The Mountebanks - Gilbert

An Entirely Original Comic Opera Entitled
The Mountebanks
Written by W.S. Gilbert
Composed by Alfred Cellier
Produced at the Lyric Theatre, London, under the management of Mr. Horace Sedger,
on January 4th, 1892.
The Opera produced under the Musical Direction of Mr. Ivan Caryll.
Dramatis Personae
ARROSTINO ANNEGATO, Captain of the Tamorras — a Secret Society

GIORGIO RAVIOLO, a Member of his Band
LUIGI SPAGHETTI, a Member of his Band
ALFREDO, a Young Peasant, loved by Ultrice, but in love with Teresa
PIETRO, Proprietor of a Troupe of Mountebanks
BARTOLO, his Clown
ELVINO DI PASTA, an Innkeeper
RISOTTO, one of the Tamorras — just married to Minestra
BEPPO
TERESA, a Village Beauty, loved by Alfredo, and in love with herself
ULTRICE, in love with, and detested by, Alfredo
NITA, a Dancing Girl
MINESTRA, Risotto’s Bride
Tamorras, Monks, Village Girls.
ACT I. Elvino’s Inn on a Sicilian Pass.
ACT II. A Monastery by Moonlight.
DATE. Early in the Nineteenth Century.
This score was produced by Jim Cooper and Adam Cuerden, based on midi files by
Clifton Coles and Ronald Orenstein. Other proofreaders include Robin Gordon-Powell
and Scott Farrell. To report changes and corrections, contact jim@labsoftware.com
1. The Chaunt of the Monks
W S Gilbert Alfred Cellier

(Scene. A mountain Inn on a picturesque Sicilian pass. A range of mountains, with Etna in the
distance. In the middle distance, a Monastery on a steep rocky elevation.
As the curtain rises, a procession of Dominican Monks winds down the set pieces on the stage.)
ó ó ó ó ó ó ó ó
Andante
> " Š a a
tttttttttttttttttttttttt
•
?
Piano
" Š t t t t t t t t t t t t
| | t
| | t t t
ó ó ó ó t tttttt tttttttttttttttttt
t
 tttttttttttt tttt ttttt t
4
"
> ó ó ó ó ó ó ó ó ó ó ó
ó
? t t t t t t t t t
" t t t t t t t
ó ó ó ó ó ó
t t t tt "ttt tt ttt |tt
6
" ttttt t t t t t t t t t t t t t t t t tt ttt tt ttt |t tt

> ó ó
t t t

? t t tdim. t t t t t
" t t t
t t t t t t t t t t t t t
# ttttY ttt
t
ttt
tY
ttt tt # tt tt # ttt
t t #t t Yt
ttt
t
ttt
tY
ttt tt tt tt
t t t t !ttt tt tt t #tt t !tt tt t #t #t
9
" t "t tt t tt t tt t tt tt ttt tt tt ! ttt t

> !t # t tt
•
? t t
!tI t tI tI tt t t !tI t tI I
t t
t tt t t
dim.
" !t t t t !t t t t | | | |
| | | |
1
"
13
a a
²
a
•Ç
t tY t t tÇ tY t t
Monks
Mi - se - re - re! Um - bra fe - re!
² À À
" c b a d d d À t d I
t Ytt tt t t
> tt
t
A
AA
t t
tI tt t
tI
tt t tYt ! tI
t t Yt
?  ‘ ² ™
" | t t | tÇ I
t | | t t t t t tÇ !tÇ t tÇ tÇ tÇ t tÇ tÇ
| t t | tÇ t | | Ç tÇ Ç Ç Ç
tY #t tY #tY Ç tZ | t t t t t
" t t c
18
Monks
Pau - per sum di - a - bol - us Sem - per do - lens;
 " d d t tt d d !t t
!tt !t t ||
> tÇ tÇ t t
À
t || d tI #t
t tt t d I
tt Ç tt tt
À
?
 " tÇ tÇ tÇ tÇ #tÇ tÇ #tÇ tÇ tÇ tÇ tÇ
tÇ tÇ t tÇ "tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ
Ç
" t
21
t t t t t t tY t tY Yt Ç tZ | c
Monks
no - lens, vo - lens, Mo - na - chus moe - stiss - i - mus!
" d d d d t
> tt tt t
t t tt t
tt ttt tt tt ttt
t
tt Ç tt
I tt t
t
t
tt
|||
|
?
" tÇ tÇ tÇ t tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ t tÇ t tÇ tÇ
Ç tÇ tÇ Ç Ç
2
t t t t t t t t t t t t
Monks
"
24
Quum o - ra - mus je - ju - na - mus; E - heu! o - ti -
" d t d d I t d tt tI d t
>  "ttItt tt tt t ttY t !t
I
t tI t
t tt t
ttt tt tY t t "tt ÇÇ tI
? Ç Ç Ç tÇ tÇ "tÇ tÇ tÇ "tÇ tÇ tÇ tÇ tÇ
" "t t tÇ t tÇ tÇ Ç
tÇ t tÇ t tÇ tÇ
Ç
tÇ t
Ç
tY |
 " tÇ tÇ tY t t
tÇ tY t
t
27
Monks
o - se dens! Si - tiens sum - que, Ac, ple - rum - que,
" d t t tt d t t t d I
ttt t d t d t d t
> t Yt tY # tt tYt
tt Ç
tt tt ! tt t ttY tt
Ç
tt tt
? Ç tÇ tÇ
" t tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ !tÇ tÇ tÇ tÇ tÇ tÇ tÇ tÇ
tY #t # tY #tY Ç tZ | ²
" t t c a a
30
Monks
A - cri ter e - su - ri - ens!
²
 " d d t tt d dt Ç !tt # tt !tt !t t t tt "ttt tt ttt |tt
>
| ÇÇ
| #tt tt tt tt |t t t t tt
tÇ
? Ç tÇ tÇ Ç
t ²
t t tA
" #t
Ç Ç #tÇ tÇ t |Ç
t t t t t t t t t t t t t t t t
³
(The procession of Monks exit. As they are going off, Giorgio, a member of the Tamorra Secret Society, appears
on the set, and watches them off. As soon as the coast is clear, he comes down, and beckons to the rest of the
band, who, headed, by Luigi, appear from various entrances, and come down mysteriously.)
3
t ttt ttt ttt tt # tt tt # ttt ttt ttt ttt tt tt tt
# tttY t tY t t #t t Yt t tY t t t t !ttt tt tt t #tt t !tt
t #t "tt t tt t tt ttt tt !ttt tt #tt t tt
34
"
> • !t t t t # tt ! t ttt
? #t t
!tI t tI tI tt t t !tI t I
t t
t tI tt t t
dim.
" !t t t t !t t t t | | | |
| | | |
" " " " t Ç tt tt ÇÇ tt tt ÇÇ ttt ttt ÇÇ ttt

38
" t c b c e Zt t Ç t
> tt t t # tt
t |
||
|
tt
I
t 
?  
" | t t t t | || tt d
I c """" b c dÇ Zt
| t t t t | | t
" Ç Ç Ç Ç Ç Ç
 " " " ttt ÇÇ ttt ttt ÇÇ ttt ttt ÇÇ t t t t tt tt Ç tt tt Ç tt tt Ç tt ttt ÇÇ ttt ttt ÇÇÇ ttt ttt ÇÇ t t Ç t t Ç t t Ç #t t Ç t t Ç t
42
> cresc. •
? | #t tÇ t | #t tt ÇÇÇ ÇÇÇ
t
t t
ttZ ttt "tt
 "" "
" c b dÇ tZ c
" tÇ t |
 " " " t Ç t t Ç t t Ç #t t Ç tt tI
46
> t d tI
t d tt ÇÇ t tt ÇÇ t t
t #tt c dÇ J
t tÇ
t
tÇ t
t
dim. 
? t ÇÇ ÇÇ
"" " " tt Ç Ç #"tttZ #ttt ÇÇÇ tt tt ÇÇ tt Ytt d t d t Ç t t Ç t t Ç t Yt c dÇ
tZ t Ç t tY t
d #tt
tY t Ç t t Ç t
tÇ
4
Chorus of Tamorras
; "" " 
50
Tenors † " a a b c t Ç tJ tI Ç tJ t
tI Ç tJ I t Ç tZ
I
We are mem-bers of a se - cret so -
 "" tY Ç Zt Yt Ç tZ tY Ç Zt t tY Ç tZ
a a b c
Basses < ""
"
 " "" I
t eJ tt ÇÇ tt || tt d
I t Ç tt tt ÇÇ tt tt ÇÇ tt tt tt ÇÇ tt
> t tÇ t | Ç Ç
t t t t t Ç t | t

? ‘ Ç
At t t Ç
t t tÇ t
t
" " " " Yt d dÇ tÇ t | d tÇ t
dim.
c tÇ tÇ t |
t
J t tI
; " " " tY Ç ó

d c tY Ç tZ t t tY
54
Tenors † " t d
t I
J IN t Ç tJ tI Ç tZ
I t c c tÇ t
ci - e - ty, (hush!) Work -ing by the moon's un -cer tain disc, Our
ó
Ç Yt Ç tZ t t Yt
 " " " Yt Zt Yt d NY d c tY Ç tZ tY Ç tZ t
c c tÇ t
Basses
< "
ó ó
"" tÇ t t t t
 " " tt ÇÇ tt I d b tÇ t tÇ t tY e J |
tt tt tt tt #ttY d
> t tÇ t
? ó
tÇ t t t t t tÇ t tÇ t
 " " " tt ÇÇ tt t Ç t tÇ t tÇ t tÇ t tÇ t tY
d
"
5
; "" "
57
Tenors t Ç tJ Yt Ç tJ I
† " tI Ç tJ I t Ç tZ Yt Ç J t d dÇ
t I tJ tI Ç tJ tI
d tY d t Ç t t Ç t
tY Ç Zt tY Ç Zt Yt Ç Zt tY
mot - to is "Re - venge without anx - i - e - ty," That is, with - out un - ne - ces - sa - ry
 "" " tY Ç Zt tY Ç tZ d dÇ Zt tY Ç Zt tY d Yt d t Ç t t Ç t
Basses < "
 """" ttt ÇÇÇ tt tt ÇÇ tt tt ÇÇ tt tt ÇÇ tt tt Ç t I t d dÇ t # tt Ç t

J tI d I
tt d tt ÇÇ t tt ÇÇ t
t
> | tY #t
À cresc.
?  " At Ç t t Ç t tÇ t tÇ t t t
I tÇ t tÇ t
" "" t #|t | "t tI
tY d t d tÇ t tÇ t
À
; "" " NY d ²dÇ tZ t Ç #t
60
Tenors † " tI d c tJ t t tI Ç tJ t tI Ç tJ tI Ç
t
tt
risk. (hush!) We spend our nights on damp straw and squa - lid hay. When
 " " Yt d c NY d ²dÇ tZ t t tY Ç tZ t tY Ç Zt tY Ç tZt tt

Basses
< ""
" tt d ²c
 " "" I
t d c ttY t t t ttt ÇÇÇ ttt tt ÇÇ ttt tt !tt Ç
#t
> Att t t t tÇ t
•
? t t d ²c t tt
" " " " Yt d c
I t t
t t t t
t t t
; " " " Yt Ç #tZ Yt Ç tZ tY Ç Zt Yt Ç tZ Yt Ç tZ Yt Ç tZ

63
Tenors † " tY d c NY d tÇ t Yt Ç tZ tY Ç tZ
trade is not par - tic - u - lar - ly brisk, (hush!) But now and then we take a lit - tle
tÇ t tÇ t tÇ t tY Ç tZ tY Ç Zt Yt Ç tZ Yt Ç Zt
 " " " Yt Ç tZ tY Ç tZ #tY Ç #tZt Ytt ÇÇ tZt Yt d c YN d tÇ t
Basses
< "
" " tÇ Ç t tÇ t Ç t tt ÇÇ t t ÇÇ tt
 " " t Ç #tt tt Ç t t Ç #t tt Ç t tI d c d t Ç tt tt ÇÇ tt tt ÇÇ tt t t
> t tI
t
? tÇ t tÇ t tÇ t š tt ÇÇ tt tt ÇÇ tt tt ÇÇ tt tt ÇÇ t t Ç tt
"" " " t Ç t t Ç t #t Ç #tt tt ÇÇ tt Yt d c d
tI
t
6
; " " " tY Ç Zt NY d c
66
Tenors † " t d dÇ tJ I
I t Ç tJ t t tY Ç tJ tY Ç J
t tI d c a
hol - i - day, Andspend our hon - est ear - nings in a frisk, (hush!)
tY Ç Zt Yt t
Basses <
 "" "
" d dÇ tZ Yt Ç tZ tt t ttY ÇÇ tZt tYt ÇÇ #tZt tY d c NY d c a
" tÇ tt d c
 " " " t Ç t "tttI d tt c #tI d c tt d c ttY
> # # tt tt d
I tt
I
t A
? tt À
|
• š
 "" " t #ttt tYt d c tI d c t d c d c a
" t Yt tI
t t
"
† " "" b
tY t t
70
c d tY tY tI "tI
Giorgio tÇ
Five hun dred years a - go our
"""" t t e t t e t t e t
>  t t t t t t t t t t t tt e tt t tt e "tt t tt e tt t tt e tt t tt e
•
? "
" "" t e t e t e t t e t e t e t e
ó ó
" ó ó
† " " " tI
72
Giorgio tZ J
t I
t tI tI tI d tJ tJ tY tY tY tY tY Yt tI tI "tI tI I
t tI
an - ces -tor's next door neigh - bour Had a moth - er whose bro - ther by some means or oth - er In -
ó ó ó ó
"""" tt tt e "tt tt e tt tt e tt t tt e "ttt ttt tt tt tt tt tt tt tt t tt tt
t
> t t t t t t t
staccato
? "" t
"" e t e t e t e "t t t t t t t t t t t t
t t t t t t t t ó ó ó ó
7
" tY
† " "" tY
74
Giorgio tY tY tY tI c b d tI
curred three months' hard la - bour. This
; "" " tt tYt tYt tYt
Tenors † " a Y c
tI
Three months' hard la - bour!
 "" #t tY tY "tY Yt c
a
Basses < ""
t t t t t t t t
"" " ttt tt tt tt
>  " "ttt t t t t t t e
tt t t t
tt tt e
t
?  " " "t # ttttY tttYt "ttt
t t #t t d d tY d t t t e
" " "t t #t t t e
t
t t
" t tY
† " ""
tY tY
76
Giorgio tY "t t tY t t tY tZ tJ tY tY tI d tJ tJ
wrong - ful sen - tence, though, On his head he con -trived to do it, As it
tI ¡ tI
"
¡t
Flute
 " ""
t
d dt
#t t t
Flute
"tI c tt tt e
> #|A| t
A||
tI
t t
? " t t "t t "t t t t
" "" t t e t t e "t t e t t e "t t e t t e t t e t t e
ó tY ó ó ó
"
† " " " tY
tY
78
Giorgio
tY tY tY tI "tI tI tI I
t I
t tI tI tY tY tY tI c
tar - nish'd our 'scutch -eon which ne'er had a touch on; We swore man - kind should rue it.
ó ó ó ó t
 """" t t t t t t "tt t t tt t t t t "ttt tt
t tt
t tt tttY d
> t t t t t
š
?  " "t t t tt t t t t tt t tt "t t
staccato
" "" t tt t t t t d
I
ó ó ó ó t
8
; "" " t #tY Ç tZ tY tY tY
80
Tenors † " tI d tY d tY d #tI c

Yes, yes, yes, We swore man - kind should rue it.
 " " " tY d Yt d "ttY d tt " # ttY ÇÇ ttZ tYt ttY tYt ttY c
Basses < "
" Ç
 " " " tt ttt tt t # #t tt tt tt tt
I d t t e
> t tt #t ÇÇ
t t t t t t #t t
š
? t t "t t "t Ç t t t tI t
"""" t t e t t e "t t e t t e "t Ç t t t t
d
t t e
; "" " tY
"t t t tY tY c
82
Tenors † " "tI d tY d tY d tI tY
Yes, yes, yes, We swore man kind should rue it.
tYt tYt tYt tYt t

 " " " " "ttY d d ttY d #tt Yt Yt
Yt c
Basses
< "
" t t t t tt d Yt
 " "" "tt "ttt tt "t
#tt tt "ttt ttt t
> t t
•
? "t t t #t tÇ t t
"""" "t t e t t e t t e #t t e tÇ tY t t c
t
9
; "" " 
84
Tenors † " a b c t Ç tJ
I t Ç tJ t
tI Ç tJ I tI Ç tZ
So we're mem - bers of a sec - ret so -
 "" a b c
Yt Ç Zt tY Ç Zt tY Ç tZ t tY Ç Zt
Basses < ""
t t t t t Ç "tY t t t t #t t t
t
"""" tt tt ÇÇ tt tt ÇÇ tt tt tt ÇÇ tt
> tÇ

? " tt tt tt tt tt tt tt tttt ttt ttt # ttt ttt #tt tt t Ç t tÇ t tÇ t t tÇ t
tt tt "tt tt tt tt tt A
" "" t t t t
À
; " t ó
† " "" t Ç
t t
87
tI d IN d
t c t tÇ t tÇ t
Tenors tÇ
ó
ci - e - ty (hush!) Work - ing by the moon's un cer tain
tÇ tÇ t t t t
 "" " t tY d NY d c tÇ t tÇ t
Basses
< "
 " " " " tt ÇÇ tt t d

I b tÇ t tÇ t t t t t
> ó
?  " tt ÇÇÇ tt tÇ t tÇ t t t t
tÇ t tÇ t tÇ t tÇ t
" "" ó
10
; "" "
89
Tenors † " t c c tÇ t tÇ t tÇ t tÇ t tÇ t
disc, Our mot - to is "Re - venge with - out anx -
 "" " t c c tÇ t tÇ t tÇ t tÇ t tÇ t
Basses < "
" " " tY e ó
 " J
tt tt t tt #tt|Y d
t tÇ t ttt ÇÇÇ tt tt ÇÇ tt tt Ytt ÇÇ tZt
>
?  " tY d t tÇ t tÇ t At
Ç t tÇ t tÇ t tÇ t
" ""
À
; " " " Yt Ç

91
Tenors † " tJ tI d dÇ tJ tI Ç tJ tI d
tY d tY Ç tJ tY Ç tJ tI d c b
i - e - ty," That is, with - out un - ne - ces - sa - ry risk.
tÇ
 " " " Y tZ tY d dÇ Zt tY Ç Zt Yt d tY d Yt Ç tZ tY Ç tZ tY d c b
Basses
< "
tt
" ttY
 " " " tt Ç t d dÇ t It tI
t tt ÇÇ tt tt ÇÇ #tt d c d c
> t|
I tJ t Ç
#t tY d c d b
tI
À •
? t t tÇ t tÇ t
#|t Ytt d c I
cresc.
|
"""" t "t tI
tY d Yt d tÇ t tÇ t t d c
t
À
11
ELVINO. Bless my heart, what are you all doing here? How comes it that you have
ventured in so large a body so near to the confines of civilization? And by
daylight, too! It seems rash.
GIORGIO. Elvino, we are here under circumstances of a romantic and sentimental
description. We are all going to be married!
ELVINO. What, all of you?
LUIGI. One each day during the next three weeks. What do you say to that?
ELVINO. Why, that it strikes at the root of your existence as a Secret Society, that’s
all. And who is to be the first?
GIORGIO. The first is Risotto, who went down to the village this morning, disguised
as a stockbroker, to be married to Minestra, and we expect the happy couple back
every minute. The next is Giuseppe, he’s to be married tomorrow, Luigi on
Thursday, and so on until we are all worked off. As we are twenty-four in
number, that will occupy twenty-four days, which are to be passed in unceasing
revelry — and our captain, Arrostino, intends to confer upon you the benefit of
our custom.
ELVINO. There I think he is right. I am out of wine just now, but I have a family
prescription for fine old crusted Chianti, which I will send to the nearest chemist
to be compounded at once. There’s only one thing for which I must stipulate; let
these revels be as joyous, as reckless, as rollicking as you please — only, let them
be conducted in a whisper.
LUIGI. What, because we are a Secret Society? We are not as secret as all that.
ELVINO. No; but because there is a considerable portion of a poor old Alchemist on
the second floor who is extremely unwell. You wouldn’t go for to disturb the
dying moments of a considerable portion of a poor old Alchemist?
GIORGIO. You are unusually considerate. What’s the matter with him?
ELVINO. Why, the poor old boy is continually blowing himself up with dynamite in
his researches after the Philosopher’s Stone. Well, that’s nothing — it’s all in the
day’s work, and he’s used to it. But this time he has blown himself up worse that
usual, and several of the bits are missing; if you come across anything of the kind
they are his, and I’m sure you’ll behave honorably, and give them up at once.
GIORGIO. We swear.
ELVINO. Bless you! Now the Alchemist has hitherto paid for his board and lodging
in halfpence, with a written undertaking to turn them all into gold as soon as his
discovery is completed; consequently the dictates of common humanity prompt us
to give him every chance. (Noise of explosion within.) Up he goes again! Excuse
me one minute, while I go and collect him.
Exit ELVINO.
Enter Chorus of Village Girls, dancing, and heralding the approach of RISOTTO and MINESTRA.
12
2. Come all the maidens
Chorus
t t t t t !t t t t t !t t d
Allegro
3 a a tÇ t t tt t t
> 8 d t t t t t
™
?  3 ttt ttt ttt tt tt tt tt ttt tt tt tt tt tt tt tt ! ttt ttt ttt
Piano
8 t t t t t t t t t t t
t t t t t t d tt t t !t t t
t t t t t t tÇ tt t t t
"tt t t t t
7
t tt tt tt
>  ttY t t t
™
?  ttt ttt ttt tt
t
tt
t ttt tt tt tt
t t t
tt tt tt
t t t
"tt
t
tt
t
tt
t ! t#ttt tttt tttt
t t t ttt tt t t !t t t t t t"t t t t t t t t t t t t t t t t t t t t
t
13
>  "t
tt ttt ttt tt ttt tt
?  "tt tt tt ! t#ttt tttt tttt t t t t ttt tt
t
t t t !tt t t t
t
t t t t t t t t t t t t t !t !t t t t t t d t t t " t t t t t t t t t
19
>
tt tt tt tt tt ttt ttt ttt tt tt tt tt
? t t t t t !t t t t t
t t t !t t
t t t t t t t t t t t t t t t t t !t !t t t t t t t tt
t t t t t t t t t
25
>
tt tt tt tt tt tt tt tt tt ttt tt
? t t t t t t t t t !t tY c
t t t t
; tY tY tY
31
a a a a tI tI tI tI tI tY
<
unis
Women
!ttt ttt ttt ttt tt tt tt tt tt tt tt ! tt tt

t t t t
Come, all the maid - ens in mer - ry com -
t t t tt tY c e t t tÇ e t t tÇ e t t
> tÇ
•  tt tt
? t t t t t t t tt tt t tt tt
t t t t t tt t Yt c
t t t t t t t t t tt t
13
;
tZ tZ t t d tI d e tJ tY
38
Women
< tI !tI tI tI !tI tI tI tI
t t t t t t t t t t t
mu - ni - ty, Gay and jo - cose, Hi - ther we wend. Ri - sot - to, Mi -
tÇ
>  e t t tÇ !t t c
I e t t tÇ
t tt
t tt tt tt tt ttt ttt tt tt
? t t !t t t t t Ç tt tt
t
; tY tY t
tZ tZ t tI tY tY d tY
44
Women <  tI tI tI tY tI tY
nes - tra, are knit - ted in un - i - ty; No - bo - dy knows How it will
tÇ t t t t t t t t t t t
> e t t tÇ e t t tÇ e t t tÇ t
t tt t t tt tt ttt ttt tt ttt ttt ttt
?  tÇ t tÇ t t tÇ t t t
t
; tY Yt Ç
tY d tI tY tY tY Yt tY tY t tt ÇÇ
tt tI
50 divisi
Women
< tI tI tJ tI !ttI I
end, Ri - sot - to is hand -some and real - ly de - lect - a - ble, Stal -wart and tall;
Yt d d d tt tt d d tt tt d tt tt d ttt tt !tt tt tt tt ÇÇ
> t t t t t t t
t !t t
? ttt ttt tY d tY t t t
t tI d tI d d d tY d tI t t
ó
tY Ç
unis.
; tY tY
t I
t t d t t t tI I
t tY tY tY tY tY
57
I tI tJ tI "tI I
Women <  !ttI t t t !tI
tÇ
Se - cond to none. Mi nes - tra, nice look - ing and ve - ry re -spect - a - ble. So we are
t t t t t
ttt t t t t t t tÇ
tt tt t d
tI
>  !tt ó
t ! tt t # ttt t t
? t t tt ttt tt
t
tt
t ttt t
t tt t ttt tt tt tt
t t t t tt t !t t t
14
; tY Yt !tY tÇ #tY !tY tY !tY tÇ
tÇ
64
tÇ tY !tI
Women
<
t !t t t !t Ç t !t t
t t tt tt
all, Ev - e - ry one, So we are all, Ev - e - ry one,
> tÇ !tt ÇÇ tt
tt ttt ttt tt ttt ttt t t t

?  tt tt tt
!t t t
ttt ttt ttt ttt ttt ttt !t !t !ttt ttt ttt t t t
; ™tYt tYt tYt tt ÇÇ tt ÇÇ tZt tYt

Ytt ÇÇ t d d
71
Women  !tI a
tÇ tÇ tÇ
all,
™t t
So we are ev - e - ry one.
t t t t
 Yt Yt Yt tÇ tÇ tY Ç Zt Yt Yt d d a
Men <
tt t t
tt tt tt tt t tt t tt t tt t tt t !t !t t t
t t t t
> !t t
™t t t t! t t t t
tt tt ttt tt staccato t
?  tt tt t t t
tt
t
tt
t
tt
t
tt
t
tt
t
tt
t !tt t t t
t
; •I tI
t tI I tI I
t tJ tJ tt tt ÇÇ
77
ttY
I
Women  t t tt tI
t
tI
t
tI
t t t t t t Y !tI
tI tY
Come, all the maid - ens in mer - ry com - mu - ni - ty, Gay and jo - cose,
t
I t
I t
I t ÇÇ
 • tI
Y I
tY tI
Y tYI
t tYI
t Yt tI tI
Yt tI
tY t
I
Yt tJ
tZ J
ttZ t
t tY Yt tY t
Men
<
t t t t t t t t t t t t t t t
t t t t t d
>
• tt ttt t t t tt ttt tt tt
? t t ttt ttt ttt tt tt tt tt tt t
t t !t t
t
15
; t tJ J
I t tt
e tJ tI tI tI
83
 tI !tI
t tI
t tt t tI t
I tI tI tI t t
Women
t t t t t t t t
Hith - er we wend, Ri - sot - to, Mi - nes - tra, are knit - ted in un - i - ty.
tI t
I t
I tt Y tI
tI Y tI
Y
 Yt tY Yt e tZJ YttI YttI YttI tI
Yt I
ttY tI
tY tJ
tZ ttJ
Z tt
Men
<
t t t t t !t Yt t t t t t t t t t t tt t
c t t t t t t t t t t t
>
?
tt
!t ttt t tt tt ttt ttt ttt t
ttt
t
ttt
t
ttt tt tt tt tt tt t
t t
; !!! tÇ
 !ttI I c
89
tt I
tt !tt ÇÇ a
Women
!ttI !tI
t !tI
t Y
tI
No - bo - dy knows How it will end. Hand
tY tI tI tt ÇÇ ! tI tI tY tY
 !tI Yt tY
t
I !tI
tY d tY !!! tI tY tY tY
unis
Men
< Yt tY tY
!t t t !t t ! t t t t ! t t t !t
end. Ri - sot - to is hand -some and
d !t tY d d !!! d d
> tt tt tt tt
t t t t
!t t t tt ! tt tt t t t t
?  !t t t t
t
!t t !tt t t t !!!
t tI c tI c
; !!! tI
Y Y tI
tI tYt
Y I
tt ÇÇ tJ tYt tt ÇÇ tYt t c
95
Women  t I
t I tt I
tt I
tt tI
ó
- some, de - lect - a - ble, Stal - wart and tall; Se - cond to none.
tY tY Yt Ç tZ tY t
I t
I t
I t ÇÇ
t ! tI tI tI # tI
 !!! tY tY tY tY tY tY tY tY d t #t t
Men <
real - ly de - lect - a - ble. Stal - wart and tall; Se - cond to none. Mi
ó
!!! d ó
d t tt tt t ttt ÇÇ
t
ttt
t
tt tt tt tt
Flute
t
tt tt tt
t t

tÇ t t
t tt
!t t
> tt
t
t t t
t ttt t
? ! ! d tY t tt tt t
! ttt ttt
t # tt
t
t
! tY t t t
t t
16
; !!! tÇ Y I
tI tY I tt ÇÇ tJ
I tt ÇÇ
101
Women  a tY t I
tY I
tt I
tt I
tt
Ve ry re - spect - a - ble, So we are all,
Y tI
tI Y tI Y tI
Y tYIÇ Ç J
t I t tI tI tI tÇ
 !!! tI
Y Y tI
tI Y Y tI
Y tI tZ tY !tY tY tY tÇ
Men
<
t t t t t t t
nes - tra, nice look - ing and ve - ry re - spect - a - ble. So we are all,
!!! tÇ t t
tt tt d tt tt d t t d t t
> t t t t t t t tt tt
? ! ! ttt tttt tttt tt ttt tt
! tI d c
tI
c tY d Yt t t t !t t t
; !!! tI I tI tI Ç
107 unis.
Women  t tt tI
t t tI tI tI tI tI tI tI tI tI tJ tI
Ev - e - ry one. Ri - sot - to is hand - some and real - ly de - lect - a - ble,
tI tI t
I tt
 !!! Yt tY tY d a a a a
Men
<
t t tt tÇ tt tt tt
!!! t t tt tt tt tt tt tt ttt t tt
Ev - e- ry one.
t t
> t
t t t
tt
t t
?  ! ! tttt tttt tttt tt
d t
t
t t t
t tt t t
! t t t
; !!!
tÇ t d
113
Women  tI tI tI tI tI tI a a
Stal - wart and tall; Se - cond to none.
tY tY tY tY tY
 !!!
unis
a a a c tY tY
Men <
t
tt t t t t #t t t t t t t t
Mi - nes - tra, nice look - ing and
!!! t t t t t t t ttttt t tt tt
t d
> 
t t t t tt tt t t t t tt ttt
? ! ! #tt tt
! t t t t t t
t t
t t t t t
17
;119 ! ! tY !tY tY Yt Ç tZ !tY tY tY tY tÇ tY tY tY d d
tY
Men
< !
!!! t !t t! t t t !t t t !t t t t t t t #t t !t t t t t t t t #t t t t tttttt
ve - ry re -spect - a - ble, So we are all, Ev - e - ry one,
>
!t t t t # tt tt ! tt ttt # tt tt tt
? ! ! tt tt
! !t t !tt tt !t
t t t t t
t t d
; !!! • Ç
t tt Ç tt tt tt tI c
125
Women  tt
I tI
t tI tYt a a
So we are all, Ev - 'ry one
• tI tI tI t Ç t tI tI
 !!! Yt tY tY t Ç t tY tY c
a a
Men <
So we are all, Ev - 'ry one.
ttt ttt ttt ttt tt tttt tt tt tt tt tt t tt

!!! tt tt tt ttt
o o
t t t
Woodwinds
t I
tt I
tt
tY d
t t t
t t t t t t t t t t
>
tY
tÇ t t t
•
?  ! ! t tt tt
t t t t t t t t t t
t c tt tt ttt tt
Cello
t t t t t t
! t t t t Yt t t t t
!!!
t
t t t t t t t t t t t t t t t t tÇ tÇ tÇ tÇ tÇ
o
I o
I
t t t t t tt
t t t t
131
t t t
> tÇ t t
t t t
? ! ! tt tt tt tt tt tt t tt tt ! tt tttYt
t t t t t t t t t t t d d
! t t t
18
!!! t t I
t t t t t tt t tt
t
t t
o o o o
t
I
t t I
t t I
t t I
t t
t t t t tt t t
137
t t t t
> t t t t t t tt t t
dÇ t tÇ t
?  ! ! t ttt ttt tt tt ! ttt tt tt ttt tt

t t tt tt ttt t t tt
! t t t t t t t t
tt tt tt ttt tt ttt tt tt tt tt tt tt tt
!!! t t t t t tt tt tt tt t tt tt t t t tt
t c tY
143
>  t I t t
– t
? ! ! t tt t
tt tt t t t t
! t t t t t t t t t t t t t t t
t t t t t t t t Yt t
t t t t t
(Enter Risotto and Minestra)
19
3. If you please
Minestra and Risotto
Allegretto
!!! 2 c d tZ tZ tZ tZ tZ tZ tZ tZ c
Minestra  4 tJ tJ t
If you please, I'm now a mem - ber of your band.
!! d  tJ
Risotto  ! 24 a a c tJ
If you
!!! 2 d d ttt tt tt ttt tt tt d

d I t
> 4 tI
t tI
t Ç tÇ tÇ Ç tÇ ttt
Ç t t
 t
? ! ! 2
Piano
Yt d t t
! 4 It d It d I
t d tI d
!!! d tZ tZ d tZ tZ !tZ tZ
4
Minestra  tJ tJ tZ tZ t d c
Now al - low me, pray, to speak. I am mar - ried.
!!! d tZ tZ
Risotto  tJ !tJ d c a tJ J
t J
t tJ
please, she's She's my wife, you un - der -
!!! t t d tY
> t !t t t t t t tt tt
!tt tt
tt tt t t t
? ! !
! t t t tt t t t tt tt !t
!! Yt Zt Zt !tY Ç
 ! d tI tZ tZ Zt Zt tZ tI d d tJ tJ J
7
Minestra c t J
t !tJ tJ
If you in - ter -rupt, I'll leave you in a week. You are ve - ry im - po -
!!!
Risotto  tI d c a dÇ tJ J t $tJ tJ tY d
t J c
!!!
stand. I real - ly think I might
> !tt tt t tt t t t tt tt d d
t À !t t t ! !tI
tt # !tt ! #tt !tI
t
t ! tt tt tt tt t
?  ! ! tt t Yt d !tY d tt t #t
! #t
20
!!! tY d d tY tZ Zt d tY
tI d
11
Minestra  c Zt tZ c tJ tJ tJ tJ
lite! Now there you go a -gain, Now there you go a -
!!
Risotto  ! d #tJ tJ tJ Zt J
t
tZ tY d c d
tJ tJ tJ
tZ
tJ
tZ tY d c
But I want -ed to ex -plain. But I want-ed to ex -plain.
!!! d d d tt d
I d tI d d tI t t
> #ttI !tI
t tI I
ttt t t
!t t !tt tt tt !tt t
t tt tt
?  ! ! tY d $tY d tY d Yt d tY d d
! !tY t d I
I t d
!!! d d d
15
Minestra  tI e tK K
t !tJ tJ tI e tK K
t !tJ tJ tI c
gain, there you go a - gain, there you go a - gain!
!!
Risotto  ! d tJ tJ tY d d tJ tJ tI d a
to ex - plain to ex - plain
!!! t
 e tt e
> tI tt t tt tt t t tI t t t t
o
!t ttt
I I !ttIt
tÇ Ç ttÇ Ç tÇ
? tt tt # tt t ttt
 !!! e t e d
tÇ
I tÇ
I tIÇ tÇ
I tIÇ
!!
 ! c d tZ tZ tZ tJ tJ tZ tZ tZ tJ tJ tZ
18
Minestra tJ tJ tJ tJ tJ tJ tJ
If you kind - ly will per - mit me, I can per - fect - ly ac - quit me: I'm a
!!! tt tt tt t t
 t t t t t t t tt t t t t t t t t
> t t t
?  ! ! |t t t t tt t
! | t t t t t t t
21
!!! tZ Zt J
e d Zt t tJ tZ
21
 tJ tI tJ tJ tJ tJ tJ tJ I
t
Minestra t tJ
J t tJ
J
!!! d
la - dy! Ve - ry good! then I re - frain. If you kind - ly will per - mit me, I can
Risotto  tZ tZ tZ Zt d a a
She's a la - dy!
tt tt tt t t t
!!! t t t t t t t t t t t
> tt t t t t tt t !tt t #tt
? ! ! t !tt tt t tt tt t t t
t d t t
! t t !t t t
!! ²tZ tZ ²
 ! tZ tZ tJ tJ tZ d tZ
t tJ tZ tI d
24
Minestra tJ tJ tJ tJ tJ d J
per - fect - ly ac - quit me: I'm a la - dy! Ve - ry good! then I re - frain.
!!! a d tZ tZ Zt Zt ²tZ Zt tZ tZ tZ tZ ²tY d

Risotto 
She's a la - dy! Ve - ry good! If she re - frain.
t
!!! t t t t t t t t
² ² t tt
t t t tt tt e J
J
>
 tt t tt tt tt e I
t
t
? ! ! tt tt tt !tt t t t t ttYt d
colla voce.
! t t t Zt e tZ e
³ ³
!!
 ! d
27
a a a c
Risotto tI
t
!!! t tt tt tt tt tt tt tt
Al -
 tt tt tt d t tt t t tt t t t tÇ d
> t t t tÇ
ttt ttt t
tt d I
? ! ! t t t t tt Ç I
tt tt ÇÇ d
! t t t tÇ
22
!!! d t t tZ
tJ !tJ tJ tJ tJ tZ tZ
31
Minestra  a c t c
I thinkyou'd bet - ter keep her to your - self.
!! Zt Zt tZ tZ
Risotto  ! tZ tZ tZ tZ t c a c d tZ tZ
low me to pre -sent to you my wife! She's the
!!! t t t t t d I t
> tt t t tt t ttt tt d t t t !t t t t t t t d tY
Ç tÇ tÇ Ç tÇ Ç t
t t tt t
t tt
? ! !
! I d tI d tY d t t t t
t t t
t
t
!!! tY Ç tZ !tZ tZ tZ tZ tZ tZ
35
Minestra  a c tJ tZ
I dare - say, un - til she's laid up - on the
!!! !tZ tZ tZ tZ
Risotto  tJ J
t J
t tJ t c a
trea - sure and the plea - sure of my life.
!!! tt tt tt t t
 tt !tt t
> !tt tt t !tt t
Àt ! tt
? ! ! t tt tt t
!t tt t tt tt tt
!
!!
 ! tI d d tY d
38
Minestra c tJ tJ J
t J
t !tJ tJ c
shelf! You don't mean it– go a - long!
!!
Risotto  ! d tJ tJ tJ J
t $tJ tJ tY c d d
tJ tJ tJ
tZ
tJ
tZ
She's a po - em she's a song. I shall love her when she's
!!! d d d d
> tt t !tI
tt ! !ttI
t # !tt ! #tt !tI
t ttI
!t
t
? ! ! tYt d d tt t #t tY d $tY d
! !tY #t
23
!!! d tZ tZ tZ Zt d tZ tZ
41
Minestra  t tZ
J tI c tJ tJ tJ tJ
Will you real - ly? I dare - say; Will you real - ly? I dare -
!!! d d tJ tJ d
Risotto  tY c tJ tJ tJ tJ tY c
!!! d
grey! I shall love her when she's grey.
> tt
I d tI d I
tt d d tI
t !tt t tI
tt tt !ttt ttt ttt t
tt
?  !!! Yt d !tY d tY d d
!tI t d
I I t d
!!! d d tJ tJ tJ J
t !tJ tJ tI d d
44
 c c c
Minestra tI tJ tJ
say; Will you really? I dare - say; Withyour
!!
Risotto  ! d tJ tJ tJ J
t
!tJ tJ tI
d c a a
!!!
I shall love her when she's grey!
 tI tt t e t tt tt e tt t t # tIot t t t t t t t t t t t
> tÇ !t ttt
I
Ç
I
ÇttÇ !tI
tÇ t tÇ
? ! ! tt tt # tt tt e d ttt t|
|
t
! e
I
tÇ tÇ
I I
tÇ tÇ
I tÇ
I
!!! tJ tJ Zt J d d
48
Minestra  tJ tJ t d c tJ tJ tJ tJ d tJ tJ
snap -ping and your snarl-ing! Do you mean it? Oh, my
!! tJ tJ tJ tJ Zt J tZ tZ Zt Zt
Risotto  ! c d tJ tZ t d d tZ tZ
You're a dear and you're a dar -ling! Yes, I mean it! Oh, my
!!! t tt t t
>  t t t tt t t t t t t t t t t tt t tt t t t tt t
t
? ! ! t t tt t t !tt tt t
! t t t t t t t t t !t
24
!!!
tJ tJ tJ tJ tI tJ tJ J
t tJ Zt J d
51
 t d c tJ tJ
Minestra t tJ
J
! ! Zt Zt !tZ Zt #tI tZ
tJ tZ
darl -ling, oh, my dear! With your snap -ping and your snarl-ing! Do you
Risotto  ! tI t
d tJ tJ tJ tJ tJ d
tt t t t t t t t
dar -ling, oh my dear! my dear! You're a dear and you're a dar -ling!
tt t t t
!!!
tt t t t t t t t t t t t t
>  !t #t d
t t t
?  ! ! tt tt t
Y d t t
t
t tt
! t t t t
!!! ²t t tZ tJ tZ Zt ²I
d d t d
54
Minestra  tJ tJ a a
!! tZ tZ Zt Zt ²tZ Zt tZ tZ tZ Zt ²Yt d
mean it? Oh, my darl -ing, oh, my dear!
Risotto  ! d d a
!!! ² ² t tt tt tt tt tt tt tt tt t t t tt d t
Yes, I mean it! Oh, my dar -ling, oh, my dear!
t t t t tt t t t
> tt t tt tt tJ
t e J tt e tt tY
t
t
t ttt tt
? ! ! t !tt t ²t t t e tt d t t t d tI
colla voce.
t
! t t
Z e t
Z t t
tY
³ À
!!! t t |
t tt
58
> t t t tt |
t
?  ! ! tt Ç
t ¬¬¬ ||
! t t t ¬¬¬ |
25
Enter ARROSTINO.
GIORGIO. Three secret cheers for the Captain!

ALL (pianissimo). Hurrah! hurrah! hurrah!
ARROSTINO. How do? How do? Ah! the bride and bridegroom. Allow me. (Kisses her.)
Charming — at least I think so — another. (Kisses her again.) Yes,
charming. Risotto, my poor fellow, accept my condolences.
RISOTTO. Condolences? You don’t see anything wrong with her?
ARROSTINO. With her? Oh, no — not with her. My dear friend, she’s bewitching. (To
MINESTRA.) You are bewitching, aren’t you?
MINESTRA. I believe I’m nice.
ARROSTINO. You do? I’m delighted to hear it on such good authority.
RISOTTO. Still, I don’t see why you should condole with me.
ARROSTINO. Don’t you? Never mind — you will. Now tell me, Minestra, candidly —
what was it you saw in him to admire? It’s not his face, of course; nor his
figure — we’ll put them out of the question. It couldn’t be his
conversation, because he hasn’t any.
MINESTRA. I don’t know. He’s got a way with him.
ARROSTINO. Has he got it with him now?
MINESTRA. I don’t know. I suppose so.
ARROSTINO (imperatively). Risotto, give us an example of the way you have with you.
RISOTTO. It’s something like this — (business of ogling).
ARROSTINO. Oh, my dear girl — really — dear, dear, dear!
MINESTRA (apologetically). You’ve got to be nearer to him for it to tell.
ARROSTINO. Well, but even then! Now, look at it in cold blood. Think of it ten years
hence —when the novelty’s worn off.
MINESTRA. It does look foolish from here. Oh, I almost wish I hadn’t!
RISOTTO. My dear! (Consoling her.)
MINESTRA. Don’t — I’m so inexperienced!
ARROSTINO. I suppose so. Pity — pity! Never mind — next time you’ll be older. Now
girls, I have some news for you: the Duke and Duchess of Pallavicini are
to pass through the village on their way to Palermo. You don’t see a real
Duke and Duchess every day, so the best thing you can do is run down and
prepare to receive them.
1ST GIRL. A real Duke and Duchess! Oh, that will be delightful.
26
4. Only think, a Duke and Duchess
Minestra and Chorus
; " " 2Allegro moderato d tJ tt ttY ÇÇ tZt !ttY ÇÇ

Women <  4 a a a c t J tZt
" 2 tÇ t tÇ t tÇ t t t t
On - ly think, a Duke and
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>  4 t t tt ÇÇ t t !t t
tÇ
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? " 2 t t t tt t t Çt tÇ tÇ Ç Ç tÇ
t
Piano
" 4 t t t t t d e t#t e
t t t
; " " tYt

6
Women < tI c tI Ç tJ tI Ç tJ I
tÇ tJ tJ
tJ
d
tI Ç tJ I
tÇ tJ
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tJ ttI ÇÇ #ttJ !tI
10
< I
tÇ tJ J
t J t
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t tJ J
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c a a
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look - ing glass-es For a few ar - tis - tic touch-es.
>
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tÇ tÇ t
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15
" a c tJ c
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< tY
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t
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27
; ""
19
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t J t J
tt
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tÇ tJ tI Ç I
tÇ tJ tI Ç tJ tI Ç t "tJ
Ere the grand pro - ces - sion pass -es, And re - ceive the up - per class-es In our
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23
t t t d c a a a a
Women < t Ç #t !tI t t
most be - com - ing dres - es!
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29
Minestra  " tÇ t tÇ tÇ "t t Ç #t #t t t t

Go and wash your pret - ty fac - es, Dress in rib - bons and in lac -es. Or ex -
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> 
tJ t e tJ
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33
Minestra " tÇ t tÇ t t t t
pect from both their Grac - es, A wel mer - i - ted re -buke. And your
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28
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37
Minestra " tI Ç td tJ tJ tI Ç td tJ tJ
d tI d tI
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41
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46
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29
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50
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Duke.
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54
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62
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t t Ç tJ
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66
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tÇ t t tÇ t
"
31
; "" tYt t t tYt tJ I
t Ç tI Ç J
t tt Z ttY ÇÇ
tYIÇ Ç tJ tZt ttY ÇÇ tZt
70
 Yt Yt
Women #t t Ç t Ç t
tI
tY tI
tY tI
tY I
ttY
 " tJ
tZ tI t Ç tJ
tY Ç Ç I tt tYIÇ Ç tJ
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tZ ttI
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tZ
Men < " Yt Ç tZ
t t
""
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t t tt t tt ÇÇ tÇ t t tÇ t t t t t
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tt tt tt tt tt ÇÇ tt tt ÇÇ tt
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? " tt tt ÇÇ tÇ t tt tÇ t tÇ t tÇ t
" tÇ t
; " " tJ Z tYt ÇÇ ttY ÇÇ tZt tYt

tJ tYIÇ Ç tZt tZt Ytt ÇÇ tZt t tI
t I
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74
Women  t t d tJ e tI t t t
tI Ç tJ tI tI tI
 " " tJ tJ
tZ tZ d
tIÇ Ç
tY
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tJ
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<
t t t t t t t
"" t t to t t t t t t t t to t t t t tt t tt
t t t tt
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>  t
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" t t t t tÇ t
; " tYt ttY t tYt t I

J tÇ It ÇJt |
78
Women  " Yt #t t Ç t Ç t |
a a a
Duch-ess, From a Duch-ess and a Duke!
tY tI
tI tY I
ttY tI
Yt tJ It Ç tI Ç J t |
 " tZ Yt Ç ttY Ç Ç ttZ | a a a
Men < " |
" tt t tt t tÇ t tÇ t tÇ t t t t tÇ t tÇ t
Duch-ess, From a Duch-ess and a Duke!
 " t tt tt tÇ t tt t t t t t t
> tÇ t
tt tt tt tt t ttt ttt tt ttt ttt ttt
Piano
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t t
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32
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84
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" t t t t t
t t t t
t tÇ t t Ç t " tÇ tÇ tÇ Ç
"" t Ç tÇ t tÇ t !t Ç t #tÇ tÇ Ç
#t tÇ tÇ t tÇ
89
t t
>
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?  " t tt t tt t "tt
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Piano
t t t t t t t
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94
> " t tY t |
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Yt t
33
Exeunt Girls — all but MINESTRA.
ARROSTINO. Now then, to business. Anything to report?

GIORGIO. Yes. A traveling Englishman passed our encampment this morning.
ARROSTINO. Good. We have a vendetta against all traveling Englishmen. The relation of our
ancestor’s neighbour was arrested by a traveling Englishman. Well?
GIORGIO. No — very bad. The cowardly ruffian was armed.
ARROSTINO. What a lily-livered hound! That’s so like these Englishman. This growing habit of
carrying revolvers is the curse of our profession. Anything else?
LUIGI. Only an old market-woman on a mule.
ARROSTINO. Well, we have a vendetta against all old market-women on a mule. Did you arrest
her?
LUIGI. We were about to do so, but she passed us in silent contempt.
ARROSTINO. Humph! This growing habit of passing us in silent contempt strikes at the very
root of our little earnings. Of course you could do nothing?
GIORGIO. Nothing whatever. You see, as we are all to be married in the next three
weeks, we are bound, as men of honour, to hand over our personal charms in the
same condition of substantial and decorative repair that they were in when we
captivated these confiding creatures.
ARROSTINO. Naturally. It is plain that a man who offers a girl his hand and comes to claim her
with his arm amputated at the shoulder, is no longer in a position to fulfill his
contract. A man who proposes with a Roman nose and turns up at the altar with a
snub is guilty of flat dishonesty, on the face of it. At the same time, that’s no
reason why you shouldn’t pick off the bits of cotton wool in which you are in the
habit of putting yourselves away at night. (Picking scraps of wool from the coats
of LUIGI and GIORGIO.) To people who are unacquainted with the circumstances it
might look a little unmanly. I don’t know — perhaps not. (Replacing the scraps of
wool on their coats.) However, take heart. I have an enterprise in hand which
promises the very maximum of profit with the very minimum of risk. The Duke
and Duchess – I believe we have a vendetta against all Dukes and Duchesses.
GIORGO. The judge who sentenced the relation of our ancestor’s neighbour would
have been a duke if they had created him one.
ARROSTINO. The scoundrel! Then I intend to secure this Duke and Duchess.
GIORGIO. Ah! But how? Remember the motto of our band — “Heroism without
risk.”
ARROSTINO. We shall do it diplomatically, of course. In the first place, we shall seize on
yonder monastery —
LUIGI. When the monks are asleep?
ARROSTINO. Why, of course — and dress ourselves in their robes. In the mean time, Minestra,
disguised as an old woman, will lure the Duke away from his escort and into our
power.
MINESTRA. I think I could do it better as a young woman.
ARROSTINO. Nonsense, you little goose — you know nothing about it! Listen!
33
5. High Jerry Ho!
Arrostino and Chorus
! ‹ ttt ttt tt t tt tt tt t tt tt tt t tt tt tt t
Allegro
 t t t t t t t t t t t t #t t t t t t tt tt
> ¿ #t t t t t t
• | | t
? ! t t t
Piano
‹ d | | t t t t c t t t tt t t
¿ t t t
t t
4
! 
 a b c t tI tI tI tI tI tI
Arrostino
t
1. The Duke and the Duch - ess as they
2. Mi - nes - tra, they'll find as a
! t
t t t c t
> tt ttt tt ttÇ ttÇ ttÇ ttÇ tt
t tt tt tt

? !
Piano
t t c t t t t t t t t
t t t tÇ tÇ tÇ tÇ t t t t
t
! tI t t tY tY t
7
Arrostino  tI tI tI tI tI tY tY t tY tY t tY tY
tra - vel through the lands With the clips of their whips and their high jer - ry ho! Will
tot - ter - ing old crone With her moans and her groans and her high jer - ry ho! Who has
! t t ttt t
>  tt
t tIot
#ttt ttt tt tt
ttt
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? ! ttt ttt
Piano
¬¬¬ tt ¬¬¬ tt
tt tt tt tt ¬¬¬ t t t t ¬¬¬ t tt
! t !tYt Yt t tY Yt !tt
10
Arrostino  tY tY tI tI t tI tI tI tI tI tI tY tY
pass by the rock where the mon - as - te - ry stands, In a first class fine - folk
tum - bled down the rock, and is ly - ing all a - lone, And her cries will ex - cite their com -
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t tt tt tt tt tt tt
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34
! ¡ • t

13
Arrostino  !|| !t# t t tI tI tI tI t tI tI tI tI tI tI tI tI tI tI

fash ion, With their high jer - ry ho! Their pos - til - lion in ver - mil - lion And the
pas sion, With her high jer - ry ho! And her crop - per so im - pro - per, And her
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16
Arrostino  t It t
rat - tle of ther cat - tle, And their high jer - ry ho! With their high jer - ry ho! Their pos -
fus - sy "Lawk ha' mus - sy," and her high jer - ry ho! With her high jer - ry ho! With her
; ! •t tYt t tYt tYt tt tYt

Tenors  a b c Yt t tYt
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With her high jer - ry ho! And her
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t t t t t t t t t
35
! tY tY tY Yt Yt tY tY #tYt tY tY tY tY tY
19
Arrostino  tY tI tI t tI I
t t t
til - lion in ver - mil - lion And the rat - tle of ther cat - tle, And their high jer - ry ho! Their
crop - per so im - pro - per, And her fus - sy "Lawk ha' mus - sy," And her high jer - ry ho! Her
; ! tYt tYt tYt tYt tYt #tY Yt

Tenors  t tYt ttY
tI tY tY tY tY tI tI t tI tI t t
til - lion in ver - mil - lion And the rat - tle of ther cat - tle, And their high jer - ry ho! Their
crop - per so im - pro - per, And her fus - sy "Lawk ha' mus - sy," and her high jer - ry ho! Her
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22
Arrostino  N N N N N N N t | tÇ tI | ¿
high - high - high - high - high - high - high their high jer - ry ho!
high - high - high - high - high - high - high her high jer - ry ho!
; !
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high - high - high - high - high - high - high their high jer - ry ho!
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! Itot tt tt
tot tot tIot tIot tot tIot
ttt | tÇ tI d t t
> t || ttt ÇÇÇ ttt || tt
I
I I I
t t t t t t | t ¿
•
? ! t
Piano
t t tt tt tt t t | tÇ tI | t d c
t t t t | Yt ¿
t | tÇ t
36
!
26
 a c a a
Arrostino ¿
! ttt t ttt ttt ttt t ttt ttt tt t tt tt tt t t #t t
t t t t t t t
> ¿ #t t tt t t ttt ttt tt tt t t c
t tt tt
| | t t t t
? ! |
Piano
| t t t t c t t t t
¿ t t t t t tt t t t c
t t t
t
! tY tY
30
 b c t tI tI t tI tI tI tI tI tI tI tI
Arrostino
t
3. She'll beg that the Duke will con - vey her to the fri - ars, With their
4. By this time the monks will have fal - len in our clutch - es, With their
!
> tt t t t
tt ttÇ tt ttÇ t tt tt tt tt tt tt tt
Ç Ç
? !
Piano
tt ttÇ tt ttÇ tt tt tt tt tt tt tt tt
Ç Ç
! t tI tI t
33
Arrostino  tI tI t tI tI t tI tI tI tI tI tI t tI tI
splint and their lint and their high jer - ry ho! Then he'll take her up at once through the
cries of sur - prise and their high jer - ry ho! And dis -guis'd in their robes, we'll re - ceive
! Itot tt tt ttt t tt tt
> t t tt
t t t t ttt tt tt t tt
?  ! ¬t ttt ttt ttt t ttt ttt
Piano
¬¬¬ t tt tt tt tt tt tt
¬t ¬
! ¡
t tY tY !tYt tY t t tY tY !tt
36
Arrostino  t I
I t I
t I tI I
t !|| !t t t tI tI
bram - bles and the bri - ars; And her woes to the monks she'll ex - plain them, with their
the Duke and Duch - ess; And in cus - to - dy we'll de - tain them, With their
! t t ¡
!t t t !t tt !|| !t t t # # tt
>  tt tt tt t t t t t
•
tt tt tt tt ! tt ! tt tt tt tt
? ! t tt
Piano
t t t t
t t t
37
! t tY tY tY
t tI tY
39
Arrostino  t tI t
I tI tI tI I t tI tI tI tI tI I
t I t I tY
high jer - ry ho! With their wrap -pings and their strap -pings, With their cack - le on di - a - chy -lon, Their
high jer - ry ho! And the pus - ses of those cus - ses, And a ran -som ve - ry hand -some, And a
! t Ç Ç ttÇ
 t tt tt tt tt tt tt tt tt tt t tt tt tt tt ttÇ tt tt ttÇ
> Ç Ç Ç ttÇ ttÇ tÇ
Ç Ç Ç Ç Ç
t 
? ! t t t t t t t
Piano
! •tY tY t tY tY t tY tY tY tY tY tY Yt Yt tY
 t tY tY t tY
42
Arrostino
high jer - ry ho! With their high jer - ry ho! With their wrap -pings and their strap -pings, With their
high jer - ry ho! With their high jer - ry ho! And the pus - ses of those cus - ses, And a
; ! b •tYt tYt t tYt tYt tt tYt tYt tYt tYt tYt tYt tYt tYt tYt
Tenors  c t tYt
With their high jer - ry ho! With their wrap -pings and their strap -pings, With their
With their high jer - ry ho! And the pus - ses of those cus - ses, And a
! b •t t t tY Yt t tY tY tY tY tY tY Yt tY Yt tY
c Yt Yt
Basses < t
! tt tt t tt ttt tt tt tt tt tt tt tt tt tt tt t t
>  tt t t t t t t t tt
•
? ! t t t tt t
Piano
t t
t
! #tYt tY tY tY tY tY
45
Arrostino  tY tY t tI tI t t N N N N
cack - le on di - a - chy - lon, Their high jer - ry ho! Their high - high - high - high -
ran - som ve - ry hand - some, And a high jer - ry ho! A high - high - high - high -
; ! #tY tY tY tY tY tY tI t
Tenors  tI tI tI t t N N N N
cack - le on di - a - chy - lon, Their high jer - ry ho! Their high - high - high - high -
ran - som ve - ry hand - some, And a high jer - ry ho! A high - high - high - high -
 ! Ytt t
tY
t
tY
t
Yt
tYt tYt tYt tYt tt !tYt tYt t #tt N N N N
Basses
<
! #t t t t t t tt t tt to t tot tot tIot
> t t ttt tt tt t tt I I I
t t t t tt t t t t
? ! t
Piano
t t tt t t t !t t #tt t t t tt
t t t t t
t t t !t t
38
!
tI d
48 3
 N N N t | tÇ tI | c
Arrostino ¿
high - high - high their high jer - ry ho!
; !
high - high - high a
Tenors  N N N t | tÇ tI | tI d c ¿
t | tÇ tY
high - high - high their high jer - ry ho!
!
high
N
- high
N
- high
N
a
| tY d c
Basses < ¿
! tt tt
tot tot tot
tt || ttt ÇÇÇ tt
I d t t
> t || tI
I I I
t t t | tÇ tt | tt ¿
? !
tt tt t | t d
Piano
t t | tÇ tI c
t | tÇ t | Yt ¿
! tÇ tY |d Yt
51 4
Arrostino  | a a
; ! |
high
tÇ
jer -
tY
ry
||
ho!
tYt d
Tenors  a a
tt ÇÇ tYt
! | || tYt d
high jer - ry ho!
Basses < a a
! t c tt tt tt tt t tt tt tt t tt tt tt t tt tt tt t tt tt
 tttt c tt b t t t t t t t t t t t t t t
> tt t
• | tÇ t | t
? ! | tÇ Yt
Piano
| t t t | Yt d c
| t b
t t t
c
t
t t #t t t t t t t t tt t t t
! tt t tt tt tt t tt tt tt t tt tt tt t t tt #t t t tt t tt ttt ttt tt t t tt t tt
55
> t t t t t t t t t t t t t t t t t
| t t t |
Piano
? ! | t t t | t d #ttt ttt ttt ttt t t
Yt c t t t t t
t t t t t t t
! ||| tt ÇÇ
tt ÇÇ
t ²
AA
59
> | Yt AA
? ! ²
Piano
| tÇ tI A
| tÇ t A
39
6. Teresa little word/ Bedecked in fashion trim
Recitative and Song
Alfredo
" " 34
Andante
 a a a"| Ç tÇÇ J
t tÇ t tÇÇ tJ t Ç t
>
•
?  " 3 "t t t " # ttt ttt ttt #ttt ttt ttt " tt tt ttt t t tt
Piano
" # tt tt tt "tt tt
diminuendo
" 4 #t t t
"
7
Alfredo " a a a a a a
t Ç Yt t t
" " tÇ t t t t t tÇ t t t t| t t t t t t t| Ç I t
>  | !tt tt Ç ! t t # tt | t !ttt

?  " ||| ÇÇÇÇ || ÇÇ
|| ÇÇ ||| ÇÇÇÇ | t
#|| "tt | t
" | | |Ç | t
" t t t Ç tI tY tY t t t Ç #tY I t Ç "tI tY tY

13
Alfredo " b t tY tY t t tI
Te - re - sa! lit - tle word so glib - ly spo - ken! Take pi - ty on a heart that's all but
"
> " tt c c a a || ÇÇ "| Ç "|| ÇÇÇ
|Ç # || ÇÇ |
?  " tt c c a a !| Ç #| Ç |Ç
" !| Ç #| Ç |Ç
" tY •t | t tY tY #t tY tY tY #tY c t tY tY tÇ tY
19
Alfredo " tI c
bro - ken! Te - re - sa! one word poem tri - syl - la - bic; An East - ern ode in
" #|| ÇÇ
 " ! #ttt c c
#|||| ÇÇÇ
#|| "t
# ttt || ÇÇÇ
> # || ÇÇ # || || Ç
•
? || ÇÇ
"" t c c #|| ÇÇÇ || t
t || ÇÇ
t |Ç | | |Ç
40
" t tY tY tÇ tY tY
cantabile
" t t t t tY
24
Alfredo tI c c a t t tI
I tY
sen suous A rab - ic! Would that thou wert as ten - der in thy
"
" |Ç || ÇÇ tt t t "t t t
> ||| ÇÇÇ || ÇÇ tt t t t
tt
t
tt
tt
t tt tt tt

?  " | ÇÇ || ÇÇ tt c c
" || Ç |Ç t
t t t t t t
t t t t t t
"
t d tI tI #tI t t #t t t t !t t t #tY Yt tY
29
Alfredo " t t | t t |
na ture As in thy soft and ten der no - men - cla ture!
 "" t tt tt t c c t c c a |Ç
> tt tt
t t tt
? " t || ÇÇ
" t t t c c t c c a |Ç
t t t t t
"" 68
34 Andante
Alfredo  a a a
tÇ t tI
" | 68 t Ç t t t tt
 " |Ç t tÇ tÇ Ç t t
>

? " || ÇÇ t t
" |Ç #tY t
68 tt Ç t t t t t tt t t t !t tt Ç t t t #tt Ç t t t t t
Ç
41
" cÇ t tY
37
Alfredo " a c tI t t tI
t t t t t t
Be -decked in fa - shion
" t
>  " tÇ t t tttt t tt tttt ttt t t t t
t t t tt tt t t t

?  " t Ç t t t t t t tt tt tt ÇÇ tt c d Yt d Yt
" t tÇ tY I
t I
t
" tÇ t tY t t t tY tÇ t
40
Alfredo " tY tY
""
trim, With ev 'ry curl a - qui - ver; Or
t t t tt
> tt ttt tt t tt tt t tttt tt tt
tttt t
tt t tt
? " tY Yt tY Yt tY tY
" tI d tI d I
t
d tI d
tI
d t d
I
" t t tY tÇ t tY
43
Alfredo " t tI
leap ing light of limb, O'er
" " t t
> t t t t t t t t t t t t
t t t t
t t
t t t t
? tÇ t tI
tY tÇ tY t tI
"" t t t t t t tY
" t t #t tY #t Ç t tY
45
Alfredo " t tI
"
ri vu - let and ri - ver; Or
" t t t t t t t t t t t t
> t t t t t t t t
t #t t t
? " t t t d tY d tY d Yt
" Io t tI tI t
I
42
" t t tY tÇ t tY t #tY t tY
47
Alfredo " t tI
skip ping o'er the lea On daf - fo - dil and
" " tt t t t t tttt t ttt

> t tt t t t t t tt t
t t t t t t tt t t tt t
? " t t t tt Ç tI t| Ç
Ç
t tI |Ç
" o I
t |Ç
" tY t tY
50
Alfredo " ttt t tÇ t tY t

dai sy. Or stretched be - neath a
" t t t t t
>
" t t t t t t t t t t t t t t t
t #t t t t
? " t d tI t t t t tY
" t t tI to
I tIo
" Ç t #tY tY
" t t tY t tY
52
Alfredo ttt t tÇ
tree All lan - guish - ing and la zy. What
" " tttt t ttt t tt ttt tt

> t t tt t
t t t t t t tt t t tt t t t
t #t t
?  " t| ÇÇ t tI " tt ÇÇ
" |Ç t t t tÇ
|Ç t
" t tÇ t tY t
55
Alfredo " tY t tY tY t tY
""
ev - er be her mood Be she de - mure - ly
t t ttt ttt tt t t
> ttt tt ttt tt t t t t ttt tt ttt tt
tt tt t t tt tt
? "
" t d t d d tt d tt t d t d
t t
43
" t t tY #t "tY tY t t tY
 " tÇ tY
58
Alfredo t
""
prude Or lan - guish - ing - ly la - zy My
ttt t tt tt t tt ttt tt tttt ttt tt

> ttt t ttt t tt #t
d t tt
? " tt d
tt
t d ttt t
d tt d t d ttt
" t t t t t t
" tY #t tY #tY t t tY
61
t
Alfredo " t tI t tI t
la - dy drives me cra
t
-
tY zy In vain her heart is
" " t t t #t !t t t t t d tt t
>  t t t #t t t t t I
t tt tI
t tY

? " d tt d
! ttt
t d ttt t d tt tt t
tY
t
t
t
" t t Yt
" tt ÇÇ tt tY tY t tY tÇ c
64
Alfredo " t tY
wooed What ev - er be her mood.
" " tt Ç tt tI t c
tI t c
tI tt t t t t t t t t t t t
> t t t
? " tt Ç t t t d t t t tt
" t Yt Yt c tY c d cÇ
"
67
Alfredo " a a a
" " tt ÇÇ t
tÇ
tI tt t t tt Ç t t t t t t
 Ç t tÇ t t t t t t
> t
? t t t t t t t t t t t t t t t t t t t t t t t tt tt
t t
" " tt Ç t tt #tY
!t tÇ #tt Ç Ç t
44
" tY tÇ t tY
 " cÇ t
70
Alfredo c tI t t tI
What pro fit should I gain. Sup -
"
>  " tt t t t t t t t t t tt t
tt t tt tttt tt t t
tt ttt tt t tt
?  " tt ÇÇ ttt d tY tY tY tY
" tÇ tI d tI
d tI d tI d
" tY Yt t tY tÇ t
73
Alfredo " tY tY
pose she loved me dear - ly? Her
" " t t t t
> t t t t t t t t t t
t t t t
t t
t t t t
? " d Yt t
I d tY d Yt d Yt
" I
t I
t I
t
" t t tY tÇ t tY
75
Alfredo " t tI
""
cold ness turns my brain To
t t t t t t t t t t
> t t t t t t t t t t t t t t
?  " tÇ t
t tI
tY tÇ tY t tI
" t t t t t tY
" tY #tY tY #t Ç t tY
77
Alfredo " tI tI tI
verge of mad ness near - ly. Her
" t t t
> " t t
t t
t t t
t t t t #t t
t t t
t t t
t t
? " t t t
d tY tY tY
" tIo I
t t t
45
" t t tY tÇ t tY
79
Alfredo " t tY
kiss though, Hea - ven know To
" " t t t t t t t t t t t t t t t t t
> t t t t t t t
? t t t tt Ç tI t| ÇÇ t tI
" " oc Ç
I
t
" t #tY t tY tY
81
Alfredo " ttt t tI t

dream of it were trea son Would
" t
>
" t t t t t t t t
t t t t t t tt t tt t t t #t t t t
? " |Ç t d t
I
" |Ç t t I
t
" t tY tÇ t tY t #tY t tY
83
Alfredo " t tY t
" tttt t ttt

tend as I sup - pose To ut - ter less of
" tt tt tt tttt tt
> t t tt t
tt t t
t tttt tt
t t
? t t t t tY t| Ç t tI |Ç
" " Ito to
I
Ç
|Ç
" ttt tY t tÇ t tY
86
Alfredo " t tÇ tY t tY
rea son My state is not a - miss I
" t t t t
>
" t t t t
ttt tt ttt tt tttt ttt tt
t t #t ttt t t t t
" t ÇÇ tt
? " t t tt Ç d d
tt
d ttt d
ttt
" t t t t t t
46
" t tÇ tY t
89
Alfredo " tY t tY t
""
would not have a kiss Which
>  t t t
t t t t t t
t t t t
?  " tt tt tt ttt
" t d t d d t d
t t
91
" t tY #t "tY tY t t tY t
tY #t tY
Alfredo " t
in or out of sea - son Might tend to loss of
"" t t t t t t t t t t t t t t t t #t t t t t t t t t #t "t
>  t t ttt #t t t t
? " d ttt d ttt d ttt d ttt d

tt
d
" tt
t
" t t t t t t
" #tY t t tY tÇ t tY t t tY
94
Alfredo " tI t tI t tY
t t tY
rea - son! What pro - fit in such bliss? A fig for such a
" t t t Ç
>
" t t d Yt tt ttI tt Yt tt #t t
tt tI t c
t tI t c
tI
?" tt t t t t t t d t t t
d t Yt d tYt tt tY t
t
tÇ t Yt tY c tY c
" t Yt
" c cÇ
98
Alfredo " tY a
t
kiss!
t t
> 
"" tt t t t t t t t t t d cÇ
?  " tYt ¬¬¬ tt

" c cÇ ¬¬¬ tY dÇ cÇ
47
ALFREDO. What shabby things a man will do when he’s eaten up with jealousy! But
what a comfort those shabby things are to him! To prevent Teresa joining the
Tamorras with the other girls, I was mean enough to bribe a farm girl to lock her
in her room! I’m disgusted with myself for having stooped to such a contemptible
act. Still, I’m very glad I did it.
Enter TERESA.
ALFREDO. Teresa! You here?

TERESA. Didn’t expect me, I fancy?
ALFREDO. No — I ——
TERESA. Locked me in my room, didn’t you/ Well, I escaped through the window.
ALFREDO. Never thought of the window! However, you are too late — the Tamorras have
gone. Ah! forgive me; I couldn’t bear the thought of your spending the day with
them.
TERESA. My dear Alfredo, now do you really think I am the sort of girl who would throw
herself away upon a contemptible outlaw? Why, I’d much sooner marry you!
ALFREDO (delighted). You would? My darling! (Putting his arms round her.)
TERESA. Infinitely. Don’t.
ALFREDO. Why not?
TERESA. It’s a liberty.
ALFREDO. But after the tender avowal you have just made, surely I may be permitted …
TERESA. My dear Alfredo, you jump at conclusions. I said I would rather throw
myself away on a respectable young farmer than on a contemptible outlaw. But I
haven’t the smallest intention of throwing myself away on either.
ALFREDO. Teresa, have some pity on me; I am so desperately in love with you. I have
founded my hopes of happiness upon you, for you are the very air I breathe, the
very sunlight of my life!
TERESA. You are, of course, quite at liberty to profit by any light I may happen to
emit; but without wishing to say a word that would hurt your feelings, it is only
right to tell you that I look a great deal higher than a mere clod-hopper. For you
do hop clods, you know.
ALFREDO. I have certainly hopped some in my time.
TERESA. It’s not my own idea. To be quite candid with you, I have often wondered
what people can see in me to admire. Personally, I have a poor opinion of my
attractions. They are not at all what I would have chosen if I had had a voice in
the matter. But the conviction that I am a remarkably attractive girl is so generally
entertained that, in common modesty, I feel bound to yield to the pressure of
popular sentiment, and to look upon myself as an ineffective working minority.
ALFREDO. But you used to like me.
TERESA. Decidedly. Personally, I entertain a great admiration for you. I think you
extremely good-looking.
ALFREDO (delighted). Teresa!
TERESA. But the general opinion on the subject of your good looks is so entirely
against me that (again regarding myself as an ineffective working minority) I feel
bound to yield to the pressure of popular prejudice, and admit that you cannot be
as good-looking as I feel sure you are.
ALFREDO (despondingly). Perhaps not.
48
7. It's my opinion
Teresa
" tY tY tY
" " ‹ a a a a b
Andante
Teresa
tt tt tt tt tt tt tt tt tt tt tt tt tYt Itot t t
""" ‹ t t
It's my o -
 t t t t t t t ttÇ ttÇ ttÇ

> tt tt tt
Ç
Piano
™ t t ™ 
? " t tot t
I t t t t Ç tÇ tÇ tÇ
 " " ‹ tt tt tt tt tt tt tt tt tt I tt t t tt t t t
" tY
t tI tI tI tI tI tI tI tI tI tI d
5
Teresa " " tY tI tI I

t I | t t tI
"""
pin - ion, tho' I own In think - ing so I'm quite a - lone; In some res -pects; I'm but a
 tt tt tt tt ttÇ tt ttÇ ttt tt tt tt ttt

Piano >
ÇÇ Ç Ç Ç Ç
t ttÇ ttÇ tÇ Ç ttÇ ttÇ t t t
?  "" t t tt t |Ç t
" t t t t t
" d tY tY tY tY tY tI tI tI tI tI tI tI tI #tI tY tY
8
Teresa " " |

tY tY tY
"""
fright. You like my fea - tures, I sup - pose? I'm dis - ap - point - ed with ny nose: Some rave a -
> tt tt tt tt tt tt tt tt tt tt tt tt
t t t
Piano
? " tt tt tt tt tt tt tt tt #tt
" " |t Ç t t
"
" " t d tY d tI "tI tI tI tI #tI #tI tI
11
Teresa t #tI tI | tI !tI tI

bout it; per - haps they're right. My fi - gure just sets off a fit; Butwhenthey
" tt "t tt t tt #t #tt t

 " " tt tt !tt ttt t t tt tÇ !tÇ tÇ
>
tt tt t
Piano
? " t t t d ttt t t t t
t t t t
"" t t t t |
| t
t
I
" t tY
 " " tY Yt #tY tY t t t tY | d
14
Teresa tI tI tI #tI tI
say it's ex -qui-site (Andthey do say so), that's too strong. I hope I'm
 " " " tt t #tt t tt tt t

t
t
t tt t
t
t t
t tt t t #tt t
Piano
> t
?  " tt t #tt tt t tt tt #t¡t t t #tt tt
staccato
"" t #t t
t t
49
"
t #tI tI tI I
tY tY #tY tY tY tY tY "tY d tY tY tY
17
Teresa  " " tI I t #tI tY |

not what peo - ple call O - pin - ion - a - ted! Af - ter all, I'm but a goose, and may be
t t
"" tt t #tt t t t #tt t t t "t
Piano >  " tt t #tt t t t tt t t tt
t t t tt
?  " #tt
"" tt t t #tt tt
t tt #tt "tt #tt
" ²d tY tY tY tY tI tI tI tI tI tI d
20
Teresa " " | tY

| tI tI tI
wrong! When charms en - thrall There's some ex - cuse For mea -sures strong; And af - ter
² t
 """ tt tt tI t t t t t t t t t cÇ d t t t
Piano > ttI t t t tI
² tt
? " t t tt tt ttt
"" | t t Ytt c t
t t c
t t
" tY tY tY tY d tY tY tY tY tI tI tI I
23
Teresa " " I

t tI tI tY | tY t I
t tY
tY tY
"" t t t t t
all, I'm but a goose and may be wrong! Whencharms en - thrallThere'ssome ex - cuse For mea -sures
d d t t tt t tt tt tt
Piano
> " t t
t I t t tt
cresc.
? c tt c !tt c || t ttt
|
| "|
"" " | | d | |
" tY
tY tY #tY tY tY tY tY | d tY tY tY |Ç
26
Teresa " " c a
t
strong; And af - ter all, I'm but a goose and may be wrong!
"" tI I
t #t t t t t t tt tt tt tt tt tt tt tt tt
>  " t| tI d tt t t t t
| t tt tt tt
Piano
t t tt ‘ ™
? " t # tt
t tt #tt t
"" t tY d t t t t t
t
tt tt tt tt tt
t t
50
" d tY t t Yt Yt tI tI I t tI tI
30
Teresa " " a a b t I

My teeth are ve - ry neat, no doubt; But af - ter
" " " tt tt tt tt Ytt t tIot t t t t tt

Piano
> t t tt t t ttÇ ttÇ
t t tÇ
ttÇ ttÇ ttÇ ttÇ Ç

t t tÇ
cresc.
? " #t t tt t
o
I t t t t tÇ tÇ tÇ tÇ tÇ tÇ tÇ
" #t
 " # t # t #tt #t t
I 
t t t t t t t t t t
" d d tY
34
Teresa  " " tI tI tI tI tI tI tI tI | tI tI tI |

tY tY
all they may fall out: I think they will; some think they won't. My hands are
 " " " tt ttÇ ttÇ t tt

> Ç tt
t t t
ttt
t t t
tt tt tt tt tt tt
Piano
?  " ttÇ tÇ
t
tÇ
t
t
t
"" tt |t Ç t t tt |t Ç t t
" Yt Yt t
tI tI tI tY tY
37
Teresa " " tY tY tY tI tI tI tI tI #tI t c #tI tI

small, as you may see, But not as small as they might be, At least, I think so; o - thers
" "
 " tt tt tt tt tt tt tt tt tt tt !tt
Piano > ttt
?  " tt tt tt tt tt t
""
tt tt #tt t
t
t
t t t
" d tY Yt #tY t
tI tI tI #tI #tI tY tY
40
Teresa " " | tI !tI tI tI tI t

don't. But there, a girl may preach and prate From morn - ing six to eve - ning eight, And
" tt t #tt
"
> " t t t tÇ !tÇ tÇ tt "t tt t
tt #t #t t t t tt tt
tt tt tt
Piano
ttt tt tt t t t t #tt tt
staccato
? " d t t t t
" " || tI
t
51
" t t t t t | d tI tI tI
43
Teresa " " tI #tI tI tI tI #tI #tI tY

ne - ver stop to dine, When all the world, al - tho' mis - led, Is quite a -
" t t tt t t t t
Piano > " " t t t t tt t t #tt t t t #tt t t t #tt t
t t t t
?  "" t tt tt #tt # t t t
t
"t
t
#tt tt #tt tt t t
"
" tY tY Yt "tY ²d
 " " tY tY #tY tY d tY tY tY tY
46
Teresa | | tY tY
greed on a - ny head. And it is quite a - greed on mine. All said and
" t t #t t t t t ² t
> " " t t t t "t |t t t tt t t
ttI t tt tt tI t
²
Piano
? " #tt tt t tt t #t "t #tt t t t t

" " t t t t | Yt c
" tY tY tI tI tI tI d t tI
tI tI tI I
49
Teresa " " tI tI | tI tI tI tÇ

t
tÇ t t t t
done, It's lit - tle I A - gainst the throng. I'm on - ly one, Andpos - si - bly I'm
t
 """ t t t t t t t cÇ tY t t
Piano
> t
tt tt tt ttt c c t
? " t t t tt
"" t c | | !t
t t
" tY tY tY tY tI tÇ
d tI tI tI tY tY #tY tY tY
52
" " | tY t tY
rit.
Teresa I
t
wrong! All said and done, It's lit - tle I A - gainst the throng. I'm on - ly one, And
" t t tt t t t
Piano
> " " t t
t I t tt tt tt tt tt t #t t c
c || | ttt # tt t
? " ttt "|
rit.
| t | | t tt c
""
tY
" " " tY tY t d tY tY | tY d
55
Teresa  a a
t t
"" tt t t t
pos - si - bly I may be wrong!
t t
>  " AAA ||
|
I
t tt ttt t || ÇÇ
|Ç
Piano
t t
t t
? "
"" t b c | t t
I t t t t
t t || ÇÇ
| t |Ç
52
TERESA. Now come and talk it over, like a sensible boy. (They sit — he at
her feet.) Come, tell me all about it. You know you used always to confide
your little troubles to me.
ALFREDO. I’ve nothing to say, except that I’m over head and ears in love with
you.
TERESA. Now, first of all, you mustn’t say “you”; it’s too personal. Say,
“I’m over head and ears in love with Teresa!”
ALFREDO. Well, so I am.
TERESA. Poor boy! Well, I can quite understand it, for, with all her faults,
she’s far and away the nicest girl hereabouts. Now, look at it sensibly. If
you, a plain young man, married a conspicuous beauty (for, after all’s said
and done, that’s what it comes to), you would be under a perpetual
disadvantage from sheer force of contrast; and as for jealousy — well, I’ve
known Teresa since she was quite a little girl, and take my word for it, she
would keep you on chronic tenterhooks. Now, if you married a thoroughly
plain girl — like Elvino’s niece Ultrice, for instance — (ULTRICE enters
and overhears what follows.) who couldn’t possibly, under any
circumstances, give you the least uneasiness on the score of her personal
attractions — you might count on being as happy as two thoroughly
unattractive little birds could reasonably expect to be.
ALFREDO. Ultrice! What do I want with Ultrice? She follows me everywhere.
She worries my life out.
TERESA. Ultrice is quite a good sort of girl; and as to her personal
appearance, why, you’d get used even to that in a couple of years!
ULTRICE comes forward.
53
8. Upon my word, Miss
Teresa, Ultrice, Alfredo, Elvino
"
 " 34
Allegro agitato
Teresa a a b tI tY
Oh, it's
"
Ultrice  " 34 a c d
tI tI tI t t
c
Up - on my word, miss!
!t
" " 34 t t t t t t t t t ttt tttt
Allegro agitato
 tt c t c !tt t
> t tt t tt
š
? " 3
Piano
t
" 4 t t t t t t t t t t t t c t t t t t t t t t t
t t t
t
" t tI tY
4
Teresa " t t t tI tI t t tI tI
you miss! How d'ye do, miss? Did - n't know you o - ver -
"" I
tt d c tt d c c
> t !tt
t
t
tt t
I ttt ttt #ttt
Ç
t
ttÇ
š š
? "
" ttt t tt tt t t tt tt t ttt t t t t #t t t t t t
t t t
" t t t t ² 2
7
Teresa " t c b t t
I c a 4
heard, miss! How po lite - ful!
" ² 2
Ultrice " b t tI t
I t
c b tI tI #t t t 4
Oh! you spite - ful One I owe you, You
" d d d ² 24
" c c c c
> tI
tt ! #ttt ttttI
tt
tt tt
t t
tI
tt
tt ttt " # tt #t
t tÇ t
š Ç
š š
?  " #t t t t t t #t t t t t t t t t t ²
" t t t t t t#t t t t t t t t t t c 24
t t t t t t tÇ tÇ
54
"
 " 24
11
Teresa a a a a
" 2 tZ Zt Yt tJ J
Ultrice  " 4 tI tI tI tI tI tI tI tI t I
t tJ tJ tI tJ J
t I
t
tit - tle tat - tling, reck - less, rat - tling, two - pen - ny ha' pen - ny par - cel of va - ni - ty!
"" 2 d
>  4 t
I
d
t
I
d d d
tt
I
d
t
I
d
t
I
d
tI tI tI
 tt tt tt tt t tt tt tt
?  " 2
" 4 tI d tI d tI d
tI
d
tI
d
tI
d
tI
d tI d
t t t t
t t t t
" tY tY tJ tJ tY tY tY t t #t t tY tY
15
Teresa " tI tJ tJ tI tI tJ J
t I
t
High gen - ti - li - ty, a - mia - bi - li - ty, both com bined with true hu - mil- li - ty!
" d
Ultrice " a a a c tI
t t #t t t
You
t t t t t t
" #t t t t t #t t t t t
> " t t t t t t

tt tt tt tt
? " t tt
t tt #t t t t " # tt t #ttt
t t
" t t
" tY tY tJ tJ tI
19
Teresa " a a a a
Play pro -- pri - e - ty,
"
Ultrice " tI tI tI tI tJ tJ I
t I
t tI #tI tI tI tI tI tJ J
t J
t #tJ tI a
mis - chief mak - ing cha -rac - ter tak -ing, click - ing clack -ing bit of in - an - i - ty!
" d d I
> " #tttI tt d tI
tt
d
tI
tt
d I t d I t d #ttI d
tI tt d
d I
tI
t ! tt tt t tt t tt
?  "
" !tI d I t
d It d
tI
d t d
t
d !tI d t
I d
t
I
d I
t d
!t t t t Yt Yt !t t t
t
55
" tÇ tZ tZ t Ç
 " tY tY tJ J tY tY tY tI I tY
24
Teresa t I
t t I
t tJ tJ tI
or so - ci - e - ty may sup -pose it's in - e - bri - e - ty, Play pro - pri - e - ty
" d
Ultrice " a a c
tI tI tI tI tI tI tI tI tI
You tit - tle tat - tling, reck - less, rat - tling,
 "" d I
tt d #ttI
t t t t tt #tt tt tt d It d
t tIt
d tI d tI
> t t t t t tÇ t t t tt tt
tt tt t t
? " t tt t tt
" tI d I
t d t t t t "t #t t t tI d
tI
d
t t t t "t #t t t t t
" tÇ tY tZ tZ t Ç tÇ tÇ
tY
29
Teresa  " tY
or so - ci - e - ty may sup - pose it's
" tZ tZ Yt J tY
Ultrice " t tJ tI tJ tJ I
t J
t J t tJ tI tI "tI
t J tI tJ tJ tI tY
two -pen - ny ha' pen - ny par - cel of va - ni - ty! You mis - chief mak - ing cha - rac - ter tak - ing,
" d d d d d d "tI d
> 
"
ttt
tI ttt
tI tI tI tt d ! I
I
ttt ttt tI
tt tt t ttt
?  " d d I d d tI d tI d t d t d
" tI t
I t t
I tY Yt
t t t t
t t
" | tY ²
tI Zt Zt tY
33
Teresa " a a a a
in - e - bri- e -ty!
" I
t I ²
" t I
t I tI a a a a
t tJ tI tJ tJ
t J
Ultrice
tttttttt tttttttt tttttttt tt tt t

click-ing clack-ing bit of in - an - i - ty!
"" d I t tt tt ²
> tt d tI
t
d ttt ttt ttt ttt
I d
t t
• t ttt
? " t d t d t tt tt t| t
t tt t t ²
" d d t t t t #t d
Yt Yt tI t
I tt
t t
56
" | |
 " 34 t t t t t t t |Ç
39 Moderato
Alfredo t t t t
la dies pray you, lis - ten to me. Dick - y birds in their
 " " 34 t t tt tt tt tt tt tt tt tt tt tt tt tt tt tt tt tt
> t t
?  " 3 t t t t t t t t tt tt tt
tt tt tt t t t
" 4 t t tt t t t t t t t t t
" t t t |Ç
45
Alfredo " t t |Ç t t t | t t
nests a - gree. If they can do so do so too.
"
> " ttt ttt ttt ttt ttt ttt t
" # tt ttt
tt
t tt t #ttt tt tt
t t
tt
t
tt tt tt
t t t
?  " |Ç |Ç |Ç |Ç
" t t t t t t
" t #t t t t t
51
Teresa " t t t | c a a
What has it pray, to do with you?
"
Ultrice " t t !t t t t #t t t | c
t !t t | t
What has it pray, to do with you? Dick - y birds don't, to
"
Alfredo " a a a a a a
"
" t t "tt tt| b t t t
> t t #t Ç |Ç tÇ tttÇ ttÇ t ! tt tt t t
? |Ç
rit.
d À d À
"" | Ç |Ç |Ç | Ç tI tÇ t | Ç tI tÇ t
57
" t
57
Ultrice " t t | t t !t t | t t t t |
c
gain their ends, De - pre ci - ate their ab sent friends.
" " t t
> t
t tt t t tt t ! tt tt t
t
t
t
t
t tt |Ç t t
c
À À À À
?  " d tI tÇ t À Ç
d tY t t d tI t t d tI t t d tI t t Àt t t
" |Ç |Ç Ç |Ç Ç |Ç Ç
| c t
"" Ç t t !t | t t t t t
t #t t t t t "t
63
t c #t t
ad lib.
Teresa  t t t
Dick - y birds don't, what e'er they hear, For get that they are
" ¡ tY c Ç !t¡ t d c "tI d

" t t t c #t c c b
> t
tÇ tÇ tÇ tÇ Yt tt
t
tt
t
tt
?  " ttÇ c À À • 
" ttÇ ttÇ ttÇ | t | I
ttY d c Itd t c c b t
!t t t t
cÀ c t
" ‘
t t| |Ç | |
69
Teresa " t t t t t t
la dies, dear! Dick - y birds twee - tle, twee - tle,
" ‘
Ultrice " a a t t t !| t !| t
Dick - y birds twee - tle, twee - tle,
" ‘t t | |
Alfredo " a a t t t
Dick - y birds twee - tle, twee - tle,
" ¡ ¡
" tt c tt | Yt d | Yt d
> || ÇÇÇ ||| ÇÇÇ
| ‘
t tt ! || tt ! || tt
? " |Ç tY tY
" |Ç c d d
58
" t t t | t t t t
74
Teresa " c t | t t t c t
tweek, Which may be sil - ly, and does sound weak; But dick - y birds
" "t
Ultrice " c t | t !t t t !| t "t c
t t t t
" t t | t t | t
Alfredo " c t t t c t t t t
"" t t c ¡ d ¡ t t c
> "tt tt c
Ç ttÇ !| tI !| tI d c a
" tt tÇ Ç " tt c c
? " t t tt | tYt
d
| tYt
d |Ç "| Ç
" c c
" | | t | t t t t t
80
Teresa " t t t | t
don't, what - e'er they hear, For - get that they are la - dies
"
Ultrice " | t | t | "t "| t | t | t
don't, what - e'er they hear, For get that they are la - dies
" | t t t t |
Alfredo " | t t #t #t t | t
don't, what - e'er they hear, For - get that they are la - dies
" t t tt t
> 
" a a b "tt "| | t tt || tt
t |t Ç t t
? " | t | Ç #t #t "|| t | t #| t
"
59
" ‘ | | t
86
Teresa " |Ç t t t t t c t | t
dear! Dick - y birds twee - tle, twee - tle, tweek, Which may be
" ‘
Ultrice " |Ç t t t !| t !| t "t c t | t
" ‘ t | | t t |
Alfredo " |Ç t t t t c t
¡| Yt ¡| Yt t t t
"" t t t t t d d "t t t t t t t t t
>  || ÇÇ t
‘
t ! || tt ! || tt tt " tt tt tt
?  " |Ç t t tY d tY d t
" c c
" t t | t c t t |
92
Teresa " t t t t t
sil - ly, and does sound weak; But dick - y birds don't, what -
"
Ultrice " !t t t !| t "t c
t t t t | t
" t t | t c
Alfredo " t t t t t t | t
¡| ¡| t
Yt Yt t t t
"" d d t t t t t |
>  t t t | t
!| tt ! || tt " tt •
?  " | t t t tt "|| tt || t
" c
60
| t ²
" | t | t t ## !
97
Teresa " t t | t |Ç
e'er they hear, For - get that they are la - dies dear!
"
"
| t | "t "| t | t ## !
Ultrice
t t t |Ç
e'er thaey hear, For get that they are la dies dear!
²
Alfredo
"
" t t #t | t | t | t | t |Ç ## !
e'er they hear, For - get that they are la - dies dear!
| t ²
 " " || t
t | "tt "| t
t
t c c a a ## !
> |
?  " |t t #tt "|| tt |
|
t
t
tt
" c c |Ç ## !
³| Ç
Elvino
 ! 68
103
a a a cÇ c tY
Now,
"t ttt tt t t t tttt tttt tt Ytt ! tt tt tt tt t t #t t

!6 " "ttt t tt t Yt "ttt !t t t Yt t t t t
>  8 t t t
•
? ! 6 t
8 "| Ç "| Ç "| Ç t d tt d
"|Ç "|Ç "|Ç t
!
(Interrupting)
cÇ
107
Ultrice  a a a c tY
tY tY Yt Yt tY tY tY tY Yt Yt tY tÇ t
tY tY tY tY tY
And
 ! tY tY d
Elvino
pray you, at - ten - tion, I've some -thing to men - tion That ought your ap - pro - val to win
! t t t t t t tt t Ytt tt t t t t t
>  t Ytt tt t Ytt tt t Ytt t tt tt tt tI
t
t
?  ! Ytt d  Yt Ytt d Ytt t
t
t
tY tt tYt tt tYt
tYt tt tYt t t t t
t t t t
61
!
(Interrupting)
cÇ tY
111
Teresa  a a a c
And
!
Ultrice  tI tI tI I
t I
t tI tI tI
t I tY t a a
tY tY ! tY tÇ t
dick - y birds nev - er, or rare - ly en - dea -vour;
! a cÇ c tY tY tY tY d
Elvino
t
t t t t
Now, la - dies a truce to this din!
! t
>  tt tI t tt ÇÇ tt tI t tt ÇÇ tt t ! tt
tI tI
t tI
t
š š
?  ! tt tYt tt ÇÇ tt tYt tt ÇÇ t t t t tt ttt ttt ttt tttY
t Yt t Yt
! Yt !tY tY t d d
115
Teresa  c tY t a a
! tY ! tY t tY tY tY tY tY
dick - y birds don't I won't!
 ! cÇ c c tY tY tÇ t tY
Elvino
t
! t !!tt t t t !t t t
Be qui - et! My for - tune's a - bout to be - gin The
t t
 t t Yt !t t t t ttI tt tt tt tt tt tt t !t t t
> ttI
?  ! tt t tt "ttt tYtt ttt tttY

ttt t ! |tÇ t t t t tt tt ttt
t Yt Yt t tY t tY t tt tt t d
! cÇ
119
 a a a c
Ultrice
! tI
 ! Yt Yt !tI Yt Yt tY tY !tY tY tY tY Yt tY ! tY tY tY tY tÇ t
And
Elvino tY d
Duke and the Duch-ess (their qual - i - ty such is) Them -selves and their kith and their kin
! t t !t t t !t t t! t t t t
 t t t t t tt t t !tt t t tt !t t t t t t
> t !t t t t
?  ! ! ttt ttYt tt ttYt ! ttt tt ttt t t t t ! ttt ttYt ttt tYtt
t tY
I
t t Yt t Yt
62
! cÇ tY c
123
 tY t a
Ultrice
tI tI tI #tI tI tI !tI tI tI
dick - y birds rare - ly Are treat - ing me fair - ly What!
!
Alfredo  a a a cÇ tY c
tY tY Yt tY
What!
! Yt tY Yt Yt t d
Elvino a cÇ c c
They're go - ing to stop at the inn! They're
t t t ! t #tt t t t
! tt ! tt #t tt tt t t t
t t
t t t t tt !tt t tt tt tY
>  t t d #ttt
tYt tt tYt !t tYt š

?  ! !t tt tYt t t t t t d !t d
!t !t t Yt t tY t !t
! cÇ tY c
127
Teresa  a a a
What!
!
 a cÇ tY c a cÇ c
Ultrice
tI
What! The
! a cÇ tY c a a
Alfredo 
What!
tY tY tY
! tY tY tY t d c tÇ t d
Elvino !tI tI tI tI tI tI tI
go - ing to stop at the inn! They're go - ing to stop at the inn!
t t tt t t
! t !t tt t d d d
>  #ttt tt ÇÇÇ tt
tt ! t t tt t t t t
š
? ! t t t t t d !t d !t t t t d
t Yt t Yt t !t t tt t t t t t
t t t
63
! tY tY tY tY tY tY Yt I
t tY t d
131
tY I
t !tI tI tI t Ç
Ultrice  tI tI !tI tI
Duke and the Duch -ess fall in - to our clutch-es, A pen -ance, no doubt, for some sin.
! c
>  t
I tt c
I tt c
I tt d tI # ttt t t !tt t
I t tt ÇÇ tt d
! tt t t t t t t t tÇ t
? ! t t t d
tI c tI c !tI
c
tI
c t d t d
t t t t
t t t t t t
!t
! !tY tY tY tY !tY tY tY tY !tY tY
135
Teresa  tI tI !tI tY tY tY !tI tY

haps it's his fi - gure, too port - ly for vi - gour, He's stout and he wants to be
! !t t !tt t t tt t tt !t t
>  t t "t #t tt
t t t t
t !t
! tt
t
t t
?  ! !! ttt d ttt d t d tt d t d t d
!t t t
! tÇ d
138
Teresa  t a a
thin.
! cÇ c tI tY tY tY #tY tY tY tY tY tY
Alfredo  tI tI tI
At least their in - ten - tion shows great con - de - scen - sion, For
! tÇ
>  tYt d d
tt tt tI #tIt c ttt
I c tt
I c tt
I c
t t t
? ! t t t t d t c t c c c
t t t t Yt Yt tI tI
t t
64
! tY tY tY tY tY tY d
141
Alfredo  tÇ t a a
tY tY tY Yt Yt tY tY tY tY tY
com - fort they can't care a pin.
! a cÇ c tY tY tY
Elvino
t tt tt
For ex -cel-lent eat-ing Af - fords a good greet - ing To
! t tt tt tt tt t t t t t t
>  t t t t t t t tY tt t tt tt t t
Yt t tYt
ttt t t Àt Ç t t
?  ! tt d tt Yt
t t t tt ÇÇ t Ytt t Yt t t t
t t t t tI
t t Yt
 ! Yt Yt tY tY tY tY
145 tÇ t tY tY tY tY tY Yt Yt tY tY tY Yt Yt Yt
Elvino
peo - ple who stop at my inn! Good beds and warm sheet-ing, That nev - er want Keat- ing, That
!
>  tt t t tt t Ytt t t t t
t Yt t tt tt tt tI
t tt tI t tt ÇÇ tt tI t tt ÇÇ
š
tYt tt š
? ! t
t
Y
t t
t Ytt t t t t Ytt tt ÇÇ tt Ytt tt ÇÇ
t t
! tY tY tY tY tY tY tY
cÇ tY tY
149
Teresa  a c tY tI tI tI
In - dif - fer - ent eat - ing Af - fords a poor greet - ing To
! a cÇ c
Ultrice  tI tI tI I t tI tI
t I tI tI tI #tI tI tI
! a cÇ c tY tY tY tY tY tY tY tY tY tY tY tY tY
Alfredo 
tY tY ! tY tÇ t
 ! tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY
Elvino
ought their ap - prov - al to win. For ex - cel - lent eat - ing Af - fords a good greet - ing To
! t t t t t t t
>  tt t ! tt
tI tI
t t t
tt t t t tt t t t Ytt tt t Ytt #tt t Ytt
? ! t t t t t tt tt # tt ÇÇÇ • t Ytt tt Yt
t t
t
t
tY tt tYt
t Yt t Yt t t t t t
65
! tÇ t tY Yt Yt Yt Yt tY
tI tI tI tY tY tY
153
Teresa  tI I
t I
t tY tI tI tI
peo - ple who stop at this inn! In - dif - fer - ent eat - ing, Hard beds and damp sheet -ing (I
!
Ultrice  #tI tI tI tI tI tI t Ç t tI tI tI tI tI tI tI tI tI tI tI tI tI
! tY tY tY tY tY tY tÇ t tY tY tY tY tY tY tY tY tY tY tY tY tY
Alfredo 
tY tY tY tY tY tY tY tY tY tY tY tY
Elvino
 ! tY tY tY tY tY tY tÇ t tI
peo - ple who stop at my inn! For ex - cel -lent eat - ing, Good beds and warm sheet-ing, That
! tÇ tI t t t tÀÇ t
 #tt t Ytt tt t Ytt t tt tt tYt d d ttt t t d
> staccato
?  ! tt tYt t t t t t t d t
t Yt tÇ Yt Yt c cÇ d t tt ttt tt tt
t
! tY tY tY tY tY tÇ t
tI tI Yt !tY Yt tY !tY I tY tY
157
Teresa  tI tI tI tI t
hope they've some Keat -ing), Af - ford a poor greet - ing To peo - ple who stop at this inn, To
!
Ultrice  tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI t Ç !t tI
! tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY t Ç #t tY
Alfredo 
tY tY tY # tY tY tY
 ! ! tY tY tY tY tY tY ! tY tY tY tY tY tY tÇ
Elvino t tI
nev - er want Keat - ing, Af - ford a good greet - ing To peo - ple who stop at my inn, To
! t !t t tÇ t t t t t tt tt tt ÇÇ t tI
t t t tI t t t Ç #! tt tt
>  t t
? ! t #t tÇ
 t d cÇ d t tt tt tt tt  t d #t d tÇ t I
t
! tt t !t t t
66
! Yt tY Yt #tI t Ç d cÇ
161
Teresa  !tI tY t a c
tI
peo - ple who stop at this inn! A
! d a cÇ c
Ultrice  #tI tI tI tI tI tI t Ç t tI
! tY !tY tY tY tY #tY
 tÇ t d a cÇ c
Alfredo
tI
Elvino
 ! tY tY tY tY tY tY tÇ t tY tY tY tY tY Yt Yt tY tY tY tY Yt
Yt
peo - ple who stop at my inn. For ex - cel - lent eat - ing Af - fords a good greet - ing To
! t t "t d c c c c
>  ttt !t ttt tt t # tt t tt tt tt tt
I tt
I tt
I tt
I
! t t t t t t t t t
? ! •
t tI t tI t t t t d It c c tI c c
t t t t t t t t t tI
t t tI
t
! tY tY tY tY tY tY tÇ
165
 t tI tI tI tI tI tI
Teresa
tI
pen - ance, no doubt, for some sin. Hard beds and damp sheet - ing, (I
! tI
Ultrice  tI tI tI tI tI tI tÇ t tI tI tI tI tI tI
! tY tY tY tY tY tY tÇ t tI
 tI tI tI tI tI
Alfredo
tI
Elvino
 ! tY tY tY tY tY tY tÇ t tY tY tY tY tY tY tY
peo - ple who stop at my inn! Good beds and warm sheet - ing, That
! I
t c tt
I c tt t t t t
I
>  tt t t tt tÇ !t Ç
|Ç

? ! t c t c t t t t t c c
Yt Yt Yt t tI tI
t t t
67
! tY tY tY tY tÇ t d
168
tI tI tI tY
rit.
Teresa  tI tI tI tI
!
hope they've some Keat - ing), For peo - ple who stop at this inn!
 tI tI tI tI tI
rit.
tI tI tI tI tI tÇ t d
Ultrice tI tI
!
hope they've some Keat - ing), For peo - ple who stop at this inn!
 tI tI tI tI tI tY rit.
tY tI tI tY tY tÇ t d
Alfredo tI
hope they've some
tY tY tY
Keat - ing),
tY
For
tY tY
peo - ple
tY
who
tY
stop at this inn!
tÇ t
Elvino
 ! tY rit.
tY tY tY d
nev - er want Keat - ing, That ought their ap - prov - al to win!
t
! c c t Y
t
>  tÇ tI
tt
t
I
tt tI c tt
t
t t tt t
tÇ t Àtt •
? ! t t ttt ttYt
c c c t c
rit.
tI !tI tI I Yt
t !t t t
t t t t t t t
! t t t t t t
t t t t t t
171
> 
t t t t t
?  ! ttt Ytt
t
t
tt
tY ttt
tI
t
t
t ttYt
! t c
t
tttY c tt c c
173
>  Yt ttY tI
t
? ! t t t Yt c c
t t t t t tI
t
68
ELVINO. I don’t know how I shall accommodate them. My only bedroom is
occupied by the exploded Alchemist, who is much too incomplete to be
moved. There’s the scullery. Do you think they’d put up with a shake-
down in the scullery.
ALFREDO. I don’t know. The Duke is an awful stickler for etiquette.
ULTRICE. He gave an inkeeper at Palermo six months because he used his
pocket-handkerchief in his presence.
TERESA. And he fined the Mayor of Syracuse a hundred crowns because he
didn’t.
ELVINO. This is terrible. I know I shall make some fearful mistake with
these people! I’ve never in my life addressed anybody of higher rank than
an Oil and Italian Warehouseman!
ALFREDO. My good sir, they’re not people — they’re personages.
ELVINO. Of course they are! There I go — putting my foot into it at the first
go off! If I could only practise a little. Now, if you’d be so kind — so very
kind — as to impersonate the Duke, just for a dress-rehearsal of the
reception (I’ve got a lot of beautiful clothes left behind by some strolling
players in pawn for their bill), you shall be treated with all the
consideration due to your exalted rank, and have the entire run of the bar,
except rum-shrub!
ALFREDO. It’s a tempting offer. But I must have a Duchess.
ELVINO. Of course you must. (Aside.) How many Duchesses go to a Duke?
ALFREDO. Only one at a time.
ELVINO. You don’t say so?
ALFREDO. Yes — Dukes are very particular about that.
ELVINO. Dear me! (Aloud.) Well, here are two to choose from — my cousin
Teresa and my niece Ultrice — both charming.
ULTRICE and TERESA. What’s that?
ELVINO. Well. One charming and one — umph! Will that do?
ULTRICE and TERESA. That will do!
ELVINO. Now, come; we’ve no time to lose. Choose your Duchess and
begin.
69
9. Fair maid, take pity
Teresa, Ultrice, Alfredo and Elvino
Allegro moderato
|Ç t t
" 3 t t t t tt tt
> 4 tt t
t # tt ||| ttt
tt ttt tt
?  3 ttt ttt ttt ttt ttt ttt t t t tt tt tt t "t
Piano
| t
" 4
t
(To Teresa)
| | |
7
Alfredo " a b t t | t | t t
Fair maid, take pi - ty on my state! Look down with
" t t tt tt tt tt tt tt ttt ttt t tt tt t tt tt tt tt tt

>  ttt tt tt t t t t t t tt t t tt t t tt t t t
Piano
? t t | t t | t | t | !t
c c b |
"
| t | t |
| | t
14
Alfredo " t | t t |Ç
eyes com - pas - sion - ate On my con - di - tion lone - ly; Nor
t t tt tt tt
" !tt tt t ttt t t tt t
>  t t "tt tt t
tt tt tt t t t
t t # t tt tt # tt # ttt ttt ttt tt tt t
t t
Piano
? | t | t !| t |Ç |Ç | tt
" |Ç
t | t | t
" | t | t |
21
Alfredo t | t |
think me too im - per - ti - nent, If I im - plore you to re -
" | || t |t t tt tt| tt tt |tt t t tt tt t |t t tt

>  || !ttt | #tt t t t t t t !tt t t tt t t t
?  !t t t t t t | t
Piano
t | t !t t t t t
" |Ç |Ç | t
70
28
| t | t | t | | |
Alfredo " t t | t t
lent, And my sweet Duch - ess re - pre - sent On this oc - cas - ion
" | ttt | tt | tt | |t t |t t
>  tt tt t t t t t
t t !t
tt tt tt
t t
tt
t t t
tt
t
t t t "t t
? tt tt tt tt ! #tt tt tt
!tt tt t t t tt |
Piano
" t t t t
| | | t
35
Teresa " c c b t t | t | t t
I thank you sir; but it would be Pre - sump - tu -
Alfredo  " |Ç | c a a a a a
on - ly!
| t | t | t tt
>  " t| Ç t t |t t ttt t
tt
t
| tt tt
t
| t
t
tt
t t
tt
t t t
t t t t t
| | t t | | !t
?  |Ç | t t | t
Piano
"
| t | t |
| | t
42
Teresa " t | t t |Ç
ous, in - deed. in me To per - son - ate a Duch - ess. But
| ttt | t tt
 " c !tt |c !t t t| t t | t t c t t c t t
> c t t t tt t #t c t #t t
# tt tt tt
? | t | t |
Piano
t |Ç |Ç || ÇÇ || t
" | | |Ç |Ç
t | t | t
" | t | t |
49
Teresa t | t |
I know one who'd have the face To jump at mim - ick - ing her
" | t |t t tt |t tt |t t t
|| tt tt| tt tt tt tt tt
>  || !ttt | t t t t t tt !ttt t t t t t
Piano
?  !t t t t t t t t t t t | t
" |Ç |Ç |Ç t |t Ç t !t| Ç t |Ç |Ç
71
56
| t | t | t | |
Teresa " t t | t
Grace; No com - pli - ment seems out of place Her van - i -
" tt| tt tt |t t tt | tt | |t t tt
t |t t tt
> t t t t t t t !t t t
t t tt tt tt tt #tt t "t t tt
? " # tt tt !tt tt
Piano
t t t
" |Ç t t t
Allegro
" | tI tY
62
Teresa t |Ç | c b tI tY "t t
ty that touch - es. I mean you, miss, All a -
Ultrice " a a b tI tI "t t c a

D'you mean me, miss?
Allegro
" | tt "tt tt tt tt t tt "tt tt tt tt t tt

>  tt tt t |t Ç t t
t t t
|| tt ttt t t t t " tt
t
t t t t t t " tt
t
t t
? "t t t
Piano
" t t t t t t || t
tY "tY t tY "tY |
67
Teresa  " "| c b "t c

bove. Try it, do, miss– There's a love!
Ultrice " b "tI tY t "t c a b "tI "tI

You're too free, miss. I a -
" tt "ttt " "ttt ttt ttt ttt tt t !tt "tt tt tt tt t "tt "tt tt tt tt tt tt "t
>  "ttt ttt ttt ttt ttt t t t t "tt tt t
tt t t " t t t t t "t t
t
? "t t t t t t "t "t t t t t t "t "t t t t t
Piano
tt ttt t "t
" "t t
72
!tY #tY t tY tI tY tY
71
Teresa " b t | c b
That's ex - pli - cit. Take your ground! Would-n;t
Ultrice  " !t #t c a b "tI #tI t t c

gree, miss! You shall see, miss.
" !tt #tt tt tt tt tt tt ! tt #tt t t t t t "t tt t

>  " ! tt tt tt tt ! #tt t "t t t t ! t t # t ! tt tt tt tt tt # tt ttt tt tt tt tt t
t t t t "t t tt
"tttt t
? tt t t t t t t "t t
Piano
" t t t t !t t t tttt t t t
ttttt
" " " " " 44

75
 " "t c a a a
Andante
Teresa t tI tI |
" " " " " 44 b

miss it For a pound!
Ultrice " a a a a t t
Though your
Alfredo " a a a a " " " " " 44 a
Elvino
" a a a a 4
""""" 4 a
t t t " tt t ! tt #tt "" " " 4 ttt c

t t
>  " "ttt ttt ttt ttt " ttt ! ttt # tt "tt t tt tt "tt tt t t b
Andante
ttt
| " 4 t
t " || t " tt
? tttt t tt tt t t
Piano
t t c
" " " " " 4 tt c
b 4 b
" t t | t t
"
 " """ t Ç
80
tI #t t t t t t t t tÇ tI
tÇ tI
Ultrice
""""
spite all bounds sur pass - es, Pay at - ten - tion, I be -
a a a
> "
t t t t t t
? "" t t t t t t t t
tt t tt t tt t t t tc t
Piano
"" c c
" t c t c c t
73
"
 " """
83
Ultrice t t t t tÇ tI #t t t t t "t tÇ tI
seech you. Man - ners of the up per clas - es I shall
"
>  " """ a a a
t t t tc t t t t t
 "" " tt t t t t tt t t #t t
Piano
? b c c c
"" c t t t
"
 " """
86
Teresa a b t t tÇ #tI !t t t t
Thank you, dear– pray, take your
"
Ultrice  " """ t t tÇ
tY t t b a
be most pleased to teach you.
"
>  " """ a b
t t t t
 "" " t t c t t #t c t t #t t t
Piano
? b
"" t t t t t t
" tÇ
 " """ t t t
t t tÇ tY
89
t tY t t
Teresa t
"
sta - tion– Ma - lice soon will spread the ru - mour. It will
"
> " " " t t t t t t t t t t t t t t t t t t t t t t t t
? "
Piano
" "" t t t t t c
" t t #t t t t
" tÇ tY t
 " """ t Ç t t t tÇ
92
Teresa tY t #t t "t #tI
""
be a per son a - tion Teem - ing with un - con - scious
 " "" t
> t t t t t t "t t t t
t t
t t t t t
t t
#t t
t t
? ""
Piano
c t c t c c t c t c
"" " #t t
74
" tÇ t
 " """ t tY t t t t t
95
Teresa t t t tÇ tI
"
 " """ b
hu - mour! Watch her As she takes her sta - tion, Ma - lice
Ultrice t t tÇ tI t t t t tÇ tI
Watch me as she takes her sta - tion, Ma - lice
" tÇ t t
Alfredo  " """ b t t tI t t tÇ tI
Watch her as she takes her sta - tion, Ma - lice
 "" " b t t tÇ tY t t t t
Elvino "" tÇ tI
Watch her as she takes her sta - tion, Ma - lice
""""" tt tt d d d
t t ttt ttt
>  t t tt ttt tt tt
t t t t t t t t t
? "" t |
Piano
c "t t c t c tb c c
""" t t t tt t
" t
 " """ t "t #t t
98
Teresa t tÇ tI t t t t
soon will spread the ru - mour. It will be a per - son -
"
Ultrice  " """ t t tÇ tI t t t t t #t "t t
" t
 " """ t t tÇ tI t t t t t "t t
Alfredo
"t
 "" " t t t t t
Elvino "" t tÇ t t
I t t
 """"" d tt d tt tt d tt tt tt "tt # #tt "tt t

t
> t t t t t
t t "t t t t t
? " | t| t t t| t " t
t
Piano
" """ t c c t c |
t
75
" t t t
 " """ t tY t t t b
101
Teresa t tÇ t t a
a - tion Teem - ing with un con scious hu - mour.
"
Ultrice  " """ t t t t tÇ tI t t t t b a
a - tion Teem - ing with un con - scious hu - mour.
" tÇ tY t
Alfredo  " """ t t t t t t t t b a
 "" " t t t t tÇ tY t t t
Elvino "" t b a
tÇ t t t t t
 " " " " " ttt tt ttt tt
t tt c b t
tt tt t tt tÇ Yt t t t t
> t t
t t
?  " t| t t t t tt tt ttt b t
Piano
t t t| t t t| t t
" """ c b
" ### "

 " """
105
Ultrice a a #
Cadenza ad lib (Clarinet)
t t
"" " " t t t #t t #t!t t t #t!t t ² ##
Yt d # ttIt d "tI
tt d # #"
> " !t #t t #t "t#t t" t# t# t t
t
?  " t t It d tI d It d "tt ttt
Piano
" t c b t t t!t t ## "

""" Ç ##
76
 " 34
107 Tempo minuetto
tJ t t tI Ç tJ t t tI tI tÇ
tÇ
I tI tI tI tÇ tI
Ultrice
Look at me, And you will see How la - dies grand Pre - sent their hand; It's
" 3 t t c c d
>  4 tt ÇÇ tt tt
tt
t tt tÇ tt tt tt
I | I
tt
t t t t ||
?  3 t tt tt ttt ttt
t t tY t
Piano
" 4 t t t t t d t
d tI tI
111
Teresa " a a a c tI t
I al - ways thought
t
Ultrice  " tI Ç tJ t t t | tI tI t | a
cop - ied from the high - est la - dies in the land!
t t t d tY t t tY
>  " t ÇÇ ttt tt
t
tt
t
tt c c
t tt t t t t tÇ
t t t tt tt
?  || t t tt tt c t t
Piano
t t || tt #t t !t
" t t ! #tt
 " d tI tI tI tI tY tY #tY d d
116
t Yt tI Ç tJ t c
Teresa tI tI tI I
t I
t
tY t tY
A la - dy ought To walk with grace And not gri -mace; But that, it's ve - ry
t t tt
I tt #tt t
> " tÇ t t t tt t tt t t ttt d tÇ
t #t tt
tt tt tt ! tt
?  t t t t t
Piano
" t t !t t
77
 " tI tI t d #tY t t t
120
Teresa c c c a a
ev - i - dent, is not the case.
" a a c c tJ t t I
t Ç tJ t Ç tI
t tI Ç
Ultrice
Than as they walk, They bland - ly talk, And
 " t t t Ç t t ttI I
tt #tI t t t
> c t t tt tt # ttt ttt t t
t "t t tt ÇÇ tt tt "tt tt t t tt
t
?  tt tt
tt tt t t
Piano
t t
" t t t t c t t
t
125
 " tI tI t Ç tI tI
tJ t t t t
tI tÇ tI tI Ç | tI tI
Ultrice
look at us With eye - glass, thus– And what they'llhave for din - ner, they, per - haps, dis -
" c c d tt tt c c c t t
>  ttt ttt ||| I
tt tt ÇÇ t t t
tt
tt
t
t t
? ttYt tt ttt ttt || t

ttt t t
Piano
t d tt t t
" t t t t t t || ! #tt t #t t
c
d tI d tY tY #tY tY d d
130
Teresa " c tI tI t tI tI tI tI tY
It would ap - pear They flout and fleer, Stick up their nose, Turn
Ultrice " | a a a
cuss.
t d tY t t tY t t tt t #t
I
" t tÇ tÇ tt t tt t
>  t t tt tt t #t
tt tt tt
?  tt tt c t t tt
Piano
!t t t t
" t
78
d t t |
134
Teresa  " tI Ç tJ t c tI tI I t tI tI tI
t I t c #t
in their toes– You'reteach - ing me gra - tu - i - tous - ly, I sup -pose?
" a a a a b d
Ultrice
tI
Yt
Then
t t tI t t
"
>  ttt tt d tÇ tI t #t t
tt Ç t t tt tt tt tt # ttt
| d
|
t c tI
tt ! tt
?  tt tt ||| c
Piano
t t t t t
" t !t t t
 " 44
139
a a a
Allegretto con moto
Teresa
 " 44 I t tI tI tI Ç tJ tI Ç tJ t Ç tI Yt Ç J
t tI tI tI Ç J
t tI tI
t Ç tJ tI tI I
tÇ J
Ultrice
as she takes her place up - on the throne that is pre -pared, The peo - ple bow them to the ground,and
" 4 t Ç t t Ç tt tt ÇÇ t tÇ t t
>  4 tt ÇÇ ttt ttt ttt ttt ÇÇÇ ttt ttt ttt Yt tÇ t t t tt ÇÇ ! tt t # ttt
?  4 tÇ t t t tÇ t t t tt ÇÇ tt tt ÇÇ tt tt ÇÇ t t Ç tt
Piano
tY tt ÇÇ tt !tt tt t
" 4 t tÇ
c d
142
Teresa " a a b tI
And
 " tI Ç !tJ !tI Ç tJ t Ç tI tI Ç tI tI Yt Ç tJ tI Ç tJ t

Ultrice
tJ tI tI I
t Ç tJ
ev' - ry head is bared, They keep their pro - per pla - ces as she looks them thro' and thro'–
" tt ÇÇ tt ÇÇÇ tt tt d
>  tt ÇÇ "tt ! tt ÇÇ tt #tt ÇÇ ! tIt tt ÇÇ tt tt t tt ÇÇ tt tt
t
tt
t tÇ tt t t
tI
t
!t
?  #t Ç t t Ç t tt ÇÇ t !t Ç t Yt
Piano
tÇ t tÇ t
" tÇ t t t tÇ t t t tÇ t tÇ t d
Yt !t t t tÇ
79
tY tY t !t tY Ç Zt Yt tY
145
Teresa  " tI Ç tJ I
t Ç tZ #tY tI tI Ç Zt I
tÇ J
t t I
t Ç tJ tI tI
I sup -pose they try to keep their coun - te - nan - ces too? If that is what is called Cour et - i -
" t t t !t t Ç t #t t
t #t tt ÇÇ tt tt ÇÇ tt t
>  t Ç tt tt ÇÇ t t t t t t tÇ t t t tt ÇÇ tt tt tt
?  t Ç t t Ç t tt tt tt #t tÇ t tÇ t t tÇ t t t tÇ t t t
Piano
" t tÇ t tÇ t t c tÇ t t t tÇ t t t
tY tÇ tY Ç tJ tI tY Yt Ç tJ tI !tY tY tY tY tÇ tY
148
Teresa " tI tI #tY tI #tY

quette, it's ve - ry plain The ways of high so - ci - e - ty I ne - ver shall at - tain; It
" tt "tt # tt #tt ÇÇ tt ÇÇ t tt tt ÇÇ t t !tt t tt #tt t tt ÇÇÇ tI

> tI I tY t t t t tt t t
?  tYt tYt #tt t Ç

tt Ç tYt tÇ t t t !tt ÇÇ tt tt
tt
tt ! tt tt
Piano
t tÇ t t t t tI
" tÇ t
tY Ç tZ "tY tY Yt Ç tZ tY tY Yt Ç Zt Yt tY t tY tY tY tY Yt Ç Zt I
t tY
151
Teresa " tI tY
seems you must be ill - bred, and as awk -ward as can be, Which is A, B, C to you, my love, but
tÇ t t t
" tt ÇÇ tt "tt tt t Ç t tt !tt t Ç t tt #tt ttt ttt tt t t t Ç tt t t tt
> tÇ t t t tÇ t t tt t
?  tt ÇÇ tt tt tt t Ç tt tt tt tt ÇÇ tt t t t tt t tt tt ÇÇ t tt
Piano
t t t tt
" tÇ t t
80
t !t tY Ç tZ tY tY Yt #tY tÇ
154
Teresa " I
t Ç tZ tÇ J
I t t I
t Ç tJ tI tI tI tI tI
dif - fi - cult to me. If that is what is called Court e - ti -quette, it's ve - ry plain The
b
Ultrice " c t tI Ç tJ tI tI I
t Ç tJ tI tI tI tI "tI tI #t Ç tI
As that is what is called Court e - ti -quette, it's ve - ry plain The
Alfredo " b c t tY Ç tZ tY tY Yt Ç tZ tY tY tI Yt #tY tY tÇ tY

If that is what is called Court e - ti -quette, it's ve - ry plain The
" b c t tY Ç tZ tY tY tY tY tY tY tÇ tY
Elvino I
t Ç tJ tI tI
As that is what is called Court e - ti -quette, it's ve - ry plain The
t d
" t
>  ttt ÇÇÇ t tt ÇÇ tt t c
Yt
c b ttI d b c
?  t Ç tt ttt t d tYt
Piano
" tÇ t tÇ t c Yt c b d b c
tY tY tY Ç #tZ t Ç tY Ç tZ "tY tY tY Ç
 " Yt Ç tJ tI tY Yt Ç tJ tI !tY tY tZ tY tY
157
Teresa
ways of high so - ci - e - ty I ne - ver shall at - tain; It seems you must be ill - bred, and as
Ultrice " I
t Ç tJ tI tI I
t Ç tJ tI tI tI tI tI Ç tJ t Ç tI tI Ç tJ tI tI tI Ç tJ tI !tI
ways of high so - ci - e - ty you ne - ver shall at - tain; It seems you are as ill - bred, and as
Alfredo  " Yt Ç tZ tY tY Yt Ç tZ tY tY tY tY #tY Ç Zt t Ç "tY tI Ç tJ tI tI tY Ç tZ Yt Yt

ways of high so - ci - e - ty I ne - ver shall at - tain; It seems you must be ill - bred, and as
 " Yt Ç tZ tY tY !tY Ç tZ tY tY tY tY tY Ç Zt t Ç tI tY Ç tZ tY Yt t Ç tZ Yt Yt
Elvino I
ways of high so - ci - e - ty you ne - ver shall at - tain; It seems you are as ill - bred, and as
" t d tYt d t d
>  Yt
c c Yt tt d
I t d c
Yt
a
?  tYt d !ttY d
tYt #t t
Piano
" c c d Yt d Yt d c a
81
tY Ç tZ tY tY t tY tY tY Yt Yt Ç tZ ² 34
tI tY
160 rit.
Teresa " t tY
I t Ç Zt tI Ç tJ t c
I
awk - ward as can be, Which is A, B, C to you, my love, but dif - fi - cult to me.
² 34
 " tI Ç tZ tY tY t tI tI I c
rit.
Ultrice t I t Ç tJ tI tI
t I tI tI I
t Ç tJ tI Ç J
t t
awk - ward as can be, So it's A, B, C for her, you know, but dif - fi - cult to me.
tY t tY tY ²
 " tY Ç tZ tY tY tY Yt Ç tZ tY t tY Yt Ç Zt tY Ç tZ 34
rit.
Alfredo tY I t c
awk - ward as can be, Which is A, B, C to you, my love, but dif - fi - cult to me.
 " tY Ç tZ tY tY t tY tY tY Yt Yt Ç tY ²t 3
tZ tY tY I
t Ç J
t t
I Ç J
t c
rit.
Elvino tI 4
awk - ward as can be, So it's A, B, C for her, you know, but dif - fi - cult to me.
² t 34
> " a a b c
rit.
?  ² t
Piano
" a a b c 34
tt ttt
Tempo di minuetto
t tt tt t
" 34 tt ÇÇ tt tttt ttt ÇÇÇ tt ttt ttt ÇÇÇ ttYt tt ttt ttt ÇÇÇ tYt
163
 t tt tY t
>
? 3 t t t t t t tt
Piano
t t t t
" 4 t t t t t t t t
t t
t t t
t tt tt
" tÇ tt tt ! ttt tt ÇÇ ttI
t tt t tttt
167
c
>  tÇ t t t tt t
?  ttt ÇÇÇ ttt ttt ! ttt tt

tt ÇÇ tYt " # tt #tt ttt t t
Piano
t t t t c
" t
(Exit Elvino, bowing before Alfredo and Ultrice, Teresa following and mimicking Ultrice's walk and
gestures)
82
10. Tabor and Drum
Petro, Bartolo, Nita, Women
(Charivari without. Enter Chorus of Girls, running and heralding the approach of Pietro, Bartolo
and Nita. Pietro is driving a Palermo donkey-cart. Bartolo is dressed as a clown, Nita as a rope-
dancer. Bartolo carries a big drum and Pandean pipes.)
t t t t "t t t t t t t t t t t t t t
" " 24
Allegretto
 a c d
>

? " 2 "tt tt tt
Piano staccato
tt tt tt
" 4 tt tt tt tt tt tt t t t t t t
# t t t t !t t t t t t t t t tÇ tÇ t t " t t t t t t t t t t t t t t # t t t t !t t t t
""
5
> 
?  " !tt "tt tt tt

Piano
tt tt tt tt tt tt tt tt !tt tt tt
" t t t t t t t t t t t t t t t
" t t tZ
tt tt tt tt tt tt tt tt t t t t t t t tt tt tt tt tt ttt
ttt t ttt t t t J t
10
> " t t t t t t t t t t tt t !t ttt tt t t ttttt

t

? " t tt tt tt tt t t t t t d t t t tt tt tt tt tt t t
Piano
t
" t tt d t t t tt t t t d t t
tI
; " tZt tZt

tI tJ
t J
tt tt tYt tt
16
Sop " a a a
""
Ta - bor and drum! Mum -mers have come!
a a a
Alt < tI J
t J
t t I
t J
t tJ t
 " " ttt ttt ttt t t t t t t t t !t t t Ç d t ttt ttt ttt ttt ttt ttt ttt
>

?  " t t t d !tt t t
Piano
tt tt tt t t t t t t t t t t t t
" t t t t t d
83
; "" tZ Zt Zt Zt tZ Zt Zt Zt tJ Ç tK tI ttJ ÇÇ K
tt tI tt
21
Sop  tI tY tI tY t t
Hey for their mum-me - ry, Fro - lic and flum -me - ry, For to my dull Coun-tri -fied skull
" " tJ Ç tK tI
Alt < I
J
t tJ J
t t tJ
t
I
tI tJ tJ J
t J
t I
t
t tJ Ç tK tI t
" Ç tÇ tÇ tÇ tÇ tÇ tÇ e t t t t t tt t t t t tt ÇÇ tt t
"
>  tt t
t
t t Ç t tt ttt
? ttt ttt tt tt tt tt ttt ttt ttt t t

Piano
t t t t t t tt t tt
"" t tt t tt t tt t tt t tt
; " " tIt tJ t tZt tZt ttY

t #tJ tIt tJ tÇ
t J
t #tJ tZ tZ t
25
Sop  tÇ K
t tI tI
""
Noth - ing sub - lu - na - ry E - quals buf -foon - e - ry! Folk of our kind
tZ tZ t
Alt < #tI t tJ J
J t J
t I
t #tI J t J
t J tÇ K
t I
t tI
Ç tÇ tÇ tÇ Ç t t t
 " " tÇ tÇ t t tÇ t t
t t t t
tt
t
tt
t
tt
t
>
?  " #tt tt tt tt t t #ttt tt tt tt
Piano
" t t t t t t t t t t t t t
t t t t t t
; " " Zt Zt Zt Zt t tZ tZ tZ Ç [t tY t t Zt Zt tJ Ç tK I tt tt
t Ç t tt t J
"tIt tJ
28
Sop  tI
Fre quent-ly find Jokes that are sen - si -ble In com-pre -hen - si -ble. Here, I ad -mit,
" " tZ Zt tZ tZ tZ tZ Ç t[ tY t t Zt
Alt
< Zt t tI tJ tJ Ç K
t tI t tJ t
tI J
" tt tt tt t t tt tt tt ÇÇ tt tt tt tt tt t J t
>
" t t tt t t tÇ t t t tt ÇÇ K
tt tI
t ttt ttt ttt tt
? " t t t ttt
Piano
t t t ttt t t t t tt t t t t tt t
" t t t t t t t
84
; " " tYt tZt tZt tt tYt tZt ttZ J
tt ÇÇ tt ÇÇ K
J tt tI
t tYt tZt ttZ tJ ÇÇ
t J
32
 tt !tI
t tJ t
Sop
tK tI tK tI
" tY
Gen - u - ine wit, As a com-mo - di - ty, Ranksbe - low odd - i - ty, As a com-mo - di - ty,
" Zt tZ t t Ç tK I Yt tZ tZ tJ Ç tK tI
Alt < tI J
t J
t J t J
t Ç tK I
t J
t tJ I
t
" ttt ttt ttt ttt tt tt t t

tt ttt ttt
tt tt t t
>
" t t tt tt tt
tt ÇÇ tt !ttI
tÇ t t t t tt tt tt
t t t ttt
? "
t t tt tt t t t t
Piano
" t t t t t t tt t tt
tt
t t t t tt t tt t t t t tt
" ²d
36
Pietro " a a a a c tI
Come,
; " tt ÇÇ K
J ²
Sop " tt !tI
t tJ
t tJ tI a a a a
²
""
Ranksbe -low odd - i - ty.
a a a a
Alt
< J
t Ç tK tI t tJ tI
J
" ²d
" tt ÇÇ tt !tt t
I t t "tt t t t t t t t tt t t t t t t t ! "tt t #t t t t t t I d t
> tÇ t t tt t tt t tt tt tt tt tt tt I tt
š ²d
? " tt t
Piano
" t d
t tt t t
t
t t
t t t
t t t
t t
t
t
t t
t t
t I
I
t t
t
" tZ J
tJ tJ tJ tJ tZ tZ t J
41
Pietro " tZ t tJ tJ J
t J
t tJ tJ tJ tJ tJ J
t J
t tJ tI
strike up, Mis - ter Mer - ry - man, While I in - form the u - ni - verse, In met - ri - cal and tu - ny verse–
" dÇ
Bart " a a c tJ
t t t t t t t t t
t t t t
In
" " t t t tÇ t t t t t t t
>
Piano
? " tt tt tt tt tt tt tt tt tt tt tt tt
" tt tt tt tt t t t t tt tt tt tt
85
" c dÇ tZ
tJ tJ tJ tJ tZ tZ tZ tJ J
44
Pietro " tJ t tJ J
t J t J
t J
t tJ
""
That here's and ex - hi - bi - tion that is high - ly in - tel - lec - tu - al– To
 a a
Bart
tJ tJ J t J t J t J t tI
¡ t
met - ri - cal and tu - ny verse–
"" t t
> tt tt ttt t
t t
? " t t tt tt tt tt tt tt tt tt tt tt
tt tt
Piano
" t t tt tt tt tt t t t t
" dÇ tZ tZ tZ
tJ J
t J
47
Pietro " tJ Ç tK tJ J
t J
t tJ tI
c t tJ tJ tJ
see it we ex - pect you all– Come, emp - ty all your pock - ets, for I'm
" c dÇ
" tJ tJ Ç K
t tJ J t J t J
a
t tI
Bart
t ¡
" tÇ t t t t t t
To see it we ex - pect you all–
d
> " tt tt ttIt
t tt tt tt ttt
À t t tt t
?  " tt tt tt tt tt tt Àt
ttY
Piano
" tt tt tt tt t t d
t t t t
t t t t
" Zt tZ tY
t tJ tJ tJ tJ tJ tJ Zt J dÇ
50
Pietro " J t tJ tJ tJ c tJ
"" dÇ tZ tJ tJ tJ tJ tJ tJ tI
not a com -mon moun-te - bank– I've mo -ney in the Coun - ty Bank– I
Bart  a c
He's mon -ey in the Coun- ty Bank.
" " t
> tt tt t ttt tt t t ttt tt tÀt #tt "ttt
t t ttt t t tt ttt t t
? " t t
Piano
" t
t t t t t t t t t
86
" tZ tZ
tJ tJ tJ tJ tZ tZ tJ J
53
Pietro " t tJ tJ J
t J t J
t J
t J
t Ç tK tJ J
t J
t tJ tI
"" dÇ
can give you val - ue for your cop - pers in - sig - ni - fi - cant, And I'll re - turn 'em if I can't.
Bart  a a c tJ
"" t t t t
t t t t t t
t t t
And
t t t tÇ t t t t t t t
>
?  " tt tt tt tt tt tt tt tt tt tt tt tt
Piano
" tt tt tt tt t t t t tt tt tt tt
"
56
Bart " J t Ç tK J t tJ tJ tJ tI a a a a a
¡ t Yt t
tÇ t t t tÇ t t t tÇ t t d !ttY d c
he'll re - turn 'em if he can't.
> "" tt tt t t tt d c c d
tÇ
I I
t
À tt •
? " tt tt Àt
tt t ttt ttt ttt tt
t ttt tt
Piano
d tI d c tI d c
" t t
t tÇ t t t tt
" t tY tY
" d tZ tZ tZ d
62
tI tI tJ tJ tI tJ tJ tZ t
Bart
tI
Tho' I'm a buf - foon, re - col - lect I com - mand your re - spect! I
" " d !tI d d I d d d !tI d I

>  t tt tt tt
I t tt
I t
I ttt
t t t tt t tt tt
? "
Piano
" t t t t t t t t t t t t t t t t
" tZ tZ tY
tI !tJ tJ tI tJ tJ tI tJ tJ tY tZ tZ tY
66
Bart " tZ tZ t c
can - not for mon - ey Be vul - gar - ly fun - ny, My ob - ject's to make you re - flect.
" d d !tI d d d d !tI d I

>
" t
I tt
I ttt
I t
I tt d tI
tt tt t tt tt t •
? " t t
Piano
" t t t t t t t
t t t t t t t t
87
" t tY tY
" d tZ tZ tZ d
70
tI tI tJ tJ tI J
t J
t tZ t
Bart
tI
True hu - mour's a mat - ter in which I'm ex - ceed - ing - ly rich. It
" " d d d I d d d !tI d

> t tt
t !ttIt tt
I
t
t
tt
tt
I
t
tt
I
t tt ttt
I
t
? "
Piano
" tY tZ tZ tY tZ tY
74
Bart " tI !tJ tJ tI tJ tJ tI tJ tJ tZ tJ tZ

ought to de - light you, Al - though at first sight, you May not re - cog - nize it as
" d d d d d d
> " t
I !tI tt
I t
I
tt
tt
I !tI
tt tt t t tt
? " t t
Piano
" t t t t t t t t
t t
" d t tY tZ tY tZ tZ
77
Bart " t c tJ tJ tI tJ tJ tI tJ tJ tZ
sich. O - ther clowns make you laugh till you sink When they tip you a
" d
>
" tt d I
I t tt ttt
d !ttIt d t
I d I
tt d tt
I d tt
I
t tt t t t
• 
? "
Piano
t
²
"" t Yt Zt tZ tY tZ tZ Yt Zt tZ
ad lib.
d tI d t Š
81
 t I
t !t
J J
t I
t J
t J
t t J
I t J
Bart
tI
²
wink; With at - ti - tude an - tic, They ren - der you fran -tic– I don't. I com-pel you to think! For
>
" " d !tI d I
t d It d !tI d I
tt d tI
tt
d It d !tI tt
I d
tt Š
tt tt tt tt t tt tt t t
? " t t t
Piano
" t t t t t t d
t t t t
t
t
t tI t Š
³t
88
L'istesso tempo
" Yt Ç tZ tI Ç J tY Ç tJ
 " Š tI Ç tJ Yt Ç tZ t Ç tJ tJ tI Ç d tI tI Ç tZ Yt Ç J
t Yt Ç tZ
86
Bart t tI Ç J
t I
oh this is a world of in - sin - cer - i - ty and trou-ble, And joy is im - be - ci - li - ty, amd
>
"" Š t Ç t t Ç t tÇ t tÇ t tt ÇÇ tt tt ÇÇ ttt tt tt ÇÇ d t t Ç t Ç t tÇ
tÇ t tÇ t t Ç t t Ç tt tÇ t tÇ tIt tt ÇÇ t t Ç t t Ç t t Ç ! tt
t tÇ t t ÇÇ t t ÇÇ t t t Yt t Ç tt tt ÇÇ tt tt ÇÇ tt t ÇÇ
? " tt ÇÇ tt tt ÇÇ tt
Piano
" Š tÇ t tÇ t t t t t t t d tÇ t
tÇ
" tY Ç tZ I t tI Ç d Yt Ç Zt #tY Ç Zt Yt Ç Zt Yt Ç Zt Zt Yt Ç d
89
Bart " t Ç tJ J tI tI Ç tJ "tI Ç tJ tI

hap - pi - ness a bub -ble, And you're a lot of but - ter - flies who flut - ter thro' a sum -mer. And
" tÇ t tÇ t tt ÇÇ tt #tt ÇÇ tt t Ç t "t Ç t tÇ t t Ç tt t t Ç d

> " t Ç t !t Ç t tt tt ÇÇ d I
t tÇ t tÇ t tÇ t I
t
Ç
?  " t ÇÇ t t Ç t t tt ÇÇ d #tt ÇÇ tt tt ÇÇ tt tt ÇÇ tt t ÇÇ t tÇ tt t ÇÇ tt tt t Ç d
Yt tYt
Piano
" t t t t t t t tÇ t
" tI Ç
t Ç tZ t Ç tJ tY Ç tZ Zt Yt Ç c
92
Bart " t I
J t Ç tJ tI Ç tJ I
I a
he's a moun - te - bank, and I'm a mis - er - a - ble mum-mer.
; "" Yt Ç tZ tI Ç J
Chorus unison
a b c d tI tI Ç J
t Yt Ç tZ t
Sop <
It's pos - si - ble the world is in - sin -
" tÇ t tt ÇÇ tt ÇÇ t t tÇ d tÇ tÇ t tÇ t tÇ t
> " t Ç tt tt ÇÇ t tÇ t tt ÇÇ tt tt t t tÇ tIt t Ç tt t Ç t t Ç t t Ç tt
?  " tÇ t tt ÇÇ tt t ÇÇ t t ÇÇ t tt ÇÇ tt tt ÇÇ tt t t Ç d t Ç tt ÇÇ tt tt ÇÇ tt
Yt t Ç tt tt Ç tt
Piano
" t t t t t t
tÇ
; "" Yt Ç tJ tY Ç Zt tI Ç J
t Ç tJ tJ tI Ç d tI tI Ç tZ Yt Ç tJ Yt Ç tZ t Ç d tI
95
t J
Sop <  tI Ç tJ I t I
cer - i - ty and tou -ble, And ha - pi - ness, for all I know, is noth - ing but a bub -ble; Per -
" tÇ d tt tt ÇÇ t tt ÇÇ tt tÇ t Ç tt !tt ÇÇ t
>
" tt ÇÇ ttt tt ÇÇ ttt tt tt ÇÇ tIt tt ÇÇ t Ç ! tt tÇ t
t
t tt ÇÇ d tI
tÇ
?  " tÇ t t ÇÇ t t Yt t Ç tt tt ÇÇ tt tt ÇÇ t tÇ t tt ÇÇ tt tt ÇÇ tt t tt ÇÇ
d tY
Piano
" tÇ t t t t d tÇ t tÇ t t
89
; " " Yt Ç tZ #tY Ç Zt Yt Ç Zt Yt Ç "tZ tZ Yt Ç d tI Ç tJ Yt Ç tZ
98
Sop <  I
t Ç J
t "t
I Ç J
t tI I t Ç tJ
t Ç tJ I
haps we may be but - ter - flies who flut - ter thro' a sum -mer, But you're, with - out a doubt a ve - ry
" " t ÇÇ t #t ÇÇ t Ç tÇ tt tt ÇÇ "tt tt t Ç d I t Ç tt tt ÇÇ tt

> t t t t t t "tt ÇÇ tt tÇ t tÇ tÇ t tt ÇÇ tt
?  " #tt ÇÇ tt tt ÇÇ tt tt ÇÇ tt t ÇÇ t tÇ tt "tt ÇÇ tt tt t Ç d Ytt t Ç tt tt ÇÇ tt tt ÇÇ tt tÇ t
Piano
" t t tÇ tÇ t
; " " tI Ç ² 2
tJ Yt Ç tZ tZ Yt Ç c
101
a a
Sop < 4
t t Ç t t Ç t t ²t Ç t t t
24 " t t t t t t t
mis - er - a - ble mum - mer!
" Ç tt ÇÇ t t Ç Ç t Ç t t Ç d
>  " tt Ç tt t t t t
tÇ
t t t
Ç t Ç ¬¬¬ tt ¬¬ | ¬¬¬ tt tt Àtt
?  " tt Ç tt tt ÇÇ tt t ¬¬¬ "| 24 t
Piano
" t ¬¬¬ t ¬| ¬¬¬ t c

³
" ²
104
Nita " a a c
t Ç tJ
I tJ !tJ tJ "tJ tJ #tJ tJ #tJ
" t t t t t t t t Ç tÇ tÇ t t ²d t Ç t tÇ !tÇ tÇ " t

Ç tÇ # tÇ tÇ # tÇ
I've a dance That came from France Not long a -
" t t t
> "t Yt
t t ! tt tt Ç ttÇ
Piano
? " t t # t tY Ytt tt ²
Ç ttt t
" t d d tY d c t d
t
" t dÇ tZ tZ
108
Nita " tJ tJ tJ "tJ tJ tZ tZ tI t tJ tJ
Yt t t
go– It's wor - thy of your sil - ver and your cop - per. It's my
"t t t t tY
" tt ÇÇ
> " "t Ç
t tÇ
tt tI
t "tt
t
t t t ttt t tt
?  " "t t tt d "tt t t
Piano
" "t t d t d
t t
90
" tZ t dÇ tZ tZ tZ tZ tJ tJ tJ !tJ
111
Nita " tJ !tJ tJ "tJ tZ #tJ tZ tZ
tÇ # tÇ tÇ tÇ tY t
own, and I a - lone Its ma - zes know– It's grace - ful and par - ti - cu - lar - ly
tÇ " tÇ t t t t !t
> 
"" tÇ
ttI tt tt ÇÇ !tt tI
t
tt tt tt ! ttt
Piano
?  " t t t d !t t t d t d
" t
t !t t t
" tI tZ tZ #tZ t d
114
Nita " t tJ tJ tJ tJ tJ tJ tZ tJ tJ
" tY tY tÇ #tÇ
pro - per. I as - sist As so - lo - ist, Up - on a squeeze, On the
> " tÇ tt #tt tÇ tÇ tÇ tÇ t

I tÇ t
tÇ t tÇ t
ttt #ttt ttt t t
? " t t t
Piano
" c t d t d
t
" tJ tJ tY tZ #tZ
t #tJ J t tJ tJ t tZ
117
Nita " J tJ tJ tJ tJ tJ tJ tJ tZ
t #t t t t t t t
tÇ #tÇ
trum - pet and the ket - tle - drum so - no - rous. I've a song that's just as long As you may
"" d e tJ tÇ tÇ tÇ tÇ
> #tI tÇ tÇ
t
#ttt ttt ttt ttt t
Piano
? " ttt # tt tt
" t d t d t
"" t #tY Ç tZ tJ tJ tJ
120 rall.
Nita  tJ tJ tJ tJ #tJ tI tI t ‹
please– Twen - ty ver - ses and each verse has got a cho - rus!
; " d
Unis all women
" a a c ‹
Sop
< tI
Yt d Yt
Now,
" d d
>
" "ttt tt
I
t #ttIt #ttt tt d ‹
tt Àcolla voce. t t t
? " tY d t t t
Piano
d d
rall.
" #t I
t tI t ‹
t
91
; "" ‹ Yt Ç
Vivo
tY Ç Yt Ç tZ tZ tY Ç
123
Sop < tJ tJ tI Ç tJ tI Ç tJ tJ I
t Ç tI Ç tJ
tÇ
that's the kind of mer - ri - ment you ought to set be - fore us; On - ly
t ÇÇ t tÇ t t tÇ t tt ÇÇ t tÇ t t tÇ
 " " ‹ t d Yt
>
Piano
? " ‹ t ttt ttt ttt t ttt tt
t ttt
" t t
; " tJ tI Ç Yt Ç
Yt Ç tZ tY Ç tZ tI Ç d
125
" tI Ç t Ç tZ
I tJ
Sop
< tJ tJ tI
tÇ tÇ
fan - cy twen - ty ver - ses, and each verse has got a cho - rus. To
tÇ t t tÇ t t tÇ t tÇ t t tÇ d Yt
> "" t Ç tÇ tÇ
"t t ttt
? " t t tt
tt tt !ttt tt
Piano
" t t
; " Yt Ç Zt Ç tY Ç Zt Yt Ç Zt Zt Yt Ç d tÇ J tÇ J
t
127
 " #tY Zt I
t Ç J
t "t
I Ç J
t tI I t I
Sop
< I t tI Ç tJ
tÇ J
tÇ t #tÇ t tÇ t "tÇ t tÇ t tÇ t t tÇ
such an en - ter -tain - ment we could lis - ten for a sum -mer; But save us from the hu - mour of this
tÇ t tÇ t tÇ
 " " d Yt t tÇ t
>
tt
?  " t#tt ttt ttt tttt tt ttt t
ttt tt t
ttt ttt tt
Piano
" t t t tt
; " Ç
" tY tJ Yt Ç tZ tZ Yt Ç c
130
a a
Sop
<
ó t t ót t t
mel - an - cho - ly mum-mer!
tÇ tÇ t t tÇ ó ó t t ót t tó t t tó t
"" t Ç tt t Ç t t t Ç tt t t tt t t t tt t t t c
> t t
ttt tt t ttt ttt t
? " t ttt t t
Piano
" t t t t t tt c
t t
92
PIETRO. Oh, you lucky people! Oh, you fortunate villagers! A perfectly
remote and altogether obscure corner of Europe favoured with the
presence of a company of artists whom all the crowned heads of Europe
are quarrelling to possess! (To BARTOLO.) Solo, if you please, expressive
of a general withdrawal of ambassadors from all the European Courts.
(Flourish.) The Czar of Russia is no longer on terms with the Empress of
New York because I visited her first. A lady, you know! As a man of
gallantry I couldn’t refuse. But, mum! I must be discreet. (To BARTOLO.)
Solo, if you please, expressive of the honorable silence of a self-respecting
man of gallantry. (BARTOLO flourishes his drumsticks and pretends to play
Pandean pipes, but without eliciting any sound.) Now, what do you think
we came for?
CHORUS. Gold!
PIETRO. Gold? Bah! Try again.
CHORUS. Silver!
PIETRO. Silver? Why, we’re sick of gold and silver!
BARTOLO. Could you oblige me with my last week’s salary?
PIETRO. Gold! (Taking a handful from his pocket and looking at it in
disgust.) Ugh! (Shuddering.) Here — catch! (About to throw it to them.)
Stop! On second thoughts it will only give you ideas above your station.
But come — I will be frank with you. The greatest men have their
weaknesses and I have mine. I have been cursed through life with a
morbid craving for copper! I was cradled in copper. I have frequently been
taken up by a copper. A bull once tossed me for a copper. “Heads!” I
cried. I came down tails, and he won. I was hurt. I felt it very much. (To
BARTOLO.) Solo, if you please, expressive of feelings that may be more
easily imagined than described. (Flourish.) Now to business. At half-past
five will be presented a dress rehearsal of the performance to be given
before the Duke and Duchess of Pallavicini, comprising an exhibition of
conjuring, necromancy, spirit manifestations, thought-reading, hypnotism,
mesmeric psychology, psychography, sensory hallucination, dancing on
the slack wire and ground, and lofty tumbling. Also will be exhibited the
two world-renowned life-size clock-work automata, representing Hamlet
and Ophelia (unrolling two posters representing the figures) as they
appeared in the bosoms of their families before they disgraced their
friends by taking to the stage for a livelihood. The price of admission will
be one penny for the aristocracy, members of the upper middle classes half
price. At half-past five. Be in time — be in time — be in time!
During this speech PIETRO has frequently refreshed himself from a large wine-skin,
which is also referred to by BARTOLO when PIETRO is not looking.
93
10a. Now that's the sort of merriment
Women
" Yt Ç tJ Yt Ç tZ Yt Ç tZ Yt Ç
Unis all women
Women " ‹ tI tJ tI Ç tJ tI Ç tJ J
t I
t ÇI
t Ç tJ
tÇ t tÇ t tÇ t tÇ t tt ÇÇ t t Ç t t t Ç Yt
Now that's the sort of mer - ri - ment you ought to set be - fore us; To
" tÇ d
> " ‹ a
t t t ttt tt tt t tt tt ttt
? "
Piano
t
" ‹ ttt
t t t t t t t
" tZ Yt Ç Ç tZ tY Ç tJ tY Ç Zt tI Ç tZ J
t tI Ç d tI tY Ç Zt #tY Ç Zt tI Ç tJ "tI Ç tJ
Women " I
tÇ tJ tY
t t Ç t t Ç t t Ç t t Ç t t Ç t t t Ç Yt t Ç t # t Ç t t Ç t " t Ç t
" tt ÇÇ
mark our ap - pro - ba - tion we'll ex - tem - por- ize
a cho -rus. To such an en - ter -tain - ment we could
" tÇ tÇ d
>
" tt ttt t tt ttt tt
? " t#tt ttt tttt
Pno.
" t t tt t !tt t
t t
" Yt Ç tZ Yt Ç tZ Yt Ç d tI Ç tJ tI Ç
Women " tZ tI tJ tI Ç tJ I
tÇ tJ
tÇ t tÇ t t tÇ tÇ tÇ t
t tÇ tÇ t
lis - ten for a sum - mer; But save us from the hu - mour of that
" d Yt t
> "
?  " ttt ttt ttt t ttt t ttt ttt
ttt ttt
Pno.
" t
" Yt Ç tJ tY Ç tZ tZ Yt Ç c
Women " a a
" tt ÇÇ t tÇ t t tÇ ó ó ó ó t t tó ó t t ót t t
mel - an - cho - ly mum - mer!
" tÇ t t t
t Ç tt t t tt t t t t t t t t t tt t t t c
> t t
tt tt tt tt tt t
? " t tt t t
Pno.
" t t t t t t t t t
t c
t t
94
Exeunt Village Girls.
PIETRO. Humph! Not a remunerative lot, I fancy. But if the Duke, who is a
mad enthusiast in the matter of automata, should take a fancy to our
Hamlet and Ophelia, he’ll buy them, and our fortune’s made! By-the-by,
where’s Beppo with the figures?
NITA. Bless you, he couldn’t be here yet — all uphill.
PIETRO. True. Nita!
NITA. Well. (She is talking to BARTOLO.)
PIETRO. Not quite so near Bartolo, please.
NITA. Oh, I forgot — force of habit.
PIETRO. You must recollect that you are no longer engaged to be married to
him. That’s over. You are engaged to be married to me, now. Try and
remember it — were to him, are to me. It’s quite easy, if you put it like
that. Thank you. (Leads donkey off.)
NITA. Yes, but it’s not so easy. A girl who’s been deeply in love
with a gentleman for the last six months may be forgiven if she forgets,
now and then, that she doesn’t care a bit for him any more.
BARTOLO (gloomily). We were happy!
NITA. Very. (Sighing.)
BARTOLO. How we carried on!
NITA. Didn’t we?
BARTOLO. Do you remember when I used to go like that to you?
NITA. Don’t I! (Sighing.)
BARTOLO. Does he ever go like that to you?
NITA. Not he — he doesn’t know how.
BARTOLO. And yet we have a School Board! How you loved me!
NITA. Yes; but when I loved you you told me you were a leading
tragedian. But a clown — I really don’t see how I could love a clown.
BARTOLO. I didn’t deceive you. I’ve played the first acts — and the first alone
— of all our tragedies. No human eye has ever seen me in the second act
of anything! My last appearance was three months ago. I played the
moody Dane. As no one else has ever played him, so I played that Dane.
Gods! how they laughed! I see them now — I hear their ribald roars. The
whole house rocked with laughter! I’ve as soul that cannot brook
contempt. “Laugh on!” I said; “laugh on, and laugh your fill — you laugh
your last! No man shall ever laugh at me again — I’ll be a clown!” I kept
my word — they laugh at me no more.
Enter BEPPO, running and meeting PIETRO.
BEPPO (breathless). Oh, master! Here’s a misfortune — here’s a calamity!

PIETRO. Eh? What’s the matter? Where are the figures?
BEPPO. They’re at Palermo!
PIETRO, BARTOLO, and NITA. What!
95
BEPPO. It’s no fault of mine. They’ve been detained by the police
because they hadn’t any passports.
NITA. That’s because they’re so life-like. After all, it’s a
compliment.
PIETRO. A compliment! Yes, but we can’t dine on cold compliments. (To
BEPPO.) Didn’t you open the figures and show their clockwork insides?
BEPPO. Yes; but the police said that was no rule, they may be
foreigners.
PIETRO. Very true — so they might.
BARTOLO. Chock-full of eccentric wheels — might almost be English. What’s
to be done?
Enter ELVINO and ULTRICE.
ELVINO. Here’s a misfortune!

ULTRICE. Here’s a calamity!
PIETRO. What, another!
ELVINO. We’re ruined — ruined!
BARTOLO. What is the matter with the licensed victualler?
ULTRICE. The Alchemist — it’s all over — he’s gone! The last explosion did
it!
ELVINO. And this (producing halfpence) is all I’ve been paid for six weeks’
board, lodging, and medical attendance!
PIETRO. It seems cheap. But you can seize his effects.
ELVINO. I’ve seized ’em! Here they are (producing medicine phial with
label.) — all he possessed in the world — a bottle of medicine with a label
on it!
PIETRO. What’s this?
ELVINO. Read it — our education’s not what it was.
PIETRO (pretending to read). “Two tablespoonfuls, at bed-time.”
ELVINO. Is that all?
PIETRO. Here’s a greedy fellow!
ELVINO. But I say — it takes a lot of writing to say that.
PIETRO. Well, it’s a very strong medicine.
ELVINO. Oh, I see.
ULTRICE (aside). I don’t.
PIETRO (returning it.) Take it.
ELVINO. Thankye; take it yourself — it will do you good.
Exit ELVINO; ULTRICE remains listening unobserved.

.
PIETRO (changing his manners). Has he gone? Come here; there’s more in this than meets
the eye!
NITA. What, more than two tablespoons?
PIETRO. More than two fiddlesticks! Listen to this. (Reads.) “Man is a
hypocrite, and invariably affects to be better and wiser than he really is.
96
This liquid, which should be freely diluted, has the effect of making every
one who drinks it exactly what he pretends to be. The hypocrite becomes a
man of piety; the swindler, a man of honour; the quack, a man of learning;
and the braggart, a man of war.”
ULTRICE (aside). I thought as much — this may be useful.
Exit ULTRICE.
PIETRO. Now the question is – what’s to be done with it?

NITA. Give some to Bartolo, and make him funny!
BARTOLO. Naughty sly-boots!
PIETRO. Give some to Bartolo? Yes, and give some to Nita, too. Don’t you
understand?
NITA. Candidly, no.
PIETRO. Why, the Duke and Duchess want to buy the figures, and the
figures are missing. What’s to be done? Why, it’s obvious. You and
Bartolo dress and make up as the two figures — when dressed, you drink a
few drops of the potion, diluted with wine. (Tasting the cork and
shuddering.) It’s — it’s not at all nasty — and you will not only look like
the two figures, but you’ll actually be the two figures — clockwork and
all!
NITA. Whew! (Whistles.)
BARTOLO. What! I become a doll — a dandled doll? A mere conglomerate of
whizzing wheels, salad of springs and hotch-potch of escapements!
Exchange all the beautiful things I’ve got inside here for a handful of
common clockwork? It’s a large order. Perish the thought and he who
uttered it!
PIETRO. Come, come! The figures are our joint property, and we are all
equally interested in selling them.
NITA. That’s true. Well. I’ve no objection. Besides, it will be fun.
PIETRO. Good girl! The potion must be diluted, so I’ll pour it into this wine-
skin and we can draw it off as we want it. (Does so.)
NITA. But stop a bit! I don’t want to be clockwork all my life!
How are we to get back again?
PIETRO. I never thought of that!
NITA. It wouldn’t do at all.
PIETRO. Oh, not at all. Perhaps it says. (Refers to label.) Yes! (Reads.) “If
the charm has been misapplied, matters can be restored to their original
condition by burning this label.” There you are — nothing could be
simpler.
NITA. I say — don’t lose that,
PIETRO. Not if I know it. (Puts it in his pocket-book, which he places in his
pocket.) I shall be back in a minute, and in the mean time, try and wheedle
him into joining us.
Exit PIETRO.
97
BARTOLO (who has been fuming in silence.) I protest! It’s an indignity! I have a soul that
cannot brook an indignity!
NITA. An indignity? Nonsense — just think — you’ll appear as
Hamlet, your favourite character, before the Duke — complete dress —
scene from the second act, too —
BARTOLO. Ha!
NITA. I shall be desperately in love with you — and you with me
— we shall bill, and we shall coo, and we shall be as happy as two little
birds.
BARTOLO. Can clockwork coo? A nice point.
NITA. Ah! There was a time when you wouldn’t refuse me
anything.
BARTOLO. Yes, but then you used to coax me. I have a soul that can do
nothing unless it’s coaxed.
NITA. Then sit down, and I’ll coax you.
BARTOLO. Coax me hard.
NITA. Oh, very hard! (Business.)
BARTOLO. Oh, coax me harder than that!
NITA. Will that do? (Business.)
BARTOLO. That sort of thing, prolonged indefinitely, will do.
During this PIETRO has been occupied in hanging up the posters on each side of the inn
door.
98
11.Those days of old
Trio
Nita, Bartolo and Pietro
!!!!
Andante
 Š a a b c d tI $tI tI tI tI tI
!tI Ç tJ
tI
Nita
Those days of old How mad were we To
!!!! ŠAndante
Y
t
t t t
t t t t t | c c c
> t t t !tt t | t
tt tt
? ! !
Piano
!! Š a c d tYt $!tt tt t #| Ç
|Ç c c c
t t
!!
 !! I d tY Yt Yt tI Ç tJ tI tI b d
4
b
Nita t tI tI !tI tI tI tI
ban- ish! Thy move was told, Que- ri - do mi, in Spa -nish– And
!!!! c d
tÇ tI c
>  ttt ÇÇÇ d ttYt d t t t tt
t ttt t
tI ttt t t t tt t
? ! !
Piano
!! c t c t c t c t c c
t t
!!!! tY tY tY
tI !tI tY tY d tI Ç tJ
7
Nita  tY tI tI Ç $tJ !tI tI b tI tI tI !tI

ti - mid I, A - flushwithshame E - ly - sian, Could only sigh, Dieu,commeje t'aime!(Pa -
!! tt ÇÇ !tI tt t
 !! t c c c t
ttt
c t
> tt
t
tÇ t ! tt
? ! ! tt
Piano
!! t c t t t c
t
c !t c
t
c
99
! !! ²
 ! tY tY b d tY t Ç tÇ t tI Ç J
10
Nita tI tI t I
I t I
t tI
ri- sian) Could on - ly sigh, Dieu, commeje t'aime! (Pa-ri- sian!)
! !! tY ²dÇ
Bart  ! b c d
t tI tI
I tY tY tY tI d c tZ tI tI
Could only sigh, Dieu, commeje t'aime! (Pa-ri- sian)
! !! ²dÇ
 ! b c d
tI tI tI tI tI tI tI tI d c
tJ tI tI
Piet
Could only sigh, Dieu, commeje t'aime! (Pa-ri- sian)
!!!! d ²d d Yt
 tY t t t tt tt tt
> tt tt tt t t t t tt tt tt t t t tt ttt tt
t
t
? ! ! tt t
Piano
!! t c t tt tt tt t d t t c
t | t t t ³tI
! !!
 ! c c d tI
13
b !tI #tI !tI tI tI tI Ç tJ

tI
Nita
No matter, e'en Hadst thou been coined a
!!!! t t t
 t t t t t | c
> t t t !tt t | | t t tÇ t
? ! ! d
Piano
!! c tYt $!tt tt
t #| Ç
c t tt
|Ç t
t
! !! tY
 ! tI tI b d tY tY tI Ç d tI
16
Nita tI !tI tI tI tJ tI tI b
Mer-man, Thou wouldsthave been Mein lie - ber Freund–(That's Ger-man!) Thy
!!!!
> | t t tÇ t t t t tÇ t tÇ t
t t t tttt
Piano
?  ! !! tt tt tt tt t tt
! t t t t
t t
100
! !!
 ! tY d
19
Nita tI !tI tY tY tI tÇ
I #tJ !tI tI b tI
face, a - blaze With lov - ing pats Felt ting - lish, For
!!!! | t !t tt t
>  | t $t tÇ !t c tt c t
Piano
?  !!!! tt !tt
t t c c
t t
!!!! tY tY tY Yt Ç tY d
21
Nita  tI tI !tI tJ tY b tY
!!!! d
a b c
in those days I lov'd thee– that's plain En - glish! For
Bart  tI
! !!
For
Piet  ! a b c d
tI
For
!!!! t Ç
 tI !t tÇ t t t t t tt
> c ttt c tt t t tt t t
?  ! !! t
Piano
! !t c c t c t t
t
During this Bartolo has gradually yielded to Nita's blandishments, and at the end expresses, in gesture,
his acquiescence with her wishes.
!!!! t Ç t ²
23
 tY tI tI tI tI tY e tJ tI c
Nita tI
!!!!
in those days, Yes, I lov'd thee– that's plain En - glish!
tY tY ²
Bart  tI tI tY tY c c tY e tZ tI tI c
in those days She lov'd me that's plain En - glish!
! !! ²
 ! tI tI tI tI tI tI c c e tI c
tI tJ tI
Piet
in those days She lov'd him that's plain En - glish!
!!!! ²d d tY
 tÇ t tt
> t
I tt tt t tt t tt
t
tt ttt tt
t
tt t t t
Piano
?  ! ! ! tt tt d t c
! | tÇ tI tÇ t
³
101
!!!! ² # !!! 6
Allegro vivace
cÇ d
25 (dancing)
 a a 8 a
Piet tI
Al -
!!!! t t t ² # !!! 6
Allegro vivace
> t | AA 8 t t t t t t t t t t t t
c d Yt t t t t
?  ! !! c tt tt t t t t
Piano
d I t tY A # !!! 68 Yt c Yt c t
! t AA Yt c Yt
c
³
!!! tY tI tY tY tI c Ç d d
29
 tI tY tI tI tI tI tI tI tI tI c
Piet tI tI
low that the plan I de - vise Is new and suf- fi - cient- ly cle - ver; To
!!!
 t
I c tI c t c tI c
I tI c tt c
I c c
> t t t t t tt
I tIt
t t
? ! ! t t c t t
Piano
! Yt c Yt c I
t c Yt c tI c t c
I Yt c
Yt
!!!
cÇ d d
33 (dancing)
 a a a
Nita tI
With
!!!
Bart  a a a cÇ d d
tI
With
!!! c c c
 tt c
I tt
I c c
> tI
t I
t
t tI
t t t !ttI
t #ttt tt tt ttt tt t
t
? ! ! t c t c t c tY c Yt c
Piano
! Yt Yt c tI c I
t c
Yt t
I
!!
 ! I tY tI tY tY tI c Ç d d
37
Nita t tY tI tI tI tI tI tI tI tI tI
c
tI
a - ny- thing cle - ver or wise, I never shouldcre- dit you ne - ver! To
!!
Bart  ! tI tY tY tI tY tY tI c Ç d
c d
tI
a - ny- thing cle - ver or wise, I never shouldcre- dit you– ne - ver! To
!!!
 tt c
I tt c
I tI c tI c tI c tI c tt c t c
> t t tt t tt
t
t
t
I tI
?  ! ! tY Yt c
Piano
c Yt c t c tY c t c
! I tI c t c
I Yt
102
!!
 ! tI Ç tJ tI tI Ç tJ tI tY c Ç d tY Yt Ç Zt !tY Yt Ç Zt Yt !tY
41
Nita tY c a
tes - ti - fy joy and sur -prise, Ob - serve our u - ni - ted en - deav- our.
!!!
 tJ tI tI Ç tY c Ç d tY Yt Ç tZ Yt I
tÇ J tY c a
Bart tI Ç tJ tI t I
t tI
tes - ti - fy joy and sur -prise, Ob - serve our u - ni - ted en - deav- our.
!!! c c c I c tt t !tt tt tI
t
> t c tt c
I tI c t t ttt ÇÇÇ
tI
t tI
t tt tt
I t tt
t
I
!tt t t
? ! ! t c
Piano
! Yt t c tYt c tI c t c
I tI c tI c tI c tY c tY c
tY
! ! !t tI tt tI
 ! tt tt tt tt tt tt tt t
46
t t ÇÇ tt tt t t tt tt
> t t t t t t ttt ÇÇÇ
? ! ! ! ttt ttttY
tt
Piano
ttY c t
! Yt c tY c tY c c Yt c tY c tY c
!!! tY
cÇ d d tY #tY
50
(stops suddenly)
 a a #tI #tI tI
Nita tI
But what a cat - as - tro - phe!
! ! !t tI
 ! tt tt tt ÇÇ
tt tt t t tt tt
t t tt tt tt tt t
# #tttI
c tt c
I
> t t
t t
? ! ttt ttttY tt
Piano
 !!! tY c tY c tY c c ttY c tY c Yt c #tI c
!!! ²
#tI c c I #tY c Ç d
54 ad lib.
Nita  t !tI #tI #tI !tI #tI I

t tI tI Ç tJ tI tI Ç tJ tI
Stop! I see of ob - jec - tions a crop! Sup - pose, by some hor - ri - ble
!! ²
 ! #tI c cÇ #tI c tt
I c cÇ c tt ÇÇ tÇ
> #t
t t
t t
tI
# # tt tÇ !tt ÇÇ
?
Piano
 !!! ²Ç
I
t c c tI c I
t c #tI c Ç c !| Ç
103
!! ²Ç c Ç
 ! tI c Ç
58
Nita tI tI tI Ç tJ tI I
t Ç tJ tI t a
!!
 ! a a a a
fluke, I should chance to be bought by the Duke!
Bart
!!! ²Ç d
a tempo
(resuming his dance)
 a a c tI tY tY tI tY tY
Piet tI
!!! ²
Be ea - sy– I'll cer - tain- ly
>  tÇ
!tt ÇÇ tt c
I tt ÇÇ
!t Ç
tÇ I t
!tt ÇÇ tt
c tI c
tt
tI
tt
c
t tÇ
?  ! ! tÇ tY c #| t Ç tY ²c tY tY
Piano a tempo
! c c
!!
 !
62
Nita a a a a
!!!
cÇ d tI Ç
(dancing)
 a a tJ tI
Bart tI tI Ç tJ tI
!!!
tI c Ç d d cÇ a
But don't be a - larmed a - bout
 tI tI tI tI tI tI tI tI tI
Piet
!!!
see You'll never get in - to his clutches!
 tt c tI c
I tt c
I tt c
I tt c
I tI c c c
> t t t t tI tIt
t t t
Piano
? ! ! tY t tYt c t
! c It c Yt c tI c tI c Yt c Yt c
!!!
cÇ c tI tY tY tY
66 (all dancing)
 a a tI tY
Nita tI
!!! I
t cÇ tY tY
 tÇ J
I t I
t tI Ç tJ tI tI tI c d tI tI tI tI tI tI
Bart tI
!!!
me– I should like to be bought by the Duch- ess! But don't be a - larmed a - bout
 a a cÇ c tI tI tI #tI tI tI
Piet tI
!!
>  ! tt c
c I tt c
I !tttI
c t
#tt tt tt ttt tt tt tt
tI c tt c
I
ttI t t t
? ! ! tY c #tY
Piano
! tYt c c t c
I tI c Yt c Yt c c
I
t
104
!! tY tY tY
 ! !tI c Ç Yt Ç tZ tY Ç tZ d
70
Nita tI tI tI c tY
!!
he– He would like to be bought by the Duch - ess! Tho'
Bart  ! tI c Ç tI tI Yt Ç tZ tY tY Ç tZ tY tY tY c d tI
!!!
me I should like to be bought by the Duch - ess! Tho'
Ç Yt Ç d
Piet  tI c tI tI tZ tY tI Ç tJ tI tI tI c tI
!!!
he– He would like to be bought by the Duch - ess! Tho'
>  !tI c I c tI c #ttI c #tIt c tt c

I
tt ttt tt t t t
? ! ! tY c Yt Yt
Piano
! c tI c tY c c c
t
I
!!! tY ²
tY tY tY tY tY tY Yt Ç tZ tY tY Ç Zt
73
Nita  tY tY tI tI tI Yt
!!! pride he ab - hor He's a "Jen- ny say

²tY
quor" that is
Zt Yt
sure to ap - peal to a
Bart  tI tI tI tI tI tI tI tI tI tY tY tI Ç tJ tI tY Ç
!!! ²
pride I ab - hor I've a "Jen- ny say quor" that is sure to ap - peal to a
Piet  tI tI tI tI tI tI tI tI tI tI tI tI tI Ç tJ tI tI Ç tJ tI
!!! ²
pride he ab - hor He's a "Jen- ny say quor" that is sure to ap - peal to a
t tt ÇÇÇ t t tÇ t
 tt ÇÇ tt ÇÇ tÇ tI
tt t tt ÇÇ t
> tÇ tÇ tt ÇÇ t t t tt
? ! ! tÇ tt ÇÇ t tt t
tY
Piano
! tÇ tÇ c t
³tI
!!!
tÇ
76
Nita  tI a a a
!!! Duch-
t Ç tY
ess!
Bart  a a a
!!!
Duch- ess!
 tI a a a
Piet tÇ
!!! t Ç tt t t tt t t tt ÇÇ ttt
Duch- ess!
d tY t t tÇ tYt tt tt tt tt tt tt
>  ttt ÇÇÇ ttI
t
?  ! ! t Ç tY d d tY d d tY d d tY d d t Ç d d ttY Ç d d t Ç d d
Piano
! Yt Yt
105
!! t t t t tt tt t t tt tt t t tt tt tt tt tt t t t tt
t !t t
 ! t t tt tt t t tt t t
80
t t
>
?
Piano
 !!! tYt Ç d d t Ç d d tÇ t t
Yt Yt d d Ytt Ç d d ttIÇ d d It d d
Yt c Yt c
Yt
tt t t tt t t ! tt ÇÇ
!!! tt tt t #tt t t
t t tÇ ttt Yt
84
 t t t t
>
? t tt
Piano
 !!! tY t t #t t tY
c c Yt c c c c
Yt #tY Yt
t t t t t t t tt tt t t tt
!!! ttt #ttt #tt t t t t t t t
87

>
?
Piano
t ttYt tYt
 !!! tY c c c
t
c tÇ tÇ
tY tÇ
tÇ
t t t tt t t t t t tÇ
!!! tt t t tt t tt tt
t ttt ÇÇÇ ttYt
90
 c
>
?
Piano
tt t t t t
 !!! tÇ t tÇ c
tÇ tÇ t
Yt tÇ Yt
tÇ
106
12a. Oh luck unequalled
Recitative
Teresa and Ultrice
" tÇ
Allegro (Enter Ultrice with label from Pietros' pocketbook.)
" Š a a b c t tI tI d
Ultrice tI tJ tJ
Oh luck un - e - quall'd that I
" #t Ç !tI
Allegro
>  " Š #|| tt ÇÇ tt #|| tt tt tt tt tt b a

t

? " | tÇ t | t t t t t ttt
Piano
" Š "| t Ç Yt !| t t t t t b a
"
tI Ç tJ #tI Ç tJ t d tI Ç tJ tI d c d tI
5
Ultrice " tI !tI Ç tJ tI tI t Ç tJ tI tI

I
hap - pen'd here to be! This charm makes all man- kind what they ap - pear to be! I
" b d
> " c
I t !ttt c b b t c
tt
? " b tYtt t c
Piano
" c d t c b b
" I
tÇ J t Ç tJ t c d tI tI
8
Ultrice " t I
t tI tI tI tI tI I tI tI Ç !tJ tI tI tI tI
play Al- fre - do's wife– of course in jest we are– Best say that when as Duke and Duch-ess
" tt d
> " AA ! #AAA
||
|
I
t
c
A
? "
Piano
" A d c
A !| tI
ó
"" d Yt Ç d c d
11
 tI Ç tJ t c tI tZ tI Ç tJ #t t t t I
t Ç ! tJ tI
Ultrice
tI
dress'd we are, We drink the doc - tor'd wine– what is the end to be? We
" " b c t c b c
> tt
t
t #t ! tt
‘
? " t
Piano
b c t #t c b t c
" t t
107
" YÇ
t t J
tI Ç J b c d tI tY Ç tZ tZ tZ tZ tZ Yt Ç tZ tI Ç!tJ
14
Ultrice " tI Ç tJ !tI Ç tJ tI tI t t

b
both be-come at oncewhat we pre -tend to be! This la - bel makesa me- ta- mor- pho- sis a -
" ¡
>
" !t tI d c b AAAª ª "||ª
t t t ||| |
• ¡
? " AAª
Piano
!t tY d c || "||
" t b t t
ª
ª
" "
t c c d tI tY Ç d d
18
" tJ tI Ç J
t tJ tJ tI t
I t tI Ç tJ t
I
c "t c
tI tI I
t " "
tI
Ultrice
gain– I ra - ther thinkthe con- jur- or won'tsee this a - gain! But soft– I am ob -
" """
>
" ª
AAA t d
I c b a c b
tt tt
‘
?  " Aª tt
Piano
" A
t d c b ttt tt b
t c b
t """
Yt t
(coming down) (bowing)

" tÇ
Andante grazioso
tY Yt #t
22
Teresa " " a t tY tI t t t t t t t t tY t
"""
Here is her Grace! Your most o be - dient How is her Gra - ce's
Ultrice  t c b a a a
serv'd!
""" tt ÇÇ tt d ! tt tt
Andante grazioso
>  tt t t tt t tt t ttÇ ttÇ tI

tt
tt t tt t tt t c I
t
Àt Ç
t t t t t tt tt #t t
?  " tÇ tÇ tÇ Ç tÇ
Piano
"" A Yt | t t tÇ c |
108
" t t
26
Teresa " " t t #t t a a a
"""
health this morn - ing?
Ultrice  a t #tI tI t t t t t t t t #tI tI t t
"" c
Keep in your place Or some ex pe - dient Shall be de - vised to
> " tt d ! tt
I tt tt # #tt t "tt t tt tt t tt tt t c #t c t
t #t t t t tt tt
Piano
? " | t #t t tt t #tt t |
" " tY d c | t "t t #t t t |
" t
30
" " t #t t tI "tI t t tI "tI t tI "tI

t t
Ultrice
"""
check your scorn- ing! Bid you good day, miss! Out of my way, miss! When
tt #ttt tt t b t t t t ttt d b t t t t d
>  t tt " tt tt tt tt I # tt tt tt tt " "tttI
Piano
?  " t tt #tt t •
"" t t b tI d b #t "tY d
t
" d tI I
33
Teresa " " a a a a b t I

t
"""
Al - fre - do
Ultrice  "tI Ç tJ t tI Ç tJ t t tI tI t t
a a a
""" tÇ
duchess- es or - der you, al - ways o - bey, miss! Allegro come primo
d c c || t || tt tt tt tt
> " "ttI t| Ç t t tt tÀt tÀt tÇ Yt tt t b
š À •
?  " "ttY d t t t tt || tt ÇÇ tYt || tt t t t t ttt
c #|t Ç t
Piano
"" t c t t t t t b
" Yt Ç tZ tY tY tY Yt d tY !tY tY tY tY | tY ²
 " " t d tY tY tI t
38
tY c
Teresa
t
here? If that is her o - pin - ion She lit - tle knows the pow'r of my do - min - ion!
²
 """ b || " # ttIt d d
t !t t t t
||ª tt d
I c b !tt
> | Yt ! t t t t | t t

š –
? " š
Piano
|ª
colla voce.
"" a a tI d c b t
| t ³t
109
12b. I'm only joking
Song
Teresa, Ultrice and Alfredo
!
Moderato
 Š tY tY tY t t
Teresa
t ¿ tÇ tI tI |
When man in love- sick pas - sion lin - gers, A
!
should that fail– it does - n't of - ten– His
 Š c ¿t t t t t t t t t t t
> t t t t t
! Š
Piano
? c ¿ || |
|
|
|
|
|
! tÇ tY t
3
 tY tI tY tY t tY
Teresa
tI tI tI
maid can twist him round her fin - gers; A word from
!
heart by o - ther means I'll sof - ten With eyes that
>  t t t t t t t t t t t t
t t t |t
! | |
Piano
?
| | || ||
! t
5
 tI tI tY tI tI tI t
Teresa
tI tI tI tI tI tI
me of e - lo - quent, Yet maiden - ly en - cour - age - ment, A
!
dream, and tears that sob, In joy su - preme I'll make it throb! I'll
 t t t tt t ttt tt
> t t t t t t t t t t t t t
| | t
! || t
Piano
? | | tt
| | |
! tÇ !tY t !t Ç tY tY tY tY !t t
7
Teresa  t tY t t
faint re - call, a dain - ty hint That af - ter all I'm not a
vow his scorn my heart will break, And all for - lorn, for his sweet
! t t ttI t t tt
> tt Ç tt tt !tttI ! tt t tt tt tt !ttt Ç tt tt
t ttt t tt t
!tt tt
t t tt tt tt tt
t t !t t ttt ttt
| t t t ! tt tt |Ç
? ! c t
Piano
A t| tY t
110
! t tI Ç tY
10
 c c tÇ tI tJ tY t |
Teresa
t t
flint, And such per - mis - si - ble pre - ten - ses. Will
!
sake, Which more than life it - self I che - rish, I'll
ttt
I Ç t
I tÇ t t t t
> t t t tY Ytt t t t t tY tY t t t t t tY
? ! tÇ t t t t t
Piano
tY d c c t tYt || t
tÇ
! ótY tÇ #t Ç tY
poco accelerando
tÇ tY tY tY
13
Teresa  tÇ tI I tJ tY t t tI tI tY
put to flight his se ven sen - ses! - Than as he cries,– "My own for
con - stant live and con-stant pe - rish! Then as he cries– "My dear - est trea -
ó
! tt t#ttt t t t
poco accelerando
Ç tt t Ç t
I t t t t t tt ttt tt tt tt tt tt tttt tttt tttt
> tYt t t tY tY t tY t t t t t t #t
?  ! tÇ t t t t tt
Piano
tY t t | | |
µ
! #t t tY tY tY tY tÇ tY tÇ
16
Teresa  tY t | t
ev - er! No pow'r on earth our lives shall sev - er!" I'll
sure. A - dored be - yond all earth - ly mea - sure!" I'll ans -
! #tt tt ttt ttt ttt tt tt tt tt Ç t t ttI #! ttt Ç tt tt
> #tt tt t t t t t t t t t t
tt
tI tt t |t Ç t t c
t t t t t
? !
Piano
| | | t c
!A
µ
! rit.Yt Ç t ²
t d e J t 24 tY
19
tI t tJ J
a tempo
Teresa  tJ t tI tI tI t I tY tY tI
an - swer him with laugh pro - vok - ing, "Up- on my word, you're too ab -
wer him, my tri - umph cloak - ing "Up- on my word, you're too ab -
! d
I
tt tt tt tIt d c d tIt tt tt tIt d ²e t t t 24 t tt t ttt
> t t
tYt tt tt ttY ! ttY tt tt ttY a tempo
? ! d
Piano
24 tY
rit.
d c d d c d Yt d
³
111
! !tY "tY !t tZ tZ tZ tZ tZ tZ tZ tZ tZ tZ tZ tZ
22
 t e tZ tJ !tJ I
t
Teresa tI
surd! Why, bless me heart, I'm only jok - ing! Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha,
surd! Get up, you goose, I'm only jok - ing! Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha,
! tt tt tt tt t t t t tt tt tt
>  t t d !tt
d tt d tI
I d !I
ttt ttt
d Yt tY t tt t t t t t t t
? ! t t
Piano
tY d I
t d tI d tY d t t t t t t t t t t t
t t t

! tZ Â ÂtY tY Ç tY
26 ten
tY tZ
a tempo
Teresa  tJ tJ tJ tI tI t tJ tJ tJ tJ tY tY tI
ha, ha, ha, ha, ha! I'm on - ly, on - ly jok - ing! Up - on my word, you're too ab -
ha, ha, ha, ha, ha! You goose, I'm on - ly jok - ing! Up - on my word, you're too ab -
! t tt tt Ç t
tt ttt tt tt tt t tt ttt t t t t t t
>  tt tt tt tt t tt t d tYt d tttY
allarg. a tempo
? !
Piano
 
tI t t t t tÇ d tY d Yt d
tt tt tt tt tI
t
! tY tY t !tZ tZ tZ !tZ !tZ tZ tZ Zt Zt tZ tZ
30
Teresa  t e tJ J
t !tJ tI I
t tZ
surd! Whybless my heart, I'm only jok - ing! Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha,
surd! Get up, you goose, I'm only jok - ing! Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha,
! !tt tt tt !tt !!tt tt tt tt t t t
>  t t d !tI
t d tt d tI
I tt d !I t
ttt !tt t t t
d Yt t t
? !
Piano
Yt d tI d tI d t d
I !t tJ  tJ J
t J
t t tt tt tt !tt #t t t
! t
tJ tJ tJ tJ tZ tZ tZ tY
34
Teresa  tJ e tJ J
t J
t tI c a
ha, ha, ha, ha, ha! Why, bless my heart I'm only jok -ing!"
ha, ha, ha, ha, ha! Get up, you goose, I'm only jok -ing!"
! t t ttYt d c tt ttt t
>  #! ttt !tt tt tt #t ttt tt t d t I
t
ttt ttt t t t t t t t tY
! tt tt tt
? t t
Piano
 tI d c t d Yt t
t
t t

! t # tt tt tt tt t

112
(Alfredo enters and overhears the 2nd verse.)
!
1.
d
38 2.
 a a c a
Teresa
tI ¿
t t [t Ç Ç Ç
And
! ttY t t tZt tt tt tt t t t t t t t
tÇ
d
tÇ
d
>  t t t tÇ ¿ tÇ
Piano
? ! t t t ÇÇ t ÇÇ
t tt
 tt t t t t t t t t t tt Ç d t d

¿ tÇ
! c d # 2
tI d
42
Teresa  tI t a 4 a
(going)
! tJ #tY tY d # 2 tY tY
tI c a tY
Allegretto
c
Al - fre - do!
Alfredo  tJ 4
cru - el one! Ma - dam, good mor - ning.
! d # 2 t t
 c #ttI d tI d c 4 c d
> #tt I
tt t
t tY t
tY
Allegretto
? ! c tY # 24 tt
Piano
d d d c
d
46
Teresa  a a a c tI
Oh!
t t t t t t t t t t t t t t
>  t t tt t t t tt t t t t t
t tt
d tt
t
t t
d
?  |t t t t | tI t t tt
Piano
| t t t tY d d
tI
t
113
tZ t tZ
 ¿ tJ tJ tJ tJ tJ tZ tY tJ tZ
50
Teresa tZ tI tJ tJ tJ tJ tZ
whi- ther, whi- ther, whi - ther do you speed you? Oh hi - ther, hi - ther, hi - ther, hi - ther
Mer - ry, mer- ry, mer - ry maid in - vites you, Who's ve - ry, ve - ry, ve - ry short of
>  ¿d tI
tt
d I
ttt
d tI
tt
d tI
tt
d tI
tt
d I
ttt
t t t t t t
 d d d d d d
Piano
?
¿ tI tI tI t
I tI I
t
t t
tÇ d atJ Zt Zt tZ
53
Teresa  a
hie! no- ther time I'll
sense! flir- ti - ness in -
c d t dJ
tJ J t t
I d tY t tY
Alfredo  tI t
A - no- ther, no - ther, heed you, I've
Its flir- ti, flir - ti, cites you, Im -
d tI d d d
>  tt
t
tt
tI
t
tt
tI
t
tt
tI
t
? 
Piano
d d d t
tI
t tI
t tI
t tt
J
d tZ "tZ tY Ç
56
Alfredo  tJ tZ t tI "tZ tJ Zt
o - ther, o - ther, o - ther fish to fry! To pun- ish her I'll try, I'll
per - ti, per - ti, per - ti, per - ti - nence! Of tak - ing some of - fence, I'm
d tI d d "t d tI
>  !tI
t t tt tI
tt "tI
t
"t
tt
t
t t
? 
Piano
t tI d "t d
t tt t tI
120
114
(aside)
d tJ tJ
59
Teresa  a a c
(aloud) There'sa
tJ tJ tJ tJ I
tÇ tJ tJ tJ tJ tJ tJ tJ tJ tZ tZ tY d He
Alfredo  tJ tJ tJ
sof - ten by and by, My la - dy, I am sor - ry, but I've o - ther fish to fry!
making a pre - tence. I'll pun- ish her im - per - ti, per - ti, per - ti, per - ti - nence.
d t
I d tI d t
I d t
I d d I
>  ! tt t tt
t t !t t !t tt
I
t
tt
t
? 
Piano
t d !t t t t d t
t I
t t t Yt t
"tZ
(aloud)
Yt Ç
62
 "tZ tJ Zt tZ tJ tJ tJ tJ I
tÇ tJ tJ tJ tJ tJ tJ tJ tJ
Teresa
tJ
twin- kle in his eye, He'll soft - en by and bye. I'm ve - ry, ve - ry sorry that you've
thinksme ve - ry dense, I see tho' his pre - tence. Oh, par - don my im - per - ti, per - ti,
d "t d I d d tI d d
>  "tI
t
"t
ttt
t
t
I
! tt t tt t tt
I
t
tt
I
t
? 
Piano
"| | !t t t
t tI d t tI d t t
65
tZ tZ tZ tZ tZ tZ tY t
 tJ tJ tJ tJ tI tZ tZ tJ tJ
Teresa
tI
o - ther fish to fry! I'm ve - ry, ve - ry, ve - ry, ve - ry sor - ry That you've
per - ti, per - ti - nence! I'm ve - ry, ve - ry, ve - ry, ve - ry sor - ry That you've
t t t t t
t tt t tt t t tt
>  t t t ttt t t t t t
t tt tt tt t
? 
Piano
t tt t It tI t t
t tY
115
tZ tZ tZ tZ tÇ d
68
Teresa  tJ tJ tJ tZ a
o - ther fish, you've o - ther fish to fry!
o - ther fish, you've o - ther fish to fry!
d t t t t t t t t
>  ttt ttt tt t t
t
c t t t
?  t t | ||
Piano
1.
d
71
Teresa  a a c tI ¿
A
t t t t t t t tt t d
>  t t t tt t t t t t ttt ttt
I ¿
t t
?  t t t t t tt
|t
Piano
t t t tY d d
ttI ¿
" " " 98 c Ç tY tY

2.
tY tY
74
a
Moderato
Teresa  c
Now, lis - ten to
| " " " 98 t c c

Moderato
>  | tt t tt t
I tt
I
• tt t tt t
?  ||
Piano
9
| """ 8 t t t tI c I
t c
" tÇ t tY tY tY tÇ tY
76
Teresa " " #tY t tI tY tI

me, dear, 'Twas way - ward - ness will - ful (in which, as you
" "
>  " ttt ttt ttt tt c
tI I
ttt c ttt ttt ttt ttt c
I #tttI
c
?  " Yt
Piano
t t t tY c c t t t t c
I tI c
" "
116
" tÇ tY tY
78
Teresa " " t tI tI tI tI tÇ t tI #tY

see, dear, I'm not ve - ry skill - ful) That makes you so
"
" "
tt tt tt tt c
I
tI
t c ttt ttt ttt c
tI
t c
> t t t t # tI
t
Piano
?  " #t t t Yt c tY Yt c tY
"" c t t t c
" tÇ t tY tY tY tY tÇ tÇ tY tY #tI
80
Teresa " " t tI #tI #tI tI #t tY

tear - ful; Take heart.and be cheer - ful, No mis- chief is done, dear– 'Twas only in
"
>  " " ttt ttt ttt I tc tt c
#tI t t t tt c
I #ttI
c t tt t tt tt # "ttt ttt # tttt
#tI
# tt # tt tt tt t t # tt t tt t
?  " t t t tY c !tY c t t t tY c
Piano
"" !tI c t t t t tY t t t
"
83
Teresa  " " #t Ç | c a a

fun, dear!
" cÇ tY tY Yt Yt tÇ t tY #tY tY tY tÇ
Alfredo " " c t tI tI tI tI
Now, lis - ten to me, love– My sen - ti - ments store them; Whenmaid-ens like
"
 " " " # tttt ttt tttt #tI c ttt c
I tt tt tt tt c
I ttt c
I ttt tt tt tI c #ttI
c
> t #t t t t t t t t tt t
?  " t tY c t t t Yt c tY c
Piano
"" t t t c
I t t t tI c t c
I
" tÇ tY tI
86
Alfredo " " t tY tY tI tÇ t tI tI tI

thee, love, On hearts that a - dore them Un - feel - ing - ly
" tt
" "
tt tt tt t tI
t tt tt tt tt tt c c
> t t t tt tIt tI
t
t t t t t t
?  " #t t t tÇ Yt
Piano
"" c t t t Yt c Yt c
117
" tÇ tY tY tÇ tY tY
88
Alfredo " " t tY tY #t tI tI

tram - ple. They al - ways give am - ple Oc - cas - sion for
" " t d tt tt
>  " tt tt tt tI Yt t t
tt
t
tt
t
tt tt
t t tt c
#tI
tI
t c
?  " t t t t #tYt
Piano
Yt c tY c t t t Yt c c
" " t t t
" cÇ tY tY Yt Yt tÇ |
90
Teresa " " a c c
""" tÇ tY tY tÇ tY
'Twas only in fun, dear!
Alfredo  t tY tY | c cÇ c tY tY tY
scorn - ing– I bid you good morn - ing! I pray you take
" " tYt d tY # ttt ttt tt tt d tY tt t t tÇ tt tY tt t

>  " t t t t #ttt ttt ttt tI Ç tt ÇÇ t t
t
t t t t tt Ç t t tÇ
?  " t t t tY c tYt tÇ
Piano
t t t Yt c t t t c tÇ
" " tÇ
" cÇ tY tÇ
93
Teresa " " c tI tY tY | c a
""" tÇ
No mis- chief is done, dear!
| c cÇ c tI tI I tÇ t tY
(aside)
Alfredo  t tI tÇ
warn - ing. I bid you good morn - ing! She was
" tt ÇÇ tt t
tt ÇÇ t ÇÇ
" t t t t
>  " tÇ t
tI t tt tI "tt t t tt Ç
tt ÇÇ
tÇ t Yt
tt Ç t t tÇ tÇ tÇ
?  " "tt Ç t t tÇ
Piano
" tÇ tÇ tÇ t Ç t #t cÇ
" t ÇÇ tÇ
118
"
 " " d tY tY tY tY tY t Ç d tY tY tY tY tY tÇ tY tY tY tY tÇ
96
Teresa c
I was only in fun, But the mis-chief is done; Of taking of- fence,
" Ç tY tY tY tÇ t tY #tY tY tY t Ç tY tY tY
Alfredo  " " tY tY tY t t tY
only in fun No mis-chief is done Of takingof- fence I am
" "" | Ç t t |Ç t t |Ç t t
>  |Ç t Yt |Ç t Yt |Ç t Yt
t t t t t t t # tt tt tt tt tt Ytt
?  " t ttt ttt ttt ttt ttt tttY c t t t t t t Yt c
Piano
"" t t c
t
" t tY
" " d tY tY tY tY tY tÇ bÇ
99
Teresa a
It is not a pre - tence. For he
" " " tY tY tY tÇ Ç

!t(aloud) tÇ tÇ tÇ tÇ cÇ
Alfredo  tÇ
mak - ing pre - tense. I bid you good morn - ing!
tÇ tt ÇÇ
"" | Ç
>  " |Ç
t t tÇ tÇ tÇ ttt ÇÇÇ #ttt ÇÇÇ ! #ttt tI
t
t Yt t tt
t t t t t !tÇ tt t t
?  " t t t t t t # tt ÇÇ #tt ÇÇ tt ÇÇ
tÇ t #t t tÇ tt Ytt
Piano
" " t
tÇ tÇ
""" tÇ tÇ tY tY tY tÇ tY tY tY
accelerando
t tY
102
Teresa  tÇ
bids me good morn - ing. I was on - ly in fun. But the
" d tY tY tY tY tY tÇ
Alfredo " " a a
She was on - ly in fun–
" " #ttt ÇÇÇÇ tt ÇÇ ttt ÇÇÇ #ttt ÇÇÇ tt ||| ÇÇÇ
accelerando
 " t tÇ tÇ tt I ttt ttt

> t t |Ç t tY
ttt ÇÇÇ
tt
?  " #tt ÇÇ tt tt tt tt
tÇ
Piano
tÇ t
" " tÇ
t #t #t t t t tÇ t tÇ
119
" tY tY tY tÇ t tY #tY tY tY tÇ tY tY tY tY tY tY tÇ !t tY
105
Teresa " "

mis-chief is done; Of tak - ing of - fence It is not a pre-tence, For he
" tY tY tY tY tÇ tY tY tY tY tÇ d tY tY tY tY tY tÇ
Alfredo " " c c
No mis-chief is done; Of tak - ing of- fence I am making pre-tence.
" " || ÇÇ tt tt #|| ÇÇ tt tt || ÇÇ ! t ÇÇ

>  " || ÇÇ tt ttY #|| ÇÇ tt ttY || ÇÇ #! tttt ÇÇÇ
Piano
?  " t tt tt tt tt tt tÇ t tt tt tt tt tt tÇ t tt tt tt tt tt #tt ÇÇ
" " t tÇ t tÇ t
108
" tÇ tÇ tÇ tÇ tÇ tÇ tÇ
Teresa " " tÇ c #tY
tÇ tÇ
""" tÇ
bids me good morn - ing, he bids me good
Alfredo  a bÇ c tY
I bid you good
tÇ tt ÇÇ
 " " " #ttt ÇÇÇ tÇ tÇ
tt ÇÇÇ
t #ttt ÇÇÇ tt ÇÇ tt ÇÇÇ
t tÇ
tt ÇÇ c #tI
ttt
> tÇ
?  " #tt ÇÇ ttt ÇÇÇ
Piano
"" tÇ tÇ c tI
t t t tÇ tÇ
t #t #t t
"
 " " #t Ç tÇ cÇ
111
Teresa a a a a
" " " morn

t Ç - ing!
tÇ cÇ a a a a
Alfredo 
|Ç tÇ t
morn - ing!
" " #tI c tI c t t t tt c tI
I t t
I t
 "
ttt tt c tt ttt ttt tt c tt ttt ttt
! #tt c tI || ÇÇÇ tt ÇÇÇ tt c c Ç c Ç
> ttt tt t | t tY
?  " !tY c Yt c t t t
Piano
tY c Yt c t t t tI c c Ç c Ç
" " tI c I
t c t t t |Ç tÇ
t t
attaca
120
12c. Duped! Rejected!
Recitative
Teresa
"" 4
Moderato

tÇ tY tI d tÇ
1
Teresa " " 4 a a b tI tJ tJ tI

Duped! Re - jec - ted! Do I wake or
"" " 4
Moderato
a a c b
> " 4 AA tt
 t tÇ t A 
?  " " 4 t Ç tY t
Piano
"" 4 AA tt c b
"" ‘ tY Yt Ç tZ t !!
#### ! !
5 cresc.
Teresa " " | tI #tI tI Ç tJ tI tI c tÇ b
!
dream? By him re - jec - ted? Oh the shame of it!
"" "
> " #|| tt
I
d c b | tt | c # # # # !! !
|| t ||
‘| t
Piano
? "" t tÇ t t t c !
"" | tt | t | c # # # # !! !
|| t
!!!! b • !tY Ç tZ Yt Ç
t tJ tZ
8
Teresa  tI Ç tJ !t e tJ tJ
!!!!
Ra - ther than this I'll o - ver - whelm him with the
> !AAª !AAª

•
?  ! !! Aª Aª
Piano
! A A
!!!! tY tY tI tY !tY
tI d t tZ tZ tY
10
Teresa  tY tY tJ tJ e tJ !tJ tJ
!!!!
tor - rent of my pas - sion– Make him think my brain is tot - ter - ing for the
> ||ª !||ª !AAª

?  ! !! | || AAª
Piano
! |
ª ª
121
! !! tY Ç tZ tY #t Ç tY
 ! t d tY tY tY d
12 diminuendo
Teresa !tI Ç tJ tI tI tY c tY !tI Ç tJ
!!!!
love of him! And when at last he yields to my pro - test - ing, I'll say, "Ha!
ª d c a c tt c
> || tI
t t !ttt
š š
?  ! !! !|| tYt t t
Piano
! ª d c a c c
! !! tY Ç
 ! d tJ !tI Ç tZ tY tY c
15
Teresa tJ t tJ b a a
!!!! tÇ tÇ t ²
A
ha! poor fool– I was on - ly jest - ing!"
c b b Ç I
t t t t AA
> tt | !tI t || ÇÇ t
t |
š |Ç t ²A
?  ! !! t A A
Piano
! c b b |
(Exit Teresa. Flourish.

Enter Chorus of Girls, running.)
122
13. Act I Finale
Ensemble
Allegro
!!!! 2 d t t t t t t t t t t t t t t
 4 t t t
> t t t t t t t t t t
? ! ! 2
Piano
!! 4 t t t t t t t t t t t t t t t t t t t t
; !!!!
tÇ J
6
a a a tI tI I ttt
Women
< tÇ
I tJ tI Ç tJ
t t t t
Come and take your places all, The
! !! t t t t t t t t t t t t t t t t t t t t t t
t
>  ! t t t t t t t
tt t t
?  ! !! t t t tt
t t t
Piano
! t t t t t t t t t t t t
; !!!! tt
I
It Ç ttt tI
11
J tI c tI t
Women
< tt ÇÇ tt t t tI
tt tÇ
I tJ tI Ç tJ tI !ttIt ÇÇÇ ttt
J ttIt ÇÇÇ ttt
J
¡t t
show is just be - gin - ning; Don't you hear the trum- pet's call, And the drum - mer's
À
!!!! ¡t t ¡t t Àt Ç t t ! ¡t t ¡t t
t t t t t t
>  t t t
tt Àt tt t tt Àt t t
?  ! !! ttt ttt t #! ttt tt t t ttt t
t !t t t
Piano
! t t t t
t t
; !!!! I tt
I
tI tI Ç tJ tIt ÇÇ tt I
tt
16
tt tt c
I tI t J tI tt c
Women < t t tI Ç tJ tI Ç tJ t tÇ t t t t I
t
din - ning? Come and take your pla - ces all, The show is just be - gin - ning;
t ¡t t ¡t ¡t
!!!! ¡t t À
tÇ t t t t t t Àt Ç
t
> t t t t t t
tt tÀtt tt tt tt tt ! Àtt
?  ! !! t tt t t t ttt ttt t # tt
Piano
! t t t t t
; !!!! t tI Ç t I
J tÇ t tI
J
21
tI tI c tt
I tt
I tt
Women < tI Ç tJ tI Ç tJ t $tt ÇÇ tt tt ÇÇ tt tt tI t t t
Don't you hear the trum- pet's call, And the drum - mer's din- ning? Fro - lic, fun
!!!! t t #t¡ t ¡t t t
> t t t t t t t t
t t t !t t t t t $t t t t t t
? ! ! t tt tt tt tt tt tt tt tt
Piano
!! t t t t t t t t t t t t
122
; !!!! tI t
I t t
I
26
tt
I tt
I tt J
J t tI $ttI ttt J
J ttt tI tI tI tt
Women
< t t t tt tt $tt tt tt tt t tt t t
t t t t !t t t t
and flum- mer- ry– Mag - ic, mirth, and mum- mer- y– (That's the show -
!!!! $t t t t
t t t t $t t t t t t t t $t t t t t t t t
>
?  ! !! t tt t
tt tt tt tt tt t tt t tt
Piano
! t t t t
; !!!! I I
ttt J
ttt tJ
tt I
ttt !tttI ÇÇÇ t tI Ç tJ
30
tt ttt tt
J tt tJ I
t I t
Women < tJ tI Ç t t tI Ç tJ tI Ç t
t t
man's sum-mar- y.) Set us all a - grin - ning! Come and take your places all, The
!! t t t t !t t t t t t t t tt
>  !! t t t t t #t t t
t t t t t t
t t t t
t t
? ! ! ttt ttt tt t
t !t
tt #tt t tt t t tt
Piano
!! t t t
t
t
t t t t
; !!!! tt
I tt Ç t
tt ÇÇ tt tI tYt ttYt ÇÇ
35
I J t tI tt c ttZ ttY ttY

Women
< tÇ t t t t I
t tI Ç tJ tI Ç tJ tY t
¡t t
show is just be - gin- ning; Don't you hear the trum- pet's call, and the drum - mers
¡t ¡t Àt ¡t t
!!!! t t tÇ t t t t t
>  t t t t t !t t
Àt
? ! ! ttt ttt ttt #! ttt t #t tt
t tt ttt ttt
Piano
!! t t t t t t t t
t t
t
; !!!! tI tY tI tJ tJ tY
40
tt c t tI tI tI tI tJ tJ tI
Women < tI t tI tI
t t t
din- ning? Fro- lic fun, and flum
- me- ry– Mag- ic, mirth, and mum
-mer- y–
t! t t tt t t tY t t t
!!!! t tttt t t tt t t t
> tt ttt t t t tt
t
t ttt ttt t t t tt
?  ! !! tttY tt tt tt t tt tt tt tt
Piano
! t tY t t t t t
t t
; !!!! tt
I t
I
tIt ÇÇ tt
I tY
45
J
tt tt I
tt tt tY t
Women < tÇ t t t tt tI
t tt ttI ÇÇ t I
tJ tt
(That's the show- man's sum - mar- y) Set us all a - grin - ning! Fro - lic, fun
!!!! tt t t
>  ttt ÇÇÇ ttt tt
t t tt tt tt tt ÇÇ tt tt tt tt
tt
#tt
t t t t t t
tt
? ! ! t t t t t t t tt ttt
t t
Piano
!! t t t t t t t t tt t t
123
; !!!! tZ tY
50
tI tI tZ tI tI tJ tJ tI tI
Women < t tI tI tt ÇÇ
I tJ
t tI
t t
t
t t t t t tY t
and flum- mer- y, Ma - gic, mirth, and mum- mer- y– (That's the show - man's
!!!! t t t t t t t t t tÇ t t t
> t
t t t t t
Piano
?  ! !! t ttt t
tt tt tt tt tt ttt ttt
! t t t t
t t
; !!!! t tt
It Ç tt
I
54
tI tt J
ttt ttY a a
Women < tI
t t tt ÇÇ t t t
t t t
sum - mar - y) Set us all a - grin - ning!
!!!! t t tt tt t
> tt ÇÇ tt tt
t tt t t tt tt t t t t t
t t
tÇ t t
t t
?  ! !! ttt tt
t tÇ t t tt tt t tt tt tt tt
Piano
! t t tÇ t t t t t t t t t
(During this Alfredo has entered, followed by Teresa, who expresses heart-broken passion in
gesture. Enter Ultrice and Elvino, who carries a theatrical cloak, sword, hat, and lady's train.)
! !!
 ! d
59
a a Š b c tY t
tI e #tJ tJ
Recit.
Ultrice tI tI tI tJ
t t
Al - low me, ma - dam, if you have quite
!!!! t t t tt tt t t t t Š #t d a
 t t t
> #t ||| I
ttt
ttt ttt tt ttt
?  ! !! tt
Piano
! t t c Š c | t d a
| tY
!!!! |
63
a b c b
(enraged - aside). (Exit Teresa.)
 t t #tI tI tI Ç #tJ
Teresa
t
!!!!
Oh, some day I'll be one with him!
Ultrice  tI Ç tJ t b a a a
!!!!
done with him. (leaving Teresa).
Alfredo  b c d tI #tY tY t b a a
Good morning, miss!
!!!!
 b tt c a #|| b b t #t
> t #tt
?  ! !! | t
Piano
! b t c a | b b #t c
124
 !!!! #### ! b t t t tÇ tY t t
a c t t
67 (to Alfredo)
Elvino
Al - low me. 'Twill as - sist your Grace If
!!!! #t #### !
Andante moderato
>  !t t t t t t tt tt t d tI d I
t d tI d It d tI d tI d tI d tI d tt
I d I t d I
tt
tt tt tt tt tt tt tt tt tt t tt t
Ç
?  ! !! ##||| ÇÇ t
# # # # ! tYt Yt d tY d
Piano
! #t d | t d tI d Yt d d d tI d
tI tI I
t
t t t tÇ tY tY t t t
(Alfredo puts them on)
! t t t
(to Ultrice).
t c c tÇ t c t t
71
Elvino
on your no - ble brow I place This hat and fea - ther. The Duch - ess, perhaps, will
! d
> ttt d tI
I tt
d tI d tI
tt tt
d I t d tt d tI
I d
tt ttIt ttt
c t c t d
# tI t t
d
t t t
tt t !t !t t t t I
?  ! tY d tY d tY t c t tt t
Piano
tY d tI d tY d d t d tI d
I t c t t t c t c
t
t tÇ t
! t t t t t t t tY t b
(Ultrice puts them on.)
t t t t c c
76
Elvino
kind - ly deign To wear these jew - els and this train– They go to - ge - ther.
; ! a a a a b c
Women
< t
Your
! d d d d d c c
> t t t t t t t t t # ttt ttt tt c
I I t t
I t t
I t t
I tt !! tt tt t t
? ! tt tt tt t t b
Piano
c t c c t c c c t c
t t t
(Alfredo and Ultrice walk pompously to seats that are placed for them in front of the Inn door, the Chorus curtseying with
mock humility.)
; ! t tt || ÇÇ !tt tt t
81
Women
< t tt tt tt tt tt tt tt tt tt || ÇÇ
t
t t t
Gra - ces, as you wend, We hum bly bow and bend. You look, we're quite a -
! |t Ç t t !tt tt t t t t t t
tt tt tt tt tt tt tt t d d t
> t t t t t t t !t t t #t t t t t tt t t t t tt t tt t t t
t
? ! c
Piano
t t t c t t t c t t t c t t t |
A A A |Ç c |
125
t t t t |Ç !t
!
86
a a b c t
Elvino
Your Gra - ces, as you wend, We
; ! tt tÇ tI
t t t t t |Ç c b c tÇ t tt tt
Women < | Ç t
ware, A most im - pos - ing pair. Your Gra - ces, as you
! d |t Ç t
>
d
t tt t t tt t
d d d d tt t t tt t !tt
t tt t t tt t t tt t t tt t t tt tt t t t t !t
? ! c c
Piano
| | | | t t t t t t
| | A A
t t t t t t t
!
91
t t t |Ç t
t t
|Ç t
Elvino
hum bly bow and bend. You look, as we're a - ware, A
; ! t tt tt tt tt
|| ÇÇ tt tt || ÇÇ tt
Women
< tt tt t
wend, We hum - bly bow and bend, You look, as we're a -
! tt t t t d d d d
> tt tt t tt t t t tt t
t t #t t t tt t t t t t t tt t t tt t t t
t t
t tt t
? !
Piano
c t t t c t t t | | |
A |Ç |
t t t |Ç
! t c a a # " a
Andante religioso
"
95
Elvino
most im - pos - ing pair!
; ! tI tt c a a # "" a
< t tI
t I
tt tI
t tt || ÇÇ
Women
t
ware, A most im - pos - ing pair!
! # "
>
d
t tt t
d
t tt t
d
t tt t tt
t t !t t t t t t t tt #|| ÇÇ c " |
|| t t
t t
|Ç t || ÇÇ
? ! || ÇÇ # "" A
Piano
| | c t c
|Ç A
(Enter procession of Tamorras, disguised as Dominican monks; Arrostino as Prior.
The Girls, believing the Monks to be genuine, all kneel.)
"" |
100
 tÇ t
I t t tÇ t t tÇ
> ||| tÇ t ! |||| t t ! |||| tÇ
tI
t
||
|| t t
||
|| tÇ
t
I
t
? " A
Piano
" A #A "A A "A

#A "A A "A
126
"
105
Arrostino " a a a a a
; "
Tenors †" a a a A t tI tI t t
{Attamen ex cunctis reliquis - que no - tan - dum,
supra
- }
 " A t tY tY t t
a a a
Basses
< "
Attamen ex cunctis reliquis - que no - tan - dum,
supra
"
>  " #||| t t
t
tt
tt tt #|||| AA AA
A
tt
t ttt tt ||
||
| t t A t
? "
Piano
" A A A t t t |
A A A
" tY t tY t
110
" tY tY t b a
Recit.
A
a tempo
Arrostino t
{Omne quod exit ver - ba, I don't un - der - stand 'em.)
in um (hoec}
; " A
Tenors †" a a a
Esse genus neutrium–
A
 "" a a a
Basses
< Esse genus neutrium–
"
>" AA
A
a tt
t |Ç
|| ÇÇ AAA
? " |Ç A
Piano
" A a t
" tY tY A
114
Arrostino " a b c
(Which is - per
Greek to most of us here, and
; "
Women " a a a
" a Yttempo tY Yt Ç tZ t tY tY t |
Tenors †" c a
sic in - va - ri - a - bi - le no - men.
tY tY Yt Ç tZ t tY tY t |
 "" c a
Basses
<
sic in - va - ri - a - bi - le no - men.
" t t A
>" tÇÇ
tt ÇÇ ÇÇ
tt
J
t tt
tt
t
t
tt |Ç
|| ÇÇ AA
?  " tÇÇ A AA
Piano
" tJ t t
127
" !
" t tY t tY t ## ! ‹
117 a tempo
Arrostino tY tY t b a a
haps Dou- ble Dutch to the show - men.)
; !
Tenors † "" a b c tYt tYt tt t I
tI tt Ytt ÇÇ tZt t tt | c ## ! ‹
And per - haps Dou- ble Dutch to the show- men.
 "" a b c tY tY t tI
t tI
t tt ÇÇ tJ
I t tt t | c # # !! ‹
Basses
<
And per - haps Dou- ble Dutch to the show- men.
" | !
> " || tt tt b a a ## ! ‹
|| | t t
? " A t # # !! ‹
Piano
" t b a a
(The Tamorras throw off their hoods and reveal

themselves.)
; !! ‹ tY tY tY tY tY tI tI
121 Allegro
Women  a a b c tY tI !tI
 !! ‹ N N N N
Oh, you wick- ed, Base de - ceiv- ing It's dis -
a c c b a
(All men)
Basses <
Ha! ha! ha! ha!
!! t t t
>  ‹ tÇ tI t t t t t !tt tt tt tt b t
tt
tt
t
tt
t
tt
t
c
– t
tt tt tt tt
?  ! ‹ t Ç Yt t t t t t t t t
Piano
! t b t t t t c
; !! tY tY tY
125
tI tI
Women < tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI tI
tress- ing– It's de - grad- ing! We are trick- ed Throughbe - liev- ing, Nev- er guess- ing Mas- quer- a - ding! Fri - ars
!! t tt tt tt c c c
> tt tt tt tt
t t t tt tt tt tt t
!t
? ! tt tt tt tt tt tt tt t
Piano
! t t t t c c c
; !! tY tY tY tY tY tY tY tY
128
tY !tI tI tY tY
Women < tI !tI tI
!! mock - ing! Good - ness gra - cious; What a wrong sir! Why, how dare you? It is
> || c c
| ttt ttt ttt ttt t
! tt
? ! t t t t t
Piano
! t t t c c
128
; !! tY tY tY tY tY tY tY
130
Women  tY !tI tI !tI tI tY tI c a
!! shock- ing! It's

a
au - da - cious! Go a
b
- long sir! I
c
can't bear you! tY tY tY c
Tenors † tI tI tI t
It is wick- ed Ha! ha! ha!
 !! a a b c tY tY
Basses
<
They are
!! c t tt tt
> || ttt !tt
| tt t t t #t !t t
! tt tt t t t
? ! t t t t t
Piano
! t t t c t !t t
t !t
; !!( b tY tY tY tY tY tI
133
 c tY tI tI !tI tI tI tI tI tI
Women
tI tI tI
!!
This dis - guis- ing is sur - pris - ing, Fri - ars mock- ing, It is shock- ing– It is
Tenors † b c tI tI tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY
This dis - guis- ing is sur - pris - ing, Fri - ars mock- ing, It is shock- ing– It is
 ! ! tY tY tY tY tY tY tY tY tY tY tY
tI tI tI tI tY tY tY tY
Basses < tI tI tI t
trick- ed ha! ha! ha! This dis - guis- ing is sur - pris - ing, Fri - ars mock- ing, It is shock- ing– It is
!!
> tt tt tt tt tt tt tt tt tt t c
t !t #t tt t t t t t t t t tt
t t ! tt ! t t
Piano
? ! t t t t t
! t t t t t t t t t c
; !!
136
 tI c c
Women tI tI tI tI tI tI tI tI tI !tI tI !tI !tI tI tI tI tI tI tI
!!
blame- ful– It is shame- ful– It is shame- ful– It is blame- ful– It is shame- ful– It is
Tenors † tY tY tY tY tY tY tY tY tY tY tY tY t tY tY tY tY tY tY tY tY tY tY
blame- ful– It is shame- ful– It is shame- ful– Ha! ha! ha! It is blame- ful– It is shame- ful– It is
 !! tY tY tY tY tY tY tY tY t tY tY #tY tY tY tY !tY tY tY tY
tY tY tY tY
Basses
<
blame- ful– It is shame- ful– It is shame- ful– Ha! ha! ha! It is blame- ful– It is shame- ful– It is
!! tt tt tt tt tt tt t tt tt ||
> tt t t | !ttt tt
t
t
tt
t
tt
tt
t
t
tt
t t t t t t
? ! t t t t t t | #t t t !t t t
Piano
! t t t
129
; !! tI I
t tI tI I
t I
t tI tI tI I
t tI I
t
139
Women  !tI !tI c c t t t t t t t t t t tI

t tI
t c c t t
!! tY tY
shame- ful– This dis - guis- ing is sur - pris- ing, It is shame- ful– This dis -
tY tY tY tY t tY tY !tI tI tY tY tY tY tY tY tY tY t !tI tI
Tenors †
shame- ful– Ha! ha! ha! This dis - guis- ing is sur - pris- ing, It is shame- ful– Ha! ha! ha! This dis -
 !! tY tY tY tY t !tY tY tY tY !tY tY tY tY tY tY tY tY t tY tY
tY tY
Basses <
shame- ful– Ha! ha! ha! This dis - guis- ing is sur - pris- ing, It is shame- ful– .Ha! ha! ha! This dis -
!! t t t t tt
>  ! !ttt tt
t
tt
t
t
tt t t tt t t t tt
t
tt
t
t
tt
!tt
t
tt
t
tt
t
tt tt
? ! t tt tt tt !tt tt !tt tt tt t t t t t !tt tt

Piano
! t t
; !! tI I
t tI I
t tI I
t tI I
t t #! Š
142
Women  t t t t t t t t Yt tI c b a a
!! #! Š
guis- ing is sur - pris- ing, It is shame-ful–.
Tenors † !tI tI tY tY tY tY tY tY tY tY tY tY | a a
guis- ing Is sur - pris- ing, It is shame- ful– Ha! ha! ha!
 !! tY tY !tY tY tY tY tY tY tY tY tY tY |
Basses <
a a #! Š
guis- ing Is sur - pris- ing, It is shame- ful– Ha! ha! ha!
t t t t
!! t t t t t t t t
t t ttt tt tt t !ttt ttt tt t t b #! Š
> t t t t
tt tt t tt tt t
?  ! !tt t t t ttt tt tt ttt tt tt tt ttt | #! Š
Piano
! | t tt tt t tt tt tt t
! tY
146
 Š a a b c tY
(Enter Minestra, disguised as a very old woman.)
Minestra
Come and
! Š c c b c c
>  tt t tt tt tt
t t tt
t !t t t t t
? ! !t t t t t t t t t
Piano
t t !t t t t t d
Š t c t c t t t tI c t c
I
t d t t
130
! tY tY tY tY tY tY tY tY tY #tI tY tY
tY !tI tY !tY
149
Minestra  tI tI tI tI tI tI tI tI
!
lis - ten, pretty la - dies– Cross my hand with ma- ra - ve - dis– For to pro - phe - sy my trade is. And my
> c tt c t c t c t c t c t
t tt tt tt tt tt
? ! t t t t t t
Piano
c c c c c c
! tY t tY !tY tY #t tY tY tY tY tY
tY !tY #tY tY tY
152
Minestra  tY tI tY tI tI tI tI
!
pro - phe - cies are sound. Fear no trick or dou- ble deal- ing, I am cle - ver at re - veal- ing, Nei - ther
> c t c t c t c c t c t t
! tt tt tt # tt tt tt
? ! t !t t t
Piano
c t c c c c t c
The Girls gather round to have their fortunes told. Minestra
!
throws off her hood and reveals herself.)
tY !tY tY tY
155
 tY t !t t t c a
Minestra tI tI tI #t
!
good nor ill con- ceal- ing, So, my pret- ties, gather round.
c c c t c c c c t c
> #tt
t tt ttt
tt
t
t tt t tt
? ! t t t t t t t t t t t t t t t t t t
Piano
c t | t t c t c
t t t c t c
! !! ‹
159
Minestra  a a a c N N N N
Ha! ha! ha! ha!
; ! !! tY tY
Allegro
a a ‹ a a b c
Women <
! !! ‹ t t t Oh you
Allegro
> t || t Ç tI t t t t t !tt tt tt tt b
t t !t t t tt
t t t | t
t t t
#t t tt tt tt tt
? ! t
Piano
t !! ‹ t Ç tY t t t t t t t t
t !t t | t b
; !! tY tY tY tY
164
tY tY tI !tI tI tI
Women < tI tI tI tI tI tI tI tI tI tI tI tI tI tI
wick- ed, Base de - ceiv- ing It's dis - tres - sing It's de - grad- ing! We are trick- ed Throughbe - liev- ing, Ne - ver
!!
> t tt tt tt c tt tt tt t c c
tt t t t t t t tt tt tt tt tt
? ! tt tt tt tt
Piano
! t t t t c t t t t c c
131
; !! tY tY tY tY tY tY
167
tY !tI tI
Women
< tI tI tI tI tI tI !tI
gues - sing Mas - quer - ad - ing! La - dies mock - ing! Good - ness grac - ious; What a
!!
> c | ttt c
tt tt tt
! tt ||
? ! t t t t t
Piano
! t t t c t t t c
; !! tY tY tY tY tY tY tY tY
169
tY tY tY !tI tI
Women < tI tI !tI
wrong, sir! Why, how dare you? It is shock - ing! It's au - da - cious! Go a -
!! c c
> tt tt tt t ||| ttt
t t t ! tt
? ! t t t t t
Piano
! c t t t c
; !! tY tY tY tY tY tY
171
Women  tY tI c a b c
!! tY tY tY
long, sir! I can't bear you! This dis -
Tenors † b c tI tI tI | b c tI tI
It is wick- ed ha! ha! ha! This dis -
 !! a b c tY tY tY tY tY
Basses < tI tI tI t
They are trick- ed Ha! ha! ha! This dis -
b
!! t tt tt c a
> !tt
tt t t t t t #t t
t tt ! tt !t
#t !t t
? ! t t t !tt tt t t t t
Piano
! "t t t "t t t
"t "t
; !! tY tY tY tI tI
174
 tY tI !tI tI I
t I tI tI tI tI tI tI tI tI tI tI tI tI
Women
t tI
!
guis- ing Is sur - pris- ing La - dies mock- ing, it is shock- ing, It is blame- ful It is shame- ful It is
Tenors † ! tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY tY
guis- ing Is sur - pris- ing Fri - ars mock- ing, it is shock- ing, It is blame- ful– It is shame- ful– It is
 !! tY tY tY tY tY tY tY tY tY tY tY tY
tI tI tI tI tY tY tY tY tY tY tY tY
Basses <
guis- ing Is sur - pris- ing Fri - ars mock- ing, it is shock- ing, It is blame- ful– It is shame- ful– It is
!!
> tt tt tt tt tt tt tt tt t c tt tt tt tt tt tt
tt t t t t t t t t tt t t t t t t
t
? ! t t t t t t t
Piano
! t t t t t t c t t t
132
; !! tI I
t
177
Women  tI tI c c !tI tI !tI !tI tI tI tI tI tI tI !tI !tI c c t t
!!
shame- ful. It is blame- ful It is shame- ful It is shame- ful. This dis -
Tenors † tY tY tY tY t tY tY tY tY tY tY tY tY tY tY tY tY tY tY t tY tY
shame- ful– Ha! ha! ha! It is blame- ful– It is shame- ful– It is shame- ful– Ha! ha! ha! This dis -
 !! tY tY tY tY t tY tY !tY tY tY tY tY tY tY tY t !tY tY
!tY tY tY tY
Basses <
shame- ful– Ha! ha! ha! It is blame- ful– It is shame- ful– It is shame- ful– Ha! ha! ha! This dis -
!! tt tt tt tt c t t
> t t t t !ttt tt
t
t
tt
tt
t
tt
t
t
tt
t
!!tt
tt
t
tt
t
tt
t t t
? ! t t t t #t t t !t t t t tt tt tt !tt tt
Piano
! c
; !! tI I
t t t tI tI tI t
I tI I
t tI I
t tI I
t tI tI tYt tYt
180
 t t Yt Yt t t t t tI
t tI
t c c t t t t t t
Women t t
!! tY tY
guis- ing is sur - pis - ing, It is shame- ful. This dis - guis- ing Is sur - pris - ing, It is
Tenors † !tI tI tY tY tY tY tY tY tY tY t !tI tI !tI tI tY tY tY tY tY tY

guis- ing is sur - pis - ing, It is shame- ful– Ha! ha! ha! This dis - guis- ing Is sur - pris - ing, It is
 ! ! tY tY !tY tY tY tY tY tY tY tY t tY tY tY tY !tY tY tY tY tY tY
tY tY
Basses <
guis- ing Is sur - pis - ing, It is shame- ful– Ha! ha! ha! This dis - guis- ing Is sur - pris - ing, It is
!! t t t t t tt tt
 t t t ttt tt
t
tt
t tt !tt tt tt t
t
t
t
t
t t t
tt
t
> t t t t
?  ! !tt tt tt tt tt tt tt
Piano
t t t t t !tt tt !tt t
! t t
; !! t
183
Women  Yt tI c b a a a
!!
shame- ful.
tY tY tY tY t c a a a
Tenors †
shame- ful– Ha! ha! ha!
 !! tY tY tY tY t c a a a
Basses
<
shame- ful– Ha! ha! ha!
t t t t
!! t t t t t t t tt tt tt tt tt tt tt tt t
t !ttt ttt tt t t b t t t t t t t t tY c I
t
> t
t •
? ! tt tt tt tt tt tt tt tt
Piano
t t t tt tt tt tt tt tt tt tt b t t t t t t t t t d c
! | t t t t t t t t tY
133
(During the above, Pietro has brought in Bartolo and Nita made up as wax-work figures of Hamlet and Ophelia.)
!!
cÇ
187
Pietro  a a a a ¿b tI
Now,
He's
!! tt tt ttt ÇÇÇ tt tt
I t tt tt ttt ÇÇÇ tt tt
I |
> t t t t ttt tt
d I
t t t t t
t
tt || ¿
c t c tt
tt t
? ! tÇ t t t Ç t t t tÇ t t t
! tÇ t t t tÇ t t t Ç t t t t t
Piano
t tÇ t t t t |
¿ tÇ t t
tÇ
t t
(During this, Bartolo and Nita go through the movements described in a ridiculously jerky and
mechanical fashion.)
!
 !
192
Pietro
tI Ç tJ tI tI tI Ç tJ tI tI tI Ç tJ tI tI tI Ç tJ t A
all you pret - ty vil - lag - ers who have - n't paid, stand you a - side
backed himself at hea - vy odds, in proof of his a - bil - i - ty
!! tt t tt ÇÇ tI
>  c t c t c tt c tt t t tt tÇ tt
tt tt t t
? !
Piano
t t t t t t
! t t t t t t t t tÇ t t t tÇ t
tÇ tÇ tÇ tÇ
!
t d c
 ! I cÇ
195
tI tI Ç tJ I t tI tI
t I t A
Pietro
tI Ç tJ tI tI tI Ç tJ tI tI
And lis - ten to a tra - gic tale of love, des-pair, and su - i - cide
That he'll so- li - lo - quizeher in - to ut - ter im- be- ci - li - ty
!! t t tt c c c c tt tt tt ÇÇ c tt
I
>  tt tt t t
tt
t
tt
t
tt
t t
tt
t t tÇ t
?  ! tÇ t t t tÇ t
Piano
t t t t Çtt t
! t t t t t t t t t t tÇ t t t t
tÇ tÇ tÇ tÇ tÇ
!
t d
 ! I cÇ tI Ç tJ tI Ç tJ tI
199
Pietro c tI tI tI tI tI tI tI tI tI tI tI tI
The gen - tle- men's a no - ble prince– a mar- vel of ven - tril- o - quy– Un
She wildly begs hm to de - sist ap - peals to his hu - man - i - ty, But
!! t tt |
tt || c tt c tt c tt c
> t t t t tt
?  ! tÇ t t t Ç t
Piano
! t t t tÇ tÇ tÇ tÇ
tÇ
134
!
 ! tY Ç tJ tI tI Yt Ç
202
tI tI tI tI tJ tI tI tI tI tI tI tI Ç tJ tI tI
Pietro
tI Ç tJ tI tI
hap - pi - ly af - flic- ted with a ma - nia for so - li - lo - quy. The la - dy is the vic - tim of the
all in vain oh serve her eyes a - gog - gling with in - san - i - ty, He per - se - veres, Im - prov- ing the oc -
!!
 c tt c ttt c t tt tt tt c t c t
> t tt t tt tt tt tt
? ! t t t t
Piano
! tÇ t t t t t t t t t t t
tÇ tÇ t t tÇ t t tÇ t t
!
 ! I tZ #tY tY Yt Ç tZ tI d
205
Pietro tÇ J
t tI tI tI tI tI tI I
tÇ tY tI tI Ç tJ tI tI tI tI
God of Love ty - ran- ni - cal– You see it in her ges - tures.whichare morbid - ly me - cha- ni - cal!
ca - sion op - por - tu - na - tic, She sticks straw in her hair. he's won his wa - ger, she's a lun- a - tic!
!! c c c c c c
> t t t t tt t
tt tt # tt tt t tt
? ! t t t t
Piano
! t t t t t t t t
t t
tÇ t t tÇ t t tÇ tÇ tÇ tÇ
; !! #! •t
208 1. 2. Allegro
Women  a a ¿ a a b c t
!! #! •t
As -
Tenors † a a ¿ a a b c
As -
 !! •
Basses <
a a
¿
a #! a b c t
As -
!! tt ttt tt ÇÇ t
I || tt c #! t !t t t #t t t t
tt ttt tt t t t !t t
Allegro
> t tÇ t | ¿ tt tt tt t t !t t t
? ! tÇ t t t tÇ t tÇ t t t t c | | t t •
! tÇ t t t tÇ t t t # ! || || ttY d c ttY d c
Piano
t t ¿ tÇ t t t
tÇ t
135
; ! tÇ tI tt ÇÇ t tÇ tI t ÇÇ tI
213
 tÇ t tI tt Ç ttY t t t
I tt tÇ t t t
Women
t Ç
! tÇ tÇ tY
ton - ish - ing, What sci - ence can con trive! In ev - 'ry -
Tenors † tÇ tY tY tÇ tY t t tÇ tY
ton - ish - ing, What sci - ence can con - trive! In ev - 'ry -
 ! tÇ tY tÇ tY tÇ tY t t tÇ tY tÇ tY
Basses <
ton - ish - ing, What sci - ence can con - trive! In ev - 'ry -
! d d d d d d
> t t t t t t
? ! t t t t t
t
t t
t t t t t t t t t
Piano
d d d t d d d
t t t t t t
; ! tt ÇÇ t
t I
tt
216
 tI
t !I
tt tI
t tI t t tÇ t tI
Women
tI ! tt ÇÇ tI tt I
t !I tt tI
t t
! tÇ tÇ
thing You'd think they were a - live. Her love - ly face, Her el - o - quent des -
Tenors † tY tY tY tY tY t t tY tÇ tI tI tI tI tI
tY tY tY tY t t tÇ tY tÇ tY tY tY tY tY
! tÇ tY
Basses <
! d d
> t d d d b
t t t t t t
t
t t t
t
t !t t
? ! !t
t t t t t
Piano
d t t d || || t d
|| tt
136
! t tÇ
(to Alfredo).
tY tÇ
219
Teresa  a a b c tY
To thee I cling, To
; ! t !t 
Women  tt t t #tt tt ÇÇ t ! tI
tI tt tI
t I t I
tt |
c tt tt ÇÇ tI t Ç tI
! tÇ 
pair! His prince - ly grace, His beau- ti - ful back hair! As - ton - ish - ing, What
t t t t tI tI I
t I c t tÇ tY tÇ tY
Tenors † t tI |
! t t t !t tÇ tY  tÇ tY tÇ tY
tI tI tI tI | c t
Basses
<
!
>
d d
t t t tt t ttt ÇÇÇ tt
tY t ÇÇ tI
t t t tt Ç tt
? ! t t d t #tt t| t
t !t
tt t t
t
tt tt tt ttt
t
t d t
Piano
t| t| d d
| t !t | t t t t t t
! tÇ tY tÇ tÇ #t Ç tY
t t tY tÇ tY tY tY
223
Teresa  tÇ tI t t tI !tI tI
gain thy love I strive; My heart you wring, I shall not long sur - vive! To thee I
!
 a a a b c
Ultrice
t
From
; !
 tÇ c tÇ tI t t tÇ tI tt ÇÇ tI
Women tI t t | t t
! tÇ
sci - ence can con - trive! In ev - 'ry- thing You'd think they were a -
Tenors † tÇ tY t t | c t tÇ tY t t tY tÇ tY
| t t t tÇ tY tÇ tY
 ! tÇ tY t t c tÇ tY
Basses <
! tt ÇÇ ttYt tt ÇÇ t ÇÇ t #t Ç t
> tt ÇÇ tI t ttt t tÇ tt
I tt ÇÇ tt !t t t
I tt t I
tÇ tt ttt tÇ t tÇ t t t tt Ç tt #t Ç Yt
? ! t t d t t t t d t t tÇ tY ttt ÇÇÇ ttYt

Piano
t t d t t d
t t
d t
t t
137
! tÇ tY tY tY "tI #tY tÇ tY !t Ç tY tÇ tY I •
227
Teresa  t I
t !tI tI | c t
cling, To gain thy love I strive; My hear you wring, I shallnot long sur - vive! To
!
 t Ç !tI t Ç tI tI t t tÇ tI t Ç tI tI t d tI
tI tI tI tI tI tI
Ultrice
his em-brace Thy- self di- rect- ly tear, Or I'll de- face Thy beau- ti - ful back hair! From
; !
Women  tt c b a a b c •tt
! •
live. Her
Tenors † t c b a a b c t
live. Her
 ! !t c •t
b a a b c
Basses
<
live. Her
! t c d
> t d t d d t d t t t ttt
t t t !t t t t "t t t t t t t t
•
?  ! !ttt c t t
Piano
t c c t c t c t c t c c
! tÇ tÇ tY • tÇ |Ç
rall.
tY t tY t
231
 tI tI tI tI
Teresa
tI tI t tI tI
thee I cling, To gain thy love I strive; My heart you wring, I shall not long sur -
! •
 tÇ tI tI tI tI tI tÇ tI t t tÇ tI tI tI
tI I |Ç t
t
Ultrice
his em - brace Thy- self di - rect - ly tear, Or I'll de - face Thy beau- ti - ful back
; ! tÇ  •
 tÇ tI
t tI
t c t t tt ÇÇ tI tI d d
Women
tI tI tI tI tI t t tI tt ÇÇ tI
t tt tt
! •
love - ly face, Her el - o - quent des - pair! His prince- ly grace, His beau - ti - ful back
tY
Tenors † tÇ tY c tY tY tY tY tY t t tÇ tI tY d
tI
d tÇ tY t t
 ! tt ÇÇ tYt tYt c tY tY tY tY tY t •t tÇ tI tY d tY d tÇ tY t t
Basses
<
! tÇ tt
I d tÇ t tt
t tI tÇ d c d
ttt c b
rit.
> tÇ tt t tÇ Yt t tÇ tI
t tI I
tÇ t t
• 
 tÇ t
?  ! tt ÇÇ tYt tt t tt t tÇ t t
Piano rall.
d Yt tÇ Yt tÇ tY tY d c tY d c b
138
! ²| # "6
235
Teresa  b " 8 a a a
vive!
! ² # "6
 c " 8 a a a
|Ç
Ultrice
! # "6 t tY
hair!
tY tY t t tY tY t
Allegro
Alfredo  b cÇ " 8 t tY t t tI
Ap - prec - i - a - tion of such skill Should not be Shown by
; ! ² c # "" 6 a a a
Women  || ÇÇ 8
! ²Ç # "6
hair!
Tenors † | c " 8 a a a
²
hair!
! || ÇÇ c # "6 a a a
Basses < " 8
hair!
! ² c # " " 6 tt tt
I tt ttYt t tI tt tt
I tt tI
> || ÇÇ 8 t t t tt tt t t t tt
t
t t
#tt
|Ç
tY t
? ! # " " 68 t tY t tY t tY t tY t tY
Piano
|Ç c
³| Ç
(Taking up wine-skin which Pietro left at the entrance to Inn.)
" tÇ tY d t tY t tY t tY t tY t t t #tY
239
Alfredo " tI tY
stealth. In bum - pers round (I'll pay the bill), We'll drink the show - man's
" t t t ttt t #tYt

>
" tÇ
t tY
tI
t tI t tY #ttt ttY tI
tt tt Yt
t
t
t tt t
t
t
t tY t tY tYt t tYt tt tYt
? " tt tYt tt t tY
Piano
tY t
"
" tÇ tY d t tY t tY "t tY tY "t t t tY

243
Alfredo " tI t t tY
health. This wine - skin I de - vote to you, We'll drink it till it's
" " t t tI tt t tt
I tt tt
I
> t tt tt
I tt
I t tt
I t tt
I tI
t t t tt t tt t "tt tt t tt "tt t t t
Piano
? " tt Yt t tY t tY t tY t tY t tY t tY t tY
"
139
tY tY ¡
" #tY tY t t
 " tÇ tY d t tI t Ç
247
Alfredo tI t t tI tÇ t tY c
dry. I'm sure that's what the Duke would do, Were he as pleas'd as I
; "
Women " a a a a cÇ c tI
""
I'm
Tenors † a a a a cÇ c tI
I'm
 " a a a a cÇ c tY
Basses
< "
I'm
t t ¡
" tI t tI t tt
>  " ttt tI
tt ttt tI tt t t t t Yt tY tt ttI tt ÇÇ t tt tt I
t t tI
t t tYt t tYt t t t t t t tt Yt t
?  " t tY t tt t
Piano
tY t Yt tY t Yt t Yt tY
"
" tY
252 (horrified).
Pietro " a a a a c tI t
Be - ware! that
; " t tI tI t t tt t
" t Yt Yt tt ÇÇ tI
Women t t t t t tt tI
t tt ÇÇ tJ I
I tt t c a
" t tY
sure that's what the Duke would do, Were he as pleas'd as I.
tY tY tY t tY t tÇ tY c
Tenors †" t tY t t a
 " t t tY t "tY t t tY t tY tÇ t
tY tY tÇ tY c a
Basses < "
t
" " t tI tt t
I t tYt tt tY tt tI
t tt ÇÇ t tt tt ÇÇ tI
t c a
> t t t t
t ‘ t tI
?  " tt t tt
tYt t "ttY t t t t t tI t tt
Piano
Yt tY t Yt t tY d Yt t t t Yt
" tÇ t
I t tY t
140
" tY t tY t d
257
Alfredo " a a a c #t tI
For - bear! I pay my way;
" t d tI tI d c Ç
Pietro " tI t c tI t tY a a
wine is mine, You must not drink it!
" " a a a a a
>
tt tI t tI tt tI tÇ t t tI t tI
t ttt tI tt tI
? " tt tt tt Ç ÇÇ t #tI
I t tt tt Ç t t t tt tt
Piano
" tt Yt t
t Yt tt t
tY tÇ
t t
tt
t tY t Yt tt tYt #t Yt t Yt t Yt
(Gives money to Pietro.)

" t tY tI d cÇ
262
Alfredo " c tY tI a a a
You may not think it!
" cÇ
Pietro " a c tI "t tI t tI #tI tI d c Ç "t tI t Ç t tI
Take care! The wine is poi - soned, on my word re -
"" cÇ t "tI "tt

> tt #tI t t ttt t tI tI tt tI tÇ I t
tt tt tI " tI " t t t t t tt " "tt ÇÇ " t "tt tI
t
cÇ
?  " ttt ÇÇÇ t t ‘
Piano
" tY Ç ttYt I
t t tY t d "t tY tÇ "| Ç "t tYt tt tYt
t
e
""
267 rall.
Pietro  "t Ç tI c c tI t tI "tI c c tI tI tI tI c #tI

ly, And he who drinks in a - go - ny will
"
> " a
"t tI t tI t "tI t tI "t tI t tI
c
? " "ttt ÇÇÇ tI
tt tt Ç tt Ç "tt ÇÇÇ tt ÇÇÇ
Piano
t tÇ
t ÇÇ t ÇÇ #tt Ç
rall.
" "t Ç Yt d #tY t t tÇ "t ÇÇ
141
" d d
271 Recit.
Pietro " | tI Š A tI tI c c tI
die! Com - mencing with a gentle pain Scarce worth a ques - tion, It
" " cÇ Š
> | | | | | | | |
tÇ
tt ÇÇ
? " | | | |
Piano
cÇ Š | | | |
" tt ÇÇ
" d "A
274
Pietro " A tY tY c c tY
grows apace, till you complain Of indi - ges - tion. Then follows an internal fire That scorns e -
" " | | | | "|| ||

> !| | | | | |
? " | | | | | |
Piano
" | | | | #| |
" ² d
277
Alfredo " a a b c tI
Ha!
" tY tY d ²
Pietro " c c
#tI "A tI tI c b
mul - sions, un - til, ere nightfall, you vul - sions!
²
expire In fierce con-
" tt
> " t c b
" #AA t c c d tI
tt
?  " #t A ²
Piano
c b t d tY
" c c
142
" 6 tY tY t tY t tY
t tÇ
280 a tempo primo
Alfredo " 8 t t tI tÇ t tI tY c a
ha! ha! ha! ha! ha! ha! ha! An i - dle tale we think it!
" 6
Pietro " 8 a a a a a
; " tI
Women  " 68 a a a cÇ c tI tt tI
t
t
t t
" tY
Ha! ha! ha! ha! ha!
Tenors † " 68 a a a cÇ c t tY t tY
Ha! ha! ha! ha! ha!
 " 6 tY t t tY
a a a cÇ c tY
Basses
< " 8
Ha! ha! ha! ha! ha!
tYt t
"" 6 t t tt t t tt tÇ t tt t
a tempo primo
Yt ttt t
> 8 t tY tY t tt tI
t tt ÇÇ t tt tt ÇÇ I
tt tt Yt Yt
t
?  " 6 tt t tt tYt t "ttY t t t t t ÇÇ t t
!t Ç t tYt t t tt tYt
Piano
Yt Yt t tY t t Yt
" 8
(During this Alfredo has filled a number of goblets with wine from the
""
wine-skin, and handed them round to Arrostino and the Male Chorus.)
t c
Vivo
cÇ tI tI tI tI
285
 a a c Š tÇ tI tÇ tI
Alfredo
tI
It can't be worse than 'Vi - no's wine ac - curst.
; " t t tt t tÇ
Women " t Yt Yt tt tI tt ÇÇ tt I
tt tÇ
tI c
t
Š a a
" t
ha! ha! ha! We saw you free ly drink it!
Tenors †" t tY tY t tY t Ç t tI tÇ tY c Š a a
ha! ha! ha! We saw you free ly drink it!
 "" t "tY t tY t tY t tY tÇ tI c Š a a
Basses
<
ha! ha! ha! We saw you free - ly drink it!
tYt t
"" t tt t tt
Vivo
tY tt tI tt ÇÇ tt tt t d
tt ÇÇ I Š t c ttt c t t t
> t t Ç tt tIt tt tt
t
tt
t
? " t "ttY t t t t t ÇÇ t t tt ÇÇ t
Š t c t c t t t t t
t t
Piano
tY t Yt t t !t
" Yt d Yt t t t t t t t
143
(Draws sword and offers cup to Pietro. During this, the two figures express galvanic agitation.)
" c t t t tÇ tY t c t t t
290
Alfredo " c t c b a
If we're to die of it, be thou the first!
" tÇ
Pietro " a a a b c t tI t t
I can't o - bey you!
t t tt | !||| ||
 " " #ttt c b b c #ttt tt c b " # ttt c | | ||
> #t ª ª ª
 tÇ
?  " !t t t t tY t
c !t t
Piano
" !t c b b t c b t c c
!t
" t tÇ t t
295
Alfredo " c c t tI t t c b a c b
Drink! Come, why de - lay you? Drink! Drink!
" t t t
Arrostino " c b a c b a c b
Drink! Drink! Drink!
" t t Ç #tY
Pietro " a a b c t "t a
t t t
I beg, I pray you!
Elvino
 "" c b a c b a c b
; "" t c b a t c b a t c b
Women 
""
Tenors † t c b a t c b a t c b
t t t
 " c b a c b a c b
Basses < "
"!AAAª !AAA AAA !AAAª "AAª !AAª

" A A A A #AA # AA
> š š
š
?  " !ttt t tÇ tY t t
t
!ttt c
t t Ç #tY t !t
t
! #ttY d c
Piano
" t c c c b
(During this, Elvino has poured the wine down Pietro's throat. Pietro immediately begins to feel the effect of the
wine, which he has described as a poison, and which has become poison to him.)
144
" tY #tY !t | tY ! Allegro non troppo
t d c # # 128 b Ç cÇ
300
Alfredo " t c
tI
Quick, or I'll slay you! Drink! Oh
" !
Arrostino " a | tY d c # # 128 a
Drink!
" !
Pietro " a a # # 128 a
 " | tY ! 12
Elvino " a d c ## 8 a
Drink!
; " !
Women " a |
!|
tI d c
t # # 128 a
!
"" # # 128
Drink!
a | tY d c a
Tenors †
Drink!
| tY
 "" a d c # # ! 128 a
Basses
<
Drink!
| tttYt
" " !ttttY d c b
!||| d c ! Allegro non troppo
# # 128 t t t t t t t t t t t t t t t t t t t t
t
>  ª t t t
Piano
? " tYt ||| ttt || ÇÇ ||| ÇÇ
d c tY d c ! 12
" b | ## 8 |Ç |Ç
! tÇ tÇ tY tY
303
 tI tI tY tI tI t tI tI tI tI tI t tY
Alfredo
tI
ye who are wea ry of life, Don't tr - fle with pis tol and knife. This
! t tI
ttY c tt c c tI tI c #tt c c tt t
I
> I
tI
tt tt
t
tt tt tI
t t
t
?  ! ttYt t tY tYt c tYt t
t tYt
Piano
c tI c tY c tY c c
145
! Yt Ç !tZ tY tÇ tY tY
305
Alfredo  tI Ç tJ tI tÇ tI Ç tJ tI "tI #tI tI tY t #tY

po - tion is far from a - miss; If you've du - cats of gold in your purse, Why,
! tÇ
> tI c
t ! tI
t c tt ÇÇ tt tt tt ! #tI
tt # "ttI c tÇ t "tt tt t
tt
#ttIt
" tt t
?  ! tt ÇÇ t t tt ÇÇ t t tt ÇÇ tt tt tt
Piano
I
t c tY c "tY c #t tY
"tI
! tY tY "t Ç tY tY !tY t "tY Ç tZ tY Yt Ç tY

307
Alfredo  tI tI "tZ tÇ t tI
then you may sure ly do worse Than die of such poi - son as this! Than
! I t c "tt ÇÇ t t !t tt d "t Ç t t tt ÇÇÇ t

> "tt tÇ #tt tY tI "tt ÇÇ t
"t tt ÇÇ t t t t
I
tÇ t t t
t t À| Ç
? !
Piano
c !tY c Yt c Yt d tY
tI tY c tY c |Ç
! Yt Ç tZ tY !tY Ç tY tY Ç tZ tY Yt Ç tÇ t t t
309
Alfredo  tZ tÇ t tI tZ tI
die of such poi - son as this! Why, then you may sure - ly do worse Than
! tÇ t t !t ÇÇ t tÇ t t tÇ t c
tt ÇÇ t tÇ t t t tt
I tt ÇÇ t t tt ÇÇ
> tt Ç
! tt ÇÇ t tÇ Yt
tÇ
À
? ! tt ÇÇ t t t ttY tYt
Piano
Yt c t t
!tI c Yt Yt c c c !t Ç
146
!
bÇ cÇ
311
 c
Teresa
tI
A -
!
 bÇ cÇ c
Minestra
tI
A -
!
 bÇ cÇ c
Nita
tI
Tho'
!
 bÇ cÇ c
Ultrice
tI
Clod -
! tY tY tY
 tI tI tI tÇ c
Alfredo
tI
die of such poi - son as this! Oh
!
 bÇ cÇ c
Arrostino
tI
Oh
!
 bÇ cÇ c
Pietro
tI
A
!
 bÇ cÇ c
Bartolo
tI
Tho'
 ! bÇ •
Elvino cÇ c tY
Oh
; ! bÇ cÇ c •
Women  tI
! • Be
† bÇ cÇ c
Tenors
tI
Be
 ! bÇ cÇ c • tY
Basses <
Be
! c c c cÇ
> tI
tt
ttt
I t
I
tt
t t t t t t t
?  ! Yt t t t t
Piano
c tY c t
147
! Yt Ç tZ tZ tZ
312 (wildly to Alfredo)
Teresa  tZ tZ tZ tJ tJ tJ tJ tI Ç
mo! A - mas! my last ap - peal I pray you hear! Or
! Yt Ç tZ tZ tZ
Minestra  tZ tZ tZ tJ tJ tJ tJ tI Ç
mo! A - mas! her last ap - peal I pray you hear! Or
!
 tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ tI Ç
Nita
tJ
but a mass of sping and wheel, And o - ther gear, Our
! tI Ç
(to Alfredo and Minestra.
tJ tJ tJ
 tJ tJ tJ tJ tJ tJ tI Ç
Ultrice
tJ
ó
hop - per crass, Her last ap - peal De - cline to hear; 'Twill
! ó ó
 tI tI t tI tI tI t tI
Alfredo
tI
ó
ye who are wea ry of life, Don't
! ó ó
 tI tI t tI tI tI t tI
Arrostino
tI
!
Pietro  tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ tI Ç tJ
poi - soned glass! The pain I feel Is most se - vere. That
!
Bartolo  tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ tI Ç tJ
but a mass of spring and wheel, And o - ther gear, Our
tY ó tY t tY ótY tY t ó tY
! Yt
Elvino
; ! ó ó
 tI tI t tY ótY tY tI t
I tI
Women
tI
!
warned
ó
if you care ó
for your life,
ó
And the
† tI tI t tI tI tI tI tI tI
Tenors
tI
warned if you care for your life, And the
tY ó tY t tY ótY tY tY Ytó tY
! Yt
Basses <
warned if you care for your life, And the
! d d t
I d tt d tt
tI tt
> tI
tt tt
t
ttt t
t ó
? ! t
t
Piano
d t
I d tYt d d t
I
t t
ó
148
! Yt Ç tZ tZ tZ tZ tZ t
tZ
313
Teresa  Š tZ tZ tZ
soon, A - las You'll sad - ly kneel Be - side my bier!
! Yt Ç tZ tZ tZ tZ tZ t
Minestra  Š tZ tZ tZ tZ
soon, A - las You'll sad - ly kneel Be - side her bier!
!
Nita  Š tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ t
grief, a - las, We can't con - ceal. We feel it here!
!
Ultrice  Š tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ t
ó
come to pass, You'll glad - ly kneel Be - side her bier!
! ó
t tY Yt
Alfredo  Š tI tI tI tI t tI
ó
ó ó
tri - fle with pis tol and knife. This
! t tY ótY
Arrostino  Š tI tI tI tY t tI
!
Pietro  Š tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ t
pain a - las, I can't con - ceal. I feel it here!
!
Bartolo  Š tI Ç tJ tJ tJ tJ tJ tJ tJ tJ tJ t
grief a - las we can't con - ceal. We feel it here!
t t
! Š tY Ytó tY ót t t ó tY
Elvino
; ! ó
Women  Š tI tI tI t tY Yt tI t tI
ó
ó
girl who will soon be your wife. I'm
! t tY Yt
Tenors † Š tI tI tI tI t tI
girl who will soon ó
be your wife. I'm
tY tY t tY ótY t ó
! Š tY tY tY
Basses
<
girl who will soon be your wife. I'm
! tt d tt d ttt d tt d
Š ttY ttY ttY
> tY
? ! t t t t
Piano
Š d d d
tY Yt d tY Yt
149
314
! tZ t
Teresa  b e tJ tZ
My last ap - peal
! tZ t
Minestra  b e tJ tZ
Her last ap - peal
!
Nita  b e tJ tJ tJ t
We're spring and wheel,
!
Ultrice  b e tJ tJ tJ t
Her last ap - peal
! ó tZ tY Yt Ç ó tZ tY ó tZ
Alfredo  Yt Ç t tY Ç tY
po - tion is far from a - miss; If you've
! ó ó ó
 #tI Ç tJ tI tI Ç tJ tI t tI Ç tJ tI
Arrostino
poi - son is far froma- miss; If you've
!
Pietro  b e tJ tJ tJ t
The pain I feel
!
Bartolo  b e tJ tJ tJ t
We're spring and wheel;
 ! #tY Ç ó tZ tY Yt Ç ó tZ tY t ó
Elvino t tI
poi - son is far froma- miss; If you've
; ! tÇ ó t t ó ó
Women  tY Ç tZ Yt Ytt ÇÇ tZt tYt tt tt I
tt
sure there is some - thing a - miss; That
! Yt Ç ó tZ tY ó tY
Tenors † Yt Ç ó tZ tY t t
 ! #tY Ç ó tY tY tY ó tZ tY t t ó
tI
Basses
<
! I
tt tt
I d tt t
> tt tt tt t t tÇ tt
d
?  ! #t t t tÇ
Piano
d t d t
#tY tY t t
150
Ç
!
t !tZ tZ
tY 9 tÇ t tY tÇ t tÇ 4 t t t tZ
315
Teresa  b e J tI 8 tI 8
Ç
9 tÇ t 4 t t t Zt
I pray you hear! Or soon you'll sad ly kneel sad ly
!
Minestra  b e tJ !tZ tZ tY tI 8
tY tÇ t tI tÇ
8
I pray you hear! Or soon you'll sad ly kneel sad ly
! 9 4
Nita  b e tJ tJ !tJ tI tI 8 t tI t tI tÇ 8 t t t Ç tJ
And o - ther gear, our grief we can't con - ceal. We
! 9 4
Ultrice  b e tJ tJ !tJ tI tI 8 t tI t tI tÇ 8 t t t Ç tJ
De - cline to hear, 'Twill glad - ly glad - ly kneel, you'll
! tY Ç tZ tÇ
Alfredo  tI tJ tJ tI tJ tJ t Ç t 98 tI Ç tJ tI
tJ J tY 4
8 t t t Ç tJ
!
du - cats of gold in your purse. Why, then you may sure - ly do worse Than
9 tY Ç tZ tY tÇ 4
 8 tI Ç J 8 t t t Ç tJ
tI tJ tJ tI tJ tJ ! t Ç tJ J
t t I
t
Arrostino
! tÇ
du - cats of gold in your purse, Why, then you may sure - ly do worse Than
b e tJ tJ tJ tI tI 9 t tI t tY 4
Pietro  8 8 t t t Ç tJ
!
Is most se -vere. That pain I can't con - ceal. I
b e tJ tJ tJ tI tI 9 t tI t tY tÇ 4
Bartolo  8 8 t t t Ç tJ
tY Ç tZ tY tÇ 4 t t t Ç tZ
And o - ther gear, Our grief we can't con - ceal. We
 ! tI tJ tJ tI tJ tJ !t Ç t 98 tY Ç Zt
tJ J tY
Elvino 8
tÇ t
du - cats of gold in your purse, Why, then you may sure - ly do worse Than
; ! tI J
t tJ t tJ
J tI Ç tJ tt ÇÇ 48 t t t Ç tJ
Women  t t t tI t t t tt tJt tIt tt 98 t Ç t tI
J t
tÇ
I
t Ç tJ
t tI
t t t
! Don't t Ç tZ
tJ 98 tI Ç tJ tI tY Ç tZ tY tÇ 48 t t
wine may be doc - tor'd or worse! It may car - ry some hor - ri - ble curse!
Tenors † tI tJ tJ tI tJ tJ t tJ tI
tY Ç tZ tY tÇ 48 t t t Ç tZ
wine may be doc - tor'd or worse! It may car - ry some hor - ri - ble curse! Don't
 ! tI tJ tJ tI tJ tJ !t tJ tI tJ 98 tY Ç tZ tY
Basses
<
wine may be doc - tor'd or worse! It may car - ry some hor - ri - ble curse! Don't
! I
t d tÇ t t ÇÇ
> tt tI d
tt ttt t t tÇ t 98 t Ç t t
t tt ÇÇ tt tt t
4 It c
8 ttt d
? ! t d t t t t tÇ t 9 tt ÇÇ tt tt tt ÇÇ tt tt tt ÇÇ
4 !tI c
Piano
t t d !t 8 8 d
151
! 12 t tY
 8 tI Ç J cÇ
318
Teresa t tI tÇ a a
kneel Be - side my bier!
! 12 t tY
Minestra  8 tI Ç J
t tI tÇ cÇ a a
kneel Be - side her bier!
! 12
Nita  8 t tI t tI tÇ cÇ a a
feel it, feel it here!
! 12
Ultrice  8 t tI t tI tÇ cÇ a a
kneel Be - side her bier!
! 12 Yt Ç tZ tY tY tY tY
Alfredo  8 tÇ cÇ a a
! 12
die of such poi - son as this!
Arrostino  8 tI Ç tJ tI tI tI tI tÇ cÇ a a
die of such poi - son as this.
! 12 t tY t tY
Pietro  8 tÇ cÇ a a
! 12
 8 t tÇ cÇ a a
Bartolo
tI t tI
 ! 12 Yt Ç tZ tY tY tY tY tÇ cÇ a a
Elvino 8
die of such poi - son as this.
; ! 12 t tI
I t t t t #t Ç tÇ t t !t Ç #t Ç
Women t t t tI
 8 ttI ÇÇ tJ tI t tÇ t Yt Yt t tÇ tÇ t Yt tÇ #t Ç
tÇ
tÇ
t
t
tI
t
! t tY
† 128 Yt Ç tZ tY tY tY tY tÇ tY t tÇ #t Ç t tY tÇ tÇ tÇ
die of such poi - son as this! If you've du - cats of gold in your purse, Why, then, you may
Tenors t tI
 ! 128 Yt Ç tZ tY tY tY tY tÇ t tY tY t tÇ t tY tÇ
Basses
< tÇ tÇ tÇ !t tI
! 12 I t t t t tt ÇÇ #t Ç tÇ tÇ !t Ç #t Ç
8 ttt c tÇ t Yt tÇ tÇ tÇ t ÇÇ t tI
> t tY tÇ #t Ç t t t
t
t t tt ÇÇ t t tÇ tÇ tÇ
?  ! 12 tÇ tt ÇÇ tÇ tÇ tt ÇÇ t t
Piano
8 tI c t tY t Yt tÇ tÇ tÇ tÇ !t tY
t
(During this, Teresa has pretended to fall insensible at Alfredo's feet. He supports her, and supposing that
she has fainted, pours some wine down her throat. All the others (except Chorus of Girls) raise the cups to
their lips, and drink as the Act Drop falls.)
152
; ! t ÇÇ t t t t #t Ç t ÇÇ t t !t Ç #t Ç tÇ
321
Women  tI t
t t
tt ÇÇ t t Yt Yt t tÇ t t Yt tÇ #t Ç tÇ tt tI
t
!
surely do worse, If you've du - cats of gold in your purse, Why, then, you may
tÇ tÇ !t tY tY t tÇ #t Ç t tY tÇ tÇ tÇ
Tenors † tI t t tI
tÇ tÇ
 ! tY t t tY tY t tÇ t tY tÇ
Basses
< tÇ tÇ t Ç !t tI
!
tÇ t Ç tt tt #t t c
I t !tt ÇÇ #tt ttt ÇÇÇ tt
> tÇ tt ÇÇ t Ç ! tttY c ttY c Ytt c tt tt t t tÇ t t t Ç tt ttI
tt
tt ÇÇ tt ÇÇ tÇ t t t t # tt ÇÇ Ç
? ! tt ÇÇ t t t tÇ t t tÇ tÇ ttt ÇÇ !tt Ytt
Piano
t Yt c Yt c tÇ
; ! A t || ÇÇ tt ÇÇ
tÇ |Ç tt ÇÇ tt ÇÇ
324
Women 
tÇ |Ç tt ÇÇ A tY
! sure - ly do worse
tÇ
Than
|| ÇÇ
die
tt ÇÇ
of such
tt ÇÇ
Tenors † tÇ |Ç tÇ A Yt
| ÇÇ tÇ tÇ
sure - ly do worse Than die of such
! tÇ |Ç tÇ A Yt tÇ | tÇ tÇ
Basses <
sure - ly do worse Than die of such
! tt ÇÇ || ÇÇ t ÇÇ tt tt tt tÇ cÇ a
> tt ÇÇ tt ÇÇ tt Ç
|| ÇÇ t t t tÇ
Piano
? ! tt ÇÇ || ÇÇ tÇ tÇ |Ç
tÇ tÇ |Ç cÇ a
; ! tÇ | ÇÇ A ÇÇ
tt ÇÇ |
327
Women  tt ÇÇ tÇ |Ç AA Ç a
tt ÇÇ
! poi tÇ || ÇÇ AÇ
AÇ a
- son as this!
Tenors †
|Ç
 ! tt ÇÇ t ÇÇ AA ÇÇ
poi - son as this!
t |Ç a
Basses
<
|Ç
poi - son as this!
! bÇ |Ç AA tt tt
> |Ç AA ttY tt t| Ç t tÇ t t t tt tI
tI |Ç t "tt ÇÇ t tt
Piano
? ! || ÇÇ AAA tttY ttt A t tÇ
bÇ |Ç d
A Yt tÇ
153
! t tt tt ÇÇ tt tt t Ç t t tt ÇÇ tt tt t Ç t t
tt t t ttt ÇÇÇ ttt t t tt ttY tt ÇÇ tt tt tt ÇÇ tt tt || ÇÇÇ t Ç t t tt ÇÇ tt tt || ÇÇ
330
> t | |Ç
?  ! |Ç
Piano
tÇ t tY |Ç tÇ t t tÇ t t |Ç tÇ t t tÇ t t
|Ç tÇ t |Ç tÇ t t tÇ t t |Ç tÇ t t tÇ t t
! t tt t t tt t t tt t t tt t t || ÇÇ || ÇÇ tt
|Ç |Ç tY c c Ç b Ç
333
> tt tt tt ttt tt tt ttt tt tt ttt tt tt t t t t t t t t t t t t |Ç |Ç
? ! t t t t t t t t
Piano
t t t t t t t t t t t t t t t t c cÇ bÇ
t t t t t t t t t t t t t t t t |Ç |Ç tI
|Ç |Ç t
(End of Act I)
154
14. Entr'acte
" " " " " " 68 t Ç t t t tY t t t tÇ t

t t t t t t
Andante pastorale
>  t t t t t t tÇ

?  " 6 ttt ÇÇÇ ttt ÇÇÇ tt ÇÇ ttt ÇÇÇ tt ÇÇ tÇ tt ÇÇ tt ÇÇ tt ÇÇ tt ÇÇ
Piano
tÇ tÇ ¬¬ tt ÇÇ tÇ tÇ tÇ tÇ
" """" 8 ¬
t ² !! ó ó
"""""" t t t t t t t t t tI t Ç tI#t Ç t # # # # # # ! t Ç t t t t t t t tÇ t t t t t t t
6
> 
tt ÇÇ tt
‘
tt ÇÇ #ttt ÇÇÇ tt ÇÇ tt ÇÇ tt ÇÇÇ ttt ÇÇÇ tt ÇÇÇ ttt ÇÇÇ
? " ²t tt Ç tt Ç
Piano
" tÇ tÇ tt ÇÇ t Ç t Ç
Ç
t Yt c # ! !
""" " # #### !
!!! t Ç t t t t
t t Ç t !tt t t Ç Itot tt tI t t Ç e tJ#tt ÇÇ t t tÇ #t Ç t t !tt Ç !t t
11
>  Ç d #tt Ç t t #t Ç t t
? ! ! tt ÇÇ tt ÇÇ tt d
Piano
t ÇÇ tt ÇÇ #ttt ÇÇÇ tt ÇÇ #ttt ÇÇÇ ttt ÇÇÇ t
! t tÇ tÇ t tÇ tÇ Yt c
ó
!! ! ### " " " t t t t
tt Ç t t t t !tt Ç t t t t t t t tI t Ç t d
16
 " " " tÇ t t

> Ç tt ÇÇ tt
?  ! ! tt ÇÇÇ Ç tÇ ttt ÇÇÇ tt ÇÇ #ttt ÇÇÇ ttt ÇÇÇÇ "tt ÇÇ

tt Ç
Piano
! t tÇ # # # " " " " tt ÇÇ tÇ tÇ t tÇ tt ÇÇ t d

"" t
"" t t tt t tt tt ÇÇ t #t t tt ÇÇ
 " " " " tt ttt ttt tt Ç tt t Ç tt ÇÇ tt tt tt Ç t tt
21
> t tt ttt tt tt t tt t tY t Ç t
t t
‘
? tt ÇÇ tt tt tI ttt ÇÇÇ tt tt tt
Piano
t tI t t c t t t
"""""" | Ç tÇ t t t
t t t t |Ç
155
t tÇ t t t t t t
" " " " " " t t t t Ç t tt #t t t tY tt tt t tt t t ttt #tt tt ttt tt "ttt
26
 t ¿ t t t tt tt #ttt
> d t t t
Ç tt tt t tt tI ‘ sostenuto
?  " ttt ÇÇ tt tÇ #t
t
t t t t t t " tt tt
# tt #tt tt t t t
rit.
t t t t t t t
Piano
" t t
Y t
""" " ¿ tt tt tt t t t t t t
t t t t t "t t t t
" " " " " " tt tt tt tt t t tt tt tt ttt #ttt ttt #tt #t ttt "ttt t
31
 tt tt tt #t t tt #ttt tt t Yt c
> t t t t t t t t t "t
Ç
? " t t t t t t t t t t t t tt tt tt tt tt tt #tttt ÇÇÇ
rit.
tt tt tt Yt
Piano
" " " " " t t t t t t tt tt tt tt tt tt c t "t t
"" ¡2. ¡ ¡t Ç ¡| Ç
t
1.
 " " " " ttt ÇÇÇ tÇ t t

36
t t tt t t t t ¿ tY| Ç
#t t
> t t t c
t t
cÇ
#t t
t
? t d t t tt Ç t t
Piano
Ç t c t tt t tt ÇÇ ttY
" " " " " " Yt c t Yt
cÇ
¿ t
tÇ tÇ  t tt t Ç
tÇ t tÇ
¡t Ç
¡t Ç #t t ¡´
|Ç ¡| Ç
""""""
# tt
41
> 
? "" d t tttY tt
Piano
t t tt Ç t t tt
 " " " " ttt ÇÇÇ tÇ tt t #ttt tt
t tt tt tt tt tt tI
 Yt
tÇ t #t t t #t tt
"" ¡´
|Ç ¡| Ç ²|| ÇÇ
|| ÇÇ
o t
 " " ""
I t t
44
t
>
? tt tt
Piano
tt |Ç
"" " " t tt
t t tY
tt tt tt
tY c t
I c  || ÇÇ
"" 
t t t
t ³
156
Act Two
SCENE. Exterior of Monastery by moonlight. Mountain range and river in distance.
RISOTTO discovered.
RISOTTO (looking at his watch). Now, Minestra, where are you? This is the appointed spot, and you are
not here. Dear, dear, dear! She never kept me waiting before. (Looking off.) Ah, I see her!
Here she comes, toddling along like an old lady of eighty! What a thorough little artist
she is! She keeps up the character even when she thinks no one is looking!
Enter MINESTRA, now really transformed into an old crone.
RISOTTO. My darling, you’re late. Why — what a wonderful disguise! I never saw anything
more perfect in my life! I can hardly believe that this is my pretty, dainty, delicate, little
bride!
MINESTRA. Oh, Risotto, don’t be angry with your little wifey, but something terrible has
happened — I — I can’t get it off!
RISOTTO. Can’t get what off, my pet?
MINESTRA. The make-up! I lined my face, just as you told me — and — and now they’re real
wrinkles!
RISOTTO (examining her face). What!
MINESTRA. Then you told me to cover my teeth with cobbler’s wax. They’ve all come out!
Then you told me to pretend I had gout and rheumatism — and I’ve got ’em! Ugh!
(Groaning.)
RISOTTO. But, my dearest girl —
MINESTRA. Then my hair! Oh, my poor hair!
RISOTTO. It’s a capital wig.
MINESTRA. That’s it — it’s not a wig! It’s my own, and it won’t come off — and I hate it!
RISOTTO. This is a most remarkable circumstance. How did it happen?
MINESTRA. After I had dressed myself as an old woman, we all drank some wine out of the
conjuror’s wine-skin, and I gradually became an old woman of seventy-four!
RISOTTO. This is most embarrassing. I may say, most disappointing. On one’s wedding day,
too!
MINESTRA. My poor husband, I’m so sorry for you! But I’m an old woman, and you won’t be
troubled with me long; that’s one comfort to you.
RISOTTO. Yes — I mean, no. I — I trust that, notwithstanding this — this modification of
the implied terms of our agreement — there are many years of — of — yes, bliss — in
store for us. (Aside.) If it had only happened yesterday, it wouldn’t have mattered so
much!
MINESTRA. Of course, you won’t love your little woman now!
RISOTTO. Oh, I beg your pardon. I shall have much pleasure in — in showing you every
attention compatible with the — the respect due to a lady of your advanced years, my —
my pet!
157
15. I'd be a young girl if I could
Duet
Minestra and Risotto
Allegretto
" tY tY tY
Minestra  " " " 24 a a a c e
tJ tJ
tJ tY
tt tt t t
I'd be a young girl if I
t t tt tt tt
Allegretto
"" " " 2 t t t tt tt tt ttt

> 4 tt tt ÇÇ tt tt tt t tt ttt t t t
? " 2 tt t t tt ÇÇ t
tt t t
Piano
t Yt t t t
" "" 4 t t t t
"
 " "" t
6
Minestra c a a
could!
"
Risotto † " "" c e tZ tJ tZ t e tZ tJ tZ t d tY
You're ve - ry good, you're ve - ry good; But
"" t tt tt tt d t
I
> " " tt t
tt tt tt
t t
tt tt tt
t tt tt
? " t t t
Piano
t t t t t t t
" "" t t t
"" e tJ tJ tJ tY tY tY Ç "tZ
9
Minestra " " a c t c

I'd be as love - ly as the rose!
" " Yt Ç
Risotto †" " tZ tZ J
t J
t tJ tI tY c a c e J
t J
t tJ
that un - like - ly I'm a - fraid is! So I sup -
""" d I d d
>  " t tI tt d
I tt
I d I
tt " t tt t
tt #tt t t t t t "t t
? "" t
Piano
t t t t t
"" t t
158
" tZ tZ
† " "" d Yt Ç #tZ tZ
13
Risotto t e tJ tJ tJ t tI #tZ
pose, so I sup - pose. And so, no doubt, would most old
" " "

> " t t d It d I
ttt
d
#tI
tt
t t "t t t t # tt
t
Piano
? " t t
" "" t #t t
"" e tZ tZ tZ t e #tJ tJ tZ
16
Minestra " " c t e tJ tJ tJ t e tJ tJ tJ

I'll rouge my face, make up my eyes, With cun -ning dyes, with cun -ning
"" tY c
Risotto † " " #tY a a a
la - dies!
"" d t
I d It d d I
tt d d I
t d
>  " " #ttt ttt tt tt " # tIt
t t
tI
tt tt #tttI
#t t Yt d t
? "" Yt d t
Piano
"" t t
" tZ tZ tZ tZ tZ
 " "" t d tY Yt Ç tZ tI
20
Minestra tZ tI tI e tZ tI tI tI
dyes. My ven - er - a - ble looks a - noint - ing, I'll try my best your heart to
"" tt d "tI
d I d d I d d
> " " tI ttt
tt tt
I tI
t tt
I tt
I
t tt t t t t t
Piano
? "" tY
"" t d t
I Yt d tI d tY d tY d d t d
I
159
"
 " "" t
24
Minestra c a a a
thrill.
" tY Yt #tY "tY tZ Zt Zt Zt Zt

Risotto † " "" c t #tJ tJ t
e J e tZ #tJ tZ Yt Ç
I'm sure you will, my love, but still It is a lit - tle, lit - tle dis - ap -
"" d
> " " tt d
I tI
d
tt
I
d
tI
tt tI t tI t tt
d tt
I
t
t #t t
Piano
? "" t t t t t tY d
"" t t t Yt t Yt t
"" d tZ tZ tZ
tJ tI e d
28
Minestra " " a c tI tI Ç tJ J t tJ

t J
Yt Ç
Just a lit - tle, a lit - tle lit - tle dis - ap -
"" tI tY tY Ç
I
tÇ
tZ tZ tY
Risotto †" " t e tJ tJ tJ tI tI Ç tJ J t tZ
t J tJ
t t
point - ing! It is a lit - tle, Just a lit - tle, a lit - tle, lit - tle dis - ap -
"" t t t t t t t
>  " " ttt tt
t
t t t t t
t tt tt ÇÇ tt tt tt tt t
Piano
? "" t t tt t tt ÇÇ t t t t t
"" t t t t
" tY Ç Yt Ç
 " "" t tY tY tZ tZ tY tZ tJ t
32
Minestra e tJ tJ tJ tI tI Ç tJ tJ tJ t
point- ing! It is a lit - tle, just a lit - tle, a lit - tle, lit - tle dis - ap - point - ing!
" t t Yt Ç tZ Zt Zt tZ tZ
Risotto † " "" c d tZ tZ
tJ tI e
d tY t t
tt tt tt
point- ing! Just a lit - tle, a lit - tle, lt - tle dis - ap - point - ing!
"" t t t tt tt tt tt t
>  " " tt tt tt tt ÇÇ t d t
I
t
t t
t
t c tt tt ÇÇ t
? "" tt
Piano
" " tÇ d t | Yt
t t
160
"
† " ""
37
a a a c e tJ tZ
Risotto tJ
tt tt tt tt tt tt
You're cer - tain
"" tt t t
> " " tt tt ÇÇ tt tt tt t tt
t
tt
t
Piano
? "" tt tt tt ÇÇ t tt t
"" t t Yt t
" tY tY
† " " " Yt tY t t t d tY
41
Risotto e tZ tJ tZ e tZ tJ tZ
that you're wide a - wake? There's no mis - take, there's no mis - take? Your
" "" t tt ttt ttt tt tt tt tt tt tt tt tt tt tt d t

I
>  " tt t t t tt t t tt
t t t
? "" t t t t t t t t d tY
Piano
"" t t t t t t d
t | Yt
" tY Ç
 " "" "tZ
45
Minestra a c e tJ tJ tJ tY tY
" " " " Yt Ç

I've scrubbed and scrubbed, and scrubbed a -
Risotto † tZ tZ tJ tJ tJ tI tY c a
rug - ged wrink - les you can't thin off?
" " d tI d d
> " " tt #ttI tt d
I tt
I d tt
I t
"t t
t t t t
?  " " Yt d
Piano
"" Yt d tY d tY d tY d
t
161
" tZ Zt #tZ
 " "" t d tI tY Ç tZ "tZ
48
Minestra e tJ tJ tJ t e tJ tJ tJ t
way For half a day, for half a day, Un - til I've al - most scrubbed the
""
>  " " t tt " t t t t d " tI
tt d ttI d
#tI
tt
t t "t t t t t
tY
Piano
?  " " Yt d tY d t Yt d #tY d
"" t t d
I d
"
 " " " "tY #tY d tY tZ tZ tZ tZ #tI Ç tZ t
52
Minestra t e tJ tJ tJ e tJ tJ tJ
skin off! So gou - ty and rheu - ma - tic I, That though I try, that though I
"" d tt d
I t
I d " # tIt tt d
d I d I
t d
>  " " #ttt ttt t tt t t
t
I
tt tt "tIt
t
#t Yt tY d
? "" Yt d t
Piano
"" t d t t
" Yt Ç
 " "" t d tY tZ tZ Zt J
56
Minestra t tZ tI tI c a
try, I scarce can fas - ten my shoe - buck - les!
" tZ
Risotto † " "" a a c e tZ tZ tI tY tI tI
My bride could write (so gou - ty
" " d tI d d tI d d tI d I
> " " t "tI
t ttt
I tt tt
I
t t tI
t tt tt
t t t t
Piano
? "" t
" " tI d tI d tY d t
I d tY d tY d t
162
" tY tY #tY "tY tZ t t t t
† " "" t Yt Ç tI tZ tZ
60
Risotto e tJ #tJ tJ t e Zt #tJ tZ t

she) "No Po - pe - ry! No Po - pe - ry!" On all the walls with all her knuck -les! But it
"""" d I d d d d tt
I
>  tt
t # ttI tt
I tI
tt tI t tI t tt t ttt ttt
t
? "
Piano
" "" t t t t t t t t t t t
Yt t Yt t
"" d tZ tZ tZ t tY tY
tJ tI e d
65
Minestra " " c tI tI Ç tJ tJ tJ tJ

Yt Ç t
Just a lit - tle, a lit - tle, lit - tle dis - ap - point - ing! It
" " Yt Ç I
tÇ
tZ tZ tY t
Risotto †" " tJ tJ tJ tI tI Ç tJ J t tZ
t J tJ
is a lit - tle,
e just a lit - tle, a lit - tle, lit - tle dis - ap - point - ing!
" " " " tt tt t

t t t t t t t ttt t
> t t t t tt tt ÇÇ tt tt tt tt t tt
Piano
? " t tt t tt ÇÇ t t t t t
" "" t t t tÇ d
Ç
"" " " Yt tZ tZ tY Yt Ç tZ tJ
69
Minestra  e tJ tJ tJ tI tI Ç tJ J
t J
t t t
is a lit - tle, Just a lit - tle, a lit - tle, lit - tle dis - ap - point - ing!
" tZ tZ
Risotto † " "" c d tZ tZ
tJ tI e
d tY Yt Ç tZ tZ tZ t t
Just a lit - tle, a lit - tle, lit - tle dis - ap - point - ing!
t t
"" " " t t tt tt tt tt tt d t tI d
> tt tt ÇÇ t tI t t
t tt tt ÇÇ tt t d
Piano
? " t tY
" "" t t Yt
163
Exit RISOTTO, slowly and despondingly.
MINESTRA. It’s a sad thing to be transformed into an old woman in the very flower of one’s
life! Ah, deary me! this is but a dismal wedding-day! Why, who comes here? Teresa, as I
live — and crying too! What has she to cry for? She’s young enough, I’m sure!
Enter TERESA. Her manner suggests that she is crazed.
163
16. All alone to my eerie
Recitative and Song
Teresa
""" 6 t t t t t t t tY t t t tÇ t
t t
Andante pastorale
>  " " " 8 tÇ t t t t t t tÇ
?  " " 6 ttt ÇÇÇ ttt ÇÇÇ tt ÇÇ

tÇ ttt ÇÇÇ tt ÇÇ
tÇ ¬¬ tt ÇÇ tt ÇÇ tt ÇÇ tt ÇÇ tt ÇÇ
tÇ tÇ
Piano
" " "" 8 ¬¬¬ t Ç tÇ tÇ
ó
"
 " """" cÇ d #tI Ç #tZ # # # # # # !!! Yt Ç Zt I tt I
6
a a t t t tY
Recit.
Teresa
""" t t t t ² !
t t t t I # # # # # # !! t Ç
All a - lone to me ee rie I
 " "" t t t tt ÇÇ tt d tt ÇÇ
> tÇ t tt ÇÇ tÇ
tÇ #ttt ÇÇÇ tt ÇÇ tt ÇÇ ‘
?  " " tt ÇÇ tt ÇÇ tt ÇÇ tt ! Ç
Piano
" " "" tÇ tÇ d # # # # # # !! |
³
!!! tY Ç ó tY tY ²
t t tI tY Yt Ç tJ tY t t tI Ç tJ I
t Ç Zt I
10
Teresa  t
Z t
I t tI t t Ç tJ t tI J
I I
to
t
!!! ²
wan - der a - wea ry, A de - so - late maid of her lo ver be reft; What mat -ter? 'tis on - lt a
d
> tt ÇÇÇ ttt ÇÇÇ tÇ
tt ÇÇ
tt ÇÇ !tt ÇÇ t #t ÇÇ #t ÇÇ
t tÇ tÇ tt t t
?  ! ! |Ç
Piano
! tÇ t d tt ÇÇ
tÇ #tt ÇÇ
tÇ ³
!!! ó ²t ### " " "
t tY Ç Zt Yt
tI tI tI Yt Ç Zt I t
14
Teresa  t tI
tÇ J
I t t tI Ç t
Z ¿ """ a
!!! ² # # # "" " "

heart that is lone - ly, A - ma - ny the maids that a lo ver has left!
>  t ÇÇ #t ÇÇ #t Ç t d tÇ !tt ÇÇ ¿ " " tÇ t t t

t t tÇ t tt ÇÇ tÇ
t Ç tt Ç
# # # " " " " tt ÇÇ t ÇÇ
Piano
?  ! ! tÇ #tt ÇÇ
! tÇ tt ÇÇ t d tÇ tÇ ¿ ""
³
"" tÇ tY
 " " "" tÇ
18
Teresa a a a tY tY tY tI tI
Whis- per - ing breeze, Bring me my dear!
""" " t t t t t t t t t
Heart that in jest, Laughedhim to scorn,
>  " " t tI tt ÇÇ tt d t tt tt tt tt tt tt tt tt t tt tt

tÇt t
‘
?  " " ttt ÇÇÇ #tttt ÇÇÇÇ ttt ÇÇÇ tt ÇÇ
tt ÇÇ tt d
Piano
""" " t Ç tÇ |Ç tÇ t t t
164
" t ÇÇ tY Yt Yt
 " """" I t tY tI ÇÇ tY #tYt tY t ÇÇ
23
Teresa t I tÇ tJ tI t Ç
Wind-sha - ken trees, Bec - kon him here! Ri - vu - let hie, Pri -thee go see,
Now in my breast Ly - ing for - lorn, I - dle to plead, Che -rish the chain,
 """""" t t Ç t t t t tt t #t t tt Ç t t tt ÇÇ tt tt ttt
> tt ttt ttt ÇÇÇ
I tt tt t t tt t tt ÇÇ t t t tÇ t t t
tÇ tÇ
Piano
?  " " tÇ t t t |Ç tÇ t tY
" " ""
"" tÇ tY Yt tY Yt Yt Yt
 " " " " #tYt Yt I t tÇ tY Yt tY tY Ç I
27
Teresa t I tI #tI
t tI t tY
Birds, as ye fly, call him to me! Tell him the tale of the tears that I shed
t t
Thou shalt be freed Nev - er a - gain! My heart it is said and a - wea - ry my head, For I
" " " " " #t t t t t t t

I t t t t ttt #tt tt tt t t
>  " tt tt # tt tt tt tI t tt tt tt t t t tt tt #tt t t "tt
t t
‘
? "" tÇ t t t t t #t t t t t t t tt tt tt t t t
Piano rit. sostenuto
" " "" tÇ tt tt tt t t t t t t
tY tY tY Yt
""
 " " " " Yt Yt tI I
tY Ç #t t Yt Yt tY tI "tYt tY Ç #tY tY
31
Teresa t I
t tI I
t I
t tI
Tell him I die for the love that is dead! Tell him the tale of the tears that I shed,
weep and I die for the love that is dead! My sad and a - wea - ry my head, For I
t t t t t
" " " " " " tt tt tt tt t t tt t#tI ttI tt tt tt #t t tt #tt t "tt t
(2nd verse only)
 tt tt tt Yt c
> t t t t t t t t t t t t t t
?  " " tt tt tt tt tt tt t t t t t t tt tt tt tt tt tt tt tt tt Yt
Piano
" " "" t t t t t t c
t t t t t t
" " " " #tYt Yt #tYt Yt "tYt

t t ÇÇ c c
35 1. 2.
" tY a a
tI tI t Ç tI ¿ t Ç tI
rit.
Teresa  " I
Tell him I die for the love that is dead!
²
weep and I die for the love that is dead.
" " " " " #t Ç tt tt

I t t Ç |Ç
>  " tt ÇÇ tt tt ÇÇ ttt ÇÇÇ || ÇÇ tt t Ç tt t Ç tt tt tt
¿ ttt ÇÇÇ tI t tt tt | Ç
# # tt Ç "t |Ç |Ç
Piano
? "" tÇ
t #t t t d d |Ç
Perdendosi.
" " ""

rit.
tÇ |Ç ¿ tÇ t |Ç ³| Ç
165
She sinks, weeping, on a seat.
MINESTRA. Why, take heart, little one! What ails thee? Come, tell me thy
sorrow. I’m an old body now, but time was when I was as young as thou
art — and not so long since, either!
TERESA. Oh, mother, mother, I think I am bewitched!
MINESTRA (aside). Here’s another!
TERESA. I am as though in a dream! Shall I tell thee? Yes, for thou hast a
kindly old face. To serve an unworthy end I must needs feign to be going
mad for the love of Alfredo, and so feigning, I fell at his feet. He, thinking
I had swooned, in good sooth, placed a wine-cup to my lips, and I drank,
and oh, mother, it must have been some love-philtre, for, behold, a
wondrous change came over me, and he who was naught to me before
became as the very breath of my life!
MINESTRA. Well, the potion has done thee a good service, for he’s a good lad,
and will make thee a strapping husband.
TERESA. Nay, herein is the mischief of it — it was too late, for he had
already given his heart to another, and would none of me, and I, whose
very soul is possessed by my love of him, have retained the village fiddler
to compose crazy love-songs for me to sing when the occasion ariseth, for
I am going mad — mad — mad — and be a girl never so crazy, her songs
should be in accordance with the rules of thorough-bass.
MINESTRA. Ha! Now, mark me — that mountebanking fellow is at the bottom
of this. Why, he hath also bewitched me!
TERESA. Thou? Thou lovest not Alfredo?
MINESTRA. A fig for Alfredo! Why, look at me, child; I am Minestra!
TERESA (looking at her). Thou Minestra, who was married this morning? Nay, I am
mad; but not so mad as that! Minestra is young and rather pretty — not so
pretty as I, but still pretty — whereas thou art — oh! I ask pardon — my
brain wanders — wanders —wanders!
MINESTRA. I am Minestra, I tell thee. For a purpose — also an unworthy one
— I feigned to be an old dame, and so feigning, I drank — and, hang the
knave, I am seventy!
TERESA. Thou Minestra? Why, let me look! As I live, it is true! Oh, poor,
poor Risotto!
MINESTRA. Even so; thy pity is for him — not for me. No matter. But if I can
find this jack-pudding, trust me, I’ll make him set matters straight again.
Oh, I have as much to regain as thou!
166
17. If I can catch this jolly Jack-Patch
Duet
Teresa and Minestra
!2 tY
Allegretto
Teresa  4 a a c d tY tY tI t t
ó
Ah, me! my heart is
!2 d tY
Minestra  4 c tÇ
I tÇ
tJ I tJ tI tI I
t tY d a
!2
If I can catch this jol - ly Jack - Patch,
tt d Itt d tt d tt d d tt d
Allegretto
 4 I I I tt
I I t t
>
?  ! 2 Yt d tY d Yt
Piano
4 tY d tY d Yt d tY d d tY d
! d tY
5
Teresa  tI tI t a c tZ tZ tY tI t t
ó
wea - ry oh! And my days are dark and
! d t tI I d
Minestra  c tY t tJ I
t tJ tI J
t J
I t Yt a
!
He'll go for a year with a flea in his ear!
> t d
t t !tI tI
tt
d tI
tt
d tI
tt
d tI
tt
d tt t t t
t t tt t
?  ! Yt d d Yt d tY d Yt d tY d d d
Yt t
I t
I
! d !tY !tY tY
9
Teresa  tI tI t a c tI !tI
drea - ry oh! For love my souls is
! ó
Minestra  c d tY !tY tY tY tZ tZ !tY Yt tY tY d a
He'll find his joke is a pig in a poke,
ó
! tt !tt tt tt tt !tt tt tt t
>  t t t t tt t t t t t t t t t t !t t t t t t
?  ! Yt d Yt d a a Yt d Yt d
167
! tY t !t t d !tY
13
Teresa  a c tZ tZ tI tI t t
ach - ing, oh! And my heart, my heart is
! ó
Minestra  c d tY !tY tY tY tY !tY Yt Yt tY d a
Though scarce a score, I'm sev en - ty four!
ó
! !tt tt tt tt !tt tt tt tt d
I
> t t t tt t t t t
tt t t t t t t t t t t t t t t
? ! Yt
tI d d a a I
t d t d
I
! tY tY tY ²d
17
Teresa  a a a
break - ing, oh!
! c ²d tY tZ tZ tY tY tZ Zt t t tY
Minestra  tJ tJ t t tJ tJ tI tJ tJ t t
When a wo -man has come to sev - en - ty year It's well to be wi -ther'd and
! ² tt tt tt tt tt tt t t t
> t t t !t t t t ttt ttt tt t
tt tt t t ttt t
?  ! tY d ²tY d
t t t
t
t
t
t
t t t
t
t
!
21
Teresa  a a a a
! t t t tY tY #tY tY Ç tZ Yt I
Minestra  !t !tJ tJ tI tJ tJ t I
t J
t tJ t t t t
old and blear; But When she is on - ly a score like me, It's bet - ter a fair young
! t t t tI d #! tt
> tt tt !t tt tt t !ttt t tt t t t t t
t t t
tt t t t
? ! tY d t t
t t t t t !t t
168
! c tY tZ tZ tY tY t t t t tZ tZ #tY J
d tY tY t tZ
25
 t t
Teresa tI
'Tis well to be young when all is well, And lov - ers are true to the
!
Minestra  tI Ç tJ t a a a
girl to be!
! tÇ d I d d d d d #tI
 Ç t t tt
I t
> ! tt Ç t tt tt
t
tI
t I
tt tI
t t t
? ! t t t !t t t
t t
! t t t Zt tZ tY Ç
 t t t !t I t t tZ I
29
t I t I
t I
t J
t tJ t t t t
rit.
Teresa t t
tales they tell; But ah! when love is a u - pas tree, 'Tis bet - ter an a ged
! d #tI t Zt Zt
 c tJ tJ t tI Ç J
t I
rit.
Minestra tI t tI tI tJ tJ t t t t
But when she is on ly a score like me, It's bet - ter a fair young
! d t tt t t
> #tI
t
d It
tt tt t tt ttt tt t t tt tt tt
t t t t t
I
d
t
t t t t
? ! t t tt tYt d
rit.
t t
!
33
Teresa  ttt t tI t a a a a
dame to be!
!
Minestra  tt t t tI t a a a a
¡
! tt !!tt #tt #ttt
girl to be!
tt t tt tt tt t t t t t
> tt tt t t tt t t t !tt tt tt t t t t tt tt tt t
? ! t t t t t !t t t t t t t tt tt ttt
t t t
Exeunt together.
Symphony.
Enter Bartolo and Nita, still as waxwork Hamlet and Ophelia. They walk down the stage
mechanically, as though controlled by clockwork. Their keys are fitted with keyholes in the
small of their backs. Each wears a placard inscribed “Put a penny in the slot.”
169
18. If our action's stiff and crude
Duet
Nita and Bartolo
!!!! 2 t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t °t t t t t t t t
Andante Repeat these 8 bars ad. lib.
>  4 e ¿
? ! ! 2 t t t t
Piano
!! 4 c t| t t t d tt t
tt t ttI

¿ 
tt t tt tt tt t t t

! !!
 !
5
Nita a a a ¿ a a
!!!! a a a
Bartolo † ¿ tI tI tI tY t t t t t
If our ac - tion's stiff and crude,
Blandre - port- ers in the couts,
!!!! t t t t t t t t t t t t t t t t t tt tt tt tt tt tt t
> ¿ ttt ttt ttt t t t tt
tt
t
!!!!
Piano
?  Yt d Yt d I
 tt t t
tt tt t tt tt ¿ t d Yt d t d
I
t t t
!!!!
11
Nita  a c tI tI tI tI t t t t t
If our ges - tures pro mise larks,
Sher- iff's yeo - man, pen in fist,
!!!! c a
Bartolo † tI !tI !tI t t tI !tI t
Do not laugh, be cause it's rude,
Who sup - press po lice re - ports–
!!!! tt
> t !tt !t t t ttt !tttt ! ttt !tt t ttt !tt !tt tt t tt t
! tt t tt tt t tt t t t
?  ! !!
Piano
Yt d t
! t d
I t t t t
tY
d t
I d tY d tI d
172
!!!!
15
Nita  tI tI tI !t t !tI tI t c a
Do not make un kind re - marks.
Mak - ing out the ju - ry list–
!!
Bartolo † !! a c
tI !tI tY tY !tY tI !t
Clock- work fi - gures may be found
Stern po - lice - men, tall and spare,
!!!!
tt t t tt c a
> tt !tI
I
!t t t ! !ttt t ! tt ! ttt tt
? ! !
Piano
t t t t t t t
t t t| !t t
!! t |
!!
 !! tI tI tY
19
a c !tI
Nita t tI
I t
Ten to one if we but knew,
Which in words that plain- er fall,
!!!! Yt c a
Bartolo † !tI tI tI !t !t t t t
Ev - 'ry - where and all a round,
Act - ing all "up - on the square"–
!!
 !! a a a a
>
? ! !
Piano
t t t t t t
t t t t| t t| t t !t t
!! | |
d c
173
!!!!
23
 tI tI tI t c c
Nita tI t t t t
You are clock-work fi gures too.
means that you can square them all–
!!!! a c
Bartolo † !tI tI tI tY t t t !t t
And the mot- to of the lot
If you want to move the lot,
!!!!
 a c !tt t tt tt !tt t t
>
!t tt t ! t !t tt t ttt t
t t t tt tt tt ttt
?  ! !! t
Piano
! | t tY d tY d tI d tI d
!!!! tZ
t t t t t t tZ t t t t t t J
27
Nita  t tI tI t t tI tI tI
I t t t J
t
"Put a penny in the slot! Put a pen ny, put a pen ny, put a
!!
Bartolo † !! c c d tZ Zt !tI
tI
d
! tJ tJ !tI
tJ!tJ
"put a pen - ny, put a pen - ny, a
!!!! tt d
> t !tI
I !t t t t !tt t t !t tt !tt
! tt tt tt tt tt tt ! tt t t t t t
! tt ! tI
t t tt
?  ! !!
Piano
! tI d tI d t t Yt Yt d c d c
tI
!! tZ
 !! I d t t tZ
31
tI tI tI t tJ tJ t t t t
Nita t
pen - ny in the slot! Put a pen ny, put a
!!!! c d tZ tZ
† !tI ! tI tI t !tI tI
tI
Bartolo
pen - ny in the slot! Put a pen - ny,
!!!! d t
I t tt
>  tt ! tt !ttt !tt e t !t !t tt t
t t t t ! tt
?  ! !! t t t
Piano
! tI d c t t d c
174
34
!!!! t t °
 t t t t t t tI
Nita
tJ tJ t t tI t t ¿
pen ny, put a pen ny in the slot!"
!!
† !! d tJ !tJ !tJ tJ tY
! tJ tJ !tJ tJ tJ tJ tI t t ¿
Bartolo
put a pen ny, a pen ny, in the slot!"
!!!! d t t t !t
 t
> ! tI
t
!tt
t tt t !! ttt !t !tt t tt t
! tt
tt
t
¿
? ! ! t t
Piano
!! t d t tt t t t t t
t
I t t t ¿
!!!!
37
Nita  tI tI tI tY t t t t t tI tI tI t t t t t a
U - su - rer, for mo ney lent, Mak-ing out his cent per - cent.
!!
Bartolo † !! c a a c !tI tI tI tY
Wi- dow plump or
!!!! tt tt tt tt t t tt
> !tt tt tt tt t t t t ttt tt tt t tt
t t t t t t tt tt t tt tt tt ttt t t t tt t t
?  ! ! ! Yt t
Piano
! d t d
I Yt d tI d tY d t d
I t t t t d tI d
Yt
!!
 !! tI
42
a a a tI tI
Nita tI
Tax col - lec - tors,
!!!! t
Bartolo † t t !t t t !t !tI t t tI !tI t a
mai den rare, Deaf and dumb to sui- tor's pray'r.
!!!! t
>  t tt tt t t tt t ttt !ttt t !ttt tt tt
tt
c
t t tt t tt !t
? ! ! t
Piano
d t t t t| t t
! ! tY tI d t t
175
!!!! tY !tI
46
 tI tI c
Nita t tI tI t t t t t
whom in vain You im - plore to "call a gain."
!!
Bartolo † !! a a a
tI !tI tY tY
Cau - tious vo - ter,
!!!! a a a c
> 
?  ! ! !t t t
Piano
t t t t t t t t t t
!
! t t| t|
| |
!!
 !!
50
Nita a a c tI tI tI tI
If you'd move them
!!!! !tY
† tI !t tY !tI tI tI !t !t t t a
Bartolo t
whom you find Slow in ma - king up his mind.
!!!! a a a t
>  tt tt tt #tt
t t
t t t tt ttt
Piano
?  ! !! !t t t t t tt tt tY d tY d
! | | |
!!!! d
54
Nita  t t t t t a c tJ tJ
on the spot, Put a
!!!! a d
Bartolo † tI !tI !tI t t tI !tI tI
Put a pen - ny in the slot!
!!!!
 !tt t tt t !t
> ! t !t t tt t
t t
! tt
!tt
t tt t t
tt
ttt !ttt tt t
t !t t t
? ! !
Piano
! ! tI d d t d
I I
t d t t t
I
t
176
!!!! Zt
t t t t t t tZ t t t t d
57
 t t tJ tJ tI tI tI t
Nita tI tJ tJ
pen ny, puta pen ny, Put a pen - ny in the slot! Put a
!!!! d Zt tZ d c
† !tI tI tJ !tJ !tI
Bartolo
! tJ tJ !tI tI ! tI tI t
Puta penny, put a pen - ny, a pen - ny in the slot!
!!!! d d
> !t tt tt t !tt tI t t !tt e
t t ! tt ! tI
t t tt tt ! tt !tt t t t !t
?  ! ! tY d
Piano
!! c tI c t d
I c t t t t
!! tZ tZ
 !! t t t t t t t t t t
61
Nita t t tJ tJ t t t t tI tI t t
pen ny, put a pen ny, put a pen ny in the slot
!!!! d tZ Zt !tI d
† t tY
Bartolo tI ! tJ tJ !t t tJ tJ t !t !t tI t t
Put a pen - ny, put a pen ny, a pen ny in the slot!
!!!! tt d t t
> !t
t
tt
t t
! tt ! tI
t
!tt
t tt t !! ttt !t !tt t tt t
! tt
t
tt
? ! ! t
Piano
!! c t d t
I t tt t tt t tt t t t
t
177
BARTOLO. Nita.
NITA. Well?
BARTOLO. This is a very uncomfortable state of things.
NITA. Very. How do you find your clockwork this evening.
BARTOLO. Ticking, ticking, thank you. And you?
NITA. I fancy I want regulating.
BARTOLO. Eh?
NITA. I think I’m rather fast.
BARTOLO. Nita, you surprise and shock me.
NITA. Mechanically speaking, I mean.
BARTOLO. Oh, I take you. This condition of existence is rather degrading. We are common
clockwork, I believe?
NITA. Mere Geneva. The cheapest thing in the trade.
BARTOLO. So I was given to understand.
NITA. It might have been worse. We might have been Waterbury, with
interchangeable insides.
BARTOLO. That’s true. But when I remember the delicately-beautiful apparatus with which I
was filled from head to foot — and which never, never ticked — when I contemplate the
exquisite adjustment of means to end — which never, never wanted oiling — I am
shocked to think that I am reduced to a mere mechanical complication of arbors, pallets,
wheels, mainsprings, and escapements!
NITA. Still you were always complaining. You never were quite well.
BARTOLO. Because I eat too much.
NITA. That’s true.
BARTOLO. Never weary of putting into operation the exquisitely-beautiful apparatus of
digestion, I over-taxed its powers. I was a scientific enthusiast and I over-did it. Still, it is
something to have an apparatus that never, never aches. I — I — hallo!
NITA. What’s the matter?
BARTOLO (very slowly). I — beg your pardon. I — think — I — must be running down. May — I
— trouble you? They’ve thoughtlessly — put the key-hole — in — the — small of my
back — and — I — can’t get at it. (NITA winds him up.) Thank you. That’s very nice,
indeed. Now I can go on again. Hallo! c’ck! c’ck! c’ck!
NITA. What’s wrong now?
BARTOLO. I — c’ck — c’ck — I am not conversant with clockwork; but do you feel, from
time to time, a kind of jerkiness that catches you just here?
NITA. No; I work as smooth as butter. The continued ticking is tiresome; but it’s
only for an hour.
BARTOLO. The ticking is simply maddening. C’ck! C’ck! There it is again!
NITA. Something wrong with your works, I’m afraid. Stop a bit — I’ll see.
(Opens door in chest, revealing a quantity of clockwork.) No; all right there. Turn round.
(He does so; she opens door in the back of his head.) No; the head appears to be empty.
(Opens door in his side.) I see what it is; a halfpenny has got into your escapement. Stop
a bit. (Takes out halfpenny.)
BARTOLO. Bless my heart, how dangerous! What a relief! Thank you very much. You may
keep it for your trouble; but do not — oh, do not spend it on foolishness.
NITA. While I’m about it, I’ll just oil you, and then —— (Proceeds to oil his
178
works with a feather.)
BARTOLO (squirming). Don’t! You tickle!
Enter PIETRO, looking very ill.
PIETRO (not seeing them). The Duke and Duchess will be here in half an hour — their escort is
already in sight. Dying by slow poison is a very painful process, and I couldn’t have held
out much longer. (Sees them.) Nita! what are you doing?
NITA. I’m oiling Bartolo.
BARTOLO. I am being oiled by Nita, and she does tickle! I don’t like it. At least I do like it,
but it’s wrong.
PIETRO. How dare you take such a liberty? Shut the gentleman up at once. Nice
occupation for a young lady!
NITA. But there’s something wrong with his works.
PIETRO. That’s no affair of yours. If Bartolo’s works are out of order, that is a matter for
Bartolo’s medical attendant — I mean his clockmaker. Don’t let me catch you oiling him
again.
NITA. Ha! Ha! Ha!
PIETRO. If this occurs again, I’ll take both your keys away — upon my word I will!
179
19. When gentlemen are eaten up with jealousy
Trio
Bartolo, Nita and Pietro
t t Ç t t Ç t tÇ t tÇ t tÇ t tÇ t tÇ t tÇ t t tÇ t tÇ t
tÇ t tÇ
1 Allegro
> ‹ b c
¿
t t t •t ttt ttt ttt ttt tt tt tt tt
Piano
? ‹ t t t t t t t t t t tt
t ttt t ttt tt
t t
¿
tY Ç tZ | t
5
Nita  b c tI tI t Ç tJ
I t Ç tJ
I tI Ç tJ I
t Ç tJ
2. Here's a gen - tle - men, as fierce as a Ma - ho - me - tan, So
† b c tI Ç tJ I
t Ç tJ tY Ç tZ | t
Bartolo t t Ç tJ
I t Ç tJ
I
1. Where gen - tle - men are eat - en up with jea - lou - sy, They
† b c tI Ç tJ I
t Ç tJ tY Ç tZ | t
Pietro tI tI t Ç tJ
I t Ç tJ
I
tÇ
3. When a la - dy is dis - posed to be ty - ran - ni - cal, She's
 t t t
> tt
t
tt
t
t
tt
t
tt
tt
t tt tt
t
tt ttt
t ttt
?  tt tt 
Piano
t t t t t t t t
!|À
tI Ç tJ tI Ç tJ tI Ç J
8
 t I t Ç tJ tI Ç tJ c t t Ç tJ tI Ç tJ
t Ç tJ tI Ç tJ I
I
t
Nita
car - ried off by jea - lou- sy ve - hic - u - lar, He's down on an un - for - tu- nate Au -
† tY Ç tJ tI Ç tJ tI Ç tJ I t tI Ç tJ t c
tÇ J t Ç tJ tI Ç tJ
Bartolo t t Ç tJ tI Ç tJ I
I
make them-selves ex- ceed- ing- ly ri - dic - u - lous, For ev - 'ry- thing a - round they tint- ed
† tY Ç tJ tI Ç tJ tI Ç J t Ç tJ tI Ç tJ t c
t I t Ç tJ tI Ç tJ
Pietro t t Ç tJ tI Ç tJ I
I
e - qual to un - li - mit- ed in - i - qui- ty; And flirt- ing may be flirt- ing, tho' me -
> tt tt t tt tt t t tt t tt t tt
t t tt t t tt tt t tt t tt t
?
Piano
t c t c t t t t t t t t
180
tY Ç tZ | t Yt Ç tZ tY Ç tZ Yt Ç
11
c
Tutti
Nita  tJ I
t Ç !tJ tI Ç !tJ t t
tom - a - ton! Some peo - ple are so ter - ri - bly par - tic - u - lar. Their
Some
A
tY Ç tZ | t Yt Ç tZ tY Ç tZ Yt Ç tJ I
t Ç !tJ tI Ç !tJ t c
Tutti
Bartolo † t
yel - low see, Their an - tics and ex - tr - va - gan - ces tic - kle us, Their
Some
A
tY Ç tZ | t Yt Ç tZ tY Ç tZ Yt Ç tJ I
t Ç !tJ tI Ç !tJ t c
Tutti
Pietro † t
cha - ni - cal, A fact that as the sanc - tion of an - ti - qui- ty. Their
Some
A
> tt t t t t tt !ttt tt tt tt
t tt ! tt tt tt t ttt t t t
#t
?
Piano
t t | t c t c t c b
À
Yt Ç tZ tY Ç tZ Yt Ç tZ Yt Ç tZ t c t c t c tY Ç tZ |
14
 t c
Nita t
an - tics and ex - tra - va - gan - ces Tic, tic, tic, tic, tic - kle us, Their
people are too ter - ri - bly Par - tic, tic, tic, tic, tic, tic - u - lar, Some
fact that has the sanc- tion of an - tic, tic, tic, tic, ti - qui- ty, A
tY Ç tZ |
Bartolo † !tI Ç tJ tI Ç tJ !tI Ç tJ tI Ç tJ t c t c t c t c t
people are too ter - ri - ly Par - tic, tic, tic, tic, tic, tic - u - lar, Some
fact that has the sanc- tion of an - tic, tic, tic, tic, ti - qui- ty, A
Pietro † t Ç tJ !tI Ç tJ t c
tI Ç tJ tI Ç tJ I t
c !t c t
c tI Ç tJ | t
people are too ter - ri - bly Par - tic, tic, tic, tic, tic, tic - u - lar, Some
fact that has the sanc - tion of an - tic, tic, tic, tic, ti - qui - ty, A
t t t tt tt tt t t tt tt tt tt tt ÇÇ tt ||
> !tt tt !tt t t t tt tt t t t t tÇ t t t
Piano
? t t #t !t t t t t !t t t t t t t t
181
Yt Ç tZ Yt Ç tZ Yt Ç tZ tY Ç tZ t c t t c tI Ç tJ |
18
 t c c
c
Nita
an - tics and ex - tra - va - gan - ces Tic, tic, tic, tic, tic - kle us.
people are so too ter - ri - bly Par - tic, tic, tic, tic, tic - u - lar!
fact that has the sanc- tion of an - tic - tic, tic, tic, ti - qui - ty!
Bartolo † t Ç tJ !tI Ç tJ tI Ç tJ
!tI Ç tJ I t c t c t c t c Yt Ç tJ | c
an - tics and ex - tra - va - gan - ces Tic, tic, tic, tic, tic - kle us,
fact that has the sanc- tion of an - tic - tic, tic, tic, ti - qui - ty!
Pietro † t Ç tJ I
tI Ç tJ I t Ç tJ !tI Ç tJ t c t
c !t c t
c tI Ç tJ | c
an - tics and ex - tra - va - gan - ces Tic, tic, tic, tic, tic - kle ustic,
fact that has the sanc - tion of an - tic - tic, tic, tic, ti - qui - ty!
t tt !ttt tt tt tt t tt tt tt t tt tt
>  !tt t t t t tt t t t tt t t t t t
Piano
?  t t t !t t t t t !t t t t t t t t
22
Nita  t c t c t c t c t c t c
tic, tic, tic, tic, tic, tic,
† a b c t I
tÇ tZ Yt Ç tZ
Bartolo tI Ç tJ tI Ç tJ
Where gen - tle - men are ea - ten up with
Here's a gen - tle - men, as fierce as a Ma -
When a la - dy is dis - posed to be ty -
Pietro † t c t c t c t c t c t c
tic, tic, tic, tic, tic, tic,
> t c t c t c t c tt c ttt c
tt tt t
Piano
? t tt tt !! tt tt " tt ! # tt
t t t t
182
25
Nita  t c t c t c t c
tic, tic, tic, tic,
tY Ç tZ Yt Ç tZ
Bartolo † I
tÇ tJ tI Ç tJ tI Ç tJ tI Ç tJ I
tÇ tJ tI Ç tJ
jea - lou - sy, They make themselves ex - ceed - ing - ly, ex - ceed - ing - ly ri -
ho - me - tan, So car - ried off by jea - lou - sy, by jea - lou - sy ve -
ran - ni - cal, She's e - qual to un - li - mit - ed, un - li - mi - ted in -
Pietro † t c t c t c t c
tic, tic, tic, tic,
> tt c ttt c ttt c ttt c

Piano
tt t t t
?
t t t t t t t t
27
Nita  t c t c t c t c
tic, tic, tic, tic,
† | t tJ tI Ç tZ Yt Ç tZ
Bartolo tI Ç tJ I
tÇ tJ tI Ç
dic - u - lous, For ev - 'ry - thing a - round they tint - ed
hic - u - lar, He's down on an un - for - tu - nate Au -
i - qui - ty; And flirt - ing may be flirt - ing, tho' me -
Pietro † t c t c t c t c
tic, tic, tic, tic,
> ttt c ttt c ttt c ttt c

Piano
t t t t
?
t t t t t t t t
183
t Yt Ç
29 1,2.
 t c t c c t c c
Nita
tJ | ¿
tic, tic, tic, tic, tickle us.
Yt Ç tZ tY Ç tZ Yt Ç tZ Yt Ç tJ tZ Yt Ç tZ Yt Ç c
† tI Ç tJ I
t Ç tJ tI Ç ¿
tJ |
Bartolo
yel - low see, Their an - tics, yes, their an - tics and ex - tr - va - gan - ces tickle us,
tom - a - ton! Somepeo - ple are so ter - ri - bly, so ter - ri - bly par - tic- u - lar,
cha - ni - cal, A fact that as the sanc-tion, has the sanc- tion of an -
† t c t c t c c c ¿
Pietro t tI Ç tJ |
tic, tic, tic, tic - kle us. ti -
t
> ttt ttt tt
t
t
tt
tt tt tt tt tt tt tt ¿
t t t t t t t t t
t
?
Piano
t
t t t t t t t t t t t ¿
tÇ t tÇ Ç t
|| ||| || t tÇ t tÇ t t t tÇ t tÇ t tÇ t
32 3.
>  tt tt tt t | | t
Piano
t t t
t t ttt ttt ttt ttt ttt
?
t t | t t t t t t t t t
tÇ t tÇ t Ç t tÇ t t
|| ||| || tÇ t tÇ t t t
37
>  | | c c
ttt
tt ttt ttt tt
Piano
?  c c
Exeunt Nita and Bartolo at opposite entrances, walking mechanically to symphony,

Pietro accompanying Nita.
184
20. Time was when earthly joy
Arrostino, Pietro and Chorus
Enter from monastery a procession of Tamorras, now transformed into Dominican Monks,
chaunting from black-letter volumes; Arrostino as the Prior.
ó ó ó ó ó ó ó ó ó ó ó ó
Andante
! tt tt tt ttt
>  Š t t
tt t tt tt tt tt t tt tt t tt tt t t t t ttt t t t ttt t t t
ó ó ó ó
? ! Š t t t t t t t t t t t t t t t t
piano
t
! t t
 !tY t
tYt tt tt tt tt !ttY tt tYt tt tt tt !tt ttt #ttt ttt #ttt ttt !ttt tt
3
> !t
?  ! "tItY tt tIYt tt tt tt tt "ttI

Y tt tI t
tY tt tt tt t
piano
| |
| |
! t #tt !tt t tt
6
> tt ttt t ttt t ! tt !t ttt tt c b a

t
? ! t
piano
| | | t | tÇ tI
| t t | tÇ tY
| |
; !
tÇ
9
Tenors † a tÇ tI t t tI |
Time there was when earth - ly joy
! tÇ tY t t tÇ tY |
a
Basses
<
! ² d d I d d I
tt t t
> t tt tt tt
AA
A t tt t
t t
Yt t t
!tI tY t Yt
²
? !
piano
| | t t t t t t t !t t t t t t t t
| |
185
; ! tY !t tY !tY Ç tZ
12
Tenors † t t | c t t t t t
tY ! t tY ! Yt Ç Zt
Gave our sen ses full em - ploy; In those days, for
! t t | t t t t t
c
Basses <
! d d t !t t t tt tt d d
> t tt !tt !t tt t t
t t t t tt tt tI
t t t ttt tt
tI
? ! t t t t t
piano
t t !t t t t t #t t t t t t t t t t t
t
; ! Yt Ç
15
† t t t t t t tI t tY tZ | c
Tenors t
ev - er gone, Bless us, how we car - ried on!
! t t t t t t t tY t tY tY Ç tZ | c
Basses <
! d d d
> tt t tt ttt tt t d t t t tt t tt tt tt
tt t t t tt ttt tt tÇ t t tt tt
? ! t
piano
t t t t t t t t t t t t t t t t t t t t t
t t
; ! tYt tYt
18
Tenors † tI !tI tI tI tI tI
Clink - ing glass - es– Love - ly lass - es–
! tYt ! ttY tYt tYt tYt tYt tYt tYt

Basses
<
! ó ó t t t ó ó t t t
t t
t t t !t t t t t t t t t t t t t
>
ó ó ó ó
? ! tttt tttt
piano
ttt #! ttt !ttt ttt #ttt !ttt
186
; ! t
I ttY
I Ç ttY Ç
!ttY !t tI
19
Tenors † Y
tI tY Y
tI t tY tYI
Re - vel heart - y– Pic nic par - ty–
 ! !tYt tYt tYt tYt tYI

Basses < tYt tYt tYt
! t t t t t t t t t t t t t t t t t t
t t t t t t
> ó ó ó ó ó ó ó ó
?  ! tt tt
piano
!t ttt tt
t
tt
t ! ttt tttt
tt
tt
t
; ! tI tI
20
Tenors † tI !tI tI t tI tI tI t
Gay don - zel - la– Ta - ran - tel - la–
! tYt ! tYt tYt tYt tYt tYt tYt tYt

Basses
<
! ó ó t t t ó ó t t t
t t t !t t t t t t t t t t t t t t t
>
ó ó ó ó
?  ! ttt tt ttt
piano
t #! ttt !ttt tt tt
t #ttt !ttt t
; ! t tY tY
† t t !t
21
Tenors b a
t t ! t t tY
gay don zel - la–
! b tY a
Basses
<
t Ç t ! t Ç t t Ç t t Ç t !t Ç t #t Ç t Ç Ç
Tar an tel - la
! t t t t t t t t t t t t t t t !t t t t Ç t tÇ t t t t t
> ó ó ó ó ó ó
?  ! ! tt tt tt tt tt tt ttt t tt ! tt ttt tt # tt
piano
tt tt ttt t t tt t t t tt
t t
187
ó tÇ t !tÇ t tÇ t tÇ t
! !t Ç t #t Ç t t Ç t #t Ç t t !t t t ót t t Ç t !t Ç t #t Ç t t Ç t t Ç t Ç t
23
 t
>
?  ! tt "tt tt !tt ! tt tt tt ttt t tt t t

piano
# tt t tt ! tt tttt ttt # t
t t t t
; ! tÇ
25
† a tÇ tI t tI |
Tenors t
In those days, for ev - er gone.
! tÇ tY t t tÇ tY |
a
Basses
<
In those days, for ev - er gone.
! !t Ç t #t Ç t t Ç t #t Ç t t !tó t ó t Yt d d t d t d d tI t t
 tt tI t
> tYt tt t Ç t tt
tÇ t Ç t tt
!tI tt Ç t t
?  ! tt "tt tt !tt ! tt tt
piano
ttt d t t t t
t t t
t t t t t t !t t t t
tZ t ²c
(Confidentially, to audience)
; ! tY !t tY !tY Ç 6 Ç
28
Tenors † t t t Ç tJ 8 tI
I tJ tI tI Ç J
t I
t
Bless us. how we car - ried on! It's a most un - ac - count - a - ble
t tY ! t tY ! Yt Ç tZ t ²
! t c t Ç tJ 68 Yt Ç
I tZ tY tY Ç tZ tY
Basses <
²
Bless us. how we car - ried on! It's a most un - ac - count - a - ble
! 68 t Ç
 d t d tI !t t !tt !t | c t t tt ÇÇ
> tI t t t | tt ÇÇ tÇ t t
b ²
? ! t t
piano
t t !t t !t t t c 6 t d d t c
t t | 8 Yt Yt
188
; !
† tI d c d c d Yt Ç
31
tI tZ tI
Tenors tI t tI tI Ç tJ tI tI tI tI tI Ç tJ
tY tY Ç tZ tY Yt Ç tZ tY
thing An hour a - go, as ban - dit - ti, We played like young lov - ers in
 ! tY d c d tY t tY Yt Ç tZ tY tY c d tY
Basses <
!
thing An hour a - go, as ban - dit - ti. We played like young lo - vers in
d b b ttt ÇÇÇ
>  ttI t t t
I tt tt
I tt ttt tt
tt tt tt t t t t
? !
piano
t d b t tI t b t t tÇ t
Yt tI t
; ! tY d c d Yt Ç
Yt Ç tY
35
Tenors † tI tJ Ç tI Ç tJ tY tI b Š
tY Yt Ç tZ tY Yt Ç tY tY
spring, The mis - chief in vil - lage and ci - ty;
! d c d tY tZ tY b Š
Basses
<
! d d tÇ t Š
spring, The mis - chief in vil - lage and ci - ty;
tt ÇÇ c d tt d d c tÇ
> tÇ t
I ttIt tt ÇÇ
? ! tt
piano
c d t d
bI d tY c tÇ c tY Š
tÇ
; ! Š ²d 68
38
Tenors † a b c tI
²d tY
But
! Š a b c 68
Basses <
ó
! Ç
t t t Ç t t Ç t !t Ç t #t Ç t ó ²d
But
 Š t Ç t t Ç t Ç t !t Ç t #t Ç t t Ç t "t Ç t t #t t t t I
t
6
8
> t t
? ! tt tt t tt tt # tt tt ! tt # tt ! tt
piano
tt tt tttt tt tt # tt ttt
Š t t t t t d 6
8
189
; ! 6 Yt Ç !tZ tY t Ç tJ tI !tY tY Ç J t Yt Ç J t tI tI c d
40
† 8 I tY c tY tY t I t I
Tenors tI
Yt Ç ! tZ tY Yt Ç tZ tY ! tY tY tY tY tY Ç tZ tY Yt Ç tZ tY
since we got mer - ry and mel - low On the wine of that con - jur - ing fel - low. Trans -
! 6 c tY tY c d tY
Basses < 8
since we got mer - ry and mel - low On the wine of that con - jur - ing fel - low, Trans
! 6 t Ç !t t t Ç t tt !t t d tt ÇÇ tt ÇÇ tt t tt ÇÇ tt t
>  8 tt ÇÇ tt ! tt ÇÇ t tt tt tt tt ! tt c d ttt
I
tÇ tÇ tÇ t
? ! 6 t tY d tÇ
piano
8 t tY t t tI c d
t tI t t
I
; ! tY tI tY
tI !t d
44
Tenors † tI Ç J t I
t I t tI tI tY
t I tI tI tI tI tI
tI
c
tI
tY tY
tY tY ! t tY
mo - gri -fied we're in - to fri - ars au - stere. Un -wash'd and un - plea - sant - ly yel -low! What
 ! tY Ç Zt Yt tY tY tY tY tY tY tY tY tY tY c d tY
Basses
<
mo - gri -fied we're In - to fri - ars auis - tere. Un -wash'd and un - pleas - ant - ly ye - low, What -
! tI tt
> tt ÇÇÇ t tt tt t tt tt tt
t tt !ttt tI ttt
d d !tI
tt c tt I
t t tI
t t t !t
? ! t t tY t d t
t t !t t
piano
t I t t d c t Yt t tY
Yt Yt t
; ! Ytt ÇÇ tZt tYt tYt tYt tYt tt ÇÇ tt tYt tYt tYt # "" 6
ttI ÇÇ tJ tÇ d c
48
Tenors † tI
t t tI
t 8
ev - er you say or you sing, It's a most un - ac - count - a - ble thing!
 ! Yt Ç tZ tY tY tYt tYt tt ÇÇ tt tYt tYt tYt tY Yt Ç tZ tY tÇ d c # "6

Basses < " 8
ev - er you say or you sing, It's a most un - ac - count - a - ble thing!
! tt ÇÇ tt tt tt tt ttt tt ÇÇ tt tI tt tt # "" 6
> tÇ t t t tt t tt ÇÇ t tt t
t
t t
tt ÇÇ tt
tÇ t ttt tt ÇÇ d c 8
tÇ
?  ! tÇ t
piano
t t t t tÇ t tI t t t tÇ t t tÇ d c # "6
tÇ t t t t tÇ " 8
t tÇ t t t t t tÇ t t
190
" tI Ç tI
52 (Enter Chorus of Girls from various entrances.)
Sop " a a a a tJ tI t t
Af - ter a wea - ry
Alto  "" a a a a tI Ç tJ tI t tI
Af - ter a wea - ry
" " tÇ d d t d t
> |Ç tÇ tÇ t tI |Ç t tt tt t t
À t tt t t
?  " À| Ç tÇ tÇ tÇ t tY tY d d tY d Yt c
piano
d
" tI c
" || ÇÇ Ytt ÇÇ tZt tYt tt tYt tt ÇÇ tt ÇÇ ttI ÇÇ tJ t tt

t tI tI
57
Sop " t
search Hid - ing, at last, we find you; Leav - ing us in the
"
Alto " |Ç tÇ
I tJ tI t tI tÇ tÇ tI Ç tJ tI t tI
search Hid - ing, at lat, we find you; Leav - ing us in the
" d t d d t d t d t d t d d
> " t t tt t t t t t t t !tt t tt t
t t
? " tY d d Yt c tY d tY c tY d d tY c
piano
" d Yt d d Yt c
" | ÇÇ t I
tt tÇ
61
Sop " | tIt ÇÇ tJ tt tIt tt ÇÇ !t Ç t tI tt

!ttI ÇÇ #tJ t
tI
lurch Is - n't good breed - ing mind you Of - fer a - po - lo -
"
Alto " |Ç tI Ç tJ tI t ! tI ! t Ç tÇ I
tÇ tJ tI t tI
" " d tt d tt
lurch Is - n't good breed - ing mind you Of - fer a - po - lo -
d t d t d t d !t d !t d t
> t t t t ! tt !t t t t t t t
t t
?  " tY d d tY
piano
" c tI d d t #tY #t Ç tÇ tÇ tÇ
191
" tt !tYt #t Ç tt ÇÇ #tttY "tttY tt tt tttY
65
Sop " || ÇÇ !tI

t tI
t I
tt tÇ tY t
gee– We shall want some per - sua - ding; When do you think you'll
"
Alto  " #| Ç tI tI tI !t tY tÇ !t Ç tI tI tI t tI
" d
gee– We shall want some per - sua - ding; When do you think you'll
" d d d d t d d t d t
> #tt t tt t !tt tt "t t #!tt t
t t t t
? " tY d Yt c
piano
" !tI d d I
t c tY d d
t c
I tI
d d Yt c d
" |Ç
 " |Ç tY tI t Ç d
69
Sop t t t t a
be Tir'd of mas - quer - ad - ing?
"" tY tI t Ç
Solo contralto
Alto  |Ç t t t t tI "tI Ç tJ tI tI Ç tJ tI
be Tir'd of mas - quer - ad - ing? This jo - cu - lar monk - ish pre -
 "" d t d t d t d !t d t d t "tt tI t tt
I
> t t t t t t t t t t t tt tt t
t t
? " tY d d Yt c tÇ
piano
" tI d d I
t c tI d d Yt c t tY
" d Ç Zt Yt "tI Ç tJ tI t c d tI #tI Ç J tÇ

73
Alto " t c tI Yt t Ç tJ tI
t tI I tÇ
tence, Though all ve - ry well in its way, Is like - ly to pall on the sense, If
" " "t tI t tt It

> tt tt tt ttt ttt
I ttt "ttt
I tt
I t It t
tt tt tt
t #t Ç t t t Ç t ttt
I
tt tt ÇÇ t tt ttt ttIt
t tt
?  " tÇ
piano
" t tI t tI t tY t tY t tY t tY t tY tÇ #t tY
192
"" tY Ç tZ tY tY tY
Solo soprano
cÇ d tY tY tÇ d "t t
78
Sop  a tY
At an o - ver -drawn joke or take in, How
" d
" tÇ J
I t I
a a
tÇ J
t I t I
t tÇ
Alto
kept up all night and all day.
"" t tt tI t tt "tt tI
I t tI
> t tI
t tt ttI tt tI
t tt tI
t t tt tt t t tt tt tt
? " t "t Ç "t Ç
piano
tY t tY tÇ tÇ
" t tI t tI
" Yt Ç Zt tY tY tY tÇ d Yt Ç "tJ tI tY Ç tZ tY d d
82
Sop " "tI tI "tI "t Ç tI

ev - er a - mus - ing, we scoff; So ma - ny know when to be - gin. So
 " " "t tI tt tt

I tt I
t t tt
I tt tt
I tt tt "tt tI
I t tI
> tt tt t t t tt tt t t t t t " t tt tt tt
?  " tÇ
piano
" tÇ tÇ tÇ tÇ "t Ç |Ç
Tutti
" tt ÇÇ
d d !tI ttI ÇÇ tJ t I
t Ç tJ tt
86
Sop  " !tI Ç #tJ tI tI Ç tJ tI tÇ t tI I tÇ

ve - ry few when to leave off! So ma - ny know when to be - gin, So
"" a cÇ c
Tutti
Alto  tI tI Ç tJ tI t Ç tJ tI
I tÇ tÇ
"" tt ÇÇ ttt ttt tt ÇÇÇ

So ma - ny know when to be - gin, So
> tt tt !tt tI
I tI tt ÇÇ tt tt t Ç
!tt
t
tt
I
t t t t tt tt
t tt tÇ t t tÇ "tt Ç
? " t |
piano
" tÇ tÇ |Ç tÇ tÇ
193
(During this, the Girls have been endeavouring to induce the Monks to pay them attention. The
Monks, however, have kept their eyes studiously on their books.
" 34
90
Arros †" a a Š b c b c t
These
" 34
Sop  " tI Ç tJ tI I
t Ç tJ tI tÇ d c Š a a a
ve - ry few when to leave off!
" 34
Alto  " tI Ç J
t I
t !tI Ç #tJ tI tÇ d c Š a a a
" t d d !ttI c t 3
tÇ d c
ve - ry few when to leave off!
> " Itt tt tt ÇÇ

Š | t t t t t t #tt || ÇÇ c 4
?  " Yt d tÇ d c Š | t t t t || || ÇÇ
piano
d Yt c c 3
" 4
"
† " 34 t d t d
95
tI Ç tJ tI tI tY tI tY tI tI tI tI tI c t
t
Arros
bland - ish - ments I pray you curb, Nor think us churls– nor think us churls. Our
" 3 ttt d tt d b
> " 4 tt ÇÇ t
t tt t || tt tt
c I I
t
t
? " 3 tt ÇÇ tt tt tt || ÇÇ tt c Yt d
piano
" 4 tI d b
" t d t d d
99
†" It Ç tJ tI tI tY tI tY tI tI tI tI tI t tI tI tI
Arros
"
pi - ous calm do not dis - turb, Now there's good girls– now there's good girls! Tho' our e -
>
" tt ÇÇ t t c ttt d
I tt d d
I
#ttt ÇÇÇ
t t tt || tt tt t
?  " tÇ tt tt tt || ÇÇ tt c Yt
piano
" tÇ d t d d
I tÇ
194
"
t d tI tI tI
103
Arros †" tÇ tI #tI tI t Ç tI #tI tI t Ç tI t t tÇ I

t #tI tI
"
mo - tions, as you see, We try to freeze– we try to freeze! We don't as yet, pre - tend to
>
" | #tt #tt | #tt
|| t || t tt ÇÇ tI tt ||| ÇÇÇ || t
? "
piano
" | t | t |Ç |Ç | t
"
t d tI I t d
108
Arros † " t Ç tI #tI I

t t Ç tI tI tI t I
t tÇ tI tY tY tY tI tI
"
be St. An - tho - nies– St. An - tho - nies; So go a - long– Nor think us churls, now there's good
> " || #ttt "tt t tt t t

tt ÇÇ I
t ttt ||| t
tt ÇÇ
tÇ tt t tt
||
| tt
? "
piano
" t tÇ t t t |Ç
| t | |Ç
" t d
113
†" tI tI tI
Š c a
|
Arros
girls, now there's good girls!
" | Yt Ç tZ tY tY tY tY tY Ç tZ
Sop " a Š b
Ah, cru - el ones! Time was, your love was
" " c d Š tt c tt tt tt tt
> t ttIt t "tt tt tt tt tt tt tt tt
tt
? "
piano
" t c tY d Š t t t t t t t t #t t t t t t t t
195
²
" tY tY c | I
t Ç tJ tI tI tI tI I
t Ç tJ t # # ! 68
116
Sop " t c
strong -er! Ah, cru - el ones. you love us then no long - er!
" ² !
Alto " b | I t Ç tJ t !t c
t Ç tJ tI tI tI tI I # # 68
Ah, cru - el ones. upi ;love us then no long - er!
; "" ²
† a a b c # # ! 68
Tenors
I
t Ç tJ
It's a
² Ç
(Confidentially to girls.)
 "" a a b c Yt Zt # # ! 68
Basses <
It's a
²
" # # ! 68
Clarinet cadenza
" tt !tt c c
> tt tt tt tt t t t t t t t t t t t t t t
? " ²
piano
" t t t t t t t t t t t t t t t t t t c c # # ! 68
; ! 6 d
119
Tenors † 8 t Ç tJ tI
I tI Ç tJ tI tI c c tI t tI tI Ç tJ tI I t I t
c
tI
Yt Ç Yt Ç Zt Yt tY Yt Ç tZ tY tY tY c
most un - ac - count - a - ble thing An hour a - go, as ban - dit - ti. We
 ! 68 tZ tY tY c c tY t d tY
Basses
<
most un - ac - count - a - ble thing An hour a - go, as ban - dit - ti. We
! 6 d c c d cÇ
 8 tt ÇÇ t t tt ÇÇ t t
>
tÇ tÇ ttI ttt ttt ttt
I ttt ttt
I
? ! 6 t d tYt c
piano
8 d t d c c t tI t d cÇ
Yt Yt tI t
196
; ! tY d c Ç
tI Ç tJ tI Yt Ç Zt Yt tÇ
d tI I tJ tI tJ tY tY
123
Tenors † tY tI c c Š
played like young lo - vers in spring, The mis - chief in vil - lage and ci - ty;
tY Ç tZ tY Yt Ç Zt Yt tY Yt Ç tZ tY tZ tY Ç tY tY Yt
! d c d tY c c Š
Basses <
played like young lo - vers in spring, The mis - chief in vil - lage and ci - ty;
!
tt ÇÇ d c tt d d c tÇ d d t t Š
> tt
t
t t
I
tt tt tI
tt
tÇ t
I ttt
I tt ÇÇ
? !
piano
tY t d c tÇ d d tY
t tI tÇ tI d d Yt c Š
; ! Š ²d
tI 68
127
Tenors † a b c
But
! Š ²d tY 6
a b c 8
Basses <
But
! t Ç t t Ç t t Ç t !t Ç t #t Ç t ²
>  Š t Ç t t Ç t t Ç t !t Ç t #t Ç t t Ç t "t Ç t t #t tttt t d
I 68
t t t t t t t # tt tt " tt tt t tt ó
?  ! Š tt tt tt tt tt tt ttt !t # tt ttt
piano
t d 68
; ! 6 Yt Ç !tZ tY !tY tY Ç Yt Ç
129
Tenors † 8 tY tI Ç tZ tY c tY tY tJ tI tJ tI
Yt Ç ! tZ tY tY Ç tZ tY ! tY tY tY tY tY Ç tZ Yt Ç tZ
since we got mer - ry and mel - low On the wine of that con - jur - ing
 ! 68 c tY tY
Basses <
since we got mer - ry and mel - low On the wine of that con - jur - ing
! 6 t Ç !t
>  8 tt ÇÇ tt tt ÇÇ t tt !tt t d tt ÇÇ tt ÇÇ tt tt tt ÇÇ tt tt
t !tÇ t t tÇ tÇ t tÇ t
? ! 6 t tY d tÇ
piano
8 t tY t t tY
t tI
197
; ! tY tI tY
† tI tI c d tI !t
132
Tenors tI tI Ç J
t I
t tI tI tI tI tY tI tI tI tI
tY tY
tY ! t
fel - low, Trans mo - gri -fied we're In - to fri - ars aus - tere. Un -wash'd and un - pleasant - ly
 ! tY tY c d tY tY Ç tZ tY tY tY tY tY tY tY tY tY tY tY
Basses
<
fel - low, Trans mo - gri -fied we're In - to fri - ars auis - tere. Un -wash'd and un - pleasant - ly
! tt d
I
> tt ! tt c d ttt ttt ÇÇÇ t tt
I tt t ! ttt tt tt
t tt !ttt tI tt d !tI
tt c
t t t
? ! t !t t t t tY t d t
piano
t c d t t
I tI t t Yt d tY c
! cÇ !t
136
 c tI Ç tI tI tI tI tI tI
Sop tI tJ tI tI
Trans - mo - gri - fied here in - to fri - ars aus - tere, Un -
! cÇ c !t
 tI tI tI tI tI tI tI
Alto
! tI tI Ç ! tJ tI
; ! tY t
Trans - mo - gri - fied here in - to fri - ars aus - tere, Un -
Tenors † tI tI c d tI tI Ç tJ tY tY tY tY tY tY tI
ye - low, Trans mo - gri - fied we're In - to fri - ars aus - tere. Un -
 ! tY tY c d tY tY tY tY tY t tY
tI Yt Ç tZ tY tY
Basses <
yel - low, Trans mo - gri - fied we're In - to fri - ars aus - tere. Un -
! t !t
> ttt I
t t tt ÇÇ ! tt tt tt t tt tt t
I
! ttI t t t
tt t
? ! t tY t t tt ÇÇ tt tt tt ! tt t
t tt t tY
piano
Yt t
198
! tY d c tY Ç tZ tY tY tY tY tÇ t tY
139
Sop  tI tY tI tI tI tI tI tI
wash'd and un - pleas - ant - ly yel - low! What ev - er you say or you sing, It's a
! tY
Alto  tY tY tI tI tI tI tI d c Ç
tI tI tJ tI tI tI tI tÇ t tI
; ! t
wash'd and un - pleas - ant - ly yel - low! What ev - er you say or you sing, It's a
tY tI tY d tY Ç tZ tY tÇ tY
Tenors † tI tI tI tI tI c tI
tY tI tY
tY
wash'd and un - pleas - ant - ly yel - low! What - ev - er you say or you sing, It's a
! tY tY tY tY tY tY d tY Ç tZ tY tY tY tY
tY c tY tÇ t tI
Basses <
wash'd and un - pleas - ant - ly ye - low! What - ev - er you say or you sing, It's a
! tI tI d c tÇ t t tt tt t ÇÇ t t
> ttt d d !tI
ttt c ttt
d
tI t Ç t t
tt t t Yt
tt ÇÇ tt tt tt tt tt tÇ t t
? ! t t
piano
Yt d d Yt c tI d c d tY tÇ t Yt
t
! tY tY Yt Ç d
143
Sop  tI tZ tI tÇ c
most un - ac - count - a - cle thing!
! d c
Alto  tI tI tI tI Ç tJ tI tÇ
; !
most un - ac - count - a - cle thing!
tY tY tY tI Ç tZ tY tÇ d c
Tenors †
most un - ac - count - a - ble thing!
! tY tY tY Yt Ç tZ tY tÇ d c
Basses
<
most un - ac - count - a - ble thing!
! t tt t tt ÇÇ tt d c
> t t tt tt ÇÇ
t
? ! t t tt ÇÇ tt ÇÇ
piano
t t t t t d c
199
(Enter Pietro, still very ill.)
; ! ŠAndante ²
(seeing him)
tI
145
Women  a c c | tJ
t tJ
t tI
t tt tJ
t tJ
t t tt
Ah! What does this mean– what have you done?
²| t t t t t t t t
! Š a c c Zt Zt Yt t Zt Zt Yt t
Men
<
Ah! What does this mean– what have you done?
! Š t t !t t tÇ t ²
Andante
 | ttt ttt ttt ttt ttt ttt ttt tt

> t tt
piano š
š
? ! ²
 Š t A t t t t t t t t
!t t

t !AA t t
; ! tI tJ J
t tI I
t tI tI d
148 altos
 t tI tI tI
t t
tI t
I tI tI tI tY
Women t t t t t t t !t t t t t
Do not at - tempt a - way to run Nor ques - tions try to par - ry. The
t t t tYt tYt tYt tYt tYt tYt t t tYt tYt tY tY

 ! tY Zt Zt !tY Yt c
Men <
Do not at - tempt a - way to run Nor ques - tions try to par - ry.
! tt t t t t t t tt d d d d c
tt tt
I
> t t t t t t tt t
t
I
tt !tI
t
š š
piano
? ! t t t t
t tt tt tt t d d t d
t
d c
t t !tI Yt
t t !t Yt
200
!
150
Pietro † a a
a tI tI
; ! tI tI tI
sopranos
tY tY
Tutti
 #tY tY tY !tY tY tI tI tI tI
t
a
Women
men to whom we were be - troth'd, We find as ho - ly fri - ars cloth'd, Who
! a a
Men <
!
> tt tt tt e ttt ttt ttt e #ttt ttt ttt e !ttt ttt ttt e tt
t
t te tt te tt te
tt tt tt tt tt tt tt tt
tt tt tt e
tt t
? ! t t t t
piano
tt t
e e tt te tt te t t t e t t t e !t t t e tt te
! d tY tY tY tI !tI tI tI t
152
Pietro † a b c
Now I'll ex -plain, (If calm you'll be)
; ! tÇ t tI !tI tI tI tt Ç !tJ !tI tI I

Women  tY Ç Zt t t t t ttI Ç t tI
t t t tt c a
must - n't ev - er mar - ry, Who must - n't ev - er mar - ry!
! tt t ÇÇ t t ! t t t
! b c tY Zt tY tY Yt Yt c a
Men <
Who must - n't ev - er mar - ry!
!
t t tt ttt tt c
> ttt ttt ttt e !tt tt tt e tt t ! tt tÇ !tI
t #t
À t t t
À
Àt
?  ! tYt t et À t t t
piano
t
e tt te t t t tÇ tY t t c
201
ó
! d tY tY tY Yt t d d I
155
Pietro † tI #tI tI "tI I

t I
t tI t I t t
t tI I c
As well as I can; Though I'm inpain And ought to see A med - i - cal man.
; ! d
Women  a a b c tY
tY
This
! a a b c d
Men
<
This
! d !tI d
> #tttI tt tt d tt
I # tt t #tt tt tt tt tI
t
d c
!tI
t
d c
t t t t
piano
? ! Yt d t t "t
Yt d tY d |t t| #t t tI d c tI d
ó
; ! tYt ttY tYt tYt ttY tYt Àtt d ttY tI
t Itt tI d tI
158
Women  t tt t tI
t I
tt tI
t I
tt tI
t I
tt tt
man, it's plain, As well as we, Is un - der a ban. If he's in pain He ought to see
t t t t t t Àt ó
tYt tYt ttY tYt tt t t t t t
 ! Yt Yt Yt Yt Yt Yt t d d tY Yt Yt Yt Yt
t t t
Yt Yt t
Men <
man, it's plain, As well as we, Is un - der a ban. If he's in pain He ought to see
! c tt d tI
> tY c tt d c tt
I
t
d c tt d
I
t
c tt d
I
t
c tI d
tt
? !
piano
| | | | | |
| | | | | |
202
ó
; ! d d tI d t
tI tI d d tI tI tI d c
161
 tI c
Women t I
tt tI
t I
tt !tt
t I
t t I
t Yt
ó
A med - i - cal man. If he's in pain, It is as plain As
! d ! t t t t t t tY d t tY d
"tY Yt Yt Yt #t c c d tY tY tY c d tY tY tY
Men <
A med - i - cal man. If he's in pain, It is as plain
! d c d t
>  ! ttI
t t d d I
!tI
t tÇ
t t ttt
!tI
d tI Ç
t t t ttt
!tI Yt
piano
t t t
? !
!tI d c t d c
I c t t
d I c c d tI t c
; ! tY d d t tY d d t
164
Women  tI tI c Yt tI tI c Yt
plain can be, He ought to see A
t tY tY tY t tY tY tY tYt
! c d Yt d c d Yt
Men <
As plain can be, He ought to see A
! t d t t d tt
I
>
tÇ !ttI
t tt Yt tÇ !ttI
t tt t
piano
? ! t t tY
c d tY c c d Yt d
203
; ! tJ J !t t t tJ tJ I
t tZt tZt ttY t t t tt c
tt !tZt ttZ tYt
166
Women  t tt I Zt Zt Yt t t t
Zt Zt tY
med - i - cal, med - i - cal, med - i - cal, med - i - cal, Med - i - cal, med - i - cal man.
!t t tYt t t t ! tZt tZt ttY tZt tZt ttY tt

 ! tZ Zt !tZ Zt Yt #ttZ ttZ ttY tZt tZt tYt
d
t
Men < Yt
! t t t t t t t
med - i - cal, med - i - cal, med - i - cal, med - i - cal, Med - i - cal, med - i - cal man. If
t
I d !tI d !tt d tt d t t t t t t t d
> !tt tt tY tY t !t
?  ! Yt !tY #tY tY t t t t t t t d ttYt
piano
d d d d
; ! d t d d tI t d
168
 d tI
t d Yt tYt tI c t Yt tI
t tI
Women t t
tYt tYt d t tYt tYt d t
 ! tYt tYt
If he's in pain, It is as plain
c d Yt c d Yt
Men
<
t t t t t t t t t
he's in pain, It is as plain As
! t t t t !t t t t t !t t
> t t !t t t t t t !t
t
tt
piano
?  ! tttY d
t
d ttY
tt
tY d d
tt ttYt d
t
d ttY ttYt d d tY
tY
; ! c t t
d tYt Yt tYt tYt d d tYt Yt tYt tI tI
170
Women  c t t
t tYt tYt t tYt tYt tYt tYt

As plain can be, He ought to see A
 ! tY d c d Yt d c d
Men <
! t t t t !t tt t t t t !t tt t t t t
plain can be, He ought to see A
> t t
t !t t t t t t t t
ttY
piano
? ! Yt t Yt t tY t tYt Yt
d d tY d d Yt d d tY d d
204
; ! tJ J tt !tZt ttZ tYt !t t t t "ttZ tZt
tJ tJ I t t t t t c
172
Women  t tt I Zt Zt Yt t t t
Yt Zt Zt Yt t
!t t
 ! tZ Zt
tYt "ttZ tZt tYt # ttZ ttZ ttY tZt tZt tYt t t
Zt Zt
t
Yt
! tZt tZt tYt t
t c
Men <
! I t t t
t d !tI d !tt d tI
tt d "t t t # ttt ttt ttt tt c
> !tt tt tY t t
t t t t
piano
?  ! tY "tY Yt Yt ! tt tt tt
d d d d t t t t c
!
Recit.
t Ç tY tY Ç tZ Yt Ç !tJ
174
Pietro † a b c e tJ tJ tJ
My worth -y friends, the wine you chose to
! t
> t t #t t t t t t t c
t Ç t t t t t t Ç t t t t #t
Allegro
|| |||
• |
tt t tt 
ttt c
piano
?  ! tt c ttt c tt #ttt tt
t t | ||
|
! tY Ç tZ t
t d d
177
Pietro † tI tI tI #tI tI Ç tJ t a
drink Makes ev - 'ry one what he pre - tends to be;
!
>  b tt c #t Ç t t t t t t Ç t t t t "t
|| tt t
| •t
? ! t #t #ttt c ttt
piano
|| b c tt c
| t t
205
! b d tY Yt Ç J tY | c d
180
Pietro † c t I
t #tI tI tI tI tI
t #t t t t c
You per - son - a - ted monksl and monks you are, And
! t "t t t
> t AAª |
#||
tI
tt d c
#t "tttt tt AAª |
?  ! #ttt tt c #|| tYtt d c
piano
! Yt Ç
t t d tI tY tY t Ç tJ t b
183
Pietro † J I a a
will be monks un - til the spell's re -moved.
; ! a b c tt || tt "t ÇÇ t t ÇÇ t Ytt ÇÇ tZt tYt ÇÇ tZt
Women  t tY Zt Yt Zt
"t "| bt
Oh, hor - ror! Oh, hor - ror and des -pair un -pre - ce -
! a b c t | t t Ytt ÇÇ tZt Ytt ÇÇ tZt Ytt ÇÇ tZt tYt ÇÇ tZt

Men <
Oh, hor - ror! Oh, hor - ror and des -pair un -pre - ce -
! "tt ÇÇÇ tt tt ÇÇÇ tt ttt ÇÇÇ ttt ttt ÇÇÇ ttt

> tt c c c t c c t b c t "tt Ç tt tt Ç tt tÇ t tÇ t
t tt
Ç Ç Ç Ç
Ytt Ç Ztt Ytt Ç Ztt Ytt Ç Ztt tYt Ç Ztt
piano
? ! t t t t
c c c c c b c
; ! "t t c t tY "tY #| tY tY Yt Ç Zt t d t #tY Ç Zt tY tY

187
Women  t t t tI
I tI t
den - ted! But how long must they wait ti drea - ry cell, To life - long ce - li - ba - cy
t tt
! t b a a a
Men <
den - ted!
! "tt tt c
||ª "|ª "|ª |ª # "|||
> "tt tt | | | ||
|
||
piano
?  ! tt tt |
c b | | b |
206
²
! Ç
c d tI tY tI d tJ tJ t Ç tI Yt tZ | c
191
Pietro † a b
Have pa - tience, for I hold the an - ti - dote,
; ! c tY Ç tZ t c a a a
Women 
! t # "tt d tt t²t c
stern - ly vowed?
b c tY t a a
Men <
!
Yes say– how long?
> # "||| t c a a a
tt
? ! t
piano
| c a a a
! d tI Ç tJ t c t tI Ç tJ t c
195
† a b t
Pietro tI tI tI
And in an hour or two, or there - a - bouts, The
! tÇ
t t t t tÇ t t t t t t c b tt
> t AA ! || ÇÇ tt
?  ! tt ttt ttt c b t
piano
t c c a b c
! | tY d tI tI !t Ç
199
Pietro † tI tI tI | tI tY tJ Zt J
t Zt J
t J
t J
t tJ
spell shall be re -moved, and you may wed As quick -ly and as of - ten as you
!
> || tt d c
I ||| ttt d c
I ttt c b
| t | t t
? ! | tY d c | tY d c
piano
t c b
207
!
202
† b a a a
Pietro
|
please!
; ! b | t t | t t tÇ tI t t !tt ÇÇ tYt
Women  | t t | t t tÇ t t t
t t !| t ÇÇ t tt tt ÇÇ ! tYt
Oh, rap - ture! Oh, rap - ture, joy, and bliss un - pre - ce -
! | t t tt
b | t t | t t t Yt
Men
<
Oh, rap - ture! Oh, rap - ture, joy, and bliss un - pre - ce -
! | tt ttt t t
> ||| t
t t t t tt ttt tt t tt tt tt t t
t tt tt tt t tt tt tt t tt ttt
ttt
t t tt ttt tt
|| tt tt ! || tt tt tt ÇÇ tt ! tYt
? ! tt tt tÇ
piano
| | t t | t t t Ç tY
; ! t b 3 b
206
Women  tt t 4 a a a a
den - ted!
t tt b
! 3 a a a a a
Men < 4
t t t t
! 34 !tt c tt t t t
den - ted!
t c tt tt c ttt !t c tt tt c t
Tempo di valse
> tt t t t t t t
? ! t tt
piano
t 34 |Ç
t c c c c c || ÇÇ
tt  t t t tt t t t
; ! c t | tÇ tY t
212
c t |Ç t
Women < | t t t
! Yt Yt tY tY
An hour! 'twill ra - pid - ly pass Our free - dom we
>  t t t tt t c t ttt c t t c tt tt c tt tt
t tt tt tt tt t t t t
? ! ttt t
piano
 ttt
c tt c c t c c t c c t c c t c c
208
; ! t t | t t t t t t !t !| Ç
218
t t c c
Women <
! c
then shall re - cov - er; Each lo - ver will wel - come his lass–
> ttt ttt c tt tt c t tt c t tt c tt tt c ttt !ttt

t t tt t tt t t t
? ! t t c
piano
t c c c c c t c c t c c t c c
; ! |Ç "t Ç #tY !t tÇ !tY |Ç | t t

224
t
Women < t
!
Each lass will re - turn to her lo - ver!The bells for our
> c tt tt c tt "tt c tt tt c ttt !ttt c ttt t

tt c t tt
t t t t t t tt t
?  ! #t t t t
t c
piano
c c c c c c c c c t c c
; ! t t t
230
t t t t |
Women < t |Ç | t t t
! c
wed - diong will chime, De light in each bo - som im plant - ing,
 tt t c #t t c t tt c t tt c c tt tt
>
t tt # # tt tt tt t tt t ttt ttt t t
? !
piano
t c c t c c t c c t c c t c c t c c
; ! !t Ç |Ç
236
| t tÇ tY t |Ç t t
Women
< tI t t
! c
So gen - tle - men, in the mean - time, Pro - ceed, if you
 c c c t t c t t c
> ###ttt #ttt # ##ttt t
tt
ttt ttt tt tt tt tt tt
t
t
tt
? ! t c c t c c
piano
t c c t c c t c t t c c
209
; ! | t |Ç | t t t
242
t t | t
Women < t t
!
please, with your chaunt - ing! So pray, pro ceed, if you
>
c c c tt tt c tt tt c t t c
! ttt tt
t
tt tt
t t t t t t tt tt tt tt
t
? ! t c c t c t
piano
t c c t c c t c c c c t
; ! t |
|Ç
248
Women  t t t |Ç |Ç t c t
! |Ç
please, with your chaunt ing. An hour! 'twill
c a a a a
Men <
! t
Time
c c t t c t t c t t a ttt
> tt t tt tt
t tt tt tt tt tt tt tt t t
piano
? ! t c c t
c c c t c t c c c a tt c c
; ! tÇ tY t t t |
254
 |Ç | t t t t t
Women
t
ra - pid - ly pass, Our free - dom we then shall re - cov - er;
 ! |Ç |Ç |Ç |Ç |Ç |Ç
Men <
there was when earth - ly joy
!
>
c t ttt c t t c tt tt c tt tt c c t t
tt t t t t ttt t
tt tt tt
piano
t t t t
? ! t c t
t c c t c t c c c t c c t c c
210
; ! c c t t t t t t !t !| Ç |Ç tY !t
260
Women  !t Ç
Each lo - ver shall wel - come his lass– Each lass will re -
t !| |Ç !| t
 ! |Ç |Ç |Ç
Men
<
! c
Gave our sen ses full em -
c t tt c t tt c tt tt c tt tt c !tt
>  tt
t
tt
t tt t tt t !t t t t t ttt
? ! t c t c
piano
c t c c t c c t c c !t c c c
; ! tÇ !tY |Ç | t t t
266
 t t t t t
Women |Ç
 ! |Ç |Ç |Ç |Ç
turn to her lo - ver! The bells for our wed - ding will chime,
a bÇ
Men <
! c t
ploy; Earth - ly plea -
> tt tt c !ttt ttt c ttt tt

t c tt t c tt t c
t t tt t tt ttt ttt
piano
? ! t t c c t
c c c c t c c t c c t c c
; ! t t
272
Women  | t t t t t t | | t t t t
! | t |Ç |Ç |Ç | t
De light in each bo - som im - plant - ing, So gen - tle - men.
|Ç
Men <
!
sures that al - lure For
> c t t c c tt t c c t c
tt ! tt ttt ttt tt t t
tt tt t tt t t
t t t tt tt
? !
piano
t c c t c c t c c t c c t c c t c c
211
; ! tÇ |Ç |
278
Women  tY t |Ç t t t t t t t
 ! |Ç |Ç |Ç | t |Ç |Ç
in the mean - time Pro - ceed, if you please, with your chaunt - ing!
Men <
! c
an hour we ab - jure
>
c t t c t t c t t c tt c
ttt ttt tt tt tt tt tt tt t ! ttt tt tt
t t
? ! t c t c
piano
t c c t c c t c c t c c
; ! t t |Ç | t t t |Ç
284
Women  t t t t t
! |Ç |Ç
So, pray pro ceed, if you pleae, with your chaunt
a |Ç | t |Ç
Men <
!
For an hour we ab - jure.
> c tt t c tt tt c t tt c tt c tt tt c t t
t ttt t t tt t tt t t t tt tt
? ! t c t
piano
t c c t c c c c c t c c t c c
; ! bÇ
290
Women  |Ç |Ç t c c a a
! #| Ç #| Ç
ing!
a a bÇ |Ç
Men <
! c
Earth - ly plea -
c c c t t t t t t
> ttt ttt tt
t
tt
t
tt
t
tt
t
t t
? !
c| #tt tt tt tt tt c| #tt tt
piano
t c c t c c t c c |Ç
Ç Ç
212
;296 ! |Ç |Ç |Ç |Ç
Men < |Ç |Ç
! t #t t tt tt tt
sures that al - lure for
t t c t t t t t t t t t t t
> t
c c
? !
c| #tt tt tt tt tt c| #tt tt tt tt tt tt
piano
Ç |Ç Ç |Ç |Ç || ÇÇ
;302 ! | Ç |Ç |Ç ||| ÇÇ ||| ttt |||

Men <
t t
! ttt tt tt tt tt tt t
an hour we ab - jure.
t ttt t t ttt t t ttt tt t t t |Ç

>
piano
?  ! |Ç |Ç |Ç ||| ÇÇ ||| ttt ||| ÇÇÇ
|Ç |Ç |Ç |Ç |Ç |Ç
;308 ! ||| ÇÇÇ a a a a a

Men <
! | t t t tÇ
> c t tI |Ç t ttt ttt tt ttt ttt
t
tt tt ttt
piano |
?  ! || tttt tt tt t tttt tttt tttt tt tt
t t ttt tt
t t
|Ç t t t t
314
! t tt ² ²
>  tt ttt ttt tt b tt c c || ÇÇ a
t t t |Ç
? ! |Ç |Ç |Ç ²
piano
t t t a
|Ç |Ç |Ç
³
(Exeunt Girls. Manent Arrostino, Giorgio, Luigi, and Monks.)
213
21a. When your clothes, from your hat to your socks
Pietro
Exeunt Girls. Manent Arrostino, Giorgio, Luigi, and Monks.
[As originally planned, Pietro remained onstage to sing the following song.]
† 68
Allegro
a a a b b
Pietro ¿ Y
tI Y
tI
When your
tt Ç t t tt tt tt
When
6 tt tt tt Ç t t tt tt tt tt t tt tt t tt | c
> 8 t t ¿ tÇ Yt t t tÇ Yt t t t |
? 6 t t tÇ t t t tÇ tYt tt tYt ||
Piano
t t t t c
8 ¿ |
d
5
† tI tI tI tI t c tY Y
tI tI tI tI tI tI tI
Pietro
tI tI
clothes,from your hat to your socks, Have tick- led and scrubbed you all
d d I tI c
eve - ry - thing spins like a top, And your stock of en - du - rance gives
 tI c ttt ttt ttt c tI c
>
tt t tt tt
?  tt d Ytt c d tI t t c tI c c
Piano
tI
d d
8
† t c tI tI t tI
Pietro
day; When your brain is a mus - i - cal box, With a
out; If some mis - creant pro - pos - es a chop (Mut- ton
d I c c c d I c
> tt tt tt
t t t ttI tI
t t t t
tt tt tt
tYt tYt
?
Piano
d tI t t c c c d tI t t c
dc d
11
Pietro † tI tI tI tY tI !tI
t t tI tI !tI
t tI tI tI tI tI
bar - rel that turns the wrong way; When you find you're too small for your
chop, with po - ta - toes and beer,) When your mouth is of flan- nel– like
c c d c c c
>  ! tI
tt "ttIt tt tt tt
I !I
tt
t It
tt
t t t
?
Piano
t
I c tI c d tY t t c |Ç c c
Yt tY
214
d d
14
† !tt c tI tI !tI
t tI tI tI tI tI t
Pietro td
I Y
tI
coat, And a great deal too big for your vest, With a
d "tI t t d d I
mine– And your teeth not on terms with their stumps, And
 c !tt t
I c tt tt tt c
" tt tt tt
>
t tt tt tt tt
?  "| Ç c c |Ç
Piano
!| ÇÇ
| tY Yt |Ç
17
† !tI
t tI tI tI tI tI !tt c tI tI tI tI tI !tI
t
Pietro
tI tI
pint of warm oil in your throat, And a pound of tin tacks in your
spi - ders crawl ov - er your spine, And your mus - cles have all got
c d !tI t t c
>  ! tI
tt tt c
tI t t t
c t
I
tt !tI
tt
c
? tÇ tÇ Ç
|| Ç
Piano
tY c tY c tY c Yt c
20
† t c tI tI !tI
t tI tI tI t c tI tI
Pietro
tI tI
chest; When you've got a bee - hive in your head, And a
the mumps; When you're bad with the creeps and the crawls, And
d I d t tI tt d
> t t t
tt tt tt
I
t !tt
t t t
I
tt t
I t tt t t
? d tY t t
Piano
c t t t t
tI tI tI tI
tY
23
† tI t c tI tI !tI
t tI tI tI
Pietro tI tI tI tI tI tI
sew - ing mach - ine in each ear; And you feel that you've eat - en your
the shi - vers and shud - ders, and shakes; And the pat - tern that cov - ers
t t t
> tt t t ttt t ttt t t t I
t !tt
t t tt
t t
t t t t
?
Piano
t t t t t t
tI tI tI tI tI #tI
215
26
† t c tI tI t c tI tI
Pietro "tI
t tI tI tI tI tI
bed, And you've got a bad head - ache down here; When you've
the walls Is a - live with black beet - les and snakes; When
t d d c c
> tt tt #t t "ttt tt
I
t tt t t I
t
t t t t
?
Piano
t t !t t t c c
tI tI tI tI
29
† tI tI t c tI tI tI tI tI tI tI
Pietro tI tI tI tI tI
lips are like un - der - done paste, And your'e high - ly gam - boge in the
you doubt if your head is your own, And you jump when an o - pen
d c d I c tt d tI c
> tt tI
t tt tt tt
t t t t tt
? t |Ç
Piano
t d tYt c d tI t t c Yt c Yt c
d
t Y
tI
32
Pietro † "tt c tI tI tI !tI

t tI tI tI tI c tY
gill; And your mouth has a cop - pe - ry taste, As

door slams, And you've got to a state which is known to
d "tI t t c !ttt d ttt
I c d I
tt tt tt c
> tt tt tt t t t
? !|Y|t ÇÇ || ÇÇ
Piano
a c tY c
tY tY t tY tY
35
Pietro † tI tI tI tI c tI tY tY tY tY tY
if you'd just bit - ten a pill; And wher - ev - er you tread, From a
the med - i - cal world as "jim - jams,"– If such symp- toms you find In
tt d tI c d tt tt tt t tt Ç t t tt tt tt
> t tt t t t t tÇ Yt t t
Piano
? || ÇÇ |Ç
|Ç || ÇÇ
216
tY tY
38
† tI tI tI tI tI tI tÇ t tI c
Pietro t
yawn- ing a - byss You re - coil with a yell– You are
your bo - dy or head, They're not eas - y to quell– You
>
tt t t t t tt tt ÇÇ tt tt tt tt tt tt t t t t
t tt t t
Piano
? tI t| Ç tI t
t| ÇÇ t Yt c c tI
tY ² tY
41
Pietro † tY tY tY tI tI tI tI tI t e
J tI tI tI tI tI tY tI
bet - ter in bed, For de - pend up - on this, You are not at all, not at all
may make up your mind That you're bet - ter in bed, For you're not at all, not at
t ² d
>
t t !ttt ÇÇ t t t t t I
tYtt c tt ttt c
I
tt ÇÇ tt ÇÇ t
Piano
? ² t Yt
tÇ "t Ç tÇ tY c d c
t t t t t t
tÇ t t
d tt tt tt tt t t t tt tt tt t tt t t |
44 1. 2.
> tt ÇÇ ¿ tt tt t t t t tt | c
t
tÇ tÇ t t Yt | tYt tt tYt ||
? d t t t
Piano
tÇ t t | c
¿
217
Exit PIETRO.
ARROSTINO. This is a remarkable change, my son. A great improvement on our recent

condition. Devoted as we now are to a life of contemplation — restricted
by the rules of our order to a diet of bread and herbs — and not much of
that — indigestion and its attendant inconveniences will be matters of
tradition.
LUIGI. Still, it must be admitted that the old life was a pleasant one!
ARROSTINO. Yes, we had a jolly time of it while it lasted. (Correcting himself.) I should
say that worldly allurements have the faculty of enlivening their devotees
for the moment, but the evening’s enjoyment seldom bears the morning’s
reflection, and the choicest banquet is but a feast of Dead Sea apples
which turn to ashes in the mouth!
GIORGIO. Under the circumstances, we might have spared ourselves the trouble of
luring the Duke and Duchess to the monastery.
ARROSTINO. No — no, I think not. It is true that, having regard to our present
condition, we are bout to receive our distinguished guests with scrupulous
hospitality, but an hour will soon pass, and we shall then, unhappily, lapse
once more into the deplorable condition of being able to avail ourselves of
any small change their Highnesses may happen to have about them. It is
dreadful to think of, but that’s what we shall be in about an hour.
LUIGI ascends to balcony of monastery.
218
21. The Duke and Duchess hither wend their way
Luigi, Alfredo, Arrostino, and Chorus
!! tt tt
Andante con moto
 ! Š t !tt t tt AA t tt t tt
> t tt t tt AA t t
? ! ! |t Ç t t tt t| t |t At t t
cresc.
piano
! Š t| t |t
t t t | |
| |
ó ó ó ó
!!! t tt t tÇ I t |Ç t t t t t Ç tI t
tÇ I
t ÇÇ tI tÇ t t
6
>  tt ttt t tt t t |Ç t t t t Ç tt
? ! ! tt t t tt t t t t t t ttt tt
piano
! | | t t t t t t t t
| |
!!! b tÇ tY
c tÇ tY
10
Luigi † t | | | | A
!!! t
The Duke and Duch - ess hi - ther wend their ways,
tÇ t t t
ttt ttt
 t t t t t tt t
> t t t t tt tt t t t
?  ! ! ttt ttt tt ttt tt ttt tt tt tt tt ttt ttt tt ttt ttt
piano
t t
! t t t t t t
t t t t
!!
† ! | t t | b a
15
Luigi t t t t t t |
Let us re - ceive them with a song of praise.
!!
Arros † ! a a a b c t | |
!!!
With glad ac -
c tt |t ||
> ttt tt
t
tt
t tt !ttt tt
t | t
t !tt
t tt || ÇÇ tt ||
|
t |Ç t |
piano
? ! ! tt t
! t t t t t t t !t t t t t t t t t t
t t t
219
!!
† ! |Ç t tÇ tI t Ç tY |Ç t | | tI t c
20
Arros tÇ
claim we'll make the wel - kin ring, The on - ly ques - tion is:
!!! | ÇÇ
|| Ç t tt ÇÇÇ t ttt ÇÇÇ tI | Ç t || ||
!ttt tI tt || ÇÇ
> t tt | | tt ÇÇ tt ||
I
|Ç tÇ t |
? ! ! t t t t t t t
piano
! t t t t t t t t t t t t t
!! ó
† ! b b a a
25
Arros t t t |
; !!!
what shall we sing?
a b c t tt tt tt tt tt tt
Tenors † t t
We know no song That fits a throng Of
 !!! a b c t tt t tt t t tt tt tt
Basses < t t
!!!
> tt c ttt
c || ÇÇÇ
|| Ç
c a a
t
š
? ! ! t tttt
piano
! t c c t t t t c b a
; !!! tt tt tt c tt tt tt tt tt
29
Tenors † tÇ tI t t t t t
fri - ars smug and grea - sy; Our world - ly lays Of by - gone days, Are
 ! ! tÇ tt t #t t
Basses < ! tÇ tI
t tt t t c t tt t t tt tt
!!! b b c b a
>  | t tt
c t t
? ! ! b
piano
! b | t c b a
t
c t
220
; !!! tt ÇÇ tI tt tt tt
t tt t c tt tt
33
Tenors † t t tt !tt tt tt
 !!! #! tt
much too free and ea - sy; Tho' suit - ed to A ban - dit crew, They're
Basses < !tt tÇ tY t t c t t t t t t t t t
!!! b c d b a
>  I
ttt tt t
t tt À| t
? ! !
piano
! b c d tY t
t | t t t t
À t t t t
; !!! tI tt !tt !|| tt tt tt tt tt

tt
37
Tenors † !tt ÇÇ t !t tt tt t
not at all mon - as - tic, And can't be sung By so - ber tongue Of
 !!! t Ç #t
!tt !||
!tYt tt !tt t tt #t tt t tt tt t
Basses < #t t t
!!! a a
> tt |t Ç t
tt tt tt t
? ! ! !ttt #t tt tt tttt t
piano
! c b b c tt t t t
t t t t t
t
!!
† ! a b c tÇ c b c
41
Arros t tI t t
; !!!
Stout heart - ed be! So
† t t a a
Tenors tÇ tI t t ttt t t
mild ec - cle si -as tic.
 !!! t Ç tY t t t ttt t t t a a
Basses <
!!! tt ÇÇ
> tÇ tI t c b c t I tt
t |Ç tt
• 
piano
?  ! ! |t tt t t tt t t t ttt ttt ÇÇÇ ttYt ttt tt
t
! t t t c b c
t
221
!! t t
† ! t t t t t
45
Arros t t tÇ tI t
ma - ny here, We need not fear The or - de - al be -
!!! tt tt tt tt tt t
> tt t t t tt t t tt t t t
t t t t t t t t
? ! ! t t t t t t t t t t t t
piano
! A |Ç t t t tÇ tI t t
a
!! t t
† ! t t c t t t
48
Arros t t t t
!!! |t t t
fore us; No sin - gle word is ev - er heard When
c tt t t t t t
! ttt
tt | t
> t
tt t t t
b
? ! ! t t t t t t t
piano
t t t t # "tt tt tt
! t t| Ç t t t t tt t tt t
b c t
!!! t tÇ # !!
t t t c a
51
Arros † tÇ tI t tI t
; !!! # !!
sing - ers sing in cho - rus, So sing with me
a a b b d tI tI tI
Tenors <†
!!! # !!
La, la, la,
tt c b c tt tÇ t t c
> tt ÇÇ tI tt tt tt #tt ÇÇ I
t t
tÇ tt t t t tt
?  ! ! tÇ tt tt ÇÇ tYt tt # !!
piano
! tY t t t t c b c c
222
; !! t tÇ tY tY tY t tÇ tY tY tY tY tI Yt ttY tt tYt tYt
55
Tenors †
 !! d tYt tYt tYt tt tt tYt t tYt ttY tt tt tt tYt tYt t tY ttY tYt
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
Yt tY
Basses <
La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
!! a a a
> 
? !
piano
! a a a
; !! tYt tI I tÇ tY tY tY tÇ tY tY tY
t tt !tI
t tI I t t
58
Tenors † t I
t tI
 !! tYt Yt ttY Yt t d ttY tYt tYt tt tt tYt tYt ttY tYt tt tt

la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
t c
Basses <
!!
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
>
a a a
? !
piano
! a a a
; !! tY tYt tt t tYt tYt tYt tYt tt Ç tI I

t tI tI tI
tY t t
61
Tenors † tI t t t t
 !! tYt tY tYt tYt tt tt tY t t t tt t t t t t

la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
Basses < Yt Yt Yt t t t t t
!!
>
a b t c t
tt tt
? ! tt t tt t
piano
! a c t t
223
; !! t Ç tI I
t tI tÇ tI I
t tI tI tI t tYt tYt tYt tYt
tY Y tI
Y tI
64
Tenors † t t Y t t t t Yt tI tI tI
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
 !! tt t tt t tt t tt t tYt tYt tYt t t

t t t t Yt t c
Basses <
la, la, la, la, la, la, la, la, la, la, la, la, la,
!! c c c c c
> tt t tt t tt t t t t
t tt t tt t
?  ! tt t tt t t t tt t tt tt tt t t t t t
piano
! t t t t t t t
; !! t tYt tt t
t tY tY tY tY t t tY tY tY tY tY tI tY t
67
Tenors †
tYt tYt tYt tt tYt tYt tYt tt

 !! d tt tYt tt tYt tY tYt tYt tt tt

Basses <
!! t tÇ
 tY t t | t t t t t
I t
> tÇ t | t t t tI t tt tt t
?  ! tY t tt tt tt tt tt tt tt
piano
tt tt tt tt t tt tt tt tt
! Yt
!! tY
Enter Alfredo, dressed magnificently as the Duke, supporting Minestra, who is apparently insensible.
b c tI tI tI tI I d tI tI tI
70
Alfredo † t t I
t tI |
The wel- come you so feeling- ly ex -press In words well
; !! tYt tYt ttY tYt ²t c a a
Tenors †
la, la, la, la, la.
 !! Yt t t t ²tt c a a
Basses < Yt Yt tY
!! ²
la, la, la, la, la.
c b c d
> tt tt tt tt t tt tI t t t
t tt tt tt tt
? ! t t t t tt
piano
! t t t t c t b c d tY t t t
t
³
224
! Ç
† ! t | d tY tI tI tI tI
73
Alfredo tI tI tI tI tI tI tI t Ç tI
cho - sen, touch us, I con - fess; And my re - ply con- veys, as you may
!! c d c
> I
ttt ttt ttt ttt
? ! c
piano
! d t t t t c
Yt t t t
!
† ! a a a a
76
Luigi
!! t Ç Ç !tZ Yt Ç Zt tY Ç
(Very impressively)
tY tI tI tI c
Recit
† | c t tI tI I
tÇ J c t !tJ
.
Alfredo t t
guess, In - a - de-quate-ly my in -debt- ed-ness. La, la, la, la, la, la, la,
!! d I d
>  tt tt tt #ttt c ttt
c b c b
t t t tt tt
I
t
? ! d tYt tt tt !tt c t
piano
! c t c b c t d b
Yt
! t
† ! | c t tI t c
d tÇ tI tJ tJ tJ tJ Yt Ç tZ
80
Alfredo t tI I
t I
t I
t I tI tI tI
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
!! c
>  tt b b c
tt
b tt b c
t t
? ! c t b
piano
! b c t b t b
t
c
t
! | t Zt Zt tZ tZ Zt Zt Zt Zt J
† ! d tY tY tY t t d tI tI tI
84
Alfredo t !tJ J
t J
t
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
!! c t c c tt b c
 c c tt c
>
tt t t
? ! t c !t b t
piano
! c c c c c c
225
! Ç tÇ tY tZ Zt Zt Zt
† ! t tI tI Ç tJ tY #tY t t c t !tJ tZ tZ tZ
87
Alfredo
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
!! c c c t c
>  || tt t b c
| t tt tt
? ! |
c t
piano
! t c c c t b c
The Monks are much impressed with Alfredo's reply and express in gestures
! t d tY t d tY tY d t c
† !
their satisfaction with the sentiments he has expressed.
a a
90
Alfredo
la, la, la, la, la, la, (thank you)
; !! t tI I
I tI
tY tI c b tt Ç t t t tI
Tutti
† a b c t t
1st Monk
Tenors
La, la, la, la, la, la, la, la, la,
 !! t tt t tt t
a a b c t t t
Basses <
!! t t c
La, la, la, la, la,
> tt b c
ttt ttt
c c t c t
t tt tt
t
tt
t
tt
? ! t
piano
! t b c t tt c c t t
; !! t Ç tI tI I
t tI tI tI t tYt
t tI tY tI
Y tI Y tt Ç
Y tI tYt tYt tYt
94
Tenors † t t t t Yt tI tI tI
 !! tt tt t tt t tYt tYt tYt t

la,
t
la, la,
tt
la, la,
t
la, la, la, la, la, la, la, la,
tYt
la, la, la, la, la, la, la,
t t t t t c
Basses <
!!
la, la, la, la, la, la, la, la, la, la, la, la, la,
>
c t c tt c t c tt c tt t t t t
tt t tt t t
?  ! tt t tt t t t tt tt tt t t t
tt t tt t
piano
! t t t t t t
226
; !! t tÇ tYt tt t
tY tY tY t t tY tY tY tY tY t tY t
97
Tenors † I
 !! d tYt tYt tYt tt tt tYt tYt tYt tYt tt tt tYt tY tYt tYt t tt
t
Basses <
!! t tÇ
 tY t t | t t t t t
I t
> tÇ t | t t t tI t tt tt t
?  ! tY t tt tt tt tt tt
piano
Yt tt tt tt tt tt tt t tt tt tt tt
!
; !! tYt tYt tYt tYt tY tY | t tYt tYt ²

AA
100
Tenors † tI tI
la, la, la, la, la, la, la, la, la la la la.
t ²
 !! tY t t t tt c d tY tY tY tYt tI A
Basses < Yt Yt Yt t A
la, la, la, la, la, la, la, la, la, la, la, la.
! ²
 ! t tt c | t c
> t tt tt t A
•
? !
piano
t t t t tt || t tt tt AAA
! t c t tt t
t t t t AA
³
227
Exeunt all the Monks except ARROSTINO, GIORGIO, and LUIGI.
ALFREDO (to ARROSTINO). May I ask if you are the Prior of this monastery?
ARROSTINO. Well, I am and I am not. That is, I am now, but I wasn’t an hour ago.
ALFREDO. I see — a recent appointment.
ARROSTINO. Yes, for an hour. Present tense, I am a Prior. Imperfect tense, I was a
rollicking young rantipole. Future tense, I shall be a rollicking young
rantipole — in an hour. I hope I make myself clear?
ALFREDO. Perfectly. (Aside.) Very like my own case. (Aloud.) I found this
poor old lady almost insensible at the foot of the mountain. She had just
strength enough to beg me to bring her here to you.
ARROSTINO. Exactly. You call her an old lady. Well, she is an old lady, and she isn’t an
old lady. Present tense, she is an old lady. Imperfect tense, she was a
young lady.
ALFREDO. Of course she was.
ARROSTINO. Ah! but, Future tense, she will be a young lady again — in an hour. That’s
the curious part of it. (To MINESTRA.) Go in, my dear — I should say my
aged sister — and we will take every care of you.
LUIGI carries MINESTRA into monastery.
ALFREDO. You are very good.

ARROSTINO. Well, I am, and I am not. Present tense, I am very good. Imperfect tense, I
was confoundedly bad. Future tense, I shall be confoundedly bad again —
in an hour.
ALFREDO. We are fortunate in having dropped in upon you during your
virtuous phase.
LUIGI re-enters.
ARROSTINO. Particularly so. It’s altogether a curious state of things. I’m such a creature
of habit that I find it difficult to remember that I am no longer a rantipole.
For instance, I see you have a watch. Perhaps it is a valuable watch. Don’t
tell me it is; I would rather not know. Now, you can’t imagine how
difficult I find it not to take that watch. Oh, I know it’s wrong; but then I
always knew that. (Adopting a clerical manner.) By the way, I am
collecting a few gold watches to send out to the poor naked savages of —
— (Aside.) No, hang it all, let the man alone; you ought to be ashamed of
yourself! (Aloud.) Pardon me, your handkerchief’s hanging out. Will you
oblige me by putting it out of sight? (ALFREDO does so.) Thank you, thank
you so much! Temptation, you know, temptation! We are all weak, and it
is sometimes difficult to resist.
ALFREDO (aside). Singular character, this Prior. (Aloud.) Of course I am prepared to give
a donation to this monastery in consideration of your taking charge of the
old lady. (Feeling for his purse.) By-the-by, where’s my purse?
ARROSTINO, GIORGIO, and LUIGI (falling on their knees). Not guilty, your worship!
228
ALFREDO. Of course not! Ha! ha! (Finds it.) Oh, here it is!
ALL. Ha! ha! ha!
ARROSTINO. Yes, but you frightened us!
ALFREDO. Allow me to present this sum to the funds of the monastery.
ARROSTINO. No, thank ye; I’d rather not. Here, give it to Father Luigi. (Exit
ARROSTINO into monastery.)
LUIGI. No, thank ye; not for me. Father Giorgio will take it (Exit
into monastery.)
GIORGIO. Oh, no; Father Giorgio won’t. Father Giorgio’s a good little boy
now — for an hour. (Exeunt GIORGIO and monks into monastery.)
ALFREDO. This is an unaccountable state of things! To please Elvino I
pretended to be a Duke, and I selected Ultrice as my Duchess. We drank
the wine and we became a Duke and Duchess in real earnest, and, what is
odder still, that unpleasant young person exercises an extraordinary
fascination over me; while Teresa, whom I used to loves so passionately,
has completely faded out of my recollection.
Enter TERESA, crazed.
229
22.Where's my Duck a-deary?
Teresa
! tY t Ç tY t Ç
Teresa  Š a a a a
!
Wil-low, wil-low,
| t d d d
Andante
>  Š a t !t
I tt !ttt ÇÇÇ t tt b tt tt tt tt
|| tt tt !I
tt tt
tt
I
t t
t À 
? ! t !t t
Š t t!t t t t!t t t
Piano
!| t d tY t d !tI t d tY
Cello dim.
t b
t A
! tÇ tY | t tÇ tÇ tÇ tY !t
tI t tI | tY t t t
6
Teresa  tÇ
! t
where's my love? Lov - er's ways are ma ny; All who hear me, Much I fear me,
> tt tt t t tt tt !tt t
tt tt Att tt t
t
t
t
At tt
t tt tt tt tt |t tt t tt
? ! A | !t t
cresc.
Piano
t t | A
A
! tY | tÇ tY tY
!t Ç tY t !t !t Ç tY tÇ I t
11
Teresa  tI tI A t t
! t |
Think I'm go - ing cra zy. Wil - low, wil - low, where's my love? Wait - ing I, and
tI t !t #! ttt !tt
>  !t|t ÇÇ Yt || || ||
| ||| AA
A AAAA
?  ! ! t t !t #t
Piano
t t AA AA AAA
t t A A
A A
! tY | tÇ tY tY tY tY tY | tÇ
un poco rall.
| tY
16
Teresa  tÇ tI t tI
wea ry. Wil - low, wil - low, where's my love? Where's my duck a -
! tÇ tI t t tt t
tt t |t #t "t| t tt c c
> || ÇÇÇ t |
t !ttt
|
‘
? ! | t tt "! tt tt # tt t
cresc.
!t #!tt ! #tt #tt

Piano
| || t t c c t
t
! a a a a
20
Teresa  tÇ I
t |
! a || t d I d d
tt !tt ÇÇÇ t tt b
dear y?
>  !||| |
|| |
tt !tt ! I
tt tt I
t t t t t t t
t À
? ! t !t t t t !t t
Piano
| t !| t d tY t d "tI#t d tY tÇ b
Cello dim.
| t t !t t tÇ
| |
230
TERESA. ’Tis but a silly song, and passing dear at the ducat I paid for it.
They think anything is good enough for a mad maiden to sing; but though
the maid be mad, her ducats are sound, and good gold should buy good
wares, and there are none so made that they want value for cash!
ALFREDO. Teresa!
TERESA (not recognizing him). My lord Duke, is it not? My service to your Grace
and your Grace’s bravery. (Kissing his cloak.) In good sooth, these are
find trappings, but they’ll not trap me, for I love a lad who will none of
me! My song says he’s my duck-a-deary, which is true, in fact; but the
expression is weak, and I am not yet made enough for it. But I shall be
soon — I shall be, soon!
ALFREDO. Teresa! — do you not know Alfredo, who used to love you so
dearly?
TERESA. Alfredo! Alfredo! It is — it is — ha! ha! ha! (About to embrace
him.)
ALFREDO. Don’t. That I cannot permit. Under the circumstances, it would be
in the last degree unbecoming.
TERESA. Oh, I had forgotten! Thou lovest another now — a plain girl,
compared with me. Me thinks thou too must be mad to take up with such a
one! But we are all mad — all — all mad.
ALFREDO. I sometimes think so too. But take heart, little one; it is true I love
thee not, for I have a bride, and no married man ever loves anybody but
his wife.
TERESA. I am not so mad but that I know that. Why, I learnt it at school!
But thou art like the rest — thou thinkest that any truism is good enough
for a mad girl!
ALFREDO. As I was saying, take heart, for although you are nothing to me
now, yet I have ascertained that this spell under which we all labour will
be removed in an hour, and I shall then love you as dearly, as passionately
as heretofore!
TERESA. Is this indeed so? In one brief hour? No, no; I dare not believe it!
231
23. In days gone by
Alfredo, Teresa, Ultrice
!!!! Š a a b d
Andante
 ¿ tI tI tI
1st verse Alfredo In days gone
!!!!tt #tt t
2nd verse Teresa In days gone
d |
Andante
Š ¿ Yt t tt ! ttt ttt ! ttt #ttt t

> #! ttt ttt #| !t tt ttt ttt ttt ttt tt tt tt
™
?  ! !! Š t t tYt d c tYt tt tt
piano
! d
¿A t t t t
!!!! t Ç d
4
 tI tI tI tI tI | tI tI tI
by, But soon to come a - gain, With ar - dour
!!!!
by, I played an i - dle part; With scorn - ful
Ç
> tt Ç tI
! tt
tt
t
t
tt
tt
t tt
t # ||| tt tt
t #ttt ttt
t
?  ! ! tt t t t | t t
piano
!! t t t t
t t t t t
! !!
 ! tY tY
6
tI tI tI tI tI tI tI tI tI tI t #t
pure I used to pine, And strove to lure that heart of thine With
smile, and heart - less jest And world - ly guile, Made ma - ni - fest, I
!!!! t t
> tt tt ttt tt ttt ttt t tt t t t t tt t #tt t
t t tt t t tt tt tt t t t t
?  ! !! A |Ç
piano
! t
A |Ç
!!!! tY tot t tÇ tY | d tY tY tY #t Ç tY #tY tY tY tI

8
I
 tI
all my might and main. I know not why, But now, for thee, I
grieved thy faith - ful heart. How chang'd am I! The love I dar'd de -
!!!! tot
bt ttt tt t ttt Ç tt tt tI
t tt tt #ttt tt tt t
I
|t t t t tt tt tt tt t tt
>  tt t tt tt tt tt tt tt tt tt #ttt tt tt !t t t # ttt
?  ! !! !tt tt tt tt
piano
! | | | A
232
!!!!
t !tY #tI I t !tY #tI I
11
 #| tI tI I
t I t !tI #tI tI I
t I t !tI t t
find I do not care: To be ex - act, Thy beau - ty rare Does not at - tract, To
cline Is now the breath of life to me. And till kind Death Shall set me free My
!!!! #t #t t
> #| tt ttt ttt ttt
#tt tt tt tt tI t tt tt !t #t t #! tt #tt tt !tt tt
# t ! t t # #tt # tt tt t t !t t t t t t t t
? ! !
piano
! ! #| #t #tt !| #tt #t #tt !tt

t #t
!! tÇ t
 ! ! !t Ç | c t t tÇ tY
14
tI tI
all thy charms I'm blind! But take good heart, an
love shall live for thine! Be brave, poor heart, an
!!!! t
 !t t t tt t t t ttt tt tt t t t t ttt tt tt tt ttt tt ttt Ç tt tt tI
tt
> ! tt tt tt t ! tt tt tt t t tt tt t t
?  ! !! #| | tt tt tt tt t t t t
piano
! #| !|| || | t t t t
!!!! tY tY tY tI t Ç tY t t tY tY tY tY tY tY
17
 tÇ tÇ
hour will pass a - main, And all my love will then come back a - gain, But
hour will pass a - main, And all his love will then come back a - gain, Be
!!!! t tt tt t tt ttt tt
I tt tt tt tt
>  tt ttt ttt tt t t Ç t t t t t t t t t t t ttt Ç tt tt tI tI
tt ttt Ç tt tt tt
t t t t t t t
? ! ! tYt t t t t t t t
piano
t t t t t t |
!! | tÇ | t
!!!! t t !t Ç #tY Yt t t tY tY !tY tY

tY t tY tY
20 rit.
 I tÇ
take good heart, an hour will pass a - main, And all my love will then come
brave, poor heart, an hour will pass a - main, And all his love will then come
!!!! t t
tt tt ttt tt !ttt Ç tt tt tttI #tt tt t tt tt tt tt tt tt tt ttt tt ttt ttt ! tttt tttt
> t t t t t t t rit.
t t #t t t t t t t tt tt ! ttt tt ttt tt t # t
?  ! !! t t #t t t t t t !t t t t tÇ Yt t t t t t
piano
! tÇ
!t t t t
233
!!!! t tt Ç tY | ### ! ‹ a a
23
 ¿
!!!! | # # !Allegro tt ttt ttt !ttt
back a - gain!
# ‹ Ç t tt tt !ttt tt "! ttt #!ttt

back a - gain!
> ¬¬ | ¬¬ || ¿ tt Ç tIt tt t
¬¬¬ || ¬¬¬ | !t
¬
? ! ! # ! tt ÇÇ tYt tt t !t t
|
piano
!! | ¿ ## ‹ !t t !t #t t t t t
|
! b tY d tY | c a a
26
 tI
Ultrice
t
! tt
So, I have found you!
t
> t c b a t "t
tt ÇÇ tIt tt t t t tt ttt ttt ttt ttt ttt ttt tt
t
t
? ! t t| t ! t
tt ÇÇ tI
piano
c b a A
!t A
(Leaving Teresa and rushing to Ultrice as if under the influence of a spell.)
! | tY tY tY tY | tI tI tI tI tÇ tY tY d e tJ tJ tJ
30
Alfredo †
Pas sion - ate - ly loved one! Thy dain - ty hand I kiss, I mean the
! tJ
t||
>  | | || || tt c b
|| | | t
? !
piano
| | | | | | | | tt c b
! tÇ tY tY tZ t
tI tI c d tY tY Yt Ç tY tI c tY Ç tZ
33
Alfredo † tI tI
gloved one! Oh thou a - dored with pas - sion most ro - man - tic! Wor - shipped with
! a
>  || ÇÇ |Ç
"tt || | || |
t
? ! | | | |
piano
a
| | | |
234
! tÇ tY tY tY tY tY t !t d tY tY tY !tY Ç tJ t Ç "tY tY tY
36
Alfredo †
all the fire of fren - zy fran - tic! For one short hour my love con - sent to
!
> "|| || "ttt c ! #|| !| t c
| | !| ! || tt
? ! | | t c #| | t
piano
c
| | t #| | t
! a a a b c
39

a tempo
Teresa
t
!
An
 a a a b c
Ultrice
t
! t t c d ²
The
† Yt Ç J t d tI b b c
Alfredo tI t tJ tJ tJ
t J t t t
share it, It won't last long - er than an hour, I swear it! The
! "t #t b t ²
b c b c
tt
a tempo
>  tt tt t t t
•t tÇ tÇ Ç tÇ tÇ tÇ Ç tÇ
? ! t t b t ²
piano
b !t c b t c t c t c
t t
! t t
tÇ tY tÇ t t t
43
Teresa  tI |Ç
!
hour will soon have past, With pas - sion I'm de -
Ultrice  tÇ tI tÇ tI |Ç t t t t t
! tÇ tY tÇ t
days of scoren are past, With pas - sion he's de -
Alfredo † tY |Ç t t t t
score I felt is past, With pas - sion I'm de -
!
> t t
t t t t t t t t
t t
t t
t t t t t t t t t t
? !
piano
tt c t c tt c t c A
t
235
! | t t tÇ tY tÇ |Ç t
46
Teresa  tI
!
men - ted! It won't much long - er last, With
Ultrice  | t t tÇ tI tÇ tI |Ç t
! | tÇ tY |Ç
ment - ed! Tri - umph - ant I, at last, My
Alfredo † t t tY !t Ç t
ment - ed! But still, it will not last, With
! t t
> t t t t t t t t t t
t t t t t t t
t
t !t t t
? ! t | tÇ |Ç t
piano
|Ç !tI
! tÇ !tY t !| t t t !t t
49
Teresa  !t t
!
that I'll be con - ten - ted. Though he is at her
Ultrice  tÇ tI t t | t t | |
! t
heart is now con - ten - ted. A sup - liant
Alfredo † tÇ !tY t #t "| #t t !t t t

that I'll be con - ten - ted. A sup pliant
!
> t t t !t t t t t t
t t t t t t t "t ! t t t #t t t t
? ! tÇ tY t t | t
piano
t A
! tY Ç tZ t t !|
52
Teresa  A t t t
!
feet, Thanks to the wiz - ard's po - tion, An
 t t t tI Ç tJ t t t t t t
Ultrice t t
! t t t t t t
at my feet, Thanks to the wiz - ard's po tion, With
Alfredo † !t t !t tI Ç tJ t t
at her feet, Thanks to the wiz - ard's po tion, An
!
 tt tt t t tt
> !t t t
t
t t t ! tt t tt t t t tt t ! tt t t t t
tt
t
? !
piano
t t t t A | t !t
236
! | tÇ tY
55
Teresa  | t t t t tÇ tI
!
hour and ob - so - lete His new - ly born de -
Ultrice  tÇ tI t t |Ç t !t t tÇ tI
!
in - so - lence I'll treat his new - ly - born de -
† | #| tÇ tY t t tÇ tI
Alfredo t t
hour, and ob - so - lete, My new - ly - born de -
!
> t t t t t t t t t
t t t t t t t t ! t t tt t tt t t t
? ! t t t t tÇ tI
piano
t c t c c c A
! tÇ tY tÇ t
58
 | tI |Ç
Teresa
t t
!
vo - tion! An hour will soon have past, With
Ultrice  !| t t tÇ tI tÇ tI |Ç t
! tÇ tY tÇ
vo - tion. The days if scorn are oast, With
tY |Ç t
Alfredo † | t t
vo - tion. The scorn I felt is past, With
! a
> t t t tt t t
t #t t
? ! t t !t tt t tt
piano
| t t t t
t t t t
! t t t t | t tY tY
61
Teresa  t tÇ tÇ
!
pas - sion I'm ce - men - ted! It won't much long - er
Ultrice  t t t #t #| t t tÇ tI #t Ç tI
! #t t
pas - sion he's de - men - ted! Tri - umph - ant, I, at
Alfredo † t t | t t tÇ tY tÇ tY
pas - sion I'm de - men - ted! but stil, it will not
!
> #t t t t t t t !t t #t t t t t #t
t t t t t t t t t
? ! t t t t
piano
t t t t A t c t c
237
! tY tY |
64
Teresa  |Ç t tÇ tÇ t t
!
last, With that I'll be con - ten - ted. Though
Ultrice  #| Ç t tÇ tI #t Ç tI | t t
! t
last! My heart is now con - ten - ted. A
tY
Alfredo † |Ç t tÇ tY tÇ | t
!
last, With that I'll be con - ten - ted, A
> #t t t t t t #t t t t t
? !
piano
t c t c t c t c t c t c
! tÇ A t
67
Teresa  tI t t t t t t
!
he is at her feet, Thanks to the wiz - ard's
Ultrice  tÇ tI t t A t tI tI t t
! "t Ç tY t t t t
sup - pliant at my feet, Thanks to the wiz - ard's
Alfredo † A #t tY tY
sup - pliant at her feet, Thanks to the wiz - ard's
!
> t t t t t t t t t t t t
t "t t t t t t t t #t t t
?  ! tÇ tYt tt tt tt ÇÇ Ytt tt tt || ||
piano
tÇ
! | t !t |Ç t t tÇ t t
70
Teresa  tI t
!
po - tion, An hour and ob - so - lete His
Ultrice  | t "t t t t t |Ç t
! !| t t t t
po - tion, With in - so - lence I'll treat His
t t |Ç t
Alfredo †
po - tion, An hour, and ob - so - lete My
! tt "! tt t t t t t
> !t t t t t t
t t
t t
t t t t
t t t t t t t t
? ! | t t |Ç
piano
| t A t
t
238
! t t t t |Ç t t
t t "| #t
73
Teresa 
!
new - ly born de vo - tion, An hour and
 | t t t t t t
Ultrice t t t t
! t t t
new - ly - born de - vo - tion, With in - so - lence I'll
† t t t | t t t
Alfredo t
new - ly - born de - vo - tion, An hour, and ob - so -
! "t #t t t t t t t t
> t
t t t t
t t t t
t
tt t !t t t t t t t t t t
? ! || tt t
piano
t t t t | t t A
! tÇ ² t t t t Ç tI t c a a
76
t
a tempo
Teresa  tI t t
! ²
ob - so - lete His new - ly born de - vo tion!
Ultrice  |Ç t t t t t | t c a a
! ² t t #t t !t t Ç tY
treat His new - ly - born de - vo - tion!
Alfredo † |Ç t c a a
lete My new - ly - born de - vot tion!
! ² c b c t tÇ
tt ÇÇ I dÇ tt tt ÇÇ tt
> || ÇÇ "tt ||| tt t t Ç tt "tt ÇÇ tI
tt || tt tt ÇÇ tt
³| Ç t t |
!t t t t t • –
a tempo
?  ! |Ç tt ÇÇ tt "tt ÇÇ tt || dÇ t t Ç t
piano
|
t t t Ç tY t Ç tY | t tÇ t
(Exit Alfredo into monastery. Teresa attempts to follow him; she is stopped by Ultrice, who sends
her off in the opposite direction. Ultrice remains.)
! Ç ttt tt ÇÇÇ tt || tt
>  ttt ÇÇ tt tt ÇÇ tt || ttY d c
81
ttt ttt ÇÇÇ tt tt ÇÇ t tt Ç

tÇ t tÇ
?  ! tÇ t tÇ
tÇ d
piano
tÇ t t tÇ t tÇ t | tI c
t tÇ t tÇ t | t
239
24. An hour? Nay, nay.
Scena
Ultrice
Allegro moderato
c d tI
Recit.
Ultrice " Š a a a b
tt tt tttt t tt t
An
tÇ t |
Allegro moderato
" Š || c !t t t "t #t t t
> t Ç Yt | t tt t b
• t
?  Š || tt ÇÇÇ tt ||
piano
| t tY | b c  tt tt b
" t ttttt
! t# t t " t t t
" t d tI t d tI t Ç tI tI tI c tY c
5
Ultrice tÇ tI t Ç | t
hour? Nay, nay. A life - time ra - ther, that is as I will. His
dÇ J
> " c t
tt
c t
tt
c tt c tt c t
tt
c t
tt t tÇ t t c
t t tt tt ÇÇ tt tt
?
piano
" c t c t c !t c t c t c t dÇ tZ t Ç t t c
 " tÇ t tÇ tY t c
9
Ultrice tI t t | tI tI tI tI | t
love is mine, yes, mine a - lone, un - til His dy - ing day! Go,
 " ! || # || AA |
b
#AA
>
| | A
?
||
piano
" A b
t Ç tJ tI tI "tI tI tI tY
" I c t Ç tJ tI tI "tI tI tI tI
13
Ultrice
| t I
cheat your -selves with pro - mis - es, poor fools! I hold the ta - lis - man that o - ver -
" t c c c dÇ J c c c
> t tt tt t t
tt " tt t t tt " tt
?
piano
" t c t c c dÇ J
t t c t c t c
220
" | tY c tY
16
Ultrice
| t tI
rules The po - tion's pow'r! Al - fre - do, till he dies, shall wear my
" c dÇ c a | | | |
> tt tt
J
t t
?  c dÇ
piano
" t t
J c a a
 " "| c d d | tY tY
19
Ultrice t t tI t tI tI tI
gyves! An hour? Poor fools, that hour shall last your
| | d
> " | " "|À| t
tt
c b ||| tI
tt
c
– | t
?
piano
" b | t c b | tI d c
À | t
²
" c d c c | b #¿ !! a
22
Ultrice
| tI t t
ö ö
² ö #¿ !! tI d d t t t t tI d d #t!t !t!t t t
lives! Ha! ha! an hour!
" a t c b || c d
> t !| ! t t# t t t
t tt
• ö
piano
?  | ²b t tt d
!| A c b
" b t | #¿ !! ttY d c tY c
!
 ! a a b c
26
t
Ultrice
ö t tY t t tt t t
When
!! Yt d t t t tt
Her
d t t t t tt t t t tt t b
> !t t t t t t
t t tt
?  ! tt t
piano
ttt ttt
! tt c t
!t
c t c t c t t b
t t
221
!! tÇÇ tZ
29
Ultrice  tÇ !tI t t tÇ #tI !t t tÇÇ tJ

hun - gry cat On help - less mouse In spor - tive hu - mour
!!
ta - lons quit Their na - tive fur, A - part she fierce - ly
>  t Ç !tI tI d tI d t Ç !tI tI d # tI

tt d tÇÇ tYt d tJ
tÇÇ t t t
J
 | t t | t d e Ztt d e Zt tY d
?  ! tt Ç tt tt Ç t !tI tt d t d tZt Ytt d d e ttZt ttYt d
piano
! t !tI t
d e
t t t t t t Yt Yt
! t
 ! c t t
32
Ultrice t t tÇ tI t tÇ tI t
poun - ces, Her play - ful pat So treach - er - ous No
rends gim, And, bit by bit, At length to her Di -
!! t t tt tt I
tt b
>  tt tJ t t t t
t t
t t tÇ tI t d t d
t
tÇ
tÇ t
I t
t #tt
d c d c
? ! tt [tt d tt Ç !t tI ttI tt Ç !t tI tI
Yt d #!ttY d
piano
! b t
! ²t
 ! tÇ e tJ t Ç e tZ t t c
35
Ultrice tÇ tJ tJ t Ç t !tJ
J
fell in - tent an - noun - ces: He thinks she yearns For
ges - tive re - gions sends him. "Be - ware of games With
!!
tÇ t I t Ç t tI e Zt tt t t t!tt tt tt!tYt d ²t c d
> t e J t tt t t
!tt t t t tÇ t tÇ t t !t
‘
?  ! ! dÇ Ztt tt tt
dÇ !tZ t t tY d ² t !t t| tt
t| t
piano
b t
!! ó ó ² ²t
t
38
Ultrice  t t !t t t tÇ tJ tJ tÇ tJ tJ t Ç !tJ tJ !t t t
game of play Pro - voked by pure af fec tion, But
ó
fe line friends, they're gen - e - ral - ly hol low! So
!! ó ²t ó ó ²t
> tt t t !t t t tt t tt Ç t t Ç t tt Ç t !t t t
!t| t t t t tt
t !t t t
? ! | t t
piano
! t t t |t t |t t !t t
t t !t !t
³ ³
222
!! ó ó
t
41
 tÇ tJ tJ t Ç tJ!tJ t t t t t tÇÇ tJ tJ
tÇÇ tJ t Ç Ç
Ultrice
soon he learns To his dis may, That game is Vi vi -
he ex -claims, As he de scends Her com - pre -hen - sive
!! ó ó
t t t t t t ó
> tt Ç t! tt Ç t tt Ç ! t t
!t
t tt ! tt tÇ t tÇ t t t t t
t
? ! | ttt ttt tt
piano
! t | t |t t t t ttt
!t t !t t t
!
 ! d tI tI tY Ç tZ c
44
tI tI Ç tJ tI tI | t
!| t
Ultrice
sec - tion! Yes, yes, he quick - ly learns, To his dis - may, That
swal - low! Yes, yes, so he ex -claims, As he de - scends Her
!! ó
>
c tt c b
t t t tÇ t t t AA
!|
? !
piano
! t t tt c t c b | #|
| t t !A
µ
!! d
1. 2.
b c b
47
 |t Ç ttI tI t t ¿ tI tI
tY t tI
Ultrice
game is Vi - vi - sec - tion!
öö
com pre - hen - - sive swal - low!
!! c c b b c
> tt ttt tt ! t t t t t t ¿ t
t tt
? !
piano
! tt t b t c b t c
c c t ¿ t
µ
Exit Ultrice..
Enter all the Chorus of Girls, running. Alfredo comes out of the monastery and joins Ultrice. He
is followed by all the monks. Enter, also, Pietro, Bartolo, and Nita, the two last still as clockwork
figures.
223
25. Oh, please you not to go away
Nita, Ultrice, Pietro, Alfredo, Elvino, Bartolo and Chorus
!!!! 3 t Ç tI t t t t t t tt t t t
tt tt tt tt tt tt tt t t t t t
Allegro
> 4 t tI t t
tÇ t t t t t t t
piano
?  ! !! 3
tt t tt t tt t tt
! 4 a b b
t t tt ttt
!!!! t t t t t t t t t t ttt tt
5
>  t t tt ttt ttt ttt t

? ! !
piano
!! a a c
; !!!! c d tY !tI tI t Ç tY tI tI tI tY
8
Women < tÇ tI tI tÇ tI tI
!!!!
Oh, please you not to go a - way Un - til you've seen the clock -work
>  tt t t tt c c c
t tt tt tt tt tt ttt
?  ! !! tYÇ d b
piano
! c c t t b c c
t t t t
; !!!! t Ç tI !tI tI t Ç tY tI tI tI tY
12
Women < tÇ tI tI tÇ tI tI
!!!! c
play. Two fi - gures car - ry on the plot, And one's a man, the o - ther's
>  c c c t
tt tt tt tt tt tt tt !t
?  ! !! t c
piano
! t b t t
c c t t b t
c
t
; !!!! t Ç tI !tI tI tÇ tY tY tY tY tY tY
16
Women < tÇ
!!!!
not. They're full of com - pli - cat - ted springs, And weights, and
>  c ttt c ttt ttt c ttt ttt

tt
? ! !
t t b t t c t t b
piano
!! c
224
; !!!! tÇ tY tY tY tÇ tY tY tY c t
19
Women < !t Ç tI t t t
!!!!
wheels, and cat - gut strings, You wind 'em up, just in the back, With
 c tt tt c tt tt c c tt t
> t t !t t ttt ttt t tt
?  ! !!
t t c t b t c t b
piano
! c t c
t t
; !!!! tY tY tY tY tY tY tÇ tY tY tY tÇ tY tY tY
23
Women
<
!!!!
crack - y, crack - y, crack - y, crack, Then all the wheels, re - volv - ing
>
c c
! tt
t
tt
t tt
t
t !t t t t t t t t t t t t
?  ! !! t | t
t t b
piano
! c c
t
; !!!! t t tY tY tY tY tY
c tY tY tY t d tY
26
Women
<
!!!!
quick, Go tick - y, tick - y, tick - y, tick, And then the
> t tt tt t tt tt tt b
tt tt t t tt tt tt t
piano
?  ! !! | t t t t t t t t
! b
; !!!! t Ç tY I tÇ tYt tI d tY tY tY
29
< t I
t tI I
t I
t t tI tt
Women
tÇ
!!!!
fi - gures eat and drink, And walk and talk, and wink and think, And quar - rel,
 c c c c
> tt tt tt tt ttt ttt t
tt
t
tt
?  ! !! t b t t c
piano
! t t c c t c t t b
225
; !!!! t Ç tY tI tÇ tI tI tI b
33
Women  tI tÇ tI tI tI t
just like lo - vers twain, And kiss and make it up a - gain.
 !!!! a a b d tYt ttY tYt

Men <
!!!! c
It's ve - ry
>
c c c c
tt tt
tt tt ttt ttt tt
t
?  ! !! t b t c
piano
! t c c t t c t b
t t
t
;37 ! !! tt ÇÇ tYt tYt tY tt ÇÇ tI I
t I
t t d tI tY tY t d tYt tYt tYt
Men < !
!!!! c
true, and ve - ry quaint, The one's a man. the o - ther ain't You wind 'em
> tt tt c t t c c tt c
t t tt tt ttt ttt t
?  ! !!
piano
! t c c c c t b
t t t t t t t t
; !!!! a a b b t
41
Women 
tt ÇÇ tYt t tYt tYt tYt tYt
!tt !ttY #ttY
And
 !!!! tYt Yt tt t tt
c c
Men <
!!!!
up, just on the back, With crack - y, crack - y, crack - y, crack, And
 c tt c tt t c tt #tt c #tt #ttt

> ttt t t ! tt t t t
?  ! !!
piano
t c c t b t c c
!
t t t t t b
226
; !!!! I
tÇ J
t tI tI I
t I
t | tt tI t I
t t tt d tY tY tY
Tutti
I
tt t It t ttY Yt
45
Women  tÇ t t t t t |
t tYt t tYt t tYt t tt
all the wheels, re - volv - ing quick, Go tick - y, tick - y, tick - y, tick. It's ve - ry
 !!!! Ytt ÇÇ tZt tYt tYt tYt tYt || t Yt Yt Yt b

Men <
all the wheels, re - volv - ing quick, Go tick - y, tick - y, tick - y, tick.
!!!! c ttt ttt ttt t

> c tt tt ttt tt ttt tt ttt tt b
t t t t
?  ! !! t t t t t c t t t t t t t t
piano
! c b
; !!!! t d tI tI tI
sopranos
c c c d c c c
49
 tI I
t I
t
Women
t
true, The one's a man, It's ve - ry
t t
 !!!! c d Yt Yt tY b c d tY tYt tYt tt b
Men
<
It's ve - ry quaint, the o - ther ain't.
!!!! c c c c
 tt tt t
> tt tt tt tt tt
t tt
?  ! !! t b t t c
piano
! t c c t c t t b
t
; !!!! t Ç tY Yt tÇ tI t t c
53 altos
 Yt tt ÇÇ tI
t tI
t I
tt |
Women
t t t
true, it's ve - ry quaint, The one's a man, the o - ther ain't!
 !!!! tI tI I
t t ÇÇ t t t ||
a c d t t t t Yt Yt Yt c
Men <
The one's a man, the o - ther ain't!
!!!! t t
c c c c tt t
> tt tt tt tt ttt ttt t
? ! !
piano
!! t t c c t b t t c c t b
t t
227
!!!! a a b
²
b
57
Pietro † tI tI
tÇ t t t
!!!! t Ç t t t ²
May it
tY t t t tt t t c
>  |
|
?  ! !! ||| ÇÇÇ || ÇÇ || ÇÇ
piano
! |Ç |Ç | c
³|
!!!!
Š tÇ tY tI tI t Ç
61 Moderato
† tI tI tI tI tI tI tI tI tI tI
tI |
Pietro
please your Gra - ces, These are fi - gures two, Who, in port and pa - ces, Show you
!!!! Š a a a
> 
piano
? ! ! AA AA AA
!! Š AA AA AA
! !!
† ! tY tÇ tY tY |
64
tI tI tI tI tI tI
Pietro
tI tI | tI tI
some - thing new. Note their hu - man fa - ces, And the things they do: we've re -
!!!!
>  c
tt ||
AAA AAA
piano
?  ! !! A t | t t
! A t | t t
A A
!!
† !! tI d !tI tY !tZ tZ t c d d c
67
Pietro
tI tI t Ç tI #tI tI tJ tJ tI tI
served front pla - ces, Hal - lo! Why it's you! Al - fre - do and Ul - tri - ce!
!!!!
 t tÇ t !tI t
tI I c # #ttt c #ttI d c tt c
> t
š
? ! ! tY Yt !tY t !t ¡
piano
!! t t tÇ c c !A
228
!!!! c c a a
70
†
tI tI t
Pietro
!!
† !! b t Ç tJ t Ç
Peas - sants two!
c I tI tI tI c
Elvino t t tI Ç tJ t t t
!!!!
Why, let me Up - on my word, it's true! No
d c b c b b
> tI
t ttt tt ÇÇ tt tt
š tÇ t t
? ! ! t
d c ttt t
piano
!! I
t c c b tt ÇÇ tt tt b
!!!! tÇ #tY Ç tZ t ²b #### t

Allegro
tY tY
73
Elvino † tI tI tI tI tI t tI tI
; !!!! ² ####
Dike and Duch - ess they, but pea - sants two! What do you mean by this
 b b c tI tI t tI tI
Women #t t
 !!!! b #t²
Oh!
#### t
What
tY
do
Yt
you mean
t tY
by
Yt
this
b c
Men
<
!!!! tt ÇÇ tt ²
tt b #### tt
Allegro
>
a t t t t
!t Ç t t tt t
?  ! !! tÇ t t ²b # # # # tt t t tt t t
piano
! a t
t t tY Yt t tI tY t tI tI t t c
76
Elvino † t !t t tI I
t t t t
sheer au - da - ci - ty? What do you mean by this ill - tim'd joke? How do you dare de
; t t tY tY t
Women  t tI tI t tI tI t !t t c t tI I
t t t t
 t t tY tY t tY Yt t tY Yt t !t
t t c Yt Yt t t t
sheer au - da - ci - ty? What do you mean by this ill - tim'd joke? How do you dare de
t
Men
<
tt t tt tt t t t t tt
> t !tt t t t tt t tt t t !tt !tt c tt c t c
t t tt
? tt tt t t t ttt t t t t t t tt c t t t t t
piano
t t
t t
229
a t tY Yt t tY t tY t Ç
t "t t t t
80
Alfredo † t t tI
Spare your un - re strained lo - qua - ci - ty, Lis - ten while we the
† t Yt Yt t a a a
Elvino t
fy ve - ra - ci - ty?
; t Yt Yt t a a a
Women  t
 t t tY tY t
fy ve - ra - ci - ty?
a a a
Men <
t t ttt !ttt ttt tt tt t

>  !tt ttt ttt ttt tt "tt c c t t tt ttt c tt c
t t
t "t t t t t t t
? t t t t t t t t t c
piano
t c
tÇ t ²
c b c
84
tI tÇ
Moderato
Alfredo † t tI tÇ tI
²
truth un - cloak. At Vi - no's base de -
>  ! ttt
c c a c c
Moderato
!tt tt ! ttt
t t
? ² || ttt
t t || d tt
piano
c c tY c c !tt c
ª
b c b a
87
 t tI t Ç tI t
tÇ t
Ultrice
t c b a b c
The Duke and Duch - ess ap - ing.
Alfredo † t tÇ tI t Ç tI
sign, We drank the curs - ed
> ttt c b !tt c tt c t

t
c b
|| "||
t t t t t ttt
? t d tt tt tt d t c t c d tt tt | |
piano
t t t tY c t t t t c | |
230
b c t t b a
91
 t tI t Ç tI
Ultrice
tÇ
For which we all were gap - ing.
Alfredo † t c c c a b c
t tÇ tI t Ç tI
wine, Then all at once we
c c c c d "ttI t b
>  " tt tt tt ÇÇÇ
I t !ttt tt |
|| ! |||
t t
š
?  t d "ttt tt ttt tt "ttt ÇÇÇ t
piano
"t t tt tY d tt "tI t Ç tY t c | !||

tÇ t |
 b c c c a
95
Ultrice
t tÇ tI t Ç tI t t
In - to the wiz - ard's clutch - es.
Pietro † a a a a
Alfredo † | b a b c t tÇ tI t Ç tI
fell Who changed us, strange to
> c b !tt c c t c c
tt tt t || "||
?  t d ttt ttt ttt d c t c t c
t t t
d ttt ttt ttt || |
piano
t t t tY t c |
b "t tÇ tY
99
Ultrice  t !t Ç tI
tÇ
To gen - uine and
c t t tÇ tY tY
Alfredo † t
tell, To gen - uine Duke and
> c b tÇ tI tÇ !tI
" tt tt
piano
? t d "ttt tt
tt ttt tÇ tY tÇ tY
"t t t c
231
t b a b c
101
Ultrice  t t
tY tY tY !tY "tY
Duch - ess. We've
Alfredo † t t c d tI tY tI tI tI tI c c c
Duch - ess. Don't ask for fur - ther de - tails, cease your chat - ter;
; b
Women  t c a a
 t c
But
b a a
Men <
t b "tt tt d c
> !ttt
tt tt ! tt
tt tt
š tt tt tt
¡ t t t
? t d
piano
t t c A t tt tt tt c
c b a
104
 tI I
t I
t tI tI tI tI tI tI I t
Ultrice
; tI tI tI I
told you all we know a - bout the mat - ter.
t
Women  a b c t t t t t !tI
t "tI
t tI
t I
tt
t
We may as well re - strain our use - less
 a b c t ! tYt Ytt tYt Ytt tY t t t

Men < !tY Yt tY
> a a a
?  !A
A tt
d
piano
t t t t c c
A
232
; c c c c c
107
 tI
t tI
t t tI I
t I
t tI tI tI tI tI tI I
t
Women
chat - ter; They've told us all they know a - bout the mat - ter!
 tYt Ytt c c t Yt Yt Yt Yt tY Yt
Men < t tI
I t c
tI I c c
>
a a a
? d ttt ttt ttt c !AA tt

d t t t d t t
piano
b tt tt tt t
A
† b c c d
110
t tÇ tI tI t tI !tI tI
Pietro
tI ! tI tI
;
There's on - ly one thing to be done, De - stroy the
Women  a a a
 a a a
Men
<
a a c d t t c
> t t tt
!| || !t t t tt
?
A| tt d t t
piano
t c b c
tÇ
† !tY Ç tJ t Ç c c tY tI tI Ç tZ
113
tI !tI Ç tJ !tI tI
Pietro
tI t
an - ti - dote by fierce ig - ni - tion, And there - by bring back ev - 'ry
c b d tt tt tt c || ÇÇ
> t !tt tt tt tt
tt t
"t
? A
piano
t c b t c b A
233
c tY tI tI c b
116
Pietro † | t t Ç tJ tI Ç tJ !tI tI tI
I
one To his (or her) o - ri - gi - nal con - di - tion!
; a a b c d
Women  tI
 tY
Hur -
a a b c d
Men <
> tt d tt tt tt c !ttt c c tt c c c
t t t ttt t
? t t d
piano
t c b t c t c t t t c
; || | t ²
tYt c | tY d c a
119
Women  tI
|| ttYt t
rah! Hur - rah!
|| Ytt c Yt | d ²c tt tt t
Allegro
 t I
tI tt
Men <
San - dal and shoon we
a a a
Allegro
>
tÇ tÇ t
ttÇ tÇ tÇ ttÇ tÇ
?
c d t t t c d t t t Ç
piano
c c
;122 tÇ t tt tYt tYt tt ÇÇ

tÇ Yt || tt tI
t tI
t tYt tYt tYt tt
Men
<
glad - ly lose, Here is an end to our call - ing cler - i - cal.
>
a a a
t t t t t t t !t t t
? t t t t tt t t t tt t t t tt t
piano
t t t
234
; t t t t
t tI
tI
125
Women  tt tt ! tIt tIt tt

t I
tI Yt t Yt || tt t t tt
Now they nay mar - ry when - ev - er they choose, All of us are with
 a a a
Men <
> t t t t t t t t t t t
?
piano
t c t c !t c t c #t c t c
a tY Yt t |
128
Nita  t t tI tI t
We shall be hu - man, bo - dy and limb,
† a t tI tI t t
Bartolo
tI tI t |
We shall be hu - man, bo - dy and limb,
; tÇ t tI
Women <  !t Ç Yt t tI
t tt a a
joy hys - ter - i - cal.
>
t t
t "t
!t t t t t t t t t t t t t t !t t t
t t t
? | |
piano
t c c A
t | | A
tY tY t tI tI t a
131
Nita  t t t t
Hap - py to think our state is cur - a - ble.
† t tI tI t t tI tI t a
Bartolo
t t
Hap - py to think our state is cur - a - ble.
> t t t t t t t t t t !t t t t t t I
t tI
t t t t t t
? | | t t
piano
A c c
| | A
235
† t t d
134
ttt
Pietro
t tI t tI tI t tI tI t Ç tI tI tI t
tor - tures grim; They're get - ting ex - ceed - ing - ly un - en - dur - a - ble!
> t t t t t t t t t t tÇ c
t t t t t t tI t t
piano
? t t t t tt t t t
t c t c c c t
t t
; t tÇ tI | tt tI
137
tt t I
tI tt tt t tÇ t | t tIt tt tI
t tI t
Women
 tt tYt tYt tt t tt ÇÇ tYt | t t t t

Ytt Ytt
San - dal and shoon we glad - ly lose, Here is an end to our
Men
< t | t Yt Yt t
>
a a t t t tt
t t t t t t
t t t t t
? t t t t t t t t t t t
piano
t t t t c t c
t
; t t t
140
 tt ÇÇ t I
tI tt I tt t ! tIt tIt tt Yt t ||
Women tt tt t tI
tI Yt
t t t
 !tt ÇÇ t tYt Ytt tt tYt tYt tt "t t t
||
call - ing cler - i - cal, Now they may mar - ry when - ev - er they choose,
Yt t Yt Yt !tY t tY
Men <
> t tt tt t t t t t "t t t t
?
piano
!t c t c t c t c !t c t c
236
;
t tI
tI t
!tt ÇÇ
t tI
Yt t I
tt tt tYt tYt "tt t t
143
Women  tt t t tt t t t
tt ttY ttY tt tt " tt ÇÇ tYt Ytt ttY tt t

All of us are with joy hys - ter - i - cal, All of us are with
t t t !t
 t Yt Yt t t
Men <
t t t t t "t !t tY tY
> t t t t t t t t "t !t t t t t t
? t t t c t t t
piano
c c c c c
; Ç
 tt Ç
t I Ç t I
Yt tt Ç J t ²|| tYt d c
t Ç tJ a b c
146
Women t tÇ t
t ²| t
joy hys - ter - i - cal. Hur - rah! Quick,
 tt ÇÇ tYt Ytt ÇÇ # tZt t Ç Zt | Yt d t

tY Ç c a b c
Men <
#t t Ç ttt ²||| tttY d c t t t t t t "t t t c

> t t t t t tÇ t t t !t
? t t t | tY t t t t t t "t t t
piano
c tÇ d c t t t !t c
³
;
t c c t Ç tJ t c c b b c
150
Women  t I !t
quick, the an - ti - dote! How
t c c t ! tt
 tY Ç Zt t c c b b c
Men <
c c tt c b !t t t t #t t !t
> tt c t t t t t !t
c
t t
? t t !t t t t t # t t !t
piano
c c !t c b t c t t !t c
237
† b b c !t tY tY tY tY t c
154
Pietro t tI tI I
t !tI t
I had it in this coat, Safe in my pock - et - book.
;
Women  tt ÇÇ tI
t tt ÇÇ t !t c b
tI a a
hor - ri - fied you look!
tt ÇÇ tYt tt ÇÇ tYt
 !t c b a a
Men <
>
c c tt b a c c c c
!t
piano
? t
c c b a a 
c b b c t b
158
† |
Pietro
t !t Ç tI !t Ç tI "t !|
!t t t ! t t t t !t
t !t !t t
The truth I must ad - mit, Some thief has
!t c |Ç |
> !| !| !t !|
? !| |Ç !| |
piano
 !AA !||| b  !| !t
A
!
Allegro non troppo
Yt Ç tZ t c a ‹ a a
163
Pietro †
sto - len it!
; b !| !t ! ‹ c |
Women  | t tt b c c tt | ||
|| " tt tt |
Oh hor - ror! Ac - curs - ed
 b ! ‹ c tt || |
b c c
Men <
tÇ t t !| !tt ! ‹
tt b
Allegro non troppo
>  !tt ÇÇ tt tt | t tt tt tt tt tt tt
t t t t t t
tt tt
t t
tt tt tt tt tt tt tt tt
t t t t t t t t
tÇ t t || " tt tt
? ! ‹ t t t t
piano
b c c c c
238
; ! t tÇ t | t t
tt || b
167
Women  tt ÇÇ t tÇ Yt | t t
tÇ tÇ
sor - cer - er! Thoy de - mon -leagued trai - tor!
tt || tt t |
 ! tÇ tÇ tY | tt tt b
Men <
!
> ttt ttt ttt ttt ttt ttt ttt ttt tt tt tt t tt tt tt tt ttt ttt ttt ttt ttt ttt ttt ttt
t t t tt t t t t
? ! t t t t t t
piano
c c c c c c
; ! |
170
Women  tÇ tI !tI Ç tJ | t tt ÇÇ tI
t tt ÇÇ tI
t
Ill o - mened har - bin - ger! Low - born e - qui - vo -
! | tÇ tY !tY Ç Zt | t
t
tÇ
!t Ç
t
Yt
tÇ
tÇ
t
tY
Men
<
!
>  !ttt ttt t t t t t t !ttt ttt tt tt tt tt t t tt tt tt tt tt tt tt tt
tt tt tt tt tt tt t t t t t t t t t t t t t t
? ! !t Ç tÇ
piano
t c t c t c t !t tY tY
; ! b t tI tI t t t c c tt
173
Women  !tt tt t t t t t t
tt
!tt tYt Ytt tt tt
ca - tor! This is a hid - eous plot To
 ! tt tt b tt c c
Men <
! t tt tt tt tt tt
> t t t t t t t t tt tt tt tt tt tt tt tt ttt ttt
!tt tt tt tt tt tt tt tt t t t t t t t t tt t t t t t
? ! t |Ç !t t t t t |Ç t
piano
239
; ! tt ÇÇ tYt tt ÇÇ tYt tt tt c | tY Yt
t c c ! tt
176
Women  t t I
I t
#tÇ t tÇ t #t t | tY Yt
rob us of our sen - ses Re - store us on the spot, Or
 ! !t Ç Yt t Ç tY !t t c t t tI
I t c c t
Men < !t
! t t t t t t t t t t t t t t | t t t
> #tt tt tt tt tt tt tt tt #tt tt tt tt tt tt t t t c c ! tt
t
| t t t 
?  ! !t Ç tY t Ç tY !t | t t
piano
t c
!|
À
! b tY tY c c d Š tÇ tÇ tY
Moderato
c c c t tY
180
Pietro † tI
Have pi - ty! It's bad e - nough for
; ! t c c a Š a
 ! tt ÇÇ tI
t tt ÇÇ tI
t !tt t
Women
dread the con - se - quen - ces!
 ! tÇ t tÇ t t
Men
< !t Ç Yt t Ç Yt tt t c c a Š a
! t b a Š tY d d t
Moderato
t d d Yt
> ! tt ÇÇ tI
t tt ÇÇ I
tt !tt tt
?  ! tÇ t tÇ t t tt b Š d !tI t
piano
!t Ç Yt t Ç tY t a t| t t
|
! ²
tY
† tY tY tY tÇ
184
Pietro
tI tI
you, no doubt you'll say, But it's much worse for me, the truth I'm
! tY d d ² d d tY d
> t t t t
I t t I
t
piano
? !
²
t| !t t t t t t| !t t t| t t
|
³
240
! ² ²
d t d tI "t Ç
t "tI I tI t Ç tI tY tY tY "tY
186
Pietro † tI tI I tI tI "tI tI
! ²d
stat -ing, Have pi - ty! If I can't find the an - ti - dote to - day, I die in
t c c "t d Yt t d Yt d t d "tY t d tY
> tI ²
² ²
? ! I d !tI t
piano
t c b "|t t t t| !t t t t t
t | |
³
! "t Ç c c
189
Pietro † tI tI tI tI tI tI tI t A
a - go - nies ex - cru - ci - at - ing! Com mencing
- with a gentle
! "t
pain Scarce worth a
d tI tI d c b ||ª
> t t t |ª|
| |
? ! t t
I
piano
t "|t t d c b | |ª
| !t t tt «
!
tI c c tI c c
192
Pietro † tI t A tI t A
ques - tion, It grows apace till you gest - tion; Then follows an internal fire
!
complain of indi-
AAª
That scorns e-
ª AAAª
> !AAAª !AAA A
? !
Aª Aª
piano
Aª |ª |ª
!
tI tI c c tI c b a
196
† t !A
tI
Pietro
; !
- til ere night fall you expire vul-sion!
|
mul -sions, Un
a b b c t ||
In fierce con-
Women  |
t | |
!
Ac - curs - ed
a b b c | |
Men <
! ª
> #AAA !AAª t
!tt
c tt tt tt tt tt tt tt tt tt tt
A tt tt t t t t t t t t
?  ! #Aª Aª tt t t
piano
c b c c
241
; ! t tÇ t | t t
t || b
200
Women t ÇÇ
 tI tJ t tÇ Yt | t t
tÇ tÇ t |
sor - cer - er! Thou de - mon -leagued trai - tor!
 ! tY Ç tZt || tt tÇ tY | tt tt b
Men
<
!
> tt tI
I tt I
I t t t t t tt tt tt t tt tt tt tt tt tt tt tt tt tt tt tt
t tt t tt tt tt tt tt t t t tt t t t t t t t t t t t t
? ! t t t t t t
piano
c c c c c c
; ! |
203
Women  tÇ tI !tI Ç tJ | t tt ÇÇ t tt ÇÇ
tI t
tI
Ill o - mened har - bin - ger! Low - born e - qui - vo -
! | tÇ tY !tY Ç Zt | t
#t
tÇ
!t Ç
t
Yt
tÇ
tÇ
t
tY
Men <
!
 !ttt ttt tt tt tt tt tt tt tt tt
>
ttt ttt ttt ttt ttt ttt !ttt ttt ttt ttt ttt ttt tt tt t t t t t t t t
? !
!t Ç tÇ
piano
t c t c t c t !t tY tY
; ! t tt
b tt tI
t tI
t tt tt c c
206
Women  !tt tt t
t t t t t tt
ca - tor! This is a hid - eous plot To
 ! tt tt !t tY Yt t t tt
b c c
Men
<
! t t t t t t t t t tt tt tt tt tt tt tt
> !ttt ttt t t t t t t
tt tt tt tt tt tt tt tt tt tt tt tt tt tt tt t t t t t t t
? ! t |Ç !t t t t t |Ç t
piano
242
; ! tt ÇÇ –t #| t tI
tYt tt ÇÇ tYt tt tt c c c 
209
Women  #t #| Yt t tI I
t
t t #t tt
rob us of your sen - ses, Re - store us on the spot, Or
#tÇ t tÇ t #t
tt – tt || tYt Ytt "" ttY tYt tt
 ! !t Ç Yt t Ç tY !t c c c "tt
Men
<
! tt tt tt tt tt tt tt tt tt tt tt tt tt tt tt #| t t
> #t t t t t t t t #t t t t t t #| t t tt tt #t c c t
tt
– 
?  ! !t Ç tY t Ç tY !t | tt || tt tt "" tt tt tt
piano
c "|
À
; ! – tÇ tY tÇ tY ‘
t c t c c
213
 tt ÇÇ !tI tt ÇÇ tI
t !tt t
t tt
Women
dread the con - se - quen - ces! Re - store us on the spot, Or
! t ÇÇ t tÇ t t tt c –t tÇ tY tÇ tY ‘t
t Yt tÇ Yt t t c c t
Men <
!
tt ÇÇ c tt c b
> tt ÇÇ !ttI t !ttt
tI tt t ttt ÇÇÇ tttt tttt ÇÇÇ
I tttt
I
tt
– ‘
?  ! tÇ tÇ t t
piano
tYt tt | | | tÇ tY t t
tÇ tÇ Yt t
| | |
; ! b a a a a
217
Women  tt ÇÇ tI
t tt ÇÇ I
tt tt tt
 ! tt ÇÇ tYt tt ÇÇ t
dread the con - se -quen-ces!
tt tt b a a a a
Men
< tY
²
! c c c dÇ tJ dÇ tJ tt ÇÇ ÇÇ tJ
t tt ÇÇ ÇÇ tJ AAª
> | t Ç tI tt ttt ÇÇÇ ÇÇÇ J
tt tt ÇÇÇ ÇÇÇ J
t t tt || ÇÇ
t |Ç tt
t tt ÇÇ ÇÇ tt tt ÇÇ ÇÇ
tt
t AA
? ! | | | | | | | | | Aª
piano
t Ç tI
| | | | | | | | A
³
243
Exeunt all except PIETRO, BARTOLO, and NITA. PIETRO sits in great pain and distress.
BARTOLO and NITA make ineffective attempts to move and speak, but they have “run
down.”
PIETRO (observing their efforts). Now, then, what’s wrong with you? Oh, I see.
(Winds them up.)
Spoken together very rapidly:
[ BARTOLO. Upon my honour, this is a pretty state of things.

Clockwork for life, I suppose! It’s monstrous — outrageous!
What’s to become of Nita, and, above all, what’s to become for
me?
[ NITA. Well, a nice mess you’ve made of this; to go and
lose the only thing that could bring us back to life again. What do
you mean by it, you ridiculous old donkey?
PIETRO. What do you want?

NITA. Well, if I’m to be Ophelia for the rest of my life, it would
be convenient to know what Ophelia did.
BARTOLO. She coaxed Hamlet, a good deal.
PIETRO. Nothing of the kind; she committed suicide because Hamlet
wouldn’t marry her.
NITA. What — lately?
PIETRO. Lately! Several hundred years ago. (NITA and BARTOLO turn and
walk rapidly up stage.) Where are you going?
NITA. We’re going back several hundred years.
PIETRO. It’s not necessary. You can do it here. (NITA begins to cry.)
BARTOLO. I have it. If Hamlet had married Ophelia she wouldn’t have
committed suicide.
PIETRO. Well? What then?
BARTOLO. What then? Why, if I marry her at once the motive for the act will
be removed!
PIETRO. Nonsense! Hamlet and Ophelia never married. It would be trifling
with the text.
BARTOLO. Anyhow, it’s a new reading. What! am I to be the only Hamlet
who is not permitted to discover new readings? Bah!
244
26. Ophelia was a dainty little maid
Trio
Nita, Bartolo and Pietro
!! t t tt t tt t
Allegretto
tt Ç t t t
1
> t t t t t t t t t t t t t t t t t t t t t t t t t t
?  ! ttt tt t t
tt ttt tt tt ttt t t t t t t
piano
! t t t t |
!
 ! ¿ a a a c d
5
t t
1. Pietro O
2. Nita O
3. Bartolo There's a
!! t t t t t tt
>  ¿t t t t t t t t t t t t t t t t t t t tt tt t t tt tt
t t
? ! tt tt tt tt tt tt tt t tt tt t
piano
! ¿t t t t t t t t t t t
!
 ! J t d
9
t tJ tJ tJ J
t J t J
t tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ
phe - lia was a dain - ty lit - tle maid, Who loved a ve - ry me - lan - cho - ly
phe - lia to her sex was a dis - grace, Whom no - bo - dy could feel com - pas - sion
ven - er - a - ble pro - verb in my mind, Which ap - plies to this cat - as - tro - phe, I
!!
> tt tt t tt tt tt tt tt t
t t tt t t t t t tt
? !
piano
! t tt
t tt tt tt tt tt tt tt
!
 ! d d
12
t tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ t tJ !tJ
Dane; Whose af - fec - tion of the heart, so it is said, Pre
for; O phe - lia should have gone to E - ly Place To con -
think To a horse who us un - for - tu - nate - ly blind A - ny
!!
 t tt t tt tt
> tt
t
tt
t
tt
t tt t tt t t # ttt
? !
piano
! t t t t t t t t t
t t t
245
!! d
15
 tJ !tJ tJ tJ tJ tJ !tJ tJ t tJ tJ
ced - ed his af - fec - tion of the brain. Heir ap -
sult an e - mi - nent so - li - ci - tor. When such
!!
nod is just as good as a - ny wink. Op - por -
> ! ttt !ttt t tt t

ttt tt t tt
? ! t t
piano
! t t t t
!
 ! tZ tZ
17
tJ tJ !tI tJ tJ !tJ tJ tJ tJ tJ tJ tJ tJ
par - ent to the Crown, He thought light - ly of her pas - sion. Hav - ing
pro - mi - ses as these Breaks a sui - tor, rich and re - gal, Why, sub -
tu - ni - ty I'll seize Of a - void - ing a - ny er - ror; Of sub -
!!
 tt t !tt t !tt t tt
> t tt t tt t tt t tt
piano
? ! tt t tt !t tt t tt t tt
! t t
!
 ! tZ tZ
19
tJ tJ !tJ tJ tI tJ tJ tJ !tJ tJ tJ tJ tJ
wan - der'd up and down, In an in - co - her - ent fash - ion, When he
stan - tial dam - a - ges Is the pa - na - ce - a le - gal, From a
stan - tial dam - a - ges I have al - ways had a ter - ror. That ca -
!! t
>  tt !!tt t t t #tt !t tt t t #ttt
t
? ! t t tt t t !t t t
tt
piano
! t t t t t
! tZ tZ
 ! tZ tZ
21
tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ
found he would - n't wed her, In a ri - ver, in a mead - der, Took a
ju - ry sons of Ad - am, Tho' as sto - ny as Mac - a - dam, Maid or
la - mi - ty to par - ry Not a mo - ment will I tar - ry, Of I'll
!! t tt
>  t tt t t tt tt tt t
t t t tt
piano
? ! t t t t
! | tÇ tY
246
!! tZ
23
 tJ tJ tJ tJ tJ tJ tJ tI Ç tt tI
head - er, and a dead - er Was O - phe - lia
ma - dam, she'd have had 'em, Would O - phe - lia
!
car - ry and I'll mar - ry Poor O - phe - lia!
Nita  ! a c d tJ tJ
When she
From a
!!
That ca -
Bartolo † a c d tJ tJ
When she
tZ tZ
From a
 !! a c d
That ca -
Pietro
When she
From a
!!
That ca -
> t tt ÇÇ t t t t t t tt tI I
tt
tYt t t
t t
? ! t !t t Yt
piano
! tÇ tÇ
tI
! tZ tZ
 ! tJ tJ
25
Nita tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ tJ
found he would - n't wed her, In a riv - er, in a mead - der, Took a
!
ju - ry, sons of A - dam, Tho' as sto - ny as Mac - a - dam, Maid or
† ! tJ tJ tJ tJ tZ tZ #tZ tZ tZ tZ
la - mi - ty to par - ry Not a mo - ment will he tar - ry, Off he'll
Bartolo
tJ tJ tJ tJ tJ tJ
 !!
Pietro tZ tZ tZ tZ tZ tZ tZ tZ tJ tJ tJ tJ tJ tJ tJ tJ
!!
 t tt t tt t
> tt t tt t # tt tt tt
t
? ! t t #t t
piano
! | t t
247
!! tJ d
27
Nita  tJ tJ tJ tJ tJ tJ tJ t t t tI
head - er, and a dead - er Was O - phe -
ma - dam, she'd have had 'em, Would O - phe - lia!
! tZ tY
† ! t d
car - ry and he'll mar - ry Poor O - phe - lia!
Bartolo tJ tJ tJ tJ tZ tZ tZ
tZ
 !! tZ tZ tZ tZ tZ tZ t tY d
Pietro tJ
!!
 t t t tt t tt
> tt tt tt t t t
? ! tt t t t t t tt ttt
piano
! t t
t t
!! t t t t t t tÇ
29
>  t t t t t t t t t t t t t t t t t t
t t
piano
?  ! tt tt tt ttt tt tt ttt tt tt t t t t
! t t t t t t t |
²
!! t t ttt t ttt t ||
33
> t t t t t t t t t t t t t t t t t t t | ¿
?  ! tt tt ttYt tt tt ttt tt t tt t tt t ||
piano
! t tY t t t t |
³ ¿
Exeunt Bartolo and Nita. As they go off, Pietro slyly steals their respective keys, and goes off
triumphantly in opposite direction.
Enter Teresa.
248
27. Act II Finale
Ensemble
t tÇ t t t t t
!! Š t t t t t t t t #t t Ç t t t t Ç
t t t t t t 68
Andante
 A
>

# tt #t
? ! A|| tt At t Ç t t t Ç
piano
!Š a a 68
!! 6 t Ç t t t t t t t t t t t
t t tY tt ÇÇ tÇ Š
5
>  8 tÇ tÇ
piano tÇ
?  ! 6 tt| ÇÇ ttt ÇÇÇ tttt ÇÇÇ ! ttt ÇÇ ttt ÇÇÇ #tt ÇÇ tÇ tt ÇÇ
!8 Ç Ç tÇ |Ç tÇ Š
!
 !Š t
9
tÇ tJ tJ tJ t tI Ç tJ tJ tJ e tJ tJ tJ
Teresa
t tI
Hope lived, and free from fear Love sang her roun - de - lay. La, la, la,
!! Š
 e ttÇ ttÇ tt
> || " tt tt tt tt tt Ç
? !
piano
!Š A| t t t t tt c
t t
! tZ Yt Yt Ç tZ t e tZ tZ tZ
 ! Yt tY tZ tZ tZ t Ç !tJ tJ tJ t t
11
Teresa tÇ t
la, la, la, la, la, la, la! Hope died, and at his bier Love pined a - way. La, la, la,
!! t t t t tt tt Ytt Ç Ç
 t t t t d c || tt #t| ttÇ tt tt
> !tt t t e
Ç tÇ tttÇ tttYÇ
? ! ttt ttY || t tt tt t !tt t
piano
! tÇ d tÇ d t t c
249
!! #tY tY
tJ tJ tJ tY d tI tY tY tÇ tY
14
Teresa  #tI Ç tI tI tÇ tI t Ç tI
la, la, la, la, la, la, la! For Love and Hope are one In joy and pain, And
!! #tt t Àt Ç
 Ç #tt tt tt ttÇ ttÇ tYt d t t t tÇ tY tt ÇÇÇ tt tt ÇÇ
I
> Ç tt t t tI
? ! tt tt t t À|
piano dim.
t t tt tt tt tt tÇ tY
! t #t t t
t t | |
!
 !
17
Teresa
tI tI tI tI tÇ tI tÇ tI t e tJ tJ tJ
naught be - neath the sun Shall make them twain. La, la, la,
!!
>  t t t "tt tÇ
tt ÇÇ t
I tt ÇÇ tI t
e ttÇ ttÇ tt
Ç
À
? !
piano dim.
tt t t | tt
! t | c
t Àt t
! tY tZ tZ tZ tZ tY tY tZ #tZ Zt Zt t
 ! Yt t tJ tJ "tY tJ tJ tJ #tJ
19
Teresa tI J
t J
la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la,
!! Ç Ç tÇ
 tt tt tt ttÇ tt tt t tt tt tt tt ttÇ "tt tt tt #tt tt tt tt tt t t t
> À Ç Ç
Ç Ç ttÇ Ç ttÇ
? ! ttt ttYt ttÇ Ç
"ttt ttYt Ç
Çt ttt
piano
d tÇ t tY d d tY d
! tÇ tÇ
250
!! t t t t tt d ¡ t t t tÇ d c
t tJ | t
21
Teresa  t tJ J
t J t t t !t t
la, la, la, la, la, la, la, la!
!! t t tt d c t c
 t t t t t | t t t t t b
> tt
Ç •
?  ! tÇ ttÇ Ytt tt tt d tt c
piano colla voce.
! d t a b
! tY tY
 ! b c d d tI Ç !tJ tI "tY #tY I
24
tI t tI t
Recit.
Ultrice
|
Ha! false one! Thou know - est now The tor - ture of a
!!
tt d c a
Allegro
> ||
|
I
t A

? ! #AA
piano
! | d c a
| tI
!
 ! b c d c a
27
Teresa
tI #t "t |
Ah! spare me!
! tY Yt Ç tJ tI Ç !tJ tI "tY #tY

Ultrice  ! #tI tI "tY I
t t c b c d tI
love that's gone a - stray! Thou know - est now The fate of those who
!! c b
>  |Ç tt #t A
?  ! "|| ÇÇ #A
t ||| A
piano
! "t t c
251
!! b c t !t Ç t | d #tY #| c # # "" Š
30
Teresa  t
Ah! spare me! Al - fre - do!
!! "tY tY t c a a # # "" Š
Ultrice  tI tI
!! ## "
"tt d
will not when they may!
> "tt || c b c " Š

|Ç tI
t # tcresc. |
?  ! "|| ## " Š
piano
! c b c d tY "
"" a b d tY tY tY tÇ
tI tI tI tI tI
33 Andante (turning to Ultrice.)
Teresa  ¿
My pride is bowed, And hum - bled is my
"
Andante Ere death - ly cold I lie on yon - der
t t t t
>  " ¿ !tt t tt tt t t || tt
t t|Ç t !t t !t #t #tt !t
t t

?  " t| t t t !t t || tt | t
piano
" ¿ t c !t t
|
"" d tY tY tÇ tY tY tY tY tY | c t
36 (taking her hand.)
Teresa  | tI
head. Who could be proud Whom thou hast ban - ish - ed? A
"
strand, Ah, let me hold The hand that is his hand; Ere
"
> tt t t
t t t tÇ tI |t|
t t t
ttt t t t t t t
t
? " tt
piano
" c b c t | t c b
" " tY Ç #tZ tY tI d tY tY

39
Teresa  tI tI tI tI | tI
fu - gi - tive, O love, from thy de - cree, Why should I
"
lost I be In yon - der cold e - clipse, Vouch - safe to
> " || # || | || tt
I
| | t t tI
š À
? "
piano
" | | | d c
| | | t
I
252
" " tY d tÇ tY tÇ tY
(kissing Ultrice, who remains motionless.)
tI tI tI
41
Teresa  tI tI tI t Ç #tI |
live if I am dead to thee! Thou wilt for - get They love of
"
me The lips that are his lips! May he for - get His love of
" ttt tt ttt t t t t

> t t #t t ! tt ÇÇ t
I tt t t t !tt t t t !t
t t t t tt
t t
š ‘
?  " tt d c || | tt tt tt tt |
tt
piano
" tY | c | | |
b
" d tY | t
|Ç
1. 2.
" | tY |Ç c c
44
Teresa tI t t ¿ |Ç
old. My sun has set My tale is told!
" t
old. Her sun has set Her tale is told!
> " tt t t t b || tt c
| !tt
c | Ç d tI ¿ | Ç c
À| t
š
|Ç |Ç
? " t d c t t
piano
" Yt t t | t c | c || ÇÇ d tY ¿ || ÇÇ c
À t
(Goes upstage and mounts parapet overhanging the river. She is about to throw herself off when
Ultrice, who has been struggling with her better feelings, relents.)
tt
" " tt tt tt ! #tt tt ttt # "ttt !ttt tt tt ttt tt ttt ttt ttt !# ttt t #t t t t t t t t t
Allegro
t t t
49
>  t t t t t t t t t t t
? " | t t t t | t t t t t
piano
" | c b
t t t t | t t t t t
" tY d tY tY | d Yt "tI tI d
" a |
52
Ultrice tI Ç tJ t tI tI "tI
t | || tttYt d
Hold! Stay thy hand! Te - re - sa, come to me; My soul is
"" c | || c a b d
> t t "t
I

? " b t d c || "A tt tt tt tt tt tt tt tt
Ytt d
piano
" c a
Yt
253
" tI
" tÇ t Yt Ç tZ tY "t Ç t Ç "tZ
c I
56
Ultrice tI tI tI "tI |
soft -ened and my heart is stirred! Come to me Quick -ly I have
" t t t t tt t tt t t
" t t "t
> tt tt tt "ttt tt t t t
t t t t t t t t tt tt tt tt " "|||
À
t tt tt tt "t t t t "t t t t
?  " t| t t At t t t
piano
" "A
" d tI tY
" a a c tY c
59
Teresa
Ul - tri - ce!
" "tY Ç tZ | t
" c tJ tI tI tI tI tI Ç tJ t c t
t tÇ
I
Ultrice
wrong - ed thee. Par don, Te - re - sa, I have great - ly erred! Take
" " d
>  " "ttt ÇÇ "ttt tt #t t
t " tt tt |
" || || tt ttI |||
? " "t t b | t t d
piano
" "t Ç b #| t Yt t "t

t "t
" tÇ Yt Ç tZ t b t tY tY tY
" tY tI
62
Ultrice tI tI tI tI tI "tY
Àt Àt Àt
heart, take heart, for thou shalt right - ed be; Live for thy love shall be re -
t t t "t
"" t ÇÇ d b "tt ÇÇ "tt ttt tttt tt t "t t t t
> tt Ç tt t t
• " t Ç "tt t Àt Àt Àt
? " tÇ | ttYt
piano
d b
" tÇ "t t "||
tÇ
"" Yt Ç tZ t d tY tY tY A " " " " 34 a
65 (Enter all the characters from different directions, Pietro in great agony.)
Ultrice 
tÇ t
stored to thee! Come hi - ther, all!
t
> "" tÇ t t tI d c AA
AA " " " " 34 c d t
Yt
t
t
t
t
t
š t t t t t t t t t t t t
? " ||| "t
" " " " 34
piano
" Yt d c A
A
254
; "" " a a c d
68
Women  " tI tI tI
Now, what is
"
Tenors † " "" a a c d
tI tI tI
Now, what is
 "" a a c d tY Yt tY
Basses
< ""
t tt
" " " " ttt d t t t tt t t t t tttttt tt tt tt
> Yt t t t
t t t
t t t t t t tttt ttt t tt t
?  " " tt t t t t t
piano
"" t ec c t d Yt t t
; "" " d t tt Ytt ÇÇ tZt tI t

tI c t tYt tY
t tI
71
Women  " t tI tI
t t t
this, and what is that? We wish to go to yon - der
" t Yt Ç tZ tY tY tY tY
Tenors † " "" t d
tI tI tI t c
this, and what is that? We wish to go to yon - der
 "" " t d tY Yt t c
t tY Ç tZ Yt Yt tY Yt
Basses < " t
I
t t t t t t t t t tt t t t tY
 """" t t t t t t d tt ÇÇ tt t t
t t tt tt
>

t
?  " " tt t tt tt tYt d tt ÇÇ tt tt tt tt tt
piano
"" d tY t tt c
255
; "" " t tYt ó ó
c c tI
74
Women  " Yt t
I tI tI t tI tI
t t
val - ley. What do you want? What are you
" tY tY ó ó
Tenors † " "" c
t
I tI tI t c
tI t
I tI
t
val - ley. What do you want? What are you
 " " " tY Yt c Yt Ytó tY t c tY tYó Yt

Basses < "
"" " t t t t t t t t t
> "
t t t t ttt
? "" t t tt
piano
"" c t t t c t t
ó ó
; "" " t tt
c ttI ÇÇ tJ t tI
tI t I
t b Š
76
Women  " t t tI
t t I
tt #tI t
at? Ex - plain your con - duct ge - ne - ral - ly!
"" tY tY tY tY tY tY b
Tenors †" " t c t tI Ç tZ Š
at? Ex - plain your con - duct ge - ne - ral - ly!
 "" t t Yt Ç Zt tY Yt tY tY tY
c tI b Š
Basses < ""
t t t t t
"""" t t t t tt ÇÇ tt tt tt tt tt t t c Š
> #tt t t
tt š
? " t tt tt ÇÇ tt tt tt tt tt t t
t tt c
piano
" "" c Š
256
"
 " "" Š tY tZ tZ tY tY t tY tY tY tY tY tY t t c
79
Ultrice tÇ tI I
tÇ J
t I
tÇJ
Proud of my new -born rank Which raised me from my clan, From yon - der moun - te -bank
"" |
> " " Š | #tt tt || tt d t tt ÇÇ tt tt ÇÇ tt tt c
tI

? "" Š || t tt | t
t c
"t t t
piano
"" #| c
"
 " "" t a
82
#tI Ç tJ tI Ç
(She produces it. Pietro clutches at it.)
tJ t
Ultrice
d •#t
I stole the tal - is - man!
; "" " b c #| tt d
 " | tI
Allegro
Women #tY t
"
† " "" b c d • Yt | #t d #tY
Ah, false one! From
Tenors
# tY | t tY
 "" b d • d
Ah, false one! From
c
Basses < ""
t
"""" d t #| t d Yt
Allegro
> #|| # #ttI t tt | #tt

š • # tttY
? "" | t t t t t t t t
t d
piano
"" | #tt t t t t t t t t t d
Yt
257
"
† " "" a b b d
84
Pietro tI tI tI
An - o - ther
; "" " t
Women  " tIt ÇÇ tJ
t I t tt c
tt ÇÇ tJ #tI Ç tJ ItÇ J t t
a
" " #tY Ç Yt Ç

yon - der moun - te - bank She stole the tal - is - man!
tZ tZ t c t
Tenors †" " #tI Ç tJ ItÇ J t t
a
#tY Ç Zt tY Ç Zt t t
#tY Ç Zt Yt Ç tZ t
yon - der moun - te - bank She stole the tal - is - man!
 "" c a
Basses < ""
""" tÇ t tÇ t t
>  " tÇ t tÇ t t c #tt tt ÇÇ tt # #tt ÇÇ t a
t
tÇ ttt ttt ÇÇÇ ttt ttt
?  " " ## tt ÇÇ t tÇ t t Ç #tt
piano
"" tt a
t tÇ t tÇ
""
(A light is given to him - he burns the parchment.)
† " " tY tY tY tY tÇ tY d "tI c

87
Pietro #| tI tI | t
min - ute and my fate were sealed! A light, quick! quick! my
"" |
> " " | #|| #|
"A "| t d c
#tI
b

?  " " A| | !AA #tt
piano
"" d c b
tY
258
" ²d
† " " " #| tY t #tI #tY |
90
Pietro I #tI tI tI tÇ tI I
t tI I t tI
² | | |
for - tune for a light! The parch - ment my tor - tures slow - ly
"" ttt d tI d c | | |
>  " " #||| I c #tt
•
? "" | ²
piano
"" | d c tI d c c
I
t t
 #tt #AAA
(Gong. All change to their original characters: the Monks becoming brigands, Minestra
becoming a young woman, Alfredo and Ultrice becoming peasnats, Bartolo and Nina are
restored to humanity, and Pietro recovers his health. Alfredo embraces Teresa.)
"" #tY #tI #tY Yt t Ç

†" " | tI c c c | b
93
Pietro #tI t t tI
yield 'Tis gone! And with it our dis -tort - ed plight!
; "
Women  " "" a a b b c d tI
t
" d #tY
Hur -
Tenors † " "" a a a b c

tY
Hur -
 "" " a a b b c d
Basses
< "
| |
"""" | | #t t
>  #ttY d c b #!|| tt c
#t t t t
t t
t
"t | •
? #tYt
piano
"
 " " " #AAA  !tY d c b #| | |
| |
259
; "" " t Ç || d tI
c t tt ÇÇ || c d tI
97
Women  " tÇ t tt ÇÇ tI
#tI t tt ÇÇ tI
#tI "t
rah! The spell's re -moved, Hur - rah! The men we loved, Hur -
" #t Ç #| d tY #t Ç #|
Tenors † " "" tY t Ç tY c tY t Ç tY c d #tI
rah! The spell's re -moved, Hur - rah! The girls they loved, Hur -
tÇ | tY tÇ |
 "" tY t Ç tY c d tY t Ç tY c d !tY
Basses < ""
#t #t
"" " # #tt d #t t t #t #t # #tt d #t t t #t # t
> " #t Ç
###tttI # tt ÇÇ tI
t # #tt # t t t #t Ç
###tttI # tt ÇÇ tI
t # #tt # t t t
? "" tY tY
t tÇ t tÇ
piano
"" d I | | d I | |
t | | t | |
; "
 " " " tt ÇÇ c d tI t Ç tI
t tt ÇÇ
#tYt #|| c d tYt
101
Women #tI
t tt ÇÇ ! tIt ! ||
rah! Are ours a -gain, Hur - rah! With might and main, Hur -
" | tY |
Tenors † " " " #t Ç tY t Ç tY c d tY #t Ç tY tÇ c d #tY
rah! Are theirs a -gain, Hur - rah! With might and main, Hur -
 " " " !t Ç #tY t Ç d | tY tÇ tY tÇ tY | tY

c d c d
Basses
< "
t tt
"" " " # tt
d #tI t t #t t d tI
#t tÇ tI
tt #ttt t t tt
> t tt ÇÇ ! I
tt ! tt t tI tI#t t #tt tt ÇÇ t #t t t
?  " " !t d d #tYt tt ÇÇ Yt t tÇ t

piano
" " !tY | | d d t

Y tÇ Yt | |
| | I
t | |
260
; " " " ²|| tYt d # #" a a
105 Allegro
Women  " #
" #| tY d c # #"
rah!
Tenors † " "" # a a
²
rah!
 "" | Yt
d c ### " a a
< ""
²
Basses
|
# || ttt
Allegro
"" " " | tY #t t # # # "###ttt t ttt ttt ttt t ttt ttt ###ttt t ttt ttt ttt t #t #t
d #tt tt
>
| | t t t t
? "" ### " |
piano
" " ³| d | t t t t c
| I
t
†" a b b c
108
Arrostino
t t tI tI tI tI tI tI
"t t t
The Duke and the Duch - ess, When they
t
>  " "t t tt t t ttt ttt ttt tttt t tt c # t t t ttÇ t tt
t # tÇ tÇ tÇ tt tt t tt

? t t t t
piano
" t t t t t t t t t c tt tt tt tt tt tt tt tt
t t t t t Ç Ç Ç Ç
† " tI tI tI tI t tI tI t tY tY t
112
Arrostino tI tI t tI tI t tI tI
tra - vel thro' the land, How the pair they will stare, with their high jer - ry ho! They will
t tt
>  " tt tt tt
t
tt
tot
I t
tt
tt
t t ttt tt
t
tt
t ttt
t
? ¬¬¬ tt ttt ttt ttt ¬¬ t ttt ttt
piano
" tt tt tt tt
¬¬ t
¬¬¬ tt tt
¬
261
†" t t #tY tY t tY tY #tY tY tI tI
115
Arrostino tI tI t tI tI tI tI tI tI
yet fall a prey to the va - lour of our bank, For we shall not be hap - py til we
t t t
>  " tt tt t t #t
tÇ tÇ t t #t
t tt
t tt t t tt tt tt
? ttÇ ttÇ tt tt tt #t
piano
" tt t
tt tt tt tt tt tt
¡
" t
118
† !| !tIotI t #tI tI tI tI t tI tI tI tI tI tI I
t I
t tI tI
Arrostino o
¡
get them; With our high jer - ry ho! And our can - ti - cle pe - dan - ti - cal, And our
" !t t t
t tt tt tt
>  !| # # tt t tt tt tt ttÇ ttÇ Ç Ç tt
Ç Ç ttÇ tt ttÇ ttÇ
• Ç
t
?  #tt ttt tt t
piano
" t t t t t t
t t t t t t t
tY •tY tY t
† " tI tI tI tY tY tY tI tY tY t tY tY t t t
121
Arrostino t
•#tY
mys - tic, tho' ar - tis - tic, Jer - ry high, her - ry ho! With their high jer - ry ho! their
; " b b c tY t tY tY t t t
Women 
•tYt t
With their high jer - ry ho! their
tYt tYt tYt tt tt tt

Tenors †" a b c t
 •t t Yt tY t t t
With their high jer - ry ho! their
b b c t
Basses < " Yt Yt t
tt ttÇ tt tt t tt tt tt ttt ttt tt tt tt tt tt

>  " ttÇ tt
Ç
ttÇ Ç Ç Ç tÇ tt t t t t t t t
•
? t t
piano
" t t t t
t
262
† " tY tY tY tY Yt I
t tY tY "tY Yt tY tY tY Yt I
124
Arrostino t tI t tI I
t t t
can - ticle pe - dan - ti - cal, And their my -stic, tho' ar - tis - tic, Jer - ry hgih, jer - ry ho! Their
; " tY tY tY tY Yt Yt tY tY tY tY tY tY tI I
t I
Women  t tI t tI I
t t t
can - ticle pe - dan - ti - cal, And their my -stic, tho' ar - tis - tic, Jer - ry high, jer - ry ho! Their
t tYt tI t tY "tY Yt
Tenors † " tY t Yt ttY tI tY tY tY Yt Yt tI tI t tI I
t t t
can - ticle pe - dan - ti - cal, And their my -stic, tho' ar - tis - tic, Jer - ry high, jer - ry ho! Their
 tY Yt Yt Yt tY Yt t t t t t t t t t tYt tt !tYt Ytt t #tt

Basses < " Yt tY Yt Yt tY Yt tY Yt tY
" tt tt tt tt tt t t t "t t t t t t tt tt t tt tt tt tt ÇÇ t
> t t t t t t tt t t t
? t t t t t t tt
piano
" t t t t t t t t t !t t #tt
t t t !t t
†" tI d c
127
Arrostino N N N N N N N t | tÇ tI |
high, high, high, high, high, high, high, their high jer - ry ho!
; "
Women  N N N N N N N t | tÇ tI | tI d c
Tenors †" N N N N N N N t | tÇ tI | tI d c
| tY
" N N N N N N N t tÇ | tY d c
Basses
<
t t
d tt tt
>  " ot tI
ot t ot t ot t
ot tt
ot t ot t ||
ttt tt ÇÇÇ tI || tt
I
t t t t t t | tt Ç ttt | t
? t t t t tt tt t | t d c
piano
" t t t t t t | tÇ tI
t | tÇ t | Yt
263
†" ¿ a a a a b c
131
Solos
t
1. Pietro, Bartolo and Nita The
2. Alfredo and Tessa
tt t tt tt tt t tt tt tt t tt tt tt t t t t
The
" t t t
> ¿t tt t t t t tt t "t t tt t t ttt ttt ttt tt t t c
tt tt ttÇ ttÇ ttÇ ttÇ
| | t tt t
? | t t t t tt t
piano
" ¿ | t tt t c t t t t t c t t t t
tt t t t tÇ tÇ tÇ tÇ
t
†" t t t tY tY
136
Solos tI tI tI I t tI tI tI tI tI
t I tI tI tI tI t
Duke and the Duch -ess, had they tra - vell'd thro' our land, With their cries of sur - prise and their
Duke and the Duch -ess, if they tra - vel thro' our land, As they may, a - ny day, with their
ot t t
>  " ttt tt
t
tt tt
t
tt tt tt
t
tt t ttt ttt tt
? ¬¬¬ tt ttt ttt ttt

piano
" tt t
t
t
t
t
t
t
t
t
t
t
t
t
t ¬¬¬ t
†" t t #tY tY
139
Solos tI tI t tI tI t tI tI t tI tI tI tI tI tI
high jer - ry ho! They'd have seen ma - ny things that they would-n't un - der - stand; Not the
high jer - ry ho! They will find that we're link'd, heart in heart, hand in hand, And a
t t
>  " tt tt
t
tt
t ttt tt tt tt
tt
t
tt
#t
tÇ tÇ
t t tt tt
? t ttt ttt ttÇ ttÇ
piano
" tt tt tt tt tt tt tt tt tt
t ¡
†" tY tY #t t
142
Solos tI tI !| !tIotI t
o #tI tI tI tI t tI tI
least is our show, you may bet them, With our high jer - ry ho! And our
loving ex - am - ple we'll set them, With our high jer - ry ho! And our
t ¡
t t
> " t t #t
t tt !| !t t t # # tt t tt tt tt ttÇ tt
Ç
•

#t #tt tt tt t
? tt tt tt
piano
" t t t t t t t
t t t
264
†" I t tI tY tY tY Yt I tY tY t tY tY
145
Solos t I
t tI I
t I
t tI tI tI I
t I t t
click- ings and our tick -ings, Our em - pha - tic au - to - ma - tic Jer - ry high, jer - ry ho! With their
; " tY tY
no - tion of de - vo - tion, And our gen - tle sen - ti - men - tal Jer - ry high, Jer - ry ho! With their
 a b b
c
Women
With their
tYt tYt
†" a a b c
With their
Tenors
 t t
With their
a b b c
Basses < " tY tY
tt tt tt t tt tt tt ttt
>  " ttÇ ttÇ ttÇ ttÇ ttÇ t
ttÇ ttÇ tÇ
ttÇ tt ttÇ ttÇ
Ç Ç Ç Ç tÇ tt t t t
•
?
piano
" t t t t t t
t
†" tY tY t tY tY tY Yt Yt tY tY tI tY tY "tY Yt Yt Yt tY tY I
148
Solos t I
t
high jer - ry ho! With their click- ings and their tick -ings, Their em - pha - tic au - to - ma - tic Jer - ry
; " t tY Yt Yt tY tY tY tY tY tY Yt Yt
high jer - ry ho! And their no - tion of de - vo - tion, And their gen - tle sen - ti - men - tal Jer - ry
Women  tY tY t tY tY tY tY tY I
t I
t
t
tI tY tY "tY Yt Yt tY
high jer - ry ho! And their no - tion of de - vo - tion, And their gen - tle sen - ti - men - tal Jer - ry
tYt tYt tt tYt tYt I

tt tYt tYt
Tenors †" t t tYt
tI tY Yt I
t I
t
 t tY tY t tY tY tY Yt Yt Yt Yt Yt t t t t t t tYt Ytt ttY Ytt

Basses
< " t tY Yt tY Yt tY Yt
" tttt ttt ttt ttt tt tt tt tt tt tt tt tt t t "tt t t t t t tt tt

> t t t !t
? t t t t t t t t tt
piano
" t t t t t t t t t t t t
t t
t
265
1.
†" t
151
Solos tI tI t t N N N N N N N t | tÇ tI
high, jer - ry ho! Their high, high, high, high, high, high, high, their high jer - ry
high, Jer - ry ho! Their high, high, high, high, high, high, high, their
; "
Women  t tI tI t t N N N N N N N t | tÇ tI
high, Jer - ry ho! Their high, high, high, high, high, high, high, their
Tenors † " tt tI tI t t N N N N N N N t | tÇ tI
 t N N N N N N N t | tÇ tY
Basses
< " t !ttY Ytt #tt
>  " ttt tt tt ot I

t ot t ot t ot t tt ot t ot t ||
t t ttt tt ÇÇÇ tI
t t tt t t t t t t t | tt Ç ttt
? t t t t tt t t
piano
" t !t t #tt t t t t t t | tÇ tI
t !t t t t | tÇ t
† " | tI d c tÇ tY AA t
2.
a
155
Solos ¿ | Yt
ho!
; " tY AA tYt d c
high jer - ry ho!
Women  | tI d c ¿ |
tÇ b a
ho!
tY AA tYt d c
high jer - ry ho!
Tenors † " | tI d c ¿ |
tÇ b a
 " | Yt d c | tt ÇÇ tYt AA tYt d

ho!
¿ c b a
Basses
<
tt tt tt tt tt tt t tt tt tt t tt tt tt t tt tt tt t tt tt
"
>  ||| c t t ¿ tt c tttt c tt c c t t t t t t t t t t t t t t
t t
| tÇ t | t
? | td c |
piano
t Ç t
Y Yt d c
" | Yt ¿ t c t c t
c |
t t t
266
tt t tt tt tt t tt tt tt t tt tt tt t t t ""tt t t t t t tt tt tt t tt tt tt t t t || tt ÇÇ t
" tt t t t t t tt tt t t t tt t t ttt
t || tt ÇÇ
160
> t tt t tt t tt t Yt
| t tt |
? | td "tt tt tt ttt t t t t t t
piano
" t tt | Yt c t tt | tÇ t
I
t t t t t t tt | tÇ t
tt tt ²
AA
tt tt tt tt t tt tt tt t tt tt tt t tt tt tt t tt tt tt t tt tt tt tt AA
" c c
165
>  t
t t t t t t t t t t t t t t t t t t
t |Ç t | t t
? | Ç | t c
piano
" t c c t t t t c
t t A
t t ³ A
Curtain -- End of opera
267

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An Entirely Original Comic Opera Entitled

ARROSTINO ANNEGATO, Captain of the Tamorras — a Secret Society

Tamorras, Monks, Village Girls.

ACT I. Elvino’s Inn on a Sicilian Pass.

ACT II. A Monastery by Moonlight.

DATE. Early in the Nineteenth Century.

W S Gilbert Alfred Cellier

" ttttt t t t t t t t t t t t t t t t t tt ttt tt ttt |t tt

" t "t tt t tt t tt t tt tt ttt tt tt ! ttt t

Quum o - ra - mus je - ju - na - mus; E - heu! o - ti -

" " " " t Ç tt tt ÇÇ tt tt ÇÇ ttt ttt ÇÇ ttt

; " " " tY Ç ó

 """" ttt ÇÇÇ tt tt ÇÇ tt tt ÇÇ tt tt ÇÇ tt tt Ç t I t d dÇ t # tt Ç t

 " " Yt d c NY d ²dÇ tZ t t tY Ç tZ t tY Ç Zt tY Ç tZt tt

; " " " Yt Ç #tZ Yt Ç tZ tY Ç Zt Yt Ç tZ Yt Ç tZ Yt Ç tZ

Tenors † " tI d tY d tY d #tI c

Tenors † " "tI d tY d tY d tI tY

Yes, yes, yes, We swore man kind should rue it.

tYt tYt tYt tYt t

 " " " " tt ÇÇ tt t d

; " " " Yt Ç

!ttt ttt ttt ttt tt tt tt tt tt tt tt ! tt tt

tt ttt ttt tt ttt ttt t t t

; ™tYt tYt tYt tt ÇÇ tt ÇÇ tZt tYt

ttt ttt ttt ttt tt tttt tt tt tt tt tt t tt

?  ! ! t ttt ttt tt tt ! ttt tt tt ttt tt

!!! 2 d d ttt tt tt ttt tt tt d

!!! a d tZ tZ Zt Zt ²tZ Zt tZ tZ tZ tZ ²tY d

GIORGIO. Three secret cheers for the Captain!

; " " 2Allegro moderato d tJ tt ttY ÇÇ tZt !ttY ÇÇ

; " " tYt

Minestra  " tÇ t tÇ tÇ "t t Ç #t #t t t t

" " e e e tJ e #ttJ e "ttt ttt

" tÇ tÇ tÇ tÇ tÇ tÇ #tÇ tÇ tÇ tÇ #tÇ t

" tI t # #tt ÇÇ tt t t t tÇ tÇ ¡t #tÇ tÇ ¡t

Minestra " J tI Ç tJ tZ tI Ç "tJ tJ tJ d tJ tJ #tJ

; "" t #t "t tYt t tt t J

; " " tJ Z tYt ÇÇ ttY ÇÇ tZt tYt

; " tYt ttY t tYt t I

" t #ttt "ttt ttt tt d tt ÇÇ t

ARROSTINO. Now then, to business. Anything to report?

Arrostino  !|| !t# t t tI tI tI tI t tI tI tI tI tI tI tI tI tI tI

; ! •t tYt t tYt tYt tt tYt

; ! tYt tYt tYt tYt tYt #tY Yt

" t t t Ç tI tY tY t t t Ç #tY I t Ç "tI tY tY

" " tt t t t t tttt t ttt

Alfredo " ttt t tÇ t tY t

" " tttt t ttt t tt ttt tt

ttt t tt tt t tt ttt tt tttt ttt tt

Alfredo " ttt t tI t

" tttt t ttt

? " d ttt d ttt d ttt d ttt d

?  " tYt ¬¬¬ tt

ALFREDO. Teresa! You here?

 t t t t t t t ttÇ ttÇ ttÇ

Teresa " " tY tI tI I

 tt tt tt tt ttÇ tt ttÇ ttt tt tt tt ttt

Teresa " " |

Teresa t #tI tI | tI !tI tI