ORR228 book

ROSSINI
BIANCA E FALLIERO
ORC 20
in association with
Box cover: The Champion (oil on canvas) by Sir Charles Lock Eastlake
(1793–1865). Birmingham Museums and Art Gallery/Bridgeman Art Library
Booklet cover: The Doge Marino Grimani Receiving the Ambassador of Persia
(oil on panel) by Gabriele Caliari (1568–1631). Palazzo Ducale, Venice,
Italy/Bridgeman Art Library
Opposite: Gioachino Rossini
–1–
VIOLANTE CAMPORESI
The first Bianca,
Teatro La Scala, Milan,
26 December 1819.
GIOACHINO ROSSINI
BIANCA E FALLIERO
O SIA
IL CONSIGLIO DEI TRE
Dramma in two acts
Libretto by Felice Romani
Bianca, the daughter of Contareno........................................................Majella Cullagh
Falliero, a general in the service of Venice.............................................Jennifer Larmore
Contareno, a Venetian senator...................................................................Barry Banks
Capellio, a Venetian senator in love with Bianca.......................Ildebrando D’Arcangelo
Costanza, Bianca’s nurse................................................................Gabriella Colecchia
Priuli, The Doge of Venice........................................................................Simon Bailey
Pisani, Chancellor of the Council of Three...............................................Ryland Davies
An official in the Doge’s court................................................................Dominic Natoli
Geoffrey Mitchell Choir
Geoffrey Mitchell, chorus master
London Philharmonic Orchestra
leader, Duncan Riddell
Recitatives:
David Parry, piano
Robert Truman, cello
David Parry, conductor
–3–
CONTENTS
Rossini and Bianca e Falliero..............................................................Page 11
Performance History..........................................................................Page 31
The Story...........................................................................................Page 33
L’Histoire..........................................................................................Page 39
Die Handlung...................................................................................Page 45
La Trama...........................................................................................Page 51
Libretto.............................................................................................Page 58
–4–
Producer and Artistic Director: Patric Schmid
Managing Director: Stephen Revell
Assistant producer: Oliver Davis
Assistant conductor: Gareth Hancock
Répétiteur: Nicholas Bosworth
Editorial supervisor: Robert Roberts
Italian coach: Maria Cleva
Assistant to the Artistic Director: Marco Impallomeni
Note on opera: Charles Osborne
Translation of the libretto: Avril Bardoni
Recording Engineer: Chris Braclik
Assistant Engineer: Chris Bowman
Editing: Patric Schmid and Chris Braclik
Recorded at Henry Wood Hall, London
November 2000
–5–
CD 1
62’18
ACT ONE
Duration
[1] Sinfonia
6’50
Introduzione (Coro, Contareno, Capellio)
[2] ‘Dalle lagune Adriache’
4’11
[3] ‘Pace alfin per l’Adria splende’
5’30
[4] ‘Esce il Doge’
3’19
Recitativo (Il Doge, Capellio, Contareno, Ufficiale)
[5] ‘Ministri del Consiglio’
2’23
Coro e Cavatina (Falliero, Il Doge)
[6] ‘Viva Fallier’
2’13
[7] ‘Inclito Prence’
2’46
[8] ‘Se per l’Adria il ferro strinsi’
3’27
[9] ‘Il ciel custode’
3’32
Recitativo (Il Doge)
[10] ‘Grata Vinegia’
0’47
Coro e Cavatina (Bianca)
[11] ‘Negli orti di Flora’
4’55
[12] ‘Come sereno è il dì!’
2’26
[13] ‘Della rosa il bel vermiglio’
3’40
[14] ‘Oh! serto beato’
4’14
Recitativo (Bianca, Costanza, Contareno)
[15] ‘Costanza? ebben? che rechi?’
2’53
–6–
Page
61
61
63
64
65
69
69
71
72
72
74
74
75
77
78
[16]
[17]
[18]
[19]
Scena ed Aria (Contareno, Bianca)
‘Se l’amor mio ti è caro’
‘Pensa che omai resistere’
‘Figlia mia, se forza al core’
‘Il piacer di mia ventura’
Duration
Page
0’50
3’05
3’54
2’50
82
83
83
84
CD 2
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9]
[10]
[11]
[12]
42’32
ACT ONE (continued)
Recitativo (Falliero, Costanza, Bianca)
‘Mai con maggior coraggio’
Scena e Duetto (Bianca, Falliero)
‘Divisi noi!’
‘Sappi che un rio dovere’
‘Ciel! qual destin terribile’
‘Deh! va’, ti scongiuro...’
Recitativo (Falliero, Costanza)
‘Ella mi fugge’
Coro e Finale Primo (Tutti)
‘Fausto imene’
‘Sì, congiunti’
‘Bianca, alla mia ventura’
‘Ecco espressi in questo foglio’
‘Importuno! in qual momento’
‘Con qual dritto il piè ponesti’
–7–
2’13
85
0’46
5’24
3’28
3’25
89
90
90
91
0’52
92
2’53
4’03
6’42
2’19
4’15
5’46
94
95
98
99
102
104
CD 3
75’20
ACT TWO
[1]
[2]
[3]
[4]
[5]
[6]
[7]
[8]
[9]
[10]
[11]
[12]
[13]
[14]
[15]
[16]
[17]
Duration
Recitativo (Bianca, Costanza, Falliero)
‘Al mio timor, deh! cedi’
2’46
Recitativo e Duettino (Bianca, Falliero)
‘Dell’onor tuo!’
0’37
‘Va’ crudel’
4’37
‘Ch’io t’abbracci...’
4’45
Recitativo (Costanza, Falliero, Bianca, Contareno, Capellio)
‘Fermate! siam perduti’
3’05
Scena e Duetto (Bianca, Contareno)
‘Come potesti, indegna’
0’57
‘Non proferir tal nome’
4’12
‘Cadde il fellone’
3’22
‘Prendi il foglio’
1’15
‘Sorte amica’
2’24
Coro, Scena ed Aria (Falliero)
‘Ah! qual notte di squallore’
2’56
‘Qual funebre apparato’
2’35
‘Alma, ben mio, sì pura’
3’58
Recitativo (Cancelliere, Falliero, Coro)
‘Vieni, signor’
1’28
Aria (Falliero, Coro)
‘Tu non sai qual colpo atroce’
2’26
‘Lasso! cessar di vivere’
2’50
‘Ma più che onore e vita’
2’58
–8–
Page
107
111
111
112
113
117
117
119
119
122
123
123
124
124
127
128
128
[18]
[19]
[20]
[21]
[22]
[23]
[24]
[25]
[26]
[27]
Duration
Page
Recitativo (Cancelliere, Contareno, Capellio, Falliero, Usciere)
‘No, non è reo’
1’50
129
Scena e Quartetto (Bianca, Falliero, Contareno, Capellio, Coro)
‘Donna chi sei?’
1’11
133
‘Cielo, il mio labbro inspira’
5’31
135
‘Parla dunque’
4’30
136
‘Grazie o Cielo!’
3’02
139
Recitativo (Costanza, Capellio)
‘Inoltra il dì... lassa!’
1’06
140
Coro
‘Vieni, vieni: per te tremante’
1’04
141
Recitativo (Bianca, Costanza, Falliero, Contareno, Capellio)
‘Perdona, o mia Costanza’
1’48
141
Finale Secondo – Aria (Bianca, Coro)
‘Teco resto: in te rispetto’
3’42
144
‘Oh padre! oh eroe benefico!’
4’04
145
The orchestral and vocal material for this recording
was made for Opera Rara by Christopher Moss
–9–
CAROLINA BASSI
The first Falliero,
26 December 1819.
ROSSINI AND BIANCA E FALLIERO
BY THE TIME he came to write Bianca e Falliero in 1819, the 27-year-old
Rossini had been famous throughout Italy for some years. In 1810 a one-act
comic opera, La cambiale di matrimonio, his first opera to be staged, was
successful enough to lead to several commissions for other one-act comic
pieces, and to the production in 1812 of Demetrio e Polibio, an opera seria
that he had written at the age of 15. The French novelist Stendhal, who saw
Demetrio e Polibio in Como two years after its Rome premiere, thought
ludicrously highly of it. In his Life of Rossini he wrote: ‘We were transported.
There is no other word for it. Each successive item was a positive banquet, a
miracle of singing at its purest, of melody at its most enchanting. In a
moment we seemed to be spirited away among the shady walks of some
enchanted park – it might have been Windsor – where each new vista seemed
fairer than all that had gone before, until at last, reflecting upon one’s own
wondering astonishment, one realised with something of a shock that one
had bestowed the supreme award for beauty upon twenty different objects.’
After a few performances in Italy and also in Vienna, Dresden and Munich,
Demetrio e Polibio seems not to have been heard of again until 1979, when it
was revived in the small town of Barga, in the province of Lucca. Its overture
and the majority of its solo numbers are undistinguished, and its score in
general exhibits a distinct lack of dramatic movement, except in the vigorous
Act I finale. The Act II quartet, ‘Donami omai, Siveno’, however, is masterly.
‘If Rossini had composed nothing but this one quartet, Mozart and Cimarosa
–11–
CLAUDIO BONOLDI
The first Contareno
would still have recognised in him a man who was their equal as an
artist,’ wrote Stendhal.
The first really important Rossini opera is Tancredi, an opera seria based on
Voltaire’s tragedy Tancrede. It was highly acclaimed by its first audiences in
Venice in 1813, and one of its arias, ‘Di tanti palpiti’, became so popular that
it was hummed and whistled in the streets and alleyways of Venice from
morning till night. Less than three months later, the now 21-year-old
Rossini, who composed with remarkable speed, scored an even greater
success again in Venice with a comic opera, L’Italiana in Algeri, the kind of
sparkling, brittle and unsentimental comic piece which we most associate
with the name of Rossini.
With L’Italiana in Algeri, Rossini found himself famous throughout Italy.
He was now invited to write operas for La Scala, Milan, but his next real
success came in Naples with Elisabetta regina d’Inghilterra (1815), whose
leading character, Queen Elizabeth I of England, was sung by the famous
prima donna Isabella Colbran, who was the mistress of the Naples impresario
Domenico Barbaja.
In November 1815, Rossini temporarily forsook Naples for Rome, whither
he had been called to provide a new opera for the Teatro Argentina. The
opera, which he composed in less than a fortnight, was Il barbiere di Siviglia.
Generally regarded as his masterpiece, it is one of the wittiest and most
immediately appealing comic operas in the repertoire today, as fresh to the
ear now as when it first burst upon its Roman audiences in 1816.
–13–
Based now mainly in Naples where he was conducting an affair with the
prima donna Isabella Colbran, Rossini began to turn out operas in quick
succession. Otello (1816) contains much beautiful music. Though it is
lacking in dramatic impetus, it held the stage in Italy until Verdi’s towering
masterpiece in 1887 dealt it a death blow. La Cenerentola (1817), a comic
opera based on the Cinderella fairy-tale, is an entertaining work which is still
frequently staged. Mosè in Egitto (1818) and La donna del lago (1819) are
more uneven, while La gazza ladra (1817) is a curious piece which attempts
to combine elements of both serious and comic opera. Now rarely staged, it
is known to most opera lovers only by its overture.
After the first performances of La donna del lago, Rossini took one of his
frequent leaves of absence from Naples and travelled to Milan where he had
accepted a commission to write an opera to open the carnival season at La
Scala on 26 December 1819. By the beginning of November he had arrived
in Milan, where he met Stendhal and Meyerbeer and conferred with Felice
Romani who, only three years Rossini’s senior, had already established a fine
reputation as a librettist. (He and Rossini had collaborated on Il Turco in
Italia in 1814, but not, as one sometimes reads, on the 1813 Aureliano in
Palmira, whose libretto is almost certainly the work of a lesser writer, Gian
Francesco Romanelli.)
When they met in Milan in November 1819, Romani handed Rossini a
libretto which he had based on a 1798 French play, Blanche et Montcassin by
Antoine-Vincent Arnault. This became the opera Bianca e Falliero (subtitled
–14–
Il Consiglio dei Tre or ‘The Council of Three’), which was given a mixed
reception at its premiere on 26 December 1819. Violante Camporesi
(Bianca), Carolina Bassi (Falliero) and Claudio Bonoldi (Contareno) were
applauded, and several numbers, among them Bianca’s Act I cavatina and the
Bianca-Falliero duet in Act I were enthusiastically received. The Act I quartet
received the most sustained applause, described by Rossini’s biographer
Alexis-Jacob Azevedo as ‘une longue explosion d’admiration’. Other
numbers, however, were received indifferently. The review in the Gazzetta di
Milano was decidedly unfavourable.
Nevertheless, the opera proved successful enough to be performed 39 times
during the season in Milan, the longest run ever enjoyed by a Rossini opera
seria at La Scala, after which it was staged elsewhere in Italy as well as in
Lisbon (1824), then Vienna (1825), where Rossini’s operas were especially
popular, and Barcelona (1830). After 1846, when it was staged in Cagliari,
Sardinia, Bianca e Falliero disappeared until its revival in 1986 at the annual
Rossini Festival in the composer’s home town of Pesaro, with Katia Ricciarelli
as Bianca, Marilyn Horne as Falliero, Chris Merritt as Contareno, and
Giorgio Surjan as Capellio. In 1987 it reached the United States in a
production by Greater Miami Opera at the Dade County Auditorium in
Miami. It has yet to be staged in Great Britain.
Set in 17th-century Venice, the plot concerns a nobleman, Contareno,
who for reasons of political advantage intends to marry his daughter Bianca
to Capellio, a senator. Bianca, however, is in love with Falliero, a Venetian
–15–
SANTINA FERLOTTI SANGIORGI
Sang the role of Bianca in
Lucca, 15 August 1829.
general. Falliero is unjustly accused of treason and sentenced to death, but is
saved (in the opera, though not in Arnault’s play) by the intervention of
Bianca with the help of Capellio.
The unreliable Stendhal described Romani’s libretto as having a theme
‘very closely modelled on Manzoni’s tragedy, Il Conte di Carmagnola’. Be that
as it may, the actual provenance of the libretto is certainly the French
melodrama, Les Venetiens, ou Blanche et Montcassin by Antoine-Vincent
Arnault. Stendhal, however, can presumably be believed when he describes
the decor of the opera’s production at its premiere on 26 December 1819, at
La Scala. It was, he tells us:
A masterpiece of dramatic atmosphere. The very magnificence of
this hall [the Council-Chamber], its gloom and hugeness, its panels
hung with drapes of purple velvet, its scattering of candles in golden
sconces providing a dim and fitful illumination – all this alone was
enough to strike terror into the heart of the observer. One felt already
in the presence of despotism, all-powerful and inexorable. Let the
poverty of our resources or the insensibility of our souls protest as
they will, there is no more evocative commentary upon fine dramatic
music than that provided by a fine dramatic decor; nothing is better
calculated to tempt the mind out of itself and send it forth upon the
first stage of its journey into the world of illusion; no medium on
earth is better fitted to prime the soul into a state of musical
receptivity than the little thrill of pleasure which runs through the
–17–
CARLO PORTO
Sang the role of
Capellio in
Lucca, 1829.
audience as the curtain goes up at La Scala, and the magnificence of
the set is revealed for the first time.
The principal roles at the premiere were sung by Violante Camporesi as
Bianca, Carolina Bassi, described by Stendhal as ‘the only singer whose
genius approaches that of Madame Pasta’, as Falliero, Claudio Bonoldi as
Contareno, Giuseppe Fioravanti as Capellio, Alessandro de Angeli as Friuli
and Adelaide Chinzani as Costanza.
It was a distinguished cast. Violante Camporesi was an Italian soprano,
born in Rome in 1785, who studied in Paris, where she made her debut in
1815. She subsequently sang in London – she was Donna Anna in the first
London production of Don Giovanni – and was making her Italian debut at
La Scala in Rossini’s opera. She then returned to London, where she sang in
several other Rossini operas. She had a voice of remarkably wide range.
Carolina Bassi (Falliero) was born in Naples in 1780, and retired in 1821
after a highly successful career in Italy. (She was thought to be past her best
by the time she sang Falliero.) Claudio Bonoldi, born in Piacenza in 1783,
performed throughout Italy and was especially successful in Rossini’s tenor
roles. Giuseppe Fioravanti was the son of the prolific composer Valentino
Fioravanti and sang minor bass roles in Milan and Rome. In 1821 he was to
be Aliprando in the premiere of Rossini’s Matilde di Shabran in Rome.
Stendhal considered Alessandro Sanquirico’s design for the CouncilChamber in Bianca e Falliero to be one of the designer’s supreme
–19–
achievements. ‘But, as to Rossini’s music,’ he wrote, ‘the whole score was a
hotch-potch of reminiscences which earned scarcely the thinnest applause,
and indeed came close to being whistled at. The audience proved to be in a
highly critical frame of mind, and a technically intricate aria rendered with
frigid virtuosity by Signora Camporesi did nothing to disarm the prevailing
hostility.’ (This was Bianca’s ‘Della rosa il bel vermiglio’). ‘In actual fact,’
Stendhal concluded:
There was only one original number in the whole of Bianca e
Falliero: a quartet – but, as though in compensation for the rest, this
quartet (and in particular the clarinet part in the accompaniment)
must rank among the noblest conceptions with which any maestro in
the world has ever been inspired. I would maintain boldly, and if not
with truth, at least with the fullest conviction, that there is nothing in
the whole of Otello, nothing in the whole of La gazza ladra, to stand
comparison with it for a single moment. The music has something of
the tenderness of Mozart, but without his profound pathos. I am
prepared to poise this quartet unashamedly upon the pinnacle and
summit of Rossini’s achievement, declaring its brilliance to be not a
jot less than the finest things in Tancredi or La sigillara [the opera
better known today as La pietra del paragone].
It may not represent Rossini at his highest level of invention, but Bianca e
Falliero is an opera certainly worth occasional revival, for it contains some
highly attractive music. Rossini’s habit of self-borrowing is kept fairly well
–20–
under control, although the traditionally structured overture, once past its
ebullient opening allegro vivace, is patched together from an andante already
used in Ricciardo e Zoraide (Naples, 1818) and Eduardo e Cristina (Venice,
1819), a melody from Act I of La donna del lago (Naples, 1819), and a
crescendo from the overture to Eduardo e Cristina. After the lively opening
chorus (‘Dalle lagune Adriache’), Contareno and Capellio are introduced in
a mellifluous duet, ‘Pace alfin per l’Adria splende’. (Rossini somewhat
perversely assigned the role of Contareno, Bianca’s highly unsympathetic
father, to the tenor voice, and made the more agreeable Capellio a bass.)
Towards the end of their duet, a burst of cannon fire and a chorus (‘Viva il
Prence’) herald the approach of the Doge. The dialogue which follows
between the Doge, Contareno and Capellio is conducted in recitativo secco,
recitative accompanied only by a keyboard instrument and cello. (Rossini
reserves recitativo accompagnato, recitative with orchestral accompaniment,
for points of special emphasis or to precede arias, duets and ensembles.)
A cheerful chorus, ‘Viva Fallier’ (whose music Rossini was to use again
eight years later in Moïse et Pharaon), introduces Bianca’s lover, the heroic
Falliero (a travesti role for a female singer). Falliero’s highly decorated aria (‘Se
per l’Adria il ferro strinsi’) and even more fearsomely elaborate cabaletta (‘Il
ciel custode’) offer splendid opportunities to the singer to display her
coloratura agility, but in the next scene, after a delicately beautiful chorus in
praise of Bianca, sung by her handmaidens (‘Negli orti di Flora’), Bianca’s aria
(‘Della rosa il bel vermiglio’), though not unattractive, could perhaps be
thought to lack individuality. However, its wistful cabaletta (‘Oh! serto
–21–
NICOLA TACCHINARDI
Sang the role of
Contareno
in Barcelona,
13 January 1830.
beato’) makes amends. Contareno confronts his daughter in a sequence of
recitative (at first secco, then accompagnato), forceful aria (‘Pensa che omai
resistere’) and cabaletta (‘Il piacer di mia ventura’), his tenor voice exploding
with a real coloratura fury in the cabaletta. After a duet for the lovers (the inturn sensual, brilliant and elaborate ‘Sappi che un dio dovere’), a chorus
welcoming the imminent marriage of Bianca and Capellio (‘Fausto imene’),
and a trio for Bianca, Capellio and Contareno (‘Bianca, alla mia ventura’),
the Act I finale builds up inexorably through an impressive quartet begun by
Contareno (‘Importuno!’) to end in an ensemble which, though
conventional in form, is splendidly energetic.
It is in Act II that Bianca e Falliero shows itself most worthy of revival. The
opening duet, dramatic yet graceful, in which Falliero persuades Bianca to
defy her father (‘Va crudel... vedrai l’effetto’) is followed by a forceful scene
for father and daughter (‘Non proferir tal nome’) in which Contareno uses
his high notes and coloratura virtuosity to splendidly threatening effect. A
chorus of worried courtiers (‘Ah! qual notte di squallore’) begins the scene of
Falliero’s trial by the Triumvirate. The form of this applause-inducing
succession of pieces is unique among his operas. Chorus, scena and a
distinctly Bellinian aria (‘Alma, ben mio, sì pura’) are interrupted by a secco
recitative, to be followed unexpectedly by an extended and vocally brilliant
three-part aria. The agitated allegro (‘Tu non sai qual colpo atroce’) and
bravura cabaletta (‘Ma più che onore e vita’) make the perfect setting for a
cantabile romanza which anticipates Donizetti (‘Lasso! cessar di vivere’). Even
more impressive is the great quartet (‘Cielo, il mio labbro inspira’) about
–23–
which Stendhal enthused so lavishly and which remained popular even while
the rest of the opera lay neglected (it was frequently inserted into
performances of La donna del lago). One of Rossini’s rival composers,
Giovanni Pacini, declared that this quartet alone was worth the entire score
of his own new opera, Vallace, that same season at La Scala.
A brief chorus (‘Vieni, vieni: per te tremante’) leads to the final scene and
a conventional but nonetheless exhilarating conclusion to the opera with
Bianca’s exquisite aria (‘Teco resto’) and ecstatically florid cabaletta (‘A tanto
mio contento’), a recycling, with some changes, of Elena’s rondo finale in
Rossini’s previous opera, La donna del lago, which had been premiered in
Naples three months previously but which was as yet unknown in Milan.
Rossini’s hectic pace of composition began to slow down after Bianca e
Falliero, and almost a full year was to elapse before the premiere of his next
opera, Maometto II. Although Matilde di Shabran was then to follow within
weeks, he was subsequently to compose no more than one opera each year
until his premature retirement from operatic composition nine years later.
After Matilde di Shabran came Rossini’s final opera for Naples. This was
Zelmira (1822), after which he spent four months in Vienna with Isabella
Colbran, whom he had now married. During his time there, Rossini was
feted by the Viennese. He managed to meet the reclusive Beethoven whom
he greatly admired; and, although he did not meet Schubert, his music
certainly made a deep impression on the young Viennese composer, who was
his junior by five years.
–24–
Rossini’s next opera was Semiramide, which was first performed in Venice
in 1823. Later that year he was invited to London where, instead of
completing Ugo, re d’Italia, the opera he had been contracted to write for
performance there, he led a lively social life. He even sang duets with George
IV. When, after seven months, he departed for Paris, he deposited with the
London impresario’s bankers as much of the score of Ugo as he had written.
This manuscript material seems now to be irretrievably lost, though there are
some sketches in the autograph of Ermione in the Bibliothèque Nationale in
Paris. (For details of Ugo’s subsequent history and eventual disappearance, see
“A Lost Opera by Rossini” by Andrew Porter in the magazine Music and
Letters, xlv, 1964.)
In August 1824, Rossini left London for Paris where he was welcomed with
open arms as one of the most celebrated of living composers, and given the
general management of the Théâtre Italien, where Italian operas were
performed in their original language. Here he mounted productions of three
of his existing works, La Cenerentola, La donna del lago and Otello, as well as
operas by other composers, among them Meyerbeer’s Il Crociato in Egitto, but
it was not until the following year that he wrote his first and only opera for
the Théâtre Italien. This was Il viaggio a Reims, an occasional piece produced
to celebrate the coronation of Charles X in Rheims Cathedral in June 1825.
The premiere of the opera took place two weeks after the coronation, and was
hugely successful. That some writers on Rossini have described it as a failure
can only be due to their having taken at face value the entry in Loewenberg’s
Annals of Opera, which records tersely: ‘Complete failure, three nights only.’
–25–
GIUSEPPINA RONZI DE BEGNIS
Sang the role of Bianca at the
Teatro San Carlo, Naples,
25 April 1832.
But it was Rossini who withdrew his opera after three sold-out and
enthusiastically received performances, almost certainly because he
considered it purely a pièce d’occasion, and already had plans for the recycling
of much of its score.
With his sights set on the Paris Opéra, Rossini produced French-language
versions of his Maometto II (as Le siège de Corinthe) and Mosè in Egitto (Moïse
et Pharaon), forerunners of the Meyerbeerian grand-opéra, and then turned
again to opéra-comique with Le Comte Ory (1828), an elegant and charming
comedy. His most important and influential opera for Paris, however, was
Guillaume Tell, based on Schiller’s play about the Swiss patriot. A large-scale
work of great originality and power, Guillaume Tell was produced at the Paris
Opéra in 1829, and in due course came to influence an entire generation of
French composers.
Curiously, Rossini wrote no more works for the stage after Guillaume Tell,
although he was only 37 years of age and at the height of his creative powers.
He was to live on to the age of 76, producing very little new music, and many
writers have speculated on the reasons for his absurdly early retirement. It
seems likely that, at first, he intended to continue his career after taking an
extended holiday from composition. However, as the years wore on, he
became more remote from the new music and the new, post-1830 society,
and he had also made sufficient money from his earlier works to be able to
live comfortably. He occupied his time in lavish entertaining and in
travelling. After separating from Isabella Colbran, he took up with Olympe
–27–
RANIERI REMORINI
Sang the role of
Contareno at the Teatro
San Carlo, Naples, 1832.
Pelissier, a celebrated Parisian beauty whom he married after Colbran’s death
in 1845.
Though Rossini’s physical health remained generally good, his mental
health did not. His nervous condition worsened, and it was not until, after
years of living in Italy, he and Olympe returned to Paris that he recovered
somewhat. In his old age he began to compose again, short piano pieces and
songs for performance at his own famous Saturday evening soirées. Near the
end of his life, he composed the Petite Messe Solennelle, which is neither
especially short nor in the slightest degree solemn. After a brief illness he died
in November 1868, and was buried in the Paris cemetery of Père Lachaise.
Nineteen years later his remains were removed to Italy, to the Church of
Santa Croce in Florence.
© Charles Osborne
–29–
GIUDITTA GRISI
Sang the role of
Bianca in Trieste,
24 October 1829.
PERFORMANCE HISTORY – BY TOM KAUFMAN
Date
City
26.12.19 Milan
3.7.24 Lisbon
19.2.25 Vienna
22.4.25 Lisbon
12.5.25
Aut. 25
Summer
1827
6?.5.29
Summer
1829
15.8.29
29.8.29
?.10.29
24.10.29
13.1.30
28.1.30
Naples
Cadiz
Vicenza
Theatre
La Scala
São Carlos
Bianca
C. Bassi
L. ValsovaniSpada
Kärntnertor H. Sontag
São Carlos L. ValsovaniSpada?
San Carlo A. Tosi
Falliero
V. Camporesi
C. Pereno
Contareno
C. Bonoldi
I. Campitelli
Capellio
Fioravanti
A. Colla
Giud. Grisi
G. David
A. Ambrogi
Giud. Grisi
G. David
L. Lablache
Eretenio
V. Campresi
T. Alexander
C. Pellegrini
Florence Alfieri
Siena
Rinnovati
Giud. Grisi
C. Morosi
A. Fink-Lohr C. Morosi
L. Bonfigli
G. Paganini
C. Porto
Lucca
Giglio
Seville
Palermo Carolino
Trieste
Grande
Barcelona Principal
Parma
Regio
S. Ferlotti
I. Ferlotti
L. Bonfigli
C. Porto
A. Fink-Lohr
Giud. Grisi
C. Fanti
E. Tadolini
M. Hazon
G. De Vecchi
C. Morosi
C. CorradiPantanelli
E. La Roche
G.B. Boccacini M.W. Balfe
G.B. Verger G. Cavaceppi
N. Tacchinardi C. Moncada
G.B. Genero G. Cavaceppi
30.5.30 Reggio
Emilia
8.6.30 Naples
3.7.30 Rome
30.1.31 Milan
25.4.32 Naples
Comunale
S. Ferlotti
San Carlo
Valle
La Scala
San Carlo
L. Boccabadati A. Tosi
I. Fabbrica
Giud. Grisi
R. Pisaroni
G. Ronzi
D. Santolini
de Begnis
G. Bonini
A. Guerra
E. Dielitz
G. Lietti
Carn.33 Fossombrone
?.11.46 Cagliari Civico
–31–
A. Orlandini
P. Lej
B. Winter
A. Tamburini
G.B. Montresor
L. Bonfigli
C. Porto
R. Remorini L. Lombardi
F. Borioni
C. Scola
R. Pizzigati
GIOVANNI BATTISTA VERGER
Sang the role of Contareno
in Trieste, 1829.
THE STORY
ACT I
SCENE ONE
St Mark’s Square, Venice. The arcades known as the procuratie are crowded.
Venetian noblemen and their ladies walk about in the square, rejoicing that
a Spanish conspiracy against Venice has been foiled. Contareno and Capellio,
two Venetian Senators whose families have for many years been engaged in a
dispute over an inheritance, meet and hope for a reconciliation. The wealthy
Capellio declares that he loves Contareno’s daughter Bianca, and that he will
surrender all claims on the inheritance in question if he is allowed to marry
her. Contareno immediately agrees, for he sees this as a way of restoring the
former wealth and splendour of his family. The boom of a cannon heralds the
arrival of the Doge and his courtiers, and the Doge tells Contareno that his
opinion has prevailed and that the Senate has passed a law punishing by
death anyone found guilty of associating with foreign legations. Capellio says
that, had he been present at the assembly of the Senate, he would not have
voted for so severe a law, since there is no longer any danger from foreign
conspiracy. The Doge replies that Venice is not completely safe, for there is
still a threat from Spain, and indeed it has been rumoured that the noble
Falliero has been killed in battle. An official arrives to inform the Doge that
Falliero has, in fact, won the battle and is at that moment landing on the
nearby shore. Falliero enters with his officers and is greeted joyously by the
crowd. He announces that the Spanish army has been defeated, and he is
praised by the Doge who invites him to join in a service of thanksgiving in
the cathedral.
–33–
SCENE TWO
The forecourt of Contareno’s house. Bianca and her handmaidens rejoice in
the safe return of Falliero, whom Bianca loves. Her nurse Costanza tells her
that Falliero intends to ask for her hand in marriage, but Bianca fears that her
father will reject Falliero since he is not wealthy. When Costanza has left,
Contareno enters and tells his daughter that he has chosen a wonderful
husband for her. She hopes that he is referring to Falliero, and is dismayed to
learn that it is Capellio. Contareno warns her that if she ever utters the name
of Falliero again, she will forfeit her father’s love and he will ensure that
Falliero suffers as well. When Contareno also claims that he would die of
grief were she to disobey him, Bianca unhappily submits to his will.
SCENE THREE
A room in Contareno’s house. Falliero tells Costanza that he now believes he
can visit Bianca openly, and not be viewed by her father as inferior. After
assuring Falliero that Bianca is longing to greet him, Costanza sees her
approaching, and leaves the young couple together. A distressed Bianca tells
Falliero that her father refuses to allow them to marry, and has forbidden her
even to think of him. She rushes away, and Costanza returns in great haste to
warn Falliero that he is in danger if he stays. Costanza leaves, dragging
Falliero away with her, and relatives of Contareno and Capellio enter with
friends and servants. Finally, Contareno and Capellio arrive and, after them,
Bianca, whose obvious unhappiness Capellio does not fail to notice. When
Contareno orders her to sign the marriage contract, Bianca exclaims that she
cannot, but her stern father insists. She is about to sign when Falliero bursts
–34–
into the room and accuses her of being unfaithful to him. Capellio and
Falliero argue, Capellio insisting that Bianca is now his bride. Contareno
orders his servants to throw Falliero out of the house, and a defiant Falliero
warns Contareno and Capellio that his anger has reached fever pitch.
ACT II
SCENE ONE
A courtyard within Contareno’s house, divided from the residence of the
Spanish Ambassador by a rear wall. It is night. Costanza leads a frightened
and trembling Bianca into the courtyard, and persuades her to meet Falliero
for a last farewell. Bianca agrees, but reluctantly, as she fears for Falliero’s life
if he were to be found in the house. Costanza leaves, and shortly afterwards
Falliero enters in an agitated state. He begs Bianca to elope with him, but she
tells him that, although she loves him dearly, her honour would not allow her
to disobey her father. However, when Falliero declares that his life depends
upon her answer, she hastens to agree to flee with him. As they are about to
leave, Costanza returns to warn them that Contareno is approaching.
Falliero’s only way of escape is to climb over the wall into the Spanish
Ambassador’s residence. Although he realises that, were he to be discovered
there, it would result in his death, he has no option but to climb the wall.
He does so, just before Contareno arrives, followed by Capellio. Contareno
assures Capellio that Bianca loves him, but her obvious distress makes
Capellio suspicious, and he is about to leave angrily while Contareno is
threatening to disown Bianca, when Pisani, the Chancellor of the Council of
Three, arrives with the news that Falliero has been caught within the Spanish
–35–
Ambassador’s residence, and is about to be put on trial by the Council of
Three. Contareno gleefully anticipates getting his revenge on Falliero.
SCENE TWO
The black-draped meeting-hall of the Council of Three. Falliero is brought
in under guard. He asks who his judges are to be, and is told they are
Loredano, Capellio and Contareno. He fears his case is hopeless, but Pisani
tells him that, although Contareno may be harsh and inflexible, Capellio is a
fair man, and will surely wish to influence Contareno now that he is married
to Bianca. On hearing this, Falliero loses all hope. When he is brought before
his judges, he refuses to defend himself and agrees to sign an admission of his
guilt. Before he can do so, an attendant announces that an accomplice of the
guilty man craves audience, and Bianca enters, heavily veiled. When her
identity is revealed, Contareno attempts to have her removed, but Capellio
insists that she be heard. Bianca explains how Falliero came to be in the
Spanish Ambassador’s residence, and Falliero, now assured of Bianca’s love,
declares his innocence. Contareno still wishes to find him guilty, and signs
the death warrant. Loredano does so as well, but Capellio pushes the warrant
away, exclaiming that Falliero will have to be judged by the Senate.
SCENE THREE
A room in Contareno’s house. Capellio brings Bianca home. Telling Costanza
that he must hasten to the Senate to speak on Falliero’s behalf, he rushes off
to do so. Bianca remains anxious until Falliero himself arrives, together with
Capellio and the Venetian nobles, and Falliero is able to tell her that he has
–36–
been found innocent by the Senate. Contareno now arrives and tries to make
Bianca give up Falliero. She is about to submit to him as a loving daughter
when Capellio and the others point out to him how cruelly he is behaving.
Contareno concedes defeat, and, to the joy of all present, consents to the
marriage of Bianca and Falliero.
© Charles Osborne, 2001
–37–
ADELAIDE TOSI and LUIGI LABLACHE, Bianca and Capellio
at the Teatro San Carlo, Naples, 12 May 1825.
L’HISTOIRE
ACTE I
SCÈNE 1
La place Saint-Marc à Venise. La foule se presse sous les arcades – les fameuses
procuratie. Les nobles vénitiens qui se promènent sur la place en compagnie
de leur épouse se réjouissent à la nouvelle qu’une attaque espagnole contre
Venise vient d’être repoussée. Contareno et Capellio, deux sénateurs
vénitiens dont les familles respectives s’affrontent depuis plusieurs années
pour une question d’héritage se rencontrent en vue d’une réconciliation. Le
riche Capellio déclare qu’il est épris de la fille de Contareno, Bianca, et qu’il
renoncera à l’héritage à condition d’épouser la jeune fille. Contareno accepte
cette offre sur le champ, car il y voit le moyen de rendre à sa famille sa richesse
et sa gloire d’antan. Un coup de canon annonce l’arrivée du doge, entouré de
ses courtisans, qui apprend à Contareno qu’à son instigation le Sénat a voté
une loi punissant de mort quiconque est déclaré coupable de s’être associé
avec des représentants de l’étranger. Capellio lui répond que si lui-même avait
été présent au Sénat lors du débat, il aurait voté contre cette loi, la jugeant
trop sévère maintenant que la menace étrangère ne pèse plus sur Venise. Le
doge lui réplique que Venise n’est pas tout à fait complètement à l’abri : la
menace de l’Espagne n’a pas entièrement disparu et l’on dit que le noble
Falliero a été tué pendant les combats. Un héraut arrive alors pour annoncer
au doge que Falliero a, en fait, gagné la bataille et qu’il est en train de
débarquer sur un proche rivage. Falliero fait son entrée accompagné de ses
officiers et la foule l’accueille avec enthousiasme. Il annonce la défaite de
–39–
l’armée espagnole au doge, qui l’invite à se joindre à lui pour rendre grâce à
Dieu dans la cathédrale.
SCÈNE 2
Devant la maison de Contareno. Bianca et ses servantes se réjouissent du
retour de Falliero, dont Bianca est éprise. Sa nurse, Costanza, lui apprend que
Falliero a l’intention de la demander en mariage, mais Falliero n’étant pas
riche, Bianca craint un refus de la part de son père. Après le départ de
Costanza, Contareno vient annoncer à sa fille qu’il lui a choisi un époux
admirable. Elle espère qu’il s’agit de Falliero et n’en est que plus que
désespérée quand elle apprend que c’est Capellio. Contareno la prévient que
s’il l’entend prononcer à nouveau le nom de Falliero, il la reniera et se vengera
de son bien-aimé. Comme il ajoute qu’il mourra de chagrin si Bianca lui
désobéit, celle-ci se soumet, le cœur lourd, à la volonté de son père.
SCÈNE 3
La maison de Contareno. Falliero explique à Costanza qu’il pense désormais
pouvoir présenter ouvertement ses hommages à Bianca sans être considéré
par son père comme un inférieur. Costanza assure à Falliero que Bianca est
impatiente de le rencontrer et, voyant celle-ci approcher, laisse les amants
seuls. La pauvre Bianca explique à Falliero que son père s’oppose à leur
mariage et qu’il lui a même interdit de penser à lui, puis quitte la pièce
précipitamment. Costanza revient alors pour vite prévenir Falliero qu’il est en
danger s’il reste. Costanza sort en entraînant Falliero avec elle, tandis que les
parents et amis de Contareno et de Capellio font leur entrée accompagnés de
–40–
leurs serviteurs. Enfin, Contareno et Capellio arrivent suivis de Bianca, dont
la tristesse manifeste n’échappe pas à Capellio. Lorsque Contareno lui enjoint
de signer le contrat de mariage, Bianca dit d’abord qu’elle ne saurait le faire ;
devant la furieuse insistance de son père, elle est sur le point de céder lorsque
Falliero fait irruption dans la pièce et l’accuse d’infidélité. Une dispute
s’ensuit entre Falliero et Capellio, qui prétend que Bianca est désormais à lui.
Contareno ordonne à ses domestiques de jeter Falliero dehors, et celui-ci
prévient Contareno et Capellio que rien ne l’arrêtera.
ACTE II
SCÈNE 1
La cour intérieure de la maison de Contareno, séparée de la résidence de
l’ambassadeur d’Espagne par un mur. Il fait nuit. Costanza précède Bianca,
toute tremblante, dans la cour, et la persuade de rencontrer Falliero pour un
dernier adieu. Bianca accepte à regret, car elle craint pour la vie de Falliero
s’il est découvert dans la maison. Costanza sort. Peu après Falliero fait son
entrée. Il est très agité. Il supplie Bianca de s’enfuir avec lui mais elle lui
répond que malgré l’amour qu’elle lui porte, son honneur lui interdit de
désobéir à son père. Falliero dit ne pas pouvoir vivre sans elle, aussi acceptet-elle sans tarder de s’enfuir avec lui. Ils s’apprêtent à partir ensemble lorsque
Costanza revient les prévenir de l’arrivée imminente de Contareno. Falliero
n’a pas d’autre issue que de sauter le mur qui les sépare de la résidence de
l’ambassadeur d’Espagne, ce qu’il fait en sachant bien qu’il risque la peine de
mort si on le découvre chez l’étranger. A peine a-t-il disparu que Contareno
–41–
arrive suivi de Capellio. Contareno assure Capellio que Bianca l’aime mais,
devant l’évidente tristesse de Bianca, Capellio exprime son doute. Dans sa
colère, il prend congé de Contareno tandis que celui-ci menace de renier
Bianca. Au même moment arrive Pisani, chancelier du Conseil des Trois,
pour leur annoncer que Falliero a été capturé à l’intérieur de la résidence de
l’ambassadeur d’Espagne, et qu’il doit comparaître devant le Conseil des
Trois. Contareno se réjouit à l’idée de se venger de Falliero.
SCÈNE 2
La salle drapée de noir où se réunit le Conseil des Trois. Falliero, qui a été
amené sous escorte, demande qui seront ses juges. Loredano, Capellio et
Contareno lui est-il répondu. Il dit craindre que sa cause ne soit désespérée,
mais Pisani lui répond que, si Contareno est dur et inflexible, Capellio est
juste ; il tentera sans doute, dit-il, d’user de son influence sur Contareno dont
il s’apprête à épouser la fille. A ces nouvelles, Falliero perd tout espoir.
Lorsqu’il est amené devant ses juges, il refuse de se défendre et accepte de
signer une déclaration de culpabilité. Il est sur le point de le faire lorsqu’un
huissier annonce qu’une complice de l’accusé vient demander audience. La
silhouette voilée de Bianca s’avance. Lorsqu’elle révèle son identité,
Contareno essaie de la faire sortir, mais Capellio insiste pour qu’on l’entende.
Bianca explique les circonstances qui ont amené Falliero à se trouver dans la
résidence de l’ambassadeur d’Espagne, et Falliero, désormais convaincu de
l’amour de Bianca, déclare son innocence. Contareno, qui souhaite toujours
le voir condamné, signe son arrêt de mort, Loredano aussi. Capellio refuse,
par contre, en disant que Falliero devra être jugé par le Sénat.
–42–
SCÈNE 3
La maison de Contareno. Capellio, qui a raccompagné Bianca, dit à Costanza
qu’il va de ce pas au Sénat pour intervenir en faveur de Falliero. Bianca attend
anxieusement les nouvelles, jusqu’à ce que Falliero lui-même se présente
devant elle accompagné de Capellio et des nobles vénitiens. Falliero lui
explique que le Sénat l’a déclaré innocent. Contareno arrive alors pour
essayer de convaincre Bianca de renoncer à Falliero. Elle est sur le point
d’accéder à ses prières par devoir filial quand Capellio et les autres se mettent
à reprocher à Contareno sa cruauté. Contareno cède et, à la joie de tous,
consent au mariage de Bianca et de Falliero.
© Charles Osborne, 2001
Traduction : Mireille Ribière
–43–
EUGENIA TADOLINI
Sang Bianca at the
Teatro Regio, Parma,
28 January 1830.
DIE HANDLUNG
1. AKT
1. SZENE
Der Markusplatz, Venedig. Die als Procurazien bekannten Arkaden sind
voller Menschen. Venezianische Adelige schlendern über den Platz und feiern
die Aufdeckung einer spanischen Verschwörung gegen Venedig. Contareno
und Capellio, zwei venezianische Senatoren, deren Familien seit vielen Jahren
wegen einer Erbschaft im Streit liegen, begegnen sich und hoffen auf eine
Versöhnung. Der wohlhabende Capellio erklärt, dass er Contarenos Tochter
Bianca liebt und im Gegenzug für die Erlaubnis, sie zu heiraten, jeden
Anspruch auf die Erbschaft aufzugeben bereit ist. Contareno willigt sofort
ein, sieht er dies doch als Möglichkeit, seiner Familie wieder zu ihrem
früheren Wohlstand und Glanz zu verhelfen. Das Donnern einer Kanone
kündet die Ankunft des Dogen und seines Hofstaats an. Der Doge berichtet
Contareno, dass seine Meinung sich durchgesetzt und der Senat ein Gesetz
erlassen hat, nach dem jeder, der des Verkehrs mit ausländischen Gesandten
für schuldig befunden wird, zum Tode verurteilt wird. Capellio erklärt, hätte
er an der Senatssitzung teilgenommen, hätte er einem derart strengen Gesetz
nie zugestimmt, da keine Gefahr einer ausländischen Verschwörung mehr
bestehe. Der Doge widerspricht: Die Gefahr für Venedig sei noch nicht
gebannt, die spanische Bedrohung bestünde nach wie vor, es ginge sogar das
Gerücht um, dass der edle Falliero in der Schlacht gefallen sei. Da tritt ein
Beamter auf und teil dem Dogen mit, dass Falliero die Schlacht gewonnen
hat und in diesem Moment ganz in der Nähe des Markusplatzes an Land
–45–
geht. Wenig später kommt Falliero mit seinen Offizieren auf den Platz und
wird von der Menge mit Jubelrufen empfangen. Er verkündet, dass die
spanische Armee besiegt ist; der Doge preist ihn und lädt ihn zur Teilnahme
an der Dankesmesse im Dom ein.
2. SZENE
Der Vorplatz von Contarenos Haus. Bianca und ihr Gefolge freuen sich über
die Heimkehr Fallieros, dem Biancas Liebe gilt. Ihre Amme Costanza sagt
ihr, dass Falliero um ihre Hand anhalten will, doch Bianca fürchtet, dass ihr
Vater ihn abweisen wird, da er nicht wohlhabend sei. Kaum ist Costanza
abgetreten, erscheint Contareno und sagt seiner Tochter, dass er einen
wunderbaren Ehemann für sie gefunden habe. Sie hofft, dass er damit
Falliero meint, und entsprechend groß ist ihr Kummer, als sie erfährt, dass
ihr Vater Capellio für sie ausersehen hat. Contareno warnt sie – wenn sie
jemals wieder Fallieros Namen erwähne, werde er ihr seine Liebe entziehen
und sicherstellen, dass auch Falliero dafür büßen müsse. Darüber hinaus
erklärt er, er würde vor Kummer sterben, wenn sie ihm nicht gehorche.
Unglücklich beugt Bianca sich seinem Willen.
3. SZENE
Ein Raum in Contarenos Haus. Falliero erzählt Costanza, dass er glaubt,
Bianca nicht mehr heimlich besuchen zu müssen, da ihr Vater in ihm keinen
Geringen mehr sehen könne. Costanza vesichert, dass Bianca das
Wiedersehen mit ihm herbeisehne. Da tritt Bianca auf, und Costanza lässt
das junge Paar allein. Niedergeschlagen berichtet Bianca ihrem Geliebten,
–46–
dass ihr Vater nicht in ihre Hochzeit einwilligt und ihr sogar verboten hat, an
Falliero zu denken. Dann läuft sie davon. Eilig kehrt Costanza zurück und
warnt Falliero, er setze sich großer Gefahr aus, wenn er nicht sofort
verschwinde, und zieht Falliero mit sich fort. Schon erscheinen Verwandte
Contarenos und Capellios zusammen mit Freunden und Bediensteten.
Schließlich treten auch Contareno und Capellio auf, gefolgt von Bianca; ihre
offensichtliche Trauer entgeht Capellio nicht. Als Contareno ihr befiehlt, den
Heiratsvertrag zu unterzeichnen, ruft Bianca, das könne sie nicht, doch auf
Beharren ihres strengen Vaters hin will sie gerade unterschreiben, als Falliero
in den Raum stürzt und ihr vorwirft, ihn zu hintergehen. Capellio und
Falliero streiten, denn Capellio besteht darauf, dass Bianca nun ihm gehöre.
Contareno lässt Falliero von seinen Bediensteten aus dem Haus werfen, doch
zuvor warnt dieser Contareno und Capellio, dass sein Zorn jetzt keine
Grenzen mehr kenne.
2. AKT
1. SZENE
Ein Hof in Contarenos Haus, dessen Außenmauer an die Residenz des
spanischen Gesandten grenzt. Es ist Nacht. Costanza führt die vor Angst
zitternde Bianca in den Hof und beschwört sie, Falliero zum Abschied ein
letztes Mal zu empfangen. Nur widerstrebend willigt Bianca ein, fürchtet sie
doch um Fallieros Leben, wenn er im Haus angetroffen wird. Costanza tritt
ab, und wenig später erscheint Falliero. Erregt beschwört er Bianca, mit ihm
zu fliehen, doch sie erklärt, so sehr sie ihn auch liebe, ihre Ehre gebiete, dass
sie ihrem Vater gehorche. Aber als Falliero erklärt, sein Leben hänge von ihrer
–47–
Antwort ab, willigt sie ein, mit ihm zu fliehen. Gerade, als sie aufbrechen
wollen, kehrt Costanza zurück und meldet, dass Contareno im Anzug sei.
Fallieros einzige Fluchtmöglichkeit besteht darin, über die Mauer in die
Residenz des spanischen Gesandten zu klettern – auch wenn er weiß, dass er
mit dem Tode bestraft wird, sollte man ihn dort entdecken. Gerade noch
rechtzeitig, bevor Contareno auftritt, gefolgt von Capellio, überwindet er die
Mauer. Contareno versichert Capellio, dass Bianca ihn liebt, doch dieser wird
misstrauisch angesichts Biancas offensichtlicher Trauer. Zornig will er das
Haus verlassen, während Contareno droht, er werde Bianca verstoßen, da
erscheint Pisani, der Kanzler des Dreierrats, und verkündet, dass Falliero
soeben in der Residenz des spanischen Gesandten festgenommen wurde und
ihm vom Rat der Drei der Prozess gemacht werden wird. Frohlockend
erkennt Contareno seine Chance, an Falliero Rache zu üben.
2. SZENE
Der schwarz ausgekleidete Versammlungsraum des Dreierrats. Falliero wird
von Wachen hereingeführt. Auf seine Frage, wer das Urteil über ihn fällen
wird, erfährt er die Namen Loredano, Capellio und Contareno. Er sieht alle
Hoffnungen schwinden, doch Pisani sagt ihm, dass Contareno zwar streng
und sturköpfig sei, Capellio aber ein gerechter Mensch und jetzt, da er mit
Bianca verheiratet sei, sicher seinen Einfluss auf Contareno geltend machen
werde. Bei dieser Antwort verliert Falliero alle Hoffnung; er weigert sich, sich
vor den Richtern zu verteidigen, und will sein Schuldbekenntnis
unterzeichnen. Doch bevor es dazu kommt, kündet ein Gerichtsdiener den
Auftritt eines Komplizen des Angeklagten an. Bianca erscheint, tief
–48–
verschleiert. Als sie ihre Identität preisgibt, will Contareno sie aus dem Saal
entfernen lassen, doch Capellio besteht darauf, sie anzuhören. Bianca erklärt,
wie es dazu kam, dass Falliero in der Residenz des spanischen Gesandten
aufgefunden wurde, und Falliero, nunmehr von Biancas Liebe überzeugt,
erklärt seine Unschuld. Contareno will ihn dennoch verurteilen und
unterzeichnet sein Todesurteil, wie auch Loredano. Doch Capellio schiebt
das Dokument von sich und erklärt, über Fallieros Schicksal müsse der Senat
befinden.
3. SZENE
Ein Raum in Contarenos Haus. Capellio bringt Bianca nach Hause. Er
erzählt Costanza, dass er zum Senat eilen muss, um sich für Falliero
einzusetzen, und eilt davon. Ängstlich bleibt Bianca zurück, bis Falliero in
Begleitung von Capellio und den venezianischen Adeligen erscheint und ihr
sagt, dass der Senat ihn für unschuldig erklärt hat. Da tritt Contareno ein
und will Bianca überreden, Falliero aufzugeben. Als liebende Tochter will sie
sich seinem Wunsch fügen, doch Capellio und die anderen führen ihm seine
Grausamkeit vor Augen. Da gibt Contareno sich geschlagen und willigt zur
Freude aller Anwesenden in die Hochzeit Biancas mit Falliero ein.
© Charles Osborne, 2001
Übersetzt von Ursula Wulfekamp
–49–
HENRIETTA SONTAG and GIOVANNI DAVID
Bianca and Contareno at the Kärntnertor,
Vienna, 19 February 1825.
LA TRAMA
ATTO I
SCENA PRIMA
Venezia. Le procuratie di Piazza San Marco. I nobili veneziani e le loro dame
passeggiano nella piazza, rallegrandosi perché è stata sventata una congiura
degli Spagnoli contro Venezia. Contareno e Capellio, senatori veneziani
appartenenti a due famiglie impegnate in un’annosa disputa su un lascito, si
incontrano per tentare una riconciliazione. Il ricco Capellio è innamorato di
Bianca, figlia di Contareno, ed è disposto a rinunciare alle proprie
rivendicazioni in cambio della sua mano. Contareno accetta subito, perché in
questo modo spera di restituire alla sua famiglia la ricchezza e lo splendore di
un tempo. Un colpo di cannone annuncia l’arrivo del Doge e del suo seguito.
Il Doge annuncia a Contareno che la sua opinione è prevalsa: il Senato ha
approvato una legge che punisce con la morte chiunque si renda colpevole di
associazione con le ambascerie straniere. Capellio dichiara che, se fosse stato
presente all’assemblea del Senato, non avrebbe votato per una legge così
drastica, dal momento che non c’è più pericolo di una congiura straniera. Il
Doge risponde che Venezia non è completamente sicura dalle minacce della
Spagna; addirittura, si dice che il nobile Falliero sia stato ucciso in battaglia.
Arriva un ufficiale per informare il Doge che la battaglia è stata invece vinta
da Falliero, che sta sbarcando sulla spiaggia vicina. Falliero entra con i suoi
ufficiali, salutato con entusiasmo dalla folla, e annuncia che l’esercito
spagnolo è stato sconfitto. Il Doge lo elogia e l’invita a partecipare con lui a
una cerimonia di ringraziamento nella basilica.
–51–
SCENA SECONDA
Il cortile della casa di Contareno. Bianca e le sue ancelle si rallegrano del
ritorno di Falliero, di cui Bianca è innamorata. Costanza, la nutrice, le dice
che l’uomo intende chiedere la sua mano, ma Bianca teme un possibile rifiuto
del padre; Falliero non è ricco. Costanza esce e arriva Contareno, che
comunica alla figlia di avere scelto per lei un magnifico marito. La fanciulla
spera che si tratti di Falliero, ed è costernata nell’apprendere che si tratta
invece di Capellio. Contareno l’ammonisce: se continua a pronunciare quel
nome perderà l’amore del padre, che farà in modo di vendicarsi di Falliero.
Inoltre, Contareno dichiara che morirebbe di dolore se la figlia gli
disobbedisse. Bianca si rassegna ad accettare il suo volere.
SCENA TERZA
Una stanza in casa di Contareno. Falliero dice a Costanza che adesso pensa di
potere fare visita apertamente a Bianca; suo padre non dovrebbe più
considerarlo inferiore. Dopo aver assicurato a Falliero che Bianca non vede
l’ora di rivederlo, Costanza la vede avvicinarsi e lascia soli i due innamorati.
Addolorata, Bianca rivela a Falliero che suo padre non intende acconsentire
alle loro nozze e le ha proibito addirittura di pensare a lui, poi si allontana
precipitosamente, mentre Costanza rientra in gran fretta: Falliero è in
pericolo. Costanza esce, trascinando con sé Falliero, prima dell’ingresso di
alcuni parenti di Contareno e Capellio con amici e servitori. Infine, arrivano
Contareno e Capellio e, dopo, Bianca, evidentemente afflitta, cosa che
Capellio non manca di notare. Quando Contareno ordina alla figlia di
firmare il contratto nuziale, Bianca esclama che non può, ma suo padre
–52–
insiste, inflessibile. La fanciulla è sul punto di firmare quando irrompe
Falliero e l’accusa di essergli infedele. Inizia una lite tra Capellio e Falliero;
Capellio insiste che Bianca è ormai sua sposa. Contareno ordina ai suoi
servitori di scacciare Falliero da casa sua e Falliero, provocatoriamente,
ammonisce Contareno e Capellio che la sua ira ha ormai raggiunto il
culmine.
ATTO II
SCENA PRIMA
Un cortile interno in casa di Contareno; un muro, in fondo, lo separa dalla
residenza dell’ambasciatore spagnolo. È notte. Costanza conduce nel cortile
Bianca, spaventata e tremante, e la convince a incontrare Falliero per un
ultimo addio. Bianca acconsente, ma è riluttante; teme per la vita di Falliero.
Costanza esce e poco dopo entra, agitato, Falliero, che supplica Bianca di
fuggire con lui. La fanciulla risponde che, nonostante il suo profondo amore
per lui, il suo onore non le consente di disobbedire al padre. Tuttavia, quando
Falliero dichiara che la sua vita dipende dalla risposta della donna, si affretta
ad accettare. Mentre stanno per uscire, entra Costanza per avvisarli che si
avvicina Contareno. Falliero non ha scelta: deve arrampicarsi sul muro e
fuggire passando dalla residenza dell’ambasciatore spagnolo, anche se corre il
rischio di essere condannato a morte. Scavalca il muro poco prima dell’arrivo
di Contareno, seguito da Capellio. Contareno assicura Capellio dell’amore di
Bianca, ma l’aperta infelicità della donna fa insospettire Capellio, che sta per
andarsene, irato, mentre Contareno minaccia di diseredare Bianca, quando
Pisani, Cancelliere dei Tre, arriva con la notizia che Falliero è stato sorpreso
–53–
FELICE ROMANI
(1788–1865),
librettist of
Bianca e Falliero.
nella residenza dell’ambasciatore spagnolo e sta per essere processato dal
Consiglio dei Tre. Contareno pregusta, soddisfatto, la propria vendetta
contro Falliero.
SCENA SECONDA
La sala del Consiglio dei Tre, con pareti coperte di drappeggi neri. Entra
Falliero, condotto dalle guardie e chiede chi sarà a giudicarlo. Gli viene
risposto che si tratta di Loredano, Capellio e Contareno. Falliero teme di
essere perduto, ma Pisani lo rassicura: sebbene Contareno possa essere duro
e inflessibile, Capellio è un uomo giusto e sicuramente potrà influenzare
Contareno, che adesso è suo suocero. Nell’udire ciò, Falliero perde ogni
speranza. Quando viene condotto davanti ai giudici, rifiuta di difendersi e
accetta di firmare una confessione di colpevolezza. Ma prima che possa farlo,
un attendente annuncia che un complice del colpevole chiede udienza. Entra
Bianca, sotto un fitto velo. Quando viene rivelata la sua identità, Contareno
tenta di farla allontanare, ma Capellio insiste perché sia ascoltata. Bianca
spiega come mai Falliero è finito nella residenza dell’ambasciatore spagnolo e
Falliero, ormai sicuro del suo amore, dichiara la propria innocenza.
Contareno desidera ancora trovarlo colpevole e firma la condanna a morte.
Loredano fa altrettanto, ma Capellio si rifiuta ed esclama che Falliero dovrà
essere giudicato dal Senato.
SCENA TERZA
Una stanza in casa di Contareno. Capellio conduce a casa Bianca e, dopo aver
detto a Costanza che deve correre al Senato per difendere Falliero, si precipita
–55–
DIOMILLA SANTOLINI
Sang the role of Falliero at
the Teatro San Carlo,
Naples, in 1832.
fuori. Bianca rimane in ansia finché non sopraggiungono Falliero, Capellio e
i nobili. Il Senato ha dichiarato Falliero innocente. Arriva Contareno e cerca
di convincere Bianca a rinunciare a Falliero. Per rispetto filiale, la fanciulla sta
per obbedirgli, quando Capellio e gli altri gli fanno notare la crudeltà del suo
comportamento. Contareno ammette la propria sconfitta e, tra la gioia di
tutti i presenti, acconsente alle nozze di Bianca e Falliero.
© Charles Osborne, 2001
Traduzione: Emanuela Guastella
–57–
BIANCA E FALLIERO
O SIA
IL CONSIGLIO DEI TRE
Dramma in two acts
Libretto by Felice Romani
First performance: 26 December 1819
Teatro alla Scala, Milan
CHARACTERS
Bianca, the daughter of Contareno..................................................Violante Camporesi
Falliero, a general in the service of Venice.................................................Carolina Bassi
Contareno, a Venetian senator............................................................Claudio Bonoldi
Capellio, a Venetian senator in love with Bianca.............................Giuseppe Fioravanti
Costanza, Bianca’s nurse..................................................................Adelaide Chinzani
Priuli, The Doge of Venice.............................................................Alessandro de Angeli
Pisani, Chancellor of the Council of Three.......................................Francesco Biscottini
Senators; Venetian nobles of both sexes; ushers; soldiers;
servants of Contareno; friends of Bianca
The scene is 17th-century Venice
–58–
BIANCA E FALLIERO
HISTORICAL NOTE
THE LAW punishing by death any noble Venetian who had dealings with the
ambassadors or ministers of foreign countries had not been invoked for some time,
and the severity of the dreaded tribunal known as the Council of Three, upon whom
the power of applying the law specifically devolved, had been relaxed. But in 1618,
after the famous ‘conspiracy of Venice’, for which the Spanish ambassador, the
Marqués de Bedmar, was purportedly responsible, the law was reinstated in full and
the Council of Three re-established with double its former vigilance and harshness.
The tribunal normally sat in one of the halls in the Ducal Palace, but the judges could
sit at any time and in any place; their verdict had to be unanimous and the sentence
was carried out immediately; if the verdict of one judge differed from that of the
others, the Council was dissolved and the trial held publicly according to the
accustomed norms before the Senate or the Council of Ten. This is the law and the
tribunal that form the basis of this opera.
The story had previously been the subject of a tragedy by Arnault, but the French
author changed the name of Falliero (or Foscarini, as some would have it), the true
hero of the tragic events, into a Frenchman he chose to call Montcassin. The Italian
author has corrected this inaccuracy. Under the obligation to provide a happy ending
and observe the rules of musical theatre, which are quite different from those of
tragedy, he had to make so many changes to M. Arnault’s plan that the result can well
be classified as an original work. The manners and customs of the people involved in
the events represented have been respected as far as is possible to do so in this type of
composition which poses so many obstacles.
–59–
Jennifer Larmore (Falliero)
and Majella Cullagh (Bianca)
CD 1
62’18
[1] Sinfonia
ACT ONE
Venice. St Mark’s Square
SCENE I
The galleries known as the Procuratie are crowded. Venetian noblemen and their ladies
cross the Square.
[2]
Dalle lagune Adriache
Fin dell’Ionia ai lidi
Si spanda un suon che ai popoli
Terribilmente gridi:
Veglia il Leon magnanimo
Né di poter scemò.
CHORUS
From the lagoons of Venice
to the Ionian shores
let a sound go forth to the people
striking terror into all:
The magnanimous Lion watches,
his power is undiminished.
Invan con arti perfide
In vain with treacherous artifice
Lacci gli ordì l’Ispano;
did Spain attempt to trap him;
Contro di lui s’armarono
against him did the rebels
Braccia ribelli invano;
arm themselves in vain;
Levò la fronte indomita
he raised his indomitable head
E i traditor prostrò.
and laid the traitors low.
(The crowd disperses into the shadows of the colonnade.)
–61–
Barry Banks (Contareno)
SCENE II
Contareno and Capellio.
[3]
Pace alfin per l’Adria splende.
Tutto è gioia e festa intorno:
Per noi soli in questo giorno
Non vi è speme d’amistà.
Sol da te, signor, dipende
D’obbliar lo sdegno antico:
Il mio cor ti brama amico,
Odio alcun per te non ha.
Tu non m’odii?…
E odiar potrei
Te, di Bianca il genitore!
Bianca... l’ami?
Ah! sol di lei
Da gran tempo è pieno il core.
Cedo a te, se lei mi doni,
La contesa eredità.
CONTARENO
The Venetian Republic basks in peace
at last.
All is joy and celebration.
We are the only ones today
who cannot hope for friendship.
CAPELLIO
It is up to you alone, my lord,
to bury the ancient quarrel.
I long from my heart for your friendship,
I feel no hatred for you.
CONTARENO
No hatred?...
CAPELLIO
How could I feel hatred
for you, Bianca’s father!
CONTARENO
(surprised)
Bianca!... Are you in love with her?
CAPELLIO
Ah! My heart has been hers alone
for a long time.
I will yield, if you give her hand to me,
my claims on the disputed inheritance.
–63–
CONTARENO
Are you in love with her?
CAPELLIO
Sì!
Yes!
CONTARENO
(Ah! Grazie, o sorte; alfin sereno
(Ah! Thank you, fate; at last
Mi volgesti il tuo sembiante,
you smile upon me;
Lo splendor di Contareno
Contareno’s former splendour
A brillar ritornerà).
will return in all its glory.)
CAPELLIO
Si decide in questo istante
This moment has decided
Della mia tranquillità.
my future happiness.
CONTARENO
Vien, Capellio a questo seno;
Let me embrace you, Capellio.
Ama Bianca: e tua sarà.
Love Bianca: she will be yours.
CAPELLIO
Oh! Piacer! Felice appieno
Oh! With pleasure! This embrace
Questo amplesso alfin mi fa.
has filled my cup of joy at last.
(The boom of a cannon is heard. The crowd returns.)
L’ami?
[4]
Esce il Doge...
CHORUS
The Doge emerges...
CONTARENO & CAPELLIO
Alla festa solenne
For the solemn celebration
Col Senato già movesi al tempio.
he, with the Senate, approaches the
cathedral.
–64–
CHORUS
Long live the Prince who made Venice
safe!
Viva!
Hurrah!
Che rimosse dell’Adria lo scempio!
Who lifted from her the threat of
destruction!
Viva!
Hurrah!
Misto al suon di guerrieri stromenti
With the sound of warlike music,
Salga al ciel del suo nome l’onore!
may his fame rise to the skies!
Della patria fra i prosperi eventi
Among the empire’s great achievements
Il presente fia sempre il maggior, sì.
let this take pride of place.
CONTARENO & CAPELLIO
Ma forier di più grandi contenti,
But harbinger of greater joys to come,
O Capellio/Contareno, è tal giorno al
Capellio/Contareno, is this day to
mio core.
my heart.
CHORUS
Misto al suon di guerrieri stromenti, ecc.
With the sound of warlike music, etc.
Della patria fra i prosperi eventi, ecc.
Among the empire’s great achievements,
etc.
Viva il Prence, che l’Adria sostenne,
SCENE III
The Doge comes from the Ducal Palace with the Senators. Liveried ushers bear the Great
Council’s Decree. As the Doge approaches, all fall silent.
[5]
DOGE
(to the ushers)
Ministri del Consiglio, ite, e per tutte
Servants of the Council, go, and in
every
–65–
Ildebrando D’Arcangelo
(Capellio)
Di Vinegia le vie tosto si affigga
street of Venice affix without delay
Del Senato il decreto.
the Senate’s decree.
(The ushers leave in different directions. The crowd gathers in the background.
The Doge approaches Contareno.)
O Contareno,
Contareno,
Il tuo parer prevalse. Un’altra volta
your opinion prevailed. Once more
Ristabilito è il tribunal temuto
the feared tribunal is established
Della patria custode: accorti i padri
as the Republic’s guardian. The elders,
Dal passato periglio
noting the recent danger,
Han segnato la legge in pien consiglio.
passed the act in plenary session.
CAPELLIO
Signor, perdona; ma s’io pur presente
Your pardon, my lord, but had I been
present
Era al consesso, io non avrei segnato
at the assembly, I would not have signed
Così terribil legge. Ed a che giova
so pitiless an act. And what good can it
do
Di nuovo armarsi del rigore antico,
to arm ourselves again with old harsh
laws
Or che svanito è il congiurar nemico?
now that the threat of conspiracy is
over?
CONTARENO
A che giova, o Capellio? a prevenire
What good, Capellio? To pre-empt
Nuovi attentati, a vigilar sull’opre
new threats, to keep an eye on
Dei legati stranieri, a preservarne
foreign legations, to protect us
Da novelle congiure, e nuovi orrori.
from new conspiracies, new disasters.
–67–
CAPELLIO
Tutti gli Ambasciatori
All the ambassadors
Non sono Bedamar; e omai dell’Adria
are not Bedmars, and the Republic’s
La sicurtade è ferma.
safety is now assured.
DOGE
Ancor del tutto l’Adria non è secura.
The empire is still not completely safe.
Pur dalle Orobie mura ci minaccia l’Ispano, From the Alpine heights Spain still
threatens us,
E tutto intorno vasto incendio di guerra
and war could break out anywhere at
arde il paese
any moment.
A rintuzzar le offese di sì fiero nemico
To repel the attacks of so fierce an
enemy,
Invan si mosse il giovane Fallier: voce
young Falliero tried in vain. There is a
si sparse
rumour
Che giacque il generoso in campo estinto. that this courageous man was killed in
battle.
CAPELLIO
Cielo! estinto Fallier?
Good heavens! Falliero dead?
SCENE IV
An official and the above.
AN OFFICIAL
(bowing to the Doge)
Falliero ha vinto.
Falliero is victorious.
In questo punto approda
At this moment he is landing
Alla vicina riva, e a te, al Senato
on the nearby shore, and to you, and to
the Senate,
–68–
Reca l’annunzio della sua vittoria.
Ei già s’appressa.
Onore al prode, e gloria!
[6]
Viva Fallier,
Lode al guerrier
Del patrio onor
Conservator.
Viva Fallier, ecc.
he brings news of victory.
He is already close.
ALL
All honour and glory to the hero!
CHORUS
Long live Falliero!
Praise to the warrior,
the preserver
of his country’s honour.
Long live Falliero, etc.
SCENE V
Falliero with officers and the above.
[7]
FALLIERO
Inclito Prence, illustri padri, e quanti
August Prince, illustrious elders, and all
Amor di patria in questo istante aduna,
whom love for our land has assembled
here,
La veneta fortuna
the Venetian Empire’s well-being
Di se stessa maggiore è alfin risorta.
has been restored and raised to new
heights.
Pace, spoglie, trofei, Fallier vi porta.
Peace, spoils and trophies Falliero brings
you.
Vinte e disperse come polve al vento
Defeated and dispersed like dust in the
wind
Fur dei ribelli e dell’Ispan le schiere.
are now the rebels and the Spanish armies.
In sulle mura altere
Upon the proud walls
–69–
Jennifer Larmore
Dell’Orobia città sventola il nostro
Glorioso vessillo, e al mondo insegna
Che il temuto Leon pur vince e regna.
of the Orobian city [Brescia] our
glorious standard flies, showing the world
that the dread Lion still rules victorious.
DOGE
Giovane valoroso, a te la patria
Valorous youth, to you your country
Va debitrice di salute e di pace:
owes her welfare and peace.
Te figlio suo verace
She will forever call you
Appellerà mai sempre, e il tuo gran nome her true son, and your great name
Vivrà nei fasti dell’Adriaco impero:
will live on in the Empire’s roll of
honour,
In ogni cor vivrà.
and in all our hearts.
ALL
Viva Falliero!
Long live Falliero!
FALLIERO
Le tue parole, e il plauso
Your words, and the plaudits
Di così nobil gente, oh! qual mi sono
of so noble a people, oh! what a precious
Prezïosa mercé di quanto oprai!
reward are they for what I achieved!
Più che non diedi a te, Patria, mi dai.
More than I gave to you, my country,
you give me.
[8]
Se per l’Adria il ferro strinsi,
In taking up arms for Venice,
Il dover compiei di figlio:
I did my duty as her son.
Sacro a lei nel suo periglio
Sacred to her in her hour of danger
Era il braccio, il ferro, il cor.
was my arm, my sword, my heart.
Seguitai, se in campo io vinsi,
I followed, by winning in the field,
L’orme sue, l’avito onor, ecc.
her lead, the ancestral honour, etc.
–71–
CHORUS
True hero! Hearing you speak thus
increases your stature in our eyes.
FALLIERO
Se per l’Adria il ferro strinsi, ecc.
In taking up arms for Venice, etc.
CHORUS
Vero prode! ecc.
True hero! etc.
[9]
FALLIERO
Il ciel custode
Heaven, the guardian
Di queste mura
of these walls,
Ogni congiura
will defeat
Disperderà.
every conspiracy.
Per far che l’Adria
To the wellbeing
Felice sia
of Venice,
La vita mia
I shall devote
Si spenderà, ecc.
my life, etc.
ALL
Il ciel custode, ecc.
Heaven, the guardian, etc.
[10]
DOGE
Grata Vinegia, o prode,
Grateful Venice, O valiant one,
Accetta i voti tuoi. Sì bel desio
accepts your dedication. Continue to
cherish
Segui a nutrir, e il tuo sublime esempio
such high ideals, and your sublime
example
Millie di onore desterà faville
will kindle a thousand sparks of
honour
In ogni cor di patrio amore ardente.
in every patriotic heart.
Vero prode! ai detti tuoi
Sembri a noi più grande ancor.
–72–
Barry Banks and Simon Bailey (Doge)
Intanto il ciel clemente
Meanwhile, let merciful heaven,
Conservator dei regni abbia di lodi
preserver of realms, receive our tribute
E d’incensi tributo: ei di là sopra
of praise and incense. There on high
Siede moderator d’ogni bell’opra.
sits he who presides over all good works.
(They all move off towards the cathedral.)
SCENE VI
Forecourt in Contareno’s house, giving onto a canal. Great pots of flowers all around.
(Bianca’s companions are busy picking flowers. Later, Bianca herself comes to join them.)
[11]
COMPANIONS
Negli orti di Flora,
In Flora’s gardens,
Nel regno d’aprile
in April’s realm,
Un fior più gentile
no sweeter flower
Di Bianca non v’ha.
than Bianca blooms.
Men vermiglia è di lei questa rosa.
This rose is less ruddy,
Questo giglio è men puro di lei.
this lily less pure,
Men modesta tu mammola sei.
less modest are you, sweet violet,
Questo anemone ha men di beltà.
this anemone is less beautiful.
Negli orti di Flora, ecc.
In Flora’s gardens, etc.
[12]
BIANCA
Come sereno è il dì! come più bello
How clear the sky today! How brightly
Risplende il sole, e l’aura è queta e pura!
the sun shines, and the breeze is cool
and gentle!
Tu sorridi, o natura,
All nature smiles,
Lieta come il mio cor… O mio Falliero!
as happy as my heart... O dear Falliero!
–74–
Se ogni cosa si allegra a me d’intorno
È prodigio d’amor pel tuo ritorno.
Caro, amato Falliero! io pur ti appresto
Con l’Adria intera un serto
The joyfulness of everything around me
is love’s portent for your return.
Dear, beloved Falliero! I am preparing,
together with all Venice, a garland for
you...
…io di mia mano tel porgerò…
I shall give it to you myself...
Grato ti fia per certo…
I’m sure you’ll like it...
Non val quello d’amor di gloria il serto.
Love’s crown is more dear than that of
glory.
(She takes flowers from the women and weaves a garland.)
[13]
Della rosa il bel vermiglio
The scarlet of the rose
L’amor mio gli pingerà.
will reflect my love for him.
Il candor di questo giglio
The whiteness of this lily
La mia fè gli mostrerà.
will show him my devotion.
Qua l’emblema di costanza…
Here is the symbol of constancy...
Là il color della speranza…
There the colour of hope...
Qua un pensiero…un altro qua…
Here’s a thought... and another...
un altro qua... un altro qua...
and another... and another...
Ogni affetto del mio cuore,
All the feelings of my heart
Ogni fiore a lui dirà.
will be expressed by every flower.
Qua un pensiero, ecc.
Here’s a thought, etc.
COMPANIONS
Ogni affetto del tuo cuore
All the feelings of your heart
Ogni fiore a lui dirà.
will be expressed by every flower.
Qua un pensiero, ecc.
Here’s a thought, etc.
–75–
Majella Cullagh
Ogni affetto del tuo curore
Ogni fiore a lui dirà.
COMPANIONS
All the feelings of your heart
will be expressed by every flower.
[14]
BIANCA
(rising and regarding the garland with wistful tenderness)
Oh! serto beato,
Oh, happy garland,
Invidia mi fai.
you make me jealous.
All’idolo amato
You will be close
Vicino sarai;
to my beloved,
Baciarti l’udrai,
will feel him kiss you,
Parlarti di me.
hear him speak of me.
(her face clearing)
Ma spero… ma sento
But I hope... I feel
Lusinga nel core
in my heart
Che a tanto contento
that love has great happiness
Mi serba l’amore,
in store for me,
Che il dolce momento
and that the time for tenderness
Lontano non è.
is not far off.
COMPANIONS
Sì, tanto contento
Yes, great happiness
Serbato è per te.
is in store for you.
BIANCA
Ah! serto beato, ecc.
Oh, happy garland, etc.
–77–
SCENE VII
Costanza and Bianca.
[15]
Costanza?…ebben? che rechi?
Vedesti il mio Fallier?
BIANCA
Costanza... So? What news?
Did you see my dear Falliero?
COSTANZA
Lo vidi, o Bianca,
I saw him, Bianca, looking
Fatto più bello ancor dalla sua gloria.
more handsome than ever in his role of
hero.
Sì nobile vittoria,
Such a great victory,
L’onor che a lui si rende, ardir gli danno
and such adulation, will give him the
courage
Di chieder la tua mano:
to ask for your hand.
A me lo disse…
He told me as much...
BIANCA
Ah! non la chieda invano.
Ah, may he not ask in vain!
COSTANZA
Che temi? e qual vi è padre
What are you afraid of? What father
Che superbo non fora esser di questo
would not be proud to have
Valoroso guerriero
such a valiant warrior
Suocero fortunato?
as his son-in-law?
BIANCA
O amica! è vero.
Dear friend, that is true.
Ma tu del padre mio
But you know exactly
L’alma conosci appieno:
how my father’s mind works.
È povero Fallier.
Falliero is poor.
–78–
Vien Contareno.
COSTANZA
Contareno is coming.
(Costanza leaves.)
SCENE VIII
Contareno and Bianca.
CONTARENO
Bianca, in sì lieto giorno, al par di quante Bianca, on such a happy day, I want to
see you
Nobili donne ha l’Adria, io te vò lieta,
as happy as any noblewoman in Venice,
E in mio pensiero ne ho già volto il modo. and have already devised the means.
Avventuroso nodo
A most fortunate alliance,
D’illustre imene oggi ha per te formato
an illustrious marriage have I arranged
today
Il mio paterno amore.
out of paternal affection.
BIANCA
Padre!…qual nodo?…(oh come batte
Father!... What alliance?... (Oh, how my
il core!)
heart is beating!)
CONTARENO
Lo sposo ch’io t’ho scelto è tal che pari
The bridegroom I have chosen for you
In Venezia non ha: d’onore esempio,
has no equal in Venice. The very model
of honour,
Specchio di valor vero.
the mirror of true valour.
BIANCA
(Cielo! chi è questi se non è Falliero?)
(Heavens! Who can he mean if not
Falliero?)
–79–
CONTARENO
A te fra pochi istanti
I promised to present him to you
Presentarlo promisi, e so che grata
in a few moments, and know that you
Tu men sarai…nel tuo sembiante io leggo will be grateful to me. I see in your face
La gioia che tal nuova in cor ti desta.
the joy this news has brought to your
heart.
BIANCA
Dov’è desso, o Signor? che mai lo arresta? Where is he, my lord? What is keeping
him?
CONTARENO
Pria di mostrarsi a te mi fea preghiera
Before presenting himself, he begged me
D’investigar se inclina
to find out if you would be inclined
Ad amarlo il tuo cuor.
to love him.
BIANCA
(ecstatic)
E del mio core
Does he not know
Non gli è noto l’amore,
the love I have for him,
Non rammenta i sospir?
not remember our sighs?
CONTARENO
Bianca! che parli?
Bianca, what do you mean?
Quando svelasti mai
When did you ever
A Capellio il tuo cor?
tell Capellio you loved him?
BIANCA
(horrified)
Capellio!…oh Dio!
Capellio!... My God!
Son perduta!…
All is lost!
CONTARENO
Che ascolto?
Am I hearing right?
–80–
Barry Banks
BIANCA
Oh, father!
CONTARENO
Parla….d’altr’uom
Speak! Are you in love
Saresti amante forse, o Bianca?
with another man, Bianca?
BIANCA
Oh! me infelice!
Oh, what a cruel blow!
Sventurato Fallier!
Poor Falliero!
CONTARENO
Perfida!
Deceitful girl!
BIANCA
Ah! padre…
Ah, father,
Non ti sdegnar…
don’t be angry.
CONTARENO
Trema… se ancor ti sfugge
Beware. If you let slip
Il nome di Fallier, l’amor paterno
Falliero’s name once more, you lose
Hai perduto per sempre.
your father’s love for ever.
BIANCA
Oh ria minaccia!
What a terrible threat!
Padre…il tuo sdegno di terror mi
Father, your anger makes me cold with
agghiaccia.
fear.
[16]
CONTARENO
Se l’amor mio ti è caro
If you value my love,
Rispetta il mio voler.
respect my wishes.
Se a me t’opponi, paventa l’ira mia.
If you oppose me, you’ll regret it.
Tutto in Vinegia, tutto poss’io.
Here in Venice I can do as I like.
Farti obbliar Falliero,
I can make you forget Falliero,
Altrimenti saprò…per lui pur trema.
but if you don’t... fear for his life.
Oh padre mio!
–82–
BIANCA
Ah! What do you mean?
CONTARENO
Intendesti.
You heard me.
BIANCA
O pena estrema!
Oh, what anguish!
[17]
CONTARENO
Pensa che omai resistere
You know that resistance
Al mio comando è vano.
to my will is always vain.
Pensa che al nobil giovane
I have sworn to give
Giurai di dar tua mano;
your hand to the young nobleman;
Che un Contareno, un veneto
and a Contareno, a Venetian,
Non può mancar di fé, ecc.
cannot break his word, etc.
BIANCA
Padre, al mio pianto muoviti,
Father, let my tears melt your heart.
Mira…io ti cado al piè.
See, I fall at your feet.
(falling at Contareno’s feet)
Ah! che dici?
BIANCA’S COMPANIONS
(raising her)
Al genitore arrenditi,
Do your father’s bidding,
Si placherà con te.
and you will appease his anger.
[18]
CONTARENO
(putting an arm round Bianca’s shoulder)
Figlia mia, se forza al core
Daughter, if filial respect
Non ti dà figlial rispetto,
does not strengthen your resolve,
Deh! ti vinca il mio dolore:
oh, let my sorrow win you over:
–83–
Da tal nodo io tutto aspetto;
Tutto io perdo se ti opponi:
Disperato io morirò, ecc.
Tu morir!… di me disponi…
(Io trionfo.)
Ubbidirò.
I look for everything from this alliance.
I shall lose everything if you refuse.
I shall die a broken man, etc.
BIANCA
You would die?!... Do with me as you
see fit...
CONTARENO
(I’ve succeeded.)
BIANCA
I shall obey.
CONTARENO
Ah, embrace me. At last I have
my Bianca, my daughter, back again.
My family’s great wealth
will be restored because of you.
Embrace me, embrace me.
Ah! m’abbraccia: alfin ritrovo
La mia Bianca, la mia figlia.
Lo splendor di mia famiglia
Per te sorgere vedrò.
M’abbraccia, m’abbraccia.
[19]
Il piacer di mia ventura,
The joy my prospects afford me,
Figlia mia, spiegar non so.
dear daughter, I cannot express.
BIANCA’S COMPANIONS
Viva Bianca!
Hurrah for Bianca!
Alfin natura
In the end the ties of blood
Dell’amore trionfò.
proved stronger than those of love.
BIANCA
(Giusto Ciel, più ria sventura
(As God is my judge, no greater
misfortune
Della mia chi mai provò?)
could ever have befallen anyone!
–84–
Ah! m’ abbraccia, ecc.
CONTARENO
Ah, embrace me, etc.
(All leave.)
CD 2
42’32
SCENE IX
A room in Contareno’s house.
Falliero and Costanza.
[1]
FALLIERO
Mai con maggior coraggio in queste soglie Never with greater courage have I crossed
Non posi il piè, Costanza. Alfin venirne
this threshold, Costanza. At last I may
come here
Potrò palese, io spero, e non indegno
openly, I hope, and not as an inferior in
the eyes
Del genitor di Bianca.
of Bianca’s father.
COSTANZA
Il cielo secondi la tua speranza;
May heaven be on your side.
Io ne sarei, tel giuro,
I should, I promise you,
Lieta di Bianca al paro.
be as happy as Bianca herself.
FALLIERO
O amica mia,
My dear friend,
Conosco a prova il tuo bel cor qual sia;
I know your goodness from experience;
Né forse il dì fia lunge
perhaps the day may not be far away
Che far chiaro potrò quant’io son grato
when I can show how very grateful I am
–85–
Al tuo cortese oprar. Ma di’, qual trovo
for all your kindness. But tell me, how
shall I find
L’adorata mia Bianca?
my adored Bianca?
COSTANZA
Ognor fedele,
Faithful as always,
Tenera sempre; oltre ogni dir felice
ever tender-hearted, happier than words
can express
Dei tanti allori onde tu riedi adorno,
at seeing the honours bestowed upon you,
Di vederti sospira.
she longs to see you.
FALLIERO
Oh lieto giorno!
What a happy day!
Deh! tu, Costanza, or compi
Come, Costanza, now use
Il beneficio tuo: per poco almeno
your good offices. For a little while at
least,
Fa’ ch’io favelli a lei.
arrange that I may speak to her.
COSTANZA
Mira: elle stessa
Look: she herself
Sola ver noi s’appressa;
is approaching us alone.
Seco io ti lascio.
I leave you with her.
(She leaves.)
–86–
Patric Schmid (producer) and
Maria Cleva (Italian coach) with
Jennifer Larmore and Majella Cullagh
SCENE X
Bianca and Falliero.
BIANCA
(coming to a halt in the doorway)
(Oh! ciel! Falliero!)
(Dear God! Falliero!)
FALLIERO
(running towards her ecstatically)
O Bianca!
Bianca!
Io ti rivedo alfin!
At last!
BIANCA
(walking slowly towards him)
(Il cor mi manca.)
(My heart fails me.)
FALLIERO
Ma che vedo? tu tremi?
What’s this? Why are you trembling?
Impallidisci? ed evitar ti sforzi
Why do you grow pale? Why are you
trying
L’incontro de’ miei sguardi? in questa guisa, to avoid my eyes? Why do you greet me,
Bianca, m’accogli tu?
Bianca, in this way?
BIANCA
Falliero...(Oh Dio! Che deggio dir?)
Falliero... (Oh God! What can I say?)
FALLIERO
(Che mai pensar degg’io?)
(What am I supposed to make of this?)
BIANCA
(with an effort)
Falliero, hai tu coraggio?
Falliero, are you brave?
–88–
FALLIERO
My courage matches my love.
BIANCA
Soffrir potrai
Will you be able to bear
Il colpo a cui ti serba avversa sorte?
the blow that adverse fate has for you?
FALLIERO
Tutto; l’istessa morte
Anything, even death itself,
Fuor che perderti, o Bianca.
apart from losing you, Bianca.
BIANCA
E se il destino
And if fate decreed
Ci volesse divisi, ed infelici…
that we were to be separated and
unhappy...
[2]
FALLIERO
Divisi noi!
Separated, us?
BIANCA
Pur troppo.
Unfortunately.
FALLIERO
Oh! ciel!…che dici?
Good heavens! What are you saying?
Fremer mi fai… favella…
You frighten me... Go on...
Fremo in interrogarti….avresti forse
I shudder to question you... have you
Obbliata la fé che mi giurasti?
forgotten your promises to me?
M’avresti tu tradito?…
Have you betrayed me?
BIANCA
Ah!…no: giammai.
Ah!... No, never.
Ma ti perdo, o Fallier.
But I am lost to you, Falliero.
FALLIERO
Spiegati omai.
Explain yourself.
Pari al sommo amor mio.
–89–
[3]
Sappi che un rio dovere
Al nostro amor si oppone…
Sappi che il padre impone
Ch’io più non pensi a te...
Se tu mi sei fedele,
Se il cor non hai cambiato,
Il genitore, il fato
Io sfido rapirti a me, ecc.
Vana speranza! deh, lasciami.
Qui Contareno aspetto.
Ah! no: dal suo cospetto
Sempre fuggir dei tu.
Perché? favella, o barbara.
Non domandar di più.
[4]
Ciel! qual destin terribile
Tronca ogni mia speranza!
Ciel! come è mai possibile,
Serbar la mia costanza!
BIANCA
A cruel claim of duty
has thwarted our love.
My father has forbidden me
to think of you any more...
FALLIERO
If you are still true to me,
if your heart is still steadfast,
I defy your father or fate
to take you from me, etc.
BIANCA
It’s hopeless! Please leave me.
FALLIERO
I shall await Contareno here.
BIANCA
Oh no! You must never
let him see you.
FALLIERO
Why? Tell me, O cruel girl.
BIANCA
Ask no more questions.
FALLIERO
Oh God! What a cruel destiny
destroys my every hope!
BIANCA
Oh God! How can I possibly
keep faith?
–90–
BIANCA & FALLIERO
This dreadful shock
threatens to unnerve me.
BIANCA
Ciel! come è mai possibile!
O God! Why did this have to happen?
FALLIERO
Ciel! qual destin terribile!
O God! How cruel fate can be!
BIANCA & FALLIERO
A questo colpo orribile, ecc.
This dreadful shock, etc.
[5]
BIANCA
Deh! va’, ti scongiuro,
Please leave me, I beg you;
Restar più non dei.
you must not stay any longer.
FALLIERO
Andrò, ma securo
I shall go, but in the confidence
Che infida non sei.
that you are not unfaithful.
BIANCA
T’adoro…lo giuro…
I adore you... I swear it...
Consolati …va’.
Be comforted... Go now.
BIANCA & FALLIERO
Ah! dopo cotanto
Ah! Having surmounted
Penar per trovarsi;
such problems in order to meet,
Vedersi nel pianto,
to do so in tears,
Nel pianto lasciarsi,
in tears to separate,
È pena, è dolore
causes a pain, a grief
Che eguale non v’ha:
without equal,
È affanno che un core
a torment that our hearts
Soffrir non sa.
cannot bear.
A questo colpo orribile
Manca la mia virtù.
–91–
Deh! va’, ti scongiuro, ecc.
BIANCA
Please leave me, I beg you, etc.
SCENE XI
Falliero, then Costanza.
[6]
FALLIERO
Ella mi fugge: a mille dubbi in preda
She has fled, leaving me prey to a
thousand doubts,
Me lascia, e a mille angoscie. Un rio
a thousand anxieties. A dreadful
sospetto
suspicion is aroused
Mi sorge in cor ch’ogni tormento avanza. in my heart that overshadows all others.
COSTANZA
(entering in great haste)
Signor...
My lord...
FALLIERO
Fedel Costanza,
Faithful Costanza,
Trammi d’angoscia tu.
relieve me of my torment.
COSTANZA
Vieni; è periglio oltre restar.
Come. You are in danger if you stay.
Partir tu dei.
You must go.
FALLIERO
Ma pria
But first
Rassicura l’oppressa anima mia.
reassure my anxious mind.
COSTANZA
Ah! no: sieguimi tosto
Oh, not now. Follow me quickly
Se ti cale di Bianca. In queste soglie
if you care about Bianca. Don’t let
Contareno
–92–
Gabriella Colecchia (Costanza)
Contaren non ti trovi. A miglior tempo
find you in this house. Perhaps you can
return
Forse tornar potrai.
at a more convenient time.
FALLIERO
Cielo! qual mistero!
Heavens! What secrecy!
COSTANZA
(dragging him away)
Andiam, vieni, il saprai.
Come on, come, I’ll tell you everything.
(They leave through a small door.)
SCENE XII
Relatives of Contareno and Capellio enter with ladies, gentlemen and a number of
servants. Finally Contareno and Capellio enter. Bianca enters later.
[7]
CHORUS
Fausto imene e di gioia cagione
May this marriage be happy and cause
Sovra ogni altro per l’Adria fia questo:
the greatest joy in Venice,
Di due grandi famiglie compone
bringing together two great families
L’odio antico alla patria funesto...
whose long-held hatred has distressed
the land,
Sì, funesto.
yes, distressed.
E noi tutti congiunge con nodi
Di verace e di salda amistà.
Sovra ogni altro di gioia cagione
Questo imene per l’Adria sarà, ecc.
And it unites us all with bonds
of sincere and firm friendship.
This marriage will cause the greatest joy
in the Venetian empire, etc.
–94–
[8]
Sì, congiunti, omai son pieni
I miei voti in questo dì.
CONTARENO
Yes, my friends, my hopes have all
been realised today.
CAPELLIO
Dei Capellii e Contareni
The rift between the Capelli and the
Contareni
Le discordie Amor finì.
has now been healed by love.
CONTARENO & CAPELLIO
Spettatori al lieto evento
As witnesses of the happy event,
Rimanete, illustri amici,
stay, illustrious friends,
Dividete in tal momento
and share this moment
Il contento del mio cor.
of heartfelt joy with me.
CHORUS
Il mirarvi appien felici,
To see you so happy
Rende noi felici ancor.
makes us feel happy too.
CAPELLIO
Ove è Bianca? appaga omai
Where is Bianca? Now gratify
Di sua vista il mio desire.
my impatient wish to see her.
CONTARENO
Qua l’attendo: la vedrai,
I expect her here. You will see her,
Né fia lenta a comparire.
nor will you have long to wait.
Mira: è dessa.
See, here she comes.
CAPELLIO
Oh come bella
Oh, how her beauty
Sempre più rassembra a me!
seems greater every time I see her!
–95–
Vieni, o nobile donzella,
Ogni core sospira a te.
CHORUS
(going to meet Bianca)
Come, noble maiden,
all hearts sigh for you.
SCENE XIII
Bianca and the above.
Padre….Signor...
Appressati.
Ecco il tuo sposo.
(Oh! Dio!)
Bianca!…
Turbata sembrami.
Che mai pensar degg’io?
Nulla, Signor: tremante
È sempre in tale istante
D’una donzella il cor.
BIANCA
Father... My lord...
CONTARENO
Come here.
(presenting Capellio to her)
Here is your future husband.
BIANCA
(Oh God!)
CAPELLIO
(noticing Bianca’s agitation)
Bianca!...
(aside to Contareno)
She seems agitated.
What should I make of that?
CONTARENO
Nothing, my lord. At such
a time any girl’s heart
would be fluttering.
(to Bianca)
–96–
Ildebrando D’Arcangelo
Figlia, al dover per poco
Dia loco il tuo pudor.
[9]
Bianca, alla mia ventura
Daughter, remember your duty
and control your bashfulness.
CAPELLIO
Bianca, all that is needed for my
happiness
Manca il tuo solo assenso:
is your consent;
Né il tuo bel labbro, io penso,
nor, I think, will your lovely lips
Vorrà negarlo a me.
deny it to me.
BIANCA
(summoning up her courage)
Certo già n’eri allora
You were assured of it
Che la mia man chiedesti,
when you asked for my hand;
Del padre quello avesti,
you had my father’s consent,
E bastò quello a te.
and that was enough for you.
CAPELLIO
(Ah! qual nel suo rispondere
(Ah, what pain and anguish
Traspar cordoglio e pena!)
is audible in her response!)
CONTARENO & BIANCA
(Ah! che non sa/so nascondere
(Ah, she/I cannot hide
Le smanie ond’ella é/io son piena.)
the despair that fills her/my heart.)
CAPELLIO
(Oh! ciel! tal nodo a stringere
(Oh, heaven, that she should come
Mesta così verrà.)
to her wedding in such sorrow!)
BIANCA
(Tanto soffrire e fingere,
(To suffer so much and conceal it
È duol che egual non ha.)
is a sorrow beyond compare.)
–98–
CONTARENO
(But I’ll find a way of compelling her:
she shall not flout my will.)
CONTARENO & BIANCA
(Ah! che non sa/so nascondere, ecc.
(Ah, she/I cannot hide, etc.
[10]
CONTARENO
Ecco espressi in questo foglio
Here in this document are inscribed
I tuoi patti in un coi miei.
the terms of our mutual agreement.
Il tuo nome e quel di lei
Your signature and hers
Il contratto compirà.
will validate the contract.
CAPELLIO
(taking the document and carrying it to a table to sign)
Al cospetto de’ congiunti
In the presence of our families
Segno il foglio.
I herewith sign the contract.
BIANCA
(approaching Contareno supplicatingly)
Ah! padre mio.
Ah, father!
CONTARENO
Ubbidisci.
Obey me.
BIANCA
Ah! non poss’io.
Ah! I cannot.
(Capellio rises from his seat at the table)
(Ma la saprò costringere:
il voler mio farà)
Bianca segni.
Taci… va’.
CHORUS
Sign, Bianca.
CONTARENO
(to Bianca)
Silence... Come along.
–99–
Majella Cullagh
BIANCA
(walking towards the table)
(Cruda sorte!) S’ubbidisca.
(Cruel fate!) I obey.
FINAL SCENE
Falliero, whom Costanza tries in vain to hold back, and the above.
FALLIERO
Bianca!... Don’t do it!
BIANCA
Oh ciel!
Oh heavens!
CAPELLIO
Che sento?
What’s this?
FALLIERO
(stepping forward)
Pria m’uccidi.
Kill me first.
CONTARENO
Che ardimento!
How dare you!
BIANCA
Ah Fallier!…
Ah, Falliero!
CONTARENO
(Oh! mio furor!)
(Oh, confound it!)
FALLIERO
Questa, o Bianca, è la tua fede?
Do you call this keeping faith, O
Bianca?
Così serbi i giuramenti?
Is this how you keep your word?
CONTARENO
Temerario!
Rash fool!
Bianca! …arresta.
–101–
CAPELLIO & CHORUS
What is he saying?
FALLIERO
Deh! perdonami, oh Signor.
I pray you, forgive me, my lord.
Bianca adoro, a me si diede…
I adore Bianca, she agreed to be mine...
Mi giurò costanza e amor.
She swore constancy and love to me.
[11]
CONTARENO
(Importuno! in qual momento
(The pest! What a moment
Si presenta, e mi sorprende!
to barge in and take me by surprise!
Il furore che mi accende
I’m so angry
M’impedisce il favellar...)
I cannot speak...)
FALLIERO
(Da un istante, da un accento
(On this moment, upon one word
La mia vita, o Ciel, dipende:
my life, dear God, depends.
Se pietà di me non prende
If she shows me no pity,
Non mi resta che spirar.)
all I can do is die.)
CAPELLIO
(Ah! di Bianca il turbamento
(Ah, I’m beginning to understand
Abbastanza il cor comprende.
Bianca’s agitation.
La sorpresa mi contende
Taken completely by surprise,
Di alzar gli occhi e di parlar.)
I cannot raise my eyes, nor speak)
BIANCA, THEN WITH FALLIERO
(Da un istante, da un accento, ecc.
(On this moment, upon one word, etc.
CONTARENO
(Importuno! ecc.)
(The pest! What a moment, etc.)
CAPELLIO
(La sorpresa mi contende, ecc.)
(Taken completely by surprise, etc.)
Quali accenti?
–102–
Act One Finale
COSTANZA & CHORUS
(Più non ponno favellare.)
(They are speechless.)
[12]
CONTARENO
Con qual dritto il piè ponesti,
What right have you to enter
Temerario, in queste porte?
my house, rash fool?
FALLIERO
Con qual dritto? ah! l’intendesti:
What right? You heard me:
Bianca adoro.
I adore Bianca.
CAPELLIO
(stepping forward)
È mia consorte.
She is my bride.
FALLIERO
Ella è mia: concorde affetto
She is mine. Mutual love,
Non le destre, i cori unì.
not marriage vows, joined our hearts.
Pria dovrai passarmi il petto
You will have to kill me
Che rapirla a me così.
before you steal her thus from me.
CAPELLIO
Esci, audace!
Begone, blaggard!
BIANCA
Oh ciel!… fermate.
Dear heaven!... Stop!
FALLIERO
(to Bianca)
Infedel!
Faithless woman!
BIANCA
Oh pena!
Oh, what torment!
CONTARENO
Oh ardire!
Oh, what a nerve!
–104–
CONTARENO & CAPELLIO
Begone! Get hence!
CHORUS
Ah, vi calmate!
Ah, calm yourselves!
CONTARENO
Trema!
Beware!
CAPELLIO
Indegno! io so punire…
Base fellow! I can make you sorry...
CONTARENO
Servi, olà; dal mio cospetto
Servants, hey there! Throw
Sia scacciato.
this man out of my house.
BIANCA
Oh rio dolor!
Oh, what anguish!
FALLIERO
(to the servants who are approaching him, then to Contareno and Capellio)
Ah! codardi, questa offesa,
Ah, you cowards! This insult,
Questo tratto infame e vile,
this infamous, vile treatment,
Chi voi siete appien palesa,
has shown me exactly what you are,
Pone il colmo al mio furor.
and raised my anger to fever pitch.
CONTARENO & CAPELLIO
Va’: t’invola a noi davanti
Get out! Begone from our sight
Se ti cal del proprio onor.
if you value your reputation.
BIANCA
Ah! fra tanti affetti e tanti
(Ah, caught between such conflicting
emotions,
Geme oppresso e scoppia il cor.
my heart is crushed and breaking.
Esci! parti!
–105–
FALLIERO
Scorgerete in brevi istanti
You’ll soon see to what lengths
Quel che può furente amor.
a frenzied heart can be driven.
CONTARENO & CAPELLIO
Va’: t’invola a noi davanti, ecc.
Get out! Begone from our sight, etc.
CHORUS
...Se ti cal del proprio onor.
...if you value your reputation.
ALL
Flutti irati e resistenti
Raging, rushing waters
Al furor delle tempeste,
whipped up by the tempest’s fury,
Fiero turbine di venti
wild whirlwinds
Che scompiglia le foreste,
tossing trees in the forests,
Etna ardente che disserra
fiery Etna spewing
Mille fiamme di sotterra,
flames from the bowels of the earth,
Non eguaglian lo scompiglio
cannot compare with the turbulence
Che in quest’anima/quell’anime si fa.
that has seized these souls.
Priva/o sono di consiglio,
I cannot tell which way to turn,
L’ira mia/lor più fren non ha,
my anger is unbridled,
Il mio duol più fren non ha.
my sorrow knows no bounds.
–106–
CD 3
75’20
ACT TWO
SCENE I
Courtyard within Contareno’s palatial house. The courtyard is divided from the residence
of the Spanish Ambassador by a wall at the back. Night.
(Bianca and Costanza enter warily. Bianca is trembling.)
[1]
BIANCA
Al mio timor, deh! cedi: alle mie stanze
I’m too frightened. Please, Costanza,
Ritorniamo, o Costanza.
let’s return to my apartments.
COSTANZA
Ei muore, o Bianca,
He will die, Bianca,
Sì di sua mano ei muor, ove tu nieghi
yes, die by his own hand if you refuse
D’ascoltarlo una volta. Or via, ten prego, to hear what he has to say. Now come,
I pray you,
Resta, e fa cor. Vedi? deserto è il loco,
don’t turn back, be brave. See? The place
is deserted,
Alta la notte, e per un solo ingresso
the night is dark, and there is only one
way
In quest’atrio si viene.
into the courtyard.
BIANCA
E se per quello
In that case, what would happen
Al suo partir si fraponesse inciampo?
if his way out were blocked?
COSTANZA
Oltre quel muro avria Fallier lo scampo.
Falliero could escape over that wall.
–107–
BIANCA
Which wall?
COSTANZA
Quel che del Ministro Ispano
The one that gives onto the residence
Mette al palagio.
of the Spanish Ambassador.
BIANCA
Oh! Ciel! perduto ei fora,
Oh, heavens! There would be no hope
for him
Se lo scoprisse alcun.
were he to be found there.
COSTANZA
Il tuo pensiero finge perigli,
You are conjuring up imaginary dangers
Ed il verace obblià.
and forgetting what is the truth.
Tua cruda ritrosìa al misero dà morte.
Your cruel coyness condemns the poor
man to death.
BIANCA
Va’: l’introduci.
Very well. Bring him here.
(Costanza leaves.)
È fissa omai mia sorte.
My fate is already sealed.
Qual muro?
SCENE II
Bianca, then Falliero.
BIANCA
Lassa! ogni istante addoppia
Alas! With every passing moment
L’affanno del mio cor.
my anxiety increases.
Facil fui troppo a cederti, o Costanza.
I let you persuade me too easily,
Costanza.
–108–
Oh! ciel, non sia di estremo danno
Il mio timor foriero!
O incertezza crudel!
Oh dear, I hope my foreboding
presages no great disaster.
O painful uncertainty!
FALLIERO
(entering in an agitated state)
Bianca!
Bianca!
BIANCA
(trembling with fear as she approaches him)
Falliero!
Falliero!
FALLIERO
Tutto è perduto….invan discesi ai prieghi. All is lost... My prayers were all in vain.
In questa notte istessa n’andrai sposa a
This very night you are to marry
Capellio.
Capellio.
A noi non resta che la fuga o la morte.
We have no choice: we must either elope
or die.
BIANCA
Oh! Dio! non avvi riparo dunque
Dear God! Is there no way out
a questo passo estremo?
apart from such drastic measures?
FALLIERO
Che fuggire, o morir. Decidi.
Escape or die. You decide.
BIANCA
(Io tremo.)
(I’m afraid.)
FALLIERO
Bianca!… esitar puoi tu?
Bianca! How can you hesitate?
BIANCA
Tal onta al padre recar dovrei?
Should I so disgrace my father?
FALLIERO
Maggior dell’onta
More than disgrace,
–109–
Jennifer Larmore and Majella Cullagh
Ei reca sventura eterna a te.
Se ancor ricusi, se incerta ancor ti stai,
he is condemning you to a life of sorrow.
If you continue to object, or are still
undecided,
O più non m’ami, o non mi amasti mai.
either you love me no more, or you
never loved me.
BIANCA
Ah! t’amo sì: più di me stessa t’amo,
Ah! I do love you; more than myself I
love you;
Ma figlia io sono.
but I am a daughter.
Deh ti caglia almeno dell’onor mio.
Have a care for my honour at least.
[2]
FALLIERO
Dell’onor tuo! crudele!
Your honour! Unfeeling woman!
Caglia a te di mia vita:
You should have a care for my life:
Essa dipende da questo istante,
it hangs upon this moment,
Da un tuo solo accento.
upon a word from you.
BIANCA
La tua vita! oh Fallier! qual rio cimento!
Your life! Oh Falliero! What a desperate
choice!
[3]
FALLIERO
Va’ crudel…vedrai l’effetto
Go, cruel woman. You will see
Della tua virtù fatale:
the fatal consequences of your virtue.
Te consorte al mio rivale,
If you marry my rival,
Me trafitto il sol vedrà, ecc.
I shall be dead before sunrise, etc.
BIANCA
Senti, oh Dio… l’orrendo aspetto
Listen... Oh God!... I see my situation
De’ miei mali appien discerno.
in all its horror.
Mi condanna a pianto eterno
I am condemned to never-ending grief
Del destin la crudeltà, ecc.
by the cruelty of fate, etc.
–111–
FALLIERO
Triumph over fate with me.
BIANCA
Ah! sperarlo il cor non osa.
Ah, I dare not even hope for that.
FALLIERO
Deh! risolvi…è il dì vicino.
Please, decide! Dawn is not far off.
BIANCA
Sì…decisi…io son tua sposa.
Yes, I have decided. I am yours.
[4]
FALLIERO
Ch’io t’abbracci: ha vinto amore.
Let me embrace you. Love has
triumphed.
BIANCA
Più timor il cor non ha, no, no!
I’m no longer afraid, no, no!
BIANCA & FALLIERO
Questo istante, mia speranza,
This moment, my beloved,
De’ miei dì, de’ tuoi decide;
has decided the course of our lives.
Ma se è ver che alla costanza,
If it is true that heaven smiles
Se a virtude il ciel sorride,
on constancy and virtue,
Mille giorni di contento
a thousand happy days
Tal momento apporterà.
will stem from this decision.
FALLIERO
Ch’io t’abbracci.
Let me embrace you.
BIANCA
Son tua sposa.
I shall be your bride.
BIANCA & FALLIERO
Questo istante, mia speranza, ecc.
This moment, my beloved, etc.
Vinci meco il tuo destino.
–112–
SCENE III
Costanza, who enters hurriedly, and the above.
[5]
COSTANZA
(entering as Bianca and Falliero are about to leave)
Fermate! siam perduti: a questa volta
Stop! We are lost. Contareno
Si appressa Contareno: impor lo intesi
is almost here. I heard him call
Che qui scenda tu stessa.
for you to come down here.
BIANCA
Avversa sorte!
Fate is against us!
Fu verace il timor.
I was right to be afraid.
FALLIERO
Vieni: sottrarci per altra parte
Come. We’ll find another way out
A quel crudele sapremo.
and give that bully the slip.
BIANCA
Ah! null’altra ve n’ha.
Ah, there is no other way.
FALLIERO
Null’altra!…..io fremo.
No other way!... That’s terrible.
Che far?
What can we do?
COSTANZA
Fuggir dei solo: a te non resta
You must go alone. Your only chance
Che quel muro varcar.
is to climb over that wall.
FALLIERO
Guidami.
Show me.
BIANCA
Ah! quello è dell’Ispano ambasciator
Ah, that’s the Spanish Ambassador’s
l’ostello.
residence!
Morte ti sta sul capo.
You’d risk the death sentence!
–113–
FALLIERO
And you your father’s anger, which
would be
Peggior di morte assai s’ei qui mi scopre… worse than death if he should find me
here.
Addio… mi rivedrai.
Adieu... but not farewell.
(He leaves hurriedly.)
A te lo sdegno del padre tuo…
SCENE IV
Bianca, then Contareno with others.
BIANCA
Veglia, o ciel, su di lui:
Watch over him, O heaven;
Guida i suoi passi per quel funesto loco.
guide him safely through that dangerous
place.
Ardir mio core, si appressa il genitor.
Be strong, my heart, here comes my
father.
CONTARENO
Bianca!
Bianca!
BIANCA
Signore.
My lord.
CONTARENO
Il tuo venir qui pronta
Your prompt arrival indicates
Chiaro mi fa che ti arrendesti alfine
that you are prepared at last
Al paterno voler. Capellio è presso.
to obey your father. Capellio is on his way.
In questo istante istesso
This very moment
–114–
Nel domestico tempio io vo’ compito
Segretamente di tue nozze il rito.
Padre!
Non più: intendesti.
Giunge il tuo sposo.
Ah! mia sventura estrema!
M’uccidi pria...
Taci, ubbidisci, e trema!
in our private chapel I want
your marriage secretly performed.
BIANCA
Father!
CONTARENO
Enough. You understand.
Your bridegroom is arriving.
BIANCA
Ah! I am utterly distraught!
Kill me first...
CONTARENO
Silence, obey me or else!
SCENE V
Capellio with attendants and the above.
CONTARENO
Come, Capellio. Your rare good
qualities
Vinsero Bianca alfin. Ella consente
have finally won Bianca over. She
consents
All’imeneo bramato.
to this longed-for marriage.
(to Bianca)
Avvicinati.
Come here.
BIANCA
(Oh pena!)
(Oh, anguish!)
CAPELLIO
Oh! me beato!
Oh, I am so happy!
Vieni, Capellio: le tue rare doti
–115–
Bianca, te sposa a forza
Io non avrei voluto, e altrui lasciarti
Bianca, I would not have wanted you
as an unwilling bride, and to lose you to
another
Non potea senza pena. Or che all’altare
would have been very painful. Now that
you come
Spontanea vieni, e il bel cor mi dai,
to the altar of your own volition, and
give me your heart,
Lieto e felice oltre ogni dir mi fai.
you make me happier than words can say.
BIANCA
(Misera me!)
(Oh, poor Bianca!)
CAPELLIO
Un tuo detto mi rassicuri alfin...
Reassure me with a word...
Ma che vegg’io? Pur turbata sei tu!
But what’s this? You are distressed!
CONTARENO
(menacingly)
Bianca!
Bianca!
BIANCA
Ah! non posso più tacer, né soffrir…
Ah, I can no longer suffer in silence...
Tropp’oltre, o padre, estendi i dritti tuoi.
Father, this is an abuse of your authority.
CONTARENO
Perfida!
What disloyalty!
CAPELLIO
(to Contareno)
All’onta di un novello rifiuto
So I have been exposed again
Eccomi esposto, Contareno, per te.
to a humiliating refusal, Contareno, by
you.
–116–
L’ultima è questa offesa ch’io ricevo.
This is the last time you insult me.
Addio.
Farewell.
(He turns to leave.)
CONTARENO
(detaining him, then turning to Bianca)
Stay where you are.
Ti arresta.
[6]
Come potesti, indegna,
Proferir tai parole, e con qual fronte
Sfidar l’ira paterna! essa fia grave,
How could you, despicable girl,
say such things, and so brazenly
defy your father’s wrath! It will be
severe,
Irreparabil fia
it will be irreparable,
Come il tuo fallo e la vergogna mia.
like your wrongdoing and my disgrace.
Trema: da questo punto
Tremble! From this moment
Più figlia a me non sei, tu mi costringi,
you are no longer my daughter; you
force me
La paterna pietà posta in obblìo,
to cast aside fatherly pity,
Perfida, a maledir…
wicked girl, and curse...
BIANCA, CAPELLIO
Ah!
Ah!
BIANCA
(terrified, casting herself at his feet)
Padre mio!
My father!
[7]
CONTARENO
Non proferir tal nome,
Do not call me by that name.
Sdegno ed orror mi desta:
You fill me with anger and disgust.
Tutto a soffrir ti appresta,
Be prepared to suffer:
–117–
Bandita andrai da me,
Sì, bandita, ecc.
I cast you out,
yes, cast you out, etc.
BIANCA
Quanto ho sofferto, e come
You know how I have suffered, and how
Piansi al tuo piede il sai.
I have wept at your feet.
Più non mi resta omai
There is no more
A sopportar da te,
that I can suffer from your hands,
No, più non mi resta, ecc.
no, nothing more, etc.
CONTARENO
Perfida!
Perfidy!
(A loud knocking on the outer door is heard. Contareno freezes.)
BIANCA
Oh ciel!
Oh God!
CONTARENO
Chi battere
Who dares
Ardisce a queste porte?
to knock upon these doors?
SCENE VI
The Chancellor of the Council of Three and the above.
Pisani!
Che sara?
CONTARENO & CAPELLIO
Pisani!
(The Chancellor hands a document to Contareno.)
CONTARENO, THEN CAPELLIO, THEN ALL
(surprised)
What is this?
–118–
CONTARENO
(reading)
“Vieni dei Tre al Consiglio: in questo
“Come to the Council of Three. Just
istante
now,
Entro il palagio del ministro Ispano
within the residence of the Spanish
Ambassador,
Dalle veglianti scorte Fallier fu colto”.
Falliero was seized by the vigilante
patrol.”
(to Capellio)
Prendi, leggi. (Oh sorte!)
Take this, read it. (Great news!)
[8]
(Cadde il fellone... oh giubilo!
(The villain is finished!... How I rejoice!
Oh! non pensato evento!
Oh, unexpected development!
Da’ loco al mio contento,
The wrath that filled my heart
Furor, che m’empi il cor.)
is replaced by jubilation.)
BIANCA
(Ciel, qual mistero!... ahi misera!
(Heavens, how mysterious!... Alas!
Si accresce il mio spavento.
My fears are growing.
A qual maggior tormento
What greater torments
Son io serbata ancor?)
still await me?)
[9]
CAPELLIO
(to Contareno)
Prendi il foglio; andiam: affrettati.
Bring the paper with you; let’s go. Make
haste.
(He leaves with Pisani.)
CONTARENO
(following Capellio)
Si punisca il traditore.
The traitor will be punished.
–119–
BIANCA
(frightened)
Traditor? chi mai? deh! spiegati.
Traitor? Who do you mean? Please
explain.
CONTARENO
Lo saprai per tuo terrore.
You will learn, to your dismay.
BIANCA
Forse?… ahi!… lassa!…
Could it be?... Oh no!... Alas!...
CONTARENO
Il vil Falliero è un fellon.
The contemptible Falliero is a felon.
BIANCA
Ah! non è vero.
Oh! That’s not true!
CONTARENO
Vanne.
Let’s go.
BIANCA
Ascolta.
Listen.
CONTARENO
Taci… scostati.
Be silent... Out of my way.
BIANCA
Pria m’uccidi, o genitor.
First you must kill me, father.
CONTARENO
Servi, ancelle, alle sue stanze
Servants, maids, accompany
Quell’indegna trascinate.
that despicable woman to her room by
force.
BIANCA
Ah! crudeli! mi lasciate…
Oh! How cruel! Leave me alone!
CONTARENO
Ubbidite.
Obey me.
–120–
Majella Cullagh and
Barry Banks
BIANCA
Oh, I’m grief-stricken!
CONTARENO
Quell’indegna trascinate.
Take that despicable woman away.
Oh furor!
I’m furious!
BIANCA
Ah! crudeli! mi lasciate…
Oh, how cruel! Leave me alone!
Oh! mio dolor!
Oh, I’m grief-stricken!
[10]
CONTARENO
Sorte amica, a vendicarmi
Beneficent fate, you have handed me
Opportune a me dai l’armi:
a timely weapon to avenge myself.
Del piacer della vendetta
Upon the pleasure of revenge
Già si pasce il mio furor.
my wrath is already feeding.
BIANCA
Deh! consenti d’ascoltarmi,
I beg you, listen to me,
Padre mio… deh! non lasciarmi…
father... Please don’t leave me...
Ciel pietoso, a te s’aspetta
Merciful heaven, it is up to you
Di proteggere Fallier.
to protect Falliero.
Ciel pietoso, ecc.
Merciful heaven, etc.
CONTARENO
Del piacer, ecc.
Upon the pleasure of revenge, etc.
Oh! mio dolor!
–122–
SCENE VII
Meeting-hall of the Council of Three, hung with black.
Attendants are preparing the table and chairs for the judges. Archers enter and range
themselves on either side.
[11]
Ah! qual notte di squallore
È seguita al più bel dì!
Della patria il difensor
A perir verrà così?
Se Falliero è traditore,
Se mentita è sua virtù,
Che in un’alma alberghi onor
Chi può credere mai più?
CHORUS
Ah, what a dismal night
has followed the happiest day!
Is our country’s saviour
to perish thus?
If Falliero is a traitor,
if his virtue is all pretence,
who can ever believe again
that a soul can harbour honour?
SCENE VIII
Falliero is brought in under guard, escorted by the Chancellor of the Council.
[12]
FALLIERO
Qual funebre apparato,
What a gloomy chamber,
e qual d’intorno languida e smorta luce
and how this dim and flickering light
L’orror ne addoppia! Oh come ai rei
accentuates its terror! Oh, how
tremendo
oppressive must
Deve apparirne il taciturno aspetto,
its silent gloom appear to guilty men,
–123–
Se scuote a me innocente il core in petto!
Oh Bianca, fu presago il tuo timor:
Eccomi in ceppi, e forse volgeran molti
giorni
Anzi che a te ritorni. Oh Dio! se intanto
Dal padre astretta al mio rival cedessi?…
if even I, though innocent, feel my heart
thumping!
Oh, Bianca, your fear was justified.
Here I am in chains, and many days
may pass
before I see you again. Oh God!
Suppose that
in the meantime her father forces her to
accept my rival?...
If I lost you... agonising thought!
Begone, ah, begone! Bianca is faithful.
Se ti perdessi mai….pensier crudele!
Lungi, ah! lungi da me….Bianca è fedele.
[13]
Alma, ben mio, sì pura
A spirit as pure, my beloved,
Come la tua non v’è.
as yours does not exist.
La stessa mia sventura
My very misfortune
Mi fa più caro a te, ecc.
has made me dearer to you, etc.
[14]
CHANCELLOR
Vieni, signor: in altra stanza è d’uopo
Come, my lord. Your judges
Che i tuoi giudici attenda.
await you in another room.
FALLIERO
Il nome loro
Am I allowed
Saper mi lice almeno?
to know their names at least?
CHANCELLOR
Loredano, Capellio e Contareno.
Loredano, Capellio and Contareno.
FALLIERO
Contaren! son perduto.
Contareno! I’m a dead man!
CHANCELLOR
Il suo rigore è inflessibile, è ver;
He is harsh and inflexible, true,
–124–
Jennifer Larmore and Barry Banks
Ma spera, è giusto Capellio e generoso:
Avrà su quello quant’aver puote su
paterno core
Forza e potere un figlio.
but do not despair: Capellio is fair and
lenient,
and will influence the father’s heart
as only a son can do.
FALLIERO
Un figlio! come?
A son! What?
Che dici tu?
What do you mean?
CHANCELLOR
Sì: di Capellio sposa
Yes indeed. Bianca is now
Bianca divenne.
Capellio’s wife.
FALLIERO
Tu deliri.
You speak wildly.
CHANCELLOR
Io stesso vidi la pompa
With my own eyes I saw the pomp
E l’apparecchio intero delle sue nozze:
and all the preparations for her wedding.
Ella è a Capellio unita.
She is married to Capellio.
FALLIERO
(utterly desperate)
Bianca!... la mia sentenza è proferita.
Bianca! The sentence has been passed
upon me.
CHANCELLOR
Tu tremi?….impallidisci…..
You shiver?... You have turned pale...
Il tuo delitto certo saria?
Are they bound to find you guilty?
FALLIERO
La mia sventura è certa.
My fate is assured.
–126–
CHANCELLOR
Have you no hope?
FALLIERO
Quella che agl’infelici
That which alone remains
Sola rimane: morte.
to wretched men: death.
CHORUS
(gathering around him)
Oh Ciel! che dici?
Oh heavens! What are you saying?
[15]
FALLIERO
(taking the Chancellor’s hand and expressing himself passionately)
Tu non sai qual colpo atroce
You do not know how grievous the blow
Qual pugnal mi hai fitto in core:
you have inflicted, as with a dagger, on
my heart.
È la morte un duol minore
Death is a lesser evil
Del dolore che a me recò.
than the pain it gave me.
CHORUS
Deh! ti spiega.
We pray you, explain what you mean.
FALLIERO
Umana voce
No human voice
Non può dir l’affanno mio.
could express my grief.
CHORUS
Deh! favella.
We pray you, speak!
FALLIERO
Ah! non poss’io:
Ah, I cannot.
Fino il pianto a me mancò.
I cannot even weep.
CHORUS
Deh! ti spiega.
We pray you, speak!
Né speme hai tu?
–127–
No, non poss’io.
Tu non sai, ecc.
[16]
(Lasso! cessar di vivere
Degli anni suoi sul fiore…
In un istante perdere
Gloria, fortuna, onor…
Ah! dov’è un cor sì barbaro
Che me non piangerà?)
[17]
Ma più che onore e vita
A me rapì l’ingrata:
Si mora, e sia compita
La sorte mia spietata;
Del mio morir la perfida
Un dì rimorso avrà, ecc.
FALLIERO
No, I cannot.
You do not know, etc.
(Alas! to think of dying
in the prime of life...
In a single instant to lose
glory, fortune, reputation...
Ah! Is there a heart so flinty
that it would not weep for me?)
But the faithless girl has robbed me
of more than life and honour:
Let me die, and so fulfil
my unhappy destiny.
Some day the foresworn woman
will feel remorse for my death, etc.
CHORUS
Ah! dov’è un cor sì barbaro
Ah! Is there a heart so flinty
Che te non piangerà?...
that it would not weep for you?
FALLIERO
Si mora, si mora.
Let me die, let me die.
Del mio morir, ecc.
Some day the foresworn woman, etc.
CHORUS
... Che te non piangerà?
...that it would not weep for you?
(Falliero steps back among the guards.)
–128–
SCENE IX
The Chancellor, then Loredano, Capellio and Contareno.
[18]
CHANCELLOR
No, non è reo, misero è solo:
No, he’s not guilty, only very unhappy.
Ei chiude fatal segreto che lo guida a
Some terrible secret impels him towards
morte.
death.
Ma chi sarà sì forte
But who will be strong enough
di alzar per lui la voce?
to speak in his defence?
A noi non spetta
We are only allowed,
Innanzi a questi giudici temuti
before these awesome judges,
Che vedere, tremar, e starsi muti.
to watch, tremble, and hold our tongues.
(The three judges seat themselves at the tribunal bench. The attendants and the
archers withdraw.)
CONTARENO
(to the Chancellor)
Pisani, il reo si avanzi.
Pisani, let the guilty man approach.
CAPELLIO
(O mia virtute, stammi d’intorno al cor:
(O virtue, be a bulwark to my heart.
Su tanti affetti che mi fan guerra
over the emotions that assail me
Abbi tu sola impero.)
have sole governance.)
–129–
David Parry and Jennifer Larmore
SCENE X
The Chancellor admits Falliero, then goes to take his place beside Contareno on a lower
seat, and writes.
CONTARENO
(to Falliero)
Il tuo nome?
Your name?
FALLIERO
Falliero.
Falliero.
CONTARENO
La tua patria?
Nationality?
FALLIERO
Vinegia.
Venetian.
CONTARENO
Il tuo rango?
Class?
FALLIERO
Patrizio.
Patrician.
CONTARENO
Era a te nota tremenda legge
You were aware of the strict law
Che ai patrizi vieta
forbidding patricians
Ogni commercio con ministro estrano?
any commerce with foreign ministers?
FALLIERO
Sì.
Yes.
CONTARENO
Del ministro ispano
You were in the residence
Fosti tu nel palagio.
of the Spanish Ambassador.
FALLIERO
È ver.
True.
–131–
CAPELLIO
What excuse can you offer
for your misdemeanour?
FALLIERO
Nessuna.
None.
CAPELLIO
Alcun disegno, alcuna alta cagion
No plan, no noble cause
Ti spinse?
motivated you?
FALLIERO
È manifesto il mio delitto:
My crime is manifest.
mio segreto il resto.
The rest is my secret.
CONTARENO
Pensa che sul tuo capo
Consider that above your head
Pende il vindice ferro della legge.
hangs the vengeful sword of the law.
FALLIERO
Lo so.
I know.
CONTARENO
Che questo scritto segnar dovrai.
Then you must sign this document.
FALLIERO
Pronto son io.
I am ready.
(goes without hesitation to sign the document)
Qual puoi scusa trovar
Al fallir tuo?
Pisani, a noi porgi lo scritto:
Ei s’allontani.
CONTARENO
Pisani, prepare the document.
Let him withdraw.
–132–
SCENE XI
(As Falliero is about to leave the room, an attendant appears. Falliero pauses.)
ATTENDANT
Signor, l’ingresso chiede
My lord, an accomplice of the guilty man
Un complice del reo.
craves audience.
FALLIERO
(returning)
Complice mio?…
Accomplice of mine?
CONTARENO
Entri...
Admit him.
[19]
(Bianca enters, heavily veiled.)
Donna chi sei?
Lady, your name?
BIANCA
(stepping forward and removing her veil)
Bianca son io.
I am Bianca.
ALL
Bianca!...
Bianca!...
CONTARENO
(rising, as do the others)
Che ardire è il tuo?
What brazen behaviour is this?
Giudici, al mio palagio si riconduca.
Your lordships, have her escorted to my
house.
CAPELLIO
No: resti...
No, let her stay.
La guida alta cagion per certo:
She doubtless has a serious reason for
coming;
–133–
Dominic Natoli (Official)
A noi la legge impone d’ascoltarla.
Giudici siam.
and we are bound by law to listen to her.
We are judges.
(He goes to her.)
Bianca, fa’ core, e parla.
Bianca, don’t be afraid, but speak.
[20]
BIANCA
(Cielo, il mio labbro inspira,
(Heaven inspire my lips,
Reggi il mio cor tremante:
sustain my trembling heart:
Dammi virtù bastante
give me the eloquence I need
Ad ottener pietà.)
to obtain mercy.)
FALLIERO
(Ciel, se a salvarmi aspira,
(Dear heaven, if she aspires to save me,
Fa’ ch’ella sia costante:
grant that her love be true:
Se del rivale è amante
for if she is enamoured of my rival,
La morte mia vedrà.)
my death is certain.)
BIANCA
(Reggi il mio cor tremante, ecc.)
(Sustain my trembling heart, etc.)
CONTARENO
(Mio cor, nascondi l’ira,
(My heart, conceal your wrath,
Frenati un solo istante:
restrain yourself just for a while:
Nulla a salvar l’amante
nothing to save her lover
Il suo dolor potrà.)
will her grief accomplish.)
BIANCA
(Reggi il mio cor tremante, ecc.)
(Sustain my trembling heart, etc.)
FALLIERO
(Se del rivale è amante, ecc.)
(If she is enamoured of my rival, etc.)
CAPELLIO
(Fra la pietade e l’ira
(My trembling heart is torn
Ondeggia il cor tremante:
between pity and anger:
–135–
Ma solo in questo istante
L’onor ascolterà, ecc.)
but at this time will only
heed the voice of rectitude, etc.)
BIANCA
(Reggi il mio cor tremante, ecc.)
(Sustain my trembling heart, etc.)
FALLIERO
(Se del rivale è amante, ecc.)
(If she is enamoured of my rival, etc.)
CONTARENO
(Nulla a salvar l’amante, ecc.)
(Nothing to save her lover, etc.)
[21]
CONTARENO
Parla dunque:
Speak, then.
Qual mistero svelar devi al tribunal?
What mystery would you reveal to the
tribunal?
BIANCA
Che innocente è il mio Falliero,
That my dear Falliero is innocent,
Che lo perde amor, amor fatale.
that he was undone by love, a fatal love.
CONTARENO
Folle!
Madness!
CAPELLIO
Segui.
Continue.
BIANCA
Al fianco mio
He was there
Meco stava, ed ecco, oh Dio!
with me, and suddenly – oh God! –
Sopraggiunge il genitor.
my father came along.
Via di scampo a lui non resta
There was no way he could escape
Fuor che quella sì funesta
except by that deadly one
D’onde all’atrio si discende
with access to the forecourt
Dell’ispano ambasciator.
of the Spanish Ambassador.
–136–
Quella elegge, e cieco il rende
Il mio rischio, il nostro amor.
He chose to take it, blind to all
save my danger and our love.
Deh! se barbari non siete,
Il mio ben non m’uccidete:
E se in voi di sangue è sete
Tutto il mio versate ancor.
Oh! If you are not savages,
do not kill my beloved;
and if you thirst for blood,
you can shed all of mine.
FALLIERO
Bianca, oh gioia! or lieto io moro
Bianca, what joy! Now I can die happy,
Che ritrovo il tuo bel cor.
once more reassured that your heart is
mine.
CONTARENO
Di sottrarlo alla sua sorte
To protect him from his fate
Tenti invan, donzella audace;
your attempt is vain, audacious maid;
Folle amor ti fa mendace,
the madness of love makes you a liar.
Egli è reo, perir dovrà.
He is guilty, and must die.
FALLIERO
(to Contareno)
Reo non sono:
Guilty I am not.
(to Capellio)
A te consorte,
I believed her married
A me infida io la pensai,
to you and unfaithful to me,
Tacqui allor, morir bramai,
and thus kept silence, hoping to die,
Ma innocente: il Ciel lo sa.
but I am innocent, as heaven knows.
CONTARENO
Fé non merta un traditore,
A traitor’s word is not to be trusted,
Come tale io ti condanno.
and as such I sentence you.
(He goes to the table and signs the death warrant; Loredano follows suit.)
–137–
BIANCA
Oh what anguish!
FALLIERO
Ciel tiranno!
Tyrannous heaven!
CONTARENO
(turning to Capellio)
Tu pur segna.
You too must sign.
CAPELLIO
(pushing the document away)
No: vivrà.
No. He will live.
CONTARENO
Che mai dici!
You cannot mean that!
BIANCA, FALLIERO
Oh nobil core!
Oh, noble soul!
CONTARENO
Segna il foglio, o sconsigliato!
Sign the warrant, foolish man!
CAPELLIO
Di lui giudichi il Senato.
Let the Senate judge him.
BIANCA & FALLIERO
Oh contento!
Oh, what a relief!
CONTARENO
Oh qual viltà!
Oh, what cowardice!
LOREDANO, CHANCELLOR, ALL PRESENT
(speaking among themselves)
Sì: ben parli; il sol Senato
Yes, quite right. Only the Senate
Giudicar di lui dovrà. Sì, sì.
has the right to decide his case. Yes, yes.
Me infelice!
–138–
[22]
BIANCA & FALLIERO
(Grazie o Cielo! vi è un’anima ancora
(Thanks be to God! One soul can still
Che a pietade, a giustizia si arrende.
be swayed by mercy and justice.
Nuova speme nel petto mi scende,
Hope springs afresh within my breast,
Mi consola, e coraggio mi dà, ecc.)
comforts me and gives me courage, etc.)
CONTARENO
(Il furore che il cor mi divora,
The rage that devours my heart
Le parole al mio labbro contende.
impedes my tongue.
Una benda sul ciglio mi stende
I’m as if blindfolded
La vendetta che sfogo non ha, ecc.)
by frustrated vengeance, etc.)
CAPELLIO
Dal Senato Falliero dipende,
Falliero’s fate depends upon the Senate,
Su lui dritto il Consiglio non ha.
the Council has no rights over him.
BIANCA & FALLIERO
(Thanks be to God! etc.)
CAPELLIO
(Oh giustizia! quel cor che ti onora
(O Justice, the heart that honours you
D’ogni affetto maggiore si rende.)
is master of all its emotions.)
CHORUS & CAPELLIO
Dal Senato Falliero dipende, ecc.
Falliero’s fate depends upon the Senate,
etc.
CONTARENO
(Il furore che il cor mi divora, ecc.)
(The rage that devours my heart, etc.)
(All leave.)
(Grazie al Cielo! ecc.)
–139–
SCENE XII
A room in Contareno’s house as in Act One (Scene IX).
Costanza, alone and in an agitated state; later Capellio.
[23]
COSTANZA
Innoltra il dì….lassa! per ogni via
Dawn is breaking! Oh dear, I’ve looked
Bianca ho cercato invan. Allorché il padre everywhere in vain for Bianca. When
her father
Dal Consiglio ritorni, e a me richieda
returns from the Council and asks me
where
La figlia sua, che dir deggio? qual posso
his daughter is, what do I say? What
excuse
Trovar discolpa a disarmar bastante
can I find powerful enough to disarm
Il suo giusto furor? Crudele amica
his rightful anger? Thoughtless girl,
A che mai mi esponesti? Alcun s’avanza.
what have you let me in for? Someone’s
coming.
Cielo! è Capellio… ah, mio Signor.
Good heavens! It’s Capellio... Ah, my
lord.
CAPELLIO
(entering hastily)
Costanza, io stesso riconduco
Costanza, I have brought
Bianca al paterno tetto.
Bianca home myself.
A te l’affido, veglia tu su di lei.
I put her in your care, watch over her.
Fà di salvarla dall’estremo suo duol.
Try not to let her great grief overwhelm
her.
Corro al Senato:
I must hasten to the Senate:
–140–
Se fia secondo il fato al mio giusto desìo
Cesseranno i suoi mali… Eccola… addio.
if my sense of justice prevails,
her woes will soon be over. Here she is...
Adieu.
(He leaves.)
SCENE XIII
Costanza runs to Bianca, who is soon surrounded by her companions and a few servants.
[24]
CHORUS
Vieni, vieni: per te tremante,
Come, come, we are all so worried,
Afflitto è ognun per te.
so distressed on your behalf.
Spera, spera: tuo fido amante
Take heart: your faithful lover
Perduto ancor non è.
is not yet lost.
[25]
BIANCA
Perdona, o mia Costanza;
Forgive me, dear Costanza:
Tu soffristi per me. Ma le tue pene
you have been anxious for me. But your
pain
Non eguaglian le mie. Mille ho provate
is not nearly as severe as mine. I have
been through
In pochi istanti angoscie, eppur maggiori so much in so little time, and yet
Me ne apprestano ancor gli astri tiranni.
the cruel stars have decreed yet more to
come.
COSTANZA
Bianca, fà core: hanno confin gli affanni. Bianca, take heart. There is light on the
horizon.
BIANCA
In questo istante, o cruda,
At this very moment, heartless woman,
–141–
Proferisce il Senato
Il destin di Falliero.
the Senate is deliberating
on Falliero’s fate.
COSTANZA
Ei fia salvo: mel credi.
He’ll be safe, believe me.
BIANCA
(brightening)
Ah fosse vero!
Ah, if only that were true!
Odi?…indistinto parmi
Listen!... I think I can hear
Suon di grida ascoltar. Gente si appressa? faint cries. Are people approaching,
O m’inganna il pensiero?
or am I deceiving myself?
Bianca!
Qual voce, oh Dio!
VOICE OFF-STAGE
Bianca!
BIANCA
His voice! Oh God!
FINAL SCENE
Falliero, Capellio, Venetian nobles and the above; later Contareno.
FALLIERO
(running to Bianca)
Bianca!
Bianca!
BIANCA
(throwing herself into his arms)
Falliero! Sei tu? respiri ancor?
Falliero! Is it really you? Still alive and
breathing?
Qual Dio ti rende a me?
What God has given you back to me?
–142–
FALLIERO
Capellio, my darling,
the Prince, the Senate.
CAPELLIO
All’ira ingiusta del padre tuo
The Elders want you released
Voglion sottrarti i padri.
from your father’s unjustified anger.
FALLIERO
Segui i miei passi.
Come away with me.
BIANCA
Ah! che mai dici?
Ah! What do you mean?
CAPELLIO
È questa del Senato la legge.
This is what the Senate has decreed.
FALLIERO
(taking Bianca by the hand)
Andiam.
Now.
CONTARENO
(rushes in and bars the door)
Ti arresta.
Stay where you are.
FALLIERO
Crudele! ancor ti opponi?
Monster of cruelty! You would still
obstruct us?
Ancor non sei sazio de’ pianti miei,
Are you still not sated with my tears,
Pago del suo dolor?
satisfied with her grief?
CONTARENO
Bianca! dal padre fuggir vuoi tu?
Bianca! Do you want to leave your
father?
Compier potrai tu stessa
Would you, my daughter, bring
complete disgrace
Capellio, o cara,
Il Principe, il Senato.
–143–
La mia vergogna estrema? il mio rossore?
upon me? Shame me utterly?
Rispondi…
Tell me.
BIANCA
Ah, padre! mi si spezza il core.
Ah, Father! My heart is breaking.
[26]
Teco resto: in te rispetto
I’ll stay with you. I respect you
La cagione dei giorni miei;
as the author of my life;
Se crudele con me tu sei,
though you are cruel to me,
Figlia amante io sono a te.
I am a loving daughter.
(to Falliero)
Tu lo vedi, o mio diletto:
See, my beloved,
Non nascesti, oh Dio, per me.
you are not destined – oh God! – for
me.
CHORUS
O virtude! e tu potrai,
What goodness! And will you be
Fiero cor, lasciarla in pianto!
cruel enough to let her weep?
FALLIERO
Deh! ti placa.
I beg you, change your mind!
CAPELLIO
(to Contareno)
Cedi omai.
You must concede.
CONTARENO
Ah! non son così tiranno.
Oh, I am not such a tyrant.
Bianca hai vinto: è tuo Falliero.
Bianca, you win. Falliero is yours.
Il tuo cor assai penò.
You have suffered enough.
FALLIERO
Bianca! oh gioia!
Bianca! What joy!
–144–
BIANCA
Oh how happy I am!
ALL
La natura trionfò.
Nature has triumphed.
BIANCA
Deh! respirar lasciatemi
Please let me draw breath
Un sol momento almeno.
for just a moment.
Sento che oppresso in seno
My heart is overburdened
È dal piacere il cor.
with joy.
CHORUS
Sì, trionfò, trionfò.
Yes, it has triumphed.
[27]
BIANCA
(to Contareno)
Oh padre!
Oh father!
(to Capellio)
Oh eroe benefico!
Oh goodhearted hero!
(to Falliero)
Oh sposo! oh bel momento!
Oh husband to be! Oh, what a moment!
A tanto mio contento
I cannot yet believe
Non presto fede ancor.
such happiness is mine!
ALL EXCEPT BIANCA
Respira, alfin han termine
Relax, our misadventures
Le nostre rie vicende.
are at an end at last.
Sorride amor.
Love smiles upon us.
BIANCA
(to Contareno)
Oh padre!, ecc.
Oh father! etc.
Oh mia ventura!
–145–
David Parry
... A tanto mio contento
Non presto fede ancor, ecc.
I cannot yet believe
such happiness is mine, etc.
FALLIERO
A noi la pace splende,
Peace shines upon us all,
A noi sorride amor, ecc.
love smiles upon us.
CONTARENO, CAPELLIO, CHORUS
A noi la pace splende,
Peace shines upon us all
A voi sorride amor, ecc.
love smiles upon you, etc.
English translation © Avril Bardoni, 2001
–147–
Sir Peter Moores