MADAMA BUTTERFLYMADAMA BUTTERFLY Opera in two acts Libretto by Giuseppe Giacosa and Luigi Ica First performed atthe Teatro alla Seala, Milan, February 17, 1904 CHARACTERS ‘Madama Butterfly (Cio-Cio-San) soprano Suzuki, her servant: mezzo soprano Kate Pinkerton: mezzo soprano BF, Pinkerton, Licutenant in the U.S. Navy: tenor Sharpless, U.S. Consul in Nagasaki: baritone Goro, a marriage broker: tenor Prince Yamadori baritone The Boze, Butterfly's uncle: bass ‘The Imperial Commissioner: baritone ‘The Registrar: baritone ‘Trouble, Butterfly's child: non-singing part Butterfly's relatives and friends, servants The time is 1904 in Nagasaki, Japan, ‘THE PLOT acti Outside Pinkerton's house i: Pinkerton, a lieutenant in the U.S. Navy stationed in Nagasaki, has arranged with Goro, a marriage broker, to many 2 15-year-old girl, Butterfly (also known as Cio-Cio-San). Although Pinkerton is fascinated by his child-bride it is obvious that he doesnt take the marriage seriously because by Jspanese Jaw the groom is free to dissolve a marriage at his will whenever he wishes. He says exactly that to ‘Sharpless, the American Consul, who warns him that Butterfly is in earnest and that tragedy may ensue Pinkerton pays no attention. Butterfly arrives with her friends and after an exchange of pleasantries, the marriage ceremony is performed. Unexpectedly the Bonze, Butterfly's uncle-priest arrives in a fury revealing that the girl has renounced her faith and taken the white man's God. "The horrified family deserts Butterfly, who weeps bitterly, but Pinkerton comforts her, as all is almost forgotten in a love duet. ACT IL, Part One Inside Pinkerton's house Pinkerton has been away for three years. Everyone, even her maid Suzuki, tells Butterfly that he has abandoned her and that he will never come back, but Butterfly steadfastly insists that he will do so "when the robins make their nest”. Goro keeps urging her to marry the wealthy Yamadori, and even Sharpless suggests that she accept the wealthy prince's offer, since he knows that though Pinkerton is in fuet coming back, he is bringing with him an American wife. Sharpless tries to prepare Butterfly for this blow, but before he can do 50, she reveals that she has a child by Pinkerton, and the saddened Consul leaves without delivering his message. ‘The harbor cannon then announces the arrival of a ship. It is the Abraham Lincoln, Pinkerton's ship. With Suzuki's help Buterfly decorates the house with flowers. Then, with her child and Suzuki, Butterfly prepares for Pinkerton's arrival202 ACT Il, Part Two Inside Pinkerton's house {is dawn, Butterfly has waited all night. Suzuki persuades her to have some rest, and in her absence from the room, Pinkerton and Sharpless arrive. They break the news to Suauki and try to enlist her help inpersuading Butterfly to give her child up to Kate, Pinkerton's American wife, who has also come and is diseretely waiting outside in the garden. Pinkerton then leaves, for his remorse and the memories ofthe house are too much for him. Kate speaks with Suzuki, then goes out again. Butterfly enters, and horror- sivicken, leas the tuth. ‘When Kate repeats her request, Butefly replies that she will give the child to his father if Pinkerton will return for him in @half hour. The visitors eave. Butterfly blindfolds the child and performs ritual suicide ¢hara-kir). She dies just as Pinkerton returns, calling her name.Madama Butterfly, Act 1 Outside Pinkerton's house 293 (Ail near Nagasaki. A Japanese house, terrace and garden. In the background the port and city of Nagasaki. Goro, with many bows, shows Pinkerton the house, pointing out all its details. Goro slides a wall in the backgrovnd and explains its purpose to Pinkerton.) PINKERTON (Surprised at what he has seen, he says 1o Goro:) © sifilo ee pavei E soffit. © —paretin, And ceiling... and walls. GORO (enjoying Pinkerton's surprise) vanng es Yengom, a prova. =a norma, Vanno € —vengono. as prova, =a —snorma che vi ‘They go and come will in ways to you (The panels come and go at will in all manners, so as to please you) wnello ‘Stesso —Iokale ——altermar—nwovi_ = aspett nello stesso locale altermar—nuovi_——aspetti inthe same locality altermate new arrangements for (and permitting change of new arrangements for familiar ones.) PINKERTON (looking around) il ‘rida nuttsial dave TH nido nuzial = do's? The nest nuptial where is it? (Where is the bedroom?) ‘ GORO (indicating to rooms) kwi ola sekondo Qui ote secondo... Here or there depending, PINKERTON arjkess> a ‘doppjo fondo taal Aneh'esso ha doppio fondo! = La sala? ‘Alsoit has (a) double depth!" The _ living room? GORO (showing the terrace) ‘ekko eco! Here! PINKERTON (amazed) allaperts Alaperto? Jn the open’? 'y sliding the shoy or wall panels one can add new dimensions toa Japanese house, whic is doing, ashe shows the different combination possiblities to the amazed Pinkerton. ‘dova stlova please konsveti consueti ‘amiliar ones,294 Madama Butterfly, Act 1 GORO (cliding the wall towards the terrace) um fjanko—skomre Un fianco—_scorre. ‘One side slides... PINKERTON (while Goro slides the walls) kapisio katpisko ‘un ‘altro Capiseo!... Capisco! Un altro... Tunderstand! —Tunderstand! Another. coro {fivala .scivolat slides! PINKERTON ela dimara Ela dimora ‘And the house ‘frivola frivolan. fivolous. GORO (protesting) ‘salda "kome ‘una Salda come w Sound as tome da vera torre da terra tower from (the) ground ina ‘fino to PINKERTON © ‘una ‘kaza una casa a soffietto. Itis a howe to (fs a house one can bring down with a huff and a puff) a soffjeto al teto al tetto, the roof (Goro tries to ignore this last remark and claps his hands three times. Two men and a woman enter, then slowly and inumbly lneet down on the terrace in front of Pinkerton.) ‘spoza sposa bride servitor servitor. hhouseboy, GORO (pointing) ‘kwesta ela kame'rjera ke della ‘vostra Questa @ ~— ia cameriera, che della vostra Thisone isthe maid, who of your fu da serva amoroza il kwoko il fu gia Serva amorosa. I coco... il was already servant loving. The vob the (This one is the maid, who has already been your bride's devoted servant. And this is the cook, and here is the houseboy.) son konjfuzi del grande onore Son confusi del grande onore. They're avercome by the great honor, PINKERTON (impatientty) i nomi Tnomi? ‘Their names?Madama Butterfly, Act T 295 GORO (introducing the three by thelr Japanese names) mis nuvala.—leddsera ‘Miss "Nuvola Leggicra", Miss "Cloud Light’ (Miss "Light Cloud") dds9 di sol naffente eval aromi Raggio di Sol Nascente”. "Esala rom", "Ray of Sun Rising". "Exhales. Aromas”, SUZUKI (Siill knceling, but once emboldened, she raises her head ) somide vos snore =—sil'tiza, «eS trutto. «=e jore Sorride Vostro Omore?. ©‘ Mriso © @—sfrutto. =e _—ifiore. Smiles Your Honor? Laughter. is fruit and flower. (Does Your Honor smile? Laughter is fruit and flower.) ‘disse il ‘savjo ‘okynama Disse il savio Said the sage dei ‘kruttfi la. trama Dei crucci a Ofthetroubles the woot wmaksa il sotriza smaglian il sorriso. unravels the smile, (The woof of troubles is unravelled by a smile.) skiude alla perla il guffo Sd alla perla il guscio, Opens tothe pearl the shell, X ‘apre allwoms —uffo del paradizs apre all'ueme I'uscio del Paradiso. opens woman the door of_—_Paradise. (A smile is able to open a shell to reveal a pearl, or it can open the doors of Paradise to a man.) profumo — dekti dei fontana ‘della ‘vita Profumo — degli Dei. fonta della. vita Perfume of the gods, fountain of disse il savio Ocumama, ete, (Pinkerton is distracted and irked. Goro, realizing that Pinkerton is being annoyed by Suzuki's loguaciiy, claps his hands three times. The three stand up and flee, quickly re-entering the house.) PINKERTON a Kjakkjere kostei——mi par kozmopotita ‘A chiacehiere costei mi par ‘cosmopolita. Tn chattering thisone _scems to me ‘cosmopolitan, (When it comes to chattering, this one seems a cosmopolitan to me.) (to Goro, who has gone towards the back to look out) ke gwardi Che guardi? ‘What are you looking at?296 ‘Madama Butterfly, Act 1 GoRO se non ‘chundse —arfkor =a. ‘spora, Se mon giunge —ancor = Ia-_—sposa. If not arrives yet the — bride, (ifthe bride isn’t coming yet.) PINKERTON “tats © ‘promt Tutto —& ~—_—pronto? All is ready? GoRO ‘onni Koza Ogni cosa. Everything. PINKERTON gram ‘pela di sen'sale Gran perla di sensale! Great pearl ofa marriage broker! GORO (thanking him with a deep bow) kowi verran——luffitfale del redsistro Qui verran: — L'UMiciale del Registro, Here will come: The Officer ofthe Registry, i parenti il vostro ‘konsole = la fidantsata i parent, —il-vostro. Console, la._—fldamzata. the relatives, your Consul, the betrothed (These are the people who are coming: The Officer of the Registry the relatives, your Consul and your bride) kwi si firma il matrimonjs © atta Qui si firma e il matrimonio ¢ fatto. Here one signs theact, andthe marriage is done. PINKERTON e som. ‘molt i patrenti E son molti i parenti? And are — many the relatives? GoRO la ‘swotfera la ‘nonma Jo sia ‘bondzo La suocera, la nonna, to zio. Bonzo” ‘The mother-in-law, the grandmother, the ~—uncle Bonze ke non ffi deppera di sua_prevensa (che non ci degnera —di_—sua_presenza) (who not us will honor with his presence) (vho will not honor us with his presence) 2 "The Japanese word bonsow is general name for an ordinary or unranked Shinto priest, not the given name of ‘Buterfly’s uncle.Madama Buuterfly, Act I 297 © kudsini ete kudsine me'ujam fra Ai affenidenti e — cugin, ele cugine.. mettiam fra gli ascendenti ‘and male cousins and female cousins... letussay —hetween the ancestors ed Kollaterali un due dotddzine ed i collaterali, un due dozzine. and the collateral kin, about two dozen, ‘kwants alla differfdentsa__—provvederanna—_assai Quanto alla discendenza, _—_provvederanno—_assai Asfor the descendants,’ will provide amply vosra —grattsja_ se label botterflai Vostra Grarian. ela bella Butterfy. Your Grace andthe lovely Butterfly (As for the descendants, you and the lovely Butterfly will amply provide those:) PINKERTON gram perla di sensale Gran perla di sensale! Great pearl ofa marriage broker! (The voice of Sharpless, the Consul, is heard as he climbs the hill) ‘SHARPLESS © suda e —arrampika ‘zbuffa ‘intfampika E sada ec arrampica, sbaffa, inciampica! ‘And sweat and climb, pu! (and) stumble! \ GORO il oosol ale Consol sale. The Consul's coming up. (The Consul enters, panting. He and Pinkerton shake hands.) SHARPLES a kwei tfotoli mi ‘anna Ah! Quei ciottol? = mi hanno Ah! Thosepebbles me have (Ab! Those pebbles have exhausted me!) PINKERTON, GORO ‘bene arrivat sfjatekato sfiaceato! exhausted! ° The confusion about whether this word should be ciowoli (pebbles) or viwtoli (forpaths) obviously stems fom, the fact that both words oecur in the original version of this ine before it was revised by Puccini: Ak! que! viottoli ira at eiotoll m’harmo sflaccaio! (Ah those fooipaahs rough with pebbles have exhausted me!)298 ‘Madama Butterfly, Act! SHARPLESS uf oum Ouftt PINKERTON ‘presto gor ‘kwalke ——ristora Presto, Goro, qualche —_ristoro, Quickly, Goro, some reffeshment, SHARPLES (panting, and looking around) alta Alto, High. PINKERTON (pointing to the view) ma bbello Ma bello! But beautifull SHARPLESS (looking ai the city and the sea below) nagatsaki il mare il port Nagasaki, il = mare, = il_—_portom Nagasaki, the sea, the harbor. PINKERTON © una ke'zetta ke obbe'diffe a bakkketta © uma casetta che obbedisee a bacehetta! and a ttlehouse that obeys magically. (Goro comes out of the house with the owo servants bringing boules and glasses, which they set down on ‘table. The servanis go back into the house and Goro busies himself preparing the drinks) SHARPLES ‘vostra Vostra? Yours? PINKERTON Ja -Komperrai per novetfento no'vanta nove ‘anni La comperai per navecento novantanove anni, Te Thought for nine hundred ninety-nine years, kom fakotia —‘onpi'meze di reffindere i path eon facolth ogni mese —di_rescindere i patti. with (he) right every month of cancelling the agreements sono in kwesto pare == elantifi, del par. «= kaza © Konia Sono in questo paese. elastic. dol par casa € —_contratti. Are in this country elastic equally house and contracts. (in this country a howse and contracis are equally clastic.) * bacchetta isa conductor's baton or magic wand. Ya hacehetta inthis case implies "a if by magic.”‘Madama Butterfly, Aet 1 SHARPLES’ © Iwoms—esperta ne profitta E Tuomo —esperto. —me_—_profitta, ‘And theman expert. —_byit_ profits (And the expert man profits by it) PINKERTON ‘yfert Certo. Ceriinly dovujkwe al ‘mondo fo anki Dovungue al mondo lo._—-Yankee Everywhere inthe world the Yankee (Everywhere in the world the roaming Yankee) si'gode © ‘raffika —spretusands si gode © traffica —_sprezzando enjoyshimself and trades scoring. affonda —Tankora— alla ventura Affonda 'ancora alla _yentura.. He drops (the) anchor at random. (He interrupts himself to offer Sharpless a drink) © ‘wiski 0 Wisky? Millk-Punch or — Whiskey? (resuming) affonda —‘lamkora ‘alla ventura Affonda ancora alla ventura He drops (the) anchor at random figke ‘una ‘raffika —skompikti finch’ una raffiea—_scompigli ‘uni a squall upsets la vita ei non appaga La vita ci non appage His life he docsnt satisfy i fork ‘doppi i fiori ogni the flowers of every the yagatbondo ‘vagabonde ‘vagabond isk risehi, risks. ormeddsi ormeggi, ‘mooring, nom fa non fa not makes alberatuca alberatera rigging suo tevzor suo tesor his treasure (CThe Yankee doesn't satisfy his life until he makes the flowers of every region his treasures...) SHARPLES © um faifile —_van'dsela Eun facile vangelo.. Its an easy gospel300 Madame Busterfly, Act 1 PINKERTON ‘donpi ‘bella Si amor d'ogni bella eli amor.. --ofevery beauty the love. (Gothe love of every beautiful woman.) SHARPLESS © um falfile —vandsela Eun facile vangelo Its an casy gospel ke fa lavita —‘vaga ma ke intristiffe che fa lavita —-vaga ‘ma che intristisce il that makes life lovely but that saddens. the PINKERTON vito situffa — la'sorte—ratfuffa Vinto —situffa, la sorte Defeated, he plunges, his fate isu talents fa in ‘onpi ‘dove ilsuo talento fa in ogni dove. talent works in every place, keoi_-mi ‘spar allo dsappoineze Cosi mi sposo all'uso —_giapponese ‘Thus I'm marrying inthe way Japanese per novelfento novantanove ‘anni er movecento novantanove anni for nine hundred ninety-nine ycars ‘salvo a prsifo4cermi “opp meze Salvo a prosciogliermi ogni mese. frec to release myself every month PINKERTON, SHARPLESS (clinking glasses) amerika forever America forever! SHARPLESS ede bella la Ea @ bella a And is (she) beautiful, the GORO (who has been listening, advances, eagerly and insinatingly) ‘una girlanda di fjori ‘freski una ‘Stella dai raddsi Una ghirlanda’ di fiori Treschi, una stella dai raggi A garland of flowers fresh, a star with rays © per ‘nulla sol Yents jen E per aula: sol cento. yen. And for nothing: only ahundred yen. kor heart \doro drore. of gold.Madama Butterfly, Act I (40 the Consul) komanda Se Vostra Grazia. = mi comanda ce if Your Grace. me __ commands, Ihave (have an assortment of girls, if Your Grace commands me.) ‘grattsja. mi fe PINKERTON (rising with mounting impatience) va koridutfila ‘goro Va, conducila, Goro. Go, bring her,” Goro, SHARPLES ‘kale “zmanja Quale —smania~—vi_—prende!_—‘Sareste What frenzy you takes! Could yoube (What frenzy has taken hold of you Could you really be infatuated”) vi prende—satveste PINKERTON Non sol... I don't know! dipende Dipende It depends dal grado dal grado ‘om the degree ai ai of ‘Amore erillo, Love or whim, (Love or whim, I couldn't say.) ir air grills on saprei non saprei. not [ eould. Wer. kostei = ma ol inidsenue Certo costes m'hs colVingenue Certainly she hhasme with her ingenuous (Certainly she has ensnared me with her ingenuous arts.) arti arti arts Ijeve kwal tenue Lieve qual tenue —_vetro sofflato Light 2s fragile glass blown (Light as fragile blown glass) Wvetro soffjat> ‘alla staura alla statura, inher stature, al portament al portamento inher bearing, sembra fgura sembra figura she seems like (a) figure Ma But dal dal from her utfido lucide shining fondo fondo background st she ai di of ‘lakka. lacea lacquer kome kon how with ‘subito ssubito sudden ‘mato moto movement stakka stacea, detaches herself essere coito (literally: "wo be eooked") means collaguially "to bein ove play on words by replying dipene dal grado di comura, which means literally cooking” or “depends oa how well done the cooked person is assortimento. assortment. addicitiura addirittura really ) imvestkato invescato. ensnared, \ da paravents da paravento, from a screen ". Pinkerton is allowing himself litle depends onthe deyree of302 Madama Buuterfly, Act 1 wal farfatleta avslatsa e ‘poz qual farfalletta svolaza ¢ —posa likea Tittle butterfly she flutters and rests kon tal grattsfetta silentsioza con tal grazietta —silenviosa with such gracefulness silent (with such silent gracefulness) ke di rinfkorrerta furor matssale che di rincorrerla furor = m'assale that to —pursueher (a) furor me assails se pure injfrandgeme —dovessi_— "ale se pure infrangerme ——dovessi_—Tale, even if break her should the wings. (Ghat Iam assailed by a furor to pursue ber, even if should break her wings.) SHARPLESS (seriously and kindy) jew altro 1 Konsslato sem ‘venne = a vicitar Ter altro it~ Consolato sen yenne = a_—_visitar: ‘The dey before yesterday the Consulate she came to visit: ib on ta vidi ma hii parlar jo non la vidi ma udii —_parlar. Trot her saw but Theard her speak (it see her but I heard her speak.) i sua ‘votfe il — misters anima mi—_—kolpi Di sua voce i mistero anima _—mi__colph Of her voice the mystery —thesoul~—sme_—_ struck. (The mystery of her voice struck my soul.) ‘Yerio kwando ec sintfer mor parla kozi Certo quando, ~—sincer_ = amor parla cosi. Certainly when its sincere, ove speaks Tike that sarebbe gram pekkato le jevi_ ali strappar Sarebbe gran peceato le lievi. ali strappar Itwould be (a) great. pity those light wings to tear © dezatar forse uy ‘kredulo wor © desolar forse in eredulo —cuor. and lay waste perbaps a credulous—_ heart. (lt would be a great pity to tear those wings and perhaps lay waste a trusting hear.) PINKERTON ‘konssle mio garbats.—-kwetatevi Console mio garbate, _quetatevi! Consul mine tactful, "calm yourself (My tactful Consul, calm yourself!)Madama Butierfly, Act I 303 sis lavostra eta © di fiebile © umor sa la vostra eth ® di Mlebile ~—umor. Itsknown your generation is of plaintive humor. (We know that people of your gencration are gencrally considered to worry too much.) gram ‘male sis vo kwellale gran male s'io vo! quell'ale great harm if] want those wings driusare ai ‘doltfi voli ellamor drizzare ai dolei_ voli dell'amor! todirect tothe sweet flights of love! (There's no great harm if | wish to direct those wings to the sweet lights of love.) SHARPLES sarebbe gram pekkato ‘kwella_—divina Sarebbe gran peccatom Quella divina Ttwould be a great shame... That divine mild little voice non dovrebbe dar note di dolor non dovrebbe dar note di dolor. should not have to ive notes of — grief (hould not have to sing a song of grief.) PINKERTON (again offering him a drink) wwiski Wisky? SHARPLES . unaltrs ——bikkjere n'altro—icchiere. Another glass. SHARPLES (raising his glass) evo alla "vos feemiska oxi Bevo alla Yostra famiglia Idrink to your family PINKERTON (also raising his glass) © al domo iy kui mi spozers kom Vere ‘nottse E al giorno in cui si sposerd com vere nozze And tothe day in which Iwill marry inareal wedding a ‘una ‘vera ‘spoza—amerikana 2 una vera sposa americana. (wo) a te wife ‘American. GORO (reappearing runing from the bottom of the hil) ‘ek son 'dsunte al ‘somo del_peridio Ecco! Som giunte al sommo —del_pendio. ‘There! —‘They'vereached the summit —_of the slope.308 Madarna Butterfly, Act 1 sa del femmmine> ‘fJame wal di ‘vento iry—fKCame cia del femmineo sciame qual di vento in fogliame, Already of the feminine swarm, like. the ~ wind in foliage, ‘sode a bnizio s'ode ruse. onehears the murmur. (One already hears the murmur of a feminine swarm sounding like wind in the foliage.) VOICES OF GIRL FRIENDS a ‘kwanta—‘tfelo “kwants Abt Quanto cielo! Quanto Ah! How much sky! How much sea! VOICE OF BUTTERFLY agkora’ um pass). or via Ancora un paso or via. Another (a) step, ‘come now. VOICES OF GIRL FRIENDS ‘kome sei ‘tarda, Come sei tarda, How youre slow. VOICE OF BUTTERFLY aspetta Aspetta Wait VOICES OF GIRL FRIENDS “ekko ja ‘Vetta ‘gwarda‘kwanti—_ for eco la vette. Guarda. quanti fir. Here's. the peak.» Lookat —-howmany flowers VOICE OF BUTTERFLY ‘spire sul ‘mae sulla terra Spira sul mare ella terra Breathes overthe sea ‘and overthe arth tum primavetrl ‘soffjo ——dyvkondo un primaveril soffio —_glocondo. a spring-like breeze happy. (A happy spring-like breeze breathes over sea and earth.) SHARPLES 2 alllegr> ——fingwettar di dsaventur © allegro—cinguettar di giovent Oh hoppy chattering of /—_-youth! VOICE OF BUTTERFLY io ‘sono la piu ‘jet del dsappone ‘antsi del mondo To sono la pit licta del Giappone, anzi del mondo. Tam the most happy in Japan, rather in the world.Madama Butterfly, Act 1 305 io som venta —al_—rikjamo~—damor jo son yenuta al_—richiamo—d’amor.. T have come atthe summons of love demor —venni alle. “Soke ove sakkoxte amor —venni_— alle. soglie ove Staccoglie oflove — Teame tothe threshold where is gathered il ‘bene di ki Vive © «disks mwor il bene di chi vive © di chi muor. the good of who lives and of who dies. (ve come to love's threshold, where the good of those who live and those who die is gathered.) VOICES OF GIRL FRIENDS ‘want fjor ‘kwanto mar “djojaate = Sia oltfe wmika Quanti fort ‘Quanto 5 te sia, dolce amica, How many flowers! Howmuch seal Joy to yon be, sweet friend, ma pria divarkar la sokfa ke tattira ma pria divarcar la soglian che ‘attira but beforecrossing the threshold that attracts you voldsiti ‘mira ‘kwanto —felo ‘kwanti fori kwanto mar volgiti mira, quanto cielo, quantifiori, quanto. mart ‘tun and look hhow much sky, how many flowers, how much sea! ‘gwarda le Kove ke tison si'kare Guarda le cose che _tison si care. Lookat the things that _are so dearto you. X BUTTERFLY (to her girl friends) sjam ‘dgunte Siam giunte. We've arrived. (She sees the group of three men and recognizes Pinkerton, She closes her parasol and promptly points him out to her friends) bi ef pigkerton dgu BF. Pinkerton. Gili! BF. Pinkerton, Down! (She kneels.) THE GIRL FRIENDS (They all close their parasols and kneel) ou Gia. Down, BUTTERFLY gram veritura Gran ventura, Great fortune.306 Madama Butterfly, Act 1 GIRL FRIENDS riverentsa Riverenza. Our respect. PINKERTON (smiling) © um po ‘dura la skalata E un po’ dura sealata? Itis a bit hard the climb? BUTTERFLY @ ‘una ‘spoza kostvmata piu penoza ¢—_limpattsjentsa A una sposa costumata penosa — @—impazienza... To a bride well-bred more painful isthe impatience... PINKERTON (politely but a bit derisively) ‘molts arp komplimenta Molto aro. complimento. Avery rare compliment. BUTTERELY (ingemuously) dei piu belli aykor ne s Dei pitt beli amcor neo. Some more beautiful still know. (Cknow other compliments, still more beautiful.) PINKERTON (insisting) dei dsojelli Dei gioiellit Gems! BUTTERFLY (wishing to show off her repertory of compliments) sevie'kkars sul momento Sevigearo sul momento... Ifyou like here and now. PINKERTON ‘gratisie no Grarie, no. ‘Thank you, no, SHARPLESS mis botterflai bel ‘vome vista =a meravitta Miss Butterfly’... Bel nome, vista. a meraviglia. Miss Butterfly... Lovely name, it suitsyou_marvellously ‘sete i nagatsaki Siete di Nagasaki? Areyou fiom Nagasaki? The Japanese word for “butterfly” is chou-chow and san is the honorific ttle placed on all Japanese names, roughly corresponding tothe English Mr, Mrs, Mss, tc. Thus Sharpless translation as “Miss Buterfly” is absolutely literalMadama Butterfly. Act I BUTTERFLY sippor'si di falmika —assaiprospera un Tempo Signor,st. Di famiglia assai prospera un tempo. Yes,sir. Of family very prosperous _onee. (10 er friends) verita Verita? (is thatthe) truth? GIRL FRIENDS (approving eagerly) verita Verit (That is the) truth! BUTTERFLY ne'ssuno kongfessa mai nat poverta Nessuno confessa mai nato in poverta, Noone himself admits ever (to be) bom poverty, non tfe vagabondo ke aserititl non sia di gram_pes'zapja non’ vagabondo che asentirlo non sia gran prosapi ‘there isn't avvagabond who, tohearhim, isn't ‘eat lineage. eppur = konobbila—rikettsa Eppur —conobbi_In_ricchezza, Andyet — Tknew (the) wealth ma il ‘bine —roveffa kwertfe Ma il turbine rovescia quercie But hhurricane —_uproots oaks © abbjam fatto la gela per sostentartfi © abbiam fatto ln ghescia per _sostentarei and weworked as geishas—t0_—_support ourselves. GIRL FRIENDS (confirming) ‘vero Vero! True! BUTTERFLY fon Io naskondo ne —maidonto Non lo nascondo, né — m'adonto. Tdonttit hide, nor am ashamed by it. (seeing Sharpless smiling) ridete perke “kore det ‘mondo Ridete? —Perché..? Cose del mondo. You laugh? Why. Things ofthe world. (You laugh? Why? Things happen in life.)308 Madama Butterfly, Act 1 PINKERTON (who has been listening with interest, aside to Sharpless) kon kwel fare dibambola ‘kwands ‘parla mminjfjamma Con quel fare dibambola, quando parla m’inflamma... With that manner doll-tike, "when she speaks she sets me aflame... SHARPLES (also interested in Buiterfly's chatter, continuing to interrogate her) © tfiavete sorelle E chavete sorelle?” ‘And doyouhave sisters? BUTTERFLY no sinpore =o la ‘mamma No, signore. Ho la mamma, No, sir, Thave my mother. GoRO ‘una ‘noble —‘dama Una nobile dma. A noble lady. BUTTERFLY ma ‘sentsa, povera ‘molly. ajkessa Ma senza povera molto anch'essa, But, without wrongingher, _ poor ‘very much also she (But without wishing to wrong her, she is also very poor.) SHARPLESS vostro = padre E vostro padre? ‘And your father? BUTTERFLY (She siops, surprised, then answers dryly’) ‘marta Morto. Dead. (The girl friends lower their heads, Goro seems embarrassed. All the girls fan themselves nervously with thelr fans.) SHARPLES (coming back near Busterfly) ‘kwaritanni avete Quant’anni avete? How old are you? BUTTERFLY (with an almasi childish coyness) indovinate Indovinate. Guess, Traditionally Sharpless sings Ed avetesorelle? insead of the printed Ft avere sovelle?‘Madama Buaterfly, Act 1 SHARPLES ‘eth Dieci. Tea. BUTTERFLY kreffete Creseete. Go higher. SHARPLESS ‘venti Ven Twenty BUTTERFLY kealate —“kwinditfi_ “neti ‘netti ‘soma ‘vekkja ddd Calate. —Quindiei__netti, nettis sono vecchia _diggia! Golower. Fifteen exactly; Lam old already! ‘SHARPLESS, PINKERTON SHARPLESS. leta dei ‘dswoki Lea dei giuochi.. Theage of games. PINKERTON © dei konffetti © dei confetti... and of sweets, GORO (Seeing other people arriving. he announces with Importance:) limpeirjal kommi'ssarjo luffitfale del redsistto —i—_-korfdgunti L'tmperial Commissario, _‘1'UfMiciale del Registro, i congiunti, The Imperial Commissioner, the Officer of the Registry, the relatives. PINKERTON “ate presto Fate presto Burry up Goro runs into the house. Butterfly’ relatives begin to file in, observing the Americans curiously. Pinkerton has taken Sharpless aside and laughingly makes him observe the bizarre group of relatives.) ke burleta la sfilata—— della wnova_parenitela Che burletta Ia sfilata. della nova parentela. What (a) farce the parade of the new kinfolk.310 Madama Butterfly, Act 1 ‘tolta im prestito a mevzata Tolta —impprestito, 2 mesata. Gowen onloan by the month, PARENTS, FRIENDS. dave Dove? Where is he? BUTTERFLY, SOME GIRL FRIENDS ‘ekkolo la Eccolo lat ‘There he ist ONE COUSIN, SOME RELATIVES, ‘bell none Bello non é. Handsome he isn't. BUTTERFLY (offended) “bella © kozi ke non si pwo soimpar di pju Bello & cos che non si pud sognar di pli. Handsome he is so that not one can dream of more. (He is more handsome than you can dream of) ‘THE MOTHER, RELATIVES, GIRL FRIENDS mi pare unre Vale um peru Mi pare um re! Vale un Peri Tomehescems a king! He's worth a fortune! OTHER RELATIVES im verita” hells none In verith, bello, noma. In truth,” handsome he isn't PINKERTON fers jetroa—kwella. «Vela di ventasX> —pavornatiso Certo dietroa_— quell, vela di ventuglio pavonazzo Certainly behind that sail ofa fan peacock-biue (Surely, behind that peacock-bive fan as big asa sail) lamin swotfera sitfela Ja mia suocera sieola my mother-in-law is hiding ONE COUSIN (io Busterfy) ‘yo lofi puranko a= me_~oma_‘sebbe Goro Voffri —puranco 2 me ma_s'ebbe Goro offered him also to me but hegot a *no" (fran answer). * Vale wn Pert is used in Taian to mean "its worth a fortune’, The allusion isto the wealth of gold which the Spanish Conguistadares found in Peru aniong the native Incas.Madama Butterfly, Act 1 BUTTERFLY (indignantly, to her cousin) si gusto Si, iusto Yes, certainly (Yes, of all people, you!) PINKERTON (indicating uncle Yakusidé) fe — kwel ‘kozo dasirapatso = c= Jo._—sttsio. bricko ©“ patso E quel coso dastrapazze, & lo io _briaco pazzo. And that thing outlandish, he's the uncle drunk and. crazy GIRL FRIENDS, RELATIVES (to the rebuked cousin) ‘ek perke ——pre'ffelia fia Ecco erehe —_prescelta fa, There, why the chosen one she was, (That's the reason why she was chosen, ) ywol far kon te la soprappiu yuol far con te Ia soprappi she wants to act with you the high-and-mighty, lasua betta a sfiod divortsjera Lasua belt ai sflorl. —-Divorziera. Her beauty already withered. She will divorce. ONE COUSIN, OTHER RELATIVES speto di ssi lasua bela aya distjori Spero di si. Lasua belt gia disfiori. Thope so. Her beauty already withered Goro per karita tatfote po iS Per carith tacete po! Shi Sh! Please, de quiet. bit. Sh! Sht UNCLE YAKUSIDE vin fe ne Vino cen'e? Wine, is there any? ‘THE MOTHER AND AUNT gwardjamo um po Guardiamo un po'. Lets look around a bit, GIRL FRIENDS (10 Yakusidé) ne Vidi da kolor di tee ‘kermizi Ne vidi gia, color di the ¢ —chermisit Some [saw already, color of tea and crimson! (Lsaw some wines already, some the color of tea and some red.) Bello non é, ete. (Goro intervenes, trying to stop the noise, then with gestures tries to make them keep quiet.)312 Madama Butterfly, Act 1 coro Per carita, tacete un po’ Sh! Sh! 'SHARPLESS 9 aimiko —fortunats > farturnats —_'pinkerton © amico. fortunate! © fortunato Pinkerton Oh friend fortunate! Oh fortunate Pinkerton. ke in ‘sorte ve tokkato tum fjor puror ——mhattfats che in sorte ve toccato un flor pur or sboeciatot who in luck you've bem given a flower ___justnow blossomed! (Gvho has luckily been given a flower just now blossomed!) nom pju ‘bella -—e-dassai_—_fantfulla Non pit bella ed'assai—fanciulla ‘Not more beautiful thanthis ict io Vidi mai di kwesta—_botterflai io vidi mai di questa—_—Butterfly. T saw ever than this Butterfly. (ve never seen agit! more beautiful than this Butterfly.) PINKERTON soe vem © um lezotiko suo odore Si 2 vero, @ um Liesotico suo odore Yes, its true, she's a The exotic her scent ma il Yervells im fede mia Ip'‘kolts m'ha il cervello cinfedemia ho colto! hasme the brain and by my faith, I've picked her! (Her exotic scent has confused my brain, and by my faith, ve picked her!) ONE COUSIN, GIRL FRIENDS ei loffi ' pur‘agko «@ = mme ma rispozi_ non lo vo Ei off = puranco ame! Ma_risposi_ nom lo vo'! He offered im also to mel But Tanswered, "I dorit want him*! ‘sentsa tami. ——ritferkar ig ne *rova’ dei miléor Senza tanto_—ricercar io ne trovo det miglio. Without —somuch searching can find better ones, ekidirs um bel m9 dino © gli dird un bel no, dino! andTiltellbim = a lovely *no" *nol* OTHER RELATIVES, THE MOTHER ekki c bel mi ‘pare unre Eg & bel, mi pare un ret He is handsome, he looks tome (like) aking! no mia ‘kara_non mi per © dawero ug gran. sinpor No, mia cara, nonmipar. -&—dawvero— un gran ssignor. No, my dear, he doesnt. Hes truly 2 great gentlemen.Madama Buterfly, Act I 33 non a'vrei risposta np onon disei mai no Non avrei risposto no! Non direi mai not Not would —_haveanswered no! Not would I say ever no! OTHER RELATIVES © divorisje' E divorzierat And she'll ct divorced! BUTTERFLY badate = atenti =a mme Badate, attenti «= amet Mind you, attention tome! (Mind you, pay attention to me!) SHARPLESS, © se a voi ‘sembran ‘fede il ‘pate Ia sua fede Ese a voi sembran scede —il’_—opatto'e ln sua fede, And if 1 you seem ajoke the pact and her faith, beac ella fi ‘krede badate!.... Ella ci erede. mind youl... She init believes, (And if the marriage and her faith secm like a joke to you, bear in mind, she believes it!) BUTTERFLY vyjen Kwa baldate a—smme altenti —orsu vien qua, Badate a me: attenti —_orsit, come here. Pay attention to me: watch now, & ms due tre © ‘tuti yu uno, due, tre, © tutti i. fone, two, three, and alllofyou, down. (At Butierfly's signal, all bow before Pinkerton and Sharpless. The relatives rise again and scatter in the garden. Goro leads some of them inside the house. Pinkerton takes Butterfly by the hand and leads her towards the house.) PINKERTON ‘yeni amor mis vi'pjatfe la kavvetta Vieni, amor mio! Vi piace la casetta? Come, my love!_—-Doyoulike the _|ittle house? BUTTERFLY sipnor bi ef pigkerton_perdono Signor —B,F,_—_-Pinkerton... perdono. BF Pinkerton... forgive me. (She shows her hands and her arms, which are awkwardly weighed down by her filled sleeves) is vorei paki sddsetti_ da “donna Jo vorrei... pochi ——oggetti_ «da donna. 1 would lke... a few objects of women,34 Madama Butterfly, Act 1 PINKERTON ‘dove ‘ssono Dove sono? Where are they? BUTTERFLY (indicating her sleeves) sono kwi vi dixpjatfe Sono qui. vi dispiace? ‘Theyre here do you mind? PINKERTON (4 bit surprised, he smiles, then consents gallantly) o'perke mai mia bella botterflai Operché mai, mia ella Butterfly? Ohwhy should, my lovely Butterfly? (Butterfly takes the objects out of her sleeves one by one and hands them to Suzuki, who has come ou on the terrace and sets them in the house.) BUTTERFLY fatisoletti Ja pipa ‘una fintura um pikkolo fer maka Fazzoletti. La pipa. Una cintura. Un piccolo fermagtlio. Handkerchiefs. The pipe. A sash. A litle brooch. ‘una ‘spekkjo um ventakgo Uno specehio. Un ventaglio, A mimor A fan, PINKERTON (seeing a litle jar) evel. batattolo Quel barattolo? ‘That jar? BUTTERFLY tum vazo di tintura Un vaso di tintura. A pot of rouge, PINKERTON sibs Ohi ‘Aba! BUTTERFLY vi spjatfec via Vispiace?. Vi You don't lke it?.. Away (with it)! (She throws away the pot of rouge and takes outa long and narrow ease.) PINKERTON © kwello E quello? And that?Madama Braterfly, Act 1 31s BUTTERFLY (very seriously) ‘oa ‘sakra. =e) mmia Cosa sacra © mia. Thing sacred «and mine, (t's something sacred and mine.) PINKERTON (curious) e mon si pwo vedere E non si pud vedere? And not it can beseen? (And cant I see it?) BUTTERFLY fe ‘woppa—“dgente—_perdonate ce tropa gente. _-—-‘Perdonate. Thereare toomany people. Forgive me. (She runs into the house, taking the case with her.) GORO (who has come over, speaking into Pinkerion's ear) © um prezente del mikads asi padre ——_kollimito Bown presente. del ado atmo, padre. colMavio.. Jes a) present fomthe Mikado ther father. withthe invitation to. (Hie makes a gesture of cutting open his stomach in hara-kiti fashion ) PINKERTON (softly 00 Goro) © sus ‘padre E suo padre? i And her father? GORO a obbe'dito Ha obbedito. Obeyed. (Goro goes off. Butterfly, who has come back, goes to Pinkerton and takes some statuettes from her sleeves) BUTTERFLY Ai ottoke Gli Ottoke? The hotoke. PINKERTON (Fe takes one and examines it with curiosity) kweli pupattsi a'vete detto Quei Pupazzi?... Avete detto? Those puppets?... You have said? The Japanese word hovoke means "Buddha" or "the dead,” in other words, one's ancestors. Butterfly is saying that these figurines represent the spirits ofher ancestors, not that they are called hovoke,316 Madama Butterfly, Act I BUTTERFLY (puting down the statuettes) son anime “‘deASi— vi Son Tanime degli avi. Theyre —thesouls. ofthe ancestors. PINKERTON a ilmio ——rispetts Abt.cilmio ——_rispetto, Ah!... my respects, BUTTERFLY (iwith respect familiarity, to Pinkerton) ‘eri son salita ‘tutla ‘sola in sekret». alla missjone Teri son salita tutta sola in seereto alla Missione. Yesterday Iwentup all alone in seeret’ tothe Mission. ‘roll ‘nwova’~=—mia. vita ‘passa adsttare—nwova—_relidsonie Colla nuova. ~—smia_ vita posso —adottare —nuova’_—_religione. With the new my fife Tean adopt (a) new religion. (With my new life I can adopt a new religion.) Jo wsio ‘bondzo nok sa ne imi Io sana Lo tio Bonzo nol sa, ne imici =o sano. The uncle Bone ——docsntknow it, nor myrrelatives it know. (Neither my uncle Bonze nor my relatives know about it) is segwoilmio. destin © = pjena dumifta To seguo —illmio.— destino, © —_piena d'umilea 1 follow my destiny, and full of humility al dio del sipnor —'pinkerton_—miykino al Dio. del signor Pinkerton _m‘inchino. tothe God of | Mr. Pinkerton I bow. © mis desting ‘nella stessa—kjezetia E mio destino. —_Nella_—stessa_—=—chiesetta Its my destiny, Inthe == same litle chureh dsinokkjo kom voi preger> loess di Jn ginocehio con vol pregherd lo stesso. Dio kneeling with you Iwill pray tothe same God. © per Tani Aoritents E oper farvi contento ‘And to make you happy por forse == abliar ta ‘gente mia potrs forse obliar In gente mia, Mibe able perhaps to forget my people (She throws herself into Pinkerion's arms.) amoce mis Amore miow.! My beloved.317 Madara Butterfly, Act 1 (Meanwhile Goro has opened the shoji. Sharpless and the authorities are in the room, where all is ready ‘for the marriage. Butterfly and Pinkerton approach The relatives are in the garden, observing.) coro ‘tt siti ‘Tutel zittit All quiet! COMMISSIONER (reading) — kontfesso al nominato‘bendsamin franklin _pinkerton concesso al nominato. Benjamin Franklin Pinkerton, tis permitted —w the said Benjamin Franklin Pinkerton, Iwogotenente —“‘nella-—kannotnjera.‘inkoin Iuogotenente nella cannoniera Lincoln, lieutenant onthe gunboat Lincoln, marina ‘deKi "stati iti amerika del nord marina degli Stati Uniti “America del Nord: navy of the United States (of) North America ed ‘alla damfdzella botterlai del kwartjere dsmara nagesaki ed alla damigelia Butterfly del quartiere_d’Omara Nagasaki, and tothe young woman Butterfly from the quarter Omara Nagascki jm —matrimanjo per “drt il primo in matrimonio, per drittoil primo in matrimony, by right the former ela roprja_—votonta \ della propria —_yolonta, ofhis own will, ed ‘ella porkorisens dei patenti fed ella percomsenso dei parent and she by consent of the relatives wi testémoni alata qui testimont alata. hhere witnesses tothe ceremony. (The Commissioner holds out the contract for Pinkerton's ane! Busterfly's signature.) GORO (ceremoniousty) lo ‘spor Lo sposo. The groom. (Pinkerton signs.) poi Ia 'spoza Poi la sposa. Then the bride.318 Madama Butterfly, Act 1 (Buterfly signs.) © tuts © fans E tutto & fatto. And all is done. (The girl friends approach and make repeated bows to Butterfly.) ‘THE GIRL FRIENDS maidama botterflai Madama Butterfly! BUTTERFLY (correcting them) matdama bi ef pinkerton Madama B. F. Pinkerton. (The girl fiends congratulate Butterfly, who kisses some of them. Meanwhile the Registrar gathers the ‘contract and the other papers and then informs the Imperial Commissioner that all is finished.) COMMISSIONER (10 Pinkorion) sigue moti Auguri molti ‘Congratulations. PINKERTON iimjei ——rigrattsja‘menti Tmiei —_ringraziamenti My thanks. COMMISSIONER (1o Sharpless) il sipnor konsole ‘Mende M signor Console seende? Mr. Consul is going down? (Are you going down towards the city, Mr. Consul?) SHARPLES Takkompanyo ‘L’accompagno. Tl accompany you. (10 Pinkerton) {fi vetdrem dommani ci vedrem domani, Wellsee each other tomorrow. PINKERTON a meravikka ‘A meraviglia. ‘Marvellous.Madama Butterfly, Act 1 319 PINKERTON imi provera Mi provers. Tt do my best. SHARPLES (coming back and with a meaning tone to Pinkerton) ayiditsjo Giudiziot Wisdom! (Discretion, be careful, use your common sense!) PINKERTON ed ‘ekkotfi in fatmikka (Ed eccoct = in famiglia.) (Andhere weare, 2 family.) abigiamoyfi al piu presto im ‘modo onesto. hip hip Sbrighiamoct al pi presto. modo onesto. Hip! Hip... Lets getitover with as quickly as possible... in adecentway. ‘Hip! Hip (He toasts with the guests, afer having the servants pour drinks to the assembled.) GUESTS \ 2 kami O Kami O Kamit” Oh kami? Oh kami PINKERTON beviams ai navvissimi legami Beviamo al novissimi legami. Letus drink to theverynew bonds, (Terrible shouts from the path tmterrupt the toasts. Suddenly from the back, there appears a strange personage who frightens everyone. It is the Bonze, Butterfly’s uncle-priest, who comes forward in a rage. ‘Seeing Butterfly, he extends his hands menacingly towards her, shouting ) ‘THE BONZE tf fo san abbominattsjone Cio-Cio-San!...._ Abbominari Cio-Cio-San!...._ Abomination! (Athis shout all the relatives and friends are intimidated! ana! nudlerogether in fear, Busterfly remains isolated in a corner.) " Kami isthe generalized Japanese word fora god, deity, or spiritual power. The numerous kam which inhabit the various elements of nature are believed tobe benevolent when worshipped but provoked to wrath when neglected.320 ‘Madama Buuierfly, Act I BUTTERFLY, GUESTS Jo ttsio tbonzo Lo tio Bonzot The uncle Bonzet Goro uuy'kom> al gwasiafeste Uncorno al —_guastafeste! Damn the _spoilsport! ki {fi'leva dintomo Je persone Chi ci teva d'intorno Ie persone Who will rid us (©) the persons (Who will rid us of annoying persons?) ‘THE BONZE {fo tf> san ke ai tu fatto “alla missjone Cio-Cio-san, che hai tu fatto alla Missione? Cio-Cio-San, what _were you doing at the Mission? GUESTS rispondi —tf> t{> san Rispondi, Cio-Cio-San! Answer, Cio-Cio-San! PINKERTON (armoyed at the Bones scene) ‘mi strilla”——kwel_- matt oa em quel matto? What at me yells that madman? (What is that madman yelling at me?) ‘THE BONZE rigpondi ke ai tu fatto kome ait Koki Rispondi, che hai tu fatto? == Come, -—hai_tu_—_glvacchi Answer, what were you doing? What, have ‘you the eyes (Answer, what were doing at the Mission? What! You have dry eyes’) son ‘dunkwe —kwesti = i'fruti, = fia rinne’gaty tutti Son dunque questi ifrutti?, rinnegato tuttit Are then these the fruits? Us'she has renounced all! ‘(Are these then the fruits of my teachings? She has renounced us all!) GUESTS (seandatized) hu {fo tfo san Hou! Cio-Cio-Sant Oh! Cio-Cio-Sant ‘THE BONZE Finne'gatsvi'diko ‘kul antiko Rimnegato vidico, i culto_antica. Renounced Itell you, the cult ancient. (fe rails at Butterfly, who covers her face with her hands. Her mother comes over to defend her, but the Bonze violently pushes her away.)Madama Butterfly, Act 1 kami sarunda'siko Kami Sarundasico! Kami Sarudahiko! allanima tua ‘gwasta wal. supplittsio_so'vrasta Allanima tua guasta, qual supplizio._sovrastat Tothe soul yours ruined, what punishment threatens! (What punishment threatens your ruined soul!) PINKERTON (anoved) ‘dik ‘basta ‘basta dico: basta, asta! Tsay: enough, enough! (At Pinkerton's voice, the Bonze stops, amazed. Then with sudden resolution he invites the relatives to leave.) ‘THE BONZ! yenite ‘tutti andjama fi ai rinnegats e Venite L Chai rinnegato © nok, Come You've renounced us and we. ‘THE BONZE, GUESTS ti rinne'gjamo ‘Tirinneghiamo! We renounce you! PINKERTON (with authority) hacatisate allistamte in kava mia Sbarazzate alistante. In casa mia Clear out this minute In house mine niente —barkkano =e jente—_bondze'ia niente baceano niente —bomzeriat no racket and no onze nonsense! (At Pinkerton's words, all run hastily towards the path that goes down to the city. The mother tries once ‘again to go near Butterfly but the relatives prevent t. The Bonze disappears with the guests,) THE BONZE, GUESTS hu {fo tf> san “kami sarunda'siko Hout Cio-Cio-Si ‘Kami Sarundasi ‘Oh! Cio-Cio-Sant- Kami Sarudahiko! ti rinne’gjamo Tirinneghiamo! We renounce you! "The true Japanese name ofthis god is Sarudahto; the Ualianization as Sarundasico stems pet from the fact that in some dialects thet would sound more like a eross berwoea [s} and [f]. As a guardian of lost souls, his primary ask was to guide wayward travellers when they came to difficult erossoads. Thus when the Bonze discovers that Butterfly seems 1 have "lost her way" by renouncing her religion, its logical that he should invoke is paricular god.32 ‘Madama Butterfly, Act 1 (Evening begins to fall. Buterfly falls the ground and bursts into childish weeping. Pinkerton goes to Ire, lifts her up, and gently removes her hands from her weeping face.) INKERTON nom pj per grakkjer di ratnakki mon piangere per gracehiar di ranocehi don't ery because of croaking of frogs. BUTTERFLY (covering her ears so as not fo hear the cries) “urlans arfkor Urlano aneor! ‘They're shouting sill! INKERTON (comforting her) ta lata tibue i bondzi_ tutti. del dsappon Tutta lama ~=—stribae ~— Fonzi —tutti del Giappon Allof your tribe and the Bonzes all of Japan nom valgono il pjanto. di kwedKi OKI kari @ belli non valgono ——il'_—pianto.~—di_—quegli—occhi cari ¢ belli. arertt worth the tears of those eyes dear and lovely. BUTTERFLY (smiling childishly) dawer nom pjango pu Davver? Non piango pit. Really? Not weepI anymore. (Really?... Then | won't weep anymore.) © ‘kwazi del ripudjo nom mi ‘dwole E quasi del ripudio non mi duole And almost ofthe rejection not me pains (And I almost doa't suffer at their rejection) per le'vostre parole per Tevostre parole because of your ‘words ke — mi swanan kozi dolifi nel kwar ‘che mi suonan cost dolci nel cuor. that sound to me 0 sweet in the heart. (She bends and kisses Pinkerton's hand.) PINKERTON (genily proventing her) ke fai la man Che fai? La man? What are you doing?.... The hand? BUTTERFLY ‘man ‘detto ke lalddsu fra. da dgente——_kosturmata Mihandetio che aggi)’ «= fra Ia gente costumata They've toldme that over there among the people —_well-bredMadama Butterfly, Act 1 323 © tkwesto il Senpodelmatddsor—_risipetta & questo il_—segnodelmaggior —_rispetto. is this the sign of greatest respect. (They've told me that in the States kissing the hand isthe sign of wimost respect among, well-bred people.) SUZUKI (from inside) © izagi ed izanami—sarundasiko @ kami E Waaghi ed zanami,” Sarundasieoe Ki And Izanaghi and Izanami, —Sarudahiko and Kami PINKERTON (surprised by the dull murmuring) Ki ‘prontola—_la'ssu a brontola —lassit? Who's grumbling up there? BUTTERFLY © suddzuki ke fa las pre'giera— seal Suzuki, che fa lasua —_—preghiera sera. Its Suzuki, who's saying her prayer of the evening. PINKERTON (He leads her towards the house.) viene la sera, Viene la sera. Comes the evening... BUTTERFLY € lombra eda ‘kujete ~e lombra e Ia quiete, « and shade = andthe quietness, PINKERTON © sei kwi ‘sola E sei qui sola. And youre here alone. BUTTERFLY ‘sola © —rinne’gata rinnegata e — ffelitfe Sola e rinnegata! Rinmnegata...e _felice! ‘Alone and rejected! — Rejected... and happy! (Pinkerton claps his hands three times. The servants and Suzuti appear at once,) PINKERTON (ordering the servants) a voi kjuidete Avoi chiudete ! ‘You close up! "The tr Japanese names are Zzanagh and Lanami, These husband and wife deities were said to have created ‘the islands of Japan by standing on the Floating Bridge of Heaven and stirring the waters below with a jewelled spear. Later producing many other deities, Izznami eventually died giving birth toa fire god, who was then beheaded by Lzanaghi in his anguish at losing his wie,324 Madama Butterfly, Act 1 BUTTERFLY sisi noi tutti soli © fuori il ‘mondo Si, si, nol tutti soli. = ¢ fuori il mondo... Yes, yes, we all alone. and outside, the world, PINKERTON (leughing) e il ‘bondz0—furibondo E Bonzo —_furibondot ‘And the Bonze furious! BUTTERELY (00 Sicuti, who has come with the servants and is awaiting orders) suiddmki lemie ‘esti i, lemie ——_vesti. my arments. (Sucuki digs into a case and hands Butterfly her night clothes and a litle coffer with what is needed for her grooming.) SUZUKI (bowing ‘o Pinkerton) ‘bwonanalle Buona —_notte, Good night. / (Pinkerton claps his hands and the servans hurry off. Butterfly goes into the house and assisted by Sucuki carefully does her grooming, taking off her nuptial garmenis and pusting on an all white one.) BUTTERFLY kwestobi pomtpoza_ di ffosAer_ mi ‘tarda Quest'obi_pomposa —discioglier mi tarda... This obi pompous toundo me _ delays... (Undoing this pompous obi is delaying me.) si esta Ja ‘spovadi “pura. kantdor sivesta Ja sposa di puro eandor. may she be dressed the bride in pure whiteness. (ct the bride be dressed in pure whiteness.) ta moti sommessi_ sommide = emi gwarda ‘Tra motti —sommessi_ sorride mi guarda. ‘Amid words rmurmmured—hesmiles and _ looks at me. tfelarmi ne 9 tanto rossor Celarmi ne ho tanto rossor! Hide myself Tm blushing so! (Af onty I could hide, be makes me blush 30, with is smiles, words, andthe way he looks at me!) © ankor Hirata otfe mi maledife E ancor —Virata—voce mi : And still the imte voice me boterflai rinneigata rinnegata¢ Butterfly... rinnegata.... rinnegata ¢ Butterfly... rejected... rejected andMadama Butterfly, Aet 1 PINKERTON (ooking lovingly f Bute) kom ‘moti skojattl i ‘modi allena Con moti a scojattolo i modi allenta =e With movements ofa squirrel the knots she loosens and pensar ke kwel dgskattolo © mia ‘mote Pensar che quel giocattolo @ — mia _moglie! Tothink that that toy is my wife! ma tal ‘gratisja—dispjega__kio mi struggo Ma tal grazia —dispiega_—_ch’io mi struggo But such grace she unfolds that I'm consumed per la ‘febbre dun ‘subito. ——dezio per In febbre d'un subito —desio. by the fever ofa sudden desire. ‘bimba ——daKokkipjeni di—matlia sei ‘tutta mia Bimba —dagl'ecchi__pieni di sel tutta mia, Child with eyes full of you're all mine. sei tutta vestita di Se tutta vestita di Youre all dressed in mipiatfe la wettfa, tua eandidi Veli Mipiace la treccia tua candidi vel, Tike the — hair yours white veils. BUTTERFLY . simifi> la dca ella tuna a pikkola «dca ella tna Somiglio Ia Dea della uma, Ia piccola Den della luna Tresemble the goddess ofthe moon, the Title. gaidess ofthe moon ke ffjende la “notte dal ponte del fel che scende —la_—_notte dal ponte del ciel. who descends at night ffom the —bridgeof heaven, PINKERTON affaffina ‘kwori hears, BUTTERFLY e i prende =e atvvaldse um ‘bjanko mantel ~e li prende =e = i_—avvolge un bianco mantel. and them takes and them folds a white cloak. ewia se li'teka nei ali reami Evia se li reca negli alti reami. Andaway shetakesthem into the ‘lofty realms,326, Madama Butterfly, Act 1 PINKERTON ma intants——ffhor nom mai‘dett> Ma intanto — finor non m'hai detto, But meanwhile uptonow —not_you've told me, aykor nom mai detto ke ‘mami ancor non m'hai detto che mami. sill not you've toldme that you love me. (But meanwhile you still haven't told me that you love me.) lesa dea Lesa Dea Does she know them, ‘goddess, le parole ke fi ardenti —devir Je parole che gli ardenti desir? the words that the ardent desires? (Does that goddess know the words that satisfy ardent desires?) BUTTERFLY lesa ‘forse ‘dirle nom "vwole Lesa. Forse dire non vuole She knows them. Maybe tosay them not she wants (She knows them but maybe she doesn't want to say them) per tema da'vere a per tema d'averne a for fear of having from them 10 Gor fear of having to die as she utters them.) PINKERTON ‘stolta patra lamor = non. uttfide = mada vita Stolta = paura, amor non uccide ma di vita Foolish fear, love doesn't kill but gives life © sorride per ‘soje tfelestjali e — sorride per _gioie celestiali and smiles. in joy_celestial ‘kome ‘ora fa nei two umgi ‘oki vali come ora fa nei tuoi lunghi cei ovali. as now itdocs —in.-your long eyes. oval. (and smiles in celestial joys, just as it now does in your long oval eyes.) BUTTERFLY aidesso voi. ‘siete per me tokkjo —del__firmamento Adesso voi siete perme occhio del firmamento. Now you are for me theeye of the firmament. © ‘mi pjatfeste dal ‘prims ——mment ke > yelduto E — mipiaceste dat primo momento che vi ho veduto. ‘And [liked you fromthe first moment that you I saw.‘Madama Buaterfly, Act 1 ‘alto forte ‘ridete kom. ‘modi si pallezi alto, forte. Ridete con modi sl palesit tall, strong. -Youlaugh ina manners open! e ‘dite ikoze ke mai nonintezi or —son_korftenta E dite cose che mainonintesi Or son _contenta, And yousay things that Ineverheard. Now I'm happy. (lovely approaching Pinkerton, she kneels at his feet and looks at him tenderly, almost pleadingly.) vokKatemi bene um’bene —_pikkolino Vogliatemi bene, un bene —_piccolino, Lovee, alove litle, (Love me [with] a lite love,) uum bene da banibino ‘kwalea me si_—_konjyjene un bene dabambino qualea me si_conviene. alove childlike os tome is suited, (@.childlike love, as is suited to me.) noi ‘sjamo deme, «—atvvettsa alle ppikkole—‘koze Noi siamo gente. ~—avverza_—_ alle piecole cose We are people accustomed to little things ‘uml © —silemtsjoze ad una _tenerettsa wumili © silenziose, ad una_tenerezza humble and silent, ta tenderness sfjorante e par profonda ¥ sfiorante pur profonda barely touching and yet_ profound ome il tfel ‘ome Yonda. de! mare. come il ciel, come onda del mare. like the sky, like the wave of the sea. PINKERTON ‘dammi Kio. atfi_ le tue ‘mani ‘kare Dammi, —ch'io baci le tue mani care, Giveme, that I kiss your hands dear. (Give me your dear hands, that I may kiss them.) mia botterflai koe tam ben nommata —Yenue farfalla Mia Butterfly, come than ben nomata, tenue farfalla. My Butterfly,’ how they've well named you, light butterfly BUTTERFLY (4¢ these words she becomes sad and withdraws her hands.) ‘dikog—kaltre ‘mare se ‘kade im man dellwom Dicon —_ch’oltre mare, se cade in man dell'uom, They say that across, (the) sea, if itfalls. imo (the) hands of aman, ‘oppi farfalla da ‘uno ‘spill e —wafiua ogni farfalla da uno spillo @—_trafitta every butterfly by a pin is pierced 327328 Madama Butterfly, Act 1 ed in ‘ayola——_imfita ed tavola——_infitta! and on (a) board. stuck! (Every butterfly is pierced by a pin and stuck on a board!) PINKERTON um po di vero Ye © mm fb sai perke Un po! di vera ee EK tw lo sai_perche? A bit. of truth there's init, And you it know why? perke nom ‘fugga us Perché non fugen ld. Sothat itwon't flyway anymore. ib germita i ‘senna palpitante sei mia To tho ghermita, ti serro alpitante, Set mia. I youhave caught, you. Thold ——palpitating, You're mine. (Uhave caught you and T hold you trembling in my arms. You're mine.) BUTTERFLY (abandoning herself) si perla Vita Si, pera vita Yes, for life. PINKERTON ‘vient via da‘lanima im ‘pena angofJa pavroza Vieni... via dall'anima in pena Vangosciapaurosa. Come... away of the soul in suffering the anguish fearing, (Come... Away with the fearing anguish from the suffering soul.) © ‘notte serena ‘gwarda-—“dorme-— ‘opi Kava E notte serena! Guarda: dorme —_ogni cosa! Ws anight calm! Look: isasleep everything! BUTTERFLY (ecsiatically looking ot the sky) a ‘doltfe ‘notte Ah! Dolce Abt Sweet PINKERTON "yeni ‘Vieni Vieni, vient. ‘Come, come... BUTTERFLY ‘kwante ‘stelle non li Vidi mai si belle Quante stelle! Non li vidi mai si belle! How many _ stars! Tveneverseen them so._beautifull ‘wema brill ‘onni favilla bol bakéor ‘dona puipilla ‘Trema, —brilla ogni favilla col baglior una pupilla. ‘Trembles, shines every spark, withthe glow ofa pupil (Every spark trembles and shines withthe glow ofan eye!)Madama Butterfly, Aes 1 PINKERTON e'notte serena 'gwarda—dorme ‘opp ‘koza vieni sei mia Enotte serena! Guarda: dorme ogni cosa! Vieni, sei mia? Wsacalm night! Look: everything is asleep. Come, you're mine! (The fireflies appear, shining around the lovers amid the flowers and the foliage of the trees) PINKERTON (ardently) vi laygaffa dal tuo kor_ti'serro palpitante Via ‘angoscia dal tuo cor! Ti serre palpitante, Away (with) the anguish in your heart! I elasp you trembling, in, ete. BUTTERFLY 2 ‘kwanti oki zi ‘donni parte a rigwardar Oh! quanti oeehi fisi, ogni parte a riguardare! ‘Oh! How many eyes staring, from every side watching! pei firmamenti_ via pei via pel ‘mare Pei firmament, via pei via pel mare. Through firmaments, through along the sea. ‘kwanti —zqwardi ride il Yel ‘tutta estatika — damor Quanti—sguardi.. ride il ciel! Tutto estatico _d'amor! How many gazes laughs the sky! All cestatic —_with love! (How many stars are gazing at us... the heavens are laughing... al is eestatie with lovel) (Butterfly and Pinkerton go into the nuptial chamber) % END OF ACT 329330 ‘Madama Butterfly, Act I, Part 1 ACT Il, PART ONE Inside the house (The walls are shut, leaving the room in semi-darkness. Suzuki is praying, huddled before the image of Bucldha. From time to time she rings the prayer bell. Butterfly is lying on the floor, her head resting on the palms of her hands ) SUZUKI (praying) © izagi ed izanami —sarundasiko—€ E Izaghi_ ~— ed_—‘zanami,Sarundasico ‘And Tanaghi and zanami,” Sarudahiko and (interrupting herselp) > lamia testa Oh! lamin testal Oh! My: head! (She rings the bell 10 call the attention of the gods.) © tu ten foodat “fate ke Dotterflai nom ‘pjanga piu E tu Ten-Sjo-o-Daj,! fate che Butterfly non pianga pid, And you, Ten-Shou-Dai, grant that Butterfly not weep ‘anymore, mai pju mai pid. BUTTERFLY ‘pigri ed obezi'son rispoze Sorridendo rispose: botterflai —pittfina Butterfly, piceina smiling answered: "Oh Butterfly, tiny litle wife, tomers ‘kolle roze ‘alla stadgon serena tornerd colle rose alla stagion serena Tilreturn with the roses, in the season serene‘Madama Butterfly, Aet I, Part 1 333 "kwands fa la nidjata._— il. petivosso quando fa la nidiata it pettirosso."* When. makes the nest the robin’, (when the robin makes his nest.) (calm and convinced) tomnera Tornera. He'll return, ‘SUZUKI (incredulous) spejam Speriar Let's hope. BUTTERFLY (insisting) ‘dill kom me tomne'ra Dillo con me: tornera. Say it with me: he'll ret, SUZUKI (To please her, she repeats i, then bursts into tears.) tome'ra Tornera... Hell return, BUTTERFLY (surprised) ‘Pjandsi —perke = asda fede ‘manka ‘sent mmgi? Perch’? A la fede i manca! Sent Youweep? Why? Ah (the) faith inyou is lacking! Listen um bel di wedrema tevari um fil di Tums Un bel di vedremo levarsi = un fl di fumo One fine day wellsce rising a threadof smoke sullestrems —Kkomfin. del mare © p Ja nave appare sullestremo confin —del_mare. Epoi la _—_ nave appare. atthe farthest edge. -—ofthe sca. Andthen the ship. appears. poi la ‘nave ‘bjanka entra nel ‘porta ‘omba il suo salut Poi ta nave bianca entra nel porto,romba _ilsuo saluto- Then the ship white enters the port, "thunders its greeting. ‘vedi ewwenuto is non fi {fends inkontr> Bvenuto! To non gli seendo _incontro. Hehas come! I don't tohim —godown toward (You see? He has come! I don't go down towards him.) "Pettirosso, a combination of peito (breast) and rasso (red): red-breast. Exactly the description of robin.364 Madama Buterfly, Act I, Part 1 io m9 mi'mett la sul ido del ‘kolle To m0, Mimetto 1 sul ciglio del colle 1 no. [place myself there atthe edge of the hill (Not I place myself there, at the edge of the hill) © aspetts gran tempo e nom mi'peza la. ‘Tunga atteza € —aspetto gran tempo,e non mipesa Ia lunga attesa. and wait’ longtime, and doesn't weighonme the long waiting © uffita dalla un womo um pittfol punta E.. uscito dalla un uomo, un picciol ~—_ punto And coming fromthe —_crowdofthe city, @ man, a tiny dot sawia per Ja kollina ki ssatra ki ssara per la collin, Chi sara, chi sara? up the hil Who can itbe? Who can it be? € — kkome —saraddsunto ke = ddira ke daira E come sari giunto che iri? che ira? And when hhe has arrived, what will he say? What will he say? Kjame'ra—bbotterflai “dalla Iontana Chimera Butterfly dalla lontana. He will all Butterfly from far away. io sentsa_— dar risposta. me ne stair naskosta lo semua di risposta me ne stard_nascosta 1 without giving answer willstay hidden. um po per ‘feljae um p> per mom moire = al prima. ——_ikontro un po’ per celia, e un po’ per non morire al primo —_—incontro, a bit to tease, and a bit. soas not todie atthe first ‘meeting, ed e4Aialkwantoim'pena—_kjame'ra ed egli alquanto in pena and he quite worried pityfina _moKettina oleddzo piccina __mogliettina, olezzo iny litle perfume i ‘nomi ke mi tava al suo verire i nomi che mi dava al suo venire. the names that me ~—hegave when he came. ‘tutta ‘kwesto. —awve'ra te lo promett Tutto questo —_avverra, te lo prometto. Allo this will happen, promise you. tiemti lata para io konsikura fede laspetto Tientilatua —paura, io. com_sicura_—fede_I'aspetto, Keep your fear, with firm faith wait for him.Madama Butterfly, Act I, Part 1 335 (Moved, Butterfly and Suzuki embrace. Goro and Sharpless appear in the garden. Goro sees Butterfly.) GORO (1o Sharpless) Ye entrate c Entrate, She's there. Go in, (Goro leads Sharpless in, then goes out and remains within earshot. Sharpless knocks discreetly on the door.) SHARPLESS “kjed>| ‘skuza Chiedo seus. Teg ‘your pardon... (He sees Butterfly, who, hearing someone enter, has moved) ‘ma‘dama botterflai Madama Butterfly. BUTTERFLY (withou turning, bu correcting him) maldama — “pinkerton prego Madama Pinkerton. Prego. Madame Pinkerton. Please (She turns and recognizing the Consul, claps her hands out of happiness. Suzuki enters eagerly and prepares a little table with all necessary implements for smoking, some pillows and a stool.) ay hl sipnor ‘konsole \ Oh! mio signor Console! Oh! Mydear Mr. Consul! SHARPLESS (surprised) smi ravvizate Mi ravvisate? You recognize me? BUTTERFLY (acting as hostess) benvenuto in ‘kaza ‘amerikana Benvenuto in casa americana. Welcome in (a) house American. SHARPLES ‘gratsje Grazie. ‘Thank you, (Butterfly invites the Consul to sit near the table. Sharpless lets himself sink grotesquely onto a cushion, while Butterfly, smiling slyly at Sharpless' embarrassment, asks him with great charm.) BUTTERFLY ‘avi ‘ante’nati tutti ‘bene Avi, antenati, tutti bene? Forbears, ancestors, all well?336 ‘Madama Butterfly, Act I, Part 1 SHARPLES (smiling, thanking her) ‘ma’spero BUTTERFLY (making a sign to Suzuki to prepare the pipe) fumate Fumate? Do you smoke? SHARPLES ‘grattsje Grazie. ‘Thank you, (Anxious to explain the reason for his coming, he takes a leter out of his pocket) 2 kwi Ho qui. Thave here, BUTTERFLY (politely interrupting) sippore io ‘vedo il ‘felo. addzuro Signore, io vedo il cielo azzurro. Sir, T see the sky blue. (After taking a puff of the pipe that Sucuki has given her, she offers i to the Consul.) SHARPLESS (refusing) ‘grattsje Grazie. ‘Thank you, (He tries once again to resume the conversation.) Ho.. Thave. BUTTERFLY (She puts down the pipe and says eagerly) preferite forse le sigaette amerikane Preferite forse Te sigarette _americane? You prefer pethaps the cigarettes. American? (She offers him a cigarette and he takes one, thanking her.) SHARPLESS ‘ma ‘gratisie Ma... grazie, Well, thank you, (He rises and tries to go on with the conversation)‘Madama Butterfly, Act Il, Part 1 337 oda mostrarv Hoda —_mostrarvi.. Thaveto show you. BUTTERFLY (offering him a lighted match) Avoi. Here. SHARPLESS (lighting his cigarette, but then putting it down at once, and holding out the letter, sitting ‘on the stool) mi ‘skrisse —‘bendsamin franklin ‘pinkerton Mi serisse Benjamin Franklin Pinkerto Me wrote Benjamin Franklin Pinkerton. (Benjamin Franklin Pinkerton wrote to me...) BUTTERFLY (eagerly) dawern e insalue Davvero! salute? Really! Is he in good health? SHARPLES perfeta Perfetta, Perfect. BUTTERFLY (rising. very happy) io son la ‘donna pj ‘Yjeta del dsaippone To son fa donna pid lieta del Giappone. \ Tam the woman most happy in Japan. pote fare’. = ‘una dsimanda Potrei —farvi uma domands? Couldl —askyou a question? SHARPLESS jer Certo. Certainly BUTTERFLY ‘wands fanno il or ‘nido in amerika i ——_—pettiross Quando fanno illor nido im = America it pettirossi When make their nest. in America the _robins? SHARPLES (amazed) ‘kome ‘ddite Come dite? ‘What did you say? BUTTERFLY si prima. =o dopo di kwi Si. prima 0 — dopo di qui earlier or later than here?338 ‘Madama Butterfly, Act Il, Part 1 SHARPLESS ma perke Ma.. perché? But... why? BUTTERFLY mio marito ma promesso di ritornar ‘nella stadsom —be'ata ‘Mio marito — m'ha Promesso di ritornar nella stagion —_beata My husband mehas promised to retum —_—intheseason_ blissful ke il pettivosso rifa la nidjata che il pettirosso rif Ia nidiata, inwhich the robin remakes his nest. kwi ta rifata —perben tre volte Qui Tha rifatta —perben tre _yolte, Here ithehas remade —_‘fullwell__ three times, ma pwo'dari ke dil ma puddarsi che ila but it could be that over there (Here the robin has remade his nest full well three times, but it could be that over there) wai nidjar men ‘spesso usi nidiar men _spesso. itis accustomed to nesting less _ often, (Goro, who has been eavesdropping, lets out a laugh.) Ki tride Chirride? ‘Who's laughing? (She sees Goro) > Ye il nakado Oh, ce il nakodo!? Oh, it's the nakodo! (Oh, its the marriage broker!) (ofly, to Sharpless) un wom kattivo Un wom cattivo. A man bad. ° The Japanese natoudo is a"match-maker" or "go-between.” The nakoudo sill serve as marriage brokers in ‘modern-day Japan by arranging meetings called miai between potential spouses (such as the one taking place here ‘between Yamadori and Butterfly), Apart from the parents ofthe bride and groom, only the nakoudo is present atthe actual wedding ceremony.‘Madama Butterfly, Act I, Part 1 GORO (obsequiously, bowing) ‘godo Godo.. Tm delighted, BUTTERBLY (io Goro) ‘sitto Zitto! Quiet! (She turns to Sharpless.) ‘ehki_ 94 no ‘prima —rispondete ‘alla Egli os... No, prima rispondete alla He dared... No, first answer (to) the (He dared to... No, first answer my question.) SHARPLESS (embarrassed) miriqlreffe ma ippors non 9 studjato Mirineresce, ma ignoro. Non ho _studiato Tm sorry, but Idon't know. Not have I studied (I'm sorry but I don't know. I haven't studied ornithology.) BUTTERFLY Orni..? Omi... SHARPLESS tolodsia -tologia. thology. BUTTERFLY non Io sa'pete somma Non losapete_insomma? You don't know it, in short? SHARPLESS (tying to return to the subject) no ditfevam> No... Dicevamo... No... We were saying. BUTTERFLY (interrupting him, following her own idea) a ssi goro appena = bi_ef_—_pinkerton Ah, si Gore, appena-B.F—_—Pinkerton Ah, yes, Goro, nosooner B. F. Pinkerton mi ‘venne ad asse'djare kon Yfarle =e mi venne —ad_—assediare con ciarle =e me hecame to besiege with chatter. and (he came to besiege me with chatter and with presents) dimanda mia dimanda mia. ‘question mine. omitoladsia ornitologia... ‘omithology. im ‘mare in mare at sea preenti presenti presents340 ‘Madama Butterfly, Act Il, Part 1 per ridarmi ‘ora ‘kwesto. —or-—-kwel_ matt per ridarmi ora questo or quel_marito. to givemeagain now this. or that husband. or promette tezori_=— per ‘uno _ffimuinito Or promette tesori per uno seimunito, Now he promises treasures for a fool GORO (Intervening, o justify himself, he enters the room and addresses Sharpless.) il ikko jamadsri ‘ella’ © povera in'kanna Ml ricco Yamadori, Ella @ poverain canna, ‘The rich Yamadori. She is extremely poor: iswoi —parenti lan ‘wt rinne’gata Isuoi —parenti—’ham tutti rinnegata. Her relatives herhave all rejected. (Beyond the terrace Prince Yamador’ is seen arriving in a sedan chair, surrounded by servants. Butterfly ‘sees Yamadori and points him out to Sharpless.) BUTTERFLY ‘ekkols—attenti Ecol. _Attenti, Here he is. Watch. (Yamadori enters with great pomp, bows to Butterfly and then greets the Consul. Goro, very servile, brings a stool for Yamadori and is everywhere during the conversation. Yamadori and Sharpless sit down) BUTTERFLY (1o Yamadori) Jamadori aor le ‘pene dellamor nom van detuzo Yamadori, ancor le pene dell'amor non v'han ——_deluso? ‘Yamadori, still the sufferings oflove not youhave disappointed? (Yamadori, stil the sufferings of love haven't disappointed you?) vitaKfate ayfkor —le'vene—se_il mio batfo vi rikuzo Vitagliate ancor —levene_—se_il mio bacio, virricuso? Will you cut still yourveins if my _ kiss I refuse you? Will you still cut your veins iI refuse you my kiss?) YAMADORI (io Sharpless) tra, le ‘koze piu moleste © —Finutil, «= sospirar Tra Te cose pid moleste =~ Finutil_—_sospirar. Among the things. most troubling isthe useless sighing. BUTTERFLY (with charming malice) ‘tante ‘mokki oma totKeste vi doveste. —abitvar Tante ——mogli oma toglieste, vi doveste—_abituar. Somany wives bynow —_you'vetaken, you should have become accustomed. YAMADORI Ip spozate tute kwante_ =e —il’_—divartsjo.— mi fragko L'ho sposate tuttequante, e ~—il_—divorzio.-—mi_francd. Tve married everyone ofthem, and the divorce me _ freed.‘Madama Butterfly, Act Il, Part 1 BUTTERFLY Obbligata. Much obliged. YAMADORI a voi pero dgurerei ‘ede kostante A voi perd giurerei fede costante. To you however, Iwouldswear faith constant. SHARPLESS (Sighing, he puts his leter back in his pocket.) il me’ssaddso 9 gram paura a trazmetter non riesko (1 messaggio, ho gran paura, a trasmetter non riesco.) (The message, I'm greatly afraid, _todeliver Iwont succeed.) (Tm greatly afraid that I won't succeed in delivering the message.) GORO (with emphasis, pointing out Yamadori to Sharpless) ville ‘servi ‘oo ad omara um pailatisn _printfipesko Ville, servi, oro, ad Omara_— un palazzo _principesco Villas,servants, gold, at Omara a _—palace-—_ princely. (Yamadori has villas, servants, gold and a princely palace in Omara,) BUTTERFLY (with seriousness) da legata ©) lamia fede Gia legata = slamia. fede. Already bound = is-—my faithfulness. (My faith is already bound to someone else.) GORO, YAMADORI (to Sharpless) maritata —agjkor si rede Maritata ancor si rede. Married still herself’ _ she believes. (She still believes herself to be married.) BUTTERFLY (rising abrupily) non mi kredo ‘sono Sono Non micredo, sono, sono. don't believe, Tam, I'am. GoRO ma la teddge Ma la legge. But the law. BUTTERFLY i> mon a Io non la $0. 1 dont it _ know. (don't know that law.)342 Madama Butterfly, Act I, Part 1 GoRO per la ‘mosKe ——_labbanidono al divortsjo —_ekwipa'ro Per Ia moglie —‘'abbandono = al_—divorzio.—_equipard. For the wife abandonment to _—_ divorce. _is equivalent. (For the wife, abandonment is equivalent to divorce.) BUTTERFLY (briskly shaking her head) la Teddse ——-dsapponeze non dsa del mio pateze La legge glapponese... non gid del_-mio_paese. The law Japanese. not so of my country (Maybe in Japanese law...not so in the law of my country.) GORO ‘kwale Quale? Which? (Which country?) BUTTERFLY ‘SHARPLESS 2 limfelitfe (Ob, Tinfelicet) (Oh, the unfortunate girl!) BUTTERFLY (very nervous, becoming heated) sisa ke aprir la porta Sisa che —aprir la porta Itsknown that opening the door © la ‘mokke ~—kalttfar per Ia pju'korta © Ia moglie—cacciar__—_per lait corta and the wife drive out in the curtest way kwi divortjar si itfe qui divorziar si dice. here divorce is. called (ts known that divorce here in Japan means opening the door and unceremoniously driving out the wife.) ma in amerika ‘kwesto. nom si pwo Ma in America questo —_non si pud. But in America this ceannot be done. (to the Consul) ‘vero Vero? True?‘Madama Butterfly, Act Il, Part 1 SHARPLES (embarrassed) ‘vero Veron. True. However. BUTTERFLY (interrupting him, and turning triumphantly 10 Goro and Yamador!) la um ‘bravo ‘dsuditfe—‘serjo impettito ‘ditfe al_—-matrits La un bravo —giudice —_serio, impettito dice al marito: There a fine judge serious, dignified, says to the husband: lei ywol anidarsene senitjam —_perke "Lei vuol andarsene, sentiam —_perché..."” "You wish togoaway, let's hear — why..." ‘sono sekkato —del__konjutgata "Sono seceato—del_coniugato!" "Tm bored with married life!" € il madsistrato maskaltsone ‘presto E il magistrato: "Ah, mascatzone, presto ‘And the magistrate: "Ah, rascal, "quickly to prison!” sutddzuki Suzuki, ‘Suzuki, YAMADORI udiste Udiste? Did you hear? SHARPLES mi rattrista ‘una si pjena—fetfita Mi rattrista una si plena ——cecit. Tm saddened (by) such a complete blindness. GORO (cofily to Sharpless and Yamadori) senpatata ec dsa la ‘nave di pinkerton Segnalata @ gia Ia mave di Pinkerton. Reported is already the ship of Pinkerton, (The arrival of Pinkerton's ship has already been reported.) YAMADORI (desperately) kwandessa lo riveda Quand’essa lo riveda.. When she him sees again (When she sees him again...) SHARPLES (10 Goro and Yamadori) ‘eKsi_ nom vwol_mostrarsi Egli_ non vuol mostrarsi. He doesn't wish to show himself344 ‘Madama Butterfly, Act I, Part 1 ‘venni aippunto per _le'varla dixjganno Jo venni appunto per _levarla d'ingann came precisely to _undeceive her. BUTTERFLY (gracefully, serving Sharpless a cup of tea) ‘vostra = gratisja—_permette Vostra Grazia —_permette... Your Grace permits (me). (pointing to the other two) ke persone —_moleste Che persone _moleste! What persons bothersome! (She offers tea to Yamadori, who refuses.) YAMADORI (He rises, sighing, and bows to Butterfly, puting his hand over his heart, addio vi “laff il kwor pjen di kordakko Addi. Vi lascio il euor_pien di cordoglio: Good-bye. Toyou leave. my heart full of sorrow: ma ‘spero ma spero but Thope stil. BUTTERFLY paidrone Padrone:* Master. YAMADORI (He starts to leave, then turns once more.) ase voleste Ah! se voleste... ‘Ab! If you wanted... BUTTERFLY il gwajp eke nom VokKo Tl guaio = @ che non__voglio.. ‘The touble is that I don't want. (Yamadori sighs again, then says good-bye to Sharpless and goes off with his servants, while Goro follows him eagerly. Sharpless assumes a serious demeanor, and with great respect and not without a certain emotion, invites Butterfly to sit down, and once again takes the etter out of his pocket,) SHARPLESS ‘ora a nnoi sedete — kwi Ora a noi. Sedete qui. Now toour business, Sit here. “The implication here is, you're the master of your actions: do as you wil,Madama Butterfly, Act I, Part 1 34s eddser kom me volete —‘kwesta.~—_ettera Leger con me volete—questa_—_—etter Read with me do you wish this letter? (Do you wish to read this letter with me?) BUTTERFLY (taking and kissing the leter) ‘date ‘sulla "bokka sul wore Date. Sulla bocea, sul ‘cuore... Giveittome. Onmy mouth, onmy —_heart, sjete Iwoms ——milfore del ‘mondo Siete Y'uomo miglore del mondo. Youre theman—_ best. ofthe world. (You're the best man in the world.) (She gives back the letter and listens with utmost attention.) inkomintfate Incomin Begin, SHARPLESS (reading) amiko —— tferke'rete kwel_ bel for di fantfulla "Amico, cercherete quel bel Sor di fanciulla." "Friend, —youmustseek out that beautiful flower ofa girl.” BUTTERFLY (interrupting him, with joy) ‘aitfe propria koizi ice proprio Does he say really SHARPLES si koa Wife ma se ad ‘onpi_ momento Sl, cos dice, ma se ad ogni momento... Yes, so hesays, but if, at_—_ every moment. BUTTERFLY (becoming calm again) ‘atta tattf> piu nulla Taccio, taccio, pit nulla, Mihkeep quiet, Til keep quiet, nothing more. (keep very quiet, won't say another word.) SHARPLESS da kwel tempo felitfe tre. anni. som _pa'ssati "Da quel tempo felice, tre anni_son passat." "Since that time happy, three years have passed." BUTTERFLY (unable to contain herself) ‘anke lui tia konitath Anche ui_i_—ha__contatil ‘Also he them has counted! (He also has counted the years.)346 ‘Madama Butterfly, Act, Part 1 SHARPLES e ‘forse botterflai_ nom mi rammenta pju ae forse Butterfly non mi rammenta pit “wand ‘perhaps Butterfly not me remembers any longer..." BUTTERFLY (surprised) non Ip ramments suddzuki ‘illo wy Non lorammento? Suzuki, _dillo tu. Tdon't remember him? Suzuki, you tell him. ‘nom mi ra’mmenta piu "Non mi rammema pit" "Doesn't remember me any longer"! SHARPLESS (io himsel) pattsjentsa (Pazienza!) (Patience!) (He continues to read.) se mivwol'bene —arfkor_—se.——maspetta "Se mivuol bene ancor, se maspettau."" "If shelovesme still, if she's waiting for me.” BUTTERFLY (Very moved, she takes the letter and kisses it) 2 le doltfi parole = tu—_beneldetta Oh le — dolei parole! Tu_benedetta! Oh the sweet words! You blessed (letter)! ‘SHARPLES (He fates back the leter and continues to read) a woi mi rakkomando "A voi miraccomando "On you Iam relying Perke voiKfate kon firkospettsjone _prepatrarla Perche _vogliate con _circospezione _prepararlé sothat —youcan with tact BUTTERFLY (eager and radiant) ritorna Ritorna... He's retuming.. SHARPLESS al kolpo, ual — copa." "for the blow...” BUTTERFLY (jumping with joy and clapping her hands) ‘kwands presto. presi Quando? Presto! Presto! When? Soon! Soon!‘Madama Buterfly, Act Il, Part 1 SHARPLESS (Resigned, he folds the leter and puts it back in his pocket) benone wi trogjkarla Komvjene kwel ‘djavalo dum ‘pinkertan (Benone. Qui troncarla_conviene... Quel diavolo —_d'un_Pinkerton!) (Splendid. Here to break off is best... that devil ofa Pinkerton!) ebbene ke fareste maidama _botterflai Ebbene, che _fareste Madama Butterfly Allright, what would youdo Madame Buterfly sei non dovesse —ritornar_ —pju__mmai s'ei mon dovesse ritornar pitt mai? ifhe not should retwm = ever again? BUTTERFLY (Motionless, as i mortaly stricken, she bows her head and says with child-like ‘submission: due ‘koze powei far Due cose potrei fa Two things could do: tornar a divertir ‘dsente kal kanitar tornar divertir gente col cantar... goback to amusing the people —with singing. oppur = meXk>_——matrire oppur.. meglio... morire. orelse.. better... die SHARPLES (Greatly moved, he paces up and down, then going to Butterfly, takes her hands and tells ‘her with paternal tenderness’) \ distrapparvi —a'ssai mi ‘Kosta dal miraddsi_ingannattori Di strappa assai mi costa dai miraggi ingannatori. Totear you away much me itcosts fromthe —mirages deceiving. (its hard for me to tear you away from your deceiving dreams.) akkoXéete la propostadi_—-kwell tikka jamatdori Accogliete la proposta di quel ricco Yamadori. Accept the proposal ofthat rich Yamadori BUTTERFLY voi voi sipnor voi Voi... voi signor... mi dite Voi? You... you, sir. you tell me You? SHARPLESS (embarrassed) ‘santa dio ‘kome ssi ffa Santo Dio, come si fa? Holy God, What is to be done? BUTTERFLY (She claps her hands and Sucuki runs in.) wi suiddzuki presto. = ‘presto. «= ke = sua ‘graltsja_— se ne va Qui, Suzuki, presto, presto, che. Sua Grazia se neva. Here, Suzuki, quickly, quickly, since His Grace _is leaving.348 ‘Madama Butterfly, Act Il, Part 1 SHARPLESS (starting to leave) mi skatifate Miscacciate? ‘You drive me away? BUTTERFLY (Repentant, she runs to Sharpless and, sobbing, holds him back) vene'pregs —dsalinsistere nom vale ‘Vene prego, gid insistere non vale. Please, insisting is of no use. SHARPLESS (apologizing) fui brutale non Io nego Fui brutale, nom lonego. Iwas brutal, don't deny it. BUTTERFLY (sorrowfully, placing her hand over her heart) > mi fate ‘tanto ‘male ‘tant ‘male ‘tants ‘Oh, mi fate tanto male, tanto ‘male, tanto! ‘Oh, you cause me somuch pain, somuch pain, so much! (Buiterfly staggers, Sharpless starts to support her, but she controls herself at once.) ‘njente ‘nee == reduto moti Niente, niente! Ho ereduto.—morir. Nothing, nothing! Thad thought I was dying. ma ‘passa presto. ‘kome ‘ppassan. le ‘nuvole. = sul ‘mare Ma passa presto. come passan = le. nuvole—sul_mare, But itpasses quickly as_—pass the clouds over. the sea. ama skordata Abt m'ha scordata? Ah! He's forgotten me? (She runs inside and re-enters triumphantly carrying her child seated on her shoulder, and shows him to Sharpless, prouily.) © kwesta efi potra ‘pure skordare E — questo?... Egli potra pure scordare? And this?... He —willbeable also to forget? (She puts the child down and holds him tightly to herself) SHARPLES ‘eshi ec seu Egli @ He is BUTTERFLY (indicating one by one) Ki Vide ‘mai a bimbo del dsuppon oki addzurini Chi vide mai a bimbo del. Giappon —_occhi_ azzurrini? Who saw ever in achild of Japan eyes blue?Madama Butterfly, Act Il, Part 1 e taboo ei E labbro? Ei And the lips? ‘And the SHARPLESS (more and more moved) © ppaleze ‘pinkerton EB pales. = E—_-Pinkerton Its obvious. And Pinkerton BUTTERFLY m © ‘nats kwanide No E ato quand’egli No. Hewas born when he sityfotini rieciol Title curls I ssa losa? knows it? ‘tava in stava in ‘dora adoro of gold wel suo quel suo that his 349 ‘skjeto schietto? pure? ‘gram pateze ‘gran paese. ‘reat country, (No. He was bom when Pinkerton was in that great country of is.) ma woi Aiskriverete ke laspetia um ik ‘sentsa pari Ma voi... gliscriverete che 'aspetia. un figlio senza pa But you... will write tohim that him awaits a son without equal! (But you will write to him that a son without equal awaits him.) © mi saprete dir sei non saffretta Emi saprete dir s'ei_ non s'affretta And me youcan tell ifhe doesnt hurry (And then you can tell me if he doesn't hurry) per le tere © pei per le terre e pei ‘over the lands and over the \ (placing the child in a siting position on the pillow and kneeling next to him, then indicating Sharpless) sai kozebbe wore = di_—pensare—_kwel_-sinpore Sai cos'ebbe cuore di_—pensare quel. signore? Youknow whathehad theheart to think, that gentleman? ke tua ‘madre == dora. prenderti_ im ‘rattfo Che tua madre dovra—prenderte in braccio That your mother should take you in. (her) arms ed ‘alla ‘pjoddsa =e = al Vento.andar = per Ia tfita ed pioggia = al ventoandar =—per_ Ia cittd and inthe rain and inthe wind goabout inthe city 2 gwadappati il 'pane © —il_—_vestimento 4 guadagnarti —il_—spame e —il_vestimento. to eam for you the bread and the — clothing. ed ‘alle impjetozite ‘dsenti = la_—sman_te'mante _stende'ra Ed alle impietosite genti, Ia man tremante _stendera, And tothe pitying people, the ‘hand trembling she will extend,350 ‘Madama Butterfly, Aet Il, Part 1 gridands —utdite la ‘triste mia _kantson gridando: Udite la triste.- mia crying out: "Hear the sad my (Crying out: "Hear my sad song") a unimfetitfe ‘madre la_—sikarita = mwolvetevi a pjeta A un'infelice madre Ia carita, —muovetevi_ a_pileta! "For anunhappy mother, (the) charity, bemoved to pity!” © botterflai dantse'ra per te E Butterfly, danzeri per te! ‘And Butterfly, horrible will dance for youl © ‘kome —fetfe ‘gefa kante'ra E come fece Ghescia _canterat And as shedid once, the Geisha will sing! © la kanitson—dsuliva «eet in un__sigfgjottsofinira Eta camzon gull € — lieta in un singhiozzo finirat ‘And the song memy and happyin a sob will end! (She falls on her knees before Sharpless.) @ oma n> ‘kwesto mal Ah no!...mo questo m ‘Ah Nol...No, this never! “kwesto —mestjer. ke al dizonore ‘porta, Questo mestier che al_—disonore _porta! This profession that to dishonor leads! mai pju dantsar ‘Mai pit danzar! Never again to dance! lami ‘vita vo a morta Jamia vita _ vo" Ah! Morta! my life ri ‘Ah! Dead! SHARPLESS (unable 10 restrain his tears) "kwanta (Quanta (What apity!) io fends al pjana—smiperdsinate To seendo —al_— piano. Miperdonate? TH godown tothe plain. Do you forgive me? (Butterfly stands up and, with a polite gesture, gives Sharpless her hand. He clasps her hands with emotion)Madama Butterfly, Act Il, Part 1 351 BUTTERFLY (10 the child) atte Waki amano Ate dagli la mano. Here, givehim your hand. SHARPLESS (kissing the child) i bei Kapelli—‘bjondi_ karo. ‘kome ti ‘kjamano 1 bel capelli _biondit Caro, come ti chiamano? The lovely hair blond! Dear, what is your name? BUTTERFLY rispondi—‘oddyi ilmio nome e—ddotlore Rispondi: Oggi ilmio nome &—_—Dolore.* ‘Answer: Today my name is Sorrow pero ‘dite al ‘bab skrivendosi Pero dite al babbo, _scrivendogli, However, tell the father, writing him, (However, when you write my father, tell him) ke il ‘domo del suo ritoma ——dgaja mi kjame'ro che il giorno del suo_ritorno ioia mi chiamerd. that on the day of his retum, Joy Ibe called. SHARPLESS tus ‘padre Io sapra te lo prometto Tuo padre losapra, telo prometto. Your father willl know about it, promise you. (Sharpless greets Butterfly and leaves.) SUZUKI (from outside, shouting) vespa. —rosp>,—=—smaletdetto Vespa! —-Rospo—_maledetto! Wasp, toad accursed! (She enters, dragging Goro violently.) BUTTERFLY ke fu Che fu? What was it? SUZUKI Yfirondza intomo il vamipir> ronzaintorno —il_—_vampiro! He's buzzing around us, the vampire! “The author ofthe original story John Luther Long, gave the child the name Trouble. The Italian libretists ‘chose the word dofore, which translates into English as sorrow, pain ot grief352 Madama Butterfly, Act I, Part 1 © ‘omni ‘dyomo ai kwattra ‘venti spardsendo va © ogni giorno quattro venti spargendo va ‘And every day to the four winds he spreads the word ke ‘juno sak padre al bimbo sia che niuno sa chi padreal bimbo sia that noone knows who (the) father of the boy is! GORO ditfevo ‘solo ke lain amerika Dicevo.. solo..che Ia in Ameri was saying. cnly...that there in America ‘kwands um fifolo. = © ~—‘nato_maleldetto quando un figliolo —@ ~—nato._maledetto when a boychild is. bo accursed, ara ‘sempre rejett> la. vita_ fra Te ‘dyenti trarra sempre reietto. © Ia vita_ fra le genti. hellllead always outcast. his life among the _people. he will always lead the life of an outcast among the people.) BUTTERFLY (in a rage, running to get her ritual suicide knife) aw iment ‘menti ‘illo arjkora’ =e =—_tfido Ah! tu — menti, Dillo ancora e _t'uecido! ‘Ab! Youre lying, Say it again and Tilkill you! (She seizes Goro, who falls to the ground, and threatens to kill him. SUZUKI (coming between them) Goro screams.) (Frightened by the scene, she takes the child away into the other room.) BUTTERFLY (overcome with disgust, o Goro) Vavis Go away! (Goro runs away. Butterfly replaces the knife, and thinking of her child, exclaims:) vedrai pikkolo amor == mia. ‘pena mio. onforto Vedrai, piccolo amor, —mia_pena =e -_—mio’_conforto, Youll see, litle love, my. sorow and my comfort, mio ikkslb amor == aa_—vedrai._—=—ke il wo. vendikator mio piccolo amor, ah! vedrai_— che _iltuo vendicator my litle love, ah! Youll see that your avenger Yi portera —lontanp—ontan ‘nella sua terra ci porter. lontano,—lontan, nella. sun _ terra us willtake faraway, faraway, to his country‘Madama Butterfly, Act Il, Part 1 353 (Acannon shot is heard) SUZUKI (entering breathlessly) il kanmone del ‘porta Tl cannone del porto! ‘The cannon _of the port! (She runs towards the terrace with Butterfly following her.) una ‘nave da ‘gwerra Una nave da guerra. A ship of war. (A warship) BUTTERFLY il vessilo—amerikano ‘delle ‘stelle il vessillo —_americano delle stelle the flag ‘American with the stars, (A white ship... and the American flag withthe stars...) or governa per ankstrare Or — governa per ancorare. Now itsmaneuvering to drop anchor. (She takes a spyglass from the table and runs onto the terrace. Trembling, she turns the spyglass towards ‘the port and says to Suzuki:) reddsimi la ‘mano kio ne diffema il ‘nome Reggimi la mano ch'io ne discerna il nome. Support. my hand sothat! of it, canmake out the name. (Support my hand so that I can make out the ship's name.) ‘ekkolo arama —_“igkoin Ecole: Abramo Lincoln! ‘There itis: Abraham Lincoln! (She gives the spygiass to Suzuki and comes back into the room, in the grip of great excitement.) ‘wti_am —mentity tutti. sol in Ib sapevo Tutti han mentito! tutti! sol io lo._—_sapevo.. All have lied! All! Only 1 it knew. sol io ke amo sol io che amo. only I who love him. ‘vedi Jo ffimutnito tuo ‘dubbjo Vedi Jo scimunito tuo dubbio? Yousee the foolish your doubt? (You see this foolish doubt of yours?) © ‘ddsunto © —“ddgunto EB giuntot = 8 giuntot He's come! he's come!384 ‘Madama Buterfly, Act Il, Part 1 ‘proprio nel punto = ke opmun—dtfeva Proprio nel punto che ognun—diceva: Just atthe point when everyone was saying: ‘piandsi = dispera = rvomfa il mio. amor piangi = € ~—dispera.—Trionfa_—ilmio. amor! ‘weep and despair. Triumphs my love! lamia fe triomfa—intera = ei toma © ‘mmama Lamia trionfa—intera: Ei forma © m‘ama! My faith triumphs completely: He's returning, and _ he loves me! (She jubilantly runs into the garden, saying to Suzuki:) ‘skwoti ‘kwella.fronda_=di'_—_fijedso Scuoti quella fronda_— di Shake that branch of cherry tree © minnonda di fjor © m'innonda di flor. and batheme in flowers is vo wuffar ‘nella ‘pjoddsa_—odoroza_—larsa. fronte To vo! tuffar nella pioggia —odorosa_—_'arsa fronte. 1 want toplunge intothe rain perfumed — my buming brow. (Lwant to plunge my burning brow into the perfumed rain of cherry blossoms.) (sobbing in her tenderness) SUZUKI (calming her) sinnora — kwetatevi wel pjanto Signora, quetatevi.. quel pianto... Madame, calm yourself... that weeping. BUTTERFLY n> ‘ido ‘rido "wants Io do'vrema aspettar No: rido, rido! Quanto lo dovremo aspettar’ No: I'm laughing, I'm laughing! How long__will we have to wait for him? ke ‘pensi nora Che _pensi? Un'ora? What do you think? An hour? SUZUKI dipiu Dipia. More. BUTTERFLY (moving about in the room) due ore forse Due ore forse. ‘Two hours perhaps.‘Madama Butterfly, Act Il, Part 1 tutto ‘tutta pien di for Tutto. tutto sia pien di fior, Everything, everything be full of flowers, ‘kome la notte © = di_—faville come Ia notte @ di faville, asthe night is of sparks. 355 (Let everything be full of flowers, just as the night is full of sparkling stars.) va pei for Va pei fior. Go forthe flowers, SUZUKI tute i Tutti for All the flowers? BUTTERFLY tutti i for tut esko —vjola Tutti i fior.. tutti. pesca, viola, All) the flowers... all each, violet, ‘kwanto di esp), =o derba quanto di cespo oder anything (that) of bush or grass (anything that has bloomed on bush, grass or tee.) SUZUKI ‘uno skwalllor — dinjvema sara ‘tutta il Uno squalor —d'inverno sari tutto il A squalor of winter willbe all the (The garden will have a look of wintry squalor.) BUTTERFLY ‘tutta la primavera vokfo ke oleddzi Tutta la primavera voglio che _olezzi All of springtime want that _ smells (Lwant it to smell like springtime in here, ) dselsomin gelsomin, Jasmin, 2 dalbers fori © d'albero fori. or oftree has bloomed a dsardin giardin, garden, wi qui. here. SUZUKI (appearing on the terrace and holding out a bunch of flowers and branches) avwoi — sippora Avoi, —signora, Here, madame. BUTTERFLY (taking the bunch) kkoKsine arjkora Cogline ancora. Pick some more, (Butterfly strews the flowers in the room as Suzuki goes back into the garden.)356 ‘Madama Butterfly, Act Il, Part 1 SUZUKI soventi a ‘kwesta—‘sjepe veniste a rigwardare Soventi @ questa. -—_siepe veniste a riguardare Often to this hedge youcame to ‘look ‘lundsi ——_pjanidsendo ‘nella deveta —_ immensita lungi, —piangendo nella deserta —_immensita. faraway, weeping inthe deserted immensity BUTTERFLY ‘dsunse —lattez0 ‘nulla piu ‘keds al. 'mare Giunse —_ratteso, nulla pit chiedo al mare. Has come the awaited man, nothing else ask of the sea, (The awaited man has arrived; 1 ask no more ofthe sea.) ‘diedi ‘piano ‘alla dzolla essa iswoi for mi da Diedi pianto alla _zolla, essa i suoi for mi dat Tgave tears to the earth, it its flowers _ me gives! (Lpoured my tears onto the earth and it gives me back its flowers!) SUZUKI (appearing again with her hands full of flowers) ‘spokéo ee llarta Spoglio & orto. Stripped is the garden, (The garden is stripped.) BUTTERFLY ‘spoko € ‘larta viem majuta Spoglioé l'orto? Vien, m'aiuta. ‘The garden is stripped? Come, —_help me. (Butterfly and Suzuki strew flowers everywhere.) SUZUKI ‘ore al ‘varko ‘della oka Rose al vareo della soglia. Roses atthe opening of the _—_—_threshold. BUTTERFLY, SUZUKI ‘uta Ia primavera ‘voté> ke lleddzi_ wi Tutta Ia primavera voglio che olezi_ = All of springtime I want (it) that smells. here. (L want all of springtime to penetrate this room with its scents.) seminjamo intom> april Seminiamo intorno Letussow around i (Let us sow the month of April around us.) SUZUKI ‘d5icki le Gigli, _viole? Lilies, violets?Madama Buaterfly, Act Il, Part 1 397 BUTTERFLY intoms into ——_‘spandi Intorno, intorno _spandi. Around, around —_spread them. il suo sedi. singirlandi di konyvalvi Hsuo sedi s‘inghirlandi di convolvi His seat begarlanded with morning glories. BUTTERFLY, SUZUKI dsettjam> a’ ‘mani ‘pjene ‘mammal © tuberoze Gettiamo a mani piene mammole © tuberose, Lets throw with hands full sweet violets and _tuberoses, korolle di verbene-—petali_ ~—“doppi_———fjor corolle di__verbene, petali_ = d'ogni_——_fior! corollas of verbenas, petals. of every _flower! BUTTERFLY (10 Suzuki) or 'vjemmi ad adornar_ no pria.‘portami —il’_—tbimbo. Or vienmi ad adornar. No! Pria_portami—il_—_bimbo. Now comeme to —_adom. No! First bringme the baby (Suzuki goes into the next room and brings the child. Butterfly in the meanwhile looks at herself ina little mirror and says sadly:) on som piu ‘kwella Non som pit quella! I'm no longer ‘that girl! + wroppisospiri. «a. tokkn=——manido Troppi_—sospiri_—ta_—bocen mand, Toomany sighs this mouth has emitted, © kkio——rigwarda nel lontan oppo —_fizo © Focchio —riguardd nel lontan troppo —_fiso. and myeyes stared infothe distance 00 fixe (1 Suzuki) dammi sul vizo un tokko di karmino Dammi sul viso un tocco di carmino Giveme on(my) face touch of | carmine (She takes a brush and applies some rouge on her baby's cheeks.) ed ‘anke a te —_pittfino ed anche = a_—te_piecino and also to you little one perke a non i fantfa ote perche = la non ti facci vote sothat the doest you make hollow388 Madama Butterfly, Act il, Part 1 per pallore legate per pallore le gote. with pallor the cheeks. (0 that the vigil doesn't make your cheeks hollow with pallor.) SUZUKI ‘nom vi movete ke vo a rawyjare i katpelli Non vimovete che vho a ravviare i capelli Don't move because Ihave to arrange your hair. BUTTERFLY ke ne dirann & lo tsio ‘bondzo Che ne dirannot E lo rio Bonzo? What will they say to it? And the uncle Bonze? da del mio ‘danno tutti kontenti Gia del mio danno tutti Already of my trouble all (All pleased already with my troubles!...) © jamadari koi swoi_ lanigwori E — Yamadori coi suoi ‘And Yamadori with his beffati —skornati spernnati Ki injgrati Beffati, scornati, _effati, __spennati ali ‘Mocked, ridiculed, mocked, plucked clean, the _ingrates! SUZUKI (having finished her combing) e fatto E fatto. It's done. BUTTERFLY ‘obi ke vesti da ‘spoza. ka kia Io ‘vesta Liobi che vestii da sposa. Qua... ch'io lo vesta. ‘The obi that wore as (a) bride. Here... I want to wear it (hile Buterly pus on he garment, Suzuki dresses the child in a large garment with many folds) vo ke mi'veda infdass>.—il_—svel_ del primo di Vo! che miveda indossoil_—svel_- del primo di. Iwant that -heseesme dressedin the veil ofthe first day. (G0 Suzuki, who has finished dressing the child) © um papavero ‘rosso nei kaipell E un papavero rosso nei capelli.. ‘And a poppy red _inmy hair. (Suzuki puts the flower in her hair.)Madama Butterfly, Aet Il, Part 1 359 ko’ Cosi, Like that (With childish grace she motions to Suzuki to close the shoji.) inello ‘fori or tre forelini per rigwardar Nello shosi or tre forellini per riguardar, Inthe shoji now we'llmake three little holes to look out, © starem —tsitti‘Kome topolini ad aspe'ttar © starem ——zitti_ come topolini ad _—_aspettar. and welllbe quiet as littlemice to wait (Buiterfly takes the child to the shoji, in which she makes three holes, a high one for herself, a lower one for Suzuki and the third, still lower, for the baby, whom she seats on a pillow, motioning to him to look carefully through the hole prepared for him. Suzuki and the child, after awhile, also fall asleep, while offstage the humming chorus is heard. Night has fallen and the rays of the moon illuminate the shoji from outside. Butterfly remains motionless, rigid as a statue) END OF ACT Il, PART ONE360 ‘Madama Butterfly, Act I, Part 2 ACT IL, PART TWO. Inside the house (The anguished night passes. From the harbor at the bottom of the hill are heard various noises and the distant voices of sailors. As the curtain rises itis already dawn. Butterfly is still peering out.) VOICES OF SAILORS (from the bay, in the distance) pe oe ‘Ohh! Oh eh! SUZUKI (waking up with a start) a il “sole {fo tfo san Gia il sole... Cio-Cio-San... Already the sun... Cio-Cio-San... BUTTERFLY (She stirs and says confidently:) verra vera vedrai Verri.. —verri vedrai. Hell come... he'll come, you will se. SUZUKI salite a ripo'vare —affranta sete Salite a _—riposare, affranta siete... Goup and rest, exhausted you are (Go up and rest, you are exhausted.) al suo venire Kjame'ro alsuovenire.. vi chiamerd. When he comes... Iwill cll you. BUTTERBLY (beginning to leave with her child in her arms) ‘domi amor mio domi. = sul mio kor Dormi, amor mio, dormi —sul_mio_cor. Sleep, mylove, "sleep on my heart tm sei kon ddio ed ig _kol_- mio. dolor. Tu sei con Dio, ed io col_ mio dolor. You are with God, and T with my — sorrow. a te i rai efi ‘astri dor ‘bimbo mis A te i rai degli astri_ d'or: bo mio, For you the rays ofthe stars of gold: Baby ofmine, sleep! ‘SUZUKI (sally, shaking her head) ‘povera —botterflai Povera Butterfly... Poor Butterfly. (Suzuki kneels before the image of Buddha as a light knock is heard at the front door.) ki ssia Chi sia?.. Who can it be?...Madama Butterfly, Act I, Part 2 (She goes, opens the door and remains greatly surprised to see Sharpless and Pinkerton ) SHARPLESS (motioning to her to make no noise) Sts! Shh! PINKERTON, SHARPLESS Zittat Hush! Hush! (Pinkerton and Sharpless enter carefully on tiptoe.) PINKERTON (solicitously, to Sucuki) non la destar Non Ia destar. Don't her awaken. (Dont wake her up.) SUZUKI ‘era stanka si tant Era stanea _sitanto! She was tired so much! (She was sot Vi ‘Stette ad aspettare tutta la notte kol ‘bimbo Vi stette ad aspettare tutta In notte col bimbo. She remained waiting all the night withthe baby PINKERTON kome sapea Come —_sapea? How did she know? SUZUKI non ‘dgundse © dastre. ‘anni ‘una ‘nave nel porto Non giunge da tre anni una nave nel porto Not (has) arrived in three years a ship in port ke da‘lundse botterflai non ne'skruti —ill_—skolor la._—_banidjera che dalunge Butterfly nonnescruti i’ color,la_—_bandiera. that from afar Butterfly doesn't examine its color, its. flag, (For three years there hasnt been a ship entering port whose color and flag Butterfly hasn't examined from afar.) SHARPLESS (10 Pinkerton) 361362 ‘Madama Butterfly, Act I, Part 2 SUZUKI (about 10 g0) la Kjamo La chiamo... 1M cal her. INKERTON (stopping her) no non aljkor No, non ancor. No, not yet. SUZUKI jer ‘sera ier sera yesterday evening la ‘stantsa—_ voile ‘spartser di hori la stanza vole sparger di fiori. the room she wished to strew with flowers. SHARPLESS (moved) ve lo ‘diss PINKERTON (upsei) ke ‘ppena Che pena! What sadness! (How sad!) SUZUKI (Hearing a noise in the garden, she goes 1o see and exclaims with amazement.) Ki Ye la fwori nel dhardino ‘una ‘donna Chic’ lafuori nel giardino? Una _ donna! Who is outthere inthe garden? A woman! PINKERTON (leading her forward again) tsitta Zita! Hush! SUZUKI (agitated) Ke Ki e Chie Chie Who isshe? Who is she? SHARPLESS (io Pinkerton) ‘mesis —dirle ‘omni koza Meglio dirle ‘ogni cosa... Better _totell her everything. SUZUKI (alarmed) ae Koo Chi Chi & Who isshe? Who is she?‘Madama Butterfly, Act Il, Part 2 PINKERTON (embarrassed) © wenuta kom» me E venuta con me. She came with me, SUZUKI Kisise Kanive Chi #® Chi & Who is she? Who is she? SHARPLESS (deliberately) © sua ‘mokke sua moglie. She's his wife SUZUKI (Stunned, she raises her arms to heaven, then falls to the ground on her knees.) ‘anime ‘ante ‘dekti ‘avi Anime ante degli a Souls sainted of the ancestors! (Sainted souls ofthe ancestors!) ‘alla pitfina se ‘spento.—il_—sol Alla piccina —s'@spento—il’_—soll | Forthe littleone thas gone out the sun! | (The sun has gone out for the little one!) SHARPLESS (calming Sucuki and helping her off the ground) JeXfemm kwestora mattutina per ritrovarti ‘sola suiddzuki scegliemmo quest'ora — mattutina per ritrovarti sola, Suzuki, : Wechose thishour early moming to _findyou alone, Suzuki, (We chose this early moming hour so that we could find you alone, Suzuki,) ‘alla gram ‘provaun auto un sosteppo —tferkar kan te ¢ alla gran provaun aiuto, un sostegnocerear_— conte. and inthe great trial an aid, some support toseck —in_—_you. {and to seek in you some aid and support in this great tral.) SUZUKI (desolate) ke ‘dsova ke iddgova Che giova? Che giova? | What's the use? Whats the use? SHARPLESS (1o Suzuki) iss ke ‘alle sue ‘pene ‘non {fi ‘sono komforti | To so che alle sue pene non ci sono confor 1 know that for her sufferings there are no ‘comforts! (Lknow that there is no comfort for her suffering.) ma del ‘bimbo —komjvjene assikurar le ‘sonti Ma del bimbo conviene_—assicurar le _sorti But of the baby isbest to guarantee the fate!364 ‘Madama Butterfly, Act I, Part 2 la pjetoza ke entrar non ‘za La pietosa che entrar non osa ‘The pitying woman who enter doesn't dare, matema —‘kura del ‘bimbo a'vra materna cura det bimbo avra. ‘matemal care forthe baby will have. (That pitying woman, who doesn't dare to enter, will provide a mother’s care for the baby.) suvia ‘parla kon ‘kwella pia fe — konldutfila wi parla con quella pia © conducila qui... speak with that kind woman and bringher here... la ‘Veda botterflai non importa la veda Butterfly, non importa, hher sees Butterfly, itdoesn't matter. (Even if Butterfly sees her, it doesnt matter.) ‘antsi ‘mest se akkorta— del vero Anzi, meglio se accorta.—del_vero Indeed, better if aware of the truth si fatfesse alla. sua ‘Vista si facesse alla sua vista. she became at her sight, (Indeed it would be better if, by seeing her, she becomes aware ofthe truth.) PINKERTON 2 Iamara —fraigrantsa. di kwesti_ for Ob! amara —fragranza di questi —_fior Oh! The bitter fragrance of these flowers velenoza al kor miva velenosa al cor miva. like poison tomy heart goes. immutata © la ‘tantsa_— dei nostri. = amor, Immutata @ a stanza dei_nostri_=—aamor.. Unchanged is the room of our loves. ma un dsl di ‘mote vista ma un gel di morte —_vista. but a chill of death (He sees his own portrait.) ilmio —ritrat> tre ‘ani som__pa'ssati mio ritratto... Tre anni son passati, My portrait... Three years have passed, © noverati na i dsomi core © moverati—n’ha i giorni =e Foret and counted ofthem she has the days and hours! (and she has counted the days and hours in those three years.)Madama Butterfly, Act I, Part 2 SUZUKI 2 me trista © volete ‘kjeda ad ‘una ‘madre ‘Ohmetrista! E —volete chlo chiedaad una madre. Oh, unhappy me! And youwant that Task a mother. ‘anime ——_‘sante ‘deksi avi Anime sante degli avi, Souls sainted of the ancestors, Alla piecina s'@ spento il sol. SHARPLES vjen sufddzuki jen Vien, Suzuki, vient Come, Suzuki, come! SUZUKI (Pushed by Sharpless, she goes into the garden to join Kate Pinkerton.) 2 ‘mme ‘trista on! ime trist Oh! ‘Unhappy me! PINKERTON (Overcome by emotion and unable to contain his tears, he approaches Sharpless and says resolutely:) nom ‘posso —rimaner_-—'farples——_vaspetto per via Non posso rimaner; Sharpless, v'aspetto per via, T cannot stay; Sharpless, 'l wait for you along the way... SHARPLES nom ve la'vevo ‘detto A Non ve l'avevo detto? Didn't I tel you? PINKERTON (giving some money to the Consul) ‘datele voi ‘kwalke —sokkorso.— mi dal rimorso Datele voi qualche soccorso.. Mi dal rimorso. Giveher you some assistance... I'm by remorse. (You give her some assistanes SHARPLES vel 'dissi vi rikorda ‘kwando la mam vi ‘djede Vel dissi... viricorda? Quando la man vi told you... youremember? When her _hand_ she gave you: badate ella {fi rede © fui profeta —_alllor “Badate, ella ci crede” © fui profeta _allor! "Mind you, she believes init” and Twas (a) prophet then! soda ai_—komisiXi_'sorda ai ‘dubbi_——_vilipeza Sorda ai sorda ai dubbi,_vilipesa Deaf to advice,” deaf tothe doubis, insulted (She was deaf to all advice, deaf to her own doubting, insulted by all her relatives)366 ‘Madama Butterfly, Act Il, Part 2 nellostinata atteza —rakkolseil_—kor nel'ostinata —-—attesa_~—raccolse il cor. inthe obstinate waiting _she gathered her heart. (and she gathered her strength in her heart, waiting for you obstinately.) PINKERTON si tutto in un istante is, ‘vedo il Yall mis Si, tutto in un istante io vedo ill fall mio Yes, all in one moment 1 see the wrongdoing mine sents ke di kwesto. torments © —sento che di questo —_tormento and Ifeel that of this torment ‘wegwa mai nan a'vro no tregua —mai_non avr, not peace never not Iwill have, no! (Yes, in one instant I can see my wrongdoing and I feel that I wll never have peace from this torment, no!) SHARPLESS andate il iste ‘vero da ‘sola apprende'ra Andate: il triste vero dasola _apprendera... Go: the sad truth alone she will learn, (Go, she will earn the sad truth alone...) PINKERTON addio —fisrit>. ail di detitsja «=e = dda'mor Adio, fiorito letizia =e d'amor. Good-bye, flowered _refugeof happiness and of love. ‘sempre il ite su sembjante Sempre il mite suo sembiante Always the gentle. —her—‘face kon ‘strattsio — atrstfe vero con strazio —atroce. = vedrw. with torment atrocious I will see. (Lwill always sce her gentle face in atrocious torment.) SHARPLES ma or —kwel kor sintfero.prezago edd, Ma or quel cor sincero —_presago@ git But now that heart sincere foreseeing is already. (But now that sincere heart is already foreseeing what has happened...) PINKERTON addio ——fjorita——azil non tego al tu skwatllor Addio —fiorito asi Nom reggoal tuo squallor Good-bye, flowered refuge... can't stand your squalor! “fuggo Fuggo, Ife,‘Madama Butterfly, Act Il, Part 2 367 (Pinkerton clasps the Consul's hands and leaves rapidly. Suzuki and Kate come in from the garden.) KATE (sweetly, o Suzuki) "Kelo dirai Glielo dirai? You'l tell her? SUZUKI (hanging her head, without relaxing her rigidity) prometto Prometto. I promise KATE e ole daffidarmi E bk @'affidarmi ‘And her to entrust to me?. (And you will advise her to entrust him to me?...) SUZUKI prometio, Prometto. promise. KATE bb tem ‘kome um fikKo Lo terra. come un filo. TH keephim like a son, SUZUKI vi'kredo ma bizonpa —_kio Jesia ‘sola akkantd Vieredo. Mabisogna —ch'io-—=—slesia—sola_accanto.. Thelieve you. Butitsnecessary that !_-—‘be with her alone at her side. nella grande. ‘ora ‘tanto tan Nella grande ora... tanto, tam Inthe great’ hour... alone! Shell weep s0, "so much! BUTTERFLY (calling from the distance) suddzuki ‘dove ssei Suzuki, dove se Sumki, where areyou? SUZUKI son kwi pregava © Fimetteva a'ppastona non fentdete Son qui... pregavo e _rimettevo a posto...No... Non scendete...._ no! Tm here... was praying and tidying up. No... Don't come down...no! BUTTERFLY (entering hastily and freeing herself rom Sucuki, who tries in vain to hold her back) © kwi e€ — kwi dove naskosto EB qui. 2 qui dov' nascosto? Hes here.-he's here. Whee ise hiding? (She sees the Consul.)368 ‘Madama Butterfly, Act 1, Part 2 ‘ekko il konsole Ecco 1 Console. Here's the Consul... (alarmed, looking for Pinkerton) dove en doven.? and... where? (After having looked everywhere, in every corner, in the litte alcove and behind the screen, she looks round in alarm.) non fe Non c'&. Hes not here, (She looks fixedly at Sharpless as she sees Kate in the garden.) ‘kwella ‘donna ke vwol da mme ‘njuno parla Quella donna? Che_vuol dame? Niuno parla! ‘That ‘woman? What does she want from me? Noone speaks. (Sucuki weeps silently.) perke —_pjanidsete Perché _piangete? Why doyou weep? (Sharpless approaches Buiterfly 0 speak to her: she fears she understands and makes herself tiny like a frightened child.) no non ‘ditemi ‘nulla ‘lla No: nonditemi nulla... nulla. No: don't tell me anything... nothing. “forse potrei alder ‘morta sullatimo Forse potrei_ ~—cader morta —_sull'attimo... Pethaps could fall dead ‘on the spot (with affectionate and childish goodness to Suzuki) tw suddzuki ke sei tanto ‘bwona ‘Tu, Suzuki, che sei tanto buona, You, Suzuki, who are $0 good, nom ‘pjandyere mi ywoi tanta bene non piangere, ¢ ‘vuoi tanto bene, dont weep, "and you lave me so, un si un n> dirpjano vive Un si, um no, di piano... vive? A yes, a no, saysofily... is he alive?‘Madama Buterfly, Aet I, Part 2 369 SUZUKI Si Yes. BUTTERFLY (rigid, as if she had received a mortal blow) ma nom'vjene piu te lan ‘detto ma non viene pia, tel'han detto..1 But he'snotcoming anymore, they've told you...) (irritated at Suzuki's silence) espa voKko. =k = tu_—risponda Vespa! Voglio che tu_rispondal Wasp! T want that _-you answer! (You wasp! I want you to answer me!) SUZUKI ‘mai pj Mai pil Never again BUTTERFLY mae ddyunto jeri Ma égiunto eri? But hearrived yesterday? SUZUKI si XK si Yes, BUTTERFLY (Fascinated, she looks at Kate.) a ‘kwella donna’ mi fa ‘tanta patra Ah! Quella donna mi fa tanta paurat Ah! That woman (te) me makes somuch fright! (Ah! That woman frightens me so!) SHARPLESS © la ‘Kawa innatfente ‘doppi'vastra——ffaigura__perdonatele = Ia causa_—innocented'ognivostra_—seiagura. __Perdonatele. She's the cause innocent of your every woe. Forgive her. (She's the innocent cause of all your woe. Forgive her.) BUTTERFLY (finally understanding) a © sua-‘moxke Yul © «= mmorto. perme Ah! @ sua moglie! Tutto @ orto permet ‘Ah! She's his wife! All is dead for me! tuto © ffinito =a Tutto —finito, ah Allis over, ah!370 ‘Madama Butterfly, Act I, Part 2 SHARPLESS ksraddso Coraggio. Courage. BUTTERFLY ‘voksom —‘prendermi ‘tuts il ik mio Voglion _prendermi tutto! TL fighio. mio! ‘They want to take fromme everything! The son mine! (They want to take everything from me! My son!) ‘SHARPLESS ‘fatelo pel suo sakritittsjo Fatelo pel suo bene il sacrifizio... Doit for his good the sacrifice. (Make the sacrifice for his good...) BUTTERFLY a ‘iste ‘madre abbandsinar mio ‘Ah! triste madre! Abbandonar mio Ah! Sad mother! To abandon my (She calms herself) a llui devo obbe'dir A lui devo obbedir! To him Imust obey! (So be it! I must obey Pinkerton’s wish.) KATE (imidly approaching the terrace, without entering the room) potete —_perdo'narmi botter fai Potete __perdonarmi, Butterfly? Canyou forgive me, Butterfly? BUTTERFLY ‘sotto il gram ‘ponte del 'tfelo Sotto il gran ponte del_ cielo Under the great bridge of_—_—heaven nom ve ‘donna di woi_pju_fellitfe non v'e donna di_—voi_ pitt felice. there isn't (a) woman than you more happy. (there isn't a happier woman than you.) ‘sjatelo ‘sempre nom_vattristate per Siatelo sempre, non _v'attristate per Beit always, don't. sadden yourself on account of (Always be happy, and do not be sad on account of me.) KATE (io Sharpless, who has come over to her) ‘povera ——_piltfina Povera _piccina! Poor litle one?Madama Butterfly, Act Il, Part 2 a7 SHARPLES (very moved) © un immensa—pjeta Ban immensapletit Hes a hge pity! KATE el Thoda EM filo lodara? And the son, —_willsbe givehim up? BUTTERFLY (rho has overheard) a Iki Io pot Ware seb vem a ferkare A Wu to potrodare se lo verrh =a cereares To him him Ican give if him hecomes to get. (Lcan give the child to Pinkerton, if he will come to get him.) fra. me'ddzora salle Ja_—_kollina Fra mezzorasalite Ia collina, In ahalfhour climb the hill, (Swcuki accompanies Kate and Sharpless, who leave. Butterfly falls to the ground, weeping. Suzuki Iuarries to her side to help,) SUZUKI (putting a hand over Buterfly's heart) ome ‘una ‘moska—_pridsoinjera ‘ali ‘pate il pikkalo war Come una mosea_—_prigioniera. ali batte il piccolo cuor! Like a fy imprisoned its wings beats the —itlle heart! (Ger litte heart beats its wings like an imprisoned fly!) N (Buterfly gradually recovers. Seeing that itis broad daylight, she frees herself from Suzuki and says:) BUTTERFLY ‘woppa—lulfe © di fwor ‘Tropa tuce @ di fuor, Too much light is outside, © woppa = prima'vera_‘kjudi © — troppa—_ primavera. Chiudi. and toomuch spring. Close up. (ts too bright outside and there is too much spring. Close up.) (Sucuki goes to close the shoji so that the room remains almost in complete darkness, then returns to Butterfly.) il ‘ove ssia 1 ove ia? ‘The baby, where ishe? SUZUKI ‘dswoka Ia ‘kama Giuoea... lo chiamo? He's playing. Shall I all him?an ‘Madama Butterfly, Act I, Part 2 BUTTERFLY Taffelo“dywokar va. affarki_komparpnia Lascialo —giuocar... Va compagnia. Lethim play. Go company. SUZUKI (weeping) ‘resto Kom voi Resto con voi. Tstay with you BUTTERBLY (resoluely, clapping her hands) va vate lo komando Va, va. Telocomando. Go, go. command you. (She makes Sucuki rise and pushes her out through the door, then she lights a lamp in front of the reliquary, and absorbed in sorrowful thoughts remains motionless. She goes to the cabinet, takes a white veil from it, which she throws over the screen. She then takes the knife, which, enclosed in a lacquer cease, is hanging on the wall near the image of Buddha, She grasps it and kisses the blade religiously, ‘holding it in both hands, by the tip and by the hilt. She then reads the words which are engraved on the blade:) kon onor ‘mwore —ki_—snompwo_—_serbar ita kon nore "Con onor muore chi non pud —serbar__—vita_ con _onore.” "With honor dies (he) who cannot keep living with honor.” (She aims the knife at her throat. The door opens and one sees the arm of Suzuki who pushes the baby, towards his mother. The baby enters, with his litle hands upraised. Butterfly drops the knife and rushes ‘towards the child, embracing him and smothering him with kisses ) tu pikkols—iddia amore mio for di sikh edi roa Tu? piccolo —‘Tddio!_~— Amore mio, flor di © di rosa, You? Little god! My love, flowerof and of rose. non saperlo mai per te pei twoi ‘puri. ‘oki Non saperlo mai, per te, pei_tuoi_ puri occhi, Dont know it ever, for you, for your pure eyes, mwor botterflai perke tu_—‘possa arfdar ‘muor Butterfly... perche tu —_possa andar. dies Butterfly... sothat you may go diladal'mare —sentsa_—ke—_ ti rimorda ai di mmaturi } dilidalmare senza — che _tirimorda ai di_—maturi beyond the sea without (that) ittorments you in days mature il mater abbanidono i materno —abbandono. the mother’s abandonment. (Butterfly dies, so that you may go beyond the sea, without your mother’s abandonment tormenting you in your grown-up days.)‘Madama Butterfly, Act Il, Part 2 > amme ‘fez dal trons dellalto _paradiza ° ame, ——_sceso dal trono ——dell'alto—_- Paradiso, Oh (you) tome descended from thethrone of high Paradise, ‘gwarda bem ‘fizo ‘fizo di ua ‘madre guarda ben fiso, fiso di tua madre ook at very ‘hard, hard of your mother (look hard, very hard into your mother's face...) ke ten ‘esti ‘una wattfa —‘gwarda_—ben che ten resti una traccia, guarda_—_ben! that ofitwith you may remain a trace, look hard! (0 that a trace of your mother's face may remain with you. Look hard!) amore addin alddio. pikkolo amor Amore, addio! ——addio!_— piccolo. amor! My love, good-bye, good-bye! little lovel va dsoka ska va. gioca, —_gloca. go... play, play, (Buterty takes the child and puts him on a mat with his face turned away: She places in his hand alle “American flag and a doll, while she Bindfolds him. Then she takes the dagger, and with her eyes always on her son, she goes behind the screen, The dagger is heard falling on the ground, as the great white veil vanishes, as if pulled by an invisible hand. Butterfly slips to the floor, half outside the screen. The veil is wrapped around her neck. Witha feeble smile, she greets her child with one hand and drags herself near him, having still sufficient strength to embrace him, then falls near him. At this moment, outside, one hears the breathless voice of Pinkerton) < PINKERTON'S VOICE botterfai Butterfly! (A door flies open. Pinkerton and Sharpless rush ino the room runing towards Butterfly, who with a {feeble gesture indicates the child and then dies. Pinkerton kneels, while Sharpless picks up the child and kisses him, sobbing). END OF THE OPERA