341 LUCREZIA BORGIA Opera in a prologue and two acts. Music by Gaetano Donizetti Libretto by Felice Romani, based on Victor Hugo's play Luorbce Borgia First performed at Teatro alla Scala, Milan on December 26, 1833 GHARACTERS ‘Alfonso, Duke of Ferrara: baritone Lucrezia Borgia, his wifo: soprano Maffio Orsini, a Roman nobleman: mezzo-soprano Gennaro, a young mercenary: tenor Joppo Livorotto, a young gontloman: tenor Apostolo Gazella, a Neapolitan gentleman: baritone ‘Ascanio Petrucci, a Sienese nobleman: bass Oloforno Vitellozzo, another nobleman: tenor Rustighello, confidant of Duke Alfonso: tenor Astolfo, a robber in the service of the Borgia: bass Gubotta Boveranno, one of Borgia’s honchmon: bass ‘An Usher: tenor ‘A Cup-Beater: baritone Gontlomon, Ladios, Maskors, Honchmo: Courtiors, ‘The action takes place in Venice and Ferrara during tho oarly Sixteenth Contury ‘THE PLOT PROLOGUE Gennaro appears on a terrace in the Grimani palace in Venice. Unbeknownst to him, be is the son of tho infamous Lucrezia Borgia. Ho comos out to take tho night air, followed by his fivo friends, Orsini, Gazella, Petrucci, Vitellozzo and Liverotto, and by a mystorious figure they take to be a Spanish nobleman, but who is really Gubetta, an agent of Laicrezia Borgia. In the morning they are all to join an ‘embassy to Ferrara, to the court of Lucrozia and hor husband Alfonso d’Esto. ‘The mention of her name causesa shudder in all of them. Gonnaro, not wanting to hoar further tales about Lucrozia prefors to take a nap on a bench. After his friends disperse, he is discovered by a masked woman who has appeared isombarking from a gondola. It is Lucrezia Borgia, who is so taken with the sloeping youth that she does not notice two dark figures lurking in the shadows. They aro her husband Alfonso and his henchman Rustighello spying on ber. She sings of ber love for the young man. Gennaro awakes and is dazalod by the woman bofore him. He doclares thore is only one women he loves more: his mother whom he has never seen. Ho declares his love for Lucrozia. Ho sings untruthfully about his bumble origins as the son of a fisherman. Gennaro's companions return, recognize Lucrezia and one by one denounce her as tho murderess of thoir relatives. Gennaro, having no idea of the identity of the woman, he has fallen in love with, is horror-stricken, His frionds promptly toll him that she is Lucrezia Borgia. He recalls in horror.342 ACT ‘Scono One In a public place in Ferrara, Duke Alfonso, Lucrozia's fourth husband, has identified Gennaro as Lucrezia's lover and vents his fury. Gonnaro and his frionds arrive in the square, see the lettars BORGIA tundor the escutcheon of the palace, and Gennaro, to show his contempt for Lucrozia's crimes, hacks away the first letter of the name, leaving only ORGIA (moaning 'orgy"). Disimayed at the possible outcome of such an unwise jest, tho friends disperse. Two cloaked figures appear. ‘They are Astolfo and Rustighollo, each in search of Gennaro, one sont by Lucrezia, the other sent by Alfonso. Rustighcllo ‘summons his followers and throngh supariotity of numbers forcos Astolfo to leave tho field to him and he breaks down the door to Gennaro's lodgings. Scane Two. In a room in the palace Alfonso hears that Gennaro has been apprehended. Ho orders Rustighello to fotch two decanters of wine, one of silver and the other of gold and to hold thom in readiness in the ‘adjoining room. He wams him not to try tho gold decanter, for it contains the poisoned wine of the Borgias. Luctozia enters in a fury, demanding that Alfonso apprehend and punish whoever it was that ofaced the Borgia crest. Calmly Alfonso tells her that her wish has alroady boon carried out and that the culprit will be killed. Lucrezia is aghast as the prisoner (Gennaro) is led in and more so when he confesses his guilt. Sho bogs Alfonso fore private meeting and pleads for marcy. When he accusos her of loving Gennaro, she vehemently protests her innocence, but Alfonso remains adamant, merely allowing her to choose whether Gennaro will dio by the sword or by poison. In desperation, she begs ‘that he not dio by the sword. Gennaro is brought back, and Alfonso tells him that he has yiolded to Lucrezia's pleas to set him free. Surprised! and encouraged by such clemency, Gonnaro reveals thet he hhad once saved the life of Alfonso’s father in battle. Alfonso foigns gratitude and offers him monetary reward and an appointment in the forces at Ferrara. Gennaro refuses both, sinca he has given his allegiance to Venice. Alfonso thon suggests that they share a parting glass of wino and summons Rustighello to bring in the two wine decanters. Ho forces Lucrezia to pour the wine; from the silver decanter for himsolf and from the golden one for Gennaro. No sooner has Laucrazia boan left alone with Gennaro, than she tells him he has been poisoned and informs him she has an antidote. Uncortain as to whether this is further treachery, Gennaro drinks, Lucrezia barely has timo to push Gennaro through 4 secret door before her husband rotums, ACT ‘Scone One Jn a courtyard loading to Gonnaro’s lodgings, Gennaro admits that he still loves Lucreaia dospite his Tecent foelings of revulsion towards her. Rustighello and his followers come to arrest him once more, but before they can do $0, they overhoar @ conversation in which Orsini dissuades Gennaro from Promplly leaving Ferrara by promising to accompany him on the following morning after they have attended a banquet given that evening by the Princess Nogroni, As thoy loavo, Rustighello restrain his followers, telling them that there is no need to detain Gonnaro. Lucrozie, in the belief that the young man has left Ferrara, has organizod the banquet at Princess Negront's in order to be revonged on his companions, By attending the banquet, Gennaro 1s going to his death, and tho Duke thus will have gained his objective. Scone Two At the Princess Negron's banquot the festivities are at thoir height when Gubetta creates a diversion by mocking Orsint, who is about to sing a drinking song he has composed. Daggors are drawn and tho banquet breaks up in confusion, As soon as the ladies have left, Gubotta allows himsolf to be placated and offers to drink to renewed friendship, A cup-beeror brings fresh glasses. Gennaro remarks to Orsini that Gubetta has tossed the contents of his wine over his shoulder, but Orsini is too intent on his drinking song to pay any attention to this. As they all join in Orsini's drinking song, a funeral chorus is hoard offstage. The lights go out and all doors are now bolted. Panic gives way to chilling horror as Lucrezia appears. They have all boon poisonod, she tells them and five coffinsawait them. But Gennaro stops forward and tells her that she miscalculated. A sixth coffin will be nooded. In consternation,343, Lucrezia has her armed followers lead the other five victims away and again tries to farce the antidote on Gennaro. But whon he loarns that thore is only enough antidote for one, he insists that they all die together, Lucreaia first of all. He takes a dagger and is about to stab her when in desperation she declares that he too is a Borgia. She then reveals that she is his mother, the unknown mother he has ‘worshipped for so long, and pleads with him to savo himsolf. Howover, ho profers to dio, his decision ‘being reinforced by the sounds of the death ogonies of his poisoned friends. Alfonso, believing himself the master-mind who has outwitted even the treacherous Borglas, comes to gloat over his revenge. At this point Lucrezia informs him that Gennaro is her son. At the haight of her anguish she collapses lifeless over Gennaro's body.348 Lucrezia Borgia, Prologue PROLOGUE Scone Ono (it is evening and on the terrace of the Grimani palace in Venice a party is taking place. From time {0 time masked figures cross the terrace, on either side of which the palace iteolf is visible, splondidly illuminated. In the background is the Giudeca canal, upon whose shadowy waters one ‘can so now and thon a gondola crossing. In the distance is a view of Venice by moonlight.) GAZELLA telda venetisja Bella Venezia! Beautiful Venice! PETRUCCI mabile Amabile. Charming. GAZELLA, PETRUCCI ‘dont piatfer sotdxtsomo Dogni placer soggiomo! Ofevery pleasure tho placol (Tho place where pleasure dwells!) onsint ‘men ‘di tue oth © Timpido Men di suo not © limpida Tess than her nights is clear dnpaltro ‘elo cl “Asoo oagn‘altro ciclo il giorno. of ovory other sky the day. (The nights in Venice are clearer than the days elsewhere.) (Poople gather from all directions to see the masked revelors passing by.) ORSINI, LIVEROTTO, VITELLOZZO, PETRUCCI, GAZELLA © locator grimeni “noi segwirem = domanl E Torator Grimani noi seguirem = domani: ‘And theorator Grimani_ © wo willfollow tomorow; ‘ali avremo imal ‘ali detinge inva al po Tali, avromo mai, tali dolizio in iva’ al Po? Such shall we ever find, such pleasures. by shores of the Po?® (We are duo to leave tomorrow with Grimani, the orator; can we ever find such pleasures by the Po?) GUBETTA (stepping forward) ‘le atvrem datfonso © splendida Lo avrem. DAlfonso 8 ~—splondida We shall have them. Of Alfonso is splendid. ‘ho Grimant were a noted Venntian family at tho end ofthe XI centary. Doges and popos and a sreet numberof umn of Jocors and humanitis dasoanded from thar. thy Po isan Talla river that courses though Farm ant flows into the Ada soaLucrezia Borgia, Prologue 345, ‘eta la one i Wwkrewsja ‘bord lista la corto asa: Lucrezia Borgia... merry the — court too; Lucrezia. Borgia. (We shall have (those pleasures]: Alfonso's court is merry Y and splondid, [and thon, thoro is] Lucrezia Borgia...) cHoRUS, TUTTI sickwetati ‘non ‘le notmar ézammai ‘Acquetati; non la nomar siammai, esp quiet; don't mention her name, never. VITELLOZZO rome euckrs ee kwesto Nomo esscrata 8 quasto. Name ccursod is that (That is @ cursed name.) LIVEROTTO ta bora io Ta detesio La Borgia, io ‘Ia detasto. Ta Borgia, test her. CHORUS, TUTTI ‘i Teme olpe intendere =e = aria ‘nom ‘pwo Chile sue colpo intendere © = odiarla non puo? ‘Who her crimes knowing and_—hateher_ cannot? (Who, knowing her crimos, could not possibly hate her?) ‘ORSINI a ee viditemi Io pin ditt, Uditomi. 1 more than anyone. Listen to me. (All draw closer.) ‘um ‘vesso ‘un indovino Un —_veglio, un —_indovino... An oldman, = a See. GENNARO novelator perpewo —esser wo! ‘dunkwe o¥sino Novollator porpetuo —osser vuoi dunque, —Orsino? A teller of tales perpetual tobe wish you thon, Orsini? (Do you, Orsini, then wish to be the perpetual teller of tales?) LIVEROTTO, VITELLOZZO, GUBETTA, PETRUCCI, GAZELLA “ant Tacit Keep quiet! GENNARO ‘alfa la “bordga im pafe wir di ‘mi ‘spiatfe Lascia Ia Borgia in pace: udir di ei mi spiaco, Leave La Borgia in peace; tolhear about her I dislike.Lucrezia Borgia, Prologue LIVEROTTO, VITELLOZZO ‘non linterrrompere ‘breve ‘il'suo ‘dir sara non Tintorrompere; breve ilsuo dir sara. Koop quiet, dont interrupt him; brio his story will be. GENNARO. io dormira destatem’ ikwando fnita avra Io dormird, Dostatomi quando finito avra. Tam going to sleep. Wake me up when finished ne is finished.) (He stretches out on a bench and soon is asleop.) ARIA ORSINI vditemi neil fatal ‘di Yimin © = memprabil = gwenra Uaitoma. Nolla fatal di Riminie —— memorabil —_guorra, Liston tomo. In that fatal of Rimini and momorablo war, (During that fatal and much remerabered war in Rimini,) ferrito © — ‘kwazi_ ezanime ‘mi‘dsaifeva a enna forito © quasi esanime migiaceva a terra. wounded and —_almost lifeless 1 waslying on the ground. dgenmao 2 me soktkorse il suo desirjer Gennaro 4 me soccorse, ——il'suo_destrior Gennaro to mo_ aided mo, (on) his steed ho placed mo, (Gonnaro came to my aid; placing me upon his horse) © in solitario ‘bosko ‘mi'trasse = tmi salvo © in solitario bosco mitrasse mi salvo. and toa — solitary wood he brought me and saved me. LIVEROTTO, VITELLOZZO, CHORUS, TUTTI la'sua viru’ kouosko a'sua pjeiade La sua virtt conosco, Ia sua _pistade His virtuo Tam aware of, his compassion ORSINT la ella ‘notte ‘tafita Tena pikfendo == ‘speme 1a nella notte tacita, lena piglando © —_—_speme, There inthe night quiet, courage we took and hope, (Thore in the silence of the night wo took courage and hopo,) asurammo —_insjem di Vivere & moire inisieme giuremmo —insiom di vivo © ‘morire insiome. wo swore together to live and die together morro attloca fe grids sonora morroto’, _allora sida sonore: "And together you shall die’, then (a) voice shouted ——_sonorous; (@ sonorous voice cried out)Lucrezia Borgia, Prologue 347 © um vekKo im veste ‘nera—dsgante 2 noi Soff © un vogtio im vosto nara giganto «noi sof. and an oldman —— in dross lack huge tous appoared. (and an old man dressed in black loomed before us.) LIVEROTTO, OTHERS ‘felo Golo! Heaven! ‘ORSINI fatdesite ‘bordse © “dgovani ci prosegwi piv tone "Fuggito Borgia, © giovani’, —oi_—=—prosogud ii forte. ‘Flos from the Borgias, oh young men’, he continued _ still Jouder yet. ‘odio ‘rea Wvkrettsja "Odio alla re —_Lucrozia, "Thate that guilty Lacrezia; dove Tukretsja ‘mmonte dove Lncrozia morte’. wherever there is Lucrozia—thoro is oath’. LIVEROTTO, OTHERS ‘ewal mago cera ‘per prafetar koi Qual mago oglera por profetar casi? What soor was he, to prophesy thus? ORSINI sparve Ypderio evento. “in. ‘swomo “di dtmento Sparvo cid dette, © il_—vonto, in suono di_—_Iamonto, He disappeared, thus saying, andthe =~ wind in sound of ——_lemont, (Thus saying he disappeared, and the wind in tones of lamentation.) wel tnome ‘Kio detesto we volte repl'ko qual noma chiio detasto tre volte replicd. that namo that 1 dotost three tims choad. (echoed three times that name that I detest.) LIVEROTTO, TUTTI vio vatitfinjo --e'kwesto. «= ma. fe ‘pra ‘dark ‘no Rio vaticinio ——_& quos maf puoi dargli? No. Evil omen is this, but crdence can you Jend it? No. (This is an ovil omon, but can you lond it any credence? No.) (Tho sound of a band is heard from within the palace ) ‘CHORUS seni Ia “dantsa injvitatfi handy a Si WistiFmmadini Sonti, la danza invitaci Bandoa = si_—tristi— immagini, Listen. the dance invites us. Banish such sad thoughts, passsjam la ‘notte in ja passiam la notte in gioia. et us spend the night in merriment.148 Lucrezia Borgia, Prologue asa kwet:lempja femmina ne we tormento eg taja ‘Assai queltompia fommina _ne dia tormento 9 nia, Enough that wicked — woman gave us torment and grief. (That wicked Lucrezia lias given us enough torment and grief.) ‘ORSINI fede a —fatlatfi 3roskopi Fode fallaci Faith in fallacious horoscopes ‘anima mia rom ‘presta fe Yenima mia non prosta the soul mine does not lend credence, (My soul does not believe these dubious horoscopes.) ma pur imio maligrado ‘ma pur, mio malgrado but yt, despite mysolf ‘un ‘palpito tal sovwenir mi ‘desta un palpito tal sovvonir mi dosta, a shudder that remembrance awakes in me. (shudder whenever I think about it) ‘spesso dovugkwe ‘mova ‘we ‘vekta drendo ‘wove Spesso dovunque ovo, qual vocchio orrendo trovo, Often everywhere Itum, that oldman —_ hideous find, ‘kwela minatifa ——_otbile ‘notte wdir quolla minaccia —_orribilo parmi otto udir, that throat horrible Tsoem et night to hear. LIVEROTTO, THE OTHERS, CHORUS ‘finke ‘il leon temmuto ‘ne'pordge silo. © = auto Finchd il Leon temuto ne porge —asilo. 9 aiuto, While the lion feared grants us refuge and help, (While the feared Lion of Vonico grants us refuge and help.) “arti © il ftror “de “bordsa ‘non Yfi potran kotpir Torti ¢ il furor de’ Borgia non ci potran colpir. thoevilarts end the fury of the Borgla cannot us harm. ‘Vieni la ‘dantsa_injvitatfi laffam ostui dormir Vieni, Ia danza invite... Tasclam costai dormir. Come, ths dance invites us... lotus leave him —_slooping. (They ail disperse. A gondola pulls up to the landing and a masked woman alights. Sho comes forward cautiously. Seaing Gennaro asleep, she approachos and looks at him with affection and respect. Gubstia comoe up to hor) Scane Two SCENA AND ARIA LUCREZIA. tray’ witlo ‘Teanquillo Poacafully ‘pose posa. is resting. FesLucrozia Borgia, Prologue 249 san kozitrarfkwille ‘sue notti_— ‘sempre Ob sian cos tranquille suo notti_ sempre! Oh! May thoy be thus peaceful his nights always! © mai provar ‘non debxba E mai_provar non debba And ever know he mustn't (And he must never know) wal ‘elle ‘notti ‘mie kwantte il tormeato qual delle notti mie quent’ il tormento! what of the nights mine what is the torment! (the torments of nights such as mine!) (fo Gubetta) ‘sci tw Sei tu? Isthat you? GUBETTA ‘oni pevento ke alla viskopra Son io. Pavento —che_—aloun vvi scopre: Its L Vear that someone may recognize you: ‘ai “dsomi astri © © “vero ‘skudo © = vernettsia ‘Ai giomi vostri, @ vero, scudo 8 Venezia: othe days yours, itis tru, shiold is __ Venice; (Your life is shielded, that is trae, by [the powors of] Venice;) ‘ma vjetar ‘nom pwote ‘ke kono ffuta ma viotar non puoto che conosciuta but prevent itcannot that, recognized, ‘nom vir'sultt atkuno non viinsulti alcuno. ‘you would not be insulted by someone. (but [that shield) could not prevent you boing insultod by someone, once you are recognized.) LUCREZIA. ¢ —— insuftata sarei matsborre opnuno E — insultata sari Muabborre ‘ognuno! And insulted Ishould be! Tam abhored (by) _everyone! ‘pur per ‘si tista sorte ‘mata ‘io non ‘era Pur, per si trista sort? nata io nonerm. Yot. for such sad fata bom I — wasnot. (Yet, I was not bom for such a sad fate.) 9 potessio. = Yar tanto ‘ke = il_—patesato ‘nom Tosse ‘Ob! potessio far tanto che il_—passato non fosse, Ob! Could but do such that the past it worent, (Oh! Could I but cancel out the past.)350 Luoronia Borgia, Prologue © jin ug Kor olo. destare tun senso “dipetade more e in un cor solo. dostarvun senso. di_—_pietado © amor, and in ona_heart_ only arouse. a sense. of pity and love, {and arouse a sonso of pity and love in but ono hoart) ‘ee imvano ‘al ‘mondo im mia grantdettsa_— ‘ten cho invano al mondo in mia grandezza_- io. chiodo! which in vain ofthe world, in my greatness «Task (which 1, for all my greatness, ask of the world in vain!) ‘ewel“dsovim ‘vedi Quel giovin vedi? That young man, do you {Do you soe that young man?) GUBETTA © abu to Begwo. eda pia ho soguo, Isoo him, and for several days I have followed him, inéamno vento skoprir larkan> indamo tonto scoprir Yercano vainly Itry to discover the eooret (reason) ‘per Ini ‘vi'rad:tse da terraca &venettja por lui vitragge, da. Ferrara @— Vonozia ‘on his account brought you from Ferrara to Venice in ‘antaambaffa in tanta ambescia. in such distress. LUGREZIA ‘wu skoprirlo ‘nol pwoi —_seko ‘mi iafja Ta scoprirlo! Nol puoi! Seco? ‘i lascia. You, discover that! You cannot! Withhim —Teave me. (Cubotta leaves. As Lucrozia approaches Cennaro, tho doosn't notico two masked men crossing tho background and stopping to observe her from ofar.) ‘Scono Three ARIA LUGREZIA (affectiontely looking at him) kome "bella “wale inykanto ‘in Com’s bello! Quelo incanto in How he is beautiful! What charm in ‘no dyimmai—eddyedro “tanto No, giammai —leggiadro tanto No never graceful 50 ‘kwel ‘volts onesto © © altero quel yolto. onesto © ——_alteru! that face honest and proud! Seco te old Italian for on 20 "with hie, just as maco (com me) means "with 14 and teco (con te) rasan “with you, 1W comes fom the Latin words mecum, teu ‘acum. The Cathlie rassal i called the Varo mocu, oes with me".Lucreaia Borgia, Prologuo non sel ‘pine ‘mio. pensjero non sal pinso mio _pensioro. not him painted = my thought (No, never did my fantasy paint so graceful a picture of him.) alma, ‘mia “di “aja © «pena. or, ke atin To pwo nitrer Velma mia di gioia 8 pina or cho alfin_ lo pud sirar The soul mine with joy is filled, now that at last himitcan —_bohold. (My soul is filled with joy, as t at last ts able to behold him.) ‘mirispamja 9 ‘Yel a pena Mirisparmia, 0 iol, Ia pena Spare me, oh _—_hoavon, tho griof kei 'mi'debsba un “di spretsar choi midebba = un di_—sprozzar, that he should some day despise me. ‘se fi destass ‘no ‘non'o20 So il dostassi?... mo, non oso. If Tawoke him?. No, 1 do not dare. ‘ne skoptire ‘i'mio sembjante scoprire fl mio sembiante; reveal (to him) my face; ‘pure 9 lagrimoz> ——‘terser ‘debibo ‘wy ‘solo istante Pare il ciglio* lagrimoso —_targor debbo un solo istante. Yet my oye tearing wipo Tmust for ono moment. (Wot this tear in my eye Tmust in a moment wips away.) (Lucrezia removes her mask and dries her toars.) DUKE (from tho side) ‘vedi tessa Vodit BE dossa. You seo? tis she. RUSTIGHELLO © ‘dessa © |= wero gE dossa, > ‘voro. Itis she, that is true. DUKE Ki © gardzone Chi @ il garzono? Who is the young man? RUSTIGHELLO. ‘um Yentufjero Un —_venturiero. A soldior of forte, 1 in poetic Halian come in several ways: occ eyo, epi, Jami, ral pupil, mongibeli We find them alin352 Luorezia Borgia. Prologue DUKE wna ‘patra Non ha patria? Has he no homeland? (Whore doos he come from) RUSTIGHELLO ‘ue parent ma gwerrjer tra 1 pu vatenth No parent; == ma. guormfor = fra. i pit valonti Nor relatives; but eis awarrior among the most _valiant. DUKE xowdurio ——adopra oppane a fenrara ‘im ‘mio poter condurlo adopra ogn'ato, = a Ferrara in mio _poter. bring him uso ovory means to Forrara into my power. (Use all your arts to bring him into my power in Ferrara.) RUSTIGHELLO ‘kon grimani allaba ‘ci parte ‘ci previene il tuo _penisjer Con Grimani —alfalbach parte, ei proviene §—il tuo_pensier. With Grimani at dawn ho is leaving, ho anticipates. your thought. ARIA LUCREZIA ‘mentre ‘seme il ‘kor sommessso entre pjaggo a te daipspresso Montro gomo il cor sommesso, - mantre piango'a te 'appresso, While moans my heart grieving, while Iweop to you beside, (While my grieving heart laments, while I weep beside you,) ‘domi © ‘copa 0 daltfe. eedgetto " dori sogna, 0 dolce _oggetto, ; sleep and dream, oh sweet object." “ sol di soja di ifetto sol di gioia @ = di_—_ilotto, only of joy and of _ pleasure, ‘ed un ‘andsol_tutetare ‘non ti'desti ke = el atfor ed un —angiol tutolare mon tidesti che al placor! and an angel guardian —not wake you but for —_ploasure! (and may @ guardian angel wake you to naught but pleasure!) 2 ‘isti_ ‘notti © = “vekde atmare ‘debibo ‘sola soste'ner ‘Ah! tristi notte veglie amare debbo sola sostener. ‘Ab! Sad nights and vigils? bitter I'must alone endure. “agoje ‘sopna ‘ed un ‘andsol ‘non 'ti‘desti_ ‘kes pjatfer Gioio sogna, od a angiol mon tidesti che al piacor Dream of joys, and (may) an angel not wake you but for pleasure. Object as in the ens of tha “object” of someons's factions “xs n iting up all night” unable to seep.Luereaia Borgia, Prologue 353 (lucrocia kissos Connaro's hand. Tho two masked men leave. Gennaro awakens and grasps Lucrezia by the arm) ‘CENA AND DUET ‘LUGREZIA ‘el Got Heaven! (GENNARO ke yeldstsio Che —_voggio? What do I see? LUCREZIA lafatemi Lasciatomil Let go of mot GENNARO ‘ao dyestll sipnora No, gentil_signore. No, gentle lady. LUCREZIA Lasciatornit GENNARO mo per mia ede No, por mia fade. No, by my faith, LUCREZIA ‘Ah! Lasciatomit ‘CENNARO, No, por mia fede! ‘Kio ‘vi kon!templi arora le'dstyadra—armabil et Chie vicontempli ancora! je amabil sioto; Tet me look at you again! Comely (and) charming you are; ne paventtar dovete ‘ke infgrato ‘ed insen'sibite nd paventar = dovelo cho ingrato ed insonsibilo nor foar youmust that ungrateful and _—_ insensitive per voi i tov ‘wer per voi si trovi un cor. for you maybe proven (tobe) my _hoart. (Gnd you mustn't fear that my heart will prove insensitive or ungrateful towards you.) LUCREZIA cgenmaro =e = ia_—possibile «ke. meta prti_—atmor Gennaro! @ fia possibila © cho. = me tm porti_ amor? Gennaro, and woreit possible that «for~=s mo you feel _loval?384 Lucrezia Borgia Prologue GENNARO "wal ‘dubibjo © “il vostro Qual dubbio® il vostro? What doubt is yours? (What doubt is thera in you?) LUCREZIA a ‘dimmelo Ah dimmelo. ‘Ah, tell me. GENNARO ‘si ‘hwante ‘tive ‘io vam ‘Si, quanto lice, io amo. Yes, asmuchas am allowed, I lova you, LUCREZIA (aside) Oh —givia! Oh joy! GENNARO (uncertain) ve ve v va. There is... there is. (With decision.) eppur uditemi_ ‘esser ve'ratje ‘io ‘bramo Eppur uditomi... ossor_vernco io bramo. But —_liston to mo... tobe truthful T wish. ‘avi ‘um pju'kkars sédgerio kui ‘rutro émmenss Avvi un pid caro oggetto ‘mutro immenso ‘There is amore dear object for whom Tfeel immense LUCREZIA ete ‘me puta EB wa di mop caro? And itistoyou than mo dearer? (And this [person] is dearer to you than I?) GENNARO Ss. Yos. LUCREZIA ‘ki emai Chi} mai? Who isit? affotts affotto. affection,GENNARO ‘mia ‘madre Mia madre My — mother (i's my mother.) LUCREZIA. ‘ua ‘madre ‘Tua madre! Your mother! GENNARO ‘al per Al par Like LUCREZIA ‘ed eld Ed olla? And — she? GENNARO a —_kompjanidsetemi ‘e Ah! — compiangotemi; fo ‘Ab, pity mo; I Lucrezia Borgia, Prologuo dyenmaro Gonnara! Gennarot not ‘wu tami tm Tami? You love her? ‘a Vidi a vidi did spe her, (have novor soon hor.) LUCREZIA ‘ma kome Ma — come? But how is that? GENNARO 2 futnesta E fanosta Itis asad istorja ke story ma ‘son ‘da ma son da but Tam bya istoria cho which always ‘sempre sompro (but a strange instinct urges me to toll it to you) ‘alma korteze & ‘Alma cortose o Asoul kind and ella nel bella nol lovely in LUCREZIA favella favolla, speak! Ah! Ab, ‘vouirs ‘volt vostro volte your face ‘mi pwoi mi puoi antral altrui from others ‘dina a dia a tell it to appar appar. appoars. to me you can tell356 Luorezia Borgia, Prologue ‘ARIA AND SCENA ‘GENNARO ‘Gi peskatore —ipobile ‘esser fkkwol Di__pescatore: ‘ignobile essor figlinol Ofa fisherman lowly tobe the son Thelieved. (Lalways believed myself to be the son of a lowly fisherman, 2 (seko ‘sku ‘in napoli ‘Vissi i peimanmi miei © seco. ‘oscuro in Napoli vissi i prim’anni miei. and with him, humbly, in_—Naples Tlived tho first years mine. (and in Naples { humbly lived my early years with him.) ‘kwando ‘uy gwerrjero.—_igkenpit Quando un = gueriero incognito When a warrior ‘unrecognized by me ‘venmne dir'ganno 2 tami vonne d'inganno a trai; arrived from my decoption to _froo mo. (One day an unknown warrior came to free me from my mistaken notions about my origins.) smi je kavalio ed ‘orn Midi cavallo ed ami, He gave me a horse and weapons, © wm foto a meat ffo ° un —foglio @ me —_lascid. and a paper for me he left. LUGREZIA eben Ebben? ‘And thon? GENNARO ‘ca tmia made ‘i mizera Era mia madre, ahi misora! Itwas my mother, ah, wretched woman! ‘mia madre ke skrivea mia madre che scrivea.. My — mother who was writing (me).. ‘di tin polssente Vittima di rio —possente vittima ofa cruel powerful (wicked man) a victim per ‘me = per se tema Por me, por so temea; for me, for _harself she feared; (My mother, the victim of a powerful and wicked man, feared for me and herself) ‘di ‘nom parlar ne kjedeve 1 ‘nome ‘suo “kwall ‘era Di non parler nd_—chiede» = i_—nome suo qual om To notspeak nor inquire the name hors what it was,Lucrezia Borgia, Prologuo 357 “ald pre'gjera ‘ed obibeldita ipo calda mi fe’ proghiora, od obbedita = io. Tho. urgent she mado me entreaty, and obeyher = Tid. (Sho entreated mo urgently not to speak or ask about her or her name, and I obeyed her.) LUCREZIA (drying her tears) © tl Tokko ‘two El foglio suo? And the letter hers? (And hor lotter?) GENNARO (‘aking out a lottor from inside his doublet) miraiclo mai ‘dal ‘Kor ‘si parte Miratolo: mai dal cor si parte, Look at ft never from my heart _ it parts. (Gt over leaves my heart.) LUGREZIA 2 ewante amare ‘lagame “forse ‘im vergaris a ‘spante Ob! quante amare lagrime forse in vergarlo he sparte! Oh! How many — bitter tears perhaps in writingit' she spilled! (Oh, how many bitter tears she must have spilled whan sho wroto it!) GENNARO ‘ed 30 sippora a'kwants ‘su kwelte ‘fifre > ‘pjants Ed io, _signora, oh quanto su quelle cifre ho pianto! And 1, mylady, —ohhow much over those lines I wept! ‘me ke ‘voi ‘pur pjanidsote Ma cho? Voi pur piangete? But what is this? You also are weeping? LUGREZIA Aho Ah yes. GENNARO pianidsete Piangote? You aro wooping? LUCREZIA per lei «Sper, te Por lei. por teu For her. for you. GENNARO ‘perme. Por me? For me? LUCREZIA ‘per te Por te. For you.358 Lucrezia Borgia, Prologue GENNARO Pjardsete perme “alma dyentil voi jet aykor piukara = ame Piangoto por mo? Alma gontil voi sioto, ancor pittcaa = amo. You woop for mo? Soul kind you are, still doarer to me, (Kind soul, this makes you even dearer to me.) LUCREZIA ‘ama tua madre © enero ‘sempre ‘per ‘i sera Ama tua madre, © tenoro sompre por ti corba. Love your mother, and — tondor always for ‘koop yourself (and always keep this tenderness for her.) Yprega ke ira ‘plakisi ‘della sua ‘sorte Proga cho Tire plachisi dolla sua sorta acerbe. Pray that the rage be placated of her fate (Pray that the furious raging of her bittor fate be placatod.) ‘prega ke un tgormo ‘strindsere = ti possa al tor Proga cho un —giomo stringore ti possa al cor. Pray that some day clasp you she may to (her) heart. (Pray that some day she may clasp you to ber heart) GENNARO ‘lama si © embrami ——_vetderta ‘in oni sadgetto Lamo, si, © sombrami —_vodorla in ogni oggotto, Tove her, ys, and I seam toseeher everywhere I look, ‘una save immadsine me ‘no formato ‘o me who formato in ve formed of her in (my) ‘una soavo immagine a gentle image ‘seko dormente 0 vidi ‘scko favello soco, dormente 0 —_—vigile, seco favello with her, asleep or awake, with her ‘I speak LUGREZIA (to herself) tenes kor Tenoro cor! ‘Tender heart! GENNARO. Alma gentil voi siete, pitt cara « me, LUCREZIA Ama tua madre, otc. GENNARO amo, ete. ‘onnor ‘ognor. always. (Masked revellers approach from different sides; there are pages bearing torches, escorting knights ‘and ladies.) 7th thoracic exvity in alan postr encloes "ebest'and "boson", plto and soao (truncated us se). In most cases ik moans "hou also an important oxy in that sam eit.Lucreaia Borgia, Prologite LUCREZIA gente sappresse wi taffo Gonto ¢approssa... ti lascio. (There are) people approaching... will leave you, GENNARO (holding her back) a fermate Ah! formate. ‘Ab! Stay! ORSINI (recognizing Lucrezia, and pointing her out to his companions.) ‘i mai “vegigo Chi mai voggo! Whom doT ses! LUCREZIA ‘mie ‘fortsa — le'farti Mia forza lasciarti Tmust Jeave you. GENNARO. de Kite atmen ‘dirni éegnate Deh! Chi siete almon dirmi Please! Who you are at least to tell me (Doign at loast to tell mo who you are...) LUCREZIA ‘al ke tama e© waite e = lamani Tal cho fama e suavita = Famarti One who loves you and whose life itis to love you (and whose very life depends on loving you.) ORSINI (coming forward) fo droll To dirollo’ I will tell you. LUGREZIA (covering her face with hor mask and trying to run off) ‘dio Groat God! ORSINI (holding hor back) ‘nom partite ‘fortsa € dime ‘Nom partite. Fora udime. Do not leave. You must listen to us. LUCREZIA Gonnare! "he rules of Phmsal Doubling Raidoppianeato Siete) sate thet whauorer a word ends in « vowel with a waitan ccent s di, the following word tn the phmse develops «double consooant. Thus the normal way of sying "t wil cay iis To dird. Poatc inversion catses din) 12 com before To, end therefore i writs as one word, but with e double! end without the accent om did.360 Lucreaia Borgia, Prologue GENNARO (to his friends) ‘ke ardite ——savni atkan dinsutarla—_katpatje Cho ardite?’ — S'avvi alcun dincultarla—capaco, How dare you! If there is. someone -—to insult her able, (if someone insults her) ‘Gi dgenmaro ju stmiko aoe di Gennaro pit ‘amico non 9. of Gennaro no longer afrlend = he isn't, (ho no longor is friond of Gannaro,) ORSINI ‘iam ‘noi = wl Kjovarla, =e anf Chi siam noi sol chiarerda ni piace. ‘Who we are only enlighten har we wish (Wo only want to onlighton her as to who we are.) LUGREZIA (to herself) ° \firments Oh cimonto! Oh, (what a) trialt ‘ORSINI poi tugva Wate E poi fuga date. And thon Jet hor flee from you. (And then lot her run away.) GENNARO favettate Favellate. Spoak. FINALE TUIT! ORSINT ‘maffjo ofsini sinnoca ‘sono Maffio Orsini, signora, son io, Maffio Orsini, madam, am 1 ‘tui zvemaste =! dortmente.—fratelto cul svenasto == il’_—=dormanto fratello. whom you killed the ping ——_brother. (whose brother you killed in his asleep.) VITELLOZZO ‘io vitelli “kui ‘este Yo tsiotrutfider To Vitelli, cuit foste Io zio.—trucidar 1 Vitelli, of whom youhed == tho uncle_killed vel rapita kastety nol rapito ccastollo. inthe stolen castle. (Lam Viteli, the one whose uncle you killed as you stole bis caste.)Lucrezia Borgia, Prologue LIVEROTTO nifpote To nipote 1, anephew of Appiano, betrayed, da oi ‘spent ‘in —_injfame ont¥ito da voi spento in —_infamo convito. by you killed at (an) infamous banquet. (Cam a nephew of the betrayed Appiano, whom you had killed at that infamous banquet) ‘del ‘konte_laidsino del conte cugino, ‘of the count the cousin, ‘di siena il domino toglisto di Signa il domino. from whom — youexpropriated of Siena tho estate. (Cam Potrucct, the cousin of the Count whose estates you expropriated in Siena.) GAZELLA kortdgunta — doipresso kor'sorte congiunto _d'oppresso consorto, arelative of the oppressed husband, veldeste ‘nel ebro peri vodoste nol Tobro_perir. ‘whom. you saw inthe Tiber perish, GENNARO ‘Yel ke askolio. Got cho ascolto! Heavens, what do I hear! LUCREZIA (to herself) 2 malvadsa mia ‘Oh! = malvagia. «mia Ob, wicked my CHORUS ‘wal Yea “donna Qual rea — donne! What an evil women! LUCREZIA (to horsolf) ‘ove Tusigo ke ir Ove faggo? Che dir? Where can run to? What can I say? ORSINI (To Gennaro) ‘eke Tei eater nostro Or cho a — lei Tesser nostro & Now that to her our identities are362 Lucrezia Borgia, Prologue GENNARO, CHORUS ‘dite Dito. Tell us. ‘ORSINI, OTHERS ‘ela © donma ke injfame ‘sitere Elle @ donna che infame i 1080, She is awomen who infamous became, ‘ke orrore sira “doppi etade che Torrore sara ogni ‘tad. who the horror shall be of every age. (This woman is so infamous that she will become the object of homor for all ages.) LUGREZIA “gratia, Grazia Morcy! ORSINI, OTHERS ella © donna venefika impure men‘datfe ——_sperdsura Elle ® donna venefica, _impura, mendace, _sporgiura, She is awoman poisonous, impure, mendacious, _perjurer, tradiwije ——vilipeze sliratids ta natura traditrice —vilipesa, ——oltrageid «La natura. betrayer, she scomed, offended nature. Kome >idjata © termuta el ‘pars Como odiata 2 tomuta del paro, As hated she is feared as much, (She is hated as much as she is feared,) ke potente il destino lata chi potonto il destino la fa, for poworful destiny ‘makes her. (for destiny made her powerful.) GENNARO > Ki emai Oh! Chi a mai? Ob! = Who is sho? LUGREZIA (at Gonnaro’s feet, supplicating) ‘no din > dsenmars Non udisli, © Gennaro... Don't listen'to them, oh Gennaro. ORSINI, OTHERS AND CHORUS (tearing the mask off her face) © labora ra'vvizalaLuerezia Borgia Profogue GENNARO (to Lucrezia, urgonily) do vasa Diol. va, va! God!... Go, go! TUTTI (with a cry of horror) Ahi Ant END OF THE PROLOGUE 363364, Lucrozia Borgia, Act I ACTI Scone Ono (On one sido of a square in Ferrara there is a palace with a balcony undor which is a marble coat of ‘arms bearing the namo BORGIA in loiters of polishod copper. On the other sido there is a small house with a door onio the streot and windows lt from within, It is night. DUKE (to Rustighello) ‘nel ‘veneto Kortedds> lo ravivizasti Nal veneto cortoggio. Io ravvisasti? Intho Vonstien procession, _ did you sao him? RUSTIGHELLO © ‘me Gi port ‘al jagks © © lose'gwi E me gli posi al fianco,¢ lo seguii (And) T placed myself athis side and — followed him home ‘se ‘lombre ‘io fosse ‘del "korpo. ‘suo come se Tombra io fosso del corpo suo. as if —theshadow 1 were of the body his. {as closoly as his own shadow.) (He points to Gennare's house.) ‘ewello © lsu “tetto Quollo @ —ilsuo totto.* ‘That is his house. DUKE ‘kweldo ‘appo SL dvtkale ostelts Iwerettsja Sl Wolle Quollo? Appo i ducale stelle... Lucrezia—il'volle! ‘There? Opposite the ducal residence... Lucrezia. ——_wished it so! RUSTIGHELLO © fin ‘ess anjkora tywole Ein sso. ancora il vuole, And in it still sho wants him (to bo), ‘se ‘nom migganena ci kweli gntbetta so non miinganna di quel vil Gubotta if Tamnotdeceived by that coward Gubotta, “ire © iredir © to spiar fartivo Lire © illredir, © lo spiar fartivo. the goings and comings, and_—the spying furtive. (to come and go and furtively spy on us.) DUKE ceritrarvi ‘ei pwote ‘mane uffir ‘mai ‘vivo Entrarvi ei puote, ma ne uscir mai vivo. Enter he may, but leave, never alive. (Woices are heard in Gennaro's house.) "The word tale reelly mens "oof, but in poury itean mean « hous ora dwelling.Lucrezia Borgia, Act I 305 ‘edt oui? ‘You hear? RUSTIGHELLO ‘6 aimitfi im ‘ta'natte Gi amici in Ia notte His frionds in night akkoskeva ig Kwelle Pore 1 sovimy Toke ‘eccogliova in quelle porto il —_giovin follo. entottained in those doors the youth foolish. (That foolish youth entertained his partying friends all night in that house.) VOICES FROM THE HOUSE eviviva Evvival Hurrehl.. RUSTIGHELLO sepatrarsi —iLlalbe ‘om ‘per kostume Soperarsi lala han per costume, To take leave at dawn they have asa custom, (They usually leave at dawn.) DUKE © tultimalba =e west ke al temerasjo E Tultimfalba + questa che al_—_temerurio ‘And tha lastdawn is this that for the reckless one (This is the last dawn of day that reckless foo] will evor soe:) ‘ultima adslio ke age amitfi ‘ei ‘prende Yaltimo addio cho dagli amici prondo. tho last farowoll that from his friends he gets. (this is the last farewell he will take from his friends.) ta'mia vendetta © "prota Inmia vendetta 8 ~—moditata =o prota: my vengeance ~is._—_—plotted and ready; ‘eis lassikura =e affretta “Kol ‘Yeko ‘suo fidar oi assicura = o——afrotia col cieco suo fidar. he assuresit and astens it by the blind his tustiuiness he [Gennaro] will hasten and assure it by his blind trustfulness.) RUSTIGHELLO mae later geimani a Sirekaesi “ad ‘onta Ma so Paltior Grimani la sirwcassi ad omta? What if the proud —Grimani by this should be offended? DUKE ‘mai per koldestiintsani ‘me ‘nom vara sfdar Mai per —_codesti insani me non vor’ sfidar. Novor for thoso madmen mo — wouldn'the defy. (Hie would never defy me on account of those madmen.)386 Lucreaia Borgia, Act I kwalugkwe sia_—_levento ‘ke pworekar fortuna Qualimque sia evento che pnd recer fortuna, Whatever be the outcome that may bring destiny. (Whatever outcome destiny may bring,) rnetmiko ‘pom pavents afters ‘ambasfator nomico non pavento Taltero ‘ambasciator. enemy Tdo not fear the haughty ambassador. (1 do not fear the enmity of [Grimani}, that haughty ambassador.) ‘non ‘sempre ‘kjuza ‘popoli fu ta fatal La'guna Non — sompre chiusa ai popoli fu la_—fatal’ Laguna, Not always closed to people was tha —_fatal_ lagoon, (The fatal lagoon [Venico] was not always closod off to othor people.) ‘ad sltrattdzato.—_‘printfipe apir si'pwote agora ad oltraggiato principe aprir si puoto ancora, foran offended prince opened itcan be again. (and it can be opened again for an offended prince.) (The sounds from Gennaro's house become clearer. The lights go out.) RUSTIGHELLO. tutta Ta ‘notte ‘festa Tutta lanotte fasta. All night revelry. DUKE ultima saa E fultima sari. And the last one it shall be. RUSTIGHELLO ‘lula adsdio sara Lultime addio sara, ‘Tho last farowoll it shall bo. DUKE Qualunquo sia levento, otc. (The reveiters emerge happily from Gennard's house. He alone seems pensive. Gubstta appears, standing slighty apart from the others.) ORSINI, LIVEROTTO, VITELLOZZO, PETRUCCI, GAZELLA addi dgenmnars Addio, Gennaro, Farewell, Gennaro. GENNARO aii ‘nobili atmitfi Adaio, nobili amici. Farowoll, noble. frionds. ‘ORSINI ‘ma'ke "dedsdso ‘i 'mesto. mira oppor Ma cho? deggio Si mosto. mirarti cognor? But what is this? Must J so sad soa you always?Lucrezia Borgia, Act 1 GENNARO ‘meso ‘non ‘asa Mesto non gia. Sad, not at all. (Aside) potessi ‘se ‘nom veldert time dsovarti 2 Potessi, s© non vadorti, ‘almen_giovarti, ° Could I, though I cannot soc you, at least be of use to you, oh. ORSINI ‘mille betta eddsadre tran sta'vera ‘algal Mille bolta oggiadre ——saranstasora al genial Athousend beauties charming —_will be tonight at the inspired ui Ya dyer tinjvite printfipesse —ne'groni cui Ja gontil finvita rincipessa Negroni. towhich the kind invites you princess. Negroni, (to which tho kind princoss Negroni is inviting you.) ALL except GENNARO “rt “fummo imyitati Tati fummo invitati. Allofus were invited. GUBETTA (coming forvard) €— ‘il'son2 aykio E _ ilsono anchio. And Iwas also 1 (too was invited.) LIVEROTTO, VITELLOZZO, PETRUCCI, GAZELLA 2 ‘il sinnor bevevana Oh! il signor Bovorana! Oh, mister Bovoranal (All go to him, except Gennaro and Orsini.) GENNARO (to Orsini) da pertutio —& Kost Dapertutio 8 ——_costuil Everywhere is he! (He fs everywhere!) ‘eae ‘da ‘gran "tempo ‘me sospetito Gia da gran tompo ma sospotto. Already fora long time tomeheis suspect. (Chave suspected him already for a long time.) ORSINI 2 ‘non tomer wom jet> © ‘kwal ‘jam tutti Oh, non tomer: wom listo @ qual siam tutti Oh, fear not; aman meny and, as ame all of us, 367 madiro! mothor! H party,368 Lucrezia Borgia, Act I ‘uno ventato © dess0 uno sventalo = desso. a madcap is he. (Oh, do not foar him; ho is a man liko all of us, mony and madcap.) VITELLOZZO ‘or Via kozidimmesso ‘io, non tivo asetnmars Or vial cost. dimosso = io.-—snontti vol, Gennaro. Now come! So subdued 1 don't wish you tobe, Gennaro. LIVEROTTO amma'jato—tavria ore a tonsa ‘Ammalisto — tavela forso 1a Borgia? Bowitched could havo you maybo la Borg (Maybe la Borgia bewitched you) GENNARO. © onnor a parlarmi E ognor di Ii v'ndro parlarmi? ‘And always about her must hear you —_talking to mo? (Must f always hear you talking to me about her?) ‘égues ‘sl Yel sinpori ‘skertsi ‘non vOKKo Giuro al ciolo, signori, schorai non voglio. T swear to heaven, gentlemen, joking To not wish. ‘woma ‘nom ‘va ‘ke abiborra = al'paridi «=m kei Uomo non vha che abborra al perdi me costei. ‘Arman there isnt that abhors like me that woman, (The is no man who abhors thet woman more than 1.) PETRUCCI tetfote ¢ —kweltlo il‘su>_palladyo Teceto. EB quello il suo pelagic. Keep quiet. 1s that her palace. (That is hor palace.) GENNARO el stampare —'im_—fronte vorrei linjfarnja Eilsia, Stampare in fronte vorrei Vinfarnia, So itis To write om hor forehead Td. wish. the infamy, (Id wish to write the infamy upon her forehead,) ‘ke a stampar ‘som prong sa KweHle mura cho a stampar son pronto su quollo mura which to write Tam ready on those walls dove ‘seritts ‘bona dove soritto "Borgia". where is written "Borgia". (that infamy which 1 am ready to writa on those walls where the name "Borgia" appears.) le climbs a step and with the tip of his dagger pries loose the letter"B from BORGIA.)Lucreaia Borgia, Act I 369 LIVEROTTO, OTHERS ke fai Cho fai? What are you doing? GENNARO. leddsete ——adesso Loggoto adesso. Read it now. ORAINI, LIVEROTTO, OTHERS > ‘jamin “ordga Oh —diamin’ = "ORGIA" Oh —thedevill’ © "ORGY GUBETTA ‘una facta = kwesta ke pw Una faceria questa che pud A prank is this which can lostar domani ben kara aol costar domani ben cara a molt. cost tomorow very dearly to. many. (This is @ prank that can cost many of you very dearly tomorrow.) GENNARO ‘ove el eos eda Ove dol mo si chieda, Whonever tho culprit thoy ask for, me stesso a pale'var ‘pronto. soni mo stesso a ——_palosar pronto son io. 1 myself to. reveal it’ ready Tam. (When they seek the culprit I myself will be ready to admit it) (Two mon dressed in black are seen in the background.) ORSINI kwalticun {fi ssserva sepe'jamf Qualcun ci ossarva, Sopariamci. Someone _is watching us, Lat us separate. ALL aeecio Adio. Farewell. (Connaro re-ontors his houso. Tho others disperse.) RUSTIGHELLO ‘ew ‘ke ‘Hai Qui che fai? What are you doing here? “Diamina, or its truncated form dianin, isa mild expletive consisting of pants of two words: Digroo (devi), and domine (the tor.370 Lucrezia Borgia. Act 1 ASTOLFO. ke tm tem vada forma aspetto © Cho tu —tomvada—_formo : E For you to loavo here, confidontly I wait. And RUSTIGHELLO ‘ke “agombri la koritrada = fermo Che sgombri Ja contrada——formo For you togetoutof my — way confidently ASTOLFO vou Kal Gon chi Thai? With whom have you business? RUSTIGHELLO ‘kon ‘kwel“dgovine stranjers ka wi Gon quel giovino straniero hth gui With that young stranger that has here ‘kon E tm con chit And you with whom? ASTOLFO. ‘kon ‘kwel‘ésovine Con quel_giovino With that young RUSTIGHELLO kon wel Con quel? With that ono? ASTOLFO ‘ke pur ‘essa alberga "ki che eso alborga qui who as well (he) lodges here (C-who lodgos hore as wall) RUSTIGHELLO ‘dove ‘i gwidi Dove il guidi? Where are you taking him? ASTOLFO alta dukes © um eve alla Duchossa? @ —tu_— dove? To tho Dutchess. And you, where? RUSTIGHELLO ‘al dukaapzpresio Al Duca appresso. ‘To the Duke (noar) the "Ducho they re efering oe Lanois Du m ke ai tm che fai? you, what aro you doing? attends attondo, Twalt. ‘stantsa stanza. lodging.Lucrezia Borgia, Act I 37a ASTOLFO 2 la via. ‘mone listessa Oh! la via non a Tistessa. Ob! The path is not the samo, RUSTIGHELLO ‘ne ‘Kon'dutfe 2 wm Tine stesso Nd conduce a un fino _istosso. Nor doasitlead to an end same. (Nor doos it load to tho samo end.) ASTOLFO. ‘Yona ‘alta festa Lime alla festa. One to pleasure... RUSTIGHELLO ‘altra a ‘morte Laltra a morte. Tho othor one, to death ASTOLFO, RUSTIGHELLO ‘delle ‘@ue —kwal sapeira Dello due qual saprira? Of the two which will open? (Which path of the two will he take?) ‘del pjudestro «ool pj Torte al voller dipende'ra Del pitdest 0 —del_pitaforto. ~—dall_—voler_dipondori. Of tho cleverer or ofthe stronger of his will shall depend. (That deponds on the will of which of us is tho stronger and cleverer) (Bustighollo gives a signal from the street corner; a group of Borgia henchmen enter and surround Astolfo,) RUSTIGHELLO, HENCHMEN ‘nom far ‘motto ‘parti "'zgombra Non far motto, parti, sgombra: Dont saya word, go, leave, ‘piu fore = atppjen "0 vedi i pittforte ——appion Jo vedi. the stronger fully you can so: (you can plainly see who is the stronger of us two) ‘gwai ‘per te se appena vwnombra Gusi per te se appona uniombra ‘Woo betida you if oven a shadow ‘k—sospetts a tute ports di sospotto «= atu ta— prs, of suspicion to him ~—_yon_should give. (Woo betide if you arouso a shadow of suspicion in him.)372 Lucrozia Borgia, Act I ‘sai ‘ke tun tol. ‘ewi ttt ‘reakdge Sai che un solo qui_ tutto vroggo: Youknow — that one alone _here everything mules; (You know that one man only {the Duke} rules everything here:) ‘somma ‘ledidge © © “'wo_ voller somma logge = il'suo_voler. supreme law is his. willpower. (his will is ebsolute law.) ASTOLFO. Io's0 ‘mal firor “deka aurkesse Lo so. mail furor dolla Duchossa? Tknow that... but the fury of the Duchess? RUSTIGHELLO, HENCHMEN taifi © ‘dessa ‘no ‘non temer Tacit © dessa mo, nom tomor. Keep quiot.. end her, no, do not fear. HENCHMEN ‘al suo ‘nome ‘abla ‘sua ‘fama Al suo nome, alla sua fama, To her name, to. her _—_roputation, te lade estrema ‘ftfeza fo Taudaco —_estroma offosa. offered that bold one extreme offense. (That bold one {Gennaro} offended her with a dire insult) ASTOLFO. Fo Taudaco estrama offosa. RUSTIGHELLO, HENCHMEN vyendkarsi ‘il ‘duke ‘brama Vendicarsi il Duca brama: To soak revengo «tho» Duko is thirsting; © ‘stolta impreza & — tolta impresa. is afoolish —_entarprise. (it would be shaar madness to try to stop him.) ASTOLFO Wer © ‘stolta Corto, a stolta Certainly, itis a foolish RUSTIGHELLO, HENCHMEN se a‘sadtso © Oprar wt Se dasaggio —opmr_ tu i wisoly toact you (af you want to act wisely.) ei ie'gare partic doi piogare, partir, you must bend, leave impreza improsa. enterprise. ui, wish, tatfer acer. (and) Koop quiet.Lucrezia Borgia, Act T 373 (Astolfo withdraws. Rustighollo and his henchmen forco the doar to Gennaro's house.) Scone Two (There is a large door at the back of a hall in the Ducal palace. To ono sido is a small entrance covered by aglass screen. On the other side is another secret door. A small tablo draped with a velvet cloth is standing conter siqge) DUKE tmtto exequisti Tutto ‘osoguisti? Everything did you carry out? (Did you carry out all my orders?) RUSTIGHELLO ‘to “il pridgoinjero‘kwi press attend Tutto. Hl prigioniero qui presso_attonde. Everything. ‘Tho prisoner nearby is waiting. DUKE (showing him a golden key) ‘or ‘bedaa‘Kwolta ‘im ‘fondo selgreta ‘sala Or bad: A quolla in fondo secreta sala, Now listen. Of that inthe back secret chamber, detla ‘statwa ‘a “Pledi detlavol © mio statua a piedi dolfavol_ mio, @ statue at tho foot — of the ancestor mino, Bipost armadi skjode kwestaurea—Kiave riposti amnadi schiude ‘questauroa —_chiave cupboards opens this golden (Now listen. In that socrot chamber over there, at the foot of my ancerstor’s statue, axe cupboards ‘hich can be opened with this golden key, wi dardyento um vamp © mor vedrai Iwi dagonto, = un vaso. o@ = un dor vodral: ‘Thore of silver @—_goblet and ono of gold you will see. (There you will see two vessels: One of gold and one of silver.) ‘ackla propinkwa ‘stantsa ‘ambo ‘Gi 'reke Nolla propingua stanza ambo gli roca, To the adjoining room both take them. (Take both [goblets] to the adjoining room.) ‘ne dezio. "ti tenth dettlaures ‘waz No desio ti tonti dollaureo vaso. Not desire should tempt you for the golden goblet. (Bo not tempted by the golden goblet.) ‘vin de ‘bonds eldesso Vin do Borgia 8 desso. Wine ofthe Borgies itis (Rustighollo is about to go.)374 Lucrezia Borgia, Act 1 attendi akiuffe apres Yienti ti Spada armata Attondi. Alluscio approsoo-—tionti di spada_armato. Wait. Atthe door nearby stay with sword armed. (Wait. Stay outside the door sword in hand.) ovio ‘ti kjami i vaziaipporta Ovio tichiami = i vasi_—apporta; Should! call for you, the _goblots bring; (I should call, bring in the goblot ovaltro tfenno intend ‘rol ‘tern aickorsi Ovialtro ‘conno intendi, col ferro* accorri. Should another signal you hear, with your. sword run in. {run in with drawn swond.) AN USHER (/rom the door) la dukessa La Duchessa. The Dutchess DUKE (to Rustighollo) afietta Affreta. Huny. (Rustighello leaves. Lucrezia enters) koi turbata Cosi turbata? So disturbed? (Why do you look so disturbed?) LUCREZIA (roforring to tho dofaced sign of 'BORGIA’) a Noi ‘mi trae ver'detta A vol mi trae vendetta. To you brings me —_-vengpanco. {A dosire for revenge brings me to you.) ‘kolpa inavéita imfame 2 denurtsjarvi ‘io ‘vengo Golpa inaudita, _infamo, © denunziarvi io —vongo. Crime unheard of, infamous, to denounce toyou = 1come, (come here to denounce to you an infamous, novor heard of crime.) ‘avvi ‘im ferrara ‘ki ‘detla ‘vostra. ‘spoza Avvi in Forrara chi dolla vostra sposa Thore is in Forraraons who of._—your__ wile ‘pjem merid:dy> = oltradtya === ‘nome e =—mutflarln, «adie. pion meriggio —oltragsia. «=il,_=snome @ ——mutilarlo,—artisc. in broad daylight offends the name and deface it dares. (There is someone in Ferrara who dares to deface end offond your wife's nama in broad daylight.) ‘The word for “eword” has many forms. In this speech we have soem two: spala antl erro, There ls abo ‘cciaofaciciojaclar (steal) kane (bide), a the generic brand, which can be any sort of sea! weapon.