What a crafty expression, what an outfit, what a figure! If women fall in love with him, they have their reasons why. Ecco la cuffia. Miserabili noi, se il Conte viene. Che furba guardatura, che vezzo, che figura!
Push the sleeves up above his elbows so that the dress fits better. E questo sangue? His arm is whiter than mine! Go to my closet and fetch a piece of the court-plaster that's on my dressing-table. Susanna leaves. As for the ribbon, I would really be loth to part with that colour. Susanna leaves through the door at the back, taking Cherubino's cloak with her. Qualche ragazza. Susanna parte. In quanto al nastro. Per il colore. Tenete: E da legargli il braccio? This is better. Well, d'you know, I never knew that! How unfortunate! What can I not die! She dries his eyes with her handkerchief.
A knock is heard at the door. Forse vicino all'ultimo momento. Gli asciuga gli occhi col fazzoletto. Si sente picchiare alla porta. Who knocks on my door? Oh God! He'll kill me. Dressed like this! A note received, his terrible jealousy! He slips into the closet and shuts the door, the Countess takes the closet key. Chi picchia alla mia porta? In questo stato, un ricevuto foglio. Cherubino entra nel gabinetto, chiude la porta; la Contessa prende la chiave. She runs to open the door to the Count. It used never to be your habit to lock yourself into your room!
Look at this piece of paper. It's Figaro's note. Cherubino knocks over a table and chair in the closet; they fall with a crash. Something fell over in the closet. Corre ad aprire al Conte. Cherubino fa cadere un tavolino e una sedia, in gabinetto, con molto strepito. Why then are you so worried?
Come out, I order you. Where has the page gone? She's in there trying on her new gown for the wedding. Let's see what happens. Un abito da sposa provando ella si sta. A disaster, a scandal, an uproar, will certainly result! Ho there! Would you openly question the honour of a lady? I'm in the wrong; without noise, without creating a scandal among our people, I can myself fetch the necessary tools. You wait here; but so that my suspicions may be proved to be completely groundless, I shall lock all the doors first.
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He locks the door at the back which is that leading to the servants' quarters. Porreste a repentaglio d'una dama l'onore? Posso senza rumore, senza scandalo alcun di nostra gente andar io stesso a prender l'occorrente: attendete pur qui Chiude a chiave la porta che conduce alle stanze delle cameriere. Madama, eccovi il braccio. They go out. Susanna comes out of her hiding place. Come out, now, come out, come on out of there. What a disaster! What will happen next? Wait, for pity's sake! To save her I would leap into flames!
I embrace you for her! So be it! He jumps out of the window. Pria di nuocerle. Abbraccio te per lei! Salta per la finestra. Cherubino jumps; Susanna cries out, sits down for a moment and then runs to the window. O just see how the little devil runs! He's a mile away already. But there's no time to lose; let's go into the closet. When that bully returns, I'll be waiting for him.
She goes into the closet and closes the door behind her. Enter the Countess with the Count who is carrying tools for opening the door: he carefully examines every door in the room. The Count throws the hammer and pliers down on a chair. Do you think me capable of besmirching my honour? I'm going to see who is in that closet. Cherubino salta fuori; Susanna mette un alto grido, siede un momento, poi va al balcone.
O guarda il demonietto! Ma non perdiamci invano.
Entriam nel gabinetto: venga poi lo smargiasso, io qui l'aspetto. Susanna entra nel gabinetto e si chiude dietro la porta. Rientrano la Contessa ed il Conte con l'occorrente per aprire la porta: al suo arrivo esamina tutte le porte. Il Conte getta il martello e la tenaglia sopra una sedia. Mi credete capace di mancare al dover? Tell me - I'll kill him. Hasn't he gone? This is the reason for my doubts, this is the intrigue, the plot the note warned me about.
Ah, non ho cor. If you're coming out, low-born brat, you wretch, don't be slow about it. Nudo il petto! Give me the key! Get right out of my sight. You are unfaithful and impious, and you're trying to humiliate me! Qua la chiave! Voi sapete Va lontan dagli occhi miei, un'infida, un'empia sei, e mi cerchi d'infamar!
He shall die and be no longer the source of my troubles. Blind jealousy, what excesses you bring about! The Count unsheathes his sword and opens the dressing-room door. Susanna comes out. What is this amazement? Take your sword and kill the page, that low-born page you see before you. La cieca gelosia, qual eccesso gli fa far! Il Conte snuda il ferro ed apre la porta del gabinetto.
Il brando prendete, il paggio uccidete, quel paggio malnato vedetelo qua. I feel my head spinning! Susanna was in there! They don't know what happened! He goes into the dressing-room. I cannot breathe. La testa girando mi va! Entra nel gabinetto. Appena lo credo; se a torto v'offesi I beg your pardon, but playing such jokes is cruel, after all.
I'm unfaithful and impious, and trying to humiliate you. Son l'empia, l'infida ch'ognora v'inganna. My lady! I am now no more than the miserable object of your desertion, whom you delight in driving to despair. Cruel, cruel man! This soul cannot bear to suffer such wrong. Ma il misero oggetto del vostro abbandono che avete diletto di far disperar. Crudele, crudele!
If I could Who would believe again in woman's anger? I was wrong and I repent! Figaro enters. Hear the trumpets, and listen to the pipes. Entra Figaro. Do you know, my good Figaro, who wrote this letter? He shows him a letter. Tira fuori il foglio. Antonio comes rushing in, holding a pot of crushed carnations. Who did it? Quanto tardi a comparir! Entra frettolosamente Antonio, con un vaso di garofani schiacciati. Signor, signor! Chi'l fece? Chi fu? From the balcony that looks out on the garden I've seen a thousand things thrown down, but just now, what could be worse?
I saw a man, my lord, thrown out! What is that drunkard doing here? You're tipsy from break of day. Tu sei cotto dal sorger del di. Making such a fuss for threepence! Since the fact can't be kept quiet, it was I who jumped from there! A genius! Voi stesso? Che ingegno! When you jumped you weren't like that. Let's wind up this nonsense!
Finiam questo ballo! When I heard an unusual noise I thought of the letter Antonio leaves. Antonio parte. The page's commission! The commission! It's the commission that the boy gave me a while ago. La patente del paggio! La patente! Poor man, he knows less than I do, etc. Marcellina, Bartolo and Basilio enter. I'm beginning to feel better. Poverino ne sa men di me, ecc. Entrano in fretta Marcellina, Bartolo e Basilio. I am here to render judgment. Io son qui per giudicar. We will read the contract and proceed in due order.
Lo vedremo, il contratto leggeremo, tutto in ordin deve andar. Che bel caso! Andante con moto III. An anonymous letter, the maid shut in the closet, my lady in a state of confusion, a man who leaps from the balcony into the garden, another one who says that it was him; I don't know what to think.
Could it perhaps be one of my servants? Such people are habitually presumptuous. But the Countess - ah, there one cannot doubt without offence! She has too much self-respect, and respect for my honour too. My honour - where, devil take it, human frailty exists! The Countess and Susanna enter but stop by the door, unseen by the Count.
Pluck up your courage and tell him to wait for you in the garden. Un foglio anonimo Ma la Contessa. Entrano la Contessa e Susanna e s'arrestano in fondo alla scena non vedute dal Conte. And Figaro? She leaves. Who knows, she may have revealed my secret; oh, if she has said anything, I shall make the old one the bride. Oh se ha parlato gli fo sposar la vecchia. Common women don't suffer such ailments. Questi non sono mali da donne triviali. Why until now did you leave me to languish? No, I won't fail you.
She turns to leave, but meets Figaro in the doorway. E mi prometti poi. Vuol partire, e sotto la porta s'incontra in Figaro. What's that? What trap have I fallen into? I'm going to I'm going to punish you in such a way But what if he should pay the old suitor? Pay her! With what? And then there is Antonio, who will refuse to give his niece in marriage to the upstart Figaro.
By flattering the pride of that half-wit Everything's falling into my scheme I'll strike while the iron's hot. Shall I live to see a servant of mine happy and enjoying pleasure that I desire in vain? Shall I see the hand of love unite a lowly person to one who arouses feelings in me she does not feel herself? Shall I live to see, etc. Ah no! I shall not leave that carefree creature in peace; you were not born, bold fellow, to give me torment or perhaps to laugh at my unhappiness. La segue. Cosa sento! In qual laccio cadea? Perfidi, io voglio Ma s'ei pagasse la vecchia pretendente?
In qual maniera? Coltivando l'orgoglio di questo mentecatto Ah, I shall not leave, etc. No more to be said. Well done, Don Curzio. Ah, che lasciarti in pace, ecc. Entrano Marcellina, Curzio, Figaro, Bartolo. She lent you two thousand crowns. Who are they? It's him! Figaro embraces his parents. She's his mother?
It's too late for the wedding now.
I have a thousand double crowns right here. I come to pay for Figaro and to set him at liberty. Figaro abbraccia i genitori. Ella sua madre? Look over there a moment. She wants to leave but Figaro detains her. Leave me alone, villain! Listen, darling! Vuol partire ma Figaro la trattiene. Lascia, iniquo! Senti, oh cara, senti! The Count and Don Curzio depart.
Il Conte e Don Curzio partono. Go on throwing, and I'll go on collecting! Who is as happy as I am? ALL And the count can rage until he bursts, as far as I'm concerned! With their arms round each other they all leave together. Enter Barbarina and Cherubino. Prendi ancor quentaborsa. E questa ancora. Partono abbracciati. Entrano Barbarina e Cherubino. I'd be for it! You know he believes I've already left for Seville. If he finds you, it won't be the first time. Listen, we're going to dress you like us, then we're all going together to present some flowers to the Countess.
Cherubino, trust Barbarina. They leave. Enter the Countess, alone. I am anxious to know how the Count received the proposal. The scheme appears rather daring, with a husband so forceful and jealous! But what's the harm in it? Changing my clothes for those of Susanna, and she for mine, under cover of night. To what humble and dangerous state I am reduced by a cruel husband, who, after having with an unheard-of combination of infidelity, jealousy and disdain - first loved me, then abused and finally betrayed me - now forces me to seek the help of a servant!
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Se il Conte mi trova, misero me! Tu sai che partito ei mi crede per Siviglia. Odi, vogliam vestirti come noi: tutte insieme andrem poi a presentar de' fiori a Madamina. Fidati, o Cherubin, di Barbarina. Entra la Contessa. Sono ansiosa di saper come il Conte accolse la proposta.
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Cangiando i miei vestiti con quelli di Susanna, e i suoi coi miei al favor della notte. Oh cielo! A qual umil stato fatale io son ridotta da un consorte crudel! Dove sono i bei momenti di dolcezza e di piacer, dove andaron i giuramenti of that deceitful tongue? Why did not, when my life changed into tears and pain, the memory of that joy disappear from my breast? Where are the golden moments, etc.
If then my constancy still loves through its sorrow, the hope yet remains of changing that ungrateful heart. If then my constancy, etc. The Count enters with Antonio. There he dressed up as a woman and left his clothes. Enter the Countess and Susanna. Dove sono i bei momenti, ecc. Se almen la mia costanza nel languire amando ognor mi portasse una speranza di cangiar l'ingrato cor! Se almen la mia costanza, ecc. Entrano il Conte e Antonio. Entrano la Contessa e Susanna.
And what did the Count say? Where did you arrange to meet him? Susanna sits down and begins to write. E che ne disse il Conte? Susanna siede e scrive. Its success was immense: in a few months it was printed in 40 Italian editions and translated into dozens of languages. Its praise for the creation of the united Italian state in the previous decade contributed to its reception, but also led to criticism from some Roman Catholic politicians for failing to depict the nature of the Holy See's opposition to the annexation of Rome.
The nationalist message visible in De Amicis' works was soon fused with a commitment to socialism a trend visible within Heart. In , he joined the Italian Socialist Party. His later works include: Sull'oceano , dealing with the plight of Italian emigrants overseas, Il romanzo di un maestro , Amore e ginnastica , Maestrina degli operai , La carrozza di tutti , L'idioma gentile , and Nuovi ritratti letterari e artistici At the same time, he contributed to the Turin-based Il Grido del Popolo - his articles were collected as Questione sociale "Social Issues", His last years were marked by tragedy and spent in reclusion; he was marked by his mother's death, and the frequent conflicts with his wife - ultimately, these were the source of an even greater emotional shock for De Amicis, as they led to his son Furio's suicide as schoolchildren, Furio and his brother Ugo had served as inspiration for Heart.
Operas ; Theatrical Works ; For voices, mixed chorus, orchestra ; Scores featuring the voice ; Scores featuring mixed chorus ; Scores featuring the orchestra ; For voices and chorus with orchestra ; French language ; Italian language ; For piano arr ; For 1 player ; Scores featuring the piano ; For 4 cellos arr ; Scores featuring the cello ; For 4 players. Pieces based on 'Don Carlos'.