IL TABARRO187 IL TRITTICO - Part I TL: TABARRO The Cloak Opera in one act. Libretto by Giuseppe Adami First performed at the Metropolitan Opera House, New York December 14, 1918 CHARACTERS Michele, a barge owner: baritone Luigi, a stevedore: tenor I1Tinca (the Tench): tenor 1 Talpa (the Mole): bass Giorgette, Michele's wife, having an adulterous affair with Luigi: soprano La Frugola (the Rummager): mezzo-soprano A Song Vendor: tenor ‘Two lovers: soprano/tenor Midinettes, stevedores, an organ grinder and his assistant The time is 1918. A quay along the river Seine in Paris THE PLOT ‘On a barge tied up in the Seine River [As the stevedores unload the cargo, the boss, Michele, speaks briefly with his wife Giorgeta about her recent coldness. ‘Then, as work ends, Giorgetta offers wine to the Workers and dances with Luigi, the ‘youngest of the stevedores, while an organ grinder plays. She tells him of how uncomfortable it isto live in a cramped barge and how she longs for the freedom to live in Paris. Once they are alone, it becomes apparent that they are lovers and they arrange to meet later that same night afier Michele has gone to sleep. Giorgetta will light 2 match as a signal that the coast is clear. Luigi leaves and again Michele tries to stir Giorgetta from her frustrating indifference. He even brings up the subject of their dead child, but Giorgetta goes off into her cabin. Michele is now sure that there is another man, and he muses as to who it might be, going through each one of his crew. He strikes a match to light his pipe, Thinking this is the ‘arranged signal, Luigi comes aboard. Michele catches him, forces him to confess that he loves his wife and then strangles him, concealing his body in his cloak. When the uneasy Giorgetta comes out of the cabin, Michele opens his cloak revealing Luigi's body which rolls out at her feet.188 MW Tabarro (Ata bend in the Seine river in Paris, Michele's barge is moored. The barge occupies mast of the foreground and is joined to the riverbank by a gangplank. The river flows by and is lost in the distance. Tn the background the church of Notre Dame and some parts of old Paris can be seen. The barge looks like the typical type of vessel that plies the river Seine. The wheel is placed high up, above the cabin. The cabin is neatly arranged and its chimney and its flat roof are all freshly painted. There are some clothes drying ona clothesline. A canary cage can be seen hanging on the door. It is early sunset When the curtain rises, Michele, the barge owner, is seated by the wheel, looking out tnto the sunset. His unlit pipe hangs jrom his mouth. Stevedores are carrying sacks of merchandise out of the hold and onto the pier. From time to time, a tugboat siren or an automobile horn can be heard in the distance. Giorgetta comes out of the cabin, without noticing Michele. She tends to her chores, takes down some wash off the line, fills a bucket of water from the river, waters her geraniuns and cleans out the canary cage. Finally she realizes that her man is there, and shielding her eyes from the bright sun, she calls to him) GIORGETTA 9 mikele non sei ‘stank Michele”... Non sei staneo Oh Michele’... Aren't you tired dabbatfinarti al ‘sole ke = tramonta d'abbacinarti al sole che tramonta? ofblinding yourself inthe sun that's setting? ti 'sembra uu gran spettakolo Tisembra Doesitseemtoyou a_—great_ show? (Does it seem like a great show to you?) MICHELE sikuro Sicurot Certainly! GIORGETTA Jo ‘vedo ‘bene Lo vedo bene: It Tse well: ‘dalla tua ‘pipa il fumo ‘bjanko non ‘zbuffa pj Dalla tua pipa il fumo bianco non sbuffa pili! From your pipe the smoke white not puts anymore! (Lsee it well: ‘The white smoke no longer puffs from your pipe.) MICHELE (indicating the stevedores) finito laddsu ‘Han finito laggii? Hayethey finished down there? GIORGETTA (eagerly) wi ke diffenda Vuoi che discenda? Doyouwantme to —_godown?I Tabarro MICHELE no ‘resta aridra io ‘stesso No. Resta, Andro stesso. No. Stay. Iwill go myself, GIORGETTA an lavotrats tants "ome aveam Han lavorato tanto! = Come_—avean. They've worked somuch! AS they had la stiva. sara ‘zgombra Ia stiva. sara sgombra, the hold willbe empty, © per doiman si potra kasikare € per doman _sipotra caricare, and by tomorrow it will bepossible to load. STEVEDORES (from the hold) 9 fissa 2 Ob! Issa! On! Ho! Heavel Ho! GIORGETTA bizonperebbe —kompensae = ‘kwesta. ‘loro Bisognerebbe —_compensare questa We should compensate this (We should compensate this toil of theirs:) um bwom —_bitkkjere un buon bieehiere. a good glass. (@good glass of wine.) MICHELE ma ‘feno ‘pensi a to fowore Ma certo. Pensi a tutto, cuore But certainly. Youthink of everything, heart STEVEDORES (from the hold) 2 fissa 2 un ‘dsiro ajkor Oh! Isat ‘Oh! Un giro ancor! Ho! Heave Ho! Once se lavsrjam —_‘sentsa Se lavoriam — senza If wework without restera ad orme'ddsare sirestera ad ormeggiare, welll say moored, fatika 189 promesso Promesso promised ‘dora dora! of gold!190 NTabarro MICHELE ‘porta ‘lors da ‘bere Porta loro da bere. Bring them something to drink. STEVEDORES ‘kon ‘altri ne atdra sscon altri neandrat ith others willl go! (Margot will go out with someone else!) GIORGETTA ‘sono ‘alla fine prende'ranna ——fortsa Sono alla fine: prenderanno forza. ‘Theyre atthe end: they'll gain strength. (They're almost finished: they'll be strengthened by a drink.) MICHELE il mio vinello zmorsa la Sete € — liristora mio ——vinello. —ssmorza_—sIa_— sete, € lristora. My litte wine dulls the — thirst, and reffeshes them, STEVEDORES 9 ‘issa 2 un ‘dsiro aykor Oh! Isat Oh! Un giro Ho! Heave! Ho! One round { non ti stanfkar Non tistanear Don't get tired, ‘dopo poral = ripovare «== margo sara Dopo potrai —riposare, © Margot sara! aflerwards youcan rest and Margot will be! MICHELE (affectionately, coming close io Giorgetia) © a me monai —_pensato E a me nonhai _pensato? And of — me haven'tyou thought? (And haven't you thought of me?) GIORGETTA (moving away slightly) atte ke 'koza A te Che cosa? Of you’ ‘What? MICHELE (puting hs arm aroun her) ‘vino 9 rinuntfaty “ma se la pipa e& —‘spenta a vino ho rinunciato. Ma se la pipa 2 spenta, Tothe wine T've renounced, But if the pipe has gone out,non © ‘Spent il mis ardove non @ —spento —_ilmio ardore. not has gone out = my ardor. ('ve given up wine, but even if my pipe has gone out, my passion hasn't.) STEVEDORES 2° jissa 2 un sir ankor la stiva e — vwota Oh! Issa! Oh! Un giro amcor. Ora Ia stiva €—_vuota, Ho! Heave! Ho! Around again. Now the hold is empty, "kjura ela tunga dyornata ¢ = margo = lamor ti dara chiusa = @ la tunga giornata, ¢ Margot amor tiara! over isthe long day, and Margot love will give you! (The long day is over, and Margot will give you her love!) MICHELE tun tuo ‘batfo 2 mio amore Un tuo bacio, © mio amore... One kiss of yours, oh_smy ove, (Give me one of your kisses...) (He kisses her. She moves away, turning her face to the side. Michele, somewhat peeved, moves away and goes down into the hold.) LUIGI (moving from the dock onto the barge) si soffoka a‘drona Si soffoca, padrona! Its stifling, mistress!" GIORGETTA lo penisava 9 kwel_ ke tfi'ywole sentirete ke Lo pensavo. Ho quel che ci vuole. Sentirete che Tthoughtso, Ihave that’ whichweneed. You'll taste what a (Ithought so. I have what is needed. Wait until you taste this wine!) (She goes towards the cabin, after having glanced expressively at Luigi) TINCA (coming up from the hold) ‘sakki dannati ‘mondo —_—bibone Sacchi dannati, mondo __birbone! Sacks damned, world roguish! (Damned sacks, roguish world!) ‘spittfati —talpa si va as manidgare Spicciati, Talpat © Si_-va._sa—_—smangiare! Hurry up, —Talpa! Lets got eat! *Padrone, in Italian is « male boss. Padrona is a female boss, or the wife ofthe padrone. The word "mistress" used above in no way implies that Luigi is calling Giorgetia his mistress (which she really is!) but rather, "lady boss"192 I Tabarro TALPA (coming up from the hold, with a sack on his back) non aver freta nom mi sekkare ‘Non aver fretta, ‘non mi seccare! Dont be in a hurry, don't bother me! a ‘kwest> —‘saktko ‘spakka il groippone Ab! Questo sacco spacca _il__—_groppone! Ah! This sack breaks the back! (shaking his head, and wiping off the sweat with the back of his hand) dio ke aldo 3 —sfidgi—==ajkora "una patssata Dio! che caldo!... © Luigi, ancora uma_passata? God! what heat! Oh Lagi, again a round?! LUIGI (pointing to Giorgetta, who is carrying the wine pitcher and the glasses) ‘ekcola = la_—opatssata—ragattsi si ‘beve Eccola —ta._—passatat.. Ragaczi, si beve! Here itis, the round!... Boys, let's drink! wi ‘uti ingjem esti ‘pronti Qui tutti insiem, —_lestit Prontit Here all together, lively! Quickly! (All rush at the invitation, gathering around Giorgetta, who passes out the glasses and pours the wine.) nel ‘ving traveem —lenerdsia per _finir Net vino troverem energia per _finir! Inthe wine welll find theenergy to finish! (He drinks.) GIORGETTA (laughing) "kome ‘parla diffitfile ma ‘tferto ‘vino ‘alla kompa'ppia Come parla difficile... Ma certo: vino alla compagnia! How hespeaks fancy! But certainly: wine forthe company! (How faney he speaks!... But certainly: wine for all!) wa talpa al tinka a voi preridete Qua, Talpat AL_—Tinea!_=— voi, -——_prendete! Here, Talpal For ‘Tinea! —Foryou all, have some! TALPA ‘alla salute vostra = il ‘Vino si beva Alla salute vostra’ =i vino sibeva! Tothe health §=—-yours the wine let's drink it (Lets drink the wine to your health!) ?»passata” in Talpa's phrase means "another go-around” with the unloading. The word passaia in this scene is used both for the above "go-around!, and a "round!" of drinks, as used by Luigi in the very next phrase.MTabarro 193 ‘saltsi il bikkjer_—‘bevo ‘viva S'azi_—il_—iechier!’ Bevo! Viva Letsraise the glass! Irink! Long lifet ‘tanta felifita per la ‘soja ke da Tanta —felicita = per_ la gio che da! Somuch happiness for the joy that itgivest (After drinking he wipes his mouth with the back of his hand) GIORGETTA se ne volete ——ajkor Se ne volete ancor!. If of it youwant — morel... (you want some more!...) (She pours more wine for Talpa,) TALPA non si sifjuta mai rifiuta mai Not it onerefuses ever! (Ill never say no!) GIORGETTA (to the others) avanti koi bikkjeri Avani co bicehieri! Forward with the —_ glasses! (Hold out your glasses!) LUIGH (pointing 10 an organ grinder, who passes by on the quay) gwarda = la laryainetio € — arrivato. im bwom ‘punto Guarda la_—_‘orgametto! arrivato in buon punto! Look there the organ grinder! He's arrived at the right time! (He calls to the wandering musician.) TINCA (raising his glass) in ‘kwesto” Vino affogs i tristi pen'jeri In questo vino affogo i tristi pensicri. In this wine Tdrown the sad thoughts, ‘bevo al padron ‘viva ‘grattsje Bevo al Padron! Vivi Grazie! Tdrink to the boss! Long live! Thanks! ‘uniko mio pjatfer sta. skwi_ im = fondo «= al_bikkjer Liunico mio piacer sta’ qui in fondo —al_icchier! The only my pleasure is. here atthe bottom —_—of the glass! (My only pleasure is here, atthe bottom of the glass!)194 A Tabarro LUIGI (to the organ grinder) ela profe'ssore jen kwa Ei, lat Professore! Vien quat Ho there! Professor! Come here! (io hs friends) sentivete ke artista Sentirete che artista! ‘You'll hear what an artist! (You'll hear what an artist he is!) GIORGIETTA (to Luigi, as ift0 lure him 10 dance with her) io kapisko © ‘una ‘muzika = sola ‘kwella ke fa Jo capisco. una’ musica sola: quella che fa 1 understand one music only: theone which makes you TINCA (coming forward to be the first) ma sikuro ai. swoi ‘ordini. © Sempre = = 'gamba Ma sicurot Ai ordini sempre, e+ gamba But sure! ‘At your orders always, and leg (Bure thing! I always obey your orders and besides I have great dancing legs!) GIORGETTA (laughing) b io ti prend im paola Tot Io ti prendo in parol Well! Tl take you at your word! TINCA (very flattered) ‘ballo kon Ja paidrona Ballo la padrona!* Tmdancing with the — boss! ballare ballare. dance. buona! ‘good! (There's laughter, but especially because Tinca doesn't seem to be able to get in step with Giorgetia. Luigi and Talpa cover their ears at the offpltch playing of the organ grinder.) LUIGI (laughing) ‘ Ja ‘muzika € la ‘dantsa van da'kkorda La musica e la danza van d'accordo, The music andthe dance == go_—_together. (to Tinca, who is dancing dragging his feet) ‘sembra ket _—_putliska il pavimento Sembra che tu _pulisca il pavimentot Itseems asif you arepolishing ‘the _‘floor! “Gamba buona implies "I have good logs for dancing". “Since English nouns are not generally affected by gender, we will have to explain that padrona means the she- boss. Michele is the he-boss, or padrone.1 Tabarro 195, (Tinca steps on her foot) GIORGETTA ai mai pestato um ‘pjede Mthai pestato un piede! Ouch! You've stepped on my foot! (Luigi sends Tinca away with a shove, and takes his place with Giorgetta) LUIGI va ‘affa son kwa io Vat Lasciat Son qua io! Go! Let goofher! Tam here! (Luigi clasps Giorgetta, who abandons herself languidly in his arms. The dance continues, while Michele re-appears from the hold) TALPA ragattsi —tfe il padrone Ragazzi, c'e il padrone! Boys, here's the oss! (Luigi and Giorgetta break apart. Luigi throws some coins to the organ grinder, then with the others, heads for the hold, as Michele comes fornard towards Giorgeua. After composing herself and fixing her hair, she approaches Michele with forced naturainess.) GIORGETTA ‘dunkwe —ke'koza_—‘kredi partiremo la settimana prossima Dunque, che cosa __eredi? Partiremo Ia settimana _prossima? Well, what doyouthink? —Willwe leave the __week next? (Well, what do you think? Will we leave next week?) MICHELE (vaguely) vyeldremo Vedremo. Well see GIORGETTA ltalpa =e il'tinka—restan UTalpa ¢ —il'Tinea__restano? Talpa and Tinca, _—_are they staying on? MICHELE restera ‘anke luis Restera anche ——_Litigi. Will stay on also Luigi. (Luigi wil also stay on.) GIORGETTA fest non Io pen'savi Teri non lo pensavi. Yesterday you didn't think so.196 I Tabarro MICHELE ed ‘odasi pens Ka oggt, penso. And today, do think so. GIORGETTA perke Perché? Why? SONG VENDOR (from offstage) ki wwol ultima kantsonetta Chi yuo! Tultima —canzonetta? ‘Who wants the latest song? MICHELE perke nom ‘voAfo "ekki “krepi di Perch non voglio ch'egli —crepi di Because I don't want thathe die of (Because | don't want him to starve to death.) GIORGETTA ‘kwello—sarrandsa__ ‘sempre: Quello —_s'arrangia_ sempre! That one manages. always! MICHELE Io s9 sarrandga © ‘wero Los: __s'arrangia, & vero! Tknow it, he manages, its true! ed © — perkwesto ke non korfklude ed 2 per questo che non conclude and it's because of it that he never achieves SONG VENDOR (nearer) ki la'wole Chi la yuole? Who wants it? GIORGETTA (annoyed) kon te nonsisamai ki fa ‘male Con te nonsisamai chi. fa’_—male With you oneneverknows who does wrong MICHELE (simply) ki lavora ——_si'tjene Chi lavora _sitiene. Hewho works one keeps on. (One keeps on a man who works.) fame fame. hunger. ‘nulla nulla, anything. 2 fa ‘bene © fa bene! or — does welllWU Tabarro 197 GIORGETTA dsa diffende 1a ‘sera Gia discende In sera. Already falls the evening... 2 ke rosso tramonto di settembre Oh che rosso tramonto di settembre! Oh what red sunset of September! (Evening is already felling...Oh what a red September sunset!) ke ‘brivids —daw'tunno Che brivido —dautunnot What ashiver of autumn! non 'sembra un ‘grosso.atrantfo Non sembra un grosso——_arancio, Doesntitseem a large orange, ‘kwesto. Sole. ke = 'mwore nella ‘senna questo sole. che muore nella. ‘Senna? this sun that dies in the Seine? ‘gwarda—laddsu la frugola a ‘vedi Guarda laggid’ ~—ita Frugola! La vedi? Look overthere Frugola! Do you sec her? (Look, there is Frugola! Do you see her?) SONG VENDOR Ki la'vwole Kom muzika =e patrale Chi lavuole, con musica =e —_—_parole? ‘Who wantsit, with music and words? GIORGETTA ‘tferka di sua mato = © non lo affa Cerca di suo marito € —_non lo lascia! She looks for her husband = and_won't leave him! MICHELE gusto ‘beve —trappo E giuste. Beve troppo! ‘Thats right He drinks too much! GIORGETTA non Io sai ke dgeloza Non lo sai che 2 gelosa? Don't you know that she’s jealous? (examining Michele) ® mis ‘womo non sei di bwon umore o mio uomo, ‘non sei di buon umore! Oh my man,—-youarenot in good humor! FSU MUSIC LIBRARY198, MN Tabarro ke ai ke ‘gwardi © perke ‘ay Che hai? Che guardi? © perehe —taci? ‘What's with you? What are you looking at? And why are you silent? (Michele does not answer. In the meantime, the song vendor has appeared on the street beyond the river, _foliowed by a group of midinettes’ who are coming out of the dressmaking establishment and who stop to listen to him. The vendor is followed by a man who carries a small harp on his shoulder.) SONG VENDOR ki la ‘wwole ‘ultima —_—kantzonetta Chi la vuole, ultima _—_canzonetta? Who wants it, the latest. song? ‘THE MIDINETTES ‘bene ‘bene sisi Bene, Si, sit Good, Yes, yest (The harpist sets dovn his instrument and sits on a small portable stool, prepared to play. The song vendor is ready to sing and the midinettes listen.) MICHELE to mai fatt> ffenate Tho mai fatto scenate? Have I with you ever made scenes? (Have I ever caused a scene with you?) GIORGETTA lo so ‘bene tu nom mi batti Loso bene: tu non mibattit Tknow it well: you don't beat me! SONG VENDOR primavera non tferkare pj i due armanti Primavera, non cereare pi i Springtime, dom't look for anymore the two lovers la fra ‘ombre della ‘sera i fra Vombre della sera. there amongthe shadows of the evening. MICHELE ke lo vorresti Che? Lo vorresti? What? You'd want that? (What? You'd want me to beat you?) GIORGETTA ai stlemtsi.—tal'volta si Ai silenzi —talvolta, si, To silences attimes, —_yes, “Midinettes are middle-class working gitls, usually seamstresses.ItTabarro 199 preferiei Aividi di perkosse preferirei livid di percosse! Twould prefer bruises. from beatings! (At times, I would rather have bruises from your beatings than your silences.) (Michele, without answering, goes back up the barge and begins tightening a mooring line ) SONG VENDOR primavera ki a vissuto per a'more Primavera! Chi ha vissuto per amore Springtime! Who has lived for love pec amore = simori. «da storja di miti per amore simori. & Ia storia di Mimit for love has died. It's the story of | Mimi! (The midinewes buy the song and go off: reading it.) GIORGETTA (who has followed Michele, insisting) ‘dimmi ——almeno ke ai Dimmi —almeno che hai Tellme at least. what's wrong with you! MICHELE ‘nulla Nallat. Nothing!... SONG VENDOR: Ki aspettando sa ke mwore Chi aspettando sa che — muore, She whowaiting, knows —_—that_ she's dying, "konta ad ore Je dsornate conta ad ore Te giornate counts by the hours the days kon i ‘battiti del “kwore con i battiti del cuore. with the beatings ofher heart. (She waits, knowing that she's dying, and counts the day's by the hours with the beating of her heart.) GIORGETTA ‘kwando —‘sjamo a opatridsi_ «= io.smi'sento—_felltfe Quando siamo = a—sParigi «= io. misento—_felice. When weare in Paris 1 feel happy. MICHELE si kapiffe Si capisce. It's understandable,200 WU Tabarro GIORGETTA perke Perché? Why? SONG VENDOR, and later, MIDINETTES "konta ad ‘ore le dgornate ma lamante non torno Conta ad ore le giornate. Ma T'amante non tornd She counts bythe hours the days. But the lover didn't return © iswoi fini leva lara © isuoi fini, lara, lar’, and her stopped, fa lala, ‘anke il kwore di mitmi anche il, cuore di Mimi. also the heart of | Mimi, (Prugola appears on the quay, crosses the gangplant and comes onto the boat. She carries om her back «an old sack bulging with every kind of gathered stuff) FRUGOLA 2 etemi innams‘rati ‘bwona sera O eterni innamorati, buona sera Oh eternal lovebirds, 00d evening, GIORGETTA 2 ‘bwona sera ‘frugola Oh buona sera, Frugola! Oh good evening, Frugolal (Afier greeting Frugola with a gesture, Michele goes inio the cabin) FRUGOLA il mio woms finito la'voro Mmio ——_uomo ha finito il lavoro? My man hashe finished his work? stama'ttina non ne poteva pju cal mal di ‘reni Stamattina non ne poteva pitt dal mal di reni. ‘This morning he couldn't take it anymore fromhis__ backache. fatfeva propria ‘pena = ma Io kurato Faceya proprio pena. Ma 'ho curato io: tas pitiful But Icured him, myself: ‘una ‘bwona __frittsjone Una buona —_frizione A good massage eilmio mm la bewts —lasua—‘skjena eilmio rum Tha bevuto —Iasua_—_—_sehienal andmy rum was soppedup by his back!1 Tabarro 201 (She guffaws loudly, then flings her sack to the ground and starts rummaging in it with great delight, taking various objects from it.) a dsordsetta. ‘gwarda = um_—pettine —_fjatmmante Ah! Giorgetta, guarda: un —pettine—_fiammante! Ah! Giorgetta, look a comb brand new! se lovwoi te Jo dono Se lovuoi te lodono. If youwantit I'll give it to you. £ —‘kwanto di pju‘bwono > ralkkolto in dgornata E quanto di pit buono ho raceolto in giornata. Its the best thing Ive gathered all day GIORGETTA (taking the comb) ‘anno raldsone = di jatmarti—‘frugola Hanno ragione di chiamarti__Frugola; They areright to callow Rummager; tu rovisti ‘opp ‘angslo «= edi Ja sakka = pjena Ta rovisti ogni angolo = ed_—hai In sacca piena. You ransack every comer and you've —the sack full. FRUGOLA se tu sapessi. «Ki otddgetti strani Se tu sapessi. gl oggetti strani If you knew the objects curious (If you knew the strange objects) in ‘kwesta. © 'sakka = Sono rakjuzi in questa. sacca inthis sack © per te ‘kwesto & per te, questo its for you, this © velluti ——strattfi € — velluti, ——stracci and velvets, rags, vi son komfuzi Si ddd Vison confusi sli oggetti All jumbled together the objects (The curious objects are all jumbled together.) ‘strane relikwje i dokumenti Strane reliquie, i —_documenti Strange relics, the -_ documents ‘sje =e tormenti‘kwivi Give tormenti_—quivi Joys and torments here sono racchiusit are contained! ‘Yutfo di pjume ciuffo di piume. bunch of_—_feathers barattol baratioli cans, ‘strani strani. strange. di ‘mille mori di mille amori. of —athousand loves. rakkolgo raccolgo, gather, aa itblithadbibit dd Sti MUU el Ni lite efile Ulf) ihe202 I Tabarro ‘sentsa _distingwere frai ‘ikki 09 bl senza distinguere frai richie il without distinguishing between the rich and the GIORGETTA ein kwel kartott{o Ein quel cartoccio? And in that package? FRUGOLA ‘kwore di 'mandz>.—per_kaparale Cuore di manzo— per Caporale, Heart of beef for Corporal, ilmio —sorjano— dal ‘pelo fulvo iimio —soriano dal pelo fulvo my tabby cat of the oat reddish, (My tabby cat with the reddish coat) daillokkjo ‘strana ke nona ugwale dall'occhio* strano che non ha uguale! of the eyes strange that haveno equal! GIORGETTA (laughing) ‘gode dei privitedsi il tus so'gjana Gode dei privilegi ito soriano! (He) enjoys. some privileges, your tabby cat! FRUGOLA (snickering) i'mecita veldessi © il pu bel ‘Li merita! Vedessit EB il pia bel He merits them! Youshould see! He's the most beautiful ilmio —pju_ bel ro'mandz9 ilmio pit bel romanzo. my ‘most beautiful romance. kwando ilmio ——talpa efwori Quando ilmio = Talpa, = fuori, When = my Talpa is away, mi'tjene kompappia ¢~—in'sjeme —noi_‘filjamo mitienecompagnia ¢ —_insieme —noi_filiamo hhe keeps me company, and together we spin inostri mori 'sentsa_-=—=SspuntidKi_ se sentsa inostri amori_ senza puntigh =e senza our loves without spite and without ‘volgo volgo! common people! ‘gato gatto, cat, dgelo'zia gelosia. Jealousy. ‘occhio (eye) in the singular form is used poetically in several Puccini libretto mean occhi, the word for eyes. Tosca also has an oechio nero (a black eye) really meaning black eyes. Likewise, Frugola's feline pet has an occiio, strano, a strange eye, but it really means that both of his eyes are strange.wwoi satperta Vuoi saperla Do you want to know ‘meséo paidrone Meglio padrone Better (tobea) boss ke servo in um che servo in un than servant = ina ‘mekfo —fibarsi_ kon Meglio cibarsi_— con Better tofeed on ke lagotare il proprio che logorare ill proprio than wear out one's own Ja sua Ia sua his ‘una una Bre pallatis palazzo. Palace. due fetie due fette ‘two slices nella'mor nell’amor! with love! MTabarro filbzo'fia filosofia? philosophy? kataipekkja catapecchia hovel pn Ron...ron...ron... Purr..purr..purr.. di di of, 203, pn Ron...ron...ron... Purr_.Purr...Purr. (Talpa comes out of the hold, followed by Luigi) TALPA > ‘gwarda ss lamia’ —vekkja_ «ke —na'travi To’! guarda © lamia_—vecchia!_-—sche_narravi? Well! Look at my old woman! what were you telling? FRUGOLA parlavo kon dsoridgetta del so'jana Parlavo con Giorgetta del soriano, Iwas speaking with Giorgetta of the tabby cat MICHELE (coming out of the cabin, going to Luigi) 2 hiidgi domani si ‘karika. del ‘ferra © Litig, —domani_—si_—enriea = del__ferro. Oh Luigi, tomorrow we — load some iron. ‘vient a danfi ‘una ‘mano Vie a darei una mano? Willyoucome 0 ~—giveus. = @—hand? LUIGE vel paidrone Verré, _padrone. Tilcome, boss. (Tinca comes out of the hold, followed by other sievedores, who go onto the quay after having said good night to Michele ) TINCA ‘bwona ‘notte a wi Buona notte a tutti, Good night to all.204 MN Tabarro TALPA (10 Tinea) ai tanta fretta Hal tanta fretta? ‘Are you in such a hurry? FRUGOLA (10 Tinca) ‘kori ad ubbriakkarti ase fossi tua 'moske Corri ad ubbriacarti? =A fossi tua moglie! Yourun to _get drunk? An! Iwere your wife! TINCA ke fareste Che fareste? What ‘would you do? FRUGOLA. ti pesterei—Tinke la zmetessi Ti pesterei —finché- la smettessi Té beatyou until you stopped dipassar le ‘notti allosteria non ti vergonnit dipassar le notti all'osteria. Non ti vergogni spending the nights at the tavern, Arentt you ashamed? TINCA 1m 9 fa'bene it'ving No, no! Fa bene ilvino! No, no! It's good for you, wine! siaffogana i pensjeri di rivolta Siaffogano i pensieri-—di_—_rivol One drowns the thoughts of _—_rebellion: ke se beva nom ‘penso che se bevo non penso, for Idrink [don't think, € se pens> non ‘rida ae aw 8 © se penso non ido! Ah Ab Ahi and if Ithink dont Iaugh!. «= Ah-Ah (He starts 10 go off. snickering, as Michele goes into the hold.) LUIGI (holding back Tinca) aiben ratdone ‘med nom. pentsare Haibenragione: meglio non pensare: ‘You're quite right: better not to think: pie'gare il ‘kapo ed inkurvar Ja skjena Piegare il capo ed incurvar Ia sehiena. bow the head and bend the back.MW Tabarro 205 per noi lavita mona pju vatlore Per noi tavita —nonha pia valore, For us life has no more value, ed ‘onni ‘dsoja sikontverte im ‘pena ed ogni gioia converte in pena, and every joy istumed into sorrow. i 'sakki ig ‘oroppa «=e = ddgu_ la testa. a terra 1 sacchi —im_—groppa =e gitt, ‘In. testa a terval The sacks ‘on yourback anddown the head tothe ground! (Put the sacks on your back and bend your head down to the ground!) se ‘gwardi inal. «ada ‘alla frustata Se guardi imalto,-—bada alla frustata, If youlook up, watch out forthe whiplash. il ‘pane I> gwadappi ko suidore pane Jo guadagni col sudore, The bread you eam it with the sweat, (You earn your bread with sweat,) € Tora dellamore va nibata Vora del'amore va rubsta! and thehour of love —hastobe stolen! va rubata fra ‘spazimi © += paure Ya rubata fra spasimi © paure Ithastobestolen among suffering and fears ke offuskano Jebbrettsa pju di'vina che offuseano Vebbrezza_ pit divina. that cloud the ecstasy most divine. (that cloud that most divine of ecstasies: making love.) “tutto © kontez> ‘tut {fe rapits Tutto & — conteso, tutto ci rapito... Everything is fought for, everything _ is stolen fromus... la dyornata€ de ‘buja alla mattina Ia giornata «@ gid buia alla mattina, the day is already dark in the moming, ai ben ratdjone —'meféo.— nom perisare Hai ben ragione: _ meg! non pensare. ‘You're quite right: better not to think. piegace il ‘kapo ed inkurvar la “skjena Piegare il, capo ed incurvarIa_—schiena! Bow the head and bend the back!206 RTabarro TINCA segwi —ilmio. = ezempja—‘bevi Segui imio —_—esempio, _bevit Follow my example, drink! GIORGETTA ‘basta Basta! Enough! TINCA nom 'parlo pju a ddomani—ragattsi «estate bene Non parlopii! A domani, —_ragazzi, estate bene! Tilspeak no more! Till tomorrow, boys, and be — welll TALPA (to Frugola) {fe nanidjamo ‘anke noi ‘yon ‘Stanko ‘morta Cen'andiamo anche noi? ‘Son _stanco morto. Shall we also go? Tm dead tired. FRUGOLA a ‘kwand> mai potremo —kompprarifi ‘una bikokka Ah! quando mai potremo comprarci_ una _bicocea? Ah! When will we ever beableto buys a shanty? la fi ripoze'remo La ci riposeremo, ‘There we'll rest GIORGIETTA e lata fissattsjone la kamipapna E latua fissazione, Ia campagna! It’s your obsession, the country! FRUGOLA 2 sofpat>. = una kazetta kon um pikkals—_ortitfelln Ho sognato una con un piccolo orticello. Tye dreamtof a with alittle garden. "kwatro. ‘muri ‘suretta stretta == due pini per ombrell Quatro muri, stretta stretta, © due _pini per ombrello, Four walls, very narrow, and two pinetrees as—_umbrella. ilmio —'vekkjo—'stezo al ‘sole a miei 'pjedi ‘kapo'rale Tmio ——vecchio—_steso al sole, ai miei piedi Caporale, My oldman stretched out inthe sun, at my — feet Corporal, © © aspeuar — kozi la ‘monte € — aspettar cos la morte and await thus deathkee rimedjo —‘dopni chee rimedio — dogni whichis aremedy for every (and await death like that, which is the cure for every ailment!) GIORGETTA (animated) © ben altro ilmio ‘sono Eben altro ilmio —_sogno! its quite different, my dream! son ‘mata _nel sobbog ¢ — ‘solo aria gi patridst Son mata nel sobborgo, ¢ solo aria di Parigi Twas born in the suburbs, and only theair of Paris excites me mi nuitriffe 2 se mikele © un “dgormo-—_abbandsinasse © minutriscet Oh! se Michele un giorno abbandonasse and feeds me! Oh! if Michele some day would abandon ‘ewesta. —logara.——vita_vaga’bonda questa logora. = vita_-vagabonda! this drab life vagabond! (this drab, vagabond life!) non si 'vvive Ja ‘dentro fre il teto ed il fornell Non si vive ladentro, fra il letto ed il fornellot Onccan't live inthere, between the bed and the stove! tu a'vessi visto Jamia ‘stantsa._——_un tempo Tu avessi visto lamin —stanza,_—_un tempo! You should have seen my room, once! FRUGOLA ‘dove abitavi Dove abitavi? Where did you live? GIORGETTA non [9 sai Non lo sai? Don't you know? LUIGI (suddenly stepping forward) betvila Bellevill GIORGETTA lui lo konoffe Luigi Jo conoscet Luigi knows it!208 I Tabarro LUIGI ayjkio fi son ‘nats Anchiio ci son nato! Alsol there was born! (was also born there!) GIORGETTA ‘kome me la nel ‘sangwe Come me, Tha nel sangue! Like me, hehasit — inhis blood! LUIGE non {fi sipwo —stakkare Non ci sipud _staccare! Not fromit onecan tear away! (You can't tear yourself away from it!) GIORGETTA bizonna aver provato Bisogna aver provato! Oneneeds tohave experienced it! belvil © il nostro. 'swolo «=e il'nastr>. ‘mondo Belleville & — ilmostro.—_suolo © ilmostro mondo! Belleville is our soil and our world! noi nom possjam>—vivere——_sullakkwa Noi non possiamo —_vivere.——_sull'aequal We cannot live ‘on the water! bizonna —kalpestare il martfaipjede Bisogna _calpestare il marciapiede! Oneneeds totrampon the — pavement! (One needs to wall on firm ground.) la te ‘una ‘kaza la {fi'sono La ee una casa, li cisono There, there's. «= a_—shouse, —there. there are festori —ifkontri_ =e = pjene komfidentse festosi incontri_e ~—_piene confidenze... festive meetings and full trust. LUIGI {fi si konoffe tutti se ‘ttt ‘una fatmiAga. isi conosce tuttit S' tutti una There everyone knows everybody else! We're all (like) a GIORGETTA al matttino il lavoro, ke fi aspetta Al mattino, il lavoro che. ek In themoming, the job that forus (in the moming, the job that awaits us.)WTabarro ‘alla sera sitomo —in—_-komitiva Alla sera, itorno in Inthe evening =the: eum in botege ke sattfendan> di utfi edi Botteghe che s'accendono —di_—tuci_ ea Shops that tum bright with Tights and with veture ke siykrotfano — doimenike — kjassoze vetture ches'ineroeiano, domeniche chiassose.. carriages criss-erossing, Sundays boisterous. (crisscrossing carriages, boisterous Sundays... ypikkole site in due al bosko di Piccole —_gite in due al boseo di Litle outings. «in. pairs. tothe Bois de valli allaiperts intimita _amoroze Ball all'aperto, intimita —_amorose... Dances in the open, intimacies loving... (Open-air dances, loving intimacies...) © diffitfile dire kkoza sia E difficile ire cosa sia Ws difficult tosay whats kwestansja ckwestastrana_——nastadgia quest'ansia, -—questa’-=—strana’——_ nostalgia. this anxiety this sirange homesickness. (itis difficult to explain what this anxiety and this homesickness is.) LUIGI, GIORGETTA (with exaltation) 209 luzinge lusinghe, allurements, bu‘lons Boulogne! Boulogne! ma ki taffa il satbborgo ywal tornare Ma chi lascia il —_sobborgo yuol tornare, But whoever leaves — the -— neighborhood = wants to.—_return, areter le ritoma non si pw sta'kkare © chi ritorna —_nonssi pud_staccare. and whoever retums cannot -—_tear himself away. tfe la im fonds patridsi cen in fondo Parigi There itis in the distance, Patis’ ke tfi ‘grida kom ‘mille ‘vot ‘jete che rida con mille licte which tous ties with a tho voices happy il suo Yaffing immortal il suo fascino immortal! its spell immortal! (There in the distance is Paris, crying to us in a thousand happy voices its immortal spell.)210 MW Tabarro (The two lovers remain for a moment totally absorbed in each other. hand in hand, as if carried away by the same thought and the same spirit, Then, seeing that they are being watched. they part) FRUGOLA adess> ti kapisko kwi lavita e — diversa Adesso ticapisco. Qui lavita = 2 diversa.. Now Tunderstand you, Here life is different... TALPA (who hasn't been very interested in Giorgetta's venting, to Luigi) se sandasse as mandsare ke ne ‘ditfi Se standasse a mangiare? Che nedici? Whatif = wewent to eat? ‘What_do you say’ LUIGI is resto odaparlare kal paidrone To resto: hodaparlare col padrone. TH stay: Thave to speak withthe boss. TALPA kwanile —kozi a ddsimani Quand’é cos, a domani! When it's likethat, till tomorrow! (in that case...see you tomorrow!) FRUGOLA ‘miei ‘ekki ‘bwona notte Miei vecchi, buona —_— notte! My old friends, good night! FRUGOLA, TALPA Ho sognato una casetta, etc. SOPRANO'S VOICE (offstage) ‘Ah! Ah! Abt TENOR'S VOICE (offstage) Lala lala... (There isthe protonged sound of the siren of «far away tugboat. Luigi approaches Giorgetta, who stops him with a gesture.) GIORGETTA (sofily, with passion) 2 Iidsi ‘badaate pwo fra um momento O Luigi! Bada ate! Pud fra un momento! Oh Luigi! Be carefull Hecan come up —_any moment! ‘esta pur la lonttana Resta pur la, lontano! Stay there, ata distance! LUIGI perke ‘dunkwe —inas’prijfi il tormento Perché — dunque —_inasprise il tormento? Why then do you make worse the torment?I Tabarro perke mi Kjami ‘njvano Perch? mi chiami invano? Way do you call me in vain? GIORGETTA ‘vibro “tutta se pemso. a jer'sera Vibro tutta se penso = a_—sder sera, Tthrob allover if —‘Tthink = of_—_last night, allardor dei twoi ‘batfi alardor dei tuoi bacil.. ofthe ardor of your kisses!... LUIGI ig kwei “batt tu sai ‘koa In quei baci m sai cosa In those kisses you. know = what (You know what there was in them, in those kisses...) GIORGETTA si mio amore = ma Si, mio amore. Ma Yes, my love. But LUIGI ‘kwale lle paura ti prende Quale ——_folle paura _tiprende? What mad fear is gripping you? GIORGETTA se fi Skopre © la'monte Se ciscopre, © Iamortet Tf hediscovers us, it's death! LUIGI (sharply) preferisko mo'ire alla ote ke ti tjene Preferisco morire alla sorte che titiene Iprefer toi to the fate that keeps you GIORGETTA se fossims Soli lonttani se fossimo soll... ——_‘lontant... if wewere alone. far away... LUIGI © Sempre unit E sempre unitit ‘And always together! GIORGETTA € Sempre innamstrati dimmi ke E sempre —_innamoratit Dimmi.. che And always in love! Tell me. au ‘era cera there was in them. legata legata! bound! nom mi ‘magki non mi manchit... that you won' fail mel212 NTabarro LUIGI (about to run to her) mai Mail Nevert... GIORGETTA (fearfully) sta attento Sta! attentot Be careful! (Michele appears from the hold.) MICHELE (to Luigi) “kome non sei antdato Come? Non sei andato? What? You hayen't_ gone? LUIGI padrone v9 aspettats Padrone, _y'ho aspettato Boss, I waited for you perke volevo.—thrvi ‘kwattrs, parole ‘sole perché volevo quattro’ parole ‘sole: because wanted tosaytoyou afew words only: intanto —rinorattsjarvi. © davermi—tenuto intamto —ringraziarvi = d'avermi—tento.. first ofall tothank you ——forhaving kept me on.. volleys pregarvi. se lo potete Tare Gi portami ait e di portarmi a Rowen eA to takeme —to-—-Rowen. and there MICHELE ame ma sei ‘mats A Rowen? = Ma sei mato? To Rouen? But areyou crazy? la non tfe ke La non e'é che ‘There there's nothing but poverty: volevo _pregarvi, se lopotete fare, Tdliketo askyou, if, youcan doit, fami abarkare farmi _sbarcare... letme go ashore ti troveresti peddso ti troveresti peggio. you'd be worse off. Quariro parole means literally “four words", but it really means "a few words". Luigi is obviously saying more than four words to his boss. Sometimes the expression due parole (two words) is used in the same sense as "a few words",WTabarro 213 LUIGI sta'bene alloca rest Stabene. Alora resto. Allright. ‘Then Til stay on. (Michele goes towards the cabin without answering.) GIORGETTA (to Michele) ‘dove vai Dove vai? Where are you going? MICHELE. a prepare i Tumi A preparare i lumi To prepare the lanterns. LUIGI ‘bwona notte paidrone Buona notte, -—ppadrone.. Good night, boss. MICHELE ‘bwona ‘noite Buona notte. Good night. (Michele goes into the cabin. Luigi is almost at the gangplank. Giorgetta quickly joins him. The following dialogue is rapid, urgent, ina low voice, but full of amorous intensity.) GIORGETTA dimmi _perke Aiai Kjesto di harkari anit perch? glihhaichiesto di sharearti_ a Rowen? why Gid you askhim to goashoreat_—-Rouen? LUIGI perke —nom'poss> dividerti kon lui Perch@ non posso dividerti_ con uit. Because Teannot share you with him!... GIORGETTA ai rtdsone © un torments —_agjkio ne som preza & un tormento. Anch'io_ne son presa, Its a torment. Also! ‘am caught by it, la'sento bempju'forte dite = ‘kwesta——kattena lasento ben pitiforte dite. questa’ caten: it feel much stronger than you, this chain! (Lalo feel this chain, much stronger than you do!) ail ratdgone © un torments © — unaygoffa ‘una ‘pena Hai ragione: @ un tormento, un’angoscia, uma pena; ‘You're right: its a torment, an anguish, a suffering;214 I Tabarro ma ‘kwando tumiprendi = © pur grande il’_—kompenso ma quando tumiprendi, © @ ~— pur grande il_—compenso! but when you take me, is yet great the reward! (but when you take me, the reward is great indeed!) LUIGI par di mbare ——irisjeme —‘kwalke kora alla vita Pi di rubare —insieme qualche cosa — alla _vital! Itscems like stealing together something from life! GIORGETTA la volutta = & ~—pju intensa La voluti = @ pit intensa! The sensuality is more intense! LUIGI 2 la soja rapita fra © pawe Ela _— gioia_rapita fra e paure... | Its the joy stolen among and fears... GIORGETTA ' in una Seta ——_anisjoza In una stretta —_—_ansiosa Jn an embrace anxious. (in.an anxious embrace...) LUIGI fra ‘grida soffokate © — batfi ‘sentsa “fine Fra grida soffecate © baci senza fine. Among cries, stifled and kisses without end... GIORGETTA e parole so'mmesse E parole sommesse.. And words soft. (And soft words...) éyureimenti © promesse Giuramenti © promesse.. Vows and promises... LUIGI ‘desser ‘soli noi Dresser soli noi. Tobe alone Us. (Tobe us, alone...) GIORGETTA noi soli via Jontani Noi soli, via, Jontanit Us alone, away, far!I Tabarro 218 LUIGI noi ‘tutti ‘soli jontani dal ‘mondo Noi tutti soli, Jontani dal mondo! Us all alone, far from the world! (then with a start, as ifhe had heard steps) © tui z tui? Isthat him? GIORGETTA (reassuring him) no non anjkora ‘dimmi ke tome'rai piu tard No, non ancora. Dimmi che _tornerai pitt tardi... No, not yet. Tellme that you'll return later. LUIGE si fra unora Si, fra unora... Yes, in GIORGETTA askolta —_‘kome ‘esi laffers — la_—_passe'rella Ascolta: come jeri lascierd —la_passerella. Listen: like yesterday Tlleave the —_gangplank up. ‘sono io ke la tolgs Sono io che Ia tolgo... Itis 1 who takes itdown... ai je ‘skarpe di korda Hai le scarpe —di_—corda? Do youhave the shoes of rope? (Do you have rope-soled shoes?) LUIGL si fai Jo ‘stesso. se’ppale Siw Fai Jo stesso Yes... Will you give the same GIORGETTA si il fjammifers. attfezo Si. fiammifero acceso! Yes... the match lighted! (Yes...the lighted match!) ‘kome uemaya sul ‘brattfo mio 'tezo ‘Come tremava sul braccio mio teso How it trembled on the arm mine outstretched la pikkola jamella la piccola—_fiammellat the little flame! (How the little flame trembled on my outstretched arm!)216 I Tabarro mi pareva dattfendere ‘una ‘stella ‘Mi pareva d'accendere una stella, Itseemedto me to light aili stir, fjamma del ‘nostro. amore fiamma del nostro amore, aflame of our love, ‘stella ‘sentsa__tra'monto. stella senza ‘tramonto! astar without setting! (a star that doesn’t set!) LUIGI io vokéo = tata ‘bokka vokho le tue karetise To vogtio = ta tua bocca, voglio —le tue carezze! 1 want your ‘mouth, Twant your caresses! GIORGETTA ‘dugkwe — ‘anke tw lo'senti alle il Dunque anche —tu_—ilosenti,—folle il ‘Then also you feelit, mad the LUIGI (with great iniensity) ‘tlle di dgelozia_—_ vorrei tener ‘stretia Folle di gelosia! §—-Vorrei tenerti —_stretta Mad with jealousy! Iwouldliketo hold you close. ‘kome ‘una ‘koza mia come una cosa miat like a thing mine! (like something that is mine!) vorrei nom pj sofftir ke un ‘altro fi tolkkasse Vorrei non pitt soffrir che unalltro ti toceasse, I would like no more to suffer that another man you touched, (1 don't want to suffer any longer knowing that another man touches you.) © per sotarre a ‘tt il ‘kop tus divino e _persotrarre a tutti il corpo ‘tuo divino, and to take away from everyone the _ body yours divine, (and to keep your divine body away from everybody.) io te lo'dguro nontrems a vibrare—il_—koltell te lo giuro, nontremo a vibrare coltello, I swearto you, _Idon'tfear at wielding the knife, (1 swear to you, I'm not afraid to wield my knife) e kon gottfe == di ‘sangwe ——_fabbri‘karti un dsojells © con gocce di sangue, —_fabbricarti un gioiello! and with drops of blood, create foryou —a—_—jewell! (Giorgetta tries to refrain Luigi, and frightened, she sends him away, while watching the cabin. Luigi runs off quickly, pushed by Giorgetta,)WN Tabarro GIORGETTA (painfully running her hand over her brow) ‘komee —diffitfile‘esser felitfi Comeé difficile esser felici! How itis difficult tobe happy! (How difficult itis to be happy!) (Now darkness is total. Michele, with the lighted lanterns, comes out of the cabin.) MICHELE perke nom vai a ‘ett Perche non vai a letto? Why dontyou go 0 bed? GIORGETTA e Ew? And you? MICHELE no non ankora No, non ancot No, not yet... (Chere isa silence. Michele has placed the lanterns about the barge.) GIORGETTA ‘penso ke ai “fatto ‘bene a _tratte'nerlo Penso che hai fatto bene a trattenerlo. Ithink that youhave done well to keep him. MICHELE Ki mai Chi mai? ‘Whom do you mean? GIORGETTA Invidsi Luigi. MICHELE forse 9 fatto ‘male ‘womini Forse ho fatto male. uomini: Perhaps Iwas wrong, men: (Perhaps 1 was wrong, Two men will be enough:) non tfe ‘molto lavoro. nonce molto lavoro. there isn't much work. GIORGETTA il'tinka lo powesti_litfensjare Tinea —_lo potresti_licenziare... Tinca you could fire...218 WTabarro MICHELE subriaka per kalmare iswoi —_dolori S'ubriaea per calmare —isuoi dolori. Hegetsdrunk to allay his pains. a per ‘mote ‘uma baigafja Ha per moglic una _bagascia! Hehas for wife a tray ‘beve per non uttfiderle Beve per non ueciderla... He drinks so as not to kill her. (Giorgetta doesn't reply, but she seems perturbed and nervous.) MICHELE ke ai Che hai? What's the matter? GIORGETTA son tutte ‘kweste _‘storje ke a me non inte'ressan> Son tutte queste _ storie che a me non interessano... Are all these stories. which don't interest me. MICHELE (suddenly going over to her, with anguish and emotion) perke nom ‘mami pju perke Perché non m'ami pit, perehe? Why don't you love me anymore, why? GIORGETTA (coldly) ti zbaksi ‘amo tu sei ‘bwons =e ones Tisbaglis ‘amo. Tu sei buono —€_—onestom You're wrong; [loveyou.. You are good and honest... (as if to cut short the conversation) ‘ora aridjamo a dor'mire Ora andiamo a dormire... Now le'sgo to __ sleep. MICHELE (fixing his eyes on her) non ‘dormi Tu non dort You don't sleep! GIORGETTA Jo sai perke non ‘dorms Losai perch non dormo... Youknow why Idont sleep. © ppoi la ‘dentro 'soffsko nom ‘poss E poi. Hidentro soffoco... Nom posso! ‘And besides... inside there I stifl Tcant!WTabarro 219 MICHELE. ‘ora le ‘notti son ‘tanto ‘froske Ora le notti son tanto fresche.. Now the nights are 50 cool. e ‘anno ‘skorso — la._—i)—kwell ‘nero. ‘guffo E anno —scorso. tain’ quel_ nero guscio And last year, there in that black shell eravamo pur tre eravamo = pur tre. wewere even threc of us.. ‘fera il lettuttfs del ‘nostra Cera lettuccio del nostro ‘There was the crib of our ] GIORGETTA (upset) | iI'nostrs bimbo taf | Unostro bimbo! Tacit Our baby! Keep quiet! MICHELE (insisting, moved) tu spordsevi la ‘mano Tu sporgevi la mano You stretched out your hand | © Iokullavi doltjemente lenta'mente | © doleemente, 1 entamente, | and sweetly, slowly, | eppoi sul ‘brattfo mio taddormentavi | © poi sul braccio mio taddormentavi... and then on the arm mine you would fall asleep... | GIORGETTA (with suffering) ti suppliko miele non dir njente Ti supplico, Michele, non dir niente. Tbeseech you, Michele, don't say anything... MICHELE ‘erano ‘sre ‘kome —‘kweste. «== se. spirava. «la breddza Erano sere come queste.. Se spirava la. brezza, They were evenings ike these. Ifit, wafted, the breeze, (They were evenings like these... Ifthe breeze was wafting,) virakkotevo —inisjeme nel tabarra | viraccoglieva insieme —_nel tabarro T gathered you both inmy cloak | kome in una katrettsa come in una carezza.. as if in a caress...20 MTabarro ‘sento ‘sulle mie ‘spalle ——de'vostre teste ‘bjonde Sento sulle mie spalle levostre teste bionde.. I feel on =o my shoulders your heads blond... ‘sent le vostre bokke = vitfino alla’ mia ‘bokka Sento Jevostre bocche —vicino. = alla mia_hocea... feel your mouths close. ‘omy — mouth... ‘era tanto felitfe a tanto felitfe Ero tanto felice, ah! tanto felicet Twas. so happy, ah! 30 happy! ‘ora. ke non tfe pju Kapelli —‘gridsi Ora che non c'é pitt capelli ——_grigi Now that he's nomore, hair gray mi'sembrano = un insult ‘alla tua doventu misembrano un insulto alla. tua_gioventitt seems to me (like) an insult to your youth! (Now that our son is dead, my gray hair scems to me an insult to your youth!) GIORGETTA " a ti 'suppliko mikele non dir ‘njente = an Ah! ti supplico, Michele, non dir niente! == Ah! _ not Ahl Theseech you, Michele, don't say anything! Ah! No! no ‘kalmati mikele ‘sono ‘ nan ‘reg? ‘yjeni No... calmati, Michele sono Non reggo... vieni.. No... calmyourself, Michele Iam Tcant stand come.. MICHELE (harshly) ma nom pwoi dormire Ma non puoi dormire. But youcant sleep. ke non devi addormentarti che nondevi _addormentarti. that you musn't fall asleep. GIORGETTA (terrified) perke mi ‘itfi ‘kwesto Perch? midieit questo? Why doyoutell me this? MICHELE non 69 ‘bene ma 59 ke e'molis tempo Non so ber Ma 50 che molto tempo T don't quite know. But know that itsalong time ke non ‘dorm che non dormit that youdont — sleep! (irying 10 draw Giorgetta 10 himself)IW Tabarro 22i ‘notti notti, nights, ‘kwesta —‘barka questa area this boat © mibatfavi ¢ — mibaciavi. and you kissed me... ‘stessa stessa. same, ‘kredi eredi? do you think? yesta viino = ame nonti rikordi ‘altre Resta vicing ame! _Non tiricordi altre Stay close to me! Dor'tyouremember other ‘altri "Yeti ed ‘altre ‘tune altri ‘labbra_—_profumate OLabbra profumate... ‘Oh tips perfumed... SOPRANO 2 profi'mata sera tfe Ja tuna © profumata sera, = C't Ia tuna... Oh perfumed evening... ‘Ther’s the moon... TENOR Ia tuna ke fi ‘spia La tuna che ci spia... The moon that us spies. (The moon that watches us...) ‘SOPRANO a dmani_ mio amore A domani, — mio amore. Till tomorrow, my love...I Tabarro 223 TENOR domani —aimante— mia Domani, amante mia! Tomorrow, lover mine! (A distant bugle plays taps from a military barracks. Michele slowly and cautiously comes close to the ‘cabin, listening intently ) MICHELE ‘nulla silentsjo Nullat ——_Silenzio! Nothing! Silence! (eravling towards the wall and peering inside) 2 lla non se spaléKata non ‘dorme ——_aspetta Eat. Nons'® spogliata... non dorme.. — Aspetta... She's there! She hasn't undressed... she isn't sleeping... She's waiting... ke'koza_—_aspetta Che cosa aspetta? ‘What is she waiting for? ki ‘forse il mio 'sonno Chi? Forse il mio sono! Who? Perhaps my sleepl... Bivins trasformata Chi Tha trasformata? Who hasher transformed’? kwal ombra. = maledetta © © diffeva_— fra Qual ombra —maledetta’ @ = discesa’ fra What shadow cursed has fallen between us? (Who has transformed her? What cursed shadow has fallen between us?) ki Ja insidjata Chi ha insidiata? seduced her? ‘oppo vekkjo.—il'tigka forse Troppo —_veechio! ‘I Tinca__—_forse? Too old! Tinea —_perhaps? ™ tom ‘pena beve © dukwe ki Now non pensa, eve. E — dunque chi? No... hedocsn't think, he drinks. And then who? Iwidsi nose 'proprjo‘kwesta'sera. voleva.©—_aabbando'narmi Luigi? Nose proprio questasera —voleva_~—abbandonarmi.. Luigi? «No. if__ this very evening hewanted to leave me...