Deh vieni, non tardar

from Le Nozze di Figaro

Wolfgang Amadeus Mozan

AJIegro vivace

assa~

Ir

,"

Susanna

4 ~

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Performance tradit/qn dictates that
this becomes a 5/4 f1easure. with the
voice beginning on beat 2.

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1\
4

fill"

{"'(

che go - dro sen-za af-f " - np

in

e:

e:

"d-____

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Make this recitative Interesting and theatrical throughout. not sedate and timid. It Is a

charade. after all. a~ould have some fun about It. Use the "aI/an words colorfully.

brae-cio all' i - dol

mi - o .

;ole

-y
-

1=

--.

Ir_

*11

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,.

7 ~

r:.;.

IjjiIIII

il rno-rnen-to,

Giun-se aI- fin

Asterisks mark sug

geste\; o! giaturas,

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III

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Ti

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The Introduction and this Interlude are good clues

from Mozart of the delight of the situation

-r
rni - de

-~

eu - re!
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r ..

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Each phrase of the recitative should have a sllghlly different inflection

(TrJink subtext in

13
.~
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r
r
sci te dal mio pet

'"'iT

,
to,

...

a tur - bar

J.

-.,,

mio di -let-to!

non ve - ni - te i I

----.

fr

1..

-I":;.

...

.,..

16

J"

These arpeggioted melody notes

need to be sung very legato.

between phrases. What is she thinking

In additfon to what she is saying?)

4l

Oh

tr

II

"

-,

"

che all' a - mo

... ...
~

fo - co

--

p"tj9

1'a . me-niota del

r
la ter ra
r

10 - co,

e it del ri - spon- da,

~

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"---"

:...-~

.......

This last phrase of recitative Is your last chance

to set up the arlo. Sing especially seductively.

22 fI

14
co
~

- 80

Make the words very descriptive andt~catlve-

ro

191'l

41!

-...

par

co - me

- me

la

not - te

*
r

fur - ti

miei

se - con - da.!

.....

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I,A

-6J

"

[Andante]

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..:.

...... Il1lJJ 1:x:r/",f.l .:.

..:. ..:.

.it

Be sure to sing through pick-up notes

to phrases, making certain that the
30 note is tuned and has full vocal tone.

The arpeggiated melody w/ll sound

disjunct if not sung very legato.

Deh

vie

~~ t:::.
~

ni, non

.j

tar

J J

tJ

gio - ja

bel

~r

-4f

........

Vie-ni o-ve a. - mo - re

-it

per

go - der

t'ap - pel lao

7f"

-rf

---.

-,;'

not - tur - na.

"

.::::::::::---.

..

r ..,

This phrase is a musical answer to

th e preced'Ing one.

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T'~J

fa. - ce,

non splen-de in

Make this descent into chest voice as smoothly

an d grace full Y as possible.

ciel

Fin - chi!

..

----------

No portamento

.;;;;;;;::---..

l~

lei.

,....o'!'I

38~

1!

Sing with an even tone not accenting the high notes

dar,

.. t:::.

..

~.

....

~~ ~ ~

..

----L.,...,I.o.I

-~

fin - ('he

~"!"

l'a.-ria.

7f~

ean-cor

.~

--

""""""'

bru- nil, e il mon

q..

do

Create a graceful arch to the phrase,

=!

*3---SF==--

ta -

46

QUI

('t'.

.---

ru -

Rcel, qui

scher - za

ra,

l'au

"':"

q~

col dol - ce

eh"

::::
~~::

..

+
-1-+

..

nlOr - mo - ra il

AgainJhls phrase Is a musical response

to the previous phrase

-~.c==~:=R====ln,,*~dLg~

"':"

su - sur-ro il

It..

"':"

"':"

cor ri

'7

"':"

'7

'!'

--

i9.-

The Introduction of dotted rhythms Is a signal to sing with

added playfulness here, Begin the grace notes on the beat,

50

stau

l\

ri - do - no i rio

qUI

-fIi-.

ra,

... .

r-.

It..

ret - ti e

l'er - ba

It..

e-

fro

~I~

I.

sea,

.. I

:~

..
I

54

,
ai

11

..

p~a __-~e =-Ii

"'!"

de

s(;a.

"':"

..

-4f

Vie

ni, ben

r-_

-4f

- mor qui tut - to a -

...

....../

d'a

The strings begin playing w;lh the bolV,

Signalling more insistent sensllCJlity,

.;-~

.......

;$

Don't slow down: keep a tlov..1ng line.

58

"
-

mi

.......

...

pian - te a.

-.......

....-:::.

que - ate

tra

0,

41

,.......

;;;:-.....

seo

...
se,

:;-."..

vie
.,....-:;;.

ni,

. . . .ia#it.:...;.;..f;

... -- ~ ,- n .,

...

j;

f1

.~

1J
i
l

Very sensuously. There Is a pause

before laU(lchlng back into tempo
at"Ti vo' Idfronte.'
~

62

--

vie

nil Ti

vo' la

;~~

se,

,/

"4-

--

very tenderly

t:'\

di

ro

se,

'---""
ro

...

...

...- !--'

"',,--'it
J--~

...

-fI'

--

!!!II

di

--

-.

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...-

--

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.'.""

Ijjjiij

nar _ __

nar

in - eo - ro - nar,

J""""'iif

I
fermaw on the tied F on
Trv a subito piano here
the downbeat, followed by a
I
a ,fI'p
on the cutoff
pause be r.o~",Ing 0 n.

......

I
~#:

~~

...

~
I
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fron - te

-:::,

in . co - ro

.......
vo' la

ti

....

,..,-:::;;;.
r- ...

...

fron - te

66'}

colla voce

- -,"I

Sing the hfgh A as vocally part of the

ptyrase. not singled out In some way.

t:\

. \.

in - co . ro

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.-

.....