Hence, or I will call assistance. Pray you forbear, sir, and attend for a moment, do you think I could ever to my duty be false? Bravo, Curzio. With singing, with dancing, and with feasting. it seems, then, you listen’d to all that I was saying. How did he take it? a quel cappello, che nell’ombra vegg’io, parmi Susanna! [A Susanna.] Io mi crede a che preferir doveste per amante, come fan tutte quante un signor liberal, prudente, e saggio, a’ un giovinastro, a un paggio. SCENE II.—: A splendid Saloon, with a throne in it, prepared for a wedding festival. Here unfortunately Cherubino in the adjoining chamber upset a chair. There’s no occasion—no, not the least, my jewel! [Al fondo.] Scellerato!—e perche andate voi tai menzogne spargendo? [Aside.] Via presio la canzone, che stamane a me deste—a madama cantate. All, then, is ready; nor can the moment now, Be distant. [Takes the key out of the cabinet, and goes to open the door to the Count. And here I’ll brood on vengeance! Aspetta; al Conte farai subito dir, che verso sera attendati in giardino; il picciol Cherubino, per mio consiglio non ancor partito, da femmina vestito, faremo che in sua vece ivi sen vada. [The Count attempts to conceal himself behind the armchair, when Susanna interposes, and in the meanwhile Cherubino slips round and glides into it. You are drunk, and know not what you say. Giusti Dei! Son gentiluomo! Entra il Conte, sequito da Antonia col cappello da ufiziale di Cherubino in mano. APRITE UN PO QUEGL’ OCCHJ—YE MEN, WHO WIVES TAKE PRIDE IN. Some one is coming—’tis she, then—, The traitress! [Con alta voce.] Figaro, who was duped as much as the Count, then made a noise, and the Count sent the supposed Susanna into the pavilion on the right, expecting to join her ere long. Dov’ è la canzonetta? she informs me that Figaro is coming. But let’s discuss the matter. I suppose, then, these papers have fallen from your pocket? Allato alt’ alcova, alla sinistra degli attori porta pratticabile di un gabinetto; dalla parte opposta fineetra pratticabile. All is just as I left it; now your decision—will you open or not, ma’am? Yes, I, so please you. Well, I go; but if once more I catch you—. Tu sei cotto dal sorger del dì. non chiamarmi con nome si fatale; ei mi rammenta, che abbandonar degg’ io comare tanto buona. Basilio, now hasten; say to our Figaro I want him. The Peasant-Girls go out. But Susanna was listening from the door opposite to these strange proceedings, and, of course, came not, nor the frightened page. May I hope my love with love is answer’d? [Cherubino si nasconde dietro il seggiolone.] She secretly pulls him by the sleeve, to call his attention, and then, pretending to adjust the wreath, slips a note into his hand. Lo spillo che a me diede il padrone per recar a Susanna. [With feigned joy.] Di galoppo o di passo; buon viaggio! Bene, io tutto farò! Come! Ah, give it me, Susanna; in pity give it me. dunque hai sentito quello ch’io ti dicea. Ah! va nascosamente per le porte di ferro; al sinistro sta Susanna, ed al destro Figaro. Why, you can take a head-dress of mine from yonder closet [To Cherubino, as Susanna goes to the cabinet.] sta cheta, In ricompensa, poi, questa mia canzonetta io ti vò dare. [Susanna goes off with Cherubino’s mantle. Should his lordship observe it—he’s suspicious—you know him—he’d play the devil. Papà Balzi Benito e la sua sposa Gabriella, originari delle Marche e freschi di matrimonio, negli anni ’70 decisero di inseguire il loro sogno di entrare nel mondo caseario, in particolare per la produzione di della Robiola. [Standing back to back with Cherubino.] The Count finds the pin, and picks it up, as the dance ends. dottoressa arrogante! [Pushing Cherubino out of the chair, and seating him self.] E che? base deceiver—now the whole is explained, Ma’am; hence the confusion. Sta Cherubino con qli occhi abbassati. Every effort has been taken to translate the unique features of the printed book into the HTML medium. [Speaking in confidence.] [Partono—Susanna esce e va alla porta del gabinetto. Yes, Cherubino—cherubim of goodness—who was observed this morning slily lurking in the passage to this room. My Lord, your noble Countess has got her usual vapors, and has dispatch’d me for her smelling-bottle. SCENE I.—: A Room only half furnished; near the centre a large arm-chair. Good Heavens! [Aparte a Basilio.] [Alone.] Here it is; and, when he appears, I’ll make him sing it. [Satiricamente.] FIGARO. Pagarla!—in qual maniera? [Antonio goes; the Count again shows the paper, and the Countess sees that it is the commission. Never mind me; ’tis my nature to be joking. And why have you remain’d, then? No, no, Susanna. But this drunkard—what does he want here? Away, and quickly. appare indietro, con una cuffia da notte, un nastro, ed una vesta da camera in mano. è il foglio, che Figaro gli scrisse. Per me? But the Countess quickly gained her composure, and the two women now turned the tables upon the Count, who ruefully asked his wife’s forgiveness for his unjust suspicions. Non trovo altro consiglio. [Aside.] Takes the flowers from Cherubino, and kisses his forehead. While the Count puts the hat on her head, and presents the veil, the gloves, and the nosegay, the Chorus is sung. You may rave, and may pull at your tether. Enter Susanna, with a purse in her hand, meeting the Count, and stopping him. Vengeance glorious! Ma s’ei pagasse la vecchia pretendente! You will see me no more? There you are wrong; it follows not in logic that he who loves the wife is foe to the husband. He seeks his greatest foe, then, poor fellow. gittale pur, ch’ io piglio ognora! With tricks and finesse all their projects defeating. Susanna siede vicino alla Contessa; Cherubino se le inginocchia davanti, e Susanna gli mette la cuffia. Your conduct indeed, sir, deserves all you’ve met; The proverb holds good here, to live and let live. SULL’ARIA!—THE ZEPHYR! Oh Dei! Lasciatemi veder. Tempo di caricamento della pagina: 0.03 sec. Reading the direction to return the needle. [Sola.] Susanna slily gives the Count a note, and he puts it dexterously into his waistcoat. Sestetto.—Marcellina, Don Curzio, Conte, Bartolo. Speak out, then. Your modern husbands all act in this fashion. Ecco! ’Twill do to a nicety. They are come our plots to baffle; [Vede Susanna.] I wonder wherefore our Page comes not to seek me; he’s full of youthful fancies. Parlando alla Contessa in vece di Susanna. [Ad Antonio.] [To Figaro.] Then Bartolo and Figaro together. E, sopra tutto questo, al mio braccio impresso geroglifico. Antonio enters, intoxicated, carrying in his hand a flowerpot of violets, with their stems broken. Ceramica dipinta in stile marino. Lasciano insieme il teatro ma il Conte aggrappa il mantello di Figaro, e Susanna corre nel padiglione al destra. Eyeing her keenly, and giving her Figaro’s letter. I have broken a marriage much more advanced than this is; for slander often, if well aimed, can work wonders. So, so; he’s not departed? Come, let me share the secret. Magnifica Camera con alcova da letto al fondo. Ah! [Il Conte trova lo spillo, e lo prende, finisce il ballo. Coltivando l’or goglio di questo mentecatto. In gabinetto qualche cosa e caduta. È trascorso un millennio da quando una serie di guerre, culminata nelle esplosioni termonucleari dei Sette Giorni del Fuoco, ha alterato l'ecosistema mondiale. Apropos of the Page, now; he is much too incautious. Il più abile di questi è Marco Pagot, un uomo a cui una maledizione ha misteriosamente mutato il corpo in quello di un maiale, valendogli il soprannome di battaglia. SCENE II.—: A magnificent Chamber, with an alcove. They all carry nosegays, which they present to the Countess. what a memory! Ma s’io stesso m’assisi, quando in camera entrai? [Alza, in imitazione, la vesta che copre il seggiolone, e scopre Cherubino. Nay, more than that I’ll do: a post is vacant in my own regiment—the post of ensign—’tis yours, my friend. Scusate, oggi Siviglia è a casa mia; la, vestissi da donna, e là lasciati ha’ gl’ altri abiti suoi. Oh, in double quick time he ran off, sir—. Then speak them, my dearest! ma dunque non più, per la Contessa segretamente il vostro cor sospira? Meanwhile, then, I’ll tell my lord that at nightfall you’ll meet him in the garden; and little Cherubino, my ready pupil, putting Edition: current; Page: [15] off his journey, and mask’d in female habit, shall in your place go thither, dearest Susanna. Gently—a footstep—he’s coming! Numi! The Count forces the door; the Countess in tears flings herself upon the sofa. E ver, ma in di lui vece s’ opporra Marcellina. Susanna. Il Conte si mette fra loro, e riceve il bacio destinato per la Contessa. Pray be so condescending as to come with me a moment; my arm is quite at your service. Susanna then throws the dress over the latter. SCENE IV.—: A Garden, with a practicable Pavilion on each side. I’ll encourage this feeling, and fan the fool’s ambition. Certe robe. a quel che tutti dicono io non aggiungo un pelo. io voglio, di tal modo punirvi; a piacer mio la sentenza sarà. Poor Cherubino, you have lost your senses. They are flinging, still, rubbish in showers; But just now, which I take more unkindly. They are come now all our plots to baffle Scarcely know I what to say. This version has been converted from the original text. Antonio parte; il Conte mostro ancora il foglio, e la Contessa vede ch’ e la patente. And you’ve the courage to go on joking with a matter so serious? Questa è la patente che poc’ anzi il fanciullo mi diè. Cherubino ch’ è fin quì rimaso rannichiato nel seggiolone, si leva su, quasi a sedere. Various seats. Come hither, child; give me your flowers; [Takes the flowers from Cherubino, and kisses his forehead,] no cause to blush—Susanna, is she not like him? This text-based PDF or EBook was created from the HTML version of this book and is part of the Portable Library of Liberty. Ehi gente! [Sarcastically.] Oh cielo! Air. Ma come se a quest’ ora esser giunto a Siviglia egli dovria? Susanna avvanza, e parla con voce fintra. it has pricked his lordship’s finger—and now he’s looking for it—ah, how stupid! A sinistra, alla quinta di mezzo, porta di entrata; dal lato opposto, all’ ultima quinta, porta di un gabinetto. I scarcely can believe my senses! And how his lordship loves you! Take courage! Ed intanto a cavallo di galoppo a Siviglia andava il Paggio? Gardener to the Chateau, uncle to Susanna, and father to Barbarina. mezzo ubbriaco, portando un vaso di viole, co' gambi schiacciati. [Alzando la voce.] [Siede.] Oh! Susanna and Countess. with Cherubino’s regimental hat in his hand. ePub standard file for your iPad or any e-reader compatible with that format. Porco Rosso sorvola i cieli dell'Adriatico a bordo del suo idrovolante vermiglio, vivendo di avventurosi lavoretti, liberando coloro che sono rapiti dai Pirati del Cielo e sottraendosi al giogo fascista. Due parole. Ella tira segretamente la manica di lui per attrare le sua attenzione, e dunque fingendo aggiustare la ghirlanda gli da nel mano il biglietto. His gracious lordship is pleas’d to love Susanna. But why have you awaited the day fixed for the marriage ere you mention this matter? may-be she’s told the Countess of my intriguing; if she’s betray’d me, her lover weds the old woman. Sono in trappola, sono in trappola. A Garden, with a practicable Pavilion on each side. Take up your places—my beauties, to your places. whence this terror? Susanna dà al Conte furtivamente un viglietto, ed egli se lo pone in seno con destrezza. [Cava fuori delle carte, e le mostra a Figaro.] the traitors!—but, trust me, both of you shall regret it; your sentence I’ll give as my anger directs. Venite quì, datemi i vostri fiori; [Prende i fiori da Cherubino e bacia la sua fronte,] come arossi—Susanna, e non ti pare, ch’e somigli ad alcuno? The needle which his Lordship desired me to convey to Susanna. I can see him—more gently, child—in whispers! aspettando quel caro visetto, tippe tappe un sussuro fuor d’ uso; voi gridaste—lo scritto biglietto, saltai giù, dal terrore confuso; e stravolto m’ ho un nervo del pie. Il Conte fa seqnale a Figaro di ritararsi. Susanna ran into the pavilion on the left. non chiamarmi con nome si fatale; ei mi rammenta, che abbandonar degg’ io comare tanto buona. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. “Know the cause is victorious!” Is it so, ma’am? M’inganno! You scanip! No fear of my forgetting where they’ve fix’d for the meeting. They all carry nosegays, which they present to the Countess. Partono—Susanna esce e va alla porta del gabinetto. Siam d’eguale statura. [Pointedly to Figaro.] Come on—this way, my beauties! My Lord—my Lord, if you detain these pretty maidens, farewell feasting, farewell dancing. I took for granted that you’d your sex’s likings and impressions, and would prefer for lover one of birth, in the prime of life and manhood, to beardless pages and striplings. At the side of the alcove, on the right hand, an outer door leading to a cabinet; on the left, a window; at the upper end, a door which leads to an inner chamber; on the opposite side, the door of a cabinet. Yes, directly; but learn that Figaro seeks him also. [To Susanna.] After disposing of Cherubino and Barbarina, who were also in the left hand pavilion, he dragged out the supposed Countess, who fell down on her knees before him, imploring his forgiveness. E voi restate quì, picciol serpente. Susanna was to get a message to the Count that she would meet him in the garden, that night. Enter Don Curzio, accompanied by and speaking with Marcellina, Bartolo, and Figaro. Dettando a Susanna, che si mette a tavola e scrive. E vero, e vero; mi prometti poi. Susanna takes a seat by the Countess; Cherubino kneels before her, and Susanna places the cap on his head. I suffissi vezzeggiativi sono suffissi che esprimono una connotazione affettiva. [Il Conte si mette fra loro, e riceve il bacio destinato per la Contessa. Bravo, good Marcellina; I’ll be your second, but from me you’ll keep nothing. Ehi, capitano; a me pure la mano. [Si fa rumore nel gabinetto don’ è Cherubino. [Susanna nasconde la lettera in suo seno. Figaro. She goes into the pavilion, and he retires into the back ground. no doubt a love epistle, that some one on the sly has given to him—and, wonderful, ’twas fasten’d with a needle, too. Once there, he's embroiled in a fierce campaign that humans were waging on the forest. Susanna then throws the dress over the latter. Entrano il Conte ed Antonio, chi tira Cherubino dalle Villanelle e gli leva la cuffia; la cappellatura gli cade sulle spalle. Susanna managed to meet Figaro. Remain, sir. This is met be animosity by both sides as they each see him as supporting the enemy. [To Basilio.] Ponyo, però, è costretta dal padre Fujimoto, un tempo uomo ora invece stregone che abita le profondità del mare, a tornare nuovamente con lui negli abissi dell'oceano. Tutto giova a un raggiro; il colpo è fatto. In their haste, too, they have quite forgot to seal it. [A Susanna.] [Advancing.] The serpent! When fortune smiled upon him, however, he forgot his old attachment entirely, and, by an ill choice, fixed the date of his union with Susanna on the same day, on which he was to have married Marcellina. O caro!—O bello, O fortunato nastro! [Aside.] Ebben Iasciate; l’aprirem senza chiavi. as many as you please—I’ll take all! or what evasions, when the proofs are so pregnant? Don’t be silly. Here it is! Ah! [Dashes him off, and rushes again into the pavilion. Come my lord when he pleases, there will I await him. Susanna, Cherubino, Basilio, Figaro e Il Conte, restano. And laugh, in the end, at what people say. The Count showed her Figaro’s letter. Entrano varie Contadinelle, chi portano il cappellino virginale, ornato di piume bianche, il velo, i guanti, ed il mazzetto, per Susanna e per Marcellina. Myself? SCENA II.—: Sala ricca, con trono, preparata a festa nuziale. there’s some one. Hush! (THE MARRIAGE OF FIGARO.). [The Peasant-Girls go out. Susanna si aggiusta davanti uno specchio, un capellino della Contessa in testa. why this sudden confusion? Il Conte fa seqnale a Figaro di ritararsi. Bravi! Take it—’tis a receipt, son, for the gold that you. [Ironically.] Ihre Meinung über das gelesene Buch ist interessant für andere Leser. Don’t you worry him. That’s well. Away, then. I searcely can believe it: he is surely far away, at Seville. I’m in the dark still. the letter that Figaro would send him. Dictating to Susanna, who places herself at the table, con varie altre Contadine, che portano dei mazzetti di fiori e gli presentano alla Contessa. [Goes into the closet and shuts the door. [Cantandosi l’ultimo verso, Susanna s’inginocchia al Conte, chi mette sulla fronte di lei la ghirlanda nuziale. Ecco il progetto. Cherubino runs to hide himself in the cabinet. he’s a mile off already. Tu sai che ambasciatore a Londra, il Re mi dichiarò, di condur meco Figaro destinai. Dopo aver scoperto un intrigo magico che coinvolge le sue due sorelle, la diciottenne Sophie cade vittima di un incantesimo che trasforma il suo corpo in quello di una vecchia. You’re right, ma’am; I own it. If the Count should approach, I shall be ruined. [Behind.] with a purse in her hand, meeting the Count, and stopping him. Peace between us, my charmer, I pray you; Why, these tones by their sweetness betray you; On our plot we’ll soon let fall the curtain; ’Tis the Countess! In order to effect the necessary transformation for his new character, Cherubino was admitted to the room of the Countess, where Susanna, under the Superintendence of the Countess, began to make the change of wardrobe necessary. Tuck up his sleeves, now, above his elbows, I play you, so that the dress may sit upon him with grace and lightness. Ah, ah! Cherubino si nasconde dietro il seggiolone. [Segnatamente a Figaro.] Away, my friends, now, and make your preparations; I wish the marriage feast to be splendid. [Cherubino hides behind the chair.] Le mi salvo da questo tempesta. Dov’ è l’ appuntamento, che tu gli proponesti! Abandon your doubtings, abandon misgivings. [Susanna appare indietro, con una cuffia da notte, un nastro, ed una vesta da camera in mano.] Yes, her own chamber, or that—I can’t be certain. E senza l’ assenso de’ miei nobili parenti—. Ma da Figaro al fine, non può meglio sperarsi?—“L’argent fait tout.”. You’re right, precisely. He gives a box on the ear to Figaro, whom he takes for Cherubino. Just repeat to me your tale once more. Ah, never give me that title so detested; it still reminds me that I must needs abandon my dear and kind protectress. Heavens! In the meanwhile Susanna, upon the advice of the Countess, and without the knowledge of her betrothed, carried on the intrigue originally plotted by Figaro. The joy that fills my bosom. Via piagnone stà zitto una volta! Take my word, good my lord, that Cherubino remains still in the castle, and the proof of it is here—his hat and feather. Con mia sorpresa, lo iodio è scomparso dal mio braccio quasi alla stessa velocità con cui l’ho messo. Il caos del mondo oceanico si riversa sulla cittadina di Sosuke fino a farla sprofondare sotto i flutti. E giusta la sentenza: o pagar, o sposar. Lo vuolesi!—lo vuol; manco parole. The Count signs to Figaro to leave them. La Contessa entra nel padiglione a dritto, il Conte va in fondo. • Vasetto per balsami in pasta vitrea, Monte Sirai • Brocca con polipo. That you must answer, since I have just now entered. Enter the Countess, looking about anxiously. The Countess now received graciously the passionate words of her husband, intended for Susanna. I slipp’d back then unnotic’d, and hid again, sir. Read it unto the Countess—read it yourself, Susanna—read it to every damsel in the palace. Oh, perhaps ’tis the list of your creditors. I thought you had sprained your foot severely? Sortite! [While the last verse is being sung, Susanna kneels to the Count, who places upon her head the bridal wreath. Before the Count could fully realize his awkward position, the Countess, with the assistance of Susanna and Figaro, hushed matters up, and hurried the witnesses of this most extraordinary denouement off to the festivities in honor of Figaro’s marriage, which were going on in the castle. If one is watching, the other will be here, too, directly; so we’ll begin. Bravo! SCENA I.—: Camera quasi smobiliata con un seggiolone nel mezzo. He wanted to lodge a complaint against some one who had jumped out of the window from the Countess’ room, broken some of his flower-pots, and escaped through the garden. My husband! Oh, now I do not feel it. And, more than all the rest, on my arm’s impress’d a hieroglyphic, too. A Cherubino, come Susanna entra nel gabinetto. [Perceiving Susanna.] Nobody but Susanna, insisted the Countess. Vediam come mi serve. La Contessa avanzando, ed inginocchiandosi al Conte con aria maliziosetta. Silence! Egli era meco quando voi quì giungeste; e mi chiedea d’ impegnar la Padrona a interceder gli grazia, il vostro arrivo in scompiglio lo posse; ed allor in quel loco si nascose. Il Mare della Rovina si è espanso drammaticamente, occupando i regni degli uomini e invadendo la Terra con i suoi insetti giganti e le sue spore velenose. [Gettelo il Conte, e corre ancora nel padiglione. Entriamo ove entrò Barberina! Ashitaka sees the good in both sides and tries to stem the flood of blood. Susanna esce dalla sua camera [Editor: illegible word] una vesta, ed ascolta indietre. Bitte lesen Sie eine Kurzanleitung. Ipocritone! [Pian a Susanna.] [Con gioia finta] Addio, picciolo Cherubino; come cangia in un punto il tuo destino! Sestett.—Marcellina, Don Curzio, Count, Bartolo. Weaty of roaming forth in search of beauty, Has come to this conclusion:—it were better. Ah! Lo chiedo a voi, io vengo in questo punto. The Countess looks over the Count’s shoulder. Il Conte entra improvvisamente nel padiglione, e tira per forza Cherubino, traendolo dalla Contessa. [A Susanna.] Io sotto queste piante, se madama il permette, resto, a prendere il fresco una mezz’ ora. But mark my project: through Basil’, I sent my lord a letter, in which I gave him notice of a certain assignation made by you for the ball of this evening. Restate. E voi non applaudite? COUNT ALMAVIVA. [Aparte.] [Contraffacendolo.] Per buona sorte i vasi eran di creta. Such commissions are seal’d when transacted. Un amante che perdi il cara sposo sul punto d’ ottenerlo—, Pagando Marcellina colla dote che voi mi promettesti—. Eccoci della crisi al grande istante? [Pointing to Bartolo.] Peasants, male and female; Officers of Court, Valets, Bravos, &c. &c. the scene is laid at the chateau of agnas frescas, three leagues from seville. To the pleasantest chamber in the palace. Oh, heavens! What’s contain’d in this note? Groups, Wolfgang Amadeus Mozart, Mozart’s Opera Marriage of Figaro, containing the Italian text, with an English translation, and the Music of all of the Principal Airs (Boston: Oliver Ditson Co., 1888). ’tis the grossest slander. One of Mozart’s most popular operas, with a libretto by Lorenzo da Ponte, based upon the notorious play by Beaumarchais. Hold your tongue, sir, for once, if you’re wise. Then whence his jealousy, always on the watch? Susanna then withdrew into the shade of the thicket, leaving her mistress alone waiting for the Count. At this moment Marcellina, duly accompanied by her counsel, appeared and lodged a complaint with the Count against Figaro for breach of promise. Truly, it seems that my maid disturbs you more than she does me, sir. Sus. [Entering.] Figaro takes several papers from his pocket, and pretends to seek what is wanted. Vapors, sir, belong but to ladies of fashion. Mentre il Conte le pone in testa il cappellino, ed il velo, e le dà i guanti ed il mazzetto, si canti il Coro. Going to the window, and making signs, as if about to leap out. S’death! While the Count puts the hat on her head, and presents the veil, the gloves, and the nosegay, the Chorus is sung. Perhaps; but this, at most, gives you a right, now, to be suspicious, and take in time precaution; it has taught nothing certain. Fig. Giù quel manto. Bravo, Don Curzio. Entrano la Contessa e Susanna, che vengono insieme. ’Tis well; but in my lady’s stead send old Marcellina. I hear a footstep! But piano, piano, piano, piano, piano, piano, piano. Che novità? Ah! The Countess granted it in good grace. Many—the jewels, the rich embroider’d garments, which, in my earliest childhood, were by the robbers taken from my person—Are they not proofs decisive?—proofs of noble extraction? [The Count steps between them, and receives the kiss intended for the Countess. Here is the head-dress. You well know how I love you; surely. His lordship found me alone this morning with our Barbarina, and dismissed me his service. We are equal in stature. sì!—certo. Da madama sarà, vado a cercarlo. Flemma, flemma—e poi flemma; il fatto è serio, e pensarci convien; ma guarda un poco che ancor non sai di che si prenda gioco. Come da tradizione, al compimento del tredicesimo anno di età, viene allontanata da casa per un anno di apprendistato che le servirà per imparare a cavarsela da sola. Then follows a merry dance. Si, se voluto aveste intendermi voi stessa. Often at table his looks betray his passion—understand, for the Countess. [Leva la chiave dal gabinetto, e corre ad aprire il Conte, che entra. E mio dovere e quel di sua Eccellenza, e il mio volere. [Usciono le Paesane. si aggiusta davanti uno specchio, un capellino della Contessa in testa. O, ciel! Oh, be contented. Behold it!—be speedy; if the Count find him here, he’ll ne’er forgive us. Oh vedo quì, una donna! The sentence is judicious: pay you must, or else wed her. Cosa bramate! Figaro lay already in waiting, of which the ladies were well aware. Susanna here will wait for our returning. Da al Figaro uno schiaffo, prendendolo per Cherubino. Segue intanto una lieta danza. [Ad Figaro.] ’Tis the wine that speaks out of the fellow. Oh, his rage will be dreadful—what’s to be done now? [Antonio parte; il Conte mostro ancora il foglio, e la Contessa vede ch’ e la patente. dinanzi al Conte, ed ella s’ inginocchia. But now for my dear Barbarina!—A petticoat, by heavens! Jonathan Strange & Il Signor Norrell | Clarke Susanna | download | B–OK. La C. Chi n’ è l’autor? Sta Cherubino con qli occhi abbassati. I do begin, sir, to perceive your purpose; Ma piano, piano, piano, piano, piano, piano, piano. [Sola.] is discovered, measuring out a space with a rule, while. Come si cavera dall’ imbarazzo! Eh, non mi duol più molto. Grand Corregidor of Andalusia. Almaviva, inwardly rejoicing at the turn affairs took, and thinking to profit by it, evinced great interest in the case. Restrain yourself;—our bride groom. The latter pulls Cherubino from amongst the girls, and takes off his bonnet, when his long hair falls down about his shoulders. Now, my dearest—my lady’s impatient. [Figaro takes several papers from his pocket, and pretends to seek what is wanted. Indeed, sir! le donne ficcan gli aghi in ogni loco. Finiam le ragazzate; or quelle maniche oltre il gomito gli alza, onde più agitatamente l’abito gli si adatti. Doff your mantle. [Mocking him.] Were she but once persuaded to scorn Almaviva’s love-approaches, he then, from disappointment, would assist me, I’m certain, and Figaro compel to be my husband. e quale scusa, se la colpa è evidente? What noise is that in yonder room? Addressing the Countess in mistake for Susanna. [Va a chiudere la porta.] And so would I, too. Susanna lo copre colla vesta, che ha recata. divertiamci anche noi. [Eyeing her keenly, and giving her Figaro’s letter.] Io non ho mai nella moral sentito, ch’uno ch’ami la moglie odii il marito. He from Seville’s return’d here on horseback; No, not so, sir; you’re wrong altogether: I was hidden there, [Pointing to the Chamber,] awaiting till she was alone, sir, when tip, tap, tip, I heard voices murmuring; you call’d out then—and, dreading your anger, down I leap’d, all confounded by terror; in the tumble I sprain’d, too, my foot.

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Bandiera Blu Abruzzo 2020, Mosè Monte Sinai, Auguri Compleanno Spiritosi, Gianni Melidoni Giornalista, Reddito Di Emergenza Tempi Di Attesa, Via Simone Martini Roma, 15 Luglio Eventi Storici, Romania Feste Tradizionali,