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• Rigoletto the Story
• Personages.
• Rigoletto (italian Language).
• Atto I.
• Scena I.—: Sala Magnifica Nel Palazzo Ducale. Il Duca E Borsa Che Vengono Da Una Porta Del Fondo.
• Scena II.—: Detti, Il Conte Di Ceprano, Che Segue Da Lungi La Sua Sposa Seguita Da Altro Cavaliere. Dame E Signora Entrano Da Varie Parti.
• Scena III.—: Detti E Rigoletto Che S’ Incontra Nel Signor Di Ceprano; Poi Cortigiani.
• Scena IV.—: Detti E Marullo Premuroso
• Scena V.—: Detti Ed Il Duca Seguita Da Rigoletto, Indi Ceprano.
• Scena VI.—: Detti Ed Il Conte Di Monterone.
• Atto II.
• Scena X.—: Detti E Giovanna Dalla Casa.
• Scena XI.—: Detti Ed Il Duca In Costume Borghese Dalla Strada.
• Scena XII.—: Gilda, Giovanna, Il Duca Nella Corte, Poi Ceprano E Borsa a Tempo Sulla Via.
• Scena XIII.—: Gilda Sola.
• Scena XIV.—: Marullo, Ceprano, Borsa, Cortigiani Armati E Mascherati Dalla Via. Gilda Sul Terazzo, Che Tosto Entra In Casa.
• Scena XV.—: Detti E Rigoletto Concentrato.
• Atto III.
• Scena I.—: Salotto Nel Palazzo Ducale. Vi Sono Due Porte Laterali, Una Maggiore Nel Fondo Che Si Chiude. A’ Suoi Lati Pendono I Ritratti In Tutta Figura, a Sinistra Del Duca, a Destra Della Sua Sposa. V’ Ha Un Seggiolone Presso Una Tavola Coperta Di Vellu
• Scena II.—: Marullo, Ceprano, Borsa, Ed Altri Cortigiani, Del Mezzo.
• Scena III.—: Marullo, Ceprano, Borsa, Altri Cortigiana, Poi Rigoletto Dalla Destra, Ch’ Entra Cantarellando Con Reprezso Dolore.
• Scena IV.—: Detti E Un Paggio Della Duchessa.
• Scena V.—: Detti E Gilda Ch’ Esce Dalla Stanza a Sinistra E Si Getta Nelle Paterne Braccia.
• Scena VI.—: Rigoletto E Gilda.
• Scena VII.—: Detti, Un Usciere, E Il Conte Di Monterone, Che Dalla Destra Attraversa Il Fon Da Della Sala Fra Gli Alabardieri.
• Scena VIII.—: Rigoletto E Gilda
• Atto IV.
• Scena I.—: Deserta Sponda Del Mincio. Gilda E Rigoletto Inquieto Sono Sulla Strada. Sparafucile Nell’ Interno Dell’ Osteria, Seduto Presso Una Tavola, Sta Ripulendo Il Suo Cinturone, Senza Nulla Intendere Di Quanto Accade Al Di Fuori.
• Scena II.—: Detti Ed Il Duca, Che, In Assisa Di Semplice Officiale Di Cavalleria Entra Nella Sala Terrena Per Una Porta a Sinistra.
• Scena III.—: Gilda E Rigoletto Sulla Via, Il Duca E Maddalena Nel Piano Terreno.
• Scena IV.—: Sparafucile, Rigoletto, Il Duca E Maddalena.
• Scena V.—: Detti, Meno Rigoletto.
• Scena VI.—: Detti E Gilda Che Comparisa Nel Fondo Della Via In Costume Virile, Con Stivali E Speroni, E Lentamente Si Avanza Verso L’ Osteria, Mentre Sparafucile Continua Bere. Spessi Lampi E Tuoni.
• Scena VII.—: Rigoletto Solo Si Avanza Da Fondo Della Scena Chiuso Nel Suo Mantello.
• Scena VIII.—: Detto E Sparafucile [editor: Illegible Word] Casa
• Scena IX.—: Rigoletto, Poi Il Duca [editor: Illegible Word] Tempo.
• Rigoletto (english Langauge)
• Act I, Scene I.—: A Ball-room In the Ducal Palace. Ladies and Gentlemen, Pages and Servants, Cross the Scene. Music Is Heard At a Distance, and Now and Then Bursts of Laughter. Enter the Duke and Borsa.
• Scene II.—: Enter Count Ceprano, Watching At a Distance the Countess, Who Is Followed By a Gentleman. Ladies and Lords Cross the Scene.
• Scene III.—: Enter Rigoletto, Who Meets Count Ceprano and Courtiers.
• Scene IV.—: Enter Marullo, With Great Anxiety.
• Scene V.—: Enter the Duke, Followed By Rigoletto, Afterwards Ceprano.
• Scene VI.—: Enter Count Monterone.
• Act II.
• Scene X.—: Enter Giovanna From the House.
• Scene XI.—: The Duke In Disguise Arrives In the Street.
• Scene XII.—: Gilda, Giovanna, the Duke In the Court Yard; Afterwards Ceprano and Borsa In the Street.
• Scene XIII.—: Gilda Alone.
• Scene XIV.—: Marullo, Ceprano, Borsa, Courtiers In Masks, and Armed, In the Street; Gilda On the Terrace, Entering the House.
• Scene XV.—: Enter Rigoletto, Absorbed In Thought.
• Act III.
• Scene I.—: A Room In the Ducal Palace. Doors Right and Left and One In Front. On One Side the Portrait of the Duke, On the Other Side That of the Duchess. a Table, Arm-chair, &c. Enter the Duke, Much Agitated.
• Scene II.—: Enter Marullo, Count Ceprano, Borsa, and Other Courtiers.
• Scene III.—: Enter Rigoletto.
• Scene IV.—: Enter a Page of the Duchess.
• Scene V.—: Enter Gilda, Who Throws Herself Into the Arms of Her Father.
• Scene VI.—: Rigoletto and Gilda.
• Scene VII.—: Enter a Herald, and Count Monterone, Who Crosses the Stage In the Midst of Guards.
• Scene VIII.—: Rigoletto and Gilda.
• Act IV.
• Scene I.—: A Desert Spot On the Banks of the River Mincio. Gilda and Rigoletto In the Road. Sparafucile In the Inn, Cleaning His Leather Belt.
• Scene II.—: The Duke, Dressed As a Private Officer, Enters the Inn.
• Scene III.—: Gilda and Rigoletto On the Road. Magdalen and the Duke In the Inn.
• Scene IV.—: Sparafucile, Rigoletto, Duke and Magdalen.
• Scene V.—: Sparafucile, the Duke, and Magdalen.
• Scene VI.—: Enter Gilda From the Road, Disguised As a Man, and Slowly Advancing Toward the Inn, Whilst Sparafucile Drinks. It Lightens and Thunders.
• Scene VII.—: Rigoletto Advances From the Road Enveloped In His Cloak. the Violence of the Storm Is Diminished, Only Now and Then the Lightning Is to Be Seen and the Thunder Heard.
• Scene VIII.—: Enter Sparafucile.
• Scene IX.—: Rigoletto, and Afterward the Duke.
• Rigoletto (scores)
• Della Mia Bella.—act I.
• Caro Nome. Act II.
• Questa O Quella. Act I.
• Si Vendetta Tremenda. Act II.
• La Donna E Mobile. Act III.

SCENE I.—

A Ball-room in the Ducal Palace. Ladies and Gentlemen, Pages and Servants, cross the scene. Music is heard at a distance, and now and then bursts of laughter. Enter theDukeandBorsa.

Duke.

I am quite resolved to follow to the end

My new adventure with this youthful lady.

Borsa.

You mean the one you meet in going to church?

Duke.

Yes, in a lonely street, and every day Receives a visit from a dubious man.

Borsa.

But does she know him not?

Duke.

Yes, every Sunday for the last three months.

Borsa.

Know you where she resides?

Duke.

No, I think not.

[A group of Ladies and Gentlemen cross the scene.

Borsa.

Behold those charming ladies.

Duke.

Yes, but Ceprano’s wife excels them all.

Borsa.

Ah! but mind her husband, Duke.

Duke.

What matters?

Borsa.

It might be spread about.

Duke.

What then—no great misfortune.

• • Mongst the beauties here around,
  • Dver me none have control;
  • None can say, “I am preferred;”
  • Equal love I feel for all.
• • Yes, all women are to me
  • Like the flowers of the field.
  • Now to this, I am inclined,
  • Now to that by chance I yield.
• • As one flies from a great peril,
  • So from constancy I fly;
  • Those who will, may faithful be,
  • In freedom only love doth lie.
• • I despise a jealous husband,
  • And I laugh at lover’s sighs—
  • If a beauty strikes my fancy,
  • I defy one hundred eyes.

SCENE II.—

EnterCount Ceprano,watching at a distance theCountess,who is followed by a Gentleman. Ladies and Lords cross the scene.

Duke.

(To the Countess, with great politeness.)

You go already, cruel one?

Coun.

I must obey my husband,

I am obliged to leave.

Duke.

But you must shine at Court,

As Venus amongst the stars—

Here all must sigh for you.

Already here behold

A victim of your charms.

Coun.

Ah! silence—

Duke.

No.

[The Duke kisses her hand.

SCENE III.—

EnterRigoletto,who meetsCount Cepranoand Courtiers.

Rig.

What troubles you, dear Count?

You seem in deepest thought.

[The Count makes a sign of impatience, and follows the Duke.

Rig.

(To the Courtiers.) The Count is furious! See.

Cho.

A fine ball!

Rig.

Indeed.

Borsa.

And even the Duke enjoys well the feast.

Rig.

Is it not always so? What news is this?

Wine and feasting—dancing and games—

Battles and banquets—for him all’s the same.

Now ’gainst the Countess he tries to lay the siege,

And cares not for the jealousy of her liege.

[Exit.

SCENE IV.—

EnterMarullo,with great anxiety.

Mar.

Great news! fine news!

Cho.

Quick, what has happened, say?

Mar.

You will all be surprised.

Cho.

Speak on, speak on.

Mar.

Ah, ah! Rigoletto—

Cho.

Well

Mar.

Strange case.

Cho.

What, has he lost his hump? Is he now straight?

Mar.

More strange still, the foolish man possesses—

Cho.

What? say—

Mar.

A lover.

Cho.

A lover! who can e’er have thought of this?

Mar.

The hump-back is transformed into a Cupid.

Cho.

Oh, what a monstrous Cupid! charming Cupid!

SCENE V.—

Enter theDuke,followed byRigoletto,afterwardsCeprano.

Duke.

No man can be more vexing than Ceprano.

His wife is a sweet angel.

[To Rig.

Rig.

Steal her away.

Duke.

’Tis easier said than done.

Rig.

This evening.

Duke.

You think not of the Count.

Rig.

Have you no prisons?

Duke.

Ah! no.

Rig.

Well, banish him.

Duke.

No, no, buffoon.

Rig.

His head, then.

[Making signs of having it cut off.

Cep.

(Villain!

[Aside.

Duke.

What do you mean? this head?—

[Tapping the Count on the shoulder.

Rig.

Yes, what is it good for?

What can he do with it?

Cep.

Miscreant!

[Unsheathing his sword.

Duke.

Stop—stop.

[To the Count.

Rig.

He makes me laugh.

Cho.

He is frantic!

[Among themselves.

Duke.

Now, buffoon, come here.

[To Rig.

You carry your jokes too far,

His sword might reach your heart.

Rig.

I fear him not. No one will dare to touch.

The favorite of the Duke.

Cep.

He must be punished.

[Aside to the Courtiers.

Cho.

And who has not some injuries

To avenge on him.

Cep.

Revenge, revenge!

Cho.

But how?

Cep.

If you fear not, to-morrow

Come with your swords to me.

All.

We will.

Cep.

At night.

All.

Decreed.

[A crowd of dancers invade the scene,

To dance, to feast, to pleasure, Here everything invite,

Look around, does this not seem The palace of delight.

SCENE VI.—

EnterCount Monterone.

Mon.

(from without) I must see him.

Duke.

No, no.

Mon.

I will.

[Entering.

All.

Monterone!

Mon.

(looking at the Duke, with pride.)

Yes, Monterone.—My voice

For ever I will raise against your crimes.

Rig.

(to the Duke, counterfeiting Mon.’s voice.)

I must see him.

You have conspired against our name, my lord,

And we have granted pardon—

What madness now is yours? In this glad hour

To come and claim the honor of your daughter!

Mon.

(looking at Rig. with contempt.)

A new insult! but your nefarious orgies

I will disturb. Here I will raise my voice

Until the honor of an injured family

Shall be restored.

And even if you were

To sign my death and send me to the block,

My shade will claim revenge!

Duke.

No more—arrest him.

Rig.

He is mad!

Cho.

He is mad!

Mon.

Be both for ever accursed.

[To Rig. and the Duke.

To strike the dying lion,

’Tis base—but thou, reptile,

Who dar’st to laugh at an old father’s grief

Malediction fall on thee!

Rig.

What do I hear!

Oh, terror!

[Aside. All, except Rig.

Rash man, your evil spirit

Has brought you to disturb this feast,

Your words are vain. Away!

The Duke’s revenge you raise!

No hope for you remains,

This is your fatal day.

[Mon. is lead away by the soldiers, the others follow the Duke.