The Light in The Piazza LIBRETTO

Digital Perusal
Concord Theatrical’s digital perusals grant easy access to perusals while protecting the
intellectual property of our composers, book writers, and lyricists. Concord perusals will
help you find the perfect show to fit your theatre, casting pool, and resources, and they
will help you get acquainted with the material. They cannot be used to hold auditions
or rehearsals, produce the show without a license, or find sheet music for a separate
performance.
LIBRETTO – VOCAL
THE LIGHT
IN THE P IAZZA
THE LIGHT IN THE PIAZZA
BOOK BY
CRAIG L UCAS
MUSIC AND LYRICS BY
ADAM G UETTEL
Produced By Arrangement With Turner Entertainment Co.
Owner of The Original Motion Picture "Light In The Piazza"
Based on the Novel by Elizabeth Spencer
Original Broadway Production by Lincoln Center Theater, New York City, 2005
The World Premiere of The Light In The Piazza was produced by The Intiman Theatre
Seattle, Washington
Opening Night: June 14, 2003
Bartlett Sher, Artistic Director Laura Penn, Managing Director
and The Goodman Theatre, Chicago, Illinois
Opening Night: January 20, 2004
Robert Falls, Artistic Director Roche Schulfer, Executive Director
Developed With The Assistance Of The Sundance Institute Theatre Laboratory

OR C H E ST R A TI ONS B Y ADD I TI ON AL O RC H ES T R AT IO NS B Y
TED SPERLING AND ADAM GUETTEL BRUCE COUGHLIN
ITALIAN LYRICS FOR “Il Mondo Era Vuoto” BY ITALIAN TRANSLATION BY
JUDITH BLAZER JUDITH BLAZER and MARIA VÈRNOLE BLAZER
For This Edition:

MUSIC PREPARATION BY
ANDY EINHORN
MUSIC SUPERVISION BY
BRUCE POMAHAC
www.rnh.com
This Libretto-Vocal Edition © 2007 by Craig Lucas and Matthew Music. Libretto Copyright © 2005 by Craig Lucas. International
Copyright secured. All Rights Reserved. Score Copyright © 2005 by Matthew Music. All Rights Reserved. Publication and allied rights
for Matthew Music administered by Williamson Music throughout the world. International Copyright secured. All Rights Reserved.
COPYRIGHT WARNING
Professionals and amateurs are hereby advised that this material is fully protected by
copyright in the United States of America, the British Commonwealth (including Canada)
and other countries throughout the world. All rights, including performance of any kind
or nature by professionals or amateurs, recitation, lecturing, public reading, radio or
television broadcast, cable television, videotape, audio recording, motion pictures and
rights of translation into foreign languages are strictly reserved. Any performance,
copying (including photocopying), arranging, adapting, inserting or storing in a retrieval
system, transmitting in any forms or by any means whatsoever, including mechanical or
electronic, or any portion of this material without the prior written consent of the
copyright owners is an infringement of copyright thereby entitling the copyright owners
to injunctive and other relief to the full extent of the law.
Libretto Copyright © 2005 by Craig Lucas. International Copyright secured.

All Rights Reserved.
Score Copyright © 2005 by Matthew Music. International Copyright secured.

All Rights Reserved.
i
BROADWAY PRODUCTION INFORMATION
THE LIGHT IN THE PIAZZA opened on Broadway at the Vivian Beaumont Theater at Lincoln Center
on April 18, 2005. Produced by Lincoln Center Theater under the Direction of André Bishop and
Bernard Gersten. Based on the novel by Elizabeth Spencer. World Premiere Produced by the Intiman
Theatre, Seattle and the Goodman Theatre, Chicago. Developed with Assistance from the Sundance
Institute Theatre Laboratory. Produced through Special Arrangement with Turner Entertainment
Company. Scenery Designed by Michael Yeargan; Costumes Designed by Catherine Zuber; Lighting
Designed by Christopher Akerlind; Sound Design by ACME Sound Partners; Orchestrations by Ted
Sperling and Adam Guettel; Additional Orchestrations by Bruce Coughlin; Stage Manager Thom
Widmann; Production Stage Manager Peter Wolf; Casting by Janet Foster; General Press Agent Philip
Rinaldi; Musical Theater Associate Producer Ira Weitzman; General Manager Jeff Hamlin; Director of
Development Hattie K. Jutagir; Director of Marketing Linda Mason Ross; Musical Direction by Ted
Sperling; Musical Staging by Jonathan Butterell; Directed by Bartlett Sher with the following cast:
Margaret Johnson ..................................................................................................................... Victoria Clark

Clara Johnson ............................................................................................................................. Kelli O’Hara
Fabrizio Naccarelli ............................................................................................................ Matthew Morrison
Signor Naccarelli .......................................................................................................................Mark Harelik
Signora Naccarelli................................................................................................................... Patti Cohenour
Giuseppe Naccarelli ............................................................................................................ Michael Berresse
Franca Naccarelli ............................................................................................................. Sarah Uriarte Berry
Roy Johnson .............................................................................................................................. Beau Gravitte
Tour Guide ........................................................................................................................ Felicity LaFortune
Priest ......................................................................................................................................... Joseph Siravo
Ensemble ........................................... Glenn Seven Allen, David Bonanno, David Burnham, Laura Griffith,
Prudence Wright Holmes, Jennifer Hughes, Felicity LaFortune,
Catherine LaValle, Michael Moinot, Joseph Siravo
ii
CAST OF CHARACTERS
Margaret Johnson – An elegant, self-possessed, practical and attractive American woman in middle age
Clara Johnson – Margaret’s twenty-six-year-old daughter, young and naïve for her age
Fabrizio Naccarelli – A twenty-year-old, good-looking and charming Florentine
Giuseppe Naccarelli – Fabrizio’s slightly older brother
Franca Naccarelli – Guiseppe’s wife
Signor Naccarelli – Fabrizio’s father
Signora Naccarelli – Fabrizio’s mother
Roy Johnson – Margaret’s husband
Tour Guide
Priest
Ensemble
iii
MUSICAL SYNOPSIS
ACT I
OVERTURE
Scene 1: Piazza della Signoria, Florence — Summer, 1953
STATUES AND STORIES .............................................................. Margaret, Clara and Ensemble
Scene 2: The Uffizi

THE BEAUTY IS ......................................................................................................................Clara
Scene 3: The Naccarelli Shop

IL MONDO ERA VUOTO ................................................................................................... Fabrizio
AMERICAN DANCING ............................................................................................... Instrumental
Scene 4: The Duomo
Scene 5: Piazzale Michelangelo

PASSEGGIATA ................................................................................................................... Fabrizio
Scene 6: The Naccarelli Home

THE JOY YOU FEEL ............................................................................................................ Franca
Scene 7: Margaret and Clara’s Hotel Room

DIVIDING DAY .................................................................................................................Margaret
Scene 8: On the Street

HYSTERIA/LULLABY ..................................................................................... Clara and Margaret
Scene 9: The Hotel Room

SAY IT SOMEHOW ............................................................................................Clara and Fabrizio
iv
MUSICAL SYNOPSIS
ACT II
ENTR’ACTE
Scene 1: Rome, the Ruins

AIUTAMI ................................................................ Fabrizio, Signora Nacarelli, Signor Naccarelli,
Franca, and Giuseppe
THE LIGHT IN THE PIAZZA..................................................................................................Clara
Scene 4: Florence

OCTET........................................................................ Clara, Priest, Signor and Signora Naccarelli,
Franca, Giuseppe, Fabrizio and Margaret
CLARA’S TIRADE ...................................................................................................................Clara
Scene 6: The Church — The Wedding Rehearsal

THE BEAUTY IS (REPRISE) ............................................................................................Margaret
Scene 8: Florentine Street

LET’S WALK.................................................................................. Margaret and Signor Naccarelli
Scene 10: The Empty Streets of Florence at Dawn

CLARA’S INTERLUDE ...........................................................................................................Clara
Scene 11: Outside the Church

LOVE TO ME ...................................................................................................................... Fabrizio
FABLE .................................................................................................................................Margaret
v
COSTUME NOTES
MARGARET JOHNSON – Margaret is an elegant, self-possessed, practical and attractive woman in

middle age, and her clothes should reflect this. She is an American, and as she spends time in Italy her
clothes should reflect a change – perhaps growing more stylish and striking. Unless the scene calls for a
specific outfit (the wedding scene will require something more formal), each outfit should be a nicely put-
together, slightly formal outfit, such as a skirt suit.
CLARA JOHNSON – Clara Johnson is 26, but her disability means that she acts much younger and can
be dressed as such, though never as a child. In the course of her stay in Italy, she falls in love and comes
into her own as a woman, and her clothing can reflect this change.
FABRIZIO NACCARELLI – Fabrizio is a romantic, a twenty-year-old who doesn’t quite fit into the
world of practical adult matters yet. As such, while he always looks well-dressed, he should look like his
mind is other places than current fashions. While he can wear a suit and tie when required, it shouldn’t
look like he belongs in one.
FRANCA NACCARELLI – Franca is both stylish and sexy. Her heels are high, her lipstick red and her
clothing the latest fashions. While Clara can appear the embodiment of youthful American optimism,
Franca is the embodiment of Italian hot-blooded femininity.
GIUSEPPE NACCARELLI – Giuseppe is Franca’s match, in clothing as well as temperament. His

clothes should be stylish, bold and snappy. He is older than Fabrizio and works at the tie shop, and thus
can be wearing a suit and tie most of the time.
SIGNOR NACCARELLI – Signor Naccarelli is the epitome of a classic Italian gentleman. He should
appear elegant, stylish, impeccable.
SIGNORA NACCARELLI – Signora Naccarelli, like her husband, should be dressed elegantly and
impeccably.
ROY JOHNSON – Roy is a successful American businessman, and should look it.
vi
PROP LIST
Act I Act II
Scene 1: The Piazza Signoria, Scene 1: Rome, the Ruins

Florence – Summer, 1953 • Guidebook
• Sketchpad
• Pencil Scene 2: The Naccarelli Home
• Guidebook • Guidebook
Scene 2: The Uffizi Scene 3: Rome, the Ruins

• No props required • Café drinks
Scene 3: The Naccarelli Shop Scene 4: Florence

• Newspaper • Prayer book
• Ledger book, pens, other items • Rosary
to cover a desk • Glass of wine
(to be spilled on a costume)
Scene 4: The Duomo • Napkin
• Bunch of flowers
Scene 5: Piazzale Michelangelo • 2 bureaucratic forms
• Language book • 2 pens or pencils
Scene 6: The Naccarelli Home Scene 6: The Church-The Wedding Rehearsal

• Coffee service, with milk and • No props required
sugar dishes, spoons, cups, etc.
• Note (from Fabrizio to Clara) Scene 7: The Naccarelli Shop
• Receipts
Scene 7: Margaret and Clara’s Hotel Room • Boxes
• 2 telephones • Receipt folder
Scene 8: On the Street Scene 8: Florentine Street

• Note (from Fabrizio to Clara) • No props required
Scene 9: The Hotel Room Scene 9: The Hotel Room

• No props required • 2 telephones
Scene 10: The Hotel Room Scene 10: The Empty Streets of Florence at Dawn
• No props required • No props required

• No props required
vii
I-1-1
ACT I
MUSIC 1: OVERTURE
Scene 1: Piazza della Signoria
(1953, Florence, summer. MARGARET JOHNSON, an elegant, self-possessed, practical and

attractive woman in middle age, and her daughter, CLARA, twenty-six, carrying a sketchpad
across the piazza. Early morning, wind-blown leaves.)
CLARA
Mother? What happened here?
MARGARET
(To the audience.)
What did happen here? I played a tricky game in a foreign country … What did I do?
CLARA
Mother?
MARGARET
(To Clara.)
What happened here? Wellll, let’s see …
(She consults her Baedeker. During the following, the piazza slowly fills with PEOPLE – flower
sellers, bicycles, families, squabbling lovers, a man selling newspapers, a soccer-playing priest-
the daily life of the piazza. MARGARET and CLARA are the only tourists. From time to time
MARGARET may need to rein in CLARA’S impulsive behavior.)
MUSIC 2: STATUES AND STORIES (PART 1)
MARGARET
ON A CENTRAL SQUARE
IN A CITY OF THE SUN,
ROSE A PALACE.
IT WAS HIGH AND HANDSOME,

GLEAMING LIKE THE CROWN OF A KING.
CLARA
Where would that be? Where is that?
MARGARET
IN THE TOWER
A WARNING BELL WOULD RING
CLARA
WHAT KIND OF WARNING?
MARGARET
FOR A FIRE, OR RIVER OVERFLOWING.
CLARA
OH.
I-1-2
MARGARET
FIRENZE.
ON A CENTRAL SQUARE,
THE BEGINNING OF A KINGDOM REPUBLIC.
CLARA
WAS THERE A KING? WAS THERE A QUEEN?
MARGARET
THERE WERE PRINCES, PAINTERS,
NOBLEMEN OF LOGIC AND ART.
CLARA
FIRENZE!
MARGARET
LEONARDO,
CLARA
LEONARDO!
MARGARET
MICHELANGELO, THE START.
CLARA
That’s a completely naked statue.
MARGARET
‘TWAS A DAWNING DAY UNFURLING
CLARA
FROM THE HEART!
THE PAINTING OF THE WORLD WE KNOW
MARGARET & CLARA

THE WORLD WE KNOW
ON A CENTRAL SQUARE,
MARGARET
IN A CITY MADE OF STATUES AND STORIES,
CLARA
GO ON AND TELL ME WHAT THEY MEAN.
MARGARET
IT IGNITED THERE,
LIKE A BEACON COMING OUT OF THE DARK.
YOU CAN FEEL IT.
CLARA
YOU CAN FEEL IT.
MARGARET
YOU CAN FOLLOW
I-1-3
CLARA
YOU CAN FOLLOW…
MARGARET
THE SPARK.
CLARA
WE’RE ON VACATION!
MARGARET
FROM AN AGE TO AN AGE.
CLARA
FROM AN AGE TO AN AGE.
MARGARET
IN FIRENZE
CLARA
IN FIRENZE
MARGARET
IN FIRENZE
CLARA
IN FIRENZE
MARGARET CLARA
THE SPARK, THE WORLD. THE PAINTING OF THE WORLD.
MARGARET & CLARA

IT STARTED THEN AND THERE,
AND HERE WE ARE.
IT’S A NEW OLD WORLD TO ME.
IT’S A NEW OLD WORLD AND
WE ARE HERE.
MUSIC 2A: STATUES AND STORIES (PART 2)
MARGARET
Your father and I took our honeymoon here before the war.
CLARA
Really?
MARGARET
And this is my first time back. I think it’s my favorite place on earth …
CLARA
I can see why.
MARGARET
The openness? The light? … And what else? …
(Reading from the Baedeker.)
I-1-4
“From her site on the great route from upper Italy to Rome, she commanded the passage on the Arno”—
they call cities “she” here. I bet you didn’t know that…
CLARA
(To an ITALIAN STRANGER.)
I bet she’d lose her bet.
MARGARET
“Thanks to her great success in war and industry … wool, silk, furs… Florence became one of the
foremost trading centers in all of Europe. In fact, the gold Florina became widely recognized as the
European form of currency.”
CLARA
(Out of the blue, impulsive and excited.)
We’re here!
ON A CENTRAL SQUARE…
MARGARET MAN ON BIKE

IN A CITY MADE OF STATUES AND STORIES. Giornali!
IT IGNITED THERE,
LIKE A BEACON COMING OUT OF THE DARK.
SIGNOR ALL
Mille grazie, Signora. (The voices in the piazza start to build;
Italian phrases are not all clearly audible.)
CLARA
YOU CAN FEEL IT…
MARGARET
YOU CAN FEEL IT…
CLARA
YOU CAN FOLLOW…
MARGARET
YOU CAN FOLLOW…
CLARA
YOU CAN FEEL IT…
MARGARET
YOU CAN FEEL IT…
CLARA
YOU CAN FOLLOW…
MARGARET
YOU CAN FOLLOW
THE SPARK.
CLARA
I-1-5
MARGARET
THREE OTHERS
AH…
CLARA FRANCA
IN FIRENZE Va’ al diavolo! (Go to the devil!)
MARGARET GIUSEPPE
IN FIRENZE Ho detto che stavo (I said I was
giocando a carte. playing cards.)
FRANCA
Hai trope donne! (You have too many women!
Non voglio uscire I don’t want to go out
con te. with you.)
SIGNOR NACCARELLI
CLARA Lavori oggi? (Are you working today?)
IN FIRENZE
GIUSEPPE
MARGARET Cinque minuti. (Five minutes.)
IN FIRENZE
SIGNOR NACCARELLI
Cinque minuti!
MARGARET CLARA
THE SPARK, THE WORLD. THE PAINTING OF THE WORLD.
MARGARET & CLARA ALL

IT STARTED THEN AND THERE,
AND HERE WE ARE.
IT’S A NEW OLD WORLD TO ME. OH…
IT’S A NEW OLD WORLD AND AH…
WE ARE FIN’LLY HERE.
(The piazza beings to empty, leaving MARGARET, CLARA and FABRIZIO NACCARELLI—well
dressed, a little slick, perhaps, also dazzlingly handsome, twenty. He watches CLARA. She does
not see him.)
MUSIC 2B: MARGARET / HAT UNDERSCORE
MARGARET
Ah, what else, what else, what else…
(Looks at the Baedeker.)
Oh, this is interesting: a man was, well, it isn’t a very happy thought, but a man was burned to death
right over there, a monk. Andiamo ... Here’s the plaque.
CLARA
Oh?
(CLARA reaches out to touch the plaque and recoils as if her hand has been severely burned.)
I-1-6
MARGARET
What’s wrong?
CLARA
(Joking.)
It’s still hot. Why was he burned to death?
MARGARET
Well, I’ll tell you why, even though you love to torture me like that…
(Checks Baedeker.)
“Heeee was a preacher who told them they were wicked for playing dice and musical instruments and
reading certain books”—sounds like a Baptist—and they didn’t like him for it.
CLARA
I wouldn’t either.
MARGARET
People were apt to be very cruel in those days. But they must feel sorry for it, because they’re still talking
about it all these years later. All right now, don’t wander off.
CLARA
I won’t.
(CLARA wanders off. MARGARET is engrossed in her reading. A sudden breeze steals the hat
from CLARA’S head; it rises up and away, in slow motion, and she turns to chase it. The hat
continues to elude her. And, as if an unseen hand were manipulating it all, FABRIZIO catches
the hat mid-air. CLARA and FABRIZIO are face to face. FABRIZIO bows slightly.)
FABRIZIO
FABRIZIO NACCARELLI!
CLARA
CLARA!
MARGARET
Clara! Clara, I said don’t run off …
(Rises, moves toward them, realizes what has happened.)
Oh. Grazie, grazie very much.
(Takes CLARA’S hand.)
Here we go, love.
(FABRIZIO sees CLARA’s sketchpad.)
FABRIZIO
(His English is almost non-existent.)
You make this? Mi scusi. Il suo nome? (I’m sorry. Your name?
Non parlo English. I speak no English.)
MARGARET
Not to worry, no problema.
CLARA
Thank you.
I-1-7
FABRIZIO
Oh, you, my, you so very welcome.
(To MARGARET.)
Miss? Signora?
CLARA
This is my mother, Margaret Johnson.
FABRIZIO
Johnson, come Van Johnson?! (Like Van Johnson?!)
CLARA
Yes!
FABRIZIO
You are – relative?
MARGARET
No, no.
FABRIZIO
Oh.
MARGARET
Unfortunately, oops we have an appointment, I’m sorry to have to—
CLARA
What appointment?
FABRIZIO
Please, if you like, mi – Il mio, yes, shop, in Piazza della Repubblica – how do you say – beeg square. If
I may, please arrive my shop? Oh my English–
MARGARET
(To the audience.)
Why they think any of us will ever fall for this.
FABRIZIO
Via Strozzi, Otto—Capisce? (Understand?)
CLARA
Yes.
FABRIZIO
Guanti, cravatte—Everything for the (Gloves, ties—)
gentlemens. Not for you but for your husbands.
CLARA
I don’t have any husbands.
FABRIZIO
Signorina, ah, forgive me.
MARGARET
Oh brother. I’m afraid—we’ll very much try to stop by your shop domani.
I-1-8
FABRIZIO
Yes, tomorrow.
CLARA
Tomorrow then.
FABRIZIO
My pleasure.
CLARA
We’re staying, Mother, what’s the name of the hotel? The Hotel—?
MARGARET
Clara, honestly, I have to go to the bathroom, if you must know, thank God he doesn’t speak English.
FABRIZIO
Bathrooms? Are – yes, in café, lì. (…there.)
MARGARET
Oh yes, thank you, mille grazie.
CLARA
The Grant!
MARGARET
Clara!
CLARA
Grant Hotel.
FABRIZIO
Sì, sì, the Grand.
CLARA
Grand.
MARGARET
Clara…
FABRIZIO
The friend of me is open the door for you suitcase.
CLARA
Really? That’s amazing. A monk was burned to death right over here. Now is that any way to treat the
clergy?
MUSIC 2C: MARGARET ASIDE 1
MARGARET
(To the audience.)
Anyone meeting Clara for the first time usually finds this incredible, but … Well, Clara is not … She’s
not quite as she seems. She’s very young for her age. Is … And, oh, I have managed in many tactful
ways over the years to explain her and her situation to young men without wounding them. But … well,
none of that should be necessary here, one would certainly hope. Never mind.
I-2-9
(Turns to CLARA and FABRIZIO.)

Come, darling. Grazie again, ciao.
CLARA
Grazie.
(FABRIZIO walks off.)
CLARA
Did you see that?
MARGARET
Yes, I’ve seen it before.
CLARA
A hat do that?
MARGARET
No, not that.
CLARA
What did you mean?
MARGARET
No, nothing, come, there’s a lot to see if we want to get it all in.
(They disappear.)
MUSIC 2D: TRANSITION TO UFFIZI
Scene 2: The Uffizi
(An English TOUR GUIDE appears, followed by a small TOUR GROUP.)
MUSIC 2E: TOUR GUIDE
TOUR GUIDE
Uffizi, of course, means offices. The collection was bequeathed to the People of Florence by Anna Maria
Lodovico, the last of the Medicis. Here we see a late work by Fra Filippo Lippi, a monk, famous for his
misconduct. He painted his Madonnas to look like the nuns he slept with, including the one who eloped
with him and gave him a son. When his escapades brought him to financial ruin, he turned to forgery and
extortion.
(Gestures to the painting.)
“Madonna with Angels.” Now over here we see…
(MARGARET and CLARA enter. The TOUR GUIDE continues under them.)
MARGARET
Now this is called the Michelangelo room. Oh, look at this angel. The way he’s pointing like that? He,
or she, is telling Mary she’s going to have a baby and God is the daddy. “The Annunciation” by
Ghirlandaio?
(Pronounces it “Girlyandio.”)
No, that’s Leonardo.
I - 2 - 10
CLARA
(Overlapping.)
It’s almost noon. We said we’d meet him.
MARGARET
(Moving toward the TOUR GUIDE.)
Oh, let’s listen to what she has to say.
CLARA
I told him I would be there.
MARGARET
I don’t think we’ll have time to go to his shop today, darling, don’t you want to–?
CLARA
I want to.
MARGARET
We can’t always have what we want, Clara.
CLARA
We seem to be having what you want.
MARGARET
We’re extremely contrary today.
CLARA
You treat me like an infant sometimes. Maybe you’re the contrary one.
MARGARET
Clara. I told him we might come. Because I don’t think we should make friends with him.
CLARA
Why?
MARGARET
Because—he has his own life here and we have to go back home eventually.
CLARA
I could write him.
MARGARET
Remember how hard it was to leave Ronnie to come here?
CLARA
Ronnie is a dog, Fabrizio’s a boy.
MARGARET
Uh-huh. I thought you’d be happy to get away for once. And things are often hard.
CLARA
Mother.
MARGARET
We can see about all that later! Now shh! You’re being rude. And this is interesting.
I - 2 - 11
MUSIC 3: THE BEAUTY IS
(MARGARET joins the tour group. CLARA’S gaze wanders to the naked torso of a male with
genitals intact. She wanders up to the statue, stares intently at the headless man’s penis, then
touches it before looking out at us.)
CLARA
THESE ARE VERY POPULAR IN ITALY!
IT’S THE LAND OF NAKED MARBLE BOYS!
SOMETHING WE DON’T SEE A LOT IN WINSTON SALEM.
THAT’S THE LAND OF CORDUROYS!
I’M JUST A SOMEONE IN AN OLD MUSEUM.

FAR AWAY FROM HOME AS SOMEONE CAN GO.
AND THE BEAUTY IS I STILL MEET PEOPLE I KNOW.
(To the figures in the painting:)
HELLO.
(Mirroring the gestures in the painting:)

THIS IS WANTING SOMETHING.
THIS IS REACHING FOR IT.
THIS IS WISHING THAT A MOMENT WOULD ARRIVE.
THIS IS TAKING CHANCES.
THIS IS ALMOST TOUCHING.
WHAT THE BEAUTY IS…
I DON’T UNDERSTAND A WORD THEY’RE SAYING.

I’M AS DIFF’RENT HERE AS DIFF’RENT CAN BE,
BUT THE BEAUTY IS I STILL MEET PEOPLE LIKE ME.
EVERYONE’S A MOTHER HERE IN ITALY.

EVERYONE’S A FATHER OR A SON.
I THINK IF I HAD A CHILD
I WOULD TAKE SUCH CARE OF HER.
THEN I WOULDN’T FEEL LIKE ONE.
I’VE HARDLY MET A SINGLE SOUL,

BUT I AM NOT ALONE.
I FEEL KNOWN!
THIS IS WANTING SOMETHING.
THIS IS PRAYING FOR IT.
THIS IS HOLDING BREATH AND KEEPING FINGERS CROSSED.
THIS IS COUNTING BLESSINGS.
THIS IS WOND’RING WHEN
I’LL SEE THAT BOY AGAIN.
I’VE GOT A FEELING
HE’S JUST A SOMEONE TOO.
AND THE BEAUTY IS

WHEN YOU REALIZE,
WHEN YOU REALIZE
SOMEONE COULD BE LOOKING FOR A SOMEONE
LIKE YOU.
(Over the last of this, FABRIZIO appears, observing CLARA from between the paintings.)
I - 2 - 12
FABRIZIO
Ah! Clara!
CLARA
Fabrizio!
FABRIZIO
Destino!
(Having practiced this phrase, the correct inflection, vowels, etc.)
How, how good to see you, Clara.
CLARA
Oh—
MARGARET
(At the same time.)
Hello.
FABRIZIO
(Greeting MARGARET.)
Anche Lei, Signora. (And to you, ma’am.)
CLARA
It is so good to see you!
FABRIZIO
How, coincidenza, no? Sì?
MARGARET
No, sì.
FABRIZIO
Uhhh, tell me, Clara, are you—
un momento, prego, mi scusi. (One moment please, I’m sorry.)
(Trying to remember.)
Tell me, Clara, tell me, Clara, Signora, are you free for lunch?
MARGARET
I’m sorry, we have plans.
FABRIZIO
Oh, wonderful, may I suggest a café for us?
MARGARET
I said we have other plans, I’m sorry.
CLARA
(Overlapping.)
What plans?
FABRIZIO
Ah, yes, sì, I am sorry–
MARGARET
Ciao, Fabrizio.
I - 3 - 13
CLARA
Ciao! We’ll come by your shop!
MUSIC 4: IL MONDO ERA VUOTO (PART 1)
(CLARA and MARGARET move off. Fabrizio remains. He sighs. The Uffizi disappears around
him, and, as he sings, he travels from the piazza to his family’s shop:)
FABRIZIO
IL MONDO ERA VUOTO. (The world was empty
LE OMBRE LO RIEMPIVAN. The shadows filled it.
LA LUCE NON SPLENDEVA MAI. The light never shined.)
CLARA, LA LUCE NELLA PIAZZA. (Clara, the light in the piazza.

CLARA, MIA LUCE, MIO COR! Clara, my light, my heart!
ORA CHE SONO SVEGLIO Now that I am awake
ALL'OMBRA NON VO’ TORNAR. I don’t want to go back to the shadow.)
NON SAPEVO DI SENTIRMI SOLO, (I never felt myself to be lonely,

PRIVO DEL SENSO DELLA VITA. Missing the essence of being alive.
ERA COSÌ! That's how it was!)
CLARA!
CLARA!
CLARA, MIA LUCE, MIO COR!
L'ESSENZA CHE MI MANCAVA (The essence I was missing

SEI TU. Is you.
LA TUA LUCE M'INONDA. Your light fills me [inundates me].
MA LEI NON PUÒ AMARMI! But she won't love me!
NON COSÌ! Not like I am!)
OH CLARA!
NON AMERÀ UN RAGAZZINO! (She won't love a little boy!
NON PUÒ AMARE UN RAGAZZINO! She cannot love a little boy!
DIO! God!)
(FABRIZIO arrives at the shop, still singing. FABRIZIO’S father, SIGNOR NACCARELLI, sits
and reads the newspaper, not responding to the agony of his child.)
PAPÀ! (Dad!)
DORMIVO ! (I was sleeping!

IO NON SAPEVO D'ESSER SOLO . I didn't know I was alone.
SOLO NEL BUIO. Alone in the dark.
NON ERO VIVO! I wasn’t alive!
NON C'ERA CLARA! There was no Clara!
MA ORA LA TUA LUCE M'INONDA. But now your light inundates me.)
(GIUSEPPE enters with a tie.)
GIUSEPPE
Papà, le hai ordinate tutte queste? (Did you order all these?)
I - 3 - 14
SIGNOR NACCARELLI
Sì.
GIUSEPPE
(To FABRIZIO.)
Ciao, Romeo.
FABRIZIO
Devo sembrare un uomo (I have to look like a
di successo, più importante, successful man, more important,
più, più... più come Van Johnson! more, more…more like Van Johnson!)
SIGNOR N. & GIUSEPPE

Van Johnson??
FABRIZIO
Sì, Van Johnson!
SIGNOR NACCARELLI
Vuoi assomigliare a Van Johnson? (You want to look like Van Johnson?
Baudelaire vuol essere Fred Astaire. Baudelaire wants to be Fred Astaire
No! È troppo tardi. No! Too late.)
GIUSEPPE
Sì, troppo tardi. (Yes, too late.)
SIGNOR NACCARELLI
Resterai un bohémien. (You will remain a bohemian.)
GIUSEPPE
Bohémien.
SIGNOR NACCARELLI
Ho finito per oggi. (I am finished for the day.)
GIUSEPPE
Ha finito. (He’s through.)
FABRIZIO
Aiutami, Papà! (Help me, Papa!)
SIGNOR NACCARELLI
Domani, magari. (Tomorrow, maybe.)
FABRIZIO
No! Non domani! Adesso! (Not tomorrow! Now!)
MUSIC 4A: IL MONDO ERA VUOTO (PART 2)
MA LEI NON PUÒ AMARMI! (But she won't love me,

NON COSÌ ! Not like this!)
OH CLARA!
NON AMERÀ UN RAGAZZINO! (She won't love a little boy!
NON PUÒ AMARE UN RAGAZZINO! She cannot love a little boy!)
DIO!
I - 3 - 15
PAPÀ!
CLARA!
CLARA!
CLARA, MIA LUCE, MIO COR! (Clara, my light, my heart!)

SEI TU. Is you.)
SEI TU
CLARA!
CLARA!
CLARA, MIA LUCE, MIO COR! (Clara, my light, my heart!)

SEI TU. Is you.)
SEI TU
CLARA!
CLARA!
CLARA, MIA LUCE, MIO COR!
SOLO NEL BUIO. (I was alone in the dark.
NON ERO VIVO! I wasn’t alive!
O DIO, DAMMI LA MIA CLARA! Oh God, give me my Clara!
O PADRE, LA SUA LUCE… Oh Father, her light…)
(We've had so many modulations by this point that SIGNOR can't take it anymore. In
protestation, over FABRIZIO'S last note, he agrees to help.)
SIGNOR NACCARELLI
Oh, Madonna mia!
OK, Van Johnson.
FABRIZIO
M'INONDA! (…inundates me!)
SIGNOR NACCARELLI
Sei pronto? (Are you ready?)
FABRIZIO
Pronto. (Ready.)
MUSIC 5: AMERICAN DANCING/DUOMO
SIGNOR NACCARELLI
Abbottonati! (Button up!)
GIUSEPPE
In bocca al lupo. (“In the mouth of the wolf.” [Good Luck])
(FABRIZIO buttons his shirt.)
SIGNOR NACCARELLI
Va bene. (Good.)
È Così. Guarda. (Like so. Look.)
(SIGNOR NACCARELLI ties FABRIZIO’S tie.)
Vai sopra, gira intorno, passa dentro, (Go over, go around, pass through,
tira giù. pull down.)
I - 3 - 16
GIUSEPPE
Ecco, che dici? Prova la mia giacca. (Here, what do you say? Try on my jacket.)
FABRIZIO
Allora, che dite? (So, what do you [both] say?)
GIUSEPPE
Ahi ahi ahi ahi ahi…
(GIUSEPPE has the idea for a dance lesson. He instructs FABRIZIO.)
GIUSEPPE
D’accordo, sono una bellissima (All right, I’m a beautiful
ragazza americana. American girl.)
(Clowning, FABRIZIO reaches up and squeezes GIUSEPPE’S imaginary bosom. GIUSEPPE

slaps his hands.)
Ehi, tu! (Hey, you!

Smettila di agitarti di qua e di là. Stop moving about.
Le mani qui. Non troppo vicino. Guarda… Hands here. Not too close. Watch…)
(GIUSEPPE makes FABRIZIO try it alone or do the step again with him:)
Fallo tu, dai. (You do it, come on.)
(FABRIZIO tries to do the step. He looks like a duck.)
È una causa persa. (It’s a lost cause.)
Guarda. (Watch.)
Prova tu. (You try.)
(GIUSEPPE shakes his head, then does a complicated riff.)
FABRIZIO
(Angrily shoves him.)
NO no no no no no.
GIUSEPPE
Stupido…
(FABRIZIO throws the jacket back at GIUSEPPE.)
SIGNOR
Dai, pulcino, vieni con me... (All right, little one/chick, come with me.)
(SIGNOR NACCARELLI and FABRIZIO start to exit.)
GIUSEPPE
Ciao, Van Johnson.
I - 4 - 17
Scene 4: The Duomo
(FABRIZIO approaches his father who is meeting with a PRIEST. When he sees MARGARET
and CLARA entering, looking up into the dome, he hides, flowers behind his back.)
MARGARET
Isn’t that something? … Look up there at that big old Duomo. You wouldn’t want to trip up there, would
you? That’s a long way down.
CLARA
(Shouting.)
Olly, olly oxen free!
PRIEST
Shh!
(FABRIZIO appears, pretending to be a tourist. He speaks very quietly so that MARGARET

doesn’t hear him.)
FABRIZIO
Clara!
CLARA
Fabrizio!
FABRIZIO
Veramente, it is destiny! (In truth…)
(He presents the bouquet of flowers to CLARA.)
For you, Signorina.
CLARA
They’re beautiful.
(Loudly:)
Mother, look!
MARGARET
Well, look what the cat dragged in.
FABRIZIO
Signora.
CLARA
Milione di grazie! (Million of thank you!)
FABRIZIO
Milione!
CLARA
Sono cosa bella. (They are beautiful thing.)
FABRIZIO
(Correcting her.)
Belli, non bella. (Beautiful [masc.], not beautiful [fem.].)
I - 4 - 18
CLARA
Belli.
(MARGARET firmly positions herself between CLARA and FABRIZIO, about to put a final end to
this farce when SIGNOR NACCARELLI walks by.)
FABRIZIO
Papà! Papà! Che fai qui? (What are you doing here?)
Signora, Signorina Johnson, my father, Signor Naccarelli.
SIGNOR NACCARELLI
How do you do?
MARGARET
Hello.
FABRIZIO
He speaks English, not like me.
CLARA
Your English is wonderful!
SIGNOR NACCARELLI
Such a coincidence. May I take you perhaps for an aperitivo, Signora?
MARGARET
Oh, it’s a little early in the day.
SIGNOR NACCARELLI
Certamente. Perhaps you and your daughter will join (Certainly…)
us later then for a passeggiata. (…walk.)
In the Piazzale Michelangelo. Sunset. Everybody come there.
CLARA
We’d love to, tante grazie! (…thank you so much!)
MARGARET
Well … yes, grazie, I hope we can –
CLARA
We’ll be there, waiting.
SIGNOR NACCARELLI
Five o’clock then.
MARGARET
If we can.
CLARA
We can!
SIGNOR NACCARELLI
Till then.
(He bows as he and his son begin to move off.)

I - 5 - 19
MARGARET
Clara – I … Ciao.
FABRIZIO
Ciao. Five o’clock.
CLARA
Yes. Ciao.
FABRIZIO
Ciao.
CLARA
Ciao!
FABRIZIO
Ciao.
CLARA
Ciao!
FABRIZIO
Five o’clock.
(They laugh as FABRIZIO disappears; CLARA stands, watching him go. MARGARET turns to
us:)
MUSIC 5A: MARGARET ASIDE 2
MARGARET
You have no idea what it does to me to see her happy like this. But I have to tell them the truth. It cannot
continue. I can’t allow it. Oh, why isn’t Roy here? You cannot say no to these people. And they seem
too slick, don’t they? A father and son team?
(To CLARA.)
Come, darling, I think we need to put our feet up back at the hotel.
CLARA
Okay. Then we’re going to meet them, five o’clock.
(The PRIEST enters, surprising CLARA, who omits a little scream.)
MARGARET
It’s all right, darling. He works here.
(They exit.)
MUSIC 5B: PIAZZALE MICHELANGELO
Scene 5: Piazzale Michelangelo
(Sunset. A café. FRANCA, Giuseppe’s wife, is helping FABRIZIO with his English.)
FRANCA
Clara …
I - 5 - 20
FABRIZIO
Clara …
FRANCA
Such a beautiful blouse.
FABRIZIO
Such beautiful blouse.
FRANCA
Bene. Clara…
FABRIZIO
Clara.
FRANCA
Have you had an enjoyable afternoon?
FABRIZIO
Have you had enjoyably after – ?
FRANCA
Più musicale, più semplice facile. (More musical, easy)
Have you had an enjoyable afternoon?
FABRIZIO
Come si dice, “La sua pelle e (How do you say, “Your skin is
come il latte!”? like milk!”?)
FRANCA
No no no.
FABRIZIO
Sì! Your milk – ?
FRANCA
No “milk.” Non glielo dire (Don’t say that
prima di conoscerla. before you know her.)
FABRIZIO
Your milk … ?
FRANCA
Niente che fare con “milk.” No “milk”. (Nothing to do with milk.)
(GIUSEPPE breezes by; he is with a woman; when he sees FRANCA, he tells the woman to
leave.)
GIUSEPPE
Ah Franca! Buon giorno! Bellissima: come stai? (Good day. Beautiful. How are you?)
FABRIZIO
Have you had enjoyable afternoon?
I - 5 - 21
FRANCA
Bravo!
GIUSEPPE
Sì Bravo!
(Calling to a waiter.)
Cameriere! Vino rosso. (Waiter! Red wine.)
WAITER
Sì.
GIUSEPPE
Grazie.
FRANCA
You must know, Clara …
FABRIZIO
You must know, Clara …
FRANCA
… someday I too …
FABRIZIO
… someday I too …
FRANCA
… will come home …
FABRIZIO
… will come home …
FRANCA
… after a night spent with another woman …
FABRIZIO
Piano! (Easy, now!)
FRANCA
And you will have to wonder if I ever loved you.
(She exits. GIUSEPPE chases after her with:)
GIUSEPPE
Non prendere tutto così sul serio! (Don’t take everything so seriously!)
FRANCA
No!
GIUSEPPE
Perchè non ridi? Perchè si deve litigare? (Why don’t you laugh? Why must we fight?
Ridi! Gioca! Aspetta! Laugh! Play! Wait!)
(To FABRIZIO.)
Ciao,
(Running after her.)
I - 5 - 22
Franca!
(It is now five o’clock. CLARA enters, breathless.)
FABRIZIO
Clara!
CLARA
Buon giorno.
FABRIZIO
Ah. Such … beautiful frock!
CLARA
Thank you.
(Neither knows what to say.)
You cut yourself shaving.
FABRIZIO
Yes?
CLARA
Do you like to shave?
FABRIZIO
Oh … Yes? I … Yes?
(She lifts her hair, shows him behind her ear.)
CLARA
Look, a scar!
FABRIZIO
Oh, no, ma sono belli. Your hair is beautiful.
CLARA
No, no, not my hair. The scar. Scar. How do you say in Italiano?
FABRIZIO
Bella.
CLARA
No. How do you say scar?
FABRIZIO
Cicatrice.
CLARA
Cicatrice.
(Pause.)
FABRIZIO
Sì, bene. Come si dice in Inglese? (Yes, good. How do you say in English?)
I - 5 - 23
(He points to her headband.)
CLARA
Plastic headband.
FABRIZIO
Plastic headband.
CLARA
Bene! (Good!)
(Another awkward pause.)
FABRIZIO
Yes. Your millllk… —You—mother?
CLARA
Over there. Lì.
(MARGARET and SIGNOR NACCARELLI stroll together around the piazza.)
FABRIZIO
Bene.
MUSIC 5C: PUNCTUATION
(To Margaret as they walk past.)

Signora.
(FABRIZIO ushers CLARA away from their parents. CLARA nervously looks back at her mother
as she walks with FABRIZIO.)
MARGARET
Your son seems to have the mysterious ability to know where we are going, before we know! I’m
wondering if he is a spy of some sort.
SIGNOR NACCARELLI
A spy!
MARGARET
Or has one at the hotel?
SIGNOR NACCARELLI
Well, I cannot say.
(MARGARET gathers up her courage.)
MARGARET
Signor –
SIGNOR NACCARELLI
(At exactly the same time.)
Florence is to your liking?
MARGARET
Oh yes. So much history.
I - 5 - 24
SIGNOR NACCARELLI
In Florence we have too much history. In America you are so free – oh, it is wonderful. Here –
(Notices MARGARET’S concern about CLARA.)
They are fine, I’m sure.
MARGARET
Well—Actually—
SIGNOR NACCARELLI
Here, if we move a stone in the street –
MARGARET
Oh yes.
SIGNOR NACCARELLI
Who comes? Committees, officials. “You cannot change it. It’s history!”
MARGARET
Yes, well—
SIGNOR NACCARELLI
And even if you say, “But it has just this minute fallen on my foot,” they show you no pity.
MARGARET
May I, I’m sorry to interrupt you.
SIGNOR NACCARELLI
No, no, go on, I am the one who must apologize.
MARGARET
No, not at all. You speak very good English.
SIGNOR NACCARELLI
No, but once it was better. I have known many Americans during the war, done certain small things for
them in, how do you say, liaison during the occupation. I find the Americans very simpatici.
(He shines his warmth on her.)
MARGARET
Well …
MUSIC 6: PASSEGGIATA (PART 1)
(They slip from view, and we are back with CLARA and FABRIZIO, once more both of them
tongue-tied.)
CLARA
(To an old man, walking by:)
Hello. How old are you?
(No response; he doesn’t understand.)
FABRIZIO
Vuoi fare una passeggiata con me? (Want to take a walk with me?)
I - 5 - 25
CLARA
Cosa? (What?)
FABRIZIO
Do you want to make … to walking, to walking with me … on the road … in a circle?
CLARA
Sì.
FABRIZIO
Bene!
COME WITH ME.

WALK WITH ME,
WALKING IN MY CITY.
UNA PASSEGGIATA
YOU AND I!
SEE THE FACES

FROM THE DAY TIME
TALKING IN THE EVENING.
SEE THE CHURCHES SHINING,
SEE THE SKY.
NOW IS
I AM
HAPPINESS!
NEVER
I AM
UNHAPPINESS.
NOW IS I AM HAPPINESS WITH YOU!
COME WITH ME.

WALK WITH ME IN THE PLACE THAT I KNOW.
LA PASSEGGIATA!
NOW IS
I AM
HAPPINESS!
NEVER
I AM
UNHAPPINESS.
NOW IS I AM HAPPINESS WITH YOU!
WALK WITH ME IN THE PLACE THAT I KNOW.

LA PASSEGGIATA!
MUSIC 6A: PASSEGGIATA (PART 2)
(MARGARET and SIGNOR come back into view. Both COUPLES are encircling the square in
slow, comfortable gaits. SIGNOR helps MARGARET up a step.)
MARGARET
Grazie.
I - 5 - 26
SIGNOR N.
Ah, you speak Italian.
MARGARET
Hardly. —Signor Naccarelli?
SIGNOR N.
Yes? You have a charming accent.
MARGARET
Oh, I do?
SIGNOR N.
Yes? But go on.
MARGARET
It’s … it’s about Clara.
SIGNOR N.
She seems quite lovely to me. Like her mother.
(Pause. MARGARET is caught off guard.)
You were saying?
MARGARET
Nevermind.
(They move out of view once again. We are back with CLARA and FABRIZIO.)
FABRIZIO
YOUR MILK… YOUR MILK IS… EH!
CLARA
My milk is what? What milk?
FABRIZIO
NOT MILK… IS LIKE MILK.
CLARA
LIKE SNOW?
FABRIZIO
EH SÌ, BUT NO… (Ah yes)
I KNOW SNOW,
NON È SNOW… (It isn’t snow…)
IS HERE.
(Touches the back of her hand.)
Come si dice? (How do you say?)
HERE?
(Touches her neck.)
AND HERE?
(Touches her cheek.)
AND ALSO HERE…
CLARA
MY SKIN?
I - 6 - 27
FABRIZIO
YOUR SKIN IS LIKE MILK!
MUSIC 6B: PASSEGGIATA (PART 3)
I AM WORK HERE
IN THE TIE SHOP
NEXT TO ARNO RIVER.
EVEN THOUGH I KNOW IS NOT BIG SIZE.
SEE PALAZZI (See palaces)
ON THE HILLTOP.
MAYBE ONE DAY LIVE THERE,
MAYBE IF I SELL TOO MANY TIES!
AH…
NOW IS I AM HAPPINESS WITH YOU.
WALK WITH ME IN THE PLACE THAT I LIVE FROM A CHILD,

THE PLACE THAT I KNOW.
LA PASSEGGIATA!
(They exit.)
MUSIC 6C: TRANSITION TO TEA SCENE
(FABRIZIO, SIGNOR and SIGNORA NACCARELLI, FRANCA, and two SERVANTS are
preparing for the arrival of guests. GIUSEPPE breezes in late.)
GIUSEPPE
Buona sera. Scusatemi del ritardo. (Good evening. Sorry I’m late.
Avevo un piccolo affare del quale occuparmi. I had a small affair I needed to attend to.)
SIGNOR NACCARELLI
Sì. Possiamo immaginare tutti quale (Yes. We can all imagine what
“piccolo affare” avevi. “small affair” you were attending to.)
FRANCA
Tieni giù le mani. (Keep your hands down.
Da ora in poi, non ti conosco più. From now on I don’t know you.)
(Doorbell. EVERYONE runs around, putting the final touches on every-thing, as one of the
servants goes to answer the door. MARGARET and CLARA enter. It should become clear that
SIGNORA NACCARELLI does not speak English.)
FABRIZIO
Signora Johnson, Clara, my mother, Signora Naccarelli.
SIGNORA NACCARELLI
Piacere. (Pleasure.)
MARGARET
How do you do?
(SIGNORA kisses her two times, Italian style.)
Oops!
I - 6 - 28
FABRIZIO
You remember my father.
CLARA
Oh yes, Buon giorno.
SIGNOR NACCARELLI
(Simultaneously.)
Buon giorno. Welcome.
MARGARET
Hello.
FABRIZIO
My brother, Giuseppe.
GIUSEPPE
How do you do?
MARGARET
Pleasure.
(CLARA holds out her hand to be kissed. The NACCARELLI’S all find this utterly charming.
MARGARET notices this.)
FABRIZIO
And his wife, Franca.
FRANCA
Hello, how are you?
MARGARET
Very well, thank you, nice to meet you.
CLARA
(Referring to the apartment.)
Oh, che … che gorgioso!
SIGNOR NACCARELLI
Grazie. (Thank you.)
(The entire NACCARELLI FAMILY reacts favorably to CLARA’S impulsive praise of their
apartment.)
CLARA
Prego! (You’re welcome!)
MUSIC 6D: CHE GORGIOSO!
(In a suspended moment while EVERYONE is waiting to see who will do what next, a momentary
freeze allows MARGARET to turn to the audience:)
MARGARET
How I have managed to allow this to drag on even another few days. Ah!!!
I - 6 - 29
(EVERYONE unfreezes.)
FABRIZIO
(To MARGARET.)
Here, you should sit—
SIGNOR NACCARELLI
No, no, no dia alla Signora Johnson (No, no, no, give Signora Johnson
la sedia col cuscino. the chair with the cushion.)
MARGARET
What a beautiful –
SIGNOR
(Inviting her to sit.)
Please, Signora.
MARGARET
Oh.
SIGNOR NACCARELLI
Sorry, you were saying.
MARGARET
Clara is right, what a beautiful apartment—
FRANCA
Clara, let me show you the apartment, the paintings, would you like that?
CLARA
Oh, yes, thank you.
FABRIZIO
Yes, let her show you the paintings.
MARGARET
Yes, you’ll enjoy that—
SIGNOR NACCARELLI
They are worthless. I’m sorry, you were saying.
MARGARET
Well, while they’re out—
GIUSEPPE
(Preparing a cup of tea for MARGARET.)
Zucchero? (Sugar?)
MARGARET
No, thank you. While they’re—
GIUSEPPE
Latte? (Milk?)
I - 6 - 30
MARGARET
Oh, yes, a little, grazie.
GIUSEPPE
Prego.
MARGARET
I would like to take advantage … of—
GIUSEPPE
Papà?
SIGNOR NACCARELLI
(Angrily.)
È la terza volta che la interrompi. (That’s the third time you’ve interrupted her.)
GIUSEPPE
Mi dispiace. Scusi tanto. (I’m sorry. Excuse me.)
SIGNOR NACCARELLI
Zitto! (Quiet!)
(Small pause.)
MARGARET
If I could j—
SIGNOR NACCARELLI
There is always one child who can do nothing right, have you noticed this?
MARGARET
Well, I … No, I only have the one.
SIGNOR NACCARELLI
This one is the older but he lacks, how do you say… maturità.
MARGARET
Maturity.
(Not comprehending, GIUSEPPE is nodding cheerfully in agreement.)
SIGNOR NACCARELLI
Maturity. Sì.
GIUSEPPE
Sì.
SIGNOR NACCARELLI
If only his wife would give him a son, he would learn, ma …
MARGARET
Well, I’m sure you’re right.
SIGNOR
She is charming, your daughter.
I - 6 - 31
MUSIC 7: THE JOY YOU FEEL
(Meanwhile in a separate hallway, FRANCA and CLARA are looking at the paintings, strolling.)
FRANCA
Very handsome, your new fellow. You and I are very much alike, I think. You and Fabrizio.
CLARA
Like you and Giuseppe!
FRANCA
You see? Two pairs of lovers.
HOW TRULY HAPPY YOU MUST BE.

YOU ARE THE FIRST TO SET HIM ON HIS KNEE.
YOU’RE THE ENVY OF SO MANY GIRLS,
AND YOU ARE THE MOST BEAUTIFUL
SO FAR.
THE GENTLE JANGLE OF HIS VOICE…

NO OTHER SOUND.
NO SMILE.
NO FACE.
NO CHOICE.
AND THE JOY I KNOW YOU FEEL.
THIS IS SOMETHING I REMEMBER WELL, MY DEAR.
AND ON YOUR FIRST ANNIVERSARY,

IN THE PIAZZA WHERE YOU MET,
AT FIRST IT’S, IT’S ONLY A GLANCE,
AND THEN HIS EYES WILL SET
UPON A GIRL WHO’S PRETTIER AND YOUNGER THAN YOU.
WHAT TO DO?
ENJOY IT.
YOU ARE FREE.
YOU HAVE TIME TO SPARE.
THE BASSINETTE IS EMPTY,

THE NURSERY IS BARE.
YOU CAN SPEND HIS MONEY,
THEN THERE IS NO MONEY.
You can take a lover. But…
HE’S THE ONE YOU LOVE.

HE’S THE ONE YOU LOVE,
ISN’T HE?
THOUGH TRULY HAPPY, YOU MUST BEWARE.

FOR HAPPINESS CAN ALSO SCAR.
FOR SO LIKE ME YOU ARE…
YOU ARE…
BEWARE.
I - 6 - 32
CLARA
(Not knowing what else to say.)
Thank you.
(CLARA runs off. Back in the living room:)
SIGNOR NACCARELLI
My son Fabrizio, he can think of little else but Clara. It will be a sad day for him when you go away.
MARGARET
Oh, yes—of course, but—
SIGNOR NACCARELLI
How nice to think that you would not go at all, but would spend many months in Firenze, perhaps take a
small villa.
MARGARET
Oh, well, no—
SIGNOR NACCARELLI
Many outsiders do. They never wish to leave.
MARGARET
I have unfortunately many responsibilities at home – my house, husband.
SIGNOR NACCARELLI
What does Signor Johnson do?
MARGARET
He owns part interest in a cigarette company.
SIGNOR NACCARELLI
Ah. Pall Mall?
MARGARET
No.
SIGNOR NACCARELLI
Raleigh?
MARGARET
No.
SIGNOR NACCARELLI
Camel.
MARGARET
No, Signor—
SIGNOR NACCARELLI
Winston?
MARGARET
No, no, Signor Naccarelli. I should really tell you about … all this. The two of them.
I - 6 - 33
SIGNOR NACCARELLI
Yes. It is so sudden.
MARGARET
Yes. Sì è vero, è vero. (It’s true, it’s true.)
(Applause from the OTHERS, in response to MARGARET’S Italian.)
SIGNOR NACCARELLI
Brava!
SIGNORA NACCARELLI
Brava! Bella!
MARGARET
Well, I’m, I’m trying, though, to speak about –
SIGNOR NACCARELLI
You are not trying, you are doing, you must be a very fast learner.
MARGARET
No, no, yes, well, I mean, on another subject.
SIGNOR NACCARELLI
Yes. Another subject.
MARGARET
Clara and Fabrizio.
SIGNORA NACCARELLI
Sì!
MARGARET
Yes, I fear …
SIGNOR NACCARELLI
We, too, are fearful.
(To his wife, sotto voce.)
Anche lei è molto prudente, (She too is very prudent,
i giovani vanno troppo in fretta. young people move too quickly.)
SIGNORA NACCARELLI
Se si deve andare in porto, (If one must go into port,
meglio procedere con calma. better to proceed gently.)
SIGNOR NACCARELLI
Yes, everything must proceed more slowly.
MARGARET
Well, that’s just – that’s just it. Clara –
(She takes a big breath, prepared to tell her secret. SIGNORA jumps in on this:)
SIGNORA NACCARELLI
Che brava ragazza, è così innocente! (What a good girl, she’s so innocent!)
I - 6 - 34
MARGARET
Sì. But. Clara is not necessarily like most American girls, she has …
SIGNOR NACCARELLI
(To his wife.)
Clara non è come le altre ragazze Americane. (Clara is not like other American girls.)
SIGNORA NACCARELLI
Bene! È una ragazza all’antica … (Good! She is an old fashioned girl…
Beneducata. well-mannered.)
SIGNOR NACCARELLI
My wife respects this.
MARGARET
I have something I must tell you.
SIGNOR NACCARELLI
Yes, we –
MARGARET
You must, please, do hear me out now.
SIGNOR NACCARELLI
By all means.
(Pause. MARGARET struggles to tell these lovely people her secret.)
MARGARET
Clara is...Clara … is a special child.
(FABRIZIO is beaming down at her. She reaches out her hand to him, he takes it, pats it
affectionately. MARGARET looks from face to face: how in the world can she hurt these people’s
feelings?)
That’s all. That’s all.
(EVERYONE is overjoyed.)
SIGNOR NACCARELLI
This is eccellente. So much of what we hear and read about American women, young women, is not what
we would consider to be necessarily the right kind of woman for our son.
MARGARET
Yes.
SIGNOR NACCARELLI
And we very much respect your caution. The human heart is mysterious and sometimes also dangerous.
(Slight pause.)
Lucky Strike?
(CLARA rushes into the room, followed by FRANCA. Both MARGARET and FABRIZIO
instantly see that CLARA is upset. MARGARET rises gently from her chair as FABRIZIO goes
up to CLARA. All but FABRIZIO and CLARA freeze.)
FABRIZIO
Are you all right? … What’s the matter?
I - 6 - 35
CLARA
Look at me?
FABRIZIO
Yes, che bella. (How beautiful.)
CLARA
Just look at me?
FABRIZIO
Of course.
(Calming her.)
Shhh, shhh. You are fine.
MUSIC 7A: MARGARET ASIDE 3
(Sotto voce.)
I have to see you alone.
(Handing CLARA a note with handwritten instructions.)
Meet me here near the hotel tonight at midnight. You can get away?
CLARA
Sì.
FABRIZIO
Sì.
(MARGARET unfreezes, and turns to the audience.)
MARGARET
Something happened, something in the other room confused her … The truth is, that’s my job, to calm her
when she’s like that. To know when and how to … But … well … apparently …
(Slowly she sits back down, EVERYONE unfreezes.)
SIGNORA NACCARELLI
Signora Johnson, mio figlio è un bravo ragazzo. (My son is a good boy.
Capisce? Giuseppe, no. Understand?)
GIUSEPPE
(Protesting:)
Dai, Mamma. (C’mon, Mom.)
SIGNORA NACCARELLI
Fabrizio è bravo. Giuseppe, no. (Fabrizio is good. Giuseppe, no.)
GIUSEPPE
Su, Mamma. Per piacere. (C’mon, Mom. Please.)
SIGNORA NACCARELLI
Fabrizio va in chiesa, capisce? (Fabrizio goes to church, understand?
È bravo. Capisce Signora? He’s good. Understand?
Si comporta sempre bene. He always behaves well.)
I - 7 - 36
SIGNOR NACCARELLI
We have wondered if perhaps Clara does not wish to leave Firenze.
MARGARET
It is clear she doesn’t. But –
SIGNORA NACCARELLI
Capisce?
SIGNOR NACCARELLI
My wife thinks they might be happy together here … Always.
SIGNORA NACCARELLI
Sì?
(MARGARET stands, they all stand, too. She shakes SIGNOR NACCARELLI’s hand.)
MARGARET
Slowly.
MUSIC 7B: AFTER TEA
SIGNOR NACCARELLI
Ah!...
Scene 7: Margaret’s and Clara’s Hotel Room
(She is on the phone with ROY, dressed in golf attire, back in Winston-Salem.)
ROY
Hello? Hello? … Is—Is someone there?
MARGARET
(Her voice hushed, overlapping, out of sync.)
Roy, it’s Margaret. Roy!
ROY
It didn’t ring.
MARGARET
What?
ROY
It didn’t ring. The phone.
MARGARET
There’s, there’s a delay … Hello?
ROY
I’m here.
MARGARET
Oh, okay.
I - 7 - 37
ROY
Good to hear from you. How is it?
MARGARET
Oh, wonderful.
ROY
You have to speak up.
MARGARET
Clara’s sleeping, I don’t want to wake her.
ROY
Did you go to our monastery?
MARGARET
Oh, not yet. I want to.
ROY
Uh-huh.
MARGARET
Very much. But, oh, I wanted to tell you, we’ve met some very nice people, Florentines, from Florence.
ROY
(Knowing full well what Florentines means.)
Yes.
MARGARET
Oh, sorry, this delay. Their names are Naccarelli, they have a son about Clara’s age.
ROY
Uh-huh.
MARGARET
I know.
ROY
Well, yes, you don’t want anybody getting the wrong idea, that’s all.
MARGARET
I know, I know it. It’s just I meant it’s nice to meet some … nice people.
ROY
Uh-huh, well, I don’t know you know how nice they really are in so short a time.
MARGARET
They’re Italian, Roy, they’re nice people they all are, very friendly people.
ROY
Well, you know what’s best. Listen, honey, I’ve got a dinner appointment with Harbison or –
MARGARET
Oh, sorry. I miss you!
I - 7 - 38
ROY
Miss you too.
(Kissing noises.)
MARGARET
Roy?!?
ROY
Yes?
MARGARET
I … mean it, I do. Miss you.
ROY
I assumed you meant it.
MARGARET
I know, it’s just —it’s hard to be back here without you. The war? … when we were apart?
(Pause.)
ROY
Uh-huh?
MARGARET
When we had to be, that is, and Clara was … first –
ROY
Yes.
MARGARET
I keep thinking of us then, you know, forced apart … and now …
ROY
I know.
MARGARET
I know, I know you couldn’t get away, it isn’t that, it’s not that I don’t understand, I don’t … know what
I’m saying, do you?
ROY
Know what you’re saying?
MARGARET
No, I don’t … I don’t know, I’m sorry …
ROY
Well, I really should –
MARGARET
Wait, don’t hang up!
ROY
What is it? I shouldn’t keep Harbison waiting too long, he is chairman of the board.
I - 7 - 39
MARGARET
I’m sorry.
ROY
That’s all right. But somebody’s got to pay for this trip, unless you want to dip into your savings… What
is it?
MARGARET
Nothing.
ROY
You’re sure?
MARGARET
Don’t be late.
ROY
Margaret, put an end to that. Whatever’s going on over there. You hear? Now you take care.
MARGARET
You too.
(But he has already hung up.)
MUSIC 8: DIVIDING DAY
DASHING AS THE DAY WE MET,

ONLY THERE IS SOMETHING I DON’T RECOGNIZE.
THOUGH I CANNOT NAME IT YET,
I KNOW IT.
BEAUTIFUL IS WHAT YOU ARE.

ONLY SOMEHOW WEARING A FRIGHTENING DISGUISE.
I CAN SEE THE WINTER IN YOUR EYES NOW,
TELLING ME:
“THANK YOU.
WE’RE DONE HERE.
NOT MUCH TO SAY.
WE ARE TOGETHER,
BUT I HAVE HAD DIVIDING DAY.”
SO WHEN … WHEN WAS THIS DAY?

WAS IT ON THE CHURCHSTEP?
SUDDENLY YOU’RE OUT OF LOVE?
DOES IT GO CREEPING SLOWLY?
WHEN WAS YOUR DIVIDING DAY?
I CAN SEE THE WINTER IN YOUR EYES NOW

TELLING ME:
“MARG’RET
WE DID IT.
YOU CURTSIED, I BOWED.
WE ARE TOGETHER.
BUT NO MORE LOVE—
I - 8 - 40
NO MORE LOVE ALLOWED.”

WHEN WAS DIVIDING DAY?
WAS IT ON THE CHURCHSTEP?
DID IT HAPPEN RIGHT AWAY?
WERE YOU LYING NEXT TO ME
HIDING WHAT YOU COULDN’T SAY?
HOW COULD I HAVE GUESSED?
WAS MY CHEEK UPON YOUR CHEST,
AN OCEAN AWAY?
WHEN WAS,
WHEN WAS,
WHEN WAS DIVIDING DAY?
(She looks into CLARA’S room.)
Clara? … Clara?
MUSIC 9: HYSTERIA/LULLABY
(She is not there. Alarmed, MARGARET runs off.)
Scene 8: On the Street
(CLARA appears, reading FABRIZIO’S directions. During this, FABRIZIO will cross upstage on
his way to meet her. They do not see one another.)
FABRIZIO
After lobby, after fountain, go to Arno making left, and left again to Tornabuoni. All along and then you
see museo.
(CLARA is reading the directions FABRIZIO gave her.)
CLARA
“AFTER LOBBY, AFTER FOUNTAIN,
GO TO ARNO MAKING LEFT, AND LEFT AGAIN TO TORNABUONI.
ALL ALONG AND THEN YOU SEE MUSEO.”
Right!
“AFTER LOBBY, AFTER FOUNTAIN,
GO TO ARNO MAKING LEFT, AND LEFT AGAIN TO TORNABUONI.
ALL ALONG AND THEN YOU SEE MUSEO.”
MUSEO…
“I WAIT FOR YOU IN COURTYARD OF MUSEO,
WHICH IS LOOKING LIKE A GARDEN.
Ciao.
(Loving saying his name:)
FABRIZIO”
(She crumples the directions and throws them away. A STRANGER appears in her path.)
Ha!
MAN #1
Buona sera. (Good evening.)
(She turns back to retrieve the piece of paper. A STRANGER picks it up and walks away with it.)
I - 8 - 41
CLARA
That was a silly thing to do, Clara. Crap. I memorized it. Concentrate, Clara.
LA LA LA LA
LA LA LA LA
LA LA LA LA LA LA LA LA…
MAN #2
Ciao. Ti sei persa, cara? (Hi. Are you lost, dear?)
CLARA
Ciao. Ciao, cara…cara…That means dear. That means dear, sort of. Oh, dear. Oh, crap. I know where I
am!
(CLARA becomes more and more lost. STRANGERS continue to appear from the shadows.)
PROSTITUTE
DO YOU LOOK FOR THE MEDICI PALACE?
CLARA
No, thank you. Sono felice. I am fine. (I am happy.)
(Recognizing the museum:)
MUSEO!
(Again, we see FABRIZIO looking for Clara. They do not see each other.)
CLARA & FABRIZIO

LA LA LA
LA LA LA
LA LA LA LA
LA LA
LA LA LA
LA LA LA
LA LA LA
(CLARA thinks she sees FABRIZIO. She runs up to him, embracing him. It is a complete
STRANGER.)
CLARA
Fabrizio Naccarelli! Fabrizio Naccarelli! He’s waiting for me! He’s waiting for me! Clara Johnson, 142
East Lake Street, Clara Johnson, 142 East Lake Street, Clara Johnson, 142 East Lake Street.
(CLARA sinks to the ground, sobbing. MARGARET rushes in.)
MARGARET
Clara? It’s all right, it’s all right, I’m here.
(To the onlookers.)
I’m her mother, madre, bene, va bene, grazie.
LITTLE CLARA, LITTLE CLARA,

NO MORE CRYING,
MAMA HERE NOW.
BABY CLARA, BABY CLARA,
HMM…
LITTLE CLARA, LITTLE CLARA…
I - 9 - 42
(MARGARET walks CLARA back to the hotel room.)
MARGARET
Clara, where were you going?
CLARA
I was going to get ice cream.
MARGARET
You know we don’t tell each other stories. Now I want you to lie down and go to sleep. And don’t you
worry about a thing. You’re safe now. I’ll be nearby.
(MARGARET moves to go. CLARA grabs her hand.)
THERE’S A MOON ON A HILL,

AND A HIDDEN STREAM,
A LAGOON AND A RED HORIZON DREAM
SILHOUETTE SET AWAY FROM TIME FOREVER.
THERE’S A VALLEY BEYOND THE SETTING SUN
WHERE WATERS SHINE AND HORSES RUN… HMM…
(CLARA is asleep. MARGARET turns to the audience:)
It’s always so difficult … Roy and I don’t even discuss it anymore, it’s just a fact of life, like the weather
… When Clara was twelve, we rented a Shetland pony for her birthday party, and … the pony kicked …
her…
The doctors told us that she would… her mental and emotional capacities would not develop normally,
and, but her body would continue to develop, so … If the Naccarellis find out, she’ll be smashed up for
good.
We have to get out of here.
First thing.
Oh, it’s for nights like this that hotel bars were specifically developed.
MUSIC 9A: HOTEL BAR
(MARGARET exits.)
(FABRIZIO arrives at the door. He knocks. Pause. He comes in, looks for CLARA. She wakes.)
MUSIC 9B: FABRIZIO AT THE DOOR
FABRIZIO
Clara!
CLARA
Fabrizio!
FABRIZIO
I wait for you, what happened to you?
CLARA
I … My mother … I …
I - 9 - 43
FABRIZIO
She is here?
CLARA
No, come in, sit!
FABRIZIO
No.
CLARA
Entra. (Enter.)
FABRIZIO
I think you have gone, I am afraid …
CLARA
Don’t be, come—
FABRIZIO
No, you are alone, I should not.
CLARA
Insisto. I want you to. She won’t mind.
FABRIZIO
I think you have decide – Non sono adatto per te. (I’m not right for you.)
CLARA
Not good enough? Of course you are.
FABRIZIO
I think maybe you have meet someone better.
CLARA
No.
FABRIZIO
I don’t know, how do I know … It is … I think … impossible for me to say what I feel. I am so tiresome
to talk, to say what I … I don’t know how to –
CLARA
I always understand.
MUSIC 10: SAY IT SOMEHOW
FABRIZIO
If I could say in Italiano it would be best….
CLARA
Then do, then say …
FABRIZIO
No.
I - 9 - 44
CLARA
WHY DON’T YOU TRACE IT ON MY HAND?
OR MAKE A SONG.
DO ANYTHING!
SAY IT SOMEHOW.
I WILL UNDERSTAND.
I KNOW YOU.
YOU ARE GOOD.
FABRIZIO
THE SOUND INSIDE YOU, THIS I KNOW.
IT’S LIKE A MELODY, LIKE THERE YOU GO, JUST NOW!
SAY IT SOMEHOW.
SOMEHOW YOU CAN SHOW ME.
BOTH
SAY IT SOMEHOW ANYWAY YOU CAN.
YOU KNOW ME.
YOU ARE GOOD.
OH, YOU ARE GOOD.
YOU ARE GOOD TO ME.
I KNOW THE SOUND OF TOUCH ME.
I THINK I HEAR THE SOUND OF WRAP YOUR ARMS AROUND ME.
AH…
SHOUT AND DANCE IN RINGS!
CLARA
OR SAY IT SILENTLY.
FABRIZIO
TELL ME THINGS!
BOTH
AH, WE’LL PLAY A GAME,
YOU TRACE IT ON MY SKIN.
SAY IT SOMEHOW, SOMEHOW LET’S BEGIN.
DO IT SOMEHOW.
SOMEHOW YOU CAN SHOW ME.
I KNOW THAT YOU KNOW ME.
AH…
AH…
CLARA
Will you marry me?
FABRIZIO
No, no, no. It must be mine to ask it.
CLARA
Ask it then.
FABRIZIO
I wish to be the one to decide!
I - 9 - 45
CLARA
Decide. Decide!
FABRIZIO
Will you—?
CLARA
Yes!
FABRIZIO
—marry me?
CLARA
Yes, yes, yes!
BOTH
YOU ARE GOOD TO ME.
I KNOW THE SOUND OF TOUCH ME.
I THINK I HEAR THE SOUND OF WRAP YOUR ARMS AROUND ME.
AH…
TELL ME THINGS!
AH…
AH… AH…
AH… AH…
AH…
FABRIZIO
AH…
(FABRIZIO and CLARA are kneeling on the bed. She undoes the buttons of his shirt, then
removes it. They embrace. MARGARET arrives back at the room. She walks in on the two of
them.)
END ACT I
II - 2 - 46
ACT II
MUSIC 11: ENTR’ACTE
(A day or two later. PRIEST and NUNS abound, as MARGARET, guidebook in hand, leads the
way, indicating obelisks, unseen temples. CLARA follows, listless, inattentive. She no longer
carries a sketchpad and has lost all interest in the look of anything and everything.)
MARGARET
Darling, Rome is where Julius Caesar was stabbed to death – right here in the Forum...Some people like
Rome more than Florence. I thought you would really like it here, I thought you could use a change of
scenery—
CLARA
He asked me to marry him and I said yes. It’s wrong to leave without saying goodbye. Don’t you
understand?
(Pause.)
MARGARET
Look at the light, the way it hits the caves up there, do you see? It’s like a miracle! Wouldn’t that make a
good drawing?
(CLARA climbs onto a pedestal among the Ruins.)
MARGARET
Did you leave your sketch pad?
(No response.)
Well, I’ll be over here, I want to see this temple.
(From offstage an agonized wail from FABRIZIO, which brings us into:)
(FABRIZIO is in despair. His FATHER tries to comfort him, his BROTHER ridicules him in an
effort to get him to laugh instead of cry, his sister-in-law draws him to her breast. Through all of
this SIGNORA NACCARELLI talks on the phone, her back to the audience.)
MUSIC 12: AIUTAMI
FABRIZIO
Clara!
Aiutami! Aiutami! (Help me! Help me!
Abbi Pietà! Abbi Pietà! Take pity! Take pity!
Che sciagurato! Son perduto! Oh, Signore! How unfortunate I am! I’m lost! Oh, God!)
OH, CHE GUAIO! (Oh, what a mess!

CHE COSA HO FATTO? What have I done?
OH, SIGNORE SALVAMI! Oh, God save me!
DOV’ERA LA MIA TESTA? Where was my head?
L’HO PERDUTA, IL MIO AMOR! I lost her, my love!)
II - 2 - 47
GIUSEPPE
(Mocking.)
AIUTAMI! AIUTAMI!
GIUSEPPE & FABRIZIO

OH, CHE GUAIO!
CHE COSA HO FATTO?
OH SIGNORE SALVAMI!
DOV’ERA LA MIA TESTA?
L’HO PERDUTA, IL MIO AMOR!
GIUSEPPE & FABRIZIO SIGNOR N.

PER UN BACIO! PER UN BACIO! (For a kiss! For a kiss! PICCOLINO!
CHE COSA HO FATTO? What have I done? (Little one!)
PIETÀ DI ME! Pity on me! POVERETTO!
CHE COSA HO FATTO? What have I done? (Poor little one!)
MI SON BUTTATO I have thrown myself TUTTO PASSERÀ
IN UNA CATASTROFE! into catastrophe!) (Everything will pass)
GIUSEPPE, FABRIZIO & FRANCA SIGNOR N.

IN UNA CATASTROFE! TUTTO PASSERÀ!
GIUSEPPE, FABRIZIO, FRANCA & SIGNOR N.

AIUTAMI! AIUTAMI! AIUTAMI! AIUTAMI!
(SIGNORA NACCARELLI hangs up the phone and faces out.)
SIGNORA N.
(To the audience.)
Aiutami means “help me” in Italian. I don’t speak English, but I have to tell you what’s going on.
FABRIZIO HE THINKS HE WANTS TO DIE.

HE THINKS HE RUINED EVERYTHING.
HIS FATHER SAYS THAT THIS WILL PASS.
GIUSEPPE ASKS WAS SHE AS SWEET AS SHE LOOKS,
AND FRANCA ALSO WANTS TO KNOW,
IN HER OWN SPECIAL WAY.
Here is what I know, what I do.
I LET THEM BOIL AND SIMMER AND STEW!
AND I DON’T REVEAL MYSELF.
IF THERE ARE SUSPICIONS I ENCOURAGE THEM.
IF THERE ARE RAGES I SAY “LOUDER PLEASE! LOUDER!”
DOES FATHER CHEAT ON MOTHER?
She suspects!
DOES FATHER KNOW THAT SHE SUSPECTS?
He suspects!
RISK IS EVERYTHING!
Without risk there is no drama.
Without drama there is no “aiutami.”
Without asking for help—
NO LOVE!
NO LOVE!
So…
II - 3 - 48
SIGNORA N.
GIVE ME SUSPICION! GIUSEPPE & FRANCA
THAT’S GOOD. OOH… AH… (etc.)
GIVE ME TEARS.
FABRIZIO
SALVAMI! (Save me!)
YES!
SO GIVE ME SHOUTING! DOV’ERA LA MIA TESTA? (Where was my head?)
THAT’S RIGHT!
PASSION! L’HO PERDUTA,
PASSION! IL MIO AMOR!
GUISEPPE, FRANCA
& FABRIZIO SIGNORA N. SIGNOR N.
PER UN BACIO! BRAVO! PICCOLINO!
PER UN BACIO!
CHE COSA HO FATTO? BRAVA! POVERETTO!
PIETÀ DI ME!
CHE COSA HO FATTO? BRAVI! TUTTO PASSERÀ!
MI SON BUTTATO BRAVISSIMA!
IN UNA CATASTROFE! AIUTAMI! TUTTO PASSERÀ!
BRAVISIMI!
IN UNA CATASTROFE! AIUTAMI!
ALL FIVE
AIUTAMI! AIUTAMI! AIUTAMI! AIUTAMI!
SIGNORA N.
(To the audience.)
Think about it.
(CLARA knocks and digs at the pedestal with her shoe as her mother reads from the Baedeker.)
MARGARET
Darling, listen to this. Please stop that, that’s illegal. “The Triumphal Arch of Septimius was erected in
A.D. 203 in honor of the Roman emperor, recently victorious over the Parthians – ” Please, Clara, I asked
you to stop. Just imagine what that must have been like, a gold colored chariot with the sunlight hitting it,
right up there, casting shadows and riding off into the sky with six horses? Clara? Are you listening to
me at all? I thought you’d be interested in all the things your father and I did when we were here. I
thought this was going to be you and me.
(CLARA continues to ignore her mother, and continues to knock at the pedestal.)
MARGARET
All right, let’s go back to the hotel.
CLARA
No. I don’t want to go back to the hotel.
MARGARET
What do you want to do?
II - 3 - 49
CLARA
No. I don’t want to do what you want me to do.
MARGARET
Well, darling, that’s too bad –
CLARA
Always.
MARGARET
That’s only because you don’t always know how to take care of yourself.
CLARA
But I do.
MARGARET
You don’t know what you need and I’m sorry to have to say it.
CLARA
You’re not. You’re not sorry at all. Look at you, you’re happy.
MARGARET
Stop this now, how could you even think that?
CLARA
Because you are! You’re happy to be the one who knows everything I need and has the final word. It’s
clear.
MARGARET
I am not!
CLARA
I don’t care what you are, honestly, mother.
MARGARET
You cannot marry Fabrizio, and you won’t say another word.
CLARA
Stop me.
MARGARET
All right now, Clara.
CLARA
You ignore what I say, what I want. You make things up the way you want them. You lie about things.
MARGARET
I do not.
CLARA
Yes! To everyone! How we all love one another. Daddy doesn’t love you! Look in his eyes for once.
Look at yourself in the mirror!
(MARGARET slaps CLARA. Pause.)

II - 3 - 50
MUSIC 13: THE LIGHT IN THE PIAZZA
CLARA
I DON’T SEE A MIRACLE
SHINING FROM THE SKY.
I’M NO GOOD AT STATUES AND STORIES.
I TRY.
THAT’S NOT WHAT I THINK ABOUT.
THAT’S NOT WHAT I SEE.
I KNOW WHAT THE SUNLIGHT CAN BE.
THE LIGHT … THE LIGHT IN THE PIAZZA.

TINY SWEET,
AND THEN IT GROWS,
AND THEN IT FILLS THE AIR.
WHO KNOWS WHAT YOU CALL IT.
I DON’T CARE!
OUT OF SOMEWHERE I HAVE SOMETHING I HAVE NEVER HAD,
AND SAD IS HAPPY.
THAT’S ALL I SEE.
THE LIGHT IN THE PIAZZA.

IT’S RUSHING UP.

IT’S POURING OUT.
IT’S FLYING THROUGH THE AIR,
ALL THROUGH THE AIR.
WHO KNOWS WHAT YOU CALL IT.
BUT IT’S THERE!
IT IS THERE!
ALL I SEE IS,

ALL I WANT IS TEARING FROM INSIDE.
I SEE IT!
NOW I SEE IT EVERYWHERE!
IT’S EVERYWHERE!
IT’S EVERYTHING AND EVERYWHERE!
FABRIZIO.
THE LIGHT IN THE PIAZZA…
MY LOVE.
(CLARA exits. MARGARET turns to the audience.)
MARGARET
If I call Roy now, I’ll have to tell him the truth, and I have no idea what that is, not at this moment, I do
not. I’m tired of fighting; I’m tired of being the only one here who always says “No” to her even though,
if, if it is in her best interest. Maybe … Maybe I don’t need to be the one to decide. Maybe she has
grown. She speaks Italian now. If I call Roy, he’ll be on a plane, and not only will everything in Italy
seem designed to annoy him, he’ll spoil everything. He won’t mean to, but he will. And my dream for
Clara –
(Correcting herself.)
Clara’s dream – for Clara will lie in little pieces all around us.
(Small beat.)
II - 4 - 51
You know: I think there are still a great many wonders left to be seen in Florence.
MUSIC 13A: BACK TO FLORENCE
Scene 4: Florence
(The next evening. MARGARET and SIGNOR NACCARELLI are at a café.)
SIGNOR NACCARELLI
Clearly they wish to marry.
MARGARET
Yes.
SIGNOR NACCARELLI
You husband will of course come here for the ceremony?
MARGARET
(Treading water.)
Heeeeeeeeeee … hopes very much to be able to attend, but there do seem to be some extreme difficulties
in his work right now—
SIGNOR NACCARELLI
Difficulties?
MARGARET
Yes, heeeeeeeeee is ... becoming the Senior Vice President.
SIGNOR NACCARELLI
Ah. We should all suffer such difficulties.
MARGARET
Yes.
SIGNOR NACCARELLI
How does your husband feel about all this?
MARGARET
Heeeeeeeee...has written to me, suggesting a five thousand dollar dowry for the children upon wedding.
(To the audience:)
It will have to be my money, but so what, it's mine!
(She turns back to SIGNOR NACCARELLI.)
SIGNOR NACCARELLI
Clara, of course, must convert to Catholicism.
MARGARET
Yes. Of course.
(MARGARET looks out at the audience: “Oh my God!”)
MUSIC 14: OCTET (PART 1)
(We are suddenly inside:)

II - 5 - 52
(The next day. A PRIEST is instructing CLARA in the Latin catechism. She holds a rosary.
FABRIZIO sits beside her, holding her hand. As she and the PRIEST sing the Latin verses,
SIGNOR and SIGNORA NACCARELLI, FRANCA and MARGARET are all drawn from separate
parts of the Naccarelli home.)
PRIEST
ET QUATENUS MASCULINUM ET FEMININAM SESE MUTUO COMPLENT
CLARA
ET QUATENUS MASCULINUS
PRIEST
NO. ET QUATENUS MASCULINUM
CLARA
ET QUATENUS MASCULINUM
PRIEST
SÌ! BENE.
ECCO.
BOTH
ET QUATENUS MASCULINUM
ET FEMININAM SESE MUTUO COMPLENT
UNITAS DUORUM
SIGNORA N.
You can almost hear what everyone's feeling.
2 MAIDS, FRANCA & SIGNOR N.

THE SHOCK OF WINTER, CLARA & PRIEST
UNAM CARNEM
OR COMING ON OF SPRING. VIR ET MULIER
NEW SPRING. SIMUL CREATI, CREATI
FRANCA
SUSPENDED SUMMER NIGHTS,
THE INNER FLIGHTS
THAT ONLY FALL CAN BRING.
CLARA & PRIEST
VOLITI SUNT A DEO
FRANCA, SIGNOR N. & SIGNORA N.
I AM SUDDENLY ALIVE! UT ALLIIS PRO ALIO
I WOULD SAIL ACROSS THE WORLD
FOR JUST THE COLOR OF YOUR EYES.
ALLIIS PRO ALIO
FABRIZIO, FRANCA, SIGNOR N. & SIGNORA N.

YOU APPEAR... APPEAR TO ME.
PRIEST
ALLIIS, ALLIIS...
II - 5 - 53
CLARA
OLLY OLLY OXEN FREE!
PRIEST
Che ha detto?
CLARA
Sorry.
MARGARET SIGNOR N., SIGNORA N. & FRANCA

THE REAPPEARING HMM...
EVERY NOW AND THEN, HMM…
CLARA & PRIEST

OS EX OSSIBUS MEIS
ET CARO DE CARNE MEA
FABRIZIO, FRANCA, SIGNOR N.,

SIGNORA N. & MARGARET
AND THEN
THE DIVING UNDERNEATH,
THE DIVING DOWN
AND SURFACING AGAIN.
GIUSEPPE
Buon giorno!
SIGNORA N. MARGARET, FABRIZIO

& FRANCA & SIGNOR N. CLARA & PRIEST
I AM SUDDENLY ALONE. HMM… VITAM HUMANAM
MARGARET, FABRIZIO, SIGNOR N.,

SIGNORA N., GIUSSEPE & FRANCA
I WOULD SAIL ACROSS THE WORLD
TO KNOW THE HARBOR OF YOUR ARMS.
CLARA & PRIEST

NON EST BONUM ESSE HOMINEM SOLUM
ALL
YOU APPEAR...
APPEAR TO ME.
CLARA
MULIER QUAM DEUS EXCOSTA EFFORMAT
DE VIRO SUBLATA QUAMQUE
IPSE AD VIRUM ADDUXIT,
ADMIRATIONIS EX PARTE VIRI PROVOCAT CLAMOREM,
AMORIS ET COMMUNIONIS EXCLAMATIONEM
(GIUSEPPE tries to approach FRANCA and she spits words back at him.)
FRANCA
(Overlapping with CLARA above.)
Non voglio fiori! Dove sei stato, dove sei stato?! (I don’t want flowers! Where have you been?!
II - 5 - 54
Perchè non prendo un amante anch’io? Why don’t I take a lover, too?
Lavati le mani, almeno, maiale! Ah, Fabrizio, Wash your hands at least, pig! Oh, Fabrizio
guarda come sei bello! Mmmm, baciami. Look how handsome you are! Mmmm, kiss me!)
(FRANCA kisses FABRIZIO on the lips provocatively, to infuriate GIUSEPPE.)
ECCO! (There!)
(CLARA sees FRANCE kiss FABRIZIO.)
CLARA
HEY!
MUSIC 15: CLARA’S TIRADE
CLARA
(Exploding at FRANCA.)
YOU STOP!
YOU STOP RIGHT NOW!
YOU MOVE! YOU MOVE AWAY FROM HIM!
MARGARET
Clara?
CLARA
OH...I SEE YOU STEALING!
MARGARET
Darling, you—
CLARA
YOU! YOU'RE A THIEF!
YOU'RE A ROTTEN THIEF!
YOU WANT TO STEAL HIM AWAY FROM ME!
MARGARET
Franca's merely—
CLARA
YOU STAND OVER THERE!
MARGARET
He's her brother.
CLARA
HE IS MINE! HE'LL ALWAYS BE MINE!
MARGARET
Clara, you mustn't speak to Franca that way, she's [family now]—
CLARA
NO!
I WILL!
SHE CAN'T!
HE'S MINE!
II - 5 - 55
YOU'RE NOT IN CHARGE OF ME!

WHY? BECAUSE I SAY SO!
MARGARET
Please don't—
CLARA
NO!
YOU SAW,
AND I KNOW YOU SAW
HER KISS HIM LIKE HE KISSES ME!
(To EVERYONE else:)
GO AHEAD AND STARE!
JESUS THIS IS SO UNFAIR!
FABRIZIO
She's joking.
CLARA
(To FABRIZIO.)
JOKING? I'M NOT JOKING!
YOU LOVE ME...
YOU LOVE ME...
WHY WERE YOU JUST SITTING?
SITTING THERE!
(To FRANCA and GIUSEPPE.)

NOW, HERE IS YOUR HUSBAND!
HERE IS YOUR WIFE!
YOU SHOULD BE STANDING SIDE BY SIDE!
DON'T YOU HAVE A HOUSE?
WHERE ARE YOUR BABIES!
THERE'S A WAY TO BEHAVE.
THERE'S A NICE WAY TO BEHAVE!
IT'S WHAT NICE PEOPLE DO AND THAT’S HOW IT SHOULD BE!
THAT'S HOW PEOPLE MEET AND FALL IN LOVE AND HOW IT SHOULD BE
FOREVER!
YOU GO NEAR HIM ONE MORE TIME…
YOU'RE DEAD!
(CLARA throws a glass of wine in FRANCA’S face; some gasp, others stand. Silence.)
I apologize.
(MARGARET gives FRANCA a napkin to wipe her face.)
FRANCA
No, she is right. Right to fight for him. Please, everyone. Giuseppe and I are so happy for you both—
Clara, Fabrizio. We should all fight for our love. I should—I would fight for Giuseppe.
GIUSEPPE
Cosa? (What?)
FRANCA
And he would fight…Yes.
II - 6 - 56
(Toasts)
Agli innamorati! (To the lovers!)
ALL
Agli innamorati!
SIGNORA NACCARELLI
Alla bellezza della vita! (To the beauty of life!)
ALL
Alla bellezza della vita!
SIGNOR NACCARELLI
To the beauty of life!
(SIGNOR NACCARELLI kisses CLARA on both cheeks and then playfully/forcefully slaps
FABRIZIO on the cheek.)
Scene 6: The Church
MUSIC 15A: CHURCH
ALL
AH…
AH…
AH…
(The wedding rehearsal. Later that afternoon. The PRIEST instructs EVERYONE in their duties.
SIGNOR NACCARELLI translates for CLARA and MARGARET.)
PRIEST
La dama d'onore va qui.
SIGNOR NACCARELLI
The matron of honor goes here.
PRIEST
Il testimone va qui.
SIGNOR NACCARELLI
And the, how you say, first man? -
MARGARET
Best man.
SIGNOR NACCARELLI
Best man, here.
PRIEST
Lo sposo e la sposa vengono all' altare come abbiamo discusso ...
SIGNOR NACCARELLI
(Over and interspersed with the PRIEST’S words.)
The bride, the groom ... who will come up the aisle, as we discussed ...
II - 6 - 57
PRIEST
…si scambieranno il 'si'…
SIGNOR NACCARELLI
…The vows will be exchanged ...
CLARA
Where is the ring?
MARGARET
This is the rehearsal, darling.
CLARA
The what?
MARGARET
Tomorrow is the ring.
MUSIC 16: OCTET (PART 2)
ALL
THE SHOCK OF WINTER,
THE COMING ON OF SPRING.
THAT MELTING AIR.
THE SUN GONE RED,
AN EMPTY BED,
A SCENT, A SOUND, A GESTURE TRIGGERING…
I AM SUDDENLY ALIVE!
I AM SUDDENLY ALONE,
KNOWING I WILL BE ALONE TILL I CAN BE ALONE WITH YOU.
THAT IS WHAT YOU DO.
YOU APPEAR, YOU APPEAR.
OOH…
OOH…
PRIEST
Quando sarà finita la cerimonia uscite a destra.
SIGNOR NACCARELLI
When the ceremony ends, we should all file out to the right.
PRIEST
Ecco i moduli da compilare.
SIGNOR NACCARELLI
And here are the forms for you both - Clara, Fabrizio ...
(SIGNORA NACCARELLI past her husband as if he has just swum the English channel, so great
was his translating for the PRIEST.)
SIGNORA NACCARELLI
Che brav' uomo! (What a good man!)
II - 6 - 58
SIGNOR NACCARELLI
In Firenze, one must always complete out a form—Here you cannot even become a corpse without first
completing out a form. It is, how you say—
SIGNOR N. & MARGARET

(Simultaneously.)
Bureaucracy.
SIGNOR
Sì.
MARGARET
(To CLARA, pointing.)
Citizenship: U.S. Your age.
CLARA
I know.
(SIGNOR NACCARELLI looks over CLARA’s shoulder at the forms.)
MARGARET
Is everything all right?
(SIGNOR NACCARELLI turns to his family, nearly inaudible:)
SIGNOR NACCARELLI
Andiamo a casa. (We’re going home.)
SIGNORA NACCARELLI
Perché? (Why?)
SIGNOR NACCARELLI
Non ci sarà nessun matrimonio. (There will be no wedding.
Non chiedetemi niente. Do not ask me anything.
Su, andiamo a casa. Come on, we’re going home. )
FABRIZIO
Ma perché? (But why?)
SIGNOR NACCARELLI
Perché lo dico io. E non fatemi più domande. (Because I say so. And don’t any of you ask me
anymore questions.)
FABRIZIO
Ma che cosa gli diremo? (But what do we tell them?)
SIGNOR NACCARELLI
Non gli diciamo niente. Assolutamente niente. (We tell them nothing. Absolutely nothing.)
FABRIZIO
Ma Papà! Non possiamo non far nulla—! (But Papa, we can’t say nothing—!)
SIGNOR NACCARELLI
Diremo loro che ho dimenticato (We’ll tell them that I forgot
un appuntamento molto importante. a very important appointment.)
II - 6 - 59
(SIGNOR turns on his heels and walks out of the church. The PRIEST murmurs something,
shrugs. SIGNORA weeps, turns, rushes off after her husband.)
MARGARET
What's the matter?
FABRIZIO
(Red-faced, unable to look directly at CLARA.)
My father—forget—remember the appointments.
MARGARET
Appointments?
FABRIZIO
Tomorrow. Domani. Mi dispiace. I speak with him. (Tomorrow. I’m sorry.)
It will be ... Everything—Perfetto. (—Perfect.)
(He runs out of the church.)
MARGARET
What happened?
(GIUSEPPE and FRANCA each feign ignorance – or perhaps they do not understand.)
MARGARET
Something ... ? Should ... ?
(Pause.)
GIUSEPPE
Mi dispiace ... (I’m sorry…)
MARGARET
What happened?
FRANCA
I’m so sorry.
(They exit. MARGARET and CLARA look at the Priest. He rushes off.)
MARGARET
It's all right, darling, they just forgot something.
CLARA
Something is wrong.
MARGARET
No, no, I'm sure it's nothing. Oh.
CLARA
Something is wrong with me.
MARGARET
Of course not.
II - 6 - 60
CLARA
Yes. He couldn't look me in the eye. None of them could! It's happened before! Why? Why won’t they
look at me?
MUSIC 16A: SOMETHING IS WRONG
MARGARET
Shh.
(She comforts and embraces CLARA. Then, to the audience:)
No one with a dream should come to Italy, no matter how dead and buried you think it is—Italy—this is
where Italy will get you. You forget.
It’s all happening again, I am doing it again, I’ve done it, the same as that day, … Clara and her friends
were leading the pony around in the back yard, I was there, and the phone rang, I ran to get it, and then, I
heard, I turned, and the pony kicked … her …
MUSIC 17: THE BEAUTY IS (REPRISE)
HERE.
SHE FELL…
IT SEEMED TO TAKE FOREVER… HER TO FALL.
YOU KNOW IN THOSE MOMENTS
WHEN MOMENTOUS THINGS HAPPEN.
SO SLOWLY…
I REACH
LIKE THESE PAINTINGS IN THE OLD TRADITION.
THERE’S A FIGURE REACHING OUT IN THEM LIKE SO.
AND TO ME IT IS THE MOST FAMILIAR TABLEAU
I KNOW.
SO MUCH WANTING SOMETHING…

SO MUCH REACHING FOR IT…
SO MUCH WISHING JUST TO HAVE ONE MOMENT BACK.
SO MUCH BEING PATIENT…
SO MUCH BLIND ACCEPTANCE.
I KNOW,
NO, I DON’T KNOW…
A MOTHER HERE IN ITALY…

A MOTHER HERE ALONE.
I THOUGHT IF I HAD A CHILD
I WOULD TAKE SUCH CARE OF HER!
SO MUCH REACHING FOR IT.
SO MUCH HOLDING BREATH AND KEEPING FINGERS CROSSED.
WATCHING OVER MY,
MY LITTLE LOST
CLARA!
IF I COULD,
THEN I WOULD PAINT IT OVER.
I WOULD BE THERE AND I WOULDN’T TURN AWAY.

IF I ONLY HAD A CHANCE TO NOT TURN AWAY.
AND THE BEAUTY IS,

AND THE BEAUTY IS,
II - 7 - 61
THE BEAUTY IS…
I know what I have to do.
(MARGARET leads CLARA off.)
MUSIC 17A: TRANSITION TO TIE SHOP
(SIGNOR NACARELLI is looking at receipts; GIUSEPPE enters with tie boxes and puts them on
the counter. They share a look but say nothing. GIUSEPPE exits with the receipt folder, as
MARGARET walks into the shop.)
MARGARET
Buona sera.
SIGNOR NACCARELLI
Ah.
MARGARET
Come va, il signore?
(Pause.)
SIGNOR NACCARELLI
I saw today. Why did you not tell me? What can you be thinking of?
MARGARET
I thought it wouldn't matter. I thought—
SIGNOR NACCARELLI
It is too much. I saw her writing on the papers.
MARGARET
Well her ... writing has always looked childlike, I know, it's deplorable, but...
SIGNOR NACCARELLI
If she were twelve years old it would be better than this.
MARGARET
I know.
(Pause.)
You can't imagine how often I tried to tell you.
SIGNOR NACCARELLI
But she is not twelve years old.
MARGARET
Even that first - tea at your home. Earlier, I tried to tell you ... It's always ... I'm sorry.
SIGNOR NACCARELLI
I saw her write her age on the papers. Two, three years, where there is love, where there is agreement, I
say it is all right. But no, it is too much.
II - 7 - 62
MARGARET
It?
SIGNOR NACCARELLI
It is to make the fantastic.
MARGARET
What is?
SIGNOR NACCARELLI
You must have understood! My son Fabrizio is twenty years old, no more. With my own two eyes I see
she write twenty-six. Six years difference! It cannot be.
MARGARET
Oh.
SIGNOR NACCARELLI
In that moment I ask myself, what must I say, what can I do? It will be too late. What to do? I make the
excuse, an appointment. I see this in the American cinema. It was not true. I have lied. I tell you
frankly.
MARGARET
They seemed so much the same age to me, so happy.
SIGNOR NACCARELLI
It cannot be. I pass an afternoon of torment, an inferno. As I am a man, as I am a Florentine, as I am a
father, as I long for my son's happiness, as ...
MARGARET
In America we have seen many many happy marriages with an even greater difference. Clara—she has
been very carefully brought up. She had a long illness some years ago. To me she seemed even younger
than Fabrizio.
SIGNOR NACCARELLI
What is this illness? How am I to know that she is cured of it?
MARGARET
You see her; she is as healthy as she seems. Don't you realize they are in love? Whatever their ages, they
are both young. This is a deep thing, a true thing. To try to stop what is between them now—
SIGNOR NACCARELLI
Try to stop?! My dear lady, I will stop whatever I wish to stop.
MARGARET
Fabrizio—
SIGNOR NACCARELLI
Sì, Fabrizio, so now you think of someone else. He will try to kill himself, as I once did, it is only to
grow up. No. Non é possibile. It can not be. Will not.
(Pause.)
MARGARET
This is all too bad, because I ... received a letter today from Signor Johnson, and instead of five thousand
dollars, he wants to make Clara and Fabrizio a present of fifteen thousand dollars.
II - 8 - 63
SIGNOR NACCARELLI
(A beat before.)
So now you will write and explain everything and that this wedding cannot be.
(Pause.)
MARGARET
Yes, of course.
(Longer pause.)
Can we ... take a walk? Una passeggiata? ... Together?
(Beat. SIGNOR NACCARELLI looks at his wristwatch.)
SIGNOR NACCARELLI
I have lived long enough, I think, to close my own shop when I like.
MARGARET
Yes, good for you!
MUSIC 18: LET’S WALK
(He closes up the shop; they step outside.)
Scene 8: Florentine Street
(SIGNOR NACCARELLI and MARGARET stroll. Time passes during the song. Twilight turns to
darkness.)
SIGNOR NACCARELLI
I LOOK AT HIM AND THAT WAS ME,
THE BLINDNESS AND THE ENERGY.
I WANT TO SAY,
“HERE, COME THIS WAY…”
MARGARET
WHEN WE ARE AT A CERTAIN AGE,
WE ALMOST FALL ON PURPOSE,
FALL WITH ALL OUR MIGHT,
AND THEN IT IS ALL RIGHT.
BUT WHAT DO I KNOW
OF THE ROAD TO BE TAKEN FOR HAPPINESS?
SIGNOR NACCARELLI
LET'S WALK…
MARGARET
LET'S WALK…
SIGNOR NACCARELLI
LET'S WALK…
MARGARET
LET'S WALK…
SIGNOR NACCARELLI
LET'S WALK…
II - 8 - 64
MARGARET
LET'S SEE…
MARGARET & SIGNOR NACCARELLI

THE REST WILL BE.
AH...
AH…
AND AFTER THAT
WE MIGHT AS WELL WALK.
SIGNOR NACCARELLI
AH…
MARGARET SIGNOR N.
WHEN I WAS YOUNGER I WAS SHE, OOH…
THE INNOCENCE, THE FANTASY.
BUT IT’S OKAY. OOH…
THAT GOES AWAY.
SIGNOR N. MARGARET
THAT'S HOW I WAS, THE WAY THEY ARE, AH…
THE WAY THEY LOVE TO WORRY SO
ALL THROUGH THE NIGHT AH…
WHEN EVERYTHING'S ALL RIGHT.
BOTH
BUT WHAT CAN WE SAY?
THEY ARE MADE OF TOMORROW AND YESTERDAY.
LET'S WALK…
LET'S WALK…
IT’S TRUE…
LET'S SEE…
LET'S WALK BEYOND OUR VANITY.
NO ONE KNOWS .
WE ONLY GUESS.
JUST A LEAP FOR HAPPINESS…
FOR HAPPINESS…
HAPPINESS.
SIGNOR NACCARELLI
YOU NEVER KNOW
MARGARET
WE MIGHT AS WELL
BOTH
WALK.
(Beat. They talk simply, as if they had been negotiating a settlement rather than strolling and
passing the time with idle chat:)
II - 9 - 65
SIGNOR NACCARELLI
As my mother used to say: "Non é dato a noi di sapere tutto.” It is not given for us to know everything.
MARGARET
Ah. My father used to say, "There is no survey of the facts like time."
SIGNOR NACCARELLI
Yes.
(Pause.)
Meaning?
(MARGARET smiles.)
MARGARET
Here we are: my hotel.
SIGNOR NACCARELLI
Tomorrow then? At the church?
MARGARET
Tomorrow.
(He leans in and kisses her on the lips. Then, as he crosses away, her hand goes to her face as if
to wipe his kiss away as we fade to:)
MUSIC 18A: POST PROMENADE
(Very late that night. MARGARET is on the phone with ROY, who is at home.)
MARGARET
Roy, listen to me.
ROY
I can't hear you, Margaret.
MARGARET
I don't want to wake her, that's all. She's getting married.
ROY
Who's getting married?
MARGARET
I'm letting Clara marry Fabrizio.
ROY
I'm getting on a plane. Right now.
MARGARET
They will, no, they'll be on their honeymoon.
ROY
You've been drinking, what have you been drinking?
II - 9 - 66
MARGARET
The family loves her just as she is! They are well-bred and well-off—
(CLARA appears in the shadows; she has been trying on her wedding dress. She listens to her
mother.)
ROY
Clara cannot be trusted with the responsibility of a family.
MARGARET
I'm not asking you, Roy, I'm telling you.
ROY
She cannot—do they know?
MARGARET
It doesn't matter to me whether they know or not—they love her.
ROY
She's a handicapped person, Margaret, Jesus, I thought we were through with this.
MARGARET
Just because she isn't normal, Roy, doesn't mean she's consigned to a life of loneliness. She mustn't be
made to accept less from life just because she isn't like you or me.
(CLARA slips away into the shadows leaving the hotel.)
ROY
If she has a baby, she'll drop it, she'll lose it!
MARGARET
She'll be living with the grandmother. Who’s going to take care of her when we’re gone, Roy?
ROY
(Overlapping.)
If they don't know—If they don’t know, and they find out, they could institute legal action, do you think
she'll survive the shock of that?
MARGARET
You haven't been here, honey, you haven't seen—she's blossoming. Maybe the doctors were wrong about
how much she can develop.
ROY
Wrong?
MARGARET
Yes! Why can't we hope for once instead of dreading everything.
ROY
I'm calling a taxi and I'm getting on a plane. Right now!
MARGARET
Please don't.
II - 9 - 67
ROY
This is lunacy!
MARGARET
They have something precious, the two of them, a deep well of feeling, something we never had.
ROY
I thought we did.
(Short pause.)
MARGARET
Well ... I'm sorry.
ROY
What are you sorry for?
MARGARET
Us.
ROY
...Listen to reason. Please.
MARGARET
No.
ROY
What?
MARGARET
I said no, Roy. Reason is what's wrong with us.
ROY
Reason is…
MARGARET
Don't come here, we won't be here.
ROY
Why? What?
MARGARET
We'll be gone.
ROY
Gone where?
MARGARET
I love you.
(She hangs up.)
ROY
Gone where? Hello?
II - 11 - 68
MARGARET
(Calling.)
Clara? Darling?
(MARGARET runs off.)
MUSIC 18B: CLARA’S INTERLUDE
Scene 10: The Empty Streets of Florence at Dawn
(CLARA runs across the stage, silhouetted against a vast, yellow sky. She falls to the ground and
a sound pours from within:)
CLARA
AH… AH…
AH… LUCE!
(She composes herself, rises, walks the rest of the way to:)
(Before the wedding, CLARA finds FABRIZIO.)
FABRIZIO
Tesoro mio. (My treasure.)
CLARA
I came to say addio. (Farewell.)
FABRIZIO
Addio?
CLARA
You cannot marry me.
FABRIZIO
Of course I can, Papà was being foolish.
CLARA
It isn't that.
FABRIZIO
What? What then?
CLARA
Something is wrong.
FABRIZIO
What?
CLARA
I don't know. Something is very wrong, and I'm sorry. I would fix it if I could, knew how. I can't. You
must not love me, I’m sorry.
FABRIZIO
I am not sorry.
II - 11 - 69
CLARA
You should be.
FABRIZIO
No.
CLARA
Yes. You will be disappointed in me.
MUSIC 19: LOVE TO ME
FABRIZIO
How would I be disappointed?
CLARA
You just don't see me.
FABRIZIO
THE DAY WE MEET
THE WAY YOU LEAN AGAINST THE WIND
AND DO NOT KNOW THAT YOU ARE BEAUTIFUL
OR THAT ANYONE IS WATCHING YOU.
THIS IS WHAT I SEE.
AND I NOTICE HOW YOU HUNGER FOR SURPRISE

AND DO NOT THINK THAT YOU ARE TALL ENOUGH,
LIKE YOU'RE STANDING ON A MOUNTAINSIDE ALONE.
THIS IS WHAT I SEE.
OH…
OH… YOU'RE NOT ALONE!
NOW I SEE AS I HAVE NEVER SEEN BEFORE,

SINCE THAT MOMENT IN THE SQUARE
WHEN YOUR HAT IS CARRIED IN THE AIR
JUST SO YOU CAN CHASE IT,
JUST SO I CAN BE THERE.
THIS IS HOW I KNOW.

THIS IS WHAT I SEE.
THIS IS LOVE TO ME.
MUSIC 19A: WEDDING
(MARGARET enters with CLARA’S veil. FABRIZIO moves into the church. MARGARET puts
the veil on CLARA, then leads her toward the church. CLARA stops.)
CLARA
I can’t leave you.
MARGARET
Yes, yes you can.
II - 11 - 70
MUSIC 20: FABLE
(MARGARET urges CLARA into the church. MARGARET is now alone.)
MARGARET
YOU CAN LOOK IN THE FOREST
FOR A SECRET FIELD
FOR A GOLDEN ARROW
FOR A PRINCE TO APPEAR
FOR A FABLE OF LOVE THAT WILL LAST FOREVER.
YOU CAN LOOK IN THE RUINS

FOR A WISHING WELL
FOR A MAGIC APPLE
FOR A CHARIOTEER
FOR A FABLE OF LOVE THAT WILL CARRY YOU
TO A MOON ON A HILL, TO A HIDDEN STREAM,

A LAGOON AND A RED HORIZON DREAM
SILHOUETTE SET AWAY FROM TIME FOREVER.
TO A VALLEY BEYOND THE SETTING SUN
WHERE WATERS SHINE AND HORSES RUN
WHERE THERE'S A MAN WHO LOOKS FOR YOU.
BUT WHILE YOU LOOK YOU ARE CHANGING, TURNING…

YOU'RE A WELL OF WISHES,
YOU'RE A FALLEN APPLE.
NO!
NO!
LOVE'S A FAKE.
LOVE'S A FABLE.
JUST A PAINTING ON A CEILING,

JUST A CHILDREN'S FAIRY TALE…
STILL YOU HAVE TO LOOK.
AND LOOK, AND LOOK, AND LOOK, AND LOOK,
AND LOOK, AND LOOK, AND LOOK, AND LOOK
FOR THE EYES ON A BRIDGE IN A POURING RAIN—

NOT THE EYES, BUT THE PART YOU CAN'T EXPLAIN,
FOR THE ARMS YOU COULD FALL INTO FOREVER.
FOR THE JOY THAT YOU THOUGHT YOU'D NEVER KNOW
FOR HERE AT LAST
AWAY YOU GO
TO A MAN WHO LOOKS FOR YOU.
IF YOU FIND IN THE WORLD

IN THE WIDE, WIDE WORLD
THAT SOMEONE SEES
THAT SOMEONE KNOWS YOU—
LOVE!
LOVE!
LOVE IF YOU CAN, OH MY CLARA.
LOVE IF YOU CAN AND BE LOVED…
MAY IT LAST FOREVER...
II - 11 - 71
Clara…
(SIGNOR NACCARELLI emerges from the church. He takes MARGARET’S hand and they join
the wedding party as the lights fade.)
END ACT II
TABLE OF CONTENTS
ACT I
1. Overture .............................................................................................................................................. 1
2. Statues and Stories (Part 1) ................................................................................................................. 2
2A. Statues and Stories (Part 2) ................................................................................................................. 6
2B. Margaret/ Hat Underscore ................................................................................................................... 9
3. The Beauty Is .................................................................................................................................... 10
4. Il Mondo Era Vuoto (Part 1) ............................................................................................................. 12
4A. Il Mondo Era Vuoto (Part 2) ............................................................................................................. 14
6. Passeggiata (Part 1) ........................................................................................................................... 16
6A. Passeggiata (Part 2) ........................................................................................................................... 18
6B. Passeggiata (Part 3) ........................................................................................................................... 19
7. The Joy You Feel .............................................................................................................................. 21
8. Dividing Day ..................................................................................................................................... 23
9. Hysteria/ Lullaby............................................................................................................................... 25
10. Say It Somehow ................................................................................................................................ 29
ACT II
12. Aiutami.............................................................................................................................................. 33
13. The Light in the Piazza ..................................................................................................................... 41
14. Octet (Part 1) ..................................................................................................................................... 42
15. Clara’s Tirade .................................................................................................................................... 46
15A. Church ............................................................................................................................................... 48
16. Octet (Part 2) ..................................................................................................................................... 49
17. The Beauty Is (Reprise) .................................................................................................................... 51
18. Let’s Walk ......................................................................................................................................... 53
18B. Clara’s Interlude ................................................................................................................................ 57
19. Love to Me ........................................................................................................................................ 58
20. Fable .................................................................................................................................................. 60
Vocal The Light in the Piazza
Overture 1
3
Dreamily - rubato
## 6 4 ∑ Ó Ó
1-3 4 5 Rall.
& 4 4
2
Cantabile (Slow 4)
##
6
œ œ. œ œ œ
7 8-9
& œ œ œ œ. œ ˙
## 4
bbb
10-13
&
œ- (to 119)
œ œ nœ ##
bbb
14
17
œ œ . nœ œ œ nœ œ ˙.
15 16
& œ œ -œ . œ ˙ ‰ œj œ . œ œ ‰ œj œ .
- œ -
#
119
œ. œ œ œ œ œ bbb
CLARA:
& # œ œ œ. œ ˙ œ œ . œ œ nœ nœ œ œ bœ œ.
120 121 122
œ œ nœ
Ah... Ah...
Poco rit. ,
> nœ . n œ ## 4
b bb œœ œ œ nœ œ nœ #œ œ œ œ . #œ œ . n œ n œ # œ œ 2 . .
123 124 125
& œ. œ 4 œ œ #œ 4
Ah... Ah...
#
126
& # 44 w ‰ œj œ j
A tempo Rall.
‰
127 128
œ œ œ œ œ œ œ œ œ œ
Ah... Ah... Ah... Ah...
#
CLARA: "Mother? What happened here?"
2
& # w
A tempo
˙ Ó ∑
129 130 131
4
Ah...
MARGARET: "What did happen here? I played a tricky game in a foreign country...What did I do?" CLARA: "Mother?"
## 2 132
j 44
133
j
134
œ œ 24
135
& 4 j
œœ œ œœ œ œ
˙..
œ œ j
œ œ œœ œ
w
œ j
œ œ.
j
œ.
J J œ
Copyright © 2005 by Matthew Music. All Rights Reserved.
Segue as one
Publication and allied rights for Matthew Music administered by Williamson Music throughout the world.
International Copyright secured. All Rights Reserved.
1
Statues and Stories 2

(Part 1)
#
With an intimate energy MARGARET: "What happened here? Wellll, let's see..."
& # 44    Ó Œ
1 2 3 4 MARGARET:
M.
œ œ
On a
## Œ Ó Œ
& œ œ œ œ œ œ
5 6 7 8
œ œ œ œ œ œ œ ˙ œ œ
œ
M.
cen - tral square in a cit - y of the sun, rose a pal - ace. It was
##
CLARA: "Where would that be? Where is that?"
& œ œ Œ Ó Ó Œ
œ œ œ œ œ
9 10 11 12
œ œ œ œ œ
œ œ
M.
high and hand-some, gleam -ing like the crown of a king. In the
##
& œ œ œ Œ ‰ œj Ó Œ œ œ
13 14 15 16
M.
œ œ ˙ œ w
tow - er a warn - ing bell would ring for a
##
  Ó ‰ œj œ œ œ #œ Œ Ó
CLARA:
C. &
What kind of warn -ing?
##
& œ œ œ Œ ‰ œj œ œ œ œ œj œ . Ó Œ ‰ j
17 18 19 20
œ œ œ œ
˙
M.
fire, or riv - er o - ver -flow ing. Fi - ren - ze. On a
##   Ó 
C. & ˙
Oh.
## 21
Œ
& œ œ œ œ œ
22 23
œ œ œ œ œ œ œ œ ˙
œ
M.
cen - tral square, the be - gin - ning of a king - dom re - pub - lic.
#
& #   Ó ‰ j
œ œ œ
C.
Was there a
2
Vocal 2. Statues and Stories (Part 1) The Light in the Piazza
##
& Ó Œ œ œ œ œ œ œ œ œ œ œ Œ Ó
24 25 26 27
œ œ œ
œ
M.
There were prin - ces, paint - ers, no - ble-men of lo - gic and art.
# œ Œ r
& # œ # œ œ   Ó ‰. # œ œ
œ
C.
king? Was there a queen? Fi- ren -
##
Ó Œ Œ
3
&
28 29 30 31
M.
œ œ œ œ œ œ œ œ œ œ œ œ w
Le - o - nar - do, Mich - el - an - gel - o, the start.
##
Œ Ó Œ Œ  
"That's a completely
& œ œ
œ œ œ
C.
- ze! Le - o - nar - do!
# ‰ œj
& # Ó Œ œ œ œ Œ œ Œ
32 33 34
M.
œ œ œ ˙
'Twas a dawn - ing day un - furl - ing
##
  Ó Œ œ nœ
naked statue."
C. &
from the
##
Poco più mosso (in 2)
&    
35 36 37 38
M.
# w w w ˙. œ
C. & #
heart! The
##
&    
39 40 41 42
M.
# ˙
C. & # ˙ ˙ ˙ ˙. œ œ w
paint - ing of the world we know
3
## j
Poco rit.
& Ó ‰ œ œ Ó Œ œ œ
43 44 45
M. œ w
The world we know On a
# j
C. & # Ó ‰ œ œ œ w Ó Œ œ œ
The world we know On a
# j
& # nœ œ œ œ nœ œ œ œ œ œ œ.
A tempo (in 4)
œ Ó Ó Œ œ œ
46
œ œ
47 48 49
M.
cen - tral square, in a cit - y made of stat - ues and sto -ries, it ig -
# ˙ œ œ
C. & # nœ œ  Ó ‰ jœ œ
œ œ œ œ Œ
cen - tral square... Go on and tell me what they mean.
# œ
& # nœ œ œ œ nœ œ œ Ó Ó Œ
"misterioso"
œ œ œ œ œ œ
50 51 52 53
M.
˙
- nit - ed there, like a bea - con com - ing out of the dark. You can
#
C. & #    
## Œ Œ Ó Œ
& œ œ œ œ œ œ œ œ œ
54 55 56 57
M.
w œ #œ
feel it. You can fol - low the spark. From an
# Œ œ #œ œ œ
C. & # Œ œ œ œ œ œ Œ œ œ œ œ Œ œ œ ˙ Œ
You can feel it. You can fol - low... We're on va - ca - tion!
## œ œ ˙ nœ œ œ nœ œ œ nœ
Ó Œ œ œ Œ œ œ Œ
3 60
&
58 59 61
M.
œ
age to an age. In Fi - ren -ze In Fi - ren- ze The
# nœ
& # Ó Œ œ œ #œ Œ Œ œ œ n œJ œ . Œ œ œ nœ œ
3
C.
œ #œ œ
From an age to an age. In Fi - ren - ze In Fi - ren - ze The
4
## ˙. œ ˙
& Œ ‰ œj œ
62 63 64 65
M.
œ œ œ œ œ œ œ
spark, the world. It start - ed then and there, and here we
# œ nœ
& # œ œ Œ œ œ œ œ œ œ ‰ œj œ œ
C.
˙
paint - ing of the world. It start - ed then and there, and here we
##
& œ œ j
66 67 68 69
w ˙ ˙ œ. ˙. œ œ
œ
M.
œ
are. It's a new old world to me. It's a
## w ˙ ˙ œ œ. ˙.
& œ
C.
J œ œ
are. It's a new old world to me. It's a
## œ œ w w w
& œ
70 71 72 73
M. œ
new old world and we are here.
# œ w w w
C. & # œ œ œ
new old world and we are here.
## ˙
& Ó 
74 75 76
Ó Œ
M.
œ œ
## ˙ Ó  
C. &
Segue as one
to Part 2
5
Statues and Stories 2a

(Part 2)
Dialogue
#
MARGARET: "Your father and I took our honeymoon here before the war."
& # 44
CLARA: "Really?"
1 2 3 4
œ Œ Ó Œ
M. œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ
œ
##
&
5 6 7 8
œ œ Ó Œ
M œ œ œ œ œ œ œ œ w œ œ
œ
## 3
&
9 10 11 12
Œ œ Ó Œ
M
œ œ œ œ œ œ œ œ œ w œ œ
MARGARET: "...they call cities 'she' here. I bet you didn't know that..."
## w w w ˙. œ
& œ œ œ Œ ‰ œj œ nœ
13 14 15 16 17 18
M œ œ˙
## ˙
&
19 20 21 22
˙ ˙ ˙. œ œ
M
˙ w
##
MARGARET: "'...widely recognized as the European form of currency.'"CLARA: "We're here!"

Poco rit.
& j
23 24 25
Ó ‰ œ œ œ
M
w
##   Ó Œ
& œ œ
CLARA:
C.
On a
A tempo
## j
MAN ON BIKE: "Giornali!"
& Ó Œ œ œ œ œ nœ œ œ œ œ œ œ. Ó Ó Œ œ œ
26 MARGARET: 27 28 29
in a cit - y made of stat - ues and sto - ries. It ig -
# ˙ w
C. & # nœ œ  Ó Œ œ œ
cen - tral square... It ig -
6
# œ
SIGNOR NACCARELLI: "Mille grazie, Signora."
& # nœ œ œ œ œ œ nœ œ œ œ œ Ó 
30 31 32 33
M
˙
- nit - ed there, like a bea - con com - ing out of the dark.
# œ
C. & # nœ œ œ œ œ œ nœ œ œ œ œ ˙
Ó Ó Œ œ œ
- nit - ed there, like a bea - con com - ing out of the dark. You can
##
& Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ
34 35 36 37
You can feel it... You can fol - low... You can feel it... You can fol -low the
## Œ Œ Œ Ó
C. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
feel it... You can fol - low... You can feel it... You can fol -low...
## Œ Ó Œ œ #œ œ œ œ œ ˙ Œ 
&
38 39 40 41
M
œ
spark. We're on va - ca - tion!
#
C. & # Œ œ #œ œ œ œ œ ˙ Œ  Ó Œ œ œ
We're on va - ca - tion! In Fi -
## œ #œ œ œ œ œ ˙
  Œ Œ
THREE OTHERS:
&
Ah...
## nœ ˙. œ ˙
& Œ œ œ n œJ œ . Œ œ œ nœ œ Œ
42 43 44 45
œ
M
In Fi - ren - ze In Fi - ren - ze The spark, the world. It
## n œ nœ œ œ nœ œ nœ
& œ œ Œ œ œ Œ œ œ Œ œ
C.
˙
- ren - ze In Fi - ren - ze The paint - ing of the world. It
## j
&
46 47 48
M
œ œ œ œ œ. œ œ œ w
#
start - ed then and there, and here we are.
j w
C. & # œ œ œ œ œ. œ œ œ
start - ed then and there, and here we are.
7
## œ œ œ
& œ œ j
49 50 51 52
˙ ˙ œ. ˙. œ œ œ
œ
M
## ˙ œ œ
It's a new old world to me. It's a new old world and
˙ œ. œ ˙. œ œ œ
C. & J œ œ œ
It's a new old world to me. It's a new old world and
# #WOMEN: w
& w w #w
Oh...
# #MEN:
n ww ww
& # ww n ww
Oh...
## w w w w
&
53 54 55 56
w
we are fin - 'lly
## w w w
C. &
we are fin - 'lly
# nw
& # w w nw w
Ah...
## w w
&
ww
w n www nn ww b n www
Ah...
## w w w 
&
57 58 59 60
here.
## w w w
C. & 
here.
# # # ww ww ww
& 
# # # www www www

& 
Segue as one
8
Margaret/Hat Underscore 2b
Poco rubato
#
MARGARET: "Ah, what else, what else, what else...Oh, this is interesting..."
& # 44
1 2 3 4
œ ˙ œ œ œ œ j j j j
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
## 5 6
œ ˙
7
24
8 9
44
10 e=e
38
& œ œ œ œ œ j œ œj j j œw œ œ œ œj œ .
œ œ œ œ œœ œ œ œ œ œ ˙ œœ œ œœ
J
# 3
11
4
In 1 In 2
& #8
œ œ œ œ œ œ. œ. ˙
12 13 14 15 16 17
œ. œ
J ⋲
œ
r
œ. œ
J ⋲
œ
r œ. œ J 8
MARGARET: "People were apt to be very cruel in those days..." MARGARET: "All right now, don't wander off." CLARA: "I won't."
Uœ
##
In 4 Accel.
œ œ œ 4 œ 2 œ œ nœ 4
18 19 20 21 22
& œ œ œ #œ #œ 4 n˙ .
œ œ œ œ œ œ 4 4
œ œ
With great aspiration (più mosso)
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
#
23
& # 44
24 25 26
##
Meno mosso
34 24 Œ 44
Molto rit.
∑ ∑ ‰. œ
27 28 29 FABRIZIO:
& R
œ
Fa -
œ œ œ œ œ œ œ
4
œ œ œ œ
## J J J J 34 24 44
&
## 4 œ . œ œ
30 CLARA:
A tempo
‰ œ œ œ . ∑ 2 Œ 4 ∑ 2
31 32 33
& 4 œ 4 œ œ 4 4
bri - zi - o Nac- ca - rel - li! Cla - ra!
#
Twice as fast MARGARET: "Clara! Clara, I said don't run off..."
& # 24 ∑ 44 .. ∑ ∑ ..
34 35 36

Time
9
The Beauty Is 3
MARGARET: "And this is interesting."
(CLARA notices statue)
With a strong pulse

#4
& 4 .. ∑ ∑ .. ∑ ∑
1 2 3 4
# j
5
œ
CLARA:
œ. œ œ œ ‰ œ bœ Ó
6
& œ œ bœ œ
These are ver - y pop - u - lar in It - a - ly!
# # #
œ. œ œ œ bœ œ œ œ œ ˙ Œ œ # œ œ œ œ œ œ ‰ œj # # #
7 8 9
&
It's the land of na - ked mar - ble boys! Some -thing we don't see a lot in
#### œ #œ œ Œ
# #œ Œ œ œ Œ bbbb
10 11 12
& œ œ œ œ œ ˙
Win - ston Sa - lem. That's the land of cor - du - roys!
b b
Poco più mosso, flowing, but exact tempo
˙
&b b
13
Ó Œ
14
œ œ ˙
b b j
15
& b b ‰ œ œ œ œ bœ bœ . bœ bœ bœ œ œ Œ j
œ œ œ
j ˙
16 17 18
œ œ bœ bœ œ œ
I'm just a some -one in an old mu - se - um. Far a - way from home as some -one can go.
b
& b bb Œ œ. œ œ bœ œ œ bœ œ œ œ œ œ ˙ Œ œ n˙ Ó
19 20 21 22
And the beau - ty is I still meet peo - ple I know. Hel - lo.
b œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ ˙
& b bb Œ œ œ œ
Expressively
œ
23 24 25 26
This is want -ing some - thing. This is reach - ing for it. This is wish - ing that a mo - ment would ar -rive.
b b œ œ œ œ Œ œ œ bœ œ
&b b Œ œ œ œ œ Ó Œ œ œœ ˙ Œ
27 28 29 30
œ œ
This is tak - ing chanc -es. This is al - most touch -ing. What the beau -ty is...
10
Vocal 2. The Beauty Is The Light in the Piazza
b b
31
&b b Œ œ œ œ bœ bœ . bœ Œ
32 33
bœ bœ œ œ œ œ bœ bœ œ œ
I don't un - der - stand a word they're say - ing. I'm as dif - f'rent here as
b Œ œ . bœ œ œ œ œ œ bœ #
& b b b œj œ j ˙ œ œ nœ œ
Poco Rall.
˙ Ó
34 35 36 37
œ
dif - f'rent can be, but the beau - ty is I still meet peo - ple like me.
# œ Tempo j
38
. œ
I°
œ œ œ ‰ œ bœ bœ Ó
39
& œ œ œ
Ev - ery - one's a moth - er here in It - a - ly.
# œ œ œ œ œ œ ####
& œ. œ œ ˙ Œ œ #œ œ œ œ œ œ #
40 41 42
œ
Ev - ery - one's a fa - ther or a son. I think if I had a child
#### œ #œ œ œ œ Ó œ œ n˙ œ œ œ œ Œ Œ nœ bbbb
# œ #œ
43 44 45 46
& œ œ œ
I would take such care of her. Then I would n't feel like one. I've
bbbb œ Œ œ œ
47 Accel. poco a poco
œ
œ œ œ bœ œ œ œ. œ bœ œ ˙ n˙ Ó
48 49 50
& bœ
hard - ly met a sin - gle soul, but I am not a - lone. I feel known!
b œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
& b bb Œ œ œ œ œ œ œ œ
Tempo II°
˙
51 52 53 54
This is wanting something. This is pray - ing for it. This is hold -ing breath and keep - ing fin - gers crossed.
b b œ œ œ Œ œ œ bœ œ nœ Œ œ œ œ œ
&b b Œ œ œ œ nœ œ œ ˙ Œ
55 56 57 58
This is count - ing bless - ings. This is won - d'ring when I'll see that boy a - gain.
b b ˙ œ œ œ œ œ ˙.
&b b Œ œ Œ
59 60 61 62
œ œ ˙
I've got a feel - ing he's just a some - one too.
œ. œ œ bœ.
63
b b œ œ œ œ œ œ œ œ œ œ
Rall. poco a poco
&b b Œ Œ Œ bœ
64 65
And the beau - ty is when you re - al - ize, when you re - al - ize
11
Vocal 3. The Beauty Is The Light in the Piazza
,
b b n˙ œ œ œ œ œ œ œ
Broader
b
& b nœ œ ‰ œ
66 67
J
some - one could be look - ing for a some - one like
b œ ˙ 34 ˙ . 44 œ
Più mosso Rit.
& b bb œ œ Œ Ó ∑
68 69 70 71
you.
Il Mondo Era Vuoto 4

(Part 1)
CLARA: "Ciao! We'll come by your shop!"
With Italian lyricism
b 44
& b b b 45
Poco rubato (in 5) In 2
∑ ∑ ∑ Ó Œ
1 2 3 4 FABRIZIO:
œ
Il
j
bbbb ˙
5
A tempo
œ. œ œ œ ˙ bœ œ œ bœ
6 7 8
& œ œ œ ˙.
bœ
mon - do e - ra vuo - to. Le om - bre lo ri - em - pi - van.
b b w w
&b b Œ œ
9 10 11 12
bœ bœ œ nœ œ nœ
La lu - ce non splen - de - va mai.
b
13
& b bb œ Œ œ nœ nœ ˙. ˙ Ó
14 15 16
nœ œ œ
œ
Cla - ra, la lu - ce nel - la piaz - za.
b
& b bb œ œ ˙. Œ nœ œ #œ #œ #œ
3
œ
17 18 19 20
˙ œ ˙ nœ
Cla - ra, mia lu - ce, mio cor! O - ra che so - no
b b
& b b œ œ Œ bœ œ œ bœ œ œ ∑ Ó Œ
21 22 3 23 24 25
nœ w
œ œ
sve - glio al - l'om - bra non vo' tor - nar. Non sa -
12
Vocal 2. Il Mondo Era Vuoto (Part 1) The Light in the Piazza
j
b b œ œ œ œ Œ œ 5 ˙
26
œ. œ bœ œ œ 4 ˙.
&b b bœ œ 4 œ
27 28 29
bœ œ œ œ 4
pe - vo di sen - tir - mi so - lo, pri - vo del sen - so del - la vi - ta.
b b bœ w œ ˙ œ œ ˙
&b b Ó œ Œ Œ
3
œ
30 31 32 33
E - ra co - sì! Cla - ra! Cla - ra!
b œ œ3 œ ˙. ‰ œJ nœ œ #œ #œ nœ 64
& b bb œ ‰ œJ œ #œ
34 35 36
3
Cla - ra, mia lu - ce, mio cor! L'es - sen - za che mi man -
b b 6 bœ bœ j
‰ œj ˙ . 4 bœ. bœ œ œ
A tempo
2 4
Poco rit.
&b b 4 œ œ ˙. ∑
37 38 39 40
4 J J 4 4
ca - va sei tu. La tua lu - ce m'in - on - da.
b b4 j
41
&b b 4 ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ bœ œ ‰ œJ œ œ œ œ œ n œ œ ˙.
42 43 44
J
Ma lei non può a - mar -mi! Non co - sì! Oh Cla - ra! Non a - mer - à un ra - gaz - zi - no!
b œ œ nœ œ œ œ nœ ˙ nœ ˙. Œ nœ œ . œ . œ
& b bb ‰ J nœ Œ
45 46 47 48
J
Non può a - ma - re'un ra - gaz - zi - no! Di - o! Pa - pà!
j
bbbb ˙ . œ ˙
49
‰ œ œ œ ˙ 45 œ bœ œ œ bœ 44 œ ˙ Œ
50 51 52
& œ
Dor - mi - vo! Io non sa - pe - vo d'es - ser so - lo.
b b œ ˙. m
&b b Ó bœ œ Œ bœ
3
œ nœ bœ ˙.
53 54 55 56
œ
So - lo nel bu - io. Non e - ro vi - vo!
b bUœ b œ œ œ ˙. w œ œ œ
& b bb Œ Œ
57 58 59 60
Non c'e - ra Cla - ra! Ma o - ra
˙
bbbb ˙ n˙ œ. nœ ˙ ˙ w
61 62 Poco rit. 63 A tempo 64
& J
la tua lu - ce m'in - on - da.
65 GIUSEPPE: "Papà, le hai ordinate tutte queste?"
b b
&b b Ó Œ œ bœ
66 67 68
œ œ Œ
œ bœ w ˙.
13
b b œ
&b b
œ œ bœ
69 70 71 72
Ó Œ œ œ w w
SIGNOR NACCARELLI
b
& GIUSEPPE: "Van Johnson??"
& b bb ∑ ∑ ∑ ∑
73 74 75 76
SIGNOR NACCARELLI: "Resterai un bohémien."
bbbb œ œ ˙.
∑ ? nœ
80
œ
77 78 79
& & nœ œ œ œ
œ
SIGNOR NACCARELLI: "Domani, magari." FABRIZIO: "No! Non domani! Adesso!"

œ
bbbb œ œ bœ bœ œ bœ 84
˙ n˙ œ n˙ .
œ œ
81 85
&
82 83
bœ œ nœ
Segue as one
to Part 2
Il Mondo Era Vuoto 4a

(Part 2)
Poco agitato
b j
& b b 4 ‰ #œj œ œ œ œ œ œ
b 4
#œ #œ œ ‰ œ nœ #œ ‰ bœ œ œ œ œ bœ œ œ ˙.
FABRIZIO:1 2 3 4
J
Ma lei non può a - mar-mi! Non co- sì! Oh Cla - ra! Non a-mer-à un ra-gaz - zi - no!
b
& b b b ‰ œJ œ œ œ œ œ œ œ ˙ Œ œ ˙. Œ œ œ. ˙
5 6 7 8
Non può a - ma - re'un ra - gaz - zi - no! Di - o! Pa - pà!
b b œ œ œ Œ
9
œ bœ œ œ Œ #œ j #˙ œ ‰ œJ
&b b nœ ‰ #œ #œ nœ nœ
10 11 3 12
Cla - ra! Cla - ra! Cla - ra, mia lu - ce, mio cor! L'es -
b b 5 nœ 4 Œ
& b b nœ œ nœ nœ œ
3
‰ j n˙
13 14 15
#œ 4 nœ #œ œ œ 4 #œ
sen - za che mi man - ca - va sei tu. Sei tu
14
bbbb œ œ œ œ œ œ œ Œ j
16
#œ #˙ œ ‰ Jœ
Œ #œ ‰ #œ #œ nœ #œ
17 18 3 19
&
Cla - ra! Cla - ra! Cla - ra, mia lu - ce, mio cor! L'es -
b b nœ œ #œ nœ nœ 5 bœ ‰ œj œ 4 Œ ˙
&b b œ
20 3 21 22
#œ 4 bœ œ 4
sen - za che mi man - ca - va sei tu. Sei tu
b œ œ œ œ œ œ œ œ œ ˙ œ
23
& b bb Œ Œ œ ‰ œJ œ œ Œ
24 25 3 26
Cla - ra! Cla - ra! Cla - ra, mia lu - ce, mio cor!
b b bœ œ. œ bœ ˙. œ bmœ
&b b Œ J Œ œ nœ ˙.
27 28 29 30
So - lo nel bu - io. Non e - ro vi - vo!

Uœ b œ
b b œ œ #œ nœ ˙. w
31
œ œ
&b b Œ
32 33 34
O di - o, dam - mi - la mia Cla - ra!
œ œ œ ˙ ˙ "
b n˙ n˙
& b bb Œ
35 36 37
O Pa - dre, la sua lu - ce...

SIGNOR NACCARELLI:
U
34 ˙ . ˙. 44 w
"Oh Madonna mia. OK, Van Johnson."
b
& b bb Œ nœ
40 A tempo
∑ Ó ∑
38 39 41 42 43
M'in - on - da!
15
Passeggiata 6
(Part 1)
SIGNOR NACCARELLI: "I find the Americans very simpatici."
MARGARET: "Well..."
:
# 3 U
3 Bells and sunlight (in 1)
. .
& #4 ∑
nœ œ nœ œ nœ bœ
4 5 6
Œ Œ bœ
CLARA:
## "
"Hello. How old are you?"
Œ
7 8 9 10
& #œ œ
.
Œ #œ œ
.
Œ #œ œ #œ ˙
FABRIZIO: "Vuoi fare una passeggiata con me?"

##
11
12 13 14 15 16
& Œ œ #œ ˙ œ œ bœ nœ ˙ œ ˙. ˙.
## 17 18
˙.
19
œ
20
œ œ œ
21
œ œ
22
˙.
23
˙.
& Œ
œ œ Œ œ œ
##
CLARA: "Sì." FABRIZIO: "Bene!"
œ œ œ ˙. ˙. ˙. ˙.
24 25 26 27 28
&
FABRIZIO:
##
29
Œ œ ˙. Œ œ Œ Œ œ œ
30 31 32 33 34 35 36
& œ œ ˙. œ œ ˙. ˙.
Come with me. Walk with me, walk -ing in my cit - y.
##
Œ Œ œ ˙. ˙. ˙.
37 38 39 40 41 42 43 44
& ˙. ˙. ˙.
œ œ œ
U - na pas - seg - gia - ta you and I!
#
45
& # Œ ˙ œ Œ Œ Œ
46 47 48 49 50
œ œ œ œ ˙ œ œ œ œ œ
See the fac - es from the day - time talk - ing in the
## ˙. œ œ œ ˙.
Œ œ Œ ˙.
51 52 53 54 55 56
& ˙.
eve - ning. See the church - es shin - ing,
16
Vocal 2. Passeggiata (Part 1) The Light in the Piazza
## 57 58 59 60
∑
& ˙. ˙. ˙.
see the sky.
##
61
#œ œ Œ #œ œ Œ #œ œ ∑
62 63 3 64
& #œ œ
Now is I am hap - pi - ness!
##
Œ Œ œ #œ Œ Œ
65 66 67 4 68
& #œ œ #œ œ #œ œ œ
Nev - er I am un - hap - pi - ness.
#
& # Œ ˙ œ œ bœ nœ ˙. ˙.
69 70 71 72 73 74
œ #œ ˙ œ
Now is I am hap - pi - ness with you!
## œ
75
Œ ˙. Œ œ œ œ œ œ œ œ
76 77 78 79
& œ œ
Come with me. Walk with me in the place that I
## 80
˙.
81
∑
82
œ œ œ
83
˙. 84
˙.
85
∑ bbb
&
know. La pas - seg - gia - ta!
bb œ
86
œ œ Œ œ œ Œ œ œ œ ∑
3
& b
87 88 89
Now is I am hap - pi - ness!
b bœ
4
œ ####
&b b œ œ Œ œ œ Œ œ œ œ Ó
90 91 92 93
Nev - er I am un - hap - pi - ness.
#### Œ
94
œ #œ ˙ œ œ nœ nœ œ ˙. ˙.
95 96 97 98 99
& ˙
Now is I am hap - pi - ness with you!
#### œ œ œ ˙. ˙. ˙.
Œ œ ˙. Œ œ œ
100 101 102 103 104 105 106
& œ
Walk with me in the place that I know.
#### œ 107
œ œ 108
˙. 109
˙. 110
˙. ˙
111
Œ
&
La pas - seg - gia - ta!
Segue as one
17
Passeggiata 6a
(Part 2)
In 1 MARGARET: "Grazie."
& 34 ∑ œ ˙. ˙.
1 2 3 4 5 6
Œ Œ Œ Œ œ ˙
œ bœ
7 8
œ
9
˙.
10
˙.
11 12
##
& œ œ ˙ ˙
Œ Œ œ ˙
œ
œ
##
13
14
œ 15
˙. 16
˙. 17 18
& œ œ ˙ ˙
Œ Œ œ ˙
œ nœ
## 4 nn 3
21
In 2
œ nœ
19 20 22 23 24 25
& œ œ œ œ œ œ
˙. œ œ œ œ œ œ 4 Œ
nœ bœ
4
˙ ˙
SIGNOR NACCARELLI: "You were saying?" MARGARET: "Never mind." A tempo
####
In 1
30 U
& 34
Poco rit.
œ œ œ Œ Œ #œ
31 FABRIZIO:
œ œ œ #
26 27 28 29
œ œ ˙. œ Œ ‰ j œ #˙ .
œ œ œ
Your
####
32
# ˙. ˙. ∑ Œ Œ
33 34 35
& œ
milk... Your
####
CLARA: "My milk is what? What milk?"
# ˙. ˙ n¿ Œ Œ ∑ ∑
36 37 38 39 40
& œ
milk is... eh!
#### œ
‰ œ Œ Œ Œ
FABRIZIO: CLARA: FABRIZIO:
#
41 42 43 44
& œ œ J œ œ ˙ œ
Not milk... is like milk. Like snow? Eh
####
Colla voce
# ˙ Œ Œ œ
45 46 47 48
& œ ˙ œ œ #œ œ #œ
sì, but no... I know snow, non è snow...

18
#### ∑ Œ Œ Œ ∑
#
49 50 51 52
& œ ˙
is here. "Come si dice?"
####
A tempo
& # ∑ Œ Œ ˙. Œ Œ
53 54 55 56 57
˙. œ œ
Here? And here? And
#### CLARA:
œ ˙. ˙
FABRIZIO:
œ œ bbb
# œ œ œ ˙
58 59 60 61 62
& œ œ
al - so here? My skin? Your skin is like
b ˙. ˙. ˙
&b b Œ
63 64 65
milk!
Segue as one
Passeggiata 6b
Arrival (Part 3)
b 3 œ
FABRIZIO:
&b b 4 Œ ˙ Œ œ
1 2 3 4
œ œ œ ˙ œ
I am work here in the tie shop
b
&b b Œ Œ œ
5 6 7 8
œ œ œ ˙. ˙.
next to Ar - no Ri - ver.
b
&b b Œ Œ ˙.
9 10 11 12
œ œ œ œ ˙.
E - ven though I know is
b ˙. ˙.
& b b ˙.
13 14 15 16
˙.
not big size.
17
b œ
&b b Œ ˙ Œ œ
18 19 20
œ œ œ ˙ œ
See pa - laz - zi on the hill - top.
19
b ˙.
&b b Œ Œ œ
21 22 23 24
œ œ œ ˙.
May - be one day live there,
œ
& b Œbb œ œ Œ œ ˙.
˙.
25 26 27 28
may - be if I sell too
bbb ˙. ∑
29 30 31 32
& ˙. ˙.
man - y ties!
j
33
bb nœ #œ . nœ #œ ˙ ˙.
& b nœ nœ
34 35 36
œ #œ
Ah...
b œ œ. œ œ œ œ œ. œ œ
&b b nœ Œ Œ
37 38 39 40
J œ
Ah...
b bœ ˙
41
œ bœ ˙. ˙.
44
&b b Œ œ nœ ˙ œ bœ
42 43 45 46
Now is I am hap - pi - ness with you.
bb ˙. œ œ œ œ œ œ œ œ ˙.
& b Œ Œ
47 48 49 50 51 52
œ œ
Walk with me in the place that I live from a child,
œ œ ˙. ˙. ˙.
& b Œbb Œ œ œ
53 54 55 56 57
the place that I know.
œ œ ˙. ˙. ˙. ˙.
bbb œ
58
59 60 61 62
&
La pas - seg - giat - ta
b ˙. ˙. ˙. ˙.
&b b ∑
63 64 65 66 67
20
The Joy You Feel 7

SIGNOR NACCARELLI: "She is charming, your daughter."
Serpentine groove
FRANCA: "Very handsome, your new fellow. You and I are very much alike, I think. You and Fabrizio."
b
& b b b 44 œ œ
1 2 3 4
⋲ nœ ⋲ nœ
œ œ nœ nœ ˙ w œ œ nœ bœ ˙ w
CLARA: "Like you and Giuseppe! FRANCA: "You see? Two pairs of lovers."
bbbb œ œ
4a 4b
& ⋲ œ nœ nœ nœ ˙
⋲ œ nœ nœ bœ ˙
œ œ
5
b b
FRANCA:
&b b ⋲ œ n œ œ b œj œ j ‰ j œ œ œ œ j œ j
6 7
œ œ nœ ˙ nœ nœ œ bœ œ
How tru - ly hap - py you must be. You are the first to set him on his knee.
b
& b bb ‰ œ nœ œ bœ œ œ Ó
3
œ œ œ œ œ œ œ n˙ nœ bœ bœ œ
8 9 10 11
˙
˙
You're the en-vy of so man - y girls, and you are the most beau - ti - ful so far.
b
12
& b bb ⋲ œ n œ œ b œj œ j ‰ n œj œ œ œ œ œ b œj œ j
13 14
œ œ nœ ˙ nœ œ
The gen -tle jan - gle of his voice... No oth - er sound. No smile. No face. No choice.
bbbb ‰ œ œ œ œ ‰ œ œ œ œ œ ˙ œ bbbbb
15 3 16 3 17 18
& ˙ œ œ b˙ œ œ nœ w
And the joy I know you feel. This is some-thing I re - mem - ber well, my dear.
19
b
& b b b b ‰ œj œ œ œ œ . œ
Baroque innocence
Œ ‰ Ó
20 21 22
œ. œ œ. œ œ œ œ œ ˙
œ
And on your first an - ni - ver - sa-ry, in the piaz - za where you met,
b
& b b b b ‰ œj œ œ ‰ œj œ œ œ 24
3
bœ
Darkening
Œ ‰ j œ
23 24 25
˙ œ œ
œ
at first it's, it's on - ly a glance, and then his eyes will
b b 2 œ. œ 4 œ bœ œ bœ œ œ œ œ. œ
&b b b 4
3
œ
26 27
J 4
set u - pon a girl who's pret - ti - er and
21
Vocal 2. The Joy You Feel The Light in the Piazza
˙ "
b b nœ œ 2 ˙ 4 Œ bbbb
Colla voce
&b b b J œ
29
J nœ .
28 30
4 4
œ n˙
young - er than you. What to do?
31
b
Slower, barren
& b b b ‰ n œj œ n œ œ œ œ œ 45 œ œ œ n œ œ œ n œ Œ 44 ‰ n œj œ œ œ œ œ n œ 54
32 33
En - joy it. You are free. You have time to spare. The bas - sin - ette is emp - ty,
FRANCA:
4 ‰ Jœ n œ n œ b œ b œ œ "
"You can take a lover. But…"
b b5
& b b 4 œ bœ œ nœ œ nœ œ Œ ‰ b œJ œ nœ nœ bœ bœ
34 35 36
4
The nur - ser - y is bare. You can spend his mon - ey, Then there is no mon - ey.
. > >
b b nœ . œ œ #œ n˙ Œ #œ œ nœ #œ nœ
37
Colla voce With intention (A tempo)
3 œ Œ bœ œ œ 4 ˙ Ó
&b b ∑
38 39 40 41
4 4
He’s the one you love. He’s the one you love, Is- n’t he?
b b œ n œ . œj
42
bœ œ œœ œ œ
& b b ‰ œJ œ œ n œj œ b œj œ n œ
Tender
œ nœ œ ˙ œœ œ œ œ
43 Colla voce 44 45
nœ
Though tru -ly hap -py, you must be - ware. For hap - pi - ness can al -so scar. For so like me you are… You
b b n˙ œ. œ ˙ U
A tempo CLARA: "Thank you."
&b b Ó ∑ ∑
46 47 48 49
œ
are… Be - ware.
22
Dividing Day 8
MARGARET: "You too." (Hangs up phone)
With precision, a gentle machine

b: 12-15 4
4
&b 4
bb
16
MARGARET: 17 18 19
& œ #œ œ œ œ œ œ œ
˙ œ œ œ. œ œ œ œ ˙ œ œ œ œ œ œ ˙
Dash - ing as the day we met, on - ly there is some - thing I don't re - cog nize.
bb j 24 j 4 Ó
20 21 22 23
& œ œ œ œ œ œ œ œ œ. œ œ œ. 4 ˙
œ
Though I can - not name it yet, I know it.
bb
24
⋲ r
25 26 27
& œ #œ œ œ œ œ œ œ œ. œ œ œ œ œ.
˙ œ œ œ œ œ œ œ œ œ ˙
Beau - ti - ful is what you are. On- ly some -how wear-ing a fright - en - ing dis -guise.
b j
&b œ œ œ œ. œ œ Œ œ œ œ œ ˙
28 29 30 31
œ œ œ œ œ œ œ œ œ
I can see the win - ter in your eyes now, tell - ing me:
bb
32
nœ ‰ n œj nœ Œ œ Ó
33 34 35
& ˙ ˙ #˙ œ œ #˙
"Thank you. We're done here. Not much to say.
bb ‰ j ‰
36 37 38 39
& œ n˙ nœ j j
Nœ œ œ. œ œ œ œ œ œ œ œ ˙.
We are to - geth - er, but I have had di - vid - ing day."
b
40
&b Œ Œ œ œ œ œ Œ
41 42
#œ œ œ œ œ œ œ œ œ œ œ.
˙
So when... when was this day? Was it on the church - step?
b œ #œ . nœ œ
& b nœ œ œ ⋲ œ œ Œ œ œ
43 44 45
˙ œ œ
Sud - den - ly you're out of love? Does it go creep - ing slow - ly?
23
Vocal 2. Dividing Day The Light in the Piazza
bb œ
48
œ œ ˙.
46 47 49 50
& œ œ œ œ wœ #œ œ œ œ œ œ œ. œ . œ œ >œ œ ˙
˙ œ œ
When was your di - vid - ing day?
bb 2 4
51 52 53 54 55
& œ œ œ œœ œ ˙ œ œ œ œ œ œ œ œ œ. œ
j 4 œ
j œ. 4 ˙ Ó
œ
56
b
&b
57 58 59
œ #œ œ œ œ œ œ œ. œ. œ œ
˙ œ œ >œ œ ˙ œ œ œ œœ œ ˙
b j
&b œ œ œ œ. œ œ Œ œ œ œ œ ˙
60 61 62 63
œ œ œ œ œ œ œ œ
œ
I can see the win - ter in your eyes now tell -ing me:
b
64
& b nœ ‰ j nœ ‰ j œ Ó
65 66 67
˙ nœ ˙ nœ #˙ œ œ #˙
"Mar - g'ret, we did it. You curt - sied, I bowed.
bb ‰ j nœ ‰ j Œ œ ˙
68 69 70 71
& œ n˙ œ nœ œ œ
œ œ œ œ œ œ œ œ œ
We are to - geth - er. But no more love— no more love al - lowed."
b j
72
&b œ. œ œ œ œ œ œ œ˙ œ œœ œœ œ œ œ. Œ œ œ œ œ œ œ œ œ. Œ
73 74 75
œ
When was di - vid - ing day? Was it on the church - step? Did it hap - pen right a way?
b bœ . œ bœ œ œ œ bœ œ
&b œ œ œ œ œ œ œ œ . Œ nœ œ œ œ œ œ œ Ó
76 77 78
Were you ly - ing next to me hid-ing what you could - n't say? How could I have guessed?
œ nœ .
Rall.
bb œ ⋲ œ bœ œ ⋲ nœ nœ . œ œ nœ œ
80 A tempo
˙. Œ
79 81
& œ œ J
Was my cheek u - pon your chest, an o - cean a - way?
U̇
bb n˙ ˙ ˙ n˙ b˙ œ œ . œ œ
82 83 84 85
& œ
When was, when was, when was di - vid - ing
bb
86
A tempo Poco rit.
œ œ. ˙. ∑ ∑ ∑
87 88 89
&
day?
24
Hysteria/Lullaby 9
MARGARET: "Clara? ... Clara?"
& 44
Driving, secco
œ œ œ
1 2 3
‰ j œ œ ‰ j œ œ ‰ j œ
œ œ œœ œœ œœ. œ. œœ œœ œ. œœ œœ
>œ œ. . œ. œ. >œ . œ. œ. œ. >œ . œ. œ. œ.
FABRIZIO: "After lobby, after fountain..."
3 FABRIZIO: "...and then you see museo."
4
œ
∑ œ
5-7 8
& Ó ‰
œ œ œ
œ
œ. œ œ œ œ. œ œ œ
9
& œ. œ œ œ œ. œ œ œ œ œ
CLARA:
‰ œ
10 11
œ œ œ œ # œ
"Af - ter lob - by, af - ter foun - tain, go to Ar - no mak - ing left, and left a-gain to Tor - na- buo - ni.
& ‰ œ œ œ œ œ œ œ œ ˙ Œ ¿ œ. œ œ œ œ. œ œ œ
12 13 14 15
˙ ˙
All a - long and then you see mus - e - o." Right! "Af - ter lob - by, af - ter foun - tain,
œ. œ œ œ œ. œ œ œ ‰ œ œ œ œ œ œ œ œ
& ‰ œ œ œ œ #œ œ œ œ ˙
16 17 18 19
˙
go to Ar - no mak-ing left, and left a-gain to Tor - na-buo - ni. All a - long and then you see mus - e - o."
#˙ ˙ ‰ œ œ. œ œ œ œ œ œ. œ œ œ œ œ
20 21 22 23
& ˙ œ J œ œ œ œ
Mus - e - o... "I wait for you in court - yard of mus - e - o, which is look - ing like a
(CLARA throws note away.)
24
˙ #˙
25
Ó ¿ ‰ b œJ
26
bœ. 27 CLARA: "Ha!"
œ b˙ ∑
& J
gar - den. Ciao. Fa - bri - zi - o"
œ. œ.
j . œ.
MAN #1: "Buona sera."
j œ ∑
28 29 30
& b >œœ œœ ‰ œœ b œœ œ.
bœ
œ. œœ b >œ œ. ‰ œœ b œœ œ œ œ
. . . G.P.
Unanchored Twilight Zone
31
Ó . was a silly thing to do, Clara.
CLARA: "That Crap. I memorized it. Concentrate, Clara."
œ œ. ⋲ œj . œ.
32 33 34
& ⋲ # œj Ó ‰. R Œ # ˙˙ .. Œ œ ‰ J
b ˙˙ .. . . # œœ . .
b b œœ

25
Vocal 2. Hysteria/Lullaby The Light in the Piazza
35 MAN #2: "Ciao. Ti sei persa, cara?"
& œ. œ œ œ œ. œ œ œ œ œ œ
CLARA:
‰ ∑ ∑
36 37 38
œ œ œ œ #œ
La la la la la la la la La la la la la la la la...
CLARA: "Ciao. Ciao, cara...cara... That means dear. That means dear, sort of. Oh, dear. Oh, crap."
b nœœœœ # ˙˙
∑ œ
39 40 41 42
& b b œw b˙ . ˙˙ bb œ˙ Œ ˙˙
> >
CLARA: "No, thank you.
CLARA: "I know where I am!" Sono felice. I am fine."
∑ 64 Œ Œ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ 44 ∑
43 44 PROSTITUTE: 3 3 3 45
&
Do you look for the Med - i - ci Pal - ace?
bœ œ bœ bœ œ bœ
3 3
œ œ œ #œ nœ œ œ
47 3
‰ J œ ‰ J
3
œ
46 48
& Œ bœ Œ
bœ
3
œ bœ œ œ œ œ œ
3
bœ "(to 51)
49
œ 3
œ #œ nœ œ œ 3
‰ J J
3
œ
49a
& 4
49b
bœ Œ ‰
bœ b˙ ˙.
Spooky cheery (in 1)
˙.
CLARA:
3 Œ œ Œ œ œ
53
œ ˙.
51 52 54 55 56
&4
Mus - e - o! La la la la la la
& 34 ˙.
FABRIZIO:
∑ ∑ Œ #œ #œ Œ œ #œ #˙ .
La la la La la la
& Œ œ ˙ œ ˙. ˙.
57 58 59 60 61
œ #˙ .
La la la la la la la
& Œ œ #œ Œ œ #œ ˙. # ˙. ˙.
La la la la la la la
˙. 4
& ˙ œ Œ œ ˙. Œ œ œ
61a 61b 61c 61d 61e
œ 4
(to 68)
la la La la la La la la
˙. 4
& Œ œ #œ Œ œ #œ #˙ . Œ œ #œ 4
La la la la la La la la
26
√
In 4 CLARA: "Fabrizio Nacarelli! Fabrizio Nacarelli! He's waiting for me! He's waiting for me!"
bœ œ œ bœ ˙
œ bœ bœ œ
68
4 œ œ bœ œ bœ œ
œ bœ œ œ b˙ œ
69 70 71
&4
(√)
CLARA: "Clara Johnson, 142 East Lake Street, Clara Johnson, 142 East Lake Street, Clara Johnson, 142 East Lake Street."
bœ √œ œ
bœ œ œ j U #œ œ œ œ U
∑ ∑
(to 74)
œ
72 72a 73 73a
& ‰
3 3
œ bœ bœ nœ œ #œ
3 3
√œ
MARGARET: "Clara? It's all right, it's all right, I'm here. I'm her mother, madre, bene, va bene, grazie."
œ #œ œ œ bœ bœ
∑ ∑ C
Rit.
œ bœ
74 75 76 77
& œ#œ nœ #œ œ œ
3 3 3 3
3
œ
3
#œ œ 3
œ œ bœ
3
œ œ œ
Woozy, in tempo (in 2)
œ . œJ œ œ
78
& C œ . œJ œ œ œ . œJ œ œ #œ œ œ œ œ. œ œ œ
MARGARET: 79 80 81 82 83
œ œ œ œ œ J
Lit - tle Cla - ra, Lit - tle Cla - ra, no more cry - ing, Ma -ma here now. Ba - by Cla - ra, Ba - by Cla - ra,
œ U
& Œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ ∑
84 85 86 87 88
J J
hmm...
Cue piano (not conducted)
œ œ
88a 88b 88c 88d
& œ. J œ œ œ. œ œ œ œ œ œ #œ œ œ
J œ œ
œ. œ œ œ. œ œ œ œ œ œ
88e 88f 88g 88h
& J œ J œ Œ œ œ œ œ
MARGARET: "Clara, where were you going?"

CLARA: "I was going to get ice cream"
MARGARET: "You know we don't tell each other stories."
U ? 44
œ
88i 88j 88k
& œ. J œ œ œ. œ œ œ w
J
MARGARET: "Now I want you to lie down and go to sleep. And don't you worry about a thing. You're safe now. I'll be nearby."
?4
89
#œ#œ#œ U 90
?
91
#œ#œ#œ U 92
?
93
#œ#œ#œ U 94 95
# # # # 12
4 œ & #œ #œ w œ & #œ #œ w œ & #œ #œ w #w 8
27
Comforting, but in tempo (in 4)

# # # # 12MARGARET: j
96
8 Œ. œ #œ œ œ. œ œ œ œ. œ œ. œ #œ
97
& œ œ
There's a moon on a hill, and a hid - den stream,
#### j
œ. #œ œ œ. œ œ œ. œ œ. #œ
98 99
& œ œ œ J œ
A la - goon and a red ho - ri - zon dream
#### j
œ. œ ‹œ œ œ . œ. j j
100 101 102
& œ œ œ œ œ. ˙.
œ œ œ. œ œ œ
Sil - hou - ette set a - way from time for - ev - er.
#### Œ . 103 104

j j
& œ œ œ œ. œ œ œ œ. œ œ œ. œ œ
There's a val - ley be - yond the set - ting sun
#### j j j j
œ. œ. œ œ. #œ œ
105 106
& œ. nœ œ œ œ #œ
where wa - ters shine and hors - es run...
#### j j j j
œ. #œ œ œ. œ œ œ. #œ œ œ œ œ. w.
107 108 109
&
Hmm...
28
Say It Somehow 10
CLARA: "I always understand."
Piano-driven pop
FABRIZIO: "If I could say in Italiano it would be best..." CLARA: "Then do, then say..." FABRIZIO: "No."
w
& 44
˙.
∑ ∑ œ ˙œ œ
1 2 3 4 4a
˙œ œ
C.
Œ ˙ œ
œ œ3 œ ˙
5 CLARA: 4
œ œ œ
& ‰ œ # œ œ œ œJ b œ œJ œ
3
œ œ bœ œ ˙ ‰ œ œ œ Œ
4
J
6 7 8
C.
Why don't you trace it on my hand? Or make a song. Do an - y- thing!
œ œ œ œ œ œ œ œ œ 45 œ ‰ . r Œ 44 2 4
&Œ Ó ∑
39 10 11 12
4 4
3 3
C.
œ œ bœ œ nœ œ œ œ
Say it some - how. I will un - der -stand. I know you. You are good.
‰ œ œ œ œ œJ œ œ œj
13 4
4
FABRIZIO: 4
& 4 ‰ œ # œ œ œ œJ b œ
3
œ œ œ bœ œ ˙
14 15 3
F.
J
The sound in - side you, this I know. It's like a mel - o - dy, like
œ œ œ œ 3œ œ œ œ œ œ œ œ œ œ œ
3
Œ Œ œ
16 17 3 3 3
F. &
there you go, just now! Say it some - how. Some - how you can show
œ œ œ œ œ œ œ œ 5 4
4 œ ‰.
CLARA:
& Œ œ Œ
3
r
18 3 19
4
3
œ œ bœ œ
C.
Say it some - how an - y way you can. You know me.
œ œ œ œ œ œ œ œ œ 5 4
& œ œ 4 œ ‰.
3 3
Œ
3
r 4
œ œ bœ œ
F.
me. Say it some - how an - y way you can. You know me.
& 44 n œ œ œ Œ œ œ bœ œ œ œ 24 ˙ 44
20 21 22
C. œ œ œ œ œ œ œ
You are good. Oh, you are good. You are good to me.
4 Œ œ œ œ 2 ˙ 4
F. & 4 nœ œ œ œ œ œ œ œ œ œ œ œ bœ 4 4
You are good. Oh, you are good. You are good to me.
29
Vocal 2. Say It Somehow The Light in the Piazza
4 ‰ œ œ bœ
4 23
œ œ ‰ ‰ j 24
œ bœ Ó
25
‰ œ b œ
4
bœ œ œ œ œ œ œ
C. &4 J œ
I know the sound of touch me. I think I hear the sound of
4 œ bœ œ œ ‰ ‰ j b œ bœ œ œ œ œ œ œ
&4 ‰ œ œ bœ œ
4
Ó ‰
4
F.
J œ
I know the sound of touch me. I think I hear the sound of
bœ bœ œ bœ j j œ œ œ nœ œ
& bœ œ œ bœ œ œ œ bœ bœ nœ œ œ . œ
26 27 28
C. œ œ œ
wrap your arms a - round me. Ah...
bœ bœ œ bœ j j œ œ œ nœ œ
F. & bœ œ œ œ œ œ bœ œ œ œ bœ bœ nœ œ œ . œ
wrap your arms a - round me. Ah...
j j œ
‰ œ œ œ œ œJ œ œ
4
& œ œ ‰ ‰ œJ Jœ b œ
4
œ œ œ bœ œ œ Œ Ó Œ
29 30 31 3 32
C.
J
Shout and dance in rings! Or say it si - lent -ly. Ah,
j j œ œ œ ˙ œ
& œ œ ‰ ‰ œJ Jœ b œ
4 3
œ œ œ bœ œ œ Œ ∑
F.
J
Shout and dance in rings! Tell me things! Ah,
œ. œ œ œ œ œ œ œ 3œ
33
œ œ œ œ œ œ œ œ œ 3œ œ
3 3
œ
3 3 34
C. &
we'll play a game, you trace it on my skin. Say it some -how, some - how let's be - gin.
œ. œ œ œ œ œ œ œ œ3 œ œ œ3 œ œ 3œ œ
œ œ œ œ
3
œ
3 3
F. &
we'll play a game, you trace it on my skin. Say it some-how, some-how let's be - gin.
œ œ œ œ œ œ œ œ 2 44 ‰. bœ bœ
œ œ 4 œ œ Œ b œ œ
35
3 3 36 37
& b œ œ
3
C.
œ bœ b œ œ œ œ
Do it some - how. Some -how you can show me. I know that you know me. Ah...
œ œ 3œ œ œ œ œ 3œ
& œ œ 24 œ œ Œ 44 bœ bœ ‰ . œ œ œ œ bœ bœ
3
F.
œ b œ b œ œ
Do it some - how. Some -how you can show me. I know that you know me. Ah...
30
CLARA: "Will you marry me?
bw œ b œ œ4 œ œ ˙ ‰ bœ œ œ œ œ œ œ œ.
FABRIZIO: "No, no, no..."
˙. 3 Œ 2
38 39 40 4 41 42
C. & J œ œ. œ 4 ˙ 4
Ah...
bw œ b œ œ4 œ œ ˙ ‰ bœ œ œ œ œ œ œ œ. ˙. 3 Œ 24
& J œ. œ 4 ˙
4
œ
F.
Ah...
FABRIZIO: "Will you—?"

FABRIZIO: "... It must be mine to ask it." CLARA: "Yes!"
CLARA: "Ask it then." FABRIZIO: "—marry me?"
FABRIZIO: "I wish to be the one to decide!" CLARA: "Yes, yes, yes!"
A tempo
X
43 CLARA: "Decide. Decide!"
2 ∑ ∑ ∑ ∑
44 45 46
C. &4
U
œ
2 œ
∑ ∑
F. &4 œ œ œ. œ #˙
œ
œ
œ œ œ ˙ 44 ‰ œ œ b œ œ œ Œ j œ bœ
49
& œ œ bœ Ó
47 48 4 50
C.
J œ
You are good to me. I know the sound of touch me.
œ œ œ ˙ 4 ‰ œ œ bœ œ œ Œ j œ bœ
& œ œ bœ Ó
4
F. 4 J œ
You are good to me. I know the sound of touch me.
b œ bœ œ œ œ œ œ œ bœ bœ bœ œ bœ œ j j œ
œ œ bœ œ œ œ bœ bœ
4
‰ œ
51 52
& œ œ
53
C.
I think I hear the sound of wrap your arms a- round me. Ah...
b œ bœ œ œ œ œ œ œ bœ bœ bœ œ bœ œ j j œ
‰ œ œ bœ œ œ œ bœ bœ
4
F. & œ œ œ
I think I hear the sound of wrap your arms a- round me. Ah...
œ bœ bœ œ bœ bœ nœ œ œ ˙ œ
bœ œ bœ bœ n œ œ œj œ .
54 55 56 3
C. &
Tell me things! Ah...
œ bœ bœ œ bœ bœ nœ œ œ ˙ œ
bœ œ bœ bœ j œ.
3
& nœ
œ œ
F.
Tell me things! Ah...

31
œ . œ œ 3œ œ 3œ œ 3 œ 3œ œ œ 3œ œ œ 3œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ 24
57
58 59 3
&
3 3
C.
œ . œ œ 3œ œ 3œ œ 3 œ 3œ œ œ 3œ œ œ 3œ œ œ œ 3œ œ œ 3œ œ œ 3œ œ 2
F. & œ œ œ œ œ 4
2 Œ bœ ‰. b œ b œ bœ
60 61 62
C. &4 œ #œ nœ bœ bœ œ bœ bœ œ b œ
Ah... Ah...
2 bœ
F. &4 œ #œ Œ
nœ bœ bœ œ bœ bœ ‰. bœ œ b œ b œ b œ
Ah... Ah...
˙ ˙ œ œ œ4 œ œ ˙ œ œ4 œ œ
63
J ‰ œ œ œ œ
64 65 66 67 68
C. &
Ah...
˙ ˙ œ œ œ4 œ œ ˙ œ œ4 œ œ œ œ œ œ
F. & J ‰
Ah...
œ œ4 œ # œ #œ. œ œ œ œ4 œ œ œ
j 44 ˙ œ œ . œJ œ Œ 38
Rall.
& ‰ J J . Œ ‰œ
69 70 71 72 73 74
œ
C.
Ah... Ah...
œ œ œ #œ #œ. œ œ œ œ4
j 44 ˙ œ œ . Jœ œ ‰ œ œ 38
4
& ‰ J J œ œ œ. Œ ‰œ
œ
F.
Ah... Ah... Ah...
Rit.
3 4
Rubato (in 3) [TACET al fine]
∑ ∑ ∑ ∑
75 76 77 78
C. &8 4
3 4
F. & 8 œ. œ. ∑ ∑ 4
Slightly faster, agitato e = q

79
3 ### 6 4
4
82
79-81 82-87 88-91
&4
32
Aiutami 12
MARGARET: "Well, I'll be over here, I want to see this temple."
FABRIZIO: "Clara!" (Scream)
e=e
12 ¿: ¿ ¿ ¿ ¿ ¿ ¿ ¿.
Maelstrom
Ó. Œ.
FABRIZIO:
&8 ‰ ∑ Œ C
1 1a 2
J J J J
6 7
In "7" Feel (C + 8 = 4 )
Ai - u - ta - mi! Ai - u - ta - mi!
3 FABRIZIO: "Abbi Pietà! Abbi Pietà! Che sciagurato! Son perduto! Oh, Signore!"
& C .. 68
Vamp
∑ ∑ .. C
4 (to 7)
˙ 6 œ. œ œ C ˙ œ . Jœ 68 œ . b œ . 6
7 FABRIZIO:
&C ˙ C n˙ C
8 9 10 11 12
8 J ˙ 8 œ. œ.
Oh, che gua - io! Che co - sa ho fat - to? Oh, Sig - nor - e
6 6 bœ. œ. ˙ 6 œ. œ.
&C ˙ C ˙ C n˙ C
13 14 15 16 17 18
˙ 8 ˙ 8 8
˙.
sal - va - mi! Dov' - e - ra la mi - a test - a?
˙ bœ . œ œ n˙
&C ˙ 68 J C
˙ 68 œ . Œ ‰ 128 ∑ C
19 20 21 22 23
L'ho per - du - ta, il mio a - mor!
68 68 Œ . Œ ¿J 128 ¿ J¿ ¿ J¿ ¿ ¿J ¿ ‰ C
GIUSEPPE:
VC ∑ ∑ C ∑
Ai - u - ta -mi! Ai - u - ta -mi!
˙ 6 œ.
24
œ 6 œ.
FABRIZIO:
&C ˙ œ C ˙ œ. œ bœ . C
25 26 27
8 J J 8
Oh, che gua - io! Che co - sa ho fat - to?
6 bœ. j j œ.
VC ˙ œ œ C n˙ œ. œ 68 œ . C
GIUSEPPE:
˙ 8
Oh, che gua - io! Che co - sa ho fat - to?
33
Vocal 2. Aiutami The Light in the Piazza
& C n˙ 68 C 68 C
28 29 30 31
˙ œ. œ. ˙ ˙ ˙.
Oh, Sig - nor - e sal - va - mi!
VC ˙ ˙ 68 b œ . C n˙ 68 C
œ. ˙ ˙.
Oh, Sig - nor - e sal - va - mi!
6 bœ . œ. ˙ 6 œ. œ.
&C ˙ ˙ C n˙ C
32 33 34 35
8 8
Dov' - e - ra la mi - a test - a?
6 6
VC ˙ ˙ 8 œ. C
˙ 8 C
œ. ˙ œ. bœ .
˙ bœ . n˙
&C ˙ 68 œ œ
J C ˙ 68 ˙ . C
36 37 38 39
VC 68 j 68
˙ œ. œ œ C ˙ ˙
C
˙ ˙.
˙ 6 œ. œ. 6 bœ.
FABRIZIO:
&C ˙ C ˙ ˙ œ œ C
40 41 42 43
8 8 J
Per un ba - cio! Per un ba - cio! Che
6 . 6 j
VC ˙
GIUSEPPE:
˙ 8 #œ œ. C ˙ #˙ 8 œ. #œ œ C
6 6
SIGNOR NACCARELLI:
VC 8 C
w 8 ˙. C
w ˙.
Pic - co - li - no!
34
Vocal (FABRIZIO:) 3. Aiutami The Light in the Piazza
j j
& C n˙ bœ. œ 68 œ . bœ œ C b˙ 68 œ C
44 45 46 47
b˙ œ. œ J
co - sa ho fat - to? Pie - tà di me! Che
j 68 j 6 j
V C #˙ œ C b˙ bœ C
(GIUSEPPE:)
bœ. œ œ. œ ˙ 8
œ. œ
6 6 b˙.
V C bw C bw C
(SIGNOR NACCARELLI:)
8 ˙. 8
Po - ve - ret - to!
j
&C ˙ bœ. œ 68 œ . bœ œ C b˙ 68 œ. C
48 49 50 51
J ˙ œ.
co - sa ho fat - to? Mi son but - ta - to
j 6 j 68
V C b˙ œ. œ 8 œ. œ œ C ˙ ˙ œ.
C
#œ .
V C bw
6 ˙.
8 C w 6 b˙ .
8 C
Tut - to pas - se -
œ. ˙ b˙ .
&C ˙ ˙ 68 œ. C ˙ 68 C
52 53 54 55
in u - na ca - ta - stro - fe!
VC ˙ ˙ 68 œ . œ. C ˙ ˙ 68 ˙ . C
w 68 ˙ . C w 68 ˙ .
VC C
- rà!
œ. ˙ .
˙ 6 œ. 6 bœ œ ‰ œ 12
FRANCA:
&C ˙ C ˙
56 57 58 59
8 8 8
in u - na ca - ta - stro - fe! Ai -
œ. ˙ .
6 œ. 6 b œœ . œ
œ ‰ œœ
FABRIZIO:
˙ œ. C ˙ 12
&C ˙ ˙
GIUSEPPE (lower):
8 8 8
C ˙ ˙ 6 œ.
SIGNOR NACCARELLI:
C w 6 œ. œ ‰ œ 12
V 8 œ. 8 8
Tut - to pas - se - rà! Ai -
35
SIGNORA NACCARELLI: “Aiutami means ‘help me’ in Italian. I don't speak
" U
English, but I have to tell you what’s going on.”
nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ
(FRANCA:)
12 J J J J J J J ‰ Ó. Œ. Œ j
60 61 62 SIGNORA NACCARELLI:
&8 œ
- u - ta - mi! Ai - u - ta - mi! Ai - u - ta - mi! Ai - u - ta - mi! Fab
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ " U
& 128 œ
(FABRIZIO:)
‰ ∑
(GIUSEPPE (lower):
J J J J J J J
- u - ta - mi! Ai - u - ta - mi! Ai - u - ta - mi! Ai - u - ta - mi!
12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ " U
‰ ∑
V8 J J J J J J J
63
j j j j Œ j j j œ œj œ . Œ. Œ j
64 65
& œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
riz - i - o he thinks he wants to die. He thinks he ru - ined ev - ery - thing. His
j j j Œ. Œ j j j j j
œ bœ.
66 67 68
& œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ.
fa - ther says that this will pass. Giu - sep - pe asks was she as sweet as she looks,
SIGNORA NACCARELLI:
U
"Here is what I know, what I do."
j j j j j j Ó.
& Œ œ. œ œ. ˙.
69 70 71
œ œ œ œ œ œ œ œ œ œ
and Fran - ca al - so wants to know, in her own spe - cial way.
j j
b œ . Œ . œ œJ œ œJ
72 SIGNORA NACCARELLI:
œ #œ œ #œ #œ œ
& Œ # œj œ œ œ n œ . ‰ # œ # œ œ Jœ
73 74
J
I let them boil and sim - mer and stew! And I don't re - veal my - self. If there are sus -
#œ œ œ œ n œ b œJ b œ . œ œ
Œ n Jœ œ œ œ bœ #œ #œ nœ . Œ. œ œ
75 76 77
& J J J J J J J
- pi - cions I en - cour - age them. If there are rag - es I say "Loud - er please! Loud - er!"
U j j j U œ . Œ . ¿ ¿ U¿ .
Œ b œj œ œj œ œj œ œj
78
& Œ œ œ œ œ œ œ œJ Ó. ¿ ¿ ¿.
79 80 81
J J
Does Fa - ther cheat on Moth - er? She sus-pects! Does Fa - ther know that she sus - pects? He sus - pects!
bœ . œ j C
& b˙ . ˙. ˙.
82 83
bœ
Risk is ev - ery - thing!
36
84
68 b ˙ . 68 b ˙ .
(on the note, as in speech)
& C bw C bw C
85 86 87
Without risk there is no drama. Without drama there is no "Aiutami."
6 . C Œ bœ 6 ∑ C
& C bw Œ
88 89 90 91
8 b˙ œ 8
Without asking for help— No love!
6 Œ. œ 6 œ. œ.
& C Œ bœ Œ b¿ . C Œ œ C
92 93 94 95
œ 8 œ 8
No love! So... Give me sus - pi - cion!
C œ
GIUSEPPE & FRANCA:
œ 6 bœ œ 6 ‰ #œ œ œ œ
&C Œ œ C
96 97 99
8 œ 8
98
œ #˙ . J
Ooh... Ooh...
6 #˙ 6 n˙ .
&C ∑ ∑ C Ó C
SIGNORA NACCARELLI:
8 8
That's good.
j
GIUSEPPE & FRANCA:
œ 6 ˙ ‰ œ œ œ 6 ˙.
&C œ nœ C ˙ C
100 102 103
8 8
101
#œ œ
Ooh...
œ 6 ˙. 6 Œ. ¿.
&C Ó œ C ∑ C
SIGNORA NACCARELLI:
8 8
Give me tears. Yes!
&C ∑ 6 ∑ C ˙ ˙ 6 ˙. C
FABRIZIO:
8 8
Sal - va - mi!
j œ
(FRANCA top)
j #œ #˙ .
& C ‰ #œ œ œ ˙ 68 ‰ œ œ œJ C Ó ‰ œ œœ # œ 68 # ˙ . C
104 105 106 107
œ
Ooh... Ooh... Ah...
&C Œ œ œ 68 œ. œ.
C Ó
#˙ 68 # ˙ . C
œ
So give me shout - ing! That's right!
&C ˙ ˙ 68 b œ . œ. C ˙ ˙ 68 œ. œ. C
37
œ.
Vocal (FRANCA top) 6. Aiutami The Light in the Piazza
˙ œ. ˙ ˙ ˙.
(GIUSEPPE and FRANCA:)
˙ ˙ œ.
C ˙ 6 œ. C ˙ ˙ 6 ˙. C
108 109 110 111
& 8 8
Ah...
n˙ ˙
68 ˙ . 68 ˙ .
(SIGNORA NACCARELLI:)
&C Ó C Ó C
Pas - sion! Pas - sion!
˙ bœ. ˙
&C ˙ 68 œ œ
C ˙ 68 ˙ .
(FABRIZIO:)
J C
112
68 # œ . 68 j
GIUSEPPE & FRANCA:
&C ˙ ˙ œ. C ˙ œ C
113 114 115
#˙ #œ . #œ
w
68 ˙ . 68
SIGNORA NACCARELLI:
&C ∑ C ∑ C
Bra - vo!
˙ ˙ 68 œ . œ. C ˙ 68 b œ .
&C œ œ C
FABRIZIO:
˙ J
VC 68 C 68 C
SIGNOR NACCARELLI:
w ˙. w ˙.
Pic - co - li - no!
j 68 j 68 j
& C #˙ œ C b˙ bœ C
116 117 118 119
bœ. œ œ. œ ˙ œ. œ
w
&C ∑ 68 ˙ . C 68 ∑ C
Bra - va!
j j
& C n˙ bœ. œ 68 œ . bœ œ C b˙ b˙
68
œ. œ
œ
J
C
V C bw 68 C bw 68 b ˙ . C
˙.
Po - ve - ret - to!
38
Vocal (GIUSEPPE and FRANCA:) 7. Aiutami The Light in the Piazza
j 6 j 68
& C b˙ œ C ˙ C
120 121 122 123
œ. œ 8 œ. œ ˙ #œ . œ.
w
68 ˙ . 68 Œ . œ
&C ∑ C Œ J C
Bra - vi! Bra -
j
&C ˙ œ 68 œ . bœ œ C b˙ 68 C
(FABRIZIO:)
bœ. J ˙ œ. œ.
V C bw 68 ˙ . C w 68 b ˙ . C
Tut - to pas - se -
œ. ˙ .
˙ 6 œ. œ. C ˙ 6 b ˙˙ .
&C ˙ ˙ C
124 125 126 127
8 8
&C œ œ œ ˙ 68 œ . Œ œ C œ œ œ ˙ 68 œ . Œ œ C
J J
œ. ˙ b˙.
- vis - si - mi! Ai - ut - a - mi! Bra -
&C ˙ ˙ 68 œ. C ˙ 68 C
w 68 ˙ . C w 68 ˙ .
VC C
- rà!
œ. ˙ .
˙ 6 œ. œ. C ˙ 6 b œœ . œ œ
œ ‰ œ 128
&C ˙ ˙
128 129 131
8 8
130
&C œ œ œ ˙ 68 œ . Œ œ C œ œ œ ˙ 68 œ . œ ‰ œ 128
J
œ. ˙ bœ. œ ‰ œ 12
- vis - si - mi! Ai - ut - a - mi! Ai -
˙ 6 œ. 6
&C ˙ 8 C ˙ 8 8
˙ ˙ 6 œ. C w 6 œ. œ ‰ œ 12
VC 8 œ. 8 8
Tut - to pas - se - rà! Ai -
39
(gradually rising
pitch in hysteria)
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
(GIUSEPPE and FRANCA:)
12
&8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ 44
132 133
J J J J J J J
& 128 ‰ 44
J J J J J J J
& 128 44
(FABRIZIO:)
J J J J J J J ‰
V 128 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ 44
J J J J J J J
SIGNORA NACCARELLI: "Think about it."

X
q. = q U
4 ∑ Ó Ó ∑
134 135 136
&4
4 U
&4 ∑ Ó Ó ∑
4 U
&4 ∑ Ó Ó ∑
4 U
V4 ∑ Ó Ó ∑
4 U
V4 ∑ Ó Ó ∑
40
The Light in the Piazza 13

CLARA: "Look at yourself in the mirror!" (MARGARET slaps CLARA)
#
Elastic with fervor (in 4)
4
& # 44
1-3, 3a
(N.B. Arrows indicate phrase direction)
# # CLARA:
4
j‰ œ ˙ œ œ œ œ j œ j
5 6 7
& œ œ œ œ œ œ j j
œ œ œ œ œ œ œ œ œ œ ˙
I don't see a mir - a - cle shin -ing from the sky. I'm no good at stat - ues and sto - ries. I try.
## œ ˙ j 2
(sim.)
j‰ œ œ œ œ œj œ
8 9 10
& œ œ œ œ œœ œ œ œ œ 4
œ œ
That's not what I think a - bout. That's not what I see. I know what the sun - light can
## 2 A tempo
4
e=e
3
Œ Œ œ œ j
11 12 13
& 4 œ œ œ 4 œ œ œ œ. 8
14
be. The light... The light in the piaz - za.
# # 3 Crisp (in 1)j 15
⋲ r
16
œ
17
œ ⋲ r
18
œ
19
œ œ 48
& 8 . œ œ œ. œ J
œ œ œ œ. œ J œ J
Ti - ny sweet, and then it grows, and then it fills the
# # 4 ˙In 2 œ œ œ 44 ˙ .
In 4
∑ Œ
20 21 22 23 24
& 8 œ œ
œ œ œ
air. Who knows what you call it. I don't care!
## U
œ œ œ œ œ ‰ j œ. j œ œ.
Poco rall.
Œ ⋲ œ œ œ œ Œ 24
Accel. Rall. A tempo
œ œ
25 26 27 28
& œ œ œ
œ œ œ œ œ J
Out of some -where I have some - thing I have nev - er had, and sad is hap -py. That's all I see.
# # 2A tempo ∑
29
e=e
4 œ œ œ 2 Œ ‰. r 38
4 œ œ œ œ œ œ Œ Œ
30 31 32
& 4 œ œ œ 4 œ
The light in the piaz - za. The light in the piaz - za. It's
## 3 œ.
33
œ œ œ œ ⋲ œr œ œ. 48
In 1
⋲ r
34 35 36 37 38
& 8 œ J œ œ J œ. œ J
œ. œ.
rush - ing up. It's pour - ing out. It's fly - ing through the
41
Vocal 2. The Light in the Piazza The Light in the Piazza
# # 4 ˙In 2 39 40
œ œ œ œ
41
œ
42
œ œ 4
43
˙.
In 4
œœ
44
w
& 8 œ œ œ œ œ 4
air, all through the air. Who knows what you call it. But it's there! It is there!
## œ Uœ 4 ˙ ˙ ˙
45 Più mosso
2 œ ˙ ˙ ˙ ˙
Accel.
œ
œ œ 4 œ ˙
46 47 48 49 50
& 4
œ œ œ œ œ
All I see is, all I want is tear - ing from in - side. I see it! Now I see it
## œ œ œ œ. œ œ œ œ œ. œ 3 œ
51 Meno mosso Molto rit.
œ œ œ 2 œ œ œ œ . œ 44
52 4 53
& 4 4
ev - ery - where! It's ev - ery - where! It's ev - ery - thing and ev - ery - where! Fa -
## 4 œ . œ ˙ Œ
Rit. A tempo
2 4 œ œ
A tempo
∑ ∑ œ œj œ . Ó ∑
54 55 56 57 58 59
& 4 4 4œ œ œ œ
bri - zi - o. The light in the piaz - za... My love.
Octet 14
(Part 1)
SIGNOR NACCARELLI: "Clara, of course, must convert to Catholicism."
MARGARET: "Yes. Of course."
Rote
4 ∑ ‰ œj œ œ œ œ œ œ œ œ œ œ Ó
A PRIEST: 1 2 3
&4 œ œ œ œ œ œ œ œ
Et qua - te - nus mas - cu - li - num et fe - mi - ni-nam se - se mu - tuo com plent
34 ¿ 44 œ
CLARA: PRIEST:
Œ Œ
4 5 6
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> >
Et qua - te - num mas - cu - li - nus No. Et qua - te - nus mas - cu - li - num
CLARA:
34 ¿ 44
PRIEST:
Œ Œ Œ
7 8 9
& œ œ œ œ œ œ œ œ ¿ ¿ ¿ ¿
> >
Et qua - te - nus mas - cu - li - num Sì! Be - ne. Ec - co.
CLARA & PRIEST:
‰ œj œ œ œ œ œ œ
10
& 44 œ œ œ œ œ œ œ œ œ œ œ œ Ó ∑
11 12 13
Et qua - te - nus mas - cu - li - num et fe - mi - ni-nam se - se mu - tuo com-plent

42
Vocal 2. Octet (Part 1) The Light in the Piazza
2
SIGNORA NACCARELLI: "You can almost hear what everyone's feeling."
Œ
14 15-16
& œ œ œ œ œ
U - ni - tas duo - rum
Reaching, never complacent

17
2 MAIDS, FRANCA, &
œ ‰ ‰ œ œ
& Œ œ ‰ j œ ˙ Œ œ
SIGNOR NACCARELLI: 18 19 20
œ J J ˙ œ œ œ
π
The shock of win - ter, or com - ing on of spring. New
∑ Ó œ œ Œ œ œ Œ Ó Œ
CLARA & PRIEST:
& œ œ œ œ œ
U - nam car - nem Vir et mu - li - er
œ. œ œ œ. œ
FRANCA:
˙ Ó Œ œ J œ
21 22 23
& J
spring. Sus - pend - ed sum - mer nights, the
‰ j ‰ j
& œ œ œ œ œ œ œ œ Œ Ó ∑
si - mul cre - a - ti, cre - a - ti
FRANCA, SIGNOR &
œ.
& œ œ œ œ 45 44
24 25 26 SIGNORA NACCARELLI:
J bœ œ œ w œ œ
P
in - ner flights that on - ly fall can bring. I am
∑ ∑ 5 ‰ œj œ œ œ œ œ œ Œ 4
CLARA & PRIEST:
& 4 4
vo - li - ti sunt a De - o
27
œ œ œ œ œ œ œ œ
& 44 œ ˙ œ
28 29
œ œ œ œ œ
π
sud - den - ly a - live! I would sail a - cross the world
4
&4 Ó œ Œ œ œ œ œ œ œ Œ ∑
CLARA & PRIEST:
ut Al - liis pro a - li - o
œ œ œ œ œ
30 31 32
& œ œ œ œ œ œ œ w
F
for just the co - lor of your eyes.
∑ ∑ Œ
PRIEST:
& œ œ œ œ œ œ
Al - liis pro a - li - o
43
FABRIZIO, FRANCA, SIGNOR

& SIGNORA NACCARELLI:
& Œ b˙ j Œ
33 34 35 3
œ œ œ œ œ œ
˙ œ.
You ap - pear... ap - pear to me.
> >
∑ ∑ Ó
PRIEST:
& ¿ ¿ ¿ ¿
Al - liis, al - liis...
f
CLARA:
PRIEST: CLARA:
& œ œ œ œ œ œ œ Œ
36 37
¿ ¿ ¿ ¿ ¿ ¿
Ol - ly ol - ly ox - en free! Che ha det - to? Sor - ry.
38 MARGARET:
œ. œ œ
& Œ œ Œ œ ˙ Œ œ
39 40 41
œ J ˙ œ œ
The re - ap - pear - ing ev - ery now and then, and
FRANCA, SIGNOR &
œ. œ œ
& Œ œ Œ œ Œ œ
SIGNORA NACCARELLI:
œ J œ œ ˙
˙
Hmm... Hmm... and
œ œ œ œ œ
CLARA & PRIEST:
& ∑ ∑ ∑ œ œ
Os ex os - si - bus me - is
œ. œ œ œ
& w Œ œ J œ ‰ œJ
42 43 44
then the div - ing un - der - neath, the
œ. œ œ œ
& w Œ œ J œ ‰ œJ
then the div - ing un - der - neath, the
& œ œ œ œ œ œ œ œ ∑ ∑
et ca - ro de car - ne me - a
44
œ.
FRANCA &
œ œ œ œ 5 Œ
SIGNORA NACCARELLI:
Œ 4
45 46 47
& J bœ œ œ 4 ˙ œ nœ 4
div - ing down and sur - fac - ing a - gain. I am
œ.
& œ œ 45 ˙ 44
MARGARET, FABRIZIO,
œ œ Œ
& SIGNOR NACCARELLI:
Œ
J bœ œ œ œ nœ
div - ing down and sur - fac - ing a - gain. Hmm...
∑ ∑ 45 ‰ ¿J ¿ ¿ Œ Ó 44
GIUSEPPE:
&
Buon gior - no!
48 MARGARET, FABRIZIO, &
4 œ œ œœ ˙˙ œ œ œ œ œ œ œ
& 4 œœ œœ œ œ œ œ
SIGNORA NACCARELLI:
Œ œ œ œ
49 50 51
œ œ œ œ
sud-den -ly a - lone. I would sail a - cross the world to know the har -
GIUSEPPE, FRANCA, &
œ œ œ
& 44 œ œ œ œ œ œœ ˙˙ Œ œ œ œ œ œ œ œ œ œ
SIGNOR NACCARELLI:
œ œ œ œ œ
I would sail a - cross the world to know the har -
& 44 ∑ ‰ œj œ œ œ œ Œ ∑ ∑
CLARA & PRIEST:
Vi - tam hu - ma - nam
œ œ œ ˙. ∑ 34
52 53 54
& œ œ œ œ œ
- bor of your arms.
œ œ œ ˙. ∑ 3
& œ œ œ œ œ 4
- bor of your arms.
F œ œ 3
∑ Œ œ œ œ œ œ œ œ œ Œ
CLARA & PRIEST:
& œ 4
Non est bo - num es - se ho - mi - nem so - lum
& 34 b ˙ œ 44 Œ ‰ j Œ
55 ALL: 56 57 3
˙ œ œ œ œ œ
You ap - pear... ap - pear to me.
3 ∑ 4 ∑ Ó
CLARA:
&4 4 œ œ œ œ
Mu - li - er quam
45
58 59
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
De - us ex cos - ta ef - for - mat de vi - ro su - bla - ta quam - que
3 3 3 3
#
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
60 61
& œ œ œ œ
Ip - se ad vi - rum ad - dux - it, ad - mi - ra - ti - o - nis ex par - te vi - ri pro -
#
œ œ œ œ œ œ œ œ ‰ ‰ œ
3 3 3 3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ
62 63
& J
vo - cat cla - mo - rem, a - mo - ris et com - mu - ni - o - nis ex - cla - ma - ti - o - nem Hey!
Segue as one
Clara's Tirade 15
Intense
MARGARET: "Clara?"
#4 ‰ œ œ œ œ œ j
MARGARET: "Darling, you—"
œ œ œ œ bœ nœ œ #œ
1 CLARA:
œ
2 3 4
& 4 J œ bœ œ œ nœ ˙ #œ .
You stop! You stop right now! You move! You move a-way from him! Oh... I see you steal - ing You!
# ‰
MARGARET: "Franca's merely—"
œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ
5 6 7
& œ bœ nœ œ nœ
You're a thief! You're a rot - ten thief! You want to steal him a-way from me! You stand o - ver there!
MARGARET: "Clara, you mustn't speak to Franca that way,
#
MARGARET: "He's her brother." she's family now—"
8
˙. Œ
9
œ œ œ œ
10
œ œ ˙
11
w
12
Ó Œ ‰ œ
& J
He is mine! He'll al - ways be mine! No!
13
# œ j
MARGARET: "Please don't—"
‰ œ œ œ œ œ ‰ œ #œ œ nœ #œ œ œ
14 15 16
& J J bœ œ œ nœ ˙ #œ .
I will! She can't! He's mine! You're not in charge of me! Why? Be-cause I say so! No!

46
Vocal 2. Clara's Tirade The Light in the Piazza
# j œ
& ‰ œ œ œ œ œ œ œ œ œ #œ œ nœ œ œ
17 18 19
bœ nœ œ nœ
You saw, and I know you saw her kiss him like he kiss - es me! Go a - head and
# œ œ
FABRIZIO: "She's joking."
˙. Œ œ œ œ 24 œ 44 w
20 21 22 23
&
stare! Je - sus this is so un - fair!
# bœ
24
œ œ bœ bœ œ bœ
25 26 27
& œ bœ n˙ . œ b˙ .
Jok - ing? I'm not jok - ing! You love me... You love me...
# bœ bœ nœ bœ bœ
bœ bœ œ nw Ó Œ œ
28 29 30 31
&
Why were you just sit - ting? Sit - ting there! Now,
#
32
œ œ œ œ œ œ œ œ œ ‰ œ œ œ #œ œ nœ
33
& J #œ œ
here is your hus - band! Here is your wife! You should be stand - ing side by side!
# œ #œ aœ #˙
˙
34 35 36
& bœ œ œ nœ #œ
Don't you have a house? Where are your ba - bies!
# œ
œ œ œ œ œ œ œ œ œ œ œ œ ‰ bœ œ nœ œ œ œ œ
37 38
& J
There's a way to be - have. There's a nice way to be - have! It's what nice people do and
# bœ 39
nœ œ nœ
40
˙. Œ
&
that's how it should be!
# œ nœ
41
œ œ œ œ
42
œ œ œ œ
43
œ œ
44
˙ ˙
45
˙. ‰ Jœ 45
&
That's how peo - ple meet and fall in love and how it should be for -
# 5 ˙. n˙ 4 nœ œ œ œ 6 bœ ˙. 4 w ˙ Ó
œ
46 47 48 49 50
& 4 4 4 nœ 4
ev - er! You go near him one more time... you're dead!
47
Church 15a
4
ALL:
&4 Ó j œ #œ Ó
1 3 2 3 4
œ œ œ œ œ œ œ. œ œ ˙ ˙
Ah...
& Ó œ j œ #œ Ó
5 3 6 7 8
#œ œ œ œ œ œ. œ #œ ˙ ˙
Ah...
6 œ. j j œ. 4
& Ó
3
bœ nœ œ
9 10
nœ œ 4 œ œ 4
Ah...
www ww w w
b b ww
11
4 w n ww
12 13 14
&4
15 PRIEST: "La dama d'onore va qui." SIGNOR NACCARELLI: "The matron of honor goes here..."
16 17 18
& Ó Ó
3
œ œ œ œ œ j œ œ #œ ˙ ˙
œ œ. œ
19 20 21 22
& Ó j œ Ó
3
#œ œ œ œ œ œ #œ #œ ˙ ˙
œ œ.
64 > j > 44
œ. œ.
23 24
j
3
& Ó nœ bœ œ œ> œ nœ œ
>
"
25 CLARA: "Where is the ring?"
4 ww ww w w
28
b b ww
26 27
w n ww ∑ ∑
29 30
&4 w
Segue

48
Octet 16
(Part 2)
MARGARET: "This is the rehearsal, darling."
CLARA: "The what?"
p
MARGARET: "Tomorrow is the ring."
b œ
Molto Rit.
& b b b b 44 Œ œ œ ‰ j œ œ œ œ œ
ALL:
œ J ‰ ‰ J œ ‰ œ
1 2 3 4
˙ œ œ œ J
The shock of win - ter, the com - ing on of spring. That melt - ing air.
f œ œ œ œ œ ,œ œ œ œ œ œ , œ
A tempo
œ œ
5
b b œ œ
&b b b Œ œ
6 7
The sun gone red, an emp - ty bed, a scent, a sound,
, œ
bbbb œ 5
4 œj œ Œ 4
8 9 3
& b nœ œ œ bœ ˙ œ œ 4
a ges - ture trig - ger - ing... I am
b œ œ œ œ ˙ œ œ œ œ ˙
& b b b b 44 œ œ Œ œ œ Œ #œ #œ
10 11 12 13
œ œ
œ œ œ œ ˙ œ œ œ œ
sud - den - ly a - live! I am sud - den - ly a - lone, know - ing
b b b 4 œ œ Œ œ œ Ó œ œ
b
& b4 œ œ
sud - den - ly... sud - den - ly a - live! sud-den - ly a - lone,
b b
& b b b nœ œ nœ œ œ #œ œ nœ #œ œ #œ nœ œ nœ œ œ nœ œ
14 15 16
I will be a - lone till I can be a - lone with you.
b œ #œ nœ œ œ #œ œ nœ #œ œ #œ nœ
& b bbb œ nœ œ œ nœ œ
will be a - lone till I can be a - lone with you.
b b nnnnn
Molto rit.
&b b b w bœ œ œ œ œ œ ˙ Œ œ
17 18 19
nœ
That is what you do. You ap -
b nnnnn
& b bbb w œ œ œ œ œ œ ˙ Œ nœ œ
That is what you do. You ap -
49
(Men)
b˙
& b˙ . œ b˙
Much Broader
œ bœ
20 21
pear, You ap - pear...
& b˙ . œ œ bœ bw
pear, You ap - pear...
p
Cantabile (Slow 4) PRIEST: "Quando sarà finita la cerimonia..."
22
& nœ œ. œ œ œ œ œ œ. ˙
23
œ œ
Ooh...
œ. bœ bœ bbbbb
24 25
& œ œ œ bœ œ œ œ. œ œ bœ
Ooh...
b 4
nnnnn
26
& b bbb
26-29
4 2
30
24 ∑
30-33 34-35 36
&
50
The Beauty Is 17
(Reprise)
MARGARET: "...and then, I heard, I turned, and the pony kicked her...."
Meno mosso, woozily
j j j
& 44 Œ # ˙
With vitality
Œ Œ #˙ nœ œ Œ Œ œ œ #œ
3
œ œ œ œ #˙
A B 1 2 3
J ˙ #˙
here. She fell... It seemed to take for - ev - er... her to
j j # #
5 œ œ ‰ ‰ œ œ œ # # 44
Poco rit. A tempo
Œ Œ ‰ bœ œ œ œ œ œ 4 ‰ bœ œ œ œ œ
3 3
& #˙.
4 5 6
fall. You know in those moments when mo-ment -ous things hap - pen. So slow - ly...
# # # # Reliable
4
7
and pure
∑ Œ ‰ j #˙ Œ œ œ œ œ œ œ œ
8 9 10
& 4 œ œ
#œ #œ
I reach Like these paint - ings in the old tra - di - tion.
#### Œ œ Œ #œ œ œ œ œ œ
œ œ
11 12 13
& œ œ œ œ œ ˙
œ œ
There's a fig - ure reach - ing out in them like so. And to me it is the
#### œ œ œ œ œ ˙. Œ
14 15 16
& œ œ #˙ .
most fa - mi - liar tab - leau I know.
#### #œ . œ. œ
17
Œ œ Œ Œ
18 3 19
& œ #œ œ œ œ œ #œ œ œ #œ œ œ
#œ œ
So much want - ing some - thing... So much reach -ing for it... So much wish - ing just to
#### 20 21
Œ
22
Œ
& #œ œ œ œ ˙ œ #œ œ œ œ œ œ œ nœ œ œ œ
have one mo - ment back. So much be - ing pa - tient... So much blind ac - cept - ance.
#### œ œ œ œ
‰ #œ œ nœ . ˙
23 24
& J J
I know, no, I don't know...
#### j j
25
Gathering momentum
˙. Œ ∑ Œ ‰ œ œ nœ œ ‰ œ bœ bœ œ Ó
26 27 28
&
A moth - er here in It - al - y...

51
Vocal 2. The Beauty Is (Reprise) The Light in the Piazza
#### Œ ‰ j #œ . œ œ
œ œ n œ œ n œJ œ ‰ Ó œ œ œ œ œ œ œ Œ
29 30 31 32
& œ #œ œ œ
A moth - er here a - lone. I thought if I had a child I would take such care of her!
#### ˙ . Œ Œ œ œ #œ œ œ nœ œ œ #œ œ œ #œ œ œ œ
33 34 35 36
& #œ œ ˙
So much reach-ing for it. So much hold - ing breath and keep - ing fin - gers crossed.
#### Œ ˙. #œ ˙.
œ #œ œ œ œ œ œ. œ œ œ. Œ
37 38 39 40
& J
Watch - ing o - ver my, my lit - tle lost Cla - ra!
####
41 A tempo, reliable and pure
∑ Œ #œ œ œ œ nœ œ œ œ œ œ Œ œ œ œ œ œ œ
42 43 44
&
If I could, then I would paint it o - ver. I would be there and I
####
œ ˙ Œ #œ œ œ œ œ œ œ œ œ œ œ œ
Poco accel.
˙ Ó
45 46 47 48
& œ
œ œ
would - n't turn a - way. If I on - ly had a chance to not turn a - way.
#### œ œ œ œ
49
∑ Œ œ œ nœ Œ œ œ nœ
50 51
&
And the beau - ty is, and the beau - ty is,
MARGARET:
#### U
"I know what I have to do."
nœ œ œ œ ˙
Più mosso
Œ ‰ Ó ∑
52 53 54
& J
the beau - ty is...
52
Let's Walk 18
SIGNOR NACCARELLI: "I have lived long enough, I think, to close my own shop when I like."
MARGARET: "Yes, good for you!"
4
? b b 44
A-D
Reliable groove
œ œ œ
? b j œ œ ˙ ˙ ∑ J œ œ
E F G H
b b Œ ‰ œ bœ œ Œ ‰
œ œ œ ˙. w
? b ˙ œ œ œ œ
˙ J
I J 1 2
b b Œ ‰
b
3
SIGNOR NACCARELLI:
V b b ⋲ œ œ œ œ. œ œ œ œ œ ⋲ œ œ œ
œ œ œ œ.
4
œ œ œ
I look at him and that was me, the blind -ness and the en - er - gy. I
V b bb
5 6
S.N. œ œ œ ˙ œ œ œ œ ˙.
want to say, “Here, come this way…”
bb
& b ⋲ œ œ œ œ. œ œ œ œ
MARGARET:
œ ⋲ œ œ œ ‰ œ
7 8
œ œ œ œ œ
When we are at a cer - tain age, we al - most fall on pur -pose, fall with
bb
& b œ bœ œ œ bœ œ Œ bœ
9 10
M œ ˙ œ œ œ
all our might, and then it is all right. But what
b œ bœ œ œ j
&b b œ œ œ œ œ œ bœ œ œ œ ‰ œ œ bœ œ ˙ Œ
11 12 13
do I know of the road to be tak - en for hap - pi - ness?
b
Vb b ∑ ∑ Ó Œ œ bœ
SIGNOR NACCARELLI:

Let's walk…
53
Vocal 2. Let's Walk The Light in the Piazza
14
b
& b b Œ bœ œ Ó Œ œ œ Ó Œ bœ œ œ œ bœ Ó
15 16 17
M œ œ œ
Let's walk… Let's walk… Let's see… the rest will be.
b
Vb b Ó Œ œ Ó Œ œ bœ Ó Œ Ó
œ œ œ œ œ bœ
S.N.
Let's walk… Let's walk… the rest will be.
& b Œbb œ Œ
3
nœ œ œ œ ˙ b˙ œ œ. œ œ œ œ
18 19 20 21
M œ œ ˙
Ah… Ah…
b
Vb b Œ œ Œ
3
S.N. nœ œ œ œ ˙ b˙ œ œ œ. œ œ œ œ œ ˙
Ah… Ah…
bb
& b ⋲ œ œ œ œ . œ œ œ bœ œ œ w ∑ ∑
22 23 24 25
And af - ter that we might as well walk.
b
V b b ⋲ œ œ œ œ . œ œ œ bœ œ œ w Œ ‰ j
b œ œ œ œ ˙ ˙
œ
S.N.
And af - ter that we might as well walk. Ah…
26
b œ. œ œ œ œ
&b b ⋲ œ œ œ œ œ
œ œ œ œ.
œ œ œ œ
27
M
œ œ
When I was young - er I was she, the in - no cence, the fan - ta - sy. But
b
Vb b Œ ‰ j bœ œ œ œ w
œ
S.N.
Ooh…
bbb ‰ j
28 29
M & œ œ œ ˙ œ œ œ œ ˙.
it's o - kay. That goes a - way.
b œ ˙ ˙
S.N. Vb b Œ ‰
œ
j
œ œ œ
Ooh…
54
b
&b b Œ ‰
30 31
j œ œ ˙ ˙
œ bœ
M
œ
Ah…
b œ œ œ œ
S.N. Vb b ⋲ œ œ œ œ. œ ⋲
œ œ œ œ
œ œ œ œ œ
J
That's how I was, the way they are, the way they love to wor - ry so all
bb œ
33
& b
32
M
˙ œ bœ ˙ œ bœ
Ah… But what
b bœ
S.N. Vb b œ bœ œ ˙ œ œ bœ œ œ œ Œ œ
through the night when ev - ery - thing's all right. But what
j
& b œbb œ bœ œ œ œ œ œ œ œ bœ œ bœ ‰ œ œ bœ œ ˙ œ bœ
34 35 36
M œ
can we say? They are made of to -mor - row and yes - ter - day. Let's walk…
S.N.
b œ bœ œ
Vb b œ œ œ œ œ œ œ b œ œ œ œ ‰ œj œ bœ œ ˙ œ bœ
can we say? They are made of to -mor - row and yes - ter - day. Let's walk…
37
bb
& b Œ bœ Œ Œ œ Œ œ bœ Œ bœ œ Ó
38 39 40
œ œ œ œ
œ œ œ œ œ bœ
M
let's walk… It's true… let's see… Let's walk be - yond our van - i - ty.
b
V b b Œ bœ œ Œ œ Œ œ œ Œ œ bœ Œ bœ œ œ œ œ œ œ bœ Ó
œ
S.N.
let's walk… It's true… let's see… Let's walk be - yond our van - i - ty.
b j j
& b b œ. œ nœ . nœ nœ. œ b˙ œ. œ
J nœ .
41 42 43
M
J J œ
No one knows. We on - ly guess. Just a leap for
b j j
S.N. V b b œ. œ
J nœ . nœ nœ. œ b˙
J
œ. œ nœ .
J œ
No one knows. We on - ly guess. Just a leap for
55
b
3
œ ˙.
3 3
& b b nœ œ œ nœ œ œ nœ œ ˙.
43a 43b 44
M ˙ œ
hap - pi - ness... for hap - pi - ness... hap - pi - ness.
bb
3
œ ˙.
3 3
S.N. V b nœ œ œ ˙ nœ œ œ nœ œ œ ˙.
hap - pi - ness... for hap - pi - ness... hap - pi - ness.
bbb j
Poco rit.
∑ ⋲ nœ œ œ nœ b˙ œ. œ œ œ œ
45 46 47
M &
We might as well walk. We might as well
b
S.N. V b b ⋲ œ nœ œ œ . œ œ œ bœ œ
J
˙ b˙ ˙ Ó
You nev - er know we might as well walk.
48
b œ
A tempo
w
(Orch)
&b b
? Œ j œ
49 50 51
‰ œ bœ nœ
M
œ œ ˙. w
walk.
b ˙.
S.N. Vb b ‰ œ
J
w ∑ ∑
walk.
SIGNOR NACCARELLI: "As my mother used to say..."

œ ˙ ˙ œ œ ˙ ˙
? bb
52
œ œ œ 53 54
œ œ bœ 55
b Œ ‰ œ Œ ‰ J &
M
J
MARGARET: "Ah. My father used to say, 'There is no survey of the facts like time.'" SIGNOR NACCARELLI: "Yes...Meaning?"
bbb ∑ ∑ ∑
56 57 58 59 60
& ˙ œ bœ ˙ ˙
56
Clara's Interlude
18b
MARGARET: "Clara? Darling?"
With great aspiration and heartbreak
˙
Più mosso
˙ ˙ ˙ ˙ ˙ ˙ ˙
b 24 44
& b 44
3
Accel.
∑ ∑ ˙ ˙
1 2 4 5 6
˙ ˙ ˙ ˙ ˙ ˙
æ æ æ æ æ æ æ æ
œ œ œ.
Meno mosso Molto rit.
œ œ œ œ œ œ. œ œ œ œ.
4
œ œ œ
bb n n 44
œ œ œ œ. œ œ œ. 3 œ 2
œ œ œ
7 8 9
& œ 4 œ œ œ 4 œ. œ œ
Colla voce
"
4 ‰ b œJ b œ œ b œ b œ œ œ ˙ . œ
CLARA:
‰ J b œ œ œ b œ œ œ b œJ œ . œ Jœ ‰ œ #œ œ nœ
10
Œ
11 12 13 14
&4
Ah... Ah... Ah... lu - ce!
15 Slow
& .. ∑ .. .. ∑ ..
Vamp 16 17 18 Vamp 19 20
‰ j ‰ j
œ œ. œ ˙ w œ œ. œ ˙ w
FABRIZIO: "Tesoro mio."

w
21
œ #œ ˙ w
∑
22 23 24 25
& ‰ J ‰ j
œ œ. œ ˙
œ œ ˙ w #w
J
26 27 29
& ‰
28
30
CLARA: "Yes. You will be disappointed in me."
& .. .. .. .. 24 .. ..
Vamp Safety
∑ ∑
31 32 33 Vamp 34 35
‰ j ‰ j
œ œ. œ˙ w œ œ. œ ˙
Segue as one

57
Love to Me 19
Gentle and accurate eighths (in 2)
# 54
FABRIZIO: "How would I be disappointed? CLARA: "You just don't see me."
& # 8 ˆ8
1 2 3 4
Œ. j Œ. j
œ œ. œ œ. œ ˙ œ. œ œ œ. œ ˙
##
5
Œ. Œ Ó
FABRIZIO:
œ. œ œ œ œ.
6 7 8
& œ œ œ œ œ œ œ.
The day we meet the way you lean a - gainst the wind
## Œ . œ. œ œ œ œ œ œ Ó ∑
œ œ œ
9 10 11 12
& J
and do not know that you are beau - ti - ful
# œ œ œ œ. œ. œ
& # Œ. Œ œ œ œ Œ ∑
13 14 15 16
œ
or that an - y - one is watch - ing you.
## 2
œ. œ œ œ œ. œ Ó
17 18 19-20
&
This is what I see.
# j
21
& # Œ. Œ œ œ Œ œ œ œ. bœ Ó
22 23 24
œ œ œ œ œ. œ
And I no - tice how you hun - ger for sur - prise
## œ. œ œ œ œ œ
Œ. œ œ œ Œ Œ ∑
25 26 27 28
& J œ
and do not think that you are tall e - nough,
## œ œ œ œ œ œ œ nœ œ
Œ. Œ œ œ bœ
29 30 31
& J J
like you're stand - ing on a moun - tain - side a -
58
Vocal 2. Love to Me The Light in the Piazza
## Ó nœ . Ó
œ. œ œ œ œ. œ
32 33 34
& œ
lone. This is what I see.
##
35
œ œ. œ bœ Œ
3
œ #œ . œ #œ
36 37 38
& œ œ œ. œ œ œ œ. œ
Oh...
## œ 39
nœ . œ œ
40
œ nœ . œ œ 41
nœ œ. 42
œ œ. ˙
& n˙
Oh... You're not a - lone!
##
43
Œ. Œ œ. œ œ œ œ œ œ. œ. Ó
44 45 46
& œ œ œ œ œ
Now I see as I have nev - er seen be - fore,
## œ. œ œ œ œ. œ œ
Œ. Œ œ œ Œ Œ. Œ œ œ
47 48 49 50
&
since that mo - ment in the square when your
## œ .
51
œ œ œ
52
nœ œ œ . ˙ 53
#œ. œ œ œ
54
œ œ. œ Œ 44
&
hat is car - ried in the air just so you can chase it,
Relax tempo gradually
## 4 œ œ œ œ œ ˙. œ œ œ œ œ Œ œ œ œ œ 58ˆ48
In 4
œ œ œ œ œ Œ
55 56 57 58 59
& 4
just so I can be there. This is how I know. This is what I see. This is love to
## 5 4 ˙ . œ. ˙. œ. ˙. œ. U
A tempo
98
Rit. In 3
& 8 ˆ8 ∑
60 61 62 63
me.
Segue as one
59
Fable 20
(Direct segue from 19a)
Icy, with intention
# # # # 12 .
MARGARET:
j j
8 Œ œ. œ œ Œ. Ó. Œ. œ œ œ œ. œ
1 2 3
& œ œ œ œ œ œ œ
You can look in the for - est For a se - cret field
#### j
œ. œ œ œ. œ œ 98 ˙ . œ. 68 œ . Œ. 128
4 5 6
& œ
For a gold - en ar - row
# # # # 12 Œ . 7
‰ 9
8
12 Œ .
9
‰
& 8 œ œ œ œ œ 8 ˙. œ. 8 œ œ œ œ œ
For a prince to ap - pear For a fa - ble of
#### œ. j Ó.
œ œ
10 11 12
& œ œ œ. œ œ œ œ ˙. ˙.
love that will last for - ev - er.
#### j
13
Œ . œ œ œ œ . œ œ œ œ œj Œ . Ó . Œ . œ œ œ œ . œ œj œ . œ œ œ œ . œ œ 98
14 15 16
&
You can look in the ru - ins For a wish - ing well For a mag - ic ap -
#### 9 6 . 12 Œ . 9 12
8 ˙. œ. Œ. ‰
17 18 19 20
& 8 œ 8 œ œ œ œ œ 8 ˙. œ. 8
- ple For a char - i - ot - eer
# # # # 12 . œ. œ œ
8 Œ ‰ œ œ œ #œ œ
21 22
& œ œ œ
œ
For a fa - ble of love that will car - ry you
#### Œ . j
23
Warming
œ #œ œ œ. œ œ œ œ. œ œ. œ #œ
24
& œ œ
To a moon on a hill, to a hid - den stream,
60
Vocal 2. Fable The Light in the Piazza
#### j
œ . #œ œ œ œ . œ œ œ œ. œ œ . #œ œ. œ ‹œ œ œ.
25 26 27
& œ J œ œ œ œ
A la - goon and a red ho - ri - zon dream Sil - hou - ette set a - way
#### j
œ. j j Œ.
28 29 30
& œ œ. ˙. œ œ œ œ. œ œ œ
œ œ œ. œ œ œ
from time for - ev - er. To a val - ley be - yond
#### j j j j j j
œ œ. œ . #œ œ œ . #œ œ
31 32 33
& œ. œ œ. œ œ œ . nœ œ œ
œ
the set - ting sun where wa - ters shine and hors - es run
#### j j j j ∑
œ . #œ œ œ. œ œ œ . #œ œ œ œ œ. w.
34 35 36 37
&
Where there's a man who looks for you.
# # # # Sinister œ . œ œj
38
‰ œj ‰ œ œ œ œ. œ œ œ
j j j
œ œ Œ œ œ œ Œ. Œ. œ œ œ
39 40
&
But while youlook you are chang - ing, turn - ing... You're a well of wish -
#### j
œ. œ œ. œ œ 98 ˙ . œ. 6 . Œ. 12
41 42 43
& œ œ 8 œ 8
- es, you're a fal - len ap - ple.
# # # # 12 Opening
w . 9 ˙. 12 w . w.
Œ.
44 up 45 46 47
& 8 8 8
No! No!
#### #### #
48
#œ Ó. Œ. ‰ #œ œ. #
49 50
& œ œ œ œ.
œ ˙. œ
Love's a fake. Love's a fa - ble.
#### # 2
& #
51-52
61
# ## #
& # # Ó. Œ. Ó. ˙. Œ.
53 54 55 56
œ. œ. ˙. œ. œ. œ. œ.
Just a paint - ing on a ceil - ing,
#### # . n˙ . œ. nœ . n˙ . œ.
& # Ó œ. ˙. n˙ . Œ.
57 58 59 60
œ.
Just a child - ren's fair - y tale...
#### # nœ. nœ .
& # nœ . œ. ˙. œ. Œ. Œ. œ œ œ. œ œ
61 62 63
J J
Still you have to look. And look, and look,
#### # . ####
Intensifying
& # œ œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
64 65 66
J J J J J J
and look, and look, and look, and look, and look, and look
#### Œ . œ œ . œ œ œ œ . œ # œj
67
#œ œ œ . œ œ œ œ . #œ œ œ œ. œ œ œ
68 69
&
For the eyes on a bridge in a pour - ing rain— Not the eyes, but the part
####
œ. œ œ . # œ œj œ. œ. œ . œ œj œ . œ œj
70 71 72
& œ J œ ‹œ œ œ œ œ
you can't ex - plain, For the arms you could fall in - to for - ev -
#### j j j
Œ.
73 74 75
& œ ˙. œ. œ œ œ œ. œ œ œ œ. œ œ. œ œ
œ œ
- er. For the joy that you thought you'd nev - er know
#### j j j j
œ œ. œ. œ œ. #œ œ ˙. œ. #œ œ œ
76 77 78
& œ. nœ œ œ #œ
For here at last a - way you go To a man
#### œ œ. j ###
Œ.
Rall.
œ. #œ œ w. ˙. œ.
79 80 81
& J œ
who looks for you.
62
### Œ . œ œ œ œ . œ œ œ
82
œ œ. œ œ
Broadening (A tempo) Controlled Rall. poco a poco
œ. œ œ œ œ œ œ œ œ. œ
83 84
& J J J J
If you find in the world In the wide, wide world That some - one sees
### œ . 12 w .
A tempo
œ œ œ. œ œ 9 ˙. œ. 6 œ. Œ. 9
85 86 87 Rit. 88
& J J 8 8 8 8
That some - one knows you— Love!
### 9 ˙ . œ. 12 w . w.
89 90 91
Molto rit.
& 8 8
Love!
92
### œ . œ œ #œ œ . œ # œj œ . œ. œ #œ #œ œ .
Poco Meno Mosso Rall.
œ œ œ Ó. œ œ #œ
93 94
&
Love if you can, Oh my Cla - ra. Love if you can and be
###
Rubato A tempo
3
Ó. 98 ∑ 128 ∑
97
˙.
95 96 98-100
&
loved...
###
Accel. 2
∑
101 102-103
&
###
104
Sunlight (A tempo, in 2)
Œ . œ œ œ œ . œ œj œ œj œ . Ó . 2
Rall.
∑ ∑ ∑ ∑
105 106 107 108 109
& 4
May it last for - ev - er...
### 2 j 2 ,
4 3
A tempo
& 4 ¿ ¿ ‰ 4 œ # œ œ # œ œj # œ .
110 111 112-113
4
Cla- ra... The light in the piaz - za.
### 3 , U
∑ 4 ∑
114 115
& 4 4
63

The Light in The Piazza LIBRETTO

Uploaded by

Copyright:

Available Formats

You might also like

The Light in The Piazza LIBRETTO

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The Light in The Piazza LIBRETTO

Uploaded by

Copyright:

Available Formats

Digital Perusal

Developed With The Assistance Of The Sundance Institute Theatre Laboratory

For This Edition:

Libretto Copyright © 2005 by Craig Lucas. International Copyright secured.

Score Copyright © 2005 by Matthew Music. International Copyright secured.

Margaret Johnson ..................................................................................................................... Victoria Clark

Fabrizio Naccarelli – A twenty-year-old, good-looking and charming Florentine

Giuseppe Naccarelli – Fabrizio’s slightly older brother

Franca Naccarelli – Guiseppe’s wife

Signor Naccarelli – Fabrizio’s father

Signora Naccarelli – Fabrizio’s mother

Roy Johnson – Margaret’s husband

Scene 2: The Uffizi

Scene 3: The Naccarelli Shop

Scene 4: The Duomo

Scene 5: Piazzale Michelangelo

Scene 6: The Naccarelli Home

Scene 7: Margaret and Clara’s Hotel Room

Scene 8: On the Street

Scene 9: The Hotel Room

Scene 2: The Naccarelli Home

Scene 5: The Naccarelli Home

Scene 6: The Church — The Wedding Rehearsal

Scene 7: The Naccarelli Shop

Scene 8: Florentine Street

Scene 9: The Hotel Room

Scene 10: The Empty Streets of Florence at Dawn

Scene 11: Outside the Church

MARGARET JOHNSON – Margaret is an elegant, self-possessed, practical and attractive woman in

GIUSEPPE NACCARELLI – Giuseppe is Franca’s match, in clothing as well as temperament. His

Scene 1: The Piazza Signoria, Scene 1: Rome, the Ruins

Scene 2: The Uffizi Scene 3: Rome, the Ruins

Scene 3: The Naccarelli Shop Scene 4: Florence

Scene 6: The Naccarelli Home Scene 6: The Church-The Wedding Rehearsal

Scene 8: On the Street Scene 8: Florentine Street

Scene 9: The Hotel Room Scene 9: The Hotel Room

Scene 11: Outside the Church

Scene 1: Piazza della Signoria

(1953, Florence, summer. MARGARET JOHNSON, an elegant, self-possessed, practical and

MUSIC 2: STATUES AND STORIES (PART 1)

IT WAS HIGH AND HANDSOME,

MARGARET & CLARA

MARGARET & CLARA

MUSIC 2A: STATUES AND STORIES (PART 2)

MARGARET MAN ON BIKE

MARGARET & CLARA ALL

MUSIC 2B: MARGARET / HAT UNDERSCORE

(FABRIZIO sees CLARA’s sketchpad.)

MUSIC 2C: MARGARET ASIDE 1

(Turns to CLARA and FABRIZIO.)

(FABRIZIO walks off.)

MUSIC 2D: TRANSITION TO UFFIZI

Scene 2: The Uffizi

(An English TOUR GUIDE appears, followed by a small TOUR GROUP.)

MUSIC 2E: TOUR GUIDE

MUSIC 3: THE BEAUTY IS

I’M JUST A SOMEONE IN AN OLD MUSEUM.

(Mirroring the gestures in the painting:)