LE NOZZE DI FIGARO (THE MARRIAGE OF FIGARO) An Opera in Four Acts Libretto by LORENZO DA PONTE Music by W. A. MOZART VOCAL SCORE Including the Seceo Reciatoes English Version by RUTH AND THOMAS MARTIN With an Essay on the Story of the Opera by NATHAN BRODER G. SCHIRMER New York/LondonCopyright, 1947, 1948, 1961, by G. Schirmer, Inc. International Copyright Secured Printed in the U. 8. A. NOTE All rights of any kind with respect’ to this Eng- lish translation and any part thereof, including but not limited to stage, radio, television, performance, motion picture, mechanical, printing, and selling, are strictly reserved. License to perform THE MARRIAGE OF FIGARO in this translation in whole or in part must be secured in writing from the Publishers. Terms will be quoted upon request. G. SCHIRMER New York/LondonDRAMATIS PERSONAE COUNT ALMAVIVA COUNTESS ALMAVIVA SUSANNA, her chambermaid..........- affianced to FIGARO, valet to the Count. . CHERUBINO, the Count’s page MARCELLINA.... BASILIO, music master. DON CURZIO, a judge. BARTOLO, a doctor from Seville... ANTONIO, the Count’s gardener. and Susanna’s uncle BARBARINA, his daughter... .. . Baritone Soprano Soprano seen eee Bass «Soprano Mezzo Soprano Tenor .. Tenor Bass Bass Soprano Country men and women, Court attendants, Hunters, and Servants The scene is the castle of Count Almaviva, about three leagues from SevilleTHE MARRIAGE OF FIGARO One evening in the spring of 1783 Mozart visited his admirer and former landlord, Baron Raimund Wetzlar von Plankenstein, at the baron’s home in Vienna. There he met an Italian writer, concerning whom he wrote to his father: Our poet here is now a certain Abbate da Pomte. He has an enormous amount to do in revising piece for the theater and he has to write per obbligo, entirdy new libretto for Salieri, which will take him two months. He has Promised after that Lo write anew libretto for me. But who knows whether he tril be able to keep his word-—or will want to?” For, an you are aware, these TRalian gentlemen are very civil to your face. Enough, we know them! It he fn in league with Salieri, I shall never get anything out of him. But indeed 1 should dearly love to show what Tean doin an Tualian opera!" Since this meeting was to result in one of the most important collabora- tions in the history of opera, and in the creation of three masterpieces—Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte—, it may be well to sketch here the career of the less well known partner. His real name was Emanuele Conegliano and he was born March 10, 1749, ‘at Ceneda, a small town in northeastern Italy. His father, a Jew, was left ‘a widower, and when Emanuele was fourteen had himself and his three sons baptized so that he could marry a young Catholic girl. In accordance with a custom of the time, the eldest son took the name of the sponsor, Monsignor Lorenzo da Ponte, bishop of Ceneda. Young Lorenzo studied in the seminary of the town and later at Portogruaro. By the time he was twenty-two he was giving instruction in rhetoric and the Italian language and had taken minor orders for the priesthood. From Portogruaro he went to Venice, where he eked out a precarious living by teaching and writing poetry and by less legitimate activities, plunging zestfully into the dissolute life of the Venetian Republic. He got into, and out of, one scrape after another until, in 1779, the patience of even the lenient authorities of Venice was overtaxed, and they banished da Ponte from all Venetian territories. He made his way to Vienna, armed with a letter of introduction to Antonio Salieri, court composer to Joseph II. There Salieri helped to get him appointed theater poet and da Ponte enjoyed some years of success, writing many librettos (including the three for Mozart) as well as poems for special occasions. After the death of Joseph II (1790) da Ponte left Vienna, Most of the next thirteen years (1792-1805) were spent in London, where he was for part of the time poet of the King’s Theatre. In 1805 da Ponte, as a result of one of his frequent financial crises, came to the United States. He tried the grocery business, first in New York and then in E'izabethtown, N. J., returned to New York to teach Italian, attempted for eight years to establish himself as a business man in Sunbury, Pa., and for a year in Philadelphia, but came back in 1819 to New York. ‘Here he taught Italian again and in 1825 was appointed professor of Italian Literature at Columbia Ccllege (a post that gave him Family, London, 1988, 11,1265, Tt was to 4 imi Anderton, Zeer of Mo that Morart wanted to display sort. Idomenco (1780-81), wasprestige but no salary). In the same year Manuel Gareia and his daughter Maria Malibran came to New York and da Ponte persuaded them to produce Don Giovanni (for the first time in America) at the Park Theater. In the 1820s da Ponte wrote his memoirs, which still make lively reading today, even though the author understandably glossed over or omitted the less savory episodes in his life, and his memory of events that took place thirty. or forty years before he wrote about them is not reliable, He died in New York on ‘August 17, 1838, at the age of eighty-nine. It was not two months but more than two years after Mozart reported his conversation with da Ponte to his father before the opportunity arose for them to work together. In 1785 Mozart was at the height of his creative powers and in greater demand as a composer than at any time before or after in his brief life. In that one year were published two symphonies (K.385 and 319), the six quartets dedicated to Haydn, three piano concertos (K.413- 415), and the Fantasy and Sonata in C minor for piano (K.475 and 457), among other things. Leopold Mozart reported in a letter to his daughter dated November $-4 that a journalist in Salzburg had remarked to him: “It is really astonishing to see what a number of compositions your son is publish- ing. In all the announcements of musical works I see nothing but Mozart. ‘The Berlin announcements, when quoting the quartets, only add the following words: ‘It is quite unnecessary to recommend these quartets to the public. Suffice it to say that they are the work of Herr Mozart.’”* But beneath all this activity was Mozart’s burning desire to “show what I can do in an Italian opera”—a desire that had gnawed at him ever since he had come to ‘enna in 1781 and that had led him to seek a suitable libretto even before he had met da Ponte. ‘The latter finally kept his promise. Here is his own account. The time is the late summer or early fall of 1785. «, Tegan quietly thinking about the plays I was to write for my twodear friends ‘Mozart and Martin [Vicente Martin y Soler]. As to the former, I readily per- ceived that the greatness of his genius demanded a subject which should be ample, levated, and abounding in character and incident, When we were talking about it one day, he asked me if I could easily adapt Beaumarchais’ comedy, The Marriage of Figaro. |The proposal pleased me very well, and I promised to do as he wished. But there was a great difficulty to be overcome. Only a few days before, the Emperor had forbidden the company at the German theater to fact this same comedy, as it was, he suid, too outspoken for a polite audience. Flow could one now suggest it to him for an opera? Baron Wetslar very gener- ‘ously offered to give me a very fair sum for the words and to have the opera produced in London or in France if it could not be done at Vienna. But I de- clined his offers and proposed that words and music should be written secretly and that we should await a favorable opportunity to show it to the theatrical ‘managers or to the Emperor, which I boldly undertook to do. Martin was the ‘only one to whom I told our great secret, and out of his regard for Mozart he very readily agreed to my postponing writing for him until I had finished Figaro. ‘So Tset to work, and as T wrote the words he composed the music for them. In six weeks all was ready. As Mozart's good luck would have it, they were in need of a new work at the theater. So I seized the opportunity and without saying anything to anybody, I went to the Emperor himself and offered him Figaro. * Anderson, II, 1351.“What!” he said, “Don’t you know thet Mozart, though excellent at mental musi, has only written one opera, and thet nothing very great “Without Your Majesty's favor.” I answered humbly, “I too should have n only one play in Vienna.” “That is true," he replied, “but I've forbidden the German company.” “Yes,” I said, “but as T was writing a play to be st to music and not a comedy, I have had to leave out a good many scenes and shorten a great many ‘more, and I'veleft out and shortened whatever might offend the reGnement and Alccorum of an entertainment at which Your Majesty presides. And as for the tusic, as far as I can judge itis extraordinarily fine,” “Very well” he answered, “if that isso, I'l trust your taste as to the music, and your discretion as to the morals. Have the score sent to the copyist.”, jim the good news ‘when one of the Emperors lackeys came with a ote requesting him to go to the Palace at once with the score. He obeyed the royal command and had various Picees performed before the Emperor, who liked them wonderfully well and w7 ‘ithout exaggeration, amazed by them? is Marriage of Figaro to Some explanation and correction of this account is in order. That da Ponte, in 1785, “perceived the greatness” of Mozart’s genius is by no means certain. We must remember that he was writing forty years after the event, when Mozart’s fame had spread to America, where da Ponte was seek- ing to bolster his own reputation. ‘The secrecy that da Ponte attaches to the composition of the work is a figment of his lively imagination. Even the Salzburg journalist mentioned by Leopold in the letter quoted above “said something about a new opera”, when Wolfgang had just begun to write it. In another letter, dated November 11, Leopold reported that Wolfgang, “in order to keep the morning free for composing, . . . is now taking all his pupils in the afternoon, ete.” All was not ready in six weeks. Mozart began com- posing the opera at the end of October 1785 and finished it six months later— ‘on April 29, 1786. The earlier Mozart opera mentioned by the Emperor is probably Die Enifiihrung aus dem Serail, which is of course not the only one he had written up to that time. Da Ponte’s line of attack was based on either knowledge or sound instinct, for the Emperor, in his memorandum (dated January 81, 1785, and not, therefore, “only a few days before”) for- bidding a Viennese production of Beaumarchais’ play, had added that the censor could permit it to be performed if the offending sections were altered. Additional information is supplied by another contemporary, Michael Kelly, an Irish tenor living in Vienna, the creator of the roles of Basilio and Don Curzic ‘There were three operas on the tapis, one by Regini another by Salieri (The Grotio of Trophonius), and one by Mozart, by speci ‘command of the Emperor... These three pieces were nearly ready for representa- tiom at the same time, and each composer claimed the right of producing his opera for the first. The contest raised much discord, and parties were formed. ‘The characters of the three men were all very diferent. Mozart was as touchy as gunpowder,and swore he would put the score of his opera into the fire if it was not produced first; his claim was backed by a strong party: on the contrary, Regini was working like a mole in the dark to get precedence. % Mencis of Lorenzo de Ponts, teanal. and ed, by le A. Sheppard, London: Routledge & Kegan Paul td ons, pe 1 te Ae Sheppard “e vi‘The third candidate was Maestro di Cappella to the court, a clever shrewd ‘man, possessed of what Bacon called, eeoked wisdom, and his claima were backed by three of the principal performers, who formed a cabal not easily put down. Every one ofthe opera company took partin the contest. Talone was a sticker for Mozart, and naturally enough, for he had a elaim on my warmest wishes, from nay adoration of his powerful genius, and the debt of gratitude Towed bits, for many personal favor. “The mighty contest was put an end to by His Majesty isuing a mandate for Mozart's Nozze di Figaro, to be instantly put into rehearsal; and none more than Michael O'Kelly, enjoyed the litle great man’s triumph over his rivals. -..T remember atthe fist rehearsal ofthe fll band, Mozart was on the stage ‘with his eimson pelsse and gold iving the time of the musie to the orchestra. Figaro's song, Non pil andra, forfallone amoroso, Bennuc [Fran ceico Benucei} gave, with the greatest animation, and power of voice. wasstanding close to Mozart, who, sotto soce, was repeating, Bravo! Bravo! Bennuci; and when Bennuci came tothe ne passage, Cherubino, alla vtoria alla ria militar, which he gave out with Stentorian lings, the effect was electricity tel, forthe whole of the performers on the stage, and those in the orcheat imated by one feling of delight, vociferated Bravo! Bravo! Maestro. viva, grande Mozart. Those in the orchestra I thought would never have ceased applauding, by beating the bows oftheir violins againat the musie desks, The little man acknowledged, by repeated obeisances, his thanks for the distinguished rark of enthusiastic applause bestowed upon him. La Folle Journée, ou Le Mariage de Figaro is the second of a group of three plays about the same principal characters by Pierre-Augustin Caron de Beaumarchais (1782-99), the first being Le Barbier de Séville, ou La Pré- caution Inutile (1775), and the third, L’Autre Tartuffe, ou La Mére Coupable (1792). Beaumarchais, a bold and brilliant man with many irons in the fire (among other things he was instrumental in securing French help for the American colonists in their revolt against England), completed Le Mariage de Figaro in 1778. When Louis XVI read the manuscript he exclaimed: “This is detestable, it will never be played!” Apparently the King felt that the very foundations of the social structure in Europe were threatened by the impudent Figaro. Beaumarchais was not a man to take royal censorship meekly, and he enlisted the aid of powerful members of the aristocracy, includ- ing several who were close to Queen Marie Antoinette. ‘The affair became a celebrated one in Paris. Private performances were given in the homes of the nobility; eventually the King yielded and the first public performance took place in Paris on April 27, 1784. The play was a resounding success and ran for 68 performances.” Two German translations were printed immediately. It was only nine months after the play opened in Paris that Joseph II, as we have seen, felt obliged to place obstacles in the way of its production in German at Vienna, ‘There was justification for Louis XVI's nervousness. Under the cloak of a gay and witty comedy of intrigue, Beaumarchais poked fun at the dis- soluteness of the upper classes and at the legal procedures of the time (with which he had had many unfortunate experiences himself), emphasized the enslavement of the lower orders, and bitterly attacked the power placed Reminicences of Michaat Kelly, London, 1886 1 257 tt viiin the hands of undeserving men merely because they were born into a certain class of society. The fact that the scene of the play was placed in Spain deceived no one, It was no less an authority than Napoleon who later said that Beaumarchais’ play was “the Revolution already in action”. But it was not the political aspect of Le Mariage de Figaro that appealed to Morart. He had never had much interest in politics and his letters are almost bare of references to such matters. Neither the American Revolution nor the French is mentioned once in his correspondence. What attracted him, we must. suppose, were the clever and comical convolutions of the com- plicated plot, in which the victory in the seemingly unequal struggle between the Count and his valet is always about to be won by-one or the other antagon- ist only to be torn out of his grasp by some new crisis. And what must have pleased him above all were the wonderful opportunities for music in this comedy (Beaumarchais had already provided for some songs and dances) and especially for the musical delineation of the fairly numerous and sharply iferentiated characters, who, although outgrowths of stock figures of the old Italian commedia dell” arte, had achieved in Beaumarchais’ hands a fresh- ness and humanity rare in opera librettos of the time. In making a libretto out of the play, da Ponte did a masterly job. He cut Beaumarchais’ cast of sixteen characters down to eleven, telescoped the five acts of the original into four, tightened the more discursive portions of the play, changed the order of some scenes and combined others to make for swifter action and especially to give opportunities for set musical numbers as well as for the great second-act finale. Wherever possible he kept original scenes and, frequently, lines. All the political and many of the satirical social references were deleted. The main lines of Beaumarchais’ plot were retained and in some respects the plot was even improved, from the drama- turgical standpoint. ‘Thus, for example, in the play the Countess makes a first, insignificant, appearance towards the end of Act I, but da Ponte keeps her off the stage until she can appear alone at the beginning of Act II. The character of some of the personages is changed. Figaro is still an impertinent rogue, but there is no bitterness in him. The Countess becomes a more sympathetic person and the trace of amorousness in her relation to Cherubino disappears. And so with the other important characters. Through da Ponte’s skill and above all through the magic of Mozart’s marvelous music all of the characters gain an added dimension of warmth and humanity. ‘The first performance of the opera took place at the Imperial Court ‘Theater in Vienna on May 1, 1786, with the following cast: Count Almaviva.. Stefano Mandini Countess Almaviva ~ -Liuisa Laschi Susanna... wt “Anna Storace Figaro JIT Branceseo Benueei Cherubino. 2... : ‘Mme. Bussani Mareellina. |. veees++Mme, Mandini Basilio chanel Bere anit seteeeesesesereee ess +Michael Kelly Revol | Francesco Bussani Antonio Barbarina. . -Nannina Gottlieb““At the end of the opera,” says Kelly, “I thought the audience would never have done applauding and calling for Mozart, almost every piece was encored, which prolonged it nearly to the length of two operas, and induced the Em- peror to issue an order on the second representation, that no piece of music should be encored. Never was anything more complete, than the triumph ‘of Mozart and his Noaze di Figaro.”® It was a short-lived triumph, at least in Vienna. After eight more performances that season it was dropped from the repertory; the success of a new hit—Martin’s Una Cosa Rara—eclipsed the memory of Mozart’s opera and it was not given again in Vienna until three years later. Meanwhile, however, Figaro was performed in Prague in December 1786, “‘with such success”, Leopold reported to his daughter January 12, 1787, “that the orchestra and a company of distinguished connoisseurs and lovers of music sent [Wolfgang] letters inviting him to Prague and also a poem which was composed in his honor”. From Prague Mozart wrote to a friend two days later that at a ball he attended “I looked on . . . with the greatest pleasure while all these people flew about in sheer delight to the music of my Figaro, arranged for quadrilles and waltzes. For here they talk about nothing but Figaro, No opera is drawing like Figaro. Nothing, nothing but Figaro. Certainly a great honor for me!" Because of this great success, the manager of the Prague Italian opera company commissioned Mozart to write another ‘opera, a commission that resulted in Don Giovanni. Figaro was soon (1787) produced in Germany and quickly became popular there. It was performed in Italy (at Monza) in 1787; in Paris, 1798; London, 1812; New York, 1824; St. Petersburg, 1836; Rio de Janeiro, 1848. Today there is probably no city in which opera is performed that has not seen Figaro. It has been given in many languages; Einstein’s edition of the Kéchel catalogue of Mozart's works lists 14 different translations into German alone. No better brief outline of the plot of the opera can be given than in the words of the author of the play. Here is a first draft, by Beaumarchais him- self, of the story of Le Mariage de Figaro. It corresponds in almost every detail with da Ponte’s libretto and is in fact a better summary of Mozart's opera than of the final version of Beaumarchais’ play. Program of Le Mariage de Figaro ro, steward at the eastle of Aguas Frescas, has borrowed ten thousand rom Marceline, housekeeper of the same castle, and has given her a note promising to repay the money at a certain time or to marry her if he should Aefault. Meanwhile, very much in love with Susanne, Countess Almaviva’s ‘young chambermaid, he prepares to marry her; for the Count, himself enamored 5 Kelly, p. 201. A first performance and "The" opera bored me" ‘Anderson, TIT, 1948, 1346, tr ‘careful note of Itin his dary. Here is his comment, in ita entirety!of young Suzanne, has favored this marriage in the hope that a dowry he has promised to give her would enable him to obtain from her in secret her yielding to the droit du seigneur, a right that he had renounced for the benefit of bi servants when he was married, This litle domestic int behalf ofthe Count by the rather unserupulous Basi But the young and virtuous Suzanne believes herself obliged to apprise her ‘mistress and her betrothed of the Count’s gallant intentions, and the Countess, Susanne, and. ‘A small page, beloved by everyone atthe castle but mischievous and overheated, like all precocious lads of thirteen or fourteen, slips saucily away from his master ‘and by his liveliness and perpetual thoughtlessness more than once involuntarily places obstacles in the way'of the Count's progress, at himself into hot water, which leads to some very effective incidents in the piece «+ The Count, finally perceiving that he is being made the vietim, but unable to imagine how it is being done, resolves upon vengeance by favoring Me claims. Thus, desperate because he cannot make the young woman his mistress, he tries to marry the old one to Figaro, who is distressed by allthis. But at the moment when Almaviva believes himself avenged, when, as first magistrate of ‘Andalusia, he condemns Figaro to marry Marceline that day or pay the ten thou- nd francs—which is revealed that Marceline Figaro's unknown mother. This ruins all of the Count's plans and he eannot flatter himself that he is either fortunate or avenged. During this time, the Countess, who has not given up the hope of winning back her unfaithful spouse by catching him at fault, has arranged with Suzanne that the latter pretend to grant the Count a rendezvous at last in the garden, and that the wife appear there in place of the mistress, But an unforeseen incident apprises Figaro of the rendez vous granted by his flancée. Furious because he believes himself deceived, he ‘at the appointed spot, in order to surprise the Count with Suzanne. While he is still raging, he is himself pleasantly surprised to discover that the whole affair ia only a game between the Countess and her chambermaid for the purpose of fooling the Count; he finally joins in the game good-humoredly; Almaviv convicted of unfaithfulness by his wife, throws himself at her feet, begs her for- giveness, which she laughingly grants him, and Figaro marries Suzanne.” Naruaw Broer NOTE Hardly two of all the available published scores of Le Nozze di Figaro agree with respect to the stage directions. The present edition uses the rather scanty directions in Mozart’s manuscript score, augmented with directions from the first edition of da Ponte’s libretto, published in Vienna either shortly before or shortly after the first peiformance of the opera. The only known surviving copy of this fascinating booklet is in the Library of Congress in Washington. Certain pencil markings in an 18th-century hand make it seem likely that this copy belonged to one of the members of the original cast? ‘The numbering of the scenes has been omitted in the present edition because it varies in the sources and because it is now of little use to performers. ‘The numbers of the set musical pieces have of course been retained. No. 24 (with the preceding recitative of Marcellina) is customarily omitted in performances of the opera. + Bugtne Linttha, Histoire géntale du iMate on France, Paris, nid IV, 416-16. + For detail sce Segied Ankeater, Die wnbelannte Urfanung vom Moserte Figaro, in Zetchrift fir Musikeinenschaf, 34 (1833), 301. ™10. u. 12. 18. ue 15. ACT I PAGE 1 . Figaro and Susanna “ Cingue | disei Seven. . “fourteen .. Duettino.............Figaro and Susanna... ..........00000. ‘Se a caso madame la notte ti chiama Some night if your mistress should ring Cavatina.. . ++ Figaro, 38 Se vuol ballare Should my dear master want some diversion Aria... -Bartolo....... a7 ‘La vendetta Taking vengeance Duetti -Mareellina and Susanna. 56 To greet you, my lady Aria -Cherubino. . 68, ‘Non so pid cosa son, cosa faccio. T can't give you a good explanation ‘Terzetto. . -.--Count, Basilio, and Susann: 83 Cosa sento! Tosto andate ‘That's the limit! Go this minute! Chorus. - Country men and women... - 103 Giovani liete Strew in his praises cian eee 16 ‘Non pid andrai ‘From now on 125 40 Voi, che sapete ‘You know the answer Susanna, 48 ite, inginoechiatevi Come here and kneel in front of me Terzetto Count, Countess, and Susanna. Susanina, of via sortite! Susanna, what's the matter? Ducting. Susanna and Cherubino. . 180 ite, preato aprite aloe tis too ‘and hurry! Finale of Act I... Count, Countess, Susanna, Figaro, Antoni, Marcellina, Bartolo, and Basilio........ 190 Esci omai, garzon malnato ‘Out you come, don't waste a moment16. Ww. 18, 19. 20. a1. INDEX (continued) ACT HL PAGE Duetto... -Count and Susanna... 0.6.20... see... 288 Cradeli’perché finora But why, why make me suffer Recitative and Aria... Count... . cee 201 Hai gia vinta la causa! . .. Vedrd mentr‘io sospiro “You have won the decision?” .- Shall I look on desiring --Marcellina, Figaro, Bartolo, Don Cursio, Count, and Susanna............... 305 Riconosci in questo amplesso Now at last I may embrace you Recitative and Aria...Countess...........00000e:eeeceeeeeees 881 E Susanna non vien!. . . Dove s ‘mome ‘And Susanna is late . .. Are they over, those cherished moments Duettino. Susanna and Countess. . 348 “To Romeo” Chorus...... Country gitls. 26.6 848 Ricevete, 0 padroncina Mistress dear, accept these flowers Finale of Act III......Figaro, Susanna, Countess, Count, and Chorus... reese $88 Ecco la marcia ‘There's the procession ACTIV Cavatina...,........Barbarina..... - 85 Lho perduta, me meschina Thave lost it, Heaven help me! Aria... Mareellina..........+ . 888 tat Basilio... - 804 In quegli anni Youth is headstrong 403 Tt won't be long now. O fellow man, be smarter! Recitative and Aria. ..Susanna. 415 Giunse alfn il momento ... Deh vieni, non tardar” This at last is the moment Beloved, don't delay Finale of Act IV......Cherubino, Countess, Count, Susanna, Figaro, Barbarina, Mareellina, Basilo, Ba in, pianin te ana tls Antonio, and Don Curzio... On my tiptoes Til go nearerLe Nozze di Figaro The Marriage of Figaro Lorenzo da Ponte English version by ‘Wolfgang Amadeus Mozart Ruth and Thomas Martin Overture Presto Piano Copyright, 1947, 1948, 1951, by @. Schirmer, Inc International Copyright Secured eewor2220a2n2610 aaeee42226oy ActI 1d room, with an arm-chair in the middle, Figaro has a ted at a mirror, trying on a small, flowered hat.) (Scone: 4» incompletely furni ruler in Ais hand; Susanna i No.1. Cinque... dieci... Seven... fourteen, .. Duettino Figaro and Susanna Allegro ? —_—_—.| -_, A —2226 Figaro (measuring) Gin- que. . - Sev- en. =~ oe | ie BESusanna (tooking at herself in the mirror) qua-ran- ta-tre... Q - ra si clio son con-ten- ta, sem- bra and for'= ty- three... I must say, its to. my lik just the ee ft mfp, toin ver per fat - toin yer per er thing for ver - y— thing _for Guardt un po, mio ca - ro Fi-ga-ro, Wont you took, my dar > ling Fi-ga-10, Gin - que Sev = ‘tn? ASS 0", mio ca - ro - ga-rol Guarda un po’, guar-da un Book, ‘my dar = ling = Ficgacrol Tum a = round, ‘urn a tron - ta thir = ty ——S = 42226a7 (continuing to look at her reflection in the mirror) 0, guar-da a-desso il mio¢ap-pel - lo, urda a-des-so il mio cap - roundils nt this a love-ly’ bon ~ net? Siscnt this a. lovely. Guarda un po, mio ca - To Tell me frank-ly, my dear te - tre. ty > threes, Be 2 eel a = oh f ga-roguardaa-des-e0il mio cap - pel-lolil mio cap-pel-loil alo cap - Fi 2 facrodo you ike me ‘in this bon=mnet, dont you Tove the trim-ming 2 co TE I IE ATI EE ik Figaro ~ — pel- lol Si, ——smio. co - reor 8 pia, bel - lo, sem - bra on’ it? Yes, = my. sweet, the way Jou've done it, its 2 So 2! t az226rte, bra fat see, it suits fet - to in ver pret - ty sight to — dS Susanna r-dauh pol Fast iook Guar 0, Sant tookat et Si, mio co - re, Yes, my sweetheart, Ppeberrl 0 - a si— cho som con - ten - ta, I must say, its to my_ lik - ing, ver,som - bra fat - toin ver - just the ver - y— thing .for— co - reor 6 pli del - lo, sem - bra fat - toin ver per smart and ver - y—— striking, and it suits you to a —— fe mat-ti-noal-le noz-ze vi - ave madeit my-self for the mat - ti-noal-le noz-z0 vi - have made it your- self for the ct ci - no, quant? 6 —dol- coal mio te - no-ro spo - #0, que - sto wed = ding, “as” your bride Tam planning to wear it, Im "80 cl = no, quan’ © —dol-coal tuo te - no-ro spo - 80, que - sto wed --ding, as my brideyou are plan-ning to. wear it, I'm = we a) tf St P s222620 bel hap bel hap- py T oy Su - san - nael- sa el-la stes-aa, my Su-san-nat cap-pel- li = no vex - py T hard-ly can cap-pel- li = m0 ver - 7 hhard-ly can my be - lov-ed! che 1 What bear itt che What 10 = $0, bear itt + san-nacl-la won - der-ful day stes - sa won - der-ful day that will + san- nael-la stes- sa won - der-fal day ella stos- che Su - san-nacl- Instes-sa ai What a won - der - ful day that will a Su - san-nacl - lastes-sa si What a won der ful day that will= omael = lastes ~ “der ~~ fulday, + nacl = lastes + der - falday saz26Recitative Susanna and Figaro Susanna Figaro stai mi-su-ran- do, ca-roil mio Fi- ga-ret- to? To ‘Will you tell_me,my pre-cious,what on earth you are do- ing? guar-do se quel let to,che ci de-stinail Con - te, fa - ri buo-na fi - Just was mak- ing sure that thespace I have beenmea-sur-ing is suf-fi-cient for the —_ =e Susanna Figaro gu-rain que - sto lo - co. In que-sta stan-2a?_Cer-to, bed ‘the Count will give us. Youmeanwell sleep here? Sure-Iyt Susanna cede ge - mo-ro - soil pa-dro - ne. Jo per me te la do - no, kind e-nough to make this our bed; room. © You can have it, for my part! Figaro Susanna (pointing to her forehead) Figaro Bla regio -- ne? Le io = ne Tho qui, Por - Why,dontt you like it? T should say that I dont! Then sz220(doing the same) Susanna Per-ché non vo - glio; chd non puoi far, che pas- sium pd qui! T just doritwant to. why not speak out and say what is wrong? sei tu mio ser-vo,o no? co, per- chd tan-to th ‘Must youknow all I'm think-ing? But I cant fath-om whyyoufind it so dis - Susanna spia.- co Ja pit co - mo-da stan-za_ del pa ~ laz - 20. reel taste-ful _thatwe'reget - the best room in the cas- tle, Be - Figaro son fy " Su-ean-ma, © tu sei paz-z0. Gra- sie, non tan-tie - cause Tam Su-san-na, and you are Stupid. ‘Thank you, I like your Ze lo = gi guardaun po - 00, spo - tria- si star meglioinal-tro lo - co. frank-ness, Look a- round then, and per - haps you canfind us bet-ter quar-ters.No.2. Se a caso madama la notte ti chiama Some night if your mistress should ring Duettino Figaro and Susanna Allegro a ~~ PB _—————__ Figaro Sea ca - so ma- da - ma la Some night if your mis _- tress should mot - te i chia- ma, ting for as - sist vance, . a re . —, ma ti chia-ma, din, din, as - sistance, ding, ding, — 2226f, din, in due pas - si da quel - Ia puoi ding, in a wink you could an swer the poi Toe-ca - slo- ne che yuol - miil pa - dro-ne, pore I am need-ed to wait on my —-mas-ter, et che vuol - mil pa - dro-ne, to wait ‘on my —-mas-ter, aaeeedon, don, in tre sal-ti lo va-doa ser- dong,dong, I could be there in no time at f Perope: Susanna Co - si soil mat - ti - mo i ca - Con - Sup - pose your dear mas - ter should send you_on an f aeevea7 BP ti- no, din, din, din, din, ding, ding, », f man - fre mi - glia fon - tan, din, din, er - randsome three miles a - way, ding, ding, dia - vol to gor fa ed ec - coin tre sal stand in. my door-way. Be ~ fore 1) could stop28 pian, plan, an, san - na, hold bs Su - san i Su - = ? Susanna na, pian, pian, plan, pian, hold’ on, A226Fa pre- sto! Lets hear itl ‘P cola parte f @i- soac - ciai so - spet - ti, che tor - fo hi but cast all sus - pi - cions and doubts from your tf dir bra- moll u + dir must hear the the whole eredbra-moil re - sto, i dub - dit so - spot - ti go - of the sto - ry, for doubts and sus - pi - cions still Susanna 80 - spet-ti,i your sil - ly spet-ti,i jeal-ous 0 - spet- ti sus - pi-cions. I dub-bi,i so-apet - ti ge -In - re mi My doubts and sus- pi - cionsstill tor - ture my er.aL f Di - scaociai 50 - spet-ti,i 80 = spet-ti,i Dis = card all your sil - ly and jeal-ous sus ~ f, fan, i dub - bid - ti geste sre mi mind,they haunt___me and taunt me, my doubts and sus - pi — me a —— FJ fP fe ————_ ——— = fp oP oP oP P Lx spet-fi, di- scac-ciai so-spet - ti che tor - to Pi-cions, dis-card them as ground-less and ver - PR fan, i dub- bi,i so -spet- ti ge-la - re cions, my doubts and sus - pi - cions still tor - ture a2e8eB Sm fey” tor ¢ ture my . ee my ERFPrarApcerPear seac-cla i dub- bi, i wo - jeal-ous and sil - ly, sus - fan, mi fan, a mind, my — mind, fiey” tor tare m on ON gee ass 5S5SS SSSSS left] spet-fi1 pi - cions! fant ‘mindt nas88 Recitative Susanna and Figaro Susanna Figaro (worriedty) Or bo - nes a-scol-ta,e ta ol, Par-la, chee di All right then, but lis ten calmly. Tell me, what is your <= Susanna Tl si-gnor Con-te, stan- co dan-dar cac-cian- do le stra - sto- ry? Our no-ble master, tir- ed of pur~ su ing for- eign -— 7 nio- re bel-Iea-20 fo-ro-stio- re, vuole an-cor nel ca-stel - Jo, ri-ten-tar 1a sua beau-ties as partners for ro-manc-es, has de - cid- ed his cas-tle will provide bet-ter a — sor- te; nd gid di sua con - sor- te, ba- da be- ne, —_ap-pe- chanc- es, Its not his own dear wife though, I can tell you, whohas Figaro Susanna ti - to gli vie-ne, RB di chi dun-que? —Del-In tua Su-san-net~ cap-tured his fan- cy. Well then,who is it? T give you three guess-es!Figaro(surprised)Susanna, Di te? Di mo mo - des- ma, of Not you? Youre right the first time, and Figaro no-bil suo pro-get- to u-ti, - lis-si-masia tal vi- ci-man-aa, Bra- vol having us so near him will go far to advance his lit- tle proj-ect. Per- fect! ‘Susanna ti - rin-moa-van- ‘il Que - ste Io gra-zio som, quo - sta ‘Wore mak- ing head - way. That's why he seems so kind, there - foro cu- ra cifoglipren-de di te, del-la tua spo-sa. Oguardaun pe, che ca-ri-ta po- thoughtful ‘to thebrid-al couple's com-fort, Just think of thai! Such overwhelminge suo fac-to- tum, nel dar-mi Ia le - zio-ne, mi ri - pe- teognidiquestacan- acts ashismouth-piece, and during ev-ty les- son _hekeeps harp-ing for-ev-er on the Figaro ‘Susanna zo- ne, Chi! Ba-si- lio! oh, bir ~ ban- to! Btu ere-de - vi sub-ject. Who, Ba-si- lio? How re - volt- ing! Did you im-ag-ine the Figaro fos-se la" mia do- to mer - todeltuo bel mu-so? Mo ne-ra Iu - sin- Count promised me a dow-ry onthestrength of your good looks? 1 was in-clined to Susanna ga- tol Ki Ia do-sti- ma per ot - fon or mo cer - to mez’ think sol Hewants tobribe me to grant him his feudal right as lord and Figaro © - ro... choill di-rit - to fou-da- lo... Co-mel ne’ feu-di auo-i non hail mas-ter on thenight of our wed-ding-..What? Did he not a-bol - ish that36 ‘Susanna Con-te a- bo-li- to? Eb- ben, o-rad pen-ti- to, © par che right when he got mar-ried? He did, but nowhe’s sor- ry, and hewould Figaro ten-ti like ri-scat-tar-lo da me. Bra - vol mi pia- col che to revstore it for me, Would he? © Who would- n't! A (4 belt is heard) Con - tet gesture! Ci vo-gliam How a- mus - ing di- ver - tir; tro-va-toa- ve ~ tel chi in - deed! But I will show him... Who's Susanna suo- ma? La Con-tes- sa, Ad-dio, ad - di- 0, Fi - Fi - Fi- ga-ro ring - ing? Its theCount-ess. Til have to. an-swer, Fi - Fi - Fi- ga-ro (Bait Susanna Bina) Figaro . Co- rag- gio, mio te - so- ro, Btu cer-vel - Io dar-ling. Good-bye, my love, be — cheer-full_ And you be care- full onea7 Figaro (striding, forcefully up and don the room, and Bra-vo, si-gnor pa~ dro- n 0-rain-co-min-cio Splen-did,mydear-est master! Now Tim be-gin-ning [Moderato] rubbing his hands) a ca-pir il mi- ste-ro, ea ve- der schiet-to tut-toil vo - stro pro- to unscramblethis puz-zle ‘and see your pur-pose in its prop- er di- get- to; a Londra,’ ve - ro? men-sions. Were off to Lon-don, e la Su-san-na... 1 as cour-ier, and my Su- san-na. [Andante] se. crefaambescintri-ce, Non st ri,nonse-ri, Figaro ill di- ea! ambas-sa-dressin se-cret, Thatshall nev-er be so— Fi- ga-roNo.3, Se vuol ballare Should my dear master want some diversion Cavatina Figaro Allegretto jaro no, s_vuol bal ~ should my dear Se vuol bal - In - re, si-gnor Con - ti Should my dear mas - ter want some di - ver-sion, PB i chi- tar - ri'- no le TH play the = mu- si il chi-tar - ori Pi play the mu - rb, on my gui - Je suo-ne - ro, > tar, yes,nel - la mia. scuo- Ia, ca - pi - 0 - la wish to go. dane ~ ing, face the = mu-- sic, nel = 1a mia wish to go lein - so - gue - 1, se yuol Tl lead the band. Should he, soup - la, la ca- pri- 0 - le ein - se - danc - ing, hell face the mu - sic, Til lead the sanelein- se-gne - rd, si, le'in-so- gno - rd. just let him say so, Til lead the band. 7, an pro, = & Ti fae ny sa. pe, with = at = |p —_pia-mo, pia-no, piano, pia-no, pia-no, = _werryy very,” vor-y,’ ver-y,’ ver-y sly = ty, aen8Presto Lar - te scher-mon - do, Sub > tly out-wit - ting, tr = do, ting, tr. me-glioo-gniar - ca - 00 us - ing dis - cre - tion, sco - prir po - tro, his se - ret plan, Yar - tea - do- pran - in = no- cent seem - & di 1a scher - xan - do, plan - ning and schem - ing, fr t. cf;fai = te sme chi- ne ro - ve-scie- rs, ro r the best of hyp - o-crite yet, Til ee YP - yet, Lar - te scher- men - do, Sub - tly out - wit - ting, = ve - acie - beat him pran- do, di quh pun - gen - do, —di_—sTa cher san - do, seem - ing, cley - er- ly hit - ting, plan - ning and schem - ing, tmac-chi-ne ro - ve - scie - rd, tut - te Ie mac - chi- ne Tes- son he will ngt for - get, teach him a les. - son. he'll ro - ve-sele - rd, ve-scie - 7, ro nev - er for~ get, time I shall up — {Tempo 19] Se vuol bal - la - re, si- gnor Con - ti - no, Should my dear = ter want Some di - ver sion, (p staccato — se vuol bal - la - re, si- gnor Con - should my dear = ster want some di ~il chi-tar = ri- no lo suo - me - 10, il chi - tar - PU play the mu- sic on my gui - tar, TH play the Je suo- ne - Fo. on my gui - aresRecitative Bartolo and Marcellina (nter Bartolo and Marcetlina.) Bartolo Ed a-spot-taste il gior- no fis-sa-to perle noz-ze a par- Why did youhave to wait till themoming of theirwed-ding to ap- Maroellina (Aolding @ contract in her hand) lar - mi di que-sto? Io non mi per- do, dot-tor mio, di co-rag- gio point me as your law-yer? I amwell a- ble, e~ yen at’ thelast mo-ment, oe per romper despon-sa- li pliia-van- za- ti dique-sto, ba - stdspessounpre- to sep-a-rate a coup-le en - gaged to bemaf-ried: all I need is a 2 ed egli hame - co, ol-tre que - sto con-trat- to, certi im- pre-text, And as for Fi- ga-r0, he has made me com-mit-ments for some pe- gai... so i- 0. ba - sta... con-vie-ne la Su-san-na at - ter- mon - ey 1 tent him ‘There-fore "our strat-e- gy is on- ly toorir, com-viencon ar - to im- pun-ti - gliar-la a ri-fiu - ta-reil Con clear, If we succeed in mak- ing Su - van- na re-ject theCounts ad-vanc-es, fe - gli perven- di - car- si pren-de- rh il mio parti - to, © Fi-ga-10 c0- then, for thesake of venge-ance, he will fa- vor our proj-ect, and _Fi- ga-ro will (ile takes the contract from Mareellina.) Bartolo fia mio ma-ri- to. Be- ne, io. tut - to fa-ro, som-aa ri - be- come my hus-band! Splen-did, Tl do all I can, sparing no ser-ve, fut-toa me pa- le - sa- te. (A-vrei pur gu-sto di dar in ef- fort to ac-com- piish your ob- ject. (How I wouldlove to ar-range a [rete Marcettina.] mo-glie la mia ser - va an-ti-ca a chi mi fe-ceun di ra-pir T'a-mi-ca.) ratchfor my old servant Mar-cel-lina withtherogue whofoiledmy marriage to Ro-si-na!)No.4. La vendetta “ Taking vengeance Aria Bartolo Allegro con spirito La yen-det - ta, oh, ja ven-det- ta ‘Tak- ing venge-ance, yes, tak - ing _venge-ance! a _ pla-cer ser - ba - toni sag-gi, the peak of ex + oul - tation f toa sag-gi. Lob - bli - and station. Bear- ing. f fp = ar Ton-togliol-trag-gi, Ibb-bli-ar— Ton teygliolirggi bas = shamewithout op po - sition, taleing in siltewithsub-missen, thats be - ; Sa oNsez-2a, Go-gnor ‘vil - ta, hav-ing in = est form, Oot’ a- stu-zia, coll’ ar - gu-2ia, Do it my way, take the sly way. col gin di- zio, col eri - te - rio, ‘i po- treb-be, and dis trac-tion. Give them ac-tion, coll" a - stu-ziajcoll’ ar - gu-zia, col gin- di-zio, col cri - nT will show youhow to functionus - ing strat-e* gy and —~ — — ~_—te- rio, si unc -tion, show no a po- treb- be, si 0 - treb- be, al po- to _Gom= punc-tion, and_be- —— — treb- be, si po - fore they know what —— pit - y, t fat - to'e will fat - toe se rio, il will out - wit themyou —— n se- rio, il fat- toe outwit themyou will out- =e if P f t. + de- te, si fa. ra, word, it'can be done, “=60 Se tut-toil co- di- ce do-ves-si —vol- ge- re, se tut- to Al-ways pro-ceed-ing with ut- most Ie - gal-i- ty, I shall dis - =~ a pn gp go Vin- di- ce do-ves- si —leg-ge- re, con un © -qui- vo- €0, con un Si - cov-er a fine tech-ni - cal- i- ty, I shall e-quiv-o- cate,ar- gue, and r ao no-ni- mo, qual-che gar-bu - glio si tro- ve - ri, se tut-toil lit- i+ gate, un-til a loop - hole I can pro- duce. I have a - + =o _aeoev-o—. a =a co-di- ce do-ves- si vol-ge- re, se tut-to Tin-di- ce do- ves- si bil- i+ ty, men-tal a - gil- i- ty, le~ gal fa- cil- i- ty, and ver-sa - s2228ot my i zt leg- ge- re, con un ©- qui- Yo- co, con un si - no-ni- mo, qual-che gar - til i - ty. With my ex-per-ienceand in-fal-li - bil-i- ty, an-y op - glio si tro-ve - ra, qual - che gar - bu nent sure-ly will tose. ‘Oh, what con,- fa - we — si to- we - ray soto ve - rit = 1 shall pro - duce, —_ a ta = seenil bir- bo Fi- gazo vin-to sa - ra; tut-ta Si- vi - glia as for that Fi- ga-ro, Til cook his goose; all of the cit - y > lf ep © = no - seo Bar- to- lo, il bir- bo Fi- ga-ro knows Doc - tor Bar - to- lo— as for that Fi- ga-ro, Ss vin- to oa - ra, il bir- bo Til cook his gooses as for that fa, il bir-bo Fi - ga-ro + to goose, as for that Fi ga-ro, I'll cookvin : to sa. ray ru cook his guose, ee, vin : to sa. ray ru cook his goose, ——_ aie (eit) vin : to sa ork, rn cook his goose, = o 3 : = 3 oaRecitative ‘Marcellina and Susanna (tarcettina entérs; then Susanna, with a night-cap, a ribbon, and a dressing-gown,) Marcellina Tutto an - cor non ho per - so: mi re- sta Ie spo - With such ex - pert as- sis- tance Tm con fi'- dent of ran - 2a, ma Su - san- na sia-van- 2, To vo pro - win - ning, if it is - mt Su-san- nal 1 shall pre = Susanna (aside, romatning. tn the background) qul- ta buo- ma per-la la vor-reb - be spo-sarl = (Di_ me fa - that's the lit- tle gem he hascho-een for a wifel (She speaks of —Maroellina Ma da Fi- ga-ro al- fi- ne non pud me = glio spe- me.) Af-ter all, from a Fi - ga- 10 one can't real - ly ex - Susanna rar - “Tar- gent fait tout.” (Che lin - gua! man-¢o pect much, bout mon-ey talks” (Old spin - ster! Its too Marcellina - ma - le, cHo-goun bad that she could not qun-to va - le.) Bra - val que-sto® gi - hus - band!) Real - Jy! 1 cant im - Con que - glioc- chi mo-de - sti, con quell’ a - ria ple - ag - ine what he sees in this fe- male. She is all skin and —_———————., (Both are about to leave, but mectat the door, ( sisgnd?"? Marcellina B po- i... (Movglio’ far - tir) bones! T wish 1.) How do you do? (Che ca-ra spo - sa!) Howrnice to see you! 2220No.5.Via resti servita To greet you, my lady Duettino Marcellina and Susanna Marcellina (curtsying) Via ro - stiser- vi- ta, ma-da- ma bril- To greet you,my Ia - dy, Imhon- ored su~ Susanna (ourtsying) Non so - nosiar- di - tama-da - ma pic~ By your ree-og - ai - tion I'm flat tered ex - —-et37 (ourtsying) can - te, No, no, toceaa lei treme - ly. - No, no, you go first! ‘Maroellina (eurteying) Gourteying) No, pri-maa lei toc - Please en - ter be-fore mel pri-ma a lei No, 1) beg you, ig - (ourtsying) (ourtsying) To soi do-ver Yo, no, Your no = — ble po- No, no, toc - ca, Tosoi dover mie-i, soi do-ver nore mel T know my po - si-tion,bow to tra ———~ mio- i, soi fo-ver mie - i, nonfoin - fo soi do-ver si-tion,fine and pa~ tri - cian, in- spires re- spect, know mie i, s01 dower mie - i, nonfoin= ci-vil - ti, tion fine and pa - tri - cianyith all due re - spect. a0do-ver mie - i, nonfoin -ci- vi my am- bi - tion is be - ing cor~ Go-ver mie - i, nonfoin - oi- vil- to tra - di- tion with all due ro- Marcellina Gurteying) La spo - 8a no - vel - lal The bride of the — hour! ‘Susanna (eurtsying) Maroellina (ourtsying) La da- ma dd - no - rel ‘Del Con - to fa A la: dy of sta- tion! The Count’ lit- te Susanna (curteying) Marcellina Di pe = gua - mo ~ re The pide SP tte Be - dou80 Susanna Va - bi-tot Dig - nified! me = ri-til il po - sto! at - tictude! Her pos - est tal ture! (infuriated) Per Bic - col pre - ci - pi- to, sean-cor, sean-cor re-sto 1 swear T shall fly at her in one, in one min-ute (mockingty) Si-bil- la de - cre-pi-ta da ri - der mi fa. De-crep - it old bat-tle-ax, Ill set - tle your score. (ourésying) + sti ser- your de - quit sane(ourteying) Non so-nosi ar- di - ta, ma-da - ma pio- And I, your ex - pe-rience andbroad rep-u - vi - ta, ma-da- mabril-lan- te. port-ment with-out re-ser - va - tion! P (eurtsying) La da - ma do- Marcellina (curtsyings pie elle eee La spo - sa no - vel - lal So young and so pret - ty! (eurtsying) Di Spa - gna la- The true Spanish cit = yt (ourtsying) Del Com - te label - lal What dis - tance between ust aoe “eat. eet seesVe - nus! Te - tal So old! infuriated) po - sto! Per Bac col pre= cl - sim — ple! Howdare shemake fan i (mockingty) Ys - ta, So cor, sean-cor Te-sto qui, i it is a dis- grace! senZz (mockingly) on 3 Si- bil - Ia de- cre - pi-ta, da ori - der, dari - der mi De-crep - it old bat tle-ax, TU laugh, right in her co! pre-ci - pi-tosean-cor re-sto fun of mel How dare she makefun ofme, it is a dis- — la do cre - pi-ta, it old bat - tle-ax, ‘qua, per Bac co! pre - ci - pi-to, per Bac - ‘grace, how dare shgmake fun of me, how dare — oi dari - der mi fa,Si-bil - la do - cre - pi-ta,da ri - der mi right in her face,decrep - it old bat - tle-ax,T'illaugh in her ci - pitosoancor re-sto qua, per Bac-col pro- cl-pi-to, se amcor re-sto fun ofme, it is a dis-gracé, howdareshe make funofme, it is a dis _—————., afa, Si- bil - = - a deo - cre - pit face, de- crep - it old bat = tle dari - der mi TU laugh inher per Bac- col pre = ci- pi- to, sean-cor re - sto grace, how dare she © make fun of me, it isa dis - —_——~ _— —~ fa, da ori - der mi fa, dari der mi fa face, Til laugh in her face, I'll laugh in her facet (exit Mavcellina ausrily) qua, se an - re-sto qua, soan- cor re-sto qua, gract, it is a dis-grace, it is a dis grace! —a a2az8Recitative Susanna and Cherubino Susanna Va li, vec-chia pedan-te, dot -to-res-saar-ro-gan- te, Con-ceit - ed old spinster! ‘Do you think you can snub m per-chd hai just be = Gherubino (entering én let - th duo li - bri, cause in the old days you taught my © sec-ca - fama- dama ingioventi. Su-san-net- ta, sei mistressher AB C8? Ah, Su-san- na, it's paste) Susanna Cherubino ‘Susanna. tu? Son io, co-sa vo-le-te? Ah! cor_-mi- 0, cheac-clden-te! Cor you! Come here, what is the mat-ter? Ah, he caught me! Whatmisfor-tune! He Cherubino vo- stro? Oosaavren- ne? Il’ Conte je - i, perch tSovommi sol con Bar~ ba-* caugit you? Whohascaugtyou? Yesterday the Count found me vis-it-ing alone with Bar - ba - ri-na, Hl con-ge- domi die - de, © se Ia Con-tes-si-na, lamiabel-Ia co-ma- ‘na, andfor that he dismissed me, and if mydear-est Countess, my kind bene-factress,(anziously) gra-zianonm'in-ter-ce- de, io va-do_ vi- a, io non ti ve-do can-not ob-tain my par-don, I have to leave andworltsee you a-gain, my dear Su- Susanna mi- al Non ve-de - te pitt met bra = vol ma dun- que non san- na! —-Youwont see me a-gain? how dread - full But I al-ways Cherubino pih per la Con-tes- sa, se-cro-ta - men - te ill vo-strocorso-spi-ra? Ah! che thought it was the Count-ess who wasthe object of your se - cret af-fec-tion! Ah, my trop- po ri-spetoel-la min-spi- ral Fe-li-ce te, che _puo- i ve-der-la quan-do la - dy ismuch toohigh a-bove me! Oh,luck-y you, you may always seeherwhenyou yuo i, want to, che Ia ve-stiil mat-ti - no, che la se- ra la spo- gli, — chele youdress hereachmorn-ing, you un-dress hereach eve-ning, youmay szeze(with a sigh) met-ti gli spil-lo - ni, fas-ten all her pins, abl sein tuo lo - co. Were I in your place, What is Susanna (imitating Cherubino) 1? Dimmiunpo- co, Ahil va- go na-stro,e Ia not-tur-nacuf - fia di. co- that? Let me see it! Ah, that is one of her fa - vor-ite rib- bons, and be- Cherubino (enatehing the riddon from her) ma - resi bel- la, Deh dam me - lo, so-rel - la, dam-me-lo, per pie - longs to her night-cap. Oh, give it to me, Su-san - sa,please,youmustlet me (trying to get it back) Cherubino (cireting the chair) tal Pro- sto quel na-stro. 0 ca - ro, © bel- lo, 0 for-tu-na- to see! What are you do- ing? O sweet-est, © love-liest, © most di-vine of ‘Sus im, ut thonatopingathouek (covering the ribbon with kisses) the were exhausted) na-stro! To. non tel ron- do - rd che col- 1a vi - tal Cos? & quest’ in- 80- rib-bons! Not for the whole wide world will I re- tun it! Howdare youtake that = —Cherubino Jen- za? Eh via,sta che- tal = In —ri- com-pen-sa_po- i que-sta rib bon? Don't get’ ex-cit- ed! ‘Til give you my new love-song in. ex- Gucanel Cherubino mia can-20-net-taioti yo da-re, B che ne deb-bo fa - re? Leg-gi-la al-la pa- change. That willmake the bargain e - ven. What shall I dowith lovesongs?Sing it to the dro - na; leg - gi- la tu. me - des- ma, leg - gi-laa Bar- ba - Count - ess, sing it to your - self, sing it) to Bar- ba (in an ecstasy of joy) ona, a Mar- colli - na leg - gi-laad o - gni don- na del pa - + na, to Mar-cel- li - na, sing it to all the la-dies in the Susanna Fo - ve-ro Cho- ru - bin, sie - te voi paz 20! cas - tle! You musthave lost your mind, poor Che-ru- bi - nol b, aazee8 No.6. Non so pit cosa son, cosa faccio I can't give you a good explanation Aria Cherubino Allegro vivace Cherubino Non so pi co-sa son, co-sa fac - clo, T can't give you a good ex-pla- na- tion fo - c0,0-7a 80 - no di ghiac- cio, o-gni don - na can-giar di co- new and con-fus - ing sen- sa - tion. Ev-fry Ia - dy I see makes me lo - 8, o- gni don- na mi fa trem - ble, makesme — trem-ble with pleaoo mo fa pal - pi- tar, © - gai don-na mi with plea - sure and pain, makes me tremble with 43 = "Png |B fa pal - pi- tar - loal—no- mi da-mor, di di- plea - sure and pain. of love there ismere-ly a let - to, mi si tur - ba, mi sal te-rail pet-to, men-tion, 1 am spell-boundand rapt with at - ten-tion, = par - la - re mi sfor - za @a- mo- re Fo mane - es and day-dreams to - gether,de - with si - 0, longing, ae - with pos - $0 spio - can - not si - 0, long - ing, gar, un ex - plain, filled si- 0 chlo non tong - ing T pos - 50 can- not spie - gar. ex - plain. pi co-sa son, knew what it is ©o- sa fac - clo, Ta con- fess it, 2 aS OS de - with si- 0 cho non long = ing 1 fo -c00-ra s0- n0 di am ata loss to ex-a o-gni don- na can-ginr di co - lo - re, yet I knowthat it al - ways ex- cites me, don - na mi fa pal-pi - tar, thrills me a-gain and a - gain, 0 - gi don-na mi fa that it thrills me a> gain _—_ mf Par - lo da-mor ve - Love is my in ay aoe | eo es | Seglian - do, ra - tion, par-lo @'a-mor so - ‘on- ly con-sid- er = gnan - do, all! ac - qu a tion, In fon - ti, alr stream-ing, a-wake, fp = por - ta-no via con hear its sane riv = ers, woods, and flow-ers, 1 feet e - coall’ a ‘a- sleep, riayai_ven- ti, che il Wom-bra,ai mon- ti, ai fio - rialler-boai its) mag - ie suon de? va-niac- and dream-ing, In gen-tle winds and £, Jey se, por - ta - no tone,— 1 hear its mel - lowPar- lo da-mor ve - glian - do, Love is my con-ver - sa - tion, par- lo da-mor so - gnan - do, ail” ac-quaall’ om - bra, themewithout var-i - a - — tion, T tell my love - song ai mon-tial — fio ri, er- be, ai fon-ti, alr to glens and moun-tains, riv-ers and foun-tains, to a eco, all’ a- riajai von - ti,choil suon de? va-niac- con - moon andstars in - en, The gen-tle breez-es ech - sere” por - ta-no via con se, por - ta- no via con my —ev-"ty word and tone, ee a chi mo - da, will fis- ten... Tempo I chi mo - da, par - lo da-mor con will lis - ten, then I will tak a - par - Io da-mor con me, talk to my-self a - lone,1% Recitative Cherubino, Susanna, Count, and Basilio (ds Cherubino ts leaving, he sees the Count in the distance, turns around in fright and Aides Mimaelf behind the armchair.) verubino Susanna (trying t0 screen Cherubino) Ah, son per-du- to! Che ti - mort fl Con- tel mi - se-ra Wait, I hear foot-steps! Its the Count! Hide quick~ ly or you are | 3 Gount (entering) Susanna me! Su- san-na, ta mi sem-bri gi-ta-tae con-fu- sa, Si- lost! Su - san-na, you seemner-vous, so con-fused and ex-cit- ed. My bey =a= = gnor, lo chie-do scu-sa, ma, se ma- lord, youmust ex-cuse m qui sor - pre-sa, par ca-ri-ta,par- but, if'some-one shouldcome in now— I begof youdon't and Susanna Count fakes Susanna’ (putting her hgnd back) Count (Seats himself in the arm-cha: a.) ti- te. Unmo-men- to, eti Ia scio. Non o- do nul-la. Due pa- stayhere. It willtake but a min-ute. is-ten: I willnot lis-ten, Just two tu sai cheam- ba-scia - to- rea lLon-drail Re mi di-cl words: you know the King has appoint -ed me am-bas-sa-dor to —16 Susanna (¢cuédty) ri; i con-dur me - co Fi- ga-ro de-sti- na- i, Lon- don, and I arranged fur Fi ga-ro to go with me, —— ze Si-gnorseo - If I dared Count (rising) sas- si— Par- la, par-la, mia ca- ra, © con quel dritto chog-gipren - di su ask you—Ask me, ask me,my dar-ling, and with that right you ex-ert o-ver Ze (enderly,and trying to take her hand again) usanna me, fin-ché tu vi-vichie- di, im - po- pro-seri- vi, La-scia-te-mi, si- me, nowand alwaysjask me, com - pel_me, command me! I do notwishthat (angrity) * = rit - ti non pron’ do, non ne vo, nonneinen - do, Task no priv-i- lege, I dont wast to ex-ert its = bec Count Oh, mein - fe - i - cet Ah no, Su- san- aa, io ti w far fe- Tm so un- hap - py! No, no, Su- san- na, I want you to be(as above) Tu ben sai quan-toio ta-mo; ate Ba-si- lio tut-to gia hap-py! You must knowhow much I lose you; Timsure Ba-si - lio told you al- dis - se Or sen- ti, se per po - chi mo-men-ti me-coingiar- read-y! Now lis - ten, if you on - ly con-sent to. meet me to- Basilio (appetage) din sull’ im-brunir del gior- no, questo fa-vo-re io pa-ghe-rei. Bu - night in the gardenof thecas- tle, I will _am-ply re-payyouforthis fa-vor. He Susanna Count Count sci - to po- co fa, Chi par-la? 0 De i! B- sci, eft not tong a - go. Ba - si- lio! Good Heavens! Hur - ry, Susanna (very agitated) Basilio (s#iz” ogstage) edal-cunnonen- tri, Ch'io vi Ia- sei qui so- lo? Da ma-da- ma sa-ra, dont tet him en- ter, I should leave you a- lone here? Hecant be ver-y far, per-Gount (pointing to the chair) ‘Susanna va- doa cer- car- lo, Qui die - tro mi por - ra Non vi co- ~ haps with the Count- ess, Tt step be- hind this chair. No, that’s too —_ =e. Count Susanna (rhe Count Ohi-mé! che fa- tel Oh,Lord, how aw-full la-te, Ta-ci, © cer-ea clei par- ta. risk-y. Qui-et, get rid of him quick-ly. tries to hide behind the arm-chair, Susanna stands between him and Cherubino; the Count draws her Basilio (nters.) Su-san-na,ilciel vi sal- vil A-vrestea ca - s0 ve-du-to il Su- san-na,Heav-en bless you! Do you by chance know where the gently avay; meanwhile the page passes in front of the chair ant crowehes in it; Susanna covers ‘Susanna Basilio Gon- te? B co-sa de-ve far me-co il Conte? A - ni-mo, u-sei - A-spet- Count is? Andwhat on earthshouldtheCount do here? Go now, Tim bus-y. Just a him with the dressing-gown.) Susann: (Oh cie - 101) ta. te, sen ti - te, Fi- ga-ro di lui ‘The Count, min- ute, it seems that Fi - ga- ro wants to9 Count ci cerca chi, do- po voi, pit Yo - dia, —(Ve-diam to- me_mi the one man whohates himmore than you do? (Lets see how he will Basilio ser- ve) To non homai nel- la mo-ral sen - ti- to chiu-no cha-ma la mo-glico. serve me) That is not ‘There is nosuchcon - clu-sion, that if one loves thewife, one Susanna ai il_sma-ri- to, —per_—dirche il Con- te va- ma,Sor-ti- te, vil mi- must hate the hus-band. Infact, my master loves you.Get out of here this, (resentfutty) ni-stro dell’ al-trui sfre- na - tez- za: io non ho duo- po della min - ute with yourhints and sug - ges-tions. I have no in-t'rest in your Basilio delauo a-mor. None al- cun in his love, Dont take it yo- stra mo-ra- le, del__ Con te, lee-tures on mor - als, in your mas- ter,ma-le, Ha cia-soun i suol gu - sti, To mi cre- do - a chopre-fe-rir_do- that Way, Idon'tmean to of-fend you. Twas just think ingthatyou wouldpre- = x un si-gnor li- be-ral,pru-dente,e ve-ste per a-man-te, ¢o-me fan tut-te quan- te, a lord whois libver- al and fer thetypeof lov- er whichmostwo-men ad - mire, ee Susanna(anziousty) Basilio sag- gio, aungio-vi- na-stro, aun pag-gio. A Cho-ru-bi- no? A Cho-ru- pri-dent, toa young pip-squeak, a page-boy. Not Che-ru-bi - no? Yes, Che-ru- Bi no, Cho-ru-bin du- mo- re, hog gi sul far del_gior-no —_pas-aeg- Bil tol Ghevrucbin the Ga pid, Whe Spits er thismbrning ase Susanna (soroefulty) gia- ya qui in- tor-no | pOP GH’. tras, Vom ma-l prowling near your door, try-ing to en-terYou'e a vil gno, un’ im-po- Iain, who tellsma. 2228aL Basilio que - sta, Eun ma- i - gno con voi, chi haglioc-chi imte - sta? E false-hoods! To have eyes in oneshead, is that mali cious? For ella camzo-net - ta, di -temiincon-fi - den-2a, io sonoa-mi- co, ed_al- q ‘instance, thislove-song, tell me, just be- tweens, I cen be trust-ed, —_andwi ‘2 Susanna(ia consternation) trui nulla di - co, 2 per voi, per ma-da- ma? (Chi dia-volglie!’ ha breathe it to no one... is it for you ‘or theCountess?(Who the dev-il could have a= Basilio det - 102) A pro-po - si- to, fi - glia, told him®) A pro-pos, my deer girl a in-stru- i - te-lo_me- glio, youshouldtrain himmuchbet - ter. EB - gli In guar-da a ta-vo-la si spes- so, econ ta-leim-mo-de-stia When he serves at ta - ble,he gaz-es at the Count-ess with such ob - vi-ouslong- ing ——— =e— ea28che sil Con-te sac-cor-ge, @ sul tal pun-to, sa-pe-te, _o-glidu-na, that if the Count shouldtake no-tice you can im - ag-ine, in that cast, whafsbound to a So. Susanna Scel-le-ra- tol _@ per-chv an- da- te voi taimen-z0- gnospar- h,you li - ar! Have you noth- ing more to do than toxpread vi-cious Basilio gen- do? Tol chein- giu-sti- xin! Quel che com- pro io ven - do, gos- sip? T! Youre mis-tak- en, T justsell what I pur- chase, 1 —_ — quel che tutti di co-no, io nomei.ag- giun-goun pe - Io. ech- 0 what they all say, not add ing in the slight-est. Count (Steps forward.) Basilio Susanna Co - me! che di-con tut - ti? Oh bel - Int Oh cio = ot Real - ly! What are they say - ing? (De - light full) Ah, Heav~ ens!No. 7 Cosa sento!Tosto andate That’s the limit! Go this minute! Terzetto Count, Basilio, and Susanna Allegro assai f, Gount (#0 Basitéo) Go - sa sen- to! To - stoan- da - te, That's the Tim. itt Go this minute, © scac-cia-te il se ~ dut - tor, find the cul-prit and throw him out, Basilio da. tee scac-cia - teil se - dut-tor, find him, and throw the cul - prit out. Ge _ saza son qui giun- toy = ma te, ° mio was omy sto - Ty, ru- mor,” with - out Susanna Che ru - i Well be ru me me - schi-na! son’ op - pres-sa dal do ~ by the scan-dal if this. gos-sip getsa ~ mal pun - to ill - cho - sen To-sto anda - te, an - da- te, Dont de - lay an - y _long-er, —_ ID e2262208 giun-to, per sto ry, just scac-cia- teil se - dut- tor. go and throw thescoun -drel out. shi - nal hap- pen! mo me - schi- nal Heay-en help us! pres - ea dal dolor, son? feel - ing ver - y faint, T ———— op - pres am_ feel ing do - na - te, ° a rus mor, — with sthalf fainting) Son’ op - 1 amBasilio (eu Ant git ovion po ~" nal At gic, strength + ing! Count (oupporving her) ‘Ant jd svien la po- ye - ri - nat Abt girl, herstrengthis fail - ing! = meoh Di - of Te bat - help her, re vive = mooh Di- of Te bat - teil help her, re - vive her —aeeee steps lee of le bat - teil might not, bat = te might not87 cor, co - me,oh bat last, or, good might cor, eo - mo,oh bat - teil last, or, good might not ee Basilio (approaching the armechute to sit down in it) Pian,pian - in su que-sto seg-gio. Let’ ys put her in this arm-chair. 7 —— Susanna (recovering) Crepulsing them both) Do - ve s0- m0? Co - sa veg gio! Ah, where am 1? Am T dreaming? re ~~ Ten-satan-da - te fuor, an-da - te fuor, an-da - te fuor! sult me, goa - way, leaveme a - lone, leave me a - Lonel f, 2228Basilio (matéevousty) Sia - mo qu ju- tar - vi, We are on to help__ you, Count pera-iu-tar - vi, on - lyhere to help you, - a - roll 2 sure you, we cu-ro il vo - atroo - nor é sure you, we meant no harm, I bar-ti, 0 mio te. = sor, non tur - bar = ti, 0 sure you, we meant no harm, Tas | sure you, we bar - tl, 0 sure you,we teBasilio 89 Gea the Count) Ah, del pag- gio, quel che ho det -to, e- re so-lo om What I told you was a ru-mor, mere sus - pi-cion, with Susanna so - spet-to, Bum’ in- si- dia, u-na per-fi - dia, non ere - foun- dation, He is vi-cious and ma- li- cious; its a fimgizd non ere - de-te all’ im - po - stor, all! im~ po - isnot true, its a lie, it is not true, it isnot tor, all'im- po - stort ‘rue, it is not true! Coane Par - ta, par-tail da - me - ri - no, Or - det him to leave the cit y!90 Susanna Po - ve - ri-no! Poo - we What, a pit-y! What a Po - ve - tino! Po - we - What a pitzy! What a = par - ta, par-tail da- me-ri- nol Or = der him to leave the cit = Gironicatty) Po What Co - me? Caught him? ‘me sor-preso an-cor! caught him once be - fore! aaaCo - me? Real - ly? Co - me? Chet Did you? Real - ly? Where ee Da tua cu - gi- fa, ‘At Bar-ba - ri- na’s, Ta - scio jer tro-vai rin-chin-so, pic chio, yescter-day, Iwent to see An-to- aio, _—————__ I knocked, ma-pre Bar-ba-ri - na_pau - ro - sa fuor dell’ uw - 0, Bar-ba-ri-na o-pened,andlooked ex-treme-ly ner-vous, io, dal muso in-so-spet-ti - to, guar - do, cor-coin o-gal si - to, T' be-gan to growsus-pi - cious ‘and ex~ am-ined ev-"ry cor - ner. azreea tempo Ed al - zan-do, plan, pia - ni - m0, il tap - po-to When I gent-ly drew the cov-er from the table 1 Peg tempo (Showing how he found the page, he lifts the dressing. te. w- i; n, vo - doll pag - gio. found be - neath Che = ru - 2 "ho! Susanna (agitated) from the chair and discovers Cherubino, Ah! ern - de stel - let even from the chat and diceers Cherabine,) Ag co - aa veg gio! What” does this ‘mean? tI Susanna ‘he - ca - Basilio (taughing sardoniogtly) Noth- ing ‘AR! meglio an-co - ral ‘Ab, this’ is price-less! ~_Gount O - ne - stis-si-ma si- gno- Now at last my eyes are 0 - pen! oe 2226der non pud di peg gio. than this could hap- pent or ca + pi- sco co- me val Now T see how mat- ters stand! che mai sa - rit Giu - sti Dei, is out of hand! Basitio ‘This af - fair Go- si fan tut-te le belle, non cbal - That the way all wo = men do it, they will che mai sa - ra! ac - ca-der non pud di__peg-gio, ‘ah, is out of and. Noth = ing ‘worse thanthis could happen, ab £0 = si cu-na m0 - vi - ti, 7 Thatsthe nev-er show their hand. co - me va, o-ne - sis - si mat = ters stand. Now at last _iny 2205om nol ah, ol gin sti Dei, che mai sa-ri, che mai sa nol ah, nol This af-fair is out of hand; how will this way all wo-men do it, they will nev-er— show their ma = gno - ral orca pi - aco co = ome eyes, are 0 pen, nowl see. how mat ~~ ters non pus —di_——_ppeggio, than this could hap-pe, va, ‘ si- ma guo-ra, Now my eyes 0 = pen, ee ti ee—*ee P__——__ |__| __—____ | ______| ___—__ azrail end. (to the Count, with matice) ta, Ab, del pag-gio handWhat I told you quel cheho det - to, 80 - lo un was a ru - mor, pi-cion with sees96 Ac - ca-der non pud di peg-gio, ah, no, ah, nol gin sti Noth - ingworse than this could hap-pen, ah, no, ah, nol. No one spet-to. Co-si fan tut-te le bel-le, da--tion, ‘That's the way all wo-men do it, O-ne - stis - si - ma si - gno - ra, Now at last_s my— eyes aro. 0 - pen, che mai sa - ri! Ac - ca - Dei, che mai sa - ra, end! Noth - ing knows howthis will end, how this wil non ceal-cu-na no- vi - ta, si theywill never showtheirhand, Thats the orca - pl - seo co - me val 0 - me now IT see— how. mat - ters: stand, Now at /fieac> BR eee97 non pid di_——_—peg-gio, giu - sti worse than this could hap-pen, noone knows how fan tut-te Ie belle, non Sal = cu = ma all wo - men do it, they will nev = er stis - si-ma si. -gno-ra, re ee last my eyes. are. o- pen, now I see how —— a mai sara, giu = sti Dei, mai sa = ri, gin this will end, no one-—-knows how— this. will_~—end,this, no - vi - ta, non céal-cu - ma no - + ta,non show their handthey will nev - er— show their hand,they va, or ca - pi - sco co - me va orca = mat - ters standnow I see. how. — mat - ters standnow I asa- ra, giv - sti Dei, of hand,no one knows vi - ti, non cbal their hand,they will me va, or ca ters standnow = T TOE LLL che mai is out gi - sti Dei, this af-fair sa-ri, of hand, ti, co-si fan tut-te Ie bel-le, co-si famtut-te Ie bel-Ie, noncéal- hand, —Thatsthe way all wo-men doit, thatitheway allwo-men do it, they will val o = no - tis - si = ma si - gno-raor ca - stand, Now at last my eyes are o- pen,nowI — sae20che mai sa-ra, is out of hand, out. of hand, out of cu-na no-vi - ti, m+ vita, m+ vie nev-er showtheir hand, show their hand, show their pi-sco co-me va, co - ome va, co. me see how matters stand, mat - ters stand, mat = ters a4 calando ters stand.100 Recitative Count, Susanna, Cherubino, and Basilio Count Ba-si- lio, in. trac-cia to’ - ato di Fi- ga-ro vo - Ba - si - lio, go tight a - way and tell Fi-ga-ro I (Pointing to Cherubino, who docs not move from the 09 gusanna (animatedty) la = te, fo vo obei ve - da. Ed fo che sen- ta; want him; he has to see this. «Yes, = and hear this, Count che bal - dan- za! @ qua-Ie seu- hur = ry, No, wai ‘Are you bra-zen? Howdareyou face se la if your Susanna Count sis, renor SJ) BASS Gio - ya-ni lie - te, + oH spar-go to, Strew in his prais oe ‘and dai = sies, a) £ Da - van - til no - stro si-gnor. us all, hon - or him, mas - ter and lord. Da - van - til no - bi-le no - stro. si-gnor. Let us all hon - or him, mas - ter and lord, a 2220104 f. t meme - om termini - He has “re-spect ed, no - bly protect - ed Sa vi ser-bain-tat - to, 7 no - bly pro-tect - ed —— BP Dun piel Maid - en - ly 2105 t P| f, te, fio - ri spar-ge-fe Da- van-tiil ward He is sa - ga - cious, friend - ly and gra-cious in his be - f. 2 te dor, Gio-va-ni lie - to, flo = ris gpar-ge-te Da- van-tiil ward, He is sa - ga 5 cious, friend - ly and gra-ciows in his be - tr c * & & DB no-bi-le no - stro si - guor, nev-0-lence, loved and a- dored, BP. weveReeitative and Chorus Count, Figaro, Susanna,and Chorus Count (surprised, to Figaro) Hoare ae, ee Cos’ 8 quo-sta com- mo- die? (Ho-co-ciin dan-ra: 80 ~ Whats the mean-ing of this non-sense{The fun is be-gin-ning! You x Susanna Figaro con- da - mi, cor mi- 0.) (Non eihospe-ran- za.) Si- gnor, non is - de - bear me out, Su-san-na) (I am dis- cour-aged.) My lord, we beg your gna - te que - sto del nostro af - fot - to me-ri- ta - to tri - par- don, do not re-ject this to - ken of our loy - al af - ce. bu - to; or chea-bo - i- sto um di-rit- to siin-gra-to achi ben fec-tion, You a-bol- ished a cus-tom, 60 re- pul-sive to all who love sin- — —e—107 Figaro Count a= ma, Quel drit-toor non vé pico a ai bra- ma? Della cere ly. That cus- tom hasbeen an - nulled, why do you wor- ry? We. oe — yo-stra sag-gez-zail pri- mo frut-toog - gi mo-i co - glie - are the first ones to reap the fruits of the new de - Hi- te, or & woitoc-ca co - steicheun vo-stro do-no il li wed-ding, andeall u-pon you to place this sym-bol of vir- tue on the 2208408 ba ta sor-b3, cosprir di quo- sto sim-bo-lo dono - sta, can- di-de head of my bride, chaste and spotless, thanks to your no ble deed, your gen-rous ma fin-go- re con-vien,)Son gra-to,a - but I will play a-tong) I'm tru ly mi - ci, ad un sen - 80 slo - ne - stol ‘Ma non mer - to per grate - ful for your keen un - der- stand- ing, but I mer - it no 2 que -sto, nd tri- bu i, nd lo - di, un drit-toin-gin- sto no? mie cred = it, neither trib - ule nor prais-es for chang-ing laws which were un - feu - dia - bo- len - do, just and im~ mor - al. 1 bound to up-hold____ the rights of