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Rediscovering, restoring, recording and performingthe forgotten operatic heritage of the 19th century

Ruggiero LeoncavalloZAZÀ

Slipcase, digipack, CD faces and booklet cover: design by Carroll & Co

ORC55

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Ruggiero LeoncavalloZAZÀOpera in four actsLibretto by Ruggiero Leoncavallo

ZazàErmonela Jaho

Cascart, a singerStephen Gaertner

Milio DufresneRiccardo Massi

Anaide, Zazà’s motherPatricia Bardon

Natalia, Zazà’s maidKathryn Rudge

Bussy, a journalistDavid Stout

Floriana, a singerFflur Wyn

Duclou, a stage managerSimon Thorpe

Augusto, a waiterChristopher Turner

Courtois, an impresarioNicky Spence

Totò Dufresne, the Dufresnes' daughterJulia Ferri

Signora Dufresne, Milio’s wife*Helen Neeves

Marco, the Dufresnes’ butler*Edward Goater

Un signoreRobert Anthony Gardiner

Claretta*Eleanor Minney

Simona*Rebecca Lodge

Chorus of actors, singers, dancers, etc – BBC SingersRenato Balsadonna, chorus director

BBC Symphony OrchestraStephen Bryant, leader

Maurizio Benini, conductor

*role taken by member of the BBC Singers

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ProducerMichael Haas

Opera Rara production managementKim Panter

Assistant conductorManuel Busto

RépétiteurSteven Maughan

Italian coachIsabella Radcliffe

Studio production assistantRuth Mulholland

Session photographyRussell Duncan

Recording engineerNeil Pemberton Assistant engineersChristopher Rouse and Adele Conlin

EditingNeil Pemberton and Michael Haas

Introductory essay and synopsisLaura Protano-Biggs

Libretto translationSue Rose

The scores and parts for this recording were hired from Casa Musicale Sonzogno

Recorded at BBC Maida Vale Studios,London, November 2015

Produced in association with BBC Radio 3 and the BBC Symphony Orchestra

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First violinsStephen BryantRichard AylwinJeremy MartinJohn GarnerHelen CoxCharles RenwickRegan CrowleyJenny KingColin HuberShirley TurnerNi DoBenjamin RoskamsSecond violinsDawn BeazleyRuth HudsonDaniel MeyerHania GmitrukVanessa HughesPhilippa BallardDanny FajardoLucy CurnowRachel SamuelCaroline CooperVictoria HodgsonViolasNorbert BlumePhilip HallAudrey Henning

Natalie TaylorMichael LeaverCarolyn ScottMary WhittlePeter MallinsonCellosGraham BradshawTamsy KanerMark SheridanClare HintonSarah Hedley MillerMichael AtkinsonAugusta Harris Double bassesNicholas BayleyAnita LangridgeMichael ClarkeMarian GulbickiSteve RossellFlutesDaniel PailthorpeTomoka MukaiPiccoloKathleen StevensonOboe Richard SimpsonCor anglais Alison Teale

Clarinets Richard HosfordPeter DavisBassoons Graham SheenLawrence O’DonnellHorns Martin OwenMichael MurrayAndrew AntcliffChristopher LarkinNicholas HoughamTrumpets Gareth BimsonMartin HurrellTrombones Richard WatkinDan JenkinsBass trombone Paul LambertTubaSam ElliottTimpaniChristopher HindPercussion David HockingsAlex NealFiona Ritchie

Harp Louise MartinPianoSteven MaughanPiano/celeste Elizabeth Burley

BANDA Violins Anna SmithMartin Gwilym JonesKatherine MayesRuth Ehrlich Cello Marie StromDouble bass Catherine ElliottFlute Michael CoxClarinet James BurkeTrumpets Joseph AtkinsMiles MaguirePercussion Ignacio MolinsPiano Elizabeth Burley

BBC Symphony Orchestra

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BBC Singers

SopranosRebecca LeaHelen NeevesElizabeth PooleOlivia RobinsonAlison SmartEmma Tring

AltosMargaret CameronRebecca LodgeKsynia LoefflerCherith Millburn-FryerEleanor Minney

TenorsChristopher BowenRoss BuddieJon EnglishEdward GoaterAndrew MurgatroydPhilip Salmon

BassesMichael BundyCharles GibbsJamie W. HallJimmy HollidayEdward Price

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With thanks to the Friends of Opera Rara for their continued support

John S Cohen FoundationThe Monument Trust

Chairman’s CircleCharles AlexanderGlenn HurstfieldIslée Oliva Salinas

Artistic Director’s CircleMarco CompagnoniMichael HartnellDr Michael PeagramSir Simon Robertson

Offenbach CircleTrifon and Thespina Natsis

Donizetti CircleSimon Mortimore QCPeter RosenthalImogen RumboldAdam SwannColin and Suzy Webster

Rossini CircleLady Marie Alexander of WeedonAlan GodfreyPatrick and Marian GriggsMalcolm HerringMadeleine HodgkinJonathan and Yvonne Horsfall-Turner Richard JacquesSimon LyelStratton MillsJohn NicksonPatrick RadcliffeJerry Wakelin and Ivor Samuels

Meyerbeer membersDavid CasstlesSir Anthony CleaverTimothy CongdonColin CraigDr Marian Gilbart ReadVirginia LawlorSir Timothy LloydChris and Dominique Moore

John PaineHoward Shewring and Angelo di CicoRobert Taylor

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This recording has been made possible with generous support from the following:

The Foyle Foundation

Gold Patron:Stefan Olsson

Bronze Patron:Patrick and Marian Griggs

Patrons:Lady Marie Alexander of WeedonTimothy CongdonAlan JacksonMartin and Patricia SpiroWilliam McKnight Toner

Benefactors:John Stowell AllanMartin C. BoyleStratton Mills Anne StoddartDr Mark Walker

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CONTENTS

Zazà and the Forgotten Career of Leoncavallo Page 12

Synopsis Page 26

Argument Page 30

Die Handlung Page 34

La trama Page 38

Libretto Page 42

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ACT I Duration Page[1] Introduzione 1’59 43[2] ‘Brava! Brava!’ 1’09 45[3] ‘Stasera sono in voce!’ 1’40 48[4] ‘Salute, ragazzi’ 1’40 53[5] ‘Buona sera, mia Zazà!’ 3’00 56[6] ‘Lo sai tu che vuol dire un uom che fugge’ 2’04 57[7] ‘Tu sei buona’ 0’47 59[8] ‘Augusto, buona sera!’ 3’56 59[9] ‘Ah! Ah! Ahi, la, la!’ 3’24 66[10] ‘Ebben, Zazà?’ 1’19 70[11] ‘Un uomo sol restavaci’ 1’45 73[12] ‘Dufresne, contarvene voglio una bella’ 1’19 79[13] ‘È un riso gentile’ 2’14 81[14] ‘Allor tutto va bene!’ 1’15 82[15] ‘Non so capir perché se m’ami tu’ 0’57 83[16] ‘Ma bravi! Che delizia!’ 1’10 85[17] ‘Signore, entrate’ 3’25 87[18] ‘Ripetiamo... ma prima vo’ cambiar veste’ 1’36 90[19] ‘Vi duole?’ 2’16 91[20] ‘Su Zazà!’ 0’36 93[21] ‘A te, Cascart... ’ 3’31 94

CD1 72’02

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Duration PageACT II[22] ‘È deciso: tu parti per questo gran viaggio?’ 3’00 99[23] ‘Zazà, Zazà, non ti attristare’ 3’08 100[24] ‘Or tempo e baci per guadagnare’ 2’39 101[25] ‘Fa presto, Natalia!’ 2’25 102[26] ‘Ecco gli stivaletti, signora...’ 1’30 103[27] ‘Zazà!...’ 1’29 105[28] ‘Ehm! Ehm!’ 3’34 106[29] ‘Ah, ah, ah! Che quadretto!’ 1’36 110[30] ‘Cascart, mio camerata’ 1’27 111[31] ‘Buona Zazà’ 5’59 112[32] ‘A Parigi una sera’ 3’55 116

ACT III[1] ‘Ah! Perche soletta sei laggiù? 2’59 121[2] ‘O mio piccolo tavolo’ 4’53 123[3] ‘Ecomi pronta, Milio...’ 1’52 123[4] ‘Lei dunque è la signora Dunoyer?’ 0’49 125[5] ‘Qual turbamento!’ 3’14 127[6] ‘Signora, buona signora’ 1’42 129[7] ‘Signorina, vi abbiamo spaurita?’ 3’09 130

CD2 63’59

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Duration Page[8] ‘Mamma usciva di casa’ 3’59 134[9] ‘È finita!’ 3’41 135[10] ‘È mammà’ 3’22 137

ACT IV[11] ‘Così, nessuna nuova?’ 2’41 138[12] ‘Figliuola mia!’ 3’28 139[13] ‘Zazà, piccola zingara’ 3’47 142[14] ‘Che?... Non vorresti farlo?’ 1’39 143[15] ‘Per buona sorte tutto è a suo posto...’ 5’28 145[16] ‘Che notizie mi porti da Parigi?’ 2’17 147[17] ‘Ebbene si, so tutto!’ 3’32 149[18] ‘Zazà, tu mi rimproveri’ 3’58 150[19] ‘Questo delitto hai compiuto?’ 1’51 153[20] ‘Ed ora io mi domando’ 1’41 154[21] ‘Basta! Ritorna pur nella tua dimora’ 1’01 156[22] ‘Che ho fatto?’ 2’45 157

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Zazà and the Forgotten Career of Leoncavallo

ZAZÀ (1900) belongs to an unusual period in Italian opera. Giuseppe Verdi (1813-1901) had almost complete dominion over the Italian musical scene in the second half of the 19th century until his death in 1901, but as his stature increased so too did the intervals at which he finished new operas. By the final decades of the 19th century his eminence was so great within Italy that those intervals seemed to resemble chasms in the musical landscape; thus when Giacomo Puccini (1858-1924) arrived on the scene in the late 1880s with an assurance that (at least some) audience members loved, the fate of Italian opera seemed to have taken a decisive new turn.

But Puccini’s well-documented success – which started in earnest with Manon Lescaut (1893) and was consolidated with La bohème (1896) and Tosca (1900) – has tended to cast a considerable shadow over the careers of his contemporaries. There

were, of course, others who worked in the same milieu as Puccini and reacted to new trends around them; and indeed, Puccini can be best understood as just one member of a wider circle of composers born at mid-century who crafted a new and distinct operatic soundscape. All could be found in and around Milan – the uncontested hub of Italian musical activity – at various moments across the final two decades of the 19th century. The set would be dubbed the giovane scuola. Its members included Puccini, Alfredo Catalani (1854-93), Alberto Franchetti (1860-1942), Pietro Mascagni (1863-1945), Francesco Cilèa (1866-1950) and Umberto Giordano (1867-1948), in addition to Zazà’s own creator, Ruggiero Leoncavallo (1857-1919).

Theirs was a milieu in which the unification of Italy (1859-71) had rocked the economic and creative foundations of opera. Once the protected art form of an Italian elite, opera in the wake of unification became increasingly susceptible to market forces; this in

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turn stimulated an abandonment of conventions in the name of innovation. So too did the formation of the nation state, and with it Italians’ enhanced awareness of themselves within the world as a whole. As adolescents, the giovane scuola witnessed routine incursions into the otherwise insular musical world around them: at opera houses large and small French opera and native opera could be heard on alternate evenings from around the 1870s, while some theatres even welcomed the works of Richard Wagner (1813-83) despite staunch resistance from cultural conservatives.

As the nascent giovane scuola absorbed these new sounds, its members also learned how to emulate them. But while modernist experiments outside of Italy, such as Richard Strauss’s Salome (1905), revealed their creators’ desire to innovate at all costs – breaking compositional and even social rules in the process – the giovane scuola would advance another strain of composition, one more in line with the relative conservatism of the

Italian nation but nonetheless at least as focused on the needs of future audiences as on those of their own time. Their operas seemed for a while to introduce the musical momentum that Italians had been waiting for: to make opera a vehicle for Italian cultural modernity.

We know more about some members of the giovane scuola than others. Leoncavallo has remained a penumbral presence in histories, not least because his autobiographical notes fly in the face of the facts historians have been able to establish. It is clear that Leoncavallo arrived in Milan with his wife in the winter of 1888 – some months before the chaotic premiere of Puccini’s Edgar (1889) – and that when the couple undertook this move it was the third time Leoncavallo had relocated in a bid to launch his career. Ruggiero (sometimes spelled Ruggero) had been born into a well-heeled Neapolitan family (his father was a judge), and in his teens he enrolled as an external student at the Naples Conservatory, where he studied piano in addition to

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composition (under the esteemed Lauro Rossi). From here the details of his life become murkier. He struck out on his own in 1876 when he relocated to Bologna to attend lectures at the university; Leoncavallo would later claim he went there to work with the Italian poet and critic Giosuè Carducci (1835-1907), but as Konrad Dryden has revealed in the most documented account of the composer’s life to date, there is no mention of Leoncavallo in the university’s matriculation records.

There seems no reason, however, to doubt Leoncavallo’s claims that Carducci listened to his enthusiastic plans to write a triptych about the Italian Renaissance entitled Crepusculum [Twilight] as a homage to Wagner’s Ring cycle – and remained unconvinced. It would soon become clear that – for all its association with Italy’s cultural avant-garde – Bologna would not provide what Leoncavallo needed, and when he was unable to secure a premiere of his first completed opera, based on the life of the poet Thomas Chatterton, Leoncavallo moved to Cairo

and then Paris, where he accompanied artists in music halls and continued to compose. Here, his networks for once functioned as he needed them to. When introduced to the eminent baritone Victor Maurel, Leoncavallo read him the libretto of I Medici, the first instalment of Crepusculum. In contrast with Carducci, Maurel was convinced that Leoncavallo was on to something, and persuaded him to relocate to Milan where he could introduce him to Giulio Ricordi, the most important Italian music publisher of the time.

The move marked Leoncavallo’s entrance into all-important Milanese musical circles and with the introduction to Ricordi also came access to the likes of Puccini (then the publisher’s protégé) and others. Our sense of Leoncavallo’s life at this time is nonetheless so limited that it is tempting to place considerable weight on a few vivid anecdotes which have survived, such as the librettist Giuseppe Adami’s tidbit that at the outset of the 1890s ‘there was to be found hanging about the Casa

Ruggiero Leoncavallo(1857-1919)

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Ricordi a plump young man, rather short of stature, with a quiff of black hair that dangled over his forehead like a question mark. That quiff questioned its owner’s future. Did it lie in poetry or music? He couldn’t make his mind up either way.’ Adami was, of course, referring to the fact that Leoncavallo tried his hand at libretti: he wrote his own and Ricordi even saw more potential in him as a librettist than as a composer at first, pulling him in to tend to issues with the (tortured) libretto for Puccini’s Manon Lescaut (1893). But that anecdote also resonates with our sense of Leoncavallo as an unknown, able to move between identities and even (in his later years) to vanish from our historical radar.

So while Leoncavallo arrived in Milan with a libretto in hand intent on securing Ricordi’s support for his colossal Crepusculum, within months he had started to reinvent himself. His rebirth was in reaction to recent events: in 1889 Edoardo Sonzogno had run the second instalment of a competition that aimed to

discover new talent and promote a terse, economical musical style. Entrants were to submit a new one-act opera and it was Cavalleria rusticana, the submission of an ambitious Mascagni anxious to make a name for himself, that won out. His work was based on a dramatic sensation – Giovanni Verga’s 1884 realist play of the same name – whose tale of murder in a harsh Sicilian setting took inspiration from the naturalism then popular in French literary circles. In choosing to use Verga, Mascagni was following the fashion of the times, but the disconnect between the sound Mascagni needed (one that would reinforce Verga’s realist idiom, in which the author’s hand was as invisible as possible) and the one he inherited (the unrealistic setup common to all opera, in which characters conduct their lives in song) forced him to embrace a new musical idiom. As we shall see, this too would be decisive for his contemporaries. Cavalleria met its match, most famously, when Leoncavallo set his overweening preoccupation with Crepusculum aside,

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sketched his own scenario (about love and murder in Calabria) and set it to music as a one-act opera (which would later be cleaved in two for practical reasons). Within a decade the resultant opera, I Pagliacci (1892), had toured the world several times over with Cavalleria as the inimitable Cav. and Pag. double bill.

The next three decades of Leoncavallo’s career were marked with an eclecticism that was not unheard of at a time when art and commerce were more interdependent than ever – and when an astute musician moved in the direction the commissions were flowing – but that was nonetheless marked. Like his contemporaries, Leoncavallo slid between verismo and other idioms. With the success of Pagliacci behind him, I Medici and Chatterton were able to premiere, the former in 1893, the latter in 1896; in the meantime Leoncavallo received a commission for Der Roland von Berlin, an opera about the Hohenzollern dynasty which premiered in 1904. In between came the realist operas La bohème (which premiered in 1897,

the year after Puccini’s own) and Zazà. None are now standard repertoire operas, however; nor have these works received much attention in the academic literature. Even more sidelined in both the academic canon and the repertoire are the operettas to which Leoncavallo devoted himself in the final decade of his life.

This overview could lead us to conclude that however much Pagliacci had a hold on the theatrical scene, Leoncavallo was unable to match its success; that across his lifetime his relevance to mainstream audiences diminished, and that he therefore authored his own disappearance from our standard histories. This story is not, however, without its limitations. While it is incontestable that Pagliacci was the runaway success of Leoncavallo’s career, the tools we have to assess what counted as success for Leoncavallo are blunt ones. The core documents music historians seek out to measure the historical impact of a work – the grail of the historian, if you will – are reviews and performance statistics. Yet critical

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reactions to Leoncavallo’s premieres tended to devote more attention to how the composer failed than to a clear assessment of what he meant to those who encountered his music: across numerous accounts, he is presented as someone who never found a secure voice; who was more talented as a librettist than as a composer; and whose works were dramatically hollow.

Of course, while the Italian critics lambasted some of his premieres, his critics were an intellectual and often conservative set who were never entirely on board with the sound-world of the giovane scuola and their cosmopolitan inclinations, and were more concerned to direct musical taste than document what occurred in the theatre. Not even Pagliacci was immune to this. One critic for the national broadsheet Corriere della sera, for instance, clearly chose to overlook the excited mood of the audience in 1892: his review did little more than itemise the work’s shortcomings. Add to this the fact that Leoncavallo fell out with

the publishers who ran the main music journals (and who thus sanctioned what counted as a publishable review), and the entire situation seems to have doomed him to be perpetually misunderstood. Irrelevant in his own time, we seem to have reasoned, most of his works remain irrelevant to us now.

There are, however, better measures of Leoncavallo’s success, not least the extent to which his works moved on the international circuits for which operas at this time were intended. Here the statistics tell another tale, one in which Pagliacci is far from the sole work to have created a sensation abroad. And here we come to Zazà. Once Zazà premiered at Milan’s Teatro Lirico under the baton of Arturo Toscanini on 10 November 1900, with Rosina Storchio in the title role, it made the rounds of Italian and European theatres, and soon thereafter reached the Americas. In part this rapid circulation was due to Leoncavallo’s own promotional methods (he took an orchestra and cast on tour to the U.S. to

Rosina Storchio(1876-1945)Leoncavallo’s

first Zazà

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perform selections from the work) and in part (one assumes) because Leoncavallo was a household name by 1900. But it is also clear there must have been something about the work itself which attracted audiences, not least when one takes into account Zazà’s dramatic success at the Metropolitan Opera in New York. In 1920 the star soprano at the Met, Geraldine Farrar, took on the title role and spun the opera out over three consecutive seasons, to crowds that went so mad for it that Zazà was also selected for her farewell performance in 1922. Thus while one can find endless withering reviews from Zazà’s 1900 premiere (one commentator in the Ricordi-run Gazzetta musicale di Milano declared Zazà to be so unmemorable that a second hearing was bound to induce audiences into a state of intractable boredom – and this notwithstanding the commendable performance of Storchio in the title role) the international travels of Zazà reveal another dimension to Leoncavallo’s success altogether. For a while Zazà even outdid Pagliacci as the

composer’s most talked-about work.What all this suggests is that there

should be fewer questions marks around the composer; that rather than consider him a one-hit wonder who faded into oblivion, we should take seriously the aesthetic and cultural work of his operas and reach some consensus about what made Zazà in particular endure as it did. Here we need to confront the biases we have inherited: the works of the giovane scuola have been treated with a liberal dose of condescension even in recent decades, the circumstances of their initial reception still inflecting how we hear them now. At a moment when the musical future stood in tense relation to its own past, critics at premieres often considered the giovane scuola’s operas neither conservative nor innovative enough: at once distant from their Verdian antecedents and also devoid of the classic markers of modernist values, such as sophisticated harmonies whose complexities could cause music theorists to scratch their heads in confusion

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while the music held fast to its own compositional secrets. The work of the giovane scuola instead seemed to bare too much, to put the emotional and musical worlds of their characters on show in too immediate a fashion; there was, in the words of the 19th-century critic Eduard Hanslick, ‘too much voice and too much emotion!’.

That, however, was precisely what these composers set out to produce, at least in their realist works. Much as Verga aimed to showcase emotional conflicts in Cavalleria rusticana and at the same time eliminate evidence of authorial intervention in the narrative, the giovane scuola used the sheer force of the voice to communicate those raw emotions in their verismo works and also set aside certain fundamental musical conventions in the name of realism. Above all, Mascagni, Leoncavallo, Puccini and others found new approaches to the fundamental schema, built into almost all opera until then, that determined who heard what in opera. That schema can be summarised

like this: most of the time, sound in opera is audible to characters but sometimes sound is inaudible to them (in the operatic equivalent of the dramatic soliloquy, for instance, the audience hears a character sing, but characters within earshot do not hear sound issue from the character at all). What is more, sometimes sound is audible as music to characters, but most of the time it is not: unless characters frame their vocalisation as a musical performance within the opera, we – the audience – fantasise that characters hear one another converse in words alone. The works of the giovane scuola lessened reliance on the hierarchical distinction between these levels of sound: in the classic works of the verismo composers, musical sound streams out of the mouths of characters and is much more often available for all to hear: to Hanslick’s horror, those old conventions are undone; voices resonate.

This indeed is one of the most innovative features of Zazà, and it is built into the fabric of the work. Leoncavallo based Zazà on the Pierre Berton and

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Charles Simon play of the same name, which had created a sensation at the Paris Vaudeville in May 1898. The plot is in a sense negligible: the title character is a vocal star of an 1890s French music hall called the Alcazar, who falls for one of its patrons, the international businessman Milio Dufresne. The lovers decide to ‘keep house together’ until Zazà discovers he is married and even has a child. The opera ends where it started, with Milio potentially free to once more prowl the clubs in search of a new mistress. But the very fact that the title character is a vocal star enables Leoncavallo to undo those conventions; to introduce music which characters hear as music. He makes the most of this in Act 1, which is set at a music hall where a series of musical numbers unfold across an evening. The libretto details that the audience should see the area behind the music hall’s auditorium and witness those musical numbers through a door which connects the backstage area to the music hall’s auditorium. As the curtains open we

glimpse Zazà’s rival Floriana take her bows and repeat a song; later we hear the strains of further performances and also witness a love duet between Zazà and her music partner Cascart, delivered to the patrons of the music hall. At all times it is implicit that these are performances within the opera: all the characters hear this as staged music, rather than the natural idiom in which Floriana and others express themselves. And while Leoncavallo did not choose to stage all four acts of Zazà in a music hall, he built similar scenarios into later acts, as in Act 3, when washerwomen can be heard singing outside Milio’s apartment, or when Totò, his child, sits at the piano and performs a Cherubini Ave Maria while Zazà intones an accompanying song under her breath.

But reliance on embedded performances can only be taken so far, and in other moments Leoncavallo resorts to another solution to make his music consistent with the realist mission: avoidance of rounded moments of song. In Zazà, however intense the music

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becomes, characters’ words tend not to be moulded into conventional arias. Their music is instead declamatory, even to the extent that it rarely haunts the listener once the opera has ended: however beautiful characters’ music is allowed to become at times, it ultimately remains elusive. This declamatory mode was one that the giovane scuola learned from Wagner, who famously inflected his character’s music with speech-like rhythms. When used in a realist context, it made a great deal of sense: the more characters’ music could sound like speech, the less the audience would need to overlook the fact that – in marked contrast with real life – operatic characters interact with one another, and address even the most intractable problems, through song.

Such avoidance of conventional arias has made it hard to market Zazà: the soprano for instance is ‘on’ all the time, but her music tends not to cohere into rounded moments that work well as stand-alone arias. This limited the circulation of the work even in 1900,

when it was common for hit arias to circulate in piano-vocal reductions. Zazà is not of course denied arias altogether; one can count several moments that come close to achieving aria status across the opera, and it is not hard to see how an intelligent performer can make these shine. Her Act 1 song ‘Lo sai tu che vuol dire’ is the first of these, and amid the constant soundtrack of the music hall, it stands out for its tender stillness as Zazà recounts how her mother raised her alone. The sound-world on show here – the vocal line which the violins double, in order to make it shimmer with a delicate brilliance; the abandon with which that line soars, the voice’s resolute declamation – is unmistakably a product of the 1890s Italian operatic scene. But it is Cascart’s music that has endured best outside the opera house. His Act 4 aria ‘Zazà, piccola zingara’, which he sings to comfort his friend once she learns the truth about Milio, is the one moment that tends to be excerpted and performed in recital with any regularity. It offers more poised, stable melodies than can be found

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elsewhere in the work, all contained within lilting four-bar phrases. Perhaps Leoncavallo decided he had taken the realist business too far: that Zazà the opera contained an abundance of beautiful moments but needed more sustained musical development. The 1900 version was not, at least, his final statement. Rather, the opera exists in three versions: the so-called prima versione from 1900, the ultima versione from 1919, and the 1947 nuova versione. Leoncavallo completed the second version months before he died in 1919, while it was the minor composer-conductor Renzo Bianchi who, at publisher Casa Sonzogno’s request, hacked at the score to produce the 1947 version. Opera Rara performs the 1919 version on this recording. In comparison with the prima versione, it cuts back on the sonic hubbub of Act 1, offering a first act that is much more streamlined, but no less vital. The cuts sharpen the focus on Zazà and Milio, such that the second half of Act 1 is dominated by an expansive duet for the lovers which unfolds as an alternately nonchalant and breathless

waltz, to which both characters declare their love.

It is, of course, a romance we all know will end in ruin. In the final moments of the opera, once Zazà has dismissed her lover, she is desperate. The music we hear does, however, lead us to think that she could still be delivered from the situation: the ascending violin lines and bright tonality promise as much, for these are the classic sounds of transcendence on the opera stage. But her words communicate otherwise, as does her final utterance. On a hollow monotone that reduces her voice to blunt speech, she stammers ‘tutto è finito’. This was the realist vision of love. And it was a vision that did not fail to resonate with audience members, however much those sentimental encounters have since been erased from our histories.

© Laura Protano-Biggs, 2016

Ermonela Jaho(Zazà)

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Synopsis

Act 1The Alcazar in Saint-Étienne, the 1890s. The curtain rises on the backstage area of a music hall, the Alcazar. A stage band is intermittently heard accompanying various acts in the Alcazar’s main auditorium, almost all of which remain out of sight. Zazà is the star of the establishment while Floriana is her rival. The act as a whole is punctuated by the entrance and exit of characters who converse with Zazà. These include: Duclou, the stage manager; Cascart, a fellow singer who launched Zazà’s modest career and used to be her lover; Natalia, her maid; Anaide, her alcoholic mother; Bussy, a journalist with whom Zazà wagers she will be able to seduce a man named Milio Dufresne; and Milio himself, an international businessman on whom Zazà has set her sights. Milio is at first reluctant to make advances towards Zazà because he believes people of his social

status should avoid wild, mad passion, but as the act progresses he loses his will to resist her blatant advances and when she least expects it, embraces her with tender kisses. Zazà is ecstatic, so much so that she fails to enter on cue for a duet with Cascart. The audience at the Alcazar must wait until she has regained her composure.

Act 2Zazà’s apartment in Saint-Étienne, some time later. Zazà has fallen completely in love with Milio. He is about to depart for America but Zazà protests so much that he promises to postpone the trip. Milio instead leaves for Paris; he tells Zazà he will return shortly. Anaide and Cascart both call on Zazà. Anaide has a hunch her daughter’s new romance is a bad idea; Cascart, meanwhile, has seen Milio with another woman at a theatre in Paris. When he discloses this to Zazà she resolves to track him down and rushes out the door with her maid Natalia in tow.

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Act 3The drawing room in Milio’s home in Paris, a short time later. At his desk, Milio contemplates his imminent return to Saint-Étienne, where he wants to see Zazà one last time before he departs for America with his family. He leaves the house with his wife, who tells the butler, Marco, that a Madame Dunoyer will call shortly. Zazà arrives at the house in search of evidence that Milio has a lover. The butler asks if she is Madame Dunoyer. Zazà pretends that she is, and is therefore allowed to enter with Natalia. While waiting in the drawing room for Milio to return, Zazà sees a letter addressed to a Madame Dufresne and thus learns that Milio has not a mere sweetheart, but a wife. Milio’s daughter, Totò, enters the drawing room moments later. Zazà is moved to tears by the beautiful child, who converses with her and performs a Cherubini Ave Maria at the piano. Madame Dufresne returns, embarrassed to find the strangers in her

home; Zazà claims that she came to the house by accident, says a tender goodbye to Totò, and leaves without breathing a word about her romance with Milio.

Act 4 Zazà’s apartment in Saint-Étienne, a short time later. Zazà has been absent from the Alcazar and the impresario Courtois is concerned about declining box-office receipts. He asks Anaide about Zazà’s whereabouts. Zazà, however, soon enters in a daze; her maid Natalia and Cascart follow. The latter tries to comfort Zazà but also reminds her she must release Milio because his sole duty is to his family. Unaware that Zazà visited his home in Paris, Milio returns to Saint-Étienne. Zazà embraces him and they lunch together, but an incensed Zazà quickly reveals that she knows he has a family. Milio asks her not to reproach him for loving her so madly that he risked an affair. Zazà, however, tells him she went to his home and met his family; what is

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more, she falsely claims she told his wife about their romance. In anger, Milio reveals his true colours: he calls Zazà a slut and not until he learns the truth about her interaction with his wife does he feel remorse. Mindful that Totò needs her father, Zazà dismisses him from her life.

© Laura Protano-Biggs, 2016

Isabella Radcliffe (Italian coach), Steven Maughan (répétiteur) and Ruth Mulholland (studio production assistant)

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Argument

Acte 1L’Alcazar à Saint-Étienne, les années 1890. Le rideau se lève sur les coulisses d’un music-hall, l’Alcazar. Un orchestre, la plupart du temps caché, accompagne par intermittence différents actes de l’auditorium principal de l’Alcazar. Zazà est la protagoniste du lieu tandis que Floriana est sa rivale. L’ensemble de l’acte est ponctué par l’entrée et la sortie de personnages qui conversent avec Zazà. Ce sont Duclou, le régisseur ; Cascart, un compagnon chanteur qui a lancé la modeste carrière de Zazà et partagé sa vie ; Natalia, sa domestique ; Anaide, sa mère alcoolique ; Bussy, une journaliste avec laquelle Zazà parie qu’elle sera capable de séduire un homme nommé Milio Dufresne, et Milio lui-même, un homme d’affaires international sur lequel Zazà a des vues. Milio est tout d’abord hostile à l’idée de faire des avances à Zazà parce qu’il pense que les gens de son rang

social doivent éviter la passion folle et enragée, mais au fil de l’acte, sa volonté de résistance aux avances flagrantes de Zazà l’abandonne et lorsqu’elle s’y attend le moins, il l’embrasse et lui donne de tendres baisers. Zazà est aux anges, à tel point qu’elle oublie d’entrer en scène pour faire son duo avec Cascart. Le public de l’Alcazar doit attendre qu’elle reprenne ses esprits.

Acte 2L’appartement de Zazà à Saint-Étienne, quelque temps après. Zazà est totalement éprise de Milio. Celui-ci est sur le point de partir pour l’Amérique mais Zazà proteste tellement que Milio promet de reporter son voyage. Il se rend à Paris à la place et affirme à Zazà qu’il reviendra promptement. Anaide et Cascart rendent tous deux visite à Zazà. Anaide a le pressentiment que la nouvelle idylle de sa fille est une mauvaise idée ; Cascart, quant à lui, a vu Milio avec une autre femme au théâtre à Paris. Lorsqu’il

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l’apprend à Zazà, celle-ci décide de le retrouver et sort précipitamment, suivie de sa domestique Natalia.

Acte 3Le salon dans la maison de Milio à Paris, peu après. À son bureau, Milio envisage son retour imminent à Saint-Étienne, où il veut voir Zazà une dernière fois avant son départ pour l’Amérique avec sa famille. Il quitte la maison avec sa femme qui informe le valet, Marco, que Madame Dunoyer appellera bientôt. Zazà arrive au domicile et cherche des preuves attestant que Milio a une amante. Le valet lui demande si elle est Madame Dunoyer. Zazà feint cette identité et a, par conséquent, le droit d’entrer avec Natalia. Tandis qu’elle attend dans le salon le retour de Milio, Zazá voit une lettre adressée à Madame Dufresne et apprend ainsi que Milio n’a pas seulement une simple amante, mais une femme. Totò, la fille de Milio, entre dans le salon quelques instants après. Zazà est

émue jusqu’aux larmes lorsque la belle enfant converse avec elle et chante un Ave Maria de Cherubini au piano. Madame Dufresne revient, embarrassée de trouver des étrangères chez elle ; Zazà affirme être entrée dans la maison par accident, prend tendrement congé de Totò et s’en va sans prononcer un mot au sujet de son idylle avec Milio.

Acte 4 L’appartement de Zazà à Saint-Étienne, peu après. Zazà s’est absentée de l’Alcazar et l’imprésario Courtois s’inquiète du déclin des recettes. Il interroge Anaide au sujet des sorties de Zazà. Zazà est, cela dit, vite désemparée ; sa domestique Natalia et Cascart ne tardent pas à s’épouvanter. Ce dernier essaye de réconforter Zazà mais lui rappelle aussi qu’elle doit renoncer à Milio parce qu’il se doit uniquement à sa famille. Ignorant que Zazà s’est rendue chez lui à Paris, Milio rentre à Saint-Étienne. Zazà l’embrasse et ils déjeunent ensemble, mais

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elle lui révèle, furieuse, qu’elle sait qu’il a une famille. Milio lui demande de ne pas lui reprocher son amour fou pour elle car il a risqué l’adultère. Zazà lui annonce quand même qu’elle s’est rendue chez lui et qu’elle a rencontré sa famille ; en outre, elle affirme faussement avoir parlé de son idylle à sa femme. Outré, Milio tombe le masque : il traite Zazà de traînée et n’est pris de remords que lorsqu’il apprend la vérité au sujet de l’interaction entre Zazà et sa femme. Consciente que Totò a besoin de son père, Zazà le raye de sa vie.

© Laura Protano-Biggs, 2016

Manuel Busto(assistant conductor)

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Die Handlung

1. AktAlcazar in Saint-Étienne, um 1890. Wir befinden uns hinter der Bühne eines Varieté-Theaters, dem Alcazar. Immer wieder ist eine Bühnenband zu hören, die verschiedene Darbietungen vor dem Publikum vor der Hauptbühne des Alcazar begleitet, die jedoch kaum zu sehen sind. Zazà ist der Star des Theaters, Floriana ist ihre Rivalin. Der gesamte Akt wird vom Auftritt und Abgang von Charakteren bestimmt, die sich mit Zazà unterhalten. Dazu gehören der Regisseur Duclou, der Sängerkollege Cascart, der Zazàs Karriere ermöglichte und einmal ihr Geliebter war, ihr Dienstmädchen Natalia, ihre alkoholische Mutter Anaide, der Journalist Bussy, mit dem sie wettet, dass sie einen Mann namens Milio Dufresne verführen kann, und Milio selbst, ein internationaler Geschäftsmann, an dem Zazà Gefallen gefunden hat. Zunächst sind die Annäherungsversuche Milios

an Zazà sehr zögerlich, da er aufgrund seiner sozialen Stellung der Meinung ist, wilder Leidenschaft aus dem Weg gehen zu müssen. Im Verlaufe des Akts jedoch verliert er den Willen, sich ihrer offensichtlichen Annäherungsversuche zu erwehren und umarmt und küsst sie zärtlich, als sie es am wenigsten erwartet. Zazà ist im siebten Himmel – und so berauscht, dass sie ihren Auftritt während eines Duetts mit Cascart verpasst. Das Publikum des Alcazar muss sich gedulden, bis sie sich gesammelt hat.

2. AktZazàs Wohnung in Saint-Étienne, etwas später. Zazà hat sich Hals über Kopf in Milio verliebt. Der trifft gerade Vorbereitungen für eine Reise nach Amerika, doch Zazà protestiert so lange, bis er verspricht, die Reise zu verschieben. Stattdessen fährt Milio nach Paris und sagt Zazà, er werde in Kürze zurück sein. Anaide und Cascart besuchen beide Zazà. Anaide befürchtet,

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dass die Romanze ihrer Tochter keine gute Idee ist und Cascart hat Milio in einem Pariser Theater mit einer anderen Frau beobachtet. Als er Zazà davon berichtet, beschließt sie, ihn ausfindig zu machen und verlässt stürmisch die Wohnung, ihr Dienstmädchen Natalia im Schlepptau.

3. AktDer Salon von Milios Familie in Paris, ein wenig später. Milio denkt, an seinem Schreibtisch sitzend, über seine baldige Rückkehr nach Saint-Étienne nach, wo er sich ein letztes Mal mit Zazà treffen möchte, bevor er mit seiner Familie nach Amerika aufbricht. Er verlässt das Haus mit seiner Ehefrau, die dem Diener Marco mitteilt, dass in Kürze eine Madame Dunoyer zu Besuch kommen wird. Zazà erreicht das Haus auf der Suche nach Beweisen dafür, dass Milio eine Geliebte hat. Der Butler fragt, ob sie die angekündigte Madame Dunoyer sei. Zazà gibt vor, diese zu sein und darf somit zusammen mit Natalia das Haus betreten.

Während sie im Salon auf die Rückkehr Milios wartet, entdeckt Zazà einen an eine Madame Dufresne adressierten Brief und findet auf diesem Weg heraus, dass Milio nicht nur eine Geliebte, sondern eine Ehefrau hat. Milios Tochter Totò betritt einige Augenblicke später den Salon. Zazà ist von dem schönen Kind zu Tränen gerührt, das mit ihr Konversation macht und ihr das Ave Maria des Komponisten Cherubini auf dem Klavier vorspielt. Madame Dufresne kehrt zurück und ist entsetzt, eine Fremde in Ihrem Haus vorzufinden. Zazà gibt vor, sich im Haus geirrt zu haben, wünscht Totò liebevoll auf Wiedersehen und verlässt das Haus, ohne ein Wort über ihr Verhältnis zu Milio zu verlieren.

4. Akt Zazàs Wohnung in Saint-Étienne, etwas später. Zazà ist seit einer Weile nicht mehr im Alcazar aufgetreten und der Impresario Courtois ist wegen der schlechten

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Kartenverkäufe besorgt. Er erkundigt sich bei Anaide nach Zazàs Verbleib. Zazà jedoch trifft kurz darauf benommen ein, ihr Dienstmädchen Natalia und Cascart folgen ihr. Cascart versucht Zazà zu trösten, erinnert sie jedoch auch daran, dass sie Milio ziehen lassen muss, da er nur seiner Familie verpflichtet ist. Milio, der nicht weiß, dass Zazà bei ihm zuhause in Paris war, kehrt nach Saint-Étienne zurück. Zazà umarmt ihn und sie gehen gemeinsam Mittagessen, doch die aufgekratzte Zazà verrät bald, dass sie von seiner Familie weiß. Milio bittet sie um Verzeihung dafür, dass er sie so sehr liebt, dass er dafür sogar eine Affäre riskiert. Zazà jedoch erzählt ihm, dass sie bei ihm zuhause war und seine Familie getroffen hat – und nicht nur das: Sie habe seiner Frau von der Affäre berichtet. Der verärgerte Milio zeigt da zum ersten Mal sein wahres Gesicht: Er beschimpft Zazà als Dirne und zeigt keinerlei Reue, bis sie ihm von den wahren Geschehnissen in Paris berichtet. Mit dem Gedanken an

Totò, die ihren Vater braucht, lässt Zazà Milio aus ihrem Leben ziehen.

© Laura Protano-Biggs, 2016

Cast rehearsal in the Opera Rara Music Library

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La trama

Atto 1L’Alcazar di Saint-Étienne, anni 90 del XIX secolo. Si alza il sipario rivelando il dietro le quinte di una sala concerti, l’Alcazar. Un’orchestra, che si ode a tratti e si intravede appena, accompagna gli atti messi in scena nell’auditorium principale. Zazà è la stella della compagnia e Floriana la sua rivale. L’intero atto è caratterizzato da un viavai di personaggi che conversano con Zazà. Tra questi: Duclou, il direttore di scena; Cascart, un cantante della compagnia che ha lanciato la modesta carriera di Zazà e in passato ne è stato l’amante; Natalia, la cameriera di Zazà; Anaide, la madre alcolizzata di Zazà; Bussy, un giornalista con cui Zazà scommette di riuscire a sedurre un uomo di nome Milio Dufresne, un uomo d’affari di livello internazionale su cui Zazà ha messo gli occhi. Sulle prime Milio è riluttante ad accettare le avance di Zazà,

poiché è convinto che la gente del suo rango non dovrebbe lasciarsi andare a passioni folli e sfrenate. Entrando nel vivo dell’atto, però, le sfacciate avance di lei riescono a far breccia nel cuore dell’uomo che, quando lei meno se l’aspetta, l’abbraccia e la bacia teneramente. Zazà è euforica, tanto da dimenticarsi di entrare in scena al momento giusto per un duetto con Cascart. Il pubblico dell’Alcazar deve attendere finché Zazà non torna in sé.

Atto 2Appartamento di Zazà a Saint-Étienne, qualche tempo dopo. Zazà ormai è perdutamente innamorata di Milio. Milio sta per partire per l’America, ma Zazà protesta così tanto che l’uomo le promette di posticipare il viaggio. Quest’ultimo parte invece per Parigi, dicendo a Zazà che non starà via a lungo. Anaide e Cascart fanno visita a Zazà. Mentre Anaide non vede di buon occhio la nuova relazione della figlia, Cascart, nel frattempo, scopre Milio in compagnia

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di un’altra donna in un teatro di Parigi. Cascart lo confida a Zazà che, determinata a mettersi sulle tracce di Milio, ed esce da casa come una furia, accompagnata dalla sua cameriera Natalia.

Atto 3Nel salotto della casa di Milio a Parigi, poco tempo dopo. Milio è alla sua scrivania e riflette sull’imminente ritorno a Saint-Étienne, dove ha intenzione di rivedere Zazà un’ultima volta prima di partire definitivamente per l’America con la sua famiglia. Prima che lui e sua moglie escano di casa, quest’ultima lascia detto al maggiordomo Marco che una certa Madame Dunoyer passerà di lì a breve. Zazà arriva alla residenza di Milio in cerca delle prove della sua infedeltà. Quando il maggiordomo le domanda se sia lei Madame Dunoyer, Zazà annuisce fingendosi tale e viene accolta in casa insieme a Natalia. Mentre aspetta il ritorno di Milio in salotto, Zazà trova una

lettera indirizzata a Madame Dufresne e apprende così che quella dell’uomo non è semplicemente un’amante, ma una moglie. Poco dopo la figlia di Milio, Totò, entra in salotto. Zazà si commuove fino alle lacrime alla vista di quella bellissima bambina, la quale conversa con lei e suona al pianoforte l’Ave Maria di Cherubini. Al suo rientro, Madame Dufresne è confusa nel ritrovarsi a casa due sconosciute. Zazà dichiara di trovarsi lì per sbaglio, saluta Totò con affetto e se ne va senza dire una parola sulla relazione con Milio.

Atto 4 Appartamento di Zazà a Saint-Étienne, qualche tempo dopo. Dal suo ritorno, Zazà è rimasta assente dall’Alcazar e l’impresario Courtois è molto preoccupato per il calo di incassi. L’uomo si rivolge ad Anaide per avere notizie di Zazà. Ben presto Zazà entra in un uno stato confusionale e Cascart e la sua cameriera Natalia vanno a farle visita. Nel tentativo di confortare Zazà,

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Cascart le ricorda anche che il dovere di Milio è quello di rimanere accanto alla sua famiglia. Nel frattempo, ignaro che Zazà sia stata a casa sua a Parigi, Milio torna a Saint-Étienne. Zazà lo accoglie a braccia aperte e i due pranzano insieme. Tuttavia, in uno scatto d’ira, Zazà rivela all’improvviso di sapere che lui ha una famiglia. Milio le chiede di non biasimarlo per il fatto di amarla a tal punto da rischiare di avere una relazione. Zazà però gli racconta di essere stata a casa sua e di aver conosciuto la sua famiglia; inoltre, dichiarando il falso, gli dice di aver detto a sua moglie della loro relazione. Allora Milio, furioso, si rivela per quello che è realmente: insulta Zazà, dandole della poco di buono, e non prova alcun rimorso finché non apprende la verità sull’incontro di Zazà con sua moglie. Consapevole di quanto Totò abbia bisogno di suo padre, Zazà allontana Milio dalla sua vita.

© Laura Protano-Biggs, 2016

Maurizio Benini(conductor)

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Ruggiero LeoncavalloZAZÀOpera in four actsLibretto and score by Ruggiero LeoncavalloFirst performance: 10 November 1900, Teatro Lirico, Milan

ORIGINAL CAST (where known)

Zazà, a music hall singer Rosina StorchioMilio Dufresne, a wealthy Parisian Edoardo GarbinCascart, a music hall singer Mario SammarcoAnaide, Zazà’s mother Clorinda Pini-Corsi[All other original cast members unknown]

The action takes place in Saint-Étienne and Paris

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CD1 72’02

ATTO PRIMO

[1] Introduzione

Il paloscenico dell Alcazar di Saint-Ètienne. Camerino di Zazà a sinistra. A destra sul davanti, porta che dà nella sala da concerto. Più indietro, a destra, altra porta con fondino che dà sulla scena. Sul davanti, a destra, vengono a sedere allegramente Claretta in costume da concerto, Bussy, Courtois, ed il Signore Duclou il régisseur veglia alle entrate ed uscite di scena. Augusto il cameriere serve. Il Pompiere sorveglia. Gran movimento.

(La tela si alza rapidamente.)

FLORIANA (sull’uscio che dà sulla scena, saluta ringraziando il pubblico) (Floriana esce di scena come se andasse a cantare alla ribalta.)(voci numerosissime all’interno)(le grida accompagnate da applausi e da bastoni picchiati sul legno) (applausi)

ACT ONE

[1] Overture

The stage of the Alcazar in Saint-Étienne. Zazà’s dressing room to the left. Front right, the door leading into the music-hall auditorium. Further back, to the right, a screen with another door leading onto the music-hall stage. Claretta in her stage costume, Bussy, Courtois and another man sit down at a table, front right. Duclou, the stage manager, is overseeing the entrances and exits on stage. Augusto the waiter is serving drinks. The Fireman is keeping an eye on things. Lively hustle and bustle.(The curtain rises rapidly.)

FLORIANA (bows and thanks the audience by the door leading onto the stage) (Floriana exits the stage as if going to sing on the music-hall stage.)(numerous voices offstage.)(cheers and applause and the sound of canes banging against wood) (applause)

Fflur Wyn (Floriana)

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[2]Brava! Brava!! bis! bis! biiii—s! bis!

(dall’interno) (Claretta, Bussy, Courtois ed il Signore seggono al tavol a destra e Bussy picchia col bastone sul tavolo.)So che son capricciosa e sventatella, che, come l’api, adoro svolazzar; non son nata per far la monachella e vivo sol per ridere e scherzar! So pur che ad ogni giogo son ribella, che in amor mi piace di cangiar, che mi diverto ad ogni gherminella, eppur, s’io vo’, le teste fò girar! Ah! (con eleganza e civetteria, senza esagerare ma come si usa al caffe-concerto)Che s’io vi fò l’occhietto, mio signor, se lancio un sorrisetto seduttor!... (Riappare sull’uscio; saluta a più riprese ringraziando, e poi, tutta fiera ed impettita, volge verso il tavolo.)

Tremante, ci scommetto, a’ piedi miei v’udrò giurarmi eterno affetto mentr’io riderò!

Brava! Brava! Encore! Encore! Encoooo—re! Encore! (offstage) (Claretta, Bussy, Courtois and another man sit down at the table on the right and Bussy bangs his cane on the table.)I know that I’m wilful and carefree, that I love fluttering like a bee; I wasn’t born to live like a nun I was put on this earth to laugh and have fun! I know that I’ll rebel if you tie me down, that in love I like to chop and change around, that I enjoy every sleight of hand, every ruse, though, if I want, I can turn heads with ease! Oh! (engagingly and flirtatiously, but not too lewd, in keeping with music-hall style)I know, kind Sir, if I wink at you, if I smile at you seductively!... (She reappears at the door leading onto the stage; she bows repeatedly, thanking the audience, then proudly turns towards the table.)I’ll wager you’ll be quakingat my feet as I hear you makingvows of eternal love and passionwhile I am busy laughing!

David Stout(Bussy)

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BUSSY (insistendo)Augusto!AUGUSTO (accorrendo) Pronti! BUSSY (ordinando)Birra (Augusto fa per partire.)(Ferma Augusto e si rivolge a Claretta.)E voi, che prendete? CLARETTA (ad Augusto) Un kümmel, (poi graziosamente a Bussy) Grazie. COURTOIS (ordinando a sua volta ad Augusto)Io prendo una gran tazza; ho sete! (Augusto esce correndo dalla porta che dà nella sala e torna dopo un poco colle bibite.)

DUCLOU (gridando verso il fondo della scena)Attenti i Clowns! VOCI D’UOMINI ALL’INTERNO (una parte del pubblico)Mio signor!… seduttor!Oh! Oh! Oh!... Oh! Oh! Oh!(Due clowns portando il primo una gran caffettiera in latta e l’atro un soffietto da cucina, giungono dal fondo – lasciano per poco

BUSSY (insistent)Augusto!AUGUSTO (hurrying over)What can I get for you, Sir! BUSSY (ordering)Beer (Augusto is about to go.)(He stops Augusto and turns to Claretta.)What about you? What would you like? CLARETTA (to Augusto) A Kümmel, please.(then politely to Bussy) Thank you. COURTOIS (also ordering from Augusto)

A large one for me, please; I’m very thirsty! (Augusto hurries out of the door leading to the auditorium and quickly returns with the drinks.)DUCLOU (shouting towards the rear of the stage)Clowns, at the ready! MEN’S VOICES OFFSTAGE(some of the audience)Kind Sir!… seductively!Ha! Ha! Ha!... Ha! Ha! Ha!(Two clowns enter upstage, one carrying a large tin coffeepot and the other a pair of kitchen bellows – they greet everyone around

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questi bizzarri instumenti sul tavolo dopo aver salutato quelli che sono intorno e vanno a guardarsi nello specchio che è accanto alla porta del camerino di Zazà.)VOCI INTERNEBrava! (ed applause prolungati sino alla fine del ritornello)BUSSY, COURTOIS, CLARETTA ED UN SIGNORE Ma brava! Ma brava! Che successo! [3] FLORIANA Stasera sono in voce!COURTOIS (galantemente facendole posto al tavolo)Sempre! FLORIANA (squadrando Courtois con fare insolente)Ma guarda! divien galante adesso!

È vero che Zazà l’ha piantato! COURTOIS (confuso e sorpreso)Come?! (I clowns prendono gli strumenti e si dispongono ad entrare in iscena.)FLORIANA (con accento di caricatura, sempre più marcato)Come si pianta! Il mio turno è arrivato!

the table, then leave these strange instruments on the table while they inspect themselves in the mirror hanging on the door of Zazà’s dressing room.)VOICES OFFSTAGEBrava! (and prolonged applause until the end of the ritornello)BUSSY, COURTOIS, CLARETTA & A GENTLEMAN Brava! Brava! What a triumph! FLORIANA I’m in good voice tonight!COURTOIS (gallantly, making room for her at the table)Always! FLORIANA (impudently looking Courtois up and down)Well, I never! Look who’s being chivalrous all of a sudden! Is it true that Zazà has given you the elbow! COURTOIS (embarrassed and surprised)How do you mean? (The clowns pick up their instruments and stand ready to go on stage.)FLORIANA (even more mockingly)

How the elbow is always given! Is it my turn now then?

Simon Thorpe(Duclou)

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(salutando con affettazione)Troppa grazia! Troppa grazia!DUCLOU (suona il campanello elettrico) (ai clowns) (apre la porta che dà sulla scena)

In iscena! (I Clowns entrano suonando stonato in iscena – grandi applausi all’interno.)(Courtois siede ridendo; Floriana siede anch’essa. Bussy chiama Augusto perchè serva Floriana, essa ordina ed Augusto torna colla bibita.)BUSSY (a Floriana)Di’, stasera si prova finito lo spettacolo la gran «rivista» nuova di Bussy? (accennando spavaldamente a sè stesso)DUCLOU (chiude la porta che dà sulla scena)FLORIANA (di cattivo umore)Ma... purtroppo! BUSSY (ironicamente)Ciò non ti garba? FLORIANA Affatto! Questo sarà un bel fiasco! Già, quasi tutto l’atto è per Zazà!... la Diva!...

(bowing to him theatrically)You’re too kind! You’re too kind!DUCLOU (rings the electric bell) (to the clowns) (he opens the door leading onto the stage)On stage now! (The clowns go on stage playing their instruments – loud applause offstage.)(Courtois sits down laughing; Floriana also sits down. Bussy summons Augusto to serve Floriana, she orders and Augusto comes back with her drink.)BUSSY (to Floriana)Tell me, tonight, after the show, are you rehearsing the wonderful new Revue by Bussy? (pointing cockily to himself)DUCLOU (closes the door leading onto the stage)FLORIANA (crossly)Yes, unfortunately! BUSSY (ironically)Don’t you like it? FLORIANA (getting angry)Not at all! It’ll be a complete flop! Of course, it’s almost all centred around Zazà!... the Diva!...

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SIMONA (Corista) (viene dal fondo in costume da concerto, saluta gli amici e siede anch’essa ascoltando ciò che dice Floriana)

BUSSY (sorridendo)Sempre la stessa istoria! Contro Zazà!! FLORIANA (subitamente con umiltà caricata)Perdon! Che sciocca! La sua gloria, caro Bussy, tu canti sempre nel « Gazzettino, » ed io me lo scordavo!... (Prende il mezzo della scena.) So a mente il fervorino! DUCLOU (si appressa alla porta che dà sulla scena come per sorvegliare, e la dischiude giusto sul tempo seguente.)NATALIA (arriva dal fondo, apre il camerino di Zazà, entra, chiude la porta e comincia a mettere in ordine l’abito.)CLARAETTA, SIMONA, IL SIGNORE (ridendo)Ah! Ah! Ah! Ah! Ah! Ah!COURTOIS (ridendo)Ah! Ah! Ah! Ah! Ah! Ah!(a Floriana scorgendo Natalia)È qui che arriva. All’erta! FLORIANA All’inferno la stella con l’astronomo!

SIMONA (a member of the chorus) (enters upstage in music hall costume, greets her friends and sits down, listening to what Floriana has to say)BUSSY (smiling)It’s always the same old story! Down with Zazà! FLORIANA (suddenly with exaggerated humility)I do beg your pardon! What a shock! I forgot that you, my dear Bussy, are always singing her praises in the Gazzettino!... (She walks into the middle of the stage.) I know your eulogy by heart! DUCLOU (walks over to the door leading onto the stage, as if to keep an eye things, and opens it on the following beat.)NATALIA (enters upstage, opens the door to Zazà’s dressing room, goes in, closes the door and begins to tidy away her clothes.)CLARETTA, SIMONA, THE GENTLEMAN (laughing)Ha! Ha! Ha! Ha! Ha! Ha!COURTOIS (laughing)Ha! Ha! Ha! Ha! Ha! Ha!(to Floriana, catching sight of Natalia)She’s coming. Watch out! FLORIANA To hell with the star and the astronomer!

Nicky Spence (Courtois)

53

COURTOIS (stupito)Che astronomo! Farnetichi?FLORIANACascart, l’amante suo, che l’ha scoperta!!(Siede volgendo le spalle al lato sinistro della scena come per non vedere chi passa.)

[4] ZAZÀ (appare dal fondo e va al tavolo dove è il gruppo)Salute, ragazzi. CLARETTA E SIMONA (coriste)Zazà, buona sera.

BUSSY, IL SIGNORE & COURTOIS Zazà, buona sera. (stringendo le mani a Claretta e Simona)ZAZÀAddio, mie piccine. (Si arresta guardando con sorriso sprezzante Floriana che le volge il corso e crolla le spalle, poi si rivolge a Bussy.)È giunto Marsy? BUSSY No, No! Ancora il collega non vidi stasera. ZAZÀ (con interesse più vivo)E il suo fido amico Dufresne? BUSSYNon è qui.

COURTOIS (amazed)What astronomer? You’re making no sense!FLORIANACascart, her lover, who discovered her!(Floriana sits down, turning her back to the left side of the stage, as if to avoid seeing who is coming.)ZAZÀ (enters upstage and walks over to the table where the group is sitting)Hello, everyone. CLARETTA & SIMONA (members of the chorus)Good evening, Zazà. BUSSY, THE GENTLEMAN & COURTOIS Good evening, Zazà. (shaking hands with Claretta and Simona)ZAZÀHello, girls. (She stops, gives Floriana a contemptuous smile, who shrugs and turns away. Then Zazà turns to Bussy.)Has Marsy arrived? BUSSY No! No sign of my colleague yet tonight. ZAZÀ (with keener interest)What about his faithful friend, Dufresne? BUSSYHe isn’t here.

54

DUCLOU (Apre la porta che dà sulla scena sulla battuta a tempo 2/4 per la fine del numero dei clowns e viene sul davanti.)ZAZÀ (delusa)Ah!... (muovendo verso il suo camerino) (a Bussy) Vado a vestirmi. DUCLOU (a Zazà)Però, senza fretta; c’è tempo. COURTOIS (entra dalla porta della sala in berretto e pipa in bocca)DUCLOU A te, su, Claretta. CASCART (salutando Bussy, Courtois ed il Signore stringendo loro la mano)BUSSY (alzandosi)Ecco Cascart. DUCLOU (suona il campanello elettrico)CASCART Signori! COURTOIS (Courtois, Bussy si fermano come per intavolare un discorso.)Signor Cascart!CASCART La buona sera! (Bussy e Courtois scompaiono dal fondo a sinistra. Cascart va alla porta del camerino di Zazà ed entra senza picchiare.)

DUCLOU (Opens the door leading onto the stage on the 2/4 beat for the end of the clowns’ number and comes downstage.)ZAZÀ (disappointed)Oh!... (heading for her dressing room) (to Bussy) I’m going to get dressed. DUCLOU (to Zazà)There’s no need to rush though; You have plenty of time yet. COURTOIS (enters through the door to the auditorium, wearing a cap and smoking a pipe)DUCLOU You’re next, Claretta. CASCART (shaking hands with Bussy, Courtois and the other man)BUSSY (standing up)Here’s Cascart. DUCLOU (rings the electric bell)CASCART Good evening, Gentlemen!COURTOIS (Courtois and Bussy stop, as if about to start a conversation.)Hello, Cascart.CASCARTGood evening! (Bussy and Courtois exit upstage left. Cascart goes over to the door of Zazà’s dressing room and enters without knocking.)

Ermonela Jaho (Zazà)

56

[5] CASCART Buona sera, mia Zazà!ZAZÀAh! sei tu, Cascart, mio core! (Natalia come vede entrare Cascart si ritira; uscendo chiude la porta del camerino e va via pel fondo)Amor mio! Donde venite? Racontate mio signor;Dove foste ad ingannarmi?(Il signore, Claretta e le due cantanti si allontanano anch’essi verso il fondo, sicchè la scena rimane vuota.)CASCART (sorridendo)Come va’, cattiva céra? ZAZÀBene. Siedi là, mi narra: che notizie questa sera? CASCART (siede a cavalcioni sulla sedia in faccia a Zazà)C’è l’agente che mi scrive da Marsiglia: offre la piazza. ZAZÀPer noi due? Non vuoi piantarmi già?

CASCART (crollando le spalle)Sarebbe cosa pazza! Offre il doppio!

CASCART Good evening, my dear Zazà!ZAZÀOh! It’s you, Cascart, my dearest! (Natalia withdraws when she sees Cascart enter; she goes out, closing the dressing room door and exits upstage)My love! Where have you come from? Tell me, dear sir;Where is it that you’ve been playing false to me?(The other man, Claretta and the two singers also head upstage, leaving the stage empty.)CASCART (smiling)How are you, little minx? ZAZÀI’m fine. Sit down over there, and tell me what’s new tonight? CASCART (straddling the chair opposite Zazà)The agent has written to me from Marseille with a job offer. ZAZÀFor both of us? You’re not dropping me, are you? CASCART (shrugging)I’d be mad to do that! He’s offering double what we get!

57

ZAZÀE dire, amico, ch’è per te che sono artista!

Ti rammenti? Alle taverne per cantar che vita trista! Io col piatto andava intorno... Che dolori abbiam sofferti con mia madre! CASCART Certamente ch’eran magri i vostri incerti!

Se per caso trenta soldi raccoglievi nel tuo piatto ne beveva almen quaranta la tua mamma d’un sol tratto! Vecchia spugna insaziata!... ZAZÀBasta...! Sai che mi dà pena!

CASCART Ma il gran male è che prosegue… Oggi, vedi, una dozzena! ZAZÀVia, non mi torturare! È madre mia, e ha sorriso sì poco ai suoi prim’anni: Ha pianto molte lacrime per via, povera donna, ed ebbe molti affanni! [6]Lo sai tu che vuol dire un uom che fugge

ZAZÀJust think, my friend, it’s all because of you that I became an artiste! Do you remember? What a miserable life it was, singing in the taverns! I went around with the plate... How my mother and I suffered! CASCART You certainly had to put up with slim pickings! If you were lucky enough to collect thirty sous in your plate your mother could down at least forty in one go!She soaked it up like an old sponge!... ZAZÀThat’s enough...! You know how much it upsets me! CASCART What’s worse, she hasn’t stopped… She drinks like a fish these days! ZAZÀStop it, don’t torture me! She’s my mother and she had so little reason in younger years to smile: through life, she’s wept so many tears, poor woman, and had so much cause to suffer! Do you know what it’s like to be abandoned

Stephen Gaertner(Cascart)

59

e che ti lascia con un bimbo, sola?

Ogni seme di bene in te si strugge, e diventa l’amore una parola! Che farà, dove andrà, dimmi, una madre con un figliuol tremante fra le braccia! Annoia tutti un bimbo... anche suo padre...

e la povera donna ognun discaccia!!

Io la mamma rivedo in abbandono: Rammento i suoi dolori, e le perdono!! [7] CASCART (levandosi)Tu sei buona... (la bacia) Troppo buona!

Ora vado a vestirmi. (Rientra frettoloso dalla porta che dà nella sala.)(Sulla soglia fa un cenno di addio, chiude la porta e va via in fretta pel fondo.)ZAZÀ (gaia)Ti spiccia, e vieni a prevenirmi. (Dal fondo appare Anaide che si avanza, mentre dalla porta della platea viene Augusto con un vassoio con bicchiere ripieno. Essi s’incontrano a mezzo del paloscenico.) [8] ANAIDE Augusto, buona sera!

by a man who leaves you to raise a child alone? Every seed of good withers away inside and love becomes but an empty word! Tell me, what can she do, where can she go, a mother with a fearful babe in arms? A child is a nuisance to all... not just its father... everyone turns the poor woman from their doors! I see again my mother forlorn and forsaken: I recall her troubles, and forgive her for them! CASCART (standing up)You’re a good person... (kisses her) Much too good!I’m off to get dressed now. (Cascart hurries back through the door leading into the music hall auditorium.)(He waves goodbye in the doorway, shuts the door and hurries upstage.)ZAZÀ (gaily)Hurry up, and then come and fetch me. (Anaide enters upstage and walks downstage, while Augusto enters through the auditorium door carrying a tray with a brimming glass. They meet in the middle of the stage.) ANAIDEGood evening, Augusto!

60

AUGUSTO Buona sera, Signora Anaide! Avete buona cèra. ANAIDENo, sto mal!... nello stomaco ho un gran fuoco! Che porti? AUGUSTO Un grog. ANAIDE Dà qui. (Lo beve.)(con un sospiro di soddisfazione passandosi la mano destra sullo stomaco)Ah! Ciò calma un poco. Lo metti in conto di mia figlia. AUGUSTO Bene. Ah! vostra figlia che successo! Tiene tutta da voi! Che ai vostri tempi!...

ANAIDE Augusto! Quand’io cantavo! AUGUSTO Che grazia! che gusto! ANAIDE Il repertorio classico!

AUGUSTO Good evening, Madame Anaide! You look well. ANAIDE I’m not well at all!... My stomach is on fire!

What have you got there? AUGUSTO A grog. ANAIDE Give it to me. (She drinks it.)(with a sigh of satisfaction, rubbing her stomach with her hand)Ah! That’s soothed the pain. Put it on my daughter’s slate. AUGUSTO As you wish. Oh! Your daughter is such a hit! She gets it all from you! You, who, in your day... ANAIDE Augusto! When I used to sing! AUGUSTO Such grace! Such style! ANAIDE The classical repertory!

Kathryn Rudge(Natalia)

62

AUGUSTOIl pompiere!...ANAIDE Le oche!! La, la, la, La, la, la, la, Oh, miei trionfi...! Or vo’ a vedere Zazà. (Si avvia al camerino.) Mi porta un punch nel camerino.

AUGUSTO (esce dalla destra)Sta ben. ANAIDE Ahi! brucio !... È proprio all’intestino. Addio tesoro! ZAZÀ (sorpresa)Toh! sei tu, mammà. ANAIDE Sì, la mammina de la sua Zazà. ZAZÀDatele un bacio tosto alla Zazà. Ma via non portate il rossetto. ANAIDE Signora Natalia! NATALIA Signora! ANAIDE (sedendo con soddisfazione)Ah! Alfin ti trovo sola, e ti si può parlare senza Cascart che sindaca!...

AUGUSTOThe fireman!... ANAIDE The Geese! La, la, la, la, la, la, la, Oh, I was such a success...! I’m going to see Zazà now. (She heads for the dressing room.) Bring me a glass of punch to her dressing room. AUGUSTO (exits to the right)Right away. ANAIDE Mercy me! My stomach is burning. My treasure! ZAZÀ (surprised)Oh! It’s you, mother. ANAIDE Yes, Zazà’s loving mother. ZAZÀGive your Zazà a kiss now. But watch you don’t smear my lipstick. ANAIDE Hello, Natalia! NATALIA Hello, Madame! ANAIDE (sitting down with satisfaction)Ah! At last I’ve found you alone, so I can speak to you without Cascart, who is so critical!...

63

ZAZÀMamma, non cominciare! ANAIDEGià! già, non si può toccarlo; sempre i consigli suoi tu segui! ZAZÀNella miseria ci avean costretti i tuoi! ANAIDE (drammaticamente)Va! Va pure, ingrata, insultami!

Su me le accuse aduna. (Augusto giunge dalla porta che dà nella sala portando il punch per Anaide, va al camerino di Zazà ed apre la porta dicendo:)

AUGUSTO Ecco il punch. ANAIDE (prendendo il bicchiere)Mille grazie. (a Zazà)Ciò non porta fortuna! ZAZÀMamma, bevi e sta zitta. ANAIDE (piangendo)Ahi! sono sventurata! ZAZÀCi siamo! Eccoci al pianto! la solita scenata!

ZAZÀDon’t start, Mother! ANAIDE (getting angry)Naturally! No one can say anything against him; you always follow his advice! ZAZÀYour advice landed us in poverty! ANAIDE (dramatically)That’s right! That’s right, ungrateful girl, insult me! Heap all the blame on me. (Augusto enters through the door to the auditorium carrying Anaide’s glass of punch. He walks over to Zazà’s dressing room and opens the door, saying:)AUGUSTO Here’s your punch. ANAIDE (politely, taking the glass)Thank you kindly. (to Zazà)This won’t bring me good luck! ZAZÀMother, drink up and be quiet. ANAIDE (weeping)Alas! I’m such a poor unfortunate woman! ZAZÀHere we go again! Here come the tears! The usual scene!

Christopher Turner(Augusto)

65

ANAIDE (singhiozzando)Uh! Uh! Ah! Ah! Uh!ZAZÀBaciami, bevi e dimmi perché sei qui.

ANAIDE Ih! Ih! Uh! Uh! Uh! Uh! Uh! (passando dal piante al riso)Ah! Zazà! Per vederti!...ZAZÀE per chiedermi? ANAIDE L’affitto... ZAZÀLo so già. Farò pagare; e dopo? ANAIDE Un nulla… un vecchio conto... Tre luigi...! ZAZÀ (balzando)Sei matta...! ANAIDE Zazà, cara fanciulla... ZAZÀDarò un luigi, smettila. ANAIDE (implorandola)Oh! due! ZAZÀMamma, prevedo...

ANAIDE (sobbing)Oh! Oh! Ah! Ah! Oh!ZAZÀGive me a kiss, drink up and tell me why you’re here. ANAIDE Oh! Oh! Ah! Ah! Ah! Ah! Ah! (switching from tears to laughter)Oh! Zazà! To see you!...ZAZÀAnd to ask for something? ANAIDE The rent... ZAZÀI knew it. I will make sure it’s paid. Anything else? ANAIDE A mere trifle… an old debt... Three gold Louis...! ZAZÀ (jumping to her feet)You’re mad...! ANAIDE Zazà, darling girl... ZAZÀI’ll give you one gold Louis, that’s all. ANAIDE (begging her)Oh! Two! ZAZÀMother, I foresee...

66

ANAIDE Due, ti farò le carte! ZAZÀ (sorridendo)Le carte!... ah furba! i cedo. (Anaide fa per prendere le carte di tasca.)

DUCLOU Avanti i ballerini. ZAZÀIl mio turno è vicino. Vieni domani. ANAIDE (bacia Zazà ed esce dal camerino)Amore! (Esce dal fondo.)(Due uomini e due donne in costume di ballerini spagnuoli vengono vivamente dal fondo e si preparano ad entrare in iscena.)[9] ZAZÀ (provando la voce mentre si veste)Ah! Ah! Ahi la la!DUCLOU (apre la porta) (suona il campanello) (Le due coppie entrano in iscena – applausi all’interno – Duclou lascia aperta la porta che dà sulla scena e resta tra il fondaletto e la porta come osservando la danza.)BUSSY (arriva dal fondo ed entra da Zazà)

ANAIDE Two, and I’ll read your cards! ZAZÀ (smiling)My cards!... Oh, you don’t miss a trick, do you? I give in! (Anaide goes to take the cards from her pocket.)DUCLOU Dancers, you’re on. ZAZÀIt’s almost my turn. Come back tomorrow. ANAIDE (kisses Zazà and exits the dressing room)My darling! (She exits upstage.)(Two men and two women dressed as Spanish dancers enter hurriedly upstage and prepare to go out onto the music-hall stage.)ZAZÀ (practising vocal exercises as she dresses)Oh! Oh! La La La!DUCLOU (opens the door) (he rings the bell)(The two pairs of dancers go out onto the music-hall stage – applause offstage – Duclou leaves the door leading onto the stage open and remains between the screen and the door, as if watching the dancers.)BUSSY (enters from upstage and walks into Zazà’s dressing room)

Patricia Bardon(Anaide)

68

ZAZÀAlfin! sei tu, sei tu poeta del cuor mio! BUSSY Che accoglienza! Davver fiero son io! Saresti incapricciata di Bussy?

ZAZÀChe pretesa! BUSSY Ti par? ZAZÀ (delusa)Sei solo? BUSSY Sì. ZAZÀ (delusa)Ah! BUSSY Ti portavo il duo per la «rivista». ZAZÀ (annoiata)Oh!BUSSY Vuoi vederlo? ZAZÀGrazie, fa lo stesso. È facile? BUSSY Lo impari a prima vista; io l’ho letto a Dufresne adesso adesso.

ZAZÀAt last! It’s you, the poet dearest to my heart! BUSSY What a warm welcome! I’m honoured! You wouldn’t have taken a shine to Bussy, would you? ZAZÀYou’ve got some cheek! BUSSY Really? ZAZÀ (disappointed)Are you on your own? BUSSY Yes. ZAZÀ (disappointed)Oh! BUSSY I was bringing you the duet for the Revue. ZAZÀ (bored)Oh!BUSSY Do you want to see it? ZAZÀIt makes no difference to me. Is it easy? BUSSY You can learn it at first sight; I read it to Dufresne just a moment ago.

69

ZAZÀ (balzando allegra)È qua? BUSSY Da Floriana... ZAZÀ (scoppiando)Ah! Si vede che di lei non può far senza! Certo all’amico piace la pittura se al vecchio quadro dà la preferenza. BUSSY Tu meglio ameresti vederlo da te! ZAZÀIo... no... Non ci tengo... non l’amo!

BUSSY Ma che! Ma che!Ei non ti vagheggia, e, naturalmente, chi poco ti cura tu brami.

ZAZÀInsolente! Al tuo bel Dufresne sol ch’io dica: voglio!

lo vedi ai miei piedi...! BUSSY Zazà... troppo orgoglio. ZAZÀTu dunque mi sfidi?

ZAZÀ (jumping up happily)Is he here?BUSSY He’s with Floriana... ZAZÀ (unable to contain her anger)Ah!He obviously can’t do without her! Your friend must like paintings if he shows such a preference for old masters. BUSSYYou’d rather he was admiring you! ZAZÀMe... no... I don’t give two hoots... I don’t like him! BUSSY Really! Really!He doesn’t pine for you so, naturally, you’re attracted to any man who isn’t interested in you. ZAZÀYou’ve got such a nerve! All I’d have to say to your handsome Dufresne is: I want you! And he’d be grovelling at my feet...! BUSSY Don’t be so sure, Zazà... ZAZÀIs that a challenge?

70

BUSSY Scommetto. Ci stai? Ciò ch’egli rifiuta a me tu darai. ZAZÀ (ridendo)Stai fresco! BUSSY Tu temi? ZAZÀTemer? Poveretto...! BUSSY Se Milio non cede...? ZAZÀ (ridendo)Mi vinci; l’hai detto! (vivi applausi e grida di bis mentre dal fondo arriva Cascart in costume)(Duclou chiude la porta che dà sulla scena e scompare dal fondo.)[10] CASCART Ebben, Zazà? ZAZÀHo finito; ci siamo? CASCART Non ancora. (a Bussy) (si stringono la mano)(salutando Bussy)Addio. ZAZÀBeviamo allora un bicchier di sciampagna. BUSSY Ciò mi va.

BUSSY It’s a wager. Are we on? What he refuses, you’ll give to me. ZAZÀ (laughing)You’ll be in trouble! BUSSY Aren’t you afraid? ZAZÀMe, afraid? Don’t be silly...! BUSSY What if Milio doesn’t give in...? ZAZÀ (laughing)Then you win me; I’ve given you my word! (hearty applause and shouts of ‘encore’ as Cascart in music-hall costume enters upstage)(Duclou closes the door onto the music-hall stage and exits upstage.)CASCART Are you ready, Zazà? ZAZÀYes, I’m ready; is it our turn? CASCART Not yet. (to Bussy) (shaking his hand)(greeting Bussy)Good evening. ZAZÀLet’s have a glass of champagne then. BUSSY That sounds good to me.

Michael Haas (producer), Maurizio Benini (conductor) and Manuel Busto (assistant conductor)

72

ZAZÀSignori, avete udito? Entrate, andiamo! DUCLOU (entrando)Se non v’importuniamo... COURTOIS Mille grazie. CASCARTSignore! e lei che fa? ZAZÀVia, ci faccia l’onore...! entri anche lei... le par...! (inchinandosi al signore che entra cerimoniosamente)CASCART (a Bussy)Guarda!... veggo spuntarl’amico tuo, Bussy. BUSSYDufresne? CASCART Sì: è là con Floriana... ZAZÀAh!... CASCART (a Bussy)Se ti fa piacer, invita anch’esso a bere. BUSSY Ehi! Dufresne!

ZAZÀGentlemen, did you hear me? Come on in, don’t be shy! DUCLOU (entering)If we’re not disturbing you... COURTOIS Thank you kindly. CASCART Come now, sir! What are you doing out there? ZAZÀWon’t you do us the honour of joining us? Come in too... you’re more than welcome...! (bowing to the man, who enters stiffly)

CASCART (to Bussy)Look, Bussy!... Your friend has just turned up. BUSSY Dufresne? CASCART Yes: he’s over there with Floriana... ZAZÀOh!... CASCART (to Bussy)You can invite him in here for a drink too, if you like. BUSSY (calling out)Hey! Dufresne!

73

MILIOChe c’è? BUSSY Venite qui. MILIO (a Bussy)Or vengo. (a Floriana)Mi scusate! (Milio entra nel camerino, saluta e prende il bicchiere che gli offre Zazà.)ZAZÀI calici colmiamo. CASCART È fatto... BUSSY Noi beviamo a Zazà! MILIO, COURTOIS, IL SIGNORE, CASCART, DUCLOUAi trionfi di Zazà!! [11] FLORIANAUn uomo sol restavaci da questo lato, e l’hai condotto via! Sei proprio gentilissimo! BUSSY E tu perché con lui non vieni qua? FLORIANA Io là?! No, tante grazie! Ci resti sol. Se cerca compagnia, da quella parte non ne mancherà!

MILIOWhat is it? BUSSY Come over here. MILIO (to Bussy)I’m coming. (to Floriana)Excuse me! (Milio enters the dressing room, bows and takes the glass held out to him by Zazà.)ZAZÀFill the glasses to the brim. CASCART It’s done... BUSSY Let’s drink to Zazà! MILIO, COURTOIS, THE GENTLEMAN, CASCART, DUCLOUTo Zazà’s success! FLORIANA Only one man stayed on this side, and you took him away! You’re too kind! BUSSY Well, why didn’t you come in here with him? FLORIANA Me, go in there? No, thank you! Here, you can be alone. If you’re looking for company, there isn’t any lack of it over there!

74

ZAZÀDa te certo altrettanta non ne trova!

FLORIANA Se non ti basta prendi anche il pompier!

ZAZÀ (sull’uscio del camerino)Vederlo teco non è cosa nuova: s’egli ti vuole te lo lascio inter! CASCART (a Zazà)Suvvia cessate!BUSSYSu, Floriana!SOPRANO 1 (tenendo per Floriana)Ha ragione Floriana!SOPRANO 2 (tenendo per Zazà)Ha ragione! Ha ragione!FLORIANA Ah, baldracca! ZAZÀVil mezzana! MILIOCessate!CASCARTZazà!BUSSYDividiamole!COURTOIS coi I TENORI/BASS La tempesta e scatenata! Finitela!

ZAZÀYou certainly won’t find as many men over there with you! FLORIANA If you haven’t got enough, why not take the fireman too! ZAZÀ (in the doorway of her dressing room)It’s not unusual to see him with you: so if you want him, he’s all yours! CASCART (to Zazà)Come now, that’s enough!BUSSYCome now, Floriana!SOPRANO 1 (siding with Floriana)Floriana is right!SOPRANO 2 (siding with Zazà)She’s right! She’s right!FLORIANA You whore! ZAZÀFilthy slut! MILIOThat’s enough!CASCARTZazà!BUSSYTry to separate them!COURTOIS with the TENORS/BASS The storm has broken! Stop it!

Riccardo Massi(Milio)

76

Ha ragione!Dividiamole, ma smettetela, cessate…

FLORIANA Vien qui! Svergognata! MILIOBasti orsù!CASCARTVia Zazà!BUSSYSmetti orsù!SOPRANO 1Dalli, dalli, Floriana! Dalli su!

SOPRANO 2Su, Zazà, dalle un ceffone! Dalle su!TENORS 1 & 2La tempesta è scatenata! Ferme, olà. Via cessate!BASSFerme, olà!ZAZÀLinguacciuta! Vil mezzana!MILIOFerme, olà!CASCART/BUSSYVuoi cessar!ZAZÀ (si accapigliano) (Con un colpo di mano Zazà scarmiglia la chioma di Floriana

She’s right!Try to separate them, stop right now, that’s enough…FLORIANA Come here! Shameless hussy! MILIOStop it now!CASCARTCome on, Zazà!BUSSYStop it now!SOPRANO 1Give it to her, give it to her, Floriana! Give it to her!SOPRANO 2Come on, Zazà, slap her! Give it to her!TENORS 1 & 2The storm has broken! Stop it, now. Come on, stop it!BASSStop it, now!ZAZÀBlabbermouth! Filthy bitch!MILIOStop it, now!CASCART/BUSSYWill you stop it!ZAZÀ (resorting to blows) (Zazà slaps Floriana, mussing her hair – Milio, Cascart

The BBC Singers, women’s chorus, with Renato Balsadonna (chorus director)

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– Milio, Cascart e Bussy prendono Zazà, Courtois, Floriana e le separono mentre esse continuano a bisticciarsi.)ZAZÀLinguacciuta… No, paura non mi fai. FLORIANASvergognata… No, paura non mi fai…MILIOBasta… Via smettetela… Zitte! Zitte! Su!

COURTOISZitti! Zitti! su ! sentono di giù!

CASCART Via, che spetta a noi: su, preparati Zazà. BUSSYVia, finitela e tacete, Basta, sentono di giù.

SOPRANO 1Essa ha ragion, dalli, dalli Floriana!SOPRANO 2Essa ha ragion, ha mertata la lezione!CASCARTSì, lo so, ma spetta a noi.Via, preparati, Zazà!ZAZÀSe pel ciuffo la ripiglio...

and Bussy grab Zazà, while Courtois holds onto Floriana and they pull them apart as they continue quarrelling.)ZAZÀBlabbermouth… She doesn’t scare me at all. FLORIANAShameless hussy… She doesn’t scare me at all...MILIOThat’s enough… Come now, stop it… Be quiet! Be quiet! Come now!COURTOISBe quiet! Be quiet! Come now! They can hear you out there! CASCART Come on, it’s our turn now: come on, get ready, Zazà. BUSSYCome on, stop now. Be quiet, enough of this, they can hear you out there.SOPRANO 1She’s right, give it to her, give it to her, Floriana!SOPRANO 2She’s right, she deserved to be taught a lesson!CASCARTYes, I know, but it’s our turn now.Come on, get ready, Zazà!ZAZÀIf I get her by the hair again...

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FLORIANA Che... COURTOISBasta! Basta! Cessate lo scompiglio! (alle donne) Via Silenzio!(a Duclou)Date il segno. (Gli artisti, le artiste, il Pompiere e servi di scena si allontano in varie direzioni pel fondo e scompaiono. Restando soli in iscena dopo l’uscita di Cascart e Zazà, Milio, Courtois, Bussy.)DUCLOU (suona il campanello)Fate posto. CASCART A noi, Zazà. (Cascart e Zazà tenendosi per mano entrano.)(applausi formidabili all’interno)COURTOISAndiam !DUCLOU Andiam !(Escono tutti meno Bussy e Milio.)[12] BUSSY Dufresne, contarvene voglio una bella!...

MILIOChe?

FLORIANAWhat... COURTOIS That’s enough! That’s enough! Stop this bickering! (to the women) Be quiet now!(to Duclou)Give the signal. (The performers of both sexes, the fireman and the scene shifters head upstage in various directions and disappear. Milio, Courtois and Bussy remain alone on stage after Cascart and Zazà have exited.)DUCLOU (rings the bell)Take your places. CASCART It’s our turn, Zazà. (Cascart and Zazà enter, holding hands.)(wild applause offstage)COURTOISLet’s go!DUCLOU Let’s go!(All exit except for Bussy and Milio.)BUSSY Dufresne, I want to tell you something funny!... MILIOWhat?

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BUSSY Ma prima ditemi: la nostra stella, l’irresistibile nostra Zazà, come vi va? MILIO Come? benissimo...! la trovo frutto saporitissimo... davver farei pazzie per lei! BUSSY (stupito)E la fuggite?! MILIO Come tutte quelle che al primo incontro turbano il mio cuore: Io non voglio un amore violento, nel mio stato... BUSSY Oh...!? MILIO Non mi va lo scherzare col fuoco; ci si abbrucia!... BUSSY E Zazà? MILIO Pericolosa! BUSSY E perché mai?

BUSSY But first tell me: what do you think of her,our shining star, our irresistible Zazà? MILIO What do I think of her? She’s lovely...! Like a tasty piece of fruit... She’s definitely the sort who could drive a man crazy! BUSSY (amazed)But you avoid her, don’t you? MILIO Like every other woman who makes my heart race when we meet: I don’t want a wild passion, given my situation... BUSSY Oh...? MILIOI don’t fancy playing with fire; it’s a good way to get burnt!... BUSSY What about Zazà? MILIO She’s dangerous! BUSSY Why on earth would you say that?

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MILIO Sentirlo è facil cosa... Eppure io non so dirlo!... [13]È un riso gentile Quall’alba d’aprile che inebria conquide le fibre del core! È un brivido arcan! Se porge la man! E baldi si destano i sogni d’amor! Soavi misteri han gli occhi severi e par che dischiudan del cielo il confine; E l’anima oblìa per dolce malìa: al suon di sua voce, la vita, il destin! Pur belle cotantoci passano d’accanto, ma è lei che il destino ci impone adorar! Chi folle d’amore la strinse sul cuore a lei sempre vinto dovrà ritornar! È l’ebbro vicin al nappo di vin. Se fugge lontano resister potrà. Se il nappo egli tocca, se il porta alla bocca, sin l’ultima goccia del nappo berrà!

MILIO It’s easy to feel... expressing it is hard!...

It’s a gentle laugh Delicate as an April dawnthat intoxicates, conquers your heart! It’s a strange thrill indeed! If she holds out her hand! And bold dreams of love are aroused! Tender mysteries reside within her cold eyes opening the frontiers of heaven; And the music of her voice works sweet sorcery so your heart forgets life and destiny! Even though we may see all kinds of beauties, it is she that fate decrees we adore! He who loves her with ardour and holds her ever harder,will return to her forever more! He is a drunk besidea goblet of wine; if he flees he’ll be able to resist. But if he grasps the goblet and carries it to his lips, he’ll drain the drink to the lees!

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[14] BUSSY Allor tutto va bene! guadagno la scommessa. MILIOQuale? BUSSY Zazà ha un debole per voi, e lo confessa!

DUFRESNE (balzando)Davver? BUSSY Le ho raccontato ch’essa v’è indifferente e ha scommesso di vincervi...! DUFRESNE (turbato)Che v’è saltato in mente! E poi perché ripetermi...! pensate un poco... tale ragazza innamorata...! BUSSY (ridendo)Si monta il collegiale! Sarà come vorrete, in fondo!... MILIO Ah! Mio Bussy! Sarà com’essa vuole;... Non fu sempre così? (Arrivano della port.... che dà nelle sala entusiasti Courtois e Duclou, il quale apre la porta che dà sulla scena.)COURTOIS Son tutti in delirio!

BUSSY Well, that’s a relief! I win the wager. MILIOWhat wager? BUSSY Zazà has a soft spot for you, and has admitted it! DUFRESNE (with a start)Really?BUSSY I told her that she means nothing to youand she wagered she could win you over...! DUFRESNE (worried)What on earth were you thinking! And why would you tell me...! Just think about it for a moment... a girl like that in love...! BUSSY (laughing)The schoolboy is becoming bigheaded! Anyway, you’re the one calling the shots!... MILIO Oh, my dear Bussy! She’s the one calling the shots... Hasn’t it always been that way? (Courtois and Duclou are clapping enthusiastically. Duclou opens the door leading onto the music-hall stage.)COURTOIS Everyone is going wild!

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(Scoppio formidabile di applausi, grida di 'Evviva' e bis prolungate.)(Cascart e Zazà rientrano Courtois li spinge fuori a salutare.)

(nuova salva di applause)(spingendo ancora Cascart e Zazà fuori)

Andiam, salutate!(nuovo scoppio di applausi e grida insistenti: Il bacio! Il bacio!!)« Il bacio » reclamano! Si! Il bacio!MILIO, BUSSY, DUCLOU Sì, il bacio! DUCLOU (suonando il campanello)Attaccate! [15] CASCARTNon so capir perché se m’ami tu, non vuoi venir qui sola a me vicino! ZAZÀNo, mio signor, venir non posso giù; E buia troppo l’ombra del giardin! (insieme)CASCARTPerché no Io lo vo’! Vieni giù! Vien.ZAZÀUn bacin!

(Frenzied applause breaks out, hurrahs and shouts of ‘encore’.)(Cascart and Zazà re-enter and Courtois pushes them out onto the stage again to take their bows.)(fresh burst of applause)(again pushing Cascart and Zazà out onto the stage)Go on, take your bows!(fresh burst of applause and insistent shouts of: The Kiss! The Kiss!)They want “The Kiss”! Yes! The Kiss!MILIO, BUSSY, DUCLOU Yes, The Kiss! DUCLOU (ringing the bell)Off you go! CASCARTI don’t understand why, if you love me, you won’t come down alone to be with me! ZAZÀNo, dear sir, I cannot come down; It is much too dark in the garden! (together)CASCARTWhy not? That is my desire! Come down here! Come.ZAZÀA little kiss!

Simon Thorpe, Riccardo Massi, David Stout, Nicky Spence, Ermonela Jaho, Stephen Gaertner

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Giù in giardin! è peccar: nol vo’ far! ZAZÀVieni invece un po’ su dalle scale, E se giunge nasconderti so! CASCARTCara! salgo; c’è niente di male;

più d’un bacio allor darti potrò! [16] BUSSY, COURTOIS, MILIO, DUCLOU Ma bravi! che delizia! CASCARTEh...? quando noi vogliamo...! BUSSY Siete straordinari!! COURTOIS Su, su, tempo non perdiamo; la rivista or si prova. Ognun sia pronto!

CASCARTÈ detto! (va via dal fondo)BUSSY Duclou, mi raccomando! ZAZÀEh! Bussy! quel duetto vorrai farmi ripetere.

There in the garden! is a mortal sin: I don’t want to give in! ZAZÀCome and stand a while on the stairs instead, And if she comes I know you’ll hide! CASCARTMy darling! I shall come up; there’s nothing wrong in this; that way I can give you more than one kiss! BUSSY, COURTOIS, MILIO, DUCLOU Bravo! How delightful! CASCARTWell...? When we turn our minds to it...! BUSSY You’re both fantastic! COURTOIS Come on, come on, let’s not waste any time; Let’s rehearse the Revue now. Everyone get ready! CASCART No sooner said than done! (heads upstage)BUSSY Duclou, give me a hand! ZAZÀHey, Bussy! Do you want to rehearse that duet?

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BUSSY Non posso... Ho un gran da fare! Ma l’amico Dufresne può fartelo passare!

ZAZÀ (lieta a Milio)Davvero? Non v’incomoda?

MILIOVi pare... BUSSY (ridendo)Andiamo, su! ZAZÀ (a Milio)Oh, come siete buono! (Rientra nel camerino e dice a Natalia:)

Fila, e non tornar più! (Esce e va via dal fondo. Zazà si acconcia allo specchio.)BUSSY Duclou, tutto sia pronto! DUCLOU Fidate pure in me! (andando verso la porta che dà sulla scena)

Fuori di scena...! All’opra...! BUSSYNoi scendiamo al Caffè. (Esce con Courtois dalla porta che dà sulla scena.)

BUSSY I can’t... I have something important to do! But my friend Dufresne can run through it with you! ZAZÀ (gaily to Milio)Really? Won’t it be too much of an inconvenience for you? MILIODo you think... BUSSY (laughing)Go on! ZAZÀ (to Milio)Oh, that’s so kind of you! (She goes back into the dressing room and says to Natalia:)Make yourself scarce, and don’t come back! (She exits upstage. Zazà tidies her hair in the mirror.)BUSSY Duclou, is everything ready! DUCLOU You can have every confidence in me! (walking towards the door leading onto the music-hall stage)Clear the stage...! To work...! BUSSYLet’s go down to the café. (He exits with Courtois through the door leading onto the music-hall stage.)

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(Milio è fermo innanzi all’uscio del camerino.)

[17] ZAZÀSignore, entrate; è un gentile pensiero il vostro... MILIO È un debole aiuto! ZAZÀModesto troppo! MILIO E la prima campagna! ZAZÀDavvero? Le attrici agli amanti domandan questo...Ne conoscete? MILIO Qualcuna... ZAZÀEro certa! Dite, e Floriana? MILIO La trovo piacente... ZAZÀMa non è il vostro ideal?! MILIO (imbarazzato)Veramente non ho ideali! ZAZÀDavvero? Che scoperta! Amate il vario...

(Milio is standing in the doorway of Zazà’s dressing room.)ZAZÀPlease come in; this is such a kind thought of yours... MILIO I won’t be much help! ZAZÀYou’re too modest! MILIO This is my first time! ZAZÀReally? Actresses ask their lovers to do this for them... Don’t you know any? MILIO A few... ZAZÀI thought so! Tell me then, what do you think of Floriana? MILIO She’s very attractive... ZAZÀBut she isn’t your ideal woman? MILIO (embarrassed)I don’t really have an ideal woman! ZAZÀReally? That’s quite a revelation! So you like variety...

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MILIO Ecco... il vario... ZAZÀCapisco!... Ma, in fede mia, non sposatevi! MILIO (ridendo)Io?!! ah! ah! ah! ah! mai...!!! ZAZÀIo son diversa da voi – Non ardisco dirvelo, e pur d’un sogno mi beava! C’è un uomo al mondo ch’è tutto per me... e ha nome... il nome è un mistero...!

MILIO Perché? ZAZÀPerché non so; pur questo mi turba e mi confonde... ma a voi che importa... MILIO (cortese ma freddo)No, dite! ZAZÀNon si nasconde l’indifferenza?

Voi non la nascondete; (tentando chinarsi verso il suo volto)e allora a che parlare? MILIO (fissandola con fredda cortesia) E il duetto?

MILIO Yes, that’s right... variety... ZAZÀI understand!... Then, for goodness sake, don’t get married! MILIO (laughing)Me? Ha! Ha! Ha! Ha! No, never...! ZAZÀI’m not like you – I hardly dare to tell you, but I have a dream that fills me with delight! There’s one man in the world, who means everything to me... and his name... his name is a mystery...! MILIOWhy? ZAZÀBecause I don’t know it; and yet this man perturbs and troubles me... but that’s of little importance to you... MILIO (polite but cold)No, do tell me! ZAZÀSurely it’s a matter of complete indifference to you? You’re not trying to hide it; (trying to bend nearer his face)why, in that case, should we talk about it? MILIO (gazing at her coldly and politely) What about the duet?

Ermonela Jaho (Zazà)and Riccardo Massi (Milio)

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ZAZÀ (dandogli i fogli) Tenete!... [18]Ripetiamo... ma prima vo’ cambiar veste; Avvezzo ai nostri camerini Voi siete già da un pezzo! (come se cercasse fingendo chiamare)Natalia!... Voi non avete scrupoli... Natalia! MILIO La chiamo? ZAZÀNo! Vorreste, signore, in cortesia darmi un poco d’aiuto, slacciarmi il corsaletto? MILIO Ben lieto... ZAZÀCominciate di sopra, dal laccetto. MILIO Scusate; non ho pratica, son così poco destro... ZAZÀ (come in estasi)Che! fate così bene...! siete un vero maestro!... MILIO (ridendo)Grazie!

ZAZÀ (giving him the sheets of music)Take them!...

Let’s rehearse... but first I’d like to get changed; You’ve been no stranger to our dressing rooms for quite a while! (as if looking around, pretending to call)Natalia!... Don’t mind me... Natalia! MILIO Shall I call her? ZAZÀNo! Would you, dear sir, be so kind as to give me a little help unfastening my bodice? MILIO With pleasure... ZAZÀBegin with the laces at the top. MILIO Forgive me; I haven’t had much experience at this, I’m a little clumsy... ZAZÀ (as if in delight)What! You do it so well...! You’re a true master!... MILIO (laughing)Thank you!

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ZAZÀ (voluttosamente)Con che piacere voi slaccereste il busto d’una donnina bella... DUFRESNE Già!... ZAZÀ (piegandosi all’indietro fino a sfiorargli la faccia colla gota)Ma di vostro gusto... MILIO (tirandosi indietro)Ahi! mi son punto! ZAZÀ (seccata)Al diavolo! Ho la maledizione! [19]Vi duole? MILIO Oh! no! ZAZÀSon lieta!! Ed or alla lezion. (Mette un’accappatoio e fa per sedere in faccia a Milio che col manoscritto in mano legge seduto accanto al tavolo da toilette dove è il lume.)Oh! Strano...! (Si alza e corre presso a lui.)MILIO A che guardate, signorina? ZAZÀGuardo i vostri capelli: han lampi d’oro!

ZAZÀ (voluptuously)How much you would enjoy unlacing the bodice of a beautiful woman... DUFRESNE True!... ZAZÀ (leaning backwards in order to brush her cheek against his face)Who was more to your liking... MILIO (jerking back)Ouch! Something pricked me! ZAZÀ (annoyed)Blast! There must be a curse on me!

Does it hurt? MILIO Oh! No! ZAZÀI’m glad to hear it! Now, down to work. (She puts on a dressing gown and sits down opposite Milio, who has the manuscript in his hands and is sitting and reading beside the dressing table, where there is some light.)Oh! How strange...! (She gets up and rushes over to him.)MILIO What are you looking at now, Madame? ZAZÀI’m looking at your hair: it has golden highlights!

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MILIO (sorridendo)Ma con lega d’argento; è lega fina ma disprezzata... ZAZÀ (piegando la testo verso quella di Milio)No; sono un tesoro! Oh, guarda, un segno voi portate presso la nuca: Oh, grazioso! Ce l’ho anch’io... ma più piccino e quasi al luogo istesso...

No, più presso l’orecchio. (Essa è china quasi offrendo il collo alle labra di Milio.) Eccovi il mio... (Un servo di scena traversa il fondo suonando la campana.)MILIO (freddo)La campana... ZAZÀ (sdegnata)Oh, la sento la campana, per Bacco!

MILIO (freddo e cortese) E il duetto?... (Cascart, Bussy e Courtois arrivano dal fondo.)ZAZÀSo tutto: (a parte, furibonda)mi pagherai lo smacco!

MILIO (smiling)But threaded with silver; a pure alloy but not highly valued... ZAZÀ (bending over so that her head is near to Milio’s head)No; it’s a treasure! Oh, look, you have a mole on your neck:

Oh, how delightful! I have one too... but smaller and in almost exactly the same place... No, nearer my ear. (Bending over, she is virtually offering her neck to Milio’s lips.) Here’s mine... (A scene shifter crosses the rear of the stage, ringing the bell.)MILIO (coldly)The bell... ZAZÀ (angrily)I can hear the bell perfectly well, for goodness sake! MILIO (coldly and politely) What about the duet?... (Cascart, Bussy and Courtois enter upstage.)ZAZÀI know it all: (aside, furious)I’ll make him pay for this humiliation!

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[20] CASCART (entrando nel camerino)Su, Zazà! BUSSY Che! in quello stato? ZAZÀPer servirti… È un gran peccato? BUSSY Ma c’era ben tempo... ZAZÀDa sola dovevo vestirmi? CASCART Non c’era la sarta? ZAZÀÈ partita... (Prende il manuscritto del duetto e va a sedere su di una sedia a destra presso una quinta e legge di cattivo umore.)BUSSY (a Courtois a parte)Ha i nervi, lascia... COURTOIS Dà il segno, Duclou! DUCLOU Al posto, batto i tre colpi!

BUSSY Andiam giù... CASCART(si prepara ad entrare in iscena. Milio passeggia nel fondo pensieroso)

CASCART (entering the dressing room)Come on, Zazà! BUSSY What! Why are you dressed like that? ZAZÀTo help you… Is it such a problem? BUSSY But you had enough time... ZAZÀAm I supposed to get dressed on my own? CASCART What happened to the costume dresser? ZAZÀShe left... (She picks up the manuscript of the duet and goes to sit down on a chair to the right near the wings, where she reads crossly.)BUSSY (to Courtois, aside)She’s on edge, leave her alone... COURTOIS Give the signal, Duclou! DUCLOU Take your places, I’m giving the three knocks! BUSSY Let’s go down... CASCART(prepares to go on stage. Milio walks past thoughtfully upstage)

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DUCLOU(col grosso bastone batte solennemente i tre colpi)(Bussy e Courtois escono dalla porta che dà nella sala.)[21] DUCLOUA te, Cascart... (Cascart entra in iscena.)(si appressa a Zazà)Zazà, dopo tu sei di scena... sta pronta, te ne prego: potrò guardarti appena! Debbo dall’altra parte fare il rumor del cocchio. ZAZÀ (secca)Lo so. DUCLOU Mettiti calma, te ne prego in ginocchio.

Quando Cascart ti dice: «Chi dunque mi conduce?»entra; non mi sbagliare!

ZAZÀLo so. (Chiude la porta che dà sulla scena, gira il fondaletto e scompare dietro il palcoscenico a destra.)

DUCLOU(solemnly knocks three times with a large stick)(Bussy and Courtois exit through the door leading into the music-hall auditorium.)DUCLOUYou’re on, Cascart... (Cascart goes onto the music-hall stage.)(hurries over to Zazà)Zazà, you’re on stage after this... please be ready: I can’t keep you in my sight.

I have to be making the sound of the coach on the other side. ZAZÀ (curtly)I know that. DUCLOU Please calm down, I’m begging you on my knees. When Cascart says to you: “So who will take me?”that’s your cue to go on stage; don’t mess it up! ZAZÀI know. (Duclou closes the door leading onto the music-hall stage, turns the backdrop round and disappears behind it stage right.)

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DUFRESNE (si appressa a Zazà)Non vi seduce ripetere il duetto insieme un po’? ZAZÀ (sgarbata senza guardarlo)No, grazie; ne fò senza! MILIOAspetterò!... (Gira gli occhi intorno e visto che sono soli, si china, la prende alla cintura di dietro e la bacia con forza sul collo. Zazà raggiante lo avvinghia colle braccia.)

ZAZÀAh! Perché, cattivo, non me l’avevi prima tu detto? MILIO Forse ch’è tardi per riparare? ZAZÀNo, mio diletto! CASCART (all’interno)«Chi dunque mi conduce?» ZAZÀOh! come bene m’hai tu baciata qui, sul collo! MILIOZazà!CASCART «Chi dunque mi conduce?»

DUFRESNE (walks over to Zazà)Don’t you want to rehearse the duet with me for a while? ZAZÀ (rudely, without looking at him)No, thanks; I’ll do without your help! MILIOI’ll wait!... (He glances around and seeing that they are alone, leans forward, puts his arms around her waist from behind and kisses her passionately on the neck. Zazà throws her arms around him, her face radiant.)ZAZÀOh! You scoundrel, why didn’t you say anything to me before? MILIO Is it too late to make amends? ZAZÀNo, my love! CASCART (offstage)“So who will take me there?” ZAZÀOh! How well you kissed me here, on my neck! MILIOZazà!CASCART “So who will take me there?”

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DUCLOU (facendo segni disperati dal fondo)ZAZÀDunque ti divertiva la mia tortura? Allor tu m’ami?! DUCLOU Psst… Psst… Zazà...! COURTOIS (di dentro)L’entrata non è sicura!

BUSSY (di dentro)L’entrata non è sicura!

ZAZÀTu m’ami!! m’ami?MILIOT’amo! si, t’amo!!BUSSYZazà è di scena! CASCART (entrando in collera)Per Dio! non entri?

ZAZÀChe? CASCART Come, che? Non entri in tempo! Mi pianti in asso!

DUCLOU (gesticulating frantically from the rear)ZAZÀDid you enjoy torturing me then? So do you really love me? DUCLOU Psst… Psst… Zazà...! COURTOIS (offstage)It doesn’t look like she’s going to come on stage! BUSSY (offstage)It doesn’t look like she’s going to come on stage! ZAZÀYou love me! Do you love me?MILIOI love you! Yes, I love you!BUSSYZazà, you’re on! CASCART (entering in a temper)For goodness sake! Aren’t you coming on stage? ZAZÀWhat? CASCART What do you mean, what? You missed your cue! You left me high and dry!

Christopher Turner (Augusto), Patricia Bardon (Anaide), Nicky Spence (Courtois) and Ermonela Jaho (Zazà)

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ZAZÀ (furente)Basta! Basta! Perché tu m’hai seccato! CASCART (stupito)Ah! ZAZÀVo’ mancare alle mie entrate quando mi piace! Ti proibisco queste scenate! CASCART (a Duclou)Che diavolo ha in corpo? (Duclou crolla le spalle, Cascart rientra.)ZAZÀ (a Cascart)Ora vengo... (a Milio con dolcezza tenendogli la mano)Scusate... CASCART (rientra) (all’interno)« Chi dunque mi conduce? » ZAZÀ (amorosamente)Udrete il mio pezzo? (Le bacia la mano, fa un segno di affermazione ed esce dalla porta che dà in sala.)CASCART (più forte perdendo la pazienza)« Chi dunque mi conduce? » ZAZÀ (andando gaia alla porta della scena)Io...La tela scende

FINE DEL PRIMO ATTO.

ZAZÀ (furious)That’s quite enough! That’s quite enough! Why did you disturb me! CASCART (bewildered)Oh! ZAZÀI’ll miss my cues if I want to! I forbid you to make a scene like this! CASCART (to Duclou)What the devil is wrong with her? (Duclou shrugs, Cascart re-enters.)ZAZÀ (to Cascart)I’m coming now...(to Milio, sweetly holding his hand)Excuse me... CASCART (re-enters) (offstage)“So who will take me there?” ZAZÀ (lovingly)Will you listen to my number? (He kisses her hand, nods and exits through the door leading into the music-hall auditorium.)CASCART (louder, impatiently)“So who will take me there?” ZAZÀ (gaily going over to the door leading onto the music-hall stage)I will... The curtain falls

END OF ACT ONE

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ATTO SECONDO

(La tela si alza.)

[22] ZAZÀÈ deciso: tu parti per questo gran viaggio?

MILIO Dovrei: ma di lasciarti ancor non ho coraggio. ZAZÀQuanto starai lontano? MILIO ... tre, quattro mesi... ZAZÀ (quasi implorando)Ahimè che quattro lunghi mesi saranno senza te!... Prendimi teco! MILIO (un po’turbato)Mia Zazà, mio bene! Ragiona dunque; che follie son queste? Sai? L’America è lungi e sono modeste le mie sostanze; lavorar conviene. Perciò solo men vado. Ed è già tardi! ZAZÀAmor mio, che farà non più vicina a te, la tua Zazà, la tua piccina,

ACT TWO

(The curtain rises.)

ZAZÀSo it’s settled: you’re going on this long journey?MILIOI must: but I still can’t find the courage to leave you. ZAZÀHow long will you be gone? MILIO ... three or four months... ZAZÀ (almost beseechingly)Alas, four months will be so long without you!... Take me with you! MILIO (a little troubled)My dear Zazà, beloved one! Be reasonable; what foolishness is this? You know America is far away and my means are modest; I have businessto do. That is why I have to go alone. And it is already getting late! ZAZÀMy love, what will your little Zazà do when she is no longer beside you,

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essa che vive solo dei tuoi sguardi? (Cade tra le braccia di Milo piangendo.)[23] MILIOZazà, Zazà, non ti attristare:sai che mi strazia questo abbandono! Sai, da tre mesi dovevo andare

e a te vicino ancora io sono... Perché s’io parto, l’ore del pianto sul mio deserto cuor scenderanno, e queste labbra baciate tanto più le tue labbra non bacieranno! ZAZÀ (quasi sperando)Tu pur sei triste!... Vedi? Avrai coraggio di partire? MILIO (levandosi serio)L’avrò! questo viaggio è necessario... ZAZÀ (con dolce rimprovero)Ancora?MILIO (guardandola)Ebbene, no... se sarai buona... ZAZÀ (con ansia)Che? MILIO Ritarderò. ZAZÀ (con impeto di gioia gettandosi fra le sue braccia)Ah! Lo sapevo! T’amo! Sei buono.

your Zazà, who comes to life only in your sight? (Tearfully she falls into Milio’s arms.)MILIO Zazà, Zazà, don’t give in to sadness, you know it pains me to leave you! You know I should have gone three months past and yet I am still here beside you... Because if I go, tears will fill my deserted heart for hours on end, and these oft-kissed lips will no longer be kissing yours! ZAZÀ (almost hopefully)You’re sad too!... Really? Will you be braveenough to leave? MILIO (rising to his feet, looking serious)I must and I will! This journey is essential... ZAZÀ (gently reproaching him)Still?MILIO (looking at her)Well, no... if you’re good... ZAZÀ (anxiously)What? MILIO I’ll delay my departure. ZAZÀ (joyfully throwing herself into his arms)Oh! I knew it! I love you! You’re so kind.

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MILIO T’amo, ma troppo debole io sono. (La bacia.)[24]Or tempo e baci per guadagnare tosto a Parigi lasciami andar. ZAZÀOh, certo! (chiamando)Natalia!... (Natalia appare sull’uscio a destra.)Dà l’abito e il cappello al signore.(Natalia eseguisce.)(a Milio)Il bastone?... i guanti?... Tornerai?...

MILIO (fa segno che ha tutto)Posdomani... ZAZÀDue giorni? sono lunghi!... (allontandolo con gesto amoroso) Ora vai! MILIO (con finto rimprovero)Con che fretta mi scacci! ZAZÀ (con affetto)Ritornerai più presto. MILIO Passo per le valigie dall’albergo...

MILIO I love you, but I’m much too weak. (He kisses her.)

Now to gain time and kisses let me leave immediately for Paris. ZAZÀOh, of course! (calling)Natalia!... (Natalia appears in the doorway to the right.)Give the gentleman his coat and hat. (Natalia does as she is told.)(to Milio)Your cane?... Your gloves?... You’ll come back?... MILIO (gestures that he has everything)The day after tomorrow... ZAZÀTwo days? That’s a long time!... (lovingly pushing him away) Now go! MILIO (pretending to reproach her)You’re very quick to chase me out! ZAZÀ (affectionately)You’ll be back all the quicker. MILIO I’ll go and fetch my cases from the hotel...

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ZAZÀIo mi vesto e vengo alla stazione a vederti...

mi vuoi? MILIO Vieni... ZAZÀMa prima baciami forte... laggiù non puoi!

Baciami e pensa a me ... MILIO (con affetto)Fanciulla mia. T’amo e ti penso: Io penso a te!ZAZÀAddio! MILIOAddio![25] ZAZÀFa presto, Natalia! Gli stivaletti, il velo, il mantello... NATALIA Ecco qua... (fa per andare verso lo spogliatoio)Il signor Milio parte? ZAZÀNo, va a Parigi. Ah! Lascia che ancor lo veda alla finestra!

ZAZÀI’ll dress and come to see you off at the station... would you like that? MILIO Yes, do come... ZAZÀBut first kiss me hard... we won’t be able to do that there! Kiss me and think of me ... MILIO (affectionately)My little girl. I love you and I think of you! ZAZÀFarewell! MILIOFarewell!ZAZÀHurry, Natalia! My ankle boots, my veil, my coat... NATALIA Here they are... (makes as if to go to the cloakroom)Is Monsieur Milio leaving? ZAZÀNo, he’s going to Paris. Oh! I wonder if I can still see him out of the window!

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(Va alla finestra, la schiude e guarda ansiosa.)

Come mi batte il cuore, Natalia! Ecco... traversa già la via maestra...

Ecco! Ei si volge; vedi, s’è voltato... Caro!

(con grande affetto mandando baci colla mano)Sa ch’io lo guardo! M’ha sentito.

È all’angolo... È sparito! [26] NATALIA (riapparendo nell’uscio dello spogliatoio)Ecco gli stivaletti, signora... ZAZÀ (prende gli stivaletti e comincia a metterne uno subito)Ed il cappello? fa presto... NATALIA (mostrando il cappello che e sul caminetto)È là; lo vede? sul caminetto...

ZAZÀQuello? Vuoi che Milio mi creda un istrice od un riccio?!... (Corre con una sola scarpa allo spogliatoio in cerca di un altro cappello.)

(She goes over to the window, opens it and looks out anxiously.)How hard my heart is beating, Natalia! There he is... he’s already crossing the main road... There he is! He will turn; see, he has looked round... My beloved! (affectionately blowing him kisses)

He knew I was watching him! He sensed me watching.He’s at the corner... He’s gone! NATALIA (reappearing in the doorway of the cloakroom)Here are your ankle boots, Madame... ZAZÀ (takes the boots and immediately begins putting them on)Where’s my hat? Hurry... NATALIA (pointing to the hat on the mantelpiece)Is that the one; do you see it? On the mantelpiece... ZAZÀThat one? Do you want Milio to think I’m a porcupine or a hedgehog?... (She hurries to the cloakroom wearing a single boot in search of a different hat.)

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NATALIA (correndono dietro)Signora! mia signora... che fa?... ZAZÀCosì mi spiccio. (Entra nella spogliatoio.)NATALIA Ma signora!... (Scampanellata all’interno.)ZAZÀ (ricompare col cappello che mette in fretta)Ah! Si suona!? Non ci sono: Partita, Ammalata... defunta... tutto!!... (Natalia esce, correndo dall’uscio a destra.) (cercando)I guanti dove sono? Oh, disdetta! Fa nulla... NATALIA (appare sull’uscio a destra e dietro a lei Anaide)È la signora Anaide. ANAIDE (avanzandosi con caricatura)Benedetta... ZAZÀ (interrompendola lieta e spigliata)Mamma, se avete fame, mangiate! Avete sete? Bevete! Avete sonno? Un letto troverete: Avete da parlarmi? Ritornerò! (Esce correndo dalla destra.)

NATALIA (running after her)Madame! Madame... what are you doing?... ZAZÀIt’s quicker like this. (She goes into the cloakroom.)NATALIA But Madame!... (Someone rings the doorbell loudly offstage.)ZAZÀ (reappears with the hat, which she hurriedly puts on)Oh! Is someone at the door!? I’m not here: I’ve gone out, I’m ill... I’m dead... anything!... (Natalia exits, running out of the door on the right.) (looking)Where are my gloves? Oh, too bad! I’ll do without... NATALIA (appears at the door on the right with Anaide behind her)It’s Madame Anaide. ANAIDE (entering with exaggerated formality)May God bless you... ZAZÀ (interrupting her gaily and confidently)Mother, if you’re hungry, then eat! Are you thirsty? Then drink! Are you tired? Then find a bed. Do you want to talk to me? I’ll be right back! (She exits hurriedly to the right.)

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[27] ANAIDE (Corre sino all’uscio poi si ferma e grida.)Zazà!... (rivolgendosi a Natalia)Adesso dove corre quella saetta?

NATALIA Va a salutar l’amico alla stazione...

ANAIDE (con gioa improvvisa)Parte? Parte!! Oh!NATALIA Sì. ANAIDE Oh! non ritornasse mai, da nessuna parte! NATALIA Torna domani l’altro...!ANAIDE (cade seduta presso il tavolo) (furibonda)Maleducato! NATALIA (scampenellata)Vado ad aprir... (esce correndo dalla destra)ANAIDE (seccata)Che noia!... (Girando lo sguardo scorge la bottiglia del Cognac sul camino, l’afferra vivamente, si versa un bicchierino e dopo essersi guardata

ANAIDE (She runs to the door, then stops and shouts.)Zazà!... (turning back to Natalia)Where has that flibbertigibbet run off to now? NATALIA She’s gone to say goodbye to her friend at the station... ANAIDE (suddenly happy)He’s leaving? He’s leaving! Oh!NATALIA Yes. ANAIDE Oh! If only he’d go away forever! NATALIA He’s coming back the day after tomorrow... ANAIDE (sinks into a chair by the table) (furious)He’s a philistine! NATALIA (loud ring on the doorbell)I’ll go and see who that is... (exits hurriedly to the right)ANAIDE (curtly)What a nuisance!... (Glancing around, she spots the bottle of Cognac on the mantelpiece, quickly picks it up and pours herself a small glass. She looks

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interno beve.) (Riprende seria il suo posto.)

(Cascart e Natalia compaiono su l’uscio a destra parlando.) CASCART (a Natalia)Non c’è? perché vorrei... NATALIA Fra poco... La signora (mostrando Anaide)l’aspetta ancora lei... CASCART (volgendosi di botto brontolando di cattivo umore poi saluta seccato)Eh! Signora... ANAIDE (esagerando l’amabilità) (inchino)Vi son serva!CASCART (saluta) (altro saluto; poi dice a Natalia)Pazienza! Aspetterò!!... (Natalia esce dalla sinistra. Cascart siede sul canapè a sinistra deciso a non aprir bocca. Anaide siede presso al tavolo cercando attirare l’attenzione di Cascart e farlo parlare.)

[28] ANAIDE (tosse per attirare l’attenzione di Cascart)Ehm! Ehm!(Si agita sulle sedia impaziente.)(Sospira forte.)Ah!

round, then drinks it.) (She sedately returns to her seat.)(Cascart and Natalia appear in the doorway to the right, conversing.) CASCART (to Natalia)Isn’t she here? Because I’d like... NATALIA She won’t be long... Madame (pointing to Anaide)is still waiting for her... CASCART (turns suddenly, muttering bad-temperedly, then bows curtly)Oh! Madame... ANAIDE (effusively) (she bows)At your service, Sir!CASCART (he bows) (he gives another bow; then says to Natalia)Never mind! I will wait!... (Natalia exits to the left. Cascart sits down on the sofa on the left, determined not to say a word. Anaide sits down near the table trying to attract Cascart’s attention and engage him in conversation.)ANAIDE (coughs to attract Cascart’s attention)Ahem! Ahem!(She fidgets impatiently on her seat.)(She gives a loud sigh.)Oh!

Riccardo Massi (Milio), David Stout (Bussy) and Nicky Spence (Courtois)

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(Seccata del mutismo di Cascart, con moto repentino corre al canapè e siede mentre Cascart, vedendola giungere, siede all’altra estremità del canapè.)Che ne dite, Cascart? suvvia, parlate!

CASCART E voi, che cosa ne pensate? Or siete lieta! ANAIDE (levando le mani al cielo)Io, lieta! Dio buono!!!... CASCART Non m’odiavate? ANAIDE (protestando)Domando perdono! Voi di Zazà m’avevate rubato il cuore!... CASCART (ridendo)Ah! Ah! Il cuore?!... ANAIDE Il cuor! Perciò, nel mio stato di madre, io v’odio, e vi copro di fango!... Uomo, v’ammiro, vi stimo e compiango!

Con voi non fece mai pazzie...

CASCART (fissando Anaide ironicamente)Ah! Voi trovate ch’ora ne faccia? ANAIDE (appressandosi) Pazzie da legnate...!

(Annoyed by Cascart’s silence, she suddenly runs over to the sofa and sits down, causing Cascart to move to the other end of the sofa.)

What do you say about all this, Cascart? Come on, speak to me! CASCART What about you, what do you think? You must be happy now! ANAIDE (raising her hands heavenwards)Me, happy! Good heavens!... CASCART Didn’t you hate me? ANAIDE (protesting)I beg your pardon! You stole Zazà’s heart from me!... CASCART (laughing)Ha! Ha! Her heart?... ANAIDE Her heart! For that reason, as her mother, I hate you, and fling mud at you!... As a man, I respect you, admire you and pity you!She was never prone to foolishness when she was with you... CASCART (staring ironically at Anaide)Ah! Do you think she’s being foolish now? ANAIDE (edging nearer) She needs a good hiding...!

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(Siede di nuovo accanto a Cascart.)E dove corre? Che cosa pesca? CASCART (levandosi serio)Chi può supporre? Vattelo a pesca!!... (alzandosi a sua volta)Sapete; è sdrucciolevole la strada della vita: Quando una donna ruzzola... buona notte, è finita...! ANAIDE (alzandosi e seguendo Cascart che passeggia)Purtroppo! Saper vorrei di Milio le generalità…CASCART (con mistero)Io ne so qualche cosa... ANAIDE (balzando)Davver? Su parlate! (drammaticamente)Salvatemi la figlia! Parlate!

CASCART Dirò... non dubitate... ANAIDE (con somma curiosità)Oh Dio! Suvvia, parlate!CASCARTDiro! Non dubitate!

(She sits down again beside Cascart.)And where is she rushing off to? What is she looking for? CASCART (rising, looking serious)Who can tell? Who knows!... (rising in his turn)You know; the path of life is slippery: when a woman falls... she’s ruined, it’s over, good night...! ANAIDE (rising and following Cascart, who is pacing up and down)That’s true, unfortunately! I’d like to know the facts about Milio…CASCART (enigmatically)I know something about him... ANAIDE (jumping up)Really? Come on, tell me! (theatrically)Save my daughter! Tell me!

CASCART I will tell you... you need not doubt it... ANAIDE (inquisitively)Oh, Lord! Come on, tell me!CASCARTI will tell you! You need not doubt it!

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(Zazà entra in fretta allegra dalla destra e si arresta fissando Anaide e Cascart come colta da un’idea comica.)[29] ZAZÀ (dà in uno scroscio di riso)(sempre come mal contenendo il riso)Ah, ah, ah! Che quadretto! È molto, è poco che m’aspettate insieme?... Ah! Ed i vicini non han gridato al fuoco?! ai ladri... agli assassini...? Non credo alla mia vista... (ridendo)Ah! Ah! Ah!ANAIDE (un po’offesa)L’hai sempre avuta trista! Ma tua madre e Cascart sono persone piene d’educazione, e fra noi sedie o tazze non son mai volate! ZAZÀ (sorridendo con intenzione)Eh!! ANAIDE (con serietà a Zazà) Basta! (additando Cascart)Ei vuol parlarti. (andando verso l’uscio a sinistra)Io vo di là. (a Cascart salutando)Scusate!

(Zazà hurries in cheerfully from the right and comes to a stop, staring at Anaide and Cascart as if struck by a funny thought.)ZAZÀ (she gives a peal of laughter)(as if still struggling to contain her laughter)Ha, ha, ha! What a picture! Have you been waiting together for me long?... Ha ha! And the neighbours haven’t been shouting fire? Thief, thief... Or screaming blue murder...? I can’t believe my eyes... (laughing)Ha! Ha! Ha!ANAIDE (a little offended)You’ve always seen the worst in people! But your mother and Cascart are modelsof good breeding, and we’ve never thrown chairs or cups at each other! ZAZÀ (smiling knowingly)Uh uh! ANAIDE (seriously to Zazà) That’s enough! (pointing to Cascart)He wants to speak to you.(making for the exit to the left)I’ll go in there. (to Cascart, bowing)Excuse me!

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(Anaide con comica dignità, va all’uscio d’avanti a sinistra ed esce.)[30] ZAZÀCascart, mio camerata, mi piace il rivederti... Siedi... (Cascart siede al tavolo dal lato destro mentre Zazà siede a sinistra.)CASCART (sempre seriamente)Son qui a proporti affari... ZAZÀ (sedendo con aria sbadata)

Ah! CASCART M’hanno offerti buoni patti. (Fissa Zazà come aspettando una frase da lei.)

ZAZÀ (annoiata)Ah?!! CASCART (incalzando)È tempo di mettere giudizio... o tutte le scritture ci vanno a precipizio! ZAZÀ (sempre distratta)Offrono? (segue)CASCART (come chi incomincia un discorso)Da Marsiglia...

(Anaide with amusing dignity, heads for the door front stage left and exits.)ZAZÀCascart, my friend, I’m so glad to see you again... Do sit down... (Cascart sits on the right of the table, while Zazà sits on the left.)CASCART (still gravely)I’m here to discuss some business with you... ZAZÀ (sitting down, not paying much attention)Really! CASCART I’ve been offered some excellent terms. (He stares at Zazà as if waiting for her to say something.)ZAZÀ (bored)Really? CASCART (continuing)It’s time to act sensibly...or we’ll miss out on all the engagements! ZAZÀ (still distracted)What’s the offer? (she continues)CASCART (like someone beginning a speech)Marseille...

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ZAZÀ (balzando in piedi gridando)Non vado in capo al mondo! Perché non al Tonckino, allora?

CASCART (prorompendo)Allor! dove lui vuol!ZAZÀ (levandosi con collera)Questo riguarda solo me! (Va a sedere irritata sul canapè.)CASCART (Vorrebbe rispondere in collera: ma poi crolla le spalle e deciso a convincere Zazà, le si appresa e dice con dolcezza:) [31]Buona Zazà del mio buon tempo ascolta:

è il vecchio amico che ti parla al cuore:

non è il geloso che domanda amore... ma l’uom che a la miseria un dì t’ha tolta! Per te sola son qui: per te m’increbbe

di veder l’arte tua da te tradita! Hai avuto un capriccio!... e chi non l’ebbe?

ma il capriccio è d’un dì... lunga è la vita!!...

ZAZÀ (jumping to her feet, shouting)I’m not going to the ends of the earth! You might as well ask me to go to Tonkin, why not?CASCART (bursting out)You mean where he wants it to be!ZAZÀ (rising angrily)That’s nobody’s business but mine! (She angrily goes over to sit on the sofa.)CASCART (He goes to reply angrily: but then shrugs and, determined to convince Zazà, he goes over to her and says gently:)

My dear Zazà, who shared my good old days, listen to me: it’s your old friend talking with heartfelt sincerity: this isn’t the jealous man begging you for love... but the man who raised you once from poverty! I’m here for you and you alone: it pained my heart to watch you while you betray your art! You had a passing fancy!... and who hasn’t had one? but a passing fancy lasts a day... and life is long!...

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ZAZÀ (come assorta)Peggio se questa dolce illusion non dura!

CASCART T’inganni! Se durasse sarebbe una sventura!

ZAZÀFosse tal gaudio eterno com’ei me l’ha giurato. CASCART (incalzando)Ricco non è: che aspetti? Che t’abbia abbandonato? ZAZÀAh! No! Niuna promessa: amore, amor, Zazà gli chiese! Sol! amor!CASCART E s’anco ti sposasse? saresti... una borghese! No: resta libera: resta la limpida gola squillante del rosignuolo: serbati all’ilare tuo ritornello irresistibile e civettuolo...! Serbati al plauso, alla vertigine, Dea della folla china al tuo piè. È questo il vivere, è questo il bello! Illusa! destati, ritorna in te!! ZAZÀBello è soltanto vivere sempre con l’uomo amato!

ZAZÀ (appearing preoccupied)It would be far worse if this sweet illusion did not last! CASCART You’re wrong! It would be a true misfortune if it were to last! ZAZÀMay this joy last forever, just as he has sworn it will. CASCART (bursting out)He isn’t wealthy: what can you expect? What if he left you? ZAZÀOh! No! No promises: Zazà asked only for his love! That’s all! Love!CASCART Even if he married you, what then? You’d be... nothing but a housewife! No: remain free: remain the clear voice of the nightingale: keep repeating your refrain so cheerful, flirtatious and irresistible...! Keep the approval, the heady thrill, Goddess of the crowd grovelling at your feet. That’s what life is for, that’s what is worthwhile! Don’t be a fool! Wake up, be yourself again! ZAZÀLife is only worth livingwhen you’re with the man you love!

Stephen Gaertner (Cascart)

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CASCART (impaziente)Tutte le cose passano... ZAZÀIo non ho ancor mutato! CASCART Ma puoi cangiare!... ZAZÀ (balzando)Amare un altro?... CASCART E perché no?! ZAZÀ (nervosa)Tu scherzi! CASCART (scattando, senza solemnità)Un dì m’amasti! ZAZÀ (protestando)Che! basta.CASCART No! l’ora del risveglio sarìa per te nefasta!

Un’altra può rapirtelo, Zazà!

ZAZÀIo sfido Iddio a togliermelo! È mio, e non lo cedo! È mio...! CASCART Cieca e stolta! E se avesse un’amante?

CASCART (impatiently)All things pass... ZAZÀI haven’t changed yet! CASCART But you can change!... ZAZÀ (jumping up)What, love another?... CASCART Why not? ZAZÀ (irritably)You’re joking! CASCART (springing up unceremoniously)You loved me once! ZAZÀ (protesting)What! That will do.CASCART No! The hour of awakening will be terrible for you!Zazà, another woman could take him from you! ZAZÀI defy God to take him from me! He’s mine, and I won’t give him up! He’s mine...! CASCART Blind, foolish woman! What if he had a mistress?

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ZAZÀChe! Menti!!... CASCART (quasi parlato)Io! No! No, dissi il vero, e costante fido amico ti son nel dolore! Ha un’amante a Parigi... ZAZÀ (con un grido di dolore)Ah!... mio core...! Chi t’ha detto?... Come sai?...CASCART (cercando sostenerla)Zazà!? Sei bianca... Sei tremante... la voce ti manca... ZAZÀCome sai ? La prova! La prova...! CASCART Ti dirò: ma sii calma, disperarsi che giova? [32]A Parigi una sera ero alle «Varietà»

Milio vid’io con una donna... ZAZÀ (con voce soffocata)Una donna! CASCART Ma elegante, distinta... Pareva una moglietta... Li rividi all’uscita, poi montarono in fretta in carrozza... e ridevano...!

ZAZÀWhat! You’re lying!... CASCART (half-speaking)Me! No! No, I said I am your true, constant and loyal friend in times of trouble! He has a mistress in Paris... ZAZÀ (with a cry of pain)Oh!... my heart...! Who told you?... How do you know?...CASCART (trying to hold her up)Zazà? You’re pale... You’re shaking... you can hardly speak... ZAZÀHow do you know? Prove it! Prove it...! CASCART I’ll tell you: but calm down, what’s the point of getting so upset? One evening, I was at the Théâtre des Variétés in Parisand I saw Milio with a woman... ZAZÀ (sounding choked)A woman! CASCART An elegant, refined woman... She looked like a perfect little wife... I saw them again on the way out, then they climbed hurriedly into a coach... and they were laughing...!

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ZAZÀ (con un sussulto)Ridevano! E non sai altro? CASCART Non basta? ZAZÀ (al colmo dell’orgasmo)Infatti, e questo sapevi? e me lo dici ora soltanto! Adesso che sono là, felici, a Parigi ad amarsi! CASCART Non m’ascoltavi! ZAZÀEd io son qui a rodermi!... Bene non finirà, per Dio! (Anaide appare sull’uscio a sinistra e si avanza.)ANAIDEDite figliuoli... che mai succede?

ZAZÀEgli ha un’amante... ANAIDE (stupita)Cascart! ZAZÀSi vede che voi vivete dentro la luna! Milio ha un’amante! ANAIDE (balzando)Ah! che fortuna. (correggendosi)Cioè, che scandalo!...

ZAZÀ (giving a start)They were laughing! And that’s all you know? CASCART Isn’t that enough? ZAZÀ (beside herself with worry)You’re right, and you knew this? and you’re only telling me now! Now they are there, happily making love in Paris! CASCART You didn’t listen to me! ZAZÀAnd I am here in misery!... By God, this will not end well! (Anaide appears in the doorway to the left and comes into the room.)ANAIDETell me, children... what on earth has happened? ZAZÀHe has a mistress... ANAIDE (amazed)Who, Cascart? ZAZÀYou clearly have your head in the clouds! Milio has a mistress! ANAIDE (giving a start)Really! That’s a stroke of luck. (correcting herself)Or rather, that’s scandalous!...

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ZAZÀChe infamia, intendi!... CASCART Non sei sua moglie, poi... ZAZÀ (non potendo più frenare)Lo difendi! Ah! Cascart... quanto soffro... quanto male mi fa! (Piange fra le braccia di Cascart.)CASCARTHai ragione; ti calma, è una malvagità...

ZAZÀ (singhiozzando come un fanciulla)Sì. CASCART Convien punirlo!... ZAZÀAh! Sì, sì! CASCART (decisamente)Piantarlo! ZAZÀ (sciogliendosi vivamente dalle braccia di Cascart)Ah no!!... ANAIDE Figlia mia, la dignità... ZAZÀNon l’ho! Me ne infischio!! Lasciarlo?... ora vi mostrerò.

ZAZÀWhat an outrage, you mean!... CASCART You’re not his wife, so... ZAZÀ (unable to control herself)You’re defending him!Oh! Cascart... How I’m suffering... how much it hurts! (She weeps in Cascart’s arms.)CASCART You’re right; calm down, it’s a wicked thing to do... ZAZÀ (sobbing like a little girl)Yes, it is. CASCART He should be punished!... ZAZÀOh! Yes, yes! CASCART (firmly)Leave him! ZAZÀ (pulling away from Cascart’s embrace)Oh no!... ANAIDE Dear daughter, what about your dignity... ZAZÀI haven’t any! I couldn’t care less about it! Leave him?... I’ll show you.

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(correndo alla toletta in fondo)Natalia! ANAIDE (ansiosa)Che vuoi fare? CASCART Ma insomma... ZAZÀ (chiamando sempre)Natalia! (Natalia compare sull’uscio di destra.)(concitata)Il cappello, il mantello... fa presto... vado via!(Natalia esce dallo spogliatoio.)ANAIDE Ma pensa... CASCART Rifletti! ZAZÀIo parto. ANAIDE Che tenti? ZAZÀLo seguo a Parigi! CASCART Ma calmati, senti...! ZAZÀSaper voglio il vero! (Natalia ritorna col cappello ed il mantello di viaggio di Zazà.)

(rushing over to the dressing table at the rear)Natalia! ANAIDE (anxiously)What are you going to do? CASCART For heaven’s sake... ZAZÀ (still calling)Natalia! (Natalia appears in the doorway to the right.)(agitated)My hat, my cloak... make haste... I’m going out! (Natalia comes out of the cloakroom.)ANAIDE Think it through... CASCART Think it over! ZAZÀI’m leaving. ANAIDE What do you intend to do? ZAZÀI shall follow him to Paris! CASCART Calm down, listen...! ZAZÀI want to know the truth! (Natalia returns with Zazà’s hat and travelling cloak.)

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CASCARTZazà, via, m’ascolta! ANAIDELo ascolta, Zazà!CASCARTT’invito a riflettere un ultima volta.ANAIDEFigluola che tenti! Ma calmati! Pensa!

E sola ten vai? ZAZÀ (vivamente a Natalia)Su, su, Natalia, tu meco verrai; ma spicciati presto! (Natalia esce.)CASCART Zazà, pensa! (Natalia riappare col cappello, lo scialle ed una valigia.) ZAZÀ (a Natalia)Sei pronta? partiamo! CASCART Zazà!... ANAIDE Figlia mia!... ZAZÀBisogna ch’ei scelga – O me o l’altra... Via!! (Afferra Natalia pel braccio ed esce rapidamente con lei dalla porta a destra.)

CASCARTZazà, come now, listen to me! ANAIDEListen to him, Zazà!CASCARTI urge you to think it over one last time.ANAIDEWhat are you doing, my dear daughter! Calm down! Think about it! And are you going on your own? ZAZÀ (briskly to Natalia)Come on, Natalia, you’re going with me; but hurry up! (Natalia exits.)CASCART Zazà, think this through! (Natalia reappears with her hat, shawl and a suitcase.) ZAZÀ (to Natalia)Are you ready? Let’s go! CASCART Zazà!... ANAIDE My dear daughter!... ZAZÀHe has to choose – me or the other woman... Let’s go! (She grabs Natalia by the arm and they exit quickly through the door on the right.)

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(Anaide li segue sino all’uscio desolata. Cascart cade seduto sul canapè con gesto desolato.)

La tela cade rapidamente.

FINE DEL SECONDO ATTO

ATTO TERZO

[1] SOPRANOS 1 & 2 (cantando forte da lontano)Ah! Perche soletta sei laggiù? Margot?Sparve il riso dal tuo visoIl tuo ben fuggì, ne più torna qui!E canti il labbro non ha più!Ma rinnovare amore si può, Margot!Prendi il mazzuol, ritorna ancor come l’onda fugge amorRidi con noi Margot!(La tela si alza.)(Milio e solo seduto presso al tavolo in costume da viaggio.)

(Anaide follows them miserably to the door. Cascart sinks heavily onto the sofa with a despairing gesture.)

The curtain falls quickly.

END OF ACT TWO

ACT THREE

SOPRANOS 1 & 2 (singing loudly in the distance)Ah! Why are you there all alone? Margot?The laughter has gonefrom your face,Your happiness has fled, it won’t return again!And your lips no longer move in song!But you can love again, Margot!Take up your washing bat, love will return, like the waves, it ebbs and flows. Laugh with us, Margot!(The curtain rises.)(Milio is alone, sitting at the desk in travelling clothes.)

CD2 63’59

Maurizio Benini(conductor)

123

[2] MILIO (come assorto)Oh mio piccolo tavolo ingombrato siccome ingombro è di sgomenti il cuore! Domani a Saint-Etienne sarò tornato... l’ultima volta... a salutar l’amore!... Come dirle ch’io parto? Come fare a lasciarla? A mentire? Il labbro mio come le giurerà di ritornare mentre che il cuore le dirà l’addio?... Mai più, Zazà, raggiar vedrò dagli occhi tuoi la fiamma dell’amor!... e mormorar più non t’udrò calde parole, stretta al mio cor... Oh baci, oh nostre tenere ebbrezze, notti incantate, lunghe carezze, sereni dì! Il nostro amore è naufragato, e ci ha travolti l’onda del fato! Tutto finì!... Mai più![3] LA SIGNORA DUFRESNE (Entra vivamente in toletta da visita, seguita dal cameriere Marco dalla porta a sinistra.)Ecomi pronta, Milio... (a Marco)La valigia è al suo posto? MARCO È giù nella carrozza. (Milio intanto mette il capello, prende il soprabito sul braccio ed alcune carte.)

MILIO (as if engrossed)Oh, my little desk so covered with clutterjust like my heart, so cluttered with woes! I will return to Saint-Étienne tomorrow... for one last time... to say farewell to my lover!... How can I tell her I’m leaving? How can Itear myself away from her? How can I lie? How will my lips swear to return againwhen my heart is bidding her goodbye?... Never again, Zazà, will I see the flame of love burning in your eyes!... never again will I hear you murmurpassionate words, as I hold you tight... Oh kisses, oh tender raptures of delight, tranquil days, long caresses, magical nights! Our love has foundered on the rocks, and the waves of fate have swept us away! It is over!... Never again!MADAME DUFRESNE (In visiting dress, she quickly enters the door on the left, followed by Marco, the manservant.)I’m ready, Milio... (to Marco)Have you taken down the suitcase? MARCO It’s downstairs in the carriage. (Milio, in the meantime, puts on his hat, slings his overcoat over his arm and picks up some papers.)

124

MILIO Bene. (alla Signora) scendiamo tosto... SIGNORA DUFRESNE (a Marco incamminandosi con Milio verso l’uscio del fondo)Vegliate a tutto... (rivolgendosi ancora a Marco)Ah, Marco,... mi scordavo ... Aspetto una signora Dunoyer... Se giunge, trattenetela: le dite che tornerò... che sono alla stazione... MARCO (inchinandosi)Sta bene. SIGNORA DUFRESNE (rivolgendosi sull’uscio ancora)Ricordate... (come sillabando)Dunoyer... (La Signora e Milio escono dall’anticamera accompagnate da Marco.) (Marco riappare sull’uscio.)MARCO (annoiato, volgendosi verso la finestra)Ecco la nenia solita che dalla Senna viene! Oh, queste lavandaie!... (Va a sinistra si allunga sul canapè spiega il giornale e legge.)

MILIO Good. (to his wife) Let’s go down straightaway... MADAME DUFRESNE (to Marco, walking with Milio towards the door upstage)

Keep an eye on everything... (turning again to Marco)Oh, Marco... I forgot... I’m waiting for a Madame Dunoyer... If she comes, ask her to wait: tell her that I’ll be back... that I’m at the station... MARCO (bowing)Very well. MADAME DUFRESNE (turning round again in the doorway)Remember... (slowly, enunciating each syllable)Dunoyer... (Madame Dufresne and Milio exit through the hall, accompanied by Marco.) (Marco reappears in the doorway.)MARCO (annoyed, turning towards the window)There’s the usual dirge from the Seine! Oh, those washerwomen!... (He sprawls out on the sofa on the left, notices the newspaper and begins to read.)

125

SOPRANOS 1 & 2Perché soletta sei laggiù? Margot? Sparve il riso dal tuo viso. Il tuo ben fuggì né più torna qui! E canti il labbro non ha più! Ma rinnovare amor si può, Margot! Prendi il mazzuol, ritorna ancor. Come l’onda fugge amor. Ridi con noi – Margot! (Esce furibondo dalla porta del fondo come per andare ad aprire.)(Riappare introducendo Zazà e Natalia. Zazà avrà l’aria un po' stravolta come di persona decisa a tutto. Natalia invece è timida e paurosa.)[4] MARCO (a Zazà salutando)Lei dunque è la signora Dunoyer? ZAZÀ (con voce tronca, come cogliendo l’occasione)Sì, si, Dunoyer... MARCO Sia buona di trattenersi qui un istante: Madama è andata alla stazione; accompagna il signore che parte per Lione.

SOPRANOS 1 & 2Ah! Why are you there all alone? Margot?The laughter has gonefrom your face,Your happiness has fled, it won’t return again!And your lips no longer move in song!But you can love again, Margot!Take up your washing bat, love will return, like the waves, it ebbs and flows. Laugh with us, Margot!(She exits angrily through the door at the rear as if to go and open the front door.)(Marco reappears, ushering in Zazà and Natalia. Zazà looks distraught, like someone ready to do anything. Natalia, on the other hand, is shy and nervous.)MARCO (to Zazà, bowing)Are you Madame Dunoyer then? ZAZÀ (abruptly, as if seizing the opportunity)Yes, yes, Dunoyer... MARCO Please be so kind as to wait here for a while: Madame is at the station. She has gone to see off the Master, who is travelling to Lyon.

Helen Neeves (Signora Dufresne)

Edward Goater (Marco)

127

ZAZÀ Grazie: l’aspetterò. (dalla porta a sinistra che chiude dietro di lui)[5] NATALIA Qual turbamento!... ZAZÀ Tremi? Perché? NATALIA Se dalla casa ci scacciano?... ZAZÀ Che temi? Non son io forse teco?

NATALIA Voi? che potreste fare in casa sua!ZAZÀ (interrompendola)La loro casa la puoi chiamare!

Il domestico ha detto: il Signore... Madama...Qui fiorisce l’idillio! Qui si sorride ed ama!!

NATALIA Ebben, fuggiam, signora: ormai tutto, v’è noto... ZAZÀ Perché fuggir? sei folle: tutto m’è invece ignoto!... (Passeggia nervosa.)

ZAZÀ Thank you: I’ll wait for her. (through the door to the left, which he closes behind him)NATALIA I’m in such a tizzy!... ZAZÀ Are you trembling? Why? NATALIA What if they throw us out of the house?... ZAZÀ What are you frightened of? I’m with you, aren’t I? NATALIA You? What could you do in his house!ZAZÀ (interrupting her)You might just as well have called it their house! The servant just said it: Master... Madame...This is a perfect idyll! A place filled with smiles and love! NATALIA Then let’s go, Madame: now we know everything... ZAZÀ Why should we go? You’re mad: on the contrary, I know nothing!... (She paces up and down nervously.)

128

NATALIA (comincia ad osservare il salotto)

Han scelto un incantevole soggiorno... ZAZÀ Più del mio... Troppo bello!... NATALIA Perché? ZAZÀ Guardati intorno: Chi sarà questa donna?... Se il servo interrogassi... (fissando gli occhi al tavolo)Ah! NATALIA Che c’è? ZAZÀ Guarda: una lettera... sopra quel tavolino... NATALIA (Si accosta al tavolino e si china a leggere.)« A madama Dufresne, riva di Mazzarino » (impaurita)È ammogliato!... signora, signora... andiamo via! ZAZÀ (corre al tavolo ed afferra convulsa la lettera)Ammogliato?! No, è l’uso, vivendo in compagnia di dare il proprio nome...

NATALIA (begins to look around the drawing room)They’ve chosen a beautiful drawing room... ZAZÀ Much finer than mine... It’s too beautiful!... NATALIA Why? ZAZÀ Look around: Who is this woman?... Perhaps I should ask the servant... (staring at the desk)Oh! NATALIA What? ZAZÀ Look: a letter... on that desk... NATALIA (She goes over to the desk and leans over to read.)“To Madame Dufresne, Rue de Mazarine” (scared)He is married!... Madame, Madame... Let’s go! ZAZÀ (runs to the desk and feverishly grabs the letter)Married? No, it’s the custom, when living together, to take the man’s name...

129

(decidendosi ad aprire la busta)Fra poco lo saprò! NATALIA (supplichevole)Non l’oserete!? ZAZÀ È aperta... e poi?... Venni per ciò!

(Apre la lettera e legge convulsamente.)« Quando, amica, a Parigi verrà vostro marito » (Si arresta come colpita.)Dunque è vero?... Ammogliato!... Non aveva mentito quel povero Cascart...(Gitta la lettera sul tavolo.)Ammogliato?!... (Poi passando le mani sul volto ha come un momento di prostrazione.)[6] NATALIA (cercando sorreggere e confortare Zazà)Signora, buona signora, andiamo... Perché soffrire ancora? Tutto è scoperto... ZAZÀ (come pazza)Andare? No: qui restar conviene: egli è certo già stanco di queste sue catene! Me sola ama! io l’aspetto ferma; egli giungerà,

lascerà la sua sposa... e meco partirà!

(deciding to open the envelope)I shall soon know! NATALIA (entreatingly)Surely you wouldn’t dare? ZAZÀ It’s open... so why not?... This is what I came for! (She opens the letter and reads feverishly.)“When, my friend, your husband arrives in Paris” (She stops as if shocked.)So it is true, is it?... He’s married!... Poor Cascart wasn’t lying...(She throws the letter on the desk.)Married?... (Then, putting her face in her hands, she appears overwhelmed for a moment.)NATALIA (trying to support and comfort Zazà)Madame, dear Madame, let’s go... Why suffer more? You know everything now... ZAZÀ (as if raving)Go? No, we’d better stay here: he’s bound to be weary of the chains that tie him down! I’m the one he loves! I’ll wait for him here; he’ll arrive, he’ll abandon his wife... and with me he’ll leave!

130

NATALIA (spaventata)Ah! vengono... (Totò entra senza vedere le due donne e va verso il pianoforte.) (a bassa voce, rapidamente)Signora... guardate: una bambina. ZAZÀDove? Chi è? NATALIA Signora... certo è la sua piccina: è sua figlia!... (A questo punto, Totò si rivolge, dopo aver cercato un foglio di musica vede Zazà e Natalia e rimane interdetta.) ZAZÀ (come un rantolo di dolore)Sua figlia!... NATALIA Le abbiam fatto paura... ZAZÀ Parlale tu... non oso... NATALIA (commossa fissandola)Che dolce creatura! (parlando alla bambina)[7]Signorina, vi abbiamo spaurita? TOTÒ No, signora, venivo al pianoforte... NATALIA Vi disturbiamo...

NATALIA (frightened)Oh! They’re coming... (Totò enters without noticing the two women and makes for the piano.) (softly and quickly)Madame... look: it’s a little girl. ZAZÀ Where? Who is she? NATALIA Madame... it must be his little girl: it’s his daughter!... (At that moment, Totò turns round, after finding a sheet of music, and is taken aback to see Zazà and Natalia.) ZAZÀ (as if gasping with pain)His daughter!... NATALIA We’ve scared her... ZAZÀ Speak to her... I don’t dare... NATALIA (moved, staring at her)What a sweet little thing! (speaking to the little girl)

Little girl, did we scare you? TOTÒ No, Madame, I came to play the piano... NATALIA Are we disturbing you...

131

TOTÒ No... la mamma è uscita: l’aspettate? NATALIA Da un pezzo... Ora più corte saran l’ore con voi... TOTÒ (salutando confusa)Signora, come siete gentile... (Totò fa cenno a Zazà ed a Natalia di sedere. Zazà siede a destra, Natalia a sinistra presso al canapè. Totò nel mezzo.)ZAZÀ (con profonda commozione cercando farsi forza)Angioletto, il tuo nome? TOTÒ Antonietta Dufresne è il nome mio... ma mi dicon Totò... ZAZÀ (suavemente)Totò! di’ tu? TOTÒ Voi mi date del tu? Perché?

ZAZÀ (imbarazzata e commossa)Perché... tu rassomigli... (come riprendendosi) voi rassomigliate (con grande dolcezza)ad uno... che amo tanto...

TOTÒ No... my mother has gone out: have you been waiting for her? NATALIA Yes, for a while... The time will pass more quickly now you are here... TOTÒ (curtseying, embarrassed)Madame, how kind you are... (Totò gestures to Zazà and Natalia to sit down. Zazà sits to the right, Natalia to the left on the sofa. Totò in the middle.)ZAZÀ (deeply moved, trying to pluck up her courage)What’s your name, little angel? TOTÒ My name is Antonietta Dufresne... but everyone calls me Totò... ZAZÀ (gently)Totò, you say? TOTÒ You talk so informally to me, as if you know me? Why? ZAZÀ (embarrassed and moved)Because... Totò, you look like... (as if correcting herself) Mademoiselle Dufresne, you look like (tactfully)someone... whom I love dearly...

Julia Ferri (Totò) with conductor Maurizio Benini

133

TOTÒ Uno che amate? Io somiglio a papà... Lo conoscete? ZAZÀ (vivamente)No!... TOTÒ Io da sei mesi nol vedea, sapete... ZAZÀ Sei mesi!... TOTÒ Or lo rivedo e lieta sono... Babbo, al ritorno, al circo ci ha portati... Ma insieme a noi fra breve partirà. ZAZÀ (ansiosamente)E dove andate?

TOTÒ In America. ZAZÀ (con un sospiro di dolore)Ah!... TOTÒ Non avete come babbo una Totò? ZAZÀ S’io l’avessi, Totò, l’adorerei... come adorata dal tuo babbo sei!... TOTÒ (gaia)Certo che mamma e babbo amano assai la piccola Totò!... V’ama, signora, la vostra?

TOTÒ Someone you love? I look like papa... Do you know him? ZAZÀ (quickly)No!... TOTÒ I didn’t see him for six months, you know... ZAZÀ Six months!... TOTÒ Now, I’m seeing him again and I’m happy... When he came back, papa took us to the circus... But soon he’s leaving again with us. ZAZÀ (anxiously)And where are you going, Mademoiselle Dufresne? TOTÒ To America. ZAZÀ (with a sorrowful sigh)Oh!... TOTÒ You don’t have a child like Totò? ZAZÀ If I had a little girl, Totò, I would love her... just like your papa loves you... TOTÒ (gaily)Mama and papa certainly love their own little Totò very much!... Does your Mama love you, Madame?

134

ZAZÀ (con profonda tristezza)Mamma?! io non l’ho avuta mai! [8]Mamma usciva di casa in sull’aurora... ed ero sola... fin che ritornava... Ma la sera al ritorno... TOTÒ Vi baciava? ZAZÀNo! non volea destarmi... Avea ragione:

C’era sì poco da vedere al mondo! Lo sai, piccina mia?... ci son persone

che devi amare d’un amor profondo! Sono cattive... e il mondo le disprezza...

Pure han tanto sofferto... in fanciullezza...

TOTÒ (Poco a poco si leva e si appressa a Zazà interessandosi a quanto essa dice.)I bimbi senza pane e senza tetto?

ZAZÀ (angoscioso)Vi sono bimbi ai quali manca molto più!... TOTÒ Sono i bimbi che non han l’affetto del babbo?...

ZAZÀ (very sadly)My mother? I never had one!

My mother used to leave the house at dawn... and I was all alone... until she came back... But in the evening... when she came back... TOTÒ She kissed you? ZAZÀ No! she didn’t want to wake me... She had good reason: there was so little to be seen in the world! Do you know that, sweet creature? There are people whom you should love with deep devotion! For they are wicked... and the world looks down on them... yet they suffered deeply... when they were children... TOTÒ (Gradually she stands and goes closer to Zazà, interested in what she has to say.)Children without food and a roof over their heads? ZAZÀ (distressed)There are children who want for much more than that!... TOTÒ Are there children who aren’t loved by their papa?...

135

ZAZÀ (quasi piangendo)I bimbi senza padre... hai colto! (con le lagrime agli occhi abbracciando Totò)

Questa per un fanciullo è la maggior sventura! Ma tu... vivi tranquilla... soave creatura; il padre tuo... nessuno... ti strapperà!... (Stringe Totò piangendo e baciandola.)TOTÒ (guardando sorpresa Zazà)Signora... piangete?... ZAZÀ No, non piango... Un ricordo m’accora... A studiar tu venivi... Ten prego: suona un poco... TOTÒ (andando verso il piano)Allora, suono un’Ave Maria; è bella e piace tanto alla mammina mia. (Cerca un foglio di musica e poi siede al piano.)ZAZÀ (Barcarollando cade piangendo sul canapè a sinistra. Natalia acorre a lei.)Sì, va, Totò.NATALIA Coraggio!... [9] ZAZÀ (balbetando fra i singulti)È finita!...

ZAZÀ (on the verge of tears)Children who have no fathers... you’ve understood perfectly! (embracing Totò with tears in her eyes)For a child, that is the worst misfortune of all! But you... you needn’t worry... sweet girl; Your father… no one… will take him away!... (She hugs Totò tightly and kisses her, weeping.)TOTÒ (looking at Zazà in surprise)Madame... are you crying?... ZAZÀ No, I’m not crying... I’m upset by a memory... You came in here to practise... won’t you play something for us, please... TOTÒ (going over to the piano)Then I will play an Ave Maria; it is very pretty and my Mama likes it. (She selects a piece of music, then sits down at the piano.)ZAZÀ (Staggering, she collapses in tears on the sofa to the left. Natalia runs to her.)Yes, go, Totò.NATALIA Be brave!... ZAZÀ (stammering between sobs)It’s over!...

136

(Totò comincia a suonare l’introduzione.)Ammogliato... e un angelo ha per figlia!... Ho sognato... Ho sognato... Dir che ci sono al mondo creature nate fra gli agi e contro il mal protette, che a l’uom prescelto se ne vanno pure spose felici e madri benedette! E non son paghe! E ignorano i dolori di noi cresciute al freddo ed alla fame!

Che stanche alfine di cotanti orrori cerchiamo scampo ne la vita infame! Noi siam le maledette!! Il mondo ci rifiuta anche l’amore!... Quanto dolor!... me che addiverrà?!!(Piange a dirotto mentre Natalia commossa cerca consolarla.) TOTÒ (si alza lieta e va presso Zazà) (a Zazà)Ho finito! baciatemi... (La bacia con effusione strigendola fra le braccia.)Non piangete! (Si sente rumore nell’anticamera.)(lieta)

(Totò begins playing the introduction.)He is married... and he has an angel for a daughter!... I was dreaming... I was dreaming... To think that the world is full of childrenborn in luxury and sheltered from harm, who are chaste when given to the chosen man to become happy wives and blessed mothers! And they’re not content! And they don’t know the pain felt by those of us who grew up cold and hungry! Who weary at last of so much misery seek a way out by living a life of shame! We are cursed women! The world denies us love as well!... So much sorrow!... What will become of me?(She weeps while Natalia, moved, tries to comfort her.) TOTÒ (gets up gaily and goes over to Zazà) (to Zazà)I’ve finished! Will you give me a kiss... (She kisses her warmly, hugging her tightly.)

Please don’t cry! (She hears a noise in the hallway.)(cheerfully)

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[10]È mammà. (Corre verso la porta del fondo.)NATALIA Dio! che succede adesso?! ZAZÀ (Zazà si è levata di scatto e con uno sforzo supremo riesce a contenersi.) (a Natalia: calmandola con gesto)Nulla! (La porta si apre ed appare la signora Dufresne che resta interdetta vedendo persone sconosciute, poi saluta civilmente e si avanza tendendo per mano Totò che le è andata incontro e resta in piedi nel mezzo della stanza.)Oh, come è bella! (Zazà saluta poi comincia col più gran turbamento:)Voi, signora, aspettavate una signora Dunoyer... È il nome mio. Noi di porta ci siamo sbagliate... Volli spiegar l’equivoco e restai. Intanto con la bimba conversai... È un angelo!... Felice voi... Men vo...(Va passo a passo alla porta.)

Scusate! (Zazà s’inchina.)

Mama’s home. (She runs towards the door at the rear.)NATALIA Goodness! What will happen now? ZAZÀ (Zazà has jumped to her feet and with a supreme effort manages to control herself.) (to Natalia: reassuring her with a gesture)Nothing! (The door opens and Madame Dufresne appears, looking surprised to see these strangers. She greets them politely and comes forward holding hands with Totò, who went to meet her, then remains standing in the middle of the room.)Oh, how beautiful she is! (Zazà greets her, then begins in disarray:)

Madame, you were expecting a Madame Dunoyer... That is my name. We came to the wrong address... I wanted to explain the mistake, so I stayed. I talked to your little girl while we waited... She’s an angel!... You’re very lucky... And now I’m going... (She slowly walks to the door.)Excuse me! (Zazà bows.)

138

TOTÒ (sempre presso alla sua mamma)Addio, signora... ZAZÀ (col singhiozzo del pianto mal represso)Addio, Totò!... (Zazà esce seguita da Natalia dopo aver fatto un cenno di saluto colla mano a Totò. La signora Dufresne bacia Totò e poi sembra interrogarla sulla visita.)La tela cala lentamente.

FINE DELL’ATTO TERZO

ATTO QUARTO

[11] COURTOIS Così, nessuna nuova? ANAIDE Forse verrà più tardi; non so... qualche disgrazia forse? Dio ce ne guardi! COURTOIS Non si dovea lasciarla allontanare nemmen di quattro passi! Con quei nervi, vi pare...?! Ora mi avete messo in un impiccio serio! Mi mangio il meglio degli incassi per ogni suo capriccio!!

TOTÒ (still by her mother’s side)Goodbye, Madame... ZAZÀ (with a barely suppressed sob)Goodbye, Totò!... (Zazà waves goodbye to Totò, then exits, followed by Natalia. Madame Dufresne kisses Totò, then seems to be questioning her about the visit.)The curtain slowly falls.

END OF ACT THREE ACT FOUR

COURTOIS So there’s no further news? ANAIDE Perhaps she will turn up later; I don’t know... perhaps she’s had an accident? God forbid! COURTOIS She shouldn’t be allowed to roam away from home, even for a short excursion! She’s so highly-strung, wouldn’t you say...? Now you’ve put me in a terrible position! I’m losing the lion’s share of my income all because of her whims and pouts!

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Ier sera, ad esempio: hanno imparato che Zazà non cantava... e m’han piantato!

ANAIDE (balzando in piedi)Qualcuno! (in ascolto)s’apre l’uscio... È lei...! (Corre precipitosa ed esce dalla porta di destra.)(Courtois impacciato passa a destra presso al paravento quasi celandosi.)ANAIDE (riappare seguendo Zazà che camminando automaticamente traversa la stanza senza vedere Courtois, e si lascia cadere sulla sedia presso al tavolo oppressa)[12]Figliuola mia! Mia Zazà...! (Entrano della stessa porta a destra Cascart e Natalia che sembra raccontare vivamente quanto è successo a Parigi. Essi restano nel fondo.)ZAZÀ (siede)Buon dì, mamma... ANAIDE (Prende una sedia e siede come per cominciare una lunga conversazione.)

Yesterday night, for example: they caught on that Zazà wasn’t singing... and simply walked out! ANAIDE (jumping to her feet)Someone’s here! (listening)the door is opening... It’s her...! (She rushes out of the door to the right.)(Courtois, looking embarrassed, walks past on the right near the folding screen, almost disappearing from view.)ANAIDE (reappears following Zazà who walks mechanically across the room without noticing Courtois, then sinks onto the chair by the table, looking overwhelmed)

My little girl! My Zazà...! (Cascart and Natalia enter the same door on the right. She seems to be providing Cascart with a lively account of what took place in Paris. They remain upstage.)ZAZÀ (sits down)Hello, mother... ANAIDE (She sits down, looking as if she wants to begin a long conversation.)

Michael Haas (producer), Nicky Spence (Courtois) and Ermonela Jaho (Zazà)

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Che orribile agonia! Ma tu ci darai subito notizie... Stavo in pena... ZAZÀ Oh no, mamma, non posso... (come affranta parlando senza voce)Mi reggo in piedi appena! Tutta notte ho vegliato... Racconterò... ma dopo! ANAIDE (come delusa insistendo)Vorrei... ZAZÀ Lasciami in pace. (volgendosi scorge Courtois)Voi qui! per quale scopo? COURTOIS (imbarazzato)... Venivo per sentire... ZAZÀ (amaramente interrompendolo)Oh! già lo so!... se canto?!!!

Voi pagate! Sì, canterò...! Ma portalo, mamma, lontan di qua! COURTOIS (confuso uscendo)Io non pensavo... ZAZÀAndate... Mamma... va via! va... va...

I’ve been going through hell! But you’ll tell us the news right now... I was so worried... ZAZÀ Oh no, mother, I can’t... (as if overwhelmed, in a weak voice)I can barely stand! I’ve been awake all night... I will tell you... but later! ANAIDE (as if disappointed, insisting)I’d like... ZAZÀ Leave me alone. (turning and noticing Courtois)You here? What on earth for? COURTOIS (embarrassed)... I came to find out... ZAZÀ (bitterly, interrupting him)Oh! Of course, I know!... Whether I’m going to sing? You pay me! Yes, I will sing...! Take him away, mother, far away from here! COURTOIS (exiting, embarrassed)I didn’t think... ZAZÀ Go away... Mother... please leave! Go away... Go away...

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(Anaide esce trascinando Courtois.) (Zazà toglie il cappello e lo scialle e va a sedere infranta sul canapè a destra.)

NATALIA Signor! è adesso la vostra volta... ditele qualche mite parola... se voi non siete chi la consola? CASCART Che debbo dirle se non m’ascolta?

ZAZÀ Ah, tu non puoi, dire così, Cascarti tuoi consigli seguirò... Sei tu ch’io stimo! Oh, mio Cascart, non reggo più...

Perdo la testa! Che far debbo?... Di’!? (Natalia esce dalla sinistra.)

[13] CASCART (appressandosi commosso)Zazà, piccola zingara, schiava d’un folle amore, tu non sei giunta al termine ancor del tuo dolore! Quanto convien di lacrime che sul tuo volto scenda pria che il tuo solo ed umile pellegrinar riprenda! Tu lo credesti libero...

(Anaide exits leading Courtois away.) (Zazà takes off her hat and shawl and, looking brokenhearted, sits down again on the sofa on the right.)NATALIA Sir! It’s your turn now... Say something to her, some gentle words... who, if not you, can comfort her? CASCART What should I say to her if she won’t listen to me? ZAZÀOh, Cascart, you can’t say that to me.I will follow your advice... I hold youin high esteem! Oh, dear Cascart, I can’t bear it any more... I’m going out of my mind! What should I do?... Tell me! (Natalia exits to the left.)CASCART (coming nearer, moved)Zazà, my little gypsy, in thrall to a foolish passion, you haven’t yet reached the end of all your pain! How many teardrops must trickle down your facebefore you continue on your lonely, humble pilgrimage! You believed he was free...

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or la speranza è spenta... Ora sei tu la libera, e il tuo dover rammenta! Ahi! del sognato idillio sparve l’inganno a un tratto! una manina d’angelo indietreggiar t’ha fatto! ZAZÀ (mormorando fra le lacrime)Ah, quella figlia... CASCART Piangi la pace tua svanita... Ma rammenta che un altro dover hai nella vita: Quell’uomo ha una famiglia... Rendilo!ZAZÀ (disperatamente)Abbandonarlo? CASCART È tuo dovere: rendilo! E tuo dovere. ZAZÀAhimè! (Resta accasciata.)[14] CASCART (quasi duramente) Che?... Non vorresti farlo? ZAZÀ Ciò non dissi... CASCART Che pensi? ZAZÀ Nulla... che lo farò...

but now your hopes are gone... Now you are free, remember your duty! Alas! The illusion of the idyll you dreamed has vanished suddenly! The tiny hand of an angel has forced you to retreat! ZAZÀ (murmuring through her tears)Oh, that little girl... CASCART Weep for your lost peace... But remember that in life you have another duty: that man has a family... Give him back! ZAZÀ (desperately)Leave him? CASCART It is your duty: give him back! It is your duty. ZAZÀAlas! (She looks devastated.)CASCART (almost harshly)What?... Don’t you want to? ZAZÀ I’m not saying that... CASCART What are you thinking? ZAZÀ Nothing... That I will do it...

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dovessi anche morire... oggi... gli parlerò...

CASCART (balzando)No! Tu non dei riceverlo? Qui si tratta di moglie, di figlia, di dovere!

NATALIA (rientra correndo dalla sinistra)Signora, signora... Venitelo a vedere... il signor Milio è all’angolo della via... ZAZÀ (correndo al balcone con Natalia che lo addita)Milio! NATALIA È là; ei conversa ridendo con il signor Courtois. ZAZÀ (volgendosi con gioia delirante a Cascart)Mio Cascart, ti ringrazio dei tuoi consigli... li seguirò... ma parti, ch’ei non ti trovi qui... va... va... CASCART Men vo: Ma presto su te discenderà l’ora del pentimento!... ZAZÀVa!CASCART (uscendo)Ahi, povera Zazà!... (Scampanellata.)

Even though it will kill me... today... I will speak to him... CASCART (jumping up)No! You’re not going to receive him? When it’s a question of a wife, a daughter and duty! NATALIA (re-enters at a run from the left)Madame, Madame... Come and see... Monsieur Milio is at the corner of the street... ZAZÀ (running over to the balcony with Natalia, who points to him)Milio! NATALIA He’s there; he’s talking to Monsieur Courtois and laughing. ZAZÀ (beside herself with joy, turning to Cascart)Dear Cascart, thank you for your advice... I will follow it... but leave now, so that he doesn’t find you here... go... go... CASCART I’m going: but the time for regretwill be here soon enough!... ZAZÀLeave now!CASCART (exiting)Alas, poor Zazà!... (The doorbell rings.)

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(Natalia sempre colle scarpe e il busto in mano corre a prendere il cappello al caminetto; quand’essa si rivolge per tornare, Zazà le getta l’accappatoio addosso: allora Natalia corre allo spogliatoio gitta tutto per terra chiude la porta e poi corre alla porta a destra per aprire a Milio.)[15] ZAZÀ Per buona sorte tutto è a suo posto...(va presso alla toletta comprimendo il cuore)

Dio! che momento! (Milio appare sull’uscio.) (cadendo nelle braccia di Milio)Ah! Eccoti, amore e vita! Deh, ch’io ti guardi e baci: Io, t’amo: ancor ti stringono le braccia mie tenaci! NATALIA (prepara la tavola vivamente)MILIO Che hai? perché m’abbracci sì forte, stamattina? ZAZÀ Oh, il cattivo! io son sempre la stessa a te vicina! MILIO No: Zazà, li conosco i tuoi baci; So del tuo amore immenso:

(Still holding the shoes and corset, Natalia runs over to retrieve the hat from the mantelpiece; when she turns round and heads back, Zazà throws her the dressing gown too: Natalia hurries to the cloakroom and tosses everything on the floor. She closes the door, then hurries to the door on the right to let Milio in.)ZAZÀ Fortunately, everything has been tidied away...(goes over to the dressing table with her hand pressed to her heart)Goodness! What a scramble! (Milio appears at the door.) (falling into Milio’s arms)Oh! There you are, love of my life! Heavens, let me gaze at you and kiss your face: I love you: once more my arms can hold you in a long embrace! NATALIA (briskly lays the table)MILIOWhat’s wrong? Why are you holding me so tightly this morning? ZAZÀ Oh, you scoundrel! I’m always like this when I’m near you! MILIO No: Zazà, I know your kisses; I know your boundless love for me:

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T’amo troppo, e il mistero indovinare io penso! ZAZÀ (con espressione intima)M’ami troppo? Mai quanto basta!... Ti par tedioso l’amor mio?... È che ho fatto un sogno tormentoso! (come seguendo internamente un’idea fissa)

Tu non mi amavi più... non ti vedevo più...

Dei dolci tempi andati, dei baci innumerati,

del nostro amor che fu, altro non rimanea che una parola... anzi due voci e una minaccia sola: Mai più! E ridestandomi ancor ti vedo!

m’ami, ai tuoi baci ancora io credo! Come felice, Milio, mi fai... lasciami piangere... (scoppiando in pianto fra le sue braccia)MILIO (sorpreso asciugandole gli occhi)Zazà, che hai? ZAZÀ (ritendosi)Nulla: i miei nervi! solita storia! Non darti pena ... facciam baldoria!

I love you so very much, and I think I’m right in sensing some mystery! ZAZÀ (confidentially)You love me so very much, do you? Never enough for me!... Are you bored by my love?... And I had such a bad dream! (as if inwardly struggling to shake off an obsessive idea)You didn’t love me any more... I didn’t see you any more... All that was left of the sweet moments we spent, the countless kisses, our love before,was one word... or rather two words and one threat: Never again! And then I reawaken to see you again! You love me, once again I believe in your kisses! Milio, you bring me such happiness... Let me weep... (bursting into tears in his arms)MILIO (surprised, wiping her eyes)Zazà, what’s the matter? ZAZÀ (controlling herself)Nothing: it’s just my nerves! Same old story! Don’t worry ... Let’s have some fun!

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Vogliamo ridere ... far vita lieta... Hai appetito? MILIO (ridendo)Come un poeta! ZAZÀ (gridando a Natalia)Presto! servi! (Natalia accorre colle vivande che mette sulla tavola.)E tu siediti, come sedesti, qui, all’indomani della “Rivista” di Bussy... Come la prima volta!... (Siedono. Milio comincia a servirsi allegramente.)[16] ZAZÀChe notizie mi porti da Parigi? MILIO (allegro)Le solite: le nascite, le morti, le corse... Ah! mi scordavo; i cani ammaestrati al circo! ZAZÀ (fissandolo seria)E ci sei stato? MILIO Cioè: ci siamo stati! ZAZÀ Ci siete stati!... MILIO Avevo meco due miei amici... ZAZÀ (con triste ironia)Due amici?

We want to make merry... live so happily... Are you hungry? MILIO (laughing)I’m starving! ZAZÀ (shouting to Natalia)Quickly! Serve lunch! (Natalia rushes in with the food, which she puts on the table.)Sit down, the way you sat here, the day after Bussy’s Revue... Like the very first time!... (They sit down. Milio cheerfully begins to help himself to food.)ZAZÀWhat news do you bring me from Paris? MILIO (merrily)The usual: births, deaths, the races... Oh! I forgot; performing dogs at the circus! ZAZÀ (staring at him gravely)Did you go to the circus? MILIO Actually, we went! ZAZÀ We went!... MILIO I had two friends with me... ZAZÀ (sadly and ironically)Two friends?

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MILIO Che hai?... Mi fissi e mi fai l’eco!

ZAZÀ Nulla; pensavo che sono felici

di venire a teatro con te, quei tuoi amici! Zazà, tu non la prendi, Zazà!... MILIO Tu hai ragione.... Vuoi stasera?ZAZÀ (vivamente)Oh, davvero? MILIO Ho visto il cartellone... annuncia una commedia... Quindici giorni fa ero... ZAZÀ (interrompendo)Con un amico... MILIO Ero... ZAZÀ (come prima)Alle « Varietà ». MILIO (fissandola serio e sorpreso a sua volta)Eh! Che hai? ZAZÀ Sono nervosa... Cascart ieri è venuto a propormi Marsiglia... ed io non ho voluto...

MILIO What’s wrong?... You’re staring at me and repeating everything I say! ZAZÀ Nothing; I was thinking that your friends are luckyto go to the theatre with you! You never take Zazà!... MILIO You’re right.... Would you like to go tonight? ZAZÀ (eagerly)Really? MILIO I saw the playbill advertising a comedy...

About two weeks ago, I was… ZAZÀ (interrupting him)There with a friend... MILIO I was... ZAZÀ (as before)At the “Théâtre des Variétés”. MILIO (gazing at her solemnly, surprised in his turn)Eh? What’s the matter? ZAZÀ I’m just on edge... Cascart came to see me yesterday and offered me Marseille... and I didn’t want to go...

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MILIO Perché? ZAZÀ Non hai affari laggiù da quelle parti... MILIO Ed io delle scritture non voglio più privarti... Il mio viaggio... ZAZÀ (alzandosi di scatto)Ah! Il tuo viaggio!!! Eccolo il gran discorso!!

MILIO (in tono di rimprovero)Zazà... tu sai che parto solo! ZAZÀ (non potendo più)Solo? Tu menti! Vai... bugiardo! Con tua moglie parti!!... MILIO (levandosi sorpreso)Mia moglie!... Sai?!... (Ricade seduto.)[17] ZAZÀ Ebbene, si, so tutto! Che hai moglie... che mi fuggi! Senti; io non vo’ dolermi di ciò: tu non sapevi

il futuro... Mi dolgo di ciò che in me distruggi! So che nel mio destino entrar tu non dovevi!

Perché m’hai tanto amata!... Perché!...

MILIO Why? ZAZÀ You don’t do any business down there... MILIO And I don’t want to stop you taking any new engagements... My journey... ZAZÀ (jumping up)Oh! Your journey!! The same old subject again! MILIO (reproachfully)Zazà... you know I’m going alone! ZAZÀ (unable to bear it any longer)Alone? You’re lying! Get out... liar! You’re going with your wife!... MILIO (jumping up in surprise)My wife!... You know?... (He sits down again.)ZAZÀ Well, yes, I know everything! That you have a wife... that you’re leaving me! Listen; I don’t want to complain about that: you didn’t know what the future would hold... What upsets me is what you destroyed in me! I know you shouldn’t have interfered with my destiny! Why did you love me so much!... Why!...

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MILIO (è accasciato col capo tra le mani) (come un gemito)Zazà! ZAZÀ Tu non avevi il diritto di fare tutto ciò! No! La mia vita era quella che tu sai... io sorridevo... non pensavo al male...

tu m’apparisti allora... e t’adorai, dolce amor mio fatale! E sognai di passar lieta al tuo fianco, una vita d’amor rigenerata! E mi vedevo già col crine bianco sposa e madre adorata!... Ma mi dovevi, o Milio, il pianto risparmiare

d’una felicità... che non potevi dare!

(Scoppia in pianto cadendo sul canapè.)[18] MILIO (appressandosi a lei)Zazà, tu mi rimproveri d’aver ti troppo amata? Forse io potea riflettere? Tu mi domandi ciò!

La tua carezza prima forse me l’hai tu negata? Forse potevo amarti diversamente? No!

(appressandosi ancora con affetto)Dimmi, tu, ho avuta la forza di lasciarti?

MILIO (dejectedly, with his head in his hands) (with a groan)Zazà! ZAZÀ You had no right to act like that! No! You know what my life was like before... I was happy... I had no thought of anything bad... then you appeared... and it was you I adored, sweet love destined to be mine! And I dreamt of a second chance, a life of love, spent happily by your side! And I saw myself with a mane of white hair, a cherished wife and mother!... But, oh Milio, you should have spared me the tears shed for a happiness... which wasn’t yours to give! (She bursts into tears, sinking onto the sofa.)MILIO (coming nearer)Zazà, do you reproach me for loving you too deeply? Perhaps I could have thought it through? You ask me this?Did you perhaps refuse me your first caress? Perhaps I could have loved you differently? No! (drawing even closer, lovingly)Tell me, did I have the strength to leave you?

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Di fuggire lontano!... Lo vedi! Io sono qui, Presso le labbra tue, chino a baciarti, a desiarti, come il primo dì! No! mia colpa non è. Eravam nati l’uno per l’altra: ZAZÀ (sanotendosi fra i singulti)Milio!MILIOEra fatalità! ZAZÀSì!MILIOBisognava non essersi incontrati, per non volersi bene, mia Zazà! (Cadono lacrimando fra le braccia l’un dell'altra accasciati sul canapè.)ZAZÀSì! O Milio! Eri il mio solo amor!

(in un singulto)Sì! Sì!MILIO (mormorando)Tu sei buona; m’hai tanto adorato... ZAZÀ (fra le braccia sempre)E sempre t’adoro...! MILIO Tuo sempre son stato! Lo sai...!

To flee far away!... You can see! I stayed near your lips, leaning over to kiss you, desiring you, as I did on the very first day! No! This isn’t my fault. We were born to love each other. ZAZÀ (shakily, through her sobs)Milio!MILIOIt was fate! ZAZÀYes!MILIOOnly if we had not met, my dear Zazà,would we not have loved each other! (They fall weeping into each other’s arms on the sofa.)ZAZÀYes! Oh, Milio! You were my one and only love!(through her sobs)Yes! Yes!MILIO (murmuring)You’re so good; you loved me so much... ZAZÀ (still in his arms)And I still love you...! MILIO I have always been yours! You know that...!

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ZAZÀ So che parti... mi lasci... MILIO Ma torno!... ZAZÀ Amor che finisce non ha più ritorno!

MILIO Che pensi? ZAZÀ Non torni!... L’ha detto... Totò!... MILIO (rinculando bruscamente sul canapè)Totò!!... (sordamente)Tu hai veduta mia figlia!! ZAZÀ Sì... MILIO No... Smentisci! Ma dove? Ma dove? ZAZÀ Da te! MILIO Sei stata a Parigi?! Sei stata da me?! ZAZÀ (fissandolo bravamente)Sì... MILIO Hai vista mia moglie?

ZAZÀ I know you’re going away... you’re leaving me... MILIO But I’ll come back!... ZAZÀ There’s no coming back to a love affair that’s over! MILIO What do you mean? ZAZÀ You’re not coming back!... Totò said so!... MILIO (recoiling suddenly on the sofa)Totò!... (nastily)You’ve seen my daughter! ZAZÀ Yes... MILIO No... Deny it! But where? But where? ZAZÀ At your house! MILIO You were in Paris? You went to my home? ZAZÀ (looking bravely at him)Yes... MILIO Did you see my wife?

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ZAZÀ L’ho vista! MILIO Hai parlato? ZAZÀ Sì!... [19] MILIO Questo delitto hai compiuto? Hai osato...!

ZAZÀ Io! ... perché no? MILIO Che hai detto? Che hai fatto, malaccorta!

ZAZÀ Nulla! Ma s’io son quella che adori... che t’importa? MILIO Che le hai detto? Hai potuto la pace sua turbar? ZAZÀ (scattando)Ah, come l’ami! Vedi l’ami! Non puoi negar!!

MILIO Essa è mia moglie... e tu sei... ZAZÀ Ah! Lo so!... “mia moglie”quando hai detto “mia moglie” hai detto tutto!

ZAZÀ Yes, I saw her! MILIO Did you speak to her? ZAZÀ Yes!... MILIO What crime have you committed? You didn’t dare...! ZAZÀ I! ... Why not? MILIO What did you say? What did you do, you reckless creature! ZAZÀ Nothing! But if I’m the woman you love... what does it matter? MILIO What did you say to her? Did you destroy her peace of mind? ZAZÀ (jumping to her feet)Oh, how much you love her! It’s easy to see you love her! You can’t deny it! MILIO She’s my wife... and you are... ZAZÀ Oh! I know!... “my wife”when you said “my wife” you said it all!

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Va, che mi bolle il sangue! Non vale il mio più brutto costume di cantante, quella tua donna!... Va!MILIO (folle)Tu osi...! ZAZÀ Oso!! Le ho detta tutta la verità! MILIO Le hai parlato? Infame! Tu non le hai detto...

ZAZÀ (come folle)Ho detto tutto: sì, tutto! I nostri baci, l’ardente affetto, le notti innamorate; le follie!... Che sei mio, tutto mio!... MILIO (la getta a terra, urlando)Sgualdrina! ZAZÀOh, come l’ami, lei!!! [20] MILIO (va a cercare il suo soprabitto ed il cappello)(cominciando con voce rotta come tremando per l’emozione mal contenuta)Ed ora io mi domando come, vicino a te, potei scordar la dolce mia buona creatura!

Come insozzare il nome mio, ch’ella porta, e me in quell’immondo amplesso

Get out, you make my blood boil! Get out! Your wife isn’t worth my tawdriest costume at the music hall! MILIO (beside himself)How dare you...! ZAZÀ How dare I! I simply told her the truth! MILIO You spoke to her? You wicked creature! You didn’t tell her... ZAZÀ (beside herself with rage)I told her everything: yes, everything! Our kisses, our passionate delight, our nights of love; our acts of folly!... That you’re mine, all mine!... MILIO (throws her to the floor)You trollop! ZAZÀ Oh, see how much you love her!! MILIO (he goes in search of his overcoat and hat)(beginning, his voice shaking with barely suppressed emotion)And now I wonder how, by your side, I could forget the sweet, kind creature, who is mine! How I could defile my own name, which she bears, and myself by indulging in base intercourse

Riccardo Massi with the BBC Symphony Orchestra, at the concert performance of Zazà at the Barbican, 27 November 2015

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(con un scatto) della tua carne impura! Oh! tu m’hai ben guarito dalla fatal follia! Ora chi sei conosco; so il fondo del tuo cor!

e al rientrar domani nella dimora mia, d’averti conosciuta mi resterà il rossor! (Va veloce sino all’uscio a destra.)

[21] ZAZÀ (in uno sforzo supremo)Basta! Ritorna pur nella tua dimora: vi troverai la pace... MILIO (ritornando indietro vivamente)Che? ZAZÀ Nulla io dissi... MILIO (avanzandosi ancora verso Zazà)Allora, Zazà, perché mentire? ZAZÀ Nulla han saputo... (con profonda dignità) Io sola or so quanto volevo...! (senza voce)MILIO (supplichevole)Zazà, una parola! ZAZÀ Tua moglie... tu l’ami... mi basta!

(with a shudder) with your unchaste flesh! Oh! You have cured me of that fatal madness! Now I know who you really are; I’ve read your heart to its depths! and tomorrow when I walk into my home again, the shame of knowing you will remain! (He walks hastily towards the door on the right.)ZAZÀ (making one supreme effort)That’s enough! Go home: you’ll seenothing has disturbed the peace... MILIO (briskly retracing his footsteps)What? ZAZÀ I didn’t tell her anything... MILIO (coming even closer to Zazà)Then why did you lie, Zazà? ZAZÀ She has learnt nothing... (with deep dignity) I simply learnt what I wanted to know...! (faintly)MILIO (entreatingly)Zazà, let me say something! ZAZÀ Your wife... you love her... that’s enough for me!

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MILIO (appressandosi a tendendo la mano)Zazà! ZAZÀ (rinculando come inorridita)Va via! Vorrei dirti che t’odio e ti sprezzo!

Nol posso: ma parti: mi metti ribrezzo...

Va... taci... (Rimane come accasciata colle mani sul volta.)

MILIO (dopo un momento di lotta, con un sospiro disperato)Ah!?! [22] ZAZÀ (lasciando ricadere le mani e guardando intorno come trasognata)Che ho fatto? (Corre alla porta.)Egli parte! Egli va? (quasi origliando)Non torna indietro... (Esce precipitosa dall’uscio a destra.) (dall interno)Milio! Milio! (Rientra come folle.)Ed io l’ho scacciato! (con un lampo)Ah! posso, richiamarlo! (Corre al balcone, lo schiude e guarda come al IIo Atto.)

MILIO (coming closer and holding her hand)Zazà! ZAZÀ (stepping back, as if appalled)Get out! I’d like to tell you that I hate and despise you! I can’t do that: but leave now: you fill me with disgust... Get out... shut up... (She stands there looking heartbroken, with her hands over her face.)MILIO (after struggling with himself for a moment, with a despairing sigh)Ah! ZAZÀ (letting her hands fall from her face and looking around, as if waking from a dream)What have I done? (She runs to the door.)He’s leaving! Has he gone? (as if listening at the door)He isn’t coming back... (She hastily exits through the door to the right.) (offstage)Milio! Milio! (She comes back in, beside herself.)And I was the one who chased him away! (struck by a brainwave)Oh! I can call him back! (She runs to the balcony, opens the window and looks out as in Act 2.)

Ermonela Jaho(Zazà)

159

Dio! (chiamando)Milio!! (con un lampo di speranza.)S’è voltato!... No... (chiamando)Milio! torna! Milio... È all’angolo... È sparito! E non ritorna più... mai più! Tutto è finito!

(Scoppia in singhiozzi e cade seduta col capo fra le mani sui scalini.)

La tela cade rapidamente.

FINE

My god! (calling)Milio! (with a glimmer of hope)He’s turned round!... No... (calling)Milio! Come back! Milio... He’s at the corner... He’s gone! And he’ll never come back... Never again! It’s over! (She bursts into bitter tears and sits down on the steps with her head in her hands.)

The curtain falls swiftly.

END

Ermonela Jaho and Stephen Gaertner with the BBC Symphony Orchestra, at the concert performance of Zazà at the Barbican, 27 November 2015