For beautiful great singing this performance is a classic. Merrill, Bjorling, Peters are recorded in their lasbattnarposerbe.reureiranpatchcontdamrecavegekaci.col was simply the great Verdi baritone of the Metropolitan in the s and s with Bjorling the great lyric dramatic tenor in an unmatched tenor/baritone partnership/5(19). Verdi, Jonel Perlea, Rome Opera Orchestra and Chorus, Jussi Björling, Robert Merrill, Roberta Peters, Giorgio Tozzi - Verdi: Rigoletto - lasbattnarposerbe.reureiranpatchcontdamrecavegekaci.co Music/5(3). Verdi* / Robert Merrill · Roberta Peters, Jussi Bjoerling*, Jonel Perlea, Orchestra* E Coro Del Teatro Dell'Opera Di Roma - Rigoletto (2xCD, Mono, RE) Naxos /5(6).
The old man cursed me O mankind! O nature! It was you who made me evil and corrupt! To be permitted nothing but to laugh! Forzarmi deggio e farlo! Oh dannazione! Odio a voi, cortigiani schernitori! Quanta in mordervi ho gioia! Quel vecchio maledivami! Apre con chiave ed entra nel cortile. Gilda esce dalla casa e si getta nelle sue braccia. Senza te in terra qual bene avrei? Ah, figlia mia! Oh, damnation! My hate upon you, sneering courtiers! How I enjoy snapping at your heels! If I am wicked, the fault is yours alone.
But here I become another person! The old man cursed me! Why should this thought still prey so on my mind? Will some disaster befall me? Ah no, this is folly! He opens the gate with a key and enters the courtyard. Gilda runs from the house and into his arms.
My daughter! Without you, what would I have on earth? Ah, my daughter! Lo dite a questa povera figlia. What makes you so sad? Tell your poor daughter. If you have secrets, share them with her: let her know about her family. Sola or tu resti al misero O Dio, sii ringraziato! Mi lacera tal vista. Padre ti sono, e basti. Altri mi maledicono She felt, that angel, pity for my sorrows.
I was alone, deformed, poor, and she loved me out of compassion. She died Only you are left to this wretch O God, I thank thee for that!
What can have caused such bitter tears? Father, no more, calm down. This sight tortures me. None at all! I am your father, let that suffice. Perhaps some people fear me, and some may even hate me.
Others curse me Uscita, dimmi, unqua sei? Che dissi! My faith, my family, my country, my whole world is in you! Tell me, have you been out? Oh, horror! Giovanna esce dalla casa.
Che temete, padre mio? Giovanna comes out of the house. Mind you tell me the truth. Is the gate to the street always kept locked? O woman. From the fury of the winds that have broken other flowers, protect her, and unstained restore her to her father. What concern! What do you fear, Atto II (Conclusione) - Verdi* father? Da noi stoglie le sventure di mia madre il priego santo; non fia mai disvelto o franto questo a voi diletto fior.
Il Duca in costume borghese viene dalla strada. Sempre novel sospetto! No hand will ever pluck or crush this flower so dear to you. The Duke, dressed as a commoner, appears in the street. There is someone outside! He opens the gate and, as he goes out into the street, the Duke slips into the courtyard and hides behind the tree, throwing a purse to Giovanna to ensure her silence.
Always some new suspicion! DUKE to himself Rigoletto! Mia figlia, addio. Figlia, addio! Mio padre, addio! Gilda, Giovanna e il Duca restano nella corte. My daughter, good night. DUKE to himself His daughter! My daughter, good night! Good night, father. They embrace and Rigoletto departs closing the gate behind him; Gilda, Giovanna and the Duke remain in the courtyard.
Ahi, misera! Oh Dio! Do you dislike this young man, then? Sleeping and waking, I call to him, and my soul in ecstasy cries: I lo I love you! Speak those dear words once more and a heaven of joy will open before me! There is no one here to answer me!
Oh, God! No one? DUKE I am here, and my very soul answers you. Ah, two who love are a world in themselves! DUCA Se angelo o demone, che importa a te? DUCA Uscire! Ora che accendene un fuoco istesso! DUCA Oh, me felice! DUKE Whether Atto II (Conclusione) - Verdi* or devil, what does it matter? DUKE Leave you? Now that both of us burn with a single fire! Ah, the god of love has bound our destinies together, inseparably! Fame and glory, power and thrones, are but fragile, earthbound things beside it.
So let us love, my angel-woman; you would make me the envy of all mankind. DUKE Let us love, you would make me the envy of all mankind, etc. You love me, say it once again. Saperlo a me non lice? Ceprano e Borsa compariscono sulla strada. DUCA pensando Mi nomino Ceprano e Borsa partono. Studente sono, e povero Am I permitted to know it?
Ceprano and Borsa appear in the street below. DUKE racking his brains My name is He and Ceprano leave. I am a student, and poor Go now DUKE Tell me, will you love me? Addio, ecc. Il Duca esce scortato da Giovanna. Col pensier, ecc. Sale al terrazzo con una lanterna. DUKE For the rest of my life Farewell, etc. He leaves, escorted by Giovanna. Gilda stands watching the gate through which he disappeared. Beloved name, the first to move the pulse of love within my heart, thou shalt remind me ever of the delights of love!
In my thoughts, my desire will ever fly to thee, and my last breath of life shall be, beloved name, of thee. In my thoughts, etc. Taking a lantern, she walks up the steps to the terrace. Marullo, Ceprano, Borsa, cortigiani, armati e mascherati, vengono dalla via. Gilda entra tosto in casa. Caro nome, ecc. Rigoletto, concentrato, entra. Meanwhile, Marullo, Ceprano, Borsa and other courtiers have appeared in the road, armed and masked; they watch Gilda as she enters the house.
Beloved name, etc. Rigoletto enters with a preoccupied air. To work, now Is that you? This is Torre a Ceprano vogliam la sposa. Non dee mancarci lo stratagemma Ecco la chiave. Con voi son io. Give me a mask. Gli mette una maschera e nello stesso tempo lo benda con un fazzoletto, e lo pone a reggere una scala, che hanno appostata al terrazzo.
Terrai la scala. Cheti, cheti, ecc. Alcuni salgono al terrazzo, rompono la porta del primo piano, scendono, aprono ad altri che entrano dalla strada e riescono trascinando Gilda, la quale ha la bocca chiusa da un fazzoletto; nel traversare la scena ella perde una sciarpa.
CORO da lontano Vittoria! He puts a mask on Rigoletto, at the same time blindfolding him with a handkerchief, then positions him by a ladder which the others have leant against the terrace. You shall hold the ladder. The mocker so insolent, so unremitting, will soon be a butt of derision himself! Stealthily, stealthily, etc. The mocker so insolent, etc. Softly, softly, softly, softly, stealthily, stealthily, stealthily, to work, to work.
Some of the men climb up to the terrace, force the door, open the gate from the inside to admit the others, then emerge dragging Gilda, gagged with a handkerchief. As she is carried off, she drops a scarf. Si tocca gli occhi. Sono bendato! A good joke this! He tears off the mask and the blindfold. Rushing into the courtyard, he drags out the terrified Giovanna and stares at her, stupefied; speechless, he tears his hair. Finally, after a great struggle, he cries out: Ah, the curse!
He faints. Ai suoi lati pendono i ritratti, in tutta figura, a sinistra del Duca, a destra della sua sposa. DUCA entrando, agitato Ella mi fu rapita! E quando, o ciel? ACT TWO A room in the ducal palace There is a door on each side and a larger one Jussi Björling - Rigoletto (Opera Completa) (Vinyl the far end flanked by full-length portraits of the Duke and his wife. A high-backed chair stands near a velvet-covered table and other furniture. DUKE entering, agitated She has been stolen from me!
When, O heaven? In those few moments, before some inner voice made me hastily retrace my steps! E la magion deserta! Ella mi fu rapita! Lo chiede il pianto della mia diletta. Ei che le sfere, ecc. Marullo, Ceprano, Borsa ed altri cortigiani entrano dal mezzo.
DUCA Ebben? The gate was open, the house deserted! And where is she now, that dear angel? She who first kindled my heart with the flame of a constant affection?
So pure that her modest demean our almost convinced me to lead a virtuous life! She has been stolen from me! And who dared do this? But I shall be avenged. The tears of my beloved demand it. But he could not defend you, sweet, beloved maid; he who would pledge his very soul to bring you happiness; he who, in loving you, envied not even the angels. He who, in loving you, etc. Marullo, Ceprano, Borsa and other courtiers enter. DUKE What is it?
DUCA Come? DUCA Ah! La scala, quindi, ecc. Salimmo, e rapidi la giovinetta a noi riusciva quindi asportar. DUKE What? From where? DUKE Ah! Tell me, how was it done? So once we had set up the ladder, he, blindfolded, held it secure. So once we had set up the ladder, etc. We climbed up and in less than no time had carried the young girl away. DUKE to himself Heavens! Esce rapidamente. Rigoletto entra cantarellando con represso dolore. CORO Ei vien DUKE to himself Ah, heaven has not stolen everything from me!
He hurries away. Rigoletto enters, humming to himself and trying to disguise his grief. Be silent! Ah, fu il bel colpo! Only that you are more of a bore than usual. See how upset he is! Ah, it was a fine trick! Comparisce un paggio della Duchessa. So I dreamed it! La ra, la ra, la ra, etc. He moves off. Seeing a handkerchief on the table, he examines the monogram agitatedly. PAGE Without his escort! Corre verso la porta di mezzo, ma i cortigiani gli attraversano il passaggio.
She is with the Duke! ALL Who? But I shall get her back. ALL His daughter! After such a sweet revenge, what? I want her Give her back. La rendete Tutti contro me!
Ebben, piango. Tu taci! Miei signori, perdono, pietate! Al vegliardo la figlia ridate! Signori, perdono, ecc. Gilda esce dalla stanza a sinistra e si getta nelle paterne braccia. Courtiers, vile, damnable rabble, how much were you paid for my treasure? Give her back Assassins, open that door!
He again attacks the door, is dragged away from it by the courtiers, struggles awhile, then gives up, exhausted. The door, the door, assassins, open it. All against me! Marullo, my lord, you whose soul is as gentle as Atto II (Conclusione) - Verdi* heart, tell me, where have they hidden her?
Marullo, my lord, tell me, where have they hidden her? My lords, forgive me, have pity! Give an old man back his daughter! To give her back can cost you nothing now, Jussi Björling - Rigoletto (Opera Completa) (Vinyl, but to me my daughter is everything. Lords, forgive me, etc. Io, che pur piansi, or rido. My Gilda! Sirs, she is all the family I have. I, though I wept before, now laugh. What do you mean?
And if your Duke should dare approach, tell him not to enter, tell him I am here. They go out. Furtivo fra le tenebre sol ieri a me giungeva Though our lips were silent, our hearts spoke through our eyes. Furtively, only last night he came to meet me for the first time. He went I asked infamy, O God, only for myself, so that she might be raised as high as I had fallen. Ah, beside the gallows one must raise an altar! But all is now lost, the altar is cast down! Entra un usciere ed il Conte di Monterone, che attraversa il fondo della sala fra gli alabardieri.
Esce fra le guardie dal mezzo. When I have finished what I must do here, we can leave this house of doom. Preceded by an usher, Count Monterone enters between two halberdiers and crosses the back of the room. He goes out between the guards. Si volge con impeto al ritratto. The hour of your punishment hastens on, that hour which will be your last. Escono dal mezzo. They leave through the main door.
At ground level, beyond an arcade, the interior of a rustic wine shop can be seen and a rough stone staircase leading to a loft with a small bed which,since there are no shutters, is in full view. Downstairs,in the wall facing the road, is a door that opens inwards.
The wall itself is so full of cracks and holes here that whatever takes place within is clearly visible. In the background are the deserted fields along the Mincio, which runs behind a crumbling parapet. Beyond the river lies Mantua. Gilda and Rigoletto, both ill at ease, are standing in the road; Sparafucile is seated at a table in the wine shop. Ah, il vile infame! Ma ne avrai vendetta, o Gilda. La conduce presso una delle fessure del muro, ed ella vi guarda.
Il Duca, in assisa di semplice ufficiale di cavalleria, entra nella sala terrena per una porta a sinistra. Ah, the scoundrel! You shall be avenged, o Gilda. He leads her to a crack in the wall. She looks through into the wine shop. The Duke, wearing the uniform of a cavalry officer, enters the wine-shop through a door on the left. DUCA Una stanza e del vino! Entra nella stanza vicina. DUKE A room and a bottle of wine! He goes into an adjoining room.
DUKE Women are as fickle as feathers in the wind, simple in speech, and simple in mind. Women are as fickle, etc. If you rely on her you will regret it, and if you trust her you are undone! Yet none can call himself fully contented chi su quel seno non liba amor! Sparafucile rientra con una bottiglia di vino e due bicchieri che depone sulla tavola: quindi batte col pomo della sua lunga spada due colpi al soffitto.
A quel segnale una ridente giovane, in costume di zingara, scende a salti la scala. Il Duca corre per abbracciarla, ma ella gli sfugge.
Viver dee o morire? Mi piacque di te chiedere e intesi che qui stai. Sparafucile returns with a bottle of wine and two glasses, which he puts on the table; then he strikes the ceiling twice with the pommel of his sword.
At this signal, a buxom young woman in gypsy costume comes jumping down the stairs. The Duke runs to kiss her, but she eludes him. Meanwhile, Sparafucile, having slipped out into the road, speaks softly to Rigoletto.
Is he to live or die? Sparafucile moves off behind the house in the direction of the river. I asked someone about you and was told that you live here.
Let me say that ever since, my heart has been yours alone. DUCA Ah, che fracasso! DUCA E tu sii docile, non farmi tanto, chiasso. Le prende la mano. La bella mano candida! DUCA No, no. I think my fine young man is a bit of a libertine. DUKE Ho, what a fuss! DUKE Be nice to me. DUKE No, no. DUCA Abbracciami. DUCA ironico Amabile figliuola! DUKEK iss me.
DUKE With love. I want to marry you DUKE ironic Sweet little maid! DUCA Amabile figliuola! Vieni e senti del mio core il frequente palpitar. Con un detto, ecc. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists.
Streams Videos All Posts. Genre Classical. Styles Opera. Track Listing - Disc 1. Part One: All'erta! Giuseppe Verdi. Part One: Di Tale Amor.
Part One: Tace La Notte! Part One: Deserto Sulla Terra. Part One: Infida! Part Two: Vedi! Le Fosche Notturne Spoglie. Part Two: Stride La Vampa! Part Two: Soli Or Siamo. Part Two: Perigliarti Ancor Languente.
VERDI: Rigoletto (Bjorling, R. Peters, Merrill) () When this recording of Rigoletto was first released in Britain, The Gramophone reviewer commented: “under Perlea, the orchestral playing is firm and dramatic, well balanced with the lasbattnarposerbe.reureiranpatchcontdamrecavegekaci.co music is well paced. Björling’s tone is . Mar 26, · 50+ videos Play all Mix - Jussi Björling: Verdi - Rigoletto, 'La Donna E Mobile' YouTube The Incomparable Birgit Nilsson - Duration: tristanhnl 60, views. Mar 22, · Jussi Bjorling--Duke Eva Prytz--Gilda Barbro Ericson--Giovanna Kerstin Meyer--Maddalena Erik Sundqvist--Rigoletto 'Kurt Bendix--conductor Royal Orchestra, Stockholm
rec. live, Metropolitan Opera, New York, 29 December PRISTINE PACO [ + ] Both Leonard Warren and Jussi Björling went on to record their roles under studio conditions some years later, Warren in – one of the earliest LP operas – and Björling in – both for RCA and both are classics in many ways.
Rigoletto Melodramma in tre atti di Francesco Maria Piave Personaggi Il Duca di Mantova (Tenore) Rigoletto, suo buffone di Corte (Baritono) Gilda, figlia di lui (Soprano) Sparafucile, bravo (Basso) Maddalena, sorella di lui (Contralto) Giovanna, custode di Gilda (Mezzo-Soprano) Il Conte di Monterone (Baritono) Marullo, cavaliere (Baritono) Borsa Matteo, cortigiano (Tenore). rec. live, Metropolitan Opera, New York, 29 December PRISTINE PACO [ + ] Both Leonard Warren and Jussi Björling went on to record their roles under studio conditions some years later, Warren in – one of the earliest LP operas – and Björling in – both for RCA and both are classics in many ways.
Read the libretto, translated to english, of the Italian opera Rigoletto by Giuseppe Verdi on lasbattnarposerbe.reureiranpatchcontdamrecavegekaci.co With links to other information and other operas.
Read the libretto, translated to english, of the Italian opera Rigoletto by Giuseppe Verdi on lasbattnarposerbe.reureiranpatchcontdamrecavegekaci.co With links to other information and other operas. Rigoletto, buffone di Corte (baritone) Gilda, figlia di Rigoletto (soprano) Sparafucile, bravo (basso) Maddalena, sua sorella (contralto) Giovanna, custode di Gilda (mezzo-soprano) Il Conte di Monterone (baritone) Marullo, cavaliere (baritono) Matteo Borsa, cortigiano (tenor) Il Conte di Ceprano (basso) La Contessa, sua sposa (mezzo-soprano).
Rigoletto, buffone di Corte (baritone) Gilda, figlia di Rigoletto (soprano) Sparafucile, bravo (basso) Maddalena, sua sorella (contralto) Giovanna, custode di Gilda (mezzo-soprano) Il Conte di Monterone (baritone) Marullo, cavaliere (baritono) Matteo Borsa, cortigiano (tenor) Il Conte di Ceprano (basso) La Contessa, sua sposa (mezzo-soprano).
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