressed
ke sem'brai de'mente
che sembrai demente.
that I seemed demented.
'forse iIJ kwel br sen'sibile

Forse in quel cor sensibile
Perhaps in that heart sensitive
si fe na'tura il 'pjanto 'duna fa'tal mes'tittsja

si fe' natura il pianto: d'una fatal mestizia
became natural weeping; Of that fatal sadness
(Perhaps weeping was the natural state of her sensitive heart, and with that fatal sadness)
aIJ'kio som 'preda in'tanto

anch'io son preda intanto.
also i. am prey meanwhile.
(1 myself meanwhile am afflicted.)
a kio mi'struggo in'lagrime ed il per'ke non so

Ah! ch'io mi struggo inlagrime, ed il perche non so.
Ah! 1 suffer in tears and why, 1 don't know.
ta'lor mi 'pada un'dubbjo 'una d3e'loza 'votJe
Talor mi parla un dubbio, una gelosa voce;
Sometimes there speaks to me a doubt, a jealous voice;
rna la ra'd30n so'lletJita 'sperde il sos'petto a'trotJe
ma la ragion sollecita sperde il sospetto atroce.
but my reason quickly dispels the suspicion dreaded.
a ke mai nel br de',(,(and3eli la 'kolpa en'trar nom pwo

Ah! che mai nel cor degl' angeli la colpa entrar non puo.
Ah! For never in the heart of angels sin enter cannot.
(Because sin can never enter into the heart of an angel [like my wife].)
(Enter Cecil and the other Lords.)
Scene Seven
CECIL
'duka 'vjeni a k::>rI]fe'rentsa la re'd3inai 'pad iIl)'vita
Duca, vieni: a conferenza la Regina i Pari invita.
Duke, come! To council the Queen the Peers is summoning.
NOTTINGHAM
ke si'vwole
Che si vuole?
What is it about?
CECIL
Vieni.
NOTTINGHAM
rna ke si 'vwole
Ma che si vuole?
But what is it about?
CECIL (in a hushed voice)

'una sen'tentsa
Una sentenza...
A sentence.. .
(turning a baleful eye on Robert)
'tr;)PPO a'luI)go diffe'rita

... troppo a lungo differita .
... fortoo long postponed.
NOTTINGHAM (moved, kissing Robert)

'veI)g;) a'miko
Vengo, amico!
I'm coming, friend!
ROBERTO
suI tuo 'tJiAAo 'una 'lagrima spun't;)
Sui tuo ciglio una lagrima spunto!
On your eye a tear gleamed!
(Your eyes were bathed with tears!)
mabban'dona al mio pe'riAAo

M'abbandona al mio periglio...
Leave me to my danger .. .
CECIL
Vieni.
NOTTINGHAM
sal'var ti V;) kwi ri'belle opJ1un ti 'kjama
Salvar ti vo'. Qui ribelle ognun ti chiama,
To save you I wish. Here a rebel everyone calls you,
(I want to save you. Here everyone calls you a traitor,)
ti s;)'vrasta 'fat;) ;)'rrend;)

ti sovrasta fato orrendo;
there hangs over you a fate horrendous;
lo'nor tuo sol io di'fend;)

I'onor tuo sol io difendo,
your honor only I defend,
'terra e tJel masblte'ra

terra e ciel m' ascoltera.
earth and Heaven will listen to me.
kio Ai'serbi e 'vita e 'fama

Ch'io gli serbi e vita e fama
Let me spare both (his) life and. reputation
de k:m'tJedi 0 'sommo i'ddio

deh concedi, 0 sommo Iddio,
please grant, oh mighty God,
(Oh mighty God, grant that I may spare both his life and reputation,)
'parla tu suI 'labbro mio 'santa 'votJe damis'ta

paria tu suI Iabbro mio santa voce d'amistil.
speak Thou on the lip mine sacred voice of friendship.
(and may Thou speak through my lips the sacred voice of friendship.)
CHORUS
kwel su'perbo il 'd3usto flo de swoi 'falli page'fa
(Quel superbo il giusto flo de' suoi falli pagheril.)
(That haughty one the just penalty for his crimes shall pay.)
NOTTINGHAM
ParIa tu sullabbro mio, etc.
Scene Eight
(The apartments o/Sarah, Duchess o/Nottingham, at Nottingham House. On a table are
seen a double-branched candlestick and a rich coffer.)
SARA
'tutto e si'lentsjo nel mio kor sol'tanto
Tutto e silenzio ... nel mio cor soltanto
All is silent ... m my heart alone
'parla 'una 'votJe Ul) 'grido kwal di se'vefO akkuza'tor

parla una voce, un grido qual di severo accusator!
speaks a voice, a cry, like that ofa stem accuser!
rna 'rea non'sono

Ma rea non sono:
But guilty I am not;
'della pje'tade io rna'rrendo al kon'siAAo

Della pietade io m'arrendo al consiglio,
Of pity I yield to the counsel,
non della'mor lo'rribile pe'riMo ke ro'berto mi'nattJa

non dell'amor. L'orribile periglio che Roberto minaccia
not oflove. The horrible peril' that Robert threatens
(I yield myselfto the judgment of mercy, not oflove ...The horrible peril that threatens
Robert)
il mio skor'dar mi fe ki 'd3und3e e 'desso

il mio scordar mife' .•• chi giunge? E desso!
my own (peril) forget made me ... Who is coming? It is he!
Scene Nine
(Robert enters, wrapped in a long cloak.)
ROBERTO
'una 'v::>lta 0 kru'de1 mai pur bn'tJess::>
Una volta, 0 crudel, m'haipur concesso
Atone time, oh cruel one, you did me allow
ve'nirne a te sperd3Ufa tradi'tritJ e 'perfida

venirne a te!... Spergiura! Traditrice! Perfida! ...
to fall in love with you!... Perjurer! Betrayer! Faithless onel. ..
e kwal va 'nome d::>l'tradd30 di ram'poppa

e qual v'ha nome d'oltraggio, di rampogna
and what isn't there name of scorn, of outrage
ke tu nom'merti
che tu non merti?
that you don't deserve?
(And what term of scorn and outrage do you not deserve?)
SARA
as'kolta 'ed d3a 'lund3e
Ascolta. Eri gla lunge...
Listen to me ... You were already far away...
'kwando si'skjuze la fu'nerea 'pjetra

Quando si schiuse la funerea pietra
When was opened the funereal gravestone
suI 'padre mio

suI padre mio.
over the father mine.
(Listen...You were already gone, when my father [died] and was buried.)
ri'masta '::>rfana e 'sola

Rimasta orfana e sola,
(Having) remained orphaned and alone,
dun a'pp::>dd3::> ai 'dw::>p::> la re'd3ina lUi 'disse

"d'un appoggio hai d'uopo", la regina mi disse:
"of protection you have need", the Queen told me;
e a'ljete 'n::>ttse ti'serb::>

lie a liete nozze ti serbo."
"and a happy marriage I will plan for you."
ROBERTO
e ttu
E tu?
And you?
SARA
mo'ppozi Ie 'kjezi rna in'darno il vel
M'opposi. Le chiesi, rna indarno il vel. ..
I refused. I asked her, but in vain (to let me take) the veil...
(to let me become a nun... )
fui 'tratta al 'talamo ke 'diko

Fui tratta al talamo .•. Che dico?
I was dragged to the marriage bed ... What amI saying?
al mio 'letto di 'morte

al mio letto di morte!
To my bed of death!
ROBERTO
0 tJel
Oh ciel!
Oh Heaven!
SARA
fe'litJe kwan'tio non son 'fato mi'AAor ti 'renda
Felice quant'io non son fato miglior ti renda.. .
Happy as I not am fate better make you.. .
(However much I am unhappy, maya better fate make you happy ... )
'ana re'd3ina il 'kore 'vold3i ro'berto

alIa Regina il core volgi, Roberto.·
To the Queen your heart turn, Robert.
(Turn your heart toward the Queen, Robert.)
ROBERTO
a 'tatJi 'spento alla'mor so'nio
Ah! taci... spento alI'amor son io.
Ah! Be silent... dead to love amI.
SARA
la 'd3emma ke ill tua man ris'plende
La gemma che in tua man risplende
The gem that on your hand sparkles
'era me'morja e 'peJ1J1o dun a'ffetto re'al

era memoria e pegno d'un affetto real. ..
was a reminder and pledge of an affection royal ...
(was a souvenir of a royal love ... )
ROBERTO
'peJ1J1o da'ffetto non sai pur si dis'trugga il tuo sos'petto
Pegno d'affetto? Non sai. .. pur si distrugga il tuo sospetto!
Pledge oflove? You don't know... now be allayed your suspicion!
(He takes off his ring and throws it on the table.)

'mille 'v::>ite per te da'rei la 'vita

Mille volte per te darei Ia vita.
A thousand times for you I'd give my life.
SARA
r::>'berto 'ultim::> a'ttJent::> 'sara ti 'parla
Roberto .•. ultimo accento Sara ti parla
Robert... a last word Sarah will speak to you
ed '::>za 'una 'grattsja pre'gar

ed osa una grazia pregar.
and dares one favor to beg.
ROBERTO
'kjedimi i1 'saIJgwe 'tutt::> io spard3e'r::> per te mio 'bene
Chiedimi il sangue. Tutto io spargero per te, mio bene.
Ask me for my blood. All of it I shall spill for you, my beloved.
SARA
'viver 'devi e fu'dd3ir da 'kweste a'rene
Viver devi, e fuggir da queste arene.
To live you must, and flee from these sands.
(You must live and flee these shores.)
ROBERTO
il 'vero in'tezi a 'parmi s::>pJ1ar
n vero intesi? Ah! parmi sognar!
The truth I heard? Ah! I seem to be dreaming!
SARA
a se 'mmami per 'sempre dei la'JJanni
Ah! se m'ami per sempre dei Iasciarmi.
Ah! If you love me, forever you must leave me.
ROBERTO
Per sempre!
SARA
Si.
ROBERTO
a nOl) kre'dea kan'd3at::> 'tant::> di 'sara il br
Ah! non credea cangiato tanto di Sara il cor.
Ah! I did not believe changed so much of Sarah the heart.
(Ah! I did not believe Sarah's heart had changed so much.)
son 'bdjo 'tuo

Son I' odio tuo! ...
I am the hatred yours!...
(I am the man you hate!)
SARA
spje'tat:)
Spietato!
Pitiless man!
ROBERTO
'ard:) per te da'mor
Ardo per te d'amor.
I burn for you with love.
SARA
da'kke t:)rnasti ai'mizera i1] 'kwest:) 'debil 'k:}re
Dacche tornasti, ahi misera! in questo debil core
Since your return, wretched me! In my feeble heart
del mal so'pito in'tJendj:) si rides't:) lar'dore

del mal sopito incendio si ridesto l'ardore...
of the barely extinguished fire is re-awakened the ardor.. .
(Wretched me! Since your return, in my weak heart is re-ignited the passion of that barely
extinguished fire ... )
a 'parti a 'vannea 'laHami

Ah! parti, ah! vanne, ah! lasciami,
Ah! Depart! Ah, go, ah! leave me,
a 'tJedi 'alIa 'S:)rte a'tJerba

Ah! cedi alIa sorte acerba ...
Ah! Yield to fate bitter...
a te la 'vita 'serba 'serba lo'nor a nune

a te la vita serba, serba l'onor a me.
for you your life spare, spare the honor for me.
(spare your life and spare me my honor.)
ROBERTO
'dove son io kwai 'zmanje
Dove son io? Quai smanie!
Where amI? What madness!
fra 'vita e 'm:)rte on'dedd30

Fra vita e morte ondeggio!
Between life and death I am wavering!
tu 'inmami e 'dedd3:) 'perderti

Tu mIami e deggio perderti! .•.
You love me and I must lose you!...
SARA
Si.
ROBERTO
'mami e la'Harti 'dedd30
M'ami e lasciarti deggio.
You love me and leave you I must.
SARA
Si.
ROBERTO
po'ter dellami'tJittsja
Poter dell' amicizia•..
Ah,power of friendship ...
SARA
A te Ia vita serba...
ROBERTO
'prestami tu vi'gore
•.. prestami tu vigore•
.. .lend me strength.
SARA
...l'onore a me.
ROBERTO
ke dum m:Jr'tale iIJ 'k:Jre 'tanta vir'tu n:J'ne
che d'un mortale in core tanta virtu non e•..
For ofa mortal in the heart so much virtue there isn't...
(For in a man's heart such virtue does not exist. ..)
(Sarah falls at his feet, weeping and imploring. Robert raises her.)
a 'terd3i Ie a'mare 'lagrime si fudd3i'r:J

Ah! tergi Ie amare lagrime, si, fuggiro.
Ah! Dry your bitter tears, yes, I shall flee.
SARA
lo'd3ura
Lo giura.
Swear it.
ROBERTO
Si, poter dell' amicizia, etc.
SARA
Parti, ah! fuggi, etc.
e 'kwando fudd3i'rai
E quando fuggirai?
And when will you flee?
ROBERTO
a'llor ke 'tatJita a'vra la 'n:Jtte os'kura
Allor che tacita avril la notte oscura
When silently will have the night dark
u'naltra'volta III 'tJelo dis'tezo il 'tetro vel

un'altra volta in cielo disteso il tetro vel.
again in the sky spread out its dark veil.
(When the night will again have silently spread out its dark veil.)
(When it gets dark.)
or nol po'trei ke 'rozeo il 'primo al'bor d3a 'sord3e

Or nol potrei, ehe roseo il primo albor gUt sorge.
Now I cannot, for pink the first dawn already is rising.
(because it's already daylight.)
SARA
kwal pe'ri.£{o in)'volati se al'kun u'fJir ti'skord3e
Qual periglio! .. . involati sealcun useir ti seorge! ...
What danger! .. . flee ... if someone leaving sees you!...
ROBERTO
o 'fjero is'tante
Oh fiero istante!
Oh dread moment!
SARA
un 'ultimo 'peJ1J1o din)fausto a'more kon te ne'veIJga
Un ultimo pegno d'infausto amore con te nevenga...
A last pledge of unhappy love with you take ...
(Take this, a last pledge of an unhappy love ... )
(She gives him the blue scarfembroidered with gold thread.)
ROBERTO
a 'pord3ilo kwi suI tra'fitto 'kore
Ah! porgilo qui suI trafitto core...
Ah! Give it here, upon this pierced heart.. .
SARA
'vanne di me ra'mmentati sol'kwando 'pregi il tJel a'ddio
Vanne! Di me rammentati sol quando preghi il ciel! Addio! ...
Go! Remember me only when you pray to Heaven! Farewell! ...
ROBERTO
Per sempre! •..
SARA
o'spazimo
Ohspasimo!
Ohsorrow!
ROBERTO
0 rio des'tin kru'de1
Oh rio destin erudel! ...
Oh awful fate cruel! ...
SARA
Addio!
ROBERTO
Addio!
SARA, ROBERTO
kwesta'ddb fa'tale es'tremo e un a'bisso di tormenti
a
Ah! quest' addio fatale, estremo e un abisso di tormenti...
This farewell fatal, final, is an abyss of torments ...
Ah!
(is a chasm of suffering ...)
Ie mie 'lagrime ko'tJenti

lemie lagrime cocenti
my tears burning
pju del 'tJiAAo 'spard3e il kor

pin del ciglio sparge il cor.
more than the eyelid sheds the heart.
(My burning tears are shed in more abundance by my heart than by my eyes.)
mai pju non tJi ve'dremo maIJ'kar mi'sento

a
mai pin non ci vedremo ... mancar mi sento!
Ah!
Ah! Never again we will see one another... faint I feel!
si ra'kkjude iIJ 'kwesto a'ttJento 'una 'vita di do'lor

a
si racchiude in questo accento una vita di dolor!
Ah!
Is contained in these words a life of griefl
Ah!
SARA
Parti!
ROBERTO
Fero istante!
SARA
Addio!
ROBERTO
'ferma
Ferma!
Stay!
SARA
Ah! mi lascia!
SARA,ROBERTO
Ah! questo addio fatale, estremo, etc.
(Robert leaves and Sarah returns to her apartments.)
END OF ACT I
446 Roberto Devereux, Act II
ACTll
Scene One
(The Hall at Westminster. Lords and Ladies of Elizabeth's court come together to converse.)
CHORUS
'lore tras'korrono 'surse lau'rora
L'ore trascorrono, surse l'aurora,
The hours go by, has broken the dawn,
ne il parla'mento si 'JJ::>lse al)'kor

ne il parlamento si sciolse ancor.
and the Parliament hasn't adjourned yet.
'sentsa la'ita 'della re'd3ina

Senza l'aita della Regina
Without the aid of the Queen
pur'tr::>pp::> e 'tJerta la sua ro'vina a si

purtroppo e certa la sua rovina, ah si!
completely is certain his ruin, ah yes!
ta'tJete ::> 'brdi eliza'betta

Tacete, o Lordi, Elisabetta,
Be silent, oh Lords, Elizabeth,
kwal ki ma'tura 'una ven'detta

qual chi matura una vendetta,
like one who ripens a vengeance,
'erra din'tomo fre'mente e 'sola

erra d'intorno, fremente e sola,
wanders around us, trembling and alone,
ne 'm::>ve il)'kjesta ne fa pa'r::>la

move inchiesta, ne fa parola.
ne
asking questions nor speaking a word.
not
::> tJel ta'tJete

Oh Ciel! Tacete!
Oh Heaven! Be silent!
'mizero 'konte il'tJelo i'rat::> di 'foske 'nubi ti tJirbn'd::>

Misero Conte! 11 cielo irato di fosche nubi ti circondo.
Wretched Earl! Heaven irate with dark clouds has surrounded you.
n tuo des'tin::> e d3a sepJ1at::>

11 tno destino e gla segnato:
Your destiny is already sealed;
il) kwel si'lentsj::> la'm::>rte a par'I::>

In quel silenzio la morte ah! parlo.
that silence death ah, has spoken.
In
(Elizabeth enters from one side, Cecil from the other.)
Roberto Devereux, Act II 447
ELISABETTA
e'bben
Ebben?
Well?
CECIL
del re::> Ie 's::>rti 'fur::> a 'lul)9::> ad3i'tate
Del reo Ie sorti furo a lungo agitate;
Of the culprit the fates were fora longtime debated;
(The fate of the accused was debated for a long time;)
pju damis'ta ke di ra'd30rn p::>'ssente

Pill d'amista che di ragion possente ....
More out of friendship than out of reason powerful
il 'duka viva'rnente 10 di'feze rna in]'van

il duca vivamente 10 difese, ma invan.
the Duke enthusiastically defended him, but all in vain.
(More out of friendship than powerful reason the Duke [of Nottingham] defended [Robert
Devereux] enthusiastically, but it was all in vain.)
re'kar ti 'deve la sen'tentsa 'eUi 'stesso

Recar ti deve Ia sentenza egli stesso.
Bring to you he must the sentence himself.
ELISABETTA
ed 'era
Ed era?
And it was?
CECIL
'm::>rte
Morte.
Death.
(Sir Walter Raleigh enters.)
RALEIGH
Regina...
ELISABETTA
pw::> la 'korte albnta'narsi rikja'mata im 'breve kwi fia
Puo la Corte allontanarsi: richiamata in breve qui fia.
Can the Court withdraw; recalled soon here it will be.
(The Court may now withdraw; it will be recalled soon.)
(All leave except Raleigh and Elizabeth.)
'tanto indu'd3asti
Tanto indugiasti?
So long you delayed?
RALEIGH
a'ssente 'e,(Ai 'era
Assente egli era,
Out he was,
ed al pa'lad30 suo nOIl]fe ri'tomo

ed al palagio suo non fe' ritorno
and to the palace his he did not return
ke 'surto il 'nw:>vo 'd30mo

che surto il nuovo giorno.
until risen the new day.
(He was out and did not return to his palace until the next day.)
ELISABETTA (disturbed)
'segwi
Segui! ...
Continue! ...
RALEIGH
fu dizarll1at:> e nel tJerkar
Fu dis armato, e nel cercar
He was disarmed, and while searching (him)
se krinai'nozi 'f:>,(Ai 'nelle 'vesti kju'dessi

se criminosi fogli nelle vesti chiudesse,
if incriminating letters in his clothes he were hiding,
i ll1jei se'gwatJi 'vider ke in sen tJe'lava'sema 'JJarpa

imiei seguaci vider che in sen celava serica sciar~a.
my followers saw that in his bosom he hid a silken scarf.
bll1an'dai ke blta Ai 'fosse

Comandai che tolta gli fosse:
I ordered that taken from him it be:
(I ordered my men to take it from him;)
'dira tell1e'rarja e 'stolta avvam'pando pria gri'd:>

D'ira temeraria e stolta avvampando pria grido:
With a rage rash and foolish burning at first he shouted:
stra'pparrni ve'dw:>p:> i1 k:>r dal 'pett:>

"Strapparmi VIe d'uopo il cor dal petto! ... "
"Tear you must my heart from my breast!..."
("I'd rather you rip out my heart! ")
del 'konte la re'pulsa fu 'vana

Del conte la repulsa fu vana.
Of the Earl the resistance was in vain.
I When fIrst this scarf was mentioned in Act I it was spelled sciarpa, which is the correct spelling.
Somehow in Act n the Ricordi score shows ciarpa, which means nothing in Italian and is obviously a
serious misprint.
ELISABETTA
e 'kwella 'II arpa
E quella sciarpa?
And that scarf?
RALEIGH
'ekk::>la
Eccola.
Here it is.
ELISABETTA (examining the scarf)

::> 'rabbja 'tJifre da'mor kwi 'vedd3::>
(Oh rabbia!... cifre d'amor qui .,
vegglO ....)
(Oh rage!... Emblems oflove here I see!...)
(She is trembling with rage, but she turns to Raleigh and resumes her majestic stance.
Raleigh exits.)
al mb bs'pett::> ko'lui si 'tragga

AI mio cospetto colui si tragga.
To my presence let him be brought.
::> 'mille 'furje im 'pett::>

Ho mille furie in petto!
I have a thousand furies in my breast!
(Nottingham enters.)
NOTTINGHAM
n::>I1] 'venni mai si 'mest::> 'ana re'gal pre'zentsa
Non venni mai si mesto alIa regal presenza.
I've never come (ever) so sad to your royal presence.
'kompio un do'ver fu'nest::> de'sseks e la sen'tentsa

Compio un dover funesto. D'Essex e la sentenza.
I carry out a duty tragic. Of Essex this is the sentence.
(He hands her the parchment.)
'tatJe il mi'nistro or 'parla la'miko in su::> fa'vore

Tace il ministro. Or parla l'amico in suo favore.
Is silent your minister. Now speaks the friend in his favor.
(Your minister kept silent Now I, as his friend, speak in his favor.)
'grattsja
Grazia!
Mercy!
ELISABETTA
ke
Che?
What?
NOTTINGHAM
po'tria ne'garla deliza'betta il 'bre
Potria negarla d'Elisabetta il core?
Could deny it of Elizabeth the heart?
(Could Elizabeth's heart deny it?)
ELISABETTA
ll] 'kwest~ 'bre e 'skulta la sua bn'danna
In questa core e sculta la sua condanna.
In my heart is carved his death warrant.
NOTTINGHAM
o 'detto
Oh detto!
Oh words!
ELISABETTA
'duna ri'vale o'kkulta fi'nor la'kk~lse il 'tetto
D'una rivale occulta tinor l'accolse il tetto.. .
Of a rival unknown till now received him the roof...2
(The house of a rival until now unknown received him...)
si 'kwesta 'n~tte is'tessa ei mi tra'dia

Si, questa notte istessa ei mi tradia•.•
Yes, this night very he betrayed me ...
(Yes, this very night he betrayed me ... )
NOTTINGHAM
ke 'dditfi n~ ka'lunnja e 'kwesta
Che dici!. .. No, c~lunnia e questa.
What are you saying! ... No, slander is this.
(No, this is slanderous!)
ELISABETTA
'tfessa
Cessa...
Cease.}
NOTTINGHAM
'trama de sw~i ne'mitJi
Trama de' suoi nemici.
(It's a) plot by his enemies.
ELISABETTA
n~
No•.•
No ...
NOTTINGHAM
Calunnia e questa.•.
2 Tetto, (roof), in Italian poetry connotes a "house".

3 This word is sometimes substituted with Taci, ("be silent")
= '_9

--
ELISABETTA
No.•.
NOTTINGHAM
mel'kredi
Mel credi.
Believe me ...
ELISABETTA
Cessa ...
NOTTINGHAM
Trama de' suoi nemici, credi.
ELISABETTA
n::> dubi'tar non'd30va
No, dubitar non giova.•.
No, to doubt is no use ...
al mal)ka'tor fu 't::>lta irrefra'gabil 'pr::>va

Al mancator fu tolta irrefragabil prova.
From the perpetrator was taken an irrefutable proof.
(Irrefutable proof was found on the accused man.)
NOTTINGHAM
a ke fai s::>s'pendi as'kolta
Ah! che fai? Sospendi... ascolta.
Ah! What are you doing? Wait. .. listen...
su lui nom 'pjombi il 'fu1mine de'llira tua kru'dele

Su lui non piombi il fulmine dell'ira tua crudele! ...
Upon him may not fall the lightning bolt of your rage cruel!...
se 'kjeder 'litJe urn 'premio del mio ser'vir fe'dele

Se chieder lice un premio del mio servir fedele,
If ask is permitted a reward for my service faithful,
(If! may ask for a reward for my faithful service,)
kwes'tun::> 'kjed::> in 'lagrime pros'trato al 'red30 pje

quest'uno chiedo, in lagrime, prostrato al regio pie.
this one I ask, ill tears, prostrate at your royal feet.
ELISABETTA
'tatJi pje'tade::> 'grattsjan::> lin]fe'del n::>m'merta
Taci: pietade 0 grazia, no, l'infedel nonmerta...
Be silent... pity or mercy, no, the unfaithful one doesn't deserve ...
il tradi'mento e o'rribile la sua per'fidja e 'tJerta

n tradimento e orribile, la sua perfidia e certa,
The betrayal is dreadful, his perfidy is certain,
'mwoja e non '8::>rga un 'd3emito a doman'dar mer'tJe

Muoja, e non sorga un gemito a domandar merce.
Let him die, and let not arise one groan asking for mercy.
NOTTINGHAM
Ah! no! Grazia! No, Regina!
ELISABETTA
'skostati
Scostati!
Be gone!
NOTTINGHAM
tel'kjed::> iI] 'grattsja
Tel chiedo in grazia.
I beg you to pardon him.
ELISABETTA
va
Va.
Go.
NOTTINGHAM
No. Ah! su lui non piombi il fulmine, etc.
ELISABETTA
II tradimento e orribile, etc.
NOTTINGHAM
Se chieder lice un premio al mio servir fedel, etc.
Scene Five
(Robert is brought in under guard.)
TRIO
ELISABETTA
'ekko lin'deJ1J1::> a'ppressati
(Ecco l'indegno! ...) Appressati...
(Here'S the unworthy one!...) Approach!. ..
(At a sign from Elizabeth, Raleigh and the guards leave.)
'erd3i lal'tera 'fronte ke 'dissi a te

Ergi l'altera fronte. Che dissi a te?
Raise your proud face. What did I say to you?
ra'mmentab 'ami ti'dissi 0 'konte

Rammentalo. "Ami," tidissi, 0 Conte?
Remember; "Are you ili love" I asked you, oh Earl?
n::> rispon'desti n::> urn 'peIfido UIl) 'vile

"No" rispondesti... "no" . Un perfido, un vile,
"no" you answered ... "no". A wretch, a coward,
urn menti'tore tu sei

un mentitore tu sei...
a liar you are ...
del tu::> men'datI::> il 'mut::> akkuza'tore 'gwarda

Del tuo mendacio iI muto accusatore guarda.
of your mendacity the silent accuser behold.
(She shows him the embroidered scarf)
e suI br ti 'IIenda 'fera di 'm::>rte un d3el

e sui cor ti scenda fero di morte un gel.
and upon your heart may descend a dread of death a chill.
(behold [in this scarf] the silent accuser of your mendacity, and let a dread chill of death fill
your lying heart.)
ROBERTO (recognizing it)

ke
(Che!)
(What!)
NOTTINGHAM
::>'rrenda 'lutIe ba'lena 'sara
(Orrenda luce balena!... Sara! ...)
(A dreadful light has flashed!... Sarah!...)
(Robert, observing Nottingham's surprise, is seized by terror.)
ELISABETTA
'tremi al'frne
Tremi alfine!
You tremble, at last!
ROBERTO
::> tIel
(Oh ciel!)
(Oh Heaven!)
ELISABETTA
'alma in)'fida il)'grat::> 'k::>re
Alma infida, ingrato core,
Soul unfaithful, ungrateful heart,
ti ra'dd3Ullse il mio fu'rore

ti raggiunse iI mio furore.
You've been caught up (by) my fury.
(My fury has caught up with you.)
pria ke il sen di 'fjamma 'rea

Pria che iI sen di fiamma rea
Before your breast with aflame guilty
tattIen'desse un ddio ne'miko

t'accendesse un Dio nemico,
ignites within you a God wrathful,
(Before a wrathful God burns you with Hell's flames,)
pria d:>'ffender ki na'Hea

pria d'offender chi nascea
before offending her who was born
del tre'mend:> :>'ttav:> en'riko

del tremendo ottavo Enrico,
of the formidable eighth Henry,4
(and before offending her who was born of the formidable Henry VllI,)
'fender 'vivo nel se'polkro

scender vivo nel sepolcro
descended alive into your grave
tu do'vevi tradi'tor
tu dovevi, 0 traditor!
you better had, oh traitor!
(better you had descended alive into your grave, oh traitor!)
ROBERTO
mi s:>'vrasta il 'fat:> es'trem:>
(Mi sovrasta il fato estremo!
(It's hanging over me my fate ultimate!
(My ultimate fate hangs over me!)
pur di me di me n:>n 'trem:>

pur di me, di me non tremo...
Yet, for myself, for myself I do not tremble ...
'della 'mizera il pe'rWo 'tutto es'tinse lffi me

Della misera il periglio tutto estinse in me
of that wretched woman the peril all extinguished in me
il b'radd3:>
il coraggio.
the courage.
(that wretched woman's [Sarah's] peril has overshadowed my own courage.)
di kos'tui nel 'torvo 'tJiilo

Di costui nel torvo ciglio
Of that man in his grim brow
bale'n:> saI)'wi]1]1:> 'radd3:>

baleno sanguigno raggio!
there flashed a bloodthirsty gleam!
(On [Nottingham's] brow there flashed a bloodthirsty gleam!)
a kwel 'pe]1]1:> J agu'rat:> fu di 'm:>rte

Ah! quel pegno sciagurato fu di morte
Ah! That token unfortunate was of death
4 Let the reader not forget that Elizabeth I was the daughter of Henry VIII and Anne Boleyn, the latter
the subject of one ofDonizetti's other operas, Anna Bolena.
e non da'mor
e non d'amor!)
and not oflove!)
(That unfortunate token [scarf] was·[a token] of death, and not of love!)
NOTTINGHAM
no'ne ver de'lirjo e 'kwesto
(None ver... delirio e questo! ...
(It can't be true... a delirium is this!...
'so]1]10 o'rribile fu'nesto

sogno orribile, funesto!
a dream horrible, deadly!
no d3a'mmai dun 'womo il 'kore

No, giammai d'un uomo il core
No, never ofa man the heart
'tanto e'ttJesso non a'kkolse

tanto eccesso non accolse...
such excesses has withstood ...
(No, no man's heart has ever withstood such betrayal...)
pur si 'kovre di pa'llore

pur... si covre di pallore!
yet... he is covered with pallor!
(yet...he grows pale!)
ai ke 'zgwardo a me d'volse
Ahil che sguardo a me rivolse!
Oh! What look at me heturhed!
(Oh, what a look he shot at me!)
'tImto 'kolpe a me diz'vela

cento colpe a me disvela
a hundred crimes to me reveals
'kwello 'zgwardo e kwel pa'llor

quello sguardo e quel pallor!)
that look and that pallor!)
(His look and his pallor are proof enough for me of his hundred crimes!)
ELISABETTA
'vile 'eAM 'freme
Vile! Egli freme!
Coward! He is trembling!
Scender vivo nel sepolcro, etc.
NOTTINGHAM (in a transport ofwildfury)

Jdle'rato mal'vad30 e kju'devi tal per'fidja
Scellerato!... Malvagio!... e chiudevi tal perfidia
Criminal!... Evil-doer!... And you enclosed such perfidy
nel 'k~re: z1e'ale:

nel core sleale?
in your heart disloyal?
e tra'dir si vil'mente po'tevi la re'd3ina

E tradir sl vilmente potevi la Regina?
And betray (in) such cowardly fashion could you your Queen?
(How could you betray your Queen in such a cowardly fashion?)
ROBERTO
su'pplittsjo in:]fe:r'nale:
(Supplizio infernale! •.. )
(Torture infernal!. ..)
NOTTINGHAM
a la 'spada un is'tante
Ah! la spada un istante,
Ah! My sword, one instant,
al b'dard~ allin:]'famja sia 'reza

al codardo, all'infamia sia resa! ...
to that coward, for the treachery be paid back!
(Ah! Let my sword in a moment pay back that coward for his treachery!)
kei mi 'kada tra'fitt~ 'alle: 'pjante:

Ch'ei micada trafitto alle piante,
May he fall run through at my feet,
kio nel 'saIJgwe: de:'terga lo'ffeza 'una 'spada

ch'io nel sangue deterga l'offesa! ... Una spada!. ..
let me in blood cleanse this offense!... A sword!...
ELISABETTA (to Nottingham)

0 mio 'fido e tu 'fre:mi tu 'pure
0 mio fido, e tu fremi, tu pure,
Oh my faithful one, and you rage, you too,
delbl'tradd3~ ke a me: fu re:'kat~

dell' oltraggio che a me fu recato!
over the offense that upon me was wrought!
(to Robert)
b fa'velb mas'kolta la 'skure: d3a mi'nattJa

10 favello: m'ascolta! La seure gia minaecia
I am speaking, listen to me! The ax already threatens
il tu~ 'kap~ e:ze'krat~

il tuo capo esecrato.
your head detested.
kwal si 'noma lar'dita ri'vale

Qual si noma l'ardita rivale,
What is the name (of) that bold rival,
Roberto Devereux, Act II
457
di s:)l'tant:) e 10 'd3UIO
di, vi'vrai
soltanto e, 10 giuro,
speak vivrai.
then, and, I swear it, you shall live.
(Nottingham stares at Robert with horrified anxiety. There is an instant ofsilence.)

'parla
Parla.
Speak.
NOTTINGHAM
mo'ment:) fa'tale
(Momento fatale!)
(Moment fatal!)
ROBERTO
pria la 'm:)rte
Pria la morte!
Rather death!
ELISABETTA
:)sti'nat:) si la'vrai
Ostinato! ... si, I'avrai.
Obstinate man! ... Yes, you shall have it!
NOTTINGHAM
(Ob momento fatale!)
(At a signal from the Queen, the hall is filled again with the courtiers.)
ELISABETTA
'tutti u'dite il kon'siAAo
Tutti de 'pari
udite. II Consiglio de'
Everyone Pari
listen. The Council of Peers
di kos'tui 1a bn'danna mi 'porse io
di costui la la'seppo
condanna mi porse. 10
of this man the la segno.
death sentence has brought me. I
will sign it.
(She signs the death sentence and hands it to Cecil.)
tIas'kuno la im'pari
Ciascuno la imparl.
Let everyone be notified.
'kome il 'sole ke 'parte d3a 'korse del suo 'd3iro

Come iI sole che parte gia
As corse del suo giro
the sun which apart already coursed in
its journey
al me'ridd30 sia 'd3unto
al meriggio sia giunto,
to its zenith will have arrived,
(Whenever the sun in its journey will have reached its zenith at high noon,)
's::>da un 'tw::>no del 'brondz::> gwe'rrjer
s'oda un tuono del bronzo 5
let there be heard a guerrier:
shot from the bronze warlike:
(let a cannon shot be heard:)
per'kw::>ta la 'skure iJ;J kwel 'punta

percuota la scure in quel punto.
let it fall the ax in that moment.
(and let the ax fall [on Robert's head].)
COURTIERS
'tristo 'd30mo di 'm::>rte b'rjer
(Tristo giorno di morte forier!)
(A sad day of death a harbinger!)
ELISABETTA (furiously, to Robert)

va la'm::>rte suI 'kapo ti 'pende
Va, la morte suI capo ti pende,
Go, death over your head is hanging,
suI tuo 'nome 1in:J'famja di'JIende
suI tuo nome I'infamia discende...
over your name infamy descends ...
tal se'polkr::> ta'ppresta il mio 'zde]l]lo
Tal sepolcro t'appresta il mio sdegno,
Such a grave is readied for you (by) my anger,
ke nOllJ fia ki di 'pjant::> b 'skaldi

che non fia chi di pianto 10 scaldi:
that there is isn't who with weeping can warm it.
(My anger readies such a [cold] grave for you, that no weeping will be able to warm it.)
bn la 'polve di 'viIi ri'baldi
Con la polve di viii ribaldi
With the dust of cowardly rebels
la tua 'polve kOllJ'fuza sa'ra
la tua polve confusa sara!
your dust mixed shall be!
(You shall be buried in a common traitor's grave!)
ROBERTO
del mb 'salJgwe la 'skure bap.]lata
Del mio sangue la scure bagnata
With my blood the ax bathed
pju nOll] fia di]l]lo'minja ma'kkjata

pin non fia d'ignominia macchiata.
no longer let it be with dishonor stained.
(May the ax stained with my blood not be further stained with dishonor.)
5 Bronzo (lit. "bronze") in Italian poetry connotes either a bell or a cannon; a bronzo guerrier (lit. "a
warlike bronze") is a cannon.
il tuo 'krudo impla'kabile 'zde]1]1o

n tuo crudo, implacabile sdegno
Your cruel, implacable wrath
non la 'fama la 'vita mi 'toile

non Ia fama, Ia vita mi togUe.
not my reputation, my life it deprives me of.
(Your cruel, implacable wrath deprives me of my life, but cannot deprive me of my
reputation.)
NOTTINGHAM
no lin'de]1]1o nom'mwoja di 'spada
(No, l'indegno non muoja di spada,
(No, that worthless one musn't die by my sword,
'sovra il 'palko in.Jfa'mato 'eAAi 'kada

sovra il palco infamato egli cada...
on the block, dishonored, he shall fall ...
ne il su'pplittsjo ser'bato allin'de]1]1o

Ne il supplizio serbato all'indegno
Nor the suffering meted out to that unworthy man
'basta a'llira ke 'marde nel sen

basta alI'ira che m'arde nel sen.
is sufficient (to allay) the rage that bums in my breast.
CECIL, RALEIGH
sui tuo 'kapo la 'skure d3a 'pjomba
SuI tuo capo la scure giil piomba,
Over your head the ax already falls,
male'detto i1 tuo 'nome sa'fa

maledetto iI tuo nome sara.
cursed your name shall be.
NOTTINGHAM
)
II
No, I'indegno non muoia di spada, etc.
!;
i COURTIERS
i al re'jetto ne'mmeno la'tomba
Ii Al rejetto
For the condemned man
nemmeno
not even
la tomba
the grave
I
un a'zilo di 'patIe sa'fa

I un
a
asilo di
haven of
pace sara.
peace will be.
I:
ELISABETTA
Vile! Va, la morte suI capo ti pende...
::> suI 'tJill::> la 'benda de'llira

ho suI ciglio Ia benda dell'ira.
I have over my eyes the bandage of wrath.
(I am blinded by rage.)
ROBERTO
a sU'pplittsjo iII]fernale
Ah! supplizio infernale!
Ah! torture infernal!
ELISABETTA
Va, la morte suI capo ti pende, etc.
END OF ACT II
II;
Roberto Devereux, Act III 461
ACTID
Scene One
(Sarah's apartment.)
SCENA AND DUET

SARA
ne 'rjede aI]'kora il mio bn's~rte
Ne riede ancora il mio consorte! ...
Nor returns yet my husband!. ..
(My husband has not returned yet!...)
Scene Two
(One o/her faithful servants enters.)
SERVANT
du'kessa un di kwe 'pr~di
Duchessa! Un di que' prodi
Duchess! One of those brave men
kui ve'f.Aar fu 'dat:l la 'red3a 'stantsa

cui vegliar fu dato la regia stanza,
to whom to guard was granted the royal chamber,
(who was guarding the royal chamber,)
e d3a pU)1]1ar~ a 'lato del 'gran r~'bert~

e gia pugnaro a lato del gran Roberto,
and fought at the side of the great Robert,
kwi d3un'd3ea fe'kand~ n~n s~ kwal 'f:lf.A~

qui giungea recando non so qual foglio,
here arrived bringing I know not some letter,
ke in tua man de'porre e ri'kjede e skon'd3ura

che in tua man deporre e richiede e scongiura.
which in your hand to place both asks and implores.
(imploring and requesting that it be placed in your hand.)
SARA
'veI)ga
Venga.
Show him in.
(A soldier is shown in, who silently hands the Duchess a letter, after which both he and the
servant exit.)
r~'berto
Roberto
'skrisse
. ,
scrlsse ..•.
Robert wrote!. ..
(She reads the letter hastily.)
o ria JIa'gura sep]1ata e la bn'danna

o ria sciagura! Segnata e la condanna! ...
Oh cruel misfortune! Signed is the death warrant!...
462 Roberto Devereux, Act III
pur kwi b a'pprend~ 'kwest~a'nelb

Pur... qui 10 apprendo ... questo anello
Still ... here I am being made aware... this ring
e 'sakr~ malleva'dor de 'd30rni sw~i

e sacro rnallevador de' giorni suoi!
is a sacred guarantee of the days his!
(of his life!)
'ke 'tard~ 'korrasi a pje deliza'betta

Che tardo? corrasi a pie d'EIisabetta.
Why am I delaying? Let me run to the feet of Elizabeth.
Scene Three
(Nottingham enters, remaining motionless near the threshold. His eyes are fixed with
terrible intensity on Sarah.)
SARA
il 'duka kwal 'torv~ 'zgward~
en Duca! ... Qual torvo sguardo! ...)
(The Duke! .. . What a menacing glance!...)
NOTTINGHAM
uIl] 'bAA~ a'vesti
Un foglio avesti?
You received a letter?
SARA
~ 'tJeb
(Oh cieIo!)
(Oh Heaven!)
NOTTINGHAM
'sara ve'derlo b 'V~AA~
Sara, vederlo io voglio.
Sarah, to see it I want.
SARA
'sp~z~
Sposo! ...
Husband! ...
NOTTINGHAM
'sp~z~ 10 im'pOIJg~ arne kwel 'bAA~
Sposo! Lo impongo: arne quel foglio!
Husband! I order you: give me that letter!
(His tone admits no reply. With a trembling hand Sarah hands him Robert's letter.)
SARA
per'duta io 'sono
(Perduta io sono!)
(I'm lost!)
NOTTINGHAM (after having read the letter)

tu 'dUI]kWe pw;,i dal su;, 'kap;, albnta'nar la 'skure
Tu dunque puoi dal suo capo allontanar la scure?
You then can from his head keep away the ax?
(So you can prevent him from being beheaded? ... )
'una 'd3emma ti dje 'kwand;,

Una gemma ti die? Quando?
A gem he gave you? When?
(He gave you a ring?)
fra 'lombre 'della tras'korsa 'njtte

Fra l'ombre della trascorsa notte,
In the shadows of the past night,
a'llor ke 'peJIJI:) da'mor suI 'pett:)

allor che pegno d'amor suI petto
when as token oflove on his breast
la tua 'mano Ai 'poze 'JIarpa 'd:)f:) bn'testa

Ia tua mano gli pose sciarpa d'oro contesta?
your hand placed on him a scarf in gold interwoven?
(In the shadows of last night, when your hand placed upon his breast a gold-embroidered
scarf as a token of your love?)
SARA
o 'folg:)fe tre'menda inaspe'ttata
Oh, folgore tremenda, inaspettata!
Oh blow dreadful, unexpected!
'tutt:) e 'n:)t:) a llui

tutto e noto a lui!
everything is known to him!
NOTTINGHAM
si f eUe'fata 'tutto si
Si, scellerata! Tutto, sit
Yes, guilty woman! Everything, yes!
n:)n sai ke un 'nume 'vinditfe

Non sai che un nume Vindice
Don't you know that a God avenging
'ann:) tra'diti in 'tfeb

hanno i traditi in cieIo?
have the betrayed husbands in Heaven?
(Don't you know that "betrayed husbands have an avenging God in Heaven?)
'eAAi bm man te'rribile 'frand3€ 'ane 'kolpe il 'velo

Egli con man terribile frange alle colpe il velo!
He with a hand frightening rips from sins the veil!
(He with His frightening hand rips away the veil of sins!)
sper'd3ura un me pa'ventalo kwel dio vendika'tor si

Spergiura, in me paventalo, quel Dio vendicator, si!
False woman, ill me fear Him, that God avenging, yes!
(Yes, you false woman, fear in me that avenging God!)
SARA
a mU'ttJidi
Ah! m'uccidi!
Ah! You're killing me!
NOTTINGHAM
a'ttendi 0 'pperfida 'vive ro'berto al)'kor
Attendi, 0 perfida: vive Roberto ancor.
Wait, oh perfidious one: Lives Robert still.
b per la'miko im 'petto 'tenero a'mor ser'bava

10 per I'amico in petto tenero amor serbava;
I for my friend in my breast a tender love I had;
(I felt a tender love for my friend;)
'kome tJe'leste o'dd3etto io la kon'sorte a'mava

come celeste oggetto io la consorte amava.
like a heavenly object I my wife adored.
a'vrei per 'loro im'pavido

Avrei per lora impavido
I would have for them fearlessly
sfi'dato a'ffanni e 'mmorte

sfidato affanni e morte.
defied dangers and death (itself).
ki mi tra'diIJe ai'mizero la'miko e la kon'sorte

Chi mi tradisce? Ahi, misero! I'amico e la consorte!
Who betrays me? Ah wretched me! My friend and my wife!
(raging)
'stolta non 'd30va il 'pjand3ere

Stolta, non giova il piangere!
Foolish woman, no use crying!
'sal)gwe e nom 'pjanto b vo

Sangue, e non pianto io vo'!
Blood, and not tears I want!
SARA
'tanto il des'tiIIJ fre'mente 'dul)kwe a su noi po'ssantsa
Tanto il destin fremente dunque ha su noi possanza?
Such destiny cruel then has over us power?
(Has cruel destiny then such power over us?)
pw::> 'duIJkwe un inn::>'tIente

Puo dun que un innocente
Can then an innocent man
di re::> ves'tir sem'bjantsa

di reo vestir sembianza?
of a guilty one wear the likeness?
(Then can an innocent man appear a guilty one?)
0 tu kui 'dat::> e 'lEdd3efe

0 tu, cui dato e leggere
Oh Thou, to whom granted it is to read
iIJ 'kwest::> br pu'diko

in questo cor pudico,
III this heart chaste,
tu ddb kle'mente la'ttIerta 'kempj::> n::>'ne

tu, Dio clemente, l'accerta ch'empio non e.
Thou, God merciful, prove to him that a vile man he is not.
(Oh Thou, merciful God, who can read into my chaste soul, prove to him [Nottingham]that
[Robert] is not a betrayer.)
n::> n::>'ne la'miko ke dum pen'sjer

No, none l'amico, che d'un pensier,
No, it isn't your friend, whom with one thought,
dum 'palpit::> tra'dito b mai n::>nb

d'un palpito tradito io mai non l'ho.
a heartbeat, betrayed I never have him.
nom II).ai a nn:)

Non mai, ah! no.
No,never, ah, never!
(A funeral march is heard.)
non rim'bomba un sw:)l1] fe'fale

Non rimbomba un suon ferale?
Is that not the clanging of a sound fateful?
(Sarah runs to the window. Essex is seen passing in the distance, surrounded by guards.)
Ah!
NOTTINGHAM (exulting)
b 'tragg:)n::> 'alIa 'torre
Lo traggono alIa torre.
They're dragging him to the Tower (of London.)
SARA
'fero 'brivido m~r'ta1e per Ie 'vene mi tras'korre
Fero brivido Dlortale per Ie vene Dlitrascorre!
A fatal shiver deadly through my veins courses in me!
(A fatal, mortal shiver courses through my veins!)
il pa'tib~l~ sa'ppresta 'lora e d3a. vi'tJina di~ ma'ita

n patibolo s'appresta! L'ora e giii vicina!Dio Dl'aita!
The scaffold is being readied! The hour is near already! God help me!
NOTTINGHAM (seizing her arm)

i'nikwa a'rresta 'ove 'kom
Iniqua! Arresta! Ove corri?
Sinful woman! Stop! Where are you running?
SARA
'aHa re'd3ina
AHa Regina.
To the Queen.
NOTTINGHAM
di sal'varlo ai 'speme aI)'kora
Di salvarlo hai speme ancora?
To save him have you hope still?
(You still hope to save him?)
SARA (trying tofree herselffrom his grasp)

'lana
Lascia.. .
Let go .. .
NOTTINGHAM
Di salvarlo hai speme ancora?
SARA
Lascia ...
NOTTINGHAM
~ 'rabbja ed 'ozi
Oh rabbia! Ed osi?
Oh rage! And you dare?
SARA
Si, Dli lascia..•
NOTTINGHAM
~'la
Ola!
Ho there!
(At his shout, the Duke's palace guards appear.)

a . kos'tei la mia di'mora sia pri'd30ne

A costei la mia dimora sia prigione.
To this woman my home be a prison.
(Let my house be a prison to this woman.)
SARA
:J tJel pje'ta allam'baJJa on'dio mi'struggo
Oh ciel! Pietii! AlI'ambascia ond'io mistruggo
Oh Heaven! Mercy! To the anguish with which I am tormented
'dona un 'solo is'tante io 10 'd3Uf:J

dona un solo istante. 10 10 giuro,
grant one single moment. I swear to you,
a te nOIl) 'fugg:J 'rjedo im 'breve 'aile tue 'pjante

a te nonfuggo. Riedo in breve aIle tue piante.1
from you I won't escape. I'll return soon to your feet.
'tJent:J 'v:Jlte a'llor se vW:Ji me tra'fidd3i

Cento volte allor se vuoi me trafiggi.
A hundred times then, if you wish, run me through.
a 'pjedi tW:Ji bene'dir mu'drai m:J'rente

A' piedi tuoi benedir m'udrai morente
At your feet bless you will hear me as I die
'kwella man ke mi fe'ri

quella man che miferi.
that hand that wounded me.
NOTTINGHAM
pju tre'mend:J a'vvampa e 'rudd3e
PiiI tremendo avvampa e rugge
More terrifying burns and roars
lo'nor mb da voi tra'fitt:J

l' onor mio da voi trafitto:
the honor mine by the two of you wounded;
(My honor, sullied by the two of you, burns and roars even more terribly.)
'oJ1J1i a'ttJento ke ti'sfudd3e

Ogni accento che ti sfugge,
Every word that escapes you,
'oJ1J1i 'lagrima e un de'litto

ogni lagrima e un delitto.
every tear is a sin.
a su'pplittsj~ 'tr~pp:J 'breve e la 'm:Jrte kei ri'tJeve

Ah! supplizio troppo breve e la morte ch'ei riceve!
Ah! A torture all too brief is the death that he receives!
1 Piante are really the soles of one's feet, used in libretto language as "at your feet", or "at your side".
Piede, or pie is "foot" (plural piedilpie1.
SARA
'spozo
Sposo!
Husband!
NOTTINGHAM
dio pU'niHi eterna'mente 'lalma 'rea ke mi tra'di
Dio! punisci eternamente l'alma rea che mi tradi.
God! Punish for all eternity that soul guilty that betrayed me!
SARA
a mU'ttJidi
Ah! m'uccidi!
Ah! You are killing me!
NOTTINGHAM
a'ttendi 'vive ro'berto al)'kor
Attendi. Vive Roberto ancor.
Listen Is alive Robert still.
SARA
a 'spozo per pje'ta
Ah! sposo, per pieta!
Ah, husband, for pity's sake!
NOTTINGHAM
'perfida
Perfida!
Sinful woman!
SARA
Per pieta!
NOTTINGHAM
va
Va!
Go!
SARA
de
Deh!
Please!
NOTTINGHAM
Piit tremendo avvampa e rugge, etc.
SARA
Sposo!
NOTTINGHAM
ela morte ch'ei riceve, etc.
SARA
Ah! benediro, etc.
NOTTINGHAM
.. .l'alma rea che mi tradi! etc.
(Nottingham exits in agreatfury. Sarahfaints.)
Scene Four
(The Tower ofLondon. Robert is alone in his cell.)
SCENA AND ARIA

ROBERTO
ed aIJ'kor la tre'menda 'p::>rta non si dis'kjude
Ed ancor la tremenda porta non si dischiude?
And still the dread door doesn't open?
un rio pre'zad30 'tutto miIJ'gombra di . te'rror Ie 'vene

Un rio presagio tutto m'ingombra di terror Ie vene!
A fatal omen totally fills with terror my veins!
pur 'fid::> e il 'messo e 'kwella'd3emma

Pur fido e il messo, e quella gemma
Yet, trustworthy IS the messenger, and that ring
e 'peJ1J1o se'kuf::> a me di 'skamp::>

e pegno securo a me di scam po.
is a pledge assured for me of escaping (death).
(is a sure token to save me from death.)
'uz::> a mi'rarla iI) 'kamp::> i::> non'tem::> la'm::>rte

Uso a mirarla in campo io non temo Ia morte.
Accustomed to facing it on the battlefield, 1 do not fear death.
10 'viver 'sob 'tanto de'zio

10 viver solo tanto desio
1 to live only so long desire
ke la virtu di 'sara a disbl'par mi 'basti

che Ia virtu di Sara a discolpar mi basti.
that the reputation of Sarah to clear will suffice me.
(1 want to live only so long as to be able to clear Sarah's reputation.)
o tu ke mi1l)v::>'lasti kwellad::>'rata 'd::>nna

o tu che m'involasti quell'adorata donna,
Oh you, who robbed me of that adored· woman,
(Oh [Nottingham], you who robbed me of that adored woman,)
'd30rni mjei 'serb::> al tu::> 'brand::>

giorni miei serbo al tuo brando.
the days mine 1 spare for your sword.
(1 spare my life for your sword.)
tu sve'nar mi dei
tu svenar2 mi dei.
you kill me must.
(You must kill me.)
ate di'ro 'neAAi 'ultimi siI:J'gjottsi im 'brattJo a 'morte

Ate diro negli ultimi singhiozzi in braccioa morte:
To you I will say in my last sobs, in the arms of death:
'kome 'uno 'spirto an'd3e1iko 'pura e la tua kon'sorte

come uno spirto angelico pura e la tua consorte.
like a spirit angel.;.like pure is your wife.
10 'd3UfO e il d3Ufa'mento kol 'sal)gwe mio su'dd3e1b

Lo giuro, e il giuramento col sangue mio suggello.
I swear it, and this oath with my blood I seal.
'kredi alles'tremo a'ttJento ke il 'labbro mb par'b

Credi all'estremo accento che illabbro mio parlo.
Believe the last words that my lips have spoken.
ki 'fJende nella'vello sai ke men'tir nom pwo

Chi scende nell' avello sai che mentir nonpuo.
He who descends into his grave, you know, that lie he cannot.
(One who is about to die cannot possibly lie, you know that.)
'odo un swon per 'larja 'tJeka

Odo un suon per I'aria cieca...
I hear a sound through the air murky .. .
(The sound offootsteps is heard, as well as that of a lock turning.)
si dis'kjudono Ie 'porte ala 'grattsja mi si 'reka

Si dischiudono Ie porte! Ah! Ia grazia mi si reca!
They're opening the doors! Ah! My pardon is being brought to me!
(Raleigh enters with a small group ofguards.)
GUARDS
'vjeni 0 'konte
Vieni, 0 Conte.
Come, oh Earl.
ROBERTO
'dove
Dove?
Where?
2 Svenare (lit. "to rip out the veins"), and by extension, "to kill". Other words used to denote the
taking of another's lifeare, ammazzare, uccidere and trafiggere.
GUARDS
a 'morte
A morte!
To (your) death!
ROBERTO
a 'mmorte 'ora in 'terra 0 zventu'Iata
A morte! Ora in terra, 0 sventurata,
To death! Now on earth, oh unfortunate woman,
pju spe'rar non dei pje'ta

piiI sperar . non dei pieta!
no longer to hope for you must mercy!
(no longer can you hope for mercy!)
rna non'resti abbando'nata

Ma non resti abbandonata,
But you won't be abandoned,
'avvi un 'd3usto ed ei mu'dra SI

avvi un giusto ed ei m'udra, sil
there's a just (God) and He will hear me, yes!
ba'J1J1ato il sen di 'lagrime 'tinto del 'saI]gwe mio

Bagnato il sen di lagrime, tinto del sanguemio,
Bathed my breast with tears, dyed with my blood,
io 'korro io 'volo a 'kjedere

io corro, io vola a chiedere
I will run, I will fly to implore
per te so'kkorso a ddio

per te soccorso a Dio!
for you help from God!
impjeto'ziti 'Aand3eli 'eko al mb dwol fa'ranno

Impietositi gli angeli eco al mio duol faranno.
Moved to pity, the angels echo to my grief will make.
(The angels, moved to pity, will echo my grief.)
si pjand3e'ra da'ffanno la 'prima 'volta in tJel

Si piangera d' affanno la prima volta in ciel.
There will be weeping out of sorrow for the first time in Heaven.
(And in Heaven for the fIrst time, there will be sorrow and weeping.)
GUARDS
'vjeni a su'bir pre'parati la 'morte pju kru'del
Vieni. A subir preparati la morte piiI crudel.
Come, To undergo prepare yourself a death most cruel.
ROBERTO
Ah! bagnato il sen di lagrime, etc.
(The guards leave with Robert.)

Scene Six
(The Hall o/Westminster, as in Act 1 Elizabeth sits apart on a sofa. Her elbow rests on a
table which holds her gleaming crown. Her ladies stand about in silence.)
SCENA AND FINAL ARIA

ELISABETTA
e 'sara ir.J 'kwesti o'rribili mo'menti po'te la'IJarmi
(E Sara in questi orribili momenti pote lasciarmi?
(And Sarah in these terrible moments could abandon me?3
al suo du'kal pa'lad3o 'onde kwi 'trarla saffre'tto gwal'tjero

Al suo ducal palagio onde qui trarla s'affretto Gualtiero,
To her ducal palace where here to bring her hastened Walter,
(I sent Walter [Raleigh] in haste to her ducal palace to bring her here,)
e aJ)'kor
e ancor...
and still...
(She rises, very agitated.)
de swoi blIJ'forti lamis'ta mi so'vveIJga

De' suoi conforti l'amista mi sovvenga,
Of its solace friendship may it remind me,
(Let friendship remind me of its solace,)
io no ben 'dwopo io 'sono 'donna al'fme

io n'ho ben d'uopo .•. io sono donna alfine.
I have good need of it... I am a woman, after all.
n 'fob e 'spento del mlO fu'ror

II foco e spento del mio furor.)
The fire is out of my wrath.)
(The fire of my wrath is out.)
(I am no longer consumed by rage.)
LADIES
stan nel tur'bato as'petto
(Stan nel turbato aspetto
(There are in her troubled face
'dalto mar'tir Ie im'pronte

d'alto martir Ie impronte.)
of much suffering the traces.)
(The signs of great suffering can be seen on her troubled face.)
ELISABETTA
(Oh Sara!)
3Elizabeth at this point still hasn't realized that Sarah is her rival for the affections of Robert. She
soon will, however.
LADIES
pju non Ie 'brilla ill] 'fronte lu'zata maes'ta
(Piu non Ie brilla in fronte l'usata maesta!)
(No longer shines on her brow her accustomed majesty!)
ELISABETTA
'vana la 'speme nOll) fia 'press::> a mo'rir
Vana la speme non fia ... presso a morir
In vain my hope may it not be ... close to dying
lau'gusta 'd3emma ei fe'kar mi fa'fa

I'augusta gemma ei recar mi fara.
the royal ring he sent will have to me
(Now that he is so close to death surely he will have the royal ring sent to me.)
pen'tito il 'vegg::> 'alIa pre'zentsa mia

Pentito il veggo alIa presenza mia ...
Repentful I can see him in my presence .. .
pur 'fudd3e il 'temp::> v::>'rre:i fer'mar Ais'tanti

Pur... fugge il tempo... vorrei fermar gl'istanti.
Yet... flies by the time... I'd like to stop the time.
(Yet...time flies .. .I'd like to stop the clock.)
e se la'm::>rte ond'esser 'fid::> 'alIa ri'val Je'liesse

E se la morte ond'esser fido alIa rival scegliesse?
And if death so that to be true to my rival he were to choose?
(And suppose he were to choose death so that he would be true to my rival?)
o 'trntJe i'dea fu'nesta

Oh truce idea funesta!
Oh dire thought fatal!
se sa'pressa al 'palb
Se s'appressa al palco?
What if he is approaching the scaffold?
ai 'krud::> a'rresta 'vivi il)'grat::>

Ahi crudo! Arresta! Vivi, ingrato,
Ah, cruel one! Stop! Live, (you) ungrateful one,
a lei da'kkant::> ilmb 'k::>fe a te per' dona

a lei d'accanto, ilmio core a te perdona...
next to her, my heart forgives you...
Vivi, oh crudo,
e mabban'dona in e'tem::> a Sospi'far

e m'abbandona in eterno a sospirar.
and abandon me for all eternity to pine.
a si 'tJeli 'kwest::> 'pjant::>

Ah! si cell questa pianto,
Ah! Let me hide my tears,
'I 474 Roberto Devereux, Act III
(Glancing at the ladies and noticing that she is being observed.)
a non sia ki 'dika ill 'terra la re'd3ina diJ]gil'terra

Ah! non sia chi dica in terra lila Regina d'Inghiiterra
Ah! Let there not be who says on earth "the Queen of England
o ve'dut~ lagri'mar
ho veduto Iagrimar."
I have seen weeping."
(Let no one on earth say "I have seen the Queen of England weeping".)
(Enter Cecil and the Lords.)
ELISABETTA
ke ma'pp~rti
Che m'apporti?
What do you bring me?
CECIL
kwellin'deJ1J1~ al su'pplittsjo siI]ka'rnmina
Quell'indegno al supplizio s'incammina.
That unworthy man to his execution is walking.
ELISABETTA
tJel al su'pplittsjo
(Ciel!) Al supplizio?
(Heaven!) To his execution?
CECIL
Si.
ELISABETTA
m: 'djede 'kwalke 'peJ1J1~
da fe'karsi 'alla re'd3ina
Ne diede qualche pegno da recarsi alia regina?
Did he not give some token to be handed to the Queen?
CECIL
'nulla'djede
Nulla diede.
He gave nothing.
ELISABETTA
iJ]'grat~
(Ingrato!)
(Ingrate!)
(The sound ofhurrying footsteps is heard.)
al'kun sa'ppressa de si'vegga

Alcun s'appressa! Deh! si vegga...
Someone is coming! Ah! Let's see .. .
CECIL
e la du'kessa
E la Duchessa.
It is the Duchess (Sarah).
(Sarah, her hair undone and pale as a corpse, hurries in and throws herselfat Elizabeth's
feet, and, unable to utter a word, hands her the ring.)
ELISABETTA (in great agitation)

'kwesta'd3emma 'donde a'vesti 'kwali 'zmanje
Questa gemma d'onde avesti? Quali smanie!
This ring, where did you get it? What frenzy!
kwal pa'llore :) s:)s'pett~ potesti 'forse a 'parla

Qual' pallore! Oh sospetto! Potesti forse? ... Ah! Parla!
What pallor! Oh suspicion! Could you... perhaps? .. Ah! Speak!
SARA
il mio te'rrore 'tutto 'ditJe io son a
Ilmio terrore... tutto ... dice... io son, ah! ...
My terror... everything ... says ... I am, ah!. ..
ELISABETTA
fi'niJJi
Finisci!
Finish (saying it)!
SARA
tua ri'vale
Tua rivale.
Your rival.
ELISABETTA
Tu!
SARA
me pu'niHi ma del 'konte 'salva i'd3orni
Me punisci, ma... del conte salva i giorni!
Punish me, but... of the Earl save the life!
ELISABETTA (to the courtiers)

de ko'rrete de v:)'late pur kei 'viv~ a me ri'torni
Deh! correte! Deh! volate! Pur ch'ei vivo a me ritorni,
Ah,run! Ah, fly! As long as he alive to me may return,
il mi:) 'serto doman'date

ilmio serto domandate.
my crown you can ask for.
(You can ask for my crown as long as you bring him back to me alive!)
LADIES
tJel ne a'rrida i1 tu:) fa'vor
Ciel, ne arrida il tuo favor.
Heaven, may it smile on him your favor.
ELISABETTA, SARA
Ah!
(Nottingham enters, his countenance twisted in aferocious grimace.)
NOTTINGHAM
'eHi e 'spent:>
Egli e spento!
He is dead!
COURTIERS
kwal te'rror
Qual terror!
What terror!
ELISABETTA (approaching Sarah, convulsed with rage and anguish)

tu per'versa tu s:>l'tant:> 10 spin'd3esti nella'velb
Tu, perversa, tu soltanto 10 spingesti nell'avello!
You, evil woman, you alone pushed him into his grave!
'onde mai tar'daste 'tant:> a re'kanni kwesta'nelb

Ondemai tardaste tanto a recarmi quest' anello?
How is it you delayed so long in bringing me this ring?
NOTTINGHAM
io re'd3ina io fui s:>l'tant:> fui tra'dito nello'nor
10, Regina, io fui soltanto, fui tradito nell'onor.
I, Queen, it was I alone ... Iwas betrayed in my honor.
(my honor had been disgraced.)
'saIjgwe 'v:>lli e 'sal)gwe :>'ttenni

Sangue volli, e sangue ottenni.
Blood I wanted and blood I got.
ELISABETTA
'alma rea spje'tat:> k:>r
Alma rea! Spietato cor!
Evil soul! Pitiless heart!
ARIA
kwel 'sal)gwe ver'sat:> al 'tJelo si'nnaltsa
Quel sangue versato al cielo s'innalza ...
That blood spilled to Heaven rises ...
d3us'tittsja d:>'manda re'klama ven'detta

giustizia domanda, reclama vendetta.
justice demands, calls for vengeance.
d3a 'land301 di 'm:>rte fre'mente vil)'kaltsa

Giii l'angiol di morte fremente v'incalza;
Already the angel of death raging stands above you both;
su'pplittsjo inau'dit~ en'trambi vas'petta

supplizio inaudito entrambi v'aspetta.
a suffering unheard of both of you awaits.
si vii tradi'mento de'litto si 're~

Si viI tradimento, delitto SI reo,
Such a vile betrayal, a crime so heinous,
kle'mentsa n~m 'merta n~m 'merta pje'ta

clemenza non merta, non merta pieta.
clemency doesn't deserve, doesn't deserve mercy.
ne'llultimo is'tante vol'd3etevi a ddb

Nell'ultimo istante volgetevi a Dio,
In your last moments tum to God,
ke 'forse per'don bn'tIeder p;)'tra

che forse perdon conceder potra.
who perhaps forgiveness grant may.
COURTIERS
a ti 'kalma ra'mmenta Ie 'kure del 'S~AA~
Ah! ti calma, rammenta Ie cure del soglio:
Ah! Calm yourself, remember the duties of the throne;
ki 'reppa b sai nOIl] 'vive per se

Chi regna, 10 sai, non vive per se.
He who rules, you know, doesn't live for himself.
ELISABETTA
ta'tIete non 'reppo nOIl) 'vivo u'IIite
Tacete! Non regno, non vivo... uscite!
Be silent! I don't rule ... I am not alive ... get out!
(Nottingham and Sarah are led out, surrounded by guards.)
ELISABETTA (as though terrified by a dreadfuivision)

ta'tIete rni'rate kwel 'palko di 'sal)gwe r~'ssedd3a
Tacete! Mirate! Quel palco di sangue rosseggia;
Be silent! Behold! That block with blood is reddened;
e 'tutto di 'sal)gwe kwel 'sert~ ba)1pat~

E tutto di sangue quel serto bagnato.
It is all with blood that crown bathed.
un '~rrid~ spettr~ per'korre la 'redd3a

Un orrido spettro percorre la reggia
A horrible specter runs through the palace
te'nend~ nel 'puJ1JlO il 'kap;) tr~l)'kat~

tenendo nel pugno il capo troncato.
holding in its fist his head severed.
di 'd3emitie 'grida il 'tf eb rini'bomba

Di gemiti e grida il cielo rimbomba.
With moans and screams Heaven is echoing back.
pa'llente del 'd30rn:> la 'lutfe sife

Pallente del giorno la luce si fe';
Pale of the day the light became.
(The light of day became pale.)
o'vera il mio 'tr:>n:> si'nnaltsa 'una 'tomba

Ov'era ilmio trono s'innalza una tomba,
Where was my throne there rises a grave,
i1] 'kwella di'JIend:> . fu 'skjuza per me

in quella discendo, fu schiusa per me.
into it 1 descend, it was opened for me.
COURTIERS
Ti calma, Regina, etc.
ELISABETTA
In queUa discendo, etc.
par'tite 1:> 'V:>AA:> de'llal)glika 'terra

Partite. 10 voglio. Dell' Anglica terra
Leave. 1 wish. Of the English land
sia 'd3abmo il re de'llal)glja e re

sia Giacomo il Re; Dell' Anglia e Re.
be James the king; Of England he is King.
(I wish for James to become King of England.)
(At Elizabeth's sign, all draw back, but at the doors they all turn again towards the Queen.
She has fallen back on the sofa, holding Essex's ring to her lips.)
END OF THE OPERA

Donizetti - Roberto Devereux (Castel)

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Donizetti - Roberto Devereux (Castel)

Uploaded by

Copyright:

Available Formats

3R <l&~ <!E3R Zlt<l& 1JB <!El} <!E3R <!Em!

Reduite pour Ie Piano

Donizetti, marble bust made from life at Rome in 1840-1841

Opera in three acts by Gaetano Donizetti

Elisabetta, (Elizabeth) Queen of England: soprano

The action takes place in England in 1598

1 The heroine, incidentally, ofDonizetti's opera Rosmunda d'lnghilterra.

un 'dw:>1:> un dw:>l te'rribile a 'tJert:> iJ] br se'polto

(They approach Sarah.)

'sara du'kessa :> 'skw:>titi 'onde la tua mes'tittsja

'1essi d:>'lente is't:>rja pjan'd3ea di r:>za'monda

'una 'stella a me fu'nesta 'aI]ke il'pjanto mi vjeb

'della tua pju 'kruda ~ 'kwant~ rna'monda e la mia 's~rte

tu pe'risti a 'duna 'm~rte

io vi'vendo o'J1J1or m~rr~

io vivendo ognor morro!

SCENA AND CAVATINA

'aIle 'fervide 'pretJi del tu~ k~n's~rte al'fiIn ma'rrend~

al'fin il 'konte rive'dr~

rna db bn'tJeda ke per 'lultiIna 'v~lta

io nol ri'veda kio non Ai 'II erna il) 'bre

'w~p~ e ke 'fido il 'tr~vi eliza'betta

un ~'rrend~ s~s'pett~ al'kuno im me des't~

Un orrendo sospetto alcuno in me desto.

dir'landa ill 'riva 10 'trasse un 'tJenno mio

ke 'lund3e il 'v~l1i da 'londra

'e,{,{i vi'torna ed akku'zato di fello'nia

rna 'daltra 'kolpa l~ 'tem~ deli1;]'kwente sa'perlo

'una ri'vale sio disko'prissi ~ 'kwale

~ 'kwanta n~n sa'rebbe la mia ven'detta

Roberto Devereux, Act I 423

'pari 'kolpa sa'ria 't:>AAermi il 'sert:>

la'mor suo mife be'ata mi sem'br:> del 'tIdo un 'dono

per kwes'talma innam:>'rata

'era urn ben ma'dd30r del 'tr:>n:>

se kwel br pju mi:> u:>'ne

Ie de'littsje 'della 'vita

'lutto e 'pjanto s:>n per me

ettIe'ssiva in te kle'mentsa i1 d3u'dittsjo ne s~s'pende

proffe'rir di lui sen'tentsa e st~r'nar sue 'trame ~'rrende

'kwesto 'dritt~ a te si 'kjede

ELISABETTA (casting afurious glance at Cecil and Raleigh)

(The Page exits.)

kwal ne 'd30rni pju fe'litJi

e ka'dranno i twoi ne'mitJi 'nella 'polve i'nnantsi a tte

il mio 'reJ1J1o il 'mondo in'tero

'reo di 'morte iIIJ'van ti 'grida

se al mio 'pjede a'mor ti 'gwida

a inno'tJente sei per me

e fu'nesto sia per me

CECIL, RALEIGH, LORDS

ke al tra'mont:> al]'kor n:>'ne n:>

Ah! ritorna qual ti spero, etc.

GRAN SCENA AND DUET

il vo'ler mb 'n:>t:> im 'breve fa'r:>

(Everyone exits except Robert.)

in sem'bjantsa di 're:> t:>r'nasti 'dul)kwe

al mb kos'petto e me tra'dir o'zavi

e insi'djar de'ilavi a 'kwesto 'krine i1 'serto

ke il 'brando vi la'fJo de twoi ne'mitJi

do'mata iIJ 'kampo la ri'belle 'skjera

kol 'vinto u'zai k1e'mentsa