259 DON GIOVANNI Opera in two acts. Libretto by Lorenzo da Ponte, based on itso de Molina's Ef Burlador de Sevilla First performance at the National ‘theater in Prague, October 29, 1787 CHARACTERS Don Giovanni, a libertine: bass/baritone ‘The Commendatore: bass Donna Anna, his daughlor: soprano Don Ottavio, her betrothed: tenor Leporello, Don Giovanni's servant: bass Donna Elvira, a lady of Burgos, abandoned by Don Giovanni: soprano Zerlina, a peasant girl: soprano or high mezzo Masetto, her betrotlied: baritone Servants, attendants, musicians, peasant girls and men ‘The action lakes place in Seville, in the seventeenth century, ‘THE PLOT ACT It is night and Leporello, pacing outside in front of the house of the Cormmenstators, grumbles about his unpleasant work, having to sarve someone like Don Giovanni, While he eats and sleeps poorly his master womanizes night and day. His musings are interrupted as a raging Donna Anna flies out of her house pursuing the masked Don Giovanni, who has just tried to seduce her. She tries to unmask him and he fights her off. When the lady's father (The Commendatore) comes out to dutond lis daughter, Don Giovanni kills him in a duel. Anna runs off to get hulp and soon returns with Dow Ottavio, her fiancé, and beholding her father's body, hemoans her fale as Otlavio tries to console har wi his protestations of love. Don Giovanni, now on the prowl again, encounters Dontia Blvira, a lady whom he had use, and then abandoned. She is slill lamenting her toss, and Don Giovanni cleverly asks Leporello to distract hor, which the latter doos in his famous roeitation, reading from the catalogue of his master's love affairs Don Giovanni escapes. “There isa peasant gathering in which Zerlina and her fiancé Masetto are celebrating their coming rmorriage. Don Giovanni is immediately smitten by the preity girl and manages to have Laporello dng Masotto off while he makes his advances on the poosant girl. His progress is interrupted by the 1e- appearance of Donna Elvira, who spoils his plans by leading Zerlina away and warning her about the bortine. Momentarily thwarted, Don Giovanni runs into Don Ottavio and Donna Anna, the latter now dressed in mourning, and as he gallantly says farewell and kisses her lhand, Anna recognizes his voine as the man who tried to soduce her and then killed her father. She swears vengoation and anlists the help of Ollavio, She leaves ancl Ottavio sings about how much he loves her, Athis palace, Don Giovanni toasts with champagne the revelzy to come. As Zerlina atid Masutto approach the palace to join the party, Zerlina asks Masetlo to forgive her apparent infidelity. Evira, ‘Anna and Oltavio appear, masked and cloaked. Giovanni tells Leporollo to invite them in, while the tree vow to punish the libertine. Guests begin to arrive and as the orchestra strikes up a minust, Giovanni asks Loporello to distract Masetto and takes Zerlina off into his house. When the gil eries for Help, Anna, Elvira and Otavio unmask and confront Giovanni, who manages to escape with Loporell.260 ACT IL JUs night and Elvita’s house can be seen in the background. Giovanni and Leporollo are having a mild argument, Leporello assorting that lie is truly fed up with his master’s behavior, Giovanni appeases Leporello with a few coins and then asks him to chango cloaks ant bat with him, so that he (Giovanni) may better serenade and woo Elvira's maid, who is the latest danisel to strike his fancy. ‘They conduct this charado under Elvira's window, aud when she fizally comes down, Leporello, feigning his mastor’s voice and abetted by darkness, manages lo take her off into the night, leaving the Don free to sorenade his lady love. ‘When Masetto appoars loading a band of poasantsbenton punishing Giovanni, the disguised rake {gives them instructions to spread out, bul keeps Masetto with him. Onc the others are gone, he inercilessly beats the poor Masetlo and escapes. Zerlina hears Masotte's moans and gently comforts hin and helps him off the street Elvira has followed the disgutsod Loporello to Anna's houso, and now Anna, Ottavio, Zerlina and Masatto, al of them mistsking servant for master, join in denouncing him. Frightened, Lepavello linally unmasks and manages to escape. Elvira is furious at having been deceived ouce again by the Don, Leporullo finds Giovanni in a dosertod comotory. whore a statue of the slain Commendatore, suddenly comes to life, addresses Giovanni in sopulchral tones of impending loom. Giovanni orders the frightened Leporello to invite the stalue to supper. which invitation it accepts by nodding its head, In Anna's houso, Ottavio again ploads his love but the grieving Anna asks him to postpone their marriage yel another year, i his bauqueiting hall, Giovanni orders Leporallo to serve supper, as a stage orchestra provides uusical accompanimont. Utorly distraught, Elvira enters aud begs Giovanni to repent but he dismisses her contemptuously. As she leaves, she screams in terror ~ the stone guest has arrived for suppor, Refusing to open the door, Leporello hides. Giovanni boldly goes into the corridor, but a momont later reluins backing up into Uhe room receding before tho hoavy-tooted statue of the Commendatore. ‘The statue speaks: "Don Giovanni, you have invited me to supper.” Giovanni orders Laporelly to serve supper {o the stato. ‘The statue roplies that "They who feast on the food of angols, eat no nore te corupt food of mortals.” Now the statue invites Giovannl to suppor, which bo accepts by pledging his hand, ‘The moment tho statue soizes his hand, Don Giovanni is in agonizing pain and terror. aud eventually is dragged down to hell in a burst of flames and smoke. ‘The alhor principals appear and siug a hymn telling of how this ts the way evildoers end their days.ACT Scone One No, 1 Introduction Don Giovanni, Act I is night. Laporello is pacing in front of Donna Anne's house.) LEPORELLO wmatie e ‘yom Notte © giomo Night and day ‘per ki por chi for one who (o slave night end day for one who doesn't appreciate it) fatikar faticar lo slave. nulla sa nulla sa jothing, can piova evento piova @ vento rain and — wind manidsar ‘male mangiar male to eat badly ‘vokko “fare Voslio fare Twantto play © ‘nom Vokio © non voglio and — I don't want 0 ke ekaro Ob, che caro Oh, what a dear voi ‘star ‘dentro Voi star dentro You stay ed is tor ed io far and play ma mi'par Ma — mi par But it seeins to me grata area appreciate; ‘norm ‘mi ‘v96Ao far non mi voglio far Edon't want to soppertar sopportar, to endure, © ‘mal dormir mal dormir! and — badly to sleep! il. dsentitwoms il gontiluomo, the gantlemen, ‘iu seevir ino ‘nn pit sorvir, no, no! any longer to serve, 0, no! galanewoma galantuomot gentleman! ‘kolla ‘beta colla bolla, with the lovely lady, le sentinella Ia sontinolla! the sentinel! ke ‘venga ‘dsente cho venga gonte. that ro are coming —_—people. sontir. be heard, (I don't want them to hear me.) cloak, trying dosporately to koep an angry Donna Anna at bay.) {He withdraws, as Giovanni comes out of the Commendatore's house, masked and wrapped in a 261262 Don Giovanni, Aet 1 ANNA {holding Giovanni back) ‘non sperar ‘son muti Non sperar so non mluccidi Do not hope, if you dow't kill me fein ‘mai chia tilesci fuggir mai that | should lot you escape ever, (Wanless you kill ne, do not hope that 1 will ever allow you to escape.) GIOVANNI (always trying to concoal himself) ‘donna folle indamo ‘grid Donna folle indamno sridi: Wotan fou in vain yous ‘son ty 'non salprai chi son tu non saprai. who am you — won't loarn, LEPORELLO (coming forward) ‘ke wlio 2 Wel ke grit (Che tumulto!.. Oh ciel: cho gridit (What tuinult! Oh heaven: what screams! i} padron ‘in ‘nwovi ‘gwai fl patron in nuovi_guail..) the master in now —_troublast..) ANNA. ‘dyente servi ‘al traditore Gonto!.. sorvil al traditore!... Servants! AL the traitor! GIOVANNI talft © ‘ema ‘al mio furore Tac © tema al mio furore. Re silent, and tremble at my fury. ANNA, Jeliecats Scollorato! Scoundrel! GIOVANNI skons kata kwesta dispe'sata Sconsigliata! {Questa Furia disporata Rash woman! (This Fury! desperate "rhe Furs, acconting to Roman mythology, sora davghies of Night orof Fath an Daskness. They wore theee in number: Tlsiphone (the Avengor of Blood}, Aleta (the lnplacable) at Magner {the Jnlous One), They wore nels faiklesss of vengesnce ane punisbad all anspressors, especially those who neglected fila duty o claims of kinship, etc “Their poishments continued afer dont. ‘These Furios were knot by the Crooks asthe EuwnaDon Giovanni, Act 1 263, ‘mi wal tar prevjipitar Mi vuol far procipitar? wants to make ne do something rash.) ANNA ‘kome ‘fVuria dispe'rata i sapro persegwitar Como furia disporata ti saprd porsoguitar. Likea Fury desperate Twill know how to. pursue you. LEPORELLO Maaveder ke il ‘ibertino vi fata pretfipitar (Staaveder cho il_—_‘libertino” mi fara procipitar:) (One can soe that the libertine will make mado something rash.) COMMENDATORE (coming out of the houso, sword in hand) vaffala inidenpo ata ‘meko Laseiala, indes Baititi ‘meco.* Tot her go. base man! Fight with mo, (Anna, heaving the voice of her father, lets go of Giovanni and runs into the house) GIOVANNI va wom mi depo di puinpar ‘teko Va! non midogno di —_pugnar teco. Gol Tilonotdeign fight with you, COMMENDATORE Koti pretend dame fgir Cosi protendi dame _—_ fugit! Thus you wish from me _—_to escape! LEPORELLO potessi atmeno di kwa— partir (Potossi almono di qua __ partir!) (Could 1 at loast from liere get away!) {if only # could got away from here!) GIOVANNI ‘mizer attend ‘se ww motir Misoro! attend so vuni morir. Wretchi! Stay if you want to die. (hey fight. Tho Commondatore is stabbed and falls) tli expsion foe provpitar or Jaw un precipizio occurs frequonlly in the Mozart DaPonto operas. Procipi te obvions: « peep. The worl precipitre yw veh rseaning to precipita, but aot guile in thy English conse fuller to do sonlhing ras, as when one goas to precipien with Ib inlations of doing something eash or foolish, Like doing oneal bara, or committing sickle by jumping off ta reac the brink Sumetinns in old scores or in older recor Ivette, however. hs iertina, sone finds mahmerine, weaning “tog” "casa!" ‘The erglaat Da Ponts “Meco. tse seca are all okt forms of Com me ith o.com te (ts you) anu coa 20 (with Mun). 16 only nso tn pootie tll of this period, [survives portly ip Spanish ia the three words meaning tho same, i. conmige, contig, consig. The Cathie mac is ella the Wedo mectm [Whe book thal goes "wil 1a")264 Don Giovanni, Act 1 COMMENDATORE 4 sokkorso ‘son trsdito Ah soccors son tradito... Ah, helpl.. Ym betrayed lassa'esing ima Fe'ito Liassassino. ha forito... ‘the murderer... has wounded me. eal eno palpitante oda sono palpitante... and frommy —— breast. throbbing, “sents anime partir sonto... Vonima pastir... Heel my soul leaving (me). (he Commendatore dies.) GIOVANNI a dy kadde il faguitats (An! gia cadde il sciagurato.. (Ah! Already fell the wroteh.. afanmoza © agontddvante Affannosa 9 ——_agonizzanto Anguishod and agonizing sa ‘el ‘send palpiiante aia dol sono palpitanto already from his breast throbbing vegigo ‘anima portir voggo Vanima partir.) Tsee his soul departing.) LEPORELLO- wal misfatts wal etafesso (Qual misfatto! qual sceasso! What a misdeed! = What an exness! ‘entro il sen “Jalil spa'vento Entro il son, dallo_spavento, Inside my — breast, from — fright palpitar ‘kor mi sento palpitar il cor misonto. beating the heart { fool in me. ‘io ‘non so ke far ke dir Jo non so cho far, che dir) i don't know what todo, what to say.)Don Giovanni, Act I Scene Two GIOVANNI (in a whisper) lepsrels ove sei Loporello, ove soi? Leporello, where are yout? LEPORELLO (also in a whisper) soy 'kwi per tmiadisgrattsja = © “Yo Son qui, per mia disgrazia, © «Evo? Tm here to my misfortune; and yc GIOVANNI son kaw Son qui. Tm hore LEPORELLO ki) mmarto'voi_ «oleh Chi & —marto? Voi. 0 il_—_vocchio? Who is dowd? You or the old man? GIOVANNI ke ddomanda «= da (bestja Velo Cho domanda — da_—bostia! fl ——_vocchio! What aquestion of (a) _fooll old mant (What a stupid question! ‘The old a LEPORELLO ‘orava ‘due intpreze leddsadre Bravo! Duo improso loggiedro; Bravo! ‘Two enterprisos charming! sfortsar ta Tikka ed ammatiser Sforzar la figlia ed ammazzer il To violats the daughter and kill the GIOVANNI a valulo ‘suo damna Lha voluto: suo danno. Ho wantod it: too bad for hin. LEPORELLO ma dsnanma_—koza_ a vero Ma cosa ha voluto? But what did she want? nom ti sekekar ‘yjem —meko non mi seccar. Vion moco dou't annoy mo. Come with mo se ‘nom vwoikwalke koze ayfkor “tw se nonvuoi qualche cosa ancor tu. if you don't want sone thing also you. (or alse Tl do something to you that you will regret.) 265 padre padre, fathor.266 Don Giovanni, Act 1 LEPORELLO ‘nom "v9 nul Sinnor wom'parlo piu Non vo! nw signor, non parlo pitt Tdon't want anything, sir, T won't say nore. Weporelto picks up his cope and fantom and follows his master out.) Scone Throo (Donna Anna and Don Ollavio come in followed by servants with lights.) ANNA a del ‘padre ‘im petikgo in sokkors —voTjam Akt dol padre in poriglio in soccorso——voliam. Abt Of my father in patil in aid lot us fly (Ah! Lot us fly to the ald of my fathor in dangor!) OTTAVIO (with drawn sword in his hand) tutto ‘il'mia ‘saggwe verse'ro se bizonna Tutto if mio sangua verserd se bisogna. All my — blood Twill spill if need be ma dove il felterats Ma dova il scollorato? But where is the scoundrel? ANNA ‘in “kwests ‘loko In questo loco... In this place... NO. 2 RECITATIVO ACCOMPAGNATO AND DUET ANNA ‘ma kwal mai ‘offre Ma qual mai s‘offre, But what evar offers itself, oh Gods, spettakolo —funests atokcki spettacolo —_funestoi agli occhi spectacle tragh fo the eyes mine? (Ah! But what tragic spectacle, oh gods, is offered to my oyes!) ‘il padre padre ‘mio mio “karo ‘padre padre! mio caro padre. My father! My — dear father! OTTAVIO sinnore Signore. Sir. ‘sooing that the Commendatore Is hopelessly deol, offers « word of comfort to However, the Da Ponte autograph shows signore.suggsting that Ottavio isnot tees to ddeoss him to ane if he can gat eteeponse word “my lady" entirely convinced thatthe Commendators is qulle dead yet Is beloved by blusting outDon Giovanni, Act I 267 well ‘playa quella piaga. that wound. ‘mumonte morte. death, ‘membra amembra... limbs, pinto spirto. splits. ajuti uti, help. ANNA a lassssino wel trutfido ‘kwel‘sangwe Ah! Yassassino mel trucidd.. quel sangue.. Ah! ‘The mnrderor_ killed him. that blood wel ‘volto into © ——_-koperto. ‘ei kolor di quel yolto tinto e — — coperto dei color di that face tinged and covered. by the colors of “non respica ‘pia fredile ae non respira frodde he le doesn't breathe longer... cold ara his ‘mio karo padre ‘padre aimaia mio. caro padro!.. padre amato!... ine! Dear father! Father beloved. is manko ‘is mara To manco. moro. 1 am fainting. am dying. OTTAVIO a sokkorrete —aimitft il'mia te2000 Ah! soccorrote, amici, il mio tesoro! bl Succor friends, my beloved. tferkatemi —rekatemi kwalke dor ‘kwalke Corcatemi, —recatemi ——_qualcha odor, qualche Look for (ane), bring me some smelling salls, some (Look for and bring me some smelling salts, some spirits.) a nomtardate— dsinmanma spoza amika Ab! non tardote! Donn'Annat.. sposal... amica!.. Ah! Don't dolay! Donna Anna Bride! Friend! i) ‘dwala_estrema la laf 1 duolo_ostromo a olla uccide! ‘The grief extreme the poor lady i killing! (the poor lady is being killed by her extreme griel!) ANNA ai Abit Ont orravio “dsa rimviene ‘datete nwovi Gia rinviono Datolo novi Already she's regaining consciousness. Give her new (She's coming to already, Renew your assistance to her.) Amorous appellatians like "ny love” of “my beloved” have n fad the closest in‘ moaning to "ny love” iol ny het) nia vitaita mia (my life), mia giaigiota mia (my fy tosas fn entire nda davoted to Cltavio'stsasurabe lay love in Act variations in poole Malian: Mio amore isthe obvious ‘nia bane (or is tsuncaed Fort mii ben or its inverted forea be) end mio tesorojtesoro io (ny268 ANNA ‘padre ‘mio Padre mis Father mine! orravio Yellate altontanate Colato, allontanato Hide, | removo kwelsiddsetto quoll'oggotio that object Don Giovanni, Act 1 ‘Ki Dktki ‘swoi agli occhi suoi fromthe eyes hers dotrore dorrore. of horror. (Che Commendatoro's body is casviod off by the servants.) ‘anima ‘mia —_kor'solati fa kore Anima mia... consolat.. fa corel... My boloved... consola yoursolf take heart! ‘ANNA Tudkdsi_ kredele fudrdsi ‘laffa kis “tmora Fuggi, crudsle, fuggi! Lascia chiio mora Flee, cruel mau, flee! Allow: that | dio ‘ora ke maria didi eter ora chs morto, oh Dio! chi now that is dead, oh God! who to (Hoo, crust man! Let me also die, Orravio ‘senti ‘kor ‘de ‘senti‘gwardan un ‘solo Sonti, cor mio, doh! guardani um solo Listen, my beloved, please Look at me one sole ti parla i kara atmante ke vive Ti parla il caro amanto che vive Is talking to you the dear lover who lives ANNA iu ‘sei perdon ‘mio ‘bene lafffawno mio Ta sei. perdon... —miobene.. —Faffano mio, You are... forgive me... my beloved... the grief mine. le ‘pene a il padre min dove Jo pom Ah! it padro mio do the sufferings... Ah! ‘The father mine where is he? OTTAVIO il pade Ya rimenrbrantse I padre, la rimombranza Your father. rove, the remembrance ai ‘spora © padre im ‘me Hei sposo ° padre in mo. Youhave —hsband and father in me. aykio anchio also me Tavita “je mo lavita did. me life gave. iow that the man who gave me life is dead.) isiante istanto; moment: ve te. you, ‘sol sol only per per for bitterDon Giovanni, Act 1 ANNA a vendikar se pwoi Abt dicar soil puoi, Ab! Toavenge — if’ you can, ‘asura ‘kwel‘sangwe oppor giura quel sangue ognor. swear that blood always. (Swoar to mo that you will always avenge my fathor's blood.) OTTAVIO lo ‘dgur0 860k twoi to yr ‘al ‘uastr> amor Lo giuro aglocchi tuoi, _Lo giuro al nostro amor. Tswearit by thoeyes yours, Iswearit by our love OTTAVIO, ANNA ke surement = 9 Wlei_ Ke barbara mo'mento Cho giuramento, 0 Dail, Che —barbaro momento! What oath, coh gods! What barbarous moment! wa tfento afer 2 tfents vamini onde't:dsando Tra conto affotti © canto vammi ondeggiando ‘Among a hundred affections anda hundred_—_is (mo) fluttering (My haart is fluttering among hundreds upon hundreds of emotions.) (hey both leave.) ‘Scene Four (itis dawn ona streot, Don Giovanni and Leporollo enter engaged in conversation.) GIOVANNI ors spitafati ipresta Koza “wi Orsi presto. Cosa vuoi? Come now, — hurry up, quickly. What do you want? .EPORELLO latftar ‘di'kui'si'tratta © importante Laffar di cui si tratta & ortanto. The matter in question is_—_important. GIOVANNI Ho ‘kredo Lo creado. Teliove it LEPORELLO © importantissimo E mnportantissimo. Ws very important GIOVANNI rmesk> aykora faigfita Moslio ancora! Finiscila. Boller yol! Finish it 269 il kor cor. my heart270 Don Giovanni, Act I LEPORELLO agurate di nom antdar “in ‘kobelera Giurate di non andar in collora, Swear to not got angry. GIOVANNI ‘io sur0 ‘sul mio nove sul mio nor, on my honor purke ‘nnom ni ‘park ‘tel kom:menda'tore purchi non mi pari dol ‘Commendatore aslongas you don't speak to me about the Commendator LEPORELLO. sjam ‘soli Siam soli? ‘Are we alone? GIOVANNI to vedo Lo vodo, Tan s00 that. LEPORELLO- ne'ssum Ui sente Nessun sente? No one cam hear us? GIOVANNI Vie. Goon. LEPORELLO vifposso dire tutto liberaimente Viposso dire tutto Tiboramonto? Cant you tell everything freely? GIOVANNI Sh. Yes LEPORELLO ‘duykwe “kwando © kot Dunque quando @ cosh Wall if itis ike that, karo sipnor patdrone vila ‘ke menate vita che menat life hat you lead caro signor_padrono, dear mistor master, {ilo now spouks into Giovanni's oar, but loudly.)Don Giovanni, Act 1 271 © td briktkone a de briccone. is thatota rogue, GIOVANNI (reacling violently, about to strike him) teme'rarj> i tal ‘gwiza Tomorario! in tal guis Reckless man! Tn such a mannor.. LEPORELLO (cowering) e it dyuraimento E il giuramonto? And the oath? GIOVANNI ‘non $9 ‘di dguratmenti_ taf o'kio No so di giuramenti.—Taci, o chi... Idon't know of oaths. Quiet. orl LEPORELLO ‘nom ‘parlo ‘pit ‘nom ato © patdrom Non parlo pit, non fiato, ° Twon't speak anymore, T wou't breathe, ol, master mine, GIOVANNI koi ssa'remo aimitfi ‘oc od um pak Cost saromo amici. Or adi un poco: Like that we will be friends, Now listen a bit: sai perke ‘sso kwi Sei tu —porchd son qui? Know you why Tam — here? LEPORELLO ‘now ‘ne 'S9 ‘nulla ma e'ssenda “alba ‘kjace Non ne so nulla Ma, — essondo Yolba chiara, Tknow nothing about it But, being thedawn bright, (F know nothing about it, but since it is the bright dewn,) non sutrebibe kwalke nwova_-kowjkwista non sarabbe qualche nuova conquista? wouldn't it be some new conquest? io lo'teva sper ‘per ‘porla in. “lista To lo devo sapor por porla in lista 1 must about it know to put it on the Uist. GIOVANNI va'la ‘ke ‘sell granrdwom Va'la, che soil grand’uom! Go on, but you've a great man! nthe orginal autograph cos ard (x as) eas wed ino of Feb china» chang sole ya sn nove bad. The Bienrlter scons ab ows eas} tai, but from mi 40 years of list econ will have ta be made by tha condacton!prod ices ing Wo this opera I have always eas alba etiiaro. Two fine272 Don Giovanni, Act 1 ‘soppi ‘kio ‘sono inmamorato—“duna_ ‘bea ‘dama Sappi chio sono innamorefo d'una_bolla Know that! am enamored — ofa lovely © ‘son ‘ferio ‘ke “mmama © son corto che mama and Tm cortain that sho loves me. ‘a vidi “ie partai ‘mek ‘al —_ka’zino La vidi, lo parlai, ——moco. al casino Fsaw hor, I spoke to her, with mo to my. little house ‘kwesta ‘notte vera questa notte vorra.. this night she will come. ‘sitto ‘mi pare sentir odor di emmina 2 mi pare 8 odor di fommi Silence Think Tsmall (the) scent of (a) woman LEPORELLO Koxperts ‘ke oda'ats perfetta (Cospotto! Che odorato porfotto!) (Dam! What senso of sinell porfort) GIOVANNI alarja mi par Alaria mi par By her air she seems to be beautiful LEPORELLO © ke hijo. ‘diko (E che occhio, dico!) (And what an eyo, I say!) GIOVANNI ritiejamotfi ‘um 'poka e@ ——skoprjamo—terren Ritiriamoct un poco @ torren. Let us go off abit and ck out (the) terrain, (Lot us go off « bit and soe which way the land lies.) LEPORELLO “tye ‘preze oko (Gia prose foco.) Already, he caught (on) fire.) (ile's on fire already.) (hay go off to one side) Scone Five (Enter Donna Elvira in travoling clothes,)Don Giovanni, Act 1 NO. 3 ARIA ELVIRA imi ditfe ‘mai chi midico mai Who will tell ine (ever) ‘kwel ‘burbaro quel barbaro that barbarous man where is he, (Ah! Who can ever toll me where that barbarous man is.) ‘ke permis ‘skom>_ amai cho per mio scomo_amai, who to my — shame I loved, ke mimanko “Ui che mimancd di who hotrayed me of (who betrayed his faith to ine! ase troy ‘empja Ab! so titrovo Tempio, ‘Ah! Tf {find again that impious man, ese) ame ‘Ron torna ajkor © 6 @ ~——sme_non toma ancor, and if to mee doesn't retumm still, (and if he still doesn’t return to me,) va fame sirrends “Hfempj> vo! fame orrondo scompio, Td like to make of him horrible slaughter, (1d like to slaughtor him horribly.) fia kevare kor vol cavare cor. lo him I'd like to tear out heart. (Vd like to tear out his heart.) GIOVANNI (sofily, to Leporella} uidistt ‘kwalke bella Udistit Qualchs bolla Did you hear! Some lovely lady ‘dal ‘Vago abbandonata pove'rina dal vago —abbandonat Povorina! by her swain abandoned. Poor little thingt Yerkjan Wi kousolare i'su2_tor'mento Corchiam — di_—consolaro.—illsuo_tormento. Tetus try to console her torment. LEPORELLO Kosi une konsollo ‘mille e Cosi no consol le ° Thus of them ho has consoled athousand and (Thus he has consoled a thousand and eight hundred of them.) outotfento ollocento. eight hundred 27a274 Don Giovanni, Act GIOVANNI (approaching her) sipno'ina ELVIRA ki a Chi a8 Ww Who is thare? GIOVANNI ‘stelle ‘ke "vvedo Stolle! che Stars! What do I seot LEPORELLO 2 “bbella ‘donna etvira Oh bolla!® Donna Elvira! Oh, splendid! Donna Elviral ELVIRA ‘sei ‘kwimostro felon ‘nido— dijganni Sei qui, —-mostro, follon, nido dingannil... You're here, monster, criminal, nest __of deceits! LEPORELLO ke titoli__kruskanti ‘mapko ‘male ke lo konoffe tbene (Che titolicruscenti!_ — manco male che lo conosce bono!) (What titles academic! It's @ good thing that she knows him well) GIOVANNI via ‘kara downetvira katate welt ‘kabler Vie, cara DonnElvira, calmate quolla collera.. Gome, deat Donna Elvira, calm that anger senitite laffatemi——_parlar sontite... lasciatemi —_parlar.. liste lot me speak ELVIRA, ‘Koza ‘pwoi ‘dire ‘dopo aitsjon ‘si nnera Cosa puoi dire dopo msi nora? What can you say, after (a) deed so black? We al know that bello means lovely oF beautiful i Hion. However, Oh boil in thie case coos wot meas “oh lovely Donna Flvia". Oh bela’ is an expression often found tn those brett and mesa “Splondi", "Wondorful, "Oh. great as ‘when one roacts swrprised in sxldon onexpocted silvation. the Acceriomia dolla Grusca was the largest Hall linguistic academy, founded i Flornen at the end of the XVI Ccontary ineat on preserving the purty of tho Itlinu language. Cusco also iaens ion”, wn the sain of the said Academy wae maant to suggest that it was there where geod Tanaangy snag ie “bran was sopmraiedfroen the bad (or “chaff. Leportlo is sing the term eruseant to sguly the Fact tha Elrs las tly chosen som apl, academic epithets to hurl at her thleDon Giovanni, Act 1 278 ig ‘Kazama ‘enti furtivaimente In casa mia ontri furtivamonte. In house mine you enter furtively. (You como into my hotiso furtively.) a Tortsa ‘dante i dyursmemti eh utzinge A forza diarto, di giuramonti_ Jusingho, By dint’ of cunning, of oaths and of flattery, arrivi a seldurre il kor mio arivi a sedurre i cor mio: you manage to soduce the heart mine: rmininaimor © knidete Minnamori, © — cmidole! You make me fall in love, oh—_cruel man! ‘oni dikjasi ‘tua ‘spe Mi dichiant tua sposa. You declare me your bride, © pai maykands —‘dekla terra eel fela al “santo. “itz E poi, mancendo dolla tera 0 dol ciolo al_— santo dritto, Andihen, flaunting of earth and of heaven tho oly aw “kon enorme delitts ope tre ida “bugs taklontani con ‘enorme dolitto dopo tro di = da. Burgos'® tallontani, with (your) enormous crime, after three days from Burgos you go away. (And then, flaunting the holy law of earth and heaven with your enonmous crime, after three days you leave Burgos.) mabyban'doni ‘ni Tuc Mabbandoni, mi fggi, You abandon me, you ram away from me, © leffi m —‘preda ‘al rimmorso ed © lascé in proda al rimorso od and youleave me in prey to remorse and pena forse we pona forse che tamai punishment perhaps for having loved you LEPORELLO ‘pace tun ibs stampata (Paro un libro stampato!) Sho sooms a hook _ printed!) (She soems (to be talking as if from) a printed book!) GIOVANNI ° a kwants — akwesto. —“ehshi_ Te mie radgoni Oh! in quanto — a questo. —ebbi_ Te mie ragionit Ol Asto all that Thad my — reasons! "Burgos isu ety ut notthern Spat, al janto al pianto of weeping kotanta cotanto. so much.276 Don Giovanni, Act t (o Leporelto.) € wero Isit te? LEPORELLO (ironically) ‘© wero © kke rads “fort tee pantie Cee ipaeedt forti! Ws true, And what reasons strong! ELVIRA © ‘kwall ‘sono se ‘non ‘Ta tua perfiaja E quali son sa non Ta tua porfidia, And — what are they if nol_—-your_parfidy, a ledserettsa twa ma‘ dsusto Afels Ia leggerezza tua? Ma ilgiusto cielo the — ficklenes yours? But righteous heaven ‘voli Kio ti tevassi per ar te ‘se ‘le'mie venidette volli cho Uitrovassi per far le sue, lo mio vendet wishod that [find you to carryout its. (and) my vongeancos. GIOVANNI wi ‘sjate piu radgonevote Eh, vie! pit ragionovole. Come nowl Be more reasonable. ii pone a Afiments hostel (Mi pone a cimonto costei,) (She's putting me to (the) bial this woman.) ‘se ‘non kre'dete ‘al absbro “mio Se non credote al labbro_ mio, I you won'tbelieve the -—sips-— mine, kredete a ‘kwesta_galantwom> crodote @ ——quosto galantuomo. believe (lo) this gentleman LEPORELLO ‘salvo I vero (Salvo il vero) (Except the truth) (Fil tell her anything but the truth) GIOVANNI ‘via ‘dite tum poo Via, dille tun poco... Come on, tell her something LEPORELLO © — koza devo ‘dirle E cosa devo dirle? And what must} tell her?Don Giovanni, Act 1 GIOVANNI si ssi ible ‘pur tutto Si, » dill pur tutto. Yes, yes, tell her (He leaves unsoon by Elvira) everything 277 ELVIRA ebiben Fa ‘presto Ebbon, fa presto. Well then, be quick. LEPOREL inatdama veraimente in “kwesto ‘mondo Madama... veraments... in quosto mondo Madame... truly. inthis world kontfossiakszakwandofosseke il kwadro none vondo conciossiaquandofossecho"™ fl quadro non & tondo... since the square is not round ELVIRA fogutraio kozi ‘del mio. dolor “dyako Sciagurato! Cosi del mio dolor gioco ti prondi? Wrotcht Thus of my — grief you make sport? (She (urns around to talk to Giovanni.) a oi ‘stelle linikwo ful) Ab, v Stolle! iniquo fuggil Ab, you Stars! The wicked man has fled! imizera me ‘dove ‘in wal parte Misora mol... dove? In qual parto?... Poor mel... Where? Whore to?. LEPORELLO © laffate ke Wada Eh! lasciato cho vada. Ehl Let that he go. (Eh! Lot him go.) ‘eksi ‘nom merta ke Wii pensjate Egli non morta cho di Iui_—_ ci ponsiato. He doesn't deserve that of hn you should think. (He isn't worthy of your thinking about him.) ELVIRA i Jfeklerats ——miggainna smi tradi IL scellerato ——amtingannd, mi trad... The — wrotch siocuived me, botrayad me. "This isu made up ilouy) word by Da Ponte, to express Leporll’s wiausiness al explaining waters to ths disiranght Elvin. There is © wond conciossicoseché, moaning “ince. as In tle seme of Psion a qin Is wt round. bost translation yo! isthe one usad hy ny daar and brillan( collesgwe ond fellow-tuuslaor at the Metropolitan, Susan Web, ‘who in hor translation of ‘Don Giovanni" in "The Metropolitan Opera Book of Mozart Opwras" uses the (allowing wittbotnaybewbeusseriis, I ewely use It with hor Kind permission to this foot, However, the278 Don Giovanni, Act 1 LEPORELLO ° Konsslatevi ‘non ‘siete ‘Voi nom foste. =e = non savete Eh! consolatovi: non siote voi, non fosto © + — non sareto. Eh! — Console yourself; not are_-— you, not wore you and not will be you ne Ja prima ne Tutima ne Ia —prima nd ultima, either the first or the last gwardate nom 'pittfol “libro Guardate non picciol libro; Look at not small book: e tuts ‘pjeno “dei nomi di ue hele ® tutto piono doi non suo belle; is all full’ of the names of his beauties: ‘opp vita ‘omni ory ‘ni pueze Ogni villa, ogni borgo, ‘ogni paose Every tow every distri every conntry © testimon di ‘sue dommeske——_impreze ® —testimon —di_— suo donnescho—_impres is{a) witness of his womanizing enterprises. NO.4 ARIA LEPORELLO mada'mina il katalags © kwesto Madamina, fl catalogo ® —— quosto My door larly. the catalogue is. this one ‘dette bebe ke amo ‘padrom mio delle bolle cho amd il padron mio: of the beanti that loved the master (My doar larly, this {s thr catalogue of the beauties my mi has loved:) ‘uy ——kattalogo eski ke fatto Un catalogo ogi 8 cho ho fatto; A catalogue = it’ is. that‘ Thave. made myself: osservate ——_Ietdsete kom me ossorvate, _loggote con mo. observe, real with me. iin talja_seiufento © kwarenta In Italia soicento © quarante, In ttaly six hundred and forty, in lamanna dueento © frenituna n Lamegna!? duoconto. = @~——trontuna, in Germany, two hundred and thisty one, "Germany in moder Halian i Germania. However, ove finds in older poetry Lanicgna, For years Lapotlli used ta sey Alling, shies Lust ay, fs aasee to sing aftr the word Jn, ex personally. profer i. The Birearciter score and the bnginal Da Ponte libreto hnscaver, do sey Lamagua, and the five dectsion is pong to bo «matter of choiea by the enrducor oF ‘corelDon Giovanni, Act 1 tents in) frantfa in turkia novantuna conto in Franck in Turchia novantuna, ahundred in France. in Turkey ninety one, main ispanpa son iba ‘mile e main Ispagne’? son sit mille ° but in Spain, tore aro already a thousand and ‘vam fra kweste kontetdine Vhan fra questo contadine, There are among these country girls kame'giere © tfittaldine camoriore © cittadine, maids and cily women, ‘vay kontesse baronessse vhan contesse, On0550, there aie ——-countesses, —_baronesses, markeane prinifipessse marchesane, principasso, marchionesses, princesses, © ven donne ‘dog ‘prada © vhan donno ogni grado, and there are women cof every rank, ‘donni Yorma ‘dopni eta ogni forma, d'ogni ota. of every shape, of every agp. ‘nekta ‘bjonda eski a tzanisa Nola bionda gli Fusanza Inthe blond one he the habit di Iodar a dgentitontsa di Jodar'* Ia gontilozz of praising her —_gontlenass; ‘nella ‘bran la kostantsa nella bruna, Ja costanza; inthe dakone, her _—_constano} ‘nekta ‘bjagka la doltfettsa nella bianca, la dolcozza; inthe very fairone, her sweetness; 279 (He has the habit of praising the blond ones for their gontioness, the dark onas for their constancy and the very fair ones for their sweetness.) Spoin in aia Suggs woul be particuusy dif fucilate tha pronunciation, making i in fpqgne rathor than in Spegyna This i cll! epenthesis xtc Ia 1 scons show DF lode la gontilezza, This is wong, ‘Tha pliasa should yead Di lady la yentuezz, withou is Spagaa. Hossover, since tho word in this ris comes uler the patel in, the consonant cluster sp in or Halians acoustoried to lols of vowels to aon on. Thorufre, a lle /s insert to280 Don Giovanni, Act 1 ‘vwol dinjvems ta gratssotta Vuol dinvomo —la_—_grassotta, He wants inwinter the plump one, ‘wot estate maigratia vuol diostate magrotta; he wants in summer lean ones © ta grande maestoza > la grande maostosa, is the lage one majestic, a © onmor vettsoea Ja & ——oguor vezz0sa; the littlsone = is_——_always charming: (Tho lange one is majestic and tho little one is always charming) ‘delle vekekje a konkwista delle vecchie fa conquista Othe old adios he makes.——_conquast (He seduces old ladies pel Pieter di parle in lista pol piacor di porto in li for the pleasure of putting them on (the) list sa passion predominante passion prodominanto predomtnant eae eaie mn printfipjame ® Ia giovin principiant isthe young. beginner ‘non si 'pikeka se sia ith non si picea so sia rice hhe doosnit care if she's rich, ‘© sla Unutia ‘se sige so sia butte, so sia bola; if she's ugly, she's beautiful: purke porti a ganmelita purch porti la gonnolla, aslongas sho wears =a skirt. vor sapete -kuel ke fa voi sapote quel che fa. you know what he does. (Me leaves.)Don Giovanni, Act 1 281 ELVIRA” iy ‘kwesta orma dunkwe In quosta forma dunque In this manner then ‘wi tradi ‘il fekterato, «= kwesto i ‘premio i il scollerato! «= BS questo il ~— premio tho scoundrol! «Js this the reward ke kwel‘barbars ‘ronde aklamor ‘mio che quo! barbaro rondo all'amor mio? that that barbarous man gives forthe love mine? a vendikar vo'ekio lingatnnato mig kor ‘Ah! vendicar —vogfio Tingannato mio cor. Ab! Aveuge [wish the betrayed my heart, (Ah! I wish to avonge my betrayed heart) pra hei ‘Tugiga ‘si rikorra ‘i vada Pria choi Fugga, si ricorra sivada Bofore that he flees, let me resort to. Tet me go io seta im peta ‘sol vendetta parlor rabibja © dispetio io sento. in —_petto sol vendotta —parlar, rabbia @ ——_dispotto. I feel in my breast only vengeance speak, anger and contempt, (I hear only revenge speaking within me, only anger and contempt.) (She loaves.) Scene Seven (A Village next to Don Giovanni's palace. Poasant mon and women are having a wedding celebration with dancing and music. Among them are Zerlina and Masetto, tho bride and groom.) No.5 DUETTO F CORO ZERLINA™ dsovinetie ke fate ablaimore Giovinetto, che fate allamor Young gil, who wifle with love non la'ffate ‘ke non lasciate che do not allow that pass (do nol let time pass you bys) se nel ‘eno vi"bolika il kare so nol sono vibulica il, corw, if in your bosom boils your heart, "Sis raciathvo by Evia is usually orto in psformance. 'Sria elsmetor of Zerlina shoul be pronounced [dzerina] and at fisetina}, Tho latter is a Gorman choice, stare in Garman, alle mis pronouncad ts In another open (Adidne Auf Naxos) the charsctor Zorbinetta, which in lain should bo {d2erornerta}& pronounced (erbinert}. bot this isa German opare always sung in German, a thecafore Garrats vill pronounce har name the Gatun way, sith ts, Bich i accep ble282 il ritmedjo vetletels il rimedio vedetelo the remedy see it (UF your heart boils in your bosom, Don Giovanni, Act 1 kwal qua. here. you can see hore {iu this weduling) what the cure for itis.) ke platfer “ke saa Cho piacor che sara! What pleasure it will bo! cHorus Cho piacer cho sara! La ra la ra la! MASETTO. dyovinetti led dyer ‘di testa Giovinolti _leggieri di tosta, Young men light of head, nnon anilate — dsfrando kwa ea non andato —girando quae ty don't go about turning here and there: (Young fickle mon, dow't go roantin poke dua de mattita poco dura de’ = matti_ la alittle lasts ofa fool the {a fool's holiday doest't last long.) ma ‘perme —_ominitfato ma por mo cont but for mo bogun {but for me it has not yet begun.) ke ‘platfer ke saa Cho piacer che sara! What pleasure it will bet CHORUS OF PEASANT GIRLS Lara fa ra Ta ra! ZERLINA AND MASETTO ‘ieni kana Katrine joni, carin (caring) Come, dear ono (doar one), © kantjamo e © cantiamo ° and —Tetus sing, ant vioni vient carino (carina) godiamo, Scono Eight 1g here and there:) Testa fosta, holiday, non ha, it hasn't and, ov¥jam> godiamo, It us enjoy ourselves, and balljame balliamo: Int us dance saltjama saltiamo, let us skip. . cho piacer cho sara! (Don Giovanni and Leporello appear at the wedding scene.)Don Giovanni, Act 1 GIOVANNI ‘manko male © partite © ‘gwarda Manco male & partita. Oh guarda, Ms a good thing she is gone, Oh Took, (sa good thing (Flvira) is gone..oh look.) ke ‘Dbela dyoventu ke bbelle danne cho bella _giovontis, cho elle donne! what lovely young poople, what lovely women! LEPORELLO tra ‘uante per mia fe (Fra tanto, per mia fa, (Among somany, by my vi sara ‘kwalke hoz ‘apke perme visa quale cosa anche por mo.) there will be some king also for me) GIOVANNI aci amici bbwon‘dgomo_segwitate Cari amici, buon giomo. Soguit Dear friends, good day. Continue 2 Stare allegramente — seywitate a awonar stare allogramonte, _seguita 4 suonar to enjoy yourselves, contin to play, oh, ‘kwalke spozalittsio qualche sposalizio? Is there some wedding? ZERLINA ‘si ssipnore © te spoza sono Si, signore, ela Sposa son io. Yes, sir, and the bride am {Yes sir, and {am the bride.) GIOVANNI ‘me ‘ne konisolo Ib 'spazo Mo ne console, Lo spose? Tm happy to hear that, The bridegroom? MASETTO i9 per servirla To, por sorvirla, 1 to serve you, (HU ts 1, at your service.) GIOVANNI a brava ‘per servirmi kwests © Wvero (Ah, bravo por servirmi; questo 8 = vem (Ah, good to serveme; this. is true parler ‘da galanitwoma parlar da galantuomo,) talk of (a) gentleman.) "vowona buona good bsemte gonto. people,284 Don Giovanni, Act 1 LEPORELLO (10 himself? asia ke ‘sia matrito Basta che sia marito! Wsenough —that_—he bea husband! ZERLINA al mig) matzetts © fw wom ‘dottims kore Ah, illmio. Masotto & un uom—dottimo core. Al, my Masotto is a man_of the very best heart GIOVANNI 0 vedere ‘Oh, —_anchio, vodoto! Oh, also as you can sev! ‘voko “ke 'sjama aimitfi aL vostro ‘nome Voglio che siamo amici. 1 vostro Twish thal we be friends Your dzerlina Zorlina, GIOVANNI e al tuo E iltuo? And yours?” MASETTO marzetto Masotto. GIOVANNE 2 ‘kar il'mis mazetto ‘kara ‘la ‘mia drerlina Oh, caro il mio. Masotto! Cara la mia Zorlin« Oh, dear my — Masetto! Dear my — Zorli veribisko a mia protettsjone Vesibisco Ia mia_proteziono. offer you my protection (o Leporelto, who és dallying with a peasant girl, who emits a shrick.} leporelis Kora i birbone Loporello! cosa fai li, birbono? Leporello! What are you doing there, rascal? LEPORELLO aukio kara patirone cexibisk> le mia prote'tsjone Anchiio, caro osibisco Ia mia proteziono. Also 1. lear am offoring my jwotection, 77g singer should obenive the obvious change In addressing Masel. Giovanni ‘purpose [tl tao) fo chor his diminished raspoct for the men he 10s the fens manner with Zesinn (i) esto nome, yet chooses the familiar form with Masetto fiends to cuckoldDon Giovanni, Act I 285 GIOVANNI presto va ‘kon Kostor ‘nel mia pat Prosto, va con costor: Nel mio palazzo Quickly. go with them: To my villa onidutfili ‘sul "fatio “kabcbjan conducili sul fat. cl'ebbiano fead them immediately. Give orders that they should have {fokolatie elle vin pre‘ fut Glocolatte, caffe, vini, —_presciutli. chocolate, coffee, winos, hains, ‘Yerka divertir “uti Corca divortir tutti: ‘Try to amuse everyone: ‘mostra ‘lors it dgarino ta galevia le ‘kamece Mostra loro il giandino, —Ja_—galloria, lo camore; Show thom the the gallery, the bedrooms; erento fake testi “Komtento offotto, fa cho resti contento in fact, make that he should remain happy ‘mis mazetto mio Masetto, my Masetlo. Have vou understood! (in fact, see that Masotto is kept happy. Do you undersiand mez} LEPORELLO > kapite Ho capita. Thave understood (To the peasants.) snidjam Andiam. Let's go. MASETTO sinnore Signore, Sir, GIOVANNI ‘tora fe Cosa What is it? One sees in diffewut scores eivecotute cioculta, ciecolae, and also prysciuti wich happens to be the eoreet tmovdor spelling for that dalicious Uslinn lutn), However, as shown inthe abova test. I quichly listen to ud, howes ferro, as wil bo soot later. Da Ponte autograph aa! Bicontoter scare slain those two lems thot the Barenriter Neue Mozart Ausgabe Is not exactly few of