Let’s fly and tell the Countess and my uncle the. Wretched sland’rer!—tell me what delight you find in spreading such gross falsehood. Ponyo, però, è costretta dal padre Fujimoto, un tempo uomo ora invece stregone che abita le profondità del mare, a tornare nuovamente con lui negli abissi dell'oceano. is discovered, measuring out a space with a rule, while. [A Cherubino.] A seal much stranger than that on the commission. Susanna ran into the pavilion on the left. Io sotto queste piante, se madama il permette, resto, a prendere il fresco una mezz’ ora. [More confused] Fallen, sir?—I did not hear it. E Susanna! There’s no occasion—no, not the least, my jewel! But Susanna is coming. Now hide it quickly—I hear the sounds of footsteps. Oh, I’m so glad, so happy. While the Count puts the hat on her head, and presents the veil, the gloves, and the nosegay, the Chorus is sung. Pagarla!—in qual maniera? [Cherubino, who has till now remained crouched in the chair, raises himself up, as if seated therein. dinanzi al Conte, ed ella s’ inginocchia. she informs me that Figaro is coming. porgile a me. Go first, I entreat you, Miss, model of beauty! Application designed and developed by Walter Davis Studio. He then places a military cap on his head. Partite tosto, Addio. Only guess, then, who has now caught his fancy? Die Datei wird an Ihre E-Mail-Adresse gesendet. Ipocritone! we’ll have rare sport, believe me. Farewell, spiteful old pedant—arrogant old doctor. Figaro comes to receive Susanna from the hands of the Count, and withdraws on the other side, near Marcellina. Silence! Io vo parlarti pria che tu parti. [Cherubino runs to hide himself in the cabinet. Things look fairer than ever; I yet hope to defeat them. To save his life, he must journey to the forests of the west. Eh, non mi duol più molto. NON SO PIU COSA SON—AH, WHAT FEELINGS. Groups, Wolfgang Amadeus Mozart, Mozart’s Opera Marriage of Figaro, containing the Italian text, with an English translation, and the Music of all of the Principal Airs (Boston: Oliver Ditson Co., 1888). I’ll rest me ’neath these lindens, if my lady will permit me; I would fain enjoy the breezes of the evening. Here it is; and, when he appears, I’ll make him sing it. A project of Liberty Fund, Inc. Full site E po v’e Antonio, che a un incognito Figaro ricusa di dare una nipote in matrimonio. Coolness—coolness—always coolness; the matter’s serious, and requires you to think; remember, too, son, you do not know as yet the secret object. The Countess looks over the Count’s shoulder. No, no, Susanna. He insisted he must see his master. But hold! This way, and you’ll be sure to catch him. Prima, però, versa nell'oceano l'Acqua della Vita, la preziosa riserva di elisir magico di Fujimoto. dalle Villanelle e gli leva la cuffia; la cappellatura gli cade sulle spalle. Oh Dei! Oh cielo! Come lo sono i moderni mariti. Ma se Figaro t’ama, ei sol pria.—. I thought you had sprained your foot severely? [Aparte, dietro il seggiolone.] Evver; ma questo al più ti porge un dritto di stare in guardia e vivere in sospetto; ma non sai se in effetto. divertiamci anche noi. [Segnatamente a Figaro.] as if seeking something that she had lost. I’m sure a table, chair, or something has fallen. That so nearly it concern’d me. Is suited well to stand in this same corner. But piano, piano, piano, piano, piano, piano, piano. You scanip! Chi al par di me contenta! Ancora meglio, cosi potrem più presto imbarazzarlo, confonderlo, imbrogliarlo, rovesciargli i progetti. Poor Cherubino, you have lost your senses. questo è giudizio!—con quegl’ occhi modesti!—con quell’ aria pietosa! Ai vostri posti, o belle, ai vostri posti! What’s contain’d in this note? Cherubino stands with downcast eyes. Vapors, sir, belong but to ladies of fashion. [Aside, behind the chair.] Sie wird in 1-5 Minuten geliefert. Allorche un nastro legò la chioma, ovver toccò le pelle—d’ oggetto. Enter Bartolo and Marcellina, with a Contract in her hand, followed by Susanna, who listens at the back. Kiki è una giovane strega. Bravo, Curzio. How forgetful! with a purse in her hand, meeting the Count, and stopping him. a quel cappello, che nell’ombra vegg’io, parmi Susanna! I now will teach you that I can be indignant. non so s’io vegli o dorma? LA NOSTRA STORIA... Una famiglia, storia di una passione di padre in figlio.. ovvero la capacità di coniugare Tradizione e Innovazione. That was pretext, sir, and meant to bring about this conversation. Tu sai che ambasciatore a Londra, il Re mi dichiarò, di condur meco Figaro destinai. [Mocking him.] con una borsa di denari in mano, e lo trattiene. Poor fellow, he is grieving because his lordship bids him quit the castle. But now for my dear Barbarina!—A petticoat, by heavens! is it, then, my fortune to be cross’d by the varlet every moment? Gettelo il Conte, e corre ancora nel padiglione. O caro!—O bello, O fortunato nastro! che ingiustizia! e in quella forma meco mentia! Il Conte prende dal suo dito un anello, e lo da alla Susanna finta. Come—now, then, for the last time, embrace your dear Susanna. Susanna goes off with Cherubino’s mantle. Download books for free. Re-enter the Count, carrying a crowbar, accompanied by the Countess. Si, se voluto aveste intendermi voi stessa. Up started the Count, demanding who was in there. Ah! egli ha due braccia di rossor sulla faccia! Andando alla finestra, pretendente di saltar giù. When it came to the trial, however, it was discovered that Figaro was the child of Marcellina and Doctor Bartolo, by which timely discovery every obstacle to Figaro’s and Susanna’s union was removed. The Count had in his service a lad, by the name of Cherubino, a young scapegrace, passionately fond of the other sex, always in love, in truth, a Don Giovanni in embryo. Was’t for you or the Countess? You know my friendship—I would never reveal it. Tuck up his sleeves, now, above his elbows, I play you, so that the dress may sit upon him with grace and lightness. Entrano varie Contadinelle, chi portano il cappellino virginale, ornato di piume bianche, il velo, i guanti, ed il mazzetto, per Susanna e per Marcellina. That you must answer, since I have just now entered. Andiamo. Oh, heavens! Accordingly the festivals took then course. It may not be used in any way for profit. Ma s’ei pagasse la vecchia pretendente! Basilio, now hasten; say to our Figaro I want him. me meschina! La ragazza, svenuta, porta al collo uno strano medaglione, fatto di una pietra scintillante. Dettando a Susanna, che si mette a tavola e scrive. [He searches on the ground for the needle. [A Susanna.] Susanna siede vicino alla Contessa; Cherubino se le inginocchia davanti, e Susanna gli mette la cuffia. Receive them as you ought, and make them happy. only see how page-like he blushes! Signor, io chiedo scusa. Via piagnone stà zitto una volta! [As Cherubino draws back, Figaro advances into his place. The Count signs to Figaro to leave them. Myself? SCENE I.—: A Room only half furnished; near the centre a large arm-chair. Egli la guarda a tavola si spesso—e con tale immodestía, che s’il Conte s’accorge, e sul tal punto—sapete—egli è una bestia. [Di dietro.] Susanna runs away; Figaro follows her; the Count, who has heard from the back of the stage the last words, returns. SCENA II.—: Magnifica Camera con alcova da letto al fondo. Basilio, in traccia tosto di Figaro volate: Io vò che veda—. on the evening of our marriage. At a sign from the Count, Barbarina and the Chorus go off, while Susanna, Cherubino, Basilio, Figaro, and the Count remain. e quale scusa, se la colpa è evidente? Via presio la canzone, che stamane a me deste—a madama cantate. [Takes the key out of the cabinet, and goes to open the door to the Count. Inaspettato è il colpo. with a Contract in her hand, followed by Susanna, who listens at the back. Well thought of—well thought of; and, then, you truly promise we shall meet in the garden? Venite quì, datemi i vostri fiori; [Prende i fiori da Cherubino e bacia la sua fronte,] come arossi—Susanna, e non ti pare, ch’e somigli ad alcuno? Nausicaa è convinta che la soluzione non sia attaccare gli insetti, bensì comprendere il segreto alla base del Mare della Rovina. Away, my friends, now, and make your preparations; I wish the marriage feast to be splendid. And why don’t you applaud, sir? After disposing of Cherubino and Barbarina, who were also in the left hand pavilion, he dragged out the supposed Countess, who fell down on her knees before him, imploring his forgiveness. Why, you can take a head-dress of mine from yonder closet [To Cherubino, as Susanna goes to the cabinet.] the letter that Figaro would send him. [Exeunt—Susanna goes to the door of the cabinet. Questi non son mali da donne triviali. [Confidente.] May I hope my love with love is answer’d? without aid from you, know the cause is victorious. Come! Cherubino ch’ è fin quì rimaso rannichiato nel seggiolone, si leva su, quasi a sedere. Let’s go, ma’am. may-be she’s told the Countess of my intriguing; if she’s betray’d me, her lover weds the old woman. [Angrily.] behold your gallant soldier! Entrano varie Contadinelle, chi portano il cappellino virginale, ornato di piume bianche, il velo, i guanti, ed il mazzetto, per Susanna e per Marcellina. Cherubino runs to hide himself in the cabinet. SCENE IV.—: A Garden, with a practicable Pavilion on each side. Now to increase the jealous fit upon him! Tutto giova a un raggiro; il colpo è fatto. [Aside.] sì!—certo. Never mind me; ’tis my nature to be joking. I scarcely can believe my senses! ANTONIO. Varie sedie. Via presio la canzone, che stamane a me deste—a madama cantate. Oh cielo! Ebben Iasciate; l’aprirem senza chiavi. give them to me. What excuse now? Flemma, flemma—e poi flemma; il fatto è serio, e pensarci convien; ma guarda un poco che ancor non sai di che si prenda gioco. [Pointedly to Figaro.] Sus. fermate, e ascoltatemi un poco; mi credete capace di mancar al dover? Remain, sir. [Pushing Cherubino out of the chair, and seating him self.] Ihre Meinung über das gelesene Buch ist interessant für andere Leser. [To Antonio.] You dance? Per Basilio un biglietto io gli fo capitar, che l’ avvertisca di certo appuntamento, che per l’ora del ballo a un’ amante voi deste. I wonder wherefore our Page comes not to seek me; he’s full of youthful fancies. [Coming forward.] You may rave, and may pull at your tether. No fear of my forgetting where they’ve fix’d for the meeting. Come my lord when he pleases, there will I await him. vil ministro de l’altrui sfrenatezza, io non ho d’uopo della vostra morale, del Conte, del suo amor. whence this terror? [Perceiving Susanna.] Antonio conduce Susanna dinanzi al Conte, ed ella s’ inginocchia. Questa è l’ unica strada, onde monsù, sorpreso da madama, sia costretto a far poi quel che si brama. Oh, now I do not feel it. Nay, more than that I’ll do: a post is vacant in my own regiment—the post of ensign—’tis yours, my friend. The letter’s folded; and now with what to seal it? Some one is coming—’tis she, then—, The traitress! Entra Barberina come cercando qualche cosa che aveva perduta. Io sento gente! [Aside.] Infamous! [Siede.] You’re right, ma’am; I own it. But a damsel who’s like to lose her husband upon the day of marriage—, By giving to Marcellina the dowry you promised to Susanna—. Miope fin dalla giovane età e pertanto impossibilitato a diventare pilota, nel 1927 entra a lavorare in una delle principali società giapponesi di ingegneria aeronautica, e progetta il famoso aereo da combattimento Mitsubishi A6M Zero usato dal suo paese durante l'attacco a Pearl Harbor nella Seconda guerra mondiale. What brings you hither? Yes, her own chamber, or that—I can’t be certain. [Contraffacendolo.] si aggiusta davanti uno specchio, un capellino della Contessa in testa. And what have I to do, then, with his lordship?—leave me, you booby. Ella tira segretamente la manica di lui per attrare le sua attenzione, e dunque fingendo aggiustare la ghirlanda gli da nel mano il biglietto. Yes, directly; but learn that Figaro seeks him also. The latter pulls Cherubino from amongst the girls, and takes off his bonnet, when his long hair falls down about his shoulders. Don’t be silly. The play had been banned in 1786 because it questioned the legitimacy and rationality of the aristocracy by making fun of it through the eyes of a common servant, Figaro. Approach, approach now, most chivalrous commander! [Aside to Susanna.] Il Conte?—Oh! The needle which his Lordship desired me to convey to Susanna. And the darkness protects us. Susanna enters from the Cabinet, with a look of ironica gravity. [Susanna appears behind, with a ribbon, robe and head-dress in her hands.] Finiam le ragazzate; or quelle maniche oltre il gomito gli alza, onde più agitatamente l’abito gli si adatti. Che lingua! But mark my project: through Basil’, I sent my lord a letter, in which I gave him notice of a certain assignation made by you for the ball of this evening. E vero; io sbaglio. Cherubino stands with downcast eyes. 'Voglio essere umana!' Ah, quella serva, più che non turba me, turba voi stesso. His gracious lordship is pleas’d to love Susanna. How will he extricate himself, I wonder! The Count called to Susanna to come out; his wife commanded her to stay in. Entrano il Conte ed Antonio, chi tira Cherubino dalle Villanelle e gli leva la cuffia; la cappellatura gli cade sulle spalle. Camera quasi smobiliata con un seggiolone nel mezzo. Breathe sweeter perfumes. scellerati—ecco i dubbj spiegati! Why, ’tis the commission which at parting he left, sir, with me. Once there, he's embroiled in a fierce campaign that humans were waging on the forest. Susanna?—e d’onde viene che siete si turbata? Ahimè! But then Basilio, who spoke in my behalf? While this was going on, and Susanna had just stepped out into her room—to the left—to take away the page’s coat and fetch him one of her dresses, the Count tried to gain access by the principal—middle—entrance, and finding this locked—an occurrence against all precedents—he began to knock vehemently. [Mocking him.] And yet I cannot get me rid of these doubts. Chorus. con un contratto in mano, sequiti da Susanna, che ascolta al fondo. ecco l’imbroglio—ecco il raggiro onde m’avverti il foglio. Per buona sorte i vasi eran di creta. you were not used till now, Ma’am, thus to lock yourself in here. Figaro is discovered, measuring out a space with a rule, while Susanna stands before a large glass, trying on the Countess’s hat, and admiring herself. [Cantandosi l’ultimo verso, Susanna s’inginocchia al Conte, chi mette sulla fronte di lei la ghirlanda nuziale. aspettando quel caro visetto, tippe tappe un sussuro fuor d’ uso; voi gridaste—lo scritto biglietto, saltai giù, dal terrore confuso; e stravolto m’ ho un nervo del pie. Ah, never give me that title so detested; it still reminds me that I must needs abandon my dear and kind protectress. Count Almaviva, the well-known hero of Rossini’s Barber of Seville, after the romantic marriage with Rosina, the ward of Doctor Bartolo, of which that Opera treats, had settled down quietly upon his estates. ma dunque non più, per la Contessa segretamente il vostro cor sospira? I know the needle, dear mother, in truth’s the very same I saw with the letter. what a priceless treasure Figaro now will wed. After all, he’s a barber, and what else could be hoped for?—“L’argent fait tout.”. Complete his transformation. [Ad Antonio.] Music-master to the Countess. ne’er will I give thee back; no, not for millions! Susanna here will wait for our returning. la patente del paggio. I slipp’d back then unnotic’d, and hid again, sir. I read the riddle. A magnificent Chamber, with an alcove. Her head waiting-woman, affianced to Figaro. Oh, Susanna! [Behind.] Presto a noi, bel soldato; Figaro v’informò—. Giusti Dei! egli ha due braccia di rossor sulla faccia! Yes, he dies; there’s nought can save him. Antonio enters, intoxicated, carrying in his hand a flowerpot of violets, with their stems broken. Diamo gli la mercè de dubbi suoi! A proposito, figlia, instruitelo meglio. Perfidi! Various seats. È trascorso un millennio da quando una serie di guerre, culminata nelle esplosioni termonucleari dei Sette Giorni del Fuoco, ha alterato l'ecosistema mondiale. Coltivando l’or goglio di questo mentecatto. Figaro viene a ricever Susanna dalle mani del Conte, e si ritira dall’ altra parte vicino a Marcellina. as many as you please—I’ll take all! Good heavens! I pray you read that letter. Durante il loro trasferimento in periferia, Chihiro e i suoi genitori prendono una scorciatoia che li porta in un paese abbandonato che di notte si popola di spettri, streghe e mostri. protesta Ponyo che, determinata a voler diventare una bambina e a ritornare da Sosuke, scappa. E poi—. Now for Susanna, and then for Cherubino. [Cava fuori delle carte, e le mostra a Figaro.] This material is put online to further the educational goals of Liberty Fund, Inc. [The Count attempts to conceal himself behind the armchair, when Susanna interposes, and in the meanwhile Cherubino slips round and glides into it. [Behind.] This is a facsimile or image-based PDF made from scans of the original book. Vengeance glorious! Non fu mai vostra uzanza di rinchiudervi in stanza. Come si cavera dall’ imbarazzo! Intercepting Cherubino, as he goes to kiss Susanna. Pray, have you met with my lord this morning? Vicni, amico—madama è impaziente. Behold it!—be speedy; if the Count find him here, he’ll ne’er forgive us. gittale pur, ch’ io piglio ognora! Well, sir; what’s talked on all sides? with a dress over her arm, who listens at the back of the stage, and observes what is passing. Then there’s Antonio, who to Figaro angrily refuses to give his niece’s hand at all in marriage. [To Cherubino.] enters from the Cabinet, with a look of ironica gravity. [Alza, in imitazione, la vesta che copre il seggiolone, e scopre Cherubino. [Usciono le Paesane. “Know the cause is victorious!” Is it so, ma’am? Deh, dammelo, Sorella; dammelo per pietà. Son morta! Horrible! [The Countess looks over the Count’s shoulder. A Cherubino, come Susanna entra nel gabinetto. Nobody but Susanna, insisted the Countess. Air. Find books Susanna esce dal gabinetto, con aria grave ed ironica. When all join in your praises? APRITE UN PO QUEGL’ OCCHJ—YE MEN, WHO WIVES TAKE PRIDE IN. Susanna. And you’ve the courage to go on joking with a matter so serious? Lo chiedo a voi, io vengo in questo punto. In order to effect the necessary transformation for his new character, Cherubino was admitted to the room of the Countess, where Susanna, under the Superintendence of the Countess, began to make the change of wardrobe necessary. This venerable dame, with the assistance of Doctor Bartolo, who owed Figaro an old grudge on account of his ward Rosina, who had been snatched from him principally through the instrumentality of the barber, made secret preparations to interrupt the nuptial festivities with a tremendous thunder shower. A quale avanza il Conte ed affrettandosi aprire il biglietto si pugne il dito coll’ ago che lo lega. Once surpris’d and caught in his misdoings, he’ll be glad to comply with all our wishes. Susanna! But where’s his canzonetta? [To Figaro.] LE NOZZE DI FIGARO. Partono—Susanna esce e va alla porta del gabinetto. [To Cherubino, who looks sad.] Tutto ancor non ho perso; mi resta la speranza. Via, per l’ultima volta la Susanna abbracciate. Scusate, oggi Siviglia è a casa mia; la, vestissi da donna, e là lasciati ha’ gl’ altri abiti suoi. PORGI AMOR—LOVE, THOU HOLY. Non vedete più me? Susanna stara quì fin che torniamo. This is the meeting hinted at in the letter. Là rinchiuso, [Mostrando il gabinetto.] At the side of the alcove, on the right hand, an outer door leading to a cabinet; on the left, a window; at the upper end, a door which leads to an inner chamber; on the opposite side, the door of a cabinet. He searches on the ground for the needle. Spicciati!—Va bene; miserabili noi, se il Conte viene. Una cittadina in riva al mare. Well, sir? Who, you told me, went this moment to her chamber. Ah nò, Susanna, io ti vò far felice. I’m ruin’d—you here, stripp’d of your mantle—in such condition—that most unlucky letter—he so prone to suspicion. Lasciano insieme il teatro ma il Conte aggrappa il mantello di Figaro, e Susanna corre nel padiglione al destra. In gabinetto qualche cosa e caduta. Air. Il livello delle acque del mare si innalza e le sorelle di Ponyo si ritrovano trasformate in gigantesche onde di marea pesciformi, tanto alte da raggiungere la casa di Sosuke sulla scogliera. In the meanwhile Susanna, upon the advice of the Countess, and without the knowledge of her betrothed, carried on the intrigue originally plotted by Figaro. But I’m well born, sir!—without permission of both my illustrious parents—. Costretta ad abbandonare il negozio dove lavora, troverà rifugio nel castello semovente dell'affascinante mago Howl... Due ragazzine, Mei e Satsuki, si trasferiscono con il padre in una casa di campagna dalla fama di essere stregata per avvicinarsi alla madre in ospedale. Papà Balzi Benito e la sua sposa Gabriella, originari delle Marche e freschi di matrimonio, negli anni ’70 decisero di inseguire il loro sogno di entrare nel mondo caseario, in particolare per la produzione di della Robiola. Enter the Count, stealthily, through the iron gates, Susanna being at the back on the left, Figaro on the right. I took for granted that you’d your sex’s likings and impressions, and would prefer for lover one of birth, in the prime of life and manhood, to beardless pages and striplings. [Interrupting him.] Susanna lo copre colla vesta, che ha recata. I’ll fasten, though, the door. Alfin di che si tratta? [Goes into the closet and shuts the door. Figaro. My Lord, your noble Countess has got her usual vapors, and has dispatch’d me for her smelling-bottle. [To the Count.] Well, cunning as you are, sir, this time we beat you. La Contessa avanzando, ed inginocchiandosi al Conte con aria maliziosetta. Allato alt’ alcova, alla sinistra degli attori porta pratticabile di un gabinetto; dalla parte opposta fineetra pratticabile. [Eyeing her keenly, and giving her Figaro’s letter.] Parla, parla, mia cara! tu non sai—ma per quel causa mai da me stessa ei non venne? Sestett.—Marcellina, Don Curzio, Count, Bartolo, and Figaro. ’Tis true; but then I was busy, sir, arranging. If he’s at Seville, then Seville is in my cottage: there, in a woman’s garments, I vow, they dress’d him, and there he left his clothes. Oh, heavens!