ORC 30

in association with

Box cover: Pia de’ Tolomei by Stefano Ussi, Solange Zanni CollectionBooklet cover: Fanny Tacchinardi Persiani, the first Pia

Opposite: Gaetano Donizetti

–1–

Donizetti

Pia de’TolomeiPia de’Tolomei

–2–

Gaetano DonizettiPIA DE’ TOLOMEI

Tragedia lirica in two actsLibretto by Salvatore Cammarano

Nello della Pietra...................................................................Roberto ServilePia de’ Tolomei, his wife.........................................................Majella CullaghRodrigo de’ Tolomei, brother of Pia........................................Manuela CusterGhino degli Armieri, cousin of Nello..............................................Bruce FordPiero, a hermit..........................................................................Mirco PalazziBice, Pia’s waiting woman........................................................Patrizia BiccirèLamberto, an elderly retainer of the Tolomei family.......................Marco VincoUbaldo, Nello’s servant…....……….........………........................Mark WildeThe Keeper of the Tower of Siena……………….............Christopher Turner

Geoffrey Mitchell ChoirChorus of Handmaidens, Members of Nello’s household, Guelf soldiers,

Ghibelline soldiers, and Hermits

London Philharmonic OrchestraLeader, Pieter Schoeman

David Parry, conductor

–3–

Producer and Artistic Director: Patric Schmid

Managing Director: Stephen Revell

Assistant producer: Jacqui ComptonAssistant conductor: Robin Newton

Répétiteur: Stuart WildItalian coach: Maria Cleva

Assistant to the Artistic Director: Nigel Lax

Article, synopsis and libretto translation: Jeremy Commons

Recording Engineer: Chris BraclikAssistant Sound Engineer: Chris Bowman

Editing: Patric Schmid, Jacqui Compton and Chris Braclik

Recorded at Henry Wood Hall, London,October 2004

The designs for scenery used in this book, and on the CD inlays, areby Francesco Bagnara

They are from the original production of Donizetti’s Pia de’ Tolomei in 1837They are reproduced by kind permission of the Museo Correr, Venezia

–4–

CONTENTS

Pia de’ Tolomei by Jeremy Commons..................................................Page 10

Performance history by Tom Kaufman..............................................Page 61

The Story...........................................................................................Page 64

Résumé de l’intrigue..........................................................................Page 70

Die Handlung...................................................................................Page 76

La Trama...........................................................................................Page 82

Libretto.............................................................................................Page 88

Appendices......................................................................................Page 193

–5–

Dur PagePART I

[1] Preludio 0’53 89Introduzione – Ubaldo, Ghino, Bice, Chorus

[2] Coro ‘Ancor del fosco notturno velo’ Coro, Ubaldo 2’57 89[3] Scena ‘Signor, giungi opportuno’ 3’17 93[4] Cavatina ‘Non puo dirti la parola’ Ghino 4’04 96[5] Cabaletta ‘Mi volesti sventurato’ Ghino 2’50 99

Coro e Cavatina di Pia – Pia, Bice, Lamberto, Coro[6] Coro ‘Qui posa il fianco’ 2’52 105[7] Scena ‘A voi son grata’ 1’57 105[8] Cavatina ‘O tu che desti il fulmine’ Pia 4’02 108[9] Scena ‘Pia... Lamberto’ 1’59 109[10] Cabaletta ‘Di pura gioja in estasi’ 2’49 110

Scena e duetto – Nello, Ghino[11] Scena ‘Giurai svenarlo’ 6’22 111[12] Duetto ‘Parea celeste spirito’ 4’16 117[13] Cabaletta ‘Del ciel che non punisce 2’14 120

Scena e cavatina di Rodrigo[14] Scena ‘In questa de’ viventi orrida tomba’ 3’20 121[15] Cavatina ‘Mille volte sul campo d’onor’ Rodrigo 4’57 121[16] Cabaletta ‘L’astro che regge i miei destini’ 3’22 125

Finale Primo – Bice, Ghino, Nello, Pia[17] Scena ‘Dell’inatteso tuo venir la nuova’ 5’17 127

CD 1 71’23

–6–

Dur Page[18] Terzetto ‘Ogni sguardo, ogni accento’ 3’17 134[19] Scena ‘Ah! signora…’ Pia, Lamberto 2’01 136[20] Duetto ‘Fra queste braccia’ Pia, Rodrigo 4’08 139[21] Scena ‘L’uscio dischiudi’ 1’34 140[22] Stretta ‘Ah! quell’ira bollente’ 2’28 145

PART TWOScena ed aria di Rodrigo – Rodrigo, Lamberto

[1] Coro ‘Cinto di rosse nubi’ 4’25 146[2] ‘Ahi! sì barbara minaccia’ 3’05 152[3] Cabaletta ‘A me stesso un Dio mi rende’ 2’54 154

Scena e duetto – Pia, Ghino, Ubaldo[4] ‘Tu Ghino alle Maremme’ 5’37 156[5] ‘Ti muova il gemito’ 5’47 163[6] Cabaletta ‘Può la mia fiamma spegnersi’ 3’27 167[7] Scena ‘Divamperà tremenda oggi la guerra’ 1’21 168

Scena, tempesta, e preghiera – Coro – Piero, Nello, Coro[8] Tempesta 2’02 169[9] ‘Divo Spirto, il cui sguardo penetra 2’53 169

Scena ed aria di Nello e la morte di Ghino – Nello, Ghino, Coro[10] Scena ‘Un calpestio di rapidi cavalli’ 3’09 169[11] Aria ‘Lei perduta in core ascondo’ 2’27 174

CD 2 64’40

–7–

Dur Page[12] Scena ‘Fragor di spade!’ 4’08 174[13] Cabaletta ‘Ciel pietoso, un cor ti parla’ 2’32 180

Finale Secondo – Scena ultima[14] ‘A questo nappo beverà tra poco’ Ubaldo 3’28 181[15] Scena ‘Eterno Dio! Respiro….’ 3’58 183[16] Aria ‘Sposo, ah! tronca ogni dimora’ Pia 6’59 185[17] Cabaletta ‘Ah! di Pia… che muore… e geme…’ 6’10 190

REVISIONS BY DONIZETTI FOR LATER PERFORMANCES

VENICE, CARNIVAL 1837Original Finale Primo with the revised stretta

[1] ‘Dell’inatteso tuo venir la nuova’ 5’18 195[2] Terzetto ‘Ogno sguardo, ogni accento’ 3’17 201[3] Scena ‘Ah! signora…’ Pia, Lamberto 2’01 203[4] Duetto ‘Fra queste braccia’ Pia, Rodrigo 4’19 205[5] Scena ‘L’uscio dischiudi’ 1’34 206[6] Stretta ‘Ah! quell’ira bollente’ 2’51 210

SENIGALLIA, FIERA 1837New Finale Primo

[7] Scena ‘Di Ghino il cenno udiste?’ Ubaldo 3’11 215[8] Scena ‘Tutto e silenzio!’ 3’45 216

CD 3 71’57

Dur Page[9] Duetto ‘Fra queste braccia’ Pia, Rodrigo 4’08 220[10] Scena ‘L’uscio dischiudi’ 1’45 220[11] Quartetto ‘Ah! come congiungere il cielo potea’ 4’35 224[12] Stretta ‘L’empia cingete d’aspre ritorte’ 2’28 226

NAPLES 1838Cabaletta of the Ghino-Nello duet

[13] Duetto ‘Parea celeste spirito’ 4’16 228[14] ‘Del ciel che non punisce’ 2’23 231

New Largo Concertato[15] ‘Luscio dischiudi’ 1’45 232[16] ‘Ahimè quell’anelito il core mi gela’ 4’39 236

Chorus of Guelphs[17] ‘Sciolta è la tregua’ 3’33 238

New Scena Ultima[18] ‘A questo nappo beverà tra poco’ Ubaldo 3’28 241[19] ‘Eterno Dio! Respiro…’ 2’51 241[20] Aria ‘Sposo, ah! tronca ogni dimora’ 5’29 242[21] Rondo ‘No: l’immenso mio contento’ 3’47 246

This recording uses the new critical edition of Donizetti’s operamade for BMG Ricordi by

Giorgio Pagannone

-8-

FANNYTACCHINARDI PERSIANI

This soprano had alreadycreated the title roles in

Donizetti’sRosmonda d’Inghilterra

(Florence, 1834)and

Lucia di Lammermoor(Naples, 1835)

when she sang in the firstperformance of

Pia de’ Tolomei (Venice, 1837)

–10–

PIA DE’ TOLOMEI

Ricorditi di me che son la Pia:Siena mi fe’; disfecemi Maremma.

(Be mindful of me, for I am Pia:Siena gave me birth; Maremma was my undoing.)

Dante, Purgatorio V.

THE LINES FROM Dante which we quote here, and which have inspirednumerous literary and musical works over the centuries, are cryptic enoughin themselves, telling us singularly little of Pia de’ Tolomei beyond the barefacts that she was born in Siena and died in the Maremma. Fortunately,however, historical tradition is rather more detailed, telling us that she wasthe first wife of Nello della Pietra, lord of the Castello della Pietra in theMaremma. Mayor of Volterra in 1277 and of Lucca in 1313, Nello was alsoCapitano del Popolo in Modena in 1310, and lived until 1322. His marriageto Pia would seem to have been anything but happy, for in 1297 hebarbarously had her killed in order that he might be free to marry the alreadytwice-wed Contessa Margherita degli Aldobrandeschi. According to oneaccount, Pia was standing at her window in the Castello della Pietra whenone of her husband’s minions seized her by the heels and pitched her forth,down into the valley below. The site is said still to be known in populartradition as ‘Il Salto della Contessa’ – ‘The Countess’s Leap’.

–11–

Upon this foundation, literature – and particularly romantic literature –wove a number of variations, principally to the effect that Nello and Pia weregenuinely in love, but that Nello, deceived into believing that she hadbetrayed him, banished her to his castle in the marshlands of the Maremmawith the intention that she should fall victim to the malarial fevers of thedistrict. As Donizetti’s librettist Salvatore Cammarano tells the story, thisintroduces two further figures, a cousin of Nello’s named Ghino degliArmieri, who becomes the real villain of the piece, and Pia’s brother Rodrigode’ Tolomei. Ghino, it is suggested, has already tried to seduce Pia, marriedthough she is to his relative, only to be sternly rejected and rebuked.Discovering that she is about to receive a secret nocturnal visit, he leaps tothe conclusion that she is entertaining a lover, whereas it is, in fact, herbrother, who, at odds for political reasons with her husband Nello, wishes tovisit her in secret. A twisted Ghino plants seeds of jealousy in Nello’s mind,and discovers that he has totally misconstrued the situation only when it istoo late to save Pia from death. The story also becomes embedded in thehistorical situation of the times, for Nello becomes a Ghibelline leader, andPia his Guelph-born wife. Cammarano’s immediate source for this plot isgenerally said to have been a ‘novella in versi’ by Bartolomeo Sestini entitledPia de’ Tolomei, published in 1822; but, as John Black has pointed out1,internal evidence suggests that he was working even more closely from a play,also entitled Pia de’ Tolomei, which was written by a young Neapolitandramatist, Giacinto Bianco, and performed for the first time at the Teatro de’__________________________________1 John Black, The Italian Libretto: A Study of Salvadore Cammarano (The University Press,Edinburgh, 1984), p.37.

–12–

Fiorentini in Naples on 19 April 1836, only shortly before librettist andcomposer would have begun casting about for a subject. The play enjoyedgreat success, with the famous actor Luigi Marchionni in the part of Nello.A further play of the same name, by Carlo Marenco, was also given in Naplesin 1836, but not until the writing of the libretto was already well under way.

The possibilities offered by the story as it had thus developed – possibilitiesthat are both dramatic and psychological – were extremely rich. And they arenot always what we might expect. The idea, for example, that Pia is sent tothe Maremma to languish and die of fever might well suggest a slow decline:an opera with a gently elegiac ‘falling close’. But it is nothing of the sort.Donizetti, we must remember, was a composer who once wrote: ‘Give melove, and let it be violent love’, and in Cammarano he found his ideallibrettist. We have only to think of other Cammarano plots – Lucia diLammermoor, where Lucia goes out of her mind and stabs her bridegroom todeath; Il trovatore, where Azucena tosses the wrong baby on to her mother’sfuneral pyre and the Conte di Luna unwittingly sends his own long-lostbrother to execution – to realise that Cammarano revelled in heightenedromanticism: in the melodramatic and the violent. In Pia de’ Tolomei, Piamay be succumbing to fever, but she actually dies by poison, administeredupon the orders of her husband, issued before a dying Ghino alters hisevidence and pleads her innocence. It is, in fact, one of the mostmelodramatic and swift-moving of Donizetti’s operas, eclipsed, perhaps, onlyby another work composed to a Cammarano libretto, Maria de Rudenz.

–13–

There is, it must also be pointed out, a striking parallelism between theplot of this opera and that of Shakespeare’s Othello. Nello, the man of action– the soldier – who is deceived by a man he trusts, in this instance a relative,into believing his innocent wife faithless, is the counterpart of Othello; theinnocent Pia of Desdemona. Ghino, twisted and vengeful, plays the role ofIago; and Rodrigo, not lover but brother, is cast in a role roughly equatablewith that of Cassio. All the roles have their interest, but, of the four, it isGhino who is psychologically the most complex and deserving ofexamination. Whereas critics have traditionally had difficulty in assigningmotives to Iago for his unrelenting malevolence, Ghino’s motivation isexplicit: he has tried to seduce Pia and been rejected. The sudden convictionthat her austere virtue is a sham – a blind to conceal infidelity andcorruption equal to his own – comes as an open invitation to him to betrayher to her husband and so, we may imagine, in his own mind to whitewashhis own iniquity. Twisted and contradictory he may be, but his character isfully and fascinatingly comprehensible. Here we have a man who is fullycognisant of his own perfidy and who still lusts after Pia, even at the sametime that he seeks to destroy her. If only she will yield to his advances, he isready and eager to flee with her and live with her in sin: it is only while hebelieves her both wanton and a hypocrite who rejects him without goodreason that he can pursue her downfall. When at last he discovers that she isinnocent – a faithful and unerring wife – his very understandable andcompletely convincing reaction is to do everything in his power to save her,with the intention of then taking his own life. Death, in whatever form itcomes, is just punishment for a moral corruption of which he has been onlytoo well aware right from the start.

GIORGIO RONCONI

The operas Donizettiwrote for Ronconicontain some of themost beautiful musicever written for the

baritone voice:Maria Padilla,Torquato Tasso,Maria di Rohan,

Il furioso nell’ isola diSan Domingo,

Maria de Rudenzand Pia de’ Tolomei,

in which he created Nelloin Venice in 1837.

–15–

* * * *The genesis of Pia de’ Tolomei can be traced in detail, thanks to the survival

of a number of letters written to Donizetti by the impresario whocommissioned it, Alessandro Lanari, and by the composer in reply2. Thenegotiations that led to its composition began a few days before Lanarisecured the management of the Teatro la Fenice in Venice for the carnivalseason of 1836-1837. On 5 May 1836 he wrote from Bologna, announcingthat, if he succeeded in gaining the lease of the theatre, he intended that thecompany should include the soprano Fanny Tacchinardi Persiani (the wife ofthe composer Giuseppe Persiani, and already the creator of the lead roles inRosmonda d’Inghilterra and Lucia di Lammermoor) and a young contraltoRosina Mazzarelli. He added that the ‘Presidenza’ – the committee ofVenetian noblemen who had ultimate control of the theatre – wished thetenor Antonio Poggi (the first Roberto Geraldini in Torquato Tasso) to beincluded, too, and that the basses – a term which at that period covered thetwo voices which we nowadays distinguish as baritone and bass – would beeither Ignazio Marini (who had already created the parts of Guido in Gemmadi Vergy and Talbot in Maria Stuarda) or Filippo Coletti (later to be the firstLusignano in Caterina Cornaro). There was also, too, a possibility of Giorgio__________________________________2 See Jeremy Commons, ‘Una corrispondenza tra Alessandro Lanari e Donzietti’ StudiDonizettiani 3 (Bergamo, 1978), pp. 9-74; and Annalisa Bini and Jeremy Commons, Le primerappresentazioni delle opere di Donizetti nella stampa coeva (Accademia Nazionale di SantaCecilia, Rome, 1997), pp. 622-635. The opera has also been the subject of intensive study byGiorgio Pagannone, who delivered a paper, ‘Genesi ed evoluzione della Pia de’ Tolomei’, at aninternational Donizetti conference held in Bergamo, October 1998.

–16–

Ronconi (of whom more anon), providing that his availability could benegotiated with the Società d’Industria e Belle Arti, the organisation whichat that time managed the Royal Theatres of Naples and held him undercontract.

Then, with a typical piece of wily Lanari diplomacy, he pointed out that ifthe Presidency could not find a manager ‘by the accustomed date’, theyintended to keep the theatre closed during the carnival season. To preventthis calamity – which, he stressed, would temporarily deprive Italy of animportant theatre, to the detriment of everyone – he hoped that all the artistsinvolved, and Donizetti in particular, would facilitate his application. Andhow did he expect Donizetti to do this? Declaring that he would always be ‘atireless defender of your musical offspring’, he offered him a fee of 8,000francs, and ‘Camerano’ ‘the usual hundred ducats’.

These offers were renewed four days later, on 9 May, when, writing nowfrom Venice, he announced that he had succeeded in gaining the direction ofthe theatre. He added that, in the list of singers proposed for the company,Ignazio Marini had been replaced by Celestino Salvatori (a baritone who hadalready created several parts for Donizetti: the Czar in Il borgomastro diSaardam, very probably Publio in L’esule di Roma3, Iwano in Otto mesi in dueore, and, only a year earlier, Belisario in the opera of that name).

_____________________________________3 There is some doubt as to whether this part was created by Celestino Salvatori or by GiovanniBattista Campagnoli.

–17–

Donizetti’s reply to these letters, written from Naples on 12 May, wastruculent in tone, and it is clear that he was offended by the fee he had beenoffered. Eight thousand francs was not – as Lanari had believed (or hadprofessed to believe) – more than the fee paid for Belisario, Donizetti’sprevious opera written for Venice. It was exactly the same, and at the timethat he had accepted his fee for Belisario Donizetti had written to the then-impresario, the Marchese Pallavicini, agreeing to lower his remuneration tothis figure because he wished to write for Venice. He had also stated that hedid not want the fact to be generally known, and, as his present letter madeabundantly clear, he was not prepared to make such a concession twice. Atruculent tone? ‘It would have cost you much less effort,’ he wrote, ‘to havesaid I don’t want you, instead of making me such a ridiculous offer.’

Far from taking umbrage at such a discourteous reply, Lanari showedhimself a master of tact and accommodation. On 17 May he replied:

I do not understand how you can call ‘a ridiculous offer’ that of8,000 francs […] when I am assured that that is the fee which theimpresario Marchese gave you [for Belisario]. In truth, in view of thefriendship which binds us together, and which is certainly mostsincere on my part, it does not seem to me that I deserved such a tersereply. Patience! To show you, though, that instead of losing mytemper I wish to give you much greater proof of friendship, esteemand trust, I send you two blank contracts so that you can yourself fillin the figure, and the conditions that you wish […] I am, then, in

–18–

your hands – do that which you believe fitting. I hope that you willhave no cause to complain of my conduct towards you in thisinstance.

In this same letter Lanari asks Donizetti to suggest several subjects to thePresidenza of the Teatro la Fenice for their consideration, and gives us ourfirst probable reference to the story of Pia de’ Tolomei when he adds that hehas heard that the composer has in mind a ‘fatto patrio’, an incident fromItalian history.

We must here interrupt our account to point out that this correspondencewas not the only exchange of letters in which Donizetti found himselfinvolved at this time as a result of Lanari’s invitation to write for the Fenice.For he also received a letter, dated 10 May, from the Venetian countGiuseppe Berti, the president or chairman of the Presidenza, asking him hisopinion of Rosina Mazzarelli. And since this young contralto is destined toplay a prominent part in our story, it is as well that at this point we learnsomething about her. She had not yet made her theatrical debut: indeed shewas only just emerging from her student days. But Lanari had her undercontract for four years. Presumably he had supported her through hertraining, and he was now anxious to reap a return on his investment throughhaving Donizetti compose a small but pleasing role for her in his opera. Shehad already sung privately for the composer, so he was not unacquainted withher voice. And Lanari had, in fact, already primed him in his letter of 9 May,

ANTONIO POGGI

As well as creating therole of Ghino, this

tenor also sang in thepremiere of

Torquato Tasso.

–20–

warning him that the Presidenza would be seeking his opinion, andsuggesting that all he need say was that ‘she is capable of sustaining aprincipal part in the company of Tacchinardi Persiani’. Donizetti’s reply toBerti, dated 17 May, in fact went further than this, though it remained fairlyguarded:

Where a reliable report on the theatrical talent of SignoraMazzarella [sic] is concerned, it is difficult for anyone to give it; shehas not yet made her debut in any theatre, [so] who can foresee whatwill be the outcome of her first appearance? She is gifted with abeautiful contralto voice, [and] the one and only time I heard her Ifound that she sang with sufficient expression […] She is full of goodintentions, her physique is discreet, but, I always say again, who canforesee what success she will have? For my part I wish her all fortune;the rest is in her own hands.

On the same day, 17 May, Donizetti also replied to Lanari, stipulating thathis fee should be 10,000 francs, ‘effective in so many gold Napoleons of 20francs each or their equivalent value’. It is interesting that in this same letterhe also voiced reservations about composing for Fanny Tacchinardi Persiani:

Writing for Signora Tacchinardi has today become anembarrassment, through no fault of her own: when this admirablesinger does not do her duty, everyone says that it is in order to favour

–21–

the operas of her husband; and you yourself in Florence have seenproof of this4.

Whether or not Lanari felt affronted by Donizetti’s raising the proposedfee to 10,000 francs, certainly his immediate replies betrayed no sign ofresentment. On 19 May he wrote a letter which was clearly intended to pouroil on troubled waters, for, having just given the composer’s Marino Falieroits first Italian production at the Teatro Alfieri in Florence, he sought toregale him with a glowing account of its success. Donizetti remained,however, distant and unrelenting. Returning the completed contract on 31May, he commented:

Here is the contract. Much have you written when little wouldhave sufficed. For you Cammarano will write for 100 ducats. Heproposes the subject of Pia which is highly suited to the company.You can propose it to the Presidency, and take your measures so thatthe costumes of the ballets and the earlier operas [presented in theseason] may not be similar. […] I recommend that the orchestra begood. […] I hear that you are making money in Florence… yet withme you are always avaricious!

_____________________________________4 Donizetti alludes to the Carnival and Lent seasons of 1836, when Fanny Tacchinardi arrivedin Tuscany in less than good health after a stormy sea voyage from Naples. She sang first in anunsuccessful production of Bellini’s I puritani and then in a disastrous revival of her husband’sDanao. The blame for the cold reception accorded I puritani was popularly laid at her door,upon the supposition that she was holding herself in reserve for her husband’s opera.

–22–

Once again Lanari swallowed his pride and replied in a conciliatorymanner, merely hoping that once Donizetti joined him in Venice he mightsucceed in convincing him of the fairness and reasonableness of hisproceedings. There is also evidence, contained in a letter of 24 June writtento Berti, that Lanari was less than enchanted with the proposed subject ofPia. It had already formed the basis, he pointed out, of an opera produced inFlorence the previous year by a composer named Luigi Orsini, and that operahad failed miserably. He also felt that it would offer little scope for lavishcostuming, something which he regarded as essential in Venice, and noobvious role for Rosina Mazzarelli, whom he already knew to be superfluousto Donizetti’s needs, and therefore something of an embarrassment.

Rosina Mazzarelli duly made her debut in the first half of June, singing thepart of Adalgisa in Norma in Florence and coming through the testsuccessfully. Donizetti, however, was still not convinced that he wanted her– or that there was room for her – in Pia de’ Tolomei. Already on 14 June hehad written to Lanari:

I rejoice that Signora Mazzarelli has pleased […]: greet her fromme. You are right that there is no place for her in Pia, nor was Icounting on her. The performers of whom I have need are: SignoraTacchinardi, the Tenor and the Bass, with two ‘most excellently good’[ottimissime] secondary parts; wishing to make la Mazzarelliparticipate would be to sacrifice her […] since she would certainly notbe able to have a role equal to that of la Tacchinardi.

–23–

In this same letter, with the necessity in mind of submitting the subject tothe Presidenza and subsequently to the censorship, he also assured Lanari thatPia would not pose any difficulties, a statement which he elaborated later inthe month, on 26 June, when he pointed out that it was ‘void of conspiracies,licentiousness, etc – so that it would be difficult for the censorship toprohibit it’.

Let us not, however, be deflected from Rosina Mazzarelli, for we have byno means heard the last of her. The Presidenza of the Fenice, while warmlywelcoming Lanari’s engagement of Donizetti as composer, and accepting thechoice of the story of Pia de’ Tolomei more readily than Lanari himself haddone, objected most strongly to the composer’s unilateral decision to excludeMazzarelli from the cast. Count Berti wrote to both Lanari and Donizetti inno uncertain terms, insisting that the programme of the opera be ordered insuch a way that it should include both Tacchinardi Persiani and Mazzarelli. Itwas in vain for Donizetti to protest that his objection to including her hadstemmed not from any unwillingness to have her, but from the fact that hissubject could not contain any part that was worthy of her. Upon receipt ofthe Presidency’s ruling, he was forced to agree to accommodate her by havingCammarano create a small travestì role for Pia’s brother Rodrigo. As he wroteto Lanari on 28 June: ‘She will have a cavatina, not much in the [Act I] finale,because she has to make her escape, and a ‘gran scena’ with chorus in Act II.

ROSINAMAZZARELLI

Donizetti’s firstRodrigo

–25–

Pertichini5 as well, but nothing more6. If that is enough for you, and if thatsuits her, write [to the Presidency] at once that I accept her.’ Although shehad been referred to throughout their exchange of letters as a contralto,Lanari wrote on 11 July to underline the fact that she was really ‘a mezzo-soprano with good bottom notes’.

Before we leave Rosina Mazzarelli, let us remark, even at this early stage ofthis introduction, that Donizetti made few if any concessions to theinexperience of a young singer. The slow sections of both her arias requiresustained breath control, radiance of tone on top notes, and firmness andstrength of chest-tone in her lowest register. Her cabalettas, even moreremarkably, call for immense confidence – an extrovert bravura delivery –that at the beginning of Act II in particular. If Donizetti found himselfhaving to accept a beginner in his cast, he would seem quite clearly to havedetermined that she should prove herself eminently capable of holding herown in the company of more experienced colleagues.

In the course of this account we have remarked on Lanari’s diplomaticwillingness to bite his tongue in the face of Donizetti’s brusque discourtesy.Well, not entirely. On 30 June he penned an important letter which shows______________________________________5 Phrases contributed to the items of other singers.

6 It will be noted that, with a cavatina and a ‘gran scena’, i.e. two arias, Mazzarelli eventually didextremely well. Neither in the quantity nor in the quality of her music had she any cause forcomplaint.

–26–

that he was unwilling to let the composer’s abrasive sallies pass totallyunnoticed, but that his primary concern remained the preservation of goodworking relations for the future:

You very greatly deceive yourself in supposing that I do not have foryou the same friendship – I do not speak of esteem – because there isno reason to throw doubt upon it. Your inflexibility in coming to anagreement […] did indeed wound my sensibility a little, not so muchon account of the money […] but because I perceived that you didnot reciprocate the friendship that I profess for you, and because Ifound myself written to by President Berti, that you were unable tocombine with me because I had made you ‘a ridiculous offer’ – anexpression which you used with me, too. But let us speak no longerof the past, and rest assured that I am ever the same where you areconcerned […]

Although the question of whether or not to include Rosina Mazzarelli inthe cast had been the principal bone of contention in the negotiations so far,we must also point out that the participation of other principals came intoquestion, too. At the end of June, Lanari revealed that, even though thePresidency had earlier declared its wish to have Antonio Poggi as the tenor,he was in correspondence with Domenico Barbaja in Naples with the idea ofexchanging him for the French tenor Gilbert-Louis Duprez (the creator ofParisina, Rosmonda d’Inghilterra and Lucia di Lammermoor). Even the

–27–

Presidency was by now inclined to change its mind and give the preferenceto Duprez. On 30 June, Lanari wrote to Donizetti:

Barbaja would be pleased to have Poggi at the San Carlo forCarnival. The Presidency (be it said in confidence) would be morepleased with Duprez at the Fenice. If I were to succeed in negotiatingthis exchange, would you be happy with it?

Donizetti’s vote is believed to have been for Duprez, but it was not to be.In a subsequent letter, written early in July, Lanari reported that he had raisedthe matter with Poggi himself, but that ‘it seems he does not want to knowabout it’. All we need to add to this is a confirmation that the exchange didnot, in fact, take place, and that Poggi did indeed create, as originallyintended, the part of Ghino in Pia de’ Tolomei.

The definitive choice of baritone – basso cantante – would also seem tohave been still open, since in Naples the Società d’Industria e Belle Arti hadrecently collapsed, giving Lanari even greater chance of acquiring, in additionto the singers already on his books, Giorgio Ronconi. This would have beena distinct coup, for Ronconi was one of the great names of the age and hadalready created three operas for Donizetti: Il furioso all’isola di San Domingo,Torquato Tasso and Il campanello. Even so, Lanari’s inclination was, largely forfinancial reasons, to remain true to his original choice, Celestino Salvatori:

–28–

As for the basses, besides Salvatori I believe that I shall yet haveRonconi at my disposal, following the demise of the Società Industriae Belle Arti. But we shall stay firm with Salvatori, whom I have hadto buy at a high price from [the Milanese impresario, Bartolomeo]Merelli.

Donizetti thus certainly composed the part of Nello with Salvatori inmind, though a twist of fate was, as we shall presently see, eventually to giveit to Ronconi.

At this point the surviving letters between impresario and composer – atleast those that are relevant to the genesis of Pia de’ Tolomei – come to an end.There is, however, a letter which Donizetti wrote to Giannagostino Perotti,maestro di cappella at San Marco in Venice, dated 11 October [1836], inwhich he gives information of further developments:

Salvatori has just written to me from Milan that another bass hasbeen substituted for him, since upon his doctors’ orders he is goinginto the country and does not know whether he will be able to singat the Fenice – of which circumstance he has already informed Lanari.But since this last will live upon hopes! – so he will wish to prolongthe uncertainty and find on the eve of Carnival God-knows-whom toreplace him. I, however, who defend my own interests and those ofthe public, should like to suggest to you that you should do me thefavour of making the full circumstances known to Their Excellencies

GIUSEPPINARONZI DI BEGNIS

A famous Donizettiinterpreter, this soprano

sang Pia at the Teatro SanCarlo in 1838.

Neapolitan censorshiprequired Donizetti to write

a lieto fine or‘happy ending’ in whichRonzi di Begnis had a

triumph.Additional Donizetti roleswritten for her includeSancia di Castiglia,Gemma di Vergy

and Fausta

–30–

of the Deputation [i.e. the Presidenza], so that if misfortune deprivesus of Salvatori at least we may be granted one who may save us. Mayall this, however, never reach your ears from me, since Lanari couldconsider it grounds for complaint – but in friendship advise thePresidenza in time!

Let not your right hand know what your left hand is doing! And thissecretive behind-the-scenes prompting would indeed seem to have been everybit as necessary as Donizetti feared, since, as we know from other sources, aslate as the middle of January 1837 the situation was still just as alarming andjust as unresolved. Salvatori did in fact fulfil his obligation to arrive in Veniceand take part in the season, but on 18 January Girolamo Viezzoli, the lifelongcorrespondent of the composer Vaccaj, wrote to his friend:

Of Lucia di Lammermoor I can tell you little, having heard it on oneevening only. The Finale of the first act seemed to me beautiful andeffective, and so too the Aria of the Tenor, but the company is weakand incapable of sustaining fatigue. La Tacchinardi Persiani is withoutvoice; Salvatori is in a state of health that evokes compassion, and theTenor Poggi is what he is, that is to say a thing of little consequence,which makes me foresee that [Persiani’s] Ines de Castro, which is to beproduced next Saturday, will meet with an unfortunate outcome, andthat Donizetti’s Pia, unless some of the interpreters are changed, willsuffer the same fate.

–31–

At a very late date – a dangerously late date – 23 January – Salvatori’scontinuing illness eventually led to his being replaced by Ronconi. And thisreplacement, in turn, was certainly a prime reason why the production of theopera was delayed as long as it was, for, as Donizetti stated in a letter of 24January 1837, ‘we must await Ronconi from Florence in order to go onstage’. Ronconi reached Venice on or about 9 February, and it goes withoutsaying that, even when he had arrived, he needed time to learn his part.

Let us retrace our steps for a moment. The letter of 11 October 1836 toPerotti from which we have already quoted is also interesting since it tells usthe point of composition Donizetti had reached at that moment:

Do you believe that, with all this, Pia is sleeping? Eh! I have reachedthe second piece of Act II, and so I have time to revise and rethinkbefore orchestrating.

In October, then, he was clearly making good progress and was in goodspirits. But he would hardly have been so cheerful if he could have foreseenthe ordeals and crises that were still to come…

On 6 December he set out for Venice, leaving Naples by sea and landingat Genoa, where he was obliged to undergo a 16-day quarantine occasionedby the ordinances in force against cholera. And it was while subjected to thisirksome detention that he received devastating news: during the night of12-13 December the Teatro la Fenice had been entirely destroyed by fire. As

–32–

if this were not bad enough, the news was accompanied by a request from theMayor of Venice – a request addressed to all the artists engaged for the season– that, in view of the disaster, they would each and every one of them agreeto forego a quarter of their promised salaries. In Donizetti’s case, this wouldamount to 2,500 francs. His reaction, as he reported in a letter to Mayr on28 December, was to agree to a reduction of 1,000 francs, but not more,given that he had already had to meet the cost of his travel and the expensesincurred by his enforced quarantine.

This question of a revised fee was still unresolved when he reached Venice,on a date between 28 December and New Year 1837. There is evidence thathe faced further pressures from Lanari to agree to a reduction of 2,500 francsrather than 1,000, since what appears to be his ultimate contract, preservedin the library of S. Pietro a Majella in Naples, gives his fee as 7,500 francs.But whether this was, in fact, the final figure, we do not know: the contract,though it bears Lanari’s signature, has not been signed by the composer.

Given the difficulties of rescuing the season, and of transferring it toanother theatre, the Teatro Apollo, it is not surprising that it got off to a latestart. Eventually, however, Pia de’ Tolomei reached the stage, and waspresented to the public for the first time on Saturday, 18 February 1837.

* * * *

–33–

As with so many of Donizetti’s serious operas, the first performance of Piade’ Tolomei was received with some reserve, and it was not until the secondevening that the work really began to make its mark. Surprisingly, it was thetenor, Antonio Poggi, of whom not much had been expected, who achievedthe most momentous success. On 20 February, Donizetti reported to acorrespondent:

Poggi in Pia dies a sublime death… he cuts an excellent figure, andespecially yesterday evening, second performance, even better! Wellthen, would you believe it? I had been to his house like a menial totell him how he ought to sing and act… at the dress rehearsal he didnot wish to do anything, so that I had to say something to him fromthe parterre… and so he greets me no more… Gratitude! ‘Pay themno heed, but glance and go your way’.

Antonio Poggi, let us digress a little before proceeding, was at this stage theparamour of the notorious Russian countess, Giulia Samoyloff. A woman ofvoracious sexual appetites, she had numbered among her lovers the composerGiovanni Pacini, the tenor Giovanni David, and several other theatricalpersonalities. Pro-Austrian and reactionary in her political sympathies, sheencouraged overweening behaviour in her favourites, and was given totheatrical intrigue to promote those she favoured and sabotage the fortunesof those who treated her with the disdain we may think she richly deserved.Bellini believed that she and Pacini were responsible for the first-night failureof Norma, Vaccaj for that of Saladino e Clotilde. If, therefore, Poggi’s

PAULBARROILHET

This French baritonesang Nello in the

Naples 1838 revision ofPia de’ Tolomei.He created fourDonizetti operas:L'assedio di Calais,Roberto Devereux,

La Favoriteand

Dom Sébastien

–35–

behaviour towards Donizetti seems insufferably high-handed, we may at leastin part ascribe it to the influence of his mistress.

Donizetti’s letter, from which we have been quoting, continued:

Pia pleased, but not on the first night as it did on the second.Nevertheless I received applause… strong applause… but on thesecond evening I had twice the amount… Serious music requireschewing… That which will never please is the first finale. You seewhat Theatre is! – during the rehearsals [this finale] had greater effectthan the rest.

This brief account finds ample confirmation in the press of the day. TheGazzetta Privilegiata di Venezia, the official Venetian daily newspaper, wassufficiently concise in its notice, published on 20 February, for us to quote italmost in full:

Donizetti’s opera had a good outcome, but not an enthusiastic one,and some musical pieces pleased more at the second performancethan at the first on Saturday, and among these we may note thecavatina of the prima donna and that of the tenor, and a duet betweenthe tenor and the bass or baritone7 in the first act; a chorus ofsolitaries and some beautiful harmonies in the second, and especially

______________________________________7 An interesting early example of the use of the word baritono in Italian.

–36–

an accompanied recitative, in which is expressed the agony of a dyingman, and which was sung with marvellous art by Poggi, who heretruly met with the approval of the public. The part, however, whichcertainly did not please was the [first] finale, in which Donizetti’susual vein was unrecognisable. The composer was neverthelessdemanded several times over both by the platea and by the boxes, andmore so on the second evening than on the first. Now they are sayingthat before he departs the famous and prolific maestro will changethis unfortunate finale. Ronconi, who replaced Salvatori, pleasedmore for his manner of singing than for his voice, and la Persiani, too,gave proof of her skill in her beautiful cavatina, after which she wasseveral times called back to the stage.

La Mazzarelli, who appears in masculine garb, does not have a largepart, but in it were to be noted, nevertheless, those merits which wehave indicated on other occasions. Bagnara [the set designer] hassupplied two fine scenes, one a prison, and the other the atrium of thesolitaries. The solitaries sang their chorus excellently. So that all in allPia, if it did not win favour and cause a furore, at least enjoyed whatthe French call a succès d’estime.

Even more detailed item-by-item accounts appeared in the Milanesejournals Il Pirata (24 February) and Il Censore universale dei Teatri (4 March),and in the Bolognese Teatri, Arti e Letteratura (25 February). That in IlPirata, the most succinct, read:

GIUSEPPINASTREPPONI

She was the daughter ofthe composer

Feliciano Strepponi.With a well-schooled voiceand good dramatic sense,she was a fine Donizettisoprano – the composer

wrote Adelia for her.Strepponi’s most illustriousconnection is with Verdi.She created the role of

Abigaile in Nabucco and,much later, married

the composer.

–38–

ACT I. Introduction, silence. Poggi’s cavatina, applause at thelargo, and calls for him and the composer. Tacchinardi’s cavatina,applause and a call. Duet between Poggi and Ronconi: most beautifulthe adagio; at Ronconi’s solo passage applause, and at that of Poggi ageneral cry of acclamation: calls for the artists. Mazzarelli’s cavatina,silence8. Terzettino between la Tacchinardi, Poggi and Ronconi,silence. Duettino between Tacchinardi and Mazzarelli, silence.Finale, silence, and plenty of ztz, ztz. ACT II. Mazzarelli’s aria, almostas if it didn’t exist9. Duet between la Tacchinardi and Poggi: the largoapplauded; fervent applause for Poggi at the cavatina [sic: read‘cabaletta’], and two calls. Chorus of hermits, applause that was notapplause10. Ronconi’s aria, applause. Here Poggi comes upon the stagewounded: this scene was so well performed by Poggi that he receivedreiterated applause and was called three times upon the stage: from asimple pertichino he extracted the greatest effect. Ronconi, after theabove-mentioned aria, reappeared. Tacchinardi’s rondò finale,enthusiasm, calls for the composer, the singer, and for Poggi andRonconi. Mediocre the libretto; the costuming worthy of Lanari; thesets worthy of Bagnara.

______________________________________8 Teatri, Arti e Letteratura and Il Censore universale dei Teatri both tell us, rather more generously,that there was applause at the adagio, but silence at the end.9 Teatri, Arti e Letteratura and Il Censore universale dei Teatri are both much warmer, telling usthat there was applause and a call.10 Rather more lucidly, Teatri, Arti e Letteratura states that the chorus was ‘applauded a little’.

–39–

A widely held opinion, even at this early date, that the second act wassuperior to the first is explained when we notice, in the above account, thesilence that greeted the final sections of Act I.

Some further idea of the modified rapture that greeted the firstperformance may be gleaned from the fact that Il Censore universale dei Teatriassures us that – presumably at the beginning of the evening – ‘the theatrenumbered as many spectators as it could contain’; while Teatri, Arti eLetteratura adds that, at the end of the evening, though Tacchinardi’s rondòfinale pleased very much indeed [‘assaissimo’], and though both she andDonizetti were called thrice upon the stage, there were very few persons leftin the auditorium to do the calling. AlthoughTacchinardi is said to have sungimpeccably, another Venetian journal, Il Vaglio (11 March), remarked that‘We are left wishing to hear this Pia with a prima donna equipped with amore robust organ than that which Signora Tacchinardi seems to have at thepresent time’.

Donizetti’s dismay that the first finale so conspicuously failed to please ledto immediate remedial action: within a matter of days, perhaps within hours,he had altered the time signature, reining in the breakneck speed and givingthe melody more space, and had also lightened and clarified theorchestration. Yet in this new form it scored no better than it had originally.Lanari, after the composer’s departure from Venice, wrote on 25 February:

GIACOMO ROPPA

GhinoPergola, Florence 1842

–41–

The lightened stretta of the Finale did not produce any effect; onthe contrary, following the announcement by Locatelli [the editor ofthe Gazzetta Privilegiata di Venezia] in his journal, some expected anew stretta, and complained as a result.

The opera taken as a whole pleases more and more, and especiallythe duet in Act I11, and the whole of Ronconi’s scene.

I beg you to keep me in mind concerning the new Finale, as youhave imagined it and promised it to me, and let me assure you of allmy gratitude. With this new piece, Pia will be an opera equal to, andperhaps better than, Belisario.

La Samayloff [sic] and Poggi are incensed with you, because you leftwithout going to see them, after Poggi (as she says) had been themainstay of your opera.

* * * *

Lanari mentions, in the letter we have just quoted, that Donizetti hadpromised him a new first finale, and this promise leads us forward to the nextphase in this history: the second production of the opera, given at the Fair(Fiera) of Senigallia on 31 July 1837.______________________________________11 ‘Parea celeste spirito’, the duet for Nello and Ghino in the third tableau.

–42–

Lanari was not the man to let the composer forget his promise, for on 22May 1837 we find him writing:

If you have a good memory you ought to remember that, beforeyour departure from Venice, you yourself proposed to rewrite for methe Finale of Pia without any fee. And you pronounced such aproposition of your own volition. Nevertheless send me immediatelythe new Finale upon fine paper […] and tell me what I owe you.Remember, though, that when one makes a promise one ought tomaintain it. Make sure, then, that I will be happy with what you aregoing to ask of me. […]

No sooner was this letter despatched than Lanari must have received thetext of the proposed new finale, for Donizetti and Cammarano had, in fact,already posted it, two weeks earlier, in an envelope post-marked 6 May. Wecan only assume that it was delayed en route, and took longer to arrive thanit should have done.

Besides the new text, the envelope of 6 May contained undated coveringnotes from both librettist and composer. That from Cammarano asked theimpresario, when calculating his recompense, to bear in mind, not thenumber of lines of verse in this new version, but the difficulties he had hadto overcome in recasting his material in this manner. Donizetti’s note strucka similar note when he said: ‘The words are many, the music perforce mustnot be brief, and I pray you that the compensatory fees may not be niggardly.’

–43–

He also, however, expressed doubts regarding the soprano Lanari had inmind as Pia – Eugenia Tadolini – since he did not believe her ‘too welladapted to such a high part’. And as a Parthian shot he wrote:

Farewell. Do not again do as in Marino [Faliero], where the singersacted as judges and cut the text. How good you are!

The music, rapidly composed, was despatched on the very day that Lanariwrote to Donizetti his already-quoted letter, 22 May. Although Donizetti’snote that accompanied it has not survived, we do have Lanari’sacknowledgement – an acknowledgement which reveals that he had noinkling that Donizetti was, in no uncertain manner, short-changing him. Forthe central concertato or broad central ensemble in the ‘new’ finale was not anewly composed piece at all: it was a self-borrowing, lifted and adapted fromUgo conte di Parigi (Milan, 1832). Lanari’s acknowledgement does, however,show that the composer had made changes that went far beyond this firstfinale. Apparently dissatisfied with the performance of Rosina Mazzarelli, hehad suppressed both her solo items, leaving Rodrigo with only the duettinowith Pia at the beginning of the finale. Lanari would seem to have shared thisdisillusionment, and to have been surprised to find that even this one shortitem should survive. As he tells Donizetti, he had imagined a recasting of therole for a second tenor, without any prominent musical items whatsoever:

. . . I received the Finale of Pia, and I felt to what – and to howmuch – you wish to condemn me. I hope that you will bear in mind

the reiterated promises you made me to do it for me for nothing, notthat I shall hold you to that entirely.

Allow me to say to you, that having omitted Mazzarelli’s big cavatinaand rondò, I believed that you would have suppressed or modified theDuettino of the Finale, since it seems to me too demanding for aSecond Tenor, it being my intention to avail myself of such a figure. Ifyou agree with this reflection of mine, tell me what I must do.

The letters which must have resolved these questions – payment for thework done, and the voice to which the part of Rodrigo should be given –unfortunately have not survived. All we can say for certain is that Donizettidid not make any further changes to the score, so that, despite Lanari’sinclinations, Rodrigo remained a role for contralto, with only one major item:the duettino.

The new first finale marked a very different dramatic approach from that ofthe original. As first written for Venice, the finale had been unusual in form,since it contained no concertato. It had begun in recitative with the unexpectedreturn of Nello and Ghino, and the orders given by the latter that theirfollowers should lie concealed in wait for the arrival of Pia’s unknown visitor,allowing him to enter but ambushing him as he tried to depart. In the newSenigallia version the appearance of Nello and Ghino is held back until, aslater in the original, they burst in, in an attempt to interrupt the meetingbetween Pia and Rodrigo. The finale now begins, more economically, with an

–44–

effective orchestral prelude, a very brief recitative in which it is Nello’shenchman, Ubaldo, who delivers the orders previously given by Ghino, and asotto voce conspiratorial chorus. Nello’s narrative about the betrayal of hisfriend Sigifredo di Roccaforte by un unfaithful wife, and the trio for Pia, Nelloand Ghino, unapplauded at the Venetian premiere, are suppressed: instead wemove swiftly into the duettino for Pia and Rodrigo, retained without alterationfrom the first version. But what happens thereafter is totally new. Instead of atempo di mezzo moving into a headlong stretta, as in the original, we have theconcertato from Ugo conte di Parigi, followed by a stretta in which the melodyhas been cast in noticeably longer and more lucid phrases than those of theoriginal.

As this present recording will show, both these finales are effective. Inlistening to the Venetian original, we may bear in mind Donizetti’s remark that‘during the rehearsals [it] had greater effect than the rest’. A bold and highlyexperimental attempt on the part of both librettist and composer to let thesubject matter find its own dramatic form, it almost certainly failed to pleasebecause it lacked a concertato – did not, in other words, fulfil the audience’spreconceived expectations. The Senigallia finale, on the other hand, may bemore conventional in form – it does conform to the constructional patternrecognised and expected by audiences of the age – but at the same time it iseven more effective and satisfying musically. The concertato opens with anunexpected change to minor key, and is suitably tinged with melancholy andregret as a result, while the stretta, which contains Nello’s orders that Pia beimprisoned in the Maremma, delivered ‘with the greatest fury’, is certainly upto Donizetti’s most rousing standards.

–45–

DOMENICOCOSSELLI

NelloFlorence 1842

He sang in threeDonizetti premieres:Olivo e Pasquale,

Parisinaand

Lucia di Lammermoor

If ‘the proof of the pudding lies in the eating’, the justification of thisrevision came with the performances in Senigallia, where the opera wasinterpreted by Eugenia Tadolini (Pia), Giorgio Ronconi (Nello), NapoleoneMoriani (Ghino), Letizia Suddetti (Rodrigo) and Raffaele Scalese (Piero).Eugenia Tadolini (who was very soon to become one of the most admiredinterpreters of her day of Donizetti’s operas – admired not only by the publicbut also by the composer himself ) amply justified her selection by Lanari toassume the role of Pia. Every one of the surviving reviews confirms that theopera as a whole obtained ‘un completo trionfo’ (Il Figaro, 19 August 1837),while the revised first finale is specifically mentioned in the same journal’s listof items that met with major favour12.

* * * *_______________________________________12 It must be acknowledged that the reviews, one and all, are markedly at odds with GiuseppeRadiciotti’s account in Teatro Musica e Musicisti in Sinigaglia (Ricordi, Milan, 1893). There hewrote:

After a performance little short of perfect of Bellini’s masterpiece [I puritani], a nonetoo happy outcome befell Pia, one of the more inferior operas of the Bergamasc swan,which for the second time was facing the judgment of the public. Here, as in Venice,such few plaudits as there were, were directed towards the interpreters.

For whatever reason, Radiciotti had his wires seriously crossed. Il Pirata even goes so far as tosay that Tadolini featured better in Pia de’ Tolomei than in I puritani, while all the reviews confirm,beyond all argument, that Pia enjoyed ‘the most brilliant and enthusiastic outcome’ (Teatri Arti eLetteratura, 10 August 1837).

–47–

The Senigallia re-launching of Pia de’ Tolomei was followed by a number ofproductions elsewhere, first of all in Lucca (1837), and thereafter in Rome(1838), Naples (30 September 1838), Milan (1839) and elsewhere. In all,there were about 20 19th-century productions, four of them outside Italy,before the opera disappeared from the boards following a production in Parmain 1858.

While we need not follow these productions in detail, one of them – Naples(30 September 1838) – must concern us, since it saw still further importantchanges to the text. It took place following the prohibition of Poliuto, at a timewhen the censorship was at its most strict, and one of the changes that wasinsisted upon was that the opera be given a happy ending: that Pia survive andbe reconciled with her husband. Our initial reaction will certainly be to scoffincredulously, for the imposition of a happy ending upon an opera which hasbeen shaped right from the start to lead to a tragic dénouement would seemthe negation of all artistic integrity. So too, we should add, thought Donizettiand Cammarano. Cammarano insisted that the words of both versions, tragicand happy, be published in the libretto printed for the occasion, and Donizettigave full vent to his disgust in a letter he wrote to a colleague on 7 September1838:

Here we are going from good to worse. At last it has been decidedthat I should give Pia, with some changes, in place of the prohibitedPoliuto. In which Pia must not die (but, Dante…) We don’t care a figfor Dante. Pietro Pettinaro, a real friar from history, in the libretto is a

–48–

solitary; well then, we wish him to be called an aged philosopher, theteacher of Pia (yes, sir). And the other solitaries? Shepherds. Very well.You must never mention the name of God – yes, sir. If there are versesthat pose a danger, we shall break them down into prose, and it matterslittle whether one can or can’t sing them: it means that the music stops,one speaks the watered-down verse, then the music starts up again.

Strangely enough, a reading of the libretto of Pia de’ Tolomei will show thatthe most monstrous of these changes – the change to a happy ending – wasvery easily accomplished. Nello, in all versions of the opera, learns of Pia’sinnocence from the dying Ghino, and is appalled to realise that he has orderedhis henchman Ubaldo – unless the order is countermanded – to put her todeath the following dawn. The whole question is whether he can reach thecastle in the Maremma in time to save her, or not. In the original version hedoes not: she has already drunk the poison prepared for her before he arrives.In this new Neapolitan version, he does: she has the cup in her hand but hasnot put it to her lips. Indeed, the two versions are even more closely relatedthan this. In the original, Ubaldo, watching Pia take up the cup, has ‘an almostinvoluntary impulse to restrain her, but just as quickly holds himself back’. Inthis new Neapolitan version he is ‘surprised to hear Nello’s voice [off-stage],takes the cup from Pia’s hand and overturns it’. Musically, the change involvedthe rewriting of the tempo di mezzo following Pia’s larghetto aria, ‘Sposo, ah!tronca ogni dimora’, and the composition of a new cabaletta, ‘No, l’immensomio contento’.

–49–

This was not, however, the only textual change effected for this production.The Act I duet for Nello and Ghino was given a new variant cabaletta, stillbasically the same musical material, but with Ghino’s line raised to give itgreater brilliance13. The First Finale was given a new largo concertato – and thistime it was a new item, no longer a self-borrowing – and a partially newChorus of Guelphs was composed to go at the beginning of Act II. We say‘partially new’ because, with the suppression of Rodrigo’s two arias inSenigallia, so there had disappeared the military chorus which in Venice hadopened Act II, ‘Cinto di rosse nubi’. And it was a good chorus, highly Spanishin flavour since it made use of a typical and pulsating cabaletta rhythm whichhad originated in Spain, and drove this flavouring – this Spanish colouring –home with a strong syncopation on the second note of every bar. Never one tolet good material go to waste, Donizetti employed it again here, shortening it,and following it with a genuinely new second half: a unison larghettomovement in which the Guelph soldiers swear their undying enmity towardsthe Ghibellines. With no fewer than four important textual changes, therefore,this Neapolitan score ranks as a major variant: the third version of the opera.Indeed, if it were not for the imposition of the happy ending, we might verywell find ourselves describing it as ‘the definitive version’ of the opera.

The cast on this occasion was headed by Giuseppina Ronzi de Begnis (Pia),Paul Barroilhet (Nello), Giovanni Basadonna (Ghino), Eloisa Buccini(Rodrigo) and Anafesto Rossi (Piero). It had been proposed that the great______________________________________13 Giorgio Pagannone suggests that this revised cabaletta could well have been written forNapoleone Moriani in Senigallia, and was now carried over into the Neapolitan score.

–50–

French tenor, Adolphe Nourrit, deprived of the opportunity of making hisItalian debut in Poliuto by its prohibition on religious grounds (‘the traditionsof the Martyrs are venerated in Church, and are not placed upon the stage’),should appear as Ghino. But since Pia was not an opera he admired, hewithdrew, after briefly accepting, in favour of Basadonna.

Probably on account of its inappropriate happy ending, the opera on thisoccasion was not greeted with great enthusiasm. In a letter of 5 November,the Neapolitan publisher Guglielmo Cottrau reported to Lanari that ‘thesuccess of the opera so declines from one night to the next that in truth it isone of Donizetti’s weakest’.

* * * *

Although it presented no further textual changes, the production whichtook place in Milan in the spring of 1839 also deserves mention, since it wasgiven in the same year that later saw the premiere of Verdi’s Oberto conte di SanBonifacio (17 November 1839). There is every chance, therefore, that Verdisaw Pia de’ Tolomei – and may even have come to know the score well. We arethus left with an intriguing question: to what extent did it impinge upon hisconsciousness and influence his own composing practices? It has long sincebeen pointed out that an arioso passage preceding Ghino’s Act I cavatinacontains a phrase which Verdi developed – to, we must admit, infinitelygreater effect – as ‘Amami, Alfredo, amami quant’io t’amo’ in La traviata; andit is surely not being too fanciful to suggest that the falling phrases to which

–51–

ALMERINDAGRANCHI

This soprano sang the roleof Pia in two Neapolitan

theatres.The production opened at

the Teatro Fondo onNovember 14, 1839 and

moved to the TeatroSan Carlo a month later.

Ghino expires may well have influenced the lyrical arioso phrases to which somany Verdian characters die. In the more vigorous sections of the opera, too,Donizetti so often here gives us an extrovert, heart-on-sleeve Verdianforthrightness of expression and carries the listener forward on poundingrhythms such as Verdi was to use in all his early and middle operas. The severalmilitary choruses are strongly anticipatory of Verdi. There is ample reason,therefore, to recognise Pia as one of the most strikingly pre-Verdian of allDonizetti’s operas.

This pre-Verdian quality is perhaps nowhere better illustrated than in theAct I three-part duet for Nello and Ghino. The first introductory sectionbegins with a couple of measured and sustained lines for Nello, but thereafterbecomes an exercise in half-expressed utterances, broken phrases of recitative– now fearful, now ominous – held together by being built over a repeatedpiano staccato theme in the accompaniment. The drama is as yet curbed,almost suppressed, but breaks out as Ghino reveals Pia’s supposed infidelityand provokes Nello’s despairing outburst, ‘E il tuo fulmine, gran Dio, laspergiura non colpì?’ (‘Yet your thunderbolt, Almighty God, has not struck theperjured woman down?’). The central larghetto section is as fine an example asone could ever wish to find of drama resulting from separating the two voicesand allocating them different musical material. It begins with Nello, recallinga past happiness that is now suddenly destroyed with the shattering of Pia’simage of innocence. Almost in self-pity, he couches his phrases in a nostalgic,lilting barcarolle-like 6/8 rhythm. But with the entry of the tenor, halfwaythrough, the movement is quite literally hijacked – carried away in a totally

–53–

new and more vigorous direction as Ghino witnesses the effectiveness of thepoison he has instilled, and is filled, in consequence, with nervous exhilarationand excitement. The third section is a pounding, gallery-storming, vengeance-seeking cabaletta, with the two voices, at least in the Naples 1838 revision,vying with each other in aiming for heights of emphatic expression. Thoughthe three-part construction may be sufficiently traditional and conventional,the result is a text-book example of the drama that the musical methods of the1830s were capable of achieving.

Another section of momentous and muscular strength is the scene for thesolitaries in Act II. It is as if the fraught fortunes and passions of the humancharacters are reflected in nature, for we are in the midst of ‘una tremendabufera’ (‘a tremendous storm’). The first two pages are for orchestra alone, andare as effective a tempest as any Donizetti ever wrote. But, from this point on,it becomes something much more unusual: a storm for unison male chorusand orchestra. Then, as winds and rains subside, the solitaries kneel and singa prayer, one of the noblest of Donizetti’s sonorous all-male choruses14. Nello’sarrival – a scena with alternating recitative and arioso – leads into his aria,remarkable for its long-spun 12/8 lines and carefully calculated changes ofdynamic, which in turn is followed by the death of Ghino, a passage which hasevery claim to be regarded as the most expressive music in the score.

_______________________________________14 Donizetti originally composed this for male chorus alone. Bruno Rigacci, in his 1967 edition,rewrote it as a bass solo for Piero, with choral responses. In the present recording it is once morea chorus, but is led – audibly led – by Piero.

–54–

If Act II struck the first audiences as being stronger than Act I, it could wellbe, in fact, because the last three tableaux of the opera are of exceptionalquality and dramatic effect. The first of these scenes is the interview betweenPia and Ghino, in which the latter at last learns how horrendously he hasmisconstrued appearances. For sheer beauty the larghetto section of their duet,‘Ti muova il gemito’, is one of the score’s most winning items. Thedifferentiation of the musical material allotted to the two characters is moresubtle than in the Act I duet for Ghino and Nello. Here Pia and Ghino dohave different melodies, and highly expressive melodies at that. But they aresimilar in character, and are built over the same regular 3/8 accompaniment.Frequent modulation provides extra and unexpected interest. The final touchcomes at the end, where Pia, who had begun the movement in the key of Fminor, takes over once more and, now in F major, delivers a third melody, themost ravishing of all, over a running Alberti or arpeggio figure which achievesan effect of even greater fluidity by dividing the previous quavers into ripplingsemi-quavers.

The second of these last three tableaux is the scene for the solitaries, alreadydescribed; while the third is Pia’s death scene. This last is remarkable for manyreasons. It is, in the first place, more vigorous than elegiac. Note, for example,the way in which it starts, with Pia awaking terrified from a nightmare inwhich she dreamed she saw her husband struck down by a Guelph sword inthe very moment of his repentance. There is nothing languishing here. Bothher scena and her larghetto aria, ‘Sposo, ah! tronca ogni dimora’, are remarkablefor their frequent modulation, Donizetti continually using unexpected

–55–

changes of harmony to underline both word and emotion. And wheneventually we reach her andante cabaletta, the sustained lines of the first verseare promptly fractured by intrusive rests in the second, eloquent testimony ofher failing strength and faltering expression. This was an idea which, pioneeredin Edgardo’s death-scene in Lucia di Lammermoor, is handled in a slightlydifferent but almost equally effective manner here. Throughout this scene, onefeels, Donizetti’s inspiration is rising to new heights of sensitive expression –the greatest heights of sensitive expression of which he was capable.

As a final testimony to the value of the music of Pia de’ Tolomei, let us addthat, in the 1840s, after he had shifted his centre of activities to Paris,Donizetti twice drew on the score for the new French operas he wascomposing. The women’s chorus, ‘Qui posa il fianco’, which in Act Iintroduces Pia’s cavatina, reappears as ‘Rayons dorés’ in La Favorite; andGhino’s brief but eloquent death-scene was taken over to provide an equallytelling death-scene for Henri de Bruges in the unfinished Le Duc d’Albe.

Why then, if the music of Pia de’ Tolomei reaches these considerable heights,have we still not really come to appreciate this opera? First revived in moderntimes at the Teatro Comunale dei Rinnuovati in Siena in September 1967, itenjoyed several productions in subsequent years, without, however, ever reallymaking its mark and entering the canon of Donizetti’s highly regarded works.The main reason for this was, the present writer believes, the edition in whichthe opera was presented. In nearly all of these performances it was given in aversion prepared by the late Bruno Rigacci. Like other editors of his time,

–56–

NOEMI DI ROSSI

PiaOporto, 1859

Rigacci faced the dilemma of having to work with singers who had trained inthe music of Verdi, Ponchielli and the verismo composers of the late 19thcentury, and who tried to bring to the music of Donizetti, Bellini and seriousRossini a style that was simply too heavy and too effortful satisfactorily toencompass the requirements of earlier bel canto. To be more specific, insteadof changing into head register at a relatively low pitch, they tried to carry theirchest register higher than the singers of Donizetti’s time would have done,with the result that they reached for upper notes with strangulated tone. Andwith such techniques, they tired before ever they had stayed the course. Toaccommodate their limitations – and also in the erroneous belief that he wastightening and enhancing the drama of excessively expansive, self-indulgentand leisurely scores – Rigacci resorted not only to omitting second verses ofcabalettas, if indeed he did not suppress entire items, but also to abbreviatinganything that smacked of repetition. If a lyrical phrase was enunciated twice,it would more often than not, in one of these editions of the 1960s, be givenonly once. A couple of bars would be dropped here, three or four there. Theresult, though it may have spared the singers fatigues they were not equippedto face, and chopped some few seconds off the running-time of each item, dida singular disservice to the music. The contours of the musical periods werehacked and disfigured: the music, in a word, was crippled. Today, when thelast 20 years have been bringing us more and more singers who are trained tomake the most of their head tones, we are in a much better position to hearthis music to advantage. Alexander Weatherson, president of the DonizettiSociety, can write that Mercadante almost certainly never heard an opera likeEmma d’Antiochia sung as well as it was in Opera Rara’s concert performance

–58–

of 22 October 2003, and we must all agree. A company like Opera Rara,which brings together the finest of these new present-day singers to performbel canto operas in editions that are as faithful to the originals as it is possibleto be, reveals new beauties and new inspiration in every score it tackles.

The difficulty that faces us now, where an opera like Pia de’ Tolomei isconcerned, is not so much, in fact, to know how to sing the music toadvantage, but how to choose the actual items which are to be included. Thethree versions of Pia – Venice, Senigallia and Naples – present us with so manyvariants that it is impossible to present everything in any single stageperformance. More often than not we shall probably end up with a compositeversion. In its concert performance, Opera Rara opted for the originalVenetian text, but with the Senigallia first finale. In this recording, on theother hand, we are fortunate that its policy of including major variants in theform of appendices will allow us to hear virtually all the music that was evercomposed for the opera. The original Venetian text is performed complete,while all the major Senigallia and Naples variants follow in the appendices.The duettino for Pia and Rodrigo, which remained constant in every versionof the opera, is necessarily heard thrice – in the Venetian original, in themodified Venetian version, and in the new Senigallia first finale – but it isgiven extra interest by being performed in two different ways: the first andthird time exactly as it appears in the score, but the second time withdecorations of the kind that singers of the day would almost certainly havebrought to it. The most ‘Bellinian’ item in the score, its Bellinian echoes are

–59–

most apparent when it is performed as written, without additionaldecorations.

At last, privileged to hear Pia de’ Tolomei in these optimum conditions, we arein a position to evaluate and appreciate it as never before.

© Jeremy Commons, 2005

–60–

–61–

PERFORMANCE HISTORY

PIA DE’ TOLOMEI was the third and last Donizetti opera to be created by thelegendary Fanny Persiani. Rosmonda d’Inghilterra (Florence, 1834) was first, followedby Lucia di Lammermoor (Naples, 1835) and Pia (Venice, 1837). She had also addedher husband’s Ines de Castro to her repertory in 1836 when Maria Malibran, who hadcreated the role was unavailable. But after these events, and her tremendous successwith Lucia, she left Italy for good, joining the elite singers (Grisi, Rubini, Mario,Tamburini and Lablache) who sang primarily in the major European capitals (Paris,London, Vienna, St Petersbury and Madrid).

With 20 known stagings in the 19th century, Pia de’ Tolomei is somewhat rarer thanEmma d’Antiochia. The creator of the title role, Fanny Persiani, never sang it after therun in Venice. Of the other three creators, only Giorgio Ronconi sang the operaregularly, doing so in Venice, Sinigaglia, Lucca, Rome and Milan. His brother,Sebastiano sang it in Siena years later.

Since it was performed even less frequently in the 19th cenutry than Emmad’Antiochia, it makes sense to list all the performances (except seasonal repeats) inchronological order.

© Tom Kaufman, 2005

Date City & Theatre Pia Rodrigo Ghino Nello18-2-1837 Venice - Persiani Mazzarelli Poggi Ronconi

La Fenice (at Apollo)31-7-1837 Senigallia-Comunale* Tadolini Suddetti Moriani Ronconi9-9-1837 Lucca-Giglio Tadolini Moriani Ronconi19-5-1838 Rome-Argentina Strepponi Lega Moriani Ronconi

–62–

Date City & Theatre Pia Rodrigo Ghino Nello30-9-1838 Naples-San Carlo** Ronzi de Begnis Buccini Basadonna BarroilhetSpring 1839 Florence-Alfieri Vittadini Corelli Negri11-6-1839 Milan-La Scala Strepponi Lonati Ronconi14-11-1839 Naples-Fondo Granchi Buccini Reina Ambrosini10-12-1839 Naples-San Carlo Granchi Buccini Reina Ambrosini28-3-1842 Florence-Pergola Brambilla Roppa Cosselli1-6-1844 Barcelona-Nuevo Di Franco Marini Caggiati Gastaldi..-7-1845 Barcelona-Nuevo Di Franco Rusmini- Solieri Assoni

Solera7-3-1847 Lisbon-Sao Carlos Dabedeilhe Benedetti Solieri Patriossi3-2-1848 Valparaiso-Victoria Rossi Corradi- Zambaiti Bastoggi

PantanelliCarn.1853-54 Macerata-Condomini Finetti-Batocchi Badalucci Mattioni3-10-1854 Malta-Manoel Morra Marini-Testa Gamboggi Storti12-1-1858 Parma-Regio Briol Corvetti Sarti Squarcia..-4-1859 Oporto-Sao Joao De Roissi Feltri-Spalla De Vecchi Morelli..-7-1859 Siena-Rinnovati Manziti Prudenza S. Ronconi..-10-1862 Livorno-Goldoni Modiano Boccacci Zucchi3-9-1967 Siena-Rinnovati Meneguzzer Bottion Alberti15-3-1968 Bologna-Comunale Meneguzzer/Otta Bottion Alberti23-3-1968 Budrio Otta Bottion Alberti3-10-1976 Milan-Scala RAI Cuberli Piccioli Casellato Fioravanti26-2-1978 London-Pro Opera McDonell Jones Roden Summers23-10-2004 London-Royal Cullagh Custer Ford Servile

Festival Hall (Opera Rara)15-4-2005 Venice-La Fenice Ciofi Polverelli Schmunk Schroeder

Curtain call from the concertperformance of Pia de’ Tolomeiat London’s Royal FestivalHall, October 2004

–64–

THE STORY

ACT ISCENE 1It is the year 1260, during the struggles between Guelf Florence andGhibelline Siena. We are in a castle belonging to the Tolomei family, welloutside Siena, where the Ghibelline Nello della Pietra has sent his Guelf-bornwife Pia de’ Tolomei for her safety. Members of the household are curious,since a messenger has arrived in the early hours before the dawn. Theyimagine he has come from the Ghibelline camp, bringing news from Nellofor Pia, but Ubaldo, Nello’s servant, informs them that the stranger’s arrivalmust be kept secret even from their mistress – his presence may be revealedonly to Ghino degli Armieri, Nello’s cousin.

In fact, the messenger has brought an intercepted letter, in which anunidentified correspondent informs Pia that in ‘the absence of your hatedhusband’ he will join her and embrace her this coming night. Ghino, who ishimself guilty of trying to seduce her, but who has been sternly rejected,understandably leaps to the conclusion that she is about to receive a visitfrom a secret lover. His jealousy and resentment are aggravated when Bice,Pia’s waiting woman, informs him that her mistress refuses to see him. Hisillicit passion rapidly turns into a desire for revenge, and, with the intentionthat the rendez-vous should go ahead and that Pia should be surprised inflagrante, he orders Ubaldo to allow the letter to be delivered. He declares hisintention of returning to the camp to inform Nello of the shame that hebelieves Pia has brought upon him.

–65–

SCENE 2Pia’s handmaidens are enjoying the freshness of the dawn, but Pia herself isdespondent and anxious: she knows that a battle threatens between theFlorentines and the Sienese, and she is torn in her allegiances since herhusband fights for Siena and her brother Rodrigo for Florence. Her elderlyretainer Lamberto brings her a letter – the same letter we have alreadyencountered in the first scene – handed to him by an unknown man in thepark. As she opens it she is overcome with relief and joy, for, although shedoes not yet reveal the fact, it comes from Rodrigo.SCENE 3In the Ghibelline camp, Nello ruminates on the fate that he believes hangsover Rodrigo. Captured by the Sienese, he is due to be executed the followingmorning.

These thoughts are interrupted by Ghino, who comes to report Pia’ssupposed infidelity. Outraged, Nello determines upon revenge, while Ghino,all too conscious of his own dishonourable motives and actions, realises thathe has ventured too far to entertain any thought of repentance and retractionof his accusations.SCENE 4Rodrigo, confined in a dungeon, laments the dangers to which Pia would beexposed if he were to be executed. One of his gaolers, who has in fact beenbribed by Pia, brings him word that when the guard is next changed, he willbe given an opportunity to escape. At the appropriate moment he ispresented with helmet, sword and mantle, and is duly led to freedom.

–66–

SCENE 5Nello and Ghino arrive at the Tolomei castle, and are admitted to Pia’sapartments. Ghino orders their followers to conceal themselves in the park:they are to allow a stranger to enter the castle unimpeded, but are to preventall attempts at egress.

There is a constrained meeting between Nello and Pia: the former secretlyseething because he believes his wife faithless; the latter alarmed since she isawaiting the arrival of Rodrigo. Nello and Ghino tell her that they are payingonly the most cursory visit, and pretend to take their leave. No sooner havethey withdrawn than Rodrigo appears. Pia is terrified lest he be discovered,but Lamberto reveals the existence of a secret passageway that will allow himto escape from the castle. As Nello and Ghino return to break down the now-locked door, Rodrigo is whisked away, Pia helping to conceal his flight byoverturning the only lit candle in the apartment. Nello reviles her andthreatens her with bloody punishment.

ACT TWOSCENE 1Lamberto comes to the Florentine camp to tell Rodrigo that Nello hasincarcerated Pia in a castle in the stagnant marshlands of the Maremma, withthe intention that she should succumb to malarial fever.

They are surprised by alarums. The encampment is being assailed by theGhibellines, and Rodrigo races to battle, with the determination of thenproceeding to Pia’s rescue.

–67–

SCENE 2Ghino arrives at the castle in the Maremma. He still lusts after Pia, and stillhopes to save her if only she will yield to his advances. But she again rejectshim, and when she reveals that her nocturnal visitor was no lover but in facther brother, he is horrified to realise the monstrosity of his misconstructionof events. Veering from one extreme attitude to another, he determines toinform Nello of the truth and then to commit suicide. Pia urges him to liveand repent.

Ubaldo, after Ghino’s departure, receives a letter from Nello, ordering him– unless this command is revoked before dawn – to put Pia to death.SCENE 3A hermitage where Piero, the chief solitary, and his companions are witnessesof a tremendous storm. As winds and rain reach their height, Nello and hisfollowers come seeking shelter. Piero, who has heard of the vengeance thatNello is wreaking upon Pia, assures him of his wife’s innocence, but Nello,convinced of her guilt, remains unmoved.

A clash of swords is heard. Ghino has been set upon by a band of Guelfs,and enters mortally wounded. He asserts Pia’s innocence – reveals that hernocturnal visitor was her brother – and confesses his own illicit love for her.Nello is with difficulty restrained from killing him, but the hand of death isin any case upon him. He dies, begging for – but not granted – forgiveness.Nello is seized with alarm and dismay as he realises how slender are hischances of reaching the castle in the Maremma before the coming of thedawn.

–68–

SCENE 4Pia’s prison, where Ubaldo prepares a cup of poison in anticipation of thedawn. Pia is already burning with fever, and awakes terrified from anightmare in which she imagined she saw Nello slain by Rodrigo. Seeking toassuage her fever she drinks from the poisoned cup. She hopes that Ghinomay by now have told Nello of her innocence, and that Nello will hasten torescue her from the death that inevitably faces her if she remains here amidthe infected Maremma airs.

Nello arrives. He is relieved to find Pia still alive, but, as she begins to falter,the truth becomes only too apparent. Rodrigo and his Guelf followers alsoburst in, and Rodrigo is all for slaying Nello when he hears that Pia ispoisoned. Pia, however, justifies her husband, explaining that he wasdeceived by appearances. She succeeds in reconciling husband and brotherbefore she dies.

© Jeremy Commons, 2005

Majella Cullagh

–70–

RÉSUMÉ DE L’INTRIGUE

ACTE ISCÈNE 1L’action se déroule en 1260, lors des affrontements entre les guelfes deFlorence et les gibelins de Sienne, au château des Tolomei qui est situé endehors de la ville de Sienne. Le gibelin Nello della Pietra y a envoyé sonépouse Pia de’ Tolomei, une guelfe, pour qu’elle y soit en sécurité. L’arrivéeavant l’aube d’un messager excite la curiosité de tous : peut-être vient-il ducamp gibelin pour apporter des nouvelles de Nello à Pia. Ubaldo, le serviteurde Nello, déclare pourtant que l’arrivée de l’étranger ne doit être révélée àpersonne, pas même à la maîtresse des lieux – seul Ghino degli Armieri, lecousin de Nello, peut en être averti.

En fait, le messager est porteur d’une lettre qui a été interceptée et danslaquelle un correspondant anonyme informe Pia qu’en « l’absence de [son]époux détesté », il viendra la voir et l’embrasser le soir même. Ghino, qui lui-même a tenté de séduire la jeune femme et essuyé un ferme refus, en conclutnaturellement qu’elle s’apprête à recevoir la visite d’un amant secret. Sajalousie et son ressentiment sont à leur comble lorsque Bice, la servante dePia, lui annonce que sa maîtresse refuse de le recevoir. Sa passion illicite setransforme vite en désir de vengeance. Aussi ordonne-t-il à Ubaldo deremettre le message à sa destinataire afin que le rendez-vous ait lieu et que Piasoit surprise en flagrant délit. Il déclare son intention de retourner au camppour informer Nello de la honte que Pia fait peser sur lui.

–71–

SCÈNE 2Tandis que ses servantes se réjouissent de la fraîcheur de l’aube, Pia elle-mêmeest abattue, inquiète : elle sait qu’une bataille risque d’éclater entre lesFlorentins et les Siennois, et elle a le cœur déchiré entre, d’un côté, son épouxqui combat pour Sienne et, de l’autre, son frère Rodrigo qui soutientFlorence. Lamberto, le vieux serviteur de Pia, lui apporte une lettre – celle-làmême dont il a été question à la scène précédente –, que lui a remise uninconnu dans le parc du château. À sa lecture, elle est submergée par unsentiment de soulagement et de joie, car, même si elle ne dit rien de l’identitéde son auteur, il s’agit de Rodrigo.SCÈNE 3Dans le camp des gibelins, Nello médite sur le sort qui attend Rodrigo.Capturé par les Siennois, celui-ci doit être exécuté le lendemain matin.

Il est interrompu dans ses pensées par Ghino, venu lui révéler la prétendueinfidélité de Pia. Outragé, Nello décide de se venger tandis que Ghino, fortconscient de l’ignominie des motifs qui l’ont poussé à agir, comprend qu’ilest trop tard pour se repentir et retirer ses accusations.SCÈNE 4Rodrigo, enfermé dans un donjon, se lamente à l’idée des dangers auxquelsPia sera exposée s’il est exécuté. L’un de ses geôliers, que Pia a acheté, vientl’avertir qu’à la prochaine relève de la garde, il aura l’occasion de s’enfuir. Aumoment venu, on lui remet un heaume, une épée et un manteau, et on luirend, comme prévu, la liberté.

–72–

SCÈNE 5Nello et Ghino arrivent au château des Tolomei et sont reçus dans lesappartements de Pia. Ghino ordonne à leurs hommes de se cacher dans leparc : ils devront laisser l’étranger pénétrer librement dans le château, maisl’empêcher à tout prix d’en sortir.

La rencontre entre Nello, furieux à l’idée de l’infidélité de sa femme, et Pia,inquiète à la perspective de l’arrivée de Rodrigo, est tendue. Nello et Ghinoprétendent ne pas pouvoir s’attarder et se retirent. Aussitôt qu’ils ont disparu,Rodrigo fait son entrée. Pia a terriblement peur que sa présence soitdécouverte, mais Lamberto révèle l’existence d’un passage secret quipermettra à Rodrigo de quitter le château. Au moment où Nello et Ghinoreviennent pour forcer la porte maintenant verrouillée, Rodrigo prend lafuite et Pia couvre celle-ci en renversant le seul flambeau allumé dans la pièce.Nello se répand en injures et menace de se venger dans le sang.

ACTE IISCÈNE 1Lamberto rejoint le camp des Florentins pour prévenir Rodrigo que Nello aemprisonné Pia dans un château au milieu des marais insalubres de laMaremma, avec l’espoir qu’elle succombera au paludisme.

Ils sont surpris par l’alerte d’une attaque contre le camp par les gibelins.Rodrigo court au combat avec la ferme intention de se porter ensuite ausecours de Pia.

–73–

SCÈNE 2Ghino arrive au château de la Maremma. Il convoite toujours les faveurs dePia et compte la sauver si elle cède à ses avances. Mais elle les rejette, etlorsqu’elle lui révèle que son visiteur nocturne n’était nul autre que son frère,il mesure avec horreur la monstruosité de son interprétation des événements.Passant d’une extrême attitude à l’autre, il décide d’apprendre la vérité àNello pour ensuite se suicider. Pia lui enjoint de vivre et de se repentir.

Après le départ de Ghino, Ubaldo reçoit un message de Nello luiordonnant – à moins d’un ordre contraire avant l’aube – d’assassiner Pia.SCÈNE 3Un ermitage. Piero, le père supérieur, assiste avec les autres religieux à uneterrible tempête. Alors que les vents et la pluie se déchaînent, Nello et seshommes viennent chercher refuge auprès d’eux. Piero, qui a entendu parlerdu châtiment que Nello a infligé à Pia, l’assure de l’innocence de celle-ci,mais, convaincu de sa culpabilité, Nello reste intraitable.

Un bruit d’épée se fait alors entendre. Ghino, victime d’une embuscadeguelfe, entre sur scène, mortellement blessé. Il révèle à Nello l’identité duvisiteur nocturne de Pia en insistant sur son innocence et en lui avouant sapassion illicite pour elle. Nello veut tuer son cousin et c’est avec difficultéqu’on l’en empêche ; de toutes façons, l’ombre de la mort plane déjà sur lui.Il meurt en suppliant – en vain – son cousin de le pardonner.

Nello s’alarme et s’épouvante, conscient du peu de temps qu’il lui restepour atteindre le château de la Maremma avant le point du jour.

–74–

SCÈNE 4La prison de Pia, où Ubaldo prépare une coupe de poison en prévision dulendemain matin. Pia, qui brûle déjà de fièvre, se réveille en sursaut aprèsavoir vu en cauchemar Rodrigo assassiner Nello. Pour lutter contre la fièvre,elle se désaltère en buvant la coupe empoisonnée. Elle a l’espoir que Nello aappris son innocence de la bouche de Ghino, et qu’il va vite venir la soustraireau trépas qui la menace si elle est exposée plus longtemps aux miasmes de laMaremma.

Nello arrive. Il est soulagé de trouver Pia encore vivante, mais lorsque lesforces de la jeune femme commencent à l’abandonner, la vérité se fait jour.Rodrigo et ses compagnons guelfes font irruption au château, et Rodrigo estprêt à tuer Nello lorsqu’il apprend l’empoisonnement de sa sœur. Pia prendtoutefois la défense de son époux en expliquant qu’il a été trompé par lesapparences. Elle parvient à réconcilier son époux et son frère avant de mourir.

Bruce Ford

–76–

DIE HANDLUNG

1. AKT1. SZENEEs ist das Jahr 1260. Zwischen den Guelfen von Florenz und denGhibellinen von Siena kommt es immer wieder zu erbitterten Kämpfen. Wirsind in einer Burg weit außerhalb Sienas, die sich im Besitz der FamilieTolomei befindet und in die sich die Guelfin Pia de’ Tolomei auf Geheißihres Mannes, des ghibellininischen Nello della Pietra, zu ihrer Sicherheitzurückgezogen hat. Die Bediensteten sind neugierig, denn im Morgengrauenist ein Bote eingetroffen. Sie vermuten, dass er aus dem Lager derGhibellinen kommt und eine Nachricht von Nello an Pia übermittelt.Ubaldo, Nellos Diener, erklärt ihnen jedoch, dass sie die Ankunft desFremden vor ihrer Herrin geheim halten müssen – nur Nellos Cousin Ghinodegli Armiere dürfe von seiner Anwesenheit wissen.

In Wahrheit überbringt der Bote einen Brief, der abgefangen wurde und indem ein anonymer Schreiber Pia mitteilt, dass er sie „in der AbwesenheitEures verhassten Gemahls” in der kommenden Nacht besuchen und in dieArme schließen werde. Ghino, der Pia selbst verführen möchte, aber strengvon ihr zurückgewiesen wurde, glaubt natürlich, dass es sich bei demFremden um ihren Geliebten handelt. Seine Eifersucht und sein Zornsteigern sich noch, als Bice, Pias Zofe, ihm mitteilt, dass ihre Herrin ihnnicht empfangen will. Seine Leidenschaft schlägt rasch in Rachegedankenum. So beauftragt er Ubaldo, den Brief zustellen zu lassen, damit dasnächtliche Stelldichein stattfinden und er Pia in flagranti ertappen kann.

–77–

Dann erklärt Ghino, er werde ins Lager zurückkehren, um Nello von derangeblichen Untreue Pias zu berichten.2. SZENEPias Zofen erfreuen sich an der Morgenkühle, aber Pia selbst ist verzweifeltund voll Sorge: Sie weiß, dass eine Schlacht zwischen den Florentinern undden Sienesen bevorsteht und ist gespalten in ihrer Loyalität, da ihr Mann aufSeiten Sienas kämpft, ihr Bruder Rodrigo jedoch bei den Florentinern. DasFaktotum Lamberto überbringt ihr einen Brief – eben denjenigen, den wirbereits aus der ersten Szene kennen –, der ihm im Park von einemUnbekannten überreicht wurde. Als Pia ihn öffnet, ist sie überglücklich underleichtert, denn der Brief stammt von Rodrigo, auch wenn sie das jetzt nochniemandem sagt.3. SZENEIm Lager der Ghibellinen sinniert Nello über das Schicksal Rodrigos, der vonden Sienesen gefangen genommen wurde und am folgenden Morgenhingerichtet werden soll.

Seine Gedanken werden durch die Ankunft Ghinos unterbrochen, der ihmvon Pias vermeintlicher Untreue berichtet. Wütend sinnt Nello auf Rache,während Ghino, der sich seiner ehrlosen Motive nur allzu bewusst ist,erkennt, dass er zu weit gegangen ist, um seine Anschuldigungen nochzurücknehmen zu können.4. SZENEIn seinem Kerker klagt Rodrigo über die Gefahren, die seine Hinrichtung fürPia bedeuten können. Einer seiner Bewacher, der von Pia bestochen wurde,teilt ihm mit, dass er bei der nächsten Wachablösung eine Gelegenheit zur

–78–

Flucht erhalten wird. Im entsprechenden Moment werden ihm Helm,Schwert und Umhang gebracht, und er wird in die Freiheit geführt.5. SZENENello und Ghino treffen in der Burg Tolomei ein und werden zu Piavorgelassen. Ghino befiehlt den Gefolgsleuten, sich im Park zu verstecken.Sie sollen einen Fremden ungehindert die Burg betreten lassen, ihn jedocham Fortgehen hindern.

Die Begegnung zwischen Nello und Pia verläuft angespannt: Nello isterzürnt, da er seine Frau insgeheim des Ehebruchs bezichtigt, Pia ist vollSorge, da sie auf Rodrigo wartet. Nello und Ghino sagen, sie könnten ihr nureinen sehr kurzen Besuch abstatten, und geben vor, wieder ins Lageraufzubrechen. Kaum sind sie abgetreten, trifft Rodrigo ein. Pia hat großeAngst, er könnte entdeckt werden, aber Lamberto zeigt ihm einenGeheimweg, über den er die Burg verlassen kann. Als Nello und Ghinozurückkehren, um die mittlerweile verschlossene Tür aufzubrechen, kannRodrigo unerkannt fliehen, zumal Pia die einzige Kerze im Raum umstößt.Nello schmäht sie und droht ihr eine blutige Vergeltung an.

2. AKT1. SZENELamberto kommt in das Lager der Florentiner, um Rodrigo mitzuteilen, dassNello Pia in eine Burg im Sumpfland der Maremma verbannt hat, damit sieder Malaria erliege.

Die Alarmglocken läuten. Das Lager wird von den Ghibellinenangegriffen, und Rodrigo zieht in die Schlacht, um anschließend zu PiasRettung zu eilen.

–79–

2. SZENEGhino trifft in der Burg in der Maremma ein. Er verlangt noch immer nachPia und hofft, dass sie seinem Werben nachgeben wird, wenn er sie rettet.Doch sie weist ihn erneut zurück. Als sie ihm offenbart, dass ihr nächtlicherBesucher keineswegs ein Geliebter war, sondern ihr Bruder, ist er entsetzt,was er mit seiner ungeheuren Bezichtigung angerichtet hat. Plötzlich vonSchuldgefühlen überwältigt, beschließt er, Nello die Wahrheit zu gestehenund dann Selbstmord zu begehen. Pia dringt in ihn, weiterzuleben und Reuezu üben.

Nach Ghinos Abgang erhält Ubaldo einen Brief von Nello, in dem dieserihm aufträgt, Pia zu töten, falls dieser Befehl nicht vor Morgengrauenwiderrufen wird.3. SZENEEine Klause, in der der Einsiedler Piero und seine Gefährten ein heftigesGewitter verfolgen. Im peitschenden Wind und Regen suchen Nello undseine Gefolgsleute Schutz in der Klause. Piero hat von der Rache erfahren,die Nello an seiner Frau übt, und beschwört ihn, dass sie unschuldig ist, dochNello ist von ihrer Schuld überzeugt und lässt sich nicht umstimmen.

Schwerterklirren ist zu hören. Dann kommt Ghino, tödlich verletzt voneiner Schar Guelfen, in die Klause. Er beteuert Pias Unschuld, offenbart, dassihr nächtlicher Besucher ihr Bruder war, und gesteht seine eigene Liebe zuihr. Nur mit Mühe wird Nello daran gehindert, ihn zu töten, aber Ghino istohnehin dem Tod geweiht. Er fleht um Vergebung, die Nello ihm jedochnicht gewährt.

Mit Entsetzen wird Nello bewusst, dass es ihm kaum gelingen wird, die Burgin der Maremma vor Morgengrauen zu erreichen.4. SZENEPias Gefängnis, in dem Ubaldo in Erwartung des Morgengrauens einenGiftbecher vorbereitet. Pia brennt bereits vor Fieber und schreckt aus einemAlptraum hoch, in dem sie träumte, Nello sei von Rodrigo erschlagen worden.Um das Fieber zu lindern, trinkt sie von dem Giftbecher. Sie hofft, dass Ghinomittlerweile Nello von ihrer Unschuld überzeugt hat und ihr Mann zu ihr eilt,um sie vor dem Tod zu bewahren, der ihr in diesem verseuchten Sumpfgebietsicher ist.

Nello trifft ein. Er ist erleichtert, Pia noch am Leben zu finden, doch als ihreKräfte zu schwinden beginnen, wird ihm bewusst, was vorgefallen ist. Dastürzen Rodrigo und seinen Guelfen-Gefolgsleute herein. Rodrigo ist nahedaran, Nello zu töten, als er erfährt, dass Pia vergiftet wurde. Doch Piarechtfertigt das Verhalten ihres Mannes und erklärt, er habe sich von denUmständen täuschen lassen. Ehe sie stirbt, gelingt es ihr, ihren Mann undihren Bruder zu versöhnen.

–80–

Roberto Servile

LA TRAMA

ATTO PRIMOSCENA 1È l’anno 1260, nel periodo delle lotte tra i Guelfi di Firenze e i Ghibellini diSiena. Nello della Pietra, ghibellino, ha inviato la moglie Pia de’ Tolomei in uncastello di proprietà della famiglia di lei, per sicurezza. La servitù è curiosa:poco prima dell’alba è arrivato un messaggero. Si pensa che vengadall’accampamento ghibellino e che porti a Pia notizie di Nello, ma Ubaldo,servitore di Nello, comunica che l’arrivo dello straniero deve rimanere segretoanche alla padrona: la sua presenza potrà essere rivelata solo al cugino di Nello,Ghino degli Armieri.

In realtà quella portata dal messaggero è una lettera intercettata: il suo nonidentificato autore comunica a Pia che, in assenza del suo “odiato marito”,verrà ad abbracciarla questa sera. Ghino, colpevole personalmente di untentativo di seduzione della donna, che lo ha duramente respinto, concludecomprensibilmente che si tratti di un amante segreto. La sua gelosia e il suorisentimento vengono alimentati da Bice, dama di compagnia di Pia, la qualegli comunica che la padrona rifiuta di vederlo. La passione proibita si trasformarapidamente in desiderio di vendetta. Con l’intenzione di fare svolgerel’appuntamento e sorprendere Pia in flagrante, Ghino ordina a Ubaldo diconsegnare la lettera e dichiara la propria intenzione di ritornareall’accampamento per svelare a Nello l’onta perpetrata dalla moglie sul suonome.

–82–

SCENA 2Mentre le sue ancelle si godono il fresco dell’alba, Pia è triste e in predaall’ansia. Si profila uno scontro tra fiorentini e senesi e il suo animo è lacerato:suo marito combatte per Siena e suo fratello Rodrigo per Firenze. L’anzianoservitore Lamberto le porta una lettera, la stessa della prima scena, che gli èstata consegnata da uno sconosciuto nel parco. La donna l’apre ed è sopraffattadal sollievo e dalla gioia. Anche se non lo rivela, la lettera è di Rodrigo.SCENA 3L’accampamento dei Ghibellini. Nello rimugina sul destino che incombe sulcognato Rodrigo, catturato dai Senesi, la cui esecuzione è prevista per lamattina seguente.

I suoi pensieri sono interrotti da Ghino, che viene a riferirgli la presuntainfedeltà di Pia. Oltraggiato, Nello decide di vendicarsi, mentre Ghino, anchetroppo consapevole della colpevolezza delle proprie motivazioni, si rende contodi essersi spinto troppo oltre per pentirsi e ritirare le accuse.SCENA 4Confinato in un sotterraneo, Rodrigo teme i pericoli che la propria esecuzioneprovocherebbe per la sorella. Uno dei carcerieri, in realtà corrotto da Pia, glicomunica che avrà la possibilità di fuggire al successivo cambio della guardia.Al momento giusto gli vengono consegnati un elmo, una spada e un mantelloe l’uomo viene scortato verso la libertà.SCENA 5Nello e Ghino arrivano al castello dei Tolomei e sono ricevuti negliappartamenti di Pia. Ghino ordina al proprio seguito di nascondersi nel parco:un estraneo entrerà nel castello e non deve essere ostacolato, ma è necessarioimpedirgli assolutamente di uscirne.

–83–

L’incontro tra Nello e Pia è innaturale: l’uomo freme segretamente di rabbiaal pensiero dell’infedeltà della moglie, la donna è sulle spine perché attendel’arrivo di Rodrigo. Nello e Ghino dichiarano che la loro sarà una visitabrevissima e fingono di accomiatarsi. Appena escono, compare Rodrigo. Pia èterrorizzata e teme che possa essere scoperto, ma Lamberto rivela l’esistenza diun passaggio segreto che gli consentirà di fuggire dal castello. Mentre Nello eGhino ritornano per abbattere la porta ormai chiusa a chiave, Rodrigo vieneallontanato e Pia favorisce la sua fuga rovesciando l’unica candela accesanell’appartamento. Nello la insulta e minaccia una cruenta punizione.

ATTO SECONDOSCENA 1Lamberto arriva nell’accampamento fiorentino per comunicare a Rodrigo cheNello ha rinchiuso Pia in un castello tra le paludi della Maremma toscana, perfarla morire di malaria.

I due vengono sorpresi dal rumore di uno scontro. L’accampamento èattaccato dai Ghibellini e Rodrigo si precipita a combattere, deciso a liberaresuccessivamente Pia.SCENA 2Ghino arriva al castello in Maremma. È ancora in preda alla passione per Piae spera di salvarla, a condizione che ceda alle sue lusinghe. Ma lei lo respingeancora una volta e rivela che il suo visitatore notturno non era un amante, mail fratello. L’uomo inorridisce rendendosi conto della mostruosità del proprioerrore. Passando da un estremo all’altro, decide di comunicare a Nello la veritàe poi suicidarsi. Pia lo sollecita a vivere e pentirsi.

–84–

Dopo la partenza di Ghino, Ubaldo riceve una lettera da Nello che gli ordinadi uccidere Pia, a meno che il comando non venga revocato prima dell’alba.SCENA 3Un eremo. Piero, il capo eremita, e i suoi compagni, assistono a una spaventosatempesta. Mentre la forza degli elementi raggiunge il culmine, arriva Nello conil suo seguito, in cerca di riparo. Piero, che è a conoscenza della vendetta diNello contro Pia, gli assicura che la moglie è innocente ma Nello, convintodella sua colpevolezza, rimane irremovibile.

Si sente un cozzare d’armi: Ghino è stato sorpreso da una banda di Guelfi edentra, ferito a morte. Dichiara l’innocenza di Pia, rivela che il suo visitatorenotturno era il fratello e confessa il proprio amore colpevole per lei. Nellovorrebbe ucciderlo e viene trattenuto a forza, ma è comunque troppo tardi.Ghino muore, chiedendo invano perdono.

Nello viene preso dalla preoccupazione e dallo sgomento: si rende conto cheha poche possibilità di raggiungere il castello nella Maremma prima dell’alba.SCENA 4La prigione di Pia, prima dell’alba. Ubaldo prepara un calice di veleno. Piabrucia già di febbre e si sveglia, terrorizzata: in un incubo ha visto Rodrigouccidere Nello. Nel tentativo di calmare la febbre, beve dal calice avvelenato.Si augura che ormai Ghino abbia rivelato a Nello la sua innocenza e che ilmarito si affretti a salvarla dalla morte ormai inevitabile tra le esalazionimefitiche della Maremma.

Arriva Nello. È sollevato nel trovare Pia ancora viva, ma la donna inizia avacillare e la verità si rivela anche troppo presto. Irrompono anche Rodrigo eil suo seguito di Guelfi e Rodrigo è pronto a uccidere Nello quando viene a

–85–

sapere che Pia è stata avvelenata. La donna però giustifica il marito, spiegandoche è stato tratto in inganno dalle apparenze. Riesce a riconciliare marito efratello prima di spirare.

–86–

David Parry

–88–

PIA DE’ TOLOMEITragedia lirica in two parts

Libretto by Salvatore CammaranoFirst performance: 18 February 1837

Teatro Apollo, Venice

CHARACTERSNello della Pietra..............................................................................Giorgio RonconiPia de’ Tolomei, his wife....................................................Fanny Tacchinardi-PersianiRodrigo de’ Tolomei, brother of Pia..................................................Rosina MazzarelliGhino degli Armieri, cousin of Nello......................................................Antonio PoggiPiero, a hermit................................................................................Alessandro MeloniBice, Pia’s waiting woman.................................................................Marietta BramatiLamberto, an elderly retainer of the Tolomei family..........................Alessandro CecconiUbaldo, Nello’s servant…………….........……….................…..Alessandro GiacchiniThe Keeper of the Tower of Siena………………......................…………Not named

Chorus of Handmaidens, Members of Nello’s household, Guelf soldiers,Ghibelline soldiers and Hermits.

Non-singing parts for Sienese soldiers, Florentine soldiers, Nello’s squiresand retainers.

The action takes place in the environs of Siena, that is to say in the FlorentineMaremma. The period is the year 1260.

Lines in the following libretto which are preceded by double quotation-marks (“...”)are found as part of Cammarano’s original libretto, but were not set by Donizetti.

–89–

PART ONE[1]SCENE I

A ground-floor hall in the Castle of the Tolomei family.1

Members of Nello’s household.

[2] FIRST CHORUSAncor del fosco notturno velo Still the sky was not completelyTutto sgombrato non era il cielo, Swept clear of the dark veil of night,Quando ravvolto nel suo mantello When, wrapped in his mantle,Segreto messo giunse al castello. A secret messenger reached the castle.

SECOND CHORUSFu tratto forse dinanzi a Pia? Was he perchance brought before Pia?Forse il consorte quell’uomo invia? Was it perhaps her husband who sent

him?

CD1 71’23

______________________________________1 So the first libretto as actually printed. But an erratum inside the front cover of a copy preservedin the Collezione Carvalhaes of the library of S. Cecilia in Rome amends this, changing it to‘Pia’s apartments, as in Scene V’. Possibly as a cost-cutting measure, or as a way of reducing thenumber of scene-changes, it would seem to have been decided to play the first two tableaux ina single setting. This was certainly the solution adopted in Senigallia at the Fiera of 1837, andprobably at most subsequent productions. In terms of dramatic verisimilitude, the originalsetting of a hall in the castle would seem preferable, since it is highly unlikely that all the maleretainers would be gathered in Pia’s private apartments, and even more unlikely that Ghinowould have free access there.

–91–

FIRST CHORUSLo accolse Ubaldo... Ubaldo received him…

SECOND CHORUSEi viene appunto! And here appropriately he

comes!

SCENE II

Ubaldo, and those already on stage.

FIRST CHORUSDi’, quel messaggio?... Tell us, that messenger?...

SECOND CHORUSDal campo è giunto? Has he come from the camp?

FIRST CHORUSReca novelle tristi, o felici? Does he bring bad news, or good?

SECOND CHORUSParla!... Tell us!...

FIRST CHORUSDisvela!... Tell us all!...

UBALDOspeaking low, in a tone of mystery

Udite, amici: Hear, my friends:Né Pia, né quanti le son dappresso Neither Pia, nor those who are about

her,Denno contezza aver del messo. Must know of the messenger’s arrival.Crudel mistero colui m’apprese... He has informed me of a disturbing

mystery...

Mark Wilde

–93–

(All the others show signs of wishing to question him)

Sol debbe a Ghino esser palese. It must be revealed to Ghino alone.V’allontanate. Withdraw.

CHORUSFatal messaggio! Fatal message! Ominously

Fra noi tremendo egli apparì!... The messenger appeared in ourmidst!...

Qual di cometa sanguigno raggio Like the bloody ray of a cometChe di spavento la terra empì! That fills the earth with fear!

(They disperse.)

SCENE III

Ubaldo is joined by Ghino.

[3] UBALDOSignor, giungi opportuno. Sir, your arrival is timely.

GHINOIl mio sospetto My suspicion

Forse?... Perhaps?...UBALDO

Divien certezza. Becomes certainty.Sorpresi un foglio. I intercepted a letter.

GHINODi tue cure, Ubaldo, For your solicitude,

Bruce Ford

–95–

Premio condegno avrai. Ubaldo, you will have suitablereward.

(Ubaldo hands him a letter, which he reads.)

‘Quando sepolto ‘When the world‘Fia nel silenzio della notte il mondo, ‘Will be wrapped in the silence of the

night,‘Inosservato per la via del parco ‘Unobserved, I shall come to you‘A te verrò: l’assenza ‘By way of the park: the absence‘Del tuo sposo abborrito a me concede ‘Of your hated husband gives me the

joy‘D’abbracciarti la gioia, e tal mercede ‘Of embracing you, and such a

reward persuades me‘Soffrir mi fa la vita.’ – O Pia mendace! ‘To go on living.’ O false Pia!Ov’è il rigore, l’austera Where is the rigour, where the austereVirtude ov’è, che rampognar ti fea Virtue that made you rejectL’amor di Ghino? Ah! sempre, o fatal donna, Ghino’s love? Oh! unlucky woman,

wouldSeparati ne avesse That we had been forever separated

by thatQuella tremenda eredità degli avi, Fearful inheritance come to us from

our forefathers –La vendetta, il furor, “né ghibellino Revenge and fury – “would that one

born“Talamo accolta che nascea di Guelfi,” “Of the Guelfs had not entered into

marriage with a Ghibelline,”Che tanto sventurato For then I should not be

–96–

Or non sarei, né vinto e lacerato So unfortunate, so cowed and tornapart

Da rimorso infernal, d’un mio congiunto By hellish remorse, for loving the wifeLa sposa amando! Of one of my relatives!

UBALDOE che risolvi, o Ghino? And what, Ghino, do you intend to

do?GHINO

Chiesi vederla... Ah! se ripulse ardisci I have asked to see her... Ah! if youstill dare

Oppormi ancor, paventa... To thwart me with repulses,tremble...

Un detto mio ti perde... Ove trascorro!... A word from me destroys you... Butwhere do I let myself be carriedaway?...

Ah! ne morrei da fera doglia oppresso... Ah! I should die, weighed down withbitter grief…

UBALDOE tanto l’ami ancor? And do you still love her so much?

GHINOPiù di me stesso. More than myself.

[4]Non può dirti la parola Words cannot tell you the wayQual desio m’incalza e punge... That desire pursues me and goads

me...La speranza che s’invola Hope, even though evaporating,Nuove fiamme al foco aggiunge. Adds new flames to the fire.Pia m’abborre, Pia mi fugge... Pia abhors me, Pia shuns me...

–97–

Ma non fugge dal mio cor. But she cannot escape from my heart.Ah! l’incendio che mi strugge Ah! the fire that consumes meE’ delirio, e non amor! Is madness, not love!

SCENE IV

Bice joins Ghino and Ubaldo.

GHINOEbben? Well then?

BICEVenirne davanti a lei It is no longer permitted to you

Più non ti lice. To appear before her.GHINO

Chi a me lo vieta? Who forbids me to do so?BICE

Pia. Pia.GHINO

La cagione? The reason?BICE

Saper la dei. You must know it.E Nello, anch’egli potria.. And Nello, he too could…

GHINOT’acqueta. Silence.

Troppo dicesti! You have said more than enough!BICE

Nel mio linguaggio It is she who addresses you

Patrizia Biccirè

–99–

Ella ti parla: pensaci, e trema. Through my words: give heed, andtremble.

(She departs.)

UBALDOMuto rimani a tant’oltraggio! You are speechless at such an outrage!

GHINONon ha favella un’ira estrema. Extreme anger is lost for words.

(After a moment’s reflection, he gives the letter back to Ubaldo.)

Rechi all’infida ignoto messo Let an unknown messenger deliverQuel foglio… This letter to the faithless woman...

UBALDOIntendo: riposa in me. I understand: trust me.

GHINOAl campo io volo... e Nello, ei stesso I hasten to the camp... and Nello

himselfUdrà qual onta costei gli fe’. Will hear of the shame she has

brought upon him.[5]Mi volesti sventurato? You wished me wretched?Sventurata sarai meco... You will be wretched with me...I miei pianti avranno un eco, My lamentations will find an echo,Il mio duol vendetta avrà. My grief will have revenge.O mio core, o cor sprezzato O my heart, my spurned heart,Gemi indarno in questo petto... You groan in vain within my breast...

–100–

Dei bandir qualunque affetto You must banish any and everysentiment

Che somigli alla pietà. That bears resemblance to pity.UBALDO

Sì, tu fosti provocato... Yes, you have been provoked...Saria stolta la pietà. Pity would be stupid.

(They depart in opposite directions.)

SCENE V

Pia’s apartments. There are doors on either side, the one on the right leading to herbedroom. There is also a door at the rear, behind which there is a balcony, looking out overthe garden.

Bice and Lamberto.

LAMBERTO“Surse la Pia? “Is Pia up?

BICE“Surse anzi l’alba, e parmi “She arose before dawn,

“Più dell’usato ancora “Even more than usual given to“Gemente, irrequieta. “Lamentation, and restless.

LAMBERTO“Il suo cordoglio “Her distress

“Purtroppo è giusto! D’esecranda pugna “Is, unfortunately, justified. The dayof

“Il dì s’appressa: per lo sposo insieme, “Hateful battle approaches: it is herlot to

Marco Vinco

–103–

“E pel fratello, armati “Tremble both for her husband andfor her

“L’un contro l’altro e di vendetta ardenti “Brother, armed the one against theother

“Ella tremar dovrà! “And both burning for vengeance!BICE

“Malvagia etade!... “This sinful age!...“Di sangue cittadin grondar le spade “We shall see yet again swords

dripping with“Vedremo ancor! “The blood of fellow citizens!

LAMBERTO“Di Nello “It was a prudent decision

“Fu prudente consiglio “On Nello’s part“La sposa allontanar dal suo palagio, “To send his wife far away from his

palace,“Che scopo fia di militar licenza, “For it will be the target of military

licence“Se la tremenda oste di Flora irrompe “If the formidable host of Florence

bursts“Nella cittade. “Into the city.

BICE“E questa Rocca, antico “And do you think this fortress,

“De’ Tolomei retaggio, “The ancient retreat of the Tolomeifamily,

“Scampo securo estimi tu? “Will prove a safe refuge?LAMBERTO

“Fu dessa “It was always“Inespugnabil sempre. “Impregnable.

–104–

“Lo sventurato genitor di Pia, “Pia’s unlucky father,“Quando funesta ardea gara civile, “When civil discord ominously

flared up,“Qui ricovrò da Siena, e l’ira ostile “Took refuge here from Siena, and

long“Respinse a lungo; ma consunto alfine “Repulsed the anger of the enemy;

but at last, when all food had been“Ogni alimento, per segreto calle “Consumed, he fled by a secret passage,

(Almost involuntarily, he casts a glance on the back wall.)

“Fuggì, sull’Arno raggiungendo i figli, “Rejoining upon the banks of the Arno“Pargoli ancora, e la consorte. Io poscia “His sons, still babes, and his wife.

Thereafter“Tuttor qui m’ebbi solitaria stanza... “I always maintained a solitary room

here…BICE

“Ver noi la Pia s’avanza. “Pia advances towards us.LAMBERTO

“Io mi ritraggo... Alle sue donne accanto “I shall retire... In the company of herwomen

“Libero sgorghi dell’afflitta il pianto.” “Let her give free vent to the tears ofthe afflicted.”

(He goes out at the back.)

–105–

SCENE VI

Pia and her handmaidens, and Bice.

[6] MAIDENSinviting Pia to sit near the balcony

Qui posa il fianco. E’ vivida Here rest your limbs. This hourQuest’ora del mattino, Of the morning is brightly hued,Imbalsamata è l’aura Sweet-scented the breezeChe move dal giardino: That comes from the garden:Di vaghi fior smaltato See how jocund the meadow,Ve’ come ride il prato, Enamelled with fair flowers.Qui tutto spira e parla Everything here breathes and

bespeaksCeleste voluttà... Heavenly delight...

BICE & MAIDENSPia... Pia... (Non ode!) Pia... Pia... (She does not hear!)Ah, qui posa il fianco. Ah, here rest your limbs.

etc. etc.(Non ode! A sollevarla (She does not hear! There’s no human

powerUman poter non v’ha!) Can bring her relief!)

[7] PIAstanding up restlessly

A voi son grata... ma non è quest’alma I am grateful to you... but my spiritsPiù di gioja capace. Are no longer capable of joy.

Majella Cullagh

–107–

BICE“Almen di calma “At least let them

“Lo sia... “Enjoy calm...PIA

“Trista per me, funerea luce “For me the sun diffuses sad and“Il sol diffonde, e l’universo piange!” “Funereal light, and the whole world

weeps!”BICE

Misera! Wretched girl!PIA

In cor se mi leggessi, o Bice, If, Bice, you could read in myheart,

Del mio stato infelice You would feel greater compassionMaggior pietade avresti!... For my unhappy state!...(Oh incertezza crudel!... Giunger dovea (O cruel uncertainty!... Word ought

to havePria del giorno l’avviso... Come before dawn...Al suo fuggir, compro dall’oro, è forse Has perhaps some obstacle preventedUn ostacolo insorto?... His escape, which I bought with

gold?...Della Torre il Custode Can the custodian of the TowerPotria con empia frode Have treacherously betrayed me?...Tradirmi?... Ah! no, che di Rodrigo ei stesso Ah! no, for he himself revealed to meMi fe’ l’arcana prigionia palese. The place where Rodrigo was secretly

held prisoner.Eppur, d’onde l’indugio?... Ah! ch’io mi And yet, why this delay?... Ah! but I

perdo! am lost!

–108–

E fra tante dubbiezze in cui smarrita And amid the many doubts in whichE’ la ragion del core, The judgement of my heart wanders

confused,Certo, ah certo soltanto è il mio dolore! Nought is certain but my grief![8]O tu che desti il fulmine, O Thou who hast guided the

thunderbolt,Che al nembo il fren disciogli, Who loosest the onslaught of the

black squall,Le mie dolenti lagrime In thy mercy receiveIn tua pietade accogli... My grieving tears...Quell’innocente vittima Save that innocent victimSalva, e conduci a me. And bring him back to me.(No, tu non puoi respingere (No, Thou canst not rejectChi fida in te, gran Dio... One who trusts in Thee, Almighty

God...Il voto, che fra i gemiti The prayer, that amid my tearsAl tuo gran soglio invio, I direct to Thy great throne,E’ puro come gli angeli Is as pure as the angelsChe stanno in ciel con te.) Who are gathered in heaven with

Thee.)BICE & MAIDENS

(Geme tuttor la misera!... (The poor girl is forever groaning!...Speme per lei non v’è!) For her there is no prospect of hope!)

–109–

SCENE VII

Lamberto, and those already on stage.

[9] LAMBERTOdrawing Pia aside

Pia… Pia…PIA

Lamberto... Che fu?... smarrito in volto Lamberto…What has happened?...Sei Lamberto!... You are ashen of face, Lamberto!...

LAMBERTOin a low tone

M’odi. Hear me.PIA

Ascolto. I am listening.LAMBERTOstill in low tones

Tra le querce... accanto al rio... Amid the oaks... beside the stream...Dove il parco è più solingo, Where the park is less frequented,Accostarsi a me vegg’io I perceived a man, silent and

watchful,Un uom tacito e guardingo... Approaching me...Ei gettandomi dappresso And throwing towards meQuesto foglio, in tuon sommesso This letter, in low tonesDi recarlo a te mi dice, He tells me to deliver it to you.Quindi fugge al par del lampo. Then swift as lightning flash he flees.

(Pia takes the letter and opens it.)

–110–

PIA(Le sue note… Me felice!... (His handwriting... How happy

I am!...after she has read it

Tolto è ormai qualunque inciampo!...) Every impediment is nowremoved!...)

LAMBERTOobserving the change that has come over her countenance

(Il dolore a lei dà tregua!) (Her grief relents and grants hertruce!)

PIA(Qui fra poco il rivedrò!...) (Soon here I shall see him again!...)

BICE & MAIDENS(L’atra nube si dilegua (The black cloud that veiledChe la fronte a Pia velò!) Pia’s brow is dispersing!)

PIAOh gioja! Oh ciel, qual gioja! O joy! Oh heavens, what joy!Qui fra poco il rivedrò!.. Soon here I shall see him again!...[10](Di pura gioja in estasi (My soul is carried awayE’ l’alma mia rapita!... In an ecstasy of sheer joy!...A lui dirò: sei libero, I shall tell him: you are free,Io ti serbai la vita... It was I who saved your life...E amplessi, e baci, e palpiti And all the while we shall confuse

togetherConfonderemo intanto... Embraces, kisses, and tremblings...E verserem quel pianto And we shall shed those tearsChe di dolor non è!) That are not the tears of grief!)

–111–

BICE, LAMBERTO & MAIDENS(Ella cessò dal pianto! (She has given over her weeping!Al ciel ne sia mercè.) Thanks be to Heaven.)

(Pia goes off to the right; the others on the opposite side.)

SCENE VIII

Inside Nello’s pavilion.

Nello is alone.

[11] NELLOGiurai svenarlo, ch’egli ardì col sangue I vowed to kill him, because he daredDe’ miei congiunti violar la pace With the blood of my relatives to

violateDa noi giurata, quando a Pia mi strinse The peace we swore between us,

whenSacro legame. Or della morte il ferro A sacred knot bound me to Pia. But

nowGli sta sul capo, e gemo! The sword of death hangs over his

head, and“Giurato fu dal militar consesso I groan! “Purely as a result of my plea,“Al mio pregar soltanto, “The military assembly swore that,“Che nel segreto carcere la scure “In the secrecy of his prison, the axe

at dawn“Tronchi sull’alba il procelloso corso “Should cut short the stormy course“Di sua fatal giornata.” “Of his ill-starred career.”

–113–

Almen la sventurata At least the unfortunate Pia,Pia, che l’ama cotanto, il fine acerbo Who loves him so dearly, will not

have toNon udrà del fratello... Hear of the bitter end of her

brother...Alcun s’avanza... Someone approaches...

SCENE IX

Ghino and Nello.

GHINONello? Nello?

NELLOGhino!... tu quì! Ghino!... you here?

GHINOMi tragge An important reason

Alta cagion. Brings me.NELLO

Sembri agitato!.. You seem agitated!...GHINO

E’ ver... That’s true...A palesarti orribile mistero, I have comeA trafiggerti il petto To reveal a horrible mystery to you,Io venni. To strike a dagger through your

breast.NELLO

Ogni tuo detto Every one of your wordsMi fa tremar! Sets me trembling!

–114–

GHINOTu n’hai ben donde! – Pia... You have good cause! – Pia...

NELLOQual nome proferisti!... e qual mi turba What name do you utter!... and what

blackNero presagio!... No... spirto d’averno Omen disturbs me!... No... it is a

spiritLo desta in me... From hell that awakens it within

me...abandoning himself to Ghino’s embrace

Soccorri Come to yourAl tuo fratello, dimmi Brother’s aid, tell me thatChe fida è la consorte... My wife is faithful...Sgombra, deh! sgombra il mio spavento Dispel, ah! dispel my greatest fear.

estremo.

(Ghino casts him a dark and gloomy glance, and remains silent.)

Oh silenzio funesto!... Io gelo!... io tremo! Oh ominous silence!... I freeze!... Itremble!

E’ men fero, è meno orrendo Less devastating, less horrendousIl silenzio della tomba. Is the silence of the grave.

GHINOIl mio dir fia più tremendo. What I have to say is even more dire.

NELLOGel di morte in cor mi piomba! The cold hand of death falls upon my

heart.

Roberto Servile

–116–

GHINOInfelice! Unhappy man!

NELLOOmai favella. Now speak.

GHINOSei tradito! You are betrayed!

NELLOAh, il ver dicesti? Ah, are you telling the truth?

GHINOAh pur troppo! Alas, yes!

NELLO(Io fremo!)... Ed ella?... (I shudder!)... And she?...

GHINOhesitatingly

Ella... She...NELLO

O Ghino, a che t’arresti? O Ghino, why do you stop?GHINO

Ella è infida. She is faithless.NELLO

shaking with angerL’onor mio?... My honour?...

GHINOD’atra macchia ricoprì! She has besmirched it with a black

stain!NELLO

E il tuo fulmine gran Dio And your thunderbolt, AlmightyGod,

–117–

La spergiura non colpì? Has not struck down the perjuredwoman?

L’onore! My honour!

(He falls upon a stool. There is a pause. He then rises, and goes on in an effusionof grief:)

[12]Parea celeste spirito She seemed a spirit from HeavenAscoso in uman velo!... Concealed in human form!...Per me quel riso angelico For me that angelic smileSchiudeva in terra il cielo!... Revealed heaven upon earth!...Il disinganno è giunto! But the moment of disillusion has

come!Tutto distrugge un punto!... A single moment destroys all!...Il viver mio di lagrime My life is now becomeSorgente omai si fè! A gushing spring of tears!

GHINO(Seppi nel cor trasfondergli (I have succeeded in pouring into

himParte del mio veleno. A part of my poison.

NELLOAh, ohimè! Oh, alas!

GHINOLe mie gelose furie My jealous raging passionsSquarciano pur quel seno. Are indeed ripping open his breast.

NELLOPerfida! L’onor... Faithless woman! My honour...

Roberto Servile and Bruce Ford

–119–

GHINOE’ già scoccato il dardo... The dart is now cast...Fora il pentir or tardo... Repentance now would be too late…Gioja dell’alme perfide Already I experienceIo già ti sento in me!) All the gloating of perfidious souls!)

(Nello, as if struck by a sudden thought, seizes Ghino by his right arm and gazes at himintently, like one who seeks to gaze into the soul of another.)

NELLOTu mentisti: un tanto eccesso You have been lying: such an excess –No, quel cor non ha macchiato. No – has not stained that heart.

GHINOTestimon sarai tu stesso You yourself will be the witnessDell’oltraggio a te recato. Of the outrage she has brought upon

you.Come il ciel di luce privo When the sky, drained of light,Chiami al sonno ed al riposo, Calls us to sleep and repose,Alla Pia verrà furtivo The man who offends youChi t’offende... Will come secretly to Pia...

NELLOin extreme fury

Andiam... Fui sposo! Let us go... I am a husbandno more!

Sol, che tardi... il corso affretta... O sun, you are slow... hasten yourcourse…

Cedi all’ombre... Give way to the shadows...

–120–

GHINOAh! m’odi ancor... Ah! hear me further...

NELLOPiù non odo... I’ll hear you no more...

GHINOAlmen... At least...

NELLOVendetta... Revenge...

GHINOAh, pria... Ah, first...

NELLOSon cieco di furor. I am blinded with fury.

[13]speaking like a man completely deprived of reason

Del ciel che non punisce I shall make good the omissionEmenderò l’errore… Of a Heaven that fails to punish...Già il mio pugnal ferisce, Already my dagger strikes,De’ rei già squarcia il core... Rips open the hearts of the guilty...Le palpitanti vittime Already I spurn my palpitatingIo premo già col piè. Victims with my foot.

GHINO(Sei pago amor furente? (O raging love, are you satisfied?S’appresta atroce scempio... An atrocious slaughter approaches...Le mie virtude hai spente, You have stifled my virtues,M’hai reso un vile, un’empio... You have made me vile, a rogue...Gioisci, esulta, o demone, Rejoice, exult, you demon love,Altrui perdesti... e me!) You have destroyed another… and

me!)

–121–

(Nello leaves in fury, dragging Ghino with him by one arm.)

SCENE X

A horrid subterranean dungeon, scarcely lit by a dark lamp. At the back of the stage thereis an iron grill, behind which a man-at-arms paces to and fro.

[14] RODRIGOIn questa de’ viventi orrida tomba, In this horrid tomb of the living,Ove per sempre il raggio Where the ray of day is foreverTace del giorno, il suon di fioca squilla Excluded, only the sound of distantGiunge soltanto... “dell’ombroso velo Trumpet call penetrates... “The sky is

now“Or si ricopre il cielo, “Covered by a shadowy veil,“E le stelle silenti “And the silent stars shed their“Spargon luce suave...” Ah! l’ora è questa “Shining light...” Ah! this is the hourArbita di mia sorte! That decides my fate!Fra speranza e timor, fra vita e morte My heart leaps from hope to fear,Mi balza il cor!... Pavento Between life and death!... Do I

perhapsForse l’estremo fato? Fear my ultimate fate? No; but a

thoughtNo; ma un pensiero!... Ah! pende dalla mia Strikes me!... Ah! another life dependsUn’altra vita!... Oh dolce suora! oh Pia! Upon mine!... Oh my sweet sister!

O Pia![15]Mille volte sul campo d’onor A thousand times upon the field of

honour

–123–

I perigli più crudi sfidai, I confronted the most terrible perils,Mille volte la morte sprezzai, A thousand times I scorned death,Or la temo, e la temo per te! But now I fear it, and I fear it for you!S’io cadessi, al pietoso tuo core If I were to fall, a sharp daggerScenderebbe un acuto pugnale; Would descend into your pitying

heart;E dischiusa la tomba ferale And the fatal tomb would openNon sarebbe soltanto per me! Not for me alone!

SCENE XI

A prison guard enters. He places a crock of water upon a table, and, producing the fewobjects which the prisoner will need for his meagre meal, speaks to him in a deliberatelylow voice, so that the man-at-arms will remain unaware that he is speaking to him.

PRISON GUARDOmai l’istante è presso The moment of your flightDel tuo fuggir. – M’ascolta: Is now close at hand. Listen to me:Del custodito ingresso The sentinel who mans the guarded

entranceCangiata fia la scolta; Is to be changed;Quella che dee succedere He who is to come on dutyCompra è da me. – Fa’ cor. Has been bought by me. Take heart.

(He departs. A church bell is heard tolling.)RODRIGO

Il sen mi scuote un palpito A trembling shakes my breastIgnoto a me finor. Unknown to me until now.

Manuela Custer

–125–

(There is a moment’s silence. A detachment of armed men appears at the back of thestage: the guard is changed.)

Ah! (Oh Dio, che palpito!) Ah! (O God, how I tremble!)

(The guard who is being relieved retires.)[16]

radiant with new joyL’astro che regge i miei destini The star that rules over my destinySparge d’intorno nuovo fulgor! Sheds a new light about me!Impallidite o Ghibellini, Grow pale, you Ghibellines,Io riedo al campo... io vivo ancor! I am returning to the field... I live

still!

(The new prison guard appears in the entrance. He wraps Rodrigo in a long mantle,places a helmet upon his head and lowers the vizor, and gives him a sword. They go out

together with all possible haste and caution.)

Manuela Custer and Christopher Turner

–127–

SCENE XII

Pia’s apartments, as previously.

Nello, Ghino, Bice and Nello’s squires enter from the door on the left. A candle burns upona table. The door on to the balcony is closed.

[17] BICEto Nello

Dell’inatteso tuo venir la nuova The news of your unexpected arrivalSarà conforto alla dolente. Will be of comfort to her in her grief.

(She enters Pia’s bedroom.)

GHINOto the squires

Udiste? You heard?Ascosi fra le piante, ove la notte Hidden among the plants, where the

nightRegna più densa e scura, Reigns at its densest and darkest,Cautamente vegliate: a queste mura Keep careful watch: a man will

approachUn uom s’avanzerà; libero accesso These walls; let him have free access,Egl’abbia, uscir gli sia vietato. But egress let him be denied.

(The squires leave by the rear of the stage. Ghino closes once more the door leadingon to the balcony.)

–128–

NELLOE tanto And must I

Deggio aspettar la mia vendetta! Wait so long for my revenge!GHINO

Nello, Nello,Pensa che un detto, un guardo Consider that a single word, a single

glancePuò dell’ordita trama Is capable of disrupting the threadsScompor le fila!... Of the plot we have laid.

NELLONon temer. Do not fear.

GHINOChe dei Have a care that you

Frenarti al suo cospetto... Restrain yourself when you see her...Eccola!... Here she is!...

NELLOO mio furor! O my rage!

GHINOLo cela in petto. Conceal it in your breast.

SCENE XIII

Pia and Bice enter. Bice retires by the door on the left.

NELLOembracing Pia with a simulated calm

Pia… Pia...

–129–

PIASignor… My Lord…

NELLOTu sei turbata!... You are disconcerted!...

Il tuo cor tremare io sento! I can feel your heart trembling!PIA

No... la gioia inaspettata... No... the unexpected joy...La sorpresa... My surprise...

NELLOSì? Yes?

PIA(Oh mio spavento!) (Oh my fear!)

NELLO(Empia!) (Evil woman!)

PIAEppur, non hai tu stesso And yet... do you not yourself

Un rammarco in volto impresso?... Have a sorrow writ upon your face?...NELLO

Io rammarco!... I... a sorrow!...PIA

E sdegno... parmi. And anger... so it seems to me.GHINO

in a low voice to Nello, exhorting him to restrain himselfNello!... Nello!...

NELLOE’ ver… giungeva al campo It is true... Ominous news reached

Nuova infausta a rattristarmi... The camp and saddened me...Nuova tal, che d’ira avvampo! News to set me bursting with anger!

–130–

PIAE qual? What news?

Il Signor di Roccaforte... The Lord of Roccaforte...PIA

Sigifredo?... Sigifredo?...NELLO

La consorte You know with whatSai di quale, e quanto affetto Affection – with how much

affection –Egli amava. He loved his wife.

PIAE riamato... And was loved in return...

NELLONo... no... No... no...

PIAChe dici? What do you say?

NELLOChiudea l’indegna in petto The unworthy woman concealed

Turpe foco abbominato... A vile and hateful flame in herheart…

GHINO(Nello!...) (Nello!...)

NELLOUn codardo... un seduttore... A coward... a seducer...

GHINO(Ti frena!) (Control yourself!)

Bruce Ford, Majella Cullaghand Patrizia Biccirè.

–132–

NELLOVilipeso fu l’onor... His honour was reviled...

in blind angerNell’onor son io ferito.. I am wounded in my honour…Il tuo fallo è manifesto... Your fault is clear to see...Donna infida, m’hai tradito!... Faithless woman, you have betrayed

me!...M’hai d’infamia ricoperto!... You have covered me with infamy!...

PIASposo… ah! Husband… ah!

GHINO(Nello!...) (Nello!...)

(Warned by a furtive glance from Ghino, Nello quickly recovers himself.)

NELLOSigifredo così disse, Sigifredo spoke those very words,Strinse il brando, e si piagò. Seized his sword, and smote himself.

PIAEd estinto?... And is he dead?..

GHINOVive ancora, He still lives,

Ma per poco: Iddio lo chiama... But not for long: God summonshim...

indicating NelloPria che suoni l’ultim’ora Before his last hour soundsAbbracciar l’amico ei brama. He wishes to embrace his friend.

–133–

PIA(O sospetto!...) (O my suspicion!...)

GHINOE quindi Nello, And hence Nello,

Onde girne al suo castello, On his way to his castle,Trasse innanzi a queste mura... Passed before these walls...

NELLOE il vederti amata sposa, And to see you, my beloved wife,Fu mia prima e dolce cura. Was my first and welcome care.(Figger gli occhi in me non osa!) (She dares not fix her eyes upon me!)

GHINONello, andiam, che l’ora stringe. Nello, let us go, for time grows short.

PIAwith ill-considered joy

Parti? You are leaving?NELLO

Sì. Yes.PIA

Ah, sposo… Ah, husband…NELLOironically

T’incresce! That makes you sad!PIA

Sì, è ver… Yes, that’s true...GHINO

Andiam… Let us be off…NELLO

Troppo m’ami! You love me too much!

–134–

PIA(Cielo!... ei finge!) (Heavens!... he’s pretending!)

NELLOIo ti leggo nel pensier! I read your thoughts![18](Ogni sguardo, ogni accento (Every glance, every wordManifesta il suo delitto! Betrays her guilt!Il suo nero tradimento She has her black betrayalCome in cor, in fronte ha scritto! Written on her brow, as in her heart!Taccia ancor... ma più tremenda Let my vengeance be silent yet...La vendetta poi discenda... But let it then fall more terrible than

ever...Onor mio contaminato O my besmirched honour,La rea coppia immolo a te!) I sacrifice the guilty couple to you!)

PIA(Ah! Egli asconde un rio furore (Ah! He conceals a wicked furySotto il vel di finta calma! Beneath a veil of pretended calm!Ah! d’ambascia, di terrore Ah! my soul is invested and

obstructedCircondata, ingombra ho l’alma!... With anguish and horror!...Odo un gremito... un lamento!... I hear a groaning... a lamentation!...Veggo oggetti di spavento!... I see objects of terror!...Un avello insanguinato It is as if a bloodstained tombPar che s’apra innanzi a me!) Were opening up before me!)

GHINO(Ah! Ella ardea di fiamma impura, (Ah! She was burning with an

unchaste flame,E scherniva l’amor mio! And she spurned my love!

–135–

Di sue colpe la spergiura Let the perjured woman pay the priceColla morte paghi il fio... Of her sins with death...Colla morte? A questo accento With death? At this wordFremer l’alma in petto io sento!... I feel my soul quake in my breast!...Il mio foco dispregiato My scorned passionTutto estinto ancor non è!) Is not yet totally quenched!)

NELLOAddio, sposa, addio. Farewell, wife, farewell.

PIANello! Parti? Ah, ahimè! Nello! You’re leaving? Ah, alas!

GHINOto Nello

Ah, vieni... Ah, come...to Pia

Addio. Farewell.

(He leaves by the door on the left, followed by Ghino.)

PIAQual tremor in sua presenza What a trembling surprised meMi sorprese... In his presence...

resolutelyIn ciel v’è un Dio In Heaven there’s a God,

Protettor dell’innocenza. The protector of innocence.

(She closes the door on the left, and opens that on to the balcony.)

–136–

SCENE XIV

Lamberto, and Pia.

[19] LAMBERTOentering in the greatest agitation

Ah! Signora… Ah! My lady...PIA

Tu, Lamberto!... You, Lamberto!...Deh! che fu?... Ah! what has happened?...

LAMBERTOindicating the direction from which he has come

Si tende al certo Some snare has certainlyQualche agguato… Been laid...

PIAChe? What?

LAMBERTOGente in armi I saw armed men

Vidi ascosa... Hidden...PIA

Tu? You?LAMBERTO

pointing in the direction he has come fromSì, io. Yes, I.

PIAAh, egli è perduto! Ah, he is lost!

LAMBERTODonna! il sangue fai gelarmi! Lady! you make my blood run cold!

–137–

Di’?... non oso… Avresti tu potuto?... Tell me... I dare not... Could youhave...?

PIAL’uom che attendo... The man I am waiting for...

LAMBERTOEbben? Well then?

PIAE’ mio fratello... Is my brother...

LAMBERTOCiel! Egli!... Heavens! Your brother!...Oh ciel, che festi! E Nello! O Heavens, what have you done!

And Nello!Ahi sciagura!... tardi apprendo... Ah, what misfortune!... Too late I

realise...Io potea... I could have...

PIAChi giunge? Who comes?

LAMBERTOE’ desso... It is he...

SCENE XV

Rodrigo enters from the door on to the balcony.

RODRIGOPia... Pia...

PIAQual fulmine tremendo!... What a devastating thunderbolt!...

Manuela Custer andMajella Cullagh

–139–

LAMBERTOrunning to close the door on to the balcony

Respira: è salvo adesso. Breathe again: he’s safe now.PIA

E fia ver?... Can I believe it?...LAMBERTO

Segreta via, A secret passage,D’onde il padre un dì fuggia... Whereby your father once made his

escape...

(He goes to the rear wall, and, lifting a part of the tapestry, reveals a secret exit.)

Mira. Behold.PIA

Ah, vieni alfin fra queste braccia... Ah, come at last to these arms...[20]Fra queste braccia Come within these armsUn istante, un solo istante. For a moment, a moment only.Il fratel stringendo al petto Straining my brother to my breastPianger deggio... e palpitar! I must weep... and tremble!

RODRIGOTanto duolo... e tanto affetto Such grief... and such affectionMi costringe a lagrimar... Obliges me to weep...

(They are locked in each other’s arms, and taking it in turns to wipe away eachother’s tears.)

–140–

TOGETHERAh! ne tolse orrenda guerra Ah! an atrocious war deprived usUn fratello, il genitore!... Of a brother, and of our father!...Cruda morte di dolore Then a cruel death, the result of grief,Poi la madre c’involò!... Carried off our mother!...Sventurati!... sulla terra Hapless we!... here upon earth

noughtPianto eterno a noi restò! Remained for us but an eternity of

tears!

SCENE XVI

Pia, Rodrigo and Lamberto, and Nello from without.

[21] NELLOL’uscio dischiudi, o perfida! Open the door, perfidious woman!

LAMBERTONello! Nello!

RODRIGOColui!... Him?...

PIANon senti?... Do you not hear?...

(Frequent blows resound upon the door on the left.)

Va!... Go!...

–141–

NELLOTraditori! Traitors!

(Rodrigo, raging with fury, places his hand upon the hilt of his sword, but is restrainedby Lamberto.)

PIAAhi misera!... Ah, wretched that I am!...

to RodrigoChe indugi omai?... che tenti?... What are you waiting for?... what

would you?RODRIGO

Egli osa provocarmi!... He dares to provoke me!...Io voglio... I want...

(He goes towards the door, as if he would open it.)

PIAAh! tu vuoi farmi Ah! barbarous man,

Spirar d’angoscia, o barbaro, You wish to make me die of anguishE di terror... And terror…

(By now, with the aid of Lamberto, she has drawn Rodrigo towards the secret passage.)

–142–

SCENE XVII

The door gives way, and Nello and Ghino come bursting in.

NELLOholding his drawn dagger

Ch’io sveni Let me kill themEntrambi! Both!

PIAto Rodrigo

Ah! fuggi… Ah! fly…

(She upsets the candlestick in the same moment that Nello enters.)

LAMBERTOsoftly to Rodrigo, as they go out by the secret passage, closing its door behind them

Vieni… Come...Di lei pietade… Have pity on her...

NELLOOh rabbia!... Oh fury!...

GHINOcalling

Ubaldo? Ubaldo? Ubaldo? Ubaldo?PIA

Sul cor mi piomba un gel!... A hand of ice falls upon my heart!...

–143–

SCENE XVIII

Servants enter carrying fresh candles. They are followed by Bice, Ubaldo, retainers,hand-maidens and men-at-arms.

NELLOFuggì quel vil!... That vile wretch has fled!...

ARMED RETAINERSRaggiungasi… Let him be overtaken…

(Many armed retainers go out at the rear of the stage.)

NELLOhurling himself upon Pia with the intention of killing her

Mori… Die…GHINO

disarming himT’arresta… Stop…

BICE & HANDMAIDENSOh ciel!... O heavens!

NELLOSon ebbro di sdegno… respiro veleno I am drunk with rage... I breathe

poison...Non sangue, ma foco mi scorre nel seno... Not blood, but fire races through my

frame…Quel ferro mi rendi... L’iniqua s’uccida... Give me back that sword... Let the

evil woman be put to death…

Majella Cullagh

–145–

Parola di calma non giunge al mio cor... No soothing word can reach myheart...

Egl’ode soltanto la voce che grida: It hears only the voice that cries:Vendetta, furor. Revenge, rage.[22] GHINO, UBALDO & RETAINERSAh! quell’ira bollente per poco raffrena... Ah! curb for a little that boiling

anger...Per poco sospendi la giusta sua pena... Postpone for a little her just

punishment...Pria vegga l’indegna spirar quell’ardito, First let the worthless jade see that

bold adulterer die,E senta le vene gelarsi d’orror; Let her feel her veins grow icy with

horror;Poi tutto grondante del sangue abborrito Then, all dripping with his hated

blood,Il ferro di morte le immergi nel cor. Plunge the death-dealing sword in

her heart.PIA

Ah! m’odi... raffrena quell’odio feroce... Ah! hear me... restrain that fiercehatred...

Per lui di ragione è muta la voce!... For Nello the voice of reason isdumb!...

In terra sprezzato al trono di Dio May the cry of a wretched heart,despised

Il grido s’innalzi d’un misero cor... Upon earth, rise to the throne ofGod...

Qui sangue si chiede, ah! versino il mio, You call for blood, ah! let them shedmine,

–146–

Ma basti... ma spenga un empio furor. But let that suffice... but let thiswicked rage be extinguished.

BICE & HANDMAIDENSE’ d’ira furente... non ode consiglio... He is mad with anger... he heeds no

advice…Ha in petto l’inferno, la benda sul ciglio! He has hell in his breast, a blindfold

over his eyes!Ah! fuggi... sottratti al fero consorte... Ah! fly... deliver yourself from your

savage husband...Non vedi ch’egli arde d’insano furor? Do you not see that he burns with

insane anger?La pende sul capo sospesa la morte! Death hangs suspended over her

head!Oh scena tremenda!... oh notte d’orror! Oh awful scene!... oh night of horror!

(Pia faints. Nello is led away elsewhere.)

PART TWO

SCENE I

The encampment of the Florentine army, near a gate on the outskirts of Siena. A chorusof soldiers, then Rodrigo and Lamberto.

[1] CHORUS OF SOLDIERSCinto di rosse nubi Girt with crimson clouds,Sorgi, deh! sorgi, o sole, Rise, o arise, o sun!

CD 2 64’40

–148–

Vieni a mirar se prole Come to behold if weNon siam d’Italia ancor! Are still the offspring of Italy!Col lampeggiar dell’armi, With the glint of arms,Col fero suon di guerra With the fierce sound of war,T’invoca l’alma terra The life-giving land, the motherChe madre è del valor! Of valour, invokes you!Sorgi, e vedrai gremito, Rise, and you will see the soil,Come di tronche biade, As if with mown corn,Il suol di lance e spade, Bristling with lances and swords,Tinti di sangue i fior! The flowers painted with blood!

LAMBERTORodrigo... Rodrigo...

RODRIGOChi vegg’io!... Tu qui!... Who is this I see!... You here!...

LAMBERTOPur giungo al tuo cospetto! I am even come to your very presence!

It hasBen dieci lunghi giorni Cost me ten long days of heart-in-

mouthPalpitarmi fu d’uopo, e vincer guerra Crises, and the overcomingDi rinascenti ostacoli. Of recurrent obstacles.

(At a sign from Rodrigo, the soldiers retire.)

Son io I am the bearerApportator di trista nuova. Of sad news.

Marco Vinco

–150–

RODRIGOOh Dio!... O God!...

Che avvenne? What has happened?LAMBERTO

Al tuo fuggir, Nello, fremente When you fled, Nello,Di cieco sdegno, a trucidar la sposa Shaking with blind fury, raised his

swordIl ferro alzò... To slay his wife...

RODRIGOPerverso!... Wrong-headed man!...

LAMBERTOA lui sottratta Innocent Pia was

Fu l’innocente, ma del crudo in seno Rescued from him, but the cruelman’s anger

L’ira non tacque: gemebonda, oppressa, Did not subside in his breast. Thatsame night

Vota di sensi, quella notte istessa He had her dragged, groaning,oppressed,

Nella Maremma trascinar la fece, Deprived of her senses, to theMaremma,

Ove fra i morti stagni Where in the midst of dead stagnantlagoons

Aura letal si beve, or che infuocati One inhales lethal airs, now that theday

Raggi saetta il dì: nel suo funebre Shoots burning rays: in his gloomycastle

Castello, a Pia dell’inumano un cenno An order from the inhuman man

Manuela Custer

–152–

Prigion dischiuse acerba, Unlocks a bitter prison for Pia,“Ed ivi...” “And there...”

RODRIGOhorrified

Che? What?LAMBERTO

Forse... a morir la serba. Perhaps he detains her onlythat she may die.

[2] RODRIGOAhi! sì barbara minaccia Alas! such a barbarous threatDi spavento il cor m’agghiaccia! Freezes my heart with fear!Fosco il sole, e tolta parmi The sun grows dim, and I feel

deprivedLa favella, ed il respir!... Of speech and breath!...Se costar doveano a lei If the preserving of my lifeTante pene i giorni miei, Had to cost her so many sufferings,Rio destin perché non farmi O wicked destiny, why did you not

have me,Mille volte pria morir? By preference, die a thousand times

over?

(There is a sound of trumpets, and of upheaval in the camp.)

LAMBERTOOh! qual tumulto!... Oh! what a tumult!...

–153–

RODRIGOSquillano The trumpets

Le trombe in suon di guerra!... Bray as a call to war!...LAMBERTO

Duci, e guerrieri accorrono!... Commanders and troops are comingrunning!...

RODRIGORimbomba e cielo e terra!... Both heaven and earth resound!...

SCENE II

Rodrigo’s followers come running on.

FOLLOWERSSignor… Sir…

RODRIGOChe fu? What has transpired?

FOLLOWERSProrompono The enemy hordes

Ad inattesa pugna Are falling upon usL’orde nemiche… Affrettati, In unexpected battle... Hasten,L’acciar temuto impugna. Take up your much-feared sword.

LAMBERTOOh fero giorno!... Oh fearsome day!...

RODRIGO“Traggasi “Let this old man

“Quel vecchio in securtà.” “Be led aside to safety.”

–154–

(Several squires depart with Lamberto. The Florentine army is seen marching hastilyacross the back of the stage.)

FOLLOWERSto Rodrigo

Vieni… Andiam... Come... Let us go...RODRIGO

Tremenda folgore My sword shall beIl brando mio sarà. A mighty thunderbolt![3]A me stesso un Dio mi rende... A God restores me to myself...Corro all’armi... alla vendetta... I race to arms... to vengeance...I tuoi nodi, o Pia diletta Your bonds, O beloved Pia,Io tra poco infrangerò. I soon shall break.Questa brama il cor m’accende, This is the wish that enflames my

heart –Non desio di falsa gloria... Not desire of false glory –Pel cammin della vittoria I shall fly to your embraceAl tuo seno io volerò. By way of victory.

FOLLOWERSFoco d’ira il cor n’accende... A flame of anger fires his heart...Sangue a flutti spargeremo... We shall shed rivers of blood...Ghibellini, al fato estremo Ghibellines, nothing now can save

youNulla omai sottrar vi può. From your ultimate doom.

(They all depart in haste.)

Robin Newton(Assistant Conductor)

–156–

SCENE III

An old hall, decked with arms, in the Castle in the Maremma. There is an entrance at theback, and two doors, one on either side. One of these leads to Pia’s prison.

Ghino and Ubaldo.

[4] UBALDOTu Ghino alle Maremme! You, Ghino, here in the Maremma!

GHINOAh! dì: la Pia? Ah! tell me: Pia?

UBALDOGeme fra quelle mura, e si distrugge Groans within these walls, and is

consumedPer lenta morte. By a lingering death.

GHINOHo d’uopo I need

Vederla, Ubaldo... quì la traggi. To see her, Ubaldo... bring her hither.

(Ubaldo enters Pia’s prison.)

Ancora Will outrageSull’adorato labbro And repulse still stand expressed

uponStarà l’oltraggio e la repulsa? o vinta Those lips I love, or will she beDalla sciagura?... Fra la speme ondeggio, Overcome by misfortune?... I

alternateE fra il timor. Between hope and fear.

–158–

SCENE IV

Pia and Ghino

PIAChi veggio!... Who is this I see!...

GHINOL’uom che salvarti e vuole, e può. The man who both wishes to save

you, and can.PIA

Tu!... Come? You!... How?GHINO

All’amor mio t’arrendi, Surrender to my love,E pronta fuga... And prompt flight...

PIATaci, O tongue come from hell,

Lingua d’averno... Chi son io scordasti? Be silent... Have you forgotten whoI am?

GHINOwith scorn

E chi sei tu? And who are you?PIA

with diginityLa sposa The wife

Di Nello. Of Nello.GHINO

Infida sposa. The faithless wife.

–159–

PIAIo!... I?!...

GHINONon tradisti tu Did you not betray

Il tuo dover, l’onore?... Your duty, your honour?...In quella orribil notte un seduttore Upon that horrific night, did you not

giveNon accogliesti?... Welcome to a seducer?...

PIACiel!... Che dici!... Accolsi Heavens!... What are you saying!...

Rodrigo, il fratel mio... I received Rodrigo, my brother...

GHINODonna... fia vero!... Lady... can this be true?...

PIACrudele inganno!... “Ah! dunque O cruel misconception!... “Ah! then“Spergiura anch’ei Nello m’estima?... E “Nello, too, believes me faithless?...

quanto And what“Credei furor di parte, “I took as fury stemming from

political faction“Era gelosa rabbia!... Il fosco nembo, “Was jealous rage!... The cloud of

obscurity“Che intorno a me ruggia, “That was reverberating around me“Sparisce!” “Vanishes!”

(Ghino lowers his brow, and remains silent, like a person who tries to decide on whichside he should be.)

Bruce Ford

–161–

GHINOOdimi, o Pia. Hear me, Pia.

Per sempre dai viventi A gesture from Nello divorces youDi Nello un cenno ti separa, e Nello From the living forever, and NelloSveller giurò dalla sua fronte i rai Swore to tear the eyes out of his headAnzi che più vederti: “Ubaldo è schiavo Rather than see you again: “Ubaldo

is the“Del mio voler:” tu sei “Bought slave of my will:” you areGià nella tomba; dalla tomba Ghino Already in the tomb; from the tomb

GhinoSol può sottrarti, ed egli Alone can rescue you, and heT’offre il suo core... o morte. Offers you his heart... or death.

PIAIniquo!... Fiend!...

GHINOScegli. Choose.

Ebben? Well, then?PIA

Morte o colpa? Tu ben sai Death or dishonour? You well knowLa mia scelta. My choice.

GHINOForsennata!... You are out of your mind!...

Scegli?... You choose?...PIA

Morte. Death.GHINO

Morte? Death?

–162–

Ah! Ebben, morrai. Sì! morrai Ah! Well then, you shall die. Yes,you’ll die,

Dai viventi abbominata… Abominated by the living...E l’infamia un negro velo And ill fame will extendSul tuo nome stenderà. A black veil over your name.

PIABenedetta e pura in cielo The Lord will welcome me,Il Signor m’accoglierà. Blessed and pure, in heaven.De’ miei giorni tronco il corso The course of my days will soonFia tra poco... Ah! pensa, o Ghino, Be cut short... Ah! think, Ghino,Quale avrai nel cor rimorso! What remorse you will feel in your

heart!GHINO

“(Ahi! tormento!...)” “(Alas! torment!...)”PIA

Errar vicino You will seeUno spettro ti vedrai... A spectre hovering near you...Il mio spettro!... My spectre!...

GHINOTaci... (Oh tormento!...) Be silent… (Oh torment!...)

(Ghino is horrified and shaking with fear. Pia changes her severe tone into one of mostmoving prayer, joining her hands together, and falling upon her knees in front of him.)

PIADeh! ti cangia… Ah! change yourself...

–163–

GHINOCiel!... che fai?... Heavens!... what are you doing?...

Tu prostrata innanzi a me! You... prostrated before me!

[5] PIATi muova il gemito dell’innocente... Let the groan of the innocent move

you...La prece ascolta d’un cor morente. Hear the prayer of a heart that is

dying.“Sorga del fallo in te l’orrore,” “Let the horror of sin arise within

you,”Rendimi, ah! rendimi vita ed onore... Restore me, ah! restore me my life

and honour...E la tua colpa fia cancellata, And your fault will be erased,Ed io col cielo perdonerò. And I, together with Heaven, will

forgive you.GHINO

(Mi scende all’anima il suo lamento (Her lamentation penetrates my soulA ragionarmi di pentimento!) To speak to me of repentance!)

PIAOh Ghino, pietà... Ah, ah, l’onor! Oh Ghino, have pity... Ah, ah, my

honour!GHINO

Abbandonarla fra le ritorte Abandon her amid her chains,In braccio a lunga, terribil morte, In thrall to a long and terrible death,E senza colpa disonorata?... And, without fault, dishonoured?...No, tanto perfido il cor non ho.) No, I do not possess such a perfidious

heart.)

Majella Cullagh withGerald Martin Moore (vocal coach)

–165–

PIAturning back towards her prison

Ah! nel tuo seno atroce Ah! my voice does not reachNon giunge la mia voce! To within your iniquitous breast!Addio... Farewell…

GHINOmoved to the depths of his being

T’arresta… Stop…PIA

Oh giubbilo! O joy!

(Ghino seeks to hide his face.)

Veggo negli occhi tuoi… I see in your eyes...La mal frenata lagrima In vain you seek to conceal from meInvan celar mi vuoi. The tear you ill restrain.

GHINODonna... Lady...

PIAPerché t’arresti?... Why do you stop?...

GHINOAh! Ah!

PIAFinisci... Finish...

GHINOAlfin vincesti... At last you have conquered...

Corro a squarciar le tenebre I run to dispel the shadowsD’inganno sì fatale... From such a fatal misunderstanding...

–166–

PIASì... Yes...

GHINOCorro di Nello a spegnere I hasten to quenchIl rio furor mortale... Nello’s wicked death-dealing anger...Quindi a me stesso in core Then I shall plunge a swordUn ferro immergerò. Into my own heart.

PIAAh! che dici!... qual furore!... Ah! what are you saying!... what

madness!...GHINO

Omai decisi. I have made up my mind.PIA

Ah! no. Ah! no.GHINO

Ah! Ah!

Può la mia fiamma estinguersi The flame that burns me can beextinguished

Col viver mio soltanto... Only with my life...Meglio è morir, che vivere It is better to die, than to liveIn disperato pianto... In tears of desperation...Ah! sul mio freddo cenere Ah! upon my cold ashesSpargi talvolta un fiore... Strew from time to time a flower...A chi negasti amore Grant at least pityConcedi almen pietà. To him to whom you denied love.

PIASgombra sì nere immagini... Banish such black thoughts...

–167–

A Dio solleva il core, Lift your heart up to God,E forza avrai per vincere And you will find the strength to

vanquishUn contumace amore. An undisciplined love.Scosso dal reo delirio, Jolted from your evil madness,Alla virtù rinato... Reborn to virtue...

GHINOIngrata! Ungrateful!

PIARaggio del ciel placato Your life will beIl viver tuo sarà. A ray from an appeased Heaven.

GHINOLascia che io parta!... Let me be gone!...

PIAAh! no. Ah! no.

GHINOOmai decisi… I have made up my mind…

PIANo, t’arresta. Ghino! No, stop. Ghino![6] GHINOAh! Può la mia fiamma spegnersi, The flame that burns me can be

extinguished,etc. etc.

(Ghino departs. Pia returns to her prison.)

–168–

SCENE V

Ubaldo comes from Pia’s prison, shutting the door behind him. A Squire enters, hands hima letter, and goes out. Ubaldo reads.

[7] UBALDO‘Divamperà tremenda oggi la guerra, ‘Today the war will flare up terribly,‘Ed io spento nel campo ‘And I perhaps shall be killed‘Forse sarò: non voglio ‘Upon the field: I do not wish‘Che alla pena fuggir possa la colpa; ‘That the fault should escape

punishment;‘Quindi, se rivocato il cenno mio ‘So, if my instruction is not revoked‘Non è sin che biancheggi ‘Before the dawn of the new day‘L’alba del dì novello, ‘Grows light, let Pia die,‘Mora la Pia, mora, lo impongo. – Nello.’ ‘Let her die, I order it. – Nello.’

(He remains lost in thought for some moments, then turns his gaze upon the door wherePia entered. He then goes out on the opposite side.)

SCENE VI

The atrium of a hermitage. Through the colonnade can be seen the uncultivated tracts ofthe Maremma. The night is advanced, the sky is very black, and a tremendous storm israging.

Piero and other solitaries.

–169–

[8] ALLIl mugghiar di sì fera procella The roar of such a wild stormPar del cielo funesta minaccia! Seems Heaven’s doom-bearing threat!Par di Dio la tonante favella It seems the thundering voice of GodQuando all’empio la colpa rinfaccia! When he throws back the wicked

man’s sin in his face!No, giammai più terribile guerra No, never has a more terrible warfareIl creato sconvolto non ha! Overturned creation!

(They prostrate themselves.)[9]Divo Spirto, il cui sguardo penetra Holy Spirit, whose gaze penetratesOgni via degli abissi profondi, Every pathway of the depths

profound,Al cui cenno raggianti per l’Etra At whose nod the planets shiningly

describedL’ampio giro descrissero i mondi, Their ample orbits through space,Ah! placato sorridi alla terra, Ah! be placated and smile upon earth,E del nembo l’orgoglio cadrà. And the pride of the stormcloud shall

be laid low.[10] PIERO

rising, and the others with himUn calpestio di rapidi cavalli, Through the whistling of the windsFra il sibilar de’ venti, I caught the soundL’udito mi colpì. Of a trampling of swift horses.

(placing himself upon the threshold with a lantern in his hand)

–171–

“Qualunque sia “Whoever it may be“Che dal furor di sì malvagia notte “Who seeks asylum from the fury“Cerchi un asil, qui tragga “Of such a wicked night, let him turn“Il passo errante.” “His bewildered footsteps hither.”

SCENE VII

Nello enters, with a number of his followers.

NELLOO Piero… O Piero…

PIEROIo non traveggo! I am not mistaken!

Nello! Nello!NELLO

Sconfitte dal nemico brando The troops were routed by the hostileFur di Siena le squadre, e strascinate Swords of Siena, and the bannersPel campo, entro la polve Of Manfredi dragged about the fieldDi Manfredi le insegne... Al mio castello In the dust... I bent my steps towardsIo mossi, e l’orme nostre My castle, and a dense and rapidly-

movingSeguia dappresso un folto stuol repente Band of Guelfs followed hard uponDi Guelfi... “l’uragano, e la sorgente Our heels... “The storm, and the

approaching“Notte ad essi ne tolse...”I giorni miei “Night delivered us from them...” I

oweDeggio alla fuga!... Oh rabbia! My life to flight!... Oh, I seethe with

rage!

–172–

PIEROin a grave tone

Gli ardenti spirti acqueta, Compose your ardent spirits,Ed al voler t’inchina And bow before the willDi lui, che a torto non punisce. Of Him who does not err in

punishing.NELLO

O vecchio, Old man, you haveUna parola onde ferirmi hai detta! Uttered a word calculated to wound

me!PIERO

Di tua crudel vendetta The report has gone abroad of yourcruel

Il grido risuonò: viva sepolta Vengeance: your wife was buriedFu la tua sposa... “Io di quell’alma, o figlio, Alive... “O my son, I know fully“I più riposti affetti “The most secret emotions“Conosco appieno, che la tenni al seggio “Of her soul – she whom I have held“Ove il mortal riceve “At the stool where a mortal receives“De’ falli suoi perdono.” A me t’affida. “Pardon for his sins.” Trust in me.Rea di nefando eccesso Your wife is not guiltyNon è la tua consorte. Of any nefarious crime.

NELLOAh! solo un istante dubitar vorrei Ah! would I could doubt of my

shameDell’onta mia; darei For a single instant; I would givePer quell’istante mille vite. A thousand lives for such an instant.

PIEROAh! credi a me. Ah! believe me.

Mirco Palazzi

–174–

NELLOAhi! cruda Alas! I have

Certezza ho della colpa!... Cruel certainty of her fault!...PIERO

Ti calma… Calm yourself…NELLO

Pietà sì viva di colei tu senti? Do you feel such lively compassionfor her?

E pietade non hai de’ miei tormenti? And have you no pity for mytorments?

(He throws himself into Piero’s arms and abandons himself to grief.)[11]Lei perduta, in core ascondo With her lost, I have a sharp andVelenoso un dardo acuto… Poisonous dart concealed in my

heart...Per me tomba è fatto il mondo; For me the world has turned into a

tomb;Parmi il cielo aver perduto. It seems to me that I have lost my

heaven.Ah! la perfida consorte Ah! I loathe my faithless wife...Io detesto... ed amo ancor! Yet I love her still!D’ogni strazio, d’ogni morte My life is worse by farLa mia vita è assai peggior! Than any torment, than any death.

(A clash of arms is heard, followed by a cry of lamentation.)[12]Fragor di spade! A clash of swords!

–175–

GHINOfrom off-stage

Ah!... Ah!...PIERO

Un gemito!... A groan!...NELLO

Si corra... Let us run...

SCENE VIII

Ghino, and those already on stage. Ghino is mortally wounded: he advances slowly,supporting himself upon his sword.

ALLexcept Ghino

Oh ciel!... Oh Heavens!...NELLO

Tu?... Ghino!... You?... Ghino!...PIERO & THE SOLITARIES

Scena funesta, orribile!... Fatal scene, scene of horror!...GHINO

Compiuto è il mio... destino... My destiny is fulfilled...NELLO

Ahi!... Alas!...GHINO

Mi svenò... drappel A detachment of GuelfsDi Guelfi... Has spilt my blood...

Mirco Palazzi and Roberto Servile

–177–

NELLOTi svenò drappel A detachment of Guelfs

Di Guelfi? E d’onde?... Has spilt your blood? But howcome?...

GHINOO Nello... O Nello...

Mi tragge... a... te benefica, A kindly celestial hand brings meCeleste man... La Pia To you... PiaNon è colpevole... Is not guilty...

NELLOthunderstruck

Fia ver? Can this be true?GHINO

Ah no… no… non è colpevole… Ah no… no… she is guiltless…NELLO

E l’uom che ardia And the man who dared to comeVenir fra l’ombre avvolto?... Muffled amid the shadows?...Parla... Speak...

GHINOEra il fratel... It was her brother...

NELLOChe ascolto! What do I hear!

GHINOLei salva... ed al mio... cenere Save her... and do not curseNon maledir...no... l’amai... My ashes... no... I loved her...Fui dispregiato... e... perderla I was slighted… and... in my heartEntro il mio cor... giurai... I swore... to destroy her...

–178–

NELLOOh Pia… Oh Pia…

placing his hand upon the pommel of his swordMalvagio… Wicked wretch...

PIEROto Nello

Arrestati… Hold your hand…GHINO

dragging himself with difficulty to Nello’s feetIo muoio... I am dying...

PIEROto Nello

Il ciel ti vendicò. Heaven has revenged you.GHINO

Deh! perdonami... Ah! forgive me…PIERO & THE SOLITARIES

pleading with NelloSignor… Sir…

GHINOPer… do… Nello… ah… For… gi… Nello… ah…

(His words are cut short by his last sob. Nello stretches out his right hand over his head,in a gesture of pardon.)

PIERO & THE SOLITARIESSpirò! He has breathed his last!

NELLODal mio ciglio è tolto il velo!... The veil is torn from my eyes!...

Bruce Ford

–180–

Sì, Rodrigo... in campo egli era!... Yes, Rodrigo... he was in the camp!...Ed il foglio!... ed ella!... Oh cielo!... And the letter!... and she!... O

heavens!...to his men-at-arms

Mi seguite… Follow me...PIERO & THE SOLITARIES

Ah! trista e nera Ah! gloomy and blackE’ la notte... Is the night...

NELLOOh Pia... Oh Pia...

PIERO & THE SOLITARIESI nembi orrendi The fearful rainclouds

Imperversano tuttor... Pour down upon us yet...NELLO

to his men-at-armsMi seguite… Follow me…

PIERO & THE SOLITARIESDeh! arresta! Ah! stop!

Qui soggiorna, e l’alba attendi... Shelter here, and await the dawn...NELLO

as if struck by thunderL’alba!... l’alba!... Oh mio terror! The dawn!... the dawn!... Oh terror!...

(He is seized by a convulsive trembling, and an outburst of tears.)[13]Ciel pietoso, un cor ti parla Kindly Heaven, a heart speaks to youPien d’angoscia, di spavento... That is filled with anguish, with

fear...

–181–

Tu soltanto puoi salvarla... You alone can save her...Opra, o Nume, un tuo portento... Perform, O God, one of your

miracles...E quell’angelo d’amore And let your compassion preserve for

meSerbi a me la tua pietà. That angel of love.E l’inferno che ho nel core And the hell which I have in my heartCiel di gioja diverrà. Will be turned into a heaven of joy.

PIERO & THE SOLITARIES(Onde in lui cotanto orrore!... (Why such signs of horror in him?...Giusto ciel, che mai sarà?) Good Heavens, what can it be?)

(Nello departs precipitately, followed by his men-at-arms.)

SCENE IX

Pia’s prison. High up, there is a window with iron bars. At the back, there is a flight ofstairs, with the door to the prison at the top. Pia is seated upon a stool, with her head lyingon a rough-hewn table. She is immersed in sleep, but her sleep is disturbed, her brow ispale, she breathes with difficulty, and her limbs are frequently agitated by markedtrembling. Ubaldo approaches from the staircase. He reads Nello’s letter in silence oncemore, and raises his eyes to the window, where the dawn can be seen breaking. He drawsout from his clothes a phial, and pours the liquid it contains into a brimming cup of waterwhich stands on the table.

[14] UBALDOA questo nappo beverà tra poco Your thirsty lip will soon drink

–183–

Il tuo labbro assetato, e dormirai From this cup, and you will sleepBen altro sonno! A very different sleep![15] PIA

leaping to her feet in fear, and with a piercing cryEterno Dio! Respiro… God Eternal! I breathe again...

Il mio pensier deliro My delirious thoughts weresummoning up

Creò nel sonno immagini feroci! Fearsome images as I slept!as if reliving what she has just seen in her dream

A questo sen, pentito I was pressing my penitent husbandIl consorte io stringea… quando nel fianco To this breast... when a Guelf plungesL’acciaro insidioso His insidious bladeGl’immerge un Guelfo... a’ piedi miei lo In his flank... at my feet my husband

sposoCadde spirando: “balenò sanguigno Fell dying: “a hellish smile“Un infernal sorriso “Flashed bloodily upon“Dell’omicida in volto... ed era il volto “The face of the murderer... and it

was the face“Di Rodrigo! Frattanto, “Of Rodrigo! Meanwhile,“Spaventevole a dirsi! “Frightful to relate!“La morta spoglia alto levossi, e forme “The lifeless corpse raised itself up,

and“Vestì di truce demone!... Gli artigli “Assumed the features of a ferocious

demon!...“Nell’uccisor figgendo, “Fixing his claws upon the murderer,“Mise un urlo tremendo, “He uttered a frightful yell, and cast

himself“E con la preda si lanciò nell’imo “Into the depths of the gaping

Majella Cullagh

–185–

“De’ spalancati abissi!...” Orribil sogno!... “Abysses!...” Horrific dream!...Ah! la febbre cocente Ah! the burning feverPiù cresce!... Ah! sposo mio… Is increasing!... Ah! my husband…Oh Nello! atroce sete mi divora!... Oh Nello! an awful thirst devours

me!...

(The fatal cup presents itself to her gaze, and she anxiously reaches out her hand towardsit. Ubaldo, who has remained all this time behind her, has an almost involuntary

impulse to restrain her, but just as quickly holds himself back. Pia drinks.)

UBALDO(Meglio è penar brev’ora, (Better to suffer briefly,E poi riposo eterno! And then to enjoy eternal repose!Al dì novello respirar più liet’ With the new day it will be granted

meAure mi fia concesso.) To breathe more cheerful airs.)

PIAsinking down upon her stool

Ah! la pietade, o Ghino, O Ghino, may compassionL’ale impenni al tuo corso... Lend wings to your course...E tu vieni, o crudel, che amai cotanto, And you, cruel husband, whom I

loved so,A rasciugar d’un infelice il pianto. Come to dry the tears of an

unfortunate.[16]Sposo, ah! tronca ogni dimora... Husband, ah! cut short every delay...Al mio sen, deh! vola, o Nello; Fly to my embrace, O Nello;

–186–

Dimmi: t’amo... dillo, sposo, e dall’avello Tell me you love me... say it,husband, and

Questo accento mi torrà. Those words will rescue me from thetomb.

Ah! la Pia, se indugi ancora Ah! your Pia, if you tarry longer,Preda fia d’acerba morte, Will fall victim to a bitter death,Ed al bacio del consorte And will no longer be able to respondPiù risponder non potrà. To her husband’s kiss.Vieni, ah! vieni, Nello… Come, Nello, ah! come…

SCENE X

Pia, Ubaldo, and Nello, who arrives with his followers.

NELLOstill off-stage

Pia… Pia…PIA

La voce!... His voice!...NELLO

still off-stageSposa... Wife...

PIAI miei fervidi sospiri Oh Heaven, you heardCielo udisti!... My fervent prayers!...E’ desso, è desso!... It is he, it is he!...

UBALDO“(Ahimè! che fia!...)” “(Alas! what is happening!...)”

–187–

NELLOentering

Non vaneggio!... tu respiri... I am not raving!... you still breathe...Gioja immensa! O immense joy!

PIARea non sono... I am not guilty…

NELLOSì, m’è noto... Yes, I know…

wishing to kneel before herIl tuo perdono... Pardon me...

PIAembracing him

Al mio sen... Gran Dio!... non reggo Come to my embrace... Great God!...I am

All’eccesso del contento... Unequal to such overwhelminghappiness...

Tremo... agghiaccio... nulla veggo... I am trembling... I’m cold... I can seenothing...

NELLOplacing her gently upon the stool

Pia... Pia...PIA

Nello... Nello… Nello… Nello…Mancar mi sento… I feel I am dying…

(Nello is seized by an awful suspicion. His eyes turn towards Ubaldo who, a prey toterror, is trying to slip away.)

–188–

NELLOChe facesti, sciagurato? What have you done, wretched man?

UBALDOthrowing his letter at his feet

Surse il dì, né rivocato The day broke, and your orderFu quel cenno… Had not been revoked…

NELLOa prey to awful anxiety

Ebben?... Well, then?...UBALDOhesitatingly

Le porsi… I gave her…NELLO

Parla, o crudo... Speak, unfeeling fellow...

(A sound of hasty steps is heard, and panic-stricken voices.)

VOICESI Guelfi!... The Guelfs!...

NELLOto Ubaldo

Parla… Speak…Parla, sciagurato… Speak, wretch…

UBALDOUn veleno… A poison…

(Nello utters a cry of despair.)

–189–

SCENE THE LAST

Rodrigo, followed by a detachment of Guelfs, and those already on stage.

RODRIGOIn tempo corsi I have come racing

A salvarti… In time to save you...NELLO

A vendicarla. To avenge her...Io l’uccisi. I have killed her.

RODRIGOChe! What!

NELLONel seno In her breast

Ella chiude un rio veleno... She harbours a fatal poison...RODRIGO & HIS FOLLOWERS

Ah!... Ah!...

(Rodrigo throws himself forward to kill Nello)

NELLOFerisci. Strike!

PIAgathering her last forces, and falling at Rodrigo’s feet

No… che fai? No… what would you do?RODRIGO

Donna… Lady…

–190–

PIANo: colpa in lui non è... No: he is not to blame...

Sposa infida... mi credea... He believed me… a faithless wife…Un rival credea... in te. He believed he had a rival... in you.

(Rodrigo stands motionless, in an attitude of extreme grief. Pia turns now to herhusband, now to her brother, in the anguish of her final gasps.)

[17]Ah! di Pia… che muore… e geme Ah! if pity... should enter into your

hearts...Se pietà... vi... scende in petto... For Pia... who is dying... who

groans…Fine all’odio... un santo affetto Let there be an end to hatred... Let a

holyL’alme vostre... unisca... ognor... Affection… forever… unite your

souls…E per me... versate insieme... And for me... sometimes... shed… a

tear…Qualche... lagrima... talor... Together…

(All give way to bitter tears. The sword drops from Rodrigo’s hand. Nello throws himselfinto his arms, and tears of joy appear in Pia’s eyes.)

RODRIGO’S FOLLOWERSLa pietà mi spezza il cor! The pity I feel is breaking my heart!

RODRIGOSorella mia… Sister…

–191–

NELLOAmata sposa… Beloved wife…

PIAFratello… Oh Nello, Nello mio… Brother… Oh Nello, my Nello…

Or la morte… a cui… son presso… Now the death... to which... I amclose…

Non ha duolo... non ha spavento... Holds no grief... holds no fear...E’ un sorriso di... contento... It is a smile of... happiness…E’ del giusto... la mercé... It is the reward... of the just...Da quel caro... e santo... amplesso That dear... and saintly... embraceIncomincia... il... ciel... per... me... Marks.. for me... the beginning of…

heaven…Ah! per me... versate insieme... Ah! for me... sometimes... shed… a

tear…Qualche... lagrima... talor... Together…

RODRIGO’S FOLLOWERSAh... Ah…

RODRIGOPia!... Pia!...

PIAAh!... Ah!...

NELLOConsorte!... Wife!...

PIAAhimè! Alas!

(She expires in their arms.)

–192–

RODRIGO & NELLOAgl’occhi miei A dense veil

Fosco vel ricopre il dì!... Obscures the light of day from myeyes!...

CHORUSElla è spenta, ma per lei She is dead, but for herNon la tomba, il ciel s’aprì! It is not the tomb, but Heaven that

opens!

END OF THE OPERA

–193–

THE APPENDICES

I – THE FIRST FINALEas lightened and clarified in Venice in 1837.

IT WILL BE recalled that the first finale, and particularly the concluding stretta, ‘Ah!m’odi, raffrena quell’odio feroce’, though found effective and impressive duringrehearsals of the opera, singularly failed to please at the first performance. There aregenuine reasons, or so it seems to the present writer, why this should have been so.There is no denying that the original stretta (already heard here on disc 1) generatesgreat excitement, but it nevertheless seems the least satisfactory of the variousalternatives heard on this recording. A good stretta carries the listener headlongforward, but in the original the effect was little short of a stampede. The principalmelody was ‘busy’, and therefore – at a first hearing (and that, in the theatre, is theessential hearing) – confusing.

Donizetti’s immediate reaction (while retaining all the earlier parts of the finaleunchanged) was to try to lighten and clarify the stretta. The principal melody,enunciated by Pia and Ghino to Pia’s words ‘Ah! m’odi, raffrena quell’odio feroce’,retains exactly the same notes as in the original, and at the same pitch, but theirduration is altered. Originally crotchets and quavers in 4/4 time, and marked Piùallegro, they are now dotted minims and quavers in 2/2 time, marked Vivace. Everylistener will doubtless have his or her own reaction. While the effect is broader andcertainly easier to follow, the present writer finds himself appreciating the greaterclarity when the melody is first enunciated, but finding it a little weak and even a hint

CD 3 71’57

–194–

sluggish when repeated. It lacks the excitement – the sense of headlong stampede – ofthe original, and feels what it is: a finale that has been altered and doctored, ratherthan an original inspiration.

To refresh the listener’s memory, and to act as a point of reference for theappendices that follow, we list the movements that go to make up this Finale,irrespective of whether we are speaking of it in its original form or in this ‘clarified’version:

(i) An introductory recitative, in which Ghino instructs his followers to allowthe unknown stranger (Rodrigo) to enter the castle, but not to allow him to depart.(ii) An extended introductory movement, in which Nello speaks to Pia of theirmutual friend, Sigifredo di Roccaforte, and of Sigifredo’s betrayal by his wife. Whilethis movement is never less than adequate and functional, one may be forgiven forfeeling that it betrays its origins in spoken drama. The dramatic ironies involved – theimplied parallels between Sigifredo and his wife and Nello and Pia, and Nello’sscarcely veiled threats to Pia – would be extremely effective in spoken drama, whereasin opera the whole movement seems to risk becoming an overlong narrative.(iii) The terzetto, ‘Ogni sguardo, ogni accento’. This, even if greeted in silence inVenice, is of excellent quality. Its excellence is, however, perhaps ‘veiled’ by its beingpreceded by such a long narrative passage.(iv) Lamberto’s warning that an ambush awaits Pia’s visitor in the gardens, a shorttempo di mezzo leading into:(v) The duet for Pia and Rodrigo, ‘Fra queste braccia’. This is the one movement inthe finale that remained constant and unchanged throughout all its versions.Whereas it was heard on disc 1 as it appears in the score, with minimal decoration, itis heard here ornamented as the singers would probably have presented it in the daysof its first composition.

–195–

(vi) A further tempo di mezzo, as Nello and Ghino force their way in and Rodrigoescapes, leading into:(vii) The final stretta, ‘Ah! m’odi, raffrena quell’odio feroce’.

SCENE XII

Pia’s apartments, as previously.

Nello, Ghino, Bice and Nello’s squires enter from the door on the left. A candle burns upona table. The door on to the balcony is closed.

[1] BICEto Nello

Dell’inatteso tuo venir la nuova The news of your unexpected arrivalSarà conforto alla dolente. Will be of comfort to her in her grief.

(She enters Pia’s bedroom.)

GHINOto the squires

Udiste? You heard?Ascosi fra le piante, ove la notte Hidden among the plants, where the

nightRegna più densa e scura, Reigns at its densest and darkest,Cautamente vegliate: a queste mura Keep careful watch: a man will

approachUn uom s’avanzerà; libero accesso These walls; let him have free access,Egl’abbia, uscir gli sia vietato. But egress let him be denied.

–196–

(The squires leave by the rear of the stage. Ghino closes once more the door leading onto the balcony.)

NELLOE tanto And must I

Deggio aspettar la mia vendetta! Wait so long for my revenge!GHINO

Nello, Nello,Pensa che un detto, un guardo Consider that a single word, a single

glancePuò dell’ordita trama Is capable of disrupting the threadsScompor le fila!... Of the plot we have laid.

NELLONon temer. Do not fear.

GHINOChe dei Have a care that you

Frenarti al suo cospetto... Restrain yourself when you see her...Eccola!... Here she is!...

NELLOO mio furor! O my rage!

GHINOLo cela in petto. Conceal it in your breast.

–197–

SCENE XIII

Pia and Bice enter. Bice retires by the door on the left.

NELLOembracing Pia with a simulated calm

Pia… Pia...PIA

Signor… My Lord…NELLO

Tu sei turbata!... You are disconcerted!...Il tuo cor tremare io sento! I can feel your heart trembling!

PIANo... la gioia inaspettata... No... the unexpected joy...La sorpresa... My surprise...

NELLOSì? Yes?

PIA(Oh mio spavento!) (Oh my fear!)

NELLO(Empia!) (Evil woman!)

PIAEppur, non hai tu stesso And yet... do you not yourself

Un rammarco in volto impresso?... Have a sorrow writ upon your face?...NELLO

Io rammarco!... I... a sorrow!...PIA

E sdegno... parmi. And anger... so it seems to me.

–198–

GHINOin a low voice to Nello, exhorting him to restrain himself

Nello!... Nello!...NELLO

E’ ver… giungeva al campo It is true... Ominous news reachedNuova infausta a rattristarmi... The camp and saddened me...Nuova tal, che d’ira avvampo! News to set me bursting with anger!

PIAE qual? What news?

NELLOIl Signor di Roccaforte... The Lord of Roccaforte...

PIASigifredo?... Sigifredo?...

NELLOLa consorte You know with what

Sai di quale, e quanto affetto Affection – with how much affectionEgli amava. He loved his wife.

PIAE riamato... And was loved in return...

NELLONo... no... No... no...

PIAChe dici? What do you say?

NELLOChiudea l’indegna in petto The unworthy woman

concealedTurpe foco abbominato... A vile and hateful flame in her

heart…

–199–

GHINO(Nello!...) (Nello!...)

NELLOUn codardo... un seduttore... A coward... a seducer...

GHINO(Ti frena!) (Control yourself!)

NELLOVilipeso fu l’onor... His honour was reviled...

in blind angerNell’onor son io ferito... I am wounded in my honour…Il tuo fallo è manifesto... Your fault is clear to see...Donna infida, m’hai tradito!... Faithless woman, you have betrayed

me!...M’hai d’infamia ricoperto!... You have covered me with infamy!...

PIASposo… ah! Husband… ah!

GHINO(Nello!...) (Nello!...)

(Warned by a furtive glance from Ghino, Nello quickly recovers himself.)

NELLOSigifredo così disse, Sigifredo spoke those very words,Strinse il brando, e si piagò. Seized his sword, and smote himself.

PIAEd estinto?... And is he dead?..

GHINOVive ancora, He still lives,

–200–

Ma per poco: Iddio lo chiama... But not for long: God summonshim...

indicating NelloPria che suoni l’ultim’ora Before his last hour soundsAbbracciar l’amico ei brama. He wishes to embrace his friend.

PIA(O sospetto!...) (O my suspicion!...)

GHINOE quindi Nello, And hence Nello,

Onde girne al suo castello, On his way to his castle,Trasse innanzi a queste mura... Passed before these walls...

NELLOE il vederti amata sposa, And to see you, my beloved wife,Fu mia prima e dolce cura. Was my first and welcome care.(Figger gli occhi in me non osa!) (She dares not fix her eyes upon me!)

GHINONello, andiam, che l’ora stringe. Nello, let us go, for time grows short.

PIAwith ill-considered joy

Parti? You are leaving?NELLO

Sì. Yes.PIA

Ah, sposo… Ah, husband…NELLOironically

T’incresce! That makes you sad!

–201–

PIASì, è ver… Yes, that’s true...

GHINOAndiam… Let us be off…

NELLOTroppo m’ami! You love me too much!

PIA(Cielo!... ei finge!) (Heavens!... he’s pretending!)

NELLOIo ti leggo nel pensier! I read your thoughts![2](Ogni sguardo, ogni accento (Every glance, every wordManifesta il suo delitto! Betrays her guilt!Il suo nero tradimento She has her black betrayalCome in cor, in fronte ha scritto! Written on her brow, as in her heart!Taccia ancor... ma più tremenda Let my vengeance be silent yet...La vendetta poi discenda... But let it then fall more terrible than

ever...Onor mio contaminato O my besmirched honour,La rea coppia immolo a te!) I sacrifice the guilty couple to you!)

PIA(Ah! Egli asconde un rio furore (Ah! He conceals a wicked furySotto il vel di finta calma! Beneath a veil of pretended calm!Ah! d’ambascia, di terrore Ah! my soul is invested and

obstructedCircondata, ingombra ho l’alma!.. With anguish and horror!...Odo un gremito... un lamento!... I hear a groaning... a lamentation!...Veggo oggetti di spavento!... I see objects of terror!...

–202–

Un avello insanguinato It is as if a bloodstained tombPar che s’apra innanzi a me!) Were opening up before me!)

GHINO(Ah! Ella ardea di fiamma impura, (Ah! She was burning with an

unchaste flame,E scherniva l’amor mio! And she spurned my love!Di sue colpe la spergiura Let the perjured woman pay the priceColla morte paghi il fio... Of her sins with death...Colla morte? A questo accento With death? At this wordFremer l’alma in petto io sento!... I feel my soul quake in my breast!...Il mio foco dispregiato My scorned passionTutto estinto ancor non è!) Is not yet totally quenched!)

NELLOAddio, sposa, addio. Farewell, wife, farewell.

PIANello! Parti? Ah, ahimè! Nello! You’re leaving? Ah, alas!

GHINOto Nello

Ah, vieni... Ah, come...to Pia

Addio. Farewell.

(He leaves by the door on the left, followed by Ghino.)

PIAQual tremor in sua presenza What a trembling surprised meMi sorprese... In his presence...

–203–

resolutelyIn ciel v’è un Dio In Heaven there’s a God,

Protettor dell’innocenza. The protector of innocence.

(She closes the door on the left, and opens that on to the balcony.)

SCENE XIV

Lamberto and Pia.

[3] LAMBERTOentering in the greatest agitation

Ah! Signora… Ah! My lady...PIA

Tu, Lamberto!... You, Lamberto!...Deh! che fu?... Ah! what has happened?...

LAMBERTOindicating the direction from which he has come

Si tende al certo Some snare has certainlyQualche agguato… Been laid...

PIAChe? What?

LAMBERTOGente in armi I saw armed men

Vidi ascosa... Hidden...PIA

Tu? You?

–204–

LAMBERTOpointing in the direction he has come from

Sì, io. Yes, I.PIA

Ah, egli è perduto! Ah, he is lost!LAMBERTO

Donna! il sangue fai gelarmi! Lady! you make my blood run cold!Di’?... non oso… Avresti tu potuto?... Tell me... I dare not... Could you

have...?PIA

L’uom che attendo... The man I am waiting for...LAMBERTO

Ebben? Well then?PIA

E’ mio fratello... Is my brother...LAMBERTO

Ciel! Egli!... Heavens! Your brother!...Oh ciel, che festi! E Nello! O Heavens, what have you done!

And Nello!Ahi sciagura!... tardi apprendo... Ah, what misfortune!... Too late I

realise...Io potea... I could have...

PIAChi giunge? Who comes?

LAMBERTOE’ desso... It is he...

–205–

SCENE XV

Rodrigo enters from the door on to the balcony.

RODRIGOPia... Pia...

PIAQual fulmine tremendo!... What a devastating thunderbolt!...

LAMBERTOrunning to close the door on to the balcony

Respira: è salvo adesso. Breathe again: he’s safe now.PIA

E fia ver?... Can I believe it?...LAMBERTO

Segreta via, A secret passage,D’onde il padre un dì fuggia... Whereby your father once made his

escape...

(He goes to the rear wall, and, lifting a part of the tapestry, reveals a secret exit.)

Mira. Behold.PIA

Ah, vieni alfin fra queste braccia... Ah, come at last to these arms...[4]Fra queste braccia Come within these armsUn istante, un solo istante. For a moment, a moment only.Il fratel stringendo al petto Straining my brother to my breastPianger deggio... e palpitar! I must weep... and tremble!

–206–

RODRIGOTanto duolo... e tanto affetto Such grief... and such affectionMi costringe a lagrimar... Obliges me to weep...

(They are locked in each other’s arms, and taking it in turns to wipe away eachother’s tears.)

TOGETHERAh! ne tolse orrenda guerra Ah! an atrocious war deprived usUn fratello, il genitore!... Of a brother, and of our father!...Cruda morte di dolore Then a cruel death, the result of grief,Poi la madre c’involò!... Carried off our mother!...Sventurati!... sulla terra Hapless we!... here upon earth

noughtPianto eterno a noi restò! Remained for us but an eternity of

tears!

SCENE XVI

Pia, Rodrigo and Lamberto, and Nello from without.

[5] NELLOL’uscio dischiudi, o perfida! Open the door, perfidious woman!

LAMBERTONello! Nello!

RODRIGOColui!... Him?...

–207–

PIANon senti?... Do you not hear?...

(Frequent blows resound upon the door on the left.)

Va!... Go!...NELLO

Traditori! Traitors!(Rodrigo, raging with fury, places his hand upon the hilt of his sword, but is restrained

by Lamberto.)

PIAAhi misera!... Ah, wretched that I am!...

to RodrigoChe indugi omai?... che tenti?... What are you waiting for?... what

would you?RODRIGO

Egli osa provocarmi!... He dares to provoke me!...Io voglio... I want...

(He goes towards the door, as if he would open it.)

PIAAh! tu vuoi farmi Ah! barbarous man,

Spirar d’angoscia, o barbaro, You wish to make me die of anguishE di terror... And terror…

(By now, with the aid of Lamberto, she has drawn Rodrigo towards the secret passage.)

–208–

SCENE XVII

The door gives way, and Nello and Ghino come bursting in.

NELLOholding his drawn dagger

Ch’io sveni Let me kill themEntrambi! Both!

PIAto Rodrigo

Ah! fuggi… Ah! fly…

(She upsets the candlestick in the same moment that Nello enters.)

LAMBERTOsoftly to Rodrigo, as they go out by the secret passage, closing its door behind them

Vieni… Come...Di lei pietade… Have pity on her...

NELLOOh rabbia!... Oh fury!...

GHINOcalling

Ubaldo? Ubaldo? Ubaldo? Ubaldo?PIA

Sul cor mi piomba un gel!... A hand of ice falls upon my heart!...

–209–

SCENE XVIII

Servants enter carrying fresh candles. They are followed by Bice, Ubaldo, retainers,hand-maidens and men-at-arms.

NELLOFuggì quel vil!... That vile wretch has fled!...

ARMED RETAINERSRaggiungasi… Let him be overtaken…

(Many armed retainers go out at the rear of the stage.)

NELLOhurling himself upon Pia with the intention of killing her

Mori… Die…GHINO

disarming himT’arresta… Stop…

BICE & HANDMAIDENSOh ciel!... O heavens!

NELLOSon ebbro di sdegno… respiro veleno I am drunk with rage... I breathe

poison...Non sangue, ma foco mi scorre nel seno.. Not blood, but fire races through my

frame…Quel ferro mi rendi... L’iniqua s’uccida... Give me back that sword... Let the

evil woman be put to death…

–210–

Parola di calma non giunge al mio cor... No soothing word can reach myheart...

Egl’ode soltanto la voce che grida: It hears only the voice that cries:Vendetta, furor. Revenge, rage.[6] GHINO, UBALDO & RETAINERSAh! quell’ira bollente per poco raffrena... Ah! curb for a little that boiling

anger...Per poco sospendi la giusta sua pena... Postpone for a little her just

punishment...Pria vegga l’indegna spirar quell’ardito, First let the worthless jade see that

bold adulterer die,E senta le vene gelarsi d’orror; Let her feel her veins grow icy with

horror;Poi tutto grondante del sangue abborrito Then, all dripping with his hated

blood,Il ferro di morte le immergi nel cor. Plunge the death-dealing sword in

her heart.PIA

Ah! m’odi... raffrena quell’odio feroce... Ah! hear me... restrain that fiercehatred...

Per lui di ragione è muta la voce!... For Nello the voice of reason isdumb!...

In terra sprezzato al trono di Dio May the cry of a wretched heart,despised

Il grido s’innalzi d’un misero cor... Upon earth, rise to the throne ofGod...

Qui sangue si chiede, ah! versino il mio, You call for blood, ah! let them shedmine,

–211–

Ma basti... ma spenga un empio furor. But let that suffice... but let thiswicked rage be extinguished.

BICE & HANDMAIDENSE’ d’ira furente... non ode consiglio... He is mad with anger... he heeds no

advice…Ha in petto l’inferno, la benda sul ciglio! He has hell in his breast, a blindfold

over his eyes!Ah! fuggi... sottratti al fero consorte... Ah! fly... deliver yourself from your

savage husband...Non vedi ch’egli arde d’insano furor? Do you not see that he burns with

insane anger?La pende sul capo sospesa la morte! Death hangs suspended over her

head!Oh scena tremenda!... oh notte d’orror! Oh awful scene!... oh night of horror!

(Pia faints. Nello is led away elsewhere.)

–212–

II – THE FIRST FINALEas rewritten for Senigallia, 1837

Nello della Pietra…....…………….........…….………..Giorgio RonconiPia, sua moglie……………….......…............…..………Eugenia TadoliniRodrigo de’ Tolomei, fratello di Pia........................................Letizia SudettiGhino degli Armieri, cugino di Nello..............................Napoleone MorianiPiero, solitario......................................................................Stanislao DemiBice, damigella di Pia...........................................................Paolina RovarisLamberto, antico famigliare de’ Tolomei...........................Domenico RaffaelliUbaldo, familiare di Nello............................................Alessandro Giacchini

AS ALREADY explained in the article introducing this recording, the new FirstFinale composed for Senigallia completely recast and ‘regularised’ the finale,supplying a new introductory chorus, omitting the narrative about Sigifredo diRoccaforte and the ensuing terzetto, retaining the duettino for Pia and Rodrigo,inserting a concertato (borrowed from Ugo conte di Parigi), and substituting acompletely new stretta for the earlier unsuccessful examples. A plan of this new finalewould read:

(i) Introductory scena and recitative (in which Ubaldo gives his followers theinstructions regarding the ambush which were previously given by Ghino), leadinginto the chorus, ‘Inoltriam fra l’ombre avvolti’.(ii) Scena and recitative for Pia, leading into Lamberto’s entry and the arrival ofRodrigo.(iii) Duettino, ‘Fra queste braccia’, for Pia and Rodrigo.(iv) A tempo di mezzo, as Nello and Ghino force their way in and Rodrigo escapes,leading into:

–213–

(v) The concertato, ‘Ah, come congiungere’ (adapted from Ugo conte di Parigi).(vi) A very short tempo di mezzo, leading into:(vii) The new stretta, beginning with Nello’s ‘L’empia cingete d’aspre ritorte’.

Although the form of this finale is less experimental and innovative than that of theoriginal, the effect, while being more predictable, is also more satisfactory. Theopening, with a sotto voce conspiratorial chorus (i), gets the item off to an excellentstart; and Pia’s entry (ii) is accompanied by a very beautiful and noteworthy orchestralritornello. The duettino for Pia and Rodrigo (iii) remains musically unchanged,although, having heard it in Appendix I with decorations such as would certainly havebeen introduced in Donizetti’s own day, it is here given, as on disc 1, exactly as in thescore, that is to say in a much less adorned manner. The reason for our repeating thisdisc 1 reading is that we believe the very beautiful ‘Bellinian’ quality of the music isat its most apparent when the music is performed unadorned. The Ugo conte di Parigiconcertato (v), like so much of the music from that opera, is gorgeously and opulentlylyrical. And the new stretta is, without question, the most exciting, pulsating andsatisfactory of all the three alternatives we have heard.

Although the scenes and tableaux in this Senigallia libretto are now numbereddifferently (thanks to the cutting of Rodrigo’s cavatina), this new First Finale, startingas Scene Ten, runs from the beginning of what we have printed above as I, 12.

Maria Cleva (Italian coach)

–215–

SCENE X

Ubaldo and men-at-arms entering from the left.

[7] UBALDOto the squires

Di Ghino il cenno udiste? Did you hear Ghino’s order?Ascosi fra le piante, ove la notte Hidden among the plants, where the

nightRegna più densa, e scura, Reigns at its densest and darkest,Cautamente vegliate: Keep careful watch: the unworthyS’avanzerà l’indegno a queste porte; Wretch will approach these doors; let

himAccesso egl’abbia; uscirne a lui sia morte. Come in; but let it be death for him

to go out.

MEN-AT-ARMSInoltriam fra l’ombre avvolti; Let us advance muffled up amid the

shadows;Niun ci vegga, niun ci ascolti. Let no one see us, let no one hear us.Della notte col favor With the advantage of the nightSi tradisca il traditor. Let the betrayer be betrayed.

(They leave.)

–216–

SCENE XI

Pia enters from her bedroom: she carries a candlestick, which she leaves on a table.

[8] PIATutto è silenzio! – Un mormorio sommesso All is silence! – I seemed to hearUdir mi parve... Inganno A subdued murmuring... But it was a

figmentFu del pensier, che vede Of my thought, which seesPerigli ovunque! Il tenebroso velo Dangers everywhere! The night has

spreadStese la notte... incalza Its dusky veil... the hourL’ora, e il fratello... Advances, and my brother…

(There is a sound of someone knocking lightly on the door leading on to the balcony.)

Ah! giunge… Il cor mi balza. Ah! he comes... My heart is beating.

(She closes the door [to the apartments] and opens [that of ] the balcony.)

SCENE XII

Lamberto [enters from the balcony].

LAMBERTOin the greatest agitation

Ah, signora… Ah, my lady…

–217–

PIATu, Lamberto!... You, Lamberto!

Deh! che fu?... Ah! what has happened?...LAMBERTO

pointing towards the gardensSi tende al certo A snare has certainly

Un agguato... Been laid...PIA

Che? What?LAMBERTO

Gente in armi I saw armed menVidi ascosa... Hidden...

PIATu? You?

LAMBERTOSì, io. Yes, I.

PIAin desperation

Ah, egli è perduto! Ah, he is lost!LAMBERTO

Donna! Il sangue fai gelarmi! Lady! you make my blood run cold!Di’? Non oso... Avresti tu potuto?... Tell me?... I dare not... Could you

have...?PIA

L’uom, che attendo... The man I am waiting for...LAMBERTO

Ebben? Well then?

PIAE’ mio fratello... Is my brother...

LAMBERTOCiel! Egli!... “Al misero l’avello Heavens! Your brother! “The grave is

opening“Si dischiude!...” “For the poor fellow!...”Oh ciel, che festi! E Nello! O Heavens, what have you done! And

Nello!Ahi sciagura!... tardi apprendo... Ah, what misfortune!... Too late I

realise...Io potea... I could have...

PIAChi giunge?... Who comes?...

LAMBERTOE’ desso... It is he...

SCENE XIII

Rodrigo joins them.

RODRIGOPia... Pia...

PIAQual fulmine tremendo!... What a devastating thunderbolt!...

RODRIGO“Che!” “What?”

–218–

LAMBERTOrunning to close the door on to the balcony

Respira: è salvo adesso. Breathe again: he’s safe now.PIA

E fia ver?... Can I believe it?...LAMBERTO

Segreta via, A secret passage,D’onde il padre un dì fuggia... Whereby your father once made his

escape...

(He goes to the rear wall, and, lifting a part of the tapestry, reveals a secret exit.)

Mira. Look.PIA

“Oh gioia!... “O joy!...to Rodrigo

“Ne minaccia “A great danger“Gran periglio... “Threatens us...

RODRIGO“Che mai sento!... “Whatever do I hear!...

PIA“Esci... “Go...

LAMBERTO“Ah! si... “Ah! yes...

PIAAh, vieni alfin fra queste braccia... Ah, come at last to these arms...

–219–

[9]Fra queste braccia Come within these armsUn solo istante, un solo. For a moment, a single moment.Il fratello stringendo al petto Straining my brother to my breastPianger debbo... e palpitar! I must weep... and tremble!

RODRIGOTanto duolo... e tanto affetto Such grief... and such affectionMi costringe a lagrimar... Obliges me to weep...

PIA & RODRIGOconstantly locked in each other’s arms

Ah! ci tolse orrenda guerra Ah! an atrocious war deprived usUn fratello, il genitore!... Of a brother, and of our father!...Cruda morte di dolore Then a cruel death, the result of grief,Poi la madre c’involò!... Carried off our mother!...Sventurati!... sulla terra Hapless we!... here upon earth noughtPianto eterno a noi restò! Remained for us but an eternity of

tears!

SCENE XVI

Pia, Rodrigo and Lamberto, and Nello from without.

[10] NELLOL’uscio dischiudi, o perfida! Open the door, perfidious woman!

LAMBERTONello! Nello!

RODRIGOColui!... Him?...

–220–

PIANon senti?... Do you not hear?...

(Frequent blows resound upon the door on the left.)

Va!... Go!...NELLO

Traditori! Traitors!

(Rodrigo, raging with fury, places his hand upon the hilt of his sword, but is restrainedby Lamberto.)

PIAAhi misera!... Ah, wretched that I am!...

to RodrigoChe indugi omai?... che tenti?... What are you waiting for?... what

would you?...RODRIGO

Egli osa provocarmi!... He dares to provoke me!...Io voglio... I want...

(He goes towards the door, as if he would open it.)

PIAAh! tu vuoi farmi Ah! barbarous man,

Spirar d’angoscia, o barbaro, You wish to make me die of anguishE di terror... And terror...(By now, with the aid of Lamberto, she has drawn Rodrigo towards the secret passage.)

–221–

SCENE XV

The door gives way, and Nello and Ghino come bursting in, Nello with dagger drawn.

NELLOCh’io sveni Let me kill them

Entrambi! Both!PIA

to RodrigoAh! fuggi… Ah! fly…

(She upsets the candlestick in the same moment that Nello enters.)

NELLOOh rabbia!... Oh fury!...

LAMBERTOsoftly to Rodrigo, and going out with him by the secret door which he closes immediately.

Vieni… Come...Di lei pietade… Have pity on her...

GHINOcalling

Ubaldo? Ubaldo? Ubaldo? Ubaldo?PIA

Sul cor mi piomba un gelo!... A hand of ice falls upon my heart!...

–222–

SCENE XVI

Servants enter, carrying fresh candles. They are followed by Bice, Ubaldo, retainers,hand-maidens and men-at-arms.

UBALDO & MEN-AT-ARMSentering from the rear

Fuggì quel vil!... That vile wretch has fled!...NELLO

Raggiungasi… Let him be overtaken…

(The men-at-arms go out at the rear of the stage.)

NELLOhurling himself upon Pia with the intention of killing her

Mori… May she die…GHINO

disarming him with help from the othersT’arresta… Stop…

BICEOh ciel!... O heavens!

PIASposo… Husband...

NELLOIl pugnale... The dagger...

BICEto Pia

Deh! scostati... Ah! withdraw...

–223–

Non vedi il suo furor? Do you not see his fury?NELLO

Il mio pugnal rendetemi. Give me back my dagger.PIA

Io muoio. I am dying.

(She falls senseless to the ground.)

ALL THE OTHERSQual terror!... What terror!...

(There is a moment of fearful silence. The women raise Pia, and deposit her upon a seat.The pallor of death covers her features, and her breast rises and falls as she breathes with

difficulty. Nello stands motionless.)

[11] NELLOAh! come congiungere il cielo potea Ah! how could Heaven joinIl volto d’un angelo ad alma sì rea! The face of an angel with such an evil

soul?Di tanto delitto macchiarsi quel core! That that heart should stain itself with

so much crime!E’ spento l’onore; più fede non v’ha. Honour is spent; faith is no more.

GHINO(Ahimè, quell’anelito il core mi gela! (Alas, that breathing turns my heart to

ice!Sospesa una lagrima il ciglio mi vela. A suspended tear blurs my sight.Ho l’alma commossa, la mente agitata, My soul is moved, my mind agitated,

–224–

Ancor dell’ingrata io sento pietà!) Still I feel pity for the ungratefulcreature!)

PIANon regge quest’anima in tanto periglio... My soul is not proof against such

danger...Un velo funereo ingombra il mio ciglio... A deathlike shroud encumbers my

brow...Fantasmi di morte intorno rimiro!... All about me I see spectres of death!...L’estremo sospiro sul labbro mi sta!... My latest sigh hangs on my lips!...

BICE & HANDMAIDENSto Nello

Deh, calma le furie del core sdegnato, Ah, calm the transports of that furiousheart,

Ah! tu della misera ben vedi lo stato: Ah! well you perceive Pia’s wretchedstate:

L’orror, lo spavento de’ sensi la priva, Horror and fear deprive her of hersenses,

Più spenta che viva d’innanzi ti sta. More dead than alive she stands beforeyou.

SCENE XVII

Ubaldo and men-at-arms enter.

UBALDOQuel codardo ne deluse!... That coward gave us the slip!...Rinvenirlo io non potei! I was not able to overtake him!

–225–

NELLOAh! l’averno si dischiuse, Ah! it was Hell that openedPer sottrarlo ai colpi miei... To help him evade my blows...

GHINO(D’ira avvampo!) (I am beside myself with anger!)

NELLOSvela, o Pia, Reveal, Pia,

Come... d’onde il vil fuggia... How – by what route – the vile wretchfled...

Tu da me la vita avrai, You will have your life from meSe di lui vendetta avrò. If I be revenged upon him.

PIAIo tradirlo? No giammai: I betray him? No, never:

NELLONo? No?

PIAMille volte pria morrò. I would rather die a thousand times

over.NELLO

Pensa. Consider.PIA

Ah sì, morrò. Ah yes, I shall die.

[12] NELLOin the greatest anger

L’empia cingete d’aspre ritorte, Load the wicked woman with gallingchains,

–226–

Nelle Maremme sia trascinata. Let her be dragged to the Maremma.Lunga, crudele, tremenda morte There a long, cruel and terrible deathIvi t’aspetta, o scelerata... Awaits you, villainous creature...Vanne perversa... di te soltanto Begone, perverse woman... I shall

remember you,Per maledirti mi sovverrò. Only that I may curse you.

PIAQual fera morte a me s’appresta! What an inhumane death is he

preparing for me!V’è donna al mondo più sventurata? Is there woman in the world more

unfortunate than I?Nella suprema ora funesta In my last ill-fated hourSarò da tutti abbandonata!... I shall be abandoned by all!...Del pio ministro a me d’accanto I shall not hear the sound of the prayerSuonar la prece io non udrò! Of the holy minister who stands beside

me!GHINO

(Ah, sciagurato! Dove mi spinse, (Ah, wretch that I am! Where has theevil

Della vendetta l’empio desio! Desire for revenge urged me!L’astro del giorno per lei s’estinse, The light of day has gone out for her,Ma piu infelice di lei son io. Yet I am more unhappy than she.Tutta una vita trarrò nel pianto, The whole of my life I shall eke out in

tears,E di me stesso l’orror sarò!) And I shall be an object of horror to

myself!)

–227–

UBALDO & MEN-AT-ARMSto Pia

Omai ne segui... E’ vano il pianto. Now follow us... Tears are in vain.Il tuo destin cangiar non può. You cannot change your destiny.

BICE & HANDMAIDENSOh ciel! Iddio soltanto Oh Heavens! God aloneAll’infelice soccorrer può. Can succour the unhappy woman.

(Ubaldo and the men-at-arms take Pia into custody.)

III – NEW CABALETTA FOR THE ACT I NELLO-GHINO DUETcomposed for Naples, 1838 (or perhaps for Senigallia, 1837)

THIS NEW cabaletta certainly formed part of the score as performed in Naples in1838, but Giorgio Pagannone has suggested that it may have been introduced evenearlier: for Napoleone Moriani when he sang the part of Ghino in Senigallia in 1837.While Ghino’s melody remains the same as in the original Venetian version, a changeof key from A flat major to D flat major means that the vocal line lies higher, and isbrighter and more salient as a result.

To establish the context for this new cabaletta, we also include here the precedingprincipal larghetto movement of the duet, ‘Parea celeste spirito’, and the tempo di mezzowhich links larghetto to cabaletta.

[13] NELLOParea celeste spirito She seemed a spirit from HeavenAscoso in uman velo!... Concealed in human form!...Per me quel riso angelico For me that angelic smile

–228–

Schiudeva in terra il cielo!... Revealed heaven upon earth!...Il disinganno è giunto! But the moment of disillusion has

come!Tutto distrugge un punto!... A single moment destroys all!...Il viver mio di lagrime My life is now becomeSorgente omai si fè! A gushing spring of tears!

GHINO(Seppi nel cor trasfondergli (I have succeeded in pouring into himParte del mio veleno. A part of my poison.

NELLOAh, ohimè! Oh, alas!

GHINOLe mie gelose furie My jealous raging passionsSquarciano pur quel seno. Are indeed ripping open his breast.

NELLOPerfida! L’onor... Faithless woman! My honour...

GHINOE’ già scoccato il dardo... The dart is now cast...Fora il pentir or tardo... Repentance now would be too late…Gioja dell’alme perfide Already I experienceIo già ti sento in me!) All the gloating of perfidious souls!)

(Nello, as if struck by a sudden thought, seizes Ghino by his right arm and gazes at himintently, like one who seeks to gaze into the soul of another.)

NELLOTu mentisti: un tanto eccesso You have been lying: such an excess –No, quel cor non ha macchiato. No – has not stained that heart.

–229–

GHINOTestimon sarai tu stesso You yourself will be the witnessDell’oltraggio a te recato. Of the outrage she has brought upon

you.Come il ciel di luce privo When the sky, drained of light,Chiami al sonno ed al riposo, Calls us to sleep and repose,Alla Pia verrà furtivo The man who offends youChi t’offende... Will come secretly to Pia...

NELLOin extreme fury

Andiam... Fui sposo! Let us go... I am ahusband no more!

Sol, che tardi... il corso affretta... O sun, you are slow... hasten yourcourse…

Cedi all’ombre... Give way to the shadows...GHINO

Ah! m’odi ancor... Ah! hear me further...NELLO

Più non odo... I’ll hear you no more...GHINO

Almen... At least...NELLO

Vendetta... Revenge...GHINO

Ah, pria... Ah, first...NELLO

Son cieco di furor. I am blinded with fury.

–230–

speaking like a man completely deprived of reason[14]Del ciel che non punisce I shall make good the omissionEmenderò l’errore… Of a Heaven that fails to punish...Già il mio pugnal ferisce, Already my dagger strikes,De’ rei già squarcia il core... Rips open the hearts of the guilty...Le palpitanti vittime Already I spurn my palpitatingIo premo già col piè. Victims with my foot.

GHINO(Sei pago amor furente? (O raging love, are you satisfied?S’appresta atroce scempio... An atrocious slaughter approaches...Le mie virtude hai spente, You have stifled my virtues,M’hai reso un vile, un’empio... You have made me vile, a rogue...Gioisci, esulta, o demone, Rejoice, exult, you demon love,Altrui perdesti... e me!) You have destroyed another… and me!)

(Nello leaves in fury, dragging Ghino with him by one arm.)

IV – THE FIRST FINALE: NEW LARGO CONCERTATOcomposed for Naples, 1838

Nello della Pietra…....……………...............……..Paolo (Paul) BarroilhetPia, sua moglie…………...…...….........….…...Giuseppina Ronzi de BegnisRodrigo de’ Tolomei, fratello di Pia...........................................Eloisa BucciniGhino degli Armieri, cugino di Nello...............................Giovanni Basadonna

THIS NEW concertato was designed to replace the Ugo conte di Parigi concertato inthe ‘new finale’, that is to say, the first finale as rewritten for Senigallia in 1837. It

–231–

shows, in a particularly fascinating manner, the degree to which Donizetti’s composingstyle – and his mastery of close dramatic expression – had developed since he composedUgo in 1832. For though that concertato was eminently lyrical and pleasing, it must beadmitted that, halfway through when the entry of Pia and Bice (Bianca and Adelia inUgo) brought a switch to the major, musical progression and development rather tookover from dramatic expression and relevance. This new concertato, by contrast, leavesno room for such criticism or reservation, for the writing reflects the emotional contentof the words at every point. While it observes the same pattern as the Ugo concertato,beginning in the minor but switching to the major halfway through with Pia’s entry,the second half is emotionally much more genuinely searing and distressed. There is noquestion but that this Naples concertato deserves to rank among Donizetti’s finest, andthat it is in this form – that is to say, the ‘new’ Senigallia first finale but with the Naplesconcertato – that Pia de’ Tolomei deserves to be heard.

To set this new concertato in context, we take up the finale after the Pia-Rodrigoduet, at the point when Nello is heard outside, demanding entry.

SCENE XIV

Pia, Rodrigo and Lamberto, and Nello from without.

[15] NELLOL’uscio dischiudi, o perfida! Open the door, perfidious woman!

LAMBERTONello! Nello!

RODRIGOColui!... Him?...

–232–

PIANon senti?... Do you not hear?...

(Frequent blows resound upon the door on the left.)

Va!... Go!...NELLO

Traditori! Traitors!(Rodrigo, raging with fury, places his hand upon the hilt of his sword, but is restrained

by Lamberto.)

PIAAhi misera!... Ah, wretched that I am!...

to RodrigoChe indugi omai?... che tenti?... What are you waiting for?... what

would you?...RODRIGO

Egli osa provocarmi!... He dares to provoke me!...Io voglio... I want...

(He goes towards the door, as if he would open it.)

PIAAh! tu vuoi farmi Ah! barbarous man,

Spirar d’angoscia, o barbaro, You wish to make me die of anguishE di terror... And terror...

(By now, with the aid of Lamberto, she has drawn Rodrigo towards the secret passage.)

–233–

SCENE XV

The door gives way, and Nello and Ghino come bursting in, Nello with dagger drawn.

NELLOCh’io sveni Let me kill them

Entrambi! Both!PIA

to RodrigoAh! fuggi… Ah! fly…

(She upsets the candlestick in the same moment that Nello enters.)

NELLOOh rabbia!... Oh fury!...

LAMBERTOsoftly to Rodrigo, and going out with him by the secret door which he closes immediately.

Vieni… Come...Di lei pietade… Have pity on her...

GHINOcalling

Ubaldo? Ubaldo? Ubaldo? Ubaldo?PIA

Sul cor mi piomba un gelo!... A hand of ice falls upon my heart!...

–234–

SCENE XVI

Servants enter, carrying fresh candles. They are followed by Bice, Ubaldo, retainers,hand-maidens and men-at-arms.

UBALDO & MEN-AT-ARMSentering from the rear

Fuggì quel vil!... That vile wretch has fled!...NELLO

Raggiungasi… Let him be overtaken…(The men-at-arms go out at the rear of the stage.)

NELLOhurling himelf upon Pia with the intention of killing her

Mori… May she die…GHINO

disarming him with help from the othersT’arresta… Stop…

BICEOh ciel!... O heavens!

PIASposo… Husband...

NELLOIl pugnale... The dagger...

BICEto Pia

Deh! scostati... Ah! withdraw...Non vedi il suo furor? Do you not see his fury?

–235–

NELLOIl mio pugnal rendetemi. Give me back my dagger.

PIAIo muoio. I am dying.

(She falls senseless to the ground.)

ALL THE OTHERSQual terror!... What terror!...

(There is a moment of fearful silence. The women raise Pia, and deposit her upon a seat.The pallor of death covers her features, and her breast rises and falls as she breathes with

difficulty. Nello stands motionless.)[16] GHINO(Ahimè, quell’anelito il core mi gela! (Alas, that breathing turns my heart to

ice!Sospesa una lagrima il ciglio mi vela. A suspended tear blurs my sight.Ho l’alma commossa, la mente agitata, My soul is moved, my mind agitated,Ancor dell’ingrata io sento pietà!) Still I feel pity for the ungrateful

creature!)NELLO

Ah! come congiungere il cielo potea Ah! how could Heaven joinIl volto d’un angelo ad alma sì rea! The face of an angel with such an evil

soul?Di tanto delitto macchiarsi quel core! That that heart should stain itself with

so much crime!E’ spento l’onore; più fede non v’ha. Honour is spent; faith is no more.

–236–

PIANon regge quest’anima in tanto periglio... My soul is not proof against such

danger...Un velo funereo ingombra il mio ciglio... A deathlike shroud encumbers my

brow...Fantasmi di morte intorno rimiro!... All about me I see spectres of death!...L’estremo sospiro sul labbro mi sta!... My latest sigh hangs on my lips!...

BICE & HANDMAIDENSto Nello

Deh, calma le furie del core sdegnato, Ah, calm the transports of that furiousheart,

Ah! tu della misera ben vedi lo stato: Ah! well you perceive Pia’s wretchedstate:

L’orror, lo spavento de’ sensi la priva, Horror and fear deprive her of hersenses,

Più spenta che viva d’innanzi ti sta. More dead than alive she stands beforeyou.

V– NEW CHORUS OF GUELPHS AT BEGINNING OF ACT IIcomposed for Naples, 1838

THE OMISSION, in the Senigallia version of the opera, of Rodrigo’s scene at thebeginning of Act II meant the loss, not only of his aria, but of a considerable amountof music that went with it. The insertion of this new opening chorus in Naples wentsome way to rectify this loss, for the opening movement, ‘Sciolta è la tregua’, is ashortened version of the chorus, ‘Cinto di rosse nubi’, that preceded Rodrigo’s aria inVenice in 1837. The movement that follows it, the oath sworn by the Guelphs against

–237–

the Ghibellines, ‘Al Ghibellin perverso’, is, on the other hand, completely new. Bothmovements have genuine musical interest and value. The first, with its typical cabalettarhythm and marked use of syncopation, is strongly Spanish in flavour, whereas thelarghetto second movement is a fine example of the broad unison melody thatcomposers of the time were wont to use for solemn oaths and expressions of nationalfervour.

An encampment of the Florentine army, near a gateway of the city of Siena.

A chorus of soldiers, then Rodrigo and Lamberto.

[17] CHORUS OF SOLDIERSSciolta è la tregua: The truce is broken:Al cielo, sì, al cielo To Heaven, yes, to HeavenS’innalzi in fero accento Let the Guelf oath –Il guelfo giuramento, The warriors’ hymn –Il cantico guerrier. Arise in accent fierce.L’oda il nemico, e un gelo Let the enemy hear it, andIn mezzo al cor gli scenda; A chill descend into the midst of his

heart;Un gel di morte orrenda A chill that is an ominous heraldFunesto messaggier... Of horrendous death...

(All crossing their swords, and with all the force of mortal hatred)

Al Ghibellin perverso, Upon our swords, and with one voice,Sui brandi, ad una voce, We swear implacable hatred

–238–

Odio giuriam feroce To the perverse GhibellineOltre la tomba ancor. Even beyond the tomb.Giuriam nel sangue avverso We swear that in enemy bloodSfogar, sbramare appieno We shall give full ventQuel che avvampa in seno To the terrible furyTerribile furor. That flames within our breasts.Giuriam sol posa all’armi, We swear to give pause to our arms,Sol fine a tanta guerra, To bring an end to such war,Quand’ogni asilo in terra Only when we shall see him deprivedVedremo a lui mancar. Of every refuge upon earth.Giuriam spezzarti i marmi We swear to break the marbleDel sepolcral ricetto, Of your sepulchral urns,Il cener maledetto And to toss to the windAl vento dissipar. Your accursed ashes.

VI – NEW ENDING TO THE OPERAcomposed for Naples, 1838

WE COME, finally, to the new Scena and Finale composed in Naples to bring theopera to a happy conclusion. Considering how radical and distorting this change was,it was brought about with singular economy of means. The whole of the early part ofthe scene – up to the end of the slow section of Pia’s aria – remains unaltered, and it isonly with the arrival of Nello that the music changes, a new tempo di mezzo leading intoa new cabaletta: an expression of joy as Pia finds herself reunited and reconciled withNello.

One’s feelings upon hearing this cabaletta are necessarily mixed. It is undeniablyeffective, and one can imagine its becoming, in a different opera and a different

–239–

David Parry and Majella Cullagh

context, deservedly popular. It is, however, sadly at odds with the mood that has beenbuilding up throughout the present opera – sadly at odds with our expectations of finaltragedy. The ‘gear-change’ from anticipations of tragedy to relief and rejoicing is,moreover, too sudden and too glib, leaving the listener feeling that the opera has beenwrenched from its proper conclusion, and that this new ending has been clumsily tackedon. It is like plastic surgery which has been hastily carried out without due attention tothe concealment of the scars.

PART THREE

SCENE I

Pia’s prison. High up, there is a window with iron bars.[18]Pia is seated upon a stool, with her head resting on a rough table. She is sunk in a disturbedsleep: her forehead is pale, her breathing difficult, and a trembling frequently agitates herlimbs. Ubaldo enters, silently re-reads Nello’s letter, and raises his eyes to the window. Dawnis breaking: he draws a phial from his tunic, and pours its liquid contents into a brimmingcup of water that stands on the table.

UBALDO“A questo nappo beverà tra poco “Your thirsty lip will soon drink“Il tuo labbro assetato, e dormirai “From this cup, and you will sleep“Ben altro sonno!” “A very different sleep!”[19] PIA

with a piercing cry, and leaping to her feet in fearEterno Dio! Respiro... God Eternal! I breathe again...

–241–

Il mio pensier deliro My delirious thoughts weresummoning up

Creò nel sonno imagini feroci! Fearsome images as I slept!A questo sen pentito I was pressing my penitent husband

as if going over what she has seen in her dreamIl consorte io stringea... quando nel fianco To this breast... when a Guelf plungesL’acciaro insidioso His insidious bladeGl’immerse un Guelfo... a’ piedi miei lo In his flank... at my feet my husband

sposoCadde spirando: orribil sogno! Ah! Spunta Fell dying: horrible dream! Ah! The

dawnL’alba del mio destino Of my destiny arises trembling and

uncertain...Tremante e incerta... Ah! la pietade, o Ghino, Ah! may compassion, O Ghino,L’ale impenni al tuo corso... Lend wings to your course...E tu vieni, o crudel, che amai cotanto, And you, cruel husband, whom I loved

so,Deh vieni a rasciugar d’un infelice il pianto. Come to dry the tears of an

unfortunate.[20]Sposo, ah! tronca ogni dimora... Husband, ah! cut short every delay...Al mio sen, deh! vola, o Nello; Fly to my embrace, O Nello;Dimmi: t’amo... e dall’avello Tell me you love me... and these wordsQuest’accento mi torrà. Will rescue me from the tomb.Ah! la Pia, se indugi ancora, Ah! your Pia, if you tarry longer,Preda fia d’acerba morte, Will fall victim to a bitter death,Ed al bacio del consorte And will no longer be able to respondPiù risponder non potrà. To her husband’s kiss.

–242–

Vieni, o Nello, vieni, dimmi: t’amo... Come, Nello, come, tell me: I loveyou...

Ah, dillo, dillo, Ah, say it, say it,Quest’accento dall’avello These words will rescue meMi torrà. From the tomb.

Ah! la febbre mi divora! Ah! the fever is devouring me!M’arde il petto!... My chest burns!...

UBALDOobserving that Pia is going to the table

(E’ giunta l’ora.) (The hour has come.)NELLO

from off-stagePia?... Pia?...

UBALDOto Pia, who is about to put the cup to her lips

T’arresta! Stop!

(Surprised to hear Nello’s voice, he takes the cup from Pia’s hand and overturns it.)

PIAE’ desso! It is he!

NELLOstill off-stage

Pia? Pia?PIA

La mia prece, i miei sospiri, Heaven, you have heard my prayer,Cielo, udisti! E’ desso! My sighs! It is he!

–243–

SCENE II.

Nello with his followers. Pia and Ubaldo.

NELLOSposa mia! My wife!

Non vaneggio... tu respiri. I am not raving!... you still breathe.Gioja immensa! O immense joy!

PIARea non sono. I am not guilty.

NELLOSì, m’è noto. Yes, I know.

He kneels.Il tuo perdono. Give me your forgiveness.

PIAAh! m’abbraccia! Ah! embrace me!

CHORUSfrom off-stage

Cielo, i Guelfi! Heavens, the Guelfs!PIA

Gran Dio, che sento! Almighty God, what do I hear?

–244–

SCENE THE LAST

Rodrigo followed by a detachment of Guelfs, and those already on stage.

RODRIGOAh malvagio! Ah! wicked man!

PIAshielding her husband

E’ mio consorte! He is my husband!RODRIGO

Morir deve. He must die.PIA

Ah no! che fai? Ah no! what are you doing?Sposa infida gli sembrai, I seemed to him a faithless wife,Un rival credeva in te. He believed he had a rival in you.

RODRIGOAh! che intendo! Ah! what do I hear!

PIAshedding copious tears

Se nel petto, If in your breastSe pietà di me sentite: You feel compassion for me:Spenga, spenga un tanto affetto Extinguish, extinguish your great

animosity,Il furor d’orrenda lite. The fury that goes with an awful

quarrel.to Rodrigo

E’ mio sposo... He is my husband...

–245–

to NelloE’ mio fratello... He is my brother...

Pace! Peace!RODRIGO, NELLO

throwing away their swordsSì! Yes!

NELLOopening his arms

Rodrigo! Rodrigo!RODRIGO

throwing himself into Nello’s outstretched armsNello! Nello!

PIAAh, di letizia ho pieno il cor. Ah, my heart is filled with joy.[21]No: l’immenso mio contento No: my immense happinessNon s’esprime con l’accento: Is not to be expressed in words:Più non sogna la speranza, Hope is no longer dreaming,Non immagina il pensier. Thought is no longer lost in fantasy.

embracing Nello and RodrigoSempre, ah! sempre, come adesso, Always, ah! always, as now,Ne congiunga un solo amplesso... May a single embrace unite us...E la vita che m’avanza And the life that is left meSarà tutta di piacer! Will be entirely one of happiness!

CHORUSFu di pace, d’esultanza This day was the heraldQuesto giorno messagger. Of peace and celebration.

–246–

David Parry

Sir Peter Moores, CBE