Non ti fidar, o misera, No. 9 from Don Giovanni, Act 1, K527 (Full Score)

You sneaked into my house, and by your artistry, your promises and your sighs, you succeeded in seducing me. I fell in love, oh cruel one, and you declared me your bride. Then contrary to all the laws of ear th and Heaven, after three days you fled Burgos, abandoned me, and left me a prey to remorse and to weeping, perhaps as a punishment for having loved you so much! Ma il giusto cielo volle ch'io ti trovassi, per far le sue, le mie vendette.

But just Heaven wanted me to find you, to carry out its, my vengeance. In qual par te? Osservate, leggete con me. Thus you mock my grief? Ah, you - turning to address Don Giovanni Good Heavens! The villain has fled! Alas, where could he be? He doesn't deserve to be worried over. You are not, were not and will not be either the first or the last.

Each town, each district, each countryside testifies to his affairs with women. Aria My dear lady, this is a list of the beauties my master has loved, a list which I have compiled. Observe, read along with me. In Italy, six hundred and forty; in Germany, two hundred and thirty-one; a hundred in France; in Turkey ninety-one. In Spain already one thousand and three.

In Italia seicento e quaranta, ecc. Ah, vendicar vogl'io l'ingannato mio cor; pria ch'ei mi fugga - si ricorra - si vada - io sento in petto sol vendetta parlar, rabbia e dispetto. In Italy six hundred and forty, etc. With blondes it is his habit to praise their kindness; in brunettes, their faithfulness; in the very blonde, their sweetness. In winter he likes fat ones, in summer he likes thin ones. He calls the tall ones majestic. The little ones are always charming. He seduces the old ones for the pleasure of adding to the list.

His greatest favourite is the young beginner. It doesn't matter if she's rich, ugly or beautiful; if she is rich, ugly or beautiful. If she wears a petticoat, you know what he does. If she wears a petticoat, etc. Ah, I must get revenge for my deceived heart: Scena terza Aperta campagna presso la casa di Don Giovanni. Zerlina, Masetto e contadini cantano e danzano. Se nel seno vi bulica il core, il remedio vedetelo qua.

La la la, ecc. Poco dura de' matti la festa, ma per me cominciato non ha. Scene Three The open country near Don Giovanni's house.

Zerlina, Masetto, and peasants are singing and dancing. If in your breasts your hearts are fluttering, here is the cure, as you can see! What a joy, what a joy it will be! La la la, etc.

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A fool's holiday is very short, but for me it has not yet begun. La la la lera, ecc. Entrano Don Giovanni e Leporello. Seguitate a stare allegramente; seguitate a suonar, o buona gente. Come, my dear, let's enjoy ourselves, what a joy, what a joy it will be! What a joy, etc. ALL Ah, what a joy, etc. La la la lera, etc. Don Giovanni and Leporello enter. Oh look, what handsome young people, and what lovely women! Go on enjoying yourselves, go on playing, my good people. Is there a wedding?

Voglio che siamo amici. Cara la mia Zerlina! V'esibisco la mia protezione! At my service - this is the way a real gentleman talks. I want to be your friend. And my dear Zerlina! I offer you my protection. Cerca di divertir tutti, mostra loro il giardino, la galleria, le camere; in effetto, fa che resti contento il mio Masetto.

Nelle mani son'io d'un cavaliere. Take them at once to my villa. See that they are served chocolate, coffee, wines, and hams. Try to keep them all amused; show them the garden, the gallery, the rooms. Be sure that my dear Masetto is made happy. Go on; she and I will come later. I am in the hands of a cavalier. Tocca la spada in modo eloquente. Fosti ognor la mia ruina! Faccia il nostro cavaliere, cavaliera ancora te!

If you don't leave us at once, Masetto, be careful, you'll regret it! He taps his sword significantly. I bow my head and go away. Since this is the way you want it, I make no objections. No no, no, no objections. After all you are a cavalier, and I really must not doubt you. I am reassured by the kindness which you want to show me. You always were my ruin! It's a very innocent affair! Perhaps this cavalier will make you a lady.

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Parte con Leporello e i contadini. Che ne dite, mio ben, so far pulito? Vi par che un onest'uomo, un nobil cavalier, qual io mi vanto, possa soffrir, che quel visetto d'oro, quel viso inzuccherato da un bifolcaccio vil sia strapazzato? You nasty little witch! He goes out, accompanied by Leporello and the peasants.

Tell me, my dear, didn't I handle it neatly? Do you suppose an honourable man, a noble cavalier, as I believe myself to be, could permit such a lovely little face, such sweet beauty to be stolen by a clumsy oaf? You were not made to be a peasant girl. Another fate is called for by those roguish eyes, those lovely lips, those slender, perfumed fingers, so soft to the touch and smelling of roses. Io so, che rado colle donne voi altri cavalieri siete onesti e sinceri. I know that you cavaliers are only rarely honest and sincere with women.

True nobility can be seen in the honesty of one's eyes. Come now, let's not waste time. I want to marry you on the spot. That little villa there is mine, and there, my jewel, we will be married. There you will give me your hand, there you will tell me "yes". You see, it is not far; Let us leave, my beloved. My heart trembles a little. It's true I would be happy, but he may just be tricking me. There you will give me your hand. Il ciel mi fece udir le tue perfidie. Io sono a tempo di salvar questa misera innocente dal tuo barbaro artiglio!

Heaven willed that I should overhear your lies. I am in time to save this innocent from your dreadful scheming. What's this I hear? Io so, crudel, come tu ti diverti! Da miei tormenti impara a creder a quel cor; e nasca il tuo timor dal mio periglio! Ah, fuggi il traditor! Parte conducendo via Zerlina.

Don Giovanni, K. 527; No. 9: Act I, Quartetto: Non ti fidar, o misera (2 sopranos, tenor, baritone)

I know, cruel one, how you enjoy yourself! Don't listen to what he says! His lips are lying ones, his eyes deceiving. Learn from my suffering to trust what I say, and let my misfortune make you afraid. Ah, flee the traitor, etc. Don't listen to what he says, etc. She leaves with Zerlina. Everything is going badly. Entrano Donna Anna e Don Ottavio. Donna Anna and Don Ottavio enter. Do you have a heart, a generous nature? My relatives, my parents, this arm, this sword, my possessions, my blood, all I will give to serve you.

But, Donna Anna, why do you weep thus? Who was the cruel one who dared to trouble your peace of mind? Non ti fidar, o misera, di quel ribaldo cor! Do not believe, unhappy one, in that faithless heart! The villain has already betrayed me! Now he seeks to betray you. Her pallor, her tears fill me with pity! Non credete al perfido; restate! Do not believe the faithless one! Le tue colpe ed il mio stato voglio a tutti palesar!

I passi suoi voglio seguir; non voglio che faccia un precipizio. People are beginning to gather around us. Be a little more prudent, you will become an object of gossip. Your guilt and my situation shall be known to all. Don't place your hopes, etc. Donna Elvira goes off. I must follow her. I don't want her to do anything rash. Excuse me, most beautiful Donna Anna. If I may be of service to you I await you in my house.

That man is my father's murderer! The parting words the villain uttered, his whole voice recalled to my heart that worthless creature who, in my apartment Is it possible that beneath the sacred cloak of friendship? But how was it? Tell me about the strange happening. Ma riconobbi poi che un inganno era il mio. At first I mistook him for you, but then I realised that I was mistaken. I tried to free myself but he seized me all the harder. I screamed, but no one came! With one hand he tried to quiet me, and with the other he seized me so hard that I already thought myself lost.

Or sai chi l'onore rapire a me volse, chi fu il traditore che il padre mi tolse. Vendetta ti chiedo, la chiede il tuo cor. Rammenta la piaga del misero seno, rimira di sangue coperto il terreno, se l'ira in te langue d'un giusto furor. Or sai chi l'onore, ecc. Vendetta ti chieggio, ecc. Ah, di scoprire il vero ogni mezzo si cerchi. Io sento in petto e di sposo e d'amico il dover che mi parla: Quickly I followed him as far as the street in order to catch him, becoming in my turn the pursuer.

My father ran out, wanted to learn his identity, and the rascal, who was stronger than the old man, completed his misdeed by murdering him! Now you know who tried to steal my honour from me, who was the betrayer who took my father's life. I ask you for vengeance. Your heart asks for it, too. Remember the wound in the poor man's breast, the ground all around covered with blood, if ever in your heart your just anger weakens.

Now you know who tried, etc. I ask you for vengeance, etc. Ah, I must get at the truth any way I can. I feel that as a friend and lover my duty is plain: I must either undeceive her or avenge her. Dalla sua pace, ecc.

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Entra Leporello, poi Don Giovanni. Eccolo qui; guardate con qual indifferenza se ne viene. Upon her peace of mind mine also depends; what pleases her is what gives me life, what displeases her is what gives me death. If she sighs, then I, too, must sigh. Her anger becomes my own. Her tears belong to me. And there can be no joy for me if she is not happy.

Upon her peace of mind, etc. Enter Leporello, then Don Giovanni. There he is now. Look at the indifference with which he comes. Altri canta, altri scherza, altri seguita a ber. E con lei chi viene? They soon became intoxicated. Some sang, some joked, others continued to drink. At the height of it all, guess who dropped in?

And who was with her? Aria Finch'han dal vino calda la testa, una gran festa fa preparar. Se trovi in piazza qualche ragazza, teco ancor quella cerca menar. Senza alcun ordine la danza sia; chi 'l minuetto, chi la follia, chi l'alemana farai ballar. Ed io frattanto dall'altro canto con questa e quella vo' amoreggiar. Ah, la mia lista doman mattina d'una decina devi aumentar! The affair could not be going better. You began it, I will finish it. These lusty peasant lasses are too much on my mind.

I want to amuse them until night comes. Aria So that the wine may set their heads whirling, go and prepare a wonderful party. If on the way you meet some young lady, try also to bring her along. Let the dancing be spontaneous. They can do the minuet, the gavotte or the waltz, just as you like.

Don Giovanni libretto (Italian/English) - opera by Wolfgang Amadeus Mozart

And I in the meantime behind the scenes will be flir ting with this one and that one. Ah, to my list tomorrow morning you will have to add at least ten names! Il tatto sopportar dovrei d'una man infedele? Ed hai l'ardimento di scusarti? Porre in fronte a un villano d'onore questa marca d'infamia! Ah, se non fosse lo scandalo, vorrei - Partono i contadini. Why should I let a hussy like you touch me?

Don't speak that way, cruel man. I don't deserve such treatment from you. You have the effrontery to make excuses? To remain alone with a man, abandoning me on my wedding day! To shame an honest working man in such a manner! Ah, if it were not for the scandal I would like to - The peasants leave. Non me lo credi? Vien qui, sfogati, ammazzami, fa tutto di me quel che ti piace; ma poi, Masetto mio, ma poi fa pace. Ah, lo vedo, non hai core! Pace, pace, o vita mia, ecc. Siamo pure i deboli di testa! If I have been tricked by him?

And then, what do you fear? Calm yourself, my love; he did not touch even the tips of my fingers. You don't believe it? Do everything you want to me, but afterwards, my Masetto, let us make peace. Aria Beat me, beat me, my Masetto, beat your poor Zerlina.

I'll stay here like a lamb and await your every blow. Beat me, beat me, etc. I'll let you pull my hair out, I'll let you gouge my eyes out, and then happily I will kiss your wonderfully sweet hands. Ah, I see you have no heart! Let's make up, my own true love. In happiness and joy we must pass the days and nights, yes, each day and every night, etc.

Let's make up, my own true love, etc. We must be weak in the head! Ah, capisco, capisco, bricconcella!! Why do you grow pale? Ah, I understand, you hussy! You fear that I will learn how things went between you two. Ah, non t'asconder, o Masetto! Entrano Don Giovanni con servi, e contadini.

Su, coraggio, o buona gente! Vogliam stare allegramente, vogliam rider e scherzar. Where are you going? Do not hide here, oh Masetto! If he finds you, woe is you. You don't know what he might do. Don Giovanni enters, followed by a group of servants. Come, courage, my good people! We want to have a good time, we want to laugh and joke. Alla stanza della danza conducete tutti quanti ed a tutti in abbondanza gran rinfreschi fate dar.

La ci darem la mano Act I, No. Batti, batti, o bel Masetto Act I, No. Vedrai, carino Act II, No. Per queste tue manine Act II, No. Il catalogo e questo Act I 2. Cesare Siepi Donna Anna: Suzanne Danco Donna Elvira: Lisa della Casa Leporello: Fernando Corena Don Ottavio: Walter Berry Il Commendatore: Javascript is required for this feature.

Hermann Prey Il Commendatore: Franz Crass Donna Anna: Fritz Wunderlich Donna Elvira: Performer Pages Das Orchester Tsumugi orchestra. Performer Pages Quinn Mason electronics. University of Pavia-Cremona, Musicology Dept. Original from Alfred Einstein collection. Bernhard Gugler , German text. This file is part of the Sibley Mirroring Project. Dover Publications , Editor Arno van Raaphorst.

Editor Wolfgang Plath — Editor Wolfgang Plath — Wolfgang Rehm b. Needs to be cleaned for the parts to be serviceable in performance and personal study. This is an earlier handwritten engraving than M. These files are part of the Orchestra Parts Project. Parts cut and pasted from score. Systems are numbered; the number corresponds to a page in the score starting from the beginning of the duet.

Louis Durdilly , French text. Natalia Macfarren , English text. Theodore Baker , English text. Donna Elvira comes to her window Trio: Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni's cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira is convinced and descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin.

Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello whose clothes he is still wearing and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto's friends Don Giovanni aria: Zerlina arrives and consoles the bruised and battered Masetto "Vedrai carino" — "You'll see, dear one".

Leporello abandons Donna Elvira. As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming that he is her husband and begging the others to spare him. Leporello takes off Don Giovanni's cloak and reveals his true identity.

He begs for mercy and, seeing an opportunity, runs off Leporello aria: He swears vengeance " Il mio tesoro " — "My treasure" — though in the Vienna version this was cut. In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him.

Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. Don Giovanni wanders into a graveyard. Leporello happens along and the two are reunited. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. The voice of the statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise.

At the command of his master, Leporello reads the inscription upon the statue's base: The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner but is too frightened to complete the invitation Duet: Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively. Don Ottavio pressures Donna Anna to marry him, but she thinks it is inappropriate so soon after her father's death.

He accuses her of being cruel, and she assures him that she loves him, and is faithful "Non mi dir" — "Tell me not". Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular at the time lateth-century operas: Leporello complains that he is sick and tired of hearing Mozart's aria everywhere all the time. Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him.

Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore "Don Giovanni!

A cenar teco m'invitasti" — "Don Giovanni! You invited me to dine with you" , the statue offers a last chance to repent, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again.

The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; [27] Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master. The concluding ensemble delivers the moral of the opera — "Such is the end of the evildoer: As mentioned above, the final ensemble was customarily omitted from productions for over a century beginning with the original run in Prague, but it started to be performed again frequently in the 20th century and is now is usually included in productions of the opera.

The return to D major and the innocent simplicity of the last few bars conclude the opera. A screen adaptation of the opera was made under the title Don Giovanni in directed by Joseph Losey. Gustave Flaubert called Don Giovanni , along with Hamlet and the sea, "the three finest things God ever made.

Hoffmann also wrote a short story derived from the opera, "Don Juan," in which the narrator meets Donna Anna and describes Don Juan as an aesthetic hero rebelling against God and society. The sustained popularity of Don Giovanni has resulted in extensive borrowings and arrangements of the original.