LUCIA DI LAMMERMOOR, (THE BRIDE OF LAMMERMOOR) OPERA IN THREE ACTS The Italian Libretto based on Music: Gaetano Donizetti Walter Scott's novelLUCIA DI LAMMERMOOR Opera in three acts. Music by Gaetano Donizotti Libretto by Salvatore Cammarano, based on Sir Walter Scott's "The Bride of Lammermoor" First performance at the Teatro San Carlo, Naples, September 26, 1835 CHARACTERS Lucia, sister of Lord Enrico Ashton: coloratura soprano Sir Edgardo Di Ravenswood, in love with Lucia: tenor Lord Enrico Ashton, brother of Lucia: baritone Raimondo Bidebent, a Presbyterian chaplain and tutor and confidant of Lucia: bass ‘Alisa, companion to Lucia: mezzo-soprano Normanno, captain of Ashton's guard: tenor ‘Arturo Bucklaw, a noble suitor: tenor Ladies and knights related to the Ashtons. Inhabitants of Lammermoor, pages, soldiers, huntsmen, domestics in the Ashton household, dancers ‘The action takes place around 1700 in Scotland ‘THE PLOT ACTI Scone One On the grounds near Ravenswood castle, Normanno, chief huntsman of Henry Ashton, urges his men to find out the identity of the stranger he has recently seen lurking about. Enrico Ashton enters accompanied by Raimondo Bidebent, his Presbyterian chaplain. Enricois preoccupied with his declining fortunes and is upsot that his sister Lucia refuses to marry the one man who can prevent his ruin: Lord ‘Arturo Bucklaw. Raimondo tactfully suggests that Lucia's reluctance is caused by her grief over her mother’s recent death. Normanno, however, has quite another explanation. He declares that she is madly in love with a strangor and meets him repeatedly. When Enrico demands to know who it is, ‘Normanno reveals that itis none other than Edgardo of Ravenswood, Enrico's hated enemy. Enrico vents hhis anger. The huntsmen return and reveal that they have positively identified the stranger as Edgardo, which arouses Enrico to yet another burst of fury. Scone Two Lucia and her maid Alisa are at the fountain near the castle grounds, waiting for Edgardo. Lucia tells Alisa of the supernatural experience she has had there: she has soen the ghost which legends tells haunts the fountain, and the ghost has beckoned to her. Alisa realizes that this means death, and urges her mistress to give up a love that can only end in ruin and disaster. Lucia refuses to heed her waming. Edgardo enters, and Alisa goes to stand guard for the lovers. To Lucia’s dismay Edgardo tells her that ‘he must leave for France immediately to serve the Jacobite cause. Before leaving, however, he wishes to make peace with the Ashtons, and seal the peace by marrying Lucia. Lucia, aware of her brother's hatred of the Ravenswoods, is opposed to telling Enrico, and Edgardo guesses her reasons. He reminds her that his oath of vengeance on the Ashtons is still binding. Lucia begs him to forget his hatred. Edgardo suddenly urges her to exchange pledges of eternal love and faith; they exchange rings and vow love unto death. Edgardo declares her his wife and Lucia begs Edgardo to write to her from France, saying that her knowledge of his love will sustain her. ‘They bid each other farewell and part.210 ACT o ‘Scene One ‘A considerable time has passed since the first act. In his study at Ravenswood, Enrico plots against the ‘two lovers with Normanno. Enrico manages to intercept the correspondence between Lucia and Edgardo, and even though all the wedding preparations have been made, Lucia still refuses to marry Arturo. As a last resort Enrico and Normanno plot to show Lucia a forged letter in which Edgardo seemingly admits loving another woman. Lucia enters listlessly and Normanno leaves. She is worn down by Enrico's constant badgering, but still. refuses to believe that Edgardo has deceived her. Enrico reminds her that the wedding date is drawing ‘near, but Lucia only laments her brother's harshness. She tells her brother that she is already married, having pledged herself to Edgardo. At this point Enrico shows her the forged letter. Lucia reads the letter with horror, almost fainting at Edgardo's seeming faithlessness. Her misery increases as distant sounds of festivity are heard announcing the approaching retinue of Arthur Bucklaw. Enrico now delivers the fatal blow: he, her brother, will perish beneath the axe unless she saves him by marrying Arturo. Lucia collapses. Raimondo Bidebent enters and finds Lucia in despair. He reminds her that Edgardo has not answered hor letters and although he suspects that Enrico has been intercepting her correspondance, he advises hor that the more prudent course is to marry Bucklaw. Lucia protests weakly that she is already bound to anothor man, but Raimondo argues that such a bond, un-consecrated by heaven, is worthless. In the name of her mother’s memory, in the name of Heaven, she must sacrifice herself. Lucia wearily surrenders. Scone Two A large hall in the castle has been decorated to celebrate the arrival of Arturo Bucklaw and the signing of the marriage contract. At the summons of love he has come as a powerful friend and ally and will reverse the tide of woes that now beset the Ashtons. Arturo and Enrico discuss the bride, Arturo asking ‘whether there is any truth in the rumor that Edgardo was interested in Lucia. Enrico evades the question and is saved from further reply by the entrance of the wan and listless Lucia. Enrico presents the bridal pair to each other. Lucia cannot hide her revulsion, and Enrico whispers a fierce admonition that she be more prudent. They ready the marriage contract. The weak Lucia is the last to sign the paper. Just as she signs, the tear door bursts open and Edgardo enters, watching the scene with horror and fury. Enrico is outraged by Edgardo's intrusion. He draws his sword and a duel is about to ensue when Raimondo manages to calm everyone down for a moment. He beseeches Edgardo to look at the marriage contract. Edgardo recognizes Lucia's signature and furiously tears off the ring she had given him and throws it at her. All upbrafd him for his rash behavior. Lucia faints. ACT It Scone Ono At the Wolfs Crag, Edgardo's ancestral crumbling tower, he compares his destiny to the fierce storm raging outside. The sound of horse's hooves are heard and Enrico Ashton appears. When Edgardo inquires how Enrico could be so insolent as to come to see him, Enrico replies that Edgardo had been just as bold only a while before at his castle. Enrico challenges Edgardo to a duel at daybreak and the ‘two swear to fight to the death. Scone Two In the castles’ great hall guests celebrate the wedding. Suddenly Raimondo enters with shocking news. He relates how just before he had heard such awful shouts from the bridal chamber that he rushed in to discover the cause. To his horror he found Bucklaw’s bloodied corpse, with Lucia standing over it, bloody dagger in hand. She had gone completely mad and blankly asked Raimondo "where is my husband?" At this point Lucia herself enters and, in an extended mad scene, imagines herself being married to Edgardo by a minister. Enrico rushes in, frantic at the reports of what has happened. He is about to hurl himself at his sister when the guests compel him to restrain himself seeing that his sister had gone completely mad. He now feels the pangs of remorse for what he has caused. Lucia collapses at the end of her mad scone, and is borne off by attendants.21 Scone Throe ‘At daybreak the following morning Edgardo walks among the tombs of his ancestors, lamenting his fate. Without Lucia, he says, life has no purpose. His rage is exhausted and he intends to die by his enemy's sword in the forthcoming duel. He is interrupted by a somber procession from the castle. When he is, told that Lucia is dying, he is almost speechless with grief and horror. He tries to break away from the group to rush to Lucia's side but a distant bell tolls mournfully: Lucia is dead. Praying that he may ‘moot Lucia in heaven, he stabs himsolf and falls dead, while Raimondo and the others recoil in horror.212 Lucia di Lammermoor, Act I ACTI (On the wooded grounds of Castle Ravenswood, Normanno, captain of Enrico's guards, instructs a group of huntsmen.) NORMANNO perkorrete Ye ‘spjaddese—_vitfine Porcorrote To spingge vvicino. Search through the riverbanks neighboring, CHORUS perko'rrjamo Je ‘spjaddse——_vitfine Porcorriamo To spiagge vicino, Let us search through the riverbanks —_ neighboring, NORMANNO ‘della ‘torre ‘le vaste _rovine Della torre le vaste rovine, Of the tower the vast ruins, ({Search through] the vast ruins of the tower,) HORUS Della torre lo vasto rovine, NORMANNO ‘kada Uo vel iS tupe mister Cade vol dik turpe istero, Ietitfall, the veil ‘of sucha shameful —mystery, (Let the veil fall off this shameful mystery.) ‘fo domanda ‘to impone lonor Lo domanda, Jo impone Yonor. Itis asked, it is demanded (by) our honor. CHORUS Cada il vel di si turpe mistero, etc. NORMANNO, CHORUS splende'ra —leze'krabile ‘vero. ‘kome —‘ampo ‘tra ‘mubi door Splendera _esecrabile vero come lampo fra nubi dorror, Itwill blaze the hormble truth like lightning -—through clouds of horror, Splondora lesocrabile vero, etc. ‘19 ‘wwole lonor Lo vuol Tenor Honor requires it. (The Chorus exits quickly to execute Normanno's orders. Enrico Ashton enters accompanied by Raimondo. Normanno approaches respectfully.) NORMANNO tu se turbats Tu soi tmrbato! You are upset!Lucia di Lammermoor, Act I ENRICO e€ ben ‘donde E who ben donde. And have good reason for it iD sai ‘de ‘mjei__ destin’ a stele Tsai: De' miei destini impallit la stlla.. Youknow; of | my fortunes ~—has paled =the _—star.. (The star of my fortunes has grown dim...) invtants edgardo ‘kwel mortale nemiko ‘gi mia Intanto Edgardo, quel mortale nemico di mia Meanwhile Edgardo, that mortal enemy of = my ‘dalle ‘sue rovine ‘erdge ‘la fronte baldanitsoza «¢=— ride dallo suo rovine erge la —fronte baldanzosa @ ride! from his ruins raises his head arrogant and laughs! (arrogant head) ‘solo ‘una ‘mano rafifermar —‘mi‘pwote. © 'nel_—vatfillante ‘mio Solo una mano refformar mi puote nel vacillanto. © mio Only one hand strengthen can forme —inmy tottering (my) (One hand alone [Arturo Bucklaw] can strengthen me in my tottering power.) wtfia ‘oza —respindger—_‘kwesta ‘mano Lucia oa —respinger —quosta. manol. Lucia dares to refuse that hand. a ‘swore ‘nom ‘me kolei Ab! suora non ms colei! Ah! A sister to me is not she! (Ah! She is no sister to me!) RAIMONDO (trying to calm him down) dllente ‘verdsin ‘ke ‘dgeme sufluma retfente ‘a Dolento vorgin, che geme sulluma —_—_reconte ai Sad maiden, who moans over the tomb recent of (A sad maiden, who weeps over the recent death of her mother.) ‘al talamo potria ‘voldser‘to —‘2gwardo al talamo potria volger lo sguando? tothe nuptial bed could she = tum her —_ gaze? (can she be expected to tum her thoughts to a marriage bed?) Tispetijamo uy ‘kore ke trait ‘dal ‘dwol_ ‘skivoe Rispettiamo un core, che trafito dal duo! schivo @ Let us respect a heart that, pierced by grief, shy is, NORMANNO (ironically) Iwtfia damore avvampa Lucia d'amore avvampal Lucia with love is blazing! What are you sayingl... 213 damore d'amore. of love.214 Lucia di Lammermoor, Act I RAIMONDO (aside) o'detto (0 dottol...) Oh, those words!...) NORMANNO mitéite ‘eta ‘sen sia Kola ‘del ‘parko ‘nel solingo vial Miudite, Ella oon gla cold del parco nel solingo vial, Hear me out. She was walking there ofthe park inthe lonely path (She was walking along the lonely path in the park,) ‘dove ‘lla ‘madre ‘dsatfe sepolta dove la madre giaco sepolta.. where her mother lies buried... impetozo toro. ekko ‘su ei_—salvventa Impetuoso toro. ecco. su lei_—stavventa... Araging bull “now upon her rushes... ‘kwando ‘per ‘larjarimbombar ‘si ‘sente ‘uy kolpo quando per Tara rimbomber si sonte un colpo, when through, the air resounding is heard a shot, © ‘al ‘swol_repente ‘kade ‘la belva 2 al sacl reponte cade la belva. and tothe ground suddenly falls the —_ beast. ENRICO © Kh vibroKkkwel ‘kolpo E chi vibro quel colpo? And who fired that shot? NORMANNO. ‘al ke il'suo ‘nome rikopri ‘dum velo. Tal che ilsuo nome ricopr d'un velo. One who his name hid witha veil. (One who concealed his name.) ENRICO tfia forse Lucia perhaps... NORMANNO leo Lamp. She fell in love with him. ENRICO “aunkwe ‘i nivide Dunquo il rivide? Then she saw him again? NORMANNO oppalt Ogn'alba... Every dawn...ENRICO e ‘dove E dove? And where? Lucia di Lammermoor, Act I pathway. ne tu skort tsedutttor No ta —scovristi_ «=i! seduttor? Didn't you recognize the —_seducer? ‘no softants nho soltanto. Suspicion 1 —_have about him only. (only have a suspicion of who he is.) ENRICO a parla ‘Ah! parla! ‘Ah speak up! NORMANNO e tuo netmiko E tuo _—_nomico. He's your enemy. RAIMONDO (aside) > tel (0 ciolt) (Oh heaven!) NORMANNO ‘wo detesti Ta lo dotesti. You detest him. ENRICO ‘esser potrebibe edgardo Esser potrebbe Edgardo? Could he be Edgardo? NORMANNO- ‘to ditfesti Lo dicesti. You have said it. ENRICO “eruda finesta ‘zmanja tu tmai_zveKKato © im_—petto Crude, fanesta smania.. tu hai svogliato —in'_—_—potto! Cruel, dire frenzy... you have awakened in my breast!218 Lucia di Lammermoor, Act I 2 troppo onribile “kwesto fatal sospetto E troppo orribile pesto fatal soapatit Itis too horrible, fatal suspicion! ‘mi fa Gselare e ——fremere solleva ‘im fronte i Mifa gelaro ¢ —_fromere, solleva in fronte i Itmakes me freeze and shiver, itmakes stand on end on my head the (makes my hair stand on end!) ‘kolma ‘di ‘tanto. stibrobrio. «ki ‘swora 2) 'me—naffea Colma di tanto obbrobrio chi suo. a= mo_—nascoa! Filled with such infamy who sister to me —_ was bon! (That a git! filled with such infamy could be born a sister to mo!) NORMANNO pietoz> ‘al tu dekoro ‘io fui. kon tended Pistoso al tuo decoro io fui_—«scon to cruel. Out of respect for your honor, I was with you cruel. (Out of respect for your honor I had to tell you the whole cruel truth.) RAIMONDO (aside) Jawa Klementsa —imploro ‘wu Tommentiffi 9 Yel (Latuaclomenza implore; = tu_—lo.smentisci, 0 ciel!) (Your clemency implore; you refute it, oh _—_—heaven!) ENRICO (scornfully) a pria‘ke daimor ‘si perfido ame zvellati Ah! pria cho d'amor si perfidoa = mo_—svolarti ‘Ah! Before ofalove so wickedto me _—_you show yourself (Ah! Before revealing yourself guilty of such a treacherous love,) ‘se ti kolpisse ‘um —fulmine “fora ‘men ‘tio dolor 0 ticolpisso un falmine fora men rio dolor! if youwere struck by a __lightning bolt it wouldbe less bitter _griefl (it would be less bitter grief had lightning struck you!) NORMANNO, RAIMONDO ‘Yel Ciel! Heaven! (The huntsmen return to report to Normanno.) cHoRUS W'two dubbjoe mai fertettsa tuo dubbio 3 —omai_cortezza, Your doubts are now a certainty. NORMANNO (to Enrico) ‘adi ta Oai tu? Do you hear? ENRICO narrate ‘Narrato. ‘Tell me. ELE guilty,Lucia di Lammermoor, Act 1 217 CHORUS “Kome ‘wvinti ‘da stafkettsa dopo Tungo_errrare intomo Come vinti da stancheza, dopo lumgo_errare intomo, As we were overcomeby fatigue, after along wandering search, ‘noi pozamms — ‘dela torre ‘nel vestibolo —=—kaldente noi posammo della torre nel vestibolo ©——cadant: we rested up of the tower inthe entrance crumbling: (we stopped to rest in the crumbling entrance of the tower:) ‘elcko tosto To traskorre ‘in silentsjo ‘un ‘wom paltlente Ecco tosto lo trascorre in ilenzio un wom _pallonte. Suddenly passed through in silence a man pallid. (Suddenly a pallid man passed through the tower in silence.) ‘ome appresso ‘eine vernuto ravevizjam lo fkono{futo Come appreso ei._—Ssn' vonuto rawvisiam lo —_sconosciuto: As neartous he _ passed close by ‘we recognized the unknown man; (As the man passed close to us we recognized the unknown man {who had saved Lucial;) ‘ei 'm_—‘rapido destjero simvola ‘dal ‘nostro. ‘2gwardo Ei su_—rapido dostrioro = sinvold dal nostro. sguardo. He on —_a swift stood fled from our sight; ‘kwal sappelia ‘um —falko'njero ‘ne apiprenideva Qual sappella un _—ffalconiero _no approndeva. What hisnameis a ffalconer told us. (A falconer nearby told us his name.) ENRICO © — kwale E quale? And — what was it? CHORUS Edgardo! ENRICO ‘chi 0 rabibja o'rabibja = ke mattfendi Egl! O — rabbia! Orebbia che m‘accendi, He! Oh rage! Oh rage that inflames me, kontenerti ‘uy kor ‘nom ‘pwo contenerti un cor non pnd. contain you my heart cannot. RAIMONDO a ‘non kredere ‘no ‘de sospendi ‘ella a tmodi Ah non credere, no, deh sospondi... lla... ah modi. Ah don't believe it, no, please stop... she... ah! Hear me! ENRICO wair ‘nom vo Usir non vo! To hear Ido not want!218 Lucia di Lammermoor, Act I Japietde in ‘suo fevore ‘miti ‘sensi ‘im vam ‘mi ‘dette, Lapistade in = suo_—favore ‘miti sensi in van mi detta... Pity in her favor kind _ feelings in vain speak to me... (Speak not to me of pity and kind feelings for her: they are useless.) ‘semi part ‘di vendetta. ‘solo. intenderti_——_potro So mi pari i vendetta solo intenderti-—_potrd. If youspoaktome of +_—vengeance only hearyou —I will. (1 will only listen to you if you speak to me of vengeance.) Jaguirati ‘mio furore “aya ‘um voi tremendo. rudd Sciagurati, il mio furore gia su voi tramendo—rugge... Wretched pair, my fury already over you terribly roars... ‘tempja ‘tjemme ke Vi'strudsdge jo Kol ‘sangwe spenne'ro Lompia fiamma che vi strugge io col sangue spegnerd. ‘The unholy flame that consumes youtwo I with blood shall quench! CHORUS ‘tirafrena ‘al awovo albore ‘ei = date. —_‘futhdsir ‘nom ‘pwo Timafirena, al muovo alboro ei ©= da_—sto—sfuggir ‘non pud. Calm yourself, at the new dawn he from you flee cannot. (in the morning Edgardo won't escape you.) ‘kwal ‘nube ‘di te'rrore ‘kwesta ‘kaza — tfirkon'do ‘Ab! qual nube di terrore... questa casa circondd! What a cloud of terror... this house has surrounded! (Bnrico goes off in a rage. The others follow.) ‘Scone Two (in a park on the grounds of Ravenswood Castle, there is a fountain in the foreground and a path in the background leading to the castle. Lucia and Alisa approach the fountain from the direction of the castle. Both seem nervous and on their guard.) LUCIA (looking around anxiously) agjkor ‘non ‘dsunse ‘Ancor non giunso!... Still he hasn't arrived!...Lucia di Lammermoor, Act I 219 ALISA, injkauta 8 ke mi tradssi Incantal.. © cho mi traggil.. Reckless git. to what have you dragged mel... avwentvrarti ‘or = ke il ft ‘kwi'venne © folle air Avventurati or che il_—_fratol quivemne = ~—folleardir. To venture out now that your brother. has come here is foolish rashness. Luca ‘bem ‘parti edgardo ‘sappia Bon pari! Edgardo sappia You speak truth! Edgardo must know ‘kwal ‘ne tfirkonda—oribile pe'rikko qual no circonda _orrbile poriglio. what surrounds us horrible danger. (the horrible danger that surrounds us.) ALISA perke ddintomo ‘ll *fikKo._‘voldst atterrita Porchd dintomo il_—ciglio._volgi attorrita? Why around your eyes youtum terrified? (Why do you look around so terrified?) LUCIA ‘kwella ‘Tonte a ‘mai ‘sentza ‘remar ‘nom ‘vegigo Quella fonte, ah! mai sonza ‘tromar non voggo. ‘That fountain, ah!_—-Never_ without trembling do I see it. aw ‘1 'sai ‘un revenswod —ardendo ‘di dgetoz0 furor Ab, tu Jo sai: Un Ravenswood ardendo di geloso furor, Ab, you know it: A Ravenswood burning with jealous rage, latmata ‘donna koa trafic Temata donna cola trafisee, his beloved woman there stabbed, (stabbed his beloved there.) © limfetitfe "kadde ne'klonda © Tinfelice cade nelfonda, and the hapless woman fell_—_into the water, ‘ed vi rimatnea sepolta maprparve “lombra ‘sua ed ivi rimanoa sepolta... _m'apparve Yombra sual... and there remained _buried. Ttappeared tome the shade —hersl... (and remained buried there...Her ghost appeared to me!) ALISA ke daitfi Che ici? What are you saying? LUCIA askolia rennava ‘nel sientsjo ‘ata la ‘notte © = bruma Ascolte. Rognava nel silenzio alta la notte @ —bruna.. Listen, There brooded over the _silence high night and dark... (The deep, dark night brooded over the silence,)220 Lucia di Lammermoor, Act I kotpia ‘a fonte ‘wm ‘pallida ‘radxigo ‘di ‘tetra. ‘tuna colpia la fonte un pellido raggio di tetra. uma struck the fountain a pale. ray of dim _—_moon. (a pale ray of a dim moon struck the edge of the fountain.) ‘wando ‘un som:mestso —“dgemito tra ‘laure wdir'si Ye quando un sommesso —_gemito fra Yaure udir si fo’, whereupon a low moan through the air was heard, ‘ed'ckkko = ‘su ‘kwel_‘mardsine = ‘lombra mofwarsi = ame Ed ecco, su quel margine, Tombra ‘mostrarsi a mo ah! And lot On that edge the shade showed itself to me, ah! kwal “did ‘parla ‘mwoversi il foro ‘suo veldea Qual di chi Pela muoverd fl abbro suo vodea, As of one who _speaks moving the lips hers I'saw, (('saw the ghost's lips move as if speaking.) © ‘kon «a= mano evzangwe = kjetmammi «kept @ con la mano esangue chamarmt so paroa, and with the hand bloodless —_tocallme to __herself she seemed, (and seemed as if calling me to her with her bloodless hand.) ‘stette ‘um = momento immabile == ‘poi rattta dile‘gwo stotto un momento immobile, poi ratta dilegud.. she remained fora moment motionless, then quickly vanished... © ‘onda ‘pra ‘si Timpida ‘di “‘sangwe rosise'dxdso E Tonda Pra si limpida ai sangue rosseggid. ‘And the water at first so. _limpid with blood tuned red. (And the water, at first so limpid, reddened with blood.) ALISA ‘Kari odio ‘ben Wari erst Chiari, ob Dio, bon chiar o ——tristi Clear, oh God, very clear and dire ‘nel tuo ‘dir pre'zadsi intends pel fo dir presegl intondo! your words omens Thear! (Cleatly” oh God, very clearly I hear in your words dire omens!) a Wwtfia dezisti ‘da un_—atmorkozitre'mendo Ah! Lucia, desisti da un amor cost tremendo... Ah! Lucia, desist from a love so _ perilous... LUCIA ‘ekki © = utfe, a = “dgomi ‘mei -€ = komfforto, «= 'al_= mio. petnar Egli 8 Inco e —giomi_misi, @ —conforto al mio ponar. He is light tothe days mine, heis comfort to my suffering. (Hie is the light of my days and the comfort to my suffering.) ‘kwando rapito ‘in ‘estazi ‘del pfu otfente ardore Quando rapito in estasi dol pitt —_cocente ardore rapt inthe ecstasy of the most burning ardorLucia di Lammermoor, Act I 221 ‘kol fave'tlar ‘del “kore ‘tm gure etema Ye col favellar dol core mi giura otoma fo, with the speaking _—ofhis_heart he swears tome —_—_etemmal faith, (When rapt in the ecstasy of burning desire he swears eternal faith to me from his heart.) Kjaffanni —'mjei_dimentiko —‘dsaja_divjene ‘1 pjanto gliaffanni miei dimontico, _gioia_diviene i pianto... the sorrows mine forget (and) joy becomes the —_ weeping... (forget my woes and my tears turn to joy...) ‘pani ‘ke auidatckants ‘si‘skjuda = el ‘perme Parmi che aluid'accanto sischinds il cial por me. It seems to me that next to him opens the heaven for me. (1 feel that close to him the heavens open for me) ALISA a ‘ésomni_ datmaro ‘Pianta saipprestano ‘per te Ah! — giomi d'amaro pianto slapprestano per te, Ab! Days of bitter tears are approaching for you, ‘sia Iutfiaderzisti S, — ah!_—_Lucia! dosisti! yes, ah! Lucia! Desist! LUCIA Quando repito in estasi, etc. (Alisa sees Edgardo coming.) ALISA ‘ekfisevantsa ea vitfina ‘sokka io ‘kaula_vesKe'ro Egli savanza.. la vicina soglia io cauta_voglier®. He iscoming.. the nearby entrance T_——_ careful will watch. (L will keep a careful watch from the nearby entrance.) (Alisa withdraws and Edgardo enters.) EDGARDO lutfiaperdona ‘sea dora innzitata io velderti kjedea Lucia, perdona, sea orm imsitata io vederti chiedea. Lucia, forgiveme if _atanhour unaccustomed I to see you asked. (if T asked to see you at this unaccustomed hour.) raidgom, possente Region possonto Areason —_ powerful ‘pria ke in Yel novela Pria che in ciol bi i novella Before inthe sky grows pale thedawn new (Before the new dawn grows pale in the sky,) (Tomorrow, very early.) ‘datle ‘patrje ‘sponde ‘tundsi sara dello patrie sponde Tungi ard. from my native shores far Iwill be.222 Lucia di Lammermoor, Act I LUCIA ke dditfi Cho dici.. What are you saying... EDGARDO ‘pe ‘franki ‘idi —amitfi ‘Jolgo te vele Pe franchi lidi amici scialgo lo vole: Towards _‘French shores friendly Tunfurl my sails; ((will unfurl my sails towards tho friendly French shores:) vi trattar ‘me ‘dato Je sorti “dela ‘skottsja Tvitrattar m&dato —le._—sorti_ della Scozia. There to deal Ivo beon given the fates of Scotland. (Chave been assigned to deal with the fate of Scotland over there.) LUCIA © me nel pjanto absbartdoni koi E me nel_—pianto abbandoni cost? And me, in tears youabandon like that? EDGARDO ‘pria ‘di laffarti ‘afton ‘mi veg: Pria di lesciarti Ashton mi vege. Before leaving you, Ashton must see me... ‘io stende'ro platkato 2 tthe estra Jo stenderd ~—placato a Iino stra, 1 shall hold out, appeased, to him = my _ right hand, (shall hold out to him my right hand in appeasement.) © Tata ‘destra ‘penno fra ‘noi “di patfeKjede'ro © latua destra pogo fra noi di pace _chiederd. and your hand (as) pledge between us of_——peace.‘I shall ask. (and I shall ask him for your hand as pledge of peace between us.) Luca ‘ke astkolto inns manga ‘nel silentsjo sepolto Che ascolto! Ah no! rimanga nel silenzio sopolto What doThear! Ah, no! Letit remain in silence buried ‘per ‘or larkano ‘afietts per or —_Yarcano affotto. for now oursecret__—_love. (What do I hear! Oh no! Let our secret love for the time being remain buried in silence.) EDGARDO (with bitter irony) intends ‘di mia ‘stipe ‘L—Yeo__perselaitor Intond di mia stirpe il wo _—_porsecutor, Tunderstand... of my lineage the evil _persecutor, ‘de ‘mali ‘mjei_arykor_‘pago none de! mali miei ancor ago non 2. of the woes mine still satisfied he is not. (I understand...the evil persecutor of my family [Ashton] is still not satisfied with the woes he has caused me.)Lucia di Lanmermoor, Act I 223 ‘mi tolse ‘1 padre ‘l'mio retadtso Mi tolse il padre, il: mio retaggio avito.. He took from me my _—_fathor, my —_beritage ancestral. (He caused my father's death and stole my ancestral inheritance...) ‘ne ‘basta ‘ke ‘rama aykor ‘kwel ‘kor ferotfe © tio No basta? Che brama ‘amcor quel cor feroce @ rio? sit not enough? What does he want more, that heart cruel and evil? ‘a mia perdita intera “il ‘sangwe mio. ‘ekki modja Lamia perdita intora? Il sangue mio? gli modia! My ruin entire? The tlood mine? He hates me! LUCIA a‘ Ah, nol Ah, no! EDGARDO mateborte Mebborre! He abhors me! LUCIA ‘kalma 2 el kwellira extrema Calma,o ciel quella stroma. Calm, oh heaven, his rage extreme. EDGARDO ‘fjamma ardente ‘in ‘em ‘tmi'skorre ‘modi Fiamma ardente in sen mi scorre! Modi. A flame searing in (my) breast courses inside me! _Listen to me. (A searing flame courses through my breast! Listen to me.) LUCIA Edgardo! EDGARDO ‘modi © ‘tema Modi treme. Listen tome and tremble! ‘sulla ‘tomba ‘ke rinserra t—tratdito dgenitore Sulla tomba che rinserra il tradito genitore, Overthe tomb that contains © ny betrayed ~—father, ‘al tus ‘sangwe etema ‘gwerra io dsufrai ‘nel mio —_fitrore al tuo sangue etoma guora io — giural nel mio furore. on your bloodline etemal war I = swore in my _ fury. (On the tomb where my father lios buried in my rage I swore eternal war on your line.) ‘mat Vidi © ip kori nalckwe Ma ti vidi, ein cor mi nacque But Tsawyou, and inmy heart was bom ‘altro © lira ‘takckwe altro eo Tira tacque. another and my anger was stilled.224 Lucia di Lammermoor, Act I ‘pur kwel Volo ‘no ‘ne imjranto Pur quel volo nond infranto, Yet that vow isnot broken, powei ‘si ‘si = kompirlo arfkor io potrei, i, si, compirlo. ~—ancor! T could, yes, yes, fulfill it still! LUCIA ‘de ti plaka ‘de ‘ti frena Deb! ti place, deb! ti frone! Please! Calm yourself, please restrain yourself! EDGARDO ‘Ah Lucia! LUCIA ‘pwo tradime ‘un ‘solo atttfento Pod tradime un — solo acconto! Tan betray us one sole word! (One sole word can be our undoing!) ‘non ‘ti ‘basta ‘ta mia ‘pena ‘ywoi ‘Kio mora di Non ti basta Ia mia pone? Vaoi chio mora di Isn't it enough for you my suffering? “Do you want thatI die of EDGARDO Ah! no, no, no! LUCIA ‘eda onnaltro affetto ‘solo a'mor _tinjfjam:mi Coda ognieltro ——affotto, solo amor iinfiammi Renounce every other _feeling; only love should inflame ‘um ju nobile ‘piu ‘santo. ‘donp ‘voto € = um ‘puro Un pit nobile, pia santo dogni voto 8 um puro A more noble, more holy thanany vow is a — pure (A pure love is nobler and holfer than any vow.) EDGARDO Pur quel voto non @ infranto, otc. LUCIA, ‘edi a mme Codi ame! Yield to mel EDGARDO E potrei compirio ancor! LUCA ‘edi allamor Codi all'amor! Yield to love! spa'vento spavonto? fright? pet your breast; love.Lucia di Lammermoor, Act I 225 EDGARDO wi ‘spoza_ctema ‘fede ‘wi ‘mi'dsura ‘al = Yelo. inmante Qui di sposa otorna fode, qui migium © al_—ciolo_inmante. Here of wife etemmal faith, here sweartome to —_ heaven before. (Here, before heaven, swear to me your faith as my wife.) ‘dio ‘tfi'askolta ‘dio. “fi vede vempjo ‘ed ‘ara etm ‘kore amante Dio clascolta, Dio _ci vedo; tempio od ara Sun core amano; God hearsus, God sees us; church andaltar isa _—_heart_ loving. (@ loving heart serves both as church and altar) ‘al 'tuy— Tato. wnisko “il mio ‘son cus ‘spozo Al tuo fato To your fate (He places a ring on her finger; she in turn places one on his.) LUCIA e tua ‘sono E tua son io. And yours am 1. LUCIA, EDGARDO a softanto nostro ‘foko spennera = di tmorte gel Ab! soltanto nostro foco spegnerh = di_—=s morte il = gel. Ab! Only our fire will put out of death the chill. (Ab! Only the chill of death can extinguish our fire.) Luca 2 mje vot amor imvoko imvoko aayel A! misi_voti_amori_invoco, invoco il ciel. To my vows, love invoke, —‘l invoke heaven. EDGARDO A’ miei voti invoco, etc. separartfi mai Komjvjen omai convien. To separate now we must. LUCIA 2 paola ‘me fvnesta mio ‘kor kon te ‘ne Vjene Oh paola a = me_—funestal Imo cor con te _ne viene. Oh word to me dire! My heart with you goes. (Oh saddest of words!) EDGARDO mio ‘koc kon te “kwi— ‘esta Hmio cor con to qui resta, My heart with you here stays. LUCIA, ‘Ah! Edgardo! EDGARDO ‘Separarci omai convion.228 Lucia di Lammermoor, Act I LUCIA a talor ‘del ‘tuo —_pentsjero ‘venga ‘um —fokKo messsatddsero Ah! talor dol tuo pensiero. venga un foglio-meesaggero, ‘Ab! now and then of your thoughts © sendme = a_letter_ as messenger, (Ah! Now and thon send a letter as messenger of your thoughts,) © a vita fudsdsitiva © “di spetrantsa. «= nudriro © = Ia_—s vita’ faggitiva «= di_—speranze = nudrird. and my life fleeting with hopes 1 shall nourish. {and I shall nourish my fleeting life with hope.) EDGARDO jo dite metmorja, «viva. ‘sempre 2 kkara serbero Io dis to. ~—s memoria = sviva sempre, ° cara, sorbord. 1 of you memory alive always oh dearest, I shall keep. (I shall always Keep the memory of you alive, oh dearest one.) LUCIA verrranns a te suture i'tmjei sospiri_ardenti Vorranno ee rc ey They will come to you onthe breezes my sighs ardent, (My ardent sighs will come to you on the breezes.) wérai ‘nel mar ‘ke = 'mormora. == Tek ‘de 'mjei_—letmenti udrai nel mar che mormora —Teco de! mioi_- lament. you shall hear inthe sea that murmurs theecho ~=soof,_)3Ss my —laments. pen'sando ‘Kio “di gemiti'mi'pasko =e = dior Ponsando chio di gomiti mipasco 6 — di_— dolor, When you remember thatI of moans I feed and of sorrow, (When you remember that moaning and sorrows are my fare,) ‘spardsi unaimara ‘lagrima ‘sm ewesto ‘enna atl:lor spergi un'amera Iagdme ‘sa questo pegno allor. shed a bitter tear over this token then. (shed a bitter tear over this ring, the token of our love.) EDGARDO Vorranno a te, otc. LUCIA ‘tuo ‘skritto ‘sempre viva ‘la memorja «imme terra tuo scritto sompro viva In memoria = in’ «smo torral Your letters always alive the memory in me _—_will keep! EDGARDO ‘kara Cara! Dearest! LUCIA, EDGARDO ‘Verranno a te, etc. EDGARDO ‘io parts To parto. 1LUCIA aésdio Addio! Farewell! EDGARDO raimmentati ‘ne 'strindse Rammontati, no stringe Remember,’ we're bound by EDGARDO, LUCIA Addio! Lucia di Lammermoor, Act I ‘al yel il ciel! heaven! END OF ACT I 227228 ACT IL ‘Scone One Lucia di Lammermoor, Act Il (Some weeks or months have passed and Enrico Ashton is seated in a room in Ravenswood Castle conversing with Normanno, who stands near him.) NORMANNO Itfia fra tpoko ate vera Lucia fra poco a te vera Lucia soon to you will come. ENRICO tremante laspetits a festedsdsar ‘le nottse ‘tus Tromanto —Yaspetto. == A Je nozze iDlustri, Trembling © Tawaither. To celebrate -—the_-—« wedding ~—_ illustrious, ‘tsa ‘nel kastelto i nobili patent gia nel castollo i nobili Parenti already inthe castle the noble relatives “agunser ‘gi mia fetmice di mia famiglia; have arrived from my family; ‘im'‘breve arturo kwi‘voldse In breve Arturo qui volge. ‘Soon ‘Arturo here shall arrive. (Rising in agitation from his chair.) pertinatfe ozasse dop-porsi Pertinace _osasso_d'opporsi? stubbornly dares _to refuse? ‘la lunga aissentsa = del_ two nemiko Ja Tungaassonza del tuo —_nemico, the long absence of your enemy, i fokki “da noi rapiti © = ta udarda = “nwova i fogli da noi. apiti, © «= la._—sbugiarda. §=—muova the letters by us stolen, andthe —_false news Kekki sattfeze ‘daltra ‘fjamma chegti saccoso daltra fiamma, that he was lit by another flame, (that he is carrying a torch for another woman.) ig Kore.“di_—stfiaspepne'ranno il “feko amore in core di Lucia spogneranno il cisco amore. inthe heart of Lucia will extinguish her blind love. (To Normanno, as he sees Lucia approaching.) ‘ella savantsa L simvflato ‘Tokko ‘pordsimi Ella savenza. © 1 ~—simulato.—foglio’ porgimi. She is coming. The forged letter give me. (Normanno hands him a letter.)Lucia di Lammermoor, Act II 229 ‘ed effi ‘sulla Via ke trad:dye Ed osci sulla via che —_tragge Now go along the way that'_—deads ‘alla feta re'dgina ‘di ‘skottsja alla cittaregina di ‘Scozia, tothe capitalcity of Scotland, © wi tra plauzi © jete “grida_kowdutfi arturo equi fra_—plausi © iste grida_conduci Arturo. and here amid cheers and happy shouts lead Arturo. (and lead Arturo here amid cheers and shouts of joy.) (Normanno leaves. A moment later Lucia appears. She is hesitant and crushed, and stands by the door.) ENRICO apepressati lwtfia Approssati, Lucia. Come closer, Lucia. (Lucia moves to him. She looks haggard and listless.) spe'rai ‘piu eta ‘in Kwesto “di velderti Sporai pit lista = in questo ci vodorti, Thad hoped happier on this. day to see you, in ‘kwesto ike dime’nes te fatfi satttfendono per te in questo dicho @imenco le faci saccondono por te. on this day inwhich of Hymen_—_—the _ torches are being lit for you. (Thad hoped to see you happier on this day, in which the torches of marriage have been lit for you.) ‘mi ‘gwardi ce tatfi Mi eo tacit? You are looking at me, and you keep silent? Luca ‘il patior funests onrends ‘ke rikopre il volto mio TL pallor funesto, orrendo che ricopre il volto mio, The pallor dire (and) horrendous that covers the face mine, (This horrendous and dire pallor that covers my face,) ‘ti improvera tatfendo ‘W'mio ‘stratsjo ‘il'mio dolore ti rimprovera tacondo il mio strazio, il mio dolore. will reproach you silently (for) my pain, my — sorrow, perdonare “ti ‘passa ‘un ddio limimaro tuo rigor © mio dolor pordonare ti possa un Dio Tinumao tuo rigor © ilmio dolor. forgive may aGod the inmman your severity and my grief. (May God forgive your inhumanity and my grief!) ENRICO a radson ‘mi fe spjetato A region mi fo! spictato With reason it made me _ pitiless230 Lucia di Lammermoor, Act IT ‘kwel ‘ke = tanse inden affets quel cho tarse indegno affotio;, that which bumed in you ignoble passion; (That ignoble passion of yours is a good reason to render me pitiless:) ‘ma ‘si tata ‘del patssats ‘tuo fratello ‘sono Ma iteccia del Pansato; tao fratello ‘sono But let us be silent about the past; your brother Tam ‘spenta © tire ‘nel mio petto Spenta a Tire nel mio petto, Spent is theanger in = my _ breast, ‘spenpi ‘tu lintsano ‘mor ‘nobil ‘spozo spognitn —_Tinsano Nobil soso... stifle your insane love. A noble husband... LUCIA ‘essa Stop! ENRICO ‘ome Como? What? LUGIA ‘ad attrwom dural ‘mia te Ad altruom giurei mia To another man I swore my faith. ([pledged my faith to another man.) ENRICO (becoming angry) ‘nol potevi Nol potevi... You couldn't have... LUCIA Enrico! ENRICO Nol potevi.. LUCIA Ad altro giurai mia fo. Gnrico tries to restrain his anger.) ENRICO “basti “kwests Tokso alppjen "i 'ditfe Basti! Quosto foglio appien ti dice Enough! This letter fully shows you ‘kwal knidel ‘ewal‘empjo amasti Tededsi qual crudel, qual empio ‘amasti. Logi. what a cruel man, what a wicked man youloved. Read. iLucia di Lammermoor, Act If 231 (He hands her the forged letter Normanno had given him earlier. As Lucia reads the letter, her dismay and horror become so intense that she appears to be on the verge of fainting.) LUGIA (weakly) a lore ni battso Ah! il core mibalza! ‘Ab! My — heart has burst! (Enrico rushes to assist her.) ENRICO ‘mu vattfilti Ta — vecilli! You — seem unsteady! LUCIA ‘me imfelitfe ‘ai ta_—“folgore pjom'bo Mo infelice! Ahi! la —_folgore piomba! Unhappy me! Oh! The thunderbolt has struck! sofifriva ‘nel pjanto Jafgwia ‘nel dolore Soffriva nel piano, Tanguia nel dolore, Tsuffered in weeping, —Tlanguished in pain, ‘la ‘speme ‘la Vita ripozi in un kor Ia spome, la vita_—riposi in un cor, my hope,’ my life ‘Tletrest_ © in. one (man's) heart, listante ‘di morte © © dgunto perme Vistanto di morto 8 —giunto perme! the moment of death has come for mel ‘kwel ‘Kore imfetdele ‘ad alta ‘side Quel coro infedelo ad lira si diat That heart unfaithful to another woman has boon given! ENRICO ‘um —‘folle tatttfeze ‘um ‘perfido ‘kore Un —folle —taccese, un perfido core, A mad setyouafire a perfidious heart, (A mad, perfidious heart has set you afire,) tratdisti ‘ito ‘sagwe ‘per vil seduittore ‘tradisti fltuo sangue por vil seduttore, you've betrayed your blood for avile seducer, (your family) LUCIA 9 ‘dio Oh Dio! Oh — God! ‘del YYelo ‘ne a'vesi —merfe del ciclo no avesti. == merc’: but fitting of heaven you received a reward: (but heaven still holds you worthy of merey:)232 Lucia di Lammermoor, Act It quel core infodelo ad altra si dia! (From the distance come sounds of music and rejoicing.) LUCIA ‘ke fia Cho fiat! ‘What is it? ENRICO swoinar ‘di “dgubilo ‘adi ‘a ‘Suomar di giubilo odi la Sounding of —refoicing do youhear the (Can you hear the sounds of rejoicing on the riverbank?) LUCIA ebrbene, Ebbons? Well? ENRICO “dgundse i tus ‘spozo Giunge iltuo sposo* Is arriving your _ bridegroom. LUCIA ‘um ‘brivido ‘mitkorse per te Un —_brivido mi corse por lo A shiver has run through my ENRICO ate saiprpresta ‘il talamo A te sappresta il talamo. For you isbeing prepared the -—marriage bed. LUCIA ‘a tomba a = me saippresta La tomba a = mo_—éappresta! The grave for me _is boing prepared! ENRICO ‘ora fatale © kwesta Ore fatal 2 quostal Hour fateful is this! (This is a fateful hour!) LUCIA 2 skfokiki ‘um vel Ho sogfocchi um voll Thave over my eyes a veil! (A veil hangs before my eyes!) iva? riverbank? ‘vene veins! “the word fia isan old pootc form of sia a derivation of the verb essere, Yo be". The word sposo can mean both “husband” or “brdegroonvflanc, just as sposa can moan "wile" or "bida/fancée’ ‘This sometimes leads to confusion. The normal words for “busband and wife" are morito ¢ mogle. In the flowery language of bret! one also finds consort, when referring to a married partnerLucia di Lammermoor, Act Il 233 ENRICO ‘modi peri ‘gukselms ——affender veremo ‘il ‘tron. maria Modi Pert Guglielmo... asconder vodramo = il__—trono_ Maria. Listen to me! Perished William... ascend. we shall see the throne Mary. (Listen to me! William has perished...we will soon soe Mary ascending the throne...) rostrata © ‘nella ‘polvere a ‘parte ‘tio segwia Prostrata = 8 nella polvare la parte chio soguia... Prostrate is. inthe dust the party which 1 had followed... (The party I had followed lies prostrate in the dust...) LUCIA ao trems Ah! Jo tremo! Ab! oI tremble! ENRICO ‘dat pretfipitsjo arturo ‘pwo ‘sttrarmi = ‘sol ‘ei Dal precipizio Arturo pad sottrarmi, sol agli... From the abyss Arturo can seveme; only he... LUCIA ‘ed fio Ed io? And I? ENRICO salvarmi ‘devi Salvarmi devi! Saveme you must! LUCIA Enrico! ENRICO ‘vjeni ‘alto ‘spozo Vione allo sposo, Come to your bridegroom. Luca ‘ad ‘alti sural Ad altri ginrei. To another Tam sworn, ENRICO ‘devi satvarmi Devi salvarmi. Youmust save me. This reference to Willam and Mary shows th falty kzowledge of English history by the Ubetist Salvatore Cammarano. Esico is informing his sistr that only politally advantageous marrage could restore his waning fortunes and save his life. ‘Cammarano is presenting William and Mary as political advenaris, wherees the opposite wes tru. The entre ise was ‘otal iralevant in 1869, whan the tragic events in ammarmoor Cale supposedly took plac, long before Wiliam and Marys niga. Fora fuller historical beckground ofthe opee, it is recommended to reed George Jolin most usaful book "History ‘Through the Opers Glass, published by Pro/Am Musi: Resources, White Plains, NY.234 Lucia di Lammermoor, Act Il LUCIA ‘ma Ma. But. ENRICO devi T devi! ‘You must! LUCIA 2 Wel Oh ciel! Oh heaven! ENRICO ‘se uadinmi ‘tu poral ‘a'mia ‘sone @ ‘ya ompita Se tradirmi = tu_—ppotrai, la mia corto 3 gid compita; 1 —betrayme you can, | my fate is alrwady soaled; tu mimvolt nore © vila sw lake atppresti «= gS mime Tu minvoli _—onore © —vite, tu = la. scure appresti, «= amo, You robme(of) honor and life, you the axe makeready for me. ‘ne twoi“sopni ‘mi vedrai ‘omnbra frata © © mingttfoza Ne! tuoi sognt mi vedrai, ombra ita © minacciosal In your dreams you will see me, a shade irate and threatening! {an irate, threatening ghost!) ‘ewelta ‘shure sara ‘sempre inmantsi ate Quolla scure stara compro innanzi ate! That executioner’s axe will be always before you! LUGIA (addressing Hoaven) ‘uke = Vedi janto mio "uke Teddsi in, ewesto ore Tu che vedi il —pianto mio, tu cho leggi in questo core, You who see the tears mine, you who read in this heart, ‘se respinto ‘mio dolore ome ‘in terra ‘in fel ‘non e Se respinto —ilmio dolore come in term in cial non &; If rejected is. my —griof_ as. on earth or ~=—Heaven is not, (if Heaven, like earth does not reject my grief,) tu mi tok; etema Pdidio ‘kwesta ‘Vita disperata Ta mitogli, _otomo Iddio, quosta vita disperata, You take from me, etemal God,’ this life of despair, (Take my life of despair from me, eternal God,) ‘io son tanto zventvrata = ke.=—=la'morte «= eum ben ‘per ime To son tanto. sventurata che lamora ©= Sun bon per me. T am so -— unfortunate that death is ablessing forme. ENRICO Se tradirmi tu potra, otc. LUCIA Questa vita disperata, etc.Lucia di Lammermoor, Act IT 235, (Enrico angrily stalks out and Lucia collapses tearfully into a chair. Raimondo enters and Lucia runs to meet him.) Luca ebyben Ebbon? Well? RAIMONDO ‘di tua—sperantsa’ = ‘Tultimo ‘radidso tramonto Di tua speranza—ultimo rraggio ‘tramontd. Of your hope the last slimmer _has disappeared. kre'dei ‘al tus sospetto = kel: sfratel Kjuidesse Grodei, al tuo sospetto, ~—che-il_——fratel chiudesse Tbelieved, as you suspected, that your brother closed off ute le ‘strade ‘onde ‘sul ‘fragko ‘swolo tutte lo strade, onde sul franco suolo, all the ~— routes, so that on French soil, atiwom ke amar dytrasti ‘non dsurtdsessser we snwove al'aom che amar _giurasti non gungessor tue nuove: tothe man whom to love you swore —_not arrived your news; (I suspect, as you did, that your brother closed off all the roads, so that in France no news could Teach the man whom you swore to love.) io ‘stessso ‘um fokKo ‘da te—‘ver'gato To stesso un foglio da to—vergato 1 myself a etter by you written ‘per skura mano rekar ‘Ai fetfi injvano per sicura mano recer glifeci... _‘Invano! bya safe hand had delivered to him...In vain! (I myself had one of your letters delivered to him by a trusted messenger...In vain!) ‘tatfe ‘mai ‘sempre “wel silentsjs assai dimfedetta ‘i ‘parla ‘Tace mai sompre. Quel silonzio essai dinfodolta ti parla! He remains ever silent. That silence enough of faithlessness speaks to you! (Such silence stows you enough of his faithlessness!) LUCIA mi kon'sicci E mi consigli? ‘And — what do you counsel me to do? RAIMONDO- ‘di pie'garti ‘al destino Di _piegarti al destino, To — submit to fate, LUCIA © dguramento E il giuramento? And my — vow?236 Lucia di Lammermoor, Act I RAIMONDO ‘uu ‘pur vatned:dsi i muttstati ‘voti To pur vaneggi! 1 muziali vot You — are raving! The nuptial vows ‘ke nistro ‘del Yel ‘nom bene'ditfe cho il ministro del cial non benedice, which the minister of Heaven does not bless, te fet ne ‘mondo rikstnoffe nm ilciel, md il_—mondo riconosce. neither Heaven nor the —_ world recognizes. (Heaven and the world do not recognize nuptial vows which are not blessed by a minister.) LUCIA a fede perswaza ‘la ‘mente Ah! code persussa = las mente, ‘Ah! Gives in persuaded the — mind, (My mind yields, having been persuaded.) ‘ma ‘sordo ‘ala rayon reziste ‘il ‘kore ma sordo alla ragion recisto il core! but deaf to reason resists the heart! (but my heart refuses to listen to reason!) RAIMONDO ‘vintferio ——_e Yortsa Vincoro a forzal Overcome it you must! LUCIA © zventurats amore Oh —sventurato. amore! Oh unfortunate love! RAIMONDO- a o piu Sfegure ‘ti sovrastan imfetitfe Ahi o = pit’ sciagure ti sovrustan, infolice. An! or more misfortunes threaten you, unhappy woman. ‘per ‘mic eure ‘per —lestinta dgenitritfe Por mio cure, per Testinta genitrice, By my ministrations, by your deceased mother, lpetriko ‘dun fratello de timwova kandi kor il periglio dun fratello doh timuova ¢ —cangi il ~— cor. the predicament _ of your brother, please be moved and change your _heart. (Do this to ease your brother's predicament. Do it for the sake of your deceased mother and for me who minister tenderly to you.) LUCIA “ati Tacit Be silent! RAIMONDO No, no, cedi!Lucia di Lammermoor, Act It 237 LUCIA a vistfesti ‘non ‘son ‘tanto maturata Ah! vincesti. Non son tanto snaturata. ‘Ah! Youve won. Tamnot s0__heartloss. RAIMONDO 0 tkwal ‘dsoja imme mest ‘kwal ‘ube ‘ai dissipata Ah! qual gioia i = me tu dsti! Qual nube hei dissipatal Ab! What joy in me _—-you_ awaken! What cloud you've scattered! ‘al tben de twok ‘kwal vittima Al ben do’ tuoi qual vittima Tothe good of — yourfamily, as victim ‘offi Ivtfia ‘te‘stessa —-—¢ ‘tanto sakrifitsjo—‘skritto ‘nel “fel sora offri, Lucia, to stess, tanto sacrifizio —scritio nel ciel ark, offer, Lucia, yourself, (and) such sacrifice writtenin Heaven shall be. (Offer yourself as a victim for the good of your family; your sacrifice will be written in Heaven.) ‘seta pjeta ddeKkwomini a = te ‘nom Tia kontfessa Se la _—piota dogl'uomini a to — non fia ‘concossa, 1 the ~— mercy of man to you isnot granted, ve ‘un ‘dio “ke tendgere ‘i pjanto ‘mo satpra va un Dio cho tergero il pianto tuo sapra. there is a God who dry the tears yours can. (there is God who can dry your tears.) LUCIA ‘gwidami tu tw 'reddsimi ‘son fwori_“di'me ‘stesssa Gaidami tu, tu reggimi, son fuori dime stossa! Guide me, support me, Tam beside myself! ‘Tungo kevidel_supplitisjo ta'vita a = me sara Lungo, cradel supplizio lavita a = me sar. Along, cruel torture life for me shall be. RAIMONDO- ‘si Tikka koradidso © ‘kwal ‘ube ‘ai dizgombrata Si, figlia, coraggio! Qual nubo hai disgombrata! Yes, my daughter, courage! © What cloud you have dispelled! LUCIA inggrato inggrato edgardo Ingrato! Ingrato Edgardo! Ingrate! Ungrateful Edgardo! ‘Scene Two (A large hall in Ravenswood Castle is brilliantly arrayed for the ceremony. A crowd of knights, adios, retainers, soldiers and tenants, most of them in festive attire, are waiting for the ceremony to Begin. A procession enters from the back led by Enrico and Arturo BucKlaw, followed by lords and ladies related to the Ashtons.) “The reader must by now realize that this cate is called Ravenswood Casto because it used to belong to Edgardo Ravenswood's family before it was usurped by Enrico Ashton. Often ons ses it referred to as Lammermoor Castle as wel.238 Lucia di Lammermoor, Act Il CHORUS, ENRICO ‘per ‘te dimmenso—_“dubilo ‘tutto savviva intorno Por to dimmenso —_giubilo tutto savviva intorno, For you with immense jubilation all comes alive around us, (For you there is great rejoicing all around,) ‘per ‘te veddsam = rinaffere ‘dela sperantsa’ il per to ——_voggiam Finescore della speranza il through you wo see reborn of hope the (through you we see our day of hope reborn.) ‘evi Jamista ‘Wowida ‘ewi i kondutfe amore gai Tamista ti guide, qui. ticonduce amore, here friendship guides you, here youre led by love, ‘ewal ‘astro ‘in notte inpfida ‘kwalriz0 ‘nel dolor qual astro in notte infida, qual riso nel dolor. as astar in a night treacherous, as laughter amidst sorrow. ARTURO (to Enrico) ‘per'poko fra le tenebre spatri ‘la vostra ‘sted Per poco fra lo tenebro spa lavostra stella: Foralittle while among the shadows _— disappeared your star; (Your star has been eclipsed in the shadows for a little while;) io a fara Fisordgere —pju_—uldsida ‘pju bella To la fard risorgero, pit —_fulgida, pid bella. IT shall make it rise again, more dazzling, ‘more beautiful. ‘ta ‘man ‘mi'pordsi_«—entriko ‘ti'stindsi._ © a ‘kwesto ‘kor La man miporgi, Enrico, tistringh © quasto. cor, Your hand give me, Enrico, press yourself to this heart, a te ne'vengo miko fratello © difen'sor A te —nevengo —amico, fratello © difensor. To you come (as) friend, brother and champion. CHORUS, ENRICO Por to dimmenso giubilo, etc. ARTURO dove tia Dov Lucia? Whereis Lucia? ENRICO ‘kwi‘dgundsere = ‘or, la veldrem Qui giungere = or la vodrom. Here arriving soon we shall see her. (We shall soon see her arriving here.) ‘sein dei soverkja © ta mestitisja Se in ei soverchin. = sda. mastizzin, If in her overwhelming is her ~—_ sadness,Lucia di Lanmermoor, Act II 239 maraviékarti ‘no “non ‘dei maravigliarti no, non déi. ‘wonder at it no, you must not. (if her sadness seems overwhelming, you mustit be concemed.) ‘dal ‘dwolo sppressa = evita ‘piandse ta madre estinta Dal duolo oppressa = vinta, Piange la madre estinta. By grief oppressed and _— overcome, she weps__—_for her mother dead. (Oppressed and overcome by grief, she weeps for her late mother.) ARTURO ‘me ‘not ‘ior solv tun “ubsbjo M? noto, si Or = solvi_ un —dubbio. Tm aware if it, yes. Now resolvea doubt (for me). Yama swono kedgardo —_sovressa emerarjo altsare 979 © lo “zgardo Fama suond chEdgardo sovressa, -tomerario © alzaro osd © lo—sguardo... Rumor has it that Edgardo upon her, bold man, —tolift dared his gaze. (Rumor has it that Edgardo, that bold man, dared raise his eyes to her.) ENRICO & Were ‘kel folile ardia ‘ma E vero, quel folle ardia, ma. Itis true, that madman dared tc, but... CHORUS savantsa ‘kwi Ivtfia Stavanza qui Lucia Is approaching here Lucia. ENRICO (to Arturo) Piange la madre estinta. (Lucia, pale and distraught, totters in supported by Alisa and Raimondo. Enrico presents her to Arturo. She recoils.) ‘ekcko “tus ‘spoz0 Ecco ill tuo sposo. Here is your bridegroom. (Aside to her.) ingkauta ‘perdemmi —‘wwoi (lncantal perdermi vuoi?) (Thoughtless girl, toruinme —_do you wish?) LUCIA (aside) ‘gran ‘dio Gran Dio! Great God! ARTURO ‘ti atta Voti aiekoéfere del tenero mor ‘mio ‘i placcia i -voti_—accogliro dol_—tenoro amor mio. May it please you the = vows toaccept of the tender love mine. (May it please you to accept the vows of my tender love.)240 Lucia di Lammermoor, Act IT (Arturo sooms to want to say more, but Enrico cuts him short by walking over to the table where the mmarrriage contract lies.) ENRICO (to Lucia) Incanta! (To the others.) mai ‘sikompja ‘it ito Omai si compia rite. Now let it be performed, the ceremony. LUCIA Gran Dio! ENRICO tappressa ‘Tappressa. ‘Come here. ARTURO © ‘ddoltfe injvito Oh — dolce invito! Oh sweet request! (Arturo signs the contract. Lucia, in a daze, is assisted by Alisa and Raimondo who indicate to her that itis her turn to sign the document.) RAIMONDO (aside) ‘redid ‘bwon ‘dio lafiflitta Rogsi, buon Dio, Tafflitta) (Sustain, good God, the suffering girl) LUCIA (aside) io ‘vado ‘al sakrifitisio ‘me ‘mizera (lo vado al sacrifizio, mo misera!) @ — amgoing = tomy sacrifice, wretched me!) ENRICO (impatiently, to Lucia) ‘non ezitar ‘skrivi (Non esitar! Scrivil) (Don't hesitate! Sign!) (Lucia signs the contract.) LUCIA ‘ia ‘mia kondanna = 9 ‘skritt (La mia condanna = ho_—scittol) (My death-warrant Ihave signed!) ENRICO (aside) respiro @ ) (can breathe!)Lucia di Lammermoor, Act It 241 Luca io pelo ‘ed ard To elo. ed ardo! 1 amfreezing and_—_-burning! (The door at the rear of the hall is flung open and Edgardo, shielding his face behind his cloak, strides into the hall. All turn and stare at him with dismay.) ALISA, ARTURO, RAIMONDO, CHORUS ‘kwalfragor ‘i “dgundge Qual fragor! Chi giunge? What a noise! Who is coming? EDGARDO Edgardo! LUCIA edgards 2 fulmine Edgerdo! = Oh_—fulmino! Edgardo! © Oh_lightning bolt! ALL EXCEPT LUCIA edgardo ° terror Edgardo! Oh terror! Edgardo! = Oh_— terror! (Lucia faints. Amid the confusion, Alisa and other women attend to her.) EDGARDO ‘i mifrena = im tal momento. = ki trotko detlire ‘il “korso Chi mifrena inal momento? © Chi_—troncd delfire corso? Who restrains me at such a moment? © Who cut short —_of anger the course? (Who cut short my wrath mid-course?) ‘il'ss ‘dwolo ‘suo spavento ‘son ‘la. prova. ‘dun rimorso Ti suo duolo, ill suo spavento con ‘la = prova d'un rimorso! Her grief, her fright are the proof of her ‘remorse! ‘ma kwal'roza_inaritita ‘ella ‘sta ra ‘morte e@ ‘wits Ma qual rosa inaridit, ella’ sta’ fra morte @ vital But like arose wilted, sho is between death and life! ‘i ‘som ‘Vinto ‘son Kommosso—‘tamo injgrata ‘tam arykor To.son vinto, son commosso!_T'amo, ingrata, amo ancor! Tam overcome, Tam moved! Tlove you, ungrateful one, Ilove you still! ENRICO ki raffrena ‘mio furore © la_—tman ‘ke = al, ‘brando ‘korse Chi raffrena ilmio furor, las man che al_—brando corse? Who restrains © my fury, and the hand that tothe ‘sword hastens? ‘deta ‘mizera ‘im favore nel mio. ‘petto ‘uy ‘grido‘sorse. Della misora infavore nel mio. petto. un —grido_sorse! For the wretched girl in favor in my breast a cry_—aarisos! (A cry rises up in my breast in favor of that wretched girl!)242 Lucia di Lammermoor, Act I © mio ‘sangwe “to traldita g mio sangue! Tho tradita! She is my blood! Thave betrayed her! Ella sta fra morte @ vita! a ‘ke ‘spennere = nom ‘posiso «i Yimorsi ‘del mio tor Ab! che spegnere. = non posso © i= rimorsi del mio cor! ‘Ab! That quench Icannot the remorse of my heart! LUCIA io sperai ke ame Ta Vite tronka avesse ‘il mio spavents Jo sperai cho a = me_—_lavita tronca avesse il mio spavonto, 1 hadthought that to me _—_ilifecutshort. © would my fright, (Ihad hoped that my fright would have cut my life short.) ‘ma ‘la ‘morte ‘nom mata ‘vivo agjkor ‘per ‘mio torments ma la morto non maita, vivo ancor per mio tormento! But death does not help me, Tamalive still, to my —_ torment! ‘da mei lumi Kkadde “il = ‘velo. ‘mi tradi ‘la terra © itfels Da mici_ Tumi’ cadde il velo, mi tradi a terra © idciolo! From my eyes fell the veil, ‘Iwasbetrayedby earth and heaven! vorrei ‘piandgere = © == ‘nom ‘poss mabsbantdona ‘i pjanto aijkor Vorrei piangere © nom posso,-—m'chbandona l pianto ancor. I want to weep and cannot; Tam forsaken by tears even. (even weeping forsakes me.) RAIMONDO ‘kwal terrible momento ‘pj formar ‘non ‘so patrale Qual terrible momento! Pitt formar non 80 parole! What aterible moment! No longer form Tecan words! ({.can no longer utter words!) ‘densa ‘ube ‘di spavento. «= par ke'kopra Si ai el sole Densa nubo di spavonto = par chocopra «i= rai dal sole! A dense cloud of terror seems to cover the rays ofthe sun! ‘Come rosa inaridita, olla sta fra morte © vita, ‘ki per ei none kommosso adi tigre im = pets il kor Chi per lei mom commosso ha = di_—stigre. in = potto il — cor. Who for her isnot moved, has of (a) tiger in breast the heart. (Whoover is not moved by her plight has the heart of a tiger in his breast.) ENRICO E mio sangue! Lho tradita! etc. ALISA, Come rosa inaridita..chi per loi non 2 commosso, etc. ARTURO Qual terribile momento, pid formar non so parole..denso velo di spavento, otc. Sr onan of vision in poetic talian can have many mamas: fm os): ma my: pil (pupil) igo i), The curont moder wor, of course, s occLucia di Lammermoor, Act IT 243, CHORUS (Come rosa inaridita, etc. (Arturo and Enrico draw their swords and rush towards Edgardo.) ENRICO, ARTURO taklontana —fagurato ‘ito ‘sangwe ‘ia versato Trllontana, sciagurato, il tuo sanguo fia versato! Begone, villain, (or) your blood will be spilled! ‘CHORUS Trllontana sciagurato! (Edgardo draws his sword.) EDGARDO moriro ‘ma in'sjem ‘Kol ‘mio. “altro ‘sangwe skonrera Morir, ma —_insiom col mio altro sanguo scorreri. Ishall die but together with mine other blood will flow. (other blood will flow together with my own.) (Raimondo commandingly steps between the men.) RAIMONDO Fispettate = imme ‘di “Wi. la——tremenda’ «=a Rispettato in me di ‘Dio. ‘la_—tremenda=—massta. Respect in me of God the tremendous ~— majesty. in ‘suo ‘nome ‘vel komando deponete ira © ’brando In suo nome vel comando, doponsto Tira © illbrando. In His name Icommand you, —layaside ©» -youranger and weapons. ‘patfe ‘ekki abborriffe lomitfida =e =—‘skritto ‘sta Pace, gli abborrisce + Tomicida, 0 + —_—scritto sta: killers, Peace! He —_loathes : as itis said: i 4 ferro attra feriffe ‘pur “di ferro morira "Chi di foro’ altrui forisco pur di foro. morint.” Whosoever by sword another ‘dls, yet by sword he will die." (He who lives by the sword shall die by the sword. (All sheatho their swords. Enrico approaches Edgardo.) ENRICO skonsiéats in ‘Kweste ‘porte ‘ki ti 'guida Sconsigliato! In questo porte chi ti guida? Rash man! To these doors. who leads you? EDGARDO ‘a ‘mio ‘dritto La mia sorte, ilmio dritto! My — destiny (and) my right! “in pote Hain, «sword cam have many names. The usual word i spade: ican also be fro (00), eccioroaccicrlaciao (steel), or tho generic brando, which means any sort of weapon.244 Lucia di Lammermoor, Act I ENRICO Jagurats Villain! EDGARDO ‘si Iutfia ‘la‘sua ‘fede a “me dgutro Si, Lucia Incua fede a = me _—_giurat Yes, Lucia her faith to me ‘swore! (Raimondo again steps in and addresses Edgardo.) RAIMONDO 2 ‘kwesto mor futnesto sbblia ‘ella € Ah! Quosto amor funesto obblia, olla} altri. Ah! This love fatal forgot; she belongs to another man. EDGARDO ‘daltsi ‘no Deltri! No! To another man! No! (Raimondo gives him the marriage contract.) RAIMONDO ‘mira Mira. Look. EDGARDO (reading and then turning to Lucia) ‘tremi ‘ti Konjfondi ‘son ‘we ifre Tromi... ti confondi... ‘son tue cifre? You tremble... you are confused... is (this) your writing? a me _—_rispondi rispondi A mo rispondi, —_rispondi! To me answer, answer! (Answer me!) LUGIA (in an almost inaudible groan) ‘si sit Yes! EDGARDO (in a cold fury taking off his ring and giving it to Lucia) riprendi ‘wo ‘penno injfido “kor Riprendi -tuo_—_—pegno, infido cor. Take back your pledge, faithless heart... LUCIA Abt Mine give me. (Give me back my ring)Lucia di Lammermoor, Act It 245 LUCIA almen ‘Almen... At least... EDGARDO (violently) ‘fendi Lo rendi! Give it back! LUCIA Edgardo! (As if in a trance sho removes her ring. Edgardo angrily snatches it from her, throws it down and tramples on it) EDGARDO ‘ai traits ‘'yfelo © amor Hai ‘tradito ilciolo 2 amor. Youhave betrayed heaven and love. maledetto —‘sia_—_—ilistante we dite shi tei amante Maledotto sia. “Histanto che dit, kisi ‘amanto, Cursed be the moment when with you, yes, I fell in love, ‘stipe nikwa abibominata io dovea date —_fitdegir stirpe iniqua, ebbominata, io dovea dato faggia! race vile, hateful, 1 should nave from you fled! (wile, hateful race from whom I should have fled!) LUCIA Ant EDGARDO a madi ddin, ta mano rata vi disperda Ah! ma di‘ Dio’ -la__—mano rata vi disperdal Abl But of | God the hand angry scatter you all! (Ab! May God's angry hand scatter you all!) CHORUS insano ardir Insano ardir! Insane boldness! ENRICO ‘efi Escil Get out! RAIMONDO Paco! ARTURO, ENRICO, CHORUS ‘effi ‘fudedsi ‘il = furor ke © -matttfende Esci, fuggi, il furor che m'accende Get out, flee, the fury that enflames me248 Lucia di Lammermoor, Act IT ‘solo ‘um ‘punto i'swoi ‘kolpi sospende solo un punto isuoi colpi sospendo, only foran instant its blows holds back, (is being held back but for an instant,) ‘mara ‘poko ‘piu atrotfe ‘piu fiero ma —_ fra poco pit atroce, pia fioro but soon more dreadfully more _ fiercely ‘sul tus, kapo abiborrits,§—kaldra sul tuo capo abborrito —cadra. over your head hated it shall fall (it shall fall more dreadful, fiercer over your hated head.) RAIMONDO ifeitfe timvola (afifretta —i'twai “dgomi il'suo ‘stato rigpetta Infolice, tinvola, feffretta, ituol giomi, il suo stato rispotta Unhappy man, depart, make haste, your days, her state _ respect, {respect her sad state and the days she has left.) 2 forse ‘ius ‘dwolo ‘fia ‘spent ° forse iltuo duolo fia sponto, and perhaps your grief will be spent, ‘utto e —‘jeve aletema peta tutto 8 lieve al'etema —_—pta. all is mild toeternal ~—marcy. (Lucia falls to her knees. Edgardo throws away his sword and presents his chest to his enemies.) LUCIA ‘dio to‘salva ‘in ‘fiero momento Dio, Io salva, int fiero momento God, savehim, in — suchan awful moment ‘duna ‘mizera askolta ‘1 latmento ‘una misora ascolta il lamento. ofa wretched girl give heed to the plea. (Gave him, oh God, heed the plea of this wretched gil at this awful moment.) © la pretfe dimmenso dolore @ Ia proce d'immonso dolore, itis the prayer of immense grief, ke piu in Yenra’ spe'vantsa «= “non a cho pit in torra sporaza non ha... that nolonger on _—earth_ hope not has... (that has no more earthly hope...) EDGARDO trutfidatemi —& ‘promubo ‘al ito Trucidatomi Pronubo al rito Kill me, and (may the) preamble before the wedding riteLucia di Lanmermoor, Act II 247 ‘sia to Jempjo ‘gun kore tradito sia lo scempio © d'un cor tradito. be the — slaughter _—ofa_ heart _ betrayed. (Kill me and may the slaughter of my betrayed heart be the preamble to this wedding ceremony.) ‘del ‘mio ‘sangwe koperta a kka Del mio sanguo coperta la i With my — blood covered the threshold, “aowye ‘vista ‘per Tempja sara dolce vista per Tempia sari! apleasant sight for that unworthy woman shall be! (The threshold covered with my blood will be @ pleasant sight for that unworthy woman!) RAIMONDO (to Lucia) imfelitfe Infelice! Unhappy girl! (To Edgardo.) ‘de ti'salva Doh, ti salva! Please, save yourself! ARTURO, ENRICO, CHORUS ‘effi va Escit Vel Get out! Go! dsmanda ‘ke ‘ul_—labrbro spiando ‘mi ‘ta Yestroma domanda cho sul_—Iabbro spirando =— mi sta, that onmy lips dying is. tis the last request on my dying lips.) ‘mia ‘spokka ablaltare pu. jeta “ne anvdra Calpestanto mia spoglia alfaltere = pitt lista me andra. Trampling on the bloodless my —_ remains tothe altar more happy she will go. (Trampling on my bloodless corpse, she will heppily go to the altar.) RAIMONDO Vivi, forse il tuo duolo, etc. ALISA Infelice! tinvole, taffretta, otc. ENRICO Tinvola, va, va, ‘a 'makckja dottraddso ‘si aero lava ‘ol ‘sangwe sara La macchia © dioltraggio. © si._—=— nora lavata col sangue sara! The stain of outrage —s0.—black, ‘washed away with blood shall bel ARTURO Va, col sangue tuo lavata sari, etc.248 Lucia di Lammermoor, Act II ‘SOPRANOS Infolice, tinvola, taffretta, etc. ALISA Infolice, tinvola, taffrotta, etc. RAIMONDO Ah, vivi e forse il tuo duolo, etc. LUCIA Dio, lo salva! In si fiero momento, etc. ARTURO Esci, fuggi! Il furor che m'accende, etc. ENRICO,TENORS, BASSES Eeci, fuggi! Il furor che m‘accende, etc. EDGARDO No! Trucidatomi, etc. END OF ACT 11Lucia di Lammermoor, Act IIT ACT UI ‘Scene One {it is a wild and stormy night at the tower of Wolf's Crag, the last ruins of Edgardo's former Ravenswood holdings. The furniture consists of a simple table and an old armchair. The room is faintly lit by aweak lamp. Lightning is flashing amid roars of thunder and the howling of the wind is intermixed with the sound of the falling rain. Edgardo is seated at the table, lost in thought. After afew moments, he rouses himself and looks cut the window.) EDGARDO ‘orrida e —‘kwesta ‘notte ‘kome ‘il destino ‘mio Orrida 8 quosta notte come il destino mio! Horrid is the night, like the fate mine! ‘i twona o'tfelo imperversate 0 fulmini Si, tuona, o ciolo, impervorsate, 0 —fulmini... Yes, thunder, oh heavens, rage forth, oh_-—_‘Lightning-bolts... skonjvolto. ‘sia. ‘ordin ‘gi natua = 'pera il ‘mondo Sconvolto sia_—_Tordin di natura,e pera il mondo! Overtumed be —_theorder of _—nature, and let porish_~=— the -—world! (Let the order of nature be overturned and let the world perish!) ‘odo tun destrjer odo un —dostrior! Thoar a _ steed! ‘ma ‘nom miggan:no skalpitar daippressso Ma non minganno! Scalpitar aappresso But Tam not mistaken! Beating of hoofs close by (Chear the hoafbeats of a horse close by!) satrresta ‘i mai della tempesa fra te Starresta! Chi mai della tomposta. «= fra_——lo Itis stopping! Who ever of the storm mid the Ki pwole ame venice chi puote a = me_—venire? who can to me come? (Who ever could be coming to me in the midst of the storm's dangers and wrath?) (Enrico enters and throws back his cloak.) ENRICO io To! 0 EDGARDO ‘wale ardire ‘afton Quale ardire! ‘Ashton! What temerity! Ashton! ENRICO st EDGARDO ‘tra ‘kweste ‘mura ‘o2i oftrint ‘al Fra queste mura osi offrirti al Within these walls youdare offer yourself to minatfe Tira minacco =e Tira, threats and wrath, ‘mio kospetto mio cospetto! my presence!250 Lucia di Lammermoor, Act Ill ENRICO jo Wi'sto per tua ffégura To quisto por tua sciagura. 1 amhere, to-—-your_ misfortune, EDGARDO ‘per tai Por mia? To mine? ENRICO ‘nom venisti ‘nel mio tetto Non vonisti nel mio tetto? Did you not come under my —_roof? EDGARDO ‘kwi ‘del padreayfkor respira "lombra inulta Qui del padre ancor respira Tombra inulta, Here of my father still breathes —_—the spirit ©~—_unavenged, (The unavenged spirit of my father still breathes here.) © par ke frema ‘morte ofppaura a te wi pica © par cho froma! morte ogvaura = ato qui spiral and seems to tremble! Death every breeze to you here whispers! (Every breeze here whispers death to you!) l—terven ‘per te kwi tema Tl terren per te qui_—trema! The ground for you here trembles! ‘nel varkar ta 'sokKa ‘onrenda ‘ben dovresti palpitar Nel varcar la soglia orrenda ben dovresti polpiter, Incrossing this threshold fearful well you should have trembled! (You should well have trembled as you crossed this fearful threshold.) ‘kome ‘un wom ke = Vivo ‘JJenda come un wom che vivo scenda like a | man who alive descends ‘la ‘sua‘tomba ‘ad albergar lasua tomba ad alborgart tohis grave to occupy! (like a man who still alive descends into his grave to occupy it!) ENRICO fu Kondotta ‘al. ‘sakro. ‘tito ‘kwindi ‘al © talamo hetfia Fo condotta. al_—sacro_ ito. quindi al _—_—talamo Lucia. She was led tothe sacred rite, then tothe marriage bed, Lucia. EDGARDO (to himself) ‘ei ju ‘skwartfa kor © — torments dgelozia | squarcia = il’ cor Oh —tormonto! —_Golosial my heart Oh torment! ~—_—‘Jealousy! ‘alamo talamo. inher nuptial bed.Lucia di Lammermoor, Act IIT 251 EDGARDO Oh golosia! etiben Ebbon? Well? ENRICO askolta ‘iets Imio soddsomo =e =i plazi rimbomrbava Ascolta! Di letizia il mio soggiomo 0 di_—plausi rimbombava; Listen! With gaicty my residence and with cheers, resounded; (My house was resounding with gaiety and with cheers;) ‘ma piuforte, = al kor dintorm ‘la veridetta ‘mi parlava Ma pittforto —al’_—~—scor_—dintomo —Ia vendetta mi parlaval But stronger tomy heart all around —_ revenge spoke to mo! (But around me, vengeance spoke louder to my heart!) ‘xvi mi‘trassi—— “im med:dz ‘venti ‘la‘sua ‘voife wdia twttor Qui mitrassi im mezzo = ai_—svonti, In sua voce udia tuttor, Here I took myself inthe midst tothe winds, its voice I heard always, © furor deéKetementi risportdeva ‘al ‘mio furor © — l_— furor deglelementi rispondova al mio furor... and the fury of the elements seconded = my rage... EDGARDO (to himself) (Oh tormonto! Oh golosia!) ENRICO 11 furor dogl'slementi, etc. EDGARDO (icily) ‘ame ke rami Da me cho —brami? From me what do you want? ENRICO askoltami ‘onde puinir_loftfeza “de mei Ascoltami! Onde punir Toffosa de’ miei, Listen tome! To punish your offense of my family, ‘de jej a ‘spada._“vinditfe ‘ma te sospeza do mioi Ia spada_vindice su te —_sospese, of myfamily the _ sword avenging over you suspended, (my family's avenging sword is already hanging above your head,) ‘onde punir lofifeza ‘ma kali ‘Wspenga mai onde punir offosa, ma —chialtri ti spenge? Mail to punish the offense, but that another man should ——kill you? «=—=—‘Never! ide avenarti sai Chi doo svonarti*= il sail Who must kill you you know! “The act of taking someone's life has many variants in poetic Italian. The two common words are uccidere, and ‘ammazzare, Then there is spogner,trucidare and the above svenare, which literally means tip out the veins.252 Lucia di Lammermoor, Act Ill EDGARDO ‘so ke ‘al_—pattemo ‘enere dsurai straipparti So che al _——patorno conere giurai strapparti Tknow that to my father's ashes I swore to rip out ENRICO w Ta? You! EDGARDO Sit Yes! ENRICO Ta! EDGARDO (haughtily) ‘kwando Quando? When? ENRICO ‘al primo ‘sordgere ‘del matting —_abore Al primo. sorgere del mattutino —_albore. Atthe first glimmer of the moming dawn. EDGARDO Ove? Where? ENRICO ‘fra ‘ume ‘dselide revenswud Fra Tume golide di Ravenswood. Among the graves chilly of |—_Ravenswood. EDGARDO vero ‘si velnro Vern. a, ver! Iwill come, yes, I willl come! ENRICO Wi a eestar re'parati ia rostar Proparati! There to remain Prepare yourself! EDGARDO vi tubtfidero Twi tuccidera! There I will kill you! ENRICO, EDGARDO ‘Al primo albore! kore core. your heart!Lucia di Lanmermoor, Act III 233 2 ‘sole ‘pju'ratts §=— a sordyer tpipresta Oh solo pi atfo a songor fappresta, Oh sun, morequickly to rise make haste, (Make haste to rise sooner, oh sun!) ‘Ww inga ‘di ‘sangwe girlanda fuinesta Ti cinga di sangue ghirlanda ——funesta, May it shroud you with blood wreath funeral, (May it shroud you in a bloody funeral wreath) ‘kon ‘Kwella riskjara lornibile ‘para com quella Heche = Torblle with, illumine _—the dreadful combat ‘dn ‘2djo mortal ‘dun ‘Yeko furore dun odio mortale, d'un cieco furore! ofa hate mortal, ofa blind fury! EDGARDO Giurai strapparti il core! ENRICO La spada pondo su te! EDGARDO Fra l'une di Ravenswood! ENRICO Alllalba vor! (The storm increases in intensity.) EDGARDO, ENRICO a fara nostralme _atrotfe. governo Ah! For di nostvalme —_atroce_governo Ah! Willhave of oursouls fierce _possassion veridetta To. ‘spirtoda'verno idando vendetta lo spirto. d'Averno. shrieking vengeance the — spirit of hell. (The spirit of hell will have fierce possession of our souls while shrieking vengeance!) ‘el ‘twono ‘ke mud:dye del nembo ke ‘rudsdse Del tuono che mugge, del nembo che —_rugge, Of the thunder that howls, ofthe cloud that roars, ‘piu ra © temenda = ke ‘marde ‘nel ‘Kore pit Tira @ ~— tremenda = cho. m'ardo nel core! more mywrath is terrifying than what buns in my_ heart! (The wrath that bums within me is more terrifying than the howls of thunder and the roaring of the storm.)254 Lucia di Lammermoor, Act Iit Scene Two (That same night in the groat hall of Ravenswood Castle, the assembled guests continue to celebrate the wedding which has just taken place.) CHORUS dimmenso _‘dsubilo sinmaltsi ‘un ‘grido Dimmenso _giubilo sinnalzi un grido: Of great rejoicing raise a shout; (Raise a great shout of joy:) ‘Korma ‘la'skottsja di tido in ido corra laScocia = dis Mido indo, May it cross Scotland from shore to shore, © avverta i perfigi ‘nostri ne'mitfi © awerta i perfidi nostri nemici and warn the treacherous (our) _ enemies ‘ke @ =~ noi_—sornridono © le. stelle ajkor che a noi sorridano © lo-_—stello._ancor. that on us smile the stars again. (and warn our treacherous enemies that the stars smile on us again.) BASSES ‘ke ‘pu. tersbill ‘ke piu felitfi Che pit —_ternbili, cho pit folici Even more awesome, even more fortunate ‘ne'rende = laura ‘dalto favor nerendo = Teura dalto favor. make us the winds of high favor. (The winds of high favor make us even more awesome and more fortunate.) (Raimondo appears at the head of the staircase.) ‘kwel kontento quel contento! that rejoicing! ‘6 patttor di pallor. You are covered with pallor. (You are so pale!) RAIMONDO Cossi, cossi! Some sonsitive eas in the past have changed Raimondo's address lo doh cossate quel contento, meaning exactly the same thing as cess, ah cess! quel contento. Coss is th colloquial word in Italian fora toilet obn,a loo. Case! therefore means "toilots, johns, loos”. Maybo the gravity of what ho has to say prompted someone to change it thus avoiding even the remote possibility of causing a burst of laughter at this very dramatic moment in the opera. I myself do uot object to Coss, cee; The verb cessor in its many conjugations appears unchanged throughout Italian opera without offensive plumbing connotations.Lucia di Lammermoor, Act It 258, ‘TENORS, BASSES ‘Yel ‘ke ‘rok Gielt Che rechi? Heaven! What (news) do you bring? RAIMONDO ‘um ‘fiero evento Un fiero evento! A dreadful occurrence! CHORUS ‘une aiggiattfi ‘ai terror Ta no di terror! You chill us with — terror! RAIMONDO ‘date ‘antse ‘ove utfia ‘atta avea ‘kol —‘su__—konsorte Delle stanze ove Lucia tratta avea col suo _consorte, From the rooms where Lucia taken Thad with her husband, (Thad taken Lucia with her husband,) ‘un atmento ‘uy grido uffia ‘kome ‘wom vitfino a ‘morte un lamento, = un grido._uscia come d'uom vicino a morta! a wail, a shout rangout -asof aman near to death! ‘korsi ‘rato ‘in ‘kwelle ‘mura a terrible Jegua Corsi ratto in quelle. mure... ah! tertibilo sciagura! Tran quickly to those walls... ah! Terrifying —_—_ disaster! ‘stezo arturo ‘al ‘swoldgatfeve ‘muto fred:do insangwinats Stoso Arturo al suol_giacova, muto, freddo, insanguinato! Sprawled Arturo onthe floor was lying, _ silent. cold, "all bloodied! e — Wwyia_ tetafar strindseva ke = fu tha ‘del trutfidats E Lucia Vacciar stringoa cho fu gia del trucidato! And Lucia the blade was clutching which had belonged to the murdered man! ‘lla im) mele uti aise Ella in me lo luc afBiazo.» She on me her eyes_ fixed... (She fixed her eyes on me...) ‘il mio ‘spoz ove ‘mi ‘disse "Dl mio sposo, over" mi disse, "My husband, where is he?" She said to me, e ‘nel olto ‘sus patblente un sorrrizo bale'no ¢ nel volto. suo —_pallente un sotriso belend! and inthe face hers a smile flashed! (and across her ashen face a smile flashed!) imfetitfe ‘della ‘mente ‘la virtude aeimarfko Infelico! dolla monto la virtudea loi mancd! Unbappy gitl! Of her mind the ability her failed! (Her mind had failed her!) (She had gone mad!)258 Lucia di Lammermoor, Act III CHORUS 2 kwal fumnesto avvenimento Obiqual funesto avvenimento! Oh, what a frightful happening! ‘rutti ‘ne intgombra "kupo spa'vento Tutti no ingombra cupo spavento! Allofus are engulfed (by) dark —_ fear! ‘notte rikopri aia venitura ‘Kol tenebrozo tuo ‘denso. vel Notte, ricopri la rin sventura © col__-—tomobroso. © tuo denso_ vel. Night, conceal the sad misfortune with yourdark, your thick veil. RAIMONDO a ‘kwekla ‘destra ‘di ‘sangwe impure Ah! quella dostra di sangue impure ‘Ah! That right hand, with blood unclean ‘ira ‘non jemi ‘mw ‘noi del fel Tire ‘nom chiami su moi dol ciol. the wrath may itnot calldown on us from _ heaven. (Ab! May that right hand. unclean with blood, not call down the wrath of heaven on us.) RAIMONDO, CHORUS ‘Ah! Quolla destra di sangue impura, etc. (Lucia appears at the top of the stairs, wearing a simple white dress, her hair dishevelled, her face covered with a deathly pallor. She is clutching a bloody dagger and there are blood stains on her garments. Her eyes aro lifeless and her movements convulsive. An unhappy smilo reveals not only that she is mad, but that her life is near its ond.) ‘CHORUS © ‘égusto ‘fel ‘par ‘data ‘tomba uffita O ginsto cielo, par dalla tomba uscita! Oh — merciful heaven, sho sooms fromthe grave. to have come out! (she looks as if she has just come out of a grave!) LUCIA —“doltfe ‘swono ‘mi kotpi ‘4 ‘ma “votfe 1 — dolce suono mi colp! di sua voce! The sweet sound struckme of + his._—_voice! a ‘kwekla ‘votfe ‘me “kwi nel kor difffeza Ab! quella voce m'e qui nol cor _—discesa! Ah! That voice has here in my heart descended! (has penetrated my heart!) edgaréo ‘io ti'son Yeza a edgardo ‘mio Edgardo! = fost som rosa ah! Edgardo mio! Edgardo! © T_—_—have boen given back to you! Ah! My Edgardo! fuldedsita io son da two nemitfi Fuggite fo son de’ tuoi nomic... Fled T have from your enemies... ‘un ‘dgelo. mi serpeddga ‘nel ‘sen un —gelo. mi sorpoggia nol son!... A chill snakes its way through my —_breast!...Lucia di Lanmermoor, Act IIT 287 ‘ema ‘onnifibravatfilia apie Trema fibre! vacilla a pitt Trembles every fiber! Unsteady is the _ foot! (My every fiber trembles! I am unsteady on my feet!) ‘presso ‘la fonte ‘meco atkwanto i Presso Ia —_fonte meco* tessidi alquanto, sil Near the fountain, withme —sitdown-—fora while, yes! sime ‘sordse ‘il temendo = fantazma, «= ene se’para Ohima! sorge no sopara! Alas! Looms up separates us! ‘kwiriko'rjamo Qui ricovriamo, Here let us find refuge, ‘sparsae = di oze Spara’8 do_—roso! Strewn itis with roses! ‘un ammonia tfeteste ‘a ‘non askolti Un armonia celeste, ai, non ascolti? A harmony —heavenly, tell me, do you not hear? ‘ino ‘swona ‘di notte Linno suona di nozzel The hymn is sounding of wedding! (The wedding-hymn is sounding!) dit 2 ‘noi salppressa ome felitge Dito 2 noi siapprossa! Oh! me felice! The ceremony for -us_—isbeingprepared! © Oh!_—_happy me! 2 iyoja. ke «si sete © non si ‘itfe Ob gioia si conto © non si dice! Oh joy that is felt and is not expressed! ‘ardon (intfensi -—‘splendon «le. sakre atfi ‘splendon ——intorno ‘Ardon gincensi, splendon = lo_—sacro_faci, splondon —_intomno! Burns the incense, shine the sacred torches, they shine all around! ‘ekko ‘il ministro ‘pordsimi = ta. estra © eto “ds0mno Ecco il —ministro!. «= Porgimi la dostra! Oh isto giomol Here is the minister! ~-—«“Giveme — your righthand!" Oh —_ happy day! tfin ‘son tua alfin. “sei ‘mio Alfin son tus, alfin soi mio, At last Tam yours, at last you are mine, ‘amet dona ‘un ‘ddio a me tidona um Dio. to me __bestowsyou a God. (God bestows you on me.) Smeco tco,s0c0, axe ol forms of con me, con t, con se, (with me, with you, with him). In Spanish i is conmigo, contige, conigo- The Catholic Missal scaled Vade Mecur (it goes with me).Lucia di Lammermoor, Act IIt RAIMONDO, NORMANNO, CHORUS ‘abbi in ‘si = krudo ‘stato “di Abbi in at Have, in such crudo stato, di cruel state, on (Lord, have mercy on her in her cruel state.) ‘LUCIA ‘si ‘onpi__pistjer Si, ogni placer ‘Yes, every delight ‘piu ‘orato pit grato most pleasing let for me be with (Yes, all the most pleasurable delights let me share with you.) ‘del ‘Yel -kle'mente ‘un ‘rizo Del ciel clomente um iso Of heaven merciful a smile (Our life shall be as a smile from a merciful heaven!) (Enrico enters and approaches Raimondo.) RAIMONDO. savamtsa entriko Savanza Enrico! Approaches Enrico! ENRICO ‘ditemi ‘vera Ditomi: ‘vora Tell me; true RAIMONDO ‘vera ‘pur ropipo Vora, pur troppo! True, only too! (Only too true!) ENRICO a perfida Ah! perfidal ‘Ah! Wicked girl ‘CHURUS tarresta ‘Tarresta! Stop! RAIMONDO 2 Yel Oh cio! Oh heaven! LUCIA (still delirious) ‘ke Kjedi ‘Che —chiedi? What are you asking? © latwotfe & — Yatroce is this awful ‘ne a'vrai ne avrai For it you shall have ‘nom ‘vedi Non vedi Can you not see ‘ei sinpore Pieta, lei, iota. her, Lord, pity. ‘mi fia ‘kon te divizo mi fia con to —diiviso. you — shared. Javitaa noi sara la vita a noi sara life for us _ shall bel “fens scona? scene? kondenna ‘pena condegna adesorved punishment! ‘stato ‘suo the condition —_ hers?Lucia di Lanmermoor, Act It ENRICO (staring at her) 2 ‘kwalpattlor Oh! Qual pallor! Ob! = What pallor! RAIMONDO a ‘a Ha Ja ragion smarzite. She has the reason lost. (She has lost her reason.) ratdson zmatrrita ENRICO ‘gran ‘dio Gran Dio! Great God! RAIMONDO tremare ° ‘Tremare, oh Tremble, oh ‘boarbaro tu barber, tu cruel man you LUCIA a ‘me tmizera Ab! mo misora! Ah! wretched me! LUCIA (to an imaginary Edgardo.) ‘nom = ‘migwardar ‘si ero Non miguardar si fiero, Don't lookatme 80 fiercely, nella ‘sua Noll‘ra sua In his wrath atpesta calposta he tramples, ‘vittima ‘tai Vittima A victim kniéel fratello crudel fratello, cruel brother, © tama ° tamo and I love you ENRICO Ah, di lei Signor, piota! RAIMONDO Piet di lei, Signor! LUCIA ‘tai notmasti Chi mi nomasti? Whom did you mention? arturo 1 Arturo! ‘Arturo! RAIMONDO, TENORS, BASSES ‘kwal ‘notte ‘di ‘terror Qual notto di terror! What a night of terror! ‘tei dai ‘must, ‘per por for sennai sognai Tsigned, siddio oh Dio! oh God, ‘ma ma but ‘non fudsdsir zon fuggir! Do not fleet ‘ta'sua ‘vite Ia sua vita, her — life. ‘ewe fokio © ‘wero ‘si quel foglio, vero, si. that paper, itis true, yes. latnelo ‘mi maleditfe a Yanello! mi maledice! ah! the ring! He curses me! Ah! ‘onnora taimai edgardo ognora tama Edgardo, always Iloved you. Edgardo, edgardo ‘per pjeta Edgardo! == por iota! Edgardo! For _pity's sake!260 Lucia di Lammermoor, Act Ill LUCIA ‘spardsi damaro ‘plant ‘l'mio terrestre velo Spargi d'amaro pianto il mio terrestre velo, Shed a bitter tear on my earthly shroud, (Shed a bitter tear when I am dead on earth,) ‘mentre lassu ‘nel *felo io pregeto ‘per te montre lassi nol cielo io proghor) «porte, while above in heaven I shall pray for_-—_-you. ‘al ‘dgundser tuo softanto Al giunger tuo soltanto At your coming only, ia ‘bello ‘ayer ‘perme 7 fla bello ilciel per mo, Ahal! will be beautiful, heaven, for me, Ab yest (Not until your coming will heaven seem beautiful to me, ah yes!) ENRICO ‘dsomi damaro ‘piants ‘serba irimorso = ame Giorni d'amaro pianto sorba ilrimorso 2 = me. Days of bitter tears holds remorse for me. (Remorse holds days of bitter tears for me.) RAIMONDO ‘piu rafifrenare il_-~—pjanto possibile none Pia raffrenare —il_—pianto possibile non &. Any longer hold back the _—tears possible is not. ‘TENORS, BASSES, SOPRANOS Pit reffrenare il pinto possibile non 3! LUCIA Spargi d'amaro pianto, etc. a kiospiriakckamto a te Ah! cho spiri_accanto a tel Ab! Let me die next to you! (Lucia faints into the arms of Alisa) ENRICO ‘si tragga attrove liza Si tragga altrove. Alisa. Let her be taken _—elsowhere. Alisa... (Turning to Raimondo.) ‘wom ‘del sinnor ‘de voila. mizera vekkate Uom del Signor, deh voi. la_——misora vegliato... Man of God, please, you the wretched girl watch over... io piu ‘me ‘stesso im'me “non ‘trovo Jo pit me stesso in me ‘non trovo. 1 nolonger —_mysolf in me do not find. (Iam no longer myself.)Lucia Lammermoor, Act Ill 261 (Lucia is taken off by Alisa and other ladies of the entourage. Enrico follows.) RAIMONDO (to Normanno) delator asoiffi ‘detlopra = tua Delator! Gioisct dolfopra tual Informer! Rejoice over the work yours! (Informer! Rejoice over your wor NORMANNO ‘ke ‘parti Che pasli? What are you saying? RAIMONDO ‘si deblintfendjo ‘ke divampa «=e ‘strud:dge «== kwesta ‘kazaimfelitfe Si, dellincendio cho divampa =o _—ostruggo. questa casa infolico Yes, of thoblaze that is consuming and destroying this house unhappy ‘ai tu destata ta —_pritmjera finite hai tu —dostata la primiern—scintilla! did you strike the first spark! (Yes, you wore the one to strike the first spark of the fire that is now consuming and destroying this happy house!) NORMANNO ‘io ‘non kre'dei To non credei... I didn't believe... RAIMONDO tu ‘del_—_verssato ‘sangwe ‘empjo tu sei lari adgon Ta del_—_vorsato sangue, ompio, tu 90k ria cagion! You of the spilled blood, villain, you are guilty cause! ‘kwel ‘sangwe'al fel tetekuze Quol sanguo el ciel teccusa, That blood to heaven accuses you, ‘asa ‘aman suprema == ‘seppa ‘la ‘tua serftentsa gia 1a man’ suproma —sogna la tua _sentonza! already the hand supreme signs your _ sentence! ‘or Vane © ‘tema Or —_vanne, © trema! Now get out of here, and tremble’ (Raimondo hastily follows Lucia. Normanno, looking preoccupied, goes off in another direction.) Scone Three (Later that evening Edgardo broods among the tombs of his ancestors in the burial grounds of Ravenswood. The lights of Ravenswood Castle can be seen in the distance.) EDGARDO ‘tombe de'kfavi ‘mjeitultimo avantso Tombe doglavi mici, ultimo avanzo ‘Tombs of the ancestors mine, (to) thelast remnant202 Lucia di Lammermoor, Act IIT ‘duna ‘stirpe _imfetitfe de rakcko'kfete ‘Voi diuna stirpo infelice, doh! raccoglisto voi! ofa line unhappy, _—please, give shelter you! (Tombs of my ancestors, please give shelter to the last remnant of an unhappy bloodine!) tfesso ‘breve foko Coss i breve foco; Itceased of my wrath the brief fire; (The brief fire of my wrath has gone out:) ‘sul nemiko attfaro abbandsnar ‘mi ‘vo cal nemico acciaro abbendonar — mi vo. upon the enemy's sword give myself up I wish. (On my enemy's sword I want to lose my life.) perme =a Vitae © oirrendo ‘pezo luniverso inter Per me lavita 3 orrendo peso! Liuniverso —_intero For me life is ahorrible burden! ‘The universe entire © devzerts ‘per me ‘sentsa wtfia & desert per mo senza Lucia! is deserted. © for_~=s me_—without Lucia! ai ati tuttavia ‘splende 1 kastello Di faci tuttavia splonde il castollo... With torches still isaglow the _—_castle. a ‘skarsa fu = la. notte ‘al —tripudo Ah! scarsa fa lant al tripudio! ‘Ab! Short was the night for merrymaking! igfgrata ‘donna ‘mentre io mi'siniggo ‘in disperato. panto Ingrota donna! Mentre io mi straggo in © disperato ~—_—pianto, ‘Ungrateful woman! While I wasteaway in desperate -—tears, uid ezulth ackanto ‘al felitfe kon'sone tu idi,—eoalti accanto al felice consorte! you laugh, youexult next to your happy husband! tw delle ‘dsoje in 'seno io dela ‘morte Ta delle _gioie in sono, io dolla morte! You of rapture in bosom,1, of death! (You in the bosom of rapture, and I in the bosom of death!) ‘fra poko a me rikovero dara ne'gletts aves Frapoco a = me_—_ricovero dari noglettot ——avello, Soon to me_ shelter will give neglected grave, (Soon a neglected grave will give me shelter,) ‘una pjetoza ‘lagrima ‘non fendera ‘su ‘kwelilo una pietosa agrima non scendera su quello! a ~pitying tear will not fall on it! “There aro severe] words in Italian in which the combination gl is pronounced as (gl and not (4). Ty ar grin (ees) lira ernie wiser) dt words mec melon, net. nega,Lucia di Lammermoor, Act Il fin “dekki_estinti ‘ai mizero ‘Ab! fin doghicetint, ahi misoro! Ah! Even of the dead, ob (Ah! Even a dead man's comfort, wretched ms, is denied me.) ‘manka ‘a mance a ‘uw pur dimentika —‘kwel_‘marmo dispre'dsato Ta pur dimentica © quol__ marmo disprogiato: You also forget that marble despised: (despised marble monumei ‘mai ‘nom pa'ssarvi 2 ‘barbara = del tus Mai non passarvi, o barbara, del tuo Never go through there, oh cruel one, of_——your (Ob. cruel Lucia, never pass through there at your husband's side.) wretched me, isdenied the. 263 komjforto amme conforto ame. comfort to me. ‘a tat a lato, atthe side. rigpetta atmen Ye ener did motia per te Rispetta almen lo comori di chit mora per tel Respect at least the ashes of onewho -— died for —_you! ‘ma‘nom pa'ssarvi ‘tu To dimentika Manon passarvi, tu lo dimontice, But don't go by, forget him, rispetta atmen ‘ki ‘mwore ‘per te rispotta almen chi muore per to. respect atleast the one (who) dies.” for you jo moro per te To moro per tol I die for you! (A somber group is seen approaching from the direction of the castle.) ‘TENORS, BASSES o meskina 9 ato send Oh meschina! Oh fato horrendo! Oh wretched girl! Oh fate horrible! piu sperar ‘non ‘dsova ota Pia sporar non giova oma! More to hope isnouse from now on! ‘kwesto ‘dike ‘sta. sordsends © tramontar ‘pj ‘nom ve'dra Questo di cho sta sorgendo. = tramontar pitt non vodral This day that is dawning, no longer —_she won't see! setting (Of this day that now is dawning she will not see the sunset!) EDGARDO (appalled) “égusta “Yfelo fispondete Ginsto cielo! Rispondote! Ah! Merciful Heaven! Answer! Ah! ‘TENORS, BASSES O mecchina!204 Lucia di Lammermoor, Act III ‘ai pjanidsete Fispondete —per_—pjeta Di chi mai piangoto? Rispondete, per _piotal For whom are you weeping? Answer, for _pity’s sake! ‘TENORS, BASSES ‘a tia Di Lucia. For Lucia. EDGARDO (extremely agitated) utfia ditfeste Lucia diceste! Lucia, you said! ‘TENORS, BASSES La meschine... EDGARDO ‘um parlate Su, —_parlatal Come, speak up! TENORS, BASSES ‘sia ‘mizera ‘sen mwore Si, la misera son muore. Yes, the wretched girl is dying. EDGARDO Abt ‘TENORS, BASSES fur Te ottse a ei fineste ‘6 ratdgon a wasse amore Fur le nozzo a Tei_—_fanoste di ragion la trasso amore. Were the nuptials for her _ fatal... of her reason deprived her love. (The nuptials were fatal to her; love deprived her of her reason.) (Love drove her out of her mind.) savvitfina —_atLlore estreme © te 'kjede ‘per te dgeme Stavvicina afore ‘ostreme, © tochiede, per to —geme. She is nearing her hours _last, and shecalls for you, for you. moans. (moans for you) EDGARDO a tfia_‘mwore Ab! Lucia muoro! Ah! Lucia _ is dying! ‘TENORS, BASSES, then EDGARDO ‘Questo di che sta sorgendo tramontar pit non vedra la mia Lucia! ‘TENORS, BASSES rimbomba ‘da ‘ja ‘skwillain = ‘swon di morte Rimbomba gia Ja squilla in = suon_ di_—morte. Is pealing already the bell in sounds of death. (The death-knell is already pealing.) (The death-knell is heard pealing in the distance.)Lucia di Lammermoor, Act Il 265 EDGARDO ‘wel ‘swono ig ‘kor mi'pjomba e = detfiza ‘la ‘mia ‘sorte Quel suono in cor mi piomba! docisa la mia sorte! That sound in my heart sinks! Is decided my fate! (That sound sinks into my heart! My fate is decided!) ‘TENORS, BASSES 2 ‘dio Oh Diol Oh Godt EDGARDO rivederla ——_ajkor voekio rivederla e pola Rivedorla —ancor vogtio... _rivederla © postia.. To soo her again I want... to see her again and then. ‘TENORS, BASSES "kwaltrasporto skonsiffato a de'isti aed inte Qual trasporto, _sconsigliato! Ah! dosisti, ch riedi inte. What transport, rash one! © Ah!_—-Desist, ah, © comeback —_to your senses. (Edgardo starts to run off but is detained by Raimondo.) RAIMONDO ‘dove ‘kori ‘wventuirats ‘ela ‘in terra 'pju none Dove corti, ‘sventurato? Ela in tera pitt non 2. Where are you running, unfortunate one? + She on _—_—earth_anylonger is not (She is not of this earth anymore.) EDGARDO Lucia! RAIMONDO- Sventurato! EDGARDO in ‘terra ‘pj none ‘ella ‘dupkwe In terra _ pid non 3? Ella On earth she isno longer? She RAIMONDO- © in tfelo in ciolo! She is in heaven! EDGARDO Lucia pit non a! RAIMONDO ‘Sventurato! EDGARDO tu ke |= atin. spjetgasti ale © belHlalma = inmamstrata Ta che a Dio spiogasti Talo, ch —belflma —_innamorata, You who to God have spread your wings, oh _ beautiful spirit loving, ‘ticivoldsi = ame plakata ‘teks affenda i'two fetdel tirivolgi = @ = me_——placata, teco ‘asconda iltuo fodel. turn to me, appeased, with you -—risos, your faithful one.266 Lucia di Lammermoor, Act II ase ira de mortal Yee a ‘noi. 'si_—=kruda‘gwenra Ah! Se Tira doi mortali feco a noi si cruda_guorma, Ab! If theire of | — mortals waged on us such cruel war, se divizi ‘fum:mo ‘in terra ‘ne korfdsunga il nume ‘in Yfel so divisi fammo in terra, ne congiunga il Numo in cial, If separated © we were. «= on_—earth, ‘may unite us God in heaven, Oh belfelma innamorata, etc. ‘io ti'segwo To ti soguo! 1 shall follow you! RAIMONDO- forse'nmats Forsennato! Madman! RAIMONDI, TENORS, BASSES a ke fai Ab! cho fai? Ab! What are you doing? EDGARDO moti ‘vokto Morir voglio! To die I wish! RAIMONDO, TENORS, BASSES ritoma ‘inte Ritorna in tel Return to your senses! EDGARDO No! No! (He stabs himself) RAIMONDO ‘ke fattfesti Che facosti! ‘What have you done! EDGARDO (dying) att ‘vengo ° A to —_vengo, ° To you I come, oh beautiful soul... RAIMONDO Sciagurato! EDGARDO. Ti rivolgi al tuo fodel...Lucia di Lammermoor, Act IIL 267 RAIMONDO ‘pensa ‘al fel Ponsa al —ciol. ‘Think of heaven. ‘TENORS, BASSES ‘kwale orror © temendo. => ‘nero. ato Quale orror! Oh —tremendo, oh_-—norm_fato! What horror! Oh terrible, oh black fate! ‘dio perdona ‘tanto orror Dio, perdona tanto orror! God, forgive such horror! So divisi fummo in torre, etc. RAIMONDO, TENORS, BASSES Dio perdona, etc. END OF THE OPERA