Friday-Saturday, December 10-11, 2021Liby Gardner Concert Hall

Virtual Venue: https://music.utah.edu/libby-live/index.php7:30 p.m.

For the safety of our audiences, artists, and staff, the School of Music asks that all patrons attending performances follow recent CDC guidance, which calls for everyone to wear face masks indoors. We ask that patrons please not attend any show if they have been exposed to COVID-19 or are feeling unwell.

Laudes atque Carmine

An exciting evening of eclectic vocal music.

Director Robert Breault

Music Director Jeffrey Price

Program (Please hold applause until the end of each section

and turn off all electronic devices that could disrupt the concert.)

Laudes Atque Carmine

e Music Man M. Willson“Lida Rose/Will I Ever Tell You?” (1902-84)

Marian Charlotte KnudsonRobin Farnsley Backer

Quartet James BobickBennett ChewAlex HarrelsonCourt ThomasMike Shoaf

Director Robert Breault

Ariadne auf Naxos Opus 60 R. Strauss“Sein wir wieder gut” (1864-1949)

Komponistin Holly Banfield

Messiah HWV 56. G.F Handel“Comfort Ye/Every Valley” (1685-1759)

Tenor Court ThomasAlex Harrelson

Grosse Messe in C-Moll K427 W. A. Mozart“Laudamus te” (1756-1791)

Soprano Micah Kenney

Laudes Atque Carmine

e Music Man M. Willson“Lida Rose/Will I Ever Tell You?” (1902-84)

Marian Charlotte KnudsonRobin Farnsley Backer

Quartet James BobickBennett ChewAlex HarrelsonCourt ThomasMike Shoaf

Director Robert Breault

Ariadne auf Naxos Opus 60 R. Strauss“Sein wir wieder gut” (1864-1949)

Komponistin Holly Banfield

Messiah HWV 56. G.F Handel“Comfort Ye/Every Valley” (1685-1759)

Tenor Court ThomasAlex Harrelson

Grosse Messe in C-Moll K427 W. A. Mozart“Laudamus te” (1756-1791)

Soprano Micah Kenney

Requiem in d minor. K 626 W.A. Mozart“Recordare”

Soprano Katelyn CoxRoslyn Rich

Mezzo Nadia EnglundMara Davis

Tenor Alex HarrelsonCourt Thomas

Bass James BobickJohn Allen

Die Zauberflöte K 620 W.A. Mozart“Act 1 Duet”

Pamina Robin Farnsley-BeckerEmily Hansen

Papageno Connor GatesBennett Chew

Director Holly Banfield

Die Zauberflöte K 620 W.A. Mozart“Act 2 Quintet”

Papageno (baritone) Connor GatesBennett Chew

Tamino (tenor) Court ThomasAlex Harrelson

3rd Lady (mezzo) Nadia EnglundMara Davis

2nd Lady (soprano) Michael ShoafEmily Hansen

1st Lady (soprano) Katelyn CoxChelsea Potter

Director Holly Banfield

Rinaldo HWV7 G.F. Handel“Lascia ch’io pianga”

Almirena Charlotte KnudsonLeticia Coeto

Argante John Allen

Director Robert Breault

Gloria RV 589 A. Vivaldi"Laudamus te" (1678-1741)

Soprano 1 Emmalyne ParkeEmily Hansen

Soprano 2 Katelyn CoxIvanna Pawlukiewicz

Midsummer Night’s Dream Opus 64 B. Britten“I know a bank” (1913-1976)

Oberon Michael ShoafPuck Connor GatesDirector José Miguel

Der Rosenkavalier Opus 95 R. Strauss“Act 3 Trio”

Octavian Holly BanfieldSophie Katelyn CoxMarschalin Robin Farnsley BeckerDirector Holly Banfield

Agrippina HWV 6 G.F. HandelNo, no ch’io non apprezzo

Poppea Ivana PawlukiewiczEmmalynne Park

Ottone Michael ShoafDirector Robert Breault

Albert Herring Opus 39 B. Britten“Albert the Good”

Tenor Court ThomasAlex Harrelson

Director Robert Breault

Werther J. MassenetLetter scene (1842-1912)

Charlotte Nadia EnglundMara Davis

Sophie Emmalyne ParkeLeticia Armas Coeto

Director Robert Breault

Il Matrimonio segreto D. Cimarosa“Le faccio un inchino” (1749-1801)

Carolina Katelyn CoxMicah Kenney

Elisetta Charlotte KnudsonEmily Hansen

Fidalma Holly BanfieldMara Davis

Director Robert Breault

Seven Deadly Sins K. Weil“Gluttony” (1926-1933)

Tenor 1 Michael ShoafTenor 2 Court ThomasBaritone Bennett ChewBass James BobickDancer Zyena TolhurstDirector José Miguel

West Side Story BernsteinBalcony Scene (1918-1990)

Tony Alex HarrelsonMaria Roslyn ReevesDirector José Miguel

You won’t find a man like Jesus F. PriceMara Davis (1887-1953)

Some of these days F. PriceAlex Harrelson

A White Rose F. PriceCharlotte Knudson

Hold fast to dreams F. Price

Emmalyne Parke

Die Entführung aus dem serail K 384 W.A. Mozart“Durch Zärtlichkeit”

Blondchen Roslyn ReevesOsmin Connor GatesDirector Robert Breault

La Traviata G. VerdiAct 2 Duet (1813-1901)

Annina Katelyn CoxVioletta Robin Farnsley-Becker

Chelsea PotterGermont James Bobick

John AllenDirector Robert Breault

Amazing Grace J. Newton(1725-1807)

Ivanna PawlukieiczRoslyn Reeves

You won’t find a man like Jesus F. PriceMara Davis (1887-1953)

Some of these days F. PriceAlex Harrelson

A White Rose F. PriceCharlotte Knudson

Hold fast to dreams F. Price

Emmalyne Parke

Die Entführung aus dem serail K 384 W.A. Mozart“Durch Zärtlichkeit”

Blondchen Roslyn ReevesOsmin Connor GatesDirector Robert Breault

La Traviata G. VerdiAct 2 Duet (1813-1901)

Annina Katelyn CoxVioletta Robin Farnsley-Becker

Chelsea PotterGermont James Bobick

John AllenDirector Robert Breault

Amazing Grace J. Newton(1725-1807)

Ivanna PawlukieiczRoslyn Reeves

The Music Man (1957) Music and lyrics by Meredith Willson

The winner of five Tony Awards, including Best Musical, The Music Man ran for 1,375 performances. The story features con-manHarold Hill, who poses as a boys' band organizer and leader and sells band instruments and uniforms to some midwestern “folks” whothink they’ve got “trouble”. He promises to train the members of a new band. Harold is no musician, however, and once he sells thefolks all the gear, he plans to skip town without giving any music lessons. Marion, the librarian, has different plans for Harold howeverand all ends well for the folks in River City, Iowa.

Ariadne auf Naxos Opus 60 (1912) Music by Richard Strauss Libretto by Hugo von Hofmannsthal

Richard Strauss’ Ariadne auf Naxos features an unusual combination of elements of low commedia dell'arte (comedy) with those ofhigh “opera seria”. The competition between high and low art for the public's attention is a principle theme. The story takes place inlate 18th Century Vienna. A composer has been commissioned to write a serious opera to be performed at a benefactor's birthdaycelebration. However, just hours before the premiere of the opera, the benefactor (who happens to be the richest man in Vienna) asksthat the opera and the comedy be performed simultaneously. At first, the young composer refuses to even consider the notion.However, after talking to the seductive (and lovely) leader of the comedians, he chooses to move ahead with the notion. In thisnotoriously difficult aria, the young composer asks the question “Was ist denn Musik?” (What is then Music?) and returns to hisinterrupted idea that music is the holiest of arts (even if the celebration ends with a round of fireworks).

Messiah HWV 56 (1742) Music by George Frederic Handel Text compiled by Charles Jennens from theKing James Bible, the Coverdale Psalter, and Psalms from the Book of Common Prayer.

Handel’s Messiah is by far the most famous of the oratorio works that Handel composed. He turned to writing oratorios following thedecline in popularity of his Italian operas in London. Though often affiliated with the Christmas season, Messiah had its debut inDublin during the Lenten season where it was warmly received. Its first performances in London at the Covent Garden theatre werereceived coolly however perhaps due to the fact some took issue with a “sacred” work being performed in secular space. Following ashort introduction, Comfort Ye and Every Valley is Messiah’s first solo, typically sung by a tenor.

Requiem in d minor K 626 (1791) Music by Wolfgang Amadeus Mozart Latin Text from the CatholicMass for the Dead.

Mozart’s Requiem was his final piece and is often thought of as a requiem for himself. Mozart died in 1791 before his Requiem wascomplete. It was completed by his student, Franz Süssmayr. “Recordare” is the work's longest intact piece and was left unedited bySüssmayr. The creation of Mozart’s masterpiece was one of the central themes in Amadeus, a 1984 American period biographicaldrama film directed by Miloš Forman, adapted by Peter Shaffer from his 1979 stage play of the same name.

Die Zauberflöte K 620 (1791) Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder

“Act 1 Duet”Die Zauberflöte (The Magic Flute) is one of Mozart’s most popular operas It is known as a "Singspiel" partly because it includesspoken dialogue. Its premiere was a smashing success and it was soon performed all over Europe. Mozart was thrilled with itssuccess. Unfortunately, two months later, Mozart, one of opera’s greatest composers passed from this Earth.

In this scene, Pamina is lost in the temple of her mother’s archenemy, the high priest of Isis and Osiris, Sarastro. Scared, she callsout for her mother, the Queen of the Night. Here, we see her meet Papageno, a bird catcher she’s never met who at one time servedher mother. Papageno and Prince Tamino have been sent to find Pamina and return her to the Queen. The strangers sing of love andhow nothing is more noble than the love of man and wife.

“Act 2 Quintet”Here we find Papageno and Prince Tamino trying to adhere to their vow of silence put upon them by Sarastro. Tamino tries diligentlyto convince Papageno to be quiet as the ladies (working under orders of the Queen) attempt to lure them both. The priests of Sarastrohave a different plan, however.

Rinaldo HWV 7 (1711) Music by George Frederic Handel Libretto by Giacomo Rossi

Rinaldo was Handel’s first Italian language opera written specifically for the London stage. Wildly popular at the time, this operalaunched Handel’s much vaunted career as an opera composer and producer. It is based upon Torquato Tasso's epic poem“Gerusalemme liberata” ("Jerusalem Delivered"). Goffredo (the leader of the first Crusade) promises Rinaldo the hand of his daughterAlmirena as reward for defeating the enemy Saracens who hold Jerusalem. Armida, Queen of Damascus and lover of Argante, Kingof Jerusalem, uses her magic to abduct Almirena. Here we find the captured Almirena under the eye of the lecherous Argante.Almirena implores: “Lascia ch’il pianga” (Let me cry) sung to one of Handel’s most beloved melodies, a tune he used at least twotimes previously with alternative words.

A Midsummer Night’s Dream Opus 64 (1960) Music By Benjamin Britten Libretto adaptedfrom the Shakespeare by the composer and Peter Pears

Britten’s 11th of 16 operas is completely faithful to the spirit of the original and is counted as one of the most successful operaticadaptations of a Shakespeare play. It is perhaps the most beguiling and enchanting of all his operas and features a spellbindingatmosphere that inhabits a truly unique, dreamlike, world. It is also novel that a principal role, in this case Oberon, was written for acounter-tenor.

Night has fallen in the woods outside Athens. Oberon, King of the Fairies, is quarrelling with Tytania, his queen, over a young boywho is under her protection. She refuses to give him up, however. Here, Oberon sends his servant Puck to find a magic flower,whose juice, sprinkled on Tytania’s eyelids, will make her fall in love with the first creature she sees upon waking. He plans to stealthe boy while she is under the spell but all does not go as Oberon plans.

Gloria RV 589 (1715) Music by Antonio Vivaldi Text setting by Giovanni Maria Ruggieri from the Roman

Catholic Mass.

Vivaldi is known today mostly for his four violin concertos “Le quattro stagione” (Four Seasons). His influence during hislifetime was widespread across Europe. After almost two centuries of decline, Vivaldi's musical reputation underwent a revivalin the early 20th century, with much scholarly research devoted to his work. Many of Vivaldi's compositions, once thought lost,have been rediscovered.

The “Laudamus te” from the Gloria we hear tonight lay undiscovered until the late 1920s, when it was found buried among a pile offorgotten Vivaldi manuscripts. However, it was not performed until September 1939 in Siena in an edition by the composer AlfredoCasella. This was by no means an authentic edition (he described it as an "elaborazione”), as he embellished the originalorchestration of trumpet, oboe, strings, and continuo, while reducing the role of the continuo, and cut sections from threemovements. It was not until 1957 that the now familiar original version was published and given its first performance at the FirstFestival of Baroque Choral Music at Brooklyn College, NY.

Der Rosenkavalier Opus 95 (1911) Music by Richard Strauss Libretto by Hugo von Hofmannsthal

Der Rosenkavalier is a three-act comic opera that premiered in 1911, at the Konigliches Opernhaus in Dresden. The opera takesplace in 1740s' Vienna, early in Maria Therese's reign. The opera opens in the bedroom of the Marschallin, Princess Marie Theresevon Werdenberg, where we find her and her much younger lover, Octavian, embracing and sharing their feelings of love. The famoustrio we hear tonight falls toward the end of the opera. Octavian has fallen in love with Sophie. The pain with which the Marschallin(Marie Therese) parts with her young man is evident as much as the ecstatic joy that binds the young lovers.

Agrippina HWV 6 (1709) Music by George Frederic Handel Libretto by Cardinal Vincenzo Grimani.

Agrippina was Handel’s second, and final opera written during his time in Italy. It ran for twenty-sevenperformances during the carnival season in Venice, and secured his international reputation. He would soonafter move to London and establish firstly a significant reputation as an opera composer and later would changethe thrust of his work to Oratorio.

Agrippina tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman EmperorClaudius and the installation of her son as emperor. Grimani's libretto is an "anti-heroic satirical comedy" full oftopical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry withPope Clement XI.

In this scene, Ottone and Poppea ironically speak of their love and commitment even though Poppea has her eyes on

the crown of Nero.

Albert Herring Opus 39 (1947) Music by Benjamin Britten Libretto by Eric Crozier, based on Guy deMaupassant's novella Le Rosier de Madame Husson.

In the small town of Loxford in East Sussex, the old-fashioned autocrat Lady Billows is in a tizzy. She has assembled a committee ofthe most important people in town to try to find a suitable Queen for their annual May Day Feast, but none of the young women in townare suitable. However, there is one person in town who is virginal, obedient, upstanding, and moral—Albert Herring, the greengrocer’sson. Albert, timid from years of living under his mother’s thumb, is now crowned the King of the May. What no one expects is that thisevent will lead to an unintended evening of drunken debauchery for Albert! As Benjamin Britten’s only truly comic opera, Albert Herringexplores the themes of losing innocence, social stratification, Victorian morality, and coming of age.

Grosse Messe in c-Moll K. 427/417a (1749) Music by Wolfgang Amadeus Mozart Latin textfrom the Catholic Mass

The Mass in C minor was composed around the time of Mozart’s marriage to Constanze von Weber, a well-known singer of the timein Vienna. It remained unfinished, missing large portions of the Credo and the complete Agnus Dei. The Mass in C minor reflectsMozart's preoccupation with the music of Handel and Johann Sebastian Bach which he explored with the encouragement of Baronvan Swieten, an important patron. At the premiere, Constanze was one of the soloists.

Werther (1887) Music by Jules Massenet Libretto by Édouard Blau, Paul Milliet and Georges Hartmann

Werther is a four act opera loosely based on the wildly popular German language epistolary novel The Sorrows of Young Werther byJohann Wolfgang von Goethe. The novel inspired the phenomenon known as "Werther Fever", which caused young men throughoutEurope to dress in the clothing style described for Werther in the novel. The book reputedly also led to some of the first knownexamples of copycat suicide. In fact, though written nearly 100 years later, the opera was deemed “too serious” for the OpéraComique in Paris.

The “Sturm und Drang” story of the poet Werther is one of sorrow and tragedy. Werther falls in love with Charlotte who is dutybound to marry another man, Albert. Although she does her best to hide her feelings, Charlotte is still enamored with warmmemories spent with Werther; memories he raises in beautifully-crafted letters to her. She is troubled by the letters that she hasread and reread many times since his last visit and anticipates his return on Christmas Eve with justified trepidation.

Il matrimonio segreto (1792) Music by Domenico Cimarosa Libretto by Giovanni Bertati

Il matrimonio segreto is Cimarosa's only work still to be regularly performed and is arguably one of the greatest 18th century “operabuffa”s, apart from those by Mozart. Upon hearing the premiere, Emperor Leopold II was so delighted that he ordered supper servedto the company and the entire opera repeated immediately after. Cimarosa was one of the most popular composers of his time. Thecomic (opera buffa) plot involves Geronimo, a wealthy and deaf Bolognese merchant who is the father of two daughters, Elisetta andCarolina. His sister, Fidalma runs the house. Paolino is working to arrange a marriage contract between Elisetta and his patron, CountRobinson, hoping that as soon as Geronimo's older daughter is well married, his marriage to the younger one will be acceptable. Fidalmaconfesses to her niece that she is in love, too, but doesn’t realize that he has been secretly married to Carolina. Elisetta is betrothed toCount Robinson, but when he arrives, he falls in love with her sister, Carolina. This trio, a typical buffa romp, involves a sibling cat-fightbetween two high-class teenage sisters with their tired aunt trying unsuccessfully to play referee and keep them at bay.

The Seven Deadly Sins (1933) Music by Kurt Weil Text by Bertolt Brecht

The Seven Deadly Sins is a “ballet chant” (sung ballet). It was one of the final projects that Weil and Brecht worked on during a time oftremendous political upheaval and turmoil in Europe. Weill had made a career in Berlin during the 1920s. His most enduringsuccesses of this period were his collaborations with writer Bertolt Brecht, especially The Three Penny Opera (for which Weillcomposed some of his greatest songs including “Mack the Knife”). The Seven Deadly Sins tells the story of Anna, who is sent by herexploitive family on a seven-year journey through seven different American cities. She dances to earn enough money for them to builda house. The work criticizes capitalism, weaves in popular music styling of the era, and, through song and dance, envelops theaudience into a story of sin and revelation. The story centers on the duality of the ballet’s personae, Anna I and Anna II who uncovereach of the seven deadly sins: pride, covetousness, lust, wrath, gluttony, envy, and sloth. Our scene, titled "Gluttony", features a“quasi” barbershop quartet. In it, the family warns Anna against overeating – she’s signed a star contract that has a weight clause.

The conductor for the work's premiere in Paris was a young man named Maurice Abravanel. He and Kurt Weill (both Jewish) wereforced to leave Berlin as Hitler rose to power. Both moved to America shortly after and continued to collaborate until Weill’s untimelydeath at 50 in 1950. Abravanel conducted Weill's Broadway shows after serving as the youngest conductor ever at the MetropolitanOpera in New York City. He was 33 at the time. Beginning in 1942, Abravanel spent the next 32 years at the helm of the UtahSymphony building it from a "community orchestra" into the world-class treasure it has become. Abravanel Hall, the architecturaland artistic icon in the heart of downtown Salt Lake City, was named after the beloved maestro and is one of the only major venuesnamed for an artist/musician. His conducting score of The Seven Deadly Sins is housed in the Maurice Abravanel Studio which islocated in our McKay Music Library. The studio (open to the public) replicates the space in Maurice Abravanel's home and containshis conducting scores, books, personal memorabilia, photographs and his Steinway piano.

West Side Story (1957) Music by Leonard Bernstein Conceived by Jerome Robbins, lyrics by StephenSondheim, and book by Arthur Laurents.

West Side Story was Stephen Sondheim’s first foray on a Broadway stage in 1957. He was just 27 when it opened. Already eager tostart his Broadway career as a composer and a lyricist, he was convinced by his mentor Oscar Hammerstein to debut as the show’slyricist, the junior member of a team of three well known artists: composer Leonard Bernstein, director and choreographer JeromeRobbins, and playwright Arthur Laurents. Sadly, we’ve lost all four now with the passing of Sondheim. Together they created an

innovative musical transposing the framework and action of Shakespeare’s Romeo and Juliet to 1950s New York City. Instead offeuding families, West Side Story’s star-crossed lovers, Tony and Maria, are connected to warring street gangs — the Jets andSharks. This duet takes place at what would be paralleled as Romeo and Juliet’s balcony scene. A new movie version of West SideStory opens in theaters around the country tonight (December 10th).

Florence Price (1887-1953)

Florence Price was a classical composer, pianist, organist and music teacher. Born in Little Rock, Arkansas, she is known as the firstAfrican-American woman to have an orchestral work played by a major American orchestra: her Symphony in E Minor wasperformed by Frederick Stock and the Chicago Symphony Orchestra in 1933. Price composed numerous works: four symphonies,four concertos, as well as choral works, and music for chamber and solo instruments. Price was also a prolific writer and arranger ofsongs.

Die Entführung aus dem Serail K 384 (1782) Music by Wolfgang Amadeus Mozart Libretto byGottlieb Stephanie

Die Entfürung aus dem Serail (The Abduction from the Seraglio), along with the Magic Flute, is a "Singspiele", a form of Germanlanguage music drama. They were sung in German and were characterized by spoken dialogue, which alternates with ensembles,songs, ballads, and arias which were often strophic, or folk-like. Singspiel plots are generally comic or romantic in nature, andfrequently include elements of magic, fantastical creatures, and comically exaggerated characterizations of good and evil.

"Durch Zärtlichkeit Und Schmeicheln '' is sung by Blonde in the opera’s second act. She is the maidservant of Konstanze, both ofwhom along with their 2 lovers were captured by pirates and sold to the Pasha and the mean overseer, Osmin. Blonde has becomethe object of Osmin’s desire, but she is betrothed to Pedrillo, the servant of Belmonte, and remains steadfastly loyal to him. WhenOsmin tells her what’s done in the seraglio, she reminds him that she is English and dares to let him know the ways that a propergentleman can win her over. It is with tenderness, pretty words, kindness, and pleasantries.

La Traviata (1852) Music by Giuseppe Verdi Libretto by Francesco Maria Piave

La Traviata tells the story of the tragic love between the courtesan Violetta and the romantic Alfredo Germont. Played out against thehypocrisy of upper-class fashionable society, Alfredo and Violetta’s love threatens to shame his family. When his father directlyappeals to Violetta to relinquish her one chance of happiness, Violetta submits and her act of self-sacrifice leads to her paying theultimate price.

La Traviata is one of the most popular operas of all time. It faced heavy censorship at first however because it was based on LaDame aux camélias (1852), a play by Alexandre Dumas fils adapted from his own 1848 novel. The heroine Dumas fils wrote aboutwas a well-known courtesan named Marie Duplessis who had only recently died making this opera one of the first to featurecontemporary, real-life, figures.

Amazing Grace (1779) Christian hymn lyrics by John Newton

John Newton wrote the words to Amazing Grace after a personal spiritual experience. He grew up without any particularreligious conviction... he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coastof County Donegal, Ireland, so severely that he called out to God for mercy. This moment marked his spiritual conversion.…Newton began studying Christian theology and later became an abolitionist.

innovative musical transposing the framework and action of Shakespeare’s Romeo and Juliet to 1950s New York City. Instead offeuding families, West Side Story’s star-crossed lovers, Tony and Maria, are connected to warring street gangs — the Jets andSharks. This duet takes place at what would be paralleled as Romeo and Juliet’s balcony scene. A new movie version of West SideStory opens in theaters around the country tonight (December 10th).

Florence Price (1887-1953)

Florence Price was a classical composer, pianist, organist and music teacher. Born in Little Rock, Arkansas, she is known as the firstAfrican-American woman to have an orchestral work played by a major American orchestra: her Symphony in E Minor wasperformed by Frederick Stock and the Chicago Symphony Orchestra in 1933. Price composed numerous works: four symphonies,four concertos, as well as choral works, and music for chamber and solo instruments. Price was also a prolific writer and arranger ofsongs.

Die Entführung aus dem Serail K 384 (1782) Music by Wolfgang Amadeus Mozart Libretto byGottlieb Stephanie

Die Entfürung aus dem Serail (The Abduction from the Seraglio), along with the Magic Flute, is a "Singspiele", a form of Germanlanguage music drama. They were sung in German and were characterized by spoken dialogue, which alternates with ensembles,songs, ballads, and arias which were often strophic, or folk-like. Singspiel plots are generally comic or romantic in nature, andfrequently include elements of magic, fantastical creatures, and comically exaggerated characterizations of good and evil.

"Durch Zärtlichkeit Und Schmeicheln '' is sung by Blonde in the opera’s second act. She is the maidservant of Konstanze, both ofwhom along with their 2 lovers were captured by pirates and sold to the Pasha and the mean overseer, Osmin. Blonde has becomethe object of Osmin’s desire, but she is betrothed to Pedrillo, the servant of Belmonte, and remains steadfastly loyal to him. WhenOsmin tells her what’s done in the seraglio, she reminds him that she is English and dares to let him know the ways that a propergentleman can win her over. It is with tenderness, pretty words, kindness, and pleasantries.

La Traviata (1852) Music by Giuseppe Verdi Libretto by Francesco Maria Piave

La Traviata tells the story of the tragic love between the courtesan Violetta and the romantic Alfredo Germont. Played out against thehypocrisy of upper-class fashionable society, Alfredo and Violetta’s love threatens to shame his family. When his father directlyappeals to Violetta to relinquish her one chance of happiness, Violetta submits and her act of self-sacrifice leads to her paying theultimate price.

La Traviata is one of the most popular operas of all time. It faced heavy censorship at first however because it was based on LaDame aux camélias (1852), a play by Alexandre Dumas fils adapted from his own 1848 novel. The heroine Dumas fils wrote aboutwas a well-known courtesan named Marie Duplessis who had only recently died making this opera one of the first to featurecontemporary, real-life, figures.

Amazing Grace (1779) Christian hymn lyrics by John Newton

John Newton wrote the words to Amazing Grace after a personal spiritual experience. He grew up without any particularreligious conviction... he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coastof County Donegal, Ireland, so severely that he called out to God for mercy. This moment marked his spiritual conversion.…Newton began studying Christian theology and later became an abolitionist.

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Sein wir wieder gutLet’s be friends again. I see the world clearly my eyes have been opened. The depths of existence arefar beyond us. My dearest friend, in our world are many things that words cannot show us. Thewords a poet brings to life, may be exquisite. Exquisite... and yet... fearless I stand, fearless. Theworld is wondrous; those who dare, find only beauty here. And what then is music? (with almostdrunken solemnity) Music is a holy flame tended only by the brave and the true, like cherubimguarding a radiant throne. That is why one art is holier than all the others, and music is that holyart.https://tal.lifehackk.com/98-sein-wir-wieder-gut-lyrics-and-english-translation-723991-5690

Mozart RecordareRemember, kind Jesus,my salvation caused your suffering;do not forsake me on that day.Faint and weary you have sought me,redeemed me, suffering on the cross;may such great effort not be in vain.Righteous judge of vengeance, grant me the gift of absolution before the day of retribution.I moan as one who is guilty: owning my shame with a red face; suppliant before you, Lord.You, who absolved Mary, and listened to the thief, give me hope also.My prayers are unworthy,but, good Lord, have mercy, and rescue me from eternal fire.Provide me a place among the sheep,and separate me from the goats, guiding me to Your right hand.http://manlywarringahchoir.org.au/files/2011/01/English-Translation-of-Mozart-Requiem.pdf

Papageno/PaminaPAMINAIn men who feel love,a good heart, too, is never lacking.

PAPAGENOSharing these sweet urgesis then women's first duty.

PAMINA, PAPAGENOWe want to enjoy love;it is through love alone that we live.

PAMINALove sweetens every sorrow;every creature pays homage to it.

PAPAGENOIt gives relish to the days of our life,it acts in the cycle of nature.

PAMINA, PAPAGENOIts high purpose clearly proclaims:

there is nothing nobler than woman and man.Man and woman, and woman and man,reach towards the deity.

Wie Wie WieTHE THREE LADIESWhat? What? What?You in this place of horror?Never, never, neverwill you make your escape!Tamino, your death is sworn!You, Papageno, are lost!

PAPAGENONo, no, no! That would be too much!

TAMINOPapageno, keep quiet!Do you want to break your oathnot to speak to women here?

PAPAGENOBut you can hear, we've both had it.

TAMINOQuiet, I say! Keep quiet!

PAPAGENOAlways quiet, always quiet!

THE THREE LADIESThe Queen is quite near you!She has secretly broken into the temple.

PAPAGENOWhat? How's this? Could she be in the temple?

TAMINOQuiet, I say! Keep quiet!Will you keep on so impudentlyforgetting your sworn duty?

THE THREE LADIESTamino, listen! You are lost!Remember the Queen!There is much whisperingabout these priests' falsehood!

TAMINO

(A wise man cheeks and disregardsthe words of the common herd.)

THE THREE LADIESThey say that anyone vowing allegiance to their brotherhoodgoes head over heels into hell.

PAPAGENOThat would be unthinkable, by the devil!Tell me, Tamino, is that true?

TAMINOGossip, repeated by womenbut invented by dissemblers.

PAPAGENOYet the Queen says it too.

TAMINOShe is a woman, with the mind of a woman.Be quiet, be satisfied with my word,think of your duty and behave sensibly.

THE THREE LADIESto TaminoWhy are you being so coy with us?Tamino indicates that he may not speak.Papageno too is silent - speak then!

PAPAGENOcovertly to the ladiesI should gladly ... would ...

TAMINOQuiet!

PAPAGENOYou see that I must not ...

TAMINOQuiet!

PAPAGENOMy continual chatteringis indeed disgraceful of me!

TAMINOYour continual chatteringis indeed disgraceful of you!

THE THREE LADIESTo our shame we must leave them;certainly neither will talk.

TAMINO, PAPAGENOTo their shame they must leave us;certainly neither will talk.

ALLA man is strong-minded;he thinks what he should say.

PRIESTSfrom withinThe sacred portals are desecrated!Down to hell with these women!

THE THREE LADIESAlas!

The three ladies drop through the trapdoor.

PAPAGENOAlas!

He falls to the ground. Enter the Speaker and Second Priest with torches.

SPEAKERTamino! Your steadfastness has triumphed. But you will have many a hard and dangerous path totread! - Come then!

SECOND PRIESTStand up, Papageno! - What are you doing there?

PAPAGENOSh!I'm lying in a faint!

SECOND PRIESTUp! Pull yourself together, and we'll go on to further trials.

PAPAGENOBut if the gods have ordained a Papagena for me, why do I have to go through so many dangers towin her?SECOND PRIESTCome! - My duty is only to lead you the way for you!https://www.opera-arias.com/mozart/die-zauberflote/libretto/english/

L’ascia ch’io piangaLet me weepMy cruel fate,And that Ishould have freedom.The duel infringeswithin these twisted places,in my sufferingsI pray for mercy.https://www.liveabout.com/lascia-chio-pianga-lyrics-and-text-translation-724052Laudamus teWe praise you,We bless you,We adore you,We glorify you,We praise you,We bless you,We adore you,We glorify you, we glorify you,We adore you, we adore you,We glorify you,We praise you,We bless you,We adore you,We glorify you,We adore you, we adore you,We glorify you, we glorify you!https://lyricstranslate.com/en/laudamus-te-we-praise-you.html

Der RosenkavalierOCTAVIANMarie Theres!

MARCHALLINI promised to love him in the right way. That I myself still love His love for another! Of course, I didnot think that it would be so soon as I was told!It's the many things in the world that make you do not believe it when you want to hear it. Butwhoever experiences it believes in it and does not know how - there stands the boy, and here Istand, and with the strange girl there, he will be as happy as men understand the happiness. ForGod's sake.

OCTAVIANThere is something to come and what is possible, I would like to ask you: may it be? and the Frag, Ifeel that she is forbidden to me. I would like to ask you: why is something trembling in me? - Has abig wrong happened? And I'm not allowed to do the Frag 'to that - and then I look at you, Sophie,and just see you and only feel you, Sophie, and know of nothing but: I love you.

SOPHIE

I feel like in church, holy is me and so bang; and yet it is unholy to me too! I do not know what I feel.I would like to kneel down there in front of the woman and would like to do something to her,because I feel 'she gives me him and takes something from him at the same time. Do not know how Ifeel! I want to understand everything and I do not want to understand anything. I want to ask andnot ask, I feel hot and cold. And only feel you and know only one thing: I love you.https://www.opera-arias.com/strauss-r/der-rosenkavalier/libretto/english/

Laudamus TeWe praise You, we bless You,We worship You, we glorify You.Pur ti miro, pur ti godo

I gaze upon you, I desire you,I embrace you, I enchain you ;no more grieving, no more dying,o my life, o my beloved.I am yours, yours am I,my hope, tell it, tell.You are truly my idol,yes, my love, yes, my heart, my life, yes.https://lyricstranslate.com/en/pur-ti-miro-i-gaze-upon-you.html

Letter sceneCHARLOTTE(alone, sitting near the work table, thinking)Werther ... Werther ...Who would have told me the place that in my hearthe occupies today?Since he left, in spite of me, everything tires me!(She drops her book.)And my soul is full of him!(Slowly, she gets up as attractedto the secretary she opens.)These letters! these letters!Ah! I read them again and again ...With what charm ... but also what sadness!I should destroy them ... I can not!(She came back to the table,eyes fixed on the letter she reads.)(Reading)"I write to you from my little room:to the gray and heavy skies of Decemberweigh on me like a shroud,And I am alone! only! always alone!"Ah! no one near him!not a single testimony of tenderness or even pity!God! how did this sad courage come to me,

to order this exile and this isolation?(After a while she took another letter and opens it.)(Reading)"Happy screams of children come up under my window,Cries of children! And I think of this sweet weather.Where all your dear little ones were playing around us!Will they forget me? "(ceasing to read, with expression)No, Werther, in their memory your image remains alive ...and when you come back ... but must he come back?(with dread)Ah! this last note chills me and frightens me!(Reading)"You told me: at Christmas, and I shouted: never!We will soon know who told us true!But if I do not have to reappear on the appointed day, infront of you, do not accuse me, cry me! "(Repeating with fright, fearing to understand)" Do not accuse me, cry me! "(Resuming his reading)"Yes, with those eyes so full of charms, these lines ...you will re-read them, you will wet them with your tears ...O Charlotte, and you will shudder!"(Repeating without reading)... you will shudder! !

SOPHIE(quickly entering and stopping at the door;she holds in her arms toys for the evening feast.)Hello, big sister!(Charlotte hastily hidden surpriseon her the letters she held in her hand.)... I come to the news!

(Sophie advances cheerfullyand places the objects on a piece of furniture.)

SOPHIEAlbert is absent ... we do not see you anymore!and the father is very dissatisfied ...

CHARLOTTE(still worried)Child!

SOPHIE(who took Charlotte by the waist)But, are you suffering?

CHARLOTTE(coming away from Sophie's arms)Why this thought?

SOPHIE(who held his hand)If your hand is frozen,(looking into her eyes)and your eyes are red, I can see it!

CHARLOTTE(Turning away, embarrassed)No, it's nothing ...(recovering)I feel sometimes ... a little sad ... isolated!But if from a vague boredom my soul was troubled,(in a cheerful but forced tone)I do not remember anymore ...and now, you see: I smile ...

SOPHIE(cuddly)What he must, it is laughing, laugh again, as formerly!

CHARLOTTE(aside and with intention)Formerly!

SOPHIE(cheerfully)Ah!laughter is blessed, joyous, light, sonorous!(light)It has wings, it's a bird ...It's a dawn bird! It's a bird!It is the clarity of the heart that escapes in rays!Ah!laughter is blessed, joyous, light, sonorous!It has wings, it's a bird ... it's a bird! ah! ah!(Sophie drives Charlotte to the chairand drops to her knees.)Listen! I am old to know the reasons for many things ...Yes!all the fronts here have become morose ...(hesitant)since Werther fled!(Charlotte shudders.)But why leave without news.(looking down)those who remained faithful to him?

CHARLOTTE(disengaging herself from Sophie's arms, getting up)

Everything ... until this child, everything speaks to me about him!

SOPHIE(coming back to Charlotte)Tears? Ah! forgive, I beg you!Yes!I'm wrong to talk about all this!

CHARLOTTE(no longer binding)Go!let my tears flow(affectionately)they do good, darling!The tears we do not cry,in our souls all fall,and with their patient dropsHammer the sad and weary heart!His resistance is finally exhausted; the heart digs ...and weakens: it is too big, nothing fills it;and too fragile, all the breeze! All the breeze!

http://www.aria-database.com/translations/werther.txt

Le Faccio un inchinoForgive me if I have missed His Excellency.I bow you,Gentle Countess;To be LadyWe see that she was born;For something else, for something elseYou rider makes me.

ElisettaScreamed, cracked.Son Dama and Countess.Beffar if you want,Beffate yourself.For something else, for something elseCreanza does not have.

Fidalmato ElisettaThat smoke, my dear,It is too much.to CarolinaYou are, pretty,A little insolent.Shame! shame!Finish it already.

CAROLINAHis servant are not.

ElisettaI am your eldest.

CAROLINABoth siam daughtersOf a single parent.

ElisettaBizarre ....

CAROLINAFAmosa ...

FidalmaLet's finish this thing,Stop there.

FIDALMO, CAROLINA, ELISETTAI can not sufferHis incivility.

FidalmaCodesto garrirAmong you it is not well.

Durch ZärtlichkeitBy tenderness and flattery,Kindness and jokingYou’ll conquer the heartOf this good maiden.But crabby commands,Rumbling, bickering, and plaguesWill cause in a few daysLove and faithfulness to escape.

Piangi piangihttp://www.murashev.com/opera/La_traviata_libretto_English_ItalianVIOLETTAWhere's Alfredo?

ANNINAHe's just gone to Paris.

VIOLETTAWhen's he coming back?

ANNINABefore it gets dark …He told me to tell you.

VIOLETTAIt's strange!

GIUSEPPEpresenting her with a letterThis is for you.

VIOLETTAtaking the letterVery well. In a little whileA man will be coming on business.Show him in at once.

Annina and Giuseppe go out. Violetta opens the letter.

VIOLETTAalone, readingAha! So Flora's discovered my hiding?place;She invites me to a dance this evening!She throws the letter on to the table and sits down.She'll wait for me in vain.

Giuseppe comes in and approaches Violetta.

GIUSEPPEThere's a gentleman here.

VIOLETTAIt'll be the man I'm expecting.

signing to Giuseppe to show him in

GERMONTMademoiselle Valéry?

VIOLETTAYes.

GERMONTI'm Alfredo's father.

VIOLETTAsurprised, invites him to sit downYou are?

GERMONTsitting downYes, I'm the father of that headstrong boy,Who's rushing to his ruinBecause of his infatuation for you.

VIOLETTArising indignantlyI am a woman, Sir,And this is my house;Please excuse me if I leave you,More for your sake than mine.

She turns to go out.

GERMONTto himselfWhat manners!All the same ...

VIOLETTAreturning to her chairThere must be some mistake!

GERMONTHe wants to make over everything to you.

VIOLETTAHe wouldn't dare,I should refuse.

GERMONTlooking round himYou live luxuriously ...

VIOLETTAshowing him a documentThat puzzles a lot of peopleBut you shall know the truth.

GERMONTlooking at the documentHeavens! What are you telling me?You're sacrificingEverything you possess?Is this how the past reproaches you?

VIOLETTAwith enthusiasmThe past is over. I love Alfredo now,

God has wiped out the past.He knows of my repentance!

GERMONTYour feelings do you credit.

VIOLETTAgetting upHow kind your voice sounds now.

GERMONTI have to ask a sacrificeOf those noble feelings of yours.

VIOLETTANo! Don't tell me!Don't tell me your terrible demand!I foresaw it … I expected it …I was too happy!

GERMONTAlfredo's fatherPleads with you now for the futureOf his two children!

VIOLETTAHis two children?

GERMONTYes.God gave me a daughterAs pure as an angel;And if Alfredo refusesTo return to the bosom of his family,The man she loves and who loves her,The one whose wife she was to be,Will break the chainThat was to bind them in their happiness.I pray you not to change the roses of theirLove to flowers of sadness.Surely your heart will not denyThe prayer I utter now.

VIOLETTAAh yes, I understand.If I leftAlfredo for a time …It would be a sacrifice, but then ...

GERMONT

That's not what I'm asking.

VIOLETTAHeavens! What more do you expect?So much I've offered, already!

GERMONTBut not enough.

VIOLETTAYou want me to leave himFor ever?

GERMONTIt's necessary.

VIOLETTAOh, no! Never!No, never!You cannot know the kind of passion- Living, overwhelming -That burns in my heart!I have no friends, no family still living.Alfredo swore,That I should find them all in him.How should you know that my lifeIs threatened by a fell disease?That already I see the end is near?If I parted from Alfredo,My suffering would be so unbearableThat I would rather die,Why yes, much rather die!

GERMONTThe sacrifice is heavy,But hear me out with patience,You're young and beautifulAnd in time …

VIOLETTAOh, say no more …I understand you.But it's impossible for me ...I want nothing but to love him!

GERMONTThat may be,But men are often less faithful.

VIOLETTA

Oh, heavens!

GERMONTOne day, when timeHas put your charms to flight,Boredom will swiftly rise.What will happen then? Think!The gentle balm of affectionWill not be for you,Because the threads that bound youHad not been blessed by heaven.

VIOLETTAIt's true!

GERMONTAh, why not, then, abandonSo tempting a dream?

VIOLETTAIt's true!

GERMONTBe the consoling angelOf my family!Violetta, only think,You still have time for that.My child, it's God who inspiresThe words this father speaks.

VIOLETTAin great griefSo, for the wretched womanWho's fallen once,The hope of rising is for ever gone!Though God should show His mercy,Man will never forgive her.to Germont, weepingSay to your daughter, pure as she is and fair,That there's a victim of misfortuneWhose one ray of happinessBefore she diesIs a sacrifice made for her.

GERMONTWeep, unhappy girl, weep!I see the sacrifice I askIs the greatest one of all,In my own heart I feel your sorrow;Have courage, and your generous

Heart will conquer!

VIOLETTATell me what I must do.

GERMONTSay you don't love him.

VIOLETTAHe won't believe me.

GERMONTThen leave him.

VIOLETTAHe would follow me.

GERMONTThen ...

VIOLETTAAs your daughter now embrace me,So you may give me strength.embracing GermontSoon he will be restored to you,But more unhappy than words can tell.You must be thereTo comfort him.

She indicates the garden.She goes to the writing-table.

GERMONTWhat are you doing?

VIOLETTAIf I told you,You would oppose me.

GERMONTYou are generous indeed!And what can I do for you?What can I do for you who are so generous?

VIOLETTAturning to himI shall soon die!And he'll not curseMy memoryIf someone tell him

How much I suffered.

GERMONTNo, generous girl, you must live,You must be happy,For one dayHeaven will repay you for these tears.

VIOLETTALet him know the sacrificeI made of the loveThat will be hisTill I draw my last breath.

GERMONTYour sacrifice shall be rewarded,And in days to comeYou will be proudOf so great a love.Yes!

VIOLETTASomeone is coming, you must go now.

GERMONTI thank you from my heart!

VIOLETTAGo now.They embraceWe may not meet again.

VIOLETTA AND GERMONTMay you be happy! Farewell!

VIOLETTAAh, I understand - I must leave Alfredofor a time. It will be painfulfor me - yet -

GERMONTThat is not what I ask.

VIOLETTAHeaven, what more can you ask!I offered much!

GERMONTBut not enough.

VIOLETTAYou want me to give him up forever?

GERMONTYou must!

VIOLETTANo - never! No, no!Can you not see what tremendous,burning love I feel for him,I, who have no friends or familyamong the living?Don't you know that Alfredo sworethat I should find everything in him?Don't you know that my lifeis endangered by a terrible disease,that I have but a short time to live?To leave Alfredo forever?

VIOLETTAAh, comprendo - dovrò per alcun tempoda Alfredo allontanarmi - dolorosofora per me - pur -

GERMONTNon è ciò che chiedo.

VIOLETTACielo, che più cercate?Offersi assai!

GERMONTPur non basta.

VIOLETTAVolete che per sempre a lui rinunzi?

GERMONTÈ d'uopo!

VIOLETTAAh no! - giammai! No, no!Non sapete quale affettovivo, immenso m'arda in petto?Che né amici, né parentiio non conto tra' viventi?E che Alfredo m'ha giuratoche in lui tutto troverò?Non sapete che colpitad'atro morbo è la mia vita?Che già presso il fine vedo?Ch'io mi separi da Alfredo!

Ah, the anguish would be so cruelthat I should prefer to die.

GERMONTThe sacrifice is great,but hear me out patiently.You are still young and beautiful -in time -

VIOLETTAAh, say nothing more.I understand - I cannot -I shall never love anyone but him.

GERMONTThat may well be - but men are often fickle.

VIOLETTAOh God!

GERMONTOnce time has staledthe delights of love,tedium will follow quickly.Then what? Think -Even the deepest feelingscan bring you no balm,since this bond was neverblessed by heaven.

VIOLETTAIt's true! It's true!

Ah, il supplizio è sì spietato,che a morir preferirò.

GERMONTÈ grave il sacrifizio,ma pur tranquilla uditemi,bella voi siete e giovine -col tempo -

VIOLETTAAh, più non dite -v'intendo - m'è impossibile.Lui solo amar vogl'io.

GERMONTSia pure - ma volubile sovente è l'uom -

VIOLETTAGran Dio!

GERMONTUn dì, quando le veneriil tempo avrà fugate,fia presto il tedio a sorgere -che sarà allor? Pensate -per voi non avran balsamoi più soavi affetti,poiché dal ciel non furonotai nodi benedetti.

VIOLETTAÈ vero! È vero!

GERMONTAh, then lay aside this beguiling dream.

VIOLETTAIt's true! It's true!

GERMONTBe rather the consoling angelof my family.Violetta. Think -You still have time.Young lady, it is God who inspiresthese words on a father's lips.

VIOLETTAAll hope of rising again is forever gone.For the wretched woman who erred one day!Even if God grants her mercy charitablyMan will always be implacable.

GERMONTBe rather the consoling angel of my family.

VIOLETTA (then, to Germont as she weeps)Oh, tell your daughter, so lovely and pure,that a poor and wretched woman,who has but one precious thing in life -will sacrifice it for her - and then will die!

GERMONTWeep, weep, poor girl. I see nowthat the sacrifice I asked could not be greater.Within my heart I feel what you must suffer;be brave, your noble heart will conquer all.

GERMONTAh, dunque sperdasi tal sogno seduttore.

VIOLETTAÈ vero! È vero!

GERMONTSiate di mia famiglial'angel consolatoreVioletta, deh, pensateci,ne siete in tempo ancor.È Dio che ispira, o giovine,tai detti a un genitor.

VIOLETTACosì alla misera ch'è un dì caduta,di più risorgere speranza è muta!Se pur benefico le indulga Iddio,l'uomo implacabil per lei sarà.

GERMONTSiate di mia famiglia l'angiol consolator.

VIOLETTA (poi, piangendo, a Germont)Ah! dite alla giovine sì bella e purach'avvi una vittima della sventura,cui resta un unico raggio di bene -che a lei il sacrifica e che morrà!

GERMONTPiangi, piangi, o misera, supremo, il veggo,è il sacrifizio che ora ti chieggo.Sento nell'anima già le tue pene;coraggio e il nobile tuo cor vincerà!

VIOLETTATell your daughter, so lovely and pure,that a poor and wretched woman,who has but one precious thing in life -will sacrifice it for her - and then will die!

GERMONTI see now that the sacrificeI asked could not be greater,within my heart I feel what you must suffer,be brave, your noble heart will conquer all.Weep, poor girl.

VIOLETTATell me what I must do.

GERMONTTell him you don't love him.

VIOLETTAHe won't believe me.

GERMONTGo away, then.

VIOLETTAHe will follow me.

GERMONTThen -

VIOLETTAEmbrace me as if I were your daughter -it will give me strength.(They embrace.)

VIOLETTADite alla giovine sì bella e purach'avvi una vittima della sventura,cui resta un unico raggio di beneche a lei il sacrifica e che morrà!

GERMONTAh supremo, il veggo,è il sacrificio ch'ora ti chieggo.Sento nell'anima già le tue pene;coraggio e il nobile cor vincerà!Piangi, o misera!

VIOLETTAImponete.

GERMONTNon amarlo ditegli.

VIOLETTANol crederà.

GERMONTPartite.

VIOLETTASeguirammi.

GERMONTAllor -

VIOLETTAQual figlia m'abbracciate,forte così sarò.(S'abbracciano.)

Soon he will be yoursagain, but desperately sad.(pointing to the garden)Out there you will hurryto comfort him.(Violetta sits down to write.)

GERMONTWhat is it?

VIOLETTAIf I told you, you would oppose my wish.

GERMONTGenerous woman! What can I do for you?Generous woman!

VIOLETTA (returning near him)I shall die! Let him notcurse my memory;when I am dead, let someonetell him of my suffering.

GERMONTNo, generous woman, you must live,and live in happiness.Heaven one daywill recompense these tears.

VIOLETTALet him know the sacrificewhich I made for love -for the very last breath of lifewill be for him alone.

Tra breve ei vi fia reso.Ma afflitto oltre ogni dire.(indicandogli il giardino)A suo confortodi colà volerete.(Violetta va a scrivere.)

GERMONTChe pensate?

VIOLETTASapendo, v'opporreste al pensier mio.

GERMONTGenerosa! E per voi che far poss'io?O generosa!

VIOLETTA (tornando a lui)Morrò! La mia memorianon fia ch'ei maledica,se le mie pene orribilivi sia chi almen gli dica.

GERMONTNo, generosa, vivere,e lieta voi dovrete;mercè di queste lagrimedal cielo un giorno avrete.

VIOLETTAConosca il sacrifizioch'io consumai d'amore -che sarà suo fin l'ultimosospiro del mio cor.

GERMONTAnd your heart's sacrificewill be rewarded.Then your heart will be proudof so noble an act. Yes, yes, yes -

VIOLETTALet him know the sacrificewhich I made for love -For the very last breath of lifewill be for him alone.

GERMONTOf so noble an actthen your heart will be proudof so noble an act.And your heart's sacrificewill be rewarded.Then your heart will be proudof so noble an act.

VIOLETTASomeone is coming...you must leave.

GERMONTOh, how grateful I am to you!

VIOLETTALeave me. We may never see each other again.(They embrace.)

VIOLETTA, GERMONTMay you be happy.

GERMONTPremiato il sacrifiziosarà del vostro core;d'un'opra così nobilesarete fiera allor. Sì, sì -

VIOLETTAConosca il sacrifizioch'io consumai d'amore -che sarà suo fin l'ultimosospiro del mio cor.

GERMONTSarete fiera allor.D'un'opra così nobilesarete fiera allor.Premiato il sacrifiziosarà del vostro cor;d'un'opra così nobilsarete fiera allor.

VIOLETTAQui giunge alcun! Partite!

GERMONTOh, grato v'è il cor mio!

VIOLETTAPartite! Non ci vedrem più forse -(S'abbracciano.)

VIOLETTA, GERMONTSiate felice!

VIOLETTAGoodbye!

GERMONTGoodbye!

VIOLETTALet him know the sacrifice...

GERMONTYes.

VIOLETTA...which I made for love......for the very last breath of life.Goodbye!

GERMONTGoodbye!

VIOLETTA...for the very last breath of life.Goodbye!

VIOLETTA, GERMONTMay you be happy...goodbye!(Germont goes out through the garden door.)

VIOLETTAGive me strength, oh Heaven!(She sits down and writes, then rings for theservant.Annina enters.)

ANNINAYou rang for me?

VIOLETTAAddio!

GERMONTAddio!

VIOLETTAConosca il sacrifizio,

GERMONTSì!

VIOLETTA...ch'io consumai d'amore -che sarà suo fin l'ultimo...Addio!

GERMONTAddio!

VIOLETTAche sarà suo fin l'ultimo...Addio!

VIOLETTA, GERMONTFelice siate, addio!(Germont esce per la porta del giardino.)