Voi lo sapete – Cavalleria Rusticana

You know, o mother,    

Before he went to be a soldier,

Turiddu swore eternal faith

To Lola.                       

He returned, he found her married;

And with a new love.

He wanted to extinguish the flame

That was burning his heart:

He loved me, I loved him.

She, envious of my every delight,

Forgotten by her husband,

Burning with jealousy...

She stole him from me...

I am left devoid of honour:

Lola and Turiddu love one another,

I weep, I weep!

Fabulous Russian mezzo-soprano Elena Obraztsova sings Santuzza's aria from Mascagni's Cavalleria Rusticana.

Tokyo, 1980.

Quando le sere al placido – Luisa Miller

Oh! I wish I could deny my own eyes!

If heaven and earth, if mortals and angels

Were to swear to me that she is not guilty...

Lies! I should answer,

All lies...this is her hand!

So much treachery!  A black soul!

A liar! Well my father knew her!

But all the promises, the hopes, the joy,

the tears, the anguish?

Everything is a lie, betrayal, deception!

When in the evenings in the calm

Pale light of a starry sky

She gazed with me into the heavens

With a look of love,

And I felt this hand pressed

By her hand...

Ah! She betrayed me!

I was mute, ecstatic,

Hanging from her lips.

When she said in angelic tones

‘I love only you’,

It seemed like the world

Opened to my soul!

Placido Domingo sings the famous tenor aria from Verdi's Luisa Miller.

Covent Garden, 1979.

Eri tu che macchiavi – Un Ballo in Maschera

It isn’t her, no, not her

Fragile breast that I must strike.

Another, fine, another’s blood must wipe away

The offense! . . .

Your blood!

And I will draw the dagger

From your treacherous heart,

The avenger of my tears!

It was you who tainted that soul,

The delight of my soul;

Who confided in me and in one condemnable instant

Poisoned the universe for me!

Traitor! In such a manner you repay

The faith of your former friend!

O lost delights! O memories

Of an embrace that rendered happiness! . . .

When Amelia so beautiful, so pure

On my breast shone with love!

It is finished, nothing remains but hatred

And death in my widower’s heart!

O lost delights, O hopes of love!

Rolando Panerai sings Renato's aria from Verdi's Un Ballo in Maschera.

Film, 1958.

Addio, fiorito asil – Madama Butterfly

Yes, all in an instant

I see my mistake and I feel

That from this torment

I will have no respite.

Forever that mild countenance

I will see, with excruciating agony,

Forever that sweet voice

I will hear mourning.

Farewell flowery refuge

Of joy and love

I cannot bear your misery

I must run away, I must run away – I am vile.

Peter Dvorsky as Pinkerton in Puccini's Madame Butterfly. With Richard Stilwell as Sharpless.

Chicago, 1985.

È la solita storia – L’arlesiana

It’s the old story of the shepherd...
The poor boy that wanted

To recount it

And he fell asleep

There is oblivion in sleep.

How I envy him!

I would like to sleep like that as well,

To at least find oblivion in sleep!

I am looking only for peace.

I would like to be able to forget it all!

But every effort is in vain.

I have always before me

Her sweet countenance.

Peace is only taken from me.

Why must I suffer so?

Her! She is always speaking to my heart!

Irresistible vision, leave me!

You hurt me so badly! Alas!

Jose Carreras sings Federico's lament from Cilea's L'arlesiana.

Colon, 1987.

Come paride vezzoso – L’elisir d’amore

As the graceful Paris

Handed the apple to the most beautiful woman,

my beloved country girl,

I offer you these flowers.         

But more glorious than him,

I am happier than him,

Because as a reward for my gift          

I will carry away your lovely heart.

I see clearly in that little face

That I am making my way into your heart.

It’s not surprising;

I’m gallant, I’m a sergeant;

There’s no beauty that can resist

The sight of a crest;

To Mars, the god of war,

Even the mother of love gives way.

Tito Gobbi as Sergeant Belcore in a somewhat dated film version of Donizetti's L'elisir d'amore.

Stride la vampa – Il Trovatore

The blaze crackles!

The unrestrained crowd

Runs to that fire

happy in appearance; 

shouts of joy

echo all around:           

Surrounded by henchmen

A woman approaches!

Menacingly shines        

On those horrible faces

That gloomy flame

That reaches to the heavens!    

The blaze crackles!

Here comes the victim,

Dressed in black,

Dishevelled and barefoot!

A fierce shout

Of death arises.           

The echo repeats

From cliff to cliff!

Menacingly shines        

On those horrible faces

That gloomy flame

That reaches to the heavens!    

Fiorenza Cossotto as Azucena in Verdi's Il Trovatore.

Firenze, 1977. Conductor: Riccardo Muti.

No, no pazzo son – Manon Lescaut

No! No! I’m crazy!

Look, I’m crazy, look,

As I cry and I beg...

As I cry, look,

As I ask for pity!...

Listen! Take me

As a cabin boy or a lower position,

And I will come happily!... Accept me!

Ah! look, I cry and I beg!

Take my blood…my life!...

I implore you, I ask you for mercy!

Ah! mercy! I will not be ungrateful!

Placido Domingo as Des Grieux in Puccini's Manon Lescaut. For me one of his best roles.

Milan, 1978.

Sì, ritrovarla io giuro – La Cenerentola

Yes, I swear I will find her.

Love, love, move me:

If she were in the lap of Jupiter

I would find her.

Beloved, dear proof

That at least gratifies me

Ah! The lip and the breast

How I will cling to you!

We will fly, we will ask,

We will seek, we will find.

Sweet hope, cold fear,

Inside my heart

They are fighting;

Love, love,

Give me guidance.

Ramon Vargas in Rossini's Cenerentola.

Met, 1997

Tu qui, Santuzza – Cavalleria Rusticana

Turiddu
You’re here, Santuzza?

Santuzza
I’ve been waiting here for you.

Turiddu
It’s Easter,
Aren’t you going to church?

Santuzza
I don’t want to.
I had to talk with you…

Turiddu
I’ve been looking for mother.

Santuzza
I had to talk with you...

Turiddu

Not here! Not here!

Santuzza
Where were you?

Turiddu
What do you mean?
In Francofonte!

Santuzza
No, that’s not true!

Turiddu
Santuzza, believe me...

Santuzza
No, don’t lie to me;

I saw you turn

Off the path...

And this morning, at dawn,
They saw you

At Lola’s door.

Turiddu
Ah! You were watching me?

Santuzza
No, I swear to you.
Alfio, her husband

Told us

A little while ago.

Turiddu
And this is how you repay

The love that I have for you?

Do you want to kill me?

Santuzza
Oh! I don’t mean...

Turiddu
Let me alone then, let me alone;
Vain attempt to quell

Your righteous indignation
With your pity.

Santuzza
Do you love her then?

Turiddu
No...

Santuzza
She’s much more beautiful.

Turiddu
Stop it, I don’t love her.

Santuzza
You love her...
Oh! damn!

Turiddu
Santuzza!

Santuzza
That awful woman
Stole you from me!

Turiddu

Control yourself, Santuzza,
I am not a slave
To your vain jealousy!

Santuzza
Beat me, insult me,
I’ll love and forgive you,
But my anguish

Is too much to bear.

Fiorenza Cossotto and Placido Domingo in the first half of the great duet from Mascagni's Cavalleria Rusticana. With Gabriella Novielli as Lola.

Tokyo, 1976.

Ave Signor - Mefistofele

Hail Lord.
Pardon me if my gibberish
Is not quite up to par with
The supreme hymns of paradise;
Pardon me if my face
Doesn’t carry the beam
That garlands the ringlets
Of high cherubim;
Pardon me if in speaking
I run the risk of  
Being irreverent!

The God of the sweet little earth
Descends and wanders evermore,
And, like the cricket
Jumps, at random
Pushing his nose between the stars.
Then with superbly tenacious folly
Trills in the grass.
Arrogant dust! Haughty atom!
The phantom of man
Which makes
That inebriated illusion
That he calls: Reason, Reason.
Ah! Yes, Divine Master,
In utter darkness
The lord of the world degenerates,
And I have no heart left,
It is so weakened,
Than to tempt him to evil.

Up and coming star Ildebrando d'Arcangelo surprisingly sings the bass part of Mefistofele from Boito's opera.

Ravenna, 2005. Conductor: Riccardo Muti.

Oh quante volte – I Capuleti e Montecchi

Oh! How many times,
Oh! How many I ask you
Crying to heaven
With the ardour of waiting for you,
My desire is a trick!
The rays of your countenance
Are for me, the brightness of the day.
The aura that blows round
Seems to be one of your sighs.

Katia Ricciarelli sings 'Oh quante volte' from Bellini's I Capuleti e I Montecchi.

Nemico della Patria - Andrea Chenier

An enemy of the State?!

It’s an old fable

That people are still blissfully swallowing.

Born in Constantinople? Foreigner!

Studied at Saint-Cyr? Soldier!                          

Traitor! Accomplice to Dumouriez!

And a poet? Corrupter of hearts

And mores!

I once lived joyfully

Without hatred or vengeance

Pure, innocent and strong.

I thought myself a giant

But I’m just a servant

Who’s changed masters.           

An obedient servant to violent passions!

Ah, worse yet! I kill and tremble,

And while I kill, I weep!

Me, a son of the Revolution,                             

The first to hear its cry

For the world, I united that cry to my own.

Have I now lost faith

In that dream of destiny?

Oh how my path

Shone with glory!

The heart’s conscience

Reawakening the people,

Gathering up the tears

Of the vanquished and suffering,

Making the world a Pantheon,

Changing men into gods;

And in one kiss,

In one kiss and one embrace

To love all mankind!

Juan Pons in Giordano's Andrea Chenier.

Met, 1996.

O patria mia – Aïda

Radamès is coming here!          

What does he want to tell me?  I’m trembling!

Ah! If you’re coming to bring me, o cruel man,

The final farewell,

The deep whirlpools of the Nile

Will give me a grave and maybe peace,          

and maybe peace and oblivion.

Oh my country, I will never see you again!

Nevermore! Nevermore will I see you!

O blue skies, o sweet native breezes

Where my morning shone peacefully,

O green hills, o fragrant shores,

Oh my country, I will never see you again!

Nevermore! Nevermore will I see you!

O cool valleys, o this blessed refuge

That once gave me a promise of love,

Now that the dream of love has disappeared,

O my country, I will never see you again.         

O my country, I will never see you again.

Leyla Gencer in Verdi's Aida.

Verona, 1963.

Dalla sua pace - Don Giovanni

My peace depends upon her peace;

That which pleases her gives life to me,

That which hurts her gives death to me.

If she sighs, I sigh as well;

Her wrath is mine, her cry is mine;

And I have no good, if she has none.

Luigi Alva as Don Ottavio in Mozart's Don Giovanni.

Aix, 1960.

Tu che a Dio spiegasti l’ali – Lucia di Lammermoor

Edgardo

You who unfolded your wings to God

O beautiful, loving soul

Turn yourself back to me, satisfied;

Your faithful one ascends with you.

Ah! If the wrath of mortals

Brings such a cruel war to us,

If we are divided on earth,

May God in heaven join us.

Raimondo

Madman!...

Raimondo, Chorus

Ah! What are you doing?

Edgardo

I want to die, I want to die!

Raimondo, Chorus

Be sensible, be sensible!

Edgardo

No, no no!

Raimondo

What have you done?

Edgardo

I’m coming to you, o beautiful soul…

Raimondo

Wretched man!

Edgardo

Turn yourself back ah! To your faithful one.

Raimondo

Think of heaven!

Edgardo

Ah, if the wrath of mortals

Such a cruel war...
O beautiful soul, may God in heaven join us.
O beautiful, loving soul,
May God in heaven join us.

Chorus

What horror!

Raimondo

O God, forgive him!

Chorus

Oh awful, black fate!
God, pardon this great horror!

Jose Carreras sings the great final aria from Donizetti's Lucia di Lammermoor.

Bregenz, 1982.

Il lacerato spirito – Simon Boccanegra

A final farewell to you,

Lofty palace,

The cold tomb of my angel!

You are not worthy to protect her!

Oh damn! Oh vile seducer!

And you, Virgin Mary, did you stand by,

While her virginal crown was taken?

Ah! What am I saying? Lunatic!

Ah, forgive me!

The wounded spirit of a sad parent

Was kept in the agony of shame and grief.

Give her, o heaven, a martyr’s garland.

Yield her to the splendour of the angels,

Pray for me, Mary.

Nicolai Ghiaurov sings the famous bass aria from Verdi's Simon Boccanegra.

In uomini, in soldati – Cosi’ fan tutte

In men, in soldiers, you’re hoping for fidelity?
Don’t let anyone here you, for goodness’ sake!
They are all made of the same stuff,
Blowing leaves, fickle breezes
Have more constancy than men!
Lying tears, false looks
Deceptive voices, lying charms
These are their best qualities!
They love us for their own pleasure,
Then they despise us, they deny us affection,
It’s worthless asking for mercy from barbarians!
We should pay them back in the same way,
This evil, indiscreet race.
Let’s love them for comfort, for vanity!

Cecilia Bartoli as Despina in Mozart's Cosi fan tutte.

Re dell’abisso, affrettati – Un Ballo in Maschera

Commoners

Quiet... you must not disturb the incantation.

The devil will be here to talk soon.

Ulrica

King of the Abyss, make haste,

Plunge down through the skies,

Without soaring, the lightning

Penetrates my roof.

Now three times, the hoopoe

Breathed on high;

The fire breathing salamander

Hissed three times...

And the groaning of the tombs

Spoke to me three times.

Riccardo

I’m going to the front!

Commoners

Villain, get in the back.

Oh, how everything shines with darkness!

Ulrica

It’s him, it’s him! Now I feel

The palpitations again.

The pleasure to burn again

In his awful embrace!

The light of the future

He holds in his left hand.

He was pleased with my spell

He blazes once again:

Nothing, nothing more will be hidden

From my gaze!

Commoners

Long live the witch!

Ulrica

Silence, silence!

Bulgarian contralto Mariana Pentcheva as Ulrica in Verdi's Un Ballo in Maschera. Extraordinary performance! And a stunning low note at the end.

La Scala, 2001. Conductor: Riccardo Muti.

O mio Fernando - La Favorita

It is true then, oh heavens! You... Fernando 

are to be Leonora’s husband!
All this I’m told, and yet my spirit is still doubtful

of this unexpected joy! Oh God! Marry him?
Oh, what unbearable shame! As a dowry to the brave man...
I will bring him dishonor, no, never; If he should ever
abhor me, I’ll fly, he will know in a short time
This woman that he adores so.

Oh, my Fernando! Throne of the earth,
I would have given my heart to possess you,
But my pure love is like a pardon,
and yet I am damned, alas! It is a terrifying horror.

The truth shall be known, and in your extreme contempt
I will face the worst penalty possible;
If you are rightly displeased, then I will be a mockery
Strike me, great God, with your lightning.

Come, death, what is stopping you?
My pain is written in the skies,
Come, she is a festival,
An altar spread with flowers.

The grave is already opening for me;
The black veil is already covering me;
Ah! The sad bride,
damned, desperate,
She will not have forgiveness in heaven.

Fiorenza Cossotto as Leonora in Donizetti's La Favorita.

Tokyo, 1971.