ML 50 De Da UC-NRLF I\ ife GRAND OPERA LIBRETTOS r^ ITALIAN AND ENGLISH TEXT AND MUSIC OF THE PRINCIPAL AIRS DON PASQUALE BY DONIZETTI JL JO. n. ^ OLIVER DITSON COMPANY BOSTON iCHAS'H'DITSONSa 'LYON 6t HEALX Chicago iiiiiiii ii iii M i n iiirii|ji i |i rf OPERA SCORES All the vocal scores have English text together with the foreign text men- tioned belo\v. Unless otherwise specified, these books are bound in paper. Prices include postage. GRAND OPERAS AIDA Giuseppe Verdi 2.00 In four acts. Italian text BOHEMIAN GIRL Michael W. Balfe 1.50 In three acts CARMEN Georges Bizet 2.50 In four acts. French text CAVALLERIA RUSTICANA ..Pietro Mascagni 1.50 In one act. Italian text FAUST Charles Gounod 2.00 In five acts. French text LAKME Leo Delibes 2.00 In three acts MARITANA William Vincent Wallace 2.00 In three acts MIGNON Ambroise Thomas 2.00 In three acts. Italian text SAMSON AND DELILAH In three acts Camille Saint-Saens 2.00 TROVATORE, IL Giuseppe Verdi 2.00 In four acts. Italian text LIGHT OPERAS BELLS OF CORNEVILLE, THE ; or, THE CHIMES OF NORMANDY In three acts Robert Planquette 1.50 BILLEE TAYLOR ; or, THE REWARD OF VIRTUE Edward Solomon 1.00 In two acts BOCCACCIO ; or, THE PRINCE OF PALERMO Franz von Suppé 2.00 In three acts DOCTOR OF ALCANTARA, THE In two acts Julius Eichberg 1.50 FATINITZA Franz von Suppé 2.00 In three acts. German and Italian text LITTLE DUKE, THE Charles Lecocq 1.00 In three acts MARTHA Friedrich von Flotow 1.50 In four acts. German and Italian text MASCOT, THE Edmond Audran 1.00 In three acts MUSKETEERS, THE Louis Vamey 1.00 In two acts OLIVETTE Edmond Audran 1.00 In three acts PINAFORE, H. M. S. ; or, THE LASS THAT LOVED A SAILOR Sir Arthur Sullivan 1.25 In two acts SORCERER, THE Sir Arthur Sullivan 1.25 In two acts STRADELLA Friedrich von Flotow 1.50 In three acts Send for Descriptive Circular P — Oratorios, Cantatas, Operas and Operettas. « ® OLIVER DITSON COMPANY « » .DONIZETTI'S OPERA DON PASQUALE, OOIITAIVIIIO THI ITALIAN TEXT, WITH AN ENGLISH TRANSLATIO» 4aB Cjjt Pusir of all i\t ^rinripal %ni. BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO CHAS. H. DITSON & CO. LYON & HEALV Copyright, ism, by Oi.ivek Ditsov Sc Co. Copyright, 1888, by Olivku I)n>^'> & <'o MUSIC LIBRARY University of California Berkeley 1 DI^-A-DS-d^ft^TIS I^IEJFlSOJSr^ DOW PASQUALE. BA8tf DOCTOR MAL ATESTA. BARITOÌfw ERNESTO. TENOR. NORINA. SOPRAN(» Notary, Servants, Valets, Chambermaids, Bntler. Milliner, Ualr-Dresser, UBXBTTO BT MM. ▲J.FHOKM BOTXK ▲«!> «DSTATB TABS 475 ARGUMENT. Don Pasquale was a rlcli, crednloas, bat good-hearted »ld bachelor, who lived in one of the middle Italian States. He had but one relation, a nephew, by the name of Ernesto, t fine yoang man, who had always lived on the purse of his ancle, and in the natural course of eyents, woald in- herit his wealth. Uncle and nephew had lived together in l>eace and harmony, a>tU th* former got it into his head, ©provide for Emetto n.-^"^ • wealthy widow, by which marriage he would ben mfortably settled in life. Unfortunately for the uucic :> fond plans, Ernesto had al- ready formed an attachment to « young girl of much beau- ty and many accomplishments, but of very limited fortune, — Norina, — and refused to obey his wishes- Don Pasquale became enraged at this resistance, swore he would disin- herit Ernesto, and resolved to settle himself in marriage, in order to have somebody else to leave his money to than his ungrateful and undutiful nephew Ernesto. As Don Pasquale had always kept himself quite aloof from the other sex, he was at a loss upon whom to fix his choice, when he bethought himself of a Doctor Malateata, who had been friend and physician to him a good many fears, and who might be just the person to find him a •uitable wife. Accordingly the Doctor was sent for, and made acquainted with the project of his patron. Now Doctor Malatesta, besides being sensible of the absurdity of the old bachelor's resolution, was a friend to Ernesto, ■nd immediately made up his mind, to save Don Pasquale from jost ridicule and bitter repentance, and Ernesto from 'iie fate of poverty. He informed bis patron that he had 4 aister, who had just finished her education in a convent, and come on to visit him ; that he thought her a capital match for his esteemed friend; that he would introduce her to him, and, if the impression were agreeable, the mar- riage might at once be consummated. Don Pasquale wa« delighted, and asked that the girl should ai once be brought to him. Malatesta went off and straightway in- formed Norina of the mischief that was brewing, and the means he had devised to prevent it. These were no less than introducing Norina to Don Pasquale as his — Mala- testa's — sister, spoken of previously, marrying her to him by a sham notary, and then leaving it to the wit and inge- nu.;y of Norina to disgust the bridegroom so thoroughly with matrimony, that a denouement would at last relieve all parties, restore Ernesto in the affections of his uncle, and procure Norina's hand for him. Norina did not hesitate to accept the part assigned to h«r in this plot. She accompanied the Doctor to Don P»8- qoalo's residence, and by well affected modest looks and simplicity, so charmed the old bachelor that he desired to marry her immediately. Ernesto, who had been informed of the intrigale, came Just in time to witness the ceremony. which was conducted by a nciitioos notary. No soonei were the nuptials celebrated, when, to the great astonish ment of the goooctor Malatmia. Pas. [Anxiously.] Well, well, my friend ? Mala. Hush, bash, you mast be patient ^ Pas. I am consum'd to ashe.s with impatience ! The bride ! the bride ! dear Doctor ? Mala. She is foond I Pas. Oh, bless yon ! bless you ! Mala. (What a stupid blockhead 1) Exactly such a one as you have wshed for. Listen with all your ears ; and in two words The portrait of the charmer I will draw. Pas. I am all eyes — what do I say ? all ears ! Mute and attentive, listening I wait I BELLA SICCOME UN ANGELO— BE AVTEOVS AS AN ANGEL BORN. Doctor Malatbsta. Bel - la 8ic-corae un an - ge Beau-teoua a* an an - gd lo ! In terra pel bom ! Bright as le • gri - noi dews that gem the earth ! Fre-sca sic-come il Fresh as the li ■ ly gi - glio, at its birth. ^m^mm^m^^^^^ -- ?— T-- Cbe When sa - pre op'-ning sul to mat - li - noi the mom I Oc - chio che par-la e ri • de! Lov'd eyes that speak while smil-ing ! Sgnar ■ Heart, do ch'i cor oon - 'ry heart that '^m^Mmm^^^^^m^m^ qoi-de - eonquert chioma che vince I' - e- ba-nol Sor-ri so in-can-ta-ior, sor -ri-8oin-can-t«-torl . - Hair that can vie with tb ■ » ■ ny 1 A sweet smile might Heav'n adorn, a smile might Heav'n DON PASQUALI Pa». Spout aimile! oh giabilol Non cape in petto il cor 1 Mala. Aloia innocente e candida, Che sé medesma ignora, — Modestia impareggiabile, — Dolcezza che innamora, — Ai miserì pietosa, Gentil, baona, amorosa ; n Ciel l'ha fatta nascere. Per far beato an cor. Famiglia — Agiata, onesta. Casato — Malatesta I Sarà vostra parente * [Con intenzione.] Alla lonUB* u pi 1 £ mia sorella. Oh, gioja I Di più bramar non so ! E quando di vederla * Quando mi fia concesso t Mala. Domani sul crepuscolo. Po». Domani ! Adesso, adesso ! Per carità. Dottore ! ifaia. Frenate il vostro ardore — Quetatevi — calmatevi : Fra poco qui verrà. Pat. [Con trasporto.] Davvero 1 Mala. PraparaMri, E ve la porto qaà Pa$. [Lo abbraccia.] Oh, caro ! or toste- a prenderla I Afala. Ma, adite — Pat. Non fiatate. Maia. Mar- Po». Non e' ^ ma, volate, O casco morto qaà. [ Gii tura la bocca, « io tping* via. Mala Pat. Maia Pat. Mala Pat. Pm». A wìlb Uke her joo've drawn, oh J07 1 oh tnaapen 1 I feci mj bosom cannot hold my heart ! Mala. A soul that's innocent of guile, Unconscionslj perfection, — Modest without compare, the while,— Sweetness that wins e'en loom, — Pitv the wretched showing. With gentle love o'erfluwing : By Heaven created with such worth. To bless some heart forlorn. Pat. Her family — Mala. Both wealthy and reapectabU. Pat. Ah ! of the house of— Mala. Malatesta I Pat. Is she, then, your relation '> Mala. [Aleaningly. ] Distantly I That is, she is my sister. Pat. Oh, what joy ' More 1 can never wish for ! But when shall I gaze on her * When of such bliss the donor 1 Mala. At dusk to-morrow eve. Pat. To-morrow ! Why not now ' In pity. Doctor, bow ! Mala. Bridle your ardor warm — Quiet yourself — be calm : She soon shall come, I vow. Pat. [In transport.] Come in reahty ! Mala. Prepare yoonelfi And I will bring the lovely creature here. Pat. [Embracing him.] Oh, my dear feliow ! fly like wind and fetch ber. Mala. But listen to me — Pat. Do not stay to talk. Mala. Bat, my dear Don — Pat. Bat me no huts, bat fly, Or I'll fall dead as stone upon the spot. [Stops hit mouth, and puahet ktm mm AH, UN FOCO INSOLITO— A FIBE ALL UNFELT BEFORE. Solo. Don Pasqual». ^t^^^^^mi^M^i^^ Ah an fo - coin-so - U - to. Mi sen - toad-dos - so: O - mai re - si • ste • re — A fire, all un-fdt be - ftrt, Burnt in mp heart's core : I can re-ntt no mart — ^^^mmm^^^sm^\^i§=m-\ Io pih non pos - so. Dell' e - tà vec - chia, Scor do i ma - la - ■ ni, rU ftrxve no long - er. Of old age en • fee • bUng me, For -got it the mis • e • ry. Mi sen to Fed • ing tHU *^ — ^ — t? — l^nnrr^fczt^ T ' 1 . 1 -S . .^ T — ^! — -t< . I ^ -^^-^T~- ^ ^ ri glo - Ti • ne — Co-me a vent' an - ni. Deh! cara, af - fret - ta - ti. Vie - nl spo -si - • na yovmg to be — Than twen-ty much ttrong-er. Ah ! has • ten speed • i - ly, Stoeet lit - tie bride, to me I =(5: ¥ dS — :i5 iri:zi=i^zz: riL:d^zzz:i!5i ' ^ fe h ^T~~*'i — ^~"T~'^~ ^ ^ " Ec - CO Dear lit di bam - bo - U, mez - za doz • zi He ba - biet, we FuU half a do na. Già veg - go na - see - re. Già reg ■ go ten. Then we'll have born to me, Orown up Iktt ^mf^^^m'^^^m.^^Mt^^m ere - see - re, A me d'in - tor - - no, veg - go scherzar; tetm to be All sport - ing round my knee, — 8or - row they'll co ■ ten ; Veg - go gia na - see Orown up tkey teem to DON PASQUALI. ^i^^^ Teg -go già ere - Bce • re, A bm d'in AB tport inij round my knm; Qam ^ Em. 'Tis true ! Pat. [Menacing.] In case of your refiisal to accede, Disinherit you, cut off all hope. Marry a wtfe myself, if I thought fit ? Em. 'Tis true ! Pat. Now, then. The wife I offer'd you, now three months siiiu», I offer yon again. Em. I love Norina ! My faith is pledg'd eternally to her 1 Pcu. Yes ! to one of min'd, desperate fortune- To one, a little vain coquettish widow. Em. [Warmly.] Respect a young nnblemish'd female, sir : Poor, it is true, but honor'd, sir, and virtu 3 os Pat. Have you thoroughly decided ? Em. Irrevocably Pat. Now, then, hear my decision, sir ; and thitk Of straightway finding for yourself a lodging Em. Do you, then, drive me from your favor thus ' Pat. Your stubborn headstrong obstinacy, sir. Removes all claims, dissolves all ties betwt«D or Provide, sir, for yourself — I take a wife I Em. [In the greatest surprise.] Take a wife, sii ' Pat. Yes, signor. Em. You ? Pat. I, myself, in bone and body ! Em. Pardon me — I'm in amazement ! This is a surprise, (the ]>recious noddy.) Youl Pat. [Impatiently.] I have said it — I repeat it I, Pasquale of Cometo, Proprietor, here present stated, Sane in body, in mind ditto- Announce — ^you'll duly estimate it — I marry shall without delay. Em You're playing on me — Pat On the horn I You'll to-morrow morning see. I am, 'tis true, of age mature, sir ; But well preserv'd, and shall endnre, sir — For strength and sprightliness be sure, sir, I've enough, and some to spare. As for you, sir, leave my bouse, sir — Yes. to tramp, decamp, prepare. 9 DON PASQUALF. Bft (CS Tolea qaesta mania I miei piani a rovesciar.) Sogno soave e casto De miei prini' anni, addio ! Se ambii ricchezze e fasto ^ sol per te, ben mio. Povero, abbandonato. Cadalo in basso stato. Pria che vederti misera. Cara, rinunziò a te. Pat Ma veh che originale — Che tanghero ostinato I Adesso, manco male Ei par 'capacitato. Ben so dove gli duole Ma è desso che lo vuole ; Altri che sé medessimo Egli incolpar non de. Em. [Dopo breve pausa.] Due parole ancor di volo. Ptu. Son qui tutto ad ascoltarvi Snt- Ingannar si puote un solo. Ben fareste a consigliarvi— Il Dottore Malatesta £ persona grave, onesta. ft». L' ho per tale. firn. Consultatelo Ptis. E' già bello e consultato. ''m. Vi sconsiglia'' Po*. Anzi al contrario — Mi felicita, è intantato. Em. [ Colpitissimo. ] Come ! come ! oh questa poi PoM. [Confidenzialmente.] Anzi, a dirla qui fra noi La — capite — la Zitella : Ma silenzio — è sua sorella Bru. [Agitatissimo.] Sua sorella^he mai sento t Del Dottore ^ Po». Del Dottore I Em. (Oh, che nero tradimento 1 Ahi, Dottore senza cor!) Po, Em. Po* Em. Po» Em. Po» Em PoM Pat Em. Po: Em. (His mania comes, mj hopes to baniah— Comes, to ruin all my plans.) Sweet holy dreams I loveid to cnerish Of early youth, adieu ! ye vanish ! If I e'er long'd for riches, splendor, It veas but for thee, belov'd ; But now, poor and abandon'd, I, Reduc'd from my condition high, Sooner than thee in misery see, Dearest, I'll renounce thee. Now, here's an origmai — Obstinate, wrong-headed ! Now, better (it was needed) He seems dispos'd — I prayed it. I know what 'tis he's (ireaded ; But that is what I wanted ; Others he'd have supplanted Shonid not by him accused be. [After a short silence.] Two words more, sir, I'll speak briefly I am ready, sir, to listen. One deceives oneself, sir, chiefly. To a friend for counsel hasten — Haste to Doctor Malatesta : He's a person grave, trustworthy. So I think. Consult him better. That, thoroughly, is done already. And there''» no doubt he dissuades, sir ' On the contrary, he aids, sir — Wishes me joy, is quite enchanted. \Afttch struck.] How ! how ! what's this * has he recanted ' [In a confiding tone.] Between ourselves, don't split upon her — The, the — you understand — ^young Donna She is his sister — mind, now, honor I [Extremely agitated.] His sister — hear I aright ? the Doctor * Of the Doctor ? Of the Doctor ! (Ah, what dark and fatal treason, Heartless Doctor, to betray mei) MI FA IL DESTIN MENDICO— K BEGGAR HAS FATE NOW MADE ME Ewi««to ^^5^1: :?^^z::aq^ il^ nm=^ ^E tj Mi fa A beg il destin men-di - co gar has fate now made me. per - do CO hi che a - do - ro in and her I must lose my ador'd one I He chi credeva a - whom I tho't to t» ^lÉi mi-eo ah, friend me, ah. dis - copro un tra - di-tor - I find out him a traitor d'ogni con-for - to pri - vo Bent of each joy of na - ture ml se-ro a che pur-vl - vo Why seek to live f Ahi m*I ^H^^l •b non si da mar-to - ro Hov can I bear a • gainst it f equal al mio mar-tor Unheard of mi • se - ryl ^^^} :ffi ^7=^ 5=n: -lizi d'o Bent gnl con - for - to prI ■ vo ml of each joy of na • hirt, Whf -H«- :3p: :?=?:=#: ^ se-ro a che ptir vi-vo, seek to live t ah, ne t ah!.. How non ai da mor-tor e - gua - le eguale, a mio mar - tor. can I bear against it f Unheard of, unheard of mi • te • ry I DON PASQUALK [A parte.] L' amico è Milo « ooMo, Is lasso par' cambiato I Non fiata ! Non fa motto— L' afTojra il crepacuor. Si rodti : g\ì sta bene Ha quel che ^li conviene ! Impari lo sventato A rare il be'lo amor ! \Entramb* SCENA IV.— Stana* in Casa di Nonna. Emtra Nobira, cvn un libra in mano, leggendo ftmr. "E tanto era in quel ^oardo Sapor di Paradiso : Che il cavalier Ricciardo Tutto d' Amor conquiso Al pie le cadde, e a lei Kterno amor giurò !" Po» [Ande] Oar friend indeed seems sorelj tried : As stone he's almost petrifiod ! He scarcely breathes, and speaics still less — lie'H uuffbcated with distress. Well, lei him fret . it serves him right — He has what he deserves to-ni>jht ! And let the wilful fellow learn His friends' opinions not to spurn. SCENE IV.— An Apartmmf in the Houm of Norimm EnUr NoKiiTA, with a book in her hand, reading. Nor. " So much that glance revealing. Of Paradise was telling : Ricciardo impyelling To own as conqueror. Love ! To that sweet maiden kneeling, He swore he'd faithful prove !" SO ANCH' IO LA VIRTU— I, TOO, THY MAGIC VIRTUES. Solo. Nobina. Bo anch' io la Tir - tìi ma - gi - ca, D'un gaar - do a tem - pò e lo - co, So anch' io co - me ■! I, too, ihy 'ma • yic vir - lues know, Of glance well tim' d and ten - der, A gen - tie $mile, bom 'mmw^' 533: m^km^^^m^w^^\ bra - da - no, I co - ri a len - to fo - co! D'un bre - ve sor - ri set-to, Conosco anch'io l'ef to be • guile, I know — an old of - fend-tr ! A gen - tl» smile, bom to beguile, I know — an old 0/ ^^m^^M^mm'^'^m^m'^m \ fet • to ! Di /enduri A men -zo^'-ne • ra, hid-dvu ttar, u la - gri - ma, D'un su languor near, A Ian bl - to languor, - guar..., near. Co - no-9CO 1 mil - le I know the mode, oA *?=r-i-v- mo -di, Dell' a - mo - ro - se fìro - di, I voz - zie l'ar - ti - fa - ci - li, dear. Of love's be - witch-ing wiles, His fa • cite arts and guiles Per To ^=^j£l^E^iiE^t§^^^^ i^^^^m\ a • de - sca-re un cor, lure with wan - ton smiles. D'un bre - ve sor A gen - tie smile ri - aet - to, bom to be- guile, Co - no - SCO anch'io l'ef I know an old rf ■ —0 m >*-T ttx • to, ftnd er. ^^=^^^ Co - no - SCO, / know loo. CO / no - SCO, know too, ^^m^ tin / sn - hi - to Ian - gnor. know the modes, oh, dear Ho testa balzana — Son d' indol vivace : Scherzare mi piace, Mi piace brillar. Se vicn la mattana, Di rado sto al segno Ma in riso lo sdegne Fo presto a cambiar. E il Dottor non si vede Oh, che impazienza I've a giddy head, I fear — Mine's a disposition gay : In harmless folly I delight. But I'd shine in fashion's raj. Approach should melancholy, I scarcely can myself contain ; But anger to laughter I change (joickly after. My friend the Doctor makes not hu appeanubs*. On, kow impatient— anxiotu, too, T am. IO DON PASQUALE. Del romaiHetto ordito A orabbar Don Pasquale ! Ond' ei toccommi in fretta : Poco o nulla ho capito, ed or 1' aspetto. Entra un Servo, le porge una Lettera, ed etot. Sm \Guardnndo alla soprascritta.] La man d' Emesto ! Io tremo ! [Legge, dà cenni di sorpresa, fm di costemationr.. Oh, me meschina ! SCENA V.— Malatbsta e Nohiha Mala. \ C-m allegria. ] Buone nuove, Nonna I Il nostro stratagemma — Sor. [Con vivacità.] Me ne lavo le mani. Mala. Come ! che fa ' Nor. [ Porgendogli la Lettera. \ Leggete ! Mtda. [Leggendo.] " Mia Nonna, — Vi scrivo, Colla morte nel cor. (Lo farem vivo.) Don Pasquale aggirato Da quel furfante — (grazie !) Da quella faccia doppia del Dottore, Sposa una sua sorella : ili scaccia di sua casa — Mi disereda in somma ! Amor m' impone Di rinunziare a voi. Lascio Roma oggi stesso, e quanto prima L'Europa. Addio, siate felice ! Questo El' ardente mio voto : il vostro Ernesto." Le solite pazzie ! fior. Ma, s'egli parte ! Mala. Non partirà — v' accerto : in quattro salu Son da lui della nostra Trama lo metto a giorno, ed ei rimane ; E con tanto di cor ! Sor. Ma questa trama : Si paò saper qnal sia 1 Meda. A punire il nepote Che oppone le sue voglie, Don Pasqual s' è deciso a prender moglie. Nor. Già' mei' diceste. Maia Or ben, io suo Dottore, Vistolo cosi fermo nel proposto. Cambio tattica e tosto, Neil' interesse vostro, e in quel d'Ernesto, Mi pongo a secondarlo. — Don Pasquale, Sa eh' io tengo al convento una sorella, Vi fo passer per quella ! Egli non vi conosce, e vi presento Pria eh' altri mi prevenga ; Vi vede e resta cotto. Sor. Va benissimo. ìdolo. Caldo ! caldo ! vi sposa : ho prevenato Carlotto, mio cugino, Che farà da notaro ; al resto poi — Tocca pensare a voi. Lo fate disperar. — Il vecchio impazza, L'abbiamo a discrezione — AUor— Sor. Basta — ho capito 1 Mala. Va benone. .A/or. Pronta son ; purch' io non manchi All' amor dell caro bene. Farò imbrogli — farò scene. Mostrerò quel che so far. Mala. Voi sapete se d'Ernesto Sono amico, e ben gli voglio , Solo tende il nostro imbroglio Don Pasquale a corbellar. Sor. Siamo intesi— or prendo l'imp egno. For the romance his wisdom has projected To hoax the sapient worthy Don Pasquale ! Of which the Doctor gave me a small hint ; I -tcarcely understand it — I wait for him. Enter a Servant, who gives her a Letter, and goes oitf. Sor. [Looking at the address.] The hand of Ernest ! I tremble with alarm ! [Reads, and shows manifest sighs of fear and tmf>r\m Ah, unhappy me ! SCENE v.— Malatbsta and Nobiha. .Vor. Mala Nor. Meda Mala, htrai/y.] Good news, Norina ! Our strategcm — [Hastily.] I wash my hands of it. How ! what is it you are telling me ' I (riving him the Letter.] Read ! read ! [Reading.] " My dear Norina, — I write to yon. Death in ray heart. (I'll bring him soon to life I My uncle, Don Pasquale, influenc'd Bt that vile rogue — (A hundred thousand thank» That double-fac'd old hypocrite, the Doctor, Marries a sister of this specious villain : Me he drives forth, in anger, from his house — In short, he disinherits me ! Love commands, Imperatively, that I should renounce you. I shall leave Reme to-day, and, soon as possible, Quit Europe too. Adieu, be happy ! This Is my most ardent wish : yours ever, Ernest" The usual follies ! Ah, but if he goes ! He will not go^I say so : in four skips I shall be with my gentleman. Then oar Rare plot I'll let him into, and he'll stay ; Ay, and with all his heart, too ! But this plot : May I, pray, be allowed to know what it is * Mala. To punish, as he thinks, his graceless nephew, Who dares rebelliously oppose his wishes. Pasquale has resolv'd to take a wife. You told me so before. Well, this Doctor, Seeing he's so firm in this idea. Have changed my tactics, and soon — very soon For your own interest, and for that of Ernest, I, to begin with, second him. — Don Pasquale, Knowing that I have a sister in a convent — Why, I intend to pass yon off for her ! He does not know you, and I shall present yoo Before by others I'm anticipated ; He sees you, and he's done for. Excellent ! Hot ! hot ! I wed you to him : I've prepared That clever fellow Charles, my trusty cousin. To play the notary ; and for the rest — Why all the rest will rest with you, that's all. You drive him to despair — old fool, distracted He then will be completely at our mercy. Then— I understand — enough ! Nought can be better. I'm ready — anything — so I lose not The lore of my ador'd one. My belov'd, I'll make perplexities — will fashion scenes ;-- In short, I soon will show what I can do. Mala. You know, and can of Ernest tell. If I'm a friend, ami wish him well ; Our plot but tends, you may believe, Don Pasquale to deceive. Nor. We'i« qoite agreed, and I'm enlisted. Nor. Mala Ni Nor. Maia Nor. Mala AV. A Ua. A IT DON PASQUALE. 13 Sor. hfaia Nor. ìtala Sor. Mala Sor. Mala Sor. Mais S» Maia. Io la parte ecco r' insetto. Hi volete fiera, o mesta ? Ma la parte non è questa. Ho da pianger — da j^ridar? State un poeo ad ascoltar ; — Convien tìar la semplicetta. Posso in queistu dar lezione. " Mi Tergogno — son zitella — Grazie — serva — Signor, si." Brava, brava, briccoin-ella ! Va benissimo cosi "Collo torto." Bocca stretta. " Mi vergogno." Oh beneu Come, for a man that's turn'd of seventy — (Softly, I must not let my intended hear)— All must allow at least, I'm well and active. And with this taking — this killintr Rtyle Of dress — [Parading about] — but caution, there u some one coming ; — They're here ! To thee I yield myself, oh, Love ' SCENE n. — Enter Doctor Malatesta, leading it. Noa:* 4, veiled. Mala. Come on, — take courage ! Nor. I can scarcely itand ' I'm trembling all over ! Mala. Come, advance 1 [At the moment thai the Doctor leads Norina fonoard, 4t make» a sign with his hand to Don Pasquale to foL hack. Don Pasquale shrinks into a comer. Nor. Ah, my brother, do not leave me thus I Mala. Do not fear, trembler ! Nor. In pity, brother— [Norina has scarcely reached the front of the stag* &«/W« the Doctor runs to Don Pasquale. Mala. \To Pasquale.] Newly coming fix)m a convent, Natural is her confusion : By nature she's a little shy ; — You will mould her, by-and-by. Nor. Ah, my brother ! Mala. But a moment — Nor. But think, should any one's intrusion— (You shall soon, you old fool, see How I mean your heart to torment I) Pas. Air, voice, and gesture, all agree, — All's in her simplicity ! She'll shine all prodigies beyond, If beauty does but correspond ! Nor. Ah, brother ! Mala. Do not be afraid ! Nor. But by myself to stay — a maid ! Mala My dear girl, you'll not be alone I Here's myself, and here's the Don. Nor How ! Oh, my virgin heart ! a man I How dreadful, nothing beat it can ! Let's go directly — fly this place ! ! Pom How charming, modest, is the grace Of her sweet simplicity. • Maia. (This cunning wicked little one Will drive him mad before she's done.) ( To N o r im ^ Fear nothing, it is only Don Pasquale, A j)atron and a friend of me and mine, Who long has reigned the king of all good ^Bllows [ Don Pasquale makes a profusion of botes ; Norma dom not look at htm Mala. \To Nor^tui ] Why do you not acknowledge his salute* .\^ I Curtsies, without looking at Don Pasquale.] Thank-ye, I'm much obliged — your hnmble Mrrajii i fas. (Oh, what a dear delicious little hand!) ' Mala. (His goose i» cooked already !) ' .Wor. ' ( What a blockhead l ) ( Don Pasquale arrange* three chairs ; theif sit down, ob Doctor in the middle. Mala. [To Pasquale.] I Now, candidly, what do yon >ay to her * 14 DOM PASQUA LB. Pa», (E' an incanto — ni a qnel relo — ) Haia. Non oseria, son certo, A ftenibiante sroperto Parlare a nn aom. Prima I' interrogate ; Vedete se nei gusti r' incontrate, Poscia vedretn — PfM (Capisco ; — Andiara, coraggio. | A y orina. Foste eh' ho 1' avvantaggio — [ò" imbrogtia. Anzi il Sif^nor fratello, H Dottor Malatesta — Cioè — volevo dir — Mala. [A Norina.] (Perde la teMa I) Kispondete ! ^V . [Facendo la Riverenza.] Son serva ! mille grazie I Mm. [A Norina.] Volea dir eh' alla sera La signora amerà la compagnia^ Nm-. Niente affatto. Al convento Si stava sempre sole. Pa$. Qualche volta al teatro » .V«r. Non so che cosa sìa, né saper bramo Fa». Sentimenti eh' io lodo. Ma il tempo nopo è passarlo in qoalehii mode. .Vor. Cucire, ricamar, far la calzetta. Badare alla cucina ; Il tempo passa presto. Mala. ( Ah Malandrina I ) Paa. [Agitandosi tulla tedia.] Fa propria al caso mio. [Al Dttpn. (Quel Tel per carità I) Èlaìa. Va Norina.] Cara Sofronia, Kimovete anel velo. Nor. [ Vergognosa.] Non oso — in faccia a on aom. alala. Ve lo comando. Nor. Obbedisco, fraiel. [.Si togU» U m^. Pat. [Lk^ aver la guardata, Usoandoti a uà tratto, aaamte addietro come spaventato.] Misericordia I Mala. [Tenendogli dietro. ] Che fu ? dite :— Po». Una bomba in mezzo al oom. [Agitatummo. Per carità. Dottore. Ditele se mi vuole . Mi mancan le parole — Sudo, aghiaccio— «oa motto ) Mala. [Piano, a Don PaiquaU.] (Fata oera! Mi sembra ben disposta : ora le parlo. ) \A Norma, ptan». Sorellina mia cara : Dite, vorreste^in brave, Quel signore. [Aoaoma Dem PamptaU. vi piace f Sor. f Con un occhiala a Don Pasquale, eh* n rtn^iutao. | A dirlo ho soggezione. MiMta. Coraggio! Nor. [Timidamente.] Si- ( Sei pare il pran babUons ! ) Mala. VI^oma$uio a Don PatquaU.] Consente : è vostra ! Pcu. I Con transporta.] Oh, giabilo I Beato me! N«r. (Te n' avvedrai fra poco I) Pas. Or presto pel Notaro ! Main Ho tolto meco il mio oh' è ia ■iniiaMwn Or I' introduco. , Ittt* Pas. Oh caro ! Quel Dottor pensa a tatto * Maia. [RietUrando col Notaro. ] Kcuo li Nota<-^ ' Pas. ( She's a complete enchantrvts, — bat that veil — ) Mala. She would not dare, — of that I am quite certain, She is so shy — with an uncover'd face, To spean to a live man. First question hei , See ijf your tastes, year sentiments agree ; Then to behold— Pas. I anderstand ; — Come, courage. [To Noriitm Since I have the favor — the advantage. Mis» — [Confutes himati/ As my esteemed friend, the Signor, yonr brother, Your worthy brother. Doctor Malatesta — That is — I mean to say — Mala. [To Norina.] (He's lost his senses !) Reply ! Nor . [ Curtsying. ] Yonr servant. Sir ! A thousand thanks ! Pas. [To Norina.] I meant to say that in the evening);, Miss — For the young lady, doubtlessjijij, likes company — Nor. Oh, not at all ! In fact, sir, at the convent, We always, all of us, remain'd alone. Pas. Well, but you sometimes wish'd for the theatre ' Nor. I don't know what that is, and don't desire. Pas. Sentiments that I highly must approve ; — But one must pass the time some way or other Ì Nor. In sewing and embroidery ; knitting stockings ; Superintending, too, 'tween whiles, the kitchen. Time passes quickly then. Mala. (Ah, wicked baggage I) Pas. [Moving in his chair. | The very thing for one in my condition ! [TotheDodm That veil, for pity's sake — Mala. [To Norina.] My dear Sophronia Komove that veil — remove that envious veil 1 Nor. [Bashjully.] Before a man ! I dare not ! Mala. I command you I Nor. I obey, brother : there, sir ! [ Takes off lier vml. Pas. [Havir^ looked at her, tpringt up suddetti^, and gom hack as if frightened.] Mercy on me ! Maia. [Holding him back.] That sudden start — those words ! what was it * say I Pas. A bombshell in the centre of my heart. [Extremeiti agitaUd. In charity — for mercy's sake, dear Doctor ! Do only ask her if she will but have me . I want words, Doctor — I'm spiflicated — I flush — I freeze— dumbfounder'd quite ! Mala. [Low, to Don Pasquale.] (Take heart I She seems dispos'd to favor vou : I'll speak to her. ) [ To Norina, in a low m*e». Hear me, my darling little «ister : Say, candidly — say, would you like, in short. That gentleman. [Pointing to Don PntqumU Think well — how does tic please vou 1 Nor. [ With a glance at Don Pasquale, who thowt hit delight.] I feel incliii'd to say I think he does. Mala. Courage, Sophronia! Nor. ITimidly.] Yes. (The great baboon !) Mala. [Turning to Don Pasquale.] You hear, Don : she consents — she's yours 1 Pas. [ With transport.] Oh, joy ! Oh, happy, happy man ! bless'd that I am I Nor. (I will convince you of your bliss, ere long I) Pas. Now, quickly for the Notary, dear friend ! Mala. I have brought mine — he's in the anti-chambar rU straightway introduce him here. ( Egm Pat. Delightfdl I The Doctor thinks of everything I Mala. [R^^nttring with tk* Notary] The Notary I DOM PASQUALE 16 SCENA n.—Notarx> « Joto. Dm Pasqualb e NosiifA tediai.— I •eroi di$yomgfMo m wtexxo alla Scena un Tai'olo coli' occorrente da ac r i v ei t : toprm a Tatvlo $iird un ramiKiiiello. — Sotaro taluta, mede t t* accinge a tcrivert ; iJottore, in pitxli, a dettra dd Moutro, come dettandogli Mala. Fra da una part* — et cfitru, SofroDia MalatcHta, Domiciliata — et cetera , Con tutto (juel che resta ; E d' altra pane — et cetera. Pasquale da Cometo, Coi titoli e le forinole Secondo il consueto : Entramt)i qui presenti, Volenti, e consenzienti, Un matrimonio in regola, A stingere si va ! Mm. [Al Notare. ) Avete messo 1 Ni)t. Ho mesM. Pat. Sta ben ! [ Va alia aùiutm dd ^ttar*. Scrivete appresso — [dim» Il qua prefato — et cetera. Di quanto ej^li possiede — In mobili ed immobili — Dona — tra i vivi— e ctdt, A titolo gratuito, Alla suddetta — et cetera. Sua moglie dilettissima. Fin d' ora, l:i metà. Ntt. Sta scritto. Po*. E intende ed ordisa Che sia riconosciuta In questa casa e fuori, Padrona, ampia, assolata, E sia da tutti e singoli. Di casa riverita — Servita — ed obbedita. Con zelo e fedeltà. Mala. « Nor. [A Don Pasquale. \ Rivela il rostro core Quoat atto di bontà. N<^ Steso è il contratto : restano Le firme — PoM. [Sottoscrivendo con vivacità.] Ecco la miai Mala. Mala. I Conducendo Norina al tavolo, con dolca Cara sorella, or via Si tratta di segnar ! Noi. Non vedo i testimonii : Un solo non può star. [Mentre Norina sta in atto di tottotcriver», m di Emetto dalla porta (f ingretao : Ni cader la penna. Em. [Di dentro.] Indietro, raascalroni ' Indietro, io voglio entrar : Sor. (Ernesto ! or veramente Mi viene da tremar ! ) Mala. (Può tutto rovinar!) SCENA III.— Erhbito, « P fat, sir, too, Cannot take out a yoang ladj Decently to walk, that's clear ; — A joang man's arm I most have ready — [Pointing to Emam He shall be my cavalier I Pai [ With vivacity, i Oh I as to that, excoM me thare That can never be, my life — Sor [ Coldlu. ] Why not, husband 1 Do you dare * Pai. [Resoiutely.] Because I will not hav« it, wife I Sor. [Scom/uUy.] You will not have it, husband * Pa». [As be/ore.] No ! Sor. [ Going close to Don Pasquale, with affeeud fondntat. | Love, I implore you, don't say so ? [ With incrtanng vikimmtn, I wiU, then, for your regulation — I will, for I can speak alone— That all obey, whate'er their station — All here my sole command must own t Mala. Now comes the critical moment — fates I Em. Now comes the passage of the straits I Pat. But if— Sor. I'll have no answering. Pat. [Pointing to Ernest.] He-^ Sor. [t.nragM.] Silence, buffoon ! peac«, instantly ! [Don PaitjuaU trxtt (c tftmk Be quiet ! I have tried with you. Gentle means, sir, hitherto, — [ Going up to him with a menacing gtahtrt I shall now, should yon provoke. Use my hands — it is no joke ! [ Don Pasquale recoilt, thundtrttmeJt Pat Dream 1 1 Sleep 1 1 What's amiss 1 Kicks — cuffs : good — a fine pretext — 'Tis well she warn'd me has of this — We shall see what's coming next! I, Don Pasquale, she'd think meet To trample underneath her feet ! Sor. He stands quite petrified, and seems — Em. To know not if he wakes or dreams ! Mala. He's like a man by lightning struck : No drop of blood runs in his veins. [To Don Pamfwak Take heart. Pasquale, my old buck. Don't be discouraged — use your brains. Sor. Now, then, at least, my worthy friend. You must begin to comprehend. { Sorina goei to the table, takes the hell, and ring» with r«» lence. — Enter a Servant. \ Sor. [To SfTifint.] Assembled instantly, d'ye hear, I I will have all the liuusehold here I [Exit Stnumi j Pat. I What with my [>eople want can she 1) p \ (Now another hreoze there'll bo!) Entrano due Servi e un Maggiordomi Sot [Ridendo.] Tre in tutto ! va benissimo, C è poco da contar. A VOI — [Al Maggiordomo.] — da qaaau) •emt>rami, Voi siete il maggioi iomo 1 [Maggiordcme i Ora attendete agli ordini Che aù dispongo a dar : Di serritii r oveUa Enter two Senyanti, and Major-Domo. Sor. [Laughing.] Three in all I most excellent ! Not many, it is true, to count. You, sir — { To the Major-Domo.) — aa far as I can laa The Major-Domo seem to be ' [Major Domo botm Now, then, my orders youll receive, Which I prepar'd am here to pva : New MTvanu a soflBlcient set, IB DOV PISQUALK. [Al MofUfttrdomo. PenMte a prorTederml — Sia gente rresca e bell», Tale da farci onor. Pa». [A Norina, con rtiiibia.] Poi quando avrà finito — Iftr. Non ho finito ancor. [M Maggmrómmc. Dei legni un pajo sia Stasera in scuderìa : Quanto ai cavalli poi, Lascio la scelta a voi. La casa h mal disposta, — La vo rifar di posta : Sono anticaglie i mobili — Si denno rinnovar. Più. [Con rctbbia concentrata.] Avete ancor finito ' Ntr. [Seccamente.] No ! Mi scordavo il meglio- Fate le cose in regola, — Non ci faccioni burlar. [I/un cenno congeda il Maggtort io m» dU pmrf e»i Servi. Ah. Grazie ! Chi paga 1 Sor. Oh bella, voi ! Paa. A dirla qui fra noi, Non pago mica ! Nm-. No •? PoM. [Rucaldato.] Sono, o non son padroiM ' Nvr. \Con forza.] Padrone ! ov'io comando ! Mala. [Interponendosi a Norina.\ SoreU* — Nor, Or or vi mando. \A Don Pa$quaie, evm yW-M amumiu. Siete un villano, un tanghero ! Paa. [Con dittpetto.] E vero — v'ho sposato I Sor [Come iopra.] Un pazzo temerario. Mala. [A Don Pasquale, che ibuffa.] Per carità, cognato. Sor. Che presto alla ragione Rimettere saprò. Pai. [E fuori di se, vorrebbe e non p%ià pmriar*, U bH* T affoga.] Son tradito, calpestato, Son di riso a tutti oggetto ; Quest' inferno anticipato, Non lo voglio sopportar * Dalla rabbia e dal dispetto Sto vicino a soffocar ! Blmr. [A Ernesto.] Or t' avvedi, coro ingnio, Che fu ingiusto il tuo sospetto : Solo amor m' ha consigliato Questa parte a recitar. [Acxxnnaiui» Dmk Pam^maU. Don Pasquale, poveretto, E vicino ad affogar ! Ani. [A Nonna.] Sono, o cara sincerato : Momentaneo fu il sospetto. Solo amor t' ha consigliato Questa parte a recitar. [AccennoMde Dom Pat^ytaU. Don Pasquale, poveretto, E vicino ad affogar ! Mala. [A Don Pasquale.] Siet e un poco riacaldato — Don Pasquale, andate a letto. [A Norimx, am rumprwmr». Far soprusi a mio «".ognato. Non lo voglio sopportar : [A^ Amanti, coprendoli perch* Don PamptaU mm it voda. Bethink yon, yon for me must get- Servants young — good-looking, too, That may do us honor due. Pms. [In a raije.] When you've finish'd, you'll permit — Sor. I've by no means finish'd yet. [To the Majo,- Of carriages, mind, two at least This eve must in the coach-house be : As for the horses and the rest, I shall leave the choice to thee. The house most vilely is arrang'd, — I'll alter it now I'm located : The fiirniture is antiquated — All must instantly be chang'd. Pat. [ With concentrated rage.] Have yon done, or have vou not 1 Nor. [Snappishly.] No! ' [TotheMajoi- The chief thing I'd forgot — Do all things in the greatest style, — We must not have the vulgar smile. [She dismisses the Major-Domo by a gettun — he foim 5^ unth the Servants. Pa». Thanks ! But who's to pay — say who 1 Sor. Excellent indeed ! — Why, yon ! Pai. If I the truth must let you know, I will not pay a farthing ! Sor. No 1 Pa*. [ With heat.] Am I or not the master h«« 1 Sor. [EnergeticaUy.] Master where I command ! you jeer ! Mala. [To Nonna.] Sister — Sor. We'll by and by confer. [ To Don Pasquale, with grom im^ yW^ You are a clown, a clodpole, sir ! Pa*. [Bitterly.] That's very true — I've married yo« ! Nor. [A* before.] Madman rash, and stupid too. Mala. [To Don Pasquale, who is Joaming with rage. J Brother-in-law, a word in season. Nor. Whom very shortly to his reason I know a way again to bring. Pa*. [In a transport of passion, tries to speak, but ocmmm, A» rage suffocating him.] I am betray'd, trod down and beat, A laughing-stock to all I meet ; This Tartarus, before its time, I'll not support — what is my crime 1 Oh ! with mingled rage and spite I am suffocating quite ! Nor. [To Ernest.] Now you see, ungratefdl iwwt. How unjust was your suspicion : Love, to bring him to submission, Counsell'd me to play this part. [PoinU to DoH PaaqmaU Don Pasquale, poor dear wight, Is nearly suffocated quite ! Em. I To Nonrui.] I am justified, dear heart ; Momentary my suspicion. Love, to bring him to submission, Cotmsell'd thee to play this part. [PoinU to Dot Paifumti Don Pasquale, poor dear wight. Is nearly suffocated quite ! Mala. ITo Pasquale.] You're a little heated, reaJ y — Do go to bed, dear Don Pasquale. [ To Norina, in a tot* ^ rn^rmi/ On my brother-in-law to play Thus, I'll not endure, I say I [To the haven, who are standing to that D*m Pa Hoy not tee them. DON PASQUALE. 10 ttacMsacci, ma ooapetto, Non ri stAte a pateaar ! palesar ! riira DBU.' ATTO n. ATTO III. •CENA I — Sala in Casa di Don Patauaie, ame aiT Atto l. — Sparti stti Tavoli, niUe Sedie, ver Terra, articoli di aba aliamento Femminile, Abiti, (Japellt, Pelliccie, Sciarpe, Mer- letti. Cartoni, ^'c. — Ikm Pa'^jwile seduto ntila massima cos- ternazione davanti una Tavola piena zeppa di Liste e Fat- ture. — T a-i'i Senn in attenzione. — IJoil' Appartamento di Nonna esce ut, Parrucchiere ocm Pettini, Pomate, Cipria, Ferri da Arricciare, Sf^., attraversa la Scena, e via per la porto di mezzo. Cameriera. [Facendosi sulla porta dell' Appartamento di No- rina ai Servi.] I diamanti presto, presto ! Un Servo. [Annunciatuio.] La Scnffiara ! I a Cameriera. Venga aranti. [Z/i Scuffiara fintando un monte di carloni vieti* intro- dotta iiell' ApjKirtamento di Norina. S a Cameriera. [Con pelliccia grande, meuxo di sfiori, boccette d' odore, che consegna a un Servo. ] In carozza tatto questo. 4 % Cameriera. II ventaglin, il velo, i gaanti. mh Cameriera. I raralli sol momento. Ordinate d' attaccar ^ Po». Che marea — che stordimento E una casa da impazzar. [A misura che le Cameriere dònne gì' ordita di sopra, i Servi eseguiscono in /retta : ne natce trambueto « conjiisione. Pmm. [Esaminando le note.] Vediamo — alla modista : Cento scudi — obbligato ! Al carrouBr* Sei cento ! Poca roba ! Nove cento e cinquanta al gio j eiliere Per cavalli — [ Getta le note ocm itizsa t m atam. Al Demonio I I caralli, i mercanti, e il matrimonio ! [Pmea. Che cosa yo rà dir questa gnm gala 1 Escir sola a quest' ora — Un primo di di nozze ! Debbo oppormi a ogni modo ed impedirlo ; — Ma — si fa presto a dirlo 1 Colei ha certi occhiacchi ; Certo far da regina. Ad ogni modo Vo provarmi : se poi, Fallisce il tentativo I Eccola I A noii SCENA IL— NoKiHA « Dos Pab^vau /ferina entra correndo, e senza badare a Don PamptaU fa for E' vestita in grandissima gala, ventaglio m SUIj chits ! for Heaven's sake, pray, Don't, I beg, jonrselves betray I ■XD OF ACT II. ^M. Dove coire in tanta fretta, Sigi orina, vorrìa dirmi ? ACT III. SCENE L — A Room in the House of iJon PiiS(/uale, ns in Act I. — On the Tables, Chairs, and Ground, are spread different articles j^ Female Dre.ss — Gowns, Hats, Pelisses lined with Fur, oa.'ihes. Bandboxes, ^. — Don Pasquale u seated in the utmost consternation before a TahU covered with BilU and Invoices. — Several .Servants are in attendance. — A Hair-dresser, with Combs, Pomatum, Curling- Irons, ^-c., conies out of Norina' s Apartment, crosses the Stage, and goes off through the door in the centre. Lady's Maid. [Speaking to the Servants from the doo> oj Nonna's apartment.] The diamonds, the bnlliants — here, quick, quick 1 Serv. [Announcing.] The Milliner ! id Ijody's Maid. Directly show her in. ( The Milliner, carrying a number of Bandboxes, is shewn into Norina's Apartment. Sd Ijady's Maid. [ With a large furred pelisse, a boquet, ^tté smelling-bottle, which she gives to a Footman. You in the carriage will put all these things. UÀ Lady's Maid. The fan, the veil, and, 1'ye hear, the gloves. Uh Lady's Maid. Order the horses — do not lose a moment. Let them directly be put to, d'ye hear ? Pat What an overwhelming tide — what a wild habbab I This is a house enough to drive one mad. [ In proportion as the Maids give orders as above, the Foot- men ejcecute them in haste : this causes great tuamà and confusion. Pas. [Examining the bills.] Now, let ns see — what have we herel first, tlM milliner : A hundred crowns — obliged ! The coachmaker Six hundred I Very good — 'tis quite a trifle 1 Nine hundred, then, and fifty, to the jeweller. For horses — [He throws the bills away with annoyance, and nam To the Devil I'll pitch all ! Horses, and tradesmen — ay, and matrimony ! [Mueittf What can you think of these great preparadoiu ^ To go out by herself at such an hour — The very first day of her nuptials, too ! I should oppose it every way, prevent it ; — But — that 8 a very easy thing to say ! She's certain threat'ning glances, scomfid flashes, A mighty way of pluying the imperial. Let me arouse myself ! By every means I'll try conclusions with her : i^ then, The attempt should fail ! Ah 1 hers she oomM 1 Now for it! SCENE n.— NouNA and Don Pasqcaub. Nonna enters hastily, in full dress, with a fan u» W» ttm^ Sh* is going o%U without noticing Don Pamptaie. Pus. Prithee, where are you running in such hasts, Toong lady, may I beg you mil inform ms * yd bOH PASQUAtSL Sor. Pa». Nm: f"u Nm. Pas Sor. Pa». Sor. Pa». Sm-. Pm». Sor. rw. .Vor. Pa». E tm* eoaa pretto detta : Vb a teatro, a diyertinni. Ma il marito — con laa pi Non voler potria talvolta. Il marito vede e tace. Quando parla, non s'ascolta ( Car bile crescente. ] A non mettermi al cimento — Per suo bene, la consiglio — Vada in camera al momento- Elia in casa resterai. [Con aria di motteggio.] A star cheto e non far scene Per mia parte la scongiuro, Vada a letto, dorma bene — Poi doman si parlerà. [Interponendosi fra lei e la porta.] Non si sorte ! [Ironica.] Veramente ! Sono stanco. Civettella ! [Con gran calore Sona stufa Impertinente I Prendi su che ben ti sta ! Ah! (E finiu. Don Pasquale ! Pih non romperti la testa ; Il partito che ti resta, E d' andarti ad annegar.) (E dnrretta la lezione ; Ma ci vuole a far l'effetto ; E bisogTia del progetto — La riuscita assicurar. ) Parto dunque — Parta piue ! Ma non faccia piti ritorno. Ci vedremo al nuovo giorno. Porta chiusa troverà. Va per uoeire. [OUdk um ochiaffo. [A Don Paaquak. ìfor. Oh ! that's a thine that very «oon i« totd : I'm going to the theatre, to divert me. Pa». Bat the husband, with your leave — excuse nee Saying so — may perchance object to it. Nor. The husband sees, and wisely holds his tongue ; For when he speaks, there's no one listens to him Pat. [ With rising warmth.] Not 10 put me to the trial, Madam — It is for your own good that I advise you — You'll to your chamber go — this very momeni — Remain content at home — stay in the hourfo Nor. { With an air of banter.] To keep the peace, and not create a scene, I, for my part, conjure you earnestly To go to bed, and there seek tranquillity — We will talk over this affair to-morrow. ( Liv*m^ Pat. [ Getting between her and the door.] You do not go out. Madam ! Nor. [Ironically.] Don't I, really 1 Pat. I am quite tired of this. Nor. I've had enough of it. Pa». Shameless coquette I Nor. [ With great heat.] Why, yon impertinent ! But there — take what you well deserve, sir ! [Boxe» kit oar Pa». Ah ! ilt is all over with yon, Don Pasquale 1 )on't further trouble your poor head abont it ; For all that now remains for you to do Is quietly to go and drown yourself.) Nor. (I must confess, 'tis rather a hard lesson ; Yet 'twas required to have its due effect. But we must now take care of our project — The consummation and success secure.) [To Don Ptmptai. I'm going, now, then — Pa». Oh yes, certainly ! But do not take the trouble to return. Nor. Oh ! we shall see each other in the morning. Pat. A face of wood — a closed door, you will find. VIA, CARO SPOSINO— Ml DEAR LITTLE HUBBY. Norina. m^^m ^m^^'i^^^^^^^^t-^^i^^ Vie - ca - ro spo - si - no non far ■ mi 11 tl - ran M]f dear lit - tie hub - by. Now don't he to tnub no Si i dol - ce buo - ni - no ri • by ; Be gen - tie, in • dui - gent, m»d i^^^è=?^^^g=i=:^p^iE^^j^ •et - - ti all' e - ta think..»* of.... your ago I va a let - to bel non . . . To bed, dear grand-dad ■ no dy. sia che keep qui to 11 too et ^i*^Ée no dy :^i^a per tern - - po a in good time la tpo - sa Ter - your wife trill o u ^mÈ^m^^^^ì^^^^^^ ra Ta gag»; Oo, va. 9»,- Ta - - Ta a let to bil non go...... to bed, dear grand-dad r-t t no sia che - to il tuo son dy, keep quiet and ttea BO per dy, i% tern - po a ■>• - gliar good ti»»» tu eaU.< la ipo - sa yoMT wtf» «nS *>ON PASQUALE ai ft«i. Diroroo ! diroreio ! Che letto — che sposa ; Peggiore i-onsorzio, Di questo non r' h» I Ah, povero sciocco ! Se duri in cervello — Con questo martello — Miracol siirk ! [yorina ma. [NeW atto di partii^, y orina lascia coderò utui nata ; Don Pasquale, se ne aintde e la raccoglie. Pm*. Qualche nota di cuffie e di merletti. Che la Signora semina per casa. [La tpitga e l*qg*. "Adorata Sofronia — " [Nella inasnma ansietà. Ehi ! ehi ! che affare è quanto 1 [Ltgg*. "Fra le nove e le dieci della sera Sarò dietro al giardino : Dalla parte che guarda a settentrione ; — Per maggior precauzione Pel piccolo cancello. A noi ricetto Daran securo 1' ombre del boschetto. Mi scordavo di dirti Che annunzieni cantando il giunger mio : Miraccomando — il tuo fedele ; — addio." Pm. [Fuori di sé.] Questo è troppo ; costei Mi vuol morto arrabbiato ! Ah I non ne posso più — perdo la testa ! [Scampaneliando. Ai $€rvi ctu sntrvmo. Si chiami Malatesta, Correte al Dottore : Ditegli che sto mal, che venga tosto, O crepare e finirla Ad ogni costo — [Don Paaquaì» «ao*. SCENA in.— Entra Coro di Servi e C. /Wb Che interminabile — and i-rivieni ! Non posso regere — rotte ho le reni ! Tin-tin di qua, ton-ton di là, In pace un attimo, mai non si sta Ma catia buona, montata in grande, Si spende, e spande, — v' è da scialar. Z>*. Finito il pranzo vi furon scene I Uom. Comincian presto— contate un pò — Lkm. Dice il marito, "Restar conviene ;— " Dice la sposa, " Sortire io vò I" 11 vecchio sbuffa, segue baruffa — Uomi. Ma la sposina 1' ha da spuntar — V è un nepotino guasta-mestieri — Don. Che tiene il vecchio sopra pensieri — Vom. La padroncina è tutta foco — Don. Par che il marito lo conti poco ; Tittti. Zitto, prudenza, alcun qui viene \ Si starti bene — v' è da scialar. [Emxmo. SCENA IV. — MAUA.TE8TA «d Ermbsto, nd Umitart della porta, ìtala. Siamo intesi 1 Em. Sta bene, — ora in giardmu Scendo a far la mia parte. tiala. Mentr' io fo qui la mia ; Sopratntto che il vecchio Non ti conosca ! Em. Non temer ! Mala. Appena Venir ci senti, — Bm, Su U mantello e ri* I timla Ottimamente > Po». DiTon-e me ! Divorce me Whni a match — what a wife «he ; I'm Hure a worse consort Than this, never was ! Ah, poor ninny-hammer I If vour brain stands this clamor — Worse than e'en pavior's hammer — 'Tis a miracle, pos ! [ExU Sonm [In the act of departing, Norina lets a paper drtfi ; / ■•• Pasquale perceives it, and picks it up. Pas. One of the bills, no doubt, for c^ps and 'ac«t. The lady likes to sow about the house. [Opens anu eaUt "Adored Sophronia — " \In the greatest anxiety Halloa ! halloa ! Eh ! what affair is this 1 [RfOiU " Between the hours of nine and ten this evening, I shall be at the bottom of the garden — That side of it that looks out on the north, For greater — more complete precaution's sake. By the small grated gate. There we'll embower'd Fmd safety in the shadow of the wood. I had forgot to tell thee, dearest love, 'Tis in a song I shall announce my coming : Thine to command — thine faitlifuUy ; — adieu." Pa» ( Unable to govern himself. ] This is too much ; 'tis very plain this woman Wishes to make me die stark staring mad I Oh ! I can Itear no more — I lose my senses ! [Ringing hand-bell loudly. To Servants, who musr You'll hither instantly call Malatesta : Run with the speed of lightning to the Doctor , Tell him I'm ill, that he must come here quickly Or either I must choke or stop this — Cost regardless — [Erit Don Pamp^u, SCENE m.— Enter Footmen and Waiting-maids. Omnes. What endless going there ami coming here ; 'Tis insupportable — one's ba'k is broken ! Nothing but ding-ding here, nud ding-ding there ; In peace they'll not a momeni let us stay : But still, 'tis a good house — all's first-rate style ; Spend here, spend there, — eat, drink, and making merry. Women. The dinner over — Oh, there were such soenet I Men They began early — let us hear a bit — Women. "Now," said the husband, "you must stop ai home ; — " ^ Said the wife firmly, " Sir, go out I will!" Men. The little wife will conquer in the end — There is a certain marplot of a nephew — Women. Who discomposes much the old man's mind — Men. Our httle mistress is all fire and fury — Women. It seems she don't account her husband much ; Omnes. Hush, hush, be prudent I there is some one coming All will be well — there's plenty to regale as. [Exeum SCENE IV.— Malatesta and Ernest at the door. Mala. 'Tis understood 1 Em. All's right — soon to the garden I shall repair ; — repair, to play my part. .Stala. While on my part I stay here to [day mine; But, above all, mind — don't let tin. old gcntleniar Discover you A'rri Don't lie afraid ' J/(j^' «' moUra lem- tamente. Ucda. Maia. Po» [Andandogli incontra.] Don Pasquale — Con tristezza solenne.] Cognato, in me vedete, Uii morto che cammina ! Non mi fate Languir. Che fu ? — parlate ! Maia. Mda. Po, Meda. Po*. [Sema badargli e come parlando a sé stet$o. \ Pensar che per un misero puntiglio Mi son ridotto a questo ! Mille Nonne avessi dato a Ernesto ! (Cosa buona a sapersi.) Mi spiegherete alfin ? Mezza 1' entrata D' an anno in cuffie e in nastri consumata Ma questo è nulla — E poi* La signotina Vuol escire a teatro : M' oppongo colle buone. Non intende ragiono — e son derìso. Comando : e della man mi dà sai viso ! Uno schiaffo ! Uno schiaffo ! si, Signore ! Ma questo è nulla : v' è di peggio ancora. Leggete ! [Porge la lettera al Dottore, che vegge dando àegni di aor- presa crescente Jino all' orrore. Mala. Io son di sasso I Pas. [Riscaldandosi.] Corpo d' an Satanasso ! Voglio vendetta ! E gasto. Ajsicarala, Sta in noi. Come'! Ascoltate ! Ho un mio ripiego ; ma sediam. {Sitdomo. Parlate ! Cheti, cheti, immantinente, Neil giardino discendiamo ; Prendo meco la mia gente, Il boschetto circondiamo ; E la coppia sciagurata, A un mio cenno imprigionata, Senza perdere un momento : Conduciam dal podestà. Che vi par del pensam Maia. Parlo schietto, non mi Riflettete, la colpevole M' è sorella, è moglie vostra : Ah non stiamo l' onta nostra Su pei tetti a divulgar. Espediente piìi a proposito, Procuriam d' immaginar. Io direi, sentite un poco. Noi due soli andiam sul loco : Nel boschetto ci appostiamo ; Maia. Po». Mala. Pas. Mala. Po*. .4 S. Mala. Erti. Until wo meet, adieu! [Krit Kmam Mala. ]Coming forward.] This Sudden, though not unoxpectcd summon.s, Proves very clearly to me, that the billet Of this night's assignation has i)een swallowed. [Looks «f He's here ! how pale and woe-licgoue he looks ! He seems not the same man he us'd to be. I vow it cuts me to the very heart ; — Let me resume my proper doctor's face. SCENE V. — Don Pasquale, excessivdy dispirited and cat» down, enters, and advances slowly. Meda. [Going to meet him.] My best of fi-iends and [>atients, Don Pasquale — Pas. [ With solemn grip/.] Brother-iu-law, in me, ala.s ! you see A dead man, walking upright ! Mala. Do not keep me In dread suspense. What can have happen'd *- speak ! Pas. [ Without attending to him, and s/ietiking to himself.] To think that for a poor punctilio I am reduc'd to such a state as this ! A thousand Noiinas I'd have given Krntist ! Mala. (That's a good thing to be acquainted with.) Will you explain, at last ? Pas. Half the whole income Of a year in caps and ribbons gulph'd up ! But that is nothing — Mala. What more ^ Pas. The young lady Chooses, forsooth, to go to the theatre : This I oppose, but with the greatest mildness. She won't hear reason — I'm a laughing-stock. I then command ; she strikes me on the face ! Mala. A blow! Pas. A blow, sir ! — what do you think of that * But that is nothing : there is worse behind. Read! [ Gives the letter to the Doctor, who makes signs of tm prise, increasing even to horror. Mala. I am fairly petrified, turn'd stone I Pcu. By all that is infernal ! Satan's body I I swear I'll have a terrible revenge ! Mala. It is but just you should. Pas. To secure it. Rests with ourselves. Mala. How 7 Pas. Listen, listen, Doctor ! I have a plan ; but let us sit down. ( Thej/ «■ Meda. Speak ! Pas. Softly, friend, softly ! This hour, immediately, We to the garden will forthwith proceed : I will take with me all my people. The little woody arbor we'll surround ; And the vile culpable unlucky couple Are, at a signal I shall give, imprison'a Without a single moment being lost • Before the magistrate we then will take them. Now, of this scheme of mine what think yon 'f Mala. Why, to speak frankly, I do not quite agree. Reflect, this most abandou'd, guilty one, Unhappily's my sister, and your wife : Let us not give the means by which our sliame May from the very house-tops be proclaim 'd. Both. A more expedient, likely pioi)osition. We must try somehow, if we can't devise. Mala. I should say, let us consider a little. We two alone will go straight to the place There, in the little wood, let's post oarselvee , DON PASQUALE. 98 A sa : «mpo ci moBtrìamo ; E tra prejihi, tra rainacrie — D' avvertir 1' nutorità — Ci facciaiii (lai due promettere Che la tresca ha fine là. Don Pasquale rhe vi par? P(U. [Alzandosi] Piriionate, mon paò star; E' siffatto scioplimento, Poca pene al tradimento ; Vada fiior dì casa mia, Altri patti non vo' far. A. t. E' un affare delicato, Vuol ben esser ponderato. La prudenza col rip^ore Qui bisogna consiliar. ifaia [A un tratto.] L' ho trovata! Po». Oh ben»deUo ! Dite presto. Maia Nel Itoschetto Quatti, quatti, ci appostiamo, Di lit tutto udir possiamo, S' è costante il tradimento : — Su du pie' s' ha da cacciar. Po». Son contento — va henone ! Maia Ma con ]ìatto e condizione. Che r inlento ad ottenere — M' accordiate di potere Fare e dire a nome vostro Tutto quello che mi par t Po*. Carta bianca vi concede, Fate pur quel che vi par : Aspetta, aspetta, Cara sposina, La mia vendetta : Già' s' avvicina, Già' già' ti preme : Già' t ha raggiunto, Tutte in un punto ! L' hai da «contar — Vedrai se giovino. Raggiri e cabale — Sorrisi teneri — Sospiri e lagrime — La mia rivincita. Mi voglio prendere ! Sei nella trappola ! V hai da restar ! Mam A parte.] E poverino ! Sogna vendetta ; Non sa il meschino — Quel che 1' aspetta! Invano freme ; Invano arrabbia — E' chiuso in gabbia ! Non può scappar ! Invano accumula, Progetti e calcoli ; No sa che fabbrica Castelli in aria : Non vede — il semplice- Che nella trappola, Da sé medesimo Si va a gettar. [ Etrono 8(JJKNA VI. — Eritebto <• Coro di dentro. Boschetto nel pardiTto attiguo olla casa di Don Pasquale da un lato gra- dinma che un dalla casa mette in giardino doli' altro ean- ciiio aet ^rdino. E natte. Then, at the proper time, come forth ; And what with supplications and with menaces — That we'll inform th' authorities of all — Penhance we may induce them both to promise That this false step shall end for ever there. Now, Don Pasquale, what do you think of thai ' Pom. [A'i(i>t^.| Pardon me, Doctor, but this cannot ^ Such a get-off as would be this conclusion, Would be hut little punishment for such treacher7 She shall go out for ever from my house I Save this condition, none else will I make Both. It is a delicate affair, And requires deliberation : Prudence, with rigorous degradation. Here must be combin'd with care. Mala. {Suddenly] Eureka! I have found it ! Pas. Oh, bless'd heaven ! Tell me directly. Mala. In the little wood Quietly, (}uietlT, we will post ourselves. Whence we may hear what passes, and judge If real I •ana fide is this treachery : — When I will instantly discard her. Pas. I am contented — 'tis the very thing ! Mala. But with tliis compact», and with these condition* This most desirable object to obtain — That you shall fully grant me the power Of doing, and of saying, in your name, All things, I in my judgment may think fit! Paa. A cane blanc^jl \villingly will give you, Do all and singular that you think best ; Wait, wait, Dear little wife, I soon reveng'd will be : E'en now 'tis near, my life, The Fates press hard on thee : Now, now, it reaches thee, This night, without delay, Thon must the reckoning pay ! Thou'lt see what little use Now will be each excuse — Useless thy tender smiles, Sighs, and tears — and wiles — All I have now at stake, Conquer'd, again I'll take ! Thou'rt in the trap — hurrah ! There thou wilt have to stay t Mala. [Aside.] Oh, the poor fellow! Vengeance he's prating ; Let the dolt bellow — He knows not what's waiting I Vain's all his fretting now ; Rage in vain ape — He's a cage shut in now — Cannot escape ! Vain he accumulates, Projects, and calculates , He knows not he is building rare Castles in the empty air : He sees not — the simpleton — That in the trap, poor elf, He of his own accord Now goes to throw himself. [Exeunt togetÀm SCENE VI.— Eenest ant/ Chorus unthin a mad wood t> the garden, adjoining Don Pasquale's house. On one fvU u /light of steps, leading from die house : on the other the gr'jueu gate of the garden. It is night. DON PASQUALK. COM' E GENTID-ORì SUMMER NIGHT Sow; Ebhksto. ^i^^feir&B^iiiiS^-i^^^i^ii^y^i Com' è gen - til, Oh I Summer night, la notte a mezzo April, Thp tran-quil lii dentro.] Poi ((nando sarà morto, piangerai, Ma ritornarmi in vita non potrai. Inorino esce con precauzione dalla casa e va ad ayrire
    v'it me. Dim • mi che mi - o tu se - - i : TeO me thiit thou art mine, dear :.....,. ^ DON PASQUALE. 95 k, :^=t3: r^^^;{ j-^E^i^ r r^ U^s^ ^^-Ef^fl'^i^ Qaan When, do tao ben mi chia mi, love, thou call' St me thine own, . La vl - ta ad - dop - pi io me. It makes my life dou • ble ap - pear. ''^4^^^^^^m^ :5=>— i:sM?] Qnan - do tao ben mi chia - - mi, When, love, thou call' st me thine. •»»• own. me. La vi - ta ad ■ dop - pi in It makes my life don - ble Ap - pear. sii^-^ CO - re op sounds my bo torn La TO • ce ta - a si Thy voice, dear, my hopes re TtL, ing, Bin It» ^M^: 3 iEirnH^ESSi^^i^^:^ pros cheer 80 il CO - re op • pros ing. my bo $om chei so, Se ing, I cara a Irem-ble ter - ing. my oo mm cneej^ ... ..... ,„j,^ / trem-ble fran - ca il co - re op - pre» tweet sounds my bo som cheer ■ so, Se ing, I car» a tren - ble ^^3'^^^g^gif g-^g gg=g^^'^?^»--?i'=^^^ te d'ap-pres when thou'rt a - way. 80, dear. V- Tre - mo ion - tas da - te . But joy re • turns when thou art near. te d'ap-pres - so, when thou'rt a - way, dear, V — U — U- Tre • mo Ion - tan da - te • . . But joy re • turns when thou art near. CO. a a te d'ap - pres - so, tremble when thou'rt a - way, dear, mo Ion - tan - da t<\. returns when thou art near. m^M^^^mm^m^^i^^m cura a te d'ap - pres - so, tremble when thou'rt a • way, dear, Ah But tre - ino Ion - tan - da te. joy returns when thou art near. [Si vedono Pasquale e ti dottore, muniti di lanterne, sorde entrar pian fiiana nel cancello : si per dono dietro affli alberi per ricomparire a suo tempo. Nor. [Sommessamente.] Sento rumor ! Em. Son dessi I Nor. Comincia 1' iiltim' atto^ Em. Se perder ti dovessi ! Nor. V» cor. t' affida in me. [Pasqiude and the Doctor, furnished with dark tantenm^ are seen to enter softly at the rp-ated door : the^' dimxp pear behind the trees, but reappear at the right momeiU. Nor. [ Very low. ] I heard a soand approaching ! Em. Ah ! 'tis they Ì Nor. Let as begin, dear Ernest, the last act — Em. If I should have to lose thee, after all I Nor. Take heart — love is oar friend, trost all to OM- 96 DON PASQUALE [ifentn Don PwiquaU e il dottore n eomparùeono Er- nesto riprende manteJlo, e ti trotta alquanto da No- rxna ittWi direzione della Mta di Don PatquaU. Pcu. Eccoli I Attenti ben ! Mala. M' raccomando ) SCENA VII.— Don I-asqualb, Dotto»», « detti. Pat. [Sbarrando la lanterna in volto a Norina.] Alto là! Nor Ladri, ajuto ! Pa» [A Norina.] Zitto \ Ov è il drudo * Nor. Chi 1 Pat. Colui che stava Con voi qui amoreggiando — Nor. [Con ritentiTitento.] Signor mio ! Mi meraviglio qui non v' era alcuno ! Mala. (Che faccia tosta !) Pat. ( Che mentir sfacciato ! ) Saprò ben io trovarlo. [Don Pasquak e il dottore fanno indagini nei hotcketto. Ernest entra pian piano in rasa. Nor. Yì ripeto, Che qui non v' era alcun, che voi sognate. Mala. A quest ora in giardin che facevate 1 Nor. Stavo prendendo il fresco. Pas. n fresco ! [ Con esplosione. \ Ah, donna indegna ! Fuor di mia casa ! — o eh' io ! — Nor. Ehi ! ehi ! Signor Marito — Su che tuoii la prendete ? Pat. Escite e presto I Nor. Nemmen per sogno ; e' casa mia — vi reato Pat. Corpo di mille bombe ! Mala. Don Pasquale, Lasciate fare a me ; solo— badate — A non smentirmi : — ho carta bianca ! Pat. E inteso. Nar. (l\ bello adesso viene.) Mala. [A Norina piano.] (Stupor misto di' sdegno, — attenta bene — J Sorella adite, io parlo Per vostro ben : vorrei Risparmiarvi uno sfregio — Nor. A me uno sfregio 1 Mala. (Benissimo !) Domani in questa casa, Entra la nuova sposa. Nor. 1 Come sopra.] Un altra donna ! A me simile ingiuria 1 Mala. (Ecco il momento di montare in furia.) [Don Pasquale tien dietro al dialoga con grande into- resse. Nor. Sposa di chi 'f Mala. D'Ernesto ; — la Norma. Nor. [Con disprezzo.] Quella vedova scaltra ;— e civettina ' Pat. [Al Dottore.] Bravo, Dottore ! Mala. ( Siamo a cavallo ! ) Nor. Colei qui a mio dispetto ! Norina ed io sotto 1' btesso tetto ! [Con forza. Qiammai ! pintosto parto I Pat. Ah, lo volesse il Ciel ! Nor. [Cambiando modo.] Ma — piano un poco. Se queste nozze poi fossero on goico 1 Vo' sincerami pria. Mala. E giusto. — [A Don Pasquale.] — Don Pasquale non e' e via ; Qui bisogna sposar quei due davvero Se no costei non ra. [ When Don Pasquale and the Doctt t re-oppear, £mem cìoaìct himself, and, leaving Norina, return* t»wanù the house of Don Pasquale. Pat. They're here ! Mark well ! Mala. Heaven, I commend me to thee I SCENE Vn.— Dor Pasquale, Malatbbta, aiul fi^ others. Pat. [ Unmasking the lantern full in Norina'* face.] Halt there ! Hold, Madam ! Nor. Ah, thieves ! thieves ! — help ! help ! Pat. I To Norina.] Peace ! Where's the lover * A^or. Who 1 Pat. Why, he who was Here but this very moment — making love — Nor. [Offended.] Who, sir? I am amazed — there was nobody here ! Mala. ( What a quick change ! ) Pat. (What an audacious falsehood )) Oh ! I know well how I can find the gentleman. [Don Pasquale and ilaJatesta make o search among thi trees. Ernest secretly enters the house. Nor. Doubt it ! well, I repeat it to you again, That there was no one here, and that you dream. Mala. At this hour in the garden, pray what did yon * iVior. I was enjoying the fresh air. Pat. The fresh air! [VFiYA a burst of indignation.] Ah' thou false unworthy woman ! Out of my house directly ! — troop !— or I — Nor. Heydey ! heydey ! — strong words these, Mister Hm band ! Do you take up this tone t Pat. Begone, and quickly I Nor. Nay, I'd a dream ; 'tis my house — I'll stay in it. Pat. Body of a thousand bombs ! — Mala. Pasquale, Leave me to manage this ; only — take care — Don't interfere : — I've carte blanq^ Pat. 'Tis agreed so. Nor. (The best of all of this is now to come.) Mala. [To Norina, sq/Ug.] (Amazement mix'd with indignation — mind — ) Patiently hear me, sister, for I speak But for your good : believe me, I would wish To spare you a disgrace — Nor. \ Indignanti g.] Disgrace! Spare me ' Milla (Most capital !) To-morrow, in this house Enters the new-made bride. Nor. [As before.] Another lady! To me such an injurious aflront 1 Mala. (Now is the time to fly into a passion.) [Don Pasquale is behind, listening to the dialogue wtlk great interest. Nor. The bride of whom ? Mala. Of Ernest — his Norina ! Nor. [ With disdain.] That cunning little widow — that coquette ! Pas. I To Malatesta.] Bravo, Doctor ! Mala (We go as if on horseback !) Nor. That flirting hussy here, in spite of me ! I and Norina 'neath the self-same roof? [Vehementtf Never ! No, sooner, first, I would depart ! Pat. With all my heart ! I wish to Heaven yon would 1 Nor. [Changing her rnanner.] But do not let me hurry — wail a little. If these same nuptials should be all a joke 1 I must assure myself they're real first. \ Mala. 'Tis just. — \Tu I km Pasquale.] — Pasquale, therc't I no other way ; I So these two you must unite in good eameav ' Or she won't go. DON PASQUALE. a7 Pa». Non mi par raro ) Mal*. [Chiamando.] Ehi ! di casa, qualcuno 1 Emesto ' SCENA ULTIMA.— BsiratTO « Stnn Km. Mala. Eccomi ! A voi ! Accorda Don Pasquale La mano di Nonna, e nn annuo assegno- Di qaattrroraila scudi. Ah, caro zio I E fia ver ? Mala. Li Don Patqmde.] D' esitar non è pib tempo, Dite di si — M' oppongo ! Ed io consento I \A Errtuto Corri a prender Noriua : E d' anirvi io m'impegno in sol momento— Senz' andar lungi la 8p<.«a è presta. Come ? Spiegatevi ! Nonna è questa I Quella I Norina ? Che tradimento 1 Dunque Sofronia — Dura in convento ' E il matrimonio- Fu un mio pensiero, Stringervi in nodo di nullo effetto, Il modo à tani di fame un vero. E chiaro il resto del romanzetto. Ah bricconissimi ! ( Vero non parmi I Ciel ti ringrazio !) Cosi ingannarmi, Meritereste — Va siate buono ! Em. \ Inginocchiandoti.] Tìeh, zio, moveteri ! Nor. I Con sopro.] Grazia! perdono! f*a». Tutto dimentico. Siate felici ! Com' io v' unisco ! — v' unisca il Ciel ! Erm Sor. P LAST.— EaiTBST am/ ÒVtvonu Em. I'm here t I'm here I Mala. 'Ti8 well ! To you Tour uncle, Don I'asquale, kindly grants Norina's hand, with an allowance yearly — Four thousand crowns. Em. Ah, dearest, best of uncles I Can it ho true ? Mala. \To Pasquale.] Too late to hesitate : Say yes — Nor. But I oppose it I Pat. I consent 1 [To Emtm Run, swiftly as the wind, and find Norina : I to unite you undertake, this moment — Mala. Without you going farther, the bride's ready Pas. How* Explain yourself ! Mala. There is Norina I Pat. Eh I that Norina ? What treachery is this I Why, then, Sophronia — Mala. Still is in the convent ! Pas. My marriage, then — Mala. Was an idea of mine To bind you by a tie of no effect. That you might not have means to form a true on» The rest of the romance is very clear. Pat. Cozening rogue ! (Still I dare not believe it I Kind Heaven, I thank thee I) To deceive me bboa. You merit — Mala. Come, now, be indulgent, sir I Em. i Kneeling. 1 Ah, uncle, be persuaded ! Nor. [Alto kneeling.] Pardon ! pardon ! Pa». I everything forgive. May you be happy. As I unite yon ! — so unite you. Heaven I LA MORALE IN TUTTO QUESTO— TRXJS THE MORAL. Noriha. — — ^ H - t- ^ — É é ^*^ ^ ^ OS nel-Io • no se e - doglie in qnan • ti - tà pmJed, and kit pa» - non soon grow» cold — ben è see • mo di oer He mutt ture - ly b» d» 38 DON PASQUALE ▼el - lo cbi B'ftm moglia In recchia è tà ment-ed who would mar - ry ic/ien ***• o/d, É=§=^^SiÌ^^^ ti - tà growB cold, non e doglie, doglie e and hi» passion, and hù Po». Malo* I Bm ( La morale è molto bella, Applicarla a me 8Ì sta ; Sei pur fina o bricconcella M' hai servito come va. La morale è molto bella Don Pasquale I' applicherà (jaella cara bricconceQa Langa più di noi la sa ! f^^^i^i^:^^^!^^ Je In.. tion. quan - ti - ta. loon grown cold- Pa: It il a very clever moral, And well enough applies to me ; 80, little rogue, we will not quarrel, Though yon have nsed me scurvily. Maia. ^ I It is a very clever moral, Em ) As Don Pasquale soon will see • He must not with this dear rogne qoarrat- 8be knowf a vast deal more thaa h* ! THl IVD The Musicians Library CLThis notable series has been planned to embrace all the master- pieces of song and piano literature; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. PIANO VOLUMES Edited bv BACH PIANO ALBITM. Vol. I. Shorter Compositions Ur. Ebenczer Prout BACH PIANO ALBUM. Vol. II. Larger Compositions Dr. Ebenczer Prout BEETHOVEN PIANO COMPOSITIONS. Vols. I and U Eugen d'Albert BRAHMS, JOHANNES. Selected Piano Compositions Raphael Joseffy CHOPIN, FREDERIC. Forty Piano Compositions James Huneker CHOPIN, FREDERIC. The Greater Chopin James Huneker GRIEG, EDVARD. Larger Piano Compositions Bertha Feiring Tapper GRIEG, EDVARD. Piano Lyrics and Shorter Compositions Bertha Feirinsr Tapper HAYDN, FRANZ JOSEF. Twenty Piano Compositions Xaver Schanvcnka LISZT, FRANZ. Ten Hungarian Rhapsodies August Spanuth and John Ortli LISZT, FRANZ. Twenty Original Piano Compositions .\ugust Spanuth LISZT, FRANZ. Twenty Piano Transcriptions August Spanuth MENDELSSOHN, FELIX. Thirty Piano Compositions \ ; ; ; :uYthaPVVfkreb7Da°nkf Gregory Ma^^^^^ MOZART, WOLFGANG AMADEUS. Twenty Piano Compositions Carl Reinecke SCHUBERT, FRANZ. Selected Piano Compositions August Spanuth SCHUMANN, ROBERT. Fifty Piano Compositions Xaver Schar\venka WAGNER, RICHARD. Selections from the Music Dramas Otto Singer ANTHOLOGY OF FRENCH PLANO MUSIC. Vol. I. Early Composers ? t jj Phiiinn Vol. U. Modern Composers ) ^^^°°^ rniiipo ANTHOLOGY OF GERMAN PIANO PIANO MUSIC. Vol. I. Early Composers K, :.. Mos/kowski Vol. U. ModemComposersT " '^^°*'"'°^^^''' EARLY ITALIAN PIANO MUSIC M. Esposito TWENTY-FOUR NEGRO MELODIES Transcribed for Piano by S. Coleridge Taylor Each volume in heavy paper, cloth back, ?2.00; in full cloth, gilt, $3.00. Copies mailed postpaid. Other volumes in preparation. Booklets, giving full particulars, witn portraits of Editors and contents of volumes published, FREE en request. Note.— These works will be sent with return privilege to those with accounts in good standing, and to those with no accounts upon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYON & HEALY, Chicago The Musicians Library CThis notable series has been planned to embrace all the master- pieces of songf and piano literature; to gather into superbly made volumes of uniform size and binding the best work of the best composers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. SONG VOLUMES Edited by BRAHMS, JOHANNES. Forty Songs. Hiyh Voice. Low Voice James Huneker FRANZ, ROBERT. Fifty Songs. Hi^h Voice. Low Voice William Foster .\pthoip GRIEG, EDVARD. Fifty Sengs. HANDEL, GEORGE FRIDERIC. JENSEN, ADOLF. Forty Songs. LISZT, FRANZ. Thirty Songs. HÌ!,'li \'oice. Low Voice; Henry T. Finck Vol. I. Songs and Airs for High Voice ? p, Fh,ne7cr Vrnnt Vol. II. Songs and Airs for Low Voice ) ^^- ^benezer rrout Hiyli Voice. Low Voice William Foster Apthorp Hijjh Voice. Low Voice Carl Armbruster SCHUBERT, FRANZ. Fifty Songs. High Voice. Low Voice Henry T. Finck SCHUMANN, ROBERT. Fifty Songs. High Voice. Low Voice W.J.Henderson STRAUSS, RICHARD. Forty Songs. High Voice. Low Voice James Huneker TCHAIKOVSKY, P.I. Forty Sengs. High Voice. Low Voice James Huneker WAGNER, RICHARD. Lyrics for Soprano Carl .\rmbruster WAGNER, RICHARD. Lyrics for Tenor Carl Armbruster WAGNER, RICHARD. Lyrics for Baritone and Bass Carl Armbruster WOLF, HUGO. Fifty Songs, lligli Voice. Low Voice Ernest Newman FIFTY MASTERSONGS. High Voice. Low Voice Henry T. Finck FIFTY FHAKSPERE SONGS. High Voice. Low Voice Charles Vincent, Mus. Doc. MODERN FRENCH SONGS. High Voice. Low Voice. Vol. I. Bemberg to Franck ? tjui; u.,i Vol. II. Georges to Widor ] ^"'"P "^"' ONE HUNDREB ENGLISH FOLKSONGS. Medium Voice Cecil J. Sharp ONE HUNDRED FOLKSONGS OF ALL NATIONS. Medium Voica Granville Bantock ONE HUNDRED SONGS BY TEN MASTERS. Higii Voice. Low Voice / Vol. I. Schubert, Schumann, Franz, Rubinstein aud Jensen [- Henry T. Finck Vol. II. Brahms, Tchaikovsky, Grieg Wolf and Strauss ) ONE HUNDRED SONGS OF ENGLAND. High Voice. Low Voice Granville Bantock SEVENTY SCOTTISH SONGS. High Voice. Low Voice Helen Hopekirk SIXTY FOLKSONGS OF FRANCE. Medium Voice Julien Tiersot SIXTY IRISH SONGS. High Voice . Low Voice < William Arms Fisher SIXTY PATRIOTIC SONGS OF ALL NATIONS. Medium ^■oice Granville Bantock SONGS BY THIRTY AMERICANS. High \'oice. Low Voice RupeU Hughes SONGS FROM THE OPERAS FOR SOPRANO H. K. Krehbiel SONGS FROM THE OPERAS FOR MEZZO-SOPRANO H. E. Krehbiel SONGS FROM THE OPERAS FOR ALTO H. E. Krehbiel SONGS FOR THE OPERAS FOR TENOR H. E. Krehbiel SONGS FOR THE OPERAS FOR BARITONE AND BASS H. E. Krehbiel Each volume in heavy paper, cloth back, $2.00; in full cloth, gilt, $3.00. Copies mailed postpaid. Other volumes in preparation. Bookiets, giving full particulars, with portraits of Editors and contents of volumes published, FREE on request. Note— These works will be sent with return privilege to those with accounts in good standing, and to those with no account t(pon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO.. New York LYON & HEALY, Chicago Favorite Songs of Famous Singers Price, each, $1.25 postpaid My Favorite French Songs Book» 1 and II By EMMA CALVE High Voice Low Voice CThe great singer here gathers together her favorites among French songs — mostly modern, bome operatic, and a few of the ultra-modern school. To these she adds a group of "Songs my Grand- mother sang," making a truly unique and distinguished collection. From these charming old melodies down to the songs of Debussy the singer indicates all that is best in the realm of French song composi- tion. Complete with biographical sketch with portraits and an introduction from Mme Calvé's pen. A splendid group of songs valuable to both singers and concert goers. — BOSTON TIMES Books I and II My Favorite Songs By JULIA GULP High Voice Low Voi« CThe favorite songs of this highly praised Zy/'eder-singer are drawn from the music of many different lands, from her native Holland to our own America, and including France, Germany, Ireland, etc. This collection is made up of such numbers as have won Mme. Gulp's affection as well as proved their acceptability to her enthusiastic audiences, and the volume is of extraordinary interest. A charm- ing introduction from the singer's own pen and portraits enrich the book. The triumphs of the singer are reflected in her book. — THE MUSICIAN My Favorite Songs By GERALDINE FARRAR High Voice By GERALDINE FARRAR Low Voice CThis gifted singer shows her musical training by the preponderance of German songs in the collec- tion she has brought together The various numbers have been sought out with indefatigable zeal, largely from treasures of song buried or neglected in the works ot great writers, and are therefore, in many ways, new to the average teachei or singer. Songs from other lands, such as Russia and Scandi- navia are also included. The book contains a biographical sketch, portraits, a striking portrait on the cameo plate paper cover, in the engraver's best art. Miss Farrar's selection evidences a most eclectic and at the same time impeccable musical taste. -MUSICAL COURIER High Voice The Most Attractive Volume of Folksongs Ever Published My Favorite Songs By MARCELLA SEMBRICH Low Voice : CMarcella Sembrich was the first among great singers to reveal the treasures of folksong, and her knowledge of these gems from many lands is most extensive. In this volume she has collected those which her experience proved were grateful to the singer ard pleasing to her audiences. These are the folksongs v^rhich Marcella Sembrich has sung so often in her concerts that the seal of public approval is stamped upon them all.— MUSICAL COURIER. My Favorite Songs By ALMA GLUCK Low Voice : ; High Voice J CNo contemporary recital-singer has a larger following of charmed listeners than Mme. Gluck, and ; her excellent choice of songs plays a vital part in her success. The numbers included m this volume : she has gathered from many sources; but they all serve to display the suave lyricism, the delicate • nuances, and the arch humor of her captivating art. Portraits and an introduction from the pen of the • singer complete the attractive features of the book. • Singers will do well to avail themselves of this rare selection of songs, with which the • favorite singer has largely won her popularity — THE MUSICIAN • I Oliver Ditson Company, 179 Tremont Street, Boston I Chas. H. Ditson & Co., New York Lyon & Healy, Chicago Order of your Local Dealer ur^'vvri'v^'virrvrì^ì^in^n^^ Standc 1] rd Opera \\ brettos All librettos have English text. Additional texts are indicated by Italic letters, as follows : /, Italian, G German F French. Those marked with (*)contain no music and are 15 cents a copy. All che others have the music of the principal airs and are 25 cents each. A— G Title Text Composer Title Text Composer Africaine, L' /. Giacomo Aleyerbecr Don Giovanni /. W. A. Mozart Alda /. Giuseppe Verdi Don Pasquale /, Gaetano Donizetti * Amico Fritz, L' (Friend *Dorothy Alfred Ce Hie r Fritz) /. Pietro Mascagni Elisire d'amore, I ' L Gaetano Donizetti Armide /: C. IV. von Cluck *Erminie /. Edward JakobowsJd Ballo in Maschera, Un Ernani /. Giuseppe Verdi (The Masked Ball) /. Giuseppe Verdi Etoile du Nord, L' (The Barbe-Bleue (Blue Star of the North) /. Giacomo Meyerbeer Beard) F. Jacques Offenbach Fatinitza Franz von Suppc Barbiere di Siviglia, Il Faust F. Charles Gounod (Barber of Seville) I. Gioacchino A. Rossini do. /. do. Belle Hélène, La F. Jacques Offenbach Favorita, La f. Gaetano Donizetti Bells of Corneville (Chimes of Normandy) Robert Planque/ic Fidelio G. L. van Beethoven *Billee Taylor Edward Solomon Figlia del Reggimento, La (Daughter of the ♦Boccaccio Fra?i2 von Suppc Regiment) L Gaetano Donizetti Bohemian Girl, The Michael Wm. Balfe Fille de Madame Angot, do. I. do. La F, Charles L^ecocq Carmen F. Georges Bizet Flauto Magico, Il (The do. I. do. Magic Flute) L IV. A. Mozart Cavalleria Rusticana /. Pietro Mascagni Fledermaus, Die (Tlie Chimes of Normandy Bat) G. Johann Strauss (Bells of Corneville) Robert Planquette Fleur de The F. F Jlcrvc {Longer) Cinderella /. GiO(rcchino A. Rossini Flying Dutchman, The Richard Wag J ter Contes d'Hoffmann, Les do G. do. (Tales of Hoffmann) /; Jacquts Offenbach Fra Diavolo I. D F. E. Auber Crispino e la Comare (The Cobbler and Freischiitz, Der G. Carl Maria 7'on Weber the Fairy) /. Luigi and F. Ricci do /. do. Crown Diamonds, The F. D. F. F. Auber *Gillette {La Belle Dame Blanche, La F. A. Boieldieu Coquette) Edmond .ludran Damnation of Faust, The F. Hector Berlioz Gioconda, La I .Imi lea re Ponchielli Dinorah I. Giacomo Meyerbeer Giroflé-Girofla F Charles Lecoca 'Doctor of Alcantara, The Julius Eichberg Gotterdaramjrung, Die C . Richard Wagner « ® OLIVER DITSON COMPANY ® © 1 . ... Standc XÌ "d Opera Li brettos All librettos have English text. Additional texts are indicated by Italic letters, as follows: /, Italian ; G, German ;F. French. Those marked with (*) contain no music and are 15 cents a copy. All the others have the music of the principal airs and are 25 cents each. G— Z Title Text Composer Title Text Composer Grand Duchess of OteUo /. Giuseppe Verdi Gerolstein, The F. Jacques Offenbach Pagliacci, I I. R. Leoncavallo ♦Hamlet Ambroise Tho?nas Parsifal G. Richard Wagner Jewess, The I. Jacques F. Halévy Pinafore (H.M.S.) Sir Arthur S. Sullivan Konigin von Saba Prophète, Le /. Giacomo Meyerbeer (Queen of Sheba) G. Karl Goldmark Puritani, I I. Vincenzo Bellini Lakmé I. Leo Delibes Rheingold, Das (The Lily of Killamey, The Sir Jules Benedict Rhinegold) G. Richard Wagner Linda di Chamounix I. Gaetano Donizetti Rigoletto I. Gitiseppe Verdi ♦Little Duke, The Charles Lecocq Robert le Diable J. Giacomo Meyerbeer Lohengrin G. Richard Wagner Romeo et Julietta F. Charles Gounod do. I. do. Romeo e Giulietta I. do. ♦Lovely Galatea, The Franz von Suppé Samson et Dalila F. Camille Saint-Saens Lucia di Lammermoor I. Gaetano Donizetti Semiramide I. Gioacchino A. Rossini Lucrezia Borgia I. do. Siegfried G. Richard Wagner ♦Madame Favart Jacques Offenbach ♦Sleeping Queen, The Michael Wm. Balfe Manon F. Jules Massenet Sonnambula, La /. Vincenzo Bellini Maritana J Vm. Vincent Wallace ♦Sorcerer, The Sir Arthur S. Sullivan Marriage of Figaro /. W. A. Mozart ♦Spectre Knight, The Alfred Cellier Martha /. Friedrich von Flotow ♦Stradella Friedrich von Flotow ♦Mascot, The Edmond Audran Meistersinger, Die Tannhauser G. Richard Wagner (The Mastersingers) G. Richard Wagner Traviata, La I. Giuseppe Verdi Mefistofele I. Arrigo Boi to Tristan und Isolde G. Richard Wagner Merry Wives of Trovatore, Il /, Giuseppe Verdi Windsor, The Otto Nicolai Ugonotti, Gli (The Mignon I. Ambroise Thomas Huguenots) J. Giacomo Meyerbeer Mikado, The Sir Arthur S. Sullivan Verkaufte Braut, Die ♦Musketeers, The Louis Varney (The Bartered Bride) G. Friedrich Smetana ♦Nanon Richard Genée Walkure, Die G. Richard Wagnsr Norma I, Vincenzo Bellini William Tell I. Gioacchino A. Rossini ♦OUvette Edmond A udran Zauberflote, Die (The Orpkeus C. W^von Gluck Magic Flute) G. W.A. Mozart ® «' OLIVER DITSON COMPANY ® ® g) 11==— Il lf==lf==1f=1f==lf= Il -JE J Son^s from the Operas m Edited by H. E. KREHBIEL Bound in paper, cloth back, $1.7^ each, postpaid In full cloth, gilt, . . . $^.00 each, postpaid In these volumes of THE MUSICIANS LIBRARY the editor has presented in chronological order the most famous arias from operas of every school. Beginning with songs from the earliest Italian productions, a comprehensive view of operatic development is given by well-chosen examples from German, French, and later Italian works, down to con- temporary musical drama. C^ Each song or aria is given in its original key with the original text, and a faithful and singable English translation. il^Each volume contains an interesting preface by Mr. Krehbiel with historic, descriptive and interpretative notes on each song. Ct Portraits of the most noted composers represented are given in each volume. ^x I2>^ inches. ^ Soprano Son^s from the Operas Contains twenty-three numbers by nineteen composers. The music covers 188 pages, the prefatory matter 25 pages. Portraits are given of Beethoven, Bellini, Gluck, Gounod, Meyerbeer, Mozart, Rossini, Verdi and Weber. Mezzo- Soprano Son^s from the Operas Contains thirty numbers by twenty-five composers. The music covers 186 pages, the prefatory matter 29 pages. Portraits are given of Auber, Bizet, Donizetti, Handel, Massenet, Saint-Saens, SpontinI, Thomas and Wagner. Alto Son^s from the Operas Contains twenty-nine numbers by twenty-two composers. The music covers 176 pages, the prefatory matter 20 pages. Portraits are given of Glinka, Gluck, Handel, Lully, Meyerbeer, Purcell, Rossini, Thomas and Verdi. Tenor Son^s from the Operas Contains twenty-nine numbers by twenty-one composers. The music covers 192 pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Gluck, Gounod, Mascagni, Massenet, Verdi, Wagner and Weber. Baritone and Bass Son^s from the Operas Contains twenty-seven numbers by twenty-four composers. The music covers r; 188 pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cheru- bini, Gounod, Halévy, Handel, Mozart, Ponchielli and Tchaikovsky. flOLjM f==== = a !=====! i=====a f=^ ML50.D6.D62 1888 C037528545 UC BERKELEY LIBRARIfS CD375Efl5M5 DATE DUE Music Library University of California at Berkeley