Rossini - La Cenerentola [castel]

3

) LA CENERENTOLA1 (Cinderella) ossia LA BONTA IN TRIONFO (Goodness Triumphant)

Opera in two acts Music by Gioacchino Rossini Libretto by Jacopo Ferretti, based on Etienne's Cendrillon First performed at the Teatro Valle, Rome, on January 25, 1817 CHARACTERS

)

Don Ramiro, Prince of Salerno: tenor Dandidi, his valet: baritone Don Magnifico, Baron of Montefiascone: basso-buffo Clorinda, his daughter: soprano Tisbe, his other daughter: mezzo-soprano Cenerentola, his step-daughter: mezzo-soprano Alidoro, a philosopher and tutor of Prince Ramiro: bass Courtiers, lackeys The action takes place in Southern Italy and the time is set in a fairy-tale XVIII century ambiance

THE PLOT ACT I As the curtain rises we see Cenerentola in a room preparing coffee for her two spoiled, artless stepsisters Clorinda and Tisbe. She is singing a ditty about a king who chose a poor girl for his bride instead of a lady of high station. Soon a visitor arrives. He is Alidoro, a philosopher and also tUtor of Prince Ramiro. He is disguised as a beggar, and when Cenerentola treats him kindly and the sisters the opposite, he knows at least one piece of advice he can give his master. The master of the house is the pompous Don Magnifico, a Baron of sorts fallen on hard times, anxious to marry off his daughters to someone rich. On his entrance he tells his daughters of a silly dream he just had. He dreamt he was an ass, and a very wealthy one at that, and scolds his daughters for having awakened him with their endless chatter. After Don Magnifico and the two stepsisters leave the room Cenerentola is left alone to her house chores. ,The Prince enters disguised as a valet for he is looking for a bride who will love him for himself, not because he is a prince. He instantly notices Cenerentola working around the house .. She is so startled by his appearance that she drops a tray full of crockery. It is lov.e at first sight. They are rudely interrupted by the two stepsisters, who demand that Cenerentola wait on them at once, but

) 1 The translator used the version of the score currently in use at the Metropolitan Opera, the critical edition of the Pesaro Foundation, under the guidance of Alberto Zedda.

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4 Prince Ramiro's heart has been captivated by this simple girl whose name he doesn't even know as yet. When Cenerentola has gone off to serve her stepsisters, still another man enters in disguise. Ibis is Dandini, the Prince's valet, who has changed clothes with ,his master. As he tries to pose as a prince (by misquoting Latin texts), he announces a ball at "his" palace that evening. Cenerentola begs her stepfather to allow her to go to that ball. Naturally, her family unite in refusing her permission, but the scene ends with Alidoro returning to promise Cenerentola help in the matter.

I'

1t 1

In Ramiro's palace everyone is urging Dandini (still disguised as the Prince), to choose his bride. Among the available ladies can be seen Clorinda and Tisbe, Cinderella's clumsy, ugly stepsisters. Both of them try to cull favor with Dandini, believing him to be a prince. Under their relentless assault, Dandidi flees into another room, where he tells his master what he thinks of those two girls. They are dreadful, he says, but the relentless stepsisters are hotly in pursuit, until finally, to get rid of them, Dandini explains that he can marry only one of them. The other, he says, must marry his valet. Ibis is totally unthinkable to the two gold-diggers. Alidoro comes to announce the arrival of a mysterious lady. The wise old philosopher has dressed Cinderella in a beautiful gown and brought her to the palace. No one recognizes her, because she is masked, but everyone sees how beautiful she is, and all the court knows at once that this is the girl the Prince ought to marry. The act end in a chorus of gaiety, with only the stepsisters refusing to echo the sentiments of everyone else. ACTn

The two stepsisters think the stranger looked so much like Cenerentola that the Prince could not possibly fall in love with her. Rather, each thinks she herself is going to win the marital sweepstakes, and, as expected, they quarrel. Meanwhile Dandini himself has fallen in love with Cenerentola. Still disguised, he proposes to her, but she replies that she has fallen in love with his valet. The Prince overhears this admission and (still in disguise, of course) comes forward to propose marriage. She admits that she loves him, as she said; but first he must find out who she is. She gives him a bracelet that matches the one she is wearing. 2 As for Don Magnifico, he is quite sure that one of his daughters will marry the Prince, and the silly man is overjoyed. He imagines how powerful he will be and how people will come running to him begging for favors, and how he will kick them out. But the old fool is in for a quick disappointment. He, like everyone else, thinks that Dandini, the valet, was really the Prince, just because he was wearing princely clothes. Now Dandini comes in and tells the befuddled Baron who he really is. Don Magnifico is outraged, to the great amusement ofDandini. Back in Magnifico's house, Cenerentola repeats her little ditty about the king who chose a lowly maid for his bride. She still does not know that the man who fell in love with her is a prince, not a valet. A storm rages outside. During it the Prince and Dandini (now dressed in their own clothes) seek shelter in the house and Cenerentola, trying to hide her face, lets the Prince see the bracelet on her arm. He steps forward and at last Cenerentola learns that the man she loves is not a servant at all but really Prince Ramiro. Her relatives, (Magnifico, Clorinda and Tisbe) are properly horrified and will not speak to her. But fmally Don Magnifico decides to beg forgiveness from Ramiro. The latter wants nothing to do with him but the good, kind Cenerentola pleads for her relatives that had treated her so shabbily. The Prince yields to his radiant bride and the opera ends in ajubilant chorus.

1

) j 2

This is the counterpart to the slipper in the well known fairy tale.

5

La Cenerentola, Act I

ACT I (A shabby old room in the Baron's house. To one side is afireplace and a small table with a mirror, as well as some chairs. Clorinda is trying out a chasse. l Tisbe is tryingflowers on her head, while Cinderella is blowing the fire with a bellows in order to make coffee.) CLORINDA n=:> n=:>IlJ ve No, non v'e there is not No,

1

ledd3e'rissim=:> leggerissimo light-footed (No, there is no

ki chi one who

trin'tJar trinciar carry out

'sappja sappia knows

ko'zi cosi such a

J a'sse sciasse. chasse. one who can perform a light-footed chasse like me.)

(She performs an immensely clumsy chasse.)

TISBE si Si, Yes,

1

_J

)

(trying to put someflowers in her hair) va 'bene li 'meM=:> Ii va bene Ii. Meglio Ii; it goes well there. Better yet there;

n:) no, no,

'meMo meglio better

kwi qui; here;

O]1J1un

d:J'vra dovra. must.

risal'tar di pju mi fa risaltar di pin mi fa. to stand out more it makes me. (it makes me stand out even more.)

CLORINDA, TISBE a kwes'tarte a tal A quest' arte, a tal Before such art, before such

bel'ta zdruttJ:)'lare belta, sdrucciolare beau~, succumb2

CENERENTOLA (in a monotone) 'una 'v:)lta 'tJera Una volta c'era Once upon a time there was

un un a

ognun everyone

re re, king,

ke a star 'sob sann:)]:) che a star solo s'annoio; who from being alone became bored; (who got tired ofliving without a wife.)

'tJerka

ritr:)'v:) rna il v:)'lean sp:)'zar in tre Cerca, ritrovo! Ma il volean sposar in tre. He searched, he found! But they wanted him to marry all three. (He searched and found not one but three suitable brides, all three of whom wanted to marry him.)

)

A ballet step in which one leg virtually "chases" the other. Sdrucciolare actually means "to slip". The sense is "every man will slip into unconsciousness when he beholds our arts and beauty". 1

2

6

La Cenerentola, Act I

'k:na Cosa What

fa fa? does he do?

'sprettsa Sprezza He scorns

il 'fast;) il fasto pomp

e e

'alIa alIa at the

'Jelse scelse he chose

per per for

se se himself

linm'tIentsa I'innocenza innocence

's;)lita solita same old

kan'tsone canzone. song.

and

fin fin end

TISBE, CLORINDA tIene'fent;)la fi'niIIila Cenerentola,3 finiscila Cinderella, stop it

kon con with

la la that

CENERENTOLA 'press;) al 'fw;)ko in Presso al fuoco, in Near the fire, in

uIJ un a

kan'tone cantone comer

e e and

la bel'ta la beIta, beauty,

VIa 1~'IIatemi via, lasciatemi come, let me

)

)

e e and

la b;)n'ta la bonta. goodness.

kan'tar cantar. smg.

Una volta c' era un re ... CLORINDA e 'ddue e tre E due, e tre. And two, and three. (And two [kings] and three, over and over.) CLORINDA, TISBE (threateningly) la fi'niIIi si ;) m La finisci si 0 no? Will you put a stop to it, yes or no?

se n;)n 'tatIi ti da'f;) Se non taci ti daro ... If you don't keep quiet I will give you... (Shut up or we'll beat the daylights out of you... )

CENERENTOLA Una volta ... (There is a knock at the door.)

ALL THREE ki sa'fa sara? Chi Who can it be? (Alidoro enters the room dressed as a beggar.)

ALIDORO un tan'tin di Un tantin di A bit of

kari'ta carita. charity. )

) 3 Cenerentola in Italian means "the one who sweeps the ashes or cinders (cenere) out of the fireplace. In French it is Cendrillon, (cendre, "cinder") and in German Aschenbrodel ("ashes").

7

La Cenerentola, Act I

CLORINDA, TISBE (disdainfully) akka'ttoni via di kwa Accartoni! via di qua. Beggars! Out here! of CENERENTOLA 'tsitto su pren'dete Zitto: su, prendete Quiet! Come, take

'kwest;, p;, questo po' this bit

di di of

bla'tsjone colazione. breakfast.

(She pours a cup of coffee and surreptitiously gives it with a piece of bread to Alidoro.)

1

'fate 'prest;, Fate presto, Hurry up,

1

a Ah, Ah, J

)

per per for

non'regg;, non reggo I can't stand

pje'ta pieta. pity's sake. 'alla alIa his

pa'ssjone passione, distress,

ke che what

kru'dd fatali'ta crudel fatalita! cruel fate!

ALIDORO 'forse il'tJdo il gwider'done pria di 'n;,tte 4 Forse il cielo il gUiderdone pria di norte Perhaps Heaven the reward before nightfall (Perhaps Heaven will reward you [for your kindness] before nightfall.)

vi da'ra vi dara. will give you.

CLORINDA, TISBE rizve'llar 'doltJe pa'ssjone pju di me ne'ssuna pin di me nessuna Risvegliar dolce passione To awaken sweet passion more than me no woman (No woman other than myself knows how to awaken sweet passion in men.)

sa sa. knows.

CLORINDA (turning and seeing Alidoro still standing there) rna ke 'vedo aI)'kora Ii Me che vedo! Ancora Ii! But what do I see! Still there! TISBE 'aI)ke urn Anche un Even some

'aI]ke il ka'ffe anche il cafIe? Even some coffee?

'pane pane? bread?

CLORINDA, TISBE (turning on Cinderella, threateningly) 'prmdi 'kwest;, a te Prendi: questo ate. Take this, this is for you.

)

CENERENTOLA a so'kkorso Ah! soccorso Ah! Help (Who will help me?)

ki chi who

mida mida? will give me?

4lbis word, meaning "reward, recompense", is a derivation of the German Wiederlohn.

La Cenerentola, Act I

8

ALIDORO (trying to interpose himself in vain) vi fer'mate per pje'ta Vi fermate, per pieta. Stop it, for pity's sake. (The courtiers enter.) CHORUS 'fiAA£ ::l figlie 0 daughters Oh il il the

ra'miro Ramiro Ramiro

p::l1 poi Then

la la the

a'mabili amabili charming

di di of

dom Don Don

'printJipe principe prince

o'ror or or soon

ve'rra verra. will come.

ma'JlJlifIko Magnifico, Magnifico,

si kant£'ra Si cantera, There will be singing,

vi kondu'rra vi condurra. he will take you.

al SU::l pa'lad3::l Alsuo palagio To his palace

) )

'laltre fra fra l'altre among all other

be'llissima bellissima most beautiful

si dantse'ra si danzera; there will be dancing;

'femmine femmine women

sa'ra sara. shall become.

'sp::lza ka'rissima sposa carissima wife most dear

per per to

lui lui him

CLORINDA ma 'duIJkwe dun que Ma where is But

il il the

'printJipe principe? prince?

CHORUS Or orverra. CLORINDA, TISBE, CENERENTOLA e la be'llissima bellissima? E la most beautiful? And the CHORUS si Heilj£'ra Si sceglierit. Will be chosen. CLORINDA, TISBE kwa vIeIJ qua, Cenerentola vien come here, Cinderella

t J en£'r£nt::lla

Ie mie 'penne Le mie penne, My feathers,

il mi::> ilmio my

Ie mie 'skarpe Ie mie scarpe my shoes, b'llj£ collie. necklace.

il mi::> b::>'nn£ ilmio bonne. bonnet. my

)

l

La Cenerentola, Act I

)

,1

)

nel Nel In my (I feel

9

:) tIer'velb 'una fu'tJina cervello ho una fueina; brain I have a forge; as if I have a glowing forge in my brain.)

v:) triollJ'far vo' trionfar, I want to win,

som son lam

pju pin more

a a at

a un:)kkja'tina un so'rrizo un sorriso, a un'occhiatina a smile, (and) tender glance

'bella bella beautiful

e e and

CENERENTOLA tJ eneerent:)la vjel) Cenerentola vien Cinderella come

kwa qua, here,

'kwest:) Questo This

e

'pr:)prjo proprio areal

mi vo'lete rni volete do you want

far far to make me

e

IS

va va go

la la, there,

don Don Don

ra'mif:) Ramiro Ramiro

kas'kar ada hada cascar. v.ill fall.

va va go

su su, up,

d3U gin... down...

vjen vien come

'un:) stra'patts:) uno strapazzo drudgery

kre'par crepar? die?

lalla s:)'llatts:) 'festa ki ki al Chi alIa festa, chi al sollazzo: Who to the party, who to the happy celebration: (One goes to the party, the other to have a good time;) ed ed and

io il I

'festo resto stay

kwi qui here

a a and

so'ffjar soffiar. sigh.

ALIDORO ne1 tIer'vello 'una 'pattse Ie fu'tIina sta Nel cervello una fucina sta Ie pazze In their brains a forge Ism those crazy girls (A forge is creating such a hammering in those crazy girls' brains,) rna

rna but

'pronta e d3a gla pronta e already at hand is

CHORUS d3a Gia Already

J

)

nel 'kapo nel capo in their heads

la fo'vina la rovina, calamity,

'una una a

'fidefe voglio ridere I want to laugh

'V:)AAO

fu'tIina fueina forge

sta Ie donne a martellar, ma gia pronta e la rovina, etc.

a marte'llar a martellar, hammering,

e e and

skja'ttar schiattar. burst.

La Cenerentola, Act I

10

CLORINDA (giving a coin to 'date lor 'meddzo Date lor mezzo Give them half a

Cenerentola, which she gives to the Prince'sfollowers) 'skudo 'grattsje scudo. Grazie. scudo. Thank you.

'printJipe ai 'tJenni del Principe Ai cenni del At the orders of the Prince

noi noi we

'sjam:) siamo. are.

(noticing the beggar is still there) aIJ'kor kwi Ancor qui here Still

'sjete siete? you are?

kwal Qual What

'tarI]b an'date tanfo! Andate, smell! Go away

CENERENTOLA (accompanying Alidoro) p:)i 'skudo kwel 'meddzo b scudo quel mezzo poi 10 farthlng really that half a I

a a to

rna ma but

n:)'n:) nonho I haven't

'meddzo mezzo haIfa

's:)ld:) soldo. farthlng (to my name).

il II My

'k:)fe core heart

'meddzo mezzo half

rni spakke'fei mi spaccherei I'd tear out

'darb a darlo a give it to

un un an

irn in ill

per per to be able to

ALIDORO (markedly, as he begins to 'forse al n:)'vello (Forse novello (Perhaps at the new

al

TISBE tJene'fentola CenerentoIa, Cinderella,

'prest:) presto, quickly,

CLORINDA Ai uIJ'gwenti Ie Gli unguenti, Ie The unguents, the (Bring us our makeup items.) TISBE i mjei dia'manti I miei diamanti. My diamonds.

leave) di di day

pre'para prepara get ready

p:)'mate pomate. pomades.

or

ve ne penti'fete ve ne pentirete. you'll be sorry.

voi voi you

la'vrei l'avrei I'd have

0 0

d:)'nat:) donato; given;

iIlJfe'litJe infelice. unfortunate man.

sa'rai sarai you shall be

1

i

the

'nastri nastri, ribbons,

fe'litJe felice.) happy.)

i i the

'manti manti. cloaks.

La Cenerentola, Act I

1

)

1

CENERENTOLA u'ditemi s::>'relle Uditemi, sorelle... Listen to me, my sisters ... CLORlNDA (haughtily) ke s::>'relle mm pr;)fa'nartJi Cbe sorelle! Non profanarci What "my sisters"! Do not degrade us TISBE e E And

-1

(threatening her) gwai per te guai per te woe to you

se se if

kon con by (using)

si 'fatto si fatio such a

tuJJi'ra di t'usciradi it ever leaves your

'bokka bocca! mouth!

CENERENTOLA (to herself) 'sempre 'nw::>ve pa'ttsie Sempre nuove pazzie Always new follies TISBE mIl) ve Non v'e There is no

)

11

'temp;) da tempo da time to

so'ffrir soffrir suffer

'nome nome. name (on us).

mi'tokka mi tocca. I must.

'perdere perdere. lose.

CLORlNDA 'n::>str::> 'padre avvi'zame Nostro padre avvisarne father tell him about this Our (We must tell our father about this.)

kOIJ)'vjene conviene. we must.

(Each one trying to prevent the other from entering their father'S room.)

TISBE 'V;)AA;) a 'prima 'Esser la Esser la prima voglio a To be! the I want to first one (I want to be the first to give him the news.) CLORlNDA mi per'doni Ob! mi perdoni, Oh! Forgive me, ;)

io io I

TISBE (with mounting rage) n::> n;) he! V;) No, no, gliel vo' No, no, I want to him (No! Lwant to tell him.)

)

'son;) sono am

dir dir to tell

la la the

'dame darne give him

ma'dd30re maggiore. eldest!

'io io. myself.

la la the

'nw;)va nuova. news.

!; 12

La Cenerentola, Act I

·~~(l(}(rhrJt1 e

'kwesto il E questo il Is this the (This is my duty.) 1::>

zve'ilar£ svegliare I awake (I will go wake him up.

10

1

do'ver 'mio dover mio. duty mine.

)

I

b v::>

ve'nite a'ppress::> Venite appresso him I go. Come behind me. You follow me.)

10 yo.

TISBE ::> non la vintJe'rai Oh! non la vincerai! Oh! You won't have the upper hand! CLORINDA 'ekko Ecco There he is,

V

'eHi egli he

'stesso stesso. himself.

(Don Magnifico enters. He is attired in a nightcap and a robe and is in a bad mood as he addresses his daughters.)

MAGNIFICO mjei ram'polli fenuni'nini Miei rampolli femminini, My descendants female, (My female offspring,)

vi ri'pudjo vi ripudio, I disown you,

mi ver'goJlJlo mi vergogno! I am ashamed!

ma'ppifiko 'mio 'soJlJlo mi ve'niste urn Un magnifico mio sogno mi veniste A magnificent my dream you came me (You came and interrupted a magnificent dream of mine.)

a a to

sk::mtJer'tar sconcertar. disturb.

(to himself, as he notices the girls tittering when he isn't looking at them)

'kome som m::>rtifi'kate Come son mortificate! they're How mortified!

'deJlJle 'fiAAe Degne figlie Worthy daughters

dum d'un ofa

via Via, Come now,

si'lentsjo silenzio silence

ed ed and

'state il 'SOJlJl::> a medi'tar sogno a meditar. State il dream to think about. Stay my (Just think about my dream.)

mi s::>]1Jlai Misognai I dreamt

tra il tra il half

urn un about

be'llissim::> bellissimo a most beautiful

atten'tsjone attenzione. pay attention.

'fosko e fosco e hazily and (half) s::>'mar::> somaro; donkey;

ba'rone Barone! Baron!

il 'kjar::> il chiaro clearly un

Un A

s::>'mar::> somaro, donkey

rna rna but

s::>'lenne solenne. what a donkey!

')

I

I) J

La Cenerentola, Act I

'kwand::l Quando When

ke che what

'sulle 'spalle Sulle spalle On his shoulders

a 'tSent::l a'tSent::> cento a cento a by the hundreds

ed ed and

'arja in in aria into the air,

Su

ed Ed And

in'tSima a incima a atop

si sen'tiano Si sentiano Were heard

)

a un 'tratt::l ::l a un tratto, oh all of a sudden, oh,

un a

le Ie the

kol Col With

tIi tIi tIu tSu ••• , .. 5 cm CIU your endless chatter

di 'b::>tt::> dibotto suddenly

ma Ma But

dun d'un ofa

intral'tI ato intralciato, tangled,

'soJlJlo si sogno SI dream so

1

Ai spun'tar::>ll:) gli spunt@mo· ~ there grew on him

Ie Ie some

'penne penne feathers

·t~,~:nl\.?;?

v::>'l::> volo! he flewl

kampa'nile campanile· steeple

per di 'sott::l per di sotto below

Cl CI

p::lr'tent::l portento: wonder!

-

sciu whoosh, Ul)

13

'kome ill come in as if ona

'tr::>no si fer'm::> trono si fermo. throne he alighted.

kam'pane campane bells

zdind::>'nar sdindonar, chiming,

mi fa'tS este mi faceste you did

rizve'Mar risvegliar. awaken me.

din din, ding,

don don... dong ...

'ekko il 'simbol::> e spje'gat::> ecco il simbolo e spiegato. here's the symbol is explained. (But here is my explanation of this tangled dream of mille.) la La The

I

kam'pana campana bell

a 'festa a festa? joyfully?

alle'grettsa iI] 'kaza e 'kwesta Allegrezza in casa e questa. in my house is this. Merriment (The joyfully pealing bell means that there is merriment in my house.) 'kwelle 'penne QueUe penne? Those feathers?

'resta Resta

J

'SW::lna suona is pealing

'lazino l'asino

'sjete voi Siete voi; They are you;

di 'p::>i di poi,

kwel graIl] 'volo 'plebe a'ddio queJ gran volo? Plebe, addio. that great flight? Plebeans, farewell. (and that flight means I shall rise in society never to deal with the vulgar mob again.) IDa

ma

kwe'llazino quell'asino

son son

'io io;

5 This is an onomatopoeic combination of sounds describing the noise made by chattering. One could translate it, in American parlance, as yakketv-yak.

14

l

La Cenerentola, Act I

ki Chi Whoever

vi 'gwarda vi guarda looks at you

'vede vede sees

'kjar::l chiaro clearly

,

)

ke il S::l'mar::l e il d3eni'tor che il somaro e il genitor that the donkey is your father. (ill one glance whoever looks at you can immediately tell that your father is that ass.) ferti'lissima Fertilissima A most fertile

re'd3ina regina queen

'luna l'una one

e e and

ed Ed And

'n::lnno nonno grandfather

'una una a

do'ddzina dozzina dozen

il il the

'laltra l'altra the other

dive'rra diverra; shall become;

di ne'poti di nepoti grandchildren

abbrattJe'ra abbraccera. will hug.

re 'pikk::llo di kwa 'serv::l un Un re piccolo di qua: Servo, A king little here: Your servant, (A little king over here [with everyone saying] "your servant",) un re 'bambolo Un re bambolo A king baby (and a baby king over there:)

di la di la: there:

e la 'gbrja E la gloria And the glory (and the glory shall be mine!)

mia mia mme

CLORINDA (to her father) sa'ppjate ke Sappiate che You should know that

sa'ra sara. shall be.

fra 'p::lb fra poco .. . very soon.. .

TISBE (interrupting) il'printJipe ra'miro n Principe Ramiro.. . Prince Ramiro .. . .. i;

CLORINDA ke son Che son That it's

tre tre three

di di days

ke che that

'nella nella in his

deli'ttsjoza deliziosa... country estate ...

TISBE vi'tJin::l 'meddzo 'rniA'(o ve'nut::l e ad Vicino mezzo miglio venuto e ad Close by half a mile, come he has to (Close by, (half a mile) he has come to live ... )

abi'tar abitar... live ...

)

I I

15

La Cenerentola, Act 1

I ')

CLORINDA

'JelJ..e Sceglie He's choosing

'una una a

'sp:na sposa... bride .. .

TISBE tfi man'd;) ad iIl]vi'tar Ci man do ad invitar. He had us be invited. (He sent us an invitation.)

1

CLORINDA e E And

fra mo'menti fra momenti... any moment...

TISBE arrive'fa Arrivera He will arrive

I

per per to

'prendertfi prenderci... get us ...

CLORINDA la la 'bbella e pju 'Helta scelta la bella la pin E And the the most beautiful one chosen one (And he will choose the most beautiful one of us ... )

)

MAGNIFICO (astounded, giving himself an important air) 'fIAAe Figlie Daughters,

ke che what

'ddite kwel dite! Quel are you saying! That

kwan'tul)kwe Quantunque Although

10

nol nol don't

io I

'sp::>za pju 'bbella sposa pin bella ... bride, the fairest... 'alia AlIa In the il

fa'vella favella nick of time

ko'noska conosca... know him... I::> io I

e

e has

'kad;) cado feel

ve'nuto il venuto il come the

printfi'pon Principon! Great Prince! vin:]vib v'invito ... he invited you...

felJ..e'fa sciegliera! ... he will choose ... in zveni'mento in svenimento ... quite faint ... se'kwestr;) sequestro. rescue.

printfi'pat;) per la spi'nal mi'dolla 6 7 Principato per la spinal midolla The "Prince-ipality" throughmy spinal marrow (I feel it in my bones, this princely alliance,)

n

)

sa'fa sara ... shall be ...

mi ser'pedd3a d3a mi serpeggia, gia already courses,

Magnifico is considering himself as part of a princely family; the tra.'1slator could have used "ennoble", but "Prince-ify" suggests being ennobled by joining a princely family through the marriage of (one of) his daughters. 7 We would say "I feel it in my bones". Per fa spinal midolla implies "I feel it up and down my back".

6

16

La Cenerentola, Act I

ed ed and

m in m

'una una one

ed ed and

il il this

S8'maro somaro donkey

'vola vola. is flying!

'prest8 presto, quickly,

'p8rtami portami bring me

ilmb ka'ffe ilmio caffe. coffee. my

del del of

pa'latts8 palazzo palace

tf ene'rent8la Cenerentola, Cinderella,

pa'r8la il paroia il word, my

'80]1]18 e sogno e dream IS

'st8rja storia, history,

)

(back to his daughters)

'viffere Viscere 8 Entrails

'mie mie, mine,

me'ta meta half

1118 mio my

e

e IS

kdllata crollata, crumbling,

d3a gia already

e 'laltra e m agoma 'fatevi o'nore e l' altra e in agonia. Fatevi on ore. and the other is in agony. Do your best. (Do your best, ye fruits of my loins ...half my palace is crumbling and the other half is slowly dying for lack of maintenance [because I am broke].) me'ttjamotfi urn pun'telb Mettiamoci un puntello. Let us find ourselves a support. (Let us find ourselves someone to support us.) parlate 1m 'punto e Parlate in punto e Speak with period and (Speak clearly9) (Be careful what you say.)

'virg8la virgola, comma,

per Per For

ad ad about

kari'ta carita, pity's sake,

pen'sate pensate think

'fille Figlie, Daughters,

'state state sharpen

in tfervell8 in cervello. your wits.

abbi'llarvi abbigliarvi: getting dressed:

si'tratta njente'men ke impritfi'parvi si tratta nientemen che imprinciparvi. it's a matter, no less, than to "Prince-ify" you. lO (it's a matter, no less, of making you Princesses.) (Magnifico and his daughters leave. Prince Ramiro enters, and cautiously looks around.)

Magnifico is ultra-poetically referring to his two daughters as mie viscere, "the fruits of my loins", which literally means "my entrails" in Italian. 9 What we in English mean by "dot your irs and cross your t's" or "mind your p's and q's". 10 In the current Metropolitan Opera production, Simone Alaimo (the bass singing Magnifico) changes imprincipiaryi to imprincipiarmi. It is an adequate change, meaning to Prince-ify me, rather that Prince-ify you. After all, only one of his daughters can become a Princess, whereas he can become part of a princely family no matter which of the two marries the Prince. 8

j

) j

~I

17

La Cenerentola, Act 1

1

')

I

RAMIRO 'tutt~ e Tutto e All IS

de'3ert~

deserto. deserted.

a'mitJi Amici? Friends!

ne'ssun Nessun Noone

ris'ponde risponde. answers.

'kwesta simu'lata sem'bjantsa IE 'belle In questa simulata sembianza Ie belle In this simulated appearance the fair ladies (In this disguise I will be able to observe the fair ladies.)

osservero. I will observe.

ne 'vjene al'kuno Ne viene alcuno? Is no one coming?

sa'pjente sapiente Wise

lIJ

1

ke che that

kwi qui, here,

e'ppur mi dje Eppur mi die Yet gave me

'sadd3a e saggia e good and

spe'rantsa speranza hope

il il the

~sserve'r:::>

ali'd~D

Alidoro, Alidoro,

ve'ttsoza vezzosa pretty

'de]l]la di me tr~'var sa'pr~ lla 'sp~za degna di me trovar sapro Ia sposa. worthy of me find I will the bride. (And yet the wise Alidoro gave me to understand that here I would find a good and pretty bride worthy of me.)

j 1

sp~'zarsi

)

e e and

n:::>n non not

a'mar amar! be in love!

fjor de fior de' flower of

mjei miei my

'd30rni giorni youth

Sposarsi, To get married, nel ke che nel which in the

'1edd3e Legge Law

ti'ranna tiranna, tyrannical,

tJer'kjam ve'djam~ a di'ffitJil 'Helta mi bn'danna a difficil scelta mi condanna! Cerchiam, vediamo. Let's look (and) see. to a difficult choice condemns me! (To marry and not for love? What a dreadful law that condemns me to make my choice ever so difficult in the flower of my youth!) (Cenerentola enters, a tray with a cup and saucer in her hands, happily humming her ditty.)

CENERENTOLA Una volta c'era ... (She suddenly perceives Ramiro's presence and drops the tray, which clatters on the ground.)

e 'fatta

E fatta! I've done it!

)

RAMIRO ke k~'ze cos'e? Che What is it?

18

La Cenerentola, Act I

CENERENTOLA ke batti'kw~n:: Che batticuore! How my heart is pounding! RAMIRO 'forse Forse Perhaps

urn un a

)

j so'nio son io! lam!

'mostro mostro monster

CENERENTOLA (at first taken unawares, then correcting herself) n~ si']l]lore Si... no, signore. Yes... no, SlI. Sl

DUET RAMIRO s~'ave non s~ ke un soave non so che Un gentle something!! A

1lJ in ill

CENERENTOLA (to herself) v~'ITei sa'per 10 vorrei saper I would like to know 1~

RAMIRO Ie di'rei Le direi, I'd tell her,

rna ma but

kwe'M~kki

quegli occhi those eyes

.' ,. I

mi palpib mi palpito. throbbed so.

mn ar'disko non ardis co. 1 do not dare.

RAMIRO, CENERENTOLA 'una 'grattsja un Una grazia, un A grace, a

(alternating) 'tferto certo certain

par ke par che seems to

'brilli brilli shine

su su in

kwel quel that

'vizo viso. face.

'kwant~

'kaD earn dear

e

kwel quel that

so'rrizo sorriso smile

Quanto How

JIinti'lb scintillo. sparkled.

per'ke il mb k~r perche il mio cor my heart why

CENERENTOLA 'V~M~ e 'tattfa par'lar Parlar voglio e taccio To speak 1 v.rl.sh and I keep silent (1 want to speak but yet 1 keep silent.)

I!

e is

I

in'tanto intanto. meanwhile.

iI]'kant~

incanto, enchantment,

,1

'I

) 11 Non so che literally means "I don't know what", "a certain something I cannot explain", "something I can't put into words". The French have theirje ne sais quai.

19

La Cenerentola, Act]

)

'Jende scende it penetrates

a'llalma all'aIma the soul

RAMIRO (to Cenerentola) Ie ba'ron del Ie Baron Del the Of the Baron

e e and

fa fa makes one

'fiAAe figlie daughters

spe'rar sperar. hope.

'tJerb cerco. I seek.

kwi 'dove 'ssono non Ie 'vedo qui non Ie vedo. Dove sono? Where are they? Here I don't see them. (I am looking for the Baron's daughters. Where are they? I don't see them here.)

1

CENERENTOLA di son di Son They're over

la Hi there

ne'llaltre nell'altre in another

'stantse stanze. room.

or Or Soon

'padre padre father

n:)'ne

ve'rrann::J verranno. they will come.

(to herself)

a'ddi::J Addio, Farewell

)

spe'rantse speranze. hopes.

RAMIRO (interestedly) rna di 'grattsja voi Ma, di grazia, voi But, pray, you (But pray, who are you?)

ki chi who

'sjete

siete? are?

1 CENERENTOLA io 'sono e ki chi 10 sono? Eh, who amI? Ah, l,

n::Jn b s:) non 10 so. I do not know.

RAMIRO nol sa'pete Nol sapete? You don't know? CENERENTOLA 'kwazi n::J Quasi no. Almost no.

kwel Quel He

ke ch'e who is the

(becoming befuddled in her explanation and correcting herself)

'onde onde so

I

)

P::Jl poi that

Ie Ie my

due due two

s:)'relle sorelle... sisters ...

none isn't my

'padre padre ... father ...

20

La Cenerentola, Act 1

'e::ra era was

vedova a widow

rna rna but

fu fu was

'ved~va

'kwest~

mia mia my

'madre:: aIJ'kor di madre ancor di of mother also 'padre:: pjen padre pien father full

questo this

'madre:: madre ... mother... 'kwelle quelIe... those two ...

dor'goAAo d ' orgogIi 0 ••• 12 of pride ...

(to herseW

sta a sta a it's

ve'dere vedere obvious

ke que that

de:: sku'zate:: Deh! scusate, Please! Excuse,

mim'br~AA::>

m'imbrogIio. I'm confused.

perd~'nate::

perdonate forgive

'alla'mia alIa mia my

semplitJi'ta sempIicita. simplemindedness.

RAMIRO mi se'dutJe minna'mo.ra 'kwella'sua semplitJi'ta Mi seduce, m'innamora quella sua sempIicita. It seduces me, it captivates me that her simplicity. (This simplicity of hers captivates and seduces me.) CLORINDA, TISBE (callingfrom their rooms) da me Cenerentola, da me! Cinderella, come here!

tJene::'r£llt~la

RAMIRO 'kwesta Questa That

1

j.

'votJe ke voce che vOIce, what

CENERENTOLA a p::>'ne::nte:: A ponente From west a a frOID

JJi'r~kb

scirocco south

k::>'ze cos'e? is it?

e::d a ed a to

1c::'vante:: levante east,

ea ea and

tram::>n'tana tramontana, north13

12 Here we see, withln two lines of text two Italian words orgoglio and imbroglio. The fIrst shows a closed 0, while the second shows an open o. Lest someone fInd this inconsistent and/or confusing, here goes a warning: That is the way it is in Italian, a veritable swamp of phonetic inconsistencies enough to drive a person to distraction. Viva Italia! 13 Scirocco is a south wind and tramontana is a north wind.

\

La Cenerentola, Act 1

nonho lhaveno

'kalma un calma un peace one

'tutto tutto everything

'tokka tocca I'm expected to do

n~'n~

)

21

'solo is'tantE solo istante, single moment, amE a me. myself.

CLORINDA, TISBE Cenerentola!

CENERENTOLA (turning towards one or the other rooms from which the voices are calling) 'VEI)gO Vengo. I'm coming!

a'ddio Addio, Goodbye,

sijl]1Ofe signore. sir.

(with passion, to herseW a Ah! Ah!

tJi ci Here

'laJJ~

'pr~prjo

lascio I am leaving

proprio indeed

'kwest::l k::lr pju Questo cor pin Tills heart any longer (My heart is no longer mine.)

. l

1 1

'rob mio mme

il il my

io I

mi 'pErdo mi perdo feel lost

iI) 'kwesto in questo from this

core. heart.

n~'nE

non e. isn't.

RAMIRO kwel s Em'bj antE kwella'ttJ enta Quell' accento, quel sembiante Her voice, her face, (What a divine voice and face she has!)

10

'k~[E

E

e are

'una una a

'k::lza cosa thing

SOVIu'mana sovrumana. superhuman.

is'tantE istante; moment an;

d3a pju mE n::ln 'tr::lVO im mE gUt pin me non trovo in me. I don't recognize myself anymore. (rapt in thought, gazing at Cenerentola) ke Che What

1

inm'tJ entsa innocenza! innocence!

ke che What

kan'do[e candore! purity!

Questo cor pin mio non e. (Cinderella leaves. Ramiro remains.)

)

min)'vola M'invola She steals

'prJprjo proprio truly

il il my

'k::l[E core. heart.

La Cenerentola, Act 1

Non so I don't know

ke che what

'kame in dir dir. Come in to say. How ill

si sl such

'roddzE 'SP;)ME rozze spoglie rough apparel

e

rna Ma But

dam Don Don

SI bel 'volta sl bel volto such a pretty face

IS

nOIJ appa'riH e non appparisce hasn't arrived

aIJ'kor nun'tsjar ancor. Nunziar yet. Announce

e

d3en'til gentil! charming!

)1

ma'J1jlifIko Magnifico Magnifico

V;)'rrei vorrei I'd like

maske'rato la'rrivo del 'printJipe del mascherato principe I' arrivo. of the disguised prince the arrival. (I'd like to announce the arrival of the bogus prince.)

)

I fortu'nato Fortunato Excellent

kon'siMo consiglio! advice!

da Da As

'semplitJe semplice a simple

sku'dje.D scudiero squire

il 'k;)re 'delle 'femmine 'mEM;) zve'lar sa'pr;) il core delle femmine meglio svelar sapro. the heart of the women better lay bare I will. (as a simple servant I will be able to better lay bare the hearts of these women.) dan'dini Dandini Dandini,

Ii I:

I i :: i,;i,1

.:1

~tl ,f:

W

;;1

ii :!'

li

1 ~

:i

r:,.

I:-,

j

~.

Ii

1'1-

I~:f~: I~'

~1:

~Ii il.1

,i

i:I 'I ! W

'I!'

i!;

if~: .,11' :111·

ill'"I!

:!l'i~!: 1lr,

da da the

'printJipe principe... prince ...

(Don Magnifico enters, dressed in his finest clothes. He approaches Ramiro.)

MAGNIFICO d;)'mando urn Domando un Ibeg a e E and

sua Sua His

rni'lljon di million di million

al'tettsa Altezza Highness

~)

Ii:

~[

retJi'tarld;) recitando playing

per'doni perdoni. pardons.

;i' j;

o-

in'tarlt;) intanto, meanwhile,

RAMIRO a'rriva Arriva. He'll be arriving.

MAGNIFICO e 'kwand;) quando? E when? But

il il the

'prentJE Prence? Prince?

'dika Dica: Tell me,

La Cenerentola, Act I

1

)

RAMIRO fra tre Fra tre In three

mi'nuti minuti! minutes!

MAGNIFICO (excited) tre mi'nuti a Tre minuti! ah Three minutes! Ah,

I I

Ie'vad:) Levado I am off per per with

23

ad ad to

'kweste queste these

'fiAAe tiglie, daughters,

affre'ttar affrettar. hurry them along. fa'gattse ragazze girls

zbri'gatevi sbrigatevi: hurry up;

ke ehe Ohwhat's

'sseTVe serve? the use?

'skuzi Seusi: Excuse me;

bene'dette benedette blessed

'sek:)}:) e mo'ment:) t:)e'lette urn 'alIa un secolo e un momento alIa toelette. a century is a moment for their primping. (with these blessed girls, a moment's primping lasts a century with them!)

un

(He goes into his daughters' room.)

)

RAMIRO ke bu'ffone Che buffone! What a buffoon!

e E But

s:)s'tjeIJ sostien sustains

ke che that

'kweste 'mura sta iI] queste mura sta in within these walls there dwells

'basta Basta, All right,

ve'drem vedrem. we'll see.

ali'd:)fo Alidoro Alidoro

'aIle AIle To

sue sue his

mb mio my

ma'estr:) maestro tutor la b:)n'ta la bonta kindness

'fiAAe tiglie daughters

mavvi'tfini kOIIJ'vjeIJ ke eonvien che m' avvicini. I had better get close. (I'd be well advised to get to know his daughters better.) (A noise is heard outside.)

kwal Qual What

fra'gor fragor!. .. . I nOIse ....

nom miIJ'gann:) non m'inganno. I'm not wrong.

'ekb Eeco Here is

(Enter Courtiers, Dandini, Magnifico, Clorinda and Tisbe.)

)

dan'dini Dandini. Dandini.

pju pin most

'ppura pura! pure!

La Cenerentola, Act I

24

j

COURTIERS 'sp;)za a'frettati 'JeMi la sposa, affrettati: Scegli la bride, hurry; Choose a

printJi'pesca principesca princely

la La The

CAVATINA DANDINI 'kome un Come un a As

sin]'vola via le'ta sin'vola via l'eta: flies away the age: (time is passing you by;) se se if

'linea linea, lineage,

'ape ape bee

n;) no, not,

)

I

sestiIJ9we'ra s'estiguera. will die out.

'd30rni da'prile ne giorni d'aprile ne' of April in the days

va v;)'land;) le'dd3efa e sker'tsoza va volando, leggiera e scherzosa; goes flying, lightly and playfully; (As a bee on an April day goes flying lightly and playfully;) 'korre al Corre al It darts to the

giglio, poi lily, then

'fjore 'doltJe UIIJ dolce un fiore sweet a flower (seeking a sweet flower fra Fra Among

Ie Ie the

'salta 'ana 'f;)Za salta alla rosa, springs to the rose, per per for

a tJer'kare a cercare to seek for itself.) 'belle belle fair maids

'tante ve'dute d3a ne ;) tante Neho vedute gia already so many I have seen 'tr;)VO n;)n trovo non I can't find

un

urn un a

bo'kkone boccone tidbit

skwi'zito squisito delicious

un a

se. itself.

ma'dd3iro m'aggiro I rove

e e and

e pp;)i e poi and then

'tante tante; some;

d3u'dittsjo giudizio, mind,

rna Ma But

se

per per to suit

un un or

ri'miro rimiro: look them over;

sem'bjante sembiante, a face, me me. me.

CLORINDA (unctuously) 'prentJe Prence...14 Prince .. .

14

"Prince" in Italian can be principe, or prence, the latter a more poetic form.

La Cenerentola, Act I

)

TISBE (likewise) 'sire Sire... Sire .. . CLORINDA, TISBE rna 'kwanti fa'vorl Ma quanti favori! But how many favors! (How honored we are by your favor!) MAGNIFICO di'luvjo ke Che diluvio, What a deluge,

ke che what

a'bisso abisso an ocean

di di of

o'non onori! honors!

di di from

kwa qua.) me!)

DANDINI (turning to one, then to the other) 'nulla ve'ttsoza gra'ttsjoza Nulla. Vezzosa! Graziosa! It's nothing. Pretty one! Charming one!

(aside,to Ramiro) 'dib Dico AmI doing

)

'bene bene? all right?

son 'tutte pa'pa Son tutte papa. They're all daddy. (Just like their daddy.) RAMIRO (to Dandini, softly) 'bestja a'ttent=:> (Bestia! attento! (You ass! Be careful!

ti 'sk~sta ti scosta get away

DANDINI (to the two sisters, who are longingly looking at him) per pje'ta 'kwelle 'tIiAAa abba'ssatE Per pieta, quelle ciglia15 abbassate. For pity's sake, those eyes lower. (Lower your eyes, for pity's sake!)

gab'ppand=:> sefIJ va la Galoppando sen va la Galloping away goes my (My wits are leaving me apace,)

)

e e and

fra fra at

1

i the

'kolpi colpi shots

dun d'un ofa

ra'd30ne ragione, reason,

'doppj=:> ka'nnone doppio cannone double cannon

15 Eyes in poetic Italian have different names: Occhi is the common name. Then there are ciglia, rai, pupi/le, /umi, fuochi, and mongibelli.

25

26

La Cenerentola, Act I

spalal)'kata la 'brettJa e di dd3a spalancata la breccia e di ghl. wide open the breach is already. (and you've breached the fortress of my heart with the intensity of a double cannon shot!)

)

Vezzosa, graziosa, son tutte papa. (to himself) rna

(Ma (But

al al at the

fi'nir finir end

'della della of

'n;,stra b'mmedja nostra commedia, our comedy,

ke tra'd3edja kwi 'naHer che tragedia qui nascer what tragedy here be bom (what a tragedy there will be here!) CLORINDA, TISBE (each to herself) ei mi 'gwarda sos'pira Ei mi guarda, sospira, He is looking at me, he sighs,

e

mb

he's

mio my

e

'skjavo schiavo slave

d;,'vra dovra!) must!)

de'lira delira, he is enraptured,

nOIIJ ve non v'e there is no

'dubbjo dubbio, doubt,

di dd3a di gia. already.

RAMIRO (with interest, seeing if Cenerentola is coming back) a per'ke kwi non 'rjede b'lei Ah! perche qui non riede colei Ah! Why here does not come she kOl) kwe'llarja di 'grattsjae b;,n'ta con quell'aria di grazia e bonta? with that air of charm and kindness? (Ah! Why does that girl with that air of charm and kindness not come here?) MAGNIFICO (to himself, referring to Dandini) e d3a 'k;,tt;, stra'k;,tt;, E gia cotto, stracotto, He's already smitten, head over heels,

sp;,l'pat;, spolpato. undone.

lettse'llentsa si 'kand3a im maes'ta L' eccellenza si cangia in maesta. ("Excellency", is soon to become "Your Majesty" ... )16 CHORUS Scegli la sposa, etc. (The Courtiers leave. Dandini observes the two sisters and their father)

) 16 Foolish Magnifico is imagining himself becoming a member of "Prince" Dandini's court and being addressed as "Your Majesty", and not simply as "Your Excellency", as heretofore, being a simple Baron.

La Cenerentola, Act I

)

allegrissima'mente Allegrissimamente, Delightful, ke Che What

'talis talis like

bei 'kwadri bei quadri! lovely pictures (you make)! ke che what

'tfiAAa ciglia! eyes!

b'ttava l'ottava the eighth

e e and

'n:)na nona ninth

'patris Patris, father,

'ta1em ta/em like

bo'kkino bocchino, sweet little mouths,

'sjete Siete You are d3a GUl Yes,

ke che what

mera'viAAa meraviglia. wonders (of the world)! 'fiAAa Figlia. daughter. 17

CLORINDA (curtsying) 'grattsje Grazie. Thank you. MAGNIFICO al'tettsa Altezza Your Highness

)

ke che what

(also bowing) 'delle delle of all

al'tettse Altezze, Highnesses,

mi kOll)'fonde 'ddiJe dice? Mi confonde: are you saying? I'm in a state of confusion;

debo'lettse debolezze. I'm feeling weak.

DANDINI (flatteringly) 'vere fi'gure e'truske Vere figure etrusche. True figures Etruscan.

(softly, to Ramiro)

'dib 'b~ne Dieo bene? Am I saying it right? (How am I doing?) RAMIRO (softly, to Dandini) ko'mintfi a 'dirle 'gr:)ss£ Cominci a dirle grosse. You're starting to exaggerate.

)

DANDINI (softly, to his master) 1:) 'r£tfit:) da 'grande 10 recito da grande, I am playacting a big role,

e e and

'grande e'ssend~ grande essendo, being a big personality,

17 Of course, the servant Dandini is not quite up on his Latin declensions. The phrase in correct Latin should be talem patrem, talte jilite.

27

La Cenerentola, Act I

28

'grandi grandi big

1£ :-> da spa'far Ie ho da sparar. I have to fire off (my lines).

MAGNIFICO bel Bel Beautiful

(softly, to his daughters) printJi'p:->tt:-> ke nOlI) vi 'skappi principotto! Che non vi scappi, little prince! Let him not escape you,

a'ttente attentel watch out!

DANDINI (with exaggerated pomposity, speaking very quickly) or 'duI)kwe segwi'tando kwel dis'korso ke n:->'m Or dunque, seguitando quel discorso che non ho Now then, to continue that speech that I have not

mjei miei my

ke che who

fra 1 fra i among the

'kw:)ndam quondam recently departed

e e and

spi'fand:) spirando as he expired

a ha did

ordi'nat:) ordinato order me

ke che that

a 'vista a vista, at first sight

kwal qual like a

io'sia kam'bjale cambiale io sia promisory note, that I be

:)

or

son son lam

a a to

'tutto tutto the entire

0

'luI)gi 'vjadd3i lunghi viaggi long journeys

rit:)rnat:-> ritornato, returned,

dai dai from

disefe'dat:-> . diseredato, disinherited,

'fatt:) :) fatto ho I sent out

il vitJi'nat:) il vicinato neighborhood

e e and

e

e had

un un an

e e and

komin'tJat:-> cominciato, begun,

i1 mb pa'pa tr:)'vat:) il mio papa trovato, my daddy having found

kapit:->mb:)'lat:) capitombolato, fallen headlong,

sp:->'zat:-> sposato, married, ilI)'vit:) invito invitation

tr:)'vando trovando if! find

um un a

bo'kkone boccone tidbit

deli'kat:-> delicato delicate

desti'nat:) me per b per me l'ho destinato: for myself I have reserved it: (Now then, to continue that speech that I haven't yet begun, on returning from my long travels and fmding my daddy who had fallen headlong into the realm of the late departed and dying ordered me to get married at first sight like a promisory note or be disinherited I sent out invitations to the entire 8 neighborhood and when I find a delicate tidbit of a girl to reserve her for myself:i :)

Ho I've

'dett:) detto, spoken,

e e and

a'dess:) 'prend:) 'fjat:-> adesso prendo fiato. now I can catch my breath. I

) 18

This speech should be delivered at great speed, with great pomposity, hardly stopping to breathe.

29

La Cenerentola, Act I

)

MAGNIFICO (taken aback, to himself) ke elo'kwentsa nOr'tJina Che eloquenza norcina! What eloquence norcina!19 (What mangled eloquence!) (What erudite, learned eloquence!) (Cenerentola enters and sees the luxurious attire ofDandini, while Ramiro gazes at her lovingly.)

CENERENTOLA be'llabit;) ke i che bell'abito! (Ih, what lovely clothes! (Oh,

e e And

kwe'llaltro quell'altro the other one

RAMJRO 'ekb b'l£i Ecco colei! There she is!

il il my

br cor! heart!

rni ri'palpita Mi ripalpita It's throbbing again

DANDINI 'belle fa'gattse Belle ragazze, Lovely girls, ai 'n;)stri ai nostri our

se se if

kava'ljefi cavalieri. cavaliers.

vi de'J1J1ate vi degnate,

you deign to do so, il

n The

'lepp;) legno21 coach

mi 'gwarda miguarda.) who is looking at me.)

intJambe'llate il inciambellate20 il take by the e

e is

'brattJ;) braccio arm

'pronto pronto. ready.

CLORINDA (attended by the cavaliers) an'djam;) Andiamo. Let's go. TISBE pa'pa ettJe'llentsa Papa, eccellenza, Daddy, Your Excellency,

n;)n non don't

tar'date tardate delay

a a ill

ve'nir venir. commg.

MAGNIFICO (ill-humoredly, as he notices Cenerentola's presence) ke fai tu kwi il ka'ppello e Che fai tu qui? n cappello e What are you doing here? My hat and

)

il il my

bas'tone bastone. cane.

19 Norcina can have a double connotation. There is a well known seat oflearning in Norcia, an Umbrian university town; therefore Magnifico could be praising Dandini for his truly eloquent breathless explanation. However, since Magnifico's line in the score is marked "taken aback, to himself', it also can mean "the eloquence of a pig-slaughterer". Norcia, in addition to being a seat of learning, is a region where most of the pig slaughterers have their abattoirs, so much so that the word in Italian for a pig slaughterer is norcino. 20 Ciambella is a donut-like pastry with a hole in the middle. The verb inciambellare designates the action of a gentleman using one arm in an arc, expecting a lady to place her hand through the space between his body and his curved arm. The Zingarelli dictionary does not show this word, so we must assume that it is an invention of the librettist to further show Dandini's "pig-slaughterer's eloquence" 21 Legno means "wood". It also means "a wooden boat". In this case it refers to "the wooden coach".

La Cenerentola, Act I

30

CENERENTOLA e Eh! Why,

)

si ssi'.JlJ1or si Signor! yes sir!

I )

(taking her eyes off Ramiro and hurrying into one of the rooms) DANDINI (continuing to use grossly inflated language) persegwi'tate 'prest::> kon i pje bar::>'nali Perseguitate22 presto con i pie' baronali Follow soon with your feet baronial ma'J1J1ifitJi ,mjei 'kwarti fe'ali i magnifici miei quarti reali. to the magnificent my quarters royal. (Will "Your Baronial Excellence" soon take his "Baronial feet" and come see my magnificent royal quarters.) . (He leaves.)

MAGNIFICO 'monti Monti Get in

(to Dandini, as he leaves) iIJ ka'rr::>ttsa e in carrozza e your coach and

'veIJgo vengh. I'll be right there.

(He goes into the room into which Cenerentola had gone.) RAMIRO e'ppur Epur Yet,

b'ld colei she

rive'der v::> riveder. vo' I want to see again.

MAGNIFICO (from within, screaming) rna 'laJJami Ma lasciami! Oh, don't bother me! RAMIRO la 'zgrida La sgrida! He's screaming at her! (Magnifico re-enters, coat and cane in hand, with Cenerentola ingenuously holding on to his coat.)

CENERENTOLA sen'tite Sentite. Listen.

, 1

The word perseguire is an inflated way for Dandini to simply say "follow". It is yet another example of the servant trying to assume (but not quite succeeding) the elevated language of his royal master.

22

31

La Cenerentola, Act I

)

MAGNIFICO 'vola il'temp:J n tempo vola. Time is flying.

vW:Ji laUanni Vuoi lasciarmi? Will you let go of me?

RAMIRO ke v:J'rra (Che vorra?) (What can she want?) CENERENTOLA 'una pa'f:Jla parola. Una One word. QUINTET CENERENTOLA (to Magnifico) si'.J1J1or 'una pa'f:Jla 11) Signor, una parola: in Sir, one word: To

u'nofa un'ora, for an hour,

)

u'nofa 'sola un'ora sola an hour only

'kaza casa the house

p:Jr'tatemi a portatemi a take me' to (take me to that ball.)

di di of

kwel quel that

'printJipe Principe, Prince,

ba'Uar ballar. dance.

MAGNIFICO (laughing) iii !h! Ih! Ih! Ha! Ha! Ha! DANDINI (returning and seeing Ramiro motionless) k:J'ze kwi fa la 'statua Coste, qui fa la statua? What's this, why do you stand there like a statue? MAGNIFICO (derisively, to Cenerentola) 'bella 'venere ve'ttsoza la La bella Venere! Vezzosa, The beautiful Venus! So charming,

zgwa'jata sguaiata, vulgar

kova'tJenefe a covacenere!23 Ah! lazy girl! Ah!

'laHami lasciami! go away!

pompo'zetta pomposetta! ... the pompous guttersnipe!... 'dedd3:J deggio I must

an'dar andar. go.

RAMIRO (softly to Dandini) si'ientsjo ed :Jsser'vjam:J Silenzio ed osserviamo. Silence and let us observe.

) 23

Covacenere means "a lazy person who loves to sit next to the fire doing nothing".

La Cenerentola, Act I

32

DANDINI an'djam:) :) rna andiamo 0 Ma are we leaving or But

n:)n an'djam:) non andiamo? not?

)

RAMIRO mi'sent:) latJe'rar Mi sento lacerar. I feel myself being cut to the quick. (I am upset by the way he is treating her.)

CENERENTOLA rna 'una me'ddzora Ul) 'kwart:) Ma una mezz' ora, un quarto ... But one half hour, a quarter (of an hour) .. (Just for half an hour, a quarter of an hour... )

MAGNIFICO (lifting his cane, threateningly) :) 'laJIami :) ti'strit:)b o lasciami, 0 ti stritolo! Either, go away or I'll crush you! (or I'll beat you to a pulp!)

RAMIRO, DANDINI (holding back Magnifico) fer'rnate Fermate! Stop it!

MAGNIFICO (surprised, and bowing to Dandini) sere'nissima Serenissima! Most Serene Highness! (turning to Cenerentola) rna'vattene Ma vattene! Get lost!

(to Dandini once again) alte'ttsissima Altezzissima! Most Exalted Highness! (she's nothing but a)

iJlJl:)ran'tissima ser'vattJa Servaccia ignorantissima! lowly servant, most ignorant!

RAMIRO, DANDINI (in turn, to Magnifico and Cenerentola) 'serva Serva? A servant?

CENERENTOLA tJ :)'e Cioe ... That is ...

)

j

33

La Cenerentola, Act I

MAGNIFICO vi'lissima dun estra'ttsjon ba'ssissima Vilissima. D'un'estrazion bassissima. Most base. From an extraction most lowly. (The basest of girls, coming from the lowest of the low extraction.) vw;,l far Vuol far She wants to play

la 'kara la suffi'tI ente la sufficiente, la cara, the presumptuous one, the darling,

e e and

n;,'ne none she's

va Va Go

'kamera iI] in camera into the room

'bw;,na buona a good

a a for

lavvve'nente l'avvenente, the great beauty,

'njente niente. nothing.

a la 'polvere a la polvere the dust to (and sweep up the dust.)

spa'ttsar spazzar. sweep.

DANDINI (stepping up to Magnifico, with authority) rna Ma But

'kar:) caro dear

dom Don Don

ma'J1J1ifiko Magnifico, Magnifico,

via via, come now,

n:)n la strapa'ttsar non la strapazzar. don't mistreat her so.

RAMIRO

)

o'rora Or ora Soon

n:)m 'p:)sso pju non posso pin I won't be able any longer

la mia 'bllera la mia coIIera my wrath

fre'nar frenar. to contain.

CENERENTOLA (ingenuously) a Ah! Ah!

'sempre sempre Always

sipJ10ri Signori, Gentlemen,

fra la fra la among the

d;,'vr;, res'tar dovro restar? must I stay?

'tIenere cenere ashes

perswa'deteb p~r'tatemi persuadetelo; portatemi persuade him, take me

a ba'llar a baIIar. dancing.

(As Magnifico breaks free from Cenerentola and is about to leave with Dandini, Alidoro enters with a sizable register in his hands.) ALIDORO kwi nel Qui nel Here ill kon con with

)

mb mio my

dom mapp.ifik;, Don Magnifico Don Magnifico

'bditIe codice register stan stan live

'delle delle of

Zl'teII e,24

tsi'telle

tre tre three

s;,'relle sorelle. sisters,

eligible maidens,

24 In Italian, words containing Z are a vexing problem. The word for "spinster", "old maid", "eligible maiden" is zitella_pronounced with a voiceless [ts] initial sound as shown above. HOWEVER, no matter what the great dictionaries say (Zingarelli, Melzi, Garzanti) Italians will continue to pronounce it as [dzi'tella) and not [tsi'tella], just as they do with every other word that starts with z. Viva Italia!

La Cenerentola, Act I

34

i'll! (to Magnifico) lil

i

[I 1·

or

.

Or Now

ke che that

il il the

va va IS

a a to

la'sp;,za la sposa a bride

'printJipe Principe prince

'JJeilere sciegliere, choose,

)

1

1

vi d;,'mand;, 'io 'tertsa 'fiA,(a la la terza figlia io vi domando. thlrd daughter I must ask you to let me see. the (Now that the prince is about to choose a bride, I must ask you to let me see that third daughter.) I,"

MAGNIFICO ke 'tertsa Che terza What thlrd

(confused) 'fiA,(a figlia daughter

mi va fi'ilaud;) mi va figliando'? are you trying to beget me?

ALIDORO 'tertsa s;,'rella Terza sorella. A third sister.

,1.

li.I''

1

, '~.

MAGNIFICO (playacting, shedding tears) 'ella mo'ri Ella... mori. She... died.

,'I

! "

ALIDORO e'ppur Eppur And yet

nel 'bditJe nel codice in my register

CENERENTOLA (to a di me (Ah! di me (Ah! About me

n;,n ve non v' e it doesn't say

k;,'zi cosio so.

herseW 'parlan;, parlano!) they're speaking!)

(advancing naively)

n;) No, No,

nom mo'ri non mori. she didn't die.

MAGNIFICO (to Cenerentola) sta 'tsitta li Sta zitta Ii! Be quiet! ALIDORO gwar'date Guardate Look

kwi qui! here!

J

I

35

La Cenerentoia, Act I

)

MAGNIFICO (pushing Cenerentola into a corner) se tu res'pid ti 'skanno Se tu respiri ti scanno If you (as much as) breathe, I'll slash your throat

kwi qui. here.

RAMIRO, DANDINI mo'd 'ella Ella mori? She died? MAGNIFICO (to Dandini) al'tettsa mo'ri Altezza, mori. Your Highness, she died. (There is a moment ofsilence.)

ALL FIVE nel 'volt;:, Nel volto On the faces

es'tatiko estatico ecstatic

si'ledd3e si legge one can read

)

il il

the

di di of

'kwesto questo this one

'v;:,rtitJe vortice turmoil

ke on'dedd3a 'dubita e dubita che ondeggia e which wavers and doubts (which wavers and doubts in uncertainty.) MAGNIFICO se tu Se tu If you

e e and

'kwello quello that one

del del in

lor lor their

tJer've1b cervello brain

e e and

in'tJert;:, incerto uncertain

(between his teeth, dragging Cenerentola to the side) pju 'mormori 'solo 'una 'sillaba pin mormori solo 'una sillaba, murmur only one syllable (more),

un tJimi'terjo kwi si fa'ra un cimiterio qui si fara. a cemetery here will be made. (One more word out of you and this house will be your cemetery!) (One more word out of you and I will kill you!) CENERENTOLA de sokko'rretemi de non la'JJatemi Deh, soccorretemi, deh non lasciatemi... Please help me, please don't leave me ... a Ah! Ah!

)

di di Of

me me me,

ke mai 'mi3era misera che mai wretched one, what

sa'ra sara? will become?

sta sta. is.

La Cenerentola, Act 1

36

ALIDORO (moving between them) 'fate 'men:) 'strepit:) via fate Via, meno strepito, be noise, Come, less :)

0

or

'skandab scandalo scandal

'kwalke qualche some

)

si'lentsj:) silenzio, silent, kwi qui here

I

naIIe'ra nascera. will be caused.

RAMIRO (to Cenerentola) via kons:)'latevi Via, consolatevi: Come, cheer up; (to Magnifico)

la'Jfate1a lasciatela. let her be.

si]1]1or Signor, Sir, (to himself)

d3a la mia 'furja kre'II endo va GHl la mia furia crescendo va. fury is growing. Already my (I am becoming more and more furious.) DANDINI 'sono io sono 10 am 1

um un a

vi'mand:) Vimando 1 am sending you

'printJipe principe, prince, al al to the

:)

0

or

'son:) sono amI

ul) un some

'kav:)b cavolo? cabbage?

'djav;)b diavolo: devil;

(to Cenerentola)

ve'nite kwa Venite qua. Come here. (Dandini pulls Magnifico away from Cenerentola and takes him off, while the others follow. Cenerentola runs into her room. Alidoro enters, dressed as a beggar but wearing a Philosopher's garb underneath.) 25

ALIDOR0 'tutt;) si tutto Si, everything Yes,

kand3e'ra cangiera. will change.

This scena and aria of Alidoro (bearing No.6-A) is found at the end of the score, and is the one sung at the latest Metropolitan Opera revival. It is vocally much more demanding than Vasto teatro e il mondo, the now superceded aria which is found in the score at this place.

25

I

-

La Cenerentola, Act I 'p:Jka 'polve kwel 'bIle Or'gOM:J poca polve Quel folIe orgoglio That mad pride a little dust (That mad pride, like a puff of wind will turn to dust,)

)

37

sa'ra sara, will become,

'd3:Jko del 'vent:J gioco del vento, a puff of wind,

al 'tener:J la'mento suttfede'ra il so'rrizo 'fiAAa e e al tenero lamento succedera il sorriso. Figlia... and to tender complaints will follow a smile. Daughter ... (and, my daughter, after all your tender complaining, you will be able to smile once again.) CENERENTOLA 'fiMa voi Figlia voi you Daughter il My

pa'driJ1J1:J padrigno stepfather

e e and

'vvoi voi, you,

n

mi kja'mate :J mi chiamate? Oh are calling me? Oh ba'rone Barone Baron

vW:JI non vuol doesn't want

'essermi essermi to be my

gwar'dando guardando as I see

i the

ll:J11]

per 'altr:J per altro on the other hand,

1 'strattfi e e i stracci and the rags (and, on the other hand,

'kwesta e 'bbdla questa e bella! that's a fine one! 'padre padre... father ...

'strattfi 'v:Jstri stracci vostri yours rags

'mjei miei mine as I look at the two of us in rags)

'deJ1J1a dum 'padre tal 'fiAAa sa'rei degna d'un padre tal figlia sarei. father such a daughter I should be. worthy of a (I should be a worthy daughter to such a father.) ALIDORO 'tatfi 'fiMa Taci, figlia, Hush, daughter,

e e and

CENERENTOLA 'teko e Teco? e With you? And

'ddove dove? where?

ALIDORO del 'printfipe Del Principe Of the Prince (To the Prince's ball.)

al al to the

'vjeni vieni come

'meko meco. withme. 26

fes'tino festino. celebration.

) 26 Meco, teco, seco are old forms of con me, con te, con se (with me, with you, with him), from the Latin mecum, tecum, secum. The Catholic missal to this day is called Vade mecum, "it goes with me".

38

La Cenerentola, Act I

CENERENTOLA rna 'dimmi pelle'grino Ma dimmi, pellegrino, Now tell me, pilgrim,

t::> 'data t'ho data I gave you

per'ke perche because

'p::>ka poca little

bla'ttsjone colazione breakfast

1

)

)

tu mi 'vjeni a bur'lar tu mi vieni a burlar? you come here to make fun of me? (Tell me, pilgrim, are you coming to make fun of me because I served you such a meager breakfast?) va Va Go

'vvia 'v::>iJ..::> se'rrar la via! Voglio serrar la away! I want to lock the

'p::>rta porta... door .. .

en'trar 'p::>ss::>n::> de'ladri entrar Possono de'ladri come in thieves Can (Thieves could break into the house) ALIDORO su'bfuna n::> No! sublima No! Give flight to

i1 il your

kalpeste'rai Calpesterai Your feet will stand

mel) ke menche instead of in

rapi'rai 'tutti Rapirai tutti You will charm all

1

i the

'kw::>ri cuori. hearts.

vjem 'meko Vien meco Come with me

e e and

non te'mer non temer; do not fear.

pen'sjer::> pensiero! thoughts!

e e and

a'llora sta'rei 'freska allora starei fresca then I'd be in trouble

'tutt::> Tutto Everything

'fal)g::> fango mud,

kan'd3::> cangio has changed

per per for

da'vvero davvero. for sure.

te tel you!

i te'z::>ri i tesori, in treasures,

per te da'llalto mis'pira Per te dall'alto m'inspira For you from high above I am inspired by (On your behalf a God inspires me from high above)

un un a

'nume Nume God

nOl) 'kr::>Ua i1 a 'kui 'tr::>n::> a CUi27 non crolla il trono. to whom doesn't topple the throne. (whose throne will never be toppled.) (who sits on high on a throne never to be toppled.)

Cui, is a ubiquitous Italian word constantly being confused with qui, and pronounced as the latter. Notice the phonetics above: cui is [kuiJ and qui is [kwiJ. For lovers of Donald Duck comics, you may recall that he had three nephews: Louie, Hewie, and Dewie. I have invented a fourth nephew by the name Kooey. Remember his name every time you pronounce cui. 27

La Cenerentola, Act 1

e

)

E And

se se if

'dubiti dubiti you are in doubt

aIJ'kor 'mira ancor mira still, behold

39

ki chi who

'ssono sonol lam!

(He sheds his beggar's costume, revealing himselfas a handsome, well-dressed gentleman.) ARIA la del La del There, ill

tIel ciel Heaven's

nellarkano nell'arcano arcane

del po'ter sullal'tissim:) del poter sull' altissimo with a power upon His most high 'veMa veglia presides

un un a

pro'fondo profondo depths

'tr:)n:) trono throne

'nume sipjlo.re Nume, signore God, Lord

del 'mondo del mondo, of the world,

'basso 'morm:)ra il 'tw:)m al kui pJe al cui pie basso mormora il tuono. at Whose feet low rumbles the thunder. (at the feet of Whom thunder merely lets forth a low rumble.) (at Whose feet even thunder in its awe rumbles feebly.)

)

'tutt:) Tutto Everything

sa sa, He knows,

'tutto tutto everything

'vede vede, He sees,

nellam'baIJa pe'rir nell'ambascia perir in distress to perish (that goodness should die in distress.)

la b:)n'ta la bonta. goodness.

fra la Fra la Among the

'pjant:) la'ffanm pianto,l'affanno tears, need

ei ei He

'tIenere cenere, ashes,

ti'vede ti vede sees you,

il il

the :)

0

oh, (as a)

fan'tIulla fanciulla young girl

e e and

n:)n'laIJa non lascia He won't permit

inn:)'tI ente innocente, innocent,

e kan'd3ando il tu:) 'stat:) ti'rann:) e cangiando il tuo stato tiranno and changing your state tyrannous (and changing your most painful state) 'lamp:) splen'dente fra lo'rror 'vibra un fra l'orror vibra un lam po splendente. lightning bolt shining. amid the horror (of your existence) He unleashes a (He unleashes a shining lightning bolt amid the horror of your servile existence.)

)

40 n:J No, No,

La Cenerentola, Act I non te'mer kam'bjata la si e 'JJena non temer, cambiata la scena: sie . situation: it has changed the don't be afraid, for (the situation is now changed:)

la 'tua 'pena La tua pena Your suffering

)

kan'd3and:J d3a va cangiando gia va. is already changing (to something else).

kre'H ente mormo'rio non ti 'sembra dasbl'tar Un crescente mormorio non ti sembra d'ascoltar? A growing murmuring does it not seem to you to hear? (Don't you seem to hear an approaching noise?) Ul)

a sta 'ljeta il 'bkkjo'mio Ah, sta lieta: il cocchio mio Ah, be happy: it's the coach mine

su su upon

kui 'voli cui voli which you shall fly

tu Tu You

mi 'gwardi mi guardi? are looking at me?

ti kOfIJ'fondi Ti confondi? Are you bewildered?

ei Ehi, Hey,

ra'gattsa ragazza, young girl,

non ris'pondi non rispondi? aren't you answering me?

sbntJer'tata Sconcertata Bewildred

e e is

la tua 'testa la tua testa your head

e e and

rim'baltsa rimbalza it sways from

kwa qua here

a a to

trioIIJ'far trionfar! triumph!

e e to

la la, there,

'kome 'nave 1IJ gran tem'pesta ke di 'sotto in su come nave in gran tempesta che di sotto in su like a ship ill a great storm that from below upwards of (like a storm-tossed ship that plunges into and then out the waves.) si Si, Yes,

rna rna but

il d3a gia il already the

'nemb:J e nembo e strorm is

ssereni'ta il des'tin:J Jinti'lb scintillo serenita. n destino There gleamed serenity. Fate (A ray of serenity has shined.) linn:J'tJentsa L'innocenza Innocence

sefIJ va sen va. goes.

termi'nab terminato, over, se s'e has

kan'd3at:J cangiato, changed,

brille'ra brillera. shall shine.

(He leads her into his coach and they both leave. The scene changes to a study in Ramiro's country house. Dandini enters with Clorinda and Tisbe on either arm, followed by Magnifico and Ramiro.)

La Cenerento/a, Act I

)

DANDINI rna 'brav~ Ma bravo, Well done,

'karo il mio caro il mio my dear

41

dorn rna)1Jlifiko Don Magnifico. Don Magnifico.

di 'vij1j1e Di vigne, About vineyards,

di di of

ven'demmje vendemmie harvests,

rna'vete 'fatto m' avete fatto you've given me

'una

disserta'ttsjone '1odo il 'v~str~ dissertazione. Lodo il vostro dissertation. I praise your

una a

di di of

'vini vini WIlles ta'lent~

talento. talent.

(to Ramiro)

si'vede Sivede One can see

ke che that

a stu'djat~ ha studiato. he has studied.

(back to Magnifico and his courtiers)

si 'p~rti suI rno'mento 'dove Si porti suI momento dove Take him at once to where (Take him at once to our wine cellars.)

)

e e and

se se if

al al after the

10

sta sta he stays

'saldo e saldo e steady and

tri'd3ezim~

a'ssadd3~

trigesimo thirteenth

assaggio tasting,

pr~'m~v~

10 promovo I shall promote him

io

10 I

)

dis'tiIJ9 WO distinguo have an eye

aHo'nor alI'onor to the honorable post

i for

ta'1enti e talenti e talent and

sta sta is

di di of

pju Pin The more

pju pin the more

se ne 'kava se ne cava, one draws from it,

(softly, to his daughterE.._

k~nser'vat~

vino WIlle

conservato. stored.

kanti'njer~

cantiniero. vintner.

'premjo premio I reward

e IS

'vin~

in'trepido intrepido upstanding

MAGNIFICO lal'tettsa 'v~stra 'prentIe l' Altezza Vostra Prence: Prince; Your Highness

e

il 'n~stro il nostro our

urn un a

il il a

'sadd3~

saggio. c1everman.

'pottso di pozzo di well of

bon'ta bonta. kindness.

ne'resta ne resta there is left

a a to

ka'var cavar. draw.

La Cenerentola, Act I

42 'fiAA:e Figlie, Daughters,

ve'dete vedete? do you see?

non 'redd3e al 'v::>str::> 'mert::> Non regge al vostro merto; He cannot resist your worth; (He is unable to resist you;)

ne la mia promo'ttsjone in'dittsj::> n'e la mia promozione indizio for that reason is my promotion an indication (and that is the reason for my promotion [to vintner].)

)

1

'tJert::> certo. certain.

(aloud, with exaggerated unctuousness, to his daughters)

tiz'bina Tisbina, sweet Tisbe,

klofin'duttS a Clorinduccia, Little Clorinda,

'vado Vado Iamgoing

iI) in to the

il te'nete a'llegro il tenete allegro the keep happy (keep the king happy.)

re reo king.

kan'tina cantina. cellar.

(He leaves.) RAMIRO (softly, to Dandini) e'zamina diz'vela (Esamina, disvela, (Observe, reveal,

aIJ'kb Anch'io Also I

e e and

fedel'mente fedelmente faithfully il il her

fra 'p::>b fra poco soon

k::>r cor heart

'tutto tutto everything

DANDINI (aside) 'k::>fe 'kredo ke il core credo che II heart, I believe, His

sia sia IS

urn un a

ma rna but

me'lon ta'Mat::> melon tagliato melon cut

un tim'balb lin'd3eJlJlO un timballo l'ingegno, a kettle-drum cleverness (and cleverness a kettle-drum,) tSer'vello 'una 'kaza spid3::>'nata e il e il cervello una cas a spigionata.) and his brain a house unrented.) (and his brain is as empty as an unoccupied house.) (aloud to Ramiro)

mi narre'rai mi narrerai. you will tell me.

ne tente'f::> ne tentero; will test;

le'ta kon 'vettsi zva'niskoIJ 'volto 1 del l'eta, con vezzi svaniscon volto i Del with age, charms disappear the Ofthe face (Beauty fades with age, but the heart always stays young.)

1

il il the

'k::>fe core...) heart... )

a a in

'fette fette; slices;

43

La Cenerentola, Act I

il mio vo'lere a Ilmio volere ha My will has eze'gwite Eseguite Carry out

'brtsa forza the strength

tr:)'ttando trottanto apace

dun d'un of an

e'ditto editto. edict.

il'tJenno mio u'diste il cenno mio. Udiste? my orders. Did you hear me?

RAMIRO u'di Udii. I heard. DANDINI (dismissing Ramiro) 'fid:) va'ssalb a'ddio Fido vassallo, addio. Faithful vassal, goodbye. (Ramiro leaves. Dandini turns to Clorinda and Tisbe.)

'son:) da 'ora Ora sono da Now lam with (Now back to you two. [of sorts],)

)

e e and

ke che that

il il that

sk:)mmette'rei ke 'sjete 'fatte al 'tomo 'voi torno,28 Scometterei che siete fatte voi. al you. I'd like to bet that you were fashioned at a lathe. I bet [you supremely comely damsels], were fashioned at a [celestial] lathe gwer'tJett:) guercietto squinting

il

a'more e 'stato amore e stato Cupid was

il

the

torni'tore tornitore. turner.

CLORINDA (grabbing Dandini) kom per'messo la ma'dd30re so'nio maggiore son io, Con permesso, (la Excuse me, (the the elder one I am, (I am the older of the two,) la 'prego 'onde la prego onde for which I beg you (to) (and I beg you to give me preference.) TISBE kon Con With

'darrni darmi gIve me

la la your

prefe'rentsa preferenza.) preference.)

(as above, grabbing Dandini by the arm) so'nio sua li'tJ entsa la mi'nore son io. sua la minore licenza: your permission: the younger one lam. (I am the younger one.)

in]vekkje'r:J Invecchiero I will grow old

pju pin much

'ttardi tardio later.

) Fatto al tornio (in poetic language torno) means a thing fashioned with exquisite care on a lathe (tomio), meticulously turned, honed and polished. What Dandini is saying to the two girls, in his inflated language is "you are a work of art, and Cupid himself was at the lathe!" 28

44

La Cenerentola, Act I

CLORINDA (interrupting) 'skuzi Seusi, Excuse me,

'kwella e quella e that one is

fan'tJulla fanciulla. a mere child.

'pr:>prj:> Proprio Really

n:>n sa di non sa di she knows

'nulla nulla nothing.

)

TISBE (as above) e un 'akkwa 'sentsa 'sale pe:r'metta 'kwella Permetta, quella e un aequa senza sale, Allow me, that one is like water without salt, (Allow me sir, my sister is the very quintessence of insipidity.) n:)lI) fa ne ben ne 'male Non fa ne ben ne male. She does no good nor bad. (She is really good for nothing.)

CLORINDA Di grazia, Excuse me,

i 'dritti 'mjei i dritti miei my rights

la 'prego la prego Ibeg of you

TISBE pe:r'doni Perdoni, Excuse me,

'veda veda, look,

non non don't

di 'grattsja

io io I

bilan'tJar bilanciar. to weigh.

'teIJgo fo'ssetto tengo rossetto. wear rouge.

CLORINDA as'k:olti Aseolti: Listen:

kwel su:) 'bjaIJb e di quel suo bianco e di that of her whiteness IS of (that whiteness of hers is [pure] whitewash.)

bjaIJ'ketto bianchetto. whitewash.

TISBE 'senta Senta.. . Listen.. .

CLORINDA rni favo'riska Mi favorisea ... Take me ...

DANDINI (breaking away from them somewhat miffed at their aggressiveness) 'anime 'belle mi vo'lete spa'kkar Anime belle, mi volete spaecar? do you want to tear me apart? My dears, dubi'tate non Non dubitate. Have no doubt. (to Clorinda)

due :> Ho due I have two

':>kki fe'ali oechi reali, eyes royal

e e and

n:>n a'd:>pr:> non ado pro I don't use

:>'kkjali oechiali. eyeglasses.

)

I

I 1

La Cenerentoia, Act I

)

45

fi'date pur di me (Fidate pur di me.) (Trust me.) (to Tisbe)

1

sta (Sta (Be

I

~

'kkara o cara.) oh my dearest.)

a'llegra allegra, happy,

(to himself)

1

anive'dertJi Arrivederci We'll see each other

1-

'prest~

'alIa presto alIa soon at

bI)'gara

Longara. 29 Longara.

TISBE (ironically bowing to her sister) mi1)'kin~ a v~straI'tettsa M'inchino a Vostr' Altezza. I bow to Your Highness.

1

CLORINDA (doing likewise) 'antsi allal'tettsa 'v~stra Anzi all'altezza Vostra. Also to Your Supreme Highness.

TISBE (sarcastically) a p~:r'tar1e Verre) a portarle I will come to bring you ve'rr~

'kwalke qualche some

mrnem~'rjale

memoriale. petition.

CLORINDA 'lekturn Lectum. Ditto. (Me too!)

TISBE tJe la ve'dremo Ce la vedremo. We shall see. CLORINDA 'forse SSl Forse si, Maybe yes,

I

J

)

'forse nn~ forse no. maybe no.

Longara is the name of an insane asylum at the time. Since it has no meaning for modem audiences, in the recent Metropolitan Opera production the phrase was changed to: Mia carD oggetto, per te sola mi batte iZ cor in petto, (my dearest, my heart beats for you alone in my breast.)

29

46

La Cenerentola, Act I

TISBE po'ter del 'mondo Poter del mondo! By Jove!

)

1

CLORINDA (bowing very low) Ie 'fattJo rive'rentsa Le faccio riverenza! I'll give you a low bow! (I bow to you most revendy)

TISBE :J mi spro'fondo Oh! mi sprofondo! Oh, I bow with a most profound respect! FIRST FINALE (A drawing-room in the Prince's palace. There is a table with writing materials. Don Magnifico is arrayed in a coat embroidered with bunches ofgrapes. He is surrounded by Courtiers.) COURTIERS bntJ:Jssiabza'kke Conciossiacosacche Inasmuch as

'trenta trenta thirty

'botti d3a gusb botti gla gusto, barrels already he tasted,

e be'vut:J a d3a per tre e fi'nor n:Jm bark:J'll:J e bevuto ha gUt per tre e f1nor non barcollo; three and up to now hasn't staggered; and drunk he has already for (Inasmuch as he already tasted thirty barrels [of wine] and drunk enough for three, and still has not even begun to stagger,)

e

e it is

pja'tJut:J piaciuto the pleasure

a a of

sua Sua His

maes'ta Maesta Majesty

nomi'narb nominarlo to name him

inten'dente dei Intendente dei Superintendent of

bi'kkjer bicchier, wine glasses,

prezi'dente presidente president

al al at the

vende'mmjar dire'ttor vendemmiar, direttor grape harvest, director

'onde onde so that

'tutti tutti all of us

MAGNIFICO inten'dente Intendente? Superintendent?

kon con with

in'tom:J a te intorno a te around you

dire'ttor Direttor? Director?

es'teza estes a extended

auton'ta autorita, authority,

dellev:J'e dell'evoe; ofBacchic revels.

tJi afb'lljam:J kwi ci affolliamo qui crowd here

prezi'dente Presidente? President?

kanti'njer cantinier: vintner:

a a to

ba'llar a sal'tar ballar, a saltar. dance, to jump.

kanti'njer Cantinier? Vintner? )

I

47

La Cenerentola, Act I

ke pja'tJer che piacer! What a pleasure!

'grattsje Grazie! Thank you! ke Che What

d3i'rand::>la girandola a whirl

si'vel)ga Sivenga Someone

::> nel ho nel I have ill my

a'skrivere a scrivere write down

k::>r cor! heart!

kwel ke quelche what

de'ttjam::> dettiamo. I am about to dictate.

(The men start to write.)

sei'mila Sei mila Six thousand

'bpje copie copies

p::>l poi then

ne v::>'AAam::> ne vogliamo. I want of it.

CHORUS 'pronti a 'skrivere 'tutti d3a Giil pronti a scrivere tutti Already ready to write all of us (We are all ready to write down what you say.)

)

MAGNIFICO noi dom rnajlpifiko Noi, Don Magnifico .. . We, Don Magnifico .. .

'kwesto irn questo in put that in

sjam siam are

kwi qui. here.

'bestje maJusb1e maiuscole. Bestie! capital letters. You asses!

ma'jusko1e MaiuscoIe! Capital letters !

(The men re-write and use capital letters.)

'bravi Bravi! Bravo!

ko'zi cos!. That's it!

noi Noi We,

dom majl.Juflko Don Magnifico, Don Magnifico,

dellanti'kissimo montefjas'kone dell' antichissimo Montefiascone; of the ancient (town of) Montefiascone;

)

kon con with

'Aaltri gli altri the other

'titoli titoli, titles

im in in the

spleni'tudine splenitudine plenitude

dautori'ta d'autorita, of his authority,

kOIl) con with

'duka duca Duke

'grande inten'dente grande intendente, great superintendent, 'venti venti twenty

e e and

ba'rone barone Baron

gram gran great

prezi'dente presidente, president,

e'ttJetera et cetera, etceteras,

ri'tJeva 'lordine ki 1edd3e'ra riceva l' ordine chi Ieggera: let (everyone) receive this decree who can read: (let everyone who is able to read receive this decree, which will read as follows:)

p

nel vino amabile d'acqua una gocciola, in wine generous of water a drop, (For the next fifteen years, let no one dare mix a single drop of water into a bottle of good wine,) 'aljas alias else (he be)

ka'pjetur capietur caught

et et and

la'onde laonde wherefrom

e'ttJetera et cetera, etcetera,

ne'llanm nell'anno in the year

strangu'letur stranguletur. strangled.

per'ke Perche Because

e'ttJetera et cetera, etcetera,

e'ttJetera et cetera, etcetera,

ba'rone Barone Baron

e'ttJetera et cetera. etcetera.

(signing the decree)

CHORUS ba'rone Barone Baron

e'ttJetera et cetera, etcetera,

MAGNIFICO 'ora affi'dd3etelo Ora affiggetelo Now post it

e

e it's

per per all over

'fatt~

d3a fatio gia. done.

la tJi'tta la citta. town.

CHORUS In 'ordine an'djam~ 'prandzo pranzo in ordine andiamo The dinner in order we'll go (We'll go see that dinner is in order)

il

n

a a to

'mettere metiere set

'vin~ a di'luvjo si beve'ra vino a diluvio si bevera. wine in deluge will be consumed. (where we'll drink wine as if it were water.)

MAGNIFICO 'premj~

Premio A prize

be'llissimo di bellissimo di most beautiful of

'pjastre . t re30 plas piastres

'seditJi sedici sixteen

ki pju 'malaga si beve'ra a a chi pin Malaga si bevera.31 to whoever the most Malaga (wine) shall drink. (And a most handsome prize of sixteen piastres to whoever drinks the most Malaga wine.) A piastra was an old Italian silver coin minted in the XVI century. The score shows si succhiera in certain measures (...whoever "sucks up" more Malaga) instead of si bevera. Out of compassion for the Magnifico doing this fiendishly difficult patter, it was decided in the present Metropolitan Opera revival to let Magnifico say si bevera all the way through and basta!

30 31

)

La Cenerentola, Act I

49

(The Courtiers exit with Don Magnifico. Dandini and the Prince enter, looking around cautiously.)

)

\~)e{~ ~ f?~~b r¥~(-!,.A t!"~

RAMIRO (softly) -. 'tsitto 'pjan:J. 'sentsa 'strepito e Zitto: piano: senza strepitoe Quiet, softly, . without din or

ru'mofe rumore. noise.

'delle 'due kwa'le lu'more eza'tettsa e Delle due qual'e l'umore? Esatezza e Of those two what is the state of mind? Exactness and (What is the state of mind of those two sisters? I want an exact and truthful report.) DANDINI sotto'votJe Sottovoce, Sottovoce, 'sono sonG they are

a a at

'meddzo mezzo half

urn un a

'misto dins:J'ientsa misto d'insolenza, mixture of insolence,

rill di'tJeva mi diceva had told me

---

RAMIRO e ali'd:Jro Alidoro E But Alidoro

)

DANDINI a il Ah, il Ah, your

ma'estr:J maestro tutor

';)ka e'gwale oca eguale a goose like bjm (as a goose he has no equal.) 'due son Son due They're two

'vere vere true

a ha has

'twono in tuono, in voice, in

es'trema estrema extreme

bllJfi'dentsa confidenza, confidence,

di di of

ka'prittJo capriccio. whims

e e and

vanity.

ke che that

'una una a

'fiMa figlia daughter

del del of the

ba'rone Barone... Baron...

Ul]

gran gran big

tes'tone testone, obstinate head,

rna ma but

kOllJ'vjen convien we must (continue to)

un a

bande'rw;)le banderuole weathervanes,32

segwi'tjam:J a seguitiamo a let us continue to

(Clorinda and Tisbe enter, each one from a different door.)

)

32

vani'ta v~nita.

non si da non si da. doesn't exist.

RAMIRO se Ie 'sp:Jzipur ki 'vw:Jie vuoIe, Ie sposi pur chi Se who wishes, Let marry them (Whoever wants to marry them, let them.)

CLORINDA printJi'pino Principino, My little Princ~,

veri'ta verita. truth.

'dove 'sjete dove siete? where are you?

The word "weathervanes" is used as a synonym for "fickle, changeable girls".

dissimu'lar dissimular. pretend.

retJi'tar recitar. play our parts.

50

La Cenerentola, Act I

TISBE printJi'pino Principino, My little Prince,

'dove 'state dove state? where can you be?

BOTH a per'ke Ah! perche Ah! Why-

mmabband,:)'nate m'abbandonate, do you abandon me,

)

I mi fa'fete dispe'far mi farete disperar. you'll make me despair.

TISBE 1:)

10 I

vi 'V':)AA':) vi voglio.. . want you.. .

CLORINDA vi v:)'f.f.io Vi vogl'io. I want you. DANDINI n':)n'djam':) Ma non diamo But let us not concern ourselves

rna

mari'tarmi maritarmi getting married

a a to

'tutte tutte both

n':)n si pw':) non si puo. cannot be done.

in'sjeme insieme together

due due two

im in with

baga'ttelle bagattelle, trifles,

s,:)'felle sorelle sisters 'una Una One

'sP,:)Z,:) sposo .•. I will marry ...

CLORINDA, then TISBE(eagerly) e 'laltra E l'altra .•. And the other one ... DANDINI (indicating Ramiro) e 'laltra alla'mib la da'f':) E l' altra, all' amico la daro. And the other one, to my friend I will give her. (And I'll give the other one to my friend over here.) CLORINDA, TISBE n:) un':) un no un No, -No, ne, 'a

sku'djef:) scudiero, squrre,

1

':)i'b':) oibo! good heavens!

RAMIRO (stepping between them, with sweetness) sa'f:) 'dd':)tJile amo'fOZO tene'rissimo Saro docile, amoroso, tenerissimo I will be obedient (and) loving, most tender

di di of

'kW,:)fe cuore. heart.

La Cenerentola, Act I

)

CLORINDA, TISBE (gazing at him with utter disdain) un sku'djer::l ll::l sipJlore un sku'djero Un scudiero! No signore. Un scudiero! A squire! No sir. A squire! CLORINDA u'nanima kon un'anima Con With a soul RAMIRO sa'r::l Saro I'll be

)

51

'kwesto n::l questo no. Not that!

ple'bea plebea! plebean!

'bw::ln::l buono •.. good ...

TISBE u'narja kon un'aria Con With an air

doddzi'na1e dozzinale! commonplace!

BOTH mi fa 'male Mifa male It makes me sick

sola'mente solamente only

a a to

immad3i'nar immaginar. imagine (such a thing).

DANDINI, RAMIRO (to themselves, laughing) la II e'netta e orid3i'nale vera'mente La scenetta e originale, veramente The little scene is original, truly (This is a droll situation, worthy of retelling.)

da da to be

k::ln'tar contar. told.

(A chorus of Cavaliers is heardfrom within. Alidoro enters soon after.) CHORUS pje 'VE:IJga i'noltri a'vantsi il Venga, pie, inoltri avanzi il Let her come, let her advance her foot, (Let her come inside, no need to wait in the anteroom.) RAMIRO, DANDINI (to Alidoro) sapjen'tissirn::l ali'd::lr::l 'kwest::l'strepito Sapientissimo Alidoro, questo strepito Most wise Alidoro, this din,

ke che what

ALIDORO 'dama iIJ'bJlpita 'volta kwi vjen 'sopra i1 Dama incognita volto qui vien, sopra i1 A lady unknown face here comes, over her (An unknown lady is coming here, her face covered by a veiL)

)

CLORINDA, TISBE 'una 'dama Una dama! A lady!

anti'kamera anticamera anteroom

n::lIIJ ve non v'e. there is not.

k::l'ze cos'e? is it?

uIIJ un a

'veb velo veil

tjen tien. she has.

La Cenerentola, Act 1

52

ALIDORO si'j1j1or si Signor si. Yes sir.

)

I

CLORINDA, TISBE rna ki e Ma chi e? But who is she? ALIDORO n::ll pale'z::l Nol paleso. She didn't reveal (her name). CLORINDA, TI8BE sa'ra 'bbella Sara bella? Is she beautiful? ALIDORO e si e 8i and Yes

1

nn::l no. no.

DANDINI, RAMIRO ki sa'ra Chi sara? Who can it be? ALIDORO rna non si sa Ma non sisa. But no one knows. CLORINDA nom par'b Non parlo? Didn't she say? ALIDORO si'j1j1ora Signora, Madame,

n::l no. no.

TI8BE kwi e qui E here And

vjen vien? she is coming?

ALIDORO per'ke ssa ki perche. sa Chi Who knows why.

53

La Cenerentola, Act I

)

TUTTI ki sa'ra Chi sara? Who might it be?

kiE: Chie? \\Tho is it?

per'ke Perche? \\Thy?

si ve'dra si vedra. we will see.

non si sa Non si sa, We don't know,

(There is a long moment ofsilence.) CLORINDA, TISBE (softly) d3elo'zia d3a mi'latJE:fa Gelosia giil mi lacera, Jealousy now tears at me,

d3a il tJE:rv£l pju im mE: gia il cervel piu in me already my brain in me (I am going out of my mind.)

ALIDORO (to himself) d3elo'zia d3a Ie 'rozika III lor pju il tJE:rv£l Gelosia gia Ie rosica, piu il cervel in lor Jealousy already gnaws at them, no longer their brain in them (they're going out of their minds.)

I

RAMIRO (to himself) un i'p]1;) t;) aI'kan::> 'palpito Un ignoto arcano palpito An unknown strange heartthrob

)

'ora ora now

'mad3ita m'agita; stirs me;

DANDINI (to himself) divE:n'tato sonun di 'ttsukkefO 'kwante 'moske Diventato son un di zucchero! quante mosche of sugar! How many flies I've become, (I've turned to sugar! Look at how many flies are buzzing around me!)

n::>'nE: none. no longer is.

n::>'nE: none. isn't.

per'ke perche? why?

in'tom::> intorno around

ammc: arne! me!

(Dandini signals Alidoro to bring the lady in. Courtiers and ladies-in-waiting escort Cinderella into the room. She is elegantly attired and wears a veil.) CHORUS a SE: vc:'lata al)'kor dal 'seno il br Ah! se velata ancor dal seno il cor Ah! veiled still from the breast the heart If (Oh, if while still veiled you have stolen our hearts from our breasts,) sc: se if

') /

zvdc:'rai svelerai you reveal

kwel quel your

'volta volto, face,

CENERENTOLA 'sprc:ttso kwei Sprezzo quei I despise those

don don gifts

ke che that

'm:>ffra M'offra Let him offer me,

ki chi whoever

ke che what

tJjai bIt::> ci hai tolto, you have taken from us,

sa'ra sara? will happen?

fortuna 'VE:rsa fortuna versa are lavished (on us by) fortune 'sp::>za rni vw::>l sposa, mi vuol wants me for a bride,

kapri'ttJ oza cappricciosa; fickle;

54

La Cenerentola, Act I

ris'pett;) a'mor b;)n'ta rispetto, amor, bonta. respect, love (and) kindness. (Let the one man who wants me for his bride offer me nothing but respect, love and kindness.) RAMIRO (to himself) di 'kwella 'votJe il 'SW;)ll;) i}l]1;)t;) al br Di quella voce il suono ignoto al cor Of that voice the sound unrecognized to my heart (The sound of that voice does not reach my heart unrecognized,)

non 'JIende non scende; doesn't descend,

lla la my

'speme a'ttJende speme accende, hope it kindles,

di me ma'dd30r mi fa di me maggior mi fa. it makes me into a greater man.

DANDINI be'M;)kki Begl'occhi Lovely eyes

ke che that

dal dal behind that

vi'brate vibrate flash

un un a

al'meno almeno at least,

per tJivil'ta per civilta. out of civility. (if only as an act of courtesy.)

zve'latevi svelatevi reveal yourselves

urn un for a

mi'nuto minuto minute

CLORINDA, TISBE (to themselves) ve'dremo i1 gram mi'rablo di Vedremo il gran miracolo di We shall see the great miracle of (Let us see what miracle of rare beauty she really is.)

'radd3;) a'kuto raggio acuto, ray sharp,

'kwesta ran'ta questa rarita. this rareness.

(Cenerentola removes her veil. There is a moment of surprise as everyone recognizes her and is filled with uncertainty.)

TUTTI (each to himself, looking at Cenerentola, while she gazes at Ramiro) par'lar pen'sar v;)'rrei par'lar pen'sar Parlar, pensar, vorrei, parlar, pensar To speak, to think I'd like, to speak, to think kwes'te Quest'e This is ;)

Oh Oh

un un a 'ddei kwel Dei quel Gods, that

iI)'kant;) incanto magic trick,

iIj'gann;) (inganno) (deceit)

'volt;) volto face

matte'rr;) m'atterro. has struck me dovvn.

ALIDORO (to himself) a'mar d3a la d;)'vrebbe il 'kolpo n;)n zba'il;) Amar gia la dovrebbe, il colpo non sbaglio. To love already he must her, the ruse did not fail. (He must already be in love with her; my ruse did not fail.) (Don Magnifico enters in haste.)

) 1

per'ke perche and because

'velo velo veil

j

n;)n s;) non so. I cannot.

La Cenerentola, Act I MAGNIFICO sip]1or Signor, My Lord,

(to Dandini) al'tettsa Altezza, Your Highness,

55

e in 'tav:)la e in tavola... it's on the table ... (dinner is served ... )

(catching sight ofCenerentola) si ki chi... Sl, who ... yes,

ke k::> Che ... co... What, how... 'kwando Quando When

si 'ditJe si dice one speaks

CLORINDA, TISBE pa'reva aI]'kora Pareva ancora She seemed so

)

a 'noi rna a noi, rna to us, but

a rigwaI'darla a riguardarla as we took a second look

IS

'kwesta questa this one

e e is

urn un a

p::n poi then

MAGNIFICO 'kwella Quella 1bat one (Cenerentola is

sta sta is [home]

RAMIRO mi 'gwarda Miguarda She looks at me

tJene'rent:)la Cenerentola? Cinderella?

pju pin more

beIIJ 'fatta ben fatta; attractive;

'una 'yenere di spaven'tar 'fartJi spaventar. farci una Veneredi make us be frightened. some Venus to (some Venus to cause us to be frightened.)

'nelle 'tJenere a 'strattJi sol per nelle cenere, ha stracci sol per by her ashes; she has rags only for with her ashes, and besides, she only wears rags.) . herself) 'gwarda guard a is looking

e e and

P:)l

poi... afterwards ...

a'ttratta attratta, ungainly,

p:) po' bit

n::>'ne none she isn't

CENERENTOLA (to il 'Yekkj:) n vecchio The old man

J

non'sernbra non sernbra does she not resemble

'g:)ffa e goffa e clumsy and

rna rna but

I)

i'simili i sirnili of likeness,

la 'n:)stra la nostra "ours"

e e

ke 'bbestja che bestial what the ... !

par par it seems

e e and

'dubita dubita. is dubious.

ke che that

'palpiti palpiti. her heart beats (faster).

'abiti abiti. clothes.

La Cenerentola, Act I

56 DANDINI rna nOIl] fa'ttJ am Ma non facciam let's not stand about But

an'djam::> Andiamo Let us go e e and

\

Ie Ie like

p::>i poi then

'tav::>la tavola, table,

a a to

la Ia the

'kwindi quindi after that

be'llissima bellissima fairest of all

ALL EXCEPT DANDINI 'tav::>la a an'djam::> Andiamo Let's go

DANDINI (to '::>dd3i ke Oggi che Today that

himseW b fo I'm acting

per

'kwattr::> per quattro for four (I'll eat enough for four

,

TUTTI mi par Mipar I seem

I The

kom con to

da da like

)

'taitJe Taice, Taice country dance.

il il the

sp::>'zar sposar. married.

me me me

sa da s'ha da will be

a a to

d3ubi'lar giubilar. enjoy ourselves!

'printJipe principe apnnce,

v::> vo' mangiar. I want to eat. people!) .

'dessere d'essere to be TU'JIelli ruscelli brooks

balle'remo balleremo we'll dance

si'voli si voli let us fly

tavola, table,

a to

lindi'viduo pa'tiJIe I'individuo, patisce a man. Suffers (A man can have hunger pangs.)

'statue statue, statues;

s::>'.Jlpand::> sognando dreaming

sussu'rrand::> sussurrando, babbling,

fra fra amid

d3ar'dini giardini gardens

g::>rge'dd3and::> gorgheggiando chirping

Ai gli the

e e and

fra fra amid

bos'ketti boschetti. groves.

] aud3e'letti augelletti little birds

urn 'mare di de'littsja 'farm::> 'lanima nW::>'tar in un mare di delizia fanno l'anima nuotar. in a sea of delight make our spirit swim. (The babbling brooks and the chirping of little birds make my spirit swim in a sea of delight.)

III

rna Ma But

::> ti'mor ho timor I fear

ke che that

'sotto 'terra sotto terra, underground,

un 'tJert::> si zvi'luppi si sviluppi un certo there may develop a certain (But I fear that underground a fire is starting to

'pjan::> piano, softly, 'bb foco; fire; smoulder;)

a 'p::>b a 'p::>b a poco a poco little by little

I

57

La Cenerento/a, Act I

e impro'vvizJ a 'tutti iPJlJtJ 'baltsi 'fwJri e improvviso a tutti ignoto balzi fuori and suddenly to all unbeknown will break forth (and suddenly, unbeknown to all, an earthquake may develop,) ke krJ'llandJ che crollando, vvhich smashing,

strepi'tand;) strepitando, roaring,

fraka'ssandJ fracassando shaking,

un uu an

teITe'mJt;) terremoto, earthquake,

sbI)kwa'ssandJ sconquassando crashing

PJl mi 'veI)ga a rizve'ilar poi mi venga a risvegliar; then come me to avvaken; (which with its smashing, roaring, shaking and roaring will come to awaken me) e e and

J pa'ma ho paura I fear

ke che that

il miJ 'soJlJlo 'vada il mio sogno vada my dream will

in] 'fmnJ in fum 0 up in smoke

END OF ACT I

)

)

-

a dile'gwar a dileguar. vanish.

58

.1· , I

ACTll A room in Ramiro'spalace. Cavaliers come in, followed by Magnifico with Clorinda and Tisbe on his arms.)

f

CHORUS a 'della 'bella Ah! Della bella Ah! Of the beautiful

I lf

I

,

peggiore worse

.-ii' ~

/i

:",'

::I~

(\ I

\'<,)

(,\:", \

per per

!'!i"\'~' \

i,;,'l ".~·

'j: 'ti: 'Iii ',i'

I'} iii:

:i;:Iili \':I!j

\

Cenerentola, Act II

'tJ erte certe

del del than

two eauues

\ \ \

J

)

1

inaspe'ttat;) inaspettato unexpected

fulmine fulmine lighting

'belle belle

e

e

'stat;) stato.

~bt un~~;inCctled .amd·valbd:;;~e~)own~:~y wa~e:~n

.

worse than a lightning bolt for those

onn a an Tisbe.

la 'gwardano La guardano They I00k at h er

e e and

ta'r;)kkan;) taroccano, grumble,

~nno

'lima lima rasp

'bre ke II) core che in in their hearts that

somdono sorridono smile

rna ma but

frem;)n;) fremono. shudder.

\ Th\( ~~War')n~nhOa~e

iii:

'una una a

a konsu'mar Ie sta a consumar Ie sta. is consuming them alive.

Guarda e! Look here!

re'J1J1avan;) tJ;) 'gust;) ha ha d3a GUt regnavano! Ci ho gusto. Ah! Ah! Already (they) reigned! How amusing. Ha! Ha! (They saw themselves as princesses, reigning, how funny, ha hal)

MAGNIFICO rni par Mi par It seems to me

(with exaggerated anger) ke kwei bir'banti che quei birbanti that those rascals

:11

'I!

a'ssai assai even

ir)'bJ1pita la'rrivo incognita l' arrivo unknown lady the arrival

'I

1

ri'dessero ka'potto di 'noi 'sotto ridessero capotto. di noi sotto were laughing at us under (their) capes. (up their sleeves at us.) 'brpo del 'most;) Corpo del mosto Body of the must! TISBE pa'pa Papa, Papa,

'k;)tt;) cotto, cooked,

b fo I'll commit

ul) kavaljeri'tJidjo un cavaliericidio. cavaliericide?

nOIl) vil)kwje'tate non v'inquietate. don't fret.

"Must" meaning the body of the wine. Being a wine COlUloisseur, Magnifico is swearing upon the "body of a new wine". 2 Of course there is no such word in English; he is saying "I'll kill me a cavalier or two". 1

)

Cenerentoia, Act 11

MAGNIFICO 'nella 'testa 0 Ho nella testa I have in my head

-,'-.,

)

-1

,',

J

)

del 'printJipe del Principe of the Prince

so'mill? a Somiglia a She resembles

tJ ene'rentola Cenerentola Cinderella

e e and

MAGNIFICO so'milia Somiglia She resembles her

'tanto tanto so

ke che that

son son they're like

'prandzo pranzo dinner

'kwando quando when

a a at

un

'tJerto certo certain

'verso verso movement

kon con with

mme me, myself,

per'bakko per Bacco, "by Jove

bronto'lavo brontolavo I grumbled J ~.,.,,~-,

.,

]

vi 'basti vi basti. that's all.

e e and

un a

.~

ke che that

il 'kore tJi kon'trasti il core ci contrasti? the heart she will compete for with us. (And do you think that she will rival us for the Prince's heart?)

J

]

pen'sjeri pensieri. thoughts.

tJi maIJ'kava 'kwella maidama a'nonima Ci mancava quella madama anonima. We really needed that lady anonymous. (All we needed was the appearance of that unknown lady.) CLORINDA e kre'dete E credete And do you think

-1

'kwattro 'mila qliattro mila four thousand

59

fra fra to

due due two

fa'tJeva faceva she made la la her

'bokka bocca, mouth, e

e it is

rna 'kome 'dalli e'brd 'prender 'labito a Ma come dagli Ebrei, l'abito a prender like Just with the Jews, to get a dress for (Imagine renting those clothes, like the Jews do!)3 a'ver Aver To have. (the)

ko'radd30 coraggio courage

di di to

ve'nir. venir come

'gottJe 'dakkwa goccie d'acqua, drops of water,

fra fra to

'lld lei! she!" 'nob nolo! hire ,.

'noi noi us

1 ) ,.:;.: J

J riz

Anti-Semitic remarks like these were common in those times and they've crept into the texts of opera, One finds such remarks in Giordano's Fedora, and others. This may be the reason why the above phrase has been cut in modern versions of the opera.

3

Cenerentola, Act II

60

e'pp:)i e poi and then

par'lar parlar to speak

kon 'lintJi e'skwintJi con linci e squinci? in such high falutin language?

e'pp:)i Epoi And then

'starsene starsene to go about

kon con with

si si such

'una una a

skjaffedd3a'tura schiaffeggiatura? a slap in the face (from me)?

e e and

non te'mere non temere not even be afraid of

TISBE d3a d3a Gia, gia, Yes, yes, e

IS

noi noi us

MAGNIFICO sai tu rna saitu Ma do you know But se se if

patri'm:)njo il il patrimonio the inheritance (her inheritance!)

la so'miAAa la somiglia resembles her

fu'nesta funesta. deadly.

ke che what

mi pjombe'rebbe mi piomberebbe would fall on

tem'pesta tempesta a storm

al'kuno alcuno someone

'sk:)pre scopre reveals

1

I

dizin]vol'tura disinvoltura coolness

'fin:) a ki fi'AAastra fino a chi figliastra step-daughter, while she

'kwesta questa that

a a for

e

gran gran great

)

'kome :) comeho howl have

a'dd:)ss:) add os so, my back

dilapi'dato dilapidato squandered

'suo suo! hers!

per abbi'Marvi al'verde Per abbigliarvi al verde In order to (properly) clothe you, down to nothing (I've used up all her inheritance to keep you in fine clothes.)

b ri'dotto l'ho rid otto. I've reduced it.

j'

'ver:) 'sakk:) 'd:)ssa diven'tato uIIJ e diventato un vero sacco d'ossa. she's become a true bag of bones. (and, [unable to eat properly], she has become a true bag of bones.)

e

a Ah! Ah!

se se If

si'sbpre si scopre it is revealed

..

il a'vrei tr:)'vat:) il avrei trovato the I will have found (If its revealed I'll be ruined.) '

I

kar'lino 'resto del Carlino.4 resto del change for the Carlino ..

There used to be a newspaper in Bologna called II Carlino. There was also a coin, called Carlo. When people paid with a Carlo coin, sometimes if there weren't small denomination coins for the change, they received a copy of the II Carlino instead. One could say that the expression above means, "I've been short-changed!"

)

I

4

)

61

Cenerentola, Act II

1

CLORINDA (with a mysterious look) e paven'tar po'tete a nnoi vi'tJino paventar potete a noi vicino? E And be afraid can you to us so near? (How can you be so afraid, when we are here, close to you?) MAGNIFICO vi som 'bw~ne spe'rantse Vi son buone speranze? Are there any hopes? CLORINDA 'njente e Eh! niente! Ah, no (hope)! TISBE 'p~sso

dir Posso dir I can say

1

I

p<

ke ch'e that it seems

CLORINDA 'kwazi b 10 quasi I almost

p~'trei

'fatto fatio gave

dar 'delle 'karike

potrei dar delle caridie. could give it another try.

TISBE se'gret~ in In segreto In secret a ha he

tJ er'tettsa certezza. a certainty.

rna 'dett~ m'ha detto: he said to me: uIJ un a

gran gran great

'anima'mia "Anima mia" "My beloved"

sos'plio sospiro, sigh

e an'dato e andato and went

'via via. away.

'kwando Quando When

mi'vede mivede he sees me

'subito subito right away

II

CLORINDA un sos'pir~ Un sospiro A sigh,

11 '

MAGNIFICO (looking at one and then the other) 'dUIJkwe kwi sos'plia e a Ah! dunque qui so spira e and Ah! Then for you he sighs

'ride kwi qui ride. for you he smiles.

CLORINDA 'dite Dite, Tell me,

pa'pa bba'fOne papa Barone, daddy Baron,

tes'tone a'vete un testone. avete un have such a big brain.

kwa'le Quare What are

il 'v~str~ il vostro your

f

,1 ,~J

k~'ze

cos'e? what is that?

VOl

voi you

pen'sjer pensier? thoughts?

ke che who 'diteb Ditelo Tell me

'skjett~

schietio. plainly.

'ride ride. he smiles.

62

Cenerentola, Act II

MAGNIFICO d3::>'kat::> ::> un 'amb::> Giocato ho un ambo a . pair I've bet on (I've put my money on my two

e VintJe'f::> un e'lett::> e vincero un eletto. and I will win with the chosen one. daughters and I'll come out the winner.)

non si 'skappa voi'due non si scappa: voi due the two of you he can't escape:

da Da From

bene'dette benedette, blessed,

si parle'ra ddi si parlera di they will speak of

me me me

kwes'te Quest'e This is

il'tempo il tempo the time

opportuno opportuno opportune

ri'mettermi rimettermi get myself again

b sa'pete Lo sapete You know,

'io io I

indebi'tab indebitato. in great debt.

'fino Fino Even

i my

sti'vali a 'tromba ::> ip::>te'kat::> stivali a tromba ho ipotecato. boots I've auctioned off.

rna Ma But

ke che what

'flus so e flusso e ebb and

1

am

1

1

'kkome come how,

::> oh Oh

'fiAAe mie figlie mie my daughters

'sono sono

)

per per to

'nelle nelle in the

ga'ddzette gazzette! gossip sheets! im 'pjedi in piedi. on my feet

ri'flusso riflusso flow

a'vr::> ddi mem::>'fjali avro di memoriali! I shall have of (marriage) petitions! (What ebb and flow of marriage petitions I will have!) a 'kwesto 'sob e Ah, questo solo e Ah, this only IS (My one wish as a father,)

il il the

pa'terno paterno paternal

de'zio desio, desire,

ke fa'ttJate il res'kritt:) che facciate il rescritto is that you may bring this matter to a profitable solution tJintende'rem fra 'noi C'intenderem fra noi. We will be of one mind.

'viIJefe 'mie Viscere mie, My entrails,s

a 'm::>do 'mio a modomio. by doing it my way.

mi rakk::>'mand::> mi raccomando I place my trust

a'vvoi a voi. in you.

J Another example of poor Magnifico's inflated language. Viscere, are the innards, the entrails in one's body. The best way to put this sentence is "oh ye fruits of my loins, I place my trust in you both". 5

)

j j

gT'.-. 1

63

Cenerentola, Act II

ARIA MAGNIFICO sia kwa'lUI)kwe 'delle 'fWe Sia qualunque delle :tiglie, Whichever of my daughters fra 'p::Jb fra poco soon

ke che who

-j

sul suI the

a mn'lani abban'dono ill ah! non lasci in abbandono ah, do not leave abandonment in (don't abandon your wonderful daddy.) mi par ke mi par che I see

d3a Gia Already

j

_ J

an'dra andril will ascend

)

I

'kwesto questo this one

urn

un your

0 0

or

kOII)fi'kkandomi conficcandomi pushing me

a a into

ul) un a

e e and

il il his

ka'ppell::J cappello hat

ka'vandosi cavandosi doffing

'tr::>n::J trono, throne, ma]l.J1ifib magnifico magnificent

'kwello quello that one

kan'tone cantone, comer, il)ko'mintJi incominci: begin by saying:

'alla 'fiAAa 'sua .re'ale porte'.rebbe urn reale porterebbe un alla figlia sua to your daughter royal would you take a (marriage) (would you take my marriage petition to your royal daughter?) 'prenda Prenda: Take this

p::Ji per poi per for

la tJ::>kk::>'lata la cioccolata, chocolate,

e e and

'doppja doppia doubloon6

bel) ben well

'una

una this

I d3a e gia e Is it

di 'pez::J di peso? weighing (on your mind)?

10

)

e eh eh,

.ris'pondo rispondo: answer

6

si sl, yes

b'njata coniata coined

A gold coin at the time worth about $8.

ve'dremo vedremo. we'll see. parle'.remo Parleremo. We will talk.

sor ba'.rone

(I sor Barone, "My lord Baron,

mem::J'.rjale memoriale? petition?

'fattJa in'tanto Hiv::J'lar faccia intanto scivolar /I cause meanwhile to slip (into your pocket"). (Accept this well minted doubloon and slip it [into your pocket]. ") io

pa'pa papa. daddy.

Cenerentola, Act II

64 da pa'latts:) Da palazzo To the palace (you) mi n'v:)lto Mi rivolto: I tum around

pw:) pub can

e e and

vettso'zetta vezzoserta charmingly, 'una una a

mi siI]'kina mi s'inchina bows to me

pa'ssar passaro . go. 'tutta turta all

sku'ffjetta scuffietta little bonnet

) o'don e odori e scents and fra fra amid

'tutta tutta all

sos'piri e sospiri e sighs and

uIJ'gwenti unguenti, pomades,

j

kompli'menti complimenti: compliments:

(in a highfalsetto voice) baron'tJino Baroncino! "Little Baron!

si ri'brdi si ricordi Remember

kwella'ffare quell'affare that matter"

(back to his normal voice) min'tende m'intende: she understands me:

e e and

ar'd3ent:) argento money

'sentsa Senza Without

'parla parla you are speaking

ai ai to the

'sordi sordi. deaf.

voi voi you

ke che what

'stende al'kwant:) ma'nina la stende, La manina alquanto she extends, Her little hand slightly (She slightly holds out her little hand,) 'una fa una fa causes a 1:)

10 I, io io I

'pjastra piastra piaster

zdruttI :)'lar sdrucciolar. to drop.

ga'lante galante: gallantly:

:)'kjetti 'bei occhietti bei! "Lovely eyes!

vi 'v:)li:)

konten'tar contentar! to please you!"

vi voglio

want

a Ah! Ah!

per per For

n:)II] fa'rei non farei! wouldn't I do!

mi riz'veli:)

a meddzo'd30mo 'sw:)n:J a'ppena il kampa'ne1b a mezzogiorno: suono appena it camp anello, I awake at noon. I ring barely the bell, (I can sleep until noon [every day] and barely do I ring the bell [on my night table to order breakfast or to call my valet to bring me my clothes, or whatever. ..],

Mi risveglio

\ )

1

•

1

Cenerentola, Act II

)

-I

)

Questo Ibis one

'tJerka prote'ttsjone cerca protezione; seeks protection;

'kwelb quello that one

a ha is

ki chi someone

vorrebbe would like

ki chi another

'una una a

ki Chi Someone

la'ppalto l'appalto the monopoly

'delle delle of

la ki chi la another the

'peska pesca fisheries

'delle delle of

'. .- 1· ':.."

.. .

-

..... :~

brto e torto e wrong and

v~'rrebbe

un un a

'katedra catedra professorship

vw:::>l ra'd30ne vuol ragione; wishes to be right; impje'guttJ0 impiegnccio, nice little job, ed ed and

e

e he's

un un an

'tJuttJo ciuccio! ass!

'spille spille, brooches, al)'gwille angnille, eels,

ed ed and

in'tanto intanto meanwhile

ill

'0]1]1i

in from

ogni all

sa'r~

'ttseppo zeppo crowded

e e and

k~nt~r'nat~

saro I'll be di di by

e memorie e memorandums and

peti'ttsjoni petizioni, petitions,

di di by

di di by

bo'ttiAAe bottiglie, bottles,

br:::>'kkati broccati, brocades,

di kan'dele di candele by candles

e e and

mari'nati marinati, marinated pickles,

kan'diti canditi candied fruit

e di e di and

kOIl)'fetti confetti, sugared almonds,

me'm~[je

di tJam'belle di ciambelle by doughnuts

)

dra'ppelb suppli'kev~le supplichevole drappello: a supplicating troop.

ke mi'vedo 'letto in'torno al che mi vedo al letto intorno than I see lomy bed around (I see around my bed a troop of suppliants.) 'kwest~

65

di di by

e e and

di di by

contornato surrounded

pasti'tJetti pasticcetti, pIes,

pjas'troni di piastroni di heavy piastres and

'lat:::> lato sides

di di by

do'bloni dobloni, doubloons,

ga'lline galline chickens

di di and

sto'rjoni storioni, sturgeons,

~

c

_:~:~~~~

66

di di by

Cenerentola, Act II

va'niAA:a vaniglia vanilla

e e and

ka'ffe caffe. coffee.

n::>m p::>r'tate non portate: Don't bring me anything else;

'basta basta: enough!

'basta Basta, Enough,

di di by

ve nan'date termi'nate ve n'andate! terminate: ftnish already! Go away! iI) kari'ta 'serro in carita. Serro for pity's sake. r shall lock

'basta Basta, Enough,

impor'tuni importuni, bothersome people,

sekka'tori seccatori, pests,

'prest::> Presto, Quickly,

di di of

via via out

'luJJ::> l'uscio the door

'fw::>ri via fuori, via away out,

da da from

a

a with

kate'nattJ::> catenaccio: a heavy chain;

'mme me. me.

kwa qua. here!

(He leaves, as Clorinda and Tisbe enter the room.) TISBE di Di: Say,

(approaching her sister in confidence) 'soJlJli aI)'kora ke sogni ancora che are you dreaming still that

'vada vada

pen'sand::> pensando thinking

1S

il il the

'printJipe Principe Prince

a tte ate? about you?

CLORINDA me b d::>'mandi Me 10 domandi? You ask me this? TISBE (sarcastically) 'v::>stra al'tettsa 'serva di Serva di Vostra Altezza. Servant of Your Highness. (I am your most humble servant, Your Highness.)

CLORINDA a

A' At

sw::>i suoi your

b'mandi comandi. orders.

(They usher each other out the door, exchanging exaggerated compliments. Soon after, Ramiro comes iniollowed by Cenerentolajleeing Dandini, then Alidoro.)

) j

67

Cenerentola, Act II

) 1

1

RAMIRO 'kwesta 'bella iI)'koppita a qpesta bella incognita Ah! This lovely unknown girl Ah!

kOI] 'kwella con quella with that

al1.i.n)fe'litJe all'infelice that wretched one

ke che who

mi kOl'pi mi colpi struck me so

mi va des'tando miva destando awaking IS

1m in mmy

'pett~

'al]ke dan'dini Anche Dandini Even Dandini

ne'sembra nesembra seems to be

somi'Mantsa somiglianza resemblance

sta'mane stamane this morning,

'tJerta petto certa breast a certain

i)1p~ta

ignota mysterious

pre'mura premura... longing...

innam~'rat~

innamorato. in love (with her).

p~'tr~ tJe'lat~ 'ekkoli u'dirli or kwi Eccoli: udirli or qui potro celato. Here they are; to hear them now here I can hidden. (I can now hear them from my hiding place.)

(He hides.)

)

DANDINI (trying to catch up with Cenerentola) rna naIl] fu'dd3ir per 'bakk~ Ma non fuggir, per Bacco! But don't scurry off, by Jove! 'kwattr~

'v~lte

Quattro Four

volte times

CENERENTOLA mU'tate mutate 0 Either you change ~

DANDINI makke Ma che? What's this?

mi ai 'fatt~ mi hai fatto you've made me liI]'gwadd3~

linguaggio the subject

il par'lare n parlare Speaking (Is telling you I

mizu'rar misurar trek back and forth

~

0

or

(man) am

DANDINI e me 10 'ditJi E me 10 dici you say that And

ill] 'fattJa in faccia? in my face?

'sana sono

galle'ria galleria. gallery.

'vad~ 'via vado via. I'll go away.

'forse 'una da'more e forse una d'amore e maybe a IS about love love you such a harmful thing?)

CENERENTOLA 'sio du'naltr~ ma Ma s'io d'un altro . with another But I

la la the

innam~'rata

innamorata! in love!

st~'kkata

stoccata! sword-thrust!

Cenerentola, Act II

68 CENERENTOLA si']1]1ore nno a signore, mio Ah! lord, my Ah!

non an'date dE non andate deh! please do not get

SE vi 'parlo kol se vi parlo col if I speak to you with (I speak to you sincerely.)

mi:::> mio my

iI:J 'kollera in collera angry

)

1

I

'labbro sin'tIEr:::> labbro sincero. sincere. lip

DANDINI ed 'ami Ed ami? And you are in love with?

CENERENTOLA 'skuzi Scusi... Forgive me ... DANDINI Ed ami?

CENERENTOLA il su:::> sku'djEr:::> llsuo scudiero. Your squire. RAMIRO (showing himself) a 'd3:::>ja 'anima 'mia Ah gioia! Anima mia! Ah joy! My beloved! ALIDORO (softly showing his approval) va a rnEra'viAAa Va a meraviglia. It's going marvelously welL RAMIRO rna Ma But (does)

il 'grado il grado rank

non se'dutIe non seduce not seduce

il tu:::> il fuo your

CENERENTOLA 'fast:::> E rnb fasto e Mio pomp IS My

e e and

la ri'kettsa la richezza riches

'k:::>rE core? heart?

la virtu la virtu, virtue, (my)

ri'kkettsa ricchezza riches

E

e IS

a'more amore. love.

j ) 1

I

69

Cenerentola, Act II

)

RAMIRO 'duI)kwe Dunque Then

sa'resti saresti you'd be

'mia mia? mine?

CENERENTOLA 'pjan::> tu 'devi Piano, tu devi Gently, you must

1

ezami'nar esaminar survey

'pria pria first

ritJer'karmi rieerearmi, seek me out,

ko'noIIenni eonoseermi, get to know me,

ve'dermi vedermi, see me,

la mia for'tuna la mia fortuna. my fortunes.

RAMIRO 'tek::> io teeo, 10 to you, I

'kara eara, dearest one,

ve'rr::> verro shall come

vv::>'land::> volando. flying.

CENERENTOLA

)

'fermati Fermati: Stop.

non se'gwinni non seguirmi. Do not follow me.

RAMIRO e'kkome Eeome And how

'dUI)kwe dunque? then... ?

b

10 I

CENERENTOLA (giving him a bracelet') 'tjeni 'tJerkami e 'alla mia alla mia Tieni, eereami, e my Here, search for me and on il il its

kom'pa]1]1;) eompagno companion

a'Hor allor then

ma'vrai m' avrai. you shall have me.

ve'drai vedrai; you shall see;

e e and

tel k;:,'mand;) tel eomando. order you.

'destra destra right hand a'llor allor, then,

se se if

non ti 'spjattJ;) non ti spiaecio... I don't displease you ...

(She leaves. There is a moment of silence.) RAMIRO dan'dini Dandini, Dandini,

ke ehe what

ne'ditfi ne dici? do you say to that?

) 7

In this version of the story identical bracelets are used instead of the well-known glass slipper.

70

Cenerentola, Act II

DANDINI e 'diko Eh! dico Hey! I say a a to

ke che that

far far becoming

RAMIRO a'llor se e allor... se "E "And then... if

da da from

'printJipe principe prince

da da

testi'm~nj~

a

son~

pa'ssat~

sono I've

passato changed over

testimonio. witness.

non ti 'spjattJ~ a'llor non ti spiaccio... allor I do not displease you... then

so1) 'kwali a'ttJenti Quali accenti son What words are (What did she mean by that?)

ma'vrai m'avrai." you shall have me."

'kwesti questi? these?

(He discovers Alidoro.) a Ah! Ah!

mb mio My

sa'pjente sapiente, all-knowing,

vene'rat~

ma'estr~

venerato venerated

maestro. tutor.

il

br cor heart

mi1)'gombra m'ingombra is full ofa

miste'rjoz~

misterioso mysterious

a'more ke amore. Che love. What

n

My

ALIDORO kwel ke kon'siMa il Quel che consiglia il That which counsels the (Do what your heart tells you to.) RAMIRO (to Dandini) 'printJipe pju n~n Principe pin non A Prince no longer

far de'dd3io far degg'io? shall I do?

'k~re

core. heart.

'sei sei: you are:

'II ~kke si 'vw~ti di 'tante Di tante sciocche si vuoti Of all those buffoons empty (Get all those buffoons out of my palace.)

i1 mb pa'latts~ il mio palazzo. my palace.

(He calls his courtiers.) ~'la

Ola, Hothere, e e and

fra fra ina few

mjei miei my

'fidi fidi, trusted ones, mo'menti momenti.. . minutes.. .

sia sia make

'pronto pronto ready

i1 'mstr~ il nostro our

'bkkj~

cocchio, carriage,

)

I I

I

Cenerentola, Act 11

---)

I

--

) /

I ~

ko'zi po'tessi cosi potessi could I but

a'ver aver have

'lali l'ali the wings

71

dei 'venti dei venti. of the windes).

ARIA RAMIRO Sl ritr::>'varla ritrovarla Si, Yes, to find her again

1::> io I

'd3UfO a'mor mi'mw::>ve giuro. Amor mimuove. swear. Love spurs me on.

-]

se Se Even if

iI] in in the

'gremb::> grembo arms

1

'b io I

I

a a of

'd30ve Giove Jupiter

la ritr::>ve'r::> la ritrovero. shall find her again.

(gazing at the bracelet)

I _ J

'bsse fosse she were

'pepp::> ad::>'rat::> Pegno adorato Token adored

)

::> Oh, Oh,

e e and

'kkar::> ke caro che dear that

'kome aI, 'labbro come al labbro how to my lips,

mi lu'ziI]gi al'meno milusinghi almeno. gives me hope at last.

al 'seno al seno, to my bosom,

'kome tti strind3e'r::> come ti stringero! how I will press you! CHORUS ::> kwal Oh! qual Oh! What

tu'mult::> tumulto tumult

a in ha in he has in his

RAMIRO, CHORUS noi vole'rem::> d::>mande'rem::> Noi voleremo, domanderemo, We will fly, we will ask, 'doltJe spe'rantsa Dolce speranza, Sweet hope, 'dentro il mi::> (suo) dentro il mio (suo) within my (his)

)

'freddo freddo cold

'seno kom'prenderlo seno! Comprenderlo breast. Understand it

ritJ erke'remo ritrove'remo ricercheremo, ritroveremo. we will seek, we will find again. ti'more timore, fear

'k::>re core heart

a'more mai Amore, m'hai Love, you must me (Love, guide me. Love, guide him.)

'stann::> a stanno a are (la) da (l'ha)da (must him)

pU]1par pugnar. competing. gwi'dar guidar. guide.

J -.-----~~-----

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

--~---~--

..

--.~.--~--.-

Cenerentola, Act II

72

(Ramiro leaves with his followers. Alidoro enters.) ALIDORO la 'n;)tte (La norte (Night

e

e is

fa'vor 'delle kol favor delle Col Under cover of

;)'mai vi'tJina omai Vlcma. already near. 'tenebre tenebre darkness,

'arte arte (magic) arts

r;)ve'H andosi ad rovesciandosi ad breaking down with my

p;)'trei ba'ron 'kaza del 'press;) la ka'rr;)ttsa la la carrozza presso la cas a del Baron, potrei.. . the carriage near the house of the Baron, I could.. . (Under cover of darkness I could, with my magic arts, cause the carriage to break down near the Baron's house ... ) 'meta i vi'tJini 'alla sOIl) meta i alIa vicini Son the goal the near Are (my wishes are almost fulfilled.)

de'zir 'mjei desir miei.) wishes mine.)

(He leaves in haste. Dandini enters,followed shortly afterwards by Magnifico.) DANDINI (pacing up and down) rna 'duI)kwe io 'sono Ma dunque io sonG But then I am

un un an

eks ex. ex.

dal Dal From

'tutt;) turto all

al al to

'njente niente nothing

in un 'tratt;) vera'mente pre'tJipito in un trarto veramente. precipito I tumble in a trice truly. (Here I am, an ex, having tumbled in one second from being a great man to truly being a nobody.) (Magnifico enters hurriedly.) MAGNIFICO 'skuzi Seusi Excuse staI) stan are

(to Dandini) la rnia pre'mUfa la mia premura... my haste ...

kon la 'febbre a 'freddo con la febbre a freddo. in a cold sweat.

rna rna but

'kwelle due quelle due those two

si po'trebbe Si potrebbe Could you

ra'gattse ragazze girls

s;)lletJi'tar sollecitar speedup

la 'Helta la scelta? your choice?

DANDINI e 'fatta a'miko farta, amico. E made, friend. It's

j )

I

73

Cenerentoia, Act 11

MAGNIFICO e 'fatta a fatta! ah, E It's made! Ah,

per per for

pje'ta pieta! pity's sake,

par'late 'dite dite, parlate! tell me, speak!

e i mjei d3er'moA:A:i 11] 'kweste 'stantse a e i miei germogli in queste stanze a And my offspring in these rooms to (and will my two offspring come to flourish in these rooms?) DANDINI 'tutti Tutti Everyone per Per For

'ora ora now

'p::>i poi in good time

10 sa'prann::> 10 sapranno: will know it.

e

Ul]

it is

un a

gran gran big

e

MAGNIFICO 'kwale e quale? E And which one?

)

se'greto segreto. secret.

klorin'dina Clorindina Little Clorinda

DANDINI ill] 'fretta non d3udi'kate Non giudicate in fretta. Don't judge in such a hurry. (Don't jump to conclusions.) MAGNIFICO ad um pa'pa 10'dika ad un papa. Lo dica to papa. Tell it DANDINI ma si'lentsj::> Ma silenzio. But silence. (Then don't breathe a word about this.) MAGNIFICO si sa Si sa, Of course,

(anxiously) 'via 'dika 'prest::> via, dica presto. come, tell me quickly.

DANDINI non tJi '::>de Non ci ode Not us hears (No one can hear us?)

al'kuno alcuno? anyone?

ved3e'tar vegetar flourish

0 0

or

tiz'betta Tisbetta? little Tisbe?

ve'rrann::> verranno? will come?

Cenerentola, Act 11

74

MAGNIFICO ill 'arja non si 'vede 'una In aria non si vede una In the air one cannot see a (There isn't even a fly on the wall.)

'moska mosca. fly.

DANDINl un e un E a It's

'tJert::> ar'kano certo arcano certain mystery

ke che that

MAGNIFICO 'sulle 'st::> suile 8to lam on

(in afrenzy) 'spine spine. pins and needles.

)

j

fa'ra zbalordir far a sbalordir. will astound you.

DANDINl (bringing a chair) a se'dere p::>'njamotJi a sedere. Poniamoci sit down. Let us MAGNIFICO per kari'ta 'prest::> per carita. Presto, for pity's sake! Hurry, DANDINl senti'rete voi sentirete Voi are about to hear You

UIJ un a

'kaz:J caso case

MAGNIFICO (to himseW ke vo'lesse mari'tarsi Che volesse maritarsi to marry Could he want

a'ssai assai most

bi'ddzarr::> bizzarro. fantastic.

komme con me? me?

DANDINI mi rakk::>'mand::> Mi raccomando. Please listen. MAGNIFICO (with growing impatience) rna si 'laHi servir Ma si lasci servir. At your service. DANDINI sid3i'llat::> 'kwanto 'ora u'drete 'dalla sia 8ia sigillato quanto ora udrete dalla Be it sealed all that now you will hear from the (Your lips must be sealed at what I now will reveal to you.)

'bokka 'mia bocca mia. mouth mine.

). I

I

II

75

Cenerentola, Act 11

1

)

I

MAGNIFICO 'tel)go il) 'brp::> 'una io 10 tengo in corpo una I have in my body a (Your secret is safe with me.) DUET DANDINI un se'greto Un segreto A secret

J J

10

io I

dimp::>r'tantsa un d'importanza, un of importance, a

vi'dev::> vi devo must to you

vi fa'Ia vi fara. it will cause you

')

segrete'ria . 8 segret erIa. strongbox.

pale'zar palesar: reveal;

e

E It's

intere'ssante interessante most interesting

ar'kano arcano mystery 'una una a

'k::>za strava'gante cosa stravagante, matter quite extraordinary,

il il my

'fjat::> fiato, breath,

strasek::>'lar strasecolar. to be astonished.

MAGNIFICO 'sentsa 'battere Senza battere Without batting

Ie Ie an

'sentsa senza without

'trarre trarre drawing

'mal)b manco even

io mi 'pOl)g::> ad io mipongo ad I am ready to (I am listening breathlessly.)

'tJiAAa ciglia, eyelash,

asbl'tar ascoitar; listen;

sta'r::> kwi petrifi'kat::> 'oj1j1i 'sillaba a Staro qui petrificato ogni sillaba a I'll be here, in stony silence, every syllable to (I shall sit here in stony silence, counting every one of your syllables.)

DANDINI 'meMO 'w::>m::> 'sadd30 e stad3::>'nat::> 'sempre meglio Uomo saggio e stagionato sempre better A man wise and mature always (A wise and mature man always offers the best advice;) se Se If

sp::>'zassi 'una sua sposassi una sua I were to marry one of your

bn'tar contar. count.

tJi kon'siMa ci consiglia; advises us;

'fiAAa figlia, daughters,

) A segreteria was an old piece of furniture with many drawers and secret compartments where people concealed documents and other items that they wanted to keep away from the curious.

8

1

Cenerentola, Act II

76

'kome mmai b da come mai l'ho da how then should I have MAGNIFICO konsi'iler (Consiglier (Counsellor

tra'ttar trattar? to treat her?

)

(to himself) son d3a starn'pat::l son gia stampato.) I am already appointed.)

(aloud) rna Ma But

ke che what

mi'stia Mistia is forme

e'ttIesso eccesso excess

di di of

kle'mentsa clemenza! favor

'duI)kwe dunque then

sua sua Your

ettI e'llentsa Eccellenza... Excellency ...

asbl'tar 'bestia al'tettsa ad bestia, Altezza ad ascoltar (ass,)9 Highness to hear. (Oh what excess of favor I hear you are bestowing on me, Your Excellency, (Whoops!) I mean, Your Highness.) 'abbja 'sempre 'pronti in Abbia sempre pronti in Have always ready in the

'sala sala hall

'trenta 'servi trenta servi thirty servants

im in ill

tI eto'seditIi centosedici one hundred sixteen

ka'valli cavalli, horses,

'duki 'konti mare'Halli Duchi, Conti, Marescialli, Dukes, Counts, Marshals,

a do'ddzine a dozzine by the dozens

i kOlI)vi'tati i convitati, guests,

'prandzi'sempre pranzi sempre meals always

p::li poi then

ka'IT::lttse carrozze carriages,

'pp::li poi then

koi coi with

'pjena 'gala piena gala, full livery,

d3e'lati gelati, ices,

b::lm'be bombe. domed carriages.

DANDlNI vi ris'pond::l 'sentsa ar'kani ke noi 'sjam::l a'ssai bn'tani Vi rispondo senza arcani che noi siamo assai lontani. I reply without secrets that we are rather far (from that). (In reply, I'll make no secret of it, that we're far from that.) io

10 I

non 'UZ::l far non uso far do not usually have

de 'prandzi de' pranzi, dinner parties,

) Bestia, the insult meaning "you ass!" is directed at himself for having called the supposed Prince Your Excellency instead of Your Highness.

9

I

Cenerento/a, Act II 'sempre sempre always

'mand3::> mangio I eat

77

'deMi a'vantsi degli avanzi, leftovers,

n::>m ma'kk::>st::> non m'accosto I don't hobnob

a a with

'tratt::> 'sempre tratto sempre I deal always

servi'tori servitori, with servants,

gran gran fine

siJ1J1ori signori, gentlemen, rna ma and

ne 'vad::> nevado Igo

'semprea semprea always on

MAGNIFICO mi br'bella Mi corbella! You're fooling me! DANDINI A:jel pro'metto Gliel prometto. I promise you (it is true). MAGNIFICO 'kwesto 'dUl)kwe Questo dunque? All this then? DANDINI e un E un It is a (It is all a hoax,

r::>man'dzetto e 'una 'burla il printJi'pat::> romanzetto, e una burla il principato, hoax, it is a joke my Prince business, and this "Prince" business is nothing but ajoke,)

'sono sono lam

un un a

'w::>m::> maske'rat::> uomo mascherato: man in disguise;

rna ma but

ve'nuto venuto returned,

rna stra'ppata m 'ha strappata he has tom off io

)

J

e

e has

il il the

al'fin la alfin la at last my

'vero vero real

'maskera maschera. mask.

10 I

ri'tom::> al ritorno al am going back to

mi::> mio my

son Son lam

dan'dini Dandini Dandini

kame'rjere cameriere, valet,

il il the

'printJipe principe, prince,

mes'tjere mestiere: job:

pje pie'. foot.

78

Cenerentoia, Act II

ri'far rifar who makes

'letti Ietti, beds,

spa'ttsar spazzar brushes

'abiti abiti, clothes,

'far la 'barba far Ia barba10 shaves

e e and

petti'nar pettinar. dresses hair.

MAGNIFICO far la 'barba FarIa barba Shaves

e e and

petti'nar pettinar? dresses hair? kwestaffronto quest' affronto this affront

di Di For

'kwesta in'd3urja questa ingiuria, insult, this

di di for

il il the

'vera vero true

mi'renda mi renda will owe me

DANDINI :) non Oh non don't Oh

'printJipe principe prince

siI)'k:)rnodi s'incomodi, bother,

rna 'parta 'subito ma parta subito, but (you must) leave at once,

'konto conto. an explanation.

fa'fa non fad, he won't do mIl)

immanti'nente immantinente. immediately.

'njente niente: anything; " 1 J

MAGNIFICO n:)m parti'r:) Non partira. I won't leave. DANDINI lei parti'ra Lei partira. You will leave. MAGNIFICO 'sana urn ba'rone Sono un Barone. Baron. lam a DANDINI 'pront:) e Pronto e Ready IS

il il my

bas'tone bastone. stick.

) 10

Far la ba~ba, literally "make the beard", id. est. to shave.

79

Cenerentola, Act 11

MAGNIFICO tfi rive'dremo Ci rivedremo. We'll see about that.

DANDINI Ci rivedremo. MAGNIFICO tfi parle'remo Ci parleremo. We'll talk about it.

DANDINI Ci parleremo. MAGNIFICO 'te1)90 nel 'tferebro cerebro Tengo nel I have in my brain ke che that

'bass::> 'bass::> basso basso very deep down

po'ter del 'mondo poter del mondo, by golly, 'ekbb Eccolo, There he is,

'tutti tutti all

DANDINI 'p:Jver:J 'djav:Jb Povero diavolo! Poor devil!

ke che what

UIJ un a

kontra'bbass::> contrabbasso double-bass fiddle

fru'lland::> frullando whirling

va va.

fJiv::>'lata scivolata, a landslide,

ke che what

IS.

di'rann:J diranno, will say,

mi bur1e'ranno mi burleranno they'll mock me

e

ul]

e

un a

'gran gran great

It's

da Da From

'tIima a cima a to top

gral]

kas'kata cascata! letdown!

gran great

sk::>1)'kwass:J sconquasso, confusion,

ke 'dalto im 'basso pjom'bar d'alto in basso piombar che that from the heights to the depths to fall (which makes him fall from the heights to the depths.)

)

'v:Jstra ettfe'llentsa Vostra Eccellenza, Your Excellency,

'abbja pru'dentsa abbia prudenza: be prudent,

se Se If

ra'zojo sa'ponee rasoio, sapone e a razor, soap and

vw::>l vuol you want

sa'pr:J sapro I will know how

arri'tfarla arricciarla, to curl you,

per per throughout

'pettine pettine, a comb,

zbarbifi'karla sbarbificarla. shave you.

b fa 10 fa. makes him.

'fondo fondo, bottom,

la tIi'tta la citta. the city.

80 ha Ah! Hal

Cenerentola, Act II ha Ah! Ha!

gwar'dateb guardatelo, Look at him

ia'lbkk::> l'allocco the fool

e e IS

la hi. there.

)

(They leave and Alidoro enters.) ALIDORO il mi se'konda Mi seconda il I am being helped by (This is just as I planned it.)

des'tino destino. fate.

favo'riJIe il di'ze]1]1o a'mor pje'toz::> Amor pietoso favorisce il disegno. Cupid compassionate favors my plan. (The compassionate god of love [Cupid] favors my plan.) 'aI)ke la Anche la Even the

'mtte pr::>tJe'lloza notte, procellosa night, stormy

'rende pju rende piiI makes more

natu'ral natural natural

la La The

ka'rr::>ttsa carrozza carriage

o've Ov'e Where is

::> Oh Oh

ed ed and

os'kura oscura dark

kwestavven'tura quest' avventura. this accident. II d3a e gia e is now

dan'dini Dandini? Dandini?

'kome in'd::>tJile come indocile how undocile

im 'pronto in pronto, ready; 'sek::> b vw::>l nel su::> Seco 10 vuol nel suo on his With him he wants (The Prince wants him with him on this trip.)

se 'fatt::> ed s'e fatto ed he has become and

vi'add3::> viaggio. trip.

impa'ttsjente impaziente! impatient!

ke 10 'pittsika a'mOf 'se]1Jlo evi'dente che 10 pizzica amor segno evidente. that he's being twitched by love sign evident. (It's an evident sign that love is tugging at his heartstrings.) (He goes off) SONG CENERENTOLA Una volta c'era un Re, etc. (She looks at the bracelet.)

11 Alidoro is talking about the "accident" he plans to instigate, whereby the carriage will break down near the Baron's house.

, 81

Cenerentola, Act II

)

'kar:) sei carol sei you are dear (to me)!

'kwant:) Quanto How 'dat:) :)' 'kui dato ho cui whom I gave kwel Quel That

si'J1J1or 'printIipe signor Principe Prince,

:)'bbella Oh bella! Fancy that!

)

il tu:) il tuo your

1:)

10 I

e e And

bm'paJ1J1:) compagno, companion, ke che what

'kwello quello, he, e pju 'kkaro epiu caro is more precious

preten'dea pretendea did he mean

ko!) con by

nom 'bad:) non bado do not care

a a for

ri'kami ricami, fancy lace,

'amo 'solo amo solo I love only

bel bel a handsome

'volta volto face

e e and

br sin'tIer:) cor sincero, a heart sincere,

e e and

d:) la la do I give my

prefe'rentsa preferenza preference

al al to

suo suo his

sku'djer:) Scudiero. squire.

in'tant:) intanto ... in the meantime ...

Ie mie s:)'re11e Le mie sorelle sisters My

:)'kkjate ma ke ma che occhiate! what nasty looks! but (what nasty looks they gave me!)

stralu'nate stralunate! thunderstruck!

(A loud knock is heard as she goes to open the door.)

kwal ru'more Qual rumore! What's this noise! (Seeing Magnifico and her two sisters come into the room.)

u (Uh? (Uh!

ki'vedo ke chi vedo! che What do I see! What

'tIeffi cern!) ugly mugs!)

no!) kre'dea ke t:)r'naste di ri'tomo di ritorno non credea che tornaste back I didn't think you'd return (I didn't expect you back before daylight.) (Clorinda points to Cenerentola)

te teo you.

'kwelle 'zm:)rfje queUe smorfie? simpering? his

ed ed and

pa'rean:) Pareano They seemed

)

di di than

a'vanti 'd30mo avanti giorno. before daylight.

82

Cenerentola, Act 11

CLORINDA (to her father) rna VE la'vevo 'detto (Ma ve l'avevo detto...) (It's exactly as I told you... ) MAGNIFICO rna bS'PEtt::> simi'lissime Ma cospetto! Similissime Good heavens! Very similar 'kwella Quella That one

E

e is

'son::> sono they are

lorid3i'nal I'originaI, the original,

a'ffatt::> affatto. in fact. 'kwesta questa this one

E

e IS

il il the

ri'tratt::> ritratto. spitting image.

(to Cenerentola, roughly) al

Rai Have you

'fatto fatto done

'tutto tutto? everything (I asked you to do)?

CENERENTOLA 'tutto per'ke kwel 'tIEffo Tutto. Perche quel ceffo Everything. Why that mug (Why do you show me MAGNIFICO per'ke Perche... Because...

(exasperated) pef 'una per una of a

ko'zi cosi? like that?

'brutto voi mi 'fate brutto voi mi fate ugly you give me such an ugly face?)

'tIErta 'strega ke certa strega che certain witch who

rasso'mi(Aa rassomiglia resembles

a ttE ate ... you.. .

CLORINDA su Ie tUE 'spallE 'kwazi mi SbgE'fEi Su Ie tue spalle quasi mi sfogherei. On your back almost I'd like to vent my spleen. CENERENTOLA 'p:WEfE 'spalle Povere spalle Poor shoulders

'miE mie! of mine!

'bza Cosa What

tIi 'ann::> ci hanno have they got

ke che to

ffar far? do (with it)?

(A storm now breaks with thunder and lightning, then the sound of a carriage overturning.) TISBE fa ::> fa Oh, it's Oh,

mal mal bad

MAGNIFICO 'altr::> ke tEmp::>'fale Altro che temporaIe! A storm indeed!

'tEmp::> tempo! weather!

uIl] Un A

mi'nattIa un Minaccia un There threatens a

'fUlminE fulmine lightning bolt

v::>'rrEi vorrei I'd like

tEmp::>'fa1e temp orale. storm.

83

Cenerentola, Act II

'"

)

ke che that

intJ ene'nsse incenerisse would incinerate

CENERENTOLA 'dite rna Ma dite, But tell me, a'vete Avete Have you

'k:)Za cosa what

'kwalke qualche some

il il that

kame'rjer camerier. valet.

e e has

akka'duto accaduto? happened?

se'greta segreta secret

MAGNIFICO (violently) va la 'J~kka va lit; Sciocca, You foolish girl, goon! CENERENTOLA si Vado, sl, I'm going, yes, 'vad~

'pena pena? trouble?

va va Go

a a to

prepa'rar preparar prepare

la la the

'tJena cena. supper.

'vad~

vado. I'm going.

(to herself)

)

a (Ah, (Ah,

ke che what

ka'ttivo u'rnore cattivo umore!) awful humor!) (a bad mood!)

a Ah! Ah!

b 10 That

sku'djero 'mio mi sta nel scudiero mio mi sta nel squire of mine dwells in my

'k~re

core. heart.

(A violent storm breaks out, at the end ofwhich Dandini enters,followed almost immediately by Ramiro.)

DANDINI sku'zate Scusate, Excuse us,

a'mitJi amici; friends, (but)

la ka'rr~ttsa la carrozza the carriage

del 'printJipe Principe del of the Prince

(recognizing Don Magnifico)

rna ma but

)

'vvedo ki chi vedo? whom do I see?

MAGNIFICO 'sjete u siete Uh! Oh! It's

(surprised) 'voi rna voi! Ma you! But

il il the

'printJipe Principe Prince,

d~'ve

dov"e? where is he?

ribalb ribalto... overturned...

84

Cenerentola, Act II

DANDINI (indicating Ramiro) 10 kono'IS ete Lo conoscete? Don't you know him? MAGNIFICO sku'djer;:, 10 Lo scudiero! The squire! RAMIRO sipJ10re Signore, Sire,

i

Ih, Oh,

perd;:,'nate perdonate forgive me

) )

gwar'date guardate... just look at this ...

se se if

'una una some

MAGNIFICO ke 'ditJe si fi'guri Che dice? Si figuri, What are you saying? Don't mention it,

kombina'ttsjone combinazione... circumstance...

mb mio my

pa'drone padrone. liege.

e e did

ve'nut;:, venuto he come

(to Clorinda and Tisbe)

e non 'sentsa per'ke (Eh! non senza perche (Hey! Not without (a) reason (Look, he didn't come here for no reason.) la La The

'sp;:,za 'fiAAe 'mie fra VOl sposa, figlie mie, fra voi bride, my daughters, between both of you (will be one of you.)

el

Ehi! Ho there!

'prest;:, presto, Quickly,

tJ ene'rent;:,la Cenerentola, Cinderella,

sa'ra sara.) shall be.)

'sedja 'n;:,bile 'p;:,rta la porta la sedia nobile. r chair noble. bring the (bring our best chair.)

RAMIRO 'p;:,ki mi'nuti 'altra ka'rr;:,ttsa No: pochi minuti; altra carrozza No, I'm only staying a few minutes; another carriage n;:,

kwa qua. here.

'pronta rit;:,me'ra pronta ritornera. soon will come back.

MAGNIFICO rna ke Ai 'pare Ma che gli pare? But how do you mean? CLORINDA ti 'zbriga Ti sbriga, Hurry,

tJ ene'rent;:,la Cenerentola. Cinderella.

(Cenerentola enters bringing an elegant chair to Dandini, whom she still believes is the Prince.)

)

I

1 j.

Cenerentola, Act II

I

11 i

CENERENTOLA SOl] kwi Son qui. I am here.

')

I

85

MAGNIFICO 'dalla al Dalla al Give it to the

(roughly) 'printJipe Principe, Prince,

'bestia bestia, imbecile,

'ekblo Ii eccolo Ii. there he is.

(Cenerentola recognizes Ramiro in the Prince and covers her face with her hands, starting to run away.)

'kwesto Questo ... This man ...

a ah, ah,

'ke che what

RAMIRO (to Cenerentola) ta'rresta b ke T'arresta. Che! 10 Stay! What! The 'd3~ja

ke Che What

glOla ~

'sjete Siete Is it

voi voi? you?

e IS

~

. 1

)

I

'vvedo vedo! do I see!

'printJipe Principe! Prince!

zrna'niMlo smaniglio! bracelet!

E

e It's

'kwesta questa! this!

CENERENTOLA (observing the Prince's clothing) 'voi 'prentJe 'sjete Voi Prence siete? You a Prince are? CLORINDA, TISBE (to themselves, amazed) kwal sOr'preza Qual sorpresa! What a surprise!

1

DANDINI 'kaz~ e il caso e n matter IS The

'bbell~

bello! delightful !

. MAGNIFICO (wishing to get Ramiro's attention) rna

Ma ... But...

)

'llei lei: she!

Cenerentola, Act II

86 RAMIRO ta'tIete Tacete. Keep quiet.

) j

MAGNIFICO (as above) a'ddb tIer've1b Addio cervello. brain. Goodbye (F arewell my sanity .. .if...)

se Se... If.. .

DANDINI, RAMIRO si'lentsj~

Silenzio. Silence.

ALL SIX sa'ra ke sara! Che What will happen!

e

'kwest~

e

Questo This 'kwest~

is

e

questo e is this

Ul)

un a

un un a

'n~d~

avvilu'ppat~

nodo knot

avviluppato snarled

'grrruppo gruppo group

ki zvi'luppa chi sviluppa whoever tries to undo it (This is a snarled knot, a tangled group more entangled it becomes.) ki Chi Whoever

rrrintrrre'ttI at~ rintrecciato,12 tangled, pju in]vi'luppa pin inviluppa; tangles it all the more: of people and the more someone tries to undo it, the

pju 'zgrrruppa pju ma'ggrrruppa pin sgruppa pIll raggruppa; tries to undo it, the more he tightens it still;

in'tant~

ed Ed And

intanto meanwhile

v~

ten't~n

vo I go

tenton groping

sa'mesta p~i la mia 'testa 'vola e s'arresta, poi e lamia testa vola stops, then and head flies my (my brain keeps spinning and then stops.) 'larja os'kura e per l'aria oscura e per and about the air dark

a a comincio I am beginning to ko'mintI~

deli'rar delirar. rave.

12 It is traditional to roll the r's with the force of a snare drum in this ensemble. The phonetic transcription shows this by having thrree [r] in succession. This goes for the words sgruppa, s'arresta, and ragruppa.

I

Cenerentola, Act II

87

CLORINDA (violently wrenching Cenerentolafrom her bewilderment) 'd:mna 'J;)kka 'alma di 'faI)9;) 'bza 'tIerki Donna sciocca, alma di fango, cosa cerchi? of mud, what do you want? Woman stupid, soul 'k:)za che who

pre'tendi pretendi? do you you think you are?

nm fra Fra noi . Among us,

'd3ente 'dalt;) '[al)g;) gente d'alto rango people of high rank

e intIivil'ta larres'tarsi l'arrestarsi e incivilta. to mingle is incivility (It is bad manners to mix with people of high breeding like us.) MAGNIFICO 'serva au'datIe Serva audace, Servant bold,

·1

)

)

e e and

ki chi who

tin'sej1j1a t'insegna has taught you

star kwi fra 'tanti di di star qui fra tanti to be here among so many (to stand here in such select company?)

e'[;)i eroi? heroes?

va Va Go

in'dej1j1a indegna, worthless,

'serva serva servant

il) ku'tIina cucina, in to the kitchen,

non t;)r'nar non tornar do not return

mai pju mai pin ever again

RAMIRO 'alme 'viIi Alme viii, Souls vile,

iIIJ'van ten'tate invan tentate in vain you try

di di in

kwa qua. here.

dinsul'tar d'insultar to insult

'alme'viIi Alme viIi, Wretched creatures,

paven'tate paventate: beware:

n mio

DANDINI d3a sa'pea Gia sapea I already knew

ke che that

la la this

b'mmedja commedia comedy

si kan'd3aya si cangiava, . would change

al al in the

sekon'datt;)

'ekk;) ecco here

a'perta aperta unfolded

(is)

a'd;)[;) k::>'lei ke colei che adoro; the one whom I adore;

il mb 'fulmine fulmine My thunderbolt

ka'dra

caddo will fall (upon you).

second'a~o;

second act; la la the

tra'd3edja tragedia; tragedy;

iII] ve[i'ta me la 'g;)do in verita. mela godo I'm enjoying it indeed!

Cenerentola, Act II

88

CLORINDA, TISBE (to themselves) son di 'd3Eb Son di gelo. I'm of .' ice. (I've ~ed to ic.e!) •.

.,:\

." ~-"

",:

MAGNIFICO (to himself) 'son di 'stukko Son di stucco. I am of stucco. (I've turned to stone.) (I'm dumbfounded.)

. ·f-.

.,.

.....;,'

1·

DANDINI (to himself) marnma'lukko divEn'tat::> E urn Diventato e un mammalucco. 13 Become he has a Mameluke. (He has become a complete idiot.) MAGNIFICO, CLORINDA, DANDINI 'sErva 'una serva ... una Ma servant .. . a But

rna

RAMIRO (making a threatening gesture) ::>'la Ola, Ho,

ta'tJete tacete: keep quiet.

'lira mia pju fren m'na l'ira mia pill fren non ha. My ire no more bridle has. (I can no longer bridle my wrath.)

CENERENTOLA (bowing to Ramiro, a si'.J1]1or SE ver ke Ah, signor, s'e ver che Ab, Lord, if it is true that 'kwalke qualche some

who gently lifts her up) im 'PEtt::> in petto in your breast

a'mor per mE sEr'batE amor per me serbate, love for me you feel,

bmpa'tite compatite, have pity (on them)

perd::>'natE perdonate forgive them

e tri'oIl)fi la b::>n'ta e trionfi la bonta. and let triumph goodness. (and let "GOODNESS BE TRIUMPHANT") DANDINI, RAMmo mi'ratE 'kwal 'kwellE 'lagrirne mirate, qual QueUe lagrime, look, what tears, Those

kan'dorE candore,. sincerity,

kwal qual what

b::>n'ta bonta! goodness!

0",'"

13 Mammalucco for some reason has become synonymous with dumb, stupid, oafish, etc. The Mamelukes were members of a famed cavalry corps, originally slaves, who dominated Egypt from 1254 to 1811. Why the word has acquired its connotation in operatic Italian language is a mystery, but this writer ventures to suggest that it is because the word has such obvious onomatopoeic properties, with the double m's and the double c's, that it sounds "funny". This is only a conjecture, of course.

)

J

......-'"

Cenerentola, Act 11

)

CLORINDA, TISBE, MAGNIFICO a li'p:Jkrita gwar'date :J ke 'bile ke Ah, l'ipocrita, guardate! Oh che bile che Ah, the hypocrite, look at her! Oh what gall she (Oh how she galls me!) MAGNIFICO rna ill in Ma But after

-j

I I

89

(in a servile attitude, to Ramiro) 'somma 'delle 'somme al'tettsa somma delle somine, Altezza, all is said and done, Highness,

RAMIRO (taking Cenerentola's hand) 'pjan:J nom pju pa'r:Jle 'kwesta Piano, non piil parole. Questa Quiet, no more words. This (young lady)

'k:Jza cosa what

mi fa mifa! gives me!

'vw:Jle vuole? is it you wish?

sa'ra mia sara mia will be my

'sp:Jza sposa. bride.

CLORINDA, TISBE (tittering nervously) ha ha di'ra per 'ridere Ah! Ah! Dira, per ridere. Ha! Ha! He must be joking. CLORINDA, TISBE, MAGNIFICO (to Cenerentola) nOlI] 'vedi ke ti 'burlan:J Non vedi che ti burlano? Don't you see that they're making fun of you? - 1

)

1

RAMIRO

Lo giuro: I swear it.

'mia mia Mine

MAGNIFICO rna fra Ma fra But among

(sheepishly) i ram'polli 'mjei i rampolli miei, my offspring,

b'd3llfO

sa'ra sara. she shall be.

RAMlRO (contemptuously) 'lor:J non son 'io per Per Ioro non son io. For them I am not. 'larja :J l'aria ho I have an air

"1

DANDINI al'fine 'suI Alfine suI At last to the

14

mi pare a miparea I thought that

a 'kreder 'mio a creder mio... I believed...

:J 'lanima ple'bea Ho l' anima plebea, I have a plebean soul,

doddzi'nale dozzinale. 14 commonplace.

'brattJale bracciale arm-basket,

'ekko ecco here

il il the

pa'llon t:Jr'n:J pallon torno; has fallen; ball

Dozzina means "dozen". Dozzinale, therefore connotes "a dime a dozen", ergo, "common".

Cenerentola, Act II

90

e il d3:)ka'tor ma'estr:) in 'arja il ribal'ts:) e il giocator maestro in aria il ribalzo. and the player expert into the air threw it back.15 (What goes around comes around, and my expert master the Prince has put it right.) RAMIRO (to Cenerentola, with gentle force) 'vjeni a re'.J1J1ar lim'pOI)go Vieni a regnar: l'impongo. Come to reign: I command it! CENERENTOLA (turning to kiss Magnifico's su 'kwesta 'man:) al'meno e Su questa mane almeno, e Upon this hand at least, and

and her stepsisters' hands) 'prima a 'kwesto 'seno prima a questa seno... first to my breast...

MAGNIFICO (repulsing her) ti'sbsta Ti scosta. Get away from me.

j

TISBE, CLORINDA ti albn'tana Ti allontana. Be offl RAMlRO 'perfida Perfida Evil

CENERENTOLA ke 'dove SSOft che Dove son! Where amI! What io

10 I,

iI)'kant:) incanto enchantment

:) fe'litJe Oh, felice! happy (at last)! Oh

iI)'ganm inganno? deceit?

Is it

un un a

ke Che What

impro'vviz:) improvviso a sudden

e

E

io io I

in'sana insana! insane!

'd3ente gente people

e

e

is

vi fa'f:) tre'mar vi faro tremar. shall make you tremble.

'kwesto questo? this?

'kwal qual what

e'vent:) evento! an event!

a Ah! Ah!

se se If

mi'dest:) mi desto, I wake,

kand3a'mento cangiamento! change!

15 We are talking here about a ball game akin to Jai Alai, where the player has a semi-circular basket tied to his arm, with which he catches the ball bouncing back from a slate wall at great speed. He then flings the ball out of this basket with great expertise and throws it back at the wall. The metaphors suggested by this are: "What goes around comes around" - "The circle is complete" - "The tables have been turned, and the expert player has put things right again".

) 1

r~

91

Cenerentola, Act II

j

')

1

1 1

sta tem'pesta in Sta tempesta in Is ill tempest (My brain is in twmoil,) THE OTHERS 'kwello 'bront::>la Quello brontola grumbles That one

e e and

bor'botta borbotta, mutters,

'kwest::> questo this one

'strepita strepita shouts

e e and

sa'dira s'adira, rages,

'kwello quello that one

'freme 'kwest::> freme, questo fumes, this one

ki chi one

mi'nattJa minacccia, threatens,

va a fi'nir ke Va a finir che In the end

~

J

il mb tJer'vdb ilmio cervello, my brain,

'p::>ss::> a'ppena posso appena I can barely

'fj::>tta fiotta, whines,

sos'pira ki chi sospira; another sighs; a a' to

pattsa'relli pazzarelli the madhouse

tJi d::>'vrann::> cidovranno they will

traJJi'nar trascinar. drag us.

(Ramiro takes Cenerentola offwith him, followed by Dandini and Magnifico.)

)

TISBE 'duI]kwe Dunque, Then,

j

noi noi we

sjam bur'late siam burlate? have been duped?

CLORINDA 'dalla 'rabbja io nOIl] 'vedo pju non vedo pin Dalla rabbia io Out of rage I can no longer see (I am so furious I can hardly see anymore!) TISBE di mi 'pare Mi pare di I'm It seems to me

s::>)1.par sognar dreaming

ALIDORO (entering and interrupting) printJi'pessa sa'm Principessa sara. A Princess she shall be.

)

CLORINDA ki 'sjete Chi siete? Who are you?

la la of

'llume lume. light.

tJene're.nt::>la Cenerentola... Cinderella...

respi'rar respirar. breathe.

92

Cenerentola, Act II

ALIDORO (haughtily) io la kari'ta vi tJer'kai 10 la carita. vi cercai I asked you for alms. e E And

land30'lina l' Angiolina, Angiolina,

'kwella ke quella che she who

'sorda ai sorda ai deaf to (the begging of a) vvoi ke che voi whom you e e and

or or now

il 'padre 'v::>str::> n padre vostro Your father

an'tJella ancella, servant

sali'ra salid will ascend

suI suI the

Ai e debi'tor di'mmense gli e debitor d'immense is in debt to her of enormous si man'd3::> la sua 'd::>te e si mangio la sua dote, e he gobbled up her dovvry, and

re'likwja reliquia relic

di di ofa

sa'rarm::> saranno will be

'p::>sti al posti al put up to

pa'latts::> palazzo, palace,

'pubbliko pubblico public

di di to

ALIDORO 'bivj::> e il bivio e n choice is The

'kwesto questo. this:

termi'nar ::> terminar 0 Either end

fra fra in

la mi'zerja la miseria poverty

al al at the

pje pie foot

0

or

noi noi us

fra Ie fra Ie among the

'tJenere cenere ashes

'tr::m::> trono. throne. 'somme somme. sums (of money). 'forse 'kwesta forse questa perhaps this

'kwesti mn 'tr::>ppo questi non troppo this not too

TISBE ke 'ffia Che fia What will happen

'kurve curve bend down

)

nOlI) fu nonfu was not

'tutta Tutta All of it

::>

mi ska'ttJaste mi scacciaste. repulsed me.

'mizeri miseri, wretched man,

te'neste 'kome vile teneste come vile lowly kept as a

i'tJentJi i cenci, rags,

voi Voi You both

'rikki ricchi sumptuous

'm::>bili mobili furniture

iI]'kant:l incanto. auction.

fra'ttant::> frattanto? in the meanwhile?

1

i your

del 'tr::>n::> del trono of the throne

'd30mi giorni days \

)

Cenerento/a, Act 11

)

impb'rar implorar implore for

'grattsja grazia mercy

nel vi'tIin Nel vicin In the nearby

'atrj~

atrio hall,

per'dono perdono. forgiveness.

ed ed and

impe'trar impetrar beg for

io io I

delle'vent~ 'stesso pre'zago stesso presago dell' evento myself, having foreseen the event,

la 'festa nu'ttsjale ~ prepa'rata la festa nuziale ho preparata. the feast nuptial have prepared. (have prepared the marriage celebration.)

I

'kwesto Questo, 1bis,

·'kwest~

e

questa this

e

CLORINDA abba'ssarmi Abbassarmi To lower myself

. 1

)

ARIA CLORINDA zventu'rata Sventurata! Poor me!

IS

il il my

mo'mento momento. moment.

kon con to

'lei lei! her!

son son lam

mi kre'dea Mi credea I thought

'son Son I've

la'JJata lasciata been left

rna Ma But

ke che what

'tanto fa Tanto fa: After all, p~'tra

il potra il will the

pe'larlo pelarlo vo' I want to pluck his feathers v~

1

un Un A

)

ma'rit~

marito husband,

bman'dar comandar to command

dispe'rata disperata! desperate!

se'duta in seduta in seated upon the

in abban'dono 'sentsa in abbandono senza abandoned, without

'sserve serve! of it!

kapi'tar Capitar To fall (in my hands)

j

93

sono I am

trono . throne. pje'ta pieta. pity.

u'nombra un'ombra a shadow

di di of

al'fine alfine still

d30vi'netta giovinetta; very young;

ska'ppar scappar runoff

nom mi p~'tra non mi potd. he won't from me.

mer'btt~

merlotto black bird16

iIl] 'fretta in fretta in haste,

krede'rei crederei I'd think,

'son~

'tr~n~

'alIa alia at

e e and 'fine fine last

n~m

maI]ke'ra non manchera. won't be lacking.

16 Using ornithological substitutes for members of both sexes is common practice in many languages; while the British use "bird", for girls, the Americans "chicks", the Italians use merlotto for boys, the feathers of whom Clorinda plans to pluck so it will not fly off.

94

Cenerentola, Act II

ALIDORO (entering) la 'pill~la e urn un La pillola e a The pill IS rna rna but

p~

po' bit

'dura dura: hard (to swallow);

d~'vra

ir)gjo'ttirla inghiottirla swallow it

dovra. she must.

n~n tJe Non c'e There's no

) ri'rnedj~

rimedio. alternative.

(to Tisbe) e E And

'k~za

vvoi voi you,

cosa what

pen'sate pensate? do you think?

TISBE rni a'kbm~d~ 'alla Mi accomodo alIa I'll submit to

'k~za

'pens~

Cosa What

penso? do I think?

se se if

mi u'milj~ mi umilio I humble myself,

'alla alIa after

fin fin, all,

's~rte

sorte: fate; n~II] 'vad~ a non va do a I am not going to

'mm~rte

rnorte. die.

(She leaves.)

ALIDORO 'd3ust~

Giusto Merciful i 'voti mjei Ivoti miei My wishes

ti rilJ'grattsj~ ti ringrazio! I thank you!

tJel ciel, Heaven, n~n

am pju ke spe'rar non han pin che sperar. have been totally fulfilled.

10r'goM~

L'orgoglio Pride

e

~'press~

has been

oppresso. crushed.

e

sa'ra fe'litJe il 'kar~ a'lunno ill 'tr~n~ tri'oIIJfa Sara felice il caro alunno. In trono trionfa Will be happy my dear pupil. On the throne triumphs (My dear pupil shall be happy and from his throne goodness shall triumph.) kon'tento Contento Content

10

io I

la b~n'ta la bonta. goodness.

'sono sono. am.

(Alidoro exits. The curtain rises to reveal an illuminated atrium, in the center ofwhich Ramiro and Cinderella are seated onsumptuous thrones, dressed in their best finery, while Dandini and courtiers stand around. In a corner, the embarrassed Don Magnifico keeps averting his eyes. Later Alidoro enters, followed by Clorinda and Tisbe, who seek to cover their faces in utter mortification.)

CHORUS 'della for'tuna Della fortuna fortune Of

is'tabile istabile unstable,

la la the

revo'lubil revolubil turning

'rw~ta

ruota wheel

95

Cenerentola, Act II

I) 1

'mentre ne'd3und3i al 'vertitJeper te sa'rresta mentre ne giungi al vertice per te s'arresta as it reaches its vertex, for you stops (The fickle wheel of fortune comes to a stop for you, as it reaches its vertex.) 'kadde IOr'goAAo im 'polvere tri'oII)fa Cadde l'orgoglio in polvere, trionfa Has fallen pride into dust, (and) triumphs (Pride has crumbled to dust and goodness has triumphed.)

1

i'mm:Jta immota; unmoving.

la b:Jn'ta la bonta. goodness.

RAMIRO (softly, taking Cenerentola by the arm) 'sp:Jza Sposa ... My bride ...

1

)

CENERENTOLA (overwhelmed w ith joy) siPJlor per'dona la 'tenera intJer'tettsa Signor, perdona tenera incertezza la Lord, forgive the tender bewilderment

ke mi kOIIJfonde al]'kor che miconfonde ancor. which confounds me still.

p:J'kantsi Poc'anzi, A short while ago,

il'sai il sai, as you know,

fra la fra la among the

'tJenere cenere ashes

ed ed and

'tr:Jn:J trono ... throne ...

e e with

'serto mi tJir'konda serto mi circonda. crown over my brow.

or or now,

suI suI ona

un

un a

i'mmonda immonda... filthy ...

MAGNIFICO (running to kneel before Cenerentola) al'tettsa a vvoi mi 'pr:Jstr:J Altezza, a voi mi prostro... Your Highness, before you I prostrate myself... CENERENTOLA (gentlY, to Magnifico) ne mu'dr:J mai kja'mar Ne m'udro mai chiamar Won't I hear ever to be called (Shall I never hear you call me daughter?)

la 'fiAAa 'v:Jstra la figlia vostra? your daughter?

RAMIRO (nodding to the other two sisters) 'kwelle orgo'AAoze Quelle orgogliose... Those arrogant ones ...

)

CENERENTOLA a 'prentJe Ah, prence, Ah, prince,

b io I

Ie Le The

in'd3u.rje ingiurie wrongs

an'tike antiche former

'kad:J cado fall

ai ai at

'v:Jstri pje vostri pie'. your feet.

'dalla mi zva'nir dalla misvanir have vanished from my

'mente mente. mind.

Cenerentola, Act II

96 'tr::mo b suI trono io SuI To the throne I 'starvi starn to become

e e and

'salg~

salgo, rise,

ma'dd30r maggior greater while on it

e e and

il so'ffri ta'tJe:nd~ il soffri tacendo the it suffered in silence (my heart suffered in silence;)

voglio I want 'tr~n~

del del than the

e sa'ra mmia ven'detta sara la mia vendetta e and shall be my revenge (and my revenge shall be their forgiveness.) ARIA CENERENTOLA alla'ffann~ 'nakkwi all'affano Nacqui to sorrow Iwasbom

'v~il~

al al to

trono, throne (itself), illor illor their

per'dono perdono. forgiveness.

'pjant~

pianto, tears,

'k~re:

core; heart;

nel delle'ta mia ma per s~'ave iI)'kant~ Ma per soave incanto dell' eta mia nel by a _gentle enchantment of my age in the But (but by some sweet enchantment in the flower of my years,)

'fjore fiore, flower,

kan'd3~

'kome um ba'len~ 'rapid~ la 's~rte 'mia baleno rapido la sorte mia come un like a flash swift my fate (in a quick flash my fate was suddenly changed.)

cangio. was changed.

(To Magnifico and the step sisters, who appear moved to tears.)

il il your

'tJillo per'ke tre:'mar ciglio, perche tremar? tremble? tears, why

No, No,

ter'd3ete tergete dry

a a to

v~'late: 'fiAAa 'kwesto 'sen volate. Figlia, questo sen Daughter, fly. breast my

n~

'tutto tutto all of those

tr~'vate:

trovate you can find

1m in in

s~'re:lla

sorella, sister,

a'roika amica, friend,

me: me. me.

(She embraces her sisters.)

ALL, except Cenerentola mintene'riHe: 'mad3ita m'agita, M'intenerisce, moves me, She stirs me (and)

e:

un e un she is a

'nume: Nume goddess

a'il~kki

'mje:i agli occhi miei; in my eyes;

If':'''' ~

~

!

I

97

Cenerentola, Act II 'de]1]1a del Degna del Worthyofa

)

tr::>n tu 'sd tu sei tron throne you are,

'p::>k;) un 'tr::>n;) a e rna te poco un trono a rna e teo but IS little a throne for you. (You are worthy of a throne, but a throne is a small reward for you.)

CENERENTOLA 'padre 'SP;)z::> Padre... sposo ... Father ... husband ...

1

nom Non No

I

'mesta a'kkant;) PJU mesta accanto pin longer sad next to

sta'f;) staro will I be a Ah, Ah

1 -~

)

j

'sola sola alone

fu un fu un it was a

al al the

;)

oh, what

is'tante istante! moment!

fw;)k::> fuoco fire

a gorge'dd3ar n;) a gorgheggiar, no. singing, no. 'lampo lampo, streak of lightning,

un un a

'so]1]10 un sogno, un dream, a

'kand3a cangia changes

a 'p;)b a 'p::>b a poco a poco, little by little,

'tJessa al'fin di cessa alfin di cease at last your

END OF THE OPERA )

j

1 b

/

'd3W;)b giuoco game

il mio 'lul)g::> palpi'tar ilrnio lungo palpitar. my long heartache.

CHORUS 'tutt::> Tutto Everything

J

a'miko amico... friend ...

Sospi'far sospirar. sighing.

Cenerentola, Act II

98

) APPENDIX ARlANO.6 ALIDORO

(Sometimes substituted for the much more vocally demanding No. 6-A included in this translation) ALIDORO (to Cinderella) te'atr:) e 'vast:) teatro e Vasto theater IS A vast

'mondo mondo, world,

bmme'djanti commedianti, actors,

'tutti tutti all of us,

sjam siam we are,

il il the

pw:) fra 'brevi is'tanti ka'rattere si puo fra brevi istanti carattere si one can in a few instants (our) character (we can, in an instant change from one part to another.) kwel Quel He

'bdd3i ch'oggi who today

d:)'mani domani tomorrow

un

is

un a

e

un e un can be a

e

miste'rjoze fra misteriose Fra Amid mysterious ke che that

e

'bkkjo l'occhio the eye

arle'kkino Arlecchino Harlequin,

si]1]1o'rone signorone, big man,

un un a

kan'd3ar cangiar. change.

ba'ttut:) battuto beaten

pa'drone dal padrone, dal by his master,

'w:)m:) 'dalt:) a'ffar uomo d'alto affar. man of high office.

'nuvole nuvole clouds u'man nom 'penetra uman non penetra, human cannot penetrate,

sta 'skritto sta scritto is written

kwel quel that

ka'rattefe carattere character

ke 'devi retJi'tar recitar. che devi play. which you must (The part one must play is written in mysterious clouds that the human eye cannot penetrate.) (The sound of the approaching carriage is heard.)

il 'kreHere 'bkkj:) ':)d:) del il crescere cocchio Odo del the growing 1 hear of the carriage (I can hear the approaching noise of the carriage.)

'pr:)ssimo prossimo approaching

ru'more rumore. noise.

99

Cenerentola, ACt II

'vjeni Vieni, Come, (Come

tin'seJ1J1i il 'bfe ko'lui ke 'devi ttinsegni il core colui che devi may teach you your heart he whom you must [with me], and let your heart tell you what kind of man you must love.)

a'mar amar. love.

(Alidoro opens the door. There is a carriage outside and Cenerentola gets into it. Alidora closes the door as one can hear the carriage going off)

)

)