Wenn mein Bastien einst im Scherze Bastienne's aria from the opera Bastien und Bastienne Text by Friedrich Wilhelm Weiskern (1710–1768) and Johann H. F. Müller (1738–1815), revised by Johann Andreas Schachtner (1731–1795), based on Les Amours de Bastien et Bastienne by Justine Favart (1727–1772) and Harny de Guerville (18th century) Set by Wolfgang Amadeus Mozart (1756–1791) Wenn mein Bastien einst im      If my Bastien1 once as-a (One time when my Bastien as a joke ) mir ein Blümchen    from-me a little-flower (stole a little flower from me,)

sonst  once

drang mir selbst die Lust      drove in-me myself the joy (my heart was filled with the same joy,)

Scherze  joke

entwand,  stole,

in's  in-the

Herze,  heart,

die er bei dem     that he by the (that he felt at the little theft.)

Raub  theft

empfand.  felt.

Warum  Why

von  from

Geschenken  gifts

wird  becomes

er  he

einer andern   from-an other-woman (How is it that he is now blinded

jetzt geblendt?   now blinded? / by gifts from another woman?)

Alles, was nur zu     All, what only to (Everything that one could think of,) ward ihm ja    was to-him certainly (I freely gave to him.) Meiereien,  Dairies,

1

Feld  field

von  from

und   and

erdenken,  think-is,

mir  me

gegönnt.  freely-given.

Herden  herds

Bastien = although the French pronunciation is preferable, the German pronunciation of is also possible.

Wenn mein Bastien einst im Scherze (Bastien und Bastienne) Mozart

bot ich ihm     offered I him (I gladly offered to him.) Jetzt soll ich    Now must I (Now I am despised,)

mit  with

Freuden  joy

verachtet  despised

da ich ihm so     when I for-him so (when I have done so much for him.)

viel  much

an.  to.

werden,  be

getan.  have-done.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Wenn mein Bastien einst im Scherze (Bastien und Bastienne) Mozart

Bel piacere è godere Poppea's aria from the opera Agrippina Text by Vincenzo Grimani (1652–1710) Set by Georg Friedrich Händel (1685–1759) Bel piacere è godere     Beautiful pleasure it-is to-enjoy (It is a great pleasure to enjoy a faithful love!) Questo fà contento    It makes contented (It gives the heart contentment.)

il  the

amor!  love!

cor.  heart.

Di bellezza non s'apprezza     Of beauty not is-valued (The splendor of beauty has little value) Se non vien d'un     if does-not it-come from-a (if it does not come from a faithful heart.)

fido  faithful

lo  the

fido  faithful

splendor;  splendor,

core.  heart.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Bel piacere è godere (Agrippina) Händel

Intorno all'idol mio Orontea's aria from the opera Orontea Text by Giacinto Andrea Cicognini (1606–1650), revised by Giovanni Filippo Apolloni (1635–1688) Set by Marco Antonio Cesti (1620–1669) Intorno all'idol   Around the-idol (Around my beloved) spirate pur,   blow just,

mio  mine

spirate,  blow,

aure soavi e    breezes gentle and (gentle and pleasant breezes;) e nelle guancie    and on-the cheeks (and on his beloved cheeks) baciatelo  kiss-him Al  To

mio  my

sull'ali  on-the-wings

per  for ben,  love, della  of

grate;  pleasant; elette  chosen

me,  me, che  who

cortesi  kind

aurette!  breezes!

riposa  rests

quiete,  peace,

grati sogni assistete,    pleasant dreams aid-in, (help him to have pleasant dreams,) e il mio    and [the] my (and my hidden love)

racchiuso  contained

svelategli per me,    reveal-to-him for me, (reveal to him for me, oh spirits of love!)

ardore  ardor

o  oh

larve  shadows

d'amore!  of-love!

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Intorno all'idol mio (Orontea) Cesti

Bois épais Amadis' aria from the opera Amadis Text by Philippe Quinault (1635–1688), after the French adaptation by Nicolas Herberay des Essarts (?–1552) of Amadis de Gaule by Garci Rodríguez de Montalvo (?–1504) Set by Jean-Baptiste Lully (1632–1687) Bois épais, redouble    Woods deep, redouble (Deep wood, increase your shade;) Tu ne saurais    You not know (You cannot be dark enough;) Tu ne peux    you not can (you cannot enough hide) mon  my

Je  I

malheureux  unhappy

sens  feel

dont  of-which

un  a l'horreur  the-horror

ton  your

être  to-be

trop  enough

ombre;  shade;

assez  enough

sombre;  dark;

cacher  hide

amour.  love.

désespoir  despair est  is

extrême,  extreme,

Je ne dois plus     I not may longer (I may no longer see the one I love,)

voir  see

Je ne veux plus     I not wish longer (I no longer wish to endure the day.)

souffrir  to-endure

ce  that

le  the

que  which

j'aime,  I-love,

jour.  day.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Bois épais (Amadis) Lully

Das verlassene Mägdelein  (The Abandoned Girl) Text by Eduard Mörike (1804–1875) Set by Hugo Wolf (1860–1903), from Mörike-Lieder, no. 7 Früh, wann die Hähne krähn,      Early, when the cocks crow, (In the early morning, when the cocks crow,) Eh  before

die  the

Sternlein  little-stars

Muss ich am    must I at-the (I must stand at the hearth) Muss Feuer   must fire (I must light the fire.)

schwinden,  disappear,

Herde  hearth

stehn,  stand,

zünden.  kindle.

Schön ist der Flammen     Beautiful is the flames' (The glow of the flame is beautiful,) Es springen   there leap (the sparks leap up)

die  the

Ich schaue   I gaze (I gaze in so deeply,)

so  so

in Leid   in grief (lost in sorrow.)

Schein,  glow,

Funken;  sparks;

darein,  there-in,

versunken.  sunken.

Plötzlich, da kommt    Suddenly, there comes (Suddenly it comes to me,) Treuloser  unfaithful



Knabe,  boy,

Das verlassene Mägdelein (Mörike)

es  it

mir,  to-me,

Dass ich die    that I the (that last night)

Nacht  night

von  from

dir  you

Geträumet habe.   dreamed have. (I dreamed of you.)

Träne  Tear Stürzet  plunges

auf  upon

Träne  tear

dann  then

hernieder;  down;

So kommt der    so comes the (and so the day breaks –) O ging er    Oh would-go it (oh, if it were only over again!)

Tag  day

heran –  on –

wieder!  again!

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Das verlassene Mägdelein (Mörike)

Lachen und Weinen Text by Friedrich Rückert (1788-1866) Set by Franz Schubert (1797-1828), D. 777 Lachen und Weinen     Laughing and weeping (Laughing or weeping at any hour)

zu  at

Ruht bei der Lieb     rests in the love (is a part of love for so many reasons.) Morgens lacht ich    Mornings laughed I (In the morning, I laughed for joy;) Und warum ich    and why I (and why do I now weep) Bei  in

des  the

Ist mir selb'    is to-me myself (I don't even know myself.)

auf  for

vor  for

nun  now

Abendes  evening's

so  so

Weinen und Lachen    Weeping and laughing (Weeping or laughing at any hour) Ruht bei der Lieb     rests in the love (is a part of love for so many reasons.)

mancherlei  many-a-different

Grunde.  reason.

Lust,  joy,

weine  weep

bewusst.  known.

zu  at

jeglicher  every

auf  for

vor  for

Und warum du erwachen     and why you awaken (and why can you (my heart) wake up) Lachen und Weinen (Rückert)

Stunde  hour

Scheine,  glow,

nicht  not

Abends weint ich    Evening wept I (In the evening, I wept out of grief;)

jeglicher  every

so  so

Schmerz;  pain;

Stunde  hour

mancherlei  many-a-different

Grunde.  reason.

Kannst am Morgen    can-you in-the morning (in the morning laughing,) Muss ich dich    must I you (I must ask you, oh my heart.)

mit  with

fragen,  ask,

Lachen,  laughter,

o  oh

Herz.  heart.

(Literal translation and IPA transcription © by Bard Suverkrop—www.IPASource.com)

Lachen und Weinen (Rückert)

Amor sin esperanza (Love Without Hope) Text by an anonymous poet Set by Manuel Fernández Caballero (1835–1906) Virgen  Virgin, Flor  flower

pura  pure de  of

Paloma  dove Madre  mother

las  the de  of

de  of

y  and

sin  without

flores  flowers los  the

cielos,  heavens,

amores,  love,

Haz que me    make that me (make him/her love me,)

quiera,  he/she-might-love,

Y si no ha     and if not he/she-has (and if he/she does not love me,) Haz que   make that (let me die.)

me  I

Ya  Now

que  that

has  have

marchitado,  faded-away,

Ya  now

que  that

nunca  never

mis  my

no  not mis  my

mancha,  stain,

de  to

quererme  love-me

muera.  might-die.

ilusiones  hopes

han  have

de  to

brazos,  arms,

Amor sin esperanza (Anonymous)

ceñirte  surround

Deja  let

que  that

llore  I-might-weep,

y llorando mi    and (in)-weeping my (and in weeping my heart) se  it

pecho  breast/(heart)

desahogue.  might-ease.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Amor sin esperanza (Anonymous)

Il zeffiro (The breeze) Text by an anonymous poet Set by Vincenzo Bellini (1801–1835) Venticel, che l'ali    Little-breeze, whose the-wings (Little breeze, whose wings of gold) Vai battendo   go beating (are beating about me,)

d'oro  of-gold

a  to

me  me

Se vedesti il    if you-can-see the (if you can see my beloved,)

mio  my

Dimmi,  tell-me,

o  oh

caro,  dear-one,

E  and

favellagli  speak-to-him

ov'ei  where-he

m'è  for-me-is

Zeffiretto, a lui    Little-zephyr, to him (then, little breeze, return to him) per  for

tesoro,  treasure,

dimmi  tell-me

Ah! se il loco     Ah! if the place (Ah, if to the place where he is) Penetrar non   to-penetrate not (I am not allowed to go,)

d'appresso,  near,

ov'è.  where-he-is. soggiorna  is-staying

concesso,  allowed,

ritorna  return

me.  me.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Il zeffiro (Anonymous)

Le charme  (The Charm) Text by Paul Armand Silvestre (1837–1901) Set by Ernest Amédée Chausson (1855–1899), op. 2, no. 2 Quand ton sourire me     When your smile me (When your smile caught me by surprise,) Je sentis frémir    I felt quiver (I felt my whole being tremble;)

surprit,  surprised,

tout  all

mon  my

Mais ce qui domptait    () but that which tamed (but what overcame my spirit,) Je ne pus    I not could (I did not recognize at first.)

Quand  When

ton  your

mon  my

d'abord  at-first

regard  glance

le  it

tomba  fell

Je sentis mon    I felt my (I felt my soul melt;)

âme  soul

Mais ce que    but that which (but what this emotion was,)

serait  was

esprit,  spirit,

connaître.  recognize.

sur  on

moi,  me,

se  it

fondre,  melt,

cet  this

émoi,  emotion,

Je ne pus d'abord     I not could at-first (I could not at first explain.)

Ce qui me vainquit     That which me vanquished (That which has conquered me forever,)

Quand ton sourire me surprit (Silvestre)

être,  being,

en  it

répondre.  reply.

à  for-

jamais,  ever,

Ce fut un plus     that was a more (was a much sadder charm;) Et je n'ai su     and I only knew (and I only realized I love you,) Qu'en  when

voyant  I-saw

douloureux  sorrowful

que  that

ta  your

je  I

première  first

charme;  charm;

t'aimais,  you-loved,

larme.  tear.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Quand ton sourire me surprit (Silvestre)

Me voglio fà 'na casa Text by an anonymous poet Set by Gaetano Donizetti (1797–1848), subtitle Canzone napoletana Me voglio fà 'na casa      I want to-build a house (I want to build a house in the middle of the sea,) fravecata de   fabricated/made of-the (made from peacock feathers.) Tralla 

la 

le 

la, 

penne  feathers

tra 

la 

de  of

la 

miezo  in-the-middle-of-the

mare  sea,

pavune.  peacocks.

la. 

D'oro e d'argiento li     Of-gold and of-silver the (I will make the staircase of gold and silver)

scaline  staircase

e de prete preziuse     and of stones precious (and the balconies of precious stones.)

li  the

fare  to-make

barcune.  balconies.

Tralla la le la, tra la la la.

Quanno Nennella mia    When Nennella mine (And when my Nennella would appear,) ognuno dice, mo'    everyone will-say, now (everyone will say, now the sun rises.)

se  herself

sponta  rises

va a  comes to

lu  the

facciare  appear

sole.  sun.

Tralla la le la, tra la la la.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Me voglio fà 'na casa (Anonymous)

Notes on the Neapolitan dialect. Perhaps the most noticeable deviation from standard Italian pronunciation in the Neapolitan dialect is the use of the  in the unstressed syllables. The English speaking native must take care not broaden the –uh quality of the  but rather think of relaxing, neutralizing, or even diluting the pure Italian vowel. D'oro ( in the Neapolitan dialect) is not pronounced as the English name Dora  but with a final  that has a high admixture of . The unstressed –a, –e, and –o, although having the broader, neutral quality of the schwa, should nevertheless be distinguishable from each other. Think of three cans of white paint (the schwa), each colored with a few drops of red (–a), blue (–e), or yellow (–o). All three colors are predominantly white but with a subtle, distinguishable difference. Here is the rule: –a, –e, and –o are pronounced as the schwa  in unstressed syllables. Example: voglio . This includes unstressed syllables of a word group such as in me voglio . The exceptions: –a is pronounced  when it is in the syllable that immediately precedes the stressed syllable and, optionally, in the syllable that immediately follows the stressed syllable. Again, one must consider all unstressed and stressed syllables in a word group. fà 'na casa =  or  It is highly recommended that the singer listen very closely to a native Italian (preferably, a native of Naples!) when singing in the Neapolitan dialect. Some other deviations from standard Italian:  

Unlike Italian, the single intervocalic –z is not doubled. preziuse  –s before –p, –c , –f, and –qu is . sponta 

Me voglio fà 'na casa (Anonymous)

Canción del grumete (Song of the Cabin Boy) Text by an anonymous poet Set by Joaquín Rodrigo (1901-1999) En la mar    In the sea (At sea there is a tower,)

hay  is

una  a

Y en la torre     and in the tower (and in the tower is a window,)

una  a

Y en la ventana     and in the window (and in the window is a young girl)

Que lo conozco    which it I-know (I recognize it by its sail,) Y en el palo     and on its sail (and on its mainsail there are) Los rizos de    the curls of (the curls of my dark love.)

mi  my

niña  young-girl

llama.  calls/beckons.

mi  my

en  by

ventana,  window,

una  a

Que a los marineros     who to the sailors (who calls to the sailors.)

Por allí viene    (Over) there is/comes (Over there my ship is coming,)

torre,  tower,

barco,  ship/boat,

la  the

mayor  greater

vela,  sail,

lleva  carries

morena.  dark-skinned-one.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

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