287 GIULIO CESARE (Gulius Caesar) Opera in three acts Libretto by Nicola Haym First performed at the Haymarket Theatre, London, February 20, 1724 (CHARACTERS Giulio Cesare: mezzo-soprano, counter tenor or bass! Curio: a Roman tribune: bass Comelia, widow of Pompeo: contralto Sesto, son of Comelia and Pompeo: mezzo-soprano or counter tenor Cleopatra, Queen of Egypt: soprano Tolomeo (Ptolemy), King of Egypt: contralto or counter tenor ‘Achilla, (Achillas) General and counsellor to Tolomeo: bass Nireno, Cleopatra's confidant: mezzo soprano Attendants, soldiers, slaves ‘The action takes place in Egypt in 48 B.C. THE PLOT ACTI Egypt, after Cesare's victory over his rival Pompeo at Pharsalus. Pompeo fled to Egypt and Cesare followed him there. A broad plain by the river Nile with a bridge over the river. The Egyptians in chorus greet the victorious Romans, who fill the scene until Giulio Cesare himself arrives to celebrate his triumph. To him come Cometia and her son Sesto to beg him to show mercy in his hour of victory, only for Achilla at the same moment to offer Cesare the hospitality of Tolomeo (whose military help Pompeo had invoked) and to show him the severed head of Pompeo as proof of Tolomeo's change of heart. Cesare condemns the senseless cruelty and leaves. Comelia and Sesto are left alone with Curio, the Roman tribune, who offers his hand to Comelia. She, feeling suicidal after just having seen the severed head of her husband, dismisses the advances of Curio, who leaves. Her son Sesto assures her that he will avenge his father's death. ‘The scene changes to the palace of Tolomeo, where Cleopatra is to pit her celebrated beauty against her brother's gift of Pompeo's head in a bid for Cesare's favor. Now Achilla tells, Tolomeo of Cesare's fury at the murder of Pompeo and himself offers to kill Cesare and thus stabilize Tolomeo's throne if the King will grant him in reward the hand of the beautiful Cornelia. Tolomeo agrees and inveighs against Cesare. In his camp, Cesare contemplates the monument he has been raised to Pompeo's memory and reflects on the transience of fame. To him comes Cleopatra, describing herself as Lidia, cone of the Queen's women. Cesare is completely captivated by her beauty and Cleopatra celebrates her success, and then hides with Nireno to watch Comelia, dressed in mourning, kneel before the monument to her dead husband and movingly apostrophize the urn which contains the ashes of all that she adored. When she vows vengeance on her husband's ‘murderer, her son takes the burden upon himself. Claopatra, still calling herself Lidia, offers her help. Sesto rejoices because his dream of vengeance may now become true. The scene ‘ends as Cleopatra exits at the prospect of victory over her evil brother Tolomeo. The scene changes to Tolomeo's palace. The King greets Cesare effusively, offering him entertainment but in no way deceiving the Roman, who is suspicious of the Egyptian. "In the 1960's production at the New York City Opera by Tito Capobianco, the title role was sung by ‘the splendid American bass Norman Treigl, in company of Beverly Sills as Cleopatra.258 Cesare and the Romans leave Tolomeo and his Egyptian courtiers, and Achilla points out Comelia to Tolomeo, who is no less struck by her beauty than is his general. When Cornelia. and Sesto advance and challenge Tolomeo to mortal combat, guards are ordered to take the ‘youth to prison and Comelia to tend the garden in the King's harem. When the King has gone, Comelia scoms Achilla's offer of freedom in return for marriage and the act ends with 1a fine duet of farewell for mother and son. act In a cedar grove Cleopatra, still pretending to be Lidia, devises an entertainment for Caesar, presenting herself as Virtue. Cesare is more enchanted with her than ever. Nireno leads Cesare off to Lidia's rooms. In the harem garden, Cornelia is tending the flowers. Achilla enters and renews his wooing. Comelia attempts to avoid him. Tolomeo enters. Achilla tells him that so far his suit has been in vain but assures the King that Cesare will be killed that very day. After he leaves, Tolomeo declares his passion for Comelia, who will have none of him. Tolomeo vows revenge. After he goes off, Comelia returns, vowing to kill herself by throwing herself into a cage of wild beasts, but her son Sesto appears in time to prevent her rash act. He renews his promise to kill Tolomeo. In a pleasant spot Cleopatra, alone, calls on Venus to help her in pursuit of Cesare's affections. She pretends to sleep. Cesare enters and is struck anew by the beauty of this ‘woman Lidia. Curio rushes in with the news that the Egyptians are calling for Cesare's death. Cleopatra reveals herself as the Queen of Egypt and offers her aid in quelling the uprising. When that fails she counsels Cesare to flee but he rushes off, determined to be ‘master of the situation. Cleopatra, left alone, implores the gods for pity, as she realizes that the Egyptian forces are far superior than Cesare's. ‘The scene changes to Tolomeo's harem where he sits surrounded by his favorites, among them is Comelia and he expresses his amorous feelings. Sesto rushes in and attempts to stab him, but is prevented by Achilla, who brings news that Cesare defended himself against the attacking soldiers and succeeded in jumping from the palace window into the harbor, where he was presumably drowned. Cleopatra is now bringing her troops against Tolomeo to avenge Cesare’s death. As Tolomeo leaves, Achilla asks for the promised reward of ‘Comelia's hand in marriage but is sharply tumed down by Tolomeo, and vows vengeance. Sesto in despair tries to kill himself but his mother prevents him. ACTIX Ina wood near Alexandria. Achill, with a band of soldiers, prepares to defect to Cleopatra's side, in revenge for Tolomeo's treachery towards him in the matter of his love for Comelia. Tolomeo orders his sister Cleopatra to be imprisoned and the scene ends with her great lament at the turn her fortunes have taken. By the side of the harbor, Cesare reappears, describing his escape from death by drowning and how he prayed for comfort in his loneliness. Also to the harbor side come Sesto and Achilla, the latter mortally wounded in the battle which, he explains, he joined to revenge himself on the treacherous Tolomeo. Cesare sees him give Sesto the signet ring which will gain them instant obedience of his troops, who know of a subterranean entrance to the palace where they may overthrow Tolomeo. Cesare takes charge of the situation. As he leaves, Sesto feels that the process of justice is nearing completion. Cleopatra's apartments. Her sad farewell to her attendants is interrupted by Cesare's precipitous and victorious arrival to free her. Immediately Cleopatra's mood changes to one of jubilation and she celebrates the prospect of victory. Tolomeo meanwhile makes a last attempt at winning Comelia, but Sesto, dagger in hand, stabs him dead. The harbor of Alexandria is the scene of the final triumph of Cesare and Cleopatra, celebrated with a march, a duet for the happy couple and a chorus of rejoicing.Giulio Cesare, Act I 259 ACTI (Egyptian countryside with an ancient bridge over a branch of the Nile. Cesare and Curio are crossing the bridge with their suite.) CHORUS OF EGYPTIANS ‘viva iI'nostro~——_altfide Viva il nostro Alcide', Longlive our Alcibiades, ‘goda il ‘nilo in kwestodi goda fl Nilo in questo di. letrejoice the ~—«-Nile. on — this. day. ‘oni ‘spjaddsa ‘ride Ogni spiaggia ride, Every shore smiles, ‘onni affano ogni affanno every sorrow ty disappeared. ARIA CESARE ‘presti omai letdittsja terra Presti omai I'Egizia terra Letgrant now the Egyptian land le sue ‘palme al vintfitor Tesue palme al —_vineitor. its palms (of victory) tothe victor. (Now let the Egyptian land grant its palms of victory to the victor.) ‘kurjo ‘Yfezare'venne € vide «= Vinse. Curio, Cesare venne,e vide, e —_vinse: Curio, Cesare came, and saw, and —_ conquered: sa skongfitts —_pompeo imjvan rikorre Gia sconfitto Pompeo, —invan ricorre Already defeated, Pompeo in vain appeals per rinfortsar de_—=swoi_ gwejer—lo 'stwolo per rinforzar det’ suol_guerrier_ ~—lostuolo in order toreinforce of his. warriors, the number de'dsitto al re aEgitto al Re. toofEgypt the ‘King. (Pompeo, already defeated, in vain is appealing to the King of Egypt [Tolomeo] to reinforce his troops.) " Alcibiades, a Greek military and political personage of antiquity, known for his military exploits.260 Giulio Cesare, Act I CURIO tu kwi_—sinnor dsuntdsesti Tu = qui,_— Signor, giungesti You here, myLord, came a ‘tempo a'ppunto a prevenir =e ‘trame a tempo appunto = a_—soprevenir =e a in time indeed to prevent any plots; (Cornelia and Sesto are seen approaching.) ma ki ver noi_—_serp ‘viene Ma chi ver _nol_—_sen viene? But who towardsus —_is coming? CESARE ‘kwestae = kor'nelja Questaé Cornelia. This is Comelia, cURIO 2 ‘sorte del nemiko pomipes ‘alta kon'sorte © sorte! del memico Pompeo Yalta consorte? Oh fate!“ Ofour enemy Pompeo the high born consort? ‘Yezarea "west un ‘tempo sakrai Ia —_libertade Cesare,a questa untempo sacral In Uibertade. Cesare, to that lady once, Tpledged my _freedom. (proposed marriage.) CORNELIA sinnor roma e = dga_ tua Signor, Roma 2 = gid tua. MyLord, Rome is already yours. ‘teko an i ddei_‘oddsi divizo il renno Teco han gli Dei oggidiviso il —regno; With you have the gods today shared the realm; ed € —lor_~—eddse ke © del. grand ‘orbe al ‘pondo ed 2 lor legge che del grand'orbe © al ~—pondo and itis their law that ofthe great orb the burden, ‘dsove ‘regoli il fel ‘Yfezareil ‘mondo Glove regoli ilciel, Cesare il mondo. Jove shouldrule heaven (and) Cesare the world. (and it the gods’ wish that in the burden of the great orb, Jove should rule the heavens and Cesare the world.) ‘CESARE da Yerareke jedi Da Cesare che —_chiedi, From Cesare what do you ask,Giulio Cesare, Act I 261 gran ‘dserme de fipjoni ‘alta kornelja gran germe de! Scipioni, alta Cornelia? great offspring of the Scipios’, high-bom Cornelia? CARNELIA da ‘patfe_alllarmi DA pace all'armi, Give peace to your weapons. (Put down your weapons; [enough war].) SESTO ‘dona ‘asta al tempjo ‘ottsjo al fjanko Dona T'asta al tempio, ozio al fianco, Donate yourlance tothe temple, idleness to your flanks, (let your troops rest a while,) ‘ottsjo ‘alla ‘destra ozio alla destra. idleness to your right hand. (and let that mighty right hand of yours stop wielding a warring sword for a while.) CESARE virtw de ‘grandi © ilperdonar le offeze Virta det grandi & —lperdonar Ie offese: The virtue of us greatones is sto forgive offences; ‘venga pom'peo ‘tfezare atbbrattfi ‘Venga Pompeo. Cesare abbracel; LetPompeo come; _let him embrace Cesare; eesti ardor di ‘marte estinto e resti Vardor di Marte estinto: and letremain _ the ardor of Mars (and let the fires of war remain extinguished;) sia vintfitor del. vintfitor = il vinto Sia vincitor del vineitor i vinto. Letbe the conqueror ofthe conqueror the conquered. (Let the conquered be the conqueror of the conqueror.) (Achilla enters with a crowd of Egyptians carrying golden basins.) ACHILLA la ‘reddsa tolomeo ‘toffre La —_reggia Tolomeo, _t'offre His palace, Tolomeo offers you ettfelso ere per tuo ripozo eccelso eroe, per tuo —_riposo; lofty hero, for your repose; in albergo in albergo, asa lodging, ? Scipio Africanus, Publius Comelius (known as Scipio the Elder, 237-183 BC). Roman general and ian. Mars, the god of war.262 Giulio Cesare, Act I e in ‘dono ‘kwanto pwo ‘dare un e in dono quanto pod dare un and asa gift asmuch asmay offer a (andas a gift as much as a tributary throne may offer.) CESARE fo ke di tolomeo ‘offre alma regal Cid che di_-—‘Tolomeo offre _I'alma regal That which of Tolomeo _offers_ the soulroyal (That which the royal soul of Tolomeo offers pleases Cesare.) ACHILLA attfo Wtalja ad adorarti impari Acid Witalia ad adorarti = impari, So that Italy to —adoreyou © —may learn, im ‘penno damistade ¢ di sua_—‘fede in pegno d'amistade ¢ di sua_—fede asa pledge offriendship and of his _faith, ‘kwesta del gram pom'peo superba ‘testa questa del gran Pompeo superba testa this of great Pompeo's proud head di ‘baze al regal ‘rono ‘offre al tuo di base al regal trono offre al tuo asa base forthe royal throne offers at your tributtarjo tributario tributary ‘wono trono. throne. ‘Yfezare a'ggrada Cesare aggrada. pleases Cesare. ‘piede piede. feet. ({Tolomeo] offers at your feet this proud head of the great Pompeo as a base of your royal throne.) (One of the Egyptians uncovers the basin, on which is the severed head of Pompeo.) (CESARE ‘éguljo ke Giulio, che Julius, what SESTO 9 ‘dio ODio! ‘Oh God! ‘mmici miri? do you see? ke Che ‘veddso veggio? ‘What doI see? ‘konsorte Consorte! Consort! mio Mio My te'zoro tesoro! treasure!Giulio Cesare, Act I 263 CORNELIA tolomes ‘barbara traditor io'manko io ‘moro Tolomeo, barbaro _—traditor!_ += Tomanco, —_io moro. Tolomeo, (you) barbaric betrayer! faint, Tam dying, (She faints.) CESARE ‘kurio. su pordsi_ aiita kornelja ke Tangwe Curio, su, porgi_aita Cornelis, che langue. Curio, go, . give aid to Comelia, © who _languishes. (Cesare weeps.) ‘cuRIO ke 'skorgo. o ‘stelle ilmio bel ‘sole ezangwe ‘Che scorgo? O stelle! ilmio bel sole _esangue? What doIdiscem? Ohstars! = My — lovely sun _ pale’ (Heavens above! The sun of my life so pale?) ACHILLA (aside, looking at Cornelia) ‘kwesta e kornelja = osike~—oébelta ke ‘volto (Questa 2 Cornelia? 0 = che eet! che voto!) (That is Comelia? © Oh ~— what _beauty! What a face! SESTO ‘padre pompeo dgenittitfe 9 ‘ddio Padre! Pompeo! Miia genitrice! O Dio! Father! Pompeo! © Mymother! Oh God! CESARE per dar uma sublime al suo_—_tfenere iMlustre Per dar urna sublime al suo cenere illustre, To —providean um lofty for his ashes illustrious, serbato sia si ‘mobil teskjo serbato sia si__—_nobil_teschio. kept be sucha noble skull. (Let such a noble skull (head] be kept to provide a lofty um for his illustrious ashes.) (Pompeo's noble head will be cremated, and a lofty ur shall be prepared in which to keep his illustrious ashes.) ACBILLA 2 ‘ddei ODeit Oh Gods! CESARE (to Ackilla) © tu injvolati ‘parti al tuo sinpore di E tu involati, parti! Al tuo Signore a ‘And you, disappear, leave! To your master say “The current word for "pale" is pallido. Esangue denotes a person who in a faint, looks pale because all her blood (sangue) has left her face. In medical terms we have an English word, "exsanguinatc", ‘when a person loses alot of blood.264 Giulio Cesare, Act I ke Topre de redsi sian di ‘bene (0 «= dismal che —opre det sian di bene o = di_—s mal, that thedeeds of-~—ikings, bethey for good or for _— evil, son ‘sempre ezempio son sempre esempio. are always an example, SESTO ke one re ki ere fellon ki © = un‘empjo Che none Re, chi @Re fellon, chi 2 — unempio. For isntta King, who isaKing traitor, who is a wicked man. (A:man cannot be called King if he is a traitor and a wicked man.) ACHILLA ‘tfezare ‘frena Cesare, frena Cesare, withhold CESARE ‘vane verro ‘alla ‘reddsa pria ‘koddsi ‘Vanne: verrd alla regia, pria ch'oggi Go! Ishallcome tothe palace before that today il sole a = tramontar si 'veddsa fl sole a —tramontar —_si veggia. the sun to set may be seen. (Go! Before the sun sets today I shall come to the palace.) ARIA CESARE ‘empjo dito tu sei Empio dird tm sel, Wicked I shall say (that) you are, ‘rokKiti ahgokki miei sei ‘tutto krudelta togliti ‘agli ocehi miel, sel tutto crudelta. take yourself from my eyes, youre all cruelty. mone dare wel kor = ke ‘donasi al rigor Non? da Re quel cor, che donasi al rigor, Itisnt ofa King the heart that givesitself to — severity, ke in sen. no na pieta che in sen nonha ieta. which inits depths has no pity. (He leaves. Cornelia revives.) CURIO dga ‘toma in se Gia torna in se. Already she's returning to herself. (She is already reviving.)Giulio Cesare, Act I 265 SESTO ‘madre Madre? Mother? CURIO Cornelia? CORNELIA o'stelle ed agkor ‘vivo Ohstelle! Ed —ancor ‘vivo? Ohstars!’ And still Tamative? a tolga kwestomitfida attfaro Ah! tolga quest’omicida acciaro® Ah! letittake this homicidal steel il kor ‘alma dal sen il cor, alma dal sen the heart, the soul from my bosom. (Ah! Let this murderous sword take the heart and the soul from my breast.) (She tries to snatch the sword from Sesto's side to kill herself. Curio prevents her.) CURIO Yferma im van ‘tenti ‘tindser di ‘sangwe Ferma! in van tenti tinger di sangue Stop! Invain youtry dyeing with blood in ‘kwelle'nevi_ il ferro in quelle nevi il — ferro. in those snows the sword. (Stop; in vain you attempt to dye with blood the sword in the snowy whiteness [of your ‘bosom].) ‘kurjo ke ankor taidora © ‘spoza ti devia Curio, che ancor ‘t'adora, e sposa tidesia, Curio, who still adoresyou, and(for) «wife desires you, se pur taggrada se pur__t'aggrada, if itstill_pleases you, vendikarti —saipra kon Ja tua ‘spada vendicarti —sapra con latua spada, avenge you willbeable with your sword. (will be able to avenge you with your sword.) * A sword has many names in poetic Italian: Acciaro (or acciaio- acciar) ~ "steel", ot ferro ~ "iron", or spada, or brando the common name for any pointed weapon such as a dagger, sword, rapier, saber or scimitar.266 Giulio Cesare, Act I CORNELIA ‘spozaa te Sposa a te? Wife to you? cURIO si SL Yes. CORNELIA ammutiffi Amumutiscl. Be silent. SESTO u nemikoa ——_pomipeo e tanto ardiffi Tu nemicon Pompeo, e_—tanto ardisci? You, (an) enemy of Pompeo, and thismuch you dare? CURIO Kornelja - se._—smabborri_ = minvolero al tua. aspetto Cornelia, se m'abborri, m'involerd al__-~—tuo_—aspetto; Comelia, if youabhorme, Ishallfly from your glance; sol per nom —molestarti sol per non molestarti, only to not annoy you, dgure'ra ‘owesto kor «dino atmarti giurerd questo cor di non amarti. will swear my heart to —not_loveyou. (only not to annoy you will my heart swear not to love you.) (He leaves.) SESTO ‘madre Madre! Mother? CORNELIA ‘viffere ‘mi Viscere mie Entrails mine! @lesh of my flesh!) SESTO or ke fatrem trade tfezare ‘skwadre Or che —_farem tra le —_cesaree squadre: Now what shallwedo © among the caesarean’ squadrons: (Caesar's) © »Ceasarean'" as refers to Caesar's (troops). No obstetric connotations are implied here.Giulio Cesare, Act I 267 tu 'sentsa il ‘karo ‘spozo io ‘sentsa ‘padre tu senza 1 caro sposo, fo senza padre? you without your dear husband, I —_—_without (my) father? ARIA CORNELIA ‘priva son ‘dopi Konjforto Priva son d'ogni conforto, Deprived Tam of every comfort, ppur ‘speme di morrire pur speme di morire and yet hope of dying, per me = ‘mizera nom ve per me, —misera, non v', for me, unhappy one, there isn't. ilmio kor da tpene _a'ssorto Timio cor da pene _assorto e — dga_—_'stanko di soffrire 2 gid stanco di soffrire, is already tired of suffering, © morir si njega a ome e — morir siniega a me, and dying isdenied —to (She leaves.) SESTO ‘vani ‘sono i lament © tempo 9 ‘sesto Vani sono i lament; = @_——tempo, 0 Sesto, Vain are all _—_laments; itis time, oh Sesto, omai di vendikar = il padre omai di vendicar == fl’_—ppadre; now to avenge my father; si'zvessi ‘alla venideta = lanima negittoza si svegli alla vendetta = 'anima neghittosa, Tetit be roused to vengeance —-my soul sluggardly, ke — offeza da un _tiranno imvan ripoza che offesa da un__tiranno invan ripo: which, offended by tyrant uselessly rests. (Let my sluggardly soul, which, offended by a tyrant, uslessly ress, be roused 0 vengeance.)268 Giulio Cesare, Act I ARIA SESTO ave KKatevi nel ‘kore furje offeza Svegliatevi nel core, furle offesa, Rouse yourselves inmy heart, furies offended, a far dun traditor ‘aspra a far d'un traditor aspra to wreak ona traitor, bitter ‘lombra del dgenitore L'ombra del genitore The shade ofmy_ father e ‘ditfe a te il rigor © dice, a _te_—ilrigor, —fighio, ‘si aspetta. and. says: "from you, severity, son, —_ is expected." (He leaves. The scene changes to Cleopatra's cabinet, where she is found with her retinue of ladies-in-waiting.) CLEOPATRA ‘renni Kleopatra ed = al_~—smio_‘sedd30 in'tomo Regni Cleopatra; ed sal ~=—mio_—seggio intorno Letreign Cleopatra; © and = at «= my _ throne around ‘popolo adorator ——‘arabo e ‘iro popolo adorator, Arabo e Siro people adoring, Arabian and Syrian su ‘kwestokrin la ‘sakra ‘benda adori su questo crin la sacra benda adori: upon these tresses the sacred band should adore; (Let Cleopatra reign; and around my throne, let the adoring Arabian and Syrian people adore the sacred band on my tresses;) suki di voi mjei_—fidi su; chi di vol = miei fidi come; whichever of you, my _ faithful ones, a pets © kor di sollevarmi. «al trono ha __petto e cor di_—sollevarmi = al_—trono, hhasthe boldness and-«sheart_ ‘to. — raise me tothe throne, ‘dguri su ‘kwesta destra etema fede giuri su questa destra eterna fede. ethim swear upon this righthand eternal faith. (enter Nireno) NIRENO redsina ingfausti event Regina, infausti ‘My Queen, deplorableGiulio Cesare, Act I CLEOPATRA ‘ke fia ke tard Che fla? Che tardi? ‘What happened? © Why _are you late? NIRENO trojkar fe Troncar fe’ Tolomeo il Cut off has Tolomeo _ the (Tolomeo had [someone's] head cut off.) tolomeo il CLEOPATRA ime Ohime! Oh woe! di ki di chi? Whose? NIRENO del gram Del gran Of — great pomipes Pompeo. Pompeo. CLEOPATRA ‘stelle kostui ke Stelle! costui che Stars! The man, what apporta apporta? NIRENO per stabifirsi al Per stabilirsi al To establish himself ‘sokko sogtio onthe throne, mando mando fra he sent it, fra ‘doni doni a tfezare a Cesare to Cesare among gifts CLEOPATRA ke Ai mando Che gli manda? What did he send him? NIRENO lezanimato —‘volto L'esanimato _yolto. The lifeless head. CLEOPATRA su partite 0 partite 0 leave, oh tfezare cesarce Cesare's ‘kapo capo. head. 269 (news) is he bringing (me)? injvolto involto. ‘wrapped up. mum ——kwi ‘esta tu quiresta; you remain here; portarmi portarmi; to take myself;270 Giulio Cesare, Act I e m _niteno miservirai di ‘skorta e tu, _—_—Nireno, miserviral di scorta. and you, —_Nireno, will serve me as escort. NIRENO ke dita ttolomes Che dirk Tolomeo? ‘What will say Tolomeo? (will Tolomeo say?) CLEOPATRA nom paventar. —kol ‘gwardo ‘meffo ‘ke&Ki ‘nom fetfe Non paventar; col guardo, meglio ch'egli non fece Do not fear; with my glance, better than he did kol ‘kapo di pompeo col capo di Pompeo, with the head of Pompeo, ‘Yezare oblige'ro Cesare obligherd: Cesare I shall manage; (Fear nothing; I shall manage Cesare with my glances better than he was able to do with Pompeo's head;) im —'vano_aspira al ‘trono in vano aspira al trono; in vain heaspires tothe throne; ‘ekki © ~—il,_—dgermano = © = la_—retdsinaio ‘sono egi 2 «il germane, =e ~—sIa._—regina io sono. he is my _brother and the queen Tam. (enter Tolomeo) TOLOMEO tu di re'nnar pretendi ‘donna superba e alter Tu di regnas Pretendi, donna superba e altera? You to reign expect, ‘woman proud and haughty? (You expect to reign, haughty and proud woman?) CLEOPATRA io fo ke ‘mio. kontends ¢ korona To cid ch't mio, contendo; & corona 1, that whichis mine fight for,’ andthe = crown dovuta ‘alla ‘mia fronte dsustamente pretendo dovuta alla mia fronte giustamente _pretendo. owed to my brow rightfully expect. (fight for what is mine and I expect the crown owed my brow.) TOLOMEO ‘vannee toma omaj ‘olle Vanne,e —torna omai, folle Go, and —retum now, foolish woman,Giulio Cesare, Act I an a kwal di donma = thuzo a qual di donna 2_—I'uso, to which of woman isthe _ work; (to what is the work of women;) di Jettro_ingvetfe a trattar ‘ago e il fuzo di scettro invece a trattar I'ago e il aso. ofa _soepter instead to wield theneedle and «a spindle. (and wield the needle and spindle instead of a scepter.) CLEOPATRA ‘antsi tu pur effeminats amante Anzi tu pur, effeminato amante, ‘Also you as well, effeminate lover va delleta sui ‘primi ‘nati albori va delet sui primi nati albori go of yourage on its. first bom = dawns di ‘tenno injvetfe a koltivar fi amori di regno invece a coltivar gli amori. of kingdom —_—instead to cultivate your loves. (And you also, effeminate lover of young years, cultivate your [sexual] pleasures, instead of the kingdom [that rightfully belongs to me}.) ARIA CLEOPATRA non disperar. «kiss Non disperar, chi. sa? Do not despair, who knows? seal ‘enno non la'vrai Se al regno non l'avrai, If in reigning you won't have it, ‘avrai ‘sorte in amor avrai sorte in amor. you shall have luck in love. @fyou cannot be lucky in reigning, you may be lucky in love.) mirando ‘una belta in ‘essa trove'rai Mirando una belt in —essa_troverai Beholding a ~— beauty in her ~—_-you will find 2 konsolar uy kor consolar © un_— cor. noughto console your heart. (Look at a beautiful woman [for a change], and maybe you may find enough to console your [effeminate] heart.)’ 7 At the Metropolitan Opera's splendid production of this opera by the distinguished British director John Copley, Tolomeo was constantly surrounded by fawning, crawling, ubiquitous youths, ‘constantly being caressed and patted by Tolomeo with obvious delight.272 Giulio Cesare, Act I ACHILLA ‘sire sipnor Sire, Signor! Sire, Lord! TOLOMEO akilla Kome fu il ‘kapo._‘tromko da ‘tfezare gra‘dito Achilla, come fu il capo tronco da Cesare gradito? Achilla, how was the head severed by Cesare enjoyed? (How did Cesare enjoy the severed head?) ACHILLA sde'fnno ‘Mopra Sdegnd Vopra. He despised our work. TOLOMEO ke 'sento Che sento? ‘What's this [hear? ACHILLA takkuz> ddinesperto © troppo ardito Traceusd d'inesperto e€ troppo ardito, He accused you (of being) inexperienced and too daring. TOLOMEO tantoza um = vil, romano Tant'osa un —vil~- Romano? Somuchdares a vile. ~- Roman? ACHILLA ilmio konsi._ fekfe'ro Ahno! Tra questi arnesi un —ferro__scieglierd: Ahno! Among these arms a sword I shall choose; ‘kom ‘mano ardita ‘kontro dditolomeo ‘dentro la reddsa Con mano ardita contro diTolomeo dentro la reggia... With ahand bold against Tolomeo inside the —_palace. (With a bold hand against Tolomeo withing his palace...) (Barely has Cornelia taken a sword from among the instruments of war, that Sesto appears.)280 Giulio Cesare, Act I SESTO ‘madre Yferma ke fai Madre, ferma, che fai? Mother, stop, what are you doing? CORNELIA ‘alfa kwestarmi —‘vofo ‘kontro il —_tiranno Lascia quest'armi; voglio contro il _tiranno, Allowme these weapons; Iwant against that tyrant, uttfizor del mio 'spozo tentar la mia vendetta uecisor del mio sposo, tentar In mia vendetta. murderer of += my _—husband, —toattempt © my ~—_vengeance. SESTO ‘ewesta vendetta =a sest sol aspetta Questa vendetta a Sesto sol si aspetta. This vengeance of +—Sesto. alone is expected. (Sesto takes the sword from Cornelia.) CORNELIA 2 ‘ddoltfi attfenti 9 ‘kkare abbra © — dolei_accentit © care labbrat Oh sweet words! Oh = dear _ lips! ‘dunkwe suillalba de twoi ‘dsomni ai ‘tanto kor Dunque sull'alba de’ tuoi giorni hai tanto cor? Then atthe dawn of your days youhave sucha heart? (You have such a heart, even though you are so young yet.) SESTO son ‘sesto © — di_—pom'peo erede son dellalma Son Sesto, e di_-—- Pompeo erede son dell'alma. Tam Sesto, and of Pompeo(the) heir Iam ofhis soul. CORNELIA ‘animo 9 fikko ardire io —_koraiddsoza ti segwiro Animo, © figlio, ardire! Jo coraggiosa ti seguird. Courage, my son, bedaring! I, courageous shall follow you. SESTO ma 9 ‘dio ki al re__—_felllone {fi skorte'ra Ma, (OhDiol) Chi al _—re__fellone ei scortera? But, (ohGod!) | Who tothe king perfidious _will lead us? (Who will lead us to that perfidious king?) (Cleopatra appears suddenly.) CLEOPATRA Cleopatra.Giulio Cesare, Act I 281 NIRENO non ti skoprir (Non tiscoprir.) (Don't reveal yourself) CLEOPATRA © Tidjaaykora perke kwelllempjo ‘kada E Lidia ancora, perché quell'empio cada. And Lidia also, so that that wicked one may fall. ti saan ‘skudo © © taprixan Ia ‘strada Ti saran seudo e ——t'apriran Ia strada. To you they will bea shield and will open to you the way. (And Lidia as well as Cleopatra shall be your shield and will show you the way.) CORNELIA e ki ti'sprona —a'mabile donidzella E chi tisprona, —amabile donzella, ‘And who spurs youon, amiable damsel, ‘oddsi in nostro sokkorso ——offrir te ‘stessa oggi in nostro soccorso _—offrir te stessa? today to our aid to offer yourself? (to offer yourself today in our need?) CLEOPATRA la fellonia dun re tiranno {i dsusto La fellonia d'un Re tiranno; i giusto. ‘The crime ofa king —tyrannous, justice. ‘sotto il ‘nome di idja_ io Sotto il nome di Lidia, io Under the name of — Lidia’ I se im viru del tuo ‘brattfo a'ffende al trono Se in virth del tuo _raccioascende al ‘trono, If by virtue of your arm — she ascends the _throne, (Ifas a result of your help) sarai felitfe © skordserai_— wal ‘sono sarai feliee © scorgerai qual sono. youshall be happy and will discover what Tam. CORNELIA kia moi sara’ di ‘skorta Chi a nol sard di scorta? Who to us _willbe the escort? (Who will lead us {to the palace]?) CLEOPATRA (indicating Nireno) ‘kwesti ke alla redsinae ido ‘servo Questi, che alla Reginad —fido servo, This man, who tothe Queen is a faithful —_ servant,282 Giulio Cesare, Act I sapra ‘Kkauto kondurvi ——_alllata impreza sapra cauto condurvi —_all'alta impresa. will be able, cautiously, tolead you tothenoble deed. SESTO fikko none ki vendikar non ‘kura Figo noné, chi vendicar non cura Ason isnot who toavenge _is not interested del dsenitor la ‘morte del genitor Ia morte. ofhis father the death. (He who is not interested in avenging his father’s death is not a true.) arme'to ‘Kkwesta —destra eal swol_trafitto Armerd questa destra, e al_—suol_trafitto, Ishall arm = my right hand, and tothe ground run through kaidra ppunito il gran tran de'dsitto cadra punito fl gran tiran d'Egitto. shall fall punished the -— great tyrant_ of Egypt. (shall arm my right hand, and that great Egyptian tyrant wil fall to the ground, run through (by my sword].) ARIA SESTO ‘kara ‘speme ‘kwesto'kore tu komintfi a_——luzinjgar Cara speme, questo core tu cominci a Tusingar; Dear hope, this heart you begin to flatter; par ke —iltfel_presti favore par che —Helel_presti favore Itseems that heaven may grant its favor imjei toi a vendikar imlel torti a vendicar. my — wrongs to —_avenge. (it seems that heaven may grant its favor to avenge my wrongs.) (Cornelia, Sesto, and Nireno leave.) CLEOPATRA "veRAi ‘pure il dgermano alla ‘propria. salvettsa Vegli pure il germano—alla__propria salvezza; Let him look to, my —_ brother, tohis own safety; (Let my brother look to his own safety;) ke — dga_—‘kontro fimossi —di_—‘tfezarela—‘spada che gid contro glimossi di Cesarela—spada, for already against him © Thavetumed of Cesare the sword, di sesto © = di_—or nelja 1 ‘dsusto ‘zdenno di Sesto e © di_—« Cornelia. «= il’_— gusto sdegno. of Sesto and of | Comelia their just wrath. (for I have tumed the sword of Cesare against him, and the just wrath of Sesto and Comelia.)Giulio Cesare, Act I 283 ‘sentsa un tferto perisko Senza un certo Periglio Without a certain (amount of) danger non ‘kreda aver ‘solo de'dsitto il ‘renno non creda aver solo d'Egitto il regno. lethim notthink tohave alone of Egypt the _kingdom. (Let him not think he can have the kingdom of Egypt alone without a certain amount of danger.) ARIA CLEOPATRA tu la'mia ‘stella sei a'mabile spe'rantsa Ta lama stella sel, amabile speranza, You my star are, friendly hope, © ‘pordsi aidevzir mjei_ uy _‘grato e bel pjatfer e — porgi aldesir miei un grato ebel piacer. and yougrant tomydesires a welcome and beautiful pleasure. ‘kwal ‘sia di ‘kwesto'kore Ia ‘stabile Kostantsa Qual sia di questo core Ia __stabile costanza, Whatever be —of_—this-—heart_ the stable constancy, (How stable may be the constancy of my heart) e —— ‘kwanto ‘possa_ amore e quanto Possa amore and howmuch can do love, sa im'breve = da._—sve'derr stha inbreve da —_veder. will shortly be seen, (and what love can do will shortly be seen.) (She leaves. The scene changes to a vestibule in Tolomeo's palace. Cesare is there with his Roman suite, and Ackilla, with Egyptian suite.) TOLOMEO (to Cesare) ‘tfezare ‘alla tua desta Cesare, alla tua destra Cesare, to your right hand ‘stende ffaffi di ‘fettri ‘dseneroza la ‘sorte stende fasci di scettri generosa —_—la sorte. extends clustersof _scepters generous fate. (Cesare, generous fate extends clusters of scepters to your right hand.) CESARE tolomes a ante ‘grattsje io non so dir Tolomeo, a _—tante grazie jo nonso dir, Tolomeo, in such _ splendor I amunable to say, se maiddsor ‘lume a'pporti se maggior lume apport, whether a greater light _ it may bring284 Giulio Cesare, Act I ‘mentre ‘tuffo del ‘€sorno ‘ekki diserra mentre Tuscio del giorno egli disserra while the door of day it opens il ‘sole. in elo 2 tolomes kwi in terra i sole in lelo, 0 Tolomeo = quis in_— terra. the sun inthe sky, or Tolomeo hereon _earth. (Tolomeo, amid such elegance, I am unable to say whether the sun in the sky brings greater light, as it unlocks day's door, or Tolomeo here on earth.) ma —‘sappi_‘koppi mal = ‘opra Ma _—sappi, ch'ogni mal opra But know thatevery evil deed ‘onni ‘gran ‘ume oskura ogni gran lume oscura, every great light — obscures. (obscures every great light.) ACHILLA (to Tolomeo) ‘sino al real aspetto ‘ekki toffende (Sino al real aspetto egli t'offende.) (Even before your royal countenance he —_ offends you.) TOLOMEO temerarjo latin (Temerario Latin!) (Reckless Latin!" CESARE so ke —_mintende (So che —m'intende.) (Cknowthat he understands me.) (think he caught my drift.) TOLOMEO ‘alle ‘stantse re'ali ‘kwesti ke iri Alle stanze reali questi, che miri, Tothe rooms royal, these men, whom you see, tapritan le porte © a te tapriran le porte e a te will open for you the -~—doors. and for you guides shall be. ‘empjo tu pur venisti im = ‘bratt{o a ‘mmorte Empio, tu pur —_venisti in braccio a morte.) (Villain, you indeed came into the arms of death.) * Rome lies in the province of Lazio (Latium, in Latin), so by extension, Roman people are Latins.Giulio Cesare, Act I 285 ijganno inganno,) deception.) kattfator cacciator. hunter. CESARE ‘skorgo in kwel ‘Volto. un —_simulato (Scorgo in quel -volto un —simulato (discem in that’ «face. «a ~——simulated ARIA CESARE va tatfito © naskosto Va tacito e ——_nascosto Goes silent and stealthy kwantdavido © di ‘preda_lastuto quand'avido 2 di_preda T'astuto ‘when avid heis for prey the astute (The astute hunter proceeds quietly and stealthily when he is eager for prey.) e kic — al_—mal_ far _—_diisposto E chi 2 al —mal_ far —_disposto, And hewhois to evil deeds disposed, nom ‘brama ke si Veda. non bramache si —_veda doesn't wish that tbe seen ligganno del suo. kor. Vinganno del suo cor. thedeceit in his heart. (And he who is disposed to do evil, does not wish that anyone see the deceit in his heart.) (He leaves. Cornelia and Sesto enter.) ACHILLA (to Tolomeo) ‘sire kon ‘sestd il = fikKo‘kwestae Sire, con Sesto il _figlio, questa 2 Sire, with Sesto, her son, this. is TOLOMEO (sizing up Cornelia with a reptilian leer) 9 ke — sembjantse amore (Oh, che sembianze, Amore!) (Oh, what looks, Cupid!) CORNELIA ingrato a wel pom'peo ke al Ingrato: a quel Pompeo, che all Ingrate; of that Pompeo, who to il diadema —re'ale stabitli ‘ssulla ‘kjoma fl —diadema~—reale stabili sulla chioma, the — diadem royal set omhis head, wu retfidesti. = il_—SS apo im = fattfa a tu recidesti «= fl_~=—s capo in faceia a you cutoff the head inthe face of kornelja tuo gram ‘padre tuo gran padre, your great father, ‘roma Roma? Rome? (Cingrate; in the face of Rome you cut off the head of that Pompeo, who set on the head of ‘your great father the royal diadem?)286 Giulio Cesare, Act I SESTO (to Tolomeo) ‘empjo ti 'sfido a singotlar tfertame Empio: tisfido a singolar ~——certame; Wicked man, Ichallenge you to. _single combat; velder fa'ro kkon dgeneroza —‘destra veder fard con generosa = destra tobe seen ‘Tshall cause with mynoble right hand aperto a —_‘kwesto'renno aperto a questo regno, openly to this._kingdom, ke non sei tolomes ke sei un inddenno che non sel Tolomeo, che sei un —_indegno. that youaren't —Tolomeo, but -— that you're = an_—_unworthy man. (with my noble right hand I shall openly make clear to this kingdom that you are not ‘Tolomeo, but an unworthy man.) TOLOMEO (furiously) ala da Vidsil stwol ‘sian kustotditi ola! Da vigil stuol sian custoditi Hothere! Bya_ vigilant company (of guards) be put in custody ‘kwesti romani arditi questi Romani ——arditi. these Romans bold, (Let these bold Romans be taken into custody by my vigilant guards.) ACHILLA ‘alto sinnor konidona —illlor_tfeko_ furor Alto Signor: condona -—illor cleco furor. Noble Lord, condone their blind fury. TOLOMEO per or, mi‘basta. = kabbja gardzon = si_—fooile Per or mibasta _—ch'abbia garzon si folle For now itsufficesme that he should have a youth so foolish di karfere = la. ‘reddya di carcere In regia. fora _ prison the royal palace. (It suffices me for now that this foolish youth should have the royal palace for a prison.) (to the guards) kostei ke —baldantsoza —_vilipeze il rispetto Costei, che baldanzosa_vilipese fl rispetto This woman, who boldly vilified the respect di maesta reppante ai maesta regnante, ofa majesty reigning, (of a reigning king,)Giulio Cesare, Act I 287 nel dsardindel serakko——“'abbja per ‘pena nel giardindel serraglio —abbia per pena inthe garden of my harem she should have as punishment il koltivar i fijori i coltivar i fori. the cultivation of —_flowers. (she should have as punishment the cultivation of flowers in my harem garden.) (to Achilla) io per te —'serbo To per te _—_serbo I for you amkeeping ‘kwesta dellama tua_— bella tiranna questa dell'alma tua bella tirana. this one ofyoursoul your beautiful tyrant.) (Lam keeping for you this beautiful tyrant that has captured your soul.) ACHILA felitfe me Felice me! Happy me! TOLOMEO (aside) ‘kwanto kostui_ siqganna (Quanto costal s'inganna!) (How he deceives himself!) ACHILLA (amorously, to Cornelia, also with a reptilian leer) kornelja in kwei twoi Tumi sta’ legato il mio kor Cornelia, in quei__ tuoi lumi sta legato ilmio cor; Comelia, in those your eyes is bound my _ heart; se allamor mio ‘dsiri se'reno il fifo se all'amor mio giri sereno il iglio, if — tomylove you tum serenely your eyes, ei talami kontfedi e i talami concedi, and the nuptial bed(s)?_you grant me, sara, lla ‘madre in —_liberta kkol ‘fikko sara Ja madre in _libert col figlio. shall be the mother in liberty with her son. (you and your son shall be granted freedom. CORNELIA ‘barbaro ‘una romana ‘spoza ad = um = vil e'dsittsjo Barbaro, una Romana —sposa ad un— vil’ =~ Egizio? Barbarian! A © Romanwoman,wife to a vile Egyptian? ° Achill, in his amorous pursuit, is obviously in need of two nuptial beds...288 Giulio Cesare, Act I SESTO a tte-—skonsorte. © anno ria ‘della ‘morte A te consorte? ©» Ahno! pria della morte... To you consort? Ano! First death Death before that...) ACHILLA olla per regal ‘leddse omai_ si ‘gwidi ont Per regal legge omai si guid! Hothere! © By — royal decree now let him be led pridsonjer ‘nella ‘reddsa kozi audatfe gardzon Prigionier nella _reggia cos audace garzon, asaprisoner tothe royal palace such an audacious youth. (By royal decree, let this audacious youth be led as a prisoner to the royal palace.) CORNELIA segwiro ankio ‘lamata ‘prole il ‘karo fio ‘mio Seguird anch'iol'amata prole, il caro figlio mio. Isshall follow, also, my beloved offspring, this dear son of mine. ACHILLA tu ferma il ~—pjede © © ‘pensa To ferma i piede, e pensa You stop the foot and _— think (restrain your step) di non troVvar pjetade attfo Kke —‘Kjedi di non _—_trovar pietade accid che — chiedi, of not _ finding mercy for that which you are asking, se pjetadeal © mio. amor ‘pria non kontfedi se pietadeal © mio amor pria non concedi. if mercy to my __—_ love first you donot grant. (Don't expect to find mercy for what you are asking unless first you grant mercy to my own love.) ARIA ACHILLA m sei il_~—kor «di ‘kwesto ‘kore Tu sei il cor di_— questo core, You are the heart of © my heart, sei ilmio ben non tadirar sei ilmio ben, non t'adirar. you are my beloved, do not be angry. per amor io —‘kjedo_ amore Per amor io chiedo amore, For love I ask love, piu date nomvo bramar pid non vad bramar. date more from you wouldn't want.(He leaves.) SESTO ‘madre Madre! Mother! CORNELIA mia vita Mia vita! My life! SESTO addio Addio.. Farewell. Giulio Cesare, Act I 289 (As the guards attempt to lead Sesto away, Cornelia runs to hold him back with her arm.) CORNELIA ‘dove invmani anima mia gwidate Dove, inumani, —I'animamia _guidate? Where, inhuman ones, my soul are you leading? (my son) ‘empi laifsate ke al = mio. ‘kore. al «= mio. ‘bene Empi, lasciateche al mio. core, al = mio bene Wicked ones, allow that to my heart, to my _beloved (son) io 'porga_almen Avultimi “bat ai pene io porga almen glultimi baci. Ahi pene! 1 bring at least my last kisses. Ah suffering! DUET CORNELIA, SESTO son ‘mata’ (nato) a —_Jagrimar Son nata (nate) a —_lagrimar Twas bom (bom) to weep, € il doltfe mio komforto e il _—dolee_ mio conforto and the sweet my comfort a ‘sempre pjandse'ro ah, sempre piangerd: ah’ always I shall weep; se il fato tfi tradi se'reno e — Ijeto di se ilfato cl tradi, sereno e eto di if fate has betrayed us, serene and happy day mai pju—spe'rar potro mai pid sperar potrd. never again tohope for Tcan.290 Giulio Cesare, Act I (The guards take Sesto away. Cornelia remains behind, weeping and utterly disconsolate.) END OF ACTIGiulio Cesare, Act IT 291 acTH. (A pleasant grove of cedars with Mount Parnassus in the distance, which contains the palace of Virtue) CLEOPATRA ezegwisti © niren ‘kwanto timpozi Eseguisti, o —_Niren, quanto timposi? Did you carry out, oh —_Nireno, what Tordered you? NIRENO adempito ¢ il. ~—-ko'mmand Adempito 2 il commando. Executed is. your command. CLEOPATRA ‘dgunto © Yfezarein “Korte Giunto 2 Cesare in corte? Arrived has Cesare at court? (Has Cesare arrived in court?) NIRENO io vel kondussi ed ci = dga._ a kweeste soe To _ve'lcondussi, ed ei = gid_—-m quest soglie IT brought himto you, and he already to —this_‘threshold(s) il pie rivoldse il pid_rivolge. the foot is tuning. (is tuming his steps.) CLEOPATRA ma ‘dimmi © | im'pronto la._—smeditata’ == fJena Ma dimmi, 2 impronto — Ia._—~—smeditata. © scena? But tell me, isit ready, our planned scene? NIRENO ‘imfra le ‘nubi ‘alta ‘reddga sfavilla Infra Te nui alta regia sfavill Among the clouds the lofty palace glitters; ma ke = far_—_pensi Ma che far _pensi? But what dodo do you think? (But what are you thinking of doing?) CLEOPATRA amore dsa_— suddse'i Amore git suggeri Love already suggested stravaigante _pen'sjer stravagante _ pensie1 an extravagant thought; 9 dga_—risolto ‘sotto ‘finte apparentse ho gid risolto, sotto finte apparenze Thave already resolved, under false appearances,292 Giulio Cesare, Act IT far pridgonjer da‘mor far prigionier — d'amor tomake(a) prisoner of love (the one) kil kor ma tolto chil cor m‘ha tolto, who my heart has captured. NIRENO a Wai ti skoprirai A Ini th scopriral? To him _ will youreveal yourself? CLEOPATRA non € —‘agkor ‘tempo Non @ — ancor tempo. Tt isn't yet the time, NIRENO io ke far ‘deddso To che far — deggio? 1 what todo must? (What must I do?) CLEOPATRA atendi ‘tfezare disparte Attendi Cesare in disparte, Wait for Cesare away from here, ‘indi lo'gwida in’ kwesti albergi indi lo guida in questi alberghi, then leadhim to— these groves, poi lo'gwida —anykora kola ‘nelle mie ‘stantse eppot lo guida ancora cold nelle mie stanze, and then leadhim again there to © my —_ rooms, e a li dirai ke per dardi kontettsa e a lui diral che per dargli contezza and to him —youwilltell that to —givehim account di ‘kwanto dal suo rei si kontende di ~ quanto dal suo Re _glisicontende, of howmuch from her King _ she has to contend with, pria ke tramonti il, ssol_—Tidja_lattende pria che tramonti —il_~—sol,__—Lidia_I'attende. before sets the sun, Lidia _will await him. (nd tell him that, to give him account of how much she has to contend with from her King, Lidia will await him before the sun sets.) (Cleopatra leaves. Cesare enters,)Giulio Cesare, Act If 293 NIRENO da Kleopatra alpprenda Da Cleopatra —_apprenda From Cleopatra —_let him learn ki —segwatfe amor lastuttsje = frodi chi 2 ——seguace d'amor Yastuzie e — frodi. who is afollower _ of love the craftiness and frauds. (Let him who is a follower of love, learn craftiness and fraud from Cleopatra.) CESARE dove ‘niren dove ‘lanima ‘mia Dov'a, Niren, dov'e V'anima mia? ‘Where is, _-‘Nireno, where is she, my soul? NIRENO iy ‘kwesto'Tokoim‘breve vera ‘tidja__sinnor In questo loco in breve verra Lidia, Signor. To this place shortly willcome Lidia, my Lord. CESARE ‘tatfi Taci, Be silent. NIRENO ke fia Che fia? What is it? (Here an enchanting symphony of various instruments is heard.) CESARE ‘Yfeli e — kwal ‘alle ‘sfere ‘ffende Cielit E qual dalle sfere scende Heavens! And what “from the spheres descends armoniko — swon ke —mi ratpiffe armonico suon, che mii rapisce? harmonious sound that —_enraptures me? NIRENO avra ddi‘seltfe il kor «kis non_—langwiffe Avra di selee il cor chi_—snon_languisce. Musthave of flint a =—heart__ who doesn't languish. (Anyone who doesn't weaken at the sound of this lovely music must have a heart of stone.) (Here Parnassus opens and Virtue, attended by the nine Muses, is seen enthroned.) CESARE ‘dsulio ke = ‘mmiri © ‘kwando Giulio, che iri? E quando Julius, what do you see? And when,294 Giulio Cesare, Act IT kon abisso di tutfe con abisso di tace with (such) enormous quantity of —_light . ‘Yezero i ‘mum in terra ‘seesero il Numi in terra? descended the gods to _earth? (And when did the gods descend to earth in such a quantity of light?) ARIA CLEOPATRA vaidoro pupille saette damore V'adoro, _pupille, saette d’Amore, Tadore you, arrows of Cupid, le vostre soy ‘grate nel sen le vostre son grate nel sen. your are welcome tomy bosom. pjetoze vitrama il, 'mesto mio ‘kore Pietose vibrama —il_~—smesto mio core, Merciful wishesyou the + sad my —_—heart, (My sad heart wishes you merciful) kopnora vikjama ——Ja'mato suo ben ch’ogn'ora vichiama —'amato suo ben. since always itcallsyou —_thecherished its love (since always it calls you its cherished one.) CESARE no na in tfelo il tonante Non ha in cielo il Tonante Ttdoesn'thave in heaven the Thunderer! melodia ke ~—pareddsi. «= un si_—= bel ‘Kanto melodia che_—_—pareggl um si bel_— canto. amelody that canequal one such__lovely_song. (Gupiter has not in heaven a melody that can equal such a beautiful song.) vola. ‘vola mio kor al —‘doltfe_inykanto Vola, vola mio cor al dolce incanto. Fly, fly, my heart tothat sweet enchantment. (While Cesare runs to Cleopatra, Parnassus closes, and the scene returns as before.) ekkome a ke dels mio. dor Ecome? Ah! Che dello gioir What'sthis? Ah! For of my rejoicing ‘imvido © il ume invido @ i Namet envious is the god! (Ah! The god is envious of my rejoicing! "The Thunderer" (il Tonante) in poetic Italian of this time refers to Jupiter.Giulio Cesare, Act IT 295 NIRENO sinnor udisti © ke tipar di tidja Signor, udisti, © che tipar di Lidia? MyLord, —-youheard; and what doyouthink of Lid CESARE virtu Kkotanta —idja_po'ssjede Virta cotanta Lidia possiede? Virtue such Lidia possesses (Does Lidia possess such virtue?) ake se dga_—_ppjanidgente, Ah! Che se gid _plangente Ah! For if —_ already while weeping misaetto tra Je ‘ami misaettd tra le armi, she struck me through my — armor, io bem mavvveddso ke ~—belllettsa. «= si_ = ‘vaga jo ben m'avveggio, che _bellezza si vaga, T well realize that a beauty so enchanting ‘kantands = tega. € lagrimando —imppjaga cantando lega, € Iagrimando — impiaga. (while) singing binds, and (while) weeping wounds. (can bind [one's heart] and wound it as well while she weeps.) NIRENO sinnor se amor tattfeze Signor, se amor tlaccese, ‘MyLord, if love _ has set you on fire, non taffliddser no dja. & ——_—orteze non t'affligger, no; Lidia 2 cortese: don't torment yourself, no; Lidia is courteous; ‘antsi se non te ‘grave ‘ella tattende anzi, se non t'e grave, ella t'attende indeed, if it's not dangerous for you, she awaits you ‘nelle sue ‘stantse or or nelle sue stanze or or. in her —_ rooms right now. CESARE idja mi ‘brama Lidia mi brama? Lidia desires me? NIRENO ed ‘ella a Kleopatra. ‘anke ti skorte'ra Ed ella’ a Cleopatra anche ‘ti scortera. And she to Cleopatra. = also._will escort you.296 Giulio Cesare, Act If CESARE ‘gwidami = 'tosto. in ‘send al = mio_—te'zoro Guidami —tosto in seno al = mio_tesoro, Lead me soon tothe breast of my treasure, attfo ke — doltfe ‘renda il mio martoro aceid che dolce renda ilmio martoro. so that sweet shemaymake my — martyrdom. (6o that my martyrdom be made sweet.) ARIA CESARE se im _fjorito amen ‘prato Se in _florito ameno Prato If ina flowery, pleasant meadow laudsellin tra. fjori e —fronde si naskonde Vangellin tra fior! e — fronde simasconde, the little bird among flowers and — leaves hides itself, fa pju.—‘grato ilsuo kantar fa pid grato ilsuo cantar. makes more pleasing his singing. (he makes his singing more pleasing.) se koziTidja vettsoza Se cosh Lidia ‘vezzosa If thus Lidia, (that) graceful one, ‘spjega akor ‘note kanore spiega ancor note canore, unfolds even more notes. melodious, fa omni ‘kore innamo'rar fa ogni core innamorar. making every heart fall in love. (If in the same way the graceful Lidia unfolds notes even more melodious {than that litle bird's}, she causes every heart to fall in love [with her}.) (He leaves with Nireno. The scene changes to the harem garden, near the cage of wild beasts. Cornelia, with a small hoe in her hand, is tending the flowers.) RECITATIVO ACCOMPAGNATO CORNELIA de pjandsete, = SS 'mesti_ ‘Tumi Deh _piangete, ° mesti lumi, Ah weep, oh sad eyes, dsa per voi_—nmomve piu ‘speme gid per vol non ve pia speme. now for you there is, ‘no more hope. (enter Achilla)Giulio Cesare, Act IT 297 ACHILLA ‘bella non lagrimare Bella, non lagrimare, Lovely lady, do not weep; kandsera ill tuo destin Je ‘krude tempre canger& ito destin Te crude tempre. will change your fate its cruel harshness. (Gin time] the crue! harshness of your [present] fate will change.) ‘CORNELIA ki ‘nakkwe asospirar —_‘pjandse per ‘sempre Chi nacqué asospirar _plange er sempre. Whoever was bom =——tosigh weeps forever. ACHILLA un kon'senso — amoroz>«ske «= tu—Ssfpresti ad atkilla Un consenso. —amoroso. = ches tu-—presti ad = Achilla, A consent loving that you might grantto —Achilla, Pwo sottrarti al rigor di servitu pud sottrarti = al’_——rigor di serviti. could take away the harshness of servitude. (A loving consent which you might grant to Achilla may take away the harshness of servitude.) CORNELIA (wishing to leave) alla kozi nom mi parlar mai pju ont Cosi non mi parlar mai pia, Ho there! Thus don'tspeaktome ever again. ACHILLA 2 'ddio askolta ‘ove wai ODio! Ascolta, ove vai? ‘Oh God! Listen, where are you going? CORNELIA ‘fuggo date per nom miarti mai Fuggo date — per non mirarti mal. Tam fleeing from you to _never see you again. (While she runs away she meets Tolomeo, who takes her by the hand.) TOLOMEO ‘bella ‘plaka Jo “zdeppo Bella, placa Jo sdegno. Lovely lady, placate your anger. CORNELIA ‘affami inikwo te Lasciami, —_iniquo Ret Letgoofme, iniquitous king!Giulio Cesare, Act IT ACHILLA ‘sire wa mi portal. = per ammollir Sire, qua miportal per ammollir Sire, here Tcame to make submissive ‘kwesta krude! ke adoro questa crudel, che adoro. this cruel woman, whom I adore. TOLOMEO fu pjetoza a twoi “det Fu Pietosa at tuol_—detti? Was she merciful to your words? ACHILLA ‘ella mi‘sprettsa oppor ed = io mi'moro Ella misprezza _ogn'or, ed io mirmoro. She despises me always, and =I amdying. TOLOMEO (aside) (to Cornelia) respira 9 tfel ‘bella lo ‘zdenno ammordza Respiro, ohCiel!) Bella, To sdegno ammorza. (breathe, oh heaven!) Lovely lady, your wrath allay. (Taking Achilla aside.) ammiko ¢ bben Amico, eben? Friend, well? ACHILLA sippor ‘oddsi_ve'drai ‘fezare estinto al 'swolo Signor, ogi vedral Cesare estinto al —_suolo, My Lord, today you shall see Cesare dead onthe ground; te vendikato += reppator. «= tu_— solo Re vendicato ¢ —regnator oF solo. a King avenged and ruler alone. (and you, our King, ‘venged, and remaining sloe as ou ruler) TOLOMEO ‘parti ezegwiffi © — ‘spera_atvrai im mertfede Parti, eseguisc, espera: avral in mereede Leave, carryout’ and_—hope; youshallhave asa reward Ja tua krudel Yolle © — kostui sel ‘krede latua crudel. Folle 2 —costui se'l rede.) your cruel one. he — fit. he believes.) (Your cruel [Comelia]; (If he believes this, he's mad.) ACHILLA (to Cornelia) ARIA se a me _ nonsei Se a me nonsei If to me —_youarenot krudele crudele, cruel,Giulio Cesare, Act II 299 opnor sata feel a re kwesto ‘mio kor ogn'or sara fedele’ a te questo mio cor. always shall be faithful to you this heart of mine. ma se spjetata_«——‘sempre Ma se spietata = sempre But if pitiless always ver me non ‘kandsi ‘tempre ver me non cangi tempre, towards me you don't change (yout) disposition, aspetta sol rigor aspetta sol rigor. you.can expect only severity. TOLOMEO ‘bella kotanto abort ki ti'prega = da'mar Bella, cotanto abborri chi tiprega = d'amar? Lovely lady, somuch © doyouabhor one © whobegs _to love you? CORNELIA un traditore = ‘denpo none da'mor Un traditore —degno non? d'amor. A traitor worthy isnot of love. TOLOMEO ‘tanto rigore ma se un ret bratmasse Tanto rigore? Ma se un Re __ tibramasse? Such severity? But if a King should desire you? CORNELIA satei ‘una furja in adsitarfi. =i kore Sarei una Furia in agitargli' = il_—core. Twouldbe a Fury in disturbing his. heart. TOLOMEO possibil ke in kwel_ ‘Volto non altbergi pieta Possibl che in quel. volto non alberghi pieti; Isitpossible that in your face there doesn't dwell (some) _pity; (he extends his right hand to touch Cornelia's breast; she draws back angrily.) ‘kwesto questo this ke che that in in in CORNELIA ‘freni_ ‘anima Freni anima Curb of your soul 'seno seno... insana lo _‘stimolo del ‘senso insana lo _stimolo del senso; insane its stimulus of sensuality; 2 Notice the two words fedele and crudele, both words ending in ele and yet pronounced differently, a can be seen by the phonetics. fedele has a closed stressed [e] and crudele has an open stressed [e]. ‘Oh ‘hat Italian grammarians would decide some day to use accents to make our life simpler, thus: fedéle ‘and cruddle...300 Giulio Cesare, Act IT ‘pensa ke son kornelja. = © «== son—rofmana pensa che son Cornelia, e son Romana. think that Tam Comelia’ and.» Tam a Roman. (She leaves.) TOLOMEO ‘tanto ritroza a oun re perfida ‘donna Tanto ritrosa a un -Re?_Perfida donna! So hostile a King? Perfidious woman! fortsa_uze'ro se nonan ‘Iwogo i 'prjegi forza userd se nonhan = Iuogo i ——_pprleghi; Force Ishalluse if areofno —use_-— my _ entreaties; © imvolarti satpro. tf kor mi ‘njegi e —involarti. «= saprd cid ch'or mi nieghi. and steal from you Ishall that whichnow you deny me. ARIA TOLOMEO si spjetata ‘luo rigore Si, _—_spietata, iltuo rigore Yes, pitiless one, your _ severity ‘vekka ‘odjo in kwesto sen sveglia odio in questo sen, awakens hatred in my breast. ‘dake ‘sprettsi ‘kwesto kore Giacch8 _—_sprezzi questo core, Since youdespise my heart, 'prova inffida il mio veten Prova, infida ilmio velen. taste, unfaithful woman, my Poison. (Cornelia re-enters, followed shortly after by Sesto.) CORNELIA su ke si'tarda or ke partiil latffivo Su, che sitarda? © Or che _parfiil Iaseivo, Come, why delay? Now that has leftthat lascivious man, (that lascivious man has left) un dgene'rozo—ardir lonor mi ‘salvi un = generoso. = ardir Yonor mi salvi. a dauntless boldness. ~==——s myhonor~—_—should save me. (let a dauntless boldness preserve my honor.) tra le. autfi de ‘mostri Tra le —fauel_de'—mostri Into the jaws of monstersGiulio Cesare, Act I 301 mi skakfe'ro dda ‘kweste ettfelse ‘mura mi scaglierd da queste eccelse mura, Ishall throw myself from these lofty walls; tfibo sara di fjere elbo sard di fiere; food Ishallbe for _wild beasts; nom pa'venta il morir unalma “forte non paventa il morir un'alma forte! it does not fear todie asoul strong! (@ strong soul has no fear of death!) addio ‘roma addio ‘sesty io Korma. a= mmarte Addio Roma, addio Sesto, io coro a —morte. Farewell Rome, farewell Sesto, I mun to death. (Sesto enters and holds back his mother.) SESTO Yerma ke fai Ferma, che fai? Stop, what are you doing? CORNELIA ki mitrattjene il ‘paso Chi mitrattiene il —_passo? Who isbarring © my —_passage? SESTO ‘madre Madre! Mother! CORNELIA ‘madre ke ‘veddso FikKo ‘sesto Madre? ‘Che — veggio? Figlio, Sesto, ‘Mother? What do T see? Son, Sesto, mio ‘kore ‘kome kwi ne veristi mio core!’ Come qui ne venisti? my heart! _How here did you come? SESTO io per_—sottrarti al repnator —laffivo To, per _sottrarti al reguator —_Iascivo, I, to take youaway from that ruler lascivious, da niten kon la 'skorta ‘kwivi_ okkulto mi trassi da —-Niren con I seorta quivi occulto mi trassi. with Nireno and his escort, here secretly Teame here. (To get you away from that lascivious ruler [Tolomeo], I secretly came here escorted by Nireno.)302 Giulio Cesare, Act IT CORNELIA ‘troppo © Yferto il —_pe'riko ‘Troppo e certo il Periglio, Toomuch is certain the peril, in kui Fido _tes'pont in cui, _figlio, ‘t'esponi. to which, son, you expose yourself. SESTO ki ‘alla vendetta = aspira Chi alla vendetta —aspira, He who to vengeance aspires, ‘vita non ‘ura 9 ‘madre vita non cura, o madre. (his) life does not care about, oh mother. si kadra ‘ssesto 9 kadera il tiranno Si, cadra Sesto, 0 cadera il tiranno. ‘Yes, shall fall Sesto or shall fall the tyrant. (Either I will fall or that tyrant will.) (enter Nireno) NIRENO kornelja inffauste ‘nove Cornelia, —_infauste nove. Cornelia, bad news. il re mimpone ke = tra._—sde sue diflette 1 Re_—m'impone che ttra—desue dilette The King ordersme that © among his favorites jo ti kon'duka fo ticonduca. I leadyou. (The King orders me to lead you to his harem.) CORNELIA 9 ‘dio ODio! Oh God! SESTO ‘oumi ke —‘sento Numi! Che sento? Gods! What do I hear? NIRENO ‘nom vi turbate no ‘unkwa sostpetto a tolomeo Non vi turbate, no; unqua sospetto a —Tolomeo Do not be disturbed, no; till now suspected by —Tolomeonom fui ‘ambi non fais ambi Thavenot been; both e© im ‘preda ‘alle 2 in preda alle is a prey tohis ‘(Do not be disturbed; up to now Giulio Cesare, Act II 303 verrete la dove il = re ttranno verrete a, dove il Re _tiranno willcome there, where the king — tyrannous laffivje Iascivie: lasciviousness; Tolomeo does not suspect me; both of you will come to ‘where that tyrannical king is prey to his wantonness;) Kola ‘sesto._naskozo cola Sesto nascoso there, Sesto, hidden, in suo _potere avra ‘alta vendetta in suo _—_potere avra Yalta vendetta with his strength, can take his great revenge; ‘ekki ‘solo ed — inerme far nom potra difeza eg solo, ed —_imerme, far non potra difesa. he, alone and unarmed, ——_(make) won't be able to defense. (he [Tolomeo}, alone and unarmed won't be able to defend himself.) SESTO ‘molto ‘molto ‘ti ‘devo Molto, molto ti devo. Much, much do owe you. CORNELIA assista iltfel ‘una si ‘dgusta impreza Assista flciel una si —_giusta ‘impresa. May assist heaven one so.—_just undertaking. (May heaven assist such a just undertaking.) ARIA CORNELIA ‘Yfessa omai di sospirare Cessa omai di sospirare, Cease now to sigh, no ne ‘sempre rato il tfelo ‘kontro i mizeri none sempre frato ilcielo contro i miseris isn't always angry heaven against the unfortunate; (heaven is not always angry at the unfortunate ones;) swol Yare berjke wards Je ventdette suol fare, benche tardo, le —_vendette. it is able towreak, however late, its vengeance(s). il nakkkjer strato e il ‘mare Tl nocehier, —_—s'irato ef mare, A helmsman, if angry is the sea, mainom ‘perde_Ja spe'rantsa mai non perde la speranza, never loses hope,304 Giulio Cesare, Act It ‘onde avyjen ke la kostantsa onde avvien che — Iacostanza whereby ithappens that constancy lasalute a ~—Iui_——ipromette Insalute 2 = Tui_—ppromette. safety to him promises. (whereby it happens that his steadfastness will bring him to safe harbor.) (She leaves.) SESTO fikko mone ki vendikar non ‘kura Figo non chi vendicar nom cura ‘Ason isnot who toavenge does not care del dgenitor = fo_—‘ffempjo del genitor Jo —_scempio. ofhis father the slaughter. (He who cares not to avenge his father's slaughter is not a real son.) su ‘dunkwe ‘alla vendetta ti pre’para su, dunque, — alla vendetta _—ti prepara, come then, for vengeance _prepare yourself, ‘alma forte e ‘prima dimorir ——altrui da ‘morte alma forte, e prima dimorir, —altrui di morte! soul strong, and before dying, toanother _give _death! (come then, prepare yourself for vengeance, my strong soul, and before dying, give death to another!) ‘offezo mai ripoza offeso mai —_riposa, offended never rests, se il__—_velleno pria__ non ‘spande se il _veleno pria non spande if its poison first it does not pour ‘dentro il ‘sangwe alloffer'sor dentro i ——sangue all'offensor. within the blood of its offender. kozi ‘alma ‘mia non‘oza di mostrarsi Cosi alma mia non osa di mostrarsi Thus my soul doesnot dare to show itself altera © ‘grande altera e grande haughty and great, se non zvelle ‘Tempjo kor se non svelle Fempio cor. if itdoesn'ttear out —that wicked heart.Giulio Cesare, Act IT 305 (He leaves. The scene changes to a "delicious spot" where Cleopatra is seen.) CLEOPATRA ‘esser kwi ‘deve im'breve idol del mio sen —_tfezare a'mato Esser qui deve in breve Tidolo del mio sen, Cesare amato; Tobe here must shortly the idolof my bosom, beloved Cesare; (Shortly the idol of my bosom, [beloved] Cesare, will be here.) ei sake ~—kwi_—_attende lidja'sua = ke -—tatdora ei sa che qui ‘I'attende Lidia sua, che_—‘I'adora; he knows that here awaitshim his Lidia, © who adores him; per diskoprir se porta il sen _pja'gato per discoprir se porta il ~—sen_pingato, to discover. —if'——shehas hhis breast wounded, (to discover if his breast has been wounded [by the arrows of Cupidl,) findse'ro di dormir porter ‘meko fingerd di dormir; porterd meco, I shall pretend to beasleep; ‘shall take with me maskerato nel ‘sonno amor ke —‘tfeko mascherato nel sonno, amor, ch’ cleco. masked in sleep, love,’ whois blind. ARIA CLEOPATRA ‘venere ‘bella per un —_istante demi kontfedi Venere bella, per un —_istante deh, mi concedi Venus lovely, for one instant please grant me Je ‘grattsje'tutte del ‘dio. da'mor Je grazie tutte del dio d’amor. the graces all of the god of love. (ll the graces) tu bem_prevedi kil ‘mio. sembjante Tu ben _prevedi, chill mio sembiante You well canforesee that + my countenance de far amante dun ‘redso._ kor dee far amante d'un regio cor. must make a lover out of aroyal heart. (She pretends to sleep. Cesare enters and sees her.) CESARE ke ‘veddso o‘nnumi ilmio bel sol. kwi_—‘dorme Che — veggio, oNumi? = mio bel sol. qui dorme? What do see, oh gods? © My ~— lovely sun here is asleep? ‘vaga ‘lidjaadorata a se_— di_—tanto_intfendjo ‘Vaga (Lidia adorata; ah! se di_—tanto_incendio ‘aga Lovely adored Lidia; ah, if of +— sucha fire306 Giulio Cesare, Act IT ke mi‘bolle —nel_— ‘Seno che mi bolle nel seno that boils inmy breast ti penetrasse al kor ‘kwalke Sintilla ti penetrasse al cor qualche seintilla, to you could penetrate in your heart some spark, (Gh, if only a few sparks of the great fire that boils in my breast could penetrate your heart,) bem — potresti sperar ‘dalla tua ‘sorte ben —potresti sperar dalla tua sorte well youcould hope from your destiny, ‘dessermi forse un di ‘spoza © ©~—_—ikon’sorte d'essermi forse un di sposa_e —consorte. to become to me maybe one day wife and consort. (well would you be able to hope from your destiny maybe, to be my wife and consort one day.) CLEOPATRA (waking) ‘spoza_tadore'ro ‘fino ‘alla ‘morte ‘Sposa? T'adorerd fino alla morte. Wife? 1 shall adore you to my _—_ death. CESARE ola on! ‘What! CLEOPATRA ke ti konturbi Che, ti conturbi? So, you are disturbed? CESARE ‘una dondzella.'serva di —kleopatra, «=a tanto aspira Una donzella, —serva di Cleopatra. «= a—tanto aspira? A damsel, maid of Cleopatra, to. somuch aspires? CLEOPATRA ‘Yfezare ‘frena ‘dsakke ‘desta mabborri Cesare, frena iret giacché desta m'abborri, Cesare, calm your anger! Since awake you abhor me, perke ‘mabbi ad amar ‘tomo a dormire perche m'abbi ad amar, —_torno a dormire. so that youmayloveme, Ishall goback to _ sleep. (She is about to return to her couch. Enter Curio, with drawn sword.) CURIO ‘Yfezare sei tra‘dito Cesare, sei tradito. Cesare, you are betrayed.Giulio Cesare, Act IT CESARE (unsheathing his sword) io traidito To tradito? L betrayed? CLEOPATRA ke ‘ssento ‘Che — sento? ‘What do I hear? cuRIO mentrio ver Ie tue ‘stantse sinnor tattends Mentr'lo ver _—letue__stanze, Signor, t'attendo, While T near your rooms, my Lord, am waiting, ‘odo di ‘dsenti e ‘spade riperkosso —_fralgor odo di genti_e — spade ripercosso —_fragor; Thear of people and swords arepercussive noise; ed ‘una votfe _gridar ‘Yezare mora ed una voce _gridar: Cesare mora, and a voice shouting: © "Let Cesare die", ed improwviz ate ne ‘volo ad arrekar ed —_improvviso ate ne volo ad arrecar and —_ without thinking toyou Ifly to bring CESARE kozi ‘ddunkwe in. —e'dsitto ‘rena Ia fellonia Cosi dunque in Egitto regna Ia fellonia? Thus then in _ Egypt reigns treachery? (So then, treachery reigns in Egypt?) ‘bella rimanti Bella, rimanti; Lovely one, remain here; ‘sono injfausti per noi_—_kottesti Tidi sono infausti per nol cotesti tdi. are —_unpropitious for us _these shores. (these shores are unpropitious for us.) CLEOPATRA ‘Yermati nom partir ke = tu muttfidi Fermati, nonpartir, che tu —m'uceidi. Stop, donotleave, for you _will kill me. (Gt will be my death.) CESARE ‘affa tidja Lascia, Lidia! Stop, Lidia! 307 lavvizo Vavviso. the warning.308 Giulio Cesare, Act IT CLEOPATRA ke lidja_ io —vole'ro al tuo —_Konpflitto Che Lidia? To volerd al tuo conflitto; What Lidia? I shall fly to your conflict; intwa difeza ‘sino “aki ‘stessi_ abissi Jende'ria kleo'patra intua difesa sino agli stessi_abissi scenderia Cleopatra. in your defense even tothe very _abysses Cleopatra would descend. (even to the very abyss [of hell] Cleopatra would descend to defend you.) ojme ke ‘ddissi (hima, che — dissi?) (Ohdear, what have I said?) CESARE Cleopatra? CLEOPATRA si Si. Yes. CESARE dove Dove? Where is she? CLEOPATRA ‘tfezare ‘voldsi ig ‘kwesto'seno e non altrove Cesare, volgi in questo seno, e ion altrove, Cesare, tum to my — breast, and not _—_ elsewhere, il Jampo di kwe'XAokki ke = adoro il lampo di quegl'occhi_ che adoro: the flash of those eyes that _—_‘T.adore; (Cesare, tur the flash of your eyes, which I adore, to my breast and nowhere else;) son Kleopatra =e = nom pju fia in ‘kambjo Son Cleopatra, e non pid Lidia in cambio. Tam Cleopatra, and nolonger —Liia, in disguise. CESARE sei Kleopatra Sei Cleopatra? ‘You are Cleopatra? CLEOPATRA im‘breve de kondgurati—il’~—teme'rarjo.-—ardire Imbreve — de'_—congiurati. © il_~—sttemerarlo—_ardire Soon, ofthe conspirators the rash boldness ‘kwesto aspett regal fara ke kada questo aspetto regal fara che cada; this aspect royal shall cause to_—falls (Soon my royal countenance will cause the rash boldness of those conspirators to collapse;)Giulio Cesare, Act IT 309 ‘toma al fjanko sipnor ‘kwella tua ‘spada torna al fianco, Signor, quellatua —_spada. return toyour side, "my Lord, your sword. (put your sword back in its scabbard, my Lord.) (Cleopatra leaves.) CESARE ‘kurjo a si ‘strani e'venti testo immobile ‘sasso Curio, a s_— strani eventi resto immobile _sasso. Curio, at such strange events Tremain motionless stone. cURIO ‘stupido son Stupido son, Amazed Tam. CESARE ke wdistimai kor ‘mio. Tidja. © ©=—Kleopatra Che udistimai, cor mio? Lidia 2 Cleopatra? What did youhear, heart mine? Lidia is Cleopatra? ela spreidsasti 2 'ddio E __laspregiasti, oh Dio! ‘And you spumedher, oh God! (Cleopatra returns hurriedly.) CLEOPATRA fuddsi ‘Yfezare ‘dalle ‘redse ‘tue ‘stantse a'kwesta —fonte Fuggi, Cesi dalle regie tue stanze aquesta —_—fonte Flee, Cesare! Fromthe royal your rooms towards this fountain ‘volano i kondsutrati volano i congiurati. areflying the conspirators. (lee, Cesare! The conspirators are flying from your royal rooms towards this fountain.) CESARE ‘kome nemmen Kleopatra. valse a frenar Come; nemmen Cleopatra —_valse a frenar How 50; not even Cleopatra. wasable —to.—ihold back si pperfido ~—ardimento sl perfido ardimento? such aperfidious boldness? CLEOPATRA la 'porpora reale La porpora —_—reale The — purple royal ‘skudo no ne bastante tradimento seudo non bastante tradimento. a shield does not suffice against betrayal, (My royal purple is not shield enough against betrayal.)310 Giulio Cesare, Act IT CESARE ‘vengano ‘pure 9 kore ‘Vengano pure; ho core. Let them come, indeed; Thave heart. ‘fezare non'seppe mai ke sia. timore Cesare non seppe mai, che sia _timore. Cesare hhas not known, ever, what be fear. (Cesare has never known fear.) CLEOPATRA 2 'ddio tu il kor mi struddsi Oh Dio! tm il —cor_—mistruggl; Oh God! You my — heart rend; (You rend my heart:) ‘salvati © mio bel sol tfezare fuddsi Salvati, o = mio bel 5 Cesare fugit Save yourself, oh my lovely sun; flee, Cesare! ARIA CESARE al Tampo dellarmi —kwestalma_—_gwerrjera Al Iampo dell'armi —quest'alma-—_guerriera Atthe flash of arms this soul warring vendetta fara vendetta. fara. vengeance shall wreak. (My warrior sou! shall wreak vengeance at the flash of arms.) nom fia ke dizarmi la ‘destra gweryjera Non fia che disarmi Ia destra guerriera Letitmot happen that he should disarm the -—right hand =——_warriorlike ki fortsa le da chi forza le da. who strength gives it. (Let the one who gives it strength not disarm my warriorlike right hand.) (He leaves with Curio. The voices of the conspirators can be heard within.) VOICES OF CONSPIRATORS ‘mora ‘rfezare ‘mora Mora, Cesare, mora! Lethim die, Cesare, let him die! ‘(Let Cesare die!) (Death to Cesare!) RECITATIVO ACCOMPAGNATO CLEOPATRA ke 'sento 2 'ddio Che sento? Oh Dio! ‘What dolhear? Oh God!Giulio Cesare, Act IT au motra Kleopatra arjkora. Morra ancora. Shall die Cleopatra. also. (Also Cleopatra shall die.) ‘anima ‘vile ke ‘parli mai ‘de ‘tatfi Anima vile, che _parli mai? deh, taci! Soul cowardly, what are you saying? Ah, = quiet! (My cowardly soul,) avo per vendikarmi im —bellikoza ‘parte Avrd per vendicarmi in bellicosa parte, Tshall have to avengeme, —inmy _war-like mode, di be'llona in sembjantsa un, kor di ‘marte di Bellona in sembianza un cor di Marte. of Bellona’ the aspect (and) a heart of Mars. (To wreak revenge let me make use of my war-like side, looking like Bellona, and with the heart (ready for battle] of Mars, [her brother].)* intanto o — ‘nmumi voi ke il tfel relddgete Intanto, 0 Numi, vol che —_il'ciel reggete, Meanwhile, oh gods, you who heaven rule, difenidete —_ilmio ‘bene ‘keaki_e del. ‘seno_ mio difendete mio bene, ch'egli 2 del seno mio defend my beloved, forhe is ofthe bosom mine konfforo © +—‘speme, conforto e ——speme.’ comfort and hope. in the mentime, ye gods who rule heaven, defend my beloved, for he is the comfort and hope of my heart.) ARIA CLEOPATRA se pieta di = me_—non‘senti © dgusto tfel io moriro Se plett di me —nomsenti, —_giusto ciel, fo morird. If pity for me —_you donot feel, merciful heaven,I shall die. mu da_—fpatfe a mjei_tormenti Tu da pace a’ —miel_tormenti, You grant peace to my _ torments, (Grant peace to my torments,) © ——-kwestalma —_spirero © — quest'alma —_spirerd. or this soul T shall cause to expire. (or my soul shall die.) (She leaves. The scene changes to a room in Tolomeo's harem. Tolomeo is surrounded by his Favorites, with Cornelia among them.) 2 Bellona, in Roman mythology, goddess of war, sister of Mars, god of war. “In other words, Cleopatra will steel herself for battle by adopting Bellona's look and Mars’ heat. + Hope in Italian is speranza. In poetic language we also use speme, and an even older form, spene.312 Giulio Cesare, Act IT RECITATIVO ACCOMPAGNATO TOLOMEO ‘belle ddee di kwesto kore Belle dee di questo core, Lovely goddesses of © my heart, voi portate tfel nel ‘volto vol porate feiel nel voltos you bear heaven in your faces, no na ill tfel pju bbel splendor non ha feiel pia bel splendore does not have heaven amore ‘beautiful _—_ splendor di wel kavete in ‘doppje ‘stelle, akkolto di quel ch'avete in dopple stelle’ accolto. than that —_ which you have in double stars gathered. (heaven has no lovelier splendor than that which you have gathered in your two eyes.) ‘kwesto © wogo di patfe ‘onde il ferro depongo Questo & Togo di pace, onde il ferro depongo, This is aplace of peace, where my sword lay down, (He places his sword on a table.) ke inutile omamento ‘ora cin amor ‘fjero stromento che inutile ornamento ora in amor fiero stromento. for auseless omament now isin love asavage —_instrument. (because this savage instrument now is useless [in matters] of love-making.) CORNELIA ‘numi ke fia dime (Numi, che fia dime?) (Gods, what willbecome of me?) TOLOMEO ma kwi—kornelja Ma qui Cornelia! But here is Cornelia! ‘kwesto ‘kandido lin tu prendi in ‘senno Questo candido lin tu prendi in segno, This white linen you take as token, (take this white linen as token,) sekondo _—ilmio_kostume secondo ilmio costume, according to my custom, di kolei ke destino di colei che destino for those women whom I intend The reference here isthe pair of eyes, which are like heavenly shining stars.Giulio Cesare, Act II 313 al redso‘etto ‘alle nottume ‘pjume al regio. Ietto, alle notturne ——_—piume. forthe royal bed(and) forthe noctumal _—_feathers. (feathery cushions.) (Cornelia takes the handkerchief and casts it away with indignation. Sesto enters.) SESTO ‘rae = il tempo o mia ‘destra (Ora 2 — il_—tempo, omia_destra: (Now is the — time, oh my right hand: il ‘proprio ferro ke —uttfize il ——_dsenitor il proprio ferro che uccise il _genitor, the —verysame sword that killed my father, ‘empjo trafigga Tempio trafigga,) that wicked man should run through.) (Let me run that wicked man through with the very same sword that [he used] to kill my father.) (As Sesto tries to seize Tolomeo's sword, he is surprised by Achilla, who enters hurriedly and takes it from him.) ACHILLA (to Tolomeo, handing him his sword) ‘sire ‘prendi Sire, prendit Sire, take this! TOLOMEO ke fia ‘Che fia? ‘What does this mean? SESTO ‘stelle krudeli (Stelle crudelit) (Stars cruel!) ACHILLA ‘ama la = man ke = nono ‘tempo Arma Ia man, che noné tempo, Arm your hand, for thisisno _time, di star fra ‘vettsi in amoroza parte di star fra’ vezzi in amorosa.——parte; to stay among endearments in amorous dalliance; ‘kweste ‘veneri ‘affa e¢ — ‘wola a marte queste veneri Iascia, e —vola. a= Marte. these Venuses leave, and fly to Mars. (let go of these seductive Venuses; it's time to rush off to war.)314 Giulio Cesare, Act IT TOLOMEO kwal ne'mika fortuna Qual nemica fortuna. What unfriendly —_fate...? ACHILLA ‘mentre jo ‘Yferko di Yfezarele —stradge Mentre jo cerco di Cesarele —strage While T seek of Cesare the destruction, savwenta —eXKi_ fra i nostri stavventa eg e inostri, rushes he our men, {While I seek to destroy Cesare, he rushes upon our troops,) mail ‘numero di ‘molti ma il numero di molti but the number of many ‘alla virtu dun ‘solo alfim pre'vale alla virti d'un solo alfin prevale; against the virtue ofone alone at last prevails; (but at last our greater numbers prevail against the strength of one; fuddse kon ‘kurjo ¢ = da_—_batkon sublime fagge con Curlo,e = da_—balcon sublime he flees with Curio, and from abalcony on high, si 'skaffa dimprowvizo im ‘meddzo al porto si scaglia @improvviso in mezzo al porto, he throws himself suddenly ——_—into the middle of the port, ed io ‘miro in = um ‘punto ed io miro im un panto and I see in one moment ‘Kuro sommerso ¢ = —tfezare da ‘mmorts Curio sommerso e Cesare gia morto. Curio sinking and Cesare already dead. CORNELIA ‘tfezare ‘morta (Cesare morto?) (Cesare dead?) aero) ‘nnumi (on Numi!) (Oh — gods!) ACBILLA or = -Klespatra «= vola al «= ‘kampo romano Or Cleopatra vola al_— campo Romano, Now Cleopatra flies tothe Roman camp,Giulio Cesare, Act IT 315 e ‘delle ‘trombe ai bellikozi. = karmi e delle trombe ai ellicost carmi, and of the trumpets tothe warlike battle sounds, (and with trumpets blaring warlike tunes,) di tfezare im vendetta di Cesare in vendetta, of Cesare in vengeance, (to avenge Cesare,) ‘kore ko swoi ‘kontro il tuo ‘kampo alllarmi corre co! suai contro fitao campo all'armi. she runs with her men against your camp in arms. TOLOMEO ‘duna femmina —_imbbelle nom pavento i furori D'una femmina —_—imbelle non pavento i furori. Ofa woman unwarlike Idonotfear the rages. ACHILLA atte sol testa ke im —_‘premjo i tantopra A te sol_—_resta, che in premio di tant’opra To you only remains, that as reward for all my work in ispoza kostei tu mi kontfeda in isposa costel tu miconceda. fora wife that woman you should grant me. (Comelia) TOLOMEO teme'rarjo belta kke nna ‘pari Temerario! Betta che non ha pari ‘Audacious man! Abeauty that has no equal, dun tradimento in gwiderdom —_pretendi d'un tradimento in —guiderdon _pretendi? fora betrayal asa reward you expect? (You expect a beautiful woman without equal as reward for betrayal?) ACHILLA ‘sire Sire... TOLOMEO ammutiffi ¢ re sapro pre'mjarti Ammutisci Re; saprd premiarti. Besilent and King; I will know how to reward you. ACHILLA il mio servir ‘kwesta mertfe ritfeve mio servir questa mered riceve? My service this reward receives?316 Giulio Cesare, Act If TOLOMEO ola oat Enough! ACHILLA aki fede noma fe non si ‘deve (A chi fede noma, fe nonsideve) (To who faith doesnothave faith isnot owed.) (No faith is owed to one who has no faith.) TOLOMEO (to the women) ‘faskuna si ritiri ‘dopo ‘breve so'ddsorno Ciascuna si ritiri; dopo breve soggiorno Let everyone retire; after abrief delay vittorjozo == fra_—=s voi ‘fatto ritomo vittorioso fra voi fard_ritorno. victorious among you shall return. (He leaves with his favorites. Cornelia and Sesto remain.) SESTO ekko in ‘tutto perduta la ‘speme di -—_venideta Ecco in tutto perduta Ia speme di vendetta! ‘Now is completely lost the hope of vengeance! ‘ferro inerme tivedo ferro, inerme ti vedo; sword, useless Thehold you; io per nom_=—pju—soffrir ‘morte a fo per non pit soffrir, morte a 1, to no_longer suffer, death from (Boas to suffer no more, I ask death of you.) (He draws the sword to kill himself.) CORNELIA Yferma ke fai se per'verso Fermatche fai? Se _perverso Stop! What are you doing? If _perverse fe ‘vano il ‘kolpo fe vano i colpo, rendered harmless the’ ~— blow, im van disperi o'sesto in van disperi, 0 Sesto, in vain youdespair, oh Sesto. SESTO or ke tfezar © estinto Or che Cesar 2 estinto Now that Cesare is dead, ‘kjedo i Task. il destino il destino destinyGiulio Cesare, Act IT 317 ke — pju. spear po'ssjamo che pia sperar possiamo. what more hope can we have? CORNELIA ‘anima ardire niren dg tapre il passo Animo, ardire! Niren gia t'apre il paso; Spirit, boldness! __-Nireno already has opened for you the -—_—passage; al ‘kampo ‘vanne al campo vanne, tothe camp 0; kola tu rivera ‘Jempjo tiranno cold tu rivedrai Tempio tiranno. there you — will see that wicked tyrant. ea Ii fa_— poi. mirar kon ‘alma forte E a Ini fa pol_—mirar con alma _ forte, And to him make then show with soul strong, ke —inkontrar sai nom paventar Ia ‘morte che incontrar sai, non paventar Ia morte. that meet you can (and) not fear death. (And then you can show him with a strong soul, that you know how to meet, and not fear, death.) SESTO segwiro ‘tanto kon innoto ‘passo opnorma —del_—tiranno Seguird tanto con ignoto Passo ogn'orma = del_tiranno, shall so follow with secret step every footprint of that tyrant, fiyke nel suo —_perigso fa'ro kke ‘kada_e'zangwe fincht nel suo __periglio fard che cada esangue’” sothat in his peril, Tshall cause that he fall dead del ‘padre _luttfizor per man del fidKo del padre Iucclsor per man del __figlio. ofthe father themurderer by hand ofthe son. (I shall cause the killer of the father to die by the hand of the son.) ARIA SESTO ‘laura ke ‘spira tirana e fiero Laura che spira tiranno e fiero The air that wafts around, (he, a) tyrant and proud man, ‘ekki nom ‘merta di respiar egli non merta di respirar. he does not deserve to breathe.. 7 Esangue: without blood, and by extension, dead.318 Giulio Cesare, Act IT mi 'sveska allira kwel kor — se'vero Mi sveglia alvira quel cor — severo; Itawakens me to anger, that heart ster; (Tolomeo's stern heart awakens me to anger;) sua ‘morte ‘solo mi pwo plakar morte solo mi pud placar. his death alone can placate me. END OF ACT IGiulio Cesare, Act IIT 319 ACT IL (A harbor near the city of Alexandria, Achilla with an escort of soldiers.) ACHILLA in tal ‘modo si 'premja In tal__~— modo si Tn such away one rewards il mio ‘lungo servir la fede mia imio lungo servir, Ia fede mia? my — long service, my faith? ‘barbaro re tipentiai fra ‘breve Barbaro Re, _—tipentirai fra breve Barbarous King, you willbe sory _ shortly davvermi offezo andjamo ——'prodi_kam'pjoni d'avermi —_offeso. Andiamo, —_prodi_ campioni, forhaving offendedme. Letusgo, brave champions, © a Kleopatra avanti e ‘a Cleopatra avanti and to ‘Cleopatra before (and before Cleopatra) offrjam Te‘nostre ——_inseppe offrjamle il kore offriam Jenostre _imsegne, offriamle il core, letus offer our ensigns, letus offer her our heart(s), e sia ‘menda al tarda ‘alto esa menda al tardar alto valore. and letitbe dereliction to delay our utmost —_valor. ARIA ACHILLA dal fulgor di ‘kwesta'spada vo ke kada. Dal — falgor di questa spada vo’ che cada By the splendor of this sword, Iwant that should fall umitjato un ‘empjo kor ‘umiliato un empio cor. humbled a wicked heart, (By the splendor of my sword I want a wicked heart to fall humbled.) dga non dee soffrir loffeze Gia non dee softrir Votfese Certainly (he) must not suffer the offenses ki difese ill suo ‘eppo kon valor chi difese ilsuo regno con valor. who defended his__kingdom with valor. (He leaves.)320 Giulio Cesare, Act HI (At the sound of a martial "sinfonia" there follows the battle between the soldiers of Cleopatra ‘and Tolomeo; the latter are victorious; at the end of the "sinfonia” Tolomeo enters with (Cleopatra a prisoner.) TOLOMEO ‘vinta, katdesti al balenar Vinta cadesti al balenar Vanquished you fell, atthe flash di kwestomio fulmine reale di questo mio fulmine reale. of this, my —_ lightning royal. (of my royal lightning.) CLEOPATRA tolomes nom mi ‘vinse mi tradi ‘kwella 'tfeka Tolomeo non mi vinse; mi tradi quella cieca, Tolomeo did not vanquish me; Iwas betrayed (by) that —_ blind (fate), ke titan ti proteddse sentsonor che, tiran, td protege, semz'onor, which, tyrant, Protects you, (aman) without honor, ‘sentsa Yede-e —‘sentsa ‘leddse senza fede © senza legge. without faith and without law. TOLOMEO ola si baldantsoza del vintfitor_ == al_—riverrito. aspetto Ot si aldanzosadel_—_vincitor al riverito aspetto? What! So bold ofthe victor atthe revered aspect? (at the revered aspect of the conqueror?) sinkateni kostei Stincatent costel. In chains (with) this woman! (A guard shackles Cleopatra.) CLEOPATRA ‘empjo kudel ti puniranno i dei Empio crudel! ti puniranno i Del. Wicked cruel man! You'll be punished (by) the gods. TOLOMEO kostei ke per dsermana_—aborro e — ‘zdenno Costel, che per germana_——aborro e —sdegno, This woman, whom, as asister, Tabhor and despise, si konduka ‘alla reddsa siconduca alla regia; Tether be led tothe royal palace;io olla ‘wvokko ke ad ‘onta’ del jo cold__voglio che, ad onta del T there wish that, in spite of dsenuflessa a pje— del soko genuflessa a pie del_—_soglio. genuflected she adore me at the foot ofmy throne. (Ghe does me reverence kneeling at the foot of my throne.) ARIA TOLOMEO dome'ro Ma tua fjerettsa Domerd latua fierezza Ishall tame your pride kil mio ‘trono_atborre © ‘sprettsa ch'l mio trono aborre e —— sprezza, which my throne abhors and despises, © umiljata_ ti ve'dro € —umiliata ti vedrd. and humbled I shall see you. tu kwal karo rubelle Ta qual Icaro rubelle You, like —_Tearus! rebellious sormontar ‘brami Je ‘stelle sormontar — brami Te stelle, surmount youwish =the =~—stars, ma kwellali == io. tarpe'ro ma quell'ali' = fo.—tarperd. but those wings I shall clip. Giulio Cesare, Act IIT (He leaves. Cleopatra remains alone with guards.) CLEOPATRA eppur kozi in Eppur cosi in And thus in ai fato ‘tio Ahi, fato rio! Ab, fate bitter! 2 forse 2 forse is perhaps un ‘somo ‘perdo fasti ¢ un giorno perdo fasti ¢ one day Tlose pomp and ‘Yezare il mio bel Cesare, ilmio bel Cesare, my — handsome estinto estinto; dead; 321 suo ardire granidettse grandezze? ‘greatness? ‘nume nume god " Tearus, according to Greek mythology, was a youth who, in flight with his father Daedalus, from Crete, fell into the sea when the sun melted the wax that fastened his wings.322 Giulio Cesare, Act IIT kornelja € —‘sesto. inermi son Cornelia e ~— Sesto inermi son, Comelia and Sesto without arms are, (weaponless) ne ‘sanno ‘darmi sokkorso 9 ‘ddio ng sanno darmi soccorso. Oh Dio! nor can they bbringme help, Oh God! nonresta alkuna ‘speme al —_viver ‘mio non resta aleuna speme al _viver mio. there isn'tleft any hope for —_myllfe. ARIA CLEOPATRA pjandsero = la_—=—s'sorte. ‘mia «si krudele e tanto tia Plangerd 'Ia_—ssorte_ mia sl erudele e tanto ria Ishall weep the fate. ~ mine, so cruel and so bitter, ‘Finke ‘wita. im —‘petto a'vro finch’ vita in petto avrd. aslongas life inmy breast Ihave. ma poi morta. ‘doppi intorno Ma = pol_— morta d'ogni intorno But then dead, fromall around, il tiranno © ‘notte € © ‘dgomo i tiranno e notte e giorno the tyrant both night and day fauta ‘spettro adsite'ro fatta spettro agiterd. having become a ghost T shall disturb. (But after I am dead, having become a ghost, I will disturb that tyrant from all sides night and day.) (She leaves. The scene changes to a water's edge. Cesare is on one side, Sesto on the other. Achilla is mortally wounded.) RECITATIVO ACCOMPAGNATO CESARE dallon'dozo pe'rikfo ‘salvo miporta al lido Dall'ondoso periglio salvo miporta al_—ilido From the waves’ danger safe Tambrought to shore (by) il mio propittsjo ——fato ilmlo propizio —_—fato. my — propitious fate. kwi la tfeleste ‘parka non ‘tronka aykor Qui ia celeste parca non tronca ancor Here the heavenly fate hasn't truncated yetGiulio Cesare, Act IIT 323 Ib ‘stame ‘alla mia vita lo stame alla mia vita, the thread of my _ life. (Heavenly fate hasn't quite yet allowed me to dic.) ‘dove anidro © kis mitpordse alta dove andro? e chi. miporge —aita? where shallIgo? And who willgiveme aid? ‘ove sson Ie mie ‘skjere ‘ove sson le —_letdsoni Ove son lemle schiere? © Ove son le _legioni, Where are = my —_troops? ‘Where are the legions ke a tante ‘mie vittorje it ‘varko apriro che a tante mie —vittorie il varco apriro’ which to somany(of) my victories =the. =— way ‘opened? ‘solo in kweste ‘erme arene Solo in queste erme arene Alone over these solitary sands al monarka=— del ‘mondo emar konjvjene. al monarea. = del__—s mondo errar conviene? for the monarch ofthe world towander _is necessary? (is it necessary for the monarch of the world to wander alone over these solitary sands?) ARIA CESARE ‘aure de per pjeta Aure, deh per peta, Breezes, ah, for pity's sake, spirate al petto'mio per dar_—_—komtforto spirate al pettomio. per dar —_conforto, breathe on mybreast_ «= toring comfort, 9 ‘ddio al mio dolor oh Dio, al mio dolor. oh God, to my grief. ‘dite dove ke ffa ‘lidolo del mio sen Dite, dove, che fa? Liidoto del mio sen, Tell me, where is, what is she doing? The idol of my breast, latmato e — dolife ben di kwesto kor Yamato e dole ben di questo co the beloved and sweet treasure of this heart? ma ‘donpi intomo i "vedo ‘sparse ‘darme e —— destinti Ma = d'ogniintorno i —_veggio sparse d'arme e — diestinti But allaround =I ~—see_ strewn with weapons and dead bodies.324 Giulio Cesare, Act IIT limffortunate arene ‘sepno dinjfausto. —_a’nnuntsjo Vinfortunate arene; segno d'infausto annunzio these unlucky sands; asign of dire news Aure, per pleta, ete. (Sesto and Nireno enter.) SESTO ‘tferko im van tolomeo per vendikarmi Cereo invan Tolomeo -—per__—_vendicarmi, Tam looking in vain (for) Tolomeo to.-—_avenge myself, € —— ilmio destin spjetato a mme_laskonde € illo destin spietato a me _—_’asconde. and my destiny pitiless from me hides him. ACHILLA (mortally wounded, from the water's edge) ai ‘vinta. 9 fat Hai vito, 0 —Fato! You've won, oh Fate! SESTO kwai ‘rogke ‘votfi Quai tronche voel? What is that weak voice? ACHILLA avete ‘vinto o'stelle Avete vinto, o stelle! Youhave won, oh stars! CESARE due gwerrjeri_~—indisparte. de = ‘Toro attfenti Due guerrieri? Indisparte de’ loro accenti Two warriors? ~—sInaplace apart of —their__-words, sara sara. it must be. il ‘swono il suono the sound udir jo vokko © = penetrar, ki udir jo voglio e ——penetrar = chi to hear 1 wish, and discover who they are. (Let me hide so I can hear what they are saying and who they are.) NIRENO (to Sesto) ekwesti ail im'meddzo al sem __pja'gato Equesti ——Achilla, inmezzo al_—sen_ppiagato. This is Achilla, inthe center of his breast wounded. CESARE akilla e il moribondo (Achill 2 il moribondo?) (chill is the moribund one?) (dying?)Giulio Cesare, Act IIT 325 NIRENO amiko Amico. Friend. ACHILLA 2 kavaljer ——_innoto ke kom ‘votfi © cavalier ignoto, che con voe! Oh knight unknown, who with voice friendly artikoli il mio ‘nome dese fia mai articoli ilmio nome, deb, se fia mai Pronounces my name, ah, if _it should ever be ke ti kontfeda ilfato di favellar un ‘dgorno che — ticonceda ifato di favellar giorno that youmay be granted by fate to speak some day ‘alla bella kornelja al = sol_ di Toma, alla bella Cornelia, al_~— sol, di_ «Roma, tothe beautiful © Comelia, that «sun of |+~— Rome, (Oh unknown knight, who with a friendly voice pronounces my name, if it should ever happen that fate grants you [the opportunity] of speaking some day to the beautiful Comelia, the sun of Rome,) ‘dikKi ke kwellakilla_ ke ~—_konsifKo dight che —quell’Achilla, che _consigli tell her that Achilla, who counseled del gram pomipeo la ‘morte del gran Pompeo Ia morte... ofthe great Pompeo the death... (who counseled the death of great Pompeo...) SESTO a fellerato Ab, sellers) (am, iniguo!) (Ab, wicked man!) ACHILLA ke per a'verla im ‘mofke Che per —averla in moglie That to have her as (wife ‘kontro ‘ezare ordi ‘alta contro Cesare ordi Yalta congiura... against Cesare Iplotted that great conspiracy.326 Giulio Cesare, Act IIT SESTO a traditor (Ab, traditor!) (Ab, traitor!) CESARE, a felllone (Ab, fellone!) (Ab, betrayer!) ACHILLA sol per —_kadgon di vendikarsi un Sol per —cagion di—_vendicarsi un Only for thereason of,~—avenginghimself one ‘kontro ire tolomes ‘dsunse in tal contro iRe Tolomeo, _giunse in tal against King Tolomeo, he came in such a spitar ‘alma in ‘gwera a spirar Valma in guerra. to breathe forth his soul in war. (remving a seal and handing it to Sesto.) ‘kwesto sidsil tu‘prendi nel pju vitfino —‘speko Questo sigil tuprendi; nel plivieino —_speco This seal take; inthe nearest cave (Take this seals) ‘tfento armati gwernjeri cento armati guerriert ahundred armed warriors a kwesto'senno ad —_ubbidir som ‘pronti questo segno ad ubbidir son pronti; at this sign to obey are ready; (are ready to follow your orders at the sight of this seal;) kon ‘kwesti pwoi per sotterranea ‘via con questi puoi per sotterranea via with thesemen youcan by —asubterranean way penetrar ‘nella ‘reddsa e — imtreve ‘dora penetrat nella reggia, e —— inbreve dora penetrate the palace and inbrief time ‘torre allempjo kornelja torre all'empio Cornelia; wrest from that wicked man Cornelia; © insjeme far ke —vendikato io e — insieme far che vendicato io and at the same time cause that avenged I ‘dsomo giorno ‘notte anight ‘mora mora, may die.Giulio Cesare, Act IIT (He dies. Cesare comes forward and takes the seal from Sesto.) NIRENO spiro ‘llalma il felon Spird alma fell He breathed his last, the traitor. SESTO tu'skaffa ——intanto il ka'davere Tuscaglia _intanto’ il cadavere Throw in the meantime the cadaver del traditor nellonde del traditor nell'onde. of that traitor into the sea. CESARE ‘affa ‘kwesto sidsillo Lascia questo sigillo. Letmehave this seal. SESTO 9 ddei Oh Deit Oh gods! CESARE ke ‘vedd30 Che —veggio? ‘What dol see? SESTO sinnor Signor! My Lord! CESARE tu 'sesto Tu Sesto? You, Sesto? SESTO 327 indenno worthless e'kkome Vivo ‘tfezare e illezo tisottrasti ‘alla parka Ecome vivo, Cesare, eillleso tisottrasti alla Parca? Andhow, alive, Cesare, and unharmed did you escape from the Fate? io fra. ‘Tonde nwotands al Tido To fra onde nuotando = al_—ilido. T among the waves, swimming, to shore non ti turbar miportero ‘alla ‘reddsa non titurbar, mi porter} alla_reggia Don't bealarmed, Ishallgo tothe royal palace, ‘dgunsi giunsi, arrived.328 Giulio Cesare, Act III © maprico kkon tal sitdsil liggresso e — m'aprird con tal — sigil Vingresso. and —Ishall gain for myself with this seal the entrance. (and gain for myself entrance with this seal.) ‘teko niren mi ‘segwa Teco Niren mi segua; With you ——_‘Nireno should follow me; oke toro ‘alla ‘sorte kornelja =e ——kleotpatra Oche torrd alla sorte Cornelia e—Cleopatra, Either T save them (from theit) fate, Comelia and Cleopatra 0 ato la ‘morte o avd Ja morte. or shall have death. ARIA CESARE kwel torrente ke ‘kade dal ‘monte Quel torrente che cade dal monte The torrent that falls from the mountain ‘tutto atterra kinkontro Io sta tutto atterra ch'incontro losta. everything sweeps that in its way stands. ‘ale aykio a ki oppone la fronte Tale anch'io a chi oppone Ia fromte; So alsol towards who opposes my countenance; (So do I to whoever stands in my way;) dal mio ‘brands atterrato sara dal mio _brando atterrato sara. by = my sword felled he will be. (He leaves. Sesto and Nireno enter.) SESTO ‘tutto ‘itfe sperar ‘Yfezare ‘vive Tutto lice sperar, Cesare vive. Everything gives us cause to hope; Cesare is alive. NIRENO ‘ ‘segwi © 'sesto i swoi ‘passi Segui, 0 Sesto, isuol _passi. Follow, ohSesto, his. steps. SESTO akillaestinto or sike iltfel komintfa Achilla estinto? Or —siche ilciel comincia Achilla dead? Now indeed, heaven is beginningGiulio Cesare, Act IT 329 a far lemie venidette = si_——smi tditfe il ‘kore a far lemie vendette. © Si,_—midice core, to wreak my — vengeance. Yes, _tellsme my heart, ke mio sara il dezitato onore che mio sara il desiato onore. ‘that mine shall be that desired honor. (My heart tells me that the desired honor shall be mine.) ARIA SESTO la dsustittsja a ga suillarko Lagiustizia ha gid sull'areo Justice has already on its bow ‘pronto ‘strale ‘alla vendetta per putnire un —_traditor Pronto strale alla vendetta’ © per pumire un _traditor. aready arrow for vengeance to punish a_— traitor. ‘ewanto © tarda la saetta Quanto 2 tarda Ia saetta However iste the arrow ‘tanto piu krudele aspetta tanto pia erudele aspetta 80 much more cruel awaits la sua ‘pena un ‘empjo kor lasua pena un — empio cor. its punishment a wicked heart. (However late the arrow is, even more cruel the punishment awaiting a wicked heart.) (He leaves with Nireno. The scene changes to Cleopatra's apartments. Cleopatra is seen with ther maidens, surrounded by guards.) RECITATIVO ACCOMPAGNATO CLEOPATRA voi ke mie fide antfelle un ‘tempo oste Voi, che mie fide ancelle untempo _foste, You, who my loyal maidservants once were, or —lagrimate im van pju mie non ‘sjete or —lagrimate in van; pla mie non siete. now you weep —_—in vain; il ‘barbara dgermano Tl barbaro germano, My barbarous — brother, a me_—_vitokke e a me_—vitoglie, © e from me takes you, and (takes you from me and will kill me.) no longer mine you are. ke — miprivo —del_—renno che miprivd —del_—regno, who deprived me of my kingdom, ame tora la vita a me tora la vita, from me hewilltake my life.330 (A noise of weapons is heard within.) Giulio Cesare, Act IIT ma wal ‘strepito ‘darmi Ma qual strepito @'armi? But what (is that) noise of weapons? a sip mie non ‘sjete ahs, pik mie non siete, ah yes, nolonger mine _-youare, spirar ‘alma Kleopatra or or veldrete spirar Yalma Cleopatra or or vedrete. breathe forth her soul, Cleopatra very soon —_you shall see. (you will very soon see Cleopatra breathe forth her soul.) (Cesare enters, an unsheathed sword in his hand and followed by soldiers.) CESARE fortsai liggresso = a—stua’_—ssallvettsa © ‘kara Forzai Vingresso a tua salvezza,—ocara. T forced amentrance for your rescue, ‘oh dearest. CLEOPATRA ‘Yezare © urvombra. sei Cesare, © — un'ombra sei? Cesare, or —_aghost are you? (Are you Cesare, or a ghost?) CESARE (to Tolomeo's soldiers) ola partite mai ‘empi_ ministri ont partite omai, empi ministri Ho there! Leave now, wicked ministers dun tiranno spjetato d'un tiranno spletato; ofa tyrant pitiless; ‘Yfezare kozi vwol—_‘pronti ubbidite Cesare cosivuol; —pronti ubbidite. Cesare wishes it thus; quickly, obey! CLEOPATRA a ben ti rikonosko amato mio te'z0r9 Abt ben tiriconosco, amato mio tesoro, At, well doTrecognize you, beloved ‘treasure of mine, al valor del tuo ‘brattfo al valor del tuo —_bracclo; bythe valor of your arm; ‘ombra no tunonsei —*fezare amato ombra, no, tunonsei, Cesare amato, a ghost, no, youarenot, _beloved Cesare.Giulio Cesare, Act IIT 331 (She runs to embrace him.) CESARE ‘kara ti ‘striggo al ‘seno Cara, tistringo al seno; Dearest, Teclasp you tomy breast; a —kandgato. == svitfende = ill nostro. «fat hha cangiato —_vicende nostro ——fato. has changed fortunes our fate. (cur fate has changed its fortunes.) CLEOPATRA ‘kome ‘salvo ti ‘vedo Come salvo tivedo? How _ safe (and sound) do see you? (How is it I see you safe and sound?) CESARE ‘tempo a'vro di zvelarti Tempo avrd di svelarti Time Ishallhave to _reveal to you ‘oni askoza katdgon det viver ‘mio ogni ascosa cagion del —_viver mio; every hidden reason for my being alive; ‘libera sei ‘vanne frattants al ‘ports libera sei, vane frattanto al porto, free you are; g0 inthe meantime tothe harbor, © le disperse = skjere in un raduna e le_— disperse —schiere inun raduna; and the dispersed troops together gather; kola mmi rivedrai col mi rivedral. there ‘you will see me again. ‘marte mi kjama —allimpreza total di_——_‘kwesto'swolo Marte michiama al'impresa total di questo suolo. Mars calls me toaconquest total of this land. per konkwistar non ke Jedsitto um — ‘mondo Per conquistar = non che TEgitto, un = ~— mondo, To conquer not only Egypt, (but) the world, ‘basta lardir di kwesto ‘petto ‘solo basta Yardir di questo petto solo, suffices thedaring of __this. breast alone. (the daring of my breast alone suffices.)332 Giulio Cesare, Act IIT ARIA CLEOPATRA da tempeste. = il’_—=—lenno. ingfranto ‘Da tempeste —il_—=—degno infranto, By tempests the ~—_—boat broken, se poi ‘salvo ‘dgundse im ‘porto se poi salvo glunge in porto, if then safely itcomes into harbor, (Ifa boat, battered by storms later comes safely into port,) non sa piu ke dezitar non sa pla che estar. doesn't know more what to desire. (ithas nothing more to desire.) kozi il kor tra’_—Ss pene © ©~—pjanto Cosi i cor tra = pene e _pianto, Thus the heart, inits grief and tears, or ke ~—trova_il'suo_komforto or che —trova ilsuo conforto, now that itfinds its comfort, ‘toma ‘anima a bear torna Yanima a bear. restores the soul to iiss. (She leaves. The scene changes to a royal hall, where we find Cornelia and Tolomeo.) TOLOMEO Kornelja == tempo omai ke = tu Cornelia, 2 tempo omai che tu Comelia, it's. time now that you ‘doni_pjetade a oun re ke Tangwe doni pietade a un Re che __angue. show mercy to a King who _languishes (for you). CORNELIA ‘speri inyvano mertfede Speri in vano mercede. Youhope in vain (for) mercy. ‘kome obliar po'ssio lestinto mio kon'sorte Come obliar poss'io Vestinto mio consorte? How to forget can I the dead my consort? (can I forget my dead husband?) TOLOMEO ‘altro tenoffre il repnator —de'dsitto Altro ten'ofre il__~—sregnator =—d'Egitto Another one offersyou the -—ruler of Egypt; (The ruler of Egypt offers you [in himself], another [husband];)Giulio Cesare, Act IIT 333 ‘kara al mio sen_—ti'stringo cara, al mio sen_tistringo. dearone, to my_breast_Tclasp you. (He tries to embrace her.) CORNELIA (repulsing him) 'skostati indenpo e‘pensa ke kornelja romana Scostati, indegno, ——e pensa che Cornelia. = Romana. Move away, worthless one, and remember that Cornelia isa Roman woman TOLOMEO no n9 piu ke —temer ‘tfezare estinto Non ho pli che —_temer; Cesare estinto, Thavenothing more to fear; (with) Cesare dead, Kleopatra —_umiljata or non askolto Cleopatra umiliata, or ~— non ascolto Cleopatra humiliated, now I donot listen ke il mio ‘proprio voller che —ilmio. proprio voler. but tomy own will, (now I give heed only to my own will.) (tries to approach her again) CORNELIA (drawing a dagger from her bosom) se alkun nontemi —‘temi pur —‘kwesto, ‘ferro Se alcun nontemi, temi pur questo ferro, If noone youfear, fear then this dagger, ke a me ‘sola che a me sola for from me alone far del ‘morto_Kkonisorte or la._—svenidetta far del morto consorte or ta —_vendetta. to wreak ofmy dead husband now the vengeance. (for I alone am expected to wreak vengeance for my dead husband.) (As Cornelia runs to attack Tolomeo, Sesto arrives, sword in hand.) SESTO tatresta ° dsenitritfe — amme 0 tiranno T'arresta, 0 —genitricel © A me, 0 tiranno! Stop, oh ‘mother! You're mine, oh tyrant! TOLOMEO (unsheathing his sword) io son tradito ° ‘nnumi To son _tradito, oh Numi! I am_ betrayed, oh gods!334 Giulio Cesare, Act IIT SESTO ‘sappi_ ‘perfido ‘mostro © per tua pena Sappi, perfido mostro, e per tua pena; Lean, perfidious monster, and to your distress, ‘salvo i numi serbar dai tradimenti tfezare invitto salvo iNumi serbar dai tradimenti Cesare invitto, safe the gods kept from the betrayals indomitable Cesare, (that the gods kept the indomitable Cesare safe from betrayals,) e — Klespatra. «ei. folse _dallindsuste katene € Cleopatra el__—sciolse dall'ingiuste catene; and Cleopatra. he ~—loosed_ from her unjust chains; (and that he unshackled Cleopatra from her undeserved fetters;) ei kwi_—sem'vjene io lo pre'korro ei qui_ sen’ viene; fo loprecorro, I he here is coming; came ahead of him, (Pointing to his sword) ‘kjede kwel ‘sangwe ke dovuto a'sesto chiede quel sangue ch’® dovuto a Sesto. asks for that blood that is owed to Sesto. TOLOMEO det ‘folle ardir tipentirai bem ‘presto Del folle ardir tipentiral ben presto. For your mad boldness you will repent very quickly. (They fight; Tolomeo is wounded and falls dead.) CORNELIA or si_ ti riko'nosko ‘fikko del gram —pompeo Or si,_tiriconoseo, fighlo del gran Pompeo, Now yes, I recognize you, son ofthe great Pompeo, eal sen ti ‘stringo e al sen tistringo. and to — mybreast —_Tolasp you. SESTO (contemplating the scene) ‘dsatfe il titranno estinto or ‘padre Giace il _tiranno estinto. Or padre, Lies the tyrant dead. Now father, (The tyrant is lying dead.) situ © ‘winto ai vinto si, tu bench? vinto, hai vinto. yes, you eventhough vanquished, have conquered. (He leaves.)Giulio Cesare, Act IIT 335 ARIA CORNELIA no na piu ke —_te'mere kwestalma —_vendikata Non ha pli che —temere quest'alma —_vendicata, Ithas nothing more to fear, this soul avenged, (My avenged soul has nothing more to fear,) or si sara beta komintfo a ——_respirar or sl sark beats, cominclo a —respirar. now indeed itshall be _iissful, Tbegin to breathe. or vo ‘tutto in —_godere Or vo! tutto in godere Now Iwant everything to —_ enjoyment si‘kandsi il mio tormento si cangi fi mio tormento, bechanged my —_ torment, (Now I wish that all my torments be changed to enjoyment,) ke ‘vano ‘oppi lamento se il tfel mi fa spe'rar ch'évano ogni Inmento —se_ilclel mi fa sperar. foris vain all lament if heaven: allows me to hope. (for all lament is useless if heaven allows me to hope.) (She leaves. The scene changes to the harbor at Alexandria, Cesare, Cleopatra and their suite of Egyptians with trumpets and drums. When the sinfonia has ended, Curio and Nireno ‘enter. Later Sesto and Cornelia also enter, with a page carrying the scepter and crown of Tolomeo.) NIRENO kwikurjo_vintfitor kwi tuo —_ledsitto Qui Curio vincitor, qui tuo —‘Egitto; Here Curio is victor; here yours is Egypt; in kwesto —on'dozo ‘piano ‘fezare ‘oppun akklama in questo —_ondoso plano Cesare, ogaun acclama on this watery plain, Cesare, everyone —_—_acclaims you (as) sinnor del ‘mondo © —— imperator romano Signor del mondo e Imperator Romano. Lord of the world and Roman Emperor. CESARE del suo ido servir ‘premjo kondenno —avra mnireno Del suo ido servir, premio condegno = avr Nireno; For his —_loyal_service,a reward worthy shall have —_Nireno; ‘kurjo dsa_ del tuo forte ‘brattfo sikonoffe il valor Curio, gia del tuo forte _braccio siconosce il —_valor; Curio, already of your strong arm isknown the _—_valor; (the valor of your strong arm is well known to me;)336 Giulio Cesare, Act IIT ma kwi kornelja Ma qui Cornelia? Commelia here? (Cornelia and Sesto kneel.) SESTO sinpor ‘ekko a twoi jedi Signor, ecco a’ —tuol._—piedi MyLord, here at = your feet © di_—ikormelja. =e = di_——ppomipeo il fikko e di Cornelia. «= © =~ di_— Pompeo il figlio; both of —_ Comelia and of Pompeo the son; lies the son of Comelia and Pompeo:) ‘ek la ‘grande offeza del tradimento enorme egii Ia grande offesa del tradimento enorme he the great offense ofthe betrayal enormous vendiko kkol suo ‘brando vendicd col suo brando avenged with his sword (He [Sesto], avenged with his sword the enormous offense,) © tole a tolomeo ‘alma kol ‘sangwe e tose a © Tolomeo —'alma col sangue. and took from Tolomeo _—his soul with his blood. CESARE © mori ttolomeo E mori Tolomeo? And died —Tolomeo? id Tolomeo die?) CORNELIA se ‘sesto im mia difeza ‘pronto non akkorrea Se Sesto in mia difesa Pronto non accorrea If Sesto to. = my — defense soon had not run, di kornelja——_lonor ‘era im perikgo di Cornelia onor era in periglio. of Comelia thehonor wouldhavebeen —in_— peril. (my honor would have been in danger.) CESARE Ta —vendetta = del_— ‘padre © ©«=— ben do'wutaal ~—Tidko La vendetta © del padre @ = ben dovutaal _figlio; The vengeance of his father is indeed owed tohis son; ‘sordsi ‘sesto ed miko al sen _takkolgo Sorgi, Sesto ed amico al sen_t'accolgo. Rise, Sesto, and (asa) friend tomy breast Iwelcome you.Giulio Cesare, Act IIT 337 SESTO ‘omni affetto di fede Ogni affetto di fede Every feeling of faith (They embrace.) CORNELIA dellestinto tiranno ‘ekko i ‘seni reali Dell'estinto tiranno ecco i segni reali; Of the dead tyrant here are the seals royal; (Here are the royal seals of Tolomeo;) ivolgo rivolgo. Tadéress. oar gas atte Hi porgo a te_—dHiporgo. to you I give them. (She gives the crown and scepter of Tolomeo to Cesare.) CESARE bellissima Kleopatra kwel diatdema = ke =‘ mmiri Bellissima Cleopatra, quel diadema = che_—miri, Most beautiful Cleopatra, this diadem that you see, a te saspetta a te_—staspetta; to -you belongs; io te ne ‘tfingo il tine io te ne. cin rine; 1 toyou withit will gird the ‘tresses; (Lwill gird your tresses with it;) reldgina desis datrai ‘norma ‘alle ‘dsenti Regina @'Egitto, — darai norma alle — genti, Queen ofEgypt, __youshall give rule tothe people © Teddse al trono e legge al trono. and law tothe throne. CLEOPATRA ‘Yezare ‘kwesto ‘renno © sol tus ‘dono Cesare, questo regno 2 sol tuo’ dono. Cesare, this Kingdon is alone_ your gift. tributarja —_re'dsina imperator ti adore'ro i toma Tributaria regina Imperator tiadorerd di Roma. Atributary queen, emperor, Ishallrevere you, of + Rome. (Asa tributary queen, I shall revere you as emperor of Rome.)338 Giulio Cesare, Act IIT CESARE amor ki vide mai pju bella ‘kjoma (Amor,chi vide mai pit bella chioma?) (Cupid, who saw evermore lovely tresses?) DUET ‘CESARE, CLEOPATRA ‘karo (bella) piu amabile belta Caro, (bella,) pia amabile belt Dearest one, (lovely one,) a more loving beauty mai non si trovera del tuo bel Volto mai non sitrovera del tuo bel volta; never will be found than your lovely visage. imme (in te) non splende'ra In me (inte) non splender& Inme (in you) will not shine ne amor ne —_fedelta date (da me) diffolto nd amor, ne fedeltd date (dame) disciolto. either love of _ fidelity from you (fromme) —_unbound. Gn me [you] will not shine either love or fidelity unbound from me [you].) (Mine and your love and fidelity shall never be divorced from us.) CESARE ‘goda pur or —_ledsitto im pju—tragkwillo ‘stato Goda pur or —_—‘'Egitto in pit tranquillo stato Letenjoy indeed now Egypt ina — more tranquil state Ja ‘prima fiberta Ia prima Lberta. its first liberty. ‘efezare ‘brama dallluno allaltro ‘polo Cesare brama dall'uno ——all'altro polo Cesare desires, fromone totheother pole Kil gran ‘nome roman ‘spandala fama ch'll gran nome Romanspandala fama. thatthe great name Roman spread its fame. (that the great Roman name spread its fame from one pole to another.) CHORUS ritorni mai nel ‘nostro ‘kore Ritorni omai nel nostro core Letretum now to our heart la bella ‘dsoja ed il pjatfer Ia bella giola ed il placer: the beautiful joy and _—_ pleasure;ritorni ‘ora ritorni ora return now CESARE, CLEOPATRA zgomibrato sgombrato free tfaskun cfascun everyone um bel Un bel (For) a lovely se tw se tu if you kozi sort cosh sortl thus left e sol e sol and only konttento contento contentment sarai sarai will be Giulio Cesare, Act IIT 339 sen ‘donpi dolore sen d'ogni dolore, breast from all grief, a goer a goder. to rejoicing. il sen dga_—_si prepara sen gid siprepara my breast already prepares itself kostante oppor per me costante ognor per me; constant always for me; la ‘dokKa amara Ia doglia amara the pain bitter amor kostantsa ¢ fe amor, costanza ef. love, constancy and _—faith. END OF THE OPERA