325 LE VILLI (THE WILLIS)' Opera in two acts, Libretto by Ferdinando Fontana First performed at the Teatro dal Verme, Milan, May 31, 1884 ‘CHARACTERS Guglicimo Wulf, father of Anna: baritone Roberto, Anna's betrothed: tenor ‘Anna, fianeée of Roberto: soprano ‘A Narrator: speaking part Mountaineers, Willis, Spirits The place is Germany's Black Forest in the 1800's ‘THE PLOT Act I ‘The Black Forest ‘A party is in progress at the home of Guglielmo, father of Anna, to celebrate the betrothal of Anna and Roberto. Roberto has been let a fortune by an unspecified woman from Mainz, and he plans to travel there to claim his inheritance. They all say that although Roberto leaves a poor man, he will return a rich one. After the dance Anna enters holding a bouquet of forget-me-nots, speaking of her love for Roberto and hoping that he will not forget her after he leaves. Roberto assures Anna that he will retum in a few ays. Anna tells him of her deep sadness and her presentiment that she will see him no more. He tries to dissipate her fears and professes his love for her. He asks Guglielmo for his blessing and depart. A temptress lived in Mainz in those days, and Roberto falls prey to her wiles, forgetting his love for Anna, The betrayed Anna awaits the return of her beloved in vain, and as winter ends, she dics of a broken heart By now Roberto has been abandoned by the temptress, and retums repentful and in rags tothe village of his beloved. But as he enters the woods, the Wills intercept him and begin their witches’ dance around him in the midst of the dark forest. They whirl about him in the cold air. ‘According to Slavic legends, Willis (vill), are spirits of girls who have died of heartbreak. They rise out of their {graves at midnight in their bridal dresses and lie in wait fr the careless men to venture into the woods. When one happens by they perform witches dances during which they literally "dance to death” the faithless male offenders.OM a CR, MR Re NUE NRE 3 Peg Te SR ae 326 Act Outside Guglielmo's house Guglielmo in the meantime laments the death of his daughter and vows vengeance on the betrayer. The Willis from afar announce that Roberto has retumed to meet his deserved punishment. He hears Anna's voice from beyond the grave, as she tells him that she is Revenge, and not Love. She recalls the time of their young romance, and reminds him of his promises, and rebukes him for making her die of a broken hheart. Roberto, attracted by her and fascinated by her voice, runs to the outstreched arms of Anna's ghost, ‘who leads him into the woods as the Willis rush at him and dance around him screaming Hosannah? Hosannah! despite his repeated cries for mercy.Le Vill, Act 1 327 ACT A clearing in the forest (To the right is Guglielmo’s humble house, and to the let a path over racky ground that disappears into ‘the forest. A small bridge spans the hollow from one part of the ground tothe other. Its spring. The trees are in bloom and flowers hang low all over. There isa celebration with dancing in progress. A table is set with plates of food, glasses and bottles. Guglielmo, Anna and Roberto are seated atthe head of the table.) MOUNTAINEERS ewiva— evviva i fidantsati Evviva, —_ewviva i fidanzatit Long life, longlife(to) the _betrothed! (Anna and Roberto come forward arm in arm.) ‘della ‘vekkja di maigondza Della vecchia di Magonza Ofthe old woman of Mainz bets eg cereditjer. Roberto & ereditier. Roberto is (the) heir. (The old woman of Mainz has made Roberto her heir.) i texan akkumutati 1 tesori accumulati ‘The treasures accumulated (The accumulated treasures) som ‘molti dawer son molti davver! are many in truth! ‘dunkwe —povers.—_stasera Dunque —_povero_stasera So oor tonight roberts partira Roberto partir’ Roberto will leave (Roberto will leave a poor man tonight) © a spozar = la_—_fidaritsata e© a sposar, =a fidanzata md to many — the -_fianoée °Mainz is a German city on the Rhine river.328 ei tikko ei ricco he rich tomer tornera. will return Le Villi, Act 1 (he will return, a rich man, to marry his fiancée.) i fidantsati ewiva Evviva i fidanzatit Longllife (to) the betrothed! ‘ira ‘sica Gir, gira! Tum, tum! balisa ira toaltsa Bata, gira, balza! Jump, tum, jump! la ‘muzika freme =e dellira, La musica freme —e—_delira, The music throbs. and goes mad, la “dantsa—sospindge ed ingkaltsa la danza_—_—sospinge _—ed_—_incalza! the dance impels. and_ presses on! 2 ‘volano —vapide tore Oh, volano rapide ore Oh, flyby quickly the hours. (Oh, the hours fly by quickly) se il Pjede alla ‘damtsa =e —_—detddser se il piede alla danza = —_—leger! if the foot tothe dance. is.—nimblet (it we dance on nimble feet!) itall> eval dellaimore Whallo —& rival del amore. Dancing is therival_—_of_love. il kore fa ‘batter datwer core fa batter dayver! The heart itmakes beat truly! (it truly makes the heart beat!) ge tbabbo ——_gutaKelmo Ona, babbo Guglielmo! Hey there, father Guglielmot venite voi pure a daritsar voi pure a danzar! you too to dance!Le Villi, Act 1 329 GUGLIELMO ebben —perke =n ‘poffar mis Ebben, —_percht_ no? Poffar mio! Allright, — why not? som ‘vekkjo ma in'gambe_ 9 star Son vecchio, ma imgambe’ so start Tam old, ‘but brisk Tknow how to bel (may be old, but I can still shake a leg!) (Among the laughter and applause of his friends Guglielmo finishes the dance with his partner. Shorily Anna returns with a bouquet of flowers.) ANNA se ‘kome voi pittfina io Se come voi piccina io If like you small 1 were, > yagi for, ‘sempre ‘sempre © vagl for, sempre, sempre oh pretty flowers, always, always vitfina —potrei stare al amor vicina potrei_— stare al mio amor. near Tcould be to my _ beloved. (Lf were tiny like you, oh flowers, I could always be near my beloved.) allor ‘dina vorrei Alor dirgti vorrei Then totellhim I would wi (Then I would like to tell him:) is ‘pemso ‘sempre atte "lo penso sempre ate!” "1 think always of you!” ripeter i potrei Ripeter gli potrei: Repeat tohim could: (could repeat to him:) non ti skordar di me “Non ti scordar di me!” "Do not forget me!" *Essere in gamba means, among other things, “to be brisk", "tobe lively", "tobe capable”. Literally translated it ‘means "to be in leg” which hints at having good legs to do all those things mentioned above, including ofcourse, in the case of Guglielmo, dancing.330 Le Vill, Act 1 vei “i me piu felix Voi, ai me pit fei You, than me more happy (You, who are happier than me) losegwirete 9 for Jo seguiret © for; will follow him, oh flowers; per valli per pen per valli eer pendici through valleys and through slopes segwirete il mio amor | seguirete ilmio amor. | you will follow my beloved a se il ‘wme ke avete ‘Ah, se il nome che _avete ‘Ah, it the mame ——that_-youhave menisomper none menzognero none deceiving nots {Otyour name “forgct-me-not i nota deceiving name) de al mio. amor ripetete deh, al mio. amor ——_ripetete: then to my beloved repeat (then repeat this to my beloved:) nom ti skordar di me "Non ti scordar di me!” "Do not forget me!” (Ama goes to put the bouguet into Roberto's suitcase) ROBERTO (seeing Anna's action, and approaching her smiling) a tio kolta ‘Ah, tiho cdltat ‘Ah, Tye caught you! ANNA w ‘Tut You! ROBERTO (Taking the bouguet from the case, he kisses it, and then puts it back) gratsje ‘anna. mia Grazie, Anna mia. Thank you, Anna mine : cl ia a i iLe Villi, Aet 1 331 ma um —pju dgeritil ——_rikordo Ma un pit ‘gentit ricordo But a more dear token of remembrance is ‘kjederti vorrei io chiederti vorrei. 1 toask you would like (Lwould like to ask you for a sweeter token of remembrance.) ANNA tewale Quale? What? ROBERTO un sorrizo Un sorriso, A smile, (Anna shakes her head sadly.) non 'esser ‘anna mia ‘mesta si tanto Nom esser, Anna, mia, mesta si tanto, Don'tbe, Anna mine, sad so much, (Don't be so sad, my Anna.) passe'ram ‘pki ‘domi =e tomer Passeran — pochi giorni =e tornerd, Will pass afew days and Iwill return, (A few days will pass and I'll be back.) ANNA io tento imjvan di trattenere il panto To tento inven di il pianto. 1 wy invain to the weeping. (Ly in vain not to cry.) 2 ‘una wristetisa ke ‘vintfer non so Ho una tristezzn che vineer non so. Thave a sadness-— that ‘overcome I don't know how. (L-don't know how to overcome this sadness that I feel.) oski prevadsi mi urban la ‘mente Foschi __presagi mi turban la mente, Dark resentiments me disturb the mind. (My mind is disturbed by dark presentiments.) mi par kio ‘non ti debba pu velder Mipar ch'io ‘non ti debba pit veder! Itseems tome that I not you must ever again see! (feel that I shall never see you again!)332 Le Villi, Act 1 ROBERTO ‘Anna! ‘Anna! ANNA, stanotte —soippai Stanotte _sognai Last night I dreamed ke — msrente —_tattertdevo che morente —_'attendevo. that dying awaited you ROBERTO suvvia ‘kwali penisjer Suvviat Quali pensier! Come now! What thoughts! ‘pensa vetfe ai di ‘et Pensa invece. =a di lieti Think instead of the days happy (Think instead of the happy days) ke destino {fi promete che ildestino ci promette, that destiny us__promises, beninno al nostro amor benigno —al_—nostro. amor! benign = tour love! (Think instead ofthe happy days which benign destiny has in store for our love!) ANNA ma ‘mami Ma... m'ami tu But... do you love me ROBERTO mio kerrbino Mio cherubino, My angel, davver davver? uly? perke dellamor mio ‘dubiti perché —dell'amor mio dubiti why of my love doubt you (Why do you still doubt my love, my ange!?) tu dellinjfantsja_ mia Tu delf'infanzia = mia You ofthe childhood mine Ie die dividesi ¢ le katetse Te gioie dividesti ele carezze. the joys shared andthe caresses. (You shared the joys and caresses of my childhood.) arjkor ancor? still?Le Villi, Act 1 date save copia Da te — soave © pia From you gentle and-_virtuous one ‘della vita le dottfettse della vita le doleezze. of life the sweetness. (of the sweetness of life.) ‘ero powers oe ow laffetts mio Ero over, oe tw Vaffetto ‘mio Twas oor and you the affection mine piu ‘domni riko volesti —predsar pia d'ogni ricco volesti regia. more than any rich man's wished to prize. (Lwas poor, but you prized my affection more than any rich man’s.) a ‘dubita di ddio Ah, dubita di Dio, Ah, doubt man dellamormio non dubitar no, dell'amor mio non dubitart but no, of my love don't doubt! (You may doubt God, but no, do not doubt my love!) io tams Tot'amot love you! ANNA doltfi e soavi atifenti de Dolei © soavi accenti, deh! Sweet and gentle words, pray, vi skotpite nel mio. mest kor viscolpite nel mio mesto cor ‘engrave yourselves, in my sad heart e nei ‘oski ‘momenti — dellatteza e nei foschi _ momenti__dell'attesa and inthe dark ‘moments of the waiting allevjate ilmio dolor alleviate ilmio —_— dolor. soothe = my arief ‘doltfi e soavi altfenti Dolei © soavi accenti, Sweet and gentle. words, 333334 Le Villi, Act 1 2 ‘kwante volte il Yabbro mio oh, quante volte ilabbro* mio ‘oh, howmany times my lips vi de mormo'rar vi dee mormorar: toyou shall murmur: (Oh, how many times shall my lips murmur to you the sweet and gentle words) a ‘dubita di ddio "Ah, dubita di Dio, "Ah, doubt " many del amor mio ‘non dubitar ‘ma no, del amor mio non dubita but no, of my love don't doubt! io tamo Tot'amo! Hove you! (The mountaineers return with Guglielmo) MOUNTAINEERS presto presto = im —_Vjadds Presto! Presto in’_—_viaggio! Quickly! Quickly in-—_-voyage! (Quickly, quickly be on your way!) © ora di partir Born = di_ parti: Its thehour of departure! (its time to leave!) priake il dsokondo ‘raddso, Priache il giocondo_raggio Before the happy ray del ‘sole ‘abbja a zvanir si'parta del sole abbia asvanir si parta! ofthe sun hhas disappeared let's leave! (Let's be on our way before the last happy ray of sunshine has disappeared!) ROBERTO ‘anna koradds9 ‘Anna, coraggio! ‘Anna, courage! “Labbro means "lip". The plural form is labbra. In poetry itis used quite often instead ofthe more common, word for "mouth, bocca. I! mio labbro in this case means "my mouth” or "my lips".Le Villi, Act 1 335 ANNA, io mi'sento motir To mi sento morit [feet 'm dying! MOUNTAINEERS (to Roberto) ‘della foresta al Timite noi verrem kon te Della forestall noi verrem conte, Tothe forests edge we willleome with you. ROBERTO (10 Guglielmo) ‘padre mio bene'ditetfi Padre mio, beneditecit Father mine, bless ust GUGLIELMO Tt kwi intomo ame Tutti qui intorno ame! Everyone here around me! (Anna and Roberto kneel atthe feet of Guglielmo, as all look on.) ‘andsol di ddio Angiol = di Dio ‘Angel of God ke i vamni——rivoldsi_ altel sta'sera che i vanni—rivolgi al’ ciel stasera, that the wings -youspread to heaven tonight, (Angel of God who will spread your wings to heaven tonight,) veka iewesta. —_pregiera reca questa’—_—preghiera bear this prayer al won del sinnor al trono del Signor! tothe throne = ofthe. Lond! ANNA, ROBERTO, GUGLIELMO- sia Propittsjo il ‘ka'mmino sia propizio il cammino Maybe favorable the way (May the tip be good) ad‘opni _pelletgrina ad ogni —_pellegrino! toevery pilgrim! non ‘serbi dizigganni Non serbi disinganni May itnot hold disappointment336 Le Villi, Aet 1 ‘onni ‘sonpo_damor ogni sogno —d'amor! every dream of love! (Let every dream of love be free from disappointment!) eka ‘kwesta—_pregjera Reca questa. —_preghiera Bear this prayer al trano det sippor al trono del Signor! tothe throne of the Lord! (Guglielmo embraces Roberto, then Roberto embraces Anna and shakes hands with the mountaineers.) ROBERTO ‘padre ‘anna aiddio Padre, Anna, —addio! Father, Anna, farewell! ANNA, GUGLIELMO AND MOUNTAINEERS, aiddio roberts alddio Adio, Roberto, add Farewell, Roberto, farewell! (Roberto leaves, accompanied by a few friends.)Le Villi, Intermezzo 337 INTERMEZZO First part: The Abandonment ‘THE NARRATOR di kwei ‘domi = a—smagondza una sirena Di quel giorni =a Magonza una sirena In those days in Mainz = a—_temptress i vekki © i dsovinetti affaffinava i vecchi =e i giovinetti affascinava, the oldmen andthe young boys bewitched. (a tempiress bewitched men, young and old.) ‘ella trasse roberta alllordga_—_ffena Ella trasse Roberto all'orgia —_oscena She lured Roberto tothe orgy obscene © laffetts per ‘anna. aw obliava © Paffetto per Anna avi obliava, and the affection for Anna he there forgot. (and there he forgot his love for Anna.) intanto afflita da ineffabil pena Intanto, aMitta da ineffabil pena, Meanwhile, afflicted by ineffable anguish, la fanitfullatradita. Ip aspettava la fanciulla —tradita lo aspettava. the gir betrayed waited for him. (the betrayed girl waited for him.) ma imjvan——latteze ed al kader = del 'vemo Ma invan ‘attese, ed al cader = del_verno But invain she waited for him, and at theend = of_—_ winter ‘ella Kjudeva al sonno ete ella chiudeva al sonno eterno. she closed ——hereyes. in sleep ‘eternal, (she closed her eyes and died.) (Behind a veil, one can see the funeral cortege of Anna leaving Guglielmo's house.) CHORUS OF WOMENS' VOICES kome un 'dsikfo——retfizo Come un _giglio reciso Like a iily cut down, Ydento daar ‘dsatfe dentro la bara since. inside the coffin she lies.338 Le Villi, Intermezzo ‘raddso di tuna © il kantdor del s00‘vizo Raggio di uma @ il candor ~—del_— suo _viso. Any ‘of moon is the whiteness of her face. (Her face is as pale asa ray of moonlight.) 2 ‘pura ‘virgo rekwieffe im ‘patfe © pura virgo, requiesce in’ pace. Oh pure virgin, rest in peace. ‘Second Part: The Witches’ Sabbath ‘THE NARRATOR ve ‘nella selva era ‘una ledddsenda ve nella Selva Nera ‘una leggenda ‘There is inthe Forest’ «= Black = a_—_—legend (There is legend in the Black Forest) ke elle ‘villi Ja Ieddgenda © © deta che delle Vill la leggenda —detta, that of the Willis the legend is called, (that is called the legend of the Willis.) ea sperdsuri amor ‘swona-=——stre'menda eal spergiuri d'amor —sona_——_tremenda. and tothe faithless lovers sounds terrifying, (and it tevifies faithless lovers.) se mwor amore kwalke-—_dyovinetta Se muor d'amore qualche _giovinetta, dies oflove some ‘young girl, (fa young girl dies of love,) ‘nella ‘selva onpi ‘notte Ja tredsenda nella selva ogni notte la tregenda inthe forest every night the witches’ Sabbath vjene a damtsare =e = il traditor: «wi aspetta viene a damzare ei traditor vi aspetta. shecomes to dance andthe traitor. there awaits. (he comes tothe forest every night to dance the witches’ Sabbath and wait forthe betrayer.) poi se likontra kon Poi, se Tincontra, con Then, if shefindshim, with © ‘olla oga del ecolla foga del and withthe energy of the or per roberts ‘venne Or per Roberto venne Now for Roberto there came Ini dantsa =e tride lui damza ede hhim shedances and laughs dantsar —utfide danzar —uccide. dancing, she kills him, un triste ‘dsomo un triste giorno, asad day.Le Vill, Intermezzo sirena in “fentfi_—_abbandoinato sirena in cenci abbandonato siren in rags abandoned (Afier the siren had abandoned him and left him in rags) ‘eksi “alla ‘selva perso. «far ritomo gli alla selva pens he tothe forest thought to retumn, (he thought to return tothe forest.) © kwesta notte appunto ei ve. © questa notte. = appunto civ ‘and this night hhe has there dba nel ‘bosko —sa'vantsa_—_inttorno initorno Git nel bosco —s'avanza;__intorno, intorno Now jintothe woods. ——heenters; around him riddan de nel act dyelato riddan le nel ner gelato. whirl the inthe air icy (he Willis whirl inthe iy wind.) ei remand di redo | edi patra. Ei, tremando di freddo di paura, He, trembling of cold and of fear, © da nel 'meddz> ‘della ‘selva e gia ‘nel mezzo della selva is alre inthe middle of the forest 339 tornato tornato. returned. oskura, dark. END OF THE INTERMEZZO.340 Le Vill, Act 11 acti : ‘The same forest as in Act I, but in winter | (tis night and the bare trees are heavily hung with snow. There is a calm and starry sky, and the moon shines on the somber surroundings. The Willis come to dance, preceded by the will-o-the-wisp’, which spring from all sides and pervade the stage.) ‘i (Guglielmo sits, grief stricken by the door of his house ) GUGLIELMO no possibil none No, possibil non é No, possible —_itisn't (No, it isn't possible) ke imvenditata resti la kolpa sua che invendicata resti la colpa sua that unavenged shouldremain the guilt hist (that his guilt should remain unavenged!) vivea beata = © = trakwilla Vivea beata © tranquilla She lived happy and peaceful al mio janko = lamia = doltfe. “fF KKola al mio fianco — Iamia_—dokee figliola, a my side, my sweet daughter, ed ‘eASi venne =e olla sua parla datmor ed egli venne, —e —colla sua parola amor and he — came, and with his word(s) __ of love le zmanje in’ dei dest Fe smanie inet destd. the craze inher awakened (he awakened in her the craze of love.) Ki ‘dunkwe 9 fellerato Chi dunque, 0 _scellerato, Who then, oh villain, ki tuo ti kjeze chi tuo tichiese? who thelove yours from you asked? (oho asked you for your love?) Will-o-the-wisp” can refer to lightning-like luminaries or imp-like demons. In modem terms it can also refer to ‘any thing or any person who misleads, eludes, or deceives. In this case they appear to be a combination ofthe astBN ‘kwali onsbili Quali orribili What horrible offeze offese Le Vill, Act 1 tabbjam tabbiam offenses have to you per utifider _kwellandselo per uccider _quell'angelo to kill that angel © 'akki estemi —mjei ‘dsomi © agli estremi miei giorni and to the lastof my days serbar kotanta——ayjgoffa serbar _cotanta__—_angoscia? bring somuch anguish? mai fatto noi mai fatto noi ever we done 34 (What horrible offense have we ever inflicted on you, that you should cause the death ofthat angel and sadden the remaining days of my life with so much pain?) no possibil none No, possibil non & No, possible it isnt (No, it isnt possible) ‘rest ‘kolpa resti colpa should remain guilt ke imyendikata che invendicata that unavenged (that a guilt so great should remain unavenged!) ‘anima santa ‘della Anima santa della Soul holy of the (Holy spirit of my daughter,) se la le'ddyenda ‘delle se la leggenda delle if the legend of the de non ‘esser deh, ‘non esser then, dont be ma kwi lattendi Ma qui Vattendt But here await him sio potessi ——_saperti Stio potessi _saperti If1 could but know (that you) were avenged jet salute'rei lieto saluterei happily would salute fikKa mia fighia mia, daughter mine, villi e villi é Willis is kon Iui—_kwal con ui, qual with him as al ader al cader atthe falling vendikata vendicata ukimo di Yultimo di. my last day. % ‘vera vera, true, “fost fosti, ‘you once were, ‘della sera della sera, of the evening. pia pia, mercifil3a Le Vill, Aet It a perdona —sipnor idea spjetata Ah perdona, Signor, idea spietata ‘Ah forgive, Lord,” the thought pitiless ke dal mio kor ke ‘sangwina —frddsi 7 che dal mio cor che sanguina —fuggl. which from my heart that bleeds has issued forth. (Forgive, oh Lord, the pitiless thought thet has issued forth from my bleeding heart) (He goes back into the house.) THE WILLIS (from offstage) ei dgundse Ei giunget He is coming! . ‘anna 4i'morte ‘alla kontdanna Anna! Dimorte alla condanna, ‘Anna! —--‘Todeath__ condemned, ei viene il traitor ci viene = il rt he — iscoming, the traitor! (Anna, the traitor who condemned you to death is coming!) ‘ekkolo sawvitfina Eecolo s‘avvieina, Here he is, he's nearing, su dannato kammina Su, dannato, cammina! Come, damned one, walk! (Roberto appears on the bridge and comes closer.) ROBERTO (‘o himself) ‘ek la kava Ecco Ta casa, Here is the house. dio ke oirenda ‘notte Dio, che orrenda —_notte! God, what horrendous night! ‘strane “vorfi minisegwon Strane ——_voci Stange voices. —_followme. le ill ewia Le Vili, cevviat The Willis, away with you!Le Vill, Act IT som ‘ole Son fole! Theyre imaginings! (He comes down.) ‘delle No, delle No, ofthe ‘me non _persegwita me non perseguita me not pursues la vendetta la vendetta the vengeance (No, I am not being pursued by the Willis’ fatal vengeance!) sol minsegwi rimorso—‘vipera_—_imfernal Tu sol m‘insegui, rimorso! Vipera infernal! You alone ‘pursue me, remorse! Viper infernal! (Remorse, you alone pursue me like an infernal viper!) vipera dal veleno _inyfernal Vipera dal veleno infernal! Viper ofthe poison infernal! (Viper of infernal poison!) toma ai felitfi di Torna ai fei di Retums tothe happydays i mio pensjer itmio _pensier. my thought (My anguished thoughts return to the happy days.) ridean del ‘madds>_— i for Ridean del_-maggio —i_—_fior, Laughed of May the flowers, (The flowers laughed in May,) foria lamor ——fidtia per me la'mor fioria Famor, —fioria per me amor! bloomed love, bloomed for me love! (love bloomed, and it bloomed for me!) or ‘tutto sikopri di tugubre mister Or tutto sicopri di Iugubre mister Now all iscovered with lugubrious mystery ed io mono el kor ke — wisteusa ed io nel cor che tristezza and I don'thave _ in the heart but sadness (and I don't feel anything in my heart but sadness and terror!) e and terror terror! terror! 343forse vive Forse ella vive! Perhaps she lives! (He looks towards Anna's house, then goes tov buissjam Bussiam! Let us knock! He tries to knock, but retreats, as if held back torivido mi ‘kolse brivido mi colse! shudder has pervaded me! ivan di ‘kwella’ Soka Invan di quella-—_soglia. Invain on that threshold tentai sul limite levar tentai sul limite levar Itried at the ed tor Le Vili, Act Il (Ltried in vain to raise my hand to the edge of her threshold!) THE WILLIS su dannato kammina Su, dannato, cammina! Up, damned one, walk! ROBERTO pur dintender pari Pur d'intenderparmi Yet hearing _it seems tome (Yet it scems to me I hear) davvero uy ‘Kanto lugubre davvero un canto lugubret indeed =a chant lugubrious! (He kneels, exhausted, as ifto pray.) 2 ‘sommo —_iddio del mio © sommo —Iddio,-—del_— mio Oh God, of | my del mio destin —kweste la del mio destin —quest'’— la of my destiny thisis. the mighty Lord, this is kaimmino life's path, meta end 1¢ end of my life and of my destiny!)Le Villi, Act It fa ke perdono la ‘renda Fa che perdono larenda Cause that her forgiveness ‘may make her tun ‘solo istante © poi un solo istante © poi fone single instant — and then (Fd give my life for her to forgive me and be happy!) Aeaping to his fee pregar mam _posso Pregar non posto! Pray not Tecan! (Leannot pray!) a maledeto il dike antdai——ontan ‘Ab, maledetto il di che andai_—_tontan Ah, cursed be the day that’ left faraway maledeta sia lata bellettsa Maledetta sia latua —_bellezza, Cursed be your beauty, ° kortidsana © cortigiana oh courtesan vilet maledetta in etem> —_—maleideta Maledetta in eterno, Cursed in etemity, cursed! ‘THE WILLIS kammina — kaimmina Cammina, cammina! Comeon, walk! ANNA (from offstage) Roberto! ROBERTO fel Jasua —votfe.——tdugkwe ‘morta Get! tnsua_— yore! dunque morta Heavens! Her voice! Then dead (Heavens, her voice! Then she isnt dead!) ANNA (appearing on the little bridge) non son piu lamor Non son pitt amor, Tam no longer Love, tjeta lieta happy di kwi di quit from here! non & she isn't!346 Le Vill, Act son la venidetta son Ia vendetta! Tam Revenge! ROBERTO (falling onto.a stone) gran di Gran Di Great God! ANNA rikordi kwelke — ditjevi Ricordi quel che dicevi Do you remember what ‘you said nel ‘meze dei fori nel mese dei fiori? inthe month of _ flowers? uw dellinjfantsja mia Tu dell'infanzin mia "You ofthe childhood mine Je dsoje dividesti ee cttse le gioie dividesti © le carezze; the joys shared andthe caresses (You shared the joys and caresses of my childhood:) dat ave epia impatai da te soave = e_—soépia imparai from you, gentle and virtuous one Tleamed ‘della vita le dottfettse della vita le doleezze! of life the sweetness! (ofthe sweetness of life.) a dubita di ddio Ah, dubita di Dio, ‘Ah, doubt God, ma n> dellamor mio non dubitar ma no, dell'amor mio non dubitar but no, of my love don't doub (but no, do not doubt my love.") tamai mi tradisti Tamai. mi tradisti Toved you, ‘you betrayed me, tateri e ‘nom venis Tiattesi... e ‘non venist waited for you... and you didn' come.Le Vill, Act 1 347 mae wemends dolore Ma @ — tremendo dolore But itis aterrible pain (But tis teribly painful) in silentsjo__sofftir in silenzio _soffrir! in silence to suffer! ‘sentsa ——sperantse in kwore Senza speranze in cuore Without hope in (my) heart mi fatfesti moti mi facesti ‘morirt youmademe die ROBERTO la skordai io tradita La scordai, "ho tradita, | forgot her, Tetrayed her, © per me perde vita | © per me perdé vi and forme shelost her life. (and she died on account of me.) € temends il dolore @ — tremendo il dolore its horrible the pain mi tocea —_soffrir. Ah, Ah, ke mi tokka —sofir che that Thaveto suffer. kol rimarso nel ‘kware | Cot rimorso nel cuore With remorse inmy heart jo mi sents morir jo mi sento morir! I feel I'm dying! (Roberto goes to Anna as if impelled by an unknown force. Anna opens her arms and draws him to her, while the Willis gather around and dance furiously, then disappear.) SPIRITS (from offstage) kwi noi taspettjam traditor Qui noi taspettiam, ——_tradito Here we await you, betrayer!348, Le Vill, Act 11 da noi non attender —pjeta Da noi non attender —_pietat From us don't expect. pity! SPIRITS AND WILLIS ki im ‘vita fu ‘sordo allamor Chi in vita fu sordo all'amor Who in life was deaf tolove im ‘mone perdono nana in morte —_perdono non ha! in death pardon —_ does not have! (He who in life was deaf to love does not deserve forgiveness in death!) traditor _taspe'tjam aspettiam! ‘we await you! (Roberto, terrified, goes to knack on Guglielmo's door. He sees Willis pursuing him, and tries to escape, only to have his way barred by Anna, who grasps him and drags him into the wild dance of the Willis.) ROBERTO (falling exhausted at Anna's feet) ‘anna Pieta Anna, peta! ‘Anna, me ANNA (disappearing) Sei mi Youare mine! SPIRITS AND WIL Osanna Hosannah! END OF THE OPERA