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LUCIA DI LAMMERMOOR

				-  GAETANO DONIZETTI

Synopsis

The libretto by Salvatore Cammarano is the brainchild of Gaetano Donizetti (1797-1848). It is based on Sir Walter Scott's novel The Bride of Lammermoor and the action of the opera is set in Scotland towards the end of the seventeenth century. The original story had its basis in fact. In real life, the husband survived his wife's attempt upon his life to die twelve years later of a fall from his horse. The rejected lover went permanently abroad. In Scott's novel the process was reversed : the husband left Scotland forever, whilst the lover came by his death in a quicksand. With a sense of operatic fitness almost amounting to genius Donizetti and his librettist present the result of the murderous attack as fatal. Here William and Mary exemplify opposing political factions - this is no isolated operatic phenomenon.

Act I Scene 1. The setting is the grounds of Ravenswood Castle, situated in the craggy Lammermoor district of Scotland. The action takes place in the small hours before dawn. Enrico, lord of Ravenswood, together with his chaplain Raimondo, his captain of the guard Normanno and other retainers, is combing the district for traces of a mysterious stranger, whose presence in the neighborhood has been reported. Enrico is more than half convinced that this is Edgardo, heir of the former owner of Ravenswood, whose title and estates he has usurped. At curtain rise, Normanno ('Percorrete le spiagge vicine') is inciting the retainers to scour the neighboring shore. The latter loudly voice their determination to solve the mystery and then disperse about the business.

Normanno questions Enrico about his worried looks and disturbed mien, whereupon the latter explains ('E n'ho ben d'onde') that his affairs are no longer as prosperous as of yore. Not only has Edgardo come to life again but Enrico's sister Lucia has had the effrontery to refuse the hand of the only man who could shore up the tottering family fortunes! When Raimondo pretexts Lucia's grief over her mother's recent death as the probable explanation of her distaste for love ('Dolente vergin, che geme'), Normanno exclaims that, far from having any distaste for the tender passion, she is, on the contrary, aflame with it, and proceeds to tell how she has fallen madly in love with some stranger who saved her from attack by a wild bull, and has been meeting him clandestinely ever since. When the furious Enrico demands to know who the audacious stranger may be, Normanno replies, "You hate him! He is your enemy!" Immediately leaping to the conclusion that it must be Edgardo, Enrico launches into a diatribe ('Cruda, funesta smania') against Lucia for her treachery, punctuated by asseveration from Normanno about having had to be cruel in order to be kind and by Raimondo's appeal to heaven to prove Normanno's tale false. At this point the retainers return to inform Normanno that his suspicion has been proved a certainty, and they tell ('Come vinti da stanchezza') how, whilst resting in the courtyard of the ruined tower of Wolfs Crag, a man on horseback, whom they identified as the dispossessed heir, crossed it. Enrico once more spews forth venom, whilst the retainers counsel moderation, saying that Edgardo will easily be caught, once morning breaks. To Raimondo's plea for leniency towards Lucia and caution before condemning her utterly, Enrico turns a deaf ear ('La pietade in suo favore').

Act I Scene 2 takes place by a ruined fountain in the park of Ravenswood Castle, where the two lovers have been wont to meet in secret. Lucia, attended by her companion Alisa, is awaiting Edgardo's coming. Alisa warns her mistress against further meetings now that Enrico has wind of the affair and the love-sick girl agrees that Edgardo must be warned of the grave danger in which they stand. When her companion asks her why she is casting such frightened looks about her, Lucia (in the aria 'Regnava nel silenzio') recounts the legend of the fountain — once a Ravenswood had murdered his mistress beside it and her body lies there yet, sepulchred in the water's depths. Lucia declares she has seen the murdered woman's ghost, and that, when the apparition faded, the water of the well remained tinged with blood! Alisa interprets this as a bad omen and begs her mistress to give up such a fearful love, but when Lucia, carried away by her ill-conceived passion, tells of the ecstasy of a love in which all her cares are forgot CQuando, rapito in estasi') it is obvious she will never allow herself to be prevailed upon to do so, and Alisa predicts days of bitter weeping in store. Espying Edgardo, the companion goes aside to keep watch.

Edgardo asks pardon of Lucia ('Lucia, perdona se ad ora') for having desired to see her at so unaccustomed an hour — he is being sent to France to treat of his country's affairs there. Lucia is understandably cast down at the turn of events. Before leaving, Edgardo intends to see Enrico and suggest they should bury the hatchet, asking him at the same time for his sister's hand in marriage (Tria di lasciarti Ashton mi vegga'), but the terrified Lucia begs him to keep their love secret for the moment, whereupon Edgardo flies into a rage and lets off a tirade against Enrico — what further harm can the miscreant intend him? When Lucia endeavors to calm him, he turns upon her, also. He swore an oath of undying vengeance against her house ('Sulla tomba che rinserra'), he says. Though his anger cooled under the influence of his feeling for her, it can easily be resuscitated. With difficulty, Lucia succeeds in calming him, ('Ceda, ceda ogn' altro affetto') and, placated, Edgardo exchanges rings with her as a token that they are man and wife in the sight of heaven ('Qui di sposa eterna fede'). Edgardo now prepares to depart, Lucia being cast into the utmost depths of despair. She begs him not to omit to write and, in a celebrated passage ('Ah! Verranno a te sull'aure'), she says that her sighs will reach him on the breeze and he must then drop a tear in remembrance upon the ring she has given him. Edgardo repeats these sentiments after her, and when the two lovers have sung together, Edgardo, after admonishing Lucia to remember that in the eyes of heaven they are man and wife, takes his departure.

Act II Scene 1. Enrico's apartment in Ravenswood Castle. In company with Normanno, he is awaiting Lucia, he admits, with some trepidation. The guests are already arriving for the wedding which has finally been arranged between Lucia and Arturo, the young laird of Bucklaw, who is to repair Enrico's waning fortunes, but what if Lucia should still prove obdurate? Normanno assures him ('Non temere: la lunga assenza') that, helped by her misery and by the uncertainty brought on by Edgardo's long absence, still unbroken by news — the pair of them have intercepted Edgardo's letters — it will be easy to wear down her resistance. They intend to tell her that Edgardo is unfaithful and back this up with a letter they have forged purporting to be from Edgardo to another woman.

Seeing Lucia approaching, Enrico dispatches Normanno to meet the bridegroom. He then reproaches his sister for her woeful looks on the eve of her wedding and she, in turn, reproaches him for his inhuman treatment of herself ((I1 pallor, funesto, orrendo'). Enrico suggests that they should let bygones be bygones, but when he begins to speak of the fine husband he has procured for her, Lucia begs him to desist: her troth is plighted to another. Crying, "Enough!" Enrico hands his sister the forged letter. After perusing it, the poor girl, almost swooning, bursts into despairing lamentation ('Soffriva nel pianto'), whereupon Enrico avers that she has been justly served for her treacherous love. Sounds of rejoicing, heralding the arrival of the bridegroom, reach them from outside. "The bridal chamber is prepared for you," says Enrico. "The grave!" rejoins the unhappy girl. Playing his last card, Enrico appeals to her to marry Arturo for his sake. The faction he follows is defeated — William is dead, Mary will now ascend the throne! Still Lucia cannot bring herself to violate the oath she has sworn. Enrico tells her that he stands in danger of his life ('Se tradirmi tu potrai') and, if she leaves him in the lurch now, his ghost will haunt her ever after. Poor Lucia appeals to the deity. At last, Enrico storms out and the harassed girl collapses exhausted into a chair. But she is not to be left in peace for long. A moment later, the family chaplain Raimondo, who sympathizes with her, enters to inform her ('Di tua speranza 1'ultimo raggio') that the last ray of hope is gone. Believing that Enrico would do all in his power to prevent the lovers communicating, he tells her that he sent a trusty messenger to deliver a letter from Lucia direct into Edgardo's hands, but all to no purpose — there has been no reply. So he counsels Lucia to submit to fate, arguing that nuptial vows unblessed by God's minister have no validity. The still-hesitating Lucia answers ('Ah! cede persuasa la mente') that, although her mind is convinced, her heart will not consent. Raimondo continues to press her — lest worse should befall. For her dead mother's sake, for her brother's sake. At last, exhausted and worn down, the distraught girl gives in. "Oh, you have won; I am not so unnatural!" she cries, whereupon the chaplain rejoices at her change of heart ('Oh! qual gioia') and praises her for the sacrifice she is making for her family. Almighty God will certainly take cognizance of it. Lucia continues to bewail her misfortunes and the scene ends as she begs Raimondo to give her his guidance and support.

Act II Scene 2 transports us to the Great Hall of Ravenswood Castle, where guests are already gathering for the ceremony of the signing of the marriage contract. In a chorus ('Per te d'immenso giubilo') they compliment the bridegroom on his rosy prospects and in his reply Arturo promises to restore the waning prosperity of their clan, then turns to enquire of Enrico what is keeping Lucia. Brushing his prospective brother-in-law's excuses about his sister's grief for their recently deceased mother impatiently aside, Arturo asks ('Or solvi un dubbio') what truth there is in the rumour that couples Lucia's name with Edgardo's. Enrico is heatedly explaining this away, when Lucia, overwrought and despairing, arrives on the scene. Enrico presents Arturo to her, she draws back involuntarily, whereupon her brother hisses in her ear. Lucia is desperately invoking the name of God. Arturo signs the contract, followed by Lucia, who whispers despairingly as she does so: "I have signed my death warrant!" ('La mia condanna ho scritta'). Sounds of someone entering hurriedly are heard and, to the horror and dismay of all present, Edgardo bursts into the chamber. Lucia faints dead away. Now follows the celebrated sextet ('Chi mi frena') in which the various characters give vent to their differing reactions. Edgardo finds his anger checked at the sight of the swooning Lucia, Enrico is torn between his hatred for Edgardo and pity for his sister; Lucia, recovering consciousness, deplores her misery and inability to die — even tears are denied her. Raimondo expresses his horror at what has happened and his pity for Lucia, Arturo echoes Raimondo's sentiments and Alisa, too, joins in, filled with compassion for her mistress. On the conclusion of the sextet, Enrico and Arturo, drawing their swords, threaten Edgardo with death if he does not withdraw immediately. Edgardo, incensed, draws his sword also, and breathes defiance. Interposing himself between the disputants, Raimondo ('Rispettate in me di Dio') calls upon all parties in the name of God to set aside both their swords and the anger which has prompted them to draw them. In answer to a question from Enrico, Edgardo says he has come to claim his just rights — Lucia has plighted her troth to him. Raimondo explains that she now belongs to another and shows him her signature on the marriage deeds. Having extorted an unwilling admission from Lucia, Edgardo gives her back the ring she gave him, demanding his own in return. He will not listen to the poor unhappy girl's feeble remonstrances, but curses the moment wherein he came to love her ('Maledetto sia 1'istante'). A grand ensemble now combines: Enrico, Arturo and their faction threaten Edgardo and bid him begone on pain of death. Urging him, too, to begone, Raimondo offers hope of comfort in the future from God. Alisa urges him to fly as well. Edgardo, very bitter, says that Lucia will go to the altar trampling his dead body underfoot, whilst Lucia sighs that there is no hope left for her upon earth and calls upon God to protect Edgardo in this hour fraught with danger. At last, Edgardo is prevailed upon to depart. Act II Scene 3 [sometimes Act III, scene 1] is located in a chamber in the ruined tower of Wolfs Crag long past midnight of the same night. A violent thunderstorm is in progress. Edgardo notes ruefully that the elements faithfully reflect his own state of inner turmoil ('Orrida e questa notte'). He detects the approach of a horseman and a moment later Enrico enters. Unable to rest, he has left the wedding festivities to seek out his enemy. Edgardo is amazed at Enrico's audacity in venturing within the four walls where the spirit of his enemy's father, the disinherited laird, still cries for vengeance. ('Qui del padre ancor respira'). Enrico informs Edgardo that Lucia is wedded and gone to her bridal bed. Edgardo is racked by fearful jealousy. Then Enrico goes on to tell ('Di letizia il mio soggiorno') how he had felt himself impelled to leave the festivities and buffet his way through the storm to seek revenge. The two men threaten each other and decide upon a duel to take place at break of day among the tombs of Ravenswood. Singing together, both call upon the sun to rise and shed a lurid glow over the scene of deadly strife (*O sole piii ratto').

Act IIi Scene 1. We return to the Great Hall at Ravenswood. Arturo and Lucia have retired, leaving the wedding festivities in full swing. Suddenly Raimondo staggers in, deadly pale, exhorting everyone to cease from revelry. Sobered by his ghastly appearance, all listen spellbound as he tells (*Ah! Dalle stanze ove Lucia') how, hearing a noise from the bridal suite, he had hastened there to find Arturo weltering in his blood, and Lucia, plainly out of her mind, still grasping the dagger with which she had killed her husband. The guests are appalled and they and Raimondo raise their voices earnestly hoping that the black deed will not bring down the wrath of God upon their heads. Lucia now enters followed by the horrified Alisa, and in the opening of her 'Mad Scene' ('II dolce suono mi colpi'), speaks first of Edgardo — she has run away and is his once more — then of the apparition at the fountain which she says has come to separate them. It is obvious that her wits are deranged. She goes on ('Sparsa e di rose!') to imagine that she and Edgardo are about to be married. She is his at last! Filled with pity, the guests look on helplessly, while Lucia anticipates a happy life at Edgardo's side. At this moment Enrico returns from Wolfs Crag, demanding to know if the dreadful occurrence is true, and on being assured that it is, begins threatening Lucia with vengeance. Raimondo draws his attention to her piteous condition and chides him; Enrico quails before the sad sight. Lucia, still lost in her shifting vision, now re-enacts the scene of her casting off and cursing by Edgardo ('Non mi guardar si fiero'). She cries piteously to her lover not to forsake her. The onlookers are shaken with horror and compassion. Lucia embarks upon the aria 'Spargi d'amaro pianto'. Promising to pray for Edgardo in heaven and saying that heaven will not be heaven to her till his coming, she begs her lover to shed a tear upon her untimely grave. Enrico laments that the future will hold nought but bitter weeping and remorse in store for him, while Raimondo and the guests proclaim that they can no longer restrain their tears. Lucia repeats 'Spargi d'amaro pianto' and, as the scene ends, with everybody in paroxysms of grief, Enrico turns to Alisa and Raimondo and confides the poor demented creature into their care. Raimondo turns upon Normanno ('Delator! gioisci dell'opra tua') saying he may well rejoice in the result of his work! Normanno stutters "I did not think..." and Raimondo tells him to be off and live out his days in fear.

Act III Scene 2 takes place among the tombs of Ravenswood. It is not yet dawn. Edgardo is preparing for his death ('Tombe degi avi miei'). He has lost all wish to live since Lucia may not be his, and only longs to run upon his enemy's sword. Casting bitter glances in the direction of Ravenswood, where the windows are still ablaze with light, he rails at faithless Lucia whom he imagines disporting herself at her husband's side. In the aria that follows ('Fra poco a me ricovero') he imagines his neglected grave, unwashed by any pitying tear, and warns Lucia that she should on no account pass that way on her husband's arm. She is at least to respect the ashes of the man who is about to die for her sake. Now some people of Lammermoor pass that way. They are chanting that there is no longer any hope for poor Lucia, she will not live to see another dawn. Startled out of his mood of morbid self-pity, Edgardo questions them. He can hardly believe his ears when they tell him ('Fur le nozze a lei funeste') that Lucia lost her reason on her fatal wedding night and now lies at death's door, endlessly calling Edgardo's name. A funeral knell begins to toll. Edgardo exclaims that his fate is sealed: he must see his beloved, once more. Raimondo comes hurrying to the scene, bringing tidings of Lucia's demise. When he finally succeeds in convincing Edgardo of this fact, the latter sings his last aria, 'Tu che a Dio spiegasti Pali”, in which he apostrophized his adored one who has already winged her way to heaven, saying he will soon join her there, and that God will then join together those whom men had kept asunder on earth. He draws his dagger and, despite the efforts and remonstrances of the onlookers, stabs himself. Dying, he repeats brokenly the air he has just sung, whilst those about express their horror, and Raimondo exhorts him to turn his thoughts to heaven. The curtain falls as he breathes his last. Frequently performed in two acts. The first four scenes in act 1 and the last three in act 2.

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An opera in Three Acts. Usually found abridged to only two acts with act 3 scene 1 missing. Libretto by Salvatore Cammarano. Cammarano wrote nothing but the poetry under supervision by Donizetti. Donizetti actually wrote this story. He brow-beat Cammarano to write the text but then rewrote it. Based vaguely and loosely on certain chapters of Sir Walter Scott's epic "The Bride of Lammermoor" Here the original libretto is used and the deleted scene restored thanks to Richard Bonynge. Although I have never worked with Richard Bonynge on this work I have studied his research on Bel Canto for years. I wish to acknowledge his vast influence upon all who approach Bel Canto opera in this modern era.

NOTE - Parenthesis ( ) indicate performer to audience from original text; also used to indicate original staging comment by composer.

      Brackets - [  ] indicate my emendations to the text.

ATTO I ACT I

SCENA 1 SCENE 1

Giardino nel Castello di Ravenswood. A Wood with ruins, near Lammermoor.

NORMANNO E CORO NORMAN AND CHORUS

Percorrete Deploy yourselves! Percorriamo le spiaggie vicine, spread out to search the vicinity; della torre le vaste rovine; Scour the nearby riverbanks. cada il vel di si turpe mistero. Tear the veil from this shameful mystery! Io domanda…Io impone 1'onor. It is our duty...imposed by Honor. Splendera l'esecrabile vero The dreadful truth must be revealed; come lampo fra nubi d'orror, [it] burns [as a] flaming lamp amidst clouds of horror. Lo vuol l'onor. This is a vow of honor.

(Coro parte. Entrano Enrico e Raimondo.)

(The chorus leaves as Enrico and Raimondo enter.)

NORMANNO NORMAN

Tu sei turbato! You seem perturbed! (Extremely upset!)

ENRICO HENRY E n'ho ben donde. Il sai; I have good reason. As you know, de'miei destini impallidi la stella.... my fortunes have been sadly on the wane.... [implacable destiny]

Intanto Edgardo…quel mortale nemico [and all the while] Edgardo…the mortal enemy [nemesis] di mia prosapia, dalle sue rovine of my family and I, dallies in his crumbling castle (ruins) erge la fronte baldanzosa e ride! scornfully raises his head and laughs! [makes an affront] Solo una mano raffermar mi puote One man who can help me regain control. nel vacillante mio poter… Lucia No one else can do this.... [Ah but] Lucia osa respinger quella mano… Ah! suora has dared to reject his hand.... Ah! She is no non m'e` colei! sister of mine! [sister of mine she is not]

RAIMONDO RAYMOND

Dolente vergin, The girl is grieving. (implies: indolent virgin) che geme sull'urna recente Who still (recently) mourns the ashes di cara madre, al talamo potria of her dear mother, could turn her thoughts volger lo sguardo? Rispettiamo un core to a bridal bed? Let us respect a heart che, trafitto dal duol,schivo e d'amore. cleft with sorrow and afraid to love.

NORMANNO NORMAN

Schivo d'amor?…Lucia Afraid to love? Lucia d'amore avvampa. is aflame with love!

ENRICO HENRY

Che favelli? What do you mean?

RAIMONDO RAYMOND

(Oh detto!) (Oh, what has he said!)

NORMANNO NORMAN

M'udite. Ella sen gia cola` del parco Listen to me. She was wandering in the park nel solingo vial dove la madre in that solitary glade where her mother lies giace sepolta... Impetuoso toro buried...when, suddenly, a maddened bull ecco su lei s'avventa… bore down upon her. Quando per L'aria rimbombar si sente At that instant rang out un colpo e al suol repente a shot and the beast crumpled cade la belva. to the earth.

ENRICO HENRY

E chi vibro quel colpo? And who fired the shot?

NORMANNO NORMAN

Tal…che il suo nome ricopri d'un velo. Someone who shrouds his name in secrecy.

ENRICO HENRY

Lucia forse… And what about Lucia?

NORMANNO NORMAN

L'amo. She loves him.

ENRICO HENRY

Dunque il rivide. Then she has seen him again?

NORMANNO NORMAN

Ogni alba… Each morning at dawn.

ENRICO HENRY

E dove?					Where?

NORMANNO NORMAN

In quel viale. In that glade.

ENRICO HENRY

Io fremo! Damnation! Ne tu scovristi il seduttor? Have you unmasked her suitor yet?

NORMANNO NORMAN

Sospetto io n'ho soltanto. I have a vague suspicion who he is! (sarcastic)

ENRICO HENRY

Ah! Parla. Well...speak out!

NORMANNO NORMAN

E tuo nemico. He is your enemy.

RAIMONDO RAYMOND

(Oh ciel!) (O God!): (Oh Heaven!)

NORMANNO NORMAN

Tu lo detesti. The one you hate the most.

ENRICO HENRY

Esser potrebbe…Edgardo? Can it be...Edgardo!

RAIMONDO RAYMOND

(Ah!) (Ah!)

NORMANNO NORMAN

Lo dicesti (The very one you named.) That hated one!

ENRICO HENRY

Cruda, funesta smania What wild, black frenzy tu m'hai svegliata in petto! you have aroused in me! E troppo, e troppo orribile Too foul, horribly foul by far Questo fatal sospetto! would that dread suspicion be! Mi fa gelare e fremere… It freezes and shakes my core. solleva in fronte il crin. The hair bristles on my brow... Colma di tanto obbrobrio I drown in this nightmare shame chi suora a me nascea. that my sister has brought on me!

NORMANNO NORMAN

Pietoso al tuo decoro, I was mindful of your honor (your decorum) io fui con te crudel. when I broke this cruel news.

RAIMONDO RAYMOND

(La tua clemenza imploro, (Your clemency I implore Tu lo smentisci, o ciel!) spare us all, Oh Lord!) [Oh Heaven!]

ENRICO (con terribile impulse di sdegno) HENRY (in rage and scorn)

Ah! Pria che d'amor si perfido Ah, This foul love I prefer a me svelarti rea, that I did not know (but) se ti colpisse un fulmine to be struck by lighting (instead).

NORMANNO E RAIMONDO NORMAN & RAYMOND

Ciel! HEAVEN! (OH GOD!, ETC.)

ENRICO HENRY

Fora men rio destin! Oh for another future.

						(implies: Her death instead of this}

CORO (rientra; a Normanno) CHORUS (running in; to Norman)

Il tuo dubbio e omai certezza. Your suspicions (doubts) now become a certainty!

NORMANNO (a Enrico) NORMAN (to HENRY)

Odi tu? Do you hear?

ENRICO HENRY

Narrate. Tell me!

RAIMONDO E CORO RAYMOND & CHORUS

(Oh giorno!) (Daylight at last!) [Morning!]

CORO CHORUS

Come vinti da stanchezza, After long searching round about, dopo lungo errare intorno, at last, like souls overwhelmed noi posammo della torre with weariness, we rested nel vestibolo cadente: in the hall of that ruined tower. ecco tosto lo trascorre Then we beheld in silence in silenzio un uom pallente. the figure of a man appear. Come appresso ei n'e venuto So closely did he pass ravvisiam lo sconosciuto: that I could recognize him again. ei su rapido destriero Then he cunningly slipped away s'involo dal nostro sguardo… And vanished from our sight. Qual s'appella un falconiero But a falconer saw who he was ne apprendeva, qual s'appella. And told us his name.

ENRICO HENRY

E quale? And who was it?

CORO CHORUS

Edgardo! Edgar!

ENRICO HENRY

Egli! So it is he! Oh rabbia, oh rabbia che m'accendi, Oh, the rage that burns within contenerti un cor non puo. consumes my very heart. (Inferred translation)

RAIMONDO RAYMOND

Ah, no, non credere... Ah, no, they are not credible.... No, no… No, no—

Restored text-

ENRICO HENRY

No, contenerti un cor non puo No, (my) heart can not contain this no, non puo! No, no! No I cannot. No, no! (Literal translation)

RAIMONDO RAYMOND

deh sospendi! Do not go on ella ... ah! She (Lucia)....Ah!

ENRICO HENRY

No, no. No, no.

RAIMONDO RAYMOND

M'odi! Hear me!

-End of restored text

ENRICO HENRY

Udir non vo! I will not listen! [Useless to talk to me of] La pietade in suo favore Your entreaties are in vain. [compassion for her] miti sensi invan ti detta.... I'll not pity her.... se mi parli di vendetta Speak to me of vendetta [revenge] solo intenderti potro. only then can I understand you Sciagurati! ... il mio furore Curse them! [with] my fury [difficult language] Gia su voi tremendo rugge… shall come down [on them] with tremendous wrath L'empia fiamma che si strugge The flames of passion that burn with you [them] io col sangue spegnero. shall be quenched with blood [family blood] Si si spegnero! Yes, yes with it shall be repaid [blood debt paid = vendetta] col sangue spegnero! (You) shall forfeit your blood (extinguish)

[Three times a blood curse = this shall now come back to haunt him and everyone in the audience, as in La Forza del Destino and Rigoletto, know this immediately. Now God will have "sangue spegnero"]

Restored text - RAIMONDO RAYMOND

(Ah! qual nube di terrore (Ah!a cloud of terror is beckoned by the circumstance questa casa circondo!) of this house!) [Spoken to audience]

CORO CHORUS

Ti raffrena; al nuovo albore Refrain yourself; at sunrise [new morning] Ei da te fuggir non puo. he will have no refuge from you. No, no non puo` No, no he cannot.

TUTTI- ALL TOGETHER-

CORO CHORUS

Ti raffrena; al nuovo albore.... Refrain yourself; at sunrise...etc. [repeat]

RAIMONDO RAYMOND

Ah! qual nube di terrore... Ah! what a cloud of terror...etc.

ENRICO HENRY

Tacete, tacete! Silence, be silent!

La pietade in suo favore... Your entreaties are in vain...etc. [to crescendo] [Enrico repeats his aria with the chorus.]

(Partono tutti) (Exeunt)

- End of restored text

SCENA 2

(Ingresso d'un parco. (Lucia comes from the castle with Alice. Sul davanti una fontana. They are distressed. They reach the fountain. Lucia viene dal castello seguita da Alisa.) She looks about the castle for someone.)

The complex and varied symbolism of the fountain in Italian poetry goes back to Dante and even to earlier times. Here it suggests destiny and yet holiness. Remember the Baptismal fonte.

LUCIA LUCIA

Ancor non giunse! He has not come yet!

ALISA ALICE

Incauta, a che mi traggi! You lack all caution [you lead] me to tragic ends Avventurarti This is a grave misadventure or che il fratel qui venne, Your brother will see you here in e folle ardir. such ardent folly.

LUCIA

Ben parli! Edgardo sappia [The sense of this line is:] Well spoken! Edgar must be warned qual ne circonda orribile periglio, of what horrible circumstances surround him

ALISA ALICE

Perche d'intorno il ciglio volgi atterrita? Why do you stare about as if you were terrified?

LUCIA LUCIA

Quella fonte mai, That fountain - I can not look upon it senza tremar, non veggio… without trembling. Ah, tu lo sai; For there, you know, Un Ravenswood, ardendo one of the Ravenswoods, ardently di geloso furor, 1'amata donna maddened with jealousy, the poor girl Cola trafisse; e L'infelice cadde stabbed his true love; sank into the pool Nell'onda, ed ivi rimanea sepolta… and haunts it still. For there, you know, m'apparve 1'ombra sua…. I have seen her shadow - [it appeared to me]

[Doniozetti had a hard time phrasing this to get the rhyme correctly]

ALISA ALICE

Che dici? What are you saying?

LUCIA LUCIA

Ascolta: Listen [to me] Regnava nel silenzio Once, on a gloomy night when all was silent Alta la notte e bruna… High in the night was the pale moon light Colpia la fronte un pallido The water light was glanced upon a pool Raggio di tetra luna… from the rays of the liquid moon Quando un sommesso gemito Then came a sigh, borne on the wind, fra 1'aure udir si fe'; [the breeze] wafts towards me Ed ecco su quel margine until at the water's edge [margin] l'ombra mostrarsi a me, ah! there was this monstrous shadow Ah!

Qual di chi parla, muoversi As if speaking, its lips moved iI labbro suo vedea, as if it were alive E con la mano esanime and with its lifeless hand Chiamarmi a se, parea. It begged me to call to me. Stette un momento immobile, For the moment she sood motionless. Poi ratta dileguo, then she vanished E 1'onda pria si limpida And the water once so limpid Di sangue rosseggio. To blood red.

[This was sung with a glass harmonica accompaniment implying insanity to the audience. The glass harmonica had become associated with causing madness in the past. This is one of Cammeranno's finest pieces of poetry. It is hard to translate the liquid state. He ties the water, fountain, apparition, and the blood together as one.]

ALISA ALICE

Chiari, o Dio! ben chiari e tristi, Clearly, O God! clearly and sadly nel tuo dir, presagi intendo! [I understand] the future from you words Ah Lucia, Lucia desisti Ah Lucia, Lucia desist [give up] da un amor cosi tremendo! this tremendously costly love. [ill-omen]

LUCIA LUCIA

Egli e luce a' giorni miei, He is the very light of all my days e conforto al mio penar. the comfort and the solace of my pain.

Quando, rapito in estasi When seized with the rapture in ecstasy del piu cocente adore. [amore] of his burning adore [love], Col favellar del core he speaks the language of his inmost heart mi giura eterna fe', and pledges eternal faith; Gli affanni miei dimentico, Then I forget my sorrows, gioia diviene il pianto… my anguish turns to joy Parmi che a lui d'accanto When I am at his side Si schiuda il ciel per me! [it is] as if Heaven opened wide for me.

[Boynge translates this word as adore not amore. I trust his eye for Donizetti's spelling]

ALISA ALICE

Ah! Giorni d'amaro pianto Ah! Days of bitterest grief AH! s'apprestano per te, si si are laid in store for you, YES, YES. Ah! Lucia, ah! desisti! Ah! Lucia you must give him up! [Desist]

LUCIA LUCIA Quando, rapito in estasi, etc. [Lines from above are repeated]

ALISA ALICE

Egli s'avanza… La vicina soglia Here he comes. I'll stand nearby io cauta vegliero. and keep a careful watch.

(Parte. Entra Edgar do.) (Alice exits as Edgardo enters)

EDGARDO EDGAR

Lucia, perdona Lucia, forgive my asking se ad ora inusitata you to meet me io vederti chiedea; ragion possente at this unaccustomed hour. An urgent reason a cio mi trasse. Pria che in ciel biancheggi drove me, for at the first rays of dawn l'alba novella, dalle patrie sponde by the time the new dawn has disappeared lungi saro. I will be long gone.

LUCIA LUCIA

Che dici? What are you saying? [what can you mean?]

EDGARDO EDGAR

Pe' franchi lidi amici To France's friendly shores [I have friends there] sciolgo le vele; ivi trattar m'e dato I must set sail there to negotiate le sorti della Scozia. the future of our country. [Scotland]

[In Italy at this time everything Scottish was very popular. Sir Walter Scott was also extremely popular. The Bride was the most popular book in Italy. This opera was much anticipated.]

LUCIA LUCIA

E me nel pianto abbandoni cosi? And thus will you abandon me in tears?

EDGARDO EDGAR

Pria di lasciarti Before I leave Ashton mi vegga…io stendero placato I will see Ashton...give him my hand a lui la destra e la tua destra, pegno and ask to be granted yours as a bond fra noi di pace, chiedero. and a seal of peace, this I shall ask.

LUCIA LUCIA

Che ascolto! What are you saying![What do I hear?] Ah! no…rimanga nel silenzio avvolto Ah no, wrapped in deepest silence nust be. Per or 1'arcato affetto... our secret love, at least for now

EDGARDO EDGAR

Intendo! Di mia stirpe I understand! Of my clan, il reo persecutor, de' mali miei That grim persecutor. With my misfortune ancor pago non e! Mi tolse il padre, Is not content! His father seized il mio retaggio avito… my rightful inheritance. Ne basta? Was that not enough? Che brama ancor quel cor feroce e rio? What more does the villain want? La mia perdita intera? Il sangue mio? To ruin me completely? To shed my blood? Egli m'odia… How he must hate me!

LUCIA LUCIA

Ah, no… Ah, no…

EDGARDO EDGAR

M'abborre. He abhors me!

LUCIA LUCIA

Calma, o ciel, quell'ira estrema! Be calm in heaven's name, be calm!

EDGARDO EDGAR

Fiamma ardente in sen mio scorre! M'odi. A burning anger rises in my heart! Listen to me…

LUCIA LUCIA

Edgardo. Edgar

EDGARDO EDGAR

M'odi e trema, Hear what I say and tremble, Sulla tomba che rinserra upon my father's tomb il tradito genitore in the tradition progenitor [our great generational] al tuo sangue eterna guerra I swore an eternal blood war [feud] io giurai nel mio furore. against your family.

LUCIA LUCIA

Ah! Ah!

EDGARDO EDGAR

Ma ti vidi, e in cor mi nacque But then I saw you and in my heart Altro affetto, e 1'ira tacque; affection unseated anger; Pur quel voto non e infranto but that did not invalidate my vow. lo potei, si, si, potei compirlo ancor I can, I shall, I must fulfill it yet!

LUCIA LUCIA

Deh! Ti placa… Deh! ti frena… Be calm; restrain yourself, I beg you.

EDGARDO EDGAR

Ah! Lucia! Ah! Lucia!

LUCIA

Puo tradirne un solo accento! A careless syllable can betray us! Non ti basta la mie pena? Have I not grieved enough? Vuoi ch'io mora di spavento? Would you have me die of anguish?

EDGARDO EDGAR

Ah, no! Ah, no!

[The next piece is sung together, overlapping, and repeating in duet:]

LUCIA LUCIA

Ceda, ceda ogn'altro affetto, Give up all other thoughts [affections] Solo amor t'infiammi il petto… let only love burn inside of you Il piu nobile, il piu santo, save love alone…The holiest d'ogni voto e un puro amor! most noble of all vows is that of true love.

EDGARDO EDGAR

Por quel voto non e infranto…. My vow still binds me to go forth lo potrei compirlo ancor… I will/may fulfill it yet.

LUCIA LUCIA

Ah solo amor t'infiammi il petto, let only love burn inside of you...etc. Cedi, cedi a me, cedi, cedi all'amo Yield, yield to me, yield to love...etc.

EDGARDO EDGAR

lo potrei compirlo ancor… I will/may fulfill it yet....etc.

LUCIA LUCIA

Cedi, cedi a me, cedi, cedi all'amo Yield, yield to me, yield to love...etc.

EDGARDO EDGAR

Qui di sopraa eterna fede, Then let us now, as bride of mine qui mi giura al cielo innante. plight our troth in the eyes of Heaven. Dio ci ascolta, Dio ci vede… Before God who watches and listens, Tempio ed ara e un core amante: Our loving hearts shall temple and altar be. (Ponendo un anello in die dite a Lucia) (He gives her his ring) [Restored lines:] Al tuo fato unisco il mio Your destiny I now unite with mine Son tuo sposo. I am your husband.

[Plighting one's troth was what they did in the time when this opera was to have taken place.]

LUCIA LUCIA (Porgendo a sua volta il proprio anello a Edgardo.) (Giving Edgar her ring.)

E tua son io. And I am yours.

EDGARDO E LUCIA EDGAR & LUCIA

Ah! Soltanto il nostro foco The warmth of our mutual love spegnera di morte il gel! shall vanquish the chill of death.

LUCIA LUCIA

Ai miei voti amore invoco For my vows I invoke love's help Ai miei voti invoco il Ciel. For my vows I invoke the Heavens [God].

EDGARDO EDGAR

Ai miei voti invoco il Ciel. For my vows I invoke the Heavens Separarci ormai conviene. But now we must part.

LUCIA LUCIA

Oh, parola a me funesta! Oh, what a heavy sentence! [Fateful] Il mio cor con te ne viene. My heart must leave with you.

EDGARDO EDGAR

II mio cor con te qui resta. My heart must leave with you.

LUCIA LUCIA

Ah! Edgardo! Ah! Edgardo! Ah! Edgar! Ah! Edgar!

EDGARDO EDGAR

Separarci ormai conviene. But now we must part.

LUCIA LUCIA

Ah! Talor del tuo pensiero Ah, send me a message, I beg you venga un foglio messaggero Write your messages down for me e la vita fuggitiva so that my empty/fugitive life [he is the fugitive] di speranze nudriro. may be sustained/nourished with hope.

EDGARDO EDGAR

Io di te memoria viva I shall keep your memory alive [with me] sempre, o cara, serbero. always, my dearest, of you with me.

LUCIA, por EDGARDO LUCIA, then EDGAR

Ah! Verranno a te sull'aure Ah, you will hear my sighs, i miei sospiri ardenti, wafted upon the breezes. udrai nel mar che mormora You'll hear in the murmuring sea l'eco de' miei lamenti… the echoes of my lamentations. Pensando ch'io di gemiti Think then that my nourishment/fulfillment mi pasco e di dolor, from my grief and sadness comes from spargi un'amara lagrima the cries of the bitter tears su questo pegno allor! that are the token of this love!

[The fickle waves of the sea versus the ardent certainty of the endless fountain.]

LUCIA LUCIA

il tuo scitto sempre viva...etc. Your letters will always keep...

EDGARDO EDGAR

Cara! [My] beloved!

LUCIA LUCIA

...la memoria in me terra`. ...your memory alive in me.

EDGARDO (solomente) EDGAR

Ah! Verranno a te sull'aure Ah, you will hear my sighs, i miei sospiri ardenti, wafted upon the breezes. udrai nel mar che mormora You'll hear in the murmuring sea l'eco de' miei lamenti… the echoes of my lamentations. Pensando ch'io di gemiti Think then that my nourishment/fullfillment mi pasco e di dolor, from my grief and sadness comes from spargi un'amara lagrima the dries of the biter tears su questo pegno allor! that are the token of this love!

EDGARDO EDGAR

Io parto. I depart. [I must go]

LUCIA LUCIA

Addio! Good-bye - Farewell!

EDGARDO EDGAR

Rammentati! Ne stringe il ciel! Remember! We are [will be!] united in Heaven!

LUCIA E EDGARDO LUCIA & EDGAR

Addio amor! Farewell my love!

_______________________________________________________________________________________________

ATTO II ACT II

SCENA 1 SCENE 1

Castile de Lammermoor The castle of Lammermoor Appartamenti di Lord Ashton. An anteroom in Lammermoor Castle. (Enrico and Normanno (Henry and Norman are seated at a table.)

NORMANNO NORMAN

Lucia fra poco a te verra. Lucia will soon be here.

ENRICO

Tremante l'aspetto. I await her anxiously. A festeggiar le nozze illustri To celebrate this most illustrious marriage, gia nel castello i nobili parenti Our noble relatives are all arrived giunser di mia famiia; in breve Arturo all of my family here; Arturo will soon be here… qui volge…E s'ella pertinace osasse And will she dare continue d'opporsi? to cross my will? (Thwart?)

NORMANNO NORMANN

Non temer: la lunga assenza Do not worry: in the long absence del tuo nemico, i fogli of your enemy, the letters we intercepted, da noi rapiti, e la bugiarda nuova the false word we spread ch'egli s'accese d'altra fiamma, in core of his new infatuation, all will cure di Lucia spegneranno il cieco amore. Lucia of her blind (obsessive) love.

ENRICO HENRY Ella s'avanza!...il simulato foglio She is coming!...the forged letter porgimi, give it to me, ed esci sulla via che tragge and make your way alla citta` regina to the royal city di Scozia, e qui fra plaussi e liete grida of Scotland, then with praise and good tiding conducci Arturo. conduct Arthur here.

(Normanno esce.) (Norman exits.)

(Lucia si avanza. La pallidezza delsuo volto, annunzia in lei i patimenti che sufferse ed i primi sintomi d'una alienazione mentale)

(Lucia enters. She looks pale and distraught, evidence of her approaching insanity. She hesitates on the threshold.)

[This mental state referred to in many operas was more akin to a temporary condition often called hysteria which was understood by the audience. Discounted now in the 21st century its closest illness would be acute transitional dissociative disorder]

ENRICO HENRY

Appressati, Lucia. Come in, Lucia. [come to me.] (Immobile negli occhi di Enciro) (She looks at him with a glassy stare) Sperai piu lieta in questo di vederti, I had hoped to see you in a happy mood, in questo di che l'lmeneo le faci because the celebrations of this festive day si accendono per te. Mi guardi are for you. You regard me e taci? in silence?

LUCIA LUCIA

Il palloro funesto, orrendo, The pallor like death so horrendous che ricopre il volto mio, that show upon my face, Ti rimprovera tacendo covers the pain and injury il mio strazio…il mio dolor. that you have done to me Perdonar ti possa Iddio Heaven Pardon, perhaps, can forgive l'inumano tuo rigor the inhumanity of your cruelty E il mio dolor. and my suffering [that you cause me.]

[It reads: the Great Pardoner could only forgive your cruelty and suffering you caused me, but it can also be read that God could pardon his sin and ease her pain as well!]

ENRICO HENRY

A ragion mi fe' spietato The demands of reason make me merciless quel che t'arse indegno affetto; towards your unworthy infatuation; [affectation] ma si taccia del passato, but if that is all in the past. tuo fratello sono ancor. I am your brother still. Spenta e 1'ira nel mio petto, My anger is at an end, [quenched] spegni tu 1'insano amor. if you are done with your insane love Nobil sposo.... A Titled husband....

[He tells her his blood lust for Edgard is quenched: a thirst for blood; I am your brother: we are of the same blood; you will marry royalty: noble blood. The river of blood that floods from this fountain carries them all along to their fated ends.]

LUCIA LUCIA

Cessa…cessa. Stop it— Stop it!

ENRICO HENRY

Come? What's that?

LUCIA LUCIA

Ad altr'uom giurai mia fe'. I am sworn to another.

ENRICO HENRY

Nol potevi… It cannot be! [It shall not...]

LUCIA LUCIA

Enrico! Henry!

ENRICO HENRY

Nol potevi! I forbid it!

LUCIA LUCIA

Ad altr'uom giurai mia fe'. I am pledged to another man.

ENRICO HENRY

Or basti. Be silent. [shut up.] Questo foglio appien ti dice This paper will quickly show you

qual crudel, qual empio amasti! 		what cruel wretch you think you love!

Leggi. Read it.

(Porgendole il foglio ch'ebbe da Normmano) (He gives her the forged letter from Norman)

(Lucia legge; la surpreso ed il piu vivo affanno si dipinguono sud suo volto) (She reads the letter. She almost reels with horror and dismay.)

LUCIA LUCIA

Ah! Il core mi balzo! oh my heart breaks!

ENRICO HENRY

Tu vacilli!… You are trembling. [fainting]

LUCIA LUCIA

Me infelice! God help me! [My unhappiness]

Ahi! ... La folgore piombo! Ah!...a thunderbolt has struck!

[Duet with pieces sung together and interspersed]

Soffriva nel pianto … languia nel dolore... suffering without end...languishing in misery... la speme...la vita riposi in un core… The hope...the life I place in one heart... L'istante di morte e giunto per me. The moment of death has come for me. Ah! Quel core infedele ad altra si die!

ENRICO HENRY

Un folle ti accese, un perfido amore; A folly of yours, a perfidious love; Tradisti il tuo sangue per vil seduttore. You betrayed your blood to love that seducer.

LUCIA LUCIA

Oh! Dio! Oh God!

ENRICO HENRY

Ma degna del cielo ne avresti merce': But thanks be to Heaven, his inconstant heart quel core infedele ad altra si die'. his inconstant heart has found another object.

[These following lines are repeated.]

Un folle t'accese, un perfido amore; A folly of yours, a perfidious love; Tradisti il tuo sangue per il vil seduttore, You betrayed your blood to love that seducer. ma degna del cielo ne avresti merce': But thanks be to Heaven, his inconstant heart quel core infedele ad altra si die. his inconstant heart has found another object.

LUCIA LUCIA

Ahi me! Alas [Ah mi!] L'istante tremendo e giunto per me. My desperate hour is not far off. Quel core infedele ad altra si die. Now he loves someone else.

(Si ascoltano echeggiare da lontano festivi suoni.) (A crowd can be heard in the distance.)

Che fia? What is that?

ENRICO HENRY

Suonar di giubilo senti la riva? Don't you hear the joyful cheering?

LUCIA LUCIA

Ebbene! What for?

ENRICO HENRY

Giunge il tuo sposo. Your bridegroom has arrived.

LUCIA LUCIA

Un brivido! Mi corse per le vene! I feel a coldness coursing through my veins!

ENRICO HENRY

A te s'appresta i talamo! Your marriage hour is near!

LUCIA LUCIA

La tomba a me s'appresta! My grave is near!

ENRICO HENRY

Ora fatale e questa! M'odi! This is the great moment!

LUCIA LUCIA

Ho sugli occhi un vel! There is a veil before my eyes!

ENRICO HENRY

Spento e Guglielmo… Listen to me: William is dead… a Scozia comandera Maria... Mary will ascend the throne. prostrata e nella polvere la parte ch'io seguia.

[There was no war between William and Mary but a struggle between factions needing the support of William vs factions that Mary was keen on. This truly injured fortunes when he died. The factions lost or benefited. These incidences occurred long after the historic murder that Lucia is based upon - 1669.]

LUCIA LUCIA

Ah! lo tremo! Ah, I am terrified! [I tremble!]

ENRICO HENRY

Dal precipizio Arturo Arturo alone can rescue me puo sottrarmi, sol egli! from disaster, he alone!

LUCIA LUCIA

Ed io ? Ed io? And what of me? [And I? And I?]

ENRICO HENRY

Salvarmi devi! You must save me!

LUCIA LUCIA

Enrico! Henry!!

ENRICO HENRY

Vieni allo sposo! Let us go to your bridegroom.

LUCIA LUCIA

Ad altro giurai! But I am sworn to another!

ENRICO HENRY

Devi salvarmi. You must save me!

LUCIA LUCIA

Ma... But...

ENRICO HENRY

Il devi! You must!

LUCIA LUCIA

Oh ciel! Oh ciel! Oh, heaven help me!

ENRICO HENRY

Se tradirmi tu potrai, If you betray me now la mia sorte e gia compita… My fate is already sealed... Tu m'involi onore e vita; You strip me of life and honor. tu la scure appresti a me… You'll be the ax that cuts me down. Ne' tuoi sogni mi vedrai And then forever in your dreams ombra irata e minacciosa; you'll be haunted by my menacing shadow, quella scure sanguinosa the bloody ax you wield stara sempre innanzi a te! will be forever before you!

LUCIA LUCIA

Tu che vedi il pianto mio, You [God] who listens to my cries, tu che leggi in questo core, You know the anguish in my heart, se respinto il mio dolore so despised is my sorrow [suffering], come in terra, in ciel non e, here on Earth, then in Heaven, tu mi togli, eterno Iddio, give me relief, Eternal God, questa vita disperata... [I] want this life to end

[DUET- repeated from earlier - with fully restored text]

ENRICO HENRY

A te s'appresta iltalamo. The bridal chamber is prepared for you.

LUCIA LUCIA

Ah! La tomba! Ah! The grave.

ENRICO HENRY

Salvar mi devi. You must save me.

LUCIA LUCIA

Ho su gl'occhi un vei. A veil covers my eyes.

ENRICO HENRY

Ah! Se tradirmi tu potrai...etc. Ah! If you betray me...etc.

LUCIA LUCIA

Tu mi togli, eterno Iddio, Give me relief, Eternal God, questa vita disperata. [I] want this life to end.

ENRICO HENRY

Ah! Quella scure sanguinosa The bloody ax you wielded stara sempre innanzi a te...etc will forever before you...etc.

LUCIA LUCIA

Ah! Io son tanto sventurata Ah, in this wretched plight, [misadventure] che la morte e un ben per me! how welcome death would be for me!

(Enrico Exuet. Entra Raymondo) (Henry exits. Raymond enters.)

LUCIA LUCIA

Ebben? What news?

RAIMONDO RAYMOND

Di tua speranza 1'ultimo raggio tramonto! Your last ray of hope has faded! Credei, al tuo sospetto, Believing, as you suspected, che il fratel chiudesse that your brother tutte le strade onde sul franco suolo, would close every avenue to prevent all'uom che amar giurasti, your letters reaching the man you love, non giungesser tue nuove: now on French soil, lo stesso un foglio da te vergato I myself had a letter you wrote per secura mano recar gli feci . . . delivered to him by a trustworthy hand . . Invano! Tace mai sempre . . . In vain! He still remains silent . . . Quel silenzio assai d'infedelta ti parla! This silence tells you of his infidelity!

LUCIA LUCIA

E me consigli? What do you advise me?

RAIMONDO RAYMOND

Di piegarti al destine. To submit to destiny. [fate]

LUCIA LUCIA

E il giuramento? And my vow? [My guaranty]

RAIMONDO RAYMOND

Tu pur vaneggi. I nuziali voti You are talking wildly. che il ministro di Dio non benedice, Nuptial vows which God's minister is ne il ciel, ne il mondo riconosce. not blessed in Heaven nor recognised on Earth. LUCY

LUCIA LUCIA

Ah! cede persuasa la mente, Ah, my mind is convinced and surrenders, ma sordo alia ragion resiste il core! but my heart, deaf to reason, resists!

RAIMONDO RAYMOND

Vincerlo e forza! You must subdue it! [The force of Destiny] [La Forza del Desitino]

LUCIA LUCIA

Oh sventurato amore! Oh ill-fated love!

RAIMONDO RAYMOND

Ah! cedi, cedi, o piu sciagure Ah! yield, yield, for worse disasters ti sovrastano, infelice . . . threaten you, unhappy girl!. . . Per le tenere mie cure, For ail my tender care, per 1'estinta genetrice, for the sake of your dead mother il periglio d'un fratello and your brother's peril, deh ti mova, e cangi il cor. I beg you to relent and change your heart, O la madre, nell'avello or your mother in her grave fremera per te d'orror. will shudder with horror because of you. Ah! cedi, cedi, Ah! yield, yield! il periglio d'un fratello Let your brother's peril ti commova, e cangi il cor. move you and change your heart.

LUCIA LUCIA

Taci...taci.... Say no more...no more....

RAIMONDO RAYMOND

No, no, cedi.... No, no, yield.....

LUCIA LUCIA

Ah! ah! taci.... Ah, be silent....

RAIMONDO RAYMOND

La madre! [Think of] Your mother!

LUCIA LUCIA

Ah! Ah!

RAIMONDO RAYMOND

II fratello. .. [Think of] Your brother.

LUCIA LUCIA

Ah! taci . . . Ah, no more . . . Ah vincesti . . . Non son tanto snaturata. You have won ... I am not so unnatural.

RAIMONDO RAYMOND

Oh! qual gioia in me tu desti! Oh, what joy you awake in me! Oh qual nube hai dissipata! Ah! qual gioia! What a cloud you have dispelled! Ah! what joy! ben de' tuoi qual vittima For the good of your family, offri, Lucia, te stessa; Lucy, you offer yourself as victim; e tanto sacrifizio and so great a sacrifice scritto nel ciel sara.... will be recorded in heaven.... Se la pieta degli uomini Though men's mercy a te non fia concessa, may be denied you, v'e un Dio, che tergere who will wipe away your tears il pianto tuo sapra?...ecc. The piety of all this sadness...?

LUCIA LUCIA

Guidami tu, tu reggimi. Guide me, support me. Son fuori di me stessa! I am beside myself! Lungo crudel supplizio Long cruel suffering la vita a me sara. Life for me will be a torture. Si, guidami, si, si. Yes, guide me, yes, yes.

RAIMONDO RAYMOND

Si, figlia, coraggio. Yes, my daughter, have courage. Qual nube hai disgombrata! What a cloud you have dispelled! Oh figlia mia, coraggio! Oh my daughter, have courage!

Ah! Al ben de' tuoi qual vittima Ah! for the good of your family, offri, Lucia, te stessa, Lucia, you offer yourself as victim, e tanto sacrifizio scritto and so great a sacrifice, will be written nel ciel sara. in heaven. _______________________________________________________________________________11/13/2009 LUCIA LUCIA

Nel ciel sara, si. In heaven, yes.

RAIMONDO RAYMOND

Offri, Lucia, te stessa, You offer yourself, Lucia, e tanto sacrifizio and so great a sacrifice scritto nel ciel sara. will be recorded in heaven. Se la pieta degli uomini, ecc. Though men's mercy, etc.

LUCIA LUCIA

Ah! Oh Dio! Son fuori di me. Ah! Oh God! I am beside myself. Ingrato! Edgardo ingrato! Ungrateful man! Faithless Edgar!

RAIMONDO RAYMOND

Se la pieta degli uomini, ecc. Though men's mercy, etc.

LUCIA LUCIA

Guidami, vincesti, Guide me, you have won, Ah! ah! ah! Ah! ah! ah!

[End of restored text]

SCENA 2 SCENE 2

Sala nel Castello. The Great Hall of the Castle.

(The reception for Arturo is in progress)

[Chorus and aria reteat in duet form.]

CORO CHORUS

Per te d'immenso giubilo Gaily we are gathered here tutto s'avviva intorno, joyfully to honor you per te veggiam rinascere for through your influence della speranza il giorno. our hopes may be renewed. Qui 1'amista ti guida, What friendship inclined you to, Qui ti conduce amor; may love make stronger yet. Qual astro in notte infida, How like a star in the gloomy night, Qual riso nel dolor! like a smile in the midst of tears!

ARTURO ARTHUR

Per poco fra le tenebre Soon through the darkest clouds, spari la vostra stella; your star shall rise again. lo la faro risorgere, I will restore your fortunes, piu fulgida, e piu bella. fairer and brighter than before. La man mi porti, Enrico, Give me your hand, Enrico. ti stringi a questo cor. Let me embrace you. A te ne vengo amico, I come to you as friend, Fratello e difensor! I a brother and defender!

CORO CHORUS

Per te d'immenso giubilo Gaily we are gathered here tutto s'avviva intorno, joyfully to honor you per te veggiam rinascere for through your influence della speranza il giorno. our hopes may be renewed. Qui 1'amista ti guida, What friendship inclined you to, Qui ti conduce amor; may love make stronger yet.

Qual astro in notte infida, How like a star in the gloomy night, Qual riso nel dolor! like a smile in the midst of tears!

ARTURO ARTHUR

A te ne vengo amico, I come to you as friend, Fratello e difensor! I a brother and defender!

CORO CHORUS

Qual astro in notte infida, How like a star in the gloomy night, Qual riso nel dolor! like a smile in the midst of tears! Qual astro in notte infida, qual riso nel dolor...etc.

ARTURO ARTHUR

Dov'e Lucia? But where is Lucia?

ENRICO HENRY

Qui giungere She will soon be here... or la vedrem…Se in lei But do not wonder if she seems soverchia e la mestizia smitten with melancholy, Maravigliart, no, no, non dei. for she is still Dal duolo oppressa e vinta overcome with grief Piange la madre estinta. at the death of her mother.

ARTURO ARTHUR

M'e noto, si, si, m'e noto. Yes, I had heard of it.

ENRICO HENRY

Soverchia e la mestizia Smitten with melancholy, Ma piange la madre. she grieves for her mother still.

ARTURO ARTHUR

Or solvi un dubbio; But tell me one thing more: fama suono ch'Edgardo I have heard that Edgardo Sovr'essa temerario has dared to look at her… alzare oso lo sguardo… Has had the temerity indeed Temerario… to pay her court…

ENRICO HENRY

E verO quel folle ardia, ma… It is true that he rashly attempted, but...

ARTURO ARTHUR

Ah! Ah!

CORO CHUROS

S'avanza qui Lucia; s'avanza. Ah! Here comes Lucia now.

ENRICO HENRY

Piange la madre estinta… Grieving for her mother...

(Entrano Lucia, Alisa e Raimondo.)

(Lucia enters, supported by Alice and Raymond. She is very dejected.) Scena

ENRICO HENRY

(presentando Arturo a Lucia.) (presenting Arturo to Lucia)

Ecco il tuo sposo… Here is your bridegroom.

[Lucia draws back. Enrico whispers.]

(Incauta! Perder mi vuoi?) (Be careful! Do you want to ruin me?)

LUCIA LUCIA

(Gran Dio!) (Good God)

ENRICO (ad Arturo) HENRY (to Arthur)

T'appressa. Come nearer.

ARTURO ARTHUR

Oh dolce invito! A sweet invitation!

(accostandosi al tavolino ov'e il con-tratto nuziale) (seats himself and reviews the marriage contract)

LUCIA LUCIA

(lo vado al sacrifizio! Me misera!) (I am led to the sacrifice! Alas!)

[Arturo and Enrico sign the contract. Lucia is lead to the table by Alisa and Raimondo]

ENRICO HENRY

Non esitare…scrivi! Do not waver…sign!

RAIMONDO RAYMOND

(Reggi, buon Dio, 1'afflitta!) (Good God pity the afflicted girl!)

[Restored text]

LUCIA LUCIA (Io vado al sacrifizio.) (I go to my sacrifice.)

[End restored text]

LUCIA LUCIA

(Me misera!) (My misery!)

ENRICO HENRY

Scrivi! Sign!

LUCIA LUCIA

Enrico! Henry!

ENRICO HENRY

Scriva! Sign!

LUCIA LUCIA

La mia condanna ho scritta! I have signed my death warrant!

ENRICO HENRY

(Respiro!) (Now I can breathe again.)

LUCIA LUCIA

lo gel ed ardo…1o manco… I feel cold and feverish...I'm fainting…

[A great commotion is heard outside the door.]

TUTTI ALL THE COURTIERS

Qual fragor! Chi giunge? What is that noise? Who is there?

(Entra Edgardo.) (Edgardo bursts in.)

EDGARDO EDGAR

Edgardo! {It is I,] Edgardo!

TUTTI ALL

Edgardo! Oh terror! Edgar! Oh terror!

LUCIA LUCIA

Edgardo! Oh fulmine! Edgar. Oh, I am thunderstruck!

[The Sextet is the most complex piece of vocal music in opera. Although there are larger ensembles, none are more difficult. Throughout this piece each of the singers are in concordence with and then in opposition to each of the other singers. It would be impossible, except to go line by line for all six singers, to demonstrate how this works.]

EDGARDO EDGAR

Chi mi frena in tal momento? Who'll try and bar my way? Chi tronco dell'ira il corso? Who'll attempt to restrain my wrath? Il suo duolo, il suo spavento Her downcast eyes, her fear are proof son la prova di un rimorso! of her guilty remorse! Ma, qual rosa inardita, How like a withered rose she hovers ella sta fra morte e vita!… between life and death. lo son vinto…son commosso! I am overcome. She moves me to pity! T'amo ingrata, t'amo ancor! Faithless or not, I love you still.

ENRICO HENRY

Chi raffrena il mio furore, What curbs my anger, e la man che al brando corse? prevents my drawing this sword? Della misera in favore I feel a twinge of pity nel mio petto un grido sorse! and remorse arise within me! E mio sangue! L'ho tradita! She is my sister! And I betrayed her! Ella sta fra morte e vita… She hovers between life and death… Ah! Che spegnere non posso, How can I purge myself of the dreadful I rimorsi del mio cor! remorse I feel?

LUCIA LUCIA

Io sperai che a me la vita If only this misery and wretchedness tronca avesse il mio spavento, would end my life of suffering— Ma la morte non m'aita … But Death will not pity me, Vivo ancor per mio tormento! and I live on in grief. Da' miei lumi cadde il velo, A shroud has fallen on my happiness. mi tradi la terra e il cielo! Both earth and heaven have abandoned me. Vorrei pianger ma non posso. I want to weep, but cannot. Ah, mi manca il pianto ancor! Even my tears have left me comfortless.

RAIMONDO RAYMOND

Qual terribile momento! No words can do justice Piu formar non so parole; to this unhappy moment; Densa nube di spavento the rays of the sun itself par che copra i rai del sole! are lost in clouds of woe. Come rosa inaridita Like a withering rose ella sta fra morte e vita; she hovers between life and death. Chi per lei non e commosso Who so ever is not moved my her plight ha di tigre in petto il cor! has the tiger's heart inside them.

EDGARDO EDGAR

Chi mi frena in tal momento? Who'll try and bar my way? Ma chi? Chi? Will any dare? Any? Come rosa inaridita How like a faded rose Ella sta fra morte e vita!… she hovers between life and death. Ingrata! T'amo ancor, Faithless or not, Si, t'amo ancor! I love her still.

ENRICO HENRY

E mio sangue! She is my sister! L'ho tradita! I have betrayed her! Ella sta fra morte e vita… She hovers between life and death… Spegnere non posso i rimorsi I can never forgive myself…

ARTURO ARTHUR

Qual terribile momento! No words can do justice Piu formar non so parole; to this unhappy moment; Densa nube di spavento the rays of the sun itself par che copra i rai del sole! are lost in clouds of woe. Come rosa inaridita Like a withering rose ella sta fra morte e vita; she hovers between life and death. Chi per lei non e commosso Who so ever is not moved my her plight ha di tigre in petto il cor! has the tiger's heart inside them.

ALISA E CORO ALICE AND CHORUS

Come rosa inaridita Like a withering rose ella sta fra morte e vita; she hovers between life and death. Chi per lei non e commosso Who so ever is not moved my her plight ha di tigre in petto il cor! has the tiger's heart inside them.

LUCIA

Vorrei piangere e non posso . I want to weep, but cannot. M'abbandona il pianto ancor! my tears have left me comfortless!

EDGARDO

Ah, son vinto, son commosso! I am overcome. She moves me to pity! T'amo ingrata, t'amo ancor! Faithless or not, I love her still!

ENRICO HENRY

E mio sangue! She is my sister! L'ho tradita! I have betrayed her! Ella sta fra morte e vita… She hovers between life and death… Ah! Che spegnere non posso, How can I purge myself I rimorsi del mio cor! of the dreadful remorse I feel!

RAIMONDO RAYMOND

Chi per lei non e commosso Who so ever is not moved my her plight ha di tigre in petto il cor!...Etc. has the tiger's heart inside them.

ARTURO E ENRICO ARTHUR AND HENRY

T'allontana, sciagurato, Begone, wretch! O il tuo sangue fia versato. Or your blood will flow!

[They draw their swords.]

CORO CHORUS

T'allontana, sciagurato. Wretched man, begone!

EDGARDO EDGAR

Moriro, ma insiem col mio If I die, I will not die alone. altro sangue scorrera. Other blood will flow.

RAIMONDO RAYMOND

Rispettate in me di Dio Respect in me the power of God la tremenda maesta. in its awesome majesty. In suo nome vel comando. In his name I command you both Deponete 1'ira e il brando; in His name to put up your swords Pace, pace… Egli abborrisce peace, peace...Murder is abominable. l'omicida, e scritto sta: In holy writ it stands: "Chi di ferro altrui ferisce, He who lives by the sword pur di ferro perira." shall perish by the sword. Pace, pace! Peace, peace!

[They all sheath, their swords.]

ENRICO (ad Edgardo) HENRY TO EDGAR

Sconsigliato, in queste porte Rash intruder, chi ti guida? what brought you to these doors?

EDGARDO EDGAR

La mia sorte, II mio dritto! My destiny and my right!

ENRICO HENRY

Sciagurato! Villain!

EDGARDO EDGAR

Si! Lucia Yes! Lucia La sua fede a me giuro. is sworn to be mine.

RAIMONDO RAYMOND

Ah, questo amor funesto obblia; Ah, forget that unhappy love; ella e d'altri… she is now another's.

EDGARDO HENRY

D'altri? No! Another's? No!

RAIMONDO RAYMOND

(Gli presenta il contratto nuziale.) (He shows Edgar do the marriage contract.) Mira. Here, look at this!

EDGARDO HENRY

D'altri....no. Another's? No!

[He reads it and turns to Lucia.]

EDGARDO EDGAR

(a Lucia, dopo averlo letto) (He shows the contract to Lucia]

Tremi… ti confondi! You tremble… You are shaken! Son tue cifre? A me rispondi. Is this your handwriting? Answer to me! Son tue cifre? Rispondi Is this your handwriting? Answer me!

LUCIA LUCIA

Si... Yes.

EDGARDO EDGAR

[Controlling himself, he gives her his ring.]

Riprendi Then take back your il tuo pegno,infido cor. pledge of faith, inconstant girl!

LUCIA LUCIA

Ah! Ah!

EDGARDO EDGAR

Il mio dammi. And give me back mine.

LUCIA LUCIA

Almen... At least...

EDGARDO EDGAR

Lo rendi. Give it to me.

LUCIA LUCIA

Edgardo! Edgardo! Edgar! Edgar!

[She returns his ring.]

EDGARDO EDGAR

Hai tradito il cielo and amor. You are a trader to Heaven and love. Maledetto sia l'instante I curse the moment che di te mi rese amante... that I fell in love with you. Stripe iniqua...abbominata, I condemn you all... abomination, in dovea da te fuggir! I should have fled from you. Abbominata, maledetta, [You are] abominable and cursed, Io dovea da te fuggir! I should have fled from you!

LUCIA LUCIA

Ah... Ah.....

EDGARDO EDGAR

Ah! Vi disperda! Ah! Villian! [Literally desperado]

HENRICO HENRY

Insano ardir! Esci! This is insane ardor. Leave!

RAYMOND RAYMOND

Insano ardir! Pace! This is insane ardor. Peace!

CORO CHORUS

Insano ardir! Esci! This is insane ardor. Leave!

ARTHURO, ENRCIO, & CORO ARTHUR, HENRY, & CHORUS

Esci, fuggi,il furor che mi accende. Leave! Get out! I can scarcely restrain myself Solo un punto i suoi colpi sospende. from killing you on the spot… Ma fra poco piu atroce, piu fiero. But soon a far worse fate Sul tuo capo abborrito cadra. will fall on your cursed head!

RAIMONDO RAYMOND

Infelice t'invola, t'affretta… Unhappy man, begone at once. I tuoi giorni, il suo stato rispetta. Preserve your life. Respect her circumstance. Vivi! e forse il tuo duolo fia spento, Live on. Your misfortunes will soon fade. Tutto e lieve all'eterna pieta. The grace of Providence will heal all wounds.

LUCIA LUCIA

[Falling to her knees]

Dio lo salva, in si fiero momento God preserve him in this hour of trial! d'una misera ascolta il lamento. Listen, I beg, to my unhappy pleas. E la prece d'immenso dolore I pray to you from the depth of my suffering, che piu in terra speranza non ha . for nothing mortal affords me any hope. E l'estrema domanda del core, This prayer I utter with che sul labbro spirando mi sta! my last breath of life!

EDGARDO [Disarming himself] EDGAR

Trucidatemi, e pronubo al rito Then kill me now and let my heart, sia lo scempio d'uno core tradito . betrayed, be silent witness Del mio sangue coperta la soglia to these marriage vows. dolce vista per 1'empia sara. Let my blood, staining this threshold, Calpestando 1'esangue mia spoglia be a pleasing picture for the bride. All'altare piu lieta ne andra. Trampling on my corpse, she goes to the altar

ENRICO, ARTURO E CORO HENRY, ARTHUR & CHORUS

Va! T'invola Go! Begone before La macchia d'oltraggio si nero the stain of this foul outrage Lavata col sangue sara! is wiped out with blood. Esci, fuggi, il furor che mi accende Leave, fly! I can scarcely restrain myself Solo un punto i suoi colpi sospende . from killing you on the spot. Ma fra poco piu atroce, piu fiero. A far worse fate will fall on your cursed head!

ALICIA, RAYMONDO E CORO ALICE, RAYMOND & CHORUS

Sul tuo capo abborrito cadra. Go! Save yourself, wretched man! Ti salva! Infelice! Save yourself. Oh sad one. T'invola…t'affretta Fly from here…and quickly! I tuoi giorni…il suo stato rispetta, Save your life. Respect her circumstance. Vivi, e forse il tuo duolo fia spento, Live on. Your misfortunes will soon fade. Tutto e lieve all'eterna pieta. The grace of Providence will heal your wounds. Quante volte ad un solo tormento When you heed but one unhappy torment, Mille gioe apprestate non ha.a a thousand joys are lost to you.

ATTO II

SCENA 3 [Or alternatively Scene 1 of Act III]

[This scene was removed for many years. It is completely restored here. The opera returns to the original three acts, not the two acts as it is still frequently performed today.]

(Satone terreno nella torre di Wolferag, adiacente al vestiboio. Una tavota spoglia d'ogni omamento ed un vecchio seggiolone ne formano tutto I'arredo. In fondo una porta ed un finestrone aperto. E notte, si sente il temporale. Edgardo e seduto presso la tavola, immerso ne' suoi melanamici pensieri: dopo qualche istante si scuote e guarda a traverso delta finestra.)

(A ground-floor chamber in the tower of Wolf's Crag, adjoining the entrance hall. It is furnished only with a table, devoid of all decoration, and an old armchair. At the rear a door and a large open window. It is night; a storm is raging. Edgar is seated at the table, deep in his melancholy thoughts; after a while he rouses himself and looks out of the window.)

[Today this scene is usually staged at the infamous Fountain of Act I

 or at the graveyard of the final scene which ties the Destiny theme more closely.]

EDGARDO EDGAR

Orrida e questa notte This night is as fearful come il destine mio! as my destiny! (Scoppia un fulmine) (A clap of thunder) Si, tuona, o cielo . . . Yes, trauma, oh heavens... imperversate, o fulmini . . . rage, oh lightnings . . . sconyolto sia I'ordin di natura, convulsed is the the order of nature, e pera il mondo . . . and perish the whole world... Ma non m'inganno! If I am not mistaken! Scalpitar d'appresso odo un destrier! I hear a horse's hooves nearby! S'arresta! It is stopping! Chi mai della tempesta Whoever can have come fra le minaccie e 1'ira, to see me, through the threat chi puote a me venirne? and fury of the storm?

(Entra Enrico.) (Enter Henry.)

ENRICO (gettando il manto) HENRY (throwing off hu cloak)

Io! [It is] I!

EDGARDO EDGAR

Quale ardire! Ashton! What effrontery! Ashton!

ENRICO HENRY

Si. Yes.

EDGARDO EDGAR

Fra queste mura Within these walls you dare osi offrirti al rnio cospetto? to present yourself before me?

ENRICO HENRY

Io vi sto per tua sciagura. I am here for vour downfall.

EDGARDO EDGAR

Per mia? Mine?

ENRICO HENRY

Non venisti nel mio tetto? Did you not enter my house?

EDGARDO EDGAR

Qui del padre ancor respira Here my father's spirit still breathes I'ombra inulta, e par che frema! unavenged, and it seems to quiver Morte ogn'aura a te qui spiral Here the very air breathes death to you! 11 terren per te qui trema! The ground itself trembles for you! Nel varcar la soglia orrenda In crossing this dread threshold ben dovresti palpitar, you well might tremble, come un uom che vivo scenda like a man who goes down alive la sua tomba ad albergar, ecc. to dwell in his grave, etc.

ENRICO HENRY

Fu condotta al sacro rito, Lucy has been led to the altar, quindi al talamo Lucia, and thence to her bridal bed.

EDGARDO EDGAR

(El piu squarcia il cor ferito! (He rends my wounded heart still Oh torniento! Oh gelosial) Oh, torment! Oh, jealousy!)

ENRICO HENRY

Ella e a! talamo. She is in the bridal bed.

EDGARDO EDGAR

(Oh gelosia!) Ebben? ebben? (Oh, jealousy!) Well then? Well then?

ENRICO HENRY

Ascolta. Listen. Di letizia ii mio soggiorno My dwelling resounded e di p-lauso rimbombava; with gladness and cheers; ma piu forte a) cor d'intorno but within my heart la vendetta mi parlava! vengeance spoke yet more loudly! Qui mi trassi in mezzo ai venti I made my way here; amid the wind la sua voce udia tuttor I still heard its voice, e il furor degli elementi and the fury of the elements rispondeva al mio furor, ecc. echoed my own fury, etc.

EDGARDO EDGAR

(Ohtormento! Oh gelosia!) (Oh, torment! Oh, jealousy!) Da me che brami? What do you want of me?

ENRICO HENRY

Ascoltami: Listen to me: Onde punir I'offesa To punish the insult de' miei la spada vindice my kinsman's avenging sword hangs [vindicating] pende su te sospesa, suspended over you to onde punir I'offesa . . . punish the insult... rna ch'altri ti spenga, mai . . . but should another slay you? Never... chi dee svenarti il sai! You know who must kill you!

EDGARDO EDGAR

So che al paterno cenere I know that I swore by my father's ashes giurai strapparti'il core. to tear out your heart.

ENRICO HENRY

Tu? You?

EDGARDO EDGAR

Si! Yes!

ENRICO HENRY

Tu! You!

EDGARDO EDGAR

Quando? When?

ENRICOHENRY

Al primo sorgere del mattutino albore. At first light of the new day.

EDGARDO EDGAR

Ove? Where?

ENRICO HENRY

Era 1'urne gelide di Ravenswood. Amid the frigid tombs of Ravenswood.

EDGARDO EDGAR

Verro. Si, I will be there. verro! Si, si. Yes, I will be there!

ENRICO HENRY

Ivi a restar preparati. Be prepared to stay there for ever.

EDGARDO EDGAR

Ivi t'uccidero. I will kill you there.

ENRICO HENRY

Al primo albore. At daybreak.

EDGARDO EDGAR

Al primo albore. At daybreak.

A DUE BOTH [Duet]

Ah! O sole, piu ratto a sorger t'appresta; Ah! O sun, make ready to rise more swiftly; ti cinga di sangue ghirlanda funesta... let a dismal garland of blood encircle you... Con quella rischiara with which to shed light Porribile gara d'un odio mortale, on the hideous struggle of a mortal hatred, d'un cieco furore. of a blind fury. [repeat]

O sole, piu ratio risorgi e rischiara, O sun, rise more swiftly and shine d'un odio mortale ilcieco furor. on the blind fury of a mortal hatred.

EDGARDO EDGAR

Giurai strapparti il core. I swore to tear out your heart.

ENRICO HENRY

La spada pende su te. The sword hangs over you.

EDGARDO EDGAR

Fra 1'urne di Ravenswood . Amid the tombs of Ravenswood.

ENRICO HENRY

All'alba verro. I will come at dawn.

A DUE BOTH

Ah! Fara di nostr'alme atroce governo, Ah! The spirit of hell, [atrocious governor] gridando vendetta lo spirto d'Averno . . . clamoring for revenge, will take fearful control Del tuono che mugge, over our souls. del nembo che rugge roar of the thunder, ] piu 1'ira e tremenda is is not more terrible che m'arde nel core. [than the] fury in my heart. O sole, piu ratto, ecc. O sun make ready, etc.

(Partono.)

_____________________________________________________________________________

ACCO III ACT III

Scena 1 Scene 1

Sola del Castello di Lammermoor.The Hall at Lammermoor Castle.

(Dalle sale contigue si ascolta la musica di liete danze. Il fondo della scena e in gombro di abitanti del castello di Lammermoor. Sopraggiungono Cavalieri che s'uniscono in crocchio.)

(The wedding celebrations are at their height. The hall is crowded with relatives and guests.)

CORO CHORUS

D'immenso giubilo The sounds of joy S'innalzi un grido. and revelry ring out. Corra la Scozia echo throughout Scotland, Di lido in lido; from shore to shore. E avverta i perfidi they had best beware, Nostri nemici Let our enemies be forewarned; Che a noi sorridono the star of our power Le stelle ancor. is on the ascendant.

(Entra Raimondo e Normanno.) (Raymond & Norman enter.)

[Entering in great distress]

RAIMONDO RAYMOND

Cessi, ah cessi quel contento! Alas Stop the rejoicing. [Quell your contentment]

CORO CHORUS

Sei cosparso di pallor. Why so pale?

RAIMONDO RAYMOND

Deh! Cessate! Stop, I tell you! [Desist]

CORO CHORUS

Ciel! Che rechi? Heavens, what has happened?

RAIMONDO RYAMOND

Un fiero evento! A ghastly deed! [a fiery event]

CORO CHORUS

Tu ne agghiacci di terror! You are completely horrified! [consumed with terror]

[Motioning them to gather round]

RAIMONDO RAYMOND

Dalle stanze ove Lucia From the room to which Lucia Tratta avea col suo consorte, and her husband had retired Un lamento…un grido uscia, here came a groan— Come d'uom vicino a morte! a cry of someone at the point of death! Corsi ratto in quelle mura; I rushed into the chamber Ahi! terribile sciagura! and what a sight greeted my eyes! Steso Arturo al suol giaceva Arturo had fallen to the floor, Muto, freddo, insanguinato! cold, lifeless, spattered with blood! E Lucia 1'acciar tringeva And Lucia still had the dagger Che fu gia del trucidato. in the hand she used to stabbed him. Ella in me le luci affisse She fixed me with her gaze "Il mio sposo ov'e" mi disse. and said, "Where is my husband?" E nel volto suo pallente On her very pale face Un sorriso baleno! There came a smile! Infelice! Della mente Unhappy girl! La virtude a lei manco. She has lost her reason.

CORO CHORUS

Oh! Qual funesto avvenimento! Oh, what a dreadful deed! [circumstance] Tutti ne ingombra cupo spavento. What a fearful turn of events. Notte, ricopri la ria sventura Let the black shadows of night Col tenebroso tuo denso vel. obscure this dire crime.

RAIMONDO E CORO RAYMOND & CHORUS

Ah! Quella destra di sangue impura Ah, her blood bespattered hand will call [hand of impure blood] L'ira non chiami su noi del Ciel. down Heaven's vengeance on us all!

(Entra Lucia.)

RAIMONDO RaYMOND

Eccola! Here she comes!

CORO CHORUS

(Oh giusto Cielo! (Oh good Heaven! Par dalla tomba uscita!) for the tomb she if prepared!)

[Thus begins the Mad Scene - 16 minutes in three parts with brief interruptions. Followed by the tenors' grave scene also 16 minutes broken into three parts.]

[Lucia enters dressed in a nightgown, her appearance disheveled.

She is ghostly pale and gives every indication of insanity.]

LUCIA LUCIA

Il dolce suono I hear the sweet sound Mi compi di sua voce! of my companion's voice Ah, quella voce Ah, that voice! m'e qui nel cor discesa! It pierces my heart! Edgardo!Io ti son resa; Edgardo! Now I am restored to you; Edgardo! Ah! Edgardo mio! Edgardo! Ah, my beloved Edgardo! Si, ti son resa! Yes, I am restored to you! Fuggita io son da' tuoi nemici. I have escaped from your enemies… Un gelo mi serpeggia nel sen! An icy shudder runs through me! Trema ogni fibra!...Vacilla il pie! My whole being trembles!...My feet falter! Presso la fonte meco t'assidi alquanto, Let us sit together by the fountain for a time, Si, Presso la fonte meco t'assidi. Let us sit together by the fountain.

[Pause]

Ohime! Sorge il tremendo Alas, a tremendous fantasma e ne separa! Ohime! spectre rises tear us apart! Alas! Ohime! Edgardo! … Edgardo! Alas! Edgardo! Edgardo! Ah! il fantasma, il fantasma ne separa! Ah! That spectre, that spectre separates us! Qui ricovriamci, Edgardo, a pie dell'ara. Let us take refuge, Edgardo, before the altar. Sparsa e di rose! Un'armonia celeste, Rose petals scattered! A celstial harmony, Di', non ascolti? Ah! l'inno ` Do you hear the music? suona di nozze! Il rito It is the marriage anthem per noi s'appresta! … Oh me felice! it is our wedding day! Oh my happiness!

Edgardo! Edgardo! Oh me felice! Edgardo, Edgardo! How happy I am! Oh gioia che si sente e non si dice! How happy I am! My joy finds no words!

Ardon gl'incensi…splendono The incense is lighted — the sacred torches Le sacre faci intorno! are burning all around us! Ecco il ministro! Porgimi Here is the minister!Give me la destra…Oh lieto giorno! your hand! Oh, happy day! Alfin son tua, alfin sei mio, At last I am yours and you are mine. A me ti dona un Dio. God has united us.

[Meaning united in death; they will be joined in Heaven, and so the chorus responds.]

RAIMONDO, NORMANDO E CORO RAYMOND, NORMAN & CHORUS

Abbi in si tremendo stato! What a terrible state. [she desires death] di lei, Signor, pieta! God have mercy on her!

LUCIA LUCIA

Ogni piacer piu grato, All the joys of the world, mi fia con te diviso, Together we shall share, Del ciel clemente un riso From bountiful Heaven. Will be one long smile la vita a noi sara! For the rest of our lives.

[Restored text - These interjections are frequently left out.]

RAIMONDO RAYMOND

S'avanza Enrico. Henry approaches!

ENRICO (accorrendo) HENRY (entering hurriedly)

Ditemi: Tell me: Vera e I'atroce scena? Is it true [she did this] atrocity?

RAIMONDO RAYMOND

Vera pur troppo! Only too true!

ENRICO HENRY

Ah perfida! Oh, wretched girl! Ne avrai condegna pena... You will have punishment worthy of this . (scagliandosi contra Lucia) (rushing to seize Lucy)

CORO CHORUS

T'arresta . . . Stop!...

RAIMONDO RAYMOND

Oh ciel!. . . Non vedi Heavens above!. . . Do you not see lo stato suo? her condition?

LUCIA (sempre delirando) LUCIA (Still dilerious)

Che chiedi? What do you want?

[She backs away from him in shock as if he were a stranger.]

ENRICO HENRY

(fissando Lucia che nell'impeto della (looking closely at Lucy, he had not properly collera lion aveua prirna seen due to his previous outburst of rage) ben osservata)

Oh qual pallor! Oh, how pale!

LUCIA LUCIA

Che chiedi? What do you want?

RAIMONDO RAYMOND

Ha la ragion smarrita. She has lost her senses.

ENRICO HENRY

Gran Dio! Great God!

LUCIA HENRY

Ah, me misera! Oh, my misery!

RAIMONDO RAYMOND

Tremare, o barbaro, Tremble, cruel one, tu dei per la sua vita. you are responsible for her life.

LUCIA LUCIA

Non mi guardar si` fiero . . . Do not look at me so angrily . . . Segnai quel foglio, e` vero; si e` vero I signed the paper, it is true, yes true NeU'ira sua terribile In his terrible anger catpesta, oh Dio! 1'anello!. . . he stamped, oh God, on the ring!. . . Mi maledice!. . . Ahi! vittima He cursed me!. . . Ah! But I was fui d'un crudel fratello; a sacrifice of my cruel brother; ma ognor, ognor t'amai, but I have always, always loved you, ognora, Edgardo. always, Edgar. Si, ognor, ognor t'amai, Yes, always, I have always loved you, ah! e t'amo ancor. ah! and I love you still. Edgardo mio, si, te lo giuro, My Edgar, yes, I swear it, ognor t'amai e t'amo ancor, ecc. I have loved you and I love you still, etc.

ENRICO HENRY

Ah, di lei, Signer, pieta, ecc. Oh Lord, have mercy on her, etc.

RAIMONDO RAYMOND

Pieta di lei, Signer, pieta, ecc. Have mercy on her, Lord, mercy, etc.

LUCIA LUCIA

Chi mi nomasti? Arturo! What name do you say? Arthur! Tu nomasti, Arturo! What name, Arthur! Ah! non fuggir. Ah! per pieta. Oh! Do not flee. Oh! For pity's sake. No, non fuggir, ah, perdon, ecc... No, do not flee, oh, forgive, etc.

ENRICO HENRY

Infeljce! ah, pieta, Signor, pieta. Unfortunate one! Oh, mercy, Lord, mercy. Lucia! Lucia, gran Dio! Ah, Lucia! Lucia! Lucia, Good God! Ah, Lucia!

RAIMONDO, e CORO RAYMOND & CHORUS

Infelice! ah, pieta, Signor, pieta. Unfortunate one! Oh, mercy, Lord, mercy. Qual notte di terror! ecc. What a night of terror! etc.

LUCIA (s'inginocchia) LUCIA

Ah! no,nonfuggir, Edgardo! Oh, no, do not go, Edgar!

Spargi d'amaro pianto Shed your bitter tears il mio terrestre velo, over my earthly remains; Mentre lassu nel cielo but meanwhile, in Heaven above, lo preghero per te. I will be praying for you. Al giunger tuo soltanto But not till you come to me there Fia bello il ciel per me! will Heaven seem fair to me!

RAIMONDO E CORO RAYMOND & CHORUS

Piu raffrenare il pianto Who, now, could still restrain his pity. possibile non e. It is not possible.

ENRICO HENRY

Giorni d'amaro pianto A life of bitter remorse Serba il rimorso a me. is all that remains to me.

LUCIA LUCIA

Ah! Spargi d'amaro pianto Ah! Shed your bitter tears il mio terrestre velo, over my earthly remains; Mentre lassu nel cielo but meanwhile, in Heaven above, lo preghero per te. I will be praying for you. Al giunger tuo soltanto But not till you come to me there Fia bello il ciel per me! will Heaven seem fair to me! Ah, ch'io spiri accanto a te, appresso a te, ecc.

[This is the end of the Mad scene and the following text is always omitted from any performance.

 It this included here because it is a part of the original libretto. Even Donizetti left it
 out in later performances.  He excluded it from "Lucie de Lammermoor" as well.]

RAIMONDO E CORO RAYMOND & CHORUS

Piu raffrenare il pianto Who, now, could still restrain his pity. possibile non e. It is not possible.

ENRICO HENRY

Giorni d'amaro pianto A life of bitter remorse Serba il rimorso a me. is all that remains to me.

(Lucia resta quasipriva (Lucia sinks almost lifeless divitafra le braccia diAlisa.) into Alice's arms.)

ENRICO HENRY

Si tragga altrove. Lead her away, Alice . . . Alisa . . . uom del Signor, minister of God, pray keep watch deh, voi la misera vegliate . . . over the unfortunate girl. . .

(Alisa e le dame conducono altrove Lucia.) (Alice and the ladies lead Lucy away.)

Io piu me stesso in me non trovo. I can no longer master my feelings.

(Parte.) (Exit.)

RAIMONDO (a Normanno) RAYMOND TO NORMAN

Delator! gioisci dell'opra tua. Informer! Rejoice in your handiwork!

NORMANNO NORMAN

Che parli? What do you mean?

RAIMONDO RAYMOND

Si, dell'incendio che divampa Yes, it was you who struck the first spark e strugge questa casa infelice, of the fire that blazes up hai tu destata la primiera scintilla. and is destroying this unhappy house.

NORMANNO NORMAN

lo non credei . . . I did not think . . .

RAIMONDO RAYMOND

Or del versato sangue, empio, Villain, you are the wicked cause tu sei la ria cagion. of the blood that has been spilled Quel sangue al ciel t'accusa; That blood accuses you before heaven; e gia la man suprema and the Almighty's hand segna la sua sentenza . . . already passes sentence on you . . . Or vanne e trema. Now begone, and tremble!

(Segue Lucia; (He follows Lucy; Normanno esce per I'opposto lato.) xit Norman on the opposite side.)

_________________

SCENA 2

Tombe del Ravenswood. The Tombs of the Ravenswoods. Parte esterna del castello. E` notte. Edgardo is alone. It is near dawn.

EDGARDO EDGAR

Tombe degli avi miei, 1'ultimo avanzo Oh, tomb of my forefathers, now receive D'una stirpe infelice the last of our unhappy family. Deh! raccogliete voi. Cesso dell'ira This brief and angry struggle will rage no more. Il breve foco…sul nemico acciaro I'll throw myself upon my enemy's blade. Abbandonar mi vo'. Per me la vita My life is a hateful burden. E orrendo peso! … l'universo intero Without Lucia, the Universe itself E un deserto per me senza Lucia! …is nothing but a desert to me! Di faci tuttavia The castle is still alight Splende il castello! Ah! Scarsa with the wedding torches! The night Fu la notte al tripudio! Ingrata donna! is brief for the celebrants! O, faithless girl! Mentr'io mi struggo in disperato pianto, While I am wracked with tears and anguish, Tu ridi, esulti accanto you rejoice, smiling, Al felice consorte! beside your happy husband! Tu delle gioie in seno, io della morte! Joy fills your heart, as Death fills mine!

Fra poco a me ricovero Soon a forgotten tomb Dara negletto avello. will give me refuge. Una pietosa lagrima No compassionate tears fall! Non scendera su quello! I'll find no comfort in oblivion. Ah! Fin degli estinti, ahi misero! Ah! Even the solace of the death Manca il conforto a me. Will not be comfort for me. Tu pur, tu pur dimentica You too, even you, will soon forget Quel marmo dispregiato; this [my] burial sepulchre; Mai non passarvi, oh barbara, Never pass by [my tomb], oh evil one, Del tuo consorte a lato, Ah! your husband is by your side. Ah! Rispetta almeno le ceneri Respect at least the [my] ashes Di chi moria per te! of one who died for you! Mai non passarvi, Never visit my grave. Tu id dimentica, Forget it utterly. Rispetta almeno chi muore per te. Respect the memory of one who died for you. Oh barbara! Oh evil one!

(Entrano Abitanti di Lammermoor, (A group of people approach

dal castello.)						from the Castle,)

CORO CHORUS

Oh meschina! Oh fato orrendo! Ah, wretched girl! A horrendous fate! Piu sperar non giova omai! No hope of help is left! Questo di che sta sorgendo, She will not live to see Tramontar piu non vedrai! the end of this day that dawns.

EDGARDO EDGAR

Giusto Cielo! Rispondete, Merciful heaven. Tell me. Rispondete! Ah! Tell me. [What is it?]

CORO CHORUS

Oh meschina! Oh,poor girl!

EDGARDO EDGAR

Di chi mai, di chi piangete? Tell me. Say for whom you are weeping? Rispondete, rispondete per pieta! Respond, Tell me, in pity's name!

CORO CHORUS

Di Lucia For Lucia.

EDGARDO EDGAR

Lucia diceste! Do you say Lucia?

CORO CHORUS

La meschina… Unhappy girl!

EDGARDO EDGAR

Su parlate! Tell me more!

CORO CHORUS

Si; la misera sen muore. She is on the point of death.

EDGARDO EDGAR

Ah! Ah!

CORO CHORUS

Fur le nozze a lei funeste, Her wedding was her funeral. Di ragion la trasse amore, Her love has deprived her of reason. S’avvicina all'ore estreme, This hour may be her last. E te chiede, per te geme. She sighs and calls for you.

EDGARDO EDGAR

Ah! Lucia! Muore! Lucia, ah! Lucia! She is dying! Lucia!

CORO CHORUS

Questo di che sta sorgendo, She will not live to see Tramontar piu non vedrai! the end of this day that dawns. Di ragion la trasse amore, Her love has deprived her of reason. E te chiede, per te geme. She sighs and calls for you.

EDGARDO EDGAR

Questo di che sta sorgendo Will she not live beyond the tramontar piu non vedra end of this day's dawns? la mia Lucia? My Lucia!

CORO CHORUS

Di ragion la trasse amore per te! Love [for you]has deprived her of reason!

EDGARDO EDGAR

Ah! Ah!

CORO CHORUS

Rimbomba Her death knell gia la squilla in suon di morte! is already being tolled!

EDGARDO EDGAR

Rivederla ancer vogl'io! I must see her again!

CORO CHORUS

Qual trasporto sconsigliato You are beside yourself! Ah! desisti, ah riedi in te! Stop, come back again!

EDGARDO EDGAR

Rivederla e poscia… I will see her...[in death is hinted]

RAIMONDO (entra) RAYMOND (ENTERS)

Dove corri sventurato? Where are you going, unhappy man? Ella in terra piu non e`. She is no longer with us.

EDGARDO EDGAR

Lucia! Lucia!

RAIMONDO RAYMOND

Sventurato! Wretched man!

EDGARDO EDGAR

In terra piu non e? She is no longer of this world? Ella dunque? She [dwells] where?

RAIMONDO RAYMOND

E in cielo! She is in heaven!

EDGARDO EDGAR

Lucia piu non e`... Lucia is no longer...

CORO CHORUS

Sventurato! Sventurato! Wretched man! Wretched man!

EDGARDO EDGAR

Tu che a Dio spiegasti l'ali, Oh, now you unfold your wings Oh bell'alma innamorata, in the sight of God, my beloved soul! ti rivolgi a me placata, Turn your calm smile to me, teco ascenda il tuo fedel. Your faithful love will come to you. Ah! se 1'ira dei mortali Though the wrath of our enemies fece a noi si cruda guerra, has made us cruelly at odds, Se divisi fummo in terra, has kept us apart on earth, ne congiunga il Nume in ciel! we shall be united in heaven! Oh bell'alma innamorata, O, my beloved spirit, Ne congiunga il Nume in ciel! God will unite us in heaven.

[He draws his dagger. The others try to disarm him.]

Io ti seguo! I come to you!

RAIMONDO RAYMOND

Forsennato! Madman!

RAIMONDO E CORO RAYOND & CHORUS

Ah che fai? What are you doing?

EDGARDO EDGAR

Morir voglio! Morir voglio! I want only to die. I want only to die.

RAIMONDO E CORO RAYMOND & CHORUS

Ritorna in te! Come to your senses!

EDGARDO EDGAR

No, no, no ... No, no, no ...

(S'immerge il pugnale nel cuore.) (He stabs himself.)

RAIMONDO E CORO RAYMOND & CHORUS

Ah! Ah!

RAIMONDO RAYMOND

Che facesti! What have you done?

EDGARDO EDGAR

A te vengo... oh bell'alma… Ah, my beloved...I come to you... Ti rivolgi, ah! Al tuo fedel. Turn to me, ah! To your faithful love. Ah se 1'ira…dei mortali… In spite of our enemies' wrath... Si cruda guerra...oh bell'alma, and our cruel strife! O, beloved, Ne congiunga il Nume in ciel! God will unite us in heaven! O bell'alma innamorata, O, lovely spirit Ne congiunga il Nume in ciel, God will unite us in heaven! Se divisi fummo in terra Though on earth we were held apart Ne congiunga il Nume in ciel! God will unite us in heaven!

RAIMONDO RAYMOND

Sciagurato! Pensa al ciel. Wretched man! Pray to heaven. Oh Dio perdona...Pensa al ciel! God forgive you...Pray to heaven Dio perdona tanto orror. God may forgive this horror.

CORO CHORUS

Quale orror! Quale orror! Oh, horror! Oh, horror! Oh tremendo, oh nero fato Oh, dreadful deed. Oh, fateful destiny Dio perdona tanto orror. May God forgive this horror!

(Alzando le mani al cielo, Edgardo spira.) (They fall to their knees as Edgardo dies.)

FINE DELI/OPERA END OF THE OPERA

There are an endless number of corrections in Donizetti's spelling and word choices from previous copies of the liberto. Careful study by many scholars have led to a much improved version of Donizetti's correct vision for this opera. Most of these corrections are now just a given. Only in places of larger pieces of restored text have I made note of it.

SUBMITTED BY KEITH MARCUM

Citations for assistance- I can not thanks D-J word Processing enough for their expert help in pulling this together.

D-J Word Processing Transcription/Word Processing Service 2299 Donahue Avenue Santa Rosa, CA 95401 djword@att.net 707-579-8468

I am greatly indebted to the wonderful wordsmith Kathy Mar, singer, songwriter and talent extraordinaire for her assistance with the impossible Italian and her discovery of missing text that led to this full and complete version of the original opera.

HISTORIAL FOOT NOTE - The Bride of Lammermoor

Sir Walter Scott wrote the first historic novel, The Bride of Lammermoor. It is a romantic tragedy and famous all over the world. His story is based on a real tragedy. His great-aunt often told the story to his mother. She, in turn, shared the sad, tragic tale with her children. Scott changed the heroine's name to Lucy Ashton and the time frame to 1707 on the English/Scottish Borders. The real bride was Janet Dalrymple, daughter of James Dalrymple, First Viscount Stair. They lived in the Ayrshire District at Baldoon Castle near Wigtown. The tragic events took place in 1669.H Janet was in love with a young man called Archibald who was the 3rd Lord Rutherford, sympathetic to the Covenanters. Janet secretly betrothed herself to Lord Rutherford, a Royalist. Sadly he was penniless and Janet's parents encouraged her to marry the more prosperous David and they were married at Old Luce Kirk near Carsecleugh Castle, the home of the Dalrymple family. Her two brothers escorted Janet to the church and they both later said that her hands were icy cold despite it being a hot summer day.

Things did not go well for the newly wed couple and on the wedding night their servants heard screaming and shrieks from the bridal chamber. The door was locked and neither the bride nor the groom would open the door to their knocks. The door had to be broken down and they were met with the sight of a badly wounded bridegroom lying across the threshold whilst Janet was cowering in the chimney corner of the room, her night gown covered in blood and incoherent. She was said to be grinning and muttering strange words.

One legend told was that Janet Dalrymple never recovered her senses and died insane a few weeks later in September 1669. Though her husband, David, survived he never talked about what happened and their families had to speculate.

Some thought that Janet attacked her husband and he defended himself . Others thought that David Dalrymple attacked his wife and she in turn stabbed him. Whatever happened was interrupted by the staff responding to the screams of his wife. There were even others who thought that the jilted lover Archibald had hidden in the room, attacked David and made his escape through the window! Another legend was that she died on her wedding night and that servants found her groom huddled in a corner, babbling uncontrollably. Other false reports are found in the written accounts of Robert Law's Memorialls and Sir William Hamilton of Whitelaw's Satyre on the Familie of Stairs. These accounts fall more into the genre of myth. The truth is that she was acquitted at trial on reasons of insanity. The first recorded case in history. The marriage was annulled. She went to France with her servant and lived out the rest of her life in Paris according to all historic documentation.