249 LA TRAVIATA Opera in three acts. Libretto by Francesco Maria Piave, based on Alexandre Dumas, fils "La Dame aux Camélias” First performed at the Teatro La Fenice in Venice on March 6, 1853 CHARACTERS Alfredo Germont, lover of Violetta: tenor Giorgio Germont, his father: baritone Gastone, Count of Letoriéres: tenor Baron Duophol, rival of Alfredo: baritone ‘Marchese D'Obigny: bass Dr. Grenvil: bass Violetta Valery, a courtesan: soprano Flora Bervoix, a friend of Violotta: mezzo-soprano ‘Annina, Violetie's maid: mezzo-soprano Giuseppo, a gardener: tenor ‘A peasant: bass Friends of Violetta and Flora, Partygoers, Servants, Maskers ‘The action takes place around 1850 in Paris and environs. ‘THE PLOT ACTI At the house of Violetta Valery, a beautiful Parisian courtesan, a lively party is in progress. Latecomers arrive, including Flora and Baron Duophol, the man who has been supporting Violeta. A few minutes later Gastone, another friend, joins the party with a young man by the name Alfredo Germont. Young Alfredo has been wanting to meet the beautiful Violetta. Gastone reveals that the year before, when Violeta had been very ill, the young man hed shown great solicitude by looking in on the ailing Violetta every day. This both touches and amuses Violetta. A toast is proposed and Alfredo takes up the song. Suddenly seized by a fit of coughing Violetta stays behind as the others go into the adjoining room to dance. Alfredo also stays behind and expresses his concerns about her pace of life and her health. He thon declares his love for her which, he says, began a year ago the moment he set eyes on her. She dismisses the idea but invites him to return by giving him a camelia and telling him to return when it withers. Alfredo is ecstatic. The guests all enter to bid their gracious hostess farewell. When Violeta is loft alone she muses on her conversation with the young man. Could it be true, a reel relashionship, with mutual love? She soon dismisses the idea as folly and insists to herself that her life should be nothing but a dizzying succession of pleasures night and day.250 ACT IL Scene One Several months have gone by and Violette and Alfredo have been living together in a lovely country house outside Paris. Contrary to her own predictions, she has fallen deeply in love with the young man, and their life together is filled with bliss. Violetta has abandoned her former life and now lives in happy simplicity with her young lover. But when Alfredo discovers through Annina, the maid, that Violetta has sold all of her possessions in order to afford their country life, he is upset and ashamed and rushes off to Paris to try to somehow rectify the situation. Giorgio Germont appears and after a gruff few moments, calms down as he realizes that he is in the presence of a woman of some substance. He urges her to give up his son in order not to compromise his family’s name, He fears that his daughter's fiancé may dissolve the engagement if he discoverrs that his future brother-in-law is having an illicit romance with a courtesan. At first Violetta refuses, but the old man's insistence and reasoning finally ‘overpowers her. Brokenhearted, Violetta decides to make the supreme sacrifice. There is a tearful farewell and the old man leaves. Violetta knows that there is only one way to make Alfredo give her up. She goes away, leaving him a letter indicating that she has gone back to ‘the Baron and to her former life. When Alfredo finds the letter he flies into a rage, but his father, having returned to the house, is there to try to restrain him. He urges him to retum to to the bosom of his family in Provence but Alfredo is adamant. He rushes off to "avenge the offense’, as his father helplessly stands by. Scene Two A lavish party is being given at Flora's house. ‘There are dance performances by gypsies and bullfighters. Violetta enters accompanied by the Baron. The entrance of Alfredo startles everyone, but the tension quickly gains momentum as Alfredo challenges the Baron to a game of cards, Violetta is distraught. Alfredo wins a few hands, which enfuriates the Baron. The situation deteriorates even further when Violetta is forced to lie to Alfredo that she loves the Baron, Alfredo denounces her in public, saying that ho now is ready to repay her for having sold all of her possessions for his sake. He hurls a handful of money at her, as she falls to the floor in utter disconsolation. At this point Giorgio Germont appears, berating his son for abusing a woman. Having vented his anger, Alfredo now finds himself in the throes of utter remorse. The Baron chellenges Alfredo to a duel. ACT I Some months have passed and Violetta is lying in her bed, destitute and terminally ill with tuberculosis. She asks her servant Annina to open the drapes and let in some light. She then reads a letter that Giorgio Germont hed sent her, telling her that the duel had taken place, the Baron had been wounded, and Alfredo had gone abroad. Germont also wrote that he revealed Violetta's sacrifice to his son who planned to return to her to ask her forgiveness. It is this thought alone, Alfredo's return, that is keeping the wretched Violetta alive. Soon after, Alfredo does return, but he soon realizes the true state of Violette's condition. Germont arrives as well, but it is all too late. At one point she fools a resurgence of life coming over her, a last spasm of vigor overtakes her and she dies in Alfredo's arms.251 ACTI A salon in Violetta's house (There aro several doors loading to adjoining rooms. There is a fireplace to one side with a mirror above it. There is a richly laid table. Servants aro milling about with trays of drinks ‘and food. Violetta is conversing with the Doctor and some friends. Others are going to ool some guests who are just arriving, among them Baron Duophol and Flora, on the arm of the Marquis D'obigny.) CHORUS I del:linjvito traskorsa e ‘ba ‘ora ‘voi tardaste Dellinvito trascorsa «8 gid Tora. Voi tardaste... Of the invitation _ passed is already —the hour. You are lat (The time of the invitation is already past. You are late. CHORUS I dg3okamamo ‘da ‘flora ¢ dsokando: kwell:lore volar Giocammo da Flora, @ —giocando—quoll'ore_—volar.* We were gambling at © Flora’sand gambling the hours _ flew by. VIOLETTA ‘flora. amitfi ‘la ‘notte ‘ke ‘esta Flora, ami la notte che resta Flora, friends, the night that remains ‘daltre ‘a kwi ‘fate brilslar daltre qui fate brillar... with other joys here youmake shine... (Flora, friends, you make what's left of the night shine here with other joys...) ‘tra Je tattse ‘pju'wiva e = la_— festa Fra le tazze pitviva 8 la festa... Among, the cups livelier is the party... FLORA, MARQUIS € — goder ‘voi potrete E — goder voi _potrete? And enjoy you are you able to? (And are you able to enjoy it?) VIOLETTA ‘lo'wokko —‘al_—pjatfere——matffido eis 'sokKo Lo voglio. Al piacere miaffido ed io soglio Iwentto. To pleasure I entrust mysolf andI am used to 1Volér is the poetic contraction of volarono, the preterit form of the verb volare, meaning to fly. ‘The circumflex accent over the a distinguishes it from volar, which is the infinitive in its truncated form.252 La Traviata, Act I ‘kon ‘tal ~—‘farmako i ‘mali sopir con tal —_farmaco i mali sopir. with that drug my sufferings to soothe. ({ want to. I entrust myself to the drug of pleasure, with which I soothe my sufferings.) ALL ‘si ‘la via said:opija ‘al dsoir Si, lavita ‘addoppia al gioir. Yes, life isdoubled in enjoyment. (Enter Gastone with Alfredo Germont.) GASTONE ‘in al'fredo germo o sippora ‘ekko unaltro ‘ke ‘molto vo'nora In Alfredo Geérmont, oo signore, ecco. unantro. —che_—molto vonora; In Alfredo Germont, oh my ledy, here's another © who much honors you; ‘pokiamitfi a Tui simil ‘sono Pochi amici a tai_—simili sono. Few friends to him similar are. (Thore are few friends like him.) VIOLETTA (giving her hand to Alfredo, who kisses it) ‘mio viskonte mertfe ‘di tal “dono Mio Visconte, _mercd di tal dono. My Viscount, thank you? for sucha) _—_ gift. MARQUIS ‘karo alfredo Caro Alfredo... Dear Alfredo... ALFREDO markeze Marchese... Marquis... (They shake hands.) GASTONE (to Alfredo) ‘to'detto ——_lamista ‘kwisintrettfa ‘al difletto Tho detto, Tamista qui sintreccia al iletto. Itold you, friendship here is joined © to _ pleasure, (The servants meanwhile will have set out the food.) *Morcd is a poetic, antiquated form of "thanks". The usual word is grazie, It resembles its FrenchLa Traviata, Act 1 253 VIOLETTA (To the servants) ‘pronto © i'tutto Pronto & il tutto? Ready is _ everything? ([s everything ready?) mjei ‘kari seddete e ‘al komyvit ‘ke ‘spre ‘onpi ‘kor Miei cari, sedete; é al convito che s'apre ogni cor. My dear ones, sitdown; —_ it's at (a) banquet _—that opens every heart. (My dear ones, sit down. It's at a banquet that every heart opens up.) ALL ‘ben ditfeste ‘le ‘kurese'grete Ben diceste... le cure segrete Well said. the cares secret ‘fuga ‘sempre lamiko likor fuga sempre Tamico licor. dispols always our friend liquor. (Well said...our friend liquor always dispels our secret cares.) (They all sit down in such a way that Violetta is between Gastone and Alfredo. Opposite her are Flora and the Marquis. There is a moment of silence as the plates are passed. Gastone and Violetta speak softly to each other and then:) GASTONE ‘sempre al'fredo a ‘voi ‘pensa Sempre Alfredo a voi_—~pensa. Always Alfredo of you thinks. VIOLETTA skertsate Scherzate? Are you joking? GASTONE ‘egra ‘foste e opi “di kon afanns Egra foste e ogni di con __affanno Sick youwere and every day with anxiety ‘kwi volo ‘di voi kjeze. qui vol, di voi chiese... here herushed, about you he asked... (When you were sick he rushed here every day anxiously to ask about you...) VIOLETTA Yfesssate —‘nukla sonio ‘per ‘ui Cossate. Nulla son io per lui. Stop. Nothing ami to him.254 La Traviata, Act I GASTONE ‘nom virigan:no Non vinganno... Tm not deceiving you... VIOLETTA (to Alfredo) ‘vero © ‘dunkwe Vero ® — dunquo?... True itis then?... ‘nol kom'prendo Nol comprendo, I don't understand. ALFREDO (sighing) ‘si ede ‘ver Si, oglid ver. ‘Yes, itis true. VIOLETTA (to Alfredo) Te ‘mie ‘grattsje vi‘rendo Lo mi grazie vi rendo. My thanks I give you. (To the Baron.) ‘voi batrone nom ‘feste —_altre'ttanto Voi, Barone, non feste _altrettanto, You, Baron did not do as much... BARON ‘vikonosko ‘da unanno soltanto Viconosco da unanno _soltanto. Iknow you since one year only. (I've only known you for a year.) ‘VIOLETTA edei ‘solo ‘da ‘kwalke mi'nuto Ed ei solo da qualche —minuto. ‘And he only since a few minutes. FLORA (softly to the Baron) ‘mexko, ‘fora ‘se a'veste tattfuto Moglio fora so aveste taciuto. Better it were if youhad —_ kept silent. BARON (softly to Flora) ‘me inkre'ffozo ‘kwel ‘dsovin Mé increscioso quel _giovin... I find him annoying, that — young man. FLORA perke a ‘me —_imjvetfe simpatiko Porch3?? A mo _invece simpatico Why? To me _ instead likable (Why? I, instead, find him likable.)La Traviata, Act I 255. GASTONE (to Alfredo) . © tu ‘dunkwe ngnapri ‘piu ‘bokika E tu dinque non apri pia bocca? And you then will you not open any more (your) mouth? MARQUIS (to Violetta) © a madama ke. —“skwoterlo—tokcka = a madama = che scuoterlo-—_tocca. Ttsup to Madame _— that tostirhim is up to. {It's up to Madame to stir him.) VIOLETTA (pouring wine for Alfredo) sara ‘Hebe ‘ke “versa Sard T'Ebe che _ vers Ishall be “Hebe* who pours. ALFREDO (chivalrously) © kio ‘bramo immortal ‘kome_‘kwel:la ; E _ chio bramo immortal come quella. And whol hope immortal as she. (And I hope as immortal as she.) ALL bevjamo Boviamo... Lot's drink... GASTONE © ‘bbarone ‘ne ‘um'verso ne ‘um viva O Barone, ne unverso nun viva Oh Baron, neither a verso nor a toast, troverete —'i,——kwestora’——dguliva trovereto in questora.—_giuliva? will you find at —thishour —_ joyous? (Oh Baron, can't you find a verse or a toast at this festive hour?) (The Baron shakes his head no.) ‘dunkwe Dunque Then eus and Hera, within SHebe, in Greek mythology was the personification of youth. Daughter of, the household she was a serving maid who had the honor of pouring the nectar.26 ALL si sium ridizi Si, si, un _rindisi.* F Yes, yes, a toast ALFREDO ‘lestro ‘nom mairride Lestro non m'arride. Inspiration isn't smiling on me... (am not inspired...) GASTONE e ‘non ‘sei tu ma'estro E non sei tu maestro? And aren't you (a) master? ALFREDO (to Violetta) ‘vi fia ‘grat Vi fia grato? Would it please you? VIOLETTA si Si. ‘Yes. ALFREDO (rising) mileeesto. ‘dga in Sit... ho sia in Yes?... Ihave it already = in’ (my) MARQUIS ‘dunkwe attenti Dunque _attenti... Then pay attention... ALL si alttenti ‘al kantor Si, attonti al cantor ‘Yes, pay attention to the singer. ‘ALFREDO Rbiamo ‘ne ‘jeti kalitfi Libiamo ne! lieti —calici happy goblets La Traviata, Act 1 ‘kor cor. heart. ‘ke la belletsa_—_injfjora che labellezza _infiora; that beauty embolishes; “For those otymologically bent, I cannot resist giving the origin of brindisi, which until recently I ‘came from a Latin root. It comes from Middle High German at the time of the (anded Knights) who upon toasting each other with drink used to say "Ic it to you). ‘The word also exists in Spanish, brindar and in French, brinder.La Traviata, Act 1 287 e ‘la fu'd:dsevol ‘ora volut:ta e la _—fuggevol_ ora volutta. and the fleeting hour pleasure. i'bjam ‘ne ‘doltfi ‘fremiti ‘ke ‘suffita lamore Libiam ne! dolci_fremiti che — suscita Yamore, Let us drink to the sweet trembling that arouses love, (Let us drink to the swest trembling that love arouses,) {Indicating Violett) poike kwellokkjo ‘al ‘kore onmnipotente ‘va poicha quel'ccchio al core onnipotente va. since thateye —to the heart all-powerful goes. (since that eye goos all-powerful to the heart.) amore amor ‘fra i ‘kalitfiv 'pju kkaldi ‘batfi a'vra Libiamo, amore amor fra i calici pitt caldi baci avra. Let's drink, love, love among the goblets warmer kisses shalll have. ALL Ah, libiamo amor fra i colici pitt caldi baci avra. VIOLETTA (rising) ‘wa wo ‘il ‘tempo ‘mio dgokondo Tra voi il tempo mio _giocondo; Among you the time mine joyful; ‘tutto © —— follia ‘nel ‘mondo ‘yo * ke none pjatfer Tutto 2 follia nel mondo cid che. non piacor. All is folly inthe world that which isn't pleasure. (Among you I will share my joyful time. All that isn't pleasure in the world is folly.) godjam fugatfe © ‘rapido Godiam, fugace e rapido” Let us enjoy ourselves, _flooting and quick © il ‘gaudjo &@ il gaudio fs the joy © wm ‘for ke — naffe e — 'mwore gE un fior che —nasce e muore, Its a flower that is born and dies, ‘ne 'pju ‘si pwo goder ne pit si pud goder... nor anylonger canitbe —_enjoyod.. goidjam tfimjvita ‘um ‘fe attfento ——_luzingjer Godiam, cinvita un fervido acento lusinghier. Let's enjoy ourselves, invitesus a feverish == word enchenting. (Let us enjoy ourselves...feverish, enchanting words invite us.)258 La Traviata, Act I ALL a godjam ‘la tattsa ‘il ‘kantiko Ah, godiam... la taza @ —il_—cantico Ah, let us enjoy ourselves, the cup and the song Ja notte abibella e la notte _abbella e the night embellishes and laughter; (Ab, lot us enjoy ourselves, song and cup embellish the night and laughter:) ‘in ‘kwesto para'dizo ‘ne ‘skopra it ‘nwovo ‘di In questo paradiso ne scopra il nuovo di. In this paradiso may we be discovered (by) the new day. (May the new day find us in this paradise.) VIOLETTA (to Alfredo} ‘la ‘vita e ‘nel tripudjo La vita @ nel _—_tripudio... Life is in pleasure... (Life is pleasure...) ALFREDO (to Violetta) ‘kwando ‘non ‘sami ankora Quando non s‘ami ancora... When one hasn't loved yet... VIOLETTA (to Alfredo) ‘nol ‘dite a ‘ki lippora Nol dite a. chi ignore, Don't speak of it to onewho —doesn't know it. ALFREDO - ‘il 'mio destin koi E il mio destin cosi... Is my —_ destiny thus... (That is my destiny...) ALL 7 Godiamo...la tazza ¢ il cantico, la notte abbella ¢ il riso, etc. (Music is heard coming from another room.) ALL ‘ke ‘tp che cia? What is that? VIOLETTA ‘non gradirete ‘ora ‘le ~— ‘dante. Non gradirete ora le danze? Wouldn't you enjoy now the dances? (Wouldn't you all like to dance now?)ALL ‘oil Oh, il Oh, the VIOLETTA wffamo Usciamo Let us leave, La Traviata, Act I 259 dsenitil pen'jer ‘tutti attfettjamo gentil pensier!.... tutti accettiamo. pleasant thought!) «= We all accept. “duykwe dunque... then. (They all start to loave but Violotta suddenly turns pale.) oime Ohimat, Alas! ALL ‘ke Che avvete avete? What is wrong? VIOLETTA ‘nulla Nulla, Nothing, ALL ‘ke Che What ‘mai mai ever ‘nulla nulla, nothing. varnresta varresta? makes you stop? (What is stopping you?) VIOLETTA uffamo Usciamo... Let us go... (She takes a few steps but is again forced to stop and sit down.) odio Oh Diol, Oh God!... ALL aykora ancora! Again! ALFREDO ‘voi Voi You so'ftfrite soffrite. are suffering.260 La Traviata, Act I ALL > Yel ‘ke ‘kwesto Oh iol! ch questo? Oh heaven! = Whatis —_—_ this? VIOLETTA ‘un ‘tremito ‘ke Un tremito che A trembling that ‘fra ‘poko anykio sairo Frapoco —_anch'io sard. Shortly also 1 will be there. ALL ‘kome bramate Come bramate. As you wish. pa'sisate (They all go into the other room except Alfredo, who stays behind.) VIOLETTA (looking at herself in the mirror) 2 ‘kwal_paltlor Oh —qual_ pallor! Oh, what pallor! (She turns and soos Alfredo.) kwi Voi qui? ‘You here? ALFREDO Yessata € ~—Tansja ‘ke ‘viturbo Cossata, & — Tansia cho vi tuba? Passed has the anxiety that upset you? (Hes the trouble that upset you passed?) VIOLETTA ‘sto 'mekAo Sto meglio. I'm better, ALFREDO a iy_—skotal_ ‘gwiza vutsfiderete Ah in cotal_guisa Vuceiderete. Ah, in this fashion you will kill yourself... aver "ve 'dwopo ‘kura dellesiser ‘vostro Aver ve d'uopo cura dell'essor vostro... Tohave —_is necessary for you care of the being yours... (You must take care of yourself...)La Traviata, Act I 261 VIOLETTA e ‘lo potrei E lo potrei? And how can I do it? ALFREDO o'se ‘mia ‘foste kustode vekKke'rei Oh! se mia foste, custode _veglierei Oh, if mine you were, protectfully I would watch ‘pe ‘vostri so'avi ‘di pe’ vostri soavi_ di. over your gentle days. (Oh, if you were mine, like a guardian I would watch over your peaceful days.) VIOLETTA ke dite a forse atkcuno ‘kura dime Che dite?... Ha forse alcuno cura di me? What are you saying?... Has maybe anyone care for me? (What are you sayin, Does anyone really care for me?) ALFREDO perke mne'sisuno ‘al ‘mondo ‘vama, Porch nessuno = al_—s mondo vam... Because no one in the world loves you... VIOLETTA ne's:sun Nessun’ No ons ALFREDO ‘wane soli Tranne sol io. Only Talone. VIOLETTA (laughing) ‘hie ‘vero ‘si. ‘grande amor dimentikato a'vea Glia vero... Si grande amor dimenticato avea. That's tru Such grat love forgotten —_‘I had, ALFREDO ridete e Ridetel... e You're laughing VIOLETTA ‘un kor ‘si forse e ‘a kke ‘lo rikjedete Un * cor?... si... forse... @ ache lorichiedete? A hoerf?.. yes... maybe. and why are you asking? "ve va un ‘kore voi vhaun core? you ther'sa —_ heart?La Traviata, Act I fo fosise ‘nom potreste alhlora tfelljar cid fosso non potreste allora coliar. so it were you wouldn't be able to then mock. (Ah, if it wore so, then you wouldn't be able to mock...) 262 ALFREDO ae Ab se Ah if VIOLETTA ‘dite Dite Speak you ALFREDO davivero davvero? the truth? ‘io ‘nom virygan:n> Jo non vinganno. 1 ‘am not deceiving you. VIOLETTA ‘da ‘molto e ‘ke ‘mi amate Da molto é che mi amate? A long time isit thet you lave me? ALFREDO a'ssi ‘da unan:no Ah si, da un anno, 7 Ah yes, for a year. un fellitfe eterea ‘mi balenaste inte. Un di felice, eterea mi balenaste innante, One day, happy, ethereal you flashed _before me, (One day, happy and ethereal, you appeared (like a flash) before my eyes.) © da kwel “di tretmante i dinoto amor e da quel di tremanto—vissi dignoto ‘amor. and since that day, trembling, I'velived © inanunknown _love. ‘di kwellamor ‘ke ‘ppalpito deL:tuniverso intero Di quell'amor = ch’ palpito dell'universo intero, In that love which is (the) throb: of the universe entire, (In that love which is the throb of the entire universe,) misteriozo misterioso, mysterious, VIOLETTA, a'se ‘tf Ah se cid Ahif thet amar Amar To love alters ‘krotfe € —ddelitisja. ‘al. “kor altero, croce e —— delizzi al cor. aloof, cross and delight of the heart, © ver fud:dsitemi ‘solo amistade io vofifro 2 ver —_fuggitemi... solo amistade io —_voflro; is true _ flee from me.. only friendship I offer you; ‘non 'so ne ‘softiro ‘si eroiko amore non so, ne soffro si eroico amore. cannot, nor canI bear such (a) heroic love,La Traviata, Act I 263 io ‘sono franka indgenua ——‘altra Yerkar dovete To sono franca, ingenua; —altra cercar dovete; I am frank, (and) ingenuous; another to look for you must; (1am an honest and simple girl; you must find someone else;) nonarduo trove'rete dimentikarmi a’:lor Non arduo troverete _limenticarmi allor. Not arduous you will find to forget me then. (You won't find it hard to forget me.) ALFREDO O amore, misterioso, altero, croce e delizia al cor. VIOLETTA Non arduo troverete dimenticarmi allor. GASTONE (appearing at the the door) ebiben ‘ke ‘djavol ‘fate Ebben? che diavol fate? Well then? What (the) devil are you doing? VIOLETTA ‘si folle'd:dgava Si follegiava... We wore having a good time... GASTONE a a ‘sta ‘ben restate Ah abl... sta ben. restate, Ah abl... Allright... stay... (He goes back in.) VIOLETTA amor ‘dunkwe ‘nom ‘pju ‘il ‘patto Amor dunque —_non pid. il patto? Love then, no more... suits you this agreement? (Then, no more love...does this agreoment suit you?) ALFREDO ‘jo vobsbedisko ‘parto Io _vobbodisco... parto... IT obey you... Tim leaving.. VIOLETTA (taking a flower from her bosom) a tal dsunidseste prendete ——‘kwesto ‘Gore A tal giungoste? Prendete questo fiore. ‘You go thet far? Take this flower. ALFREDO perke . Perch’? Why?264 La Traviata, Act 1 VIOLETTA ‘per riportarlo Per riportarlo. To bring it back, ALFREDO kwando Quando? When? VIOLETTA ‘kwando sara apspa'ssito Quando sara. appassito. When ithas withered. ALFREDO > tel domani , Oh cielt... Doman Oh heaven! Tomorrow... VIOLETTA, ebiben domain Ebben., domani. Very wel tomorrow. ALFREDO ‘io ‘som felitfe To son __felice! I am happy! VIOLETTA damami ‘dite. aijkora Damami dite ancora? Toloveme you say still? (Do you still say you love me?} ALFREDO (about to leave) 2 ‘kwanto ‘vam Oh, quanto vam Oh, how much I love you! VIOLETTA partite Partite? Are you leaving? ALFREDO (returning to her and kissing her hand) ‘parto Parto. Tm leaving.La Traviata, Act 1 VIOLETTA. addio Addio. Farewell. ‘di'pju ‘nom ‘bramo Di pia non bramo. For nothing more —_do I not long for. (long for nothing more.) ALFREDO, VIOLETTA 265 partire di partire; leaves ad:dio Addio. Farewell. (Alfrodo loaves. The other gusts, flushod from dancing, return to bid farewell to thoir hostess.) ALL ‘sicidesta in ‘Yel aurora © Siridesta in ciel auora e It reawakens in (tho) sky thedawn and we must. mertfe a ‘voi dgenttil sippora Mercd a voi, gentil signora, Thanks to you, lovely lady, ‘di'si ‘splendido dgoir di si splendido _gioir. for such splendid —_enjoyment. a ‘di feste e pjena La di feste é piena, Tho city with parties is full, ‘voldse ‘il tempo dei pjatfer volge il tempo dei__piacer; iscoming the time for _ ploasures; ‘nel tipozo ankor ‘la ‘Tena Nel riposo ancor Ia lena In rest’ again our vigor ‘si ritempri ‘per goder si ritempri per oder. lotit be restored to_—_ enjoy. (Let us restore our vigor by resting so that we can enjoy ourselves again.) (They all depart. Violeta is left alone.)266 La Traviata, Act I ‘in ‘kore 9 skolpiti ‘kwekhi attfenti Ih core ho — scolpiti quegli accenti!® In (my) heart I have carved those words! satia ‘per me zventura = 'un_—'serjo amore Seria per me sventura un _sorio amore? Would itbe for me misfortune a serious love? (Would a serious love be a misfortune for me?) ‘ke risolvi ° turbata ‘anima ‘mia Che risolvi, o turbata anima mia? What are you resolving, oh anguished soul mine? anuil:lwomo atjykor tattfen'deva Null'uomo ancor t'accendeva... Noman yet has aroused you... 9 ‘ddsoja ‘kio ‘non konobsbi Oh gioia —ch'io_ non conobl Oh joy that I haven't known, (Oh joy unknown to me, to be loved and to love back!...) e zde'pparla Po'sisio per ‘laride folie ‘del ‘viver ‘mio E _— sdegnarla _possio per T'eride follie del viver mio? And spur it canI for the barren folly of the existence mine? (And can I spurn it (this joy) in favor of the barren folly of my existence?) a orse ‘Wi "ke lanima solinga veil Ah fors’s Tui che anima —solinga. == sne’—tumulti Ah maybe itis he © whom my soul _onely inits tumults godea soVvente. ‘pindsere ‘de ‘swoi kolori ok:kulti godea sovento —pingore. ~—de'_— sui colori occult enjoyed often topaint with its colors mysterious... (Ah, pothaps he is the one whom my lonely soul in its tumult, enjoyed painting with its mysterious colors...) wi ke = modesto «=e = ‘Wvidsile aklegre ‘sokke affeze Lui, cho modesto © _vigile all'ogre soglie ascese, Ho who modest and watchful, tomysick thresholds ascended, (he who modest and caring climbed the steps to and crossed the threshold of my sickroom.) € —‘nwova ‘febsbre avfeze destandomi —_al:lamor e nuova febbre accese destandomi _all'amor. and (a) new fever he kindled, waking me “to love. “Accenti (its singular form being accento) in this case means "words". However, the usual Italian word for "word" is parola. The Italian word accento also means "an accent’ , either a written accent on a vowel, or a person's foreign accent. Other poetic words meaning "word" are motto (compare with the French mot) or detto, a variant of dira, "to say’.La Traviata, Act 1 267 a kwellamor ‘ke ‘ppalpito: del:luni'verso intero A quell'amor ch’ palpito dell'universo intero, To thatlove that is (the) throb of the universe —_— entire, misteri‘ozo altero ‘krotfe € ddellittsja ‘al ‘kor misterioso, altero, croce e —delizia al cor. mysterious, aloof, cross and delight of the heart. The following second verse of this aria is usually omitted in performance. a ‘me fantfulla ‘uy ‘kandido device A me fanciullaun candido desire For me asagirl an innocent desire kwestefifidgo doltfisisimo —sippor deli quest'effigid dolcissimo _signor dell'avvenire. depicted him most sweet lord of my future. (When I was a girl, an innocent and timid desire depicted him, the most sweet lord of my future.) ‘kwando ‘ne ‘Yel ‘rad:d30 di ‘sua belta vedea Quando ne’ ciel ilreggio di sua__ belt vedes, When inthe heavens —theglow of _—shis’_—beauty I saw, © tutta me —_paffea di kwel__ ivino error © tutta. me —_pascea di quel _divino error. and allof me feditself with that divine fancy. sentia ‘ke amore © ‘palpito del:uni'verso intero Sentia cho I'amore 8 palpito dell'universo intero, Ifelt that love is (the) throb of the universe entire, (Sho remains concentrated for a moment, then she recovers herself.) folie dello ‘vano © kwesto follio!.. __delirio vano @ — questol... Folly... Delirium = vain is this!... ‘povera ‘dons sola abbandonata Povera donna, sola, abbandonata Poor women alone, abandoned popolozs —dezerto ke appellans —_patridsi popoloso deserto ©» che. appellano——Parigi, crowded desert that they call Paris, ‘piu ‘ke far de'd:dsio pid?... Che for — degg'o?. What hopeI now any longer?... What do must I?, (What more can I hope for now! What must I do’268 La Traviata, Act I desire ‘di volutata ‘ne "vorttfi «di voluttta i Gioire! Di volutta ne’ vortici divolutté peri! Enjoy myself! With pleasure in the whirl of pleasure perish! (Enjoy myself and perish in the whirl of pleasure!) ‘sempre ibera ded:dsio folled:dgare ‘dgoja in ‘dgoja Sempre libera degg'io folleggiare di gioia in gioia, Always free Iwantto havea good time from joy to joy, ‘vo ‘ke ‘skorra_ ‘il 'viver ‘pe sentjeri ‘del Pja'tfer Vo! che scorra il viver mio pe! sentiori del piacer. Iwant that should glide my life along the —_paths of pleasure. ‘naska il ‘d5omo.0 gio ‘mwoja Nasca il giomoo —il_—_giomo muoia (Whether) itbeborn the day or the day bo dying. (Whether the day be beginning or dying.) ‘sempre jeta ‘ne ritrovi sempre lieta ne! ritrovi, always happy at —_ parties, a diletsi ‘sempre ‘nwovi ‘de vollare ‘il mio perisjer a diletti sempre nuovi dee volare il mio_pensier. to delights always new must fly my thought, ALFREDO (from off stage) Amor 8 palpito dell'universo, etc. VIOLETTA Deo volar, ah! il mio pensier! END OF ACT IACT IL Scene One La Traviata, Act IT 269 (in Violettds and Alfredo's country home near Paris there is a comfortable room with windows opening out onto gardens. ‘materials. Alfredo enters wearing hi It is furnished with chairs, tables, books and writing unting clothes. He puts down his gun.) ALFREDO ‘undse ‘da ‘lei per. «sme ‘nom'va diletta Lunge da lei «= por mo nonvha _—dilettol... Fer from her for me thereisno _joy!... volaron ‘asa ‘ve ‘tune dakke ‘la ‘mia vjoletta Volaron gia tre Tune dacché Ja mia Violetta Have flown past _ already three moons since my — Violetta ‘adi ‘per ‘me —la'ffo doviusje ——dmori agi per, me lascid, dovizie, amori comforts for me abandoned, riches, loves e© le pompoze este. ovakhi omaddsi —a'vivetitsa e© le —pompose _—feste ovaghi omaggi avvezza, and the lavish parties whereto admiration accustomed, veldea 'skjavo tfaskun di ‘sa eettsa vodoa schiavo ciscun di sun bellexza... she saw slave everyone of her _beauty. (and those lavish parties where, acc her beauty...) edor kontenta in Ed or contenta. in And now happy in ttt ‘skorda ‘per ‘me tutto scorda per me. all sheforgets for me. owipresiso atei io Qui presso alei io Here near to her I © ‘dal ‘sofifjo_datmor © dal_—soffio d'amor and _ by the breath of love ‘skordo ‘ne ‘gaudi ‘swoi scordo ne. gaudi suoi 1 forget in its ecstasies (and regenerated by the breath of lo sustomed to admiration, she saw every man enslaved by ‘kwesti ameni ‘Twogi questi ameni Inoghi theso pleasant surroundings rinaffer ‘mi ‘sento rinascer mi semto, reborn foel myself, ridgene'rato rigenerato regenerated tutto ‘il palssato tutto il —_passato. all the past. Wve, in its ecstasies I forget all the past.)270 La Traviata, Act IT ‘de 'mjei_botelenti i il dovannile -——_ardore De’ miei _bollenti il giovanile ardore Of my — ardent spirit the youthful ardor tem'pro ‘kol ‘platfido: sorrrizo dek:la‘mor tomprd col placido —_—sorriso dell'amor! tempered with the peaceful -—_smile of love...) (She tempered the spirit of my youthful ardor with the peaceful smile of love! ‘dal ‘di ‘ke ‘disise ‘vivere ‘is ‘voKKO. ate fedel Dal dicho disse: "Vivere iovoglio ate _fedel,” Fromthe day that she sai "Live T want to you faithful,” (Since the day she said: "I want to live faithful to you,") del:luniverso immemore ‘io ‘viva. ‘kwazi ‘in Yel dell'universo immemore io vivo quasi in ciel, of the universe unheeding, I live almost in heaven. (not heoding the universe, I live as if in heaven.) (Annina enters hastily in travel clothes.) ‘ALFREDO ainnina ‘donde ‘vjeni Annina, donde vieni? Annina, from where are you coming? ANNINA ‘da paridsi Da Parig From Paris, ‘ALFREDO ‘ki ‘tel kom:mize Chi tel commise? Who sent you to do it? ANNINA ‘fu ‘Ja ‘mia sipnora Fu la mia signora. Itwas my mistress, ALFREDO perke Percha? Why? ANNINA ‘per aliljenar kavalli “kokcki ‘kwants Per allienar ——cavalli, cocchi equanto —_ancor_possiede. To soll off horses, carriages, and all that still she possesses.La Traviata, Act IT ALFREDO ‘ke ‘mai ‘sent Che mai _sento! What do I hear! ANNINA ‘b © ‘grande a Lo spondio 2 _—grande a The expense is _—great, to ALFREDO e — Watfevi E _ tacevi? ‘And you kept silent? ANNINA mi ‘fu ‘il silentsjo.——_imtposto Mi fu il silenzio —_imposto. Itwas tomo tho silence ordered. (L was ordered to keep silent.) ALFREDO imposto —‘or_—_—vabsbizopna Imposto?!... Or — vabbisogne?... Ordered! Now how much is needed? ANNINA ‘mille Mille Athousand Louis. ALFREDO ‘or ‘vane andro: Or vane... —andrd Now gi Iwill go ‘kwesto koklokwjo ‘non ‘sap:pja Questo colloquio non sappiat This conversation must not know of (Madame must not know of this conversation:) ‘il tutto ‘valgo a riparare I tutto valgo a riparare Everything Iemable to _putright (Annina leaves.) ‘viver ‘kwi viver qui live here ‘ta sipnora Ja signora; Madame; anjkora ancora. still. 27a solingi solinghi. alone. ‘va Vat Go! +Some conductors or coaches may prefer the word ignori, instead of non sappia. Ignorare means ‘to be ignorant of something, or "not to know’. It's a matter of choice and both are acceptable and mean absolutely the same.272 La Traviata, Act IT ° ‘mmio rimorso o injfamja ‘io ‘visi ‘in Oh mio rimorso! oh —infamia! == io.—vissi_ in Oh my remorse! © Oh disgrace!’ «= I~—ilived in ma ill ‘turpe ‘sonno a‘frandsere ‘il "ver Ma il tupe sonno afrangore il = vor But my shameful slumber_—to break off the truth (But the truth came to me to break off my shameful slumber!) ‘per ‘poko ‘in ‘seno akkwetati 0 ‘grido Per poco in sono acquetati, 0 —grido Fora while in (my) breast besilent, 0 cry ma‘vrai sero ‘vinditfe _questonta Mavrai securo vindico; _questonta ‘You will have me (a) certain avenger; _this shame ° ‘mio ro’sisor ° imfamja Oh mio rossor! ch —_infamia! Oh my blushing! Oh —_ disgrace! Ah si questonta laverd!? (He leaves. Violetta enters, reading some papers and talking to Annina) VIOLETTA alfredo Alfredo? ANNINA ‘per —_pa'ridgi o'ror Per Parigi_ or or For Paris just now partiva partiva, ho was leaving, VIOLETTA tomera E tornera? And when will he return? ANNINA ‘prima ‘ke tra'monti ‘il 'd3omo Prima che tramonti _il giomno... Before that —sots the day. (Before sunset...he asked me to tell you thet...) ‘dirvel Dirvel" To tell you that ‘tale errore ‘mi bale'no mi balendt. appeared to mel... del:lonore dell'onore; of honor; lave'ro laverd. T will wash away. mimpoze mimpose... he asked me.. *This cabaletta, requiring a somewhat "robusto” delivery is sometimes omitted in performance when the role of Alfredo is given to a lighter tenor voice. *This is a contraction of dirvelo, "tell it to you". The verb dire is in there, truncated to dir. dir (tell) ve (you) —_o (it).La Traviata, Act IT 273 VIOLETTA © ‘strano E strano! ‘That's strange! (Giuseppe enters and hands her a letter.) GIUSEPPE ‘per Voi Per voi. For you. VIOLETTA (sitting and taking the letter) ‘sta ben ‘im ‘breve dgundsera_——wnwom datffari ‘entri al Stabon.. Inbreve —giungera © un uomd'affari...‘'_ enti all'istante. Very well... Soon willcome a man on business... show him in at once. (Annina and Giuseppe leave. Violetta opens the letter.) hatha’ scopriva ‘flora ‘il'mio ritiro e ——mimyvita Ah, ah! scopriva Flora il mio ritiro e¢ —m'invita ‘Ah ah! Hasdiscovered Flora my retreat and she invites me adantsar ‘per ‘kwesta injvan maspetite'ra adanzar per questa invan mi a todance for __this evening!.... In vain she will wait for me... (Sho throws the letter on the table. Giuseppe ro-enters.) GIUSEPPE e ‘kwi un sippore E qui un_signore. Is here a _ gentleman, VIOLETTA. sara ‘lui ‘ke attends Sara lui che _ attendo. Itwillbe him whom I expect. (Sho motions to Giuseppe to show him in. Monsieur Germont enters.) GERMONT madamidsella vale'i Madamigella Valery?. Mademoiselle Valery?... “This "man of business’ is probably an appraiser of some sort. It is one of those operatic. mystorios deserving an explanation on the Met Opera Quiz: What happened to this "man of business"? Why did he never show up for his appointment with Violetta? Was his train late? Was he waiting outside and discretely left when he saw that there was serious conversation going on with his oliont and another gentleman?...We shall never know...274 La Traviata, Act I VIOLETTA. sonio Son io. Tam sho. GERMONT alfredo ‘il fpadre im ‘me —_vedete Drlfredo il — padre in = me _vedetol Of Alfredo the father in me _—_you see! (You soo in me Alfredo's father!) VIOLETTA (surprised, motioning him to take a seat.) ‘voi Voit You! GERMONT ‘si del:liykauto: ‘ke a nina ‘kore aminaljato ‘da ‘wvoi Si, dall'incauto, che a mina corre, ammaliato da — voi. Yes, of the unwary boy who to ruin rushes, bewitched by you. (Yes, of that unwary boy who is rushing to his ruin bewitched by you.) VIOLETTA ‘donna sonio: sippore edim ‘mia ‘kaza Donna ‘son io, signore, edin mia casa; Awomen am, sir, andin my house; ‘Kio ‘vi ‘laffi asisentite Chio vi lasci, assentite, That I may leave you, _ allow, ‘pju per ‘voi ‘ke ‘per ‘me pia per voi, cho per me. more for yourseke, than for my sake. (Allow me to leave you, more for your sake then for mine.) GERMONT (impressed) ‘kwai_ ‘modi ‘pure (Quai modi! Pure... (What manners!) Yet... ‘im error ‘voi — ‘foste in eror_ voi fie. into error you (You were mistaken..) (You were misinformed.,) GERMONT ‘de ‘swoi ‘beni ‘dono ‘vwol ‘farvi De! suoi_boni dono vuol farvi.. Of his possessions (a) __ gift he wants to. make you... (Ho wants to make you a gift of all his possessions...)La Traviata, Act II VIOLETTA ‘non I9'z0 rifjute'rei Non I'osd rifiuterei. He hasn't dared to I would refuse... GERMONT (looking around) ‘pur ants “lusso Pur tanto lusso. Still, somuch — luxury... VIOLETTA (giving him a letter) a © mistero kwestastto A & — mistero questatto... To everyone —_is (a) _secrot this deed... 275 a 'woi ‘nol ‘sia avoi nol sia... to you it shouldn't be... (This deed is a secret to everyone...it shouldn't be to you...) GERMONT (glancing over the deod) ‘ke diskopro “doppi ‘vostro alvere che discopro! Diogni vostro avero What do I discover! Ofevery your possession volete ‘dunkwe- spo'kAarvi volete dunque spogliarvi? do you wish then to deprive yourself? a pa'sisato perke ‘pperke watk:kuza Ah passato percha, perch’ waccuse?. Ah, past why, why does it accuse you?.. VIOLETTA (with enthusiasm) ‘pju ‘non eziste rama alfredo Pinon —_—esiste. or amo Alfredo Itno longer exists. now Ilove Alfredo e ‘ddio ‘Io kantfe'l:lo ‘kol pentimento 2 Dio lo cancelld col pentimento and God __ has erased it with the repentance imvero Nobili sensi invero! Noble sentiments indeed! VIOLETTA ° ‘kome ‘ddoltfe ‘mi‘swona ‘il ‘vostro atitfento Oh come dolce misuona —il'vostro. acento! Oh how sweet sound tome your word(s)! GERMONT eda vai ‘sensi ‘un sakrifitsjo —‘kjeg:go Eda tai sonsi un sacrifizio fe And of those sentiments a sacrifice Task.x 276 La Traviata, Act It VIOLETTA (rising) anno tatfete ‘koza kjedereste —tferto Ah no... tacete... terribil cosa chiedereste certo. Ahno.. don't speak... a terrible thing you'dask —_sureli ‘il previdi ‘era ‘felitfe ‘tropspo I provid. era felice troppo... I foresaw it. I was expecting you...I was happy too mucl (1 foresaw it...I was expecting you...I was too happy...) GERMONT dal'fredo ‘padre ‘la ‘sorte lavive'nir Dalfredo il_~—padre, la_— sorte, Of Alfredo the father, the destiny, domanda ‘or ‘kwi ‘de ‘swoi ‘due domanda or qui de’ suoi-_ due asks for now here for his two (Alfredo's father here now asks of you for the destiny and future of his two children!...) VIOLETTA ‘di ‘due “KK Di due ‘figli? Of two children? GERMONT i pura’ sik:kome unandselo —itd:dio ‘mi ‘dje ‘una fiffa Si. Pura siccome un angelo Iddio mi di@ una figlia; Yes. Pure as anangel, God geveme a _ daughter; ‘se al'fredo ‘nega a ‘redere ‘in ‘seno ‘alla famikka Se Alfredo nega a riedere in sono alla famiglia, If Alfredo —refuses to. come back to the bosom of his family, lamato e amante ‘dgovine ‘kui ‘spoza andar dovea Yamato © amante —giovine. += cui_—sposa andar doves, the beloved and loving young man whose bride tobe she was, (the beloved and loving young man, whose bride my daughter was to be,) ‘or ‘sirikuza = 'al_—vinkolo or siricusa al_—_—vincolo now refuses the union ‘ke jeti ‘ne rendeva che — lioti (now refuses the tie that made them so happy.) ‘de ‘nom mutate ‘in triboli_ Te Deh non mutate in triboli le Please don't change into trials the a prjegi ‘miei revzistere A’ prioghi miei resistere To the entreaties. © mine resist ‘roze del:lamor reso dell'amor... roses of love... ne rendeva. that happy made them. ‘nom ‘vokKa ‘il ‘vostro ‘kor no non voglia il vostro cor, no. may it not went your heart, no. (May your heart not want to resist my entreaties, no.)La Traviata, Act Il 277 VIOLETTA a komprends do'wro ‘per alkun ‘tempo dalfreds al:tontainarmi Ab! comprendo... dovrd per alcun tempo d'Alfredo _allontanarmi. Ah! Tundorstand...1 must for some time from Alfredo stay far awa} (Ab! I understand... have to go away from Alfredo for a while...) dolo'rozo “fora ‘per 'me ‘pur doloroso fora per me. pur... painful itwould be for — me. yet... GERMONT ‘non © 'tfo ‘ke ‘kjedo Non é cid che chieds That isn't what I am asking VIOLETTA ‘Yelo ‘ke ‘piu tferkate oftfersi Ciclo! Che pid —cercate?... Offersi Heaven! What more do you want?... I offered GERMONT ‘pur ‘nom ‘basta Pur non basta, Yet, it isn't sufficient. VIOLETTA volete. ‘ke ‘per‘sempre a ‘Wi inuntsi Volete che persempre a = lui_—rinunzi Do you want that forever to him I should renounce! (Do you want me to give him up forever!) GERMONT e ‘dwopo E — d'uopo! Itis necessary! VIOLETTA ‘non sapete ‘kwale affifetsto Non sapote quale affetto Dont you know what love immenso —‘marda ‘im ‘petto immenso m'arda in potto? immense burns in (my) breast? ‘ke ‘ne atmitfi ‘ne parent Che na amici, nd parenti That neither friends, nor relatives ‘io ‘non ‘konto ‘tra vi'venti io non conto tra’ viventi? 1 don't have among the _ living?278 La Traviata, Act I © ke alfredo ‘ma dgurato ‘ke = in ni_—tutto trove'ro E che Alfredo mbha giurato che in = lui_—_ tutto troverd? And thet Alfredo sworetome that in him everything I will find? ‘non saipete ‘ke kotpita ‘morbo © Tamia vita Non sapete che colpita morbo & lami vita? Don't you know that _ stricken disease is my life? (Don't you know that my life is stricken by a dire disease?) ‘ke ga ‘pres:so ‘il fin ‘ne ‘vedo Cho gia presso il fin ne vedo?. That already near its end _I can seo?. (Thet I can already see my life coming to an end?...) ‘kio ‘mi separi Chiio mi sopari That I should separate (For mo to leave Alfredo!...) ail supplitss © ‘si spjetato ‘ke =a ——smorir_preferiro Ah il supplizio 8 si_—spiotato. §©=— che. «sa ~—morir_preferird. Ah, the torment is so. merciless. that ‘to © die_—‘I'd profr. GERMONT © ‘grave il sakrifiusjo © ma_—pur_—traykwilla —wditemi grave il sacrifizio; ma pur tranquilla _—_uditemi. Itis hard, the sacrifice, but yet _—_calmly listen to me. ‘belt ‘sjete e¢ — ‘dgovine ‘Kol tempo Bella voi siete © —giovine.. col tempo... Beautiful you are and young.. with time. VIOLETTA a pju'non ‘dite vintends ‘me impossibile Ah pid non dite. vintendo... m’ impossibile... Ah — don't say anymore... I understand you... it is impossible for mo... ‘hi ‘solo amar vo'KKio Ini solo amar him alone to love (( want to love only him...) GERMONT ‘pure ‘ma wolbile —_so'vente Sia pure... ma volubile _sovente That may b but fickle often ‘umn ‘di ‘kwando Je'veneri il ‘tempo Un di, quando —leveneri_—sil_—sttempo One day, when lust the time (Ono day when time will have put lust to flight,) (One day, when time will have caused lust to dwindle,) e ‘Iwom @ — Tuom.., is man. avra fugate avr fugate, will have put to flight,