335 OBERTO CONTE DI SAN BONIFACIO Opera in two acts. Libretto by Antonio Piezza and Temistocle Solera First performance at tho Teatro Alla Scala in Milan on November 17, 1839 CHARACTERS Cuniza, sister of Ezzelino de Romano: mezzo-soprano Riccardo, Count of Salinguerra: tenor Oberto, Count of San Bonifacio: bass Leonora, his daughter: soprano Imelda, Guniza’s confidante: mezzo-soprano Knights, Ladies and Vessals ‘The time is 1228 in Bassano and its environs ‘THE PLOT ACTI Scene One A Pleasant Field The town of Bassano and Ezzelino's castle are seen in the distance. Riccardo, the Count of Salinguerra, and a group of courtiors have gethered to celebrate tho coming marriage of Riccardo and Cuniza. Riccardo expresses his joy at his coming nuptial bliss and after the courtiers lead him to the castle, Leonora enters. She informs us thet she has been seduced by Riccardo end that she now seeks vengeance, Hor father, Oberto, the exiled Count of San Bonifacio who has disowned her because of tho sheme she has brought the family, now appears upon the scene. He sings of the joy he feels being again in his own country and reveals that he has returned illegelly to seek vengeance on the man who has seduced his daughter. He then hears his deughter Leonora bemoaning tho fect of the coming mariage of her seducor Riccardo to another woman. Oberto reveals himself and at first he will have nothing to do with her. He ‘accuses her of having left her mark on his brow by reason of ‘her lewdness’. She has disgraced the family honor and she is no longer his child, However, when she reveals to her father that all cho now sooks is revenge on the lover thet has jilted her, and invokes the tears of her mother in heaven, Oberto finally relents and blesses his deughter. They leave for the castle together. Scene Two ‘A Magnificont Hall in Ezzelino's Castle Imelda, Cuniza's confidante, and the chorus sing their greetings to the happy couple. After Imolda dismissos them, Cuniza and Riccardo sing of their love, She is filled by feelings of foreboding, but Riccardo urges her to dispel them in the brightness of the new day that dawns for them both. ‘They leave, and Imelda enters with Leonora who hes asked to see Cuniza, ‘Oberto, however has remained concealed for the time being. Cuniza comes in and Leonora tells hor story. Oberto suddenly comes out of hiding end joins Leonora in warning Cuniza about her336 betrothed, who after swearing his undying love for Leonora, seduced her and then disappeared. Cuniza is duly shocked and horrified by these revelations. Sending Oberto into another room, sho sends for Riccardo and in front of the assembled guosts end courtiors, confronts him with Leonora. Again, at just the right moment Oberto steps forward to confound Riccardo. The act ‘comes to a close as everyone's feelings are expressed in « huge ensemble. ACT. ‘Scone One Cuniza’s Apartment in the Castle Imelda and her companions commiserate with Gunize, and she sings of her shortlived happiness. Sho decides that Riccardo must merry Leonora. Scone Two A Remote Comer of the Palace A group of cavaliers comment on the situation. Oberto enters. He has chellenged Riccardo and is awaiting his answer. Having risked death in returning to the land from which he had been banished, he is set on vengoance. The cevaliers return to inform him thet he neod no longor fear for his life, for Cuniza has interceded for him with her brother, and he is now a welcome guest in the castle, Ho thanks the cavaliers, saying that he will presently pay his respects to Cunize. He thanks the cavaliers, but as soon as they leave, his true foolings come out as he exclaims: ‘Saved? What does that matter? It's vengeance | want!" and reaffirms that his one burning desire is to kill Riccardo. Riccardo arrives, but is unwilling to fight a duel with the old man. He is, however, arousod to anger by Oberto's taunts of cowardice, and is about to draw his sword, whan Cuniza and Leonora appear and restrain him, Each oxprosses thoir own thoughts and feclings: Riccardo, his shame; Leonora, her love for him despite of all that has happened; Cuniza, hor determination that he shall redeom himself and Oberto his single-minded obsession with vengoance end bloodshed. Cuniza commands Riccardo to merry Leonora, Oberto, in en aside to him, tells him that unless he is an absolute coward ho must merely pretend to accopt, Riccerdo eccepts Oberio’s chellenge and offers his hand to Leonora, Oberto disappears into the ‘woods to await Riccardo, Again the cevaliers enter and express their opinion. A cry is heard from the woods and they all rush off to investigate. Riccardo enters, his bloodied sword in his hand. He hes killed Oberto and now suffers with bitter ramorse, With Oberto's final groans still ringing in his ears, he preys for forgiveness and sadly departs. Cuniza and Imelda enter. Cunize hes had a fecling that all is not woll, and when the courtiers enter with the news that they have found Oberto's body in the woods she laments: "My forebodings were too true.” Leonora appears and her father's deeth is revealed to her. Cuniza comforts her like @ sister but Leonora is complotely shattered and fools guilty for her father's death. A messenger arrives to inform Leonora that Riccardo hes left Italy forever and has left all of his possessions to her. Leonora, however is too grieved by her father's death and shows no interest in any of it. Sho states that she wishes to end her days in a convent.Oberto, Act I 337 ACTI Scene Ono A Pleasant Field (Knights, ladios and vassals arrive to moot Riccardo, the Count of Slinguerra) CHORUS ‘di yermiska—amabil utje appar tremula suikionda Di vermiglia —amabil luce appar tremula sull'onda Of — vermillion lovely light appears shimmering over the water una ‘stella ‘ke ne atdsdutfe vinte ‘ombre ‘un eto di una stella che ne adduce, vinte Tombre, un lieto di, a star that announces to us overcome —_the darkness a happy day. (Above the water e star shimmering with « lovely vermillion light announces to us that darkness is overcome, and thet a happy day is dawning.) ‘par ke oppastra a lei davante fig'ga saskonda Par che ogn'astro a lei davante fugga & sesconda Itseems that every star beforeit flees. and timidly —_hiidos isolf: 2 la Sella Ke i] semmbjante§—damatumisja_ in fel vest g la stella che il sembiante d'Amatunzia in ciel vesti, It's the star that the likeness of Venus in heaven dons, (it is the star that in hoaven dons Venus’ likensss.) jeni rikkardo ——‘gwidati “dsenjo ‘noi Vieni, Riccardo! Guidati pr genio Come, Riccardo, you're led (bye) favorable angel tous; (Come, Riccardo, you're brought to us by a guardian angel;) 2 ‘su -kwesto ‘swolo ‘il gandjo —“spardsere.——akor_tu pwoi Su questo suolo il gaudio — spargere —_ancor tu puoi; Over this soil heppiness spread still you can; (You can still spread happiness over this region.) ‘skorran ‘divgwerra i 'turbini ‘per “ita tfitaa Scorran, di guerra i turbini por Titalo citta, May they rege of war the whirlwinds through _—the Italian ities, (Even though the whirlwinds of war mey rage through Italian cities.) ‘al fortnaty. tala lapatfe ——arride'ra al fortunato —_talamo la pace arridora. to the happy marriage bed peace will smile, (peace will smile on the happy marriego.) RICCARDO ‘som fra voi sa sort ei d30m0 Son fra voi! Gia sorto @ il giomo Tem mid you! Already dawned has the day338 Oberto, Act I ‘ke affretitara i devir ‘mei che —affrettéro i dosir miei; that hastened the —_ wishes mine; (Cam amid you! Finally the day is here that I wished would hurry up and come.) “ewesti ‘plauzi a'me dintomo Questi plausi ame dintormo, ‘These tributes around me, ‘kwesti ‘voti io ‘devo a ‘lei ‘questi voti io devo a Ie, ‘these good wishes I owo to hor, ‘lei ‘sola ke minjvita ‘alle ‘dsaje_dekla'mor a lei sola che minvita alle gioie dell'amor, to her alone who invitesme tothe joys of love. ‘CHORUS © felitf omai kompita & speme ‘dopii ‘kor Oh — folici! Omai compita a speme d'ogni cor. Oh happy we! Now fulfilled is hope of every heart. RICCARDO ‘da ‘parmi_ udire “il fremit de XKingvidit nemitfi Gia parmi udire ilfremito degl'invidi nemici! Already T seem to hear the roaring of the invidious. —_onemis! de ‘balde ‘lor tervitfi: prostrate ‘al ‘swol ve'dro Io balde lor corvici prostrate al sual vedrd. The bold their necks bowed to the ground Twill seo. (1 will see their bold necks bowed to the ground.) o ‘ki ‘vi salva val ‘turbine Ob! chi visalva al turbine Oh! Who shall save you fromthe -—whirlwind de. saliygwerra offeri de’ Selinguorra. offesi? of the Selinguerras offended? (Oh! Who shell save you from the whirlwind of the offended Salinguarras?) adetiselino — affezi ‘stati absbattera Ad Ezzelino ascesi, gli stot abbatero. To Ezzelino' I have allied myself, the madmen __ will defeat. “Bzzelino da Romano (1194-1259) was a vassal of the Garman ruler Fredrick Il, who at the time kept a strong rulo ovor Italy. Ezzolino (an unusual name, diminutive of Etzel, the Germen name for Attila) was appointed by Fredrick to keep the Lombard cites in line. He was the very model of a ‘major modioval tyrant, tulor of Padua, Mantova end Verona. Without actually appearing in this opera, he casts an ominous shadow over its action. History tells us that Ezzolino was the greatest powor in Northorn Italy for more than thirty years. He too eared a choice location for hitnself in Dante's Inferno. (From "History Through The Opera Glass", by George Jellinok)Oberto, Act I 339 CHORUS ‘vient ‘fra ‘jet plauzi dove wattende amor Vieni fra tieti plausi dove fatlende amor, Come, amid heppy acclaim, (to) where awaits you love, veldrai ‘piu ‘belo fuldgere —dekRavi ‘io splendor vedrai pit bello fulgere degl'a lo splendor. You will soo moro boautiful shine of your ancestors the splendor. (They go off towards the Castle of Bassano os Leonora enters from an opposite road.) LEONORA a ‘zgombro «=e il Toko alin ‘Ah! sgombro —@—sil_—itoco_alfin! ‘Ah! Deserted is_—this_ place at lest! lin’sana \ésojaaklabborsrite ‘tori porta ta wwrba de vassal Linsana —gioia_alfabborrite tori porta Ia turba de’ vassalli, Thewild joy tothe hated towers takes the crowd of —_vassels, (The wild joy takes the crowd of vassals to the hated towers (of the castle), e — intanto amen ‘kw tatfe ‘delle ‘notise ‘i anto 2 intanto almen qui taco delle nozze il canto! and —meanwhilo at loast. hare is silenced of the wedding the song! (and meanwhile here, at least the wedding song is silenced.) natitse kon ‘altra don:na inaspetiiata ‘io pur sarav.vi Nozze? Con altra donna? _—Inaspettata io pur sarovvi! Wedding? To another © woman? ~—- Unexpected I too will bo thero! anykio reko a kweklara il dsuremento. ‘mio Anchio eco a —quell'ara_—sil_—gitramento mio. Ttoo take to that altar the oath mine. o'padre di ‘kwal. “dwolo kaidgon tifa kewestimfelitfe Oh padre, di qual duolo cagion ti fia questinfelice, Oh father, of what griof will causa you ——_this unhappy girl, (Oh father, what griof will I cause you,) ‘kwando ‘unde dal ‘patrjo ‘swolo ‘dite indeppa ——Iudrai quando —lungo dal patrio suolo dite indegna —Tudrai? when fer from your native soil of you unworthy you will hear? (when far from your native soil you will hear that I am unworthy of you?) ‘ma vendikato sara Ioltradlg, = ‘kwesto 2 il ‘somo Ma vendicato sara Toltraggio, = questo @ il giomo But avenged —willl be the offense, and this is the day in venidetta —_ap:presto in a fa vendetta —_appresto, in which my —revengo _I prepare. FSU MUSIC LIBRARY340 Oberto, Act I ‘sovto il patemo ‘etio wnandgol—-mapspavia Sotto il patemo —telto. unangiol _—_m'apparia Under my father's roof en angel _appoared to mo redjante ——nelaspetts — damore © belta radiante —nell'aspotto. d'amoro =e _—sbelta, rediant initlook of love and beauty. (Under my father’s roof an angel appeared to me, radiant and lovingly beautiful in appearance.) ‘di speme ame dria il kore inmamorat Di spemea = me_—nudria il core innamorato... With hope to me __ itfed tho heart in love. (ft fed my loving heert with hop mi tradi liggrats Yolto ‘oni ‘dsoja Ah! mi tradi Vingrato, tolto ogni gioia ‘Ah! He betrayed me, _ the ungrateful one, taken every joy oi mha. ho from me has! (Ab! The ungrateful man betrayed mo and took every bit of joy from me!) oO potessi nel Kore soffoker Oh _potessi nel mio core soffecar Oh if T only could in my heart stifle insnotfentsa “al_—primo‘dsomo poites: stornar Dinnocenza al primo giorno potessi ritornar! Of innocence to tho first day could! but return! (Oh, if I could only return to the innocence of my first day!) soppavo —altlor_kerubi ‘su dorate © bjanke amore amore! love! io To sognavo —allor Cherubi. © su. doratewe ~—biancho nui; dreamt of then Cherubs upon golden and white ‘ora i triboli © o'skomo ‘oral pjanto. ee Ora i triboli @ — loscorno, ora ilpianto Now of suffering and shame, now oftesrs and (Now I dream only of suffering, shamo, toars and sighing.) (She goes off towards the village and Oberto enters.) OBERTO 2 patria terra aline ‘oti vedo terra si kara Oh patria terra, alfine io ti rivedo, tere si cara Oh native land, at last Is00 you again, lend so dear onnora aspital ke makikakéen Ognora ido ospital che — maccoglie. Constantly shore hospitable that _roscived me ‘sempre dite lamente si palffea sompro dite -—lamente _si pascea! always on you -mymind dwelt! ‘nubi clonds; il sospicar il sospirar. sighing. © devtata © desiata! and — longed for!Oberto, Act 1 341 triste kstdson ‘mi'skordge patrja diletta a te Triste cagion mi scorge, patria diletta, ae Assad reason finds me, land beloved, in youn (find myself in you, my beloved homeland, for sad reasons...) ‘awovo ‘pants ‘vengo a baipnarti. © oo ‘dotfe ‘swol nat Di nuovo pianto vengo a —bagnarti, 0 +— dolce suol natio, With new tears Icometo bathe you, oh sweet lend native, dovio ‘Adin vnaltra ‘volta aidio dovro dirti un‘altra volta addio! afierwerds [must sey to you one more —_ time _ farewell! ‘seo skritto fatal ‘mia ssrelta ‘nom ‘mi ‘tradsdge in ijgan:n> Se loscritto fatal della mia sorella non mi tragge in inganno, If the letter fateful of -~—mysister_—_ did not mislead me, dovrebibe esser —kwi_‘dgunta ‘ai lasso dovrebbe esser qui giunte. Ahi lasso! she must have here _ arrived. Alas! (if my sister's fateful lottor did not mislead mo, she (my daughter Leonore) must have arrived here. Alas!) dove trdvarti ‘debibo ° fikka inggrata E — dove trovarti ——debbo, o fighia ingrata! And where find you may I, oh — daughter ungrateful! (And where may I find you, oh ungrateful daughter!) ‘io remo “forse ‘al ‘padre seppasti i “dgoma estrema To fremo, Forso al padre segnasti _il__—_giormo estremol 1 trombl Maybe for your father you marked his last day! (tremble... Maybe you have brought on your father's last dey!) [Leonora reappears.) LEONORA ‘al Kelder ‘dela notte ‘dering ‘Je'nottse —igkomintfar ‘ben ‘sia Al cador dolla notte donno* Jonozzo —_incominciar! Bon sia! At nightfell must Very well! ‘im —foska ‘lutfe a'vivolta patra ‘al kastel In fosca_Iuco avvolta, —potrd meglio al castallo In dim light shrouded, Twill be ableto. better to the castle rekarmi inosisorvata 9 Yfel ‘ki ‘vedo recarmi Inosservata... Oh ciel! Chi vodo! reach unobserved... Oh heavens! Whom do see! (Shrouded in dim light, I can bettor roach tho castle unobsorved...h heavens! Whom do I s00!) *Donno is a contraction of debbono “they must’. It modifios Le nozze, which in Italian is a plural, comparable to the English "the nuptials.”342 Oberto, Act 1 LEONORA. tu ‘padre Tu, padre! You, father! OBERTO sonio Son io! Itis I! LEONORA in ‘wal ‘Iwogo il rivedo etemo ido In qual _luogo il rivodo, oterno Tddio! In what place [soe him egain, eternal God! OBERTO ‘gwardami ‘sul. mio. “Yfiko edi Wel dwal ‘le im/promte Guardami! Sul mio ciglio vedi del duol__le impronte! Lookatme! On my brow soe of the grief the imprint! (Look at me and behold the imprint of grief on my brow!) neL:limpudika fronte ‘skulto ‘Lterror sta Nellimpudica fronto sculto iltoror ti sta! On the shameless face etched the terror —_is on you! (Terror is etched on your shameless face!) ‘non ti basto il perikso dum ‘padre zventurats Non ti bast il periglio. d'un padre sventurato; Ttwasn't enough for you the _peril ofa father hepless; (he poril of a hapless fathor wasn't enough for you;) onore ‘ai u—smakkjoto © di sua Kademte eta Lonore hai tu — macchiato di © sua cadento ola. Thohonor have you besmirched of his declining —_age. (You have besmirched the honor of his declining years.) LEONORA ‘padre ‘mi‘stratasi anima ‘kwelgwardo ‘mi spe'venta Padre, mi strazii anima... quel guardo mi spaventa! Father, yourend my-soul... that look frightens mo! © vendikata => ‘spenta fikKa ‘tua sara © —vendicata. 0 ——spenta la figlia tua sara. Either avenged or deed the danghter yours. will be. ‘ana tratdita © mizera ‘dona unamiplesiso 9 ‘padre Auna tradita misora, dona un anplesso, 0 padre... Toa betrayed and unbeppy (girl) give enembrace, oh father...Oberto, Act I 343, ‘tem 'prega in Yfol a madre Ton proga in ciel Ja madre, She asks for it in hoaven, my mother, ‘dgoja nel tfel ne ava gioia nol ciel ne avr joy in heaven eho will have from it. (My mother in heaven asks you to embrace me; there in heaven she will derive great joy from it.) OBERTO ‘a ‘madre twa La madre tua? Your mother? LEONORA dal tfelo vvede ‘il'mio pjantoe ——‘degeme Dal cielo vede il mio piantoe ——_gome! From heaven she sees my tears and moans! OBERTO vede ims ‘Tako © ‘freme “ath ti skosta va Vede iltuo fallo © — freme! Taci, ti scosta, val Sho soes your sin and shudders! Silence, get away from ma, go! LEONORA el tua favor sokckorrimi fel ‘ke ai dolientit erridi Del tuo favor soccorrimi, ciel, cho ai dolenti arridi In your mercy helpme, —_heaven, that on the efflicted smiles upon! (Oh help me, merciful heaven, who smiles upon the afflicted!) ‘or ke. 'a'me'presso_ il ‘gwidi ‘salvami il dgenitor Or che ame presso il guidi, salvami il, genitor! Now that closotome you brought him, save my — father! OBERTO ‘del ‘brattfo ‘tus sokkorrimi fel Del braccio tuo soccorrimi, ciel By the arm yours helpme, heaven, ‘ke ahhi oppress cho agli oppressi that tothe oppressed _smiles upon! (Hoaven, which smiles on the oppressed, help me by your might!) io Yenni a kwest ‘vinditfe _delldnor Jo venni a questi lidi vindico _—_dolfonor! 1 camo to these shores (as an) evenger_ of honor! adi iy welfalte —torri ]—seduttor = si'tfela Odi! In quell‘elte torr’ il ~—seduttor —sicola. Listen! In thoso tall towers the seducer —_—is hiding,344 Oberto, Act I vi dellitto Wi il_—_dolitto There the crime (There, daughter, go and reveal his crime to all) avi linjfemja = 0 mara Lavi Tinfamia 0 (He must) wash away the disgrace or ti ‘fia —Kontfesiso alldora ‘del padre tuo amor Ti fia concosso —allora del padre tuo —I'amor. To you be granted — then of the father yours the love. (Then your father's love will be granted again to you.) LEONORA ira kwelifate —torsi Ya_—"votfe mia ri'swoni Si, fra quell'alte tori. la —voco._mia_risuoni! Yos, amid thoso tell towers the voice mine may it resound! pjombit suklara © won spayento ‘allo. sperdguro Piombi sulfara =e tuoni spavento allo spergiuro.. May itfall on thoalter and thunder —_fright on the perjurer.. (May it fall on the altar, and strike fear in the perjurer..] Fimeritarmi ‘io “suo del ‘padre ‘mis lamor Rimeritarmi io giuro dol pedre mio l'amor. To make myself worthy again | swear of tho father mine the love. (I swear to make mysolf worthy agein of my father's love.) OBERTO ‘un amplesso—ritfevi © penttita Un —amplosso —_ricovi, 0 _pentita; An embrace receive, oh_—_repented one; (Receive my embrace, my repented daughter;) tha ‘penn ‘al perdono promes:so Tifla pegno al perdono —_promesso, May it be for you (a) pledge of (my) pardon promised. (May it be a pledge of my promised pardon for you.) ‘ma ‘se imjfamia © ante’poni ‘alla vita Ma so infamia —antoponi_—alla_vita, But if — infemy you prefer to life, fia Iestremo ke oattjeni ‘dame fia Testreme che _ottient dame! letitbe the last one that you get. —from_ me! (lot this be the last embrace thet you got from mot) LEONORA afifidata ‘del ‘padre aklampless Affidata dol padre ‘allamploso Entrusted with my —_—father’s. embraceOborto, Act I 245, ‘dime stesisa_—'mi'seato——_maidsdgore di mestossa mi sento —_maggiore; than myself T fee! bigger: {I feel stronger than myself) ‘se limjfamja —ante-ponga —_akomore Se Tinfamia —_antepongo_all'onore, : if infamy Iput before honor, ‘ti lestems ‘ke otlengo, date Fia Yestremo che ottngo «= da_—ste. May itbe thelastone that I get from you. (May it be the last embrace that I ever get from you.) (They go off in tho diroction of Bassano.) CHORUS fidantsata aviventuroza ‘vjeni_ a ‘noi kl tuo fed Fidanzata avventurose, vieni a noi col tuo _fedel! Bride fortunete, come to us with your true lovel ‘sembri alba ke di'toza Sembri Yalba che di rosa You resemble the dawn that _in pink ‘pindse adoma © skjara pinge, adoma, —_e schiara paints, edorns and lights ‘owal deuganja sulle ‘spalte ‘ai ‘puro il kor Qual d'Eugania sulle spalle nivea falda, hei puro il cor; Like of Eugenia” omits slopes snowflakes youhave pure the heart; (Your heart is pure as the driven snow on the slopes of the Euganian hills;) 2 te —l_—esiKKo'delsla'vale ‘ede i = 'vanto ‘nel—kan'dor A te il_—gigliodolla valle coda i_~—-vanto nal_—_ candor. To you the lily-ofthe-valley —_ yields its pride and innocence. e del Yfelo ims ‘el ‘vizo.unimmadgine kwa'd:d3u Edel cielo tuo bel viso, unimmagine quaggiti;* Is of _ heaven your lovely face, an image on earth; (Your lovely face is an imego of heaven on this carth;) ‘sul tu ‘labibro sta il sotrrizo euiiitnel kore la virtw Sul tuo Iabbro sta il_—sorriso ene core la virti. On your lips is @ smile and in your heart, virtu *The reference here is to the Euganian Hills, located South of Padova, where there are several thermal baths such as Abano, Battaglia, ate. *Quaggitt roally means "down hore’ and by extension "on earth’ or "in this world’, just as lassi, means "up thero' and similarly by extension "In heaven or “with God’,346 Oberto, Act I (Riccardo enters.) CUNIZA ‘basta o fedeli in kwesto ‘dgomo Besta, 0 fedlit In questo giomo Enough, oh my faithful ones! On this day ‘del ‘vostro amor novelte ‘prove ‘io vedo del vostro amor novella prove io —_vedo. of your love new proofs 1 see. ‘ve ine komt pens il yfel ‘Ve ne compensi il ciel! May you be rewarded for it (by) heaven! ite fra'pko ame "Wi Kjame'ro Ite. frapoco a ~— me_vi chiamers. Gonow; soon tome _—_I will call you. (The chorus exits.) RICCARDO kuniddza a parm ke tin tel ‘dsomo Cuniza, ah, parmi cho in bel giomo Cuniza, ab, it seems tome thet on such (a) _ lovely day ‘um ‘velo kopra tua "vaga _fronte un velo copra tua vaga _fronto. a veil iscovering your lovely face. CUNIZA, a injvan Io Yfela il pensjer ‘dun amore felitfe Ab, invan Jocelot = Ml pensier. == d'un amore felice Ah, in vain Iconcoal it! ‘The thought ofa love happy sembra un ‘soppo ‘mio bene ‘per sombre un sogno, mio bene, per seams a dream, my beloved, to ima spietgar kwanto il kore ‘mi ditfe Ma spiegar quanto il core midice : But (to) explain all thet my heart tells me ‘Yerko injvan posssibil cerco invan, possibil [seek in vain, possible it isn't! (But I seek in vain to explain what my heart is tolling me, but it is impossible!) ‘kwesta ‘dsoja ‘ke —il'petto. = minmonda Questa gioia che il petto minnonda, This joy that my breast floods,Oberto, Act 1 347 © kommista =a = tn erkano timor commista. @ un arcano timor, is mingled to. mysterious fear. © mipar ke una "votfe_profonda emi par che una voce _profonda and it seems to me that @ voice deep lamentoza ‘mi ‘swani al tor Jamentosa mi suoni al cor Jamonting rosounds in me —_in my heart. (And it sooms to me that @ lamenting voice resounds desp in my heart.) RICCARDO ‘nwovo ‘di per te splenda se'reno Nuovo disper te —splenda~—_sereno, (May a) new dey for you shine calmly, a distrudd3i—“oppi_‘vano_thmor ah, distruggi ogni vano_timor! ah, do away with all vain foar! una ‘votfe ti'sorga nel seno una voce tisorga nel seno (mey) a voice riseout —inyour —_—breast ‘ke ti 'parli di dsoja © = damor cho ti parli di gioia © | d'amor! that may speak to yon of joy and_of love! 'presso ra unimmadsim fuinesta Prosso alfara un‘immagin funosta To the altar an image —_gloomy ‘non rekare in tal ‘dsomo ‘kon te non recare in tal jorno conte; do not bring on suche day with you; (Do not bring euch a gloomy image to tho altar with you on such a day as this.) ‘se una Wistememorja. testa Se una triste memoria ti rest If a sad memory —remains with you, ‘fia sordsente —daffanno ‘perme fia sorgonto. deffanno perme. itwould be esource of womy for _— me. CUNIZA a perdona Ah, _ perdona ‘Ab, forgive (me)!348 Oberto, Act 1 RICCARDO. kon'soli um so'rtizo ‘ki two ‘spozo jim bre'vora sara Consoli —un_sorriso chi tuo spos0 in brovora sara. Console a smile who your husband very soon will be. (Let a smile console the one who very soon will be your husband.) CUNIZA pari a'un soppo ke ‘non dura Peri aun sogno che non dura Like a dream that doesn't last ‘sono ‘i kredi i sono, ilcredi, = i are, believe it, the CUNIZA, then RICCARDO fra. ‘iltimore =e =a speme Fra iltimo == @ da speme By fear ‘and hope ided west kore spjegarsi non ‘sa questo core spiogarsi. non sal this hoart explain itself cannot! CUNIZA Pari a un sogno cho non dura, otc. RICCARDO ti rinyframka tassikura —‘sentsa te motir vorrei Ti rinfranca, Yassicura, senza to morir vorrei! Take heart, be assured, without you todie I'd wish! CUNIZA, then RICCARDO ‘kwesta ‘mano ‘oma stom ‘a tua ‘ta ‘twa ‘kalma Questa mano omei triton Ja tua la tua calma; This hand hencoforth may it rostoro your your calm: (May this hand henceforth restore your joy and your calm.) ‘un sol ‘kore una soltalma ‘ordi ‘noi_—_ si formera un sol core, una sol'alma or di noi_ si formera. one single heart, one _ single soul now of us will be formed. (wo will form e single heart and soul.) skorre'ranno {nostri “aso ‘kome ‘llimpido ——_niffeklo Scorreranno i nostri siomi come limpido _ruscello, Will flow our days ike a limpid stream, (Our deys will flow like a limpid stream.) finke ‘mmorte dalilavelito ‘nostre ‘salme kjede'ca finchd morte dall'avello nostre salme chiedora. until death from the grave our bodies will claim (until death from the greve comes to claim our bodies.)Oberto, Act I (They leave and Imelada and Leonora enter.) 349 TMELDA ‘alta ke'dsone atdunkwe ‘nel —_kastel:lo Alta cagione adunque nel —_castello Urgent reason then to the castle brings you? LEONORA eval ke assai_ Ta swora imeresse ne e'vra E tal che = assai_ la suora interesso ne avra. And ono thet very the sister of Ezzelino _ interest in it will have. (And it is a reason in which Ezzelino’s sister will be very interested.) IMELDA fa kor stranjera attend ‘kwesto Fa cor, straniera! attend questo Take heart, strangor! Wait this vera ta printf ate fra'pako Verna la principessa a te_—fra poco. Will come the princess to. -you__soon. (imelda exits.) LEONORA 2 perke ‘tanto ‘im petts ‘ora mi baltsi Ah, perch tanto in potto ora mi balzi ‘Ab, why somuch — in my breast now you beat, ‘l'padre mis ‘le —_tfelato maskolta padre mio 1a celato miascoltal... My father there hidden is listening to mel. ‘il'suo perdono ——meritarmi Tsu perdono —_meritarmi His forgiveness merit for myself __1 will know how... (L will know how to dosorvo his forgiveness...} dinansi aldempjo ‘me nom ‘vegga Dinenzi _—alempio mo non vogge Bofore the wicked one —_let him nol see me (Lot him not see me tremble before that wicked Riccardo.) massisti = 9 Yelo nel tremendo Massisti, 0 cielo, nol tremendo ‘Assist me, oh heaven, —_in this foarful (Assist me, oh heaven in this fearful moment!) (Cuniza enters.) ‘Yoko loco. place, "kor cor... ob heart’. trembling,350 Oberto, Act 1 ! CUNIZA, ‘bella stranjera ke Bella straniera, che Lovely stranger, what is it you request? LEONORA ‘Tama ‘di'tue virtudi ‘al tuo kospetio ‘or “gwida_unimfelitfe Fama di tue virtudi al tuo cospetto or guida_un‘infelice. Renown —_of your virtue into your presence now brings an unhappy girl. (Bocauso you are known for your virtue, I, an unhappy gitl, now come before you.) CUNIZA ‘franks ‘parla Franco parla. Frankly speak. LEONORA ebsbene ‘dum mi la fikKa dinamsi ate Ebbene, d'un misero la figlia vedi dinanzi ate; Woll then, ofa hapless man the daughter yousos~—_—before, you; (Well then, standing before you, you sea the daughter of a hapless men.) doberto ‘forse ‘nome ‘nom te inst DOberto forse jl nome non t@ ignoto. Of Oberto maybe the name is not unknown to you. (Meybe the name of Oberto is not unknown to you.) CUNIZA a daberto il nemiko Ah! dOborto nomico? Ah! Of Oberto our enemy? LEONORA som:messo ‘parla ‘in‘kweste mura. il pjede‘meko ‘ekki coke Sommesso parla. Inqueste mura il piede-meco egli roca. Quietly spoak... In those walls his foot withme he _ brings. (Speak quictly...my father (Oberto) has followed me within these walls.) CUNIZA ‘nel kastelio = 9 tela Nel castello? Oh cielo! In the castle? Oh heaven! dum partit estrem> sa {i sta press ‘ad un partito estromo, Gia ti sta presso. toa step extreme, Already ho is near you. (Wrath has driven him to this extreme step. He is near us already.) CUNIZA ‘eksi Egli? Ho?LEONORA lo ‘vedi Lo vedi! Behold him! CUNIZA io | emo (fo trumo!) (@ tremble!) (Oberto enters.) Oberto, Act I OBERTO ‘son fo ate da'vanti_ "vedi 9 donna Son io Ate davanti_ vedi, © donna, Itis 1 Bofors you, youses, oh women, ‘se peta io ‘lasers dal tuo Se pieta sperar milice, io —lasporo — dal_—tuo if pity Imeyhopefor, | hope forit' from your ‘daspro ‘fio io son to. ‘skerno Daspro fato io son lo schoo, Ofahersh fate T am the sport, ‘ma lonor or tradito ma Tonor Or — tradito, but my honor untarnished; Now betrayed, ‘me ‘da ‘ako lonor me da anco l'onor. istome by ‘also. my honor. (Although I am the sport of harsh f when it is being betrayed and abused by a coward.) ket a tewal che festi? A qua whet did you do? To what itwoi ‘dyomi igkauto sport ituoi giomi, incauto _osponi? your days, rash men, are you exposing? perisko periglio peril 351 unimfetitfe un infelice; en unhappy man; kor cor. heart. vilipero vilipeso abused I managed to keep my honor untarnished until now (Heaven, what did you do? You rash man, to what peril are you exposing your lifo?) ‘ke mi 'kjedi ‘4 Che mi chiedi? Di, What ere you asking me for? ‘Speak, ‘ove possa a fara Ove ilpossa —_—_lo fara. Where Tam eble to I will do it. (1 will do what I can.) proponi proponi, toll me,352 Oberto, Act 1 LEONORA ‘wutto ‘pwoi ‘to pwoi ‘tu ‘sola Tutto puoi, 10 puoi tu sola! Everything you cando, you can do it you, ‘ma il'tus ‘kor sara trafitto ma il tuo cor sara trafitto, but your heart will be pierced, ‘se il_——kotpevole «=e =i delitto'io-—fremends —avele'to se il colpevole +e _—il__~—dalittoio.-—fremendo —_svelera. if the guiltymen and his crime | __—trembling —_will reveal. ‘kwal prezadso il kor maggjattfa (Quel presagio il cor magghiaccial) (What presage my —_ heart is freezing!) (What omen is this that makes my heart freeze!) (To Oberto.) ‘parla alfine Parle alfine. Speak, then, OBERTO (indicating Loonora) a tei saspetta A lei staspetta! To her itis up to! (itis up to her to speak!) (To Guniza) ae pal Jamia vendetta od.‘ brand afitide'ro A to poi lamia vendetta od al brando. affiderd. To you afterwards my vongoance or tomy sword Twill entrust. (After (Leonora tells you her story] I will entrust my vengeance either to you, Cuniza, or to my own sword.) LEONORA iment ‘nome menti “spakse Monti nome, ment spoglie, He lied about (his) name, he lied about (his) attire, mi proimize etema amore wehbe impero ‘sul mis ‘kore mi promise ‘eterno amore; ebbeimpero sul mio corm, he promised me _etemnal love hoheld sway over my —hoart. ‘poi sperdsuo —mitradi “tutto © fale © nore poi sporgiuro —mitradi... tutto, © pace @ ono then, the perjurer betrayed mo..overything, and poace and honorOberto, Act 1 353 ‘un inidepno imi raipi un indogno mi rapi.’ a worthless wretch robbed me of. OBERTO lira Altra (For) another woman! CUNIZA Vel Ki © © essa ‘il'suo. ‘nome Ciolt Chi @ — dessa? suo nome? Heaven! Who is she? Her name? LEONORA sei tu Stewsa Soi tu stessa! Its you yoursolf! OBERTO salin'gwerra © traditor Salinguerra © traditor! Salinguerra is the _betreyer! CUNIZA Yel wikkads 9 ‘kwaleorror Ciel! Riccardo! Oh quale orror! Heaven! Riccardo! © Oh _—_what_horror! OBERTO su ewelda ‘fronte impressa a_—yerita ttu Su quella fronte impressa la_—verita tu Upon. that faco imprinted the truth you (You can see the truth imprinted on that (Leonore’s} face.) se akhokki wai ‘nog ‘red kredilo ‘al mio furor Se agliocchi tuoi _non credi, credilo al mio furor. If tho oyes yours youdont boliove _boliovo my — fury. ° velino injfranta la. ‘dura._‘edise Ho dEzzelino infranta. ~— la_—sdura_ legge, Thave of Ezzolino broken tho severe lew, ecko ‘ig kwesta terra ‘io 'reko © moco in quosta tora io roco end withme in this land 1 bring * Ropire has many meanings in Italian. In addition to "rape", it moans to steal, abduct, rob, and its etymology, from the Latin raptare developed to its prosant moaning of "rapo' in English. Rapo aftar all connotes rebbing a woran of her honor by force.354 Oberto, Act I ‘um fido ‘brands anjkor un fido_brando ancor, trusty weapon still. CUNIZA ‘tempra ‘i atferbi ett fervente —kkweta Tempra gli acorbi detti, Tira fervente _acqueta; Temper your harsh words, your wrath boiling calm; (Temper your harsh words, calm your boiling wrath.) & —perixfoza meta ‘essa_komdur ‘i pwo A perigliosa meta essa condur ti pud. To(a) perilous ond it lend you can. ‘skemo ‘non tu ‘sola dun imfeliife ——attfetto Schemo non sei tu sola. dun infelice affetto. Victim youarent you alone ofan unhappy _love... ‘ma vendikarlo 0 im petit. —‘spenperla “ben sapro ma vondicarlo, 0 in potto —spognerlo__ben saprd. but avenge it cr in my breast extinguish it I surely will (You alone are not the only victim of an unhappy love...but I surely will well avenge it or quench it in my brosst.) LEONORA 0 dgeneroza ‘um ferro ‘io tipjantai ‘nel “seno Oh —_generosa! un ferro io tipiantai nel seno, Oh generous one! A sword drove you in the bosom, (Oh generous woman! I drove @ sword into your bosom.) a te Tinvdepps almeno tolts lonor ‘nom ta a te —_Hindegno almeno tolto Yonor non ha from you tho worthlose one at least robbed your honor hasn't. (at least the worthless Riccardo hasn't robbed you of your honor.) ben tu —_potresti sijarla ‘ma dispe'vata = io. “sono Ben tu potresti. —odiarlo, == ma_—disporata’- io. sono. Well you could hate him, but desperate T= am, ‘io ments ‘itu perdono mento ‘la tua pjeta Io merto ito perdono, mart la tua pieta. 1 merit your forgiveness, I merit your pity. CUNIZA, ‘kwanto ‘mi kosti Quanto mi costi! How much — you cost me! LEONORA i redo credo. I believe it.CUNIZA ‘kwanto ‘ne 'sofifro Quanto no sofiro! How much 1 suffer for it! OBERTO i's Iso! I know it! CUNTZA ‘sul Yfidéo ‘mio Sul ciglio mio... Oberto, Act I janes ds spurita pianto gia spuntd. toars already sprung. lestrems 9 mizera ke Yestromo, 9 misora, che But may they be thelast, ob, — unheppy girl, thet ica l’'mio ‘kor perkote sal traditor Ira ilmio cor percote, sul traditor Wrath my heart pervades, uponthe —_traitor OBERTO, LEONORA asi lestrema _—‘lagrima ‘skorse ‘sult tue Ah sit Lestroma —lagrima —_—scorro sulle tue ‘Ab yes! The last’ «tear runs over your ‘ke il kor perkote ‘sul cho il cor __percote, —sul that the heart pervedes, upon the 355 appa ‘le mie 'gote bagna le mie gote. bathe my cheeks. keira cadra. it will fall. ‘gate goto; cheeks traditor kadra traditor cada. botrayer will fll. (Cuniza leads Oberto into an adjoining room and calls for Riecardo, Imelda, Knights and Latlies,) CUNIZA ame Ame Come to me, my friends! ‘6i amitfi (fo Riccardo, pointing to Leonora)356 Oberto, Act I RICCARDO io sel avvampo—‘dira (lo gelo! Avvampo dra!) a freeze! Tburn with rage!!) CUNIZA imirala Mirala! Look at her! RICCARDO etsben jamai sperdsura la travail Ebbent.. ami, sporgiura 1a trovai. Very welll... Iloved her, faithless I found her. LEONORA ‘ti konosko ‘kwesto istante Ticonosco in questo istanto: Tknow you in this ‘moment: ‘dite ‘denna © tempja akkuza dito dogna ® — Tempia accusal of you worthy is the wicked accusation! Tui tradita i dotuza © insuttata = or Sona. akor Fui— tradita, fai dolusa, © imeultata or ~~ sono ancor. Iwas betrayed. Iwas deceived, and insulted. + © now [am too. ALL ingfetitfe wel sembjante a Jo strattsjo ‘del dolor Infelice! nel sembiante ha lo strazio del dolor. Unhappy gislt In her foco shehas the anguish of her pain. (Oberto re-enters.) ‘OBERTO ki dinsultarla—_ardifje Chi dinsultarla _ardisce! Who toinsult hor deros! LEONORA 2 Yelo (Oh cielo!) (Oh heaven!) CUNIZA ‘ei waldiffe (isi tradisce!) (He is betraying himeolf!)Oberto, Act I RICCARDO il padre (padre!) (Her father!) CUNIZA a toppo 30 (Ah, troppo oa!) (Ah, toomuch he dared!) ALL sera Oberto! OBERTO ison io Si, son io. Yos, itis 1 ALL ‘kilo kondusse Chilo condusso? Who brought him? OBERTO un ‘ddio. i passi mjei guido Un Dio i passi guidd. A — God the steps. mine led. (God guided my steps.) ALL a kweklaspett um ‘fremito per ‘onni fibro A quel'aspetto un fromito per ogni fibra At his appearance a ~— shudder — through =—every_fiber eki © skopeno =e spent sul patrjo ‘swol Egli & — scoperto © —_—spento sul patrio suol Ho is unmasked and dead on his netive soil he will OBERTO ‘nom basta tuna vittima a ‘kwesta kodarda Non basta una vittima a quosto codardo, Itdossn't suffice one —_ victim for this coward, etl padre © ta kh vilmente ekki utafide ° pedro = la figlia vilmonto —egli_uccide, and the father, andthe danghter__—_basely ho kills rapiffe lonore insalta deride rapisce Yonore, insulta, deride... steals their honor, insults them, derides them... ‘io 'semto io sontol T feel! fall! 7358 Oberto, Act I 9 stolto una ‘spada ‘so YYindsere ——_arjkor Ostolto! una spada so cingere ——ancor! Oh, fool! A sword I know how to carry still! (Oh, what e fool [ am! I can still carry a sword!) RICCARDO atonta rispondere —murdresti 0 vekkards Alfonta rispondere —m'udresti, 0 vegliardo To the affront answer you would hear me, oh old man, se atltira ke madyita ta pjena skjuidessi se allira che — m'agita la piena schiudessi; if tothe wrath that agitatasme the —floodgate _1I opened; (if I released the floodgates of the wrath that agitates me, old man.) you'd hear ma answer your affront, se iy kore pjetade dite nonavesssi Se in core pietade di_— tenon avessi If in my heart pity for you 1 didn't have, mostrati il senitlers pote dellonor mostrarti il sentiero.~—potrei doll'onor! to show you the — path Icould of honor! (If I didn't feel pity for you in my heart, I could show you the path of honor!) LEONORA sentjers = ate igkoppito. © © = ‘kwel ‘del gakkarda Sentero a —te_—incognito «8 = quel del gagliardo! (The) path for you unknown is theone _—of the brave man! (The path of a brave men is unknown to you, Riccardo!) lolnore ‘non *felasi a ‘sempre ‘un sembjante Lonore non celasi ha sompre un sombianto, Honor doesn't hide itself, it has always @ countenance. gppresisa —oltraddyata—tradita ‘mi vedi Oppressa, _oltraggiata, _ tradita mi vodi, Crushed, insulted, betrayed before you you see me, superbo ne'semi——_rosssor superbo, ni senti——_rossor? haughty one, feel youno shame? CUNIZA ‘tha ‘alma palffevasi dun ‘dguro_ buidsardo Gia Velma pascovasi dun giuro_ bugiardo, Alreedy mysoul -—nurtureditself © onan oath lying, (My soul was already nurturing itself on a lying oath.) aprivast ‘ai ‘gaudi. dun ‘tener atest aprivesi ai gaudi d'un tenero affatto! opened itself to the bliss ofa tender love!ma ‘vintfer Kijganni —sapro ‘dde! Ma vincer glinganni —saprd. del But overcome —_the deceits Iwill of ‘odio muttarsi ‘dsa sents odio mutersi gid sento into hate changing elroady ——_I fool (But I will overcome the decett in my heert and al IMELDA, CHORUS 359 mio my petits patto, heart, lamor Tamor! my love! ieedy I feel my love changing into hate!) 2 ‘non tokKertfi laimiko tus “zgwardo 0 non toglierci Vamico tuo sguardo! Oh heaven, don't take from us the friendly your gaze! (Oh heaven don't turn eway from us your kindly gaze!) fi ‘zdenpi sakkwetino © ‘patfe ‘ne arida Gli sdogni sacquetino © pace ne arrida! (May) the — engers calm down and peace smile on us! se uy kor fu sperdguro. se. nanima —imyfida Se un cor fu —_spergiuro, so un'anima _infida, IF a heart was false, if, a soul (was) unfaithful kwellaima —puniffi puniffi wel ‘kor quell'alma —punisci, i quel cor! that soul punish, punish that heart! END OF ACT I360 Oberto, Act Il ACT IL Scene One ‘The Private Apartments of tho Princess (Cuniza is seated, surrounded by Imelda and a chorus of ladies-in-waiting.) CHORUS imfelitfe ‘nel ‘Kore tradito Infelico! Nel core tradito Unhappy gilt In her hoart betrayed e tumuko ‘di tmesti_pen’sjer ha tumulto —di_—_mosti_ponsior. she has (a) tumult of sad thoughts. © damore aliimvito. —afifidava il suo. ‘¢suro_primjer E — damore —_all'invito—affidava_—il'suo_giuro__primier. And atlove's _ beckoning she trusted his oath first. (And at love's first bockoning, sho trusted his oath of love.) IMELDA a te fav devvia ritckardo A te fav dosia Riccardo To you speak wishes Riccardo (Riccardo wishes to speak with you.) CUNIZA © ke itesta =a proferire §=— in.» sua_—diskolpa E cho gliresta. = ~—proforire = in sua _discolpa? And what islefttohim to offer in his defense? Jun ‘dgorno ‘dolee ‘nel ‘kore ‘mi fenidea_‘kwel_ ‘nome Un giomo dolce nel core miscendea quel__nome, One day sweet in my heart descended that name, (Once that name reached sweetly in my hoart,) kwal nidsada ke avviva i lassi ‘Tor ‘nella staidson estiva qual rugiada che avviva i lassi fior nella stagion estiva. as dew that revives the wilted flowers in the summer. 2 memorie 9 karo afifett Oh soavi memorie! Qh caro _affotto! Oh delightful ~— memories! “Oh ~— dear _ affection! Ki 'vi'tokfe al mio. 'petto Chi vitoglio —al_—smio._patto? Who tears you from my — breast? oki toma lardente —_penisjero Oh, chi toma Tardente —_pensiero Oh, who will bring beck the ardent thoughtOberto, Act It 361 2 bei ‘omni ‘del tempo primjero a bei sogni del tempo primiero! to the lovely dreams of the time first! (Oh, who will bring back tho ardont thoughts of my lovely dreams of former times!) ‘ci nel ‘Volto -nelalma = era_— bello Hi nel volt, nol'lma ora_bollo! He inhis face, in his soul was _ beautiful! ‘kwimaprparve parlom:mi amor Qui m’apparve... pariommi amor. Here he appesred to me... he spoke tome of love. unto zgwardo «uns 'vago sontizo Un suo sguardo, un suo_vago sortiso One his glance, one his charming smile (Ono glance of his, one charming smile of his) ‘meram ‘vita dsoir para'dizo moran vite, gioir, paradiso! were forme life, joy, paradise! "kome ‘ppretfi su ‘egelido aveklo Come preci su gelido avello ‘As prayers over (an) icy tomb ‘ora imjvano miffendons ‘al ‘kor ora invano mi scendono al cor. now in vain they descend to my heart. (Now in vain they reach my heart, like prayers over an icy tomb.) IMELDA ‘dunkwe imponi Dungue —_imponi. Then command, (Then (be strong and) command (him.) CUNIZA Yo sperdsuro. a ecinora tomers Lo spergiuro. a == Loonora tomer. The perjurer to. Leonora —_‘T shall return (Lwill meke the perjurer return to Leonora.) IMELDA cw BE tu And you, yourself? CUNIZA al ‘primo “dywro io medezma al kondurro Al primo giuro io medesma il condurr, To his first vow I anyself will lead him. (C myeolf will load him (back to tho woman to whom he proffered) his first vow (of love.)362 Oberto, Act II ‘piu ke «=f Yettsi © © To splendore Pia cho i vezi © lo splondore More then the pomp and splendor ju ‘ke wm 'plauzo ke ~— elude pit che unplauso che elude, more than applause that eludes, ‘delta ‘splendida viride pws la votfe ‘sul mig “kor della splendida _virtude pud la voce sul mio cor. of shining virtue can tho voico on my _ heart. (The voice of shining virtuous (rectitude) holds more sway in my heart than pomp, splendor ‘and deluding epplause.) ‘delta ‘mizera il ‘dolore trovi azilo ‘nel mio pert Della misera il dolore trovi asilo nel mio __petto; Ofthe unhappy girl the grief may itfind shelterin my breast; (Mey unhappy Leonora's griaf find sholter in my broast;) amistade a ‘kweldo dekleimor Amistade @ —_—santo_affetto, pari a quello dollamor, Friendship is (a) holy affection, equal to thet, of love, CHORUS a si ‘grande © karo. sidyetto nom mertava ‘W traditor Ah, si. grande e caro oggetto non mertava, il traditor! Ah, such a groat and dear person didnot desorve _the traitor! (Ab, that treitor did not deserve such e dear end great person es Cunizal) Scene Two A Remote Place Near the Castle Gardens (A group of knights is gathorod.) CHORUS I dove astro ‘ke nel tela ‘surdse fulgido ‘kel di Dove Yastro che nel cielo surge fulgido col di? Whereis the star that ‘inthe sky rises shining with daylight? CHORUS II “To rikopre um ‘mesto ‘velo ‘kwel bellaso ——impabtii Lo ricopre un — mesto velo, quel bell'astro —_impallidi! Itis covered by a sed veil, thet lovely ster has palod! CHORUS I e — laldsoja_—eil sorrizo ‘ke promize =a ‘noi lator E lagioia od il sorriso che promise a ~—noi_—‘amor? And _ the joy andthe smile that promised to us_—_love? (And the joy and smile that love promised us?)Oberto, Act I 363 CHORUS II tuts sparve dimprovevizo kome ‘ssoppo smentitor Tutto sparve dimprovviso come sogno mentitor! it) all diseppeored suddenly like adream —_ deceptive! CHORUS I and I ‘si kon'soli lo tradita ‘ke — spe'rantse nna 'pju Si consoli la traditea che speranze non ha pi; Lat us console the betrayed gitl_who hopes has no more; ‘son kompappe in kwesta ‘vita la zventura ela virtw Son compagne in questa vita lasventura @ Ia virta. Are companions in this life, misfortune and virtue. (They disperse and Oberto enters.) OBERTO ‘ei tala agkor “forse magkats © =i mess Hi tarda ancor! Forse mancato = 8 ~—il_—messa, He delays still! Perhaps —_not go did the messenger, (Riccardo still delays! Perhaps my messenger did not reach him.) © forse ‘ei vile anno ‘nol redo ° forse oi vilol. ah no! nol credo, or maybe he(the) —coward!... Ah, no! —_I don't believe it. (or maybe the coward!...Ah, no, I can't believe it.) atfine di venetta = appagar passa il dezio Alfine di vendetta eppager = posso il -—_desio. At last of vengeance satisfy Tecan tho desiro. (At last can satisfy my desire for vengeance.) ‘njun — ezil ‘pwo sottrarla al "brando ‘mio Niun sil pud sottrarlo al brando mio. No shelter can savehim fromthe sword mine. lorror ‘del tradimento—kjede e'kiempjo it sangwe Lorror del tradimento chiede dell'empio il The horror of the betrayal asks of the wicked one the blood; (The horror of the botrayal calls for the wicked one's blood) ‘il brattfo ‘mio ‘non ‘langwe fulmina il ‘brands ajkor I braccio. ~—mio._non langue, fulmina —il_—_—brando ‘ancor. The erm mine doesn't weaken, strikes the sword still ‘pur ‘kada ‘il'Vekso——spento Pur cada il voglio —_spento Yet let him fell the old men_ killed ‘sein Yel kozi ‘ffu —‘skritto so in ciel cost fu seritto; if in heaven it wes written: (ts Yt ie dina ite fk waa wt tn heaven)364 Oberto, Act It ‘ma deltaltrui detitto ‘nol ‘gravi il dizonor ma — dell'altrui dolitto nol gravi il disonor. but of the other one's crime Jet him not burden the dishonor. (but let me not be dishonored by tho other ono's (Riccardo) dishonor.) CHORUS (from offstage) Sberto Oberto! OBERTO ‘kwal Tjeto ‘grido forse tratdito ni a il'messo —_ imjfido Qual licto grido! Forse tradito mi ha ilmesso _infido... What happy cry! Perhaps betrayed me has tho moseongor disloyal... CHORUS (on stage) tw dediizeling —temer ‘non “dei Tu dEzzelinotemer non déi, You ofzzolino foar not must, (You mustn't fear Ezzelino,) vient @ = Kuiniddza ke th salvo vieni a Cuniza che ti salva, come to Cuniza who has saved you. OBERTO ite fra/poko "sono ‘da lei Ite! frapoco sono da lei. Go! Shortly Twill come to her. (The chorus leaves.) ‘salvo ke importa vendetta ino Salvo? Che importa! vendetta. io vo’ Saved? What dol cere! Rovengo = T_——want. (Cuniza hac saved me? What do I care! Revenge is what T want.) ‘ma tu —stiperbo = djovame =e nom ve'drai fekekat Ma tu, superbo —giovana,. = me_—_ non vedrai fieceato! But you, proud youth, me you won't see exhausted! tun ° ro Wfato eka lestremo “di Alluno ° itro ilfato reca Yestremo di. To one or theother fate brings the last day. ‘Oberto's reaction is a bit confusing. Apparently Cuniza has intorcodod with her brother Ezzolino to forgive Oberto for the trespasses that had meritad his banishment from Italy, which we are not imade aware of in the Kbretto, Ezzelino is the ruler who casts his ominous, alboit unsung, shadow across this tale (See footnote 1 in Act J). Old Obario doesn't care for pardons at this point; all he wants is the blood of his daughter's seducer, end the joyous ories of the knights informing him of his pardon unsottlo him. He would havo proferted to hoar the cries, not of joy, but of hate from Riccardo, whom he had challenged through that "messonger’ he keeps talking about,Oberto, Act It sutdra dal mio kadavere = uy'grido, Studra del mio cadavere un grido—uscir You will hear from my — corpeo cry (You will hoar a war cry issuing forth from my corpse:) bert ‘ei saliggwerramovendo ——maleédi Oberto ai Selinguerra morendo —_maledi! Oberto, the Selinguerras dying he cursed! (At the moment of dying Oberto cursed the Selinguorras!) (Riccardo enters.) OBERTO ‘ekekolo © Wdessso ‘or ‘son tragkwiltlo —tnolira ‘prode gwerrjer Eccolo! ® — desso! Or son tranguillo, _Tnoltra, prode guorrier. There! Itis he! Now Iam celm. brave warrior. i tenere donidzetle —‘kwesto nine i Di tenore donzelle questo non & i Of tender damsels this isnot (e) fight. (This is not a fight between tender damsels.) wu kwi Vieni a moire > —— kompir topra Ta qui. vieni_ a —_morira oa compir Vopra You here come to die or to complete the work del wo vile misfatt>. l= fervo impuppa =e dfendi del tuo vile misfatto. 1 ferro. impugna =e sti difendi. of your vilo misdeed. © The sword draw end defend yourself. RICCARDO. ‘um 'sol momento exjkora fervido ‘vekikio Un sol momento, ancora forvido vecchio. Just one moment, still, (you) impassioned old man. adine’gwal Komflitto forse ‘mi kjami ‘Ad inogual conflitto forse mi chiami.. To an unequal combat perhaps you are challenging me... e — ‘orifjuto © lorifiuto! and | refuse! OBERTO injfame abbastantsa tu sci Infame abbastanza tu soil Disgracoful enough you are! (You are disgraceful enough!) ‘fia la ‘mem vile ‘kwesta éettopre tue Fie Ia men questa dell'opre tue. May itbe the least vile this of the actions yours. (May this be the least vile of your actions.) ‘di gwerra di guerra; coming out of366 Oberto, Act It RICCARDO frea Ioltradidso —alinsulto. ‘non ‘ffende um ver karad:dgo Frona Yoltraggio, all'insulto non scende un ver coraggio. Refrain your abuse, To insult does not descend a true courage. (Refrain your abuse. True courage does not dascend to insult.) OBERTO vil alam a donne 9 “io proklams i salirjgwersra Vili alfarmi, adonne — eri io proclamo i Salinguorrat Cowards atarms, to women _horoee Iprocleim the Salinguerras! {I call all of you Salinguerras cowards at arms and heroes only with women!) RICCARDO vill atlanni two ‘ywai Kon lattfar risponde'o Vili all'armi? Ah! tulo vuoi? Con ‘Taccia® ——_risponderd. Cowerds atarms? Ah! you want it? With my sword I will answer. (He draws his sword as Cuniza enters with Leonora) CUNIZA (to Riccardo) ‘ferma a ‘trap:p ig kwesta terra Forma! Ab, troppo in questa terra Stop! ‘Ab, too much in thie land dizonor —tua_—'man__yer's disonor tua man_vorsd! dishonor your hand wrought! (Stop! Your hand has wrought enough dishonor in this land!) RICCARDO ‘la vergona dil dispetto. —'al_—komrbattonil'mio seno La vorgogna ed il dispetto, ahi, combattono ill mio seno! Shame and vexation, alas, contond—_within my broast! ‘il rimorso a kwelaspetto tatferands il kor ‘iva Tl —rimorso = a_—quoll'aspetto lacerando il cor mi va. The remorse at__—that sight —_tearing my hoot is, (At that sight, remorse is tearing at my heart.) de spalaykati_ 9 terreno e —— maskondi pieta Deh, spalancati, o terreno, @ —_—sm'ascondi piota! Oh, openup, 0 ground, and hide me pity. LEONORA ekki © injfame © traditore = edakora «io. tame'ei Fgli @ — infamo, ® — traditore, ed ancora. io Tamerei! He is despicable, he's faithless, andstill 1 —_could love him! *As indicated elsewhere in this series, “sword! can have many names in pootic Italian: Lama (blade), forro (iron), brando (weapon), spada (the actual word for swond) and finally acciaro (steel), sometimes spelled acciaio. Acciar is the truncated form,Oberto, Act Il 367 2 lintfendjo dun a'more ‘ki ‘mai ‘spennere patra Ah! Tincendio d'un amore chi mai_—spognere__potrii? Ah! Thefire ofa love who quench will be able to? (Ah! Who will bo ablo to quench the fire of such a love?) ‘ma la'morte or —_‘fexse'rei Ma lamorto or _—_sceglicrei, But death now I would chooso, ‘ara speme ‘il kor noma altra spome il cor non ha, another hope my heert doesn't have. CUNIZA Jaguiatn © tami ardiva Sciegurato! © tanto ardiva Scoundrel! And somuch he dared imentre a me —kjetdea Parola mentro a me _—chied parole,’ while from me heasked word, (Scoundrel! and he dared so much while he sought to speak to me,) © ‘alrimorso ‘il ‘kore apriva al rimorso il core apriva and with remorse his heart he opened dun dun fora horrible _baseness! (o Leonora) imfetitge Wi komsola al tuo seno ei torme'fa Infelice! ti consola, al tuo seno oi tomera. Unhappy girl! Console yourself, to your bosomhe _will return. RICCARDO ‘apr 2 terra Taps, tora! Open up, oh oarth! OBERTO a kodarda al "brando ‘mio Ah, codardot al brando mio Ab! Cowerd! —Fromthe —_ sword mine *Chiedere parola, literally “ask for a word, implies: “may 1 have a word’, and by extension, "may I speak to you"368 Oborto, Act It mo sfididgire nom potrai no, sfuggire non potrai! no, escape you won't be able to! pari ‘al ‘fulmine ai Pari al fulmine di Like the lighting —from = God te dovunkwe to dovunque oi cogliera. you everywhere it will strike. (My sword will strike you everywhere, just like the lightning of God.) nel ‘mio ‘sangwe laverai ‘finde padri la vitta Nel mio sangue laverai fin de’ pedri Ia —_viltat In my __ blood you will wesh ofafather the shame! CUNIZA (to Riccardo) Kkonte ‘to ‘vei orsibile ‘Jena apprestasi a ‘noi Conte, lo vedi, omibilo ——scena_apprestasi a noi. Count, you seo, (a) dreadful scene is beingreadied for us. (Count, you can see that we ere about to be put into dreadful situation.) io tokkere aldinjfamja —aykor ti ‘pwoi Io togliere ——allinfamia_—_ancor ti puoi. 1 forgive yout, avoid disgrace still you can. RICCARDO imponi Imponi! Tell me! (how) CUNIZA a ‘kwesta ‘mizera ‘dgura_lantika amor A questa misera jura Vantico amor! To this unhappy girl swear your former love! LEONORA © dseneroza (Oh _ genorosa!) (Oh generous one!) igeudjo tiki “di ‘notatse amykor gaudio brilli di nozze ‘ancor. (Let) the joy shine of marriogo again. RICCARDO © limponi E tu _—_limponi? And you are imposing this (on me}?Oberto, Act I OBERTO (to Riccardo) findgere ‘devi vil ‘non ‘sei (Fingoro devi, vil non soit (Feign you must, if (a) coward you are not! €f you aren't a coward you must pretend!) ‘pola ‘nel ‘bosko attendimi Poscia nel boscoattendimi...) Afterwards, in the forest wait for me...) RICCARDO (to Oberto) vero per ‘Xjavi mje (Worn, per gli avi mii (will come, by the ancestors mine!) CUNIZA rikckardo ——_etben Riccardo, eben? Riccardo, well then? RICCARDO rispondere ‘pwo ‘sol la ‘man ‘por_ me, pondere pud sol la man por me. To reply can alone my hand for me. (My hand elone cen reply for me.) (Ho offers his hand to Leonora) LEONORA fa ‘ver fla ver? can this be true? sorridere —‘possa ‘il signore aot Sorridere _possa il Signore = atl Smile may the Lord upon you! (May the Lord smile upon you!) LEONORA arikkanls sea imizera amante Ah, Riccardo, sea misera ‘amente Ab, Riccardo, if to (your) unhappy —_beloved pentito sinters ‘kome ‘al ‘tempo ‘del “dsuro pentito, sincero, come al tempo del —_giuro repented, sincere, as atthe time of our vow tutto ‘il'mis ‘kor ti daro tutto ilmio cor ti dard! all my heart ‘I will give you! 369 tu ritomi you return primjera primioro first370 Oborto, Act I RICCARDO imfelitfe sul ‘vagosembjante parla amor (nfolico! sul vago sembiante parla amor, (Unhappy girl on her lovely face speaks love, ‘ed io pur To tradita imfetixe ed io pur ho tradita; infolice! end 1 yet have botrayed her; unhappy girl! onore minjvita “dove agkora fer ti dow Lionore miinvita dove ancora ferir ti dowd!) Honor calls mo whore again wound 1 must you!) (Honor calls me to where again I must wound you!) OBERTO © perpoks = neklalma——_tremante (Oh, per poco nell'elma_—_tremante (Oh, forawhile in my soul _ trembling vi frenate 0 penisjeri di “ndeppo vi frenate, 0 pensieri = di_—sdegno! restrain yourselves oh thoughts of anger! ben nel ‘sangwe levar debintdeppo Ben nel sangue lavar dell'indegno Surely in the blood wash of the evil man Tonta injfame ‘al ‘mio ‘nome saipro Yonta infame al mio nome sapro,) the shame infamous from my name Iwill.) (in this evil man's blood surely will I wash the shameful stain on my name.) CUNIZA 0 potessi (Oh, _potessi (Oh, could I but ke aklamore che all'amore when to love ide sorrida Doh, sorrid Ah, may it smile well patfe quella pace that peace (Oberto goos into the skordarmi—_listamte scordarmi —_istante forget tho instent skjudeva‘l'mio ‘seno schiudeva il mio sono! Topened my bosom! ‘alsa imizera atmeno alla misora almeno upon the —_unheppy girl at least ‘Kio pjunon aro chio pitnon ——_avro!) that I no longer shall have!) forest while all tho others but tho chorus leavo in opposite diroctions.)Oberto, Act It ami the two CHORUS I ‘li vedeste Li vodesto. You saw them. CHORUS a sila mano ‘si protezero Ah si! la._—_mano_ si protesero Ah yes! The hand thay extended (Ab yes! The two counts extended their hands to each other.) (CHORUS I eail kore Edi core? And thoir _hoarts? (CHORUS TI imvano ‘tava ‘ira ‘sulle Invano! —Stava sulle Hopeless! Was wrath on their ALL a sventura © ‘dala Ah sventura! E dalla Ah, misfortune! And _from the “fatzo ‘oro a ‘kweltla Fatto sordo a quella Turned dest to that ‘si = mentwa = edna terta Ahi, svontural ¢ = una terra Ah, misfortune! And ofa land ‘patfe mai fraterna Paco omait Fraterna Pesce henceforth! A fraternal war CHORUS I > ‘kwal_ntmor Oh qual rum Oh, what noise (is thet)! CHORUS IT fe'rotfe ‘kottsoe di nud Feroce cozz0 6 == di_nudi Ferocious clash itis of naked ALL > ‘kwal sospetto ——atrotfe. Oh, qual sospetto ——_atroce! Oh, what suspicion atrocious! “front fronti. brows. ‘krotfe ‘soldi croce sol di pace Iddio parla! cross only of peace God spoke! ‘votfe wom ‘nel ‘sangwe salilegro voce I'uom nel — sangue Sallogro! voice, man in blood delighted! ‘sono enttrambi lo spleridor sono entrambi lo splendor! they're both the glory! maledetta e —‘dal_—_sinpor maledetta = = dal_—_Signort cursed is by the Lord! attfar acciar. steel. ‘ikorra —_adosservar Sicorra ad osservar! Let us run to see!372 Oberto, Act II (They go off into the woods ax Riccardo enters, sword in hand as if being pursued.) RICCARDO ‘Yel ‘ke fetfi di kwel “sangwe iol, che — foc di quel sangue Heaven, what have I donel... With that blood 9 makckjato il brando ‘mio ho macchiato il —_brando mio!... Thave stained the sword mine! ‘dove askondere —_passio il detitto ‘iL mio ro'ssor Dove ascondere possi i dalitto, il mio rossor? Where hide con 1 my crime, my — shame? a'si fagiga Ab, si fuss Ab, lot me floo! (A moan is heard.) odio ki pjandye mingenmmai —sv’surra ‘venta ODic!. chi piange?.. Mingannai... susura —il_—_vanto, Oh God!.... who is weeping?... Iam wrong... murmurs the —_ wind. (Another prolonged moa is heard.) a'nno lultim> laments © ‘del mizero ke ‘mwor Ahnot.. Tultimo — lamento. = dol_—misoro che — muor. The last lament itis ofthe wretch who is dying. Yel pietoz> Yel klemente Ciel pietoso, cil clemente, Hoaven, pitying, heaven clement, se pre'garti aykor ‘mi titfe se pregarti ancor mi lice, if praying to Thoo stills allowed mo, de perdona =a un_imfelitfe tu mi salva per pjeta doh perdona aun _infolice, tu misalva —_per pieta. ah, — forgive this unhappy man, ‘Thou savome, _in pity. 2. imorso del marente oppor YYombra minsegwira Oh —rimorso!_ ~—Dol_—moronto—_ognor Tombra _miinsaguira. Oh remorse! “Of the dying man forever the ghost will pursue me! (Ho oxits as Cuniza and Imelda enter very agitated followed later by the chorus.) “This is a pootic form derived from the Latin Licey, to allow, 1o permit, to give license, ‘The Talian infinitive is spolled and pronounced just like its Latin ancestor: Licere. In English we have license, illicit (something that is not permitted ar allowed) ‘words likeOborto, Act It 373 CUNIZA ‘dove i tferco imyvano Dove Li cerco invano! Whore Tsoarch for them in vain! wal prevadso al ‘Kor 'mi pjomba Qual presagio al_-~—scor_—mi piomba! What foreboding on my heart weighs on mo! sento ‘il ‘¢selo ‘della tomba ‘per ‘te ene ‘medz9 al kor Sento il golo dolla tomba por Ie vene, mezzo al con Tfeel the chill ofthe tomb through my veins, in the contor of my heart. IMELDA alkuny vjene Alcun viene... Somoone —_is coming... CHORUS ‘an tra'vato inelda ‘selva ci sate Ezangwe han trovato! Nella solva oi giace esangu They found him! In the forest he islying ~—iifeloss... CUNIZA elo Cielo! Heaven! CHORUS immerso ‘nel ‘su ‘saggwe ‘di Leonora © dgenitor Immerso nel suo sanguo di Leonora «= il’ genitor, Immersed in his __ blood. of Leonora = is-_—sthe father. (Loonora’s father lies immersed in his own blood.) ‘del duelto sospettoza ela akkorse =a kweltle ‘pjante Del duallo sospettosa ella accorse =a quelle. piante, Ofthe dusl suspecting sho ran to those plants, (Suspecting « duel, Leonora ran to those trees,) ‘vide ‘il ‘kolo dellamante ‘kadide op: ‘dal de‘lor vide il colpo dell'amanto, cade oppressa dal_— dolor. saw the blow from her lover, (and) fell. oppressed by _griof. Esangue really means bloodless. In English, thor is also a modical term applied to people who have lost a lot of blood: exsanguinate, also derived from that Latin Sanguis, blood word. It is hard to stay alive once the blood supply has loft your body. In this case, Esangue implies "dead. Other poetic forms for the state of death in Italian libretti are estinto (extinct), spinato (expired), morto (Gead) and the ever present spento (snuffed out)ama Oborto, Act Il CUNIZA @ knideli a "troppo ‘veri ‘mjei_pe'zadsi ‘Ah crudeli! Ah, troppo veri miei _presagi! Ah cruel ones! Ah, too true my foreboding! (Ah cruel ones! My foreboding was only too true!) ‘abla meskina ‘mi gwidate Alle meschina mi guidate... To the unfortunate girl lead me. CHORUS savivitfina ‘S‘avvicina! She is approaching! CHORUS, IMELDA 2 spettakalo — dorror Ob, —spettacolo— d'orror! Oh, spectacle of horror! (Leonora is led onto the stage.) CUNIZA vjeni o'mizera —kreffuta sola ‘al pjanto ‘alla zvertura Vieni, 0 misera, cresciuta solo al_—_pianto, alla sventura! Come, ob poor gitl, grown only to tears, to misfortune! sul ‘imio ‘sen ‘ivasstkua no mai put afer Sul mio sen tirassicura, no, mai pi —_—‘ti lasci Upon my bosom beassured, no, never more will I leave you! CHORUS, IMELDA mertfe trovi nel tus kore ‘al dolore ke pro'va Mere’ trovi nel tuo core al dolore che —_prova. Pity youfind in your _heert forthe grief that she experienced. LEONORA ‘tutto © perduto al kolpo estrema—'mi'vakle il tfel pre'vente Tutto ho perduto! Al colpo estremo —mivollo _il ciel prosonte. All Ihave lost! Atthe blow last me wented heaven prosent. (Chave lost it all! Heaven wanted me to be present at the last blow.) ‘miseco ‘padre mio ‘padre perdono ‘non ‘ei uttfize Misoro padro mio! Padre, perdono! Non ei tuccise... Poor father mine! Father, forgive me! Not he killed you... ki twttfize io ‘sono. Chi tuceise io sono! Who Killed you, [ am! (Poor fathor! Forgive me! Riccardo didn't kill you... em the ono that killed you!)Oberto, Act It IMELDA, CHORUS kalma:‘il tuo dolore stai nel seno delslamista Calma il tuo dolore, st nel seno doll amistat Calm your grief, youare in the bosom of friendship! LEONORA Jagurata a ‘kwesto ‘lidoritferkai laimante Sciagurata! a questo ido ricoreai Vamante Poorme! To this shore I went sarching for my lover wi Qui Tiniquo Here the scoundrel deceived me.. wi Iobsbrobibrja © © ‘lempje akekuze Qui Tobbrobrio e —— l'empie accuse, Here the disgrace end the wicked accusations. imgfido wi lo zgwards 0 dio sostenni ‘dun itfezo chenitor Qui lo sguardo, oh Dio, sostenni d'un _offeso. genitor! Here the glance, chGod, _—_[ bore. ofen offended father! aduttfiderlo ‘ki yeni olla ‘man del sedutor Ad ucciderlo qui venni colla man del seduttor. Tokillhim here [came with the hand of the seducer. (came here to kill my father through the hand of my seducer.) (A messongor arrivos with a lotter for Cuniza) CHORUS um —mesisadidyo a kwesta volta Un messaggio a questa volta? A message = to this place? ‘ke ‘mai ‘ywole ‘ke sara Che mai vuole? Che sara? What does it mean? Whet can it be? CUNIZA i'swoi ‘voti 2'tfels askolta abbi aykor di ui Isuoi_voti o ciclo, escolta: abi ancor din His wishes, oh heaven, hood: havo still on him (She approaches Leonora and speaks to her quietly.) “Tuchdse litalja ‘il saliggwerra Fugge Mtalia il Salinguerra, Isflooing —_ItelySalinguerra, (Riccardo Salinguerra is flooing Italy,) \ferka azilo in stranja terra Corea asilo in strani terra. Hels looking for asylum in (a) foreign land. Pita pietat pity!376 Oberto, Act If ‘iperdono ate rikjede Iperdone a te _richiode; Forgiveness of you heasks; 'ewoi ‘beni Ja‘sua fede ‘kome wi “diel ‘primo ain Tsuoi_beni, la sua fode, como ai di del primo amore His possessions, his faith, as inthe days of your first love LEONORA tat 9 'ddio ‘nom prose gwir vela il ‘fokso insangwinato Taci, oh Dio, non proseguir. Cola il _foglio insanguinato Besilent, ohGod, donotcontinus. Hide the paper bloodied ke vergo wells spietats cho vergd quello spiotatot that wrote that pitiless men! (Be silent! O God! Do not continue. Hide that bloodied paper writton by that pitiless man!) sentsa padre maledetta —u Yella a ‘me saspetta Sonza padre, maledetta, una colla a mo_s'aspet Without father, accursed, a (convent) cell for ma _ is waiting! vegigo ‘sangwe in ‘opmi_ ‘Toko Voggo sangue in ogni loco... Isee blood in overy place. ei mabbnutfia ardente oko Ei m'abbrucia.. ardonto ——_foco! It bums me... buming fire! il mio ‘pjant il mio dolore de matffrettino I mio pianto, il mio dolore, deh, m'affrettino My — toars, my — grief, please, may they haston my dying! CHORUS imfelitfe un io. tormenty ga la'ssale Infeli unio tormento gia Vassalo, Poor girl! A cruel torment — already —-—assals her, © oprime il kore ‘ella ‘deme © oprime il core. Ella geme... end oppressos-herheart. She _is moaning il'sua lamento ‘passa ‘il tfelo impjetozir Tsuo lamento —_possa il cielo impictosir! Her laments may _ heaven be moved to compassion! (Mey heaven be moved to compassion by her laments!) END OF THE OPERA