Donizetti - Maria Stuarda {castel}

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345

MARIA STUARDA Opera in three acts Music by Gaetano Donizetti Libretto by Giuseppe Bardari, based on Schiller's play Maria Stuart First performed at the Teatro San Carlo, Naples, October 18, 1834 CHARACTERS Elisabetta (Elizabeth), Queen of England: soprano Maria (Mary), Queen of Scots: soprano Anna (Hannah Kennedy): mezzo-soprano Leicester (Robert Dudley, Earl of Leicester): tenor Talbot (Earl of Shrewsbury): baritone Cecil (Lord Burghley): bass A Herald: bass Heralds, Ladies-in-waiting, Pages, Guards, Soldiers, Scotsmen The action takes place in 1567 at Westminster Palace in London and Fotheringhay Castle in Northamptonshire.

THE PLOT ACT I

In the Palace of Westminster, courtiers wait with some excitement the arrival of Queen Elizabeth, rumored to be about to unite by marriage the thrones of England and France. The Queen, however, has inclinations towards another and less exalted man. The court and Talbot urge clemency in her dealings with her cousin Mary Stuart and Cecil reminds her of the untrustworthiness of her rival, while the Queen remains firm. in her path of indecisiveness. When Leicester enters, she appoints him her ambassador to France. His reluctance to accept raises suspicions in the minds of the bystanders that this may be the man whom she secretely loves. Elizabeth also notices his reluctance and leaves the stage. Talbot reveals to Leicester that he has been to Fotheringhay and that Mary Stuart has asked by letter for Leicester's help in her predicament. Leicester, impressed again by the beauty of her portrait and the poignancy of her situation, longs to free her but promises Talbot not to jeopardize her safety further by any impetuous action. The Queen returns and demands to see the letter he is holding. She realizes from it that Mary has at one time or another had designs both on the throne which she herself occupies and the man whom she at present favors. Leicester pleads successfully that the Queen agree to visit Mary in prison at Fotheringhay. ACTll

In the park at Fotheringhay, Mary recalls with her companion Hannah the soft, far-off days of her happy life at the French court. Her reminiscences turn to agitation at the approach of the Queen's hunting party and the prospect of the meeting she has yearned for and now dreads. Leicester is first on the scene to counsel her to adopt a submissive attitude towards

346 Elizabeth. He also swears to exact vengeance if the Queen remains obdurate, and, at the end of their duet asks for Mary's hand in maniage. 1 When Elizabeth appears, she brings with her an atmosphere of suspicion (egged on by Cecil), mistrust (because of her doubts about Leicester's motives) and apprehension (because she and her first cousin are to meet face to face for the first time). The confrontation takes place in a tense atmosphere, as Mary forces herself to kneel before her cousin and beg for forgiveness, only to hear herself accused of treachery and in effect of murdering her husband Darnley. In furious reaction she insults the Queen, addressing her as "the impure, bastard daughter of Anne Boleyn". Her cause is all too evidently lost as the Queen summons her guards and there and then condemns her cousin to the gallows.

ACT III At Westminster Palace, Elizabeth waits to sign Mary's death warrant. The appearance of Leicester, whom she suspects is amorously involved with her cousin, and the persistent urgings of Cecil combin:e to resolve her doubts and she signs the order. Mutual recriminations are exchanged, during which she orders Leicester to witness the execution. At Fotheringhay, Mary hears news of her sentence from Cecil, and is offered and refuses the services of an Anglican priest. Talbot comes to comfort Mary in her distress and opening his cloak reveals underneath the vestments and crucifix of a Catholic priest.

In a room next to the scene of the impending execution, Mary's supporters protest what they think of as a crime against an innocent woman. Hannah tries to stop them disturbing the last hours of her mistress, who enters, sees them for the first time since her condemnation and prays calmly and movingly to God. The first of three cannon shots is heard announcing the moment of the execution, and Cecil brings the Queen's offer of a last wish. Mary asks that Hannah be permitted to accompany her to the steps of the scaffold. She continues in a mood . of distracted resignation until the appearance of the distraught Leicester and the sound of the second cannon shot precipitate a last protest of innocence. The third cannon shot is heard and Mary walks upright and dignified to her death.

1 Both the librettist Bardari and the playwright Schiller took considerable liberties with English history. Actually Elizabeth and Mary Stuart never met, but for dramatic reasons, a confrontation between the two queenS seemed a worthy coup de thea.tr~.

347

Maria Stuarda, Act I

ACT I Scene One (In the Palace o/Westminster, Lords and Ladies, having come from the tournament given in honor 0/ the emissaries 0/ the French Prince [the Duke 0/Anjou), now gather in groups to greet Queen Elizabeth.)

-';"

NO.1 CHORUS si a'ttenda kwi Qni si attenda. Here let us wait for her. 'd3:)stre giostre jousting

'dalle dalle from the

'ella Ella She

e

e

a a to

far ri'torno far ritorno. return.

IS

vi'tJina vicina, close by,

'd3:)ja 'doJ1Jli gioia d'ogni of every joy

la la the

re'd3inae Regina e Queen is

la la the

'kwant:) 'ljeto fia tal Quento lieto fia tal How happy will be the

'd30rno se giorno se day if

la 'strind3e la stringe it brings her

bri'ttani de De' Brittani Of the Britons

ad ad to

'alt:) alto noble

br cor. heart. a'mor amor. love.

A VOICE (from offstage) lar re'd3ina La Regina! The Queen!

CHORUS per si per Si, for Yes,

noi noi us

sa'fa sara it will be

dalbi'on d'Albion of Albion1

la la the

'pilla pura pure

pju pin more

'bella bella beautiful

'stella stella, star,

'della 'frantJa 'allo splen'dor 'kwando u'nita la ve'dremo quando unita la vedremo della Francia allo splendor. France in the splendor. when joined we will see her of (Yes, when she will be joined [in marriage] to the splendor of France [the Duke of Anjou] , the star of Albion shall shine even more beautifully than before.) feste'dd3anti Festeggianti, Celebrating,

ammire'fem:) la ammireremo la we will admire the

p:)'ssantsa possanza power

Scene Two (Queen Elizabeth enters, attended by her Ladies.)

1 Albion

is the poetic name for England

della'mor dell'amor. oflove.

Maria Stuarda, Act I

348

NO.2 CAVATINA ELI8ABETTA vW:JI di si vuol di 8i, wishes of Yes,

'frantJa Francia France

i1 il

the

'red3e Rege King

'lal)gb 'tr:Jn:J br rni:J kol trono. cor L'Anglo mio col throne. heart the English with my (Yes, the King of France wants the English throne along with my heart.) du'bbjoza Dubbiosa Doubtful

al)'kor io ancor io I still

rna rna but

il il the

se se if

'bene bene good

'sono sono am

di a'kb,(,(er di accoglier to accept

mjei 'fidi de fidi mlel de' of the faithful my

'lalto l'alto this exalted

iDJ'vito invito, summons,

bri'ttani Brittani Britons

rnil)ka'mmini a'llara b di'rnene ke fa fa che d'Imene all'ara io m'incammini, causes that of Hymen the altar I should approach, (but if for the good of my faithful Britons I should go to the altar of marriage,) redd3e'ra reggera shall rule

'kwesta'destra 'della questa destra della my hand of

'frantJa Francia France

e de'llaI]glja 'ambo i des'tini dell"Anglia ambo i destini. e and of England both the destinies. (my hand shall rule the destinies of both France and England.) a'llara all'ara to the altar

a Ah! Ah!

'kwand:J quando When

UIJ

'kast:J a'mor del casto amor del from chaste love

un

a

'sbrd3emi scorgemi singles me out

'tJeb cielo Heaven, 'prendere prendere take up

'kwando quando when

a mirr.J'vita a m'invita it beckons me to

di'rnene d'Imene of Hymen

i1 il the

T:Jzeo roseo rose-colored

un 'altro un altro another

'bre core heart

la in)'volami Ia involami steals from me my

'velo velo, veil, 'kara cara precious

liber'ta liberta! freedom!

Maria Stuarda, Act I

e E And

'veda vedo I see

'mentre mentre while

'sord3ere sorgere arising

349

fra fra between

nOl noi us

fa'tal ba'rrjera fatal barriera, a fatal barrier,

'altr::> a'mor so'rridere kwes'tanima n::>n sa ad ad altro amor sorridere quest'anima nOn sa. on another love smile this soul cannot. (And while I see a fatal barrier rising between us, my soul cannot smile upon another love.) TALBOT in tal In tal that On di di of

'd30rno di giorno di day of

stu'arda il Stuard a il (Mary) Stuart the

kon'tent::> contento happiness sol la'mento sol lamento solitary lament

si la bre'ttapJ1a turbe'ra si, la Brettagna turbera? yes, Britain will disturb? (And will Mary Stuart's solitary laments disturb the merriment of that happy day?) CHORUS 'grattsja Grazia Mercy

'alla alIa on

stu'arda Stuarda! (Mary) Stuart!

ELISABETTA (interrupting) ::>'la di 'kwesto 'd30rno il Ola! Di questo giorno il Enough! Of this day the

'd3ubilo giubilo jubilation

nOl) kre'dea tur'bato io turhato io non credea. disturbed I did not believe. (Enough! I did not expect the happiness of this day to be disturbed.) per'ke for'tsarrni Perche forzarmi Why force me

a 'pjand3ere a piangere to weep

'trlsto suo sui suI . tristo suo over the sad her (and over her sad fate?)

CECIL (to Elizabeth) a 'dona .'alla alla dona Ah! to the Ah! Give over TABOT Grazia!

sui suI over the

'kapo capo head

'della 'rea della rea? .of that guilty woman,

ke che that

'desta desta... awakens ...

des'tin destin? fate?

'skure kwel scure quel ax that

'kapo capo head

350

Maria Stuarda, Act I

CECIL fa'tali ... fatali ... deadly

ti'mori dis'brdja timori, diseordia fears, discord

fu'nesta funesta ... tragic ...

CHORUS Grazia! CECIL fi'naI)ke Finanehe even

fra fra' in

'tJeppi kol eeppi, col chains, with the

'f::>b foeo fire

ELISABETTA ta'tJete n::>m 'p::>sso Taeete! Non posso Keep silent! I cannot

ri's::>lvermi risolvermi decide

a Ah! Ah!

dal dal From

di'JJenda diseenda may there descend

ke ehe that

ris'kjari risehiari may illumine

'forse forse perhaps rna

Ma But

tJd del Heaven

'oJlJ1i ogni of every

aI)'kor aneor. yet. un un a

'radd3::> raggio ray

il mio inte'llett::> Umio intelletto, my mind,

a'ilora iJ] allora in then ill se se if

da'mor d'amor! oflove!

'kwest::> questo this

'pett::> la kle'mentsa petto la clemenza breast clemency

'lempja l'empia that wretched woman

rna ra'pita m'ha rapita has robbed me

'speme al k::>r speme al cor hope to my 'heart

gra'dita gradita, dear,·

'd30rn::> a'trotJe diven'detta 'tard::> a 'sord3er vendetta tardo a sorger giorno atroee di day horrid of vengeance late in dawning (then that day of vengeance shall not be long in dawning!) CHORUS il bel br n bel cor The fair heart

deliza'betta d'Elisabetta of Elizabeth

CECIL ti ra'mmenta eliza'betta Ti rammenta, Elisabetta, Remember, Elizabeth, CHORUS Segua i moti di pieta.

par1e'ra parlera. will speak.

n::>n sa'ra non sara! shall not be!

'segwa segua let it follow

i'm::>ti i moti our words

di pje'ta di pieta. of mercy.

ke ch'c that it is

da'nnoza dannosa damaging

'oJ1]1i ogni any

pje'ta pieta. pity.

si S'I 1. Yes!

Maria Stuarda, Act I

351

CECIL Ogni pieta. ELISABETTA Ah! dal ciel disc end a un raggio, etc. NO.3 SCENA ELISABETTA fra

voi

Fra

voi

per'ke nOIl] 'vedd3::>

'lester

perche non veggio

Leicester?2

Among you

why

do I not see

Leicester?

'eHi Egli

'solo

'resta

bn'tano

'dalla

'd3::>ja

solo

resta

lontano

dalla

gioia

comune?

(Does) he

alone

remain apart

from the

joy

of all?

ko'mune

CECIL 'ekk::>!::>

Eccolo. Here he is.

Scene Three (Leicester enters and kisses Elizabeth's hand.)

ELISABETTA 'konte

or

io

di te

kje'dea

Conte!

Or

di te

chiedea...

Earl!

Just now

io I

was about you asking.. .

3

LEICESTER de mi per'dona Deh! mi perdona

a a'

tw::>i

'tJenni

indu'd3ai

se

tuoi

cenni

Please! Forgive me

if

at

your

summons

indugiai! I was tardy!

se

ELISABETTA (removing her ring, looking at it and then handing it to Leicester) 'prendi

'reka

la'nello mio

di

'frantJa

alliII]'vjat::>

Prendi.

Reca

I'anello mio

di

Francia

all'inviato:

Take this.

Deliver my ring

of France (to the French envoy;)

to the envoy;

LEICESTER ke

im'poni

Che

imponi?

What

are your orders?

2 Donizetti

and his librettist, apparently not being aware of the vagaries of pronunciation of English names, originally notated and pronounced this name as [lei'tIester]. In performances nowadays, the English pronunciation [,lester] is employed. 3 There is really no such title in English nobility as "Count". Since the Italians have no word for "Earl", they use Conte for want ofabetterword.·This translator Will use Earl from now on,· as it is, after all, Leicester's true title. .

Maria Stuarda, Act I

352

ELISABETTA al'prentJe'suo al Prence suo To his Prince ke che that

'rjeda rieda let go back

d3a di'rnene gUl d'Imene indeed of marriage

rne'ssadd3::> messaggio a message

lill)'vi t::> l'invito the summons

a dir a dir, saying,

a'ttJett::> accetto. I accept.

(She watches Leicester closely.)

(And

non si 'kand3a non si cangia he doesn't change

rna Ma But

ke che that

e (E

riku'zare ricusare refuse

il il the

ill) 'vizo in viso!) expression on his face!)

'serto ke serto che crown that

aI]'kor 'p::>ss::> ancor posso... I can.. . still

rni '::>ffre mi offre he offers me ke che that

'lib era so'nio libera son io... I am ... free

'prendib Prendilo... take it...

iI]'grat::> (Ingrato!) (Ungrateful man!) LEICESTER (indifferently) ti obbe'disko Ti obbedisco ... I will obey you... ELISABETTA a'ddio Addio. Farewell. (She gives her hand to Leicester to kiss and goes offfollowed by Cecil, her attendants and the court. Talbot is about to follow, when Leicester takes his hand and draws him aside for a private conversation.)

Scene Four LEICESTER (to Talbot) ai 'nelle Rai nelle during the Did you

'd3::>stre giostre, tournament,

::> 'talb::> o Talbo, oh Talbot,

'kjesto di chiesto di ask for

TALBOT

10

io

si si.

I,

yes.

(Just befor~ she leaves, Elizabeth turns and sees Leicester and Talbot in private conversation.)

me me? me?

Maria Stuarda, Act I LEICESTER 'brami ke brami Che What do you want,

353

'dul)kwe dunque? then?

TALBOT fave'llarti Favellarti. To speak to you. ti fia Ti fia Let them be for you in) In At

forte'ril)ga Forteringa F otheringhay

tre'menda tremenda awesome io io I

e e and

'Onrll

'kara cara precious

ogni every

pa'rola mia parola mia. one of my words.

fui fui ... was ...

LEICESTER as'kolto ke Che ascolto! What do I hear! TALBOT 'vidi liIl)fe'litJe Vidi . l'infelice I saw the unhappy

stu'arda Stuarda... (Mary) Stuart...

LEICESTER 'kweste 'mura pju so'mmesso fa'vella il) a queste mural Pin sommesso favella in Ah! speak within these walls! Softer Ah! e E And

kwal qual how

ti 'parve ti parve?

did she seem to you?

TALBOT un 'and3elo angelo Un An angel

da'mor d'amor, oflove,

e e and

'sempre sempre... always...

mapj1anima magnanima noble-hearted

LEICESTER 'troppo in'dej1j1a 0 troppo indegna Oh! undeserving Too Oh! e E And

a a to

te te you

ke che what

di di of

'era era, she always was,

'bella bella beautiful

kwal qual as

rio rio her cruel

des'tino destino. fate.

'disse disse? did she say?

a Ah! Ah,

'parla parIa! speak!

Maria Stuarda, Act I

354

TALBOT 'p:)sso im pria Posso in pria Can I fIrst,

affi'darmi affidarmi trust

ben si'ku[:) ben sicuro surely,

tu:) tuo your

al al in

br

cor? heart?

LEICESTER 'parla tel 'd3UfO Parla: tel giuro! Speak! I swear to you! NO.4 CAVATINA TALBOT (cautiously takingfrom his pocket aportrait and a letter) 'kwesta i'mmag:) 'kwest:) 'bM:) la stu'arda a a Questa immago, questo foglio la Stuarda This portrait, this letter (Mary) Stuart to di Di

From

sua sua her

'mano io mano io hands I

te te you

lin)'via l'invia: sends;

Ai 'ebbi gIi ebbi, received them,

su:) 'pjanto li ba'JlJl:) e pria del e pria del suo pianto Ii bagno. and earlier with her tears she bathed them. (and she bathed them in her tears before giving them to me.) LEICESTER :) pja'tJer Oh piacer! Oh pleasure! TALBOT kOl) 'kwale a'ffetto Con quale affetto With what affection

il tuo il tuo your

'nome pronun'tsj:) nome pronunzio! ... name she uttered!...

(Talbot hands Leicester the portrait and the letter. Leicester gazes at the portrait enraptured.)

LEICESTER :) pja'tJere piacere! Oh pleasure! Oh

a Ah! Ah!

i1 ri'miro rimiro il I again look at the

bel sem'bjante bel sembiante lovely face

ad:)'rat:) adorato, adored,

ei mi a'ppare sfavi'llante vage'dd3at:) vagheggiato.•. ei mi appare sfavillante it appears to me sparkling cherished...

'kome il come il the as

di di day

aIJ'kora 'parmi ancora Parmi It seems to me still

ke che in which ke che that

mi pja'g:) mi piago. I was smitten. kwel sli quel su upon . that

'vizo visa face

'kome il di come il di, on the day, as

355

Maria Stuarda, Act I

'spunti spunti there appears

'laI]gwido languido languishing

'kaltra ch'altra which on another

un un a

'v:)lta volta occasion

so'rrizo sorriso smile a a to

me: me me

si si so

'kkar:) caro dear

la mia 's:)rte iI]kate'n:) Ia Mia sorte incateno. my fate bound. (It still seems to me that on that face gently dawns a smile that once so endeared her to me and bound my fate to hers.) TALBOT tra'mont:) e al tramonto Al e In its sunset is (Her life is at its ending)

la sua 'vita la sua vita her life

ed ed and

tJer'b cerco. she sought.

a'ita aita help

a a from

te: te you

LEICESTER (still holding the portrait) :) me'm:)rje Oh memorie! Oh memories! Oh cara immago! di Di

To

mo'rire per morire per for die

lei lei her

som son lam

'pag:) pago. satisfied.

Ah! rimiro it bel sembiante, etc. TALBOT Al tram onto e Ia sua vita, etc. ke Che What

ri's:)lvi risolvi? have you decided?

LEICESTER libe'rarla :> bn lei 0 con lei Liberarla! To free her! Or with her (I will free her or else die with her!)

spi'rar sa'pr:> spirar sapro. expire I will.

Maria Stuarda, Act I

356

TALBOT di ba'biI)t::m il pe'riilo n:m aI)'kor Di Babington il periglio non aneor 4 Of Babington the peril not enough (Doesn't Babington's fate frighten you sufficiently?) LEICESTER 'tema 'oPJ1i Ogni tema, ogni Every fear, every

'oppi

pe'riAAo periglio, danger

1'J io I

per per for

ti spavc:n't'J ti spavento? did it frighten you?

lei lei her (sake)

sfi'dar sa'pr'J sfidar sapro. defy shall.

'tant'J tanto so

b'ld eolei she

mi a'm'J miamo loved me

ke ehe to

'd3ema gema, mourn,

TALBOT Ah! non aneor ti spavento? LEICESTER libC:'farla vW'J Vuo liberarla! to free her! I want

se Se If

'fida fida faithful

da Ai da gli from her (If so faithfully

''Jkki il 'pjant'J Ie terd3e'f'J oeehi il pianto Ie tergero. eyes the tears I will dry. she loved me, then I will dry her tears.)

e E And

pur pur as

se se if

'vittima vittima a victim

del 'fat'J 'mb su'perb'J del fato mio superbo of my fate proud (I shall proudly accept my dire fate!)

ka'der de'dd3io eader degg'io, fall I must, an'dr'J andro! I shall go!

TALBOT Se fida tanto eolei !! amo, se se if

'larg'J largo flowing

'pjanto fi'nor pianto finor tears till now

di di for

u'naltra un'altra another

'vittima vittima victim

ver's'J verso, she has wept, n':JIl) far non far do not cause her

sc: a'llora es'trema sfu'dd3ir n':Jm pW'J se all'ora estrema sfuggir non puo. if from the hour extreme escape she cannot. (Since she loved you so faithfully and wept so many tears, don't make her mourn for another victim, if she cannot escape her own death.)

Babington (pronounced as shown above, in Italian), was a young English Catholic who headed a conspiracy designed to rescue Mary and place her on the English throne. A necessary part of this plot was the assassination of Elizabeth. Mary was convicted at her trial principally due to her correspondence with Babington, in which she had given tacit approval of Elizabeth's murder.

4

357

Maria Stuarda, Act 1

LEICESTER Ah! se fida tanto colei mi ami), etc. (Talbot leaves. Leicester starts to exit in the opposite direction, but he encounters Elizabeth. She looks at him closely for signs of agitation.)

Scene Five NO.5 SCENA AND DUET ELISABETTA tu sd kOIIJ'fuzo Sei tu confuso? uneasy? Are you LEICESTER n:) b 10 no .. . no .. . I,

ke il)'kontro (che incontro!) (what an encounter!)

ELISABETTA 'talb:) 'teko UI) b'lbkwj:) Talbo teco un colloquio Talbot with you a conversation (Did you have a conversation with Talbot?) LEICESTER vver E ver. true. It's

'tenne tenne? held?

ke ffia (Che fia?) (What can this be about?)

ELISABETTA ei mi di'venne 'tutti b'ld se'dutJe Sospetto ei mi divenne. Tutti colei seduce! Suspicious he has become to me. Everybody that woman seduces! (That [Talbot] is becoming suspicious to me. That Stuart woman can seduce everybody!) s:)s'pett:>

a Ah! Ah!

'forse forse, Perhaps,

'konte me'ssadd30 Conte, messaggio Earl, a message

di di from

stu'arda Stuarda (Mary) Stuart

a te d3un'd3ea aote giungea? for you arrived?

LEICESTER s:>s'petti

Sospetti You suspect

iIIJ'van:> invano! in vain!

:>'mai di 'talb:> e 'n:>ta la Omai di Talbo e nota Ia By nowof Talbot is known the (Talbot's loyalty is by now well known.)

ELISABETTA (ironically) ko'nosk:> 'pure il tu:> br conosco. Pure il tuo cor Yet your heart I know. LEICESTER :> tIel (0 ciel!) (Oh Heavens!)

re'd3ina Regina... (My) Queen...

'zvelami Svelami Reveal to me

il il the

feddta fedeita. fidelity.

lim'pol)go ver ver... l'impongo! truth... I order it!

Maria Stuarda, Act I

358

ELISABETTA al)'kor mel 'tf eli Ancor mel celi? Still you're hiding it from me?

in'tend::> Intendo. I understand.

(Greatly agitated, she starts to leave.)

LEICESTER nom par'tir non partir! Ah! don't leave! Ah,

a

ti a'rresta mas'kolta de ti arresta! M'ascolta!... deh! Hear me out!... Please, stop!

UIlJ un A

'f::>il::> foglio .. . letter.. .

ELISABETTA (turning back to him, severely) il 'bil::> a mme n foglio a me. That letter, give it to me. LEICESTER 's::>rte fu'nesta (Sorte funesta!) (Fate dire!)

'ekbb Eccolo, Here it is,

(He kneels at her feet, giving her the letter.)

al al At (yoUr)

'red3::> regio royal

'pjede b piede io feet, I

10 de'pol)go 10 depongo. hand it over.

'ella per me ti 'kjede di UI) b'lbkwjo Ella per me ti chiede di un colloquio She through me begs you of a meeting (Through me she begs you for the favor of a meeting.) ELISABETTA ::> sor'd3ete oh Sorgete, oh Rise,

'konte 'tr::>pp::> Conte, troppo Earl, too much

'fate per fate per youdo for

il il

the

fa'vor favor. favor.

lei lei... her...

se'durmi ko'zi lal'tera di 'krede Crede I'altera di sedurmi cosi? Believes that proud one to seduce me thus? (Does that proud woman believe she can win me over like this?) rna

Ma But

iIl]'van invan, in vain,

iIl]'van b 'spera invan 10 spera. in vain she hopes to.

(Elizabeth opens the letter and reads it quickly. Her anger changes to amazement.)

'kwali 'sensi Quali sensi! What sentiments!

359

Maria Stuarda, Act I

LEICESTER k::>'mm::>ssa 'ella e commossa.) (Ella e moved.) (She is ELISABETTA kio di'H enda Ch'io discenda That I should go down

'alla pri'd30ne prigione... alIa to her prison...

LEICESTER si re'd3ina Regina... Si, Yes, (my) Queen... ELISABETTA (with a mocking laugh) 'p::>ssa di ki ::>'ve la la possa di chi Ov'e who the power of Where is LEICESTER 'kome 'lampo Come lampo Like lightning

am'bia Ie ambia Ie coveted the

in 'n::>tte 'bruna abba'AA::> in notie bruna, abbaglio, in a dark night, it dazzled,

fU'dd3i fuggi, it fled,

ELISABETTA al rw::>'tar 'della for'tuna tantor'goAAo Al ruotar della fortuna, tant'orgoglio At the turning of fortune ('s wheel) all that pride (Her pride faded away at the turning of fortune's wheeL)

tre tre three

ko'rone corone? crowns?s .

spa'n span'1.... it disappeared!, ..

impalli'di impallidi. paled.

LEICESTER lei lim'pbra pje'tade per il mi::> k::>r a cor... lei l'implora ilmio pietadeper Ah! it implores heart ... on her, my Ah! Mercy (My heart implores you for mercy on her... ) ELISABETTA (ironically) 'kella p::>'ssjede n::>'ne ver Ch'ella possiede, non ever? Which she possesses, isn't that true? ([A heart] that she possesses, [because you are in love with her] isn't that true?) LEICESTER kwel dir ma'kkora (Quel dir m'accora.) (That speech disheartens me.) ELISABETTA 'nella 'korte o'JlJluno Nella Corte ognuno In Court everyone

5

il'krede il crede. believes it.

The allusion here is that Mary Stuart coveted the crowns of France, Scotland and England.

360

Maria Stuarda, Act I

LEICESTER e sil)'ganna E s'inganna. And they're wrong. ELISABETTA menti'tore (Mentitore!) (Liar!) LEICESTER lei mu'ni sol pje'tadea Sol pietadea lei m'uni. Only pity to her united me. (I was only bOlUld to her by [my] pity [for her].) ELISABETTA (in repressedfury) 'eHi 'lama ~ mio (Egli l'ama, ob mio (He loves her, oh my

fu'ror furor!) fury!)

(feigning composure)

e

le'dd3adra leggiadra? Is she lovely?

'parla Parla! Speak!

E

LEICESTER si S•. Yes. ELISABETTA (thunderstruck) Sl! si? Si?! ... LEICESTER (lowering his eyes, while being observed balefully by Elizabeth) si 'era da'mor li'mmad3ine de'Hanni sullau'rora Si. Era d'amor l'immagine degli anni suU'aurora! of years in the dawn! (Yes. She was oflove the image, (Yes, She was a picture oflove in the dawn of her years!) J

sem'bjantsa Sembianza The face ke che that

a'ppare appare appears

a'vea dun avea d'un she had of an ed ed and

'and3eb angelo angel inna'mora innamora. enamors you.

'era tJe'leste 'lanima s~'ave il suo res'pir Era celeste l'anima, soave il suo respir; Was celestial her soul, sweet her breath; (She had a heavenly spirit and her breath was sweet;)

Maria Stuarda, Act I 'bella Bella Beautiful

di ne net di in her days

'bella bella beautiful

nel nel in

su::> suo her

del del of

361

'd3ubilo giubilo, joy,

mar'tir martir. suffering.

ELISABETTA a te 10 'kredo A te 10 credo. I believe you. un un it She is an e

'and3eb angelo angel

se se if

tu tu you

Ie dai Ie dai give her

skwa'llore squallore squalor

di di of

UIJ un a

'kartJere carcere prison

se se if

'alb allo in the

e e and

'doJlpi d'ogni of every

k::>r cor heart

tal tal such

'Vant::> vanto, praise,

liIJ'kant::> I'incanto... the enchantress ...

LEICESTER rna

Ma... But... ELISABETTA b S80 Loso... I know.. . LEICESTER n::> No ... No .. .

ELISABETTA ke a'lletta Che alletta ...who entices

'oppi 'anima lu'ziI]ga ogni anima, lusinga every soul, flatters

LEICESTER Regina... ELISABETTA Lo so che alletta ogni anima, lusinga ogni desir... LEICESTER 'kredo Credo... I believe ...

'oppi ogni every

de'zir desir••• desire...

Maria Stuarda, Act I

362

ELISABETTA Loso ... LEICESTER 10•.. ELISABETTA Lo so ... (to herself)

s£ Se If

tu tu you

la'd::>ri l'adori, adore her,

::> oh oh

'pp£rfid::> perfido ... wicked man...

LEICESTER Bella ne' di del giubito, ELISABETTA il mio so'ffrir pa'v£nta it mio soffrir, Paventa my suffering, Fear

si si. yes.

LEICESTER Bella nel suo martir. ELISABETTA Se tu l'adori, oh perfido... LEICESTER Ahsi... ELISABETTA Paventa it mio soffrir, si, etc. LEICESTER Bella nel suo martir, etc. 'vj£ni Vieni. Come. ELISABETTA b 'kjede (Lo chiede (He asks it,

il it that

LEICESTER il mio de'zir a'ppaga ilmio desir. Appaga wish. my Grant

'barbar::> barbaro.) unfeeling man!)

Maria Stuarda, Act 1

363

ELISABETTA 'dove 'kwand:> Quando? Dove? When? Where? LEICESTER iIJ 'kwesto 'd30mo al su:> 'kartJere In questo giorno, al suo carcere On this day, at her prison (On this very day, [in the woods] around her prison) per per for

la la the

din'tomo d'intorno around

'kattJa si a'ppresta caccia si appresta hunt they're getting ready,

Jende'rai scenderai you will come down

'nella nella to the

b'resta foresta ... forest. ..

ELISABETTA 'konte il'vw:>i Conte, il vuoi? Earl, you wish it? LEICESTER tern 'preg:> Ten prego. I beg you. ELISABETTA in'tend:> 'alma iI)'kauta Intendo... (Alma inca uta!) I understand... (Soul rash!)

a A To

tte te you

n:ti a'rrend:> mi arrendo. I submit.

man man hand

mi sten'dea mistendea, she stretched out,

(aside)

sul SuI Over my

krin crin head

la la that

ri'vale la rivale la rival her

'sert:> re'ale stra'pparmi vo'lea volea; il serto reale strapparmi the crown royal snatch from me she wanted; (That rival stretched out her hand over my head wanting to snatch my royal crown from me;)

il

rna Ma But

'vinta vinta vanquished,

Ial'tera l'altera that proud woman

di'venne divenne became

dUI) 'k:>re di'letto pri'varmi dlun core diletto privarmi of a heart favorite to deprive me (she tried to rob me of my favorite [man's] heart.)

pju 'fjera pin fiera even fiercer,

ten't:> tento. she tried.

Maria Stuarda, Act I

364

a Ab! Ah!

'tr::>ppo troppo Too much

mi ::>'ffende pu'nirla mi offende, punirla she offends me, punish her

LEICESTER de 'vjeni 0 Deb! vieni, ob Please! Come, oh

re'd3ina Regina, (my) Queen,

ve'drai vedrai you will see

la Ia that

di'vina bdtade divina beltade divine beauty

s::>'rella sorella a sister

Ie sei Ie sei, be to her,

sa'pr::> sapro. I will.

ti'm:>stra ti mostra show yourself (as)

kle'mente clemente, clement,

inn::>'tJente innocente: innocent;

pje'tade pietade pity

per per on

lei lei, her,

'bdjo nel 'pett::> a'ssai ti pari::> ke cbe I'odio nel petto assai ti parlo. for hatred in your breast enough spoke to you. (for your hatred [for her] has spoken [loudly] enough within your heart.)

ELISABETTA 'tatJi Taci... Be silent... LEICESTER Ia 'kalma Ie'rendi La calma Ie rendi. Her peace of mind give back to her. ELISABETTA Taci. .. LEICESTER e 'pag::> E pago And satisfied

sa'r::> saro. I will be.

ELISABETTA d::>'ve la Dov'e? La Where is it? That

'p:lssa possa, power,

d:>'ve dov'e? where is it?

LEICESTER Regina •.• ELISABETTA ko'rone lor'goAA:> tre di tre corone I'orgoglio Di Of three crowns, that pride, LEICESTER Deb vieni, Ia calma Ie rendi, etc.

d:>'ve dov'e? where is it?

Maria Stuarda, Act I

ELISABETTA Sui crin la rivale la man mi stendea, etc. LEICESTER Regina, ten prego... ELISABETTA D'un core diletto privarmi tento, etc. (Elizabeth and Leicester exit together.)

END OF ACT I

365

Maria Stuarda, Act II

366

ACT II Scene One (The Park at Fotheringhay. On either side are green trees. In the middle is a vast clearing that stretches to the sea. Mary enters running out of the woods,followed by Hannah at a slower pace. Guards are seen in the distance.) NO.6 SCENA AND CAVATINA ANNA re'd3ina il pje a'llenta Regina. Allenta il pie, Queen. Slow down the foot, (Slow your pace, my Queen.)

MARIA e kke Eche! What!

n:m 'ami Non ami Are you not pleased

ke che that

ad ad to

'd3::>ja in's::>lita gioia insolita unaccustomed joy

il 'seno io 'skjuda il seno io schiuda? the bosom I open? (I should open my heart?) i1

'kartIer mio e career mio e prison mine is The (My prison is the open sky ... )

nOIl) 'vedi Non vedi? Do you not see?

b 10 I

n

b va'gedd3::> 10 vagheggio... look at it lovingly ...

::> oh how

'kkara la cara la dear the

i1 il the

tIel::> cielo sky

volu'tta ke voluttit che pleasure that

a'pert::> aperto ... open...

mi tIir'konda mi circonda! surrounds me!

ANNA il 'dw::>b sai ke ti a'ttende iI] 'kwelle 'mura n duolo sai che ti attende in quelle mura? Grief do you know that awaits you within those walls? (Do you know that grief awaits you within those walls?)

MARIA 'gwarda Guarda: Look:

su su' Over the

'prati prati fields

a'ppare Odofo'zetta appare odorosetta appears fragrant

de de' of

'fjori fiori .•. flowers ...

me me me,

si sl, yes,

a a at

il 'ddzeffiro il zeffIro the breeze

ke che that

'toma da torna da' wafts from

la la the

fa'm.L\Aa famiglia family

e e and

a a at

e e and

me me me

e e and

'bbella bella fair

so'rride sorride it smiles

(the)

bei bei fair

di 'lidi di lidi shores of

'frantIa Francia France

Maria Stuarda, Act II

kio ch'io that I

d30'iska gioisca should enjoy

'kome 'aHa come alIa in my as (tells me that I

mi'ditJe mi dice it teHs me

'prima d30ven'tu fe'litJe gioventu felice! prima first youth happy! should enjoy life as in my happy youthful days!)

Oh Oh

'nube ke nnbe! che cloud, that

tu tn you

'[eka reca bear

al al to the

sw::>b be'ato ke suolo beato che soil blessed that

::>

'ljeve per 'larja ti a'dd3iri lieve per l'aria ti aggiri lightly through the air moves,

il mi::> a'ffett::> tu il mio affetto, tn my love, you

de 'JJmdi Deh! scendi Please, descend

korteze cortese, softly,

mi '[endi mi rendi take me back

'alla alIa to

rna Ma But

367

'kruda la cruda la cruel the

un un one

'[eka reca bear

i sos'piri i sospiri, my sighs,

di di day

mi nu'dri mi nudri. nourished me.

mi a'kbUi mi accogli gather me 'frantJa Francia, France,

'nube pur nube, pur cloud, also

'essa essa it

'vanni sui vanni sui in your wings

miIl)'vola m'invola take me away

'aAN. agli from

fu'dd3i fuggi has disappeared

dal suolo beato che un di mi nudri! (Hunting horns are heard offstage.)

kwal Qual What

'sw::>n::> suono! sound!

OFFSTAGE CHORUS al 'b::lsk::> 'aHa AI bosco, alIa at the In the woods,

MARIA kwai 'votJi Quai voci! What voices!

'kattJa il caccia il hunt the

'tJervo si a'ffattJa cervo si affaccia... stag appears ...

a'ffanni affanni! cares!

368

Maria Stuarda, Act II

OFFSTAGE CHORUS dal 'bIle mus'kozo Dal colle muscoso ... from the heights mossy del 'riv:J 'aIle del rivo aIle of the stream to the (to the banks of the stream,) ANNA 'parmi il Parmi il It seems to me the

p:Ji poi then

'sponde sponde banks,

'seJ1J1o di segno di signal ofa

'fudd3e sker'tsozo fugge s·cherzoso it flees playfully si'spekkja si specchia it is reflected

'kattJa fe'ale caccia reale! hunt royal!

OFFSTAGE CHORUS ko'rrete ve'lotJi Correte veloci Run swiftly

kwel quel that

MARlA savvi'tJinano S'avvicinano Are coming closer

'sw:Jni suoni... sounds ...

i the

pel pel through the

'parb parco park

i i the

ne'Ilonde nell'onde... in the waters ...

'tJerv:J a cervo a stag to

fe'fir ferir. wound.

des'trjeri destrieri... horses ...

OFFSTAGE CHORUS La Regina!

MARlA a kwal Ah! qual Ah! What

'nome fa'tale nome fatale! name fatal!

ANNA la ti'fanna La tiranna That tyrannous woman

MARIA 'nella Nella In the

'patJe pace, peace

vW:JI vuol she wants

kol'pinni colpirmi to strike me

b

nel 'mesto ri'P:>Z:J nel mesto riposo, of my sad seclusion,

I

la 'kjezi la chiesi... asked to see her.. :

tal Tal Such

b'radd30 coraggio courage

10

seIIJ va sen va. comes.

di di with

'nw;)v;) spa'vent;) nuovo spavento. anew fright.

e e and

ve'derla vederla see her

ne'llalma nell'alma in my soul

n;)n 'sent;) nonsento! I do not feel!

n;)'n;)z;) nonoso.•. I do not dare...

-

r

369

Maria Stuarda, Act II

'resti Resti Let her stay il su:> il suo her

suI 'tr:>n:> ad:>'rata suI trono ado rata, on her throne, adored,

'zgward:> sguardo gaze

'tr:>pp:> troppo too much

da da from

me me me

son io dispre'ttsata son io disprezzata lam despised,

in 'tutti 'tatJe tutti tace in everybody In is silent (no one feels any pity for me!) ANNA 'ella 'd3und3e Ella giunge! She is coming! MARIA fu'dd3am:> Fuggiamo: Let us flee:

ANNA konte'nersi Contenersi Contain itself

. bn'tan:> sia sia lontano; let it be far away;

per per for

me me me

la la the

pje'ta pieta! pity!

fu'dd3am:> Fuggiamo! Let us flee!

konte'nersi contenersi Contain itself il su:> 'k;)re il suo core heart her

il mb 'k:>re il mio core my heart

n:>n'sa non sa, cannot,

n:msa non sa, cannot,

n:> no! no!

MARIA Nella pace del mesto riposo, etc. (Mary and Hannah start to leave, but Mary sees someone approaching and stops, gesturing to Hannah to go on without her. Leicester enters, presenting himself to Mary, much moved.)

Scene Two NO.7 SCENE AND DUET MARIA la nom miJ]'ganna a Ia non m'inganna Ah! It does not deceive me my Ah! LEICESTER 'vjene ki kwi Qui viene chi Here comes one who

'd3:>ja gioia! joy!

ta'd:>ra t'adora adores you

a a to

'lester Leicester, Leicester,

sei sei it is

spe'ttsar spezzar break

Ie tue ka'tene Ie tue catene. your chains.

tu

tu! you!

•

Maria Stuarda, Act 11

370

MARlA 'libe[a al'fin sa'[:) Libera aUUn saro Freed at last will I be

dal dal from

'libe[a e Libera e Free and

tua tua yours

a'ppena Appena Barely

il 'krede il crede does it believe it,

'kartIer mio career mio? my prison?

per 'sempre per sempre? forever? lad3i'tato l'agitato this troubled

LEICESTER 'pjede eliza'betta kwi 'v:)ld3e il al Qui piede Elisabetta volge il al Here turns the foot Elizabeth in (Elizabeth is coming here in all her royal pomp.) di Di As a

pre'test:) pretesto pretext

e

e IS

la la the

'ove Ove Therefore

ti'm:)stri ti mostri you must show yourself

MARlA a lei lei A her, To

so'mmessa sommessa? submissive?

mbbr mio cor. heart of mine.

re'al real royal

lei lei her

so'mmessa sommessa .. . submissive.. .

'kattIa caccia hunt.

a a to

LEICESTER ':)dd3i b ddei Oggi 10 dei. Today you must do it. MARlA :) tIel ciel, Oh Heaven, Oh

a Ah! Ah!

't::>AAimi toglimi Remove me

ke che what

as'kolto ascolto? am I hearing?

a a from

'vista

si si a sight so

vista

fu'nesta funesta! dirl e.

(She starts to leave.)

LEICESTER 'mmami se , . maml... Se you love me, If

de deh, please,

de'k:)[:) decoro; pomp;

su:) suo her

ti a'rresta ti arresta. stay.

Maria Stuarda, Act II

371

MARIA e 'dedd3:J E deggio? And must I? LEICESTER e dei E dei And you must

MARIA 'tutti da tutti Da By all

spe'rar sperar hope.

abband:J'nata im abbandonata in abandoned, in

'preda a preda a prey to

no rio bitter

:J'ppressa dez:J'lata 'nulla spe'rar oppressa, desolata, nulla sperar oppressed, desolate, nothing to hope for (my oppressed and desolate heart has nothing to hope for.)

I

fui Fui I was

k:Jnda'nnata condannata condemned

al al to

S:Jl'tant:J la'ffett:J tU:J L' affetto tuo soltanto Your affection alone LEICESTER n:J diffi'dar No, diffidar No, mistrust

'pjant:J pianto, weeping, pW:J PUQ

can

a a to

do'lore dolore, grief, sa il sa il knows my

sospi'rar sospirar. sighing.

'sempre sempre always

i 'mali mjei i mali miei my suffering

kal'mar calmar. calm. 'grande grande mighty

n:Jn dei non dei, you mustn't,

'ella ella she

e p:Ji e poi is

LEICESTER di res'tava il br di il cor Restava the heart of Remained (She was very moved by your letter.)

lei lei her

k:J'ffiffi:JSS:J commosso moved

'k:Jre core. heart.

in 's:JAA:J in soglio. in (her) throne.

MARIA ke spe'rar Che sperar? What hope is there? -"

MARIA ke mmai 'ditIi dici? Che mai are you saying? What ever LEICESTER kwel su e quel E su upon her And

'tIi,(,(o io ciglio io brow I

'vidi vidi... saw.,.

dal dal by

tU:J tuo your

'bAA:J foglio. letter.

372

Maria Stuarda, Act II

MARIA Oh ciel!

LEICESTER la 'lagrima La lagrima ... the tear (The glint of a tear.)

spun'tar spuntar. appearing .

MARIA Ah!

LEICESTER se 'm::>di m'odi Se you hear me out If

e e and

im in in

me me me

ta'ffidi t'affidi... you trust...

MARIA ke spe'rar Che sperar? What hope is there?

LEICESTER 'tutt::> ve'drai kan'd3ar Tutto vedrai cangiar. All you will see change. (You will see how everything changes.) MARIA Da tutti abbandonata, in preda a rio dolore, etc.

(bitterly)

su::> 'k::>re kOII)'vinta io del convinta core io Del suo convinced heart Of her I (I am convinced of how she feels about me.)

'sono sono. am.

LEICESTER pur pje'ta vi al'berga 'spesso Pur pieta vi alberga spesso. often. Yet mercy dwells in it (Yet her heart can often feel mercy.) MARIA per nom Non per Not for

ki chi one

Ie a'dombra leadombra who casts a shadow upon

LEICESTER n::> tu 'ditJi e dici? ... e No, tu say? ... So No, you

a'llora 10 aHora io then I

'stesso stesso myself

un

un her

'tmll::> trono. throne.

Maria Stuarda, Act 11 'sella s'ella if she

e

e IS

'sorda ai sorda ai deaf to

MARIA ke fa'velli ke favelli? Che Che What are you saying? What a Ah! Ah!

kio ch'io I

373

'prjegi tw::>i prieghi tuoi, your pleas,

io io I

far pw::>i far puoi? can you do?

me per Per me On account of me

ven'detta vendetta vengeance

n::>l v::> n::> nol vo', no! don't want that, no!

LEICESTER 10 vendetta ne faro, ah, si, faro!

MARIA se il mb k::>r il mio cor Se my heart If

tre'm::> tremo trembled

d3a'rnrnai giammai ever

'krud::> as'pett::> 'della 'm::>rte al crudo aspetto, della morte al death at the cruel face, of (If my heart ever trembled in the cruel face of death,) n::>II) far si ke che non farsi do not cause it to

','1

I

sia sia be

kos'tretto costretto forced

tre'mare pe a tremare pe' a for to tremble (to worry about your life.)

tw::>i tuoi your

di di. days.

'v::>lli e volli e wished and

sol sol only

tJerkai cercai I sought

'solo Solo Only

io io I

di di to

ve'derti vederti see you,

per Per For

e e both te te you

'fido !ido faithful

'spero ke spero che I hope that

e e and

'grat::> grato; grateful;

ilmb 'stat::> ilmio stato my condition

imizeIo ko'zi non sia cosi. non sia misero as it is now. wretched not be (I hope that my condition doesn't hurt or burden you)

ne fa'I::> ne faro! will have upon her!

es'porti esporti, risk yourself,

Maria Stuarda, Act 11

374

LEICESTER fE la si fe, Ia Si, faith, my Yes, e e and

il mio br il mio cor heart my

s:xd3E'rai sorgerai you will rise

lo'nor l'onor my honor ke che that

'dalla dalla from the

ne im'peJlJlo neimpegno: 1 pledge;

'tama t'ama loves you

il'd3Ufa il giura: swears it:

zven'tura sventura misfortune

ke che that

un non ti ':)ffro un non ti offro I can't offer you a

e E And

SE se if

a'llor allor then

ne: ne nor

la la the

'de:stra destra (right) hand

si si, yes,

po'tr:) o'ffrirti potro offirti lean offer you

di un di un ofa al'men aimen at least

'OJlpi ogni every

'gbrja ti ra'pi gloria ti rapt from you robbed. joy

'reJlJlo regno, kingdom,

s:)'vran:) sovrano, sovereign, la Ia the

'mano mlmo hand

ke Ie tue pri'd30ni a'pri che Ie tue prigioni april that your prisons opened! (I ean at least offer you this, the hand that was able to release you from your prisons.)

MARIA Non esporti! LEICESTER il 'd3UfO n giuro! 1 swear it! Sorgerai dalla sventura, etc.

MARIA Ah! no! LEICESTER Si, la fe, etc. (Mary leaves and Leicester hastily goes to meet Elizabeth.)

Maria Stuarda, Act II

375

Scene Three NO.8 SCENE ELISABETTA (entering, followed by Cecil and the hunting party) kwal 'lob e 'kwesto Qual loco e questo? What place is this? LEICESTER Forteringa. Fotheringhay. ELISABETTA ::l 'konte 'dove rni 'sbrd3i Oh Conte, dove rni scorgi? Oh, Earl, where do I find myself?

I

-I I

LEICESTER non du'bbjar Non dubbiar: Don't be suspicious;

rna'ria sa'fa im 'breve Maria sara in breve Mary will be soon

gwi'data guidata led

tU::l tuo your

al al to

ELISABETTA a kwal per A qual per To what for (See to what sacrifice I 10 'vedi Lovedi... You see...

I

dal 'sadd3::l 'talb::l dal saggio Talbo. by the wise Talbot.

te di'JJend::l sakri'fittsjo te discendo sacrifizio! you descend I sacrifice! lower myself for your sake!)

dis'bsta discosta station

e

I

bs'pett::l cospetto presence

'tr::lPPO iI)'gornbro troppo ingombro It is too crowded (This place is too crowded.)

E

i the

kattJa'tori cacciatori hunters

da da' in

kon'tigwi contigui adjoining

di di with

'p::lp::llo popolo people

il il the

sen'tjer sentier. path.

vi'ali viall: paths;

(At a signal from Leicester the huntsmen arrange themselves in groups at the back of thestage.)

CECIL (to Elizabeth) 'vedi re'd3ina Vedi, Regina, You can see, my Queen,

'kome 'laI)glja come, I' Anglla how England

ti a'd::lfa ti adora. adores you.

a tu l::l sai kwal 'kapo 'ella ti 'kjede Ah! tu 10 sai qual capo ella ti chiede. Ah! You know what head it is asking you for. cYou can see, my Queen, how the English adore you arid you know whose head they ask you for.)

Maria Stuarda, Act II

376

ELISABETTA (to Cecil) 'tatJi Taci! Be silent! LEICESTER (softly, to Elizabeth) de ti ra'mmenta ke a Deh! ti rammenta che a Please, remember that to

dar dar give

'alIa d::>'lente 'vita di 'una alIa dolente vita di una to the painful life of a (Please remember that I've brought you here to la La The

'mano ke mano che hand that

di di with

skwa'llor squallor squalor

kOIl)'f::>rt::> conforto comfort s::>'rella io ti gwi'dai soreHa io ti guidai... sister I have led you... give comfort to the sad life of a sister... ) la'tJinse la cinse girded her

rid::>'narla pw::> pri'mjer k::>n'tento al al contento primier pno ridonarla. the happiness first can give her again. (The same hand that caused her to live in squalor can now restore her happiness of old.) ELISABETTA (aside) b la'bb::>IT::> (10 l'abborro! ... (I detest her!. ..

ei ei He

n::>Il) fa non fa does nothing

ke che but

rammen'tarla rammentarla.} think of her.}

Scene Four (Mary enters led on by Talbot. Hannahfollows her.)

TALBOT (to Mary) 'vjeni Vieni. Come.

MARIA (to Talbot) mi'laHa de Deh! ini lascia... Please! Let me go ...

al al to

mb mio my

a'zil mi'rikon'dutJi mi riconduci. asil refuge lead me back.

ELISABETTA, LEICESTER, CECIL, TALBOT 'ekk::>la Eccola! Here she is!

MARIA ::> ddio OhDio! OhGod! . ··(There is a brief silence, as the characters remain motionless in front of one another.)

.'

Maria Stuarda, Act II

NO.9 SEXTET ELISABETTA 'sempre e sempre E She's always

la la the

'stessa su'perba stessa, superb a same, haughty,

orgo'hhoza orgogliosa; proud;

b'llalma fas'toza mis'pira m'ispira coll'alma fastosa with her soul pompous she inspires in me (she moves me to fury with her pompous air... ) ma Ma But

'tatJe tace: she's silent;

MARIA suI 'viz::> viso SuI On the face

sta sta is

sta sta she's

~'ppressa

oppressa oppressed

im'pressa impressa written

di di of

377

da da by

fu'ror furor ... fury .. .

te'rror 'd3usto terror. giusto well deserved terror. ti'ranna tiranna tyrant

'kwella quella that

k~n'danna il 'fjero Ii'vor la 'trutJe condanna, il fiero livor: truce la condemnation, the fierce hatred; the grim (The face of that tyrant reflects her grim condemnation and her fierce hatred of me.)

kwes'tanima Quest' anima My soul

e

~'ppressa

is

oppressa oppressed

e

da da by

'krudo timor crudo timor. cruel fear.

TALBOT al'men~

Almeno If only

ta'tJesse tacesse it could be stilled

nel 'sen::> re'alE nel seno reale in her bosom royal

fa'tale kwel 'tJeko fu'ror kwe'llira fatale, quel cieco furor, quell'ira fatal, that blind rage, that anger (If only her fatal anger and her blind rage could be stilled in her royal breast,) ke 'barbar~ ~'ppresse un 'd3iU:) da'mor che barbaro oppresse un giglio d'amor. that barbarously oppressed a lily of love. (that so barbarously oppressed this lovely flower of a woman.) ANNA ne'llanima Nell'anima In my soul

~

im'pressa ho impressa I have impressed

la la the

'tema tema fear

fu'nesta Cunesta. dire.

:) 'kwale si a'ppresta tJi'ment::> a kwel br Oh quale si appresta cimento a quel cor. Oh what is readied ordeal for that heart. (I feel a dire fear for the ordeal in store for my poor lady's heart.)

378

tJel Ciel! Heaven!

Maria Stuarda, Act II

'salva salva Save

b'ppressa l'oppressa the downtrodden one

LEICESTER la 'mizera La misera The wretched woman

a ha has

da da from

im'pressi impressi written

'nW:lV:l raI)'kor nuovo rancor. new rancor.

nel 'volto nel volta on her face

Ai gli the

a'ffanni affanni; troubles;

'Hastri ne ti'ranni si 'plakan:l aI)'kor ne gli astri tiranni si placano ancor. and not the stars unfavorable can be placated yet. (and the unfavorable stars still cannot be placated.) sal'varla po'tessi da 'tanto Salvarla potessi da tanto Save her 1 could from such (If only 1 could save her from such grief.)

;: !

CECIL ven'detta Vendetta Vengeance

re'pressa repressa repressed

sb'ppjare scoppiare bursting

do'lor dolor. grief.

d3a giit already

'sent:l sento 1 feel

il br nel 'fjero tJi'mento mi 'palpita nel fiero cimento mi palpita il cor. in the fierce ordeal beats in me the heart. (1 feel my repressed [feelings] of vengeance bursting and the coming ordeal makes my heart beat fiercely.)

fia Fia Let her be

'vittima vittima a victim

:l'ppressa oppress a oppressed

di di by

NO. 10 DIALOGUE OF THE TWO QUEENS LEICESTER (to Elizabeth) de la'kbAAi Deh! l'accogli! Please, greet her! ELISABETTA sfu'dd3irla. Sfuggirla Avoid her TALBOT (to Mary) n:ln sos'tarti Non sostarti. Don't delay;

v:l'rrei vorrei. I'd rather.

e'temo do'lor eterno dolor. eternal grief.

Maria Stuarda, Act II

379

MARIA (to Talbot) la'bisso :) vi'tIino L'abisso ho vicino. The abyss I have nearby. (The pit opens at my feet.)

ELISABETTA (to Leicester) 'tr:)pp:) al'tera Troppo altera. Too proud. (She's too haughty.) LEICESTER avvi'lita 'krudo des'tino lll) da un crudo destino avvilita Da By a cruel fate, crushed (Crushed by a cruel fate she stands before you.)

di'nantsi dinanzi before you

ti sta ti sta. she stands.

MARIA (advancing shyly and kneeling at Elizabeth/sleet) 'm:)rta al 'mondo e 'm:)rta al 'tr:)n:) Morta al mondo e morta al trono Dead to the world and dead to the throne

al al at

tll:) tuo your

pje pie feet

son son am

'solo Solo I only

im'pbro imploro implore

s:)'rella Sorella Sister,

:)'mai omai now

io io I

pr:)s'trata prostrata. prostrate.

i1 tllO il tuo your

per'dono perdono, pardon,

n:)m m:)s'trarti non mostrarti don't show yourself

inez:)'rata inesorata. inexorable.

ti 'basti ti basti let it be enough

'kwant:) :)l'tradd3:) a me re'kasti quanto oltraggio a me recasti! the outrage (that) on me you brought. (Sister, be satisfied with the outrage that you've heaped upon me.) de s:)'lleva Deh! solleva Please! Raise up

ri'p:)za suI riposasul rests upon

tll:) tuo your

br cor. heart.

un iIIjfe'litIe un'infelice a hapless woman

ke che who

te ne skon'd3Uf:) te ne scongiuro, I beg of you,

a kwel 'labbro menti'tor a quel labbro mentitor. to that lip lying. (to her lying lips.)

de la s:)'llf:va Deh! la solleva! Please! Raise her up! CECIL (to Elizabeth) n:)n dar ff: Non dar fe, Do not give heed,

Maria Stuarda, Act II

380

MARIA Deh! solleva un infelice che riposa suI tuo cor.

ELISABETTA kwel 'bb n~ quel loco No, place No, that

a a for

te te you

'nella 'polve e nella polve e and in the dust

nel nel in

ro'ssor rossor. shame.

si a'dditIe si addice is suited

MARIA s~ffe'rentsa

(Sofferenza.) (Suffering.) (Oh, help me to suffer this through!) e E And

me me me

a a towards

si si so

'fjera ki fiera chi fierce who

ti'rende ti rende? has turned you?

ELISABETTA 'stessa tu ki stessa! Chi? Tu yourself! Who? You 'lalma tua Valma tua, Your spirit,

kwe'llalma quell'alma that soul

al'tera altera, haughty,

'vile vile, vile,

i'nikwa iniqua... criminal...

MARIA (aside) e il s~ffri'r~ (E il soffriro?) (Should I continue to endure this?)

ELISABETTA va b 'kjedi Va, 10 chiedi, Go, ask,

~

Hagu'rata al oh sciagurata, al oh wicked one, ask

tu~

'talam~

tuo your

talamo marriage bed

tra'dito tradito, betrayed,

ed a'llombra in]vendi'kata di kwel 'mizer~ ma'rito ed all'ombra invendicata di quel misero marito, and the ghost unavenged of that wretched husband, (Go, wicked one, ask your betrayed marriage bed, ask the unavenged ghost of your wretched husband,) 1

I Historically this refers to Mary's second husband, Lord Henry Darnley (called Arrigo in the Italian libretto later on), who was murdered under suspicious and unpleasant circumstances in February of 1567. Mary was widely suspected of being implicated in the plot against Darnley, although today her complicity is widely disclaimed.

381

Maria Stuarda, Act II

a'llempj:) all'empio your wicked

al tu:) 'brattJ:) altuo braccio, your anus, tra ke che tra' which with

'vettsi della'mor vezzi dell'amor allure oflove

'bre core, heart, sol sol only

de'litti e delitti e crimes and

tradi'menti tradimenti betrayals

makki'm 'solo in'sidje solo insidie macchino. only treacheries plotted. (which with love's allure plotted only crimes, betrayals and treacheries.) MARIA (to Leicester)

Ah! Roberto! ELISABETTA Solo insidie macchino! LEICESTER :) ke ddb che Dio! o What God! Oh

'ttenti tenti? are you trying to do?

MARIA

pju Piit Any longer

re'zistere resistere stand it

n:)n s:) nonso. I cannot.

CECIL (to Elizabeth) Ah! non dar fe, te ne scongiuro... a quellabbro mentitor. LEICESTER (to Mary) 'kjama in sen la tua k:)s'tantsa Chiama in sen la tua costanza! in your breast your steadfastness! Call upon (Be steadfast!) 'kwalke Qualche Some

'speme aI]'kor ti a'vantsa speme ancor ti avanza. hope still is left to you.

o'nore e 'vita 'una 'grattsjaa non ti 'kosti Non ti costi onore e vita una grazia a Let it not cost you honor and life a mercy upon (Don't let a mercy bestowed upon you cost you your honor and life,)

! .; ~:.

Ull)

un a

fa'vor favor favor

ke che that

'n:)stm a'ffett:) nostro affetio affection our

te: te you

impar'tita impartita, bestowed,

Maria Stuarda, Act II

382

'tante 'v:>lte il tIel ne'g:> tante volte il ciel nego. so many times Heaven denied. (a favor that so many times Heaven has denied our affection.) ELISABETTA 'kwali a'ttIenti Quali accenti Such words

al al in

mb mio my

'parla Parla, Speak up,

bs'pett:::> cospetto! presence!

LEICESTER di'r:> ke e diro? che E what shall I say? And ELISABETTA (ironically) :>'ve mai di a'mor di amor Ov'e mai love's Where is

lil)'kant:> l'incanto, enchantment

e kwel 'volt:> a'mabil 'tant:> . e quel volto amabil tanto? and that face lovable so? (Where now is love's enchantment and that face so lovable?) b'darlo lodarlo praise it

o'J1J1un ognun everyone

si a'ttIeze si accese was eager

a a for such

fa'vorl urn favori un favors a

'premjo premio reward

'reze rese... was given...

MARIA ke a che Ah! What Ah!

'ssent:::> sento! do I hear!

se Se If

a a to

ELISABETTA 'kapo suI rna capo suI Ma on the head But

MARIA pju Pin Any longer

di di of

re'zistere resistere stand it

LEICESTER ti 'frena ::> ddio ti frena! OhDio! Stop! OhGod!

'onta e'terna ripj:::>m'b:> stu'arda onta eterna ripiombo! Stuarda (Mary) Stuart shame eternal has fallen!

n:::>n s:> non so. I cannot.

a Ah! Ah!

r:::>'bert::> Roberto! Robert!

:> 'konte o Conte! oh Earl!

Maria Stuarda, Act II

MARIA (bursting out) 'kwale in'sulto :> Quale insulto! Oh What an insult! Oh ELISABETTA 'kwali a'ttJenti Quali accenti! What words!

ria ria cruel

383

be'ffarda beffarda! mocker!

'trema Trema! Tremble!

ANNA, LEICESTER, TALBOT (to Mary) ke fa'velli de 'tatJi Che favelli!... deh! taci! What are you saying!... Please, keep silent! CECIL Trema!

MARIA (lashing out at Elizabeth) a Ah! Ah

nn:> No! no!

'fiAAa im'pura di b:>'lena Figlia impura di Bolena... Daughter impure of Anne Boleyn.. ? (You wanton daughter of Anne Boleyn... )

TALBOT OhDio!

MARIA 'parli tu Parli tu You speak

di di of

mere'tritJe Meretrice, Prostitute,

in'deppa indegna, unworthy,

::>'Hena oscena obscene,

in in on

'kada cad a may it fall

il mio ro'ssore. ilmio ross ore. my shame.

te te you

profa'nat:> Profanato Profaned

e

e is

dizo'nore disonore? dishonor?

il's::>,(,(o il soglio the throne

iIJ'gleze inglese English

viI

bas'tarda dal tu::> pje bastarda, dal tuo pie! vile bastard, by your footl (The English throne is profaned under your foot, you vile bastardl)3

vii

Let us not forget that Elizabeth I was the daughter of Anne Boleyn (see previous opera Anna Bolena) and King Henry VID. 3 Mary feels justified in calling Elizabe$ a bastard because Henry's marriage to Anne Boleyn was not sanctioned by the Catholic Church, which did not validate Henry's divorce from his previous wife,

2

Maria Stuarda, Act II

384

ELISABETTA ::>'la 'gwardje OUt! Guardie! Ho there! Guards! ALL OTHERS (LESS MARIA) Quali accenti! 'ella Ella She

'd3ust::> Giusto Merciful

de'lira delira! is raving!

per per for

'speme pju Speme piu Any more hope

lei lei her

tIel del! Heaven!

tu::> tuo your

traI Ii'nate Trasdnate Drag away

la ver'goJlJla la vergogna shame

so'ffrir les'trem::> soffrir I' estremo suffer your fmal

abb::>mi'nat::> abbominato hateful,

la la that

fu'rente ke se 'stessa k::>nda'nn::> furente che se stessa condanno! raving woman who herself condemned! (who has condemned herselfl)

dellau'datIe Dell'audace Of that bold woman

il tIel il ciel Heaven

'fat::> fato: fate;

b spard3e'r::> io spargero! . I will heap!

'kap::> capo head

CECIL

: i

e'lle ell'e! she is!

n::>IIJ ve non V'e. there is not.

ELISABETTA (scornfully, to Mary) va pre'parati fu'rente a Va, preparati furente a Go, prepare yourself, raving woman, to suI suI Upon

per'duta Perduta Lost

p::>'ssente possente almighty

la ven'detta ::>'mai se'JlJl::> Ia vendetta omai segno! vengeance already confirmed! (Almighty Heaven has already decreed vengeance on that bold woman!) ELISABETTA Trascinate Ia furente, etc.

CECIL Si, Ia vendetta omai segno!

MARIA 'grattsje Grazie, Thanks,

::> o oh

'tIel::> CieIo! Heaven!

al'fin

res'piro respiro, At last I can breathe,

Alfi.n

Catherine of Aragon, a Catholic. This rift with the Catholic church is what gave rise to the Anglican Church, founded by Henry Vlll out of spite against Rome.

Maria Stuarda, Act II dai dai from

mjei miei my

'zgwardi sguardi . sight

al al at

mi::> mio my

pje pie feet

ANNA, TALBOT 'kwali a'ttJenti Quali accenti, What words, 'forse la Forse la Maybe her

LEICESTER a ti 'perd::> Ah! ti perdo, I'll lose you, Ah!

e'lle fu'dd3ita eIre fuggita; she has gone;

res't::> resto she was

avvi'lita avvilita, humiliated,

zventu'rata tu sventurata! Tu hapless woman! You

ven'detta vendetta vengeance

::> o oh

allo'ffeze all'offese for the offenses

eliza'betta Elisabetta; Elizabeth;

skonsi'ilata sconsigliata, ill-advised one, ti bra'mai ti bramai, I had hoped,

'kwando quaudo when

'fid::> fido faithfully

a te t::>r'nai ate tornai to you I returned,

'lonta l'onta the shame

il des'tin il destin destiny

tJi fulmi'n::> ci fulmino! struck us down!

es'trema estrema extreme

la la the

re'd3inaa Regina a Queen for

te te you

si Si, Yes,

'tatJi taci, be silent,

'vjeni 'trema vieni, trema, come, tremble,

a

'vjeni iq'kauta vieni, incauta, come, rash woman,

LEICESTER, MARIA Addio! per 'sempre persempre! forever!

si osku'r::> si oscuro! grew dim!

desti'n::> destino. she has destined.

'salva salva to save you

Ah! Ah,

la sua 'lutJe la sua luce her glory

offen'desti offendesti offended

'kwand::> quando when

CHORUS del su'pplittsjo supplizio Del Of your execution

385

ser'b::> serbo! has decreed!

'trema trema! tremble!

'Ojlpi

ogni every

'speme si ekkii'ss;) speme si ecclisso! hope has been eclipsed.

386

Maria Stuarda, Act II

LEICESTER 'vjeni Vieni! Come TALBOT non ti 'senta eliza'betta Non ti senta Elisabetta! Let not Elizabeth hear you!

non ti 'veda eliza'betta Non ti veda Elisabetta! Let not Elizabeth see you!

ELISABETTA ::>'la traHi'nateia OIi'l! Trascinatela! Ho there! Drag her away! (The guards come forward to surround Mary, as she continues with ever-mountingfervor.)

ELISABETTA 'nella 'skure ke Nella scure che In the ax that Trascin~te

tas'petta t'aspetta awaits you

tr::>ve'fai troverai you shall find

la mia ven'detta la mia vendetta! my vengeance!

la furente che se stessa condanno!

MARIA or gwi'datemi Or guidatemi Now lead me

'm::>rte sfide'f::> 'aHa alla morte, sfidero to my death; I shall defy

les'trema l'estrema my final

's::>rte sorte: fate;

di tri'on)fo un sol mo'mento 'oj1j1i a'ffanm bmpen's::> di trionfo un sol momento ogni affanno compenso! of triumph a single moment every my suffering has paid back! (this single moment of triumph [over Elizabeth] has repaid me for all my suffering!) ANNA, TALBOT Regina, quali accenti, sventurata! Tu offendesti Elisabetta, etc. LEICESTER Ah! ti perdo, 0 sconsigliata, etc. CECIL Dell'audace il Ciel possente, etc. CHORUS Del suppJizio l' onta estrema, etc. (Mary, surrounded by guards, is led towards her prison. Elizabeth sweeps out in the opposite direction, followed by her retinue.)

ENDOFACTll

Maria Stuarda, Act III

387

ACT III Scene One (A gallery in Westminster Palace as in Act L Elizabeth is seated at a desk upon which lies a parchment. Cecil stands nearby.) NO. 12 SCENA AND DUETTINO CECIL e 'pensi e 'tardi E pensi? E tardi? You are still thinking? And you still are delaying? e 'vive ki ti spre'tts:) E vive chi ti sprezzo? And lives who despised you? (And the [woman] who despises you is still alive?) ki 'kontra tte ra'guna eu'r:)pa 'tutta chi contra te raguna Europa tutta, who against you gathers all of Europe, (who is gathering [public opinion] against you from all of Europe,) e e

and

la tua 'stessa 'vita la tua stessa vita your own life

ELISABETTA 'alIa tua 'votfe voce AlIa tua At your voice

'sent:) sento I feel

po'ter del poter del weight of

'tutto tutto all

il il the

rna Ma..• But...

:)'ddb ohDio! ohGod!

mina'ttf:) minaccio threatened

'tante tante so many

pj:)m'barmi piombarmi plunging

'k:)re iJ] in core in my heart

mio mio my

ki Chi Who

CECIL il'tfeb n Cielo. Heaven.

la La The

de'v:)ta devota devoted

'ove la ove la where the

'fama fama fame

de de' of k:)r cor heart

e e and

del del where the

de'rizo deriso derided

massi'kura m'assicura will guard me

'v:)lte volte? times?

o'nore onore. honor. da in'd3uste da ingiuste against unjust

al'bjone AIbione Albion

e e and

tw:)i tuoi your

'pred3i pregi good deeds

'sw:)na suona, resounds,

di di of

stu'arda Stuard a, (Mary) Stuart,

il il the

a'kkuze accuse? accusations?

'mondo in'ter:) Mondo intero, world entire,

.. Maria Stuarda, Act III

388

e dei de'litti e 'delle in'd3urje a te re'kate e dei delitti e delle ingiurie a te recate.. . and her crimes and her insults upon you heaped.. . (and where Mary Stuart's heart and her crimes and the insults she heaped upon you [are known].) ELISABETTA 'tatJi a taci! ... Ah! be silent!... Ah,

~ltra'dd3ata

so'nio Oltraggiata son io ... I have been insulted...

'kome lal'tera Come l'altera, How that proud woman, a a at

kwai Quai What

'zgwardi sguardi looks

a Ah! Ah!

mio mio My

fe'dele fedele, faithful one,

ed ed and

'ella ella she

a a from

me me me

'kome g~'dea come godea she gloated how me me me

lan'tJava lanciava! she cast!

b io I

'v':>iJ.':> voglio want

i. .

suo suo her

tri'oIl)fo trionfo! triumph!

'patJe pace, peace of mind,

liIl)'vola l'invola. steals it away.

CECIL ne di turbarti aI]'kora Ne di turbarti ancora Nor to disturb you still (And which will not stop until she dies.) .1

del del over

'tJessa se cessa se stops if

'vive vive. she (continues to) live.

ELISABETTA (suddenly) ':> riso'luto 'm':>ra Ho risoluto... mora! I have resolved... she must die! (She takes the pen as though to sign the document; then stops, undecided. She rises from her chair.)

'kwella 'vita Quella vita That life rna ma but

la la my

a a to

fu'nesta me funesta, me me (so) threatening,

'man~

i1

mano, il hand, my

br cor heart

si si yes,

sa'rresta s'arresta; is held back;

i~

tr~I]'kar

v~'rrei

io I

troncar cut short

vorrei, would,

Maria Stuarda, Act 111

389

'bpre Ull) 'vela i pen'sjer mjei copre un velo i pensier miei. covers a veil my thoughts. (and my mind becomes beclouded.) ve'der 'lempja u'dirla 'parmi Veder I'empia, udirla parmi, To see that wicked woman, to hear her It seems to me, (It seems as if! can see and hear that wicked woman,) ate'rrirmi aterrirmi, terrifying me,

spaven'tanni spaventarmi, frightening me,

e la 'speme 'della 'kalma mina'ttJoza e la speme della calma minacciosa threateningly and the hope of peace of mind, (robbing me of my peace of mind in her threatening way.)

a Ah! Ah!

'd3ust:) giusto Merciful

tu tu Thou

'tJel

eiel! Heaven!

'fatJil 'tant:) faeil tanto all too ready

a a to

CECIL a per'ke ko'zi Ah! Perche cosi Ah! Why thus

impro'vviz:) improvviso suddenly

'redd3i reggi strengthen

a a from

me me me

u'nalma un'alma a soul

dubi'tar dnbitar. doubt.

ad3i'tat:) agitato agitated

are

il tu:) il tuo your

pen'sjef:) pensiero? thoughts?

ke non te'mer sia di'vizo mai da te lo'nor Non temer che sia diviso mai da te l'onor Do not fear that it be taken ever from you the honor (Never fear that your pristine glory will ever be taken from you.) 'deUi a'ttJenti Degli accenti For the words

profe'riti proferiti, she uttered,

'0J1]1i ogni every

iI.J in at

iI.J'gleze inglese Englishman

'seJ1J1a il Segna il Sign that

'f:)AA:) foglio, paper,

ill)v:)'lar involar. to rob.

'deUi :)1'tradd3i degli oltraggi for her insults

'kwesti is'tanti questi istanti this moment ke che for (future)

nom pU'niti nonpuniti that were not punished

ti v:)'rrebbe ti vorrebbe would want

irepJ1anti iRegnanti rulers

pri'mjef:) primiero. previous.

vendi'kar vendicar. to avenge you.

390

Maria Stuarda, Act III

tel sa'prann:) perd:)'nar tel sapranno perdonar. will know how to forgive you. (Sign the execution order, and [England's] future rulers will gladly forgive you.) Scene Two NO. 15 TRIO ELISABETTA si Si! Yes! (Leicester enters.)

LEICESTER Regina! (Seeing him, Elizabeth seems uncertain/or a moment, then signs the document and hands it to Cecil.)

ELISABETTA (to Cecil) a lei sa'ffretti il sU'pplittsjo A lei s'affretii il supplizio. For her let it be hastened the execution. (Let the execution be carried out as quickly as possible.) LEICESTER :) tJel Oh Ciel! Oh Heaven"!

kwai quai What

'detti detti? words?

'forse 'kwella Forse quella... Perhaps that... (Perhaps that paper is ... )

CECIL la sen'tentsa La sentenza! The sentence! (Her death warrant!) LEICESTER La sentenza! r

i

ELISABETTA (to Leicester) :) si la sen'tentsa SI, la sentenza, 0 the Yes, death warrant, you

tradi'tor traditor! .•. betrayer!...

b io I

som 'paga son paga! •.• am satisfied! ...

Maria Stuarda, Act III

391

LEICESTER e linm'tIentsa tu k:m'danni E l'innocenza tu condanni! And innocence you are condemning! (You are then condemning an innocent woman!) ELISABETTA (severely) e 'parli al)'kor E parli ancor? And you speak still? (And you can still say that?) LEICESTER a de per Ah! Deh! per Ah! Please! For

pje'ta pieta pity's sake,

sos'pendi sospendi spare

CECIL (to Elizabeth) non ask::>l'tar lin'de]l]lo Non ascoltar l'indegno... Do not listen to that worthless man...

or ke or che now that

LEICESTER ai 'prjegi mjei ta'rrendi ::> prieghi miei t' arrendi Ai 0 To my entreaties give heed, or (Give heed to my pleas or else kill me instead.) kos'trind3eIe 'njuno ti pw::> Niuno ti pub costringere, No one can you force, (Your will is free, no one can force you.)

ELISABETTA 'vana e Vana e Hopeless is

la tua pre'gjeIa la tua preghiera; your plea;

les'tremo l'estremo the final

'kolp::> al'meno colpo almeno. blow at least.

d3a 'salva sei gia salva sei. already saved you are.

'skaUab almio 'seno scaglialo almio seno hurl (the blow) at my breast.

'libeI::> e libero e free IS

il tuo il tuo your

solI] 'ferma in son ferma in I am firm in (1 am firm in following

vo'ler voler. will.

tal kon'siAAo tal consiglio. such advice. [Cecil's] advice.)

LEICESTER Ah! pieta! ELISABETTA fill di kwellal'teIa e il fin del mio pe'riAAo nel Nel fin di quell'altera e il fin del mio periglio. of that proud one comes the end of my periL With the end (The peril to which I am exposed will be over with the death of that proud woman.)

392

dal Dal From (By the

Maria Stuarda, Act III

'sangwe suo pju 'liber:l ri'sord3e il mio po'ter sangue suo pin libero risorge it mio poter. her blood more free is reborn my power. shedding of her blood my power rises more free.)

LEICESTER Ah! Regiua, niuno ti PUQ costringere, etc. CECIL a per Ah! per For Ah!

ki chi one who

tardeva t'ardeva ardently coveted

pju pin no longer

palpi'tar palpitar fret

n:ln dei non dei; you should;

il II The

di di day

ke che that

a'llempja all'empia for that wicked one

il it the

e

e IS

'reJlJlo regno kingdom

'lultimo l'ultimo, the last,

il di pri'mjer di 'patJe e di pace e it di primier. of peace is the day first. (That wicked woman's last day will be your first day of peace of mind.)

LEICESTER 'duna s:l'rella :l 'bbarbara D'una soreHa, 0 barbara, Ofa sister, you savage woman, (You savage woman, you have signed a sister's!

la 'm:lrte ai tu la morte hai tu the death you have death warrant!)

ELISABETTA e spetta'tor ti 'V:lli..f..:l de'llultimo Espettator ti voglio deH'ultimo And a spectator I want you of the last (And I want you to be a witness to her execution.)

SU:l

suo her

'fat:l fato. fate.

(insultingly)

d:l'vra Dovra Must

ppe'rir la'mante perir l'amante perish the lover

'd:lp:l dopo after

i1 it

the

fa'tale is'tante fatale istante fatal moment

'bellib me'talb 'v:llte ke tre il bellico che il tre volte mettallo warlike metal when the three times (Your lover must die after the cannon fires three times.)

1

Sister in a figurative sense. Elizabeth and Mary were not sisters at all.

sbppje'ra scoppiera. will burst.

sejlJlat:l segnato! signed!

Maria Stuarda, Act III

LEICESTER e vw::>i E vuoi And you want

kio ch'io me

'vegga vegga? to see this?

ELISABETTA 'tatfiti Taciti! Be silent! LEICESTER E vuoi?

ELISABETTA 'tatfiti c: 'numrta 'oJlJli pjc:'ta :it morta ogni pieta. Taciti! Is dead every mercy! Be silent! (Every hope of mercy is dead!) LEICESTER Regina! ELISABETTA 'vanne in'deJlJlo ta'ppare Vanne, indegno, t'appare Go, worthless man, there appears il il the

te'rror ke terror che terror that

al

tu::> tuo your

AI

For

in in in (your)

a'ffc:tt::> prc:'para affetto prepara love prepare

nel nel in (your)

'volta volto face

'seno ti 'pjomba seno ti piomba. bosom strikes you. la la the

'tomba tomba grave

'spc:nta stu'arda 'kwand::> sa'ra spenta Stuarda sara. quando when dead Stuarda shall be. (prepare a grave for your affection when Mary Stuart is dead.) EEICESTER '~ad::> ti'leggo Vado, tileggo I can read J'mgoing, ke che that

de'liri ke deliri, che you are raving, that

suI 'volta suI volto on your face a'vvampi di di avvampi you are burning with

'zdeJ1J1o sdegno, rage,

393

Maria Stuarda, Act III

394

un Un A

a'miko ul) amico, un friend, some

nel nel

mb mio my

in

'k:)rE core heart

kOIIJ'[:)rto conforto, comfort, la la the

un un a

sos'teJ1J1o sostegno support a'vra avra! shall have!

'mizEra misera wretched woman

ELISABETTA Vanne, indegno, al tuo affetto prepara la tomb a, etc. CECIL re'd3ina a Regina! Ah! Queen! Ah!

se'rena Serena Compose

il tuo il tuo your

'volto volta features

'gbrja ri'torni gloria ritorni: glory letretum:

'alla alIa to

'patJE 'alla pace, alIa peace, to

'kwesto questo, this,

il il

the

pju pin most

sa'ra sara will be

per per for

'lal)glja L'Anglia England

'bEllo bello beautiful

de de' of

'd30mi giorni days pel pel for

sa'ra sara, will be,

tu:) tuo your

'S:)AA:)

soglio! throne!

LEICESTER D'una sorelIa, oh barbara, etc. ELISABETTA TacH Basta! A lei s'affretti il supplizio, etc. (Elizabeth remains, while Leicester and Cecil leave her presence.)

Scene Three NO.14 SCENE (Mary is seen alone in her chamber in the Castle ofFotheringhay.) MARIA la 'perfida La perfida That evil woman nel nel

'aIJke insul'tanni anche insultarmi even to insult me

vo'lea volea wished

se'polkro e 'lonta su lei ri'kadde l'onta su lei ricadde... mio sepolcro, e in my grave and the shame on her fell back. .. (That evil woman would even insult me in my grave, and the shame of it has fallen back on her...) 11110

Maria Stuarda, Act III

Oh Oh

'vvile: vile! vile one!

e E And

rna Ma But

'lc:ste:r Leicester... Leicester...

'forse 'lira 'della ti'ranna forse I'ira della tiranna maybe the ire of that despot

~

non son io la non son io la am I not (also) a

395

'fiAA:a figlia daughter

tu'dori de Tudori? de' of the Tudors?

a lui s~'vrasta su lui sovrasta ... overwhelms ... him

'tutti la zven'tura a di io son tutti la sventura di Ah! son io all the misfortune Ah! lam of I (Ah! I alone bring misfortune to all [people around me]!)

'sola sola! alone!

Scene Four (Cecil enters to deliver the death warrant, followed by Talbot.) MARIA vw~i ke Che vuoi? What do you want? CECIL di 'triste Di triste A sad e:

E Is

io io I

iIJ'karko incarco duty

'kwesto il questo il the this

'bilo ke foglio che paper that

've:IJgo ezeku'tor vengo esecutor... come to carry out... de de' of

tw~i

tuoi your

'd30rni giorni days

'lultimo ~'mai 'seJ1J1a omai l'ultimo segna. at this time the last one indicates. (This paper is your death-sentence.) MARIA ko'zi nelliI]gil'terra Cosi nell'Inghilterra Thus in England :>

Oh Oh,

i'nikwi iniqui! evil ones!

CECIL il 'reJ1J1o Regno... n Kingdom... The

e E And

vjen d3udi'kata vien giudicata is brought to judgment i i those

'finti 'skritti finti scritti... forged papers .. .

'una una a

re'd3ina regina? queen?

396

Maria Stuarda, Act III

MARIA 'basta Basta! Enough! CECIL rna

Ma ... But... MARIA ::>r 'basta Or basta, Now that's enough,

'vanne vanne. leave!

CECIL 'brami Brami Do you wish

'n::lstro nostro of our (Protestant)

mi'nistro Ministro Ministers

nel ka'mmino nel cammino on your walk

di di to

sa'r::> Saro I shall be

fui fui, I (always) was,

ke che to

un un one

ti 'gwidi ti guidi assist you

'talb::> ri'manti Talbo, rimanti. Talbot, stay.

'm::lrte morte? death?

MARIA 10

10 I

10 ri'kuzo 10 rieuso. refuse.

kwal qual as

stra'njera a voi di 'rito straniera a voi di rito. a stranger to you of rites. (a stranger to your [protestant] rituals.) CECIL (as he leaves) aIJ'kor superba e (Ancorsuperba e (Still haughty and

'fjera fiera!) proud!)

Scene Five NO. 15 SCENE AND DUET OF THE CONFESSION

MARIA (kneeling) ::l mi:l bW:ln Oh mio buon Oh my good

'talb::l Talbo! Talbot!

Maria Stuarda, Act III

TALBOT 'kjezi 10 chiesi I asked (the) 1;)

di di to

'grattsjaad grazia ad favor of

eliza'betta Elisabetta Elizabeth

ve'derti pria de'nora di vederti pria dell'ora di see you before the hour of (the bloody hour.)

MARIA a si bll)'brta Ah! si... conforta, Ah yes ... (give) comfort,

biCAi togli lift

'salJgwe sangue. blood.

kwes'talma quest'alma my soul

allabban'don::> all'abbandono from being forsaken

es'trem::> estremo ... utterly ...

TALBOT e'ppur Eppur And yet,

'ferm::> as'pett::> fermo aspetto a firm composure

kOll) con with

397

kwella'vviz::> fe'ral da te fu a'kkolto te fu accolto. quell' avviso feral da that proclamation cruel by you was received. (And yet with what composure you received the proclamation of your cruel sentence.)

MARIA ::> 'talb::> Oh Talbo! Oh Talbot!

il

br nom mi le'dd3esti ill) 'volta cor non mi leggesti in volto? The heart did you not read in (my) face? (Couldn't you read on my face the feelings inside me?)

n

'eAAi tre'mava Egli tremava.. It was trembling... ([My heart] was trembling ... )

e E And

'lester Leicester? Leicester?

TALBOT 'debba ve'nirne spetta'tor spettator Debba venirne He must come (as a) spectator (He must be present at your fated end;) la La The

re'd3ina Regina Queen

lim'pone l'impone... has so ordered it...

del del of

tuo tuo your

des'tino destino: fate;

Maria Stuarda, Act III

398

MARIA dolo'roz:) a kwal ser'bat:) fia :) liIl)fe'litJe qual serbato fia doloroso A Oh l'infeliee! what was he given painful Oh, unhappy man! To (To be given such a painful punishment!) e

E And

la la that

ti'ranna tiranna tyrant queen

kas'tigo eastigo! punishment!

ezulte'ra esultera! .. . will exult! .. .

ne al)'kora 'pjomba lul'tritJe 'folgore Ne aneora piomba l'ultriee folgore ... Not yet falls the fatal thunderbolt... (Elizabeth will exult and the execution hasn't even taken place yet.) TALBOT de 'tatJi Deh! Taci. Ah! Be silent. MARIA blta Tolta Separated

'alla alIa from

'press:) b'ld pres so eolei near her

'v:)lli volli I wanted

un

'kartJer eareer prison

tr:)'vai trovai.. . I found .. .

ed ed and

ul) un a

'sbttsja Seozia, Scotland,

un a

al al from my

'tr:)n:) ed al trono ed al throne and

di a'zil asil di haven of

'patJe paee peace

TALBOT fa'velli non ti bn'tJesse ke favelli? Non ti concesse Che What are you saying? Did He not grant you, s:)'l1jev:) sollievo relief

a 'mali a'mali? from your suffering?

MARIA ann:) 'talbo Ah no, Talbot, Ah, no, Talbot, 'delle Delle Of

i'ddi:) Iddio God,

mie mie my

.,

d3a'mmai gIammaI .... never!...

.

'kolpe 10 colpe 10 the sins

'skwallido squallido filthy

fan'tazma fantasma phantom

mb mio my

'kulto eulto, religion,

Maria Stuarda, Act III

399

fra il'tIel::> e me 'sempre si 'pone fra il delo e me sempre si pone. between Heaven and myself always interposes itself. (The filthy phantom of my sins is always interposing itself between Heaven and myself.) es'tinti r::>m'pend::> e 'sonni 'aHi E sonni agli estinti romp en do, And the sleep of the dead breaking, (And disturbing the sleep ofthe dead,) dal dal from the

se'polkr::> sepolcro grave

e'v::>ka evoca summons

la saI]'gwij1j1a 'ombra da'rrigo Ia sanguigna ombra d'Arrigo... the bloody ghost of Darnley .. ?

(beside herself) 'talb::> la 'vedi tu TaIbo, la vedi tu? Talbot, do you see it? del 'd30vin Del giovin Of the young

'rittsjo Rizzio Rizzio3

le'zaI]gwe l'esangue the bloodless

'ap::>lla spoglia? corpse?

TALBO riI]kofI]'brta l::> zma'rrit::> pen'sjer a Ah! rinconforta 10 smarrito pensier! Ah! ease your wandering thoughts! (May your wandering mind find peace once again!)

(He causes Mary to raise her eyes towards Heaven.) tavvi'tIini a t' avvidni a' you are approaching

'sekoli imm::>r'tali secoli immortali... centuries immortal. .. (eternity...)

al 'tIeppo 'reka 'puco il tu::> br 'doj1J1i te'rren::> a'ffett::> AI ceppo reca puro il tuo cor d'ogni terrenoaffetto. To the block take pure your heart of every earthly affection. (You must go to the block with a pure heart devoid of all earthly affection.)

(Talbot opens his cloak, revealing underneath the robes ofa Catholic priest. He wears a crucifix upon his breast.)

See Footnote #1 in Act II on page 380. was Mary's private secretary, murdered in Mary's presence on May 9, 1566. The Puritans were quick to fabricate an affair between Mary and Rizzio, relishing the notion of a wanton Catholic queen, but the charge was never substantiated.

2

3 Rizzo

400

Maria Stuarda, Act III

MARIA si per Si, per Yes, to

la'var mjei lavar miei wash my 'sal)gwe sangue blood

'misto kol misto col mixed with my b

vw~

10

vuo' want

I

'falii falli sins

de'porli deporli to lay them

a a at the

mi~

'pjant~

k~ITe'ra

il

correra shall flow

il mio pianto. my tears ...

pje pie foot

'kwesta 'krotJe questa Croce! Cross! this

di di of

as'kolta Ascolta ... Listen.. .

(She takes the crucifix from Talbot.)

TALBOT 'spera Spera! (Have) hope! MARIA a dal Ah! dal Ah! From

'tJeb cielo Heaven

di'Hende discende descends

la tua 'votJe la tua voce! your voice!

'kwando di 'lutJe 'rnea il 'd30rn~ a Quando di luce rosea il giorno a When with light roseate the day to (When my life still sparkled with the roseate light of dawn,) ,I . "\

'kwando quando when

fra 'ljete i'mmad3ini fra liete immagini among happy fancies

kwes'tauima quest' anima my spirit

me me me

splen'dea splendea, shone,

go'dea godea, reveled,

la'biss~ a'mor mi fe kol'pevole ma'pri amor mi fe colpevole, m'apri l'abisso love made me guilty, opened to me the abyss (love made me a sinner, love opened the abyss before me.)

a'mor amor. love.

al 'doltJe suo so'rridere ~'djava il mb bn's~rte AI dolce suo sorridere odiava il mio consorte. Its sweet (his) smile hated my consort. (My consort [Darnley/Arrigo] hates [love's] sweet smile.) a'rrig:J Arrigo! Arrigo! rna ma but

ai ahi'• Ah,

'mizer:J per me misero per me wretched man, through me

la sua 'votJe 'lugubre lasua voce lugubre voice lugubrious his

' s:J'dd3akkWe soggiacque he came

a a to

'm:Jrte morte, death,

401

Maria Stuarda, Act III

mi 'pjomba im mi piomba in falls on me in the (but his mournful voice 'ombra Ombra Shade

'meddz::> al br a mezzo al cor, ah! of my heart, ah! middle still resounds in my inmost heart, ah!)

ad::>'rata adorata, beloved,

la'm::>rte nel sen Nel la morte sen In my bosom death ti 'bastin Ti bastin Be satisfied with TALBOT (placing his ddio da a Ah! da Dio Ah! From God

a ah! ah,

'plakati placati... be appeased ...

io io

'sent::> sento. feel.

r

le mie 'lagrime lemie lagrime, tears, my hands on Mary's per' dono perdono, forgiveness,

per impbre'r::> per implorero r shall implore for

te te, you,

MARIA per'dona Perdona Forgive

'lul)gi 'd3emiti lunghi gemiti lengthy moaning

a a' my

a ah ah

head) ::> oh oh

ti 'basti ti basti be satisfied with

i1 mi::> t::>t'ment::> ilmio tormento! torment! my

'mizera misera, wretched woman,

si si. yes.

e e and

'prega il tJel per prega il ciel per pray to Heaven for

(Talbot raises Mary to her feet.)

TALBOT u'na1tra Un'altra Another

'kolpa a colpa a to sin

'pjand3ere piangere weep for

al)'kor ti'resta ancor ti resta... remains for you... still

MARIA ai 'kwale Ahi, quale? Ah! Which one? TALBOT u'nita 'ed Unita eri Did you conspire (together)

4

a a with

See footnote #4 in Act I on page 356.

ba'bi1]t::>n Babington? Babington?4

me me. me.

402

Maria Stuarda. Act III

,!

MARIA a 'tatJi Ah! taci: be silent! Ah,

fu e'rror fu error It was an error

fa'tale fatale! fatal!

e e and

TALBOT 'pensa ben Pensa ben Ponder well

ke che that

un db p::>'ssente un Dio possente a God powerful

ke che that

SU::l suo His

'zgward::l sguardo gaze

al al at

de de' of

'falli falli SlUS

puni'tore punitore, the punisher,

::lnnive'dd3ente onniveggente all-seeing

sas'konde mal UIl] 'fals::l 'k::>re mal s'asconde un falso core. hardly can hide a false heart. (that before His all-seeing gaze no false heart can hide.)

MARIA n::> d3a'mmai giammai No! Never No!

i·

s::l'ttrarsi al sottrarsi al directed away from

si po'trebbe si potrebbe could be

ilmb pen'sjer::l ilmio pensiero: my thoughts;

pur'tr::>ppo purtroppo unfortunately

un un a

'tJeb cielo Heaven

l,l

, i·

si 8i, Yes,

ffi::l'rendo morendo dying,

'dens a 'veb denso velo dense veil

a ha has

fi'nor b'perto fmor coperto till now obscured

il'd3Ufa il giura it swears

UI] un a

'k::lre core heart

il il the

'vera vero. truth.

ke da ddb 'kjede pje'ta 10 'd3Ufo a ddio che da Dio chiede pieta. Lo giuro a Dio! begs for grace. I swear to God! that from God (Yes, my dying heart begs God for grace. I swear it before God!)

TALBOT il per'dono del sip-j1ore n perdono del 8ignore The forgiveness of the Lord

suI suI over

tu::> tuo your

(Talbot takes up the cruclfvc again and absolves Mary.)

MARIA 8i...

'kap::> capo head

'Jfende scende descends

d3a giit already.

403

Maria Stuarda, Act III TALBOT kwestaffa'noza 'kartJefe al 'laHa k:m'tenta Lascia contenta al care ere quest'affannosa Leave contented in prison this troubled (Contented, leave behind in prison this troubled life,)

'vita vita, life,

bIl)'versa in 'and3eb al db an'drai andrai conversa in angelo al Dio you will go, converted in an angel to your God (transformed as an angel, you will go to a consoling God.) e E And

nel nel in the

si sk::>rde'ra si scordera will forget

I

ii

pju 'puro pin puro purest (of) de de' the

'd3Ubilo 'lanima tua giubilo l'anima tua joy your soul 'kann::> ch'hanno that have

'palpiti palpiti anxieties

ra'pita rapita rapt

a Ah! Ah!

se se If

sol sol alone

pw::> pub can

'fender render give back

di di with

'tr:>ppe troppe too many

il it your

ad3i'tat::> agitato troubled

MARIA 'radd3::> 'della or ke m::>'fente e il raggio della Or che morente e il ray of Now that dying is the (Now that the spark of my feeble life is dying,) il'tJeb il cielo Heaven

konsola'tor consolator. consoling.

mia mia my

'debil 'vita debit vita, feeble life,

'mest::> br al mesto cor. al heart. to my sad

la 'patJe la pace peace

kwes'talma quest'alma my soul

'lagrime lagrime tears

do'lor ne'llultimo 'lli1]gi 'palpiti 'versino dolor, nell'ultimo lunghi palpiti i versino grief; intily last sufferings long may they bathe, my (let my long suffering be bathed with tears in my [last moment of] grief.) 'duI)kwe Dunque Therefore

inm'tJ ente innocente innocent

'vad:> vado Igo

a a to

mo'rir morir. die.

TALBOT 'dli1]kwe Dunque Then

inn:>'tJenre innocente innocent

tu

vai vai go

a a to

mo'rir morir. die.

1:> io I

'vad:> vado go

a a to

MARIA inn:>'tJente si innocente, 8i, Yes, innocent,

tu you

10'd3UfO 10 giuro, I swear it,

br cor. heart.

mO'fir morir. die.

fu fu was

nu'drita nudrita, nourished, a ah! ah!

404

Maria Stuarda, Act III

TALBOT Ah! Lascia contenta al carcere, etc. MARIA Ah! se di troppe lagrime, etc. TALBOT Ah! si scordera de' palpiti ch'hanno agitato il cor, etc. (Supported by Talbot, Mary goes off to another room within the castle. She holds up the crucifix before her as they go.)

Scene Six (The Hall next to the place of execution within the castle ofFotheringhay. A large door stands closed at the back. It is night. Mary's faithful servants look in horror at the closed door.) NO. 16 HYMN OF DEATH CHORUS ve'deste ve'demmo Vedeste? Vedemmo, Did you see? We saw,

oh oh

il II The

'tJeppo ceppo ... block. ..

'skuce la scure... la ax ... the

e e and

il il the

vi'tJin:) 'alIa vicino alIa near the I'!

:i,:,1'i Ii!

il

ke Che What

la la the 'p:)p:)l popol populace 'skala scala steps

'vista ke vista! Che a sight! What

0

'trutJe appa'rat:) truce apparato! cruel setting,

o'rror la orror! La horror! The

fa'tale fatale! fatal!

'vittima vittima victim

'stw:)b mal'nat:) b la 10 stuDIo malnato. La the throng ill-bred. The (The ill-bred throng awaits the victim...) 's:)rte rna sorte! Ma fate! But

a'llaI)glja all'Anglia for England

fia 'sempre sempre fia will be forever

'sala sala ... hall...

fre'mente fremente trembling

del 'palb del palco of the scaffold

:) is'tabile Oh istabile Oh unstable

'funebre funebre gloomy

a'ttende atte'nde awaits 'vittima 'red3a vittima regia... royal victim...

'duna re'd3ina d'una Regina ofa queen din)'famja d'infamia an infamy

la la the

'barbara barbara cruel

e e and

ro'ssor ross or. ashame.

'm:)rte morte death

405

Maria Stuarda, Act III

Scene Seven (Anna enters from Mary's apartments.) NO. 17 GRAN SCENA AND PRAYER CHORUS 'anna Anna! ANNA fave'Hate kwi pju so'mmessi Qui pill sommessi favellate. Here more softly speak. (You must speak more softly here.) CHORUS 'mizera la misera La wretched creature, The

d:)'ve doy'e? where is she?

ANNA 'mesta abba'ttuta Mesta, abbattuta Sad, beaten down

sa'vantsa s'avanza. approaches.

de bl Deh! col Please! With

'ella ella she

non aggra'vate i1 su:) non aggravate il suo do not increase her

'v:)str:) 'dw:)b vostro duolo your grief

do'lor dolor. grief.

CHORUS ta'tram:) Taciamo. Let us be silent. Scene Eight (Mary enters, dressed elaborately in black, wearing her crown, from which a long white veil hangs down her back. She is accompanied by Talbot.) MARIA (to her companions) 10 vi ri'ved:) al'fin 10 vi rivedo alfm. I see you again at last.

ANNA, CHORUS (weeping) noi ti per'djam:) Noi ti perdiamo. We are losing you. MARIA 'vita Vita A life

mi'ilor miglior, better,

si si, yes,

g:)'dro godro. I will enjoy.

Maria Stuarda, Act III

406 kon'tenta Contenta Content rna rna But

voi voi you

io io I

'vol::> vola fly

fu'dd3ite fuggite must flee

CHORUS il dw;:,l tJi 'spettsa II duol ci spezza Grief is breaking

il il

our

MARIA de n;:,m pjan'd3ete Deh! non piangete! Ah! Do not weep! sei sei are

allam'plesso di all'arnplesso di to the embrace of 'kwesta 'terra questa terra this earth

da'ffanni d' affanni! of sorrows!

k:)r cor! heart!

'anna Anna... Hannah... la la the

ddio Dio ... God...

tu tu you

'sola sola alone

'ekk:)ti un pju 'kkara eccoti un pin cara... dearest to me ... here's a

tu tu you

ke che who

di di with

'lagrime lagrirne tears

ba'J1J1at;:, bagnato ... bathed ...

'aw agli for

';:,kki mjei occhi rniei my eyes

fa'rai farai you shall make (a)

'resti resti, stay, 'lino lino, handkerchief,

'benda benda, blindfold (with it),

'lugubre lugubre sad

'spenti sa'ran per 'sempre al 'd30mo a'llor ke allor che spenti saran per sempre al giorno. when dead they will be forever to (the light of) day. (Here's a handkerchief which, bathed with my own tears, shall make a sad blindfold for my eyes which will be forever shut to the light of day.) (Mary gives the handkerchief to Hannah.)

pjan'd3ete piangete are weeping

aI]'kor ancor? still?

'meko Meco With me

vi u'nite vi unite, join,

mjei miei my

les'trema l'estrema the last

'pretJe al'tsjam prece alziam prayer let us raise,

rna

Ma But

voi voi you

'., ·i

(All kneel around Mary.)

a1 al to

'fidi fidi, faithful ones,

e e and

de'vota e devota e devout and

ar'dente ardente. ardent.

kle'mente tJel ciel clemente Heaven clement

407

Maria Stuarda, Act III de Deh! Ah!

tu tu Thou

di di of

un un a

'umile pre'gjera umile preghiera humble prayer

il il the

'sw~n~

suono sound

'~di

~ be'neftko ddio di pje'ta odi, oh benefico Dio di pieta~ hear, oh beneficent God of mercy. (Hear the sound of my humble prayer, oh Thou beneficent God of mercy.)

del a'Hombra a'kbAAimi tuo All'ombra accoglimi del tuo In the shadow gather me of Thy (Gather me in the protection of Thy forgiveness;) 'altro . altro other

ri'kovero ricovero refuge

il il the

k:)r cor heart

per' dono perdono; forgiveness;

n:)'na non ha. does not have.

ANNA, TALBOT, CHORUS Deh! tu di un umile preghiera, etc. MARIA Ah! si ... ANNA, TALBOT, CHORUS All'ombra accoglila, etc. MARIA ddio si Si, Dio Yes, God, 'altro Altro Another

fra

'lali

fra l'ali within Thy wings ri'kovero ricovero refuge

il il my

a'kbAAimi accoglimi gather me k~r

n~'na

cor heart

non ha. has not.

del del m

tuo tuo Thy

CHORUS All'ombra accoglila, etc. (Mary rises, and so do all others.) MARIA 'vano il e E vano il It is useless the

'pjant~

il tJel

pianto, weeping,

il ciel Heaven

ANNA, TALBOT, CHORUS 'della 'sbrda liIJ'kauto della Scorda l'incauto of Forget the rashness

tua

tua your

rna'ita m'aita. is helping me.

'vita vita. life.

per'dono perdono; forgiveness.

·f

:1

408

Maria Stuarda, Act III

ANNA, LADIES 't:>ita al Tolta al Taken away from be'niJlJlo benigno beneficent

do'lofe blta dolore, tolta grief, taken away

il'tJel:>

'a,(,(i agli from

a'ffamri affanni, suffering,

ti perd:>'n:> ti perdono. has forgiven you.

il cielo

Heaven

TALBOT,MEN Tolta al dolore, etc. CHORUS dis'tendi Distendi Spread

uIl] un a

'velo velo veil

su su' over

'korsi corsi past

a'ffanni affani, suffering,

benigno il cielo ti perdono. MARIA Tolta al dolore, tolta agli affanni,

de'tern:> d'eterno by eternal

a'mofe amore love

mi paIIe'f:> mi pascero. I shall nourish myself.

(The first cannon shot is heard)

TALBOT, CHORUS a 'kkolpo Oh colpo! Oh shot! Scene Nine (The great door in back opens. A staircase is seen on either side o/which stand the official guards o/justice holding torches. Cecil descends the staircase and enters.) NO. 18 ARIA DEL SUPPLIZIO (ARIA OF EXECUTION) CECIL (to Mary) e d3a vi'tJino del tuo mO'fir lis'tante E gia vicino del tuo morir l'istante. It is already close of your death the instant. (The moment of your death is close by.)

, 1':

i' I.

eliza'betta Elisabetta Elizabeth

vw:>l ke vuol che wishes that

sia sia be

'paga 'oJlpi tua 'brama 'parla paga ogni tna brama. Parla. granted every wish of yours. Speak.

f

409

Maria Stuarda, Act III MARIA da lei lei Da From her

'tanta tanta so much

'ljeve Lieve A small

fa'vor ti 'kjed::> favor ti chiedo. favor I ask of you.

pje'ta pieta pity

non ispe'rai non isperai. I did not expect.

i mjei 'passi al 'palb 'anna Anna i miei passi al palco Hannah my steps to the scaffold (Let Hannah accompany me as I walk to the scaffold.)

'sbrga scorga. should show me.

CECIL 'ella ve'rra Ella verra. She will go. MARIA se a'kblta ai la 'pretJe pri'mjera Se accolta hai la prece primiera, If accepted you have the fIrst plea, (If you accepted my fIrst plea, give heed to yet another one.)

ke che that

di

U1J

Di

From

un a

'reka reca take

a il perdon::> il perdono a my forgiveness to ke che that

'dille Dille Tell her ke che that

br cor heart

'altra altra another one

'm::>re more is dying ki chi one who

mo'ffeze m'offese, insulted me,

'ljeta 'resti lieta resti happy she should remain

mi bnda'nn::> mi condanno. condemned me.

'tr::>n::> suI trono, suI on her throne,

'd30rni non turbe'r::> i sw::>i bei giorni non turbero. i suoi bei I shall not disturb. her happy life

'sulla bre'taj1j1a 'sulla sua 'vita fa'vor tJe'leste Sulla Bretagna, sulla sua vita favor celeste Upon Britain, upon her life, grace celestial (I will pray for heavenly grace upon Britain and her life.) a Ah! Ah!

ne as'kolta ne ascolta. heed.

del del By

ri'm::>rso rimorso remorse

non sia non sia let her not be

pu'nita punita! punished!

impbre'r::> implorero. I shall implore.

Maria Stuarda, Act III

410

a Ah! Ah!

'tutto tutto Everything

TALBOT, ANNA 'skure ti'[anna Scure tiranna! Ax tyrannical!

kol col with my

'saI)gwe sangue blood

'troI)ki Tronchi You cut short

'una una a

kantI £1le'[;, cancellero! I will erase!

'vita vita, life,

a ah! ah!

si Sl'I••••

Yes! ...

MARIA Tutto col sangue cancellero, etc. CECIL la sua bal'dantsa La sua baldanza arrogance Her noi noi us

fra fra between

res't;, resto has been

pu'nita punita: punished;

la 'patIe la pace peace

t;,rnar ve'dr;, tornar vedra. return I shall see.

ANNA, TALBOT, CHORUS Scure tiranna, tronchi una vita ke che ...that

di di with

dOl'tJettsa dolcezza sweetness

tIi ribl'm:) ci ricolma. filled us .

Final Scene (Leicester enters, followed by the Sheriff and the Officials ofJustice.) CECIL (to Mary) 'd3und3e i1 'konte Giunge il Conte. The Earl is coming.

MARIA a a 'kwale £i 'vjene 'lugubre Ah! a quale ei viene lugubre Ah! To what he comes, lugubrious (Ah! Upon what tragic scene he enters!) LEICESTER (to Mary) per'duta ti ri'vedo io perduta, ti rivedo, 10 see you again, lost, I da da by

in'd3uste ingiuste unjust

'pene pene••• sorrows ...

'IIena scena! scene!

:)'ppressa oppressa... oppressed... vi'tJina a vieina· a close to

'Ii1:)rte morte... death...

Maria Stuarda, Act III

MARIA (to Leicester) 'frena il do'lor dolor! Frena il Refrain your grief1

CECIL si a'vantsa Siavanza Is drawing close

a'ddio Addio Farewell

411

per'sempre per sempre! forever!

'lora l'ora. the hour.

LEICESTER ke n::lffi 'P::lSS::l la'Harti a ehe non posso lasciarti Ah! I cannot leave you Ah!

aI)'kora aneora! yet!

(Leicester kneels and embraces Mary's knees. Cecil moves to separate him from Mary.)

CECIL Si avanza l'ora. LEICESTER ::l 'sbstati o Seostati, you Move aside,

'vvile vile! coward!

MARIA 'tatJi Taei! Be silent!

LEICESTER i'nikwi tre'mate Iniqui Tremate! Evil ones, Tremble!

'tutti tutti! all of you!

MARIA te 'stesso 'perdi Te stesso perdi! Yourself you are endangering! (You are putting yourself in danger!)

LEICESTER te'mete un ddio dellino'tJentsa vendika'tor Temete un Dio dell'innoceJiZa vendicator! Fear a God of innocence the avenger! ([All of you!] Be fearful of a God who avenges the innocent!) (The second cannon shot is heard. The Sheriffdescends from the place of execution, followed by his officers, who come and surround Mary.)

"

], . i:i :r

412

Maria Stuarda, Act III

CHORUS a per'ke n:)rn 'p:)ss:) Ah! perche non posso Ah! Why can't I

nel nel with

'sal)gwe mio sangue mio... my blood ...

CECIL

:It l'ora! CHORUS 'spe]l]lere ... spegnere ... quench

il 'tIeb 'v:)stro il cieco vostro your blind

fu'ror furor! fury!

LEICESTER (ready to strike Cecil) Vilel MARIA (to Leicester, summoning him to her side) r:)'bert:) as'kolta Roberto!... Ascolta!. .. Robert!... Listen!. .. (Mary supports herself on Leicester's arm.)

:, J

a Ah! Ah!

se un se un though one

'd30ID:) da giorno da day from

'kweste ribrte queste ritorte these fetters

il tu:) il tuo your

'brattIo braccio arm

iII]v:)'larmi involarmi to remove me

do'vea dovea, had wanted,

or or now

rni 'gwidi mi guidi lead me

a a to

per per as

es'trern:) estremo a last

bII)'f:)rt:) conforto comforting (gesture)

rno'rire da 'f:)rte morire da forte die with strength of spirit

", i '"I

,

'"i

i 1: ,

'

da'mor d'amor. oflove.

(turning to the others)

e E And

il mio 'saIJ9 we ilmio sangue my blood

inno'tIente innocente innocent

versat:) versato spilled

'plaki 'lira del 'tIelo zdep.j1ato plachi l'ira del cielo sdegnato; the wrath of Heaven angered; let it placate (And may my innocent spilled blood placate the wrath of an angered Heaven;)

.,

\ Maria Stuarda, Act III

non ri'kjami Non richiami Let it not be called down

413

su'llaI]glja sper'd3ura sull'Anglia spergiura upon England heretic

il

fla'd3ello dun. dio puni'tor il flagello d'un Dio punitor. the scourge of a God punishing. (And let not a punishing God call down upon heretic England His scourge!) LEICESTER, ANNA, TALBOT, CHORUS 'kwali a'ttJenti kwal 'trutJe zven'tura Quali accenti! Qual truce sventura! What words! What grim misfortune! CECIL or de'llaI]glja Or dell' Anglia Now of England

la la the

'patJe pace peace

e

e 18

si'kura sicura. assured,

si sil yes!

MARIA Anna, addio! Roberto, addio! Ah! se un giorno da queste ritorte, etc.

ANNA, LEICESTER, TALBOT, CHORUS inm'tJente in]fa'mata 'ella 'mw::>r Innocente, infamata ella muor, hmocent, defamed she dies,

81

8i.

yes.

CECIL Or dell' Anglia la pace e sicura, la la the

ne'mika nemica enemy

del 'reJ1J1o si del regno 8i, of the realm, yes,

d3a gia already (is about to)

mw::>r muor. die.

(Mary, sustained by Talbot and surrounded by guards, starts out through the great door in the back. Leicester covers his face with his hands to block out the sight.)

END OF THE OPERA