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Front Page  Titles (by Subject) SCENE VI.—: Enter Gilda from the road, disguised as a man, and slowly advancing toward the Inn, whilst Sparafucile drinks. It lightens and thunders. - Rigoletto: An Opera in Four Acts
SCENE VI.—: Enter Gilda from the road, disguised as a man, and slowly advancing toward the Inn, whilst Sparafucile drinks. It lightens and thunders. - Giuseppe Verdi, Rigoletto: An Opera in Four Acts [1851]Edition used:Rigoletto: An Opera in Four Acts, words by Victor Hugo (New York: Fred Rullman, n.d.). Metropolitan Opera House, Grand Opera, Libretto.
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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 VI.—
EnterGildafrom the road, disguised as a man, and slowly advancing toward the Inn, whilstSparafuciledrinks. It lightens and thunders.
Gil.
Alas! I lose my reason.
Love overcomes me. Father, pardon.
What a dreadful night! What will become of me?
Mag.
My brother!
[Mag. having come down, has placed the Duke’s sword on the table.
Gil.
Who has spoken?
[Looking through the crevices of the door.
Spa.
Away, disturb me not.
[Searching in a cupboard.
Mag.
That youth is as handsome as Apollo; I love him,
And he loves me. Ah! kill him not!
Gil.
(Listening.) O heavens!
Spa.
Mend soon that sack.
Mag.
And why?
Spa.
The handsome youth, Apollo, when killed by me,
I must throw in the river.
Gil.
O heavens! what house is this?
Mag.
You still may earn your money,
And spare his life.
Spa.
That is not easy.
Mag.
Listen, a plan I will disclose to you.
From the buffoon you have received ten crowns;
He will return here soon with the remainder;
Kill him, and you will take the other ten,
Then you will get the price you would have earned.
Spa.
Kill the buffoon! What nonsense have you said?
Am I a thief? Have I ever lost my honor?
Is there a client that I have betrayed?
I must not break my faith. This man has paid.
Gil.
What do I hear? My father!
Mag.
I pray for him.
Spa.
He must die.
Mag.
No; I shall tell him to fly.
Gil.
Good-hearted woman!
Spa.
Now, let me, do.
Mag.
We must save him.
Spa.
Should any one come here before midnight,
I shall kill him instead.
Mag.
The night is dark, the thunder roars,
No one will pass this way.
Gil.
Oh, what temptation, to die for this cruel man.
To die, O father! Heavens! have pity on me!
[It strikes half-past eleven.
Spa.
Still half an hour.
Mag.
Await, my brother.
[Weeping.
Gil.
That woman weeps, and shall I not help him?
Ah! it he no more feels love for me,
I’ll give my life to save his own.
[Knocking at the door.
Mag.
One knocks.
Spa.
It is the wind.
Mag.
One knocks, I say.
Spa.
It is strange!
Mag.
Who is there?
Gil.
Have pity upon a stranger
Grant him asylum for the night
Mag.
This night will be long!
Spa.
Wait awhile.
[Spa. searches at the sideboard.
Gil.
So near to death, and yet so young!
O heaven! pardon these impious men,
And thou, my father, excuse thy child,
May happy live the man I save.
Mag.
Now hasten, quick, perform the deed,
To save one life I take another.
Spa.
Well, I am ready. Now open the door,
To save the crowns is all my care.
[Spa. hides himself behind the door with a dagger. Mag. opens the door, then runs to shut the arch in front, and whilst Gilda enters, Spa. shuts the door behind her, and everything remains buried in silence and darkness.
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