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“Così fan tutte, ossia La scuola degli amanti” by Wolfgang Amadeus Mozart libretto (English)
Contents: Roles; Act One; Act Two |
Scene One A café (Don Alfonso, Ferrando and Guglielmo) No. 1. Trio FERRANDO My Dorabella couldn’t; heaven made her faithful as she is beautiful. GUGLIELMO My Fiordiligi is unable to betray me; I believe that her constancy and beauty are equal. DON ALFONSO I have grey hair already; I speak ex cathedra; but let such arguments end here. FERRANDO, GUGLIELMO No, you’ve said to us that they can be untrue; you must prove it to us, if you’re honest. DON ALFONSO Let us forget such proof... (Ferrando and Guglielmo grip their swords.) |
FERRANDO, GUGLIELMO No, no, we want it, or else draw your sword and we’ll break off our friendship. DON ALFONSO (aside) O mad wish, to attempt to discover the evil which makes us wretched, when found. FERRANDO, GUGLIELMO (aside) A man who utters a word that wrongs them touches me on the raw. Recitative GUGLIELMO Draw your sword: choose whichever of us youprefer. DON ALFONSO I am a man of peace and I fight no duels, except at table. FERRANDO Fight, or else say at once why you suspect our mistresses capable of infidelity. DON ALFONSO Beloved simplicity! How I like you! FERRANDO Stop joking, or I swear by heaven... |
DON ALFONSO And I swear by the earth, I’m not joking, my friends. Only I would like to know what species of animal these beauties of yours are, if – like all of us – they have flesh, bones, skin, if they eat like us, if they wear skirts, in short, if they are goddesses or women... FERRANDO, GUGLIELMO They’re women, but such women... DON ALFONSO And you insist on finding faithfulness in women? Ah, how I like you, simplicity! No. 2. Trio DON ALFONSO Women’s faithfulness is like the Arabian phoenix. Everyone says it exists, where it is no one knows. FERRANDO Dorabella is the phoenix. GUGLIELMO Fiordiligi is the phoenix. DON ALFONSO Neither this one nor that one is; it never existed and never will. Women’s faithfulness, etc. FERRANDO, GUGLIELMO The phoenix, etc. |
Recitative DON ALFONSO Poets’ nonsense! GUGLIELMO Old men’s foolishness. DON ALFONSO Very well, listen...but without flying into a rage...what proof do you have that your mistresses are always constant? Who guaranteed you that their hearts are not fickle? FERRANDO Long acquaintance... GUGLIELMO Their noble background... FERRANDO Their elevated mentality... GUGLIELMO Compatibility of temperament... FERRANDO Selflessness... DON ALFONSO Tears, sighs, caresses, fainting-fits. Allow me to laugh a little... |
FERRANDO God! Stop mocking us! DON ALFONSO Just a moment. What if I give you tangible proof today that they are like other women? GUGLIELMO That cannot be. FERRANDO That isn’t so. DON ALFONSO Let us wager. FERRANDO Let us wager. DON ALFONSO A hundred gold pieces. GUGLIELMO A thousand, if you like. DON ALFONSO Your word? FERRANDO Our word. GUGLIELMO (to Ferrando) And what shall we do with the hundred gold pieces? |
No. 3. Trio FERRANDO A lovely serenade I want to arrange for my goddess. GUGLIELMO In honour of Venus I want to give a banquet. DON ALFONSO Will I be among the guests? FERRANDO, GUGLIELMO You shall be, yes, sir. FERRANDO, GUGLIELMO, DON ALFONSO And how many repeated toasts we want to propose to the god of love! (They go out.) |
Scene Two Garden near the sea (Fiordiligi and Dorabella are gazing at the portraits of their lovers in the lockets they wear.) No. 4. Duet FIORDILIGI Ah, look, sister! Can a handsomer mouth, a more noble appearance be found? DORABELLA Observe for a moment, observe what fire in his glance: doesn’t it seem to shoot flames, or arrows? FIORDILIGI One sees a countenance of a warrior and a lover. DORABELLA One sees a face that delights and threatens. FIORDILIGI, DORABELLA I am happy! If this heart of mine ever changes its desire, may Love make me suffer while I live. Recitative FIORDILIGI I feel this morning I’d gladly play the madcap. I feel a certain fire, a certain ticklishness in my veins... (Don Alfonso comes in.) FIORDILIGI There they are. |
DORABELLA It’s not they; it’s Don Alfonso, their friend. FIORDILIGI Welcome, Signor Don Alfonso. DON ALFONSO My respects. DORABELLA What is it? Why are you here alone? You weep? Speak, for pity’s sake! What has happened? My beloved... FIORDILIGI My idol... DON ALFONSO Barbarous fate! No. 5. Aria DON ALFONSO I’d like to speak, but I haven’t the heart: my lip stammers. My voice cannot emerge, but remains in my throat. What will you do? What shall I do? Oh what a great catastrophe! There can be nothing worse. I feel pity for you and for them. |
Recitative FIORDILIGI Heavens! For mercy’s sake, Signor Alfonso, don’t make us suffer. DON ALFONSO My children, you must arm yourselves with constancy. A royal command summons them to the field of battle. FIORDILIGI, DORABELLA Alas, what do I hear? And are they leaving? DON ALFONSO The unhappy men haven’t the courage to see you; but if you wish it, they are ready... DORABELLA Where are they? DON ALFONSO Come in, friends. (Ferrando and Guglielmo come in, in travelling clothes.) No. 6. Quintet GUGLIELMO Oh God, I feel that this foot of mine is reluctant to come before her. FERRANDO My trembling lip can utter no word. |
DON ALFONSO The hero displays his manliness in the most terrible moments. FIORDILIGI, DORABELLA Now that we have heard the news, you have left the lesser duty: take heart, and plunge your swords into both our hearts. FERRANDO, GUGLIELMO My idol, blame fate that I must abandon you. DORABELLA Ah no, you shall not leave... FIORDILIGI No, cruel one, you shall not go... DORABELLA First I want to tear out my heart. FIORDILIGI First I want to die at your feet. FERRANDO (softly to Don Alfonso) What do you say to that? GUGLIELMO (softly to Don Alfonso) You realise? |
DON ALFONSO (softly) Steady, friend, finem lauda. ALL Thus destiny defrauds the hopes of mortals. Ah, among so many misfortunes, who can ever love life? DORABELLA Ah no, no, you shall not leave... FIORDILIGI No, cruel one, you shall not go... DORABELLA First I want to tear out my heart. FIORDILIGI First I want to die at your feet. FERRANDO (softly to Don Alfonso) What do you say to that? GUGLIELMO (softly to Don Alfonso) You realise? DON ALFONSO (aside) Steady, friend, finem lauda. ALL Destiny, etc. |
Recitative GUGLIELMO Don’t cry, my beloved! FERRANDO Don’t despair, my darling wife! DON ALFONSO Allow them that comfort. They have only too much reason to weep. FIORDILIGI Who knows whether I shall see you again. DORABELLA Who knows whether you will come back. (They embrace tenderly.) FIORDILIGI Leave me this sword: may it give me death, if a cruel fate should, in this dear bosom... DORABELLA My grief would kill me... I should not need a sword. FERRANDO, GUGLIELMO Do not utter, my dearest, such unhappy forebodings; he gods will preserve your peace of mind as long as I live. |
No. 7. Duet FERRANDO, GUGLIELMO These lovely eyes command to fate: love protects them, and the cruel stars dare not disturb their repose. Turn towards me, my love, a peaceful brow. I hope to return, happy, to your side. Recitative DON ALFONSO (aside) The play is charming, and both men act their parts well. (A drum-roll is heard off-stage.) FERRANDO 0 Heaven! This is the fatal drum that comes to separate me from my beloved. DON ALFONSO Friends, here is the boat. FIORDILIGI 1 faint. DORABELLA I die. |
(A military march is heard from a distance; a boat arrives at the shore.) No. 8. Chorus CHORUS Beautiful military life! You change place every day, much today, tomorrow little, now on land and now on sea. The din of trumpets and fifes, the firing of muskets and bombs increases the strengths of the arm and the spirit, which dreams only of winning. Beautiful military life! Recitative DON ALFONSO There is no more time, friends; you have to go where destiny, or rather, fate summons you. FIORDILIGI My heart... DORABELLA My idol... FERRANDO My love... GUGLIELMO My life... |
FERRANDO, GUGLIELMO Embrace me, my idol! FIORDILIGI, DORABELLA I die of grief! No. 8a. Quintet FIORDILIGI Write to me every day... Swear, my life... DORABELLA And you...write to me...twice ...if you can... GUGLIELMO Don’t doubt...my love... FERRANDO Be sure...o beloved... DON ALFONSO (aside) If I don’t laugh, I’ll split. FIORDILIGI Be true to me alone. DORABELLA Keep faithful. FIORDILIGI, DORABELLA, FERRANDO, GUGLIELMO Farewell, farewell! My heart is breaking, my lovely idol! Farewell, farewell! DON ALFONSO (aside) If I don’t laugh, I’ll split. |
No. 9. Chorus CHORUS Beautiful military life, etc. (As the chorus is repeated, Ferrando and Guglielmo get into the boat, which then moves off. The soldiers leave, followed by the men and women.) Recitative DORABELLA (as if waking from a daze) Where are they? DON ALFONSO They have gone. FIORDILIGI Oh most cruel, bitter departure! DON ALFONSO Take heart, my dearest children. Look...from the distance your beloved husbands are waving to you. FIORDILIGI Good journey, my life! |
DORABELLA Good journey! FIORDILIGI Ye Gods! How swiftly that boat goes away! It’s disappearing already! Already it can be seen no longer! Ah, may Heaven grant it a fortunate voyage. DORABELLA May it reach the battlefield with good luck. DON ALFONSO And may it save your lovers, and my friends. No. 10. Trio FIORDILIGI, DORABELLA, DON ALFONSO May the wind be gentle, may the wave be calm, and may every element respond benignly to our wishes. (Fiordiligi and Dorabella leave.) Recitative DON ALFONSO I’m not a bad actor, all right; the two champions of Venus and Mars will be awaiting me at the place we agreed upon. Now it’s best to join them without delay...All those grimaces!...all those clowning tricks! So much the better for me: they will fall more easily. This kind of person is the quickest to change mood. Oh, poor men, to gamble a hundred gold pieces for a woman? “The man who bases his hopes on a woman’s heart is ploughing the sea and sowing in the sand, and hoping to catch in a net the fickle wind.” (He leaves.) |
Scene Three A room with three doors (Despina arrives with chocolate on a tray.) Recitative DESPINA What an accursed life it is to be a chambermaid! From morning to evening you’re busy, you sweat and work, and then of all the things that are done nothing is for us. I’ve been beating for half an hour, the chocolate is ready, and is it my lot to stand and smell it with a dry mouth? Isn’t my mouth perhaps like yours? O amiable ladies, who gave the substance to you, and the aroma to me? By heaven, I want to taste it. How good it is! Someone’s coming! Oh, Heaven, it’s my mistresses! (Fiordiligi and Dorabella come in.) Ladies, here is your lunch. (Dorabella brushes everything to the floor.) Goodness! What are you doing? |
FIORDILIGI, DORABELLA Ah! Ah! DESPINA What has happened? FIORDILIGI Where is there a sword? DORABELLA Where is there a poison? DESPINA Mistresses, I say... DORABELLA Ah, away with you! Fear the dire effect of a desperate love! Close those windows! I hate the light...I hate the air I breathe...I hate myself. Who mocks my grief? Who consoles me? Ah, flee, for mercy’s sake! Leave me alone. No. 11. Aria DORABELLA Implacable longings that stir me, do not cease in this soul of mine until anguish makes me die. If I remain alive, I’ll give the Furies a wretched example of doomed love with the horrible sound of my sighs. Implacable longings, etc. (Both sisters collapse in their chairs.) |
Recitative DESPINA Signora Dorabella, Signora Fiordiligi, tell me: what has happened? FIORDILIGI Our lovers have left Naples. DESPINA Is that all? They’ll come back. DORABELLA Who knows? DESPINA What do you mean, who knows? Where have they gone? DORABELLA To the field of battle. DESPINA All the better for them: you’ll see them return laden with laurels. FIORDILIGI But they can also die. DESPINA In that case...all the better for you. |
FIORDILIGI Foolish girl, what are you saying? DESPINA The plain truth: you lose two, you have all the others left. Other men have everything these men have. Now you love one man; you will love another. One is worth the other, because none is worth anything. DORABELLA Don’t offend thus those lovely souls, examples of faithfulness and immaculate love. DESPINA Come, come! The time is past when these tales could be passed off on children. No. 12. Aria DESPINA To hope for faithfulness in men, in soldiers? Don’t let people hear you, for heaven’s sake! All men are made of the same stuff; the swaying boughs, the fickle breezes have greater stability than men have. Lying tears, false looks, deceitful voices, lying charms – these are their outstanding qualities. In us they love only their pleasure, then they despise us and deny us affection, nor does it avail to ask pity of the cruel ones. |
O women, let us pay with the same token this maleficent, indiscreet species. Let us love for our convenience and for vanity. La ra la, la ra la, la ra la la. Let us love for our convenience, etc. (All leave. Don Alfonso enters.) Recitative DON ALFONSO What silence! What an air of sadness these rooms breathe! Poor girls, they’re not completely wrong: they must be consoled. Now while the two credulous husbands go to disguise themselves, as I told them, let us think what can be done... I’m a little afraid of Despina...That minx might recognise them, she might upset my machinations. We shall see...If there should be need, a timely little present, a little gold piece, is a great charm for a maid. But, to be safe, one could let her in on the secret. The plan is excellent. This is her room. Despinetta! DESPINA Who’s knocking? |
DON ALFONSO Oh! DESPINA Eee! DON ALFONSO My dear Despina, I need you. DESPINA And I don’t need you at all. DON ALFONSO (showing her a gold coin) Speak softly and observe. You know that your mistresses have lost their lovers. DESPINA I know. DON ALFONSO You also know of all their lamenting and their spasms. DESPINA I know all about it. DON ALFONSO Now, then, if by chance, to console them a little, and, as they say, to let one nail drive out another, you could find the way to introduce into their favour two attractive men who would like to try...You understand me already...There’s a tip for you of twenty crowns, if you help them succeed. |
DESPINA Where are they? DON ALFONSO They are out there; may they come in? DESPINA I’d say yes. (Ferrando and Guglielmo come in, disguised.) No. 13. Sextet DON ALFONSO My friends, I introduce you to the beautiful Despinetta; the consolation of your hearts depends on her alone. FERRANDO, GUGLIELMO By the hand, which I happily kiss, by those eyes, filled with grace, make the lovely eyes of my beloved look upon me serenely. DESPINA (aside) What faces! What clothes! What appearances! What moustaches! I don’t know if those men are Wallachians or Turks! DON ALFONSO (softly to Despina) What do you think of their looks? |
DESPINA To speak to you quite frankly, they have an unusual face, the very antidote of love. What appearances! What moustaches! etc. FERRANDO, GUGLIELMO, DON ALFONSO (aside) Now the affair is completely settled. If she doesn’t recognise us/them there is no longer any fear. FIORDILIGI, DORABELLA (off-stage) Eh, Despina! Hola, Despina! DESPINA My mistresses! DON ALFONSO (to Despina) Now’s the moment! Act artfully; I’ll hide here. (He withdraws. Fiordiligi and Dorabella come out of their rooms.) FIORDILIGI, DORABELLA Arrogant girl! What are you doing there with such people? Have them leave at once, or I’ll make you regret it, with them. DESPINA, FERRANDO, GUGLIELMO (all three kneeling) Ah, forgive us, ladies! |
See, languishing at your lovely feet, two wretches, swains who worship your merit. FIORDILIGI, DORABELLA Just Gods! What do I hear? Who was the unworthy author of this enormous betrayal? DESPINA, FERRANDO, GUGLIELMO Ah, calm that scorn! FIORDILIGI, DORABELLA Ah, I can restrain myself no more! My soul, in my breast, is filled with anger and terror. DESPINA (aside) That anger and that fury arouse a little suspicion in me. DON ALFONSO (from the door) That anger and that fury arouse a little suspicion in me. FERRANDO, GUGLIELMO (aside) What joy to my breast from that anger and that fury! FIORDILIGI, DORABELLA (aside) Ah, forgive me, my handsome love! This heart is innocent. My soul, in my breast, is filled, etc. Ah, I can restrain myself no more! etc. |
Recitative DON ALFONSO (entering) What murmuring! What din! What is all this confusion? Are you mad, my dear girls? Do you want to rouse the neighbourhood? What’s wrong? What’s happened? DORABELLA Oh heaven! Look: men in our house. DON ALFONSO What harm is there in that? FIORDILIGI What harm? On this day? After the dire event? DON ALFONSO My stars? Am I dreaming, or awake? My friends, my very dear friends? You here? How? Why? When? In what way? Goodness! How pleased I am! (aside to Ferrando and Guglielmo) Back me up. FERRANDO My friend, Don Alfonso! GUGLIELMO My dear friend! (They embrace enthusiastically.) |
DON ALFONSO Oh, what a lovely surprise! DESPINA Do you know them? DON ALFONSO Do I know them? These are the dearest friends I have in this world, and they will be yours, too. FIORDILIGI And what are they doing in my house? GUGLIELMO At your feet, behold, ladies, two culprits, two criminals! Love... DORABELLA Gods! What do I hear? FERRANDO Love, the all-powerful deity brings us here, on your account. GUGLIELMO As soon as we saw the light of your gleaming eyes... FERRANDO ...with their lively sparks... |
GUGLIELMO ...like butterflies, dying with love... FERRANDO ...we fly before you... GUGLIELMO ...and at your sides, and behind you... FERRANDO, GUGLIELMO ...to implore mercy in plaintive measure! FIORDILIGI My stars! What daring! DORABELLA Sister, what shall we do? FIORDILIGI Rash men! Leave this place! (Frightened, Despina goes out.) And let the dire breath of such infamous words not profane our hearts, our ears, and our loves! It is vain for you, for others, to try to seduce our souls. We will keep intact until death the faith we pledged our dear lovers, despite the world and destiny. |
No. 14. Aria FIORDILIGI As the rock remains unmoved against the winds and the storm, so this spirit is still strong in its faith and in its love. That torch was born in us, which pleases and consoles us; and death alone will be able to make our heart change its affection. As the rock, etc. Oh ungrateful spirits, respect this example of constancy, and let no barbarous hope make you bold again! (The women start to leave.) Recitative FERRANDO (to Fiordiligi) Ah, don’t go away! GUGLIELMO (to Dorabella) Ah, cruel one, remain! (aside to Don Alfonso) What do you think? DON ALFONSO (aside to Guglielmo) Wait. (to the sisters) For mercy’s sake, girls, don’t put me in a more awkward position. |
DORABELLA And what do you expect? GUGLIELMO Open your hearts, o beauties, to this soft glow; or you will see the most faithful lovers die before you. No. 15. Aria GUGLIELMO Don’t be shy, charming little eyes, send two amorous flashes here for a moment. Make us happy. Be loving with us, and we will also make you very happy. Look at us, touch us, observe us completely; we’re two loveable madmen, we’re strong and well-built, and as all can see – whether through merit or chance – we have a fine foot, a fine eye, a fine nose... Look: a fine foot, observe: a fine eye, touch: a fine nose. Observe everything: and these mustachios might be called the triumph of men, plumes of love. (Fiordiligi and Dorabella leave. Ferrando and Guglielmo, as soon as they are alone with Don Alfonso, laugh.) |
No. 16. Trio DON ALFONSO And you laugh? FERRANDO, GUGLIELMO Of course we laugh. DON ALFONSO But what’s come over you? FERRANDO, GUGLIELMO Now we know. DON ALFONSO Laugh quietly. FERRANDO, GUGLIELMO You speak in vain. DON ALFONSO Laugh quietly. FERRANDO, GUGLIELMO You speak in vain. DON ALFONSO If they should hear you, if they should discover you, the whole matter would be ruined. FERRANDO, GUGLIELMO Ah, from this laughing, I feel my soul splitting, ha, ha, ha, I feel my soul splitting, my insides bursting! |
DON ALFONSO This laughter of theirs is laughable, but I know it must end in weeping. Recitative DON ALFONSO May I know the reason for your laughter? GUGLIELMO Oh, God, don’t you think that we have every reason, my dear sir? FERRANDO How much will you pay if the bet is off? GUGLIELMO Pay half. FERRANDO Just pay twenty-four gold pieces. DON ALFONSO You poor little innocents! Come here, I’ll put my little finger in your mouth. |
GUGLIELMO And you still have the courage to open your mouth? DON ALFONSO We’ll speak again before evening. FERRANDO When you wish. DON ALFONSO Meanwhile: silence and obedience until tomorrow morning. GUGLIELMO We are soldiers, and we like discipline. DON ALFONSO Now then: both of you go and wait for me a little in the garden; I’ll send you my orders there. GUGLIELMO Aren’t we going to eat today? FERRANDO What’s the use? When the battle is over, our supper will be more tasty. No. 17. Aria FERRANDO An amorous breath of our beloved will offer a sweet refreshment to the heart, |
to the heart which, nourished on love’s hope, does not need a better bait. An amorous breath, etc. (Ferrando and Guglielmo leave.) Recitative DON ALFONSO And how do you think the affair will turn out? Can we hope they will come to their senses? DESPINA I would; and whereas they weep, I’d laugh. To choke back tears of despair because your lover abandons you? What is love? Enjoyment, convenience, pleasure, joy, amusement, recreation, gaiety. It’s no longer love if it becomes inconvenient: if, instead of pleasure, it brings pain and torment. I’ll wait for you in my room. If you do all I tell you, before tomorrow your friends will celebrate victory; then they will have their wish and I the glory. (They leave.) |
Scene Four The garden of the sisters’ house (Fiordiligi, Dorabella) No. 18. Act One Finale FIORDILIGI, DORABELLA Ah, how all in a moment my fate was changed. Ah, a sea filled with torment is life for me now. As long as the unfriendly stars left my beloved with me, I didn’t know what griefs were, I didn’t know what it is to suffer. Ah, how all in a moment, etc. FERRANDO, GUGLIELMO (off-stage) Let us die, yes, let us die, to appease the ingrates! DON ALFONSO (off-stage) There is one hope still; don’t do it! Oh God, don’t do it! FIORDILIGI, DORABELLA Heavens! what horrible cries! FERRANDO, GUGLIELMO Let me go! DON ALFONSO Wait! FERRANDO, GUGLIELMO Let me go! DON ALFONSO Wait! |
(Ferrando and Guglielmo, each carrying a phial, come in, followed by Don Alfonso.) FERRANDO, GUGLIELMO Let arsenic deliver me from such cruelty. (They drink, then throw away the phials. Turning, they see the two women.) FIORDILIGI, DORABELLA My stars, was that a poison? DON ALFONSO A poison, right and proper, which in a few minutes will take life from them. FIORDILIGI, DORABELLA The tragic sight makes my heart freeze. FERRANDO, GUGLIELMO Cruel ones, approach: see the dire effect of a desperate love, and have pity at least. FIORDILIGI, DORABELLA The tragic sight makes my heart freeze! ALL Ah, the sun’s ray becomes dark for me. I tremble, I seem to feel |
my soul, my fibre fail, nor can my tongue or lip utter a word. (Ferrando and Guglielmo fall on the grassy banks.) DON ALFONSO Since those wretches are close to dying, try to show pity to them at least. FIORDILIGI, DORABELLA Somebody! Come quickly! Somebody! Oh God, nobody hears us! Despina! Despina! DESPINA (off-stage) Who calls me? FIORDILIGI, DORABELLA Despina! Despina! (Despina comes in.) DESPINA What do I see? I believe the wretches are dead, or close to expiring. DON ALFONSO Ah, alas, it’s true. Raving, desperate, they poisoned themselves! Oh, remarkable love! |
DESPINA To abandon the poor men would be shameful for you; they must be helped. FIORDILIGI, DORABELLA, DON ALFONSO Whatever can we do? DESPINA They still show signs of life; with pitying hands support them for a little while. (to Don Alfonso) And you, come quickly with me: let us fly to seek a doctor, an antidote. (Despina and Don Alfonso leave.) FIORDILIGI, DORABELLA Gods, what a trial this is! A more dire event couldn’t have been found! FERRANDO, GUGLIELMO (aside) A finer comedy couldn’t have been found! (aloud) Ah! FIORDILIGI, DORABELLA The unhappy men are sighing. FIORDILIGI What shall we do? |
DORABELLA What do you say? FIORDILIGI In such grievous moments who could abandon them? DORABELLA What interesting appearances! FIORDILIGI We can move a little closer. DORABELLA His head is very cold. FIORDILIGI This one’s head, too, is very cold. DORABELLA And his pulse? FIORDILIGI I can’t feel it. DORABELLA This one’s beating very slowly. FIORDILIGI, DORABELLA Ah, if help delays longer, there is no more hope of life. |
FERRANDO, GUGLIELMO (aside) Both have become tamer and more pliant; we’ll see that their pity will end in love. FIORDILIGI, DORABELLA Poor things! Their death would make me weep. (Enter Despina, disguised as a doctor, with Don Alfonso.) DON ALFONSO Here is the doctor, lovely ladies. FERRANDO, GUGLIELMO (aside) Despina disguised, what a terrible sight! DESPINA Salvete amabiles bones puelles. FIORDILIGI, DORABELLA He speaks a language that we don’t know. DESPINA Let us speak then as you command. I know Greek and Arabic, I know Turkish and Vandalic, and I also know how to speak Swabian and Tartar. DON ALFONSO Save all those languages for yourself: for the present observe those wretches. They’ve taken poison. What can be done? |
FIORDILIGI, DORABELLA Doctor, what can be done? DESPINA (feeling the pulse and the forehead, first of one, then the other) First I must know the cause, then the nature of the potion; whether hot or cold, whether small or large, whether in one dose, or in several. FIORDILIGI, DORABELLA, DON ALFONSO They’ve taken arsenic, Doctor; they drank it here. The cause is love, and they swallowed it in one gulp. DESPINA Don’t be worried, don’t be upset; here is a proof of my power. FIORDILIGI, DORABELLA, DON ALFONSO He has taken an implement in hand. DESPINA This is that piece of magnet, Mesmer’s stone, that originated in Germany, then was so famous there in France. |
(With part of the magnet she touches the heads of Ferrando and Guglielmo, then draws it gently along their bodies.) FIORDILIGI, DORABELLA, DON ALFONSO How they move, writhe, stir! Soon they will strike their skulls on the ground. DESPINA Ah, hold their foreheads up. FIORDILIGI, DORABELLA Here we are, ready! DESPINA Hold on tight. Be brave! Now you are freed from death. FIORDILIGI, DORABELLA, DON ALFONSO They look around, they recover strength. Ah, this doctor is worth a fortune. FERRANDO, GUGLIELMO (standing up) Where am I? What place is this? Who is he? Who are they? Am I before Jove’s throne? Are you Pallas, or Venus? No, you are my heart, my goddess; I recognise your sweet face and the hand that now I well know and which is my only treasure. (They tenderly embrace the girls and kiss their hands.) |
DESPINA, DON ALFONSO These are still effects of the poison. Have no fear. FIORDILIGI, DORABELLA That may be true, but all these grimaces are harmful to our honour. FERRANDO, GUGLIELMO (aside) From my desire to laugh my lungs are about to burst. (to the women) Have mercy, my lovely idol! FIORDILIGI, DORABELLA I can resist no longer! FERRANDO, GUGLIELMO Turn your happy eyes towards me. DESPINA, DON ALFONSO These are still effects of the poison. FIORDILIGI, DORABELLA I can resist no longer! DESPINA, DON ALFONSO Very soon you will see |
that by virtue of the magnetism the spasms will end, and they will be their former selves. FERRANDO, GUGLIELMO (aside) From my desire, etc. FIORDILIGI, DORABELLA I can resist, etc. DESPINA, DON ALFONSO These are still effects of the poison. Have no fear, etc. FERRANDO, GUGLIELMO Give me a kiss, o my treasure, a single kiss, or I’ll die here. FIORDILIGI, DORABELLA Heavens! A kiss? DESPINA, DON ALFONSO Humour them, out of kindness. FIORDILIGI, DORABELLA Ah, too much is asked of an honest, loyal mistress; my faithfulness is outraged, this heart is outraged. DESPINA, FERRANDO, GUGLIELMO, DON ALFONSO (aside) A jollier little picture was never seen in this world. |
The thing that makes me laugh the most is that anger and that rage, etc. FIORDILIGI, DORABELLA Desperate, poisoned, go to the devil, one and all! Later you will truly be sorry, if my fury increases! etc. FERRANDO, GUGLIELMO (aside) But I do not know if that anger and rage is feigned or real. Nor would I like all that fire to end in the fire of love, etc. DESPINA, DON ALFONSO (aside) I well know that all that fire will change into the fire of love, etc. |
libretto by William Weaver, 1963 |
Contents: Roles; Act One; Act Two |