JULES MASSENET (1842–1912): “Va! Laisser couler mes larmes” from Werther (1887)
Libretto by Édouard Blau, Paul Milliet, and Georges Hartmann
Based on The Sorrows of Young Werther by Johann Wolfgang von Goethe
Translation adapted from Bard Suverkrop
Va! Laisse couler mes larmes!
Go! Let flow my tears!
Elles font du bien, ma chérie!
They do good, my dearest!
Les larmes qu'on ne pleure pas
The tears which one does not cry
Dans notre âme retombent toutes,
All fall back into our soul,
Et de leurs patientes goutes martèlent le cœur triste et las!
and their persistent drops hammer upon the sad and weary heart!
Sa résistance enfin s'épuise;
Its resistance finally exhausts itself;
Le cœur se creuse et s'affaiblit;
The heart, it is hollowed out and weakens;
Il est trop grand, rien ne l'emplit;
It is too big; nothing can fill it;
Et trop fragile, tout le brise!
And too fragile, it breaks everything!
GEORGE FRIDERIC HANDEL (1685–1759): “Dopo notte”
from Ariodante (1734)
Dopo notte, atra e funesta,
After a dark and mournful night
splende in Ciel più vago il sole,
the sun shines more brightly in the sky
e di gioja empie la terra;
and fills the earth with joy
Mentre in orrida tempesta
While in a horrible storm
il mio legno è quasi assorto,
my ship is almost absorbed
giunge in porto, e'llido afferra.
it reaches port, and seizes the icy sea.
GIOACCHINO ROSSINI (1792–1868): “Cruda sorte!” from L’Italiana in Algeri (1813)
Text by Angelo Anelli
Translation adapted from Bard Suverkrop
Cruda sorte! Amor tiranno!
Cruel fate! Tyrannical love!
Questo è il premio di mia fé:
This is the reward for my fidelity?
Non v'è orror, terror, né affanno
There is no greater horror or anxiety
pari a quel ch'io provo in me.
compared with that which I feel in me.
Per te solo, o mio Lindoro,
For you alone, oh my Lindoro,
io mi trovo in tal periglio.
I myself find in such peril.
Da chi spero, oh Dio, consiglio?
Oh God, from whom can I hope for advice?
Chi conforto mi darà?
Who will comfort me?
Qua ci vuol disinvoltura, non più smanie, né paura;
Here we need cool headedness, no more rages, nor fear:
Di coraggio è tempo adesso, or chi sono si vedrà.
it is now time to be brave; now they will see who I am.
Già so per pratica qual sia l'effetto
Already I know from experience what is the effect
d'un sguardo languido, d'un sospiretto...
of a languishing look, a little sigh...
so a domar gli uomini come si fa, sì!
I know how to tame the men, yes!
Sien dolci o ruvidi, sien flemma o foco,
Be they gentle or coarse, be they calm or ardent,
son tutti simili a' presso a poco...
they are all alike (or very – nearly...)
Tutti la chiedono, tutti la bramano
All that they ask for, all that they desire
da vaga femmina felicità.
is happiness with a pretty woman.
CAMILLE SAINT-SAËNS (1835–1921): “Mon cœur s’ouvre à ta voix” from Samson et Dalila (1877)
Libretto by Ferdinand Lemaire
Translation adapted from Bard Suverkrop
Mon cœur s'ouvre à ta voix,
My heart opens to your voice,
comme s'ouvrent les fleurs aux baiser de l'aurore!
like open the flowers to the kisses of the dawn!
Mais, |ô mon bienaimé,
But, oh my beloved,
pour mieux sécher mes pleurs,
It is best to dry my tears,
que ta voix parle encore!
let your voice speak again!
Dis-moi qu'à Dalila tu reviens pour jamais!
Tell me that to Dalila you will return forever!
Redis à ma tendresse les serments d'autrefois,
Repeat to my tenderness the vows of former times,
ces serments que j'aimais!
those vows that I loved!
Ah! réponds, réponds à ma tendresse!
Ah! respond, respond to my tenderness!
Verse-moi, verse-moi l'ivresse!
Fill me, fill me with intoxication!
Ainsi qu'on voit des blés
As one sees the grain
les épis onduler sous la brise légère,
the blades undulate under the breeze light,
ainsi frémit mon cœur prêt à se consoler,
thus trembles my heart ready to be consoled,
à ta voix qui m'est chère!
by your voice which is dear to me!
La flèche est moins rapide à porter le trépas, que ne l'est ton amante à voler dans tes bras!
Your mistress is swifter in flying into your arms than the arrow that brings death!
Ah! réponds, réponds à ma tendresse!
Ah! respond, respond to my tenderness!
Verse-moi, verse-moi l'ivresse!
Fill me, fill me with intoxication!
GAETANO DONIZETTI (1797–1848): “O mio Fernando!” from La Favorita (1840)
Libretto by Alphonse Royer and Gustave Vaëz
Translation adapted from Bard Suverkrop
Fia dunque vero, oh ciel?
Is it then true, oh heaven?
Desso, Fernando, lo sposo di Leonora!
He, Feranando, the husband of Leonora!
Ah! Tutto mel dice,
Ah! Everything tells me that it is true,
e dubbia è l'alma ancora all'inattesa gioja!
but my heart still doubts this unexpected happiness!
Oh Dio! Sposarlo? Oh mia vergogna estrema!
Oh God! I should marry him? Oh my extreme shame!
In dote al prode recar il disonor...
As a dowry to this brave one I shall bring dishonor…
No, mai; dovessi esecrarmi, fuggir,
No, never; may he abhor me, may he flee,
saprà in brev'ora chi sia
in a short time he will know who is
la donna che cotanto adora.
the woman whom he adores so much.
O mio Fernando! Della terra il trono a possederti avria donato il cor.
My heart would have given up the earth's throne to possess you.
Ma puro l'amor mio come il perdono,
But alas, my pure love, like forgiveness,
dannato, ahì lassa! è a disperato orror.
is condemned to desperate horror.
Il ver fia noto, e in tuo dispregio estremo,
The truth will be known, and in your extreme contempt,
la pena avrommi che maggior si de', ah!
the pain I will have is most fitting, ah!
Se il giusto tuo disdegno allor fia scemo,
And if your distain for me is too little,
piombi, gran Dio, la folgor tua su me!
great God, then let Your wrath fall on me!
Su, crudeli, e chi v'arresta?
Come, cruel ones, what is stopping you?
Scritto è in cielo il mio dolor!
Written is my sorrow in heaven!
Su, venite, ell' è una festa;
Come then, it is a wedding celebration;
sparsa l'ara sia di fior.
let the alter be scattered with flowers.
Già la tomba a me s'appresta;
Already is my tomb being prepared for me;
ricoperta (e coperta) in negra vel sia la trista fidanzata,
clothed (and covered) with a black veil is the unhappy bride,
che rejetta, disperata, non avrà perdono in ciel.
who rejected, desperate, will not have pardon in heaven.
Maledetta, disperata, non avrà perdono in ciel.
Cursed, desperate, will not have pardon in heaven.
MARK ADAMO (1797–1848): “Things change, Jo!” from Little Women (1998)
Libretto by Mark Adamo
Adapted from Little Women by Louisa May Alcott
But I do love you
Of course, I love you
No sweeter sister,
No dearer friend.
But once I saw him,
And once he looked at me
I can't explain it, Jo
I love you
Things end
No
Things change, Jo
Things change
You're a babe at the breast,
You're a daughter by the fire,
You have all the love
You think you could desire,
Still,
Things change, Jo,
And, oh,
What happens when they do
Your heart, Jo
Your heart,
It's a bird in the nest
With its head beneath its wing:
Half asleep, it cannot know
It wants a thing,
Still,
Your heart, Jo,
I know, will dream of something new
Something that blurred,
That broke within me,
A secret word,
Who was it? spoke within me
By some decree, the girl I used to be,
She's simply gone
I cannot say
I do not know
Who stirred
Who woke within me:
She loves her mother,
Loves her father,
Her sisters of course,
But wants her John,
My John
Things change, Jo
Angels and pilgrims in heaven rejoice
They change
You're a rosebud in the night
You're a blossom in the morn
You're unmade by that light
Yet reborn
Things change,
And oh
One day,
My Jo,
I wish only that things change
The same way for you, Jo
Do you understand?
