QUEENSLAND MUSIC FESTIVAL, WESTERN DOWNS REGIONAL COUNCIL, OPERA QUEENSLAND AND RUSSELL PASTORAL COMPANY PRESENT
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Brindisi from La traviata by Giuseppe Verdi Sarah Crane, Simon Kim, Toowoomba Chorus Premiered in 1853. Libretto by Francesco Maria Piave
#1 in the most performed operas in the world last year, La traviata (The fallen woman) tells the story of Violetta, the darling of the Parisian social scene, who falls in love for the first time as her time is running out with a fatal illness. La traviata is based on the true story of Marie Duplessis, who was an iconic and famous woman, and who died at the tragic young age of 23. This drinking song from Act 1 is possibly one of the most well-known of operatic melodies, during which we see Violetta and Alfredo’s flirtatious first meeting, and the party guests enjoying themselves. It takes place at a party celebrating Violetta’s return to health, after a period of illness away from the Parisian social scene.
TRANSLATION by Bettina Soderbaum Reference: https://www.canberrachoralsociety.org/wp-content/uploads/2014/06/Traviata-Libiamo-ne-lieti-calici-Brindisi-CCS-translation.pdf
ALFREDO Libiamo ne’lieti calici che la bellezza infiora e la fuggevol ora s’inebrii a volutta Libiam ne’dolci fremiti Che suscita l’amore Poichè quell’occhio al core onnipotente va. Libiamo, amore, amor fra i calici Piu caldi baci avrà
Let’s drink from the joyful cups that beauty so truly enhances and may the brief moment be inebriated with voluptuousness Let us savour the sweet tremors that love arouses Because this glance goes straight to the all-powerful heart Let’s drink, my love, for love among the wine glasses make for warmer kisses.
VIOLETTA Tra voi saprò dividere il tempo mio giocondo; Tutto è follia, follia nel mondo ciò che non è piacer Godiam, fugace e rapido è il gaudio dell’amore,
With you all I can share my happiest times Everything in life which is not pleasure is foolish. Let’s enjoy ourselves for the delight of love is fleeting and quick.
è un fior che nasce e muore, ne più si può goder Godiamo, c’invita un fervido accento lusinghier.
It’s like a flower that blooms and dies so we can no longer enjoy it. So enjoy; A keen and flattering Voice invites us!
PARTY GUESTS Godiamo, la tazza, la tazza e il cantico, la notte abbella e il riso; in questo paradiso ne scopra il nuovo dì
Let’s enjoy ourselves, the cup of wine, the singing and the laughter make the night beautiful Let the new day find us in this paradise.
VIOLETTA La vita è nel tripudio
Life is jubilant
ALFREDO Quando non s’ami ancora
When we love only each other
VIOLETTA Nol dite a chi l’ignora
Don’t tell someone who doesn’t know true love
ALFREDO È il mio destin così...
So, this is my fate…
VIOLETTA, ALFREDO AND PARTY GUESTS Godiamo, la tazza, la tazza e il cantico, la notte abbella e il riso; in questo paradiso ne scopra il nuovo dì
Let’s enjoy ourselves, the cup of wine, the singing and the laughter make the night beautiful Let the new day find us in this paradise.
Toreador’s Song from Carmen by Georges Bizet Shaun Brown, Toowoomba Chorus Premiered in 1875. Libretto by Henri Meilhac and Ludovic Halévy
#2 in the most performed operas in the world last year, Carmen is one of the most well-known operas of all time. The Toreador’s song and the Habanera in this Opera at Jimbour program are some of the most recognised melodies and are the entrance arias of Escamillo and Carmen. Votre toast represents the triumphant arrival of the famous bullfighter, Escamillo, as he introduces himself and makes his advances on Carmen, who snubs him as if he was one of the cigarettes at the cigarette factory where she works with the fellow gypsy girls.
TRANSLATION by Lea F. Frey Reference: http://www.aria-database.com/translations /carmen03_toreador.txt
ESCAMILLO Votre toast, je peux vous le rendre, Señor, señors car avec les soldats
Your toast, I can give it to you Sir, sirs for along with the soldiers
Oui, les Toreros, peuvent s’entendre; Pour plaisirs, ils ont les combats! Le cirque est plein, c’est jour de fête! Le cirque est plein du haut en bas; Les spectateurs, perdant la tête Les spectateurs s’interpellent a grand fracas! Apostrophes, cris et tapage Pousses jusques a la fureur! Car c’est la fête du courage! C’est la fête des gens de coeur Allons! en garde!
Yes, the Toreros, can understand; For pleasures, they have combats! The arena is full, it is the feast day! The arena is full, from top to bottom; The spectators losing their heads, The spectators began A big fracas! Apostrophes, cries, and uproar Grow to a furor! Because it is a celebration of courage! It is the celebration of people with heart! Let’s go! On guard!
ESCAMILLO Toreador, en garde! Toreador, Toreador! Et songe bien, oui, songe en combatant Qu’un oeil noir te regarde, Et que l’amour t’attend, Toreador, L’amour t’attend!
Toreador, on guard! And dream away, yes, dream in combat That a black eye is watching you, And that love awaits you, Toreador, love awaits you!
ESCAMILLO Tout d’un coup, on fait silence... Ah! que se passe-t-il? Plus de cris, c’est l’instant! le taureau s’élance En bondissant hors du Toril! Il s’élance! Il entre, Il frappe! un cheval roule, Entrainant un Picador, Ah! bravo! Toro! Hurle la foule! Le taureau va, il vient, il vient et frappe encore! En secouant ses banderilles, Plein de fureur, il court! Le cirque est plein de sang! On se sauve, on franchit les grilles! C’est ton tour maintenant! Allons! En garde! Allons! Allons! Ah!
All of a sudden, it is silent… Ah, what is happening? More cries! It is the moment! The bull throws himself out Bounding out of the Toril! He throws himself out! He enters He strikes! A horse rolls, Dragging a picador, Ah, bravo! Bull! The crowd roars! The bull goes, he comes, He comes and strikes again! Shaking his banderillos, Full of fury, he runs! The arena is full of blood! They save themselves, they pass the gates It is your turn now. Let’s go! On guard! Let’s go!
ESCAMILLO Toreador, en garde! Toreador, Toreador! Et songe bien, oui, songe en combattant Qu’un oeil noir te regarde, Et que l’amour t’attend, Toreador, L’amour t’attend!
Toreador, on guard! And dream away, yes, dream in combat, That a black eye is watching you, And that love awaits you, Toreador, love awaits you!
Habanera from Carmen by Georges Bizet Hayley Sugars Premiered in 1875. Libretto by Henri Meilhac and Ludovic HalĂŠvy
Carmen is a sexy gypsy girl in Seville, working in a cigarette factory. During a break from work at the factory, the gypsy girls go outside and engage in banter and flirtation with the soldiers, who ask Carmen when she will love them. Carmen responds with this instantly recognisable entrance aria, based by composer Bizet on the popular Cuban dance.
TRANSLATION Reference: https://lyricstranslate.com/en/habanera-l039amour-est-un-oiseau-rebelle-habanera-love-rebellious-bird.html
CARMEN L’amour est un oiseau rebelle Que nul ne peut apprivoiser Et c’est bien in vain qu’on l’appelle S’il lui convient de refuser.
Love is a rebellious bird that no one can tame, and if you call for it, it’ll be quite in vain For it’s in its nature to say no.
Rien n’y fait, menace ou prière. L’un parle bien, l’autre se tait. Et c’est l’autre que je préfère. Il n’a rien dit mais il me plâit.
Nothing helps, neither a threat nor a prayer One talks well, the other rests silent And it’s the other one that I prefer Doesn’t say a thing, but pleases me.
L’amour!
Love!
L’amour est enfant de Bohème, Il n’a jamais, jamais connu de loi Si tu ne m’aimes pas, je t’aime Si je t’aime, prends garde à toi!
Love is a gypsy’s child, it has never, never known what law is, if you do not love me, I love you If I love you, then beware!
L’oiseau que tu croyais surprendere Battit d’aile et s’envola… L’amour est loin, tu peux l’attendre Tu ne l’attends pas, il est là!
The bird you thought you had caught by surprise beats its wings and flies away… Love lies afar, you can wait for it And when you don’t expect it any more, there it is!
Tout autour de toi, vite, Il vient, s’en va, puis il revient. Tu crois le tenir, il t’évite. Tu crois l’éviter, il te tient.
All around you twirls faster It comes and goes, and then comes back. You think you’ve caught it, it eludes you, You think you’ve escaped it, it captures you.
L’amour!
Love!
Au fond du temple saint from The Pearlfishers by Georges Bizet Simon Kim and Shaun Brown Premiered in 1863. Libretto by Eugène Cormon and Michel CarrÊ
TRANSLATION https://www.opera-arias.com/bizet/les-p%C3%AAcheursde-perles/au-fond-du-temple-saint-(pearl-fishers-duet)/
NADIR Au fond du temple saint Paré de fleurs et d’or Une femme apparaît! Je croit la voir encore!
At the back of the holy temple Decorated with flowers and gold A woman appears! I can still see her!
ZURGA Une femme apparaît! Je crois la voir encore!
A woman appears! I can still see her.
NADIR La foule prosternée La regarde, etonnée Et murmure tous bas: Voyez, c’est la déesse Qui dans l’ombre se dresse Et vers nous tend les bras!
The prostrate crowd Looks at her amazed And murmurs under its breath: Look, this is the goddess Looming up out of the shadow And holding out her arms to us.
ZURGA Son voile se soulève! Ô vision! Ô rêve! La foule est à genoux!
Her veil parts slightly! What a vision, what a dream! The crowd is kneeling.
TOGETHER Oui, c’est elle! C’est la déesse plus charmante et plus belle! Oui, c’est elle! C’est la déesse qui descend parmi nous! Son voile se soulève et la foule est à genoux!
Yes, it is she! It is the goddess More charming and more beautiful! Yes, it is she, it is the goddess who has come down among us. Her veil has parted, and the crowd is kneeling.
NADIR Mais à travers la foule Elle s’ouvre un passage!
But through the crowd She makes her way.
ZURGA Son long voile déjà Nous cache son visage!
Already, her long veil Hides her face from us.
NADIR Mon regard, hélas! La cherche en vain!
My eyes, alas, Seek her in vain.
Oh oui, jurons de rester amis! Oui, c’est elle! C’est la déesse! En ce jour qui vient nous unir Et fidèle à ma promesse Comme un frère je veux te chérir! C’est elle, c’est la déesse Que vient en ce jour nous unir! Oui, partageons la meme sort, Soyons unis jusqu’à la mort!
Oh yes, let us swear to remain friends! We have seen her, she is the Goddess Who today led you to me And from now I’ll keep my promise Close as brothers we shall be! It is her, it is the Goddess She today has lead you to me! Now we shall tread one single path, Never again to part till death!
Flower Duet from Lakmé by Léo Delibes Sarah Crane and Hayley Sugars Premiered in 1883. Libretto by Edmond Gondinet and Philippe Gille
One of the most popular operatic duets for operatic voices in concert today. It is most well known in popular culture as being used in the British Airways commercials since 1989. Less well-known is the story of the opera, which is set in British India in the 19th century. In this Act 1 duet, we meet Lakmé, the daughter of Nilakantha, a Brahmin priest, and her servant, Mallika, who are gathering flowers to prepare for a bath in the river. As they remove their jewels and clothing, the women sing this Flower Duet, describing the white jasmine, roses, and other flowers that adorn the riverbanks.
TRANSLATION Reference: http://www.aria-database.com/translations/ lakme_duet.txt Synopsis reference: http://www.musicsalesclassical.com/ composer/work/50265
LAKME Dôme épais le jasmine A la rose s’assemble, Rive en fleurs, frais matin, Nous appellent ensemble.
Dome made of jasmine, Entwined with the rose together, Both in flower, a fresh morning, Call us together.
Ah! glissons en suivant Le courant fuyant: Dans l’onde frémissante, D’une main nonchalante, Gagnons le bord, Où l’oiseau chante.
Ah! Let us float along On the river’s current: On the shining waves, Our hands reach out to the flowering bank, Where the birds sing.
MALLIKA Sous le dôme épais, où le blanc jasmin À la rose s’assemble, Sur la rive en fleurs, riant au matin, Viens, descendons ensemble. Doucement glissons De son flot charmant Suivons le courant fuyant: Dans l’onde frémissante, D’une main nonchalante, Viens, gagnons le bord Où la source dort Et l’oiseau chante.
Under the dome of white jasmine, Entwined with the rose together, On the bank covered with flowers, laughing through the morning, Come, let’s go down together. Gently gliding on its charming swells On the river’s current: On the shining waves, One hand reaches out to, Reaching for the bank Where spring sleeps And the birds sing.
Voi che sapete from The Marriage of Figaro by Wolfgang Amadeus Mozart Xenia Puskarz-Thomas Premiered in 1786. Libretto by Lorenzo Da Ponte
From Act 2 of the opera, the young page, Cherubino, sings of the trials of first love. Cherubino has an adolescent crush on the Countess – who happens to be his godmother but is nonetheless amused and touched by the attention. He has written her a love song which, with some embarrassment, he’s persuaded to sing while she listens. Susanna accompanies on a guitar. And it turns out to be the song of a young boy struggling to deal with powerful, unfamiliar, uncontrollable emotions.
TRANSLATION Reference: http://www.aria-database.com/translations/ nozze11_voi.txt Synopsis reference: https://www.roh.org.uk/news/ accessible-arias-voi-che-sapete
CHERUBINO Voi che sapete che cosa è amor, Donne, vedete s’io l’ho nel cor. Quello ch’io provo vi ridirò, È per me nuovo, capir nol so. Sento un affetto, pien di desir, Ch’ora è diletto, ch’ora e martir. Gelo e poi sento l’alma avvampar, E in un momento torno a gelar. Ricerco un bene fuori di me, Non so ch’il tiene, non so cos’è. Sospiro e gemo senza voler, Palpito e tremo senza saper, Non trovo pace notte nè dì, Ma pur mi piace languir così!
You who know what love is, Ladies, see if I have it in my heart. I’ll tell you what I’m feeling, It’s new for me, and I understand nothing. I have a feeling, full of desire, Which is by turns delightful and miserable. I freeze and then feel my soul go up in flames, Then in a moment I turn to ice. I’m searching for affection outside of myself, I don’t know how to hold it, nor even what it is! I sigh and lament without wanting to, I quiver and tremble without knowing why, I find peace neither night nor day, But still I rather enjoy languishing this way!
Letter Duet from The Marriage of Figaro by Wolfgang Amadeus Mozart Sarah Crane and Hayley Sugars Premiered in 1786. Libretto by Lorenzo Da Ponte
Susanna and the Countess are plotting to trick the Count, who has been attempting to seduce Susanna. They have planned for Susanna to meet the Count this evening. The Countess dictates a letter to Susanna that informs the Count where he can meet Susanna. She repeats the Countess’s words as she writes.
TRANSLATION Reference: https://www.opera-arias.com/mozart/ le-nozze-di-figaro/sull-aria/
SUSANNA “Sull’aria…
“To the zephyr…
CONTESSA and SUSANNA Che soave zeffiretto Questa sera spirerà Sotto i pini del boschetto.”
How sweet the breeze Will be this evening In the pine grove.”
CONTESSA Ei già il resto capirà.
The rest he’ll understand
SUSANNA Certo, certo il capirà.
I’m sure he’ll understand.
Farewell Trio from Così fan tutte by Wolfgang Amadeus Mozart Sarah Crane, Hayley Sugars and Shaun Brown Premiered in 1790. Libretto by Lorenzo da Ponte
Enjoy this melodic and serenely beautiful moment where sisters Fiordiligi and Dorabella say goodbye to their respective fiancées, Guglielmo and Ferrando who have been called off to war. Little do the ladies know, that their men haven’t actually been called off to war, and that this is the beginning of a rather absurd plot to test the fidelity of the ladies, proposed by the old philosopher Don Alfonso, who believes that women cannot be faithful. Guglielmo and Ferrando, have decided to pretend to be called to war, come back dressed up as different men, and attempt to seduce each other’s partner, and see if they will be faithful to them.
TRANSLATION FIORDILIGI, DORABELLA AND DON ALFONSO Soave sia il vento, Tranquilla sia l’onda, Ed ogni elemento Benigno risponda Ai nostri vostri desir.
Gentle be the breeze, Calm be the waves, And every element Smile in favour On their wish.
La donna è mobile from Rigoletto by Giuseppe Verdi Simon Kim Premiered in 1851. Libretto by Francesco Maria Piave
This catchy, popular melody appears often in today’s popular culture. At the premiere of the piece in 1851, Verdi was so sure it would be a hit that, for fear of a premature leak, he forbade his cast from singing or whistling the tune in public before the premiere. Further to that, he only gave the music to the tenor a few hours before the premiere! In the context of the opera the irony of this aria is that while the Duke of Mantua sings about how women are fickle and untrustworthy, it is his own character, who shows just these qualities throughout, and gets him killed by Rigoletto’s assassin soon after he sings this in Act 3!
TRANSLATION DUCA La donna è mobile Qual piuma al vento, Muta d’accento E di pensiero. Sempre un amabile Leggiadro viso In pianto o in riso È menzognero.
Women are as fickle As feathers in the wind, Simple in speech And simple in mind. Always the loveable, Sweet, laughing face, But laughing or crying The face is false for sure.
È sempre misero Chi a lei s’affida Chi le confida Mal cauto il core! Pur mai non sentesi Felice appieno Chi su quel seno Non liba amore!
If you rely on her You will regret it, And if you trust her You are undone! Yet non can call himself Fully contented Who has not tasted Love in her arms!
Veil Song from Don Carlo by Giuseppe Verdi Hayley Sugars, Sarah Crane and the Toowoomba Chorus Premiered in 1867. Libretto by Joseph Méry and Camille du Locle
Introducing Princess Eboli in the opera, in this scene she sings a Moorish love song, entertaining the Queen’s ladies in waiting, about an encounter between a young veiled woman and the King who has tired of the Queen’s attention. It is only at the end of the song that the King finds out the veiled woman is actually the Queen herself. More than an entertaining song, we see an indication of the drama to come between Princess Eboli, King Carlo and Queen Elisabeth. Interestingly, no other Verdi opera exists in so many versions. Verdi made many versions of this opera as he improved and modified it for years after its original premiere. At its full length (including the ballet and the cuts made before the first performance), it contains close to four hours of music and is Verdi’s longest opera.
TRANSLATION Synopsis Reference: https://www.metopera.org/globalassets/ discover/education/educator-guides/don-carlo/doncarlo. 10-11.guide.pdf
EBOLI Nei giardin del bello Saracin ostello All’olezzo, al rezzo Degli allòr, dei fior Una bella almèa, Tutta chiusa in vel, Contemplar parea Una stella in ciel.
In the gardens of the beautiful Dwelling of the Saracen With the pleasurable scents, under the shade Of the laurel oaks, of the many flowers A beautiful dancer All covered in veils, Seems to be watching A star up in heaven.
Mohammed, re moro, Al giardin sen va; Dice a lei: “t’adoro, O gentil beltà Vien’, a sé t’invita Per regnar il re; La regina ambita Non è più da me.”
Mohammed, king of the Moors, Is going to the garden; He tells her: “I adore you, O gentle beauty! Come, for the king Is inviting you to rule with him; That long-desired queen Is no longer missing for me”.
LADIES IN WAITING Tessete i veli, Vaghe donzella, Mentr’è nei cieli L’astro maggior. Sono i veli, al brillar delle stelle, Sono i veli più cari all’amor.
Weave the veils, Graceful damsels While, remains in the heavens The great star. For veils are, under starlight, Far dearer to love!
EBOLI “Ma discerno appena, (chiaro il ciel non è) I capelli belli, La man breve, il piè. Deh! Solleva il velo Che t’asconde a me; Esser come il cielo Senza vel tu de’!”
Yet I can barely see (For the skies aren’t clear) The beautiful mane, The delicate hand, the foot. Come on! Lift that veil That is hiding you from me; For, without that veil, You must be like Heaven itself.”
Se il tuo cor vorrai A me dar in don, Il mio trono avrai, Ché Sovran io son! Tu lo vuoi? T’inchina, Appagar ti vo’: “Allah! La regina!” Mohammed sclamò.
If you shall want to give me The gift of your heart, You will have my throne, For I am king! Do you want it? Bow down For I want to please you. “Allah! The Queen” Mohammed exclaimed.
Chorus of Hebrew Slaves from Nabucco by Giuseppe Verdi Toowoomba Chorus Premiered in 1842. English text by Narelle French
This iconic melody established Verdi as a leading composer in 19th century italy. Some critics believe that Verdi deliberately makes parallels in this opera between the Hebrews and the Italians, who in Verdi’s time were living—some say suffering—under Austrian rule. In fact, after the curtain fell on the opera’s final act at the conclusion of its premiere at La Scala on March 9, 1842, shouts of “Freedom for Italy,” came from members of the audience, who recognized themselves in the Hebrews.
Synopsis Reference: https://www.liveabout.com/va-pensiero-lyrics-and-text-translation-724034
Quartet from Rigoletto by Giuseppe Verdi Sarah Crane, Hayley Sugars, Simon Kim and Shaun Brown Premiered in 1851. Libretto by Francesco Maria Piave While Rigoletto anticipates the vengeance that he has planned against the Duke for seducing his daughter, the Duke attempts to make another conquest by wooing Maddalena. Maddalena responds with her belief that all he really wants is her body. Gilda meanwhile despairs over what the Duke has done to her.
TRANSLATION Reference: https://www.opera-arias.com/verdi/rigoletto/ un-di-se-ben-rammentomi/ Synopsis reference: http://www.aria-database.com/ cgi-bin/aria-search.pl?composer=Giuseppe+Verdi&e
DUCA Bella figlia dell’amore, Schiavo son dei vezzi tuoi; Con un detto sol tu puoi Le mie pene consolar. Viene e senti del mio core Il frequente palpitar.
Fairest daughter of love, I am a slave to your charms; With but a single word you could Relieve my every pain. Come touch my heart and feel How my heart is racing.
MADDALENA Ah! Ah! Rido ben di core, Che tai baie costan poco Quanto valga il vostro gioco Mel credete, so apprezzar. Son avvezza, bel signore, Ad un simile scherzar.
Ah! Ah! That really makes me laugh; Talk like that is cheap enough. Believe me, I know exactly What such play acting is worth! I, my fine sir, am quite accustomed To foolish jokes like this.
GILDA Ah, così parlar d’amore A me pur intame ho udito! Infelice cor traditor, Per angoscia non scoppiar.
Ah, these are the loving words The scoundrel spoke once to me! O wretched heart betrayed Do not break for sorrow.
RIGOLETTO Taci, il piangere non vale… Ch’ei mentiva sei sicura. Taci, e mia sarà la cura La vendetta d’affrettar. Sì, pronta fia, sarà fatale, Io saprollo fulminar.
Hush weeping can do no good… You are now convinced he was lying. Hush, and leave it up to me To hasten our revenge. It will be quick, it will be deadly, I know how to deal with him.
Humming Chorus from Madama Butterfly by Giacomo Puccini Toowoomba Chorus Premiered in 1904. Libretto by Luigi Illica
This famous melancholy tune, hummed by a chorus, guides us through the overnight vigil of Cio-cio san (Madama Butterfly) at the end of Act 2, as she awaits the return of her American husband Pinkerton into the port of Nagasaki, where she has waited years for him for to return. Puccini has had an influence on the repertoire of today’s musical theatre. You may hear a resemblance to Bring Him Home from Les Miserables, which is known for being influenced by Puccini, and Miss Saigon was of course based on Madama Butterfly. Madama Butterfly was #10 on the most performed operas in the world last year.
O soave fanciulla from La bohème by Giacomo Puccini Sarah Crane and Simon Kim Premiered in 1896. Libretto by Luigi Illica La bohème (The bohemians) was the fourth most performed opera in the world last year. Rodolfo, a painter, has just met his neighbour, the humble seamstress Mimì who came into his house searching for a light for her candle. The pair immediately connect and fall in love, and in the moment of the beginning of this duet, with the moonlight shining through the window onto the beautiful face of Mimì, we hear them both declare their love for one another in one of the most beautiful and well known love duets in all of opera.
TRANSLATION Reference: https://www.opera-arias.com/puccini/laboh%C3%A8me/o-soave-fanciulla/
RODOLFO O soave fanciulla, o dolce viso di mite circonfuso alba lunar in te, vivo ravviso il sogno ch’io vorrei sempre sognar! Fremon già nell’anima le dolcezze estreme, nel bacio freme amor!
Oh lovely girl, oh sweet face bathed in the soft moonlight I see in you The dream, I’d dream forever! Already I taste in spirit the heights of tenderness! Love trembles in our kiss!
MIMÌ Ah! tu sol comandi, amor!... Oh! come dolci scendono le sue lusinghe al core... No, per pietà!
You rule alone, o love! How sweet his praises enter my heart… No, please!
RODOLFO Sei mia!
You’re mine!
MIMÌ V’aspettan gli amici...
Your friends are waiting.
RODOLFO Già mi mandi via?
You send me away already?
MIMÌ Vorrei dir... ma non oso... Se venissi con voi?
I daren’t say what I’d like… What if I came with you?
RODOLFO Che?... Mimì? Sarebbe così dolce restar qui. C’è freddo fuori.
What? Mimì? It would be so fine to stay here Outside it’s cold.
MIMÌ Vi starò vicina!...
I’d be near you!
RODOLFO E al ritorno?
And when we come back?
MIMÌ Curioso!
Who knows?
RODOLFO Dammi il braccio, mia piccina.
Give me your arm, darling…
MIMÌ Obbedisco, signor!
Your servant, sir!
RODOLFO Che m’ami di’...
Tell me you love me…
MIMÌ Io t’amo!
I love you!
RODOLFO & MIMÌ Amor!
My love!
Barcarolle from The Tales of Hoffmann by Jacques Offenbach Sarah Crane and Hayley Sugars and the Toowoomba Chorus Premiered in 1881. Libretto by Jules Barbier
In The Tales of Hoffmann, a poet tells the story of his three loves; Olympia – a mechanical doll, Antonia – a famous singer, and the courtesan Giulietta. This barcarolle, a traditional Venetian song, is heard in the beginning of Act 3, by Hoffmann’s third love, the courtesan Giulietta, in her Venetian palace and Hoffmann’s muse Nicklausse.
TRANSLATION Reference: https://lyricstranslate.com/en/ barcarolle-barcarolle.html
NICKLAUSSE AND GIULIETTA Belle nuit, ô nuit d’amour Souris à nos ivresses Nuit plus douce que le jour Belle Onuit d’amour! Le temps fuit et sans retour Emporte nos tendresses Loin de cet heureux séjour Le temps fuit sans retour Zéphyrs embrasés Versez-nous vos caresses Zéphyrs embrasés Donnez-nous vos baisers! Ah! souris à nos ivresses! Onuit d’amour, nuit d’amour!
Lovely night, o night of love Smile upon our pleasures Night more sweet than day Oh beautiful night of love! Time flies by and without return Takes away our tender caresses Far from this happy oasis Time flies without return Burning zephyrs Embrace us with your caresses Burning zephyrs Give us your kisses! Ah! Smile upon our joys! Night of love, oh, night of love!
Torna a Surriento by Ernesto De Curtis arr. Giancarlo Chiaramello Simon Kim and Shaun Brown and the Toowoomba Chorus Words by Giambattista De Curtis, 1902 This classic Neapolitan song has become one of the most popular songs of this traditional genre. Crossing boundaries of genre and singing technique, this beautiful song has been performed and made famous by a diverse range of singers including as Mario Lanza, Beniamino Gigli, Frank Sinatra and Elvis Presley.
TRANSLATION Reference: https://lyricstranslate.com/en/torna-surriento-come-back-sorrento.html-21
Vide ‘o mare quant’è bello! Spira tantu sentiment. Comme tu a chi tiene mente Ca scetato ‘o faje sunnà.
Look at the sea, how beautiful it is! It brings forth many feelings. Like you do to those who behold you Make dream while they are awake.
Guarda, gua’ chistu ciardino; Siente, sie’ sti sciure arance. Nu prufumo accussì fino Dinto ‘o core se ne va…
Look, downwards at this garden Smell, smell this orange blossom A perfume so delicate Goes straight inside the heart
E tu dice “I’ parto, addio!” T’alluntane da stu core… Da la terra da l’ammore… Tiene ‘o core ‘e nun turnà
And you say “I’m going, goodbye!” You go away from my heart From this land of love Do you have the heart not to return?
Ma nun me lassà Nun darme stu turmiento! Torna a Surriento, Famme campà!
But don’t leave me Don’t cause this torment, Come back to Sorrento Let me live!
Vide ‘o mare de Surriento, Che Tesoro tene ‘nfunno: Chi ha girato tutto ‘o munno Nun l’ha visto comm’a ccà.
Look at the sea at Sorrento What a treasure it has in its depths: Even he who has travelled all round the world Has never seen anything like this here.
Guarda attuorno sti sserene, Ca te guardano ‘ncantate E te vonno tantu bene… Te vulessero vasa.
Look at these beauties all around Who look at you enchanted And they want you so much… They would love to kiss you.
Santa Lucia by Teodoro Cottrau and arr Giancarlo Chiaramello Sarah Crane, Hayley Sugars and the Toowoomba Chorus Translated from Neapolitan into Italian by Teodoro Cottrau, 1849
This traditional Neapolitan song, long associated with Mario Lanza and Enrico Caruso, has also been recorded by Elvis Presley and Bing Crosby, among many others. It is a traditional song translated for the first time into Italian by Teodoro Cottrau in 1849 during the first stage of Italian unification, and as such was the first Neapolitan song to be given Italian lyrics.
TRANSLATION Reference: https://www.go2jvp.com/santalucia.html
Sul mare luccica, l’astro d’argento Placida è l’onda, prospero il vento; Venite all’agile barchetta mia;
Upon this brilliant sea, a star of silver, Across the gentle waves, the wind is sweeping. Come help my little boat sail swiftly to the shore,
Santa Lucia!
Santa Lucia!
Or che tardate? Bella è la sera; Spira un’auretta fresca e leggiera;
Each hour to linger more, this lovely evening, Each breath is filled with air, so fresh and welcome,
Venite all’agile barchetta mia;
Come help my little boat sail swiftly to the shore,
Santa Lucia!
Santa Lucia!
Evening Prayer from Hansel and Gretel by Engelbert Humperdinck Sarah Crane, Xenia Puskarz-Thomas and the Toowoomba Chorus Premiered in 1893. English text by Constance Bache This evening prayer from Humperdinck’s fairy-tale opera is one of the most well known excerpts from the opera. Its calming, beautiful legato composition and harmony comes at the end of Act 2 when the children have had a terrifying experience while lost in the forest. It is a beautiful moment where, even though the two children are scared and lost in the forest, they are safe in their brother and sisterhood and connected to their family through this evening prayer.
Nightmare song from Iolanthe by Arthur Sullivan Jason Barry-Smith Premiered in 1882. Libretto by W.S.Gilbert
Admiral’s Song from H.M.S. Pinafore by Arthur Sullivan Jason Barry-Smith and Toowoomba Chorus Premiered in 1878. Libretto by W.S.Gilbert
Meine Lippen, sie küssen so heiß from Giuditta by Franz Lehár arr. Herbert Schneider Sarah Crane and Toowoomba Chorus
Having made his name with The Merry Widow, Lehár went on to compose a string of operettas including Der Graf von Luxemburg (The Count of Luxembourg), Zigeunerliebe (Gypsy Love) and Das Land des Lächelns (The Land of Smiles). This song, ‘Meine Lippen, sie küssen so heiss’ (My lips, they give so fiery a kiss), comes from his last stage work, Giuditta, which was premièred at the Vienna State Opera in 1934. Giuditta is set for the most part in North Africa, where the title character, who becomes a famous nightclub performer, lives with her soldier lover, Octavio. ‘Meine Lippen, sie küssen so heiss’ is one of the songs that Giuditta performs as part of her act.
TRANSLATION Reference: https://www.tso.com.au/wp-content/uploads/2014/10/A-Night-in-Vienna.pdf
Ich weiss es selber nicht, warum man gleich von Liebe spricht, wenn man in meiner Nähe ist, In meine Augen schaut und meine Hände küsst.
I don’t understand, myself, why they keep talking of love, If they come near me, If they look into my eyes and kiss my hand.
Ich weiss es selber nicht warum man von dem Zauber spricht, dem keiner widersteht, wenn er mich sieht wenn er an mir vorüber geht.
I don’t understand, myself, Why they talk of magic You fight in vain, if you see me If you pass me by.
Doch wenn das rote Licht erglüht zur mitternacht ‘gen Stund und alle lauschen meinem Lied, dann wird mir klar der Grund:
But if the red light is on In the middle of the night And everybody listens to my song, Then it is plain to see:
Meine Lippen, sie küssen so heiss Meine Glieder sind schmiegsam und weiss, In den Sternen da steht es geschrieben: Du sollst küssen, du sollst lieben!
My lips, they give so fiery a kiss, My limbs, they are supple and white, It is written for me in the stars: Thou shalt kiss! Thou shalt love!
Meine Füsse sie schweben dahin, meine Augen sie locken und glüh’n und ich tanz’ wie im Rausch den ich weiss, meine Lippen sie küssen so heiss!
My feet, they glide and float, My eyes, they lure and glow, And I dance as if entranced, ‘cause I know! My lips give so fiery a kiss!
In meinen Adern drin, da rollt das Blut der Tänzerin denn meine schöne Mutter war des Tanzes Kônigin im gold’nen Alcazar.
In my veins Runs a dancer’s blood Because my beautiful mother Was the queen of dance in the gilded Alcazar.
Sie war so wunderschön, ich hab’ sie oft im Traum geseh’n. Schlug sie das Tamburin, zu wildem Tanz, dann sah man alle Augen glühn!
She was so very beautiful, I often saw her in my dreams, If she beat the tambourine, to her beguiling dance All eyes were glowing admiringly!
Sie ist in mir aufs neu erwacht, ich hab’ das gleiche Los. Ich tanz’ wie sie um Mitternacht und fühl das eine bloss:
She reawakened in me, Mine is the same lot. I dance like her at midnight And from deep within I feel:
Waltz Duet from The Merry Widow by Franz Lehár Full Company Premiered in 1905. The Merry Widow (original title: Die lustige Witwe) was the work that brought Hungarian-born Lehár to international attention. Premièred in Vienna in 1905, it soon went on to conquer the stages of the world. Up to that point Lehár had eked out an existence as a military bandmaster and enjoyed only moderate success as a composer of operetta. But all that changed with The Merry Widow. The story revolves around the (eventually successful) attempts to reunite the former lovers, Hanna and Danilo, so that Hanna’s inherited fortune may remain in the kingdom of Pontevedro. In this duet “Lippen, Schweigen,” a tune better known as The Merry Widow Waltz, Hanna and Danilo express their rekindled love.
Champagne from Die Fledermaus by Johann Strauss Jnr Premiered in 1874. English text by L. Hume
This popular operetta premiered at the Theater an der Wien in Vienna and has been part of the regular repertoire ever since. The Champagne ensemble celebrates the inebriating effects of this sparkling beverage!
Nessun dorma from Turandot by Giacomo Puccini Simon Kim and full company Premiered in 1926. Libretto by Giuseppe Adams and Renato Simoni The most famous and well known operatic aria of all time. The title of the opera refers to the powerful and beautiful, but cold Princess Turandot, who Prince Calaf falls in love with at first sight. In order to win the heart of Princess Turandot, a man must first answer her three riddles; and if he fails, he is beheaded. No man has ever succeeded. This aria appears at the beginning of Act 3 of this opera, in which Calaf exclaims his belief and knowledge that the next day, he will succeed and win the heart of Princess Turandot. Pavarotti’s recording of Nessun dorma was used as the theme song for the 1990 FIFA World Cup in Italy, and it has been used in many film soundtracks. Puccini died during the composition of this opera, and it was finished by Franco Alfano.
TRANSLATION Reference: https://en.wikipedia.org/wiki/Nessun_dorma
CALAF Nessun dorma! Tu pure, o Principessa, nella tua fredda stanza guardi le stelle che tremano d’amore, e di speranza!
None shall sleep! Not even you, oh Princess, in your cold bedroom, watching the stars that tremble with love and with hope!
Ma il mio mistero è chiuso in me Il nome mio nessun saprà! No, no! Sulla tua bocca Lo diro quando la luce splenderà!
But my secret is hidden within me; No one will know my name! No, no! On your mouth I will say it when the light shines!
Ed il mio bacio scioglierà Il silenzio che ti fa mia!
And my kiss will dissolve the silence that makes you mine!
Dilegua, o notte! Tramontate, stelle! All’alba vincerò!
Vanish, o night! Fade, you stars! At dawn, I will win!