While this was going on, and Susanna had just stepped out into her room—to the left—to take away the page’s coat and fetch him one of her dresses, the Count tried to gain access by the principal—middle—entrance, and finding this locked—an occurrence against all precedents—he began to knock vehemently. Of this appointment Figaro—through the simplicity of a peasant girl, entrusted with the Count’s answer to Susanna—got wind, and forthwith collected a number of stout villagers, who were to administer to the Count a sound cudgeling under cover of the darkness. [Osservando Cherubino.] What paper’s that, sir? Enter Barbarina, as if seeking something that she had lost. [Reading the direction to return the needle.] The Count had in his service a lad, by the name of Cherubino, a young scapegrace, passionately fond of the other sex, always in love, in truth, a Don Giovanni in embryo. Now explain. A little higher. egli ha due braccia di rossor sulla faccia! Il mio sposo—[Si alzano agitati.] They all carry nosegays, which they present to the Countess. 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. She goes into the pavilion, and he retires into the back ground. Enter the Count and Antonio. Le mi salvo da questo tempesta. Cherubino, kept back in the castle against the Count’s orders, was to act Susanna’s part, and the Countess to surprise the frail husband with the supposed Susanna. Lasciano insieme il teatro ma il Conte aggrappa il mantello di Figaro, e Susanna corre nel padiglione al destra. Why, he was here already, ere you appeared, sir; and came to beg me to solicit my lady’s friendly intercession, when your approach confus’d and alarm’d him. I but say as others; nor do I add a syllable to what is talked on all sides. Adieu, my handsome cousin! Air. io voglio, di tal modo punirvi; a piacer mio la sentenza sarà. You’re right, ma’am; I own it. [Without.] The Count signs to Figaro to leave them. Chi sa ch’ ella tradito abbia il segreto mio; oh se ha parlato, gli fo sposar la vecchia. Entrano Basilio, Antonio, Don Curzio, Bartolo, Servi e Paesani con torchj. How will he extricate himself, I wonder! Sie wird in 1-5 Minuten geliefert. [Exeunt—Susanna goes to the door of the cabinet. But now, sir, for the ballad which this morning you gave me—sing it, pray, to the Countess. Yes, he dies; there’s nought can save him. Io! Eyeing her keenly, and giving her Figaro’s letter. [La Contessa guarda sopra le spalle del Conte. La porta chiuderò. Esaminandola, e mostrandola una lettera da Figaro. While the Count puts the hat on her head, and presents the veil, the gloves, and the nosegay, the Chorus is sung. [Avvanzandosi.] Per dir che il Conte v’ama! Dettando a Susanna, che si mette a tavola e scrive. Antonio parte; il Conte mostro ancora il foglio, e la Contessa vede ch’ e la patente. Ma [Editor: illegible word] poi acconciargli i capelli? Viene Antonio mezzo ubbriaco, portando un vaso di viole, co' gambi schiacciati. Take my guitar, and play to our minstrel’s singing. La C. Chi n’ è l’autor? Really, you poze me; but I must know, Signora, who is hid in yon room? SCENA IV.—: Giardino con due padiglione paralelle practicabile. she informs me that Figaro is coming. Once surpris’d and caught in his misdoings, he’ll be glad to comply with all our wishes. Cantandosi l’ultimo verso, Susanna s’inginocchia al Conte, chi mette sulla fronte di lei la ghirlanda nuziale. Evver; ma questo al più ti porge un dritto di stare in guardia e vivere in sospetto; ma non sai se in effetto. Here he is. I scarcely can believe my senses! Susanna si aggiusta davanti uno specchio, un capellino della Contessa in testa. SCENA II.—: Sala ricca, con trono, preparata a festa nuziale. E senza l’ assenso de’ miei nobili parenti—. C’o l’arte dunque. AMANTI COSTANTI—YE LOVERS, FOR WHOM NOW THE ALTAR. [Figaro takes several papers from his pocket, and pretends to seek what is wanted. col cappello da ufiziale di Cherubino in mano. And yet it seems, Ma’am, you do not feel too easy. Adieu! whole as it happen’d. [Advancing.] Is’t a spatula, on the right arm printed? Partono—Susanna esce e va alla porta del gabinetto. I’m sure a table, chair, or something has fallen. And now this question to settle. Bravi! ne’er will I give thee back; no, not for millions! Non c’è alcun male: ha ciascun i suoi gusti. What brings you hither? Io vo parlarti pria che tu parti. Perhaps; but this, at most, gives you a right, now, to be suspicious, and take in time precaution; it has taught nothing certain. Dov’ è l’ appuntamento, che tu gli proponesti! Susanna. A collection of scholarly works about individual liberty and free markets. Entrano varie Contadinelle, chi portano il cappellino virginale, ornato di piume bianche, il velo, i guanti, ed il mazzetto, per Susanna e per Marcellina. Up started the Count, demanding who was in there. [Aparte a Susanna.] Pushing Cherubino out of the chair, and seating him self. [A Cherubino.] Write, write, I tell you—I’ll take the blame upon myself, child—[Dictating to Susanna, who places herself at the table]—a song to this tune—. Good Heavens! Soon shall we see, then, who’ll victor be, then; Va là, vecchia pedante! Cherubino runs to hide himself in the cabinet. E, sopra tutto questo, al mio braccio impresso geroglifico. con una borsa di denari in mano, e lo trattiene. Oh yes!—surely! SE VUOL BALLARE—HAPLY YOUR LORDSHIP. [A Basilio.] Seguono Barberina e Marcellina. What ribbon’s that, sir? [Usciono le Paesane. esce dal gabinetto, con aria grave ed ironica. [Da al Figaro uno schiaffo, prendendolo per Cherubino. In his terror he hid then where you found him. Come on—this way, my beauties! E un maligno con voi ch’ ha gli occhi in testa? [Entering.] Read it unto the Countess—read it yourself, Susanna—read it to every damsel in the palace. Heavens! Bravo! Jonathan Strange & Il Signor Norrell | Clarke Susanna | download | B–OK. Susanna enters from the Cabinet, with a look of ironica gravity. [Alone.] È trascorso un millennio da quando una serie di guerre, culminata nelle esplosioni termonucleari dei Sette Giorni del Fuoco, ha alterato l'ecosistema mondiale. [Susanna fugge; Figaro la segue; Il Conte, che ha sentite dal fondo le ultime parole, torna. [To the Count.] There’s no occasion—no, not the least, my jewel! This is folly; I request you’ll give over. Sta Cherubino con qli occhi abbassati. Susanna, Cherubino, Basilio, Figaro e Il Conte, restano. Varie sedie. [Sola.] the page’s commission! While the last verse is being sung, Susanna kneels to the Count, who places upon her head the bridal wreath. Figaro comes to receive Susanna from the hands of the Count, and withdraws on the other side, near Marcellina. [A Cherubino, come Susanna entra nel gabinetto.] Farewell, spiteful old pedant—arrogant old doctor. [Cava fuori delle carte, e le mostra a Figaro.] capisco il gioco. Andiam, belle fanciulle! [To the Count.] Ella tira segretamente la manica di lui per attrare le sua attenzione, e dunque fingendo aggiustare la ghirlanda gli da nel mano il biglietto. E mio dovere e quel di sua Eccellenza, e il mio volere. Entrano varie Contadinelle, chi portano il cappellino virginale, ornato di piume bianche, il velo, i guanti, ed il mazzetto, per Susanna e per Marcellina. Ben, bene, io vi perdono; Anzi farò di più; vacante è un posto d’uffizial nel reggimento mio; io scelgo voi. This way, and you’ll be sure to catch him. And how his lordship loves you! 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. [Aside.] This is a facsimile or image-based PDF made from scans of the original book. che ingiustizia! ’tis the grossest slander. Cherubino quickly fled into the chamber of the Countess—to the right—and the Countess opened the door. They are come now all our plots to baffle Scarcely know I what to say. Entrano Bartolo e Marcellina, con un contratto in mano, sequiti da Susanna, che ascolta al fondo. 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. He laugh’d, too, as he read it. Really, I did my best, sir, not to listen. You have grown since you leaped, then, much taller. [To Antonio.] [Aparte a Figaro.] Susanna!—and why, then, seem you in such perturbation? Come on, my pretty villagers! [Aside.] If one is watching, the other will be here, too, directly; so we’ll begin. la patente! His gracious lordship is pleas’d to love Susanna. sì!—certo. Ecco! Now hide it quickly—I hear the sounds of footsteps. Sala ricca, con trono, preparata a festa nuziale. [Cherubino hides behind the chair.] Was there ever, now, seen such a booby? Figaro is discovered, measuring out a space with a rule, while Susanna stands before a large glass, trying on the Countess’s hat, and admiring herself. Contented; so be it. am I awake or dreaming? [Ironico.] Alza, in imitazione, la vesta che copre il seggiolone, e scopre Cherubino. Come lo sono i moderni mariti. Susanna?—e d’onde viene che siete si turbata? O, ciel! And Susanna was assisting—she’s now gone to her chamber. [He searches on the ground for the needle. oh, vengeance glorious! [To Cherubino.] Era meco la Susanna—che in sua camera è andata. Poor Cherubino, you have lost your senses. [Cherubino, who has till now remained crouched in the chair, raises himself up, as if seated therein. without aid from you, know the cause is victorious. The Count signs to Figaro to leave them. [Aside.] vorresti ballar col pie’ stravolto? This way alone is left me. But then Basilio, who spoke in my behalf? MI SENTO DAL CONTENTO—WHAT TRANSPORT NOW IS FLYING. The Peasant-Girls go out. Susanna then withdrew into the shade of the thicket, leaving her mistress alone waiting for the Count. Exeunt—Susanna goes to the door of the cabinet. [Intercepting Cherubino, as he goes to kiss Susanna.] LE NOZZE DI FIGARO. 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. [A Susanna.] Well, ma’am, what does it matter? Application designed and developed by Walter Davis Studio. Here is the head-dress. Unfortunately for the gay ex-barber, he had, while in a state of less prosperity, given a written promise to an old, but rich spinster, Marcellina, to marry her on a certain day, upon which promise he had been furnished with various snug sums by the would be Mrs. Figaro. [Susanna nasconde la lettera in suo seno. Durante il loro trasferimento in periferia, Chihiro e i suoi genitori prendono una scorciatoia che li porta in un paese abbandonato che di notte si popola di spettri, streghe e mostri. And laugh, in the end, at what people say. He is your father! 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. Ito è il Conte alcaccia e per qualch ’ora non sarà di ritorno; io vado, e tosto Cherubino vi mando; lascio a voi la cura di vestirlo. Ma da Figaro al fine, non può meglio sperarsi?—“L’argent fait tout.”. Per me? è il foglio, che Figaro gli scrisse. Silence! But what made you so cross and so disdainful this morning? Such commissions are seal’d when transacted. A sinistra, alla quinta di mezzo, porta di entrata; dal lato opposto, all’ ultima quinta, porta di un gabinetto. E per voi, per Madama? Figaro lay already in waiting, of which the ladies were well aware. Sestetto.—Marcellina, Don Curzio, Conte, Bartolo. Seal it? [Pointing to Bartolo.] Enter the Countess, looking about anxiously. [Cherubino upsets a chair in the cabinet. “Know the cause is victorious!” Is it so, ma’am? 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. Hence, or I will call assistance. Giusti Dei! And then our page’s song, too. [The Countess looks over the Count’s shoulder. Ehi, capitano; a me pure la mano. [More confused] Fallen, sir?—I did not hear it. All ye saints, the commission! The Count takes a diamond ring from his finger, and gives it to the supposed Susanna. A magnificent Chamber, with an alcove. If we can persuade him—the time for action? Dopo quel ch’è successo—il suo furore! Io vò provarmi—fingiam di non vederla. E giusta la sentenza: o pagar, o sposar. Son morta! LA NOSTRA STORIA... Una famiglia, storia di una passione di padre in figlio.. ovvero la capacità di coniugare Tradizione e Innovazione. [Va a chiudere la porta.] [As Cherubino draws back, Figaro advances into his place. Apropos of the Page, now; he is much too incautious. Leggendo il direzione di rimandare il sigillo. Manco male ch’ognun sa quanto vale. You will see me no more? In recompense, my dearest, I will give you this song of my composing. [Aparte.] Vieni, cara Susanna, finiscimi l’istoria. Certe robe. è già un miglio lontano Ma non perdiamei invano; entriam nel gabinetto; venga poi lo smargiasso; io quì l’aspetto. Ah! Con mia sorpresa, lo iodio è scomparso dal mio braccio quasi alla stessa velocità con cui l’ho messo. I’m in the dark still. Pray, have you met with my lord this morning? A proposito, figlia, instruitelo meglio. [Fuori.] 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. Here it is; and, when he appears, I’ll make him sing it. Speak out, then. Nausicaa è convinta che la soluzione non sia attaccare gli insetti, bensì comprendere il segreto alla base del Mare della Rovina. [Aside to Figaro.] Basilio, now hasten; say to our Figaro I want him. Well, you shall know it; but hear me first with calmness. E quella canzonetta!—ditemi in confidenza. A voi non tocca, stare in pena per questo! He had heard voices in the room, when he approached it. Enter Susanna, disguised as the Countess, and the Countess disguised as Susanna, followed by Marcellina. Arousing thus the Count’s suspicion, and disturbing his peace of mind, Figaro calculated better to prepare him for the snare which was to be laid. Chi al par di me contenta! [Aparte a Basilio.] Vicni, amico—madama è impaziente. Title names Away, and quickly. E cosa deve far meco il Conte?—animò, uscite. Die Datei wird an Ihr Kindle-Konto gesendet. [Il Conte ritorna, traendo Susanna, chi nasconde fra le mani il viso. Enter the Count, stealthily, through the iron gates, Susanna being at the back on the left, Figaro on the right. [Exeunt all except the Count and Countess. [Ironically.] They all carry nosegays, which they present to the Countess. Susanna slily gives the Count a note, and he puts it dexterously into his waistcoat. Going to the window, and making signs, as if about to leap out. Fig. This is a simplifed HTML format, intended for screen readers and other limited-function browsers. My Lord, your noble Countess has got her usual vapors, and has dispatch’d me for her smelling-bottle. Se tu manchi, O cor mio—Ma la Contessa attenderà il vasetto. porreste a repentaglio d’una dama l’onore. A Cherubino, come Susanna entra nel gabinetto. Partono tutti eccetto il Conte e la Contessa. Prima, però, versa nell'oceano l'Acqua della Vita, la preziosa riserva di elisir magico di Fujimoto. Ecco il progetto. [Aside.] 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. Ashitaka sees the good in both sides and tries to stem the flood of blood. Essays Presto, Pazu scoprirà che tanto l'esercito quanto i pirati sono sulle tracce della giovane Sheeta, la quale sembra avere la chiave d'accesso per la leggendaria città di Laputa, regno incantato che fluttua nel cielo. Il Conte ieri, perchè trovommi sol con Barbarina, il congedo mi diede; e se la Contessina, la mia bella comare, grazia non m’intercede, io vado via, io non ti vedo più, Susanna mia. Antonio conduce Susanna dinanzi al Conte, ed ella s’ inginocchia. He insisted he must see his master. [Contraffacendolo.] Gardener to the Chateau, uncle to Susanna, and father to Barbarina. Coming forward, and speaking in a feigned voice. Ipocritone! Then there’s Antonio, who to Figaro angrily refuses to give his niece’s hand at all in marriage. [Sola.] Là rinchiuso, [Mostrando il gabinetto.] SCENE IV.—: A Garden, with a practicable Pavilion on each side. [The Count finds the pin, and picks it up, as the dance ends. 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. [Raising his voice.] Ai vostri posti, o belle, ai vostri posti! SULL’ARIA!—THE ZEPHYR! Oh, Susanna! mezzo ubbriaco, portando un vaso di viole, co' gambi schiacciati. Dunque un ci ascolta—e l’altro dee venir a cercarmi; incominciam. Doff your mantle. SCENA I.—: Camera quasi smobiliata con un seggiolone nel mezzo. Various seats. [With a confident air.] Take my word, good my lord, that Cherubino remains still in the castle, and the proof of it is here—his hat and feather. [Susanna appears behind, with a ribbon, robe and head-dress in her hands.] si aggiusta davanti uno specchio, un capellino della Contessa in testa. Various seats. ’Tis the wine that speaks out of the fellow. ecco l’imbroglio—ecco il raggiro onde m’avverti il foglio. You are drunk, and know not what you say. [He gives a box on the ear to Figaro, whom he takes for Cherubino. I myself sate me down there when I enter’d the chamber. I read the riddle. Better and better; now we shall surely catch him! [Behind.] But the Count acted the enraged husband in good earnest. Let’s fly and tell the Countess and my uncle the. why this sudden confusion? Convien che abbiate i gran pensieri in mente. Ah! SCENE II.—: A magnificent Chamber, with an alcove. Die Datei wird an Ihre E-Mail-Adresse gesendet. Within the room I’ll plant me. Susanna slily gives the Count a note, and he puts it dexterously into his waistcoat. I cannot get free from suspicion and doubt. I can see him—more gently, child—in whispers! That’s what I would know. Cherubino. Forbitevi la bocca, O Signor scaltro. I’m all in such a tremble!—but, if madam commands it—. Figaro, who was extremely annoyed by his master’s behavior towards Susanna, and truly sorry for his groundless jealousy towards the Countess, bethought himself of a plan to bring the Count back into the bounds of propriety. They are flinging, still, rubbish in showers; But just now, which I take more unkindly. [Al fondo.] Restrain yourself;—our bride groom. Then speak them, my dearest! Nay, more than that I’ll do: a post is vacant in my own regiment—the post of ensign—’tis yours, my friend. When the Count and Countess returned, and the Count had wrung from his wife the confession that the page was there, half undressed, the sudden appearance of Susanna in the door of the apartment took both completely by surprise. before the Count, and she kneels. Oh, I’m so glad, so happy. Oh, be contented. And wherefore should I do a thing so absurd? Sortite! [Susanna takes a seat by the Countess; Cherubino kneels before her, and Susanna places the cap on his head. [Aside to Susanna.] Gli si leggeva in fronte, il dispetto, la rabbia. Basilio, in traccia tosto di Figaro volate: Io vò che veda—. Who has done it? This version is a side-by-side Italian and English edition. That was pretext, sir, and meant to bring about this conversation. This text-based PDF or EBook was created from the HTML version of this book and is part of the Portable Library of Liberty. no doubt a love epistle, that some one on the sly has given to him—and, wonderful, ’twas fasten’d with a needle, too. con un contratto in mano, sequiti da Susanna, che ascolta al fondo. [Gettelo il Conte, e corre ancora nel padiglione. Susanna ran into the pavilion on the left. Per Basilio un biglietto io gli fo capitar, che l’ avvertisca di certo appuntamento, che per l’ora del ballo a un’ amante voi deste. Scusate, oggi Siviglia è a casa mia; la, vestissi da donna, e là lasciati ha’ gl’ altri abiti suoi. DON BASILIO. You breathe no longer your sighs for her in secret? Che lingua! sta misurando con una canna il pavimento per lungo e per largo. What’s contain’d in this note? Sus. Music-master to the Countess. E poi—. In the first place he sent a letter to the Count, informing him that the Countess had made an appointment to meet somebody at the evening’s ball. Come! Ritira Figaro ancora, e Cherubino corre nel padiglione al sinistra. We are equal in stature. Take it—’tis a receipt, son, for the gold that you. I’m off now, and quickly Cherubino will send you; for to you I leave it to disguise him. E po v’e Antonio, che a un incognito Figaro ricusa di dare una nipote in matrimonio. How it pains me, Susanna, to think that Cherubino should have o’erheard the Count thus himself exposing. My greatest pleasure is to grant your requests, what form soever taking. Restate. Dear ribbon!—oh lovely, oh happy, happy ribbon! Susanna, il ciel vi salvi! Un giorno, mentre sta giocando sulla spiaggia rocciosa sottostante, si accorge di una pesciolina rossa di nome Ponyo con la testa incastrata in un vasetto di marmellata; Sosuke la salva e la ripone in un secchio di plastica verde. Prende per uno braccio Cherubino, e lo mette in piede. Zounds! Kiki è una giovane strega. Weaty of roaming forth in search of beauty, Has come to this conclusion:—it were better. But where’s his canzonetta? Il Conte fa seqnale a Figaro di ritararsi. e in quella forma meco mentia! 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. [Pushing Cherubino out of the chair, and seating him self.] At a sign from the Count, Barbarina and the Chorus go off, while Susanna, Cherubino, Basilio, Figaro, and the Count remain. [To Cherubino.] Air. [The Peasant-Girls go out. In their haste, too, they have quite forgot to seal it. vil ministro de l’altrui sfrenatezza, io non ho d’uopo della vostra morale, del Conte, del suo amor. behold your gallant soldier! Come—non è partito? Why, the Count is gone hunting, and until nightfall will scarce think of returning. [Aparte.] Nay, what injustice! sì!—certo! Well, sir? Viene Cherubino in abita di contadinella: e Barberina con varie altre Contadine, che portano dei mazzetti di fiori e gli presentano alla Contessa. Breathe sweeter perfumes. Take up your places—my beauties, to your places. Prendi—questo è il biglietto, del denar che a me devi; ed è tua dote. But, now, the Countess waits for the smelling-bottle. But let’s discuss the matter. The serpent! At this moment Marcellina, duly accompanied by her counsel, appeared and lodged a complaint with the Count against Figaro for breach of promise. Da al Figaro uno schiaffo, prendendolo per Cherubino. But piano, piano, piano, piano, piano, piano, piano. Discovering that he has got hold of Cherubino. then no more you burn, sir, for the Countess? [Segnatamente a Figaro.] or what evasions, when the proofs are so pregnant? Approach, approach now, most chivalrous commander! I’m made ambassador to London, by the royal grace, and intend taking Figaro thither with me. with a dress over her arm, who listens at the back of the stage, and observes what is passing. by that hat now, if I see aright, ’tis our Susanna! Indeed! The Count comes to the front, and, in his hurry to open the note, pricks his finger with the needle with which it is fastened. You well know how I love you; surely. He seeks his greatest foe, then, poor fellow. discovered, walking up and down, with an air of trouble and reflection. Come vi piace; entro quel gabinetto; che v’e chiuso vedrò! Vo da Susanna, e poi da Cherubino. La Contessa guarda sopra le spalle del Conte. What fancy’s this? Cospetto!—But no matter. Forgetting herself, and with altered veice. Susanna takes a seat by the Countess; Cherubino kneels before her, and Susanna places the cap on his head. Susanna stara quì fin che torniamo. Oh, no; his lordship would ne’er confer such favors on the lowly and simple: but he means to be present at our marriage. Presto a noi, bel soldato; Figaro v’informò—. She secretly pulls him by the sleeve, to call his attention, and then, pretending to adjust the wreath, slips a note into his hand. I have broken a marriage much more advanced than this is; for slander often, if well aimed, can work wonders. NON PIU ANDRAI—PLAY NO MORE. She secretly pulls him by the sleeve, to call his attention, and then, pretending to adjust the wreath, slips a note into his hand. 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? ’Tis true; but then I was busy, sir, arranging. [Aside, behind the chair.] Just repeat to me your tale once more. My lord, I pray excuse me. When evening came round, the two ladies—the Countess dressed as Susanna, and Susanna as the Countess—repaired to the spot appointed in the letter, a secluded part of the park with a pavilion on either side. M’inganno! And why have you remain’d, then? Mentre il Conte le pone in testa il cappellino, ed il velo, e le dà i guanti ed il mazzetto, si canti il Coro. I’m ruin’d—you here, stripp’d of your mantle—in such condition—that most unlucky letter—he so prone to suspicion. As Cherubino draws back, Figaro advances into his place. Tu sei cotto dal sorger del dì. The play had been banned in 1786 because it questioned the legitimacy and rationality of the aristocracy by making fun of it through the eyes of a common servant, Figaro. Oh, that’s my duty; but, sooth, I do not know what it is you do wish. Sestett.—Marcellina, Don Curzio, Count, Bartolo. This Cherubino was, when our story opens, under orders to leave for the army immediately, in punishment for a misdemeanor, which he had been guilty of. Via presio la canzone, che stamane a me deste—a madama cantate. ’Tis of the latest, doctor—that must be granted; and yet what signifies it?
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