Rigoletto Study Guide

Verdi

Study Guide and Pre- and Post-Performance Lesson Plans For Reading & Writing Common Core Standards

Grades 9 – 12

January 1, 2014 Dear Educator, Boston Lyric Opera is pleased to invite high school students to Final Dress Rehearsals at the Shubert Theatre throughout our season. We look forward to seeing you and your students at the theatre for this new production of Verdi’s Rigoletto, set in a rich and decadent Renaissance Italy and featuring some of opera’s most famous arias!

The experience of seeing live, professional opera is second to none. However, we encourage you to explore the world of the opera in your classroom as well. We are proud to now offer a study guide to support your discussions and preparations for Rigoletto that includes special insights into the production, the opera’s history, and ready-to-use pre- and post-performance lesson plans for grades 9 – 12.

Within the Study Guide you will find a link to an English translation of the libretto. BLO’s production will be performed in Italian with projected English titles.

Boston Lyric Opera’s mission is to build curiosity, enthusiasm, and support for opera. This new study guide is one way in which we hope to serve this goal, and support the incredible work of educators like you, who bring this beautiful art form into your students’ lives. As we continue to develop these study guides this season, we want your feedback. Please tell us about how you use this guide and how it can best serve your needs by emailing education@blo.org.

If you’re interested in other opera education opportunities with Boston Lyric Opera, please visit blo.org/learn to discover more about our programs.

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Artist classroom visits available in January and February 2014 Music! Words! Opera!

Workshops offered in partnership with Wheelock Family Theatre Residencies and Workshops available through Young Audiences of Massachusetts Free Concerts and Community Programs including our annual Open House

We look forward to seeing you at the theatre!

Sincerely, Megan Cooper Director of Community Engagement

CONTENTS

Welcome from BLO Director of Community Engagement .........................................................................2 Table of Contents ...............................................................................................................................................3 History of Opera ................................................................................................................................................4 Science of Sound from BLO and Museum of Science, Boston .....................................................................8 Rigoletto: Artistic Statement and Synopsis ...................................................................................................10 Rigoletto: Principal Characters ........................................................................................................................11 A Short Biography of Giuseppe Verdi ...........................................................................................................12 The Story of a Literary Legend: A Short Biography of Victor Hugo .........................................................13 From Banned Play to Celebrated Opera: How Le Roi s’Amuse became Rigoletto ..................................14 Supplemental Material: Recommended Listening ........................................................................................15 Pre-performance Lesson Plans Grade 9-10 ....................................................................................................16 Pre-performance Lesson Plans Grade 11–12 ..................................................................................................18 Un Ballo in Maschera: Masking the Political with Romance .........................................................................21 Selected Scenes from Rigoletto, Italian and English text .............................................................................22 Selected Scenes from Le Roi s’Amuse, French and English text ..................................................................34 Post-performance Lesson Plans Grade 9-10 ................................................................................................51 Post-performance Lesson Plans Grade 11-12 ...............................................................................................53 References and Resources ................................................................................................................................55

LATE 16TH - EARLY 18TH CENTURY: LATE RENAISSANCE AND BAROQUE Opera was a creation of the Renaissance and its efforts to revive Classical antiquity. A group of Florentine intellectuals called the Camerata wanted to revive the tradition of Ancient Greek theater, particularly its practice of singing the text and using music to heighten the drama. In 1598, Jacopo Peri, one of the members of the Camerata, composed the world’s first opera — Dafne, a fitting Renaissance revival of a Classic mythological tale.

Opera quickly became a very popular art form and swiftly spread to other cities in Europe. The French composer Jean-Baptiste Lully adopted the new art form and produced distinctly French operas in Paris, while George Frideric Handel turned opera into London’s most popular and sensational entertainment.

The principal genre of opera during the Baroque era was opera seria or serious opera, which portrayed epic, dramatic stories using a highly embellished style of singing and spectacular staging.

MAJOR COMPOSERS:

MONTEVERDI

CLAUDIO MONTEVERDI (1567-1643) Monteverdi was the first great opera composer, and his operas were incredibly popular in Italy during his lifetime. Monteverdi took opera to the next level by expanding its scope and scale, escalating its drama with more sophisticated characterization, and writing far more complex, ornate music. His opera Orfeo, written in 1607, is often considered the first “great opera,” and remains a part of the opera canon today.

GEORGE FRIDERIC HANDEL (1685-1759) Handel, the great German-born British composer, was one of the most successful and sought-after composers in 18th century England. Though Handel is best known for his ever-popular oratorio Messiah (1742), he was also a prolific and influential opera composer — producing more than forty operas and fostering a love for opera among the English audience. Handel’s operas display mature character development and dazzling vocal ornamentation, which are exemplified in his most famous operas Rinaldo (1711) and Giulio Cesare (1724).

HANDEL

MID - LATE 18TH CENTURY: THE CLASSICAL PERIOD Towards the mid-18th century, composers began to tire of the highly ornamented opera seria and its far-from-real-life stories and characters. Instead, they opted for a simpler, clearer style of music, opening a new chapter in music history known to us as the Classical Period. It is important to note that the term “Classical Period” is different from “Classical Music” — “Classical Period” or “Classical Era” refers to a particular style and time period within the big umbrella genre of “Classical Music.”

MAJOR COMPOSERS: CHRISTOPH WILLIBALD GLUCK (1714-1787) Gluck was the leader of a major opera reform movement in mid-18th century Europe. He rejected the former superfluously ornamental style of opera, in which music and drama only existed as a vessel for star singers to show off their vocal power and technical agility. Instead, Gluck wrote operas in a non-virtuosic, simple manner, believing that words and music should work together to convey the story. His most famous opera, Orfeo ed Euridice (1762), illustrates Gluck’s dedication to simplicity and natural beauty.

WOLFGANG AMADEUS MOZART (1756-1791) Even to this day, the name Mozart is synonymous with musical genius. Mozart excelled in any musical genre he touched whether it was a piano sonata, concerto, symphony or chamber music. Mozart also had a special gift for opera and was commissioned to write his first operatic work at the age of 14. Yet Mozart’s brilliant gift was not just in his musical versatility, but also in his deep understanding of the dramatic nature of music. Mozart intuitively knew how to portray moods, situations and personalities through music, and could transport the audience into depths of emotion, moving easily from incredible sadness to overwhelming joy. Mozart’s best operatic works include The Marriage of Figaro (1786), The Magic Flute (1791) and Don Giovanni (1787), which are still frequently performed staples of the repetoire.

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GLUCK

MOZART

LATE 18TH - MID 19TH CENTURY: THE BEL CANTO ERA Bel Canto literally means beautiful singing in Italian. Like Baroque operas, Bel Canto operas put greater emphasis on the power of the human voice. Amidst stories of passion and romance, Bel Canto composers wrote incredibly ornate passages that truly showcased a singer’s range, power, tone and technical mastery.

MAJOR COMPOSERS:

ROSSINI

DONIZETTI

GIOACCHINO ROSSINI (1792-1868) Rossini was a precocious musical prodigy and became the leading composer in Italy by age 20. He is considered to be one of the most influential figures in opera history as he pioneered the Bel Canto style, which revolutionized and dictated the Italian operatic scene for the first half of the 19th century.

Rossini wrote operas with extraordinary ease and speed, composing 39 operas within twenty years using his signature style — intricate vocal ornamentation with sparkling embellishments. While Rossini wrote everything from tragic to witty operas, he is best known to present-day audiences for his comic operas such as The Barber of Seville (1816), and La Cenerentola (1817), which is Rossini’s version of the classic fairy tale.

GAETANO DONIZETTI (1797-1848) Donizetti was another leading composer during the Bel Canto Era. Unlike his peers, Donizetti was not born into a musical or an affluent family. Yet his evident musical talents did not go unrecognized. The German conductor and composer Simon Mayr took the young Donizetti under his sponsorship and provided the protegé a full scholarship for his musical training. Donizetti received training with the same teacher as Rossini, and became one of the most prolific composers in opera history, producing a total of 75 operas. His most famous works include Lucia di Lammermoor (1835) and L’Elisir d’Amore (1832).

VINCENZO BELLINI (1801-1835) Bellini followed the Bel Canto tradition of Rossini but also improved the art of beautiful singing by cutting down on some of the excessive ornaments and focusing on simpler but incredibly expressive and emotive singing lines. Many of Bellini’s operas such as I Capuleti e i Montecchi (1830) — the Bel Canto version of Romeo and Juliet, La Sonnambula (1831) and Norma (1831) are some of his most popular operatic works.

BELLINI

2012 production of The Barber of Seville.

Photo by Eric Antoniou for Boston Lyric Opera.

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MID - LATE 19TH CENTURY: LATE ROMANTICISM The dominant art movement in 19th century was Romanticism, which emphasized the artist’s imagination, expression and emotion over structure and convention. Romantic music typically embodies passionate, flowing melodies with complex harmonies, creating a stirring emotional experience for the listeners.

The 19th century was also the golden age for opera. More popular than ever, opera was now the primary form of entertainment among not only the aristocracy, but also the growing middle class. Responding to the surging public demand, more opera houses opened up with bigger spaces to accommodate a vast number of operagoers. Orchestras also became larger as the musical idiom became more dense, rich and “romantic.” The change in orchestral texture also resulted in a new kind of opera singer — instead of the light, agile voices that were sought-after in earlier eras, the opera stage now required singers with powerful voices who could project over the thick sound of the orchestra. The plots in operas also became more diverse as composers conveyed contemporary real-life stories, exotic tales from the East or local folklore.

VERDI

MAJOR COMPOSERS: GIUSEPPE VERDI (1813-1901) Verdi was one of most successful composers in the history of opera. Not only are Verdi’s operas some of the most performed works today, he was also incredibly popular in his own time — thousands of Italians flooded the streets of Milan at his memorial singing the famous chorus from his opera Nabuco.

Verdi is known for his grand operas with huge casts, stunning sets, elaborate costumes, large orchestras, lush music, and intense drama. Many of Verdi’s works also have a strong political undertone, but overall, they explore the timeless themes of passion, betrayal, love, power and death. Some of Verdi’s most treasured operas are La Traviata (1853) and Rigoletto (1851).

PUCCINI

GIACOMO PUCCINI (1858-1924) Puccini is undoubtedly one of the most beloved opera composers, producing operas such as La Bohème (1896), Tosca (1900), Madama Butterfly (1904) and Turandot (1926). Puccini’s universal appeal lies in his beautiful, lyric melodies with lush, romantic orchestral accompaniment. Puccini is also known for writing in the style of verismo or realism — depicting real-life characters with their everyday struggles. Many of his operas capture the lives of beautiful contemporary heroines who often face tragic deaths in the end. The great theatricality and melodrama of Puccini’s operas infused with poignant music emanate incredible emotional power, often bringing the audience members to tears.

RICHARD WAGNER (1813-1883) Wagner is one of the most influential and controversial composers in music history. His music is deeply associated with German nationalism for his use of Nordic and German mythology. Wagner also had a new vision for opera, which he called gesamtkunstwerk or “total work of art,” one in which music, theater, poetry, and visuals came together with a single purpose of serving the drama of the story.

Wagnerian operas are known for being incredibly lengthy (usually 4-5 hours long) and having large, thick, colorful orchestration that only the most powerful voices can cut through. Wagner’s most famous operatic work is his epic Ring cycle (1876), which comprises four long and grand operas.

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WAGNER

20TH CENTURY: MODERNISM Richard Wagner’s opera Tristan und Isolde (1865) is generally considered the first step towards modernism. In its famous opening, music seems to drift away from tonality — the musical idiom that had dominated the language of music for centuries; tonality imposes a hierarchical structure on all notes in music with the tonic or the “home note” being the most important, central base. Inspired by Wagner’s deviation from the tonal center, the Austrian composer Arnold Schoenberg decided to abandon tonality completely, emancipating all notes from their tonal hierarchy and creating a new genre called atonal music.

Alban Berg, one of Schoenberg’s pupils, brought the new language of atonality into the world of opera, using a haunting, expressionist sound to depict the deeply disturbed Freudean psyches of his characters. His operatic works Wozzeck (1925) and Lulu (1935) are the most famous of the genre.

After World War II, the Western Classical music world no longer had a prominent leading musical idiom. Instead, composers sought to further explore the boundaries of music and sound in their own unique ways resulting in numerous avant-garde movements such as serialism, minimalism, electronic music, and chance music.

In America, while certain composers such as John Cage, Phillip Glass and John Adams continued to experiment with European modernism, other composers sought a more unique American sound. George Gershwin achieved this by incorporating African-American music into his famous opera Porgy and Bess (1935), which is perhaps best known to us for its popular aria Summertime. Other composers such as Leonard Bernstein continued to blur the line between opera and popular entertainment, writing the highly entertaining operetta Candide (1956) as well as one of America’s most cherished musical dramas West Side Story.

OPERA TODAY The culture of opera and its place in society has significantly changed over the past 50 years. Opera is viewed by some as a genre of the past, but it remains a vibrant and evolving art-form. Present-day composers, musicians, singers, directors, operagoers, and devotees endeavor to keep opera alive and fresh by producing not only masterworks from the past but also new contemporary operas that grapple with various political and social issues from modern-day society. Opera houses also now play a central role in determining the trajectory of opera’s future by being the prime commissioner of new operas. Many opera companies also make bold artistic choices in their productions of traditional operas, making them not only more interesting but also more relevant and relatable for the modern audience.

Scenes from the 2011 production of The Emperor of Atlantis, or Death Quits, 2012 production of The Lighthouse, 2013 production of The Magic Flute.

Photos by Eric Antoniou for Boston Lyric Opera.

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WHAT IS SOUND? Sound is a form of energy. It can be generated, moved, do work, dissipate over time and distance, and carry tremendous amounts of energy.

Sound will continue only as long as there is energy in the system to keep it going.

Sound is defined as something that can be heard. It is a wave and is a series of vibrations traveling through a medium, especially those within the range of frequencies that can be perceived by the human ear. Sound can travel through many types of mediums, for example: air, liquids and solids. The compressions and rarefactions that move through the atmosphere are compressing and stretching the molecules of nitrogen and oxygen all around us. Sound cannot be heard in a vacuum, like outer space.

WHAT IS HEARING? Unlike the senses of smell or taste, which rely on chemical interactions, hearing is a mechanical process in which the ear converts sound waves entering the ear into electrical signals the brain can understand. The process of hearing begins with sound. An object produces sound when it vibrates in matter. This could be through something solid, liquid, or gaseous. Humans mostly hear sound that travels through the air.

For example, when a bell is struck, it vibrates. This vibration is actually the metal flexing in and out. This physically moves the air particles next to the metal. Those particles, in turn, move the particles next to them and so on. In this way, the vibration moves through the air.

HOW YOU HEAR To hear the sound traveling through the air, three things have to happen.

1. The sound has to be directed into the hearing part of the ear.

2. The ear has to sense the fluctuations in air pressure.

3. The fluctuations have to be translated into electrical signals that the brain can understand.

The pinna, or outer/visible part of the ear, catches the sound waves. In humans, the pinna is pointed forward. It helps to determine where the sound is coming from. The direction of the sound is determined by the way the sound wave bounces off the pinna. The brain can distinguish the subtleties in the sound reflection and tell where the sound came from. The horizontal position of the sound is determined by comparing the information from both ears. If a sound is coming from your right, it will enter your right ear slightly sooner than your left and will be slightly louder. Humans cannot really focus in on a sound because the pinnae do not move. Some mammals, such as dogs, have large movable pinnae and so can focus in on a sound.

HOW THE VOICE WORKS Singing is actually a simple mechanical process. Here’s what’s happening in your body that allows you to produce sound to talk and sing: BREATH — Breathe in through your nose to take air into your lungs. You’d be surprised at just how much air you can take in. Place your hands at the bottom of your rib cage — your lungs extend all the way from the top of your rib cage near the collar bones to the very bottom.

EXERCISE: Singing uses your whole body, and so it’s really important for singers to be fit and have good posture. Try this: while slouching with bad posture, take in a long, slow and steady breath, and then hold your breath. See how long you can hold it. Now, standing up straight with your feet shoulder-width apart, your spine stretched, and your hands by your side, do the same thing. Did your posture affect the way you breathe?

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HOW THE VOICE WORKS VIBRATION — As you breathe out, the air passes through your voice box called a larynx (Lair-inks) where pitches are made. You can see this bump best on grown men known as the Adam’s apple. You can feel your own larynx by lifting your chin and gently feeling along the front of your neck. Around the middle, you should feel a slight bump. Keeping your hand there, try swallowing and feel the larynx move. The larynx is home to tiny muscles known as the vocal folds. The air rushing over the muscles creates a “buzz” that travels up into the mouth.

ARTICULATION — As the air comes out, it passes by three articulators – tongue, lips, and the soft palate. If you slide your tongue along the roof of your mouth, about halfway back, it gets softer. This soft palate can be raised and lowered. Can you raise your soft palate? Here’s a tip — think about yawning. The secret to good operatic singing is keeping your soft palate up!

DIFFERENT VOICE TYPES Voices come in all shapes and sizes. To make it easier for singers and casting directors, voices are placed into different categories. There are several main categories for men’s and women’s voices. Determining whether someone is a soprano or a mezzo-soprano, or a tenor or baritone depends on the range, which is called the tessitura, and the timbre of the singer’s voice; Timbre (tam-ber) refers to the tone of the voice, and tessitura (tess-eh-Too-rah) refers to the distance from the highest note to the lowest note a singer can produce. Tenors and sopranos will be able to sing high notes more comfortably than baritones and mezzo-sopranos, while baritones and mezzo-sopranos will be more comfortable on lower notes.

SOPRANO (suh-PRAN-oh): The soprano is the highest female voice. Sopranos typically play leading ladies. At the end of the opera, you can often expect the soprano character to get married or die, depending on whether the opera is a comedy or a tragedy.

Range: C4-C6.

Famous roles: Cio-Cio San, Madama Butterfly, Puccini, and Fiordiligi, Così Fan Tutte, Mozart.

Try listening to… “Der Hoelle Rache” from The Magic Flute.

MEZZO-SOPRANO (MET-soh-suh-PRAN-oh): middle-low range female voice. Mezzo-sopranos are usually cast as sultry women, evil witches, or sometimes even young men. They play characters that suit their earthy voices and are often the supporting roles in operas, though not always. Carmen is a famous opera with a mezzo-soprano main character.

Range: A3-A5.

Famous roles: Cherubino, The Marriage of Figaro, Mozart, and Dorabella, Così Fan Tutte, Mozart.

Try listening to… “Habanera”, from Carmen.

TENOR (TEN-er): A high male voice. Tenors typically sing leading male roles. They are usually the heroes of the story. Tenor characters are often the love interest of the soprano characters.

Range: C3-C5.

Famous roles: Tamino, The Magic Flute, Mozart and The Duke, Rigoletto, Verdi.

Try listening to… “La Donna e Mobile”, from Rigoletto.

BARITONE (BAIR-ih-tohn): A middle-range male voice. Baritones are known for their rich tone in the middle of their range. In comic operas they often play humorous characters, but in serious, dramatic operas, they are often cast as the villain.

Range: F2-F4.

Famous roles for baritones: Figaro, The Barber of Seville, Rossini and Papageno, The Magic Flute, Mozart.

Try listening to… “Largo al Factotum”, from The Barber of Seville.

With contributions from the Museum of Science, Boston.

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ARTISTIC STATEMENT Verdi ran into serious problems with the powerful censorship office when he was writing Rigoletto, based on a play by Victor Hugo, set in the licentious court of the French King Françoise I. He and his librettist, Piave, were forced to move this boldly dramatic story of a promiscuous monarch with its attendant aspects of seditious intrigues, rape, and murder from Paris to the physically smaller-scale, walled, Renaissance Italian city-state of Mantua ruled by an all powerful Duke. But perhaps, in the end, this enforced change works to the advantage of the piece.

Rather than a great European capital, the world is now more isolated, more concentrated, more claustrophobic – a terrible kind of intimate crucible where the three central characters are inescapably forced together to confront and endure their desperately conflicting and ultimately fatal passions.

RIGOLETTO PLOT SYNOPSIS Boston Lyric Opera’s new production of Rigoletto will be divided into two acts instead of three, providing one audience intermission. Verdi and Piave set the original opera in three acts. This synopsis follows the original act divisions.

ACT I: The Duke admires the beautiful women at one of his extravagant balls. His eye is fixed on the Countess di Ceprano, who he woos while his court jester, Rigoletto, mocks her husband. As Rigoletto enrages the Count di Ceprano, the courtiers silently plot revenge. Marullo, a courtier, informs them that he has discovered Rigoletto’s love and they formulate a plan to abduct her from his house during the night.

The Count Monterone interrupts the ball to reclaim his daughter, who has been seduced by the Duke, but is greeted by a merciless tirade of mockery from Rigoletto. Insulted and infuriated, Monterone curses both the Duke and Rigoletto for deriding a father’s pain.

As Rigoletto walks home, he is still shaken by Monterone’s curse. He is accosted by Sparafucile, an assassin, who knows that Rigoletto has a daughter. Sparafucile offers to rid Rigoletto of his rivals. Rigoletto declines his services, but not without asking how to contact him in the future. Once Sparafucile has left, Rigoletto reminisces on his misfortune and deep-seeded hatred towards the Duke and his courtiers.

When Rigoletto arrives home, he embraces his daughter Gilda and warns her never to leave the house. Gilda tells her father that she leaves only to go to mass, but keeps her infatuation with a young man she has met on the way to church a secret. Rigoletto leaves and Gilda confesses her guilty conscience to her nurse, Giovanna. Giovanna lets the Duke into the house where he confesses his love to Gilda disguised as a poor student. Gilda, at first alarmed, is soon convinced of the Duke’s love. Hearing what she thinks is her father’s return, Gilda sends the Duke away.

In the street, Rigoletto runs into Marullo and the courtiers who plan to abduct Gilda, mistakenly believing her to be Rigoletto’s love. They convince him that they are abducting the Countess di Ceprano and trick him into helping them. Once Rigoletto realizes something is amiss it is too late. As he realizes that Gilda has been abducted, Rigoletto remembers Monterone’s curse.

ACT II: In his palace, the Duke discovers that Gilda has disappeared. As he reminisces on her innocence, his distress makes him realize that he may have truly loved her. The Duke’s courtiers enter and tell the Duke about their abduction. The Duke is overwhelmed with joy when he realizes it is Gilda that the courtiers have abducted and goes to her immediately.

Rigoletto enters searching for Gilda and tries to nonchalantly extract information from the courtiers. Rigoletto soon breaks down and demands his daughter back. The courtiers, who believed Gilda to be his lover, are taken by surprise. Rigoletto begs for the return of his daughter, but the courtiers are silent. Gilda soon emerges and reveals her dishonor. Rigoletto vows revenge on the Duke.

ACT III: Gilda and Rigoletto wait outside the window of Sparafucile’s inn. Rigoletto is determined to reveal the Duke’s dishonorable nature to Gilda. The Duke soon arrives and begins wooing Sparafucile’s sister Maddalena. Gilda is heartbroken, but loves him still. Rigoletto sends Gilda away and pays Sparafucile half his fee to kill the Duke. Maddalena, who has taken to the Duke, begs her brother not to kill him. The two decide that if someone should stop by the inn before midnight they will kill him in the Duke’s place. Gilda, who has returned disguised as a young man, overhears this and decides to sacrifice herself to save the Duke. Rigoletto comes to collect the body and brings it to the river. As he is about to throw the sack into the river, he is stopped by the sound of the Duke singing. Rigoletto comes to the horrifying realization that the Duke is still alive and the body in his arms is somebody else’s. He opens the sack and discovers his own daughter. In her last breaths, Gilda reveals her sacrifice to her father and asks for his forgiveness. Rigoletto remembers Monterone’s curse and weeps in despair over his dead daughter.

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PRINCIPAL CHARACTERS RIGOLETTO: The Duke of Mantua’s deformed court jester and father of Gilda.

Rigoletto is mocking and cruel toward the courtiers and anybody who opposes the Duke. Rigoletto keeps his daughter, Gilda, hidden to shield her from the dishonorable life he leads and protect her from womanizers like the Duke.

GILDA: Rigoletto’s innocent daughter.

Gilda leaves the house only to go to church and knows nothing of her family or her father’s employment.

Gilda falls in love with the Duke, while he is disguised as a poor student.

The Duke

THE DUKE: The Duke of Mantua.

The Duke leads an extravagant and reckless lifestyle. Known for his philandering, he courts Gilda in disguise as a poor student and after she falls in love, he moves on to his next conquest.

MONTERONE: The father of one of the Duke’s conquests.

Monterone comes to confront the Duke and reclaim his daughter. He places a curse on the Duke and Rigoletto who mock his anguish.

SPARAFUCILE: An assassin.

Rigoletto hires Sparafucile to kill the Duke.

MADDALENA: Sparafucile’s sister.

Maddalena lures men into the inn, where Sparafucile then kills them.

GIOVANNA: Gilda’s nurse.

MARULLO: a courtier.

Marullo mistakes Gilda for Rigoletto’s love and, with the help of the other courtiers, kidnaps Gilda to spite Rigoletto.

Rigoletto

Gilda Costume design by Victoria Tzykun

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GIUSEPPE VERDI Giuseppe Verdi was born in 1813 in the rural village of Le Roncole, Italy, and later moved with his family to Busseto. From a young age, Verdi displayed musical proficiency, and by the age of 20, was well educated in organ playing, conducting, and the basics of composition. In 1832, Verdi moved to Milan with hopes of attending the Milan Conservatory, but was rejected. Verdi remained in Milan and took private lessons with harpsichordist, Vincenzo Lavigna. It is in Milan that Verdi was first exposed to opera, and he took in as many performances as he could during his stay in the city.

In 1836, Verdi returned to Busseto, where he had formally been assistant conductor, and took the post of maestro di cappella (master musician). That same year, Verdi married Margherita Barezzi, his student and the daughter of his patron. It was around this time that Verdi began to compose his first opera, Oberto. In 1839, Verdi moved back to Milan, where Oberto had its successful premiere at the renowned opera house, La Scala. Verdi’s promising start took a dramatic plunge shortly afterwards with the successive deaths of his two children and wife coupled with the complete failure of his second opera and first comedic attempt, Un Giorno di Regno. After the premiere, all remaining performances of Un Giorno di Regno were cancelled and Verdi decided to end his compositional career.

With some enticement from La Scala and an engaging libretto, Verdi gave his career one more shot with Nabucco (based on the biblical story of Nebuchadnezzar).

Nabucco’s premiere at La Scala in 1842 was a huge success and launched Verdi back into his compositional career from which he never turned back. From 1842 until 1851, Verdi produced at least one opera per year, including such masterpieces as Attila, Luisa Miller and Rigoletto, and garnered international fame.

Verdi was a great lover of literature and expanded the depth of his operas by adapting masterworks of literature for his librettos. Three of Verdi’s operas (Macbeth, Otello, and Falstaff) are based on Shakespeare plays, while others, including Don Carlo, are drawn from other literary masters, including Friedrich Schiller.

Verdi’s determination to heighten drama and expose the humanity of his characters made some of his operas controversial. Several of Verdi’s operas were initially banned by political censors, such as Rigoletto, based on Victor Hugo’s Le Roi s’Amuse, and Un Ballo in Maschera, based on the 1792 assassination of King Gustav III of Sweden. Many of Verdi’s operas are thought to have had hidden revolutionary meanings in support of the Risorgimento (the unification of independent Italian provinces into a single country). The Hebrew Slave chorus, “Va Pensiero,” from Nabucco, inspired particularly poignant nationalistic fervor; however, it is uncertain if Verdi intended for his works to be political.

Piazza della Scala, Milano

Verdi’s cohabitation with soprano Giuseppina Strepponi for nine years before their marriage in 1859 led to personal scandal. Strepponi, who had had three children out of wedlock, had developed a scandalous reputation and is thought to have been a significant influence on Verdi’s masterwork, La Traviata.

Verdi’s later works exhibit a much richer and mature style than his earlier successes. It was during the latter half of his career that he composed many of his enduring masterpieces, including Don Carlo, Aida, and Otello. Verdi also put forth great efforts to revise earlier works, such as Macbeth.

After more than 40 years together, Strepponi’s death in 1897 was a significant blow to Verdi. The composer died of a stroke four years later in Milan.

12 | RIGOLETTO

THE STORY OF A LITERARY LEGEND: VICTOR HUGO French literary legend Victor-Marie Hugo was born in Besançon, France, on February 26, 1802. By age 13, Hugo was already interested in literature, and had won awards and recognition for his early poetry. He studied law between 1815 and 1818, but was never committed to a career. Encouraged by his mother, Hugo began pursuing a career in literature. Shortly after, he founded a literary magazine called Conservateur Litteraire in which he published his own poetry and the works of his friends. In 1821, Hugo married Adèle Foucher and published his first book of poetry, Odes et Poésies Diverses. He went on to publish his first novel and numerous plays in 1823, quickly becoming a leader in the French literary Romantic movement. In 1831, Hugo published Notre-Dame de Paris (The Hunchback of Notre Dame), which was his most successful novel to date. It contained sharp commentary about medieval prejudice, social and economic disparity, religion, and architecture. This novel set a precedent for Hugo’s more political works to come.

By the 1840s, Victor Hugo was one of the most celebrated literary figures in France.

In 1841, he was elected to the French Academy and nominated for the Chamber of Peers. After the failure of his play Les Burgraves in 1843, Hugo turned to a more political focus. He spoke out against Louis Bonaparte as a political leader, since he did not support Hugo’s moral and political ambitions. When Bonaparte staged a coup d’état of the French government in 1851, Hugo tried in vain to oppose Bonaparte’s rule, then fled to Brussels to avoid arrest. He lived in Brussels and in Britain until his return to France in 1870. Most of his work published during this time outside of France contains political commentary, social criticism, and sarcasm. One of these works was Les Misérables, a hugely successful and popular novel that, thanks to many musical theatre stage and film interpretations, is still widely read and regarded today. After losing two sons and a daughter, Hugo’s late work took on a much darker tone, dealing with subjects such as God, Satan, and death. When Bonaparte’s reign ended in 1870, Hugo returned to France. In 1871, he was elected to National Assembly. At this point, because of his great literary and political success, he was now a famous public figure. Victor Hugo died of pneumonia in Paris in 1885 and was given a national hero’s funeral. He was so famous that it is estimated that at least two million people followed the funeral procession.

Victor Hugo’s funeral

BOSTON LYRIC OPERA | 13

HOW LE ROI S’AMUSE BECAME RIGOLETTO Le roi s’amuse, the play upon which Giuseppe Verdi based Rigoletto, was written by Victor Hugo in 1832. The story is based on the life of the French King Francis I. Hugo carefully researched the life of King Francis, but let his own political beliefs take over and “Francis became a thinly disguised [King] Louis-Philippe”(“Hugo and Le roi s’amuse”). Censors at the time saw through the Francis’ façade to Hugo’s criticisms of King Louis and banned the play after one performance. Hugo filed a lawsuit and became a hero for free speech in France. He lost his suit and the play was banned in France for another fifty years.

Twenty years later, in Venice, Italy, La Fenice opera house commissioned a new opera from Verdi. Verdi initially wanted to interpret Kean by Alexandre Dumas, but found that he needed a more energetic story. In his search, he stumbled across Le roi s’amuse. From the beginning, Verdi and Francesco Maria Piave, the librettist, knew that it was very risky to adapt such a controversial piece of literature. The original score too closely followed the story of the original play, and Austrian censorship threatened to ban its release (at this time, Austria ruled Northern Italy). The censors were always on the lookout for anything that could possibly rouse the Italian public against political authority, so they did not look fondly upon the portrayal of a king in a negative light. In order to avoid wasting all his hard work, Verdi chose to negotiate with the censors to show them the value of his composition. Finally, in 1851, both parties agreed to go ahead with the opera only if the setting was moved from the royal court of France to Mantua, Italy, and the duke was to be a member of the Gonzaga family. Both the royal court of Mantua and the Gonzaga family no longer existed, so these new details were chosen to be least offensive to the audience. Furthermore, many character names were changed, and other details were added to make controversial scenes related to lewd behaviors less provocative. Verdi finally completed the score on February 5, 1851—only a month before the opera was to premiere.

For the most part, Rigoletto closely follows the plot of Le roi s’amuse. Below are Hugo’s original character names compared with Verdi’s slightly altered ones.

Le roi s'amuse

Rigoletto

Francis the First Triboulet M. de Saint-Vallier M. De Cossé M. de Latour-Landry M. de Pienne and Clémont Marot Mme. De Cossé Saltabadil Blanche Dame Berade Maguelonne

The Duke of Mantua Rigoletto The Count Monterone The Count Ceprano Borsa Marullo Countess Ceprano Sparafucile Gilda Giovanna Maddelena

Source: “Hugo and Le roi s'amuse,” San Diego Opera

14 | RIGOLETTO

Poster from the premiere of Rigoletto

RECOMMENDED LISTENING MUSICAL DEVICES AND HOW TO LISTEN: • Tempo and rhythm: is the music fast, slow, steady? Are the rhythms stately, playful, grave?

• Key: is it in major or minor? (does it sound bright and happy or sad?)

• Contour of a line: does the voice move smoothly or does it make frequent or erratic jumps?

Do the vocal lines move noticeably downward or upward?

Does the type of voice singing (baritone, soprano, etc.) have an effect on the listener?

• Dynamics/volume : is the music loud or soft? Are there sudden changes in volume (either in the voice or orchestra)?

• Predictability: do the melodies end as you would expect or do they surprise you?

SECOND LISTENING AND FOLLOW-UP QUESTIONS: • What is the orchestra doing in contrast to the voice? / How do they interact?

• What sorts of images or atmospheres come to mind when listening to the music? Does it remind you of something?

• Do particularly emphatic notes (low, high, held) correspond to dramatic moments in the text?

• Does this sound like music for a serious or comic character?

CARO NOME (GILDA, SOPRANO) • Major key (E major) • Accompaniment supports the vocal line and sometimes parallels it.

• The prominence of the woodwinds in the accompaniment give the aria a bright timbre.

• Vocal line moves down by step for large portions of the aria. (Like in Pamina’s aria, “Ach ich fühl’s,” it creates a sighing sound, only more hopeful due to the major key.)

• Trills and heavily ornamented passages show the innocent character’s excitement and nervousness.

• Phrases have a lot of dynamic contrast (crescendo, decrescendo). Singer can create a sense of longing, tenderness, bashfulness, etc. with their dynamic inflection.

• The aria begins with a very simple melody that becomes more distorted with rhythmic variation and the aforementioned ornamentation, showing the characters convoluted feelings of both love and uncertainty.

ELLA MI FU RAPITA/PARMI VEDER LE LAGRIME (DUKE, TENOR) • “Ella mi fu Rapita” begins in a minor key and intermittently shifts to F major.

• The portions in minor have forte choppy accompaniment indicating anger, while the major shifts have piano, legato accompaniment, indicating sympathy and/or sadness.

• The vocal line of the minor segments is similarly choppy, broken up by rests, where the major sections (including the main aria, “Parmi Veder le Lagrime” in G flat major) contain legato, shapely phrases.

• Similar to “Caro Nome,” “Parmi Veder le Lagrime” has tender melodies that can be tenderly shaped with dynamics.

• The phrase beginning with “Ned ei potea soccorrerti,” indicates harmonically that there is a sadness to the aria as well as tenderness.

(Begins on a lowered 7th) CORTIGIANI VIL RAZZA DANNATA (RIGOLETTO, BARITONE) • Few leaps and little ornamentation in the vocal line makes it very direct and accusatory.

• Accompaniment, contrastingly, is very busy at the start with surging sixteenth notes. This creates the agitated and stormy atmosphere.

Even during Rigoletto’s lyrical plea to the courtiers, the orchestra always retains a moving sixteenth note line that indicate Rigoletto’s restlessness throughout.

• Dotted rhythms and syncopation in the vocal line help create this agitation as well, but also give a sense of Rigoletto’s disorientation (especially after his outburst “Assassini”). Repeated, syncopated notes throughout the aria mimic stammering, frenzied accusation, and weeping.

BOSTON LYRIC OPERA | 15

GRADE 9-10 LESSON TOPIC: COMPARING AND ANALYZING STORY ADAPTIONS LENGTH OF LESSON: 4 CLASS PERIODS

STAGE 1 – DESIRED RESULTS Content Standard(s): Grades 9-10 Reading for Literature Standard 5: Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

Grades 9-10 Reading for Literature Standard 9: Analyze how an author draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).

Grades 9-10 Writing Standard 9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

Understanding (s)/goals Students will understand: • How to compare the nuances between adapted works.

Essential Question(s): • In what ways are Verdi’s Rigoletto and Hugo’s Le Roi s’Amuse similar and/or different?

•

How to write and support their opinions with literary evidence.

•

Do Verdi and Hugo’s works have the same objectives?

•

How to incorporate the political and social contexts of artistic works into their analysis.

•

What aspects do Verdi and Hugo emphasize in their respective accounts of the subject?

Student objectives (outcomes): Students will be able to: •

Write a comparative analysis of two literary stage works.

•

Support their interpretation of the literature using examples and analysis of the text.

STAGE 2 – ASSESSMENT EVIDENCE Performance Task(s): • Read and analyze excerpts from Victor Hugo’s Le Roi s’Amuse.

•

Discuss excepts in class and address any questions about the work or its context.

•

Write an essay comparing the characters, objectives, and/or messages of the two related works.

16 | RIGOLETTO

Other Evidence: • Assess students’ knowledge of the historical contexts of both works.

GRADE 9-10 LESSON TOPIC: COMPARING AND ANALYZING STORY ADAPTIONS LENGTH OF LESSON: 4 CLASS PERIODS

STAGE 3 – LEARNING PLAN Learning Activities: Total time: 4 class periods Suggested Materials and Resources: • Translated excerpts from Le Roi s’Amuse (see attached).

•

Translations of excerpts from Rigoletto (see attached).

•

Rigoletto full libretto: http://www.murashev.com/opera/Rigoletto_libretto_Italian_English

•

Synopsis of Le Roi s’Amuse

•

Le Roi s’Amuse full French text: http://www.gutenberg.org/files/29549/29549-h/29549-h.htm

Introductory Activity: • Read translated excerpts from Victor Hugo’s Le Roi s’Amuse at home. Take notes and write down any questions for in-class discussion. (At-home assignment).

Excerpts from Victor Hugo’s Le Roi s’Amuse (see attached): 1. Act II, Scene I 2. Act II, Scene II 3. Act III, Scene II (Note: no corresponding scene in Rigoletto) 4. Act IV, Scene II 5. Act V, Scene V •

Read the synopsis of Verdi’s Rigoletto.

•

Read translated segments of Verdi’s Rigoletto that correlate to Hugo’s play.

Excerpts from Rigoletto (see attached): 1. Excerpt from Act I, Scene II 2. Excerpt from Act II, Scene I 3. Excerpt from Act III, first half of Scene I 4. Excerpt from Act III, Scene II

Developmental Activity: • Discuss and analyze assigned passages of Le Roi s’Amuse in class. Afterwards, discuss the passages from Rigoletto in the context of the opera (2 class periods).

•

Compare and contrast the excerpts from the two works as a class. (1 class period).

Closing Activity: • Write a comparative analysis of the two works. Address the ways in which Verdi has transformed, limited, expanded, etc. the dimensions of the play. (At-home assignment).

•

Present papers and observations in class either individually or in small groups (1 class period).

BOSTON LYRIC OPERA | 17

GRADE 11-12 LESSON TOPIC: MODERN-DAY CENSORSHIP AND PERSUASIVE WRITING LENGTH OF LESSON: 2-4 CLASS PERIODS

STAGE 1 – DESIRED RESULTS Content Standard(s): Grades 9-10 Speaking and Listening Standard 4: Present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task.

Grades 11-12 Speaking and Listening Standard 4: Present information, findings, and supporting evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range of formal and informal tasks.

Grades 9-10 and 11-12 Writing Standards for Literacy in History/Social Studies, Science, and Technical Subjects Standard 1: Write arguments focused on discipline-specific content. (Including all sub-points of this standard) Grades 9-10 and 11-12 Writing Standard 9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

Understanding (s)/goals Students will understand: • The advantages and disadvantages of modern day censorship.

•

How to speak and write persuasively for both sides of an issue.

Essential Question(s): • How is censorship today the same or different from censorship in Verdi and Hugo’s time?

•

What are the elements of a successful persuasive argument?

•

Why is it important to understand both sides of an argument when writing a persuasive essay or argument?

•

What impact does censorship have on artistic work?

•

There is an inherent power dynamic between the artist and the censor. What are the advantages and disadvantages of this?

Student objectives (outcomes): Students will be able to: • Research and discuss censorship in the United States.

•

Compare censorship today to censorship throughout history.

•

Choose a subject to explore through a selected artistic medium that might be censored or banned.

•

Write persuasively about two sides of an issue: why something might be censored and why something might not.

•

Come to a conclusion about their work as a group (either a completely censored version, a completely uncensored version, or a compromise of the two).

**Note for teachers: Be clear about your expectations for controversial materials for students to explore that are consistent with school policies.

18 | RIGOLETTO

GRADE 11-12 LESSON TOPIC: MODERN-DAY CENSORSHIP AND PERSUASIVE WRITING LENGTH OF LESSON: 2-4 CLASS PERIODS

STAGE 2 – ASSESSMENT EVIDENCE Performance Task(s): • Research and discuss why Le Roi s’Amuse was banned, why Rigoletto was censored, and current day censorship in the United States.

•

In groups, choose a subject to explore through a selected artistic medium that might be censored or banned.

•

Create a pitch for the topic that may be censored, and pitch it to another group acting as the opposition. Defend your position.

•

Write persuasive essays to defend the uncensored work and explain why the work needs to be censored.

•

Come to a conclusion for the final form of the work (either a completely censored version, a completely uncensored version, or a compromise of the two).

Other Evidence: • Do students’ ideas reflect a full and realistic understanding of censorship during both Verdi and Hugo’s time periods and today?

•

Is students’ writing just as effectively persuasive for each side of the issue (why or why not something should be censored)?

•

Notice how willing students are to compromise, and how realistic their final compromised products are.

STAGE 3 – LEARNING PLAN Learning Activities: Total time: 2-4 class periods Suggested Materials and Resources: • Articles or background information on censorship of different types of media in the USA. Suggestions: 1. “Censorship in America: History of Censorship in The U.S.A.” Censorship in America. N.p., n.d. Web. 02 Dec. 2013. <http://www.censorshipinamerica.com/p/history-of-censorship-in-usa.html>.

2. Swiderek, Bobbi. “Censorship.” Journal of Adolescent & Adult Literacy 39.7 (1996): 592-94. JSTOR. Web. 5 Dec. 2013.

3. Tapley, Erin. “Scrutinized Art: The Many Faces of Visual Art Censorship.” Art Education 55.6 (2002): 48-56. JSTOR. Web. 5 Dec. 2013.

•

Background information about Giuseppe Verdi, Victor Hugo, Rigoletto, and Le Roi s’Amuse. (Included)

Introductory Activity: Background research and media brainstorming (one class period) 1. Ask students to read the provided background information on Giuseppe Verdi, Victor Hugo, Rigoletto, and Le Roi s’Amuse, as well as research present day censorship in the United States for homework before the class meets.

2. As a class, discuss the similarities and differences between censorship in Verdi and Hugo’s time and censorship today. Create a list of the positive and negative effects of media censorship.

3. Form small groups of students and choose a type of media to focus on. For homework, instruct the groups to brainstorm an example of this media that would most likely be censored. (For example, have students create a TV series or episode, a movie plot, a piece of public art, a live theatre plot, etc.)

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GRADE 11-12 STAGE 3 â&#x20AC;&#x201C; LEARNING PLAN (CONTINUED) Developmental Activity: 1. Instruct students to write a proposal for their chosen media on a controversial topic. Keep in mind the audience for the chosen media (television station executives, the MPAA, the executive director or board of a theatre company, etc.).

2. Pair each group with another group in the class, ideally pairing groups that are not presenting the same type of media. Have one group read their proposal to the other group, who are roleplaying as the censors (from the list of audiences above). Instruct the censor group to create a list of things that need to be censored or changed in order for the project to go ahead. The groups should then switch roles and repeat this step for the other group.

3. Have the censors present their list to the group with the proposal, then have the two groups work together to come to a conclusive final form of the project. Repeat for the other group. **Note: Be sure to set up some rules or a procedure for the dialogue between the groups to make sure everyone has a chance to speak their mind and respond to the comments of others.

Closing Activity Summarizing the compromise (one class period, or homework) 1. Instruct each group to write a revised proposal that outlines the new, post-compromise project. Ask them to write a follow-up paragraph about how the new proposal differs from the original, and why the specific changes were agreed upon.

20 | RIGOLETTO

MASKING THE POLITICAL WITH ROMANCE ASSASSINATION ATTEMPT INSPIRES AN OPERA Verdi’s opera, Un Ballo in Maschera, also met resistance from both the Neapolitan and Roman censors. The opera is based on the actual assassination attempt on King Gustavus III of Sweden in 1792 at a masked ball. The night of the assassination attempt, Gustavus III received an anonymous letter warning him that an attempt would be made on his life, but the king disregarded the letter and attended the masquerade.

Jacob Johan Anckarström, a military officer, fired the fatal shots, and was executed for regicide. The regal pendants he wore made Gustavus III easy to recognize despite his mask. Anckarström unloaded his pistol into the king’s back, yet the monarch survived the initial hit. Though he must have suffered immensely, Gustavus III tried to downplay the severity of his wounds to those around him and carry on with his duties. Over the two weeks that followed, his wounds deteriorated and the king eventually died of them.

On his deathbed Gustavus III implored his brother, Duke Charles, for clemency for his murders. But for Anckarström, all other conspirators were spared their lives (Nisbet, 547-552).

Anckarström’s motives are still unclear and largely debated, but many of his accomplices, such as Count Clas Fredrik Horn, had strong revolutionary and political motivations (Bain 543-552). The sociopolitical struggles between nobility and royalty were also thought to have aggravated the crime, as Gustavus III stripped the nobility of much of their power upon taking the throne (Dent 103).

King Gustavus III of Sweden

SETTING OPERA ON THE POLITICAL STAGE The libretto for Verdi’s Un Ballo in Maschera brings romance and jealousy into this politically driven story. In the opera, Gustavus III and Anckarström’s wife are in love. It is Anckarström’s jealousy more than his political motives, that lead to the assassination. The opera still contains political underpinnings in the characters Count Horn and Count Ribbing (who are both characters based on real-life conspirators in Gustavus III’s assassination), but the politics are decidedly secondary.

The Neapolitan and Roman censors were already skeptical about an opera in which the king’s own court rises up against him, but an assassination attempt on Napoleon, which happened to coincide with the opera’s initial rehearsals, brought the production to a prompt end. Verdi refused to alter the plot of his opera, but compromised by moving the action to a far-off location, namely Boston, Massachusetts. The role of the king became the governor of Boston and Anckarström became the governor’s close friend. Resetting the gruesome murder of Gustavus III far away from Europe in the New World succeeded in assuaging the Roman censor, and the opera finally premiered in Rome in 1859.

Newspaper from Boston premiere

BOSTON LYRIC OPERA | 21

ITALIAN AND ENGLISH TEXT Libretto by Francesco Maria Piave

English libretto by Dale McAdoo, 1956

ATTO PRIMO, SCENA 2

ACT ONE, SCENE 2

L’estremità d’una via cieca (A sinistra, una casa di discreta apparenza con una piccola corte circondata da mura. Nella corte un grosso ed alto albero ed un sedile di marmo; nel muro, una porta che mette alla strada; sopra il muro, un terrazzo sostenuto da arcate. La porta del primo piano dà sul detto terrazzo, a cui si ascende per una scala di fronte.

A destra della via è il muro altissimo del giardino e un fianco del palazzo di Ceprano. È notte. Entra Rigoletto chiuso nel suo mantello; Sparafucile lo segue, portando sotto il mantello una lunga spada.)

The end of a cul-de-sac (Left, a modest house with a small courtyard enclosed by walls.

In the courtyard, a large tree with a marble bench beside it; a door in the wall opens on to the street. Above the wall, a terrace over a loggia. From the second story a door opens on to the terrace, which is reached by a flight of steps in front. To the right of the road, a much higher wall surrounding the garden and one side of the Ceprano palace. It is night. Rigoletto enters, wrapped in a cloak.

Sparafucile, a long sword beneath his cloak, follows him.)

RIGOLETTO (da sé) Quel vecchio maledivami!

RIGOLETTO (to himself) The old man cursed me!

SPARAFUCILE Signor?...

SPARAFUCILE Signor?...

RIGOLETTO Va, non ho niente.

RIGOLETTO Go – I have nothing.

SPARAFUCILE Né il chiesi: a voi presente un uom di spada sta.

SPARAFUCILE And I asked for nothing.

You see before you a swordsman.

RIGOLETTO Un ladro?

RIGOLETTO A robber?

SPARAFUCILE Un uom che libera per poco da un rivale, e voi ne avete.

SPARAFUCILE One who can rid you, for a small fee, of a rival, which you have.

RIGOLETTO Quale?

RIGOLETTO Who?

SPARAFUCILE La vostra donna è là.

SPARAFUCILE Your woman lives there.

RIGOLETTO (da sé) Che sento! (a Sparafucile) E quanto spendere per un signor dovrei?

RIGOLETTO (to himself) What’s this! (to Sparafucile) And how much would you charge me for a nobleman?

SPARAFUCILE Prezzo maggior vorrei.

SPARAFUCILE I’d demand a higher price.

RIGOLETTO Com’usasi pagar?

RIGOLETTO How are you usually paid?

22 | RIGOLETTO

ITALIAN AND ENGLISH TEXT SPARAFUCILE Una metà s’anticipa, il resto si dà poi.

SPARAFUCILE Half in advance, the rest on completion.

RIGOLETTO (da sé) Demonio! (a Sparafucile) E come puoi tanto securo oprar?

RIGOLETTO (to himself) The demon! (to Sparafucile) And how is it that you can work so safely?

SPARAFUCILE Soglio in cittade uccidere, oppure nel mio tetto.

L’uomo di sera aspetto; una stoccata e muor.

SPARAFUCILE I either kill in the town or under my own roof.

I wait for my man at night; one thrust and he dies.

RIGOLETTO (da sé) Demonio! (a Sparafucile) E come in casa?

RIGOLETTO (to himself) The demon! (to Sparafucile) And how do you work at home?

SPARAFUCILE È facile.

M’aiuta mia sorella.

Per le vie danza...è bella...

Chi voglio attira, e allor...

SPARAFUCILE It’s simple.

My sister helps me.

She dances in the streets...she’s pretty... she entices the victim, and then...

RIGOLETTO Comprendo.

RIGOLETTO I understand.

SPARAFUCILE Senza strepito...

SPARAFUCILE Without a sound...

RIGOLETTO Comprendo.

RIGOLETTO I understand.

SPARAFUCILE È questo il mio strumento.

(Mostra la spada.)

Vi serve?

SPARAFUCILE This is my instrument. (indicating his sword) Can it serve you?

RIGOLETTO No...al momento.

RIGOLETTO No...not just now.

SPARAFUCILE Peggio per voi.

SPARAFUCILE You’ll regret it.

RIGOLETTO Chi sa?

RIGOLETTO Who knows?

SPARAFUCILE Sparafucil mi nomino.

SPARAFUCILE My name is Sparafucile.

RIGOLETTO Straniero?

RIGOLETTO A foreigner?

BOSTON LYRIC OPERA | 23

ITALIAN AND ENGLISH TEXT SPARAFUCILE (per andarsene) Borgognone.

SPARAFUCILE (as he leaves) Burgundian.

RIGOLETTO E dove all’occasione?

RIGOLETTO And where, if the need should arise?

SPARAFUCILE Qui sempre a sera.

SPARAFUCILE Here, each night.

RIGOLETTO Va.

RIGOLETTO Go!

SPARAFUCILE Sparafucil, Sparafucil.

(Sparafucile parte.)

SPARAFUCILE Sparafucile, Sparafucile.

(He leaves.)

RIGOLETTO (guarda dietro a Sparafucile) Va, va, va, va.

Pari siamo!...io la lingua, egli ha il pugnale.

L’uomo son io che ride, ei quel che spegne!

Quel vecchio maledivami...

O uomini! o natura!

Vil scellerato mi faceste voi!

O rabbia! esser difforme, esser buffone!

Non dover, non poter altro che ridere!

Il retaggio d’ogni uom m’è tolto, il pianto.

Questo padrone mio, giovin, giocondo, sì possente, bello, sonnecchiando mi dice: Fa ch’io rida, buffone!

Forzarmi deggio e farlo! Oh dannazione!

Odio a voi, cortigiani schernitori!

Quanta in mordervi ho gioia!

Se iniquo son, per cagion vostra è solo.

Ma in altr’uomo qui mi cangio!...

Quel vecchio maledivami!...Tal pensiero perché conturba ognor la mente mia?

Mi coglierà sventura?

Ah no, è follia!

(Apre con chiave ed entra nel cortile. Gilda esce dalla casa e si getta nelle sue braccia.)

RIGOLETTO (his gaze following Sparafucile) Go, go, go, go.

We are two of a kind: my weapon is my tongue, his is a dagger; I am a man of laughter, he strikes the fatal blow!

The old man cursed me...

O mankind! O nature!

It was you who made me evil and corrupt!

I rage at my monstrous form, my cap and bells!

To be permitted nothing but to laugh!

I’m denied that common human right, to weep.

My master, young, carefree, so powerful, so handsome, half-dozing, says: “Fool, make me laugh!”

And I must contrive to do it! Oh, damnation!

My hate upon you, sneering courtiers!

How I enjoy snapping at your heels!

If I am wicked, the fault is yours alone.

But here I become another person!

The old man cursed me!...Why should this thought still prey so on my mind?

Will some disaster befall me?

Ah no, this is folly!

(He opens the gate with a key and enters the courtyard. Gilda runs from the house and into hisarms.)

24 | RIGOLETTO

ITALIAN AND ENGLISH TEXT ATTO SECONDO

ACT TWO

Salotto nel palazzo ducale (Vi sono due porte laterali, una maggiore nel fondo che si chiude. Ai suoi lati pendono i ritratti, in tutta figura, a sinistra del Duca, a destra della sua sposa. V’ha un seggiolone presso una tavola coperta di velluto e altri mobili.)

DUCA (entrando, agitato) Ella mi fu rapita!

E quando, o ciel?...ne’ brevi istanti, prima che il mio presagio interno sull’orma corsa ancora mi spingesse!

Schiuso era l’uscio! E la magion deserta!

E dove ora sarà quell’angiol caro?

Colei che prima potè in questo core destar la fiamma di costanti affetti?

Colei sì pura, al cui modesto sguardo quasi spinto a virtù talor mi credo!

Ella mi fu rapita!

E chi l’ardiva?...ma ne avrò vendetta.

Lo chiede il pianto della mia diletta.

Parmi veder le lagrime scorrenti da quel ciglio, quando fra il dubbio e l’ansia del subito periglio, dell’amor nostro memore il suo Gualtier chiamò.

Ned ei potea soccorrerti, cara fanciulla amata; ei che vorria coll’anima farti quaggiù beata; ei che le sfere agli angeli per te non invidiò.

Ei che le sfere, ecc.

(Marullo, Ceprano, Borsa ed altri cortigiani entrano dal mezzo.)

A room in the ducal palace (There is a door on each side and a larger one at the far end flanked by full-length portraits of the Duke and his wife. A high-backed chair stands near a velvet-covered table and other furniture.)

BORSA, MARULLO, CEPRANO, CORO Duca, Duca!

BORSA, MARULLO, CEPRANO, CHORUS My lord, my lord!

DUCA Ebben?

DUKE What is it?

BORSA, MARULLO, CEPRANO, CORO L’amante fu rapita a Rigoletto.

BORSA, MARULLO, CEPRANO, CHORUS Rigoletto’s mistress has been carried off.

DUCA Come? E d’onde?

DUKE What? From where?

BORSA, MARULLO, CEPRANO, CORO Dal suo tetto.

BORSA, MARULLO, CEPRANO, CHORUS From his house.

DUCA Ah! Ah! dite, come fu?

DUKE Ah! ah! Tell me, how was it done?

DUKE (entering, agitated) She has been stolen from me!

When, O heaven? In those few moments, before some inner voice made me hastily retrace my steps!

The gate was open, the house deserted!

And where is she now, that dear angel?

She who first kindled my heart with the flame of a constant affection?

So pure that her modest demean our almost convinced me to lead a virtuous life!

She has been stolen from me!

And who dared do this?...But I shall be avenged.

The tears of my beloved demand it.

I seem to see the tears coursing from her eyes as, bewildered and afraid at the surprise attack, remembering our love, she called her Walter’s name.

But he could not defend you, sweet, beloved maid; he who would pledge his very soul to bring you happiness; he who, in loving you, envied not even the angels.

He who, in loving you, etc.

(Marullo, Ceprano, Borsa and other courtiers enter.)

BOSTON LYRIC OPERA | 25

ITALIAN AND ENGLISH TEXT BORSA, MARULLO, CEPRANO, CORO Scorrendo uniti remota via, brev’ora dopo caduto il dì, come previsto ben s’era in pria, rara beltà ci si scoprì.

Era l’amante di Rigoletto, che vista appena si dileguò.

Già di rapirla s’avea il progetto, quando il buffone ver noi spuntò; che di Ceprano noi la contessa rapir volessimo, stolto, credè; la scala, quindi, all’uopo messa, bendato ei stesso ferma tenè.

La scala, quindi, ecc.

Salimmo, e rapidi la giovinetta a noi riusciva quindi asportar.

BORSA, MARULLO, CEPRANO, CHORUS Together we went at nightfall, to a street on the edge of the town; there, as we had foreseen, we found a most beautiful girl.

It was Rigoletto’s paramour, but as soon as we saw her, she vanished.

Our plans to abduct her were ready, when along came the jester himself, whom we convinced, the simpleton, that we were after Ceprano’s countess.

So once we had set up the ladder, he, blindfolded, held it secure.

So once we had set up the ladder, etc.

We climbed up and in less than no time had carried the young girl away.

DUCA (da sé) Cielo!

DUKE (to himself) Heavens!

BORSA, MARULLO, CEPRANO, CORO Quand’ei s’accorse della vendetta restò scornato ad imprecar.

BORSA, MARULLO, CEPRANO, CHORUS When he realised how we’d paid him out,you should have heard him curse!

DUCA (da sé) È dessa, la mia diletta! (forte) Ma dove or trovasi la poveretta?

DUKE (to himself) Dear God! It’s her, my beloved! (aloud) But where is the poor girl now?

BORSA, MARULLO, CEPRANO, CORO Fu da noi stessi addotta or qui.

BORSA, MARULLO, CEPRANO, CHORUS We brought her here ourselves.

DUCA (da sé) Ah, tutto il ciel non mi rapì!

(Esce rapidamente.)

DUKE (to himself) Ah, heaven has not stolen everything from me!

(He hurries away.)

ATTO TERZO

ACT THREE

La sponda destra del Mincio (A sinistra è una casa a due piani, mezzo diroccata, la cui fronte lascia vedere per una grande arcata l’interno d’una rustica osteria al pian terreno, ed una rozza scala che mette al granaio, entro cui, da un balcone senza imposte, si vede un lettuccio. Nella facciata che guarda la strada è una porta che s’apre per di dentro; il muro poi è sì pieno di fessure, che dal di fuori si può facilmente scorgere quanto avviene nell’interno. In fondo, la deserta parte del Mincio, che scorre dietro unparapetto in mezza ruina; di là dal fiume è Mantova. È notte. Gilda e Rigoletto inquieti sono sulla strada, Sparafucile nell’interno dell’osteria)

The right bank of the River Mincio (On the left is a two-storied house, half fallen into ruin.At ground level, beyond an arcade, the interior of a rustic wine shop can be seen and a rough stone staircase leading to a loft with a small bed which,since there are no shutters, is in full view. Downstairs,in the wall facing the road, is a door that opens inwards. The wall itself is so full of cracks and holes here that whatever takes place within is clearly visible.In the background are the deserted fields along the Mincio, which runs behind a crumbling parapet.Beyond the river lies Mantua. It is night. Gilda and Rigoletto, both ill at ease, are standing in the road; Sparafucile is seated at a table in the wine shop.)

RIGOLETTO E l’ami?

RIGOLETTO And you love him?

26 | RIGOLETTO

ITALIAN AND ENGLISH TEXT GILDA Sempre.

GILDA I always will.

RIGOLETTO Pure tempo a guarirne t’ho lasciato.

RIGOLETTO Yet I have given you time to forget.

GILDA Io l’amo.

GILDA I love him.

RIGOLETTO Povero cor di donna! Ah, il vile infame!

Ma ne avrai vendetta, o Gilda.

RIGOLETTO Poor woman’s heart! Ah, the scoundrel!

You shall be avenged, o Gilda.

GILDA Pietà, mio padre!

GILDA Have pity, my father!

RIGOLETTO E se tu certa fossi ch’ei ti tradisse, l’ameresti ancora?

RIGOLETTO And if you were sure of his lack of faith, would you still love him?

GILDA Nol so, ma pur m’adora.

GILDA I do not know, but he adores me.

RIGOLETTO Egli?

RIGOLETTO He does?

GILDA Sì.

GILDA Yes.

RIGOLETTO Ebben, osserva dunque.

(La conduce presso una delle fessure del muro, ed ella vi guarda.)

RIGOLETTO Well then, just watch.

(He leads her to a crack in the wall.

She looks through into the wine shop.)

GILDA Un uomo vedo.

GILDA I see a man.

RIGOLETTO Per poco attendi.

(Il Duca, in assisa di semplice ufficiale di cavalleria, entra nella sala terrena per una porta a sinistra.)

RIGOLETTO Wait a moment.

(The Duke, wearing the uniform of a cavalry officer, enters the wine-shop through a door on the left.)

GILDA (trasalendo) Ah, padre mio!

GILDA (startled) Ah, father!

DUCA (a Sparafucile) Due cose e tosto...

DUKE (to Sparafucile) Two things and quickly...

SPARAFUCILE Quali?

SPARAFUCILE What things?

DUCA Una stanza e del vino!

DUKE A room and a bottle of wine!

BOSTON LYRIC OPERA | 27

ITALIAN AND ENGLISH TEXT RIGOLETTO Son questi i suoi costumi!

RIGOLETTO These are the fellow’s habits.

SPARAFUCILE Oh, il bel zerbino!

(Entra nella stanza vicina.)

SPARAFUCILE Oh, the gay blade!

(He goes into an adjoining room.)

DUCA La donna è mobile qual piuma al vento, muta d’accento e di pensier.

Sempre un amabile leggiadro viso, in pianto o in riso è menzognero.

La donna è mobile, ecc. È sempre misero chi a lei s’affida, chi le confida mal cauto il cor!

Pur mai non sentesi felice appieno chi su quel seno non liba amor!

La donna è mobile, ecc.

(Sparafucile rientra con una bottiglia di vino e due bicchieri che depone sulla tavola: quindi batte col pomo della sua lunga spada due colpi al soffitto. A quel segnale una ridente giovane, in costume di zingara, scende a salti la scala. Il Duca corre per abbracciarla, ma ella gli sfugge. Frattanto Sparafucile, uscito sulla via, dice a parte a Rigoletto:)

DUKE Women are as fickle as feathers in the wind, simple in speech, and simple in mind. always the loveable, sweet, laughing face, but laughing or crying, the face is false for sure.

Women are as fickle, etc.

If you rely on her you will regret it, and if you trust her you are undone!

Yet none can call himself fully contented who has not tasted love in her arms!

Women are as fickle, etc.

(Sparafucile returns with a bottle of wine and two glasses, which he puts on the table; then he strikes the ceiling twice with the pommel of his sword. At this signal, a buxom young woman in gypsy costume comes jumping down the stairs. The Duke runs to kiss her, but she eludes him. Meanwhile, Sparafucile, having slipped out into the road, speaks softly to Rigoletto.)

SPARAFUCILE È là il vostr’uomo. Viver dee o morire?

SPARAFUCILE Your man’s in there. Is he to live or die?

RIGOLETTO Più tardi tornerò l’opra a compire.

(Sparafucile s’allontana dietro la casa verso il fiume.)

RIGOLETTO I’ll come back later to conclude our business.

(Sparafucile moves off behind the house in the direction of the river.)

DUCA Un dì, se ben rammentomi, o bella, t’incontrai...

Mi piacque di te chiedere e intesi che qui stai.

Or sappi che d’allora sol te quest’alma adora.

GILDA (da sé) Iniquo!

28 | RIGOLETTO

DUKE One day, if I remember rightly, my pretty one, I met you...

I asked someone about you and was told that you live here.

Let me say that ever since, my heart has been yours alone.

GILDA (to herself)

ITALIAN AND ENGLISH TEXT MADDALENA Ah! Ah!...e vent’altre appresso le scorda forse adesso?

Ha un’aria il signorino da vero libertino.

DUCA Sì, un mostro son.

GILDA Ah, padre mio!

MADDALENA Lasciatemi, stordito!

DUCA Ah, che fracasso!

MADDALENA Stia saggio!

DUCA E tu sii docile, non farmi tanto, chiasso.

Ogni saggezza chiudesi nel gaudio e nell’amore.

(Le prende la mano.)

La bella mano candida!

MADDALENA Scherzate voi, signore.

DUCA No, no.

MADDALENA Son brutta.

DUCA Abbracciami.

GILDA (da sé) Iniquo!

MADDALENA Ebbro!

DUCA D’amore ardente.

MADDALENA Signor l’indifferente, vi piace canzonar?

DUCA No, no, ti vo’ sposar...

Deceiver!

MADDALENA Ah! Ah! And of twenty others that maybe you’re forgetting?

I think my fine young man is a bit of a libertine.

DUKE Yes, I’m a monster.

GILDA Ah, father!

MADDALENA Leave me alone, you scatterbrain!

DUKE Ho, what a fuss!

MADDALENA Behave yourself!

DUKE Be nice to me.

Don’t play hard to get.

Good behaviour doesn’t exclude jollity and love. (caressing her hand) Pretty white hand!

MADDALENA You are joking, sir.

DUKE No, no.

MADDALENA I’m ugly.

DUKE Kiss me.

GILDA (to herself) Deceiver!

MADDALENA You’re drunk!

DUKE With love.

MADDALENA My cynical friend, you like to joke, don’t you?

DUKE BOSTON LYRIC OPERA | 29

ITALIAN AND ENGLISH TEXT MADDALENA Ne voglio la parola.

DUCA (ironico) Amabile figliuola!

RIGOLETTO (a Gilda che avrà tutto osservato ed inteso) E non ti basta ancor?

GILDA Iniquo traditor! ecc.

MADDALENA Ne voglio la parola! ecc.

DUCA Amabile figliuola! ecc.

RIGOLETTO E non ti basta ancor? ecc.

DUCA Bella figlia dell’amore, schiavo son dei vezzi tuoi; con un detto sol tu puoi le mie pene consolar.

Vieni e senti del mio core il frequente palpitar.

Con un detto, ecc.

MADDALENA Ah! ah! rido ben di core, che tai baie costan poco...

GILDA Ah, così parlar d’amore...

MADDALENA ...quanto valga il vostro gioco, mel credete, so apprezzar.

GILDA ...a me l’infame ho udito!

RIGOLETTO (a Gilda) Taci, il piangere non vale, ecc.

GILDA Infelice cor tradito, per angoscia non scoppiar.

MADDALENA Son avvezza, bel signore, ad un simile scherzar, mio bel signor!

30 | RIGOLETTO

No, no. I want to marry you...

MADDALENA I want your word of honour.

DUKE (ironic) Sweet little maid!

RIGOLETTO (to Gilda, who has seen and heard all) Haven’t you seen enough?

GILDA The wicked deceiver! etc.

MADDALENA I want your word of honour! etc.

DUKE Sweet little maid! etc.

RIGOLETTO Haven’t you seen enough? etc.

DUKE Fairest daughter of love, I am a slave to your charms; with but a single word you could relieve my every pain.

Come, touch my breast and feel how my heart is racing.

With but a single word, etc.

MADDALENA Ah! Ah! That really makes me laugh; talk like that is cheap enough...

GILDA Ah, these are the loving words...

MADDALENA ...believe me, I know exactly what such play-acting is worth!

GILDA ...the scoundrel spoke once to me!

RIGOLETTO (to Gilda) Hush, weeping can do no good, etc.

GILDA O wretched heart betrayed, do not break for sorrow.

MADDALENA I, my fine sir, am quite accustomed to foolish jokes like this,

ITALIAN AND ENGLISH TEXT DUCA Con un detto sol tu puoi le mie pene consolar.

GILDA Infelice cor tradito, per angoscia non scoppiar, ecc.

MADDALENA Ah! Ah! Rido ben di core!

Che tai baie costan poco, ecc.

DUCA Bella figlia dell’amore, schiavo son de’ vezzi tuoi, ecc.

RIGOLETTO (a Gilda) Ch’ei mentiva sei sicura.

Taci, e mia sarà la cura la vendetta d’affrettar.

Pronta fia, sarà fatale, io saprollo fulminar, ecc.

M’odi! Ritorna a casa.

Oro prendi, un destriero, una veste viril che t’apprestai, e per Verona parti.

Sarovvi io pur doman.

my fine sir!

DUKE With but a single word you could relieve my every pain.

GILDA O wretched heart betrayed, do not break for sorrow, etc.

MADDALENA Ah! Ah! That really makes me laugh; talk like that is cheap enough, etc.

DUKE Fairest daughter of love, I am a slave to your charms, etc.

RIGOLETTO (to Gilda) You are now convinced he was lying.

Hush, and leave it up to me to hasten our revenge.

It will be quick, it will be deadly, I know how to deal with him.

Listen to me, go home.

Take some money and a horse, put on the men’s clothes I provided, then leave at once for Verona.

I shall meet you there tomorrow.

ATTO TERZO, SCENA 2 …

RIGOLETTO Egli è là!...morto!

Oh sì...vorrei vederlo!

Ma che importa?...è ben desso!

Ecco i suoi sproni!

Ora mi guarda, o mondo!

Quest’è un buffone, ed un potente è questo!

Ei sta sotto ai miei piedi! È desso! O gioia! È giunta alfine la tua vendetta, o duolo!

Sia l’onda a lui sepolcro, un sacco il suo lenzuolo.

All’onda! All’onda!

(Fa per trascinare il sacco verso la sponda, quando è sorpreso dalla lontana voce del Duca, che nel fondo attraversa la scena.)

ACT THREE, SCENE 2 …

RIGOLETTO He’s in there!...Dead!

Oh, but I must see him!

But what’s the use?...It’s him all right!

I can feel his spurs!

Now look upon me, O world!

Here is a buffoon, and this is a mighty prince!

He lies at my feet! It’s him! Oh joy!

At last you are avenged, O grief!

Let the river be his tomb, a sack his winding sheet!

To the river! To the river!

(He is about to drag the sack towards the river, when he hears, to his amazement, the voice of the Duke in the distance.)

DUCA La donna è mobile, ecc.

DUKE Women are as fickle, etc.

BOSTON LYRIC OPERA | 31

ITALIAN AND ENGLISH TEXT RIGOLETTO Qual voce!...illusion notturna è questa! (trasalendo) No!...No! egli è desso... (verso la casa) Maledizione! Olà...dimon bandito!

(Taglia il sacco.)

Chi è mai, chi è qui in sua vece? (lampeggia) Io tremo...È umano corpo!

Mia figlia!...Dio!...mia figlia!

Ah no...è impossibil!

Per Verona è in via! (inginocchiandosi) Fu vision...È dessa!

O mia Gilda: fanciulla, a me rispondi!

L’assassino mi svela...Olà?...Nessuno?

(Picchia disperatamente alla porta.)

Nessun!... (tornando presso Gilda) Mia figlia? Mia Gilda?...Oh, mia figlia!

RIGOLETTO His voice!...This is a trick of the darkness! (drawing back in terror) No!...No! This is he!... (shouting towards the house) Damnation! Hola!...You devil of a bandit!

(He cuts open the sack.)

Who can this be, here in his stead? (lightning) I tremble...It’s a human body!

My daughter!...O God!...My daughter!

Ah, no, it cannot be!

She has left for Verona! (kneeling) It was a spectre...It is she!

Oh, my Gilda, child, answer me!

Tell me the murderer’s name! Holà...Is no one there? (knocking desperately at the door) No one!... (returning to Gilda) My daughter? My Gilda?...Oh, my daughter!

GILDA Chi mi chiama?

GILDA Who calls me?

RIGOLETTO Ella parla!...si muove!... È viva!...oh Dio! Ah, mio ben solo in terra...

Mi guarda...mi conosci...

RIGOLETTO She speaks!... She moves!...

She is alive! Oh, God! Ah, my only joy on earth... look at me...say who I am...

GILDA Ah, padre mio!

GILDA Ah, my father!

RIGOLETTO Qual mistero!...Che fu?...

Sei tu ferita?...Dimmi...

RIGOLETTO I’m mystified!...What happened?...

Are you wounded? Tell me...

GILDA (indicando al core) L’acciar qui mi piagò.

GILDA (pointing to her heart) The dagger wounded me here.

RIGOLETTO Chi t’ha colpita?

RIGOLETTO Who struck you?

GILDA V’ho ingannato...colpevole fui...

L’amai troppo...ora muoio per lui!

GILDA I deceived you...I was guilty...

I loved him too much...now I die for him!

RIGOLETTO (da sé) Dio tremendo! Ella stessa fu colta dallo stral di mia giusta vendetta! (a Gilda) Angiol caro! mi guarda, m’ascolta!

Parla, parlami, figlia diletta.

RIGOLETTO (to himself) Great God in heaven! She was struck by the bolt that I, in righteous vengeance, loosed! (to Gilda) Beloved angel! Look at me, listen to me!

Speak, speak to me, dearest child.

32 | RIGOLETTO

ITALIAN AND ENGLISH TEXT GILDA Ah, ch’io taccia! a me, a lui perdonate.

Benedite alla figlia, o mio padre...

Lassù in cielo, vicina alla madre, in eterno per voi pregherò.

GILDA Let me be silent! Forgive me, and him.

Bless your daughter, O my father – in heaven above, near my mother, I shall pray for you evermore.

RIGOLETTO Non morire, mio tesoro, pietade!

Mia colomba, lasciarmi non dêi!

RIGOLETTO Do not die, my treasure, have pity!

Oh, my dove, you must not leave me!

GILDA Lassù in cielo, ecc.

GILDA In heaven above, etc.

RIGOLETTO Oh, mia figlia!

No, lasciarmi non dêi, non morir.

Se t’involi, qui sol rimarrei.

Non morire, o ch’io teco morrò!

RIGOLETTO Oh my daughter!

No, you must not leave me, do not die.

If you go away, I shall be alone!

Do not die, or I shall die beside you!

GILDA Non più...a lui perdonate.

Mio padre...Addio!

Lassù in ciel, ecc.

GILDA No more...Forgive him.

My father...Farewell!

In heaven above, etc.

RIGOLETTO Oh mia figlia! Oh mia Gilda!

No, lasciarmi non dêi, non morir!

(Gilda muore.)

RIGOLETTO Oh my daughter, my Gilda!

No, you must not leave me, do not die!

(She dies.)

RIGOLETTO Gilda! mia Gilda!...È morta!

Ah, la maledizione!

(Strappandosi i capelli, cade sul cadavere della figlia.)

RIGOLETTO Gilda! My Gilda! She is dead!

Ah, the curse!

(Tearing his hair in anguish, he falls senseless upon his daughter’s body.)

FINE

END

BOSTON LYRIC OPERA | 33

FRENCH AND ENGLISH TEXT Play by Victor Hugo

English translation by Frederick L. Slous, 1843

II. SALTABADIL ACTE DEUXIÈME

II SALTABADIL ACT II

Le recoin le plus désert du cul-de-sac Bussy. À droite, une petite maison de discrète apparence, avec une petite cour entourée d’un mur qui occupe une partie du théâtre. Dans cette cour, quelques arbres, un banc de pierre. Dans le mur, une porte qui donne sur la rue; sur le mur, une terrasse étroite couverte d’un toit supporté par des arcades dans le goût de la renaissance.—La porte du premier étage de la maison donne sur une terrasse, qui communique avec la cour par un degré.—À gauche, les murs très-hauts des jardins de l’hôtel de Cossé.—Au fond, des maisons éloignées; le clocher de Saint-Séverin.

The scene represents a deserted corner of de Bussy Terrace— On the right a house of decent appearance, with a court-yard in front (surrounded by a wall), which forms a part of the stage—In the court are some trees, and a stone seat—A door opens from the wall into the street—Above the wall is a terrace, with a roof supported by arches—A door from the first floor of the house opens upon this terrace, which communicates with the court by a flight of steps— On the left are the high walls of the De Cosse Palace, and in the background, distant houses and the steeple of St-Sérverin.

SCÈNE PREMIÈRE

SCENE ONE

TRIBOULET, SALTABADIL. — Pendant une partie de la scène, MONSIEUR DE PIENNE et MONSIEUR DE GORDES au fond du théâtre.

TRIBOULET, SALTABADIL — afterwards MONSIEUR DE PIENNE and MONSIEUR DE GORDES.

Triboulet, enveloppé d’un manteau et sans aucun de ses attributs de bouffon, paraît dans la rue et se dirige vers la porte pratiquée dans le mur. Un homme vêtu de noir et également couvert d’une cape, dont le bas est relevé par une épée, le suit.

Triboulet is enveloped in his cloak, but without his buffoon’s dress—he advances cautiously towards the door in the wall. A man dressed in black, and likewise wrapped in a cloak (from beneath which the point of a sword peeps out), follows him stealthily.

TRIBOULET, rêveur.

Ce vieillard m’a maudit!

TRIBOULET, lost in thought The old man cursed me!

L’HOMME, le saluant.

Monsieur

SALTABADIL, accosting him.

Sir

TRIBOULET, se détournant avec humeur Ah!

TRIBOULET, starts, turns around Ah!

Cherchant dans sa poche.

Searching his pockets.

Je n’ai rien.

I’ve nothing for you.

L’HOMME Je ne demande rien, monsieur! fi donc!

SALTABADIL And nothing asked I: you mistake!

TRIBOULET, lui faisant signe de le laisser tranquille et des’éloigner.

C’est bien!

TRIBOULET, irritated Then leave me!

Entrent monsieur de Pienne et monsieur de Gordes, qui s’arrêtent en observation au fond du théâtre.

Enter De Pienne and De Gordes, who remain watching at the back of the stage.

L’HOMME, le saluant.

Monsieur me juge mal. Je suis homme d’épée.

SALTABADIL, bowing and touching his sword.

You wrong me, Sir.—By my good sword, I live.

34 | RIGOLETTO

FRENCH AND ENGLISH TEXT TRIBOULET, reculant.

Est-ce un voleur?

TRIBOULET, drawing back alarmed A cut-throat!

L’HOMME, s’approchant d’un air doucereux.

Monsieur a la mine occupée.

Je vous vois tous les soirs de ce côté rôder.

Vous avez l’air d’avoir une femme à garder!

SALTABADIL, in an insinuating manner.

Something weighs upon your mind: Night after night, you haunt this lonely spot— Confess the truth, some woman claims your care!

TRIBOULET, à part.

Diable!

TRIBOULET, to himself Devil!

Haut.

Aloud.

Je ne dis pas mes affaires aux autres.

That which concerns but me, I tell none.

Il veut passer outre; l’homme le retient.

He wants to pass, but Saltabadil retains him.

L’HOMME Mais c’est pour votre bien qu’on se mêle des vôtres.

Si vous me connaissiez, vous me traiteriez mieux.

SALTABADIL. But ‘tis for your advantage that I speak; You’d treat me better if you knew me well.

S’approchant.

Whispers.

Peut-être à votre femme un fat fait les doux yeux, Et vous êtes jaloux?

Perhaps your mistress on another smiles, —You’re jealous, Sir?

TRIBOULET, impatienté.

Que voulez-vous, en somme?

TRIBOULET, impatient By all the fiends, what want ye?

L’HOMME, avec un sourire aimable, bas et vite.

Pour quelque paraguante on vous tûra votre homme.

SALTABADIL, in a low voice, speaking softly and quickly For some broad pieces, by this hand he dies!

TRIBOULET, respirant.

Ah! c’est fort bien!

TRIBOULET, to himself.

I breath again!

L’HOMME Monsieur, vous voyez que je suis Un honnête homme

SALTABADIL I see you deem me now an honest man.

TRIBOULET Peste!

TRIBOULET Nuisance!

L’HOMME Et que si je vous suis C’est pour de bons desseins.

SALTABADIL And if I am, it is only out of good intentions.

TRIBOULET Oui, certe, un homme utile!

TRIBOULET Yes, a useful man!

L’HOMME, modestement.

Le gardien de l’honneur des dames de la ville.

SALTABADIL, modestly Guard to the honour of our Paris dames.

TRIBOULET Et combien prenez-vous pour tuer un galant?

TRIBOULET Name your price to slay a cavalier.

BOSTON LYRIC OPERA | 35

FRENCH AND ENGLISH TEXT L’HOMME C’est selon le galant qu’on tue,—et le talent Qu’on a.

SALTABALDIL Why that’s according to the man we slay, with some slight guerdon for the skill displayed.

TRIBOULET Pour dépêcher un grand seigneur?

TRIBOULET To stab a nobleman?

L’HOMME Ah! diantre!

On court plus d’un péril de coups d’épée au ventre.

Ces gens-là sont armés. On y risque sa chair.

Le grand seigneur est cher.

SALTABADIL Ah, devil!

There’s too much risk of a slashed doublet there: Cunning in fence, and armed.

Your nobleman is dear indeed!

TRIBOULET Le grand seigneur est cher!

Est-ce que les bourgeois, par hasard, se permettent De se faire tuer entre eux?

TRIBOULET A nobleman is dear!

And pray, do citizens by your kind aid each others slaugher?

L’HOMME, souriant.

Mais ils s’y mettent!

—C’est un luxe pourtant,—luxe, vous comprenez, Qui reste en général parmi les gens bien nés.

Il est quelques faquins qui, pour de grosses sommes, Tiennent à se donner des airs de gentilhommes, Et me font travailler.—Mais ils me font pitié.

—On me donne moitié d’avance, et la moitié Après.—

SALTABADIL Yes! in truth they do; But ‘tis a luxury—a taste you know that’s scarcely fit, But for the man well born.

Some upstarts are there (being rich forsooth), That ape the habits of a gentleman, And force my service, — How I pity them!

I’m paid one half beforehand, And the rest when the deed’s done!

TRIBOULET, hochant la tête.

Oui, vous risquez le gibet, le supplice

TRIBOULET For this you brave the rack?

L’HOMME, souriant.

Non, non, nous redevons un droit à la police.

SALTABADIL, smiling Not much! A tribute paid to the police!

TRIBOULET Tant pour un homme?

TRIBOULET So much per head?

L’HOMME, avec un signe affirmatif. À moins... que vous dirai-je, moi?

Qu’on n’ait tué, mon Dieu... qu’on n’ait tué... le roi!

SALTABADIL Just so! Unless indeed—What shall I say?

Unless the King were slain!

TRIBOULET Et comment t’y prends-tu?

TRIBOULET And how contrive you?

L’HOMME Monsieur, je tue en ville Ou chez moi, comme on veut.

SALTABADIL In the street I slay, Or else at home!

TRIBOULET Ta manière est civile.

TRIBOULET In a most courteous way?

L’HOMME J’ai pour aller en ville un estoc bien pointu.

J’attends l’homme le soir

SALTABADIL If in the street—a sharp keen blade I wear, And watch my man at night.

36 | RIGOLETTO

FRENCH AND ENGLISH TEXT TRIBOULET Chez toi, comment fais-tu?

TRIBOULET And if at home?

L’HOMME J’ai ma sœur Maguelonne, une fort belle fille Qui danse dans la rue et qu’on trouve gentille.

Elle attire chez nous le galant une nuit

SALTABADIL Why then my sister Maguelonne assists—A sprightly girl—that in the streets by night doth dance for gain, and, with enticing smiles, Allures our prey, and draws the game to earth.

TRIBOULET Je comprends.

TRIBOULET I see!

L’HOMME Vous voyez, cela se fait sans bruit, C’est décent.—Donnez-moi, monsieur, votre pratique.

Vous en serez content. Je ne tiens pas boutique, Je ne fais pas d’éclats. Surtout je ne suis point De ces gens à poignard, serrés dans leur pourpoint, Qui vont se mettre dix pour la moindre équipée, Bandits dont le courage est court comme l’épée.

Il tire de dessous sa cape une épée démesurément longue.

Voici mon instrument.—

SALTABADIL ‘Tis managed without noise or stir, Quite decently!

Nay, most respectably. Now let me crave your patronage, good Sir; You’ll be contented, tho’ I keep no shop, Nor make parade; I am not of that race Of coward cut-throats, armed from head to heel, Who herd in bands to take a single life— Wretches! with courage shorter than their sword.

Drawing an enormously long sword.

This is my weapon!

Triboulet recule d’effroi.

Triboulet starts.

Pour vous servir.

At your service, Sir!

TRIBOULET, considérant l’épée avec surprise.

Vraiment!

—Merci, je n’ai besoin de rien pour le moment.

TRIBOULET Just now, indeed, I have no occasion for it.

L’HOMME, remettant l’épée au fourreau.

Tant pis.—Quand vous voudrez me voir, je me promène Tous les jours à midi devant l’hôtel du Maine.

Mon nom, Saltabadil.

SALTABADIL So much the worse! You’ll find me, when you list, Before the palace of the Duke of Maine. At noon each day I take my morning’s stroll: My name’s Saltabadil!

TRIBOULET Bohême?

TRIBOULET Of gipsey race?

L’HOMME, saluant.

Et bourguignon.

SALTABADIL Burgundian too!

MONSIEUR DE GORDES, écrivant sur ses tablettes au fond du théâtre.

Bas, à monsieur de Pienne

DE GORDES, to DE PIENNE, taking out his tablets.

A jewel of a man, Whose name (lest I forget) at once I write.

Un homme précieux, et dont je prends le nom.

L’HOMME, à Triboulet.

Monsieur, ne pensez pas mal de moi, je vous prie.

SALTABADIL Sir, you’ll not think the worse of me for this?

TRIBOULET Non. Que diable! il faut bien avoir une industrie!

TRIBOULET What for! why should I? every one must live.

BOSTON LYRIC OPERA | 37

FRENCH AND ENGLISH TEXT L’HOMME À moins de mendier et d’être un fainéant, Un gueux.—J’ai quatre enfants

SALTABADIL I would not be a beggar, idler, rogue!

Then I’ve four children.

TRIBOULET Qu’il serait malséant De ne plus élever...—

TRIBOULET Whom ‘twere barbarous To leave unfed.

Le congédiant.

Trying to get rid of him.

Le ciel vous tienne en joie!

Heaven keep you in its love!

MONSIEUR DE PIENNE, à monsieur de Gordes, au fond, montrant Triboulet.

Il fait grand jour encor, je crains qu’il ne vous voie.

DE PIENNE, to DE GORDES ‘Tis still too light! Return we here anon.

Tous deux sortent.

Exeunt De Pienne and De Gordes.

TRIBOULET, à l’homme.

Bonsoir!

TRIBOULET, roughly to Saltabadil Good day!

L’HOMME, le saluant.

Adiusias. Tout votre serviteur.

SALTABADIL, bowing Your humble servant, Sir. Adieu!

Il sort.

TRIBOULET, le regardant s’éloigner.

TRIBOULET, watching him as he retires.

Nous sommes tous les deux à la même hauteur.

Une langue acérée, une lame pointue.

Je suis l’homme qui rit, il est l’homme qui tue.

How much alike his cruel trade to mine;— His sword is sharp, but with a tongue more keen I stab the heart! Aye, deeper far than he.

ACTE II, SCÈNE II

ACT II, SCENE II

L’homme disparu, Triboulet ouvre doucement la petite porte pratiquée dans le mur de la cour; il regarde au dehors avec précaution, puis il tire la clef de la serrure et referme soigneusement la porte en dedans; il fait quelques pas dans la cour d’un air soucieux et préoccupé.

Saltabadil having departed, Triboulet gently opens the door in the wall. He looks anxiously round, and taking the key out of the lock, carefully shuts the door on the inside. He then paces the court with an air of melancholy and abstraction.

TRIBOULET, seul.

Ce vieillard m’a maudit...—Pendant qu’il me parlait, Pendant qu’il me criait:—Oh! sois maudit, valet!— Je raillais sa douleur.—Oh! oui, j’étais infâme, Je riais, mais j’avais l’épouvante dans l’âme.—

TRIBOULET, alone.

The old man cursed me! even as he spoke I mocked and taunted him;—and yet, oh shame!

My lip but smiled. His sorrow touched my soul.

Il va s’asseoir sur le petit banc près de la table de pierre.

He sits down on the stone seat.

Maudit!

Accurst indeed !—

Profondément rêveur et la main sur son front.

38 | RIGOLETTO

FRENCH AND ENGLISH TEXT Ah! la nature et les hommes m’ont fait Bien méchant, bien cruel et bien lâche, en effet. Ô rage! être bouffon! ô rage! être difforme!

Toujours cette pensée! et, qu’on veille ou qu’on dorme, Quand du monde en rêvant vous avez fait le tour, Retomber sur ceci: Je suis bouffon de cour!

Ne vouloir, ne pouvoir, ne devoir et ne faire Que rire!—Quel excès d’opprobre et de misère!

Quoi! ce qu’ont les soldats ramassés en troupeau Autour de ce haillon qu’ils appellent drapeau, Ce qui reste, après tout, au mendiant d’Espagne, À l’esclave en Tunis, au forçat dans son bagne, À tout homme ici-bas qui respire et se meut, Le droit de ne pas rire et de pleurer s’il veut, Je ne l’ai pas!—Ô Dieu! triste et l’humeur mauvaise, Pris dans un corps mal fait où je suis mal à l’aise, Tout rempli de dégoût de ma difformité, Jaloux de toute force et de toute beauté, Entouré de splendeurs qui me rendent plus sombre, Parfois, farouche et seul, si je cherche un peu l’ombre, Si je veux recueillir et calmer un moment Mon âme qui sanglote et pleure amèrement, Mon maître tout à coup survient, mon joyeux maître, Qui, tout-puissant, aimé des femmes, content d’être, À force de bonheur oubliant le tombeau, Grand, jeune, et bien portant, et roi de France, et beau, Me pousse avec le pied dans l’ombre où je soupire, Et me dit en bâillant: Bouffon, fais-moi donc rire!

—Ô pauvre fou de cour!—C’est un homme après tout!

—Eh bien! la passion qui dans son âme bout, La rancune, l’orgueil, la colère hautaine, L’envie et la fureur dont sa poitrine est pleine, Le calcul éternel de quelque affreux dessein, Tous ces noirs sentiments qui lui rongent le sein, Sur un signe du maître, en lui-même il les broie, Et, pour quiconque en veut, il en fait de la joie!

—Abjection! s’il marche, ou se lève, ou s’assied, Toujours il sent le fil qui lui tire le pied.

—Mépris de toute part!—Tout homme l’humilie.

Ou bien c’est une reine, une femme jolie, Demi-nue et charmante, et dont il voudrait bien, Qui le laisse jouer sur son lit, comme un chien!

Aussi, mes beaux seigneurs, mes railleurs gentilhommes, Hun! comme il vous hait bien! quels ennemis nous sommes!

Comme il vous fait parfois payer cher vos dédains!

Comme il sait leur trouver des contre-coups soudains!

Il est le noir démon qui conseille le maître.

Vos fortunes, messieurs, n’ont plus le temps de naître, Et, sitôt qu’il a pu dans ses ongles saisir Quelque belle existence, il l’effeuille à plaisir!

—Vous l’avez fait méchant!—Ô douleur! est-ce vivre?

Mêler du fiel au vin dont un autre s’enivre.

Si quelque bon instinct germe en soi, l’effacer,

For man with nature leagues To make me wicked, heartless, and depraved!

Buffoon! Oh heav’n!—deformed, despised, disgraced; Always that thought, or sleeping or awake,— It haunts my dreams, and tortures me by day; The vile buffoon—the wretched fool of court.

Who must not, cannot, dare not, for his hire Do aught but laugh! Oh grief! Oh misery!

The poorest beggar, or the vilest slave,— The very galley convict in his chains, May weep and soothe his anguish with his tears.

Alas, I dare not! Oh, ‘tis hard to fell Bowed down to earth with sore infirmities; Jealous of beauty, strength, or manly grace,— With splendour circled, making me more sad.

In vain my wretchedness would hide from man,— In vain my heart would sob its griefs alone.— My patron comes,—the joyous, laughing king, Beloved of women! heedless of the tomb; Well shapen, handsome, King of France,—and young, And with his foot he spurns me as I hide; And yawning, cries, “Come, make me laugh, buffoon.”

Alas, poor fool!—and yet am I a man, And rancorous hate, and pride, and baffled rage, Boil in my brain, and make my soul like hell.

Ceaseless I meditate some dark design, Yet, felling, nature, thought, must I conceal, And at my master’s sign make sport for all.

Abjection base! Were’er I move to feel My foot encumbered with its galling chain.

By men avoided, loathed, and trampled on;— By women treated as a harmless dog.

Oh! gallant courtiers and brave gentlemen, Oh! how I hate you!—here behold your foe; Your bitter sneers I pay you back with scorn, And foil and countermine your proud desires.

Like the bade spirit, in your master’s ear I whisper death to each aspiring aim, Scattering, with cruel pleasure, leaf by leaf, The bud of hope—long ere it come to flower.

You made me wicked:—yet what grief to live But to drop poison in the cup of joy That others drink!—and if within my breast One kindly feeling springs, to thrust it forth And stun reflection with these jingling bells.

Amidst the feast, the dance, the glittering show, Like a foul demon, seek I to destroy, For very sport, the happiness of all, Covering with hollow, false, malignant smile The venomed hate, that festers at my heart.

Yet am I wretched!

He rises from the stone seat.

BOSTON LYRIC OPERA | 39

FRENCH AND ENGLISH TEXT Étourdir de grelots l’esprit qui veut penser, Traverser chaque jour, comme un mauvais génie, Des fêtes qui pour vous ne sont qu’une ironie, Démolir le bonheur des heureux, par ennui, N’avoir d’ambition qu’aux ruines d’autrui, Et contre tous, partout où le hasard vous pose, Porter toujours en soi, mêler à toute chose, Et garder, et cacher sous un rire moqueur Un fond de vieille haine extravasée au cœur!

Oh! je suis malheureux!— Se levant du banc de pierre où il est assis.

No, not wretched here!

This door once past, existence comes anew: Let me forget the world,—no past regret Shall dim the happiness that waits me here.

He falls into a reverie.

The old man cursed me! Why returns that thought?

Forebodes it evil? Pshaw! art mad?—for shame!

He knocks at the door of the house. A young girl, dressed in white rushes out, and throws herself into his arms.

Mais ici que m’importe?

Suis-je pas un autre homme en passant cette porte?

Oublions un instant le monde dont je sors.

Ici je ne dois rien apporter du dehors.

Retombant dans sa rêverie.

Suis-je fou?

Il va à la porte de la maison et frappe. Elle s’ouvre. Une jeune fille, vêtue de blanc, en sort, et se jette joyeusement dans ses bras.

ACTE III, SCÈNE II

ACT III, SCENE II

LE ROI, BLANCHE Le roi, resté seul avec Blanche, soulève le voile qui la cache.

THE KING, BLANCHE. The King, when left alone with Blanche, takes the veil from her face.

LE ROI Blanche!

THE KING Blanche!

BLANCHE Gaucher Mahiet! ciel!

BLANCHE Godfrey Melune! Oh Heav’n!

LE ROI, éclatant de rire.

Foi de gentilhomme!

Méprise ou fait exprès, je suis ravi du tour.

Vive Dieu! ma beauté, ma Blanche, mon amour, Viens dans mes bras!

THE KING, bursting into a fit of laughter.

Now by my faith!

Whether ‘tis chance or planned, the gain is mine.

My Blanche! my beautiful, my heart’s delight, Come to my arms!

BLANCHE, reculant.

Le roi! le roi! Laissez-moi, sire,— Mon Dieu! je ne sais plus comment parler ni dire...— Monsieur Gaucher Mahiet...—Non, vous êtes le roi.—

BLANCE, rising and shrinking back.

The King!—forgive me, Sire; Indeed, I know not what to say.—Good Sir, Godfrey Melune;—but no! you are the King.

Retombant à genoux.

She falls on her knees again.

Oh! qui que vous soyez, ayez pitié de moi.

Whoe’er thou art, alas! have mercy on me!

40 | RIGOLETTO

FRENCH AND ENGLISH TEXT LE ROI Avoir pitié de toi, Blanche! moi qui t’adore!

Ce que Gaucher disait, François le dit encore.

Tu m’aimes et je t’aime, et nous sommes heureux! Être roi ne saurait gâter un amoureux.

Enfant! tu me croyais bourgeois, clerc, moins peut-être.

Parce que le hasard m’a fait un peu mieux naître, Parce que je suis roi, ce n’est pas un motif De me prendre en horreur subitement tout vif!

Je n’ai pas le bonheur d’être un manant, qu’importe!

THE KING Mercy on thee! my Blanche, whom I adore!

Francis confirms the love that Godfrey gave.

I love, thou lovest, and we both are blest.

The name of King dims not the lover’s flame.

You deemed me, once, a scholar, student, clerk, Lowely in rank, in all but learning poor; And now that chance hath made me nobler born, And crowned me King, is that sufficient cause To hold me suddenly in such abhorrence?— I’ve not the luck to be a serf—what then?

The King laughs heartily.

BLANCHE, à part.

Comme il rit! Ô mon Dieu! je voudrais être morte!

BLANCHE, aside.

Oh how he laughs!—and I with shame could die!

LE ROI, souriant et riant plus encore.

Oh! les fêtes, les jeux, les dames, les tournois, Les doux propos d’amour le soir au fond des bois, Cent plaisirs que la nuit couvrira de son aile: Voilà ton avenir, auquel le mien se mêle!

Oh! soyons deux amants, deux heureux, deux époux!

Il faut un jour vieillir; et la vie, entre nous, Cette étoffe où, malgré les ans qui la morcellent, Quelques instants d’amour par places étincellent, N’est qu’un triste haillon sans ces paillettes-là!

Blanche, j’ai réfléchi souvent à tout cela, Et voici la sagesse: honorons Dieu le Père, Aimons et jouissons, et faisons bonne chère!

THE KING What fêtes, what sports and pageants, shall be ours!

What whispered love in garden and in grove!

A thousand pleasures that the night conceals!

Thy happy future grafted on mine own— We’ll be two lovers wedded in delight.

Age must steal on, and what is human life?

A paltry stuff, of mingled toil and care, Which love with starry light doth spangle o’er.

Without it, trust me, ‘tis a sorry rag— Blanche, ‘tis a theme I’ve oft reflected on, And this is wisdom:—honour Heaven above, Eat, drink, be merry, crowning all with love!

BLANCHE, atterrée et reculant. Ô mes illusions! qu’il est peu ressemblant!

BLANCHE, confounded and shuddering.

Oh, how unlike the picture fancy drew!

LE ROI Quoi! me croyais-tu donc un amoureux tremblant, Un cuistre, un de ces fous lugubres et sans flammes, Qui pensent qu’il suffit, pour que toutes les femmes Et tous les cœurs charmés se rendent devant eux, De pousser des soupirs avec un air piteux?

THE KING What did you think me, then, a solemn fool, A trembling lover, spiritless and tame, Who thinks all women ready to expire With melting sympathy, because he sighs And wears a sad and melancholy face?

BLANCHE, le repoussant.

Laissez-moi!—Malheureuse!

BLANCHE Oh, leave me! Aside. Wretched girl!

LE ROI. Oh! sais-tu qui nous sommes?

La France, un peuple entier, quinze millions d’hommes, Richesse, horreurs, plaisirs, pouvoir sans frein ni loi, Tout est pour moi, tout est à moi, je suis le roi!

Eh bien! du souverain tu seras souveraine.

Blanche, je suis le roi; toi, tu seras la reine!

THE KING Know’st who I am?— Why, France—a nation—fifteen million souls— Gold, honour, pleasures, power uncurbed by law, All, all are mine:—I reign and rule o’er all.

I am their sovereign, Blanche, but thou art mine— I am their King, Blanche, wilt not be my Queen?

BLANCHE La reine! et votre femme?

BLANCHE The Queen! Your wife!

BOSTON LYRIC OPERA | 41

FRENCH AND ENGLISH TEXT LE ROI, riant.

Innocence! ô vertu!

Ah! ma femme n’est pas ma maîtresse, vois-tu!

THE KING, laughting heartily.

No! virtuous innocence; The Queen, my mistress; ‘tis the fairer name.

BLANCHE Votre maîtresse! oh! non! quelle honte!

BLANCHE Thy mistress! Shame upon thee!

LE ROI La fière!

THE KING Hah! so proud?

BLANCHE Je ne suis pas à vous, non, je suis à mon père!

BLANCHE, indignantly I’ll ne’er be such! My father can protect me!

LE ROI Ton père! mon bouffon! mon fou! mon Triboulet!

Ton père! il est à moi! j’en fais ce qu’il me plaît!

Il veut ce que je veux!

THE KING My poor Buffoon! my Fool! my Triboulet!

Thy father’s mine!—my property! my slave!

His will’s mine own!

BLANCHE, pleurant amèrement et la tête dans ses mains. Ô Dieu! mon pauvre père!

Quoi! tout est donc à vous?

BLANCHE, weeping My father! my poor father!

Is he too, yours?

Elle sanglote. Il se jette à ses pieds pour la consoler.

THE KING, falling to his knees

LE ROI, avec un accent attendri.

Blanche! oh! tu m’es bien chère!

Blanche, ne pleure plus! Viens sur mon cœur.

Dear Blanche! too dear to me!

Oh, weep not thus ! but, pressed against my heart—

BLANCHE, résistant.

Jamais!

BLANCHE Forbear!

LE ROI, tendrement.

Tu ne m’as pas encor redit que tu m’aimais.

THE KING Say but again, thou lov’st me, Blanche!

BLANCHE. Oh! c’est fini!

BLANCHE No! no!—tis’ passed.

LE ROI. Je t’ai, sans le vouloir, blessée.

Ne sanglote donc pas comme une délaissée.

Oh! plutôt que de faire ainsi pleurer tes yeux, J’aimerais mieux mourir, Blanche! j’aimerais mieux Passer dans mon royaume et dans ma seigneurie Pour un roi sans courage et sans chevalerie!

Un roi qui fait pleurer une femme! ô mon Dieu! Lâcheté!

THE KING I’ve pained thee thoughtlessly.

Nay, do not sob! Rather than force from thee Those precious drips, my Blanche, I’d die with shame, Or pass before my kingdom and my court For one unknown to gallantry and fame.

A King,—and make a woman weep! Ye gods!

BLANCHE, égarée et sanglotant.

N’est-ce pas, tout ceci n’est qu’un jeu?

Si vous êtes le roi, j’ai mon père. Il me pleure.

Faites-moi ramener près de lui. Je demeure Devant l’hôtel Cossé. Mais vous le savez bien.

Oh! qui donc êtes-vous? je n’y comprends plus rien.

Comme ils m’ont emportée avec des cris de fête!

Tout ceci comme un rêve est brouillé dans ma tête!

BLANCHE ‘Tis all a cheat! I know you jest with me!

If you be King, let me be taken home. My father weeps for me.

I live hard by De Cossé’s palace; but you know it well.

Alas! who are you? I’m bewildered!—lost!

Dragg’d like a victim here ‘midst cries of joy; My brain whirls round. ‘Tis but a frightful dream!

You, that I thought so kind.

42 | RIGOLETTO

FRENCH AND ENGLISH TEXT Pleurant.

Weeping.

Je ne sais même plus, vous que j’ai cru si doux, Si je vous aime encor!

Alas!

I think I love you not!

Reculant avec un mouvement d’horreur.

Suddenly starting back.

Vous roi!—J’ai peur de vous!

I do but fear you now.

LE ROI, cherchant à la prendre dans ses bras.

Je vous fais peur, méchante!

THE KING, trying to take her in his arms You fear me, Blanche!

BLANCHE, le repoussant.

Oh! laissez-moi!

BLANCHE, resisting Have pity!

LE ROI, la serrant de plus près Qu’entends-je?

Un baiser de pardon!

THE KING, seizing her in his arms Well, at least One pardoning kiss!

BLANCHE, se débattant.

Non!

BLANCHE, struggling No! no!

LE ROI, riant, à part.

Quelle fille étrange!

THE KING, laughing, aside How strange a girl!

BLANCHE, s’échappant de ses bras.

Laissez-moi!—Cette porte!

BLANCHE, forces herself away Help! Ah! that door!

Elle aperçoit la porte de la chambre du roi ouverte, s’y précipite, et lareferme violemment sur elle.

She see the door of the King’s own room, rushes in, and closes it violently

LE ROI, prenant une petite clef d’or à sa ceinture.

Oh! j’ai la clef sur moi.

THE KING, taking out a little key from his girdle ‘Tis lucky I’ve the key!

Il ouvre la porte, la pousse vivement, entre, et la referme sur lui.

He opens the door, rushes in, and locks it behind him.

MAROT, en observation à la porte du fond depuis quelques instants. Il rit.

Elle se réfugie en la chambre du roi! Ô la pauvre petite!

MAROT, who has been watching for some time at the door at the back of the stage.

She flies for safety to the King’s own chamber!

Alas! poor lamb!

Appelant monsieur de Gordes.

He calls to De Gordes, who is outside.

Hé! comte.

Hey, count!

DE GORDES, peeping in May we return?

BOSTON LYRIC OPERA | 43

FRENCH AND ENGLISH TEXT ACTE IV, SCÈNE II

ACT IV, SCENE II

LES MÊMES, LE ROI, MAGUELONNE.

BLANCHE, TRIBOULET, outside—SALTABADIL, THE KING, MAGUELONNE inside.

Le roi frappe sur l’épaule de Saltabadil, qui se retourne, dérangé brusquement dans son opération.

LE ROI Deux choses sur-le-champ.

SALTABADIL Quoi?

LE ROI Ta sœur et mon verre.

THE KING, striking Saltabadil familiarly on the shoulder.

Two things at once—your sister and a glass!

TRIBOULET, dehors.

Voilà ses mœurs. Ce roi par la grâce de Dieu Se risque souvent seul dans plus d’un méchant lieu, Et le vin qui le mieux le grise et le gouverne Est celui que lui verse une Hébé de taverne.

TRIBOULET, aside The morals of a King by grace divine; Who risks his life in low debaucheries, And doth prefer the wine that damns his sense, If proffered by some tabern Hebe’s hand!

LE ROI, dans le cabaret, chantant.

Souvent femme varie, Bien fol est qui s’y fie!

Une femme souvent N’est qu’une plume au vent!

THE KING, sings Changeful woman, constant never, He’s a fool who trusts her ever; For her love the wind doth blow, Like a feather, to and fro.

Saltabadil est allé silencieusement chercher dans la pièce voisine une bouteille et un verre, qu’il apporte sur la table. Puis il frappe deux coups au plafond avec le pommeau de sa longue épée. À ce signal, une belle jeune fille, vêtue en bohémienne, leste et riante, descend l’escalier en sautant. Dès qu’elle entre, le roi cherche à l’embrasser; mais elle lui échappe.

Saltabadil goes sullenly to the next room, returning with a bottle and glass, which he places on the table. He then strikes twice on the floor with the handle of his long sword, and at this signal a young girl, dressed in the Gipsey dress, bounds quickly down the stair. As she enters, the King tries to seize her in his arms, but she slips away.

Saltabadil recommences cleaning his belt.

LE ROI, à Saltabadil, qui s’est remis gravement à frotter son baudrier.

L’ami, ton ceinturon deviendrait bien plus clair, Si tu l’allais un peu nettoyer en plein air.

THE KING My friend, thy buckle would be brighter far Cleaned in the open air.

SALTABADIL Je comprends.

SALTABADIL I understand.

Il se lève, salue gauchement le roi, ouvre la porte du dehors, et sort en la refermant après lui. Une fois hors de la maison, il aperçoit Triboulet, vers qui il se dirige d’un air de mystère. Pendant les quelques paroles qu’ils échangent, la jeune fille fait des agaceries au roi, et Blanche observe avec terreur.—Bas à Triboulet, désignant du doigt la maison.

He rises, salutes the King awkwardly, opens the door, and comes out.

He sees Triboulet, and comes cautiously towards him. Blanche sees nothing but the young Gipsey girl, who is dancing around the King.

Voulez-vous qu’il vive ou bien qu’il meure?

Votre homme est dans nos mains.—Là.

44 | RIGOLETTO

In a low voice to Triboulet.

Shall he die now?

FRENCH AND ENGLISH TEXT TRIBOULET Reviens tout à l’heure.

TRIBOULET Not yet!—return anon.

Il lui fait signe de s’éloigner. Saltabadil disparaît à pas lents derrière le vieux parapet. Pendant ce temps-là, le roi lutine la jeune bohémienne, qui le repousse en riant.

Triboulet makes signs to him to retire. Saltabadil disappears behind the parapet-wall. Meantime the King endeavours to caress the young Gipsey.

MAGUELONNE, que le roi veut embrasser.

Nenni.

MAGUELONNE, slipping away No, no!

LE ROI Bon. Dans l’instant, pour te serrer de près, Tu m’as très-fort battu. Nenni, c’est un progrès.

Nenni, c’est un grand pas.—Toujours elle recule!

—Causons.—

THE KING Thou offerst too much defence.

A truce! Come hither!

La bohémienne se rapproche.

The girl draws nearer.

Voilà huit jours,—c’est à l’hôtel d’Hercule —Qui m’avait mené là? mons Triboulet, je crois,— Que j’ai vu tes beaux yeux pour la première fois.

Or, depuis ces huit jours, belle enfant, je t’adore.

Je n’aime que toi seule!

‘Tis a week ago, At Triancourt’s Hotel, (Ah, let me see, Who took me there?—I think ‘twas Triboulet,) There first I gazed upon that beauteous face, ‘Tis just a week, my goddess, that I love thee, And thee alone.

MAGUELONNE, riant.

Et vingt autres encore!

Monsieur, vous m’avez l’air d’un libertin parfait!

MAGUELONNE And twenty more besides; To me, a most accomplished rake you seem.

LE ROI, riant aussi.

Oui, j’ai fait le malheur de plus d’une, en effet.

C’est vrai, je suis un monstre.

THE KING Well, well! I won some hearts have ached for me.

True, I’m a monster!

MAGUELONNE Oh! le fat!

MAGUELONNE Coxcomb!

LE ROI Je t’assure. Çà, tu m’as ce matin mené dans ta masure, Méchante hôtellerie où l’on dîne fort mal Avec du vin que fait ton frère, un animal Fort laid, et qui doit être un drôle bien farouche D’oser montrer son mufle à côté de ta bouche.

C’est égal, je prétends y passer cette nuit.

THE KING ‘Tis most true!

But, tempter, ‘twas your beauty lured me here, With most adventurous patience to endure A dinner of the vilest; —and such wine!

Your brother’s hang-dog looks have soured it: An ugly wretch! How dares he show his face So near those witching eyes and lips of bliss!

It matters not. I stir not hence to-night.

MAGUELONNE, à part.

Bon, cela va tout seul.

MAGUELONNE, aside He courts the snare!

Au roi, qui veut encore l’embrasser.

To the King, who tries to embrace her.

Laissez-moi!

Excuse me!

BOSTON LYRIC OPERA | 45

FRENCH AND ENGLISH TEXT LE ROI Que de bruit!

THE KING Why resist?

MAGUELONNE Soyez sage!

MAGUELONNE Be wise!

LE ROI Voici la sagesse, ma chère: —Aimons, et jouissons, et faisons bonne chère.

Je pense là-dessus comme feu Salomon.

THE KING Why this wisdom, Maguelonne: Eat, drink, and love; I hold exactly there With old King Solomon.

MAGUELONNE Tu vas au cabaret plus souvent qu’au sermon.

MAGUELONNE Ha! ha! I think Thou lov’st the tavern better than the church.

LE ROI, lui tendant les bras.

Maguelonne!

THE KING, stretching out his arms to catch her Dear Maguelonne!

MAGUELONNE, lui échappant.

Demain!

MAGUELONNE, runs round behind the table.

To-morrow!

LE ROI Je renverse la table Si tu redis ce mot sauvage et détestable.

Jamais une beauté ne doit dire demain.

THE KING, seizing the table with both hands Say again That odious word, thy fence I’ll overthrow; The lip of beauty, ne’er should say to-morrow.

MAGUELONNE, s’apprivoisant tout d’un coup et venant s’asseoir gaiement sur la table auprès du roi.

Eh bien! faisons la paix.

MAGUELONNE, comes suddenly round, and sits by the King Well, let’s be friends!

LE ROI, lui prenant la main.

Mon Dieu, la belle main!

Et qu’on recevrait mieux, sans être un bon apôtre, Soufflets de celle-là que caresses d’une autre!

THE KING, taking her hand Ah, what a hand is thine!

So soft, so taper!—‘twere a Christian’s part, Without pretence to over sanctity, To court thy blow, and turn his cheek for more.

MAGUELONNE, charmée.

Vous vous moquez!

LE ROI Jamais!

MAGUELONNE Je suis laide!

MAGUELONNE, pleased You mock me.

THE KING Never!

MAGUELONNE But I am not fair.

LE ROI. Oh! non pas.

Rends donc plus de justice à tes divins appas!

Je brûle! Ignores-tu, reine des inhumaines, Comme l’amour nous tient, nous autres capitaines, Et que, quand la beauté nous accepte pour siens, Nous sommes braise et feu jusque chez les Russiens?

THE KING Unkind to me, and to thyself unjust!

Queen of inexorables, know’st thou not How tyrant love doth rule the soldier’s heart?

And if bright beauty doth our suit approve, Though ‘twere midst Russia’s snows, we blaze with love.

MAGUELONNE, éclatant de rire.

Vous avez lu cela quelque part dans un livre.

MAGUELONNE, bursting into a fit of laughter I’m sure you’ve read that somewhere in a book.

46 | RIGOLETTO

FRENCH AND ENGLISH TEXT LE ROI, à part.

C’est possible.

THE KING, aside Quite possible.

Haut.

Aloud.

Un baiser.

Come, kiss me!

MAGUELONNE Allons, vous êtes ivre!

MAGUELONNE Sir, you’re drunk!

LE ROI, souriant.

D’amour.

THE KING With love!

MAGUELONNE Vous vous raillez avec votre air mignon, Monsieur l’insouciant de belle humeur!

MAGUELONNE I know you do but jest with me, And couch your wit against a silly girl.

LE ROI Oh! Non

The King succeeds in giving her a kiss, and tries a second time, which she refuses.

Le roi l’embrasse.

Enough!

MAGUELONNE. C’est assez!

LE ROI Çà, je veux t’épouser.

THE KING I’ll marry thee.

MAGUELONNE, riant.

Ta parole?

MAGUELONNE, laughing You pledge your word.

LE ROI Quelle fille d’amour délicieuse et folle!

Il la prend sur ses genoux et se met à lui parler tout bas. Elle rit et minaude. Blanche n’en peut supporter davantage; elle se retourne, pâle et tremblante, vers Triboulet.

The King clasps her round the waist, and whispers in her ear.

Blanche unable to bear the scene any longer, turns round, and totters towards her father.

TRIBOULET, après l’avoir regardée un instant en silence.

Hé bien! que penses-tu de la vengeance, enfant?

TRIBOULET, after contemplating her for some time in silence What think’st thou now of vengeance, my poor child?

BLANCHE, pouvant à peine parler. Ô trahison!—L’ingrat! Grand Dieu! mon cœur se fend!

Oh! comme il me trompait! Mais c’est qu’il n’a point d’âme!

Mais c’est abominable! Il dit à cette femme Des choses qu’il m’avait déjà dites à moi.

BLANCHE Betrayed! ungrateful!—Oh, my heart will break!

He hath no soul, no pity, kindness—none!

Even to that girl, who loves him not, he says The same fond words that once he said to me.

Cachant sa tête dans la poitrine de son père.

Hides her head in her father’s bosom.

—Et cette femme, est-elle effrontée!—oh!

And oh, that shamelss creature!

TRIBOULET, à voix basse.

Tais-toi.

Pas de pleurs. Laisse-moi te venger!

TRIBOULET Hush ! no more!

Enough of tears, leave now revenge to me!

BOSTON LYRIC OPERA | 47

FRENCH AND ENGLISH TEXT BLANCHE Hélas!—Faites Tout ce que vous voudrez.

BLANCHE Do as thou wilt.

TRIBOULET. Merci!

TRIBOULET I thank thee.

ACTE V, SCÈNE V.

ACT V. SCENE V.

LES MÊMES, HOMMES, FEMMES du peuple.

PERSONNAGES

UNE FEMME Ses paroles me serrent Le cœur!

A WOMAN His sorrow wrings my heart!

TRIBOULET, se retournant.

Ah! vous voilà! vous venez, maintenant!

Il est bien temps!

TRIBOULET So ye are come at last!

—indeed, ‘twas time!

Prenant au collet un charretier, qui tient son fouet à la main.

Turning to a waggoner, and seizing him by the arm.

As-tu des chevaux, toi, manant!

Une voiture? dis!

Has thou a horse, my friend?

—a loaded wain?

LE CHARRETIER Oui.—Comme il me secoue!

WAGGONER I have—

TRIBOULET Oui? Hé bien, prends ma tête, et mets-la sous ta roue!

Aside.

Il revint se jeter sur le corps de Blanche.

How fierce his grasp!

Ma fille!

TRIBOULET Then take my head, And crush it ‘neath thy wheels!—my Blanche! my child!

UN DES ASSISTANTS Quelque meurtre! un père au désespoir!

Séparons-les.

ANOTHER MAN This is some murder! Grief has turned his brain: Better to part them.

Ils veulent entraîner Triboulet, qui se débat.

They drag Triboulet away.

TRIBOULET Je veux rester! je veux la voir!

Je ne vous ai point fait de mal pour me la prendre!

Je ne vous connais pas.

Voulez-vous bien m’entendre?

TRIBOULET Never!—here I’ll stay.

I love to look upon her, though she’s dead.

I never wronged ye—why then treat me thus?

I know ye not. Good people, pity me!

À une femme.

To the woman.

Madame, vous pleurez? vous êtes bonne, vous!

Dites-leur de ne pas m’emmener.

Madame, you weep—you’re kind. In mercy beg They drag me not from hence.

48 | RIGOLETTO

FRENCH AND ENGLISH TEXT La femme intercède pour lui. Il revint près de Blanche.

Tombant à genoux.

The woman intercedes; they let him come back to the body of Blanche. He runs wildly to it, and falls on his knees.

À genoux! À genoux, misérable, et meurs à côté d’elle!

Upon thy knees, thou wretch, and die with her!

LA FEMME Ah! calmez-vous. Si c’est pour crier de plus belle, On va vous remmener.

THE WOMAN Be calm—be comforted. If thus you rave You must be parted.

TRIBOULET, égaré.

Non, non, laissez!—

TRIBOULET, wild with grief No! no! no!

Saisissant Blanche dans ses bras.

Seizes her in his arms, and suddenly stops in his grief—his senses are evidently wandering.

Je crois Qu’elle respire encore! elle a besoin de moi!

Allez vite chercher du secours à la ville.

Laissez-la dans mes bras, je serai bien tranquille.

Il la prend tout à fait sur lui, et l’arrange comme une mère son enfant endormi.

Non, elle n’est pas morte! Oh! Dieu ne voudrait pas; Car enfin, il le sait, je n’ai qu’elle ici-bas Tout le monde vous hait quand vous êtes difforme; On vous fuit, de vos maux personne ne s’informe; Elle m’aime, elle!—elle est ma joie et mon appui.

Quand on rit de son père, elle pleure avec lui.

Si belle et morte! oh! non.—Donnez-moi quelque chose Pour essuyer son front.

Il lui essuie le front.

Sa lèvre est encor rose.

Oh! si vous l’aviez vue! oh! je la vois encor Quand elle avait deux ans avec ses cheveux d’or!

Elle était blonde alors.— La serrant sur son cœur avec emportement. Ô ma pauvre opprimée!

Ma Blanche! mon bonheur! ma fille bien-aimée!

Lorsqu’elle était enfant, je la tenais ainsi.

Elle dormait sur moi tout comme la voici!

Quand elle s’éveillait, si vous saviez quel ange!

Je ne lui semblais pas quelque chose d’étrange!

Elle me souriait avec ses yeux divins, Et moi je lui baisais ses deux petites mains!

Pauvre agneau!—Morte! oh! non, elle dort et repose.

Tout à l’heure, messieurs, c’était bien autre chose.

Elle s’est cependant réveillée.—Oh! j’attends, Vous l’allez voir rouvrir ses yeux dans un instant!

Vous voyez maintenant, messieurs, que je raisonne;

I think She breathes again. She wants a father’s care!

Go some one to the town, and seek for aid: I’ll hold her in my arms.—I’m quiet now.

He takes her in his arms and holds her as a mother would an infant.

No! she’s not dead, God will not have it so.

He knows that she is all I loved on earth.

The poor deformed one, was despised by all, Avoided, hated. None were kind to him But she! she loved me, my delight, my joy: When others spurned, she loved and wept with me.

So beautiful, yet dead! Your kerchief, pray, To smoothe her forehead. See her lip’s still red.

Oh, had you seen her, as I see her still, But two years old: her pretty hair was then As fair as gold!

Presses her to his heart.

Alas! most foully wronged, My Blanche, my happiness, my darling child!

When but an infant, oft I’ve held her thus: She slept upon my bosom just as now— And when she woke, her laughing eyes met mine, And smiled upon me with an angel’s smile.

She never thought me hideous, vile, deformed.

Poor girl! she loved her father. Now she sleeps!

Indeed, I know not what I feared before— She’ll soon awaken! Wait awhile, I pray, You’ll see her eyes will open! Friends! you hear I reason calmly. I’m quite tranquil now; I’ll do whate’er you will, and injure none, So that you let me look upon my child.

He gazes upon her face.

BOSTON LYRIC OPERA | 49

FRENCH AND ENGLISH TEXT Je suis tranquille et doux, je n’offense personne: Puisque je ne fais rien de ce qu’on me défend, On peut bien me laisser regarder mon enfant.

Il la contemple.

Pas une ride au front! pas de douleurs anciennes!— J’ai déjà réchauffé ses mains entre les miennes; Voyez, touchez-les donc un peu!

How smooth her brow, no early sorrows there Have marked the fair entablature of youth.

Starting.

Hah! I have warmed her little hand in mine.

To the people.

Feel how the pulse returns!

Entre un médecin.

Enter a surgeon.

LA FEMME, à Triboulet.

Le chirurgien.

THE WOMAN, to Triboulet The surgeon’s here.

TRIBOULET, au chirurgien qui s’approche.

Tenez, regardez-la, je n’empêcherai rien.

Elle est évanouie, est-ce pas?

TRIBOULET Look, Sir, examine, I’ll oppose in nought.

She has but fainted, is’t not so?

LE CHIRURGIEN, examinant Blanche.

Elle est morte.

SURGEON, after feeling her pulse, says coldly She’s dead!

Triboulet se lève debout d’un mouvement convulsif.

Triboulet starts up convulsively, the Surgeon goes on examining the wound.

Elle a dans le flanc gauche une plaie assez forte.

Le sang a dû causer la mort en l’étouffant.

The wound’s in her left side. ‘Tis very deep. Blood must have flowed upon the lungs. She died by suffocation.

TRIBOULET J’ai tué mon enfant! j’ai tué mon enfant!

TRIBOULET, with a scream of agony.

I have slain my child!

Il tombe sur le pavé.

He falls senseless on the ground.

FIN DU ROI S’AMUSE

END OF THE TRAGEDY

The full text of Victor Hugo’s Le roi s’amuse is available as an eBook through Project Gutenberg. http://www.gutenberg.org/files/29549/29549-h/29549-h.htm

The full text of Victor Hugo’s Le roi s’amuse, in an English translation by Frederick L. Slous, is available as an eBook through Google Books. http://books.google.com/books/about/Le_Roi_S_amuse. html?id=La8aAAAAYAAJ

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50 | RIGOLETTO

This is a transcription of a copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project to make the world’s books discoverable online. It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired.

GRADE 9-10 LESSON TOPIC: COMPARING AND ANALYZING STORY ADAPTIONS LENGTH OF LESSON: 2-6 CLASS PERIODS

STAGE 1 – DESIRED RESULTS Content Standard(s): Grades 9-12 Writing Standard 3: Write narratives to develop real or imagined experiences or events using effective technique, wellchosen details, and well-structured event sequences.

Grades 9-10 Writing Standard 3A: Demonstrate understanding of the concept of point of view by writing short narratives, poems, essays, speeches, or reflections from one’s own or a particular character’s point of view (e.g., the hero, anti-hero, a minor character).

Grades 10-12 Writing Standard 3A: Demonstrate understanding of the concept of theme by writing short narratives, poems, essays, speeches, or reflections that respond to universal themes (e.g., challenges, the individual and society, moral dilemmas, the dynamics of tradition and change).

Understanding (s)/goals Students will understand: • How to think critically about characters.

Essential Question(s): • What motivates each character in the drama (including minor characters)?

•

How to write coherently and creatively in a first person point of view of a character.

•

How do these motivations advance the plot?

•

How to read into the subtext to access information about a character.

•

What can we extrapolate from the text about characters?

Student objectives (outcomes): Students will be able to: • Write creatively from the perspective of a character.

•

Make educated assumptions about the characters based on analysis of the text.

STAGE 2 – ASSESSMENT EVIDENCE Performance Task(s): • Read a synopsis of Verdi’s Rigoletto •

Attend Boston Lyric Opera’s production of Rigoletto.

•

Observe and take notes on the characters, their personalities, their language, and their motives.

•

Choose a character and write a narrative (monologue, soliloquy, journal entry, or other) from their perspective.

Other Evidence: • Assess students’ familiarity with different narrative forms.

BOSTON LYRIC OPERA | 51

GRADE 9-10 LESSON TOPIC: COMPARING AND ANALYZING STORY ADAPTIONS LENGTH OF LESSON: 2-6 CLASS PERIODS

STAGE 3 – LEARNING PLAN Learning Activities: Total time: 2-6 class periods Suggested Materials and Resources: • Rigoletto synopsis and character descriptions (see attached materials).

•

Rigoletto libretto: http://www.murashev.com/opera/Rigoletto_libretto_Italian_English

Introductory Activity: • Read the synopsis to Rigoletto and character descriptions. (In-class or at-home assignment).

•

As a class, attend Boston Lyric Opera’s dress rehearsal of Rigloetto. Take notes on the characters, their personalities, language, and/or demeanor (Outside of class).

•

Alternate to attending Boston Lyric Opera’s dress rehearsal: Watch the Metropolitan Opera’s production of Rigoletto. (http://www.youtube.com/watch?v=Gl4B-PFDNdA)

Development Activity: • Discuss the opera and its characters as a class. Decide which character you would be interested in exploring for a narrative. Ask questions such as: Which characters were most intriguing? Which would you have liked to know more about? Which characters do I relate to, or not relate to?(1-2 class periods) Closing Activity: • Write a narrative from the perspective of a character from Rigoletto. Choose a moment or issue for the character that was not fully explored in the opera and right a narrative in the format of your choosing. (Ex: a diary entry from Gilda, a monologue for Marullo explaining his motives for sabotaging Rigoletto, the Duke’s reaction to Gilda’s death, etc.) (At-home assignment).

•

Act or read your narrative to the class (1-3 class periods).

52 | RIGOLETTO

GRADE 11-12 LESSON TOPIC: CREATIVE WRITING AFTER WATCHING RIGOLETTO LENGTH OF LESSON: 2-3 CLASS PERIODS

STAGE 1 – DESIRED RESULTS Content Standard(s): Grades 9-12 Writing Standard 3: Write narratives to develop real or imagined experiences or events using effective technique, wellchosen details, and well-structured event sequences. a. Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events. b. Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters. c. Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution). d. Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters. e. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.

Understanding (s)/goals Students will understand: • How to expand on existing characters and details creatively.

•

How to extrapolate events from an existing story in a consistent and believable way.

Essential Question(s): • What specific qualities do different characters in Rigoletto possess?

•

How can one extrapolate thoughts and actions for a character from the given text?

•

How can one use the historical period in which a story is set to predict the action of the characters?

Student objectives (outcomes): Students will be able to: • List traits of existing characters.

•

Use these traits, combined with an existing plot and setting, to extrapolate an ending to the story.

•

Share and compare their ideas with classmates.

STAGE 2 – ASSESSMENT EVIDENCE Performance Task(s): • Discuss key character traits of major characters in Rigoletto.

•

Write an ending scene for Rigoletto that is consistent with the context of the rest of the opera.

•

Share and compare Rigoletto endings with the class.

Other Evidence: • Ensure students’ ideas reflect a full understanding of the opera and its historical context.

•

Are students able to keep their creative writing consistent with the plot, characterization, and style of the opera?

•

Notice how easily students are able to extrapolate from an existing piece of work.

BOSTON LYRIC OPERA | 53

GRADE 11-12 LESSON TOPIC: CREATIVE WRITING AFTER WATCHING RIGOLETTO LENGTH OF LESSON: 2-3 CLASS PERIODS

STAGE 3 – LEARNING PLAN Learning Activities: Total time: 2-6 class periods Suggested Materials and Resources: • English translation of the liberetto of Rigoletto, if needed: http://www.murashev.com/opera/Rigoletto_libretto_Italian_English NOTE: At this point, it is assumed that students have already attended Boston Lyric Opera’s production of Rigoletto or watched a version of it online or on DVD. Introductory Activity • Exploring character traits (one class period) •

As a class, discuss the character traits of all the main characters in Rigoletto. Write a master list of traits on the board.

•

Discuss setting, historical period, and how these factors affect the characters.

Developmental Activity • Writing an ending scene (one class period, and/or variable time at home) •

Keeping in mind the character traits, setting, and historical period, write an ending scene for Rigoletto. After the end of the opera, what happens to the Duke? Rigoletto? Maddalena? Sparafucile? Encourage students to write either as a story or as a play, a script with dialogue and stage direction.

Closing Activity • Sharing and comparing ideas (one class period) •

Have students read or perform their ending scenes in small groups. Encourage them to compare their ideas and to critique the consistency of the new scenes with the scenes in the opera. Some possible questions to explore: 1. Do the actions of the characters in a given ending match the original character traits the class agreed on?

2. Are the actions and events that take place in a given ending consistent with the time period and setting of the opera?

3. Is the reader/listener left wondering about the fate of any of the characters in Rigoletto, or is all resolved?

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FOR FURTHER INFORMATION WORKS CITED Aldrich, Richard. “Verdi’s “Un Ballo in Maschera”: The Troublous History of the First Performance, Taking Other Men’s Librettos, and Permanant Orchestras Abroad.” New York Times 22 Feb. 1903: n. pag. Print.

Bain, Nisbet R. “The Assassination of Gustavus III of Sweden.” The English Historical Review 2.7 (1887): 543-52. Web. <http://www.jstor.org/stable/547080>.

Dent, Edward J. “Un Ballo in Maschera.” Music & Letters 33.2 (1952): 101-10. Print.

Piave, Franscesco M. ““Rigoletto” by Giuseppe Verdi Libretto (Italian English).” DM’s Opera Website: Libretti & Information. Trans. Dale McAdoo. N.p., n.d. Web. 11 Dec. 2013. <http://www.murashev.com/opera/Rigoletto_libretto_Italian_English>.

“Giuseppe Verdi Biography.” Bio.com. A&E Networks Television, n.d. Web. 26 Nov. 2013. <http://www.biography.com/people/giuseppe-verdi-9517249>.

“Giuseppe Verdi Biography.” Giuseppe Verdi: A Tribute to Giuseppe Verdi. WordPress, n.d. Web. 25 Nov. 2013. <http://www.giuseppe-verdi.net/giuseppe-verdi-biography/>.

Photograph of Giuseppe Verdi. Digital image. Knight Arts: Witnessing the Transformational Power of the Arts. N.p., n.d. Web. <http://www.knightarts.org/wp-content/uploads/2013/10/Giuseppe-Verdi.jpg>.

“Verdi, Giuseppe (Fortunino Francesco).” PBS. PBS, n.d. Web. 25 Nov. 2013. <http://www.pbs.org/wnet/gperf/education/verdi.html>.

Verdi. Digital image. Wikimedia Commons. N.p., 9 Aug. 2010. Web. 26 Nov. 2013. <http://commons.wikimedia.org/wiki/File:Verdi.jpg>.

ADDITIONAL SOURCES Hugo, Adèle. Victor Hugo by a Witness of His Life. Trans. Charles Edwin Wilbour. New York: Carleton, n.d. Print.

“Hugo and Le roi s’amuse.” San Diego Opera. N.p., n.d. Web. 03 Dec. 2013.

Rigoletto Premiere Poster. Digital image. Wikimedia Commons. N.p., 21 Apr. 2012. Web. 3 Dec. 2013.

Victor Hugo - Le Roi S’amuse 1832-1882. Digital image. Wikimedia Commons. N.p., 19 Apr. 2008. Web. 3 Dec. 2013.

1903 NY Times article on Un Ballo in Maschera at the Metropolitan Opera: http://query.nytimes.com/mem/archive-free/pdf?res=FB081EFA3A5412738DDDAB0A94DA405B838CF1D3 Historical article on the assassination of Gustavus III: http://www.jstor.org/stable/547080 History of Un Ballo in Maschera: http://www.jstor.org/stable/730799

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