Il Primo Novecento

Speranza 1900a. Giordano FEDORA (Caruso) Amor ti vieta di non amar la man tua lieve che mi respinge cerca la stretta della mia man la tua pupillae sprime, “t’amo” se il labbro dice, non t’amerò. 1900b. Puccini TOSCA Cavadarossi. ----------------------------------------------------- Recondita armonia di bellezze diversa È bruna Floria, l'ardente amante mia e te, beltade ignota cinta di chiome bionde tu azzurro hai l'occhio, Tosca ha l'occhio nero l’arte nel suo mistero, le diverse bellezze insiem confonde ma nel ritrar costei il mio solo pensiero il mio sol pensier sei tu, Tosca, sei tu.------------------------------------------------------------------------------------------- E lucevan le stelle ed olezzava la terra stridea l'uscio dell'orto e un passo sfiorava la rena entrava ella fragrante mi cadea fra le braccia o dolci baci, o languide carezze mentr’io fremente le belle forme disciogliea dai veli svanì per sempre il sogno mio d'amore l'ora è fuggita ---------------------------a e muoio disperato e muoio disperato e non ho amato mai tanto la vita ------ a tanto la vita. 1900c. Charpentier. LUISA. 1900d. Faure. PROMETEO. 1900e. Rimsky-Korsakov. TSARE SALTANE. 1900f. Leoncavallo. ZAZA. Milio Dufresne, tenore. creato da Edoardo Garbin. 1901. Mascagni. LE MASCHERE. Dvorak. RUSALKA. Massenet. GRISELIDIS. Strauss. Feuersnot. Penn-Fitz. “Bluebell in Fairyland”. Teatro Vaudeville, Londra. Ellaline Terris. --------------I---------------------------------------------------------------II On a summer afternoon----------------a-------------so beneath that sky so blue where the honeysuckles bloom-------a—----------these two lovers fond and true when all nature seemed at rest----b-------------with their hearts so filled with bliss ‘neath a little rustic bower--------------c—--------as they sat there side by side mid the perfume of the flower----------c----------he asked her to be his bride a maiden sat with one she loved the best— b- ------she answered yes and sealed it with a kiss. as they sang the songs of love----d-------------for her heart had yielded soon from the arbour just above-------d--------------‘neath the honeysuckle bloom came a bee which lit upon the vine---- e— ------and thru life they’d wander day by day as it sipped the honey-dew-----------f--------------and he vowed just like the bee they both vowed they would be true—f---------I will build a home for thee then he whispered to her words she thought divine— f— ----------and the bee then seemed to answer them and say. RITORNELLO:You are my honey honeysuckle I am the bee------a I’d like to sip the honey sweet from those red lips you see----------a I love you dearly dearly and I want you to love me----------------a you are my honey honeysuckle I am the bee 1902. Franchetti. “GERMANIA”. Federico, tenore (creato da Enrico Caruso)---------------------------------------------------------------------------------- Studenti, udite, o voi, antichi e novi amici gergete queste lacrime, tergete il vostro pianto hi muore per la patria non muore È eterno È santo eterni son gli eroi, drran l'anime ultrici egli morì da eroe, morì gloriosamente laggiù, a Tubinga, grave si accese una contese ci disser: genti ignave ei rintuzzò l'offesa e fu morte di Gloria fu morte di student, Per lui l'ire disparvero non più diversa scola idee diverse, studî, dogma e sofismi in guerra, una sola è Germania, a tutti una sol terra, un solo idioma e un'anima sola e una patria sola, e quella mesta tomba che a un morto si schiudea fatta gloriosa culla dava vita a un'idea là la vittoria o il Nulla, la patria là nascea, Noi là giurammo il Tugendbund, l à è nata l'epopea. --------------- 1902b. Massenet. NOTRE-DAME. 1902c. Debussy. PELLEAS E MELISANDA. 1902d. Cilea ADRIANA LECOUVREUR. Maurizio, conte di Sassonia, tenore.-------------------------------------------------------------------------------------------------------------- L'anima ho stanca e la meta è lontana non aggiungete la rampogna vana all’ansia che m'accora assai vi debbo ah, ma se amor cadrà memore affetto in core in cor mi fiorirà. 1902e. German-Hood. ALLEGRA INGHILTERRA: opera comica. Teatro Savoy, Londra. Walter Raleigh, tenore. ---------------------I--------------------------------------------II RECIT. Who were the yeomen the yeomen of England–a---where are the yeomen he yeomen of England?--- the freemen were the yeomen the freemen of England-----a-in homestead and in cottage they still dwell in England stout were the bows they bore --b---------stained with the ruddy tan when they went out to war-------b-----God’s air doth give a man stouter their courage for -------- b--------free as the winds that fan the honour of England-----------a--------the broad breast of England RITORNELLO: ----And nations to eastward ---------------and nations to westward -------------- as foemen did curse them ---------------the bowmen of England ---------------no other land could nurse them ---------------but their mother-land old England ----and on her broad bosom did they ever thrive, shall they shall they ever thrive. 1902. ALLEGRA INGHILTERRA. ------------------------I---------------------------------------II Dan Cupid hath a garden where women are the flow'rs---a--Let others make a garland of ev’ry flow’r that blows and lovers' laughs and lovers' tears the sunshine and the show'rs ----but I will wait till I may pluck my dainty English rose. and oh the sweetest blossom that in the garden grows-----------------in perfume, grace and beauty the rose doth stand apart the fairest queen------------------------------------God grant that I it is I ween-------------------------------------------before I die the perfect English rose-------------------------------------may wear one one on my heart the fairest queen---------------------------------God grant that I it is I ween---------------------------------------before I die the perfect the perfect English rose---may wear one may wear one on my heart. 1902f. LA FANCIULLA DELLA CAMPAGNA.(“A country girl”). Teatro Daly, Londra. C. Hayden Coffin. I) ♂: Two little chicks lived in a farmyard happy as chicks can be-a ♀: --- she was a Dorking proudly stalking, only a bantam he.--a ♂: --- he was a most superior bantam and he adored her true---b ♀: --- but she was proud --c --------and cried out aloud---- c now what in the world are you-------------------------------------------b RITORNELLO ♂ (Chick-chick-chick-chick) won't you marry me (chick)---a -------- be my little wife said he (chick-chick-chick-chick)-----------------a ♀: You're a very free chick wait a little bit said she-------------------------a ♂: Give me one kiss said the little he-chick what is more he kissed her too--b ♀: Let me be chick said the she chick cock-a-doodle that'll doodle-do--------b II) ♀: Those little chicks went up to London off to the Smithfield show-----a she very gaily, boasted daily, I'll get a prize you know--------a to her amazement, bold little bantam he carried off first prize-----b ♂: What carries weight---c ----I beg to state-------------c is plenty of blood, not size-------------------------------------------------b III) ♂: Both little chicks came back from London back to their home once more-a he cock-a-hoopy she rather croupy felt very sick and sore-------------b But little bantam was so forgiving, ♀: Offered his claw again --- both in the church ---- soon took their perch then off to the South by train----- b 1903. Ferrari. “LE DONNE CURIOSE”. Giordano. “SIBERIA”. Ruolo del tenore: Vassili (creato da Giovanni Zenatello). “Orride steppe, torrida estate”. 1904. Puccini. “MADAMA BUTTERFLY”. Pinkerton, tenore. Vagabondo. Addio, fiorito asil. Ah, dolce note, quante stele non le vidi mai sì belle È notte serena, ah, vieni, vieni È notte serena Guarda: dorme ogni cosa dolce note, quante stele, vieni, vieni Non le vidi mai sì belle, vieni, vieni, Trema, brilla ogni favilla col baglior d’una pupilla, oh, vien, sei mia, oh, quanti occhi fisi, attenti d’ogni parte a riguardar pei firmamenti, via pei lidi, via pel mare. via l’angoscia dal tuo cor ti serro palpitante sei mia, ah, vien, vien sei mia ah vieni, guarda, dorme ogni cosa ti serro palpitante ah, vien! ah, quanti occhi fisi, attenti! Guarda: dorme ogni cosa: Ah! vien! ah! vieni, vieni, Ah! vien, ah! vien, sei mia! Ride il ciel! Ah! Dolce note tutto estatico d’amor, ride il ciel. 1905. Mascagni. AMICA. Riccardo Strauss. SALOME. 1906. LEHAR. “LA VEDOVA ALLEGRA” (Milano: Teatro del Verme, via S. Giovanni, Milano: 27 apr. 1907). Tr. Ferdinando Fontana. Anna Glavari (Emma Vecla). Il conte Danilo Danilowitch (Gino Vannutelli). Inc. Ferruccio Corradetti/Emma Vecla (1908). Duetto Danilo/Anna. ------------------------------------------------- Nel valzer dell'ardor or batte il picciol cor col dolce palpitar ei dice a me mi devi amar tace il labbro quest'è ver è chiaro pure il suo pensier ei dice t'amo, si, io t'amo ancor Tace il labbro t’amo dice il violin le sue note dicon tutte m’hai d’amar della man la stretta chiaro dice a me sì è ver tu m’ami sì tu m’ami è ver. ----------------------------------------------------------------------------- 1906b. Ferrari. “I QUATRO RUSTEGHI”. 1906c. Tommasini. “MEDEA E GIASONE”. 1907. Rubens. LA FANCIULLA D’OLANDA. (Miss Hook of Holland: a Dutch musical incident). Teatro del Principe di Gallia. Londra. Tenore (Harry Grattan) .----------------------------------------------------------I---------------------------------------II---------------------------------III I've been spoilt such a lot-----------------------------I don’t know what to think----------------------What do English girls do it's my fault? No, I'm sure it is not!---------------it’s enough to make anyone drink-------------for I hear that they wear very few. It’s the men won't leave me alone---------------------fancy wearing all that I’ve got---------when they do gymnastics or run worry me like a bone-------------------------------------------when the weather is hot ----------then sometimes they wear none. all day presents I get------------------------------------------when you think of the old----------I should not have the face as if I hadn't got enough yet----------------------------ladies shivering out in the cold-------------England must be a curious place why, there's one more come with a note------- well I call it positive mean---------would that Milo make money too it's a new petticoat-----------------------------------------------------me wearing fifteen-------------if she wore that I do --------------------------------------------O lor dearie o lor- What on earth shall I do if I get any more?-----I shall look like a tent if I wear anymore—I shall say something wrong if I say any more RITORNELLO: I’ve a little pink petty from Peter and a little blue petty from John-------------a -------------------------and I've one green and yellow---b ------------------------from some other fellow-----------b ----and one that I haven't got on----------------------a I've one made of lovely red flannel that came from an Amsterdam store------------------c-but the point that I’m at--- If I meet a new friend, d-----------------when I think of the strings is that underneath that----d- Where on earth will it end?---------------------------and the hundreds of things, well I haven't got on any more-- I shall never get in at the door -- oh! it's not safe to dance any more 1908 PANIZZA/Illica. “AURORA”. Mariano, tenore (creato da Basi). -------------------------------- Alta pel cielo un’aquila guerriera ardita s’erge in volo trionfale ha un’ala azzurra del color del mare ha un’ala azzurra del color del cielo così nell’alta aurora irradiale il rostro d’or punta di freccia appare porpora il teso collo e forma stelo l’ali son drappo e l’aquila è bandiera È la bandiera del paese mio nata dal sole e ce l’ha data iddio.------------------------------------------------------------ 1909. Ferrari. Il segreto di Susanna. Our Miss Gibbs: operetta. Teatro Gaiety, Londra. I’m such a silly when the moon comes out----------a I hardly seem to know what I’m about---------------a skipping hopping-------------b never never stopping-----------b I can’t keep still altho’ I try--------------c I’m all a-quiver when the moonbeams glance----d that is the moment when I long to dance---------d I can never close a sleepy eye---------------d when the moon comes creeping up the sky.--------------c 1909. Monckton. GLI ARCADIANI. Il flauto di Pane. Teatro Shaftesbury, Londra. Jack, tenore (Eileen)------------------------------------------------------------- ----------------------------------------------------------------------------------------------------------I----------------------------------------II ♀: you’re taking such good care of me -a-he: thank goodness they have gone away ----- I’m not inclined to set you free------a—I’ve something I should like to say ♂: there’s nothing that I wouldn’t do -----b-she:I want to hear it I confess -----to win a kindly word from you---------b---I’m sure that I could never guess ♀: oh very well then I’ll admit --------------c---he:it means the world to me altho’ ----------I like you just a tiny bit---------------c---the answer’s simply yes or no ♂: when I saw your face I vowed ---------------she: you haven’t made it very plain ---- you were the dearest, dash the crowd------o bother here they are again RITORNELLO: ♂: It’s nice and warm I think that we shall have a lovely day ------------------------------♀: very very warm for May ♂: eighty in the shade they say. --- ♀: Just fancy! ♂: it almost looks as tho’ the sun had really come to stay ♂♀: -------------oh what very charming weather. ------------I ----------------------------------------------------------------II With a melody enthralling--------a—--loud they laugh beside the fountain loud the woodland echoes ring-----b---shrill they mingle with the breeze Hark the pipes of Pan are calling--a--sweet they call across the mountain with a merry lilt and wing-------b---- soft they whisper thru the trees. hear their joyous carolling--------a----low they murmur with the bees flowing, growing, rising, falling---a—blithely where the book goes bawling Youth and joy must have their fling---b--nature’s fingers touch the keys ------------- when the pipes of Pan are calling--------a --------------ah, the pipes of Pan RITORNELLO: So follow follow follow the merry merry pipes of Pan--a the magic reed---------------b that charms at need--------- the heart of maid and man.----------------------------a away away, ---------------c they seem to say------------c and catch us if you can---------------------------------a come follow follow where they lead -------b the merry merry pipes of Pan.------------------a------------------------------------ 1910. LA FANCIULLA QUAKER: operetta. Tony, tenore (Prudence) Principe Carlo. I) ♂: When a bad bad boy like me--- meets a good good girl like you-a ♀: Well the good little maid---b ------is a bit afraid------------------b ----- and wonders what on earth to do-----------a I) ♂: If the bad bad boy should speak -will the good good girl reply-a ♀: Well, it depends----- c if the good girl’s friends-----c are anywhere at all close by--------------a --------- ♂: Such a bad bad boy --------------- ♀: such a good good girl --------------------♂♀: Oh they do make a curious pair. ------------♀: Though the good girl may -----------------turn her head away -------- still she knows that the bad boy’s there. ♂: If the bad boy walks ---- by her side and talks ------will she snub him as a maiden should ♀: Well I think thee’s a lad who is not so very bad ----- and I’m not a bit too good. II) ♂: If the good, good girl sits down --what’s the bad bad boy to do ♀: he must sit over there for the good girl’s chair --- was surely never meant for two. III) ♂: If the bad bad boy comes close -will the good good girl be vexed ♀: Well she might run away or she might just stay ---- and see what happens next. ♂: Such a bad, bad boy -----------------------♀: Such a good, good girl! ♂♀: Oh they do make a curious pair. ♀: If the good girl’s wise she will shut her eyes when the bad boy begins to stare ♂: May the bad boy please give her hand one squeeze for he’d like to if he only could. ♀: Oh I fear he’s a lad who is very very bad – ---- now really thee must be good.------------------------------------------------------------ --- Come with me, come to the ball ---- a music and merriment call-------------a golden and gay are the lamps above---b every tune is a song of love---------------b ladies that come to the ball----------------a I am in love with you all-------------------a each has a part ---c in my heart ------c at the ball at the ball--a say will you come to the ball---a who will not answer the call----a join in the maze of the waltz that whirls---b gallant young lovers and laughing girls---b all of you come to the ball---a there will be welcome for all----a chance for a dance---c and romance----------c at the ball - at the ball Yes we will come to the ball-----------------a none but will answer the call---------------a all of us long for the waltz that whirls----b dashing young lovers and dainty girls----b ah let us come to the ball--------------------a there will be joy for us all-------------------b chance for a dance--------c and romance---------------c at the ball - at the ball.-----------------------b 1910. Puccini. “LA FANCIULLA DEL WEST”. Ramerrez, tenore. (Enrico Caruso). ----------------------------------------------------------------------------------------------------------- Ch’ella mi creda libero e lontano sopra una nuova via di redenzione aspetterà ch'io torni e passeranno i giorni ed io non tornerò Minnie, della mia vita mio solo fiore Minnie, che m’hai voluto tanto bene Ah, tu della mia vita mio solo fior. ---------------------------------------------------------- 1911. Riccardo Strauss. “IL CAVALIERE DELLA ROSA”. Di rigori armato il seno --------------a contro amor mi ribellai ----------------b ma fui vinto in un baleno ---------------a in mirar due vaghi rai ----------------------b ma fui vinto in un baleno in mirar due vaghi rai Ahi, che resiste puoco -------------------c a stral di fuoco ---------------------------c cor di gelo di fuoco a stral.--------------------------------------------------------------------- 1911b. Mascagni. ISABEAU. Folco, tenore. E passerà la viva creatura entro il silenzio delle cose morte nessun le griderà, gloria a te, pura in tua nudità severa e forte e non tumulto di commosso core palpiterà alla tua visione intorno, gloria d'umanità, gloria d’amore ma un muto sole e l'ironia del giorno se vili tutti qui, vile non io or ben io ti farò tutta fiorita e se son gli occhi i rai che all'uom diè Dio fiori e i miei occhi e tutta anche la vita gigli al bel giglio della tua bianchezza ed alle rose del tuo seno rose e freschezza di fiori alla freschezza delle tue forme pure e gloriose. ---------------------------------------------------------------- 1911c. Zandonai. “CONCHITA”. Mateo, tenore. 1911d. Ferrari. “I GIOELLI DELLA MADONNA”. 1913. Montemezzi. “L’AMORE DEI TRE RE” La Scala, DVD. Avito, principe d’Altura, Flaminio, tenore. Mascagni. PARISINA MALATESTA, tratto da Byron. Ugo d’Este, tenore. 1914. Zandonai. “PAOLO E FRANCESCA”. Paolo, tenore. creato da Giuseppe Crimi. 1915. Giordano. “MADAME SANS-GENE”. Sargento Lefebre, tenore (creato da Martinelli). Pizzetti. “FEDRA ED IPPOLITO”. Ippolito, tenore, creato da Edoardo di Giovanni. 1916. “CHU CHIN CHOW” -- operetta. Teatro del Mercato di Feno, Londra. (3 aug). People have slandered our love serene laughed at your penchant for me, said you were too old to love; a mean libel on thy belle and thee. still we're alone you are my own bone of contention to be Ritornello: youth is the time for loving----------a ----------so poets always say-------------------b --the contrary we’re proving---a--- just the reverse we’re proving ---------look at us two today----------b--- look in my eyes I pray. love has no charm no meaning till man has reached his prime- --c ---------surely ’tis so --------------d ----- won’t you agree ---------you ought to know-----d-------darling with me ---------any time’s kissing time.---------c Timid as any gazelle am I, Here would I be, yet afar, Now there is only the moon to spy, No one can guess where we are. You are my deep Little black sheep, Ali, my Ali, Baba! THE BING BOYS ARE HERE” – “a picture of London Life, in a Prologue and Six Panels”. Teatro dell’Alhambra, Leicester Squeare, Londra. Lucius Bing, tenor (Robey-Wade), Emma (Duchess of Dullwater, Violet Lorraine). RECIT. Sometimes when I feel bad----a and things look blue------------------------b I wish a gal I had----------------------------a say one like you-----------------------------b someone within my heart ---c to build a throne---------------d Someone who'd never part---c to call my own.------------------d RITORNELLO: if you were the only girl in the world and I were the only boy---a ---- nothing else would matter in the world today---b ----we could go on loving in the same old way------b a garden of Eden just made for two with nothing to mar our joy- a-I would say such wonderful things to you-----c there would be such wonderful things to do---c if you were the only girl in the world and I were the only boy--------- 1916. The Bing Boys are here. -----------I----------------------------------------------II If I knew that someone came for me ---------------------------love they say must come to one and all I'd let the world go by-----------------------------------------------of high and low degree Someone who was true as true could be-----------------------come what may I’m waiting for the call I'd never want to sigh----------------------------------------------it holds no fears for me. what would I give today-------------------------------------------maybe the day is near just to hear someone so softly say--------------------------when the thought of my heart I’ll hear. RITORNELLO: Let the great big world keep turning----a ------------------nevermind if I’ve got you-----------------b ------------------for I only know-----c ----------------- that I want you so----c --------------and as no one else will do---------------------b -----------------you have simply set me yearning----------a ------------------and for ever I'll be true----------------b --------- Let the great big world keep on turning round---d ------------Now I found ---- d -------------someone like you---b 1917. Puccini. “LA RONDINE”. Monaco. Ruggero, tenore (Tito Schipa). Dimmi che vuoi seguirmi alla mia casa che intorno ha un orto e in faccia la collina che si risveglia al sole, la mattina ed è piena, alla sera, d'ombre strane Il nostro amore troverà in quell'ombra la sua luce più pura e più serena la santa protezione di mia madre sopra ogni angoscia e fuori d'ogni pena e chi sa che a quel sole mattutino un giorni non si tenda lietamente la piccola manina d'un bambino... e chi sa che quell'ombra misteriosa non protegga i giocondi sogni d'oro della nostra creatura che riposa Mascagni. LODOLETTA. Flammen, tenore. (Inc. Gigli): Ah, ritrovarla nella sua capanna tutta piangente come quella sera------------a arrivar piano piano e rivederla come la vidi in quella primavera -----------a Oh Lodoletta sono ritornato son ritornato e resterò con te, dorme il villaggio e noi siam soli soli io tengo la sua testa sul mio cuore ed è tutta una vita che finisce ed è tutta una vita che fiorisce. o, perchè Lodoletta io ti lasciai o, Lodoletta mia dove serai, dove sarai, dove sarai. Busoni. “TURANDOT” (tratto da Gozzi, 1726). Calaf, tenore. Busoni. “ARLECCHINO”. Leandro, tenore. Serenata. Fraser-Simpson-Tate. LA FANCIULLA DELLE MONTAGNE: opera in tre atti. Teatro Daly, Londra. Beppo, tenore.A bachelor gay am I though I suffer from Cupid's dart but bever I vow will I say die in spite of an aching heart for a man who has loved a girl or two though the fact must be confessed he always swears the whole way through to every girl he tries to woo that he loves her far the best: at seventeen he falls in love quite madly with eyes of tender blue at twenty-four he gets it rather badly with eyes of a different hue at thirty-five, you'll find him flirting sadly with two or three or more when he fancies he is passed love it is then he meets his last love and he loves her as he’s never loved before. a girl as you've heard of old is a kind of a paradox she changes her mind more times I'm told than ever she does her frocks. and a man's like a moth around a flame for it's nearly always found he burns his wings but all the same the nicest part of Cupid's game is fluttering round and round: ----------------------------------------------------------------------- RECIT. There’s no song within my heart---- but of love for you---------------------------- yet we must remain apart- all life’s journey through when one dreams of paradise nothing less will do nothing else can e’er suffice when love calls to you. RITORNELLO: If I only had the key to your heart------------a -------------- I’d give you the key to mine------------------b --we’d open a door to a wonderful dream of a life and a love divine---b --------- no barrier then would keep us apart---------------a ----------and daydreams would all come true---------------c ---for the key to your heart is the key to the door of a paradise of two-----c. --------------------------------------------------------- Whate'er befall-------a I still recall ---------------a that sunlit mountainside---------b where hearts are true-------c and skies are blue------------c and love’s the only guide----------b if faithful to my trust I stay---------d no thought can fill me with dismay----d love holds the key ---- e to set me free----------------e and love will find the way. --------------d 1918. Puccini. “IL TABARRO”. Luigi, scaricatore, tenore. Hai ben ragione,meglio non pensare piegare il capo ed incurvar la schiena -------- a per noi la vita non ha più valore ed ogni gioia si converte in pena---------------a i sacchi in groppa e giù la testa a terra se guardi in alto, bada alla frustata -------------b il pane lo guadagni col sudore e l'ora dell'amore va rubata ----------------------b va rubata fra spasimi e paure che offuscano l'ebbrezza più divina-------------c tutto è conteso, tutto ci è rapito la giornata è già buia alla mattina----------------c hai ben ragione; meglio non pensare piegare il capo ed incurvar la schiena. --------------------------------------------------------- Folle di gelosia, vorrei tenerti stretta come una cosa mia vorrei non più soffrire, non piu soffrire che un altro ti toccasse e per sottrarre a tutti il corpo tuo divino te lo giuro, lo guiro, non tremo a vibrare il coltello e con gocce di sangue fabbricarti un gioiello. Puccini. “GIANNI SCHICCHI”. Tratto dal Canto V del “Inferno” della “Divina Commedia” di Dante Aligheri. Rinuccio Donati, tenore (Crimi). -------------------------------------------------------------------------- Avete torto, È fine, astuto ogni malizia di leggi e codici conosce e sa motteggiatore, beffeggiatore c'è da fare una beffa nuova e rara È Gianni Schicchi che la prepara gli occhi furbi gli illuminan di riso lo strano viso ombreggiato da quel suo gran nasone che pare un torrachione per così vien dal contado ebbene che vuol dire basta con queste ubbie... grette e piccine! Firenze è come un albero fiorito che in piazza dei Signori ha tronco e fronde, ma le radici forze nuove apportano dalle convalli limpide e feconde! E Firenze germoglia ed alle stelle salgon palagi saldi e torri snelle! L'Arno, prima di correre alla foce, canta baciando piazza Santa Croce, e il suo canto è sì dolce e sì sonoro che a lui son scesi i ruscelletti in coro! Così scendanvi dotti in arti e scienze a far più ricca e splendida Firenze! E di val d'Elsa giù dalle castella ben venga Arnolfo a far la torre bella! E venga Giotto dal Mugel selvoso, e il Medici mercante coraggioso! Basta con gli odi gretti e coi ripicchi! Viva la gente nova e Gianni Schicchi! – inclusa: aria di Lauretta. ------------------------ O mio babbino caro mi piace, è bello, bello vo’andare in porta rossa a comperar l'anello sì, sì, ci voglio andare e se l'amassi indarno andrei sul ponte vecchio ma per buttarmi in Arno mi struggo e mi tormento O dio, vorrei morir babbo, pietà, pieta, babbo, pietà, pieta. 1924. Busoni. FAUSTO (DVD). 1924. Friml. ROSE-MARIE: operetta. Jim Kenyon, minero, tenore. Teatro Imperiale, Broadway, Nuova York. When I'm calling you -- oo-oo-oo-oo oo-oo-oo-oo -------------------------------a will you answer too -- oo-oo-oo-oo oo-oo-oo-oo -------------------------------a that means I offer my life to you to be my own ---------------------------------b If you refuse me I will be blue, waiting all alone--------------------------------b but if when you hear my love call ringing clear----------------------------------c and I hear your answering echo so dear------------------------------------------c then I will know our love will become true --------------------------------------a you'll belong to me and I'll belong to you----------------a 1925. NO NO NANETTE: operetta. Picture me upon your knee--------------------------a with tea for two --------------------------b and two for tea--------------------------------a just me for you -------------------b and you for me -----------------a alone-----------------------------------------C nobody near us-------------c to see us or hear us----------c no friends or relations-------d on weekend vacations--------d we won't have it known-------------------C dear that we own ------------------------------------C a telephone-----------------------------------------C dear. day will break -----a and I will wake-----a and start to bake -----a a sugar cake-----------a for you to take -------a for all the boys to see.------b we will raise a family a boy for you a girl for me can't you see how happy we will be. 1926. Puccini. “GLI INDOVINELLI DELLA PRINCIPESSA TURANDOT”, postuma—Puccini m. 1924. Tratto da Gozzi (1726). “Turandot”. La Scala. Calaf, tenore. --------------------------------------------------------------------------------------------------------------------------------------------------------------Non piangere, Liù se in un lontano giorno io t’ho sorriso per quel sorriso dolce mia fanciulla m’ascolta il tuo signore sarà, domain forse, solo al mondo non lo lasciar, portalo via con te dell’esilio, addolciscia lui le strade questo ... questo, o mia povera Liù, al tuo piccolo cuore che non cade chiede colui che non sorride più. ----------------------------------------------------------------------------- Nessun dorma, tu pure, o principessa nella tua fredda stanza guardi le stele che tremano d’amore e di speranza ---- RITORNELLO: ----- ma il mio mistero è chiuso in me -----il nome mio nessun saprà -----solo quando la luce splenderà -----sulla tua bocca lo dirò fremente -----ed il mio bacio scioglierà -----il silenzio che ti fa mia (il nome suo nessun saprà) e noi dovremo, ahimè, morir, dilegua, o note, tramontate, stele, all'alba vincerò. 1928. Donovan Parsons/V. Ellis. WILL O’THE WHISPERS. (Margaret Schilling). VERSE: I had romances not as our romance is but the sort RITORNELLO: I built my hopes on mountains high There was no ceiling to my sky But I never dreamt you’d fall in love with me. I dreamt my dream ships all came home All safe and sound across the foam But I never dreamt you’d fall in love with me. 1929a. Clifford Grey. IL CENERENTOLO. (Mr. Cinders). RECIT.----- I --------------------------------------------------------------II--- I've got a creed for ev’ry need -----------------a------the rule is old so I’ve been told so easy that it must succeed-----------------a---but still it’s worth its weight in gold I’ll set it down for you to read------------- it pays you back a thousand times so so please take heed----------------------------a--------------------------be enroll’d keep out the gloom let in the sun-----------------a----upon the list of optimists that's my advice to ev’ryone----------------------a-----and disregard the pessimists it's only once we pass this way -------------a ---this life is short so try to smile so day by day --------------------------------------a--------------------each little while RITORNELLO: ------------------Even when the darkest clouds are in the sky-a ------------------you mustn’t sigh---a -----------------and you mustn't cry---------a -----------------just spread a little happiness as you go by -----------------please try -----------------what’s the use of worrying and feeling blue when days are long keep on smiling through ----------- and spread a little happiness till dreams come true ----------------surely you'll be wise --------------- to make the best of ev'ry blues day ----------------don’t you realise ----------------you'll find next Monday or next Tuesday ----------------your golden shoes day even when the darkest clouds are in the sky you mustn't sigh and you mustn't cry just spread a little happiness as you go by. -- ANYTHING GOES 1929. Sir Noel Coward. “BITTER SWEET” – operetta. I’ll see you again. 1931. Clifford Grey. Waller-Tonbridge. FOR THE LOVE OF MIKE. Teatro Saville. Got a date with an angel got to meet her at seven got a date with an angel and I’m on my way to heaven she’s so lovely beside me and whatever betide me, Got an angel to guide me so I’m on my way to heaven. soon I’ll hear bells ring out and the choir will sing out, when the pearly gates swing out she’ll beckon to me. I’ve been waiting a life time for this evening at seven, Got a date with an angel and I’m on my way to heaven. Noel Coward. CAVALCADE. Lover of my dreams. 1932. Coward. OPERETTA. Mercato di Fieno. The stately homes of England. 1932. Hold my hand. You require a lot of looking after. That's one job in which I take a pride. You can always make me smile make my journey seem worthwhile. Why not keep me always at your side to guide you? Hold my hand No matter what the weather, Just you hold my hand, We'll walk through life together, For you'll find in me that kind of a friend Who will see me through to the end. So if you'll hold my hand We both shall walk more steady For understand you hold my heart already in that dreamland: where I have planned that I shall hold your hand forever. 1937. Hassall-Novello. “CREST OF THE WAVE”-- operetta. Teatro regio, Drury Lane, Londra. Duca di Cheviot, tenore (Ivor Novello). RITORNELLO: --Rose of England thou shall fade not here--------a -----------------proud and bright from growing year to year---------a -----------------red shall thy petals be as rich wine untold------------b -----------------shared by thy warriors who served thee of old-------b --------------rose of England breathing England’s air--------------c -------------flower of chivalry beyond compare---------------------c ------------while hand and heart endure to cherish thy prime-------d ------------thou shalt blossom to the end of time.---------------------d 1937b. Ellis. HIDE AND SEEK. She’s my lovely. 1939. Armitage. “Me and My Girl”. RECIT. Lambeth you've never seen----------------------a the skies ain't blue the grass ain't green---------a it hasn't got the Mayfair touch--------------------b but that don't matter very much--------------b we play the Lambeth way---------------------c Not like you but a bit more gay---------------c ------------------------and when we have a bit of fun, oh, Boy. RITORNELLO: ---- Anytime you're Lambeth way ------------------------any evening, any day, --------you'll find us all doin’ the Lambeth walk -----------------------ev’ry little Lambeth gal -----------------------with her little Lambeth pal, --------you'll find’em all doin' the Lambeth walk. ----------------------ev’rything's free and easy, ---------------------do as you darn well pleasey, --------why don’t you make your way there, --------------------go there stay there --------------------once you get down Lambeth way ------------------ev’ry evening ev’ry day ------you’ll find yourself doin' the Lambeth walk. 1939. THE LITTLE DOG LAUGHED. Run rabbit run. 1941. “LADY IN THE DARK”. Alvin Theatre (Neil Simon Theatre). I) Jenny made her mind up when she was three she herself was going to trim the Christmas tree Christmas Eve she lit the candles, tossed the tapers away little Jenny was an orphan on Christmas day Poor Jenny, bright as a penny Her equal would be hard to find She lost one dad and mother, a sister and a brother, But she would make up her mind II) Jenny made her mind up when she was twelve That into foreign languages she would delve But at seventeen to Vassar, it was quite a blow That in twenty-seven languages she couldn't say no Poor Jenny, bright as a penny Her equal would be hard to find To Jenny I'm beholden, her heart was big and golden But she would make up her mind III) Jenny made her mind up at twenty-two To get herself a husband was the thing to do She got herself all dolled up in her satins and furs And she got herself a husband--but he wasn't hers Poor Jenny, bright as a penny Her equal would be hard to find Deserved a bed of roses, but history discloses That she would make up her mind IV) Jenny made her mind up at 39 V) Jenny made her mind up at fifty-one She would write her memoirs before she was done The very day her book was published, history relates, There were wives who shot their husbands in some thirty three states VI) Jenny made her mind up at seventy-five She would live to be the oldest woman alive But gin and rum and destiny play funny tricks, And poor Jenny kicked the bucket at seventy-six.---------------------------------------------- Jenny points a moral with which you cannot quarrel, Makes a lot of common sense— Jenny and her saga prove that you're gaga If you don't keep sitting on the fence Jenny and her story point the way to glory To all man and womankind Anyone with vision comes to this decision— Don't make up your mind 1945. SIGH NO MORE. Nina. 1947. Herbert. BLESS THE BRIDE. Teatro Adelfi, Londra. Pierre, tenore (Georges Guétary)(Lucy). ♀ --------------------This is my lovely day a----------------------------♂ this is the day I shall remember the day I'm dying -------------------b ---------they can't take this away----------a ---------it will be always mine-----------c --------the sun and the wine------------c --------the sea birds crying--------------b -------all happiness must pay--------------a and who can tell if fate means well or the sky is lying--b- -and if our ship goes down she’ll go with the flag still flying ♀: but look at me and say----------a ------------you will remember too that this is our lovely day RITORNELLO: ♂: I'll remember I'll remember when the time has come for happiness to pay ♀/♂♀: sad and sighing ----- old and dying I'll remember how we loved our lovely day our lovely day our lovely day 1953. Galbraith. The Boy Friend. Players’ Theatre Club, Londra. RECIT. ♂: A life of wealth does not appeal to me at all ---------------do you agree at all. -------------------♀: I do -----------♂: the mere idea of living in a palace is ----------------so full of fallacies ♀: that's true ♂: I’ve got a very different sort of scheme in mind --- it’s just a dream designed --- for two --- would you care to hear about it, dear? ♀: Would I care to can you doubt it dear RITORNELLO ♂ ------------------♀ ♂: All I want is a room --------a ----- ----------in Bloom ---------sburee ---------just a room that will do ---------for you and me ---- one room's enough for us -----------------------------♀: I’ll sew the covers for ---- though is on the top floor -------------------------------two old cosy armchairs. ---- life may be rough for us -------------------------------neighbours will love us for ---- but its troubles we'll ignore ---------------------------we shall laugh at our cares ---- on a wintery night -------------------------------------while I’m reading a book ----- I'll light -------------------------------------------------I’ll cook ------a fire --------------------------------------------------a stew -----everything I shall do ---------------------------------then I’ll bake a plum duff ----- as you --------------------------------------------------enough ----- desire --------------------------------------------------for two ♀: You'll be sitting ----------------------- ♂♀---------- in our attic ♂: And you'll be knitting --------------------------------we’ll be ecstatic --- and so contented we'll be -----------------------------as love birds up in a tree --- in our dear little room ---------------------------------all we want is a room ------------------------in Bloom --------------------------sburee --- 1955. Slade. “SALAD DAYS”. Teatro del Vaudeville. Londra. RECIT. We'll never be able to break the spell, the magic will hold us still. --------sometimes we may pretend to forget but of course we never will. ----------three perfect years - perhaps there'll more Life's only beginning you know -------Oh yes it's not that I want to stay it's just that I don't want to go. -------We mustn't look back no we mustn't look back whatever our memories are. -------we mustn't say these were our happiest days but our happiest days so far. ------ If I start looking behind me and begin retracing my track ------I'll remind you to remind me we said we wouldn't back ----- and if you should happen to find me with an outlook dreary and black ------ I'll remind you to remind me we said we wouldn't look back -----it's hard to forget the plays the dances the walks by the river in spring ------the dons we placated, the lectures we missed, but soon they won't mean a thing. ---- so if I let nostalgia blind me and me resolution is slack ----- I'll remind you to remind me we said we wouldn't look back they're certain to miss us when we're gone they're not worth much if they don’t and they'll beg us to visit them time after time oh dear maybe they won't We've broken the ties we've said the goodbyes there's no more for us to pack. don't turn round - we're outward bound and we said we wouldn't look back.... 1958. Galbraith. “VALMOUTH: operetta” . You coax the blues right out of the horn Mame, you charm the husk right off of the corn Mame, you've got that banjoes strummin' and plunkin' out a tune to beat the band, the whole plantation's hummin' since you brought Dixie back to Dixie land. you make the cotton easy to pick Mame, you give my old mint julep a kick Mame, Who ever thought a Yankee would put a little Dixie mouse to shame. you've made us feel alive again, you've given us the drive again, to make the South revive again, Mame. Beauregard Burnside: You've brought the cake-walk back into style Mame You make the weepin' willow tree smile Mame, Your skin is Dixie satin, there's rebel in your manner and your speech, you may be from Manhattan but Georgia never had a sweeter peach. All: You make our black-eyed peas and our grits, Mame, seem like the bill of fare at the Ritz, Mame, you came, you saw, you conquered and absolutely nothing is the same. you're special fascination'll prove to be inspirational, we think you're just sensational, Mame. 1964. Newley-Bricusse.The roar of the greasepaint – the smell of the crowd. Teatro Shubert. N. York. -----------who can I turn to when nobody needs me------------a -----------my heart wants to know ------b ----------and so I must go ---------------b ----------where destiny leads me------------------a ----------with no star to guide me ----c ----------and no one beside me-------c ---------I’ll go on my way ---d ----------and after the day----d -----------the darkness will hide me------c ----------and maybe tomorrow ---e ----------I’ll find what I’m after-----f -----------I’ll throw off my sorrow---g -----------beg, steal, or borrow ------g -----------my share of laughter------f -----------with you I could learn to ----------with you on a new day ----------but who can I turn to ----------if you turn away. 1972. Bricusse-Newley. The good old bad old days. Londra. ------------ I---------------------------------II Don’t you realize living today ----a ----Day to day you’re either up or your down I’m happy to say--------------------a----- a king or a clown ---------------in the good old bad old days --b taking the breaks -------------------c----- it’s heaven or hell and making mistakes------- c--------- hello or farewell in the good old bad old ways-------------in the good old bad old days. some people say --------------------a------------looking around they’d love for the old days--------b------------the world that surrounds me to take them way back when---------c---------I thank good God above I’d sooner stay ------------------------a----------but I have found right here with the gold days--------b---------one thing that astounds me than go thru that again---------------c-----------the world’s still full of love take today you’re either out or you’re in ------a-----and I realise that come rain or some shine you lose or you win---------------a - ----- that you’ll survive in the sad old glad old days------b----- all these crazy mad old days you’re poor or you’re rich------- c --------in war or in peace who knows which is which -------c-------- -they do never cease anyway--------------d---------------to amaze we’re living on time we’re having to borrow--c no-one knows if we will live to see tomorrow--c -------------nevertheless --------------a-----------------people will say I guess we’ve got to confess ---------a-----when they look back at today these are ---------------------------------------those were the good old bad old days. 1977. Nichols/King. PRIVATES ON PARADE. Teatro Aldwych, Londra. RITORNELLO-----we’re going back-------------------------a ------------------------to that homely little shack----------------a -----------------------on the sunny side of every street-------- b -----------------------we’ve been so long----------------------------c ----------------------from the laughter and the song-----------------c ----------------------that we’ll share with all the folks we’re going to meet--b ----------------------I know a lading living there------------------d ----------------------with shining eyes and silver hair-------------d ---------------------and when she offers me a chair----------------d ---------------------I’m going to feel a millionaire------------------d --------------------so though we’ve traveled around----------e ---------------------now’s the time to settle down--------------e ----------------and when we’re there we’ll never more roam-----f ------------------from the hearth of home-sweet-home------------f ----------------and though we’ve traveled around ----------------------now’s the time to settle down ----------------------and when we’re there we’ll never say more stray ---------------------from the paradise that’s sunny all day, ----------------------which is why we’re sailing over the foam --------------------to the heart of Home-Sweet-Home. Carissimi: Vittoria, mio cuore Caccini: Udite, amanti Caccini: Belle Rose Purpurine Falconieri: Bella Porta di Rubini -Durante: Vergin, tutto amor prayer))-- Caccini: Sfogava con le Stelle "Nina" by Anonymous/Giovanni Battista Pergolesi O Leggiadri Ocche Belli" Pietà, Signore! by Alessandro Stradella ...Non Posso Dosperar" by Giovanni Bononcini "Amarilli" by Giulio Caccini "Alma Del Core" byAntonio Caldara "" by Antonio Caldara "Come Raggio Del Sol" by Antonio Caldara "Vittoria, Vittoria!" by Giacomo Carissimi "Danza, Danza" by Francesco Durante Instrumental "Vergin, Tutto Amor" by Francesco Durante views "Caro Mio Ben" by Giuseppe Giordani "O Del Mio Dolce Ardor" by Christoph Willibald Gluck "Pur Dicesti, O Bocca Bella" by Antonio Lotti "Quella Fiamma Che M'Accende" by Benedetto Marcello ... "!" by "Nel Cor Piú Non Mi Sento" by Giovanni Paisiello "Se Tu M'Ami" by Alessandro Parisotti views "Le Violette" by Alessandro Scarlatti "O Cessate Di Piagarmi" by Alessandro Scarlatti "Se Florindo È Fedele" by Alessandro Scarlatti "Sento Nel Core" by Alessandro Scarlatti "Tu Lo Sai Giuseppe Torelli