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Holt, Simon The Nightingale's to Blame
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Chester Music Limited Part of the Music Sales Group
Simon Holt THE NIGHTINGALE’S TO BLAME opera in a prologue and three scenes
libretto adapted by the composer from the play
The Love of Don Perlimplín for Belisa in the Garden by Federico García Lorca, translated into English by David Johnston
piano reduction by Christopher Brown
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CHARACTERS DON PERLIMPLIN a bachelor of advancing years
Baritone
BELISA a young, ravishingly beautiful girl
Soprano
MARCOLFA Don Perlimplín’s maid, possibly slightly older than Don Perlimplín
Mezzo soprano
BELISA’S MOTHER of similar age to Don Perlimplín
Mezzo soprano
2 DUENDES like sprites of indeterminate sex
Sopranos
ORCHESTRA 2 flutes (both doubling piccolo and alto flute) Oboe Clarinet in A Bass clarinet in B flat Horn in F Trumpet in C Percussion (1 player): Pedal bass drum, 2 log drums (4 pitches, high to low), 2 temple blocks (high and low), large tamtam (with bow), 26" Chinese suspended cymbal (with bow and triangle beater), tambourine, castanets, guiro, lion’s roar, axatse (minimum 3), whip, glockenspiel, tubular bell, crotale, 7 tuned gongs
Harp 3 violas 2 cellos 2 double basses
SYNOPSIS Prologue The house of Don Perlimplín Don Perlimplín’s balcony overlooks Belisa’s house. He is playing the piano, and his maid Marcolfa is listening. Marcolfa reminds Don Perlimplín that she will not be around for ever and encourages him to think about the possibility of getting married. Perlimplín is initially reluctant, but Marcolfa persuades him to make the acquaintance of Belisa. Don Perlimplín and Belisa introduce themselves and Perlimplín states his intention to marry her. Belisa’s mother is highly supportive of the idea because of Don Perlimplín’s wealth. Perlimplín and Belisa’s mother then have a discussion about the wedding, but after Belisa’s mother leaves, Don Perlimplín is angry with Marcolfa, wondering exactly what she has got him into. Scene One A room in Don Perlimplín’s house It is the wedding night of Perlimplín and Belisa, and Perlimplín is anxious. He confesses to Belisa that he didn’t love her before they decided to get married, but then realised that he loved her when he saw her body through the keyhole while she was dressing for the wedding. Perlimplín also reveals to Belisa that she is the first woman in his life. Belisa is surprised by this. The two duendes appear. They comment on the action, and resolve to play a trick on Don Perlimplín. Perlimplín wakes up and finds that he is wearing a pair of golden antlers, the balcony doors and windows are open and there are ladders from the garden leading up to the balconies. Perlimplín wants to know why, but Belisa is evasive. Don Perlimplín starts to have suspicions about her and muses on the pain of loving her. Scene Two Don Perlimplín’s dining room Marcolfa is crying as she reveals to Perlimplín that she saw Belisa with five different men on their wedding night, the men entering the room by way of the ladders up to the balconies. Don Perlimplín says he loves Belisa and that is all that matters to him, but as they are discussing this they hear Belisa returning. Marcolfa hurriedly leaves, Belisa enters and Perlimplín hides. He hears Belisa talking about her lover. Perlimplín then appears, startling Belisa, and a letter wrapped around a stone is thrown through the balcony window. Don Perlimplín picks it up but Belisa insists that it’s hers and becomes hysterical. Don Perlimplín asks Belisa if her lover has visited today and declares to Belisa that he knows who the man is. Don Perlimplín tells Belisa that he will sacrifice himself for her in a way that no man has ever done for his wife before. Scene Three A garden of cypresses and orange trees Marcolfa blames herself for the wedding fiasco but Don Perlimplín thinks that Belisa has opened up a whole new world for him. Don Perlimplín and Marcolfa have hatched a plot; Marcolfa has told Belisa that the young man will come to the garden that night, wearing his red cloak as usual. Don Perlimplín says he needs Belisa to love the young man, and Marcolfa is shocked by Perlimplín’s encouragement of his wife to commit adultery. Perlimplín hides behind rose bushes to watch what happens, while offstage the two duendes and Belisa’s mother comment on the action. The man in the red cloak appears and then retreats. Perlimplín then reveals himself to Belisa who tells him that she loves the mysterious stranger in the red cloak. Perlimplín’s response to this is to tell Belisa that his intention is to plunge a dagger into the young man’s heart so that he will love her with the endless love of the dead. Belisa asks Marcolfa to bring her a sword so that she can prevent Don Perlimplín from harming the young man. The man in the red cloak re-appears, his face is concealed by the folds of the immense cloak; he has been severely wounded and is staggering. When Belisa asks who wounded him, the man replies “ Your husband, Don Perlimplín” Belisa uncovers the man’s face and is horrified; it is Don Perlimplín. She wants to know why Perlimplín has deceived her. Don Perlimplín dies, Belisa tells Marcolfa that Don Perlimplín is dead and that she loves the young man with all her body and soul. Marcolfa asks Don Perlimplín’s soul if he’s listening.
This work was commissioned by The Huddersfield Contemporary Music Festival, the City of Munich for the Münchener Biennale – International Festival for New Music Theatre, and Opera North, Leeds. It was first performed on 19th November 1998 at Lawrence Batley Theatre, Huddersfield, by Opera North and members of Opera North Orchestra, conducted by Nicholas Kok, directed by Martin Duncan. Duration c. 80 minutes Libretto on sale: Order No. CH61517 Vocal score on sale: Order No. CH61418 Conductor’s score and orchestral parts on hire
Amor de Don Perlimplín con Belisa en su jardín © Herederos de Federico García Lorca. English translation by David Johnston © Herederos de Federico García Lorca and David Johnston. All rights reserved. For information regarding rights and permissions for works by Federico García Lorca, please contact William Peter Kosmas, Esq., 8 Franklin Square, London, W14 9UU.
Simon Holt was born in Bolton, Lancashire in 1958. Having completed a foundation course at Bolton Art College, he went on to study composition with Anthony Gilbert at the Royal Northern College of Music in Manchester. Holt first came to prominence as the featured composer at the 1985 Bath International Festival, which commissioned him to write Burlesca oscura for clarinet quintet. Works for chamber ensemble continue to form a significant part of his output, which has been widely performed by Europe’s leading contemporary music ensembles. The world of Greek myth has inspired several works. Holt’s Icarus Trilogy culminated in 1995 with the premiere of his cello concerto Daedalus Remembers, commissioned by the Cheltenham Festival for Rohan de Saram and Sinfonia 21 conducted by Daniel Harding. He also feels special affinity for the writing of Federico García Lorca, whose dark, passionate and enigmatic texts have much in common with Holt’s sound world. He has set a number of Lorca’s texts, most recently in the song cycle Six Caprices, and his first opera The Nightingale’s to Blame, based on the play The Love of Don Perlímplin for Belisa in the Garden. This commission from Opera North, the Huddersfield Contemporary Music Festival, and the Munich Biennale, formed the focal point of a major retrospective of his work at the 1998 Huddersfield Contemporary Music Festival. The Festival also included another new work, eco-pavan for piano and ensemble, commissioned by the BBC for Rolf Hind and the London Sinfonietta. Holt has twice been commissioned to write major orchestral pieces for the BBC Promenade Concerts: in 1987 he completed Syrensong for the BBC Symphony Orchestra, and in 1992 his viola concerto Walking with the River’s Roar was premiered by Nobuko Imai and the BBC Philharmonic. More recently, Holt’s new work for the City of Birmingham Symphony Orchestra’s Towards the Millennium series, Sunrise’ yellow noise for orchestra and soprano, was performed by the City of Birmingham Symphony Orchestra with Lisa Milne, conducted by Sir Simon Rattle, in March 2000. Holt was awarded Le Prix de la Fondation Prince Pierre, Monaco for this work. Sunrise’ yellow noise was also the first work in a ribbon of time, a cycle of five pieces in various genres which take Emily Dickinson’s poetry as their starting point. The cycle was completed in 2002 with the composition of Boots of Lead for alto and ensemble. In the summer of 2003 Holt’s latest music theatre work, Who put Bella in the Wych elm?, was premiered at the Aldeburgh Festival and at Almeida Opera in London. Simon Holt is a recipient of various grants and honours, and is a fellow of the Royal Northern College of Music. He lives and works in London.
for Richard Steinitz and in memoriam Niccolò Castiglioni
THE NIGHTINGALE’S TO BLAME Simon Holt (1996 - 98)
Prologue
The house of Don Perlimplín. He sits at an upright piano, centre stage, his back to the audience. He wears a bright green frock coat and a white curly wig. He plays the following Sonata like a wise fool. At the back is a balcony which looks onto that of Belisa. Marcolfa, his maid, wears the traditional striped apron. She is concealed behind the piano, out of sight. Lights fade up from total darkness during the first 5 bars.
rit. molto
= c. 126
Piano (Don Perlimplín)
molto a distanza, semplice
una corda
Lights bright. a tempo
= c. 126
poco rit.
a tempo
= c. 126
6 più rubato Piano (Don P.)
tre corde
non rit.
11
Piano (Don P.)
+ una corda
tre corde
16
3
Piano (Don P.)
bell-like, a distanza
+ una corda
© Copyright 2003 Chester Music Ltd
CH 61418
All rights reserved Printed in England
2 21
5
poco
Piano (Don P.)
tre corde
= c. 112 28
poco a poco rall.
= 72
Piano (Don P.)
c. 7"
martellato
una corda
tre corde
34
Piano (Don P.)
Meno mosso
= c. 96
poco
42
[2.2.3]
(= bocca chiusa)
Belisa (offstage) Love
3
Piano (Don P.)
poco
una corda
3
3
Orch.
ma chiaro
l.v.
+ una corda
3 L’istesso tempo 47
= 96
poco
poco
Bel. (offstage) Love
Love
3
Love
3 3
51
[2.3]
3
3
Love
Love
Bel. (offstage) Love
3
3
55
[3.2.2]
3
3
3
Bel. (offstage) Love 3
3
poco poco non legato
3 3
poco a poco rall. 59
= 72
3
Bel. (offstage) 3
Love
3
3
dim. 3
3
3
4 = 112
63
Piano (Don P.)
quasi eco
poco
una corda
3
3
Marcolfa pops up from behind the piano. = 126 3
68 [2.2.3]
3
Marcolfa you
Do
hear
her,
Don
Per
lim
plĂn?
8
3
6
loco
3
3
3 3
slowly disappears behind the piano. molto rit.
sempre 71
3
3
= 96
[2.3]
[3.2]
Mar. Are
you
lis
ten
ing?
Piano (Don P.)
una corda sempre
3
3
3
3
6
3
3
dim.
5 poco a poco rall.
= 63
75 Bel. (offstage) Love
Piano (Don P.)
poco
3
3 3
3
3
Marcolfa slowly re-emerges from behind the piano. 80
3
3
Bel. (offstage) Love
Love 3
3
Mar. Lis ten,
Lis ten,
Piano (Don P.)
sotto voce
una corda sempre, legato pedalling
3
3
legatissimo
3
3
dolce
3
3
6 84
3
3
3
Love
Love
Love
Bel. (offstage)
3
3
3
3
Mar. Don
Per limp lĂn
Are
you l.v.
Piano (Don P.)
l.v.
(Ped.)
3
3
3
3
3
3
3
3
PiĂš mosso poco
3
= 72
3
88 Bel. (offstage)
Love Mar. lis ten ing? (as if waking from a dream)
poco
Don P. 3
Yes?
3
92
(
= 144)
=
= 144
Mar. Yes! 8
Yes!
Yes!
3
3
7 Meno mosso
95
= 120
Mar.
Don P. But why
“Yes�? 8
3 6
6
non cresc.
3
5
= 76
decisively
98
breathy
Mar. Just
yes.
Yes.
8
102
[2.2.3]
Mosso = 84 sempre
Mar. Yes.
sempre
(drums)
8 104 Mar.
106
G.P.
Mar. Just
yes.
G.P.
3
Meno mosso
= 72
110 [3.2.2] Don P. What if I said no?
3
3
3
3
3
3
3
3
3
poco
113
sim.
[2.3]
sourly
Mar. Why no? Don P. Just
no.
3
3
6
subito
3
3
3
3
9 117 [2.3]
flummoxed
Mar. And would sir
And would And
And
would
poco
119 Mar. And
122 [2.3]
would sir
would sir care
And would sir
And would And
And
would sir care
3 3
Mar.
to tell me just what he means by “no"? Don P. And
would you care to
tell me,
poco
rit. molto
= c. 72
3
3
(spoken)
125 Don P.
3
per
sis
tent mi
nion,
what do you mean by “yes”?
3
10 128 [3.2] Mar. Twen ty 3
3
3
ma dolce
3
3
3
131 Mar. and
twen ty
3
more
make
3
3
3
3
134
3
[2.3]
Mar. for
ty . . .
3 3
3
11 137 [3.2] G.P.
3
Don P. Go
on. 3
G.P.
3
Meno mosso
= c. 63
141
[3.2]
3
3
Mar. A
no
3
ther
ten,
and
that’s
fif
ty.
Fif
ty.
3
poco
3
3
= 104 145 Mar.
Don P. Well?
poco
poco
12 147
poco
, dolce
Poco più mosso
= 112 3
3
Mar. Well,
when
you’re on
the
wrong
side
of
fif ty . . .
5
Meno mosso
= 104
151
3
Mar.
3
153
= 126 3
Mar. You’re hard ly a child. Don P. In
5
13 156
5
Don P. 3
deed
no -
o - o - o - o - o - o - ot.
3 6
5 5
3
= 159
= 126 poco
= 116
Mar. And I’m no spring chick en,
I won’t be here for e ver.
(tpt.)
3 3
irritando 3
3
3
162
3
3 3
3
Mosso
164 Don P. You
3
= 152
3 3
3
3
3 3
3
14 piú rubato 167
3
3
3
3
[2.3]
Sub.
= 112 accel. poco a poco
3
Don. P. won’t?
= 152
170
lagrimando
Mar. And what
will you do
173 Mar. when
3
175
dim.
Mar.
dim.
poco
I’m
gone . . .
15 L’istesso tempo
dim. sempre
177
= 152
c. 5"
Mar.
c. 5"
rit.
= c. 112
179 Mar. left
all
on
your
own?
bell-like poco a poco rall.
= 96
182
= 76 corta
Mar.
corta
9
poco
quasi eco
186 Don P. 3
Oh,
Mar col
fa,
non legato, ruvido e feroce trem.
poco
16 3
188
[2.2.3]
Don P. what
will
I
do? 3
3 3
3
poco 191
= 96
= 63
3
3
Mar. That’s why
3
you must
get
Don P.
con tutta forza
3
194 [3.2] Mar. 5
cresc.
197
esitando
Don P. Yes?
[3.2] Meno mosso
= 76
mar ried.
17 Poco pi첫 mosso
= 84
con tutta forza
200 Mar.
Yes.
poco 3
8
3
3
202 Mar. Yes.
3
3
Yes.
3
5
3
poco 3
204 Mar. Yes.
Yes.
3
3
3
3
3
3
18 206 Mar.
poco Don P. But,
3
Mar
col
fa,
why
(tmp. bl.)
poco
209
= 72
poco
Don P. “Yes�?
(axatse)
dolce
3
c. 4" 212
semplice
[2.3]
Don P. When I
was
a
child
a
wo
3
man
stran c. 4"
gled her
l.v.
poco
215 Don P.
a shoe ma ker, I
ma sonore
senza ped.
poco
think.
hus 3 band.
19 allargando poco
218 Don P. I
can’t for get
that.
I
have
my
books.
3
poco poco
3
A tempo
= c.72
poco
221 Don P.
3
What good would it
mar ry?
= 76 flessibile [3.2]
224
to
3
poco
Poco piĂš mosso
do
3
3
3
3
Mar. Sir,
mar
riage
has
ma ny
charms
3 3
poco
3
poco
20 227
3
Mar. It’s
3
full
of
se
cret,
Don P. Ah!
3
3
3
230
3
Mar. full
of 3
se
cret
3
3 3
233
things . . .
bell-like
3
Mar. things
that,
frank ly,
a “mi nion”should n’t men tion. (tmp. bl.)
sim.
freddo
3
21 236
poco
= 63 rubato molto
parlando
ad lib.
poco
3
Mar.
(breathy) Now see what you’ve done . . .
Made me
go
all
red.
poco Don P. What? 3
3
l.v. 8
239
= 72
7
poco 3
3
con Ped. sempre 242
3
Bel. (offstage)
3
Love,
6
3
3
sempre
con Ped. sempre
246
3
Bel. (offstage) 6
6
3
3
3 3
3
22
rit.
= c. 72 flessibile molto 3
249 Bel. (offstage) Love,
oh
love
3
love!
3
3
poco 252
3 3
3
Bel. (offstage) oh
love.
3
Oh
love.
3 3
3
3
3
3
255 Bel. (offstage)
3
Oh
love.
3 3
3
3
poco
257
poco 3
3
Bel. (offstage) The
3
sun 9
3
3
poco 3
3
23 260
3
3
3
Bel. (offstage) en
ters
like a
knife
of
light
3 3
3
3 3
3
3
263 Bel. (offstage) 3
poco 5
3
266 Bel. (offstage) be
3
tween
3
poco
269 Bel. (offstage) my
dark
thighs,
8
3
3 3
24 273
5
3
3
Bel. (offstage) it
swims
like a
6
(trem.)
3
poco 3
poco
276 Bel. (offstage) fish
in 3
5
5
5
5
3
3
278 Bel. (offstage)
3
the
warm
3
3
6
3
ing, warm 3
3
3
3
3
poco
3
3
poco 281
3
3
Bel. (offstage) ing
wa
3
ters
of
poco
3
6
my
love.
25 284
= 54 [2.3]
c. 5"
Bel. (offstage) Oh,
my
love,
my c. 5"
3
287 poco
3
Bel. (offstage) love,
see
3
molto colla voce
poco
poco
3
8ba
291
3
Bel. (offstage) the night has gone,
the
dark
ness
flies.
3
poco 3
296 Bel. (offstage) Hold
me
now, 3 3
3
l.v.
26 Molto pi첫 mosso
= 116
300
3
Bel. (offstage) as
soon
the
cock
6
6
=
3
= 116
302 Bel. (offstage) must rise. 3
3
feroce
3
305 Bel. (offstage) 3
5
5
5
5
3
3
[3.2]
[2.3]
8
308 6 3
3
3
3 3
27 = 63 311
poco
c. 5"
parlando
Mar.
poco
See what I mean?
5
c. 5" Don P.
She cer tain ly has 8
8
8
8
c. 5"
subito 3
315
3
ad lib. - like a yawn poco
poco
Don P. a ve ry
fine
voice,
fine
voice.
Don PerlimplĂn slowly walks 319 Don P.
back to the piano . . .
He is about to begin playing . . .
323 3
3
poco poco
(bass drum)
28 = 104 exasperated
327 Mar.
She’s
the
one;
the
pure
and
fair
Be
li
sa.
8
rit. 331 Mar.
3
3
3
3
3
3
= 76
3
3
(sings, as if to himself)
= 104
334
[3.2]
poco
parlando
5
6
Don P. Be
Piano (Don P.)
li
sa.
But woul-dn’t it be sim-pler if I just . . .
secco
una corda
3
poco
3
29 She leads Don Perlimplín away from the piano, =
parlando, brusquamente
338
= 104
3
6
Mar. No . . .
Now,
poco
let’s get it ov er and done with.
3
ruvido molto non legato 3
by the hand, to where Belisa’s voice appears to come from. 341 Mar. Go on,
say
it . . .
3
3
3
c. 5"
344
= 76
= 104
Mar. say
“Be li
sa."
Out loud.
ad lib. esitando
Don P. Be 3
quasi eco
c. 5"
li
sa . . .
30 347 Mar.
con tutta forza Don P. Be (susp. cym)
li
sa! 3
3
5
(bass drum)
PiĂš mosso [2.2.3] 351
Don PerlimplĂn rises abruptly to his full stature.
= 144
Don P.
3
Marcolfa hides behind the "curtain".
3
3
The balcony opposite opens. Belisa appears in all her radiant beauty. She is half naked. Meno mosso [2.3]
353
3
= 63
Bel. Who is it?
3
3
3
31 breathy / mock-whisper, con forza
356 Mar.
An
poco
swer her.
aquiver, esitando 3
3
Don P. It 3
was 3
3
3 3
358
3
3
3
Bel.
poco
Yes?
poco 3
3
Don P. I. 3
3
3
Yes.
3 3
3
3 3
3
3 3
361 Bel. Just
Yes?
What if I said no?
Don P. Just
3
Yes. 3 3
poco 3
poco
32 364 Bel.
poco
con gravitĂ
Don P. ...a
pi ty,
as
we
de
have
ci
ded
I
am
to mar
3
poco
3
(laughing) 366
3
Bel. What! You!
You’re
3
get ting
ma
3
(a)
Don P. ry. 3
3
3
3
368
3
Bel. 3
rried.
Don P. 3
3
3
To you.
5
33 The mother appears, wearing a huge 18th century style wig, full of little birds, ribbons and beads. = 168 371
3
Bel. Ma
ma
Ă
ta! like a mad bird
Belisa’s Mother Good
Don P.
7
(
= 84)
373 Bel. 5
Mother af ter noon, a ve ry good af ter
noon, good af ter
noon,
a ve ry good af ter noon,
3
3
3
good
34 375 Bel.
Mother af
ter noon, good af
ter noon, good af ter noon, good af ter noon, good af ter noon, good af ter noon, 3
5
377 Mother a
ve ry good af ter noon, a
ve ry good
af ter noon,
a
ve ry good af
3
3
3
3
379
[3.2]
Mother ter noon, 3
to you my dear, dear neigh
bour,
a
ve-ry good ve-ry good ve-ry good ve-ry good
8 8
3
3
3
rit. (independent of RH)
3
35 383 Mother ve-rygood, ve-ry good, ve-ry good, ve-ry good, ve-ry good, ve-ry good, ve-ry good, ve-ry good, ve-ry good, ve-ry good, ve-ry good,
385 Mother
387
[2.3.2] poco wistfully
c. 4"
(bocca chiusa)
Mother a
ve
ry
good
af
ter
c. 4"
390 [2.3] Mother noon,
3
3
3
3
3
3
3
3
3
3
36 almost babbling
[2.2.3]
392
3
3
3
Mother my
ve ry dear
bour.
neigh
I’m for e
ver tell ing this daugh ter of
8
3
poco
3
3
395 Mother mine that you’ve been blessed with the same e
le
gance
and ex
qui
site
man
8
397 [2.3]
3
3
Mother 3
of 8
that 3
3
3
great
la
dy,
your mo
ther, to
whom,
sad
ly,
ners
37 400
3
3
3
3
Mother I
was ne ver e ver ful ly in tro duced.
Don P. Ah!
Meno mosso 402 [3.2.2]
Hectoring from behind "curtain"
= 72
= 63
[2.2.3]
breathy (half whisper) 3
3
3
Mar. "I have de ci ded . . ." Say it.
poco
3
Don P. You
are
kind
ness
it
self.
3
3
3
405
3
3
3
3
Mother You’re get ting mar
ried,
Don P. We
have
de ci
ded . . .
3
3
poco 3
3
38 407
3
Bel. Ma
ma
í
Mother if
I’m
not ve ry much mis
ta ken.
Don P. You’re not.
3
3
3
409
3
[3.2]
3
Bel. ta . . .
What a
bout
me?
irato Mother You?
What?
poco
11:8 3
3
3
3
3
3
3
3
3
3
411
[2.3.2]
Bel. 3
Mother You are
de
ligh
3
ted.
Don
Mar. Things are go ing
well. We’re al most home and dry.
poco
3
39 = 84 flessibile [2.2.3]
413
with great solemnity
3
3
Mother 3
Per
lim
plĂn
is sim
ply
charm
He has lands as far as the eye
ing.
3
3
3
can
3
416 [3.2.2] 3
3
Mother see;
lands full of geese and
sheep.
The sheep go to
mar
ket.
3
5:3 3
3
3
3
3
poco a poco accel. as if becoming intoxicated 418 [2.2.3]
3
3
3
Mother And in the mar ket they’re
sold . . .
for
mo ney,
mo ney,
mo ney,
3 3
3
3
3
3
40 = 126 421
3
3
=
= 126
3
Mother mo
ney,
mo
ney,
mo
ney,
3
3
3
3
3
3
mo
ney,
mo ney, mo ney, mo ney, mo ney, mo ney, mo
poco
ney,
= 88
423 Bel. And
3
love,
Mother mo
ney, mo
ney, mo ney,
mo
ney, mo
ney
is beau
ty . . .
mon
ey,
mar
riage,
Mar. And
Don P. Beau ty, 3 3
426 Bel. love,
love
is the
truth
that
all
men
seek.
Mother mon
ey,
mon
ey
is
the
truth
that
all
men,
mon
mar
riage
is
the
truth
that
all
men
seek.
beau
ty
is
the
truth
that
all
men
seek.
Mar.
Don P.
ey
is
the
truth that
41 =
434
= 88
= 63 [2.2.3]
Bel.
poco
3
Mother all
men
seek.
A r
red let ter day . . . Be
Mar. 3
Don P. So? . . .
439
[2.3]
3
3
3
Mother li sa . . . ,
leave
us . . .
there are things not fit for the
ears of a girl
in your po si tion.
poco
poco
442 Bel. Good bye,
Good
bye,
for
now,
Mother in your po si tion,
in your po si tion,
in your po si tion,
in your po si tion,
in your po si tion,
42 Belisa turns on her heals and leaves
444 Bel.
Mother in
your po si
tion,
in your po
si
tion,
in your po
3
si
tion,
3
3
poco 3
3
3
= 84 poco
445 [2.3.2] Mother in your po si tion,
po si tion.
An an
gel,
a
li
ly.
3 3 3
3
= 144
ma dolce 448
3
[3.2.2]
Mother And on the in
side!
3
Su gar 3
poco
and spice!
So clear,
to one as
43 Meno mosso
= 126 = 63
451 [2.2.3] Mother
poco
mo dern and per cep tive as you . . . Mar.
The
wed ding . . .
the 3
3
Don P. How
grate ful we are . . .
3
3
5
453
3
3
Mother “How
grate ful we are . . .,"
3
Ex
qui
site
ly
Mar. wed ding. poco
The wed ding.
The
wed ding.
Don P. 3
3
3
poco 3
poco
3
3
whisper, quasi conspiratorially
455
3
3
breathy
poco
3
Mother put.
I know pre cise ly what you mean . . .
3
3
al
poco 3
though,
it’s nigh on twen ty years since
44 [2.3]
458 Mother I
had a
ny deal ings with a man at
all.
poco Mar. The
wed ding.
Don P. The wed
ma chiaro
absentmindedly poco
461
Pi첫 mosso = 72 She pulls out a handkerchief and weeps [2.2.3] 3
Mother bell-like.
When ev er you will . . .
al
though . . .
Don P. ding . . .
loco
8
5 5
3
poco
[2.2.3] 464
45
= 58 [3.2.2] 3
466
3
3
Mother For
give 8
me,
the tears of 8
5
a
mo
ther . . .
5 8
5 3
3
She leaves, walking slowly backwards into shadows 469
= c. 96 [3.2.2]
bell-like sim.
Mother Good
bye . . .
sempre
Good
3
3 3
bye . . .
3
3 3
3
3
sempre con Ped.
Marcolfa emerges from behind "curtain"
(offstage)
= 72
473 Mother Good
bye . . . bell-like
Don P. Good
bye . . . 3
3
leggiero 3
3
3
46 Poco meno mosso 477
A tempo
poco
Poco piĂš mosso
= 76
3
Mar. At long last.
I thought she’d ne ver go! 3
Don P. Oh,
Mar col
fa!
3
[2.3]
480
[3.2] 3
Mar. In Don P. What have you got me in to? 3 3
non legato
feroce
[3.2.2]
483 Mar. mar
riage,
sir. trem.
poco
to
47 486
(spoken)
= 96
3
Don P.
3
3
To be per fect ly hon est,
Marcolfa whispers into his ear . . . 489
3
= 72
poco a poco accel.
(clapping)
3
I do feel ra ther thir sty.
3
sempre 3
3
3
(lion’s roar)
3
sempre
= 96
poco a poco rall.
492 Don P. How
in cre di ble! 3
5
495
= 72
c. 5"
Belisa throws open the shutters on her balcony. She is almost naked. L’istesso tempo = 72
Bel. The c. 5"
6
7
3
3
48 3
500
3
Bel. 3
sun
en
ters
like
3
3 3
[3.2.2]
503
3
3
Bel. a
knife . . . (almost to herself)
poco 3
3
Mar. Such a sweet
3
girl:
“Su gar
and
spice",
Don P. What does she mean,
Mar col fa?
3
c. 5"
506
= 96 [3.2]
Mar. in
side.
ma leggiero
Don P. c. 5"
3
What will I
do
3
if
she tries to
stran
gle
49 508
3
= 112
Bel. (spoken)
like a portentous matriarch
Mar. A wo man is weak
if she’s made to feel
fear
at the right time.
Don P. me? (castanets)
Scene One A flock of black paper birds sweeps past the balcony. The scene changes. 510
= 72 3
Bel. Ah! 3
spinning round shouting Don P. What’s 5
3 3
3
3
512
[3.2]
Bel.
Don P. happ ening
to
me? 3
3
3 3
3 3
3 3
50 515
3
3 3
3 3
3
6
6
3 3
6
[2.3]
6
517
3
3 3
3
519 (518)
3
3
3 8
520
6
= = 72 [2.3] 3
8
521
5
3
6
3
5
[3.2] 3
3
3
51 3
[2.3] 524
3
3
L’istesso tempo Spettrale
= 72 [3.2]
3
3 3
3
3
Mosso
3
= 112
Meno mosso
528
[2.3]
A room in Don PerlimplĂn’s house. In the centre stands a splendid four-poster bed adorned with plumes and feathers. There are 6 doors set into the walls. The first one on the right is used by the Don for his entrances and exits. 3
[3.2] 531
c. 7" 3
quasi eco
3 3
3
3
It is the wedding night. Marcolfa enters through the first door left carrying a candelabra.
Notturno 535
= 72
a distanza
poco
3
3
3
3
poco 3
3
3
3
3
538
rh lh ma chiaro
3
= 96
52 She startles Don PerlimplĂn. bell-like
poco
542 Mar. May
I
wish
Sir
a hap py
7
wed
5 3
3
3
poco
She walks backwards slowly, into shadows . . . 545
sim.
Mar. ding
night. 3
Don P. Good night,
Mar col fa.
3
quasi eco
3
Almost to himself quasi parlando. 3
548
3
Don P. So much white
lace
l.v.
quasi eco
ris
3
ing and
fall
ing
a
53 = 92 con tutta forza 552
3
3
Don P. round
you
like
wave,
a
3
555 Don P. 3
a
3
wave,
on
3
the
sea.
3
3
5 3
3
5
poco
molto non legato
557 Don P. 3 3
3 3
3
3
559
= 72 3
3
I
feel
3
Don P. as
frigh
tened
now
3 3
3
54 3
[2.2.3]
562
3
Don P. as when I
was a
child,
I
stared
down
in to deep wa
ter. 3
3
3 3
3
poco
565 [2.2.3]
3
Don P. Since
you
3
3
ar
rived my house is
3
3
3
quasi eco
3
3
3 3
3
569
3
Don P. a
live
with 3
se
cret
sounds,
the fresh
3
3
3
poco 3
3
3
3
rubato molto
a tempo
= 112 flessibile
3
573 Don P. 3
wa
ter tastes warm
on
my
tongue . . .
poco
marc..
55 (spoken while tiptoeing out) 579
[2.3]
Don P. 3
Oh,
Per lim
plĂn . . .
What have you got your self in to? 3
3
5
583
5
5
non legato
3
3 3
[3.2] 588
3 3
[3.2]
[3.2.2]
592
3 3
Belisa walks on, wearing a full-length nightgown, heavy with lace. Her head is covered with an immense cap from which a cascade of ribbons falls to her feet. Her hair is loose. Her arms are bare.
56
She crosses her hands over her breasts, as she walks onstage . . . = 72 molto flessibile 3
597
3
3
Bel. come
Oh,
for
me
and
I’ll
come
for
colle voce
3
601
3
3
3
Bel. you.
Drink
from
me
and
I’ll
3
drink
3
3
606
3
Bel. from you,
for e
poco
ver,
3
and e
3
ver, and
e
ver.
3
610
[2.3]
Bel. 3
3
3
3
3
3
57 [2.2.3] 612
3
3 3 3
Meno mosso
615
3
= 63, languido
= 112
4:3
Bel. What
(bell-like) 3
620
3
[2.3]
[3.2]
mu
3
3
sempre
Bel. sic . . . ,
such strange
mu sic . . .
like
a
knife,
3 8
sim. 3
3
3
3
3
623
= 104
Bel. 8
sempre 6 chiaro molto
3
6
3
3
3
58 poco a poco accel. 625
= 126 ( = 63) leggiero, giocoso 3
Bel. a
like
fish,
loco
8
3
3
3
5
3
3
5
5
5
3
3
Subito piĂš mosso 627
5
5
= 76
3
Bel. like
5
5
5
a
like
a
like
a
5
629 Bel. swan’s
7
3
5
5
6
59 Meno mosso 631
She throws a red velvet cape over her shoulders and walks around the room.
= 63 poco
Bel. warm
fea
ther . . . 8
6 8
distinto Five whistles are heard: = = 63 [3.2]
635
= 192
Bel.
1 (stage far left) Duendes 2 (stage far right)
Police Whistle:
8
6
sempre . Wild!
639 1 Duendes 2
8
6
6
6
60 =
= 63
= 63
642 Bel. Five 1 Duen. 2
of
them.
Tacent
8
loco
6
sempre 15
15
Don PerlimplĂn emerges from the shadows . . . =
646
= 63
3
Don P. Am
3
I
dis
tur
3 3
Belisa smiles slowly and knowingly . . . 650
[3.2]
3
Don P. bing you? 8
3
3
3 5
3
61 =
= 63
3
653 [3.2.2] Don P.
Are
you
slee
py?
poco
poco
poco a poco accel. 657
(
= 69)
(
= 76)
(
= 84)
Bel. 3
Slee
nervoso
py?
He rubs his hands
3
5:3
Don P. It’s a
bit chi lly to night,
8
calmo 663
= 92
= 88
poco
3
Bel. Per Don P. don’t you think?
5
6
5
lim
plín.
62 sub.
poco
665
3
3
Bel. It’s
a
nice,
3
3
3
667
3
Bel. nice
name,
Per
lim
poco
669
3
3
Bel. Per
lim
plín.
Per 3
3
lim
plín.
3
63 672 [2.3]
3
Bel. Per
plín.
lim
plín. 3
3 3
3
più rubato
sempre
676
ten.
3
is
e
Don P. 3
Yours
680
3
[3.2.2]
ven
= 112
*
**
Bel. Thank
dolce
you. *
**
Don P. ni
cer,
Be
li
sa.
3 (castanets)
sempre
3 3
** They look away * They look at each other
Awkward, embarrassed silences 684
c. 5"
blurted out . . .
[2.2.3] c. 8"
3
Don P. 6
There was some thing I wan ted to say, c. 5"
c. 8"
Be
64
(only Don Perlimplín looks and looks away)
poco 687
poco
3
3
Don P. li
3
sa.
It’s ta ken me quite some time
3
to re a lise it,
Be
li
sa,
but 3
3
LH
3
3
690
sarcastically
[3.2.2]
Bel. 3
You did n’t? You did n’t?
poco
3
3
Don P. 3
be fore we got mar
ried
I did n’t love
you. 3
3
3
3
693 Bel. 3
You did n’t? You did n’t? You
did
n’t? 3
3
Don P. Un
til
I
saw
your bo 3
poco 3
3
3
dy
65 poco 696
[2.2.3]
3
Don P. 3
3
through
the key
3
3
hole
be
fore
3
3
3
[2.2.3]
[3.2.2] 3
699 Don P. you put on
3
your wed ding
fi
ne
ry.
Then I felt
3
3 5
poco
3
poco a poco accel.
[3.2.2]
[2.2.3] 702
[2.3.2]
3
Don P. 3
Then
3
I
loved
you
3
3
as though some-one had drawn a scal pel a-cross my throat.
5
it.
66 706 (
= 63)
= 96
Bel. But 3
6
7
6
6
3
6
708
3
Bel. 3
the o
ther wo
men
be 8
3
6
l.v.
711 Bel. fore
me?
Don P. 8
loco
l.v.
3
3
3
l.v.
Con Ped.
3
67 = 56 c. 5"
713 Bel.
bell-like
c. 5"
3
I’m
the first? . . .
Don P. Be
fore
8
you?
c. 5" 3
(pizz.) = 138
Five whistles are heard:
3
717
= 192
Bel. I’m a sto-nished! Police Whistle:
1 (stage far left)
Whip:
Duen.
Police Whistle:
2 (stage far right)
Whip:
8 8
loco 6
6
sempre . Wild!
720 1 Duen. 2
8
6
6
6
68 = 63
4"
723
[3.2]
Bel.
4"
esitando poco
Time for bed.
3
Don P. 4"
Five
o’
clock. 8
3
3
sempre
3
(yawning) 726 [3.2]
3 3
3
3
Bel. 3
Oh,
my lit
tle
hus band,
blow out the can
dle,
8
3
3
3
3
loco
3
3
sempre 3
3
3
Ripetizione a piacere
729 Bel. if
Don PerlimplĂn tries to blow out the candle:
you want.
fails:
fails:
3
3
3
3
3
3
3
3
Don P. 8
3 3
3
3
69 Blackout Più mosso
c. 5"
733
= 72
c. 5"
sarcastically
Bel. 3
succeeds:
So
(half-whispered)
c. 5"
I
see.
c. 5"
3
Don P. 3
I’ve blown
c. 5"
jet whistle
out
the
3
can
dle.
c. 5"
3
737
3
3
3
Bel. 3
What,
my lit
tle lamb?
(soft stage whisper) Don P. Be li sa . . . 741
You’re
= = 72 [3.2.2]
[2.3.2]
[2.2.3]
won
der
[2.3.2]
Bel.
Don P. ful.
sempre
= 138
From opposite sides 2 Duendes appear, to draw over a greyish curtain. The theatre is left in shadow. They sit on the prompter’s box facing the audience.
746 [2.3]
= 112 749
= 138 3
3
3
3
3
3
70 752
= 112
= 138
Meno Mosso = 96
= 112
slapstick
1 What has the
Duen. slapstick
2
3
3
3
3
3
3
[3.2.2]
755
3
3
1 dark time brought for you?
Duen.
So
here
we
are,
and
are,
and
3
2 No thing strange and no
3
thing new.
So
here
we
3 3
’
( ghost’ voice)
758
[3.2]
3
3
1 Duen.
here
we
stay.
The
3
duen des have come. The
3
3
duen des have come. 3
3
3
2 here
we
stay.
The
duen des have come. The
duen des have come.
3 3
3
3
3 3
3 3
3
71 Mosso
= 112
= 138
c. 4"
761 1
It’s so
nice
It’s
nice
Duen. c. 4" 2
c. 4" whistling
8
Conductor
c. 4"
3 3
3
3
3
3
3
poco
3
765 1 pull a
veil
o
ver
o
ther peo
ple’s
pec ca
dil loes,
pec ca
dil loes,
Duen.
2
8
3
Cond.
3
to
72 769
poco
poco
1 Duen.
pec ca pec ca pec ca poco
pec ca dil
loes, poco
pec ca pec ca pec ca
pec ca pec ca dil
pec ca pec ca pec ca
pec ca dil
loes,
pec ca pec ca pec ca
pec ca pec ca dil
loes,
pec ca
dil
loes,
pec ca
dil
loes,
pe
ca
dil
loes.
loes,
pec ca
dil
loes,
pec ca
dil
loes,
pe
ca
dil
loes.
2
8
Cond.
773 1 Duen. 2
poco
= 112
= 138 poco
778 1
And then leave
Duen. 2 whistling
8
Cond. 3
3
3
3
the
au
dience
to
strip it
a
way.
73 782 1 Duen. 2 What
else do
or
di na ry
mor tals have to
8
Cond.
= 112 788
Meno mosso
= 96
slapstick
1 So
Duen.
not a
sin
gle
gap or chink.
slapstick
2 do?
3
( ghost’ voice) 3
792 [2.2.3] 1 Duen. 3
3
2 A
gap now would lead
3
to dark
ness
to
mo
rrow.
3
74 They laugh 795
= 112
1 Duen. 2
7
7
3
3
Meno mosso
= 96
797 [2.3]
3
3
1 Duen.
Be cause when things seem
as clear as
2
3 3
800 1 3
Duen.
day . . .
2 Peo ple i
poco 3
3
poco
m
a
gine they
know
it
all.
75 accel. 803 1 3
Duen.
They scu ttle off
to dar ker things
to nose out se crets they knew a
ny
way.
They scu ttle off
to dar ker things
to nose out se crets they knew a
ny
way.
2 3 3
= 112
decel.
= 96
806
3
1 That’s why we’re here,
Duen.
and 3
2 That’s why we’re here, poco
3
3 3
809
and 3
cantabile
3 3
3
3
3
c. 4"
3
c. 4"
3
c. 4"
1 3
Duen.
here we
stay.
That’s why
the duen des have
3
come.
3
2 here we 3
stay.
That’s why
the duen des have
3
come.
3
3 3 3
3 3
3
76 Poco meno mosso
812
= 84
1 Duen. 2
6
6
6
3
poco
815 1
Do
Duen.
you
know
Per
lim
plĂn?
2
3
6
6
subito
817 1
poco
Duen.
3
2 E
6
6
6
ver since he
was a
3
boy.
77 819 1 And
Duen.
Be li
sa?
2
6
6
6
6
subito
821 1
poco
Duen. 2 Oh,
Yes!
3
6
6
6
6 3
= 138 824 [2.2.3] 1 Duen. 2
Both Duendes drift off as if into a strange reverie, possibly imitating Belisa’s seductive movements, or dancing a stately pavan. [3.2.2] [2.2.3]
78 829
[3.2.2]
[2.3.2]
1 Duen. 2
834
[2.2.3]
1 Duen.
3
3
2 Yes! Once
in her hea vi ly scen ted
room,
839 1 Duen.
3
2 sleep
and woke
up
just
as her
cats
were a bout to
pounce. 3
I fell a
79 They laugh 843
They look at each other with mock high seriouness
= 112
Slapstick
1 Duen. Slapstick
2
7
7
6
6
Misterioso
and convulse again . . .
3
= 69
845
3
3
1 E very bo dy
Duen.
had a good i
de
a
of what was
poco
2
3
6
sempre
3 5
3
3
3
848
3
3
1 Duen.
go ing
on. 3
2 3
And so the mur mur ings and 3
3
3
gos
sip
soared
3
3
80 sim.
bell-like
851 1
yond Duen.
ma (mah) sim.
bell-like
in
na (nay)
the
2 be
i (ih)
gi (jee)
tion (shon)
to
3
bell-like
855
sim.
5
1 of
Duen.
my
ste
ry.
3
3
3
3
3
3
5
2 realm
my
ste 5
Ebollimento spiritoso 858 slapstick
= 88
1 Duen.
slapstick
2 3 3
poco
3
5 3
3
3
81 Mosso
= 112
860
3
1 Duen.
That’s
why
3
our
That’s
why
3
our
3
2
3
3
863
3
3
1 3
screen must re
Duen.
main
with
not a
gap, or
chink
of
light, 3
3
2 3
screen must re
main
with
not a
gap, or
chink
of
light,
poco
Poco meno mosso = 80 poco mock-pious
866 1
the
Duen. 2
7
7
7
82 868 1 Duen.
ve
ry height
of
so
cial
dis
cre
tion.
2
3
3
3
3 3
3
L’istesso tempo
871
3
= 80
1 3
Don Per lim
Duen. 2
3
Don Per lim 3
3
3 6
6
6
wild!
873
3
3
5
3
1 3
Duen.
plín’s soul,
like
3
a
new
born bird,
3
3
is
fil
ling
3
with
5
3
2 3
plín’s soul,
like
a
new
born bird,
is
fil
ling 3
3
3
3 3
3
3
3 3
3
3
5
3
3
3
3 3
3
3 3
with
83 876 1 life
Duen.
and
flight,
2 life
and 3
flight,
3
3
3
poco
3 3
3
3
3
3
3
3
3
3
3
3
879
spoken
1 e ven spoken
Duen.
we
2 as 3
3
speak.
3
sempre ma pronunziato 3
3
3
3
3
3
They laugh 882
= 112
Meno mosso
= 92
= 69 poco
slapstick
3
1 And the dawn
Duen.
has o pened
slapstick
2
3
3
5 6
subito
6
84 = 84 885
3
1 Duen.
five cold flowers on the
bed
room walls.
2 3
poco
= 69
888
6
6
6
They both stand putting on their huge blue cloaks.
1 Duen. 3
2 Five bal
co nies
3
o pen on to
the
town.
3 6
6
3
3
891
ten.
3
3
1 Don
Duen.
Per
3
lim
plĂn. ½ whispered/spoken:
poco
2 Shall we play a
poco 3 3
3
85 spoken: poco
894
Meno mosso più rubato
“matter of fact"
= 58
1 or
3
give you a
treat?
Duen. they look at each other
they look away
2 trick on you . . . (castanets)
l.v.
= 112
897
poco
3
(slowly flatten pitch)
1 it’s not Duen.
fair to pa rade the mi se ry of a good
man (exhale) poco
con languore whisper
3
3
2 A
treat ... ,
mi se ry
good
man
3
3
= 138 900 1 But to
Duen.
(descend into gossiping whispers)
2 be
fore the sa la cious gaze of the pu blic.
mor
row
86 903 1 Duen.
it
will be
on
e
very
one’s
lips.
2
ma distinto
3
907 1 Duen.
malinconico
2 What
911
more
could we
Quasi eco
ask?
Our
ve
ry
heart’s de
poco
1 As
Duen.
ru
mour
2 sire . . . 8
loco
3
spettrale molto 3
3
spettrale molto
3
3
3
runs a
mok.
87 = 152 spoken: poco
915 1 Duen.
spoken: poco
Shall we go? 3
poco
2 The
au dience is get ting rest less.
Yes,
let’s go!
sempre, giocoso
They run off, pulling the “curtain" back as they go . . . 919
slapstick
1 Duen.
slapstick
2
3
3
3
3
923 3 3
= 88 927
8ba
3
3
88 Don PerlimplĂn sits bolt upright in bed. He is wearing a pair of golden antlers. The 5 balconies at the back have been thrown wide open. The pale light of dawn filters in. [3.2.2]
3
931
3
Don P. What are
all
the
bal
co
nies
3
do 3
3
loco
934 [2.2.3]
3
3
Bel. cause
Be
the wind
Don P. o
pen?
3
7
9
3
937
3 3
3
Bel. blew
6
3
last 3
night
3
3
3 6 3
3
3
3
with a
ing
89 940
[2.2.3]
3
Bel. force
it
ne
3
ver had
be
fore.
3
3
3
3
3
3
[3.2.2]
943 Bel.
3
3
Don P. And
why are there 9
five
lad
ders from the
bal
co nies
to
3
3
legato
3
[3.2.2]
946
3
Bel. It’s
3
3
the cus tom in my mo ther’s coun try.
Don P. ground? 3
poco 3
3
the
90 949
[2.2.3]
[2.3.2]
Rising from bed:
Bel. The
3 3
Don P. And
whose are those hats I can see
un der the bal
co ny?
3
poco
3
3
[3.2.2]
952
[2.2.3]
3
Bel. hats
of drun kards who 3 insinuatingly
just
hap pened
to
pass
by . . .
my
Per lim
Don P.
poco cantabile PiĂš rubato - colla voce 955
3
3
Bel. plĂn,
my
lit
tle love.
My
Don P.
3 3
poco 3
91 [2.2.3] 959
a tempo [2.3.2]
3
= 88
He goes to embrace her.
But thinks better of it.
3
Bel. love.
I would n’t tell you
lies. 3
3
3
poco
3
He pulls away. 963
[3.2.2]
Bel.
3
3
3
Don P. 3
There’s no point in
ly
ing be cause I
can
tell. 3
3
3
3 3
con tutta forza 966 Più mosso
= 96
3
Don P. 3
Be
li
sa, 3
3
3
3
92 969
3
3
3
3
Don P. who
have
you
been
kis
sing?
3
3
3
3
3
3
972 Bel. 6
You . . . Don P.
3
6
5
3
6
5
3
3
975 Bel. been kiss ing, 6
6
3
3
3
3
3
I’ve
93 978 Meno mosso
= 63
Bel. you. esitando (almost “inside" harp) Don P. Do
you
love
me
distinto
(harp)
She holds up a naked arm to embrace him.
He goes to embrace her. quasi eco
981 [2.3]
semplice
Bel. Oh, Per lim
pli
nĂ
to,
my lit
tle
Per lim plĂn . . .
Don P.
sempre
sempre = 112 [3.2.2]
[3.2] 985
3
3 3
3
con tutta forza
3
3
3 3
3
3
94
(as if to himself) [2.3.2] poco
988
[2.2.3] c. 5" 3
3
Don P. It’s all like
a
I’d ne ver seen
dream. 8
c. 5"
3
3
3
3 3
poco 3
3
3
[2.2.3]
poco
3
[3.2.2] (stage whisper) 3
992
3
Don P. the
sun
rise
be
fore . . .
Be
li
sa . . . ,
are you a
8
loco
3
3
poco poco quasi chitarra
con serenità
995 [2.2.3]
Don Perlimplín covers Belisa with a red blanket. = 58 flessibile
dolce [2.3.2] ten.
Bel. Yes. ten.
mouthed only. No sound.
Don P. sleep?
I love you. 3
l.v. 3
95 999
Golden light is streaming through the balconies. PerlimplĂn is sitting on the edge of the bed, facing away from Belisa. intimo
Don P. 3
Love,
3
oh my love,
the pain
of lo
semplice. Non legato PiĂš mosso
= 72
3
1003
[2.3]
Don P. ving
you.
The
pain 3
3
1007
poco 3
Don P. of
love
that fled
and
hid
its face
in
3
3
poco
3
1011 Don P. 3
3
chiaro 3
poco
3 3
death.
96 1014
3
10
quasi eco
6
non cresc.
sempre
3
1017
3
3
3
3
= 72 1021
[3.2]
Don P. You 3
3
3
= 72 (falsetto) [3.2]
1025 Don P. can
tell
them
all
the
3
3
3
nigh
tin gale’s
3
97 [2.3]
[3.2]
[3.2]
1029 Don P. to
blame.
to
3
blame.
3
poco
3
3
3
3
Flocks of paper birds cross by. 1033
= 112
Don P.
5
6
spettrale
6
6
6
6
1035 Don P. The
6
6
5
6
6 5
1037 Don P. ra
poco 6
5
6
5
98 1039 Don P. 3
zor
3
sting
3
sempre
1041 Don P. of
its
1043 Don P. ser
3
ra
99 1045 Don P. ted
Bells ring out in the morning air.
1047 Don P. voice,
(
1049 Don P.
sempre)
100 1051 Don P.
= 72 [2.3]
1053
semplice 3
Don P. the
pain
of
3
3
3
poco
1056
L’istesso tempo possibile ( [3.2]
3
= 144)
Don P. lo
ving
you, 3
3
6 3
6 6
6
7
101 sempre 1058
3
= 96
3
Don P. on
my
throat
and
in
my head. 3
3
poco
3
3 3 3
1062
= 116
Don P.
feroce
6
6
6
6
c. 5"
1064
= 58 intimo ancora
Don P. Love,
c. 5"
3
subito
6 6
1067
3
3
= 72
Don P. oh, my
love,
take
3
my hand
for
I
3 harp solo
3
3
3
102 Pi첫 mosso
= 104
1071 Don P. have been
woun
ded
semplice
1075 Don P.
Meno mosso 1079 [2.2.3]
= 92 sostenuto [3.2.2]
[2.2.3]
Don P. by
a
love
that
poco
poco 1084
[3.2.2]
[2.3.2]
Don P. fled,
and
hid
103 [3.2.2]
[2.2.3]
1089 Don P. its
face
in
death.
poco 1094 [3.2.2]
[2.2.3]
Don P.
staccatissimo
l.v.
Scene Two Don Perlimplín’s dining room. The perspectives are delightfully skewed, as though in some primitive “Last Supper”. Ebollimento spiritoso
= 126 ( = 63)
1100
3
6
3
7
3
3
3
cantabile
1102
[2.3]
3
3
3
3
3
3
3
3 3
3
.
104 = 84 1104
3
[2.2.3]
Don P. Oh
Mar col
Marcolfa enters, weeping... poco rall.
L’istesso tempo
= 72
fa,
why
= 72
lagrimando
1107 [2.3.2]
3
[2.3]
3
Mar. Sir
knows
3
Don P. all
these tears?
3
3
3
3
3
1110 Mar. per
fect
per fect
per
per
fect
per
fect
ly
well 3
.
105 1112
3
Mar. per
fect ly per
fect ly per
fect ly
per
fect
per fect
per
Poco pi첫 mosso
[3.2]
1115
per
fect
= 84 3
Mar. ly
well
why.
On your wed ding night,
3
poco 3
poco
1119
con tutta forza
Mar. Five!
Five!
3
3
3
3
3
3
.
106 1121 Mar. Five!
Five!
Five!
3 3
3
1123 Mar.
3
3
1125
3
3
Mar. diff erent me n
.
up
and
o
ver your bal co
nies.
107 = 56 1128
3
poco
[3.2]
3
[2.3]
3 3
Mar.
And
3
you sleep
ing like a
ba
by through it
all.
3 3
Meno mosso con rubato 1132 [2.2.3]
3
3
Molto più mosso [3.2] indignantly
= 96 [2.3]
= 96
Mar. And
if that weren’t e nough...
Don P. It does n’t mat ter.
poco poco
3
[castanets]
1136
3
[2.3]
Mar. I
saw
her
yes
ter day
with a no
ther
one.
intrigued Don P. You
saw
3
3
sub. .
108 flummoxed
molto rit.
*
3
1138 [2.3.2]
= 52
Mar. 3
the...
And
did n’t e ven try to hide.
she
3
Don P. 3
her...?
But, Mar col
fa,
3 3
* finger snap
Più mosso subito
= 63 3
1140
[2.2.3]
Don P. I’m
hap
py
5
sub. 6
Mosso
= 144 3
1143 [3.2.2] Don P. in
a way you could n’t un der stand. 3
non cresc.
3
3 .
109 1145 [3.2] Mar. could
Oh,
n’t
I?
3
3
= 1147
[2.3]
= 72 semplice
Mar. But,
sir,
you
love
sotto voce
poco
1150 Mar. her
too
much
Don P. Not
.
110 (nods sagely)
1153 Mar.
far,
far,
too
much
That’s
poco Don P. as much
as
she
de
( 1156
=
serves.
= 72)
Belisa enters.
3
Bel. He Marcolfa leaves hurriedly. Mar. her
com ing
now. (breathily)
He conceals himself in a corner of the room.
Don P. Quick ly...
5
.
111
Pavan 1159
L’istesso tempo [3.2.2]
3
= 72
[2.2.3]
Bel. was n’t there
a
gain
to
day.
A
poco
sempre
[3.2.2]
[2.3.2] poco 1163
[2.2.3]
Bel. whole
pride
of
them
[2.3.2] 1166
[2.2.3]
[3.2.2]
3
[2.3.2]
Bel. fol low
ing
me. 3
.
poco
sempre
But
112
Meno mosso pi첫 rubato [3.2.2]
[2.3.2] 1170 [3.2.2]
[2.2.3]
3
= 63 3
Bel. him.
not
His
skin poco
Mosso 1174
3
= 72
[3.2.2]
[2.3.2]
[2.2.3]
3
Bel. must be
poco
so
dark...
his kis
ses
sweet,
sempre
Meno mosso [3.2] 1178
= 63 3
Bel. stin
ging, 3
.
3
3
3
3
3
113 [3.2.2]
3
1180 Bel.
stinging,
like
saf
fron and
cloves,
stin 3
3
3
poco
3
1183
[2.3]
PĂŹu mosso
3
3
= 80 3
Bel. ging, 3
3
3
stin
ging
3
5
=
= 80
corta [3.2.2]
1185 Bel. bees,
like corta
.
bees
like
114 1189 Bel. bees
=
and
= = 80 [3.2.2]
= 80
1194
3
3
3
Bel. walks
un
der
my
bal
co
nies.
Prestissimo possibile 8
harp
3
3
3
1198 Bel.
115 =
= 80
1203
rit. 3
= 52 3
Bel. waves
slow ly,
3
poco
Belisa slowly waves as if imitating her “lover”. 1208
(to the right)
(to the left)
(sim.)
Bel. waves,
1213
just
waves...
c. 4"
= 52 l’istesso tempo
Bel. My
breasts c. 4"
Con Ped.
116 Subito molto pi첫 mosso
= 96
1216 Bel. tin
gle,
3
3
3
my
whole
bo
3
3
cresc. poco a poco
3
3
3
3
3
3
1219 Bel. dy
comes
to
life...
6
5
5
5
sempre
3
5
1221 (1220) Bel.
5
5
5
5
1222 Bel.
5
5
5
5
5
5
117 Don PerlimplĂn appears.
1224
3
Bel. You
5
put out 3
1226 Bel.
5
frigh tened me! poco
leave me
a
lone!
poco
motteggiando 3
3
Don P. 3
...tal king to your self
A
lit tle stroll,
= c.96 - 72
viola
quasi eco
sempre
3
1230
3
Bel. No.
No!
No!
Don P. haps?
Per haps?
3
5
No!
No!
No!
per
118 1233 Meno mosso
= 80
Bel.
Don P. Per haps
a
vi 3
3
sit 3
3
to
the
pa 3
3
3
3
1235
3
Bel. I
said
Don P. stry
shop? 3
3
3
3
3
3
3
3
6
poco
c.4"
*
1237 Bel. no!
c.4"
3
3
Don P. For 3
* Belisa - dental trem. .
me.
give 3
3
3
3
3
c.4"
1239
119
Belisa and Don Perlimplín scan the floor agitatedly, then regain their composure. c.5"
= 112
3
3
brutale
They search feverishly again, in vain, and bemused... Sudden stillness. c.5"
1242
A stone, round which is wrapped a letter, flies through the balcony window. Don Perlimplín picks it up.
3
Meno mosso
= 72
1245
3
3
Bel. Give it
to me!
motteggiando
Be cause it’s mine.
3
Don P. But
why
What makes you think
3
agitato 1248
3
3
3
3
3
Bel. Per lim
plín!
Don’t read
it. poco
Don’t read with mock indignation
it.
Don P. that? 3
3
Why
should n’t I?
poco
3 3
.
120
Mosso
= 112 3
1252
3 3
3
3
3
3
3
Bel. Give
me
my
let
ter!
let
3
Don P. Oh,
my
poco 3
3
3
3
3
1255
3
Bel. ter!
Give
me
my
let
ter!
Don P. poor
Be
li
sa!
poco
poco
3
3
poco
Meno mosso 1257 [3.2]
3
sempre
= 80 [2.3]
3
3
Don P. I’ll
give you the scrap 3
feroce
3 3
of
pa
per you’re so
121 1259 [3.2]
3
Don P. de spe rate to
have...
I
un
der
stand
you...
3
non legato sempre 3
Belisa snatches the letter from Don P. 1264
and plunges it into her cleavage!
religioso sempre
[2.2.3]
Don P. I
know
that
6 3
3
1267 Don P. you’re faith
ful
to
me
and
al
ways
will
3 3
3
3
1271 Don P. be.
.
3
poco
3
3
poco
122 con carità
poco
3
1274 Bel. My
lit
tle
Per
lim
plín,
Per
lim
plí
ni
sub.
1276 Bel. llo,
i
llo,
i
llo,
i
llo,
what
12 78 Bel. ther
man
could
there
be?
poco poco
12 80
c.4"
sub.
3
Don P. That’s why
I’m
going to
help
you.
3
3
3
3
3
poco 3
3
poco
3
3
3
c.4"
o
123 12 83
= 80 sereno subito
= 112
non cresc. 3
Don P. You’re the mo del of a ve ry good
wife.
I
un
der
[Temple Bl.]
parlando poco
12 87
3
3
Don P. stand
you.
Has he been by to day?
3
3
12 91 Bel. Twice. 3
3
3
5
3
(1292)
3
3
12 93
3
3
3
Bel.
3
.
3
3
3
3
3
3
3
3
3
124 più rubato: colla voce (parlando) poco
12 94
3
3
Don P. Did he ack now
ledge
you
in
a
ny
way? 6
6
= 88 3
12 96
3
6
3
Bel. Yes . . .,
but as
3
3
6
3 3
3
6
3
poco 3
12 99
3
[3.2]
3
Bel. if
I
did n’t mat ter 3
to
him...,
That’s what
rea
lly hurts! 3
3
3 .
3
3
non dim.
1303
125
= 56 = 112 poco
molto rit.
Bel. but..., 3 3
3
1306
= 63
[3.2]
3
Bel. poco
parlando
But
3
Don P. Don’t be a fraid
to tell
me...,
bell-like 1310
3
Bel. he won’t let me
see
3
him.
His let ters
say:
Don P. Strange.
poco
1314
PiĂš mosso = 72 rubato colla voce
3 3
Bel. What
.
need
have
I
of
your
soul?
126 3
1318
3
Bel. Be
3
1321
poco
3
Bel. li
sa,
3
3
it
is
not
3
6
6
6
6
Con Ped. 1323
3
3
Bel. your
soul
that
I
de 3 3
6
6
6
6
1325
3
3
Bel. sire,
but
the
trem
bling 3
6
6
.
6
l.v.
127 poco
3
1327
3
3
Bel. white
ness
of
your
3
(
) 6
(
)
6
1329
6
3
3
3
3
Bel. mor
bid
flesh.
3
3
() () 6
6
poco
sempre
Eco-Pavan L’istesso tempo 1331 [2.3.2]
= 72
[3.2.2]
[2.2.3]
[2.3.2]
Bel.
with mysterious resolve sempre Don P. What
if
I
told
you
that
(poco
sempre)
l.v.
(
.
)
I
know
who
he
is?
128 Più mosso 1335 [3.2.2]
= 168 ( = 84)
[2.2.3]
Belisa runs after him.
Bel. Do
you?
non dim.
spoken – walking quickly to the balcony.
Don P. Wait.
He’s there now.
Temple Bl. Castanets
Temple Bl.
( )
1339 Mosso
= 112
3
Bel. Where? 3
3
Don P. He’s 3
dis ap peared round that cor ner.
3
sim. poss. brutale
1344
Meno mosso = 96
= 112 [2.3]
Don P. I
am
3
dolce quasi eco
sempre
secco
sonore .
an
129 1349
poco
3
Don P. old
man.
I
will
sa
cri fice
my self
sempre
poco
1354
3
3
3
Don P. for
you
(
)
in
a
way
that
no
man
(
)
(
)
has
e
ver
sempre
(
)
1358
3
3
Don P. done
for
his
wife
be
( )
fore.
What do
( ) sempre
( )
( )
I
130 3
1362
3
Don P. care
for
the
world
and
its
ab
surd
ecotone
3
= 126 nervoso e agitato 3
1366 Bel. What
are
you
go
ing
Don P. mo
ra
li
ty.
3
Blackout 1371 Bel. to
do?
3
spoken, walking off purposefully Don P. You’ll see soon e nough! 9
6
.
sempre sempre
131
Scene Three A garden of cypresses and orange trees. Marcolfa blusters into the auditorium. She stands before the pit and, tearfully, addresses the audience. Don PerlimplĂn is on stage surveying the trees, his back to the audience. Inciso
= 112 lagrimando
1374
3
Mar. It’s all
my
fault. oboe solo
sempre unhinged con tutta forza
1377 Mar. E
very
thing
was
like
clock
work
She turns to Don PerlimplĂn
1380 Mar. be
fore.
1383
3
Mar. In
the
mor
ning
I
would
bring
you
3
3
1387 Mar. your
cof
fee 9
3
ten.
132 1391 Mar. and
some
grapes.
Don PerlimplĂn spins round. = 88 Colla voce con tutta forza
sempre ten.
1394
= 69
Don P. 3
Grapes!
Grapes!
It seems like a hun dred
ten. 3
sempre 3
3
3
1397
poco
3
3
3
Don P. 3
years
a
go.
But now!
Lo ving Be li
sa
has o
pened a
whole 3
1400
3
3
[2.3.2]
Don P.
3
new 8
world
a
trea sure I
did n’t e ven
know ex
is
ted . . .
whistling
Cond. 3
3
poco
3
3
3 3
3
133 poco
1403
3
Don P. I
al ways held
3
3
back,
ne ver ven tu
ring
to
go
through
poco 3
3
poco
childlike 3
breathily
3
3
poss.
1406 Don P. the
Now
door . . .
I
close my
eyes
and
3
poco
[3.2.2]
3
1409
3
Don P. I
can see . . .
3
a
ny
thing
I
want . . .
see
3
3
3
3
134 1412
3
3
Don P. my
mo
ther
when the
duen des came
to
vi
sit
her . . . 3
6
3
cantabile 3
con Ped.
3
1415
3
Don P. Have you e ver seen
a
duen
de?
3
crea tures
of the dark
time . . .
3
3
3
ma chiaro
poco 1418
3
3
Don P. So
small . . . 15
see
how
they
dance
= 138 (independently)
glock. sempre
poco
10 3
135 1421 Mar. Duen 3
Don P.
des!
3
3
on
my
fin
ger
tips!
15
poco
3
3
Don PerlimplĂn breaks out of reverie 1424
3
Mar. Duen
des!
What a
bout this
busi ness?
poco Don P. Ah! 15
non rall. tacet
This busi ness!
136 poco
1427
meccanico 3
3
3
Mar. with evident satisfaction
I
told
her
e
xact ly what you told
me to . . .
3
Don P. What
did you tell
her? 3
l.v. poco
3 3
3
3
poco 1430
3
3
3
3
3
Mar. that the young
man . . .
would come to
3
3
1433
the
gar
den
3
3
3
poco 3
3
Mar. to
night,
at ten
3
3
3
3
poco
on the dot,
3
137 1436
poco
3 3
3
3
Mar. wea
ring
3
3
his red
cloak
as u
su
al.
3
And 3
3
3
3
3 3
1439
[3.2.2]
3
3
non dim.
3
3
Mar. And
she
lit
up
like
a
flo
wer,
3
she . . . 6
3 3
3
3
1442
sempre
Mar. and
just
stood
3
3
3
3
3
3
there
kis
3
3
3
3
138 3
1445
3
Mar. sing
her
own
3
long
3
dark
hair.
Sighed,
3
3
3
3
3
poco
3
1448
3
3
3
3
3
poco
Mar. but
what
a
sigh . . .
quasi eco
She half-turns to the audience. Half whispered - becoming all whispers
1452
3
Mar. Her love must have reached
3
the point of
mad ness.
139 = 126
meno
legatiss. 3
1455 Don P. That’s right!
That’s right!
I
her
3
3
3
need
3
3
1458
3
3
3
3
3
Don P. to
love
him.
And
she
does!
3 3
3
3
3
3
3 3
3
3
1461
3
Mar. You’re 3
3
frigh tening me. 3
3
You’re en 3
cou
ra
your 3
3
3
3
ging
Don P. She does! She does!
She
does! She does! She does!
She
does!
She does!
She does
3
3 3
3
3
3
3
3
3
3
3
3
140 3
1464
3
3
Mar. 3
wife 3
3
to
3
com mit
the . . .
to
3
3
3
com mit
the 3
3
3
Don P. She? Does she? Does she?
3 3
3
Does she? Does she? Does she?
3
Does she? Does she?
3
Does she?
3 3
3
3
3 3
3
3
3
3
3
3
3
3
3
1467
3
Mar.
worst
of
sins . . .
poco 3
3 3
3
Don P. love
3
3
him?
3
Does she
3
3
love
him?
3
3
3
3
3
3
141 = 80 1470 Mar.
Don P.
3
3
3
3
3
3
3
= 112
1473
3
Mar. Yes. 3
3
Don P. Don
Per lim
3
plĂn’s ho nour has
gone. 3
susp. cym.
3
molto rit. 1477
3
sempre
Don P. 3
His hon our has
ta
ken
wing
and
flown.
3 3
3
poco 3
poco
3
3 3
142 = 84 poss.
1480 Don P.
3 3 gongs (
sempre)
3
dim.
3
molto non legato
1483
3
sommesso, fragile
3
3
Don P. And
to night
the
sempre dim.
l.v. 1487
3
3
3
3
Don P. young stran
ger
will come to
Pi첫 mosso
take
my sweet Be li
= 96 militamente
1491 Don P. sa.
Now go a gongs sempre
3
bout your du ties . .
143 poco rit. 1495 Don P. 3
You
will
do
ex act
ly
what
I
said?
poco
1498
Marcolfa slowly turns and walks out of the auditorium. Malinconicamente = 58 (independent) c. 4" 3
3
Mar. Do
I
have a
ny
choice
(
= 72 sempre
in
the
= 72)
3
3
(gongs)
mat
Don PerlimplĂn hides behind some rose bushes = 80 1499 1 The
Duen.
night
(offstage)
2 The
night
The
night
Mother (offstage)
Mar. ter?
In
the
mat
ter? = 72 poco rubato
trumpet (at back of auditorium)
the 3
mat
ter? 3
144 1500 1 Duen.
drinks
and
swoons
drinks
and
swoons
portamento uguale
a
long
a
long
a
long
(offstage)
2 portamento uguale
portamento uguale
Mother (offstage)
drinks
and
swoons
(Marcolfa should keep singing until well outside) Mar. choice
in
the
mat
ter . . . ?
3
3
3
3
poco gongs continue
poco
1504
3
3
1 Duen.
the
(offstage)
dark
ri
3
3
ver
3
side.
Be li
poco 3
3
3
3
3
2 the
dark
ri
ver
poco 3
3
3
side.
3
Be li
3
Mother (offstage)
the
dark
ri
ver
side.
Be li
145 1508
3
3
3
3
3
1 sa,
na
ked
to
the
moon,
the
...ees
Duen. (offstage)
3
3
3
2 sa,
na
ked
to
the
moon,
the
3
3
trees
3
3
3
Mother (offstage)
sa,
na
ked
to
the
moon,
the
...ees
gongs continue
15 11
3
3
3
3
1 grow stiff
and
die.
Duen. (offstage)
3 3
2 grow stiff
die.
3
3
Mother (offstage)
grow stiff
and
die.
3
† Don P. The trees grow
stiff
† Shake Adam’s apple
and
146 1516
3
3
1 The Duen. (offstage)
3
3
2 The 3
3
Mother (offstage)
The Don P. die! trumpet (in auditorium) = 72
3
poco
1519
poco
3
1 Duen.
night
and
grows
(offstage)
2 and 3
Mother (offstage)
sings trumpet
= 72
3
3
3
5
3
147 poco
1521
3
1 in Duen.
...ning
poco
(offstage)
3
2 in
the
poco 3
Mother (offstage)
in
the
ripe...
3
3
3
3
3
(1523)
1524
1 Duen. (offstage)
2 green
Mother (offstage)
wind
3
10
5
10
come uno vento verde 3
ma sonore
5
5
148 Più mosso
= 84
poco rit.
= 72 semplice
3
15 25
3
1 Be...
Duen.
o...
the
(offstage)
...ow
of
the wa semplice
3
3
ter’s
3
2 ...li
sa
...pens
flow
wa
ter’s
semplice
3
3
3
3
3
Mother (offstage)
...sa
to
...ow
of
the wa
ter’s
molto distanza 3
3
3
15 29
3
3
3
1 Duen.
ca
re
ssing
ha
nd.
(offstage)
3
3
2 ca
re
ssing
ha
(ah) nd.
3
3
Mother (offstage)
ca
re
ssing
ha
(ah) nd.
poco
poco †
poco
poco
Don P. The trees
3
grow
stiff
= 58 poco rubato (independently) 3 8
3
3
3
harp
3
† as before
and
149 15 33 1 Duen.
The
moon
The
moon
The
moon
of
wine
and
of
wine
and
of
wine
and
(offstage)
2
Mother (offstage)
3
Don P. die.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
glacial, dolce non legato
3
3
3
15 36
3
1 Duen.
sil
ver
shi
ning
(offstage)
in
3
3
the
skies.
the
skies.
the
skies.
3
2 sil
ver
shi
ning
in
3
3
3
Mother (offstage)
sil
ver
3
shi
3
3
3
3
3
3
3
3
ning
3
3
in
3
3
3
3
3
3
3
3
150 15 39
3
1 The
Duen. (offstage)
3
2 The 3
Mother (offstage)
The
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3 3
3
15 42
3 3
3
3
3
1 Duen.
shi
ning
(offstage)
3
mi
3
rror
of the 3
3
ri
3
3
ver,
3
3
2 shi
ning
mi
rror
of the
ri
ver, 3
3
3
3
3
3
3
Mother (offstage)
shi ning 3
3
mi 3
3
ri
3
3
3
3
3
3
3
ver,
3 3
3
3 3
rror
3
3
dim. poco a poco
3
3
151 1546 3
3
1 3
the
Duen.
sweet
wine
of your
(offstage)
white
thighs.
3
3
2 3
the
sweet
wine
of your
3
white
thighs.
3
3
Mother (offstage)
the
sweet
3
wine
3
3
3
3
white
3
3
3
3
thighs. 3
3
3
3
3
3
3
3
3
Belisa walks on slowly langoroso
1550 Bel. poss. 1 Duen. (offstage)
3
poss.
2 poss. Mother (offstage)
Don Perlimplín begins to walk offstage poco 3
†
3
(offstage)
poco
poco
poco
Don P. The trees
grow
stiff
and 3
† as before
die!
152
from the opposite side of the stage. She is splendidly dressed. Moonlight ossia 8ba 1554
3
Bel. Voi
Don P.
5
5
5
3
(ossia 8ba) poco 1558
5
5
3
Bel. 3
ces
3
5
on
the
breeze,
5
3
(ossia 8ba)
con tutta forza 3
1561
3
3
Bel. night
the
so lid
and sweet
and full.
5
3
3
153 1564 Bel.
3
3 3
3
3
5
ossia 8ba 1567
5
3
3
3
5
Bel. 3
My
love, 3
5
3
3
3
your
weight and
5
Con Ped. sempre
mostly breath (little, if any, pitch)
(ossia 8ba) 1570
A man appears, his face concealed. He is wrapped in a huge red cloak. He crosses the garden with great care.
3
3
Bel. warmth
3
u
pon me . . .
Oh!
who’s
there?
Ssh!
154
The man stops, turns to her, pauses, and, in this stillness lifts his right hand index finger, raised as if to say “Wait a moment and I’ll return”, then disappears.
1574
Rubato = 96 poco agitato
(whisper)
5
3
Bel. This way!
Yes, yes,
my
love,
subito 3
1577 Bel. Flo
wers
floa
poco 3 3
3
cantabile 3
3
3
1579
3
Bel. ting,
the 3
5
3
moon
5
3
5 3
3
5
3
3
5
155 Pi첫 mosso
poco 3
1581
= 112
3
Bel. swea ting and
spin
3
3
ning
fal
5
secco 5
3
3
poco a poco rall.
1584 Bel.
ling
Meno mosso 1587
on
my
na
ked
back . . .
= 63 colla voce 3
3
3
5
3
Bel. The
1589
whole
night
3
is
3
5
Bel. mine,
a
live
with
mint
and la
156 1591 Bel. pis
la
zu
li.
Don PerlimplĂn appears 1594 Bel. in surprise 3
Don P. 3
What
are you
do
ing
3
here,
Be
li
3 5
poco 5
poco
1597
3
3
Bel. Just walk
ing,
un
der the
stars. 3
3
poco Don P. sa?
Be 3
li
sa . . .
So
3
5 3 3
3
157 1600 Bel. 3
3
Don P. you
still
want him to
3
3
3
3
come?
3
3
1603 Bel. More
than
e
3
ww.
3
3
3
3
3
3
3
3
non dim. 1605 Bel. ver! con forza Don P. But
3
sempre 3
3
3
3
3
3
why?
poco
3
3
3
dim.
3
3
3
158 Colla voce in a strange reverie 1607
3
3
3
Bel. Be cause I
3
love
the scent
of
his
3
3
3
dy.
3
3
poco
1610
bo
3
Bel. It
3
hangs
like
per
fume
3
3
in
the
3
3
Con Ped.
bell-like 1613
3
3
Bel. air.
He’s changed
me. 3
3
3
3
3
poco
3
molto appassionato e non legato
159 1616
3
3
Bel. Per
lim
plĂn,
Per
sempre
3
3 3
3
3
3
1619 Bel. lim
plĂn,
I
love 3
LH
3
3
3
3
LH 3
1622
3
3
Bel. him.
sempre
sempre 3
3
sempre
3
3
3
160 1625 c. 4"
= 144 [3.2]
3
[2.3]
Bel. I
love him.
con tutta forza, crowing 3
Don P. Then
poco
the vic
to ry
is all mine.
poco 3
3
1629 Don P. 3
The vic
3
to ry
of
my
i
ma
gi
na
3
tion.
3
3
molto non legato 3 3
3
poco 1634
3
Don P. And 3
3
see
ing
that
you love
him
so
much,
L’istesso tempo
161
= 72 3
3
1639 Don P.
3
so
much,
so
much,
the best thing
to
to 3
do is
3
plunge
3
temple blocks
3
1643 [2.3]
3
Don P. this dag ger
in
to
his young gal
lant’s
5
5
5 5
tutta forza 1646
c. 4"
3
3
[3.2]
Don P. heart.
And he’ll
love you non legato 3
1650
[2.3] 3
end
3
= 112
3
Don P. with the
3
less love
of the
dead. 3 3
3
3
162 poss.
corta
3
1654 Don P. Oh,
to
be
free
for e
ver
from
the
corta
3
senza colore e calore
1659
3
Don P.
3
glo
ri
ous
night
mare
of your dark
bo dy . . .
which I
He looks around the garden . . . 1664
embracing her. spoken:
3
could
(“matter of fact�)
Don P. ne
ver un der stand!
Be li
He is a mong us now.
sa,
poss. childlike
poco 1669
3
3
3 3
Don P. now that you love
him,
I 5
6
5
5
sempre
will show
you
how
to mourn
Don PerlimplĂn tries to break free. molto accel. 3
1673
163
He runs off.
= 192 = 96
agitato
3
Bel. 3
No,
Per lim plĂn,
no! shouting 3
Don P. him.
Let
me
go! 3
sempre
[3.2] 1677
3
Bel. Quick,
quick ly,
quick ly,
quick ly,
Mar
col
3
non legato 3
3
3
3
3
3
3
3
3
3
meno 3
1679 Bel. 3
fa,
bring
me
sempre
3
the
sword
that
hangs
in
3
3
3
3
3
3
3
3
3
3
164 3
1681 Bel. the
hall.
I’m 3
3
3
3
3
1683
3
3
3
3
3
3
3
3
Bel. go
ing
to
sempre
3
skew
er
3
3
3
3
3
3
3
3
3
3
3
1685 Bel. my
hus
band’s
throat
to
a
3
3
3
3
3
3
3
3
3
3
3
165
A man appears from between the branches. He is wearing a large, luxurious red cloak. He has been wounded, and staggers. Poco più mosso
non dim.
1687
breathily agitato sempre
= 116
poco
3
Bel. tree.
My
love!
What is
it?
3
The man’s face is concealed by the folds of the immense cloak, which covers him from head to toe. The Nightingale sings.
He points to the dagger in his heart.
= 152 1690 Bel. 3
Who did this to you?
3
3 3
as if breathless and in great pain 1693
3
Don P. 3
Your hus
3
band,
Per lim
plín . . .
3 3
a par cel
of pus
and
166
finding strength 3
3
1696
= 96 3
[3.2]
Don P. lust,
a
use less
rag
doll.
But
3
poco 3
1699 Don P. 3
I
loved you
just
for your bo
dy . . .
your
bo
dy
a
lone . . .
Poco pi첫 mosso (rubato) = 72 = 63
semplice, childlike 3
1703 Don P. And
as
he
killed
3
3
me
3
3
with this
3
167
Don Perlimplín crosses himself.
1707
3
3
3
3
Don P. burn
ing, burn ing, burn 8
ing 8
8
of
flow
ering
8
3
3
3
cross
3
loco loco
loco
loco
3
3
3
3
3
3
3
1710
3
Don P. he
cried:
“Be
li
sa
3 3
3
3
ma chiaro
poco 1713
3
[2.3]
3
3
Don P. has
a
soul
at
last.” 3
3
3
3
3 3
3
3
stone,
168 Uncovering his face she recoils in horror. L’istesso tempo
[2.2.3]
= 144 3
1716
3
Bel. Ay!
!
3 3
3
3 7
poco a poco rall. 1719
[2.3]
3
3
3
Bel. Per lim
plĂn,
your
cut
6
flesh:
an
3
= 104 3
1722
3
Bel. foun tain
of
blood. 3
6 3 3
o
pen
169
She draws closer to him, half-naked, and embraces him. 3
1724
6
3
3
= 112
3
poco
1726
3
3
[3.2]
3
Bel. Why did you de
ceive
me,
Per lim plĂn? 3
3
[3.2]
1731 Don P. Don’t
you see
I
am
my
soul, 3
3
6
3
3
poco [2.3.2] 1734
3
[2.2.3]
[3.2.2]
Don P. and
you
are
your
bo
dy.
Hold 3
3
3
3
3
3
3
3
3
170 Belisa is lost in incomprehension, as though in another world. 1738 [2.2.3]
[3.2.2]
3
3
Bel. Where
is
3
Don P. me now,
just
for a
mo
ment
be
fore
I
die.
3
Con Ped. 1741
[3.2.2]
3
3
Bel. Per
he,
lim
plĂn? 3
3
3
Don P. He
ran
in
3 3
to
the
3
3
3
3
poco 3 3
3
poco PerlimplĂn’s eyes close. 1745 [2.3]
c.10"
[3.2]
Mar. 3
Don P. dark. 3
3
3
Marcolfa enters:
171
The scene acquires a magical atmosphere.
= 63 1748 [3.2]
weeping
3
Bel. Per
lim
plín is
dead.
poco
3
3
Mar. 3
My la
We’ll lay
dy!
1751
him
out
3
3
Mar. in
his
1755
young man’s suit
of
3
clothes,
so
red
and
so
fine,
3
Mar. that he used to wear 3
un
der
your bal (trem. sim.)
3
3
co
ny. 3
I’ll
3
3
3
172 lost, bewildered
1758 Bel.
Why 3
3
3
Mar. make
a
wreath
of
3
3
3
3
3
3
3
flo
wers,
bright
3
as the
noon day sun. 3
3
poco 3
3
3
Poco più mosso
1761
= 72
Bel. have
you
done
this
to
me,
Per
lim
Per
lim
poco Mar. Don
1764 Bel. plín? Mar. plín
has 3
spilt
his
blood
173 1767
3
Bel. 3
Who
3
was the man in my gar
den?
Mar. for
you.
poco
1770
3
Bel.
3
3
3
3
Mar. The beau
ti
ful
young
man
whose
face
you’ll
bell-like 7
non cresc.
6
3
3
1773
3
[3.2]
Bel. I 3
Mar. ne
ver
see.
3 9
174 3
1775 Bel.
3
love
him, 3
3
5
1777
3
3
3
Bel. Mar col
fa,
with
all 3
my
bo
dy
and
soul.
3
3 3
The curtain very slowly begins to fall . . . = 126 1780 Bel. molto a distanza
a distanza
bass drum
Con Ped. sempre
175 poco
1783
3
Mar. Lis
1787
3
ten
3
to
her,
Don
3
Per
lim
3
Mar. plĂn . . .
Are
you
lis
ten
ing? . . .
poco
Blackout molto rit. 1790 Mar.
3
= 63